Rachita Burjupati, Untitled (detail), 2018, installation of sand, wood, mesh, and fabric, dimensions variable. Photo: Rachel Topham Photography
Rachita Burjupati, Untitled (detail), 2018, installation of sand, wood, mesh, and fabric, dimensions variable. Photo: Rachel Topham Photography.

Another volume, another year. Welcome to nine.

It seems that all culture making is enmeshed in the Covid pandemic in one way or another these days. How to make it, how to reach audiences, how to fund it, how to talk about it and much more.

In this issue we feature two pieces, a Conversation and an article, which explore what is Punjab/ Punjabi/ Punjabiyat. For audiences who often conflate “South Asian” with “Punjabi” and “Punjabi” with “India”, we hope these pieces clarify (and add to the complexity) of how you understand these terms.

We have also included new poetry, The Good Arabs, by Eli Tareq El Bechelany-Lynch, and reviews of Selina Boan's Undoing Hours and Grada Kilomba’s Plantation Memories.

Ashley Marshall’s Holding Space for Beauty and Blackness continues her journey in exploring work by Black identified artists as she reviews Is Love a Synonym for Abolition?

Columnist David Garneau questions art juries and how they reach consensus.

At Rungh, we have taken a break from live, in-person events for now, and continue to focus on the magazine and our archival initiatives. Get ready for more archive related projects in the next few issues of Rungh.

At Rungh, we plan to visit the past as we travel into the future. Stay safe.

– Editor