Color held a contested status in relation to the discursive and affective entanglement of art and Indian nationalism. Examination of the artworks, speeches, manifestos, and musings of Mohandas K. Gandhi, Abanindranath and Rabindranath Tagore, Nandalal Bose, and Jamini Roy shows how color could be "redeemed" from the disciplinary straitjacket of the British colonial art school. Construed by Indian nationalists as both cosmopolitan and fundamental, color (in terms of its materiality and political resonance) became critical to the formation of a Bengali aesthetic.

"In April 2018, I was invited to the University of Rajshahi, Bangladesh, to deliver a talk at an international seminar on the Bangladesh Liberation War. While preparing for the talk, as an Indian youth born 15 years after the war in a village near India’s border with Bangladesh, I wondered what qualified me to speak on the war and that too in Bangladesh.

The 1947 partition of British India on religious lines significantly impacted Hindustani classical music in the parts of the colony that became modern Pakistan. There is a consensus that, since the creation of the country, Hindustani classical music has declined in Pakistan. Various reasons for this decline have been theorised: the contested status of music in Islam, Pakistan’s search for a national identity distinct from India's, and the loss of patronage.

The memorialisation of the Partition of the Indian subcontinent in 1947 through popular cinema is the theme of this paper. Both in India and Pakistan, cinema as a cultural production wields immense influence in the lives of the people and mainstream cinema has been deeply affected by Partition.

The process of partition between India and Pakistan, that is, dividing up material assets, remains an under-written subject, barring its border-building aspects. While the old scholarship offered an adversarial account of this exercise, the recent attempts revise this narrative by stressing upon the cooperation evinced by the two sides. Where the former found antagonism, the latter has sought to locate some mutually agreed method in the madness.

Studies of India's Partition have been focused on the cases of Punjab and Bengal, but very few have been based on the site of partition in colonial Assam, "Sylhet". Urgent attention is required to record the historiography of partition in Sylhet as many of those who had experienced the phase of partition are more than 80 years old now.

Studies on militarisation and borders in South Asia have often remained focused on zones of spectacular conflict such as Kashmir, or Punjab during the partition. This article tracks the production of a discourse on borders by those charged with border security such as the police and other senior bureaucracy in the decades following the partition.

Much of the scholarship on Bangladesh’s founding places it within a narrative of repetition. It either repeats the partitions of 1905 or 1947 or the creation of India and Pakistan as postcolonial states. This paper argues instead for the novelty of Bangladesh’s creation against the postcolonial state, suggesting that it opened up a new history at the global level in which decolonisation was replaced by civil war as the founding narrative for new states.