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Screen Shot 2017-03-12 at 23.48.44In February I was interviewed by RadioAva (DIY sexworker radio, a project of x:talk). When I arrived at the pub in mid-afternoon a fight was blowing up in the back room, glass splintering and chairs crashing to the floor. Soon the place was full of cops and two clutches of drunken young white men were being moved out the door while shouting out epithets: Knackers! Travellers! The perfect setting for an interview.

barroombrawl1In this interview I talk about creativity and pleasure, about my own likes and dislikes. The interviewer describes her feelings about the characters, surprising me by saying she found sexworker Marina ‘too perfect’. Here I confess to identifying not only with the detective narrator, Félix, but also with a villain of the story called Sarac. What are they supposed to do? I say, referring to men reared in tribal and national wars who now may turn to people-smuggling. I talk about cultural relativism as a way of understanding lives unlike our own.

I hear my self in this interview. I hear myself saying more than once I wanted to put it out there, referring to a sense of urgency, that stories of migrants who sell sex are so rarely heard that The Three-Headed Dog can exist as an historical document to be discovered by future historians – like this interview, which is located on the wonderfully-named mixcloud.

Screen Shot 2017-03-13 at 00.54.34Listen to it while doing some chore. Note the bar-clinking in the background. On the same show: Pandora Blake and the ECP. Good company. Thank you, all.

Note: there are musical interludes interspersed with segments of me and Carmen talking. They are all migration-inspired and most were provided by me. They aren’t identified on the podcast, so I’ll do a separate piece about them soon.

-Laura Agustín, the Naked Anthropologist

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womanblur2leiterReviewers of The Three-Headed Dog have been showing they get it: The detective-narrator is a woman with a complicated and conflicted interior life. It’s about how migrants sneak across borders and how they get along. These are lives usually mentioned, if at all, under law-and-order headlines: people-smuggling, the underworld, human trafficking, crime. Or desperation, exploitation, abuse. It’s noir – maybe some kind of ‘crossover’.

I published this novel myself on Amazon. Many people still think bricks-and-mortar publishing houses filled with employees are necessary to prove books are real and good. My own history with these houses goes back to the 1970s, and I don’t agree. There is snobbism about self-publishing and prejudices against ebooks: I don’t have those; I’m pleased to be in charge.

What interests me are conversations with folks who read the book, whether they loved it or not. A few of them have left reviews on the book’s Amazon and Goodreads pages.

Screen Shot 2017-03-10 at 16.38.48Hillerman, Mankell and Block: I could hardly be more pleased about the detective comparisons. But for a reader to compare Félix’s haunted interior life to Elena Ferrante really takes the cake. The detective’s ethical sense, how to weigh up conflicts, is for me an important element of noir, however terse. The private eye, unlike the cop, gets to decide what to do with being tied to laws or a strict code of behaviour (doing things ‘by the book’.)

Screen Shot 2017-03-10 at 16.29.59Interesting to see the world I write about as impenetrable and confirms it was right to write about it. I like dives, too. This is an excerpt from a longer review.

Screen Shot 2017-03-10 at 16.43.23There is a mention of the word trafficking in the book, by a character who is neither stupid nor bad but simply parrots stereotypes presented in the media. The book is about people-smuggling or undocumented migrants.

Screen Shot 2017-03-10 at 16.46.24This review and others like it mean a lot to me because it comes from someone open to learning about underground lives that exist at the edge of most people’s vision. Overhearing phone conversations on the bus or in the corner shop, most people find out something about undocumented migrants, but, given media disinterest or silence, never find out more.

Screen Shot 2017-03-10 at 16.47.36When I read the comparison with Miss Smilla’s Feeling for Snow – also known as Smilla’s Sense of Snow – I was happy. It’s one of very few novels I know in which imperialism plays a big part. Smilla is a half-Greenlander in Denmark, not an undocumented migrant, but as aware of two different worlds as anyone could possibly be. A book that couldn’t have been written by anyone else: What a compliment.

susiedogScreen Shot 2017-03-10 at 16.39.24Gripping is a great tribute, and a few others have said the Dog is a page-turner (funny when swishing on a screen). They mean the reader is hooked on the story and wants to know what comes next. That’s not easy to achieve!

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Yes, there’ll be more. Working on it now. It starts in Spain and travels to England via Calais.

–Laura Agustín, the Naked Anthropologist

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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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600Being and being reviewed is a play on the English title of Kajsa Ekis Ekman’s book Varat och varan: Being and being bought. Hers is an ideological diatribe on the commodification of women who sell sex and surrogate mothers, full of sound and fury, as well as lies, including one or two about me. It makes women’s bodies and selves into transcendental things.

croppedLAhandsTo put a book out into the world is to say I did this, take it and like it. It’s a kind of commodification, whether you give it away or give it a price. Strict marxists might insist the book is the product of labour and that one is only commodifying that. But I think it’s ambiguous, and I’m not worried about commodifying myself or pieces of myself. I don’t think I’ll lose my humanity by opening private places up to strangers.

Screen Shot 2017-02-13 at 00.19.01Olly ‘gives away his degree’ via book commentary on his youtube channel Philosophy Tube. (I might say he commodifies himself.) In a recent broadcast he reviewed Sex at the Margins. Nine years after publication, there it is, being reviewed. And guess who is reviewed right after me? Hannah Arendt. (See how I muddled the boundary between the book and myself?) You can hear it at about minute 3.20.

Here’s the thing: Olly describes the book in a way that doesn’t perfectly match what I’d say myself. If I were in the room with him I’d argue. But it’s his reading, his experience, and he’s already done with it. The book is an object in the world, not mine to control. It’s a piece of me that others interpret through their own selves.

Screen Shot 2017-02-14 at 13.32.13Then my new book Three-Headed Dog was reviewed recently by Noah Berlatsky of The Hooded Utilitarian.  A Novel Without Borders is a good title and it’s a good review in more than one sense. Noah understands Eddy, for one thing:

Eddy isn’t the typical victim of sex trafficking narratives; he’s not a girl, for one thing, and he’s probably gay. He’s not the typical young person you see in novels, either—he’s neither precocious, nor chosen, nor ambitious. His goals are mostly short term; warmer clothes, a better haircut, a job. Short-sighted, without many connections, it’s likely he’ll be taken advantage of, in big ways or small—but then, being taken advantage of is the fate of most people.

tree-branch-shadows-on-snowThe novel-without-borders idea refers to the difficulty of fitting the book into contemporary genre-categories. Amazon and other book dealers make one choose them (and then they fudge the choices). Noah argues that noir needs ‘mistrust, deceit, dramatic betrayals’. For me, the first two are part of all fiction and the third forms an overt part of The Dog’s plot. Noir’s defining feature is moral ambiguity, and my choosing it as genre was easy and natural to me. I’d argue with him if we were having a drink in a bar. But my own conviction doesn’t trump any reader’s experience.

From Customer Reviews on the Amazon page:

Laura Agustin has created an intriguing character in Felix and I hope to encounter her again.

I loved reading the tale of Felix. Can’t wait for more.

Both these reviewers seem to know there is likely to be more: that is the nature of detective fiction. In some ways those are the most important reviews of all. If you read The Three-Headed Dog, leave a line or two of comment on the Amazon page. Doing that makes the algorithm at Amazon pick up and show it in searches for non-insiders looking for books about migration, trafficking, smuggling and above all borders. If you enjoy Goodreads review it there.

borderoceanAnd speaking of algorithms, the way to avoid them in terms of seeing posts on this blog is to subscribe by email or RSS. On facebook and twitter you’re at the mercy of time and the robots.

Laura Agustín, The Naked Anthropologist

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two-women-sitting-at-a-bar-1902.jpg!LargeEvery reviewer has to mention a different defect in the book under review: That was my conclusion when reviews of Sex at the Margins were proliferating. Some of the defects pointed to said more about the reviewer than the book, like the English academic who dismissed the research because it had taken place in Spain. I laughed a lot at that one. If you’re interested in migration and globalisation then nation becomes a funny category.

The other day I was interviewed by an investigator interested in undocumented migration in The Three-Headed Dog. We met in a blue bar and drank from stemmed glasses. She agreed I may publish a few points of our conversation, on the subject of place, location and nationality. Her name is Zelda.

mapZelda: Why did you situate The Three-Headed Dog in Spain? Is the plot special to the Costa del Sol? Or could it be moved to Britain or Italy or the state of Florida?

Laura: Spain has long been part of my own life and I lived in Granada while I was reading and doing fieldwork for and then writing what became Sex at the Margins. The Costa del Sol is one of the most fluid and confusing places I know, full of every sort of human mobility, and therefore appealing to me.

The stories in The Dog could be moved in terms of every important concept: How migrants reason and feel about what they’re doing and the sorts of networks they live in. The way they have to look for jobs and housing, the existing in and crossing out of social margins. Those are universal dynamics for undocumented migrants anywhere in the world. But margins feel different according to the terrain and the historical moment. migrantes-coahuiIf the scene were set elsewhere plot-mechanics would vary according to local laws and policing, cultural ideas about sex and women’s mobility, the availability of black-market jobs and the ease of getting out if things go wrong. If there is a coast, boats are an option. Sometimes trains are easily hopped.

Zelda: What about the migrants, are they interchangeable? Could the group of Dominicans on the airplane just as well be Chinese? What about the young Romanian smuggler, could he be Greek? Could Polish Tanya be French? Does anything about nationality matter?

Laura: The human responses portrayed are not unique to any nationality, but some of the mechanics of migration would have to change if you were to make arbitrary switches. For example, Tanya might humanly be French, but she’d be less likely to set up a cleaning service in Madrid. Or the Dominican club-owner, Carlos: If he were Chinese he might certainly run a hostess-bar, but it would be in another part of Madrid, and have a different style, perhaps with gambling, and would the protagonist Félix plausibly have become his close friend?

125969_day labor_GMK_The key to making the story work in any particular place is knowing how migrant networks function and the patterns that have developed based on (1) the possibility of getting visas to other countries and (2) colonial and other dependency/linguistic histories that lead to family relationships. For instance, Brazilians have visa-freedom to travel to Portugal, which is part of Schengen territory, meaning they cross easily into Spain and rest of Europe. Dominican women have a long history as maids and sex workers in Spain – over generations. These are migrations that give meaning to the word transnational.

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Zelda: Can migrant women become sex workers anywhere, whether there’s some kind of regulated sex work or not?

Laura: The two jobs available everywhere to undocumented women are maiding and sex work, but if the plot were picked up and put down in Hong Kong, say, then adjustments would be needed to the kinds of sex businesses where migrants are likely to get employed. And to take up any kind of sex work without knowing the local context and laws, without knowing a few people on the inside, who can give informed advice, is highly risky. This is why there are roles for ‘protectors’ in the migration process, and most of them are not monsters. The plot would have to reflect this.

Zelda: What about racism? Aren’t some countries worse in that way? Wouldn’t that make a big difference to where you set the story?

imgresLaura: In the book, several of the Dominicans reflect on racial hierarchies that affect them in Spain, including those that give some dark ethnicities more cachet than their own. All cultures have ideas and prejudices about Others. But also mixing and hybridity are everywhere, even if more in some places than in others. The consequences are always the same: natives feel threatened, some promote xenophobia, governments talk about tightening borders. But there are colonial histories that can make natives feel that some foreigners are closer to themselves than others, whether their skin is blacker or not.

Zelda: So colonial things, like language. Dominicans who go to Spain already speak Spanish, which has to be an advantage, right? What would happen if you changed the group on the plane to Chinese? Isn’t the whole thing much harder if it’s a new language?

20130516-3L: Not as much as you imagine. Félix visits a Chinese migrant who runs a big variety store and who stands up well to extortion attempts because she has community behind her. Migrants come via networks whether they are legal or not. And migrants from different communities often communicate more easily with each other in the new language, because they all speak more slowly or with a common vocabulary. Then, too, sharing language can work the other way: when Dominicans speak, Spanish listeners know where they are from and bring negative cultural baggage to bear.

Z: The Costa del Sol has all kinds of ethnic groups in it, but you mention places like a Danish church and the urbanizaciones where everyone living there is the same nationality. Don’t a lot of migrants stick to their own kind? Isn’t there insularity among other Europeans who have made second homes on the coast?

CDN-Annons-tidning-2014-09-Svenska-400Laura: There is, but not forever for everyone. Europeans trying to settle and start businesses feel ambivalent about what they’ve left behind and anxious to hold onto their national selves. You see signs in Swedish or German, shops with food items imported so other cuisines can be maintained. But over time things loosen up for a lot of people, they become more curious and less fearful, they make new connections and cultures blend. And for some people, being in a mixed place with a shifting sense of belonging becomes interesting. They don’t find it so easy to answer the question Where are you from? It’s more about This is where I am now. I wrote about this kind of cosmopolitanism among sex workers in Leaving Home for Sex, many years ago.

For more about The Three-Headed Dog, a noir/mystery novel on sexwork and migration, see
Sexwork and Migration Mystery
Melodrama and Archetypes
Jobs in the Sex Industry

-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.

Screen Shot 2017-01-16 at 09.54.56More soon.
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-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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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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