I am a Masisi

Profile of Charlot Jeudi by Cases Rebelles. Photos by Giulio d’Adamo

I’m a masisi as I like to say. Since I was young I’ve had feelings for boys but it’s something that’s always tough to say to those closest to you.

For a while I played the make-believe. By make-believe I mean hetero-normativity imposed by society, and that I myself as a masisi, a homosexual, I had points of comparison and thus I moved to fit in at least in the pretente of a straight life.

Whenever out in the open in my community I played this role, but at home I actually behaved quite feminine, I would clean the house – though it was never a big deal. But with my friends however it was always, “come on my dear, you really need to act like a boy. Why can’t you walk like a man? You aren’t some little girl and you shouldn’t sit around playing jacks, playing jwet kay, you shouldn’t play jwet pench, play hopscotch and skipping rope…. It’s not right!” I knew how to play all those games, that was how I occupied my time. Afterwards though I started playing soccer with the other boys, I took my place in the comedy even if I then snuck off and played jacks with the girls on the roof so as not to be seen. But in the open I played soccer to prove that I was in fact a young boy.

I could also dance well. Because dancing was for me the first form of expression I ever knew and when I was dancing I could be myself. Then dancing wasn’t really even about the movements but about how I felt while dancing.

I was born in Port au Prince and grew up there. I was raised in a working class neighborhood, Martissant, which was a tough environment and had about every social problem imaginable – insecurity, power cuts, dirty water, under-development problems in general. The only privilege that I had in that neighborhood, that my family could afford, was that I was sent to school, I received an education. This gave me a great sense of responsibility in a several areas and pushed me into social organizing.

I always ensured that I cultivated good relationships with those around me – it helped me hugely. Even if I couldn’t get close to someone, I would make sure that I at least understood him or her. To be able to evolve in the environment in which I was born. I came to feel that I inherited a neighborhood, a community that had been rundown by a lot of violence and conflict. I saw that there wasn’t any interest in…. well, I witnessed too much violence and too many victims of that violence. And it created in me a belief in living together, a sense of solidarity that could create unity among people. And in my neighborhood everyone know who I am.

I never denied my homosexuality in my neighborhood, at home, in my family. That was never a problem. I remember at 18 years old I went to see my mother and I told her that I liked boys ; my mother just responded : “the most important thing, Charlot, is that you stay in school.” I was always educated thanks to my mother, father, sisters and brothers. That’s how I was raised and it instilled in me confidence. It is the thing that allowed for self-confidence, self-assurance and a sense of self-worth in me. I was a lucky kid in this sense since I was shielded from the horrible things that my gay friends experience or went through in the past. I was kept secured this way. And as I wanted to be an artist, a leader and that I would needed to gain certain skills, certain qualities as a person to be those, there was no place to be shy, I needed to be able to conquer people, and these desires ultimately gave me even more confidence.

So I took all of this to heart to at least be able to tell myself that I wasn’t any dumb masisi but one who went to school. This hit me like a strong stimulant and gave me the tenacity to move past all that held me down. I grew even stronger when I ultimately made other friends – Nicolas, Pouchy, Eyrol, Pierson, Richard, Rudy, Toto, Jeanjean. I had a group. A group of friends who were also gay living in this same neighborhood and so at least were never too far away. We often hung out together. And often other friends, whether we would be in Petonville, Delma, Kwadebouke, who would throw parties and gay activities. And we could coordinate amongst ourselves and attend together. Parties, events, beach days : we went to them all.

I am not religious even if I was raised in a practicing Catholic family, I’m ok with voodoo but I don’t practice it on regular basis. I actually like to participate in voodoo ceremonies but I am not very adept at them.

Though there were times, that to accept my homosexuality in the beginning, I would pray. I would go to church to pray. I would say “Jesus! Mary! Joseph ! What is happening to me? Who am I? What am I? How did this happen to me? Samuel, what is this?” Then I would turn to the loas. I would look to my father and mother – my mother didn’t understand these things, even if my father would worship the loas. Ever since I’ve known my mother she has never once mentioned going to a voodoo dance or spoke of getting ready for one. Same with my father. As I grew up I continued to pray but at one point told myself that if I’m going to make peace with myself I need to keep religion at a distance. I did my first communion, I was baptized but I then created that distance. I used to take the host, then I stopped.

It was an obligation every Sunday to go to church but I decided that if I wasn’t feeling like going or wasn’t available I didn’t go, you know. Also, I had a very good school director who told us “You are all valuable”, that was Emmanuel Puteau, former Minister of National Education who said that we were all valuable. I am capable of conquering – I am capable of influencing. Something had clicked in my head.

What makes me happiest is to be able to tell society outright “stop your discrimination”. That is the pleasure I take everyday, being myself, showing the rest of society “here is my dear by my side”. Whatever they may say or do, whether it upsets them or not. Way an! (Go to hell!) For others, happiness would be to just leave. But that doesn’t interest me. I’ve had 5 exit visas and I’ve left and returned. I’m not interested in leaving. It isn’t something I strive for and packing my bags would truly be my last resort.

Happiness, where I come from, are things like those neighborhood entertainment and days at the sea, those things that don’t cost a lot because otherwise we’d have had nothing. We can’t let ourselves go to a T-Vice concert that costs $200. We are content to go out and take part in an event ; some of us in trade, some working in a factory, some in a restaurant, but always coming back together to sit with our friends and have a drink among friends. We talk, etc. In a small group before heading back home. That is what makes us happiest! Do you understand?

Feminism, Fashion and the Politics Adornment

By Amina Doherty

My existence is not about how desirable you find me. – Warsan Shire

 I have always loved dressing up. When I was much younger I would sit on my mother’s bed and watch in admiration as she would get dressed up. I’d watch intently as she lined her eyes with black kohl and as she accessorized her latest outfit with beaded belts and leather bags and she always smelled like essential oils and fresh woody musk.

My mother’s sense of style always appeared effortless and it didn’t matter whether she was wearing a beautifully embroidered African boubou or jeans and a t-shirt she always (in my eyes) looked so incredibly chic. “You have to feel good about yourself” she’d say. “Dress how you feel, and feel how you dress. Create your own style baby! Make your own rules!” When all the other girls my age found shoes in what I’d been told were ‘regular’ women’s sizes – my mother would take me to the ‘men’s section’ and convince me that I was the flyest of them all in my brown leather loafers and super fly sandals.

I have to admit that growing up I never imagined that I would ever publicly declare my love for the two f-words so openly – ‘feminism’ and ‘fashion’. While I have always claimed my feminism, I shied away from embracing my love for fashion. Much of my discomfort with coming out of the closet as a ‘feminist fashionista’ has been out of fear that I would not be taken seriously or that I would be deemed “frivolous”. I would often feel ashamed and embarrassed to admit that I loved clothing and style as much as I did – particularly in feminist circles at university. I found myself struggling to reconcile my love for bright mini skirts and red lipstick with questions about whether I was performing for heteronormative patriarchal desires. Was I really getting dressed up because I thought men would desire me (I didn’t think so) or did I just really really love that new shade of purple eyeshadow? How could I love fashion but address my own growing concerns around the very real political and economic consequences of a mainstream (globalized) fashion industry predicated on capitalist consumerism? How could I talk about my sense of style in the backdrop of a fashion industry that promotes very dangerous and unrealistic representations of women’s bodies including my own. The tensions were real!

Over the years, I have become more comfortable talking about my love for fashion as part of my own self-expression and I have come to recognize that it is virtually impossible to ignore what assistant professor at Cornell and fashion blogger Min-Ha T. Pham calls “…[one of the] most ordinary and intimate of acts – that of getting dressed”.[1] In my activism, I have come to more clearly recognize the value of talking about and questioning the gendered, raced, and sexed codes associated with the seemingly simple act of getting dressed. Whether we refer to the murder of Trayvon Martin in the United States and the narrative formed around his hooded sweatshirt, or the heartbreaking commentary about Rachel Jeantel’s body or even the transphobic and homophobic violence that claimed the life of 17 year-old Dwayne Jones in Jamaica for his decision to don “women’s clothing” we see that what we wear and the ways in which we adorn our bodies are deeply meaningful and political.

Today, I think of myself and the way I get dressed – what many would consider a frivolous waste of time – the application of brightly colored powders brushed gently across the lids of my eyes, or the varied shades of red, pink, purple, mauve, and gold that adorn my lips on any given day. The thing about this seeming frivolity is that it functions as both my form of self-expression and is in many ways my own artistic offering to the world. As I have gotten older and have come to more confidently define myself as an artist, I have realised that my love for fashion is intrinsically tied to my love for art. I view my body as my own artistic canvas.

I am drawing, painting, designing, writing, loving, liking – recreating myself, for myself. I am paying artistic homage to the parts of my body that the mainstream media have tried to encourage me to despise – the rolls in my waist, the dimples in my thighs, the full roundness of my belly, the thickness of my arms, my shoulders adorned with stretchmarks…

When I line my wrists with big sparkly bangles, when I show my intricately designed tattoos, when I expose my shaved head dyed in whatever color feeds my fancy, and when I cover my skin with a mix of fabrics, colors, textures and patterns I am creating narratives about who I am and how I feel in the world. I am indicating that I am alive. In the ways I choose to present myself to the world, I am using my body’s voice to validate my existence, to claim my rebellion, to create my art.

Through my sense of style I am telling stories about myself that I perhaps may never speak viva voce – but that I may wear brightly, exuberantly, truthfully, unashamedly.

Beyond art however, adornment and my sense of style has become part of my own self-care routine, a daily rite, a meditative practice – it is my own self-discovery. When I wake up in the morning and decide how I will style or express myself I am engaged in a process that seeks to celebrate and embrace my femininity (which historically we’ve been told to control). I am creating a space for myself wherein I can admire and revere the fullness of my own Black. Woman. Body. I am creating a space where I am subject and object of my own desire.

We exist in a world where Black women’s bodies are contested spaces, where our fashion and style choices are heavily policed, where we are told what to wear, how to wear it, for whom to wear it, how much we should cover (or uncover), how much we should spend — how to ‘be’ everything but ourselves. We exist in a world that privileges thin, white, heterosexual bodies. So like my feminism, my politics of adornment are a critical part of how my race, class, gender and sexuality intersect. My feminism is about having the personal freedom to choose how I represent myself. My ability to express myself on my own terms is my attempt to return ‘the gaze,’ to push back, to style myself for myself. As I seek to own and affirmatively claim my identity, my body, my creativity… and ultimately my ‘self’, I feel incredibly powerful and beautiful and free. And this is where I feel most strongly moved. Recognizing that my means of creative expression, can come to function as a form of embodied activism. I wear whatever I want, however I want, whenever I want.

My adornment is my armor, my art, my survival strategy, my self-acceptance, my transgression…my voice.

Photos: Chalanie S. (Red. Gold. Irie).
Clothes: The Skirt is by CHiCHiA London
The shirt & shoes are River Island Men’s Collection
[1] Pham, Min-Ha T. “If the Clothes Fit: A Feminist Takes on Fashion” <Accessed Online> http://msmagazine.com/blog/2012/01/17/if-the-clothes-fit-a-feminist-takes-on-fashion/

Un anneau au pouce

Par Gray. Photos de Galerie Noir dIvoire et Piercing-Alice.fr

La mode ce n’est pas juste se vêtir. C’est cette manière de faire correspondre des bouts de tissus afin d’indiquer au monde son appartenance à un groupe, un milieu ou à une communauté.

L’Algérie, comme tous les pays du Maghreb, a depuis plusieurs années, adapté son style à la mode qu’elle voit à la télévision. C’est ainsi que les jeunes garçons portent des shorts et ont les cheveux gominés tandis que les filles, dans une société qui leur pardonne moins, arrivent à sortir du dictat patriarcal avec des « slims » qui mettent leurs formes en valeur.

Pourtant, s’habiller n’est jamais chose facile, car même si la société algérienne regarde « l’Occident » vivre, la question de la caste garçon / fille est très importante. De ce fait, la mode devient une entité sexuée et même sexuelle, ce qui la rend politique et révolutionnaire.

Ainsi comme nous l’explique Kamel, jeune algérien : « En Algérie, se mettre en short n’est pas toujours évident. Porter un short au-dessus du genou peut te faire passer pour un gay, avec les insultes qui vont avec. De plus, la société algérienne considère certains habits comme étant des vêtements gays. C’est rare de trouver un mec qui ose porter du rose pâle ou des couleurs plus tapantes. Du coup certaines couleurs ont l’exclusivité de n’être portées que par la gente homosexuelle ».

Pourtant ce jeune homme revendique et assume son amour pour la mode queer qu’il essaye d’adapter à sa morphologie et à ses humeurs : « Je suis quelqu’un qui aime prendre soin de lui et de son image mais j’essaye de faire en sorte que la mode me suive au lieu de la suivre. Je fais en sorte d’être assez stylé en trouvant ce qui me va par rapport à ma morphologie ». Et il ajoute : « Je pense que ces derniers temps, il n’y a pas de mode gay à proprement parler car même les hétérosexuels accordent de l’importance à leur apparence. Je travaille dans le domaine des cosmétiques et j’ai de plus en plus de femmes qui viennent acheter pour leurs hommes ou des hommes qui viennent demander des conseils. L’Algérie commence un peu à s’ouvrir et à évoluer ».

La mode peut aussi être un code, un moyen de reconnaissance. Ce premier coup d’œil qui nous fait savoir que l’autre personne est abordable ou non. Ainsi, l’anneau au pouce est devenu très rapidement un signe distinctif dans le milieu gay algérien. Que ça soit pour les filles ou pour les garçons, porter cet anneau indique à l’autre qui décode, qu’il peut venir en toute quiétude.

La mode est donc un moyen d’exister au nez et à la « barbe » des traditions de nos sociétés poussées parfois à l’extrême par certains.

Et c’est dans ces moments-là que la mode porte son plus bel habit, celui d’une révolution silencieuse, une révolution sexuelle, une révolution où les vêtements deviennent une appartenance, une identité voire même un moyen de combat. Certains disent : « Dis-moi ce que tu portes, je te dirai qui tu es ». Il se peut qu’ils n’aient pas tort.