All language subtitles for Little.Stones.2017.720p.WEBRip.x264.AAC-[YTS.MX]

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Graffiti is special because
when you do art in your room,

in your home, it's just for you,
and sometimes you make a show,

exhibitions so more
people see it.

But when you do in the street,

you are communicating
with everybody.

The first time
I started listening

to hip-hop music,
I definitely just
liked it.

The message was quite
very strong about how
people were suffering.

And automatically,
I just said to myself,

"This is exactly the kind
of music that can fit
what I'm living."

The reason I love
fashion is because of
empowering women.

They make the shirt,
and they're proud,

and it's also something that
you can teach a lot of people.

I mean, it's a skill
that anyone can learn,

I think, if they put
their mind to it.

I believe in women so much,

and I know that they have
so much strength and courage.

And I love to maximize
their potential

because I know that
they have the potential.

In sex trafficking
and violence,

bodies are very,
very important factor.

Most of the time when
the violence happen,

somebody else is
controlling the body.

When I'm
doing the dance
and movement,

I am the controller
of the body.

I am liberating myself,
and that physical experience,

that this is my body,
bring an empowerment.

Women-- angry about
economic, social,

and political inequality
between the sexes--

took their fight
to the streets.

First of all, our bottom line is

we assume that women
are equal human beings.

We're not still
arguing about it.

Human rights are
women's rights,

and women's rights
are human rights

once and for all.

Study after study shows
that investing in women's
leadership and development

is one of the smartest
investments societies can make.

Treating women
as second-class citizens

is a bad tradition.
It holds you back.

Even though we have made
so much progress,

there are stereotypes
and prejudices

about women that are
just refusing to go away.

But what about the
women's revolution?

I think we're stalled.

You think about
how far we've come,

and it seems like, "Okay,
the problem's gotten worse."

A shocking
and disturbing video
appears on social media

of more than 30 men
allegedly gang-raping

a 16-year-old girl
in Rio de Janeiro.

200 teenage
girls were abducted by
heavily-armed men.

23-year-old woman
in New Delhi

was brutally
gang-raped on a bus.

Malala Yousafzai,
a 14-year-old advocate
for girl's education,

was targeted and shot
on her school bus.

So if the problem's
gotten worse,

clearly these strategies

that we've been employing
have not been working.

So we need to think
outside the box,

we need to try those sort of
innovative, creative solutions.

Art is one medium through
which you can address issues.

We all appreciate a good song,
a beautiful painting.

So the music of
art is universal.

During the concert,
we get everybody out.

And then from there,
you just give them information.

And we gonna use
our music to put

very strong messages
inside to give it to them.

They will dance,
and they will learn.

Okay, not bad. We go.

When I started to make hip-hop,
I was not an activist.

And it's only when I moved
from Dakar to Germany,

I think I started to do
some kind of activism
to say I can use my voice

for those one who doesn't have
the possibility to do so.

We say good morning, Sista Fa.
Very nice to see you.

Sister Fa is not a nun.

She is, in fact, an award-winning

Senegalese urban, soul, and
hip-hop star, and activist.

Fatou Diatta, known
by her stage name, Sister Fa.

She is breaking taboos by
returning to her home country

to talk about this issue.
She joins me now.

Thank you so much
for being with us,

and thank you for
the really great work

that you're doing around...

I can say yes, but it's
just like the one behind
this one here.

Yeah, this is your
family that you grew up with?

Yes.

Definitely

I was the first girl who was
doing hip-hop as a singer.

Then I was just fighting,
because in Senegal,

it was not easy for a woman
to be in the hip-hop movement.

We had no place,
because I think the producer,

those people were, like, more
into how they can make money.

With a lady, if she get married
and have children, it's over.

And I did not even
wait for someone to
produce my first CD.

I did it by my own.

Yes.

In Brazil,
people love graffiti.

Grafitti is everywhere--
in the TV, newspaper,

magazine. It's art. It's nice.

They don't, like, call
the cops to arrest you

because you're doing
graffiti. They like it.

They're probably gonna
offer you water or coffee,

ask if you need some paint

to finish your wall.
It's incredible.

And I think what's
happened to me is...

I didn't want to accept
the position, to be a
girlfriend of the boy.

The graffiti scene is
like... really for men.

It's hard to be a girl inside
of the graffiti world,

but she's doing really well.

It doesn't matter
what you wanna say,

if you go to the street
and write something,

people are gonna read it,

like a little kid, old guy,
a poor, a rich people--

everybody's gonna see.

You know it's like,
uh, democratic art.

We have to look a lot
at what James Scott,

an anthropologist, calls
"the weapons of the weak."

All right, these are
weapons that people,

who have no formal
political power, can employ.

And in Brazil, of course,
the weapons of the weak have
always been the weapons

of the popular classes,
the lower classes,

and they've been things
like samba, music, humor.

And graffiti fits
right in there.

I love dancing like I love art.

Any kind of dance,
poetry, music,

but I'm passionate with
the dance from my childhood.

I never attracted with
the stage performances.

I love dance for self dancing,
and choreography,

and how I can use
dance differently.

I saw a poster
in 1996 with a poem.

It was an
anti-trafficking poster,

with a girl's face,
and I thought, "Yes,
this is my path."

So, she learned about that and
immediately went to Sanlap,

who was the organization that
she first started working with,

and they were really
rescuing girls from brothels,

helping them become survivors.

And immediately
in working with them
and volunteering there,

she began to recognize
that the way in which they
were treating these girls

was very much in their heads,
but not in their bodies.

And she asked the head
of the organization

if she could try something
sort of experimental,

and that was just to have
these women move.

So then I thought,
"Okay, it's not working."

The entire infrastructure
of a shelter home,

the communication of the girls,

the perspective, everything.

I thought that I need to really
start to think the new way.

And then they
started to tell their story,

their life, they
started to talk.

She had always been
an Indian classical dancer,

and she saw
that the discipline

and the whole use
of their bodies

was quite empowering
for these young women,

and it became
therapeutic in nature.

And then I found that,

"Oh, there is dance
movement therapy."

It has a 40-years history,

and I was kind of, "Wow.
I am on the right track."

Okay, so I was thinking
today that you two could
be my team, and--

- Yeah.
- Yeah, I have a skirt design

- that I was gonna show you a sketch...
- Yeah.

...and then see if you can
make a pattern to fit her.

- Yeah, yeah.
- Do you wanna start the story of how we met?

I wanna hear
from your perspective.

Yeah.

Okay, when we first
met with Anna,

it was in the Metala church
where I used to go to church...

And I told him that I
wanted to employ women to make
things that I sold in the US.

And he said, "Well, why
don't you come over here
and start something?

Because I started a training
program years ago, but it died
because there was no market."

I felt like I could be
the connection to the market

and design things
that I knew would sell
in the United States.

It will just have a simple
waistband just like this.

And then it will be
flared a little bit.

- So the zip should be at the side?
- Yes.

Could you start working
on the pattern today?

- Yeah.
- Okay, thank you so much, Judith.

The first time I went
to Kenya was when I was 16.
I was in high school.

I grew up in Little Rock, Arkansas,

but my parents
are very passionate
about caring for orphans.

So we moved there
and lived in an orphanage,

and I went to high
school over there.

And then at 19,
I went to Rwanda

and I saw Hope Village,

and it's a child-run orphanage.

I was 19 and there were
other girls who were my age

and I wanted them to be able
to go to university.

I went back to college and made
wire crosses from my dorm
room and sold them,

and in a few months I made
enough money to send those
two girls to school.

So that was the trip that
sparked my interest in using
my creativity to create change.

How's it coming?
Looks great.

Thank you.

- Looks very nice.
- Yeah.

The motivation
for Judith & James

has been to employ these
women and help them.

I feel for these women,
because I know they can
provide for their families,

but many of them don't
ever have the opportunity.

And I just don't
think that's fair.

I started with Judith,
and we made a laptop bag
that turned out terribly.

And they had no idea
what a laptop was or what
size it was supposed to be,

but I assumed that they
knew what a laptop was.

So there have been these
points where I realize
how far away I've been,

and how different
our cultures are.

It's so pretty.

And then we made a skirt,
and the skirt was beautiful,

and I took a few
things from Judith

and a few things
that I had made
in my sewing class.

And I did a photo shoot here
in Kenya with my little sister
and some of her friends.

We posted the pictures
on Facebook, people loved it

and said it looked
like an Anthropology,
which is always a good thing.

So the feedback from
the US market through
a Facebook album

is what really made me think,
"Okay, this could work."

Female genital
mutilation is a reality

for more than
a million women today.

And despite efforts
to stop the practice,

it's still prevalent
in many countries.

The practice stretches from
Africa to South East Asia

and to America where it was
outlawed almost 20 years ago.

As the UN marks
the International Day

of Zero Tolerance for
Female Genital Mutilation,

one woman's fight
to eradicate the practice

at her home in Senegal
and around the world.

Female genital cutting
goes back 2,200 years.

It is a practice that
we believe was started

in Egypt by the pharaohs.
It was a practice that was used

to control chastity
and fidelity of women.

Female genital cutting is
fairly common in Senegal,

mostly in the population
where they do it by tradition.

Since 2006 my decision was
to work more with the kids.

I think it's time now to get
the young people involved,

because they are the future.

If they get the right message,

the right information, at school
where they are learning,

I do believe that
in the very near future
we can have the solution.

It became a social norm.

There were expectations
for women to undergo
this practice

if they were going to be
respected in the community,

if they were to be considered
worthy of good marriage.

The women became very
involved in this too.

They wanted their daughters
to have good husbands.

I'm sure you've
had an argument that says,
"Oh, it's people's customs.

You cannot intervene,"
and I always say to people,

we have to fight against
tradition and culture

that is harmful to women.

So, we are going to Lakhikantapur.

We will be visiting
HASUS shelter home,

anti-trafficking organization.

And we run dance movement
therapy program over there.

So trafficking in itself,
when we're looking at it,

it's just the fact that someone
is being exploited

and someone else is
benefiting from that,

and it could be varied.

I mean it could be for labor,
it could be for domestic work.

But in sex trafficking,
minor girls are being taken
from their homes,

young women are being
forced to come out

and be put into brothels,
which are really absolute
hell holes to be in.

And then they are being forced
to attend to these customers

who come sometimes
10, 15, 20 in a day.

I got kidnapped from Delhi
when I was four years old.

I was taken from here
to there and people used
me like currency.

I was just like a ten rupee
note passed from hand to hand,

going from one place to another.

That's how I was passed
from one house to another.

At times when I woke up, I
found myself in dark rooms.

I lived with my traffickers
from the age of 5 until
I was 13 years old.

Then the police caught me and
brought me to the shelter home.

Most of the children
who are trafficked

into the brothels
and red light area,

first, they cut off from their
body, the disconnection.

They start to hate their body.

Work with the body
is so important

because when the exploitation,
the violence, and the abuse--

anything that's happened,
it's a tremendous
physical trauma.

We really do not
have that much tool

available to work on
the physical trauma.

Mercy? Yeah,
Mercy, can you show us
what you're making?

We're at the workshop, and
these women are in training.

And so teacher Jessica
is instructing them.

And there is an engine
that they are going through

according to these exams that
they take every six months.

So they're just upping
their level of skills.

I have two companies.
One is an LLC

and one is a 501c3 non-profit.

So, basically it's
like I have twins.

So, the non-profit is a training
program for women in the slums.

It's basically a sewing school.

And we're hoping to add
more skills and more trainings
other than just sewing.

And then the for-profit,
Judith & James employs women

who have been trained and who
are skilled to make product--

clothing and bags and jewelry.

The pattern that--
did you make the pattern?

Have you made the pattern yet?

They're working on clothing for
themselves and their families.

It's just for training.
So to show the teacher,

just sort of
like homework,
class projects,

and then they can do whatever
they want to with these pieces.

But they're not
for Judith & James

The community we started with
is called Gituamba slum,
and it's a wasteland.

And these women don't
have many opportunities
for work in this area.

One of them, for example,
was selling chicken feet.

One of them was
selling tomatoes.

One of them was
washing people's clothes.

They just try to
find small jobs.
So, if they're at training,

they don't have an opportunity
to go find a small job.

So we started giving them
groceries every month,

so that their food
is taken care of.

And we did training
half a day, so that the
other segment of their day,

they could do small work,
and pay their rent.

Yeah. It's very smart.

So nice.

Tailoring can be quiet
confidence-building.

First of all, it's
just really nice

when you see that something
that you've created

from zero has become
something beautiful and
someone can wear it.

You can create
community with that.

You can have a tailoring place,

be a place that people
learn other trades,

learn how to make things pretty,

how to be able to package them,

how to market them.

They can learn the whole finance

through something that they
have produced by themselves.

So there are many ways in
which tailoring can become
an empowering thing for women.

And this is why the
women are very nice,

but at the same
time they are crying,
they are serious.

She's in a kind of
prison, it's as I feel.

Does this work have anything
to do with domestic violence?

- I know that this is very--
- No. No.

My work, this is what
people don't understand.

My work, I don't paint
about domestic violence.

For a long time, I know
Panmela had told us

that she didn't want
to talk about how

she'd been a victim
of domestic violence.

This star, and there's
more stars here,

is about the women
always dreaming different
things in their life.

But it's interesting 'cause over
the last couple of years

she said, "Now I
wanna talk about it."

And I think that's
her own healing process
and being able to say,

"I can teach people, you know,
through my own experiences."

We moved into a house that
he had and when I moved,

everything changed because
he felt that he had the power

and he started
being aggressive.

For me, it was hard
to go to my family

and say that that
choice I made was wrong
and I want to come back.

And I think,
as happened with me,
lots of women are in

situations of domestic violence,
because they are afraid.

They don't have money to
take care of themselves,
take care of the kids.

There are lots of situation.

We are here to meet Mehraj,

so we are going now
to Mehraj's house.

One, two, three, four,
five, six, seven.

People think body here,
mind is here, but it's not.

It's one-self, and
dance has the power--

physical, emotional,
cognitive, social.

In this dance and movement,

this holistical
self can come out.

I think all women
should go for work.

Money is very important.

But using
my intellect,
my creativity,

my passion, my capability
is very, very important.

When you are working,
you are becoming much more free.

You are interacting
lots of people.

You are contributing.

So the first training program,

we had 14 women,
and it went for 18 months.

And we had Pastor John and
his wife overseeing the program,

because it was in their house.
Pastor John was a Kenyan,

but he moved into the slums
voluntarily to reach out

to people and to start
a church and to help people.

And I had known him
since I was 16.

He was a good family friend.

And I initiated it,
and then went back
to university

for the next two years
to finish my degree.

We put Pastor John in charge,
and the women continued training

under the pastor and his wife
while I was gone.

Anna found out that
some of the money

that was being put
into the training program

or into the product development
was not being used properly.

I did notice a few things,
like I would give him money

for four sewing tables,
and there would be three
sewing tables,

and he would have
a new desk in his office.

But I tried not
be too concerned,

because I knew he's
keeping the lights on.

He's running this.
I'm not gonna be able
to be here on ground,

so I really do need him to just
keep it going while I'm gone,

and we trusted him.

What was happening
was we were paying
rent every month,

and of course the pastor
would say, "Hey, the rent's
going up, going up, going up."

He was employing
the sewing teacher,
who we were paying,

to make products that
the pastor's wife, Jackie,
was selling in the community.

So she was starting her own
business under our roof,

and the women in training
weren't learning anything,

because the teacher
was so distracted.

I mean, the whole day
she was in the back

just stitching things,
stitching things for
Jackie's business.

So we were paying
the overhead,

giving money for the
women to have food,

paying the teacher.

But nothing was going
the way it was supposed to

and the pastor was
just starting his own
business under the roof.

In October when I came
back we talked to Judith,

and I said, "Hey,
how much food are
the women in training getting."

Because we were giving $500
a month for them to have
everything they need.

And she said they're
getting one bag of rice
each, and that was it.

And so the rest of the money
was going elsewhere,

to a flat screen TV
in the pastor's house.

It was definitely stressful,
and it was emotional.

"I can't believe these
women are starving and
you're buying a flat screen."

But John would deny it, and
his wife would also deny it,

or they would try to explain
that's just how it is here.

I think that not being here
to see what was really
happening on ground,

I do believe that was what
drove me to wanna be here,

to make sure that things
were happening the way
they were supposed to,

to be able to build
into these women.

So I do think that's a lot of
what drove me to live in Kenya.

In Belosi?

No, I've moved to another--
I'm in a small house.

- Yeah?
- Yeah.

Lukas came to make some study
of the Senegalese in music,

and I was in Lukas' program

as the first single lady
making hip-hop in Senegal.

Then I was making a little
tour in the Casamance

and he asked
if he can follow us.

In that weekend we
decided to get married.

It was crazy, but...

I think it was
a concrete example
for me that in life,

the person who we get married--

You don't need to live
with a person ten years

to be sure that
it's the right person for me.

- And then you moved to Germany.
- Yeah.

Do you think it's hard
for her when you're away?

I don't think so,
because she knows
exactly what I'm doing.

But when I'm back of course,
she's just like stuck on me

like she don't trust anymore.
Even if I want to
go to the toilet,

she want to follow me,
because she thinks,

probably, I'm again going.

But I think she's fine.

...but this is my bed!

In certain communities,
where Sister Fa

has gone to talk about
female genital cutting,

to sing about it,
to work with the children...

She has had some pushback.

I was in Guinea,
it was in 2013--

I was in Guinea for a seminar
with artists from Guinea.

I came back into Senegal,
and then we went to Fouta.

My God, when we sent somebody
who was not of the ethnic
group up in the Fouta...

he was-- they threw
stones and-- oh my gosh.

Molly Melching told me that

"You're going out to one
of the most dangerous part

where we have
resistance in Fouta."

But, do you think--
Aung San Suu Kyi, when she was
trying to stand for her right

and the right of her population,
do you think she did not
know that it was risky?

Or Gandhi?
To know that what
we're doing dangerous

but should we just
cross our hand and say,

"It's dangerous,
we should not do"?

For me, it was clear.

This is the right place
where we have to go

to talk about child right
and woman rights.

But the communities was,
with the mood, and there was
a lot of things going on.

Population was really
happy in the community,
then the police said,

"Maybe it's not
important to follow the tour.
Everything is going well."

And it was at the third
locality, at Irae Lao,

that the Khalif sent people...

...to attack us
in the classroom...

...because he did not want
the project to go on.

Yeah, they attacked me.
I'm still carrying my scar

on my hand,
because I was bleeding.

They told me the Khalif said
that he don't want your project

because we want the
girls to be cut here...

and to be like good girl.

I know he had seven, four girls.

Umm Kulthum, Ruqayyah,
Fatimah, and Zainab,

and no one was cut.

The wife
of the prophet
was not cut.

For me this is one
of the strongest argument

to let women believe
that if you're not cut,

doesn't mean
that you are dirty,
you cannot pray.

Are you a Muslim?

And people used to say
that all the bad things
that we have in the world,

it's about women.

And I use a lot of the
symbol of the apple that
is about the sin of Eve.

I think the hair,
it's a symbol of the feminine,

as the eyes.

It's about a woman
that's so free--

so free, we cannot
imagine this woman.

When he forgot the cellphone
at home, I called my mother

and she came to pick up me.

We went to the police station,

but at that time
we don't have a law
against domestic violence.

And nothing happened.
He never went to the court.
Nothing happened.

We didn't have
any specific law

that protect women
in a violent situation.

It was very difficult,
because most of the perpetrators

of violence were not judged,
were not condemned.

In 2006, when the
Maria da Penha Law
was approved...

I saw that it was
a really important law.

Because what happened with me

will not happen
with other women,

because now women will have
the tools to defend themselves.

And this is
why I decided to,
as a citizen,

contribute with my country,
promoting that law and
helping other women.

And the tool that I had
to do it was graffiti.

'Cause he beat me and I was
six months just at home.

I never go out alone,
because we were afraid

of the boy do something with me.

And to be with that
group painting in the streets

was a way to get free again,

to have my life, to be happy,
to do something cool.

And I started
doing the graffiti.

A mark of a true leader
is someone who certainly
develops and innovates.

They don't use those typical
models to create change.

But I think for them,
who are also pioneers,

and doing things
in different ways

that some people
think are crazy,

because they've never
been done before,

and people don't think
they're gonna work.

You have to have
a thick skin, and you have
to believe in your idea

and it's ability to make change,

because there's gonna
be a lot of people along
the way who don't.

It is difficult for me to
see how Sister Fa's tour

or caravan--
they call it here "caravane"--
can make change happen.

Ending female genital
cutting is a long process.

In most communities,
it has taken up to three
or four years

to make that
decision to abandon.

We need to give
that time to people.

You just don't change overnight.

You can't change such a deeply
entrenched practice overnight

or in one day
or in two weeks.

Many organizations
focus on youth

and the idea being,

"Perhaps this is
quite a Western idea

that youth will be empowered
and that they can then
teach their parents,

change the social norms."

In non-Western societies,
elders teach younger people.

Younger people are not
supposed to teach elders.

Maybe some people in the
West wouldn't like that,

but that's the way
the society is structured.

This is not always an easy
thing that she's doing,

even if she's Senegalese.

She may not be of the same
ethnic group as the others

and therefore all
they see is someone
coming in from the outside.

For change to come about,
it has to be through dialogue

with the people influence
the decision makers

and that they come
to their own conclusion.

And it's not
because a rap singer

or because children were
given some new information
about their rights

on one day or another that
change is going to come about.

Have you ever had anyone
criticize your work?

Un, deux, un, deux,
trios. We go!

Sister Fa is animated
with this incredible desire

to want to reach everyone.

It's beautiful, I think,
that she really cares
so deeply about this.

And has really contributed
to making that dialogue happen

on an international level.

She's involved in all
the international meetings

held around female
genital cutting.

She is a voice that speaks out
about it and makes people aware.

I don't think that
there's a silver bullet.

I think opportunities
will present themselves
where in some cases,

an outsider from
a community can be believable
and can be embraced.

We just have to
be street smart

and look at where
there's an opportunity
to bring about change

and what would work best
in a particular situation.

This year we started
a jewelry training program

within the non-profit,
which was new,

and we were experimenting
to see how it would do.

So the women went through
and they gained a lot of skills,

and then three of them
were offered the opportunity
to start their own co-op.

Judith, when's the last time
you saw these women?

I'm excited to see it,
'cause I haven't seen
them since graduation.

- It's so nice here.
- Thank you.

So this
is your workshop now?

No, you should keep
it like this forever.
It's so beautiful.

They're making jewelry for a buyer in the US.

And then hopefully
Judith & James can
give them some things

and we can connect them
to other little markets
and small companies.

But they're happy,
they're hopeful,

and they're loving
the self-employment they're
experiencing right now.

Viable economic opportunities

are an important route
to a better life.

It might be possible to have
a very localized market
in the neighborhood.

But if you're a poor woman
in a poor neighborhood,

by definition the market
is gonna be quite limited.

And so having access
to export markets

makes the possibilities
much, much larger.

What are your hopes for
the future of this business?

I do think, as an outsider,
you can make a difference

if you are the link
to the resources.

I come back
to the US for resource,

because the boutiques here,
the department stores,

the fundraisers
for the non-profit.

I can always print on a silk
or on a linen or anything.

So I come for the resource to
connect it to the need in Kenya.

- Hi!
- Hi!

We are at Tulip's Boutique,

and we're here to speak
with Emily, the owner,

and check on the clothes
and see how things are going
and what she needs.

How have these been doing?
Like the darker prints, are you
ready for the emerald?

Judith & James
and the foundation,

the story behind it--
people wanna give to that.

They love the product first,

but they're also gonna love
the story behind it.

- Yeah.
- What are you working on for fall?

We're doing some new products,
embroidering, beading,

- and some new techniques.
- Great, awesome.

I want to employ
as many women as I can.

I just have to wait
till I can afford it,

because a commitment
to pay their salaries every
month is not a joke.

And I would never want to
commit to them and then not
be able to follow through.

So when I'm there
I'm fully focused on them,

and when I'm here
I'm fully focused

on the people around me
who can help this business.

People ask her all the time,

"Anna, why are you going all
the way across the world?

You could help the poor
in our own backyard."

She saw the need of millions
of women and widows

without a voice in a place
where they don't have

the resources that
people in America have.

And you see as you go
and you work and you live
among these women,

they want to make it,
they want to survive.

It's what propels Anna to be
a part of making a difference.

The first time I went
to see Sohini's work,

I think I'll never
forget that trip.

It was my first
time to Calcutta.

As we went along
we started picking up girls
along the way at each stop,

dance teachers
and dance instructors.

And we then arrived
at the shelter where she
was teaching that day.

And when we got there,
there was a conversation,
and then she turned around

and she said, "It's gonna be
a very difficult day here,"
and I said, "Well, why?"

And she said, because last
night one of the girls who was

part of our class actually
died of HIV/AIDS.

And the other girls who know
that they are HIV positive

are very afraid of when
their last day will be.

Initially, I was thinking maybe
I am the responsible,

maybe the entire process
doesn't work properly.

But it's part of
the entire process.

The process has the success,
the process has the risk,
and it has a challenge.

Not only me but
in the practitioners also,
today, it create an impact.

It's not something we hide,
but we share it.

Do you guys usually come
here after a long day?

Yeah, we come here,
it's a special shop
which women run.

And I think Jhulan and
Sangeeta said about the session.

Mostly Jhulan and Sangeeta
come for the session

and I supervise
the entire thing,
and I come in between.

If you just come close
to most of the activists,

we try to find solutions
for the world,

and we don't have solutions
for our own life.

Maybe if they just
don't talk about it,

but if they tell you their life,

they have, most of the time,
miserable private lives.

My personal life has
definitely suffered.

And I have just
realized it this year,

when I started
taking weekends.

This months--
actually May was one

of the most horrible months
because I was in Maputo,

then Malta, London, Paris,
then I'm going after tomorrow
to Africa for two weeks.

I think it's difficult,
because I'm always moving.

I'm not settled yet
in one place or another.

I could spend my time missing
something that's in America
when I'm in Kenya.

But I just decided not to,
and I have things

that I look forward
to going to in each place.

Do you ever get
sick of all the travel,

all the packing
and unpacking?

Of course, the whole May,

I can say I did not land
more ten days on Earth.

It was all the time in the air.

The only thing sometimes
that I'm thinking is, "What
am I doing with my life?

I'm not going out.
I'm doing nothing.

I'm all the time
at home writing project,

working, traveling, business.
I'm working like a machine."

I don't know, I don't mean
that I'm not concerned
about what I'm doing,

but some people will put
their personal things in front
and the work in the back.

Actually, this is not
what I can balance.

Why have you been
separated for two years?

Yeah, first of all,
there was too many things
going on with my work.

I was not around all the time.

Then yeah,
things like this happen.

When young people see
their interest doesn't lie
in the same direction.

Because marriage is not only
to be together to smile.

There is lots of things going on
about your work, how
you're handling life.

We did not have, maybe, not
enough experience to know

that we should not
mix our work together

with our personal life,
and maybe this is one
of the mistake.

But yes, it's thing
that happen.

Then divorce
and separation happen.

Yes, this must go.

I was raised to marry.

The most important thing
in the life of a woman...

was to get married
and have the babies.

I decided at the age of
18 I will not get married.

So that is something I argued
with my family and other things,

and I decided on that.

So to lead a free,
independent life.

And I enjoy that.

Well, I tried.
I mean, I was dating someone
before I went to Kenya,

and then met
someone in Kenya
that I had to leave.

So, it just never
really works, right now.

But I'm okay with that,
because I understand
that, as the founder,

you have to do
everything at first.
And as a start up company,

you have to just put in
all your soul, your time,

and your energy to
get it off the ground.

And of course, as a mom,

sometime I feel like I need
my daughter close to me.

I think she's pushing me
more and more.

The fact to save one
is already very good,
and I've saved Mariama.

She won't be cut.

For me sure...
to live in a family,

to take care of your family
is one of the most important
things in life.

But I think also that to
save life might be also
something very important.

Every year, two millions
of girl will be victim
of female genital cutting.

For me, I'm not waiting.
I've never wait anyway
in my life.

Yeah.

For me, it's very easy
just to paint canvas,

paint the wall and be
a famous artist.

When I came
home and put my head
on the pillow to sleep...

I imagined all the women
that suffering.

How can you be
a famous, rich artist

and ignore everything
that's happening outside?

So I decided to use graffiti
and the respect that I have

in doing grafitti to talk
about something important.

Now if I come to a community or
to a school saying that I want

to talk about domestic violence,
people will not come,
people don't care.

When you come and say that you
will have a graffiti workshop,

everybody wants to come.

Violence against women is
considered by many men,

and also by some
women, as "natural."

Once a woman said to me,
"My mom suffered violence,

my grandmom suffered violence,
my aunt suffered violence,

so violence is part
of being married."

7 out of 10 women in the world

experience violence
in their lifetime.

It's battering,
psychological torture,

it is being raped.

But I also wanted to refer
to structural violence
that does not allow

women to actually be part of
the public sector in employment.

My first impression
of Judith was that she was
very sad and struggling.

I just remember being
in this small dirty room
in his house,

she wouldn't lift
her eyes off the floor,

and her shoes had holes in them.

And she just didn't have
any light in her eyes
or any courage

or happiness.
It seemed like she was
just so discouraged.

I know that she's had
a very difficult past

and has had desperation
in her past.

But she's a success
story in herself.

So for her to be able
to educate the eight children
she's taken care of--

she only birthed three,
and the other ones are
from her brothers

or sisters who have
died of AIDS.

But for her to be
able to educate them and
to feed them, of course,

pay the rent is
really a big deal.

I want her to have excess,
not just the bare minimum.

I want her to be able to
do what she wants in life.

She's definitely one
of my best friends.

What does she like?

When I lived there
for six months

as a 20-year-old,
I was with my family
for six months.

And then they all left,
and I stayed by myself
for six months.

And Judith and the other women,
they were like my shelter
and my refuge.

They were my family.

Emotionally they do treat me

kind of like a daughter.
There is that element,
but with Judith,

I normally think
of her more of as like
a partner or a sister.

Yeah, I love them a lot.

When I arrived there,
there was lots of little girls.

I think was minimum
50 little girls, minimum.

And the day
after in the morning,
they were taking us

one after one behind
when they was cutting us.

You just hear the scream
and you was terrified

and you know you are
going through that thing

behind without knowing
what's going on.

I still remember
the blood on my feet,

I still remember the face
of a woman,

very strong woman,
who was like in front of me

talking to me like this,
and my mum behind.

I still remember that
the very powerful woman
was taking my hands

and someone else
was also holding my legs
that I should not move.

But I don't remember
how old I was.

Probably between four,
five, and six years old.

We did not know nothing
about what will happen to us.

For me, I was having
a sentiment like I have
done something wrong,

that I was fixing a punishment

without remembering
anything wrong I have done.

I did not realize that I am
not a complete woman,

When I start
at school learning

how the genital part of
the woman should look like,

then I realize that something
is missing in my body.

No one told me,
I discovered by my own.

Then I started asking
myself a lot of questions,

and started discovering there
is something going wrong.

Art plays all the time
a big role.

If we take
the example of singing,

we know that the voice is one

of the most important
instrument for a musician.

Inside our text,
we can put a some
very strong message

that people can listen
to without getting hurt.

Yeah, this is my
father and mother.

And I think this is their
marriage photograph.

I grew up very independently

because my mother was sick
from my early childhood.

And then she detected cancer.

Then for three was
very like suffering,
and then she died.

At that time,
it created a big impact.

My entire life changed.

Whatever care and
support my mother does,

like cooking and
the home things,

I had to take all
the responsibility
for my mother.

It was a very,
very struggling period.

Everybody has struggle
in different phases

and struggle is
part of the life.

I think my, that three years
of adolescent period,

gave me that insight
to be prepared for the life.

I am deeply connected with them.

If you look around the world at
all the issues that women face,

The one thing that unites us,
is there is not a single
culture, community,

religion that can say
violence against women,
domestic violence,

culturally harmful practices,
trafficking, does not exist.

It exists everywhere.

It is that thing
that all of us face.

And really, the heart of it,

is the way in which we value
women in our cultures.

And if culture and values
is the barrier, couldn't we also

look at how to use culture

to combat some of the negative
influences of culture?

100 graffiti artists
are coming and

they are going to paint mixing
the theme of the World Cup

and the campaign
against domestic violence.

We're in New York
Fashion Week.

Yeah, we're about to show
the Judith & James Fall/Winter
2014 collection.

Like I'm still so new to this,

so I'm learning
as much as I can.

But it's a good opportunity for
Judith & James to get press

and media and to spread
the brand and the story.

Music start where
the language stop.

For me, during the
concert it's what we call
the mass communication.

Every year, two millions
of girl will be victim of
female genital cutting.

I think that I will feel very
proud if one day in Senegal

they say it doesn't
exist anymore.

Graffiti, it's a lifestyle.

It's a culture.

And if we insert the program
against domestic violence,

the talk about gender
inside this culture,

we are changing
the way that people think.

I mean, I'm not trying
to save the world.

So many people say they are.

I think it's a great idea,
but it's not possible
to get to everyone.

But I'm just happy
to get to as many as I can.

And even if it's one
and I die, that's fine.

I just want to get as many
as I can on their feet.

I feel all women
are creative in this world.

But sometimes,
because of our
society's structure--

because of the
patriarchal structures,
because of the gender structure,

they stop themselves
to take action.

But if that comes when women
come with that action,

I think that will bring great
changes in the society.

So I always
encourage young people,
young women, do.

Do something!
If you have idea,
be bold with that.

But I have trust, belief,
with all women.

Women are creative.