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1 10 20 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 https://transcultural.oberlincollegelibrary.org/files/original/64037316c6adbe0cd20506fec15aa8d3.jpg efc26c2c45ea60b8bce29907924325bb 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 Troubling the Line: Trans and Genderqueer Poetry and Poetics Creator An entity primarily responsible for making the resource Tolbert, TC (co-editor) Peterson, Trace (co-editor) Publisher An entity responsible for making the resource available Nightboat 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 Eliza Edwards 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 Description An account of the resource A finalist for the 2014 Lambda Award in LGBT Anthology, Troubling the Line is widely recognized as the first-ever collection of poetry by trans and genderqueer writers. The anthology includes 55 poets from diverse backgrounds. Each poet is afforded several pages of space for their writing, as well as the option to write a manifesto drawing connections between poetry and trans identity. In the anthology’s introduction, editor TC Tolbert emphasizes, “This book… is simply a search for other voices. A need to find, feel, and experience community. A desire for intimacy. An exploration of space.” Submission parameters were minimal; the only requirement was that the author self-identify as trans, genderqueer, and/or gender non-conforming. Co-editor Trace Peterson also speaks to the title of the anthology in the book’s introduction: “We call this collection Troubling the Line because this is what we see trans and genderqueer poets doing— challenging the idea of a single trans narrative, interrogating binaries of all sorts, and playing with, delighting in, explorations (explosions) of form.” The result of the hard work of these two editors is a complex and diverse compilation of trans artists and voices, one that will hopefully provide essential visibility for the creators within its pages. Poets in Troubling the Line: Ahimsa Timoteo Bodhrán, Aimee Herman, Amir Rabiyah, Ari Banias, Ariel Goldberg, Bo Luengsuraswat, CAConrad, Ching-In Chen, Cole Krawitz, D’Lo, David Wolach, Dawn Lundy Martin, Drew Krewer, Duriel E. Harris, EC Crandall, Eileen Myles, Eli Clare, Ely Shipley, Emerson Whitney, Eric Karin, Fabian Romero, Gr Keer, HR Hegnauer, J. Rice, j/j hastain, Jaime Shearn Coan, Jake Pam Dick, Jen (Jay) Besemer, Jenny Johnson, John Wieners, Joy Ladin, Julian Talamantez Brolaski, kari edwards, Kit Yan, Laura Neuman, Lilith Latini, Lizz Bronson, Lori Selke, Max Wolf Valerio, Meg Day, Micha Cárdenas, Monica / Nico Peck, Natro, Oliver Bendorf, Reba Overkill, Samuel Ace, Stacey Waite, Stephen Burt, TC Tolbert, Trace Peterson, Trish Salah, TT Jax, Y. Madrone, Yosmay del Mazo & Zoe Tuck poc 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 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. 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 Boy with Flowers Creator An entity primarily responsible for making the resource Shipley, Ely (author) Publisher An entity responsible for making the resource available Barrow Street Press Description An account of the resource Ely Shipley is a trans author and activist. He worked at CUNY in NYC and taught as an assistant professor of English at Baruch College, where he taught courses on gay and lesbian literature, poetry, and identity writing. He is currently a professor at Western Washington University. Shipley has won the Western Humanities Review Award in Poetry and the Virginia Faulkner Award. Boy With Flowers is Shipley's first book. Boy with Flowers won the 2007 Barrow Street Press book prize and the Thom Gunn Award, and was a finalist for a Lambda Literary Award. Boy With Flowers consists of thirty-six poems. The poems are spread across three sections. Poems in section one, such as Roll of Dimes, Balloons, Army Tattoos, fever & halo, Magnolia, and the title poem Boy with Flowers focus on memories from his childhood. We meet his mother and aunt in passing, learn about his childhood friend Marissa, and catch glimpses of romantic moments between him and his former partners. Section two moves from childhood to young adulthood, focusing on missed opportunities and things left unsaid. Poems like Fountain recreate the beauty of things in his memories. Part three contains more poems explicitly about transness. He recalls working with trans teens in DC. The last poem of the book, Etymology, is a letter to his testosterone shots. Though some of the poems deal explicitly with his identity as a trans man (for example, wanting to wear a suit instead of a dress and stand with the men at his aunt's wedding), the book as a whole is not about transness. It is about a whole person, and being trans is just one part of the character's identity. 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 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 book https://transcultural.oberlincollegelibrary.org/files/original/912000965c870714d38c6301102ef361.jpg 3aa94bf6831c4715e1c0deb3b8657752 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 Ulugali’i Samoa: Samoan Couple Description An account of the resource In Shigeyuki Kihara’s “Ulugali’i Samoa: Samoan Couple” photograph, Kihara masterfully interrogates Western conceptions of gender, Polynesia, race, and colonialism in one fell swoop. Much of the work the photograph relies on juxtaposition and irony, mobilizing Western tropes and turning them on their heads to reveal its inherent flaws and subliminal agendas to oppress and erase. Kihara, who is of Soaoan and Japanese descent, was born and raised into Samoan culture. She is fa’afafine, a third “gender” or non-binary role in the Samoa– those who are assigned male at birth, and explicitly take on roles and traits typically ascribed to masculinity and femininity. In the photograph, Kihara portrays both the “man” and “woman” of Western expectations. The photo is stylized in imitation of 19th-century postcards of Samoan people that were photographed and portrayed through the Western photographers gaze, attempting to impose Western ideals of man and wife onto a culture where it simply is not applicable. Kihara pays careful attention to key physical denotators of the gender binary– facial hair, length of hair, differing jewelry. But most specifically, Kihara keeps the garments on both her figures low, drawing the viewer to arguably the most classically paid attention sex AND gender detonator– breasts. These marked differences are certainly up to the viewers’ interpretation, yet one can inquire that this picture aims to trick or fool the Western eye, and completely deconstructs the Western contraction of gender– how easily these gender binaries are recreated and therefore ultimately torn apart. Kihara’s photo then works to undo and interrogate Western conceptions of the Samoa as well. At first glance, it appears that this picture is taken in what could be assumed to be the “wild Samoan jungle,” or how the naive from the West would assume the islands exists as. But, upon a closer look, it is clear that this photo must have been taken inside a building, as indicated by the banister in the background. The foliage is fake, or deliberately staged, to make it appear this way. Perhaps Kihara is speaking to the unassuming ways the Samoan people can turn stereotypes against their oppressors, appearing to be unassuming, primitive, and exotic yet, beyond the oppressors ability to recognize, are much smarter than they are assumed to be. Perhaps Kihara uses this banister to display the devastating effects of colonialism against the natural environment of the colonized, infiltrating and destroying, sucking up natural resource around them. The power of the photograph lies in the fact that its many layers can be analyzed again and again, and come up with many different productive conclusions about the evils and ultimate stupidity of Western views. Kihara, who is of Soaoan and Japanese descent, was born and raised into Samoan culture. She is fa’afafine, a third “gender” or non-binary role in the Samoa– those who are assigned male at birth, and explicitly take on roles and traits typically ascribed to masculinity and femininity. In the photograph, Kihara portrays both the “man” and “woman” of Western expectations. The photo is stylized in imitation of 19th-century postcards of Samoan people that were photographed and portrayed through the Western photographers gaze, attempting to impose Western ideals of man and wife onto a culture where it simply is not applicable. Kihara pays careful attention to key physical denotators of the gender binary– facial hair, length of hair, differing jewelry. But most specifically, Kihara keeps the garments on both her figures low, drawing the viewer to arguably the most classically paid attention sex AND gender detonator– breasts. These marked differences are certainly up to the viewers’ interpretation, yet one can inquire that this picture aims to trick or fool the Western eye, and completely deconstructs the Western contraction of gender– how easily these gender binaries are recreated and therefore ultimately torn apart. Kihara’s photo then works to undo and interrogate Western conceptions of the Samoa as well. At first glance, it appears that this picture is taken in what could be assumed to be the “wild Samoan jungle,” or how the naive from the West would assume the islands exists as. But, upon a closer look, it is clear that this photo must have been taken inside a building, as indicated by the banister in the background. The foliage is fake, or deliberately staged, to make it appear this way. Perhaps Kihara is speaking to the unassuming ways the Samoan people can turn stereotypes against their oppressors, appearing to be unassuming, primitive, and exotic yet, beyond the oppressors ability to recognize, are much smarter than they are assumed to be. Perhaps Kihara uses this banister to display the devastating effects of colonialism against the natural environment of the colonized, infiltrating and destroying, sucking up natural resource around them. The power of the photograph lies in the fact that its many layers can be analyzed again and again, and come up with many different productive conclusions about the evils and ultimate stupidity of Western views. Creator An entity primarily responsible for making the resource Shigeyuki Kihara Source A related resource from which the described resource is derived Allen Memorial Art Museum Date A point or period of time associated with an event in the lifecycle of the resource 2005 Contributor An entity responsible for making contributions to the resource David Seo Format The file format, physical medium, or dimensions of the resource Image, C-type print mounted on aluminum, 800 x 600 mm Type The nature or genre of the resource Photo 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 "My Pronouns Are Black" Description An account of the resource Zenaida Peterson is a spoken word poet and community organizer based out of Boston. She has represented Simmons College at the College Union Poetry Slam Invitational (CUPSI) both in 2015 as a performer and in 2017 as the team’s coach. She is the founder of the Feminine Empowerment Movement Slam Tournament (FEMS), which is a poetry competition and grassroots organization designed to actively work against the lack of femme-oriented spaces in Boston’s slam poetry scene. Peterson identifies as “queer, multiracial-womanist and an antiracist” – concepts that are all considered in “My Pronouns Are Black,” which on the surface reads as a poem about being nonbinary, but speaks to gender identity in a very specific context. “My Pronouns Are Black” is a powerful spoken word poem that examines the intersection of the poet’s racial identity and gender identity, and how the two are inextricable. The poem explores what it means to grow up socialized as both black and female, when our world posits white femininity as the normative mode of womanhood and constantly attacks black femininity. To unpack this notion, Peterson speaks to the history of slavery in the United States, and ultimately asserts that gender is a principle of white hegemony, so it functions differently on people of color: "My pronouns avoid the police/The black of me wants to survive long enough to have an identity politic/How do you go from a slave to a gendered thing, from a mule to a person, and expect gender to function the same across race?" It is with this historicization in mind that this poem pushes back on the idea that gender exists in a void. “My Pronouns Are Black” seems to claim that for black people, this can never be the case, since black gender norms are so much more vital to livelihood and survival than they are to white people. This poem not only engages race head on, but also complicates a common understanding of nonbinary gender identities and makes clear that for black people, gender identity can never be disentangled from racial identity. Creator An entity primarily responsible for making the resource Peterson, Zenaida (Author/Performer) Source A related resource from which the described resource is derived <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/c0Mv8CYvQAA?rel=0" frameborder="0" gesture="media" allow="encrypted-media" allowfullscreen="allowfullscreen"></iframe> Publisher An entity responsible for making the resource available SlamFind 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 Hannah Tobin-Bloch Language A language of the resource English Type The nature or genre of the resource Video Format The file format, physical medium, or dimensions of the resource Moving image Black American poc 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 https://transcultural.oberlincollegelibrary.org/files/original/07a390e82d320da60e75f4c442ed8ae4.jpg cb1f5a03f2b12d7e7fec98d85ba552f8 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. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Book 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 Redefining Realness: My Path To Womanhood, Identity, Love & So Much More Description An account of the resource Redefining Realness is a memoir written by Janet Mock about her life and her shaping of her own identity as a multiracial trans woman. Mock shares with the reader intimate details from her own upbringing, exploring what it means to be a woman through her complex family relationships and romantic and sexual experiences. Following an article written about Mock by a journalist for Essence(check) magazine Mock realized she needed to correct the narrative, even if just to craft it herself. In writing this book, Mock joins a canon of autobiographical work by trans women that marks a turning point in contemporary gender relations. This book is completely vulnerable, telling stories of Mock’s own experiences with sex work, transmisogyny, and familial displacement, traumas that she shares with humility and grace with the overwhelming message of accepting one’s self for all the pain and hurt and ugly in our lives. Creator An entity primarily responsible for making the resource Mock, Janet Publisher An entity responsible for making the resource available Atria Books Date A point or period of time associated with an event in the lifecycle of the resource 2014 Contributor An entity responsible for making contributions to the resource Josie Owens 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 african american Black American multiracial poc poc creator transfeminine 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 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