L´AWID est une organisation féministe mondiale qui consacre ses efforts à la justice de genre, au développement durable et aux droits humains des femmes
L’hommage se présente sous forme d’une exposition de portraits d’activistes du monde entier qui ne sont plus parmi nous qui ont lutté pour les droits des femmes et la justice sociale.
En 2020, nous adoptons une démarche légèrement différente
Cette année, tout en continuant à convoquer la mémoire de celleux qui ne sont plus parmi nous, nous souhaitons célébrer leur héritage et souligner les manières par lesquelles leur travail continue à avoir un impact sur nos réalités vécues aujourd’hui.
49 nouveaux portraits de féministes et de défenseur·e·s viennent compléter la gallerie. Bien que de nombreuses des personnes que nous honorons dans cet hommage sont décédé·e·s du fait de leur âge ou de la maladie, beaucoup trop d’entre iels ont été tué·e·s à cause de leur travail et de qui iels étaient.
Les histoires des activistes à l'honneur dans cet Hommage font vivre leur héritage et continuent d'inspirer le travail et l’action de nos mouvements.
Les portraits de l'édition 2020 ont été illustrés par Louisa Bertman, artiste et animatrice qui a reçu plusieurs prix.
L’AWID tient à remercier nos membres, les familles, les organisations et les partenaires qui ont contribué à cette commémoration. Nous nous engageons auprès d’elleux à poursuivre le travail remarquable de ces féministes et défenseur·e·s et nous ne ménagerons aucun effort pour que justice soit faite dans les cas qui demeurent impunis.
« Ils ont essayé de nous enterrer. Ils ne savaient pas que nous étions des graines » - Proverbe mexicain
L'Hommage a été inauguré en 2012
Le premier hommage aux défenseur-e-s des droits humains a pris la forme d’une exposition de portraits et de biographies de féministes et d’activistes disparu·e·s lors du 12e Forum international de l’AWID en Turquie. Il se présente maintenant comme une gallerie en ligne, mise à jour chaque année.
Depuis, 467 féministes et défenseur-e-s des droits humains ont été mis·es à l'honneur.
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Our neighbourhood, our network, our strength
by Marta Plaza Fernández, Madrid, Spain (@gacela1980)
The feminist reality that I want to share is about weaving networks in which we uphold one another. Networks which come together in different ways, which emerge from our shared vulnerability, and which make all of us stronger.
The streets of Chamberí, my neighbourhood in Madrid, became much more of a home following the gatherings in the plazas organized by the citizens movement that originated in a rally on May 15, 2011. I think about how, during those years, we met each other and were able to associate faces, voices, smiles with so many neighbours who previously were only silhouettes without names or pasts, and who we passed by without seeing or hearing each other. I think about how we’ve become involved and dedicated; how we’ve woven a palpable, tangible community; how we’ve been advancing hand in hand towards building a new more inhabitable world, which we want and that we urgently need to create.
A group of activists and utopian neighbours, (in the best sense of the word utopian) – that moves us to action to do something real – that group for me was practically the first that reacted differently when I shared a part of my history and identity with them. With these women I shared my psychiatric diagnosis, my multiple hospital stays, the number of daily pills that accompanied me, my disability certificate, my difficulty in preserving that vital link that periodically disintegrates in my hands.
These neighbours, friends, comrades, links, loves –did not only not distance themselves from me once they got to know someone who many others had labelled as problematic, manipulator, egotistical – but became my principal network of affection and mutual support. They decided to navigate with me when the sea became agitated with storms. These people have given a different meaning to my days.
Building our feminist reality also encompasses carrying the “I believe you, sister” that we use when a friend has suffered a macho attack to the violence experienced by psychiatrized women at the hands of the very psychiatric system and institutions that are supposed to help us (and instead are often the new abuser who traumatizes and hurts us all over again). And this reality must include respect for our decisions, without taking away our agency and capacity to direct our own steps to one space or another; to listen to our narratives, desires, needs…without trying to impose others that are alien to us. It means not delegitimizing our discourse, not alluding to the label of our diagnosis, nor our madness.
With these transformation, each stay in the psychiatric institute did erase the ties that we had been able to build, but instead this network stayed by my side, its members took turns so that each day there would be no lull in calls, in visits, so that I could feel them as close as one can feel another person separated by locked doors (but unfortunately open for abuse) within the confines of the psychiatric ward. Through the warmth and kindness from my people I could rebuild that vital link that had once again been broken.
The even bigger leap happened when I was already aware of the numerous violent acts and abuse (where among other assaults, I spent days strapped to a bed, relieving myself where I lay), I decided that I would not go back to being interned.
This network of care, these women neighbours-friends-loves-comrades, they respected my refusal to return to the hospital and supported me through each crisis I’ve been through since then. Without being interned, without violence.
They took turns accompanying me when my link to life was so broken that I felt such a huge risk which I couldn’t handle on my own. They organized WhatsApp group check-ins. They coordinated care and responsibilities so that no one would feel overwhelmed - because when an individual feels overloaded, they make decisions based on fear and the need for control instead of prioritizing accompaniment and care.
That first crisis that we were able to surmount together in this way – without being admitted to the psychiatric institute, represented a dramatic change in my life. There were months when my life was at risk, of intense suffering and of so much fear for my people and for me. But we overcame it together, and all that I thought was that if we could get over that crisis, then we could also find ways to face all the difficulties and crises that may come.
These feminist realities that we’re building day by day keep expanding, growing and taking different forms. We’re learning together, we’re growing together. Distancing ourselves from a welfare mentality, one of the first lessons was that, in reality, there wouldn’t be anyone receiving care (because of a psychiatric label) or anyone helping, from the other side of the sanity/insanity line. We learnt – we’re learning – to move to a different key – that of mutual support, of providing care and being cared for, of caring for each other.
We’ve also explored the limits of self care and the strength of collectivizing care and redistributing it so it’s not a burden that paralyzes us; we learnt – and we keep learning today – about joy and enjoying care that is chosen.
Another recent learning is about how difficult it was to start integrating money as another component of mutual support that we all give and receive. It was hard for us to realize how internalized capitalism kept on reverberating in our relationship with money, and that even though no one expected any payment for the containers of lentils we cooked amongst us when eating and cooking were difficult tasks, our expectation regarding money was different. Phrases like “how much you have is how much you’re worth” become stuck inside of us without critically analyzing them. It’s easy to keep thinking that the money each one has is related to the effort made to earn it, and not due to other social conditioning distant from personal merit. In fact, within this well-established mutual support network – redistributing money based on needs without questioning – was still a remote reality for our day to day. That’s why this is something that we’ve recently started to work on and think through as a group.
We want to get closer to that anti-capitalist world where mutual support is the way that we have chosen to be in the world; and that entails deconstructing our personal and collective relationship with money and internalized capitalism.
In these feminist realities we also know that learning never stops, and that the road continues to be shaped as we travel upon it. There is still much to do to keep caring for ourselves, to keep expanding perspectives and to make ourselves more aware of the persistent power imbalances, of privileges that we hold and continue to exercise, without realizing the violence that they reproduce.
Though we’ve already travelled so far, we still have a long way to go to get closer to that new world that we hold in our hearts (and for some within our crazy little heads too). Racism, classism, adult-centrism, fat-phobia, and machismo that persists among our partners.
Among the pending lessons, we’ve needed for a long time already to build a liveable future in which feminism is really intersectional and in which we all have space, in which the realities and oppressions of other sisters are just as important as our own. We also need to move forward horizontally when we build collectively – getting rid of egos, of protagonisms, to live together and deal with the need for recognition in a different way. And to also keep making strides grounded in the awareness that the personal is always, always political.
How we relate to and link with each other cannot be relegated to the private domain, nor kept silent: other loves are possible, other connections and other families are necessary, and we are also inventing them as we go.
This new world which we want to create, and that we need to believe in – is this kind world – in which we can love, and feel pride in ourselves – and in which all worlds will fit. We’ll keep at it.
Looking at activists and feminists as healers and nourishers of the world, in the midst of battling growing right wing presence, white supremacy and climate change. This piece highlights how our feminist reality puts kindness, solidarity, and empathy into action by showing up and challenging the status quo to liberate us all.
Mirna Teresa Suazo Martínez faisait partie de la communauté garifuna (afro-descendante et autochtone) Masca et vivait sur la côte nord des Caraïbes du Honduras. Elle était leader de sa communauté et fervente défenseure du territoire autochtone, une terre qui a été violée le jour où l'Institut national agraire du Honduras a accordé des licences territoriales à des personnes extérieures à la communauté.
Ce fait déplorable a été à l'origine de harcèlements, d'abus et de violences répétés contre Masca, où les intérêts économiques de différents groupes se sont heurtés à ceux des forces armées et des autorités honduriennes. Selon l'Organisation fraternelle noire du Honduras (OFRANEH), la stratégie de ces groupes consiste à expulser et exterminer la population autochtone.
« Masca, la communauté garifuna située près de la vallée du Cuyamel, se trouve dans la zone d’influence de l’une des villes présumées modèles, une situation qui a déclenché des pressions territoriales le long de la côte garifuna. » - OFRANEH, 8 septembre 2019
Mirna Teresa, présidente du conseil d'administration de la communauté de Masca à Omoa, avait elle aussi fermement rejeté la construction de deux centrales hydroélectriques sur la rivière Masca, qui porte le même nom que sa communauté.
« La communauté garífuna attribue l'aggravation de la situation dans leur région à son opposition à l'exploitation touristique, à la monoculture de palmiers africains et au trafic de drogue, tandis qu'elle cherche parallèlement à construire une vie alternative au travers de la culture de la noix de coco et d'autres produits d'autoconsommation ». - Voces Feministas, 10 septembre 2019
Mirna Teresa a été assassinée le 8 septembre 2019 dans son restaurant « Champa los Gemelos ».
Elle est l'une des six femmes défenseures garifunas à avoir été assassinées rien qu'entre septembre et octobre 2019. Selon l'OFRANEH, les autorités n'ont pas mené d'enquête sur ces crimes.
« En ce qui concerne les communautés garífuna, une grande partie des homicides sont liés au régime foncier et à la gestion des terres. Cependant, les querelles entre les organisations criminelles ont abouti à des meurtres, à l’instar de ceux ayant eu lieu récemment à Santa Rosa de Aguán ». - OFRANEH, 8 septembre 2019
#MeToo in China Snippet EN
#MeToo in China
#MeToo in China Exhibition was first held in 2019 and toured in 5 cities. The aim of the exhibition is to bring the personal experiences of the victims and activists to greater prominence and, through engagement with these stories, to inspire our audience to join in the fight. The exhibition has itself become a part of the #MeToo struggle—the exhibition has been beset by challenges on its tour throughout China, on more than one occasion even facing closure.
As part of AWID’s Feminist Realities journey, we invite you to explore our newly launched Feminist Film Club: a collection of short and feature films selected by feminist curators and storytellers from around the world, including Jess X. Snow (Asia/Pacific), Gabrielle Tesfaye (Africa/African Diaspora), and Esra Ozban (South West Asia, North Africa). Alejandra Laprea is curating the Latin & Central American program, which we’ll launch in September during AWID’s Crear, Résister, Transform: A Festival for Feminist Movements. In the meantime, look out for announcements on special films screenings and conversations with filmmakers!
هنالك 47 سؤال في الاستطلاع، منها 27 سؤال اجباري* والعشرين الباقين هي أسئلة اختيارية. أغلب الأسئلة هي أسئلة متعددة الخيارات. ندعوكم/ن للإجابة على جميع الأسئلة.
Exposition Pleasure Garden
Cette œuvre est la collaboration photographique et illustrative réalisée par Siphumeze et Katia pendant le confinement. Elle se penche sur les récits de sexe et de plaisir des queers noirs, le bondage, le sexe protégé, les jouets, la santé mentale et le sexe et bien d'autres choses encore. Elle a été créée pour accompagner l'anthologie Touch.
Mental Health (Santé mentale)Sex and Spirtuality (Sexe et spiritualité)Orgasm (Orgasme)
À propos des artistes
Siphumeze Khundayi est une créatrice d'art, photographe et animatrice qui s'intéresse aux moyens créatifs de réunir le dialogue et la pratique artistique en relation avec l'identité queer africaine.
Elle est directrice créative de HOLAAfrica!, un collectif panafricaniste féministe en ligne.
Ses travaux de performance en solo et collaboratifs ont été présentés dans un certain nombre de festivals et d'espaces théâtraux tels que le festival Ricca Ricca au Japon.
Elle a mis en scène deux productions nominées aux Naledi Awards en 2017 et 2018. Elle a aussi mis en scène un spectacle qui a remporté un prix Standard Bank Ovation en 2020.
En tant que photographe, elle a participé à une exposition de groupe intitulée Flowers of my Soul (Fleurs de mon âme) en Italie, organisée par le Misfit Project. Elle a produit trois publications pour HOLAAfrica et a été publiée dans le deuxième volume, pour lequel elle a fourni la couverture: As You Like des Gerald Kraak Anthologies.
Katia Herrera est une artiste visuelle numérique de 21 ans originaire de la ville bruyante de Saint-Domingue, en République dominicaine. Bien que Herrera soit une introvertie autoproclamée, ses œuvres d'art sont remarquablement fortes dans un monde qui tente de faire taire les voix des personnes noires. Avec des titres comme Black Woman (Femme Noire), You Own the Moon (La Lune t’Appartient), Earth Goddess (Déesse de la Terre), Forever (Pour Toujours) et Universe Protector (Protecteur.rice de l’Univers), l'héritage de Herrera sera marqué par sa volonté passionnée de mettre en lumière l'endurance et la persévérance des Noir·e·s d'hier et d'aujourd'hui, afin de contrer le discours selon lequel la peau noire ne devrait être associée qu'à l'esclavage.
L'une de ses œuvres la plus belle et la plus vivante, Universe Protector, dépeint l'âme noire comme une entité divine pleine de force, de puissance et de grandeur. C’est dans sa jeunesse que son amour du graphisme a été stimulé grâce à l'art de ses parents et le Photoshop qu'ils avaient téléchargé sur leur ordinateur pour leur photographie professionnelle.
“I do not know a lot about spirituality or what happens when we die, but my crip queer Korean life makes me believe that our earthly bodyminds is but a fraction, and not considering our ancestors is electing only to see a glimpse of who we are.” - Stacey Park Milbern
Stacey Park Milbern was a self-identifying queer disabled woman of colour and a trailblazer. A long-standing and respected organizer and leader in the disability rights and justice movement, she also advocated for the rights of many different communities, not just her own. Stacey’s activism had mighty roots in her experience at the intersections of gender, disability, sexuality and race.
Stacey, along with some friends, co-created the Disability Justice Culture Club, a group working to support various and especially vulnerable communities, including helping homeless people gain access to resources during the COVID-19 pandemic.
She was also a co-producer of an impact campaign for Netflix’s documentary “Crip Camp”, a board member of the WITH Foundation, and led organizations at local, state and national levels. Stacey wrote beautifully and powerfully:
“My ancestors are people torn apart from loves by war and displacement. It’s because of them I know the power of building home with whatever you have, wherever you are, whoever you are with. My ancestors are queers who lived in the American South. It’s because of them I understand the importance of relationships, place and living life big, even if it is dangerous. All of my ancestors know longing. Longing is often our connecting place...” - Stacey Park Milbern
She was born in Seoul, Korea and grew up in North Carolina, later continuing her journey in the San Francisco Bay Area. Stacey passed away of complications from surgery on her 33rd birthday on 19 May 2020.
“She was, a lot of people would say, a leader. She kind of encompassed all of it. You know, sometimes there's like a lead from the front, lead from the middle, lead from the back. And she was just somehow able to do all of that.” - Andraéa LaVant, disability rights activist
“What a blow to lose Stacey when our communities need her leadership more than ever, and at a time when her strength, insight, and grit were receiving increased recognition outside of disability circles, giving her a greater platform to advance her life’s work...We will not have the gift of learning where her charismatic leadership would have taken us. But let there be no doubt: What Stacey gave us, in a relatively short time, will continue benefiting others for years to come.” - Disability Rights Education and Defense Fund (DREDF)
Ika Vantiani Snippet ES
Ika Vantiani
Ika Vantiani es una artista, curadora y artesana de Yakarta, Indonesia. Su obra explora la idea de ser mujer en la sociedad actual, en la cual los medios de comunicación y el consumo están entretejidos. Ika usa la disciplina del collage, y la expande al arte callejero, a talleres e instalaciones. Integra colectivos artísticos tales como Micro Galleries, The Collage Club y It’s In Your Hands Collective.
Как вы будете представлять и обрабатывать данные, собранные в ходе опроса?
Данные будут обработаны в статистических целях, чтобы осветить состояние ресурсного обеспечения феминистских движений во всем мире, и представлены будут только в обобщенном виде. AWID не будет публиковать информацию о конкретных организациях или отображать информацию, которая позволила бы идентифицировать организации по их местоположению или характеристикам, без их согласия.
Nicole Barakat
We transcend time and place, Hand cut found paper (2017)We will remember who we are and We will persist Cotton embroidered hand cut lamé on wool silk cloth (2018)We will return home, Silk embroidered hand cut lamé on cotton velveteen (2018)We will heal in the now, Hand cut silk, wool, lamé, cotton, direct digital print silk satin on linen (2018)
we are infinite
An exhibition by Nicole Barakat, embodying her reconnection with the diaspora of objects from her ancestral homelands in the South West Asia and North Africa (SWANA) region.
Barakat presents a collection of textile works as manifestations of her practice of engaging with displaced, and often stolen objects held within Western museum collections including the Louvre, British Museum and Nicholson Museum.
To by-pass the gatekeepers and breach the vitrines holding these ancestral objects, Barakat reclaims pre-colonial, non-linear, receptive forms of knowing that are often devalued and dismissed by colonial and patriarchal institutions - engaging with coffee cup divination, dream-work, intuitive listening and conversations with the objects themselves (source).
About Nicole Barakat
Nicole Barakat is a queer femme, SWANA artist born and living on Gadigal Country (so-called Sydney, Australia). She works with deep listening and intuitive processes with intentions to transform the conditions of everyday life. Her work engages unconventional approaches to art-making, creating intricate works that embody the love and patience that characterises traditional textile practices.
Her works include hand-stitched and hand-cut cloth and paper drawings, sculptural forms made with her own hair, cloth and plant materials as well as live work where she uses her voice as a material.
Nicole’s creative practice is rooted in re-membering and re-gathering her ancestral knowing, including coffee divination and more recently working with plants and flower essences for community care and healing.
Références intéressantes
Découvrez ces projets élaboréspar les équipes de l'AWID pour promouvoir le plaidoyer et les perspectives féministes.
As realidades de financiamento para movimentos feministas mudam rapidamente. Este questionário é um ocorrência única?
Não. Tem por base a história de 20 anos da AWID de mobilizar mais financiamento de maior qualidade para mudanças sociais lideradas por feministas e é a terceira edição do nosso inquérito “Onde está o dinheiro para organização feminista?”. O nosso objetivo é repetir o inquérito WITM a cada 3 anos.
Tendencias anti-derechos en los sistemas regionales de derechos humanos
Chapter 6
En la Comisión Africana y en el Sistema Interamericano, los actores antiderechos impulsan nociones esencialistas de cultura y género para impedir el avance de los derechos y socavar las responsabilidades. Como vemos, los actores anti-derechos están ejerciendo su influencia sobre los sistemas regionales de derechos humanos, así como en los espacios internacionales.
La Comisión Africana de Derechos Humanos y de los Pueblos ha comenzado a definir a los derechos sexuales y de las mujeres como un menoscabo a su capacidad de ocuparse de los «derechos reales» y como contrarios a los «valores africanos», con lo cual se establece un precedente anti-derechos preocupante. La anulación del estatus de observador de la Coalición de Lesbianas Africanas es un ejemplo de esta tendencia y muestra la forma en que el espacio para el involucramiento feminista panafricanista está siendo restringido.
En la Organización de Estados Americanos (OEA) y en el Sistema Interamericano de Protección de los Derechos Humanos, las estrategias anti-derechos incluyen la oenegización de grupos religiosos, la utilización de discursos seculares, y la cooptación de marcos de discriminación. La influencia antiderechos se ha materializado de diversas maneras, que incluyen la intimidación de activistas trans y la obstrucción de la introducción de lenguaje progresista en las resoluciones.
Índice de contenidos
Silenciamiento de feministas en el Sistema Africano de Derechos Humanos
Grupos anti-derechos en América Latina: Asamblea General de la Organización de Estados Americanos (OEA) y el Sistema Interamericano de Protección de los Derechos Humanos