Thursday, January 19, 2017
Week 1 Blog
My name is Ihomira (the h is silent) -- I study sociology and Chicanx studies and minor in public policy. I was born and raised in the Southeast LA region. I'm excited to apply my appreciation for art beyond social settings and to learn more about the queer art scene in Los Angeles. I look forward to expanding my understanding of queer fluidity and the various forms in which art facilitates queer expression.
Like many others before me, I also found the first chapter of Gay L.A. extremely enticing because it is very similar to my own upbringing. I appreciate the fact that the Faderman and Timmons included Native American sexual and gender fluidity because it is something that many individuals tend to neglect when discussing queer censorship in a historical and colonial context. A section I found particularly interesting was how the Yurok deemed wergen the most spiritual of the tribe and how the Yuki permitted them to marry other males. This kind of freedom in sexuality and gender expression seems to be a common trait with Native Americans all throughout the Americas -- Northern, Central, and Southern. For instance, many Mayan indigenous groups in Central America also view queer womxn -- or just womxn who are sexualy fluid -- as the ones most spiritual and closely connected to a god. Yemaya, the goddess of the all living things, is one of the most important Orishas for garifunas all throughout Central America. Olokun, the mother of the deep dark sea who is associated with Yemaya, is widely considered to have attributes of both genders. This queering of gender and sexuality is typical and the 'the norm' for the garifunas so I found that the Native Americans discussed in the chapter to fall within this context of fluidity.