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
How should I walk, what should my gait be like, what kind of clothes can I wear that will sort of cover me up…? This indecisiveness and the burden of, “What will others think?” are some of the worries, that I carried for a long time while making decisions like: “Is this going to expose too much skin?”, “Is this going to look a certain way that I may not like to present myself as?”
In tailoring the way we present ourselves to the world – be it as fashionista, frump or an artful fusion of the two – we think we are the ones making a choice about how we express our gender and sexuality along with other markers of our identity.
Gender and sexuality are like constituent parts of a jigsaw puzzle that keeps morphing in such a way that nothing ever ‘fits’ for long, and the game begins anew each time.
Indian films have for long fed into as well as mirrored social and cultural practices. Many of them depict a woman as being restricted to the kitchen and serving delicacies during festivities.
The potential for art to connect people and to challenge thinking is continuously widening. Aarushi Jain, a 21-year-old artist from India, perfectly captures the societal expectations placed on women in her representation of the English alphabet.
Social norms don’t expect women to look muscular, but if men are muscular, it is considered sexy. Just by choosing to pursue a largely male-dominated sport that glorifies what is accepted as “masculine”, Karuna and Sibalika are pushing the boundaries of these labels.
Such open spaces to play sports are mainly occupied by men, while women are mostly excluded on account of various gender norms. This also applies to many underprivileged girls coming from the margins of caste and class who lack access to safe and inclusive open public spaces to play, such as public parks or maidans.