by Carmina Masoliver
Edinburgh Fringe festival seems to get bigger and bigger each year; there are hundreds of shows to choose from and the densely-packed programme can be difficult to decipher. Here we have briefly reviewed three distinct shows from the 2019 edition, dealing with the mind, the body, sexuality, relationships and gender.
By Ananya Wilson-Bhattacharya
I was eager to get my hands on a copy of Alison Winch’s debut poetry collection, Darling, It’s Me. With ‘fiercely feminist’ poems on the themes of motherhood and marriage, I was expecting rich, analysable material and I undoubtedly found it. Winch intersperses her narrative of contemporary women’s experiences with a series of extended metaphors rooted in Enlightenment philosophies and the European societies where these were developed, occasionally shifting form to witty sketches involving philosophers Thomas Hobbes and John Locke.
by Sunetra Senior
Part Three (of Three): An Ideological Ambush and Choosing Utopia. Read Part One here and part Two here.
Here, another sinister aspect of the Trump campaign, now verified by the recent Cambridge Analytica scandal, was the invasive, online method through which I proposed that an amoral moneyed elite was not only manipulating, but also forcibly hijacking the public’s trust. I will again emphasise another, so far unacknowledged, caveat: this method of manufacturing investment not only cheats people short-term – including those vacuous nutjobs at the top- but sustains a deceptive, distinctly digital control well into the destructive future. Once removed and shiny, the technological medium of devices and social media is the perfect way to distract from the escalation of political inequality by cunningly feigning advancement.Continue Reading
by Sunetra Senior
Part Two (of Three): Bladerunner 2049 and a Tragic Trajectory. Read Part One here and part Three here.
Yet, a year on and the opposite seemed to manifest. Last year’s big, sponsored march was populated by blatant careerists and women who seemed to think the Feminist conclusion lay in just stony vocational power. This was the severe, stifled energy I’d been feeling. It wouldn’t have been surprising to see a placard that read: ‘Good women Go to Work!’ No wonder then, that there was also interpersonal tension and division between the various organisations at the demonstration: women were feeling competitive. Here, I will emphasise: to fixate on external acquirement such as an invincible social status and intensive office hours and treat them as if a modern romance, is to internalise a toxic masculinity that does not oppose but instead reinforces historic gender inequality. Follow this regressive trajectory, and not only do women begin to undermine their previous progress, but too, start to become foot soldiers in a universally dark tyranny.Continue Reading
by Sunetra Senior
Part One (of Three): Bourgeois Beginnings. Read part Two here and Part Three here.
‘Are we in the right place?’ was a semi-serious question posed by a friend of mine at the 2018 Women’s March, which took place in London on 4th March to commemorate worldwide Women’s Day. Having been to many demonstrations between us, including the historic 2017 Women’s March, which took place the day after President Trump’s inauguration, we had sound reference points between us too. Usually, there’s a friendly, lively atmosphere. You might even enjoy some canned ciders as you watch an animated speaker deliver one motivational speech after the next.
In 2018, however, the big women’s march was sedate, controlled, and most alarmingly of all: conformist. I even got elbowed in the face by a male police officer who told me to ‘stay within the demonstration line’. This was immediately after I’d passed a giant stone pedestal, encircled by a murder of male reporters, gathered creepily at that higher vantage point like gigantic crows. Hitchcockian voyeurism aside, women also seemed to be adopting the strange, disciplinary mood. One female speaker said to keep fighting ‘even if it took another 100 years’. But where was the urgency? Where ‘was the anger’? as feminist performer Sophie Cameron tweeted out.Continue Reading
by Carmina Masoliver
When I first saw Soltera Codiciada advertised on Netflix, its title was translated into English from Spanish as ‘How to Get Over a Break-Up’. The title drew me in for personal reasons, having had my long-term relationship end last year. The plot revolves around a heartbroken ad copywriter who begins blogging about her life as a single woman, whose writing pastime turns into a huge success. The English title bears little resemblance to the Spanish title, for which it was difficult to find a direct translation. A Peruvian comedy from Bruno Ascenzo and Joanna Lombardi, the original title shares the same name with the protagonist’s blog and when I asked around, the most likely meaning was as a positive description of a single woman. Infused with the spirit of Beyoncé’s Single Ladies, it is a film that allows us to laugh at the tragedy of lost love.
by Tom McGhie
Content warning: sexual harassment, sexual abuse, misogyny
There are few greater feelings than when an artist connects with their audience at a gig, something more than just applause and guitar chords. Most people have, at some point in their lives, attended a gig which has stuck in their memory because of that very exchange between performer and public. This visceral communication is what propels music as one of the most important art forms; it brings people together in an ever-dividing societal sphere.