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
From my experience of being at the receiving end of this snap judgment of desirability, and seeing what a loss it is of getting to know people as persons instead of cardboard images, I realise how unjust this approach is towards seeking companions (which doesn’t necessarily mean romantic partners). This is not how I would want to be seen. I have been missing out on a lot of sexual, emotional and intellectual stimulation by reducing a person’s attractiveness to these notions.
A few days ago, my cousin saw Anita masturbating while going to sleep. And while having a discussion around this, I realised how, even after its being noticed, nobody wanted to talk about finding ways to discuss it with her in a pleasure-affirming manner.
The boundaries are the most interesting bits. No definitions can be identified without them, and yet they themselves remain in a state of flux – neither here nor there, neither this nor that, but both, all, nothing, and so much more. None can stake their claim on the borderland; it is unseizable, enigmatic, most ungraspable. In its ambiguity it has the power to comfort the outlier at its best, and at its worst, leave bereft those who seek refuge in the absolute.
In 1994, Delhi boy Nishit Saran left home to study filmmaking at Harvard University. By 1999 he had made the searing Summer in My Veins, capturing on camera his own trepidation at coming out to his mother. It is an important, lovely and poignant film.
यूँ तो विवाह और उससे जुड़े महिलाओं के ‘स्थान परिवर्तन’ को ‘प्रवसन’ का दर्ज़ा दिया ही नहीं जाता है, इसको एक अपरिहार्य व्यवस्था की तरह देखा जाता है जिसमें पत्नी का स्थान पति के साथ ही है, चाहे वो जहाँ भी जाए। पूर्वी एशियाई देशों में, १९८० के दशक के बाद से एक बड़ी संख्या में महिलाओं के विवाह पश्चात् प्रवसन का चलन देखा गया है जिन्हें ‘फॉरेन ब्राइड’ या विदेशी वधु के नाम से जाना जाता है।
The meetings with Nakul had made me feel interminably uneasy and awfully awkward. It was like going on a date knowing that your choice would be for life, it was more pressure on the heart than I had ever imagined.
कम उम्र में विवाह और बाल विवाह एक बेहद विखंडित और असमान समाज का लक्षण है। जब भी यह पूछा गया कि लोग अपने बच्चों की कम उम्र में शादी क्यों करते हैं तो “दहेज़”, “गरीबी” और “यौन हिंसा का डर” आदि कारण सबसे ज़्यादा सुनाई दिए।
Invitation cards had been printed. Her parents wanted to get the best of everything for her. She knew that all this generosity came more out of them trying to put up appearances than out of their love for her. Instead of trying to make sense of it all, or to reason with them, she was told to just enjoy this special life event. Once the whole family had arrived, all of her father’s financial worries and her mother’s emotional ones got drowned in the festivities that took place each night. The bright strings of lights flickered all around the house, announcing the upcoming marriage to the world.
Reviewing three films (or the subplots of three films) to see how subplots show that marriage isn’t a destination or a single story that begins and ends in the ‘happily ever after’.
Alankrita Shrivastava made her directorial debut with the film ‘Turning 30!!!’ (2011) and has been committed to telling stories about women from a woman’s perspective. Her second and most recent film ‘Lipstick Under My Burkha’ (2016) has received international recognition and is slated to release in India in early 2017.
As an organized political movement the Indian LGBT movement is still quite young, having taken its first steps only in the early 1990s. However, it is not as if the movement started overnight. Rather it was a result of several visible and invisible developments taking place over the years in the world and Indian contexts.