Our guide, Hannes, was one of the exhibit curators and began the tour with some background information on the museum. The Schwules Museum* was founded 30 years ago by three white German gay men who were working at the Berlin Museum and wanted to establish a permanent museum devoted to gay history. “Schwule” means gay in German, and Hannes noted that, similarly to “gay” in English, this word had been (and continues to be) used in a derogatory many, but that many in the LGBTQIA community, including the museum, were reclaiming it.
Hannes also told us why there is an asterisk following the museum name. In 2008, the Board of Directors decided that they wanted to open up the museum for the rest of the LGBTQIA community, considering that it had focused primarily on the history of white, cisgender, gay men up to that point. Borrowed from something the trans community was doing in the U.S., the asterisk denotes that even though the name of the museum is specific to gay men, the museum itself is inclusive of many queer identities.
This strategy can be problematized through an examination of liberal politics. Many organizations that are marginalized sometimes feel they must expand the scope of their organization either to give the appearance of progress or out of a genuine desire to include other marginalized people. These both stem from liberal understandings of “inclusivity” and “diversity.” Black feminists have been critical of this notion for years, especially concerning white feminism. First, because other marginalized groups often have their own thing going on (Hannes mentioned that German lesbians have a more extensive archive that predates the Schwules Museum* by ten years), and second, because assimilation is not a tactic that helps the most marginalized, but rather a tactic that helps those complicit in existing power structures to maintain power. Additionally, “trans*” has been changed in the U.S., because it implies that anyone who is not binary/passing/post-op is conditionally trans.
In many ways, however, this is working quite well. For example, all the signs in the Superqueeroes exhibit use the “gender gap,” which resists how certain German words are gendered by replacing part of the word with an underscore. In addition, the exhibit featured several trans artists and the rest seemed to be almost equally about lesbians and gay men. Another exhibit that we stopped in briefly at the end was art entirely done by trans artists. While not perfect, this is in many ways a step above similar attempts in the U.S.
Although most of the comics in the exhibition are actually American, there were some interesting historical parallels that seemed relevant to Germany and other parts of Europe. Hannes told us about the comic burnings between 1945 and 1955 in the U.S., during which people would publicly burn piles of comic books. Much of this stemmed from author Frederic Wertham, who wrote Seduction of the Innocent in order to argue that comic books were turning the children into criminals. While Hannes didn’t mention this explicitly, his discussion made me think about the Nazi book burnings happening around the same time. As Erik Jensen writes in “The Pink Triangle and Political Consciousness: Gays, Lesbians, and the Memory of Nazi Persecution,” “While the American gay community often employed the Jewish Holocaust as a template for understanding the persecution of homosexuals, the German gay community generally avoided this comparison” (342). The collective memory of American gays concerning the treatment of homosexuals during the Holocaust is very different from the German understanding. Perhaps that is why this parallel seemed so obvious to me.
By Queers, For Queers
Throughout the exhibition, there were two main categories of comics that were shown: comics that were written by queers for queers, in which a significant part of the story line has to do with queer identity, and mainstream comics that incorporate queer characters as a side note to a larger plot line. These categories are both significant, especially given the influence of the Comics Code Authority (CCA). Between 1955 and 2011, the CCA (a private board that governed all the mainstream publishing houses) dictated what types of content could be in comics. The list of banned subjects included any type of explicit sexuality, drugs, violence, the words “horror” and “terror,” undead characters, and critiques of military/police/judges. Further, homosexual content was not allowed by the CCA until 1989. In response, the 1960s brought about an explosion of underground comics that used “comix” instead of “comics” to denote the change.
Within this underground movement, there was yet another split as queers and women grew tired of the sexism, racism, and heterosexuality that dominated the underground scene. Comix publishers, such as “Wimmens Comix” and “Tits & Clits” were founded to counter this phenomenon. An important note is that in 1972, a woman named Trina Robbins created the first gay comic “Sandy Comes Out.” As our friends at the ADEFRA meeting pointed out, lesbians are always at the beginning of a movement, despite dominant groups trying to push them from the front lines.
In the newer era of web comics, one person making a name for herself is Scout Tran-Caffee (Dax). She is a non-binary, trans woman of color who has created comics that transcend the page and are only possible in the virtual parallel universe. This unapologetic love for the trans experience is amazing, especially when compared to the stale decades old statements that Marvel is trying to make about sexuality.
There is an absolutely striking difference between the levels of political thought and storytelling in the mainstream comics and comix. The former use a quite different parallel universe in which gay sexual encounters exist between superheroes as a way to simultaneously draw in queer readers while retaining their (presumably) heterosexual audience (a tactic used in almost every form of media, commonly referred to as “queer-baiting”). Sadly, the most progressive comic we looked at featured Wonder Woman officiating a lesbian wedding and then explaining her actions by saying, “Where I come from it’s not gay marriage, it’s just marriage.” This sort of assimilationist, liberal language illustrates the significance of many queer artists saying that they are queer and actively queering the way comics are written and produced.
These comics also incorporate the problematic notion of “coming out.” Hannes repeatedly referred to the “coming out page” of a comic. As noted by many scholars, the conceptualization of “outness” is a Western construct that is often used as a litmus test for progressivism. Within the Western context, coming out is often problematized for perpetuating compulsory heterosexuality. As Jürgen Lemke writes about the coming out process in East Berlin before the Wall fell, “The coming-out generally catapults her or him…into the cold, hard world. Very often a banishment from the family unit will be the harsh result” (33). The “coming out pages” for these superheroes are only necessary because until that page is created, they are heterosexual by default. This marks another stark difference regarding comics being written by queers, for queers, because operating with a knowledge base of other sexualities changes the way you write about and conceptualize those sexualities in media you are producing.
Hannes informed us that this was the first exhibition about queer comics in all of Europe. It is quite obviously a highly interesting field and many books could be (and probably have been) written about it. The key lessons I took away from the experience are that independent artists have more political freedom, which almost always means they produce more interesting art. The other thing I took away is that critical consumption of media is important and should be a constant process, but that sometimes it is just pretty cool to see Wonder Woman as a lesbian.
Grace Montesano is a rising senior majoring in Feminist and Gender Studies as well as Political Science at Colorado College. They love discussing politics, and are known for making obscure references to various media that no one else has heard of. Grace is skeptical of the 9/11 story we have all been told, and believes the jury is definitely still out about the existence of mermaids.
This morning Baheya, Ivy and I sat around our dining room table discussing the plans for the day and enjoying our breakfast—sort of. While Baheya and Ivy had opted to make eggs and toast, I went the muesli route. I was only partially surprised to find out that the milk I bought was actually liquid yogurt. The surprise was partial because I seem to make this mistake in almost every new country I visit. This wouldn’t be a problem for someone who could appreciate liquid yogurt, I’m just simply not that person. I dejectedly ate half of my cereal concoction (I needed the sustenance) and then left the apartment, hoping for a better experience with our first visit with Katharina Oguntoye, Founder and Director of Joliba Intercultural Network.
Joliba is housed in two unassuming buildings in the neighborhood of Kreuzberg in Berlin. Upon entering, we were greeted by several large paintings by Young Eun Sun, one of the current interns. Katharina Oguntoye also greeted us. Katharina was a highly influential figure in the early Afro-German women’s movement in Berlin. For instance she co-edited Showing Our Colors: Afro-German Women Speak Out, which is regarded as the first and one of the most important books about the experiences of Afro-German women. Along those lines she’s been working towards liberation for many years, and it was neat to talk to such an important leader of the movement.
Katharina founded Joliba (another name for the Niger River, meaning “big river”) in 1997 as a place for intercultural networking and aiding immigrants. According to Katharina, this name was chosen because the Niger River connects many countries in West Africa, and the organization brings together many different people within Germany. This reminds me of the foreword to Showing Our Colors, in which Audre Lorde writes, “This book serves to remind African-American women that we are not alone in our world situation. In the face of new international alignments, vital connections and differences exist that need to be examined between African-European, African-Asian, African American women” (xiv). It is clear that the movement Katharina participated in so heavily with Lorde has informed the rest of her life’s work.
In her office, Katharina gave us a bit of history of the organization, and then we were able to ask her some questions. One of the themes she spoke about was her own experience with racism. In “What I’ve Always Wanted to Tell You” from Showing Our Colors, Katharina writes about the feeling of otherness she experienced when she was the only Afro-German that she knew. More specifically she explains reuniting with her brother: “It felt so good that the form of his hands and feet looked so much like mine. i loved him for making me feel that i was not alone, not an accidental exception” (215). Today in our discussion, Katharina strengthened this observation in several ways. She told us that Black Germans weren’t (and perhaps still aren’t) automatically recognized as German citizens. People would often ask her where she was from despite her being born in Germany. She went on to give the example of some anti-racist workshops she once co-led with her partner Carolyn Gammon. She said it was a very interesting exercise because she is Black German, and her partner is a White Canadian. This is the inverse of the way that most Germans conceptualize race, so some of the workshop participants are a little bit taken aback at first. I asked Katharina if there was ever any tension between the desire to be treated like a German citizen and to escape the othering, while simultaneously acknowledging that the white Germans had waged imperialist and colonialist efforts against several countries in Africa, including Ghana, Togo, Camaroon, Rawanda, Burundi, Tanzania, and Namibia. She responded that while there is a very specific and negative connotation to being “proud” to be German, she is happy to be German. She is glad to be able to claim the rights of a German citizen and to a certain extent not have to deal with the xenophobia that foreigners must.
Her experiences make a lot of sense, especially within the context of the racism of colonial Germany. As written in Showing Our Colors, “In the consciousness of the colonial avengers Blacks remained subhuman creatures to be civilized and disciplined. It is no wonder, then, that the occupation by Black soldiers was felt by much of the German population to be especially humiliating” (43). From the introduction to the book, we learned that for some Afro-Germans, “The nicest thing they [were] ever called […] was ‘war-baby’” (vii). With these quotes in mind, we can really begin to understand that the racism against Afro-Germans was exacerbated by the colonial history in which Black people were seen as less than human. It also makes sense that Katharina could desire being treated like the German she is, while also critiquing the Germany of the past, especially considering colonial Germany’s role in enhancing racism towards Afro-Germans.
After having this discussion, we took a short but beautiful walk through part of the Kreuzberg neighborhood of Berlin to the other Joliba building, where met several more of the interns—none of whom are Germans. One thing about Joliba is that it truly is an intercultural experience. Another really important aspect of the work at Joliba that we learned about is the importance of appreciating culture and having joy. Katharina introduced us to cultural projects, such as children’s books and the kora. She emphasized that this type of cultural exchange and “fun” activity are so important to this movement, because the pain and difficulty of fighting injustice every day takes a physical and emotional toll on a person. Along these lines, in Jasmin Eding’s profile of ADEFRA (an organization we will be visiting with later in the week!), she writes, “We are working on our vision to make ADEFRA a place for empowerment for women and their children, a place of comfort, a place to learn and to grow, a place to heal” (131). I trust what Katharina has to say about self-care, not only because other scholars like Eding (and Heidi!) seem to agree but also because she said it with the authority of seeing a movement grow from the beginning to the present, with all the ups and downs and failures and successes.
I really appreciated this experience of being able to see a successful organization that actually helps people that is also founded on progressive principles. It is very difficult to understand for the first time the source of your oppression. It’s complicated and painful even though it might be rewarding and helpful. However, it is even more difficult to take that knowledge and create something to change the problem. What was so interesting about this visit is that we had read Showing Our Colors, and now we were seeing Joliba after 20 years of operation. As Katharina said to us, the movement started with Showing Our Colors so in the span of a week, we have seen both ends of 20 years of activism. This visit also elucidated some of the readings from this week by giving us a palpable context, i.e. meeting Katharina. There is such a large difference between reading someone’s work and then getting to speak to them about it face to face. After reading her essays, then seeing her (briefly) in the documentary, a chance to ask questions was great!
I have purchased some eggs and toast for tomorrow. Hopefully the day will start well and end well with the exciting sessions we have in store!
Grace Montesano is a rising senior majoring in Feminist and Gender Studies as well as Political Science at Colorado College. They love discussing politics, and are known for making obscure references to various media that no one else has heard of. Grace is skeptical of the 9/11 story we have all been told, and believes the jury is definitely still out about the existence of mermaids.
I first became familiar with Grace Montesano (Feminist & Gender Studies and Political Science ‘17) when they wrote “Attention, Straight Allies” for the Block 2 2013 Monthly Rag. In it, they write, “Being a good ally doesn’t mean you will tolerate two men kissing in privacy, it means you actively fight the hetero and cis sexist power structure under which we all live. Don’t expect extra points from queer people just for putting up with us.” After reading that, I thought, “Wow! Who’s this fierce young buck?” Not long after, they enrolled in my Critical Race Feminism course during Half-Block 2014, making them the eldest member of the FemGeniuses in this course. Soon after, we connected on Facebook, and the rest is history. There are few students on Facebook that I enjoy “watching” more than Grace, especially because they are one of the smartest and most hilarious people I know. They’ll go from posting a scathing and fierce critique of white heteropatriarchal capitalist supremacy to posting about their Queering Fashion blog to posting hilarious thoughts about Justin Bieber. Grace is just all the things. Grace was also a student in my Feminist Theory in Block 6 2015. Always the leader, they served as the Editor for Guns & Rosie, along with 2015 FemGeniuses in Berlin member Jazlyn Andrews, which, according to them, “is a magazine for women in the military to read and relate to, because no matter what our theories about the military, the women on the ground need a place of sisterhood to deal with this taxing occupation.” I wasn’t surprised that Grace and their team chose to write about matters that are just as important outside of the academy as inside of it—if not more—because they’re always thinking intersectionally, even when they’re not in class. This is probably why Grace was as instrumental part of “The Stonewall X,” along with Baheya, and Black Women Matter with Ivy. For these reasons, I know Grace will benefit greatly from this course, and I’m looking forward to seeing their intellectual growth in Berlin and back on-campus. [UPDATE: Never one to let a mistake slip, and they shouldn’t be, Grace reminded me today that we actually met when they took my Critical Race Feminism course during Half-Block 2014. I guess I really am getting old. Hahahaha.]
Cheanna Gavin (Feminist & Gender Studies ‘18) took her very first college course, Introduction to Feminist & Gender Studies (First-Year Experience), with me during the fall 2014 semester. She was also a student in my Feminist Theory course this past spring. Not long after FYE, Cheanna decided to major in Feminist & Gender Studies and I serve as her adviser, so we’ve also gotten pretty close over the years. It’s been a pleasure watching her grow over the years—from a very quiet and shy first-year student to a strong, confident young woman who’s really thoughtful and intelligent. I was particularly impressed with the thinking she illustrated in “Miley Cyrus and the Madonna-Whore Dichotomy,” the final video project she produced with her classmates in FYE, which “problematizes mediated analyses of Miley Cyrus that rely primarily on the Madonna-Whore dichotomy.” Not long after, she started to “come out of her shell” when she published “Domestic Violence and the NFL,” a courageous think piece, in the Block 2 2014 Monthly Rag. More specifically, she writes, “The fact that it took a video of [Ray Rice] punching his wife to bring the severity of the issue into perspective is a huge problem. Both young boys and girls get the message that this is not a big deal. Young boys see that they won’t be severely punished without visual proof, and young girls see that their voice alone will not be heard.” Most recently, Cheanna served as a Journalist for Artisan, the final magazine project she produced with her teammates in Feminist Theory. For Artisan, Cheanna wrote “Revolutionary Feminist Hip Hop,” which introduces readers to hip hop artists Shadia Mansour and Ana Tijoux in order to explore the relationship between feminism and hip hop. Along these lines, her interest in art is one thing that I think will really motivate her during this course, especially since so many intellectuals in Berlin value artistic expression, and I hope her interests strengthen in this course and throughout her time in college.
Alejandra Hernandez (Feminist & Gender Studies ‘18) was also a student in my fall 2014 FYE course. She also declared the Feminist & Gender Studies major soon after, and I’ve served as her adviser ever since. I should also mention that she and Cheanna are best friends and that I affectionately refer to them as “The Bopsy Twinz.” It’s funny to think about our advising sessions when I would ask them, “Y’all gon’ take every class together?!” On a serious note, though, Alejandra is an extremely special young woman. She’s super shy and very quiet, but she is one of the smartest students I’ve ever had the pleasure of teaching. She may not talk often in class, but when she does, she causes even me to think more closely and carefully about our studies. As a first-year, she contributed a great deal to “Behind the Scenes: The Hyper-Sexualization and Objectification of Women during Fashion Week,” the final group video project she produced with her teammates that “explores hyper-sexualized and objectified constructions of women during New York’s Fashion Week.” Most recently, in Feminist Theory, Alejandra served as the Editor for Artisan, writing, “Using a feminist perspective, we aspire to seek, explore, and critique works of art that do feminist work in hopes of showing you, our reader, that feminism can go beyond the walls of a classroom. Artisan hopes to spur and inspire new thoughts and conversations. Our team strives to create a space that spotlights, shares, and celebrates powerful works of art dedicated to empower women and gender non-conforming individuals.” I cannot tell you how proud I was to see Alejandra step into a leadership role and to take her role as a leader as seriously as she did. Due to her leadership, that magazine has become one of my favorites, and I can’t wait to share it with students in Feminist Theory next year and to see how the great work in Artisan influences them to create a fabulous magazine.
Ivy Wappler (Feminist & Gender Studies ’18 and The Monthly Rag Editor, 2016-2017) was also a student in my FYE with Cheanna and Alejandra. She was also a student in my Critical Media Studies course just two blocks after FYE and in my Feminist Theory course this past spring. She’s also a Feminist & Gender Studies major and I serve as her adviser, so we’ve gotten to know each other really well over the past couple years. Ivy is energetic, humorous, and kind. She’s also very thoughtful and smart and willing to continue learning as she figures out who she is and who she wants to be. I first became intrigued with Ivy’s curiosity when she co-created “Sorority Life: Corrosion of Female Empowerment” for her final group video project in FYE. In this video, the group “explores how mediated constructions of primarily white sororities ignore the ways in which these organizations often perpetuated hegemonic gender norms.” Subsequently in Critical Media Studies, Ivy and her team produced “Act Like A Man, Man!: An Examination of Old Spice Ads,” which critiques the ways Old Spice advertisements perpetuate heteronormativity and hegemonic whiteness. Most recently, Ivy served as the Graphic Designer for the final group magazine project in Feminist Theory, helping her group to create GREEN QUEEN, a magazine that aims “to create a safe place for all people to read and learn about ecofeminism!” Outside of the classroom, Ivy’s commitment to theorizing and problematizing these and various other forms of oppressions led her to take an active—albeit careful and critical—role in the Black Women Matter demonstrations on our campus, illustrating her ability to seriously think about and examine problems that are relevant both within and outside of the academy. I think this is a big reason why she’ll appreciate this course, and I sincerely hope that she remains committed to that trajectory throughout and after her college career.
Baheya Malaty (Feminist & Gender Studies ‘18), whom I affectionately refer to as “HeyHey,” and I first met when they were a student in my Introduction to Feminist & Gender Studies course just over a year ago during Block 5 2015. I knew then that they would grow to become an intellectual force to be reckoned with. They didn’t talk a whole lot in class—something they’re very careful about—but when they did, they almost always said things that made the whole class stand at attention. At the end of the course, Baheya produced “The Solo Exception: The Implications of Categorization of Female Athletes in the Media,” the final group video project they produced with their classmates that “explores the various categorizations in which female athletes are pigeonholed based on gender norms.” Since then, Baheya has been very particular about making intersectional analyses paramount to their academic and personal life. For instance, they were an instrumental part of what I refer to as “The Stonewall X,” a group of students committed to shifting the Colorado College culture to be more reflective of our important and ever-growing LGBTQIA student population. Additionally, Baheya co-founded the Students for Justice in Palestine chapter at Colorado College, which aims “to promote the cause of justice and speak out against oppression.” It wasn’t surprising, then, when Baheya chose to become an Editor for the student magazine project in my Feminist Theory course this past spring and helped to produce The PWIssue, which, according to them, resists the popular institutional model of “adding color” to college campuses rather than “fostering healthy, inclusive, and diverse communities.” I know that Baheya will learn a great deal about intersectional leadership from our comrades in Berlin, and I am eager to see how their learning in this course manifests in their intellectual work both on-campus and off.
Nitika Reddy (Economics & Business ‘17) and I first met when she was a student in my Introduction to Feminist & Gender Studies course during Block 5 2015 with Baheya. Subsequently, she decided to declare a Feminist & Gender studies minor, and I serve as her minor adviser. Nitika is one of the brightest students I know, and I mean that intellectually and personally. It’s nearly impossible to be in a “bad” mood around her, which is something that I know her classmates and I will appreciate while we’re abroad. She’s also especially smart, having produced one of my favorite student group video projects to date, “Collard Greens & a Side of Gender Rolls,” which “explores constructions of gender roles on the Food Network’s Southern at Heart starring Damaris Phillips and Good Eats starring Alton Brown.” The very next block, Nitika continued pursuing her intellectual commitment to Feminist & Gender Studies when she enrolled in my Feminist Theory course. There, Nitika advanced her collaborative skills by serving as the Editorial Assistant for Wave: A Fem Rag, along with Inaugural FemGeniuses in Berlin member Kadesha Caradine, which aims “to shed light on feminist topics in a way that is empowering and productive in our advancement for the equal opportunity of women.” Whenever we get a chance to talk privately about issues related to my classes, Nitika always expresses a deep concern with being able to conduct intersectional analyses that consider race, gender, sexuality, class, and other markers. Hence, I think her participation in this course will have a deep impact on the ways she is able to converge her interests in Economics & Business and Feminist & Gender Studies all while having a great time.
Amy Valencia (Political Science ‘17) was also a student in my Block 5 2015 Introduction to Feminist & Gender Studies course with Baheya and Nitika with whom she helped produced “Collard Greens & a Side of Gender Rolls.” Like Nitika, she continued her journey into Feminist & Gender Studies by taking Feminist Theory during Block 6 2015. In that course, she served as Editor for College Grrrl: An Alternative Magazine for the Liberal Arts Woman, along with 2015 FemGeniuses in Berlin Willa Rentel, Jade Frost, and Spencer Spotts, which, according to Amy, “provides access to knowledge that is not immediately accessible on liberal arts college campuses, and empowers those who identify as women to acquire agency for change and improvement.” Most recently, Amy was a student in my Critical Media Studies course this past spring and produced one of my favorite student media projects to date, “The Production of an Enemy: Misrepresentations of Muslims in the News,” which examines a Time magazine cover and CNN news story in order to argue, “The constantly vilified images of Muslims spur not only anger and tension, but also a misunderstanding of Islam. Due to this media bias, the numbers of Islamic extremists and Islamophobes have grown rapidly, perpetuating hatred, violence, and conflict.” Along with her classmates, Amy also produced a new magazine cover and brief news story that aim “to humanize Muslims by opening a platform for the silenced narratives of victimization and fear, not only spurred by the attacks but also due to misplaced responsibility.” One thing I really appreciate about Amy is her ability to take her learning very seriously. She pays careful attention to the reading materials I assign and our conversations during class in order to conduct multidimensional analyses that challenge various forms of oppression. Since Amy is clearly invested in doing work that is valuable both within and outside of the academy, I know she will appreciate taking this course and learning from intellectuals that occupy myriad spaces in Berlin in order to affect change.
Amelia Eskenazi (Feminist & Gender Studies ‘19) and I first met when I called “The Stonewall X” into my office for a “come to Jesus” meeting. One of the things I appreciated most about Amelia then and even now is their ability to be attentive to critique as they find their intellectual place. For that reason, Amelia is always, always, always doing their best to learn. They’re as good a listener as they are a talker—and yes, they talk quite a bit (haha). So, I wasn’t surprised when Amelia showed up in my Feminist Theory course this past spring and served as a Journalist for Artisanand wrote one of my favorite student magazine articles to date, “The ‘Art Hoe’ Movement: Co-Opting, Empowerment, and Reclamation.” Here, Amelia writes, “We must analyze the ways in which the movement’s original goal has been skewed into a series of posts about color schemes, clothing patterns, and sunglass styles, fueling consumerism and capitalistic values rather than a furthering of the discussion concerning the erasure of people of color in mainstream media and art.” Did I mention that Amelia is a first-year student? Pretty impressive, right? Still, Amelia also realizes that they have a lot of learning to do in order to achieve their intellectual goals, and I’m confident this course will help them pursue their passions more saliently.
I first met Lila Schmitz (Film & Media Studies ’18) when she was a student in my Critical Media Studies course and produced “The Production of an Enemy: Misrepresentations of Muslims in the News” with Amy. She was also a student in my Feminist Theory course, serving as Graphic Designer for Artisan. Artisan is showing up quite a bit, huh? Perhaps I should call these students the Artisans in Berlin. Haha. I was thrilled when Lila first told me she was interested in taking this course, because I really appreciate her intellect and humor. She always makes insightful comments in class and asks some pretty important questions—one of my favorite things. Further, she always finds a way to make me laugh, something I’ll really appreciate while we’re abroad. While I’m still getting to know Lila, I’m confident that she’ll learn a great deal from this course and that her learning in Berlin will have powerful implications for the learning I’m sure she’ll do when we come back to campus and for the rest of her life.
While Amanda Cahn (Feminist & Gender Studies ‘17) hadn’t taken a class with me prior to this one, we first met during the spring 2014 semester when she decided to declare a major in Feminist & Gender Studies and asked me to serve as her adviser. Hence, I’m looking forward to getting to know her more in Berlin. Amanda has a great deal of experience traveling abroad, but I am positive that her learning in Berlin will be especially unique and fulfilling. Along these lines, I was particularly struck by Amanda’s response to a question on her application for this course: “Photographs are great to have for memories and for sharing with people back home, but there are also experiences lost when the camera is the focus.” In this way, Amanda seems to be acutely aware of the distinctions between being a so-called “traveler” and a “tourist,” and I’m hoping that she’ll share her wisdoms—even as she continues to learn—with me and her classmates.
Claudia Harrison (Classics/History/Politics ‘17) is the newest member of the FemGeniuses crew, as this is her first class with me and this will be our first experience getting to know one another. While it is risky for a professor to take a student abroad with whom they have little to no relationship, Claudia doesn’t worry me one bit. Aside from the fact that she and Nitika are good friends, I was particularly impressed by her application for the course. For instance, in response to one question, Claudia wrote about a great experience she had taking Elementary German with my colleague Christiane “Ane” Steckenbiller. Her experience was especially great because “Ane” helped her realize that learning language is inextricably linked to learning about a country’s many cultures. More specifically, Claudia wrote, “Having only taken Latin as a language in the past, I never noticed how much of modern culture is embedded in language and how the language we use affects how we treat marginalized communities.” This kind of thinking will be particularly valuable for Claudia, her classmates, and me while we’re in Berlin. And I’m looking forward to Claudia sharing her previous knowledge with us so that we have as rich and full of an experience as possible.
I’m also excited to announce that Dana M. Asbury will be serving as our Course Associate this summer! Dana and I became fast friends when we met in 2013, because she is one of the smartest, sweetest, most thoughtful, kindest people I know. Presently, she lives in Memphis, TN with her beloveds: human, feline, and canine. She’s currently West Tennessee Organizer with Healthy and Free Tennessee, a statewide coalition of people and organizations building grassroots power for sexual health and reproductive freedom in the U.S. South. She’s also a photographer who has had the luck and honor to document various events and actions in beloved communities across the country and Caribbean including, but not limited to, those organized by the Graduate Employees and Students Organization (GESO) at Yale, New Haven Rising Community Union, New Elm City Dream, Free 2 Spit poetry slam, Youth Day Project, the Transnational Black Feminisms Retreat in the Dominican Republic, ALIVE Rescue Memphis, and the Fight for $15 fast food and home care worker’s living wage campaigns in Tennessee. She’s particularly proud to have photographed Landlines,created and performed by friend and artist Ana-Maurine Lara. And I’m more than happy that she told me she’s “so joyously excited to get to be a part of FemGeniuses in Berlin!”
Last, but certainly, not least…guess who else is joining us in Berlin this summer? My mama, Robin, and my kids, AJ and Chase! I figured that’d be a great idea since this will be my third time teaching the course, and I have things figured out a lot more than I did the past two years! The most exciting thing is that AJ and Chase had to get passports for this trip, so this is their first time traveling outside of the U.S.! I really appreciate all of my friends in Berlin sharing in this excitement, so much so that my kids have friends there waiting for them that they’re so excited to meet and play with! It may even be that daddy gets to sneak away from work (hardest working man I know) to spend a bit of time with us, which would be great since he hasn’t been to Berlin since 2013! If not, though, he promises to try really hard to reconnect with the city and our beloveds living there in 2017!
As for my mama? Wow! She’s traveled outside of the U.S. but never to Europe, so I’m really thankful to be able to share this experience with her! In the words of Jay-Z,
Mama, I made it! You know how I do it like the doc do it! I fly through it! That’s how I operated! Mama, I made it! Ghetto like the grease when you gettin’ your hair braided, sweeter than your sister Kool Aid is! Hooray, it’s the underdog! Now, my feet under desk! I’m the presidential favorite! Can’t believe I got away with my earlier stages to bein’ on stages, havin’ my way with the world! Congratulations! Ya baby [girl’s] a made [woman]! I’m a hold the fam down, least 3 generations! I’m talkin’ when spaceships are around, and ya great, great grands reminiscin’ ’bout foundation you gave ’em! For repairin’ my relationship with my pops ‘fore he pass, all I ask is you raise your glass in a celebration! Toast to the most beautiful girl in the world, my inspiration! Thanks for the information! Mama, I made it!
—Jay-Z, “I Made It” (Kingdom Come, 2006)
Created by Grace Montesano (Editor), Caleigh Cassidy (Editorial Assistant), Jazlyn Andrews (Journalist), Alex Welch (Journalist), Julia Wood (Journalist), and Julia Cotter (Graphic Designer) during Block 6 2015
“Guns and Rosie is a magazine for women in the military to read and relate to, because no matter what our theories about the military, the women on the ground need a place of sisterhood to deal with this taxing occupation. This magazine has a focus on theory surrounding the struggle real women are going through. This emphasis is important if we hope to change the ways women are treated in the military. In this inaugural issue, we hope to contextualize some aspects of military life in theories that try to understand reality. Whether that is examining sexual assault, racist regulations, or transgender rights, the theories that help explain these phenomena are the first step toward changing them.”
—Grace Montesano, Editor