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
Shohini Ghosh uses examples from art history and photography as an interesting analytical tool to examine both the historical context as well as contemporary shifts in the way childhood is viewed.
The discursive power vested in audio-visual media can prove to be emancipatory if it seeks to re-write the scripts of love, to expand it to include various subjectivities, disturb the patriarchal gendered dynamics that it is based on by introducing a story that allows the audience to imagine it in various different ways.
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+?
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+?
My friend recounts how, growing up, there was one object around which cohered much intrigue and darkness and which, when brought to light and consciousness through accident, (usually) provoked much commotion, commotion of outrage, disgust and fear: her (used) panties.
It may be useful to visualise sexual rights as a large tree with deep roots and a vast canopy of leaves. Or as a giant umbrella. Or a big tent. Whatever tickles your imagination and allows you to see it as a conceptual and practical tool to make claims for any aspect that relates to how we express sexuality.