Tag: Queer Feminism | Varta Trust

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.

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

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 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 Feb '25

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 horizontal rectangular image is a combination of a photograph and text extracted from the accompanying article. The photograph is to the left and it shows the flame of a fire burning in the dark. The flame is emerging from pieces of firewood. The rising flame is a yellow-orange in colour, while reddish embers can be seen below the firewood. Nothing else is visible as the darkness surrounds the fire. The accompanying text says: “If rules, heteronormative or any other kind, are to apply to desire, whom to desire, how to desire and furthermore, how to act on that desire, then the very essence of desire is stripped away. It restrains the fluidity of desire. However hard one may try, our desire in its unrestricted form cannot be wished away. It is there, sitting, waiting patiently, simmering beneath the surface, making its presence felt; waiting for the person to take cognizance.” Photo credit: László D. on Unsplash

Commentary, Insight Oct '24

Meandering desire

By Dr. Sankalpa Satapathy

Dr. Sankalpa Satapathy asserts that our desires run like a subterranean river and can survive all forms of censorship

This daytime photograph shows 13 of the pilot Queer Kolkata Heritage Walk participants, a mix of genders and ages, posing for the camera below a gazebo at the Park Circus Maidan in South Kolkata on July 2, 2024. The gazebo was the starting point for ‘Friendship Walk ‘99’ on July 2, 1999, the 25th anniversary of which was observed through the heritage walk. Most of the participants, four of them ‘99ers’, are wearing bright yellow t-shirts designed for the occasion with the slogan “Bound by friendship, united in pride” emblazoned on the front side. There are brights smiles and laughter on their faces as they stand on the marble steps and platform of the gazebo, and look at the camera or at each other. Blue jeans, shorts, shoes, shoulder bags, and colourful umbrellas of the walkers compliment the bright green of the grass and shrubs behind the gazebo. The asbestos roof of the gazebo has an interesting pattern of blue, gray and rust, which stands out against the overcast sky. The pillars of the gazebo holding up the roof are coloured bottle green. Someone’s bedding and other personal possessions, possibly a street dweller’s, can be seen on the platform behind some of the walkers. Photo credit: Partha Banerjee

Happenings, Vartanama Sep '24

Where do we go to look for queerness in Kolkata?

By Mihir Seth

Mihir Seth reflects on the pilot Queer Kolkata Heritage Walk held on July 2, 2024 to mark the 25th anniversary of ‘Friendship Walk ‘99’

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...

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

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: Queer Feminism

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

Queer worldmaking as a form of resilience

Notes on hoping taken from teenage queer fiction

Meandering desire

Where do we go to look for queerness in Kolkata?

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

On the compulsion to be happy

Queering the family: Tamil Nadu shows the way

Queer Friendly Resources

Support Us

Subscribe

USEFUL LINKS

WEBSITE ARCHIVES

CONTACT US