Digital & Print Membership
Yearly + Receive 8 free printed back issues
$420 Annually
Monthly + Receive 3 free printed back issues
$40 Monthly
Nothing about this Bodymind is Accidental
Our bodies, much like the land, were mapped like territory—disciplined, measured, and separated. This has always been the foundation of coloniality: to control and dominate by creating hierarchies, drawing borders, enforcing binaries, and severing relationships. The same logic that carved up bodies of land and water transformed our bodies into battlegrounds, mapping danger, deviance, and disposability onto those who were marked as “other.” This is the reality of living under cartographies of control.
Colonial domination thrives through classification, erasing the histories of place or reducing our lives to singular narratives that can be distorted and manipulated. The ability to decide how and where life can exist or who is worthy of dignity and self- determination is a form of containment. As if borders are fixed or bodies are meant to be occupied. These ideologies dictate whose bodies are pathologized or seen as “disordered,” whose movements are criminalized or viewed as a threat to the state, and whose presence is deemed dangerous or “illegal” even on stolen lands. These are not accidental misunderstandings, but deliberate acts of power designed to humiliate and subjugate.
To live under these labels is to have your existence scrutinized and your stories told in a way that robs you of your agency and dignity. The fullness of life collapsed into a sanitized version of objective “truth” that erases complexity and emergence. Over time, the realities of who we are and where we come from become more difficult to recognize, even to ourselves. This is the subtle form of erasure that stems from the violence of classification, in which we internalize the very systems that diminish and harm us. And yet, our bodyminds persist. We are not empty vessels carved by the infrastructures of violence around us. We carry our own geographies and histories within us—blueprints of survival, languages of liberation, practices of healing, and rituals of remembrance.
We often talk about trauma, how it lingers on and extends across generations. But so does our ability to persist and rebel, our capacity to love and resist. Our bodyminds do not forget; they carry the memories of our ancestors, the dreams of our future kin, and the rhythms of worlds we have not yet created. When borders are imposed on us or lines are drawn through our flesh, we must remember to re-cast them as an act of refusal and reclamation. To break free from the captivity of empire. To liberate ourselves from the horrors of colonial violence. To reconnect with our imaginations and rekindle our disenfranchised relationships. We do not always choose what this world maps onto our bodyminds, but we hold power over what we write in return as a form of counter-mapping.
There is rebellion in loving your bodymind without apology, in remembering that your grief and rage, too, are sacred and neither can be tamed. In these moments of defiance, we are not debating the terms of our existence but rightfully taking back our sovereignty.
In doing so, we are creating our own blueprints and maps that are alive, layered, and messy. That refuse to distort the complexity the state tried to erase, that reject the legitimacy of borders drawn to displace us from our kin, that remember our bodyminds are living archives.
As Gloria Anzaldúa (a queer Chicana poet, writer, and feminist theorist – Poetry Foundation) expresses poetically: “I want the freedom to carve and chisel my own face, to staunch the bleeding with ashes, to fashion my own gods out of my entrails…”
We have always been more than what can be contained or measured. Our be(com)ing moves in ways that their borders and timelines cannot fathom. Through joy that nurtures from within the cracks of precarity, through pleasure that insists on connecting with the divine, through rage that refuses to die and fade away. The wisdom we hold in our bodyminds does not merely keep us alive, but it has the potential to transform us into something unruly, someone ungovernable. And even in the spaces that try to confine us, we stretch beyond the borders—charting futures that cannot be sanctioned.
Nothing about this bodymind is accidental. Not its capacity to love, nor its desire to defy. Not its longing for joy, nor its memory for pleasure. It is made of too many ancestors, too many uprisings, and too many stolen moments of tenderness. Yet, we must never forget it is a kind of prophecy waiting to be fulfilled, a revolution in motion.
{
"article":
{
"title" : "Nothing about this Bodymind is Accidental",
"author" : "Sahibzada Mayed",
"category" : "essays",
"url" : "https://everythingispolitical.com/readings/nothing-about-this-bodymind-is-accidental",
"date" : "2025-09-08 10:09:00 -0400",
"img" : "https://everythingispolitical.com/uploads/bodymind-thumb.jpg",
"excerpt" : "Our bodies, much like the land, were mapped like territory—disciplined, measured, and separated. This has always been the foundation of coloniality: to control and dominate by creating hierarchies, drawing borders, enforcing binaries, and severing relationships. The same logic that carved up bodies of land and water transformed our bodies into battlegrounds, mapping danger, deviance, and disposability onto those who were marked as “other.” This is the reality of living under cartographies of control.",
"content" : "Our bodies, much like the land, were mapped like territory—disciplined, measured, and separated. This has always been the foundation of coloniality: to control and dominate by creating hierarchies, drawing borders, enforcing binaries, and severing relationships. The same logic that carved up bodies of land and water transformed our bodies into battlegrounds, mapping danger, deviance, and disposability onto those who were marked as “other.” This is the reality of living under cartographies of control.Colonial domination thrives through classification, erasing the histories of place or reducing our lives to singular narratives that can be distorted and manipulated. The ability to decide how and where life can exist or who is worthy of dignity and self- determination is a form of containment. As if borders are fixed or bodies are meant to be occupied. These ideologies dictate whose bodies are pathologized or seen as “disordered,” whose movements are criminalized or viewed as a threat to the state, and whose presence is deemed dangerous or “illegal” even on stolen lands. These are not accidental misunderstandings, but deliberate acts of power designed to humiliate and subjugate.To live under these labels is to have your existence scrutinized and your stories told in a way that robs you of your agency and dignity. The fullness of life collapsed into a sanitized version of objective “truth” that erases complexity and emergence. Over time, the realities of who we are and where we come from become more difficult to recognize, even to ourselves. This is the subtle form of erasure that stems from the violence of classification, in which we internalize the very systems that diminish and harm us. And yet, our bodyminds persist. We are not empty vessels carved by the infrastructures of violence around us. We carry our own geographies and histories within us—blueprints of survival, languages of liberation, practices of healing, and rituals of remembrance.We often talk about trauma, how it lingers on and extends across generations. But so does our ability to persist and rebel, our capacity to love and resist. Our bodyminds do not forget; they carry the memories of our ancestors, the dreams of our future kin, and the rhythms of worlds we have not yet created. When borders are imposed on us or lines are drawn through our flesh, we must remember to re-cast them as an act of refusal and reclamation. To break free from the captivity of empire. To liberate ourselves from the horrors of colonial violence. To reconnect with our imaginations and rekindle our disenfranchised relationships. We do not always choose what this world maps onto our bodyminds, but we hold power over what we write in return as a form of counter-mapping. There is rebellion in loving your bodymind without apology, in remembering that your grief and rage, too, are sacred and neither can be tamed. In these moments of defiance, we are not debating the terms of our existence but rightfully taking back our sovereignty.In doing so, we are creating our own blueprints and maps that are alive, layered, and messy. That refuse to distort the complexity the state tried to erase, that reject the legitimacy of borders drawn to displace us from our kin, that remember our bodyminds are living archives.As Gloria Anzaldúa (a queer Chicana poet, writer, and feminist theorist – Poetry Foundation) expresses poetically: “I want the freedom to carve and chisel my own face, to staunch the bleeding with ashes, to fashion my own gods out of my entrails…”We have always been more than what can be contained or measured. Our be(com)ing moves in ways that their borders and timelines cannot fathom. Through joy that nurtures from within the cracks of precarity, through pleasure that insists on connecting with the divine, through rage that refuses to die and fade away. The wisdom we hold in our bodyminds does not merely keep us alive, but it has the potential to transform us into something unruly, someone ungovernable. And even in the spaces that try to confine us, we stretch beyond the borders—charting futures that cannot be sanctioned.Nothing about this bodymind is accidental. Not its capacity to love, nor its desire to defy. Not its longing for joy, nor its memory for pleasure. It is made of too many ancestors, too many uprisings, and too many stolen moments of tenderness. Yet, we must never forget it is a kind of prophecy waiting to be fulfilled, a revolution in motion."
}
,
"relatedposts": [
{
"title" : "Dignity Before Stadiums:: Morocco’s Digital Uprising",
"author" : "Cheb Gado",
"category" : "",
"url" : "https://everythingispolitical.com/readings/dignity-before-stadiums",
"date" : "2025-10-02 09:08:00 -0400",
"img" : "https://everythingispolitical.com/uploads/EIP_Cover_Morocco_GenZ.jpg",
"excerpt" : "No one expected a generation raised on smartphones and TikTok clips to ignite a spark of protest shaking Morocco’s streets. But Gen Z, the children of the internet and speed, have stepped forward to write a new chapter in the history of uprisings, in their own style.The wave of anger began with everyday struggles that cut deep into young people’s lives: soaring prices, lack of social justice, and the silencing of their voices in politics. They didn’t need traditional leaders or party manifestos; the movement was born out of a single hashtag that spread like wildfire, transforming individual frustration into collective momentum.",
"content" : "No one expected a generation raised on smartphones and TikTok clips to ignite a spark of protest shaking Morocco’s streets. But Gen Z, the children of the internet and speed, have stepped forward to write a new chapter in the history of uprisings, in their own style.The wave of anger began with everyday struggles that cut deep into young people’s lives: soaring prices, lack of social justice, and the silencing of their voices in politics. They didn’t need traditional leaders or party manifestos; the movement was born out of a single hashtag that spread like wildfire, transforming individual frustration into collective momentum.One of the sharpest contradictions fueling the protests was the billions poured into World Cup-related preparations, while ordinary citizens remained marginalized when it came to healthcare and education.This awareness quickly turned into chants and slogans echoing through the streets: “Dignity begins with schools and hospitals, not with putting on a show for the world.”What set this movement apart was not only its presence on the streets, but also the way it reinvented protest itself:Live filming: Phone cameras revealed events moment by moment, exposing abuses instantly.Memes and satire: A powerful weapon to dismantle authority’s aura, turning complex political discourse into viral, shareable content.Decentralized networks: No leader, no party, just small, fast-moving groups connected online, able to appear and disappear with agility.This generation doesn’t believe in grand speeches or delayed promises. They demand change here and now. Moving seamlessly between the physical and digital realms, they turn the street into a stage of revolt, and Instagram Live into an alternative media outlet.What’s happening in Morocco strongly recalls the Arab Spring of 2011, when young people flooded the streets with the same passion and spontaneity, armed only with belief in their power to spark change. But Gen Z added their own twist, digital tools, meme culture, and the pace of a hyper-connected world.Morocco’s Gen Z uprising is not just another protest, but a living experiment in how a digital generation can redefine politics itself. The spark may fade, but the mark it leaves on young people’s collective consciousness cannot be erased.Photo credits: Mosa’ab Elshamy, Zacaria Garcia, Abdel Majid Bizouat, Marouane Beslem"
}
,
{
"title" : "A Shutdown Exposes How Fragile U.S. Governance Really Is",
"author" : "EIP Editors",
"category" : "",
"url" : "https://everythingispolitical.com/readings/a-shutdown-exposes-how-fragile-us-governance-really-is",
"date" : "2025-10-01 22:13:00 -0400",
"img" : "https://everythingispolitical.com/uploads/EIP_Cover_Gov_ShutDown.jpg",
"excerpt" : "Each time the federal government shutters its doors, we hear the same reassurances: essential services will continue, Social Security checks will still arrive, planes won’t fall from the sky. This isn’t the first Governmental shutdown, they’ve happened 22 times since 1976, and their toll is real.",
"content" : "Each time the federal government shutters its doors, we hear the same reassurances: essential services will continue, Social Security checks will still arrive, planes won’t fall from the sky. This isn’t the first Governmental shutdown, they’ve happened 22 times since 1976, and their toll is real.Shutdowns don’t mean the government stops functioning. They mean millions of federal workers are asked to keep the system running without pay. Air traffic controllers, border patrol agents, food inspectors — people whose jobs underpin both public safety and economic life — are told their labor matters, but their livelihoods don’t. People have to pay the price of bad bureaucracy in the world’s most powerful country, if governance is stalled, workers must pay with their salaries and their groceries.In 1995 and 1996, clashes between President Bill Clinton and House Speaker Newt Gingrich triggered two shutdowns totaling 27 days. In 2013, a 16-day standoff over the Affordable Care Act furloughed 850,000 workers. And in 2018–2019, the longest shutdown in U.S. history stretched 35 days, as President Trump refused to reopen the government without funding for a border wall. That impasse left 800,000 federal employees without paychecks and cost the U.S. economy an estimated $11 billion — $3 billion of it permanently lost.More troubling is what happens when crises strike during shutdowns. The United States is living in an age of accelerating climate disasters: historic floods in Vermont, wildfire smoke choking New York, hurricanes pounding Florida. These emergencies do not pause while Congress fights over budgets. Yet a shutdown means furloughed NOAA meteorologists, suspended EPA enforcement, and delayed FEMA programs. In the most climate-vulnerable decade of our lifetimes, we are choosing paralysis over preparedness.This vulnerability didn’t emerge overnight. For decades, the American state has been hollowed out under the logic of austerity and privatization, while military spending has remained sacrosanct. That imbalance is why budgets collapse under the weight of endless resources for war abroad, too few for resilience at home.Shutdowns send a dangerous message. They normalize instability. They tell workers they are disposable. They make clear that in our system, climate resilience and public health aren’t pillars of our democracy but rather insignificant in the face of power and greed. And each time the government closes, it becomes easier to imagine a future where this isn’t the exception but the rule.The United States cannot afford to keep running on shutdown politics. The climate crisis, economic inequality, and the challenges of sustaining democracy itself demand continuity, not collapse. We need a politics that treats stability and resilience not as partisan victories, but as basic commitments to one another. Otherwise, the real shutdown isn’t just of the government — it’s of democracy itself."
}
,
{
"title" : "There Was, There Was Not: Cinema as Collective Memory",
"author" : "Emily Mkrtichian",
"category" : "",
"url" : "https://everythingispolitical.com/readings/this-essay-was-written-on-the-eve-of-the-five-year-anniversary-of-the-first-day-of-the-2020-artsakh-war",
"date" : "2025-10-01 16:06:00 -0400",
"img" : "https://everythingispolitical.com/uploads/EIP_Cover_10_1_There_Was_Film.jpg",
"excerpt" : "",
"content" : "Join us for the New York Screening:7:00pm: Screening Begins8:30-9:00pm: Q&A with Celine and Emily9:15-11:30: Party at DCTV with small bites and DJEIP members 20% OFF CODE: Get your tickets hereCinema holds a singular place in our imagination, opening a shared space of possibility in both our individual and collective consciousness. At first, this might seem less true for nonfiction cinema, yet over nearly a decade of making my first feature, I’ve come to believe it has the power to cast a spell on how we experience reality and remember the past.In making There Was, There Was Not, I lived through a historical moment that became a fundamental rupture and trauma for my people - and now I can’t help but think about the archive obsessively. Its multitude of shortcomings but also its infinite potential and pivotal importance. My grandmothers and aunts were my personal archive - they taught me about the history of my family, which was also the history of our people. When your past is defined by movement and displacement, your lineage becomes a cultural encyclopedia, an embodied record of larger geopolitical events. The personal is political in every way.When I began making the film in 2016 it was originally meant to be a celebration of women like my grandmothers and aunts. These women are the stubborn, tender keepers of history and makers of a better future that I met and became close with during my time in the Republic of Artsakh - an ethnically Armenian autonomous region that fell into dispute after the fall of the Soviet Union. Artsakh was functioning as a de facto state for nearly three decades, and for Armenians, it is a symbol of self-determination, resistance, and the need to hold onto lands that have been systematically taken from us through violent means for more than a century. The formation of the republic of Artsakh was full of tales of freedom fighters, heroes and martyrs (mostly men), who gave their life so that our connection to our lands would remain unbroken. I envied this tenuous yet determined connection to place. My grandparents fled their village in Turkey during the 1915 genocide, and relocated several times before settling in Iran. So as someone who had been disconnected from land and history for two generations, I wanted to document women’s connection to it and fight for it. For all these reasons, I started filming with four women who were all fighting in their own way - fighting for Artsakh to be the place they dreamed and believed it could be.I have so many vivid memories of my time in Artsakh. It’s hard to describe the beauty of that place, but let me try. I know that remembering the joy I experienced there is some kind of conjuring.In Artsakh, it felt as if you were always surrounded by mountains. Everywhere you turned, there were thousand-year-old stone churches, ice-cold rushing rivers, lush wet forests, and sharp cliff lines threatening to drop out a thousand feet onto a green valley floor. The people were completely unhinged in their love for their homeland and their absolute existence in the present. I’ve never made so many toasts, ate so much fresh tonir bread, sat in cars with unknown destinations awaiting me, and cracked as many walnut shells in my hands as when I was in Artsakh.As I describe this ethereal, joyous existence, I can feel myself becoming wary and anxious about the next part of my story. I felt this way for years while I was making the film. One of the of women, Sose, expressed it perfectly in 2021 when I asked her, “Do you remember the first day the war started?” and she responded, “Yeah, but let me stay in this life.” She meant the life before. The life that exists in her memory and in mine. The life that overflowed with joy, abundance and freedom – however precarious.On the morning of September 27th in 2020, in the middle of COVID and 4 years into making my film, Artsakh was attacked along its borders and in its civilian cities.This is the day I became aware that my body is an archive.Over the next 45 days, I lived mostly in a bomb shelter and held desperately onto a camera like it was a lifeline that could convince the world - out there, looming, ignoring us - that this injustice must end. As it turns out, a camera is not capable of this. Or, the world is not capable of being truly moved to collective action by way of images alone. What the camera did do, though, was tether my life to the lives of the four women in wildly intimate and unexpected ways. Together, we learned the names of all major long and short-range missiles, drones, and rockets - and the specific sounds they made. We did everything in our power to help the thousands of people around us who were suffering. We fled in fear and returned in desperate need of proximity to each other and this place. We were not safe but felt that together somehow we could summon the strength to remain on that land and stay alive for as long as possible.As I watched and filmed, I felt something in my own body wake up. It guided me via intuition and care, and forms of knowledge I have never been able to put into words. It was everything my great grandmothers and grandmothers witnessed in their lifetimes, imprinted in my DNA, becoming available to me as an archive in my own body. I drew on that knowledge and strength and intuitive force constantly, and I know that it kept me alive.And I captured every moment I could, holding it in frames to keep it from disappearing, to grant it power and authority.And we watched as a place we loved deeply began to disappear in front of our eyes.In 2023, after nine months of being blockaded and deprived of food, fuel, and freedom of movement, Artsakh was ethnically cleansed of its remaining 120,000 Armenian residents, marking the end of thousands of years of our presence on that land.That is where my film ends.But for me, and for the women I filmed, and for the people of Artsakh, the story did not.Our witnessing and our memories became an archive for future resistance. As women, we pass on this knowledge in intimate ways—by creating lives imprinted with our experiences and by caring for, teaching and being in service to those around us.Ultimately, this work became a collaborative archive of relationships between women and our connection to a place that we no longer have access to. The act of watching the film together allows us to summon this land and the life lived on it through our collective imagination and psyche. In this way, cinema becomes an extension of the archive our bodies hold as witnesses—transforming into a tool to conjure Artsakh, bringing it back into existence and, as Sose said, allowing us to stay in that life and let it live into the future.There Was, There Was Not, titled after the Armenian version of “Once Upon a Time,” – the phrase that opened the stories I was raised on—is my way of honoring this evolving understanding of the archive and of cinema’s power to open new imaginative possibilities on the present, past and future. It is also a beginning, a foundation for future projects like Cartographies of Memories, a somatic, multimedia archive of Artsakh that continues this work of remembrance.Every image I captured became a finite archive, and now my work is to add to it.Cinematic work can be a subversion of erasure, transforming the archival act into something living, relational, and generative. It does not only preserve but imagines, offering a way to resist forgetting and to dream into a future where what was lost can still be carried forward.Let cinema be an act of creative resistance."
}
]
}