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
I discovered that tennis is not only about having the privilege to buy a racquet and specialised tennis shoes and access a tennis court. It is also about how one performs and expresses oneself, requiring players to follow a particular aesthetic that enforces gender binaries.
They use sports, technology, arts, and media to express themselves and to build the confidence to exercise choice and negotiate decisions about their bodies, health and life.
So I am realising now that for me the space of borderlessness applies to everything. It applies to the physical and topographical border as it does to the borders we create between gender and their expressions. I think I would like to argue for a truly borderless understanding of the world.
“Something about this pose brought about a sense of owning my body, my persona, my expression, my sensuality, my whole being. The drop of the hip made the bottom vertebrae curve, and appear out of alignment from the rest of my spine. A deviance, defiance of the normal straight stance. A resistance, a revolt of sorts.”
Drag is more than a form of entertainment or art form or a form of comedic release, it’s the realization of the fun of being queer or having a queer perspective.
This article explores how women are constructed as a ‘space’ manufactured by men to seek comfort, but void of having any active agency or participation in that space itself. I seek to bring this out in this article by drawing a parallel between the nineteenth century ‘Bharat Mata’ (Mother India) and the depiction of the twenty-first century ‘heroine’ in Bollywood movies.