Pavel Sagolsem, self–described, is a storyteller, vagabond at heart and queer feminist by practice. Pavel is a founding partner of…
Performance and ‘proper’ go hand in hand because every performance has rules and prescriptions, so you can tell whether it’s a good performance or not, whether it’s skilled or not. Otherwise, it appears, you can’t understand or appreciate performance – or know if you’re doing it right!
If you are true to yourself, and attuned to your emotions and needs, you’ll invariably find that even a core belief (such as: not believing in the institution of marriage) is complicated by what the lived experience of that means (not only discriminatory experiences, but also intimate ones).
It is true though that ageing has brought home realities about my body that I ignored when I was younger. It has made me mindful of what I value, and what I choose to let go of, without too much of thought or unnecessary angst.
I was watching something recently that said it was a bad thing to be vulnerable, but I don’t think it is a bad thing. I do see that there is a certain amount of power in vulnerability, it also needs courage, in my experience.
To chase down our own vulnerabilities around sexuality is a short run around the corner, five minutes ago, last night sleeping alone, with a lover, a partner who lost interest, the Insta post that leaves you feeling you’re not good enough for the hug, the kiss, the cuddle and are you perhaps the A of LGBTQIA+?
We are plugged in to all kinds of data from a variety of sources, through technology, and even a window view of this space is like stepping into a global COVID control data centre. We are standing up to be counted, to be seen, to do, to contribute, to advocate, to remind, to rectify and restore, to strengthen a growing network of support and response to crisis on a scale we have neither been able to process or measure.
Attire and sexuality in the common imagination and approach as represented (and also as received) by the mainstream media tell us a lot about prevailing attitudes to both. Advertisements bombard us with all kinds of representations, negative and positive, of human sexuality, sexual expression and desire. In the creation and marketing of attire and fashion, there is a great awareness of sexual buy-in or rejection by the market – that’s us.
There have been several recent examples of actors, movies and events being called out because of their lack of representation, like for the Oscars. With social media it is easier to create and distribute diverse art and also to voice the need for diversity. So it needs engagements and awareness in society. Change will happen once enough people demand that change.
Self-care is influenced by the environment we inhabit, the way we relate to others, the way we negotiate with other living beings or structures. Self-care is also interlinked with other types of care – whether that is in community resources, psychosocial support, engagement with medical and health care institutions, and of course in collective agency and solidarity.
Disabled people might not have many spaces where they can speak openly about their sexual experiences or even sexual curiosity. There is a heavy monitoring of disabled young people especially, and this can mean that exploration, which is often how many of us discover sexuality, can be limited. Moreover, since the experiences of disabled people are not seen in popular media such as films, we can (and probably do) imagine we will have the same or similar experiences as non-disabled people – which is often not possible.
Rituparna Borah is co-founder and co-director at Nazariya: A Queer Feminist Resource Group based in Delhi. Currently a fellow of…
In this interview with Shikha Aleya, Maya speaks with a deep knowledge of ground realities about the increasing informalisation of labour and its implications for gender and sexuality, and about what labour rights and inclusion mean in real terms.
Sadhana Chathurvedula and Nirupama V have been exploring the phenomenon of Hallyu, the popularity and fan following of Korean entertainment…
As we grow older, moral codes, conventions of appropriateness and shame, and the utilitarian and income-focused education we get make us lose that stability. The idea of play to me is about bringing back that ability and comfort into the lives of people so that they can actually play.