Anchored in a decolonial framework, we understand race and gender as co-constructions of colonial modernity. Drawing on María Lugones’ concept of the colonial/modern gender system, we show that non-normative racialized trans subjects are pathologized through the imposition of a racial-colonial system of binary gender. We argue that coloniality, when adopted into the medical-psychiatric apparatus, takes shape as transnormativity: an individualized, medicalized form of trans identity which is rooted in a white, Western understanding of gender. Building on Jasbir Puar’s framework of (...) homonationalism and trans(homo)nationalism, and critiques of assimilationist queer politics through the lens of racial capitalism and anti-imperialism, we argue that trans(homo)nationalism is the absorption of transnormativity into the broader operations of state power, and see transnormativity as an extension of coloniality, operating as neo-colonialism. We argue that the political implications of trans(homo)nationalism include the sanctioning of violence against and the marginalization of non-normative and racialized trans subjects, and the continued imposition of a regime of racialized normative gendering. This assimilationist nationalist agenda is funneled through the for-profit medical-psychiatric apparatus wherein transition is co-opted into a curative, progress-based temporality. Looking to theorizations of trans temporality, we critique notions of linearity and futurity insofar as they bolster the deployment of racist, nationalist, imperialist state agendas. We articulate a vision for futurity grounded in a trans of color framework which resists assimilation into normativized gender, and call for truly radical futures for trans people which resist medicalized forms of trans identity which subscribe to the colonial, white, Western ideals of gender. (shrink)

Contrary to what many people believe, the fear is not anxiety, it is actually an emotional state that exists only in the presence of a danger. While as anxiety is what one anticipates even when the danger or threat is not present physically. The person suffering from anxiety worries about future events while as fear exists when a threat or fear is actually present before the person. The fear causes symptoms like shakiness and fast heart rate in the affected individual. (...) If the person suffering from fear and anxiety is able to understand how it processed in his/her brain, he/she can easily overcome it. This is the best therapy Los Angeles that all therapists in this city suggest patients suffering from the post traumatic stress disorder to overcome fear and anxiety. (shrink)

This paper aims at an analytical explanation of the distinctive nature of music, as it has been formulated in perhaps one of the world's very first works on the subject, namely the ‘Sangeet Ratnakar’ of Pandit Sarangadeva, a 13th century musicologist of India. He, in the first chapter of the work defines music ('sangeet' in Sanskrit and Hindi) as a composite of singing or 'Gita', instrumental music or 'vadan' and dancing or ‘nrittam’. In addition, he also holds singing to be (...) the most important component of music. These two ideas are not only unquestionably acceptable , as the analysis in the paper will show, but give to Indian music , in its difference from western music, its distinctively spiritual character, making it a path to liberation or Moksha (Muktidayakam na tu ranjakam). Sarangadeva's reason, here, is not rational but empirico-inductive. It is that mainly by virtue of its 'gitam’ (singing component), which, like the Yoga system of exercise, needing only one's body as its instrument, music too needing only one’s voice is as self-sufficient and autonomous as the ultimate Reality itself (Swayamev Rajate). In the hierarchy (a distinctively ancient Indian insistence) of arts, singing is the highest and unique because in spite of being heard by the auditory sense, it affects our 'reflective sensibility' and transports us to the virtual world of melodic and rhythmic forms. Forms, as against their particular illustrations, are abstract universals. Ultimate Reality is also a Form-all comprehensive and internally harmonious. However, pure Form, whether melodic or religious or even rational like that of triangularity, is almost impossible to concentrate on. Realizing this practical difficulty, Indian scriptures and the world's first Grammarian-linguist, Acharya Panini, framed a composite sound as the manifestation of the ultimate musical Form. This purely formal-because devoid of all meaning, sound is that of 'om', spelt, in Sanskrit as a conjunction (sandhi) of 'a'+'u'+'m'. For Indian musicologists and musicians, ‘om’ is the perfect manifestation of the Sound-God or ‘Nada-Brahman’ because, 1. Its composite nature resembles God, as a harmony of 'sat', 'chit', and 'ananda'; and 2. The composite sound is self-existent as its all three components-two vowels, i.e. ‘a’, ‘u’, and one consonant i.e. ‘m’, can be and are pronounced just as they originally are, -un-elongated and un-vitiated and therefore pure. This is the reason why every recital of Indian classical vocal music is begun with an elaborate rendering of 'om' as an invocation to Sound-God or ‘Nada-Brahman’. Scholarly and authentic, this ancient Indian approach to music, is undoubtedly the earliest and original. My observation is that its main contentions like Sharang Dev’s insistence that of the three components of music, ‘gitam’ or singing is the highest, have only been translated and never argued for. In this presentation my good intention is to provide much needed rational support for making these key statements in this unparalleled Indian text, indubitable and unquestionable. (shrink)