Agnieszka Koscianska – Zobaczyc losia / To See a Moose. The History of Polish Sex Education from the First Lesson to the Internet

The new book by Crusev’s Agnieszka Koscianska guides readers through developments in the field of sex education in Poland throughout the 20th century.

Crusev’s Agnieszka Koscianska has recently published Zobaczyc losia. Historia polskiej edukacji seksualnej od pierwszej lekcji do internetu  / To See a Moose. The History of Polish Sex Education from the First Lesson to the Internet. The book is published by Czarne, based in Wolowiec, Poland. The blurb of the book in English is below.

This history of struggles against ignorance and double standards starts towards the end of the 19th century, when men learned sex from prostitutes, and when the prevalence of shameful diseases was an open secret. Koscianska guides readers through developments in the field of sex education throughout the 20th century. How did it come to be, that at the beginning of this new age storks suddenly ceased to deliver babies and stories about the birds and the bees no longer satisfied curious girls and boys? What does intercourse have to do with spotting moose? How was sex described in a school textbook scrapped by the communists for fear of offending religious sentiment? Finally, could folk songs convey more information than progressive self-help books? Among Koscianska’s protagonists are women and men who had the courage to change how sex was written about. Yet readers will be urged to keep their critical hats on in assessing the contributions of the cult figures of Polish sexology. This work is the first to critically examine Polish sex education in the 20th century.

The book contains an extensive chapter on changing attitudes towards homosexuality and transsexuality in Polish sex education, sexual counselling and sexology in the 20th century, with a special focus on the 1970s. In this chapter, the author draws on various sources to reconstruct those changes: interviews with sexologists, sexual educators, and LGBTQ persons who remember the 1970s, as well as letters sent to sexologists, sex columns in the popular press, and sex education manuals. She argues that the long 1970s were a crucial decade that set the stage for the development of LGBTQ politics and self-organization in the late 1980s and in the 1990s. By reconstructing the dialogue between sexologists and their patients/readers on sexual orientation and gender identity, the book shows the processes that contributed to the formation of today’s debate over LGBTQ rights, politics and identity.

For further details, and to order the book in Polish, click here.

Our Desire is a Revolution: Images of sexual diversity in the Spanish State (1977-2017) – Exhibition, Madrid

An exhibition, curated by Juan Guardiola and Juan Suárez, of the LGBTQ audiovisual culture in Spain since the first demonstration in defence of the rights of gays and lesbians in September 1977 in Barcelona.

CENTROCENTRO CIBELES DE CULTURA Y CIUDADANÍA
Plaza de Cibeles, 1
28014 Madrid

23 Junio – 01 Octubre 2017/21st June – 1st October 2017

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[Spanish, English translation follows]

Una revisión de la cultura audiovisual LGBTQ en España desde la primera manifestación en defensa de los derechos de gays y lesbianas en septiembre de 1977 en Barcelona, hito que marca el inicio de la militancia sexual en nuestro país, hasta el presente.

Nuestro deseo es una revolución muestra cómo diversas prácticas artísticas y discursivas gays, lésbicas y queer han combinado los lenguajes de las vanguardias artísticas y la iconografía y modos de hacer de las subculturas de la calle para politizar la representación del cuerpo y la sexualidad, para cuestionar el funcionamiento de las esferas pública y privada y para releer la historia hegemónica que invisibiliza a los sujetos marginales.

La vocación experimental y abiertamente política de la imagen queer ha quedado relativamente relegada en décadas recientes, tras los años álgidos de la crisis del SIDA, debido a la asimilación de la sexualidad gay-lésbica-queer a un nicho de mercado y al auge de reivindicaciones más orientadas a la gestión del ámbito privado (derecho al matrimonio entre personas del mismo sexo) que a la transformación colectiva de la sociedad, como pretendía gran parte del activismo de los años setenta y del movimiento queer posterior.

Frente a estas estrategias de normalización, esta exposición recuerda la tradición de experimentación formal ligada a la disidencia sexual en el arte, una experimentación motivada por la conciencia de que para dar cuenta de una revolución sexual y social sin precedentes, aún en marcha, había que reinventar los modos de crear y narrar, de articular imágenes y de utilizar los medios artísticos.

Artistas y colectivos presentes en la muestra:

Carlos Aires, Florencia Aliberti, Pedro Almodóvar y Fabio McNamara, Alexander Apóstol, Manu Arregui, Cecilia Barriga, Biel Capllonch, Tino Casal, Gabriel Casas, Eduardo Chicharro, Javier Codesal, Joan Colom, Fito Conesa, Xavier-Daniel, Diego del Pozo, Luis María Delgado, David Domingo, Lucía Egaña, Pepe Espaliú, Jacinto Esteva, Alex Francés, Carmela García, Miguel Ángel Gaüeca, Jean Genet, Coco Guzmán, Juan Hidalgo, William James, Jana Leo, LSD, Jesús Martínez Oliva, Marisa Maza, Pepe Miralles, Joan Morey, Nazario (Nazario Luque Vera), Ocaña, Pedro Ortuño Mengual, Alvaro Perdices, Pablo Pérez Mínguez, Guillermo Pérez Villalta, Ventura Pons, Gregorio Prieto, Rodrigo (Rodrigo Muñoz Ballester), José Romero Ahumada, Francesc Ruiz, Azucena Vieites, Virginia Villaplana Ruiz e Iván Zulueta.

Cabello/Carceller (Helena Cabello y Ana Carceller), Costus (Juan Carrero y Enrique Naya), Dias & Riedweg (Mauricio de Mello Dias y Walter Stephan Riedweg), Els 5 QK’s, Equipo Palomar (Mariokissme y R. Marcos Mota), Jeleton (María Angeles Alcántara y Jesús Arpal), Majo Post-Op, O.R.G.I.A (Beatriz Higón, Carmen Muriana y Tatiana Sentamans), Subtramas  (Virginia Villaplana Ruiz, Diego del Pozo, Montse Romaní), Toy Tool Films, Video-Nou.

Comisariado: Juan Guardiola y Juan Antonio Suárez

Detalles completos en CentroCentro

Imagen: José Romero Ahumada. Abajo la ley de peligrosidad social. 1977. Cortesía de autor@, Barcelona.

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[English]

A review of the LGBTQ audiovisual culture in Spain since the first demonstration in defense of the rights of gays and lesbians in September 1977 in Barcelona, ??a milestone that marks the beginning of the sexual militancy in our country, until the present.

Our desire is a revolution shows how various artistic practices and discursive gay, lesbian and queer have combined the languages of the artistic avant-garde and the iconography and ways of doing the subcultures of the street to politicize the representation of the body and sexuality, to question the functioning of the public and private spheres and to re-read the hegemonic history that makes the marginal subjects invisible.

The experimental and openly political vocation of the queer image has been relatively relegated in recent decades, following the peak years of the AIDS crisis, due to the assimilation of gay-lesbian-queer sexuality to a market niche and the rise of demands more oriented to the management of the private sphere (the right to same-sex marriage) than to the collective transformation of society desired by much of the activism of the 1970s and of the later queer movement.

Faced with these strategies of normalization, this exhibition recalls the tradition of formal experimentation linked to sexual dissidence in art, an experimentation motivated by the awareness that in order to account for an unprecedented sexual and social revolution, still in To reinvent the ways of creating and narrating, articulating images and using artistic means.

Artists and collectives present in the exhibition: Carlos Aires, Florencia Aliberti, Pedro Almodóvar y Fabio McNamara, Alexander Apóstol, Manu Arregui, Cecilia Barriga, Biel Capllonch, Tino Casal, Gabriel Casas, Eduardo Chicharro, Javier Codesal, Joan Colom, Fito Conesa, Xavier-Daniel, Diego del Pozo, Luis María Delgado, David Domingo, Lucía Egaña, Pepe Espaliú, Jacinto Esteva, Alex Francés, Carmela García, Miguel Ángel Gaüeca, Jean Genet, Coco Guzmán, Juan Hidalgo, William James, Jana Leo, LSD, Jesús Martínez Oliva, Marisa Maza, Pepe Miralles, Joan Morey, Nazario (Nazario Luque Vera), Ocaña, Pedro Ortuño Mengual, Alvaro Perdices, Pablo Pérez Mínguez, Guillermo Pérez Villalta, Ventura Pons, Gregorio Prieto, Rodrigo (Rodrigo Muñoz Ballester), José Romero Ahumada, Francesc Ruiz, Azucena Vieites, Virginia Villaplana Ruiz and Iván Zulueta.

Cabello/Carceller (Helena Cabello y Ana Carceller), Costus (Juan Carrero y Enrique Naya), Dias & Riedweg (Mauricio de Mello Dias y Walter Stephan Riedweg), Els 5 QK’s, Equipo Palomar (Mariokissme y R. Marcos Mota), Jeleton (María Angeles Alcántara y Jesús Arpal), Majo Post-Op, O.R.G.I.A (Beatriz Higón, Carmen Muriana y Tatiana Sentamans), Subtramas (Virginia Villaplana Ruiz, Diego del Pozo, Montse Romaní), Toy Tool Films, Video-Nou.

Commissariat: Juan Guardiola and Juan Suárez

Complete information at CentroCentro (in Spanish)

Image: José Romero Ahumada. Under the law of social danger. 1977. Courtesy of author @, Barcelona.

A Golden Age for Queer Sexual Politics? Lesbian and Gay Literature and Film in 1970s Germany – Programme

Thursday 20 – Saturday 22 July 2017
Humboldt University, Berlin

This conference aims to explore the queer appeal of the 1970s by both highlighting their legendary aspects and questioning the historical construction of the decade.

International Conference
Thursday 20 July – Saturday 22 July 2017

Humboldt-Universität zu Berlin
Sprach- und Literaturwissenschaftliche Fakultät
Institute for German Literature
Research Center for the Cultural History of Sexuality

Conception and Organization: Janin Afken, Andreas Kraß, Benedikt Wolf

Click here to view the complete programme

 

Historical accounts of the German 1970s lesbian and gay movement(s) often draw the picture of a legendary decade, a golden age for queer sexual politics and culture. This view is dependent not only on the historic facts themselves, but also – and significantly – on the way in which they are narrated in literature and film, both of the 1970s themselves and of our times. However, what exactly made the 1970s a “legendary decade”? What was its revolutionary potential and what were its path-breaking political and aesthetic strategies? Which elements, movements and memories had to be marginalized in order to facilitate the historical construction of the “legendary decade”?

This conference aims to explore the queer appeal of the 1970s by both highlighting their legendary aspects and questioning the historical construction of the legendary decade. The conference focuses on the representation and construction of the queer 1970s in literature and film and highlights the process of cultural canonization and the differences between male and female homosexual expression.

 

Thursday, 20 July 2017, Kino Arsenal, Potsdamer Straße 2

6.30 pm: Welcoming Speeches by Ulrike Vedder, Andreas Kraß, Glyn Davis

7 pm: Madame X – Eine absolute Herrscherin Madame X.  Film screening (German original with English subtitles) with an introduction by the director Ulrike Ottinger

 

Friday, 21 July 2017, Festsaal der Humboldt Graduate School, Luisenstraße 56

9:30 am: Introduction by Benedikt Wolf

9:50 am: “We were so turned on”. Reflections on Queer(ing) Past and Memory. Keynote by Susanne Hochreiter (Vienna). Chair: Tomasz Basiuk (Warsaw)

10:50 am: Coffee break

11:10 am: Session 1: The Canonized Queer 1970s, Chair: N.N.

  • Janin Afken (Berlin): From Sisters’ Skin to Womb Ego. Solidarity and Corporeality in Verena Stefan’s Shedding (1975)
  • Patsy l’Amour laLove (Berlin): A Legend of Gay Emancipation: Rosa von Praunheim’s Movie “Nicht der Homosexuelle ist pervers, sondern die Situation, in der er lebt” (1971)
  • Benedikt Wolf (Berlin): Hubert Fichte’s Language of Desire. From “the Unchaste” to “Oymeln” in the Hamburg novels

12:40 pm: Lunch break

2 pm: Queers Give Me Pause. Keynote by Marc Siegel (Frankfurt a.M./Berlin). Chair: Juan Suárez (Murcia).

3 pm: Coffee break

3:20 pm: Session 2: Contesting the Canon, Chair: Hannes Hacke (Berlin)

  • Chris Auld (Ormskirk): Camp Subversion in the Films of R.W. Fassbinder
  • Vojin Saša Vukadinovic (Zurich): Aesthetics, Critique, Satire. Die Schwarze Botin and the Promise of Revolution
  • Peter Rehberg (Berlin): Bärtige Männer nackt auf Matratzenlager“: Post and Pre-Aids Representations of Gay Masculinity

4:50 pm: Coffee break

5:10 pm: Session 3: Retrospections, Chair: Patsy l’Amour laLove (Berlin)

  • Maria Bühner (Leipzig): How to Remember Invisibility: Documentary Projects on Lesbians in the German Democratic Republic as Archives of Feelings
  • Sebastian Zilles (Siegen): The 1970s in Retrospective. HIV/AIDS-Discourses in German Literature

 

Saturday, 22 July 2017, Festsaal der Humboldt Graduate School, Luisenstraße 56

9:30 am: Session 4: European Perspectives, Chair: Todd Sekuler (Berlin)

  • Alejandro Melero (Madrid): LGTB Representation and Film Censorship in German-Spanish Co-Productions During the Last Years of Franco’s Dictatorship (1970-1975)
  • Krzysztof Zablocki (Warsaw): Wolfgang Jöhling – a Builder of Bridges Between German and Polish LGBT Scenes
  • Juan A. Suárez (Murcia): The Operatic Tableau in Seventies Queer Cinema: Werner Schroeter, Adolpho Arrieta, Teo Hernández

11 am: Coffee break

11:30 am: Panel Discussion: Is There a Shared History of Lesbian Women and Gay Men in the 1970s? Antke Engel (Berlin), Michael Bochow (Berlin), Laura Guy (Edinburgh), NN., NN.; Chair: Fiona Anderson (Newcastle)

 

The conference is free to attend.

Contact and Registration until 7 July 2017: kulturgeschichte-sexualitaet@hu-berlin.de

 

Venues
Kino Arsenal, Potsdamer Straße 2, 10785 Berlin
Festsaal der Humboldt Graduate School, Luisenstraße 56, 10117 Berlin
Both of the venues are wheelchair accessible.

Conference Language is English

Image – still from Madame X.

Life Writing of Lesbian and Gay Male Authors in 1970s Germany

CRUSEV’s Janin Afken and Benedikt Wolf’s seminar ask how queer life writing is connected to significant literary tendencies in the Germans 1960s and 1970s like documentary literature and New Subjectivity.

During the summer semester of 2017, we are teaching a seminar on “Life Writing of Lesbian and Gay Male Authors in 1970s Germany” at Humboldt University of Berlin. The seminar is open for undergraduates in German Literature, European Literatures and Gender Studies. The objective of our seminar is to examine the specific constructions of queer subjectivity that are shaped by the autobiographical view in the context of gender and sexuality. The seminar asks how queer life writing is connected to significant literary tendencies in the Germans 1960s and 1970s like documentary literature and New Subjectivity. We are especially interested in problematizing the claim of authenticity as stated in many of the texts and its relationship to the binary of closet and disclosure lying at the core of the concept of coming out. In a historical perspective the question is raised, how the issue of possible confession reacts to canonical texts of autobiographical writing such as Augustinus’s Confessiones and Rousseau’s Confessions.

By reading classical theoretical texts on authorship and autobiography by Michel Foucault, Philippe Lejeune and Paul de Man, we aim to problematize the position of the author and try to grasp the specific relationship to extra-textual reality life writing often claims.

The literary texts we will read range from documentary literature like Maxie Wander’s Guten Morgen, du Schöne (1978), over confession-like personal accounts like Judith Offenbach’s (pseudonym of Luise F. Pusch) Sonja (1981) to highly stylized and canonized autofictions like Hubert Fichte’s Versuch über die Pubertät (1974). We will read seemingly anachronistic accounts like Kurt Hiller’s Leben gegen die Zeit (1978), as well as key texts of 1970s movements like Verena Stefan’s Häutungen (1975).

The examination of life writing of the 1970s allows for an illustrative and complex way of cruising the 1970s with a focus on subjectivities and their transformation in and by literature.

The seminar is organised by CRUSEV’s Janin Afken and Benedikt Wolf.

Accessibility for Between the Sheets

Information on the accessibility of our symposium, taking place in Glasgow, 23-24 February 2017

Information on Accessibility for our symposium, Between the Sheets: Radical Print Cultures before the queer bookshop.

Thursday 23th and Friday 24th February 2017
Centre for Contemporary Art, Glasgow

The symposium will be conducted in English.

Live subtitling (speech to text transcription) will accompany both days of the symposium.

On the Thursday, pre-prepared material will be accompanied by closed caption subtitles or a transcript.

 

Access information regarding the venue

The CCA is wheelchair accessible, with level access throughout each of the floors in the building. The building comprises three floors and is situated on the corner of Sauchiehall Street and Scott Street. The ground floor includes a foyer with a box office, Duty Managers’ office, two shops, a cafe bar, gallery, cinema, accessible toilets and lift access to the first and second floors. The first floor has the theatre, Creative Lab, accessible toilets and Terrace Bar. The second floor has Intermedia Gallery and the Clubroom meeting space.

Thursday’s event will be held in the Creative Lab. Friday’s event will be held in the Club Room, with drinks afterwards taking place in the Terrace Bar.

Please note that there is no hearing loop in the Club Room.

Detailed access information for the CCA be found online here at the CCA’s website. A map of the CCA can viewed here. For a detailed statement that includes information regarding travelling to the venue, click here.

The CCA aim’s to make its building as accessible as possible. If you feel that you might need some additional help, please get in touch or ask a member of staff on arrival.

If you have any specific access requirements that the Cruising the 70s team can help you with, let us know. You can email us at crusev@ed.ac.uk

 

We will circulate accessibility information including maps of the venue and fixtures and fittings of the spaces we’ll be using and toilets, with general information about the symposium. We will not be providing BSL interpretation at the event.

Cruising the 70s welcomes any suggestions or improvements to access for our events. Feel free to speak to us at the event, or contact us via email at crusev@ed.ac.uk with any suggestions. We will be discussing provisions to improve the accessibility of our events across the duration of the project and in the run up to our conference in Edinburgh in July 2019.

Programme for Between the Sheets: Radical print cultures before the queer bookshop

Here’s the full programme for our forthcoming symposium in Glasgow, Scotland. Tickets have now sold out but those without a space can join a waiting list by calling CCA Glasgow.

Here’s the full programme for our forthcoming symposium in Glasgow, Scotland. Tickets have now sold out but those without a space can join a waiting list by calling CCA Glasgow. Accessibility information to follow shortly.

 

Between the Sheets: Radical print cultures before the queer bookshop, 23-24 February 2017 CCA Glasgow

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Thursday 23 February, 18.00-20.00, Creative Lab
Bob Orr and Sigrid Nielsen in conversation with James Ley

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Friday 24 February 2017, 11am-17.30, Club Room

11.00 Introduction: Fiona Anderson and Laura Guy
11.30-13.00 Roz Kaveney in conversation with Nat Raha
13.00-14.00 Lunch (not provided)
14.00-15.30 Evan Ifekoya in conversation with Nazmia Jamal
15.30-16.30 Break and ‘À Propos Unmarked, Brown Paper Packaging:
A book-wrapping action’ by Mark Clintberg & Benny Nemerofsky Ramsay (with refreshments provided)
16.45-17.30 Discussion

Symposium participants are then invited to join us in the upstairs bar

(Image: Lavender Menace bookshop courtesy of Bob Orr)

Between the Sheets: Radical print cultures before the queer bookshop

Centre for Contemporary Art, Glasgow, Scotland
23-24 February 2017

Between the Sheets is framed around three conversations with a range of speakers who will share their experiences with print cultures in the 1970s,

CCA, Glasgow 23.-24.2.2017

Book online

The 1970s was a crucial time for feminist and LGBTQ activism and community-building. Between the Sheets explores how and why reading and writing acquired such prominence and power in queer communities in Britain in this important decade, engaging with the pleasure and politics of print before the establishment of important queer bookshops like Lavender Menace and Gay’s the Word in the late 1970s and early 1980s. With contributions from artists, activists, writers, and academics, it will stop to consider tactile encounters with the printed word, reflect on collective interactions with print in reading groups and consciousness-raising sessions, and think about the development of spaces for sharing and selling books, magazines, and pamphlets in the 1970s, from women’s centres to nightclubs.

Between the Sheets is framed around three conversations with a range of speakers who will share their experiences with print cultures in the 1970s, focusing on the politics of print, on spaces of distribution and connection, and on how these often ephemeral queer print cultures have been archived and are remembered in the present. These discussions will be punctuated by performances and screenings. Looking at reading and sharing the written word as a call to action, Between the Sheets asks what the role of print was for queer communities in the 1970s and what the significance of these radical queer print cultures is for LGBTQ activists today.

 (Image: Lavender Menace bookshop courtesy of Bob Orr)

A Golden Age for Queer Sexual Politics? Lesbian and Gay Literature and Film in 1970s Germany

Friday 21 – Saturday 22 July 2017
Humboldt University, Berlin

Call for Papers

Friday 21 – Saturday 22 July 2017
Humboldt University, Berlin

Call for Papers

The German Gay Liberation Movement began with a work of art. Rosa von Praunheim’s film It Is Not the Homosexual Who Is Perverse, But the Society in Which He Lives (1971) was the trigger for the formation of homosexual emancipation groups all over West Germany. With its fierce critique of the approaches to assimilation of the 1960s homophile movement and with its revolutionary impetus, the film marked itself as a threshold towards a new time of liberation.

From the very start of the movement, women took part in the various emancipation groups. Nonetheless, gay men were dominating these groups. Since the early 1970s, homosexual women also formed up all-female lesbian groups, inspired by the women’s movement’s critique of the patriarchy. Verena Stefan’s book Häutungen (Shedding, 1975) played a substantial role in the process of shaping a political lesbian identity and eventually turned into a cult text of both the feminist and the lesbian movement.

Historical accounts of gay liberation movements have often been presented in the form of a saga, as Scott Bravmann has pointed out in his 1997 book Queer Fictions of the Past. This certainly applies for the 1970s in Germany: the period between 1971 (Praunheim’s film) and 1982 (when the term AIDS was coined) has regularly been constructed as a Golden Age of German queer history. This view is dependent not only on the historic facts themselves, but also – and significantly – on the way in which they are narrated in works of art, both of the 1970s themselves and of our times. Individual memory and historical construction are fundamentally structured by narration – and literature and film do not only participate in this process of shaping an intelligible past, but are also spaces of reflection on this process.

In the last few years interest in the more recent past of LGBTI movements has increased in the humanities. In particular, the period that is characterized deeply by the HIV/AIDS epidemic and the politics of activist groups such as ACT UP! and Queer Nation in the US context has been reread in the frame of concepts of trauma, loss and temporality. The German context did not see mass movements against the social, political and ideological consequences of HIV/AIDS like in the USA. The media reactions to AIDS nonetheless brought about a homophobic climate of repression and hatred, and German queers found effective strategies for self-aid. It seems that LGBTI activists as well as academics have only started the work of mourning the deaths of the AIDS epidemic in the past few years.

Against the backdrop of this rather dark and negative decade, its predecessor, the 1970s, begins to appear as a heyday of Gay Liberation, radical politics and sexual freedom. In Germany, the 1970s are often seen as a “legendary decade”, as the editors of  a collection of essays about the so-called Rosa Radikale (‘Pink Radicals’) write – being aware of the historical construction this understanding is based on [1]. The years after the students’ revolt of 1968 were a departure for queers both in the FRG and in the GDR. Sodomy laws were liberalized in both German states in 1968 (GDR) and 1969 (FRG). Important homosexual emancipation groups such as Homosexuelle Aktion Westberlin (Homosexual Action West Berlin, FRG) and Homosexuelle Initiative Berlin (Homosexual Initiative Berlin, GDR) were founded in 1971 and 1973 respectively. When the catastrophe of the epidemic hit the movement in the early 1980s, it was desperately estranged and almost incapable of united action.

However, what exactly made the 1970s a “legendary decade”? What was its revolutionary potential and its path-breaking political and aesthetic strategies? Which elements, movements and memories had to be marginalized in order to facilitate the historical construction of the “legendary decade”? Have the 1970s been narrated differently by the heterogeneous groups involved in LGBTI movements – especially by lesbian women in contrast to gay men? Why has the lesbian movement often been made invisible in academic discussions about both the Women’s movement and the homosexual movement [2]? Can the movement of the 1970s Pink Radicals not only be seen as an unreachable and irretrievable past, lost forever because of the AIDS crisis, but also as a foundation and inspiration for the AIDS movement of the 1980s?

In recent years some artists, film makers and writers have created works of art reflecting the queer 1970s in complex ways. In her 2014 novel Sisterhood, Claudia Koppert turns toward the early years of feminist and lesbian activism by staging the generational conflict between the protagonist and her adolescent daughter. By focusing both on the mother’s and the daughter’s perspectives, the novel creates a highly intricate reading of the ‘legendary’ feminist and lesbian past. Yoni Leyser’s film Desire Will Set You Free (2015), tells the story of a migrant to Berlin who discovers her trans identity. Both the plot of the film and some of its scenes are reminiscent of Praunheim’s 1971 film, and Praunheim finally appears in the film along with other ‘heroes’ of the 1970s such as Blixa Bargeld and Nina Hagen. The queer 1970s seem to exercise quite a strong appeal for contemporary reflections of queer culture.

The conference aims to explore the queer appeal of the 1970s by both highlighting the legendary aspects of the 1970s and questioning the historical construction. It also seeks to unearth marginalized, erased or ephemeral cultural expressions of the time and to investigate to what degree women, marginalized masculinities (proletarian and migrant) and the reality of the GDR have been excluded from historical narratives. The conference will focus on the representation and construction of the queer 1970s in literature and film and highlight the process of cultural canonization, the differences between male and female homosexual expression, the characteristics of trans* and racialized experiences, and the queer culture of East Germany.

We invite papers that focus on literature and films of the 1970s as well as papers that investigate contemporary cultural expressions that reflect the 1970s. Papers may scrutinize either individual authors and film-makers or thematic aspects in various works of art. We invite papers on ‘serious’ as well as experimental, avant-garde, underground, trivial and pornographic texts or films. Papers that analyze German culture in a broader European context are especially welcome.

Possible contexts and topics include:

  • lesbian and gay literature
  • lesbian and gay film
  • heteronormative works referring to LGBTI issues
  • works referring to trans issues
  • works referring to issues of race
  • Punk and Glam Rock
  • Drag Culture (Tunten)
  • Pornography

The conference will take place from July 21-22 2017 at Humboldt University of Berlin.

The conference language is English.

For individual proposals, please submit a one-page, double-spaced abstract in English with a short biographical note before 31 December 2016 via kulturgeschichte-sexualitaet@hu-berlin.de.

The accepted papers will be published as a collection of essays after the conference.

Unfortunately, we are not able to fund travel or accommodation costs.

The Conference is organized as part of the HERA-funded research project “Cruising the 1970s: Unearthing Pre-HIV/AIDS queer sexual cultures” by the Research Center “Cultural History of Sexuality” (Institute for German Literature, Humboldt University of Berlin).

Janin Afken, Andreas Krass, Benedikt Wolf
Forschungsstelle Kulturgeschichte der Sexualität
Humboldt-Universität zu Berlin
Institut für deutsche Literatur
Unter den Linden 6
10099 Berlin
References

[1] Andreas Pretzel/ Volker Weiß: Die westdeutsche Schwulenbewegung der 1970er Jahre. Annäherungen an ein legendäres Jahrzehnt, in: Pretzel/ Weiß (eds.): Rosa Radikale. Die Schwulenbewegung der 1970er Jahre, Geschichte der Homosexuellen in Deutschland nach 1945, Vol 2, Hamburg 2012, p. 9–26.

[2] Gabriele Dennert/ Christiane Leidinger/ Franziska Rauchut: Lesben in Wut. Lesbenbewegung in der BRD der 70er Jahre, in: Dennert/ Leidinger/ Rauchut (eds.): In Bewegung bleiben. 100 Jahre Politik, Kultur und Geschichte von Lesben, Berlin 2007, p. 31–61.