Not Signed-In
Which clippings match 'Immigrant Experience' keyword pg.1 of 1
06 NOVEMBER 2013

The x:talk project: a sex worker-led knowledge sharing co-operative

"In early 2006 several activists based in London who are involved in sex worker rights activism, organising within the International Union of Sex Workers in particular, began to conceptualise and organise around the x:talk project–one that would seek to explore and expand the ideas and confidence we have developed in criticising the mainstream human trafficking discourse, drawing on insights we have gained from sex workers', migrant and feminist struggles.

The racist and anti–feminist trafficking rhetoric of 'protection', mainstream anti–trafficking campaigns that reduce women to only passive victims, under the control of organised crime or of cruel men produces and justifies deportation of migrant sex workers and increases the criminalisation and exploitation of workers in the sex industry. It creates divisions between migrants' and sex workers' forms of organisation and resistance.

We found language and communication to be crucial elements to directly challenge and change conditions of work and life, and to come to together and to organise. Communication is in our view central to change. Language is a basic individual and collective power that improves both possibilities to work and possibilities of resistance.

Central to our vision stands the autonomy of all people moving across borders and the dignity of every gender employing their resources in the sex industry. Central to our understanding of gender and social relations is an understanding of sex work as labour. People who sell sex are involved in a labour process in many respects similar to other paid personal services exchanged on market. At the same time we recognise that the ways in which sex work has existed are also deeply interrelated to the ways in which 'female' services, such as caring, domestic, sexual and reproductive activities are supposed to be provided. It is important to consider that the demand for money for sex in a transparent and potentially contractual way is often a break and significant shift in the way women are expected to give these services for no remuneration.

We consider that a feminist analysis and practice is crucial to changing the sex industry. Women represent the majority of workers in the industry and gendered sexualised and reproductive labour have historically constituted a central part in the structures that subordinate and oppress women. The people that have taken the main initiative of this organisation and project are women. Starting from the ground up, in a grass roots way we nevertheless aim to work with the whole industry. Due to the demographics of the workforce in the sex industry, women play a central role in the organisation and are expected to make up a majority of participants in the classes. We/they represent the majority and we/they enjoy the strongest voice at the moment. However issues of gender and transgender difference–at their intersections with racial and sexual issues are taken into account in the development of activities in order to include people from across the industry and from diverse backgrounds.

In contrast to the current mainstream anti–trafficking policies and discourses we work towards the improvement of working conditions in the sex industry; for rights and recognition of workers; the right to change work and not to be forced to stay with the same employer and the right to stay and not to be deported. Our organisation is based on a practice of sex workers self organisation and our projects are primarily built on an activity of networking with those that have already organised similar projects according to these principles."

1

TAGS

2006activism • anti-trafficking campaigns • anti-trafficking discourses • anti-trafficking policies • autonomyborders • co-operative • collective power • criminalisation • cruel men • deportation • dignity • domestic services • empowermentexploitation • female services • feminist analysisfeminist perspectivefeminist struggles • forced labour • gender and social relations • gender difference • gendered labour • grass roots • human trafficking • immigrant experience • International Union of Sex Workers • knowledge sharing • labour process • language barrierslanguage learnerslanguage of thingslanguage skillslanguages of legitimationLondon • migrant sex worker • migrant struggles • migrant workers • organised crime • passive victims • personal services • power relationsprostituteprostitutionprotectionracist language • remuneration • reproductive activities • reproductive labour • rights and recognition • safeguarding • safer conditions • sexsex industry • sex work • sex worker • sex worker rights • sex workers • sexual exploitation • sexual issues • sexual slavery • sexualised labour • subordinate womentrafficking • trafficking rhetoric • transgender difference • victimwomenworkforce • working conditions • x:talk project

CONTRIBUTOR

Simon Perkins
17 FEBRUARY 2011

Martin Scorsese: ItalianAmerican

"After having made four well–received feature films, among them Mean Streets (1973), an uncompromising story of petty criminals in New York City's Little Italy, and Alice Doesn't Live Here Anymore (1974), the tale of a single mother's journey to self–sufficiency, Martin Scorsese stepped back briefly from his commercial film career to make a small, deeply personal documentary. Shot on 16mm film in the Manhattan apartment where he grew up, ItalianAmerican is the record of a conversation between Scorsese and his parents, Charles and Catherine. In three–quarters of an hour, the three manage to cover a great deal of ground, most notably the parents' experiences growing up in the rough–and–tumble New York tenements during the early years of the twentieth century. Scorsese's presentation of his parents is highly particularized and subtly nuanced, yet he also manages to make their words speak for the larger immigrant experience. When the setting shifts from the living room to the dining room and everyone sits down to dinner, the mood becomes looser and more animated, with Scorsese and his mother moving into the kitchen for a quick lesson on how to make tomato sauce–or 'gravy,' as Catherine (and an entire generation of Italian Americans) would call it. Throughout, the affection that the three Scorseses have for each other is palpable, as is the respect with which the son presents his parents' story. At the end, Catherine's recipe for her tomato sauce scrolls by on–screen, making ItalianAmerican not only a historical record, but also a family legacy."

(The Museum of Modern Art)

1974. USA. 35mm print, colour, sound, 49 min. Original 16mm materials on indefinite loan from the artist. Preserved in 35mm with funding from the Celeste Bartos Film Preservation Fund.

1
2
3
4
5

TAGS

16mm1974authorship • Catherine Scorsese • Charles Scorsese • direct cinemadocumentary filmfilmimmigrantimmigrant experienceinterviewItalian • Italian American • Italianamerican (1974) • ManhattanMartin ScorseseNew Yorkpersonalpersonal filmrealismsocial historysocial realismsocial realitytruth

CONTRIBUTOR

Simon Perkins
Sign-In

Sign-In to Folksonomy

Can't access your account?

New to Folksonomy?

Sign-Up or learn more.