Tag: Queer Pride | Varta Trust

This image is a combination of a daytime photograph of Taj Mahal and text extracted from the accompanying article. The photograph shows a slightly angular long shot of Taj Mahal, with its pearl-white marble dome and minarets juxtaposed against a blue-grey sky. Scores of tourists can be seen milling around on the platform, which serves as the foundation for the main tomb building and four corner minarets (in the photograph only three of the minarets are visible). In the foreground, several trees and flowering shrubs partially block the view of the tomb building and one of the minarets. The trees are planted on a vast and verdant lawn. The accompanying text says: “I also found myself working within a thematic field, queer rights, that is important and relevant, but largely new to me. For a first research project, it might have been easier to work on a topic I felt more familiar with and passionate about from the start. At the same time, this unfamiliarity forced me to confront questions of positionality more directly.” Photo credit: Taykut Tiryaki

First times, uncertainty and learning to fail

By Taykut Tiryaki

Taykut Tiryaki reflects on his first journey to India, challenges encountered during his first anthropological fieldwork, and an unexpected tryst with queer Kolkata

In this night-time long shot photograph, a large group of protesters are gathered at Ranu Chhaya Mancha in Central Kolkata on March 15, 2026 to protest the Transgender Persons (Protection of Rights) Amendment Bill, 2026. Some of them are standing on a platform holding a long horizontal banner that reads: "We are not a diagnosis. We reject Trans Bill 2026". The banner text is printed in bold capitalized letters on a black background. Several hashtags like #Rage and #Rise are printed below the text, and thought blurbs in Bengali like “Dhikkar”, “Parichay” and “Ladai” are scattered on both sides of the text on the banner. Several other protestors hold placards and posters related to transgender rights, and stand below the platform, facing a central speaking area. The slogans on the posters and placards say “We Reject Trans Bill 2026” and “Self-identity Is My Right”. Some individuals appear to be listening attentively to speeches being made in the speaking area, while others converse among themselves. A large soundbox can be seen placed next to the platform. The atmosphere suggests an organized demonstration. Several tall trees and a lamppost juxtaposed against the night sky form the backdrop. Photo credit: Meghjit Sengupta

Insight Mar '26

Recognition, struggle and politics of dignity

By Ayushman Roy, Meghjit Sengupta, Surjo Pramanik

The amended trans rights law is all about social injustice and disempowerment – Ayushman Roy, Meghjit Sengupta and Surjo Pramanik report on the recent protests against the law in Kolkata

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

Quote: Writings about gender, sexuality, health issues, and human rights may not have a wide appeal, or the form of my writing may not have many takers. And then there are the digital distractions – why read when you can reel? Which is why the thought of fiction writing seems exciting. I could be writing about the same issues as before but presenting them differently, or I could be writing about the ‘intimate’ aspects of the same issues as before – aspects that are real but have not found space in my writing about real issues.

My Story, Vartanama Feb '26

On fiction writing and fictionality

By Pawan Dhall

Pawan Dhall shares his thoughts on the possibility of treading a new writing pathway

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

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

Creations, Insight Oct '25

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

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

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 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 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’

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...

Happenings, Vartanama Jun '24

Celebrating the magic of friendship

By Pritha Bhattacharya, Sambrita Chakraborty

Pritha Bhattacharya and Sambrita Chakraborty report on an art exhibition to mark the 25th anniversary of ‘Friendship Walk ‘99’, India’s first rainbow pride walk held in Kolkata on July 2,...

Vartanama May '24

Celebrating 25 years of friendship, pride and diversity

By 'Friendship Walk 25th Anniversary' organizing team

Extracts from a pamphlet for the 25th anniversary observations of ‘Friendship Walk ‘99’ to be held in Kolkata and other places in West Bengal primarily in July 2024

Tagged Under: Queer Pride