Tag: Queer Feminism | Varta Trust

Quote: As the ‘Mahad Satyagraha’ enters its centenary celebrations, it is more important than ever to question our origin stories of mainstream articulations of queerness. Not necessarily to doubt or question the intentions of senior activists, but to expand our imagination beyond queer exceptionalism. After all, how do we separate the stigma of sexuality from the violence of caste? And silence or obfuscation of history is also violence, no less than non-acknowledgment or denial of queerness.

Repetition with a difference / A what if origin story

By Sayan Bhattacharya

Can we reimagine the annual celebrations of queer pride beyond sexual stigma and instead draw inspiration from the history of anti-caste movements, asks Sayan Bhattacharya

Quote: My first ever tattoo was a jellyfish. It was my most impulsive yet memorable thing I’ve ever done. Everyone asked me why, but I never uttered the reason out loud. It’s a reminder for me that I’m lovable and I’m worthy. Because the first ever time another human saw my scars, they didn’t draw stars around it, they drew a jellyfish. So, every time I look at the tattoo, it reminds me that I’ve come forward and I have people with me as I move. It reminds me of the love I contain in myself, for the people around me.

My Story Jun '26

My body, my canvas

By Sangeetha Elsa

Her body is Sangeetha Elsa’s canvas for silent answers, rebellion, expressions of love and more. Trigger warning – mentions of self-harm

This is a horizontally rectangular graphic that shows a banner prepared for a community protest planned against the Transgender Persons (Protection of Rights) Amendment Bill, 2026 on March 15, 2026 from 5.00 pm at Ranu Chhaya Mancha in Central Kolkata. On a background of blue, pink and white stripes, the colours traditionally associated with transgender rights, the banner headline in bold black says “Transgender Communities Reject Trans Amendment Bill, 2026”. Below the headline are three hashtags ‘gather’, ‘agitate’, and ‘nogoingback’. Below the hashtags, the event date, time and venue are mentioned. A tagline at the bottom says “We are not a diagnosis. Our identities are not up for approval.” On the bottom right corner of the graphic, three fisted hands raised in protest and a red loudspeaker can be seen. Graphic credit: QT* Strategizing Group for Trans Bill 2026

Happenings, Vartanama Mar '26

Transgender communities reject Trans Bill 2026

By QT* Strategizing Group for Trans Bill 2026

Media advisory issued by a network of trans and queer individuals and collectives in West Bengal to oppose the Transgender Persons (Protection of Rights) Amendment Bill, 2026

This image is a combination of a still from the 1974 film ‘Lamja Parshuram’ discussed in the accompanying article and text extracted from the article. The black and white still shows Thounaojam Nobin, a Sumang Leela artist, playing the character of a woman. In the still, Nobin, dressed in a shimmering saree and blouse with a necklace and an attractive hairdo, is facing the camera. They are smiling as they speak to another actor, a male character, facing away from the camera and looking at Nobin. The still is sub-titled with text that says: “Don’t you recognise me? Everybody knows me in Manipur.” Below the sub-title text in small print says: “Aribam Syam Sharma Archives”. A caption below the still says: “Thounaojam Nobin in Lamja Parshuram (1974)”. The accompanying text extract says: “It is a common saying among cinemagoers that films are mirrors of the society we live in. By this logic, films should accurately represent the diversity of peoples within our society. Given the significant presence of the queer communities in the state, examining their representation in Manipuri cinema becomes all the more important. This article aims to highlight queer representation in popular Manipuri cinema, tracing its evolution from 1974 to the present day.” Film still credit: Aribam Syam Sharma Archives

Cinemascope, Insight Feb '26

Queer portrayal in popular Manipuri cinema: A journey towards inclusivity

By Daniel Yumkham

Daniel Yumkham feels popular Manipuri cinema is at a crossroads with regard to queer representation

This image consists of a horizontally rectangular photograph and text extracted from the accompanying article. The photograph is placed in the upper half of the image and the text in the lower half. The photograph shows a number of heart-shaped paper cutouts, deep red in colour, stringed in a series on a thick thread of the same colour. The thread stretches across the photograph against a dark grey background. The cutouts are of different sizes. Their colour makes for a striking contrast against the background. The text says: “It's been a while since I left the NGO, but I still have the people who gave me a space and taught me it’s okay to seek help. It isn’t always pretty, not always sunshine and rainbows, and sometimes it gets ugly and tangled. At the end though, the feeling of belonging to that tangle of hearts – that’s my queer joy. When surviving becomes difficult, this joy helps me breathe, it helps me live my politics.” Photo credit: Jonny Gios on Unsplash

My Story, Vartanama Jan '26

When I stopped surviving alone

By Anonymous

The author travelled miles but found friendship and queer joy nearer home in a tangle of hearts

This photograph is a daytime long shot of the ‘Budapest Pride 2025’. Literally, a sea of people dressed in diverse colours, carrying queer pride banners and rainbow umbrellas can be seen approaching and walking across a bridge in the heart of Budapest. The walkers are moving away from the camera, with one or two facing the camera to take photographs. Bright sunlight shines on the walkers as they march past tall buildings on either side of the road, on to the bridge. Dense greenery can be seen on the far side of the bridge forming an imposing green backdrop. Photo credit: European Greens – Andras Mayer, sourced from Wikimedia Commons

Vartanama Dec '25

Power in hope

By Mahua Seth

Mahua Seth on the emergence of queer resilience in response to the setbacks that marked queer lives in 2025 across the world

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

Quote: I am reminded of my training days where queerphobia, casteism, and ableism were so rampant that it was hard for me to gulp it down day after day and pretend as if there was nothing wrong. At this time, there was no singular event to signify the change I experienced. But it was life-changing for me in the sense that I stopped looking at the training curriculum as unbiased. I could zoom out and look at the curriculum critically, which is often difficult as we remain strongly enmeshed within the training system.

Commentary, Insight Sep '25

On queer self-determination (part 3)

By Meera, Aritra C.

Mental health professionals Meera Dhebar and Aritra C. continue 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 is a mid-range photo that shows the author of the accompanying article performing ‘Chrome’, their live durational performance-installation at the ‘Queer Objects 1.0’ exhibition that took place in Guwahati in late 2023. The author is seated in a brightly lit corner of the exhibition hall. Their face is hidden by a golden ‘mekhela’ garment hanging above them, with only some of their black tresses visible on their right shoulder. The author has pasted ultrasound images of their pelvis and CT scans of their lungs on the garment. They are wearing another golden garment like a wrap-around, with their shoulders and arms bare and their feet also bare, visible from below the wrap. They are holding up a small chrome-plated container in their right hand just a little above their lap. Their left hand rests on their lap. The chair or stool they are seated on is covered with a flowing drape with blue and white floral patterns. To their right, a small round mirror with a patterned wooden frame is placed on the floor, and their footwear is placed just next to the mirror. Also to their right, a curator’s note titled ‘Chrome’ is pasted on the wall, with the name of the author Mwdai. Photo credit: Anubhav Deka

Creations, Insight Aug '25

Objectified

By Mwdai

Mwdai writes the third in a series of articles by the artists who participated in the ‘Queer Objects 1.0’ exhibition held in Guwahati in late 2023

Quote: What then are our expectations from life? I mean, apart from wanting Section 377, IPC to be struck off; apart from wanting recognition from our ‘straight’ fellow humans; apart from rights, space and privacy . . . What is it that each of our personal selves yearns for? Can we classify our desires into two broad divisions of love and sex? Does social sanction hold a lot of importance for us?

From the Archives, Vartanama Jul '25

Random thoughts 30 something years ago

By Pawan Dhall

On ‘Varta’ webzine’s 12th birthday, Pawan Dhall shares excerpts from an editorial published in the webzine’s predecessor ‘Pravartak’ in 1995

This image is a combination of a photograph with text extracted from the accompanying article superimposed on the photograph. The photograph shows a dusk-time long shot of a sunset. The sun, a golden yellow sphere, can be seen gleaming at the bottom edge of the photograph. Some building tops and TV antennae silhouetted against the sunlight can also be seen along the bottom edge of the photograph. The rest of the photograph shows a wide expanse of a mauve sky speckled with light clouds. The text is presented in a typeface resembling handwriting and says: “When we talk of the pain and trauma of conversion therapy, this is also an area where I feel compelled to intervene and stop this horrific practice. Aritra, we both know people who have gone through this, and we have learned from them about the torturous outcomes and consequences. It is heartbreaking to think that wanting to live as who we are is still considered to be something to be ashamed of and to remain hidden. So, as someone older, I also want those younger to know that it is possible to not just survive, but to thrive, to find love, to create a chosen family, and to also continue to strive for change.” Photo credit: Pawan Dhall

Commentary, Insight Jul '25

On queer self-determination (part 2)

By Meera, Aritra C.

The e-conversation between mental health professionals Meera Dhebar and Aritra C. on queer worldmaking across time periods and cultures continues

This photograph shows a mid-range shot of the author of the accompanying article seated in a brightly lit corner of the ‘Queer Objects 1.0’ exhibition hall. She is in the process of opening a crocheted tote bag, her own creation, to begin a demonstration of her crocheting art. She smiles as she looks down at the bag, a mobile phone in her left hand. A golden ‘mekhela’ garment hangs above her head, partially draping her head. Interestingly, a set of CT scan images of someone’s lungs are pasted on the garment. Another golden garment covers the author’s lap, with her tote bag placed on it. To her right, a small round mirror with a patterned wooden frame is placed on the floor. The walls around her are painted white in colour. To her right, a curator’s note titled ‘Chrome’ is pasted on the wall, with the name of the artist Mwdai. The author is seated in the same space where Mwdai had earlier presented their durational performance. Photo credit: Bhaskar Rabha

Creations, Insight Jun '25

The oasis

By Hima

Hima writes the second in a series of articles on the experience of the artists who participated in the ‘Queer Objects 1.0’ exhibition held in Guwahati in late 2023

This illustration is a combination of a photograph and text extracted from the accompanying article. The photograph shows a scene from the dialogue ‘Queer Worldmaking in the Face of Conversion Therapy’ that took place at Kalinath Angan, Kolkata on January 18, 2025. Moderator Meghjit Sengupta (centre) and panellist Aritra C. (to Meghjit’s left) look on as panellist Meera Dhebar makes a point during the dialogue. 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. The accompanying text says: “Because sometimes in this very cis-heteronormative and heteropatriarchal world steeped in discourses of othering, a few moments of solace in being seen can provide enough joy to carry us through the moments of isolation and disconnection.” Photo credit: Pawan Dhall

Commentary Jun '25

On queer self-determination (part 1)

By Meera, Aritra C.

An e-conversation series between mental health professionals Meera Dhebar and Aritra C. on queer worldmaking across time periods and cultures

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 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

Tagged Under: Queer Feminism

Repetition with a difference / A what if origin story

My body, my canvas

Transgender communities reject Trans Bill 2026

Queer portrayal in popular Manipuri cinema: A journey towards inclusivity

When I stopped surviving alone

Power in hope

On queer self-determination (part 4)

On queer self-determination (part 3)

The wall that held me

Objectified

Random thoughts 30 something years ago

On queer self-determination (part 2)

The oasis

On queer self-determination (part 1)

Storytelling through zines

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

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