Is Polyamory Just Cheating?

I need to get something straight about polyamory, y’all — for realz.

“Cheating is cheating,” he said.

He was super sure if himself. Like a lot of people, he was convinced that his worldview was how everybody else saw the world: Can you imagine? That’s some privilege for you. Taking it completely for granted that the world believes what you believe or, at least you figure, would benefit from a little indoctrination! This is really true around relationships.

A relationship is “boy meets girl” then they get married, then they get a house, then kids, then grow old then one dies while the other grieves until their own death. Okay, probably way more people accept that boy meets girl is an old-fashioned assumption. I hope so, at least. Some may go as far as to say the marriage part is just a formality. Still the model is widely accepted as the normal, average way people connect. The test of a “real” and successful relationship is one that concludes in the death of one of the devoted and faithful pair.

The fact that half of all marriages end in divorce—not even counting the people who start a relationship and break up without ever getting married—proves that model as faulty AF. Even in relationships where the couple managed to stay together (one of the “lucky” 50%) another 20% cheat, according to a study titled America's Generation Gap in Extramarital Affairs. In spite of all that reality, people respond with suspicion—or outright derision—when I discuss my polyamory.

Non-monogamy is practice in a large percentage of couples. Much of non-monogamy is practiced without the consent of one of the partners. That nonconsensual extra-relationship activity is often referred to as cheating. That cheating is done across gender. My contradictory friend (who was more than happy to have sex with me, the whole while knowing I was in a polyamorous relationship) losing their shit on me later (leaving me sitting at the restaurant table, wishing he’d waited until dessert), was a demonstration of how ingrained that thinking is. Even when engaging in polyamorous behavior, his cognitive dissonance set him off on a self-righteous tangent.

There are and have always been relationship models, and lots of them, outside of the lifetime monogamous model, also called the escalator model as it is assumed that every relationship is aiming to follow a certain path to completion. Research it and find out. Read books like The Ethical Slut, Pleasure Activism, Opening Up, and More Than Two. In the meantime, stop beating yourself (and/or) other people for living ethically, according to their own cultural standards and/or inclinations.

Pink Flowers

Pink Flowers is a Black trans artist, peacemaker, educator, and pleasure activist whose work lives at the intersection of embodiment, governance, and cultural transformation. Trained in Theater of the Oppressed, Art of Hosting, and Navajo-informed Peacemaking practices, Pink designs spaces where conflict can be addressed, power can be examined, and joy can be reclaimed.

Her artistic and pedagogical practice draws from African trickster cosmology, Brazilian Joker traditions, shamanic ritual, and cooperative economics. She is the founder of the award-winning Falconworks Theater Company (2005–2021), which used popular theater to build civic capacity and participatory leadership in historically marginalized communities.

Pink served for over five years as a trained Peacemaker in the Red Hook Community Justice Center in Brooklyn, facilitating restorative processes within the New York City court system. From 2015–2018, she worked in cooperative business development with the Center for Family Life, supporting worker-owned enterprises in immigrant communities.

She currently serves as Director of Education and Training for the Inter-Cooperative Council in Ann Arbor, where she leads leadership development and conflict engagement initiatives. Her work has been presented nationally and internationally, including at the Stretch Festival in Berlin and the Pedagogy and Theatre of the Oppressed Conference.

Across ritual, performance, mediation, and institutional design, Pink’s work asks a central question:

What becomes possible when we refuse shame and choose conscious power instead?

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