Noyam African Dance Institute Performs at Birmingham Festival 2022
Noyam African Dance Institute Performs at Birmingham Festival 2022
By Nii-Tete Yartey & Esther Adobea Akuamoah
In 2021, the Noyam African Dance Institute teamed up with ME Dance Company and Conception Dance Africa from UK and Grenada respectively with support from the British Council.
The collaboration leveraged available technology to produce Oceans of Independence, an experimental dance piece that was performed simultaneously with three different countries across three different time zones in the COVID-19 era.
After a successful experiment last year, Noyam African Dance Institute (Ghana), ME Dance Professional Company, ME Dance Youth and Graduate Company, and Conception Dance Theatre (Grenada) have been joined this year by Eloquent Praise Dance Company, Kidderminster College, amongst others at the Birmingham 2022 Festival in the United Kingdom.
The festival, which forms as part of the Birmingham 2022 Commonwealth Games which closed yesterday in Birmingham, will be presenting Chain Stories; an exciting site-specific performance telling the story of those who came to contact with the chains made in the Black Country, and how that links the region to Commonwealth Countries.
Reflecting over the weeks of intensive rehearsal at the Newhampton Arts Centre, the director of the Noyam African Dance institute, Nii-Tete Yartey stated that
“It is sad to think that years ago people were captured from their homes, put in chains, and sent across the ocean against their will. However, we are happy to be able to use dance and music to tell the stories of real-life people who fought for equality as well as the struggles and pain of those who were affected.
For Noyam African Dance Institute, the journey from West Africa, Ghana to the United Kingdom to perform at the Birmingham Festival 2022 presents an opportunity to project not only Ghana’s traditional dances, but also importantly, its vibrant and calculative contemporary dance form.”
This event is sponsored by the British Council, Arts Council England, Canal & River Trust, and Black Country Touring. The project is also hosted by ME Dance UK, and directed and choreographed by Marica Edwards (UK), Nii-Tete Yartey (Ghana) and Cecilia Griffith (Grenada).
Background of Chain Stories
Chain Stories is, at its core about diversity and the current and historic fight of equality. It is focused on the Black Country and the fight for equal rights for women, whilst looking across the ocean to slavery in Ghana and Grenada, the Windrush Generation and the continued fight for racial equality in the UK.
In order to make sure that ME is doing this justice, the team is working with artists from across the diaspora, and are drawing on the experiences of Marcia’s family who originally came to the UK as a part of the Windrush Generation.
By working with people from different ethnicities, cultures and backgrounds professionally and within the community, ME Dance hopes to bridge the gap between cultures and help people to understand their identities.
The stories that will be told in the pop ups and large-scale performances are based on real people, and their struggles, embodying them and bringing them to life for the current generation to experience, inspiring them to find their voice to fight continuing social injustice in small and large ways.
The Culture for Sustainable and Inclusive Peace (CUSP) is funded by UK Research and Innovation (UKRI) via the Arts and Humanities Research Council (AHRC) as part of the UK Governments Global Challenges Research Fund (GCRF).
August 9, 2022
Discursive construction of “feminicide” in Mexico
Discursive construction of “feminicide” in Mexico
By Bernice González
Translated by Aline Aceituno
The term “feminicide” commonly refers to the gender-specific killing of women. Diana Russell and Jill Radford define “feminicide” as: ‘the set of acts and violent behaviours against women because they are women, which sometimes lead to murder’ (Diana Russell and Jill Radford cited in Lagarde (2006a: 2020)). This definition was further articulated in Mexico by the anthropologist Marcela Lagarde, so it would not be confused or lost in translation from English to Spanish as feminicide or female homicide; in other words, it would not only be considered a feminisation of the concept of homicide – the killing of a person by another person or group of people.
For this reason, understanding meaning and context is essential to articulate feminicide as a gendered crime and, at the same time, root it out from our communities. This is because ‘Feminicide is the culmination of violence against women… violence and impunity are added to the homicides’ (Lagarde, 2005: 151). Thus, articulating feminicide as a gendered crime appeals to a violent social structure in which impunity against women is not only perpetuated but also normalised. In the context of Mexico, feminicide as a concept has acquired a theoretical quality with a political sense, as Lagarde points out (2006a):
This is mostly a type of violence inflicted by men on women, not only by men, but by men placed in social, sexual, judicial, economic, political, ideological and other kind of supremacy, on women in conditions of inequality, subordination, exploitation or oppression, and with the particularity of exclusion (221)
It is extremely important to recognize this last dimension of the concept of feminicide, as it allows us to understand that feminicide is not only a fatal encounter between individuals – that is, between a perpetrator and a victim – but also the state/government because they have a responsibility; for instance, state failures are revealed in the number of cases that go unpunished, lack of accurate recording of feminicides, and neglect of the root causes. “Las muertas de Juárez” (“The dead women of Ciudad Juárez”), the incessant death of women that occurred for 11 years (1993-2004) in Ciudad Juárez in the state of Chihuahua in Mexico and was perpetrated with excessive use of cruelty, with evidence of mass rape and torture on victims with similar physical and social characteristics, is a typical example of state failure.
The anthropologist Rita Segato identified that these cases were characterized by impunity in a) the absence of convincing defendants to public opinion; b) the absence of consistent lines of enquiry; and c) their consequences. The shameless and endless cycle of repetition of these types of crimes continues to target women across Mexico. Those impacted by the heinous crime are mainly women and girls from disadvantaged backgrounds including women living in poverty in situations of unequal rights and subordination. In fact, such murders are often committed by relatives, partners or people close to the victims and these murders are committed with extreme levels of cruelty including torture, rape, asphyxiation, dismemberment or/and burning of the bodies.
Therefore, feminicide continues to be perpetuated both in private and public spaces and places. In the end, feminicide is a misogynous crime fuelled by hatred, contempt, pleasure or an inhuman bondage of ownership. And such violent attitudes and practices are not only tolerated but also enabled by the patriarchal state.
References
Olamendi, P. (2017). Feminicidio en México http://cedoc.inmujeres.gob.mx/documentos_download/Feminicidio-en-Mexico-2017.pdf
Lagarde, M. (2005). El feminicidio, delito contra la humanidad. En: Feminicidio, Justicia y Derecho. México: Comisión Especial para Conocer y dar Seguimiento a las Investigaciones Relacionadas con los Feminicidios en la República Mexicana.
Lagarde, M. (2006a). Del femicidio al feminicidio. Desde el jardín de Freud: revista de psicoanálisis, ISSN 1657-3986, Nº. 6, 2006, pags. 216-225.
Lagarde, M. (2006b). Prefacio. En: Rusell, D. y Radford, J. Feminicidio. La política del asesinato de las mujeres. México: Ceiich/Unam.
Segato, L.R. (2013). La escritura en el cuerpo de las mujeres asesinadas en Ciudad Juárez. – 1a. ed. – Buenos Aires: Tinta Limón, 88p
The Culture for Sustainable and Inclusive Peace (CUSP) is funded by UK Research and Innovation (UKRI) via the Arts and Humanities Research Council (AHRC) as part of the UK Governments Global Challenges Research Fund (GCRF).
June 16, 2022
"We want us alive"
“We want us alive”
By Carolina Buenrostro & Bernice González
Translated by Aline Aceituno

March the 8th is without a doubt a very important day for women all around the world, because it recognizes the struggles that women in different parts of the world have faced to overcome the inequalities they endure on a daily basis. Despite improvements for some, there are still millions of women who continue to suffer from gender discrimination, inequity, poverty and violence.
In Mexico, violence related to organized crime and drugs has made structurally vulnerable groups such as women and girls even more likely to suffer from different types of violence. We should mention that since the Covid-19 pandemic complaints about violence against women and girls, as well as feminicides[1] have increased in Mexico. During the first wave alone, between January and March 2020, 964 women were murdered, which represents an increase of 8.3% compared to the same period in 2019. [2]

In the last years, and as a way of responding to this violence, Mexico has seen the emergence of several groups of women called “Colectivas”, mainly consisting of young women, who have undertaken various actions to raise awareness in regards to gender-based violence, feminicides and human trafficking among other issues that affect women and girls. These “Colectivas” use different slogans such as: “We want us alive”, “Not one less”, “I believe you”, “We exist because we resist” to mention a few. These actions do not occur only on March the 8th, however on this specific day of the year the streets of Mexico are taken by women’s “Colectivas” to raise awareness about the gender-based violence they endure every day and, most importantly, to demand rights and justice.

As this photo reveals, the women and girls express themselves in unique ways; for example, they use purple and/or green tags and graffities on streets and public areas, wear pink crosses or green scarves while taking the streets in protest [3]. in addition to manifesting and taking over public spaces, the “Colectivas” also present in institutional and virtual spaces through artistic workshops, conferences, and several other awareness raising activities that are also aimed at providing women and girls with tools to help them reduce and eradicate, and face daily acts of violence in their lives and towns.
Footnotes
[1] Feminicides in Mexico’s specific context are recognized as the extreme action of a continuum of gender violence, which entails the murder of women by cruel means (mostly perpetrated by males) due to their historical condition of exclusion (sexual, legal, economic, political). Ultimately these are misogynist crimes, because they are motivated by hate, contempt, pleasure o or a sense of ownership. Attitudes that are tolerated and reinforced by a patriarchal government
[2] El Universal, Violence against women and girls in times of COVID 19, Retrieved from https://www.eluniversal.com.mx/opinion/antonio-molpeceres/la-violencia-contra-las-mujeres-y-ninas-en-tiempos-de-covid-19
[3] For feminist groups purple stands for the historical gender struggle for equality and social justice. Green stands for the fight for women´s sexual and reproductive rights. Pink crosses represent women murdered by gender violence.
The Culture for Sustainable and Inclusive Peace (CUSP) is funded by UK Research and Innovation (UKRI) via the Arts and Humanities Research Council (AHRC) as part of the UK Governments Global Challenges Research Fund (GCRF).
March 9, 2022