All posts by CPNN Coordinator

About CPNN Coordinator

Dr David Adams is the coordinator of the Culture of Peace News Network. He retired in 2001 from UNESCO where he was the Director of the Unit for the International Year for the Culture of Peace, proclaimed for the Year 2000 by the United Nations General Assembly.

A Working Class Victory on Colombia’s Horizon

… . HUMAN RIGHTS … .

An article by Omar Ocampo in Inequality.org (Content licensed under a Creative Commons 3.0 License)

The Seventh Committee of the House of Representatives voted to approve 16 of the 98 articles of the landmark Labor Reform bill right before the start of winter recess. The bill will now advance to a second round of legislative debates that will resume next month.

This is great news for the workers movement: Labor reform represents one of the three flagship policy proposals of the Petro-Márquez administration that seeks to equitably transform society. The bill will not only restore the labor rights that were rescinded a little over twenty years ago by a far-right government — it will go a step further and expand these rights.

The road to reform thus far has not been easy. Since the bill was first introduced last March, it predictably encountered fierce opposition from the business community and its political representatives. Those corporate stakeholders argued that the bill distributes benefits to an already privileged class of formalized and unionized workers.

But as researcher Santiago Garcés Correa highlighted in an article for the magazine 100 Días, such depictions do not accurately portray the lived experiences of the Colombian working-class. Petro’s labor reform platform is a reflection of workers’ daily grievances and struggles.

Over the past few years, pro-reform advocates have organized sit-ins, work stoppages, and protests — both at a local and national level — against the increased prevalence of subcontracting, outsourcing, and anti-union corporate practices.

Palmosan S.A.S., a palm oil company in Santander, for example, fired 48 of its employees after its workforce formed a trade union, Sintrapalmosan, and voted to go on a strike when the company refused to negotiate a list of labor demands. The strike ended after six months with the signing of a collective agreement between both parties, but Palmosan only relented after the Ministry of Labor intervened in the dispute and a district court ruled in the union’s favor.

While all workers recognize the need for reform, some sectors felt differently about the solutions at hand. Despite such a difficult and unfavorable environment for organizing, workers in the digital platform sector initially expressed their disapproval of the Labor Reform bill.

Simón Borrero Posada, the CEO of the super-app Rappi — an on-demand delivery service popular in Colombia — gave a series of interviews rife with misleading statements. Posada asserted that the Labor Reform bill would force the company to hire digital platform workers full-time, thus eliminating the flexibility that so many rappitenderos currently enjoy. The problem with this statement? No such stipulation existed in the reform bill.

Still, five hundred Rappi employees organized a small protest in the capital city of Bogotá in March of 2023. Their principal demand was a rejection of a forced full-time contract. The corporate media took full advantage of the spectacle and pushed the narrative that workers and employers share an interest in rejecting the Labor Reform bill.

Right-wing opposition parties — led by Cambio Radical and el Centro Democrático — kept up the pressure and mobilized more than 90,000 of their supporters in street demonstrations to register their discontent with Petro’s entire reform agenda.

(Article continued in right column)

Question(s) related to this article:
 
The right to form and join trade unions, Is it being respected?

What is happening in Colombia, Is peace possible?

(Article continued from left column)

By the time the Labor Reform bill reached the Seventh Committee of the House of Representatives in June, it was dead on arrival. Lawmakers did not even get the opportunity to debate the bill since the committee failed to reach quorum. As a result, the Labor Reform bill was shelved, amounting to a major setback for the Petro-Márquez administration and allied reformers.

To the surprise of many, a slightly modified version of the Labor Reform bill was filed at the end of August and, when properly debated, it advanced to the next stage of the legislative process. 

The business community still objects to the increased labor costs attendant to the expansion of workers’ rights and claim this will hinder the formalization of the informal sector. In other words, it will discourage business owners from hiring workers who currently “operate outside of the regulatory and tax systems.” But formalization will not occur significantly unless dignified employment and social protection programs are offered. 

The 16 approved articles of the Labor Reform bill are substantive. Night shifts will now begin at 7:00 PM instead of 9:00 PM (Article 15). People who work on Sundays and holidays will now have their overtime pay rate increased (Article 19). 

Employers who discriminate on the basis of sex, gender identity, race, age, economic background, and health history will face drastic penalties (Article 21). Digital platform food delivery workers will receive social security through health and pension contributions by the platform companies for whom they work (Article 30). 

Colombia will offer new training programs for rural work (Article 37). And migrants will bear the same labor rights as citizens (Article 42). 

Right before the New Year, a scandal erupted at a tuna factory in Cartagena. Van Camp’s, a firm operated by Seatech International, was making women workers feel obligated to wear diapers on the job — bathroom breaks are tallied and deducted from their pay.  

The Labor Minister Gloria Inés Ramírez publicly denounced the multinational firm, which has denied the allegations and threatened legal action against the minister. Colombia’s right-wing opposition has rallied to the firm’s defense, but testimonies from employees seem to confirm the minister’s public declarations. 

Besaiga Raga, who has worked for Seatech International for 13 years, said that many of her colleagues are “choosing to put on a disposable diaper” because they “cannot afford to forfeit the little that they earn to the company” by taking a bathroom break.

“It is not easy to go to the restroom,” added Berky Arrieta Garcia. “There are not enough toilets for the number of women who work there. Sometimes it takes 20-25 minutes, even up to half an hour, because we have to form a queue to go to the toilet.”

The Van Camp’s diaper debacle — still playing out — exemplifies why higher labor standards are urgently needed in Colombia. The Labor Reform bill is a crucial means of improving the bargaining position and labor conditions of Colombian workers. And its advancement in Congress is an overdue victory that the Colombian working-class should achieve and celebrate in 2024.

The author, Omar Ocampo, is a researcher for the Program on Inequality and the Common Good at the Institute for Policy Studies.

– – – – – –

If you wish to make a comment on this article, you may write to coordinator@cpnn-world.org with the title “Comment on (name of article)” and we will put your comment on line. Because of the flood of spam, we have discontinued the direct application of comments.

HUMAN RIGHTS, Latin America

Articles from 2023

Now displaying CPNN news in English during 2023.
Click on the numbered pages below to see all.
For articles from other years, click 2024 or 2022 or 2021 or 2020 or 2019 or 2018 or 2017 or 2016 or 2015 or prior to 2015.
For English articles by category or region, click Read on the menu above.

Uncategorized

Colombia: Artists who were victims of the conflict unite their voices for peace in their regions

EDUCATION FOR PEACE .

An article from Noticias RCN

More than 45 artists who are victims of the conflict joined their voices to once again ask for peace in their regions. Singers, poets, dancers and musicians answered the call of the Office of the High Commissioner for Peace and created an album of various genres, in order to send the message against violence: “enough is enough”.

(click image and go to the video)

The album contains a mix of Afro-Colombian rhythms, ordinary songs and rap. It is a cry of hope and faith to bridge the gap between youth and those who take up arms. Noticias RCN spoke with several of its creators about their reasos to participate in the initiative.

(continued in right column)

(Click here for the original Spanish version of this article.)

Question for this article:

Do the arts create a basis for a culture of peace?

What is happening in Colombia, Is peace possible?

(continued from left column)

“The idea is that, instead of holding a gun, youth can pick up an instrument to play the music of our ancestors,” said Michelle Valverde, a member of “Juventud ancestral.”

Music as an element that transmits peace

For her part, Adriana Botero, advisor to the Office of the High Commissioner for Peace, explained that the initiative is meant to use art against violence.

“Rap worked for us as a tool of social transformation. It is a bridge that allows us to communicate with all our societies,” added Denise Cáceres, member of ‘Motilonas rap’.

The initiative seeks to raise awareness of the need to develop constructive processes where all voices are heard. In it, music is understood as an element that transmits, and on this occasion, the message is peace and reconciliation.

“Without a doubt, music is an element that communicates, in this case, peace and reconciliation. We tell the whole world that through art we can build society,” concluded Edwin Eregua, singer of llanera music.

– – – – – –

If you wish to make a comment on this article, you may write to coordinator@cpnn-world.org with the title “Comment on Colombia artists” and we will put your comment on line. Because of the flood of spam, we have discontinued the direct application of comments.

EDUCATION FOR PEACE, Latin America

The artists Mira Awad and Noa: voices for peace in the Palestinian-Israeli conflict

EDUCATION FOR PEACE .

An article from enPositivo

Amid the chaos and tragedy that has marked the conflict between Israel and Gaza, the voices of Israeli singer Noa (Ahinoam Nini) and Arab-Israeli singer Mira Awad stand out as passionate calls for peace and coexistence. Representing a rare alliance between two seemingly opposing cultures, these artists have shared the stage and messages of hope over the years, seeking an alternative path to perpetual suffering and destruction.

In a world marked by tragedy and mistrust, these two exceptional voices represent beacons of hope, reminding us that, even in the midst of conflict, there is room for dialogue, understanding and, above all, the possibility of a more peaceful future.

This week (December 20) Noa and Mira Awad join forces again in a concert with the Berlin Philharmonic, whose funds will go to the Israeli forum that represents the relatives of the hostages in Gaza and to two women’s organizations for peace, one Israeli and the other Palestinian.

The talented Israeli singer Noa, known for representing Israel at Eurovision in 2009 in a duet for peace with Mira Awad, has strongly expressed her rejection of war and her firm support for the two-state solution. In a recent interview, Noa commented on the devastating events of October 7 and the subsequent bombings in Gaza, reinforcing her belief in the urgent need to end the conflict in the Middle East.

(continued in right column)

(Click here for the original Spanish version of this article.)

Question for this article:

Do the arts create a basis for a culture of peace?

How can just one or a few persons contribute to peace and justice?

(continued from left column)

“I do not support the cult of death. We have to do everything possible to save and protect human life, whether Jewish, Israeli, Palestinian… all human life,” Noa emphasized. Her position in favor of a diplomatic solution backed by international intervention is clear: “I want international intervention tomorrow.”

Additionally, Ella Noa advocates for the release of all Israeli and Palestinian hostages as part of a possible plan to stop the violence. Highlighting the tragedy unfolding in Gaza, she calls for empathy and understanding of the suffering on both sides of the conflict.

For her part, Mira Awad, the first Arab to represent Israel in Eurovision alongside Noa, offers a unique vision as an artist and activist.

From her London home, Awad reflects on the horrors of October 7 and the subsequent escalation of violence in Gaza. “The alternative to peace is the hell we see now,” she states forcefully.

Awad highlights the pain that Gazans are going through and exposes the complexity of the conflict, underscoring her commitment to peace and the recognition of Palestinian rights. Although she recognizes the difficulties of dialogue in the midst of trauma, she advocates for mutual understanding and recognition.

Both artists, despite their differences, share a common vision: the importance of working tirelessly for peace.

The two-state solution, mutual respect and an end to violence remain the fundamental pillars of their joint message: “There has to be another way.”

– – – – – –

If you wish to make a comment on this article, you may write to coordinator@cpnn-world.org with the title “Comment on (name of article)” and we will put your comment on line. Because of the flood of spam, we have discontinued the direct application of comments.

EDUCATION FOR PEACE, Europe, Mideast,

Artists for peace in Gaza

. TOLERANCE AND SOLIDARITY . .

A survey by CPNN putting the term “artists for peace in Gaza” in search engines

On a global level, more than 4000 artists came together under the collective Musicians for Palestine, demanding a ceasefire as the war in Israel and Gaza continues. This was published by Euronews on November 23.

In the United Kingdom, on October 17, Artists for Palestine UK published a declaration “accusing governments of “aiding and abetting” Israel’s “war crimes” in Gaza”, stating that “Palestinians face “collective punishment on an unimaginable scale”, and demanding “Governments should “end their military and political support for Israel’s actions”. It was signed by over 4,300 producers, curators, writers, DJs, architects and designers.

Also in the United Kingdom, DJ Magazine published on November 15 an open letter #MusicForACeasefire signed by over 1000 artists.

In the United States, Artists4Ceasefire sent a letter signed by over 300 artists to President Biden saying “We ask that, as President of the United States, you and the US Congress call for an immediate de-escalation and ceasefire in Gaza and Israel before another life is lost.”

In South Africa, , The Artists’ Collective Project for Peace in Palestine announced on December 1, that “our first event brings together local artists in Cape Town to create a live mural in support of the Palestinian people. The event will be filmed and shared across various social media platforms.”

In France, French artists, including actressers Isabelle Adjani and Emmanuelle Beart, led a silent Paris march of thousands of people on November 19 for peace between Israelis and Palestinians

(continued in right column)

Question related to this article:

Presenting the Palestinian side of the Middle East, Is it important for a culture of peace?

(continued from left column)

In Qatar, The Souq Waqif Art Centre in Doha – in a powerful expression of solidarity and a call for peace – will host an exhibition featuring around 26 paintings by Doha-based artists. These works focus on the dire conditions faced by Palestinians in Gaza and advocate for a lasting solution to the ongoing conflicts in the region.

In Dubai, United Arab Emirates, Artists for Peace – Shadow Ban This! continues to hold concerts to raise funds for UAE’s Compassion for Gaza campaign. Dozens of performers, including artists, musicians and poets, have taken part in the events.

In Malaysia, more than 700 artists across acting, theater, music, and visual arts have endorsed a memorandum demanding that ASEAN nations halt economic ties with Israel until Gaza is safe and Palestinians are shielded from military attacks. In addition to launching the memorandum, the SEA Artists, Creatives & Cultural Activists for Peace, Stop Genocide in Gaza, read and diffused 31 monologues by Gazan youth.

In India, Odisha-based sand artist Sudarshan Patnaik creates a sculpture titled Solidarity With Humanity, as a symbolic prayer for peace between Israel and palestine.

In Canada, Artists for a Ceasefire Now published a statement on November 1 pledging support for the Palestinian people in the face of over 75 years of Israeli apartheid, settler colonialism, military occupation, and ethnic cleansing. The signature list numbers more than 2,000 artists.

Even in Israel there are artists opposing the war. The website kveller.com lists several Israeli illustrators and cartoonists who have been finding ways to make meaning and communicate their heartbreak about the lives lost, the hostages and the trauma of war. 

As for Palestine, CPNN has recently carried the story of a young Palestinian artist who paints murals on the rubble of buildings that have been destroyed, “in order to send a strong message that we will remain on our land and never leave it.”

The biographies of Palestinian and Israeli writers and artists who have been killed or wounded in the Gaza conflict are published on an updated web page of PEN America

– – – – – –

If you wish to make a comment on this article, you may write to coordinator@cpnn-world.org with the title “Comment on (name of article)” and we will put your comment on line. Because of the flood of spam, we have discontinued the direct application of comments.

global, Mideast, TOLERANCE & SOLIDARITY,

Wealth of five richest men doubles since 2020 as five billion people made poorer in “decade of division,” says Oxfam

. . SUSTAINABLE DEVELOPMENT . .

A report from Oxfam

The world’s five richest men have more than doubled their fortunes from $405 billion to $869 billion since 2020 —at a rate of $14 million per hour— while nearly five billion people have been made poorer, reveals a new Oxfam report on inequality and global corporate power. If current trends continue, the world will have its first trillionaire within a decade but poverty won’t be eradicated for another 229 years.


“Inequality Inc.”, published today as business elites gather in the Swiss resort town of Davos, reveals that seven out of ten of the world’s biggest corporations have a billionaire as CEO or principal shareholder. These corporations are worth $10.2 trillion, equivalent to more than the combined GDPs of all countries in Africa and Latin America.

“We’re witnessing the beginnings of a decade of division, with billions of people shouldering the economic shockwaves of pandemic, inflation and war, while billionaires’ fortunes boom. This inequality is no accident; the billionaire class is ensuring corporations deliver more wealth to them at the expense of everyone else,” said Oxfam International interim Executive Director Amitabh Behar.

“Runaway corporate and monopoly power is an inequality-generating machine: through squeezing workers, dodging tax, privatizing the state, and spurring climate breakdown, corporations are funneling endless wealth to their ultra-rich owners. But they’re also funneling power, undermining our democracies and our rights. No corporation or individual should have this much power over our economies and our lives —to be clear, nobody should have a billion dollars”.

The past three years’ supercharged surge in extreme wealth has solidified while global poverty remains mired at pre-pandemic levels.
Billionaires are $3.3 trillion richer than in 2020, and their wealth has grown three times faster than the rate of inflation. 

Despite representing just 21 percent of the global population, rich countries in the Global North own 69 percent of global wealth and are home to 74 percent of the world’s billionaire wealth.
 

Share ownership overwhelmingly benefits the richest. The top 1 percent own 43 percent of all global financial assets. They hold 48 percent of financial wealth in the Middle East, 50 percent in Asia and 47 percent in Europe. 


Mirroring the fortunes of the super-rich, large firms are set to smash their annual profit records in 2023. 148 of the world’s biggest corporations together raked in $1.8 trillion in total net profits in the year to June 2023, a 52 percent jump compared to average net profits in 2018-2021. Their windfall profits surged to nearly $700 billion. The report finds that for every $100 of profit made by 96 major corporations between July 2022 and June 2023, $82 was paid out to rich shareholders.

° Bernard Arnault is the world’s second richest man who presides over luxury goods empire LVMH, which has been fined by France‘s anti-trust body. He also owns France’s biggest media outlet, Les Échos, as well as Le Parisien.
 

° Aliko Dangote, Africa’s richest person, holds a “near-monopoly” on cement in Nigeria. His empire’s expansion into oil has raised concerns about a new private monopoly. 
 

° Jeff Bezos’s fortune of $167.4 billion increased by $32.7 billion since the beginning of the decade. The US government has sued Amazon, the source of Bezos’ fortune, for wielding its “monopoly power” to hike prices, degrade service for shoppers and stifle competition.


“Monopolies harm innovation and crush workers and smaller businesses. The world hasn’t forgotten how pharma monopolies deprived millions of people of COVID-19 vaccines, creating a racist vaccine apartheid, while minting a new club of billionaires,” said Behar.

People worldwide are working harder and longer hours, often for poverty wages in precarious and unsafe jobs. The wages of nearly 800 million workers have failed to keep up with inflation and they have lost $1.5 trillion over the last two years, equivalent to nearly a month (25 days) of lost wages for each worker.

(Article continued on the right column)

Question for this article:

How can the growing economic inequality in the world be reversed?

(Article continued from the left column) 

New Oxfam analysis of World Benchmarking Alliance data on more than 1,600 of the largest corporations worldwide shows that 0.4 percent of them are publicly committed to paying workers a living wage and support a living wage in their value chains. It would take 1,200 years for a woman working in the health and social sector to earn what the average CEO in the biggest 100 Fortune companies earns in a year. 

Oxfam’s report also shows how a “war on taxation” by corporations has seen the effective corporate tax rate fall by roughly a third in recent decades, while corporations have relentlessly privatized the public sector and segregated services like education and water.

“We have the evidence. We know the history. Public power can rein in runaway corporate power and inequality —shaping the market to be fairer and free from billionaire control. Governments must intervene to break up monopolies, empower workers, tax these massive corporate profits and, crucially, invest in a new era of public goods and services,” said Behar. 

“Every corporation has a responsibility to act but very few are. Governments must step up. There is action that lawmakers can learn from, from US anti-monopoly government enforcers suing Amazon in a landmark case, to the European Commission wanting Google to break up its online advertising business, and Africa’s historic fight to reshape international tax rules.”

Oxfam is calling on governments to rapidly and radically reduce the gap between the super-rich and the rest of society by:
 

° Revitalizing the state. A dynamic and effective state is the best bulwark against extreme corporate power. Governments should ensure universal provision of healthcare and education, and explore publicly-delivered goods and public options in sectors from energy to transportation.
 

° Reining in corporate power, including by breaking up monopolies and democratizing patent rules. This also means legislating for living wages, capping CEO pay, and new taxes on the super-rich and corporations, including permanent wealth and excess profit taxes. Oxfam estimates that a wealth tax on the world’s millionaires and billionaires could generate $1.8 trillion a year. 
 

° Reinventing business. Competitive and profitable businesses don’t have to be shackled by shareholder greed. Democratically-owned businesses better equalize the proceeds of business. If just 10 percent of US businesses were employee-owned, this could double the wealth share of the poorest half of the US population, including doubling the average wealth of Black households.
 

Notes to editors

Download Oxfam’s report “Inequality Inc.” and the methodology note.

It will take 229 (almost 230) years to ensure the number of people living under the World Bank poverty line of $6.85 was reduced to zero.

According to the IMF’s World Economic Outlook Database, the combined GDP of economies in Africa in 2023 is $2,867 billion, while that of countries in Latin America and the Caribbean is $6,517 billion, for a total of $9.4 trillion.

Oxfam defines windfall profits as those exceeding the 2018-2021 average by more than 20 percent. 
 

Contact information

Annie Thériault in Peru | annie.theriault@oxfam.org | +51 936 307 990
Belinda Torres Leclercq in Belgium | belinda.torres-leclercq@oxfam.org | +32 (0) 472 55 34 43

For updates, please follow @NewsFromOxfam and @Oxfam

– – – – – –

If you wish to make a comment on this article, you may write to coordinator@cpnn-world.org with the title “Comment on (name of article)” and we will put your comment on line. Because of the flood of spam, we have discontinued the direct application of comments.

global, SUSTAINABLE DEVELOPMENT

The women leading the fight for peace in Palestine: Women in Black

. . WOMEN’S EQUALITY . .

An article from Open Democracy

On 4 October, thousands of women met in Jerusalem at an event led by the Israel-based Women Wage Peace and the Palestine-based Women of the Sun to discuss how to bring peace to the region. Three days later, one of the former group’s founding members, Canadian-Israeli activist Vivian Silver, was killed by Hamas in the deadliest attack on Israel in its 75-year history.

The women’s work has become much more difficult in the weeks since. Some 1,200 Israelis were killed in the attack and 160 taken hostage, more than 100 of whom are yet to be released. Israel has responded by reducing much of northern Gaza to rubble, killing 15,000 Palestinians and wounding 30,000 more.

Peace now seems a distant prospect. But the women have not given up hope. In a statement released on 14 October, Women Wage Peace said: “Every mother, Jewish and Arab, gives birth to her children to see them grow and flourish and not to bury them.


Branches of Women in Black lead silent vigils around the world to call for peace | Jesus Merida/SOPA Images/LightRocket via Getty Images

“That’s why, even today, amid the pain and the feeling that the belief in peace has collapsed, we extend a hand in peace to the mothers of Gaza and the West Bank.”

As Siobhan Byrne of the University of Alberta later said: “This was undoubtedly a difficult statement to write through their grief and anguish.”

Both Women Wage Peace and Women of the Sun are relatively recent movements for peace in the Middle East but another women-led group has been calling for Israelis to end the occupation of the West Bank and Gaza for 35 years.

Women in Black (WiB), a low-profile, remarkably persistent and very global movement, was launched in West Jerusalem in January 1988, prompted by the first intifada the previous year.

The group is distinctive in two main ways: firstly for the role of vigil in its fight for change and secondly, for its varying calls of witness, not just in war but more generally on violence against women.

Its protests often take the form of public vigils by small groups of women, dressed entirely in black, largely silent and bearing messages of their beliefs. The vigils are repeated, often on specific days of the week and in the same place, such as outside a mall or in a city square.

As for its calls of witness, they may vary with country or local circumstance, but they may have a common message of the need for peace, either in a specific conflict or on a generic issue, though they also extend to much more pervasive issues of gendered violence, both in time of war and in wider society.

Feminist activist and scholar Cynthia Cockburn, who was among the most persistent supporters of WiB, began to write a book on the history of the movement in February 2019. Though she sadly died later that year having written only the first five chapters, the book was completed, at her request, by Sue Finch, aided by copious files that Cockburn had left and by people in WiB groups from across the world.

(Article continued in right column)

Questions related to this article:

Do women have a special role to play in the peace movement?

How can a culture of peace be established in the Middle East?

(Article continued from left column)

Published earlier this year, Women in Black: Against Violence, for Peace with Justice tracks the development of the movement over more than three decades. It details how WiB is not a centrally organised entity but more a coalition of groups that snowballed across the world within six months of the movement’s start in Jerusalem.

Italian feminist activists, who had travelled to Israel and Palestine as part of a project called ‘Visiting Difficult Places’ in the late 1980s, joined WiB’s actions and took their approach back home. A feminist community in Belgrade, in what was then Federal Yugoslavia, in turn learned from them, and a similar approach evolved there. That group remained active throughout the breakup of Yugoslavia in the 1990s, bearing witness against the Bosnian and Kosovo wars.

Over time, WiB spread to Colombia, Germany, India, South Africa, Argentina and more than a dozen other countries spanning five continents, and nine international WiB conferences took place.

Introducing the book, Cynthia Cockburn summed up the movement’s evolution over the years, describing the differences between the various groups that had sprung up. “For some, especially those living through war,” she wrote, “theories about the relationship between gender and militarism are the most vital.

“Other women, living in relative peacetime choose combating male violence against individual women, and campaigning for the right to abortion, contraception and control over their own bodies, as the centre of their activism.

“The theories that connect Women in Black across the world, as a result, include the continuum of violence against women, and a causal relationship between gender and war.”

Women in Black is not a rigid centrally organised movement but has considerable autonomy between countries and branches. Any group of women in any part of the world may organise a vigil and while that is the most common action, responses may also involve nonviolent direct action at military bases or simply refusing to comply with orders.

A uniting feature is the value of the sense of solidarity, with women in one branch in a particular country knowing that if they bear witness to a particular happening or circumstance such as a specific conflict or incident of repression, they will be acting alongside a group in the country and also o9thersw across the world.

Because of its structure, the numbers involved in WiB may vary. Writing on its website, the movement gives one example: “When Women in Black in Israel/Palestine, as part of a coalition of Women for a Just Peace, called for vigils in June 2001 against the Occupation of Palestinian lands, at least 150 WiB groups across the world responded… The organisers estimate that altogether 10,000 women may have been involved.”

In recent years, Cockburn’s own writings, including on global disarmament and women peacemakers, have been highly influential. She worked in many regions of tension and conflict – including Northern Ireland, the Balkans, Israel/Palestine, Cyprus, South Korea, Spain and the UK – on a wide range of projects primarily focused on gender, war and peace-making.

Her work was paralleled by many years of activism, much of it stemming from an early visit to the Greenham Common women’s peace camp in 1980, and in 1993 she was heavily involved in establishing Women in Black in London. This book is certainly a very valuable contribution as a hugely informative account of the growth of what is now a worldwide movement but it is also a fitting remembrance of Cynthia Cockburn, a remarkable person.

– – – – – –

If you wish to make a comment on this article, you may write to coordinator@cpnn-world.org with the title “Comment on (name of article)” and we will put your comment on line. Because of the flood of spam, we have discontinued the direct application of comments.

global, Mideast, WOMEN'S EQUALITY,

Rallies held worldwide as Israeli genocide in Gaza enters 100th day

FREE FLOW OF INFOMATION . .

An article from PressTV Iran with additions as indicated

Pro-Palestinian protesters took to the streets around the world on the “day of action,” calling for an immediate ceasefire in Gaza as the Israeli aggression reached the 100-day mark.

The global day of action on Saturday saw demonstrations take place in various international capitals, including Washington DC, London, Paris, Berlin, Rome, Johannesburg, Abuja, Tokyo, Islamabad, Jakarta, and Kuala Lumpur.


Photo of March in Washington : AP Photo/Jose Luis Magana as published by AP News

Thousands of protesters in one of the largest pro-Palestinian demonstrations to date in the US capital, Washington, called for a permanent ceasefire in Gaza and to stop US aid to Israel, as more than three months of Israeli offensive is killing 250 Palestinians per day.

Large crowds waved Palestinian flags and chanted “Ceasefire now,” and “Free Palestine,” while carrying banners and posters that read “End the War in Gaza.” Other signs said the Israeli government is practicing apartheid and charged US President Joe Biden with genocide.

Young protesters were wearing the traditional keffiyeh in solidarity with Palestinians.

(Organizers of the march in Washington said that 400,000 took part.)


Pro-Palestinian activists and supporters wave flags and carry placards during a National March for Palestine in central London on January 13, 2024. (Photo by AFP)

London, meanwhile, saw its seventh National March for Palestine since October 7 as demonstrators called for an immediate ceasefire in the Gaza Strip and demanded that the British government stop arming the Israeli regime.

(According to a mail received at CPNN from the London-based Stop the War Coalition, in London there were almost half a million protesters demanding an immediate ceasefire, led by the anti-war movement in the UK.)

Little Amal, a giant puppet of a Syrian child refugee, representing refugees and displaced people, joining a group of Palestinian children, attended the demonstration.

“While the British public largely supports a ceasefire in Gaza, the UK’s politicians have continued to fund and support the genocide,” Jeanine Hourani, a member of the Palestine Youth Movement attending the march in London said.
UK ‘complicit’ in Israel’s crimes

Palestine’s ambassador to the UK, Husam Zomlot, also joined the protesters calling for a ceasefire. He slammed the UK government for “complicity” with Israel.

“I stand before you with a broken heart but not a broken spirit,” Zomlot said addressing pro-Palestinian protesters in London as he described Palestine as a “nation of freedom fighters.”

He also congratulated South Africa for bringing a genocide case against Israel at the UN’s International Court of Justice.

The London march was one of several others being held in European cities including Paris, Rome, Milan and Dublin, where thousands also marched along the Irish people to protest Israel’s aggression against Palestinians.

Irish Protesters waved Palestinian flags, denouncing Israel’s genocidal crimes in Gaza, chanting “Free, Free Palestine” and “From the river to the sea, Palestine will be free.” They held placards critical of the Irish, US governments and Israeli regime.

(As reported by Common Dreams , “In Dublin, organizers of a march that saw more than 100,000 march through city streets called it the largest rally for Palestinian rights in Irish history.”)

(continued in right column)

Question related to this article:

Presenting the Palestinian side of the Middle East, Is it important for a culture of peace?

(continued from left column)

Rome hosts new pro-Palestine rally, thousands join demonstration

In Rome, thousands of demonstrators descended on a boulevard near the famous Colosseum, with some carrying signs reading, “Stop Genocide.”

Pro-Palestinian protesters also lauded South Africa for bringing Israel’s brutal military onslaught against Gaza to the International Court of Justice.
Rome photo


Rome hosts a new rally in solidarity with Palestinians in Gaza.

Malaysia

At rallies in Kuala Lumpur, Malaysia, people gathered at the United States embassy to send a message to Israel’s staunch ally. People carried placards that read “Stop the genocide,” as well as “Bombing children is not self-defense.”

Last month, the Malaysian government announced it would no longer allow Israeli-owned ships to dock in Malaysian ports. It also said any vessel en route to Israel would not be allowed to unload cargo at any Malaysian port.

Thousands of people also gathered outside the US embassy in Indonesia’s capital, Jakarta, waving Indonesian and Palestinian flags and holding signs that read “Boycott Israel” and “Ceasefire Now.”


Thousands of members from the Muslim community gathered in front of the US Embassy in Jakarta to protest against ‘genocide’ in Palestine and express their support for the Palestinian people.

South Africa protests

Similar protests took place in Johannesburg, South Africa as demonstrators gathered outside the US consulate. The crowd accused the US of complicity in the bombardment of the Palestinian people due to its military support of Israel since the war started.

The protest has been reinforced by South Africa’s case at the International Court of Justice (ICJ). The court in The Hague began hearings on Thursday over a charge that Israel is committing genocide in Gaza.

South Africa, which filed the lawsuit at the UN court in December, asked judges Thursday to urgently declare that the Tel Aviv regime has breached its responsibilities under international law since October 7, when it launched hostilities in the besieged territory.

The relentless Israeli military aggression has so far killed at least 23,843 people in Palestine, more than 10,000 of whom are children, while 60,317 others have been wounded.

Other European protests

(In Switzerland , an estimated 15,000 held their first national protest in Basel in support of Gazans since several German-speaking cantons introduced a ban on such actions, calling for an immediate and permanent ceasefire in the region.)

(Protests also took place in Amsterdam, Oslo, Uppsala and Tunis according to the Palestine Chronicle.

FREE FLOW OF INFORMATION, global, TOLERANCE & SOLIDARITY

United States: The Black Choreographers Dancing Toward Justice

EDUCATION FOR PEACE .

An article by Hannah J. Davies from Hyperallergic (produced in collaboration with the Arts & Culture MA concentration at Columbia University’s Graduate School of Journalism)

Since it began over a decade ago, the Black Lives Matter (BLM) movement has celebrated the literal movements of its participants. People protesting killings of Black people have not only marched in the streets; they have krumped, twerked, vogued, and resurrected the electric slide of the ’70s and ’80s in often impromptu responses to the emotions underpinning their demonstrations. Black choreographers, in turn, have woven the grief, anger, and sadness of the BLM movement into formal concert dance.


Choreographer Chanel DaSilva’s Tabernacle (2023) (photo by Amitava Sarkar, courtesy the Dallas Black Dance Theatre)

Choreographer Kyle Abraham presented “Absent Matter” in 2015, just two years after the acquittal of Trayvon Martin’s killer, George Zimmerman, ignited BLM and one year after the police killing of Michael Brown in Ferguson, Missouri. A work of fluid and athletic gestures, Abraham’s performance took its cues from hip-hop, ballet, and politically minded anthems like Kendrick Lamar’s “Alright.” In 2016, David Roussève’s “Enough?” — with an accelerating choreographic phrase danced to a soundtrack of Aretha Franklin — asked whether dance can be a sufficient medium for considering the brutality often inflicted on Black people.

Now (January 2024), eight years later, that question is being answered in the affirmative on major dance stages around the United States. Choreographer Jamar Roberts’s “Ode,” a somber and sensuous dance first performed in 2019 as a response to gun violence, was restaged for the Alvin Ailey American Dance Theater’s 65th anniversary in December. Last May, Chanel DaSilva’s “Tabernacle” premiered at the Dallas Black Dance Theatre, fusing Afrofuturism, hip hop, and African dance in a direct response to BLM. And last fall, as part of the French Institute Alliance Française’s (FIAF) Crossing the Line festival, the French-Malian choreographer Smaïl Kanouté’s “Never Twenty One” made its New York debut, its title borrowed from a BLM slogan. A trio of dancers whose bare arms and torsos were emblazoned with words like “death,” “negro,” and “PTSD” engage in movements akin to mortal combat onstage, punctuated by moments of kinship, in homage to people of color killed through gun violence in the US, South Africa, and Brazil before they had reached their 21st birthdays. After the performance at FIAF, one audience member noted that she had cried 63 times while watching.

While there is a clear difference between dance erupting on sidewalks and performances choreographed for the stage, there is overlap between the two forms. In addition to a sense of urgency, they share some of the same movements and gestures. In “Never Twenty One,” for example, the spasmodic krumping motions that originated in South Central Los Angeles in the ’90s were seen in protests in 2020 following the killing of George Floyd. One audience member animatedly joined in from her chair during the show at FIAF in perhaps an unusual move, but in another setting, it would be almost rude not to.

Dr. Shamell Bell, a dancer, Harvard lecturer, and one of the founding members of the Black Lives Matter movement in Los Angeles, explained to Hyperallergic the importance of rooting such pieces in lived experience and “[reaching] out to the people that you’re supposedly wanting to bring attention to.” Having begun her career dancing on the streets as a youth activist, Dr. Bell now works on performance pieces that, like “Never Twenty One,” play with the conventions and traditions of vernacular Black dance genres to shine a light on difficult topics.

(continued in right column)

Question for this article:

Do the arts create a basis for a culture of peace?, What is, or should be, their role in our movement?

(continued from left column)

Dr. Bell served as a co-social impact director for Ritual of Breath Is The Rite to Resist (2022), a transmedia opera at Dartmouth and Stanford that brought together dance, music, visual art, and text. Composed by Jonathan Berger and choreographed by Neema Bickersteth and Trebien Pollard, the piece was loosely based on the last moments in the life of Eric Garner, the 43-year-old African-American man who was killed by a New York City Police Department officer in 2014. His final words — “I can’t breathe” — became a major slogan for the BLM movement.

“We asked the community what they needed to heal,” Dr. Bell said. “One of the most important aspects of doing performance as activism is making sure it has tangible resources for and connections with the community it matters the most to.”

Dr. Bell reached out to Garner’s mother, Gwen Carr, and others who had lost children to police brutality, not only entering into a dialogue with them but also creating rituals aimed at supporting them emotionally. In a similar vein, Kanouté incorporated the testimonies of bereaved families into his piece at FIAF, including haunting monologues in multiple languages that comprise the show’s soundtrack. Both works go beyond archiving the experiences of their subjects to also provide a space for grieving. “Dance is a healing modality,” Dr. Bell added. “And we need to heal ourselves in order to heal this world.”

Of course, BLM and other movements for racial justice are just the latest chapters in a long history of Black cultural activism in the United States. Artist and academic Stafford C. Berry Jr., a scholar of what he describes as “African-rooted” dance at Indiana University, told Hyperallergic that these choreographic works extend and are part of “the trajectory and existence of Black lives from enslavement up until now,” adding that the BLM movement “is really a contemporary recapitulation of our earlier movements.” Mentored by the influential choreographers Chuck Davis and Kariamu Welsh, Berry noted that he has long drawn inspiration from the Black Arts Movement of the 1960s and ’70s, which emerged in tandem with Black Power. Even so, Berry sees the BLM movement’s resurgence in recent years as a step forward in understanding Blackness in America. Berry noted that the works that BLM has inspired have been “bold and unapologetic, by people who are centering themselves and trying to figure out what BLM means for the United States, and the world.”

This certainly seems true of Kanouté, who is based in Paris and was inspired by what he described to Hyperallergic as the “powerful echo” of events in the US to look at the loss of Black lives across the world. “We had a young man called Nahel [Merzouk] who was shot by the police,” he said, catching his breath backstage after the FIAF performance as he recalled the case of the 17-year-old boy of North African descent who was killed by French police last June, sparking protests across France. “The racism and separation I grew up with was under the surface, but now it’s come out.”

In the same way that popular dance can offer a sense of hope and resistance at protests, there is a cathartic quality to Kanouté’s work. Despite the frequent choreographed clashes among the three men on stage, “Never 21” was infused with a sense of truly owning and embracing Blackness and Black joy in its many forms. Kanouté explained that he draws particular inspiration from Black communities living in cities like Johannesburg and Rio de Janeiro, whose joy often exists side by side with danger and precarity.

“They have to create their own identity, their own music, their own dance, because they don’t know if tomorrow they will still be there,” Kanouté said. “In that kind of atmosphere, you create powerful things.”

– – – – – –

If you wish to make a comment on this article, you may write to coordinator@cpnn-world.org with the title “Comment on (name of article)” and we will put your comment on line. Because of the flood of spam, we have discontinued the direct application of comments.

EDUCATION FOR PEACE, North America