AN INDIAN activist fighting to end period poverty has revealed the inspiration behind her charity, revealing her own experiences with the taboo surrounding menstruation.
Suhani Jalota, 26, is the founder and CEO of the Myna Mahila Foundation. The organisation aims to erase the stigma of menstruation in India and empowers women by encouraging discussions relating to the subject. Women employed by the charity make and sell feminine hygiene products, door to door.
In an interview with Eastern Eye on Monday (21), Jalota reflected on her own experiences of menstruation and her vision for the future. “We want to be a support system for women all over India,” she said. “We don’t want women to have any issues accessing products and information, or having a lack of awareness around their health and their bodies.”
Growing up, Jalota said she had her own experiences with “period shame”. When she was a teenager, she had her first period while on a school trip in north India. The school had organised for the students to visit various places of worship in the area. Having never experienced plus size period underwear menstruation before, she admitted she was “freaking out”. When she told her teacher, Jalota said she was instructed not to enter the temple.
“I was made to stand outside and I felt ridiculed,” she recalled. Upset, she called her mother who told her to ignore the teacher and go inside. “When I (entered the temple), the teacher was furious and it became a massive deal,” Jalota said. “And everybody found out about my period – the men, the boys, the girls in the group, everybody. But then, a few of the girls said they were on their periods also, and the teacher kicked all of us out together.”
The incident led to the girls starting a small community in which they could discuss issues relating to menstruation and the stigma surrounding it. It was a moment of realisation for Jalota. “I started to realise that it had actually been happening with these girls for a long time and it happens to everyone in different households in different ways,” she explained.
In fact, it was a bigger issue than Jalota had ever realised. In India, it is estimated that 320 million women have no access to feminine hygiene products. The stigma, shame and cost can all be factors behind this.
The issue was never far from Jalota’s mind and while studying in the United States in 2015, she founded Myna Mahila. In less than a year, the charity had reached more than 1,500 women across five slums in Mumbai.
Myna Mahila has some famous supporters, too. The charity was handpicked by Prince Harry and Meghan Markle to receive donations in lieu of wedding presents, when the pair married in 2018.
Jalota first met the Duchess of Sussex in 2016 during an event in New York – Glamour’s College Woman of the Year awards saw a number of women paired up with mentors. Although Markle was assigned to another student, she said she had heard of the work that Jalota was doing in India. Impressed by the charity’s vision, Markle reached out a few months after the initial first meeting.
“(Meghan) said she would love to visit us in India, so she came to see us the following January,” Jalota explained. “She was with us for a couple of days, seeing our work in the field. That is how we have maintained that connection.”
It has also helped to employ women as manufacturers and saleswomen for the product. In 2017, Myna staff were offered English, life skills and health education-related classes.
The opportunities that have become available to the staff have been life-changing, Jalota said. One girl, who started at the charity when she was 17, was essentially living on the streets when she approached Myra for help. Her mother and father were ill, unable to earn money and medical bills were piling up. The girl had never gone to school and there was no one willing to employ her.
“When we met her, she would not say a word,” Jalota recalled. “She would not even say her name, she was too shy.”
Slowly, her confidence began to build after working with the team. When the organisation began to garner press attention due to the public support from the Duchess of Sussex, the girl was one of the charity’s spokespeople who appeared on the news.
“That was only eight months after she had joined,” Jalota said. “Now, she has saved up enough money to buy herself a phone, she pays her rent single-handedly and she has learned to speak English through our educational classes. We’ve seen her go from absolutely having nothing to now having such big dreams.”
Jalota was named as one of the finalists for the Cisco Youth Leadership Awards at this year’s Global Citizen Prize awards for her work on the frontline of period poverty. The event, which took place last Saturday (19), honours young activists working to end extreme poverty. Jalota has praised the awards for raising global awareness of important issues.
“It’s a great platform to raise awareness for the cause people are working on,” she said. “They have such a creative strategy by involving celebrities and corporations who are providing the funding for Global Citizen. I think it gives them a lot of leverage and the power to really change the issues that they’re trying to tackle.”
UK music industry continue to face systemic barriers that hinder progress, visibility, and career growth – despite decades of contribution and cultural influence, a new report has revealed.
The study, South Asian Soundcheck, published last Tuesday (7), surveyed 349 artists and professionals and found that while many are skilled and ambitious, structural obstacles are still holding them back.
Prepared by Lila, a charity focused on empowering south Asian artists and music professionals, the survey showed that nearly three-quarters of respondents earn some income from music, but only 28 per cent rely on it full time.
More than half struggle to access opportunities or funding, and many said they lack industry networks or knowledge about contracts and rights.
Beyond structural issues, almost half said they face stereotypes about the kind of music they should make; two in five encounter family doubts about music as a career, and one in three has experienced racial discrimination.
Although 69 per cent said there was progress in visibility, but 68 per cent still feel invisible within the industry.
Respondents sought urgent action, including mentorship and networking opportunities, stronger south Asian representation in key industry roles and fairer access to funding.
Veteran musician and composer Viram Jasani, who chaired the Asian Music Circuit and led a national enquiry into south Asian music in 1985, told Eastern Eye the findings were “disheartening”.
“I read the report and my heart sank – it feels as though nothing has changed,” he said.
“Back in 1985, we had already identified the same problems and made clear recommendations for better representation, employment and long-term support. Four decades later, we are still talking about the same issues.”
Jasani, a sitar, tabla and tambura expert, said the report focused mainly on modern genres and overlooked traditional south Asian music, which he believes is central to cultural identity.
“Since colonial times, British attitudes have not changed much,” he said. “If they can erase Indian traditional culture and create a community that lives entirely within an English cultural bubble, then they will have succeeded.”
He added that young south Asian artists were often drawn to Western contemporary music, while neglecting their own heritage.
“We are brilliant in Western genres, but that should come after we are grounded in our traditional shashtriya sangeet (classical music),” he said. “Without that foundation, we lose our sense of identity.”
Jasani also warned a lack of unity within the south Asian community continues to weaken its cultural progress.
He said, “People compete with each other while the world watches. For too long, massaging egos has taken priority over producing the best of our culture.”
According to the survey, one in three has experienced direct racial discrimination. One respondent said, “There are virtually no visible and successful south Asian artists in the mainstream – people simply do not know where to place us.”
Another added: “I want south Asian artists to be part of the collective mainstream industry, not just put on south Asian-specific stages or events.”
While the visibility of south Asian artists has improved, with more names appearing on festival line-ups and in the media, the study revealed this progress remains “surface level”.
Lila’s founder, Vikram Gudi, said the findings show progress has not yet been translated into structural inclusion.
“The data exposes what we call the progress paradox. Seventy-three per cent of the people we surveyed earn some money from music, but only 27 per cent earn enough to rely on it as a sustainable career,” he said.
“The Soundcheck gives us the evidence to enact real change and identifies three essential needs – mentorship, representation, and investment.”
Three-quarters of participants said mentorship from experienced professionals would make the biggest difference to their careers. Many stressed the importance of being guided by people who “understand how the industry works and can connect them to decision-makers”.
Nearly the same proportion called for greater south Asian representation across the music industry – not just on stage, but within executive, programming and production roles at festivals, venues, record labels and streaming services.
Dedicated funding also emerged as a priority, with many describing the current grant systems as inaccessible or ill-suited to the diverse and cross-genre work that defines south Asian creativity today.
Two in five respondents reported that family or community resistance remains a challenge, often due to the perceived instability of a music career. The report argued this scepticism is “economically logical”, when there are so few visible south Asian success stories in the mainstream.
Responding to the report, Indy Vidyalankara, member of the UK Music Diversity Taskforce and BPI Equity & Justice Advisory Group, said: “South Asian music is rich, vibrant, and hugely influential. We need south Asian representation at every level of the ecosystem, plus support and investment to match that influence.”
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