Sex Education II: Ability

On the stage of The New Post Office we are greeted by overhead projectors placed on small patches of moss [...]. Lina Akif performs on stage this time, opening the story with a personal experience. She shows the audience pictures from her childhood, in which she is dressed up as a masquerade and celebrating her birthday with some children with disabilities. Akif explains that she never saw these people in the picture again, and with this comment reminds us of how radically separate our worlds and theirs are. The performance builds a bridge between two worlds that are the result of systemic segregation. The frame narrative is based on the stories of four women living with disabilities, and the sound recordings of these real people's testimonies are accompanied by graphic images that Lina Akif changes on overhead projectors. They share with us their experiences as persons who no longer stand out in their shortcomings and who are gradually perceived no longer as persons with a shortcoming, but as wholes, because their shortcoming is, after all, always expressed in relation to our perception of normative wholeness and "normality". By describing their own feelings about their bodies, their relationship to sexuality, their preferences, fantasies and pleasure, the boundaries blur, because it is through their stories that the audience connects with them, and sexuality becomes a shared field of experience. With an intimate atmosphere, also created by the music of Tea Vidmar, the otherwise difficult and traumatic experiences of women are seasoned with a touch of humour, casualness and sparkle. [...] The handicapped body of women, twice segregated and oppressed by virtue of its countenance, acquires its voice and presence precisely by coming to the stage of The New Post Office, and thus successfully educates the audience into people who will be much more attentive to the marginalised position of these people in their everyday lives after the end of the performance. [...] With the third part of Sex Education II, Tjaša Črnigoj thus enters intersectional feminism, which looks at oppressed women and gender non-conforming identities through prisms that are not focused solely on gender identity, but perceive them at the intersection of other experiences and the social contexts from which they originate.