JIGYASA MISHRA Award-winning independent journalist. Fight to push rural India to the fore-front.
Must we say that women of today are executing excellence in diverse roles across industries and it is not the talk to be surprised by any more or a first-time, women have been at the forefront of many revolutions and reforms, shattering glass ceiling or mundane rulebooks. And while we celebrate men and women as two equals, we have a story to highlight of a woman who is breaking gender stereotypes and championing it in a profession more so male-dominated and may require more than grit and vision; it requires an extraordinary force to deliberate on topics no one wants to put on mainstream or in public view.
This spotlight is on Jigyasa Mishra, a fearless and visionary journalist, artist, and storyteller who is dedicated to amplifying the voices of rural India. She is a recipient of prestigious awards such as the PII Award (2020), Chanakya Award (2021), and a RedInk Award shortlist (2020), Jigyasa is recognized for her impactful reporting on critical issues that affect the lives of people from disadvantaged communities.
Her stories, published across renowned media offer a glimpse into the lives of those often overlooked. From exposing the dark reality of sex-trafficked brides to documenting the struggles of migrant labourers fleeing rural areas for cities like Ayodhya, Jigyasa’s reporting shines a light on the harsh realities faced by many. Her work also highlights the resilience and determination of communities, such as those in Varanasi, as they navigate the complexities of everyday life.
Jigyasa as a freelance independent journalist is committed to telling the stories that need to be said and extends to the LGBTQ+ community, where she has reported on the challenges faced by individuals exercising their right to vote. Through her journalism, Jigyasa aims to inspire sustainable change, initiate meaningful conversations, and amplify the voices of those who need to be heard. She is bold, and confident and carries a clear vision to inspire young aspiring journalists and to influence change in India that is in rural.
Career beginning and growth.
Jigyasa has worked with significant organizations, including The Times of India, and has honed her skills in reporting, writing, and mobile journalism. Her journey began in 2007 when she interned at TOI Lucknow while pursuing her master’s degree. Despite initial reservations from the organization, she was eventually hired and worked there for about a year, learning much of the basics of journalism from her mentor, Ashish Tripathi.
Soon she realized she wanted to explore more than just one city and was assigned beats by the organization. She began writing stories in Hindi, in addition to English and expanded her scope to cover topics like gender, rural areas, and community journalism. She also conducted workshops in Bihar, Kashmir, and other locations, further developing her skills.
In 2020, Jigyasa left her job at an NGO in Jaipur to pursue independent journalism, seeking the freedom to work on her terms. Jigyasa mentions that she embarked on an unplanned trip to Assam, where she spent a month before the pandemic hit. Not afraid to take risks, her experiences have shaped her into a skilled and versatile journalist, capable of producing high-quality content in diverse formats in gender and rural as the focus areas not everyone wants to tread.
Breaking Free as an Independent Journalist
Jigyasa shares, ‘As an independent journalist, the path to success can be very uncertain and challenging. I did not have access to established networks and organizations, and finding consistent work and income was also part of the struggle. This was the reality for one journalist, who had to navigate the industry without prior connections or knowledge of key contacts, such as editors’ emails, payment rates, and story preferences.
Despite these challenges, the Jigyasa continued, driven by a passion for storytelling and a desire for creative freedom. Took to working with small organizations and building a portfolio of work. Next, She and her colleague eventually landed a pitch with the People’s Archive of India (Pari), a platform that allowed them to tell the stories they wanted to tell without editorial bias. With Pari, she learnt how to craft compelling narratives, take impactful photos, and create illustrations that brought stories to life. This training was particularly useful when covering sensitive topics, such as gender-based violence, where protocols and ethics dictate the use of photos or alternative forms of storytelling. This learning benefited her from independent journalism, including the freedom to choose her own stories and work without external pressures. By building these skills and networks, she and her colleagues were able to sustain themselves as independent journalists and tell the stories that mattered most to them.
Discovering Storytelling
While Jigyasa has always been passionate about painting, she discovered the power of illustration as a storytelling tool while working on specific stories that required a more creative approach. Jigyasa shares that her illustrations are often traditional and handmade, using mediums like pen, paper, brush, and pencil. She scans or photographs her artwork to incorporate it into her digital stories. In addition to illustration, she also creates audio and video short films and documentaries, and her primary focus is on gender issues, particularly in rural India.
As Jigyasa opened up on her projects and experiences, we know that her work intersects with environmental, cultural, and artistic themes. Jigyasa has received numerous awards for her journalism, including three national awards, although not particularly for her illustrations. However, she hopes to be recognized for her unique storytelling style, which combines journalism with illustration.
One notable project that showcased her illustration skills was a series of stories on reproductive health for Population Foundations of India, in collaboration with Pari. For this series, she created illustrations in traditional folk art styles, such as Madhubani and Pachitra, to accompany her stories. Her illustrations have also been used in stories from various regions, including Kashmir, Himachal, Uttarakhand, UP, and Bihar.
Following purpose and passion
Jigyasa Mishra’s passion for storytelling is driven by the desire to share untold stories, particularly those that are and have largely been overlooked by mainstream media. As an independent journalist, she values the freedom to explore topics and tell stories without the constraints of a traditional newsroom. Jigyasa tells MOSAIC that it allows her to focus on stories that are factually and ethically correct, without bias or commercial agenda. Her goal is to reflect the reality of society, highlighting issues that need attention and immediate correction. When faced with criticism for reporting “negative” stories, Jigyasa emphasizes that her role is to report what is happening, without taking a stance or promoting opinions.
In her view, the foundation of journalism is to bring out facts, without mixing in personal opinions. She contrasts this with the role of PR teams, which is to promote positive stories. Jigyasa says, ‘I believe that journalists should stick to reporting the facts, bringing in experts to provide analysis and context when needed, rather than offering more personal opinions. This approach is essential to maintaining the integrity and credibility of journalism.
Truth on Gender Equality in Rural India
Jigyasa shares her observations on the state of gender equality in the country. Despite the rhetoric of “India rising” and “India shining,” she believes that the country is far from achieving gender equality, particularly in rural sectors of North India. Jigyasa recounts two stories – the first story is about an Asha worker from Hamirpur district in Uttar Pradesh, who was beaten and threatened by her in-laws for refusing to follow their demands. Jigyasa received a call from the woman, who was locked herself in and hiding in her room and feared for her life. She immediately contacted the local police and rode her scooter for over 100 kilometres to reach the woman’s village.
Upon arrival, Jigyasa found that the police had not yet arrived, despite her earlier calls. She eventually managed to get in touch with the police officials, who arrived and tried to resolve the situation. The woman had been facing harassment and violence from her in-laws due to her work as an Asha worker, which involved visiting pregnant women in the village.
The second story is about a group of women in a village in the Banda district of U.P., who were protesting against the exploitation of the Ken River by sand mafias. Jigyasa visited the village and witnessed the women’s bravery in standing up against the mafias, despite the risks involved.
These stories highlight the struggles faced by women in rural India and the need for greater awareness and action to address these issues. She believes that her work as a journalist is crucial in highlighting these issues and giving a voice to the women who are fighting for their rights, mostly all alone and without much resources family support or media reporting.
Future Plans
Jigyasa emphasizes that stories that will benefit rural residents are where her heart is, for example, many government schemes promise but fail to deliver leaving these helpless residents in waiting forever. She wants to keep her focus here and help the villagers through her journalism. Jigyasa mentions her investigation in villages adopted by Prime Minister Modi in Varanasi, Uttar Pradesh, revealing a stark contrast between government claims and harsh realities. Despite being labelled as “model villages,” many residents lack necessities, including houses under the Prime Minister Awas Yojana, waste management systems, ration cards, and LPG cylinders under the Ujjwala Yojana. Some houses have no toilets, while others have toilets without water supply. Jigyasa says, ‘So you see clear disparity exists which highlights the disconnect between policy-making and ground reality, raising questions about the effectiveness of government initiatives’. The investigation underscores the need for more attention to rural development and implementation of government schemes, this is where Jigyasa works on these pressing issues faced by rural India, including inadequate housing, sanitation, and access to essential services.
She adds, ‘currently what’s exciting me is a story about a 100-year-old Akhaada in rural Uttar Pradesh, where a coach trains over 100 young students in traditional wrestling (kushti) for free. The Akhaada, which has been in operation for three generations, lacks basic facilities, including toilets, changing rooms, and even the right equipment. Despite these challenges, you know three talented girls have won several state awards and are aiming for nationals. However, they face significant problems, including practising in mud, riding long distances in soiled clothes, and avoiding practice during menstruation due to the lack of facilities. She adds that the coach has been trying to secure facilities for the Akhaada, but the students’ talent and dedication are hindered by the inadequate infrastructure. The story highlights the potential of these young athletes, who are from local villages and are passionate about kushti, and the need for better support and resources to help them succeed.