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With independence, India experienced a dramatic social rupture but also a recuperation of political autonomy and a new sense of optimism that promised opportunities. The country became a crucible for experimentation in modern and utopian architecture with new buildings, cities and museums giving public face to the nation. Indian architects and architectural projects claimed international attention, and a generation of women entered professions such as architecture and design that had previously been closed to them. They emerged as a pronounced political force, and important patrons of art, architecture and public space.
The mid-19th and 20th centuries saw a significant increase in women acting as arbiters of taste and shapers of the built environment. The emerging groups of female designers and female patrons were enabled by new norms for women.
The essays in this volume address these developments, posing the important question : did, and do, women produce art and architecture that reflect a feminine perspective ? How did women, otherwise invisible and denied attention in the public sphere, gain voice? The writers look at these questions through both the political frame of gender as well as through family lineage and dynastic connections, and their importance in women's patronage of the arts.
The first full-length autobiography in Bengali, Amar Jiban (My Life) was written in the early nineteenth century by an upper-caste rural housewife named Rashundari Debi. Published in 1868 when she was 88 years old, the book is a fascinating snapshot of life for women in the nineteenth century. Debi, who gave birth to eleven children—her first was born when she was 18-years-old, the last when she was forty-one—ruminates on her very individual understanding of bhakti as well as the new times that were unfolding around her.
Offering a translation of major sections of this remarkable autobiography, Words to Win is a portrait of a woman who wants to compose a life of her own, wishes to present it in the public sphere, and eventually accomplishes just that. The words, in the end, win out. First published in 1999, the book is a must-read for anyone interested in nineteenth-century Indian history. The classic text is reissued here in a new paperback format.
"Sarkar's dissection of the text - the autobiography of an upper-caste East Bengali widow from a family of landlords, who teaches herself to read and write in secrecy as it's a taboo to do so - yields a cracking yarn of social history." -- Pothik Ghosh, Outlook
Ever wondered how to keep your little angel from the negative influences of the world in this challenging time? How to help her grow into a rnresponsible, successful and happy adult you can be proud of? Does it sometimes feel that divine intervention is needed?
Help is at hand in this brilliant new book by the best-selling author, Mridula Agarwal.
In this outstanding book, Farishta flies down from heaven to see for himself how little kids are being brought up, and what is making Almighty so unhappy. What he discovers on his travels surprises and shocks him, but how familiar those scenes are to us! As he moves from home to home, he talks to kids and watches how their moms and dads behave around them. For a divine being, Farishta is thoroughly down-to-earth and the lessons we, as parents, learn through his eyes are invaluable.
The result is a simple, practical set of guiding principles that can help you as a parent understand how to help your child grow in the most positive and successful way possible.
In the run-up the fourth World Social Forum held in Mumbai, India in January 2004, civil activists and student organised a major series of seminars in Delhi University to discuss the Forum and its politics. The 'Open Space' seminar series, as it came to be called, picked up on the idea of the Forum as a relatively free space, where all kinds of ideas could not meet and be discussed. The book, the first in a series that explore the new ideas generated by the discusssions took place on all these issues, comprises chapters based on the transcripts of presentation made by academics and activists during the seminars, as well as discussions on the questions arising from the presentation. Can the World Social Forum helps us to conceptualise and actualise a new politics? Can this new politics? Can this new politics be free from violence? Can the experience and knowledge of great movements such as the movements for environment, and the women's movement, contribute to the creation of a new politics? How can such a politics be sustained? The essays in this book, written in an easy and accessible style, are informed by these question. they offer the reader different and complex ways of understanding the processes that have helped to shape the world social forum and the new politics that seems to be emerging, and what all this represents, for life, society, and politics more generally.
Toilets, trees and gender? Can there be a connection?
Is there a gender angle to a business story? Is gender in politics only about how many women get elected to parliament? Is osteoporosis a women's disease? Why do more women die in natural disasters?
These are not the questions journalists usually ask when they set out to do their jobs as reporters, sub-editors, photographers of editors. Yet, by not asking, are they missing out on something, perhaps half the story? This is the question this book, edited and written by journalists, for journalists and the lay public interested in media, raises. Through examples from the media, and from their own experience, the contributors explain the concept of gender-sensitive journalism and look at a series of subjects that journalists have to cover - sexual assault, environment, development, business, politics, health, disasters, conflict - and set out a simple way of integrating a gendered lens into day-to-day journalism. Written in a non-academic, accessible style, this book is possibly the first of its kind in India - one that attempts to inject a gender perspective into journalism.
In 2008, when the Azad Foundation, an NGO based in Delhi, began training poor women to become drivers of commercial and private vehicles, most people thought they were somewhat out of touch with reality. Poor, illiterate women, many of them from violent homes, some of them single mothers, others from families and communities which had never allowed women to step out of the home – how could these women take the wheel, drive around in unsafe cities, be confident and competent, earn money? At the time, there was only one known woman auto driver in Delhi. When Azad turned to radio cab companies to suggest they take in women drivers, there wasn’t much interest. Today, more than 300 women drivers have received training from Azad and are on the roads of several cities. Nine years after radio companies turned Azad away, special services or women with women drivers are being introduced within these same companies. In 2015, the Delhi Transport Corporation got its first woman driver, and in 2016, the Delhi Commission for Women recruited 25 women drivers to be part of their women’s helpline. Clearly, things are changing.
Lady Driver maps the journeys of twelve women from poor, marginalized communities who have transformed their lives by taking up the challenge of becoming women drivers. Each story is unique; there’s no Cinderella effect here. Reality does not change overnight. Instead, as the women featured here painstakingly claim a relationship with the road, it translates into claims for identity, for dignity, for a livelihood. Their stories are about beginnings, but have no endings – there is still quite a way to drive. OR – there are many kilometres to drive yet.
Hansa Wadkar (born Ratan Bhalchandra) was one of Maharashtra's best known stage and screen personalities. By the time she was married to a much older family friend and impressario when she was just 15 she had already starred in nine or ten movies and was becoming a name in the film world. Supporting her family on her earnings, her brother sick with malaria, and both parents having taken to drink, life was not easy for the young woman. But Hansa was not only beautiful and immensely talented, she was tough, willful, capricious and headstrong.
Her autobiography, published in 1970, created a sensation for its frankness and directness.
It was later made into a film, Bhumika, by the well-known director Shyam Benegal and starred Smita Patil in the title role
Imelda Connor is a classic Irish lass—a fiery, red-headed beauty, quick to anger and fiercely protective of her younger siblings. Growing up on a small farm in the rolling hills of County Cork, she thinks she has her life completely mapped out. But Imelda soon finds that life doesn’t always go according to plan.
Everything is turned upside-down when Imelda moves to England and happens to meet a dashing Bengali man named Shu Bose. Shu is captivated by Imelda’s natural beauty and charm, and the two embark on a whirlwind romance. At the age of eighteen, in the spring of 1932, Imelda boards a ship bound for Calcutta—and a very different life to the one she had always imagined.
Milty Bose’s writing transports readers back to pre-Independence India, to London between the wars, and to the genteel life of bhadralok Bengali high society. From Cork to Calcutta tells the true story of Bose’s parents, their eccentric and unforgettable family, the trauma of loss, and the triumph of one woman’s remarkable spirit.
Vibrant, dynamic, spirited and forceful. The contemporary women's movement in India, which began in the late 1970s protested against the dark times, the violence and the misogyny. It also colourfully celebrated liberation, solidarity among women and breaking the shackles of patriarchy. It sang, performed and painted, to draw attention to the burning issues of the time: dowry death, widow immolation, acid throwing and rape.
Over the past three decades, the women's movement has matured and broadened to include a gamut of issues related to women's health, sexuality, the environment, literacy, the impact of religion and communalism on women's lives, political participation, labour rights, disability rights, class and caste issues, and many more. Indeed, feminism meant looking at the world through women's eyes.
This book constructs a pictorial history of the complex and multi-layered women's movement through its visual representation: posters, drawings, pamphlets, reports, brochures, stickers, all writing and photographs. The posters reproduced here are part of Zubaan's Poster Women project, which has attempted to locate and archive as many posters of the movement as possible to be able to visually map the women?s movement and its concerns.
The Poster Women archive can be accessed at www.posterwomen.org.
'Call Me Confused, Please' requests one of the stories in this insightful and engaging collection from women of South Asian origin living in North America. 'Made in the USA?' wonders another.
Through poems, short stories and scholarly pieces, writers who are in their twenties, thirties and forties share what it is to live and grow up in a country that is your home and yet alien to you. They touch upon issues of culture, belonging, romance, body, race, ethnicity and the notion of 'home'. Moving beyond the idea of ABCDs (America-Born Confused Desi) and the 'identity crisis', the writers grapple with the richness of their diverse inheritances to produce a more nuanced understanding of self.
"Diverse voices challenge social binaries - of race, sexuality, nationality - to showcase the many facets of brown-ness." - Bandana Purkayastha, University of Connecticut
This is the memoir of a remarkable woman, Begum Kurshid Mirza, the daughter of Sheikh Abdullah and Waheed Jahan Begu, the founders of Aligarh Women's College. An intimate of an upper class Muslim family in India and Pakistan from until the recent past, this narrative is much more than an account of Kurshid Mirza's personal life. It spans the years from 1857 to 1983 and provides an insight into the the social conditions of Indian Muslims, the state of Muslim women's education, and the transition to Pakistan, while illuminating Kurshid Mirza's rich and tried life as an actor, activist, radio and TV artiste, a writer, a devoted daughter, wife and mother. Kurshid Mirza's vitality and dynamism, her pioneering spirit and unconventionally led her to leave the cloistered world of Aligarh after an early marriage to a police officer and then pursue a career in films in Bombay. She rapidly climbed the ladder to sardom as Renuka Devi and worked alongside well-known actors and directors of the time. Partition cut short her film career and she left for the new country Pakistan, where she remained deeply engaged as ever and contributed to many worthy causes, especially for the benefit of the women. The coming of Pakistan to gave her a fresh opportunity to express her theatrical talents and she soon became one of Pakistan's best known television actors winning many award in 1985. A true Woman of Substance.
For more than ten years now Irom Sharmila, a young woman from Manipur, has been on hunger strike, demanding the removal of the Armed Forces (Special Powers) Act, a draconian law that allows the army unfettered powers in areas that are considered politically sensitive or disturbed. Taken into custody and released every twelve months by the State for attempting suicide (considered illegal in India) Sharmila is being force fed to keep her alive. Her unique battle for peace in her strife torn homeland, has become a powerful symbol for all those engaged in fighting for peace in the northeast of India. As she fulfils her chosen role in this movement, Sharmila sometimes longs for all those things that young women treasure love, freedom, the sheer joy of living a free life, even simple things like being able to drink water, to brush her teeth. This small compilation of twelve of her poems in her native language Meiteilon and in English translation, provides a moving account of the underbelly of one woman's lone struggle for peace.
All proceeds from the sale of this book will go towards supporting Sharmila's campaign.
This unique autobiography by veteran BBC and Associated Press journalist Sabita Goswami documents the extraordinary, single-handed fight of an ordinary woman in the heart of Assam, against family and social obstacles, to establish herself emotionally and professionally.
An unbiased and ruthless no-holds-barred account of turbulent contemporary Assam in particular and the Northeast in general, the book covers more than three decades of events in this volatile region and insightful analyses of its complex social and political history. The racy and strong narrative, recounted simply and with rare passion, makes this book a compelling read.
"Crafted with skill and full of lyrical prose, the best thing about this memoir is its honesty, as the author doesn't flinch from telling the truth." -- Abdullah Khan, Earthen Lamp Journal
On Feb 6th 2003, Anjum Zamarud Habib, a young woman political activist from Kashmir, was arrested in Delhi and jailed under the Prevention of Terrorism Act (POTA). Her crime? Being in the wrong place at the wrong time. And being the Chairperson of the Muslim Khawateen Markaz and in that capacity, a member of the Hurriyat Conference.
In this passionate and moving account of her days in prison, Anjum Zamarud Habib describes the shock and bewilderment of arrest, the pain of realizing that there is no escape for not days, not weeks, but years, the desperation for contact with the outside world and the sense of deep betrayal at being abandoned by her political comrades. Her story is both a searing indictment of draconian state policies and expedient political practices, and a moving account of one woman's extraordinary life.
"Prisoner No 100 illuminates the darkest corners of Kashmir's political experience. A brilliant critique of patriarchy in politics, a searing tale of the terrible humiliations visited upon political prisoners, a poignant story of a woman who dedicated her life to political change in Kashmir, a passionate love letter to Kashmir. Everyone interested in Kashmir should read it." -- Basharat Peer, author of Curfewed Nights
The essential guide to the who, why, what, when, where and how of sexuality education. Talking to children and young people about sexuality is never easy. This non-nonsense, straightforward and accessible guide will help adults get across the necessary information in the best way possible. Since 1996, TARSHI has been counseling and supporting people - young and not-so-young - on issues to do with sexual health. Building on the success of the highly popular Red Book (for 10-14-year-olds) and Blue Book (for 15+), the team have put together The Yellow Book specifically for parents and teachers. The Yellow Book is full of tips and tools, information and advice to help you talk to your children about sexuality at every stage of their lives.
Incisive, eclectic and politically engaged, Seeing like a Feminist is a bold and wide-ranging book that reorders contemporary society.
For Nivedita Menon, feminism is not about a moment of final triumph over patriarchy but about the gradual transformation of the social field so decisively that old markers shift forever. From sexual harassment charges against international figures to the challenge that caste politics poses to feminism, from the ban on the veil in France to the attempt to impose skirts on international women badminton players, from queer politics to domestic servants' unions to the Pink Chaddi campaign, Menon deftly illustrates how feminism complicates the field irrevocably.
"Wonderfully engaging and perfectly lucid."" - Tanika Sarkar
In the early nineteen thirties Ayi Tendulkar, a young journalist from a small town in Maharashtra, travelled to Germany to study. Within a short time he married Eva Schubring, his professor's daughter. Soon after the short-lived marriage broke up, Tendulkar, by now also a well-known journalist in Berlin, met and fell lin love with the filmmaker Thea von Harbou, divorced wife of Fritz Lang, and soon to be Tendulkar's wife.
Many years his senior, Thea became Tendulkar's support and mainstay in Germany, encouraging and supporting him in bringing other young Indian students to the country. Hitler's coming to power put an end to all that, and on Thea von Harbou's advice, Tendulkar returned to India, where he became involved in Gandhi's campaign of non-cooperation with the British and where, with Thea's consent, he soon married Indumati Gunaji, a Gandhian activist.
Caught up in the whirlwind of Gandhi's activism, Indumati and Tendulkar spent several years in Indian prisions, being able to come together as a married couple only after their release -- managing thereby to comply with a condition that Gandhi had put to their marriage, that they remain apart for several years 'to serve the nation?. In this unique account, Indumati and Tendulkar's daughter, Laxmi Tendulkar Dhaul, traces the turbulent lives of her parents and Thea von Harbou against the backremove of Nazi Germany and Gandhi's India, using a wealth of documents, letters, newspaper articles and photographs to piece together the intermeshed histories of two women, the man they loved, their own growing friendship and two countries battling with violence and non-violence, fascism and colonialism.
"Few children are capable of writing about their parents' lives with empathy and clinical precision." --Somak Ghoshal, Live Mint
One of Hindi's best known writers, Prabha Khaitan spent much of her life as the 'second' woman in a long-term relationship with a married man. Born in a conservative Marwari family, she defied tradition and family expectations, insisting on living life as a single woman, setting up her own business and earning the respect of her peers and colleagues in the corporate world. Despite her yearning to be loved and cherished by the man to whom she gave her life, Prabha Khaitan lived life on her own terms.
With a frankness that is rare in the world of Hindi autobiographical writing by women, Prabha Khaitan here speaks of her feelings, her sense of discomfort and unease at not being the 'legitimate' woman, about what she gained and lost from a relationship that was generally frowned upon by society and how she fought to become her own woman. In doing so, she reflects on marriage, relationships, intimacy and distance, the professional and the personal, and the ways in which women are caught within these often conflicting forces.
"Prabha Khaitan's story of her life and times is possibly one of the most honest books I have ever read. Sometimes it cuts too close to the bone for middle class comfort, unsettling the safety net and entitlements of complacency and convenience. All her life, she swam upstream, defying convention, defying prejudice, questioning choices." -- Namita Gokhale
"One of the most arresting things about feminist writer and poet Prabha Khaitan's autobiography is its naked narrative and almost poetic vulnerability. Simply written, the narrative flows languorously."-- Prerna Kalbag, The Hindustan Times
On a cold February night in 1991, a group of soldiers and officers of the Indian Army pushed their way into two villages in Kashmir, seeking out militants assumed to be hiding there. They pulled the men out of their homes and subjected many to torture, and the women to rape. According to village accounts, as many as 31 women were raped.
Twenty-one years later, in 2012, the rape and murder of a young medical student in Delhi galvanized a protest movement so widespread and deep that it reached all corners of the world. In Kashmir, a group of young women, all in their twenties, were inspired to re-open the Kunan-Poshpora case, to revisit their history and to look at what had happened to the survivors of the 1991 mass rape. Through personal accounts of their journey, this book examines questions of justice, of stigma, of the responsibility of the state, and of the long-term impact of trauma.
From the heart of a well-known family of Hyderabad to life in a single room with the barest of necessities, Shaukat Kaifi's memoir of her life with the renowned poet Kaifi Azmi speaks of love and commitment. A marriage of over a half a century, a life steeped in poetry and progressive politics, continuing involvement with the Indian People's Theatre Association, the Progressive Writers Association, Prithvi Theatre... all of these and more inform this beautifully told tale of love. Shaukat Kaifi's writing details life in a communist commune, a long career in theatre and film and a life spent bringing up her two children, cinematographer Baba Azmi and actor Shabana Azmi. Nasreen Rehman's deft and fluent translation brings this luminous memoir alive with warmth and empathy. "To say that this is a lovely book would be an understatement. It is an enchanting recollection of the life of a hugely talented and sensitive human being, shared with a great poet." -- Amartya Sen.
Priya Sarukkai Chabria and Ravi Shankar’s elegant new translations of eighth-century Tamil poet and founding saint Andal, cements her status as the South Indian corollary to Mirabai.
In this one volume is her entire corpus, composed before she apocryphally merged with the idol of her chosen god as a young teenager, leaving behind the still popular song of congregational worship, the Thiruppavai, a collection of thirty pasuram (stanzas) sung for Lord Tirumal (Vishnu) and the much less frequently translated and rapturously erotic Nacchiyar Thirumoli.
Chabria and Shankar employ a radical new method of revitalizing classical verse by shifting it into a contemporary poetic idiom in another language. Some of the hymns are translated collaboratively, others by one or another of the translators, and others separately by each. This kaleidoscopic approach allows the reader multiple perspectives on the rich sonic and philosophical complexity of Andal’s classical Tamil.
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