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Princess Lalla Aicha, the late sister of the late King Hassan II, was the president of another woman's organization called the Union Nationale des Femmes Marocaines. Various other woman's organizations in Morocco were created after independence with the aim of advancing the cause of women's rights, such as the Democratic Association of Moroccan ...
Moroccan Ladies was first published in November 1995. [2] The magazine is published by the Moroccan publishing house Caractères and directed, together with Nissae, by the Moroccan journalist Aïsha Zaïmi Sakhri, known for her strong support of women's rights. [3]
Soumaya Naamane Guessous is a Moroccan sociologist, champion of women's rights, and columnist.. She is best known as author of the book Au-delà de toute pudeur, first published in 1988, about the sexual life of Moroccan women.
The Union Nationale des Femmes Marocaines (UNFM) is a women's organization in Morocco, founded in 1969. [1] UNFM was founded with the support of king Hassan II 6 May 1969. The king wished to support women's rights after the dissolution of the Union Progressite des femmes Marocaines. The purpose of the UNFM was to campaign for the reform of ...
Femmes du Maroc. Add languages. Add links. Article; Talk; ... Download QR code; Print/export Download as PDF; Printable version; In other projects
Type II (excision) is the complete or partial removal of the inner labia, with or without removal of the clitoral glans and outer labia. Type IIa is removal of the inner labia; Type IIb, removal of the clitoral glans and inner labia; and Type IIc, removal of the clitoral glans, inner and outer labia. Excision in French can refer to any form of ...
The Democratic Association of Moroccan Women (Association Démocratique de Femmes de Maroc, ADFM) is a Moroccan women's rights organization established in 1985.It aims to establish legislation based on equality between men and women, targeting the media to lobby for women's rights. [1]
The women depicted in her exhibition of photographs, Les Femmes du Maroc, are represented as decorative and confined by the art of henna. [9] Essaydi thus poses her subjects in a way that exemplifies society's views of women as primarily destined for mere beauty. Henna, however, is extremely symbolic, especially to Moroccan women.