Sudan’s ongoing war, which erupted in April 2023 between the Sudanese Armed Forces (SAF) and the Rapid Support Forces (RSF), has devastated the country, displacing millions and crippling public services. Civilian-led groups, particularly the Resistance Committees (RCs) and professional unions, continue to provide humanitarian aid despite severe repression, learning from the rich history of Sudanese unions active since the 20th century. Today, emergency committees and medical unions work tirelessly to support war victims, exemplifying resilience amid chaos. Their struggle highlights a stark contrast between civilian solidarity and military destruction. · THE VERTICAL Reportage · Sudan Sudan’s ongoing war, which erupted in April 2023 between the Sudanese Armed Forces (SAF) and the Rapid Support Forces (RSF), has devastated the country, displacing millions and crippling public services. Civilian-led groups, particularly the Resistance Committees (RCs) and professional unions, continue to provide humanitarian aid despite severe repression, learning from the rich history of Sudanese unions active since the 20th century. Today, emergency committees and medical unions work tirelessly to support war victims, exemplifying resilience amid chaos. Their struggle highlights a stark contrast between civilian solidarity and military destruction. Hashim Nasr, Boxed (2022). Digital photograph. Through Thick and Thin On April 15, 2023, one of Sudan's most brutal wars erupted between the Sudanese Armed Forces (SAF) and the Rapid Support Forces (RSF). This signaled a collapse of the alliance between two-armed factions. Even before the April fallout and subsequent war, their armed alliance had brought nothing to the Sudanese people but bloodshed and death; the alliance staged the military coup in October 2021 that terminated the civilian-military power-sharing agreement known as the Transitional Government which was installed in the wake of the December Revolution in 2018 . The Transitional Government (2019-2021) was composed of both military and civilians, with a rotating presidency that started with the military. The December Revolution was primarily led by millions of youths, particularly women, called the “Resistance Committees” (RCs). Although lacking in direct organizational links with the existing civilian groups, the RCs coordinated their mass protest actions very closely with them, particularly the Sudanese Professional Association . Remnants of Sudan’s Islamist military dictatorship (1989-2019) comprised two factions that had each previously attempted to seize power in the country. Working together, on June 3rd 2019, they enacted the most heinous massacre . Hundreds of peaceful protesters were brutalized, raped, drowned, and killed. On June 30th, 2019, under the combined leadership of civilian groups, millions of Sudanese took to the streets, demanding accountability for the massacres and a full transfer of power to civilians. The military eventually relented, resulting in the civilian-military power sharing agreement in August 2019. This illegitimate and violent political transformation has led to the ongoing war which has resulted in hundreds of thousands of deaths, over 12 million internally displaced persons (IDPs), and over three million refugees in neighboring countries. As the war has intensified since April 2023, the total repression of civilian activism has destroyed health, education, municipal and other civilian infrastructure, and deepened the economic crisis. In immediate response to the war, Sudan’s Resistance Committees (RCs) have morphed into Emergency Committees (ECs), while abroad, Sudanese communities collectively mobilize resources to save lives and restore livelihoods destroyed by the war. There are now numerous humanitarian, educational, and professional activities, both inside and outside Sudan seeking to help those most affected by war. Although repression inside Sudan and the lack of formal status outside Sudan limits this organizing, the collectives nevertheless strive to implement what they can. They continue to play a major role in organizing assistance and representing the Sudanese people at humanitarian and ceasefire negotiations mediated by international entities. With unwavering determination, the humanitarian aid effort by Sudan’s civilian bodies shines amidst the darkness of this horrific war. With the disintegration of the state apparatus and the collapse of public services, the RCs face highly complex challenges. Attempting to regroup and organize their membership, they continue to provide services to millions of displaced Sudanese people. Thus, a stark contrast emerges. While the military forces continue their war against each other and on the country’s resources, civil forces race to save what can be saved. These civilian forces continue amidst severe repression, killing, forced disappearances, illegal detention, torture, rape, and ethnic cleansing. The History of Trade Unions in Sudan As a central organizing force, political parties, civil society organizations, professional associations, and trade unions draw upon a long tradition of highly active political engagement that started before Sudan’s independence in 1956. Sudan has had union organizations since the early 20th century. In 1908, forest workers under British-Egyptian colonial rule, announced a strike demanding better wages and working conditions. In 1947, the first union of railway workers was established. As a result of the pressure exerted by the union movement, colonial authorities conceded the right to union organization. A labor law was issued in 1948, granting the Sudanese union movement legal status. By becoming a primary force in resisting and changing authoritarian regimes, however, the movement became a target of colonial oppression. One of the earliest decisions in subsequent military coups was the dissolution of existing unions, confiscating their properties and funds. By mobilizing their members, the unions quickly regained their strength and ability to lead. The Front of Associations (a coalition of professional, labor, and farmers' unions) led the October 1964 revolution , dominating a seat majority in the first transitional government, before being overthrown by infighting. Led by the Union Alliance, unions played a prominent role in the April 1985 uprising and the downfall of the Jaafar Nimeiri dictatorship regime. Omer Al-Bashir’s regime in 1989 resisted workers’ attempts at unionization—seeking to dismantle and control them by dismissing employees through the Public Interest Law. The labor movements, however, were ceaseless. Following the successful Sudanese Doctors Union strike of November 1989 , several professional associations organized strikes and protests in 1994 and 1996. They also continued efforts with regional and international organizations to isolate the military regime and its façade of regime-friendly unions. Therefore, during the 30 years of the Islamist military dictatorship, trade unions and associations operated through professional bodies which were strategically founded to counter the regime’s compliant civilian bodies and trade unions. In 2005, following the signing of the Comprehensive Peace Agreement between the military dictatorship and the Sudan People's Liberation Army/Movement (SPLA/M), Sudan witnessed a relative expansion of political space and public sector workers showed increased interest in unionization. Medical bodies inside and outside Sudan organized networking and coordination. Lawyers' organizations confronted repressive laws and defended public freedoms. Journalists exposed and documented violations, defending freedom of expression. Teachers gathered to address wage issues and demanded educational reform. The Sudanese Professionals Association (SPA) served as the unifying platform leading the Revolution for the downfall of the Islamist dictatorship regime, especially when the-then SPA joined political and civil society organizations to create the opposition platform called Forces of Freedom and Change (FFC) . The 2019 post-revolution transitional phase represented a glimmer of hope. Institutions were being rebuilt, preparing the country for a democratic transition . Most professional bodies sought to gain legitimacy by organizing member elections. Some of them, like the Sudanese Journalists' Union (SJU) and the Sudanese Doctors Union (SDU) succeeded in completing free and fair internal elections. Many believe that the October 2021 coup was staged by SAF and RSF precisely due to the rising tide of organized and elected professional associations and trade unions. The Birth of the Sudanese Professionals Association Actual collaboration among opposing union factions began with the rise of popular resistance against the Inqaz or the NCP regime, especially after South Sudan's secession and the 2010 election and following economic collapse. Professional and other civilian groups started organizing their bases to hold democratic grassroot union elections. They also worked to establish effective union alliances to challenge the regime's policies and its monopoly over power and political decisions. This culminated in the formation of what was then known as the Sudanese Professionals Union in 2012 (later called the Sudanese Professionals Association or SPA in 2013) through joint coordination between the Teachers' Committee, the Sudanese Journalists Network, the legitimate Sudanese Doctors' Union, and the Democratic Lawyers' Association. The SPA page on Facebook , which played a crucial role in the December 2018 Revolution, was created towards the end of 2012. Starting approximately in 2016, the professional forces that eventually formed the nucleus of the SPA continued expanding their coalition as an anti-Inqaz political front. They continued to link their presence to specific labor demands, gaining more support. Simultaneously, civilian unrest and discontent with the Inqaz regime was boiling under the surface until it exploded. First, in September 2013 (heavily repressed by the Inqaz/NCP regime) and then, more successfully, between 13 December 2018 and 6 April 2019. Importantly, these peaceful mass protests started by RCs in the city of Mayirno (Sennar State) spread to the RCs in Atbara (River Nile State), Damazin (Blue Nile State), before blazing across Sudan.This rising tide of protests was mutually-synergistic between the SPA and the RCs movements. The SPA and RCs quickly adjusted their demands from merely raising the minimum wage and protesting against the rising cost of living, to instead calling for continuous marches aiming to entirely overthrow the Inqaz/NCP regime. Taking the lead in the December Revolution, the SPA and the RCs participated in developing the charter of the Forces for Freedom and Change (FFC) on 1 January 2019 which adopted the RCs and SPA slogan of “freedom, peace, and justice.” These efforts culminated in the fall of the tyrant Omar al-Bashir on 11 April 2019 and continued throughout the transitional period that followed. Unfortunately, when the SPA’s constituent bodies began union-building processes, their lack of recent practical experience in union work and managing political conflicts, led to the disintegration of the FFC, with disruptive impacts on the SPA and other civilian bodies. The political alliances represented by the FFC began disagreeing on priorities. The RCs wanted to prioritize the creation of the Transitional Legislative Assembly; however, other political parties and professional associations did not see it as a priority. These disagreements deepened and widened, negatively impacting the civilian front. On August 30, 2022, in a historic step, Sudanese Journalist Union announced the successful election of their first post-Inqaz committee, followed by the Sudanese Dramatists Union. The Sudanese Doctors Union was reestablished in March 2023—just weeks before the war broke out mid-April 2023. The Resistance Committees: An Inspiring Experience The initiation and driving force behind the December Revolution is attributed to the most recent type of civilian body in Sudanese politics the RCs which also included the Coordination Committees of IDP camps in Darfur. RCs are unique grassroots organizations formed at the neighborhood level, which expanded to cities and different Sudanese states. They deliberately retain their horizontal nature and firmly reject hierarchical leadership, in order to avoid infiltration by the authorities or political factions. The presence of RCs has played a decisive role in keeping the flame of the revolution alive. The RCs formulated a comprehensive political vision, embodied in the “ People's Power Charter .” The Charter’s first draft was released for discussion in January 2022, underwent public discussions, and was revised in March 2022. Despite prevailing political divisions among FFC’s political forces and the military coup's control of power, the RC’s People’s Power Charter generated a significant amount of debate. The RCs played a more significant role in the political scene, surpassing the leadership of traditional civilian bodies (parties and unions), by supporting but also holding accountable the transitional government, and working within local governance structures. Undermining Inqaz/NCP supporters at the state level, RCs took on the responsibility of monitoring the flow of commodities such as flour, gasoline, diesel, and cooking gas. They contributed to resolving the transportation crisis, power outages, and other artificially created crises. This led to defeating the Inqaz regime’s black marketeers. The War: Massive Responsibilities Throughout the transition period, a widespread civil movement spread—undeterred by the October 2021 coup. Instead, professional unions and RCs regarded themselves as a primary tool of people power in the civil-military conflict. The union bodies, led by the preparatory committee of the newly formed Sudanese Doctors Union (SDU), established Emergency Rooms, communal shelters for IDPs, communal kitchens, and neighborhood mutual aid under the leadership of the RCs. These Emergency Rooms continue to provide life-saving food, water, medicine, and urgent supplies to millions of war-affected people, as well as the millions of IDPs fleeing the war. Similarly, the SPA’s constituent professional unions have intensified their efforts towards denouncing the war, calling for peace, providing basic humanitarian aid, exposing and documenting gross human rights violations and war crimes, defending activists detained in war zones, and organizing campaigns to stop the war and aid those affected, both inside and outside Sudan. Some professional unions have also begun envisioning the required reconstruction, recovery, and reform needed in their respective sectors once the war stops. Civilian Testimonies Shedding light on the experiences of workers’ unionization and the efforts of the medical and humanitarian emergency, offered here are the accounts of two prominent contributors. They reflect the significant efforts exerted by civilian forces amidst the ongoing war. Activist Moez Elzein is a project manager at the Al-Ayam Center for Cultural Studies and Development and a founding contributor to the humanitarian Emergency Rooms (ERs). Elzein is currently based in Kampala, Uganda, where he recently sought refuge from the horrors of the war in Sudan. He explained that since the outbreak of the war and collapse of public services, groups of RC members, professionals, and young men and women, began establishing ERs in war zones across Sudan. Inspired by the concept of “Nafir” (a mobilization call to humanitarian action, significant in Sudanese culture as voluntary and cooperative work during humanitarian disasters), they vowed to keep their work free of political affiliations and biases, which helped the idea to evolve and attract more volunteers. Elzein pointed out that ERs began their work with the idea of mutual aid rather than humanitarian aid. The idea started spontaneously among Sudanese through financial transfers to support those affected by the war, followed by the idea of ERs. Moez's words reveal the organizational capacities and experience these young people possess, developing a Coordination Council for Grassroots Work of ERs which is the largest indigenous civilian coordinating body operating across Sudan since the war began. This Council was formed based on the local governance system of Khartoum State, the most populous state in the country, with approximately eight million inhabitants according to the latest census projections from 2018. Initially, seven central ERs were formed for the seven localities, along with grassroots rooms for residential neighborhoods under them to ensure coordination and networking based on the administrative structure between administrative units, grassroots rooms, local ERs, and central rooms. Elzein indicated that the Council would evolve into a national council after including Sennar, Darfur, and other regions, thereby linking humanitarian intervention to grassroots work and local governance. Elzein describes how the ERs in Khartoum consist of 130 grassroots rooms in neighborhoods, in addition to seven central rooms. In Sennar, there are 15 grassroots rooms in neighborhoods and around seven central rooms, as well as one room in El-Suki. He noted that women's emergency rooms have also started to appear in eastern Sudan, as is the case in Gedaref and Kassala States, and there are 200 grassroots ERs in different Darfur states. Regarding how these rooms fund their activities, Elzein says, “the rooms initially received support from Sudanese people through bank transfers as donations, in addition to support from some international organizations. However, after the decline in capabilities due to the ongoing war and the worsening conditions of millions of Sudanese, the primary reliance now is on donors like the Sudan Humanitarian Fund (SHF).” Sudanese national organizations in turn, distribute funding to ERs, alongside other international organizations. Currently, the ERs depend entirely on funding from foreign organizations. Elzein continues, “there is a disparity in the number of participants in the rooms, depending on the population size in different areas and the level of interaction, even within Khartoum. For example, there are differences in the ability to communicate with various parties. Some rooms can communicate with SAF or RSF commanders in their areas, such as Karari in Omdurman and East Nile, to ensure safe passage of some food supplies needed for central kitchens or to secure the release of detained activists or residents of neighborhoods, while some areas lack this capability due to the hostile nature of the forces in control or due to pre-conceived aversion by grassroot activists to any coordination with neither SAF nor RSF.” For Elzein, one of the most significant challenges facing ERs is the repressive targeting and human rights violations faced by their members at the hands of both RSF and SAF. He adds, “in areas controlled by SAF and RSF, youth workers in emergency rooms have faced repeated arrests and severe human rights violations such as torture and beatings. Three weeks ago, one of the key workers in the emergency rooms in Eastern Nile State was arrested and falsely accused of killing a member of RSF.” Dr Hiba Omar was interviewed within the context of writing this article, to better understand the role of the medical ERs. Omar is the elected President of SDU’s Preparatory Committee and one of the prominent leaders of SPA. She has been repeatedly arrested and displaced. She says, “When the war broke out, the SDU was only a month old, and the Preparatory Committee was elected to perform specific tasks, including drafting a constitution, compiling a membership register, calling for a full general assembly, and holding free and fair union elections. We found ourselves faced with the daunting task of providing medical services to thousands of war victims after many hospitals shut down and were attacked by airstrikes and indiscriminate military attacks on them.” She recounts the details of the first hours after the war broke out, “I went to East Nile Hospital in the Al-Haj Youssef neighborhood in Khartoum and worked there for three consecutive days due to the severe shortage of staff. While we were working inside the hospital, it was bombed by SAF aircraft and then it was evacuated. So, I moved to the Ban Jadeed Hospital in a nearby area, but found it had closed. This situation, along with reports of many hospitals being out of service, prompted us to think about establishing medical ERs. We called on the RCs to support and assist us, and then we formed the first ER at Ban Jadeed Hospital.” She continues, “The war was very intense and was raging in the center of Khartoum State. This war violated all international humanitarian conventions and laws of war, with no regard for the neutrality of medical services and facilities nor protection of health workers. In fact, they were specifically targeted by both sides of the war. The expansion and intensity of the war and the targeting of hospitals, and the use of some health facilities as military platforms led to the loss of the ER’s capacities and the inability of patients to reach them, in addition to the killing of many medical staff and emergency room workers, the evacuation of patients, and the destruction and looting of hospitals.” Omar adds, “There were great difficulties in getting medical staff to hospitals, so most resided inside the hospitals, and we worked to fill the shortage due to the inability of some doctors to reach hospitals by training volunteers from RCs in medical services. The RCs provided oxygen and intravenous fluids in dangerous areas under shelling and bombing, as well as meals for patients and staff, and also transferred patients and the injured to other hospitals.” In her testimony as a doctor who witnessed the horrors of this war, Omar indicates the importance of the civil society organizations to the medical aid effort, “as a union, we contributed alongside Sudanese medical diaspora bodies such as SAPA (Sudanese American Physicians Associations) to securing critical information for the Sudanese Medical Council amid the shelling and battles; first transferring it to Al-Jazirah State and then after clashes broke out there, transferring the equipment containing the information to the Northern State in order to protect the interests of more than 10,000 doctors. The Council is responsible for training, certificates, and appointments of doctors and their specializations.” This major collapse caused by the war led Pmar Hiba, and her SDU colleagues, to work with other union bodies to establish the “Union Front,” and to expand it to include all workers in various fields who have been facing difficult conditions since the outbreak of the war, primarily the suspension of their salaries by the state for over a year and a half. “Addressing all these issues is almost impossible without stopping the war and, therefore, besides our work on professional issues, we continued work with other union bodies to achieve our shared struggle to stop the war, demand accountability, restore the revolution, and collectively defend workers' rights. We represent a broad sector of the Sudanese people together, and our positions express a large base that rejects the war, stands against its crimes, seeks justice, redress for the victims, the restoration of professionals' roles, and the enhancement and improvement of their conditions.” Continuous Work Despite the War After nearly a year and a half of horrific war, amidst the destruction caused by the military and militias allied with warring parties in Sudan, civil revolutionary forces are rising. These forces are working inside the country’s conflict areas as well as outside Sudan, where millions of Sudanese have sought refuge. Many are working to build bridges of communication with similar unions in host countries. Some have successfully traced their members dispersed in different countries as well. Various groups have started organizing training courses to enhance their capacities to deal with the war and its aftermath, while some unions are preparing to assess the scale of the destruction and thinking of how to reestablish a peaceful transition to democracy. Others yet, have begun documenting the violations and war crimes committed against civilians—and legally classifying them. Meanwhile, most unions are quietly working to provide as much assistance and support to their members by facilitating financial donations from Sudanese people worldwide and communicating with organizations that help and support refugees and professional advocacy groups. They are also negotiating with authorities in some asylum countries to ensure their members’ welfare and safety. In conclusion, the Sudanese civilian bodies such as the SPA, Resistance Committees and professional unions continue their decades-old tradition of democratic grassroot organization and advocacy for democratic freedoms despite the war. The collective experience they accumulated during the December Revolution continues to drive their commitment and inform their decision-making. They remain resolute that wars and military coups will never dent their resolve to create a free, peaceful and just. The December Revolution’s slogan, “Freedom, Peace and Justice” remains a beacon of hope for Sudan.∎ SUB-HEAD Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Reportage Sudan Egypt Armed Forces Resistance Movement Resistance Resistance Committees Unions Medical Union Healthcare Community Civilian Solidarity War Sudanese Armed Forces Rapid Support Forces Military Coup Power-sharing Transitional Government December Revolution of 2018 Sudanese Professional Association Islamist Massacre Protest Political Dissidents Political Violence Violence Internally Displaced Persons Refugees Repression Civilian Activism Civil Society Infrastructure Dictatorship Emergency Committees Sudanese Diaspora Mobilization Humanitarian Aid Organizing Ceasefire Negotiations Trade Union Independence Colonialism 20th Century Railway Workers Colonial Oppression Front of Associations Coalition Labor Farmer Union Alliance Jaafar Nimeiri Omer Al-Bashir Public Interest Law Sudanese Doctors Union Strike Economy Grassroots Movements Inqaz NCP Regime South Sudan Secession Democracy Teachers Journalists Lawyers Doctors Facebook Social Media Civilian Unrest Sennar State River Nile State Blue Nile State Peoples Power Charter Flow of Commodities Monitoring Civilian Testimonies Cultural Studies Census Al-Ayam Center for Cultural Studies and Development Moez Elzein Activist Human Rights Violations Human Rights Youth Workers Torture Emergency Room SDU Preparatory Committee Hiba Omar Airstrike Khartoum State Sudanese Medical Council Al-Jazirah State Hope Conflict Revolution Advocacy Freedom Peace Justice 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. 23rd Feb 2025 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:

In the immediate aftermath of the May 2025 India-Pakistan conflict, sensationalist television coverage amplified misinformation, turning a volatile border crisis into a media-fueled spectacle. As fact-checks lagged behind viral falsehoods and unverified claims of tactical victories, nationalist fervor surged on both sides of the border, eroding the credibility of journalism before the public’s eyes. THE VERTICAL Khabristan Uzair Rizvi In the immediate aftermath of the May 2025 India-Pakistan conflict, sensationalist television coverage amplified misinformation, turning a volatile border crisis into a media-fueled spectacle. As fact-checks lagged behind viral falsehoods and unverified claims of tactical victories, nationalist fervor surged on both sides of the border, eroding the credibility of journalism before the public’s eyes. On the night of May 9, 2025, I closely tracked the unfolding hostilities between two nuclear-armed neighbours. I was watching a debate on the ongoing border situation on the Times Now Navbhara t news channel when the TV anchor, Sushant Sinha, abruptly paused the discussion to announce with glee that “Indian forces have entered Pakistan.” A panelist in the debate, a retired Indian Army veteran, trying to whip up jingoistic fervour, urged the Indian Navy to launch an attack on Karachi, declaring, “Set fire to Karachi Port and reduce the entire city to ashes.” While India and Pakistan’s firepower echoed on the borders, another battle was taking place inside the television studios. The latest surge in violence came in the aftermath of armed militants killing 26 tourists in the meadows of Indian Kashmir in April. India labelled these as terrorist attacks and blamed Pakistan, an allegation Pakistan denies. Following the attack on Indian tourists, some in the Indian TV media adopted an aggressive nationalistic stance . They further escalated tensions by calling for retaliation against Pakistan. Some newsrooms even openly endorsed military strikes against the country, which ignited a wave of hysteria in India. In the days that followed, I spent even more time on social media monitoring India TV broadcasts, noticing frequent bursts of misinformation. A casual scroll on X (formerly Twitter) revealed a post from an obscure account alleging that India had fired towards Pakistan. Within minutes, I searched the keywords #India and #Pakistan, and my timeline was flooded with similar claims. Indian mainstream media outlets like Aaj Tak and Times Now quickly picked up these unconfirmed posts, and within an hour, they snowballed into a full-blown conflict of speculations as early as day 1. As new events unfolded on the border on successive days, the media kept broadcasting unverified content. The onslaught of misinformation that followed was staggering: images of missile strikes, anti-air defence guns firing at targets, and armed forces downing each other's fighter jets. Editors and readers alike seemed unaware that the information was from a popular tactical shooter simulation video game, Arma 3 . Archival clips also resurfaced and were presented as proof of Pakistan’s devastation of the Indian military . Many of these images and videos were not of real-time offences but came from the Russia–Ukraine war and Israeli air raids on Gaza. As the conflict escalated on day two and three, the deluge of misinformation went into full throttle. In these moments of crisis, both the Indian and Pakistani television media ditched accuracy altogether. They deceived audiences with unverified claims , manipulated visuals, and emotionally charged distortions of the ground reality. "Across Bodies and Land" (2024), graphite on handmade paper, courtesy of Rahul Tiwari. India Today reported a breaking news story that claimed that the Karachi port had been attacked by the Indian Navy; Zee News told viewers that the capital city of Islamabad had been captured. The latter even claimed that the Prime Minister of Pakistan had surrendered . ABP and NDTV news showed exclusive visuals of India’s air defence downing Pakistan drones, even though the original video was from Israel. Besides the mainstream English and Hindi media, the regional TV media joined the bandwagon as well, amplifying the misinformation. The Karachi Port Trust posted on X, denying that an attack had occurred. However, some of the newspapers had already picked up and published this news in the following day's edition.A report from the Reuters Institute said that almost half of Indian online users receive their news from television, which makes these instances of misinformation especially egregious and impactful. One of the anchors at an Indian television station did apologise for an “error,” however, the apology came nearly 12 hours after that segment had been seen by millions of viewers in India. Meanwhile, in Pakistan, the media passed off old visuals of fighter plane crashes as evidence of recent strikes on Indian fighter planes by Pakistan. Things escalated beyond newsrooms when an official X (Twitter) account of the Government of Pakistan posted footage from Arma 3 of what it claimed was real videotape of Pakistan downing India’s Rafale fighter jet. The rise of artificial intelligence played a significant role in augmenting the falsification of the conflict. AI-generated disinformation, including a deepfake video of a Pakistani military officer admitting that the country lost some of its fighter jets, was widely circulated in Indian media. Another AI-generated clip featured US President Donald Trump promising to “wipe out Pakistan,” giving fodder to Indians who believed that the United States would enter the war against Pakistan. Other AI-generated images claimed to show Pakistan’s defeat, while pictures of a Turkish pilot were falsely presented as proof that India had captured a Pakistani air force officer. A doctored version of a letter was also shared. It was falsely positioned to be from Pakistan’s government and claimed that Pakistan’s former prime minister, Imran Khan, had died in judicial custody. TV media do not operate in a vacuum, these viral clips quickly find their way to social media platforms and instant messaging mobile applications like WhatsApp. Social media users on both sides consume and share misinformation at lightning speed, especially when it aligns with nationalistic sentiment. "Across Bodies and Land" (2024), graphite on handmade paper, courtesy of Rahul Tiwari. The World Economic Forum ranked India as the country most at risk for misinformation and disinformation, which is defined as incorrect information shared to purposefully obfuscate the truth. But, false reports surged in Pakistan during the crisis as well. A Pakistani politician praised —in Parliament—about the might of his country’s air force based on an AI-generated image of a British newspaper. Of course, most military crises lead to a surge in falsehoods and unverified claims. While the media is supposed to inform the public, during these delicate moments, much of the television coverage descends into a spectacle of exaggeration, rumor, and nationalistic war mongering . From fabricated airstrikes to altered footage , the focus shifts away from facts toward constructing a narrative of preemptive victory and toward manufacturing consent for potential war crimes. In today’s digital world, this misinformation is not limited to local viewers. It moves quickly, heightening tensions and fueling broader cycles of global propaganda. The long-term consequences of such wartime fallacies are deeply damaging. By amplifying rumors and unverified stories, both Indian and Pakistani television media deepened public divisions, pushing citizens into isolated, conflicting realities. A similar situation occurred in 2019, after the killing of Indian paramilitary soldiers in Kashmir. False and misleading images and videos circulating on social media were republished by mainstream media, fuelling the calls for military retaliation against rival Pakistan. This conduct erodes the ethos of journalism. Audiences start to see all media as biased or deceptive. For fact-checkers in the field, debunking these falsehoods is an enormous challenge, and by the time fact-checked content reaches the general public, truth has already become the ultimate casualty. ∎ ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 "Across Bodies and Land" (2024), graphite on handmade paper, courtesy of Rahul Tiwari. SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ Reportage Delhi India-Pakistan Border India Pakistan Conflict Pakistan-India Conflict Armed Conflict Media wars Disinformation Misinformation Virality Viral Clips Soft War Karachi Social Media Manufacturing Consent Nationalism UZAIR RIZVI is a journalist, formerly with the Agence France Presse (AFP), who covers misinformation, elections, and technology. He is based in Delhi Reportage Delhi 16th Aug 2025 RAHUL TIWARI grew up in Bhadwar, a small Bhojpuri speaking village in Bihar. Rahul received an MFA from Banaras Hindu University in 2018. Strongly informed by his place of origin, his work examines regional ecologies and folklore as they pertain to both societal and environmental wellbeing, justice, and change. On That Note: How to Grow Flowers in a Bedroom 19th OCT The Lakshadweep Gambit 29th MAR Chokepoint Manipur 3rd OCT

WRITER-SCHOLAR Simran Jeet Singh SIMRAN JEET SINGH is Executive Director for the Aspen Institute’s Religion & Society Program and author of The Light We Give: How Sikh Wisdom Can Transform Your Life (Riverhead Books, 2022) and the award-winning children’s book Fauja Singh Keeps Going: The True Story of the Oldest Person to Ever Run a Marathon . He is a visiting professor of history and religion at Union Theological Seminary and a Soros Equality Fellow with the Open Society Foundations. In 2020 TIME Magazine recognized him among sixteen people fighting for a more equal America. His work has appeared in the New York Times, Washington Post , and CNN , and he is a columnist for Religion News Service . WRITER-SCHOLAR WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

SAAG's multimedia content is displayed here, using our YouTube and Instagram channels. THE VERTICAL ENVIRONMENTAL WAR CRIMES IN AFGHANISTAN THE VERTICAL DISPATCH DISPATCH 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 “Wonderland 2” by Priyanka D’Souza. Watercolor on Paper (2015) SHARE ARTICLE: Tags Tags Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. DISPATCH Tags Tags 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. MORE LIKE THIS Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6

ARTIST Dhruba Chandra Roy DHRUBA CHANDRA ROY is a self-taught Bangladeshi visual artist and activist. Born in Sultan-Khali in northeastern Bangladesh, he attended Shahid Syed Nazrul Islam College, Mymensingh, and Shahjalal University of Science and Technology (SUST), Sylhet. His participation in various political movements, close interaction with people from diverse socio-economic backgrounds and regions, and interest in human relations with nature, and class struggle inform his practice. ARTIST WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

TRANSLATOR Polly Barton POLLY BARTON is a writer and Japanese translator based in Bristol. Her translations include Aoko Matsuda’s Where the Wild Ladies Are , Kikuko Tsumura’s There’s No Such Thing as an Easy Job , and Tomoka Shibasaki’s Spring Garden . In 2019, she won the Fitzcarraldo Editions Essay Prize for her debut book Fifty Sounds . Her second book, Porn: An Oral History , is forthcoming. TRANSLATOR WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

In 'Daha Rupaychi Note', Hamid Dalwai tells the story of Kareem, a poor clerk journeying from Mumbai to his Konkan village for Eid and Ganesh Chaturthi. Amidst nostalgia and hardship, Kareem witnesses his village’s stark poverty, confronting the harsh realities of his people’s suffering. Through his act of charity and the symbolism of the titular ten-rupee note, Dalwai blends personal, literary, and political ideologies, exploring themes of communal harmony, economic reform, and the complex interplay of religion and identity within the socio-political landscape of post-independence India. In 'Daha Rupaychi Note', Hamid Dalwai tells the story of Kareem, a poor clerk journeying from Mumbai to his Konkan village for Eid and Ganesh Chaturthi. Amidst nostalgia and hardship, Kareem witnesses his village’s stark poverty, confronting the harsh realities of his people’s suffering. Through his act of charity and the symbolism of the titular ten-rupee note, Dalwai blends personal, literary, and political ideologies, exploring themes of communal harmony, economic reform, and the complex interplay of religion and identity within the socio-political landscape of post-independence India. Vinay Ghodgeri, The Two Pontificators (2022). Ink, digital painting. Artist · FICTION & POETRY REPORTAGE · LOCATION Ten Rupee Note LOCATION Ria Modak . 17 Feb 2025 th . Letter from our columnist . The story begins and ends with a bus ride. Kareem, an impoverished clerk living in Mumbai, decides to visit his village in the Konkan to celebrate both Eid and Ganesh Chaturthi. While his journey there is filled with both nostalgia and anticipation, his return is marked by a different set of emotions. As his aunt remarks, “everything is upside down in the village,” where everyone is impoverished and unemployed, and the starving can do nothing “except sit and wait hopefully for next year’s harvest.” Confronted with this catastrophic state of affairs, he gives away his scant savings in a “pathetic charity session” until he is left only with the titular ten rupee note. “Daha Rupaychi Note” was my first encounter with the Marathi Muslim journalist, writer, and reformer Hamid Dalwai . Written when Dalwai was just twenty years old and printed in the Marathi-language “Dhanurdhara” magazine on November 8, 1952, the story was his first published work. In a recent documentary directed by Jyoti Subhash and featuring Naseeruddin Shah, Husain Dalwai—Hamid’s brother and Congress politician—reminisced on its publication, recalling that the entire family had gathered under the dim light of a streetlamp to read it together. Despite his young age, his earliest work rings with the earnest idealism, unambiguous moral clarity, and straightforward, laconic prose that would characterize much of his later writing, fiction and non-fiction alike. Brusque and unambiguous in its endorsement of communal harmony, economic reform, and village uplift, “Daha Rupaychi Note” reads propagandistically at times, blurring the borders between literature, praxis, and even autobiography. Through this hybrid form, the interplay between Dalwai’s personal life, creative instinct, and political commitments is laid bare. Like his protagonist, Dalwai was born and raised in a working-class Ratnagiri family before moving to Mumbai in search of work. This migration story is a familiar one: my grandfather, also a Kokani Muslim, came to Mumbai in the 1940s as an officer in the merchant navy. Like Dalwai, he was of a literary bent, writing and translating between Marathi, Urdu, and English. He, too, was charming and mercurial, his disarmingly light eyes quick to anger and quicker to laughter and brandished his acerbic wit with a typical Konkan sting. If they ever met, I imagine Dalwai would have quickly adapted my grandfather’s sardonic catchphrase, “ naseebach gandu tar konashi bhandu. ” But whereas my grandfather spent those heady decades of independence hopping between port cities in Japan, Thailand, and the Soviet Union, Dalwai hopped between political organizations, from the Rashtra Seva Dal to the Samyukta Socialist Party. Frustrated by their timid stances on communalism, he eventually carved out his own political spaces by establishing the Indian Secular Society (1968) and the Muslim Satyashodak Samaj (1970); the latter modeled after Jyotirao Phule’s anti-caste reform society. Through his organizing and writing, his ultimate goal was to modernize Indian Muslim society by, in his own words, “creating a small class…of liberal and secular Muslims.” Dalwai is difficult to categorize and perhaps for that reason, he has been largely forgotten by historians, literary critics, and the public. On the one hand, he was, indisputably, a Marathi thinker. The landscape and rituals of the Konkan coast—its “distant green hillocks” and its “auspicious sounds of cymbals and mridanga”—were firmly imprinted in his literary and political consciousness. Influenced by his Marathi-medium education in Chiplun, he wrote exclusively in Marathi and encouraged Indian Muslims to embrace their regional languages rather than chasing after Urdu, Persian, or Arabic; when interrogated about his linguistic preferences, he quipped that his own Marathi-inflected Urdu, adulterated by Mumbai slang, would cause a “proper” Urdu speaker from Lucknow to collapse on the spot. His Maharashtrian contemporaries, from the humorist and performer P.L. Deshpande to the playwright Vijay Tendulkar, praised his tenacity and courage, with the former naming Dalwai as “one of the greatest enlighteners in that series from Jyotirao Phule to B.R. Ambedkar,” and, with characteristic fulsomeness, remarking that “when I say that Hamid was my friend, I feel it might come across as self-promotion: that was the extent of his greatness.” Yet, Dalwai is near impossible to locate in contemporary histories of Maharashtra, which, depending on their ideological predilections, have long sought to portray the state as the great bastion of resistance to Islamic rule, the progenitor of polemical politicians from Tilak to Ambedkar, or the financial center of independent India. In a historiography dominated by analyses of Marathas, Hindutva, and, increasingly, at long last, anti-caste mobilization, the history of Maharashtra's Muslims remains peripheral. On the other hand, Dalwai both identified with and critiqued a different lineage: that of Muslim reformers from Sir Syed Ahmed Khan to Muhammad Iqbal and Muhammad Ali Jinnah. In Muslim Politics in Secular India , a collection of his essays translated by Dilip Chitre in 1968, Dalwai compared the trajectory of Hinduism and Islam. Whereas the trajectory of Hindu modernism, he argued, progressed from Raja Rammohan Roy to Jawaharlal Nehru, the “process of Muslim modernization was arrested” when Iqbal and Jinnah’s embrace of “Islamism ultimately led to anti-Hinduism.” For Dalwai, these reformers fell short on several counts: they promoted an “obsession with [the Muslim community’s] minority status,” encouraged a “tribal…collectivist loyalty,” and ignored the unique plight of Muslim women. Indeed, Dalwai is perhaps most well-known for his attempts to remedy this third issue; on April 18, 1966, he led a group of seven women in India’s first march against triple talaq and polygamy, and in favor of a uniform civil code (UCC). Here, we may note that nearly sixty years after his march, from the controversial Shah Bano case to the BJP’s inclusion of a UCC in its 2024 manifesto, many of these issues remain deeply contested. Yet, unlike Sir Syed, Iqbal, or Jinnah, Dalwai’s idea of modernization demanded militant and uncompromising secularization. Clean-shaven on principle—at a speech in Solapur, he joked, “if I were in power, I would compel all Muslims to shave off their beards”—and adamant that he be cremated rather than buried, Dalwai was branded a kafir by his orthodox contemporaries. His dedication to Muslim reform was borne more from an accident of birth rather than any deep religious commitment: “I don’t pray, neither do I fast. I believe the Quran was not made by God, but rather by Muhammad,” he declared in an interview. “I am a Muslim by birth and a Hindu by tradition.” In “Daha Rupaychi Note,” we catch an early glimpse of this iconoclastic brand of Islamic secularism. The twin celebrations of Ganesh Chaturthi and Eid dictate the story’s pacing: they precipitate Kareem’s arrival in the village; they prompt his existential reckoning, and they frame the central tension of the narrative. Dalwai’s reclamation of Hindu tradition is also, perhaps, revealed through Kareem’s references to the Ramayana. By drawing parallels between Sriram, his closest friend who “embodied Gandhi’s call to ‘go to the village’,” and the Rama of legend, Dalwai intimates familiarity with Hindu mythology and suggests at least some amount of faith in its teachings. Here, we must underscore the complex, multivalent nature of Dalwai’s religious and regional identities: as a Marathi Muslim, his perspectives on secularism, socialism, and language politics were shaped by his negotiation of the two strands of thought I have traced above. His marginalization, then, constitutes multiple, overlapping disappearances: of Muslim thought from Maharashtrian history, of Marathi thought from Indian Muslim history, and of the Islamic secular from discourses of religion, nationalism, and modernity. As Kareem sets off from Chiplun, he is overwhelmed by emotions, his heart “darkened with despair.” Caught between the financial allure of Mumbai and the moral imperative to remain in the village, negotiating between the festivals of his birth and his tradition, he chooses to remain hopeful for the future of the Konkan. How many times did Dalwai make this same journey, his thoughts consumed by these same anxieties? How many times did my grandfather? I’ve never set foot on the red soil of his native land, never peered out into the Arabian Sea from that lush coastline dotted with jackfruit and cashew trees and since his passing more than two decades ago, any tether binding me to the region has unraveled. In any case, the Konkan of his—and Dalwai’s—time is long gone. Perhaps it is a fitting tribute to both men that his son, in the spirit of “Daha Rupaychi Note,” would go on to marry a Hindu woman and raise a family where, like Kareem and Sriram, we celebrate both Ganesh Chaturthi and Eid. Ten Rupee Note by Hamid Dalwai Translated by Ria Modak After spending a year in the noisy chaos of Mumbai, my mind drifts to my village in the Konkan. I remember the uninhibited, idyllic days of my childhood, and feel the temptation to meet old friends and relatives. Every summer, I take a week or two off to visit the village, setting foot on the boat from Ferry Wharf to Dabhol. This year, however, I was too consumed by work to make the journey. A few months later, though, I managed to negotiate a vacation; my aunt had sent a message telling me to come home for Eid. Besides, it had been many years since I’d been back to celebrate Ganesh Chaturthi. I decided that I would go, and booked an S.T. bus. At the Chiplun motor stand, a couple hours from Ratnagiri, some friends came to greet me. We traveled the rest of the way together, cracking jokes and chatting about nothing in particular to pass the time. Once we arrived at the village, they drank their tea and dispersed, promising to come see me again. I made my way to my aunt’s house. She lived alone, and we were very close. Since I was a child, my visits would incite a flurry of overexcitement: what shall I cook? What shall we do? Where shall we go? Even now, nothing has changed: how long will you stay? What shall we plan for Eid? Eventually, tired of her chattering, I interrupted: “Chachi, why haven’t I seen Sriram anywhere? He didn’t even come to meet me at Chiplun.” “Arrey ho! Did I forget to tell you? He’s lost everything. The farm, the land, everything has been auctioned off. But what’s to be done?” she said. “But why doesn’t he come to Mumbai then? Why is he wasting his time in this village? ‘Social work… social work…’” Kareem scoffed. “We might die of starvation, but we must still commit ourselves to social work. I don’t understand.” She let out a sigh. “I’ve told him so many times, but he always repeats the same thing: ‘we shouldn’t only look out for ourselves, kaki.’” Tears shone in her eyes. I was taken aback. I’d run into so many acquaintances from the village in Mumbai, but none of them had told me about Sriram’s condition. It’s true that we’d stopped writing letters to each other as the months passed. As I became increasingly caught up with work, I suppose I’d taken Sriram’s situation for granted. “Look, this is everyone’s story in the village. Everything is upside down. You lot who’ve gone and built a life in Mumbai, why will you remember your home in the village? You don’t even know who’s alive and who’s dead here. You haven’t sent a penny in four months. At least you haven’t settled down yet—there are some people who haven’t returned in five or ten years. Who will take care of their houses?” the old lady went on. Staying in Mumbai, my mind had become an emotionless machine. How could it be that I’d never once thought about the economic state of my village? Today my aunt had opened my eyes, and I turned inwards. The thick fog shrouding my mind evaporated. I let go of the day-to-day tedium of my clerical life, and the formality of my city sensibilities melted away. But what good could come from thinking? I’d renounced any golden dreams of idealism and ambition and was wandering in the lonely desert of pragmatism. For 120 rupees a month, I scribbled nonsense and passed it off as clerical work. I lived with a friend and ate my meals at a cheap mess. I couldn’t imagine ever having enough money to get married. The next day, I was awakened by a pair of raucous voices. At first, I didn’t pay attention, but once I heard my name, I perked up. An old woman said, “He hasn’t remembered me once in so many days. Has he returned from Africa with bags of cash or what?” Quickly, I got up and left. I didn’t see who had come. Only after my aunt explained did I begin to understand that the woman was having money problems for Eid. I felt terrible, but then my aunt prodded me: “Why are you feeling bad? This is everyone’s reality. How many people can you possibly help?” Then she took 100 rupees from me, buying what she needed for the house and paying back her debts with the rest. I felt as though she was getting even with me for not having sent money these past few months. From that day onwards, there was a line out the door. At any given moment, someone or the other came complaining of financial distress, expecting money. My tongue sat heavy and numb in my mouth. They came reluctantly, nursing their shame and hesitation, losing their courage as they asked favors. I’d only come with 200 rupees: of that, 100 had gone to my aunt. Of the rest, 90 were given here and there. Finally, I put an end to this pathetic charity session. I wanted to return to Mumbai, after all, and needed to set aside money for the return fare. Everyone I’d given money to had done me a favor at some point or the other. I was satisfied that, at the very least, those debts were paid. But my satisfaction didn’t last long. Ganesh Chaturthi came at last. In the old days, the village would ring with the auspicious sounds of cymbals and mridanga. But today, I heard nothing. Confused, I asked my aunt, who replied: “Arrey baba, how can people celebrate with nothing in their belly? The old days are gone. Two days before the Gauri Visarjan, there’ll be some dancing and that’s it, the festival will be over.” I felt like I’d been stabbed in the stomach with a sharp knife. Poverty hadn’t just made our daily life miserable: it had cast a dark shadow on our celebrations, our happiness, and our enthusiasm. I had no doubt that Eid, too, would be similarly dark. Eight days passed, but Sriram, my closest friend, still hadn’t come to see me. If anyone embodied Gandhi’s call to ‘go to the village,’ it was Sriram. Though he’d once settled in Mumbai, he had kicked aside his lucrative job in the city and instead devoted himself to uplifting the village. Finally, I went to see him the day before Gauri Visarjan. Standing in the corridor, his face lit up with joy when he saw me. At once, he enveloped me in a tight hug and cried out to his wife, “Hey, look who has come!” Coming out with a handful of ash from cleaning up, she said, “O Chakarmani! When did you come? Yesterday or what? Made it a point to come see us as early as you could manage, hm?” Ignoring the sarcasm dripping from her voice, I said, sagely: “If the mountain doesn’t come to Muhammad, Muhammad must go to the mountain.” “Enough is enough! Please don’t bore us with the same old phrases. I’ve been telling him, ‘that friend of yours has come, go and see him,’ but he always repeats the same thing…” Catching a glimpse of her husband, she fell silent. I couldn’t wrap my head around the situation, but Sriram explained. “Don’t be flustered, my friend. I told her that Kareem has come from Mumbai. His pockets are overflowing, everyone must want a piece of him. The poor must be going to see him again and again. How could I go at such a time? He’d think that I’m just after his money, too.” Sriram laughed loudly. His laughter pierced my heart. The poverty of the village, the sheer decline of the Kokan was all revealed to me through that laugh. I said, casually: “Listen, if you’d come to ask, would it really have been so terrible?” “That’s what I told him,” his wife jumped in excitedly. “There’s always some problem in the house. I told Sriram, ‘go to Kareem bhai and bring back 10 rupees.’ At least let the kids enjoy the festival. But he refuses. ‘Forget the money,’ he says. ‘I won’t go see him until Eid is over.’” “Kay re, when I came last year the situation didn’t seem so bad,” I said. “True, for two reasons. Firstly, you used to come in the summer. Even though the harvest wasn’t so bountiful, at least people had some grain in their hands. Besides, farm work was in full swing. There might not have been much money, but people could at least find some seasonal work. Now there’s no grain and no labor, either. What else can the starving do except sit and wait hopefully for next year’s harvest? And the other reason is that this poverty has been slowly getting worse over time. Today, you’re witnessing it, all at once, in its barest form. Planting his eyes on a distant green hillock, he said in a subdued and determined voice, “All this must change Kareem. It must be changed . We must give up our narrow, selfish attitudes. Capitalism is the culmination of our social structure and the naked form of our reality; it is our legacy. This situation isn’t any one person’s fault, but at the same time, it’s not any one person’s responsibility. We must reject this futile idea that we alone can enact meaningful change. We must work for everyone, for society at large. Last year I’d said, ‘let’s store some grain from the harvest for communal use.’ Nobody listened to me. Someone would’ve benefitted by now, wouldn’t they? But nobody has any sense of community wellbeing!” And he stopped for a while. I too was eager to give him an earful. Taking his silence as my cue, I said, “Really, Sriram. Why do you insist on working in this village? Haven’t you seen what kind of people live here? Why bother struggling for them in vain?” “Nahi re!” Placing his hand on my shoulder, he continued. “This work will bear fruit one day. I have faith in it. And consider for a moment if I decided to leave everything behind. What would happen to the work I’ve started, to the hope that’s been built up? I can’t turn back now.” Then, squeezing both my hands lovingly, he asked me, “Is everything okay with you? When are you going to get married?” I replied with a wry smile, “I’m okay. I’ve been eating at a mess and sleeping at a friend’s place, but he just got married, so I’ve had to move out. An acquaintance of mine knows someone who owns a building, so with his permission I’ve been sleeping in a room under the staircase. Where could I possibly fit a wife?” Then I asked him gently, “Do you really need money?” “If you put it like that, well then yes. But why should I make your life difficult?” Taking out the last ten rupee note from my pocket, I forced it into his hands. I drank my tea, bade farewell to his wife and child, and returned home. Eid and Ganesh Chaturthi came and went, and the day of my return to Mumbai drew closer. Both festivals had fallen short of my expectations. There was no warmth in people’s celebrations. They were just going through the motions, performing rituals with an emotionless formality. I couldn’t bear to see any more, and decided to return to Mumbai as soon as possible. Suddenly, I remembered I had no money. I needed ten rupees to return to the city, but couldn’t understand how to get them. Finally, I brought up the subject with my aunt. Angered by my ill-timed munificence and diminishing funds, she said, coldly: “Where will the money come from now? You’ll have to borrow from someone and just pay them back when you return to Mumbai.” The idea didn’t sit well with me, and I gave no answer. The next morning, while I mulled over the situation, confused, Sriram came and, to my surprise, placed a ten rupee note in my hand. Without letting me say anything, he explained, “If you were in trouble, why didn’t you just tell me, baba? Yesterday, kaki came to me and everything became clear. Aren’t you leaving tomorrow?” I took the note from his hand and looked closer. It was the very note that I’d given him! There was an unmistakable stain near the watermark where I’d spilled some ink earlier. “But this money was for your celebrations! Isn’t it the same note that I’d given you?” “That’s true enough. But on the very evening you’d come to see me, I got the money I needed from someone who owed me, and I was set. What business is it of yours?” The next day when the S.T. bus to Mumbai set off from the Chiplun motor stand, my heart was darkened with despair. I couldn’t stop thinking about the grim future of my village. I thought to myself, “won’t this situation ever change?” But then again, why not? Against the depressing backdrop of poverty, hunger, and unemployment emerged Sriram’s strength, patience, and courage. Why not, indeed! Just as Sri Ram released Ahalya from her curse, transforming her from hexed stone back into a beautiful woman with a brush of his foot, this Sriram too will surely rescue our Konkan. My mind filled with happiness and hope, I landed in Mumbai that evening.∎ SUB-HEAD Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Facebook Twitter LinkedIn Add paragraph text. Click “Edit Text” to customize this theme across your site. 1 RIA MODAK is a musician, translator, and PhD student at Brown University studying music, nationalism, and borders in modern South Asia. 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. Translation Maharashtra Hamid Dalwai Muslim Marathi India Fiction Journalism Writer Reform Economy Borders Community Literature Working Class Migration Family Urdu English Political Will Anti-Caste Organizing Liberalism Secularism History Literary Criticism Regional Languages Linguistic Marathas Hindutva Maharashtra Muslim Modernization Civil Society Militant Disappearance Religion Nationalism Ten Rupee Note Mumbai Konkon Village 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:

Where do radical movements stand in the US? In December 2020, Kshama Sawant and Nikil Saval took stock of the response to the COVID-19 crisis at the federal, state, and city levels and discussed the many failures of two-party politics. But the movements for housing, defunding the police, and taxing corporations in Seattle & Philadelphia are also deploying innovative and unprecedented organizing strategies, most obviously at the local level, that have ramifications for movements across the country. | · INTERACTIVE Event · Panel FLUX · Kshama Sawant & Nikil Saval on US Left Electoralism & COVID-19 Where do radical movements stand in the US? In December 2020, Kshama Sawant and Nikil Saval took stock of the response to the COVID-19 crisis at the federal, state, and city levels and discussed the many failures of two-party politics. But the movements for housing, defunding the police, and taxing corporations in Seattle & Philadelphia are also deploying innovative and unprecedented organizing strategies, most obviously at the local level, that have ramifications for movements across the country. Watch the event in full in on IGTV. FLUX: An Evening in Dissent FLUX was held at a peculiar time. In December 2020, there was both during a raging pandemic and following exciting victories by progressive candidates in state elections in the US, including Nikil Saval, former co-editor of n+1 , to PA State Senate. Tisya Mavuram and Kamil Ahsan convened with Sen. Nikil Saval and longtime socialist Seattle City Councilmember Kshama Sawant to talk about the future of left politics, relations with the Democratic Party, and the pandemic. In Philadelphia, on the actual city budget level, the [Defund the police] movement's ability to win the cuts it demanded did not succeed, as it didn't in many other cities. But what did happen, it is important to highlight, was a protest encampment of the unhoused on the Benjamin Franklin Parkway which is very near to the Art Museum, a symbolic institution of the city. It's one of the richest and most subsidized areas of the city. It's rich because it has been made to be rich. So to have this encampment protesting for housing was a physical challenge to the housing in the city, including the shelter system, which is in shambles. Despite attempts by elected officials, the encampments were able to secure the transfer of city-owned property to a community land trust. This was unprecedented in Philadelphia history. It doesn't meet the actual need, but it begins to pioneer how movements can work with officials on the left in city government, coming from an abolitionist impulse. Tarfia Faizullah: Poetry Reading Jaishri Abichandani's Art Studio Tour 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 Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Event Panel COVID-19 Recall Efforts Democratic Party Progressive Politics Electoral Politics Accommodationism Bernie Sanders Socialist Alternative State Senate Local Politics Local vs. National Politics Washington Pennsylvania City Council Races State Senate Races Centrism Right-Wing Assault Amazon Gentrification Criminal Negligence Fighting the Two-Party System Migrant Workers Stimulus Package Legitimacy of the Capitalist System Demographics The Guise of Bipartisanship Capitalist Class Reactionary Democratic Elites Nancy Pelosi Chuck Schumer Insider Negotiation Standards of Living Minimum Wage Democratic Establishment Post-George Floyd Moment George Floyd Anti-Racism Mass Protests Amazon Tax Corporation Taxation Labor Movement Racial Justice Tax Cuts for the Rich Primarying Centrist Democrats Defund the Police Abolitionism Minneapolis Police Departments Mayoralties Pledges to Defund Police Career Politicians Budget Votes Movement Organization Movement Strategy Seattle Activist Politics Black Lives Matter Democratic Socialists of America Ballot Initiative Housing Municipal Politics Shelter System Encampments of the Unhoused Negotiating Directly with Philadelphia City City-Owned Properties Land Trusts Leftist Media Magazine Culture n+1 Hospitality Workers Growth of Left Media FLUX Philadelphia Seattle City Councils Labor 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 Dec 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:

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

NON-FICTION EDITOR Aisha Tahir Aisha Tahir is a journalist based in Karachi s on climate and development. She is the co-founder of Kitab Ghar Karachi, a political public library dedicated to resisting erasure through archival practices, oral histories, and community workshops. At Kitab Ghar, she leads programming initiatives that center collective memory and radical education. Aisha graduated from Princeton University in 2021 from the Department of African American Studies. NON-FICTION EDITOR WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

Notes on the new SAAG design system: appropriating the predator-drone, aesthetic intimacy, international motifs, and other stories. | · BOOKS & ARTS Presently · The Editors Experiments in Radical Design & Typography Notes on the new SAAG design system: appropriating the predator-drone, aesthetic intimacy, international motifs, and other stories. The display-face superimposed on the cartographic grid system it arose from. How does a magazine like SAAG understand space & geography? How does it grapple with the many South Asian communities—those acknowledged as such, and those that aren't—to begin to identify the wrongs we must right from a long legacy of media that construed and continue to construe "South Asia" so narrowly? When I set out to design a whole new SAAG, these questions were on my mind. Unconsciously, material things—street signs we passed by, patterns we'd been looking at for years but noticed again for the first time—gave me some answers that buttress our current design system, allowing for a conversation within the team from many countries. These ideas came from my own subjective personal experiences, yes, but that intimacy I felt led all of us as a team to wonder: what might everyone else find intimate? How do we bring it all together? The design system is an expression of solidarity—finding commonality in what we all see or read; wear or draw—while admitting exception and difference, and also that this is, of course, an ongoing process. Disaster Timeline: Cover Artwork Our first issue allowed us to think about space on a broader level too. More specifically we asked: How does networked space see? Through the eyes of capital and the modern surveillance state—much like the seeker-head of a predator drone—the human subject has reached the zenith of abstraction. Humanity is now a set of data points, and collective struggles, in turn, simply distant blips on a radar. Visibility doesn't come easy. In an attention economy with content tethered to the whims of capital, only the profitable survive. Large-scale disasters cannibalize attention, obscuring the slow devastation occurring across regional, social, bodily, and psychic scales on a continuous loop. It’s a circular timeline. In a sense, the apparatus of surveillance defines the contour of strife: what better way to capture that present state of invisibility than to mimic how the predator drone sees the regions discussed in the issue? Thus, Mukul Chakravarthi's cover art for Issue 1 attempts to capture the cold cartographies of collective strife through the aesthetics of the modern surveillance state. The appropriation affirms our editorial commitment to deeply human narratives that emerge in the form of rigorous local reporting but also critically in the aesthetic responses of struggle and dissent, many of which you will find in the issue. The custom display face was derived from a grid system mapping the eight main cities—from Islamabad in the west to Naypyidaw in the east—that feature in the first issue. It was an exercise conceived to be just as spatial as it was typographic. The intention was to construct a display face that gave form to regions that otherwise figured in the margins of the globalist imagination. Iconography The iconography is the foundation of Volume 2. I truly hope you come to remember these icons and the content and forms of creative work they represent. The process began with my own archival, oral history and mixed-media research, which led to a great deal of conversation and more findings from the whole design team. The iconography is inspired by textiles across many South Asian countries and communities. It is a visual representation that interweaves recurring patterns across geographies and peoples. Each icon is a recurring motif in textiles from seven or more contemporary South Asian nations, and countless communities within them. SAAG's general approach to "South Asia" is pertinent here. We deliberately do not construe "South Asia" specifically in terms of geography. As our archives indicate, this is because we recognize that: 1. Diasporic communities originating in the subcontinent exist in countries as far east and as far west as any map will show. 2. "South Asia" is generally conceived of as countries within the subcontinent, but the history of its terminology is often nationalist, divisive, and problematic for many people, even within the region's most populous country. As Benedict Anderson has argued, it is also a construction to some degree of the rise of area studies; its arbitrariness can be seen in its inconveniences: some countries in what is academically considered "Southeast Asia" share more historical, cultural, and linguistic similarities with those considered "South Asian," and vice versa.* For the purposes of our iconography, we researched motifs stretching from Laos to Iran, as well as the Caribbean. Typography & Colophon Our web typography was also selected carefully. Our primary typeface, Neue Haas Grotesk by Monotype type foundry, reflects our association with the radical origins of sans typefaces like Akzidenz Grotesk . It's a remarkably sturdy sans that allows us to be flexible: based on the theme of each issue, we want to use a new display font entirely. We hope it keeps you on your toes. The body text for the work we publish was previously set in Erode by Nikhil Ranganathan and Indian Type Foundry (ITF), a startlingly original, idiosyncratic, and yet almost unobtrusive typeface that we greatly admire. Currently, we use Caslon Ionic by Paul Barnes and Greg Gazdowicz at Commercial Type, based on the influential Ionic No. 2 that has been pivotal to newspaper typesetting for over a century. We pair it with Antique No. 6 , also at Commercial Type, designed initially as a bold version of Caslon Ionic . Meanwhile, each issue of Volume 2 will use a different display typeface. For Issue 1, we chose the spiky and precise TT Ricks by TypeType. For Issue 2, we chose Marist by Dinamo. Our colophon—conceived by Prithi Khalique and designed in many iterations and styles by Hafsa Ashfaq—is a nod to our print future, inspired by one of the works first cited when SAAG began: Rabindranath Tagore's painting Head Study , a work of dazzling ingenuity that provides the metaphorical architecture for our identity. Of all the decisions we made, this one came the easiest to us. A design system that coheres around our collective past feels best to embody our aspirations for the future: we cannot predict the future, but we can take stock of the conceptual frameworks our many contributors provide to us. Moving forward, the design system will move much like the issue artwork itself: fluidly adapting to best represent the radical potential of the present in its aesthetic form. Website Our new website is a complete overhaul and a sharp contrast to the original SAAG website as well. We think fondly of what we made for Volume 1: its maximalist, wild, and mysteriously glitchy exterior paired with very serious work and dialogue. But if the eternal doom scroll has taught us anything, we are inundated with maximalist content. What we wanted was care, intentionality, attention, and flexibility: an ease to the user experience that reflects the care we took to make every choice inspired by South Asian custom, movement, or labor. We hope that our new website—designed and developed by myself and Ammar Hassan Uppal, with help and feedback from editors and designers on the team alike—flows much more organically, whilst feeling both tactile and geometric. We felt that the digital space shouldn't distract from the ideas and concepts of the difficult material discussed in Issue 1 of Volume 2 as well as in the archives. It should enhance it. What you see is also a website intended to take on the spirit of the issue currently featured, adapting at each turn. At the same time, we wanted to inject a little whimsy into the experience: easter eggs sprinkled throughout the website, which we hope you'll find. We hope to evoke a more orderly and idea-focused experience of SAAG’s content and challenge the dominant sense that the "avant-garde" need be synonymous with disorderly maximalism; instead, we eschewed both maximalism and minimalism—as well as the neo-brutalist response to minimalist design—with a warmer color palette and approachable typography. In Volume 2 of SAAG, we hope to demonstrate that we take the intellectual and conceptual happenings and developments in the worlds of design, typography, web development, etc., just as seriously as anything else. Stay tuned for forthcoming content and events on the many political-aesthetic challenges contemporary designers face, as well as how they understand, learn, teach, and reckon with the histories and legacies of design. Top of mind for us throughout this process was affect and emotion: how one might feel when one logs onto the website or reads one of our pieces? We do hope you feel welcome . ∎ * Benedict Anderson, A Life Without Boundaries ( Verso , 2018) SUB-HEAD Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Presently The Editors Design Disaster Aesthetics Drone Warfare Surveillance Regimes Iconography Textiles Benedict Anderson South Asia as a Term Cartography Colophon Rabindranath Tagore Affect Web Design Design Process Typography Indian Type Foundry TypeType Dinamo Head Study Commercial Type Caslon Ionic Ionic No. 2 Akzidenz Grotesk Neue Haas Grotesk Antique No. 6 Monotype 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. 12th Mar 2023 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:

“When the student at Jamia Millia Islamia University first uttered ‘Dear Shahid’ right after the film's intertitle, I felt a tightening in my chest. It reminded me of my own days in Mumbai at Prithvi Theatre, where idealism was somehow removed from politics and the marginalization that was occurring. When I first saw the film, I felt like I knew this person.” INTERACTIVE On “Letter from Your Far-Off Country” “When the student at Jamia Millia Islamia University first uttered ‘Dear Shahid’ right after the film's intertitle, I felt a tightening in my chest. It reminded me of my own days in Mumbai at Prithvi Theatre, where idealism was somehow removed from politics and the marginalization that was occurring. When I first saw the film, I felt like I knew this person.” VOL. 1 LIVE AUTHOR AUTHOR AUTHOR Follow our YouTube channel for updates from past or future events. 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 Los Angeles 5th Jun 2021 Live Los Angeles Indian Film Festival of LA Film Film-Making Gujarat Pogroms Letter From Your Far-Off Country Gujarat Riots Genocide Jamia Millia Islamia Epistolary Form Shaheen Bagh Movement CAA Protests Ambedkar Arundhati Roy Black Solidarities Internationalist Solidarity Global Agha Shahid Ali Safdar Hashmi Avant-Garde Form Avant-Garde Traditions Communist Tradition Faiz Ahmed Faiz Iqbal Bano Avant-Garde Aesthetics & Protest Farmers' Movement Diasporas Temporality Avant-Garde Film Short Film Personal History Directors Intertext Mikhail Bakhtin Black Lives Matter Prithvi Theatre Diasporic Distance Unspeakable 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. Letter from Your Far-Off Country , a short film by Suneil Sanzgiri, was shot on 16mm film stock that expired in 2002—the same year as Gujarat’s state-sponsored anti-Muslim genocide. The film weaves through forms and footage of a dizzying variety, from epistolary family stories, Agha Shahid Ali’s poetry, the theater of Safdar Hashmi, the Muslim women-led Shaheen Bagh movement, and more, creating a mosaic of temporalities that probe the personal and political together within the context of a fraught nation. As part of our event In Grief, In Solidarity we screened the film, which had been screened just prior at the Indian Film Festival of LA (IFFLA). Here, we show the post-screening Q&A that followed the screening, where xenior editor Vamika Sinha talked to Suneil Sanzgiri and Ritesh Mehta, senior programmer at IFFLA, about the film, how Sanzgiri pulled off his very experimental film, what motivated it, and his intellectual and aesthetic preoccupations. In particular, Sanzgiri talks at length about how the weaving of his personal history connected not just with the Shaheen Bagh movement and CAA protests broadly, but with the fact that protests in India included books by Ambedkar and Arundhati Roy alongside those of Angela Davis, while protests in the US played or sang music by Faiz, Agha Shahid Ali, Iqbal Bano at Black Lives Matter protests. These evocations of a global struggle were key to his approach to filmmaking. Mehta discusses his own emotional response to the film, which was deeply connected to his own experience in theatre in Bombay, and what it felt like to process much of what India had undergone recently, as refracted through Sanzgiri's prism. Letter From Your Far-Off Country is available through the Criterion Collection. In March 2024, Sanzgiri discussed his approach to form at our launch event, “Solidarity: Beyond the Disaster-Verse.” 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