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A culture’s memory survives because a few understood that their stories were worth keeping.
Our Circle of Patrons are the people who carry that understanding forward — whose support allows us to seek out, document, and preserve personal histories that would otherwise disappear. Their generosity has helped build an archive that now reaches schools, institutions, researchers, and families across the Subcontinent and the world.
This is quiet, lasting work. And it has been made possible with people like them. If you’d like to become a patron of the project please write to us at hello@indianmemoryproject.com
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.
According to family knowledge, My great grand-parents, Balwant and Laxmibai’s relationship was considerably strained. Four years after their marriage, he married again, for the second time, to a lady named Kamalabai, because he thought that Laxmibai was not beautiful enough and that the marriage was arranged against his wishes. Consequently,
Unfortunately within six months, the fever took Jogendranath’s life, leaving his young 12 ½ year old wife a widow. Given her age, it was decided that Pushpomoyee would return to her parent’s home in Calcutta, where she might be happier. Binodini and Devendranath would enquire about Pushpomoyee often, and within
This photograph of my grandfather was taken around 1925 at a photo studio called Portraits Par Papers located at 23, Rue Boissy-d’ Anglas in Paris, France. I am not exactly sure what he was doing in Paris at the time, but it is possible that he went there on a
This fading, tattered photograph carries in it the story of my Gujarati lineage’s courage and survival instincts – and how they came to call a south Indian city, Madras (now Chennai) their home – an antithesis to their familiar north Indian environment. This photograph taken by a professional photographer in
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
