Asemic letters - Asemic International. Manifesto. Asemic Writingas a Means of Political Struggle / Асемический интернационал. Манифест. Асемическое письмо, как средство политической борьбы.

Asemic letters - Asemic International. Manifesto. Asemic Writingas a Means of Political Struggle / Асемический интернационал. Манифест. Асемическое письмо, как средство политической борьбы.

TV reporteriai atvyko nufilmuoti "oficialaus bienalės atidarymo - čia tai, kas jiems pavyko paversti spektakliu.
Alytus [Dzukijos]TV crew came to film "official opening" of the biennial - that's what they succeed to convert into spectacle.

On August 20th, 2013, during the first session of Alytus Biennial the director of Museum of Light Mr. Rytis Bartkus provided a data-mined link to cheap illumination technology invented in Philippines.

Despite living in the sunny tropics, many people in the Philippines spend their days in darkness cramped together in make-shift homes with limited privacy and electricity. However, a locally raised social entrepreneur and Liter of Light founder Illac Diaz has developed a green, cheap and simple method to illuminate homes -- plastic bottles filled with water and bleach and installed into rooftops. More than 350,000 people have already had the bottles fixed to their homes and the technology has spread to ten countries. Russell Beard travels to the Philippines to meet Diaz and some of the people he is training to become Liter of Light installers so that they can earn a green living in their own communities.

DESA/KALA/PATRA – 2013 . Alytus


DESA [erdvė] + KALA [laikas] + PATRA [tapatybė, situacija, bendruomenė, visuomenė, klasė] = DKP


Tėra tik dvi socialinės klasės poliarizacijos: darbininkas arba buržua. Dvi poliarizacijos egzistuoja ir erdvės sampratoje: nuo taško A į tašką B (vakarai-rytai; šiaurė-pietūs; viršus-apačia). Tas pat ir su laiku: praeitis ir ateitis. Orietavimasis – tai pradinė pozicija erdvėje, laike ir visuomenėje. Kadangi visų pasaulyje sukuriamų gėrybių pagrindas yra darbas, mes kviečiame žvelgti į pasaulį ir jį [į]vertinti iš darbininko perspektyvos, siekti tokio darbininkų tarpusavio santykio, kad užkirsti kelius kapitalo [įskaitant ir kultūrinį] formavimuisi.

Rugpjūčio 20 d., antradienis – DESA

10.00 – 11.00. Rytinė mankšta #1. Ši praktika tiesiogiai siejama su tuo pačiu pavadinimu Londone rengtus susirinkimus Anglijos revoliucijos metu. Didelę įtaką šiems pratimams atsirasti turėjo ir antropologo Johanneso Fabiano „vizualistinė“ kritika. Daugiau:

Kadangi Londono „Rytinė mankšta“ tradiciškai vykdavo 7.00 val, tai, įvertinant 2 val. laiko juostų skirtumą, Alytuje ji vyks nuo 9.00 val. kasdien bienalės metu (išskyrus rugpjūčio 20 d., kai ji vyks nuo 10.00 val.) dalyvauti gali visi norintys.

11.00 – 12.00 – bendras susirinkimas, pasisakymai, prisistatymai, bienalės darbotvarkės tikslinimai (Alytaus dailės mokykla).

Occupy (Berlin) Biennale: While overlooking the protest pit of Occupy Biennale with Martin Zet, at the KW Institute for Contemporary Art, during the 7th Berlin Biennale, I had an epiphany.


After decades of mulling the merits of various forms of political (action) protest, and finding no viable means that suited my personal disposition, I have finally recognized an approach that sprouted from the seed that had been lying dormant in my mind since the bus boycott in Montgomery, Alabama in 1955. I have never been enamored with the noisy march or rally, or the simple demonstration of moral anger, as a political tool. I have always been interested in the value of Instrumental Power. The noisy march or rally is a valid means to express moral anger or outrage with genuine passion. Political protest strategies, however, that exploit instrumental levers can play a much more certain role in achieving a desired result, or in accomplishing the core purpose that arose from the need to protest, in the first place. The use of instrumental leversis a means by which the concrete aims of social protest may actually be achieved.


We must learn the lesson that lies in the logic that governs the enunciation of the problem, which will lead to its successful realization. When a problem is properly stated it inevitably finds a solution. Lets examine Le Corbusier’s analysis in the example of the airplane: “The airplane shows us that a problem well stated finds its solution. To wish to fly like a bird is to state the problem badly. To invent a flying machine, that is to say, search for a means of suspension in the air and a means of propulsion, was to put the problem properly: in less than ten years the whole world could fly.”The problem properly stated is not “how do I protest,” it is “how do I end the offending behaviors?”

The DesaKalPatraGraph – the proletarianist situgraph – moving on from the Asylum Strike camp at OranienPlaz in Berlin will be at the conference

I hope comrades will help develop this and map our terrain and resources

I want to move from Workers Union to Workers Council

We can share resources and assist workers – but to be a real Psychic Workers Council we must make contact with all living things on the planet and beyond

I reject the instrumental black power of Obama and Jay-Z and all those that wish to manipulate the killing of Trayvon in the USA – while ignoring the largest Hunger Strike in US Prisons. I point rather towards the Black power positions we outlined in the above text by Independent Psychic Workers. The mass murder and genocide currently taking place in Africa is linked to the production of hate – of death.

I also reject the instrumental feminism of Femen and mute magazine – and connect instead to the positions of Revolution at Point Zero and the Household Soviets as also touched on by the Independent Psychic Workers. The rapes at the Occupy camps – just like at the O-Platz camp – indeed the use of rape as a metaphor for the alienation of the worker is located at the point of the production of love – of life.

I therefore suggest that rather than convene both a Black Only Group and a Woman Only Group to begin the conference – we convene a plenary session where the voices of women comrades and of black comrades are exclusively privileged in order to set the agenda for the meeting.

Alternatively we can judge which voices are lacking from our conference and seek advice accordingly. In order to do this I request comrades to fill in the following situgraphs. I have completed one for myself as an example. Please note the symbols can be added to or edited as you wish.

This year Alytus biennial is based on triolectics of Desa Kala Patra as 3 interwoven axes which are sometimes translated as “space, time, identity” or alternatively “space, time, situation” – or as Space, Time and Class.

If there are only 2 identities possible in class: that of bourgeoisie and proletariat then also in space: from point A to point B (the west and the east or the north and the south or down and up). Also in time: the past and the future.


The orientation – the point of origin in space, time and class are all on one‘s body. The body of the worker is the orientation for all measurement and the situation can only be understood as a relationship between workers which is possible if they would succeed to oppose the formation of capital.


Whether this escapes the formation of cultural capital is determined by its movement in space : Out of the north and west and high or rather out of twodimensionality of the spectatorship – by its movement in time: out of the past and into the future ie new ideas or rather out of twodimentionality of the whole structure of the idea as based on determinism/causality – and out of the hands of the bourgeois class into workers.


The map used by DAMTP in order to understand Class, is that of the IWW industrial unions. This is the point of departure for the DAMTP. We have created a Union of Psychic Workers that breaks with the IWW’s administrative and regional organisational structure. We have created a Union of Dead Workers. We have created a Union of Reproductive Workers – all of which break with the IWW’s industrial classification system and redraw the map of class. This is because any point on the map of industrial unions – a 2 dimensional map – has a coordinate also in the hierarchy of management. To deny that union officials – that academics – that other psychic workers are not located there is to undermine our organisation as workers and to foster a “revolutionary” identity without achieving class consciousness at all. All that this achieves is the creation of cultural capital.


Capital – the spectacle – the sum of commodity culture – is the abstraction of labour – the expression of labour in its inhuman form. Oppression is all that creates alienation. Revolution is all that liberates labour from its inhuman form. To obscure the fact that psychic work is indeed a form of work is to side with the Bolshevic separation of politics from economics and culture. It is also to side with the Bakuninist agenda to obscure the 3rd dimension of class – that of situation – and limit workers to their own identity – whether that be industrial or national. However it is that identity that is prerequisite for an understanding of class.

It is clear that some industries dominate others. it is clear that some nations dominate others. It is clear some genders dominate others. It is our task to support those who are oppressed while always pushing for proletarianisation and class unity against not just capital but the capitalists themselves. It is equally clear that the capitalists will use our efforts, our labour, against us – after all that is the essence of capital.

Alytus event of 2013 is a biannual minjung [people‘s] psychic [art] strike event.


[интервью с представителями «новой интеллигенции» – Виктором и Айрой (Вильнюс, Литва)]

Юлий.Из прошлой нашей встречи (в 2011 году) я понял, что вы в некотором роде относитесь к «творческой интеллигенции» и не имеете постоянной занятости, стабильного заработка, а также участвуете в борьбе за права студентов. Так ли это сегодня, или что-то кардинально изменилось? Расскажите, если можно, подробнее, чем вы сегодня занимаетесь?


Айра. Я преимущественно работаю редактором в одном издательстве. Виктор занимается разноплановыми вещами – от переводов различных текстов и до съемок в массовых сценах местных и зарубежных фильмов. В некотором смысле, пожалуй, нас можно назвать «творческой интеллигенций», но лично мне этот термин не особо близок. Работы у нас непостоянные, заработки очень небольшие. Издатели в Литве теперь жалуются на то, что уровни продаж резко падают, соответственно, расценки редакторов - в том числе и мои личные - также становятся меньше. Однако, наши с Виктором потребности невелики, поэтому, в ущерб «карьере» мы предпочитаем личную свободу. Лучше заниматься любимым, интересным делом, чем жертвовать драгоценное время на неинтересную, тошную, хотя и более оплачиваемую работу. Неинтересная работа отупляет и вгоняет в депрессию. Тупых и депрессивных людей и так много. Кроме того, когда у тебя мало денег, твоя жизнь становится более насыщенной адреналином.

Виктор. Юлий, ты верно заметил, что мы с Айрой лишь в некотором роде относимся к так называемой «творческой интеллигенции». Во-первых, это так только в достаточно отдаленном смысле (сам термин «творческая интеллигенция», пусть и взятый в кавычки, пахнет нафталином, трудно ассоциировать себя с ним), а во-вторых, если и относимся, то к ее новой, свежей и прогрессивной части (к сожалению, не многочисленной). Со старой ее частью – официозом - у нас нет ничего общего. Как правило, «творческая интеллигенция» старого покроя в Литве находится на консервативно-охранительных позициях, а мы с Айрой – на противоположных. «Творческая интеллигенция» консервативного толка считает, что практически все возможные гражданские права и свободы в обществах западного типа - Европе и Америке - завоеваны (якобы их даже слишком много и надобно большую часть их упразднить), и что вся современная критика - в особенности главным образом, конечно же, левая - современного западного общества несостоятельна и даже вредна. Мы же с Айрой не думаем, что в Европе или Америке (в тех странах, которые преподносятся нам как образцы демократии) все гражданские права и свободы завоеваны, что они свято соблюдаются, и что история в этих странах остановилась на том уровне развития, какой мы сейчас наблюдаем. Мы считаем, что история не стоит на месте, что борьба за свои права и свободу – это постоянный процесс. И если он не идет вперед, то начинает стремительно катиться вниз. Поэтому, мы с Айрой участвуем в силу своих возможностей в протестной деятельности.

[geriau labai nususivėlinęs vėliau nei per ankstyva niekada perspektyva ir į Alytaus meno streiko bienalę 2011 m.]



Kumpupių Eksceptualiųjų Amatų Universitetas – tai viešumos vengiančių menininkų (įmanoma – vieno) susivienijimas, performatyviai t. y. netradicinės literaturinės orientacijos formomis pasirodantis savo šedevruose... Abi „poemos“ – konkrečių įvykių SUMA: vienu atveju Šakių mieste siautėja pankai, kitu – Alytaus meno bienalėje (data specialiai pakeista) įsilinksminę dalyviai „volioja durnių“. Žaidžiamas intelektualus žaidimas be intelekto: skaitomi išsigalvoti pseudofilosofiniai pranešimai, rezgant pinkles DEBILUI – suokalbio neįtariančiam „pranešimų skaitytojui“, primenančiame nelaimelį, kurį vaikai panašiame pokštavime pasikviečia baubt asilu; lemiamu momentu visi nutyla, išskyrus tą, iš kurio tyčiojamasi... 33-JŲ RAKTINIŲ ŽODŽIŲ „trileryje“ intriga tuo nesibaigia: skaitytojui suteikiama proga rasti tikrąjį kaimo JURGĮ SOKRATĄ, t. y. čiulpti paslapties ambroziją arba XY...


Расскажи подробнее о проекте «Алитусская биеннале»? С чего все начиналось? Что такое DAMTP? Какое место в этом движении занимает искусство?

 «Алитусская биеннале» зародилась в 2005 году как оппозиция внутригосударственной централизации и «вильнюсоцентризму» и как продолжение коллективных практик художественно-экспериментального характера, ориентированных на «ситуацию», – такие мы в Алитусе осуществляли уже с 1993 года. Биеннале тогда в Литве ассоциировалась с «культурным продуктом высшего качества» и, конечно, отождествлялась с иерархичным насильственным аппаратом государственной культуры и пропаганды. Естественно, ни один художник из Вильнюса не был приглашён. А так как в Литве все художественные связи шли через столицу – литовские авторы вообще отсутствовали. У меня тогда уже имелся достаточно большой опыт международного художника и поэтому пригласить художников со всего мира мне было даже легче, чем вильнюсских коллег. К тому времени мои международные связи расширились и за счет того факта, что я был одним из основателей международной ассоциации организаторов перформанс-арта (IAPAO). Это произошло в 2003 году в Ессене, Германия. Перформеры там разделились на две равновесные группы: одни - анархисты-акционисты индивидуалистского типа или, по крайней мере, ситуационистского толка, другие же ориентировались на рутинизацию слишком расплывчатого жанра перформанса и целились на институционализацию: их интересовал статус, специализация, финансирование и межфестивальные связи. Конечно, я поддержал первую группу. Ассоциация была довольно активна почти 3 года. В 2004 году произошла вторая встреча ассоциации в Бандунге (Индонезия) объединившая дальневосточные группы перформеров. Тогда в IAPAO было принято решение в 2005 году организовать глобальную биеннале – тысячи биеннале, соединённых идеей противостоять «серьёзности» статуса биеннале как институции. В конечном счёте, Алитусская биеннале была единственной организованной по этому призыву. Единственной во всём мире! Я пригласил коллег соединить все нами организуемые мероприятия в одно целое. Отозвался только один (!) организатор из Канады и множество художников-перформеров с просьбами пригласить на «фестиваль». Насколько я знаю, тогда мои коллеги все-таки организовывали множество мероприятий – некоторые из них даже проходили по статусу «биеннале» (в Сардинии, например), другие продолжали традиционные фестивали перформансов, имеющих многолетнюю практику, так как это соответствовало их организаторскому карьеризму. Но самый смешной вариант получился с фестивалем в Валпараисо, в Чили. Организатор фестиваля - его звали, кажется, Александр - декларировал, что он приглашает только «знаменитых перформеров» и сторонится самозванцев. Под этим же знаменем он организовал и съезд IAPAO, чем окончательно провалил всё дело. Я тогда написал манифест «Сделай биеннале сам», в котором раскритиковал чилийских товарищей, а также и многих других подобного рода.

Мне стало очевидно, что даже, казалось бы, самая неинституционализированная сфера перформанса неспособна на самоорганизацию.

The situation is a product of the perspectives of individuals but also the extention of individuals in terms of our production and how we have ourselves been produced by the productions and relationships of other people. It is more concerned therefore with people and our relations than the products or concepts. It is when the situation - with its infinite extentions in trimensions of workers perspectives - collapses into a dimensional spectacle that it becomes either true or false.

The key to fighting the spectacle is not to ignore it but to overturn it. The spectacle always has a right way up: male over female, white over black, truth over lies.

The lie is a hybrid product and thus as much more interesting and complicated then truth. The great mistake of modern culture has been that in its idealism it has undervaluated the cultural significance of the lie and worn itself out in an eternal hunt for truth instead of investigation what a lie is. Truth is just a random taken one of the multiple layers of lie.

It came to mind after reading Stewart Home‘s reporton his experiences after attending the launch of the first English translation of Michele Bernstein’s 1961 novel The Night (Book Works 2013). It‘s a fun that everybody who are involved in this kind of events has its own model of truth.

It would never happen the heroisation without the mechanism of subversion of some particular lies into it‘s opposities. The mechanism of „serious culture“ (including the avant-garde) is very much about this symbolism. The natural order of entropy brings the processes backwards to a balance.


Another case: for decades, Joseph Beuys has been exalted as a heroic icon of postwar avant-garde German art. But a new biography accuses him of having been a serial liar who never completely emancipated himself from the views of Nazism and a bizarre cult.


The british government censoring of Jeremy Deller's hypergraphic Harry Kills Me at the 2013 Venice Biennale - which referred to Prince Harry's role as officer in the British Army in Afghanistan as well as his shooting of endangered hen harriers on one of his family estates as well as the fact that he is a seriously unfunny little fuck - can show us, besides the snivelling servitude of Deller and the bureaucrats of the British Council, some ways that art functions today.

The actions of the council first show how not just politics but how art too is a continuation of war by other means. The passive reaction and collusion of the press in the uk shows how censorship is art made not tongue-tied but triumphant. Meaning is constructed by what is occulted not revealed. Finally the collusion then of the artist himself who is quoted as being happy with the censorship shows how even the bourgeoisie have come to agree that art for arts sake is just another piece of deodorised dogshit.

We publish deller's piece here not out of some liberal defense of so-called freedom of speech or of art itself but in order to attack these abstract bourgeois constructions and their very real and detrimental effects on working class people everywhere.


We compiled this letter not in order to finally get the answers to our numerous questions we addressed to you personally regarding our collaboration with ARTLEAKS (we realized no discussion is possible from your side), but to make our disappointment with this practice public, so that other interested parties would make their opinion of
ARTLEAKS prior to their engagement with your project.


What we did experience submitting a piece of writing dealing with German Establishment Culture of spring-summer 2012 was a ton of irrelevant remarks by the editors that lasted half a year - till the topic became irrelevant - which eventually came out to be nothing else but another method of "bringing consciousness down to the masses" (to us) by an anarcho-leninist spirit of artleaks editorial (and corresponding to political views common among their crew). All this only to be told that our submission did not conform to the format of Art Leaks Gazette one week before its public presentation – supposedly because we did not pass "writing from personal experience" filter – never mind the fact that concrete content of our contribution was known to the supposed publishers around a half year before the finished publication which was presented in Brecht Forum New York.

It comes as no surprise that artleaks editorial continues the obnoxious practice started by their heirs being acting accordingly to an agenda which is pre-decided, never discussed and imposed on the less theoretically vigorous - or even simply less fluent in English, which was a case with the two editors “collaborating with us” leaving the open mailing list and questions raised to them only to insult someone from our working group individually. While the demands to honestly explain the removal of our text that contrasted the contributions for the same publication by the institutionally larger partners of individual ARTLEAKS members (for example Vilensky's and David Riff's "Former West" mate Jonas Staal and his parliamentarian- democratic platform for militarists and weaponed paramilitary groups - "The New World Summit") miserably failed, we were accused for "poor English" (supposing most of the work was not done by ourselves but the language editor), "cold-topics" (supposing the colonialist agenda and the promotion of fascist artists by Christov-Bakargiev of documenta13 that we put in a broader social & political context was "known to most in the art world" though somehow nobody dared speak its name), and there was a "lack of truth" meaning we only drew on personal accounts but have not quoted them or took interviews?

[Translations in German and other languages soon]


Asylum Strike, PoCs in Germany, Anti-racism and capitalism, NoBorders from below or Asylum solidarity?


Strike, Commune, Occupy ?


the Asylum Strike is a historical moment of self-organisation where the undocumented and illegalised have manifest as a force on their own terms and shown the ability to go on the offensive against the state and racism in the heart of Western Europe and therefore on these same terms against international capitalism. At the same time it shows some glaring problems in how we organise and how we can look beyond the spectacular limits of current politics and strategies, especially with regards to racism. This text will not go into detail of wider issues such as how the “communisers” who seek invisibility and free association beyond nation and gender have made no attempt to understand those communities and individuals that are forced into invisibility – who are forced to leave their identities and homes in order to survive – and why we might seek visibility and how revolutionary consciousness and becoming requires articulation in terms of firstly identity then nation and in maturity in class consciousness and organisation. Neither will we look in depth at how the Asylum Strike and the Psychic Strike relate to the Human Strike. It is understandable that those who have no direct contact with international terrains of resistance and are closeted by the activist bubble are unable to see how they end up reproducing the classism inherent in neo-liberalist situations they arise from. What’s more worrying is how those who actively engage in fighting racism succumb to the same eurocentricity and racism too.


The focus of this text are the direct organisational problems around the O-Platz camp and is thus in part to respond to certain notions such as PoC in Germany and the statements "Its not all about racism" and "The laws are based on capitalism, not on racial discrimination" by some people. First of all it is racist to separate capitalism from the racial/negro slavery precondition and its continuity through denied racial(race based) discrimination likewise the racism without the discourse of race. (The continuity of racism without the discourse of race been suggested by many such as Etienne Balibar).


This sacred Hopi "Tumas Crow Mother" mask was sold in a Paris auction that went forward Friday over objections from the Hopi tribe and U.S. government. Selling for $209,000, it was the most valuable of 70 Hopi masks that fetched $1.2 million overall. (Art and Communication press office, Paris / April 12, 2013)

It is converting life to death and traditionally calls it culture.

This time Hopi of Arizona unsuccessfully tried to stop the recent Paris sale of their sacred masks.  International white bougeoisie hides itself under their long promoted shelter of cultural paradigm which is nothing but a racism and never had any other aspirations.

The situation clarifies sacred life concept of the indigenous people - the masks personify spirits, called ‘Kachinas’, which are thought to bring rain and encourage fertility, while the eurocentrist accumuliaton turns everything sacred into desintegrated mess and flushes through cloaca of aestetics. Racism always was integral part of aesthetism.

According to the French law Hopi do not have rights to claim for their own psychic life.

Is here anything what was not stolen in French „culture“ at all?

According to death law there is no right to live.

Imagine a group of black niqab-clad women going in front of Notre Dame de Paris and burning flags that have pictures of Jesus or the French flag. What would people say? What would they think? What would these women be called? Terrorists? But do not feel disturbed, for such an action, can only be imagined; forget performing a sensationalist show of hatred or a truthful protest, niqab-clad women cannot even walk in the streets of Paris. [They are not allowed to. The French government dictates what these women can do or cannot do with their bodies; what they can wear or cannot wear.]


But these women – the women part of Femen – can do it; they can perform such a show. By baring their breasts and targeting the “right” flag to burn, the “right” place of religion to attack, the “right” group of people to slander – they get to have the right of showing their hatred, flaunting their intolerance, parading their bigotry without any shame. As long as your hate is directed at the “right” things and people – the things and people that those in power regard and situate as “the Other” – and as long as you conform to their ideas of “beauty”, “progress”, “good”, you are good to go.

Bear in mind, if old, obese, white men did this, colouring French flags on their bare chests, surely they would still get to do it without much public shaming in France, but at least some people would be displeased openly, some would even have the courage to say: “they are racists”, “they are orientalists”, “they are hateful”, “they are islamophobic”… But no such demeaning labels can be attached to the bare chested women of Femen, in our world of hypersexualisation where the best currency of exchange is what society deems a “sexy body”.

Like clockwork, another ‘mass’ movement of ‘progressive’ First World political activism has sprung up. This time it is FEMEN, the latest in a series of media spectacles and fad movements which justify and support further First World attacks against Third World peoples. 


Despite its English-language messaging, FEMEN claims to represent ‘Arab Women against Islam’ and encourages women around the world to “bare breasts against islamism [sic].” Essentially, FEMEN asks women to write messages (‘Free Amina’) on their topless bodies, take pictures, and post them online. 


It is ironic that a movement which uses women’s naked bodies as advertising also claims to be ‘feminist.’ Fashion merchandisers who use half-naked models to sell lipstick and t-shirts are simultaneously promoting patriarchy. The same applies to nominally ‘feminist’ political messaging.

Privileged westernized women may think it is rebellious to use their chest as billboards for this or that cause. However, it is oppressed women who are most likely to be corralled into brothels and seedy strip clubs due to the commodification and objectification of women’s bodies.


And let’s be real: not long ago, western women in Victorian dresses were supporting genocidal ‘civilizing missions’ against half-nude ‘heathens.’ From this perspective, the ‘liberation’ pushed by privileged First World women is a cynical ploy to secure their own aristocratic position within global gender hierarchies. 


FEMEN is not an isolated case. Rather, imperialist centers are increasingly utilizing online-media-inspired ‘mass’ movements to create public opinion in its interest.


Anti-imperialists must be vigilant and ready to oppose ‘progressive’ and ‘feminist’ movements which advance the interests of imperialism. But, Muslim women don’t need us to tell them what they already know:






We understand that it’s really hard for a lot of you white colonial “feminists” to believe, but- SHOCKER! – Muslim women and women of colour can come with their own autonomy, and fight back as well! And speak out for themselves! Who knew?