There is a kind of loneliness that is hard to name. It is not the loneliness of being alone. It is the loneliness of sitting across from someone and realising they are not really trying to understand you. You speak and they answer, but they miss the point entirely. The conversation ends before it even begins.

Busy lives take the blame. So do screensas well as the relentless pace of the modern world. While those answers are not wrong, something else is happening too. Something quieter. A slow closing of the empathy gap between us, one unread story at a time.

What does reading actually do to us?

For years, researchers have studied the link between reading and empathy. The findings are clear. People who read literary fiction such as stories about complex, real human experiences tend to be better at understanding how others feel. They are better at seeing the world through someone else’s eyes.

Researchers Raymond Mar and Keith Oatley found that fiction works like a practice ground. When you read a story, you are not just watching a character from a distance. You step inside their mind. You don’t just learn that a character is sad, you feel it with them. The strange weight of it. The texture. The irrationality. That is something no news article or Wikipedia page can do.

So what happens when we stop?

Here is the question that rarely gets asked: what happens to empathy when people stop reading altogether? One study found that people who read less fiction tended to become more self-focused over time. When you never practice stepping outside your own perspective, you slowly lose the habit and eventually, you lose the desire. The world begins to shrink to the size of your own experience. The same study found something else striking. Exposure to non-fiction, for example, news, essays, reports, was actually linked to loneliness. Think about that for a moment.

Not all reading works the same way

It is also worth saying this, simply reading more is not the answer on its own. What matters is how you read. A person who skims through a book, checking their phone, half-present, does not get the same benefit as someone who is fully immersed in the story. The key ingredient is something researchers call absorption. This presents itself as being so involved in a story that it starts to feel real, that the characters feel like people you actually know. That kind of deep, willing attention is what changes us. This like any skill can fade if we stop practising it.

Our world is not built for this kind of attention

Here is the hard truth. Almost everything around us is designed to break our focus. Content is made to be fast, wide and easy to scroll past. It is not slow, deep and worth sitting with. Reading a novel requires something different. It asks you to stay with a character’s pain without rushing to fix it. It asks you to live with uncertainty, to not know what happens next, to keep going anyway. These are not comfortable things. But they are important ones. Empathy is not just a personality trait some people are born with. It is a skill. And like all skills, it needs to be built, used, and maintained.

This is bigger than just books

This is not about saying that books are better than films or podcasts or any other kind of storytelling. Theatre, oral traditions, and cinema can all move us deeply. What matters is not the format, it is the quality of attention we bring to it.

But reading, especially fiction, offers something rare. It places you directly inside another person’s mind. It puts you inside someone else’s mind. That is the closest most of us will ever get to truly knowing another person.

What are we actually losing?

If fewer people are reading deeply and the evidence suggests that’s exactly what’s happening, we shouldn’t treat it as just a cultural shift. It may be one of the quieter reasons genuine connection feels harder. Why civil conversations feel rarer. Why we struggle to solve problems together.

We say the world is more divided than ever and we blame politics, algorithms, the usual suspects. But maybe, before any of that, we lost the ability to truly picture each other.

And literature, at its best, teaches us how to do exactly that.

What we owe each other

When we stop reading, we do not just lose stories. We lose practice in the most human thing there is, the ability to hold another person’s world inside us, even for a little while.

India’s encounter with psychoanalysis stands out as a striking example of how Western psychological theory and Eastern philosophical traditions can collide, mix and then create something unique. Psychoanalysis didn’t just show up during colonial times and get copied. It got picked apart, rethought, and repurposed to fit Indian society. At the heart of this whole story is Girindrasekhar Bose. His letters back and forth with Freud mark one of the earliest and most meaningful psychoanalytic conversations between Europe and South Asia.

When psychoanalysis arrived in India in the early 1900s, it entered a world where ancient spiritual traditions went hand-in-hand with the realities of colonial modernity. The people who adopted Freud’s ideas weren’t content to apply them as-is. Indian scholars and therapists twisted and blended psychoanalytic thinking with local notions about the self, inner life and human behaviour. Out of all that, a distinctly Indian approach to psychoanalysis was born.

This article looks back at how psychoanalysis took root in India, spotlights the thinkers who brought it to life, traces the emergence of institutions, and asks why psychoanalytic thinking still matters in India today.

The Arrival of Psychoanalysis in India

Psychoanalysis began to take hold in India during the early decades of the 20th century, a time when the country was buzzing with change, politically, socially and intellectually, thanks to British rule. Cities like Calcutta (now Kolkata) had become hotbeds of education and debate, with Indian thinkers wrestling with European science, psychology and political ideas.

Amid all this, Girindrasekhar Bose found himself drawn to Freud’s work. The unconscious fascinated him. He started writing to Freud in 1921 and kept up that exchange for years. Their letters are still considered a milestone in the history of psychoanalysis worldwide.

Bose was obviously impressed by Freud, but he didn’t accept everything without question. He filtered these new ideas through Indian philosophy and culture. That level of thoughtful engagement paved the way for an Indian school of psychoanalysis that wasn’t just a copy of the West.

Girindrasekhar Bose: The Pioneer of Indian Psychoanalysis

Whenever the story of Indian psychoanalysis gets told, Girindrasekhar Bose is at the centre. He was a psychiatrist from Bengal, intensely curious, deeply thoughtful, who basically kick-started the field in India.

In 1922, Bose founded the Indian Psychoanalytical Society. It was the first group of its kind in Asia.

Thanks in large part to Bose’s ideas and his ongoing dialogue with Freud and other European analysts, the Society quickly earned a reputation well beyond India. Freud even praised Bose for his originality, despite their disagreements.

One thing that sets Bose apart is his refashioning of Freud’s theories to fit the Indian context. Where Freud zeroed in on repression and inner conflict, Bose liked to explore tensions and dualities, the push and pull of desire and how opposites keep each other in check. His work grew out of both psychoanalytic theory and Indian philosophical questions about what the self is, what we want and how we know. Because of Bose, psychoanalysis took root as more than an imported idea. It became something capable of real cross-cultural relevance.

Psychoanalysis and Colonial India

The emergence of psychoanalysis in India can’t be separated from what was going on during the colonial era. Indian intellectuals were grappling with questions about identity, cultural independence and what it meant to be modern.

Western psychological concepts accompanied the institutions that the British built, such as universities, hospitals, and medical schools. But Indian scholars didn’t just accept European ideas without a second thought. They reimagined those theories through older traditions, Hinduism, Buddhism and Indian philosophy.

Psychoanalysis, in particular, became a way for Indians to probe the clash between tradition and change, spirituality and science, the individual and the group. Dreams, symbols, inner conflict, these themes already had a place in Indian myths and philosophies. Psychoanalysis just gave them a new language, one that drew a lot of Indian thinkers in.

Carl Jung and Indian Thought

Jung’s influence in India became another story entirely. Unlike Freud, Jung was seriously interested in religion and symbolism and saw Eastern philosophy as a treasure trove for understanding the psyche. He came to India in 1937, absorbing everything from religious symbolism to meditation.

His theories on archetypes and the collective unconscious felt familiar to Indian scholars. They resonated with local ideas about collective memory and symbolic consciousness, so Jung’s work found a welcoming audience.

Even though Jungian ideas never really became dominant in India’s institutions, they started a dialogue, encouraging Indian thinkers to take a fresh look at the connections between analytical psychology and spiritual traditions.

The Growth of Indian Psychoanalysis

Bose planted the seeds and others made sure they grew. Over time, more clinicians and scholars adapted psychoanalytic ideas to fit Indian realities.

Sudhir Kakar is probably the most well-known name among today’s Indian psychoanalysts. He’s written extensively on how psychoanalysis intersects with myth, religion, sexuality and the everyday life of India. Through his work, Indian psychoanalysis found a global audience.

There are plenty of others too, Girishwar Misra, Sudhir Chandra, P. Gopalan, each exploring identity, trauma, colonial legacy and social change through a psychoanalytic lens.

The Role of the Indian Psychoanalytical Society

Since 1922, the Indian Psychoanalytical Society has remained the anchor for psychoanalytic training, practice and scholarship in India.

It’s been at the forefront of developing psychoanalytic education, offering training, supporting clinical research, publishing work, holding public lectures and keeping ties with the international psychoanalytic community.

Through all of this, the Society has tried to keep psychoanalytic thinking relevant by grounding it in the realities of Indian life. It has helped spread psychoanalytic ideas into psychiatry, literature, sociology and cultural studies.

Challenges Facing Psychoanalysis in India

For all its history and influence, psychoanalysis in India isn’t without hurdles.

Mental health stigma is still a huge problem. Many people are uneasy with the idea of long-term therapy or don’t fully trust it. Psychoanalysis, with its demand for deep and lengthy self-exploration, isn’t always understood or welcomed.

Next, there’s the problem of access: formal training in psychoanalysis is hard to come by, most programs are based in big cities and opportunities remain scarce.

Fitting classic psychoanalytic theories to Indian families and communities can be tricky too. Clinicians still wrestle with how to adapt those ideas to India’s huge diversity and unique social systems.

And then there’s the trend toward quick-fix therapies. Mental health services increasingly favour short-term, pragmatic therapy because of money and time pressures, which puts traditional psychoanalysis at a disadvantage.

The Future of Psychoanalysis in India

The way forward for psychoanalysis in India lies in its openness to change, without losing its depth. Psychologists are experimenting with new approaches that blend psychoanalysis with neuroscience, trauma research, mindfulness and local healing practices.

Big areas of new interest include cross-cultural psychoanalysis, postcolonial psychotherapy, homegrown therapeutic traditions and the ways psychology ties into spiritual life.

As conversations around mental health become more open in India, psychoanalysis can remain a powerful tool for making sense of identity, memories, trauma, desire and emotions in a world that’s constantly changing.

Psychoanalysis and India Today 

The story of psychoanalysis in India is, at heart, a story of east meeting west and something new taking shape in the process. Thanks to Girindrasekhar Bose and his exchanges with Freud, psychoanalysis in India grew into its own thing, shaped by colonialism, spirituality and a relentless urge to adapt.

Indian psychoanalysts didn’t stop at borrowing European theories; they took them apart and rebuilt them so they’d make sense for Indian lives. From the founding of the Indian Psychoanalytical Society in the 1920s to modern scholarship by figures like Sudhir Kakar, India has carved out a distinctive place in the global world of psychoanalysis.

This whole journey is proof that you can’t really understand the human mind from just one perspective. Indian psychoanalysis stands as a reminder that psychological ideas come alive when they’re let loose in different cultures, philosophies and ways of being human.

India’s childhood comic books were more than just pictures on a page. They were the first stories that truly belonged to us. Long before smartphones and streaming, an entire generation of Indian children grew up with Tinkle, Amar Chitra Katha, Chacha Choudhary and Champak tucked under their pillows. Companions, teachers and windows into a world that looked and felt like our own. Decades later, the memory of those colourful pages still stays with us. This is a celebration of the childhood comics that raised a generation and why they still matter today.

It Started With a Simple Idea

In 1967, Anant Pai watched a quiz show on TV. Children on the show could name Greek gods without hesitation. But they could not name the mother of Ram. That moment stayed with him. He wanted Indian children to have stories of their own, rooted in their culture, their history, their land. And so he created Amar Chitra Katha. It would go on to become one of India’s biggest publishing successes.

Amar Chitra Katha made the Ramayana, Mahabharata and stories about freedom fighters come alive in colour and illustrations. Many children learned about these stories for the first time through comics rather than from someone explaining the stories. It was an adventure to see these stories come alive instead of doing homework!

Then Came Tinkle, Which Changed Everything

Anant Pai launched Tinkle in 1980. If Amar Chitra Katha was the schoolteacher, Tinkle was the cool uncle.

Tinkle had lots of comics, jokes, puzzles and stories in its monthly publication. The arrival of Tinkle was always a reason to celebrate, as children would fight over who got it. Parents would find it secretly stashed under their kid’s pillow, while teachers found it stuffed inside of their students’ textbooks.

Tinkle gave India some of its most beloved characters. Many of them are still loved today.

Suppandi: The Helper Who Always Got It Wrong

Suppandi was a housekeeper with a big heart and a very literal mind. When his employer said “water the plants before leaving,” Suppandi watered them and left. When told to “keep an eye on the bag,” he stared at it for hours without moving. Every story followed the same pattern. And somehow, it never got old.

His simplicity, kindness and good intentions made him beloved by many children, thus making Suppandi’s character distinctive from others. While Suppandi’s character was humorous in nature, he was also “a man of good character”. Though he did not demonstrate this trait directly through his actions.

Chacha Chaudhary: The Smartest Man in the Room

Chacha Chaudhary was a character that Pran Kumar Sharma created in 1971. He was depicted as a small old man with a red turban. He possessed no special powers and no weaponry. Yet he had a brain that was potrayed as being faster than a computer.

Sabu, a strong faithful friend, was a little less than seven feet tall and was a ready able companion of Chacha Chaudhary. They worked together solving all types of problems from robbing to scamming. They also solved the difficulties in the neighbourhood they lived in. No problem was too big or too small for them to successfully solve.  Chacha Chaudhary, when telling stories to children, always emphasised some very important facts. Namely, no one needs to be the largest or have the most strength, they only need to think to be successful.

Akbar and Birbal: When Wit Beats Power

When it comes to thinking, absolutely nobody could do it the way Birbal did!

Birbal was the prime minister of Mughal Emperor Akbar. His stories appeared in many comics, most notably in Amar Chitra Katha. The formula was always the same. Akbar would pose an impossible question. Birbal would answer it, calmly, cleverly, with a small grin. Each story was short. But the message was sharp. Intelligence is not about being loud or aggressive. It is about passing, thinking and finding the answer that no one else could see.

Tenali Raman: The Jester Who Always Won

Tenali Raman was wildly imaginative. His style mixed mischief with fun. With quick wit, he could find a way out of almost any trouble. His stories had a distinct South Indian flavour. For many children from that part of the country, he was the first comic book character who truly felt like their own. That mattered more than people realise.

He won all of his battles through skill and the ability to think fast with a good sense of humour. While at times exasperated, the king had great respect for Raman’s skill and ability to create seemingly impossible outcomes.

Vikram and Betal: Stories Inside Stories

Now we’re getting into the ‘magic’ part of the story!

Vikram and Betal is based on an ancient Indian text called Baital Pachisi; this is about the brave King Vikramaditya and how he must carry the spirit of Betal (who is hanging upside down from a tree) on his back through the various adventures they have together. As they go from place to place, Betal will then tell King Vikram a story, and then at the end of the story, Betal will ask King Vikram a riddle. If King Vikram knows the answer but does not speak, he loses; however, if King Vikram answers correctly, then Betal ends up escaping from King Vikram’s back.

Then it all starts again with a new story.

Simple enough, right? However, there is a lot of cleverness within each story and every fable has a lesson to teach underneath it. Furthermore, the riddle at the end forces you to think, both in terms of how you would enjoy the fable and in terms of how understanding the lesson is more important than enjoying the fable. Vikram and Betal taught young children the consequences of wisdom, as well as the need for brave individuals to carefully choose their words before speaking.

Champak: Small Stories, Big Feelings

There were some comics, although certainly not all of the comics, that had to do with deities or royalty; rather, there was another class of comic books, such as Champak, which essentially was a collection of stories featuring anthropomorphised animals like foxes, elephants, lions and rabbits and their journey through school as they made friendships, quarrelled, reconciled and learnt about the value of qualities like honesty, kindness and diligence.

Many children who were younger than five years old discovered Champak as their first comic book and if you remember the joy you felt when you read for the first time something independently after being unable to read for so long, you’ll understand how that experience was one of the many beautiful experiences associated with kids.

While Champak had no apparent ambition to impress people or to produce kids with a need to feel impressed, it did have the underlying goal of empowering children and helping them realise that they had been seen.

Panchatantra: The Oldest Stories, Still Alive

Before there were any comic books, there were the stories of the Panchatantra.

The Panchatantra fables are some of the oldest fables on Earth, with many having been originally written in Sanskrit over two thousand years ago! They are fables about various animals like a clever crow, a foolish lion, a loyal friend and a greedy merchant, to name a few. Each story is short but has a real meaning to it. Many have survived in one form or another until today.

So it was only natural for the Panchatantra stories to transition into comic book form; they are already designed for children, as they are very colourful, very short and very satisfying. Those children who read these comic books were not only being entertained; they were also receiving the wisdom of the generations before them going back two thousand years.

That’s a huge gift!

And Then There Were the Heroes

Not only did India create a system of morals and myths, but it also created a body of work which included the individuals who would become attributes in that collection.

The handfuls of comic book heroes who gave Indian children their own superhero characters are amazing. Nagraj is able to command snakes; Shakti is a fierce fighter; Super Commando Dhruva has no special skills, only discipline and absolute determination to succeed; while Ravanayan tells the story of the Ramayana from the point of view of Ravana, the demon king.

What These Comics Actually Did

Here is the thing. These comics were never just entertainment. hey were the first place many Indian children saw themselves reflected in a story. The first time they met a hero who looked like them, lived where they lived and spoke a language they knew.

They made mythology (ancient religious stories) feel exciting. They made history feel real. They made wisdom feel fun. And they did it all with pictures and simple words and stories that somehow managed to stay with us for decades.

Why We Must Not Forget Them

We live in a world of infinite content. There is always something new to watch, read or scroll through. It is easy to leave the old things behind. But these comics are not just old things. They are relics (precious objects from the past). They are proof of what Indian storytelling is capable of, warmth, wit, depth and a deep love for the people it speaks to.

To forget them would be to forget a part of ourselves.

Introduction:

Rahul Dev Burman is widely regarded as one of the most influential music directors in the history of Indian music. He was popularly known as R.D. Burman or “Pancham Da”. Born into a musical family, he was trained by his father, the legendary composer S. D. Burman. However, he chose to forge his own path of creating fresh music, which was bold, experimental and modern. He blended classical Indian sounds with Western genres such as jazz, rock, funk and Latin. He used unusual instruments and new recording methods, including unconventional sounds. For his rhythm tracks he would go far beyond standard Bollywood orchestration, adding unexpected new rhythms and sounds.

Music Director R. D. Burman’s songs captured the moods of changing urban India in the 1960s-80s. With catchy tunes and memorable melodies, his music appealed both the youth and elders. Even today, many songs sung by him and also composed by him are widely known. Many composers, musicians and music lovers feel greatly indebted to him. He influenced other artists and music directors and brought a whole new part to composing.

R.D. Burman’s Life:

Rahul Dev Burman was born on June 27th, 1939, in Kolkata, India. Growing up in a musical environment, he was surrounded by some of the greatest musicians and lyricists in the film industry. His father, S.D. Burman, was already an established composer and young Rahul often observed recording sessions, orchestras and songwriting processes. At a young age he showed musical talent and learned to play a number of instruments, including the harmonica, tabla and piano.

R.D. Burman began his career assisting his father in music composition. He launched his own career as a composer in the early 1960s. Tezri Manzil marked his turning point. He composed music for many films from the early 1970s into the 1980s. He worked with all the old masters. His collaborations with famous singers like Kishore Kumar and Lata Mangeshkar created lots of hit songs. His last works, especially the movie 1942: A Love Story, reminded people of how brilliant he was. R.D. Burman died in 1994, but he left behind an amazing musical legacy.

Life and Art Philosophy:

According to R.D. Burman, music must evolve alongside culture and time. He explored a variety of musical genres from across the world while maintaining the emotional essence of Indian melodies. He did not limit himself to traditional frameworks and instead developed a unique musical language. Innovation and curiosity played a major role in his philosophy. He ventured into rhythm patterns that were rare in Hindi film music. He believed atmosphere, quality and emotion were as important to music as melody.

His work involved a lot of collaboration. He often fashioned unique sounds by experimenting with the vocal ranges and musical skills of singers, lyricists and musicians. Although he was experimental, his music was always highly relatable and emotionally compelling. His compositions balanced melody and creativity. Even the most experimental pieces were memorable and approachable.

Music Work Dissection:

1. Kya Hua Tera Wada – from Hum Kisise Kum Naheen

The main focus was creating a strong emotional expression of the pain of heartbreak and emotional betrayal. The simplicity in his composition allows the listener to hear the vocalist’s emotions and interpret the lyrics. His goal as a composer is to create music for those who have experienced love and heartbreak. He aimed to be able to relate to their feelings through his compositions.

2. Aane Wala Pal Jaane Wala Hai – from Gol Maal

R. D. Burman’s song displays his thoughtful and philosophical mind-set as a composer. The song shows how fleeting time is and how every moment of our lives should be savored. He thought that he could best use music as a way to convey ideas of reflection and the value of enjoying life in the here and now.

3. Gulabi Aankhen – from The Train

Gulabi Aankhen represents a unique blend of Western musical influences and a typical Hindi film song. The guitar driven arrangement and relaxed beat create a sophisticated and stylish romantic atmosphere. Burman’s mind set was to introduce international styles of music into Indian films while keeping melodies simple.

4. Bade Achhe Lagte Hain – from Balika Badhu

This piece demonstrates R. D. Burman’s ability to bring out tender emotions using simple instrumentation. The slow and soothing rhythm and melody demonstrate sensitivity to the small, quiet moments of love and friendship. His mind set was to express profound feelings with the simplest and most elegant music possible.

5. Ek Ladki Ko Dekha To Aisa Laga – from 1942: A Love Story

One of Burman’s last great works, this piece illustrates Burman’s mature and refined musical sense. The soft and delicate orchestration allows the melody and lyrics to take center stage. Burman’s mind set was to show the eternal quality of romance and the beauty of unending, timeless feeling by being as simple as possible.

Actionable for Composers:

• Be Open to Experimentation:

R.D. Burman was always experimenting, sounds, instruments and techniques. Innovation often springs from venturing outside the norm, and artists should explore their creative boundaries.

• Blend Different Influences:

He was able to combine Western styles of music with Indian melodies. Artists should feel free to blend different influences into something new.

• Stay Curious and Adaptable:

R.D. Burman learnt to change with the times but remained true to himself and his style of creation. Curiosity and flexibility are essential for creative growth.

• Collaborate with Others:

Some of his best work came through collaboration with gifted singers, songwriters and musicians. A creative partnership can help in a more diverse and artistic expression.

• Focus on Emotional Connection:

R.D. Burman never forgot to make music approachable and relatable to anyone who listened. Forming an emotional connection to their audience enhances an artist’s ability and evokes shared experiences.

Conclusion:

R. D. Burman’s willingness to take creative risks and push musical boundaries inspires composers even today. His ability to create music through a fusion of cultures is something anyone can learn from. Instead of following an expected or conventional path, R. D. Burman inspires us to make our own unique path. Specialize our talents and create our own identity.

When the Constitution of India was being drafted, fifteen women represented the country, where most of the women could not even read and write. Yet they were shaping laws that would govern the largest democracy on the earth. Their contributions gave meaning to equality, citizenship and freedom in India. Their lived experiences, courage and expertise infused the Constitution of India with moral and social depth. These women debated citizenship, minority rights, labour protection and education. This is the true essence of the Indian democracy. When we regard the Indian Constitution, the brilliance of Dr. B.R. Ambedkar rightly deserves recognition. His name dominates every story about its creation. Yet his voice in the Constituent Assembly was never alone.

Every nation has its heroes, but some voices are left out in the history. When India’s Constitution was drafted, fifteen women contributed into the Constituent Assembly, dominated by the males, privileged and powers. They bore lived experiences of castes, class and poverty. They insisted on the fact that the democracy must mean more than high ideals. They wrote with ink that was not only legal, but also humane. Their courage ensured that India’s Constitution was not only the framework of governance but also the promise of dignity.

These Women Insisted on the Progress for the Underprivileged

Ammu Swaminathan:  She is from the family of privileged upper class background. She argued for the idea of the Indian citizen regardless of caste or community. Her subtle yet effective interventions helped the Constituent Assembly move away from ‘Hindu–Muslim’ or ‘upper–lower’ caste divides. In a partitioned India, which was caste-torn, her contribution was radical.

Annie Mascarene:  A voice from Travancore, she was the first woman on the Travancore State Congress Working Committee. She battled conservative forces that resisted women’s participation. Her presence in the Constituent Assembly showed that leaders from major presidencies and voices from the diverse regions drafted the Constitution of India. Begum Aizaz Rasul:  One of the very few Muslim women in the Constituent Assembly, she was a staunch advocate of secularism and unity. She opposed separate electorates and communal divides. At the sensitive time of partition, she chose unity over separation, insisting that India must be a shared home for all.

An Echo of Freedom

Dakshayani Velayudhan:  Coming from the Dalit background, she earned the degree at a time when it was rare. Her lived experiences of caste discrimination gave her arguments moral force. She defended the need to safeguard the interests of the scheduled castes and urged the Constituent Assembly to look beyond abstract ideas.

Durgabai Deshmukh – Founder of the Andhra Mahila Sabha and a criminal lawyer, she argued for legal protection for women, widows and those trapped in exploitative situations. Her sharp debates on judiciary, fundamental rights and social welfare emphasised that if women were denied justice, society itself would fail.

Hansa Mehta was the President of the All India Women’s Conference and a member of the UN Commission on Human Rights; she famously changed the wording of the Universal Declaration of Human Rights from ‘All men are born free and equal’ to ‘All human beings are born free and equal’.  She challenged patriarchy in language and thought, demanding equal pay, opportunity and dignity.

Literary and Educational Voices

Kamla Chaudhary:  A renowned Hindi fiction writer, she brought sensitivity to debates in the Constituent Assembly. Her stories explored women’s inner lives. This reminds others that laws on marriage, inheritance or education shaped emotions and futures. Her literary perspective ensured that the Constitution of India remained alive and relevant to everyday lives.

Leila Roy:  She was a close associate of Subhash Chandra Bose. She deeply engaged herself with women’s education. She argued that girls should not be the first to be pulled out of school in times of scarcity. For her, education was the foundation of freedom and democracy.

The Dignity of Peasants and Labourers

Malati Choudhury:   She worked among the rural poor of Odisha. She brought their concerns to national attention. For her, land rights, fair wages and protection from exploitation were central tests of democracy. She reminded the Constituent Assembly that mostly India lived in the villages.

Purnima Banerjee:  Secretary of the Allahabad City Congress, she emphasised social welfare as integral to the freedom. She argued that the right to vote meant little, if poverty, disease and illiteracy prevented the people from exercising it.

Health, Social Reform, and Symbolic Power

Rajkumari Amrit Kaur:   She was the Cofounder of the All India Women’s Conference and later India’s first Health Minister.  She fought against the evils of child marriage and for women’s education. Her influence shaped provisions on public health and social welfare.

Renuka Ray:   A social worker and advocate for the welfare of women and children, she argued that education was a right, not a luxury. Her perspective helped the Constituent Assembly in shaping proactive state responsibility in removing social evils.

Sarojini Naidu:  The ‘Nightingale of India’, she became the first woman Governor of an Indian State. Her poetic speeches gave emotional energy to the Constitution of India, embodying the truth that women belonged to the centre of politics.

Sucheta Kripalani:  She sang Vande Mataram in the Constituent Assembly and later she became India’s first woman Chief Minister. Her journey showed that the Constitution of India was not just a text to admire but a platform for women to rise to the highest positions in life.

Vijayalakshmi Pandit:  Nehru’s sister and later the first woman President of the UN General Assembly, she represented India’s global identity. Her presence in the Constituent Assembly signalled that the Constitution of India was not only about internal arrangements but also about India’s place in the community of nations in the world.

Their Ink Still Matters

Together, these fifteen women widened the vision of the Constituent Assembly and thereby widened the vision of the Constitution of India. Ambedkar gave it a powerful skeleton of rights, structure and justice. The women added everyday realities viz. caste, gender, poverty, literacy, health and home.

They asked questions that still resonate:

• Who counts as a citizen when society is divided into caste, class and gender ?
• What good is a right, if women are too afraid or too poor to claim it ?
• What does freedom mean to a widow, a peasant or an illiterate girl in a village ?

Their answers shaped laws, we now take for granted viz. equality before law, protection from discrimination, universal franchise and state responsibility for education and welfare.

Conclusion: Their Ink Still Writes Our Future

The Constitution of India is often remembered as Ambedkar’s masterpiece but it breathes because of the fifteen women, who gave it the soul. They asked questions that still challenge us today: Who counts as a citizen? What good is a right, if it cannot be claimed? What does freedom mean to those at the margins?

Every time a girl enters a classroom, every time a woman demands equal pay, every time a citizen votes without fear of caste or creed, their ink moves silently across time. These women were not footnotes; they are its unwritten chapters, as they were architects of justice.

To honour them is not just to remember the history. It is to recognise that the democracy is unfinished till the time the equality is a living demand and that the ink of these fifteen women still awaits for us to pick up the pens and write for their own freedom and dignity not only in the country but also in the world.

Check out our latest article “The Robin Hood of the Ravi” here!