Sakhi’s “Our Bodies, Our Stories”: A Night of Intersectional Feminist Performance

Written by Katrina Feldkamp, Co-Chair, South Asian Law Students Association

In recognition of Domestic Violence Awareness Month, NYC-based organization Sakhi for South Asian Women hosted “Our Bodies, Our Stories,” a night of feminist poetry and performance bringing awareness to violence against women. Sakhi, Hindi for “woman friend,” united performers to illuminate both individual female experiences and the wider feminine narrative with a focus on the voices of women of color and women silenced by domestic violence. Outreach and Communications Advocate Senti Sojwal opened the night, stating that “domestic violence does not occur in a vacuum.” Accordingly, artists ranging from musician and activist Kiran Gandhi to spoken word artist Nicole Shante White explored the topics of race, violence, class, sexuality, and identity through poetry, comedy, music, and storytelling.

The night was hosted by Kiran Gandhi, best known for running the London Marathon while menstruating to raise awareness of the stigma surrounding menstruation. Standing before an intimate crowd of Sakhi supporters at The Bell House, she reflected that “[talking about] domestic violence in the South Asian community has been taboo since the dawn of time.” Ms. Gandhi believes that the South Asian community’s silence on issues of gendered violence is magnified when other cultures embrace the cultural-relativist idea that “we can’t tell people what to do.” She thinks that a better approach to the issue is “how do we respect another culture while still making sure that members of that culture are safe?”

Theatre maker Riti Sachdeva performed a recently-developed piece that combined spoken word, singing, and dance to touch on themes of youth and growth in India and the U.S., curiosity and exploration, and first experiences with violence. The piece was designed to juxtapose the beauty of the feminine experience with the darkness and heaviness of trauma. Sachdeva noted that this juxtaposition is unusually risky, especially given its intersectionality with the South Asian experience. She describes theater as a “traditionally white, very bourgeois scene” in which moderate views often pass for very progressive. However, she hoped that this piece and those of the other artists who performed throughout the evening could expand those boundaries.

Sachdeva is a community organizer as well as an artist. In the early 1990s, she formed a network of South Asian women in Boston organized around immigration and domestic violence, and has continued through her current work with South Asian Youth Action. This work, she says, has contributed to a lack of “rose-colored glasses about the issues” of gender, ethnicity, and violence in her art.

Speaking after the show, Sachdeva explained that her experiences with organizing have shaped the way she approaches art. “I come from a place of not having easy answers and I think that’s important for creating.” She was struck by the event’s ability to “move in a progressive direction when nonprofits are getting more conservative.” Such spaces, she said, allow women of color to unite as both creators and audience: “We are a part of this broader community and we also benefit from the work we do.”

Diana Oh, a punk rock artist and the vocalist in{my lingerie band}, put on a show that addressed everything from “celebrating your slutty phase” to tearing down catcalling and other forms of “degradation that come along with women expressing their sexuality.” Oh bares all, wearing nothing but lingerie throughout a show that, she says, “puts on stage the experience of a woman’s relationship with lingerie and confrontation of her sexuality, and of the language people use to discuss women’s sexuality.” She began combining lingerie and feminist activism with {my lingerie play}, a 24-hour public street installation designed as a “public in-your-face way to combat the system [of oppression and control of the female body].”

Speaking backstage before the show, Oh discussed the importance of authenticity, accessibility, and allyship. “You can’t fake the flow,” she says. “If [my art] is not reflecting a mirror back into the world the way that I want it to be reflected, I don’t want to do it.” Her artistic goal is “to take up space to make space for other people,” opening social movements to wider audiences. She also emphasized the importance of allies such as her bandmate Ryan, who doesn’t identify with the queer Korean-American experience that she brings to the table. He feels that “It’s not just enough to not be part of the problem, you also have to be making a difference.” Ryan, who donned glitter and whimsical makeup with Oh for the performance, “is constantly reminding me to keep going and keep making my art,” Oh says.

The night concluded with a performance from Kiran Gandhi, who performs as Madame Gandhi, and her collaborator sound designer Alexia Riner. The two combined electronic music, drumming, dancing, and a lights show with lyrics that describe the feminine experience. Their work celebrates female leadership and includes feminist ideas, at one point even incorporating an excerpt from The Feminist Utopia Project into their performance. Between songs from her existing body of work and her upcoming Voices EP, Madame Gandhi described her mantra: “the future is female.” “A world that is female is a world that is emotionally intelligent,” she said, “a world in which are all linked, and not ranked.”

Published by

The Commentator

The Commentator is the official student newspaper of New York University School of Law and a seven-time winner of the American Bar Association’s Top Law School Newspaper Award. Founded over 50 years ago in 1966 as a biweekly print publication, The Commentator was re-launched as an online newspaper in 2015.

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