The Life and Times of Hindutva Cinema—Rayan Chakrabarti

I am an avid user of OTT platforms, utilising the late-night and cheap internet to binge questionable films. As Netflix orients us towards consuming distinct genres, I have been attracted to a peculiar fetish that can only be categorised as Hindutva Cinema. Films praising the Modi government’s policies have multiplied exponentially in the last ten … Continue reading The Life and Times of Hindutva Cinema—Rayan Chakrabarti →

‘It does not matter who you are. Everyone here is the same’: Fieldnotes from the Jaydev Kenduli Baul Mela—Debayan Das

January 2022 As the first light of dawn caressed the tranquil waters of the Ajay River, the world seemed to hold its breath in anticipation. A soft, golden glow spread across the horizon, gently nudging awake the sleepy village of Jaydev Kenduli (hereafter, Jaydev) nestled on its banks. The sky, a canvas of soft pastels, … Continue reading ‘It does not matter who you are. Everyone here is the same’: Fieldnotes from the Jaydev Kenduli Baul Mela—Debayan Das →

Agyeya’s ‘The Writer And His Society’—Transcreated by Tushar Srivastava

Sachchidanand Hiranand Vatsyayan, ‘Agyeya’, at his home in Delhi [Image Courtesy: Vatsal Nidhi] Following is an attempt to ‘transcreate’[1] Agyeya’s essay titled ‘Lekhak Aur Uska Samaj’ which is excellently archived in the collections of ‘Vatsal Nidhi Prakashan Mala: Samvitti’ published by ‘Sasta Sahitya Mandal’ — to which I remain very thankful. All meanings of thought, conveyed … Continue reading Agyeya’s ‘The Writer And His Society’—Transcreated by Tushar Srivastava →

Tribulations for the Future of Classical Arts in India—Arnaaz Zaman

The eviction of veteran Odissi dancer, Padma Shri Mayadhar Raut The insular world of classical arts rarely surfaces on the mainstream news-headlines in India. Yet, the eviction of Mayadhar Raut, the doyen of the Odissi dance form, from his government accommodation in New Delhi brought the fraternity to the fore of the news-cycle. As images of … Continue reading Tribulations for the Future of Classical Arts in India—Arnaaz Zaman →