Closure In The Coal Mines
Considering she had never been inside a coal mine, Raka bravely donned a hard hat, and surrounded by friends descended into the shaft as her father would have, 18 years earlier.
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No image or text may be used or published elsewhere without prior permission. Any unauthorised use may lead to prompt legal action. Permission requests can be sent here.
• Image rights belong to the guardian(s) of the photograph.
• Text rights belong to Indian Memory Project unless stated otherwise.
• The project does not share any information about contributors without their explicit permission.
We hope you enjoy this archive as much as we enjoy building it.
Considering she had never been inside a coal mine, Raka bravely donned a hard hat, and surrounded by friends descended into the shaft as her father would have, 18 years earlier.
in August of 1990, Saddam Hussain, the president of Iraq, ordered an attack on Kuwait, and the country toppled into a state of emergency – everything came to a halt. Citizens from all over the world, including Indians were trapped in a country at war, and among the Indian community,
In Poona, his linguistic proficiency got him the job of a Marathi typist at the newspaper office of Dnyan Prakash (a formerly popular newspaper) and he learnt to type in Marathi and English fluently. It was rare for government jobs to be advertised in newspapers; social contacts were the only
In the 1950s, the Assam Government cracked down on Communists, and my father became a ‘Most Wanted Man’ with a bounty of Rs. 10,000 Rupees on his head, dead or alive. My father kept moving from state to country lines under the radar across the region, Myanmar, Bhutan, Tibet and
Anusha Yadav is a multidisciplinary artist working in medium of photography, paper art, and graphic design. She is the founder of Indian Memory Project, one of the most influential online public memory projects globally. The project has subsequently reshaped how archives are engaged with, generating thousands of academic, editorial, and cultural enquiries worldwide.
Anusha’s practice bridges artistic conversation, and public viewership through investigative research, aesthetical advantage, emotional connection, and care. Rooted in personal curiosities and lived inquiry, her work demonstrates that cultural knowledge can be rigorous, generous and delightful, without relying on obscurity or institutional language as a measure of seriousness.
Anusha lives and works in India, and intermittently in the UK. She can by reached at hello@indianmemoryproject.com. You can see more of her work at anushayadav.com and at foldbyanushayadav.com
