Artist. Lover. Fixer. Vibe-er. Womanist. Learner. Writer behind Rise Africa's "Women in Africa and the Diaspora" series. .
"I’ve become skeptical of the unwritten rule that just because a boy and girl appear in the same feature, a romance must ensue. Rather, I want to portray a slightly different relationship, one where the two mutually inspire each other to live– if I’m able to, then perhaps I’ll be closer to portraying a true expression of love."
"it has often been the function of the artist
to sit with things
long enough that meaning pours out of them
with little coaxing.
the best poems are the ones emotions
give you themselves with a freehand.
the best artists sit with things longer
than even they are able.
here’s to sad artists
riding out pain into its cousin meaning.
we write because we are encased in death
and we are living.
we write because art and love
fill in gaps
otherwise ruled by fear
between dying and living as ourselves."
"Naheed Islam (1998), in her seminal study about South Asian women who love other women, finds that her respondents reject the term lesbian. South Asian-American women who sought lesbian organizations and communities, primarily defined by white lesbians, felt they were marginalized and exoticized because of their differences. Islam’s respondents unanimously and consistently describe that women in saris and shalwar kameezes (loose pants with a long fitted shirt) would never be seen as lesbians in America. The women additionally discuss growing up with breasts, hips, and long hair, and otherwise embodying an aesthetic value system utterly different from white androgyny. Most women felt that their bodies were reinterpreted by white lesbians as manifestations of being femme."
Rokasana Badruddoja, “Queer Spaces, Places, and Gender: The Tropologies of Rupa and Ronica” in the National Women’s Studies Association Journal (Summer 2008)