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The Naked Anthropologist · sex work | The Naked Anthropologist

sex work

sex work refers to a wide range of activities involving sex in exchange for money or benefits. to call it sex work is to acknowledge it can be experienced as a job, livelihood, occupation

urlOf all the characters destined to work selling sex in The Three-Headed Dog, Marina has the most experience. Now in Spain for the second time, Marina comes from a backwater of la República Dominicana. Sharing the island of La Española (Hispaniola) with Haití, Dominicana is a poor, weakly governed nation popular with tourists on tight budgets. Many of these are called sex tourists by critics, meaning a central purpose for their visit is to buy sex and romance with natives, in a typically tropical setting. Marina reflects on how she got started in her present career.

d5d43c2ca5485db793354630fd176c90… if nice trees and flowers were enough to live on she would never have left home. She would have made do with slaving away as shop assistant in her aunt’s colmado or as a maid to some pretentious lady in the city, either way for pennies. Instead she took a job as hostess in a beer-hall, and her mother sobbed like it was the end of the world. It was okay for a while, but Marina was always looking to better herself.

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http://www.hookstrapped.com/peter-brian-schafer-portfolios

She got taken on at an open-air nightclub in a larger town. It had twenty rickety tables, strings of coloured lights and loud music equipment. There was a platform made of two-by-fours where a single spot was turned on women dancing naked. It was close enough to beaches that tourists rode up on flimsy motoconchos, guys of all different nationalities, some who could barely stay on the bike. Motos with five Dominican kids would pass them roaring with laughter. Marina learned which men danced the best, which were most polite, and which gave the biggest tips.

scene_typique_ambatalok_nosy_tnThe craziest thing was the lines they spun! Come with me to Berlin, you’ll be a queen. There’s no one like you in my hometown. You’re a real woman, like we don’t have anymore. What a beautiful colour your skin is. Foreigners said island girls were sweet and willing to do anything they were asked. She fell for it only once, but the Romeo gave away his plan when he let slip how nice she would be able to make his apartment. If she wanted to be someone’s wife, she could have stayed home.

Marina wants to strike out on her own, not tied from the outset to anyone who believes he has the right to control her. She wants to go abroad like other women she has known; traditions to go to Europe are old in her country. She chooses to buy papers and services from small-time ‘travel agents’. On her second trip to Spain things go wrong, but not because of smugglers’ evil intentions against her; rather they are competing with each other for pieces of the smuggling pie.

Discussions of the fate of women like Marina generally talk over their heads. The wrongness of sex tourism and lack of options for females under patriarchy are the topic, while the pragmatic decisions women make in the here and now are sidelined. In The Three-Headed Dog, as in Sex at the Margins, their actions are the story.

hqdefaultMany times, their goal is to make enough money to build a simple house back home. Other times, they decide to try to stay abroad.

Laura Agustín, the Naked Anthropologist

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1257051160_850215_0000000000_sumario_normalI wrote The Three-Headed Dog to get away from the straitjacket of a debate where one side is always moralising and the other reacting with rational debunking. In terms of academic discourse I long ago proposed The Cultural Study of Commercial Sex, with the aim of expanding topics of interest from a narrow (but still vague) idea about prostitution, with its attendant moral baggage.

I don’t know how long improvements might take, either to the debates or academic production, but I stick by my assessment of many years back that In 200 years the situation has not improved for women who sell sex, but the social sector to help them has grown exponentially. I mention 200 years because that is when the contemporary idea of prostitutes as victims needing to be saved began (I did historical research for Sex at the Margins).

Most people never hear or see useful, complicated or interesting information about jobs in the sex industry. They don’t realise how common it is to work there; their friends that do don’t tell them. How can they learn anything new if all they see are ‘debates’ and screamy trafficking headlines? Reading fiction is one possible way.

In The Three-Headed Dog the search for a missing boy takes the detective-narrator into a number of sex-industry businesses.

1273511051_0* Bars with hostesses and beds available in back: Félix, the narrator, goes dancing with Carlos, who runs several hostess bars in Madrid. At the end of the night Félix persuades him to take her to one, despite his conviction that she is the wrong kind of woman to be there.

* Residential flats where a number of sex workers are available at the same time to clients who make appointments. Marina has worked in the past in flats in Torremolinos, but inexperienced managers have taken over, causing havoc.

Club_de_alterne_40064* Large sex clubs on highways where workers live for a few weeks at a time: Marina decides to go on this circuit in northwest Spain after several bad experiences in flats.

* Bars with dark rooms for sex and pick-ups: Eddy gets a job washing dishes in a gay bar in Madrid.

* Spas/massage parlours: Businesses of varying quality and style where sex is on the menu alongside health treatments. Félix investigates two in Madrid.

* Cruise ships: Marina considers taking a stewardess job.

DSC07713* Streets: Promise works with a few friends close to Málaga’s centro histórico. Eddy makes friends with a rent-boy who works in Madrid’s Puerta del Sol.

These are of course not all possible venues; I did a basic typology some years back of the sex industry in Spain.

SUCESOS-INMIGRACION-PROSTITUCIONNone of the characters talks about doing completely independent escorting. That’s not significant, just not part of this particular story. Most here are migrants who have gotten into debt paying smugglers and false-papers makers and who expect to work in businesses where managers organise a workplace and workers do shifts. We don’t know the details about anyone’s street-work.

22606957325_39f94c53cb_bThe sex industry is represented in other ways in the book. Félix’s friend Carlos has long experience employing chicas de alterne, but another migrant man wants to start a smuggling and pimping network. Eddy takes up with a ‘sex tourist’ (perhaps, it’s a pretty useless concept). There are sentimental clients and an outreach worker angry about disruption to provision of health services in flats caused by managers’ turf wars. There are various employees in the spas, and migrant maids considering going into sex work. A couple of men are seen arranging photos of women on a webpage in a cybercafé.

For readers steeped in reductionist media discourse to read a story where these are the characters and jobs might help understand better. For more on why I wrote a piece of noir on sexwork and migration, see
Sexwork and Migration Mystery and
Melodrama and Archetypes.

-Laura Agustín, The Naked Anthropologist

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imageIt wasn’t always all called trafficking. Whether or not migrants were officially or sentimentally designated refugees, they were portrayed as taking action. Getting screwed – certainly – but that’s another thing. If your goal is to get over the border without official documents, then you make pay-offs.

Migration has long been included as part of normal, if unjust, social life, in many works of literature. In James Ellroy’s 1987 The Black Dahlia the Los Angeles cop-narrator heads south from Tijuana looking for his lost partner. The year is 1947.

Car traffic was scarce, with a steady trickle of pedestrians walking north: whole families lugging suitcases, looking scared and happy at the same time, like they didn’t know what their dash across the border would bring them, but it had to be better than sucking Mexican dirt and tourist chump change.

Approaching Ensenada at twilight, the trickle became a migration march. A single line of people hugged the northbound roadside, belongings wrapped in blankets and slung over their shoulders. Every fifth or sixth marcher carried a torch or a lantern, and all the small children were strapped papoose-style onto their mothers’ backs… The wetback line originated out in the scrubland, and only cut through Ensenada to reach the coast road–and to pay tribute to the Rurales for letting them through.

It was the most blatant shakedown I had ever seen. Rurales in brownshirts, jodhpurs and jackboots were walking from peasant to peasant, taking money and attaching tags to their shoulders with staple guns; plainsclothes cops sold parcels of beef jerky and dried fruit, putting the coins they received into changemakers strapped next to their sidearms. Other Rurales were stationed one man to a block to check the tags… (216-17)

immigrant_crossing_san_diego_03-18-2004This is Baja California just south of Tijuana and a border that used to be so easy to cross that this sign was widely visible to warn drivers on the US side. To get to that line required the permission of police along the way, achieved via bribes. I regard this migration as a close relation of that portrayed in The Three-Headed Dog.

The Black Dahlia herself sold sex out of bars in downtown LA. More about that another time.

-Laura Agustín, the Naked Anthropologist

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landscape-1482233776-rexfeatures-5608654aI wrote a novel, The Three-Headed Dogfor more than one reason. Here is the first of a series in which I tell why, not in any greatly structured way – more thinking aloud. Part 1 highlights how two sides of activism (sex worker rights versus anti-prostitutionism) generally argue their positions, with an eye on the ‘fictional’ methods of abolitionists.

Anti-prostitution campaigners favour melodrama for public hearings on law and policy, bringing women to testify to their victimhood and – this is important – survival. The harrowing tales of forced sex aim to provoke feelings of compassion for suffering that makes listeners worry how many others might tell the same story. Politicians, policy-makers and judges on the podium, as well as spectators, activists and others in the audience are presented with a melodramatic spectacle that churns their feelings, narrowing the distance between themselves and women they otherwise do not resemble.

If you’ve sat amongst the spectators at such events you’ve seen the nodding and other reactions that bubble around you to signal that This is the real story, the only one you need to know. At a recent hearing into Backpage’s possible trafficking-guilt, three parents talked about their lost daughters in a manner that did not prove anything but how upset they felt. Crusaders may also present less emotive testimony, but they never stay long on the fully rational plane. This is a campaign strategy. We are meant to feel lucky that a victim has survived to tell the tale and shiver at the probabiity that most victims do not.

Melodrama relies on the use of archetypes, basic character types that (maybe) ring the same bell in all human beings. The testifying survivor reflects two: the Fallen WomanArt_Shay_Fallen_woman_2044_67 and the Woman Rescued and Reformed. Empathy with the survivor testimony requires a vivid imagining of what she went through before escaping, when she was forced to sell sex, manipulated by bad men and brought so low in the social hierarchy that she’s shown wallowing in the gutter. I’ve written about the Fallen Woman archetype more than once.

awakeningconsciousThe Woman Rescued and Reformed is harder to portray. William Holman Hunt depicted her as The Awakening Conscience (1853), arising from her seducer’s lap upon seeing the light of virtue. It is currently not fashionable to imply that an ex-prostitute was ever at fault, collaborated in her degradation or enjoyed her woeful life. Nowadays anti-prostitution crusaders insist she was a pure victim from the moment she was first seduced. But the archetypes remain in our minds.

At the same public hearings, the appeals to instinctive archetypes and emotions are opposed by Reason: speakers who proceed logically, debunk sensational claims and forgo theatricality. The pro-sexwork-as-work side backs values like fairness and diversity, avoids making extreme claims and calls for policy backed by the evidence of academic research. This is by and large done in a non-emotional mode, appealing to scientific thinking and intelligence. No frisson of excitement ripples through the audience.

These two modes of argument have been in operation for a long time in this field, and neither side has budged from its convictions. On top of realising that that would never change, I became alienated by the paucity of questions addressed: Did the woman know she was going to sell sex? Would she sell sex if she had better options? And so on. I was bored by the impossibility of ever talking about the thousands of other details, ambiguities, jokes, practicalities and philosophies that have no place in conversations framed as ‘debate’ or hearings on law. Pieces written for academic journals are read by a tiny few insiders. And if the only evidence allowed is that turned up in highly constrained research projects then what I want to talk about doesn’t fit there either.

AN00164637_001_lI have every confidence that novels are a wonderful way to reveal unfamiliar worlds. There are, of course, truckloads of melodramatic anti-trafficking novels out now, as there are films. My own way would never be melodrama, but I understand that particular images resound with wide audiences. I am a lifelong appreciator of some kinds of crime novels, and this genre seemed right for me. Particularly right is noir, where it is usual to turn assumptions about criminality and victimhood on their heads. Images of the World Upside-Down hung beside me during the years I was writing Sex at the Margins. Disruption of stereotypes. The end of essentialisms. Strange bedfellows. Irony upon irony.

In The Three-Headed DogI begin to tell some of what has been stored for long in my head in order to say: This is what it looked like at the beginning of the 21st century. These are some stories that rarely got heard. They are stories one can read and still ‘disapprove’ of migration and sex work, but perhaps now capable of seeing the people involved as sentient beings colouring the landscape, moving through the bush, laughing in restaurant kitchens and buying fruit at the market.

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-Laura Agustín,
the Naked
Anthropologist

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agustin-thethreeheadeddog-1400Despite how it might look to those who’ve known me only since Sex at the Margins, I’m not making a sudden switch to fiction. It’s one of the things I used to write before the Internet, before doing postgraduate degrees, before social media. I began this story, in my head and scribbled notes, not long after starting those degrees in the late 90s. This I now understand to show how quickly I grasped the limitations of academic work. There’s nothing left of that first version but the concept: a searcher for missing migrants in economic and social undergrounds, multicultural and hybrid settings, job markets that routinely include sex. In general such stories are not published unless the migrants are portrayed as passive victims needing rescue by much straighter and more comfortable characters.

michaelrougierThe Three-Headed Dog is about undocumented migrants in Spain and their smugglers. A lot of them work in different segments of the sex industry. The incidents portrayed would be labelled trafficking and the migrants victims by anti-prostitution and anti-migration campaigners. I don’t see things that way. Just as I strove to show in Sex at the Margins that many migrants don’t perceive themselves as inert objects of cruel fate and evil men, here a few of them act out their stories, trying to find ways to get ahead and stay out of trouble.

Fiction is not the opposite of fact; truth is glimpsed in different ways. The characters here are neither real nor unreal but created themselves in my imagination out of my long experience of travelling on my own and talking with people. I’ve seen everything that happens in this book. I’ve known people who thought and acted these ways. But all migrants don’t experience things the same way, and they may change how they feel over time. The fact they share is not having legal status to be and work where they are living (under constraints and duress). Falsehoods are fundamental. My intention is not to romanticise but pay attention to lives nearly always shoved out of sight.

10422545_10153240525334511_900316605402882336_nAbout genre labels 

To publish is to choose categories for databases. The Three-Headed Dog is a mystery, a crime story, a (hardboiled) detective novel short on gore and violence. A noir. Noir signifies a dark, morally complicated mood (the opposite of a clear struggle between good and evil). That doesn’t make it amoral (an accusation often thrown at me). The detective’s moral compass shifts as a result of introspection. Good is often tinged with bad, and attempts to do right go wrong. Exploitative characters can be sympathetic. It’s shadowy in noir; the lighting is low. But in low light you see things you don’t see in the bright.

The style is terse: that’s really me. Pithiness works to suggest meanings rather than lay them out. Mine is a rather anti-Enlightenment endeavour. You get glimpses of truths and they contradict each other.

402202_10150584228439511_1629372089_nSee what you make of The Three-Headed Dog. I published it on Amazon Kindle, but you don’t have to own a kindle device to read it. Links to free apps are right there. If you leave a few lines of review when you finish you make it likelier Amazon’s search machine will find and show the book to new readers.

I will be musing more about why and how I wrote this book. Leave questions here and I’ll try to answer them.

If you want to read more, subscribe to email notifications at the bottom of the right-hand column. If you were already subscribed, I’m sorry to say the earlier software broke and your address was lost, so take a few seconds to subscribe anew. The RSS feed is still A-okay.

-Laura Agustín, The Naked Anthropologist

 

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Christmas in the Brothel is from 1905. There’s a tree, a woman with little black book and pencil, a man reading, figures in the background and empty space. To me it shows ordinariness, everyday life. The word brothel is in the title, but it could be any bar. If you like Christmas you may like that they celebrate it in the brothel, too. Or if you feel unhappy at Christmas you may like to know there was a place to go and be alone with other people.

Munch painted other pictures that don’t have such a keyword in their names but represent brothel scenes.

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Viewers may read anything they like into these depictions: Whether the characters are happy or sad, whether they drink too much, whether the venues are nice or nasty. Munch frequented them, that much is clear.

Laura Agustín – The Naked Anthropologist

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animeteamRecently Amnesty International voted to pursue a policy advocating the decriminalisation of sex work (sort of). If you were judging the issues by what Big Media told you, the debate was a clear pro-rights position versus an anti-prostitution position. The clash sometimes looked like Who gets to speak for women who sell sex? ignoring the men and transpeople and ignoring the considerable variation in experience amongst those who work in the sex industry. And, by the way, amongst those who used to work and now don’t.

Understanding the symbolic importance of the moment I kept quiet about aspects of Amnesty International’s proposal that are not good, and I know others who did the same. But behind the scenes, amongst rights activists, there was criticism of Amnesty’s draft. There were differences of opinion, some harsh words and some misunderstandings. As far as I know, there is never total agreement about what specific words should appear in any document attempting to define good law and policy that will support people who sell sex. If the outside world could see those differences of opinion perhaps fewer would believe anti-prostitutionist sloganeering about happy hookers and the pimp lobby.

But the differences always exist within a basic framework that understands selling sex can be experienced as work (nothing to do with personal happiness or what labels folks give themselves). The reductionist line about survivors versus a sexworker elite is daft. But on an occasion like the Amnesty vote, when 140-character tweets reign, most everyone unites in solidarity and sticks to a clear argument, in this case that decriminalisation makes sex workers safer.

One flurry of disagreement on an activist email list arose from an item published by a few academic researchers in Canada in support of Amnesty’s proposal. Some activists found the item to be victimising and disempowering for sex workers. Others did not. One statement got my attention, so I asked the author, Will Pritchard, if I could publish it here.

Research is not Activism

Will Pritchard August 2015

anime2Some researchers have gained the media spotlight claiming they have evidence showing that in places where sex work is a crime, sex workers are powerless victims, forced to work in isolation with no ability to negotiate safe sex, access medical services or organize collectively.

In response, some sex work activists are voicing dismay, arguing that sex workers organize themselves, promote safe sex and join the struggle for their freedom precisely in those places where they face criminal sanctions because sex work is illegal. 

The harm-reduction framework was built under the rubric of human rights. Having watched it develop in Canada in the late 1980s in response to criminalization of drug use and then spreading to other issues including sex work, I have decided that it actually erodes grassroots activists’ efficacy and role. This erosion is due in part to the fact that harm-reduction policies rely on ‘evidence’, and to get that we require research.

Some researchers conscript service agencies, advocates or individual workers to consult in the creation of research projects but often solely to provide legitimacy and address the ethical concerns in institutional review-board processes. Those consulted are rarely experts in research, and though I recognize the important part they play, if they are unaware of the history of the global struggle for sex worker freedoms, or lack a sex work analysis, their contributions become token. They may have limited or no capacity to provide strategic direction to the researcher.

Sadly, those sex workers who are subject to research often set their own personal interests aside and volunteer, under the mistaken belief that participation is for the greater good, or worse, that it is a form of activism. But research is not activism.

anime_heroes_promo_by_ryutokun-d4cmyy2Many grassroots activists and organizers are exasperated that they must now face the challenge of discovering the interests of those publishing research on sex workers. Who is funding the research and to what end? What is the researcher’s professional background and record for incorporating sex worker voices? This frustrating distraction hijacks activists’ bandwidth and is an example of the unintended consequences of research.

Researchers would do well to consider the reflexivity inherent in the harm-reduction framework, whereby evidence-based policy-making begets policy-based evidence-making – a meta-bias if you will. Based on the interests of the researcher, not the researched.

I believe that academics and other allies may have the best of intentions. But perhaps their interests do not actually align with the struggle for sex worker freedoms? They deserve to be questioned, challenged and criticized, since unintended consequences arising from the results of their research could well undermine sex worker freedoms in future, particularly in the domains of public health, justice and social science.

Sex worker activists speak from experience when it comes to unintended consequences. For example, the foundation sex worker activists built was never intended as a stepping-off point for academics to shift the focus of the struggle for freedoms to their own work in the form of ‘evidence’.

Research involving sex work is a job. Sex workers should supervise. And when sex workers say, Sit down, shut up and get back to work, researchers should listen.

Research is not activism.

In solidarity,

Will Pritchard

will-cowboyWilliam Pritchard has been an activist for sex worker rights for 25 years. As a young escort, he helped build a new kind of peer outreach program in Toronto and co-founded the Sex Workers Alliance of Vancouver. Will is a partner at Walnet Institute, an online arts and activism resource. He volunteers as a director for the Triple-X Workers’ Solidarity Association of British Columbia and is a member of the Canadian Union of Public Employees. He works as a city planner in Vancouver, Canada.

–Laura Agustín, the Naked Anthropologist

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Herdlicka Berlin2010I nearly didn’t bother to publish Sex at the Margins. In 1998 Zed Books wanted to publish a thesis I’d written for a Master’s degree in Education, but I refused because after two years’ formal study and field research I believed I still didn’t know enough to make a Book. When I was persuaded to do a further degree and the Open University accepted my proposal, Zed signed me to publish the doctoral thesis that might result. I got the degree in early 2004 but neglected to send anything to Zed. I felt finished with it all, I suppose, and couldn’t imagine other people being interested. The manuscript languished until I wrote them rather diffidently two years later. Since I had failed to fulfill my contract on schedule they were under no obligation to me but offered to take a look.

When they said they would publish if I cut the 120 000 words to 90 000, I thought that would be too boring but then decided it would be a pleasure to remove the sogginess required by academic style with its pointless reiteration and endless hedging. Refusing to cut the two long reference lists I began to slash text ruthlessly. When I reached 75 000 words I knew I could make a haiku of the ideas if I wanted but stopped instead.

The outside reader for Zed, a specialist in migration studies, predicted it would become a cult classic. Classics are meant to be enduring, not rendered irrelevant by changing events, tastes or styles. The modifier cult implies an underground quality. The text is now more than ten years old, but the recent review below suggests the book will be read 100 years from now. Could it be?

Review of: Sex at the Margins: Migration, Labour Markets and the Rescue Industry on Amazon.com

5 out of 5 stars A modern classic about human trafficking: must read!  
6 January 2015 by Thaddeus G. Blanchette (Rio de Janeiro, Brazil)zedcoverbrighter

In terms of academic heft, there may be better books that tackle the mess that is modern abolitionism, its take-over of the global anti-trafficking movement and the transformation of the human-rights struggle into a new, convoluted form of anti-immigrant prejudice. There is no better book than this, however, for a general overview and introduction. Agustín’s work has become a classic in the fields of sex work and immigration studies. It is safe to say that no book has irritated or inspired more people in the anti-trafficking field than this one. What do I mean by a classic?

  • When someone comes up to me and says “I am interested in learning about trafficking. Where should I start reading?” this book is the first thing that springs to mind.
  • It goes against the grain of the received wisdom of the times and yet hits its subject matter square on, in such a way that you’ll never be able to hear someone say “trafficking” again without thinking of it, whether or not you agree with Agustín.
  • Because so much of the subject matter is absolutely contaminated by moral panic and bullshit in other books — even well-meaning academic books — but is not contaminated HERE, people are still going to be reading this a century from now and saying “Yes!” when 99.9% of what is now written about so-called trafficking will read the way Victorian screeds against masturbation do today.

The best comparison I can make is with Emma Goldman’s classic (I do not use this term lightly or ironically) The Traffic in Women, a 1910 dissection of that generation’s anti-trafficking panic. You can read Goldman today and nod your head, while most of what passed for highly wise and popular portrayals of “trafficking” at that time will strike you as moralistic and hypocritical blather. Like Goldman, Agustín is not well received by the powers-that-be of her times. Like Goldman, she is often unpopular, not the least among people who should consider her to be their ally. Like Goldman, she speaks truth to power, backed up by a rapier-sharp wit and a deep intersectional analysis. This is why the book is called a “cult classic” today.

That will be shortened to simply “classic” in, oh, say, ten-twenty years. I’m just getting in on the ground floor.

For those who don’t have the slightest clue of what I’m talking about but are worried about the “scourge of human trafficking”, read this and have your mind blown!

Mind-blowing, inspiring, irritating: grand compliments, I think. Many other reviews, both academic and general-media, are available. My favourite online review from 2014 was Molly Crabapple’s

mollyc

Sex at the Margins sells steadily without getting any real promotion, is on many university reading lists and is unlikely to be found on bookshop shelves (but can always be ordered from them). It is easily available to buy online in different formats including:

When I signed the contract with Zed I stipulated I must approve the cover, and those who follow my work know I favour images of people walking – the best portrayal of agency I know.

–Laura Agustín, the Naked Anthropologist

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Sex-Work-Is-Not-Trafficking-300x292Anti-prostitution advocates routinely use absurd over-simplications to make their crusade crystal-clear easy to understand. Campaigning works better when arguments are black and white and slogans are catchy, obviously, so I realise why some sexworkers’ rights supporters are now using a slogan that also reduces complexity to two opposed states: Sex Work is Not (Sex) Trafficking (sometimes ‘sex’ is omitted). The purpose is to clarify the volition of sex workers who demand labour rights, but for those who struggle against the framing of undocumented migration and people-smuggling as ‘organised crime’, with the only two roles possible perpetrator and victim, the concept is morally bankrupt.

sanjoseCRSex Work is Not Sex Trafficking arose (first) from the common refusal by abolitionists to recognise that anyone sells sex voluntarily and (second) because they early on began fiddling any distinction between prostitution and trafficking. Claims like No woman would ever choose to prostitute herself and the cries of unhappy ex-victims that their experiences are true for everyone led naturally to an opposing insistence that many do opt to sell sex – some loving their jobs and others just preferring it to their other options.

thaiBut to say Sex Work is not Sex Trafficking is to reify the current trafficking narrative, accepting that it refers to something real and bad that must be fought against. The slogan tries to make a sexworker identity clear by distinguishing it from a trafficking-victim identity – the Free versus the Unfree. Saying Some of us are willing to sell sex draws attention to those who are not willing - a distancing mechanism characteristic of identity politics. To maintain I don’t need your help or pity means you accept that other people do need it – those who are really trafficked.

This is to accept the repressive policing, infantilisation of women, colonialism, anti-immigration policy and a range of Rescue Industry offerings: just not for real sex workers. It says You win to anti-trafficking campaigners, even if you don’t mean it to. It throws under the bus all migrants, documented or not, who don’t much like selling sex and don’t call themselves sex workers but don’t want to be saved or deported. It Others the many who have limited control over their lives, feel pressure to earn money however they can or want to get the hell out and go somewhere else and will do whatever it takes to get there. This includes teenagers who leave homes they hate and end up on the street or avoiding the street by trading sex for a place to live.

nocturnoThe entire range of complexity and diversity nowadays thrown into the term trafficked is denied. Years of attempts to bring justice and nuance to a bad criminal framework are ignored. The myriad different ways to feel forced, obliged or coerced into leaving home or having sex for money or giving some of your money to someone else are disappeared. And yes, I understand that Rescue-Industry victimisation makes folks feel anxious to provide something graspable to wider audiences. But the catch-phrase Sex Work is Not Sex Trafficking only contributes to the reductionism pushed by anti-prostitution and anti-trafficking campaigners.

It’s deplorable. Avoid it.

–Laura Agustín, the Naked Anthropologist

 

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ansicht_3933I am looking forward to being in Hamburg, Germany, in August, for this unusually interesting event. My own talk is called Disqualified: Why sex workers suffer social death and will focus on how representation of women who sell sex as damaged victims disqualifies them from rights and justifies a whole Rescue Industry devoted to pushing them around. Some of this was covered in Prostitution Law and the Death of Whores.

The whole event will take place in English, so if you are near Hamburg, consider a visit. Venue: Kampnagel, Jarrestraße 20, D-22303 Hamburg. Write to tickets [at] kampnagel.de to reserve a place. Or you may show up at the box office and hope tickets are available on the day(s).

INTERNATIONALES SOMMERFESTIVAL: KONFERENZ: FANTASIES THAT MATTER. IMAGES OF SEXWORK IN MEDIA AND ART

Alice Schwarzers Aufruf zum Verbot von Prostitution hat in den deutschen Medien eine rege Diskussion entfacht. Jenseits der moralischen und politischen Frage, wie mit Sexarbeit umzugehen sei, ist dabei auch deutlich geworden, dass die Debatte von Projektionen, Fantasien und Mythen dominiert wird. Verlässliche Informationen zur Sexarbeit gibt es auch deshalb nicht, weil dieses Berufsfeld immer noch stark stigmatisiert ist und Sexarbeiterinnen und Sexarbeiter selbst kaum an der öffentlichen Repräsentation ihres Berufs teilhaben. Gemeinsam mit dem Missy Magazine veranstaltet das Internationale Sommerfestival eine Konferenz auf der Bildwissenschaftlerinnen, Sexarbeiterinnen, Künstlerinnen und Medienmacherinnen in Vorträgen, Diskussionen und Performances die Bilder von Sexarbeit untersuchen, die – nicht nur die aktuelle – Diskussion dominieren. Was erzählt das Bild, das sich die Gesellschaft von Sexarbeit macht, über ihr Verhältnis zu Frauenarbeit, Sexualität und Sexualmoral, Gender, Migration und Armut?

DAS PROGRAMM:

[Fr] 08.08.

18:00 ERÖFFNUNG und BOSOM BALLET (Annie Sprinkle) /// p1

Nach einer kurzen Eröffnung der beiden Konferenz-Gastgeber Margarita Tsomou (Kulturwissenschaftlerin/Missy Magazine) und Eike Wittrock (Theaterwissenschaftler/Internationales Sommerfestival) zeigt Annie Sprinkle zur festlichen Eröffnung der Konferenz das BOSOM BALLET (Brüste-Ballett) – eine ihrer legendären Performances.

18:15 IMAGE_WHORE_IMAGE. THE POLITICS OF LOOKING AND LOOKING BACK Vortrag von Antke Engel (D) /// p1

Antke Engel, Leiterin des Instituts für Queer Theory (Hamburg/Berlin), eröffnet die Konferenz mit einem Vortrag zu künstlerischen Bildern von Sexarbeit und betrachtet die Politik der Repräsentation im Spannungsfeld von Fremd- und Selbstbild. Engel ist freie Wissenschaftlerin im Bereich feministischer und queerer Theorie und hat seit den 1990ern maßgeblich das Feld queerer Geschlechter- und Sexualitätenforschung im deutschsprachigen Kontext wie auch auf internationaler Ebene geprägt.

19:30 BAISE MOI Gespräch mit Filmausschnitten mit Coralie Trinh Thi, Drehbuchautorin, und Stefanie Lohaus, Missy Magazine Herausgeberin /// p1

BAISE MOI (Fick Mich!) schockte 2000 das Kinopublikum mit einer schonungslosen Darstellung von Sexualität und Gewalt, formuliert aus weiblicher Perspektive und vor dem Hintergrund »realer« Erfahrungen mit Sexarbeit. Coralie Trinh Thi, Drehbuchautorin des Films, wird gemeinsam mit Missy Magazin-Herausgeberin Stefanie Lohaus Ausschnitte aus dieser kontroversen filmischen Darstellung von Sexarbeiterinnen kommentieren und diskutieren.

22:00 MACHO DANCER Performance von Eisa Jocson (PHL/B) /// p1

Für ihr Solo MACHO DANCER hat sich die bildende Künstlerin und Choreografin Eisa Jocson eine Form des erotischen Tanzens, die vornehmlich in philippinischen Schwulenbars praktiziert wird, angeeignet. Zu Powerballaden und Soft Rock bewegen sich junge Männer in einer hyperstilisierten Form von Männlichkeit, lassen langsam ihre Hüften kreisen und präsentieren ihre Muskeln. In der Übertragung auf ihren (weiblichen) Körper verschwimmen dabei Geschlechterbilder, und die Mechanik dieser ökonomischen Körper-Performance wird sichtbar.

[Sa] 09.08.

11:00 PROSTITUTION PRISM REFLECTIONS: FROM FACT TO FANTASY Vortrag von Gail Pheterson (F) /// p1

Gail Pheterson hat mit ihrem Buch »Huren-Stigma«, das im Original bereits 1986 erschien und das als internationales Standardwerk gilt, einen wesentlichen Beitrag zur feministischen Debatte um Sexarbeiterinnen geleistet. Die Autoren des Klassikers zum Stigma ist seitdem für ihre Publikationen zu Prostitution international bekannt – sie ist Dozentin und Forscherin am Centre de recherches sociologiques et politiques, Paris CRESPPA-UMR 7217, CNRS und der Université Paris 8 und wird über die Thesen ihres letzten Buches Le prisme de la prostitution (Paris, L’Harmattan, 2001) vortragen.

12:00 BREAD AND ROSES: RETHINKING SEXUAL AND ECONOMIC JUSTICE Vortrag von Nikita Dhawan und María do Mar Castro Varela (D), anschließend Gespräch mit Luzenir Caixeta (AUT) /// p1

Nikita Dhawan ist Juniorprofessorin für Politikwissenschaft mit Schwerpunkt Gender/Postkoloniale Studien an der Goethe Universität Hamburg, im Rahmen des Exzellenzclusters »Die Herausbildung normativer Ordnungen«. Maria do Mar Castro Varela ist Professorin an der Alice Salomon Hochschule für Angewandte Wissenschaften, Berlin. Sie beide gehören zu den innovativsten Denkerinnen der intersektionellen Verschränkung von Migration und Feminismus im deutschsprachigen Raum. Zusammen werden sie über die Frage der Repräsentation migrantischer Sexarbeit referieren. Anschließend findet ein Gespräch mit Dr. Luzenir Caixeta, Mitbegründerin und Koordinatorin des Forschungsbereichs von maiz (Autonomes Zentrum von und für Migrantinnen, Österreich) statt, das für seine Arbeit mit migrantischen Sexarbeiterinnen über Österreich hinaus relevant ist.

14:30 DISQUALIFIED: WHY SEX WORKERS SUFFER SOCIAL DEATH Vortrag von Laura María Agustín, anschließend Gespräch mit Camille Barbagallo (GB) /// p1

Laura María Agustín ist Soziologin, arbeitet zu undokumentierter Migration, Menschenhandel und der Sexindustrie und hat mit ihrem einflußreichen Buch »Sex at the Margins: Migration, Labour Markets and the Rescue Industry« (Zed Books 2007) neue Thesen zur Rolle von NGOs und Hilfsorganisationen in der Sexarbeit in die internationale Debatte gebracht. Nach ihrem Vortrag wird sie mit Camille Barbagallo, Forscherin an der Goldsmiths Universität London, diskutieren warum die Stimme bzw. die Versuche von Selbstrepräsentation seitens der Sexarbeiter_innen in der Öffentlichkeit entweder nicht gehört oder disqualifiziert werden.

16:00 ZOOM IN: PROSTITUTION/POLITICS HAMBURG Gespräch mit Ulrike Lembke (HH), Undine de Rivière (HH) und Gerhard Schlagheck (HH) /// p1

Das Panel wird sich mit der konkreten Situation in Hamburg – der »Stadt der Huren« – beschäftigen sowie die Debatte um das deutsche Prostitutionsgesetz aufnehmen. Ulrike Lembke ist Juniorprofessorin für Öffentliches Recht und Legal Gender Studies an der Rechtswissenschaft der Universität Hamburg – sie soll unter anderem auch der Frage nachgehen wie geltendes Recht gesellschaftliche Verhältnisse widerspiegelt, d.h. warum etwas als rechtmäßig gilt oder nicht. Undine de Rivière ist Sexarbeiterin in Hamburg, Sprecherin des Berufsverbandes für erotische und sexuelle Dienstleistungen und wegweisendes Mitglied des »Ratschlags Prostitution Hamburg«. Gerhard Schlagheck leitet das »Basis-Projekt«, die einzige Anlaufstelle für männliche Stricher in Hamburg. Sie beide sollen konkret über ihre Auseinandersetzungen mit der rechtlichen Situation in Hamburg sprechen.

18:00 WATCH ME WORK Performance von Liad Hussein Kantorowicz /// k4

Liad Hussein Kantoworicz ist Performerin (UDK Masterstudiengang SODA), Sexarbeiterin, Autorin, Queer-Aktivistin und Gründerin der ersten Gewerkschaft für Sexarbeiterinnen im Mittleren Osten. Darüber hinaus arbeitet sie für eine israelische Erotik-Chat-Webseite, bei der die Kunden für intime Gespräche und persönliche Live-Performances pro Minute zahlen.

In der Performance WATCH ME WORK ermöglicht sie einen Echtzeit-Einblick in diese Cyber-Sexarbeit und lässt sich aus verschiedenen Perspektiven bei ihrer gleichsam intimen wie höchst theatralen Performance beobachten.

20:30 MY LIFE AS A METAMORPHOSEXUAL SEX WORKER. ALWAYS RECREATING MY SEX WORKER SELF Performance von Annie Sprinkle (USA), mit Beth Stephens und Gästen /// p1

Die legendäre Pornodarstellerin, Künstlerin und Sexarbeitsaktivistin der ersten Stunde, Annie Sprinkle, kehrt für eine ihrer Lecture Performances nach Hamburg zurück. Sprinkle ist eine der bekanntesten Vertreterinnen des sexpositivem Feminismus und eine Ikone der sexuellen Aufklärung in den USA und darüber hinaus. Sie hat Sexualität praktisch und theoretisch erforscht, vom Heiligen bis zum Profanen. Ihre Arbeit an der gemeinsamen Emanzipation von Frauen und Sexarbeiterinnen ist international wie historisch von großer Relevanz. Ihre Performance »Post Porn Modernist« tourte durch mehr als 19 Länder und wurde zu einer wichtigen Intervention im Sex-War innerhalb der feministischen Bewegung der 80er Jahre in den USA:

Auf dem Sommerfestival wird sie anhand von Videos, Fotografien, Mini-Performances und einem Ritual der heiligen Eco-Hure aus ihrem ereignisreichen Leben und von ihren politischen Aktivitäten berichten, die sich derzeit auf Liebe, Beziehung, Brustkrebs, Altern und den Schnittpunkt von Ökologie und Sexualität – Sexecology – konzentrieren.

[So] 10.08.

12:00 COLLATERAL DAMAGE Mithu Sanyal im Gespräch mit Carol Leigh AKA Scarlot Harlot

Carol Leigh AKA Scarlot Harlot ist nicht nur, weil sie den Begriff Sexarbeit erfunden hat, eine der international wichtigsten Figuren der Sexarbeiter_innen Bewegung. Sie gilt als einer der »Muttern« der Sexarbeiter_innen-Bewegung, sie ist Autorin, Sexeducator, Produzentin, Filmemacherin, hat mehrere Veröffentlichungen, mehrere Festivals gegründet und leitet nun das San Francisco Sex Worker Film and Video Festival.

Während der Konferenz werden durchgehend Auszüge als Preview ihres neues Dokumentarfilms COLLATERAL DAMAGE: SEX WORKERS AND THE ANTI-TRAFFICKING CAMPAIGNS als Installation gezeigt.

Über die Arbeit an dem Film spricht sie mit Mithu Sanyal, der preisgekrönten Journalistin und Autorin des mehrfach übersetzten Buchs über die Kulturgeschichte des weiblichen Genitals »Vulva – Die Enthüllung des unsichtbaren Geschlechts« (Wagenbach Verlag, 2013).

12:30 SELFREPRESENTATION: SEX WORK AND ART WORK Abschlussdiskussion mit Liad Hussein Kantorowicz, Coralie Trinh Thi, Eisa Jocson, Annie Sprinkle und Carol Leigh AKA Scarlot Harlot /// p1

Das Abschlusspanel der Konferenz bringt die Medienmacherinnen und Künstlerinnen der Konferenz zusammen, um über die eigenen Strategien von Selbstrepräsentation im Spannungsfeld zwischen Selbst-und Fremdbild zu reflektieren.

PERFORMANCES IM RAHMEN DER KONFERENZ:

Eisa Jocson: MACHO DANCER (08.08. / 22:00)

Liad Hussein Kantorowicz: WATCH ME WORK (09.08. / 18:00)

Annie Sprinkle: MY LIFE AS A METAMORPHOSEXUAL SEX WORKER. ALWAYS RECREATING MY SEX WORKER SELF (09.08. / 20:30)

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KONZEPTION Margarita Tsomou, Eike Wittrock.

Die Konferenz ist eine Zusammenarbeit mit der Körber-Stiftung und dem Missy Magazine.

Information: mail [at] kampnagel.de

–Laura Agustín, the Naked Anthropologist

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