by Elna Schmidt Those who have already experienced a moment in their life where control slips through their fingers know the pain that comes with the realization that for life to be the same again, it needs to be static. It is not. There is no default to which life can return; it has changed. March 2020 marks for many the beginning of such a drastic change, causing life to be altered for good. However, for me, March 2020 also signifies immense pain and the beginning of a horrific journey.
By Lelia Erscoi The choice of pronouns is no arbitrary thing- Sophia’s (“Sophia – Hanson Robotics”, 2022) creators are doing all they can to make you think of it as a “her”. From its appearance, modeled on a mix of women’s faces – Audrey Hepburn’s, Egyptian Queen Nefertiti’s, and its own inventor David Hanson wife’s (Chung, 2022) – to the fact that it was granted human rights in Saudi Arabia (Parviainen, Coeckelbergh, 2021), the whole story behind Sophia is a very fascinating one that aims to inspire. However, that’s what it mostly is – a story.
by Catarina Vila Nova During the Summer months, Esther and Carmen will be riding their motorcycles across 15 European countries in search of what it means to be young and gay in Europe. They will be connecting with partners in film festivals and organizations that advocate for LGBTI+ rights to create a movie platform targeted to professors to get the conversation going in the classroom.
By Kyra-Lianne Samuels Laws in opposition to interracial marriages and relationships are known as ‘anti-miscegenation’ or ‘miscegenation’ laws. The intention behind these laws was to further support white supremacy. By punishing interracial couples with fines, arrest, imprisonment, or the refusal to legally acknowledge their marriages, segregation was being enforced (“The Loving Day Story,” n.d.).
By Hanna Eisen Are you a prude, a good girl, or a slut? It seems like these are the only categories women can fall into regarding their sexuality. While women learn from a young age that they have to act according to societal standards, none of the possible decisions seem to be good enough. One should be flirty, but not too sexy; being a virgin is something to be embarrassed about, but enjoying casual sex is shameful. It seems impossible to walk the fine line of being a “good girl”, especially if that does not fit with the (secret) desires one has.
by Nagham ElRawi An artist’s canvas has always been known to be their voice and their free form of expression, often serving as a reflection of social and cultural conditions in which they exist. As a result, their art becomes a gift, a voice, and a mic connecting them to world speakers. Unfortunately, many parts of The Middle East have resorted to silencing opposing voices which sadly leads to their amplification elsewhere. One of the most current exhibits of this phenomenon is the Afghan artist, Kubra Khademi who has recently made several headlines with her current exhibition at The Eric Mouchet Gallery.
by Catarina Vila Nova Western societies aspire to ideals of equality but it’s in moments of crisis that the reality of where we still are comes to the fore. When it comes to war, gender norms are almost as rooted as they’ve always been. Even with catchy stories of female soldiers in the early days of the Russian invasion of Ukraine flooding our timelines, traditional gender roles still take hold.
by Kyra-Lianne Samuels I wake up and feel the sorrow wash over me and smile into the familiarity. The comfort is soon followed by guilt, shame, dread. “It’s not supposed to be like this,” I think. “I wasn’t put on earth to suffer,” and yet. And yet. The indignity of my reaction leads to a new wave of remorse. At least I’m already in bed. I never got up anyway.
by Nanette Ashby „To realize our sexual freedom, our goal must be to infuse the dominant sexual culture with the richness of our own experience. We must celebrate our differences from those without disabilities. We must see that our differences in appearance and function which are the sources of our degradation also contain the seeds of our sexual liberation” – Barbara Faye Waxman (Kaufman 1).
by Reya Suwarsono Film director, Hanung Bramantyo, unfolds the story of Raden Adjeng Kartini (played by Dian Sastrowardoyo), a daughter born into a Javanese family of nobles in 1879. Her father’s position as a Javanese aristocrat working for the Dutch government provided her with the opportunity to attend a Dutch school – a privilege that few Indonesians had. Her exposure to Western ideals and education played a crucial role in her growth as an activist in her later years.
By Noor Lorist The unthinkable happened. I am not sure when it occurred, but my face has changed. I discovered…
By Lelia Erscoi Let’s do a quick thought experiment: imagine a young boy, spending time enjoying his favorite hobby. What…