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
Aastha Khanna is India’s first intimacy coordinator who is making sure that a film’s vision is realised without flouting anyone’s boundaries, or leading to general awkwardness on set, especially when it comes to intimate scenes.
I gave myself the freedom to choose. And I chose to re-examine my assumptions. Maybe it was possible to ask strange men for directions without being afraid of seeming vulnerable. Maybe I could plan my outfit without bothering about the fact that I would be travelling on public transport.
While women’s colleges are certainly a step ahead of other institutions in creating spaces of liberation and encouraging freedom of choice, this rare advantage must expand itself onto the landscape of our entire country.
Our bodies become the form and medium through which we present ourselves to the outside world, engage with it, interact with it, perceive it and are perceived by it.
This issue of In Plainspeak while inviting us to embrace the joys and pleasure in movement, also questions the ways in which movements are facilitated or obstructed, visibilised or invisibilised, and the spaces that we must envision to find freedom in/to movement.
I’ve essentially thought of movement as a kind of freedom, but one that has the capacity to destabilise you in some way. My most creative moments are when I’m not moving, when I am in fact rooted and still.
In the video section, watch Tishani Doshi perform one of her most haunting and popular poems ‘Girls Are Coming Out of the Woods’. Using the movements of/in body, music and language, it is a powerful expression of Tishani’s expansive vision of resistance, freedom and solidarity in the face of violence.
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.