SUBMISSION CALL: If you’d like to contribute any art / words / photos / drawings / whatever to Girls Get Busy #21, please email your submissions to email@example.com
DEADLINE: 30TH DECEMBER 2013
From now on all future GGB issues will be in full colour, so please bare that in mind when submitting ☺ Black and white submissions are still accepted
Girls Get Busy Zine #18-20 are available to read online for free at http://issuu.com/ggbzine
witchy-mermaid asked: Where can i buy the feminist patches i've seen floating around tumblr? they dont appear to be in your shop.
Hey! That wasn’t a patch, it was just a preview sample of a ‘feminist’ embroidered beanie we did about a year ago - sorry! x
jessipewp asked: is the zine open to any outside contributors? thanks!
Yes of course! x
Girls Get Busy Review: OOMK #2
Written by Hadeel
I can’t remember where I originally saw the first issue of OOMK, but I remember what it looked like; the soft pink of the jacket, the front cover with the print of four ladies dressed in 19th century garb, the bright touches of colour on their dresses, that pick you out from their otherwise black and grey primness. They are too engrossed reading for you to see their faces, which are obscured behind pieces of white paper. It was a wink - that any archaic notions of primness and femininity could die here, along with any pre-conceptions of what a zine heavily inclusive of women of colour, and in particular, Muslim women, had to be.
What I found inside was powerful - the name ‘One of My Own Kind’ held true. There is a wholeness to their representation of women from a diverse range of backgrounds, as artists, activists, creatives, critical thinkers, that gives them a platform to share without exalting them or being reductive. There is a freedom that allows them to be fully rounded people, people like you and I; comfortingly ordinary. It was a zine where recipes, craft DIY and gardening tips sat alongside (and never below) the necessary discussions of problematizing identity politics, representation in the media, and spirituality. You were holding in your hands, a beautifully-crafted, high-quality rendering of the vision of OOMK Zine’s co-founders: Sofia Niazi, Rose Nordin and Sabba Khan.
It has been almost a year since that issue, which launched February 2013, and so we have been anxiously awaiting the arrival of Issue 2. Now that it’s here, the good news is that it’s meatier - almost double in size, with over 40 female contributors. From the first issue’s theme of Fabric, there is now Print; within the issue, we consider print as a form of communication, of expression, a tool for education and for propaganda.
The question of how print campaigns can legitimize an idea is taken up with interviews with representatives of the See Red Women’s Workshop and of the Guerilla Girls, for a start. Aurella Yussuf of the Black Feminists, explores this further in article on how promotional propaganda has impacted feminism, from Sylvia Pankhurst and the WPSU onwards. The print media and it’s affect on body image is also taken to task, from discussions of the online web project The Body Narratives, to the No More Page Three campaign, where Hannah Habibi Hopkin offers her perspective on how female nudity is contextualized in a capitalist society.
The sense of community spirit really hits home when you notice the local issues popping up; I was heartened to see artist Emily Evans mentioning the relevance of the Save the Libraries campaigns going in London within her interview, as well as an article outlining the history of Finsbury Park treasure New Beacon Books, and it’s archive the George Padmore institute.
The voice is still the same, suggesting what we have now come to expect from the OOMK Zine collective; they are informative but not pedantic, playful but not frivolous, and of course, subversive, but never brash, as it proclaims it’s intent to take up it’s space for women to create from scratch, for keeps, for themselves. As usual, the stunning original artwork and illustration continue throughout; the illustrations of the early days of the internet and of what animals think of people are a completely hilarious break in tone.
Best of all, we know that OOMK has set up residence in South Kilburn Studios, where they have been welcoming visitors to all sorts of talks, seminars, workshops. You can visit them there, which should hopefully tide you over until the next issue arrives!
You can order an issue at their Magpile online store
Beyonce - Flawless (feat. Chimamanda Ngozi Adiche)
So much needs to be said about this.
Her use of skin heads and her sampling of The Nigerian writer Chimamanda Ngozi Adichie’s TEDxEuston talk, “We should all be feminists”:
We teach girls that they cannot be sexual beings in the way that boys are. If we have sons, we don’t mind knowing about our sons’ girlfriends, but our daughters’ boyfriends? God forbid. But of course when the time is right we expect those girls to bring back the perfect man to be their husband. A feminist: a person who believes in the social, economic and political equality of the sexes.
A photo series by photographer Nakeya B explores the obsession and consumption of “good hair” within the black community.
Various African-American subjects appear through out the series eating the commonly used “natural feeling, lighter, softer” Kanekalon hair. “Good hair” is denoted to a more literal context. This series is a new visual interpretation to debunk an ideology deeply-rooted in racialized thought. It is an examination of how we describe beauty and how we perceive it within African-American culture. - Source
The Bunny Collective is a female art-based collective consisting of fifteen emerging artists from the United Kingdom and Ireland, created by Samantha Conlon, which has recently manifested into its first zine. Though we’ve, in the past, detailed collectives from our own perspectives, we thought to instead let the artists personally detail their work here. The Bunny Collective girls can speak for themselves, thank you very much.
When people tell u that your art is meaningless and that being an artist is not as important as being a doctor and they say “art doesn’t save lives” and u say “but art saved my life” and then they ask u “how many other lives have u saved with your stupid drawings” and u say “it doesn’t matter, I saved my own life and that is enough”
Björk’s first recording, aged 11 (1976)
A cover of I Love To Love by Tina Charles