Tag: Intersectionality

This is a close-up shot of a feedback board put up at the ‘Rongdhonu Mela’, an inclusive queer-trans and disabled flea market and festival organized at Taltala Ground, Kolkata by Sappho for Equality on November 22-23, 2025. On a large white chart paper pasted on a wooden wall structure, people attending the festival have written appreciative comments or drawn rainbows and flowers as a symbol of their This is a close-up shot of a feedback board put up at the ‘Rongdhonu Mela’, an inclusive queer-trans and disabled flea market and festival organized at Taltala Ground, Kolkata by Sappho for Equality on November 22-23, 2025. On a large white chart paper pasted on a wooden wall structure, people attending the festival have written appreciative comments or drawn rainbows and flowers as a symbol of their appreciation. The feedback board itself looks like a colourful installation at the festival. The comments include statements like “This carnival is so fun”, “Wanna come back next year”, and “Thank you for giving us wings”. The feedback provides a glimpse of sorts into what queer worldmaking looks like. Photo courtesy Sappho for Equality and Nilanjan Majumdar

Commentary Nov '25

On queer self-determination (part 4)

By Meera, Aritra C.

Mental health professionals Meera Dhebar and Aritra C. conclude their conversation on queer worldmaking across time periods and cultures

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 photograph shows a mid-range shot of a collective display of the five zines made by the author Mekuriiko for the exhibition ‘Queer Objects 1.0’ organized in Guwahati in late 2023. Several copies of each of the zine are placed, somewhat casually, on a low box-like display stand. The display is just next to a blank white wall of the exhibition hall. The covers of the zines read ‘Love is Love’, ‘The Queer Manifesto’, ‘Queer Objects’, ‘Queer Revelations’ and ‘You Will Die, And So Will I’. A sticky note next to the zines urges the viewers to flip through the zines. Photo credit: Mekuriiko

Creations, Insight May '25

Storytelling through zines

By Mekuriiko

Mekuriiko writes for the first in a series of articles on the experience of the artists who participated in ‘Queer Objects 1.0’, a one-of-its-kind exhibition held in Guwahati in late...

This photograph shows a close-up shot of some of the books mentioned by the author in the accompanying article. One lot of five books are kept in a not-so-neat vertical pile on the author’s study table. These include T. J. Klune’s ‘In the Lives of Puppets’, ‘The House in the Cerulean Sea’ and ‘Somewhere Beyond the Sea’, Aiden Thomas’ ‘Cemetery Boys’, and Mason Deaver’s ‘Wish You All the Best’ right on top of the pile. Lex Croucher’s ‘Gwen & Art Are Not in Love’ is placed reclining on the pile on the right- hand side. To the pile’s left is the cover page of Andrew Joseph White’s ‘Hell Followed with Us’ visible on a Kindle e-reader. An open laptop, pen stand, and photo frame can be seen crowding the same study table as the books. In the background are two almirahs and a door ajar. Photo credit: Mihir Seth

Printed Word, Vartanama Jan '25

Notes on hoping taken from teenage queer fiction

By Mihir Seth

Mihir Seth finds the strength to go on in queer stories of trials, tribulations and hope

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...

This photograph shows a mixed-gender gathering of people inside a room at the newly opened Community Art Space in Moirang Lamkhai. Around half a dozen people are seated on colourful rugs and carpets, along the walls of the room. One person, seated with folded legs on a carpet in the centre of the room, seems to be acting out a scene and rendering a dialogue while the others look on. The light grey walls of the room are lit with sunshine streaming in through a window in the far end of the room. A few posters on the Community Art Space adorn the walls. On the far end of the room, an empty three-seater wooden sofa and a foldable chair are placed along the wall. A whiteboard with some writing is placed on the ground along a wall to the left of the photograph. Photo courtesy Matai Society

Insight, Manipur Relief Apr '24

At the juncture of cultures, solidarities and differences

By Saki

Saki reports on the birth of a new creative space for queer-trans people in Moirang Lamkhai junction, which already has a rich history of bringing diverse people together

This photographic collage shows close-up glimpses from the archival records maintained by Varta Trust on the sociolegal campaigns against Section 377, Indian Penal Code since the early 1990s. Portions of a couple of pages from the 172nd report of the Law Commission of India on a review of the rape laws published in March 2000 can be seen in the collage. The title page of the report is presented inside an oval shaped inset. The State Emblem of India, an adaptation of the Lion Capital of Ashoka, is visible on the top of one of the pages in the collage. The pages are presented in a stylized manner, with only a portion of the text on the pages visible to the reader. Photo credit: Pawan Dhall

From the Archives Sep '23

Conversations between movements, collaborations across identities, 10 years on

By Dhamini Ratnam

The struggle for equal rights must be a collaborative one – Dhamini Ratnam dwells on this lesson from the past reflected in the queer archives maintained by Varta Trust

This illustration is a combination of a photograph and text extracted from the accompanying article. The photograph is of a large blackboard with a light brown wooden frame. At the lower edge of the blackboard, the wooden frame has a ledge on which some chalk and a duster are placed. Text extracted from the accompanying article has been placed on the blackboard image in a typeface to simulate the image of text written with white chalk on a blackboard. The text says: “What can discussions on sexuality in a classroom do? I believe that when we confront sexual difference in the classroom, we learn to understand and respect diversity. Queer perspectives and narratives of pride and suffering open a space not just for acceptance but critical self-understanding. Queer lives are so precarious that even a space bound by a timetable can be liberating. Being acknowledged and validated in a classroom may engender a hope to survive outside it, and sometimes, it is survival that is at stake.” Blackboard image courtesy Cliparts.co via ‘Wikimedia Commons’

Insight, Vartanama Aug '23

For that sliver of hope

By Zaid Al Baset

Making educational institutions inclusive spaces for everyone is an uphill battle, but Zaid Al Baset is not giving up yet – his forecasts on inclusion as ‘Varta’ completes 10 years

This illustration is a combination of a photograph and text extracted from the accompanying article. The photograph shows the author Rituparna Borah participating in the ‘Delhi Queer Pride’ in 2009. She is walking under a mammoth six-coloured rainbow pride flag, holding up the flag with her hands, smiling and looking sideways towards the camera, though not at the camera. The sunlight filtering through the flag is lighting up all the colours. In the background, towards the bottom left edge of the photograph, several other pride walkers can be seen. The accompanying text says: “I am not claiming here that there will be no fights or power dynamics, yet I hope that we can solve our issues not by calling out but with chai, samosas, tears, hugs and then some drinks! I still believe that we can create a reality where intersecting marginalized identities are part and parcel of queer-trans feminism(s), and no one has to prove how marginalized they are to get the rights they deserve.” Photo courtesy Voices Against 377

Commentary Aug '23

In loving memory of discourse

By Rituparna Borah

Rituparna Borah wishes for yesterday once more in debates and dialogues around gender and sexuality – her thoughts for the future on ‘Varta’ webzine completing 10 years

Quote: Somewhere amid all these positives, I also expect queer people with disabilities to be more visible, do well in life, and not be silenced in both queer and disability communities. Homophobic, transphobic and ableist people will still be around, but they may well be pushed to the fringes. A decade hence we may sit down and compare the predictions made by various authors on the pages of Varta and calculate the percentage of those that have come true.

My Story Aug '23

Cautious predictions for 2033 CE

By Rajib Chakrabarti

On ‘Varta’ webzine completing 10 years, Rajib Chakrabarti writes about the changes he expects to see for queer people and persons with disabilities a decade from now

Vartanama Jul '23

Tensions of the past and future

By Pawan Dhall

An imperfect digest of ‘Varta’ webzine’s journey through a decade of climaxes, anti-climaxes, and explorations for a social G-spot

This illustration is a combination of a photograph and text extracted from the accompanying article. The photograph shows a panel discussion on kink and polyamory under way at ‘Kink Con Goa’ organized in April 2023. The photograph has been shot such that only the side profiles of the panel speakers are partially visible and all the faces have been blurred to ensure confidentiality. The speakers are looking away from the camera towards the panel moderator. The speakers are seated on a row of chairs along a wood-panelled wall inside a conference hall in a hotel. A large screen on the wall displays the topic of the panel discussion. The accompanying text, presented in an inset placed on the left bottom corner of the photograph, says: “‘Kink Con Goa’ was more than the sum of its parts. It gave Indian kinksters a sense of community beyond geographical borders. It fulfilled a need that had been growing for so long yet nobody was able to articulate what it was – a need to belong. We can be part of a community that is like us, we are not related by blood but in our thoughts, views and hearts.” Photo courtesy Nemo

Insight, My Story Jul '23

Self-esteem, freedom and kink

By Tiara Girl

The experience of ‘Kink Con Goa’, India’s first national kink convention, was transformational, says Tiara Girl

This illustration is a combination of a graphic and an extract from the accompanying article on marriage equality in India. The graphic shows a floral photo frame (orange flowers interspersed with green leaves), but the space for the photo is empty. This is symbolic of the assertion in the article that everyone should be free to fill up this space in the way they find it meaningful – the photo in the frame need not be one of marriage. The extract from the article says: “Of all the petitions on marriage equality being heard by the Supreme Court, the one that stands out is Rituparna Borah & Others Vs. Union of India, which has been filed by four queer-feminist activists and three anonymized couples. The prayers in it go beyond the legal recognition of same sex / same gender marriages. It argues that rather than just rule on the constitutional validity of marriage equality, the court should also grapple with the issue of family diversity as well as protect queer people who face violence from natal families, those who may not want to get married but should be entitled to other rights traditionally emanating from marriage, and those who want to get married, but do not have support from their families.” Graphic credit: OpenClipart on ‘Wikimedia Commons’

Insight, Policy Matters Apr '23

Marriage equality – petitions, pushback and politics

By Namrata, Shreyashi

Namrata and Shreyashi trace the developments in the marriage equality litigation and bring to light issues and claims from queer activists that go beyond marriage equality