The exhibition looks at women's dress in some Muslim countries and communities and is a snapshot of diversities and commonalities through space and time. These highlight the influence of many forces – class, status, region, work, religious interpretation, ethnicity, urban/rural, politics, fashion, climate.
"It numbs me to acknowledge that we have been repeatedly erased from the consciousness of life.
of the millions of lives that were silenced and made invisible.
the wound is deep and seething. It’s time to remember." — Satya Rai Nagpaul, Sampoorna for Trans* Indians by Trans* Indians across the globe
This study examines how austerity measures may have adversely affected children and women in a sample of 128 developing countries in 2012. It relies on International Monetary Fund (IMF) fiscal projections and IMF country reports to gauge how social assistance and other public spending decisions have evolved since the start of the global economic crisis. The study finds that most developing countries boosted total expenditures during the first phase of the crisis (2008–09); but beginning in 2010, budget contraction became widespread, with ninety-one governments cutting overall spending in 2012. Moreover, the data suggest that nearly one-quarter of developing countries underwent excessive fiscal contraction, defined as cutting expenditures below pre-crisis levels. Governments considered four main options to achieve fiscal consolidation – wage bill cuts/caps, phasing out subsidies, further targeting social safety nets, and reforming old-age pensions – each of which would be likely to have a disproportionately negative impact on children and women.
The purpose of this Code of Ethics is to help individual journalists, media persons, management and owners of media houses to promote gender justice in their organizational policies as well as in their professions to become better at their work, by accepting and applying an established understanding of the expected universal gender-sensitive standards, attitudes and behaviour. This Code deals with the following six main areas: Right to Privacy; Pictorial Depiction of Women; Balanced Representation of Women; Projection of Gender Roles in Advertisements; Quality Coverage of Women’s Issues and Maintaining Professional Standards.
This video presentation is part of the Tribute to Feminist and Women Human Rights Defenders who are no longer with us, which took place at the AWID Forum in Istanbul Turkey, 19-22 April, 2012. The exhibit featured Women Human Rights Defenders who died, were killed, or were disappeared since the last AWID Forum in 2008. Produced by Breakthrough, 2012.
On July 11, Arifa Bibi, a young mother of two, was stoned to death in Pakistan. Her only "crime" was possessing a cellphone. In response to Bibi's killing, and others like it, a movement is building. More than 10,000 people have signed a petition calling on the UN to eradicate this inhumane punishment. As Arifa’s story shows, stoning is as prevalent today as it has ever been. Understanding why and how this practice occurs is crucial to tackling it. Here are the answers to common questions about stoning.
We did it! Women Living Under Muslim Laws (WLUML) are delighted to announce that our petition, part of the Global Campaign to Stop Stoning Women, has received 10,000 signatures! Reaching this target more than a month ahead of schedule is testament to how strongly people feel worldwide about bringing an end to stoning. WLUML would like to thank everyone who signed the petition and said NO to this abhorrent practice.
[The following text is an extract from Cihan Aksan and Jon Bailes’ recent book Weapon of the Strong: Conversations on US State Terrorism (Pluto, 2012), also featuring Noam Chomsky, Richard Falk, Edward S. Herman, Norman Finkelstein, and others. Click here for more details.]
To what extent, in your view, do the ways in which mainstream media select and contextualise events determine the boundaries of public thinking? You have said on one hand, regarding the “framing” of war and terrorism, that, “Efforts to control the visual and narrative dimensions of war delimit public discourse by establishing and disposing the sensuous parameters of reality itself”,[i] but also that “specters are produced that haunt the ratified version of reality”.[ii]
Judith Butler: There are surely many ways that this happens, but we can note at the most obvious level the way in which forms of resistance or violence get cast as “conflicts” that assume two sides that are fighting only against one another. We are more often than not asked, for instance, to regard Israel and Palestine as in a conflict of this kind, a framing that sets each of them on equal footing, and implicitly analogises the political situation to a fist fight, a soccer match, or a domestic quarrel. So if, then, the only two intelligible political positions are “pro-Palestinian” or “pro-Israeli,” the presumption is that one’s position is determined by a sentiment that wants one side to win over the other. In the meantime, what is lost is any sense that the Palestinian resistance to Israeli colonial rule is waged from a situation of occupation or expulsion, that there is a military order that controls the boundaries of what would be a sovereign Palestinian state, that the land on which that state is now thinkable has been radically diminished by an ongoing practice of land confiscation and appropriation. So we set the actors on the scene through the banal discourse of “conflict” in ways that fully deflect from the history and struggle of colonial resistance, refusing as well by that means to link the resistance to other forms of colonial resistance, their rationale, and their tactics.
Obviously, visual renditions of war not only establish what can be seen, and the audio-track established what can be heard, but the photographs also “train” us in ways of focusing on targets, ways of regarding suffering and loss. So photographs can be forms of recruitment, ways of bringing the viewer into the military, as it were. In this way, they prepare us for war, even enlist us in war, at the level of the senses, establishing a sensate regime of war.