Human Rights Council (HRC)
The Human Rights Council (HRC) is the key intergovernmental body within the United Nations system responsible for the promotion and protection of all human rights around the globe. It holds three regular sessions a year: in March, June and September. The Office of the UN High Commissioner for Human Rights (OHCHR) is the secretariat for the HRC.
The HRC works by:
-
Debating and passing resolutions on global human rights issues and human rights situations in particular countries
-
Examining complaints from victims of human rights violations or activist organizations on behalf of victims of human rights violations
-
Appointing independent experts (known as “Special Procedures”) to review human rights violations in specific countries and examine and further global human rights issues
-
Engaging in discussions with experts and governments on human rights issues
-
Assessing the human rights records of all UN Member States every four and a half years through the Universal Periodic Review
AWID works with feminist, progressive and human rights partners to share key knowledge, convene civil society dialogues and events, and influence negotiations and outcomes of the session.
With our partners, our work will:
◾️ Raise awareness of the findings of the 2017 and 2021 OURs Trends Reports.
◾️Support the work of feminist UN experts in the face of backlash and pressure
◾️Advocate for state accountability
◾️ Work with feminist movements and civil society organizations to advance rights related to gender and sexuality.
Related Content
Laurie Carlos
Laurie Carlos fue una actriz, directora, bailarina, dramaturga y poeta estadounidense, una artista y visionaria extraordinaria que tenía un poderoso don para hacer surgir el arte en otras personas.
«Laurie entraba en una habitación (cualquier habitación/todas las habitaciones ) con clarividencia arremolinada, con genio artístico, rigor corporizado, con un realismo feroz— y con la determinación de ser libre... y de liberar a otrxs. Una hacedora de magia. Una vidente. Alguien que cambiaba de formas. Laurie me dijo una vez que entraba en los cuerpos de las personas para descubrir qué necesitaban.» - Sharon Bridgforth
Combinaba estilos de actuación tales como gestos rítmicos y texto. Laurie era mentora de nuevxs actorxs, performers y escritorxs, y ayudaba a difundir su trabajo a través de «Naked Stages», una beca para artistas emergentes. Integraba el Penumbra Theater, con el que colaboraba mediante guiones que produjeran identificaciones, a fin de «traer más voces femeninas al teatro». Laurie integraba también Urban Bush Women, una compañía de danza contemporánea prestigiosa que relata historias sobre mujeres de la diáspora africana.
En 1976, como Lady in Blue, hizo su debut en Broadway, en la producción original galardonada del drama poético de Ntozake Shange For colored girls who have considered suicide / when the rainbow is enuf. La obra de Laurie incluye White Chocolate, The Cooking Show y Organdy Falsetto.
«Cuento las historias en el movimiento (las danzas internas que surgen espontáneamente, como en la vida), la música y el texto. Si escribo una línea, no necesariamente tiene que ser una línea que es hablada; puede ser una línea que es movida. Una línea a partir de la cual se crea música. El gesto se convierte en la oración. Gran parte de quienes somos como mujeres, como personas, tiene que ver con los gestos que hacemos entre nosotrxs todo el tiempo, y en particular, durante momentos emotivos. El gesto se convierte en una oración o una declaración de hechos. Si pongo en un guión “cuatro gestos”, eso no quiere decir que no estoy diciendo nada; significa que lo he abierto para que algo sea dicho físicamente.» - Laurie Carlos
Laurie nació y creció en la ciudad de Nueva York, trabajó y vivió en Twin Cities. Falleció el 29 de diciembre de 2016 a la edad de 67 años, luego de una batalla contra el cáncer de colon.
Tributos:
«Creo que esa era exactamente la intención de Laurie. Salvarnos. De la mediocridad. Del ego. De la pereza. De la producción de arte a medias. De estar paralizadxs por el miedo. Laurie quería ayudarnos a Brillar plenamente. En nuestra producción artística. En nuestras Vidas.» - Sharon Bridgforth para Pillsbury House Theatre
«Nadie que conociera a Laurie dejaría de definirla como una persona original. Era su propia persona. Era su propia persona, su propia artista; ponía en escena el mundo tal como lo conocía, con verdadero estilo y comprensión, y vivía su arte.» - Lou Bellamy, fundador de Penumbra Theater Company, para Star Tribune
Leer un tributo completo de Sharon Bridgforth (solo en ingles)
Values - intersectionality
Intersectionality
We believe that for feminist movements to be transformative and strong we must continue to work across our similarities and differences. We also must interrogate power and privilege both within and outside our movements.
Posso entrar em contacto se tiver dúvidas ou questões?
Se tiver alguma dúvida ou questão, entre em contacto connosco através deste formulário, indicando "Inquérito WITM" (WITM Survey) no título da sua mensagem.
六大主軸
六大主軸支持起論壇中女性主義理念實現的框架。每個主軸都以實現的女性主義理念、經驗和願景為中心,探討抵抗與主張、奮鬥與另類選擇之間持續不斷的關係。我們希望能共同探討出女性主義理念實現的構成要素,並找到讓女性主義理念實現在人生不同領域,欣欣向榮發展的推動力。
這些實現的理念可能以生活方式、夢想和構思中的想法充分表達,或是寶貴的經驗和重要的時刻。
這些主軸並不是孤立的主題,而是與論壇活動相互串連的載體。我們預期許多活動會處在這些主題的交匯處,不同的爭取方式、社群和運動之間的交匯處。這些說明只是初步的描述,會隨著女性主義理念實現之旅的開展而不斷地演變。
社群、運動和經濟正義的資源
本議題主軸聚焦以下問題:個人、社群和運動如何滿足自身的基本需求,並用以人為本及自然為本的方式,確保我們所需繁盛發展的資源。「資源」指的是食物、水、清潔的空氣以及金錢、勞動力、資訊、知識和時間等等。
女性主義者對抗以剝削和榨取掛帥的主流經濟體制,對於組織我們的經濟與社會生活,女性主義提出了方案、累積經驗與付諸實踐,本主軸借重其經驗,表彰深具影響力與啟發性者。糧食和種子主權、女性主義的工作和勞動願景、公正和永續的貿易體系等等,只是將要探索的一部分問題而已。我們將勇敢面對在壓迫的經濟體制下為了生存而產生的矛盾。
女性主義針對經濟正義與創造財富進行了廣泛分析,本主軸以此為前提研究組織與運動獲得資金與資源的主題,探討如何將資源轉移到需要的地方,如何從稅捐正義和基本收入的模式轉移到不同的慈善模式以及運動該如何發揮創意並自主開源。
治理、當責與正義
我們力求樹立新的願景,並擴展女性主義治理、當責和正義以實現的理念與經驗。面對全球危機以及法西斯主義和基本教義派崛起,這個主軸以女性主義的、激進又解放的模式、實務與理念為重心,從在地到全球,探討社會與政治生活的組織。
本議題主軸將探討女性主義治理的樣貌,從女性主義的地方自治經驗、在民族國家以外建立制度,再到我們對多邊主義的願景。我們將交流社群、組織和運動中正義和當責製程序的經驗,包括修復式、以社群為本、轉型正義模式,而這些模式拒絕國家暴力和監獄產業綜合體。
以旅行、移民和難民以及女性主義組織經驗為中心,我們追求一個沒有致命邊境政權的世界:一個可以自由移動,旅程令人雀躍的世界。
數位化的現實
科技在我們生活中扮演的角色越來越吃重,線上與線下真實之間的分野越來越模糊。女性主義者廣泛應用科技與線上空間來營造社群、相互學習和動員行動。借助線上空間,我們可以拓寬實體世界的邊界。但另一方面,數位通訊主要歸企業所有,而其對用戶的責任卻很少。資料探勘、監視和安全漏洞已成為常態,網路暴力和騷擾也是。
本議題主軸探討了數位化現實下的女性主義機遇和挑戰。我們將探討主導數位環境私有平台的替代方案、探索網路空間時維持身心健康的策略,以及如何應用科技來克服取得服務的挑戰。關於愉悅、信任和人際關係,我們將探索科技可發揮的潛力。
身體、愉悅和健康
女性主義理念實現也存在於自身:體現的經驗。父權、順性別異性戀與資本主義掛帥結構的核心依然為對勞動、移動、生殖以及性相的掌控。要顛覆這種壓迫,擁有多元性別、性相和能力的人相會,打造喜悅、關懷、愉悅及強烈欣賞自我與他人的空間以及次文化。
本議題主軸將探討不同社會與文化中。女性、跨性別者、非二元性別者、非常規性別者、陰陽人,對於授意權、能動性與慾望的多元想法、敘事、想像力及文化表現。
我們將分享贏得生育權和正義的戰略,並闡明能實現和尊重人身自主、完整和自由的社會實務。該議題主軸串連不同抗爭和運動,相互交流彼此關於身心健康和愉悅的經驗和觀點。
女性主義星球與生命
想像一顆女性主義的星球。水的聲音聽起來如何?空氣的味道聞起來如何?土壤的觸感摸起來如何?星球與包括人類在內的生命之間有什麼關係?實現的女性主義理念亦即環境和氣候正義的實現。女性主義、原住民、去殖民和生態抗爭通常源自轉型願景以及人與自然之間的關係。
本議題主軸以我們星球的福祉為中心,反映了人類與地球互動並重塑地球的方式。永續女性主義星球包含探索傳統知識和生物多樣性,並學習女性主義關於以下議題的實踐,包括去成長(degrowth)、公社共有實踐、平行經濟模式、農業生態、糧食和能源主權倡議等。
組織女性主義運動
雖然我們認為所有的議題主軸息息相關,但此主軸確實是貫串所有主軸,因此無論您提交的活動與哪一類議題主軸串連,我們也邀請您在提案中加入組織面向。
當今的世界是如何組織女性運動的?這個問題將我們的注意力轉移到參與者、權力機制、資源、領導力,我們所處的經濟狀態,我們對正義和當責的認知,數位化時代,以及對自治、身心健康和集體關懷的經驗上。我們希望所有議題主軸都可以創造一個可以誠實反思的空間,思考運動中的權力分配、資源分配與協商。
論壇是一個協作過程
該論壇不僅僅是一個四天的會議。它更為女權主義現實實踐的運動增強之旅提供了另一個驛站,該旅程早已開始也將在論壇結束後繼續。
Snippet FEA Unio Otras Photo 2 (ES)

Naseeb Miloud Karfana
Fadila M.
Fadila M. était une activiste “tribale” Soulaliyate d’Azrou, dans la province marocaine d’Ifrane. Elle s'est battue contre une forme spécifique de discrimination à l'égard des femmes “tribales” liée à la propriété foncière.
Dans le cadre du Mouvement en faveur des droits fonciers des femmes Soulaliyates, elle a travaillé pour la révision de la législation-cadre relative à la gestion des biens communautaires, avec l'adoption en 2019 de trois projets de lois garantissant l'égalité des femmes et des hommes.
Selon le droit coutumier en vigueur, les femmes n'avaient pas le droit de bénéficier de la terre, surtout celles qui étaient célibataires, veuves ou divorcées. Au Maroc, les droits à la terre collective se transmettaient traditionnellement entre les membres masculins de plus de 16 ans issus d’une même famille. Depuis 2007, Fadila M. faisait partie du mouvement des femmes, à savoir la première mobilisation populaire nationale de revendication de leurs droits fonciers. Parmi leurs victoires, citons le fait qu'en 2012, les femmes Soulaliyates ont pu, pour la première fois, s'inscrire sur les listes de bénéficiaires et disposer d'une indemnisation liée à la cession des terres. Le mouvement a également réussi à faire modifier le dahir de 1919 (décret du roi du Maroc) de façon à garantir aux femmes le droit à l'égalité.
Fadila M. s’est éteinte le 27 septembre 2018. Les circonstances de sa mort, survenue alors qu’elle participait à une marche de protestation sur la question des terres collectives, ne sont pas claires. Si les autorités déclarent que sa mort est accidentelle et qu'elle a fait un arrêt cardiaque sur le chemin de l'hôpital, la section locale de l'Association marocaine des droits de l'homme (AMDH), affirme quant à elle que Fadila a été étouffée par un membre des forces policières arborant un drapeau marocain. Sa famille a demandé qu’une enquête soit menée mais les résultats de l'autopsie n'ont pas été communiqués.
Apprenez-en davantage sur le Mouvement en faveur des droits fonciers des femmes Soulaliyates
Veuillez noter: Nous n'avons pu trouver aucune photo de Fadima M. C'est pourquoi cette illustration (au lieu d'un portrait) représente ce pour quoi elle s'est battue et a travaillé : la terre et le droit d'y vivre et d'avoir accès à cette terre et ce qui y pousse.
Membership why page page - to join as a member block
Afiliación paso a paso
- Lee y acepta las directrices sobre los Valores y la Comunidad de AWID.
- Completa el formulario de inscripción e indica tu contribución al menos a uno de los tipos de acción propuesta.
- Verifica tu casilla de correo donde recibirás un paquete de bienvenida digital con la confirmación de tu membresía.
- Completa tu compromiso de contribución según el(los) tipo(s) de acción que hayas escogido en el formulario de inscripción.
AWID Community Blurb - FR
Rejoignez notre communauté en ligne !
La communauté AWID est une plateforme en ligne de réseautage social conçue tout spécialement pour l’AWID. Espace féministe ayant vocation à connecter, résister et célébrer, c’est un endroit où les conversations féministes critiques, le pouvoir et la puissance du collectif et la solidarité sont à l’œuvre. Cet espace est également ouvert pour dialoguer après les différents événements, pour penser, assimiler, digérer les apprentissages politiques difficiles, et pour prendre soin de la communauté.
Devenez membre de l’AWID pour pouvoir faire partie de la Communauté AWID dès aujourd’hui.
Download your faciliation guide:
"A Feminist Approach to Understanding Illicit Financial Flows and Redirecting Global Wealth"
Download your facilitation guide in English
This Guide is also available in Spanish and Russian
Thanks to the co-creators of this facilitation guide:
- Daniela Fonkatz and Ana Ines Abelenda (AWID)
- Zenaida Joachim (Mesoamericanas en Resistencia - El Salvador)
- Olga Shnyrova (Ivanovo Center for Gender Studies - Russia)
- Leah Eryenyu (Akina Mama Wa Afrika - Uganda)
- Daryl Leyesa (Oriang and PKKK/National Rural Women Congress - the Philippines)
Snippet FEA Sabrina Sanchez Bio (FR)
Nous vous présentons Sabrina Sanchez, incroyable femme trans, migrante, travailleuse du sexe, organisatrice, transféministe et l'une des fondatrices du syndicat OTRAS.
Originaire de Mexico, elle a émigré en Espagne il y a 17 ans après avoir obtenu son diplôme en communication et a commencé à travailler comme travailleuse du sexe.
Il ne fallut pas longtemps avant qu'elle ne s'implique dans l'activisme trans et l'activisme des travailleur·euses du sexe à Barcelone. Après avoir rejoint l'Association des Professionnel·les du Sexe (Asociación de Profesionales del Sexo, Aprosex), elle a commencé à travailler dans son secrétariat et a fondé le syndicat espagnol des travailleur·euses du sexe OTRAS.
Elle vit actuellement à Amsterdam, où elle travaille comme coordinatrice de l'Alliance Européenne des Travailleur·euses du Sexe.
Fait divers: elle est aussi mécanicienne automobile et adepte de la course à pied!
Heike Jensen
Dorothy Masuka
“I didn’t plan to be a singer, singing planned to be in me.” - Dorothy Masuka (interview with Mail & Guardian)
One such song titled “Dr. Malan” (named after the pro-apartheid politician D.F. Malan) was banned. She went on to record “Lumumba” (1961), a song about the assassination of the anti-colonial leader Patrice Lumumba. Dorothy’s work and activism attracted the attention of the Special Branch of the South African police and she was forced into a political exile that would span over three decades. Throughout this time, she worked with pro-independence groups including the African National Congress. In 1992, as apartheid started to crumble and Nelson Mandela was released from prison, she returned to South Africa.
Some of her other work includes the first song she recorded in 1953 entitled “Hamba Notsokolo”, a hit in the 1950s and a valued classic. She also wrote “El Yow Phata Phata”, a song that was adapted by Miriam Makeba, making “Pata, Pata” popular internationally.
Rooted in resistance, Dorothy’s music and activism were intertwined, leaving a magnificent and inspiring legacy. She was also widely known as “Auntie Dot”.
On 23 February 2019 at the age of 83, Dorothy passed away in Johannesburg due to ill health.
Watch Dorothy Masuka in an interview with Mail & Guardian
Listen to some of her music:
Forum Theme (Forum page)
Thème du Forum
Le thème du 14e Forum international de l'AWID est «Réalités féministes : notre pouvoir en action».
Ce Forum célébrera et amplifiera les propositions audacieuses autour de nous, à tous les stades de déveoppement !
Snippet - Join CSW69 Conversations Intro_EN
Join us through the #FreezeFascisms conversations!
As we navigate the global polycrisis, movements are tirelessly building power beyond traditional power structures. The wave of US presidential executive orders is intended to scare us, but no amount of fascist ideology can erase our existence and resistance.
We invite you to be a part of the solidarity-building campaign to expose and resist fascist forces undermining feminist and gender justice movements in your contexts!
- Spark conversations in a brave space: Share stories of struggles and resistance to fascisms in your contexts on the AWID Community Platform. Not a member yet? Join here
- Support movements that have been impacted: Amplify fundraisers, resourcing opportunities, mutual aid efforts using the #FreezeFascisms (we’re still on X, Instagram, LinkedIN, and we’re also on Bluesky)
- Organize around alternatives: We’ve been building our community of practice on feminist economic alternatives & autonomous resourcing. Sign up to be part of it here.
Holding up the Skies
A Film Series on Feminist Realities from Africa and the African Diaspora
by Gabrielle Tesfaye
When I created my short animation film, The Water Will Carry Us Home, my mind was plugged into a magical world of fearless resilience and ancestral mermaids who transformed their deepest scars into a new generation of life. Set during the time of the transatlantic slave trade, I was pulled to show this history of African enslavement in a different way than it has ever been told on screen. I wanted to give my ancestors the commemoration they never received. I was motivated to reclaim the history that continues to paint us as helpless victims. Essentially, I wanted to tell the truth. To reclaim and reimagine our history and perspective, means to simultaneously heal our generational traumas that exist today. It is this important work that so many women through the African continent and the African diaspora are doing today, igniting our collective Feminist Realities.
In the making of the film I researched religiously, and in what was written, I saw what was not. There were many times I felt I was hitting a wall trying to find something that was not there, and it was in those voided places that I realized the storytellers of today are filling the voids. I found the most useful stories in contemporary art, film, and African diaspora folklore.
“... a truly unique, raw and representation of feminist power in action.”
- Hers is Ours Collective, organizers of the Outsider Moving Art & Film Festival
The Water Will Carry Us Home carried itself around the world into the hearts of the Diaspora. It also led me here, as the curator of the African and Diaspora film screenings of AWID’s Co-Creating Feminist Realities initiative. Whilst curating this collection of films, I looked for stories that were completely unique, raw and representational of feminist power in action. Consisting of three shorts and one feature, they reveal stories through many communities in Africa and the diaspora, including Ethiopia, Uganda, The Democratic Republic of Congo, South Africa and Kenya. These films reposition African women as what they truly are- self governing and empowered through the unfiltered lens of their work.
“An incredibly beautiful, attentive, finely observed telling of the connection between Africa and its Diaspora formed form the trans Altantic slave trade. The visual universe it creates is just gorgeous… an echo of the fusion of spiritual traditions and non-linear time that speak to how we are still experiencing the moments of the past that formed 'new' worlds of diaspora blackness.”
- Jessica Horn, PanAfrican feminst strategist, writer and co-creator of the temple of her skin
Our short documentary film, Women Hold Up the Sky, created by the WoMin African Alliance, tells the story of women activists in Uganda and the Democractic Republic of Congo who are actively reclaiming their land rights, threatened by mining and other extractives in their homes. The film not only exposes the corruption of extractivism, but finally shares what we have been missing on screen - how grassroots African women are actively organizing, strategizing, and analyzing within their communities to create women-centred and community-driven alternatives. Margaret Mapondera of WoMin explains it beautifully, that they are the “custodians of lands, forests, waters, rivers and territories; the ways in which women hold and transmit the stories / herstories of our past and our futures; the powerful and transformative ways of being that women embody in their relationships to each other, to the environment and in themselves.”
“A refreshing and much-needed piece of cinema highlighting the many ways African women are coming together to create women-led and community-driven alternatives… The fight is on and
women hold the key.”
- Hers is Ours Collective, organizers of the Outsider Moving Art & Film Festival
Pumzi, created by critically acclaimed director Wanuri Kahiu, bridges Africa and science fiction around climate and environmentalism. Pumzi imagines a futuristic world where humankind has been forced to settle on another planet. While Pumzi seems afro-futuristic and new for Africa on the surface, Kahiu reveals the truth that science fiction and fantasy is something that has always existed in African storytelling, but never recognized. Kahiu creates a world where women are truth seekers and heroes who pioneer us into a new world, the opposite of images that position Africans as victims of war and destruction. Instead, Pumzi writes the narrative of African women being their own saviors and problem solvers, who stop at no cost to follow the cryptic visions they channel in their dreams.
“A pioneering African sci-fi film, situating women as scribes of the future and opening up our visions about other worlds, other universes we might occupy as Africans - always an important exercise as we imagine our way out of present crises.”
- Jessica Horn, PanAfrican feminst strategist, writer and co-creator of the temple of her skin
Our feature film of the program, Finding Sally is set in 1970’s Ethiopia during the time of The Red Terror war, documenting the striking history of director Tamara Mariam Dawit’s activist aunt, Sally Dawit. Throughout the film we learn of Sally’s incredible journey as a young and courageous woman activist navigating one of the most violent times of Ethiopian history. Sally’s story not only reveals the gravity of this time, but the reflection of her own personal evolution as a young woman. Dawit was intentional to tell the film through the lens of women, untouched by male voices. Due to so much Ethiopian history being told by men, the making of this powerful story preserved its reality of honoring the feminist perspective. Dawit explains, “Women in revolution and war are often only included as someone's spouse or someone who did cooking or typing work. I wanted to look at the activism around the revolution only through the memories and voices of women.” Finding Sally demonstrates the reclamation of history sought by current filmmakers today. It is an igniting of feminist power and our connected realities throughout time.
“The responsibility falls on us, to remember these women that came before us and their brilliant work so they are not forgotten like the thousands of women already forgotten while fighting the good fight. Sally is such a woman and may she never be forgotten.”
- Hers is Ours Collective, organizers of the Outsider Moving Art & Film Festival
Register here to watch this film from June 18-22
These films have became a part of my own psyche, empowering me to continue building powerful alternatives towards justice from within. They affirm that I am a woman among a world of women, holding up the skies and actively building indestructible Feminist Realities. These films are more than stories of African women - they are globally relatable, inspiring and set the example of Feminist Realities for all of us around the world.
Gabrielle Tesfaye is an interdisciplinary artist versed in painting, animation, film, puppetry and interactive installation. Her work is rooted in the African diaspora, Afro-futurism, ancient art practices and cultural storytelling.
Follow us on Social Media to receive news about upcoming events and screenings:
Facebook: @AWIDWomensRights
Instagram: @awidwomensrights
Twitter ENG: @awid
Twitter ES: @awid_es
Twitter FR: @awid_fr
LinkedIn: Association for Women's Rights in Development (AWID)