“The Indian government has been pushing for health IDs with people's biometric data (Aadhaar). It was supposedly voluntary, but it was also required for food subsidies. Health spending in India was less than one percent in 2020—now, the government is commercializing its citizens' health data. Workers are made to work for data without meaningful consent. Many are not even told what they're signing up for.” INTERACTIVE India's Vector Capitalism Model Anumeha Yadav “The Indian government has been pushing for health IDs with people's biometric data (Aadhaar). It was supposedly voluntary, but it was also required for food subsidies. Health spending in India was less than one percent in 2020—now, the government is commercializing its citizens' health data. Workers are made to work for data without meaningful consent. Many are not even told what they're signing up for.” One woman who works in the industrial belt outside Delhi, at a Korean electronics firm. Her husband fell sick, and she lost pay for every day that she attended to him in the hospital. This is somebody who had worked at the same company for nine years, and was still treated like a temp worker. Though she's directly hired by the company, the contractor claims it helped to get her hired, refused to provide pay slips. This is a very common story for working-class workers during lockdown. For our event In Grief, In Solidarity in June 2021, senior editor Sarah Eleazar spoke to labor journalist Anumeha Yadav, then based in Delhi, about India's response to the pandemic, the labor beat within a shrinking journalistic landscape, and how "vector capitalism" can explain the Indian state's neoliberal services and broad approach towards its workers in both the formal and informal sectors. Yadav discussed her reporting regarding how the government's bizarre decisions at the height of the lockdown made life untenable for workers and the impoverished across the board. Barring the government's public pronouncement that landlords should suspend rent payments, Yadav argues that the testimony of workers and unrest, as seen in movements such as the farmers' movement or the harsh conditions of Gujarat, shows how the government engaged in mass abandonment while trying to commercialize the biometric data of over one billion people, as opposed to trying to mitigate the crisis. Data harvesting was far more critical than work and living conditions and significantly more than preventative health measures, which were carried out in the most cursory ways. ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Follow our YouTube channel for updates from past or future events. SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ Live Delhi Event In Grief In Solidarity Aadhaar COVID-19 Lockdown Labor Precarity Standards of Living Living Conditions Biometrics Commercialization Health Workers Health Low-Income Workers Labor Movement Karnataka Literacy Consent Investigative Journalism Ethics of Journalism Labor Reporting Food Subsidies Vector Capitalism Neoliberalism Essential Workers Accountability Production The Great Pause Pandemic Agricultural Labor Alienation Scrap Workers Caste Isolation Haryana's Industrial Belt Automotive Industry Assembly Line Newsroom Farmers' Movement Gujarat ANUMEHA YADAV is a journalist and researcher who works on labour, and the effects of social and economic policies on working-class and rural communities. Her work has been published extensively in The Hindu, The Indian Express, Al Jazeera, The Guardian, and Caravan , amongst others. Live Delhi 5th Jun 2021 On That Note: X Marks The Ghost 15th NOV The Assessment of Veracity: COVID-19 Mutual Aid Organizing 5th JUN Chats Ep. 7 · Karti Dharti, Gender & India's Farmers Movement 29th APR

Tarfia Faizullah's oeuvre is one of poetic attunement to how the temporalities of violence at various scales—be it the mass rape and torture of women in the Bangladesh Liberation War in 1971 or the colonial plunder of cultural artifacts—are linked with crimes of intimacy at the most personal and private level. Eliding cliche, her work is connected by a searching fury at unjust banalities. INTERACTIVE FLUX · Tarfia Faizullah: Poetry Reading Tarfia Faizullah's oeuvre is one of poetic attunement to how the temporalities of violence at various scales—be it the mass rape and torture of women in the Bangladesh Liberation War in 1971 or the colonial plunder of cultural artifacts—are linked with crimes of intimacy at the most personal and private level. Eliding cliche, her work is connected by a searching fury at unjust banalities. Tarfia Faizullah FLUX: An Evening in Dissent A selection of readings by Tarfia Faizullah served as a gentle, immersive break between panels. Faizullah read excerpts from her poetry collections Registers of Illuminated Villages and Seam and the experimental poem Alien of Extraordinary Ability , which we published earlier that year. “ Is this a museum or a border? where there / is a border, does there need to be patrol? ” Faizullah muses in Alien of Extraordinary Ability , a startling and experimental work shifting slowly from a visa alien classification by United States Citizenship and Immigration Services (USCIS) federal agency to the vicissitudes of borders, abuse, and plunder simultaneously intimate and global: speaking with one voice, then with many, often within a single verse or phrase. Jaishri Abichandani's Art Studio Tour 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 FLUX: An Evening in Dissent A selection of readings by Tarfia Faizullah served as a gentle, immersive break between panels. Faizullah read excerpts from her poetry collections Registers of Illuminated Villages and Seam and the experimental poem Alien of Extraordinary Ability , which we published earlier that year. “ Is this a museum or a border? where there / is a border, does there need to be patrol? ” Faizullah muses in Alien of Extraordinary Ability , a startling and experimental work shifting slowly from a visa alien classification by United States Citizenship and Immigration Services (USCIS) federal agency to the vicissitudes of borders, abuse, and plunder simultaneously intimate and global: speaking with one voice, then with many, often within a single verse or phrase. Jaishri Abichandani's Art Studio Tour 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 SUB-HEAD ALSO IN THIS ISSUE: Clare Patrick (Our) Worlds and (Plant) Wisdoms Kareen Adam · Nazish Chunara A Dhivehi Artists Showcase Watch the event in full on IGTV. SHARE Facebook Twitter LinkedIn Event Dallas Live FLUX Published Work Poetry Alien of Extraordinary Ability Seam Reading Bangladeshi Diapora Bangladesh Immigration Work Authorization Borders Visa TARFIA FAIZULLAH is the author of two poetry collections, Registers of Illuminated Villages (Graywolf, 2018) and Seam (SIU, 2014). Tarfia’s writing appears widely in the U.S. and abroad in the Daily Star, Hindu Business Line, BuzzFeed, PBS News Hour, Huffington Post, Poetry Magazine, Ms. Magazine, the Academy of American Poets, Oxford American, the New Republic, the Nation, Halal If You Hear Me (Haymarket, 2019), and has been displayed at the Smithsonian, the Rubin Museum of Art, and elsewhere. Tarfia is currently based in Dallas. 5 Dec 2020 Event Dallas 5th Dec 2020 Chats Ep. 9 · On the Essay Collection “Southbound” Anjali Enjeti 19th May FLUX · Poetry Reading by Rajiv Mohabir with Marginalia Rajiv Mohabir 5th Dec FLUX · Natasha Noorani Unplugged: "Choro" Natasha Noorani 5th Dec FLUX · A Celebratory Set by DJ Kiran Darakshan Raja 5th Dec Alien of Extraordinary Ability Tarfia Faizullah 13th Oct On That Note:

Artist and activist-scholar Aqui Thami, in conversation with Comics Editor Shreyas R Krishnan. COMMUNITY Rethinking the Library with Sister Library AUTHOR AUTHOR AUTHOR Artist and activist-scholar Aqui Thami, in conversation with Comics Editor Shreyas R Krishnan. SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Interview Indigeneous Spaces Feminist Spaces Decolonization Community Building Community-Owned Public Space Sister Library Sister Radio Kochi-Muziris Biennale Dharavi Bombay Underground Indigenous Art Practice Indigeneity Zines Pedagogy Public Arts Public History Archival Practice 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. DISPATCH Interview Indigeneous Spaces 21st Oct 2020 I really wanted to rethink what a library could mean, and show that most libraries are funded by monies that come from the exploitation and relocation of indigenous peoples. [Sister Library] is what comes out of that. RECOMMENDED: Support Sister Library , the first ever community-owned feminist library in India, here . 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 Next Up:

Early in 2022, the signs of an unprecedented and historic movement in Sri Lanka were already visible. A dire economic crisis and a corrupt and languid government from a political dynasty that had ruled for many years in Sri Lanka bred discontent of unprecedented proportions, leading to the Aragalaya. This photo essay documents some of the earliest days of the protests. FEATURES Scenes From Gotagogama Early in 2022, the signs of an unprecedented and historic movement in Sri Lanka were already visible. A dire economic crisis and a corrupt and languid government from a political dynasty that had ruled for many years in Sri Lanka bred discontent of unprecedented proportions, leading to the Aragalaya. This photo essay documents some of the earliest days of the protests. Sakina Aliakbar · Ruvin De Silva EDITOR'S NOTE: In March 2022, I was in Colombo, hosting the Fearless Ambassadors' Residency with our team. Artists had gathered from across South Asia to paint two murals in the streets of Colombo. When we arrived, little did we know that the country would break into one of the biggest protests that it has seen. There were big rallies of people burning party flags and shouting, "Gota Go Back!" A people divided had come together. Years of corruption and divisive politics led the country to one of its worst socio-political and economic crises since independence, resulting in people protesting against the incumbent President and the government. The protests, led purely by the people of Sri Lanka, especially the younger generation, supported by the workers' and students' unions, started in early March 2022 and spread islandwide. Rage in their eyes, they walked hand in hand, ready to take down the government that had left them to face acute shortages of food, fuel, and other basic supplies because of its ridiculous policies followed by the pandemic leaving the country bankrupt. It is no longer only about reform or political change but a matter of survival for the people of Sri Lanka. They were tired. Their life-long savings had been reduced to nothing. There was no petrol or cooking oil. There were long queues everywhere, anger and despair at every nook. They demanded justice for journalists and activists killed in the past and decried corruption and deception from the uppermost echelons of power. The protest in front of the Presidential Secretariat soon turned into a model village called "Gotagogama" (Go Gota Village). While the protests were peaceful, police fired tear gas at the protestors and assaulted them in an attempt to stifle the protests. There were artworks lined up, medical camps, IT support stations, and community libraries, all in one place, as if the people were reimagining every system that existed. Every morning we could see our friends and colleagues plan and participate in rallies and protests. We made posters and stood with them with affirmations such as "Take back our power" and "We are our own leaders" being passed across the streets. There was hopelessness but also a will to dismantle the system. These photographs were taken as part of the first wave of protests that broke out. Much happened after that. A few months later, in June, the people marched into the President's house and took over, watered his plants, picnic-ed in his lawns, slept in his bed, and made memes as a protest. The government changed, the village was taken down, more protestors and activists were arrested, and mysteriously disappeared. Gota Go Gama didn't exist anymore. When work took me to Colombo again later that year, I saw no big protests. Instead, I saw shoulders carrying hopelessness, eyes filled with broken dreams, and a lot of perseverance. People are struggling to get back to "normal." The new guard is no better. It has tried every tactic to crack down on anti-government movements. The real causes of the crisis are yet to be solved. Sri Lanka still awaits an IMF bailout and assurances from China and India, while the people's struggle will continue. Their struggle requires thinking about what has transpired: Harshana Rambukwella's analysis is a strong partner to the photo essay that follows. But one thing is clear: the movement of people in Sri Lanka may have subsided, but something new to Sri Lanka began in 2022. —Sabika Abbas Naqvi, Senior Editor From the earliest days, the youth were a significant driving factor in the protests against the Rajapakse government. A creative representation of the expectations of protestors using the colour red, a signifying motif of the Rajapakse regime. The Rajapaksas have been known to weaponise the colour red and inculcate hate among racial groups through their choice of clothing and colours. Protestors are using this motif against them in an ironic way. The sign translates to: "The oppressed in the queue while the oppressor is in the mansion." With such signs, protestors pointed clearly to dwindling supplies of essential resources among ordinary citizens, while those in power remain unaffected. Many children attended the protests, inciting larger conversations on politics and accountability within families—a first for many Sri Lankans. First rain at the protest site: Determined citizens continued to protest in thunderstorms and heavy rainfall. The breeding ground of Gotagogama, where the largest record of citizens gathered outside the Presidential Secretariat’s office. On March 31st 2022, a protest in Mirihana, Nugegoda (a suburb of Colombo) sparked a chain of organic and interminable protests across the country. The crowd present at this protest blocked a police bus from entering the protest site. 37 people were injured, 53 were arrested. Several journalists were brutally assaulted, with at least 6 arrested by Sri Lanka's Special Task Force. Protestors of all ages hold up signs reflecting the magnitude of the economic crisis in Sri Lanka created by the current government. Pleas to the government to right their wrongs, taken at the largest youth-led protest at Independence Square, Colombo. A figure of Mahinda Rajapakse, then-Prime Minister and Gotabhaya Rajapakse's brother, depicted holding a self-imposed request to be struck by lightning: a popular curse in Sinhalese folklore. A group of nuns join the protest to show their solidarity and dissent against the current government. People continued their fight well into the night, with many Muslims breaking their fast during the holy month of Ramadan coinciding with the beginning of summer. EDITOR'S NOTE: In March 2022, I was in Colombo, hosting the Fearless Ambassadors' Residency with our team. Artists had gathered from across South Asia to paint two murals in the streets of Colombo. When we arrived, little did we know that the country would break into one of the biggest protests that it has seen. There were big rallies of people burning party flags and shouting, "Gota Go Back!" A people divided had come together. Years of corruption and divisive politics led the country to one of its worst socio-political and economic crises since independence, resulting in people protesting against the incumbent President and the government. The protests, led purely by the people of Sri Lanka, especially the younger generation, supported by the workers' and students' unions, started in early March 2022 and spread islandwide. Rage in their eyes, they walked hand in hand, ready to take down the government that had left them to face acute shortages of food, fuel, and other basic supplies because of its ridiculous policies followed by the pandemic leaving the country bankrupt. It is no longer only about reform or political change but a matter of survival for the people of Sri Lanka. They were tired. Their life-long savings had been reduced to nothing. There was no petrol or cooking oil. There were long queues everywhere, anger and despair at every nook. They demanded justice for journalists and activists killed in the past and decried corruption and deception from the uppermost echelons of power. The protest in front of the Presidential Secretariat soon turned into a model village called "Gotagogama" (Go Gota Village). While the protests were peaceful, police fired tear gas at the protestors and assaulted them in an attempt to stifle the protests. There were artworks lined up, medical camps, IT support stations, and community libraries, all in one place, as if the people were reimagining every system that existed. Every morning we could see our friends and colleagues plan and participate in rallies and protests. We made posters and stood with them with affirmations such as "Take back our power" and "We are our own leaders" being passed across the streets. There was hopelessness but also a will to dismantle the system. These photographs were taken as part of the first wave of protests that broke out. Much happened after that. A few months later, in June, the people marched into the President's house and took over, watered his plants, picnic-ed in his lawns, slept in his bed, and made memes as a protest. The government changed, the village was taken down, more protestors and activists were arrested, and mysteriously disappeared. Gota Go Gama didn't exist anymore. When work took me to Colombo again later that year, I saw no big protests. Instead, I saw shoulders carrying hopelessness, eyes filled with broken dreams, and a lot of perseverance. People are struggling to get back to "normal." The new guard is no better. It has tried every tactic to crack down on anti-government movements. The real causes of the crisis are yet to be solved. Sri Lanka still awaits an IMF bailout and assurances from China and India, while the people's struggle will continue. Their struggle requires thinking about what has transpired: Harshana Rambukwella's analysis is a strong partner to the photo essay that follows. But one thing is clear: the movement of people in Sri Lanka may have subsided, but something new to Sri Lanka began in 2022. —Sabika Abbas Naqvi, Senior Editor From the earliest days, the youth were a significant driving factor in the protests against the Rajapakse government. A creative representation of the expectations of protestors using the colour red, a signifying motif of the Rajapakse regime. The Rajapaksas have been known to weaponise the colour red and inculcate hate among racial groups through their choice of clothing and colours. Protestors are using this motif against them in an ironic way. The sign translates to: "The oppressed in the queue while the oppressor is in the mansion." With such signs, protestors pointed clearly to dwindling supplies of essential resources among ordinary citizens, while those in power remain unaffected. Many children attended the protests, inciting larger conversations on politics and accountability within families—a first for many Sri Lankans. First rain at the protest site: Determined citizens continued to protest in thunderstorms and heavy rainfall. The breeding ground of Gotagogama, where the largest record of citizens gathered outside the Presidential Secretariat’s office. On March 31st 2022, a protest in Mirihana, Nugegoda (a suburb of Colombo) sparked a chain of organic and interminable protests across the country. The crowd present at this protest blocked a police bus from entering the protest site. 37 people were injured, 53 were arrested. Several journalists were brutally assaulted, with at least 6 arrested by Sri Lanka's Special Task Force. Protestors of all ages hold up signs reflecting the magnitude of the economic crisis in Sri Lanka created by the current government. Pleas to the government to right their wrongs, taken at the largest youth-led protest at Independence Square, Colombo. A figure of Mahinda Rajapakse, then-Prime Minister and Gotabhaya Rajapakse's brother, depicted holding a self-imposed request to be struck by lightning: a popular curse in Sinhalese folklore. A group of nuns join the protest to show their solidarity and dissent against the current government. People continued their fight well into the night, with many Muslims breaking their fast during the holy month of Ramadan coinciding with the beginning of summer. SUB-HEAD ALSO IN THIS ISSUE: Clare Patrick (Our) Worlds and (Plant) Wisdoms Kareen Adam · Nazish Chunara A Dhivehi Artists Showcase A group of protestors wave the Sri Lankan flag on the 10th day of protests at Galle Face Green, unofficially named Gotagogama among locals. SHARE Facebook Twitter LinkedIn Photo-Essay Sri Lanka Gotagogama Aragalaya Movement Organization Capitalism Economic Crisis Energy Crisis Galle Face Green Mass Protests Mahinda Rajapaksa Gotabhaya Rajapaksa Low-Income Workers Ramadan SAKINA ALIAKBAR is a writer, editor, filmmaker, actor, educator and an evolving music artist. She is based in Colombo. RUVIN DE SILVA is an acclaimed actor, director, and award-winning photographer from Colombo, Sri Lanka. 23 Feb 2023 Photo-Essay Sri Lanka 23rd Feb 2023 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:

WRITER-TRANSLATOR Kabita Chakma 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. WRITER-TRANSLATOR WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

“We're not post-colonial. We're post-colonized...Even if purportedly colonialism ended, it didn't end for the languages we speak, for the passports we hold, for the laws that govern our lives. To claim post-coloniality is a mirage.” COMMUNITY Inventing South Asia “We're not post-colonial. We're post-colonized...Even if purportedly colonialism ended, it didn't end for the languages we speak, for the passports we hold, for the laws that govern our lives. To claim post-coloniality is a mirage.” Manan Ahmed Asif We're not post-colonial. We're post-colonized...Even if purportedly colonialism ended, it didn't end for the languages we speak, for the passports we hold, for the laws that govern our lives. To claim post-coloniality is a mirage. RECOMMENDED: The Loss of Hindustan: The Invention of India by Manan Ahmed Asif (Harvard University Press, 2020). We're not post-colonial. We're post-colonized...Even if purportedly colonialism ended, it didn't end for the languages we speak, for the passports we hold, for the laws that govern our lives. To claim post-coloniality is a mirage. RECOMMENDED: The Loss of Hindustan: The Invention of India by Manan Ahmed Asif (Harvard University Press, 2020). SUB-HEAD ALSO IN THIS ISSUE: Clare Patrick (Our) Worlds and (Plant) Wisdoms Kareen Adam · Nazish Chunara A Dhivehi Artists Showcase Watch the interview on YouTube or IGTV. SHARE Facebook Twitter LinkedIn Interview Karachi The Loss of Hindustan Intellectual History South Asia as a Term Experimental Methods Language Postcolonialism Karachi University Chachnama KK Aziz Michel-Rolph Trouillot Nationalism Postcolonialism as Myth South Asian Studies Columbia University Partition Manan Ahmed is an Associate Professor of History at Columbia University. He is a historian of South Asia and the littoral western Indian Ocean world from 1000-1800 CE. He is the author of four books, including The Loss of Hindustan: The Invention of India, and Disrupted City: Walking the Pathways of Memory and History in Lahore . 2 Sept 2020 Interview Karachi 2nd Sep 2020 Chats Ep. 8 · On Migrations in Global History Neilesh Bose 4th May Nation-State Constraints on Identity & Intimacy Chaitali Sen 17th Dec Bengali Nationalism & the Chittagong Hill Tracts Kabita Chakma 9th Dec Four Lives Aamer Hussein 25th Nov Romantic Literature and Colonialism Mani Samriti Chander 13th Nov On That Note:

“We looked at all these old EMI vinyl album covers. I remember listening to the song and thinking: 'This song is pink.'” | Live · INTERACTIVE Live · Lahore Natasha Noorani's Retro Aesthetic “We looked at all these old EMI vinyl album covers. I remember listening to the song and thinking: 'This song is pink.'” Follow our YouTube channel for updates from past or future events. Natasha Noorani released “Choro,” the first single from her new album, on 24th May 2021. She first performed it unplugged for SAAG's previous online event, FLUX . As part of In Grief, In Solidarity , Noorani discussed what inspired the music video's aesthetic with SAAG advisory editor Senna Ahmad, with whom Noorani collaborated on “Choro.” For both, it was a risk, a labor of love, and a long-awaited collaboration—each of which speaks to how Noorani chooses to provoke and pay homage to Pakistani pop music in equal measure. Watch to hear more about their vision, how the pandemic affected the shoot of the music video, their numerous inspiration boards, their shared love for the music of the eighties and nineties, Urdu typography, and more. SUB-HEAD Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Live Lahore Music Contemporary Music Retro Aesthetics Nostalgia Typography Contemporary Pop Pakistani Pop Music Video Homage Cover Art In Grief In Solidarity Fashion Haseena Moin Selfies Embroidery Color Art Practice Visual Art Collaboration Vinyl Urdu Music 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. 5th Jun 2021 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:

The co-founder of the women-led publication Karti Dharti discusses India's farmers' movement, the intersecting realities of gender, and Dalit labour, the motivation to create Karti Dharti, the fifth edition of which you can read in Gurmukhi. INTERACTIVE Chats Ep. 7 · Karti Dharti, Gender & India's Farmers Movement The co-founder of the women-led publication Karti Dharti discusses India's farmers' movement, the intersecting realities of gender, and Dalit labour, the motivation to create Karti Dharti, the fifth edition of which you can read in Gurmukhi. VOL. 1 LIVE AUTHOR AUTHOR AUTHOR Subscribe to our newsletter for updates on SAAG Chats, an informal series of live events on Instagram. ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Subscribe to our newsletter for updates on SAAG Chats, an informal series of live events on Instagram. SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ Live Punjab 29th Apr 2021 Live Punjab Farm Ordinances Movement Organization Gender Mass Protests Media Blackout Media Delhi Chandigarh Women's Participation Displacement Sit-ins Disinformation COVID-19 Urban/Rural Urbanization Police Action Policing Citizenship Amendment Act Protests CAA Protests NRC Protests Accountability Pragmatic Realities of Protest Kisan Mazdoor Ekta Sanyukt Kisan Morcha Labor Agricultural Labor Solidarity Organic Solidarity Dalit Histories Dalit Labor Class Struggle Caste Political Economy Village Economies Domestic Labor Farmers' Movement India Indian Fascism India Today Activist Media Agrarian Economy Agriculture Alienation Gurmukhi Protests Movement Strategy Labor Movement Workers Movements Haryana Working-Class Stories Women and Gender Studies in India SAAG Chats Environment Climate Change 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. Karti Dharti is a women-led publication that highlights diverse voices from the farmers’ movement. Understanding how gender, the COVID crisis, and the farmers' movement in India intersect is of critical importance. In April 2021, Drama Editor Esthappen S. chatted with Karti Dharti's Founder-Editor, Sangeet Toor, on Instagram Live, about Karti Dharti's history, the state of the farmers' movement in India at the time. They mapped out the nature of the movement itself, especially as it pertains to gender, discuss the challenges it faced. Toor described how the magazine focuses on the intersection of gender and movement politics. Read the fifth edition of Karti Dharti here . 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

Author and translator Jenny Bhatt in conversation with Editor Kamil Ahsan. | · COMMUNITY Interview · Dallas Authenticity & Exoticism Author and translator Jenny Bhatt in conversation with Editor Kamil Ahsan. Watch the interview on YouTube or IGTV. Often when we get invited to public arenas, we end up having to talk about immigration, or discrimination—and we never really get to talk about craft. RECOMMENDED: The Shehnai Virtuoso and Other Stories , the first substantive English translation of the Gujarati short story pioneer, Dhumketu (1892–1965 .) The first book-length Gujarati to English translation published in the US, translated by Jenny Bhatt. SUB-HEAD Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Interview Dallas Diaspora Short Stories Debut Authors Writing After Loss L.L. McKinney Gujarat Riots Gujarati Modi Kuchibhotla Hindutva Paratext Authenticity Exoticism Desi Books Internationalist Solidarity Literary Solidarity Community Building Translation Affect Personal History Perspective 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 Sep 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:

ARTIST Thomash Changmai THOMASH CHANGMAI is a multidisciplinary artist from Assam, India. Holding a master's degree from MS University Baroda in the Faculty of Fine Arts, Sculpture Department, his practice spans installation-based sculpture, 3D animation, and sustainable art using repurposed materials. His work reflects on environmental issues and personal experiences with life struggles, offering poetic expressions through visual art. ARTIST WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

“I think of works like Shona N. Jackson's Creole Indigeneity, and fleshing out the narrative of brown movement. And, importantly, doing it in a way that decenters the United States, because, with indentureship we're talking about the movement from South Asia largely to the Caribbean.” | Interview · COMMUNITY Interview · Romanticism Romantic Literature and Colonialism “I think of works like Shona N. Jackson's Creole Indigeneity, and fleshing out the narrative of brown movement. And, importantly, doing it in a way that decenters the United States, because, with indentureship we're talking about the movement from South Asia largely to the Caribbean.” Watch the interview on YouTube or IGTV. I couldn't imagine devoting any more time to Keats and Wordsworth and Shelley and Byron. So I turned to Brown Romantics where I looked at how Romantic ideas, philosophies, politics, and techniques were mobilized ends towards nationalist ends by 19th century writers in India, Australia and British Guyana. RECOMMENDED: Brown Romantics: Poetry and Nationalism in the Global Nineteenth Century (Bucknell University Press, 2017), by Manu Samriti Chander. SUB-HEAD Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Interview Romanticism English Postcolonialism Gayatri Spivak Postcolonial Poetry Romantic Literature & the Colonized World Colonialism Race Post-George Floyd Moment Black Solidarities Indigeneity Creole Indigenous Space Vijay Prashad Ruhel Islam Hufsa Islam Browntology Brown Left Kinship The Undercommons Diaspora Guyana Australia Subaltern Studies Intellectual History Internationalist Perspective Indigeneous Spaces Egbert Martin Henry Derozio Immigration 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. 13th Nov 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:

Art historian Partha Mitter challenges the cultural purity predicated on nationalist myths: natural corollaries of the denial of both the existence of the avant-garde in colonial India. and the very real flow of politics and aesthetics that allowed for the emergence of global modernism. Indian avant-garde art was cosmopolitan, concentrated in Calcutta, Lahore, and Bombay, but it remains a challenge to art historiography nonetheless. COMMUNITY The Pre-Partition Indian Avant-Garde Partha Mitter Art historian Partha Mitter challenges the cultural purity predicated on nationalist myths: natural corollaries of the denial of both the existence of the avant-garde in colonial India. and the very real flow of politics and aesthetics that allowed for the emergence of global modernism. Indian avant-garde art was cosmopolitan, concentrated in Calcutta, Lahore, and Bombay, but it remains a challenge to art historiography nonetheless. South Asian artists often deny the past of our own avant-garde. This is predicated on the nationalist myth of cultural purity fabricated in the 19th century. But if you deny history, you can't do anything. RECOMMENDED: The Triumph of Modernism: India's Avant-Garde 1922-1947 by Partha Mitter (University of Chicago Press, 2007) 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 Art History Avant-Garde Origins 1922 Bauhaus Exhibition Rabindranath Tagore Colonialism Modernism Ernst Gombrich Eric Hobsbawm Primitivism Edward Said Ramkinkar Baij Bombay Progressive Artists Satyajit Ray Intellectual History Global History Avant-Garde Beginnings in India Avant-Garde Traditions Amrita Sher-Gil Academia Art Activism Avant-Garde Form Art Practice Bauhaus Calc Gender Jamini Roy Bidirectional Exchange The Nature of Global History Anti-Colonialism Partition Formalism Geometry Kunst Nationalism Internationalism Vanguardism Gaganendranath Tagore Santiniketan School Abstract Orientalism Art Nouveau Kandinsky Historicism Cubism Malevich Surrealism The Valorization of the Rural Mukhopadhyaya Nandalal Bose Lahore Bombay K. G. Subramanyan Baroda School Hemendranath Mazumdar Plurality of Avant-Gardes Exchange Picasso Manqué Syndrome Cosmopolitanism Hegelian Dialectic Kalighat Samuel Eyzee-Rahamin PARTHA MITTER is an Emeritus Professor at Sussex University, a Member at Wolfson College, Oxford, and an Honorary Fellow at the Victoria and Albert Museum, London. He’s held fellowships from Churchill College and Clare Hall, Cambridge, the Institute for Advanced Study at Princeton, the Getty Research Institute, and others. He was a Radhakrishnan Memorial Lecturer at All Souls College, Oxford. His books include Much Maligned Monsters: History of European Reactions to Indian Art, The Triumph of Modernism: India’s Artists and the Avant-Garde 1922-1947, and others. He works with the Bauhaus Foundation in Berlin and Dessau. Interview Art History 25th Aug 2020 On That Note: Speaking Through the Subaltern 8th JUL Chats Ep. 8 · On Migrations in Global History 4th MAY Nation-State Constraints on Identity & Intimacy 17th DEC