Exposed Innocent Flesh - Part 2


Interview with Marc Cabourdin 

and Director's Notes



What drove you to direct a play on human trafficking?

Primarily two things: first of all it’s community theatre - something I do and enjoy doing, so the narrative and my focus has been social commentary. Why Innocent Flesh, because for the past eighteen months I’ve been doing work with migrants. I’ve been looking at human trafficking from that kind of aspect, so when I was given the opportunity to talk about human trafficking but from that layer of sex trafficking, that made it an ideal play to take on and get to work.Copyright © Diandra A. 2013


Aside the fact that Wesley Ellul was the one who presented the script to you that brought it on . . .Copyright © Diandra A. 2013

Wesley and I work together. The formula we try to stick and keep doing for the first time and for the first year is to create theatre, and to re-create a company that’s not just say comedy. It’s finally a model where you have the piece that can bring in the money, and when one does that, you have before you your artistic piece and your community piece, and Innocent Flesh was the community piece, as simple as that.
Copyright © Diandra A. 2013

As the director, how did you manage to develop the play onto the stage? When you read it did you envision it? Was it a developing process that came along in participation with the actresses?Copyright © Diandra A. 2013

Yes, you read the play many a times, and you study it; you know it and you know it inside out, and before you actually get to read it with the actors you have a beautiful vision.

I am a firm believer of creating a piece organically, and that the starting point of every actor in developing a story starts from the self. What happens then is it changes, so what you do is you play upon the strengths and the weaknesses of the characters and the actors you have. So what you would have tuned is leaning to the self, because if we were to present it with a different set of actors, the piece would change dramatically.

I always go about starting from the self. The process used when we first started rehearsals for the first few weeks was very much first studying the self rather than the characters. We asked questions of ourselves, saw the places in our lives as a teenager where maybe there was a moment where life could have taken us onto a different path, and when we found that moment we were able to invest into the characters that were in Innocent Flesh.Copyright © Diandra A. 2013

Remember, Innocent Flesh was nearly partly a piece of theatre. When Kenyetta had written it, the text - the words were very much the true words of the girls she had actually encountered and worked with. We had to create that value of reality and what I call the ‘currency of truth’, what is the currency we were using.

In order to allow the people to be invested in it and to have the spectator engaged, first we needed them to see that these are real people. Hence to start off from a real person you have to start from yourself, and that is the value the actors actually found, discovered and nurtured throughout the process of the piece: how to be real. Not to be performers, not to be entertainers, not to be re-enactors but how to be artists; to be actors – to be anthropologically correct, to be journalists. The system we use is starting off by playing games, the game of objects that Stanislavski speaks about, to discover our truth.Copyright © Diandra A. 2013

The theatre is not life; it is life as it ought to be. You take it so much higher, it’s got to be up there all the time.


I noticed in the production that there were patterns of provocative-ness to innocence to each girl telling her story. How did you bring into action this synchronisation? Did the script help you in some way? Copyright © Diandra A. 2013

The thing is, it was because the people are organic. When you are starting on very strong foundations and you invest in the time, in the people and in what their story is, in what their objective is, when you have the four different actors talking about them, talking on, telling us their story and not just telling us but driving - because that’s what it means, to drive the story, the richness of such a piece is for it to be very indulgent. So it could be all about like, “Oh look at me. I’m a poor prostitute and my mummy doesn’t love me and I want to go back home”, and that would have been polished. That would have otherwise been your regular teen soap opera, you know - ‘dramm’.

What allowed for those images you just spoke of was the fact that we always played, and technically speaking it’s a little incorrect to say this, but we always went against the ‘vain’ of the text.

One of the tricks we used, let’s just say if in one of the scenes it’s read as though one of the girls is in pain, we played against the pain. So what we did is like, “Ok, there’s pain. We’ve got to cover it up with humour”. And that is how those vignettes started getting created, because then what happens is that when you see something truthful happening – and also do remember what an artist does is primarily holding up a mirror, saying ‘this is what I’m seeing’. When the actors gave me what they were giving me that is what you then start creating. In that sense, as much as it was scripted, the beauty of an organic piece is that I take lots of lightness into changing things around, and that is only because I use its strengths and weaknesses.

A lot of time, especially in the Maltese scene, if you don’t speak in a particular way, if you don’t stand in a particular way, they’re considered weaknesses. But they’re not. That’s human. They’re frailties that make you true, rather truthful. You play with that. You try not to hide it, you know? You try and hide a big hole in the wall you’re just going to make a mess of it. You just expose the wall, and turn it into a piece of art and say, “no I wanted that hole there”; give it its relevance and to just not shy away from it. Just go with it, be bold. You’ve got to be bold, not be shy of it and play with what you have.Copyright © Diandra A. 2013


Speaking on developing the characters.

You start from the self. We still do not know or I may be generalizing, but a lot of people think because you sing and dance and you do something like this you’re an actor. But no – one has to understand that this is between a performer, an entertainer and an actor. That’s three different elements altogether; it’s like you’re talking of a musician, a painter and a singer, they are three distinct disciplinary arts.

With Innocent Flesh what I would like to think is that it does climb one more round towards being an actor. So that is what we used and brought up; it’s the actor-artist apart from himself. It started from there, it’s what we used. And then yes we started creating bits of variables of the text. In the sense, being a play and being in a play, we are allowed to do things that in life we’re not allowed to do, hence referring previously to playing and boldness.Copyright © Diandra A. 2013

Starting from that, if I had to be faced with such a situation and I wanted to go for broke, how would I face it out? What are all the options? How would I drive that to its fullest? And that’s where we picked it off. So it wasn’t from what are the rhythms of this or how do you stand – no. Not all that, because if you're real it just happens.Copyright © Diandra A. 2013


You made Candace and a particular sub-character Maltese - but mostly Candace. Talk abit further about that decision of making one of the characters local.

That was a decision I had taken previously, even having held auditions. Ideally I wanted them to be four different voices, to have four different nationalities.Copyright © Diandra A. 2013

I think actually with Candace that is an example of what I was talking about before, especially in the English-speaking theatre world. The idea is if the currency we’re dealing with is truth, and for this you have plays in Malta who could expose the situation and the reality that is alive in Malta, you could not have had anything but a Maltese girl there.

Anything less would have been rubbish; would have not been real. So Candace specifically was made to be that from the very beginning and I wanted to have a Maltese-speaking actor, rather than an English speaking actor speaking Maltese. That was a very specific decision. I tried looking for different ethnicities, but it was very hard to come by. They didn’t turn up for the auditions.Copyright © Diandra A. 2013

We did our research - anything less is not art. Hence it is why we worked with the Women’s Rights Foundation.

 Proving human trafficking is
not some sort of a myth,
not something only found in movies.
It’s there.
It’s real.

Of course – absolutely! There’s a lot of information, even if you want to scratch the surface. You understand and realise that the stories that were put up during Innocent Flesh are actually truthful.

I still remember when I started reading the script,Copyright © Diandra A. 2013

I thought,

“Well, is it relevant to Malta?”

Then you realise . . .Copyright © Diandra A. 2013


What’s written and true to L.A.
it’s true to Malta,
it’s true to Rome,
it’s true to Moscow.

These stories happen the world around.

It’s a modern day reality
which also probably goes
beyond
the socio-economical-political reality
that we face with,
what’s been happening these past 10, 12 years
and
unfortunately,
the situation is only
going
to get
worse.


What do you personally think is the main factor that drives and keeps human trafficking striving on today? –Copyright © Diandra A. 2013

Money.  

It’s a 1.5 billion dollar industry. Globally.

It’s about making money off people; something that has been going on forever. 
It boils up to primarily just that.

Money to be made off the living. It’s something that somebody wants to buy.

Money and Lust.


How do you think we individually need to stop this?

To say “to stop” is a very finite statement. Unfortunately I don’t think it’s ever that easy.

But what one can start doing is something very simple: using art to expose. That is what the artist does. The artist is not there to judge or to justify, but to say, “Look, this is how things are”. As a result, when you meet people like Innocent Flesh, you might pick somebody to actually start thinking about it and reflect about the person, their situation and their background.Copyright © Diandra A. 2013

A lot of times these girls do it willingly. These boys do it willingly too. But one has to see where it’s coming from.Copyright © Diandra A. 2013

It’s a chicken-and-egg situation. What do you stop – the victim or the perpetrator? Who is actually the victim and who is truly the perpetrator? It’s like saying ‘how do I stop crime’.Copyright © Diandra A. 2013

With human trafficking per se, it’s about keeping your ears open, keeping your eyes open; not dismiss it and not thinking that this thing never happened.Copyright © Diandra A. 2013

On my director’s notes of Innocent Flesh I placed the quote, “not in my backyard”; yet you can be surprised. There was a situation, over a year ago, there were girls kept as/by criminals in a flat in Paceville. We’re not talking about in the middle of a desert here.

Can it be stopped – I don’t know. 

Should we stop it – of course absolutely!Copyright © Diandra A. 2013

But I think the most important thing to do is allow people to be aware of the situation without judging. Without passing any judgement, without saying what is and what is not, but just tell them, “listen, this is what’s happening”. And then people will make their own mind up.


-.-.-.-

'NOT FOR SALE' - Philip Leone-Ganado's article on human trafficking in SundayCircle.

SUPPORT Chris Dingli's project Palermo - Palermo Team Website
How Palermo came to be - Film Treatment

Mira Sorvino's Speech against Trafficking

Few films worth watching: 
- 'Human Trafficking' starring Mira Sorvino & Donald Sutherland (Trailer)

'Trade' starring Kevin Kline

- 'Sex Traffic' starring John Simm
'Watching Sex Traffic is not a horrible experience because it works well as a thriller
so it's exciting and you are always gunning for the good guys - but you can't escape
the fact that it's a depressing subject matter". John Simm

-.-.-.-


Director’s Note to Innocent Flesh: “Not in my backyard!”

Surprisingly enough it is not as uncommon as we think. Paraphrasing Dr. Lara Sciberras, of the Woman’s Rights Foundation, “there is more of them than there is of us”. What did she mean? Our first conversation leant towards the socio economic reality of girls and families that find themselves in dire situations and resort to the oldest job in the world. But there is more to it than that.Copyright © Diandra A. 2013

It is very easy for the bourgeois class to tut in disapproval and turn their heads in shock horror. The truth is that the sex trade is worth 31.5 billion dollars globally. Let us not fool ourselves that sex trafficking and slavery is alien to Malta. The 4 stories you’re about to witness are very real and very much true.

When Wesley approached me with Kenyetta’s script, my first reaction was to think that the piece was not Malta centric enough, but with research, investigation and analysis, you realise that these stories are the same the world over. More pertinently these girls and their stories are a very modern day Maltese reality.Copyright © Diandra A. 2013

We all know of the street in Gzira, but there is more to it than that. It is very ‘comforting’ to think that that is our only reality. Yet we have all heard of a salon or of a guest house or of a flat or of a club . . . but as an island nation we are happy to not think too much about it.

“What? Girls kept prisoners in a flat in Paceville? As if . . . How’s that possible? U ajma can’t they just run away?” you protest. If only life were that simple. So black and white.

It does not take much, to really see what is happening in Malta, and there is so much more that we are blind and oblivious to.

For the 4 young actors playing these girls, it wasn’t as daunting or as far-fetched, as they had the will and daring to invest fully into their characters. The process of the piece revolved around their own personal journeys as teenagers. In the back of the cupboard of one’s emotional lock up, one always finds a moment were an event was the catalyst for a choice and a new path trodden.Copyright © Diandra A. 2013

We are not here to justify, judge or comment on the truth. We are simply exposing it. As an artist it is my duty to hold up a mirror to society, and in turn let is bask in its glory, or balk at its failures.

Technically the piece reads very much like a radio play, with its rich eloquent text, and theatrically it is great work and a pleasure to devise the moments and vignettes that you will see develop in front of you. The design and aesthetic of the piece mirrors and juxtaposes the inner thoughts of the girls and drives the action and narrative poetically.

Nadia, Tina, Sarah Jane and Simone brought all of themselves. They come together as a chorus, they break way in to their respective roles and they mirror each other’s character’s journey. Their generosity, focus and specificity have allowed me to shape up the piece for the theatre in its purest form.Copyright © Diandra A. 2013

Marc Cabourdin


-.-.-.-
                    To read Part 1 click here
                         
Innocent Flesh to be performed again 
on Saturday 15th March 
MITP Theatre, Valletta

Copyright © Diandra A. 2014




Deviating Dialogue

"Calling to the Stage . . ."


Stephanie Sant

Photographer

Participated in second edition 
of 'Divergent Thinkers' at St James Cavalier in 2013

Social Links: 
Youtube Channel
-.-.-.-.-

What inclined you to sign up and participate in the Divergent Thinkers exhibition this year?

I was doing my final examinations and came across the call for proposals and found it a perfect beginning into my precarious university-free future. I took the application as an opportunity to take on video further from my natural style, photography and display it.
Copyright © Diandra A. 2013

One of your three videos in your presentation had shown two people playing around with a decapitated swordfish.

The swordfish is more of an anatomy lesson; it's two people freely exploring the anatomy of the creature.
Copyright © Diandra A. 2013  

You were recording how the two people were reacting with the fish head, playing around with its gauged-out eyes.

It was mostly genuine fascination with the anatomy of the fish that I was also involved with as I was filming the eyes closely.

I wanted to construct a space in which I could get as many interesting angles as possible so that I could extract still images from them. That was initially my proposal and how I started out, as from my personal experience subjects tend to be more 'restricted' into posing when it comes to photography and they would act more freely when it comes to film as they wouldn't be waiting for the shutter to click.Copyright © Diandra A. 2013

So the divergence would be where the film takes me and I'd have an endless list of choices for frozen moments that could be then used as still images. Then I wanted to see what kind of videos I'd make. I wanted to use people and I wanted the element of performance art to be present as I am very much interested in exploring it.  So as for videos one and three I 'constructed' a space (with mirrors and other props) for the subjects to engage within and I would take the stance of a voyeur in that case.Copyright © Diandra A. 2013


You're a photographer taking on moving images, demonstrating to still create messages in a way through a second medium, while maintaining your point of view as a photographer.

This exhibition is like a transition from photography to film. I see much more power and potential of a more immersive atmosphere in the moving image. Even during the opening night people's eyes were glued to the screen whether they wanted to or not. We grew up in the presence of TV and cinema where we'd give our attention to the moving images on the screen so such an act is practically instinctive. Copyright © Diandra A. 2013


In this degree even the second video, where the two people were putting random objects on each other near a beach, was a form of transition to film where they would have just posed with the stuff on top of them in any intructed angle. Can it be said then that you were in the stance of a photographer with the instrument of a film-maker? I had been drawn to the screen, but because there was no story or character it made me feel like I was looking at the behind the scenes of a photographic session.

Indeed, the videos lack a story or main character...it is a documentation of a happening between 2-3 people, within a period of time, and the potential that can come out of it when there is an explorative attitude. The second video shows a person constructing using the available resources on top of another person...the act of constructing is a very human quality and could be linked to more primitive times- people building things to make them look prettier, make them feel more sheltered, make them feel busy. not to mention the attitude of 'doing for the sake of doing'.
  

Do the essays or writings stuck on the wall next to the screens echo the videos in some way?

The writings on the wall are pre-production sketches and write-ups of what happened.

  
Then is it correct for me to say that you were not only displaying human reactions in your volunteers in the situations being placed to them, but also bringing them out aswell in those viewing them?

Indeed, this is why my videos could be seen as documentative. Copyright © Diandra A. 2013


Your divergence can be seen in taking your background as a photographer and draw what you normally see and experience into the medium of film.

It could also be seen in the fact that my videos are unscripted so divergence is very much present there.
Copyright © Diandra A. 2013

As a photographer solely, what can you say is your most used and recognised theme when taking photos?

I would say . . . chance.


Chance . . . can you elaborate further on that? One example I can think of in link to the theme would be your peacock photo, how in that one shot you managed to get the bird in a precise distinct angle half-hidden behind the tree, without taking the platitude action of presenting a typical full view going 'this is what it is'.Copyright © Diandra A. 2013

Well one could take the title of my exhibition piece which was 'flee tin gly'- life is fleeting (sounds familiar?) and every photograph is one of the many fleeting moments in our lives.


What about the photos with you near nature? Be it near the sea or in your garden.

Two of my favourite places to be in which, as cliché as this might sound, fill me up with health and rejuvenation; the images of me present within them defines my relation to them. Copyright © Diandra A. 2013


-.-.-.-.-
Copyright © Diandra A. 2013

Exposed Innocent Flesh - Part 1


"The first two facts which a healthy boy or girl feels about sex are these:
first that it is beautiful
and then that it is dangerous."
G.K.Chesterton



"Are you here for some innocent flesh . . . Show starts in ten minutes". Hinted cue taken, we left the bar counter and tracked down Joe the pimp's departure to a side door outside the bar, snaking up a claustrophobic stairway to climb.

The passageway entrance at the end of the ascension opened us up  to darkness. Lined up in red lighting, darkly illuminated were four girls, dressed provocatively, incarcerated within three miniature glass prisons, attempting to move in time to harsh rock music; the key chorus to Marilyn Manson's take on Eurythmics' Sweet Dreams, its high pitches raucously scraping, bombarding and bashing heavily against the walls in the midst of this scene, like an incensed behemoth.Copyright © Diandra A. 2013

A modern day exposure of Hell, and we were latter-day Dante-ian bystanders looking on this momentary sight as we passed them, guarded by their pimp, to go watch their 'show'.Copyright © Diandra A. 2013

-.-.-.-

Nothing is more powerful than the aesthetic medium of theatre in the act of presenting truth, and nothing moved me more greatly to an internal state of heart-wrenching pity and guilt as TAC Theatre's performance of Kenyetta Lethridge's play Innocent Flesh on their first performance in November.

Each of the four actresses - Nadia, Tina, Simone and Sarah Jane - echoed exceptionally well in their characters the void of love, the enticement of attention never received in their own homes, victims to the unsatisfied, oversexed whims of society, both in action and in thought.

Raped of all that gives definition of what illustrates their personal dignity, their characters stood as ambassadors of the unwanted and the unloved, and their performance motivated me halfway to want to stand up from my seat, go to the performance area, (forgetting entirely it was a performance), embrace them as long-lost sisters, and then get them all the heck out of there, never mind their macho 'caretaker' being on watch.Copyright © Diandra A. 2013

Reverberations of the language and mannerisms of every global and local red-light district made manifest in these girls, in interval sessions of provocative display, before each girl told their tale of their conclusive state of self-usury. In carefully planned synchronisation, each girl got to tell their own story, reflecting their individual personalities, supported by the other girls as sub-characters, to recreate and invoke vividly (nothing withheld) their flashbacks onto the stage and manifesting their characters all the more. Proving that they were not simply 'one of many' but 'one of a kind', a revelation rarely given in their lives and inhibited from receiving in every 'sexual service' they are giving.

The director, Marc Cabourdin, took the original and realistic approach of proving these sad constant cases to be nestling happily on our own islands, through the revelation of Simone's character Candace (and a sub-character of a 'client' police officer off-duty if memory serves me well) to be Maltese.

One tale from Danna (Tina's girl) punched out of me a loud exclamation of shock, as she casually recalled one 'client' remarking her resemblance to his own teenage daughter, an empty vessel void of masculinity as a man, husband and father.Copyright © Diandra A. 2013

The sub-characters submitted into the performance a reflection of society today; their accusers, their victimizers, figures that edged them further into the contraption that now formed their cage.Copyright © Diandra A. 2013


We all sat there, watching on.

Four girls dazed, under another dose of ecstacy.Copyright © Diandra A. 2013


Four girls encircling, handcuffed in the midst of sirens.


Their conversions on an umpteenth abortion, a girl-fight over a client's attention, and violence, treated and expressed as normally as a discussion over a teenage magazine article.Copyright © Diandra A. 2013


We were watching on, deep down knowing that we ought to take action, knowing that we have somehow caused this, 

                        somehow responsible, 

                                                        involved in their entrapment.Copyright © Diandra A. 2013


We watched all this, till "Lupita", "Danna", "Candace" and "Lisa", in the midst of a slow blackout, struggled in a whisper . . .Copyright © Diandra A. 2013


"I want to be loved".

-.-.-.-

Empty house.

My folks were still out.

The silence in the kitchen aided in keeping
the scenes
and images
witnessed
at the Vault theatre
amplified in my mind.


I had been so preoccupied on the most futile things that I realised I stopped fighting entirely against human trafficking, a cause I advocated so strongly against.
Copyright © Diandra A. 2013

In action and in thought.


"We are not here to justify, judge or comment on the truth. We are simply exposing it. As an artist it is my duty to hold up a mirror to society, and in turn let it bask in its glory, or balk at its failures".  Marc CabourdinCopyright © Diandra A. 2013


Renewed awakening.


Seeing the play made me realise also, as we were all seated there, that we were likewise taking part in that production, not just as expressing awareness to human trafficking but also by presenting ourselves as a community, passively and actively, allowing this to happen.Copyright © Diandra A. 2013


Lust is reigning.Copyright © Diandra A. 2013

Idolised by Society.

Demanded by Culture.

Allowing our shackles to tighten 

We're all busily 'occupied'
by our own whims
to empty that futile 'satisfaction'
further
to the whining
immature
spoilt brat that is Lust.


We may not be the ones physically pushing girls and young women into the hands of perverted 'caretakers' and oversexed 'clients' - but we cannot deny that it is in the mantra of society of over-sexing every single thing that comes up in our lives, that has led every woman and child part of the sex trade - into the way of their victimisers, who are weak in their minds, and void of true masculinity - among men - by this constant promiscuity, misuse of sex and casualness towards sex.Copyright © Diandra A. 2013

In Society - no true sense of adventure in winning someone's heart by responding to
their identity and qualities that make them unique and worth fighting for.
Makes one feel like we need to echo an obnoxious, badly written sitcom
Copyright © Diandra A. 2013in order to overcome boredom.

"The world is dry not for lack of wonders, Copyright © Diandra A. 2013
but for lack of wonder."
G.K.C

Casualness and misuse of sex has led many to a state of self-censorship; to living a false philosophy that censors the beauty within every man and woman, be it 'experimenting', hook-ups, friends with benefits, drunk one night stands, scheduled night ins just to sleep around, amplifying a "conventional" mentality entirely surrounding sex in its perverted form.Copyright © Diandra A. 2013

Censoring our individual strengthsCopyright © Diandra A. 2013

                         Our beauty Copyright © Diandra A. 2013

                                   Our unique self worth

and good qualities
that invokes
Joy . . .

For the sake of self-satisfying
futile
empty pleasure
and use.


It's heartbreaking to encounter and know these people doing this; seeing them not realise they are worth more, (that they ought to treat themselves and) to be treated as more in recognition of their own personal worth, and can show more without stamping biased-ness on what they see as restrictive, ('religious' on the matter of chastity) and unhindered.Copyright © Diandra A. 2013


Real hindered-ness is this very constant perverted action and thought itself.


Of not having the slightest idea on how to be themselves, 
without this perverted, counterfeit
'conventionalism' they've allowed themselves to live by.
Alongside the effects placed on themselves
Copyright © Diandra A. 2013 and others.

Apparently someone being genuine and expressing chivalry and respect (as a response) to the opposite sex is more complicated to the world than hook-ups. Feels so frustrating to be genuine when constantly concluded as "prude".Copyright © Diandra A. 2013

When this oversexed philosophy still lives, and is still practiced, so does this global attack on human dignity, spreading human trafficking all the more in the minds of pimps and victims - 


Deny it if you dare.


"The love of the untried is truly the love of nothing"
G.K. Chesterton


I went to bed . . . Stared at the ceiling . . .


"I am free. I have Freedom to be in a warm bed. I have freedom to walk and roam around this house. I have freedom to leave the lamp lit a while longer . . . And yet right now, my other sisters - siblings - are still trapped, and inhibited of such 'minor luxuries' ".
Copyright © Diandra A. 2013

We're neglecting them of the truth and freedom that's just as rightfully theirs.


"They are robbed of their God-given freedom. I can relate
to Kenyetta's story,
and true love and beauty can be gained,
made mine,
freely found, 
without the drama, 
and willing to give to those who don't realise that they DO deserve".

(Musing on)
Copyright © Diandra A. 2013
. . . . .

CENTRE SPOTLIGHT -
Copyright © Diandra A. 2013

In a society based on human authority, (where we solely define what is good and bad to satisfy ourselves) where is that true reverential response and act to gain and receive love by who they are, not by what they do?

We've all heard of YOLO . . . have any of us ever considered shouting YODO as our mantra?Copyright © Diandra A. 2013



Dear Gentlemen, Copyright © Diandra A. 2013

What is true manhood?


Is it the act of censorship upon yourselves
by following a mindless
unsatisfied
counterfeit
'conventional' set of 'rules'
that inhibits you from showing your unique qualities and strengths?


Does this 'active lifestyle' allow you to show your full identity as special, uncommon men, or does it place you under a category Copyright © Diandra A. 2013

based on the same mentality,

the same attitude,

the same actions

that Femen would gladly and triumphantly point their fingers at and call you anything but human?Copyright © Diandra A. 2013
Giving them 'reason' to prove men's lack of worth, when it's in actual fact the censoring of worth (promoted) by the masses?Copyright © Diandra A. 2013


When using a woman to silence your inferior sexual whims, don't you see you
are being used too? Even in the process of allowing both of you
to edge the lie
further in your actions and lives?


When will the most promiscuous man see that what defines true masculinity is not the lie of 'how good they are in bed', but by the Truth of what forms their hearts and souls?Copyright © Diandra A. 2013


When will you let us women, who have good intentions, treat you with
rightful respect and try to win your heart as a response that you have worth,
that you are worthy of our time?

When will you chuck these inferior shackles aside
that's binding you and blinding you,
and let us freely acknowledge you as the better men we know you are
and you can show yourselves to be?


Where is that demand to be treated too as an equal, not as an object measured by one's 'sexual stimuli' and genitals?Copyright © Diandra A. 2013


Don't you wish to be remember by your unique qualities
that's sadly never placed on a pedestal,
or do you expect us to believe
you want to be commemorated
Copyright © Diandra A. 2013 by the size of your genitals? . . .


Ladies, why define 'experimentation' as placing yourselves as objects AND userers?

Folks . . .Copyright © Diandra A. 2013

Let's be honest.Copyright © Diandra A. 2013


Society's definition of being a 'free spirit' is really stamped slavery.
This casualness towards sex is dependency unsatisfied.


You can boast all you want of doing this position and that for pleasure, it's still . . . blooming . . . sex.Copyright © Diandra A. 2013


I say this with love.


You inhibit yourself of respectfully treating the other person and of taking on a genuine, creative initiative of doing something together - based on real love. You don't even challenge yourselves of how to win him or her over to acknowledge that other as one of a kind, not one of many.Copyright © Diandra A. 2013

Nor take on the challenge of improving and shining on that goodness that makes you unique. Copyright © Diandra A. 2013


Stop censoring yourselves!!
Copyright © Diandra A. 2013

Constant misuse of sex is making guys and girls boring 
- and bored.


"Every high civilisation decays
by forgetting obvious things. 
Our generation in a dirty pessimistic period,
has blasphemously underrated
the beauty of life
and cravenly overrated
its dangers".
Copyright © Diandra A. 2013 G.K. Chesterton


It's also trapping the souls of our four siblings, seen in Innocent Flesh, further into those four claustrophobic walls that sadly isn't the Vault theatre.

Just as the Holocaust physically entrapped victims, by weak individuals led on by a false philosophy, so does this modern holocaust entrap us mentally and actively in our lives, and constant promiscuity and casual sex encourage the weak 'pervs', 'clients' & 'pimps' and defenseless 'products' into the kind of eternal Hell on earth witnessed by us Dante-ian protagonists.
Copyright © Diandra A. 2013

SLOW BLACKOUT.
. . . . .

Copyright © Diandra A. 2014