Tag: Mental Health | Varta Trust

Quote: The value of oral histories is especially significant for socially marginalized communities whose stories are often silenced, distorted, or wiped out by the dominant groups. The very act of remembering and narrating can be seen as an act of defiance against silencing. We need to do more and more of oral histories – narrate, record, disseminate, and even re-narrate our stories far and wide. When a story becomes like a living organism, the task of silencing becomes more difficult for those who want only one narrative to survive.

Vartanama Mar '25

Memory works

By Pawan Dhall

Pawan Dhall on the many hues of remembering – personal, political, accepting imperfections and more

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 photograph shows a close-up shot of a large collection of clocks with wooden casings in different shapes and sizes. There are large wall clocks, much smaller table clocks, and many sizes in between. Most clocks are round, while some are square or hexagonal. Some of the clocks have ornate hour and minute hands. The clock faces show different times, but all the clocks seem to be dysfunctional, discarded, and piled up in a container, which is not visible in the photograph. Photo credit: Jon Tyson on Unsplash

Poetry, Vartanama Feb '25

The 51st winter

By Rajib Chakrabarti

Rajib Chakrabarti has no qualms about accepting the severity of old age

This photograph shows a close shot of the dialogue ‘Queer Worldmaking in the Face of Conversion Therapy’. Moderator Meghjit Sengupta (centre) and panellist Aritra Chatterjee (to Meghjit’s left) look on as panellist Dr. Meera Dhebar makes a point during the dialogue held at Kalinath Angan in South Kolkata on January 18, 2025. Meera refers to a file on her laptop as she speaks. The laptop is kept on a centre table placed close to the three speakers. A Progress Pride Flag can be seen mounted on the wall behind the speakers. A phone mounted on a tripod stand for recording the dialogue is placed a couple of feet from the speakers. The scene captured in the photograph can also be seen on the mobile phone screen. Photo credit: Pawan Dhall

Happenings, Insight

Queer worldmaking as a form of resilience

By Meghjit Sengupta, Surjo Pramanik

Meghjit Sengupta and Surjo Pramanik report on a dialogue on mental health perspectives from Canada and India organized by the Varta Trust mental health peer counsellors support group

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 taken in the fading light of an autumn sunset shows a close-up of a bunch of yellow, brown, and reddish leaves that are on a tree. The rusty yet colourful leaves are juxtaposed against a fine mesh of branches, twigs, green leaves, and the background sky visible through the gaps in the mesh. Some of the leaves are lit up a yellow-orange with their veins clearly visible as the sunlight falls on them. Photo credit: Syed Ahmad on Unsplash

Poetry Jan '25

Nurture sub rosa

By Rajib Chakrabarti

To mellow is not to lose lustre, says Rajib Chakrabarti

This square-like graphic is a stylistic representation of a photograph of a daytime view taken from a window in the author’s room in his new home. The view consists of a bright blue sky speckled with light clouds, a pine and a neem tree in the foreground, and glimpses of some houses painted in light colours behind the trees. The lower part of the photograph is presented as the cutout of a human face looking downwards or inwards to symbolize self-reflection. The cutout is juxtaposed against a white background. Two vertical lines in black on the left and right edges of the photograph give the impression of a window frame. Photo credit: Pawan Dhall

Vartanama Dec '24

Gains, losses, glosses

By Pawan Dhall

End / beginning of the year self-reflection notes by Pawan Dhall

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 image is a combination of a photograph and text extracted from the accompanying article. The photograph, to the left of the image, is an early morning mid-range shot of a tall ‘shimul’ tree beginning to put out new, light green leaves during springtime. The tree seems to have two trunks that tower into the sky with a mesh of branches and stems bearing newly sprouted leaves in small bunches. The upper reaches of the tree are juxtaposed against a light blue grey sky, with a couple of cable wires passing by the top of the tree. More trees, including a palm tree, and a part of a building can be seen in the background. The location is near the author’s earlier home in Kolkata. The accompanying text says: “The Internet is replete with explanations for the Portuguese term 'saudade', which some say is untranslatable. 'Saudade' isn't the same as nostalgia, which is a sentimental yearning for the happiness of a former place or period, sometimes along with the people who were around then. What I’ve grasped about 'saudade' so far is that it’s a more complex form of nostalgia, perhaps even nostalgia for nostalgia. One website describes 'saudade' as a vague and constant desire for something that doesn't and probably can't exist, for something other than the present. It seems akin to the presence of an absence.” Photo credit: Pawan Dhall

Travel Travel, Vartanama Nov '24

Remembrances more than nostalgia

By Pawan Dhall

Pawan Dhall writes about his musings on 'saudade' – the presence of absence?

Quote: News channels air yoga shows to promote positivity. Harness your inner potential, says your favourite superstar. Universities are asked to present the shining glorious history of the nation state to inculcate positivity about the country. Health gurus ask you to consume avocado and chia seeds and quinoa for unleashing your inner efficient innovator. Therapy speak has become commonsensical. The joke goes I am ready to date you if you can pay for my therapy post our breakup. The catalogue is never ending, but scratch the surface only slightly and the edifice falls apart like your nearest shining airport or the Parliament.

Vartanama Jul '24

On the compulsion to be happy

By Sayan Bhattacharya

Amidst the unending stream of ‘happiness’ being thrust on us from every quarter, Sayan Bhattacharya strikes a necessary discordant note

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 image is a sketch of Arvey Malhotra’s face drawn by Rimu Panda and posted on Instagram along with a line that says “Sweet soul, we are all sorry.” In the sketch, a youthful Arvey is looking at the reader, gently smiling and holding up his hands to show nails painted in different patterns and colours. Arvey was a jewellery and nail paint artist. He is wearing a red ring on the ring finger on his left hand. He has a thick mop of hair and is bearded. He is wearing a light brown pullover jacket. The artist has drawn a small white halo above Arvey’s head to the left side of the image. The sketch has a pleasing background of hues of pink, yellow and orange. The image has been slightly edited by the author of the article Mihir Seth

Insight, Vartanama Mar '24

The paradoxical need for queer death

By Mihir Seth

Death by suicide among queer youth should galvanize action to address the global mental health crisis, argues Mihir Seth

This daytime photograph shows around half a dozen parents and other family members of queer persons smiling brightly and walking behind a large banner of Sweekar – The Rainbow Parents at the ‘20th Kolkata Rainbow Pride Walk’ held on December 17, 2023. The author is also among these parents. A few individuals walking behind them are holding up two placards in Bengali that translated into English say: “So what if they are trans or gay, they are our children.” The photograph has been taken at a point on Park Street, from where a part of the Maa flyover can be seen behind the walkers. A popular furniture store Wood Junction can be seen on the right side of the photograph, while several tall trees are visible on the left side. The background behind the parents is a mish-mash of hundreds of other walkers, hoardings, traffic lights, and overhead cable wires. The sky above is a clear greyish blue. Photo courtesy Sweekar – The Rainbow Parents

Vartanama Feb '24

Why I walked with the banner of Sweekar

By Mahua Seth

Mahua Seth walked as an ‘out’ parent of a queer child at the ‘20th Kolkata Rainbow Pride Walk’ and loved every moment of it

This illustration is a combination of a vertically oriented photograph and text extracted from the accompanying article. The photograph shows an evening time long-shot of the city of Aizawl spread across a hillside. The hillside is bedecked with the lights from the houses appearing like jewels. The cloudy sky above the city is filled with shades of violet and blue as the distant horizon is lit up with the last of the sunlight. The entire scene is breathtaking even as it is poignant. The accompanying text says: “I finally saved up a good sum and planned to return to Manipur directly from Aizawl. There was so much heartbreak as I looked back at my stay in Mizoram – there had been much beauty amid the chaos. Before I left, I offered a small sum of money to my Kuki neighbours. They too were from Imphal and their mother was battling cancer. The old woman thanked me and said, ‘God be with you till we meet again.’ This moment made everything that I’d been through worth it for I was filled with purpose and love.” Photo credit: Saki

Insight, Manipur Relief Feb '24

Homecoming again, for healing

By Saki

Saki concludes his account of the communal conflict in Manipur – he returns home after four life-changing months to engage in work that heals others and him

Quote: It was said at the conference that sexual behaviour is ‘down there’, while sexual identity is ‘up there’. But the general perception seems to be: Never mind how much grey matter’s up there, down there it had better be big. Perhaps saying so is being unnecessarily pessimistic. Even so, in many minds the size fetish evokes a very real fear – a fear of inadequacy, of being unattractive, of being unwanted. This fear can only hinder the progress towards a healthier existence.

From the Archives, Vartanama Jan '24

Better fallible than supreme

By Pawan Dhall

There’s still time to make New Year resolutions that don’t celebrate excess, big size or Pyrrhic standards of perfection, says Pawan Dhall

Tagged Under: Mental Health

Memory works

On the right to one’s body and desires

The 51st winter

Queer worldmaking as a form of resilience

Notes on hoping taken from teenage queer fiction

Nurture sub rosa

Gains, losses, glosses

Crisis in crisis intervention centres for women?

Remembrances more than nostalgia

On the compulsion to be happy

Remembered sexual futures

At the juncture of cultures, solidarities and differences

The paradoxical need for queer death

Why I walked with the banner of Sweekar

Homecoming again, for healing

Better fallible than supreme

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