A digital magazine on sexuality, based in the Global South: We are working towards cultivating safe, inclusive, and self-affirming spaces in which all individuals can express themselves without fear, judgement or shame

Fiction and Sexuality

An abstract art of a spiral starting with fiery orange and yellow in the middle, with shades of blue on the outside.

Making women out of men: Mystifying queer desires, staging queerness in Siraj’s Māyā Mridanga

Māyā Mridanga infinitely problematises the nature vs. nurture debate that is central to sexuality studies. The novel seems to suggest that a certain kind of male body – feminine, smooth, shapely – is the ideal raw material for making a chhokra out of a biological man. Ustaad Jhaksa, whose life the novel documents[2], repeatedly emphasises on this act of nurturing, moulding and pruning of a feminine male body for which he has fatherly affection as well as a lover’s lust.
Still from an animated video with Sita singing under a spotlight. Music plays on the stage around her.

Video Page: Sita sings the Blues

Sita Sings the Blues is an animated retelling of the Ramayana, an ancient Indian epic about the Hindu god Rama and his quest to save his wife Sita from Ravana, the king of Lanka. The Ramayana has been retold through many different media – live performance, TV, movies – but this representation is unique in…
Painting of a golden moon on a dark night. The moon's light reflects in water below, and a few insects of glittery blue colour are flying around.

I Column : Fiction and Sexuality

What is fiction? Is it born of reality? Or does it birth reality, reflecting it back at me until I see the things I do not see? Until I find the person that is me? Until I dance my horse dance under moon, under stars, in a room full of people who like horse dancing just as much as they like the swirly skirt and the pot-bellied person doing the Bhangra.
Shohini Ghosh at a film set. Lights, cameras, and reltaed instruments are hanging from the ceiling.

Interview: Shohini Ghosh

Both fiction and non-fiction are capable of great complexity if the making is in the hands of someone capable and complex. I have always held that good films – fiction, non-fiction or hybrid– emerge not from a familiarity with the subject, though that’s essential – but an understanding of the language of cinema.
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