Battered Women's Movement Ideals and Judge-Led Social Change in Domestic Violence Courts

2004 ◽  
Vol 13 (1) ◽  
pp. 32-37 ◽  
Author(s):  
Rekha Mirchandani
2019 ◽  
Vol 67 (2) ◽  
pp. 270-285
Author(s):  
Benjamin R Weiss

Abstract Although criminal-legal interventions became accepted as the best response to domestic violence early in the battered women’s movement, recent literature suggests that such interventions are often ineffective in reducing rates of violence. Despite this evidence, domestic violence advocates still emphasize criminal-legal interventions over alternatives when working with victims of violence. The author spent thirteen months observing domestic violence advocates in a feminist nonprofit organization to learn how the paradoxical reliance on criminal-legal interventions is reproduced. The paper identifies three mechanisms. First, information on criminal-legal interventions is emphasized more than other interventions in advocate training. Second, nonprofit staff present extreme examples of abuse and their associated criminal-legal interventions while training advocates rather than describing the types of abuse more typically brought to the organization. Finally, staff establish protocols for handling advocates’ discontent with criminal-legal interventions which makes further collaboration between volunteers and the police possible. Together, these mechanisms reproduce criminal-legal interventions by limiting advocates’ knowledge of the variety of alternative interventions. Practically, this work suggests several ways for advocates to destabilize ineffective organizational practices. Theoretically, the author shows that normative institutions are reproduced not just through socialization and coercion, but also through a lack of alternatives.


Author(s):  
Rosnida Sari

This paper looks at the Acehnese women's movement in helping to respect women's work in the grassroots community. This effort was carried out to give recognition and appreciation for women who have dedicated themselves to upholding women's human rights in Aceh, because there are still many people who do not yet know the humanitarian work they have done. The women who were nominated were those who worked since the time of the conflict until now. This voluntary work they do without financial support on a regular basis from the government, although some of them are listed as volunteers in their respective city P2TP2A. The types of cases they handle vary, from domestic violence cases to women's empowerment and society. This research was conducted in the Banda Aceh, Bener Meriah and Central Aceh regions. The research method for this study was in-depth interviews of winners, nominees and implementers of activities shaded by the Ureung Inong Aceh Shura Hall. The results of this study indicate that there are ups and downs in the implementation of this activity. Some of the obstacles that hindered him were the unavailability of funds, weak government commitment and lack of coordination of women's institutions in Aceh in the success of this activity.Keywords: Aceh Women Award, Aceh Women's Movement, Empowerment


2020 ◽  
Vol 17 (2) ◽  
pp. 81-100
Author(s):  
Tom Juravich

This paper traces the history of the song “Bread and Roses” to examine labor culture and the role of song in the labor movement. In the late 1930s and early 1940s, “Bread and Roses” was included in several of the first generation song books produced by unions that reflected an expansive and inclusive labor culture closely connected with the Left. With the ascendance of business unionism and the blacklisting of the Left after the war, labor culture took a heavy blow, and labor songbooks became skeletons of the full-bodied versions they had once been. Unions began to see singing not as part of the process of social change but as a vehicle to bring people together, and songs such as “Bread and Roses” and other more class-based songs were jettisoned in favor of a few labor standards and American sing-along songs. “Bread and Roses” was born anew to embody a central concept in the women’s movement and rode the wave of new music, art, and film that were part of new social movements and new constituencies that challenged business unionism and reshaped union culture in the 1980s.


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