mediaevalmusereads · 2 years ago
Text
Tumblr media
Erotic Medievalisms: Medieval Pleasures Empowering Marginalized People. By Elan Justice Pavlinich. Routledge, 2023.
Rating: 3.5/5 stars
Genre: literary criticism
Part of a Series? No
Summary: Erotic Medievalisms is about the liberatory potential of sexualities, particularly as they relate to medieval histories and modern pleasures. Each of the texts analyzed within subvert norms rooted in medieval cultures or assumptions about the "real" Middle Ages, constructing queer histories that blur the lines between fantasy and authenticity. These medievalisms extend eroticisms and erogenous zones beyond normative limits of pleasure. Moreover, situating these diverse iterations of desire within the medieval past emends narrowly-constructed histories that limit the erotic fantasies and experiences of marginalized people.
***Full review below.***
Since this book is nonfiction, my review will be organized a little differently than usual.
Full disclosure: The author is a personal friend of mine, and I provided initial feedback/comments on the introduction and conclusion of this book (though not the chapters). So my review will inherently contain some bias.
The main argument of this book is that non-normative sex acts in medieval-inspired pop culture allow for the radical inclusion of queer and BIPOC people in a cultural/historical narrative from which they are typically excluded. Pavlinich looks at four main pieces of medievalism: Santiago Garcia and David Rubin's Beowulf, Lil Nas X's "Montero (Call Me By Your Name)," Patience Agbabi's "The Kiss," and medieval-inspired aesthetics and devices in contemporary BDSM. Each chapter compares the contemporary work to a medieval counterpart and is supported by an extensive bibliography of critical theorists and literary scholarship.
Pavlinich's book is at its strongest when performing "close reading." I was extremely impressed by the insights Pavlinich offered when showing the reader little details about the text (or video or what have you) that I might have otherwise overlooked. Some of these reading are also incredibly clever; I would have never thought, for example, to make a linguistic comparison between the Old English com and the modern English cum, much less dissect how bodily fluids function the same way in the graphic novel as the dread of Grendel's arrival in the medieval poem.
That being said, I do think Pavlinich's voice gets buried under the secondary scholarship. Pavlinich cites a lot of sources, and while some of them are vital for making sure a point is convincing and well-founded, I almost get the impression that the author was counting on established scholarship to do much of the heavy lifting. At multiple points in the book, Pavlinich would make a good observation, but instead of exploring the implications further, he would back off and zoom out to show what other people have said about a similar topic. In general, I think I would have much rather liked to see Pavlinich keep the secondary sources contained and spend more time elevating his own voice. That way, the secondary sources wouldn't just be mapped onto the primary texts, but Pavlinich could show how each text "speaks back" to theory (in other words, Pavlinich's voice would be elevated by showing how his close readings may be explained by theory, but also how theory can be changed by his close readings).
I also think there are a couple areas of the book that could use more close reading to help sell a point. For example, in the chapter on "Montero," Pavlinich claims that the final act of the music video depicts Lil Nas X as a harrower of hell, a queer Black savior performing an imitatio christi. Personally, I don't think I was convinced with this argument because the chapter simply asserts it to be true and doesn't make a case using the visuals of the video. How is LNX a savior and not rejecting salvation (by becoming the king of hell himself - the archtempter), especially when salvation is predicated on whiteness and straightness (as Pavlinich establishes elsewhere in the chapter)? How do we know LNX isn't reveling in damnation? A few other spots in the book are like that, which surprised me because when Pavlinich does perform close reading, his insights are good. I just wish that strength had been deployed more often.
In short, this book is a good intro to interrogating the medievalism of pop culture artifacts that are understudied by institutional scholarship. While I do think Pavlinich can elevate his own voice further, I would love to see future work from him and see what other insights he can bring by applying queer theory to medievalism.
12 notes · View notes
shockpop · 4 years ago
Text
hey so !!   i know i haven’t been here in a hot minute ,  just due to general disinterest in the rpc  /  typical “i am on fucking fire” -esque stress ,   but these past two days have also really opened my eyes to the type of people i’ve been following n like  ...    it’s not good lol .   so i’m gonna be moving denki to a much quieter blog cuz i’m like HELLA slow + unproductive + choosy with my replies and feel bad about not getting to things in a timely manner ,   but also to like ,   just be more private and only really follow some good friends !   i’m also up for doing discord rp stuff  (  where i’m more active  )  just cuz it’s way easier than having to physically be on a computer .
22 notes · View notes
pro-birth · 3 years ago
Text
It’s so manipulative and toxic how women have to scramble over themselves to assure their “appreciation” for birth control’s part in “sexual liberation” whenever they mention issues with BC. If a disclaimer is not made on a post discussing BC problems, then people hound it for being “unrealistic” or “ungrateful” or even just plain sexist, all because BC is a sacred cow that can never be criticized for the sake of women’s equity.
Like, no, women were not liberated by birth control: they still got discriminated against for being pregnant, still got sexually harassed, still got raped by their husbands, still endured bad sex because “clitoris” is a bad word (and BC can interfere with sexual pleasure), etc. Discrimination still happened, and we’re still reckoning with the failure of our previous generations.
So many problems got swept under the rug because pregnancy and fertility were made the scapegoat for women’s problems. “You’re not getting hired/accepted into school/respected as a political force because you get pregnant -- take this pill with serious consequences for your health and social well-being, and you’ll finally be free of your own biology!!!”
Really????
Being able to safely avoid a pregnancy is absolutely a part of women’s health, and having access to safe, holistic methods even more important. Being able to make an informed decision on all options available is important. I am not against those things. So don’t even come at me thinking I hate pregnancy prevention and safe access to it.
But that is NOT what women have, even in first world nations in many ways, because not ALL of their options are available. Way too few doctors know about ALL options for family planning (such as fertility awareness based methods), and they also discount women’s voices concerning issues with birth control.
The birth control industry not only has a strong monopoly over women’s health (which influences what medical professionals learn in school), but also has a long racist, sexist history that still harms people today. Side effects of birth control are only just now being taken seriously and research is still pending! After 70 fucking years of treating women like guinea pigs whose health and sexuality is considered second to sexual availability to men! This is the liberation we fought for???
This doesn’t even get into how options for menstrual/reproductive issues like endo or PCOS don’t go beyond “use potent artificial hormones” unless you want a baby, and even then the mainstream fertility treatments are also subpar. Safe and effective non-hormonal birth control and fertility health options exist, but they are NOT common, and it is BECAUSE of the birth control industry’s grip on medicine that they are not more accessible. It is BECAUSE of the devaluation of female biology that BC has caused that women’s medicine suffers. I’m supposed to shut up and lie about how awesome it is that we have birth control for this????
And not only that, but family rights in the workplace and in academia are still a battle being fought today because women are expected to not only use birth control or get an abortion to remain unpregnant in that sexist environment, but to also overwork and overburden themselves to act like they don’t have kids at home to take care of if they want to barely keep up with their childless compatriots. Smoke breaks? Cool! Wanting a stool to sit on while heavily pregnant when working check out lines? Wow you obviously don’t take your job seriously, no raises or job security for you! This is something I am being pressured to celebrate???
There was even a recent article on how breastfeeding Olympians are being told that they can’t take their nursing babies with them to compete (which thankfully was overturned). We’re still acting like women’s biology and their motherhood are subpar and unnecessary, we still have to pressure and waste energy on convincing sexists that we deserve accommodation. In 2021. Because birth control made fertility the problem and potent hormonal casrtration the solution. You really want me to sit there and force a smile for this shit????
Could you imagine how different things would have turned out if fertility awareness were normalized in medicine rather than hormonal methods? If simply not marrying, or abstaining from sexual activity, were also normalized as options? If doctors were given the same funding and support for researching female biology rather than how to suppress it? Would our societal treatment be different? Would our medical care have been decades ahead from how it is now? Would there be less generational trauma for BIPOC women who were subjects of deadly BC trials? Would it have helped with gender relations in the bedroom, schoolroom, workroom?
We don’t know, we can’t know, because even today, our biology is regarded with minimal regard, if not contempt: BECAUSE OF BIRTH CONTROL’S MONOPLY ON OUR BODIES AND HEALTH. You want me to claim I should be grateful for that shit???
I won’t be “””thankful””” for birth control unless birth control becomes a discussion and invitation to ALL methods of family planning and reproductive medical options, and does NOT treat ovulation, pregnancy, and birth like a disease and malformation of female biology. I’m not going to apologize for saying so, because the only thing that bootlicking does is gloss over the very real harms BC has caused.
I will not be thankful for birth control until it’s part in the medical, sexual, and social subjugation of women is finally admitted to and addressed effectively for real changes. Even then, it still won’t be my cup of tea and I am NOT obligated to pretend that I am “grateful” for it.
If you feel the same, then reblog and share your stories. Don’t be silent for the comfort of others. Women need to get their voices back without the demand for “apologies.”
And before someone bitches about how privileged I am to say this when women in third world countries are dying from lack of contraception access: look up neo-imperialism’s effects on forced birth control and eugenics in those countries. Read the stories of women who were told IUD was their only option, who were refused access to fertility awareness, who were unable to get healthcare when they got horrible side effects from their BC, and/or were unable to have their implant removed because the clinic demanded money for it. Like I said: we don’t owe birth control SHIT if this is how it’s used against women.
164 notes · View notes
wilwheaton · 4 years ago
Note
wow! you really did it this time. who knew you would be the one whod crack the oh so cryptic nazi dogwhistle that the rightwing has been hiding behind all this time? you're truly a genius! now that you have basically compared the official term (that the members themselves have used for years) of the democratic party TO the n-word, the s-word and the k-word, they cant make fun of liberals and leftists anymore, we are finally free. their supplies are SPENT and their defenses BROKEN. thank you mr. wheaton, you have done it! you have defeated fascism! may god bless america!
Just because you don’t know about the history of something doesn’t mean your interpretation and dismissal of that history is factually correct.
You’re probably not going to hear this. That’s okay. This is for anyone else who is open to hearing how this 48 year-old guy got where he is, politically.
The biggest event in my generation’s life is likely the attack on 9/11. None of us had ever experienced something like that, and it wrecked a lot of us.
But in the immediate aftermath of 9/11, all of us who weren’t on board with Bush’s illegal and immoral invasion of Iraq were grouped in with the terrorists who murdered 2000 people. We were The Other. It wasn’t as dangerous or as violent at that is in Trump’s America, but for its time, in its context, it hurt.
Sidebar: We are losing a 9/11 of Americans every two days, to COVID. It didn’t have to be this way. The fact that it is this way is a choice.
The whole point of a slur is to dehumanize and cast out a group of people. slurs shape unconscious public perceptions, encourage prejudices and bigotry, and create The Other.
When our nation was grieving and afraid, Republicans saw it as an opportunity to consolidate power, and one of the ways they did that was to Otherize and dehumanize all of us who didn’t share their political ideology. Our grief was minimized and discarded, and part of that was deliberately calling us The Democrat Party, instead of The Democratic Party. This was started by right wing Fascist Rush Limbaugh. He said that anyone who was a Democrat wasn’t actually democratic, and within 24 hours, elected Republicans at all levels of government, their supporters on hate radio, and right wing pundits were saying “Democrat” party instead of “Democratic Party”. As far as slurs go, it’s nowhere near the slurs propagated against BIPoC, LGBTQ+, and other groups of people who are dehumanized by my fellow white people. But it is still a slur, and it is still intended to dehumanize and delegitimize us.
So we were left with this huge, emotional, psychic wound that we couldn’t heal, a national grieving we were very publicly excluded from. If you weren’t alive then, you likely don’t know what it felt like for us to be told “you’re with us or against us” at a time when “us” meant Bush and the GOP. We lost friends and family and colleagues on 9/11, too. We were afraid, too. We lived in the same country and had the same right to grief and healing as Bush’s allies.
So when I hear a young person, who likely wasn’t alive or was a baby in 2001 and its immediate aftermath repeating a phrase that was used against me and people like me, I take offense. I won’t apologize for that. I also won’t apologize for not being as Left as some of the kids who attacked me. I do apologize for not making more of an effort to communicate clearly and compassionately. 
I can’t imagine that anyone who doesn’t already agree with all of this is still reading, but just in case some of you are open to it, open to hearing this old man’s voice of experience: 
This will be hard for you to believe, but I’m WAY to the Left in American politics. I know I’m not as Left as some of y’all in other countries. I respect where you’re coming from, and I ask you to understand and respect that, in 48 years (30 of them voting and actively participating in campaigns at every level of government), I’ve learned that we will never get as Left as I want. Bernie was as close as we’ve ever come, and as much as I love his message and policies, Americans have been asked, twice, if we want him to be The Guy, and both times America has said no thanks. We tried, again, with Senator Warren, and America said No Thanks. 
That’s a giant bummer, but it has laid the foundation for a new generation of progressive Democratic Socialists who I hope are the future of my party. I believe that the future is progressive, that America can’t continue to exist in Late Stage Capitalism, and that the Republican party as it exists now must be destroyed.
This is likely where we diverge: I vote my conscience and my heart in the primary, but I vote for Democrats in the general election, because even when I don’t get everything I want, I know that of the two options, Democrats aren’t going to deliberately hurt me and people I love the way Republicans will and do.
I’m willing to fight like crazy in the primaries to get the most Progressive candidate into the general, but once we’re in the general, I am going to support the candidate who is closest to me. I sent my message in the primary with my vote, and with my bank account by supporting the most progressive candidates I’m comfortable with. There was a younger version of me who believed voting Green would push the Democrats to the Left, where I was. I was wrong, and boy do I regret ever giving any of them my vote. Maybe it’s different in other countries, but in America, Greens have become useful idiots for Fascists who seek to hold onto power not by winning majorities, but by splitting their opposition’s vote.
When my candidate doesn’t make it out of the primary, I’m not willing to sit out the general, or cast a vote for a candidate who won’t ever win, because I have worked on enough campaigns, been close to enough party officials, and spent enough time in American politics to know that the two parties you despise don’t care at all about  your protest vote. It doesn’t move them to adopt your positions. It makes them dismiss you, entirely. That 90 or 90 percent of things you and the Democrats agree on? Doesn’t matter. You’ve ceased to exist for anyone who will ever be elected or hold electoral away. And because you did not vote for the one candidate who could beat the candidate you hate more, you have ended up supporting not just the candidate you hate, but all of their policies, their SCOTUS Justices, and every single head of every single branch of government.
I want to repeat that, because I really hope someone will hear this the way I couldn’t and didn’t hear it when I was in my early 20s: When you vote third party, not only do you help the candidate you most want to defeat, you take yourself out of the conversation. Nobody who will ever be elected takes you seriously, and all the things you care about will not be any closer to being addressed by people who can actually make a difference.
I don’t want you to give up your seat at the table. I want you to move the Overton Window back to the Left, so we get America closer and closer to being a nation that isn’t overtly racist, doesn’t murder Black people, provides healthcare and college to all Americans at no cost, and holds criminals -- even powerful criminals -- accountable for their actions.
In our Primary, I worked hard to get Senator Warren over the top, but our party and the voters who will decide the election didn’t agree. The people who can end Trump’s criminal reign of terror all said “We want Biden,” and I know this is a hard to swallow pill, but they are the people who matter, and they are the people we need to support if we want to get rid of Trump and stop the Fascist advance in America.
912 notes · View notes
samwisethewitch · 4 years ago
Text
Pagan Paths: Reclaiming
Tumblr media
Many pagans and witches are also political activists. Pagan values — such as respect for the planet and for non-human forms of life, belief in equality regardless of race or gender, and personal autonomy — often lead people to social or political action. However, as far as I know, there is only one pagan religion that has actually made this social activism one of its core tenets: Reclaiming. Reclaiming combines neopaganism with anarchist principles and social activism.
This post is not meant to be a complete introduction to Reclaiming. Instead, my goal here is to give you a taste of what Reclaiming practitioners believe and do, so you can decide for yourself if further research would be worth your time. In that spirit, I provide book recommendations at the end of this post.
History and Background
Given Reclaiming’s reputation as a social justice-oriented faith, it’s not surprising that it grew out of activist efforts. Reclaiming began with well-known pagan authors Starhawk and Diane Baker, who began teaching classes on modern witchcraft in California in the 1980s. Members of these classes began protesting and doing other activist work together, and this pagan activist group eventually grew into the Reclaiming Collective.
Out of the founders of Reclaiming, Starhawk has probably had the biggest influence on the tradition. Starhawk was initiated into the Feri tradition by its founder Victor Anderson, but had also been trained in Wicca and worked with figures such as Zsuzsanna Budapest (founder of Dianic Wicca). These Feri and Wiccan influences are clear in Starhawk’s books, such as The Spiral Dance, and have also helped shape the Reclaiming tradition.
Like Feri, Reclaiming is an ecstatic tradition that emphasizes the interconnected divinity of all things. Like Eclectic Wicca, Reclaiming is a non-initiatory religion (meaning anyone can join, regardless of training or experience level) with lots of room to customize and personalize your individual practice.
However, to say that Starhawk is the head of the Reclaiming tradition, or even to credit her as its sole founder, would be incorrect. As Reclaiming has grown and spread, it has become increasingly decentralized. Decisions are made by consensus (meaning the group must reach a unanimous decision) in small, individual communities, which author Irisanya Moon calls “cells.” Each cell has its own unique beliefs, practices, and requirements for members, stemming from Reclaiming’s core values (see below). Some of these cells may stick very closely to the kind of paganism Starhawk describes in her books, while others may look very, very different.
As with any other religion, there are times where a governing body is needed to make widespread changes to the system, such as changing core doctrine. When these situations do arise, each individual cell chooses a representative, who in turn serves as a voice for that cell in a gathering with other representatives from other cells. BIRCH (the Broad Intra-Reclaiming Council of Hubs) is an example of this.
At BIRCH meetings, representatives make decisions via consensus, the same way decisions are made in individual cells. While this means changes may take months or even years to be proposed, discussed, modified, and finally passed, it also means that everyone within the tradition is part of the decision-making process.
Core Beliefs and Values
Like Wicca, Reclaiming has very little dogma. Unlike Wicca, the Reclaiming Collective has a public statement of values that clearly and concisely lays out the essentials of what they believe and do. This document, which is called the Principles of Unity, is not very long, so I’m going to lay it out in its entirety here.
This is the most recent version of the Principles of Unity, taken from the Reclaiming Collective website in February 2021:
“The values of the Reclaiming tradition stem from our understanding that the earth is alive and all of life is sacred and interconnected. We see the Goddess as immanent in the earth’s cycles of birth, growth, death, decay and regeneration. Our practice arises from a deep, spiritual commitment to the earth, to healing and to the linking of magic with political action.
Each of us embodies the divine. Our ultimate spiritual authority is within, and we need no other person to interpret the sacred to us. We foster the questioning attitude, and honor intellectual, spiritual and creative freedom.
We are an evolving, dynamic tradition and proudly call ourselves Witches. Our diverse practices and experiences of the divine weave a tapestry of many different threads. We include those who honor Mysterious Ones, Goddesses, and Gods of myriad expressions, genders, and states of being, remembering that mystery goes beyond form. Our community rituals are participatory and ecstatic, celebrating the cycles of the seasons and our lives, and raising energy for personal, collective and earth healing.
We know that everyone can do the life-changing, world-renewing work of magic, the art of changing consciousness at will. We strive to teach and practice in ways that foster personal and collective empowerment, to model shared power and to open leadership roles to all. We make decisions by consensus, and balance individual autonomy with social responsibility.
Our tradition honors the wild, and calls for service to the earth and the community. We work in diverse ways, including nonviolent direct action, for all forms of justice: environmental, social, political, racial, gender and economic. We are an anti-racist tradition that strives to uplift and center BIPOC voices (Black, Indigenous, People of Color). Our feminism includes a radical analysis of power, seeing all systems of oppression as interrelated, rooted in structures of domination and control.
We welcome all genders, all gender histories, all races, all ages and sexual orientations and all those differences of life situation, background, and ability that increase our diversity. We strive to make our public rituals and events accessible and safe. We try to balance the need to be justly compensated for our labor with our commitment to make our work available to people of all economic levels.
All living beings are worthy of respect. All are supported by the sacred elements of air, fire, water and earth. We work to create and sustain communities and cultures that embody our values, that can help to heal the wounds of the earth and her peoples, and that can sustain us and nurture future generations.”
The Principles of Unity were originally written in 1997, to create a sense of cohesion as the Reclaiming Collective grew and diversified. However, the Principles have not remained constant since the 1990s. They have been rewritten multiple times as the Reclaiming tradition has grown and the needs of its members have changed. Like everything else within the tradition, the Principles of Unity are not beyond scrutiny, critical analysis, and reform.
For example, in 2020 the wording of the Principles of Unity was changed to affirm diverse forms of social justice work — including but not limited to non-violent action — and to express a more firm anti-racist attitude that seeks to uplift BIPOC. This was a major change, as the previous version of the document explicitly called for non-violence and included a paraphrased version of the Rede (often called the Wiccan Rede), “Harm none, and do what you will.” This change was made via consensus by BIRCH, after a series of discussions about the meaning of non-violence and the need to make space for other types of activism.
Aside from the Principles of Unity, there are no hard and fast rules for Reclaiming belief. As Irisanya Moon says in her book on the tradition, “There is no typical Reclaiming Witch.”
Important Deities and Spirits
Just as with belief and values, views on deity within Reclaiming are extremely diverse. A member of this tradition might be a monist, a polytheist, a pantheist, an agnostic, or even a nontheist. (Note that nontheism is different from atheism — while atheism typically includes a rejection of religion, nontheism allows for meaningful religious experience without belief in a higher power.)
The Principles of Unity state that the Goddess is immanent in the earth’s cycles. For some, this means that the earth is a manifestation of the Great Goddess, the source of all life. For others, the Goddess is seen as a symbol that represents the interconnected nature of all life, rather than being literally understood as a personified deity. And, of course, there are many, many people whose views fall somewhere in between.
In her book The Spiral Dance, Starhawk points out that the deities we worship function as metaphors, allowing us to connect with that which cannot be comprehended in its entirety. “The symbols and attributes associated with the Goddess… engage us emotionally,” she says. “We know the Goddess is not the moon — but we still thrill to its light glinting through the branches. We know the Goddess is not a woman, but we respond with love as if She were, and so connect emotionally with all the abstract qualities behind the symbol.”
Here’s another quote from The Spiral Dance that sums up this view of deity: “I have spoken of the Goddess as a psychological symbol and also as manifest reality. She is both. She exists, and we create Her.”
In that book, Starhawk proposes a perspective on deity that combines Wiccan and Feri theology. Starhawk’s Goddess encompasses both the Star Goddess worshiped in Feri — God Herself, the divine source of all things — and the Wiccan Goddess — Earth Mother and Queen of the Moon. This Goddess’s consort, known as the God, is similar to the Wiccan God, but includes aspects of Feri deities like the Blue God.
For some, this model of deity is the basis of their practice, while others prefer to use other means to connect with That-Which-Cannot-Be-Known. Someone may consider themselves a part of Reclaiming and be a devotee of Aphrodite, or Thor, or Osiris, or any of countless other personified deities.
Reclaiming Practice
As I said earlier, Reclaiming began with classes in magic theory, and teaching and learning are still important parts of the tradition. The basic, entry-level course that most members of the tradition take is called Elements of Magic. In this class, students explore the five elements — air, fire, water, earth, and spirit — and how these elements relate to different aspects of Reclaiming practice. Though most members of the tradition will take the Elements of Magic class, this is not a requirement.
After completing Elements of Magic, Reclaiming pagans may or may not choose to take other classes, including but not limited to: the Iron Pentacle (mastering the five points of Sex, Pride, Self, Power, and Passion and bringing them into balance), Pearl Pentacle (mastering the points of Love, Law, Knowledge, Liberation/Power, and Wisdom and embodying these qualities in relationships with others), Rites of Passage (a class that focuses on initiation and rewriting your own narrative), and Communities (a class that teaches the skills necessary to work in a community, such as conflict resolution and ritual planning).
If you’ve read my post on the Feri tradition, you probably recognize the Iron and Pearl Pentacles. This is another example of how Feri has influenced Reclaiming.
Another place where the teaching/learning element of Reclaiming shows up is in Witchcamp. Witchcamp is an intensive spiritual retreat, typically held over a period of several days in a natural setting away from cities. (However, in light of the COVID-19 pandemic, some covens are now offering virtual Witchcamps). Because each Witchcamp is run by a different coven, with different teachers, there is a lot of variation in what they teach and what kind of work campers do.
Each individual camp has a main theme — some camps keep the same theme every time, while others choose a new theme each year. Some camps are adults-only, while others are family-oriented and welcome parents with children. Typically, campers will have several classes to choose from in the mornings and afternoons, with group rituals in the evenings.
Speaking of ritual, this brings us to another important part of Reclaiming practice: ecstatic ritual. The goal of most Reclaiming rituals is to connect with the divine by achieving a state of ecstasy.
Irisanya Moon says that Reclaiming rituals often use what she calls the “EIEIO” framework: Ecstatic (involving an altered state of consciousness — the transcendent ecstasy of touching the divine), Improvisational (though there may be a basic ritual outline, there is an openness to acting in the spirit of the moment), Ensemble (rituals are held in groups, often with rotating roles), Inspired (taking inspiration from mythology, personal experience, or current events), and Organic (developing naturally, even if that means going off-script). This framework is similar to the rituals Starhawk describes in her writing.
There are no officially recognized holidays in Reclaiming, but many members of the tradition celebrate the Wheel of the Year, similar to Wiccans. The most famous example of this is the annual Spiral Dance ritual held each Samhain in California, with smaller versions observed by covens around the world.
Further Reading
If you are interested in Reclaiming, I recommend starting with the book Reclaiming Witchcraft by Irisanya Moon. This is an excellent, short introduction to the tradition. After that, it’s probably worth checking out some of Starhawk’s work — I recommend starting with The Spiral Dance.
At this point, if you still feel like this is the right path for you, the next step I would recommend is to take the Elements of Magic class. If you live in a big city, it may be offered in-person near you — if not, look around online and see if you can find a virtual version. Accessibility is huge to Reclaiming pagans, and many teachers offer scholarships and price their classes on a sliding scale, so you should be able to find a class no matter what your budget is.
If you can’t find an Elements of Magic class, there is a book called Elements of Magic: Reclaiming Earth, Air, Fire, Water & Spirit, edited by Jane Meredith and Gede Parma, which provides lessons and activities from experienced teachers of the class. Teaching yourself is always going to be more difficult than learning from someone else, but it’s better than nothing!
Resources:
The Spiral Dance by Starhawk
Reclaiming Witchcraft by Irisanya Moon
The Reclaiming Collective website, reclaimingcollective.wordpress.com
cutewitch772 on YouTube (a member of the tradition who has several very informative videos on Reclaiming, told from an insider perspective)
96 notes · View notes
swanlake1998 · 3 years ago
Link
Article: The Black Ballet Celeb Taking On Racism in Dance
Date: June 21, 2021
By: Mary Scott Manning
With a raft of Instagram followers and a modeling contract, the Washington Ballet’s Nardia Boodoo is as close as it gets to a pop celeb in the rarefied world of ballet. Now she’s trying to make that world more fair.
A ballerina, by definition, does not speak—at least not with words. The body is her language, and she spends her life mastering its vocabulary, usually at others’ direction: a casting list on the wall, a choreographer’s instructions, a critic’s review. For dancers of color, this fact has been doubly true.
But last year, after a Minneapolis police officer murdered George Floyd, and organizations across the professional spectrum were called out by people of color for furthering systemic racism, the overwhelmingly white world of ballet wasn’t spared. One of the most influential voices in that conversation was a dancer with the Washington Ballet, 27-year-old Nardia Boodoo.
You may have seen her onstage, one of the company’s five Black dancers, or in the pages of Marie Claire—she’s a model repped by Wilhelmina who has starred in campaigns for Tory Burch, Chanel Beauty, and Nike. She began dancing only 13 years ago, but Boodoo, whose roots are Indo-Trinidadian, has soared into the pantheon of ballet celebrities, the object of teen worship and the subject of fan art (plus at least one look-alike doll).
What was never visible was the racism she endured on the way up. “Despite the fact that I work hard in rehearsal, throw myself into my art form and perform on international stages,” as she put it on Instagram on May 31, 2020, “when I return home”—to Bethesda—”I’m still most likely to be questioned and harassed for walking my dog late at night in an affluent area…that I reside in.”
This month, Boodoo appears in one of the Washington Ballet’s latest productions, choreographed by the renowned Black dancer Silas Farely. Yet some of her most important recent work has occurred behind the scenes over the past year as she pushed the company to own ballet’s history of prejudice and its responsibility to change. “She’s just been a really, really important voice in helping us to galvanize and discuss all very important issues,” says Julie Kent, the company’s artistic director, issues that “haven’t really been addressed previously, and not just at the Washington Ballet but in ballet as an art form.”
When Boodoo started training at 14, Misty Copeland was making history as American Ballet Theatre’s first Black soloist in two decades, following trailblazing Black ballerinas such as Lauren Anderson and Raven Wilkinson. Boodoo’s peers at the Baltimore School for the Arts, meanwhile, were majority-African American, a “strong base,” she says, for a young artist of color. Boodoo earned a scholarship to Chicago’s Joffrey Ballet, then landed a coveted sport in the Washington Ballet’s studio company while still a teenager.
Leaving home, though, occasioned her first experiences with racial bias in ballet. “I’ve had someone who holds power say to me, ‘Well, because you stick out so much in the corps, you have to work so much harder, because everyone’s going to be looking at you,'” she says. “That’s not my fault that you only have one Black girl in the corps.”
It was the classic conundrum of a second generation. She wasn’t the one who broke down the door. But she still had to contend with an environment that was less than welcoming. And the pressure to fit a stereotype needled her. Virtually every professional Black dancer feels it: having to straighten curly hair, receiving costumes with mesh that doesn’t match their skin tone, wearing the pink tights that make light-skinned dancers look lithe but appear to chop inches off those with darker complexions. Sometimes Boodoo’s colleagues would make hurtful comments. “Stupid things,” she recalls, “like ‘Your hair smells like Black-girl hair.'”
Rachael Parini, a friend and the only other Black dancer when Boodoo joined the company, remembers when they were asked to wear white powder in Giselle, a tradition in the ballet but a loaded proposition for Black performers. At a rehearsal, the stager hollered over the loudspeaker: “Rachael and Nardia, why are you blue?” The powder apparently had turned their brown skin another hue under the cool stage lights.
Parini describes her friend as a force—”not one to back down from a fight.” But back then, the women endured the routine microaggression quietly. For all its glamour, a ballet company is a workplace like any other, governed by hierarchies and unwritten social codes. With one big difference: There’s usually no formal human-resources department. “You sort of get this vibe that this is how it is,” says Boodoo. “The more subservient you are…the better and the more instruction you’ll receive…the further your career will go on.”
After starting to model, Boodoo met a photographer who was perplexed by her acquiescence. He described how the New York dancers he knew were much more assertive. It was a revelation: Boodoo’s confidence and following grew. She became an apprentice at the Pennsylvania Ballet, then returned to DC, becoming a full company member in 2019.
By the time the country was protesting for racial justice and dancers of color began organizing over Zoom, she was ready to speak out. “To all the dancers that don’t feel supported by their companies,” she posted to Instagram on June 1, 2020, “I think it’s time to make some changes and to hold them accountable.” Andrea Long-Naidu, a former New York ballet star and a past teacher of Boodoo’s, looked on with pride: “When I had her at Dance Theatre of Harlem, she wasn’t aware of her powers yet.”
Seeing her staff in pain after George Floyd’s Killing, Kent convened an all-company Zoom. Voice cracking, Boodoo recounted her experiences, explaining that the bias often presented itself as overtly as it did implicitly: The problem wasn’t simply getting passed over for a role but also being told her face looked “too ethnic” for the part.
Kent, who is white, listened on the other side of the screen, distinctly aware of the vulnerability on display among her dancers. A former principal dancer with American Ballet Theatre, she performed on global stages and had a part in the beloved 2000 movie Center Stage. “I have a unique role and responsibility in order to move [the art form] forward,” she says, “and allow for the kind of career and love that I had to be possible for as many people as possible.”
Kent inherited one of the country’s most diverse companies from her predecessor, Septime Webre, who had recruited worldwide and electrified the institution’s cultural cachet. She had added 16 dancers to the corps, almost half of whom identify as BIPOC—and now they were hurting. There’s also the matter of competition. The Ballet has to compete with bigger acts imported by the Kennedy Center. In some ways, its relevance hinges on broadening ballet’s historically older, white audience with admirers whose woke-ness won’t tolerate notions of “diversity” that predate Black Lives Matter—or that feel performative.
Kent formed a working group with members from every department to tackle issues of inclusion and equity, and an outside consultant has been guiding their monthly meetings and homework. Boodoo, who represents the performers along with Oscar Sanchez, a Cuban dancer, had expected pushback. But her fan base and platform—a social-media audience that, at nearly 50,000 on Instagram, is within striking distance of some top New York ballerinas’—would have been tough for the company to ignore.
As wider discussions started, though, it became clear that white privilege was a new concept to some. Boodoo was dismayed that some colleagues were unfamiliar with certain civil-rights leaders, so she helped organize a remote study of the book The New Jim Crow. To prod management, she and fellow colleagues of color met privately to hash out ideas for the company at large. It’s been exhausting to divide her energy between institutional matters and the rigors of performing: “You want to just focus on your art form, you just want to focus on being beautiful, being a strong dancer, and contributing to the task at hand.”
Partly because of Covid limits on gatherings and partly because they had to start with building a shared vocabulary, the working group’s progress has felt slow. But they’re in the process of finalizing recommendations to address the places where inequity creeps in. Money, donors, time, and institutional commitment, meanwhile, all could limit their progress. The group, for instance, envisions a Nutcracker free of racist tropes—in particular, the traditional Arabian and Chinese dances, which play up offensive cultural stereotypes. But ticket sales help fund the annual budget. Will the public support changes to the beloved show? Can the company handle that financial risk?
The stakes—Black dancers continually being overlooked or leaving ballet—feel higher now that the work has begun. Still, Boodoo says she feels hopeful that the company will evolve. “She’ll be someone,” says Long-Naidu, “that’ll go down in the history books of Black ballerinas.” An artist who championed a new act for the ballet, or at least one who tried.
17 notes · View notes
voiceteammods · 4 years ago
Audio
Voiceteam Mystery Box is a two-week mini spinoff of Voiceteam to wrap up the holiday season and start the new year! Every day of the first week, teams will be presented with two new point-earning challenges. Each challenge will be active for seven days, so for the second week two challenges will close each day. Once all the challenges have closed, the team with the most points per member wins!
TIMELINE
Sign-ups: December 12th–December 22nd
Discord server opens: December 23rd
Challenges post: December 26th-January 1st
Final challenge ends: January 8th
Amnesty: January 9th
Results & Celebration: January 10th
Voiceteam runs on GMT, which means that all challenge drops and deadlines will happen at midnight GMT. Your mods—cantarina, forzandopod, klb, and wingedwords—are in EST, CST and PST.
RULES
For Mystery Box, we’ll be offering team sign-ups and individual sign-ups. In team sign-ups, teams of between 5 and 15 players can sign up as a complete group. In individual sign-ups, individual players can sign up to be matched by mods with others who signed up individually.
Minors (and over-18 folk who prefer to avoid mature content) are welcome to participate in Voiceteam! Where needed, two Discord channels will be provided to a group: a general-access channel and a NSFW channel.
Since team sizes will vary, each team’s final score will be determined by dividing the number of points the team earned by the number of players.
Challenges will sometimes leave room for interpretation. If you are not sure whether something counts, please check with the mods. We support creativity and will be generous with what we allow!
Completed creations should be turned in to the mods via a form we will link here once the challenge begins. A mod will look over and verify your submission and will reach out to you if we disagree about the point value or need more information from you. You are also encouraged (but not required) to share your creations within the Discord so that other players can see and enjoy them!
Individual participants will have a cap for how many points they can earn for each day’s challenges. If you’ve capped out for a particular day’s challenges, you can still participate by supporting and cheering for your other team members!
This challenge is all about adding fun and connection to our lives, not adding stress! If you choose to sit out a couple days or to only take on a single challenge for the whole event, that’s perfectly allowed. If you decide to just hang out in chat from time to time and cheer on your team, and you end up not making any creations, that’s allowed too. That said, you do need to meet the minimum participation level of checking in with your team to say hi once per week, or you will be removed from the team. If you are removed for non-participation, there is no stigma attached (really really) and you’re still welcome to sign up for future rounds.
Each team member has the final decision about their own creations (including their part in collaborative creations, if they choose to participate in any). There are no minimum requirements for the quality or size of your creations.
The mods are committed to supporting a positive experience for our players! Please feel free to come to the mods to request support with any issues, including but not limited to: feelings of exclusion, conflict with a group member, and concerns about the rules or structure of Voiceteam. We’ll keep your concerns confidential unless you give us the go-ahead to share them, but we can help you think up solutions or make mod-level changes as needed to address the problem. For more serious problems, our anti-harassment policy is linked here.
This is a community space, and players are expected to act in ways that take the needs and feelings of other players into account. If a player publicly complains about their team, pressures or excludes team members, or gives unsolicited concrit, they will be contacted by the mods and asked to stop. If this type of behavior happens repeatedly, they may be asked to leave Voiceteam or asked not to return in future years.
That said, our community will always make space for calling out or calling in of racism, transphobia, or other behavior harmful to historically marginalized communities, and the mods will always work to support players who speak up about this type of behavior. This includes calling out/calling in of the mods.
Connected to the previous point, we want to publicly (re-)acknowledge that as an all-white mod team we’re also a part of racism in fandom and the world. We have messed up in the past and caused harm when it comes to issues of race. As we go forward into this new round, we’re working to center anti-racism more intentionally from the start. The initial steps we will be taking are detailed in the FAQ below.
FAQ
Where did this idea come from?
We wanted to fit in one more round of Voiceteam before next May, and as we looked at available times, this idea started to form. We’ve been picturing the daily new challenges as a kind of opening of presents to extend the winter holidays, and the creation of new fanworks in the second week as a fun and exciting way to launch the new year!
Sounds fun! But I don’t have a pre-made group and don’t like the idea of being matched to a group of total strangers. What can I do?
While Voiceteam is a great place to make new friends, we also know there are lots of reasons someone might not feel comfortable being thrown into a social situation with a group of strangers. To address this, we have something new this round called “sign-up buddies”! People who sign up in individual sign-ups can choose one sign-up buddy, who will be guaranteed to be on the same team with them. Please note that to keep matching from becoming overly complicated, sign-up buddies must be reciprocal, so if person A requests person B, person B must request person A (and not person C)!
What if I have one or more people I’d like to privately request to NOT be on a team with?
There’s a field at the end of the sign-up that says “Is there anything else you want us to know?” If there are any people you’d like to request to not be on a team with, please mention it there. This field is set to private, so nobody except the mods will see what you type there.
What is Discord?/Tell me more about how the Discord server is going to work.
Discord is a chat-based platform. Every server (like the Voiceteam server) can host multiple text and voice chat channels. Some of the channels will be open to the entire Voiceteam community and some will be visible only to members of your team.
Voiceteam players will be emailed an invitation to the Voiceteam Discord server on December 23rd. You can spend the first days saying hi and getting to know your team—we’ll provide some optional icebreaker questions you can answer for each other—and then the first list of challenges will be posted at midnight (GMT) on December 26th (as the clock is ticking over from the 25th).
I don’t live in GMT. How do I keep track of when drops and deadlines will happen each day?
We know this can be confusing! We will have a time zone converter set up in Discord in a prominent location to help players keep track of when the next drop or deadline is coming up.
Are there limits or requirements for crossposting creations I make for Voiceteam?
Nope! You may crosspost any works made for Voiceteam whenever and wherever you want. You can also choose to not crosspost at all and only share with the mods, or only share within the Voiceteam Discord. One reminder, though, is that since many Voiceteam works are collaborations, all collaborators should discuss and be on the same page about when/where a work will be crossposted.
What is Amnesty?
During Amnesty Day, you can turn in anything you didn’t submit on time, but the point values for all submissions will be half what they were during the main challenge.
What’s an example of what a challenge might look like?
You can find examples of past Voiceteam challenges here.
What plans does Voiceteam have in place to address racism within fandom and our community?
We have put in place content moderation rules—if a fanwork is flagged and found to be in violation of these rules, any points previously earned by the work will be removed and the work will be removed from our Voiceteam collection. We will also be hosting 3 discussions on the Discord across the span of Voiceteam Mystery Box where we will talk together about articles, posts, or other sources written by BIPOC about antiracist practice.
We have also been looking for areas where we can shift our work as mods away from exerting power over others in the community and towards equal power-sharing, with us taking the role of facilitators. As one small part of this, mods will not delete any words by players from our Discord unless those words violate our anti-harassment policy and their deletion is requested by the affected community members. In case of deletion, we will keep screencaps of the unedited conversation for accountability reasons.
We are continuing to reflect as a mod team about these topics and will also remain open to suggestions and feedback from members of our community for how to improve in this area.
How do I sign up?
Head to our sign-up post or directly to our sign-up form
I have more questions!
For the answers to other questions, you can check out our FAQ from the last round. Anything in there that isn’t explicitly contradicted here still stands! If you have further questions after that, please ask them in the comments and we will get back to you as quickly as we can.
18 notes · View notes
la5t-res0rt · 4 years ago
Text
this was written several weeks ago in response to asks i was receiving i am posting it now it is very long the longest i have ever made and it is not very well edited but here it is in this final essay i talk about how shitty rae is about black people in her writing as well as just me talking about how her writing sucks in general lets begin
hello everyone 
as you may know i have received a lot of anons in the last week or so about issues of racism in the beetlejuice community both just generally speaking and also within specific spaces 
i was very frustrated to not be getting the answers i wanted because i typically do not talk about what i do not see but in an effort to be better about discourse i went looking through discourse from before my time in the fandom and i also received some receipts and information from my followers and from some friends
keep in mind that the voices and thoughts of bipoc are not only incredibly important at all times but in this circumstance it is important that if a bipoc has something to add you listen and learn and be better
i admit that when this happened i wasnt aware of the extent of what occurred and im angry at myself for not doing more at that time and i want to work harder to make sure something like this doesnt go unnoticed again
im a hesitant to talk about months old discourse because i have been criticized for bringing up quote old new unquote but this is very important and i am willing to face whatever comes from to me
lets talk about this
Tumblr media Tumblr media Tumblr media
content from our local racist idiot that may be months old but its important
putting my thoughts under a cut to spare the dash but before i begin obviously this is awful
lets fucking unpack this folks
right out the gate op states that she supports artistic freedom but then within a couple words she goes against that statement
being entirely canon compliant isnt artistic freedom and even so if this person has so much respect for canon they wouldnt be out here erasing lydias obvious disgust for beetlejuice in the movie or ignoring lydias age for the sake of shipping that shit isnt canon either 
also we love the quick jab at the musical there hilarious we love it dont we because god forbid a licensed and successful branch on a media have any standing in this conversation but whatever
now lets scroll down and talk about the term racebending
the term racebending was coined around 2009 in response to the avatar the last airbender movie a film in which the east asian races of the characters were erased by casting white actors in the three leading roles of aang sokka and katara 
whenever the term racebending is used in a negative light it is almost always a case of whitewashing like casting scarlett johansen in ghost in the shell or the casting of white actors of the prince of persia sands of time instead of iranian ones
this kind of racebending erases minorities from beeing seen in media and is wrong
all that being said however racebending has also been noted to have very positive after effects like the 1997 adaptation of cinderella or casting samuel jackson as nick fury in the marvel movies nick fury was originally a white guy can you even imagine
i read this piece from an academic that said quote writers can change the race and cultural specificity of central characters or pull a secondary character of color from the margins transforming them into the central protagonist unquote
racebending like the kind that rae is so heated about is the kind of creative freedom that leads to more representation of bipoc in media which will never be a bad thing ever no matter how pissy you get about it
designing a version of a character as a poc isnt serving to make them necessarily better it serves to give new perspective and perhaps the opportunity to connect even more deeply with a character it doesnt marginalize or erase white people it can uplift poc and if you think uplifting poc is wrong because it tears down white people or whatever youre a fucking moron and you need to get out of your podunk white folk town and see the real world
the numbers of times a bipoc particularly a bipoc that is also lgbt+ has been represented in media are dwarfed by what i as a white dude have seen myself represented in media is and that isnt okay that isnt equality and its something that should change not only in mainstream media but in fandom spaces as well
lets move down a bit further to the part about bullying straight people which is hilarious and lets also talk about the term fetishistic as well lets start with that
this person literally writes explicit pornography of a minor and an adult are we really going to let someone like that dictate what is and what isnt fetishistic
similarly to doing a positive racebend situation people may project lgbt+ headcanons on a character because its part of who they are and it helps them feel closer to the character and there is absolutely nothing wrong with that
depicting lgbt+ subject matter on existing characters isnt an inherently fetishistic action generally things only really become fetishistic when the media is being crafted and hyped by people who are outside of lgbt+ community for example how young teens used to flip a tit about yaoi or how chasers fetishize trans people
but drawing a character with top surgery scars or headcanoning them as trans is harmless and its just another way to interpret a character literally anone could be trans unless if their character bio says theyre cis and most of them dont go that deep so it really is open to interpretation and on the whole most creators encourage this sort of exploration because it is a good thing to get healthy representation out in the world
as for it being used to bully straights thats just funny i dont have anything else on that like if youre straight and you feel threatened and bullied because of someone headcanoning someone as anything that isnt cishet youre a fucking idiot and a weak baby idiot at that like the real world must fucking suck for you because lgbt+ people are everywhere and statistically a big chunk of your favorite characters arent cishet sorry be mad about it
lets roll down a bit further about the big meat of the issue which was when several artists were drawing interpretations of lydia as a black girl which i loved but clearly this person didnt love it because they have a very narrow and very racist and problematic view of what it means to be a black person
and before i move forward i must reiderate that i am a white person and you should listen to the thoughts of poc people like @fright-of-their-lives​ or @gender-chaotic it is not my place to explain what the black experience is like and it certainly isnt this persons either
implying that the story of a black person isnt worth telling unless if the character faces struggles like racism and prejudice is downright moronic 
why use the word kissable to describe a black persons lips now thats what i call fetishistic and its to another extreme if youre talking about a black version of lydia on top of that
the author of this post says herself that shes white so clearly shes the person whos an authority on the black experience and what it means to be a black person right am i reading that right or am i having a fucking conniption
how about allowing black characters to exist without having to struggle why cant a black version of lydia just be a goth teenager with a ghost problem who likes photography and is also black like she doesnt have to move to a hick town and get abused by racist folks she doesnt have to go through any more shit than she already goes through and if you honestly think thats the only way to tell a black persons story you need to get your brain cleaned
you know nothing about the complexities about being a black person and i dont either but you know wh odo black people who are doing black versions of canon characters they fucking know 
lets squiggle down just a bit further 
so the writer has issues with giving characters traits like a broad nose or larger lips if theyre a woman but if theyre a man suddenly its totally okay to go all ryan murphy ahs coven papa legba appropriation when approaching character design like are you fucking stupid do you hear yourself is that really how you see black men like what the fuck is wrong with you
none of the shit youre spewing takes bravery it takes ignorance and supreme levels of stupidity
do you really think you with your fic where a black lgbt+ woman is tortured and abused where you use the n word with a hard r to refer to her like that shits not okay its fucking depraved and yeah we know you love being shitty but like christ on a bike thats so much 
can we also talk about this
Tumblr media
what the fuck is this fetishistic bull roar garbage calling this black character beyonce dressing her up in quote fuck me heels unquote are you are you seriously gonna write this and say its a shining example of how to write a black character youre basically saying ope here she is shes a sex icon haha im so progressive and i clealry understand the black experience hahahaha fuck you oh my god
on top of that theres a point where this character is only referred to as curly hair or the fact that the n word is used in the fic with the hard r like thats hands down not okay for you to use especially not in a manner like this jesus christ
oop heres a little more a sampling for you of the hell i am enduring in reading this drivel
Tumblr media
oh boy lets put a leash on the angry black woman character lets put her in a leash and have the man imply hes a master like are you kidding me are you for real and what the fuck is with calling her shit like j lo and beyonce do you actually think thats clever at all are you just thinking of any poc that comes into your head for this 
also lydia fucking tells this girl that she shouldnt have lost her temper like she got fucking leashed im so tired why is this writing so problematic and also so bad
hold up before i lose my head lets look at some of her own comments on the matter of this character and what happens to her
Tumblr media
hi hello youre just casually tossing the word lynch out there in the wide open world as if thats not a problem that is still real like are you fucking unhinged there have been multiple cases of this exact thing happening in our firepit of a country in the last five months alone like how can you still have shit like this up for people to read how can you be proud of work like this in this climate
and also what the fuck is that last bit 
what the actual fuck
i dont speak for black people as a white person but you do!? im sorry i had to get my punctuation out for that because wow thats fucking asinine just because one black person read your fic and didnt find the torture and abuse of your one black character abhorrant doesnt mean that the vast majority of people not only in the fandom but in the human population with decency are going to think its okay because its not 
i started this post hoping to be level headed and professional but jesus fucking christ this woman is something else white nationalism is alive and well folks and its name is rae
if you defend this woman you defend some truly abhorrant raecism
editors notes 
in order to get some perspective on these issues more fully some of the writing by the author was examined and on the whole it was pretty unreadable but i want to just call back to the very beginning of this essay where the person in question talked about holding canon in high regard but then in their writing they just go around giving people magic and shit and ignoring the end of the movie entirely like are you canon compliant or nah 
the writing doesnt even read like beetlejuice fanfic it reads as self indulgent fiction you could easily change the names and its just a bad fanfic from 2007
also can we talk about writing the lesbian character as an angry man hater like its 2020 dude and als olets touch on that girl on girl pandering while beetlejuice is just there like here we go fetishizing again wee
i cant find a way to work this into this already massive post but
Tumblr media
im going to throw up
okay so thats a lot we have covered a lot today and im sure my ask box will regret it but this definitely should have been more picked apart when it happened
please feel free to add more to this i would love more perspectives than just my own.
41 notes · View notes
thisisnotartcritique · 4 years ago
Text
Weird.
How do you define weird, personally?/ What is weird to you?
P: Weird is a compliment, they stand out from the rest and make life interesting. Weird is experimental, a daring combination of materiality and subject, not another average landscape painting. When you look at art 24/7, you get tired of those…seems like weird is interchangeable with novelty. I would argue so because novelty sparks curiosity and interest, but it can also be intimidating. Perhaps weird stands between the fear of and the enjoyment of novelty?
M: Well-worded, Pete. I’d say non-conformist. Weird defies expectation, society itself. It is an outcast that will remain obscure, inspire a cult following, or fade into oblivion. In terms of art, it can be weird because of its materials, fabrication, concept, profitability, and/or the artist itself. Can trash, bones, or blood become art? Can marble statues be tattooed? Can a pale child-eating monster become iconic? Can a duct-taped banana make money? Can BIPOC poor and/or “ugly” artists make an impact? Ultimately, like art, weird is defined by its creator and/or their audience. No idea is original, but each person has their own voice. Does mine even matter? Who gives a shit.
J: Another label that humans enjoy using. I understand the usage of labels to categorize and organize artifacts, thoughts, and centuries of history, but they shouldn’t be used too liberally. Calling a person weird is honestly so strange: the main differences between you and the person you’re calling weird are the outside bits, which are only about 16% of your entire body. The rest is pretty much all the same. Even if people were to become the same on the outside, I have an inkling you’d all judge each other on sillier things like blood type, fingernail length, or mental fortitude. Likewise, it’s impossible to judge something as weird when considering the context it’s in, and even less so when in a vacuum. Art’s nice. 
M: Says the demon *coughs* 
Is it okay to categorize someone’s work as weird?
J:  Maybe not categorize, but free speech does exist. You can say what you want, whenever you want, and you have to face the consequences. So yes, you could call someone’s work weird, but maybe not when they’re standing behind you holding a stapler on opening night where they’ve invited their new girlfriend to the exhibition, and you’ve already had a few drinks too many.
P: Or just when they’re standing behind you. But I agree, I am not against describing something as weird, as I said before, it is a compliment. There is always a weird one in a friend group, I won’t name names here, but they are always fun to hang around with, right? 
Since you are asking, I would say it is more problematic to categorize, even though that is what we are doing in this blog… let’s say we are against conventional categorization and labelling!
M: No idea who you’re talking about, Pete but sure you’re not an absolute bore. Hans on the other hand… 
Anyways, weird can be derogatory or complimentary. As critics, we tread a fine line between being critical and yet compassionate. Even if and when we separate an artist from their work, our words can impact them and our readers. Is it okay to critique? To label? 
As carefully, as responsibly, or as carelessly as one might dissect work, art is a dangerous world for those who paint their hearts freely on their sleeves. 
My higher education, my sordid history as an artist, and my colleagues Hans and Pete don’t make me any better a critic than the proletariat or the average person. My charm might, though. 
But regardless, weird is slippery. Abstract. Alone, it makes no real statement. That in itself may be worse than any scathing injury. 
J: I’m starting to see a trend in who the punching bag of the team is, but when you’ve been alive for as long as I have, you develop thick skin.
M: Bullsh**. I bet you’ll order UberEats after this to avoid facing your emotional problems. I hope you remember that time you said “you too” to that waiter in Rome centuries ago, you desiccated fuck. 
P: That is enough children.
J: I DID in fact order UberEats today. Nothing wrong with that, supporting businesses during a pandemic. Also, wasn’t I ordering for you? Your Latin sucked ass then.
M: Well, order directly then! Businesses barely make any money from Uber Eats with all their commissions. And you know what? You can learn a language, but you can’t learn class, Johnny. 
P: I said Enough. But good point there Mike, take notes.
J: … are we really going to let a mortal interrupt us? Fine, I’m leaving.
M: Finally! Good riddance. Pete, you want to get bubble tea? 
Pete leaves the chat. 
1 note · View note
wineanddinosaur · 4 years ago
Text
How Black Lives Matter Made a Mexican-American Beer Writer Rethink Her Role in Craft Beer
Tumblr media
The first time I experienced a brew festival more than 10 years ago, my only expectation was to see a lot of people, try some new and interesting beers, and to enjoy myself. My vantage point was as a volunteer, serving beers to the masses along with my husband. Two of the first things I noticed immediately were: 1. The disproportionate number of men compared to the women in attendance; and 2. The fact that I was one of the very few people of color in attendance. As a second-generation Mexican-American from upstate New York, I have always been aware of my social surroundings wherever I am, and this was no exception.
Later, as I attended fest after fest across the Northeast, the disparities became hard to ignore. I’d say to my husband, whose family hails from Eastern Europe, “Do you notice that I’m the only brown person here?” to which he would reply, “No, I hadn’t really noticed.” Was I uncomfortable? No. Did it bother me? Somewhat. My observations were always there, nagging me to speak up about the industry’s lack of diversity. Later, I started a beer blog, but chose not to write about racial inequalities in an effort to “stay out of it” and let others tell their stories if they chose to do so.
Over the past decade, I’ve immersed myself in the craft beer world. I’ve worked for several breweries as a brand ambassador, as a bartender, and as a sales rep throughout the Northeast and in South Florida. The racial disparities have felt most pronounced to me in the Northeast, as I had more Latino colleagues while working in Miami. In New York, I wanted to capture the essence of the craft beer community I was a part of in Florida — partly pachanga (party atmosphere), mixed with a common understanding of beer, community, and acceptance. In the Northeast, I longed for the inclusivity that seemed to automatically come easily to my white counterparts who put on a brewer’s shirt, wore a long beard, or looked like the St. Pauli girl serving to the masses at Oktoberfest.
For my first gig as a brand ambassador, I worked for a brewery in Ohio with Irish American roots. While going through training, I was the only non-Irish-American employee. I felt awkward, like a sore thumb. It was a friendly enough environment and everyone was nice, but I still felt a sense of marginalization. My presence was certainly acknowledged, but I felt like more of an afterthought. I was the last person to be addressed and the last person to get handed a glass while sampling. I tried so hard to prove my worth; I was the person who always engaged, asking questions and starting conversations because the others would not.
In seeking recognition and acceptance, I pushed harder than my colleagues. I memorized every detail of the brewery’s beer profile, its history, and interesting anecdotes. Customers were gracious, inquisitive, and appreciative of my advice and conversation. I felt really good about my position and I loved talking about craft beer to anyone who would listen. During my time as a brand ambassador, I also became a writer for a local newspaper. Strangers recognized me and complimented me on my informative articles on beer. Things seemed to be going well.
Over the years, I built a reputation in the industry for knowing beers inside out, and for my friendly, can-do attitude. None of this took away the fact that I still noticed the lack of women and BIPOC at events. More and more it was starting to bother me, but I went on about my business and poured beer after beer. There never really is a “getting used to it” feeling about being the only minority in the room or the only female in a sea of beards — or in my case, both. I really wanted to see some diversity in the field but didn’t think I could do anything about it. Other than representing myself, I didn’t see how I could make an impact.
Over time, my desire grew to connect with BIPOC and women beer professionals and enthusiasts. In 2014, I started a Meetup group in Syracuse, N.Y., for like-minded women who wanted to learn more about craft beer and socialize. My goal was to see more women interact with each other, to meet local brewery professionals, and to grow a noticeable female representation at local events. More than 100 women came out of the woodworks and were grateful to have a “safe space” to congregate. I was ecstatic that my idea would get such a response! For a time, we gathered regularly, set up information tables at beer festivals, sold pretzel necklaces, and recruited other women to join the group.
This type of group had not been done before in my community, and members looked forward to our monthly meetings where we would get together at local breweries and beer businesses, learn something new, and enjoy a few pints with one another. Our voices were heard, our questions were answered, and our taste buds were satiated. Yet, despite the success of the group, there was still something lacking — while I had tapped into a vein of women who loved beer, they were largely white. I was still unable to find beer professionals or enthusiasts who looked like me, a brown-skinned American woman.
Fast-forward to 2019, I landed a job representing a craft brewery from Kilkenny, Ireland. This was an international brand looking to find American fans that weren’t necessarily craft beer snobs. My goal was to reach 35- to 50-year old men and women who were accustomed to a pint of Guinness or Killian’s. My bosses and colleagues were wonderful people who looked to sell this unknown name in America. And I was ready for the challenge. After 10 years in the business I felt confident that I could represent the brand well. Despite the fact that I was neither Irish nor Irish-American, I was comfortable in my role.
That’s until I experienced racism first-hand from a consumer. While serving samples of an Irish red ale at a local Irish-American bar, a patron said to me, “You’re not Irish. Shouldn’t you be Irish or Irish-looking if you’re going to represent that beer? Why did they hire you?”
I couldn’t believe what I was hearing, but deep down, the racist customer tapped into my feelings of not belonging, of “otherness.” The only response I could give to this guy was, “Because I know my stuff.” But he didn’t care. He didn’t want to see a brown girl talk European beer. Normally I would brush off such a crude question but I couldn’t.
I began to doubt my validity to everyone and everything. I had worked hard to get into the industry and knew that my gender and race shouldn’t matter when it came to doing my job. Logically, I knew that I was an educated, smart woman who entered the beer industry on her own merits. I knew that I worked hard to switch careers from being a higher-educational professional to a beer writer and brand representative. Nobody could take that away from me, but in that one exchange, my pride turned to shame. Shame for not being able to control my outer appearance, shame for being born the “wrong” color, shame for not being someone I will never be. However, I continued on, with a little less pride for working in beer. Despite a company trip to Ireland and tremendous support from my Irish superiors, I didn’t feel a sense of belonging or teamwork in what I was doing. Unfortunately, my career as a brewery representative ended shortly thereafter.
I have never really spoken or written about the subject of race, mostly because it makes me uncomfortable. Just like religion or politics, I also lumped the subject of race as one of those things we do not speak of with others unless we’re looking for a fight. I’m usually an assertive, well-spoken woman with a lot to say. While I most certainly take the lack of diversity in most settings, until recently I have sort of shut my eyes and covered my ears like a child who tries not to see the monsters in the bedroom. I don’t want to highlight the things I feel I have to apologize for like my race or gender to anyone when really, there is nothing to apologize for.
Finally, I feel that the tide is turning. This time, it’s different. In 2020, the manifestations of racism are front and center. The Black Lives Matter movement, its protests, and the scores of new initiatives to empower people of color are taking shape. These are for people like me. I can now say with emphasis that I am proud of my Mexican heritage. I am proud to embrace it as a part of my identity. I am proud of all my accomplishments.
I love working in craft beer and have no regrets about changing careers. For me, the beer industry can be (and usually is) one of the friendliest and supportive communities. However, there are times when that one customer, that one distributor sales rep, that one colleague can take it all down with a word or a gesture.
Finally, I’m seeing more faces of color and hearing the voices rise in the industry, clearer than ever before. I’m drinking Black Is Beautiful beer knowing that it’s more than just the beer. While for the moment those faces and voices are on Zoom and YouTube because of the pandemic, I’m looking forward to the time when I go to my local brewery in upstate New York and see more people like me. I can’t wait to attend craft beer conferences and interact with new BIPOC colleagues in the audience and on the podium.
Yes, we most certainly have a ways to go when it comes to inclusivity in the beer industry. But now, I know that it’s time for me to speak, because I do belong to the community and what I have to say does matter. I’ve learned that in order to see change, you don’t wait for it to happen. You speak your truth, and your message will be heard.
The article How Black Lives Matter Made a Mexican-American Beer Writer Rethink Her Role in Craft Beer appeared first on VinePair.
source https://vinepair.com/articles/craft-beer-diversity/
0 notes
johnboothus · 4 years ago
Text
How Black Lives Matter Made a Mexican-American Beer Writer Rethink Her Role in Craft Beer
Tumblr media
The first time I experienced a brew festival more than 10 years ago, my only expectation was to see a lot of people, try some new and interesting beers, and to enjoy myself. My vantage point was as a volunteer, serving beers to the masses along with my husband. Two of the first things I noticed immediately were: 1. The disproportionate number of men compared to the women in attendance; and 2. The fact that I was one of the very few people of color in attendance. As a second-generation Mexican-American from upstate New York, I have always been aware of my social surroundings wherever I am, and this was no exception.
Later, as I attended fest after fest across the Northeast, the disparities became hard to ignore. I’d say to my husband, whose family hails from Eastern Europe, “Do you notice that I’m the only brown person here?” to which he would reply, “No, I hadn’t really noticed.” Was I uncomfortable? No. Did it bother me? Somewhat. My observations were always there, nagging me to speak up about the industry’s lack of diversity. Later, I started a beer blog, but chose not to write about racial inequalities in an effort to “stay out of it” and let others tell their stories if they chose to do so.
Over the past decade, I’ve immersed myself in the craft beer world. I’ve worked for several breweries as a brand ambassador, as a bartender, and as a sales rep throughout the Northeast and in South Florida. The racial disparities have felt most pronounced to me in the Northeast, as I had more Latino colleagues while working in Miami. In New York, I wanted to capture the essence of the craft beer community I was a part of in Florida — partly pachanga (party atmosphere), mixed with a common understanding of beer, community, and acceptance. In the Northeast, I longed for the inclusivity that seemed to automatically come easily to my white counterparts who put on a brewer’s shirt, wore a long beard, or looked like the St. Pauli girl serving to the masses at Oktoberfest.
For my first gig as a brand ambassador, I worked for a brewery in Ohio with Irish American roots. While going through training, I was the only non-Irish-American employee. I felt awkward, like a sore thumb. It was a friendly enough environment and everyone was nice, but I still felt a sense of marginalization. My presence was certainly acknowledged, but I felt like more of an afterthought. I was the last person to be addressed and the last person to get handed a glass while sampling. I tried so hard to prove my worth; I was the person who always engaged, asking questions and starting conversations because the others would not.
In seeking recognition and acceptance, I pushed harder than my colleagues. I memorized every detail of the brewery’s beer profile, its history, and interesting anecdotes. Customers were gracious, inquisitive, and appreciative of my advice and conversation. I felt really good about my position and I loved talking about craft beer to anyone who would listen. During my time as a brand ambassador, I also became a writer for a local newspaper. Strangers recognized me and complimented me on my informative articles on beer. Things seemed to be going well.
Over the years, I built a reputation in the industry for knowing beers inside out, and for my friendly, can-do attitude. None of this took away the fact that I still noticed the lack of women and BIPOC at events. More and more it was starting to bother me, but I went on about my business and poured beer after beer. There never really is a “getting used to it” feeling about being the only minority in the room or the only female in a sea of beards — or in my case, both. I really wanted to see some diversity in the field but didn’t think I could do anything about it. Other than representing myself, I didn’t see how I could make an impact.
Over time, my desire grew to connect with BIPOC and women beer professionals and enthusiasts. In 2014, I started a Meetup group in Syracuse, N.Y., for like-minded women who wanted to learn more about craft beer and socialize. My goal was to see more women interact with each other, to meet local brewery professionals, and to grow a noticeable female representation at local events. More than 100 women came out of the woodworks and were grateful to have a “safe space” to congregate. I was ecstatic that my idea would get such a response! For a time, we gathered regularly, set up information tables at beer festivals, sold pretzel necklaces, and recruited other women to join the group.
This type of group had not been done before in my community, and members looked forward to our monthly meetings where we would get together at local breweries and beer businesses, learn something new, and enjoy a few pints with one another. Our voices were heard, our questions were answered, and our taste buds were satiated. Yet, despite the success of the group, there was still something lacking — while I had tapped into a vein of women who loved beer, they were largely white. I was still unable to find beer professionals or enthusiasts who looked like me, a brown-skinned American woman.
Fast-forward to 2019, I landed a job representing a craft brewery from Kilkenny, Ireland. This was an international brand looking to find American fans that weren’t necessarily craft beer snobs. My goal was to reach 35- to 50-year old men and women who were accustomed to a pint of Guinness or Killian’s. My bosses and colleagues were wonderful people who looked to sell this unknown name in America. And I was ready for the challenge. After 10 years in the business I felt confident that I could represent the brand well. Despite the fact that I was neither Irish nor Irish-American, I was comfortable in my role.
That’s until I experienced racism first-hand from a consumer. While serving samples of an Irish red ale at a local Irish-American bar, a patron said to me, “You’re not Irish. Shouldn’t you be Irish or Irish-looking if you’re going to represent that beer? Why did they hire you?”
I couldn’t believe what I was hearing, but deep down, the racist customer tapped into my feelings of not belonging, of “otherness.” The only response I could give to this guy was, “Because I know my stuff.” But he didn’t care. He didn’t want to see a brown girl talk European beer. Normally I would brush off such a crude question but I couldn’t.
I began to doubt my validity to everyone and everything. I had worked hard to get into the industry and knew that my gender and race shouldn’t matter when it came to doing my job. Logically, I knew that I was an educated, smart woman who entered the beer industry on her own merits. I knew that I worked hard to switch careers from being a higher-educational professional to a beer writer and brand representative. Nobody could take that away from me, but in that one exchange, my pride turned to shame. Shame for not being able to control my outer appearance, shame for being born the “wrong” color, shame for not being someone I will never be. However, I continued on, with a little less pride for working in beer. Despite a company trip to Ireland and tremendous support from my Irish superiors, I didn’t feel a sense of belonging or teamwork in what I was doing. Unfortunately, my career as a brewery representative ended shortly thereafter.
I have never really spoken or written about the subject of race, mostly because it makes me uncomfortable. Just like religion or politics, I also lumped the subject of race as one of those things we do not speak of with others unless we’re looking for a fight. I’m usually an assertive, well-spoken woman with a lot to say. While I most certainly take the lack of diversity in most settings, until recently I have sort of shut my eyes and covered my ears like a child who tries not to see the monsters in the bedroom. I don’t want to highlight the things I feel I have to apologize for like my race or gender to anyone when really, there is nothing to apologize for.
Finally, I feel that the tide is turning. This time, it’s different. In 2020, the manifestations of racism are front and center. The Black Lives Matter movement, its protests, and the scores of new initiatives to empower people of color are taking shape. These are for people like me. I can now say with emphasis that I am proud of my Mexican heritage. I am proud to embrace it as a part of my identity. I am proud of all my accomplishments.
I love working in craft beer and have no regrets about changing careers. For me, the beer industry can be (and usually is) one of the friendliest and supportive communities. However, there are times when that one customer, that one distributor sales rep, that one colleague can take it all down with a word or a gesture.
Finally, I’m seeing more faces of color and hearing the voices rise in the industry, clearer than ever before. I’m drinking Black Is Beautiful beer knowing that it’s more than just the beer. While for the moment those faces and voices are on Zoom and YouTube because of the pandemic, I’m looking forward to the time when I go to my local brewery in upstate New York and see more people like me. I can’t wait to attend craft beer conferences and interact with new BIPOC colleagues in the audience and on the podium.
Yes, we most certainly have a ways to go when it comes to inclusivity in the beer industry. But now, I know that it’s time for me to speak, because I do belong to the community and what I have to say does matter. I’ve learned that in order to see change, you don’t wait for it to happen. You speak your truth, and your message will be heard.
The article How Black Lives Matter Made a Mexican-American Beer Writer Rethink Her Role in Craft Beer appeared first on VinePair.
Via https://vinepair.com/articles/craft-beer-diversity/
source https://vinology1.weebly.com/blog/how-black-lives-matter-made-a-mexican-american-beer-writer-rethink-her-role-in-craft-beer
0 notes
blueeyesspitfire · 4 years ago
Text
Broken Bones
I guess it’s about time I update this blog. I could’ve sworn I wrote here more recently, but apparently three months flew by in an instant. I’ve also been making small but more frequent updates on Patreon, but I don’t expect (or want!) a ton of people to subscribe to that.
Where do I begin? I started my last entry with “The entire world has changed in the few weeks since I last wrote.” and this one is no different. The global pandemic seems to be trailing off in most places outside of the United States, and (thankfully) in the northeast. However, it seems to be thriving in the south and west, and as a country, we’re far from out of the woods. It’s hard to plan anything for the future, or to feel optimistic about it.
We’re also in the middle of a historical civil rights movement, which began in response to the killing of George Floyd by Minneapolis police. (Although police brutality and systematic racism Black people have faced goes well beyond Floyd’s murder) I’ve been trying to donate to as many organizations and funds as I can, but there’s still so much that needs to be done, and so much more I hope to do as an individual. For right now, I’d encourage you to find BIPOC leaders in your community and support them. Of course, vote, donate, educate, amplify Black voices, sign petitions, march, do everything in your power and use your privileges. But also, listen, and know when it is not your turn to hold the megaphone.
I know, this is a blog about a dog sled team, but human rights are incredibly important to me. If that bothers you, or if you prefer to bleat, “All lives matter”, you’re more than welcome to fuck off.
OK, so what else.
In my last post I wrote about chickens and gardens. Much has changed in the homestead since, unfortunately not for the better. To start, I killed almost all of my initial seedlings by planting outside prematurely. But that was only the beginning of my woes.
A few weeks into owning the chickens, they began free ranging a bit. I only let them roam when the dogs were inside, but I didn’t anticipate how much the sight (through the window), sounds, and smells of the birds would set them off.
The mayhem started after I had been kneeling in their coop, submerging my work pants in their scent. After tending to their needs, I went to the backyard with the dogs. Denali and Willow started sniffing my pant leg with great interest, and I didn’t think much of it. I wanted them to grow accustomed to the chickens’ presence, without putting them directly in their line of sight.
In a split second, the two girls were at each other’s faces, biting and snarling. I have no idea who started it, but my guess would be Denali, as she’s the more grumbly boss lady around here. The fight was gnarly, but I was able to get them apart by shoving one off the porch. I ended up bringing Willow to the vet for a 1” gash near her ear, but neither of their wounds were severe.
I’ll pause to mention that these two have fought maybe three times before, in the nearly five years I’ve had Willow. The last time was in Big Bear, and it was pretty mild by comparison. Aside from a quick crate break, I didn’t need to separate them afterwards; they both were over it fast.
I mistakenly assumed this fight would be no different. After the trip to the vet and several hours to calm down, I let the girls out together, and another fight happened almost immediately. I got it controlled quickly, but it was shocking to me. And, man, did I feel like an absolute asshole.
I proceeded to rotate the girls for a week or two (at this point I don’t even remember), until I felt confident enough to let them loose together with heavy supervision. Things seemed to return to normal, until one day Knox caught sight of the chicken trio roaming and set off a group howl. The excitement lead to a series of fights: first Denali and Willow, then Dexter and Hubble, and finally Willow and Laika. Thankfully no one was hurt and they were all minor scuffles, but obviously this was not OK. That same day, I reached out to my NoCo friend circle about rehoming the chickens. The next day, I loaded everything up and brought them to my friend’s place where they’re now living happy lives. It’s heartbreaking for me, as I’ve dreamed of keeping chickens for so long, but I needed to reset.
Once the chickens were gone, things improved almost immediately. The fights stopped. I restarted the crate and rotate cycle with Denali and Willow, but soon found they could be loose together without issue. I was proud and relieved. For about a month.
But then they fought again. I almost predicted it. We get Amish horse buggies passing the house every so often, maybe once a week tops. On this particular day, multiple buggies went past, and this fired the dogs up. Denali and Willow fought again. I did finally have a pattern, though: excitement (Willow rushing around/barking) and Denali feeling cornered. Everyone came out of this one OK, and I adjusted accordingly. I’d have to be careful in hallways and the backdoor area, where Denali feels more defensive. If I could avoid having them in those spaces, things seemed to be OK. They never had any fights in the big, open play yard.
Another week and a half went by with things once again going back to “normal” (whatever that word means). As we got into June, the temperature was high and the dogs were much lazier. I was outside working on my laptop and all the dogs were loose in the small dog yard with me. Denali and Willow had been lounging in the sun all day together without a problem. I let my guard down, I guess.
Denali was asleep on the porch and the younger dogs were milling about the yard. A robin landed just outside the fence and Willow leapt across the porch to chase after it. Just as she made her dash, Denali sprung up and, expecting an attack, lunged at her. The two girls began their typical brawl, but this time Laika joined in, so it was two versus one. The younger girls had a grip on Denali’s neck that screamed “life or death” situation, and I dove into the brawl. Denali bit down on anything she could reach in self-defense. This mainly ended up being me; she broke my thumb with her first bite.
Despite my injuries, I managed to pull the three girls apart. I threw Willow into the garage, Laika in the house, and made sure Denali was OK before getting everybody safely crated and myself to urgent care. They cleaned me up, took X-rays which confirmed the break, and set my hand in a splint. They also set me up with an orthopedic surgeon, expecting I’d need surgery to fix the bone. I cleaned Denali up when I got back home and gave her antibiotics I had on hand. My vet handled a few staples the next day.
My parents came up from New Jersey to help me sort life out, but the streak of bad luck wasn’t over. Within 48 hours of breaking my thumb, my dad stumbled in my hallway and fell down the stairs, breaking his wrist. At this point, it’s hard not to laugh (through the pain).
It’s been almost a month now and I’m cautiously optimistic about the immediate future, at least. I’ve gone through three splints, surgery to insert pins, and a hard cast for another week and a half. Dad’s had surgery to insert a plate in his wrist. Denali healed and had her staples removed.
As far as Denali and Willow’s relationship is concerned, things strained. I have been rotating them between crates, gates, and the two separate yards. The only time I’ve let them out loose together is when we’re sitting on the couch and I’m physically between them. Denali is very wary of Willow while Willow actively avoids Denali. It’s not ideal, but it’s better than having two dogs that are actively out to get one another. It’s a rather dramatic misunderstanding that I’m hoping they’ll eventually forget.
If they don’t, then we’ll live with these adjustments. As Denali gets older (along with Dexter and Knox), it makes sense to separate the team into smaller play groups, for everyone’s safety and happiness. I’ve also been applying a bit more structure and enforcing more rules, mainly more time in their crates to “cool down” after play or while I’m cooking/eating. It’s been going well—they all run straight to their crates after coming inside. In the Covid-19 era, I don’t leave the house much at all, so they got a bit too comfortable with 24/7 freedom. That said, they all seem to enjoy crate naps in their own quiet spaces.
Mushing has been an ongoing learning experience and this is all part of it. My thumb might end up weaker, but I hope my character comes out of this stronger.
0 notes