Category Archives: Agenda

[Is genital examination of preschool girls offensive?] [Article in Norwegian]

Tidsskr Nor Laegeforen. 2007 Sep 20;127(18):2402-4.

[Is genital examination of preschool girls offensive?]. [Article in Norwegian]

Gulla K, Myhre AK, Bratlid D

Barne- og ungdomsklinikken, St. Olavs Hospital, 7006 Trondheim. kari.gulla@hist.no

Diskusjonen omkring rutineundersøkelse av barns underliv er ikke av ny dato. Blant annet gikk den høyt i 1990-årene, den gang i kjølvannet av flere store overgrepssaker. Debatten har nå fått ny aktualitet – denne gang på grunn av en gryende bevissthet om at også jenter bosatt i Norge utsettes for kjønnslemlestelse. Etter vår mening er tiden nå moden for å vurdere saken i hele sin bredde, både ut fra de mange og dels nye utfordringer innen barnehelse og ikke minst i lys av ny kunnskap på området…

This article can be accessed in this LINK

World Meeting on Sexual Medicine 2012

The World Meeting on Sexual Medicine is jointly organized by the International Society for Sexual Medicine (ISSM) and the Sexual Medicine Society of North America (SMSNA). It is the 18th Scientific Meeting of the SMSNA and the 15th World Meeting of the ISSM. Both societies promote, encourage and support the highest standards of practice, research, education and ethics in the study of human sexual function and dysfunction.

The meeting will take place at the Sheraton Chicago from August 26 – 30, 2012, where specialists from all over the world will discuss the latest research findings and practical data in sexual medicine.

You can register to the Meeting and check its Program HERE.

Program can be downloaded here.

The Book of Mormon (review)

Theatre Journal. March 2012;64(1):99-101

The Book of Mormon (review). Book, music, and lyrics by Trey Parker, Robert Lopez, and Matt Stone. Directed and choreographed by Casey Nicholaw. Eugene O’Neill Theatre, New York City. 31 May 2011.

 Sebesta J.

Lamar University

A collaboration between Julie Taymor, a theatre artist whom I admire, and two members of my favorite band, U2, promised to be a match made in musical heaven for me. However, this promise went unfulfilled when I saw Spider-Man: Turn Off the Dark in its original version in January 2011. Famously tech-heavy, confusing, stylistically promiscuous, and even dangerous, the production left me little desire to return five months later upon its revision. Instead, I found my heaven, ironically, in “Spooky Mormon Hell [Dream]” and other cheeky, irreverent, and downright raunchy production numbers in Trey Parker, Robert Lopez, and Matt Stone’s The Book of Mormon. In spite of rather unmemorable tunes, the musical managed to create near-perfection by marrying traditional musical theatre structure with postmodern pastiche and contemporary relevance through the choreography, scenic design, and themes that explored such subjects as transition, American identity, and a longing for utopia.

The Book of Mormon (BOM) follows two squeaky-clean Mormon youths, Elder Price (Andrew Rannells) and Elder Cunningham (Josh Gad), on a reluctant mission to Africa (they were hoping for Orlando), where instead of finding eager converts they encounter a poverty- and AIDs-stricken village controlled by a warlord named “Butt Fucking Naked.” Predictable cultural misunderstandings and crises of faith ensue, but the interventions of an idealistic young villager named Nabulungi (Nikki M. James) under threat of female circumcision helps to unite the two worlds. BOM is about religion in all its complexities, but it is as much about transition: the Mormons’ from Western to non-Western culture, from boyhood to manhood, from cultural naïveté to awareness. Nabulungi shifts from abjection to agency, her fellow Ugandans still moving from colonial victimization to postcolonial independence.

Parker and Stone, no strangers to movie musicals (Cannibal! The Musical; South Park: Bigger, Longer & Uncut), acknowledge the influence of Rodgers and Hammerstein on the structure of BOM. The girl-meets- boy story and familiar song types (optimistic opening number: “Hello!”; the “I want” character song: “Two by Two”; eleven o’clock number: “Joseph Smith American Moses”) are all present, as is a happy ending. By tapping into the conventions of the quintessential American musical, BOM mirrors the inherent American-ness of Mormonism, and the optimism exuded by the show through the rousing finale “Tomorrow Is a Latter Day” reflects the inherent optimism of the overall philosophy of the Latter Day Saints.

But the significance of BOM lays not in its following of traditions—exemplified so fully thematically and structurally in another religious-themed musical, Fiddler on the Roof—but in its break from them. This break was explicit in such aspects as the gay (albeit closeted) Mormon men’s chorus; the no-holds-barred profanity and irreverence (the “Hakuna Matata” parody “Hasa Diga Eebowai” translates as “Fuck You, God”); the talk of raping babies, maggots in the scrotum, the holy clitoris, and curing AIDS by fornicating with a frog. More implicitly, choreographer Casey Nicholaw’s pastiche of musical theatre dance styles subverted the more common tradition of choreographic homogeneity within a show. This radical mix of styles included Martha Graham-style Americana alongside rousing militaristic marches, as well as the repression-themed “Turn It Off,” replete with splashy tap finale, in contrast to the previous African-dance, polyrhythm-infused number “Hasa Diga Eebowai.” Even soul, in “All-American Prophet,” and hip-hop dance à la boy bands, in the hilarious “Man Up,” made appearances. Through all these disparate styles, Nicholaw consistently physicalized the optimistic spirit of Mormonism by choreographing largely to upbeat, fast-paced musical [End Page 99] numbers, his dance vocabulary often vertical and extended upward, perhaps reaching for the utopic heaven toward which the Mormons—and eventually the Africans they encounter—strive.

This theatre review can be accessed in this LINK

IASSCS – International Association for the Study of Sexuality,Culture and Society

According to their website:

IASSCS was formed in July 1997 in Amsterdam, following a successful conference, “Beyond Boundaries: Sexuality Across Cultures”, jointly hosted by the Universities of Amsterdam and Chicago. This gathering was broadly concerned with the social and cultural study of sexuality, and drew together scholars from the disciplines of anthropology, history, sociology, health policy and cultural and gender studies. It was noted in the Amsterdam meeting that no organization existed which provided a forum for the interdisciplinary and cross-cultural studies of sexuality. The impetus behind the creation of IASSCS was the perceived need to address the fragmentation of studies in sexuality and to provide a forum for expanding and developing sexuality as a legitimate area of scholarships.

IASSCS Mission and Vision is “to strengthen the field of social and cultural sexuality research globally. IASSCS is committed to building equity in research capacity worldwide and to a broad range of research activities, including strengthening communication among researchers, policy makers, and activists”.

IASSCS is responsible of the organization of the biannual IASSCS Conference. Eight editions have been celebrated between 1997 and 2011:

2011. 8th IASSCS Conference. Naming and Framing: The Making of Sexual (In)Equality. Madrid  WEB

2009. 7th IASSCS Conference. Contested Innocence – Sexual Agency in Public and Private Space. Hanoi

2007. 6th IASSCS Conference. Dis/organized pleasures. Lima WEB

2005. 5th IASSCS Conference. Sexual Rights and Moral Panics. San Francisco

2003. 4th IASSCS Conference. Sex and Secrecy. Johannesburg

2001. 3rd IASSCS Conference. Belief System and the Place of Desire. Melbourne

1999. 2ns IASSCS Conference. Sexual Diversity and Human Rights. Manchester

1997. 1st IASSCS Conference. Beyond Boundaries: Sexuality Across Cultures. Amsterdam.

LINK