How Organisations Are Using Storytelling to Talk About Women Empowerment

Mumbai
Women Empowerment
Illustration by Arundhati Rana / Simit Bhagat Studios

The wind dragged dust across a broken doorstep. A girl sat there, twisting her dupatta, trying not to cry. She was seventeen. Her wedding was set for tomorrow. The guests were already on their way.

Nobody had asked her. She’d just finished school. She wasn’t loud. Her opinions didn’t matter, not to them. In her village, silence was safety. Speaking out meant shame. She had never seen a girl refuse her wedding. But she remembered something. A book. Drawings of women who looked like her but had chosen differently, spoken differently.

One had become a solar engineer. One joined a local water committee. One taught school after leaving her husband. That story had stayed with her. It felt like a possibility and gave her courage. That night, she left. She ran to her cousin’s home. The wedding didn’t happen. Her life changed forever. Today, she works with a women’s collective. She tells everyone the same thing: it was that storybook that saved her.

Because when she had no words, it spoke for her. So what made the difference? Not a law. Not a statistic. A story.

Let’s see how organisations across the world are using storytelling to shift power and spark real change for women.

1. Turning Real-Life Transformation into Global Storytelling

At Barefoot College, women who had never held a pencil learned to build solar panels with their bare hands. They came barefoot. They left as solar engineers. What moved the world, though, wasn’t just the training. It was how these journeys were told: truthfully and tenderly.

What moved the world, though, wasn’t just the training. It was how these journeys were told: truthfully and tenderly.

Take Rafea, a Bedouin mother of four from Jordan. Her story features in the documentary Solar Mamas ⎜WHY POVERTY?

The film, viewed over 292,000 times, follows her to India, through her fears and strength, as she learns to begin again. She returns home not just with tools, but with dignity and brings electricity to her community, lighting homes and minds. Outlets like BBC and The Guardian covered her story. Because it challenged old ideas about intelligence and womanhood.

Told without glamour, just grace, Barefoot College reminds us what real leadership looks like—across borders, beyond literacy, and through light.

2. Using Multi-Platform Storytelling to Influence Behaviour and Break Taboos

In Ethiopia, Girl Effect launched Yegna, a drama series that aired nationwide, reaching teenage girls in villages and cities alike. The show didn’t shy away from tough topics such as health, early marriage, cervical cancer, education, and emotional well-being.

Girls who watched reported a stronger understanding of Human Papillomavirus (HPV) and felt more confident in managing their own health choices.

But it didn’t stop there. Girl Effect also created Springster, a mobile platform where girls anonymously read and shared stories. It became a safe digital space for connection, where resilience was celebrated and taboo wasn’t a reason for silence. Springster’s storytelling was so impactful, it became a finalist at the Shorty Social Good Awards.

Springster became a safe digital space for connection, where resilience was celebrated and taboo wasn’t a reason for silence.

Then came Big Sis, an AI-powered chatbot, available on WhatsApp and Messenger, offering confidential support on relationships, periods, and safety.

Together, these platforms created an ecosystem where storytelling wasn’t one-way. It was a lifeline, accessible and human.

3. Using Illustrated Storytelling to Bridge Research and Real Life

When the International Rice Research Institute (IRRI) looked at water governance in Bangladesh, the numbers were clear—women were missing. Despite quotas, participation was low. Reports were full of findings, but policymakers weren’t reading them.

So IRRI did something different. They teamed up with Simit Bhagat Studios to turn that data into an illustrated storybook. The book showed Bengali women facing cultural rules, unpaid labour, and invisible boundaries, but also navigating their way into leadership. Characters were drawn with care, reflecting real communities, traditions, and tensions. It felt local. It felt alive.

Characters were drawn with care, reflecting real communities, traditions, and tensions. It felt local. It felt alive.

The storybook was produced in English and Bengali, making it accessible to both government officials and grassroots readers. Mou Rani Sarker, Assistant Scientist at IRRI, said it best: “Decision-makers actually read it. They found it engaging.” That’s the power of illustrations. They didn’t oversimplify. They made the problem human and harder to ignore.

4. Telling Bold, Feminist Stories Across Art, Film, and Social Media

The Global Fund for Women knows storytelling doesn’t belong only in reports. It belongs on walls, in voices, and in our feeds.

Their documentary series Fundamental features activists from refugee camps, conflict zones, and under-resourced villages leading feminist resistance. These are women living on the frontlines of injustice, still choosing to fight back.

Through their Artist Changemaker Program, the Fund commissions visual artists to create public works that challenge gender norms boldly. Their online storytelling is just as impactful. A viral Instagram reel with 159K views shared a staggering truth: “Only 1.9% of all charitable donations go to women and girls. Black feminist movements get less than 0.5%.”

“Only 1.9% of all charitable donations go to women and girls. Black feminist movements get less than 0.5%.”

The reel, co-created with @feminist and filmed by @djkrystallake, called viewers to join the 1.9 Rising campaign. With 188K followers, their reach turns emotion into momentum. Their stories don’t just raise awareness, they drive change.

5. Blending Film, Social Media, and Research to Spotlight Women’s Realities

In Bihar, Bhoomika Vihar tells stories that the world often refuses to hear of girls trafficked, married, and erased.

Their film One Night Bride, watched over 1.5 million times, shows how girls are sold under the name of marriage. Other films like I Exist, Swaha, and Jhatka are steeped in survivor voices, each one a quiet revolution on screen.

But Bhoomika doesn’t stop at film. Their Instagram is active, raw, and powerful full of field notes, survivor quotes, and everyday courage. They post regularly, not for branding, but to keep these stories alive, urgent, and in the public eye.

One Night Bride shows how girls are sold under the name of marriage.

Their publications, Bojh the Burden and SWAHA, bring together hard data with real testimonies from the ground. It’s a strategy of balance: numbers for policy, stories for people. And both together for lasting impact. Their storytelling doesn’t just amplify voices. It hands the mic back to those who never had one.

Storytelling Isn’t a Soft Skill, It’s a System Shift

These stories aren’t warm-up acts. They are the core and they break the silence, the systems, and the stereotypes.

They reach where strategy slides off and they move people not just to tears, but to action. Because when you centre women’s stories, you don’t just inform. You begin to shift the world they’re forced to survive in.

Organisations that invest in storytelling aren’t just building campaigns. They’re building connection, truth, and visibility where none existed.

If this moved you, stay in the story. Subscribe to our newsletter for more on how stories shape justice, change mindsets, and build power from the ground up. We’ll send you real-world examples, behind-the-scenes insights, and tools to help you tell stories that resonate and rebuild.


Rahul More

Video Editor

Rahul works on video editing and motion graphics across various formats. He previously worked in post-production at Sallys, with experience across commercials, web series, and digital content. He has over three years of experience in video editing and motion graphics. He enjoys reading, playing cricket, fish keeping and making short films. He holds a Bachelor’s degree in Mass Media (Journalism) and a Diploma in Filmmaking from Rachana Sansad Institute, Mumbai.

Abhinav S S

Illustrator

Abhinav works on in-house blog illustrations, storyboarding and various visual projects aligned with the studio’s creative direction. He is currently pursuing a Bachelor’s degree in Fashion Communication from National Institute of Fashion Technology (NIFT) Bhopal. He has played competitive cricket for the state of Kerala and has a strong interest in painting and graffiti.

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Swanand Deo

Web Development Specialist

Swanand Deo is a WordPress and Web Development Specialist working on various digital projects. With over a decade of experience in the design and development space, he has collaborated with over 50 national and international clients. He specialises in User Experience (UX) design, WordPress development, and creating engaging digital experiences. He holds a Bachelor of Fine Arts from the University of Pune.

Aashna Chandra

Graphic Designer

Aashna works on publications, UI/UX and branding projects at SBS. She has previously worked with organisations across the social impact and development space. Her work focuses on layout design, visual identity systems and user interfaces across print and digital formats. She studied at the United Institute of Design, Gandhinagar, specialising in branding, typography, editorial design and packaging.

Vivek Warang

Digital Illustrator

Vivek works on translating ideas into visual narratives. His work ranges from creating storyboards and illustrations to ideation for special visual storytelling projects. He previously worked as an illustrator at OckyPocky. He enjoys telling stories through images and bringing concepts to life through his drawings. He holds a Bachelor’s degree in Applied Arts from D.Y. Patil College, Pune, with a specialisation in Illustration.

Rajshree Goswami

Content Writer

Rajshree began her professional journey in Kolkata and has over four years of experience as a creative writer and proofreader for academic papers. At SBS, she works across all content, including blogs, transcripts, quality checks and writing for annual reports. She is an avid reader and enjoys cinema, fiction and creative writing. She holds a Bachelor’s degree in English Honours from West Bengal State University.

Bhavesh Dhote

Founder’s Office

Bhavesh is part of the Founder’s Office, working across in-house operations, social media strategy, strategic initiatives, market research and film production. He holds a Bachelor’s degree in Electronics and Telecommunications Engineering with a Diploma in AI and Machine Learning from D.J. Sanghvi College of Engineering, Mumbai. He is also a professional badminton player, marathon runner, trekker and plays euphonium and trumpet.

Manish Mandavkar

Motion Editor

Manish Mandavkar has studied animation at Arena Animation in Mumbai. He has previously worked on animated videos and motion graphics for brands, including Unilever and Zee Movies. An avid gamer, he is also passionate about sketching and photography. He holds a degree in Commerce from the University of Mumbai.

Joel Machado

Film Editor

Mumbai-based creative consultant and film editor Joel Machado has worked on documentaries as well as films in the mainstream Bollywood sector. He was also the Chief Assistant Director on the Jackie Shroff short, “The Playboy, Mr. Sawhney.” In addition to earning a B.Com from Mumbai University, he attended the city’s Digital Academy to hone his script writing skills.

Rohit Sreekumar

Founder’s Office

Rohit is responsible for developing strategic alliances and collaborative initiatives in the social sector. He also works on project management and helps internal teams stay on track. He has previously worked at early-stage startups across product and growth roles. In his free time, he enjoys binge-watching series, gaming and reading. He holds a Master’s degree in Computer Applications from Amrita Vishwa Vidyapeetham, Karnataka.

Aliefya Vahanvaty

Sr. Creative Partner

Senior Creative Partner, Aliefya Vahanvaty has worked in a wide range of editorial roles over the course of her career, gaining experience as a correspondent, copy editor, writer, photographer, and assistant editor at publications like the Times of India, Forbes India, Open Magazine, Impact Magazine, and others. In addition to her MA in Sociology from Mumbai University, she also has an MA in Photojournalism from the University of Westminster in the United Kingdom.

Simit Bhagat

Founder

Founder, Simit Bhagat has worked in the fields of filmmaking, project management, and journalism for over 15 years. He has served in a variety of positions for organisations like the Times of India, the Maharashtra Forest Department, the Tata Trusts, and the Thomson Reuters Foundation. From the University of Sussex in the United Kingdom, he earned a Master of Arts in Science, Society, and Development.