FICTION & POETRY Six Poems In Ayodhya’s sacked Mogul masjid / vultures scrawl Ram on new temple bricks. VOL. 1 31 Oct 2020 RAJIV MOHABIR Ghee Persad I. You know straight away it’s ghee and not oil but you can’t eat it without gambling for the price of home-feelings, you may soon lose a toe, then a foot, then your leg. Call it faith—like drinking Ganga water? Call it an offering, like this sweet, that stood at the bronze feet of the ten- weaponed, tiger-riding Devi. You’ve recounted the tale of how she slew the demon-headed asura who made a compact with the gods so strong they trembled in heaven, how sugar is also divine and terrible. II. First hot the karahi with ghee and paache de flouah till ‘e brown-brown den add de sugah and slow slow pour de milk zat ‘e na must get lumpy. Like you mek fe you sista fust picknki ke nine-day, how you tuhn and tuhn ‘am in de pot hard-hard you han’ been pain you fe days, but now you see how ovah-jai you sistah face been deh. You live fe dis kine sweetness. You eat one lil lil piece an’ know dis a de real t’ing. Like when a-you been small an’ you home been bright wid bhajans play steady, how de paper bag wha’ been get de persad became clear from de ghee you been hable fe see you own face. III. You pass though ever kind watah, there is always new life to celebrate. Seawall At Morning Georgetown, Guyana 2019 What starts at night startles the dawn: rain water replenishes the trench lotus stalks and petals stand tall Seawall signs painted Namasté in acrylic Beyond, the sea silts brown as mud as a frigate soars wings of stone. And beyond: a ship with sails from 1838 I look twice— an oil rig? Another form of bondage? Pandemic Love Poem One by one the yellow jackets leave their nest, a hole covered with decaying leaves that warm the ground and an inert queen they’ve fed all autumn. What sleeps inside will one day burst into a wind of wings. What will wake a sleeping queen? Beneath my waist growing larger, the sting of nights one by one, when I am stranger and stranger to you. We sleep in a converted porch, wooden siding, the wall that insulates what’s inside it which is not you, nor is it me. The bedclothes stiffen with cold. Remember me? One by one peel the yellow sheets from our nest. Prick me with your heat from sleep. Place a cardamom pod under my tongue. Come, dissolve with me. Sita ke Jhumar स्टाब्ब्रुक के बाजार में अंगूठिया गिरी गयल रे। स्टाब्ब्रुक के बाजार में अंगूठिया गिरी गयल रे। हमसे खिसियाई बाकी हमार गलतिया नाहीं । सास करइला चोखा खावे, ससुर दारू पिये। ससुराल में परदेसिया रोटी थपथपे अउर दाल चउंके। आमवा लाये भेजल हमके जीरा लाये भेजल हमके। बाकरा ठगल हमके संगे जाने ना माँगे है। गिनिप लाये भेजल हमके जमुन लाये भेजल हमके। ससुराल में परदेसिया, मासाला पीसे अउर बड़ा तले। ओरहन पेटाइहे हमार माइ के, बाबा से खिसीयाइहे। साँइया खिसियाई हमसे गलतिया नाहीं हमार रामा। स्टाब्ब्रुक के बाजार में अंगूठिया गिरी गयल रे stabroek ke bajar mein anguthi giri gayal re stabroek ke bajar mein anguthiya giri gayal re hamse khisiyayi baki hamar galtiya nahi saas karaila choka khawe sasur daru piye sasural mein pardesiya roti thapthape aur daal chaunke aamwa laye bhejal hamke jira laye bhejal hamke backra thagal hamke sange jane na mange hai guinip laye bhejal hamke hamun laye bhejal hamke sasural mein pardesiya, masala pise aur barah tale orahan petaihai hamar mai ke baba se khisiyai hai saiya khisiyaiyi hamse galtiya nahin hamar rama stabroek ke bajar mein anguthiya giri gayal re Me ring fall from me finga a Stabroek. Me husban’ go vex. He mudda’ wan’ eat karaila chokha, he faddah suck rum steady. Me na nut’in’ to dem. Me does clap a-roti an’ chounke de daal. Me husban’ send me a market fe buy mangro an’ fe get jeera. Backra been tek me ‘way wid dem come, me na been wan’ fe come ‘way. Me husban’ send me mus’ buy guinip an’ jamun. Me na no one fe he mai-baap. Me does pise de masala me does fry de barah. ‘E go sen’ complaint to me mumma an’ vex wid me faddah. Me husban’ go vex wid me but nut’in’ me na do. Me ring fall from me han’ a Stabroek. My ring slipped from my finger, in Stabroek market. My love will be angry for what was his fault. His mother’s eaten karaila chokha his father’s sucked rum. I’m a stranger in their home, clapping roti, spicing daal. My love sent me to buy mangoes, he sent me to buy jeera. Backra kidnapped me; I didn’t want to go. My love sent me to buy guinips, to buy jamun. I’m a stranger in their home, grinding spices, frying barah. He will complain to my mother, gripe to my father. My love, it’s not my fault. My ring fell off in Stabroek market. IN SHIPS [HONORING MAHADAI DAS’ “THEY CAME IN SHIPS”] West— They came dancing and despondent hungry gaunt alone do not forget the field or your blood I lost the yokes of rage in chains. Janam Bhumi In November of 2019 the Indian courts allowed the Modi administration to construct a Ram temple at the site of the demolished 16th century Babri Masjid built by the Mogul ruler Babur. On August 5, 2020 they broke ground for the new mandir. Jai Sri Ram, now god of murder. What is real, Rushi, the forest is now deforest, home its own undoing? Trench lotuses hard as dicks release truth, even the skinks and hawks shrink back into scarcity. What of shanti—? In Ayodhya’s sacked Mogul masjid, vultures scrawl Ram on new temple bricks. Brother, from this mandir of burning, each sunrise mantra shoots itself a poisoned arrow. Each snake prays. The unlit path sparkles maya. ▢ SUB-HEAD ​ ALSO IN THIS ISSUE: SHEBANI RAO A Freelancer's Guide to Decision-Making JAMIL JAN KOCHAI A Premonition; Recollected Artwork by Kareen Adam for SAAG (Monoprinted, digitally animated collage, ink on paper, 2020). SHARE Facebook Twitter LinkedIn Poetry Guyana Indo-Caribbean Bondage Colonialism Mahadai Das Babri Masjid Ayodhya RAJIV MOHABIR is the author of The Cowherd’s Son , The Taxidermist’s Cut, Cutlish, Antiman, and the translator of I Even Regret Night: Holi Songs of Demerara from Awadhi-Bhojpuri. He has received a PEN/Heim Translation Fund Grant Award, the Harold Morton Landon Translation Award from the American Academy of Poets, been shortlisted for the Lambda Literary Award in Gay Nonfiction, and been a finalist for the National Book Critics Circle Award, amongst many other awards. He is currently Assistant Professor at the University of Colorado Boulder. 31 Oct 2020 Poetry Guyana KAREEN ADAM is a Maldivian-Australian visual artist sharing her time between Maldives and Melbourne, Australia. The experience of living between multiple cultures, particularly negotiating between the East and the West informs her practice. Ideas about transitions, cultural identity, and the juncture between 'local' and the 'visitor' emerge in her work. Her current projects explore representations of island tourist destinations and island diaspora. Kareen explores these ideas using various mediums including printmaking, drawing, painting and digital multi-media. Kareen is the creator and maker “Kudaingili”—a range of hand-made, hand-printed products. Kareen has curated exhibitions, and exhibited her art works in Maldives, Brisbane, Melbourne, Hong Kong, and the Asia Pacific region. She has a Diploma in Visual Arts from the Southbank Institute of Technology, Brisbane and a Postgraduate Diploma in Psychology from the Queensland University of Technology. Skulls Apr 4, 2023 K ZA WIN Disappearing Act Apr 2, 2021 ANONYMOUS Alien of Extraordinary Ability Oct 13, 2020 TARFIA FAIZULLAH Four Lives Nov 25, 2020 AAMER HUSSEIN A Premonition; Recollected Oct 18, 2020 JAMIL JAN KOCHAI MORE LIKE THIS

COMMUNITY Vol. 2 Launch Event: "Apertures" Album Release with the Vagabonds Trio A live performance & launch event for Volume 2 of SAAG. VOL. 2 ISSUE 1 19 May 2023 LIVE PERFORMANCE AUTHOR AUTHOR AUTHOR SUB-HEAD Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 A live performance by experimental Rajna Swaminathan, Ganavya & Utsav Lal. SHARE Facebook Twitter LinkedIn Live Performance Brooklyn Experimental Music Jazz mrudangam Rajna Swaminathan Apertures Ganavya Utsav Lal Launch Event Contemporary Music Ropeadope Miles Okazaki Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. DISPATCH Live Performance Brooklyn 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. On May 12th, 2023, SAAG hosted a launch event for Vol. 2 at the Soapbox Gallery in Brooklyn, for which we were delighted to present the experimental and deeply moving musical compositions of the Vagabonds Trio: Rajna Swaminathan (mrudangam/voice), Ganavya (voice), and Utsav Lal (piano) who we had the pleasure of collaborating with a second time after his opening performance for In Grief, In Solidarity . They were joined partway by Miles Okazaki (guitar). To showcase musicians with such incredible musical range, a commitment to radicalism and social justice as expressed in the lyricism and melodies, and a deep rigor and discipline with their craft, was a true honor. We hope you enjoy the recording of the live event and the improvisational way it shifted from the respective discographies of each member of the trio, shifting seamlessly from several languages, including Tamil, English, Urdu, and more. Most of all, the performance celebrates the release of Rajna Swaminathan's new album Apertures (Ropeadope, Apr 28th), available to buy or stream now . 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

COMMUNITY Nation-State Constraints on Identity & Intimacy Author Chaitali Sen in conversation with Fiction Editor Hananah Zaheer. VOL. 1 17 Dec 2020 INTERVIEW AUTHOR AUTHOR AUTHOR SUB-HEAD Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. 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 Literary Solidarity Bengali Internationalist Solidarity Black Solidarities Satyajit Ray Statelessness Colonialism Language South Asian Women's Creative Collective South Asians Against Police Brutality Abner Louima Anthony Baez Literature & Liberation Diaspora Identity Community Building Post-George Floyd Moment Immigration Race & Genre Short Stories Fiction Avant-Garde Form Avant-Garde Traditions Emancipatory Politics Experimental Methods Rabindranath Tagore Mrinal Sen Separatism Tamil Separatists Punjabi Separatists Rajiv Gandhi Separatist Movements in India Indian Diaspora Syria Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. DISPATCH Interview Literary Solidarity 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. I fight for a world without borders, but they're borders wrenched in reaction to colonialism, and fortified against the spread of English. It's interesting how capitalism homogenizes while making people want to put up walls. RECOMMENDED: A New Race of Men from Heaven: Stories (Sarabande, 2023) by Chaitali Sen 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

INTERACTIVE Chats Ep. 9: Karti Dharti, Gender & India's Farmers Movement On the pragmatic reality for women's and Dalit laborers' presence in farmers' movement protests. VOL. 1 29 Apr 2021 LIVE AUTHOR AUTHOR AUTHOR SUB-HEAD Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. 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 Farmers' Movement India Indian Fascism 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 Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. DISPATCH Live Farmers' Movement 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. Drama Editor Esthappen S. chatted with Founder-Editor Sangeet Toor in a live show in April 2021 about Karti Dharti , the history and present of the farmers' movement in India, and the magazine's focus on gender as it intersects with movements politics. 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 VERTICAL Saffronizing Bollywood An anthropologist explores Bollywood creatives to trace BJP's carrot-and-stick strategy with Bollywood creatives: both controlling and regulating Bollywood in order to create a consistent and normative film culture that perpetuates Hindutva ideology. VOL. 2 15 Apr 2024 RESEARCH AUTHOR AUTHOR AUTHOR SUB-HEAD Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Courtesy of Shyama Golden. Watching You Watching Me. Oil on wood. 36″ Tondo (2023). SHARE Facebook Twitter LinkedIn Research Bombay BJP Bollywood Sushant Singh Rajput The Kashmir Files Films Cinema Hindutva Kashmir Shakuntala Banaji Kunal Purohit Censorship Shah Rukh Khan Rachel Dwyer Aryan Khan Samanth Subramaniam Love Jihad Box Office Commercialization Tejaswini Ganti Fascism Ethnography India Advertising Bhuj The Kerala Story Priya Joshi Article 370 Yami Gautam Ien Ang John Hartley Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. DISPATCH Research Bombay 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. In 2022, India’s Hindi film industry was in the throes of a crisis. Bollywood, as the industry is colloquially known, was still bucking from a pandemic which had injured film industries worldwide. Multiple mainstream movies, helmed by some of the industry’s biggest stars, from Aamir Khan to Akshay Kumar to Ranveer Singh, were failing miserably at the box office. Since the tragic suicide of an actor named Sushant Singh Rajput in June 2020, a rabid social media movement in India had been calling for people to #BoycottBollywood for its alleged complicity in Rajput’s death and painted it as a hotbed of elitism, drugs, and moral bankruptcy. This was coordinated “collusive behavior”, one study suggested, to engineer a frenzy of conspiracy theories. Members affiliated with India’s ruling Bharatiya Janata Party (BJP), another study found, especially pushed the narrative of Rajput’s death being a “murder”, driving the hashtag #JusticeForSSR to receive over 65 million active interactions in just six months. Amid this political powder keg and socioeconomic crisis, one film gained unprecedented success. A film with no stars, no popular songs, and none of the typical, crowd-pleasing conventions of mainstream commercial Hindi cinema. Released on 11 March 2022, The Kashmir Files claims to depict the 1990 Kashmiri Pandit (Hindu) exodus, but through crucial omissions—of the Indian army’s pervasive presence, unlawful detentions, and rapes of women across religions; well-documented cases of Kashmiri Muslims risking peril to protect Hindu friends ; and the thousands of Kashmiri Muslims who also died and fled Kashmir —creates a dangerously one-sided representation of Muslim violence against Hindus. In one scene, the menacing, kohl-eyed Muslim antagonist Bitta compels a Hindu widow to eat rice soaked in her dead husband’s blood. In yet another, he shreds open a bright saffron kurta off a Hindu woman and publicly brutalises her. The film uses shock value to incite Hindus towards collective anger, humiliation, and anti-Muslim hatred. The Kashmir Files opened to a modest figure of INR 3.55 crores. The following day, however, Indian Prime Minister Narendra Modi personally met with its makers and took a picture with them that was widely circulated on social media. “More such movies should be made,” Modi publicly said three days later, praising the film for showing “the truth which has been suppressed for years”. Other BJP leaders also endorsed the film – they organised special screenings and events, while the BJP’s information and technology cell and copious sympathetic media outlets provided incessant buzz and press coverage . The film was also given the coveted tax-free status in several exclusively BJP-ruled states. Though made with a modest budget of only INR 25 crores, with a little bit of “help”, The Kashmir Files eventually collected a whopping INR 247 crores domestically. It was a certified blockbuster. The BJP and Hindutva Founded in 1980, the BJP functions as the political wing of the Rashtriya Swayamsevak Sangh (RSS), a Hindutva organisation active since 1925. Hindutva—the ideology of Hindu nationalism—conceives India as a Hindu nation, relegating Muslims and other minorities to second-class status. Historically, its ideologues drew inspiration from German Nazism and Italian fascism, while its closest ideological counterpart today is Israeli Zionism . The BJP has independently governed India since it won the national elections in 2014 by interlacing Hindutva with populist rhetoric under the leadership of Modi, a former RSS worker who oversaw an anti-Muslim pogrom in 2002 when he was the Chief Minister of the state of Gujarat. His purported victory, according to political scientist Christophe Jaffrelot, ushered in a new era for the nation, characterised by weakened state institutions, a distorted electoral process, and sanctioned violence against minorities, transforming India into an authoritarian Hindu state. The Bollywood industry is ultimately highly decentralised, commercially driven, and blockbuster-oriented. Politics seems peripheral to the eternal quest for the elusive box office hit. Then how has the BJP succeeded so profoundly? The Modi government has particularly weaponised the media to fuel Islamophobia. It has widely spread misinformation, enabling what media scholar Shakuntala Banaji has called the “mainstreaming” of intolerance. In his new book H-Pop (2023), independent journalist Kunal Purohit examines how the wider Hindu Right has harnessed popular culture forms such as music, poetry and books to disseminate and entrench Hindutva in popular and mass imagination. In this vein, Bollywood is a crucial fourth frontier. As India’s most prolific and powerful media industry, it is a key source of soft power and plays a crucial role in defining dominant conceptions of nationhood, belonging, and culture. As anthropologist Tejaswini Ganti writes in Bollywood: A Guidebook to Popular Hindi Cinema (2013) , Bollywood is also “perhaps the least religiously segregated place in India today where Hindus and Muslims work together as well as inter-marry”. Some of its most successful stars, directors, and other key members are Muslim. Many of its biggest hits over the years have celebrated Indian secularism and interreligious harmony, according to film scholar Rachel Dwyer, from Mughal-e-Azam (1960) and Amar Akbar Anthony (1977), to Veer-Zaara (2004), PK (2014), and Bajrangi Bhaijaan (2015) . Today, a slew of at least 10 brazenly Hindutva propaganda films are swamping Indian voters ahead of the upcoming national elections in May 2024. It is the outcome of many years of moulding and steadily saffronizing India’s Hindi film industry, most aggressively since the COVID-19 pandemic. This is the subject of my master’s dissertation, for which I conducted three months of fieldwork in Mumbai in the Summer of 2023, and conducted several interviews with prominent writers, directors, producers, actors, and journalists of Bollywood. All names have been anonymized in this essay. The BJP has used a carrot-and-stick strategy to control and regulate Bollywood ’s influence: a combination of bullying, along with promoting films that most brazenly perpetuate their Hindutva ideology. Yet for the most part, members of Bollywood have continued to eschew political binaries between left and right, instead seeing themselves as existing outside of the realms of politics and ideology. “The only God,” a veteran film critic and journalist told me, “is the box office.” The Bollywood industry is ultimately highly decentralised, commercially driven, and blockbuster-oriented. Politics seems peripheral to the eternal quest for the elusive box office hit. Then how has the BJP succeeded so profoundly? Fear and Censorship Alongside its elaborate army of online trolls, the BJP has not hesitated to use its hard power on Bollywood. They have incited mobs, engineered police cases, and orchestrated arbitrary arrests. When the Amazon series Tandav released in January 2021, for example, members of grassroots Hindu nationalist organisations filed police complaints against a Muslim actor Mohammed Zeeshaan Ayyub and the showrunners in four different Indian states, alleging offence to Hindu religious sentiments. The crime? A character named Shiva, played by Ayyub, uses profanity while portraying his namesake Hindu deity in a student play. When Amazon petitioned the Supreme Court to protect the showrunners from arrest while these cases were sub judice , this was denied. In another incident on 3 October 2021, inspectors of the Narcotics Control Bureau arrested Aryan Khan, the superstar Shah Rukh Khan’s then 23-year-old son, in a Mumbai port terminal. Despite lack of evidence, the agents imprisoned him for nearly a month before granting him bail, finally dropping all charges in early 2022. “Had a government agency really imprisoned Aryan Khan without proof, as pure intimidation?” questioned journalist Samanth Subramanian in The New Yorker . “The rest of Bollywood, meanwhile, absorbed the news as the most cautionary tale of all: if they could do this to the king, imagine what they could do to us.” In January 2023, the mammoth success of Shah Rukh Khan-starrer Pathaan , despite widespread calls for its boycott , not only revived Bollywood’s box office slump but was also touted as a victory over the Hindu Right . The social media boycotts, many in the industry concluded, were all bark and no bite. Subsequent consecutive successes of several Hindi films in 2023— Jawan, Animal, Gadar 2— compounded upon a palpable sense of triumph, with proclamations that “ Bollywood is back ”. But beyond boycotts and the habitually extreme ebbs and flows of the box office, the BJP has remained successful in its attempts at stoking fear and a pervading atmosphere of censorship, one that has now become naturalised in the industry. “You don't just deal with these issues when your film or your show is coming out,” one writer-director-producer said to me. “You're dealing with them while you are writing. There is a psychological aspect to it.” Many key Bollywood members I interviewed shared how their creative process now includes several additional considerations, like avoiding depicting green and saffron colours and any religious symbols and erasing any critiques of the police or politicians in the narrative. This was not the case before even 2020. A screenwriter named it the “chilling effect” – a perpetual state of cowering invoked in the face of the BJP’s “bullying tactics.” “You just have to stay in line,” he reflected, “ That builds a self-censorship inside you.” The New Blockbuster While the BJP suppresses, it also amplifies. In the case of The Kashmir Files , the party’s vigorous promotion of the film created a replicable template for a new kind of unabashedly bigoted blockbuster. In 2023, it was recreated by Sudipto Sen-directed The Kerala Story . Early promotions of the film claimed to tell a “spine-chilling, never told before true story” of 32,000 girls from Kerala who’ve been converted to Islam, manipulated into joining ISIS, and “buried in the deserts of Syria and Yemen”. This claim is demonstrably false , with the makers themselves later backtracking and saying they were showing the “true stories of three young girls from different parts of Kerala”. However, in the film, one character passionately declares to a policeman: “More than 30,000 girls are missing, sir. The unofficial number is 50,000. We all believe that, sir”. Simplistic and unsubtle, The Kerala Story cherry-picks and distorts disparate, extremely rare “true stories” and manipulates them to peddle the Hindu nationalist “Love Jihad” conspiracy theory and construct a heightened sense of fear and distrust of Muslims. In one scene, the protagonist Shalini’s (now Fatima) husband rapes her, using Islam as justification, and later slaps her for protesting as she cries. In another, a bearded Muslim man lays out the plan for love jihad: “Start giving them medicine, get close to them, make them estranged from their families, ... [and] if need be, get them pregnant”. By the end of the film, this plan results in the pregnancy, suicide, and gang rape of these Hindu girls. Like The Kashmir Files , then, The Kerala Story also uses shock value to arouse disgust and hatred towards Muslims in a Hindu audience. Similarly, the film was profusely praised by Modi and several other BJP ministers and declared tax-free in multiple states. Produced with a modest budget of INR 30 crores, it collected a whopping INR 242.2 crore in India, making it another bona fide blockbuster. Bollywood and literature scholar Priya Joshi argues in her book Bollywood’s India (2015) that since the 1950’s, blockbusters have “vitally captured dispersed anxieties and aspirations about the nation” and are a “testament to some of the public fantasies that accompanied the national project”. In essence, she writes, “Bollywood’s blockbusters have conducted a dialogue over the idea of “India””. As India’s new contemporary blockbusters, The Kashmir Files and The Kerala Story reflect a nation engulfed in Islamophobia and Hindutva rhetoric. “The only trend that seems to work,” a prominent writer-director-producer admitted to me, “is an anti-Muslim trend.” According to culture studies scholars John Hartley and Ien Ang, audiences for films and any large-scale culture industries are “literally unknowable”, forming what Tejaswini Ganti calls “the ultimate site of unpredictability”. To cope with the inherent uncertainty of the business, members of Bollywood use what Ganti terms “production fictions”—“fluid and flexible discourses” made mostly in hindsight to explain commercial outcomes. Production fictions, for Ganti, primarily function to rationalise inherently random, unpredictable, and inexplicable box office events. Commercial outcome, she explains, functions as a “form of imperfect communication between audiences and filmmakers”—a dialectic of sorts. Riding the Saffron Wave The Kashmir Files and The Kerala Story’s unprecedented success has created new production fictions that audiences actually want to watch more anti-Muslim, Hindutva stories, that consumer demand has simply swayed in that direction, and that such films are simply more likely to do better at the box office, not least due to possible, legitimizing promotion by the BJP. Many filmmakers, my interviewees claimed, “are riding on this whole saffron wave”, and many more, they expect, will “jump on the bandwagon” in order to achieve elusive box office triumph. It may be tempting to exceptionalize these films and view them as existing out of the scope of mainstream Hindi cinema, but this is misguided. These movies are only more extreme, brazen versions of an increasingly ubiquitous trend. From historical fiction films about Islamic invaders to cop and war films about fighting Islamic terrorism and Pakistan, Hindutva themes are dominating India’s cultural production and national consciousness. This type of cinema exists on a spectrum. There are those high on testosterone and muscular nationalism, like Uri (2019), Bhuj (2021), and recently, Gadar 2 (2023) and Fighter (2024), which involve masculinized army narratives, enforcing national borders, fighting “invaders”, espionage, violence, and the like. Then there are the rarer, more nuanced films on similar topics, like the female-centred Alia Bhatt-starrer Raazi (2018). Where there are explicitly propagandist, anti-Muslim examples of cinema like The Kashmir Files and The Kerala Story , there are also more subtly Islamophobic films peddling a quieter poison, like Sooryavanshi (2021), Mission Majnu (2022), and Indian Police Force (2023). Cumulatively, the hard ubiquity of these protecting-the-nation-state-narratives and the pervasive uber–Hindu-patriotism at their core reflects what scholars Edward Anderson and Arkotong Longkumer refer to as the mainstreaming of Hindu nationalism. By making Indian-ness synonymous with Hindu-ness, they normalise Islamophobia in public discourse. The BJP has evidently harnessed the uncertainty endemic to the film industry to push it to perpetuate its Hindutva ideology. They are ultimately succeeding at saffronizing Bollywood, not by turning its largely apolitical members into Hindu nationalists, but by influencing market forces to make Hindutva stories more profitable and marginalising dissenting or “deviant” voices. This new political order is increasingly being internalised, naturalised, and taken for granted by industry members, who appear, from my research, all too willing to compromise on their ideals for commercial success. In January 2019, the year of the last Indian national election, a group of Bollywood A-listers, none of whom were Muslim, were invited to meet Modi. They then posted a selfie of all of them together, which instantly went viral on social media. Later that April, Modi sat down for a sanitised, scripted, and avowedly “apolitical” interview with Bollywood superstar Akshay Kumar, known for being Hindutva’s poster boy . The same year saw the release of a slew of Hindutva propaganda films, many of which were officially promoted by the BJP , from hagiographic biopics of Hindutva figures like Thackeray and PM Narendra Modi to a film denigrating the opposition Congress party like The Accidental Prime Minister , to a pro-war, ultranationalist action film like Uri . With India heading towards another round of national elections this May, there is a lineup of propaganda films that peddle Hindutva conspiracies, celebrate Hindutva figures, and glorify the BJP while vilifying all its opponents: the Congress, academic institutions, activists, and of course, Muslims. These films share similar conventions: no A-list stars, lower budgets, saffron colour text in their trailers and posters, sensationalist hashtags hinting at conspiracies, and a neo-realist style colour grade. More importantly, they all seek to recreate the template created by The Kashmir Files and The Kerala Story , with the BJP and Modi’s promotion, tax-free status, and if they’re lucky, virality and box office glory. The first, Article 370 , exalts the Union Government for removing the eponymous article that conferred special status on Kashmir. Like clockwork, Modi praised the film even before its release. “I have heard that perhaps a film on Article 370 is going to be released this week,” he stated while addressing a rally in Jammu on 20 February 2024. "Good, it will be useful for people to get correct information." The film’s lead actor Yami Gautam shared a video of the speech immediately. “It is an absolute honour to watch PM @narendramodi Ji talk about #Article370Movie,” she wrote on X . Eventually released on 23 February, the film has made nearly INR 80 cr in India and is declared a super hit . More carnage is to follow. ∎ 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

COMMUNITY On the Ethics of Climate Journalism Journalist Aruna Chandrasekhar in conversation with Advisory Editor Vishakha Darbha VOL. 1 22 Aug 2020 INTERVIEW AUTHOR AUTHOR AUTHOR SUB-HEAD Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. 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 Climate Change Investigative Journalism Coastal Displacement Anthropocene Parachuting Health Workers Mining Freelancing Power Dynamics Diaspora Diasporic Distance Forest Collective Displacement Evictions COVID-19 Energy Crisis Environmental Disaster Environment Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. DISPATCH Interview 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. There is an imbalance of power to be corrected—how do you level a playing field where, for centuries, you have oppressed, displaced communities, and always justified it for your own benefit? RECOMMENDED: " How One Billionaire Could Keep Three Countries Hooked on Coal for Decades " , NY Times . By Somini Sengupta, Jacqueline Williams, and Aruna Chandrasekhar. On how the Adani Group lobbied successfully to mine for coal in Australia and subsequently transporting it to India and contributing to energy and climate crises in both India and Bangladesh. 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

INTERACTIVE Chats Ep. 2: On Teen Drama A live discussion about teenage trauma, the genre of the teen drama TV show, and more. VOL. 1 20 Nov 2020 LIVE AUTHOR AUTHOR AUTHOR SUB-HEAD Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. 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 Essay In-Progress Trauma Teenagers TV Drama Genre Tropes Teenagehood and Death Skins Gossip Girl Broadcast Television Age Essayistic Practice Essay Form Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. DISPATCH Live Essay 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. A live reading & discussion of an unpublished essay by Kamil Ahsan called “Teen Drama”, with Ahsan Butt. 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

FICTION & POETRY Skulls The Revolution won’t materialise / out of your mere thoughts. VOL. 2 ISSUE 1 4 Apr 2023 POETRY AUTHOR AUTHOR AUTHOR SUB-HEAD Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 "Skulls" by Hafsa Ashfaq. Mixed-media, digital illustration & acrylic on paper (2023). SHARE Facebook Twitter LinkedIn Poetry Myanmar Military Coup Dissident Writers Revolution Spring Revolution Pogroms Picking Prison Incarceration Military Crackdown Politics of Art Adi Magazine Monywa Posthumous Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. DISPATCH Poetry Myanmar 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. This is the final poem, dated 23.02.2021, by K Za Win (1982–2021), who was shot dead by Myanmar security forces at a protest in Monywa on 3 March 2021. Revolution will be in bloom only when air, water and earth— all the nutrients are in agreement. Before the Revolution opened out, a bullet blew someone’s brains out, out on the street. Did that skull have a message for you? Faced with the devil is this or that statement relevant? In the dharma of dha you can’t just wave the sword. Step forward and cut them down! The Revolution won’t materialise out of your mere thoughts. Like blood, one must rise. Don’t ever waver again! The fuse of the Revolution is either you or myself! First published in Adi Magazine , Summer 2021, t his poem appeared in Picking Off New Shoots Will Not Stop the Spring: Witness Poems and Essays from Burma/Myanmar 1988-2021 , edited by Ko Ko Thett and Brian Haman, and published by Gaudy Boy in North America, Balestier Press in the UK, and Ethos Books in Singapore. 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

COMMUNITY Progressivism in Pakistani Higher Education Sociologist Nida Kirmani in conversation with Associate Editor Nur Nasreen Ibrahim VOL. 1 27 Aug 2020 INTERVIEW AUTHOR AUTHOR AUTHOR SUB-HEAD Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. 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 Pashtun Tahafuz Movement Postcolonial Feminist Theory Progressivism Deniz Kandiyoti Lyari Mama Qadeer Zakir Nagar Refusal of Anthropology Baloch Missing Persons Gulalai Ismail Matiullah Jan Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. DISPATCH Interview Pashtun Tahafuz Movement 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. Most dissenters in Pakistan, whether it's a movement like the PTM, or journalists critical of the state, the first reaction of the state's representatives is to characterize them as traitors or funded by foreign governments. RECOMMENDED: Questioning the ‘Muslim Woman’: Identity and Insecurity in an Urban Indian Locality by Nida Kirmani (Routledge, 2013) 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 VERTICAL Scenes From Gotagogama Early in 2022, the signs of an unprecedented and historic movement in Sri Lanka were already visible. VOL. 2 ISSUE 1 23 Feb 2023 PHOTO-ESSAY AUTHOR AUTHOR AUTHOR SUB-HEAD Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 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 Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. DISPATCH Photo-Essay Sri Lanka 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. 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, specially the younger generation, supported by the workers' and the students unions, started off in early March 2022 and spreading islandwide. The 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, 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, community libraries, all at 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 "Take back our power", "We are our own leaders" being pasted across the streets. There was hopelessness, but also the 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, made memes as protest. The government changed, the village was taken down, more protestors and activists arrested, mysteriously disappeared. Gota Go Gama didn't exist anymore. When work took me to Colombo again, later that year, I saw no big protests. Shoulders carrying hopelessness, eyes filled with broken dreams, 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 struggle of people 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. 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 VERTICAL Chokepoint Manipur The many costs of internet shutdowns amid violence in India’s northeastern state. VOL. 2 ISSUE 1 3 Oct 2023 REPORTAGE AUTHOR AUTHOR AUTHOR SUB-HEAD Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Courtesy of Sadiq Naqvi, from Kangpokpi, Manipur. SHARE Facebook Twitter LinkedIn Reportage Manipur State & Media Technology & Majoritarianism Tribal Conflict Kuki-Zo Meitei Indigeneity Scheduled Tribes Politics of Ethnic Identity Constitutional Recognition Social Media Disinformation Internet Crackdowns Media Landscape Internet Blackouts Kangpokpi Unverified Information Gender Violence Newsclick The Print Imphal The Guardian Deccan Herald India Today Nikkei Asia Meitei Leepun Churachandpur RSS Viral Clips Twitter Narratives State Government Narrative Majoritarianism Indigeneous Spaces Politics of Indigeneity Ethnically Divided Politics AFSPA Sister States Modi Meitei Peoples Local vs. National Politics Caste Tribes Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. DISPATCH Reportage Manipur 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. On the morning of July 19, 2023, my phone kept alerting me to WhatsApp messages, as it had done during the previous three months following the eruption of violence along ethnic lines in India’s northeastern state of Manipur. This time was different. It was a video accompanied by the following message: “If your blood doesn’t boil seeing this barbaric and inhuman treatment of fellow human being by Meitei goons, your conscious [sic] is equally morally dead. Period.” Before I could open it, other messages started pouring in, asking if I had watched the video. Others warned against circulating it over social media and messaging apps. Meanwhile, the 26-second clip of two women being paraded naked on the streets by a mob of men—groping and molesting the two while walking through paddy fields—had already gone viral. The incident recorded in the clip, however, was over two months old. On May 3, after the state’s highest court recommended that Manipur’s dominant Meitei community be included among the country’s Scheduled Tribe—a constitutional list that guarantees affirmative action for those included—the state’s hill tribe groups carried out mass rallies in protest. The same day, an attempted arson of a Kuki war memorial and the fire set on Meitei villages by unidentified individuals led to state-wide clashes between the Meiteis and the Kuki-Zo tribes. The two women, belonging to the Vaiphei community that is part of the larger umbrella of Kuki-Zo tribes of the Northeast, were assaulted by the street mob a day later. In some ways, these conflicts in Manipur demonstrate the Indian republic’s complicated politics of ethnic identity and claims for constitutional protection. Demands for affirmative action by regionally dominant groups is not unusual in India, as seen with the Pateldars in Gujarat, Marathas in Maharashtra, and, more recently, the Pahadis in Jammu and Kashmir. With regards to the Meiteis, who converted to Hinduism in the 18th century, its socially weaker sections already had access to the constitutionally defined Scheduled Castes, Other Backward Classes, and Economically Weaker Sections. These categories enable access to affirmative action as well as select government grants and scholarships. The demand to also be included among the Scheduled Tribes was initially a fringe cause within the Meiteis, with the Hindu Brahmins (the priestly caste at the top of the Hindu caste pyramid) of that community least open to the idea of being degraded to the status of a ‘Hao’ (tribal people). However, the project gained steam with the revival of the indigenous Meitei faith Sanamahism in the last few decades. The return to their indigenous roots has emboldened their belief that they were short-changed by the government, which didn’t recognize them as a ‘tribe' after Manipur was annexed by the Indian Union in 1949. The crisis has been further compounded by internet restrictions in place since May 4. Far from the state government’s stated intention to control “the spread of disinformation and false rumours through various social media platforms,” lack of access to the internet has resulted in a flood of fake news and rampant disinformation, where genuine footage documenting violence has often been depicted as ‘fake’, and where unverified rumors have been deployed to instigate sexual violence. In a civil conflict where the state government has unabashedly shown its loyalty to the majority ethnic community and the federal government has maintained the status quo, both physical carnage and the information wars are far from even-keeled. In this, Manipur has proved to be another troubling illustration of the Indian authorities’ habit of curbing internet access in regions seeing widespread conflict, where a choked information ecosystem has helped the powerful and hurt the politically weaker sections facing majoritarian violence. Background of the May violence In the months leading up to the May violence, a concerted campaign was already being led by Manipur’s Chief Minister Biren Singh, who hails from the ruling Hindu-nationalist Bharatiya Janata Party (BJP), against the minority Kuki-Zo tribes, who were peddled as the key culprits of the underground drug industry and portrayed as ‘illegal immigrants’ from neighboring Myanmar. Although the Kuki-Zo tribes make up only 16 percent of the population, Singh had been stoking majoritarian Meitei sentiments of the tribes’ “sudden” decadal growth, particularly in the wake of the refugee crisis from coup-hit Myanmar, with no recent census data to back it up. This is despite the neighboring state of Mizoram, where the dominant population has stronger ethnic ties to the Chin refugees, bearing a much greater brunt of the refugee population. In light of the Meitei’s dominant demographics (they are over 50 percent of Manipur’s population) compared to their relatively smaller territorial spread (they occupy roughly 10 percent of the state that is in the valley), the chief minister preyed on the community’s insecurity over limited resources and supremacist notions of cultural superiority. By all accounts, viral, unverified social media messages and rumors of Meiteis being beaten, killed and raped in the Churachandpur hill district in part triggered the attacks in the valley. Subsequently, civilians, senior government officials, politicians, and judges belonging to the Kuki-Zo tribes from the valley were targeted. This led to retaliatory attacks on the Meiteis in the hill districts, although in much smaller numbers compared to officials and families from the tribes in the valley. Internet connections across the state of Manipur were switched off a day after violence broke out, which has killed more than 180 people thus far—with casualties growing by the weeks—and displaced more than 70,000 from their homes and localities, reducing them to ghost towns. A police complaint filed on May 18 in response to the public assault against the two women furnishes some details about the incident. An armed mob of up to a thousand persons belonging to Meitei youth organizations entered the B.Phainom village in the hill tribal district of Kangpokpi, where they vandalized and looted personal property. Seeking to escape the violence of the mob, five residents of the village, including the two women, fled to the forests; they were later rescued by the state police, only to be apprehended by the same mob that snatched them from police custody. “All the three women were physically forced to remove their clothes and were stripped naked in front of the mob,” the complaint noted, adding that “the younger brother who tried to defend his sister’s modesty and life was murdered by members of the mob on the spot.” Even before the video of the attack on the two women in Kangpokpi appeared on social media, the incident had been reported by two online news portals—on June 1 by, Newsclick , and on July 12 by The Print —as part of the coverage of the sexual assaults during the Manipur violence. However, it was finally the graphic video that brought national attention to the state like it hadn’t in the last three months. Kaybie Chongloi, a Kuki journalist based in Kangpokpi District where the incident took place, told me that no one knew of the existence of the video until the previous day when a driver noticed Meitei men watching it on their phones. “He had asked them to share the video via Bluetooth, and that’s how we got to see it for the first time,” said Chongloi. By the next morning, he added, the video had been widely shared across WhatsApp and social media platforms. It also compelled Prime Minister Narendra Modi to finally break his silence on Manipur, almost three months after the v iolence, calling the crime “ an insult to the entire country. ” Skewed media landscape Since the outbreak of violence in early May, a steady stream of photo and video footage has appeared on social media, showing private residences and villages being burned down, even capturing the collusion of state police in these incidents. Meanwhile, pieces of disinformation have been shared by verified Twitter handles of socially influential figures with global platforms. This includes, for example, Licipriya Kangujam, a young climate influencer managed by her alleged ‘con man’ father , and Binalakshmi Nepram, a women’s rights activist and recent scholar-at-residence at Harvard University. On May 4, soon after the violence started, Kangujam shared the video of a burning residence saying “illegal immigrants are burning the houses of our Meitei indigenous community in Manipur”. Hours earlier, however, Tonsing S, a Kuki-Zo scholar at Michigan University, had already shared the same video, showing a Kuki-Zo residential locality in the state capital of Imphal, from where his family had recently been displaced. Kangujam has also shared videos showing disruption and mayhem, which she squarely blamed on ‘illegal immigrant’ and ‘poppy cultivating’ Kukis. Meanwhile, although seen advocating for peace on national television, Nepram has also been culpable in spreading misinformation, with a clear prejudice against the Kuki-Zo tribal groups. This includes sharing fake news on landmines allegedly placed by an armed group in a Manipur village, despite the information being debunked as false (reverse-image lookup found that the photos used in the story were from Jammu and Kashmir). She has not yet removed the tweet. More generally, Meitei-owned outlets and journalists from the community, who dominate the media landscape in the state, have been accused of being compromised , heavily toeing the state line, which is against the Kuki-Zo tribes. Apart from the accounts of these well-known personalities, several blue check-marked accounts have surfaced on Twitter since May, thanks to Elon Musk’s new policy on paid accounts which abandons its previous verification process, which have furthered disinformation campaigns. Take, for instance, a right-leaning website with the twitter handle @dintentdata that shot to limelight during the Manipur violence ostensibly as a “fact checker”. Its origins and ownership are unknown but the account has toed the Manipur state government’s narrative, as illustrated in a thread that called Kukis “illegals” migrating from Myanmar who had weaponized themselves to target the Meitei community. In the initial weeks, the running narrative on illegal immigrants and the Myanmar crisis dominated the coverage of the violence in mainstream Indian media outlets like Deccan Herald and India Today as well as in international publications like The Diplomat and the Washington Post . Unequal internet ban As I reported for Nikkei Asia in July, vast amounts of disinformation have emerged from the Manipur crisis not only because of an internet ban but due to its uneven nature: it has offered privileged access to businesses and media close to power, mostly in the valley. Dedicated internet services remained selectively available to particular businesses in the valley and government offices, with the approval of the home department. Notably, in the midst of an internet ban, members of Manipur-based right-wing Meitei groups, such as Meitei Leepun and an armed militia, Arambai Tenggol, have been posting inflammatory hate speech on their social media accounts. “Refrain from creating chaos at Imphal, we can no longer attack them here,” announced Korounganba Khuman, the militant leader of Arambai Tenggol, on his Facebook account. Written in Meitei Lon, he added, “We have a plan, which you'll hear about in two days’ time. Let's work together on this. Let us fight with all our might for our land and identity.” No action from the state government has been initiated on such open invocations of violence against the Kuki-Zo communities. Meanwhile, Meitei Leepun’s founding leader Pramot Singh went on national television (in an interview with veteran journalist Karan Thapar in The Wire ), threatening to “blow away” the tribals from the hills. In the past, Singh has been associated with Akhil Bhartiya Vishwa Parishad, the student wing of the Hindu nationalist militant outfit Rashtriya Swayamsevak Sangh (RSS). Both groups—Arambai Tenggol and Meitei Leepun—have been openly endorsed by Chief Minister Singh and Leishemba Sanajaoba, the titular king of Manipur and a member of the upper house of the parliament. On July 25, Manipur state authorities lifted the ban on broadband services while retaining several severe restrictions. This included blocking social media websites, virtual private network (VPN) services and WiFi hotspots, while allowing for the physical monitoring of subscribers by concerned officials. Those seeking to access the internet under these conditions were required to sign an undertaking agreeing to the enforced monitoring by officials. After nearly five months of ban, mobile internet access was resumed by the state government on September 23, only to be soon suspended for the next five days amid protests after photographs showing the allegedly deceased bodies of two missing Meitei students surfaced online. The state government confirmed their death in a statement, but their bodies remain missing at the time of the publication of this story . A marketing professional from Imphal Valley, who asked not to be identified, said that in the early days of the internet ban, people were resorting to all sorts of loopholes: machine SIM cards used for digital payment (apps like Paytm and Google Pay), Vodafone VPN ports, and international E-SIMs like Airalo . “People would use SIM cards bought from other states, since Vodafone sim cards sold out in Manipur very fast at a going rate of INR 2000,” he said, speaking from an undisclosed location in the Northeast that he and his family have moved to temporarily. The IT company where his wife works had put her on leave during the shutdown weeks and was threatening layoffs to employees who wouldn’t come online. Sources from the area told me that local broadband providers in both the hills and the valley did not comply with the government order to switch off internet services. SAAG has accessed a copy of a state-government order that notes the “misuse of additional connection on whitelisted/reactivated” internet lines and reports of “accessibility of internet facility” in the Kuki-majority Churachandpur area. No such order was issued against any centers in the valley, even though the government eventually put a curb on all these loopholes. For five years, India has been leading the global record for the highest number of Internet shutdowns in the world with at least 84 cases recorded in 2022 , far higher than the war-hit Ukraine, which saw 22 shutdowns imposed by the Russian military after their invasion of the country. According to Software Freedom Law Centre ’s internet shutdown tracker , India has seen a total of 759 shutdowns since 2012, with Jammu and Kashmir experiencing the majority of the bans, and Manipur featuring fourth on the list. In June, a joint report on internet shutdowns in India, released by Human Rights Watch (HRW) and Internet Freedom Foundation , a digital rights advocacy group in India, found that the Indian authorities’ decisions to disrupt internet access were “often erratic and unlawful”. The report cited a Parliamentary Standing Committee on Communications and Information Technology report that concluded, “So far, there is no proof to indicate that internet shutdown [sic] has been effective in addressing public emergency and ensuring public safety.” Meenakshi Ganguly, the HRW South Asia director, told me that while authorities have the responsibility to contain the spread of incitement to hate or violence, and to combat disinformation, simply denying internet access can end up further stoking fear and divisiveness. “Without access to credible information, internet shutdowns risk the spread of rumor-based retaliatory attacks, perpetuating the cycle of violence,” she said. Missing outrage The role of fake news and disinformation in instigating violence, including sexual assaults, against tribal women in Manipur has been well-documented . However, despite videos of these incidents floating online after the breakout of the violence, neither local nor national media reported on it or verified and pursued these leads. Several weeks before the infamous Kangpokpi video of the two women being paraded naked was out, another clip of a Kuki-Zo woman begging Meitei women to let go of her was doing the rounds. Speaking in Meitei Lon, the Meitei women are seen instigating men to rape 29-year-old Nancy Chingthianniang, who was later interviewed by the UK-based Guardian , a few weeks before her video went viral again. She lost her husband and mother-in-law to the mob. Chingthianniang herself was beaten black and blue until she passed out. Seeing the video of herself instantly triggered her. “I felt scared like I was back in that moment even though I was not raped,” she told me over the phone. When asked how she felt about these videos of herself and the women paraded being circulated online, Chingthianniang said it was for the better. “Hoi ka sa, eh; I'm glad that it’s out,” she said. “Now people know what these Meira Paibis (Meitei civic activists known as ‘women torchbearers’) really did to us.” While the public responses to the viral Kangpokpi video was welcomed by the Kuki-Zo community, especially as it led to the swift arrest of at least seven of the accused, the heinous crimes against the community have not seen similar reactions. On July 2, two weeks before the Kangpokpi video was released, photos and footage of a severed head perched on a fence went viral on WhatsApp groups, shocking members of the Kuki-Zo community. The head belonged to David Thiek, a resident of Langza village in the foothills of the Churachandpur tribal hill district. He had been defending his village on the day when an armed militia from the valley attacked it. Thiek’s head was severed off and his body burned down to ashes, the remains of which were draped in the traditional shawl of the Hmar tribe that he belonged to. A few days later, Sang Tonsing, a 24-year-old social worker from the Kuki-Zo community living outside Manipur, saw the screenshot of a photo posted by a Twitter account titled ‘Nongthombam Rohen Meetei’ (now deleted) with the caption, “Killing of meetei by kuki militants [sic]”. The photo showed a man, his face digitally obscured by red brush strokes, holding a machete in one hand and a severed head in another. A copy of the photo downloaded from Twitter shows a time stamp of 5.45 p.m. on July 2, 2023. Suspecting the severed head to belong to Thiek, Tonsing and a group of other social-media savvy friends attempted to verify the photo, beginning with reverse image verification on Google and TinEye. The photo appeared original. Tonsing then began scanning the local Meitei news channels, particularly Mami and Elite TV, since these channels had extensively covered the chief minister visiting the Meitei-dominated Bishnupur district in the valley, bordering the Kuki Zo villages that were attacked. That is when he noticed the same outfit as was worn by the man in the photo: a dark-teal-colored full-sleeved t-shirt paired with brown track pants and a camouflage tactical vest. “There was no way that another person could be wearing the same exact outfit,” he said. But that wasn’t their only lead. The person seen on the news clip, whose outfit matched with that of the assailant in the photograph, was eventually tracked on Facebook. He was identified as Mairembam Romesh Mangang, the public relations officer or the security detail of S Premchandra Singh, a Bharatiya Janata Party member of Manipur’s legislative assembly who represented the Kumbi constituency. Tonsing said that they instinctively thought to check the accounts of those associated with the MLA of Kumbi, since it was close to Langza village, where David was killed. “Secondly,” he added, “Kumbi is known to be a hotspot of Meitei insurgent groups where politicians conduct their financial dealings with underground groups.” The screenshot is now part of an investigation into the incident where members of the Arambai Tenggol and Meitei Leepun are among the accused. SAAG reached out to Premchandra Singh, the MLA of Kumbi, who did not respond to the request for comment. (This piece will be updated as and when he responds.) While Tonsing and his friends may have made a plausible case of identification, what remains unexplained is why that photo was leaked online. His guess is one of three scenarios: one, someone from one of the Meitei-run WhatsApp groups carelessly uploaded it; two, there may still be whistleblowers among the Meitei groups who want the truth out; and three, which he thinks most likely, is that this was an attempt to manipulate the narrative in their favor as victims rather than perpetrators of the crime. Either way, he’s certain that more videos would surface once the internet ban is fully lifted. “Nowadays everyone’s got a smartphone and they are filming videos when they go to burn villages. Since these are mobs of 5000-odd people, they can’t control what people are shooting”, said Tonsing. Meanwhile in the valley, there have been news reports, albeit unverified, of missing Meitei individuals being tortured and killed in viral clips. In early July, hours after two cousins—27-year-old Irengbam Chinkheinganba and 31-year-old Sagolshem Ngaleiba Meitei from Kakching District—had gone missing, a video began circulating which showed two men being slapped and kicked, before being shot from behind. A BBC report noted that another video showing the shooting of a man surfaced two months later. While neither of the videos has been independently verified, the families of the missing two have identified the two men in the videos as Chinkheinganba and Ngaleibav. Similarly, the parents of a young teenager , who went missing along with her friend near the hill district, have identified their daughter in a clip that showed a girl being beheaded, allegedly by Kuki assailants. However, when SAAG checked the video, the perpetrators were speaking in the Burmese tongue, and not any of the languages or dialects native to Manipur. Videos connected to both of these disappearances surfaced only after the clip of the naked Vaipehi women made headlines. In our post-truth era, the conflict is not limited to violence in the buffer zones, but is also a war of perceptions on social media where fake news, morphed footage, and decontextualized information often seek to compound the confusion. Majoritarian manipulation Manipur is a state now divided like never before. Ethnic fault lines have always run deep, sometimes deeper and thicker than bloodlines despite enough instances of intermarriage between communities. The murder of a 7-year-old Kuki boy in early June, alongside his mother and his maternal aunt, en route to a hospital through the valley is emblematic of this. Even though the boy’s mother and maternal aunt belonged to the Meitei community, the mob made up of Meira Paibis and other Meiteis did not spare them and set the ambulance on fire after the murders. Local media operating out of Imphal and dominated by journalists from the Meitei community —or owned by politicians of the same community—did not report this incident, just as they ignored several other stories like the seven rape cases registered to date . Forget the tyranny of distance between New Delhi-based national media and Manipur, newsrooms based in the valley often don’t go and cover neighboring hill districts. In the present crisis, where Manipur’s Chief Minister Singh stands accused of orchestrating the violence against the Kuki-Zo community, with the majority-controlled media not covering the hills, and given only a partial lift on the internet blackout, the scales are tipped heavily against the minority tribes. In early September, in a report on the media coverage of the violence, the Editors’ Guild of India lamented how the Manipur media had turned into “Meitei media” and held the internet ban responsible for the media being overly reliant on the state’s narrative. Shortly after, two police complaints under sections of defamation, promoting enmity, and criminal conspiracy were filed against members of the Guild’s fact-finding committee. Meanwhile, rather than working to gain the confidence of the Kuki-Zo communities as their political representative, we instead find the chief minister getting into a late-night spat on Twitter, asking a Kuki-identifying user if they are from Manipur or Myanmar. As violence continues unabated in the “ buffer zones ” between the hills and the valley, where both communities live in relative proximity, rumors and disinformation remain rampant on both sides. In the din of contrasting narratives laying the blame exclusively on the other side, Spearcorps , an official Indian Army account on Twitter, has emerged as a neutral line for updates on the clashes. After days of speculation over the women-led civil-society group Meira Paibis aiding armed rioters to attack tribal villages by creating road blockades, the Spearcorps posted a tweet noting that “Women activists in #Manipur are deliberately blocking routes and interfering in Operations of Security Forces.” The post went on to appeal to “all sections of population to support our endeavours in restoring peace.” This new normal is especially significant in a state that has a long history of confrontation with the Indian Army, which stands accused of many human-rights excesses through the application of a special martial law, the Armed Forces Special Powers Act. Naturally, the dominant Meitei community, its representative media and the state government see the army as biased in favor of the tribal groups, and accuse the armed forces of assisting Kuki "militants" . When I spoke to a source in the army who has been monitoring the security situation in Manipur, he argued that the neutrality of central security forces was evident in their assistance in the speedy evacuation of Meiteis from the hill districts. The only time that the local media had ever portrayed them in a positive light, he said, was when they reported the “rescue” of five Meitei civilians from Kuki “militants” (notably, Meitei attackers are often called ‘miscreants’ in these reports). “Except that it was the Kukis who had handed over the Meitei civilians to us in good faith,” he told me. But that detail never made it in any of the Meitei-run press. With such opportunities for solidarity that could have led to a ceasefire on violence and retaliatory attacks now looking increasingly remote, we find the strengthening of the Kuki-Zo tribes’ resolve to settle for separate administration away from the Manipur government. To be sure, the disturbing video of the Vaiphei women may have led to police action after weeks of inaction, and it has alerted the country and the world to the scale of violence. But on the home front, the civil war is nowhere near an end. In turn, it only fueled the war over narratives, where Manipuri social media was suddenly filled with posts asking Meitei women to come out with stories of their defilement. On August 9, the first police complaint of a Meitei woman alleging sexual assault was filed in the valley, in which the complainant said she was assaulted by “Kuki miscreants” on May 3, when Meitei houses in Churachandpur were being burned down. “The delay in filing this complaint is due to social stigma,” the complaint said. In the midst of all the suffering and counter narratives, Prime Minister Modi only took cognizance of the video, which he called “an insult to society,” while undermining the scale and context of the conflict in Manipur by equating it to violence in states like Chhattisgarh and Rajasthan. Despite the terrible cost that the two tribal women had to pay with their dignity for Modi—and the rest of India—to finally take notice and speak up, he maintained his position as a BJP star campaigner rather than the leader of a democracy. Apar Gupta, an advocate who founded Internet Freedom Foundation, was apologetic in his tone as many have been while talking to me about Manipur, which happens to be my home state. Beyond the scale of violence that the viral video alone has revealed and the sore lack of access to relief and medical aid for the internally displaced, he sharply questioned whose interest the internet ban had served. “I believe beyond this individual specific instance, the internet shutdown has served the function of contouring our media national narrative,” said Gupta. “Manipur is burning, but we don't care.” ∎ 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

INTERACTIVE Chats Ep. 8: The Imagery of Protest with Mashal Baloch On the ethics of photojournalism, and Mashal Baloch's experiences in the field. VOL. 1 28 Feb 2021 LIVE AUTHOR AUTHOR AUTHOR SUB-HEAD Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. 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 Photojournalism Baloch Missing Persons Balochistan Karima Baloch Mahrang Baloch Self-Taught Reportage Pakistani State Repression Pakistan Mapping Knowledge Humanitarian Crisis Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. DISPATCH Live Photojournalism 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. Senior Editor Nur Nasreen Ibrahim discusses the nature of photojournalism & how the profile of Mahrang Baloch , published by SAAG, came together for photojournalist Mashal Baloch. 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