“Cultures of Chittagong Hill Tracts and other indigenous peoples are still marginalized in Bangladesh, in mainstream cultural practices. They're made invisible. And there is a kind of appropriation too. A Chakma dance is danced by Bengali dancers.” COMMUNITY Bengali Nationalism & the Chittagong Hill Tracts Kabita Chakma “Cultures of Chittagong Hill Tracts and other indigenous peoples are still marginalized in Bangladesh, in mainstream cultural practices. They're made invisible. And there is a kind of appropriation too. A Chakma dance is danced by Bengali dancers.” Researcher Kabita Chakma in conversation with Advisory Editor Mahmud Rahman talked about her own experience writing and translating in Bangla and Chakma, as well as the longue durée history of the Chakmas and the Chittagong Hill Tracts, particularly after the formation of CHT as a district in 1860. Colonial cartographies split the Chakma population between countries, districts, and states between Tripura, Assam, Mizoram in India, Burma, Bangladesh, and their global diasporas. How robust, Mahmud Rahman asks, is the readership of Chakma texts? RECOMMENDED: "Muscular nationalism, masculinist militarism: the creation of situational motivators and opportunities for violence against the Indigenous peoples of the Chittagong Hill Tracts, Bangladesh" (International Feminist Journal of Politics, 2022) by Glen Hill & Kabita Chakma ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Watch the interview on YouTube or IGTV. SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ Interview Chittagong Hill Tracts Bangladesh CHT Indigeneity Chakma Chakma History Indigenous Art Practice Indigeneous Spaces Politics of Indigeneity Language Diversity Language Chittagong Hill Tracts Peace Accord Parbatya Chattagram Jana Sanghati Samiti United People's Party of the Chittagong Hill Tracts Kaptai Dam Bengali Nationalism Jumma Communities Jumma Chakma Communities Shaheen Akhtar Militarism Military Crackdown Shomari Chakma International Mother Tongue Day Intellectual History Postcolonialism KABITA CHAKMA is an independent researcher, writer and architect. Writing in the Chakma, Bangla and English languages, Kabita’s research interests include the history, literature, art, architecture, cinema, environmental sustainability, human rights, women’s rights and Indigenous peoples’ rights. Her academic papers have appeared in university journals and edited book chapters. Her investigative articles have appeared in the Daily Star , the New Age , Himal Southasian , the publications of various cultural and educational institutes, including the online platforms Jumjournal, thotkata.com, and alalodulal.org. Her creative works include poems and short stories. Her book of poems, Jawli Na’Udhim Kittei!/ Rukhe Darabo Na Ken! was written in Chakma and Bangla languages and translated into English by Sajed Kamal. She recently translated a short story by Shaheen Akhter, Chander Pahar (Moon Mountain) , for the magazine Out Of Print . In the context of a paucity of fictional works in indigenous CHT languages, she is now working on Chakma language historical fiction. Interview Chittagong Hill Tracts 9th Dec 2020 On That Note: Chats Ep. 8 · On Migrations in Global History 4th MAY Photo Kathmandu & Public History in Nepal 25th NOV Romantic Literature and Colonialism 13th NOV

Jamil Jan Kochai reads and discusses "A Premonition; Recollected," a short story published by SAAG that reads like a single, long-drawn breath. The story subsequently appeared in Kochai's acclaimed collection "The Haunting of Hajji Hotak and Other Stories." INTERACTIVE Chats Ep. 1 · On A Premonition; Recollected Jamil Jan Kochai reads and discusses "A Premonition; Recollected," a short story published by SAAG that reads like a single, long-drawn breath. The story subsequently appeared in Kochai's acclaimed collection "The Haunting of Hajji Hotak and Other Stories." Jamil Jan Kochai In November 2020, SAAG Chats kicked off with an Instagram Live reading and discussion of "A Premonition; Recollected" between its author, Jamil Jan Kochai, and Fiction Editor Hananah Zaheer. The story was originally published in SAAG Volume 1. Subsequently, the story appeared in Jamil Jan Kochai's acclaimed collection The Haunting of Hajji Hotak and Other Stories , a finalist for the 2022 National Book Award, and winner of the 2023 Aspen Words Literary Prize and the 2023 Clark Fiction Prize. Here, Jamil Jan Kochai and Hananah Zaheer discuss the balance between brevity and density in the story, and its inspiration both from the nature of memory and the War on Terror in Afghanistan. In November 2020, SAAG Chats kicked off with an Instagram Live reading and discussion of "A Premonition; Recollected" between its author, Jamil Jan Kochai, and Fiction Editor Hananah Zaheer. The story was originally published in SAAG Volume 1. Subsequently, the story appeared in Jamil Jan Kochai's acclaimed collection The Haunting of Hajji Hotak and Other Stories , a finalist for the 2022 National Book Award, and winner of the 2023 Aspen Words Literary Prize and the 2023 Clark Fiction Prize. Here, Jamil Jan Kochai and Hananah Zaheer discuss the balance between brevity and density in the story, and its inspiration both from the nature of memory and the War on Terror in Afghanistan. SUB-HEAD ALSO IN THIS ISSUE: Clare Patrick (Our) Worlds and (Plant) Wisdoms Kareen Adam · Nazish Chunara A Dhivehi Artists Showcase Subscribe to our newsletter for updates on SAAG Chats, an informal series of live events on Instagram. SHARE Facebook Twitter LinkedIn Live Afghanistan Short Story SAAG Chats The Haunting of Hajji Hotak Language Disaster & Language Disaster & Faith Flash Fiction Fiction National Book Award Peshawar Logar War on Terror Memory Discourses of War Allegiance Pashto Farsi Narrators War Crimes Militarism Short Stories JAMIL JAN KOCHAI is the author of 99 Nights in Logar (Viking, 2019), a finalist for the Pen/Hemingway Award for Debut Novel and the DSC Prize for South Asian Literature. His short story collection, The Haunting of Hajji Hotak and Other Stories (Viking, 2022) was shortlisted for the National Book Award. He was born in an Afghan refugee camp in Peshawar, Pakistan, but he originally hails from Logar, Afghanistan. His short stories have appeared in The New Yorker, Ploughshares, Zoetrope, The O. Henry Prize Stories, and The Best American Short Stories . His essays have been published at The New York Times  and the Los Angeles Times . Kochai was a Stegner Fellow at Stanford University and a Truman Capote Fellow at the Iowa Writers’ Workshop, where he was awarded the Henfield Prize for Fiction. Currently, he is a Hodder Fellow at Princeton University. 13 Nov 2020 Live Afghanistan 13th Nov 2020 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 On That Note:

The current mood on the US left is one of extreme pessimism, particularly in the wake of movement dissipation after the end of the Bernie Sanders primary campaign. Such a moment requires reckoning with movement mistakes, thinking about the necessity of leftist media, and possibly even a self-identification with our most doomer selves. INTERACTIVE FLUX · Jaya Rajamani & Bhavik Lathia on the US Left & Media The current mood on the US left is one of extreme pessimism, particularly in the wake of movement dissipation after the end of the Bernie Sanders primary campaign. Such a moment requires reckoning with movement mistakes, thinking about the necessity of leftist media, and possibly even a self-identification with our most doomer selves. VOL. 1 EVENT AUTHOR AUTHOR AUTHOR Watch the event in full on IGTV. ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Watch the event in full on IGTV. SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ Event Panel 5th Dec 2020 Event Panel Bernie Sanders Progressive Politics Democratic Socialism Democratic Socialists of America DSA Digital Advocacy Digital Space Funny Twitter Accounts Optimism on the Local Level Joe Biden Wisconsin Wisconsin Democrats Municipal Politics State Senate United States Progressivism Black Solidarities Demographics Populism Progressive Populism Inevitability Doomers Wisconsin as an Electoral Knife's Edge White Supremacy Fascism Republican Vote The History of the Right-Wing Trump's Base Errors in the Bernie Sanders Campaign Woke Politics Coalition Building Media Growth of Left Media Leftist Media Twitch Podcasts Liberals Breitbart Billionaire-Funded Media Messaging Status Quo FLUX Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. FLUX: An Evening in Dissent FLUX was held at a depressing moment for media workers on the left: all "doomers", as Jaya Rajamani referred to herself at the time. Despite the Democrats winning the White House, dispiriting cabinet appointments by to-be President Biden, especially in the wake of the loss of Bernie Sanders' primary campaign left a sense of a weak Left with the dissipation of progressive movement energy by the end of 2020. Non-Fiction Editor Tisya Mavuram convened with writers, activists, and organizers Bhavik Lathia and Jaya Rajamani to discuss how to rebuild power, the Left's relationship to media, how centrists managed to defeat a historic challenge in the form of Sanders' campaign, and a reckoning with mistakes made. Tarfia Faizullah: Poetry Reading Jaishri Abichandani's Art Studio Tour Natasha Noorani's Live Performance of "Choro" Nikil Saval & Kshama Sawant: On Movement Politics at the Local & Municipal Level, COVID-19 & the Two-Party Structure Rajiv Mohabir: Poetry Reading SAAG, So Far: A Panel with the Editors DJ Kiran: A Celebratory Set More Fiction & Poetry: Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5

MULTIMEDIA ARTIST Furqan Jawed FURQAN JAWED is a freelance artist and graphic designer based in Brooklyn. A recent MFA graduate from the Yale School of Art, his practice focuses on the circulation of images and analysing the semiotics of representation within these images in the public and the private sphere. MULTIMEDIA ARTIST WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

“How do you laugh at untrammeled power? Either you are completely terrorized by it, or you completely delegitimize its authority by laughing in its face and doing the most absurd things.” COMMUNITY Experimentalism in the Face of Fascism “How do you laugh at untrammeled power? Either you are completely terrorized by it, or you completely delegitimize its authority by laughing in its face and doing the most absurd things.” VOL. 1 INTERVIEW AUTHOR AUTHOR AUTHOR Watch the interview on YouTube or IGTV. ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Watch the interview on YouTube or IGTV. SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ Interview Chennai 7th Sep 2020 Interview Chennai Sociolinguistics Avant-Garde Form Experimental Methods Dalit Literature Dalit Histories Indian Fascism Liberation Tigers of Tamil Eelam Tamil Tigers Auto-Fiction Bhima Koregaon Marxist Theory André Breton Absurdity Explanation Affect Translation Tamil Eelam Personal History Failure Narrative Structure Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. RECOMMENDED: The Orders Were to Rape You: Tigresses in the Tamil Eelam Struggle , the newest book by Meena Kandasamy (Navayana, 2021). More Fiction & Poetry: Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5

The acclaimed artist-activist Jaishri Abichandani's glimpse into the history of South Asian-American feminist art and activism, particularly with the South Asian Women's Creative Collective, speaks to the labor and creative organizing of feminist artists starting in the 1990s. INTERACTIVE FLUX · Jaishri Abichandani's Guided Studio Tour The acclaimed artist-activist Jaishri Abichandani's glimpse into the history of South Asian-American feminist art and activism, particularly with the South Asian Women's Creative Collective, speaks to the labor and creative organizing of feminist artists starting in the 1990s. VOL. 1 LIVE AUTHOR AUTHOR AUTHOR Watch the event in full on IGTV. ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Watch the event in full on IGTV. SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ Live Brooklyn 5th Dec 2020 Live Brooklyn FLUX Art Practice Feminist Art Practice Sculpture Asia Pacific Arts Initiative Painting Swati Khurana South Asian Women's Creative Collective Ceramics Art Activism Art History Politics of Art Feminist Spaces Feminist Organizing Mimi Mondal Yashica Dutt Prachi Patankar Dalit Feminist Activists South Asia Solidarity Initiative SASI SAWCC Rage Kidvai Thanu Yakupitiyage Bad Brown Aunties Section 377 Menaka Guruswamy LGBTQ Movement Pramila Jayapal Nayomi Munaweera Personal History Portraits ACT UP Ismat Chughtai Mahasweta Devi Breast Stories The Quilt Lihaaf Abortion Goddess Abortion Speaking about Abortion Bodily Autonomy Indus Valley Artifacts Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. FLUX: An Evening in Dissent As part of Flux: An Evening in Dissent, Abeer Hoque took a guided tour with the acclaimed artist-activist Jaishri Abichandani who showed us her famous Feminist Wall, replete with its history of feminist activists and activism. She also gave us an exclusive look at the piece Kamala's Inheritance (2021 Sculpture Wire, foil, epoxy, MDF, stone and paint). Tarfia Faizullah: Poetry Reading Kshama Sawant & Nikil Saval: A panel on US left electoralism, COVID19, recent victories, & lasting problems. Natasha Noorani's Live Performance of "Choro" Bhavik Lathia & Jaya Sundaresh: A panel on the US Left & its relationship with media in the wake of Bernie Sanders' loss. Rajiv Mohabir: Poetry Reading SAAG, So Far: A Panel with the Editors DJ Kiran: A Celebratory Set More Fiction & Poetry: Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5

PHOTOGRAPHER Tania Wamani TANIA WAMANI is a documentary photographer based between the Peruvian Andes and the Amazon rainforest. Her work, rooted in indigenous heritage, focuses on human rights, environmental justice, and collaborative projects with native communities. Her projects have been featured inThe Nation and local independent media. PHOTOGRAPHER WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

ARTIST Nadee Rachey NADEE RACHEY is a mixed-media artist based in Malé, Maldives. She received a Diploma in Visual Arts and a BA in Fine Art Photography from the Royal Melbourne Institute of Technology (RMIT) in Australia. In Malé, she works with acrylics and watercolors, and is renowned for her wall murals of Maldivian marine life. Her murals are on display at several luxury resorts, including Cheval Blanc Randheli, Summer Island Resort, and Herathera Island Resort. ARTIST WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

Botany, diaspora, and the entangled legacies of migration, plant knowledge, and colonial collecting proclivities BOOKS & ARTS (Our) Worlds and (Plant) Wisdoms Clare Patrick Botany, diaspora, and the entangled legacies of migration, plant knowledge, and colonial collecting proclivities There are certain phrases that stick with me—even better if they’re in a song—that reference planting seeds in new places. What it might be to plant something and watch it grow, not knowing the lands or the contexts it has been embedded into? Curiously, this sentiment can metaphorically link heroes, victims, and villains of much of migratory history. Colonial exploits continue to transplant and overtake natural vegetation displaced by invasive species. Inversely, guerrilla planting tactics of indentured Mauritian labourers initiated a sense of placemaking, making accessible familiar ingredients while asserting their own agricultural intervention on the land. Go to any British National Trust garden gift shop, and you’ll likely find bundles of seed-related gifts, even “seed-bombs” – seemingly so-named without an ounce of irony or awareness. In Stockholm, there were “seed passports,” and in Cape Town, they’re packaged as “bundles.” Now, perhaps more than ever before, the convergence of environmental awareness, ecological degradation, and global conflict has enabled a heightened recognition of the importance of planting, access to land, and the preservation of soil and heirloom seeds. Continuing lineages of migration with a practice that thinks through seeds, roots, and shoots, and what to do with them as forms, Cynthia Fan is a South African Chinese artist, now based in the UK. With a PhD in molecular plant biology, her work weaves together scientific inquiry and visual expression. While navigating transitions, the anchoring of flowers and their cyclical presence has, for her, become a motif of placemaking. Moving away from home comforts and across oceans, working with plants offers solace and reassurance. “Buying bunches of flowers there became a small ritual that mirrored something I had observed throughout my life”, she explains in her forthcoming collection of essays, Among Willows : “my mother’s weekly routine of bringing home fresh flowers for our house, along with the groceries. Though my surroundings were unfamiliar, the presence of fresh flowers in my room facilitated my adjustment to a very different place to the one I had grown up in.” Portrait, Cynthia Fan by Jesse Navarre Vos Dialogues of duality and precipices of balance recur in Fan’s practice. Perhaps mirroring her own lived history, she moves lightly between disciplines and materials, as if to propose a method of querying rather than asserting one. In gravity-defying floral installations, the structural potential of plants and flowers becomes focal and calls forward a further tilting of perspectives. Straddling scientific inquiry, creative writing, and ephemeral intervention, Fan creates works that centre plants, humans, and their environments in an investigation. She writes about reciprocity. Across the book’s pages, she traces the push and pull of her history through plant analysis, folding it into inquiries around morphological development. RBGE 1 , From Silent Archive, 2024. Leaf scans, installations using found garden materials from the garden, and photography. Balancing culture, migration, history and exploration, her investigation of botany is documented in photographs and installations. These evidence the process of physicalising ideas which gesture and meditate yet remain fleeting. As temporal objects, Fan’s sculptures exist momentarily. In her photographs, sculptural forms are presented within tableaus, set against inserted backdrops that echo a practice of recording and cataloguing, yet are disrupted through the showing of her structures of armatures and clips. The works illuminate an approach to collecting that sits against hegemonic discipline, even resisting preservation through the necessary ephemerality of each work. Clasped into something that can be kept only through documentation, Fan’s practice necessarily evades ownership. The works contend with their plant material qualities, as if poised for musical activation, as if about to dance off as an elfin creature or poised to be turned into one of Rachel Youn’s robotic floral articulations. Using unexpected but familiar materials, Fan raises questions of excursions and voyaging, cultivation and gathering with a kind of intimate observational approach. Highlighting her own proximity to the environment, the works present organic materials within collections to query contemporary relationships to transgenerational concerns of ownership and study. I'm interested in how changing environments impel movement, in turn creating relational narratives and impacting social and artistic discourse. I situate this interest within conversations around diaspora, transnational collaboration, and ecological investigation. In Fan’s work, these themes swirl and echo across her personal experience and the scientific trajectory of her subjects. Where Kapwani Kiwanga’s Flowers for Africa (2020) delineates timelines through decay, gesturing to the futility of politicking among bureaucracies, Fan homes in on impulses of construction and collecting, highlighting colonial histories of ownership through access, cataloguing, and storing. With sculptural investigations of organic form, she uses networks of interaction as a research focus. This approach enables her practice to manifest manifold, across science and art – in exhibitions, installations, and writing. RBGE 3 , From Silent Archive, 2024. Leaf scans, installations using found garden materials from the garden, and photography. Last year, I visited two exhibitions that showcased the delicate precision of Indian miniatures: one at the Met in New York and the other at the CSMVS Museum in Bombay. In thinking between exhibitions, I’m struck by the criticality of contextual reading and how different these exhibitions felt physically. One sweaty and loud in the middle of a heaving city, pumped full of recycled air and extracted wealth. The other, quiet and sticky, with muffled street sounds carried through thick stone and sparse spending. The collecting of objects, seeds, artefacts, artworks, and talismans has long been the work of museums, while the work of care is only now coming into focus, largely thanks to curators and activists who engage contemporary transnational decolonial practices. Thinking about writing this piece, I came across a review by Guardian critic Jonathan Jones of In Bloom , a recently opened exhibition at Oxford’s Ashmolean Museum. “Here is where the story of botany takes flight from science to sensuality, from interest to addiction”, he writes. By noting differing cultural interactions with flowers, Jones points out botanical strategies in the colonial project: “As well as cultivating new species of poppy, the Dutch at the height of their commercial power in the 1600s became obsessed with tulips, which came from the Islamic world and were particularly cultivated at the Ottoman court.” Interactions with these flowers today are weighted by this cultivation and proliferation. Thinking about flowers and their presence, I keep returning to Fan’s practice and the way she prompts questions about engaging with and interpreting the natural world, both globally and hyperlocally. Phormium nets and a single Delphinium , 2024 In Fan’s Silent Archive at the RBGE (2024), she peels back a veil of botanical investigation and preservation in search of origins and context. Where her PhD research pivoted around the Begonia leaf, Fan became preoccupied with the notion of a living Begonia collection at the Royal Botanic Gardens Edinburgh (RBGE) – a plant not indigenous to the region. In creating this series, she opens up a questioning of routes and place, confronting the colonial past and present of the institution in Edinburgh, which continues to house and encase species extracted from their original contexts in the name of scientific method. Of the work, she reflects: “By creating morphologically distorted configurations using bamboo and Begonia leaves, I invite the viewer to question which of these physical states are considered ‘ordinary’ and assess the impact of human involvement within these interactions.” I’m sitting at my window, which overlooks an intersection. At the corner is a bakery, and opposite that is a vacant former tech repairs store. There’s a constant flow of people, families strolling with prams and scooters and various backpacks and balloons; there’s an older woman bundled up and carrying a bushel branch. Waiting for the light to turn is another woman in a navy coat over what looks like a green dress or skirt that flows to just above her boots. I notice these colours because they perfectly complement the buttercup sunshine yellow of the ranunculi and freesias in her arms. An ordinary, fleeting, yet magnificent moment. The flowers might have been daffodils, except Spring appeared so early this year, and all the flowers are being shocked into blooming before shrinking back again as the temperatures swing. It is a bouquet of yellow, with springs of bright green and silver greenery perfectly contrasting the deeper forest colours of her clothing. Her blonde hair wisps around her face, and I watch the sun catch the bunch of joy she’s carrying. A momentary glimpse of a passing passage, yet the colours hit across the block. There are at least four florists within ten minutes’ walk from my apartment, two of them on my street just a few steps from each other. The seasons are traced in the display of wares here, like nowhere else I’ve lived. From blood oranges to Helleborus blooms, the temporality of fleeting lives feels ever-present, while being endlessly celebrated. This living presence of plant lives seems pertinent when considering Fan’s work, both scientific and creative, as her practice dialogues across disciplines. Able to encounter and swerve expected preservations, collections, and records, her practice revels in observations of tiny blooms as they momentarily appear within a landscape. In this approach, she activates knowledge with an observational present, manifesting in a perpetually delicate balance of disciplines. While Iranian tulip motifs contrast the hyperrealism of Dutch Nature Morte vanitas, and the Indian miniatures are made to dance differently in New York while they hold court in Bombay, Fan’s floral sculptures assert a poised suspension. Like an intake of breath, the pieces balance in the precarious querying of place, placement, and ownership. ∎ ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Installation view, Enso House (London), September 2024 SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ Essay Paris Cynthia Fan Museums Museum Culture New York Bombay Environment Botany Material Culture Exhibitions Planting Seeds The Local and Global British National Trust Stockholm Cape Town South Africa Migration Colonialism Guerilla Planting Flowers Visual Art Science Reflection Cyclical Patterns Among Willows Duality Multimodal Floral Installations Ephemeral Art Morphology Sculpture Rachel Youn Kapwani Kiwanga Colonial Histories Discourse Jonathan Jones Ashmolean Museum Metropolitan Museum of Art The Met Chhatrapati Shivaji Maharaj Vastu Sangrahalaya CSMVS Museum History of Botany Colonial Prospecting Bioprospecting Dutch Empire Royal Botanic Gardens Edinburgh Miniatures Multivocal Practice Art Practice Color Florists Placemaking Care Work Curation CLARE PATRICK is an independent curator and writer who hails from Cape Town. Formerly at NXTHVN , the Norval Foundation , and the Paris College of Art , she currently works at Atelier 11 Paris and No! Wahala Magazine . Her work has been featured in Art Throb , Contemporary And , Vogue , and The New York Times . Essay Paris 1st Jun 2026 On That Note: Heading 5 23rd OCT Heading 5 23rd Oct Heading 5 23rd Oct

“When I say that language has failed us, I mean that there is no amount of information you can give a society that necessarily means it will be compelled to act.” COMMUNITY On the Relationship between Form & Resistance Iman Iftikhar · Sharmin Hossain · Kalpana Raina · Maira Khwaja · Suneil Sanzgiri “When I say that language has failed us, I mean that there is no amount of information you can give a society that necessarily means it will be compelled to act.” The second panel from our event on 30th March 2024, "Solidarity: Beyond the Disaster-Verse," at ShapeShifter Lab in Brooklyn, New York, which marked the close of Volume 2 Issue 1 of SAAG. Here, Iman Iftikhar, Sharmin Hossain, Maira Khwaja, Kalpana Raina, and Suneil Sanzigir discuss how the varied forms of storytelling they use inform and are informed by their politics, resistance, and solidarity and how they feel it is most useful. This panel picks up from where Panel 1, "What do we mean when we talk about Solidarity?" ends. What follows is a discussion of form & storytelling with: Iman Iftikhar, a researcher, educator, co-founder and manager of Kitab Ghar, an Associate Editor at SAAG, and an editor at Folio Books. Maira Khwaja, a journalist, multimedia producer, and researcher at the Invisible Institute . She is also an Associate Producer of We Grown Now dir. Minhal Baig, April 2024, Stage 6 Films & Sony Pictures Classics. Kalpana Raina, a co-translator of For Now, It is Night: Stories by Hari Krishna Kaul (Archipelago Books, February 2024) Sharmin Hossain, an abolitionist organizer, artist, and the Organizing Director at 18 Million Rising that organizes Asian Americans. Suneil Sanzgiri, a filmmaker, researcher, artist, whose first solo exhibition, Here the Earth Grows Gold , opened at the Brooklyn Museum in October 2023. Photographs courtesy of Josh Steinbauer. © Josh Steinbauer © Josh Steinbauer © Josh Steinbauer © Josh Steinbauer © Josh Steinbauer © Josh Steinbauer © Josh Steinbauer © Josh Steinbauer © Josh Steinbauer © Josh Steinbauer © Josh Steinbauer © Josh Steinbauer © Josh Steinbauer SOLIDARITY: BEYOND THE DISASTER-VERSE Panel 1: What do we mean when we talk about Solidarity? SOLIDARITY: BEYOND THE DISASTER-VERSE Quintet Performance ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Panel 2 of the event "Solidarity: Beyond the Disaster-Verse" held on 30th March 2024. SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ Panel Language Solidarity Films Film-Making Capital Investigative Journalism Criminal Justice Abolitionism Solidarity: Across the Disaster-Verse Prisons Police Personal History The Petty Self Kashmiri Struggle Translation India Anti-Colonialism Two Refusals Goa Hybrid Multimedia Sham-e-Ali Nayeem Portuguese Nationalism Afro-Asianism Bandung Conference Angola Mozambique Sita Valles Portuguese Communist Party Movimento Popular de Libertação de Angola Angolan Liberation Youth/Police Project Act of Listening Stop and Frisk IMAN IFTIKHAR is a political theorist, historian, and amateur oil painter and illustrator. She is an editor for Folio Books and a returning fellow at Kitab Ghar Lahore. She is based in Oxford and Lahore. SHARMIN HOSSAIN is a Bangladeshi-American queer Muslim organizer and artist, from Queens, New York. She is the Organizing Director at 18 Million Rising , building national Asian American political power that contributes to movements for racial justice, abolition, anti-militarism, and democracy through political education, and deep base building. She was the Campaign Director of the Liberate Abortion Campaign, managing the coalition of more than 150 reproductive justice and rights organizations, groups, and abortion providers fighting for abortion access. KALPANA RAINA is a senior executive with extensive financial and management experience in the US and internationally. She serves on the boards of Information Services Group , and Words Without Borders. Her collaborative translation project of stories from the Kashmiri language, For Now, It Is Night, was published in Winter 2023 by Harper Collins in India and Spring 2024 by Archipelago Press in the United States. MAIRA KHWAJA is an educator and multimedia producer. She is the director of public strategy at the Invisible Institute . Her work centers on the Youth / Police Project , where she works with young people most affected by policing in the South Side to shape new discussions and efforts around public safety. She was a 2021 Leaders for a New Chicago award winner. She worked as an associate producer on We Grown Now (dir. Minhal Baig), a film about children in now-demolished high-rise public housing. Her work has been published in the South Side Weekly , The Funambulist , and The New York Times . SUNEIL SANZGIRI is an artist, researcher, and filmmaker. Spanning experimental video and film, animations, essays, and installations, his work contends with questions of identity, heritage, culture, and diaspora in relation to structural violence and anticolonial struggles across the Global South. His first institutional solo exhibition Here the Earth Grows Gold opened at the Brooklyn Museum in October 2023. His films have circulated at film festivals and institutions globally, including at the International Film Festival Rotterdam, New York Film Festival, Hong Kong International Film Festival, Criterion Collection, among others. Panel Language 17th Apr 2024 JOSH STEINBAUER is an award-winning filmmaker, musical composer, and visual artist. His work has been shown in Heaven, Third Ward, No Moon, Gen Art, H. Lewis galleries, Harvard Art Museum and American Folk Art Museum , and published in Nowhere Magazine, Terrain, The Offing, Moving Poems, Scroll.in, BrooklynOnDemand , and the Times of India, amongst others. Some of his portrait drawings are currently exhibited at the Long Island City Artists' (LIC-A) newest show Drawing Beyond the Surface , curated by Jorge Posada. On That Note: Heading 5 23rd OCT Heading 5 23rd Oct Heading 5 23rd Oct

“Formal preoccupations are presumed to be a part of the European avant-garde, even though what form and form can be has been deeply influenced by writings from other parts of the world, and the West's straitjacketed understanding of the Renaissance being exposed to that.” | · COMMUNITY Interview · Avant-Garde Origins Origins of Modernism & the Avant-Garde in India “Formal preoccupations are presumed to be a part of the European avant-garde, even though what form and form can be has been deeply influenced by writings from other parts of the world, and the West's straitjacketed understanding of the Renaissance being exposed to that.” Watch the interview on YouTube or IGTV. Author Amit Chaudhuri in conversation with Associate Editor Kamil Ahsan on his previous works, his preoccupations with the banal and the label of "autofiction" that haunts contemporary appraisals of his work. Further, they discuss modernism in India, in particular Tagore's children's books as possibly the first impulse of modernism writ large. In surveying the history of literature and art in colonial India, the consequences of Europe's mistaken claim to originating the avant-garde is a profound ahistorical act, one that patently must be rectified. RECOMMENDED: Sojourn by Amit Chaudhuri (New York Review Books, 2022). SUB-HEAD Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Interview Avant-Garde Origins Modernism Anthology Traditions Vaikom Muhammad Basheer Avant-Garde Form Auto-Fiction Wendy Doniger Multimodal Stream of Consciousness Rabindranath Tagore Tagore as First Impulse of Modernism Literary Activism Impoverished Histories Contradiction Criticism Intellectual History Internationalist Perspective Performance Art Satyajit Ray Avant-Garde Beginnings in India Varavara Rao Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. 4th Oct 2020 AUTHOR · AUTHOR Facebook Twitter LinkedIn Add paragraph text. Click “Edit Text” to customize this theme across your site. 1 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 On That Note:

Novelist Shehan Karunatilaka in conversation with Fiction Editor Kartika Budhwar. COMMUNITY A State of Perpetual War: Fiction & the Sri Lankan Civil War Novelist Shehan Karunatilaka in conversation with Fiction Editor Kartika Budhwar. VOL. 1 INTERVIEW AUTHOR AUTHOR AUTHOR Watch the interview on YouTube or IGTV. ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Watch the interview on YouTube or IGTV. SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ Interview Sri Lanka 10th Jan 2021 Interview Sri Lanka Sri Lankan Civil War Satire Chinaman Tamil Tigers Liberation Tigers of Tamil Eelam Enforced Disappearances Cricket Extrajudicial Killings Kumar Sangakkara Shakthika Sathkumara Sri Lankan Literary Tradition Chats with the Dead Booker Prize Buddhism Ghost Stories Theater South Asian Theater Carl Muller Anarchist Writing Writing about Recent History Discourses of War Janatha Vimukthi Peramuna Marxist-Leninist Uprising JVP Worrying Humor Gallows Humor Absurdity Queerness Gananath Obeyesekere Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. The stereotypes of the commercial sphere, the smiley, happy go lucky, Sri Lankans—there is something to that stereotype. It's not a grim place, even though a lot of grim things take place here. A tragedy will happen, the jokes will start almost immediately. Maybe it's gallows humor or a coping mechanism. Whatever it is, that seems to always be there. RECOMMENDED: This interview took place prior to the publication of Shehan Karunatilaka's Booker-Prize winning novel The Seven Moons of Maali Almeida (Penguin), which he discusses in the interview as a work-in-progress. More Fiction & Poetry: Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5