On 4th April 2023 the Equality and Human Rights Commission (EHRC) provided advice to the UK Government on “clarifying” the definition of sex in law. Specifically, they recommended the protected characteristic of sex in the Equality Act 2010 be re-defined as “biological sex”. The proposals have been welcomed by the Labourparty as well as the Conservatives.
If adopted, the EHRC’s proposals would strip trans people of numerous legal protections currently afforded by the Equality Act as well as the Gender Recognition Act.
This is made extremely clear by the EHRC. Their own examples include the argument that it is a problem that trans women may be protected from sexism under current law, and (as “legal lesbians”) from homophobia if we have female partners. Most worryingly of all, they have doubled down on previous attacks on our right to access gendered spaces. If implemented, the proposals may result in the trans women being barred by law from women’s toilets, changing rooms, hospital wards, domestic violence shelters, rape crisis centres, and book clubs (the latter is a genuine example provided by the EHRC).
I am not going to get into the weeds with these proposals. Others will no doubt provide deep legal analyses. I have already seen “gender critical” commentators claiming that this will have no real effect on our lives in practice. To which I say: fuck you.
I am done with being polite, and reasonable, and rational. These proposals represent a blatant attack not just on our civil rights but also on our rights to exist as human beings in public. In practice, banning trans women from women’s toilets means that many if not most of us simply cannot use public toilets.
Trans women use women’s facilities because we are women. And when I say “trans women are women” I am not merely making some kind of abstract metaphysical claim. I am saying that we are structurally disadvantaged under patriarchy, and experience sexist violence every day from men. That is the material reality. Insisting that trans men use women’s toilets is equally stupid, especially if your supposed aim as a “gender critical” campaigner is to produce a space free of beards and penises.
But here I am disappearing once again into details. None of this is about details. It’s about terrorising trans people, and we are terrified.
It’s about making our lives impossible. Ideally, we will disappear; our oppressors don’t really care if we suffer or we die. And we know, trans people know, that people around us are suffering and dying because we are actually a part of that community. I’ve spent the past 13 years producing research that formally documents the oppression we face, because when we simply say what we know is true because we are living that truth every day, nobody in power gives a shit.
In the meantime, people in suits believe there are votes and clicks and money to be won through fighting culture wars, through distracting people from rising poverty and slow-burning climate collapse.
If you are cis, it is up to you, the reader, to do something about this. Over the past five years trans people have been systematically harassed and silenced by a hostile media. We have been pushed out of political parties and campaign groups. Supposed human rights protectors such as the EHRC have been institutionally captured by the far right. Academics happily write abstract theory about what a terrible danger we pose. Fascistgroups are rallying against us in the streets, trans healthcare is under attack, and trans children are being told they must be outed to their parents, all with the support of Labour and Tory politicians as well as popular children’s authors.
Obviously we will fight for our own liberation. We have always fought. We are so beautiful and so powerful, especially here and especially now.
But we need you to fight with us.
Here are some things you can do. Write to your MP, and then do it again. Make sure they are sick of hearing from you and then keep going. Go to a protest. Engage in direct action. Maybe sign a petitionif you’re into that kind of thing. If you are in a political party, fight like hell to ensure that party is actually on our side. Join a union and fight for us there. Join a human rights group. Join a small trans organisation and offer whatever you can, whether that’s volunteer time, small donations, or signal-boosting.
Think about how you or your organisation might productively break the law to help people. If the EHRC’s proposals actually make it through Parliament, we must make them unworkable. Section 28was only successful because teachers, administrators, and local authorities collaborated with an openly homophobic government. That doesn’t have to be the case again.
Finally, it’s important to note this is just the tip of the iceberg. Attacking trans people and defining women by “biological sex” are a part of a wider attempt to remove women’s reproductive rights. Our government is shredding the refugee convention and putting asylum seekers in camps. Our legal rights to protest and strike have been massively curtailed.
If you’ve ever wondered “what would I have done in the face of rising fascism?” then wonder no longer.
I bounced up to an old friend to share this important insight. All around, queer bodies danced and swayed to furiously enthusiastic music. We have always sought refuge in one another, in our in our art, in utopic dancefloors and community care. But something felt different.
The collective energy of the crowd was wild, strong, cohesive. The entire room was dancing – and among us, so so many out, happy trans women and transfeminine people. On stage, a non-binary person sang explicitly about their experiences of gender to an assertive ska beat. It was a joyful moment – but the true wonder of it for me was that it was far from unique.
This was the last in a string of winter tour dates for my band wormboys, at the brilliant Queer As Punk event in Edinburgh. But I’d experienced similar in Dundee, in Glasgow, in Newcastle, in Hull, in Leeds. At every gig, trans women and non-binary people were scattered throughout the audience; at most, there were also several of us on stage through the night. It’s a world of difference from when I encountered just the occasional trans man playing gigs in the mid-2010s; let alone from when wrote a blog post titled Trans/queer rock musicback in 2010, in which I desperately sought validation in questionable gender-bending tunes written by (largely) cis musicians.
While trans women (and trans people more broadly) have always been involved in DIY music, there’s a clear change taking place. We have taken our inheritance and run with it. There are more of us making our own art, telling our own stories, and celebrating one another more than ever before. We are more visible, we are more assertive, we are more respected within our scenes, and – collectively – we are having more fun.
The very night we enacted a better future on that dancefloor in Edinburgh, 16 year-old trans girl Brianna Ghey was stabbed to death in Warrington. Two other teenagers, a girl and a boy, have been charged with her murder.
For trans people across the UK – especially trans women and girls – this lethal attack was not unexpected. It feels like the culmination of a vicious hate campaign that permeates our media and politics. It’s also the tip of a vast iceberg of intentional violence and untimely death.
Suicide is endemic among trans youth driven to despair by the socially-sanctioned antagonism directed at them every hour of every day. I am tired of citing statistics. I have lost so many of my friends and peers. Words and numbers are insufficient for the raw anguish of my grief.
This is only compounded by the failures of bystanders who refuse to intervene, schools and employers who try to make us disappear, a National Health Service that inflicts harm upon us. England’s only child and adolescent gender clinic is due to close in a matter of weeks, with nothing ready to replace it. In an extraordinary open letter, the majority of clinical, research, and administrative staff at the clinic note an “increase in deaths related to the service” since the suspension of endocrine treatments in 2020.
Many of my friends have been threated or assaulted in broad daylight. One, for instance, had rocks thrown at her. Another was assaulted in front of the school gates. Another was raped by boys in the school playground. I frequently struggle with feelings of survivor’s guilt, having merely been publicly assaulted, stalked, harassed, and subject to threats of legal action and murder. Relatively minor matters, in the scheme of things.
How to understand joy in the face of so much hate and despair?
This is a question I struggled with throughout our tour. The night before Brianna’s murder, 400 people rioted in Knowsley outside a hotel that houses asylum seekers, spurred on by the fascist group Patriotic Alternative. This horrific event, too, did not occur in a vacuum. Racist and anti-migrant sentiment has similarly been stirred up by cynical politicians and journalists, as asylum seekers, economic migrants, British Black and Asian people, Gypsies and Travellers are repeatedly failed or directly targeted by our authorities and institutions. Patriotic Alternative have also repeatedly targeted LGBTIQ+ communities, through their campaign against Drag Queen Story Hour.
I could say so much more: about assaults on disabled people’s rights and livelihoods, about the demonisation of the poor, about attacks on pay, pensions, and the unions that attempt to defend them (I am writing this post while on strike). About how fascist violence is excused by sexist men in the name of “defending women and girls”. About how oppressed groups are played off against one another, while the effects of all this hateful discourse and action are felt most keenly at the intersection of multiple forms of persecution, such as by migrant trans women of colour.
Ultimately though, my point is this: what we are seeing is both a consequence of historic prejudices in our society, and of rising fascism.
Minority groups, women, migrants, and working class people in the UK have always faced a shared struggle against systemic discrimination and violence. Following a period of mild reform in the 1990s and 2000s, we are now experiencing a significant upswing in bold, blatant hate speech and violence, effectively condoned by every major political party and the majority of mainstream media publications.
This is the context of trans joy in the 2020s – and the reason why that joy is so necessary and vital.
Our tour reminded me that art is resistance, and resistance is collective. In recent days I have felt myself marinading in my own fear, a recipe for passive inaction. If we cannot experience joy, we cannot dream; if we cannot dream, we cannot hope; if we cannot hope, we cannot fight back. In the face of a world that wants so many of us dead, it is vital that we create reasons to live, and to thrive.
In Leeds, wormboys played to a rammed room in Wharf Chambers, a triumphant hometown crowd. We invited the brilliant Punjabi-Celtic-indie fusion trio Kinaara and gorgeous queer folk duo Serinto support us, building new friendships and cementing old ones. In Hull we debuted at the New Adelphi, where now-legendary acts such as Lizzo, Manic Street Preachers, Pulp, Skunk Anansie, and PJ Harvey played before they were famous. We shared the stage with Sandbox Mode – a solo hip-hop artist making deeply honest and funny songs about mundanity and despair – and Baby Flowers, an exciting young grunge group playing their second ever gig. This was the least well-attended, most male-dominated, and least obviously queer gig on our tour. And yet: the mood was vibrant, I noted at least one other trans woman in the audience, and Baby Flowers’ bassist was showing off a well-placed trans rights sticker.
In Newcastle, we found ourselves in the Little Buildings, a venue which has miraculously survived Covid-19 despite being founded just the pandemic began. The event was hosted by new dance party Queer Love. We played alongside the incredible hardcore group Disciplinary with their two bass guitars, and also the feminist dance-punk phenomenon of Fashion Tips. The whole night was amazing, but Fashion Tips were particularly exciting for me. Frontwoman (and Queer Love organiser) Esmé Louise Newman has a long history of involvement in groundbreaking queer feminist punk, metal and no-wave groups, including Penance Stareand Etai Keshiki. The new band were just as brilliant, with aggressive guitars and vocals underpinned by a powerful rhythm section, heralding a new era of revolutionary dancefloor divination.
Next to Glasgow, where I organised a well-attended gig at The 13th Note in less than a week, after our original promoter pulled out at the last minute. We booked the astoundingly powerful riot grrrl group Brat Covento play with us, along with HAVR, purveyors of gorgeous post-punk soundscapes. The latter band are fronted by Carrie Marshall, author of Carrie Kills A Man, who noted to cheers that she was a different gender the last time she played the venue. This was an event with plenty of trans women present, beaten only by brilliant gig in the same venue the very next night, which I went to see my soulful dyke folk pal Pictureskew play inbetween our own shows. That event might well be the first of its kind I’ve been to where there were at least as many trans women in attendance as anyone else. It was beautiful.
Then to Dundee, where Rad Apples and Make That A Takeput anarchist theory into practice by actively working to provide a safer punk venue and events for women, queer people, and migrants, through simultaneously building a welcoming space and promoting a zero-tolerance attitude towards discrimination and abuse. There I had two totally new life experiences. First, I witnessed somebody crowdsurfing in a shopping trolley during a storming set from banjo punks Alldeepends. Then, we were subject to the well-organised chaos of the “crowd surfing machine” by jubilant anarcho-folk headliners Boom Boom Racoon (a variant on the sat-on-the-floor rowing boat dance associated with songs such as “Oops Upside Your Head” and “Rock The Boat”, but with audience members encouraged to take turns in crowdsurfing along the boat).
Through the tour, I’d been carrying a trans flag to drape over my bass amp, and have often said something about trans liberation from stage inbetween songs. wormboys are a political band, but not in the same way as more in-your-face punk groups I’ve previouslyfronted. I’ve reveled in the ability to just be a musician and make that – rather than my status as a trans woman – the focal point of my involvement, leaving most of the talking to dual vocalists duo Sop and Harry. In the current political environment, that has increasingly felt untenable. It seems important to speak out, make myself visible, be obviously a trans woman making music.
But at Rad Apples I didn’t need to. There was already a trans flag up. There were plenty of other trans people there. There were placards in the bar opposing Section 35. I could just be.
And so to Edinburgh, where I found myself living in the future during a joyous set from opening act Bufandas. A future in which we experience the true paradox of trans visibility, in that we are both uniquely vulnerable, and uniquely strong. No longer hiding in the shadows, we are easier targets for those who hate us, but also have so much more potential to build power together.
Brianna Ghey’s killers may be convicted and jailed, but that will do nothing to stop the violence we face across these islands, and across the wider world. We have learned that we cannot trust the police to save us, or the courts, or politicians, or journalists, or managers, or human resources departments. But we don’t need any of these people or organisations. We owe it to Brianna to continue the grassroots work she did to improve other people’s lives, because another world is possible.
The headliners at Queer as Punk in Edinburgh were the fiercely feminist disco punk group The Red Stains. Their set included several explicit statements of support for trans people and especially trans women and girls, reflecting the attitude of most women active within actual feminist movements. This was an important reminder that anti-trans movements do not speak for all women, and never will.
My experience of sharing a stage with so many amazing musicians, from so many backgrounds, featured many such reminders. I was reminded of the sheer depth and range of human creativity. I was reminded of how much we can be inspired by our differences as well as shared experience. I was reminded of how far we have come, as well as how far we have to go.
There are so many of us. Today, we mourn. Tomorrow, we fight. Soon, we will win.
I recently co-wrote a short report for UK Trans Info with CN Lester. Entitled ‘Gender recognition: where next?’, it reports upon the findings of a short survey about possible replacements for the Gender Recognition Act. The survey was created in response to calls for reform of the Gender Recognition Act 2004, in the wake of a Transgender Equality Inquiry conducted by the UK Parliament’s Women and Equalities Committee.
The headlines are as follows:
There is strong support for some form of legal gender recognition grounded in self-declaration – comparable perhaps to creating a statutory declaration or deed poll – as opposed to the current system of applying to a ‘Gender Recognition Panel’ with huge amounts of evidence and hoping for the best.
We asked what respondents were not prepared to compromise on in any change of law; a considerable majority stated that they regarded non-binary recognition as a red line in any negotiation. This will no doubt be very difficult to achieve due to the lack of any precedent in law for the recognition of non-binary gender identities, but it’s vital that trans advocates make the effort to push for this over coming months, for the sake of solidarity and inclusion.
That’s not to say that it’s been quiet in the world of trans politics – quite the opposite, in fact. In the UK alone we’ve seen #transdocfail, the furore over cissexism/transphobia from Suzanne Moore and Julie Burchill, the tragic death of Lucy Meadows, the publication of various interesting reports and the creation of various worthy campaigns…in the last few months we’ve seen pain, misery and hope.
I’d like to be writing about all of this. But, as always, the update schedule on this blog is less about what I necessarily think is interesting/important, and more about what I have the time and/or motivation to write about. In recent months I’ve been very busy, and I think I’m likely to remain busy for some time to come.
It’s very easy for Transgender Day of Remembrance to become about the challenges trans people face in everyday life: fears of violence, abuse, harassment.
But we are the living, and we have a voice – however quiet – every day of the year.
This is for the dead. They have no voice.
If we don’t acknowledge their passing, it may be that no-one will. If we don’t offer respect, it may be that no-one will.
And so today is for the dead. We acknowledge their passing and offer them respect. Their lives will have had a depth and meaning that their killers could not possibly comprehend. We mourn these lives, and do not forget.
Trans Media Watch are running a conference in London on Saturday 27th October.
This event is designed to give members of the trans and intersex communities the chance to find out more about how the media works in the UK and abroad.
Panels and discussions will run from 10am to 4pm, with guests from the world of journalism and broadcast media, including Jane Fae, Evan Harris and David Allen Green, there to discuss how their industries work and how they might better serve trans and intersex people. There will be opportunities for you to air your views and to network. This is a chance to make your voice heard and help shape the future of the UK media.
In addition, guests from Germany, Ireland, Italy and Switzerland will be there to talk about how the media treats trans and intersex people in their countries. We hope that this will be a useful learning opportunity for everyone involved.
“The deprivation was not one of laws but of the spirit – a denial of identity. Heterosexual love, desire and marriage were hardly free from problems and anguish, but had all the novels and songs ever written to express them. The homosexual equivalents were relegated – if mentioned at all – to the comic, the criminal, the pathological, or the disgusting. To protect the self from these descriptions was hard enough, when they were embedded in the very words, the only words, that language offered. To keep the self a complete and consistent whole, rather than split into a facade of conformity, and a secret inner truth, was a miracle. To be able to develop the self, to increase its inner connections and to communicate with others – that was next to impossible.”
Like CN, this resonates with me as I reflect upon my own experiences as a trans teen. It was hard to find any representations of trans people, let alone any that weren’t deeply problematic. It was even harder to come by writings, art and stories by trans people, in which trans lives were rendered intelligible, human, possible. I felt like a freak, I felt like I was broken, ill, wrong. And I suffered largely in private. Needless to say, this wasn’t particularly good for my mental health.
There was something magical about being in a tent and being able to listen and watch people who articulated some of my fears and anxieties and desires. There were trans* people speaking and singing and playing about trans* experiences, and cis performers adapting and selecting their work to speak to us. Not us trying to eke out a trans* interpretation of a song or a poem, but them finding the points where we could understand each other. It was people exploring gender and all that came with it; negotiating the NHS, the harsh realities of genital surgery, the misery and joy we find in our bodies. […] In this tent we were able to do something special, and create a space that was visible and proud and joyful and intersectional and defiant.
In my previous post I waxed lyrical about how wonderful various acts were, and how much fun I had playing there myself as part of a band. Kat captures the totality of this experience, and the importance of having a space in which we can come together to share our stories and develop the self, avoiding the fate of Alan Turing.
Crowd outside the trans tent at Nottinghamshire Pride. Photo by Eriw Erif
Members of my family occasionally ask why I bother organising or contributing so much to queer or trans spaces. After all, isn’t there a larger audience for events with more of a broad appeal? Plus, since the goal is to achieve equality, surely it doesn’t help to just segregate ourselves?
I think these perspectives completely miss the point. Spaces centred around straight and cis people are everywhere. These spaces are automatically about straight/cis art, straight/cis voices. Queer spaces are relatively rare, and trans spaces rarer still. It means a lot to go to one of these rare, beautiful spaces knowing that your story will be told. This is why I wrote with so much enthusiasm about Poltical: A Gender last year, and a similar vibe can be found in CN’s post about the Trans* Education and Determination conference (TRED). It would be wonderful if such spaces were less rare.
Moreover, many trans organisers and performers are very aware of the dangers that come with shutting ourselves off from the world. This is why spaces such as the trans tent, Political: A Gender and TRED are very deliberately open to all, and it’s why we are so often open to contributions from cis allies. It’s why trans issues are just one part of the lyrics I write for my band, and it’s why I’m always keen for us to play “straight” venues as often as possible.
So let’s continue to expand the possibilities of trans space and trans art. The trans tent alone featured poetry both epic and personal, acoustic music, hip-hop, opera, burlesque and punk. There’s so much that we can share! It doesn’t matter whether you’re an artist or a consumer of art, an organiser or an attendee, trans or cis. Come and join us in celebration. There’s so much we can build together.
I’ve never been to a Pride event quite like the one in Nottingham.
I’m used to large inner-city affairs bounded by concrete, in which ordinary revellers festooned in rainbow clothing rub shoulders with extravagant drag acts, corporate floats, angry activist types, and a whole host of questionable human adverts employed by the big clubs. Vibrant street discos in which almost exclusively male DJs pump out the dance music that’s become synonymous with the scene, lesbian singer-songwriters singing quietly from small tent in a car park, community organisers and charities getting a word in edgeways whenever they can, and that same guy in the flat cap selling whistles on every corner.
I’m also aware that some Pride events are far smaller, less extravagant affairs. Pink picnics in town and city centres, small but powerful marches in areas of tension, and club collaborations between established scene names.
Nottinghamshire Pride was something else entirely. Placed slap-bang in the middle of a massive field, it was more akin to a (largely) family-friendly music festival, albeit one that happened to be really gay. There were many different tents, every kind of act you might imagine, and barely any of the corporate nonsense I’ve come to associate with Pride.
I normally object stridently to the idea of paying for Pride, but at £1 per head the entry cost struck me as entirely reasonable for all. And with an estimated 20,000 visitors, it’s a pretty good way to raise large amounts of money whilst minimising the need for dodgy sponsorship deals.
It was the most chilled-out, friendly and diverse Pride event I’ve ever had the pleasure of attending.
View from the Trans Tent.
We spent most of the day at the Trans Tent, so the content of my review reflects this. The very idea of a Trans Tent was pretty exciting given how marginalised trans people tend to be within the wider LGBTQetc community. Recreation Nottingham – a local support and social group – successfully won both the tent and a pot of money for performers after approaching the Pride organising committee, and proceeded to book a wide range of acts featuring both trans people and allies.
Things didn’t quite run according to plan on the day due to various delays, technical hitches and the like, but the Trans Tent was ultimately a triumph. Every performer was brilliant in their own way, and impromptu stage manager Jennifer of Single Bass did a great job of keeping everything running.
And so without further ado, and in (broadly) chronological order, a review of the acts I managed to see…
Solo singer-songwriter Single Bass performed a number of short sets throughout the day. Her songs were accompanied by fluid, evocative basslines rather than the typical acoustic strumming you might expect from such an act. The material was gentle but fun, soft yet strident.
El Dia performed feminist poetry and hip-hop that explored her identity as a queer woman of colour. Her powerful, punchy words tackled the complexity of femme power, gender politics and race in a world full of both oppression and potential.
Elaine O’ Neillwas on form, delivering a typically warm and witty series of poems that examined the intricately silly ways in which trans people (and the process of transition) are understood by the wider world. As always, her puntastic take on the relationship between doctors, surgeries, surgeons and hospitals was a particular delight.
Lashings of Ginger Beer Timeare always a lot of fun, and their three sets during the afternoon were no exception. Highlights included the cabaret act’s tuneful skewering of of Gok Wan, and the sight of Margaret Thatcher performing the Evil Charleston. Unfortunately the orientation of the stage and less-than-intimate environs of an open tent meant that the group’s performance had considerably less emotional impact than I’ve experienced on previous occasions. Nevertheless, they rose impressively to the challenge.
Dieselpunk singer-songwriter Dr Carmilla forsook her normal electric instrumentation for a compelling set of originals and covers on a very shiny ukulele. The dark, evocative tone of her tunes translated surprisingly well to the bright sound of her instrument. Notable moments of genius included a re-imagining of Radiohead’s Creep (“Because I’m a crip…”) and a thoroughly original Rickroll.
Exciting items on the merch stall.
Our own performance was meant to take place near the start of the afternoon (following Elaine’s poetry) but for various reasons we had to rapidly re-arrange everything, and ended up playing two sets.
The first took place around mid-afternoon. We rapidly set up the stage, performed the world’s fastest line check, prevaricated a little over whether or not to swear in front of a potential all-ages audience during our cover of Repeat, and then blasted out a wave of messy noise.
It went pretty well, with an additional benefit of the increased noise drawing in a larger audience. Some got into it; others others seemed to stare in a state of mild confusion. We couldn’t have asked for much more!
We originally assumed that we’d be taking to the stage again shortly afterwards and effectively play the second half of our set. However, it turned out that a whole bunch of acts had to leave early, so we agreed to stick around for the rest of the afternoon and effectively provide the stage’s closing performance.
Sadly we missed a few acts whilst grabbing a much-needed bite to eat: amongst them was the Sensational Sally Outen, who has always made me laugh hysterically whenever I’ve had the pleasure of seeing her live. I could hear her inhuman dinosaur shrieks emerge from the tent in the distance as I queued for jerk chicken.
We returned in time for an astonishingly powerful poetry reading from Roz Kaveney. She opened with an epic account of the Stonewall Riots, reflecting upon the motivations and actions of those who were there and those who might have been there; expounding upon the context of lives both known and unknown in a more difficult, more brutal world. Roz then read a couple of poems about her cunt (and to think we had a brief moment of concern about swearing…). She explored the feeling of feeling, the very experience of living through radical surgeries before growing into your remoulded skin.
A later, second set from Roz was more relaxed, more comedic, as she performed a number of delightfully dirty poems about sex as seen largely through the prism of age. I was familar with much of the material, having previously read many poems on Roz’s LiveJournal, but it was a delight to see it performed live.
George Hadden played a good acoustic set, tales told with feeling. His music was great for a sunny afternoon, and a relief of sorts from the heavy material on offer from some of the other acts!
Fellow punk band Trioxin Cherry also took to the stage in acoustic format as a stripped-back two-piece. Their material was a lot of fun, and certainly a lot more polished than our own! Of note was their cover of a song by The Creepshow, a band favoured by Snowy.
The final performer prior to our second set was Jessie Holder of queer feminist opera group Better Strangers. Now, opera really isn’t my thing, but I’ll readily admit that this was a very special performance. Singing to a backing track, Jessie explored the inherently queer complexities of classic roles, bringing an appropriately different performance to Pride.
We then dived back on stage for our second set. We decided to treat it as an entirely separate performance, writing a new setlist and bringing back a couple of songs we’d played earlier that day.
We were more relaxed than earlier and I think we benefited from this, with our playing more cohesive and direct. Particular highlights for me included a well-received performance of new song This Revolution, the collection of stereotypically lesbionic ladies who turned up to dance during our cover of Rebel Girl, and the amused reaction of the police officers who wandered over during Tory Scum.
There was also this gem of a comment from a friend:
‘Lady at Nottinghamshire Pride walking away with her 6/7 year old son: “So what have we learnt today darling? Tories are scum.”‘
As we packed away our equipment we got a taste of the variety elsewhere on the festival site, as furious folk-punk fiddling erupted from the nearby (and somewhat inaccurately named) Acoustic Stage. The culprits were the incredible Seamus O’Blivion, who I wish I’d had the time (and energy!) to see properly. I’ll certainly be looking into their music.
Apparently our set was filmed, so I’ll see about linking to that when it appears online!
The Terrence Higgins Trust (THT) has published two groundbreaking booklets on sexual health for trans people. Each one contains basic – yet valuable – information on trans bodies and health needs.
Each booklet tackles a whole bunch of common questions, such as: do post-op trans women still need prostate examinations? and: can trans guys get pregnant after going on T? There’s some trans specific information on HIV prevention, and also some more general health advice.
The language is broadly respectful and acknowledges the great range of trans identities. There isn’t as much of a binary division as might appear to be the case from the titles, with each booklet noting that the information contained within is also relevant to queer or non-binary individuals:
Words matter and in this introduction we are using the term ‘trans* women’ to indicate that this guide is not exclusive and is intended to speak in a non-evaluative and non-judgemental way. It is aimed at people across the whole spectrum of trans* feminine-identified presentations and behaviours; by this we mean anyone on the gender variant spectrum who was labelled ‘male’ at birth and who identifies as female – including gender queer or otherwise non-binary people labelled ‘male’ at birth.
It’s really great that these booklets have been created – there’s a lot of confusion and misinformation about trans health needs, so this kind of intervention from a respected community organisation is really welcome.
They’re also both available in physical form via mail order for the very reasonable price of 40p each (to cover postage costs).
A note on the “space” issue
I’ve noticed a lot of questions in social networking spaces about the fact that there’s a space in “trans women” but not in “transmen”. People wonder why there is discrepancy between the two guides, and wonder if a mistake has been made.
A friend of mine was involved in the production of the guides and offered some explanation. Apparently each one was produced by THT with a great deal of input from two steering groups, one for each guide. The “trans women” group was very insistent on having a space between “trans” and “women”, presumably for political reasons. The “transmen” group didn’t want a space.
There will inevitably be arguments over this, and complaints sent to THT. Some favour the space because “trans” stands separately from one’s gender: e.g. I am a “trans woman” because I am trans and a woman. My womanhood is not defined by my transhood. Others favour not having a space because they argue that we should be proud of being trans, and that it is inevitably part of our gender.
We’re never all going to agree on this. I use “trans women” very deliberately within my writing because I broadly subscribe to the first argument, but I recognise that there are plenty of people who have good personal reasons for preferring “transwomen”.
THT aren’t going to please everyone. As such, I think it’s a pity that people are complaining to them about this, particularly as the language came from trans steering groups on this occasion. We should be all means continue to have these conversations about language, because language is important, but there are far more important things to campaign about than a space on a sexual health booklet.