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
The relationships that are portrayed in queer media also often transcend all attempts at categorisation, but are still undeniably queer – as are the characters whose inescapable push-and-pull, to their audience, often becomes the plot itself.
The lovers enact many recognizable hetero-normative romantic tropes – the wronged petulant woman pacified via kisses and caresses, the woman too tired for sex who then tries to placate the sulking male lover.
Contemporary and predominant imaginations of intimacy focus primarily on a sex-centric (romance-centric?) model which assumes that sexual desire exists and holds the same value for every person and every relationship regardless of their subjective positions. Sexual intent and desire are often the cruces of how relational aspects such as intimacy are socially constructed.
I long for much more than a greater representation of brown women. I long for a complete overhaul of the racial, gendered, and economic systems that structure our suffering.
But I also long for representation of all people, including brown women, who are in love, who are loveable, and who are — in the absence of love — lonely.
I did everything to change my gender expression from masculine to feminine. I started wearing feminine clothes, started growing my hair, and I even had a boyfriend. But the more I pushed myself to be feminine, the more depressed I became.
While Nishit Saran’s iconoclasm loomed large in his lifetime, his oeuvre as a pioneering queer filmmaker and activist seems to have been largely obliterated.
Lots of things, people, and moments have possibilities for stirring the erotic within us. The bible, the dictionary or the stories on nifty.org may become pre-texts to something new within ourselves and others.
The film has all the makings and trimmings of a commercial thriller – a dynamic story, song and dance, an action-packed climax – and at the same time, it is a cinephile’s film.
Māyā Mridanga infinitely problematises the nature vs. nurture debate that is central to sexuality studies. The novel seems to suggest that a certain kind of male body – feminine, smooth, shapely – is the ideal raw material for making a chhokra out of a biological man. Ustaad Jhaksa, whose life the novel documents[2], repeatedly emphasises on this act of nurturing, moulding and pruning of a feminine male body for which he has fatherly affection as well as a lover’s lust.