Shweta Krishnan
Since all women do not share a common history, agency cannot and need not be located for all in an emancipatory discourse and in the recourse to resistance and subversion. For some, feminist agency and the realisation of one’s potential as gendered actors in the world can come from submitting to a discourse that others deem repressive.
“Only that once again they broke the Love Laws. That lay down who should be loved. And how. And how…
Nivedita Menon is a feminist writer and a political and social activist. She is a professor of political thought at…
It is not entirely impossible to imagine that classical Indian dance is timeless or that the stories narrated in these…
किसी शास्त्रीय नृत्य को देखने वाले एक आम दर्शक के रूप में मुझे लगा कि यह सब किस तरह से मुझसे और मेरे जीवन से सम्बद्ध है। इन नृत्य प्रदर्शनों में दिखाए जाने वाले कथानक अक्सर वे कहानियाँ होती है जिन्हें मैंने बचपन से सुना है फिर भी मुझे इसमें कोई विशेष रूचि नहीं लगती। लेकिन सुश्री रत्नम के दृष्टिकोण के आधार पर, पुराने कथानकों को आधुनिक रूप देने के उनके प्रयासों और किसी पुरानी परंपरा के लुप्त हो जाने पर दुःख प्रकट करने के स्थान पर नृत्य को एक नया रूप देने का के प्रयास को देखते हुए भरतनाट्यम और अन्य शास्त्रीय नृत्य अब और अधिक प्रसांगिक हो जाते हैं जिनसे आप आसानी से जुड जाते हैं।
Fiction is a realm within which we can imagine the limitlessness of our feminist realities. By censoring fiction itself in an anxiety to perform what we understand as feminism, is to censor our imaginations, its subtle negotiations with reality and its potential in generating desires and dreams we hardly knew of. Does this mean we don’t critique books and movies? Definitely not! Critique is fun. Critique is important. Critique is how we grow. But the judgement needs to stop.
When colours spill across, when a little bit of the red house-paint spills into the blue sky, or the brown door seems to meld in with the green grass, we see ‘errors’ that must be corrected in another attempt to preserve the perfect order of that emergent world.
Reviewing three films (or the subplots of three films) to see how subplots show that marriage isn’t a destination or a single story that begins and ends in the ‘happily ever after’.
Note: Travelling is a poem by Eunice de Souza. I find it impossible to read a poem without layering it…
Last January, armed gunmen stormed the Paris office of the French magazine Charlie Hebdo, killing 12 and injuring 11, because…
You should venture to read Emily Nagoski’s book, Come As You Are in public. Not because you want to make…
श्वेता कृष्णन द्वारा मैं लामाय* से बैंकाक के एक स्पा में मिली थी। वो बात करने को उत्सुक थी और…
I met Lamai[1] at a spa in Bangkok. She was eager to talk, and told me about her village eight…
Marevic Parcon or Bing, as she is known, is the Asia Programme Officer for the Women’s Global Network for Reproductive…
What does Tanu Weds Manu Returns (2015) have in common with Perumal Murugan’s controversial book, One Part Woman (2013)? Stories on emasculation…