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A press release from the non-profit  organization - Women on Waves - regarding the intention of the creation of the Diesel for Women hoax website, pointing out the mistreatment of women workers in the fashion industry. This blurb and included images are taken directly from the Diesel for Women website:"BY Women on waves on February 4, 2012

Women's March Taiwan 2018

The current cultural and political context in Macedonia marginalizes lesbians and women in general, and the dominant political party forces the traditional role of the woman, where she is a mother, a housewife, and of course, heterosexual. Furthermore, the major TV stations are flooded with Turkish soap operas, where traditional values are the leitmotif of the show.

The Beijing Sitong Bridge protest was a protest in China during the prelude to the 20th National Congress of the Chinese Communist Party (CCP).

Waterpod™ was a floating, sculptural, eco-habitat designed for the rising tides. It launched in the summer of 2009, navigate down the East River, explore the waters of New York Harbor, and docked at several Manhattan piers on the Hudson River before continuing onward. The Waterpod™ demonstrated future pathways for water -based innovations.

Ladies’ Room, lasting fewer than six and a half minutes, offers a behind-the-scenes look at a women’s washroom in a nightclub located in a Beijing hotel. A male patron of Cui Xiuwen’s studio first took her there, and she acknowledges being drawn to the ladies’ room precisely because her host did not have access to it.

On September 27, 2022, a song by Iranian musician Shervin Hajipour ‘broke’ Persian social media. Hajipour posted a video on Instagram of himself singing a song for the mass protests that began in Iran following the death of Jina (Mahsa) Amini. Its lyrics were composed of tweets from members of the Iranian Twittersphere explaining what the protests meant to them, what they were fighting for and what was at stake with the hashtag #برای (for the sake of).

The Bread and Puppet Theater was founded in 1963 by Peter Schumann on New York City’s Lower East Side. Besides rod-puppet and hand puppet shows for children, the concerns of the first productions were rents, rats, police, and other problems of the neighborhood. More complex theater pieces followed, in which sculpture, music, dance and language were equal partners. The puppets grew bigger and bigger.

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