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THE DYKE - Disruptive Laughter #3
THE DYKE - Disruptive Laughter #3
THE DYKE - Disruptive Laughter #3
4-6
EMMA ELEONORASDOTTER...............The Lover........32-35
HANNA GUSTAVSSON..........cover: THE DYKE......front+back
JESS ARNDT........Receiving.........................18-19
JESSIKA EKLUND..................REFUGE..............24-27
JOHANNA GUSTAVSSON............................Baby, Bear,
Bi, Bull, Chapstick, in Denial, Femme, Frisco, Lipstick,
Trans, Soft. This body has many names...................3
LENA SRAPHIN................................DOUBLE......
................illustration: EMMA EKSTAM...........14-15
MALENE DAM AND ESTER FLECKNER...........Encountering Dyke
a fragment of an ongoing conversation...............20-23
PIA SANDSTRM...........the AFFIRMATION.............28-31
TIA-SIMONE GARDNER..........................Powerful and
Dangerous: Lorraine Hansberry, Geography, and The Uses
of the Demonic.......................................7-13
ULRIKA GOMM.......in my eyes/ your eyes.............16-17
Women's bodies are used to embody nations but this body refuses.
This body is the site of life, where life takes place.
There is a tradition to its ways, but let me tell you how it will not
please and how it will not fit and how this body takes place and sits and
talks, as if it doesn't care, but it cares, just not for nations.
This body cares for women, whether they like it or not, and whether they
want to associate with it or show solidarity towards it or not. This body
loves women. Is geared into women.
I don't want to romanticize, or only politicize it but
This body is
untraditional
unconventional
not negotiable
This
this
many
Wind
wake
All dykes to the front!! she screams from center stage. We know that she
is used to other sites and communities but there is no need for that here
and we all scream back at her:
All these bodies are dykes yo! Embrace!
----------------------------------------------------------------------------------------------------------Instructions: Cut this page along the dotted line, copy and re-size (optional), re-print on t shirt transfer
paper, iron over white or coloured t shirt, & wear.
is, Baldwin, an openly gay male voice of the Black Left remains a
prominent subject in Black, queer, and literary studies while
Hansberry, who like Baldwin, subscribed to Leftist queer politics in
theory and practice, remains alienated from similar consideration. Let
us pause in this moment to remember, or reintroduce, the importance of
Lorraine Hansberrys work, now nearly fifty years since her death, by
looking at the multiple ways in which she engages a queer politics of
space-making, a cartography of struggle, as Chandra Mohanty and
Katherine McKittrick would call it, as a BLACK Left FEMINIST cultural
worker, US Cold WARRIOR, thinking
also about the power and
danger that have yet to
be understood in her
words. I explore here
that POWER AND DANGER in
relation to the demonic.
THE DEMONIC
In Demonic
Ground: Black Women and
the Cartographies of
Struggle (2006),
Katherine McKittrick writes, the demonic is a dark and unknowable
conceptual terrain that has been denied within Eurocentric ways of
alternate
In other words,
black womens expressive acts, their cultural work, the ways in which
they are able to counter their oppression through performing
resistance, often in intensely subtle ways, cannot be thought of
outside of the spaces in which these acts of resistance take place.
The street, the classroom, the bus, the bathroom. The embodied
struggle that shapes black womens experiences give these spaces of
resistance meaning, black womens embodied knowledges and histories,
make them mean. In Hansberrys life work, this embodied knowledge took
various forms. Les Blancs, one of her last staged plays, staged in
fact after her death, is one such example.
The drama Les Blancs (1970), began in 1960 on the heels of her
great success with A Raisin in the Sun. Partially as a critique of the
French playwright Jean Genets Les Negres, or The Blacks, Hansberry
continued writing and edited this new drama, completing the character
developments and dialogues, until her death. Genets play was to
Hansberry a very narrow, racist, caricature of black radicalism,
written by a dramatist who, along with Norman Mailer, comprised what
she termed the new paternalist.
In
10
It was to be for
with whites who verbally supported the freedom and full citizenship of
black people, but through though their actions disregarded corporeal
and intellectual tactics of anti-racist organizations, believing them
to be hasty and impatient. This is a part of the complex
perspective
she brought to the writing of Les Blancs. Les Blancs provides a sharp
study of the Hansberrys interests and understanding of transatlantic
cartographies. Previously she wrote, I cannot allow the devious
purposes of white supremacy to lead me to any conclusion other than
what may be the most robust and important one of our time: that the
ultimate destiny and aspirations of the African peoples and twenty
million American Negroes are inextricably and magnificently bound up
together forever (Lorraine Hansberry quoted in Hansberry and Nemiroff,
11
noted that the playwright was the first African American dramatist to
focus on African liberation struggles and American racism. A student
of sociologist and pan-africanist, W.E.B. DuBois, it is not at all
peculiar that Hansberry would take such a position.
What is
the
12
13
16
17
18
Receiving
by Jess Arndt
Image: Lygia Clarke the You and the I (cropped and distorted)
19
Encountering Dyke
a fragment of an ongoing conversation
by Malene Dam and Ester Fleckner
20
21
22
23
REFUGE/ 60 50 17 N 16 28 3 E
by Jessika Eklund
24
25
We can leave the grass, spruce, pine and birch uncut on top of
each other. On top of red sand, and black soil.
Put seeds in there.
And listen to the dogs eternal barking.
When we wait for stars.
I know Im lucky.
So come. Meet me.
Be brave.
You are gonna be alright.
We can do extraordinary things.
26
27
28
29
30
the AFFIRMATION
by Pia Sandstrm
31
The Lover
by Emma Eleonorasdotter
In a low voice, just below your breath, you are talking to me.
Your eyes black of desire. Your words complicating my breathing.
I feel your breath against my forehead. Wet heat against my hands
and a wave of hunger for reaching into you drowns me, leaves me
drenched and dedicated.
You weave me into your being, your past and universe of thoughts.
My feelings all mixed up with memories and heartbreaks of my own.
I switch between my messed up bed in Malm, surrounded by toys
and books, to your neatly cleaned apartments in New York, to beds
that I have known, cardboard on the ground, soft thick mattresses:
Places where the power of the erotic has been nurtured. On an emotional level I cannot tell the difference, and you become my past
and take part among my lived through, and unfinished,
love stories.
32
33
34
We lay close to each other. Her smell. Her heat. The skin. But
most of all: The calm in my body. I am still inside.
No gravitation. No intestines. Space on the inside of my skin.
35
hi!
this is an invitation to participate in
DISRUPTIVE LAUGHTER.
disruptive laughter is a publication of 5 issues. each issue will be available both online, as a pdf
for downloading, and in a small edition printed version. there will be some sort of release event in
the end when all the issues are done. so each issue will be more like chapters in the whole, and the
release is an event of gathering those five chapters.
to loose a little bit of the hierarchical curatorial role my idea is to invite three women to participate in disruptive laughter, and those three women will invite two women each to the project.
all together we will be ten voices. this is also a way to hear and listen to voices that you have
not met before. for every issue it will be the same ten women dealing with those different voices
given for each issue. so over time and for each new issue we listen and speak and in the end there
will be a multitude of voices heard.
disruptive laughter:
#1 THE VISIONARY
#2 THE MOTHER
#3 THE DYKE
#4 THE POET
#5 THE WARRIOR
my idea is that the project will be going on for about a year, with start sometime during late summer 2013. every second or third month there will be a new issue published. the idea to give you the
titles for every issue from the beginning, is so each and everyone of the participants can dispose
their individual ideas and contributions to fit their own creative process. and for every issue all
these 10 voices will meet, a multitude of identities, thoughts, lived experiences, dreams, standpoints, complexities and voices.
each participant will have about 5 pages for each issue (more or less if needed). the format will be
A4, standing, b/w. the material can be images; photos, stills, drawings and/or text; essays, concrete poetry, articles, speeches and so on.. the layout will be very simple. all the body text will
have the same font, if there is not a specific layout idea for a specific text.
it is important, if you decide to be part of this project, that you will be part of it through all
the five issues. this project is formulated with inspiration from Audre Lordes life and work.
looking forward to hear from you! please dont hesitate to contact me if there is any questions or
thoughts!
all the best
/Ulrika Gomm
April 3 2013
DISRUPTIVE LAUGHTER
is supported by Lngmanska kulturfonden.
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