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Message in a bottle, Turn 1 (Dear reader) and Turn 2 (Welcome to our feminist maritime journey): These function as an extended introduction, where we take the time and space we need for our ship to depart, get up to speed and reach the waters of transformation in the open seas. You might or not know this from experience, but maritime journeys start slowly and then move fast. In a way, they possibly remind us of how trust moves, since “trust [too] is slow until it is fast” (brown, 2021, no pagination). Surely, as travel companions, I find it important that from the beginning we attempt to trust each other and act collaboratively. This, I would say, is the underlying theme across our first two turns, where first I present what to expect (or not) in our maritime journey (Turn 1), and then inform you why I imagined it as maritime (Turn 2). 

Turn 3 (On this ship): After introducing the concept of feminist figurations, I explain why I am using the figuration of a ship navigating in open seas for both this writing and the workshop space. Building on Fred Moten and Stefano Harney’s (2013) proposition that a text can take the form of a social space, I suggest that this writing aspires to be one. Especially, a social space which I tried to assemble in the likeness of the workshop space. Here, you discover why.

Turn 4 (We will be seeking complicity): I examine the dimensions of complicity of and on this ship, intended both as forms of collusion in criminal activity and symbiotic ways of relating. As this turn is particularly long, we navigate it in three ways/sections. In the first, I propose this ship can be complicit in what it may oppose, just like me, since it is an assemblage of our worldly matters and thus shaped by the neoliberal capitalist, hetero-patriarchal, white supremacist, colonial, and anthropocentric systems that make the world as is. In the second, I tribute to the fellow pirates who inspired our unruly journey. I call them fellow pirates because most of them seem to be in a complicated, dissident, or even criminal relationship with the academy, just like me. In the third, I describe how the members of our ciurma and I established trust and sought complicity in deciding how to incorporate their testimonies into this writing. 

Turn 5 (Encountering each other): We come to dive deeper into our case study: TSI, the series of feminist workshops where our ciurma and I encountered others, transformed each other, and changed the world. Specifically, I recount why I started TSI, how it works, as well as how I, as the organiser, usually structure the workshops. Tacking toward another way/section, I address the question of how my position and role as the organiser may differ from that of other participants in the workshop space. 

Turn 6 (Between worlds): I continue to present the workshop space, but this time by focussing on some of its qualities: brave, poetic, relational, and heterotopic. In particular, building on Michael Foucault’s (1984) famous essay, I present why I consider the workshop space to exist and function as a form of heterotopia, simultaneously representing, contesting, and inverting the world we live in. In a way, existing between worlds: this world and the socially and environmentally just worlds we long to live in and struggle for, which I refer to as the next worlds.

Turn 7 (Finding transformation): We navigate the personal and political, individual and collective transformation that our ciurma reported experiencing in three ways/sections. In the first, we examine the bodily shifts our ciurma undergoes during the workshops. In the second, we consider how the transformation that the members of our ciurma experienced also travels beyond the workshop space, changing their being as well as the being of the world. In the third, I present the circumstances our ciurma believes to have made their transformation possible. 

Turn 8 (Creating new DNA for this world): I dive deeper into a fundamental concept for our journey: Creating new DNA for this world. Not only a concept but first and foremost a collective practice intended to radically change our worldly matters, rewire our collective and connective tissues and experience life on different terms. Creating new DNA for this world is what we do in the workshop space as we risk our being to risk the being of the world. As a gestational practice, creating new DNA for this world is a means to bring the next worlds to life.

Turn 9 (Just like waves carving and eroding stone): I draw the only possible conclusion a feminist maritime journey like ours can lead us to: an opening.

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