Category Archives: Feminism

Book Review – Momentum: Making waves in sexuality, feminism and relationships

Hasn’t the conversation about sex and sexuality progressed further than this? Thinking of the recent spotlight on Rick Santorum, the obvious answer is ‘No.’ I eagerly read Momentum: Making Waves in Sexuality, Feminism and Relationships and found in this e-book collection of essays from contributors to the Momentum Conference many pearls of thought and practical advice for people across the erotic spectrum, pursuing careers in sex education and innovating in research about sex and the body. With ‘changing the conversation about sex in American’ as a recurring theme in the collection, I was reminded of the sad necessity of continuing to fight for a country where we can speak about sex and relationships intelligently and without judgment.

If you haven’t encountered Momentum Conference, 2012 was its second year. It is organized by bloggers Tess Danesi, Dee Dennis and Inara de Luna, who describe the conference like this:

MOMENTUM provides a safe place to listen, discuss and learn about sexualities and gender without the fear of reprisal or shaming. It is a space for acceptance and appreciation of diversity, including for those in the LGBTQ, sex-work, BDSM and non-monogamous communities.

During MOMENTUM we will discuss ways to bridge the baffling dichotomies our culture creates around sexuality.

I particularly enjoyed following the conference in Twitter, where everyday quotes from keynote speaker and author of the Momentum foreword Dr. Jocelyn Elders and others flowed my way via the #mcon hastag. Back to the e-book.

Some of these twenty-one essays (and one poem) are a handbook of practical advice for activists in the realm of sex education and sexual health (and all the activism in-between) (Carol Queen, Joan Price, Lara Riscol) and are helpful tools for those wanting to self-publish (Allison Moon), network and further their careers in sexology (Bill Taverner). Other essays are conversation starters about understanding our own sexual identities (Avory Faucette) and helpful advice on how to explore non-traditional models of erotic expression and loving…politely (Tammy Nelson, Cunning Minx)

The three pieces that stood out were by Lara Riscol (Culture Warrior vs Sex for Pleasure: Changing the Sexual Narrative), Audacia Ray (What the Sex Positive Movement is Bad for Sex Workers’ Rights) and Nadia West (Combating the Silencing of Abuse within the Kink and Sex-Positive Communities).

Riscol drove home the point that what we need to fight for is changing the conversation about sex, and articulates it beautifully. I haven’t been able to stop thinking about her essay and how it succinctly expresses the heart of the problem with sex in America and the importance of incorporating pleasure into the dialogue. She writes:

Sex for pleasure breeds honesty, respect, and responsibility. Otherwise the ultimate fallout is simply not pleasurable. Culture warriors don’t stop sex, though they can make pleasure less attainable. America’s war on sex is really a war on conversation.

When President Clinton’s U.S. Surgeon General Joycelyn Elders answered a reporter’s question on HIV prevention that, yes, maybe masturbation should be taught as a healthy part of sexuality, she was forced to resign. Her successor Dr. David Satcher – also a pioneering African American physician from the south – released under President Bush the first-ever Call to Action to Promote Sexual Health and Responsible Sexual Behavior to begin a national dialogue “with respect for diversity” and “for what science shows is effective.” Outraged chastity crusaders pounced. End of conversation.

Audacia Ray’s piece illuminates the importance of a balanced narrative when engaging in activism. She shows why it is important to have problematic and negative experiences told alongside tales of the ‘Happy Hooker’ in order to advocate for rights that do not only address a certain class of sex worker. Of course, problematizing a narrative means that your listener has to be willing and open to objectively considering what you are saying. In a liberal society, one would assume it a given that we can explore polarizing subjects outside of a dichotomy, ie Happy Hooker vs. Exploited Victim, but we can’t. And we’re back to changing the conversation. Here’s a bit from her essay:

No one should ever, by economic constraint or any kind of interpersonal force, have to do sex work who does not like sex, who is not cut out for a life of sexual generosity (however attractively high the fee charged for it). (Whores and Other Feminists, Jill Nagle and Carol Queen eds., p. 134)

But the reality is that people who don’t like sex, or don’t like having sex with strangers, or aren’t sexually oriented toward the gender of the clients they see, or don’t like doing sexualized performances, work in the sex industry every day. And it is just that parenthetical “attractively high [fee]” that is the reason for their actions. For the majority of people who work in the sex industry, money, not sex, is the driving factor. Until a day comes when jobs are available that have wages that are competitive with the sex industry, particularly for cis and trans women, people of color, and young people who need to get out of unstable or violent housing situations, many people will sell or trade sex.

Last, Nadia West reminds us that victims of violence can be looked upon with suspicion irrespective of the community they are in. Thinking back to SlutWalk’s aim to change the narrative around rape and slut-shaming, West suggests that even in communities that are built on a motto of ‘safe, sane, consensual’ activity and that believe in respecting boundaries are not exempt from crumbling when a person accuses another person of violence or rape. This story can’t be told enough. There are too many women and men who suffer silently at the hands of violent people who find themselves without the support of their friends and are treated with suspicion when they come forward. Everything she says in her opening paragraph rings true and calling someone ‘crazy’ or a drama queen is a surprisingly effective way to undermine a sincere bid for help, awareness and, indeed, a bid to keep others safe:

While sexual violence is an issue for people of all genders and the genderqueer, generally the issue involves women (cis and trans) being assaulted by cismen. This essay will focus on that, but keeping everyone involved in the conversation is the only way real change can occur.

I’ve been witness to, and have experienced firsthand, the silencing of sexual assault, rape or abuse victims within the kink community. Threads about it get deleted from Fetlife. The women who speak up about their experiences getb labeled as “crazy.” Sexual violence is still a taboo subject, and victims who speak up are often accused of just trying to drum up “drama.” Most people show more concern for the effects of an accusation on the man accused, and don’t consider what the woman has experienced. This reaction in the kink community mirrors that of society in general.

I look forward to next year’s conference and hope that for those of us who can’t travel to it that Tess, Dee and Inara take the time to publish another one of these excellent collections of essays. As an activist, Momentum was essential reading that took the temperature of sex in America for my contemporaries.

Buy Momentum here.

Join our MOMENTUM Forums
Twitter: http://twitter.com/momentumcon
Facebook: MOMENTUMCON

My guest post on Feministing on #NudePhotoRevolutionary

Notes from a Nude Photo Revolutionary

Last November Aliaa Magda Elmahdy, an Egyptian blogger, posted a nude photo of herself on her blog, as Islamists were securing power in Egypt. She tweeted the photo with the tag #NudePhotoRevolutionary. Elmahdy and her boyfriend were subsequently criminally charged with “violating morals, inciting indecency and insulting Islam.”

On 8 March 2012, I joined thirteen other women to stand in solidarity with Elmahdy as part of the Nude Photo Revolutionary Calendar. Each of us submitted a black and white photo of ourselves totally nude, showing our faces, with our real names and a short quotation explaining why we believe in this cause.

Maryam Namazie, the activist behind the calendar, responded to Elmhady’s action on Freethoughtblogs: “Showing her body, particularly at a time when Islamists in Egypt are securing power, is the ultimate act of rebellion. Don’t forget Islamists despise nothing more than a woman’s body. To them, women are the source of corruption and chaos and must be covered up at all times and not seen and not heard.”

Why did I join? Read the rest here.

Nude Photo Revolutionary Calendar is out now! … And I’m Miss March

Just in time for International Women’s Day: I’m proud to be a part of the Nude Photo Revolutionary Calendar, which brings together work from some wonderfully inspiring women who are very dear to me: Sonya Barnett, co-founder of SlutWalk, and the photographer Lucy Fox-Bohan. In the article copied below, featured yesterday on AVN.com, Mark Kernes, a legal reporter whose examination of America’s relationship to sex and society has been an inspiration to me since I had the cubicle next to his office, sums up the project beautifully. It is a total thrill and one of the highlights of this year to be featured in his article. To Download the Calendar, click here (link possibly NSFW). Also, join the conversation on Twitter using #NudePhotoRevolutionary. The photo above is of Aliya Mahdy, the Egyptian blogger who all of us calendar girls stand in solidarity with.

Activists Go Bare to Celebrate International Women’s Day (links to AVN.com, NSFW)

LONDON—Last November, something unprecedented occurred on an internet site run by 20-year-old Egyptian student Aliaa Magda Elmahdy: She posted a nude photo of herself on her blog, just as Muslim activists were in the process of consolidating their power within that country. Worse (or better, depending on one’s viewpoint), she bragged about her self-revelation on Twitter, under the hashtag #NudePhotoRevolutionary.

“Showing her body, particularly at a time when Islamists in Egypt are securing power, is the ultimate act of rebellion,” wrote supporter and Freethoughtblogs contributor Maryam Namazie at the time. “Don’t forget Islamists despise nothing more than a woman’s body. To them, women are the source of corruption and chaos and must be covered up at all times and not seen and not heard.” But Namazie wanted to do more than just write about this novel form of protest, so she came up with the idea of making a calendar based around the concept that women’s self-expression shouldn’t be limited to those activities that men—and particularly religious men—approve of.

“What with Islamism and the religious right being obsessed with women’s bodies and demanding that we be veiled, bound, and gagged, nudity breaks taboos and is an important form of resistance,” Namazie said—and indeed, as soon as news of the nude photo became known, Elmahdy and her boyfriend were criminally charged with “violating morals, inciting indecency and insulting Islam.” Of course, change “Islam” to “Christianity” and religious conservatives in this country would love to level the same charges against every woman who’s ever posed for Playboy or Hustler or ever made an R-rated or XXX movie.

Through her website, Namazie solicited women from around the world to submit nude photos of themselves, along with a short quote as to why they wanted to join Elmahdy in her “screams against a society of violence, racism, sexism, sexual harassment and hypocrisy.” Namazie and her associates would then choose from among the entries and publish the “winners” as a calendar to be released on March 8, 2012—otherwise known as International Women’s Day.

“I felt that women needed to stand in solidarity with Aliaa,” said Sonya JF Barnett, co-founder of Slutwalk Toronto and the calendar’s designer—and its May 2012 entry. “It takes a lot of guts to do what she did, and the backlash is always expected and can quite hurtful. She needed to know that there are others like her, willing to push the envelope to express outrage.” Others supporting the project, and whose photos are part of the calendar, include atheist bloggers Greta Christina and Emily Dietle, photographer Mallorie Nasrallah, actress Cleo Powell… and writer/editor/publicist Saskia Vogel, whose past employments have included Adult Video News, AVN Novelty and AVN Europe.

“Beauty—in this case a calendar with striking imagery—has incredible power,” Vogel told the French daily Libération when asked about calendar’s purpose. “It crosses borders and can sneak in the back door of someone’s mind who perhaps wouldn’t otherwise be receptive to the message these images carry.” “It’s drawing attention to the perverse relationship that society—and I’m thinking specifically of the United States at the moment—has with the female body,” she added.

“I believe that we need to be able to think sanely about nudity and by extension women’s health and sexuality. I hope the calendar goes some way to helping people question why there is an impulse to censor the nude female form, whether that be Facebook and Victoria’s Secret’s aversion to ‘female nipple bulges’ (which I understand fall into the category of ‘obscenity’ in Facebook’s community standards) or the outrage against women breastfeeding in public. Of course, we should strive for courtesy and good manners in public, but in the case of Facebook and Victoria’s Secret, it’s a bizarre kind of censorship and a strange understanding of what obscenity is.”

Vogel, the calendar’s March 2013 entry, describes herself as a “sex-positive feminist, in the tradition of women like the writer and activist Susie Bright, certain feminist pornographers, and filmmakers who deal with sexuality in a raw and complicated way like Catherine Breillat,” and is currently completing a book on sexuality and culture in the 21st century. The calendar, which is being published in the U.K., can be ordered through a link on Namazie’s websitefor less than $20 including postage—and let’s face it: With the calendar both supporting women’s sexual rights and delivering artistic nude images of women’s rights activists from around the world, isn’t it the perfect gift for adult entertainment fans?

Further coverage as of 9 March

Maryam Namazie

Greta Christina

Daily Mail

XBiz

Liberation.fr

I Blame the Patriarchy blog

International Business Times

The Freethinker

RT.com

Examiner.com

Sisters from Different Misters

http://bust.com/blog/the-ladies-behind-the-nude-photo-revolutionary-calendar.html

March 5: Helen Simpson and Laura Bell in Chalk Farm

An unsual post today: I’m pleased to announce this Granta event, which I’ll be hosting. Helen Simpson’s In Flight Entertainment blew my mind. Between reading Metro‘s rejoice/despair headlines on my morning commute and living in a household where the apocalypse is a favorite topic of conversation, the progression of the stories of the hilarious and mundane day-to-day of domestic and romantic life in the UK left me profoundly unsettled. Laura Bell’s Claiming Ground is best desceribed by the jacket copy: In 1977, Laura Bell, at loose ends after graduating from college, leaves her family home in Kentucky for a wild and unexpected adventure: herding sheep in Wyoming’s Big Horn Basin. Inexorably drawn to this life of solitude and physical toil, a young woman in a man’s world, she is perhaps the strangest member of this beguiling community of drunks and eccentrics. So begins her unabating search for a place to belong and for the raw materials with which to create a home and family of her own. If you’re familiar with my time on ranches and love of the American wilderness and its mythology, you can imagine how much I’m looking forward to this. I hope you’ll come along!

Eva Ionesco – Complicated viewing (pleasures?)

Eva Ionesco is an actress and filmmaker, whose photographer mother Irina Ionesco used her as a model as a child. These are some of the less explicit photos. These are beautiful images, but complicated to look at. What does it say about the viewer if they are inspired, moved or provoked to thought through the representation of a child with touches of adult sexuality. The self-conscious erotic charge is something I remember from childhood. Children don’t need the adult eye to create themselves as erotic creatures. Children naturally imitate and emulate adults. For reasons I do not know, the power read in confident, radiant and erotically charged portrayals of adult females was something that spoke to me. Many of my friends, as well as I, worked this into their play. Trying on our mothers’ lingerie. Posing in a pin-up style. Before we had developed our secondary sexual characteristics.

This quotation from an essay I wrote on Josephine Mutzenbacher, a fictional memoir written by an aging Viennese prostitute who recounts her sexual awakening, between the ages of 7 and 14 (the age of consent in Vienna at the time) sums up the complicated pleasure of viewing Ionesco’s photographs: “The identification with the erotic child does not condone pedophilia. Rather, the conceit of truth in this text and the sexual child protagonist ask the reader to confront all his notions of decency and brings awareness to just how easy it is to draw pleasure from conventionally transgressive sources.”

In this sense, Irina Ionesco’s images hold a mirror up to the corners of our mind that we do not examine enough and should, in order to infuse the current fear about children as erotic objects with a bit of sense. Pedophilia, of course, is unacceptable, but the panic over children as potential erotic objects creates a disturbing backlash. The scholar James Kincaid writes: ‘By insisting so loudly on the innocence, purity, and asexuality of the child, we have created a subversive echo: experience, corruption, and eroticism. More than that, by attributing to the child the central features of desirability in our culture—purity, innocence, emptiness, Otherness—we have made absolutely essential figures who enact this desire’ (James R. Kincaid, Child-Loving: The Erotic Child and Victorian Culture (London: Routledge, 1992).

I read that Eva now condemns these photos. With this in mind, was it wrong for her mother to document this aspect of child sexuality, innocent for the child but an artistic theme or inquiry into behavior on the artist’s behalf? Adult female porn stars, such as Deep Throat’s Linda Lovelace, who one assumes were in charge of their mental and emotional faculties when they made the decision to allow themselves to be filmed having sex, sometimes also renounce their involvement in documentation of the erotic self. Is it shame for Linda and Eva? Or is it regret that they did not know what they know now; feel as they feel now? Both Deep Throat and these images have a meaningful place in society and in the discourse of sexuality. As someone with a deep interest in the meaning and function of pornography, prostitution, eroticism, expressions and representations of sexuality, I think these documents are valuable.

Can the same be said the fashion images of Thylane Lena-Rose Blondeau, the 10-ish year-old model? Is it easier to appreciate Ionesco’s photographs than images that are made for commercial reasons (Deep Throat included)?

Some of the pictures feature wittily in editorials about age and beauty. (Lipstick felt like a potent gateway to womanhood. And misapplied lipstick, especially scarlet and berry colors, makes me feel like a child.)

But others balance precariously on the edge of a self-referential fashion commentary on the fashion industry’s use of child-like models to market clothing to, presumably, fully grown women. Even though shoes that don’t quite fit are common in fashion editorials (I assume it’s often unintentional), Thylane’s too-big shoes upset me a little. I like processing these feeling of discomfort, but I am unable to make up my mind on if in fine art and pornography I allow for a wider dialogue than I do in commercial representation. Just look back at this Marilyn-Monroe-ish image of Madison Young and her child.

And then I think of the Blue Lagoon and its assertion of natural love. Every new moment of a child’s life is a step towards adulthood and the procreative urge.

Thylane in Blue Lagoon-style.


Let’s return to the basic tenets of good BDSM play: Safe, sane and consensual. Consensuality is key in thinking about these images. Can a child consent to representations, as above? How can a child be equipped to understand what representation like this will mean, not for society’s sake, but for themselves as they mature into adults?

In this way, it’s not about the erotic elements of the work, but the exposure of child. Far more disturbing than these photos could ever be is the Marni Kotak, the performance artist who recently gave birth to Baby X in Microscope Art Gallery, NY. Yes, giving birth to a child is probably ‘the highest form of art,’ as she asserts. For many reasons, the first that comes to mind is the draconian relationship of corporate America to women having children (Bloomberg, hello.), this seems like a valuable performance, reminding us just how organic life is — even if we have adorned it with a sophisticated architecture of economics, etc.

But when Kotak stated that she’ll document the child’s upbringing with a weekly podcast for 18 years, questions of a right to privacy and perhaps even dignity, must be posed. It smacks too much of the notion of a child as property and the liberties parents take with their children.

I suppose we won’t have the answer until Thylane grows up. In the meantime, we can watch Eva Ionesco’s film “My Little Princess.”

MY LITTLE PRINCESS – Trailer – CINERAMABC INTERNATIONAL FILM FESTIVAL from Cineramabc Filmes on Vimeo.

Thanks to Samantha Sweeting for showing me Eva Ionesco’s work.

What I’ve learned by SlutWalk co-founder Sonya Barnett

[via]
On January 24, 2011 Constable Michael Sanguinetti spoke on crime prevention at a York University safety forum. He said, “Women should avoid dressing like sluts in order not to be victimized.” Sonya Barnett and Heather Jarvis decided that they wouldn’t sit by quietly and let another authority figure excuse or explain away rape by referring to any aspect of a woman’s appearance. They organized a protest in Toronto that they called SlutWalk and, to the surprise of the founders, it caught fire around the world. Since the first protest, there have been SlutWalks across the Americas and throughout Europe, garnering high praise and severe criticism. I’ve never spoken with Jarvis, but Barnett and I had become pen pals through my admiration of the Keyhole Sessions, her life drawing workshop with an edge. We met this year in London, where she told me of her incredible journey from being a woman with a day job who cared about women’s rights and nurtured the connection between sex and art to suddenly being in the spotlight as a feminist activist. I related to her ambivalence about the idea of feminism: championing equality, but not quite feeling at home with the rhetoric. Almost a year on from the statement that sparked the first SlutWalk, I wondered, what Sonya Barnett had learned through this incredible journey. This is her reply.

  1. Media is both your friend and your enemy. Living in the age of social media means information spreads like wildfire. If it’s erroneous, it doesn’t matter—people are likely to only read 140 character headlines or share links without reading the back story. And many—not all—journalists are lazy. They write their stories based on other people’s information without bothering to fact-check or go to the main source, like interviewing those they’re writing about.
  2. Sharing information can be very therapeutic. We’ve seen many people unpack their experiences on the SlutWalk Toronto Facebook page, sharing and supporting each other as they deal with what has happened to them. It’s not a completely safe space, but people feel they have a voice there.
  3. SlutWalk and other independent movements are not the final answer for feminism. It’s one facet of a giant movement and like all the others, cannot solve all the problems that women face. Every group has its pros and cons, as well as supporters and critics. SlutWalk Toronto was based on one officer’s comment in our own city. We had a response and did the best we could with what we had. We are all still learning—about gender, race, class, etc.—and it will take a while for us to figure it all out.
  4. Feminists eat each other alive. I, perhaps quite naively, thought that fighting for women’s rights meant a kind of “we’re all in this together” attitude. That’s far from the truth. Clashes amongst feminist groups happen often and this infighting is a big reason that the movement is at a standstill. Education between them is key, not offensive/defensive actions.
  5. Language plays a large part in our lives. It’s been amazing to see the reactions of one word and how it still holds the power to be divisive. Because it holds such a power, many people still can’t get past the ‘slut’ part of SlutWalk, and don’t delve further into the real issues: how rape culture still shapes society to a point where so many people stay silent.

Read more about SlutWalk here.

Visit the Keyhole Sessions.

#LadyPornDay On Beauty and Desire

I’m watching Canada’s finest real lesbians do it. Maybe they aren’t Canada’s finest. But they’re real lesbians. In a beard-stroking kind of way, I’m selecting scenes from this all-girl website for an erotic compilation for women that doubles as a showcase for female directors. The brief? No fisting. No one who looks too butch. Sure.

The fisting part turns out to be not too much of a problem. Those clips are clearly labeled, and other female fantasies take center stage. One woman dreams of being fucked by a stable of unicorns wearing white tuxedos, but settles for a woman in a horse mask, a black suit and a strap-on. “My girlfriend won’t even wear the mask,” she tells her equine partner. Another is alone in her hotel room and, Lo! Room service arrives in the form a woman willing to do her every bidding. And then there’s Geneva. Beautiful cocoa-skinned, long-limbed Geneva.

She has sex with a dreaded and tattooed Ani DiFranco-alike, a suited boi, and an aging short-cropped butch dyke, but that’s not her allure. Neither is it the interracial element. The fantasy is Geneva herself. You can see it in the eyes of the women who pass between her legs: This is a Woman. Her lips bleed like raspberries when bitten. She mounts each of them with agile grace, the tips of her puckered nipples grazing their flushed faces. She displays herself. Wide smile and crinkled almond eyes, she can’t stop giggling. Even with their fingers inside her, she is out of reach. And she knows it.

Geneva belongs on the catwalk. Sure. But how many other well-structured, slender bones have I watched in triple-X action? At the risk of inflaming her round-bellied, thick-armed sexual partners, the stuff that fuels my fantasy is the idea that she loves her body. Like in the first season of The Simple Life, tiny Nicole Richie looked almost chubby next to the lanky Paris Hilton. Standing next to Geneva would make most women look a little round. That’s not it. It’s that her partners don’t look like they exude health and the celebration of the human machine.

We should embrace all shapes and sizes. Indeed. But bodies are meant to be used. A sexy body brims with strength, health, the flush of physical activity…even when soft around the edges. When watching Geneva’s partner’s emote as she undresses and writhes, it seems that the women agree that this is the stuff of physical desire.

In her scenes, there is a strange divide. Geneva isn’t the most engaged performer and mostly looks like she is putting on a show of moans. Her genius is employing the aesthetic one cannot ask for at a hairdresser as a tease. She restrains one woman, waves her ass in the girl’s face, and parts her pussy lips. The woman is unable to act, and resorts to impotent threats. Even when Geneva uncuffs the other’s wrists, she is the master of the scene—batting her partner’s mouth away and demanding a toy. When Geneva climaxes, she is a goddess on display. When her partner climaxes, it is with gratitude.

If my brief were to go for “intimate and arousing,” the mutually lust-filled scenes with a skinny boi and her voluptuous sex kitten that end in tender kisses and caresses, would have been first choice. But we all can have intimacy, right? In the universe of this website, intimacy abounds, but the beauty of the human form that inspired classical sculpture—and that inspires desire for Geneva—is rare. That which we cannot or do not have is the bloom of desire.

Zocalo Review: Sisters in War

Iraq

Sisters in War, by Christina Asquith

Sisters in War reads like a serial drama, kicking off with the fall of Saddam Hussein in a time of naïve hope. Christina Asquith’s breezy style still captures the complexities of the 2003 invasion and its aftermath, particularly how one can be anti-Republican, think that war always has an especially negative impact on women, and still see the good in clearing the way for a new Iraq.

Asquith closely follows three women who represent different political perspectives. Zia is a recent university graduate and the go-getting daughter of a progressive Baghdad family with hopes for free speech and equality post-Saddam. Her family is supportive of her public career with the American-run Iraqi Media Network, even when her professional and romantic alliances with the occupiers put their lives in danger.

Lieutenant A. Heather Coyne works to help Iraqi women join public life but finds herself hindered by military bureaucracy. Aggravated by the casual sexist remarks and ass-slapping she endures in the military, her commitment to empowering women grows. Though untrained in aid work and lacking any real knowledge of Iraqi culture, Heather charged with distributing a large government grant to establish Baghdad’s first women’s center.

Heather seeks the help of Manal Omar, an Iraqi-American NGO worker who has ingratiated herself with Baghdad’s locals. Manal, who chose to take the veil to her Iraqi mother’s dismay, makes slow progress in her mission to encourage women to drive their humanitarian agenda: the needs of women across the spectrum of Islam seem irreconcilable, and women’s rights workers are targets of violence. Understanding that they need each other, Heather and Manal set aside the usual rift between U.S. military and aid workers.

As part of Asquith’s intimate tableau, the personal impact of events such as the decapitation of American businessman Nick Berg by Islamic extremists, the drafting of a constitution, and the invasion itself hit in the gut. Vibrant peripheral characters — an uncompromising American aid worker, the contractors who find it easier to be in a war zone than to deal with problems at home, and Zia’s string of unlikely Iraqi suitors — flesh out the experience of life for women in Iraq until 2009.

But it’s Zia’s quiet younger sister who makes the biggest impression. Like all the true victories in this book, hers is personal, not political. Nunu’s story of self-realization is a tender one — from her excitement at the arrival of the Americans (and the girlish dream of being swept away by a soldier) to falling into deep depression after uncontrolled violence against women on the streets forces her to stay indoors. She sits uncomfortably between admiring her sister’s independence and wanting a traditional feminine role. With the help of a newly-aired TV show called Oprah, she becomes her own mistress.

Asquith challenges stereotypes by showing how Americans and Iraqis perceive each other and why. As time passes, the warmly welcomed American liberators are viewed with increasing suspicion. With a 70% unemployment rate and political tensions high, Islamic extremism and conservatism grow more prominent in Iraqi civic life. In turn, the U.S. occupiers treat all Iraqis as potentially violent and untrustworthy. Lost in the mire is the generation of Iraqis, like Zia’s parents, that embraced Western attitudes before the 1963 rise of the Ba’ath party and hoped to participate in the culture again.

In this political and social maelstrom, Asquith finds the silver lining in small triumphs of feminism.

Art Installation: One Woman’s Hell

Coco de Mer‘s activist arm Bondage for Freedom have teamed up with a stellar group of actors and artists to show the experience of one woman caught in a web of human trafficking. “Journey” traveling the world. Last stops were London, Vienna, New York and Madrid. Look out for it in a town near you.

Documentary: Indian Sex Workers as Agents of Change

A note from filmmaker Audacia Ray: Back in September, my job at the International Women’s Health Coalition (IWHC) sent me to India with my co-worker Khushbu Srivastava to do media training and documentation of our partners in the country.  One of the organizations, SANGRAM, works to ensure equal access to HIV/AIDS prevention, treatment, care and support. Over 6,000 women in rural India have participated in HIV testing as a result of these efforts. Drawing on 15 years of work to empower marginalized communities to claim their rights, SANGRAM is becoming an increasingly strong advocate nationally, and globally for health policies and programs that are responsive to the real-life needs of local communities. For the last twelve years, they’ve worked with sex workers – women and trans people who are some of the most marginalized folks in their communities – to stand up for their rights against abusive cops, the government, and the public health system.

While I was with the amazing folks at SANGRAM, I shot more than 6 hours of video footage, took more than 400 photos, and took many many notes. This five and a half minute video is the first of several pieces of online media that we’re producing in collaboration with SANGRAM to document their work and the work of the fierce sex workers they collaborate with and support in their struggle to have their rights recognized and respected. I learned so much from my time with them, I hope you enjoy the video!