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The Berlin Years
In 1984 Audre Lorde started a visiting professorship in Berlin Germany at the Free University of Berlin. She was invited by Dagmar Schultz who met her at the UN “World Women’s Conference” in Copenhagen in 1980. While Lorde was in Germany she made a significant impact on the women there and was a big part of the start of the Afro-German movement[1]. The term Afro-German was created by Lorde and some Black German women as a nod to African-American. During her many trips to Germany, she touched many women’s lives including May Ayim, Ika Hugel-Marshell, and Hegal Emde. All of these women decided to start writing after they met Audre Lorde[2]. She encouraged the women of Germany to speak up and have a voice. Instead of fighting through violence, Lorde thought that language was a powerful form of resistance[3]. Her impact on Germany reached more than just Afro-German women. Many white women and men found Lorde’s work to be very beneficial to their own lives. They started to put their privilege and power into question and became more conscious[2].
Because of her impact on the Afro-German movement, Dagmar Schultz put together a documentary to highlight the chapter of her life that was not known to many. Audre Lorde - The Berlin Years was accepted by the Berlinale in 2012 and from then was showed at many different film festivals around the world and received five awards. The film showed the lack of recognition that Lorde received for her contributions towards the theories of intersectionality[1].Personal Identity
Throughout Lorde’s career she included the idea of a collective identity in many of her poems and books. Audre Lorde did not just identify with one category but she wanted to celebrate all parts of herself equally[4]. She was known to describe herself as African-American, black, feminist, poet, mother, etc. In her novel Zami, Lorde focuses on how her many different identities shape her life and the different experiences she has because of them. She shows us that personal identity is found within the connections between seemingly different parts of life. Personal identity is often associated with the visual aspect of a person, but as Lies Xhonneux theorizes when identity is singled down to just to what you see, some people, even within minority groups, can become invisible[5]. In her late book “The Cancer Journals” she said “If I didn’t define myself for myself, I would be crunched into other people’s fantasies for me and eaten alive.” This is important because an identity is more than just what people see or think of a person, it is something that must be defined by the individual. “The House of Difference” is a phrase that has stuck with Lorde’s identity theories. Her idea was that everyone is different from each other and it is the collective differences that make us who we are, instead of one little thing. Focusing on all of the aspects of identity brings people together more than choosing one piece of an identity[6].
- ^ a b Schultz, Dagmar (2015). "Audre Lorde - The Berlin Years, 1984 to 1992". In Broeck, Sabine; Bolaki, Stella (eds.). Audre Lorde's Transnational Legacies. Boston, MA: University of Massachusetts Press. pp. 27–38. ISBN 9781625341389.
- ^ a b Gerund, Katharina (2015). "Transracial Feminist Alliances?". In Broeck, Sabine; Bolaki, Stella (eds.). Audre Lorde's Transnational Legacies. Boston, MA: University of Massachusetts Press. pp. 122–132. ISBN 9781625341389.
- ^ Piesche, Peggy (2015). "Inscribing the Past, Anticipating the Future". In Broeck, Sabine; Bolaki, Stella (eds.). Audre Lorde's Transnational Legacies. Boston, MA: University of Massachusetts Press. pp. 222–224. ISBN 9781625341389.
- ^ Kemp, Yakini B. (2004). "Writing Power: Identity Complexities and the Exotic Erotic in Audre Lorde's writing". Studies in the Literary Imagination. 37: 22–36.
- ^ Xhonneux, Lies (2012). "The Classic Coming out Novel: Unacknowledged Challenges to the Heterosexual Mainstream". College Literature. 39: 94–118.
- ^ Leonard, Keith D. (2012-09-28). ""Which Me Will Survive": Rethinking Identity, Reclaiming Audre Lorde". Callaloo. 35 (3): 758–777. doi:10.1353/cal.2012.0100. ISSN 1080-6512.