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Ce sont deux événements du moment. Ils montrent la difficulté de rester neutre dans les relations internationales et en géopolitique. Premier exemple hier dimanche en Suisse, avec un référendum justement sur la neutralité.  

DÉCRYPTAGE - Ce dimanche, 178 des 348 sièges du Sénat ont été remis en jeu. Le RN enregistre la plus forte progression alors que Les Républicains perdent quelques sièges.

À huit mois de l'élection présidentielle française qui se tiendra les 18 avril et 2 mai 2027, la candidate du Rassemblement national domine toujours largement les sondages d'opinion. Marine Le Pen l'emporterai au second tour quelque soit son adversaire.

Following a controversial acquisition, the most pressing question is whether and how Indonesia can convert the vessel into a viable military asset.

Quelle : © Europäische Union, 2026 - EP

The "provisional understanding" between Beijing and Manila over the Philippine resupply of Second Thomas Shoal appears to have broken down.

Helen Clark, Chair of the Board of Partners for the Partnership for Maternal, Newborn and Child Health (PMNCH), moderates the event "Financing for Women's, Children's and Adolescents' Health in a Time of Austerity", hosted by the Global Leaders Network. Credit: UN Photo/Manuel Elías

By Shuli Wong
UNITED NATIONS, Sep 28 2026 (IPS)

In the wake of the largest decline in global health financing on record, the Global Leaders Network (GLN) for Women’s, Children’s and Adolescent Health convened a high-level meeting on September 22 to sustain political momentum for women and children’s health financing. The event, Financing for Women’s, Children’s and Adolescent’s Health in a Time of Austerity, was co-hosted by the Governments of South Africa, Spain, and Tanzania, in addition to the Partnership for Maternal, Newborn, and Child Health (PMMCH).

Throughout the meeting, GLN members repeatedly called for a financing reset for women’s, children’s, and adolescent health (WCAH), warning that reduced global assistance and rising debt could reverse decades of progress. In 2025, official development assistance (ODA) fell to USD 174.3 billion, a 23.1 percent drop from 2024 and the largest annual decline on record. Simultaneously, the external debt in low- and middle-income countries reached a record USD 8.9 trillion, with debt-servicing costs remaining at a historic high. The reduction in assistance, with the increase in debt, has limited governments’ abilities to invest in essential services, leading to consequences for WCAH.

In low- and middle-income countries, an estimated 260,000 women died in 2023 from preventable causes related to pregnancy and childbirth. In 2024, an estimated 4.9 million children died before their 5th birthday from deaths that are preventable with low-cost interventions and access to quality health care. Members of the GLN framed this challenge less as finding replacement funds for the declining aid, but instead, governments need to ensure that existing resources are allocated, protected, and used effectively to deliver improvements in WCAH.

“We know that issues of women, children, adolescent health and well-being can’t be solved by ministers of health alone. They need head of state support, they need minister of finance support, and there are always political choices to be made about what we protect when the resources are scarce,” said Helen Clark, chair of the board of the PMNCH and moderator of the meeting.

Dr. Tedros Adhanom Chebreyesus, WHO Director-General, also called for the protection of health budget lines for WCAH, in particular the protection of sexual and reproductive health in humanitarian settings, and stronger accountability and reporting of results. “A policy without a budget is a press release. A commitment without financing is a promise already broken,” he said.

During Tuesday’s meeting, representatives continued to stress the point of investing in primary health care. In particular, the importance of midwives, community health workers, vaccines, medications, nutrition services, clinics, and referral systems that women, children, and adolescents depend upon. Helga Fogstad, Director of the UNICEF Health Programme, urged governments to protect these foundations when preparing the 2027 budgets. Fogstad urged the prioritization of “domestic resources for what has the greatest impact, ensuring essential medicines, vaccines, and nutrition supplies are available where they are needed and investing in enough trained, equipped, and paid healthcare workers to reach every community”.

Diene Keita, Executive Director of UNFPA, stressed the importance of investing in maternal care and family planning: “World leaders and financial experts agree, investing in women and girls delivers unbeatable returns.”

An audience member at the event “Financing for Women’s, Children’s and Adolescents’ Health in a Time of Austerity”, hosted by the Global Leaders Network. Credit: UN Photo/Manuel Elías

Country examples presented during the session illustrated how investing in WCAH has been translated into policy. For example, under Nigeria’s Health Sector Renewal Investment Initiative, Nigeria has moved away from fragmented donor-led programs towards greater country ownership, stronger alignment of resources and accountability for results. Nigeria has already committed nearly $3 billion in domestic health financing over five years in addition to USD 2 billion of US support. The result of this has been revitalizing more than 4,000 primary health centers, retraining 80,000 frontline health workers, a 34 percent increase in deliveries by skilled birth attendants, and a 22 percent reduction in maternal mortality among women delivered in the facilities.

A tension emerged during the session between greater national ownership for countries and the continuing need for international solidarity. Speakers across the board discussed the need for blended finance, pooled funding, and debt-for-health swaps, while institutions like the World Bank and Islamic Development Bank advocated for moving isolated projects into integrated national systems. Issa Faye, Director General for Global Practices and Partnerships at the Islamic Development Bank, stressed how the “challenge now is to help the countries move beyond the short-term responses”.

“We should go away from project by project to really act in a more massive way through the system. We need to talk about the system, not the project,” said Faye.

In closing, the GLN committed to stronger country-led financing, domestic resource mobilization, and appropriately designed financing mechanisms. In addition, donors were called upon to align assistance with countries’ national plans. The focus was that austerity cannot become health austerity; instead, political declarations and financing plans must protect frontline services and lead to a measurable reduction in preventable deaths.

IPS UN Bureau Report

 

 

 

 

By CIVICUS
Sep 28 2026 (IPS)

 
CIVICUS discusses the role of art in climate and rights struggles in the Brazilian Amazon with Tom Wheeler, executive director and co-founder of Treesistance. Treesistance is a platform operated by the Netherlands-based Sinchi Foundation that partners with Indigenous communities across four Brazilian states on cultural preservation and forest protection.

Tom Wheeler

Indigenous peoples steward a large share of the world’s forest biodiversity but receive only a small fraction of global conservation funding and are often excluded from climate and environmental decision-making spaces. Their traditions, oral histories and visual cultures are under pressure, including from land loss and the slow erosion of intergenerational knowledge.

How did art become the centre of a forest protection initiative?

Sinchi, the foundation behind Treesistance, was set up in 2016 as a cultural organisation. I believed we needed a societal or spiritual shift, so in our first years we ran festivals, film screenings, galleries, music events and debates, and built art and documentary projects with Indigenous communities across six continents.

At some point I went through a bit of a crisis, questioning what real impact this work was having. Then I met Vandria Borari, a brilliant Indigenous lawyer and celebrated ceramic artist from western Pará, a state in the Brazilian Amazon. She introduced me to the Tapajós and Arapiuns Indigenous Council, an association that represents 14 Indigenous groups in the Lower Tapajós region. In 2021, our focus shifted to the Amazon, and in 2023, together with our Indigenous partners, we co-created Treesistance as a platform built around four pillars: access to justice, communications, renewable energy and sustainable economic development.

The access to justice work is what we’re best known for. We support Forest Guardians, community-led groups that patrol and defend Indigenous territories against illegal logging and other threats, and we help build strong relationships between the territories and Brazil’s Public Prosecutor’s Office, which has a constitutional mandate to defend Indigenous rights.

That shift toward tangible, on-the-ground impact didn’t push art aside. If anything, it made clear how essential it was. Art isn’t a side product or a tool for us. It’s central to the community aspect of this work, to participation and authenticity, and to what the wider decolonial tradition is trying to achieve, of giving voice to communities and centring them in their own stories. Everything we do is co-created, but it’s led by our Indigenous partners. This carries multiple meanings for them, not least the pride of building something of their own from the ground up.

What’s the Tales of Resistance project?

Tales of Resistance is led on the ground by Vivi Borari, a talented young Indigenous woman. The idea was to build an archive, first and foremost for Indigenous communities’ use and records, telling the stories of the Majés and Pajés – plant healers, shamans and spiritual guides within these territories – from the inside out.

The project is about telling their origin stories, how they work within the community, what their roles and responsibilities are and the messages they carry from the spirits to the world. Once those stories exist on the communities’ terms, and with their consent, they can also travel further, which is why we’re now developing them into an exhibition. That kind of storytelling matters because one of the biggest challenges impact organisations face is talking only to people who already agree with them and failing to reach beyond that circle. Art and storytelling are how you break through.

We also took a deliberately different approach to how these stories are gathered. Turning up with a camera and asking people to explain their culture on the spot is a very western way of working. Just imagine how strange it would feel if someone did that to you. So we don’t do that. For us, everything starts as an audio recording while we are sitting together, having tea, walking in the forest, just talking about people’s experiences. Many of these stories would simply never be told in front of a camera. Only afterwards do we do a photo shoot, and that’s when we layer the audio and images together.

What films have you made, and what impact have they had?

Two years ago, we made a short film, Curupira, sharing the story of one of the forest’s spirits as told by one of the communities we work with. It was nominated for awards at film festivals around the world. It’s a tangible example of what storytelling can do for us. It brought in new interest, funders, partners and collaborators, people who wouldn’t otherwise have found their way to this work.

In 2026, we released another short film, Surara – Spirit of Resistance, directed by Lea Hejn, which won the Guardians in Action category at the Santiago Wild Film Festival in Chile. It includes footage from patrols led by Chief Dadá Borari, head of our Forest Guardian programme.

What changes when communities see themselves represented, and why do you call this resistance rather than activism?

The cultural scene, in the global south as much as the global north, is still working through questions of representation, making sure people see the diversity of their context reflected on screen. As Vivi has said, our biggest impact comes when Indigenous people see themselves and their reality reflected. This changes their self-perception. They no longer see themselves as victims but as people with agency, as fighters. That’s a qualitative impact that’s genuinely hard to put into a single sentence or measure in the way we measure hectares protected. But it’s real, and it’s the storytelling and narration that make it happen.

That’s also why we don’t use the word ‘activism’ much. It’s a strange word, a badge of honour to some people, something to avoid for others, and I think it’s fundamentally a western construct. There shouldn’t be anything activist about wanting to protect the health of the planet or stand up for human rights. That should be a key component of being a good person.

For our Indigenous partners, the stakes are different, though. For them, this work is intrinsic to survival, both literally, given the violence they face from illegal and aggressive forces, and culturally, in the sense of keeping traditions such as their graphic art and oral storytelling alive.

‘Resistência’ is the word I hear most often within Indigenous communities, whether people are talking about protecting their culture or land. It’s not a one-off response to a single government or form of exploitation, but something long-term and intergenerational, and like any form of resistance, the energy behind it runs low if it isn’t renewed. Art is one of the ways that energy gets renewed, generation after generation. That’s why we called the storytelling project Tales of Resistance and the wider platform Treesistance.

What other art initiatives do you run?

Storytelling extends into our product collaborations with local Indigenous artists, who create things such as clothing and notebooks. One example is Guardian of Nature, a T-shirt based on the Guardians’ uniform design. Buying one pays for a uniform for a Forest Guardian on the ground.

We’ve also launched a drink called Purpose, now going into restaurants in the Netherlands. A portion of the proceeds from every bottle sold supports our Forest Guardian projects. The brand itself is built around storytelling. It’s about people identifying their own sense of purpose in the world. So it’s art, but commercially driven, aimed at creating impact on the ground.

We held an open art and design competition for Indigenous artists from the 14 ethnic groups or nations of the Tapajós, focused on expressing their culture and relationship with nature. It brought the artists local and regional recognition through an event where the Indigenous Council, artists and other partners came together to celebrate the work.

How do you avoid the exploitative imagery typical of development fundraising?

Traditional development fundraising tends to rely on a particular kind of emotional imagery – a poor person, a hungry child, an old man in need – because that’s what drives donations from the kind of donor it targets. We deliberately avoid that.

There’s a well-known quote, often attributed to the Aboriginal Australian academic Lilla Watson, although she credits it to a collective of Aboriginal activists, that says, ‘If you have come here to help me, you are wasting your time, but if you have come because your liberation is bound up with mine, then let us work together’.

None of the communities we work with are looking for charity. The role they play in protecting the Earth and their culture has real value in itself and, in my opinion, we need their wisdom more than they need us. We never describe ourselves as the communities’ funder. We’re a partner. When we help raise money, we’re clear that it was never ours to begin with. If it comes with requirements attached, the conversation is always about how we meet them together rather than about us imposing them. That’s the same principle whether we’re talking about a grant, a story or art. It has to build something the community owns, not something we extract.

CIVICUS interviews a wide range of civil society activists, experts and leaders to gather diverse perspectives on civil society action and current issues for publication on its CIVICUS Lens platform. The views expressed in interviews are the interviewees’ and do not necessarily reflect those of CIVICUS. Publication does not imply endorsement of interviewees or the organisations they represent.

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SEE ALSO
‘Art is the only weapon that doesn’t hurt or kill’ CIVICUS Lens | Interview with Tara Abdullah 17.Sep.2026
‘Art has proven itself the one thing that can reach the world and stir it into action’ CIVICUS Lens | Interview with Iman Aoun 14.Sep.2026
‘Thanks to art, climate change stops being a distant issue – it becomes personal, immediate and visceral’ CIVICUS Lens | Interview with Nicola Haskins 17.Sep.2024

 

 

 

 

By Jomo Kwame Sundaram
KUALA LUMPUR, Malaysia, Sep 28 2026 (IPS)

The 1944 Bretton Woods (BW) conference accepted the US demand to use the dollar to settle international financial transactions. This arrangement would require a US balance-of-payments deficit to issue enough dollars.

Jomo Kwame Sundaram

But every dollar abroad was, in principle, a claim on US monetary gold. With dollar liabilities exceeding US gold reserves by the 1960s, the arrangement became more vulnerable.

Bretton Woods
At BW in July 1944, 44 allied nations met to design the post-war world monetary system. John Maynard Keynes represented the UK, no longer financially dominant due to its heavy public debt fighting two world wars.

Harry Dexter White represented the US, which then held two-thirds of the world’s monetary gold, while other countries needed dollar loans for trade and reconstruction. The US promised foreign governments and central banks to convert dollars to gold.

With the US BW promise to redeem an ounce of gold for $35, the dollar became the world’s reserve asset. Every other currency’s exchange rate was fixed against the dollar, in principle, adjustable with IMF approval.

Instead, Keynes proposed a reserve currency, Bancor, managed by an international clearing union to avoid any national currency becoming dominant; a payments system using a national currency could eventually force others to accept its national policies and priorities.

Unsustainable by design
The BW agreement also created the International Monetary Fund and the World Bank. Each member nation was assigned a quota, partly paid in gold and its own currency.

A member nation’s quota determined both its voting weight and how much it could borrow if it needed to borrow when its own currency came under pressure.

The dollar-gold peg was vulnerable by design. For the arrangement to function, the world needed a growing supply of dollars for reserves and international transactions.

In principle, the US had to have enough gold to honour all claims against it. This requirement was met in 1944, when its gold reserves were vast, while other economies were ruined. However, these conditions were not met for long.

As currency devaluations were stigmatised, currency pegs were rarely adjusted. Governments defended unrealistic exchange rates, unjustified by their reserves.

Instead of adjusting gradually, fixed exchange rates would adjust abruptly, typically after crises, as with sterling in 1967 and the dollar in 1971.

Keynes had insisted on allowing governments to manage cross-border capital movements, expecting free-flowing speculative capital to undermine fixed exchange rates.

For a decade and a half, most European governments used the IMF’s sixth Article of Agreement to restrict how freely money could leave their countries and thus defend their currency pegs.

As strong post-war recoveries turned Europe’s dollar shortages into surpluses, capital controls were gradually loosened from the 1960s.

London Gold Pool
The US Congress ignored Triffin’s warning. Instead, in late 1961, the US organised seven European central banks into the London Gold Pool, coordinated by the Bank of England rather than by treaty.

It worked for a while. Whenever private demand pushed the gold price over $35/ounce, participating banks sold their bullion to bring the price down, to buy gold!

From 1962, currency swap lines involving the same central banks withdrew dollars from circulation abroad to reduce demand for gold. Both efforts used a formula based on each country’s original contributions.

Rising US government spending made things worse. The Johnson administration financed both the Vietnam War and Great Society programmes without raising taxes. More dollars flowed out of the US, expanding the supply of Eurodollars.

In March 1967, without any parliamentary mandate or transparent treaty, West Germany’s Bundesbank President privately promised the Fed it would not convert its large dollar reserves from its fast-growing trade surplus into gold.

But France’s president had never accepted Washington’s abuse of the post-war arrangement. In February 1965, De Gaulle complained of the dollar’s exorbitant privilege.

This referred to the US ability to settle its liabilities abroad by issuing more dollars, instead of earning foreign exchange like others. In June 1967, France refused to continue subsidising the dollar peg by withdrawing from the Gold Pool.

Britain devalued the pound in November 1967. As speculative pressure on gold rose, other Pool central banks had to sell even more gold until they gave up on 17 March.

Two tiers
In the subsequent two-tier system, the $35 gold price was only used for transactions between central banks and governments. Another floating free-market price traded well above it.

US gold reserves, almost $20 billion shortly after WW2, were halved by 1971 as foreign governments’ and central banks’ dollar claims rose over $50 billion!

When member governments safely created official liquidity by introducing a new reserve asset, the Special Drawing Right (SDR), in 1969, the problem was highlighted again.

SDRs were allocated directly to member countries rather than tied to either gold or the US trade or current account deficit. The SDR was supposed to supplement, not replace, gold and the dollar as reserve assets.

By mid-1971, when President Nixon unilaterally ended the dollar’s gold convertibility obligation, the debate was no longer about whether the gold window could hold, but over how to close it without triggering a currency-market panic after years of speculation.

IPS UN Bureau

 

 

 

 

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Une génération d’artistes adopte le « spoken word », poésie parlée, pour évoquer leurs difficultés. Cet art oratoire insuffle la contestation tout autant qu’il s’en inspire, à moins d’un an d’un scrutin présidentiel déjà très contesté.