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2 10 20 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "The Humiliating Practice of Sex-Testing Female Athletes" Description An account of the resource "The Humiliating Practice of Sex-Testing Female Athletes," written by Ruth Padawer, was published by the New York Times Magazine on June 28, 2016. Ruth Padawer is, notably, a cis woman. However, the article focuses largely on an interview with Dutee Chand, an Indian runner who challenged her ban from sports in court in 2014. Padawer's writing focuses on gender and social issues. As well as a degree in journalism, she has a BA in history from Tufts University and the University of Wisconsin. The late 1800s and early twentieth century saw an increase in the number of women in sports, a traditionally male domain. The majority of men viewed female athletes as masculine and unattractive. Medical experts claimed exercise would be damaging to women's reproductive health and fragile mental state. Pierre de Coubertin, the founder of the modern Olympics, argued that, because women were not athletic competitors by nature, proving that athletes were female was in their best interests. The Soviet Union joined the Olympics in 1952. Of the Soviet Union's 71 medals, 23 were won by women. In comparison, women accounted for only 8 of the US's 76 medals. Sex testing emerged in the 1960s out of rumors that the Soviet Union and other Eastern Bloc countries were dressing men as women to have them compete with an unfair advantage. In the mid-1940s, international sports administrators began requiring female competitors to bring "femininity certificates" to compete in international events. In 1966, the instigation of mandatory genital checks for all women competing at international games led to what became known as the "nude parade." A couple years later, the nude parade was replaced by the Buccal smear. A lab technician would scrape a few skin cells from the inside of a competitor's cheek, then stain the tissue sample and examine it under a high-powered microscope. They were searching for Barr bodies, cells that have mode than one X chromosome. Sex-testing was particularly harmful to the career of Ewa Klobukowska, a Polish runner who contributed to the Polish world record in the 4 X 100-meter relay in 1964. In 1967, Ewa was found to have XX/XXY chromosomes and was banned from competing. The Polish team's world record was discounted and the world record was given to the US. Had Ewa been tested one year later, in 1968, she would have been declared female by the Barr body test. Intersex athletes like Ewa Klobukowska have been put through a lot of pain because of gender tests like the Barr Body test, chromosome tests and physical inspections. Sex-testing female athletes has roots in misogyny, and a fear of a world without gender roles. Both intersex athletes and trans athletes are excluded from competing as the gender they identify with because of these tests. The fear of men dressing as women appears in movies such as Psycho and Silence of the Lambs. Though sex testing was developed for sports, Republicans are now attempting to use it to deny trans people bathroom access. Furthermore, members of the LGBTQIA community too often remember intersex people only when making the argument that sex and gender are not binary. Acknowledging the pain caused to intersex people by sex testing is important to ending their exclusion. Creator An entity primarily responsible for making the resource Padawer, Ruth (author) Source A related resource from which the described resource is derived <a href="https://www.nytimes.com/2016/07/03/magazine/the-humiliating-practice-of-sex-testing-female-athletes.html?ref=sports&amp;_r=0" title="&quot;The Humiliating Practice of Sex-Testing Female Athletes&quot;" target="_blank">The New York Times Magazine</a> Date A point or period of time associated with an event in the lifecycle of the resource June 28, 2016 Contributor An entity responsible for making contributions to the resource Gina Cavagnero Format The file format, physical medium, or dimensions of the resource Text Language A language of the resource English Type The nature or genre of the resource Magazine article cisgender author intersex sports Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource First Testosterone Shot !! Description An account of the resource Chella Man is a nineteen-year-old artist and YouTuber who has risen to popularity on Instagram, where he has over twenty thousand followers. He describes his gender as being “genderqueer mentally, and FTM physically”, and he is currently taking undergoing hormone replacement therapy and pursuing top surgery. His art ranges from fashion pieces to paintings, and has been likened to the work of Jean-Michel Basquiat. His series of photographs, entitled “Lines of Dysphoria” was recently featured on them.us, a new LGBT pop culture website. In the video “First Shot of Testosterone !!,” published on his YouTube channel in June, viewers witness Chella Man starting hormone therapy by self-injecting testosterone into his stomach. The video has thousands of views. In the video, Chella is accompanied by his girlfriend, MaryV Benoit, a photographer and artist, who takes pictures of him during the shot, and his mother, who teaches him how to self-inject. While this video follows a common trend among trans YouTube communities, sharing testosterone shots and testosterone updates, the video strays from the norm of these videos in many ways. While many popular transmasculine YouTubers are white and trans men, Chella instead represents a genderqueer and POC transition. Since media lacks representation of genderqueer or non-binary people following a medical transition path, this depiction of transition is particularly valuable. Chella is also deaf, with Cochlear implants, and throughout the video, you can see him using American Sign Language. In his other videos, he talks about the ways that being deaf has impacted his trans identity and his transition. In one video, he talks about how when he puts on his Cochlear implants, he hears his voice dropping. While Chella does still hold relative amounts of privilege in comparison to many other trans people, his videos and photographs have diversified the normative Instagram and YouTube transmasculine community. Creator An entity primarily responsible for making the resource Man, Chella Source A related resource from which the described resource is derived <iframe width="560" height="315" src="https://www.youtube.com/embed/8Qv8oiX-4p4" frameborder="0" allowfullscreen=""></iframe> Publisher An entity responsible for making the resource available Chella Man, YouTube Date A point or period of time associated with an event in the lifecycle of the resource June 30th, 2017 Contributor An entity responsible for making contributions to the resource Olivia Millar Format The file format, physical medium, or dimensions of the resource Moving Image Language A language of the resource English, American Sign Language Type The nature or genre of the resource Video Asian American deaf ftm genderqueer HRT medical transition mixed race nonbinary poc testosterone transgender creator transmasculine https://transcultural.oberlincollegelibrary.org/files/original/7b811e659442f2ec10c9e2cc76c95cbc.png 206a10f32c9ecc5055b839734538aa46 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Phillipe Cunningham Oral History Description An account of the resource This video of Andrea Jenkins interviewing Phillipe Cunningham is one entry in the Transgender Oral History Project, an initiative of the Jean-Nickolaus Tretter Collection in GLBT Studies at the University of Minnesota. The project, which comprises 200 interviews, aims to uplift the voices of trans and gender nonconforming people throughout the Upper Midwest. According to Jenkins, the project’s oral historian, “the goal and the purpose of the project is to really provide context, provide awareness to change the cultural narrative around the transgender community by listening and sharing the stories of transgender people.” Phillipe Cunningham has worked for years as a teacher and youth worker, and for the past several years has been involved with the City of Minneapolis’s Youth Violence Prevention Executive Committee as well as serving as a senior policy aide and advisor to the Minneapolis mayor’s office. During the interview he speaks to how his life experiences as a multiracial Black trans gay man have affected both his personal life and political aspirations. Aside from heading the Transgender Oral History Project, interviewer Andrea Jenkins is also a celebrated poet, artist, and activist. Prior to her work as an oral historian, she was a policy aide to several Minneapolis city councilmembers for twelve years. Both Cunningham and Jenkins were historically elected to the Minneapolis City Council in November of 2017. Creator An entity primarily responsible for making the resource Cunningham, Phillipe (narrator); Jenkins, Andrea (interviewer) Source A related resource from which the described resource is derived <a href="https://umedia.lib.umn.edu/node/1182224" target="_blank">https://umedia.lib.umn.edu/node/1182224</a> Publisher An entity responsible for making the resource available The Transgender Oral History Project: University of Minnesota Tretter Collection in GLBT Studies Date A point or period of time associated with an event in the lifecycle of the resource 09/25/2015 Contributor An entity responsible for making contributions to the resource Eliza Edwards Format The file format, physical medium, or dimensions of the resource Moving image Language A language of the resource English Type The nature or genre of the resource Oral History biracial Black American ftm gay medical industrial complex mixed race poc rural transmasculine https://transcultural.oberlincollegelibrary.org/files/original/4c1ec43f8bd65e36f4e29a403e0ebe1f.jpg b35731bf721521199758dfb882e7cc00 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Captive Genders: Trans Embodiment and the Prison Industrial Complex Description An account of the resource Originally published in 2011, Captive Genders: Trans Embodiment and the Prison Industrial Complex is an anthology of interviews, stories, essays, and manuals compiled and edited by Eric A. Stanley and Nat Smith. The second and expanded edition was published in 2015 and includes a forward by CeCe McDonald along with work by Chelsea Manning, who writes about trans identity, the military, and prison industrial complex, outlining the ways in which they intersect with, complicate, and exacerbate one another. Eric A. Stanley works as an assistant professor in the Gender and Sexuality Studies department at University of California, Riverside, and has co directed two films. They also co edited Trap Door: Trans Cultural Production and the Politics of Visibility, which is being published by MIT Press later this year. More specifically, their research and work revolves around abolitionist studies and critical theory. As stated on the book’s back cover, Nat Smith is a “light-skinned Black, queer, gender-variant nerd,” (Captive Genders). Smith works in similar fields as Stanley and has ties with Critical Resistance and the Trans/Gender Variant and Intersex Justice Project. This anthology was created as a response to the inextricable ties between the prison industrial complex and transgender people, specifically transgender people of color, and serves as an intervention in the ways in which police surveillance regulates trans bodies through coercive and often invisible ways. As noted by prominent scholars and theorists such as Michel Foucault and Angela Davis, prisons are often taken as self evident, meaning that they are kept out of sight and out of mind, rendering them both incontestable and somewhat natural, where the general populus internalizes punishment as something distant, necessary, and natural. This work takes these critiques of the prison industrial complex one step further by zeroing in on violence inflicted upon trans people, and the ways in which the state regulates trans bodies both inside and outside of carceral institutions. What makes this work so remarkable though is the form it takes. Not only does it include works by over thirty individuals ranging from artists to activists to academics, but centers people of color in the movement towards reform and abolition. Rather than working from the perspective of those who have never been incarcerated and whose only relationship to the prison industrial complex is strictly theoretical, this anthology utilizes standpoint epistemology, concentrating on the knowledge of those who have experienced incarceration and surveillance first hand, regardless of their roots in academia. As a cultural object, this anthology’s role in the archive is two fold. First and foremost, as noted by Grace Dunham in their 2016 New Yorker piece, people on the inside are consistently denied contemporary resources. They have little or no access to the internet, and often say that they are stuck in the past, distant from political goings on and unable to engage with current events, both pertaining to their rights and beyond. One of Stanley and Smith’s motives for this book was to have it distributed to trans identifying people on the inside. Because internet access is so limited and regulated, printed text has become one way for those who are incarcerated to engage with material and discourse related to politics and power. This anthology has been cited both as a piece that has helped people understand their identities but also to make sense of and break down the cruelty and violence they have suffered at the hands of the state and its actors. Culture can be art, it can be fashion, performance, and music, but it can also be practices, texts, and resources that bring people together and help people make sense of their history, where they come from, and how they relate to other people. This text is something that can be inherited, passed on, and discussed. It can be utilized to form bonds, both of affection and resistance. While written partially for people on the inside, it is also directed at those on the outside, and at those who have the privilege and power to intervene in such barbaric practices. It almost exists as a manual, instructing people in methods of abolition and reform. Lastly, this anthology provides the opportunity for cultural recognition, where individuals whose work is often relegated to the margins can be both celebrated and utilized in political discourse. Creator An entity primarily responsible for making the resource Stanley, Eric A. (co editor) Smith, Nat (co editor) McDonald, CeCe (foreward) Bassichis, Morgan Lee, Alexander Spade, Dean Worley, Jennifer Avicolli Mecca, Tommi Guidotto, Nadia Young, Kalaniopua Ware, Wesley Ampu, Ralowe T. Velasquez-Potts, Michelle C. Meiners, Erica R. Nair, Yasmin Dillon, Stephen Goring, Clifton / Raine Sweet, Candi Witherspoon, Paula Rae Cholo nemec, blake Johnson, Janette Louise Meronek, Toshio Lambel, S. Donahue, Jayden Huang, Vanessa Oparah, Julia Chinyere Gossett, Che Saffin, Lori Manning, Chelsea E. Shelley, Kristopher "Krystal" Girshick, Lori Publisher An entity responsible for making the resource available AK Press Date A point or period of time associated with an event in the lifecycle of the resource 2015 Contributor An entity responsible for making contributions to the resource Anya Katz Format The file format, physical medium, or dimensions of the resource Anthology Language A language of the resource English Type The nature or genre of the resource Book incarceration PIC prison reform https://transcultural.oberlincollegelibrary.org/files/original/bdcf25a294ce3794ceb9b336b27cbee0.jpg 42e1d3cfd33aec4f971fbf8364558054 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Real Man Adventures Description An account of the resource <em>Real Man Adventures</em> is an experimental memoir written by T Cooper, though the back cover declares “Real Man Adventures is not a memoir. It’s an adventure story – and one packed with all the requisite dark alleys, disguises, leading ladies, and plot twists.” More explicitly, it is T Cooper’s life story and experience living as a trans man, illustrated through a variety of forms, including interview, essay, personal narratives, and even illustrations. In pushing back against traditional “born in the wrong body” and other harmful trans narratives, Real Man Adventures is a useful book for both trans people and cis people looking to educate themselves. <br />While the book offers some details into Cooper’s early life and wrestling with trying to understand his gender identity, it primarily works to subvert other mainstream depictions and understandings of transness with a confident assertion of masculinity. The book doesn’t exactly have an overarching narrative, but is instead broken up into many small, discontinuous sections, each of which unpacks some part of Cooper’s own experiences. Some are straightforward: anecdotes from his own life, essays on topics like pronouns or passing, even sections from letters he wrote to his parents. Others are less explicitly about his own experiences – interviews with other trans people, family members, and in one case, a male exotic dancer – but all contribute to either how people view his own identity or construct their own masculinity. Though the book is accessible to cis audiences as well as trans ones, he pushes back against the pressure to share more personal aspects of his life and transition usually put upon trans people who share their story: he refuses to share more intimate details like his sex life and a step-by-step documentation of his transition overe time. That being said, his confidence and self-awareness in withholding information is part of what gives the book its distinctive voice: a charming, funny, but no-nonsense presentation of a trans experience. It is as much a piece about his life and the way his experiences inform his identity as it is about sharing his personal experience as a trans man. Creator An entity primarily responsible for making the resource Cooper, T Publisher An entity responsible for making the resource available McSweeney's Books Date A point or period of time associated with an event in the lifecycle of the resource 2013 Contributor An entity responsible for making contributions to the resource Mia Park Format The file format, physical medium, or dimensions of the resource Text Language A language of the resource English Type The nature or genre of the resource Book transmasculine https://transcultural.oberlincollegelibrary.org/files/original/1ed5bd1971c445ea9030713df7538fdc.jpg 490e8712393aff0fe482e6c112201d44 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pole Dancing to Gospel Hymns Description An account of the resource Pole Dancing to Gospel Hymns is the first book by genderqueer, spoken word poet Andrea Gibson, originally published in 2006 by Write Bloody Publishing. This book is as diverse in topics as the political climate into which it was produced. Through their electric words, Andrea meditates on themes of queer love, sex-positivity, post-traumatic stress disorder, sexual assault, non-binary gender identities, body positivity, chronic illness, hate crimes, race relations, childhood, religion, suicidality, and marriage equality. This list is not by any means exhaustive, and only is testament to the eloquence with which Gibson considers the many hardships their life has thrown them and members of the communities they inhabit. This book reads as an exploration of these themes more than anything else. At times, Gibson makes reference to their own identity formation and life, but nonetheless, their poems leave you certain they have peered through a window straight into your own. As the written accompaniment to twenty-six of their spoken word poems, this book does not capture the same experience as hearing these poems performed aloud, but does allow the reader a freer interpretation of their words. Their poetry is brilliant in its simplicity; their metaphors are simultaneously obvious, gentle, and expertly crafted. They leave you with lines that make you feel more than think, such as: “When two violins are placed in a room, if a chord on one violin is struck, the other violin will sound the note. If this is your definition of hope, this is for you.” Creator An entity primarily responsible for making the resource Gibson, Andrea (Author) Angerer, Drew (Cover Photo) Mojgani, Anis (Illustrator) Deschenes, Lea C. (Interior Layout) Brown, Derrick (Editor) Byram, Saadia (Editor) Publisher An entity responsible for making the resource available Write Bloody Publishing Date A point or period of time associated with an event in the lifecycle of the resource 2008 Contributor An entity responsible for making contributions to the resource Hannah Tobin-Bloch Language A language of the resource English Type The nature or genre of the resource Book Format The file format, physical medium, or dimensions of the resource Text nonbinary https://transcultural.oberlincollegelibrary.org/files/original/e0acb34a001974261029bc72b008452f.jpg 255158c39b22e8fabba76467cbc85dca Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Nancy Subject The topic of the resource LGBTQ+ community conversations Description An account of the resource Nancy is a seasonal, weekly podcast that started in April 2017 and is ongoing. It is co-hosted and co-managed/edited by Kathy Tu and Tobin Low, and is produced by Matt Collette. All three of these main production team members identify as queer, making this a podcast by and for the LGBTQ+ community. The podcast is currently in its second season of production, with its first season being a mixed bag of frank conversations about LGBTQ+ topics with people in the community. Its second season is focused upon the concept of “being out,” specifically in a work environment, but also in the context of family, friends, and the public. This podcast is mostly funded by donor support from listener membership. Nancy is produced by WNYC Studios, which boasts on its website the headline, “Reinventing audio for a new generation of listeners around the world.” Podcasts have revolutionized the way individuals engage with a variety of identities and experiences. Nancy is important to the LGBTQ+ community in that it broadcasts such a variety of personal narratives to inform and connect individuals in their daily struggles. With over a third of its episodes featuring interviews with trans individuals (several of whom are non-binary), Nancy is important specifically to the trans community. So often trans people are portrayed as deviants in terms of tropes that are set up by Westernized cisgender ideals of a binary gender construct, but this podcast serves to deconstruct these derogatory representations and add nuance to the interviewees’ experiences and lives. Other issues and frank conversations additionally tackled by this podcast include LGBTQ+ representation in the media; asexuality; race; disability; HIV/AIDS; coming out; LGBTQ+ history; policies, rights, and discrimination; butch identities; Harry Potter (and the “gay Dumbledore” debate); gay republicans; sex education; racism in queer communities; trauma; relationships; trans healthcare; performance; and more. Creator An entity primarily responsible for making the resource Low, Tobin (Co-Host, Co-Managing Editor) Tu, Kathy (Co-Host, Co-Managing Editor) Collette, Matt (Producer) Lawton, Jenny (Senior Editor) Bloom, Jeremy (Sound Designer) Publisher An entity responsible for making the resource available WNYC Studios Date A point or period of time associated with an event in the lifecycle of the resource 2017 - Contributor An entity responsible for making contributions to the resource Boughton, Peyton Format The file format, physical medium, or dimensions of the resource Audio Language A language of the resource English Type The nature or genre of the resource Podcast Source A related resource from which the described resource is derived <a href="http://www.wnyc.org/shows/nancy" target="_blank">Nancy Website</a> Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Video Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:40 Producer Name (or names) of the person who produced the video Matison, Ingrid Director Name (or names) of the person who produced the video Matison, Ingrid Transcription Any written text transcribed from a sound Soundtrack: live commentary of a baseball game Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Billy's Baseball Hall of Fame Description An account of the resource Ingrid Matison identifies as a white, nonbinary artist who currently resides in Providence. They grew up in a working class family in Grand Rapids, Minnesota. Ingrid is currently a student at Rhode Island School of Design (RISD) where their primary focus is on textiles. For Ingrid, “Billy’s Baseball Hall of Fame” deals with space, reality, gender, and dissociation: “I have a lot of trouble dissociating from my surroundings and something I find comforting in my work is creating a false environment. What’s not real about that?” Ingrid goes on to explain that one of the references for this piece is the red room in the popular TV series “Twin Peaks” which is not a physical space but still real. “What’s not real about fake things?” they ask me, again. The realness of many concepts, including gender, become complicated as we question how and why these structures are in place. Gender is a known social construct, making it in some sense “fake” but still very real in other ways. This nuance, and search for truth and value are explored in “Billy’s Baseball Hall of Fame.” For example, Ingrid’s use of the white gloves symbolizes the fragility and perceived importance of the baseball cards. The idea that white masculinity is fragile and must be protected (by card sleeves, white gloves etc) is a “real” idea but with “fake” or unsound logic. For Ingrid, making work as a femme nonbinary person in the art world is inherently political. They explain to me that they aren’t creating work about being trans, or even directly related to trans experiences but the representation of a trans artist making work about their everyday life is just as important and just as political. Ingrid and I agree that it’s equally important to represent work by trans artists that is not directly related to being trans, because it’s going to represent trans culture just because it’s made by someone in the trans community. This is also part of the reason that we chose “Billy’s Baseball Hall of Fame” to put in the archive. A viewer could see the film without any indication of trans identity or gender play, but if you are looking they are of course there because they are part of the artist’s identity. Ingrid Matison created the set and props while also acting as director, producer, and actor. The materials used on set in this film include hand dyed and printed muslin, hand printed Tyvek, and vinyl flooring. Creator An entity primarily responsible for making the resource Matison, Ingrid Date A point or period of time associated with an event in the lifecycle of the resource November, 2017 Contributor An entity responsible for making contributions to the resource Burger, Nia Format The file format, physical medium, or dimensions of the resource 1,920 x 1,080‬ 12 GB The physical materials include hand dyed and printed muslin, hand printed Tyvek, and vinyl flooring. Language A language of the resource English Type The nature or genre of the resource Video Source A related resource from which the described resource is derived <iframe width="560" height="315" src="https://www.youtube.com/embed/fg7cD8E7r-o" frameborder="0" gesture="media" allow="encrypted-media" allowfullscreen=""></iframe> femme nonbinary nonbinary creator transfeminine transgender creator https://transcultural.oberlincollegelibrary.org/files/original/3d57f7794e212c1346e9ede47061a087.pdf d8064dec61ef4e1474bc7a82cfa83349 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Knife Cuts Both Ways Description An account of the resource <p>&nbsp; &nbsp; &nbsp; &nbsp; Serena Jara is a photographer who works out of New York City, and is a trans woman whose work primarily focuses around women of trans experience. One specific woman in whom Jara has come to see as a mother figure, Cecilia Gentili is the storyteller and model featured in the zine The Knife Cuts Both Ways. With Gentili as the model and storyteller, Jara as the photographer and transcriber of Gentili’s words, and Gogo Graham as the fashion designer, The Knife Cuts Both Ways is a zine fully produced by trans women that acts as an ethnography of Gentili’s life and beauty. Gentili shares with us how her Grandmother bought her a wig for her elementary school talent show, insisting she understand it was other people’s opinions of Gentili that had to change, not Gentili herself. She shares her experiences with sex work in a darkly humorous tone, making light of the difficult life she had led. <br />&nbsp; &nbsp; &nbsp; &nbsp; Jara says that this zine “creates a non-linear narrative around our photographic relationship spanning the last five years.” She states that “Because Cecilia has acted as a trans mother towards me and several of my sisters, I began to imagine scenarios of intimacy and suspense where she embodied my own dramatized projections of her as powerful, emblematic, and goddess-esque.”</p> Creator An entity primarily responsible for making the resource Jara, Serena Gentili, Cecilia Publisher An entity responsible for making the resource available Serena Jara Date A point or period of time associated with an event in the lifecycle of the resource 2015 Contributor An entity responsible for making contributions to the resource Josie Owens Format The file format, physical medium, or dimensions of the resource Text Still images Language A language of the resource English Type The nature or genre of the resource Zine self-published transfeminine https://transcultural.oberlincollegelibrary.org/files/original/de94d8d42ad0f79025f193529a77efe9.jpeg affe73a299e78084aba7e32a376efa59 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document The Biography of Pink by Alok Vaid-Menon how do you write the biography of a color? a long time ago: pink was born. pink had lots of friends. then pink was taken hostage got a life-sentence, had to serve it in this foreign land called “gender” how do you write a romance novel about a color? is the color the protagonist or the villain? does the color love you back? at age 2 i refused to wear anything but pink by age 11 i stopped. substituted the floral and lisa frank for a pair of grey slacks. the thing is: i was desi. which meant my mom didn’t let me near Hot Topic which meant the closest i was permitted to goth was a pair of grey dress shoes, slacks, and a knit sweater, from spelling bee to blasting Evanescence in my room, i was ready for anything how do you host a funeral for a color? where does it take place? was it when they pushed you down? was it when they called you a faggot? was it when you feared for your life? not only from their hands, but yours? was it when you began to fear everything you used to love? is that when it died, the color? when you feared everything you used to love ? these days i still fear everything i used to love. see the magazines say “girl power” wonder what kind of a girl does pink love? what kind of girl does pink punish? wonder when does their romance novel become our horror film? want to shout at the feminists but don’t know how: the only pink i was allowed to keep was the one in my mouth so i used it so much at some point it became photo studio full of negatives i’m still trying to process every time i speak about it a couple of old polaroids come out of a boy wearing pink, a girl wearing blue, a body before the storm: puberty OR a natural disaster ? it’s not that i wanted to be a girl i wanted to be pink. it’s not that i wanted to be fragile, i wanted permission to be fragile it’s not that i wanted to be weak, i wanted to be offered help. at my funeral make sure they dress me in a pink birthday dress, frilly and superfluous. lower me down, watch me come to life. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Poem published on Instagram Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Biography of Pink Description An account of the resource Alok Vaid-Menon is a non-binary, Indian-American performer, activist, and model who grew up in Texas, and now travels throughout many cities and countries worldwide to perform and lead workshops. They published “The Biography of Pink” to their instagram on September 24th, 2016. It received over 1,260 likes. The comment sections on Vaid-Menon’s social media are plagued by harassment and hate speech, but there are also many instances of people commenting that their work resonated deeply, typing words of admiration and encouragement, rather than invalidating transphobic garbage. Alok Vaid-Menon and their social media presence provide an interesting vantage point into the world of trans performance art and gender non-conformity. While “The Biography of Pink” is only one poem, and the caption of an instagram photo at that, it serves as a gateway into all of the work Vaid-Menon does as an activist and artist through their facebook and Instagram pages. They use their renown to bolster other non-binary and POC artists and activists, as well as to share articles and resources regarding transness in all its manifestations and categorizations. This poem sheds light on many topics including and beyond gender, as well as acting as a link to Alok’s greater works. “The Biography of Pink” is a poem about gender that can also be interpreted as addressing race, repression of identity, self-hate, fear and violence, feminist gate-keeping, and many other aspects of existing as a trans person, especially as a trans feminine person of color in the world. It tells the story of the birth of “pink,” and of pink being assigned to service in the “foreign land called ‘gender.’” Vaid-Menon examines their own changing style as they grew up and were taught that pink is not an acceptable color for those who were assigned male at birth. Creator An entity primarily responsible for making the resource Vaid-Menon, Alok Source A related resource from which the described resource is derived https://www.instagram.com/alokvmenon/ Publisher An entity responsible for making the resource available Alok Vaid-Menon Date A point or period of time associated with an event in the lifecycle of the resource 2016 Contributor An entity responsible for making contributions to the resource Izzy Format The file format, physical medium, or dimensions of the resource text Type The nature or genre of the resource Poetry Language A language of the resource English Indian American nonbinary poc race transfeminine violence