ᱯᱟᱨᱳᱢᱤᱛᱟ ᱵᱳᱦᱨᱟ

ᱯᱟᱨᱳᱢᱤᱛᱟ ᱵᱳᱦᱨᱟ ᱫᱚ ᱥᱤᱧᱚᱛ ᱨᱮᱱ ᱯᱷᱤᱞᱢ ᱵᱮᱱᱟᱣᱤᱡ ᱟᱨ ᱚᱱᱚᱞᱤᱭᱟᱹ ᱠᱟᱱᱟᱭ ᱾ ᱩᱱᱤ ᱫᱚ ᱱᱟᱜᱟᱨ ᱡᱤᱭᱚᱱ, ᱨᱟᱹᱥᱠᱟᱹ, ᱯᱳᱯ ᱠᱟᱞᱪᱟᱨ ᱟᱨ ᱡᱮᱱᱰᱟᱨ ᱞᱮᱠᱟᱱ ᱥᱟᱛᱟᱢ ᱪᱮᱛᱟᱱ ᱨᱮ ᱰᱳᱠᱩᱢᱮᱱᱴᱟᱨᱤ ᱞᱟᱹᱜᱤᱫ ᱵᱟᱰᱟᱭᱚᱜᱼᱟ ᱾ ᱩᱱᱤ ᱫᱚ ᱥᱤᱨᱯᱷᱟᱹ ᱡᱤᱛᱠᱟᱹᱨᱟᱱ ᱯᱷᱤᱪᱟᱨ ᱯᱷᱤᱞᱢ ᱠᱷᱟᱢᱳᱥ ᱯᱟᱱᱤ ᱨᱮᱱᱟᱜ ᱥᱠᱨᱤᱱᱯᱞᱮ ᱦᱚᱸᱭ ᱚᱞ ᱟᱠᱟᱫᱼᱟ ᱾ ᱩᱱᱤᱭᱟᱜ ᱯᱷᱤᱞᱢ ᱯᱨᱳᱰᱟᱠᱥᱚᱱ ᱠᱚᱢᱯᱟᱱᱤ ᱯᱟᱨᱳᱫᱮᱵᱤ ᱯᱤᱠᱪᱚᱨᱥ ᱫᱚ ᱢᱩᱢᱵᱟᱭ ᱨᱮ ᱢᱮᱱᱟᱜᱼᱟ ᱾ ᱩᱱᱤ ᱫᱚ ᱥᱟᱱᱰᱮ ᱢᱤᱰ-ᱰᱮ ᱞᱟᱹᱜᱤᱫ ᱯᱟᱨᱳ-ᱱᱳᱨᱢᱟᱞ ᱮᱠᱴᱤᱵᱷᱤᱴᱤ ᱧᱩᱛᱩᱢ ᱛᱮ ᱠᱚᱞᱚᱢ ᱮ ᱚᱞᱟ ᱟᱨ ᱢᱩᱢᱵᱟᱭ ᱢᱤᱨᱚᱨ ᱞᱟᱹᱜᱤᱫ ᱦᱚᱸ ᱢᱤᱫ ᱦᱟᱯᱛᱟᱠᱤᱭᱟᱹ ᱠᱚᱞᱚᱢ ᱮ ᱚᱞ ᱟᱠᱟᱫᱼᱟ ᱾

ᱡᱤᱭᱚᱱ ᱠᱟᱹᱦᱱᱤ
ᱵᱳᱦᱨᱟ ᱫᱚ ᱢᱩᱢᱵᱟᱭ ᱨᱮ ᱛᱟᱦᱮᱸᱱᱟ ᱾ ᱩᱱᱤ ᱫᱚ ᱥᱤᱠᱷᱟ ᱵᱳᱦᱨᱟ ᱨᱮᱱ ᱦᱚᱯᱚᱱ ᱮᱨᱟᱭ ᱠᱟᱱᱟ, ᱩᱱᱤ ᱫᱚ ᱵᱚᱫᱚᱞ ᱛᱮ ᱥᱮᱨᱮᱧ ᱵᱮᱱᱟᱣᱤᱡ ᱚᱱᱤᱞ ᱵᱤᱥᱣᱟᱥ ᱨᱮᱱ ᱦᱚᱯᱚᱱ ᱮᱨᱟᱭ ᱛᱟᱦᱮᱸ ᱠᱟᱱᱟ ᱟᱡᱟᱜ ᱯᱩᱭᱞᱩ ᱮᱨᱟ ᱟᱥᱟᱞᱟᱛᱟ ᱵᱤᱥᱣᱟᱥ ᱦᱚᱛᱮᱛᱮ, ᱩᱱᱤ ᱫᱚ ᱑᱙᱓᱐ ᱟᱨ ᱑᱙᱔᱐ ᱜᱮᱞᱟᱝ ᱚᱠᱛᱚ ᱨᱮ ᱦᱤᱱᱫᱤ ᱥᱤᱱᱮᱢᱟ ᱨᱮ ᱠᱟᱹᱢᱤ ᱟᱠᱟᱫ ᱢᱤᱫ ᱮᱠᱴᱨᱮᱥ ᱮ ᱛᱟᱦᱮᱸ ᱠᱟᱱᱟ ᱾ ᱵᱳᱦᱨᱟ ᱫᱚ ᱫᱤᱞᱞᱤ ᱡᱮᱜᱮᱛ ᱵᱤᱨᱫᱟᱹᱜᱟᱲ ᱨᱮᱱᱟᱜ ᱢᱤᱨᱟᱱᱰᱟ ᱦᱟᱣᱩᱥ (᱑᱙᱘᱖ - ᱑᱙᱘᱙) ᱨᱮ ᱢᱟᱥ ᱠᱚᱢᱭᱩᱱᱤᱠᱮᱥᱚᱱ ᱮ ᱯᱟᱲᱦᱟᱣ ᱠᱮᱫᱼᱟ ᱾

ᱵᱳᱦᱨᱟ ᱫᱚ ᱮᱡᱮᱱᱴᱥ ᱚᱯᱷ ᱤᱥᱠ ᱨᱮᱱ ᱠᱳ-ᱯᱷᱟᱣᱩᱱᱰᱟᱨ ᱠᱟᱱᱟᱭ, ᱱᱚᱣᱟ ᱫᱚ ᱟᱭᱢᱟ ᱢᱤᱰᱤᱭᱟ ᱯᱷᱚᱨᱢ ᱦᱚᱛᱮᱛᱮ ᱥᱤᱧᱚᱛ ᱨᱮ ᱯᱳᱡᱤᱴᱤᱵᱷ ᱞᱮᱠᱟᱛᱮ ᱥᱮᱠᱥ ᱮ ᱩᱫᱩᱜ ᱥᱚᱫᱚᱨᱟ ᱾ ᱩᱱᱤ ᱫᱚ ᱱᱮᱛᱟᱨ ᱦᱚᱸ ᱱᱚᱣᱟ ᱨᱮᱱ ᱠᱨᱤᱭᱮᱴᱤᱵᱷ ᱰᱟᱭᱨᱮᱠᱴᱚᱨ ᱠᱟᱱᱟᱭ ᱾ ᱮᱡᱮᱱᱴᱥ ᱚᱯᱷ ᱤᱥᱠ ᱨᱮ ᱤᱝᱞᱤᱥ ᱟᱨ ᱦᱤᱱᱫᱤ ᱨᱮ ᱢᱟᱞᱴᱤᱢᱤᱰᱤᱭᱟ ᱠᱚᱱᱴᱮᱱᱴ ᱢᱮᱱᱟᱜᱼᱟ ᱟᱨ ᱱᱚᱣᱟ ᱫᱚ ᱯᱟᱹᱴᱷᱩᱣᱟᱹ ᱠᱚ ᱥᱟᱢᱮᱴᱟᱱᱟᱜ ᱥᱮᱠᱥᱩᱣᱟᱞᱤᱴᱤ ᱮᱡᱩᱠᱮᱥᱚᱱ ᱧᱟᱢ ᱨᱮ ᱜᱚᱲᱚ ᱮᱢᱟ ᱠᱚᱣᱟ, ᱱᱚᱣᱟ ᱫᱚ ᱥᱮᱠᱥ ᱮᱡᱩᱠᱮᱥᱚᱱ, ᱥᱮᱠᱥᱩᱣᱟᱞ ᱮᱠᱥᱯᱮᱨᱤᱭᱮᱱᱥ ᱟᱨ ᱥᱮᱠᱥᱩᱣᱟᱞ ᱮᱴᱤᱠᱮᱴ ᱨᱮᱱᱟᱜ ᱯᱮᱭᱟ ᱯᱟᱦᱴᱟ ᱪᱮᱛᱟᱱ ᱨᱮ ᱯᱷᱳᱠᱟᱥ ᱮ ᱮᱢᱟ ᱾ ᱵᱳᱦᱨᱟ ᱫᱚ ᱱᱚᱣᱟ ᱩᱫᱩᱜ ᱥᱚᱫᱚᱨ ᱟᱠᱟᱫᱼᱟ ᱡᱮ ᱱᱚᱣᱟ ᱯᱞᱮᱴᱯᱷᱚᱨᱢ ᱫᱚ "ᱨᱟᱹᱥᱠᱟᱹ, ᱯᱷᱩᱨᱜᱟᱹᱞ, ᱡᱮᱱᱰᱟᱨ, ᱥᱚᱢᱟᱱᱛᱟ ᱟᱨ ᱵᱟᱪᱷᱟᱣ" ᱵᱟᱵᱚᱛ ᱛᱮ ᱠᱟᱛᱷᱟ ᱨᱟᱠᱟᱵ ᱢᱟ ᱟᱨ ᱱᱚᱣᱟ ᱫᱚ ᱢᱤᱫ ᱴᱷᱟᱶ ᱠᱟᱱᱟ ᱡᱟᱦᱟᱸ ᱨᱮ ᱥᱤᱧᱚᱛᱤᱭᱟᱹ ᱡᱩᱣᱟᱹᱱ ᱠᱚ ᱥᱮᱠᱥ ᱵᱟᱵᱚᱛ ᱛᱮ ᱥᱟᱹᱦᱤ ᱠᱷᱚᱵᱚᱨ ᱠᱚ ᱧᱟᱢ ᱫᱟᱲᱮᱭᱟᱜᱼᱟ ᱾

ᱱᱚᱣᱟ ᱨᱮᱱᱟᱜ ᱗ ᱥᱮᱨᱢᱟ ᱵᱟᱹᱧᱪᱟᱣ ᱚᱠᱛᱚ ᱨᱮ, ᱮᱡᱮᱱᱴᱥ ᱚᱯᱷ ᱤᱥᱠ ᱫᱚ ᱚᱱᱞᱟᱭᱤᱱ ᱨᱮ ᱒᱔ ᱢᱤᱞᱤᱭᱚᱱ ᱠᱷᱚᱱ ᱦᱚᱸ ᱵᱟᱹᱲᱛᱤ ᱦᱚᱲ ᱴᱷᱮᱱ ᱥᱮᱴᱮᱨ ᱟᱠᱟᱱᱟ ᱟᱨ ᱭᱩᱱᱮᱥᱠᱳ ᱦᱚᱛᱮᱛᱮ ᱑᱐ ᱜᱞᱳᱵᱟᱞ ᱥᱮᱠᱥᱩᱣᱟᱞᱤᱴᱤ ᱯᱨᱳᱡᱮᱠᱴ ᱚᱯᱷ ᱮᱠᱥᱤᱞᱮᱱᱥ ᱨᱮᱱᱟᱜ ᱢᱤᱫ ᱦᱟᱹᱴᱤᱧ ᱞᱮᱠᱟᱛᱮ ᱩᱫᱩᱜ ᱥᱚᱫᱚᱨ ᱟᱠᱟᱱᱟ ᱾

ᱠᱟᱹᱢᱤ
ᱟᱡᱟᱜ ᱯᱮ ᱜᱮᱞᱟᱝ ᱠᱮᱨᱤᱭᱟᱨ ᱨᱮ, ᱩᱱᱤ ᱫᱚ ᱰᱟᱭᱨᱮᱠᱴᱚᱨ, ᱚᱱᱚᱞᱤᱭᱟᱹ, ᱮᱠᱴᱚᱨ, ᱤᱱᱥᱴᱟᱞᱮᱥᱚᱱ ᱟᱨᱴᱤᱥᱴ, ᱠᱭᱩᱨᱮᱴᱚᱨ, ᱮᱠᱴᱚᱨ ᱟᱨ ᱢᱤᱫ ᱢᱟᱪᱮᱫ ᱞᱮᱠᱟᱛᱮ ᱠᱟᱹᱢᱤ ᱟᱠᱟᱫᱼᱟ, ᱫᱷᱟᱨᱟ ᱵᱷᱟᱝᱜᱟᱣ ᱠᱟᱛᱮ ᱟᱨᱦᱚᱸ ᱫᱷᱟᱨᱟ ᱨᱟᱠᱟᱵ ᱞᱟᱹᱜᱤᱫ ᱾

ᱯᱷᱤᱞᱢ ᱠᱚ
ᱵᱳᱦᱨᱟ ᱫᱚ ᱠᱤᱪᱷᱩ ᱩᱱᱠᱟᱱ ᱯᱷᱤᱞᱢ ᱵᱮᱱᱟᱣᱤᱡ ᱠᱚ ᱢᱩᱫᱽ ᱨᱮ ᱢᱤᱫ ᱦᱚᱲ ᱠᱟᱱᱟᱭ ᱡᱟᱦᱟᱸᱭ ᱫᱚ ᱰᱳᱠᱩᱢᱮᱱᱴᱟᱨᱤ ᱯᱷᱤᱞᱢ ᱵᱮᱱᱟᱣ ᱨᱮᱱᱟᱜ ᱱᱟᱣᱟ ᱯᱟᱹᱨᱥᱤ ᱠᱚ ᱡᱷᱤᱡ ᱠᱮᱫᱼᱟ, ᱯᱷᱤᱠᱥᱚᱱ ᱟᱨ ᱱᱚᱱ-ᱯᱷᱤᱠᱥᱚᱱ ᱢᱮᱥᱟ ᱠᱟᱛᱮ ᱢᱤᱫ ᱵᱷᱮᱜᱟᱨ ᱜᱮ ᱯᱟᱨᱥᱚᱱᱟᱞ ᱟᱨ ᱯᱞᱮᱯᱷᱩᱞ ᱯᱷᱚᱨᱢ ᱵᱮᱱᱟᱣ ᱞᱟᱹᱜᱤᱫ ᱾ ᱟᱡᱟᱜ ᱠᱟᱹᱢᱤ ᱨᱮᱱᱟᱜ ᱦᱟᱞᱢᱟᱨᱠ ᱫᱚ ᱟᱥᱟᱱ ᱜᱮ ᱢᱮᱱᱟᱜᱼᱟ, ᱮᱠᱞᱮᱠᱴᱤᱠ, ᱦᱟᱥᱛᱟᱨᱟᱱ ᱦᱮᱸᱥᱟᱹᱨᱤᱭᱟᱹ ᱡᱟᱦᱟᱸ ᱫᱚ ᱯᱚᱵᱽᱞᱤᱠ ᱴᱳᱭᱞᱮᱴ ᱠᱷᱚᱱ ᱡᱚᱢᱟᱜ ᱨᱟᱡᱽᱟᱹᱨᱤ ᱦᱟᱹᱵᱤᱡ, ᱯᱷᱮᱢᱤᱱᱤᱡᱢ ᱠᱷᱚᱱ ᱥᱟᱦᱨᱩᱠᱷ ᱠᱷᱟᱱ ᱦᱟᱹᱵᱤᱡ - ᱡᱚᱛᱚ ᱚᱠᱛᱚ ᱵᱩᱫᱷᱤᱢᱟᱱ ᱟᱨ ᱟᱨᱴᱤᱥᱴᱤᱠ ᱨᱩᱯ ᱛᱮ ᱱᱟᱣᱟ ᱦᱚᱨ ᱮ ᱩᱫᱩᱜᱟ ᱾

᱒᱐᱑᱓ ᱥᱟᱞ ᱨᱮ, ᱴᱟᱭᱤᱢ ᱟᱣᱩᱴ ᱢᱩᱢᱵᱟᱭ ᱩᱱᱤ ᱫᱚ ᱜᱮᱞ ᱜᱚᱴᱟᱝ ᱦᱚᱲ ᱢᱩᱫᱽ ᱨᱮ ᱞᱤᱥᱴ ᱠᱮᱫᱮᱭᱟ ᱡᱟᱦᱟᱸᱭ ᱫᱚ ᱥᱤᱧᱚᱛ ᱨᱮ ᱯᱷᱤᱞᱢ ᱧᱮᱞ ᱵᱚᱫᱚᱞ ᱠᱮᱫᱼᱟ ᱾ ᱟᱡᱟᱜ ᱯᱷᱤᱞᱢ ᱠᱚ ᱫᱷᱟᱹᱨᱛᱤ ᱡᱟᱠᱟᱛ ᱨᱮ ᱩᱪᱷᱟᱹᱱ ᱟᱨ ᱨᱤᱞᱤᱡᱽ ᱟᱠᱟᱱᱟ, ᱟᱨ ᱟᱡᱟᱜ ᱠᱟᱹᱢᱤ ᱫᱚ ᱴᱮᱴ ᱢᱳᱰᱟᱨᱱ, ᱫᱟ ᱣᱮᱞᱠᱳᱢ ᱴᱨᱚᱥᱴ ᱜᱮᱞᱮᱨᱤ, ᱱᱮᱥᱱᱟᱞ ᱜᱮᱞᱮᱨᱤ ᱚᱯᱷ ᱢᱳᱰᱟᱨᱱ ᱟᱨᱴ ᱟᱨ ᱥᱤᱮᱥᱮᱢᱵᱷᱤᱮᱥ ᱢᱤᱣᱡᱤᱭᱚᱢ (ᱞᱟᱦᱟᱛᱮ ᱯᱨᱤᱱᱥ ᱚᱯᱷ ᱣᱮᱞᱥ), ᱢᱩᱢᱵᱟᱭ ᱨᱮ ᱩᱫᱩᱜ ᱥᱚᱫᱚᱨ ᱟᱠᱟᱱᱟ ᱾

ᱩᱱᱤ ᱫᱚ ᱪᱮᱱᱮᱞ ᱵᱷᱤ ᱨᱮᱱᱟᱜ ᱯᱨᱳᱢᱳ ᱨᱮ ᱦᱚᱸ ‘ᱟᱱᱴᱤ ᱓᱐᱓’ ᱞᱮᱠᱟᱛᱮ ᱠᱟᱹᱢᱤ ᱟᱠᱟᱫᱼᱟ ᱚᱱᱟ ᱧᱩᱛᱩᱢ ᱛᱮᱜᱮ ᱟᱨ ᱤᱝᱞᱤᱥ, ᱚᱜᱚᱥᱴ ᱯᱷᱤᱞᱢ ᱨᱮ ᱢᱤᱫ ᱠᱮᱢᱤᱭᱳ ᱦᱚᱸ ᱢᱮᱱᱟᱜᱼᱟ ᱾
ᱥᱟᱹᱠᱷᱭᱟᱹᱛ

ᱵᱟᱦᱨᱮ ᱡᱚᱱᱚᱲ
  Separation Anxiety: The Schisms and Schemas of Media Advocacy; An Indian Filmmaker Working in the World (Paper by Paromita Vohra published by The University of Chicago Press, 2008)
 An evening with Indian filmmaker/writer Paromita Vohra (Lecture - Brandeis University, 2010)
 Dancing to His Own Bollywood Tune By Paromita Vohra for WSJ opinion, 2011)
 On the Aesthetics and Ideology of the Indian Documentary Film: A Conversation(By Arvind Rajagopalan & Paromita Vohra,for BioScope: South Asian Screen Studies, 2012)
 'Queue to Pee' raises a stink about toilets (Article for DNA India on Q2P, 2013)
  (Vogue India, August 2014)
And I make Documentaries (April 2, 2015 Interview)
 Remaking the “Political” in Social Documentary (Interview Paromita Vohra - Camera Obscura 1 May 2017)
Films work by form (March 19, 2017 Interview)
Each Journey Is Different And Valid, As Long As There Is Consent: Paromita Vohra (July 12, 2018 Interview)
Interview: Paromita Vohra - TARSHI (August 1, 2018 Interview)
  (Review-Unlimited Girls, 2020) 
 Films, Feminism, Paromita  (Podcast Interview - Paromita Vohra, Jan 2020)
 The Stories We Tell (Podcast by Women in Labour, Apr 2020)
 Public Displays of Affection with Paromita Vohra (Podcast Interview - Marine Lines with Raghu Karnad, 2021)
 Without-pleasure-politics-there-can-be-no-meaningful (Interview for Indian Express, October 2021)
 Is distance learning an equaliser in an unequal education system? (Article for Goethe-Institut, October 2021)
 How Dare You? (Article by Paromita Vohra for socialtextjournal.org, April 2023)
Interview Paromita Vohra - The Third Eye  (May 4, 2023)
 Vasantasena’s Lychpin, Memory Games and Re-Membering in Pathaan: A Reading in Three Scenes – Paromita Vohra (July 3, 2023)