Indigenous love master post

Because indigenous women are hella resilent, dealing with colonial bullshit, racism, misogyny, and men who need healing

We are deserving of healthy love too

What are you reading lately?

recently finished audiobooks:

the invention of nature: alexander von humboldt's new world by andrea wulf (5/5 stars, extremely based takes for an 1800s european on the immorality of slavery, rights for indigenous people in the americas, and the negative effects of colonization on the environment. basically THE blueprint for all naturalists after him. probably one of the most beloved scientists ever)

central asia: a new history from the imperial conquests to the present by adeeb khalid (5/5 stars, just a wonderfully researched and presented book. a [necessary] focus on the role of islam, nation-building, ethnicity, and communism in central asia)

when we cease to understand the world by benjamin labatut (4/5 stars, i will never get enough of the history of quantum theory)

the art of communicating by thich nhat hanh (3/5 stars, he writes the same book every book but i still like it every time)

a brief history of equality by thomas piketty (2/5 stars, some good history but essentially a "we must discuss these problems further" book with sometimes weird possible solutions to problems. overall one obviously good point: economic reparations are necessary in many, many places)

currently reading/listening/holding/sensually imbibing:

system of transcendental idealism by fwj schelling (pdf)

a short commentary on kant's critique of pure reason by ac erwing (book)

the case against the supreme court by erwin chemerinsky (audiobook)

next on the to-read list (not in order):

non-places: an introduction to supermodernity by marc auge (admittedly a shot in the dark for whether i like it or not)

immediacy or, the style of too late capitalism by anna kornbluh (zizek and so on podcast did an interview with her that i really liked)

views of nature by alexander von humboldt (hopelessly humboldtpilled)

essays on transcendental philosophy by salomon maimon (imo kant's greatest critic and also has a cool philosophy of difference)

i have perhaps never sent a more important ask in my life. DROP THE BUNGOU STRAY DOGS A/B/O DESIGNATIONS AND SCENT PROFILES

(also without the slashes abo is used as a slur for indigenous australians aka aboriginal people! important to know, i didn't either until just last month)

anon, at the risk of seeming naive, i'm choosing to trust that people are picking up on enough context to not assume the slur denotation.

anyway!!!! supernatural-origin misinformed wolf sex designations but bsd, ft. scent profiles + some additional (but not comprehensive) notes where applicable:

Armed Detective Agency

Fukuzawa [Α]: Fukuzawa smells like agarwood and eugenol, which is distilled from the leaves of red camellias and smells warm and spicy, like nutmeg. Agarwood was popular among Sengoku-era samurai and is often associated with Tokugawa Iyesu, who famously collected incense. I chose eugenol more specifically as a reference to Higo camellias, a group of Camellia japonica cultivars.

Ranpo [Ω]: Ranpo smells buttery sweet, nutty, and creamy with a hint of vanilla. In other words, he smells like an azuki dessert. Fukuzawa thought he'd grow out of it. He did not.

Yosano [Α]: Yosano has a really rich, sensual coffee and rose and patchouli scent.

Kunikida [Α]: Kunikida smells like whiskey oak barrel wood smoked hojicha. The wood I've chosen here is an intentional reference to Hokkaido, where Kunikida Doppo lived (briefly) with Nobuko Sasaki, and about which he wrote.

Dazai [Ω]: Dazai smells like bamboo, vetiver, and ginger, inequally depending on his state. There's a hint of saltwater too, but it's subtle and most don't notice. I won't explain myself here, but I will say the saltwater is a layered reference to multiple moments and places in his life and works lest anyone misconstrue it as referring to Flowers of Buffoonery and the events externalized therein.

Jun'ichiro [Ω]: Jun'ichiro smells like urushi sap with an edge of melon-sweetness, and red maple wood. My choices here are, in part, references to In Praise of Shadows.

Naomi [Α]: I'll decide when I finish reading the eponymous novel.

Atsushi [Α]: Atsushi smells like yuzu, mikan, and basil. Very edible, that one. Most assume he's an omega when they meet him.

Kenji [Α]: Kenji smells like nutty wheat, rain, and freshly tilled soil.

Kyouka [Α]: Kyouka smells like woody neriko incense with notes of honey and plum.

Port Mafia

Mori [Ω]: tbd

Kouyou [Ω]: tbd

Verlaine [manufactured to be and cloned from Α, but inexplicably Ω]: tbd

Chuuya [Ω]: Chuuya smells like French violets, anise, black pepper, and myrrh.

Akutagawa [Α]: Akutagawa smells like smoked amber, leather, and fig.

Rimbaud [Α]: tbd

The Guild

Poe [it doesn't matter, don't worry about it]: Poe smells like wet, freshly poured graveyard soil.

anyone not mentioned and any scents yet assigned are only because i haven't gotten around to them yet. (except for poe's designation; that one just doesn't matter, so don't worry about it.)

Belly Dance Week 45 I honestly have lost track of "time" which doesn't surprise me as I'm not sure if I'm on week 45 or 48, and that's perfect. It means that I have been in my body and not in my head with calculations and configurations. My specific style of Egyptian Belly Dance has a cultural name that I find important to say, "Raqs Sharqi," because in North Africa, where belly dance originates, there is no word that specifically translates as "belly dance." As usual, the western world waters down truth in order for it to be more consumable to bland pallets that are too lazy to learn how to say words that involve the most unused neglected part of the body of native English speakers, the back of the throat where click sounds and other mother tongues stimulate energy to flow up and out. Heaven on earth. Light. No wonder people who speak native languages tend to be smarter. More energy gets to flow from the back of their throats and up into their brains, you see. That's one of many reasons I want to learn a cultural language: Igbo, Afrikaans, Xhosa, or Zulu. I want to learn how to use my whole back throat area for advanced energy and to communicate with indigenous people. What a gift. Kind of a segue, but also health-relevant: Deep throat work is not gross or nasty and we have to get used to threading intelligence about female body health into anything we are talking about and not po*rn-ify anything sensual or sexual. Because female health creates female vitality. Our female vitality not only makes us more aware, intuitive, and magical, it raises the vitality of our lovers, children, and community, all genders because generally, the mother is the first teacher to all. Deep throat connection is not only healing to the brain but also to the vaginal canal and cervix. Oral sex done with a grateful heart, whether sucking your lover's fingers or genitals, favorably changes the quality of your entire female body. In our most recent belly dance class, our soft aim was to bring sensitivity into our movements. "The divine is in the details," my teacher beautifully said, so we worked on recycling our energy from our feet (earth) to our shoulders and arms (tree branches). When you recycle your energy, you don't need to take/steal/manipulate in order to receive anything. You are capable of being filled up and energized off your own natural supply which makes you more magnetic to anything you desire. We also did sensuous movements that reminded me of one of my favorite cultural dances from Ethiopia, Eskista, that emphasizes intense neck and shoulder movement--I was so buttery while doing this because of my love for Eskista is tactile and deep. With all the ass and hip shimmies, breast shimmies, figure 8s, hip drops, and neck and throat opening and that intelligence invoked therein, I left class glowy, and that glow I inhaled even deeper as I biked home, allowing it to add value to my cells, tissues, and organs, and in how I love. More water in a world that is burning is also how we fight back and forward interests of our community and those we love. --India Ame'ye, Author

it hides in the light by Dion Smith-Dokkie

The Bows, April 5th - June 22nd, 2024

it hides in the light presents a new body of experimental mixed-media works by artist Dion Smith-Dokkie that attend to embodiment, interface, information, and infrastructure.

Inkjet-printed stills taken from video works, satellite images of bodies of water, images of daily life, and select found images are broken down into ‘particles’. Using water, the particles are transferred onto paper, creating a collage. In this process, the images are liquefied and lose their discernibility: they synthesize and coalesce. The resulting compositions are further developed with watercolor, gouache, and ink.

The result is an indistinct, luminous work that straddles the line between non-representation and concrete location, videographic and painterly modes. The formal and conceptual tools utilized—mediation and translation via contact, transfer, diffusion, and mutation—become tactics of deliberately sensual and nebulous erotic self-representation. They extrapolate a diffused and empathic praxis of embodiment, self-location, and co-relation.

Dion Smith-Dokkie (he, they) resides uninvited on Musqueam, Squamish, and Tsleil-Waututh homelands and territories. He was born in Fort St. John and grew up in the Peace River region of northeast BC and northwest Alberta. Dion locates themselves as a gay, mixed-race European-Indigenous man who lives with mental illness. He is a member of West Moberly First Nations, a Treaty 8 First Nation. They hold a BA in Women’s Studies from the University of Victoria (2015), a BFA in Painting and Drawing from Concordia University (2019), and an MFA in Visual Arts from the University of British Columbia (2021).

(Photos belong to me and the description and bio are courtesy The Bows’ website)

Sex Worker Pride!

Sex workers were essential to the foundation of Pride as we know it today. Brenda Howard, Mother of Pride was a kinky polyamorous bisexual Jewish sw, and Marsha P Johnson and Sylvia Rivera were also sws of color. We would not have our rights without them and we must acknowledge our history. The red umbrella represents the sex workers rights movement and protection, & we& always make sure to add SWOC into the equation hence the Black, Brown & Tan circles, especially Black and/or Indigenous & Native SW, who're statistically speaking the most likely to be affected by whorephobic stigma, which is why we& added variants with the sacred Medicine Wheel which is very common in many Indigenous circles as a way of healing, the second centering the symbols of First Nations, Métis & Inuit, an Idle No More symbol of a Native fist with a feather that acknowledges Indigenous Sovereignty and represents healing and medicine, a Black Power Fist that must only be used by Black folx, and a Black Power Fist and a feather that represents Two Spirits, which must only be used by Afro-Indigenous folx, and the red butterfly which represents Asians, Pasifika and migrants. The several red stripes represent sexuality, sensuality & desire; to honor those who died to whorephobic violence & STIs as well as homophobia, transphobia & overall queerphobia & honoring the missing relatives who didn't come back home; sws of all genders, orientations, ethnicities & backgrounds whether they're courtesans, sugar babies, escorts, FSSW, cam models, exotic dancers, actors, s.exual s.urrogates, whether or not they've been in the industry for years, are just starting or plan on going into it but can't for whatever reason, regardless of the reason why they started, etc., & hope for a better future.

Flags created by The Imaginarians Galaxy!

Disclaimer: Do not fucking remove credit from us& being the creators of these flags, you may add these to a wiki if you choose to as long as you consult us& first, do not add without our& consent. These were looked over by an anonymous friend of ours& who's a former sw and gave the green light. Do not repost or tag these flags as your own and please give credit if you plan on using these flags, if you want to make edits of these flags, please ask, but please no recolors. These are okay to use for "[insert character] is a s.ex w.orker!" edits & the like. SWERFs and minors are forbidden to use these flags. Civilians may reblog these for sw friends but do not use it for yourselves if you are not a sw or at least haven't considered going into it, please only use these flags if you are/were a sw yourself or at least have considered going into it, or are headcanoning a character to be. Please no discourse interactions on this post.

Tagging @radiomogai for visibility!

BURNA BOY: RISE OF THE AFRICAN GIANT

In many ways, Damini Ebunoluwa Ogulu was always made for greatness, but for the longest time he was one of only a few who believed it. As it happens with those with the strongest wills, this inner conviction of who he was meant to be would prove sufficient to propel him to his destination. With his journey to the top of Nigerian (and African) music now complete, and as he soars to achieve a similar dominance at the global level, it is important to remember that, though he has slid into his star status with all the ease of a natural, his pathway to the summit was not always a straightforward one.

After a spell spent studying in the United Kingdom, which infamously ended in an arrest, Burna Boy returned to Nigeria to pursue his dream endeavour—music. The year was 2011, and Afrobeats—the dance-ready, percussion-focused medley of indigenous sounds with foreign influences—had taken flight. It was a pivotal time in Nigerian music, as the stars who had ruled the last decade—like D’Banj and 2baba—began to wane in influence, while the acts who would take the baton for the next decade, like Wizkid, Davido and Olamide, were taking the first steps of their careers.

In this mix, too, was Burna, and with neither the support of a major label nor an external source of financing in its place, he would have to make things work by himself. As a result of this, his earliest musical efforts, however excellent they were sonically, could not make a commensurate commercial and cultural impact. But he was not entirely alone. He was aided by his manager and mother, Bose Ogulu, who had some ties to the music industry; her father, Benson Idonije, was a music journalist who had managed Fela Kuti. Together with Aristokrat Records and its in-house producer, LeriQ, Burna Boy and his small band of creatives and executives sought to make a dent in Nigeria’s music market.

His earliest forays came via mixtapes. Burn notice: The Mixtape was the first of them, released in April 2011 on the strength of a few singles like “Remember The Titans” and “Wombolombo Something” that were making local ripples at the time in the Port Harcourt scene. He followed up in November with “Burn Identity,” and for this sequel he recruited national stars like Davido and Sauce Kid. These mixtapes were part of an elaborate build up to his debut album—in place of the EP format that is the more common route today. But before its arrival, he needed a spark, a breakout single that would establish him beyond the confines of his Port Harcourt base.

That would come in 2012’s “Like To Party,” which was as true a reflection of Burna’s carefree spirit as could be accurately transcribed in music. Set to dancehall and raggae production that favoured a more tranquil side of afropop, Burna created the perfect beachside song, turning the rejection of his affections—”I been begging but you no wan gree/ Say you you know want me” into a genuine excuse to craft the memorable, wild party. Ingredients like these are never wasted in the hands of the right chef, and Burna was able to draw from his uniquely guttural-yet-soulful vocal range and create what many regard to be his proper breakout single.

Burna Boy would bring all of this to his next release, “Tonight,” this time soaking in some sultriness to set this song in sensual waters. “Said tonight will be your night/ Gotta be doing something right,” he sings, as his chorus loops a single nonsensical word until it becomes the soothing balm for a Friday night’s groove after a work-filled week. For his efforts in 2012, Burna tied for first at the Headies rookie competition, which rewarded underground stars with a chance to perform on the stage of Nigeria’s premier music awards. 

His introductions now out of the way, it was time to unveil a much-awaited debut album. Succinctly titled Leaving an Impact For Eternity, it was supported by a quartet of pre-released singles, (“Like To Party”, “Run My Race”, “Tonight” and “Yawa Dey”) whose quality foreshadowed good tidings for the album—a bar that Burna and LeriQ had no problems crossing with its release. They were in complementary form, working in dancehall, hip hop, reggae and elements from Fuji into the 19 track LP (for its deluxe). LeriQ shone especially in his ability to craft pop songs without dipping into the explosive Ghanaian-tinged production that was all the rave back then, the cloth from which Wizkid fashioned the bulk of his Superstar album—ensuring Burna Boy could light up a party with every bit of his distinctiveness intact. 

L.I.F.E. was a scripting of Burna Boy’s status as he simultaneously affirmed his new position as an uprising star whilst arguing that he should be so much greater. You see, this drive, nearly bordering on discontent, has been the force behind his career, and the reason why his newfound material comforts—the fame and money—in no way slowed his momentum. Worsening economic conditions in Nigeria have made a few prospective endeavours choice paths for those seeking an escape from a harsh upbringing into a much better future. Music is one of these, but Burna Boy’s hunger has always been for greater things. 

This drive, like the flip side of a coin, is also his weakness. In 2014, a year after his debut album had established a place for him in the industry, cracks began to appear in his lean, mean team. The first of these would come in July, when he appeared to relieve his mother of her managerial duties via a now-deleted twitter post, in which he infamously announced it was time to "let my mother be my mother and let my manager be my manager". Bose Ogulu would come out a few days later and attempt to throw some clarity to this statement, but while that episode was still playing out, word came out that he had left Aristokrat Records, the imprint under which he had released all previous music. That turned out to have been a mutual separation following contract expiration and non-renewal, but it effectively meant he would have to record his album without his mother-manager, Aristokrat Records or LeriQ, its in-house producer. 

The result was about as bad as could be expected. Burna Boy had a rough 2015, most of it self-inflicted, so that at the time of the release of On A Spaceship, he had managed to threaten the media, exchange words with fellow artists, and berate award shows, and for anyone who had missed any of his shenanigans, he made the baffling decision of taping an interview of a journalist outlining his flaws and making it his album intro. That, save for the brooding, Fela-inspired album closer, "Soke", was the most exciting point of the album, the rest of which placed somewhere between forgettable and unoriginal. In the end it was clear that On A Spaceship, and the decisions that led to it, was a big misstep for Burna. 

He would then spend 2016 reversing the wrong decisions that had brought him here. He mended fences with Aristokrat Records and was once more back with LeriQ, and though he would still release future music under the self-owned Spaceship Records, he could receive A&R guidance from his former label. Less than a year after On A Spaceship, he released Redemption, an EP celebrating not just these healed rifts but his re-entry to the UK, 5 years after he had received a ban for illegal activity. Redemption was also the earliest attempt to ‘westernise’ his sound, as he and LeriQ slid even deeper into his low-tempo grooves, emerging with a grinding dancehall joint like album opener, "Pree Me". 

Redemption was not the instant return to top form that he might have envisaged, as it struggled to both reaffirm his national position and establish a foreign one in only 7 songs, but he was clearly making steps in the right direction. It would take two more years of work and creativity, and a return to Bose Ogulu as manager, for them to pay off, and this happened with his next album, Outside. It was named for Burna’s desire to stretch his influence beyond Nigerian and African borders, but it excels for his abilities to tie these diasporan visions to an African identity, a hurdle that Wizkid’s Sounds From The Other Side, also sharing this world-conquering vision, could not clear. In many ways, Outside was the birth of the Burna Boy’s superstardom: it was the perfection of the self-styled Afrofusion, where samples of Fela Kuti’s “Sorrow Tears And Blood” on “Ye” sit beside EDM on the titular track which sits beside the patois-dripping, ragga-influenced “Sekkle Down” which sits beside the ethereal, chest-thumping “Heaven’s Gate.” Burna Boy, the conductor of this mix, not only makes it work, but achieves cohesion in a way only he can. 

The album also housed the sleeper hit “Ye”, which, with a tinge of luck supplied by publicity brought by the homonymous Kanye West album, took off for what was his first global hit. Outside was also the first lap of a three-year, three-album spell in which he asserted himself incontrovertibly in global conversations. African Giant, which came next in 2019, was fueled by the same Afrofusion cocktail, and with the album (and the circumstances surrounding its name) he introduced the world to his grandiloquence and the talent that inspired it, before 2020’s Twice As Tall clinched for him a much-coveted Grammy and brought to a fine conclusion his intercontinental dominance arc.

With last year’s Love, Damini released in his new status as a bonafide global superstar, and then becoming his most-streamed project, Burna Boy has now all but completed what ambitions must have spurred his entry into music in the first place: A host of major awards in the bag, unforgettable performances at some of the most iconic locations in the world, a teeming fanbase more than ready to draw arms in defence of his  (many) gaffes. Knowing Burna, you would still not expect him to be satisfied. 

With great talent sometimes comes an outsized desire to make it known to as many people as possible, and an ever-throbbing impulse that tells you you can do even more. Burna crams all of this triumphant euphoria into his latest single, “Sittin’ On Top Of The World," and while it marks some deviation from his patented Afrofusion, we can rest assured that Burna’s plans for his next album and era will embody every bit of the excellence he has exuded at every stage of his storied career thus far.

This article was written by Afrobeats City Contributor Ezema Patrick - @ezemapatrick (Twitter)

Afrobeats City doesn’t own the right to the images - image source: Instagram - @Burnaboygram

hello! my name is damian-cupid or dc and I’m a 25 year old lesbian/butch-dyke

my pronouns: I go by he/him. I’m neutral towards they/them but will not be addressed as she/her. I like he/him the best because it aligns with my perception of myself and how I seek to be perceived by others. I’m weirdly alright with folks calling me ma'am (I live in the south, might be a respect thing) but otherwise not a fan of being referred to femininely. I don’t mind sir at all.

my gender: I’m butch, I’m a dyke, I’m a fag boy, I’m transmasculine, I’m stag, I’m two-spirit. I think of masculinity as an open thing. I find euphoria in all parts of the spectrum. I suppose I’m non-binary but I honestly am pretty neutral towards the word. The concept of just existing as a person, not on either side is way more appealing. It’s just sort of a nebulous feeling for me that I haven’t found the right label for. I don’t believe butch or bull-dyke means rigidity in apparel, hair length, or attitude. I enjoy applying makeup, I like wearing earrings and tons of jewelry and feel personally more euphoric embracing these things. I like, but am not restricted to “masculine” apparel. I wear what I want and express how I want and all of it is masculine because it comes from me. I think we all have a story to write within our expression, and this is mine.

my attractions: I only seek to have romantic/sensual/sexual relationships with other trans-masculine folks or butches/bull dykes. If you’re a masc dyke, you’re probably my type, plain as that. (aside from personality and all) I experience every type of attraction to masculine folks but am not usually inclined/interested in sexual encounters. I figure I’m demi-sexual and have pretty specific terms about who I’ll actually engage in stuff like that with. I’m not even fully sure myself (it’s pretty rare and it creeps up on me lol.)  I consider myself stone and not usually comfortable with folks touching me unclothed and directly. I’ll give you consent to do so. Those who know me physically know where they stand.

I’m aesthetically attracted to femmes but that honestly doesn’t go very far. I’m not romantically inclined in that direction and am not comfortable with folks asking me if they’re “too femme for me to like” or if they’re “too femme to do (insert action)” with. I’m totally open to and enjoy having femme friends but am un-wanting of romantic/sexual/sensual feminine attention. I only mention this because often times when I express a sentiment in regards to being strictly butch4butch and only wanting to engage on that level with other bull-dykes, femmes message me asking if we can engage in said action like I haven't already drawn a clear boundary line.

Random stuff about me: I like metal,punk-rock, dad rock, screamo. I love reading, writing fic. I have an a03 (doggydenturez) and I post some of my works. I do beadwork. I collect antlers and pine-cones. Currently obsessed with Beastars the manga/show. I like painting when I have the time. I’m obsessed with stickers. I like running for fun/fitness/ but also when I’m antsy or stressed as well as weight training. I am Afro-Colombian, African American or Black, and Afro-Indigenous. I am obsessed with stickers. I love making friends and making genuine connections. I don’t think people have to be perfect or unproblematic, I’m pretty non-judgemental. Just be honest and we’ll get along fine.

Thanks for reading!

1,7,10 for the 40 questions for fic writers

1) Describe your comfort zone—a typical you-fic.

Warm sensual smut with feelings, with an emphasis on oral sex and maybe some size kink. Or general shippy nonsense, usually femslash. <3

7) Share a snippet from one of your favorite pieces of prose you’ve written and explain why you’re proud of it.

She knew—vaguely—of land-dweller customs. She knew the burnt woman of their church, but never held much faith. Could you eat your gods in times of famine? If not, what good were they? What use was religion if it couldn’t sustain you?

Or maybe these fragile, death-bound little humans needed to believe that something waited on the other side. They needed to believe in souls in the way that Isabela believed in whale falls, in unexpected kindness and serendipity that nourished hidden depths.

that’s what the water gave me is an Aveline/Isabela mermaid AU, told from mermaid!Isabela’s POV. One of the themes I really wanted to explore was place and belonging, and the way that hungers can nourish or terrify. One piece of Isabela’s history is being captured by Luis, which made me think of selkie stories, which themselves are easily interpreted as an allegory for the kidnap of indigenous women. Which made this an extended metaphor for Isabela’s distaste for forced conversion and general mistrust of land-dwellers and a religion that (to her) only offers pain without nourishment.

And just. I like to think these are a few lovely paragraphs. They flow. And they manage to be both interesting (with varied sentence length and a playful display of wordiness and specificity) and to tie together some of the main themes of the fic. Isabela truly doesn’t understand Aveline yet, but she wants to, despite herself.

10) Which fic has been the easiest to write?

*hour long fart noise* Are any fics truly easiest to write??? Or is it just that I black out on all memory of writing them afterwards???

…a quick flip through my AO3, and the easiest fic I’ve written in a while was All Mouth and Bad Ideas. It was fun PWP featuring a disaster decker that I’ve thought a lot about but never actually written about before. IR-8 is a nonbinary disaster, the kind of character who picks all the hilariously bad dialogue options but makes up for it by being frighteningly competent in their one area of specialty: drone combat.

Plus just. Aleksi Laine is hot and easily the Shadowrun: Dragonfall character that I’ve thought about writing the most smut for. (....or maybe a tossup between him and Eiger. Big tall trolls make my brain go brrrrrr.)

Thank you for the asks! I had fun answering!

(Asks are from this meme!)

Not an anon but what made me& feel sensual: honoring Lady Aphrodite Herself™ by looking at the e-shrine I& made for Her, walking around in naught but my& skin around the house while occasionally doing chores & playing with my& dog & just enjoying the coolness it brings, sleeping in naught but my& skin, looking at my& shadow while taking a shower & admiring my& bodytype, trying on my& teal weave ( or any weave at that! ) last month for the first time, looking at inspo for my& hopefully new first ever apartment next year, reminding myself& that just because I'm& genderfluid or disabled or neurodivergent or have DID or are indigenous doesn't make me& less worthy of experiencing pleasurable things & experiences ( bc unfortunately our lives are so like expected Not to be those things, especially for Native folx & it's kinda sad actually ) !! 🥺💕✨

Aww that's beautiful and so true. Thank you for sharing 💋👑

“I finally realized that I could look towards an energy instead of the bearded man in my textbooks. ”

LOVE MORE AND JUDGE LESS.

The divine feminine is the spiritual concept that there exists a feminine counterpart to the patriarchal and masculine worship structures that have long dominated organized religions. The divine feminine extends well beyond one belief system, and instead can be used as a spiritual lens to balance our perspective. 

“The existence of the divine feminine suggests that complementary energies exist within each being.”

It’s not as simple as “men and women are opposites,” though. That gender binary is a divisive and false tool, as colonial approaches to gender have routinely devalued the feminine in Indigenous belief systems and matrilineal societies. Instead, the existence of the divine feminine suggests that complementary energies exist within each being, represented by various symbols and figures (that don’t have to be gendered—see below).  

“The Divine Feminine is a non-denominational concept and self-exploration that restores a balance to our worship and spiritual practices.”

Maybe she embodies a woman, a moon, a chalice, or a lush garden. Maybe embodying this energy looks like prayer, or sensual experiences, or feeling the fertile soil beneath your feet. Meditate on how you can celebrate this energy within you and especially as a divinity within others—and let’s continue moving towards the balance that we all feel missing right now - 'Emily Torres'

Annotated Bibliography

Ashcroft, B. (2014). Material Resonance: Knowing Before Meaning. In B. Neumeier & K. Schaffer (Eds.), Decolonising the Landscape (pp. 107-127). Brill.

Ashcroft discusses how Indigenous writers’ literary representations of emotional and bodily experience create a decolonial language that communicates relational knowledge outside Western ideas of truth. I apply Ashcroft’s argument to Van Neerven’s poetry where representations of sensuality, queer desire and embodied memory create a new poetic language that expresses and reclaims their Aboriginal body from ethnographic contexts. This source also brings nuance to my ideas. Ashcroft emphasises that while Indigenous writers assert their subjectivity and encourage the audience’s empathy through new poetics, reading Indigenous literature is not an inherently decolonial action as non-Indigenous audiences must act on their empathy.

Foley, F., & Balla, P. (2022). After Boomalli: Art, Activism, and Feminism – Fiona Foley in Dialogue with Paola Balla. Australian and New Zealand Journal of Art, 22(2), 151–159. https://doi.org/10.1080/14434318.2022.2151552

Foley and Wemba-Wemba / Gunditjmara artist Paola Balla discuss how Aboriginal women are excluded from mainstream feminism, art institutions, and Australian history. Foley usefully describes how her art intervenes in such exclusions, combining theory with practice to reinstate the Aboriginal woman’s body in history as a powerful subject. Balla discusses her personal connection to Foley’s works like Badtjala Woman which inspired her to view her body as beautiful in its connection to her matriarchal family, revealing the liberating power of Foley’s work.

Barras, A. (2015). The Law of Storytelling: The Hermeneutics of Relationality in Alexis Wright's The Swan Book. Journal of the Association for the Study of Australian Literature : JASAL, 15(3), 1-12.

Through literary analysis of Waanyi writer Alexis Wright’s novel The Swan Book, critic Arnaud Barras provides a foundational understanding of relationality as the recognition that all entities are inherently intertwined, which undermines the Western dualism between Self and Other. Barras argues that Wright’s deliberate ambiguity makes the reader a co-creator of meaning, entangling them with the Aboriginal protagonist and her Country. This discussion of how literature and art create inter-cultural relationality can be applied to my exploration of the body as a site of collective experience and memory in Foley and Van Neerven’s work.

Fry, D. (2020, June 23). ‘I was the Only Blak Queer in the world’: on Ellen van Neerven’s Throat. Overland. https://overland.org.au/2020/06/i-was-the-only-blak-queer-in-the-world-on-ellen-van-neervens-throat/

Fry’s review of Throat clarifies themes across Van Neerven’s oeuvre, including finding strength in intergenerational connection, familial love, and queer sensuality and community. Fry’s writing also situates Van Neerven’s work as a negotiation between reader and author that evokes Aboriginal and Torres Strait Islander people’s ongoing struggle for land rights. This has complicated my understanding of how Aboriginal art creates relationality, challenging me to consider how non-Aboriginal audiences like myself must actively engage with texts to critique their inherently colonial perspectives.

Leane, J. (2020, August 3). On The Power To Be Still: Jeanine Leane on Ellen van Neerven. Sydney Review of Books. https://sydneyreviewofbooks.com/review/van-neerven-throat/

This review contextualises Van Neerven’s poetry around historical events like welfare surveillance in Queensland and anti-colonial critical theory including Martin Nakata’s Indigenous standpoint theory that acknowledges the sovereignty of ‘subjective’ Indigenous knowledge forms. Leane contributes to my discussion of how Van Neerven depicts the Aboriginal body as a locus of personal and collective history, supports my analysis of how their this materiality disturbs Western epistemologies by engaging with decolonial critical theory, and provides a starting point for further research into such theory.

Nicholls, C. (2010). Embodying Affect: The Stolen Generations, the History Wars and PolesApart by Indigenous New Media Artist r e a. 2010 14th International Conference Information Visualisation, 415–421.

Nicholls discusses how Gamilaraay artist r e a represents the body as a site of collective memory in multimedia work PolesApart (2009), demonstrating how to analyse an artwork’s features and context. Colour, framing, tone, movement, and gaze invite the audience to empathise with r e a’s subject: an Aboriginal woman in historical clothing fleeing an unseen force. r e a invites the audience to interrogate Australian historical narratives that silence victims of colonial violence. Nicholls contextualises r e a’s artwork within her personal family history, the Stolen Generation, and the Australian History Wars. These broader contexts resonate with Foley and Van Neerven’s engagements with Australian history.

Gwenneth Phillips, L., & Bunda, T. (2018). Research through, with and as storying. Taylor & Francis.

Phillips and Bunda provide a useful introduction to storying as an Indigenous knowledge-sharing practice that counters Western intellectuality. In contrast to epistemologies that value only ‘objective’ truth, storying is a dynamic, affective process shaped by interpersonal relationships that foregrounds emotion and materiality as valuable knowledge sources. Based on this concept, I explore how Foley and Van Neerven ‘story’ their bodies to elevate relational Indigenous knowledge forms. As storying is an intimate act of sharing oneself with the audience, Bunda and Phillips’ work also speaks to how Foley and Van Neerven’s art encourage the audience’s empathy.

Sumac, S. (2018). "THIS BOOK IS OURS. THIS BOOK BELONGS TO ALL OF US." A Conversation on Why Indigenous Literatures Matter. BC Studies, 198, 163-173.

Although Sumac’s interview of author Daniel Heath Justice centres Canadian Indigenous people, it provides important insight into how Indigenous artists like Foley and Van Neerven can challenge colonialism by creating “kinship” between artist and audience through stories that provide rich insight into others’ worlds (2018, p.167). This source reveals how the relationality created by Indigenous writing positions it as a loving act. This disrupts the colonial view of the Indigenous body as an ethnographic object or a perpetual site of trauma and redefines them as a subject worthy of care and respect.

Tyquiengco, M. (2020). Source to Subject: Fiona Foley’s Evolving Use of Archives. Genealogy, 4(3), 76-80. https://doi.org/10.3390/genealogy4030076

Marina Tyquiengco provides valuable insight into how Foley recontextualises the historical archive to reveal repressed violence against Aboriginal people. Tyquiengco’s work explains how Foley appropriates historical documents to insert the absent bodies of other Aboriginal people into the archive as authoritative, empowered subjects rather than scientific objects. This collapses past, present, and future to emphasise the enduring presence and impact of colonial violence in contemporary society and allow Foley to draw strength from the past for a hopeful future.

Tyquiengco. (2019). Black Velvet: Aboriginal Womanhood in the Art of Fiona Foley. Feminist Studies, 45(2-3), 467-500. https://doi.org/10.15767/feministstudies.45.2-3.0467

Maria Tyquiengco examines the historical context of Foley’s Badtjala Woman (1994) and Native Blood (1994): the sexual abuse that white men committed against Aboriginal women and the anthropological tradition of representing their bodies as museum objects. Tyquiengco pays close attention to the photograph Fraser Island Woman (1899) of an anonymous, bare-breasted Badtjala woman. Foley recreated this image in Badtjala Woman to reclaim her from the objectifying colonial male gaze. Tyquiengco’s analysis clarifies how Foley reanimates the Aboriginal body by inserting her own vital image and family history into dehumanising ethnographic archival material.

‘Seize the Gaze’ exhibit and the curator, Susan Almazol - truly “Age Defying!”

For artist Susan Almazol, the phrase “age defying” isn’t about a beauty product it’s about energy. And it’s energy or as she calls it “life-force” that she wants to highlight and celebrate in an upcoming exhibit entitled, "Seize the Gaze" opening on May 3.

The exhibition at Joyce Gordon Gallery in Oakland is a captivating immersion curated by Almazol, into the buoyant presence of women of color across generations made possible when women of color themselves determine the gaze -- that lens through which they are seen.

Through bold portraiture, Almazol not only curates the exhibit but is also among the six Asian American, Black, Indigenous, and Latina artists featured. All together, they evoke the profound feminine energies of the sacred, the sensual, and the spirited.

Through their unique perspective of paintings, photographs, digital art, mixed media, and sculpture, the six women invite viewers into an intense and powerful exploration of the limitless spirit of women of color when free of societal constraints.

The "Seize the Gaze" exhibition celebrates the rich tapestry of empowerment and beauty woven by these artists of color.

Almazol took a few moments to speak about her work and a bit about her life.

“I don’t think of myself as ‘all set.’ Life is really an amazing stew of experiences,” she said. And, from her perspective, “old age or rather aging itself can be a continuing evolution of identity."

Almazol has experienced health crises, like others her age, but she's determined to live life to the fullest. “I don’t move as I used to," she said. "But I still want to move and be active.” She added, “All of us are affected by social norms. People have lots expectations and assumptions on how people are supposed to act.”

Yet despite all the norms and expectations, “people are still just people; even if others in general don’t see old people with much identity other than being old,” said Almazol. “Everyone has lots of roles, duties and jobs in their lifetime. They are teachers, parents, managers, director and leaders,” she said. “But when a person gets old, that person in the eyes of the general public is seen and considered as simply old.”

“But, in the circle of friends that I have, no one really ‘acts their age’ as they get older,” said Almazol. “They, like me, are too busy living and wanting to make the most out of life.”

As a visual artist, curator, dancer, and writer based in Oakland, Almazol has always had “a life force” of energy with her. She was uprooted from the Philippines at age 3 because of WWII. After living in Japan, her parents and family immigrated to the United States when she was 5.

These journeys embedded within her an affinity for bold transformation. Not one to question too much why something like a career change or a vocation happens, “I became a ceramics sculptor at 54,” she noted. “And, I danced for the first time on stage at 66.”

But it was in 2017 when she began creating nude self-portraits at age 71 that “I got strong opinions,” she said. “And, some of the opinions were extreme, ranging from support to rejection.”

“What’s interesting," said Almazol "is that up to that point I didn’t get any negative reactions. But it was when I ventured into self-portraits that I realized this form of art provokes strong responses."

Despite the vulnerability in doing art, Almazol continues. Art in any form can be a cathartic experience she said, “In sculpting, for example, when I start I have only a vague idea, and then my hands take over.”

In speaking about her work, fellow artist and colleague Cynthia Tom noted. “Susan and I have known each other for 20 years through the Asian American Women Artists Association.”

As Tom explains. “We were in many exhibits together, but for some reason this last 18 months, we started talking to each other almost daily. We were both sounding boards for each other for different things."

Surprised at first and then impressed by Almazol’s self-portraits, Tom recognized not only the artistic quality of the work but also the “fun, joy, spirit and power” in the work. "I feel like Susan has stepped into her superpower,” she said.

Almazol’s daughter, Octavia Baker, would agree as she said, “My mom is an explorer, a risk taker, and a doer.”

“I nicknamed her ‘can't stop, won't stop,’" said Baker, "for her endless curiosity about the world around her and her prolific ability to create in many art forms.”

Very proud of her mother and the tremendous strength and vitality she radiates, Baker said. “I'm always inspired by her courage to be (more than ‘age-defying’); she’s 'expansive and uncontainable.’ Those are words from her favorite author, Chitra Banerjee Divakaruna.”

‘Seize the Gaze’ opens May 3 and continues for eight weeks through June 29 at Joyce Gordon Gallery located at 406 - 14th St. (between Broadway & Franklin) in downtown Oakland. For more information, visit the Joyce Gordon Gallery website. (Photos: Chris Matos)

Experience the Passion of Tango: Dive into Argentina's Vibrant Dance Culture

Unveiling the Allure of Tango Music in Argentina

Tango – it's more than just a dance. It's a captivating tale of passion, intimacy, and connection, deeply woven into the cultural fabric of Argentina.

And nestled within this rich tapestry lies the heartbeat of Tango music.

Exploring the Soulful Rhythms of Tango Music

As you immerse yourself in the streets of Buenos Aires, the sultry melodies of Tango music fill the air, beckoning you to join in its rhythm.

Originating from the neighborhoods of Argentina in the late 19th century, Tango music has evolved into a mesmerizing fusion of African, European, and indigenous influences.

Dance Your Heart Out:

Tango Lessons in Argentina

Embark on a journey of self-expression and sensuality with Tango lessons in Argentina.

Whether you're a seasoned dancer or taking your first steps onto the dance floor, there's something magical about learning Tango in its birthplace.

Discovering the Essence of Tango Classes in Argentina

In the heart of Buenos Aires, renowned Tango instructors await, ready to guide you through the intricate steps and passionate embraces of this iconic dance.

From the fundamentals of posture and footwork to the nuanced art of improvisation, Tango classes in Argentina offer a comprehensive immersion into the essence of Tango.

Unleash Your Inner Dancer:

Women-Only Tango Packages

For those seeking a unique and empowering experience, delve into women-only Tango packages at the School of Tango.

Amidst a supportive and inclusive environment, women of all backgrounds come together to explore the artistry and elegance of Tango.

Embrace the Connection:

Ballroom Dancers, Meet Tango's Intimacy

Ballroom dancers, accustomed to the grace and precision of their craft, find a new dimension of intimacy and connection in the world of Tango.

The subtle interplay between partners, the intensity of the embrace – Tango transcends mere steps to become a profound expression of emotion and desire.

Conclusion:

Dive into the Passionate World of Tango

In Argentina, Tango isn't just a dance – it's a way of life.

From the soul-stirring melodies of Tango music to the transformative experience of Tango lessons and classes, immerse yourself in the allure of Tango's intimacy.

Let the rhythm guide you as you discover the beauty and passion of this iconic dance form in its homeland.

Five Easy Means To Include Damiana In To Your Daily Routine

Integrating Damiana into your everyday schedule can supply a series of prospective advantages, coming from advertising relaxation and minimizing worry to enriching sex drive as well as sustaining general wellness. Damiana is actually a vegetation indigenous to Central and also South United States, traditionally used for its own therapeutic qualities.

Five Easy Ways to Integrate Damiana:

Damiana Tea

Among the easiest ways to appreciate the benefits of damiana is actually by brewing it in to a great tasting tea. Start through delivering water to a blister, then add one to 2 tsps of dried damiana delegates to a cup. Allow it to high for about 5-10 moments, relying on your intended stamina. You can boost the flavor by adding a piece of lemon or even a dash of honey. Enjoy this calming herbal tea in the early morning or even night to rest and relax.

Damiana Tincture

An additional handy way to integrate

turnera diffusa into your daily routine is by utilizing a tincture. Tinctures are strong organic essences that could be quickly included in water, extract, or even tea. Simply follow the dosage directions on the product tag, typically a couple of drops taken one to three times daily. Tinctures offer a convenient and also effective technique to experience the advantages of damiana, whether you're at home or on the move.

Damiana Capsules

If you like an additional simple technique, think about taking damiana in capsule kind. Pills deliver a convenient and also subtle way to include damiana in to your regular regimen without the need for developing tea or preparing tinctures. Follow the suggested dosage on the product label, commonly one to pair of pills taken one to three opportunities each day. This allows you to quickly integrate damiana into your supplement program, supporting total wellness.

Damiana Infused Oil

Damiana infused oil may be used topically to nurture the skin and ensure leisure. To create your very own damiana instilled oil, simply integrate dried damiana entrusts a carrier oil such as olive oil or even almond oil in a glass jar. Tape the container securely as well as permit it being in an amazing, dark place for about 4-6 full weeks, shaking it occasionally. Once all set, strain the oil using cheesecloth or a great screen strainer and also transmit it to a tidy glass bottle. Administer the instilled oil to the skin as needed to have, rubbing it gently to market absorption and relaxation. Look at https://blowie.nl for a selection of natural products, consisting of damiana, renowned for its reputed aphrodisiac as well as leisure homes, enriching sensual expertises naturally as well as holistically.

Damiana Smoking Cigarettes Blend

For those that take pleasure in natural cigarette smoking blends, incorporating damiana in to your mix can easily provide a pleasurable as well as sweet-smelling knowledge. Damiana leaves behind could be dried out and blended with various other natural herbs like mullein, pepper mint, or even violet to develop a delicious smoking blend. Just grind the dried out damiana leaves behind and combine all of them along with your preferred herbs in the intended ratio. Outlet the go an impermeable container as well as utilize it as an alternative to tobacco for a relaxing and also soothing smoking adventure.

Including damiana into your day-to-day program may be a basic as well as pleasurable method to experience its many benefits. Whether you favor it such as herbal tea, tincture, pills, instilled oil, or smoking cigarettes combination, there are actually lots of possibilities to match your tastes and way of life. Explore various techniques to find what works better for you, and appreciate the relaxing and uplifting impacts of the versatile herb.

Discover the Intimacy of Tango: A Guide for Ballroom Dancers

Introduction:

Are you a ballroom dancer seeking to delve into the passionate world of Tango? Look no further! Tango, with its captivating embrace and intricate steps, offers a unique journey into intimacy and connection on the dance floor.

In this guide, we'll explore how ballroom dancers can transition into the enchanting realm of Tango, uncovering the allure of Tango lessons in Argentina and the richness of Tango classes available for enthusiasts.

Unveiling the Allure of Tango:

Tango, originating from the streets of Buenos Aires, Argentina, is more than just a dance—it's a cultural phenomenon.

Its origins can be traced back to the late 19th century, where it emerged as a fusion of African, European, and indigenous influences.

Today, Tango embodies sensuality, passion, and profound connection, making it a magnet for dancers worldwide.

Transitioning from Ballroom to Tango:

For ballroom dancers looking to expand their repertoire, Tango offers a thrilling challenge.

While both styles share elements of grace and precision, Tango introduces a deeper level of intimacy and improvisation.

Embracing your partner closely, you'll explore intricate footwork, dramatic pauses, and spontaneous movements that define the essence of Tango.

Embark on a Tango Journey in Argentina:

Argentina, the birthplace of Tango, beckons dancers with its vibrant culture and rich history. Immerse yourself in the heart of Buenos Aires, where the spirit of Tango pulsates through the streets.

From milongas (Tango social dances) to renowned Tango academies, Argentina offers a myriad of opportunities to refine your skills and connect with fellow enthusiasts.

The Allure of Tango Lessons in Argentina:

Tango lessons in Argentina promise an authentic experience like no other. Led by seasoned instructors, these lessons delve into the nuances of Tango technique, musicality, and expression.

Whether you're a beginner or an experienced dancer, you'll find a welcoming community eager to share their passion for Tango and guide you on your journey.

Exploring Tango Classes in Argentina:

In addition to traditional Tango lessons, Argentina boasts a diverse array of Tango classes catering to different skill levels and interests.

From intensive workshops to immersive retreats, there's something for everyone seeking to deepen their understanding of Tango.

Step into the studio and let the rhythm of Tango ignite your soul as you learn from the masters themselves.

Conclusion:

For ballroom dancers yearning to explore the depths of intimacy on the dance floor, Tango offers an irresistible invitation.

With its rich history, passionate embrace, and vibrant community, Tango beckons dancers to embark on a transformative journey.

Whether you're captivated by Tango lessons in Argentina or eager to immerse yourself in Tango classes, embrace the allure of Tango and discover a world where every step tells a story of love, longing, and connection.