It’s not on her wikipedia page, but yes she’s a Kike

Now that’s a pretty funny headline.

The Guardian:

The world’s first vagina museum will reopen next month with a new exhibition, thanks to a public fundraising drive after it was forced to close for months and relocate.

The museum was forced to shut its east London premises in February this year when its property guardianship came to an end.

After exceeding an £85,000 fundraising target, the museum was able to set up in a new, bigger location on Poyser Street, Bethnal Green, which opens on 4 November. More than 2,500 people donated.

“It was a make or break scenario,” said Zoe Williams, head of communications. “We genuinely didn’t know how successful it would be, especially in the cost of living crisis when so many people in our community are really feeling the pinch … it’s just wonderful.”

The Poyser Street premises will have three gallery spaces. The ground floor gallery will display temporary exhibitions, with Endometriosis: Into the Unknown being the first.

It looks at myths and misconceptions that surround the disease, from the cutting edge of research to the reality of living with the condition.

Williams said: “Ever since we opened, one of the number one things that people have asked for is ‘can you do something about endometriosis?’

“This is because endometriosis is incredibly common, but not many people know much about it. Even some people who have it have to learn and research quite a lot themselves … so it seemed like a real priority as an exhibition.”

The problem with trying to make women look serious is that as soon as you turn away from them, they start doing the most ridiculous things imaginable.

Yes, she’s also pro-tranny, of course

Fellow white woman Florence Schechter

Porn isn’t enough. Vaginas must be shown everywhere, all the time, to remind people that they exist.

This Vagina Museum that will open in London on November 16 is just the first step towards spreading Vaginal Knowledge.

BBC:

In 2017, Florence Schechter discovered that Iceland had a penis museum, but that nowhere in the world could its female equivalent be found. And so, the science communicator decided to do something about it. This month, in London, the Vagina Museum will be born.

In fact, it’s a pretty different proposition to the penis museum. “That’s kind of novelty, penises in jars,” Schechter explains. “We’re going to be much more thoughtful and actually explore the topic.”

First up, a note on the name. Schechter acknowledges the frustration at how the word “vagina” is often used when people are really talking about the external vulva (the labia, clitoris and vaginal opening) – but they needed a term people were already familiar with.

“A lot of people don’t know the word vulva, and people are not going to engage with something they don’t know,” she says. A Vagina Museum is, frankly, more eye-catching and conversation starting.

A lot of people do know the much more important word “bulba” though.

Conversations about Pokemon are significantly more interesting than conversations about vaginas, so maybe we should do Pokemon museums instead.

The museum will look at the entire gynaecological anatomy – the inside (uterus, cervix, ovaries) as well as the outside – and consider its representation in culture and history. But the fact a Vagina Museum needs a bit of a glossary in the first place is proof of its purpose.

“The gynaecological anatomy is a very stigmatised part of the body,” points out Schechter. “A museum is a place where conversations can happen – the best way to fight taboo and stigma is with knowledge.”

We are still crushingly bad at talking about all the bits between women’s legs – often ignorant or euphemistic, vague or embarrassed, even if we have a vagina ourselves. And wider culture attitudes to them run the gamut of sniggering, censorious, disgusted, objectifying, or actively oppressive.

Yes, culture shuns vaginas.

We need less vagina shaming and more vagina museums to educate people about all the parts of the female genitalia, because this is what we, as a vagina-shaming culture, are evidently lacking.

This inability to talk about female genitalia has certainly had its impact on Western art and culture. Taboos can make an image more powerful – but they can also lead to fearful depictions of the unknown, or to the erasure of a huge part of lived female experience.

By not talking about vaginas, you are denying women’s life experiences. You have to talk about Vagina.

Let’s start at the beginning: birth. Where are the paintings of birth in Western art? They don’t exist, prior to the 20th Century. This curious lack has been pointed out by the novelist and essayist Siri Hustvedt. “It is a stunning absence,” she says, adding that the suppression of gestation and birth has to be “related to the suppression of women and the fear of women.”

Yes, everyone has been scared of women all throughout human history, which is why women were oppressed. The lack of childbirth paintings is totally unrelated to the fact that maybe painters didn’t want to witness enough childbirths to accurately depict them, but even if it was because of that, that only proves this woman’s point.

You’re not watching videos of childbirth right now, right? Exactly.

It’s also surely to do with a religious tradition of painting where the female figure is a virgin: distaste for the visceral elements of reproduction have been coded into art right from the start… “It is an example of the vagina getting written out of a dominant cultural narrative,” agrees Emma EL Rees, Professor of English at the University of Chester.

As the author of The Vagina: A Literary and Cultural History, Rees literally wrote the book on the depiction of vaginas – and its chapter on birth shows that, even in modern times, public attitudes to seeing women’s private parts during childbirth are fraught.

Kinda like a Vagina Holocaust.

Still, compared to male genitalia, depictions of the vulva are pretty rare until the 20th Century. Of course, female sexual organs are more hidden compared than their masculine counterparts – and this, combined with the lack of non-sexualised discussion of, and language for, the female genitals seems to have had a real impact on the depictions that do exist. I was struck, reading Rees’s fascinating book, how many examples present the vagina either as autonomous – rebellious, or oddly divorced from its owner – or as a terrifying, dangerous thing.

One mythic image goes way back: the vagina dentata – a vagina armed with teeth, that damages or castrates the male. “It’s a myth that has a history and currency in cultures and civilisations that could not have communicated with each other: in the Indian subcontinent and in south America we get the same stories emerging, at a time when there wasn’t any transatlantic travel,” says Rees. She adds that in many of these myths “the fear of the unknown-ness of the vagina becomes a rationale for acts of extreme brutality – knocking the teeth out through rape or serious sexual assault.”

“Vagina dentata” is not a myth. Some women, like Chelsea Clinton, really do have teeth in their vaginas.

“What difference does it make?”

The liberation of women won’t be completed until every street, every classroom, every house and every public place has a Vagina Shrine on display for people to pray to.

Not having that is the same as denying women’s lived experiences.

Florence Schechter – typical filthy Jew.

Florence Schechter – a feminist jewess from the United Kingdom – has been making waves around the world with her idea for a ‘Vagina Museum’. She is the daughter of Russian-born jewish klezmer musician Gregori Schechter.

Schechter described her motivation for this rather weird decision as follows:

I felt quite upset because I’m a big feminist and I believe in equality. I thought, “how can there be a penis museum and not a vagina museum?”

She also claims to want to promote ‘knowledge about’ and ‘pride in’ vaginas, but yet is also – inexplicably if she just wanted to promote feminism – is that her ‘Vagina museum’ will also push ‘awareness of body shaming’, ‘gay rights’ and ‘trans acceptance’.

She also wants to fight female genital mutilation (aka FGM) among the world’s Muslim community and convince ‘religious girls’ to be proud of losing their virginity and not to engage in anal sex.

Yet this is all a publicity stunt by Schechter.

The Great Wall of Vagina

We realize when we note that despite having decided to build her ‘Vagina Museum’ in the left-wing homosexual-infested seaside city of Brighton in the United Kingdom. She has no money or backing let alone permission to create any such thing.

To quote the Independent’s profile of her:

At the moment, the museum is in its very early days. All that Schechter has so far is some keen volunteers, social media pages and a Patreon fundraising page.

And the more detailed comment in the National Student’s interview with her:

Despite the fact Florence, with a helping hand from volunteers, is being proactive and getting out there with the project, it’s “humongously variable” as to when the Museum will be physically up and running. “Best case scenario, minimum 5 years, worst case scenario, 25 years, it’s going to cost a lot and takes a long time to build a museum from scratch, I’ve done research and the best way to be successful and not fall on my face is to start small and keep doing these little projects and talks and build it up.”

Then in the same interview she lets the cat out of the bag in regard to what her motivation really is: money and promoting her company.

To wit:

Florence describes the process as a form of market research, taking the project nationally, meeting with people to find out what they want and need because without that, “how can I educate and empower if I don’t know what they need?”, says Florence.

It turns out that Schechter owns a company called ‘CollabLab’, which makes ‘science films’ and is the legal entity behind her eponymous YouTube channel. Her YouTube channel is tiny with a mere 3,585 subscribers at the time of writing [why not leave a comment there? – Ed]. Part of the reason for this is because Schechter doesn’t really upload much new content and what there are largely short not particularly funny somewhat science-related skits.

Not exactly a recipe for a mass following.

That being said; the fact that Schechter has been riding the ‘Vagina Museum’ publicity wave as best she can but at the same time she wants charities like Refuge, companies like sanitary towel manufacturer Always and unspecified ‘high-profile women’ to fund her museum.

While of course operating a for profit company in the form of ‘CollabLab’ that is tangentially linked and stands to benefit substantially from the operation of such a museum.

Put another way Schechter is essentially trying to build her own company – and concomitantly her own fortune and profile (ironically alluded to by the Jewish Daily Forward’s reference to her as a ‘communications professional’) – by riding the fashionable feminist political wave and doing so in explicitly jewish way. As illustrated by her giving a presentation of her Vagina Museum recently at the Limmud Festival of Jewish Learning in Birmingham, England.