Dyke March 07 - A public brain

Der Fortsetzungsroman für den Dyke March 07. Pulp, instant writing, collective brain

Der dritte Dyke March wird am 17. Mai in Wien stattfinden und wie immer laden wir euch alle ein zu kommen: lezzies, dykes, femmes and her butches, from every background, passports and genders...

Come as your favourite cliché!

Wir suchen und finden unsere Geschichte, unsere Vorgängerinnen und Vorbilder im zur Abschreckung Verzerrten, in den klischeehaften und zwiespältigen Bildern, Filmen, in Romanfiguren, in Klischees und Stereotypen. Wir finden diejenigen, die sich durch alle Zeiten und an vielen Orten dem Diktat von Zweigeschlechtlichkeit und strikten Vorstellungen von Weiblichkeit widersetzt haben und dafür diffamiert, pathologisiert, dämonisiert und kriminalisiert wurden und befreien sie von heteropatriarchalen Fehlinterpretationen.

Beim Dykemarch 2007 finden die romantischen Freundinnen, dass sie genug geschmachtet und sich verzehrt haben und machen ein spontanes Fuck In, die Mädchen in Uniform --> entschliessen sich, niemals ein bürgerliches Leben zu führen und verschreiben sich der antikapitalistischen Intervention, die Kommandantin in Kampfstiefeln besiegt diesmal James Bond --> und zwinkert den lesbischen Genossinnen zu. TrannieBoy Stephen verschmäht den Quell der Einsamkeit und lässt das Leiden sein. --> Und Mrs. Danvers segelt mit Rebecca und der neuen Mrs. de Winter in den Sonnenuntergang. -->

Die Lesben an der Wien definieren, assimilieren und rekrutieren! Und wünschen Euch einen wunderschönen Dykemarch!

Kapitel I

"We recruit, we recruit!" Willkommen in der Parallelgesellschaft, die Lesbian Avengers grüßen euch. "Mädchen in Uniform" stürmen die Straßen und alles steht still, wenn schwule Mädchen die Straßen lang gehen. Dissidenter Dyke-ism infiltriert die Stadt! Rebell Aerobics, wir bewegen uns bestens in Buisness Suits, ob Kleidchen oder Anzug. Wir sind unter euch und über euch und es geht drunter und drüber. Dykes own the town ...

These are the Lesbian Avengers --> We recruit U

Kapitel II

"This chapter is an effort to build an ironic political myth faithful to feminism, socialism, and materialism. Perhaps more faithful as blasphemy is faithful, than as reverent worship and identification. Blasphemy has always seemed to require taking things very seriously. Blasphemy protects one from the moral majority within, while still insisting on the need for community. Blasphemy is not apostasy. Irony is about contradictions that do not resolve into larger wholes, even dialectically, about the tension of holding incompatible things together because both or all are necessary and true. Irony is about humour and serious play. It is also a rhetorical strategy and a political method, one I would like to see more honoured within socialist-feminism. At the centre of my ironic faith, my blasphemy, is the image of the cyborg."

Donna Haraway: Cyborg Manifesto -->

Husch pfusch Übersetzung:

"Dieses Kapitel ist ein Anlauf einen ironischen politischen Mythos zu schaffen, dem Feminismus, Sozialismus und Materialismus treu. Vielleicht zeugt Blasphemie von mehr Treue, als andächtiges Dienen und Identifikation. Blasphemie heißt die Dinge immer sehr ernst nehmen. Blasphemie schützt einen vor den moralischen Oberschlauen schlechthin, und trotzdem beharren wir darauf eine Community zu sein. Blasphemie ist nicht Abtrünnigkeit. Bei Ironie geht es um Widersprüche, die sich auch im Ganzen nicht auflösen, vielmehr geht es um die Anstrengung unvereinbare Dinge zusammenzuhalten, weil sie alle notwendig und wahr sind. Ironie ist Humor und ernsthaftes Spielen. Es ist auch eine rhetorische Strategie und eine politische Methode, eine, die in sozialistisch-feministischen Kontexten mehr anerkannt werden soll. Im Zentrum meines ironischen Glaubens, meiner Gotteslästerung, ist das Image des Cyborgs."

Kapitel III

Tips for White Guys

who are Working for Social Change and other people socialized in a society based on domination, by Chris Crass

1. Practice noticing who's in the room at meetings - how many men, how many women, how many white people, how many people of color, is it majority heterosexual, are there out queers, what are people's class backgrounds. Don't assume to know people, but also work at being more aware.

2a. Count how many times you speak and keep track of how long you speak.
2b. Count how many times other people speak and keep track of how long they speak.

3. Be conscious of how often you are actively listening to what other people are saying as opposed to just waiting your turn and/or thinking about what you'll say next.

4. Practice going to meetings focused on listening and learning; go to some meetings and do not speak at all.

5a. Count how many times you put ideas out to the group. 5b. Count how many times you support other people's ideas for the group.

6. Practice supporting people by asking them to expand on ideas and get more in-depth, before you decide to support the idea or not.

7a. Think about whose work and contribution to the group gets recognized.
7b. Practice recognizing more people for the work they do and try to do it more often.

8. Practice asking more people what they think about meetings, ideas, actions, strategy and vision. White guys tend to talk amongst themselves and develop strong bonds that manifest in organizing. This creates an internal organizing culture that is alienating for most people. Developing respect and solidarity across race, class, gender and sexuality is complex and difficult, but absolutely critical - and liberating.

9. Be aware of how often you ask people to do something as opposed to asking other people "what needs to be done".

10. Think about and struggle with the saying, "you will be needed in the movement when you realize that you are not needed in the movement".

11. Struggle with and work with the model of group leadership that says that the responsibility of leaders is to help develop more leaders, and think about what this means to you.

12. Remember that social change is a process, and that our individual transformation and individual liberation is intimately interconnected with social transformation and social liberation. Life is profoundly complex and there are many contradictions. Remember that the path we travel is guided by love, dignity and respect - even when it is bumpy and difficult to navigate.

13. This list is not limited to white guys, nor is it intended to reduce all white guys into one category. This list is intended to disrupt patterns of domination that hurt our movement and hurt each other. White guys have a lot of work to do, but it is the kind of work that makes life worth living.

14. Day-to-day patterns of domination are the glue that maintains systems of domination. The struggle against capitalism, white supremacy, patriarchy, heterosexism and the state, is also the struggle towards collective liberation.

15. No one is free until all of us are free.

Chris Crass im "Food not Bombs" --> Manual

Gender Parcours geht hier lang -->

Kapitel IV

"But my body made my history—all my histories. Strong and tough, it allowed me to start work at thirteen; wanting, it pushed me to find the lovers that I needed; vigorous and resilient, it carried me the fifty-four miles from Selma to Montgomery -->. Once desire had a fifties face; now it is more lined. But still when I walk the streets to protest our military bullying of Central America or the Meese Commission on Pornography --> or apartheid in South Africa and here, my breasts and hips shout their own slogans. As a woman, as a Lesbian, as a Jew, I know that much of what I call history others will not. But answering that challenge of exclusion is the work of a lifetime."

Joan Nestle (Co-founder of the Lesbian Herstory Archive): Preface to "A Restricted Country" --> New York, 1986

Kapitel IV

"The master's tools will never dismantle the master's house."

Audre Lorde

Zwischentitel i

Moment, also doch keine Parallelgesellschaft, oder wie? Vielleicht doch eher eine Querdurchgesellschaft? "Passing" oder auch durchgehen ("Das wird dir nicht durchgehen!") und doch "passen" wir (nicht) im Schulunterricht, im Supermarkt, in unserer migrantischen Community, beim Sex mit unserem Ehemann, im Film, im Pornokino, im Anzug, im Kleid, in der Kirche, auf der Strasse, bei den Geschwistern und Eltern, wir befinden uns in einem transitären Raum, shape shifting, boobs lifting. Wir integrieren, wir assimilieren, besser heute ein/e dyke als morgen.

Kapitel V

Radical Fairies

Non-Hierarchical

Because Faeries view others as co-equal we come together in circles, hand to hand, eye to eye, and heart to heart. Circles have no sides; no one Faerie is higher or lower than another. Because we believe in a non-hierarchical way of living Faeries break cultural and institutional taboos left, right, and all around.

Queerness

Radical Faeries are queer people. Gay, Lesbian, Bisexual, Transgendered, all of us have lived in a world where gender roles are ingrained into our psyches and we have rejected them. It is our unique perspective as an oppressed cultural-sexual minority that led to the concept of subject-SUBJECT consciousness. Only in the queer community were we able to break free from the oppression of gender identity and duality, with its emotional destruction.

Gender

Faeries are male-female-both-neither. Radical Faeries don't accept the cultural paradigms of boys play this way and girls play this way. We choose to play how WE want to play. Faeries break gender roles by dressing fabulously as any gender s/he feels. We are perfectly comfortable walking between the worlds of male/female identity, because we refuse to recognize the cultural stereotypes and artificial roles.

Sex

For a Faerie, all forms of love are sexual, because the Faerie strives for mutual pleasure. Sexuality is sharing mutual pleasure. If I touch you and this gives you pleasure, it gives me pleasure as well, because I gave pleasure to you. This form of sexuality does not require genitalia. The simplest of pleasures and sensations is just as sexual as genital sex, if not more so.

--> radikale Feen

Kapitel VI

"I choose film and video as a medium to make the invisible, visible. Anyone can be left out of history. I am compelled to reveal and celebrate marginalized peoples whose stories have not been told. A multi-level cinema that engages them viscerally and intellectually activates my audiences. I want people to leave the theater with fresh perceptions and emboldened to take active and political stances for social change in a global environment."

Barbara Hammer --> Film und Dokumentationen

Kapitel VII

2) What specifically is the "Dead/Evil Lesbian Cliché"?

That all lesbians and, specifically lesbian couples, can never find happiness and always meet tragic ends. One of the most repeated scenarios is that one lesbian dies horribly and her lover goes crazy, killing others or herself. (Sound familiar?)

Until very recently, gays and lesbians were portrayed in film, television, literature and theater to be evil and miserable. They would be villains [böse, böse Menschen] or weak victims or psychologically unstable people. They would stalk and try to pervert straight people. If one of them fell in love with someone of the same sex, this love would lead to death or insanity or both. A classic film example of this is 1961's The Children's Hour starring Audrey Hepburn and Shirley MacLaine. MacLaine's character hangs herself after she confesses her love for Hepburn. Two films that portray predatory lesbians are Walk on the Wild Side (1962) with Barbara Stanwyck and Young Man With a Horn (1950) starring Lauren Bacall. The Fox (1968) features Sandy Dennis as a lesbian who is crushed to death by a falling tree immediately after making love to Anne Heywood. A gay example (and there are TONS) is Rebel Without a Cause (1955) in which Sal Mineo spends the film crushing on James Dean before getting a bullet in the back. These older films depicted gays this way because the filmmakers were trying to tell people that homosexuality is wrong. They wanted to show that no good could come from it. If you are gay, you are doomed. Period. Heterosexuality was the only safe option.

One would hope that the cliché had died with modern times, but sadly it lives on. The intended moral message that homosexuality is wrong has mostly given way to a results-based exploitation. Lesbians and lesbian couples meet tragic fates in an alarmingly disproportionate number of films and TV shows. One of the most notorious recent examples is Basic Instinct (1992), in which Sharon Stone's character is a murderer and her girlfriend is crazy, jealous and ends up dead. Another is Heavenly Creatures (1994), which has the added horror of being a true story. In this film two teenage girls develop an intense sexual friendship which is blamed for the girls' brutally murdering one of their mothers. Lost and Delirious (2001) depicts a lesbian relationship at a boarding school that ends with one girl denying her love for the other because the peer pressure is too painful and the scorned girl leaping to her death after slowly going mad. High Art (1998) ends with the overdose death of Ally Sheedy's lesbian character. Mulholland Drive (2001) ends with a lesbian having her ex-girlfriend murdered then turning a gun on herself.

As for television, recent examples of lesbians dying horribly or being evil have appeared in literally hundreds of TV episodes. Just a few of the shows that have perpetuated this discouraging cliché are: 24, All My Children, Babylon 5, Dark Angel, ER, Law & Order, Millennium, Northern Exposure, NYPD Blue, The Practice, Quantum Leap, Xena: Warrior Princess, and, now, very sadly, Buffy the Vampire Slayer. --> Why she had to die?