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1 10 20 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 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/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 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 The Crying Game Description An account of the resource The Crying Game is a thriller, directed and written by Neil Jordan, that came out in 1992. It was nominated for more than 50 film awards, winning Best British Film in the BAFTA awards, Best Screenplay in the Boston Society of Film Critics Awards, and many other prestigious honors. The film begins with Jody, a black British soldier who has been kidnapped by the Irish Republican Army (IRA), and Fergus, a volunteer with the IRA who has been assigned to be Jody’s keeper. The two men bond in spite of their captive / captor relationship. Jody speaks of his girlfriend and asks Fergus to find her once Jody has been killed. Eventually Fergus is told that he must kill Jody and a chase through the woods ensues, wherein it is unclear whether Fergus will actually shoot his hostage. The question is moot, however, because Jody runs into a nearby road and is hit by a tank just as the IRA headquarters are bombed. The film skips forward a few months to Fergus, who operates under the alias Jimmy, tracking down Jody’s girlfriend, Dil. Fergus/Jimmy seduces Dil, never telling her that he knows Jody, let alone that he is responsible for Jody’s death. They fall in lust and it is here that the “big surprise” of the film takes place: the camera pans down Dil’s body, revealing her penis. Fergus/Jimmy responds in violence to the sight of Dil’s genitals, hitting her, then running to the bathroom and vomiting. The events that follow, as well as the lens through which the preceding scenes are remembered, promote the common and harmful trope of transwomen as deceitful and manipulative vixens, bent on tricking “straight” men into sleeping with them. Amidst a flurry of violent subplot, Fergus/Jimmy forces Dil to cut her hair, dress up in Jody’s old clothes, and the two of them hide in her apartment together. One of Fergus’ old IRA associates, Jude, shows up and, in a whirlwind of confusion, shouting, and borderline psychosis, Dil shoots Jude multiple times. Fergus takes the blame, and in the final scene, we see Dil coming to visit him in prison. When The Crying Game first came out, moviegoers and reviewers alike were asked by the producers not to share what the “big surprise” with folks who had not yet seen the movie, using the hype around the moment as a marketing technique. This use of trans bodies as a punchline speaks to a broader issue in understanding and representation of trans people in media. Because this film made its debut more than two decades ago, it speaks both to the narratives around transness that have been let go, as well as to the themes and tropes that remain unchanged. Creator An entity primarily responsible for making the resource Jordan, Neil Publisher An entity responsible for making the resource available Woolley, Stephan Date A point or period of time associated with an event in the lifecycle of the resource 1992 Contributor An entity responsible for making contributions to the resource Izzy Lederman Format The file format, physical medium, or dimensions of the resource video Language A language of the resource English Type The nature or genre of the resource film Source A related resource from which the described resource is derived <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/0Z-o1RVdnHE" frameborder="0" allowfullscreen="allowfullscreen"></iframe> race transfeminine transmisogyny war 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/7c3dad739666e8460d36f6b919c528a5.jpg 259fffe90b1578bfb6c164e838832ac3 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 Tangerine Description An account of the resource Tangerine is an indie film directed by Sean Baker. The film, shot on several iPhone 5Ss, centers around two black trans women sex workers, Sin-Dee and Alexandra, played by trans actors Kitana Kiki Rodriguez and Mya Taylor respectively. While Tangerine’s release is a huge step forward for trans representation in media, the fact that the director, writer, and most of the production crew were white, cis men cannot be ignored when analyzing this film as an object of trans culture. Critical reception of the film has been overwhelmingly positive, with many marking it as a “comedy” despite the serious subject matter that it covers. The story follows Sin-Dee who, after hearing from her close friend Alexandra that her boyfriend and pimp, Chester, has cheated on her with a white cis woman, goes on a journey across LA to find answers. At the same time, it follows Razmik (Karren Karagulian), an Armenian taxi driver who is a regular of trans sex workers in the same area, and how his actions impact his life and marriage. These two narrative threads ultimately collide in the film’s climax, when Razmik and his family meet Sin-Dee, Alexandra, and Chester in a small donut shop. While the film is a huge step forward for trans representation in media, considering the people that made up the production crew, it is difficult to separate their positionality (white, cis men) from some of the film’s more poignant moments. Having a film that is so strongly rooted in race and interracial relations be spearheaded by a mostly white crew is tricky to navigate and makes the film feel less genuine in parts, the steps that Tangerine takes for transwomen cannot be discounted. Creator An entity primarily responsible for making the resource Baker, Sean (director, writer) Bergoch, Chris (writer) Publisher An entity responsible for making the resource available Duplass Brothers Through FIlms 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 Mia Park 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 Video 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 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/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