A Barcelona-based photographer, audiovisual artist, and activist has created an exhibit that profiles Spanish women who suffered abuse in institutions that Gen. Francisco Franco’s dictatorship established.

Luca Gaetano Pira, who is originally from Italy, spoke with women who the regime, which governed Spain from 1936-1975, sent to Women’s Protection Board institutions.

The regime in 1941 created the board the country’s Justice Ministry oversaw.

Franco named his wife, Carmen Polo, as the board’s honorary president. Then-Prime Minister Felipe González fully dissolved the board in 1985, a decade after Franco’s death.

Gaetano’s exhibit is called “Las Descarriadas” or “The Misguided Women” in English.  

“These are women who were detained between 1941 and 1985 for reasons that are unthinkable today: being lesbian, poor, pregnant out of wedlock, rebellious, politically active … or simply considered ‘morally suspect,'” Gaetano noted to the Washington Blade.

Groups affiliated with the Spanish Catholic Church ran these institutions. Gaetano pointed out they were “presented as social assistance centers.”

“In reality, they were spaces of punishment and forced reeducation, where isolation, unpaid work, and psychological violence were the norm,” he said. “Many of the survivors are still alive. Their testimonies are powerful, urgent, and of extraordinary current relevance.”

The regime sent more than 40,000 women to Women’s Protection Board institutions.

“Despite its seemingly benevolent name, it was in fact one of the most powerful instruments of moral and social control over women during and after the dictatorship,” notes the exhibit. “Under the guise of care and re-education, this institution functioned as a repressive apparatus that punished women who deviated from the ideal feminine model imposed by Franco’s regime: submissive, obedient, married, and dedicated to motherhood within the Catholic family structure.”

The Spanish Catholic Church last month issued a public apology, but Gaetano described it as “very soft” and noted “the women did not accept it.” Gaetano also compared the Women’s Protection Board institutions to Ireland’s Magdalene Laundries.

The Associated Press notes tens of thousands of “fallen” women were sent to the laundries that Catholic nuns operated in Ireland from the 18th century until the mid-1990s. Then-Irish Prime Minister Edna Kenny in 2013 issued a formal apology for the abuses that women suffered in the laundries and announced the government would compensate them.

The Spanish government has yet to offer compensation to the women abused in Women’s Protection Board institutions.

“My work focuses on recovering the historical memory of marginalized communities, particularly through the portrayal of survivors of institutional violence and the use of archival materials,” Gaetano told the Blade, noting he has also sought to highlight the repression that LGBTQ people suffered during dictatorships in Portugal and Latin America.

Gaetano’s exhibit can be found here:

Vacationers and residents alike enjoyed Independence Day Weekend activities in Rehoboth Beach, Del. The Wicked Green Pool Party drew hundreds to the CAMP Rehoboth fundraiser on Saturday. That evening, revelers went to the rooftops to watch the fireworks display.

(Washington Blade photos by Daniel Truitt)

Just in time for Independence Day, Beyoncé lit up Landover’s Commanders Field (formerly FedEx Field) with fireworks and fiery patriotism, bringing her deeply moving and genre-defying “Cowboy Carter” tour to the Washington, D.C. area.

The tour, which takes the global icon across nine cities in support of her chart-topping and Grammy-winning country album “Cowboy Carter,” landed in Prince George’s County, Maryland, over the Fourth of July weekend. From the moment Beyoncé stepped on stage, it was clear this was more than just a concert — it was a reclamation.

Drawing from classic Americana, sharp political commentary, and a reimagined vision of country music, the show served as a powerful reminder of how Black Americans — especially Black women — have long been overlooked in spaces they helped create. “Cowboy Carter” released in March 2024, is the second act in Beyoncé’s genre-traversing trilogy. With it, she became the first Black woman to win a Grammy for Best Country Album and also took home the coveted Album of the Year.

The record examines the Black American experience through the lens of country music, grappling with the tension between the mythology of the American Dream and the lived realities of those historically excluded from it. That theme comes alive in the show’s opening number, “American Requiem,” where Beyoncé sings:

“Said I wouldn’t saddle up, but
If that ain’t country, tell me, what is?
Plant my bare feet on solid ground for years
They don’t, don’t know how hard I had to fight for this
When I sing my song…”

Throughout the performance, Beyoncé incorporated arresting visuals: Black cowboys on horseback, vintage American iconography, and Fox News clips criticizing her genre shift — all woven together with voiceovers from country legends like Dolly Parton and Willie Nelson. The result was a multimedia masterclass in storytelling and subversion.

The “Cowboy Carter” tour has been a social media sensation for weeks, with fans scrambling for tickets, curating elaborate “cowboy couture” outfits, and tailgating under the summer sun. At Commanders Field, thousands waited in long lines for exclusive merch and even longer ones to enter the stadium — a pilgrimage that, for many, felt more like attending church than a concert.

One group out in full force for the concert was Black queer men — some rocking “denim on denim on denim on denim,” while others opted for more polished Cowboy Couture looks. The celebration of Black identity within Americana was ever-present, making the concert feel like the world’s biggest gay country-western club.

A standout moment of the night was the appearance of Beyoncé’s 13-year-old daughter, Blue Ivy Carter. Commanding the stage with poise and power, she matched the intensity and choreography of her mother and the professional dancers — a remarkable feat for someone her age and a clear sign that the Carter legacy continues to shine.

It’s been nearly two decades since Beyoncé and Destiny’s Child parted ways, and since then, she’s more than lived up to her title as the voice of a generation. With “Cowboy Carter,” she’s not just making music — she’s rewriting history and reclaiming the space Black artists have always deserved in the country canon.