A digital magazine on sexuality, based in the Global South: We are working towards cultivating safe, inclusive, and self-affirming spaces in which all individuals can express themselves without fear, judgement or shame
In my opinion, Ghosh was in search of a language of cinema which could be adequately expressive of queerness; he was slowly moving towards inventing that language, which would not be alienating to his conformist audiences, yet, would be intelligibly pleasurable to his (informed) queer viewers.
In the mid-month issue we have articles about the power of language to name, shame, and wound as well as articles about the subversive potential of language to turn the established order on its head and sing and dance around it.Here we mean language, as in not-just-English.
Feminist, activist, writer, counsellor and trainer, Nandini Rao, focuses on issues of gender-based violence and discrimination, sexuality and disability and on incest and child sexual abuse.
It’s an entire genre of poetry known as rekhti, which was characterised by a female speaker and preoccupation with women’s everyday lives.It is counter posed to rekhta, the “literature narrated in the masculine voice”.
Many queer Indians who converse largely in their respective regional languages find it difficult to put a name to their queer identity in their ‘mother tongue’.
While there have been many music videos objectifying women where they are shown to be given favours by men, it is amazing to note that even in a song where a woman is being refused the ‘gifts’ she seeks, the objectification of women persists.
How does one negotiate the “delicate and complex” terrain of giving, receiving and respecting consent, and safely and effectively express sexual desire?