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Who are we?
Our team consists of 60 people from different backgrounds, artists, activists, organisers, musicians, disc jockeys, academics and of course residents and members of the Gängeviertel. The work of all those involved in the planning as well as all helpers during events is largely done on a voluntary basis. We are currently divided into 12 working groups, which plan the important steps for the success of our project. The members of the respective working groups have equal rights and decide on one person within the group who takes over the operational responsibility for the respective area and meets regularly with the different working areas. All persons involved in the planning also meet regularly to make fundamental decisions.
What do we want?
At the end of 2020, this group consisting of Hamburg queers from various contexts formed with a common goal. We want to create a real alternative to the Hamburg CSD.
Together we want to create a space that is radically inclusive, trans-friendly and free from racism, sexism and anti-Semitism.
We want to organise the SPEKTAKEL in 2021 and the FESTIVAL in 2022. However, we will not limit ourselves to a demonstration that will take place independently of the parade on a different date, but will take the whole thing as an opportunity to organise a four-day festival with a demanding programme.
We want to organise readings, workshops, concerts, parties, discussions and exhibitions where queer art and culture makers are given a platform.
The common criterion: each contribution should underline and expand the diversity of queer subculture and show possibilities for shaping an emancipated queer future beyond profit and competition.
We want to create a space of subjectivation where young people in particular feel comfortable and welcome. We want to show new possibilities of how we can live our lives. But we also want to learn from our multiple pasts. Because Stonewall is not singular, neither in its revolutionary claim nor in its history.
In our programme, we explicitly do not want to show Western, not “bio-German” and also not America-centric queer historiography.
Talking to each other and learning from each other is always a concern for us when designing the programme.
We think it is important to fight our struggles together and recognise how intersectionality complicates and differentiates the struggles of individuals. For this reason, it is important for us to provide safe spaces. We want to offer safe spaces where FLINTA* and BIPOC can exchange their individual experiences and life realities in a self-managed way and design these spaces themselves. We want to provide funds and space for this.
Parties have a community-building function and are a good way to pick up people who do not feel addressed by a purely theoretical or academic programme. In the musical curation, as in the selection of speakers, artists and workshop leaders, a diverse, challenging programme is important to us.
Special attention will be paid to FLINTA* DJs, who often don’t get the chance to play for a larger audience due to heteronormative structures. To support these people we will also offer a DJ workshop.
Why do we want this?
Every year, Christopher Street Day commemorates the drag queens and trans people, homosexuals and other sexual minorities who fought for their rights at the Stonewall Inn in New York in 1969.
In Hamburg, too, the achievements of the activists from Christopher Street have been celebrated for many years and further demands for the equality of queer people have been made. However, the protest has now developed into a parade; this provides visibility, but the political and substantive demands of the original movement have faded into the background.
The question remains as to who or what the parade in its current form brings into focus.
The organisation of the CSD, the discourse that goes with it and the image carried to the outside world is dominated by white, able-bodied, gay cis men.
As a result, many members of the queer community feel neither addressed nor represented by the CSD. Large corporations use the CSD as an advertising space, and thus profit from a platform that should be exclusively available to the queer community.
We know that queerness in its facets is more diverse than the white, middle-class, able-bodied, fit and gay image that the CSD conveys. We don’t want to be neoliberally appropriated and are more than a “marketing target group”. Instead, we want to actively shape and expand the community and demand our rights.