Farah Ahamed

In the art of filmmaker Deepa Mehta and writer Ismat Chughtai, Farah Ahamed explores themes of patriarchy, infidelity, and a testament to the desires of women.

The room was narrow with only a bed, a tired green armchair and faded orange and red curtains. On one wall was a series of three pale watercolours depicting an uninspiring landscape, on another, a long mirror. She thought of her own room with its fine furnishings, the brocade curtains, embroidered cushions, silk rug and paintings. Never mind, it was only for a day…

This year I turned the age my mother was when she died twenty-six years ago from a sudden, short illness. But growing up in Kenya and belonging to a community ensured that ‘other mothers’ stepped in to fill the void. These women helped me navigate my life experiences.

Subverting the floral metaphors for menstruation.

Touch a flower on your period and it will wither away, women are told. Yet, as symbols of fertility, flowers have become a euphemism for the menstrual cycle.

Lagaan, a 2001 Bollywood film, has an iconic scene which captures with precision the visual and audio embodiment of dhyan in its purest form. “Dhyan” is the Sanskrit word for focus, paying attention, taking care or mindfulness…

Twenty-five years since my dear Sam died in the Kanungu Massacre under Dominic’s cult movement, the Restoration of the Ten Commandments.

Who was to blame for what happened?