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『可惜，人權無法像我的頭髮，時間久了，自然生長回來。』
@locker.room.men
《 @britneyspears 之夜》擔任 : 主持人、表演者
創作靈感源自 #FreeBritney 運動，以下兩篇報導，歡迎參考
「厭女社會」如何毀掉一位超級天后？
( https://www.storm.mg/new7/article/3473630)
那些年我們追過的「#小甜甜布蘭妮」到底怎麼了？
#FreeBritney 又是什麼？
( https://www.vogue.com.tw/entertainment/article/freebritney-movement )
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感謝 @linc.hair 、 @hsiaweiwei 出借的道具，以及所有來玩的親朋好友們
感謝攝影紀錄 @aw_thecityboy
#taiwan #taipei #drag #makeup #art #變裝皇后 #飛帆 #britneyspears #lgbt
拖了兩個禮拜，來講一下我在今年某幾個遊行所舉的牌。
（照片分別是10/30 跨性別遊行 和10/31在台北的 臺灣同志遊行 Taiwan LGBT Pride ，分別感謝 Raycoslight 和 Queer as Photo 攝影）
認識我的應該都知道我一直有關注性交易的倡議，而有接觸過這個議題的應該也知道，以前社維法是「罰娼不罰嫖」，後來被大法官宣告違憲，再後來改成「性專區內不罰」的制度。
但是，專區制寫進社維法並且施行，是2011年11月6日，也就是已經超過9年了。
到了21世紀，一部已經上路9年的法律，卻仍然沒有被實際執行，足以論證：現行法的專區制度根本就是失敗的立法。
（其實我國一直以來都是性專區制，根本不是當年修法參考荷蘭紅燈區；而且專區制也並不是「只要在專區內的成人性交易就OK」。想知道更多請看我在 法律白話文運動 Plain Law Movement 的文章，或是邀請我去演講）
而大家有沒有想過，為什麼性交易議題這麼久沒有被好好討論了？
【性交易和性平教育 不能一起做嗎？】
這個標語我想指的並不是在性交易的當下進行性平教育（雖然我以前有在接客的時候的確偶爾會對客人灌輸一點性平觀念或性知識），而是議題倡議的選擇。
近年的性別運動，特別是2013年到2018年，都著重在同性婚姻；2018年後期，除了公投之外，性別團體們有意識地把心力再度漸漸放回幾近失守的性平教育議題。
然而，在傳統的性道德秩序裡面，「婚姻」和「中小學教育」就是跟「性交易」完全不相容的議題。因此，性別團體們也很難同時推動婚姻平權或性平教育的時候，又去進行性交易的倡議。
但，真的不行嗎？
我們在講性愉悅的時候，不也掃興地進行了衛教宣導嗎？
我們在幫多P轟趴去汙名的時候，不也強調知情同意，還有性暴力背後的性階級秩序與壓迫嗎？
而前幾年通姦除罪也是在新的釋憲案之前有被廣泛討論啊，那不也是違反性道德秩序的事嗎？
婚姻平權通過的時候， @靠北男師 就有人問：那有人願意跟性工作者結婚嗎？
各種對於酒店公關以及性工作者、AV女優的情感生活的渲染，也顯見這兩個議題是相關的啊。
而回到我標語所說的：性交易和性平教育，我想問的是：中小學不能投票，我們還是可以教公民課；那未滿18歲不能從事性交易，為什麼我們不能跟他們說「性工作也可以是你們成年後的選擇」？
依照現行法的確是不行，因為《兒童及少年性剝削防制條例》第4條第2項第1款規定高中以下要每年進行「性不得作為交易對象之宣導」。那這個規定在性專區制正式入法後，沒有問題嗎？不需要討論嗎？
為什麼我們法制上好像接納了性工作和性產業，但實際上不但沒有落實，還在中小學教育裡面否定了呢？
***
最近跟一些朋友在籌備 性產業勞動者權益推動協會-性勞推 T S I W R A ，希望可以促成新的運動方向，例如讓「性產業」的討論不要總是侷限在傳統的娼嫖關係，而也包含網黃拍攝A片G片，或是各種不涉及性交的性展演及情慾陪侍，甚至連色情文學或圖像創作這種也受到國家法令限制的產業，也都可以囊括進來。（大家知道二次元創作也可能構成兒少性剝削嗎？）
我個人對組織的期待是，可以在明年藉由「性專區入法十週年」的時機，串聯性別團體們，再激起一次大眾們不只對於「性交易管制」而還擴及「性產業發展」的討論，以及重新檢討目前社維法性專區制的缺失、提出更完善的措施——讓願意從業的可安全安穩不受剝削地工作，讓不願意/不適合的也有不輸該行業的工作與生活水平，讓願意消費的可不受歧視壓迫。
***
好啦我要睡覺了
這兩週要爆肝了
今天還打算去台中
剛剛的北美之行，在演出之餘，當然也勾結了不少的當地的媒體。
#lgbtqInHongKong #CensorshipInChina #FreedomOfSpeech #LiberateHongKong #StandWithHongKong #CantoPop
//Anthony Wong’s Forbidden Colors
Out Hong Kong Canto-pop star brings his activism to US during his home’s protest crisis
BY MICHAEL LUONGO
From 1988’s “Forbidden Colors,” named for a 1953 novel by gay Japanese writer Yukio Mishima to this year’s “Is It A Crime?,” commemorating the 30th anniversary of the Tiananmen Square Massacre, Hong Kong Canto-pop star Anthony Wong Yiu-ming has combined music and activism over his long career. As Hong Kong explodes in revolt against Beijing’s tightening grip with the One Country, Two Systems policy ticking to its halfway point, Wong arrived stateside for a tour that included ’s Gramercy Theatre.
Gay City News caught up with 57-year-old Wong in the Upper West Side apartment of Hong Kong film director Evans Chan, a collaborator on several films. The director was hosting a gathering for Hong Kong diaspora fans, many from the New York For Hong Kong (NY4HK) solidarity movement.
The conversation covered Wong’s friendship with out actress, model, and singer Denise Ho Wan-see who co-founded the LGBTQ group Big Love Alliance with Wong and recently spoke to the US Congress; the late Leslie Cheung, perhaps Asia’s most famous LGBTQ celebrity; the threat of China’s rise in the global order; and the ongoing relationship among Canto-pop, the Cantonese language, and Hong Kong identity.
Wong felt it was important to point out that Hong Kong’s current struggle is one of many related to preserving democracy in the former British colony that was handed back to China in 1997. While not his own lyrics, Wong is known for singing “Raise the Umbrella” at public events and in Chan’s 2016 documentary “Raise the Umbrellas,” which examined the 2014 Occupy Central or Umbrella Movement, when Hong Kong citizens took over the central business district for nearly three months, paralyzing the city.
Wong told Gay City News, “I wanted to sing it on this tour because it was the fifth anniversary of the Umbrella Movement last week.”
He added, “For a long time after, nobody wanted to sing that song, because we all thought the Umbrella Movement was a failure. We all thought we were defeated.”
Still, he said, without previous movements “we wouldn’t have reached today,” adding, “Even more so than the Umbrella Movement, I still feel we feel more empowered than before.”
Hong Kong’s current protests came days after the 30th anniversary commemorations of the Tiananmen Square Massacre, known in China as the June 4th Incident. Hong Kong is the only place on Chinese soil where the Massacre can be publicly discussed and commemorated. Working with Tats Lau of his band Tat Ming Pair, Wong wrote the song “Is It A Crime?” to perform at Hong Kong’s annual Tiananmen commemoration. The song emphasizes how the right to remember the Massacre is increasingly fraught.
“I wanted our group to put out that song to commemorate that because to me Tiananmen Square was a big enlightenment,” a warning of what the Beijing government will do to those who challenge it, he said, adding that during the June 4 Victoria Park vigil, “I really felt the energy and the power was coming back to the people. I really felt it, so when I was onstage to sing that song I really felt the energy. I knew that people would go onto the street in the following days.”
As the genre Canto-pop suggests, most of Wong’s work is in Cantonese, also known as Guangdonghua, the language of Guangdong province and Hong Kong. Mandarin, or Putonghua, is China’s national language. Wong feels Beijing’s goal is to eliminate Cantonese, even in Hong Kong.
“When you want to destroy a people, you destroy the language first, and the culture will disappear,” he said, adding that despite Cantonese being spoken by tens of millions of people, “we are being marginalized.”
Canto-pop and the Cantonese language are integral to Hong Kong’s identity; losing it is among the fears driving the protests.
“Our culture is being marginalized, more than five years ago I think I could feel it coming, I could see it coming,” Wong said. “That’s why in my music and in my concerts, I kept addressing this issue of Hong Kong being marginalized.”
This fight against the marginalization of identity has pervaded Wong’s work since his earliest days.
“People would find our music and our words, our lyrical content very apocalyptic,” he explained. “Most of our songs were about the last days of Hong Kong, because in 1984, they signed over the Sino-British declaration and that was the first time I realized I was going to lose Hong Kong.”
Clarifying identity is why Wong officially came out in 2012, after years of hints. He said his fans always knew but journalists hounded him to be direct.
“I sang a lot of songs about free love, about ambiguity and sexuality — even in the ‘80s,” he said, referring to 1988’s “Forbidden Colors.” “When we released that song as a single, people kept asking me questions.”
In 1989, he released the gender-fluid ballad “Forget He is She,” but with homosexuality still criminalized until 1991, he did not state his sexuality directly.
That changed in 2012, a politically active year that brought Hong Kongers out against a now-defunct plan to give Beijing tighter control over grade school curriculum. Raymond Chan Chi-chuen was elected to the Legislative Council, becoming the city’s first out gay legislator. In a concert, Wong used a play on the Chinese word “tongzhi,” which has an official meaning of comrade in the communist sense, but also homosexual in modern slang. By flashing the word about himself and simultaneously about an unpopular Hong Kong leader considered loyal to the Chinese Communist Party, he came out.
“The [2012] show is about identity about Hong Kong, because the whole city is losing its identity,” he said. “So I think I should be honest about it. It is not that I had been very dishonest about it, I thought I was honest enough.”
That same year he founded Big Love Alliance with Denise Ho, who also came out that year. The LGBTQ rights group organizes Hong Kong’s queer festival Pink Dot, which has its roots in Singapore’s LGBTQ movement. Given the current unrest, however, Pink Dot will not be held this year in Hong Kong.
As out celebrities using their star power to promote LGBTQ issues, Wong and Ho follow in the footsteps of fellow Hong Konger Leslie Cheung, the late actor and singer known for “Farewell My Concubine” (1993), “Happy Together” (1997), and other movies where he played gay or sexually ambiguous characters.
“He is like the biggest star in Hong Kong culture,” said Wong, adding he was not a close friend though the two collaborated on an album shortly before Cheung’s 2003 suicide.
Wong said that some might think he came to North America at an odd time, while his native city is literally burning. However, he wanted to help others connect to Hong Kong.
“My tool is still primarily my music, I still use my music to express myself, and part of my concern is about Hong Kong, about the world, and I didn’t want to cancel this tour in the midst of all this unrest,” he said. “In this trip I learned that I could encourage more people to keep an eye on what is going on in Hong Kong.”
Wong worries about the future of LGBTQ rights in Hong Kong, explaining, “We are trying to fight for the freedom for all Hong Kongers. If Hong Kongers don’t have freedom, the minorities won’t.”
That’s why he appreciates Taiwan’s marriage equality law and its leadership in Asia on LGBTQ rights.
“I am so happy that Taiwan has done that and they set a very good example in every way and not just in LGBT rights, but in democracy,” he said.
Wong was clear about his message to the US, warning “what is happening to Hong Kong won’t just happen to Hong Kongers, it will happen to the free world, the West, all those crackdowns, all those censorships, all those crackdowns on freedom of the press, all this crackdown will spread to the West.”
Wong’s music is banned in Mainland China because of his outspokenness against Beijing.
Like other recent notable Hong Kong visitors including activist Joshua Wong who testified before Congress with Ho, Wong is looking for the US to come to his city’s aid.
Wong tightened his body and his arms against himself, his most physically expressive moment throughout the hour and a half interview, and said, “Whoever wants to have a relationship with China, no matter what kind of relationship, a business relationship, an artistic relationship, or even in the academic world, they feel the pressure, they feel that they have to be quiet sometimes. So we all, we are all facing this situation, because China is so big they really want the free world to compromise.”
(These remarks came just weeks before China’s angry response to support for Hong Kong protesters voiced by the Houston Rockets’ general manager that could threaten significant investment in the National Basketball Association by that nation.)
Wong added, “America is the biggest democracy in the world, and they really have to use their influence to help Hong Kong. I hope they know this is not only a Hong Kong issue. This will become a global issue because China really wants to rule the world.”
Of that prospect, he said, “That’s very scary.”//
May 24th marked one year since Taiwan became the first country in Asia to legalise same-sex marriage. We talk to life-long LGBT activist, Jennifer Lu (呂欣潔), about the development of the LGBT rights movement over the last 30 years in Taiwan, and the challenges the movement has overcome. Jennifer is the chief coordinator of Marriage Equality Coalition Taiwan, and has been championing LGBT rights both in Taiwan and internationally for over 15 years.
This interview was recorded in the beginning of January, 2020. Today’s episode is hosted by William Yang, a correspondent for Deutsche Welle based in Taipei, and a regular contributor to The Guardian, Quartz, and The Independent.
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Emily Y. Wu (Producer / Editing)
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Sam Robbins (Researcher)
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Thomas Lee (Brand Design)
Ghost Island Media (Production Company)
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