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Twitter hashtag brings first person abortion narratives to light

We’ve mentioned the #ihadanabortion hashtag that has been gaining popularity on twitter before. The Nation has an interview with the person who started the trend, Steph Herold (aka IAmDrTiller on twitter) and Aspen Baker, the founder of Exhale. For those who don’t know twitter, a hashtag is a word that people include in their tweets, so as to be in conversation with others using it as well.

A few highlights:

Steph, on why she started the hashtag:

My immediate motivation for this project was a blog post that compared the modern prochoice movement to the gay rights movement in the 1970s. What strengthened the gay rights movement then, according to the author, was individual people coming out, and the general public realizing that homosexuality is more common (and normal!) than they ever imagined. The author of the post posed an interesting question: why don’t we do that for abortion rights? In reality, abortion is a regular part of women’s lives. Why not use Twitter to demonstrate that?

Aspen responds:

One of the major misconceptions that exist about women who have abortions—and there are many—is that we don’t tell our abortion stories. We do. It’s just that other people have ideas about what kinds of stories we should be sharing and how we should be sharing them. When our stories don’t look and sound like what they want to hear, or if we don’t talk about our abortions regularly and publicly, online, for example, then people say we’re silent.

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Peggy Orenstein urges us to “think about pink”

BERJAYALast month, I posted a video of Infomania’s Erin Gibson taking on the pinkification of America that occurs every year in the name of breast cancer awareness. In Saturday’s New York Times, author Peggy Orenstein echoes Gibson’s concerns, particularly those about who breast cancer awareness is marketed to younger women.

Orenstein, whose forthcoming book Cinderella Ate My Daughter assesses that damage that “girlie girl” culture can do to children, is herself a breast cancer survivor. She traces the evolution of talking about breast cancer, from hushed tones and euphemisms to the groundbreaking memoirs of NBC correspondent Betty Rollin and public stories of diagnosis, treatment and survival from women like Shirley Temple and Betty Ford.

Today, breast cancer awareness looks very different. It looks like pink NFL gear and “Save Second Base” t-shirts and contests at bars in which photos of women’s (presumably cancer-free) breasts are enlarged and voted on by patrons. Orenstein notes that the goal of educating young women and girls about prevention is a noble one – but that a lot of the organizations selling “I Heart Boobies”-style merchandise aren’t all that specific about how much of their money goes toward that goal, or how they plan to achieve it.

Orenstein acknowledges that many women who are diagnosed with breast cancer experience the disease as “an assault on our femininity.” But today, she writes, the language we use to talk about (and raise money for) breast cancer positions it as an assault on breasts, and breasts alone. Why are we talking about “saving the tatas?” Shouldn’t we be talking about saving women’s lives?

Mostly, Orenstein says, sexy breast cancer is like “fetch.” We need to stop trying to make sexy breast cancer happen. It’s not going to happen, because breast cancer is not sexy:

I hate to be a buzz kill, but breast cancer is just not sexy. It’s not ennobling. It’s not a feminine rite of passage. And, though it pains me to say it, it’s also not very much fun. I get that the irreverence is meant to combat crisis fatigue, the complacency brought on by the annual onslaught of pink, yet it similarly risks turning people cynical. By making consumers feel good without actually doing anything meaningful, it discourages understanding, undermining the search for better detection, safer treatments, causes and cures for a disease that still afflicts 250,000 women annually (and speaking of figures, the number who die has remained unchanged — hovering around 40,000 — for more than a decade).

As I’ve said in the past, raising money to fund a cure for breast cancer is a worthy, wonderful cause. But there’s no denying that breast cancer is marketed differently because it involves breasts. No one’s walking around wearing sexy t-shirts that have handprints on the stomach and the slogan “Save the Pancreases.”

Photo: Savethetatas.com

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Binational gay couple to reunite, others not so lucky

Aurelio and Roy huggingThe situation for LGBT couples who are not both citizens of the same country can be difficult, particularly if one of them resides in the United States. Because the US federal government does not acknowledge same-sex marriages, and marriage is the only way you can petition for your partner to come to the US (and be allowed to stay), binational couples are often forced to live thousands of miles apart.

Roi Whaley and Aurelio Torentino are lucky. Aurelio, from the Phillipines, was recently allowed a tourist visa to travel to the US, after having been denied a green card and asylum in the past. While he won’t be able to work, Aurelio will be able to spend time with his husband Roi, who is terminally ill.

It’s only a tourist visa, it’s not permanent, and these men are the lucky ones.

There are many, many things wrong with our immigration system, and this discrimination towards LGBT couples is just another glaring example of how broken it is.

Story and photo via The Advocate.

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Big news: Daw Aung San Suu Kyi released

On Saturday morning US time, Myanmar’s pro-democracy leader was released from house arrest. Her most recent confinement lasted seven years; she has been under house arrest for 15 of the last 21 years. According to the New York Times, the decision to release the Nobel Peace laureate just a few days after Myanmar’s election “suggested that the generals were confident of their position and ready to face down the devotion she still commands both in her country and abroad.”

Suu Kyi addressed a crowd of several thousand supporters, saying that she plans to continue working to bring democracy to Myanmar, establishing networks within and outside of the country to do so. She called for freedom of speech and told the crowd that she would need their continued support, “I’m not going to be able to do it alone,” she said. “One person alone can’t do anything as important as bringing genuine democracy to a country.”

The Times has a video that includes some of her speech here.

Many world leaders have paid tribute to Suu Kyi following her release, including President Obama, the Dalai Lama and UN secretary general Ban Ki-Moon. Bono is reportedly also “very thrilled.”

Latest reports indicate that Suu Kyi is now in talks to reform her party, the National League for Democracy, which was recently forced to disband, and she has indicated her willingness to engage in dialogue with the military junta that controls the country.

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Emerging female playwrights told that none are deserving of Wasserstein Award

The Wasserstein Award is an annual award given to an emerging female playwright who has yet to receive recognition for their work. Nominations were solicited for the award, but this year, the committee rejected all of the nominees because, in their words, none were “truly outstanding.”

Anna Clark at Isak shares an open letter from Playwright Michael Lew to the committee charged with giving out the award. Michael says:

This decision can only be interpreted as a blanket indictment on the quality of female emerging writers and their work, and is insulting not only to the finalists but also to the many theatre professionals who nominated these writers and deemed their plays prize worthy. This decision perpetuates the pattern of gender bias outlined in Julia Jordan and Emily Glassberg Sands’ study on women in theatre, and the message it sends to the theatre community generally is that there aren’t any young female playwrights worth investigating.

Obviously the ins and outs of the arts community, the awards systems and the people in charge of handing them out are complicated. Many reproduce hierarchies of privilege they are meant to rectify–it’s often those who are already have many accolades who are likely to receive more of them. But the fact remains that in an industry with almost no business model (the arts), these opportunities can make or break someone’s ability to pursue their artistic passions, or not.

This particular award comes with $25,000, a significant sum for a struggling playwright. It’s also named for Wendy Wasserstein, herself an influential playwright who died young, at the age of 55, from cancer.

In her obituary in the New York Times, Charles Isherwood says this about Wasserstein’s experience of women in theatre:

Ms. Wasserstein, who grew up in New York, recalled attending Broadway plays as a young woman and being struck by the absence of people like herself onstage: “I remember going to them and thinking, I really like this, but where are the girls?” she once said. Ms. Wasserstein would fill the stage with “girls” — a term she used with a wink despite taking flak for it — in a series of plays that pleased loyal audiences even when the critics did not always embrace them.

I can’t imagine she would be all too happy that an award meant to carry on her legacy of supporting women in playwrighting would be so dismissive of the female playwrights nominated this year.

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