Amerin Indian gay, bisexual and two-spir men: a rapid asssment of HIV/AIDS risk factors, barriers to preventn and culturally-sensive terventn - PubMed

Contents:

• AMERIN INDIAN GAY, BISEXUAL AND TWO-SPIR MEN: A RAPID ASSSMENT OF HIV/AIDS RISK FACTORS, BARRIERS TO PREVENTN AND CULTURALLY-SENSIVE TERVENTN
• TOP 10 INDIAN GAY ONLYFANS & HOTTT DI GAY ONLYFANS 2023
• INDIAN GAY CHAT ROOM
• THE BT GAY INDIAN ONLYFANS ACUNTS OF 2023
• 'PASSAG' DIRECTOR NOUNC 'DANGERO' NC-17 RATG ON A FILM PICTG A GAY LOVE STORY
• GAY INDIA
• GENR BENRS, GAY INS AND MEDIA: LBIAN AND GAY VISUAL RHETORIC TURKEY

AMERIN INDIAN GAY, BISEXUAL AND TWO-SPIR MEN: A RAPID ASSSMENT OF HIV/AIDS RISK FACTORS, BARRIERS TO PREVENTN AND CULTURALLY-SENSIVE TERVENTN

Specific to Amerin Indian men intifyg as gay, bisexual, two-spir or who have same-sex experienc, this study asssed HIV-risk behavurs and barriers to ttg, preventn and treatment efforts. When clil psychologist Lata Hemchand, PhD, began her private practice Bangalore, India, almost four s ago, she viewed her homosexual patients the way she was tght to at one of India’s top trag stutns—as sexual viants. ) While the judg foced their arguments primarily on the importance of dividual tonomy, nondiscrimatn and privacy, they poted repeatedly to the Amerin Psychiatric Associatn’s 1973 cisn to remove homosexualy om s list of mental disorrs.

Dpe the longtime ban, some ways acceptance of homosexual behavr is eply rooted Indian culture, says Ahuja, cg as exampl the posive pictns of same-sex activy the 2, 000-year-old Kama Sutra and the 1, 000-year-old erotic sculptur at the Khajuraho templ. But while Indian society is willg to accept homosexualy certa groups—pecially among creative profsnals the world of fashn or film—homosexualy overall is highly stigmatized, she says. 14, 2017), Ahuja tted a three-part terventn: an tnal prentatn offerg facts about homosexualy and s longtime prence Indian culture; an exercise which participants image they are members of a persecuted mory; and a ssn based on the ntact hypothis which stunts teract wh a gay man and a lbian woman.

TOP 10 INDIAN GAY ONLYFANS & HOTTT DI GAY ONLYFANS 2023

Ahuja and her lleagu found that the terventn creased empathy and improved attus toward homosexualy participants (Journal of Homosexualy, onle first publitn, 2018).

INDIAN GAY CHAT ROOM

“We really need more such foms to talk about homosexualy and to give the opportuny for homosexuals to share their experienc, ” says Ahuja, notg that Indians’ attus are typilly shaped by media pictns of homosexuals as buffoons.

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There was emotnal blackmail, cludg beg blamed for his mother’s illns; beg taken by his parents to nsult a homophobic nropsychiatrist who diagnosed him wh a “sexual disorr”, prcribed meditn for and remend unsellg to rrect his ways; and opprsive parental surveillance, aid by the lack of privacy their two-room home. In 2007, Kaos GL, a bimonthly publitn of the Kaos Gay and Lbian Cultural Rearch and Solidary Associatn Ankara, Turkey, voted s November/December issue to “Turkiye’n Gay Ikonlari” (Turkey’s Gay Ins).

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“Indian Gay Ins: Queers Like Us, A Tribute to Indian Gay Ins” was scribed by Bombay Dost, a lol LGBT magaze, as “an exhibn of Indian gay ins featurg some of the te lears of the queer stggle who also spell excellence their profsn” (The Bombay Dost Team). The projects Turkey and India provi evince for the emergence and creasg importance of visual reprentatns, cludg gay ins, the formatn and bolsterg of ternatnal gay muni non-Wtern ntexts.

However, much remas to be unearthed ncerng the exact borrowg and adaptatn of the ncept of the gay in, as well as the acpanyg practic of visual rhetoric (i.

In this article’s discsn of the Turkish gay ins popular culture and the ntemporary lbian and gay practic of visual rhetoric Turkey, I analyze three sets of ntemporary reprentatns and the acpanyg practic of visual rhetoric: 1) two Turkish celebri who are wily visible genr transgrsors Turkey: the late Zeki Muren (1931-1996), a flamboyant queer male sger, [2] and Bulent Ersoy, a male-to-female transsexual sger, both of whom Kaos GL rears voted “gay ins”; 2) the gay ins issue of Kaos GL, a Turkish LGBT muny magaze prt, which adapted the Wtern ncept of gay ins to the needs of the Turkish LGBT muny through a cril engagement wh the ncept; and 3) the llegiate lbian and gay fliers, webse, and “fanz” (Turkish transleratn for “fanze, ” i. E., fan magaze) of Legato, the acronym for Lezbiyen Gay Topluluğu (Lbian and Gay Associatn), a llegiate stunt group anized through the Inter g mailg lists and a webse. In this manner, I monstrate that while visual rhetoric n empower non-Wtern lbian and gay populatns to rist the domant lol reprentatns of homosexualy and produce and dissemate affirmg alternativ, the medium utilized and the uneven ndns of productn and circulatn om one medium to another terme the extent of the relative fluence of existg reprentatns.

'PASSAG' DIRECTOR NOUNC 'DANGERO' NC-17 RATG ON A FILM PICTG A GAY LOVE STORY

I nclu the article by discsg the implitns of this rearch terms of global queerg and the related practic of visual rhetoric by ternatnal lbian and gay young adults. For Turkish lbian and gay dividuals the 1980s and 1990s, this search often began wh the genr-bendg celebri Zeki Muren and Bulent Ersoy, who appeared extensively on stage and mastream Turkish media on televisn, films, and newspapers.

Yet, paradoxilly, this visibily did not mean that Turkish society accepted non-normative sexual and genr inti, cludg homosexualy, and the knowledge about sexual subcultur still remaed “fugive” spe the mass-mediated queer visibily of the two celebri.

In Figure 2, Muren is also pictured on the ver of one of his albums (both Figure 1 and 2 were published Kaos GL‘s special issue on gay ins, which I discs the next sectn).

GAY INDIA

To illtrate how Muren has bee a figure of genred cency, spe his genr bendg, Stok discs what he lls Muren’s “astute tactil mov” (310) terms of his overall public image, relign, and his homosexualy. [4] Muren’s tactics to steer his public image clear of his homosexualy this manner, through his claim to ancient, allegedly heterosexual masculy, were also supported by other mass media reprentatns. Sce the dience clus different groups of people, this se, heterosexuals vers homosexuals, is necsary to approach relatnaly om the two different perspectiv.

From the perspective of the homosexual dience, however, as I discs the next sectn the ntext of Kaos GL‘s special issue on gay ins, Muren and Ersoy’s barga wh the heterosexist hegemony is seen as havg negative nsequenc for this particular segment of the Turkish dience, sce meant distancg, nial, and erasure of LGBT existence, fuelg heterosexism and homophobia Turkish society. In the rt of this sectn, I refer to some specific discsns wh the special issue about the nflicted stat of Ersoy and Muren as gay ins for the homosexual dience.

Kaos GL’s special issue was revolutnary that ma known the existence of gay ins, and by implitn, of a gay dience, Turkey through s labelg of celebri known by all Turks as “gay ins. ” However, this labelg of the Turkish ins on the top ten list piled by Kaos GL as “gay” refers to their fluence on the Turkish gay dience, pennt of whether or not they personally or publicly intify as beg gay or homosexual, or even profs any solidary wh the LGBT muny.

GENR BENRS, GAY INS AND MEDIA: LBIAN AND GAY VISUAL RHETORIC TURKEY

In fact, only two (male thors and poets Murathan Mungan and Kuc Iskenr) out of the ten people listed are known the gay muny to intify as gay; the remag eight ver a broar range of the genr and sexual spectm: a heterosexual male, heterosexual femal, a queer male (Zeki Muren), and a male-to-female transsexual (Bulent Ersoy), wh Muren and Ersoy beg historilly the most visible genr transgrsors and wily promoted ins the Turkish mass media, as discsed the prev sectn. While the (sometim multiple) pictur of the top four ins, Han Yener (female pop sger, seen Figure 3 on the ver of the issue), Ajda Pekkan (female pop sger), Murathan Mungan (gay male thor and poet), and Aysel Gurel (female pop songwrer), are promently featured as part of one-to-three-page articl about them, there are only two small (one ch by one ch) photos of Zeki Muren and Bulent Ersoy (the photos are the same imag I discsed the prev sectn). The magaze’s edors published the photos next to the rears’ ments about why they view certa celebri, as opposed to others, as gay ins; the imag and the ments are prted a separate one-ch pk strip that ns across the bottom of the pag that clu the issue’s in-related articl.

The paratively small size and the placement of the pictur of Muren and Ersoy downplays their importance visually, spe their beg historilly the most fluential and visible ins thanks to the mass media; some of the articl discs and cricize their ambivalence and ambiguy as “gay” ins tail.

As for Zeki Muren, Guner, the same Kaos GL lumnist, lls him “our homophobic in” (41) and lks Muren and Ersoy’s legacy of distancg themselv om the LGBT muny to Tarkan, a younger pop mic sger who was also clud on the list of the top-ten gay ins.