by Vidyun Sabhaney
Vidyun Sabhaney’s graphic essay reports on the women farmers protesting at Delhi’s borders
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by Ranjita Ganesan
Ayub Shikalgar, a swashbuckling first responder and among the last of India’s denotified tribal knife shapers, is negotiating change in both his lines of work. Ranjita Ganesan tells his story
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By Yasir Abbasi
Once, Urdu film magazines were plentiful, each with loyal readerships. But Shama was the best, writes Yasir Abbasi, as he traces the demise of a culture
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By David Abraham
Designer David Abraham, of fashion label Abraham & Thakore, on the spare, clear beauty afforded by black-and-white “reductivism”
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By Rashmi Sawhney
Cinema can show us what our eyes do not see, says Rashmi Sawhney. Even the sturdy fantasies of the eternally mobile, often homeless migrant
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By Ronny Sen
What does the end of time look like? Ronny Sen’s photographs take an unflinching look at apocalypse now
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By Trisha Gupta
How Indian filmmakers depict servants is a comment on their masters, argues Trisha Gupta
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Gautam Chintamani
Gautam Chintamani puts the enigmatic star in context
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Ashok Ferrey
Sri Lankans thrive on their loony togetherness and divine discontent, says Ashok Ferrey. Why be normal when mad is more fun?
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Mona Joshi
Buddhism has made a comeback in urban India because it addresses our current needs, observes Mona Joshi
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