‘Control Grabbing’ and small-scale agricultural intensification: emerging patterns of state-facilitated ‘agricultural investment’ in Rwanda

The Rwandan government's ongoing reconfiguration of the agricultural sector seeks to facilitate increased penetration of smallholder farming systems by domestic and international capital, which may include some land acquisition (‘land grabbing’) as well as contract farming arrangements. Such contracts are arranged by the state, which sometimes uses coercive mechanisms and interventionist strategies to encourage agricultural investment. The Rwandan government has adapted neo-liberal tools, such as ‘performance management contracts’, which make local public administrators accountable for agricultural development targets (often explicitly linked to corporate interests). Activities of international development agencies are becoming intertwined with those of the state and foreign capital, so that a variety of actors and objectives are starting to collaboratively change the relations between land and labour. The global ‘land grab’ is only one aspect of broader patterns of reconfiguration of control over land, labour and markets in the Global South. This paper demonstrates the ways in which the state is orienting public resources towards private interests in Rwanda, through processes that have elsewhere been termed ‘control grabbing’ [Borras et al. 2012 Borras, S.M., et al. 2012. Land grabbing and global capitalist accumulation: key features in Latin America. Canadian Journal of Development Studies/Revue canadienne d'études du développement, 33(4), 402–416. doi: 10.1080/02255189.2012.745394[Taylor &; Francis Online], [Web of Science ®] , [Google Scholar], 402–416].     

Fictional power and control and the reality of abusive behaviour

In response to recent sociological studies that suggest that the seriousness of psychological, emotional and verbal abuse are not only dismissed but are also the least identified in dating relationships, this article undertakes an analysis of these underexplored, ‘less visible’, elements using Ellen Pence and Michael Paymar’s ‘Power and Control’ and ‘Equality’ wheels, it compares Stephanie Meyer’s 10th anniversary re-release of Twilight, and Life and Death: Twilight Reimagined, which tells the same story as Twilight, but with the genders reversed are compared using the ‘Power and Control’ and ‘Equality’ wheels. The author argues that Life and Death is not just a simple swap of names and pronouns, as Meyer asserts, but that the alterations of thoughts and actions of the characters reflect commonly held ideas about gender, including the perpetration of psychological, emotional and verbal abuse in intimate relationships as hallmarks of masculinity. Moreover it shows that consistent with the feminisation of vampire Edythe Cullen and mortal Beau Swan, the intimate relationship in Life and Death more closely resembles that of a non-violent and equitable relationship, which significantly lessens the abuse, and reinforces traditionally socially accepted messages about gender in intimate relationships.     

Understanding ‘The Panty Shanty’: off-campus house signs as cultural texts on gender and sexuality

Students at a large, prestigious, public university in the Midwestern region of the USA have a long-standing tradition of naming their rented houses off campus and communicating those names to the student body through displaying prominent and eye-catching house signs. Examples of signs names and visual characteristics are: ‘Betty Ford Clinic’ (featuring an image of a martini glass); ‘Morning Wood’ (referencing male sexual arousal and depicting a tent with a man's legs sticking out); ‘Time Well Wasted’ (written in pink over a beach scene and a martini glass); ‘Fox Den’ (images of a fox tail and a well-known sorority symbol); ‘Tequila Mockingbird’ (a play on words); and ‘Down on U’ (the sign references a sexual act for a house located on University Avenue). Through a socio-feminist and social constructionist perspective, the researchers use content analysis to explore how these house signs serve as cultural texts on gender and sexuality norms in the American undergraduate college setting. Based on our data, house signs reinforce dominant forms of gender ideologies, including hegemonic masculinity and emphasized femininity, both of which are associated with upholding and promoting institutionalized patriarchy (Connell, R. W., &; Messerschmidt, J. W. (2005 Connell, R. W., &; Messerschmidt, J. W. (2005). Hegemonic masculinity: Rethinking the concept. Gender &; Society, 19, 829–859. 10.1177/0891243205278639.[Crossref], [Web of Science ®] , [Google Scholar]). Hegemonic masculinity: Rethinking the concept. Gender &; Society, 19, 829–859). These house signs are also shown through the data to promote a campus culture of heteronormativity where partying, drinking, and casual sex are standards for social belonging, and where high rates of sexual assault persist. As opposed to viewing house signs as simply manifestations of student wit and harmless humor, the researchers critically evaluate if and how these visual displays serve as a mechanism through which gender and sexuality-related inequalities are perpetuated within a higher education institutional setting. Implications for students and their college campuses are discussed.     

active women and ideal refugees: dissecting gender,identity and discourse in the Sahrawi refugee camps

Since the Moroccan invasion in 1975, official reports on visits to Sahrawi refugee camps by international aid agencies and faith-based groups consistently reflect an overwhelming impression of gender equality in Sahrawi society. As a result, the space of the Sahrawi refugee camps in Algeria and, by external association, Sahrawi society and Western Sahara as a nation-in-exile is constructed as ‘ideal’ (Fiddian-Qasmiyeh, 2010, p. 67). I suggest that the ‘feminist nationalism’ of the Sahrawi nation-in-exile is one that is employed strategically by internal representatives of the Popular Front for the Liberation of Saguia el-Hamra and Río de Oro (POLISARIO), the Sahrawi Arab Democratic Republic (SADR) and the National Union of Sahrawi Women (NUSW), and by external actors from international aid agencies and also the colonial Moroccan state. The international attention paid to the active role of certain women in Sahrawi refugee camps makes ‘Other’ Sahrawi invisible, such as children, young women, mothers, men, people of lower socio-economic statuses, (‘liberated’) slave classes and refugees who are not of Sahrawi background. According to Elena Fiddian-Qasmiyeh (ibid.), it also creates a discourse of ‘good’, ‘ideal’ refugees who are reluctant to complain, in contrast to ‘Other refugees’. This feminisation allows the international community not to take the Sahrawi call for independence seriously and reproduces the myth of Sahrawi refugees as naturally non-violent (read feminine) and therefore ‘ideal’. The myth of non-violence accompanied by claims of Sahrawi secularity is also used to distance Western Sahara from ‘African’, ‘Arab’ and ‘Islamic’, to reaffirm racialised and gendered discourses that associate Islam with terrorism and situate both in the Arab/Muslim East. These binaries make invisible the violence that Sahrawis experience as a result of the gendered constructions of both internal and external actors, and silence voices of dissent and frustration with the more than forty years of waiting to return home.     

Sisters in a Fashion: Martha Ansara and Elaine Welteroth

ABSTRACT

This article discusses Martha Ansara and Elaine Welteroth, two US born feminists who came to Australia during two key moments in feminist history, as a way of thinking about the relationship between feminists and fashion. Ansara arrived in Sydney in 1969 carrying women’s liberation literature in her suitcase; she became an important generative figure in the Australia’s women’s liberation movement, particularly as an independent filmmaker and proponent of consciousness raising. Welteroth arrived in 2017 to speak at the Sydney Writers’ Festival during a period of international resurgence of feminist activism. She brought with her images of women of colour she had featured in Teen Vogue and she invoked second wave consciousness raising, albeit in a remodelled, corporate-led form when she talked about the title’s plans to bring young girls around kitchen tables to ‘solve’ political problems. The article uses comments both women have made in relation to fashion and beauty, close readings of their works, and a discussion of their respective feminist milieus to suggest a trajectory of feminism’s relationship to the fashion industry that appears to have changed from a position of opposition to one of open embrace. It also complicates this reading by pointing to the resonances between these women of different feminist eras.     

The Feminisation of Finance

Abstract

This article focuses on recent reconfigurations of the home as a space of financial calculation and speculation that requires new kinds of domestic labour. It considers the 2008 financial crisis, but redirects the analysis towards the ordinary and normalised presence of financial capitalism at the level of domesticity, home-life and the everyday ‘calculative agencies’ which households are now regularly called on to perform. It also examines the constitution of ‘women’ as a target group for personal financial products and services, and addresses the various strategies that promote financial inclusion as a means to secure individual responsibility, autonomy and entrepreneurial consumer participation in a financialised ownership society. The article argues that this feminisation of finance suggests a considerable challenge to received understandings of the relationships between gender and economy, production and reproduction, and life and labour.     

Cindy Sherman in a New Millennium: Fashion,Feminism, Art and Ageing

ABSTRACT

If feminism and the fashion industry were once seen as adversaries, given how the strictures of Simone de Beauvoir in The Second Sex (1949) permeated so much of second wave feminism, a consideration of ‘fashion’ is now central to contemporary feminist scholarship. But just as the earlier critique of fashion seemed finally to have been supplanted, certain basic arguments around dress and makeup nevertheless resurfaced within contemporary feminism. The current neoliberal climate has led to the ever-increasing consumption of ‘fashionable’ goods, provoking unease and encouraging the contested ‘protectionist discourse’ within feminism to shield young women from just such excesses. Meanwhile, the fashion world itself, arguably more powerful than ever, has across the last twenty years continued a process of legitimising itself through its various modes of alliance with the art world; it has even hijacked elements of feminist practice in the pursuit of publicity. This article suggests that the fashion industry and contemporary feminism are nonetheless alike in one significant respect: neither have properly engaged with the needs of an ageing population. It is an omission that this article will seek to examine through a discussion of the recent ‘portraits‘ of Cindy Sherman, an artist of great interest to feminist scholars, in whose earlier work there was a discernible ‘anti-fashion’ element. Now ‘fashionable’ herself, a leading figure in the global art world, she has collaborated with the fashion industry in rather different ways. Her ‘portraits’ of 2012, in which she reconfigured herself as imaginary Manhattan socialites in or beyond middle age, and a later series, exhibited in 2016, where she appears as a series of ageing, anonymous ‘movie stars’, reveal more general ideological tensions surrounding the representation of women, the ageing process and the fashionable ideal. It is the dissection of these tensions that underpin this article, for while Sherman’s work has been the subject of academic debate across a forty year period, her use and critique of the ‘fashionable ‘ image has not been examined alongside an exploration of the expanding activities of the fashion industry itself; nor have her recent images of ageing women been examined within this more general context.     

Cross-Currents: Elizabeth von Arnim,Max Beerbohm and George Bernard Shaw

Abstract

When Elizabeth von Arnim’s novel Introduction to Sally appeared in 1926, the critical response was divided. Dame Ethel Smyth may have told von Arnim the book was her ‘masterpiece’ but some were less convinced; the reviewer in Punch, for instance, considered it ‘a coarse-grained fantasy’. By situating Introduction to Sally in a wider literary context that includes Max Beerbohm’s Zuleika Dobson (1911 Beerbohm, Max (1964a), ‘To Reggie Turner, 3 November 1911’, in Rupert Hart-Davis (ed.), Letters to Reggie Turner, London: Davis, p. 126. [Google Scholar]) and George Bernard Shaw’s Pygmalion (1914 Shaw, George Bernard (1914), ‘Pygmalion: A Romance in Five Acts’, Everybody’s Magazine, Vol xxxi, (5). [Google Scholar]), this article explores the personal connections between these three authors and the thematic cross-currents in these texts. Is von Arnim’s novel really as ‘coarse’ and ‘vulgar’ as some earlier critics suggest? Or is it a novel that successfully mixes the plausible with the artificial, the comic and the socially catastrophic, in ways that, more than a decade later, resonate with the work of her friends to highlight several continuing preoccupations?     

Gender models: changing representations and intersecting roles in Dutch and Italian fashion magazines, 1982–2011

This article presents a comparative content analysis of gender representation in fashion magazines in Italy and the Netherlands. Updating Goffman’s classic study of Gender Advertisements, we study the intersections of gender, professional role, country and time in media representation. Thus, we combine and confront quantitative content analysis with insights from critical gender studies on polysemy and intersectionality. Analyzing a sample of 5840 images from mainstream, commercial and high fashion magazines published in 1982, 1996 and 2011, we find that gender representation strongly intersects with time, place, and notably: professional role. Models, who represent the specific ‘aesthetic capital’ of the fashion field, are portrayed in highly specific ways. Over time, gender differences in representation become stronger in Italy, while in the Netherlands male and female representation converges towards conventionally ‘feminine’ styles. In both countries, we find increasing prominence of (North-American) Goffmanian gender conventions and a new ‘withdrawn’ gendered style emerging in the early 2000s. This new style employs new signs and conventions to denote gender and professional status: it separates men from women, and models from non-models. Our analysis shows, first, that gender representation does not directly reflect gender inequality. Second, it demonstrates the impact of globalization on gender representation. Third, it highlights the polysemy and cultural specificity of visual signs: gender difference can be ‘ritualized’ and ‘stylized’ in various ways. These diverse gendered conventions intersect with other characteristics, and may convey diverse, and changing messages about the relation between gender and sexuality, power, aesthetics and (visual) pleasure.     

Pantomime Dames

The British Broadcasting Corporation's television show Snog, Marry, Avoid (SMA) states its mission is, ‘to reveal a nation of stunning natural beauties who are currently hiding behind layers and layers of slap’ [BBC. 2008. Snog, Marry, Avoid Season One. United Kingdom: Remarkable Television]. This article considers SMA as a useful text for deconstructing contemporary norms of femininity. I utilise queer and affect theory perspectives from Berlant [2011. Cruel Optimism. Durham, NC: Duke University Press], Halberstam [1998. Female Masculinity. Durham, NC: Duke University Press, 2012; Gaga Feminism: Sex, Gender, and the End of Normal. Boston, MA: Beacon Press] and Puar [2007. Terrorist Assemblages: Homonationalism in Queer Times. Durham, NC: Duke University Press] to reveal the queer dimensions of the excessive femininity represented in the show. Berlant's work illuminates attachments to particular stylings, to understand where ‘cruel optimism’ operates. Further, I apply the idea of ‘queening’ as an inverse reference to Halberstam's ‘kinging' [Halberstam, J. 1998. Female Masculinity. Durham, NC: Duke University Press, 259]. Lastly, Puar's ideas are used to analyse the affective dimensions of excessive feminine embodiment in order to consider how this involves a queering of the body. This article departs from recent feminist scholarship on the rise of raunch culture and post-feminism. Rather than focusing on the participants of SMA as symptoms of a problematic hypersexual culture, I argue for seeing these contemporary young women's excessive femininity as queer, that is, as troubling the boundaries of gender ‘normality’.     

Fashion and feminism

Valerie Steele, Fashion and Eroticism: Ideals of Beauty from the Victorian Era to the Jazz Age (Oxford University Press), New York, 1985; Elizabeth, Wilson, Adorned in Dreams: Fashion and Modernity (Virago), London, 1985.     

‘The perfect equality of all persons before the law’: the Personal Rights Association and the discourse of civil rights in Britain, 1871–1885

The Personal Rights Association was established in 1871 to watch, restrain and influence legislation ‘in matters affecting the personal rights and liberties of the people’. Though initially its remit was to scrutinise legislation for terms that would be prejudicial to women, this soon extended to criticism of increasing incursions into male freedom. The PRA's membership, which comprised both sexes, included a cohort of male parliamentarians and intellectuals who took their commitment to civil liberties into the heart of government. Classified by one critic as ‘fussy busy-bodies [and] fourth-rate politicians’, this article reveals a ‘feminisation’ of these elite men hardly considered in the rhetoric of the middle-class radical.     

what’s in a face?: Sara Baartman,the (post)colonial gaze and the case of <Emphasis Type="Italic">Vénus Noire</Emphasis> (2010)

The story of Sara Baartman, who was brought to Europe in 1810 to be exhibited as the erotic-exotic freak ‘Hottentot Venus’, is arguably the most famous case study of the scientific validation of (gendered) racism. Her scientific examination and post-mortem dissection by Georges Cuvier, who looked for an alleged connection between the Khoisan and the orangutan, have been the object of famous critical works (Gilman, 1985; Haraway, 1989; Fausto-Sterling, 1995), but also exposed her to the unpalatable fate of becoming the ‘quintessential’ figure of intersecting gender and racial oppressions. This paper deals with Abdellatif Kechiche’s film Vénus Noire (2010), which interestingly rearticulates the (in)famous narrative in unexpected ways. Shot by a male director who is also a postcolonial subject, the film exposes the performativity not only of gender and racial identities, but also of science theorisation, while at the same time raising the issue of whether exposing a violent male colonial gaze on a heavily exhibited woman can contribute to a counter-knowledge of her experience or rather risks reiterating the historical violence. The startling dynamic between the portrayed abuse and Kechiche’s peculiar filmic strategies is the crucial focus of this paper. While Sara’s body is continually exposed and violated, Vénus Noire relies on her face, shot in recurrent extreme close ups, as a haunting presence potentially exceeding violence. Drawing on Gilles Deleuze and Félix Guattari’s (1987 [1980]) account of the close up, I explore how Kechiche’s take on Sara’s face builds a strong connection with the spectator’s extra-filmic dimension. As a case of what Deleuze and Guattari call a ‘reflective face’, such close ups invest the viewer with the ethical responsibility of being complicit in the othering practices of (post)colonial times. Vénus Noire thus manages to engage the spectator’s own corporeal awareness of violence, and calls attention to the persisting exploitation of sexual and racial colonial tropes in the contemporary world.     

Rebel masculinities of star/director/text: James Dean,Nicholas Ray,and Rebel Without a Cause

Director Nicholas Ray is arguably most familiar to cinema culture as the American test case for la politique des auteurs, the influential mode of film criticism formulated at the French magazine Cahiers du Cinéma after World War II. Ray was elevated to the status of film ‘author’ for a consistency of vision and style associated with rebellion. Yet, he was known in the film industry as an ‘actor's director,’ both for his background in theater and for bringing Lee Strasberg's ‘The Method’ to Hollywood after it had gained considerable cachet at the Actors Studio in New York since the 1930s. Although Ray was relatively unknown among the movie-going public, his films were (and still remain) recognizable for their male stars, including James Dean, Robert Mitchum, and Humphrey Bogart. In this essay, I look at his most famous film, Rebel Without a Cause (1955 Rebel Without a Cause, 1955. Film. Directed by Nicholas Ray. USA: Warner Bros. [Google Scholar]), to argue that Ray's reputation as a rebel auteur was as much the product of highbrow auteurist film criticism as the mass cultural persona of ‘rebel male hero’ that the film's star James Dean cultivated. As an actor, Dean was promoted at the vanguard of an innovative and experimental new performance style. Further, his star-performance text reveals a construction of masculinity that the film asks us to view as socially rebellious, which is retroactively linked to Ray. Both the film and the popular press form Dean's image constituted by his self-fashioned sense of authenticity, his non-normative sexuality, his highly publicized death, and the identification with an alternative family structure his role invites.     

‘I Want to Wear It’: Fashioning Black Feminism in Mahogany (1975)

ABSTRACT

In this article I focus on the portrayal of fashionable clothing in the 1975 film Mahogany and connect it to the history of African American women engaging with sartorial self-representation as a means to assert their visibility in American culture. My aim is to analyse Mahogany’s emphasis on brightly-coloured highly-ornamented clothing, which has a long history of signifying bad taste and became part of accusations of racial and sexual inferiority. I want to show how Mahogany’s representation of fashion undermines the historically entrenched bias against colourful, highly adorned clothing while also revealing how this bias has played a subtle but significant role in the racism and sexism black women have encountered, further (but not finally) impeding them from the forms of recognition the category of femininity offers. Mahogany represents those impediments and repeats the sexual and racial commodification underlying them, but also resists them (albeit quite subtly) through the film’s loving display of fashion and its attention to the work of designing and making clothes. Mahogany tells a story of bright sartorial resistance that can be understood as an articulation of black feminist desires for women of colour to be able to compose the images through which their bodies are perceived.     

Postmaternal,Postwork and the Maternal Death Drive

ABSTRACT

The term ‘postmaternal’ has recently emerged as a way to articulate the effects of neoliberalism on the public devaluing of caring labour [Stephens, Julie. 2011. Confronting Postmaternal Thinking: Feminism, Memory, and Care. New York: Columbia University Press]. This term suggests a valorisation of values associated with care and mothering that have traditionally been gendered and rely on a heterosexist matrix for their intelligibility. Marxist feminist writers during the 1970s struggled with the question of the particular form of care that reproduction entails, and this feminist archive has been recently extended to a discussion of ‘post-work’ [Weeks, Kathi. 2011. The Problem with Work: Feminism, Marxism, Antiwork Politics and Postwork Imaginaries. Durham: Duke], in which calls for the valuing of unpaid work as a viable form of labour have been reanimated. In this article I examine the relation between these two analytic categories – ‘postmaternal’ and ‘postwork’. Both categories require that we re-think some of the most trenchant issues in feminist thought – the sexual division of labour, the place of ‘reproduction’ in psychic and social life, and the possibilities for a new feminist commons.     

When convenience is inconvenient: ‘healthy’ family foodways and the persistent intersectionalities of gender and class

This article draws on findings from an auto/biographical study about relationships with food to demonstrate how everyday foodways continue to be influenced by the intersectionalities of gender and class. Following Bourdieu [1984. Distinction, a social critique of the judgement of taste. London: Routledge] how ‘foodies’ use food and foodways (the production, preparation, serving and eating of food) as a material and cultural display of capital (Johnston, J., & Baumann, S. 2010. Foodies, democracy and distinction in the gourmet kitchen. London: Routledge) or even ‘culinary capital’ (Naccarato, P., & LeBesco, K. 2012. Culinary capital. London: Berg) has been demonstrated. There has been less work exploring how mothers use ‘feeding the family’ (DeVault, M. I. 1991. Feeding the family. London: University of Chicago Press) as a source of cultural capital for themselves. Three-quarters of the 75 respondents in my UK study were parents and all mothers with dependant children fed their family ‘healthy’ food as a means of performing a particular middle-class habitus. I therefore examine how mothers engaged in ‘healthy’ foodwork as a means of positioning themselves as ‘good’ mothers or ‘yummy mummies’ (Allen, K., & Osgood, J. 2009. Studies in the Maternal, 1). Indeed, despite decades of gender equality in the public sphere and neo-liberal assertions regarding individualism, ‘feeding the family’ (DeVault, 1991) continues to be a highly gendered activity, with the added pressure of now having to provide ‘healthy’ food cooked from scratch. In these accounts, convenience foods and/or ‘unhealthy’ family foodways were vilified and viewed with disgust, with an adherence to ‘healthy’ family foodways used as a means of drawing boundaries within fields of ‘organised striving’ (Martin, J. 2011. On the explanation of social action, Chicago: University of Chicago Press; Savage, M., & Silva, E. B. 2013. Cultural Sociology, 7, 111–126). This article considers ‘healthy’ foodwork as a significant aspect of ‘good’ middle-class mothering, whereby ‘healthy’ family foodways become significant in the performance and display of ‘proper’ middle-class femininity that pathologises alternative family foodways and ‘other’ femininities. This serves to illuminate continuities within the intersectionalities of gender and class, with a commitment to ‘healthy’ family foodways central to ‘future oriented’ (middle classed) maternal identity.     

Peer Victimization and Social Anxiety in Adolescents: Prospective and Reciprocal Relationships

This study used a 2-month prospective research design to examine the bi-directional interplay between peer victimization and social anxiety among adolescents. Participants included 228 adolescents (58% female) in grades 10–12. Three types of peer victimization were examined: overt (physical aggression or verbal threats), relational (malicious manipulation of a relationship, such as by friendship withdrawal), and reputational (damaging another’s peer relationships, such as through rumor spreading). Adolescents’ self-reported feelings of social anxiety and peer victimization experiences were assessed at two time points, in November and January of the same school year. Peer victimization was strongly related to adolescents’ social anxiety, and relational victimization explained additional unique variance. Moreover, peer victimization was both a predictor and consequence of social anxiety over time, with the most robust results found for relational victimization. Limited support was obtained for gender as a moderating variable. Findings highlight the deleterious effects of peer victimization, especially relational victimization, and suggest avenues for future research and clinical intervention for adolescents experiencing such victimization.

The Art of Privacy: Assaulting the Phallocentric Organization of Capital

A certain type of subjectivity, which I would call capitalistic, is overtaking the whole planet: an equalized subjectivity, with standardized fantasies and massive consumption of infantilizing reassurances. It causes every kind of passivity, degeneration of democratic values, collective racist impulses?…?Today it is massively secreted by the media, community centers and alleged cultural institutions. It not only involves conscious ideological formations, but also collective unconscious emotions.1 1. Félix Guattari, ‘Four Truths for Psychiatry’, in Soft Subversions, ed. Sylvère Lotringer New York: Semiotext[e], 1996, p. 266.      

A Local Authority v JB [2020] EWCA Civ 735; [2019] EWCOP 39

In Re JB, a local authority, concerned with the risk the respondent posed to vulnerable women, successfully appealed against an order made in the Court of Protection that declared JB, an autistic man with impaired cognition, possessed capacity to consent to sexual relations. In this recent decision, the Court of Appeal has arguably reset the last 15 years of jurisprudence concerning P’s capacity to make decisions in regard to sexual relations. Previous case law focused on P’s ability to consent to such relations, and whether P understood the information relevant to that decision. Notwithstanding the abundance of legal authority, including the recent appellate judgments of Hayden J in London Borough of Tower Hamlets v NB and AU (consent to sex) [2019] EWCOP 27. and B v A Local Authority [2019] EWCA Civ 913. there was a lacuna in the existing law in relation to what information was relevant for the purposes of assessing the issue of capacity to consent to sexual relations. Judges have traditionally adopted a protectionist stance in understanding “the information relevant to the decision” under s3(1) of the Mental Capacity Act 2005 (MCA), with an emphasis on whether P understood the risks of pregnancy and sexually transmitted diseases. However, the Court of Appeal in Re JB has broadened its interpretation of ‘relevant’ information to also include the ability to understand the importance of a partner’s consent to such relations. This is a welcome change to previous courts’ interpretations of the ‘nature’ of the sexual act, moving from an approach focused on the physical sexual mechanics to one which views the nature of sex as a mutually consensual engagement. However, a fundamental shift in how we view such cases is likely to have far-reaching consequences, particularly for local authorities and professionals seeking guidance in relation to their care planning.