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Аннотация: The 8th of March has historically symbolised the embodiment of feminist contention and interrogations, and it has not been different in Kosovo.In 1998, in the middle of the war, thousands of women walked from the capital city Prishtina to Drenica, each of them holding a loaf of bread high in their hands as a protest against the siege of the Drenica by the Serb armed forces.Seven years later -and five and a half since the end of the war -in 2005, women's rights and feminist activists hung a banner in the fence of the government building in the city centre of Prishtina, bringing attention to a clear message: Resolution 1325 guarantees us participation in Negotiations (Rezoluta 1325 na garanton pjesëmarrjen në Negociata) (Kosova Women's Network [KWN], 2005).The UN-mediated negotiations between Prishtina and Belgrade between 2006 and 2008 barely included any women and did not acknowledge women's claims for gender equality, nor did they take into account the defence of women's rights and claims through the process, despite the increasing international measures such as the United Nations Security Council (UNSC) Resolution 1325, which advocates for the equal participation of women in all decision-making spaces in conflict resolution and peacebuilding (2000).On the same day in 2012, women's organisations and feminist activists organised the annual march foregrounding a key message that had been silenced since the end of the war in 1999: We don't want flowers.We want justice for sexual violence survivors during the war (Nuk duam lule.Ne duam drejtësi për të mbijetuarat e dhunës seksuale gjatë luftës).After 12 years of an almost impermeable silence, the focus of the domestic public was brought to the lack of justice and reparation measures the survivors demanded (KWN, 2013).On 12 June 2015, 5,000 dresses were displayed on clotheslines in the football stadium Fadil Vokrri in Pristina.Organised as a grassroots action, this art installation of Alketa Xhafa Mripa -a Kosovan artist based in London -foregrounded the issue of wartime rape as a national conversation in post-war Kosovo (Di Lellio et al., 2019; Hirch, 2017).In 2018, the names of Diana Kastrati and Zejnepe Bytyqi, two Kosovo Albanian women killed by their respective partners, and three billboards with the question How many more missed calls?(Edhe sa thirrje te humbura?) covered the city centre of the capital city in red and black.This was the intervention of the feminist art collective Haveit to the response of the state (KWN, 2019; Haveit, 2018).
Год издания: 2024
Авторы: Vjosa Musliu, Itziar Mujika Chao
Издательство: Informa
Источник: Routledge eBooks
Открытый доступ: hybrid
Страницы: 1–18