Rebecca Brown is Teaching Professor in the History of Art at Johns Hopkins University. She is the author of Art for a Modern India, 1947-1980 (Duke UP, 2009) and Gandhi’s Spinning Wheel and the Making of India (Routledge 2010). She coedited with Deborah S. Hutton Asian Art (2006) and A Companion to Asian Art and Architecture (2011), both published with Blackwell. She is currently working on two projects. One challenges our understanding of early 19th century painting, situating depictions of people doing everyday tasks in a syncopated temporal rhythm of interconnected colonial, artistic, courtly, and commercial flows. The second project raises the exhibitionary ghosts of the over 70 art shows staged as part of the Festival of India in the US (1985-86).

Paranjoy Guha-Thakurta is a journalist with over 30 years’ experience across print, Internet, radio, and television media. He has worked with a number of leading publications including Business India, Business World, The Telegraph, India Today, and The Pioneer. His books, A Time of Coalitions: Divided We Stand (Sage, 2004) and Divided We Stand: India in a Time of Coalitions (Sage, 2007), both co-written with Shankar Raghuraman, argue that multi-party governments are more appropriate to India’s deeply divided and hierarchical society. In addition, Guha-Thakurta has written Media Ethics (Oxford University Press, 2009), a textbook for under- and post-graduate students of journalism.

Shikha Jhingan is teaching at the department of Journalism, Lady Shri Ram College, University of Delhi. Her research work focuses on performance, practices and circulation of the female voice in Hindi film songs. She has published journal articles on this topic in Seminar and Bioscope: South Asian Screen Studies. Jhingan graduated from Mass Communication Research Centre, Jamia Millia University and is a founder member of Media-storm, an independent women’s film making collective formed in Delhi in 1986. Some of her documentary films include Health Matters, Living through Performance, Prisoner of Gender and Born to Sing. She also co-directed ‘The Power of the Image’ a twelve part documentary series on Bombay cinema.

Radhika Krishnan is a doctoral candidate in the Centre for Studies in Science Policy, Jawaharlal Nehru University (JNU), New Delhi. She is currently working on the Chhattisgarh Mukti Morcha and its interventions in the discourse on technology and environment. An electrical engineer by training, she worked with the Delhi-based Centre for Science and Environment for several years.

Ranjani Mazumdar is Associate Professor of Cinema Studies at the School of Arts & Aesthetics, Jawaharlal Nehru University, New Delhi. Her publications focus on urban cultures, popular cinema, gender and the cinematic city. She is the author of Bombay Cinema: An Archive of the City (University of Minnesota Press, 2007). Mazumdar has also worked as a documentary filmmaker and is a founding member of Mediastorm, India’s first women’s film collective, which received the Chameli Devi Jain Award for outstanding media professionals among women. Mazumdar’s documentaries include Delhi Diary 2001 (on violence, memory and the city); The Power of the Image (co-directed; a television series on Bombay cinema); and Prisoner of Gender, which won the second prize at an International Television documentary festival.

Janaki Nair is professor at the Center for Historical Studies, Jawaharlal Nehru University. Her books include Mysore Modern: Rethinking the Region under Princely Rule, The Promise of the Metropolis: Bangalore’s Twentieth Century, Women and the Law in Colonial India, and Miners and Millhands: Work, Culture, and Politics in Princely Mysore.

Aditya Nigam is Senior Fellow at the Centre for the Study of Developing Societies at the University of Delhi. He works in the broad field of social and political theory. He is the author of The Insurrection of Little Selves: Crisis of Secular-nationalism in India (Oxford University Press, 2006), Power and Contestation: India Since 1989 (with Nivedita Menon, Zed Books, 2007), After Utopia: Modernity and Socialism in the Postcolony (Viva Books, Delhi, 2010) and Desire Named Development (Penguin Books, Delhi, 2011).

Ashish Rajadhyaksha is Senior Fellow at the Centre for the Study of Culture & Society, Bangalore. His latest book is Indian Cinema in the Time of Celluloid: From Bollywood to the Emergency, New Delhi: Tulika/Bloomington: Indiana University Press, 2009. He is also the co- editor of the Encyclopaedia of Indian Cinema, with Paul Willemen (British Film Institute and OUP, 1994), as well as volumes on Kishore Kumar and Ritwik Ghatak.

Arvind Rajagopal is Professor of Media Studies at New York University. His books include Politics After Television: Hindu Nationalism and the Reshaping of the Public in India (Cambridge, 2001), which won the Ananda Kentish Coomaraswamy Prize from the Association of Asian Studies and the Daniel Griffiths Prize at NYU, both in 2003, and The Indian Public Sphere: Structure and Transformation (Oxford, 2009). He has won awards from the MacArthur and Rockefeller Foundations, and has been a Member in the School of Social Sciences at the Institute for Advanced Study in Princeton, New Jersey, and at the Woodrow Wilson International Center for Scholars in Washington DC. In addition to his scholarly writing, he has also published in forums such the SSRC’s Immanent Frame and, and in newspapers and periodicals.

Sumathi Ramaswamy is Professor of History at Duke University in Durham, North Carolina and Director of the Duke Center for South Asian Studies. She is the author of The Goddess and the Nation: Mapping Mother India (Duke University Press, 2010), The Lost Land of Lemuria: Fabulous Geographies, Catastrophic Histories (University of California Press, 2004), and Passions of the Tongue: Language Devotion in Tamil India, 1891-1970 (University of California Press, 1997). Her edited volumes include Barefoot Across the Nation: Maqbool Fida Husain and the Idea of India (Routledge, 2010), and Beyond Appearances? Visual Practices and Ideologies in Modern India (Sage, 2003). She is currently working on a project entitled “Global Itineraries: The Indian Travels of a Worldly Object.” She is co-founder of a trans-national digital network for popular South Asian visual culture called Tasveer Ghar (House of Pictures) (

Abhay Sardesai has been the Editor of ART India, the premier art magazine of India, since November 2002. Under his editorship, the magazine has developed a Culture Studies-oriented approach and has become more inter-disciplinary in its theme-based explorations. He has been a Visiting Faculty in Aesthetics at the Department of English, University of Mumbai and has also been the Chair of Humanities, Kamla Raheja Vidyanidhi Institute of Architecture, Mumbai. He writes in English and translates from Marathi, Konkani and Gujarati. An associate of the research collective PUKAR, he was the Director of the Writing Across the City project which explored the inter-relationships between literatures and literary cultures in the city of Mumbai.

Shuddhabrata Sengupta is a media practitioner, filmmaker and writer with the Raqs Media Collective. Their work, which has been exhibited widely in major international spaces, locates them in the intersections of contemporary art, historical enquiry, philosophical speculation, research and theory – often taking the form of installations, online and offline media objects, performances and encounters. Sengupta co-founded Sarai-CSDS in 2000 and is a member of the editorial collective of the Sarai Reader series.

Lakshmi Subramaniam is Senior Fellow in History at the Centre for Studies in Social Sciences, Calcutta. A historian of the Indian Ocean region, Subramaniam is also the author of three books on Carnatic music, From the Tanjore Court to the Madras Music Academy: A Social History of Music in South India (Oxford University Press, 2011), Veena Dhanammal: The Making of a Legend (Routledge, 2009), and New Mansions for Music: Performance, Pedagogy, and Criticism (Temmen, 2008).

Safina Uberoi is an Indian-Australian film maker who has trained in India and Australia. Safina’s best-known documentary is My Mother India, an auto-biographical film which won 11 major international awards including the Australian Film Critics circle Award for best Australian documentary. Safina directed an episode on the British-Asian writer Meera Syal for the award wining BBC series Who Do You Think You Are? She also wrote and directed 1800-India for PBS which won the Golden Eagle Award, and directed and produced A Good Man, a documentary for ABC TV. Safina has taught at the National School of Drama, Delhi, the National Institute of Dramatic Art, Sydney, Macquarie University, the Sydney International Film School and various other institutions. She is a former Board Member of the Australia-India Council.

Karin Zitzewitz is Assistant Professor of Art History and Visual Culture at Michigan State University. Her book manuscript, The Art of Secularism: The Cultural Politics of Modernist Art in Contemporary India, is based on extensive fieldwork in three centers of the Indian art world: Mumbai, Vadodara (Gujarat), and New Delhi. It concerns the changes wrought by the rise of Hindu nationalism on the profoundly secularist practice of modernist art. She collaborated with Mumbai gallerist Kekoo Gandhy on a memoir, The Perfect Frame: Presenting Modern Indian Art, which was published in 2003. Her most recent publication was a chapter in Barefoot Across the Nation: Maqbool Fida Husain and the Idea of India (Routledge, 2010).