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
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.
Expanding contexts give the word ‘movement’ different meanings and value. Physical, conceptual, technological, relationship, emotional, mental, power, knowledge, ability, access, may be amongst the contexts immediately identified.
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.
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?”
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.
Just like on a misty morning,
we both
sit
without a shred of adornment
on these ancient stepwells
and the call of the hummingbirds
offer us sensations,
imagination,
and our innocence
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.
A space can make us feel constricted or liberated, and sometimes even both at the same and at varying times. The combination of spaces that we may be occupying in the moment, as well as those we have in the past, predisposes us to act, feel and experience our sexuality in different ways.
We live in a world where resilience is celebrated and given priority over attempting to resolve factors that force one to be resilient. Campuses shouldn’t aim to merely be inclusive of diverse individuals – they must strive to not only affirm them but also celebrate them.
The plot of the movie narrates the tale of the love that grows between two people who are struggling to survive in a world of rootlessness and are continuing to make a cosy home for themselves. The love between Madhu, who works as a food delivery boy, and Puti, who survives by singing at traffic signals, blossoms while they cross paths everyday at the traffic signal and the look that they exchange appears to us as if each of them is trying to find a home in the other.
In theory, the concept of the app is a great one – it provides women, queer people, and people belonging to oppressed castes the tea-stall, cigarette-shop type of public spaces for conversation that are available to upper-caste cis het men. The relative anonymity acts like a safe cover, and the app affords a certain autonomy and agency to marginalised people to regulate the kind of conversation that goes on in rooms moderated by them.
I would say that growing up in a small village would make it difficult to find love or companionship, but I have since moved to a city and found that it was difficult to find love there, too. It did not stop me from trying, though.
I can recall my experiences in the washrooms of different gyms that I have been a member of. A men’s washroom is an interesting place in terms of how sexuality manifests itself in its various aspects. It was not unusual to see men of various kinds with strange energies in these washrooms.