‘Fuck you mean you need it?/ Fuck you mean you RSVPed?/ I don’t need a reason’ Ashnikko fires back at the retort women often get to be ‘asking for’ unwanted sexual advances through their choice of clothes. No holds barred, she spits out ‘his castration would be nice’, and the extremity and radical of her lyrics continues through the rest of her repertoire, creating both a humorous and empowering feel.
by Alex Valente
2019 is drawing to a close, but the turmoil and trauma of this turbulent year show no signs of abating. As we wrote on the cold, miserable and particularly unfortunate morning of Friday the 13th,
in the coming months and years, many in this country and elsewhere will suffer under a Tory government led by a racist liar. Social services will be dismembered. Workers’ rights will be eroded. Vulnerable people will face violence at the hands of increasingly aggressive immigration authorities and police. All of which will be sanctioned, incited, and protected by the country’s highest authorities and institutions.
The turn of a decade is an important time to review, to remember what the good fight is actually about, and what type of work is expected from us, as people, as a community, as a society.
by Alex Valente
Content warning: suicide
On the evening of Friday, 18th October 2019, I attended Massy Books launch of Kai Cheng Thom’s latest book I Hope We Choose Love – A Trans Girl’s Notes from the End of the World, a collection of non-fiction and short poetic pieces that together form a net of radical hope-building for a time – and it has been a long time, as rightly noted in the introduction – when all hope seems lost. I follow Kai Cheng’s work online already, but I wasn’t entirely sure what to expect from the event. I’m glad to say I’m still not entirely sure what happened.
The existence of the gender spectrum beyond the simple male/female binary is now more visible in mainstream media and popular culture than ever before. And whilst life for non-binary and trans folks is still difficult, even dangerous, there seems to be more cultural awareness (if not sensitivity) about various trans identities within cis circles. In the Hayward Gallery’s Kiss My Genders exhibition, this visibility of the gender spectrum takes centre stage.
trigger warning: mentions of sexual assault, mentions of transphobia
My second week at Edinburgh Fringe Festival offered a selection of shows more overtly dealing with Feminist themes. This selection ranged from the role that gender has to play in our experience of the dating world in the digital age, an exploration of the ‘pretty privilege’ set against trans experiences, to an examination of celebrities as female role models.
In the wake of the recent lockdown in Kashmir, the region long contested between India, Pakistan and its own people, in which communication has been drastically halted and public gatherings banned, Indian politics has found its way into international headlines. But the situation in Kashmir is just one aspect of a much broader, increasingly fascist regime run by a Hindu-supremacist, far-right government. Over the past five years under this regime, Muslims have been lynched by government-affiliated mobs for alleged beef consumption; persecution – and murder – of Dalits (members of the lowest castes) through similar means has soared; journalists have been assassinated for trying to tell the truth. This is why Deepa Mehta’s Netflix drama series Leila provides a timely and disturbing picture of a future India, situated only decades from now in 2047. Unlike many dystopian dramas, Leila is not set in a post-apocalyptic or reorganised world which encodes real socio-political dynamics within imaginary ones. Instead, it neatly locates contemporary Indian landmarks and structural oppressions within the complex fabric of a dystopian future state: Aryavarta, a set of strictly segregated communities governed by fully-fledged totalitarianism.
by Danae Papadaki
Directors: Nathalie Berger, Leo David Hyde
Writers: Leo David Hyde, Nathalie Berger
Running time: 1 hour 50 mins
“If you can get people to work for free, why wouldn’t you?”
It’s the con that the majority of Millennials and members of Generation Z are firmly and infuriatingly acquainted with. Work that could and should be paid for is performed for no pay, on the basis the “experience” it provides them with will strengthen their CV and lead to gainful employment in the future. And of course, to add insult to injury, this is a mantra extolled almost exclusively by comfortable middle-aged, middle-class, white men, who were privileged enough to get their feet under the table having never been asked to lift a finger for free.
Even so, there seems to be little that those being exploited by this practice can do about it. Without permanent roles, they do not even have the severely weakened employment rights afforded to most workers – meaning, “if you rock the boat, you’re done.” So should we just grin and bear it?