Tag: Gender Justice | Varta Trust

This mid-range indoor photograph shows the author of this article Kheya Barai and the curator of the ‘Queer Objects 1.0’ exhibition Rishav Thakur standing on either side of the author’s exhibits ‘Breasts 1’ and ‘Breasts 2’ mounted on a wall in a well-lit corner of the exhibition hall. Rishav is leaning casually slightly against the wall. The first exhibit is vertically rectangular in shape and has a black wooden frame. A white cotton vest worn by a trans man is pasted on to a red background. Two flower-shaped 3D objects resembling human breasts are pinned on the chest area of the vest. The objects have been created from crumpled pink crepe bandages used by two trans masculine individuals as binders. The crepe material is marked with silvery glitter. The second exhibit is a mid-sized circular and flat object, dark brown in colour. The brown colour comes from lush embroidery threads. The exhibit has been created from a vest worn by a trans woman pre-gender transition and a crepe bandage used as a binder by a trans man, also pre-gender transition. Two silvery flower-like objects resembling human breasts have been pinned on the chest area of the vest. Photo credit: Bhaskar Jyoti Rabha

Textured titties

By Kheya Barai

Kheya Barai writes the fourth and last in a series of articles by the artists who participated in the ‘Queer Objects 1.0’ exhibition held in Guwahati in late 2023

Quote: Transgression of boundaries in 'Aamis' sets the protagonists as well as the audience on a path of realization that nothing is off limits. What can be eaten, what cannot be eaten, who can be desired, and who cannot be desired are just some of the questions that the film explores. The appetite of humans for food and desire cannot be contained. The garb of respectability within the confines of morality leads to suppression of desires. The intimacy that the protagonists craved between themselves was never expressed in words or actions. Instead, their forbidden desires found a release in food.

Commentary Sep '25

Liberation in sin

By Dr. Sankalpa Satapathy

Questioning the so-called morals around desire can set us on the path to a more accepting, less judgmental life, says Dr. Sankalpa Satapathy

This is a mid-range photograph of a community dialogue on dementia awareness underway at Storyteller Bookstore in South Kolkata on August 23, 2025. The dialogue was organized by the mental health peer counsellors associated with Varta Trust. On the left, Nilanjana Maulik, Secretary of the Calcutta Chapter of the Alzheimer’s and Related Disorders Society of India, is seated on a chair. She was the main speaker and can be seen smiling and talking to the participants in an animated manner. Around a dozen individuals, a mix of different genders and part of a larger audience not seen in the photograph, are seated in a semi-circle on chairs facing the speaker and listening attentively. A large TV screen can be seen behind the speaker displaying a slide from her presentation. An open laptop and some books can be seen placed on a low desk next to the speaker. Brightly coloured walls and book shelves of the bookstore make up the backdrop. The bookstore is lit up in a cheerful golden yellow light. Photo credit: Swati Das

Happenings, Vartanama Aug '25

From stigma to support: Talking dementia in queer and transgender communities

By Pawan Dhall, Sahil

Pawan Dhall and Sahil report on an interactive session on understanding and coping with dementia held recently in Kolkata

This illustration includes text extracted from the accompanying article superimposed on a vertically rectangular image of a musty grey wall, scarred and pockmarked in places. The image is symbolic of the wall described by the author in their article. The text extract says: "Together, the writings made a wall that refused erasure. Not aesthetic, but insurgent. Not decoration, but documentation. A manifesto of madness, queerness, resistance, and everything else the law school had no vocabulary for.” Background image credit P R on Unsplash

My Story Aug '25

The wall that held me

By Risha

Risha writes about their relationship with a scarred wall full of personal and political writings in their university hostel room

This image is a combination of a photograph and text extracted from the accompanying article. The mid-range photograph shows filmmaker Rituparno Ghosh smiling, looking at and speaking to someone outside the frame. Other people can be seen in the background, suggesting it to be a public occasion. The filmmaker seems to be seated on a chair. He is wearing spectacles, a head wrap, and a scarf, all black in colour, paired with a grey-brown patterned shirt. The accompanying text says: “For me, Rituparno was a crossing, a journey between borders. Not India, not Bangladesh. Not man, not woman. Not familiar, not foreign. Somewhere in between, a new way of understanding emerged. What connected us wasn’t language or geography, but a shared longing. A shared desire to become.” Photo credit: Bollywood Hungama via ‘Wikimedia Commons’

My Story Jul '25

Rituparno Ghosh: Seen, unseen, and known in my own way

By Tara Asgar

In Rituparno Ghosh and his cinematic work Tara Asgar finds a shared longing to become something beyond binaries

This image shows a still from the award-winning documentary film ‘Amma’s Pride’ directed by Shiva Krish. In the image, Srija, the main protagonist of the film is seen smiling and talking on her mobile phone, while Valli, her mother, looks on standing next to her also smiling brightly. Mother and daughter are both inside their house, and in the background can be seen sundry household objects placed on shelves or hanging on walls. The background objects have been slightly blurred to enhance the focus on Srija and Valli. Image courtesy Shiva Krish

Happenings, Vartanama May '25

Pursuing resilience, embracing hope

By Meghjit Sengupta, Pawan Dhall

Meghjit Sengupta reflects on an event centred around award-winning documentary ‘Amma’s Pride’, the story of transgender woman Srija whose marriage to Arunkumar, a cisgender man, in 2019 set a legal...

This indoor mid-range photograph shows drag artiste Ahon Gooptu acting out a scene from the show ‘Item’. The performance space is a room painted white, with wooden furniture, a door and two windows polished brown; the room has a tiled floor and a high ceiling with beams running criss-cross. The room has a blue and white, staid ambient light. A lightly bearded and moustachioed Ahon is dressed in a light-coloured saree, full-sleeved blouse, light jewellery on his neck, wrists, fingers, and ears, and designer footwear; his shoulder-length hair is curly and untied. Ahon is seated at a wooden table, one leg over the other. The table top is cluttered with a table lamp illuminating the wall next to it, a painted flower vase with artificial flowers, a small wooden case, a couple of Japanese hand fans, and four sets of blingy goggles. Ahon has a pensive, far-off look as he mouths some dialogues. A few greeting cards and cutouts are pasted on the wall next to the table. One of them, with rainbow hues, says “Fab Yule Us”, while another says “You’re a cut above the rest.” A little distance behind Ahon is a full-length, wooden-framed mirror placed in a corner against the wall. Two windows, their shutters closed, can be seen on the walls next to the mirror. A pink dupatta and a blanket with two shades of green hang from a beam on the ceiling adding to the colourful but restrained ambience. Photo credit: Abhilasha Das

Insight, Vartanama Apr '25

Zenia, ‘Item’ and the future of the (western) queer dream

By Mihir Seth

Mihir Seth fears the dream of being oneself is crumbling as queer and transgender rights face setbacks globally

This photograph shows a close-up shot of a slogan printed on a black t-shirt worn by a woman. The slogan says “A woman does not have to be modest in order to be respected.” Two heart signs accompany the text, which is printed in white on the black cloth of the t-shirt. The woman’s face is not visible in the photograph, but a part of her neck and arms are visible. A deep blue sky with white clouds is visible in the background. Photo credit: The frolicsome Fairy on Unsplash

Insight Mar '25

Reclaiming ‘whore’

By Dr. Sankalpa Satapathy

Women, queer and transgender persons must take back the words that men have fabricated with regressive meanings to make them feel ashamed of themselves, says Dr. Sankalpa Satapathy

This is a medium range indoor photograph of the launch ceremony of ‘Kink and Sex Work: A VAMP Institute Report’. The report launch was one of the highlights of ‘Kink Con 24’. Several people can be seen standing in a row, holding up a copy of the report, and facing the camera with a smile. From left to right are kink-affirmative psychologist and report co-author Pompi Banerjee; an anonymous member of the Kinky Collective who has covered their face with the report; feminist activist and report co-author Jaya Sharma; sex worker rights activist Aarthi Pai; theatre artist Mallika Taneja; sex worker rights activist Meena Seshu; and sex educator Leeza Mangaldas. A cinema screen and conference signage can be seen mounted on a wall behind the people mentioned. A few people in the audience can be seen seated while facing away from the camera. The conference room is illuminated gently with a mild golden glow. Photo courtesy Kinky Collective

Happenings Mar '25

On the right to one’s body and desires

By Pompi Banerjee

How sex workers navigate kinky desire and consent in their work was among the central themes of ‘Kink Con 2024’, writes Pompi Banerjee

The graphic shows a charcoal grey flag bisected diagonally from the top left corner to the lower right corner by five parallel stripes in red, pale gold, pale grey, light blue, and green, with each element symbolizing different aspects of the disability experience. All six standard flag colours imply that disability spans borders between states and nations; the black field stands for mourning for victims of ableist violence and abuse; the diagonal band implies cutting across the walls and barriers that separate disabled people from society; the red stripe stands for physical disabilities; the gold one for cognitive disabilities; the white stripe for invisible and undiagnosed disabilities; the blue stripe for psychiatric disabilities; and the green stripe for sensory disabilities. The graphic shows the visually safe Disability Pride Flag, an evolution of the ‘lightning bolt’ Disability Pride Flag. The redesigned flag is safer for people with visually-triggered disabilities and more accessible to people with colour blindness. Flag design credit: Ann Magill

Poetry Feb '25

On disabled resistance and community

By Nu Misra

Disabled persons do not need to be pathologized, patronized or pitied, says Nu Misra

This illustration is a combination of a photograph and text extracted from the accompanying article. The photograph shows a scene from a media conference held at the Press Club Kolkata on December 3, 2024 to disseminate the findings of a survey of the one stop crisis centres running in the four states of Bihar, Jharkhand, Uttar Pradesh, and West Bengal. The survey was conducted by the Women Gaining Ground consortium. The author and two other speakers Chitrita Bandpadhyay and Jhuma Sen can be seen sitting behind a table and addressing the audience. Behind the speakers, a flex banner mounted on the wall, reads “Sruti Disability Rights Centre invites you to sharing of survey report of one stop crisis centres from four states”. The event date and venue are mentioned below this text. The logos of Women Gaining Ground and Sruti Disability Rights Centre are placed at the lower right corner of the flex. The text extract says: “There are two major concerns that came forth from the survey. First, not a single OSCC addresses the concerns of women with disabilities. The buildings are not barrier-free, and no support persons like sign language interpreters or trauma-informed psychologists have been recruited. The staff of the centres seem completely unaware of the needs of women with disabilities. None of the centres is connected to the National Tele Mental Health Programme of India.” Photograph courtesy Sruti Disability Rights Centre

Insight Dec '24

Crisis in crisis intervention centres for women?

By Shampa Sengupta

How equipped are the government-run one stop crisis centres for women to carry out crisis intervention? Shampa Sengupta shares insight from a recent survey of the centres in four states...

This illustration is a combination of a photograph and text extracted from the accompanying article. The photograph shows a small rainbow with the six queer pride colours (violet, blue, green, yellow, orange and red) drawn with chalk on a dark grey and stony sidewalk. The accompanying text says: “Clearly, family acceptance interventions must be broad-based and seek to lessen the burden on the parents, who may be just as trapped as their queer child by societal norms. There is nothing like allies emerging from within the family! Allies of not just the queer child, but also the parents. This could make it much easier for the parents to come to terms with their child’s reality.” Photo credit: Alex Jackman on Unsplash

Insight Nov '24

Queer allies in need of allies

By Mahua Seth

Mahua Seth points out the importance of allies within the larger family fold for parents of queer individuals

This graphic shows a poster made for the promotion of the film ‘Don’t Interrupt While We Dance’. On a scarlet red background, the name of the film in large stylized lettering in yellow and white is juxtaposed against the images of a gun and a dancing human figure, arms splayed. Several pairs of angry eyes symbolizing the damning eyes of the State or a repressive society, stare on in the backdrop, behind the lettering. The name of the filmmaker Anureet Watta is mentioned at the bottom of the poster. Poster design by Sharannya Eledath Mukherji and illustration by Yathaarth Yadav

Cinemascope, Insight Sep '24

How can we be gentle if we aren’t very angry?

By Anureet Watta

‘Don’t Interrupt While We Dance’ is a film about queer and trans joy interrupted by the State, police, and shadows of violence and scrutiny that have always been cast on...

This night-time photograph shows up close a scene from a pre-Independence Day rally near the Ruby Hospital crossing in South Kolkata to protest the rape and murder of a trainee doctor at R. G. Kar Medical College & Hospital on August 9, 2024. A throng of people fill up the photograph with raised fists, mobile phones with lit torches held up, banners with slogans like “We demand justice for victim” in English and Bengali, and a variety of posters with graphics and textual material. Some protesters are holding lit candles. The atmosphere seems charged with anger and cries for justice. In the background, is a building with its windows lit up and a large tree with leaves glistening under the streetlights. Photo credit: Pawan Dhall

Vartanama Aug '24

Embodying the justice one is demanding

By Pawan Dhall

Self-reflection and self-transformation have an important place in social campaigns for justice, argues Pawan Dhall

This photograph shows a scene from the re-enactment of the skit ‘Koti Ki Atma’ at Café Adda Ghar, Kolkata on November 4, 2023. Three actors are acting out a scene before a small invited audience. The play is being performed in an open but small and intimate part of the café, lit with a few overhead lamps and other sources of light not visible in the photograph. A black cloth background and a few props form the backdrop behind the actors who are facing the camera. Some of the members of the audience visible in the photograph, half a dozen or so (of the total 40-45), are seated close to the actors on plastic chairs, and have a bemused look as they watch the play up close. A video camera can be seen on the left edge of the photograph recording the play. A photographer, with her camera in hand, is also among the audience, standing just next to the people seated. Darkened tall glass panes forming one of the walls of the café can be seen behind her. A poster of the café menu is pasted on one of the glass panes. Photo credit: Suchandragraphy

From the Archives, Insight Jul '24

Remembered sexual futures

By Diksha Sanyal

Diksha Sanyal summarizes a study on the art and cultural advocacies undertaken by queer community groups in West Bengal in the 1990s and 2000s. The study has been co-developed by...

Quote: Tamil Nadu’s draft gender and sexual minority policy does not simply make a claim for marriage equality for queer persons but nudges the State to reimagine the family beyond kinship and marriage. By doing so it focuses on the functional conceptualisation of the family, namely what families should do, as opposed to the form of the family, namely what families should look like. A functional approach thus seeks to centre values of mutual care, love and dependence as definitive of a family, as opposed to only marriage and biological relatedness. The draft policy thus marks an entry into a radical possibility of family law expanding beyond its narrow normative foundations.

Insight May '24

Queering the family: Tamil Nadu shows the way

By Namrata

Namrata writes about the developments around the Deed of Familial Association in Tamil Nadu and how it can lead to recognition of queer relationships

Tagged Under: Gender Justice