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Anjali Kamat

She // Her // Hers

Creative Nonfiction and Multimedia Artist

New York, New York

A South Asian woman with shoulder-length curly black hair and a nose ring is looking into the camera with a slight smile. She's wearing an olive green wool coat and standing outdoors on a sunny fall morning, framed by trees with red and orange-colored leaves. 

Photo by Anokha Venugopal.

Spanning films, essays, interviews, and audio stories, my work seeks to shed light on the courage it takes to live through the long arc of injustice that those who resist the status quo have to endure.”

Anjali Kamat is a multimedia creative nonfiction artist focused on transnational stories of power, trauma, and resistance. Kamat has an interview-based storytelling practice that’s expressed through film, writing, social practice, and award-winning print, audio, and video journalism. As an immigrant from Chennai, India, who’s lived and made home in New York City and Cairo, Egypt, her worlds and her work have always crossed borders.  A Peabody award-winning media maker, she has never hesitated to spend time with people in conflict zones or otherwise dangerous situations. For years, her practice was shaped by the conventions of journalism: built on witnessing, investigating, analyzing, and highlighting the voices of those directly affected by abuses to power. Whether as a producer, correspondent, or co-host for Democracy Now!, Al Jazeera’s Fault Lines, Type Investigations, New York Public Radio, or Reveal, or a professor at Brooklyn College, her practice was aimed at getting audiences to understand, care about, and act on systemic injustices.  In recent years, alongside the dramatic rise of the right across the globe and a declining trust in facts and arguments, her practice has shifted towards a riskier, more personal form of storytelling, rooted in an exploration of historical trauma. In collaboration with her creative partner Rehan Ansari, she was a 2024 Artist-in-Residence at the Laundromat Project and together, they are finishing a feature documentary, The Return, a co-production with PBS/Firelight, which tells a personal story, set in India and New York, about overcoming political dismay.

Donor -This award was generously supported by donors of the USA Fellowship Awards program.

This artist page was last updated on: 01.14.2026

“Forever Wars,” 2021. Reveal podcast featuring reporting by Anjali Kamat.

Thumbnail for "Made in Bangladesh" by Anjali Kamat.

“Made in Bangladesh” episode of Al Jazeera’s Fault Lines, 2013. Featuring correspondent Anjali Kamat.

“The Men in the Middle” (Excerpt)

P. Marusamy had just turned twenty-nine when I met him and his friends in early 2014 at a roadside tea shop in Govindanagaram, a bucolic village in the agricultural heartland of Tamil Nadu, India. The other men joked around a little while trading harsh stories of working overseas, but Marusamy seemed haunted by defeat. Five years ago, he had sold his family’s sole piece of property—a small plot of farmland—and borrowed $2,000 to pay the man who had promised him a lucrative job in the Middle East in exchange for a hefty fee. The man had come from Chennai, the closest metropolis, and said he represented a recruiting agency that was scouting for cooks to work for an international company in the Gulf that would pay $800 a month. Marusamy couldn’t believe his luck; his technical diploma in catering had paid off. He could repay his loan within a few months and earn enough money to buy a house in a few years. Within weeks, everything fell into place and he was on a plane to Kuwait.

But once he got there, Marusamy was shuttled to a small room holding nine other men, all weary from waiting. He spent weeks locked inside that room with no money, no job, barely any food, and no communication with his family; “it was like house arrest,” he recalled. Three months later, he was sent back home with no explanation. Soon after Marusamy’s return, his moneylender—a wealthy neighbor—accosted him and threatened to rough up his father if he didn’t pay the mounting interest on his loan. Marusamy was running out of options when the agent resurfaced and assured him that things would work out if he chose to try again. After some hesitation, Marusamy agreed. But he never saw the agent or his money again. A year later his father died from the stress of being hounded by the loan shark. Marusamy curses the day he met the agent, but adds quietly that his only hope of closing his debts is to find another job in the Gulf—through another agent. He currently makes less than $5 a day as a part-time electrician and owes his neighbor $1,500.

Unscrupulous middlemen like the agent who deceived Marusamy aren’t an anomaly; they’re the lowest rung of a remarkably successful recruitment model that for decades has drawn tens of millions of economic migrants across the Indian Ocean to fill working-class jobs in the oil-rich states of the Persian Gulf. After the oil boom of the 1970s, the Gulf states sourced most of their labor from beyond their borders—increasingly turning to the populous nations of South Asia—and developed a carefully regulated system of migration that was designed in part to limit the rights of non-citizen workers and keep labor unrest at a minimum.

Essay by Anjali Kamat for Dissent Magazine.