DAY SIXTEEN: Bringing 16 Days Blogathon 2021 to a Close

It’s December 10, Human Rights Day, and we’ve reached the end of #16DaysBlogathon for the global #16DaysofActivism against Gender-based Violence for another year.

The 16 Days Blogathon Team

It’s December 10 – Human Rights Day – and the 16 Days of Activism against Gender-Based Violence comes to an end for another year. So, too, does our 2021 Blogathon. Over the last 16 days we have posted daily to raise awareness of gender-based violence as our way of supporting the global campaign.

This year, the theme has been Histories, Legacies, Myths and Memories.

We have explored the powerful undercurrents that connect past and present, highlighting the historical and longitudinal dimensions that have shaped narratives, experiences and activisms addressing gender-based violence today.

Through our remarkable contributors, we have surfaced the voices and perspectives of victims, survivors and activists from the recent past to antiquity, and across multiple geographies, and traced the legacies reverberating through the decades and centuries.

Over the last 16 Days we have travelled from Australia to India, Scotland to the Caribbean, and Mexico to England.

Through personal testimony, memoir, reportage, formal archive, immersive field experience and oral history as well as through literature and traditional music and storytelling we have reflected upon the lessons to be learned from the past.

Ultimately a focus on histories, legacies, myths and memories provides us with an important tool. It helps us to identify what is distinct and different about the moment and location we inhabit and what we share in common across time and space. In moving forward in the struggle to expose and address gender-based violence we argue that these histories are a rich resource to inspire and motivate today’s feminist practices and pedagogies.

The 16 Days Blogathon is a collaborative project co-hosted by genderED at University of Edinburgh, the Gendered Violence Research Network at the University of New South Wales, and the Centre for Publishing at Dr B R Ambedkar University Delhi.

The blog posts in a nutshell

Every #16DaysBlogathon is summarised below.

Content note: posts inevitably address distressing experiences and issues around sexual and gender-based violence. We hope they also provoke, energise, create solidarity, and sometimes uplift

Day One

Scottish folk tradition of ballads about violence against women

By Karine Polwart, songwriter and musician

Award-winning folk singer, songwriter and storyteller, Karine Polwart, reflects on a Scottish folk tradition of ballads about violence against women. She argues such archives and catalogues require critical intervention so that we can navigate and cherish traditional sources with a contemporary understanding of gender-based violence.

Day Two

Where it all began

By Anne Summers, Australian author and feminist

Almost 50 years on, Anne Summers writes about the opening of Elsie Women’s Refuge in 1974. This blog highlights the importance of the brave and selfless refuge workers who have devoted their lives to helping other women try and leave violence behind.


Day Three

Voices of Resistance: Women’s Folksongs and Response to Domestic Violence

By Garima Singh, Assistant Professor at the Vivekananda Institute of Professional Studies

Garima Singh engages with the everyday resistance posed by women’s folk songs to the dominant social structure and their response to domestic violence in their own melody. She highlights that women have been conscious of their everyday struggle and, individually and in solidarity, pose a potent threat to the dominant.

Can victim-survivors of violent crimes find justice through true crime podcasts?

By Lili Pâquet, Lecturer in Writing at the University of New England, Australia

Lili Pâquet discusses her research which aims to discover if true crime podcasts can offer informal justice to victim-survivors who feel dissatisfied with the formal police and court systems of Australia. She uses the examples of Trace and The Teacher’s Pet which discovered new witnesses in unsolved murder cases and led to arrests and coronial inquests.


Day Four

Invisible Impact: Gender-based Violence and the Sikh Women’s Alliance 20 years on

By Balvinder Kaur Saund, Chair of the Sikh Women’s Alliance

This blog features a conversation with Balvinder Kaur Saund who has been at the frontline of activism within the UK’s Sikh community for over two decades. The London-based Sikh Women’s Alliance is an organisation which galvanizes women to tackle the deep-rooted attitudes and structures that fuel gender-based violence and constrain communities from tackling it.

Bringing back hope

By Maha Krayem Abdo (OAM), CEO of Muslim Women Australia

Maha Krayem Abdo writes about the history of Muslim Women Australia, who have led the way in centering the needs of culturally and linguistically diverse and faith-based communities. She highlights the healing and therapeutic nature of utilising faith as a tool for empowerment, with a client-centred focus to maintain a client’s dignity at every stage of support.

Day Five

Confronting Gender-based violence in Ancient Rome: The Sexual Violation of Pubescent Boys

By Ulrike Roth, Ancient Historian at the University of Edinburgh

In this post, Ulrike Roth explores evidence from the ancient Roman world to raise questions about our preparedness to confront the issue of sexual violence against children, then and now. She discusses how acknowledging the ambiguities in the ancient evidence, and listening more carefully to the signs of abuse in it, helps to ingrain in our mindsets the kind of sensitivised attitude that is so essential in identifying and combating sexual violence today.

Day Six

At the centre and yet forgotten: Violence against women in Oral Narratives

By Tanuja Kothiyal, Professor of History in the School of Liberal Studies, Dr. B. R. Ambedkar University Delhi

Tanuja Kothial discusses the portrayal of marginalised women and gendered violence in oral narratives and Hindu epic literature. While these narratives provide voice to marginal communities and groups, even within these traditions women’s locations remain marginal and mostly within respect to male figures.

I Sing of Arms and the Woman: Gendered Violence in Modern Mythic Reinterpretations

By Hazel Atkinson, history graduate and writer

In this blog, writer Hazel Atkinson explores ‘feminist’ reinterpretations and reclaiming of myths which historically have perpetuated violence against women. She asks the important question: Does repeatedly depicting the violence women face, even with the best of intentions, challenge or contribute to it?

Day Seven

When Bessie Guthrie met the Women’s Liberation Movement

By Catherine Dwyer, writer and director

Catherine Dwyer, writer and director of the film Brazen Hussies, reflects on the Women’s Liberation Movement and the work of Bessie Guthrie – a feminist and campaigner for child welfare reforms. Through her collaboration with the Women’s Liberation movement, she attracted media attention resulting in an exposé on the abuse of girls in state care and the barbaric act of forced virginity testing.

Systemic Stereotypes: Violence against Bonda tribal women

By Nancy Yadav, PhD candidate in Gender Studies at the School of Human Studies at Dr B R Ambedkar University Delhi

Nancy Yadav writes about stereotypes embedded in myth and colonial history that oppress the Bonda tribal women in India. While the recorded history of the Bonda community intersects with gender-based violence, Bonda women continue to bring rays of hope, interrogating negative stereotypes that they are born in to and repositioning their identity.

Day Eight

Death in Geraldton: how Joyce Clarke became another Indigenous statistic

By Hannah McGlade, Noongar woman, Senior Indigenous Research Fellow at Curtin University and an Advisor to the Noongar Council for Family Safety and Wellbeing

In this blog, Hannah McGlade highlights how Aboriginal women have consistently voiced concern about state indifference and violence that contributes directly and indirectly to the violence that is blighting the lives of too many women and children. A standalone National Action Plan and recognition of the fundamental right of self-determination is needed to combat the systemic and structural discrimination that contributes to violence against Aboriginal women. 

Day Nine

Statues and status: Mexican women change the face of history to combat gender-based violence today

By Sarah Easy, human rights lawyer and research assistant for the Australian Human Rights Institute

Sarah Easy discusses the anti-gender based violence movement in Mexico and the practice of dismantling public monuments or ‘statue toppling’. She considers whether the dismantling of the old and rebuilding of new public monuments is merely symbolic, or whether it can engender genuine cultural change.

Myth and reality of gender-based violence in India’s partition and thereafter

By Rachna Mera, Assistant Professor in the Urban Studies Program (SGA), Dr. B. R Ambedkar University Delhi

Rachna Mehra traces the legacies of Partition-era gender-based violence and abductions on community relations and consensual inter-faith marriages in contemporary India. She argues that whether it was 1947 or it is 2021, the honour of the Hindu family, community and nation is inextricably linked with a woman’s body.

Day Ten

Storytelling for Social Justice: The Story of Antigua and the Masked Serial Rapist

By Janeille Zorina Matthews, multi-disciplinary criminal justice scholar, The University of the West Indies Cave Hill campus, Barbados

Janeille Matthews offers a critical perspective into the story of the ‘masked serial rapist’ in Antigua and how it frames gender-based violence. She argues that Antiguans need to hear a different story about crime and sexual violence, one that includes a historical understanding of the intra-racial sexual violence that existed during slavery and its post-emancipation aftermath and is grounded in 50 years of police data.

Gender-based violence in the archives: Curating the past without perpetuating harm

By Kristy M Stewart, New College Collections Curator and School of Scottish Studies Archivist, Centre for Research Collections, University of Edinburgh

This blog considers the role of the archivist and the problems of taking a neutral voice in curation when many stories are underpinned by gendered violence and silencing women’s voices. Kristy Stewart argues that the re-telling of such stories should give women and girls a voice that their history should have had all along.

Day Eleven

No it wasn’t different back then #1 – Researching rape in 20th century US

By Mara Keire, Senior Research Fellow at the Rothermere American Institute, University of Oxford

Mara Keire discusses her research on rape in the 20th century and how the rhetoric of ‘it was different back then’ enables the justification of men’s sexually predatory behaviour. She argues that studying the history of sexual violence serves to obliterate the idea that rapists are solitary ‘bad apples’. Instead, researchers can uncover the networks of complicity that reinforce male power.

No it wasn’t different back then #2 -Tracing Rape Myths in Medieval Court Records

By Mara Schmueckle

Building upon the previous blog, Mara Schmueckle discusses the medieval Scottish notarial record on Janet Lausoun, who was abducted and forced into marriage. The story highlights the burden placed on women where their credibility is measured against expectations of the behaviour of “real victims.”

Day Twelve

A ‘National Disgrace?’: Notes from a history of domestic violence in Australia

By Ann Curthoys, Department of History at the University of Sydney, Catherine Kevin, College of Humanities, Arts and Social sciences at Flinders University and Zora Simic, Historian and Gender Studies scholar, Faculty of Arts, Design and Architecture at the University of New South Wales

In this blog, the contributors discuss their research which aims to capture the first national history of domestic violence against women in Australia. In doing so, they are working to understand the significant changes over time in public discourse, legal frameworks and activism to combat domestic violence, and to understand how and why domestic violence has wreaked such enormous damage on women, children and society as whole from the 19th century to present.

‘It Takes a Global Village to End Gendered Violence’: Looking back at the ‘International Conference on Violence, Abuse and Women’s Citizenship’

By Charlotte James Robinson, doctoral researcher at the University of Glasgow’s Centre for Gender History

Charlotte James Robinson reflects on the International Conference on Violence, Abuse and Women’s Citizenship, held in November 1996. The conference was considered a remarkable culmination of two decades of feminist activism against gender-based violence. She discusses the success of the conference in including the voices of all women working on gender-based violence.

Day Thirteen

Opening the Pandora’s Box: Dilemmas in a Course on Family Engagement

By Monimalika Day, Associate Professor at the School of Education Studies, Dr B R Ambedkar University Delhi and Deputy Director, Centre for Publishing

Monimalika Day discusses how education students grapple with stories, memories and narratives of gender-based violence. A range of experiences are shared, with variations in the degree of violence, the relationship with the perpetrator, the nature of oppression, the site of the violence, each a powerful testimony of dehumanization. However, this approach often challenges the instructor to move beyond the well-defined space of a syllabus and explore uncharted waters.

Teaching sexual and gender-based violence: learning environments and pedagogic dilemmas

Tereza Valny, Teaching Fellow at the University of Edinburgh, Department of History   

In this blog, Tereza Valny discusses the challenges of teaching about historical case studies of sexual violence and how this may impact students and create feelings of anxiety, tension and distress. She asks the important question: what can we do as instructors to face these inevitable dilemmas that arise from teaching material which has the potential to traumatise and re-traumatise?

Day Fourteen

In search for a better tomorrow: Re-imagining home

By Anubha Sinha, Alumni Dr B R Ambedkar University Delhi and Consultant at PRADAN

Anubha Sinha reflects on the immersive action research she conducted in Dokal in the state of Chhattisgarh, India, where she formed a collective of forty women who had experienced domestic violence. The blog highlights how these strong women are taking small steps every day to survive and bring attention to the injustice of gender-based violence. 

Duties of care: navigating and narrating traumatic histories

By Claire E. Aubin, PhD candidate at the University of Edinburgh’s School of Divinity, and Emily Rose Hay, PhD scholar situated between the School of History, Classics and Archaeology and the School of Law at the University of Edinburgh

Co-convenors of the Emotionally Demanding Histories Group Claire E. Aubin and Emily Rose Hay discuss how researching sensitive topics, such as gender-based violence, can present ethical and methodological dilemmas and impact the person’s emotional health. They consider how we can engage with traumatic histories in a way that does not cause further harm to researchers, but which does justice to the stories we are telling.

Day Fifteen

Social Action in the 80s – has anything changed?

By Jan Breckenridge, Professor and Head of School of Social Sciences and Co-Convenor of the Gendered Violence Research Network, UNSW Sydney and Mailin Suchting, Manager of the Gendered Violence Research Network, UNSW Sydney

This blog highlights that social action in the 1970s and 1980s meant that it was no longer possible to ignore domestic violence, rape and the sexual assault of children. The results of this work were tangible with a proliferation of women’s health and sexual assault services, survivor groups and government policy development. There is no doubt that these changes established child and adult sexual assault as a serious and prevalent issue. But is our world a safer place?

Does she have a voice? Do we hear her? The silencing of Indigenous women and girls experiences of violence: does it ever change?

By Kyllie Cripps, Scientia Fellow and Associate Professor in the Faculty of Law and Justice and Co-Convenor of the Gendered Violence Research Network at UNSW, Sydney

It is widely understood that gender-based violence disproportionately impacts Indigenous populations compared to other population groups. And yet, why are their lives not honoured or mourned or valued in the same way? Kyllie Cripps discusses the silencing of Indigenous women and girls’ experiences of violence and how Indigenous women continue to speak up and speak back to the narratives constructed about their victimhood.

Day Sixteen

Freedom from endless violence, freedom from helpless silence – Songs against gender based violence in India

By Sumangala Damodaran, Professor of Economics, Development Studies and Popular Music Studies at Dr. B. R. Ambedkar University Delhi

Sumangala Damodaran discusses how songs about gender-based violence have been a significant element of wider struggles in India. They have been written spontaneously as part of various campaigns and social and political events that brought issues to the fore, including before the mass mobilisation of the women’s movement in the 1970s. Songs depicting the lives of women, and particularly focusing on the violence that is inflicted, have had to edge their way into larger repertoires around class, caste, racial and ethnic discrimination.

The 2021 curators:

University of Edinburgh:  Prof. Fiona Mackay (Director) and Aerin Lai (PhD web and editorial assistant) for genderED; Dr. Zubin Mistry (Lead), Prof. Louise Jackson, Prof, Diana Paton, and Dr Hatice Yildiz, for the Histories of Gender and Sexualities Research Group

Dr B R Ambedkar University Delhi: Prof. Rukmini Sen (Director, Centre for Publishing), Dr Rachna Mehra (School of Global Affairs)

University of New South Wales:  Prof. Jan Breckenridge (Co-convenor), Mailin Suchting (Manager), and Georgia Lyons (Research Assistant), Gendered Violence Research Network

DAY SIXTEEN: Lifting our voices to end violence against women: the Hummingsong choirs

The Hummingsong Choirs build “community”, bringing together women of all backgrounds and stages in life to sing, laugh, nourish their souls and build close-knit connections. The other important purpose is to extend support to those most vulnerable in the community, women and children escaping domestic violence. 

Picture above: Still from video: “Fix You” by Coldplay, performed by Hummingsong Community Choirs. Arrangement by Dorothy Horn.

Carolyn Thompson

Anna Humberstone is the Founder and Artistic Director of Hummingsong Community Choirs – a 500 strong group of women across 8 acapella choirs in Sydney and most recently Melbourne.  Hummingsong Choirs are committed to quality music making, taking their non-auditioned members on a journey of aiming high and reaching goals that the singers and often audiences never thought possible.

“It’s not just about getting together and having a good old sing.  It’s much more thoughtfully scaffolded to create an environment that takes each member on a journey that is both musically, socially and intrinsically fulfilling” said Anna.  

For Anna the key word is “community”, bringing together women of all backgrounds and stages in life to sing, laugh, nourish their souls and build close-knit connections. The other important purpose of Hummingsong Choirs is to extend support to those most vulnerable in the community, women and children escaping domestic violence.  For Anna “domestic violence bears no social class…it’s a passion of ours to continue working towards zero tolerance for violence against women.” 

For many years Hummingsong Choirs have raised awareness for the Women’s Community Shelters through fundraising at their annual concert. To date Hummingsong Choirs has raised over $200,000 for this cause.  In 2019 Hummingsong Choirs were able to take their passions of singing, community and domestic violence awareness to a world-wide audience by making the semi-finals of Australia’s Got Talent with their stirring arrangement of Somewhere Only We Know by Keane.  

“Somewhere Only We Know” by Keane, performed by Hummingsong Community Choirs at Sydney Grammar School on 21 September 2018. Accompanied by Sydney Grammar School String Sextet & Bill Risby, conducted by Melissa Kenny.

Fast forward to 2020 and the contrast from last year could not be starker. COVID-19 has brought choral singing and its many benefits to an abrupt halt.  As one Hummingsong member puts it, “not being able to sing has had an effect on my happiness, well-being and overall mental health”. The knock-on effect also means that charities such as Women’s Community Shelters who rely on fundraising through the Arts and Entertainment sector are missing out on the community funds they rely on so heavily to survive. 

In the absence of concerts and reality TV exposure, this year Anna forged ahead with a video production of Coldplay’s Fix You as their major fundraising effort.  Over 230 members individually recorded their parts which were then pieced together to create a moving arrangement.  “Singing over zoom is a poor substitute compared to the benefits of singing in choir” Anna said, however the video has managed to raise in excess of $22,700 of a $40,000 target since its mid November release.  

“Fix You” by Coldplay, performed by Hummingsong Community Choirs. Arrangement by Dorothy Horn.

Now that large gatherings at sporting and theatre events are permitted, it’s hoped that choral singing will soon follow. The life-enhancing benefits for those who love choir and the flow-on support it provides to the vulnerable are what lifts a community and makes it stronger. 


Carolyn Thompson joined Hummingsong in 2015 after the death of her mother left her longing for something to provide some comfort and happiness. Unable to read music and not feeling comfortable singing alone, Carolyn was attracted to this non-audition community choir.  She knew at her first visit she had found something very special. Hummingsong provides a welcoming, fun, challenging and inspirational space for women to come together to learn and sing beautiful songs in harmony.  The friendships, sense of belonging and “soul food” elements of choir give Carolyn so much to be thankful for. The choir also gains a greater sense of unity and purpose through their fundraising efforts for charities such as Women’s Community Shelters. 
Carolyn can’t wait for the restrictions preventing Choral singing due to COVID 19 to be lifted so she can be back with her friends doing what they love, and for the choir to continue its work raising funds to support those experiencing violence at home.

Hummingsong Community Choirs can be found at https://www.hummingsong.com.au/

DAY EIGHT: On the Appropriateness of Cultural Representations of Mass Violence Against Women

How can the experiences of women affected by sexual violence from war be highlighted through art without further reproducing and perpetuating trauma? Projects like Thinking of You (Alketa Xhafa Mripa) provide a powerful example.

Image above: Thinking of You by Alketa Xhafa-Mripa. Reproduced by permission of the artist

Maria Alina Asavei

Can we represent or commemorate victims of gender-based mass violence as part of processes of justice without objectifying and retraumatising women? These are the dilemmas faced by transitional justice scholars and practitioners. 

The experiences of the women affected by armed conflicts and political violence are often overlooked in the official institutions of remembrance and transitional justice processes of commemoration and symbolic reparations. This happens on various grounds, among which, the most unsettling takes for granted the claim that “sexual violence has always been part of the war” and is therefore unremarkable and unworthy of attention. At the same time, the survivors of mass violence have often felt reluctant or unwilling to evoke memories of their past sexual abuses and other forms of aggression, finding it too painful to relive traumatic pasts, even in the name of retributive justice. 

The fact that these memories of sexual violence cannot be tackled openly and publicly is not surprising, and, as the artist Judy Chicago asked rhetorically, ‘how open can you be when it is shrouded in shame?’ Yet, the preference in many legal traditions for individual memory in re-establishing truth and justice (the traditional rules of evidence in transitional justice focus on individual representation, testimony and memory) offers less space for collective representations and collective memory (forms which might prevent trauma for those women survivors of mass violence). 

Equally worrisome is that some cultural representation (especially in the film industry) does harm rather than support the process of redress because they keep reproducing a pattern of cultural memory that displays women victims of mass sexual violence by exposing nakedness, body parts and romanticizing the relationship between victim and perpetrator. Such art cannot count as a form of symbolic reparation. Nor does it establish relations across difference. These representations fail to pay respect to the women who suffered violence and even risk re-traumatizing them.

For these reasons, these art pieces do nothing to highlight women’s agency in political, economic and social transformation within post-conflict societies.

This does not mean that all artistic/cultural responses to mass violence against women are inappropriate. There are several instances of collaborative, participatory and collective artistic memory work that has the ability to foster communities of remembrance beyond gender, biographical and national borders divides. Participatory and/or collaborative artistic memory work has the merit of enabling witnesses and post-witnesses to collectively experience the women victims ’painful past without relying on the proclivities of the gaze alone. At the same time, the collective representations of painful memories, displayed by both witnesses and post-witnesses, can trigger a critical collective memory whose cultural materializations did not employ the sexualization and objectification of women and girls. One instance of this collaborative cultural memory is the huge installation Thinking of You (conceptualized by the artist Alketa Xhafa-Mripa in Kosovo, 2015). 

Image of the artist Alketa Xhafa Mripa inside her installation Thinking of You. Reproduced by permission of the artist

Thinking of You commemorates the victims of mass sexual violence focusing on the public’s participation as crucial in the artwork’s final form and meaning. Every person from the public is at the same time a participant to the artistic memory event by donating skirts or dresses which have been eventually hung on elongated washing lines on the main soccer stadium in Pristina.

Still above taken from the video ‘Thinking of You’. Click on it to watch the full video.

The artistic memory event gathered dresses and skirts not only from the people of Kosovo but from people from all over the world, who had no biographical ties with the victims of the former Yugoslavia. The ravishing documentary about the production of the unprecedented installation Thinking of You reveals the extraordinary participation of the post-witnesses of mass violence against women. The documentary titled The Making of Thinking of You by Anna di Lellio and Fitim Shala displays the campaign of collecting dresses and skirts all over Kosovo and several interviews with the participants to this commemorative event. 

The same type of participatory memory work meant to empower the women victims of mass violence beyond national and biographical ties emerged in Cairo during the Arab Spring (2011). What is currently known as the “blue bra stencil” commemorates an unknown Egyptian woman victim of the military police during the revolution. The violent act perpetrated by the military policemen was recorded by an amateur camera and circulated then worldwide. The footage shows a young woman severely beaten with her abaya (Islamic robe) stripped off. The viewer cannot see the woman’s face but only her clothing, including a blue bra. The cultural responses occurred immediately after the violent act ended. Many walls in Cairo started to reveal the blue bra stencil in various designs. The same feminine garment appeared online worldwide as Facebook profile pictures.

Artwork by Bahia Shehab done in memory of a Muslim protester who was dragged by Egyptian soldiers from Tahrir Square during the 2011 uprising in Egypt. Source: creative commons

The cultural memory of the act of mass violence against women in Cairo exceeds both the border of Egypt and the borders of its initial meaning being associated with other sets of political and social concerns. To give only several examples, the “Blue Bra” is represented and disseminated in the political cartoons of the Brazilian artist Carlos Latuff; in the pieces of textile art created by the Jordanian designer Naser Al-Khalylah and in the political video posters disseminated online by the anonymous artist collective Operation Blue Bra Girl. 

Maria-Alina Asavei is Assistant Professor at the Institute of International Studies, Charles University Prague and curator of contemporary art. Drop her an email at maria.asavei@fsv.cuni.cz

DAY SEVEN: The Zanana Ensemble – Women Perform Against Fascist Regimes

The Zanana Emsemble’s performance, “Zanana ka Zamana” (The Era is feminine) is a collective act of resistance against the Citizenship Amendment Act in India through expressions of solidarity using songs, poetry and conversations.

Picture above: Zanana Ensemble Performing in Shaaheen Bagh. Credits: Meghna. Reproduced by permission.

Shwetha Gopalakrishnan

The proposition of the Citizenship Amendment Act (CAA) in India exacerbated the vulnerabilities of marginalized sections like Muslims, Dalits, queers, transgender persons, womxn, people from nomadic communites etc. by attacking their citizenship. The marginalized were more precarious than usual as they did not have proper documentation to “prove” their citizenship. Muslim women and womxn, queers from different communities in solidarity registered their protests by claiming public spaces. This in itself was a reclaiming of the spirit of the constitution and its guarantees of equal citizenship and democratic ideals of liberty, equality and fraternity and the spirit of standing against violence and discrimination.

The Zanana Ensemble came together amidst these protests in January 2020 with a play “Zanana ka Zamana”(The Era is feminine) as an act of expressing solidarity through songs, poetry and conversations. Deeply inspired by the resilience of the movement and in an attempt to echo its strength and struggles, Theatre practitioner Mallika Taneja gave an open call for Twenty Women to be a part of a play on “resistance and the everyday” in an attempt to try and bring together an army of women on stage and to speak to the women who were sitting in the protest sites. Despite the movement being led by women, she recalls that:

The stages were largely occupied by men as there are very few women performers. It annoyed me that the ears that were listening were women’s and the voices that were speaking were men’s .

Theatre practitioner Mallika Taneja

Since it was felt that this was not the space for a singular body and that the body on stage must reflect the watching body, an attempt was made to have multitude of voices and bodies as a collective on stage.

However there were differences with respect to class, religion, etc between the watching body and the body on stage.  The attempt was to look at ways of starting conversations with these women (in protest sites) without seizing too much of their space.  The Ensemble was not created by auditions but by an open call and was a multi identity group that comprised of womxn from different religion, ethnicity, sexuality etc. The members of the team chose to be a fluid Ensemble rather than a single piece for the purposes of long term resistance. This meant that available members would get together for performances and would join in whenever they could which gave space for rest and recovery within the team amidst constant resistance.    

Picture above: Poster for Zanana Ensemble performances. Credits: Meghna. Reproduced by permission.

“We didn’t want to make a play about the pits and falls of CAA, since there was no need to educate these people. I felt like these women sleep here, wake up here, get tired here, menstruate here, go back, eat, their children are here, even if they get a flu they are here. This is an everyday protest and resistance much like our lives- the walks we take, the way we step out of our house. How women resist on a daily level and keep making space through everyday resistance.”

Mallika who also directed the performances, on her interest in everydayness of resistance.

It is for this reason that the performances addressed the “everyday” and the “mundane” of resistance and primarily spoke to women through themes like dreaming, sleeping, stepping out of the house in the context of CAA. The origin of the piece is from a children’s book called “The world belongs to you” which was translated as “Ye Duniya Hamari hai” (This world is ours). “The language of the play was kept simple since it catered to a colloquial audience and catchy popular words with sounds were used to make the script interactive and receptive” shares Rajesh Nirmal who wrote many poems for the play. As far as the songs are concerned, a Hindi translation of Bob Dylan’s “The answer is blowing in the wind” was used. Faiz Ahmad Faiz’s poem “Hum Dekhengey”(we shall see) which had a history of being used to resist fascist regimes had become the anthem of the movement.  It was being banned by many institutions in the country and thus was used as a peaceful tool of resistance in the play. Many poems were written by the team internally and many songs were chosen collectively. The play was improvised according to changing contexts that the movement survived, for instance the state sponsored pogrom in North East Delhi, police violence etc.   

Picture above: Art Made By Khushboo from the Ensemble. Reproduced by permission.

Still from video: Zanana Ensemble performing at Shaaheen Bagh. Credits: Meghan. Click to view full video.
Still from video: Zanana Ensemble performing at Hauz Rani protest Site. Credits: Meghna. Click to view full video.

The performances were received with overwhelming love and warmth in various sites. There was reciprocity and mutual give and take of emotions and imaginations around resistance which captured it as a space of solidarity. Aman Mohammadi, one of the actors in the play commented that “It was a dialogue, collaboration, an exchange of energies, hope, vision, camaraderie and strength. Women of all ages chanted slogans with us. In that moment we were together. There was the magic of female bodies-a sea of women together.” The protest performances took place at a time when there were increasing anxieties, fear, trauma, grief, shock and violence in the country and so creating a space of solidarity, hope, resilience, strength, care and love was an important political act of resistance in itself to uphold the constitutional ideals. The Ensemble has now survived almost a year of togetherness.

Shwetha Gopalakrishnan is a Bharatanatyam dancer. She is a part of Zanana Ensemble and the cofounder of “Nritically Yours”. She has pursued her masters in Sociology from Ambedkar University and her Bachelors in Psychology from Lady Shri Ram College for Women. She currently works as a Mitigation Specialist in National Law University Delhi.

Welcome to the 16 Days Blogathon 2019!

Introduction to 2019 Blogathon

Welcome to our annual blogathon to mark the 16 Days of Activism Against Gender-Based Violence Campaign. We are now in our third year of bringing together some of the most important voices from civil society, academia and government around the world. Once again, the blogathon marks a collaboration between GenderEd at the University of Edinburgh, the Australian Human Rights Institute at UNSW Sydney and Ambedkar University, Delhi

From refugee policies putting women in danger of gender-based violence to the undermining of women’s reproductive rights at the UN, to the Counting Dead Women projects (such as in Australia, the UK and in the US), there is much to suggest that the world is as grim a place as ever for women, girls and their rights. As UN Women note,

“Violence against women is the leading cause of death and disability of women no matter their age”.

Along with the writers whose work you will read over the coming days, and the more than 6,000 organisations who run 16 Days campaigns every year, we are united in our commitment to women’s equality and share a desire to see a world free from sexual and gender-based violence. 

From Monday 25 November 2019 (the International Day for the Elimination of Violence against Women) to 10 December (Human Rights Day), we will be posting blogs that explore some of the most pressing issues in gender-based violence. Our remarkable contributors look at the many ways in which gender-based violence interacts with health, trans identities, migration, sexualities and disabilities. They write about political rhetoric that invokes gender-based violence, and the promises and limits of legal systems. They write narratives and poetry, and explore the potential of thread and comic books to tell different stories – or to tell stories differently.

Through their blogs, we travel from Scotland to Myanmar, and from the Pacific to South Africa via India and beyond. We see how gender-based violence exists in all spheres – from past to emerging and ongoing conflicts, in houses and on university campuses, and in the smallest of villages to the largest of cities. It affects women and girls of all ages, of all backgrounds, from all places.

We will be posting updates on Twitter from @UoE_genderED and @HumanRightsUNSW and look forward to sharing these stories with you over the next 16 days. We hope that you will share them further.  

We couldn’t have asked for a better person to open our 2019 blogathon than Eve Ensler – best-selling author, playwright, anti-violence activist, and initiator of V-Day and 1 Billion Rising. In her powerful blog, Eve reflects on the crafting of her 2019 book The Apology, in which she wrote the apology that she knew she would never receive from her abuser: her father. For our first blog of the year, we are therefore delighted to introduce Eve Ensler’s piece, ‘My father never apologized for sexually abusing me. So I wrote his apology for him’ (reposted with kind permission from NBC News).

Signed, Co-curators of the 16 Days blogathon

  • Fiona Mackay, Director genderED, University of Edinburgh
  • Louise Chappell, Director Australian Human Rights Institute, University of New South Wales
  • Rukmini Sen, Director Center for Publishing, Ambedkar University Delhi
  • Caitlin Hamilton, Postdoctoral Research Associate, Australian Human Rights Institute, University of New South Wales
  • Natasha Dyer, PhD candidate, School of Social and Political Science, University of Edinburgh