Re-thinking my blog and my writing;

Photo by Noncedo Gxekwa
Photo by Noncedo Gxekwa
Photo: Noncedo Gxekwa

I have had a blog since at least 2007, at least I think so. The reason why I am not sure is that I started is so long ago, and my first blog – on Blogspot – is no longer online. In the more than 10 years on writing online a lot has changed in why I have a blog. What I posted so many years ago is very different than now.

At the start I merely posted simple things about my life, and nothing really consistent: it really was all over the place. At some point I started posting more about feminism, politics, race, gender, and so forth. Now I also, and really mostly, post poetry. However,  this is the thing: overall, my blog is a mess at the moment; It doesn’t have consistent content, and it doesn’t have a solid identity. Also, many of the older posts are just… out of place, or they are opinions that I don’t hold anymore and in some cases really oppose at this point in time.

So the question is really: what do I do? delete those posts that just don’t fit anymore? delete those posts that do not reflect my opinions and positions anymore?

Some posts I’ve already gotten rid of, because they just didn’t make sense… But there are many more that I look back on and have a lot of questions about. In one way I want to keep them as it shows over time a personal journey. In this day and age, however, time doesn’t really matter online: articles and blogposts are perceived in the here and now, regardless of the date they were written or posted, and are assumed to reflect a very static image of the author… And I reflect as well on what to write about, wondering if it would still be relevant in the future, or whether it would possibly radically change my opinion about.

So these are some of the issues when I look at my writing online, and what to do with my blog. It is one of the reason why I’ve been posting little poems that originally were meant for Instagram, scheduling them ahead, but haven’t truly written something new.

For now, I am trying to focus my writing – and really most of my work and life – on creative projects, rather than political activist-y ones. And for now I’ll just post through what I do on other platforms, for example some of the things I am trying out on YouTube. Though the question of what to do with my WordPress account is something I am pondering over, or even if I want to continue with it…

 

How the seizure of Backpage in the US should worry sex workers across the world

On Facebook and Twitter, and other Social media, the seizure of Backpage (an online platform where sex workers in the US do their work) has garnered quite some attention – please do google it if you don’t know about it. News articles (at least some of them) are highlighting the dangers this poses to sex workers, how it will compromise their income, how it will compromise their safety. As usually the excuse of combating “sex trafficking” has been brought up in justifying this move… which is beyond ironic because it pushes sex workers into spaces where they will be a lot more vulnerable. My thoughts have been going out to my fellow sex workers in the US, and how this impacts them; and while I never did sex work in the US, I do know street work, and the precarious safety issues that this brings with it (to state it mildly).

As usual… there hasn’t been much I saw from feminists, or others who aren’t sex workers, not just in providing visibility but in offering sex workers assistance in a practical way; apart from sex worker organisations that is. But what worries me as well, is that there is very little discussion about this outside the US portion of the internet, and selected international sex worker organisations… I have yet to see South African feminists discussions about this, or in general even sharing these developments in public platforms… Or if this happens, in a very limited way. And this is a problem.

What is happening in the US shows also that as long as sex work is criminalised… none of us are safe… we talk about safety and different ways of working, and as a former street worker how safety there was a lot more precarious compared to other forms of sex work. What happened in the US shows us that criminalisation makes any “safety” within the sex industry precarious, it makes it subject to political whims, to social movements (often conservative feminist ones) who have exact political and popular influence regarding an industry they neither understand nor should interfere with… it shows that “safety” in some way is always a fluid, often temporary, conditional thing that can be taken from any sex worker at a whim in any situation where sex work is criminalised…

In South Africa, and any other country that still criminalises sex work, we should take note of what happens in the US and be worried, understand that this can happen here as well… at any time… We should talk about this because of exactly this: it is not just about the US, it is about all of us; even out of sheer solidarity we need to talk about it, surely. But we need to ask, in light of discussions about so called “partial decriminalisation” and the way “sex trafficking” has been thrown around like candy during christmas in discusions, how long until our own online spaces through which we work get shut down??

 

The type of “client” that refuses to pay a sex worker

When you read the title above, you might think this is about a particular (stereotypically cisgender male)  client who tricks and cheats sex workers; surely they exists, but this isn’t about them. This article is about the other type of “client” that seek to gain access to our bodies and stories and services, but refuse to pay: activists, artists, journalists, researchers…

Possibly, some will get offended by this comparison, but to me – after all these years – it is the one that makes the most sense. We tend to see activists, artists, journalists, and researchers as a group of people that are there to “help” sex workers, “give” voice to them, provide them with “visibility”; the the truth is that a simple question needs to be asked: whose careers are being built? whose byline will appear by these journalistic pieces? who will earn the fees when photography is eventually sold? who will be listed as “authors”? who will be the experts for have CONSUMED the bodies and lives of sex workers? Unless the activist, artist, journalist, or researcher is a sex worker themselves – or it is a project done by a sex worker led organisation – the answer is plain and simple: it is a client who seeks access to someone else’s body, service, story… for their own fulfillment.

During the years I worked with a sex worker group, and we were approached by many researchers (especially a specific type of feminist academic) and journalists in particular. In essence I have nothing inherently against them showing interest in our communities, but the dialogue that I had with them too often went as follows:

artist/journalist/researcher: I am doing a project on [insert whatever project for which they need sex workers] and wanted to get in touch with sex workers who might be willing to participate

me: Oh that is interesting. Sex worker’s aren’t that hard to reach, if you approach it well. You can approach people working, or online. You just then must make sure you pay them for their time, as they are busy working and need to be compensated.

artist/journalist/researcher: Why must I pay them? I mean this is for their own good? I’m like a client?!

As a disclaimer I’ll say that not all of them reacted that way; especially some younger gender studies students ended up getting together money and following this advice. Those of them that I ended up speaking with afterwards reported they had amazing and honest and engaging conversations that were really helpful.

But too many feel that, unlike a client who asks for a service, and interaction, and for time; they are entitled, for whatever reason, to get it for free. Some researchers would point out the inherent ethical problems with paying “research subjects”; my stance is that there is an inherent ethical problem with not paying so-called “research subjects” for their time and effort. You are asked, and often this is a far more intimate request that a regular client makes, to lay yourself bare, to answer deeply persons about your life and health… yet somehow as a “research subject” this must be done for what? The good of society? Why do we hammer on the need for researchers, artists, academics, etc to be paid for their labour? If you seek to interview a sex worker, at the very least pay the going rate, if not more because of what you are actually asking for. Acknowledge your position of power and privilege, and your own personal investment in why you seek to access someone else’s body, someone else’s story.

In the end, like any other who seeks an hour or so for some sexual service, the researcher/artists/journalist is asking for the same, they are asking for a sexual service; if it wasn’t sexual, they wouldn’t interviewing their aunt, or any random person. They have an invested interest in the sexual labour we do, they seek to CONSUME equally as any other client our sexual labour. Just because you end up keeping your clothes on, doesn’t mean you should be always to get it given to you for free.

 

 

Dr. Strange and the turning back of the MCU to whiter times…

With some apprehension I went to see Marvel’s Dr. Strange… With a lot of apprehension really. All the whitewashing has really turned me off against it… The tl:dr version of my opinion is simple: Dr. Strange is a visually stunning LSD trip that falls into problematic tropes, appropriating and exotifying Asianness. I had a lot of hope for the Marvel Cinematic Universe, but I’m starting to think that I held onto this hope in a childish hope that my nerdy past would manifest in my adulthood in a non-problematic way. Marvel comics, like many comics really, always have been problematic when it came to racial issues; perhaps my vain hope was that the MCU would be a chance for Marvel to doing it differently.

As a child I read Dr. Strange, and always loved the mystical aspect of it; it used to be one of my favourite comics really. But one can’t deny that it always has been problematic: the Exotification of Asian culture and mysticism, and the appropriation thereof by the white male character who travels to Asia to learn the mystics arts – mystic arts that are really portraying very much non-Asian while being explicitly learned and located in Asia. Then there is the servant… the Asian man who stereotypically plays second fiddle and cleans up after the white man. With the move to the big screen, and the small screen(s), I had hoped that they would move this to the present days, a time where – I mistakenly believed – such things would be revised; I was horribly wrong really.

But I think I can be forgiven to think the MCU would be better, while perhaps on the big screen Asian characters didn’t really exist (I am still quite upset at even the horrific white washing of the Mandarin: here was a chance to do something interesting, beyond the racist portrayal of the past; but Marvel’s solution was to simply white wash the character, an very lazy way out… oh while still vilifying the Middle East in a flat approach devoid of nuance, just because.) But when Marvel Agent’s of S.H.I.E.L.D. came around, it gave me a few strong Asian characters, and I got some hope. And really, when I saw the portrayal of Elodie Yung as Elektra, a previously white character that had the same problematic background in the comics, I was ecstatic. The MCU really gives an opportunity to essentially “reboot”character’s stories without the messy retconning that otherwise needed to happen. Marvel showed that it didn’t shy away from changing storylines and characters for the MCU from the comics.

But with the arrival of Iron Fist and Dr Strange, we have fallen back… We are moving back to a place where the best Asians, are white people, where the stereotypical journey to the East to raise up the white man (à la The Last Samurai) is taken to new highs. Where a White director seems to think that diversity equals white washing, because the white person is a cis woman. Of course, the comments section of this post might get filled with all sorts of white tears, and white people telling me “to get over it”, but really that only shows even more how entitled Hollywood feels when it comes to Asian cultures, Asian characters, Asian stories… I had hope for the MCU… but really, that is now in the past…

 

 

Once upon a time… Marvel created “The white nation of Azania”

Azania_001.jpgTo those in South Africa, especially those who have been involved in the recent fallist movements as well as those who know South African history, this might seem a bit of a contradiction: “The white nation of Azania“. Yes, once upon a time, Marvel created the fictional “white African nation of Azania” in its multiverse. It was a nation of white supremacists that bordered the fictional Kingdom of Wakanda, the homeland of the Black Panther, aka T’Challa. It even had its own team of superhumans, called “The Supremacists”. And yes, the creators based it on, then, apartheid South Africa. As the Black Panther has been formally introduced in the Marvel Cinematic Universe, and because he has always been one of my favourite superheroes – in times long before superheroes were “cool”, it would be interesting to look back at this forgotten part of Marvel history. It is so forgotten that it doesn’t even have a Wikipedia page… (contrast Wakanda, which has a page too long to deal with).

Black_Panther_Vol_2_2This white supremacist version of Azania first featured in Vol 2 Issue 1 of the Black Panther, in 1988. Obviously as some sort of political statement by Marvel regarding the South African apartheid regime. The names of the team members of the “Supremacists” are just clear in every way: led by the White Avenger, it even had a member called Voortrekker, a white Zimbabwean who chose to fight for the white supremacist Azania. It is an absolute hilarity really that Marvel created this fictional country, and even replicated the struggle against apartheid through the conflict between “Azania” and Wakanda… Wakanda supposedly imposing sanctions on Azania and this leading to conflict between the two nations. The “great spirit of the Black Panther” even inspired the “poor masses” to revolt against the apartheid government of “Azania”, masses that were then accused of being supported by communists by the right wing “Azanian” government…

supremacists_azania001.jpg

In its 4 issue arc, the Black Panther eventually defeated the Supremacists and they were imprisoned in Wakanda. I’m not sure what happened to “Azania” in the official canon of Earth 616 of the Marvel universe, I think it kinda became a forgotten part that was never revisited. There are some more interesting tidbits actually. For example, the “Great spirit of the Black Panther” disagreed with the approach T’Challa took of sanctions, divorced him and possessed a Black man in “Azania” who then went on a rampage murdering white real estate agents, clergy, and the governor. Eventually T’Challa had to battle the man possessed by the spirit (who then had turned into a sort of were-creature) in order to reclaim the Black Panther spirit for himself. Overall the analogy is clear in the fight between the “spiritual nation of Wakanda” against the “white supremacist Azania”, but also in the way the Black Panther had to fight against the were-creature that was killing the white elite of this “Azania”… Somewhere, APLA soldiers must be turning in their graves at how the name of Azania has been used, and the subtext at how they were portrayed. The political commentary was anti-apartheid but filled with T’Challa as the mystical Mandela-like figure that not only tried to curb the apartheid governement but also stop the “evil” APLA-like force that waged an all out war against white supremacy.

Perhaps it gives some food of thought for the upcoming Black Panther movie? While I have, since childhood, enjoyed Marvel comics, looking back I am more and more seeing problematic issues that I previously didn’t pick up on. Furthermore, the Marvel Cinematic Universe is unfortunately not free of this…