malacules reblogged
lacooletchic
malacules reblogged
Kinda fucked up how cis women are allowed to abandon feminity in the name of feminism but trans women are forced to adopt it just to be recognized as women
florianesque
even worse is when cis feminists accuse trans women who overperform femininity for safety of being tools of the patriarchy, and trans women who underperform femininity for ANY reason (including abandoning it in the name of feminism) fakers.
malacules reblogged
Source: lonequixote.com
malacules reblogged
earth2infini-deactivated2020011
1942 :: Her Highness Vijaya Raje Scindia , Maharani of Gwalior ( Photo - https://cs.nga.gov.au )
The 1940s portraits of her are always so lovely.
malacules reblogged
malacules reblogged
salntlaurent-deactivated2016053
Exigu Florentin Glémarec
Source: instagram.com
malacules reblogged
malacules reblogged
comma22-deactivated20230610
malacules reblogged
Gingham crazy ◾️◽️ (at Minneapolis, Minnesota)
soleilarchive-deactivated201902
“After women, flowers are the most divine creations.” —Christian Dior
malacules reblogged
However, the recalling of this image of female power without any direct reference to the goddess figures is significant: the strong traditions of goddess worship in contemporary India coexist with patriarchal systems that attempt to restrict, in particular, their sexual and sensual powers, besides other aspects. In the naravahana image onstage, on the other hand, conceptions of the goddess resonate but are not directly represented. In Chandralekha’ s choreography this goddess-like woman, as she sits atop her human carrier, uses hand gestures to symbolize the weapons she wields tigernails that rip apart, a spear, a bow and arrow, a sword. She also wields objects more related to cultivation than sophisticated warfare, a scythe and a chopper. All of this links her to agricultural traditions and fertility cults as well as to martial traditions, in which she reclaims her active participation and her central role. [Butting Out: Reading Resistive Choreographies Through Works by Jawole Willa Jo Zollar and Chandralekha, Ananya Chatterjee]
Chandralekha* in the Naravahana** sequence from her path-breaking production Angika Madara, 1985. Photo credit: Sadanand Menon
*along with Nandakumar. **naravahana: nara=man, vahana=a deity’s carrier/mount
Source: architecturaldigest.in
malacules reblogged
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