Tag: Transphobia | Varta Trust

This is a daytime mid-range shot of the author holding a handwritten poster at a public protest organized at Jantar Mantar, Delhi on March 29, 2026 against the Transgender Persons (Protection of Rights) Amendment Bill, 2026. The author is standing facing the camera. In bold and colourful letters on a white background, the poster headline says “Viksit Bharat, Transphobic Bharat” with the first two words distinctly crossed out. Next to the headline, there is more text that says, “#Reject Trans Bill 2026” and “#NoGoingBack”. All around the author, there is a large crowd of protestors numbering at least 100. Further into the background, a stage has been erected for protest speeches, with a long protest banner forming the backdrop. Tall trees provide shelter for the protestors against the strong sun. Photo credit: Professor Harikarthik Ramesh

Vartanama Apr '26

What are rights without the right to self-identify one’s gender?

By Sudhasri Yadavalli

Sudhasri Yadavalli analyses the systemic harms likely to result from the Transgender Persons (Protection of Rights) Amendment Act, 2026

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

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 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

Quote: The pattern of sexual violence within the premises of educational institutions raises multifaceted concerns of safety, role of institutional authority, justice and a growing atmosphere of normalized intolerance and violence against vulnerable sections of society. These include not just women but also queer persons who have to deal with social stigma, violence, lack of full and effective legal rights, and widespread discrimination.

Insight Nov '25

Queer students in Kolkata campuses cope with safety concerns

By Surjo Pramanik

Incidents of sexual assault against women in higher education institutions in Kolkata make queer students fear for their own safety – a report by Surjo Pramanik with inputs from Sahil...

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

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 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 image is a combination of a photograph and text extracted from the accompanying article. The mid-range photograph shows filmmaker Rituparno Ghosh smiling, looking at and speaking to someone outside the frame. Other people can be seen in the background, suggesting it to be a public occasion. The filmmaker seems to be seated on a chair. He is wearing spectacles, a head wrap, and a scarf, all black in colour, paired with a grey-brown patterned shirt. The accompanying text says: “For me, Rituparno was a crossing, a journey between borders. Not India, not Bangladesh. Not man, not woman. Not familiar, not foreign. Somewhere in between, a new way of understanding emerged. What connected us wasn’t language or geography, but a shared longing. A shared desire to become.” Photo credit: Bollywood Hungama via ‘Wikimedia Commons’

My Story Jul '25

Rituparno Ghosh: Seen, unseen, and known in my own way

By Tara Asgar

In Rituparno Ghosh and his cinematic work Tara Asgar finds a shared longing to become something beyond binaries

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 image shows a still from the award-winning documentary film ‘Amma’s Pride’ directed by Shiva Krish. In the image, Srija, the main protagonist of the film is seen smiling and talking on her mobile phone, while Valli, her mother, looks on standing next to her also smiling brightly. Mother and daughter are both inside their house, and in the background can be seen sundry household objects placed on shelves or hanging on walls. The background objects have been slightly blurred to enhance the focus on Srija and Valli. Image courtesy Shiva Krish

Happenings, Vartanama May '25

Pursuing resilience, embracing hope

By Meghjit Sengupta, Pawan Dhall

Meghjit Sengupta reflects on an event centred around award-winning documentary ‘Amma’s Pride’, the story of transgender woman Srija whose marriage to Arunkumar, a cisgender man, in 2019 set a legal...