Showing some brown boy love at a protest against India’s Supreme Court ruling reinstating the criminalization of homosexuality!
The name “Half and Halves” is derived from the same term used to describe Punjabi-Mexican individuals, typically offspring of Punjabi fathers and Mexican mothers. In the early 1900s, several hundred Punjabis immigrated as farmers to central California and came in contact with the communities of Mexican laborers. In addition to the commonality of family values, spicy-hot food, and zesty song and dance, what drew these communities together was that they were uniformly discriminated against by white society. Legislature forbidding Punjabi men from bringing wives from India and anti-miscegenation laws, which prohibited whites from marrying brown or black people, seeded familial liaisons between Punjabis and Mexicans. Not understanding what race these individuals belonged to, county clerks would simply write “brown” on marriage certificates for Punjabis and Mexicans, and thus began the integration of these two communites.
read more about the punjabi-mexican community here and here.
School girls in Pakistan
Photo: Vicki Francis/Department for International Development
tamil/hindi songs that were sampled in matangi mix
- ghanan ghanan
- ponmalai poluthu
- suklam baradham vishnum
- ottagathai kattiko
- karrupu than ennaka pidicha colouru
- ??? please add if you know what it is if it is even a sample at all
Photos from a friend’s wedding in Phayeng village, Manipur, India. The groom waits as the bride prepares.
Even a future queen, Chandani Shah or an educated and working woman like Mira Pradhan Rem had to bemoan “I look at myself as a woman who can acheive in life. But I got metamorphosed into a mere houswife.” There are many examples of ladies in our compendium who had to bear the brunt of tyranny of their own life partners or elders of the house as Sashikala Sharma or Kunta Sharma. There are examples like Goma or Maya Thakuri who struggled hard to grow out of a situaion of total deprivation and poverty, yet bloom to be fine literrateurs. - Jagadish Rana
(Source: parijatt, via parelima)
Arvind Desai Ki Ajeeb Dastaan (1978)
“The very presence of women in public in seen as transgressive and fraught with anxiety,” write academic Shilpa Pahadke, journalist Sameera Khan and architect Shilpa Ranade in Why Loiter: Women and Risk on Mumbai Streets, a book that shares with the film its central concern—women’s right to the city. “So long as women are able to convey the dominant narrative of gender—that they belong in private and not the public—they get conditional access to public space. To signal refusal to adhere to these codes often invites censures, sanctions and violence.” The book makes a spectacular case for women’s right to loiter, questioning why in India women must walk a straight line between one “sheltered” space and another. It dares readers to imagine an Indian city with street corners full of women. “A man may stop for a cigarette at a paanwalla or lounge on a park bench. He may stop to stare at the sea or drink cutting chai at a tea stall. He might even wander the streets late into the night. Women may not… She is either mad or bad or dangerous to society.”
This particular scene has always been really captivating for me with consideration of two contextually important things. The first is that Alice (played by Anjali Paigankar) chooses to “loiter” at night, and despite shopping + consuming having a gendered connotation, she seems to have no real intention of buying anything in particular which strengthens this theme of the woman and the public space. Even the way she walks around looking at sunglasses, shoes, etc. is lethargic and pointless, especially with the last scene in mind where her brother tells her mother that her late hours at work are for “other” purposes. Juxtapose this scene with the titular character Arvind Desai’s various instances of loitering and the second reason Alice’s occupation of public space is interesting becomes obvious. Arvind and Alice have the same disposition though the connotations behind these dispositions are separated by gender and class. When Arvind loiters, he is a consumer but an intellectually displaced man too. When Alice loiters, we do not focus on her internal character and the philosophies she might cater to. Instead we look at the external—the store, the danger of the male gaze, her body language, her clothes, and her reasons.
Hi, i just started a blog dedicated to Nepali music, movies, news etc parelima(.)tumblr(.)com do u mind spreading the word thank you!
Absolutely! We’ll definitely be reblogging from you as well