Give More African Women Voice in Policymaking, UN Official Urges

Women account for most of Africa’s agricultural workforce and acutely feel the burdens of climate change, but too often their voices go unheard in farming- and climate-related policymaking and programs.

That’s just one of the assessments a United Nations official shared in light of Tuesday’s U.N. observance of International Women’s Day.

“Women make up 80% of the people displaced because of natural disasters, and 14% more are likely to die in the event of a natural disaster,” said Mehjabeen Alarakhia, the U.N. Women regional adviser for women’s economic empowerment for East and Southern Africa. U.N. Women is an agency dedicated to gender equality and the empowerment of women.

“Similarly, women’s disproportionate burden of unpaid care and domestic work implies that they are commonly responsible for fetching water or collecting cooking fuel. With the increased climate incidences, women need to invest more time to meet their family’s needs.”

Alarakhia spoke with VOA about climate challenges, agriculture, education and women’s leadership as part of this year’s theme: “gender equality today for a sustainable tomorrow.”

The interview has been edited for clarity and concision.

VOA: How far have African women in particular come in terms of calls for their rights and equalities?

Alarakhia: I think African women were instrumental in advocacy and activism leading up to the Beijing conference in 1995 (the U.N.’s Fourth World Conference on Women), creating the landmark global agreement on women’s equality and empowerment. African women are starting to take leadership in political arenas. We also see it in women’s participation in education and research, various public and economic spheres. I do believe there’s still quite some work to do, but there has been progress.

What is the relevance to Africa of the theme “gender equality today for a sustainable tomorrow”?

The high dependence on agriculture also means that women are highly exposed and vulnerable to the effects of climate change and disasters. Women represent 90% of agricultural employment in many African countries.

With women and men having different access to productive resources, other inequalities can follow, such as access to improved seeds, fertilizers, pesticides, tools and equipment, labor, credit, and other production factors.

Women are disproportionately affected by climate change, environmental degradation and natural disasters. Women may need to walk farther to fetch water, exposing them to increased time poverty but also to further risks of gender-based violence.

What role does U.N. Women play in empowering African women to participate in key decision-making corridors for the continent’s sustainability?

U.N. Women is advocating for increased space for women’s rights activists and women themselves to be part of negotiations and discussions with policymakers and decision-makers to be able to have their voices heard directly.

We also collect data and analyze trends so decision-makers can base policy on reliable data and research.

What policies and programs should Africa’s local governments pursue in light of climate concerns?

The key aspect is including women in the planning and decision-making processes. Women generally are aware of their own needs and know how to articulate them.

We have recently completed a study that looked at government spending on agriculture.

Governments in Africa had committed to allocate 10% of their national budgets toward agriculture. We found that where women were not included in planning, they were not able to benefit. But in countries where the allocation did not reach the 10% target and yet women were part of planning, they were more likely to benefit from the allocations — and the interventions were more sustainable.

In most parts of the continent, the percentage of women in political offices where key decisions are made continues to be low. Is this stalling efforts to promote gender equality?

It is very important for women to be at the table as decision-makers. We have some countries where the proportion of women in parliament, for example, is among the highest in the world. (In Rwanda, women hold 61% of the lower house’s seats.) Then elsewhere, we have relatively low participation rates. It is pertinent for women to be in that space, to be role models and champions for the next generation.

Experts advocate for more STEM (science, technology, engineering and mathematics) education for women and girls. Is this critical for sustainability?

In terms of the fourth industrial revolution and the agricultural transformation necessary to mitigate effects of climate change, it’s absolutely important for girls and women to be part of this change.

We did a recent study that found an estimated 24 million jobs will be created in the green economy over the next decade.

Most will be in STEM fields. We need to ensure that women, and particularly young women, are given the skills to take these jobs.

In another study on opportunities for rural youth, we found that even in agriculture, the future is in digital technology. We have looked at bringing in programs such as our ”African girls can code” initiative, teaching them how to code and make apps. Some have gone on to become entrepreneurs. This is truly the space that will be growing in employability and profitability.

Source: Voice of America

Gender equality seen through the prism of press drawing

Launched on the occasion of International Women’s Rights Day, the exhibition “Cartooning for women” brings a new look at gender equality with humour and derision.

It’s a public health event. By presenting in open access press drawings on issues related to gender equality, the exhibition «Cartooning for women», held in Angers until 31 March, renews in a striking way our view on these issues. With humour and derision, these drawings, which complement with laughter or a smile the publication of the results of the 2022 Observatory of Equality between Women and Men in Culture and Communication (see box), rejoice the eye and sharpen the mind by condensing without shadow the faults of a society – ours – largely unequal.

Conceived by the association Cartooning for peace with the support of the Ministry of Culture and the RAJA – Danièle Marcovici Foundation, under the aegis of the Fondation de France, the inauguration of the exhibition «Cartooning for women» includes several dimensions. A European dimension, on the sidelines of the informal meeting of European ministers of culture held in Angers on 7 and 8 March as part of the French Presidency of the Council of the European Union. A dimension linked to the launch of the Equality Forum organized from 8 to 10 March in Angers, as part of the France-Portugal season. Interview with Cartooning for Peace president Kak

What will be discovered in Angers as part of the exhibition «Cartooning for women»?

One of Cartooning for Peace’s missions is to promote press drawing and its cartoonists, particularly in the context of exhibitions and major cultural and institutional events. The exhibition «Cartooning for Women» presented in Angers is based on the book En avant toutes, co-published two years ago by Gallimard and prefaced by Laure Adler. Through the press drawing, the book highlights gender equality and has given rise to a series of press drawings on this theme and more broadly on women’s rights and violence against women. The exhibition will be presented in two different places of the city, on the gates of the plant garden and at the Pincé museum.

This is reminiscent of the action of the collective of photographers Dysturb whose photos are displayed in the public space.

It’s a bit of the same thing. We’re always excited when our exhibits can be seen in the public space. The hourly range is greater but there is more. When it is a closed place, the public present makes the step to come, he is sensitive to the subject and knows what he will think about. This is of course fundamental, but when we are in the public space, as was the case in July when we organized the exhibition Cartooning for Africa under the canopy of the Forum des Halles in Paris, we have the chance to reach a wider audience. But we know very well that on such fundamental subjects, it is by small successive and repetitive touches, because we are immersed in the subject that we can make our inner moult. This is particularly true on the issue of gender relations.

The #MeToo movement was a tipping point when it came to women’s rights. Did you observe a before and after #MeToo in the press drawing?

Cartoonists in general, and members of Cartooning for Peace in particular, immediately share this ideological corpus around human rights and gender equality. But it is obvious that after a movement of this type, which causes an acceleration of the awareness of the general public, the draftsmen of the press have redoubled their zeal.

The designers were also put more prominently. An example: a year ago, as part of Plantu’s succession to the newspaper Le Monde, We thought about how we were going to put into practice the agreement we made with the evening newspaper that cartoonists from the Cartooning for Peace collective would succeed each other on the front page. They wanted one-third of the proposals to come from women. We would have anyway, but it speaks for itself. Why would only one-third be able to respond to me? In fact, that’s already a significant proportion. The world of press drawing, although welcoming, is indeed still very masculine. We must be 5% women in the profession. We are 15% among our members.

You have chosen the designers Adene and Cristina as ambassadors of the exhibition.

On a topic like this, we wanted to have ambassadors. We have therefore set up a Franco-Portuguese tandem, because the event is being organised within the framework of the French Presidency of the European Union, the France-Portugal season coordinated by the French Institute and the month of equality of the city of Angers. Portugal has an immense tradition of press drawing and has many high-level cartoonists, including Cristina. His graphic style is very design and aesthetic. His drawings are reproduced in many magazines around the world. Moreover, she is francophone. Adene is French but also bi-cultural: she lives in Madrid and knows Portugal very well.

What will be the “Cartooning for women” online campaign?

We organize online campaigns as soon as we feel the need to highlight a topic more intensely during a given period. We are launching a call for drawings to all of our members who also have the opportunity to propose new drawings to us. On the other hand, we now have a stock of some 25,000 drawings in our cartoon library. We choose those who fit in this theme and correspond best to our purpose. Then we post the drawings online under a common hashtag, #cartooningforwomen, and ask our members to do the same. This creates a collective emulation around these drawings that are seen around the world.

Pedagogy on the issue of human rights and freedom of expression in general is another aspect of your work. How do you proceed?

We do hundreds of workshops every year in France and other countries for primary, middle and high school students mainly. We also work in penitentiaries. During their visit to Angers, Adene and Cristina will host two workshops-meetings within the framework of the partnership that unites us to the Departmental Council of Maine-et-Loire. They will also meet the students of the École supérieure d’art et de design, L’Atelier.

The vitality of press drawing is undoubtedly the sign that freedom of expression is alive and well in a society…

Press drawing is indeed one of the most vivid forms of freedom of expression. Plantu calls for press draftsmen, barometers of democracy. The cartoonist is a journalist, and he derides, mocks the powerful, makes people think differently, and offers a cure for fear. By promoting press design, we are also putting forward, in regimes where freedom of expression applies, this ability not only to allow expression but also to promote artists journalists who will give a singular and often critical look on current affairs.

Source: Ministère de la Culture