amor-rojo
AMOR ROJO
Alexandra Kollontai as red thread.
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576 páginas. Rústica. 17 cm. x 24 cm. 20 €. ISBN: 978-84-09-14346-7
¿Ha sido la izquierda históricamente tan tolerante con la homosexualidad como se piensa? ¿Qué le aportó en épocas de absoluto rechazo a nivel social? ¿Qué le ha diferenciado de la derecha en ese punto? ¿Cuán fue su postura al respecto frente a la inusitada represión que llevó a cabo el franquismo? ¿Fue unánime su apoyo al nuevo ‘movimiento gay’ una vez muerto el dictador? ¿El movimiento LGTB siempre ha permanecido al margen del resto de luchas, como a veces parece traducirse de su deriva actual, o hubo sectores muy representativos del mismo que lucharon por algo más que por sus derechos, mejoras legales y beneficios institucionales en los convulsos años de la llamada ‘Transición’ e incluso más allá? ¿Qué papel tuvo la existencia de una lucha antifranquista organizada de cara a la creación de los primeros movimiento de liberación (homo)sexual? ¿Han sido gays masculinos de clase media-alta provenientes de partidos de izquierda quienes engrosaron sus filas principalmente, o hubo todo un mundo paralelo de travestis, maricas con pluma, elementos radicales y algunos de los primeros grupos de lesbianas autónomas a quienes la historiografía a relegado a un plano secundario o directamente ha invisibilizado?
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The Audre Lorde Project is a Lesbian, Gay, Bisexual, Two Spirit, Trans and Gender Non-Conforming People of Color community organizing center, focusing on the New York City area.
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Audre Lorde (born Audrey Geraldine Lorde; 18 February 1934 - 17 November 1992) was an American writer, feminist, womanist, librarian, and civil rights activist. Her poems and prose largely deal with issues related to civil rights, feminism, lesbianism, illness, disability, and black female identity.
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Lucy Stone Disappointment
https://awpc.cattcenter.iastate.edu/2017/03/09/disappointment-is-the-lot-of-women-oct-17-1855/
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A decolonial feminism
This is not a new wave of feminism, but the continuation of the struggles for the emancipation of women in the Global South.
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A decolonial feminism, by Françoise Vergès
Feminism involves so much more than gender equality, and it involves so much more than gender (Angela Davis)
Lilla Watson: If you have come to help me, you are wasting your time. But if you have come because your liberation is bound up with mine, then let us work together.
The essentialist argument of a female nature that would be better able to respect life and would desire a just and egalitarian society does not hold: women are a political category neither spontaneously nor in themselves. What justifies a re-appropriation of the term “feminism” is that its theories and practices are rooted in the awareness of a profound, concrete, daily experience of oppression produced by the state-patriarchy-capital matrix, which manufactures the category of “women” to legitimize policies of reproduction and assignment, both of which are racialized.
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Amor Rojo
Amor Rojo (2018-2022) is a film and text project that uses the figure of Soviet revolutionary, sexual activist and diplomat Alexandra Kollontai to uderstand a recurrent pattern in the relation between socialism and feminism: revolutions have always been started - and sustained- by women, but women have always, indefectibly, been left behind in every post-revolutionary process. Under the motto: Revolution, fulfill your promise! Amor Rojo researches a 100 years of disappointment hopefully coming to an end with the latest Latino American transfeminisms.
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Tina Modotti moved to Mexico City in 1923 with her lover and photographic mentor Edward Weston. From the time of their arrival, the two became involved in the city’s artistic and political circles. Modotti’s embrace of Mexican culture was stronger than that of Weston, who, by turns inspired and exasperated by the country, remained focused foremost on the formal concerns of his photography. By contrast, Modotti’s sensitivity to the plight of the Mexican people and her involvement in radical politics became factors in much of her work. In Workers’ Parade, taken during a 1926 May Day demonstration, Modotti masterfully balances these social concerns with her aesthetic sensibilities. In it, the solidarity and strength of a crowd of Mexican workers is made manifest in a rhythmic, almost abstract composition.
The print offered here was given by Modotti to Alexandra Kollontai (1872-1952), Soviet minister to Mexico in 1926 and 1927. Kollontai became an active member of the Russian Social-Democratic Worker’s Party in 1898. An ardent and radical feminist, she campaigned tirelessly for women’s rights, advocated free love and the simplification of marriage and divorce procedures, and fought for the removal of social and legal stigmas attached to illegitimate children. She was the first female Soviet diplomat and served in Norway and Sweden, as well as Mexico.
Like Modotti, Kollontai loved Mexico and entered enthusiastically into Mexico City’s cultural life. A consummate diplomat, the well-dressed, elegant Kollontai mixed easily with the various strata of Mexican society, hosting black-tie dinners at the Russian embassy and at cultural events, among them the public screening of Sergei Eisenstein’s Battleship Potemkin. Modotti and Kollontai became close friends during this time, and upon Kollontai’s departure from Mexico, Modotti gave her this print, as well as Calla Lily, Elisa Kneeling, and her own portrait of the diplomat.
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En diciembre de 1926 llegó a Veracruz Alexandra Kollontai. La primera mujer embajadora del mundo llegó para asumir su segunda misión: representante en México de la hoy extinta Unión de Repúblicas Soviéticas Socialistas (URSS). Venía precedida por su fama de agitadora en favor del socialismo y de militante por la emancipación femenina. Durante su estancia en nuestro país llevó un diario que pasó a formar parte de sus memorias diplomáticas, dadas a conocer al lector ruso apenas hace unos cuantos años. El diario mexicano no es, ni pretende serlo, una historia de las relaciones diplomáticas entre México y la URSS. Es más bien un relato personal de las vivencias de Kollontai en nuestro país; un bosquejo colorido de su gente y sus cos-tumbres; el asombro de un extranjero ante paisajes e histo-rias que le resultan completamente ajenos. Una lectura atenta del diario nos permite apreciar, sin embargo, cómo Kollontai, primero, guarda su distancia frente a un país extraño y enigmático, y luego, cómo poco a poco va siendo cautivada por su historia, su gente, su riqueza humana y cultural. Al final de su misión diplomática en nuestro país, Kollontai concluyó: “En estos meses aprendí a conocer México y a sentir a su pueblo. Es fuerte, no lo doblegó el dominio español, ni lo destruirá el capital de Nueva York. Es un pueblo independiente y con voluntad”. Debemos la publicación en castellano del diario mexicano de Kollontai a Rina Ortiz, quien hizo una extraordinaria labor de investigación, rescate y cotejo; quien acudió a todas las fuentes a su alcance para finalmente obtener un documento de un gran valor histórico y literario, y quien, por supuesto, nos entregó la espléndida traducción que hoy ponemos al alcance del lector mexicano.
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Los revolucionarios somos útiles hasta después de muertos; nuestro cuerpo sirve de trinchera a los que siguen luchando
http://cubarte.cult.cu/periodico-cubarte/nuestro-cuerpo-sirve-de-trinchera-los-que-siguen-luchando-mella/
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