life in an indian village essay 100 words

Essay on Life in an Indian Village for Students and Children

500+ words essay on life in an indian village.

One fact of which we are all made aware is that India is an agricultural country. This means that the majority of the population practices agriculture either for self-sustenance or as a commercial activity. So there are far more villages and small towns in India that cities and metros. In fact, as per the last census two-thirds of the Indian population still lives in rural areas. The life of a villager and the environment of a village are distinctly different than the urban environment we grow up in. Let us explore this further in this essay on Life in an Indian Village.

The Farmer Life

Farming and agriculture are one of the most difficult jobs. The Indian farmer , in particular, is a hardworking and diligent man. The land and the crops need close attention and efforts day and night for a successful harvest. Life in an Indian village is not a walk in the park by any means.

The farmer will usually start his day before sunup and work throughout the whole day. It involves a lot of manual labor and persistence. They plow the land, sow the seeds, harvest the crops, etc. And a lot of the farmers do not enjoy the luxury of machines or tractors and have to rely on intense manual labor. Rain or shine, they can never take a day off.

And even after all these efforts and sacrifices, the financial conditions of farmers in India remains dire. The rising costs of living, frequent crop failures due to climate changes, insufficient support from the government and many other factors are contributing to their mistreatment. India in fact also faces the shameful problem of rising farmer suicides as well.

Get the huge list of more than 500 Essay Topics and Ideas

Infrastructure and Environment in Villages

As one can imagine, villages are far less congested and polluted than cities. Due to lack of urbanization, they are able to main their natural habitat and environment to a large extent. There is a green cover around the village and overall a calm, clean and beautiful environment. Generally, there is also a water source close by, like a lake or river.

One disadvantage of living in an Indian village is the lack of infrastructure that plagues. Although, since independence, our government has made many efforts to provide these villages with basic infrastructure facilities, we have a long way to go still.

The houses of the villagers are usually made of thatched roofs and mud or clay. These are not permanent structures. There is maybe one school and one hospital shared among 3-4 small villages and usually involves a long commute. The roadways are not well maintained and usually not well connected either. Transportation facilities are also generally lacking and inadequate.

Cultural Life in Villages

The village life, however, is not all work and no play. Villagers often gather for festivals, fairs, harvests, and other religious and cultural functions. Indian villages have a rich history of culture and tradition. Art is celebrated in the form of dance, songs, plays, etc. In fact, some of our most famous dance forms and songs come to us from these traditions practiced in various villages from India.

Customize your course in 30 seconds

Which class are you in.

Travelling Essay
Picnic Essay
Our Country Essay
My Parents Essay
Essay on Favourite Personality
Essay on Memorable Day of My Life
Essay on Knowledge is Power
Essay on Gurpurab
Essay on My Favourite Season
Essay on Types of Sports

Download the App

Essay on Indian Villages

Students are often asked to write an essay on Indian Villages in their schools and colleges. And if you’re also looking for the same, we have created 100-word, 250-word, and 500-word essays on the topic.

Let’s take a look…

100 Words Essay on Indian Villages

Introduction.

Indian villages represent the true essence of India. They are the places where the heart of our nation beats. These villages are rich in tradition, culture, and simplicity.

Life in Villages

Life in Indian villages is serene and peaceful. People live in harmony with nature. They wake up early, work in the fields, and lead a simple life.

The economy of Indian villages is primarily based on agriculture. Farmers work hard to grow crops which feed not only their village but also the cities.

Despite challenges, Indian villages are the backbone of our country. They embody the spirit of unity, hard work, and simplicity.

250 Words Essay on Indian Villages

The essence of india.

India’s soul resides in its villages, which are home to about 70% of the country’s population. These villages encapsulate the quintessential Indian culture and traditions, offering a stark contrast to the country’s bustling urban landscapes.

Rich Cultural Tapestry

Each Indian village is a microcosm of India’s rich cultural tapestry. The local festivals, art forms, music, and dance reflect the diverse heritage of the country. Villagers live in close-knit communities, exhibiting a strong sense of unity and mutual support. The age-old customs and traditions are passed down generations, keeping the cultural legacy alive.

Economic Backbone

Agriculture, the primary occupation in Indian villages, forms the backbone of India’s economy. Farmers work tirelessly, contributing significantly to the country’s food security and raw material production for various industries. Additionally, rural India is a hub for cottage industries, producing handicrafts, textiles, pottery, and other goods, promoting the country’s economic diversity.

Challenges and Opportunities

Despite their cultural richness and economic contribution, Indian villages face numerous challenges. Lack of infrastructure, inadequate healthcare, and limited educational facilities are significant issues. However, these challenges present opportunities for growth. Initiatives like rural electrification, digital connectivity, and skill development programs can transform these hamlets into engines of growth.

Indian villages are a testament to the country’s resilience, cultural richness, and economic strength. While they face challenges, the potential for development and growth is immense. By addressing these issues, India can unlock the true potential of its villages, propelling the nation towards comprehensive and inclusive growth.

500 Words Essay on Indian Villages

India, often referred to as the ‘land of villages,’ is a country where the heart of its culture, traditions, and rich heritage resides in its rural areas. Indian villages are a mirror to the diverse, vibrant, and colorful ethos of the country, reflecting the real essence of India.

The Simplicity and Authenticity

Indian villages are characterized by their simplicity and authenticity. The lifestyle in these areas is uncomplicated, with people living in harmony with nature. The villagers are primarily engaged in agricultural activities, which form the backbone of the Indian economy. They follow a simple routine, starting their day at the break of dawn, tilling their fields, feeding their cattle, and ending with a peaceful sleep under the starlit sky.

The Socio-Cultural Fabric

The socio-cultural fabric of Indian villages is rich and diverse. Each village has a unique identity, marked by its local festivals, folk dances, music, and art forms. The ‘Panchayat’ system, a traditional form of local self-government, plays a vital role in decision-making and conflict resolution within the village. Despite the diversity, there is unity, mutual cooperation, and a strong sense of community among the villagers.

Economic Aspects

On the economic front, Indian villages are predominantly agrarian, with agriculture and allied activities being the primary source of livelihood. However, in recent years, there is a growing shift towards non-farm activities, including handicrafts, small-scale industries, and services. This diversification has the potential to enhance rural incomes and reduce agrarian distress.

Despite their charm, Indian villages face numerous challenges. Lack of basic amenities like clean drinking water, sanitation, healthcare, and quality education are some of the pressing issues. Poverty, unemployment, and social evils like casteism and gender inequality further exacerbate the situation.

However, these challenges also present opportunities for development. Initiatives like the Pradhan Mantri Gram Sadak Yojana (PMGSY) for rural connectivity, Swachh Bharat Abhiyan for sanitation, and Sarva Shiksha Abhiyan for education are transforming the rural landscape. Digital technology and internet connectivity have opened new avenues for rural entrepreneurship and e-governance.

In conclusion, Indian villages are the soul of the country, embodying its cultural richness and diversity. While they are grappling with several challenges, the winds of change are blowing. With targeted interventions and the right impetus, these villages can become the hub of sustainable and inclusive development, truly representing the idea of ‘Gram Swaraj’ or self-sufficient villages envisaged by Mahatma Gandhi. The future of India lies in the strength of its villages, and it is imperative to empower them to unlock their full potential.

That’s it! I hope the essay helped you.

If you’re looking for more, here are essays on other interesting topics:

Essay on Indian Judiciary System
Essay on Indian Freedom Fighters
Essay on Indian Family Values

Apart from these, you can look at all the essays by clicking here .

Happy studying!

Essay on Village Life in English for Children and Students

life in an indian village essay 100 words

Table of Contents

Essay on Village Life: Village life signifies a close-knit community and a simple lifestyle. It is known to be calm and pure as people are closer to the nature in villages; however, it also has its own set of challenges. It can be isolating, and there may not be as many opportunities for social interaction and entertainment as there are in larger towns and cities. Though, the people living in village areas lead a peaceful life, they are devoid of many modern amenities that make life comfortable. Traditional village life is devoid of the comforts that a city life offers.

Fill Out the Form for Expert Academic Guidance!

Please indicate your interest Live Classes Books Test Series Self Learning

Verify OTP Code (required)

I agree to the terms and conditions and privacy policy .

Fill complete details

Target Exam ---

Though, today almost every village is well connected with roads; transportation is still scarce and if present, is of poor quality. Light and water might not be an issue for modern village, but they lack behind the cities on availability of other civic amenities. Villages have poor drainage system and no waste disposal mechanism at all, making the residents more prone to diseases and infections. On top of that, poor health care facilities add to the villager’s woes.

Here we have some of the best collection of essays on village life specially written for kids. Read sample, short, long, descriptive and narrative essays on village life here.

Also Check: Life is an Indian Village Essay

Long and Short Essay on Village Life in English

Villages are beautiful. Life in villages is serene and peaceful. Though the facilities in villages may be lesser than that in the cities however most of the people living there are far more content and happy.

Here we have provided essay on village life of varying lengths to help you with the topic in your exam or in school assignments.

These Village Life Essay have been written in simple and easy language, elaborating all the details of a village life and its pros and cons.

Short Essay on Village Life 200 words – Sample 1

People living in the villages mostly indulge in agricultural activities and stay away from the hustle and bustle of the chaotic city life. They lead a simple life. A day in the life of a villager starts early morning. People usually wake up around 5 am and start with their daily chores. Since most of the people in the villages sleep on their roofs they are woken up as the day light breaks. They may even be woken up by the crowing of rooster.

In most of the villages, it is the male members who go out to work while the females sit at home and complete the household tasks such as cleaning and cooking. Children get ready and head to the schools located nearby. The male members are mostly involved in farming and other agricultural activities. They either have their own farms or work for the landlords who hire them. Cycles are the most common means to travel from home to work. This is the reason why the pollution level in the villages is far low compared to the cities.

Farmers toil hard in the farms. Many of them go home for lunch others have their lunch in the shade of a tree. All in all, life in a village is slow yet peaceful.

Essay on Village Life: Pros and Cons 300 words – Sample 2

Villages are known for their beautiful natural surroundings. They remain unperturbed even today when there is so much of chaos and competition around. People in villages lead a simple life and are content with whatever little they have. However, while the village life offers numerous advantages, it also has its set of disadvantages.

Pros of Village Life

Here is a look at the pros of village life:

Peaceful Surroundings

Villages offer a peaceful environment. Unlike the cities, people in villages don’t seem to be participating in the mad race to reach the top. They are satisfied with what they have and lead a peaceful life.

Less Pollution

People in the villages prefer walking down to the market, schools and other places or commute via cycle. There is hardly any car or motorcycle in the villages. Besides, there is no industrial pollution in the villages as farming is the main occupation there. This is the reason why these are less polluted.

Socializing

People in villages are very social. They value and respect each other. They visit one another quite often and celebrate all the occasions together. This is good for the growth and development of the children as well as a plus for the elderly people who are often isolated in the cities.

Cons of Village Life

Here are the cons of village life:

Lack of Amenities

The infrastructure of villages is quite poor. Many villages lack even the basic amenities such as electricity, sanitation facility, medical facilities and means of transport.

Lack of Education

Many villages do not have any schools or encompass only primary schools. People hesitate sending their children to towns and cities to seek education and hence most people in villages remain uneducated.

Gender Inequality

There is a lot of gender inequality in the villages. Women are mostly confined to the household chores and are not allowed to express their opinion on any matter.

Thus, village life has both pros and cons. The government must take initiative to develop the villages a bit so that life there can become more comfortable.

Essay on Village Life and City life 400 words – Sample 3

Village life is calm and peaceful while city life is fast paced. There are many other differences between village life and city life. There are pros and cons attached to both village life and city life. Here is a closer look at what each of these has to offer.

Village Life

Village life is quite slow but peaceful. Villagers lead a simple life. They live in harmony with each other. They value relationships and make efforts to maintain the same. They are well aware about the people living in their neighborhood and stand by them in their hour of need.

Villagers also give special importance to their customs and traditions and follow them religiously. The festivals in villages are celebrated collectively and thus the joy and happiness during that time doubles up.

People in villages are mostly involved in agricultural activities. Some of them are artisans and are involved in preparing various kinds of beautiful handicraft items.

Villagers may not be equipped with modern day technologies and gadgets but they have their own ways of enjoying life.

Many of the villages around the world are devoid of the basic amenities such as electricity, sanitation facilities, hospitals, schools, etc. Villagers face numerous challenges owing to the lack of these amenities. Most of the villagers do not give much importance to education. They are content with the basic education they acquire in the village schools.

City life is quite fast and competitive. People living in the cities get all the modern day facilities that are required to lead a comfortable life. However, they need to toil hard to earn a good living.

People in the cities are involved in various kinds of jobs. There are different kinds of businesses and jobs available for people with different educational qualifications and skills. The work opportunities in cities are far greater compared to villages.

The infrastructure of cities is good. Cities encompass good schools, colleges and medical facilities. People living in the cities give much importance to education and ensure their children seek higher education.

However, people in the city are not as cordial as those living in the villages. People here are so busy with their own life that they do not matter much about those around them. This is the reason why many people living here enjoy high stand of living but do not lead a satisfying life. The stress level of people in the cities is high.

While the village life is considered stress-free compared to the city life, it has its set of disadvantages. Many villagers these days are shifting to cities to seek better jobs and raise their standard of living.

Essay on Village Life in India 500 words – Sample 4

Indian villages are beautiful and serene. Majority of the Indian population resides in villages. The villagers lead a peaceful life amid greenery away from the mad rush of the cities. The needs of the villagers are less so they are satisfied with whatever little they have. While the villagers in India enjoy a pollution free environment and are closer to nature however they do face certain challenges.

Simple Living

There are thousands of villages in India. Every state in India encompasses hundreds of villages. The culture and traditions followed in Indian villages differs from state to state. The way the villagers dress up and the kind of things they eat is different in different regions. However, their way of living is largely the same. The villagers in India lead a simple life. They are hard working and enjoy the simplicities of life.

The roles of men and women in the Indian villages are well defined. The women in the villages stay at home and take care of the household chores. They cook, clean and may even be involved in sewing and knitting. The male members of the house go out to earn their livelihood. They are mostly involved in agricultural activities. Some of them also indulge in creating handicraft items. The day in the life of a villager begins early and ends early too. They wind up their tasks by evening and go to bed early.

Lack of Basic Amenities

Though the life of villagers in India is largely good however it can be challenging as many villages in the country lack basic amenities. Many villages in India do not have electricity. Even those that have power supply experience long power cuts leading to a lot of inconvenience. The villagers in India also face sanitation problem. Houses in many villages in India do not have washrooms thus it gets extremely difficult especially for the women.

Many villages do not have hospitals and nursing homes. Even those that have hospitals do not have good nursing staff.

Our villages would become more beautiful if such basic amenities are made available here.

Not much importance is given to education in the villages. Though slowly and steadily schools are being opened in villages, many villagers do not send their children to study. They particularly do not feel the need to educate the girl child as they believe she needs to do the household chores as she grows up and thus there is no need for her to go to the school. This is a sad situation and this mindset must be changed.

Even most of those who get the right to education only acquire primary or secondary education as most of the villages do not have higher secondary schools. In order to seek a graduation or post graduation degree, the children need to relocate to a big city. Most of the villagers hesitate sending their children to the cities for the fear of losing or distancing them.

Life in Indian villages is largely good. People lead a simple life and are there for each other in sickness and health. However, our villages lack basic amenities and living without these can be quite challenging.

Long Essay on Village Life: Problems and Solutions 600 words – Sample 5

Villages may appear green, serene and pollution free however life in these places can be quite challenging. There has been a lot of technological advancement in the last few decades. We are enjoying a comfortable life in the cities and have access to everything that makes our life convenient. However, the villagers don’t enjoy such comfort and convenience due to lack of the modern facilities.

Problems of Villages

Here is a look at the problems of villages:

Poor Infrastructure

The infrastructure in villages is not good. The roads and bridges are not built properly and this hampers their connectivity with towns and cities which is a hindrance in establishing good business. Schools and hospitals in the villages lack good staff as well as facilities. Many villages do not have power supply or face a lot of power cuts. Communicating with people living in other areas can also get quite difficult for the villagers due to poor telecom infrastructure in these areas.

Sanitation is another grave problem in villages.

No Importance to Education

Many villages do not have schools. Thus, people in villages do not get a chance to seek education. Even those villages that do have schools do not see much attendance as people in villages do not understand the importance of education. They engage their children in household activities or farming just to have helping hands.

Patriarchal Structure

In villages, men are considered to be the head of the family and the women in the house must follow their instructions. All the decisions are taken by the male members of the family. Women are mostly confined only to the kitchen and other household chores. They are not allowed to go out and work. They cannot even express their feelings or opinions about anything. The cases of female foeticide in the Indian villages are also quite high.

Solutions to the Problems

Here are the solutions to the problems faced by the people living in villages:

Education should be Made Compulsory

The government must make education compulsory for everyone. Good schools should be opened in villages and the government should ensure that no child in any village remains uneducated.

Adult Education

Adult education should also be promoted. Night schools must be opened for this purpose and adults must be encouraged to seek education. This is of utmost importance as only when the adults are educated they would understand the importance of education and educate their children.

Roads must be Built

Roads and bridges should be built so that there is proper connectivity between the villages and cities. This will encourage the farmers and artisans to expand their business and make healthcare facilities easily approachable to villagers.

Power Supply a Must

In today’s times, it is impossible to grow and develop a region if there is no power supply or constant power cuts. This is one of the most basic things needed to progress in any field. Thus, government must ensure that people in villages are not devoid of it.

Sanitation Facility

In order to maintain proper hygiene and good health, it is essential to have good sanitation facility. The government must promote the need to have good sanitation facility and must also ensure each village has it.

Better Healthcare Facilities

There is a dire need to provide good healthcare facilities in every region. The government must ensure that every village is equipped with good hospitals and well educated and experienced healthcare staff.

There are a number of serious problems being faced by the villagers. People in the villages are devoid of various facilities which are a hindrance in their development. The government must make efforts to facilitate the villages with modern facilities so that the people living in those areas can also enjoy a clean and comfortable life.

Frequently Asked Questions on Essay on Village Life

What is village life.

Village life refers to the lifestyle and culture of people living in rural areas, typically characterized by close-knit communities, agriculture-based economies, and simpler living compared to urban areas.

What is a village in a short note?

A village is a small settlement in a rural area, usually inhabited by a community of people who engage in farming, small-scale businesses, and traditional ways of life.

Why is village life important?

Village life is important because it preserves traditions, fosters strong community bonds, and provides a connection to nature. It offers a slower pace of life away from the hustle and bustle of cities.

What are 5 things in a village?

In a village, you can typically find houses, farmland, a village center with shops or markets, a school, and religious places like temples or mosques.

What is a village also called?

A village is also commonly referred to as a 'hamlet,' 'township,' or 'rural settlement.'

Who lived in a village?

Villages are inhabited by families and communities of people who live and work in the rural areas, engaged in activities like farming, animal husbandry, and small businesses.

What is the beauty of village life?

The beauty of village life lies in its simplicity, natural surroundings, strong community bonds, and a slower, more relaxed way of living.

Is village life good or bad?

Whether village life is good or bad depends on personal preferences. It offers a peaceful and close-knit community, but may lack certain urban amenities.

What are the two types of villages?

There are generally two types of villages: agricultural villages, where farming is the main occupation, and artisan villages, where people engage in traditional crafts and trades.

How many villages are in India?

India has over 600,000 villages, making it one of the most rural countries in the world. Each village has its own unique character and way of life.

Life in an Indian Village Essay

Life in an Indian Village Essay In English - 1900 in words

60 percent of Indian citizens live in villages and if I call a village as real India then it will not be wrong, because village itself carry forward the real tradition and culture of India. Villages are the best in many ways and village life is much better than a sophisticated city life, but people live in cities to meet some of their basic needs; Otherwise, their heart is still settled in the villages. Today we have brought some essays on this topic for you to get a broad perspective in different word limit:

Short and Long Essays on Life in an Indian Village in English

Essay 1 (250 words) - life in the indian village.

introduction

Villages are an integral part of India as more than 60 percent of the Indian population lives in villages. India has a rich agricultural heritage and we are able to produce food for the entire nation. We do not have to import basic food items like rice, wheat, maize, etc. Agriculture is the backbone of the Indian economy. Our farmers work continuously in all seasons to produce such a huge amount of food. They grow different crops every year and a group of people live in the villages. They have a different lifestyle and culture.

Agriculture: Our Backbone

We all belong to a certain village or the other, but our ancestors left the villages early in search of development and jobs. As a result, we are a part of city life today. Nevertheless, there are many people who live in villages and are dependent on agriculture. Our farmers work hard in the fields and provide food for us and of course we should be thankful to them for providing food. A lot of labor and care is required to prepare these crops. They have to face winters and scorching summer days to take care of the crop.

Thanks to our farmers that we have enough food and we also export wheat and rice to different countries. In the year 2019, we have exported agricultural products worth US$ 38.49 billion to various countries. In fact it is the backbone of our economy.

cultural richness

Apart from our food requirement, villages also hold some cultural importance. We have given up many of our traditions and some cultural activities which are still alive in the villages. They celebrate festivals in the same way as they did in the olden days and we can also see unity in villages which is rarely seen in cities. When people gather on an occasion it becomes special. They pray, eat good food, and celebrate any occasion together and it shows unity.

Life in an Indian village can be quite simple and difficult at the same time. They are completely different from cities and a village life has many advantages and disadvantages. Overall, I can say that villages are more quiet and clean than cities.

Essay 2 (400 words) - A New Indian Village

India is a beautiful country and this whole country has beautiful villages and their history too. Be it the northern part of India or the southern, villages are everywhere and they have a different taste in life. These lands produce 80 percent of agricultural products; This is possible only because of our farmers, they work hard and live in these villages. They not only produce food for us but also contribute significantly in building our economy. Every year they make many profitable deals and many products are exported to different countries. I have mentioned here some beautiful aspects of village life and put before you the true vision of modern Indian villages.

social life

There is peace everywhere because it is not crowded like cities. Life here is simple and away from any kind of controversy. People in cities always dress well, live in sophisticated societies. Whereas people in villages lead a very simple life and they are more social than us, and they are by any means. They lead a healthy and genuine life.

You might also like:

A Friend in Need is a Friend Indeed Essay
Acid Rain Essay
Adult Education Essay
Essay On Adventure

Their main source of income is agriculture in the villages and they are of two types. One which is partly connected to the cities and the other which is completely away from the cities. People who are connected with cities play an important role in fulfilling daily requirements like providing vegetables, poultry farm, etc. They play a very important role in developing our economy. The second is those who are away from the cities. These villages provide some seasonal crops like wheat, rice, maize, etc. In the lockdown, it was agriculture that saved the sinking economy.

Development

Development is that which still has not reached some villages, facilities like good roads, schools, hospitals, etc. have not been available in many villages. These are some of the major drawbacks of a village. Although cities have developed a lot, villages are still the same as they were many decades ago. There are only a few minor changes here and this is the reason why people move to cities. People can happily live in villages also if they get some basic facilities.

People in villages do not care much about education as they believe in following agricultural heritage. But this is the truth, in fact, there are no good educational institutions in the villages. They also do not have enough money and proper facilities. The government should also focus on developing these villages and provide basic facilities. There are government schools in the villages but they are useless due to lack of maintenance and absence of teachers.

Village life is better in many ways and pure air and pollution free environment attract people to build houses in the village. There is peace and a certain kind of stillness here, which cannot be expressed in words. I love the village and its environment; It's green everywhere and I don't have to go to a park for fresh air.

Essay 3 (600 words) - Some positive and negative aspects of village living

A suburban area where people live and is surrounded by agricultural land is known as a village. We have a special image in our mind towards villages and as soon as it comes up, it automatically gives us a glimpse of green fields and mango trees. Really, the villages are amazing. I remember when I used to visit my village every year during my summer vacations, slowly things changed and people moved towards cities. I remember that we never go to buy vegetables because we used to grow them on our own land. Similarly, there are many other things which make a village different from cities. Here below I have mentioned both positive and negative aspects about village life.

Some positive aspects of rural life

less pollution

It is true that there is no air pollution in villages, the environment here is 90 percent cleaner than in cities and here you do not have to look for greenery for fresh air. The city is affected by traffic, people and all kinds of pollution. There are more people in the city, more noise, more pollution while there are less people in the villages, so the environment here is much better than the city.

peaceful life

People in villages are in no hurry to catch the metro or attend any important meeting. Life here looks easy and stress free. They also eat, sleep, earn, wear good clothes but lead a peaceful life. In villages, people have their own animals for milk, their own land for food, and life looks more peaceful there.

far from the show
Air Pollution Essay
Animals Essay
Abdul Kalam Essay
Bal Swachhta Abhiyan Essay

Most people in villages believe in simplicity, they do not have separate wardrobe for formal and casual wear or valuables. They present themselves exactly as they really are and they don't hide things and believe more in sharing. Whereas, people in cities feel ashamed even to address a poor person as their friend. The people of the villages are simple and far from any form of expression.

helpful behavior of people

If a marriage takes place in a house, then all the people of the village gather and help in some way as if it is their own work. Whereas in cities, for any such work etc., we have to call people on rent for help. In fact villages are good in these matters. They are loyal, helpful and dependable by nature.

Some negative aspects of rural life

The biggest drawbacks of villages which make life difficult in rural areas. Here you find almost non-existent educational institutions, hospitals, etc., which have no way of entry and all these things encourage people to migrate to the cities. Big companies should take this as an opportunity and also plan to set up their branches in rural areas. With this our villages will develop in many ways. I can say that development is one of the biggest drawbacks of our villages.

Lack of proper educational institutions

There are schools here but no higher educational institutions as a result of which people have to send their children to the big cities. These days proper education is the first requirement of everyone. Although the village environment is more peaceful for the students, they still have to move to the cities.

limited career opportunities

Career opportunities are zero in the village as there is no job of any kind here. Apart from jobs, if you are planning to start any kind of business, then there are many problems related to roads, availability of goods, etc. People have to depend on cities for many things; As a result, they consider it more appropriate to move ahead by staying in a better place.

lack of good medical facilities

There is a medical emergency in the dark, so you never know when a hospital or doctor will be urgently needed. People always have to move to nearby cities for medical benefits. The government should really pay attention to this sector as the population is increasing day by day; In fact, the facility of proper medicine etc. should be near to any person. Otherwise, the nation can never be called a developed nation.

improper transportation

Even today, there are many villages that do not have roads; Lack of roads hinders development in many ways. Hence, road is extremely important and traveling from one place to another in villages is not so easy, as one cannot get bus or other means of transport whenever you need it. Either you will have to travel by your own means which is not possible for everyone in the villages or you will have to wait for a long time.

Villages are good and we should try our best to save them. We should focus on developing villages so that less people migrate to cities. The population in cities is increasing day by day and more than half of the population comes from the village itself. They move to cities for education, jobs and other basic needs. Cities are becoming highly populated, the government should think about it. Development in villages is one of the best ways to control population in cities.

Beti Bachao Beti Padhao Essay
Bio-Diversity Essay
Black Money Essay
Cashless India Essay

Life in an Indian Village Essay In English

Village Life Essay

Village life is known to be calm and pure as people are closer to the nature in villages; however, it also has its own set of challenges. Though, the people living in village areas lead a peaceful life they are devoid of many modern amenities that make life comfortable. Traditional village life is devoid of the comforts that a city life offers.

Long and Short Essay on Village Life in English

Here we have provided essay on village life of varying lengths to help you with the topic in your exam or in school assignments.

These Village Life Essay have been written in simple and easy language, elaborating all the details of a village life and its pros and cons.

Short Essay on Village Life – Essay 1 (200 words)

Farmers toil hard in the farms. Many of them go home for lunch others have their lunch in the shade of a tree. All in all, life in a village is slow yet peaceful.

Essay on Village Life: Pros and Cons – Essay 2 (300 words)

Introduction

Pros of Village Life

Here is a look at the pros of village life:

Peaceful Surroundings

Less Pollution

Socializing

Cons of Village Life

Here are the cons of village life:

Lack of Amenities

The infrastructure of villages is quite poor. Many villages lack even the basic amenities such as electricity, sanitation facility, medical facilities and means of transport.

Lack of Education

Gender Inequality

There is a lot of gender inequality in the villages. Women are mostly confined to the household chores and are not allowed to express their opinion on any matter.

Thus, village life has both pros and cons. The government must take initiative to develop the villages a bit so that life there can become more comfortable.

Essay on Village Life and City life – Essay 3 (400 words)

Village Life

People in villages are mostly involved in agricultural activities. Some of them are artisans and are involved in preparing various kinds of beautiful handicraft items.

Villagers may not be equipped with modern day technologies and gadgets but they have their own ways of enjoying life.

Essay on Village Life in India – Essay 4 (500 words)

Simple Living

Lack of Basic Amenities

Many villages do not have hospitals and nursing homes. Even those that have hospitals do not have good nursing staff.

Our villages would become more beautiful if such basic amenities are made available here.

Long Essay on Village Life: Problems and Solutions – Essay 5 (600 words)

Problems of Villages

Here is a look at the problems of villages:

Poor Infrastructure

Sanitation is another grave problem in villages.

No Importance to Education

Patriarchal Structure

Solutions to the Problems

Here are the solutions to the problems faced by the people living in villages:

Education should be Made Compulsory

The government must make education compulsory for everyone. Good schools should be opened in villages and the government should ensure that no child in any village remains uneducated.

Adult Education

Roads must be Built

Power Supply a Must

Sanitation Facility

Better Healthcare Facilities

Related Information:

Essay on Village Life

Essay on Life in an Indian Village

Essay on Life on Mars

Essay on Impact of Cinema in Life

Essay on City Life Vs Village Life

Essay on My School Life

Essay on Advantages and Disadvantages of Hostel Life

Essay on Importance of Friends in our Life

Essay on Importance of Good Manners in Life

Speech on My School Life

Speech on Aim of My Life

Speech on Life after School

Speech on Life

Slogans on Life

Essay on Life

Money essay, music essay, importance of education essay, education essay, newspaper essay, my hobby essay.

Talk to our experts

1800-120-456-456

Speech on Life in an Indian Village

About Life in an Indian Village Speech in English

India has numerous villages, some are easily accessible whereas others are too remote to be visited often by the urban residents. The life of the people in an Indian village is quite different from that of the city dwellers. There is a lack of several amenities in most villages. For example, in several villages in the western parts of India, there is still a lack of potable water sources, and the women of the villages have to walk long distances to fetch drinking water for their families.

Here we have provided a long and a short speech on life in an Indian village for the reference of students. Also, you will get a 10-line Indian village children speech here, followed by long and short speeches.

Short Speech on Life in an Indian Village

Good morning everyone, my heartiest greetings to all of you present here. I am <name> and today I am here to speak on life in an Indian village. Well, as we all know, India is an agricultural country, and most of the agricultural fields are in our villages. A greater percentage of the rural population of India work in agriculture. The lifestyle of the residents of an Indian village is quite simple. Our farmers back in the villages work hard in the agricultural fields, day in and day out to grow crops.

Other than farming, cattle rearing is a common occupation in Indian villages. The best part of life in an Indian village is that the people in the villages mostly live on their own agricultural produce and other animal products like milk, eggs, etc that they can get from their own cattle and poultry. Even today there is no electricity in many villages and people use oil lamps to light up their houses after sunset. Most children in the Indian villages help their families in farming and cattle rearing apart from pursuing their studies. There are many festivals celebrated in Indian villages. The various folk cultures of our villages have become popular in the entire country nowadays.

Since the people in our villages do not get a surplus of resources, they barely waste anything. Life in an Indian village teaches us how to live within limited means and find joy in small things, without wasting anything.

Long Speech on Life in an Indian Village

Good morning everyone. I, <name>, and today I am going to speak on life in an Indian village. The life of the people in Indian villages is very different from the urban lifestyle.

The rustic lifestyle is quite simple and people are happy and content if they are able to meet their daily needs. Yes, often many families go without the basic resources back in the remote villages of India. The villages in the northwestern part of our country still have no perennial source of drinking water. The women of these villages walk long distances, even in the scorching heat, to fetch drinking water for their families. In many villages of our country, there is no electricity. While the urban population cannot imagine going without fans or air-conditioners for a day, the rural people depend upon the natural breezes and seasonal rains to enjoy a cooler temperature. In remote Indian villages, there is a dearth of health centres. People have to travel quite a long distance to access the nearest health centre for even the most basic medical treatment.

Since most of the village men are farmers, their day begins early in the morning in their fields. Their families help them in the fields to grow crops. The women in our villages are mostly involved in handicraft work and are employed in this sector. Most amazing handcrafted goods are sourced from our villages, and some of them are even exported to the foreign market. The children of Indian villages grow up with very limited resources. Some children travel over long distances to attend nearby schools. Many children in our villages attend schools for midday meals. They start helping their parents in earning their livelihoods from a very tender age. Most girls in the Indian villages are married off at an early age so that they can get better shelter and food in their in-laws’ place. Whereas most boys in our villages are employed in the fields at an early age so that they can help to support their families. This is the reason behind most of the rural population being uneducated. Young boys and girls drop out of school to earn basic resources.

Even though there is a lack of so many resources, the people back in the Indian villages know how to be happy and content in whatever little they have. There is a sense of belongingness and deep-rooted brotherhood among the people of our villages. They celebrate every harvest and the first rain of the year. They celebrate a lot of holy festivals. These celebrations do not involve lavish entertainment or extravaganza. Instead, they celebrate the festivals in the simplest of ways with a lot more fun. Mostly every festival has a story attached to it and the elderly people preach those stories and songs, passing them on to the next generations. They make various staple munchings and sweets for the festivals and the entire village comes together for the celebrations.

Hence to conclude on life in an Indian village, I would say that our villages are our roots and have kept our traditions and the various folk cultures alive. And it is one of our sole responsibilities to extend our help and support to the villagers so that they can have a better lifestyle.

10-Lines Indian Village Children Speech

The children in Indian villages are not very privileged when it comes to the comforts of life.

They endure a lot of hardships in their day-to-day lives.

In most villages, there are no schools, and the children have to travel to the nearby schools for their education.

They may not get doughnuts or chocolates on their way back home like the well-off kids in the city, but they have more fun while plucking and sharing raw mangoes, and other fresh fruits, with their friends.

Most village children help their families to earn their bread.

Some work with their fathers on the farms whereas others assist their parents in handicrafts.

While most children drop out of school to support their families, some continue their education even after helping their parents.

The best part of the life of children in Indian villages is that they get to stay closely knit with all their family members.

Apart from their parents’ affection, they get the love of their grandparents and mostly stay near their relatives.

They grow up in a more wholesome environment, where there is less pollution, and get to enjoy naturally grown crops and fruits.

Writing a Speech on Life in an Indian Village in English for Students

Writing a Speech on Life in an Indian Village in English will not be that tough. Since it is a general topic, you can add your opinions to the speech. Moreover, make sure you know the format of the speech before you start writing. This format will take you in the right direction and help you write the perfect Speech on Life in an Indian Village in English. You can use the following tips to write this speech:

Stick to the format of the speech to ensure that your Speech on Life in an Indian Village in English flows in the right direction.

Only add relevant points related to the Speech on Life in an Indian Village in English and stay on the topic.

You can write your opinions on the topic to make the Speech on Life in an Indian Village in English more impactful.

Make sure you have a clear understanding of the topic you are writing on. You can research on the internet about Life in an Indian Village to know more about it.

Do not focus on the word limit while writing a Speech on Life in an Indian Village in English unless it is mentioned in the question.

You can refer to the Speech on Life in an Indian Village in English for Students provided by Vedantu on their website. This speech will give you an idea of how to write a speech and its correct format.

FAQs on Speech on Life in an Indian Village

1. From where can I get the speech on life in an Indian village in English for students?

You can get the Speech on Life in an Indian Village in English For Students from Vedantu’s online learning platform. You can visit our website or download our free mobile application from the app store or play store to get access to this speech. We provide you with an error-free speech prepared by our in-house teachers. Vedantu also has enough study materials for the English language to help you learn the rules of grammar, essay writing, speech writing, and much more. You can rely on these resources for revision and scoring well in the exam.

2. What points should I add in my Speech on life in an Indian village in English?

Before you start writing a speech, you have to research thoroughly on the topic. You must add relevant facts in your speech and avoid going off the topic. While writing a Speech on Life in an Indian Village in English, add points related to the culture and lifestyle of the people living in Indian villages. You can also write about how people living in villages are different from those in the cities. To make the speech more impactful, add your opinions on the topic as well.

3. How to start writing a speech on life in an Indian village in English?

Writing the Speech on Life in an Indian Village in English is not that difficult. You can start by researching on the Internet about the topic. Before you start writing, make sure you know the right format of the speech. It will help you understand how to introduce the reader or listener to the topic. Write your first draft and flesh out all the main ideas you have regarding the topic i.e. Life in an Indian Village. Once you are done writing, you have to proofread your speech and check if there are any grammatical errors. Edit the speech to cut out the irrelevant points and make the speech more pertinent.

4. How many words should my speech on Life in an Indian village in english for students be?

You can write the speech Speech on Life in an Indian Village in English in as many words as you want. Usually, speeches are 500-words long but many people write short speeches that are under 200 words. Try not to focus on the word count while writing a speech. You should just add all the relevant points that you need to convey the message. Moreover, write shorter sentences to make the listener or the reader understand your point easily. Long sentences might confuse or mislead the reader and convey the wrong message.

5. What is the format of writing a speech on life in an Indian village in English for students?

The perfect Speech on Life in an Indian Village in English comprises a heading, opening statement, main body, and a conclusion. Write a catchy heading to your speech in less than 10 words. This heading should immediately catch the reader’s attention so that he/she reads the entire speech. Then, your opening statement must include an introduction and salutations to address the reader or the listener. In the main body, start with an introduction to the topic and explain to your readers about Life in an Indian Village.

Essay on My Village for all Classes in – 100, 150, 200, 300 and 400 + Words

Village life is a canvas painted with simplicity. Here are essays reflecting the beautiful simplicity of village life. These essays are perfect for students of all ages as these are from a brief 100 words to a more detailed 400+ words. Let’s explore the fresh air, green fields, and the unique charm of village life through these essays.

Essay on my village 100 words.

My village is a magical place. The air in my village is fresh and the fields are green. It’s like a big playground under the open sky. We have a river that sparkles in the sunlight. There are trees that dance with the wind.

People in my village are friendly and they are always ready to help with a smile. In the morning, roosters wake us up, and at night, crickets sing us to sleep. We play games in the meadows and go on adventures in the woods. My village may be small, but it’s full of love, laughter, and the joy of simple things. It’s my favorite place in the whole wide world.

Essay on Fundamental Rights
Essay on Summer Vacation
Essay on My Plans for Summer Vacation
Essay on How I Spent My Summer Vacation
Essay on Online Education

Essay on My Village 150 Words

My village is like a small place full of surprises. Every morning, the sun climbs up the hills and wakes up our little world. We’ve got gardens full of all sorts of veggies and bright flowers. There’s a pond, too, right in the middle, where frogs sing their songs. Walking down the streets, you’ll see houses with friendly people who always have a smile on their faces. Kids play outside, running around and laughing, making the village feel even more alive. It’s a place where every day feels special, just because of the simple, happy moments we share.

In our village, animals are our friends. We have cows, dogs and goats that join our daily life. The center of our village is always full of life, where everyone shares stories and smiles around. Our school is small but it’s full of big dreams and lots of laughter. We all learn together. As the day ends, the whole village feels like it’s singing a soft song. Living here is like getting a big, warm hug from nature. It’s not just the people; even the leaves, rocks, and stars in the sky feel like they’re part of our big family.

Online Shopping Advantages and Disadvantages Essay
Essay on Jawahar Lal Nehru
Childhood Lost: Article on Child Labour
Paragraph on Importance of Yoga
Market Scene Essay: A Deep Dive into Market Activities and Demand

Essay on My Village 250 Words

In my village, the day starts with birds singing and leaves whispering . Every street has its own story, and everyone smiles at you like an old friend. There are golden fields in my village where farmers work hard under the big, blue sky. We love to run in our fields. When we run, the wind plays with our hair. On warm days, we cool our feet in the small pond of our village.

Our village playground is the centre of all our laughter. We play a lot there. There’s also an old library here, full of books about all subjects. The bakery nearby always smells like new bread, and we love getting ice cream from the vendors after school. When it’s festival time, the whole village lights up with colors and music, and you can hear the fun sounds all through the night.

In our village, when night comes, it’s like the world sings us a bedtime song. Crickets speak their tunes, and the sky seems like a blanket of twinkling stars. Even though our village is very small, it feels like a whole big world. A world where every day is about joy, where we can dream as big as the endless sky above us.

This place is more than where our houses are. It’s our real home. Every corner and every path has its own story. Each one is special to us. We laugh with friends here. We also have quiet times by ourselves. All these moments come together. They turn our village into a treasure box. A box full of special memories.

Essay on Population in India
My Parents: Paragraph on Parents
Modern Schools: The Vision of Future Schooling. Essay on Future Schools
Paragraph on Road Accident
Paragraph on Village Fair

Essay on My Village 300 Words

A natural paradise.

My village is situated in the heart of the countryside. It is surrounded by vast green fields and beautiful forests. It looks just like a beautiful picture that nature has made. When the day starts, birds sing happy songs. The sun comes up and makes everything look bright and golden. You can smell the sweet flowers and the fresh, wet ground. This makes us feel calm, even when we’re busy.

The Heart of the Community

In our village, being friendly is just what we do. Everyone knows everyone else by their first names. People say Ram Ram with big smiles and open doors. The main road goes right through the middle of the village.

A Relaxing Village Life

Our village has pretty gardens with many flowers and vast green fields. It seems like things are slower here, so everyone feels more relaxed. The market is a lively place with fresh fruits and vegetables in every color you can imagine. People are always chatting and laughing together, telling stories to one another.

Enjoying Simple Moments

In our village, life goes by slowly. We follow the sun rising and setting more than we watch the clock. This slow way of living lets us enjoy little things, like the smell of bread or a quick chat with a neighbor. Even simple jobs can become fun when we take the time to talk and laugh with those around us.

A Rich Blend of Traditions

Our village is more than just a spot on the map. It’s full of traditions and experiences that bring us all closer. We have big meals together that make every celebration feel like a family get-together. We also keep old traditions alive, celebrating them with joy and excitement. These traditions help make our community strong and special, filling our village with the simple but deep happiness of being together.

Living in my village feels like being in a big family. We’re not related by blood, but we all love this beautiful place together.

Essay on Yoga Day in English
Essay on Good Habits
Article on Reading
Essay for Mother’s Day
Essay on Cashless India

Essay on My Village 400+ Words

A look at village life.

The beauty of my village is amazing, like something out of a nature painting. Imagine big green fields everywhere, with old, quiet forests around them. In the morning, a soft fog covers everything, making it look like a storybook place. The middle of the village has a shiny river that twists and turns, showing off the colors of the sky.

There are comfortable houses with straw roofs here and there, surrounded by gardens full of colorful flowers. Everywhere you look is like a picture, filled with bright natural colors, bringing a calm and peaceful feeling to everyone who sees it.

My Village Day-to-Day

In the village, our days move with nature’s own beat. It all starts when the morning comes and the roosters call out, letting everyone know it’s time to wake up. People get up early here, doing their work as the sun moves through the sky. Farmers go to their fields, looking after their plants with a lot of care.

Kids go to school, with their happy voices mixing with the cool morning air. The market gets busy, too, with everyone buying and selling, and the smell of fresh food and the sounds of chatting fill the air. When the evening comes, families sit down to eat together, talking about what happened that day. Then, as night falls and the stars come out, the village gets quiet, and everyone goes home to get ready for another day.

Farming and Family: How Our Village Works

Our village’s way of making a living comes from the land. Farming is what keeps us going. The changing seasons tell us what to do, from putting seeds in the ground, taking care of our plants, to picking the crops when they’re ready. We grow things like wheat, rice, and lots of vegetables.

These not only feed us but also help our local shops. We also have skilled people who make things like pottery and clothes, showing off what our village is all about. Together, farming and making things keep our village strong and able to take care of itself.

We have big parties when it’s time to bring in the crops, turning hard work into fun times with everyone. This mix of old ways and hard work keeps our village life bright, even as the world around us changes. It’s about more than just food; it’s what keeps our village feeling like a big family.

Village Friendships: More Than Just Neighbors

In our village, being part of the community means a lot. It’s not just about where we live. We help each other out in the fields, work together on village projects, and enjoy spending time together. People are always welcome with smiles and hugs all around. Following are the examples

1. Unity in Diversity:

Even though we belong to different backgrounds, still everyone in the village comes together. It’s like we’re making a colorful picture out of many different threads. Our differences make us stronger together.

2. Neighborly Bonds:

People keep their doors and their hearts open, sharing happy times and sad ones too. This makes a strong net of help and friendship that keeps us all close.

3. Festival Connections:

Festivals fill our village with colors and friendship. They bring people back, even from far away, making our connections strong again during these happy times.

4. Shared Traditions:

Old traditions, like harvest festivals and stories told by our grandparents, tie us all closer together. They keep our village’s rich history alive.

5. Helping Hands:

When things get tough, our village stands strong together. Everyone is ready to help out. This shows how we can all face challenges as one big family.

Together We Stand: Unity in Adversity

In tough times, everyone in our village comes together like one big family. We share what we have and lend a hand where it’s needed. This togetherness makes us not just friends, but family. It’s how we get through anything that comes our way.

Harvesting Hope: Celebrating Strength and Solidarity

When the harvest time arrives, it’s like a big party in the village. It’s not just about the crops we’ve grown; it’s about what we can achieve when we work side by side. These celebrations fill us with hope and remind us that together, we are strong.

A Future Woven with Tradition: Carrying Our Legacy Forward

Our village is rich with traditions passed down through generations. We keep these traditions alive by teaching them to our children. From folklore to festivals, these traditions are the threads that connect us to our past and guide us into the future, ensuring our village’s spirit remains vibrant for years to come.

In conclusion, our village is more than just a place on the map; it’s a heartbeat of traditions, unity, and shared dreams. Through the rhythms of daily life, the joy of our festivals, and the strength we find in each other during hard times, we’ve created a community that stands strong and proud.

What do you like about a village?

What things are very good in a village?

Answer – What I like about village life includes several key points:

1. Community Spirit: The sense of community in a village is unmatched. People know each other by name, and there’s a genuine sense of belonging and mutual care. This strong bond creates a supportive and friendly environment.

2. Natural Beauty: Villages are usually in pretty places, with lots of nature around. They have big green fields, woods, rivers, and mountains. This makes everything look nice and peaceful, and it feels refreshing to be there every day.

3. Simpler Living: The pace of life in a village is slower and more relaxed, allowing people to enjoy the little things and live in the moment. This simplicity leads to less stress and a more satisfying way of life.

4. Cultural Richness: Villages are full of old traditions and culture. They have special festivals, handmade things, old stories, and music. These traditions help remember the village’s history and make people feel proud and connected to where they come from.

5. Fresh Food: In villages, people can easily get fresh food that’s grown nearby. This is good because it means eating healthy and also helps take care of the environment.

6. Connection to Nature: Living in a village helps you feel close to nature. You can farm, garden, and do things outside. This helps you care about and understand nature better.

These aspects combine to make village life uniquely fulfilling, offering a blend of social connection, cultural depth, and natural tranquility.

How can we develop a village as a smart village in India?

Answer- Developing a village into a smart village in India involves a few key steps:

1. Improve Infrastructure: Start by upgrading basic facilities like roads, electricity, water supply, and internet access. Good infrastructure is the foundation of a smart village.

2. Education and Healthcare: Focus on providing quality education and healthcare services. Set up schools and healthcare centers with modern facilities and trained professionals.

3. Digital Literacy: Teach villagers how to use digital tools and the internet. This helps them access information, government services, and markets online.

4. Sustainable Farming: Introduce modern and sustainable farming techniques. This can increase crop yields and make farming more eco-friendly.

5. Renewable Energy: Use solar panels, wind turbines, and other renewable energy sources to power the village. This is clean and can save money in the long run.

6. Waste Management: Set up systems for recycling and managing waste properly. This keeps the village clean and healthy.

7. Community Participation: Involve the villagers in planning and decision-making. When people have a say, they’re more likely to support changes.

By working on these areas, a village in India can become smarter, more sustainable, and a better place to live.

EssayBanyan.com – Collections of Essay for Students of all Class in English

Essay on Village Life

The chirping of birds, voices of cattle, lush green fields, the appearance of mud houses and huts, and overall the soothing and pure environment reminds us of the village life. The village life is purely natural and full of liveliness. There is something in the environment that stops us from going away from it. All people in villages live like a family and are always ready to help each other in their needs.

Short and Long Essays on Village Life in English

Find here some related essays on the topic to have a better view of village life.

Village Life Essay 10 Lines (100 – 150 Words)

1) A village life is full of peace and happiness.

2) People in the village live a simple and satisfying life.

3) Village people are more hard-working and helpful.

4) Village life is free from pollution and noise.

5) The real beauty of nature can be experienced in village life.

6) Village life is less expensive than urban life.

7) Village life is good for healthy living.

8) Village life lacks many basic facilities like hospitals, transportation, etc.

9) Village life is far from many technological advantages.

10) The culture and tradition are well preserved by village life.

Essay 1 (250 Words) – Village Life in India

Introduction

Village life is full of simplicity and peace. Villages are blessed with greenery, purity of air, water as well as people. People in the villages live together with love and harmony. They are hard-working and believe in simple life instead of a luxurious one.

Village Life in India

India is the land of villages. More than 60% of the population is residing in villages. Therefore we can say that the strength of India lies in its villages. Life in Indian villages is very interesting and beautiful. The people in the villages are living with a feeling of brotherhood. They are ready to help each other in need. Most of the people in our villages work in their fields as a farmer and others are involved in pottery, carpentry, shop, goldsmith, etc.

The people in villages are living in between animals and nature and therefore they care for them. Women in the villages involve themselves with household and field works. The village people go for less purchasing as they grow most of the vegetable grains in their fields and eat fresh foodstuff. They are very laborious. They value the cultural aspect to a greater extent. They lead a simple life with the ultimate aim of life to be happy and satisfied. They do have many desires instead they are satisfied with what they are blessed with.

Village life is simple and beautiful than cities. People live peacefully and are not being driven in a race of success. It is a better place to give relaxation to our mind and soul, as it is free from noise and is filled with natural beauty.

Essay 2 (400 Words) – Village Life: My Visit to Village

Villages are those areas that have close proximity to nature. Who will not like to enjoy the natural beauty to be observed from closer? The life of people in villages is totally different from people living in cities. People in villages are connected to each other and have a helping nature.

I Like Village Life: My Visit to Village

I am very fond of village life. Villages are blessed with natural beauty and calmness. There, the air is fresh and filled with divine essence. Everywhere we can see greenery. People are connected with each other with a bond of love. They have a better understanding and help each other with their need. People in villages have time for each other.

I used to visit my village during my vacation and enjoyed it a lot. I could get the fresh air free of pollution. Fruits and vegetables were fresh and with original taste. There were a lot of spaces to move around and play. I used to spend a lot of time in my fields and observing the activities going on.

Advantages and Disadvantages of Village Life

Everything in this world is featured with both positive and negative aspects. Village life is no doubt very beautiful and interesting but there are some disadvantages too.

Advantages:

Villages have very little pollution level and therefore have access to pure air, water, and other resources.
People in the villages live in harmony and trust each other.
Village helps in maintaining the ecological balance of nature as it has more greenery and thus compensates for the reduced number of trees in urban areas.
There are plenty of spaces in villages which account for a healthier environment.
Life in villages is secure and also requires less expenditure of money.

Disadvantages:

Many of the villages are yet not get electrified; houses are still lacking toilets which affect sanitation.
Villages face a lack of basic services like good roads, hospitals, and health facilities, and educational institutes. Therefore when any serious conditions occur, the patient has to be taken to nearby cities or hospitals.
The transport system is also not developed in many of the villages. People have to walk miles to get transport facilities.
As people in villages are less educated so they do not maintain proper sanitation, thus become prone to several diseases.
They have a strong belief in superstition and thus easily become victims of fraudsters.

Village life has its own importance but there are some basic services and amenities which should be provided to make life easier in villages. This will improve the living condition of people.

Essay 3 (500 – 600 Words) – Village Life

India is the land of villages. The majority of the population lives in villages. The real beauty lies in these villages. Villages are connecting us with the real beauty of nature. Village life is entirely unique. People living in villages are less tense and lead simple and peaceful life.

Life in a Village

The house in the villages is mainly made up of mud, clay, or bamboo. The life of villagers is signified by hard work. The people of the village entirely depend upon agriculture for money, food and are farmers by profession. They have a habit to wake up early in the morning and go to the fields for work. It is because of our farmers we are getting food every day. People of villages have good stamina and health as they work very hard and that helps them as exercise and secondly, they consume fresh vegetables and fruits.

People in villages live together and trust each other. Crime activities are very less in villages and even people leave their doors open at night. They participate in sorrows and celebrations of each other. People have a love for animals in villages. They also domesticate many animals such as cow, buffalo, hen, goat, etc the animals are also provided with shelter.

We could observe that most of the houses in villages have a large trees in outer space. People in villages are never bothered about anything. They only have the aim to lead a simple life and be happy. There are many schemes launched by the government to improve the condition of the village.

Our Culture, still alive in Villages – Villages preserve our tradition and culture. Our culture is depicted by the people in villages. They wear traditional attire and also perform rituals that are followed by generations.

Education in Villages – Many villages are having primary schools, but there is still a number of villages lacking this facility. There are no well-qualified teachers. There are no higher educational institutions in the villages and therefore children have to move out to cities for attaining higher education. Some people of villages are less educated while many are illiterate too. There are people in villages that do not support educating their children. Educating a girl child is prohibited in many of the villages.

Village Life versus City Life

Life in villages is very simple and calm. The pollution level in villages is very less as there is less technological advancement and industries to pollute the atmosphere. The air is pure to breathe. There are a lot of spaces in which one can play or roam. Villages are free from any kind of traffic or rush. People of villages accompany whenever required. There is a feeling of affinity and love.

City life is not as interesting and peaceful as village life. Life in cities is moving at a faster pace. People living in cities do not have time for people in their neighborhood and are lacking emotion too. The air is not as pure as the village air. Crime activities are also greater in cities. People living in cities when are frustrated with the stress and fast-moving life move to their village for relaxation. Although the benefits of village life are amazing, there are certain aspects where the village is lagging far behind cities. The scope of development and progress is nil in the villages and therefore it is a necessity to move to the city.

Development of Smart Villages in India

It is an initiative taken by central, state, and local governments to adopt different villages by Members of Parliament and Ministers and further work accordingly towards making the village to smart village. The major problem faced by many of the villages is lacking health and education facility, and limited access to technology. The main aim of taking this initiative is to work for the upliftment of the villages and providing a quality of life to the people of villages.

Village life is providing us a glimpse of the culture of a nation. The people of the villages are very affectionate. They give a warm welcome to their guest. An effort must be made to make our villages furnished with essential amenities.

FAQs: Frequently Asked Questions

Ans . The greenery, fresh air, friendly people, less rush, and natural environment are the beauty of villages in India.

Ans . Punsari village situated in Sabarkantha district of Gujarat state is India’s smartest village.

Ans . Gahmar Village in Ghazipur district of Uttar Pradesh state is the largest village in India.

Related Information:

Essay on digital india, cashless india essay, essay on child is father of the man, essay on causes, effects and prevention of corona virus, essay on dr. sarvepalli radhakrishnan, durga puja essay, essay on summer vacation, essay on my plans for summer vacation, essay on holiday, leave a comment cancel reply.

Your email address will not be published. Required fields are marked *

Save my name, email, and website in this browser for the next time I comment.

CBSE Class 10th
CBSE Class 12th
UP Board 10th
UP Board 12th
Bihar Board 10th
Bihar Board 12th
Top Schools in India
Top Schools in Delhi
Top Schools in Mumbai
Top Schools in Chennai
Top Schools in Hyderabad
Top Schools in Kolkata
Top Schools in Pune
Top Schools in Bangalore

Products & Resources

JEE Main Knockout April
Free Sample Papers
Free Ebooks
NCERT Notes
NCERT Syllabus
NCERT Books
RD Sharma Solutions
Navodaya Vidyalaya Admission 2024-25
NCERT Solutions
NCERT Solutions for Class 12
NCERT Solutions for Class 11
NCERT solutions for Class 10
NCERT solutions for Class 9
NCERT solutions for Class 8
NCERT Solutions for Class 7
JEE Main 2024
MHT CET 2024
JEE Advanced 2024
BITSAT 2024
View All Engineering Exams
Colleges Accepting B.Tech Applications
Top Engineering Colleges in India
Engineering Colleges in India
Engineering Colleges in Tamil Nadu
Engineering Colleges Accepting JEE Main
Top IITs in India
Top NITs in India
Top IIITs in India
JEE Main College Predictor
JEE Main Rank Predictor
MHT CET College Predictor
AP EAMCET College Predictor
GATE College Predictor
KCET College Predictor
JEE Advanced College Predictor
View All College Predictors
JEE Main Question Paper
JEE Main Cutoff
JEE Main Answer Key
JEE Main Result
Download E-Books and Sample Papers
Compare Colleges
B.Tech College Applications
JEE Advanced Registration
MAH MBA CET Exam
View All Management Exams

Colleges & Courses

MBA College Admissions
MBA Colleges in India
Top IIMs Colleges in India
Top Online MBA Colleges in India
MBA Colleges Accepting XAT Score
BBA Colleges in India
XAT College Predictor 2024
SNAP College Predictor
NMAT College Predictor
MAT College Predictor 2024
CMAT College Predictor 2024
CAT Percentile Predictor 2023
CAT 2023 College Predictor
CMAT 2024 Registration
TS ICET 2024 Registration
CMAT Exam Date 2024
MAH MBA CET Cutoff 2024
Download Helpful Ebooks
List of Popular Branches
QnA - Get answers to your doubts
IIM Fees Structure
AIIMS Nursing
Top Medical Colleges in India
Top Medical Colleges in India accepting NEET Score
Medical Colleges accepting NEET
List of Medical Colleges in India
List of AIIMS Colleges In India
Medical Colleges in Maharashtra
Medical Colleges in India Accepting NEET PG
NEET College Predictor
NEET PG College Predictor
NEET MDS College Predictor
DNB CET College Predictor
DNB PDCET College Predictor
NEET Application Form 2024
NEET PG Application Form 2024
NEET Cut off
NEET Online Preparation
Download Helpful E-books
LSAT India 2024
Colleges Accepting Admissions
Top Law Colleges in India
Law College Accepting CLAT Score
List of Law Colleges in India
Top Law Colleges in Delhi
Top Law Collages in Indore
Top Law Colleges in Chandigarh
Top Law Collages in Lucknow

Predictors & E-Books

CLAT College Predictor
MHCET Law ( 5 Year L.L.B) College Predictor
AILET College Predictor
Sample Papers
Compare Law Collages
Careers360 Youtube Channel
CLAT Syllabus 2025
CLAT Previous Year Question Paper
AIBE 18 Result 2023
NID DAT Exam
Pearl Academy Exam

Animation Courses

Animation Courses in India
Animation Courses in Bangalore
Animation Courses in Mumbai
Animation Courses in Pune
Animation Courses in Chennai
Animation Courses in Hyderabad
Design Colleges in India
Fashion Design Colleges in Bangalore
Fashion Design Colleges in Mumbai
Fashion Design Colleges in Pune
Fashion Design Colleges in Delhi
Fashion Design Colleges in Hyderabad
Fashion Design Colleges in India
Top Design Colleges in India
Free Design E-books
List of Branches
Careers360 Youtube channel
NIFT College Predictor
UCEED College Predictor
NID DAT College Predictor
IPU CET BJMC
JMI Mass Communication Entrance Exam
IIMC Entrance Exam
Media & Journalism colleges in Delhi
Media & Journalism colleges in Bangalore
Media & Journalism colleges in Mumbai
List of Media & Journalism Colleges in India
CA Intermediate
CA Foundation
CS Executive
CS Professional
Difference between CA and CS
Difference between CA and CMA
CA Full form
CMA Full form
CS Full form
CA Salary In India

Top Courses & Careers

Bachelor of Commerce (B.Com)
Master of Commerce (M.Com)
Company Secretary
Cost Accountant
Charted Accountant
Credit Manager
Financial Advisor
Top Commerce Colleges in India
Top Government Commerce Colleges in India
Top Private Commerce Colleges in India
Top M.Com Colleges in Mumbai
Top B.Com Colleges in India
IT Colleges in Tamil Nadu
IT Colleges in Uttar Pradesh
MCA Colleges in India
BCA Colleges in India

Diploma Colleges

Top Diploma Colleges in Maharashtra
UPSC IAS 2024
SSC CGL 2024
IBPS RRB 2024
Previous Year Sample Papers
Free Competition E-books
Sarkari Result
QnA- Get your doubts answered
UPSC Previous Year Sample Papers
CTET Previous Year Sample Papers
SBI Clerk Previous Year Sample Papers
NDA Previous Year Sample Papers

Upcoming Events

NDA Application Form 2024
UPSC IAS Application Form 2024
CDS Application Form 2024
CTET Admit card 2024
HP TET Result 2023
SSC GD Constable Admit Card 2024
UPTET Notification 2024
SBI Clerk Result 2024

Other Exams

SSC CHSL 2024
UP PCS 2024
UGC NET 2024
RRB NTPC 2024
IBPS PO 2024
IBPS Clerk 2024
IBPS SO 2024
Top University in USA
Top University in Canada
Top University in Ireland
Top Universities in UK
Top Universities in Australia
Best MBA Colleges in Abroad
Business Management Studies Colleges

Top Countries

Study in USA
Study in UK
Study in Canada
Study in Australia
Study in Ireland
Study in Germany
Study in China
Study in Europe

Student Visas

Student Visa Canada
Student Visa UK
Student Visa USA
Student Visa Australia
Student Visa Germany
Student Visa New Zealand
Student Visa Ireland
CUET PG 2024
IGNOU B.Ed Admission 2024
DU Admission 2024
UP B.Ed JEE 2024
DDU Entrance Exam
IIT JAM 2024
IGNOU Online Admission 2024
Universities in India
Top Universities in India 2024
Top Colleges in India
Top Universities in Uttar Pradesh 2024
Top Universities in Bihar
Top Universities in Madhya Pradesh 2024
Top Universities in Tamil Nadu 2024
Central Universities in India
CUET Exam City Intimation Slip 2024
IGNOU Date Sheet
CUET Mock Test 2024
CUET Admit card 2024
CUET PG Syllabus 2024
CUET Participating Universities 2024
CUET Previous Year Question Paper
CUET Syllabus 2024 for Science Students
E-Books and Sample Papers
CUET Exam Pattern 2024
CUET Exam Date 2024
CUET Syllabus 2024
IGNOU Exam Form 2024
IGNOU Result
CUET Courses List 2024

Engineering Preparation

Knockout JEE Main 2024
Test Series JEE Main 2024
JEE Main 2024 Rank Booster

Medical Preparation

Knockout NEET 2024
Test Series NEET 2024
Rank Booster NEET 2024

Online Courses

JEE Main One Month Course
NEET One Month Course
IBSAT Free Mock Tests
IIT JEE Foundation Course
Knockout BITSAT 2024
Career Guidance Tool

Top Streams

IT & Software Certification Courses
Engineering and Architecture Certification Courses
Programming And Development Certification Courses
Business and Management Certification Courses
Marketing Certification Courses
Health and Fitness Certification Courses
Design Certification Courses

Specializations

Digital Marketing Certification Courses
Cyber Security Certification Courses
Artificial Intelligence Certification Courses
Business Analytics Certification Courses
Data Science Certification Courses
Cloud Computing Certification Courses
Machine Learning Certification Courses
View All Certification Courses
UG Degree Courses
PG Degree Courses
Short Term Courses
Free Courses
Online Degrees and Diplomas
Compare Courses

Top Providers

Coursera Courses
Udemy Courses
Edx Courses
Swayam Courses
upGrad Courses
Simplilearn Courses
Great Learning Courses

Access premium articles, webinars, resources to make the best decisions for career, course, exams, scholarships, study abroad and much more with

Plan, Prepare & Make the Best Career Choices

My Village Essay

Life in metropolitan cities can be exciting and very happening, but life in villages has an entirely different vibe with its countryside atmosphere. The simplicity, peace and purity of a village is wonderful and unbeatable. I come from a small Himalayan village, Lamahatta, popularly known for its beauty. Here are a few sample essays on the topic ‘my village’ .

100 Words on My Village Essay in English

200 words on my village essay, 500 words on my village essay.

The name of my village is Lamahatta. It is a small village present in the outskirts of North Bengal. I was born and brought up in Lamahatta. Lamahatta is well known for its lush pine forests, vast stretches of Darjeeling tea garden and the views of the snow-capped mountains. It is also a tourist destination. My village remains cool all through the year. The number of people residing in Lamahatta is not more than 1000. The villagers are very helpful. The majority of the women are tea-plantation workers whereas men work in construction. A pucca road runs through the entire village with small decorated houses on each side of the road. I love my village and its people.

I come from a village named Lamahatta. The village is located at a very high altitude nearly about 5000 feet above sea level. Lamahatta is a very small village of only 1000 residents. My village has become one of the tourist destinations because of its pleasant climate and natural beauty. Lamahatta has vast stretches of tea plantations and beautiful pine forests. These forests smell refreshing and sweet due to the presence of terpenes on them. My father used to take me to the village every year during my school holidays. I used to spend the entire holidays amidst the silence of the pine forests in a little concrete house with my mother, father and my brother.

The chirping of birds all throughout the day, and the light cool breeze used to amaze me and freshen up our minds. Here in my village, the houses are beautifully decorated with orchids and other flowers. Life in a village is very different from that in urban cities. Away from the hustle and bustle of the city, Lamahatta has always been peaceful. The people of my village are very helpful and lovable. In the evening, after the completion of work, every woman in the village meets in a small community hall where they have a small get-together. We celebrate each and every festival with great enthusiasm.

Everyone loves their native birthplace and so do I. I was born in a village named Lamahatta located at an altitude of 5000 feet near Darjeeling, the Queen of Hills in North Bengal. 'Lama' in Lamahatta stands for a Buddhist monk and 'Hatta’ means a hut. So basically Lamahatta means a monk's hermitage. Lamahatta is an offbeat location known for its lush green pine trees and large stretches of tea gardens with a beautiful view of the mountains. Due to this, my village has become a famous tourist destination mainly during the summers and the springs.

Life In A Village | Life in my village is quite different from that in urban cities. Here, it is slower and more peaceful. People live together and lead very simple lives. We mostly stay away from the continuous hustle and bustle of urban life. My village is greener and one can feel the freshness of the air.

About My Village

The people of my village are generally tribals belonging to the Sherpas, Tamangs, Bhutias and Dukpas . They work hard every day in order to make Lamahatta a clean, simple place and attractive place to live in. I belong to the Bhutia tribe. In my house, I have my parents and my small brother. My mother works as a tea plantation worker whereas my father works at a construction site. The occupations of the people in my village are plantation workers, homestay caretakers, dhaba managers and construction workers.

Places Of Attraction | My village people, along with the support of the government, have made this an eco-tourism place. Lamahatta contributes a good amount to North Bengal tourism. People from other countries often visit my village during the summer. Besides the natural beauty, the pleasant weather makes Lamahatt a dream place and an ideal place to live in. There are many exciting places for sightseeing here. We have the Lamahatta Eco Park , a roadside garden, monasteries among the woods, trekking facilities to Sacred Pond, the Gari Danda Fort and most importantly the huge tea plantations. My village serves as the connecting route between Darjeeling and Kalimpong . We also have ‘machan’, a wooden watchtower from where we can view the entire Lamahatta. The Eco park consists of about hundreds of colorful flags. My father says that the wind blowing through these flags is considered to purify the souls and minds of the people.

Christmas Celebration in Lamahatta

We celebrate all the festivals in my village but Christmas is specially celebrated with huge pomp and gaiety. Each house is decorated with lanterns and lights. All the kids have Christmas tree decoration competitions among themselves where the best tree decorator is awarded fancy gifts by the other villagers. On Christmas eve , all the villagers meet at a common place near Eco Park where we dance and dine together. I love my village because it is peaceful and serene. Lamahatta holds a number of my childhood memories. Living here makes me relive all those magical moments. It feels good to stay here. The natural beauty of my village always amazes me.

Explore Career Options (By Industry)

Construction
Entertainment
Manufacturing
Information Technology

Data Administrator

Database professionals use software to store and organise data such as financial information, and customer shipping records. Individuals who opt for a career as data administrators ensure that data is available for users and secured from unauthorised sales. DB administrators may work in various types of industries. It may involve computer systems design, service firms, insurance companies, banks and hospitals.

Bio Medical Engineer

The field of biomedical engineering opens up a universe of expert chances. An Individual in the biomedical engineering career path work in the field of engineering as well as medicine, in order to find out solutions to common problems of the two fields. The biomedical engineering job opportunities are to collaborate with doctors and researchers to develop medical systems, equipment, or devices that can solve clinical problems. Here we will be discussing jobs after biomedical engineering, how to get a job in biomedical engineering, biomedical engineering scope, and salary.

Ethical Hacker

A career as ethical hacker involves various challenges and provides lucrative opportunities in the digital era where every giant business and startup owns its cyberspace on the world wide web. Individuals in the ethical hacker career path try to find the vulnerabilities in the cyber system to get its authority. If he or she succeeds in it then he or she gets its illegal authority. Individuals in the ethical hacker career path then steal information or delete the file that could affect the business, functioning, or services of the organization.

GIS officer work on various GIS software to conduct a study and gather spatial and non-spatial information. GIS experts update the GIS data and maintain it. The databases include aerial or satellite imagery, latitudinal and longitudinal coordinates, and manually digitized images of maps. In a career as GIS expert, one is responsible for creating online and mobile maps.

Data Analyst

The invention of the database has given fresh breath to the people involved in the data analytics career path. Analysis refers to splitting up a whole into its individual components for individual analysis. Data analysis is a method through which raw data are processed and transformed into information that would be beneficial for user strategic thinking.

Data are collected and examined to respond to questions, evaluate hypotheses or contradict theories. It is a tool for analyzing, transforming, modeling, and arranging data with useful knowledge, to assist in decision-making and methods, encompassing various strategies, and is used in different fields of business, research, and social science.

Geothermal Engineer

Individuals who opt for a career as geothermal engineers are the professionals involved in the processing of geothermal energy. The responsibilities of geothermal engineers may vary depending on the workplace location. Those who work in fields design facilities to process and distribute geothermal energy. They oversee the functioning of machinery used in the field.

Database Architect

If you are intrigued by the programming world and are interested in developing communications networks then a career as database architect may be a good option for you. Data architect roles and responsibilities include building design models for data communication networks. Wide Area Networks (WANs), local area networks (LANs), and intranets are included in the database networks. It is expected that database architects will have in-depth knowledge of a company's business to develop a network to fulfil the requirements of the organisation. Stay tuned as we look at the larger picture and give you more information on what is db architecture, why you should pursue database architecture, what to expect from such a degree and what your job opportunities will be after graduation. Here, we will be discussing how to become a data architect. Students can visit NIT Trichy , IIT Kharagpur , JMI New Delhi .

Remote Sensing Technician

Individuals who opt for a career as a remote sensing technician possess unique personalities. Remote sensing analysts seem to be rational human beings, they are strong, independent, persistent, sincere, realistic and resourceful. Some of them are analytical as well, which means they are intelligent, introspective and inquisitive.

Remote sensing scientists use remote sensing technology to support scientists in fields such as community planning, flight planning or the management of natural resources. Analysing data collected from aircraft, satellites or ground-based platforms using statistical analysis software, image analysis software or Geographic Information Systems (GIS) is a significant part of their work. Do you want to learn how to become remote sensing technician? There's no need to be concerned; we've devised a simple remote sensing technician career path for you. Scroll through the pages and read.

Budget Analyst

Budget analysis, in a nutshell, entails thoroughly analyzing the details of a financial budget. The budget analysis aims to better understand and manage revenue. Budget analysts assist in the achievement of financial targets, the preservation of profitability, and the pursuit of long-term growth for a business. Budget analysts generally have a bachelor's degree in accounting, finance, economics, or a closely related field. Knowledge of Financial Management is of prime importance in this career.

Underwriter

An underwriter is a person who assesses and evaluates the risk of insurance in his or her field like mortgage, loan, health policy, investment, and so on and so forth. The underwriter career path does involve risks as analysing the risks means finding out if there is a way for the insurance underwriter jobs to recover the money from its clients. If the risk turns out to be too much for the company then in the future it is an underwriter who will be held accountable for it. Therefore, one must carry out his or her job with a lot of attention and diligence.

Finance Executive

Product manager.

A Product Manager is a professional responsible for product planning and marketing. He or she manages the product throughout the Product Life Cycle, gathering and prioritising the product. A product manager job description includes defining the product vision and working closely with team members of other departments to deliver winning products.

Operations Manager

Individuals in the operations manager jobs are responsible for ensuring the efficiency of each department to acquire its optimal goal. They plan the use of resources and distribution of materials. The operations manager's job description includes managing budgets, negotiating contracts, and performing administrative tasks.

Stock Analyst

Individuals who opt for a career as a stock analyst examine the company's investments makes decisions and keep track of financial securities. The nature of such investments will differ from one business to the next. Individuals in the stock analyst career use data mining to forecast a company's profits and revenues, advise clients on whether to buy or sell, participate in seminars, and discussing financial matters with executives and evaluate annual reports.

A Researcher is a professional who is responsible for collecting data and information by reviewing the literature and conducting experiments and surveys. He or she uses various methodological processes to provide accurate data and information that is utilised by academicians and other industry professionals. Here, we will discuss what is a researcher, the researcher's salary, types of researchers.

Welding Engineer

Welding Engineer Job Description: A Welding Engineer work involves managing welding projects and supervising welding teams. He or she is responsible for reviewing welding procedures, processes and documentation. A career as Welding Engineer involves conducting failure analyses and causes on welding issues.

Transportation Planner

A career as Transportation Planner requires technical application of science and technology in engineering, particularly the concepts, equipment and technologies involved in the production of products and services. In fields like land use, infrastructure review, ecological standards and street design, he or she considers issues of health, environment and performance. A Transportation Planner assigns resources for implementing and designing programmes. He or she is responsible for assessing needs, preparing plans and forecasts and compliance with regulations.

Environmental Engineer

Individuals who opt for a career as an environmental engineer are construction professionals who utilise the skills and knowledge of biology, soil science, chemistry and the concept of engineering to design and develop projects that serve as solutions to various environmental problems.

Safety Manager

A Safety Manager is a professional responsible for employee’s safety at work. He or she plans, implements and oversees the company’s employee safety. A Safety Manager ensures compliance and adherence to Occupational Health and Safety (OHS) guidelines.

Conservation Architect

A Conservation Architect is a professional responsible for conserving and restoring buildings or monuments having a historic value. He or she applies techniques to document and stabilise the object’s state without any further damage. A Conservation Architect restores the monuments and heritage buildings to bring them back to their original state.

Structural Engineer

A Structural Engineer designs buildings, bridges, and other related structures. He or she analyzes the structures and makes sure the structures are strong enough to be used by the people. A career as a Structural Engineer requires working in the construction process. It comes under the civil engineering discipline. A Structure Engineer creates structural models with the help of computer-aided design software.

Highway Engineer

Highway Engineer Job Description: A Highway Engineer is a civil engineer who specialises in planning and building thousands of miles of roads that support connectivity and allow transportation across the country. He or she ensures that traffic management schemes are effectively planned concerning economic sustainability and successful implementation.

Field Surveyor

Are you searching for a Field Surveyor Job Description? A Field Surveyor is a professional responsible for conducting field surveys for various places or geographical conditions. He or she collects the required data and information as per the instructions given by senior officials.

Orthotist and Prosthetist

Orthotists and Prosthetists are professionals who provide aid to patients with disabilities. They fix them to artificial limbs (prosthetics) and help them to regain stability. There are times when people lose their limbs in an accident. In some other occasions, they are born without a limb or orthopaedic impairment. Orthotists and prosthetists play a crucial role in their lives with fixing them to assistive devices and provide mobility.

Pathologist

A career in pathology in India is filled with several responsibilities as it is a medical branch and affects human lives. The demand for pathologists has been increasing over the past few years as people are getting more aware of different diseases. Not only that, but an increase in population and lifestyle changes have also contributed to the increase in a pathologist’s demand. The pathology careers provide an extremely huge number of opportunities and if you want to be a part of the medical field you can consider being a pathologist. If you want to know more about a career in pathology in India then continue reading this article.

Veterinary Doctor

Speech therapist, gynaecologist.

Gynaecology can be defined as the study of the female body. The job outlook for gynaecology is excellent since there is evergreen demand for one because of their responsibility of dealing with not only women’s health but also fertility and pregnancy issues. Although most women prefer to have a women obstetrician gynaecologist as their doctor, men also explore a career as a gynaecologist and there are ample amounts of male doctors in the field who are gynaecologists and aid women during delivery and childbirth.

Audiologist

The audiologist career involves audiology professionals who are responsible to treat hearing loss and proactively preventing the relevant damage. Individuals who opt for a career as an audiologist use various testing strategies with the aim to determine if someone has a normal sensitivity to sounds or not. After the identification of hearing loss, a hearing doctor is required to determine which sections of the hearing are affected, to what extent they are affected, and where the wound causing the hearing loss is found. As soon as the hearing loss is identified, the patients are provided with recommendations for interventions and rehabilitation such as hearing aids, cochlear implants, and appropriate medical referrals. While audiology is a branch of science that studies and researches hearing, balance, and related disorders.

An oncologist is a specialised doctor responsible for providing medical care to patients diagnosed with cancer. He or she uses several therapies to control the cancer and its effect on the human body such as chemotherapy, immunotherapy, radiation therapy and biopsy. An oncologist designs a treatment plan based on a pathology report after diagnosing the type of cancer and where it is spreading inside the body.

Are you searching for an ‘Anatomist job description’? An Anatomist is a research professional who applies the laws of biological science to determine the ability of bodies of various living organisms including animals and humans to regenerate the damaged or destroyed organs. If you want to know what does an anatomist do, then read the entire article, where we will answer all your questions.

For an individual who opts for a career as an actor, the primary responsibility is to completely speak to the character he or she is playing and to persuade the crowd that the character is genuine by connecting with them and bringing them into the story. This applies to significant roles and littler parts, as all roles join to make an effective creation. Here in this article, we will discuss how to become an actor in India, actor exams, actor salary in India, and actor jobs.

Individuals who opt for a career as acrobats create and direct original routines for themselves, in addition to developing interpretations of existing routines. The work of circus acrobats can be seen in a variety of performance settings, including circus, reality shows, sports events like the Olympics, movies and commercials. Individuals who opt for a career as acrobats must be prepared to face rejections and intermittent periods of work. The creativity of acrobats may extend to other aspects of the performance. For example, acrobats in the circus may work with gym trainers, celebrities or collaborate with other professionals to enhance such performance elements as costume and or maybe at the teaching end of the career.

Video Game Designer

Career as a video game designer is filled with excitement as well as responsibilities. A video game designer is someone who is involved in the process of creating a game from day one. He or she is responsible for fulfilling duties like designing the character of the game, the several levels involved, plot, art and similar other elements. Individuals who opt for a career as a video game designer may also write the codes for the game using different programming languages.

Depending on the video game designer job description and experience they may also have to lead a team and do the early testing of the game in order to suggest changes and find loopholes.

Radio Jockey

Radio Jockey is an exciting, promising career and a great challenge for music lovers. If you are really interested in a career as radio jockey, then it is very important for an RJ to have an automatic, fun, and friendly personality. If you want to get a job done in this field, a strong command of the language and a good voice are always good things. Apart from this, in order to be a good radio jockey, you will also listen to good radio jockeys so that you can understand their style and later make your own by practicing.

A career as radio jockey has a lot to offer to deserving candidates. If you want to know more about a career as radio jockey, and how to become a radio jockey then continue reading the article.

Choreographer

The word “choreography" actually comes from Greek words that mean “dance writing." Individuals who opt for a career as a choreographer create and direct original dances, in addition to developing interpretations of existing dances. A Choreographer dances and utilises his or her creativity in other aspects of dance performance. For example, he or she may work with the music director to select music or collaborate with other famous choreographers to enhance such performance elements as lighting, costume and set design.

Social Media Manager

A career as social media manager involves implementing the company’s or brand’s marketing plan across all social media channels. Social media managers help in building or improving a brand’s or a company’s website traffic, build brand awareness, create and implement marketing and brand strategy. Social media managers are key to important social communication as well.

Photographer

Photography is considered both a science and an art, an artistic means of expression in which the camera replaces the pen. In a career as a photographer, an individual is hired to capture the moments of public and private events, such as press conferences or weddings, or may also work inside a studio, where people go to get their picture clicked. Photography is divided into many streams each generating numerous career opportunities in photography. With the boom in advertising, media, and the fashion industry, photography has emerged as a lucrative and thrilling career option for many Indian youths.

An individual who is pursuing a career as a producer is responsible for managing the business aspects of production. They are involved in each aspect of production from its inception to deception. Famous movie producers review the script, recommend changes and visualise the story.

They are responsible for overseeing the finance involved in the project and distributing the film for broadcasting on various platforms. A career as a producer is quite fulfilling as well as exhaustive in terms of playing different roles in order for a production to be successful. Famous movie producers are responsible for hiring creative and technical personnel on contract basis.

Copy Writer

In a career as a copywriter, one has to consult with the client and understand the brief well. A career as a copywriter has a lot to offer to deserving candidates. Several new mediums of advertising are opening therefore making it a lucrative career choice. Students can pursue various copywriter courses such as Journalism , Advertising , Marketing Management . Here, we have discussed how to become a freelance copywriter, copywriter career path, how to become a copywriter in India, and copywriting career outlook.

In a career as a vlogger, one generally works for himself or herself. However, once an individual has gained viewership there are several brands and companies that approach them for paid collaboration. It is one of those fields where an individual can earn well while following his or her passion.

Ever since internet costs got reduced the viewership for these types of content has increased on a large scale. Therefore, a career as a vlogger has a lot to offer. If you want to know more about the Vlogger eligibility, roles and responsibilities then continue reading the article.

For publishing books, newspapers, magazines and digital material, editorial and commercial strategies are set by publishers. Individuals in publishing career paths make choices about the markets their businesses will reach and the type of content that their audience will be served. Individuals in book publisher careers collaborate with editorial staff, designers, authors, and freelance contributors who develop and manage the creation of content.

Careers in journalism are filled with excitement as well as responsibilities. One cannot afford to miss out on the details. As it is the small details that provide insights into a story. Depending on those insights a journalist goes about writing a news article. A journalism career can be stressful at times but if you are someone who is passionate about it then it is the right choice for you. If you want to know more about the media field and journalist career then continue reading this article.

Individuals in the editor career path is an unsung hero of the news industry who polishes the language of the news stories provided by stringers, reporters, copywriters and content writers and also news agencies. Individuals who opt for a career as an editor make it more persuasive, concise and clear for readers. In this article, we will discuss the details of the editor's career path such as how to become an editor in India, editor salary in India and editor skills and qualities.

Individuals who opt for a career as a reporter may often be at work on national holidays and festivities. He or she pitches various story ideas and covers news stories in risky situations. Students can pursue a BMC (Bachelor of Mass Communication) , B.M.M. (Bachelor of Mass Media) , or MAJMC (MA in Journalism and Mass Communication) to become a reporter. While we sit at home reporters travel to locations to collect information that carries a news value.

Corporate Executive

Are you searching for a Corporate Executive job description? A Corporate Executive role comes with administrative duties. He or she provides support to the leadership of the organisation. A Corporate Executive fulfils the business purpose and ensures its financial stability. In this article, we are going to discuss how to become corporate executive.

Multimedia Specialist

A multimedia specialist is a media professional who creates, audio, videos, graphic image files, computer animations for multimedia applications. He or she is responsible for planning, producing, and maintaining websites and applications.

Quality Controller

A quality controller plays a crucial role in an organisation. He or she is responsible for performing quality checks on manufactured products. He or she identifies the defects in a product and rejects the product.

A quality controller records detailed information about products with defects and sends it to the supervisor or plant manager to take necessary actions to improve the production process.

Production Manager

A QA Lead is in charge of the QA Team. The role of QA Lead comes with the responsibility of assessing services and products in order to determine that he or she meets the quality standards. He or she develops, implements and manages test plans.

Process Development Engineer

The Process Development Engineers design, implement, manufacture, mine, and other production systems using technical knowledge and expertise in the industry. They use computer modeling software to test technologies and machinery. An individual who is opting career as Process Development Engineer is responsible for developing cost-effective and efficient processes. They also monitor the production process and ensure it functions smoothly and efficiently.

AWS Solution Architect

An AWS Solution Architect is someone who specializes in developing and implementing cloud computing systems. He or she has a good understanding of the various aspects of cloud computing and can confidently deploy and manage their systems. He or she troubleshoots the issues and evaluates the risk from the third party.

Azure Administrator

An Azure Administrator is a professional responsible for implementing, monitoring, and maintaining Azure Solutions. He or she manages cloud infrastructure service instances and various cloud servers as well as sets up public and private cloud systems.

Computer Programmer

Careers in computer programming primarily refer to the systematic act of writing code and moreover include wider computer science areas. The word 'programmer' or 'coder' has entered into practice with the growing number of newly self-taught tech enthusiasts. Computer programming careers involve the use of designs created by software developers and engineers and transforming them into commands that can be implemented by computers. These commands result in regular usage of social media sites, word-processing applications and browsers.

Information Security Manager

Individuals in the information security manager career path involves in overseeing and controlling all aspects of computer security. The IT security manager job description includes planning and carrying out security measures to protect the business data and information from corruption, theft, unauthorised access, and deliberate attack

ITSM Manager

Automation test engineer.

An Automation Test Engineer job involves executing automated test scripts. He or she identifies the project’s problems and troubleshoots them. The role involves documenting the defect using management tools. He or she works with the application team in order to resolve any issues arising during the testing process.

Applications for Admissions are open.

Aakash iACST Scholarship Test 2024

Get up to 90% scholarship on NEET, JEE & Foundation courses

JEE Main Important Chemistry formulas

As per latest 2024 syllabus. Chemistry formulas, equations, & laws of class 11 & 12th chapters

SAT® | CollegeBoard

TOEFL ® Registrations 2024

Thinking of Studying Abroad? Think the TOEFL® test. Register now & Save 10% on English Proficiency Tests with Gift Cards

Resonance Coaching

Enroll in Resonance Coaching for success in JEE/NEET exams

NEET 2024 Most scoring concepts

Just Study 32% of the NEET syllabus and Score upto 100% marks

Everything about Education

Latest updates, Exclusive Content, Webinars and more.

Download Careers360 App's

Regular exam updates, QnA, Predictors, College Applications & E-books now on your Mobile

Cetifications

We Appeared in

Essay on Village Life in 300, 400, 500, 600 Words for Class 1-10

Village life is a very important topic to write an essay on. That’s why we are sharing some beautiful essays of village life for class 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, and 12. Here is a short essay in 10 lines too.

In This Blog We Will Discuss

Essay on Village Life in 300 Words

Introduction:

Village life is very different from city life. Lots of people prefer this life over city life because of a few reasons. First of all, now all the facilities that people get in the big cities are available in the villages .

The Internet and electricity are the two most important things that can bring a huge change. And these two are available in the villages now. Even the better road is making the communication system better.

Village Life:

Village life is simple and very peaceful. When someone is living in a village, he can spend his time the way he wants. There are lots of wide areas to spend time with. The air is so fresh. It will allow you to take a deep breath without any fear of pollution.

In the village, there is no air pollution. The air is clean and safe for everyone. There are lots of advantages that have made village life interesting. The food, the living quality, and lot more things has made this amazing.

Why Do People Love to Live in the Village?

People love to live in the village due to some reasons. I am providing these reasons here with you. The first reason is the food quality. You will find all types of fresh vegetables, fruits, or fishes here in the village.

And that’s almost impossible in the city. The people are very friendly here. You can make friends with anyone. They are ready to spend time with you too.

Conclusion:

I love village life a lot because I have spent so many years in a village. I have seen the real scene of the village from very near and I loved it by heart and soul.

Essay on Life in A Village in 400 Words

Some people find it very relaxing and better to live in a village. India is a country based on villages. The majority population is living in the countryside. Village life is very much passionate and amazing. Here is a complete view of life in the village.

Life in a Village:

Life in the village is full of simplicity and peace. Almost every place is full of natural beauty in villages. Most of the villages have a beautiful river or a hill beside it. It looks amazing when the village is located near a river.

It is possible to get fresh air and oxygen here. The drinking water is clean and free of pollution. And most importantly, life is calm and very simple. There are wide areas to roam around and spend time. Another important part of village life is food.

It is possible to get fresh fruits and vegetables. That is almost impossible in the cities. That’s a huge advantage of village life over city life . Food habits are highly important for our health and body. People live in villages as a joint family .

Most of the time, they don’t break down in different micro families. That thing helps people to live near each other. It improves relationships too. They can take care of each other. Different types of pollution are a huge problem in city life.

But you don’t need to face any type of pollution in the village. The air, the water, and the soil are pollution-free.

People of Village:

The village peoples are the most important part of a village. Most of the villagers are simple and easy to understand. They live a very simple life with low income. Most of the time they work in the fields and grow crops.

Right now, the village has all the facilities and that’s why people are getting educated and doing better jobs there. It is helping to improve the infrastructure of the village. That’s how we can bring a huge change in the system and will be able to stop migration problems.

If we can make enough job opportunities in the village area, then people won’t run in the cities. It will lower the population problem in big cities.

Village life is amazing and it’s fascinating. I am sure you will love this life. Because when you are living in a village, you are out of worries and tensions.

Essay on Village Life in 500 Words

Introduction:

There is a different type of appreciation in village life. People get simplicity and freshness when they live in a village. Lots of people think that it’s not possible to get most of the facilities of cities in the village. But it’s not true.

Right now the villages are improving with different types of facilities. India is a country based on villages. We have more than a half-million villages in the country. But still, there are lots of rural areas where you won’t get some basic facilities.

These underprivileged areas should be improved. We can stop the migration to cities by investing in villages.

People live in villages with huge brotherhood. They know each other and greet each other when they meet. There is better socialization in villages than in cities. The social community is so strong. They celebrate different types of festivals such as Holi , Eid , or Baisakhi with lots of enthusiasm and dedication.

They come together and celebrate every festival with lots of fun. They are not very modern according to their lifestyle, but still, there are lots of rich families who live a standard life. Most of the people in the village live under the poverty level.

They make money as a day-labor or work in the field. It’s hard to manage a better job in the village. That’s why people try to find their luck in the cities. If the government invests in the rural areas and makes working opportunities then villages will be way better.

Who Should Live in a Village?

Village life is not for everyone. There are certain people who pursue this life. When a person wants to stay away from a busy life, then he should move to a village. The village is free from air pollution , traffic jams, noise, etc.

A person can live peacefully here. It’s easy to make friends here. People are really friendly. If a person thinks he can match that type of calm situation then the village is the perfect place for him.

Is Village Life Safe?

This is a very common question people ask before moving into a village. They think if the village is safe or not. The village is completely safe. You have to ensure your security and it’s better to move to your native village where you have all your relatives and friends. Even the city life is way riskier than village life.

Is Village Life Better than City Life?

Yes, village life is better than city life for certain peoples. If you compare both places according to living quality, then you can find the difference. It’s possible to build a house life city in the village, but it’s not possible to get fresh air in the cities.

There are lots of problems in the cities that a normal human can’t solve. We already have better air, a better environment in the village.

Village life is amazing and enjoyable. When a person truly loves a village then he can’t stay away.

Essay on Village Life in 600 Words

Village life is always easy and simple. There are lots of people in the world who love to stay away from all the noise of cities. A village is a perfect place for them to live. It is possible to live there peacefully with harmony.

Today I will share my view of village life as a villager. I have been living in a village for 5 years and I know the difference between city and village life. Lots of people ignore villages as their primary residence because they lack lots of facilities. But is it true? I don’t think so, let’s learn more from this essay.

My Village:

I am a villager and my village’s name is Mohonpur. It is located in Bihar. It’s a big village with around 4000 people. It’s my native village and all of my ancestors are from this place. We moved to Mumbai a long time back, but we returned here a few years ago.

We have all the relatives and family friends here. We are having an amazing life. There is a beautiful river beside my village. It’s really fascinating for me. I love to swim there. Our village has two schools and a college for education .

People are very aware of education. They send their kids to school and colleges. We don’t need to go far for better education. Even lots of students come here from different nearby villages. We have a big village market too.

People come here to buy and sell their products. Overall life is pretty amazing here. We have better roads and transportation services for moving one place to another. We don’t have traffic jams, electricity problems, or environmental issues. The air is very fresh here.

Advantages of Village Life:

There are lots of advantages of village life. The village people are very friendly. It’s easy to make a friend. They will find time for you. They love to chat and hangout. When you greet people in a good way, they will respect you a lot.

Life is very simple and peaceful there. You can live without any hassle or problems. The food is amazing there. You will find every type of fruit, vegetables, fishes, or meat and they are fresh. I love to eat village vegetables. When I stay there, I go to a different village garden to buy vegetables.

It’s so relaxing. The fishermen are catching fish from the river and you can get completely fresh fish from them. The environment is great. You can take a long and deep breath on pollution-free air. Overall there are tons of advantages of village life and I can’t complete writing here.

Disadvantages of Village Life:

Along with lots of advantages, there are some disadvantages too. Some villages are very unprivileged. They don’t have electricity, gas, or a proper education system. I can tell you about some neighboring villages.

They don’t have electricity and that has made their life very hard. It’s a fault of the system and government. We need to make our village able to live for everyone. The migration problem is getting huge in our country for fewer facilities in villages.

People have a high intention to move to the cities. But we can make our villages amazing. The village has less opportunity for making a job or working space. If you want to get a better job, then you need to go to the city for sure.

Conclusion:

That’s all about village life. Village life is perfect for lots of people. You can match there too if you want to lead a simple and easy life. The government should invest in villages to make jobs there. It could change the entire country.

10 Lines Essay on Village Life

1. Village life is very different from city life. It is way more simple and peaceful.

2. All the city facilities are available now in the villages. That’s why most people prefer to live in villages.

3. Village life is simple and free of pollution. If you live in a city, you must face air pollution. And it causes different types of diseases.

4. But the air is very fresh in the village, you can take a deep breath there.

5. People living in villages are stronger and they have better health conditions.

6. It is possible to get fresh food in the village.

7. People are very friendly.

8. It’s always natural and the area is wide. You can spend your time anywhere.

9. Village life is a lot better with no traffic jams and other hustle and bustle.

10. I love village life very much.

What is village life?

To learn more about village life, read these ‘Essay of Village Life’.

Is village life better than city life?

Almost, yes. There are lots of advantages that you will find in the village life and it’s completely impossible to get in city life. But most of the city life facilities are available now in the villages. That’s why it is logical to claim village life is better than city life.

More Essays:

Essay on Freedom of the Press in 600 Words for Students
Essay on Internet Advantages and Disadvantages for Class 1-12
Essay on Winter Season in 200, 300, 400, 500, 600 Words for Class 1-12
Essay on Internet in 300, 400, 500, 600 Words for Class 1-12
Essay on Good Manners in 300, 400, 500, 600 Words for Class 1-10
Essay on Early Rising in 300, 400, 500, 600 Words for Class 1-10
Essay on Advantages and Disadvantages of Mobile Phone for Class 1-12
Essay on My Favourite Teacher in 400, 500, 600, 700 Words for Class 1-12
Value of Education Essay in 300, 400, 500, 600, 700 Words for Class 1-12
Essay on Childhood Memories in 200, 300, 400, 500, 600 Words
Essay on My Favourite Book in 200, 300, 400, 500, 600 Words
Essay on My Father in 300, 400, 500, 600, 700 Words for Class 1-10
Essay on My Village in 200, 300, 400, 500, 600 Words for Class 1-10
Essay on My Daily Routine | 200, 300, 400, 500 Words for Class 1-10
Essay on My Home in 200, 300, 400, 500, 600 Words for All Classes
Essay on My Dream in 200, 300, 400, 500, 600 Words for Students
Importance of Reading Newspaper Essay | For All Classes
Essay on Importance of Games and Sports: 200, 300, 400, 500, 600 Words
A Rainy Day Essay: 100, 200, 300, 400, 500 Words

Essay on Importance of Computer for All Students
Essay on Social Media for School and College Students
Essay on Female Education: For All Students
Essay on Aim in Life | 100, 150, 300, 500 Words Paragraphs and Essays

1 thought on “Essay on Village Life in 300, 400, 500, 600 Words for Class 1-10”

Pingback: A Moonlit Night Paragraph in 100, 150, 200 Words for Class 1-10

Comments are closed.

25,000+ students realised their study abroad dream with us. Take the first step today

Meet top uk universities from the comfort of your home, here’s your new year gift, one app for all your, study abroad needs, start your journey, track your progress, grow with the community and so much more.

Verification Code

An OTP has been sent to your registered mobile no. Please verify

Thanks for your comment !

Our team will review it before it's shown to our readers.

School Education /

Essay on School in 500 Words in English for Students

Updated on
Apr 15, 2024

A school is an educational institution where students are taught basic lessons. This was the dictionary definition of a school. The real meaning of school goes beyond this statement. In different languages and cultures, the school is known by different names; Gurukul, Escola, Vidhyalaya, Escuala, etc. But did you know that in every language, the meaning of school remains the same? In India, school is known as ‘Shiksha ka Mandir’, meaning the temple of knowledge. On this page, we will be discussing an essay on school in 500 words.

Table of Contents

1.1 Importance of Going to School
1.2 Benefits of School in Our Lives
1.3 Conclusion
2 10-line Essay on School

Quick Read: Essay on My School

‘Cultivation of mind should be the ultimate aim of human existence.’ – BR Ambedkar

School plays an important role in our lives. From an early age, every child must go to school. In India, going to school is a fundamental right under Article 21A of the Indian Constitution. It states that every child who is between 6 and 14 years of age must study in school. The Government of India has made several efforts to make education accessible and affordable to everyone. Today, there are more than 14.9 lakh schools in the country, where more than 20 crore children are studying.

Importance of Going to School

Everybody must go to school in their early childhood. It lays the foundation for knowledge and creates a friendly environment where students can learn and grow along with other children.

A student who starts school at an early age will be able to deal with real-world problems in a better way than someone who starts late.
The social environment offered by the school is very important. It allows us to develop crucial social skills such as communication, teamwork, and conflict resolution.
By going to school, we develop and understand our skills and interests. What subjects and activities we like and dislike are determined by going to school and understanding them.
Some students are proficient in Mathematics, Science, Geography, History, etc. Then others are skilled in extracurricular activities. Schools allow us to understand our skills according to our interests and aptitudes.
Going to school also makes us aware of our cultural heritage, traditions, and values. They encourage appreciation for diversity and promote cultural understanding and tolerance.

‘The function of education is to teach one to think intensively and to think critically. Intelligence plus character – that is the goal of true education.’ – Martin Luther King Jr.

Quick Read: My Village Essay in 600 Words in English for Students

Benefits of School in Our Lives

There are several benefits of going to school, from becoming an ideal student to gaining success in life.

Schools are responsible for making a country’s future secure. The more educated students and people there are, the better a country will grow.
Schools can offer better career opportunities in life. When we study and score better marks, we are offered job opportunities by public and private institutions.
Schools make us aware of who we are and what we want to achieve for ourselves and our country.
What we study in school will determine our future. Education prepares us for future challenges and offers us the right knowledge, skills, and adaptability needed to become successful.
By going to school, we can engage in physical and healthy activities and develop new skills.
Schools are hubs of community life, connecting students with teachers, and school staff.

Schools are not just about studying for long hours and sitting in classrooms. They offer us multiple opportunities to learn, grow, and become successful. Some students like studying different subjects, some are interested in sports, and some enjoy extracurricular activities. This diverse environment makes school a special place. Every student is offered the opportunity to understand his/ her strengths and weaknesses and improve them. Schools are very important. They make us what we want to become.

Quick Read: Essay on My Vision for India in 600+ Words in English for Students

10-line Essay on School

Here is a 10-line essay on school.

A school is known as the ‘Temple of Knowledge’.
Schools are responsible for making a country’s future secure.
Going to school in India until the age of 14 is a Constitutional Right in India.
By going to school, we develop and understand our skills and interests.
What subjects and activities we like and dislike are determined by going to school and understanding them.
Schools can offer better career opportunities in life. When study and score better marks, we are offered job opportunities by public and private institutions.
They offer us multiple opportunities to learn, grow, and become successful.
Our teachers help us achieve our goals and become successful in life.

Ans: School plays an important role in our lives. From an early age, every child must go to school. In India, going to school is a fundamental right under Article 21A of the Indian Constitution. It states that every child who is between 6 and 14 years of age, must study in school.

Ans: Schools are responsible for making a country’s future secure. The more educated students and people there are, the better a country will grow. Schools can offer better career opportunities in life. Schools make us aware of who we are and what we want to achieve for ourselves and our country. What we study in school will determine our future.

Ans: A school is known as the ‘Temple of Knowledge’. Schools are responsible for making a country’s future secure. Schools make us aware of who we are and what we want to achieve for ourselves and our country. Going to school in India until the age of 14 is a Constitutional Right in India. By going to school, we develop and understand our skills and interests.

Shiva Tyagi

With an experience of over a year, I've developed a passion for writing blogs on wide range of topics. I am mostly inspired from topics related to social and environmental fields, where you come up with a positive outcome.

Connect With Us

25,000+ students realised their study abroad dream with us. Take the first step today.

Resend OTP in

Need help with?

Study abroad.

UK, Canada, US & More

IELTS, GRE, GMAT & More

Scholarship, Loans & Forex

Country Preference

New Zealand

Which English test are you planning to take?

Which academic test are you planning to take.

Not Sure yet

When are you planning to take the exam?

Already booked my exam slot

Within 2 Months

Want to learn about the test

Which Degree do you wish to pursue?

When do you want to start studying abroad.

January 2024

September 2024

What is your budget to study abroad?

How would you describe this article ?

Please rate this article

We would like to hear more.

Have something on your mind?

Make your study abroad dream a reality in January 2022 with

India's Biggest Virtual University Fair

Essex Direct Admission Day

Why attend .

Don't Miss Out

ICE SPICE's First LP

From debuts to do-overs, what it means to start an artistic life — at any age

Letter From the Editor

A cover of T: The New York Times Style Magazine's April 21, 2024 Culture issue, with the heading "Beginners. From debuts to do-overs, what it means to start an artistic life — at any age." On the cover is Ice Spice, with orange hair, wearing a black ruched top with one shoulder strap and a crucifix necklace.

Clockwise from top left: Ice Spice, Sky Lakota-Lynch, Meg Stalter, Tyla, Sarah Pidgeon and Titus Kaphar.

T’s Culture issue looks at artistic beginnings in all their forms.

By Hanya Yanagihara

The First Stroke

A painting of a nude woman turning away from two men who are leaning over a balcony, with one whispering in the other's ear.

Artemisia Gentileschi’s “Susanna and the Elders” (1610).

Why, even as they progress in their practices, all artists remain perpetual beginners.

By Aatish Taseer

David Kershenbaum, wearing an open shirt and sunglasses, sits next to Tracy Chapman, wearing a jean jacket, in front of a control board in a recording studio.

Tracy Chapman (right).

Lester Cohen/Getty Images

Musicians, writers and others on the work that started it all for them — and on what, if anything, they’d change about it now.

Interviews by Lovia Gyarkye and Nicole Acheampong

When These Two First Worked Together

Marc Jacobs and Cindy Sherman.

Love, spats, splits and enduring affinity: creative partnerships that have stood the test of time.

Interviews by Ella Riley-Adams, Nick Haramis, Nicole Acheampong, Julia Halperin and Coco Romack

Begin Again

Jordi Roca.

Video by Anna Bosch Miralpeix

What it’s like to make new art after many years or amid new challenges — or to change careers completely.

Interviews by Michael Snyder, M.H. Miller and Emily Lordi

When the Beginning Is Also the End

Miguel Adrover.

Catarina Osório de Castro

People who found great creative success in one field — before life took them in a totally different direction.

By John Wogan and M.H. Miller

J u v e n i l i a

Do Ho Suh’s “Tiger Mask” (1971).

Courtesy of the artist © Do Ho Suh

What artists see when they look back at work they made in their youth.

Interviews by Julia Halperin, Kate Guadagnino and Juan A. Ramírez

A first album, a first restaurant, a first time on Broadway: Ten debuts happening right now.

Interviews by Juan A. Ramírez and Emily Lordi

How It Begins

Jenny Holzer.

Photographs by Nicholas Calcott

The very first steps, whether you’re an actor getting into character or an artist presenting the survey of your life’s work.

Interviews by Laura May Todd

The Beginners’ Hall of Fame

A floral painting against a purple background.

Tabboo!’s “Lavender Garden” (2023).

Courtesy of the artist, Karma and Gordon Robichaux

Six people who found a new creative calling later in life — or for whom recognition was long overdue.

By Jason Chen

Advice on Beginning

Kim Gordon.

Laura Levine/Corbis, via Getty Images

Ten creative minds on how to start, pivot and productively procrastinate.

Interviews by Kate Guadagnino

Courtesy of Joseph Dirand Architecture

We asked 80 artists and other creative people to tell us what they’re starting right now or hope to start very soon.

T’s Culture Issue: Beginners.

An exploration of artistic beginnings in all their forms.

There’s a reason all of us — magazine editors in particular, perhaps, but not only us — love an artistic debut. It’s not just that those releasing their first album, book or movie, or having their first gallery exhibit or Broadway show, are usually young; it’s that they embody that most delicious and evanescent of qualities: promise. Any painter could be the next Rothko or Basquiat; any singer could be the next Joni or Aretha. There the new artist sits, poised between our expectations and their unwritten reality. Becoming emotionally invested in an untested creative life is like becoming financially invested in an exciting new company — should they (or it) work, the reward is not just theirs but ours. “See?” we tell ourselves. “We knew it all along.”

But the real test of being an artist isn’t the first album, book, movie or Broadway show, as significant as those accomplishments are. It’s what happens after. All artists know that living a true creative life means facing an endless series of beginnings: It’s starting over after setbacks; it’s pushing forward through doubt and despair; it’s trying again when someone tells you no; it’s slogging ahead when no one seems to like or care about what you make; it’s ignoring the voice inside you that tells you to stop; it’s striving and failing, again and again and again. There is no point of complete security, no award or recognition that bestows total confidence — a life in art means that, to some degree, you’re starting anew every day. As the novelist Andrew Holleran tells T, “Writing is basically unconscious, and you don’t get any smarter about it. Imagine a brain surgeon who didn’t learn from each operation? We’d be horrified. But when you sit down to write, you’re always wondering how to do it.”

On the covers, clockwise from top left: ICE SPICE wears a Burberry dress, $2,290, burberry.com ; Graff necklace, price on request, graff.com ; and her own earrings and ring. Photographed by Shikeith. Styled by Ian Bradley. Makeup by Karina Milan at the Wall Group. SKY LAKOTA-LYNCH wears a Canali coat, $3,060, canali.com ; and a Bode jacket, $1,080, bode.com . Photographed by Shikeith. Styled by Delphine Danhier. Hair by Tsuki at Streeters. Makeup by Jamal Scott for YSL Beauty. MEG STALTER . Photographed by Shikeith. Styled by Delphine Danhier. Hair by Tiago Goya at Home Agency using Oribe. Makeup by Holly Silius at R3-MGMT. TYLA wears a Ferragamo top, $1,190, and earrings, $730, ferragamo.com . Photographed by Shikeith. Styled by Sasha Kelly. Hair by Christina “Tina” Trammell. Makeup by Jamal Scott for YSL Beauty. SARAH PIDGEON wears a Gucci dress, $24,500, gucci.com . Photographed by Shikeith. Styled by Delphine Danhier. Hair by Tsuki at Streeters. Makeup by Jamal Scott for YSL Beauty. TITUS KAPHAR wears a Saint Laurent by Anthony Vaccarello coat, $4,900, ysl.com . Photographed by Shikeith. Styled by Delphine Danhier. Hair by Tsuki at Streeters. Makeup by Jamal Scott for YSL Beauty.

In this issue, we look at what it means for an artist to begin, from actual debuts (such as Sky Lakota-Lynch, one of our cover stars, who’s appearing this spring in “The Outsiders,” his first original Broadway role) to do-overs (such as Jon Bon Jovi, about to embark on tour after throat surgery and a 40-year career, or the cabaret performer turned visual artist Justin Vivian Bond). And though the artists who appear in these pages are all different, they share a spirit of generosity: It’s no easy thing to give voice to your dreams and insecurities, much less to do so publicly. Their collective perseverance — a mix of dogged determination and wild hope — is a reminder for all of us that a creative life, that all life, takes nerve. It takes humility. It takes a kind of arrogance that sees you through the most barren periods.

And by the way: You don’t need to be young to lead a creative life. All you have to do is start. Start — and then never stop.

On March 12, as we were readying this issue to go to press, one of our colleagues, Carter Love, T’s senior photography editor, died. He was 41.

Being a good photo editor demands taste and a sense of coordination. For a fashion or celebrity shoot, they, along with the creative director and style director, assemble teams: the photographer, of course, but also the stylist, models, hair and makeup artists and set designers. For a travel story, the photo editor selects and hires the fixer, the photographer, the location scout, the translator and the transportation. Once on set, a photo editor stays until the very end of the shoot, even if the shoot goes all day. Carter worked on these — and many other — kinds of stories, often simultaneously; in this issue alone, he produced a dozen images, from the portrait of the longtime collaborators Cindy Sherman and Marc Jacobs to the picture of the fashion designer turned photographer Miguel Adrover.

Along with his native senses of taste and coordination, Carter was — crucially — able to laugh at the absurdities, the unexpected little (and not-so-little) disasters that inevitably arise during a shoot, no matter how thorough the planning: rain on a day when sun was predicted; equipment stuck in customs; a subject’s last-minute cancellation. He had a big laugh, resonant and full, which everyone in the office could hear; at work parties, he sometimes broke into song. In addition to his big laugh, he had a big voice. He was tall and wiry and quick moving, with magnificent red hair — I’d often look up from my desk and see his head and torso streaking across the top of the cubicle walls, hurrying off somewhere.

One of Carter’s most used phrases was “absolutely.” Could I see more options from this shoot? “Absolutely.” Could I have a list of the talent that had already confirmed? “Absolutely.” Thanks, Carter, for this new information. “Absolutely.”

Barely a week after his death, that word keeps beating in my head. Will we always ask ourselves why he had to die? Absolutely. Were we lucky to work with him? Absolutely. Will we miss him? Absolutely. Absolutely. Absolutely.

Digital production and design: Danny DeBelius, Amy Fang, Chris Littlewood, Coco Romack, Carla Valdivia Nakatani and Jamie Sims.

ONE EVENING 17 years ago, V.S. Naipaul came to dinner at my flat in Delhi. The writer, who had become something of a mentor to me, was transfixed by a painting I had bought a few years before. It was a self-portrait, over 7 feet tall and 5 feet wide. “I find it hypnotic,” Naipaul said, filing away spoonfuls of yellow dal. Observing the beauty of the hand clasped (as if in horror) over the mouth, the thumb livid against the dark hollows of the eyes, he added of the artist, “This is someone who has really seen, who has gone back again and again to see.”

Listen to this article, read by Neil Shah

I was at the beginning of my writing career, using my first advances to collect a few works of art. It was thrilling to have someone with as discerning an eye as Naipaul’s — “the brilliant noticer,” in the words of the literary critic James Wood — approve of “How Did You Sleep?” (2002), but it also made me sad. Its creator, Zack, who’d been a close friend at Amherst College in Massachusetts in the late 1990s, had recently given up painting, and “How Did You Sleep?” had become a symbol to me of the precarity of what it means to get started as an artist.

The Italian artist Artemisia Gentileschi was 17 in 1610 when she painted “Susanna and the Elders” (above). She went on to be the 17th century’s most accomplished female painter.

Zack, now 43, was of a mixed-race background from Topeka, Kan. After struggling with feelings of inferiority in our first year related to his public school education, he taught himself to paint from scratch. I would visit him and watch as he, dressed in paint-stained khakis and New Balance sneakers, toiled away at the self-portraits that were his trademark. He was a model to me of artistic labor and discipline, even if those early paintings were painfully amateurish.

Then, in our last semester, having been abroad a while, I entered Fayerweather Hall for the art department’s end-of-year show and saw “How Did You Sleep?” I was dumbstruck. I’m not sure I would’ve even been able to recognize it as Zack’s work — so prodigious had been his development as a painter — if it hadn’t been a self-portrait. Painted in the wake of 9/11, it showed the artist in a blue shirt with an expression of prophetic terror, as if watching a disaster foretold. I remember wanting to own it because it was proof, like none I had ever had before, that there really did exist such a thing in the world as raw talent. I persuaded Zack to sell it to me. The painting followed me from Amherst to my first job in New York, and on to London and Delhi.

By the time Naipaul saw it, Zack was working in strategic and financial communications in New York and no longer painting — “Every notary bears within him the debris of a poet,” Gustave Flaubert tells us. “My new job is intense,” Zack had written to say. “It’ll be good for a few years, but it’s not a career.” But neither was art; and Zack, who works as a researcher at Google now, was my first fearful example of how that mythical thing we call talent is real, and how talent alone isn’t enough.

IT WASN’T MY intention to start an essay about artistic beginnings with a story of artistic death. I love those romantic tales of creative daring and breakthrough: the English travel writer and novelist Bruce Chatwin quitting his job at The Sunday Times of London’s magazine with a simple telegram that read, “Have gone to Patagonia”; or, more dramatically, Paul Gauguin abandoning his wife, kids and job as a salesman to pursue his dream of being a painter. I love the improbability of the lives that could not have been: Salman Rushdie, the adman; W. Somerset Maugham, the doctor; the director Kathryn Bigelow, renovating dilapidated apartments in New York with the then-obscure composer Philip Glass. I remember Arundhati Roy teaching my mother and aunt aerobics in the basement of the Taj Palace Hotel in New Delhi before going on to win the Booker Prize for her debut novel, “The God of Small Things” (1997). It’s exhilarating to see destiny pick those who could but only have been artists out of the mundanity of their lives and light the way to a life of vocation.

I’m especially moved by those first moments of validation by which an artist comes out to himself, as it were. Consider Joseph Conrad in his mid-30s, working aboard the ship Torrens, with the manuscript of his first novel, “Almayer’s Folly” (1895). It had acquired, he writes in “A Personal Record” (1912), “a faded look and an ancient, yellowish complexion.” At sea, Conrad met his first reader, Jacques, a “young Cambridge man.” “Well, what do you say?” Conrad, brimming with anxiety, asked his new friend. “Is it worth finishing?” “ ‘Distinctly,’ he answered, in his sedate, veiled voice,” Conrad recalls years later, “and then coughed a little.” With that one word, Jacques, who was soon to be carried away by a fatal cold, had given a seafaring Polish exile a vital nod of encouragement. “The purpose instilled into me by his simple and final ‘Distinctly,’” writes Conrad, one of literature’s late bloomers (he was 38 when he published his first novel), “remained dormant, yet alive to await its opportunity.”

This quiet admission to oneself, as sacred as the vows of priesthood, of wanting to undertake the creative life is a necessary step; but like talent, it’s not enough. To be an artist is not a private act but a public one. No artist is born into a vacuum, or later speaks into one. They are as much a product of the society they emerge from as a response to it. Nor is artistic expression all spirit, all feeling. As Naipaul has frequently noted, writers require a complex edifice of interlocking parts — an infrastructure, if you will — to thrive. More broadly speaking, all successful artists rely on a network of critics, journals and newspapers, a discerning audience, bookshops and concert halls and galleries — which is generations in the making, presupposing certain values, certain economic and political realities. The Ukrainian-born novelist Clarice Lispector came of age in the Brazil of the 1920s. At 13, she “consciously claimed the desire to write,” as her biographer Benjamin Moser quotes her in “Why This World” (2009), but no sooner had she claimed her destiny than she felt herself in a void. The idea of vocation had been instilled in her, but that didn’t mean she knew how to proceed. “Writing was always difficult for me,” Lispector once wrote, “even though I had begun with what is known as vocation. Vocation is different from talent. One can have vocation and not talent; one can be called and not know how to go.”

Lispector had both vocation and talent, but what makes any artist’s first steps so tentative is that the path forward is narrower than we imagine. We come into the world believing we can be a great many things (and for a great many this is true) but, for those destined to be artists, the creative choices they make are almost as limited as the choice of being an artist itself. Maugham wanted to demystify the impulse that had him give up medicine to answer his calling as a novelist. “I am a writer as I might have been a doctor or a lawyer,” he writes in “The Summing Up,” his 1938 literary memoir, but, soon after that, despite himself, Maugham stumbles on that aspect of the artistic life that eludes banalization, for it’s truly mysterious — namely, the bond between the artist and his subject. “Though the whole world,” writes Maugham, “with everyone in it and all its sights and events, is your material, you yourself can only deal with what corresponds to some secret spring in your own nature.”

A painting of a skull next to an hourglass with flowers, butterflies and bubbles around it.

“Vanitas Still Life” (circa 1665-70) by Jan van Kessel the Elder, who was from a long line of celebrated Flemish painters — Pieter Bruegel the Elder was his great-grandfather — and was perhaps destined to be an artist.

It’s this, the inexorability of the correspondence between an artist and the world, that gives those first steps their magical quality. It represents a rebirth so profound that it can often entail the killing off of a former self. One of my literary heroes, the writer Rebecca West — the author of that magisterial work of travel, inquiry and sympathy “Black Lamb and Grey Falcon: A Journey Through Yugoslavia” (1940) — was abandoned (as I was) by her father as a child. In late Victorian England, it left her with an exaggerated regard for what were seen as male qualities, as well as the need to compensate for their absence. “Men, she felt,” writes J.R. Hammond in “H.G. Wells and Rebecca West” (1991), his biography of their romantic and literary relationship, “should be strong and dependable; deep inside herself she sensed they were not to be trusted.” These gendered dynamics were surely at work as West, first making her way in the world at age 20, sloughed off the softer given name of Cissie Fairfield to adopt, as a pseudonym, the name of the spirited protagonist of Henrik Ibsen’s play “Rosmersholm” (1886).

No artist is without this set of special circumstances. They are the ground from which the need for expression arises. The path forward comes upon the artist-in-waiting with the power of certain mathematical proofs, elegant, inevitable, at once simple and inscrutable. “Falling in love for the first time and getting started as a writer,” my friend the writer Karan Mahajan, 39, the author of the novels “Family Planning” (2008) and “The Association of Small Bombs” (2016), replied by email when I asked him what it had been like for him, “both things happened at once for me. Suddenly, I had my material, and it encompassed all aspects of my life: my childhood in Delhi; immigration to the United States as a student; a future decided by plane journeys. I could love myself as the other loved me.”

For the Pakistani-born American painter Salman Toor, 40, the moment when, he says, “something vital clicked into place” meant that he suddenly found himself in “a direct relationship” between the things he was thinking and talking about every day and the paintings he was at work on. “In 2016,” he says, “I did a few paintings out of a need to be completely honest with myself. I wanted to illustrate the stories I was bursting to tell. A lot of these stories were about coming out and showing the excitement, anxieties and challenges of belonging to multiple cultures and living a cute little life in the East Village.”

The date surprised me. I had been aware of Toor’s work for almost a decade before this moment. To me, he was the painter of a certain kind of South Asian disquiet. No one captured the massive cultural and economic disparities of my life in Delhi (and his in Lahore) like Toor. Upon scenes of revelry and privilege — a party, a picnic, a rich westernized couple frolicking out of doors with a glass of wine and an iPhone — he would, in the form of servants in the background looking on, introduce an element of unease that hinted at the fragility of the societies we lived in. But quite unbeknown to me, Toor’s life in New York had opened up a new vein of material. To put it another way, he had begun again. And this is what we tend to forget: In the careers of certain artists, those who make big, varied bodies of work in which different strands of their experience are subsumed, the business of beginning, and beginning again, never ceases. Each new beginning brings with it all the uncertainty and blankness of the first. Experience might protect such an artist from forcing what’s clearly not working, but that core anxiety of not knowing if one will create again always remains. “Do not worry,” Hemingway would console himself, “you have always written before and you will write now.”

WHAT CONSTITUTES A beginning? In the common conception, it’s the first book, the first album, the first show at a major gallery. Yet an artist has myriad private ways in which they mark moments of true breakthrough. My childhood friend the sitarist and composer Anoushka Shankar, 42, regards her fourth album as her first. She had grown up under the influence of her mighty father, Ravi Shankar, the man credited with having introduced Indian classical music to the West. Every artist struggles with what the literary critic Harold Bloom has called the anxiety of influence but, in Anoushka’s case, it was even more pronounced. As she told me, Ravi Shankar was “my guru, my teacher, my father.” It was he who had composed her first three albums.

Ravi, before he went on to become the greatest sitarist of his generation, had been part of a dance troupe led by his brother Uday, which caused a sensation in the Europe and America of the 1930s. “Hindu thought, alive, authentic, in flesh and bone, in sound, gesture and spirit,” is how the French mystic René Daumal describes the Shankar troupe in his book “Rasa” (1982), but Ravi was conflicted. He eventually broke with the troupe and dedicated himself entirely to the sitar. “He had a real directional shift that I didn’t have,” Anoushka says. Her beginnings, though she was six decades younger than her father, were in a sense more traditional. They entailed the surprise of finding newness within tradition. “I think my journey,” she says, “was more progressively finding how the thing that was in front of me — the sitar, namely — the thing that had been given to me, could be my outlet, could be my voice.”

A coda to this intergenerational tale of artistic beginnings is the story of Anoushka’s half sister, Norah Jones, who spent years of her childhood estranged from her father and grew up in Texas with her American mother. At a time when both Anoushka and I were discovering our half siblings, I remember going to see Norah play at little-known clubs on the Lower East Side of Manhattan. She was staking claim to what felt like a genetic destiny in music, though in a tradition entirely different from that of her father and sister. I don’t know if I’ve ever witnessed beginnings as meager and transformational as these for, not long after, Norah’s debut album, “Come Away With Me” (2002), was released; it went on to win five Grammys, sell 30 million copies and all but save the piracy-shattered music industry.

We live in a society that prizes the individual above all else but, in the art of premodern Europe and classical India, to begin as an artist didn’t necessarily entail breaking with tradition, nor was it given to every artist to be original. “Raphael was adept at this,” writes Rachel Cusk in her travel memoir “The Last Supper: A Summer in Italy” (2009), in which she describes the Italian Renaissance painter’s relationship to his first guru, Perugino. Raphael had become so good at imitating Perugino, Cusk tells us, that the copies of his master’s work were indistinguishable from the originals. The art of pastiche, of inhaling the influence of an older admired artist so completely that it enters your soul, exists today, too. The South African writer J.M. Coetzee’s early works owe a huge debt to Samuel Beckett, as Rushdie’s do to Gabriel García Márquez and Thomas Pynchon’s to James Joyce. The difference in the modern era is that influence is something we must shrug off in order to become our own people, yet not everyone can. Cusk deals very movingly with Raphael’s quest (and ultimate failure) to be his own man. In a field crowded with giants such as Michelangelo and Leonardo da Vinci, he “retreated behind the mask of humility, never to come out again.” But far from this being his downfall as an artist, it, too, was a kind of beginning. “In the end,” writes Cusk, “his borrowing of such greatness amounted to greatness itself. Not everyone who sees a Michelangelo can go off and paint a Michelangelo.”

THERE ARE SO many ways to begin. I said it wasn’t my intention to open with a story of artistic death, but I never explained why I did. The reason is that after six books, and 20 years after writing my first publishable sentences, stamina, endurance and the ability to stay the course have come to mean at least as much to me as that first raw efflorescence of talent. If Zack’s story acquired the force of parable for me, it was because it showed me the vanity of our preoccupation with talent. Many with fewer gifts who are yet more steadfast go on to have brilliant careers as artists. There’s an undeniable mystery in why some among us become artists, but there’s a greater mystery to me still in those who survive the vicissitudes of creative life, leaving behind bodies of work through which there runs an arc of growth as sublime as the vaulting of a Gothic cathedral.

A true artist always brings something new into the world. A new color, a new complexion, a new way of looking — a “new kind of beauty,” to use Marcel Proust’s phrase for the special distinctiveness he felt that Fyodor Dostoyevsky had brought to literature. We make the mistake of thinking of that newness as an externality, a scaffolding, a mere matter of style. But in fact, the originality we detect on the surface is an emanation from the birth of a new idea. It’s something far more radical, far more unnerving, than we are prepared to accept. Real artists bring about real rupture. We want to domesticate the discomfort that makes us feel but, deep down, we know the old rules no longer apply; and for one fleeting moment, our world, with us in it, is laid bare, transfigured by the imagination of someone who has dared to see it anew.

Read by Neil Shah. Narration produced by Emma Kehlbeck. Engineered by Quinton Kamara

Amy Tan , 72, writer, on “The Joy Luck Club” (1989)

Amy Tan holds Daisy Tan's right elbow with her left hand. They are walking down the a sidewalk and smiling.

Tan with her mother, Daisy Tan, in San Francisco in 1989. The author’s 11th book, “The Backyard Bird Chronicles,” a collection of illustrated essays, is out this month.

Robert Foothorap

I was a business writer [of marketing materials for companies and brochures for their employees] in the mid-1980s and, even though I was successful, I was unhappy. I wasn’t doing anything meaningful. Writing fiction allowed me, through subterfuge, to access emotional realms that I hadn’t explored before. When you write your first novel, you tend to include a lot of autobiographical elements. “The Joy Luck Club” [about the lives of four Chinese immigrant women and their American-born daughters] became deeply personal without my knowing it. I wasn’t consciously writing about racism or generational divides, even though that’s exactly what I was writing about. At that time [Tan was 37 when the book came out], I was just trying to find a story.

A cover of the book "The Joy Luck Club" with illustrations of dragons and a mirrored cloud-like pattern.

People got all kinds of things out of it. They said it saved their marriage or helped their relationships. I felt wonderful about that, but I couldn’t take credit. I didn’t intend to write a book that was going to improve people’s lives. That would’ve been a noble pursuit but, to do that, I’d have had to come up with a book that was very different — less spontaneous and honest. Without a doubt, what made me proudest was that my mother read it. She wasn’t proficient in English, but she understood it more than anybody else. — L.G.

Avril Lavigne , 39, musician, on “Let Go” (2002)

Avril Lavigne sits cross-legged on an office chair wearing headphones with a microphone in front of her face.

Lavigne at a recording studio in Cologne, Germany, in 2002. The musician’s new tour, “Avril Lavigne: The Greatest Hits,” begins next month.

Fryderyk Gabowicz/Picture Alliance/Getty Images

I remember going into the studio and people trying to tell me what to do or how my music should be, but I knew what I wanted to create. “Let Go” reflects how I felt as a young girl coming into the music industry. I was 15 when I got signed and 16 when I made that album. I had all this angst and rebellion, and I wanted to be expressive in that tone. But the adults around me kept delivering cheesy song ideas, and I wasn’t feeling the way people were playing the guitar. It was all too light and fluffy; that’s the stuff that made me run.

The cover for Avril Lavigne's Let Go album, with the text in a scratched font, and a blurred cover image of Lavigne, wearing all navy, with her arms crossed, standing on the street.

Courtesy of Sony Music Entertainment and Avril Lavigne

When I went to Los Angeles and connected with [the album’s co-writers Lauren Christy, Graham Edwards and Scott Spock of] the Matrix and Clif Magness, they were way cooler and more open-minded. Lauren and I spent a lot of time together. I sat with her in the backyard on a picnic blanket writing “Complicated”; we really connected. I was finally understood. The production was a little poppy for me. If I had to redo the album today, I’d tweak some things here and there production-wise and apply some of my experience from the past 20 years. Still, the important songs like “Sk8er Boi” and “Complicated” rocked enough — they had the live guitar and drums — and “I’m With You” wasn’t too polished. On songs like “Unwanted” and “Losing Grip,” we really went all the way — no holding back. — L.G.

Chloë Sevigny , 49, actress, on “Kids” (1995)

Chloë Sevigny turns to face the camera. Behind her are various theme park attractions, including a ferris wheel and a carousel.

Sevigny at the Jersey Shore in 1995. The actress, who has appeared in over 50 features, recently shot “Bonjour Tristesse,” an upcoming adaptation of the 1954 Françoise Sagan novel.

From left: Lila Lee-Morrison; © Shining Excalibur Pictures/courtesy of Everett Collection

A poster for the movie "Kids", showing the letters K-I-D-S overlaid over four portraits of actors in, respectively, red, blue, green and yellow.

I still find the marketing around “Kids” [about a day in the life of some wayward New York City teenagers] a little outrageous: “The most shocking film of the year!” “A must-see!” But it worked. A lot of us making it thought of it as a cautionary tale, but so many kids have come up to me and said, “That’s why I moved to New York. I wanted to live that life.” I was an amateur [at 19, when I made the film]. I knew the cinematographer, Eric Alan Edwards. He’d shot [Gus Van Sant’s 1991 movie] “My Own Private Idaho,” and I thought the acting in that was impeccable. I trusted that if something [in my performance] was false, he’d say something. I don’t know why, but I just gave myself over to [Edwards and the director, Larry Clark]; I trusted that they wanted to get to the truth of things.

The hardest scene for me to shoot was when [my character, 15-year-old Jennie] is at the clinic receiving information that she’d contracted H.I.V. I thought, “How does one even begin to try to act that?” I was very tentative. If I were to approach that scene now, I think I’d have the confidence to try more things — one take crying, others doing this and that. At the time, I was trying to be as real as I thought I could be on camera with a crew around me.

I’m surprised that “Kids” is still making such an impact, but I’m also not. Afterward, I thought, “OK, this set a bar. These are the kinds of people I want to work with.” — N.A.

A photo of five people posing for a photograph. Stephen King wears a green shirt and a jacket and holds a baby who is drinking from a bottle.

King, the author of over 70 books, with his wife, Tabitha, and their children (from left) Joe, Owen and Naomi at their house in Orrington, Maine, in 1979. His next book, a short-story collection titled “You Like It Darker,” will be published in May.

James Leonard

Stephen King , 76, writer, on “Carrie” (1974)

One of my rules about writing is similar to a rule in [the card game] Hearts: If it’s laid, it’s played. I have a tendency not to go back and reread things, particularly with “Carrie” [a horror novel about a bullied high school student capable of telekinesis]. I’m afraid of how naïve it may be, how much it might be the work of a very young writer. It’s like when you’re a kid and you don’t know how to behave. You look back on certain things and say, “I shouldn’t have grabbed that,” or, “That wasn’t polite.” I don’t want to go back and see that my shirttail was untucked or my fly was unzipped.

The cover of a book, with the title "Carrie: a novel of a girl with a frightening power." The cover image shows half a portrait of a woman with an embroidered jacket and brown hair blowing in the air.

Courtesy of Doubleday. Photo by Joshua Scott

I’d change a lot. It would have a little more depth when it came to the characters. Remember, it started as a short story. I had this idea about a girl with paranormal powers who was going to get revenge on the girls who made fun of her. It was too long for the markets that I had in mind, and I didn’t know very much about girls anyway, particularly girls’ gym classes and locker rooms, so I threw the story away. My wife fished it out of the trash, uncrumpled the pages, looked at it and said, “This is pretty good. I’ll help you.” It’s a very short book, way under 300 pages. Also, there are pejoratives that were common then that I wouldn’t use now, even though they’re realistic and come out of the mouths of characters we don’t like. On the whole, I must’ve done a fairly good job because the book was published [when I was 26] and [in 1976] they made a movie out of it.

One of the things I think about a lot was that my mother got to read it. She had cancer at that point and died before any of my other books were published. Because of “Carrie,” I had a chance to take care of her and get her in a hospice. By then we had the money, otherwise we would’ve been out of luck. — L.G.

A man with a mustache and short brown hair stands amid brown reeds.

Holleran in Florida in the 1980s. Three of the author’s five novels, including “Dancer From the Dance,” were republished in paperback this past December.

From left: Lee Calvin Yeomans, courtesy of Andrew Holleran; Ian Dickson/Shutterstock

Ian Dickson/Shutterstock

Andrew Holleran , 79, writer, on “Dancer From the Dance” (1978)

“Dancer” has had a life of its own, which I could’ve never predicted. I wrote the book at my parents’ house in Florida one winter [when I was 33]. It was going to be the last book I ever wrote, because I’d been writing for 10 years after graduating from an M.F.A. program and had only had one story published in a magazine. I said to myself, “You have to stop now and go to law school.” Luckily, the book came out of me very quickly and, in retrospect, became a description of six years I’d spent in New York. It was very easy because I’d obviously touched something that mattered to me.

I’ve never reread “Dancer” [about gay life in 1970s New York] so, while I’m sure that if I did, I’d revise, revise, revise, I can’t imagine changing any of it. The campy style of the letters that frame the book is probably outdated, which is a shame since I love camp.

I’ve learned since then that writing is basically unconscious, and you don’t get any smarter about it. Imagine a brain surgeon who didn’t learn from each operation? We’d be horrified. But when you sit down to write, you’re always wondering how to do it. — L.G.

Debbie Harry and Chris Stein stand on a staircase with a curved bannister and portraits hanging on wooden walls.

Harry and Stein, of the rock band Blondie, in the U.K. in 1977. Stein’s memoir, “Under a Rock,” will be published in June.

From left: Jeff Gilbert/Alamy Stock Photo; CBW/Alamy Stock Photo

The cover of the album Blondie, with the title in capital letters and italicized. It shows five people dressed in black tops and jackets standing in front of each other.

CBW/Alamy Stock Photo

Debbie Harry , 78, and Chris Stein , 74, musicians, on “Blondie” (1976)

Debbie Harry: We recorded “Blondie” [when Harry was 30 and Stein was 25] in a studio used by jazz musicians, and there wasn’t a lot of fancy recording technique. It was a different era. I think the fact that the album wasn’t overproduced gives it a kind of timelessness. We still perform some of those songs. Every once in a while, we drag up “X Offender” and “Rip Her to Shreds.”

Our music wasn’t just about one style or sound; we had songs that expressed different feelings and attitudes in music. A lot of things, like “Man Overboard” [a danceable heartbreak track], we really didn’t pull off the way I think Chris wanted to, but it’s there.

Chris Stein: That song would’ve worked fantastic with a dembow beat [but I wasn’t introduced to reggaeton until years later]. If I were to change anything about the album, it’d have more to do with the production than what we were slapping on the tape. Generally, we’d just go in and do a bunch of takes, pick the best one, throw some stuff on it and that was pretty much it. There was hardly any overdubbing. We learned so much from the producer Mike Chapman a couple of years later — the difference between “Blondie” and our later albums was like night and day.

Still, I like “Blondie.” It represents how we felt at the time and what was happening to us. When I look back on it, I think of the whole downtown milieu and a period in New York that I don’t know if anyone thought we’d be talking about 50 years later. — L.G.

Zadie Smith, wearing a black top and glasses, with her hair parted in the center, sits and looks over her left shoulder towards the camera. The wall behind her is red.

Smith at her mother’s home in northwest London in 2000. The author’s sixth novel, “The Fraud,” was published last year.

Courtesy of William Morrow. Photo by Joshua Scott

Zadie Smith , 48, writer, on “White Teeth” (2000)

I love the joy in my novel “White Teeth” [a multigenerational story of race and identity among the residents of London’s Willesden neighborhood], even though I haven’t picked it up in 25 years. Back then [Smith was 24 when the book came out], I was trying to write about people; I was interested in the interpersonal above all else. The people in the neighborhood I came from were always described in a manner of pathology, and I was trying to explain that we weren’t pathological. I was always writing around this kind of elephant in the room, which is what you know people have already assumed about your characters. As I’ve gotten older, I’ve had to do less of that because I’ve got company. There are so many writers from so many countries, particularly in West Africa, [that] I wanted to see as a child.

The cover of the book "White Teeth" with a white background and the title of the book embossed silver.

Courtesy of Penguin Random House

I’ve become more interested in power lately. I’m very aware of being like the Ancient Mariner, that the structures I’m talking about that made life not always pathological have vanished. The conditions of the characters in “White Teeth” — their decent health care, their reasonable housing, their free university education — are gone. I’m still on the side of joy, but the question is, what kind of structures allow people to experience it. As I’ve gotten older, I write about them not out of nostalgia but out of political urgency. — L.G.

Two figures stand in front of a memorial with finely carved names and large dates on a black granite wall.

Left: a mock-up of Lin’s 493-foot Vietnam Veterans Memorial. Right: Lin with her parents, Julia Chang Lin and Henry Huan Lin, at her Yale graduation in 1981. The designer’s 44th sculpture, for the Obama Presidential Center in Chicago, is scheduled to be completed next year.

Courtesy of Maya Lin (2)

A polaroid of three figures smiling, with their hands crossed, sitting on a low stone wall in formal attire.

Lin with her parents, Julia Chang Lin and Henry Huan Lin, at her Yale graduation in 1981. The designer’s 44th sculpture, for the Obama Presidential Center in Chicago, is scheduled to be completed next year.

Courtesy of Maya Lin

Maya Lin , 64, sculptor, on the Vietnam Veterans Memorial (1982) in Washington, D.C.

It was a battle to keep the Vietnam Veterans Memorial simple and spare. I was moved by World War I memorials built by the French and British. They offered a much more realistic and sobering look at the high price of war, which is human life. When I went to the site [of what would become the monument] on Thanksgiving break [in 1980, when I was 20 and in my junior year at Yale], I felt a need to cut the earth and open it up. The structure isn’t so much an object inserted into the earth; it’s the earth itself being polished like a geode. I considered everything, even the walkway, which was put in to intentionally separate the wall from the ground. If you put the granite sidewalk all the way up against the wall, it would no longer be a polished geode — it’d be a curb. I put grass there. But no one could have predicted how popular it would be, so people trampled the grass and it died.

A year or two after the memorial was built, unbeknown to me, the architects of record worked with [the National] Park Service to put in [Belgian blocks on either side of the granite path]. That needs to be rethought because it’s an ugly detail. They’re out of scale. It drives me crazy every time I see it. — L.G.

Chapman with the producer David Kershenbaum at a Los Angeles recording studio in 1987. The musician’s debut album will be reissued on vinyl this summer to mark its 35th anniversary.

From left: Lester Cohen/Getty Images; courtesy of Elektra Records

A sepia-toned album cover, with the title "Tracy Chapman" rotated to the side, running vertically on the left side, and a portrait of Chapman looking down.

Courtesy of Elektra Records

Tracy Chapman , 60, musician, on “Tracy Chapman” (1988)

I had this notion when I first started writing songs that to respect the muse — or whatever source of inspiration brought me to put pen to paper — I shouldn’t do any editing. The first thing that came to me was meant to be. “Talkin’ Bout a Revolution,” which I wrote when I was 16, emerged from that mind-set. It was one of those songs that came out in one sitting. It’s a very forceful declaration.

A song like “Fast Car,” which I wrote when I was maybe 22, wasn’t a very long process, but it reflected a different strategy about songwriting. It was more about revelation, sharing a story about a person and the changes happening in their life. I made edits to “Fast Car.” I definitely changed words and lines. I’m too embarrassed to tell you exactly what, but it was the verse that starts “See, my old man’s got a problem.” Let’s just say that there was something else there.

In some ways, writing a song is about asking and answering questions: “Who is this character, why are they doing this and where is the story going?” When I was young, I thought all these questions could be answered with the first iteration of the song. I’m not as enamored with this idea that the very first thing that comes to mind is what I have to remain committed to. — L.G.

Jewel , 49, musician, on “Pieces of You” (1995)

Jewel, surrounded by people in a recording studio, wearing a white and orange striped shirt, looks back over her left shoulder.

Jewel at the musician Neil Young’s private studio in Northern California in 1994. An immersive exhibit of the singer-songwriter’s work will open at the Crystal Bridges Museum of American Art in Bentonville, Ark., in May.

Courtesy of the Jewel Kilcher Archive and Bershaw Archival Management

What’s important to me about “Pieces of You” is that I made an honest album. I liked [the writers] Charles Bukowski and Anaïs Nin because they told the truth about themselves, and it wasn’t always pretty. With my work, my goal was to be just as honest. “Pieces of You” wasn’t more developed than I was — I didn’t know how to play with a band, and I didn’t choose a producer who’d make me sound slicker or lend their experience to make me sound more polished. I wanted it to be a snapshot of who I was [between 16 and 19]: inexperienced, emotionally charged and trying to figure life out.

An album cover, with the title "pieces of you" and text reading "what we call human nature in actuality is human habit." The cover image is Jewel, smiling with hair blowing in her face in a wing-shaped cutout.

Courtesy of Craft Recordings and Jewel

Writing was medicine for me. I had extreme anxiety, panic attacks and agoraphobia. I wrote songs to calm myself down and to help me fall asleep at night. I never wrote them thinking I’d have a career. There wasn’t really a craft — it was more about what comforted me, what suited me, what interested me to think and write about. I was an avid reader, and a lot of my writing took after Flannery O’Connor, [John] Steinbeck and [Anton] Chekhov, like short stories put to music.

I remember writing at that age that I didn’t want my music to be my best work of art — I wanted my life to be my best work of art. I take music seriously, but I take that promise to myself more seriously. — L.G.

These interviews have been edited and condensed.

JANE FONDA AND LILY TOMLIN, ACTRESSES Have co-starred in three films and a TV show, from “9 to 5” (1980) to “80 for Brady” (2023).

Video by Kurt Collins

JANE FONDA: It was 1978, and I heard that Lily Tomlin was performing in a [one-woman] show called “Appearing Nitely” in Los Angeles. I don’t know how many characters she played, but she embodied them all so fully. I was smitten. I went backstage to meet her. At the time, I was in the process of developing “9 to 5” [the 1980 comedy about a trio of female office workers who overthrow the company’s sexist boss] and, as I was driving home, I thought, “I don’t want to be in a movie about secretaries unless Lily Tomlin is in it.”

LILY TOMLIN: She swept in backstage with a big cape on. We couldn’t believe it — this was Jane Fonda! For a couple of years, I’d worn a hairdo from “Klute” [the 1971 thriller for which Fonda won an Oscar], but I didn’t have it when she showed up that day. I was like, “Why did I drop my ‘Klute’ hairdo at this propitious time?”

J.F.: It took a good year to convince Lily and Dolly [Parton, the film’s other lead] to do the movie. It’s not that they weren’t interested, but it was very difficult. Why was it so difficult, Lily?

L.T.: I think I was that way about everything.

Jane Fonda and Lily Tomnlinn pose for a portrait. Fonda has her arms crossed and Tomlin has her hands in her pockets

From left: Fonda, 86, and Tomlin, 84, photographed at Hubble Studio in Boyle Heights, Los Angeles, on Jan. 29, 2024.

Kanya Iwana

J.F.: You are that way about everything: “I don’t know if I can do this. I’m not right for the part.” You do that every time. But it was your idea to get Colin Higgins to direct and to cast Dabney Coleman [as the boss]. You should’ve been the one producing it! My only decision was to make the movie, because one of my close friends, [the former director of the U.S. Department of Labor Women’s Bureau] Karen Nussbaum, would tell me stories about organizing women office workers and what they had to go through.

L.T.: I thought I had some lines that were hitting you over the head with the joke. Yet when the movie was released, those lines got the biggest response from the audience.

J.F.: Both of us got a kick out of Dolly’s innocence. When she showed up the first day, she’d memorized the entire script. And then the day that Dolly sang —

L.T.: Oh, that was a glorious moment.

J.F.: She used her long nails like a washboard and started to sing, “Working 9 to 5. …” Lily and I looked at each other and we knew: “This is it — we’ve got an anthem.” But I think my favorite shooting experiences were when we had the dead body in the back of the car. We went to the Apple Pan [a diner in Los Angeles] because Dolly wanted to get a cheeseburger, remember?

L.T.: Everybody would tell stories about their life, and we just fell in love with each other.

J.F.: Our worlds are so different. Our backgrounds are so different. Our senses of comedy — I mean, I don’t really have one.

L.T.: Jane was so earnest. She felt so passionate about every activist problem that she was trying to solve. It was inspiring and endearing.

J.F.: Since then, we’ve done seven seasons of [the Netflix TV series] “Grace and Frankie” [which ran from 2015 to 2022]. Ten days after we wrapped, we started a movie that we both like a lot called “Moving On.” When that came out [in 2023], I was interested in the reviews — almost every one of them talked about our chemistry. And it was like, “Well, maybe we should always work together.” — E.R.A.

Fonda: Hair: Jonathan Hanousek at Exclusive Artists Management. Makeup: David Deleon at Allyson Spiegelman Management. Tomlin: Hair: Darrell Redleaf Fielder at Aim Artists Agency. Makeup: Shelley Rucker at Aim Artists Agency. On-set producer: Joy Thomas. Photo assistant: Jeremy Eric Sinclair. Digital tech: Aron Norman

MARC JACOBS, FASHION DESIGNER, AND CINDY SHERMAN, ARTIST Have collaborated on multiple projects for the Marc Jacobs brand, from a 2005 photo book to the spring 2024 campaign.

Marc Jacobs and Cindy Sherman both stand in front of a gray background wearing black shirts and raising their right arms.

From left: Jacobs, 61, and Sherman, 70, photographed at Go Studios in Hell’s Kitchen, Manhattan, on March 5, 2024.

MARC JACOBS: In 2004, I reached out to ask if you’d [be in a Marc Jacobs campaign]. I knew your work very well, and I knew that you’d done an ad in 1984 for [the French fashion brand] Dorothée Bis. That made me think, “Maybe she’d do this with us.” I was a little intimidated about asking.

CINDY SHERMAN: I was so intimidated that you’d asked. I remember thinking, “I’m going to bring a bunch of wigs and makeup.” It was just me for a few shots, but then [the German photographer] Juergen [Teller] got playful and started putting himself in the pictures. He gradually shaved parts of his face and head. He’d started the shoot with a full head of hair and beard; by the end, he was completely bald with no facial hair at all.

M.J.: I wasn’t there, but I got calls from Juergen saying, “It’s [expletive] excellent, it’s [expletive] excellent.” He says that when he’s really excited. You created some hilarious characters. There was one where you were both older, sitting on a bench.

C.S.: Rifling through a big bag.

M.J.: That image became a billboard on Melrose [Avenue in Los Angeles]. It was great because fashion campaigns like that didn’t exist back then. Nobody would’ve ever said, “ That’s our ad,” because it wasn’t exactly selling clothes or bags. But it was exciting.

C.S.: What’s funny is that you’d asked me, a year or two ago during Covid, to do something — I don’t even remember what it was. I’d gained a bit of weight, so I was self-conscious and kept turning you down. [For the 2024 campaign I ended up doing] some of the outfits were a little tight. The people assisting me said, “We can fix that.” And I said, “No, no, it’s [perfect for] the character.” I guess I could’ve thought of someone who was trying to hide, but I decided, “No, she seems like she could just let it all hang out in her leather pants.” How do you feel when you see different types of women wearing your pieces or putting them together in unusual ways?

M.J.: It’s the ultimate validation. Of all the stuff that exists out there, they’re spending their money on something I’ve made. How about you with collectors?

C.S.: Sometimes it’s a little weird. I remember an early series of horizontal pictures that I called “The Centerfolds” (1981) — I thought they were kind of disturbing, but some collector said, “I have that one hanging over my bed because it’s so sexy.” And I’m thinking, “Ugh, I don’t want to know that.” But you can’t control what happens to a piece.

M.J.: Or what other people see in it. Feedback is part of the equation. It’s like, “I’m not just doing this for me. I need you.” — E.R.A.

Production: Prodn. Hair: Tsuki at Streeters. Makeup assistant: Nanase. Photo assistants: John Temones, Tony Jarum, Logan Khidekel

CARLOS NAZARIO, STYLIST, AND WILLY CHAVARRIA, FASHION DESIGNER Have worked together on three collections since 2022.

Willy Chavarria, wearing a black T-shirt and necklaces, stands and crosses his arms. Next to him sits Carlos Nazario, wearing a white T-shirt.

From left: Nazario, 36, and Chavarria, 56, photographed at Chavarria’s studio in Greenpoint, Brooklyn, on March 18, 2024.

Emiliano Granado

WILLY CHAVARRIA: Carlos and I would see each other at Calvin Klein [Nazario has styled for the brand; Chavarria was its senior vice president of design from 2021 until 2023], but our first formal meeting was lunch at the Odeon. Like Truman Capote’s swans, we had salads and talked about water and weight loss.

CARLOS NAZARIO: It wasn’t like we were meeting to discuss a project. That sort of evolved organically.

W.C.: I was terrified to ask you to work with me. I remember texting to [see] if you’d style my [fall 2023] show. Do you know what you said? “I thought you’d never ask.”

C.N.: Willy’s work spoke to me in such a profound way. There was such a similarity — if not in aesthetic, definitely in intention. A lot of brands lack depth and a soul. I’m Afro-Latino. I grew up in New York with a certain relationship to how one presents themselves to the world, what glamour means and looks like and how it’s communicated. I was always intrigued by how Willy’s designs encompassed all those things.

W.C.: [The way we collaborate] is so natural and unpretentious. We end up telling a story that we feel good about.

C.N.: Every relationship between a stylist and designer is unique. Some designers require a lot more — from research to manufacturing and the show. Others want you to come in right at the end and say, “Let’s put that on this model.” With Willy, our conversations prior to my first day were conceptual. We talked about what he wanted it to feel like, rather than what he wanted it to look like.

W.C.: For that first show together, we wanted the cast — all people of color, many of them queer and trans — to feel elevated and empowered. Marlon [Taylor-Wiles, the show’s movement director] was going to have the models look down at the guests.

C.N.: At the rehearsal, we were like, “Maybe it’s a bit creepy.” I wasn’t uncomfortable [giving my opinion] because Willy’s such an easy person to talk to. But anytime you’re coming into a space where everyone has clearly defined roles, you feel like a stepparent. You’re a bit like, “Do I discipline the daughter? Do I tell her the skirt’s too short?” I didn’t want to overstep, but I also wanted to make my presence worth it. As we got more comfortable [with each other], we got more comfortable trying things.

W.C.: The next season, we took more risks. We wanted it to feel refined and elegant, but we also wanted to inject a youthfulness.

C.N.: At a lot of [brands], it’s like, “This season, everything’s a miniskirt. If your thighs aren’t great, see you in the fall!” Willy’s casting allows for a very broad vision in terms of what the styling can do: You’ll have someone like me, who’s 5-foot-4 [Nazario walked in the fall 2024 show], and then you’ll have someone who’s 6-foot-4.

W.C.: You’ll have a woman in her late 50s and a 17-year-old boy.

C.N.: Everyone from twinks to daddies. If you tried to dress everyone the same, it’d be a disaster.

W.C.: I can suggest something that you don’t like, and you’ll say, “Let’s go with it. Let’s see.” And I’ll do the same. I’ve worked with stylists who will deliberate over the positioning of a hat for hours. The stress level is so intense, it kills the moment. Having the freedom [to experiment reflects] a levity we want the brand to have. You know, we address serious subjects, like human rights, inclusion …

C.N.: Self-identity. But if we’re stressed, everyone’s stressed. We try to keep it light, but we also understand the weight of the responsibility. It’s rare that you work with people who understand what you’re feeling and what you want to convey. And I think our trust lies in that. — N.H.

Photo assistants: Eamon Colbert, Jordan Zuppa

MINK STOLE, ACTRESS, AND JOHN WATERS, FILMMAKER Have worked together on almost every one of his movies since “Roman Candles” (1967), including “Pink Flamingos” (1972), “Hairspray” (1988) and “A Dirty Shame” (2004).

Video by Melody Melamed

MINK STOLE: John, I’ve just been told your conference line is charging me a penny a minute.

JOHN WATERS: Oh, c’mon. I’ve been using it for 20 years. It’s never said that.

M.S.: It’s fine. I can handle it.

T: How did you two first meet?

J.W.: Mink also grew up in Baltimore, although I was friends with her older sister Mary, who now goes by Sique. My memory’s that we met in Provincetown, Mass., right before doing my second movie [the 1967 short] “Roman Candles” [in which Stole plays a party guest who gets spanked]. She was looking to go bad and found the right crowd. Prescott Townsend, one of the first gay radicals, allowed us to live in a tree fort he’d made.

M.S.: That was the summer I got introduced to homosexuality.

J.W.: Did we take acid that summer?

M.S.: I kind of think we did, yeah.

J.W.: And then we took it again 50 years later. My mother always used to say, “Don’t tell young people to take drugs.” But I’m not — I’m telling old people to. Anyway, we shot “Roman Candles” partly at my parents’ house and, oddly enough, a decade later, you filmed a big scene at that same house, in my parents’ bedroom, when you played [the delusional housewife] Peggy Gravel in “Desperate Living” [1977].

Mink Stole and John Waters, both wearing white shirts and dark gray jackets pose against a light gray background.

From left: Stole, 76, and Waters, 77, photographed, respectively, at Edge Studios in Mid-Wilshire, Los Angeles, on Feb. 4, 2024, and at Waters’s home in Tuscany-Canterbury, Baltimore, on March 7, 2024.

Melody Melamed

M.S.: We threw a baseball through a window and kind of trashed the place. Your mom was a sport.

J.W.: So was yours. Mink and I were arrested [along with three other members of the crew] for conspiracy to commit indecent exposure while making [the 1969 film] “Mondo Trasho.” It was in the paper. They printed your poor mother’s address.

M.S.: We were acquitted.

J.W.: We’d been filming a scene at Johns Hopkins University with [the actor and drag performer] Divine, in full makeup and a gold lamé top with matching toreador pants, in a 1959 red Cadillac convertible with the top down in November. I never asked permission [to shoot]. The police came and we all ran. The fact that we got caught and Divine escaped didn’t say a lot for the Baltimore police. Mink played an escaped mental patient; she did a nude tap dance.

M.S.: I’d get upset when the press would call us unprofessional because, although it was true that not one of us had ever taken an acting lesson, we were incredibly professional. And none of it was ad-libbed. John wouldn’t have tolerated that. He knew every comma, every “and,” every “but.”

J.W.: What’s that French term for people who go crazy when they’re together?

M.S.: “Folie à something”?

J.W.: “Folie à famille.” Everybody chipped in, and we just went for it.

T: Mink, were there any scenes you refused to shoot?

M.S.: Before we started filming “Pink Flamingos” [1972, in which Stole plays the proprietor of a black-market baby ring], John very casually said, “Will you set your hair on fire?” And I said, “Yes, that’ll look great on film.” But then as the moment approached, I panicked.

J.W.: I was on pot when I thought of that.

M.S.: It would’ve been great, except that I’d be bald today. I think that’s the only thing I ever refused to do.

T: What’ve you learned from each other?

M.S.: In the early films, we all acted largely. We spoke in italics. In the later ones, when I’d start to behave that way, John would say, “Take it down.” I was shocked [the first time he said it].

J.W.: When we made those early movies, I was influenced by the theater of the ridiculous — by cruelty, shouting and craziness. It wasn’t them overacting, it was me telling them to overact.

M.S.: I have enormous respect for John, and John for me. Aside from the fact that I love him dearly, I don’t know where I’d be if I hadn’t met him.

J.W.: And we’ve never had the same boyfriend.

M.S.: Or wanted the same boyfriend.

J.W.: Mink and I have been through a lot together. We’ve fought, we’ve made up. I don’t trust people who don’t have old friends. For me, they outlast family. Mink and I are even going to be buried together in the same graveyard. We call it Disgraceland. — N.H.

Waters: Makeup: Cheryl Pickles Kinion. Photo assistants: Daniel Garton, Ashley Poole

COBY KENNEDY AND HANK WILLIS THOMAS, ARTISTS Have spent three decades collaborating on public art installations and community-focused projects, including 2023’s “Reach,” a more than 2,700-pound fiberglass-and-resin sculpture at Chicago’s O’Hare International Airport of two hands nearly touching.

Coby Kennedy and Hank Willis Thomas pose in front of a gray background.

From left: Kennedy, 47, and Thomas, 48, photographed at Thomas’s studio in East Williamsburg, Brooklyn, on Feb. 28, 2024.

D’Angelo Lovell Williams

COBY KENNEDY: We met on a collaboration, actually. It was the summer of 1992.

HANK WILLIS THOMAS: I’d been recruited to work with Coby to renovate the darkroom at Howard University [in Washington, D.C.], where his father [Winston Kennedy] was the chair of the art program. We were in high school. Building a darkroom when you don’t really know how — that’s kind of the way we’ve always worked. Back then, Coby was a street writer.

C.K.: A graffiti writer, in the parlance of our times. My graffiti and school crews melded into this conglomerate [called] the Earthbound Homies.

H.W.T.: This was [during the] peak ’90s hip-hop days. The group was [made up of] all these young, primarily Black artists. I wasn’t one of them, I was a documenter.

C.K.: Hank was in museum studies, while the rest of us were in visual arts. He was very quiet and observant. It felt like he was always regarding you.

H.W.T.: The core of our relationship has been fostering opportunities for others to interlace their practices. The Wide Awakes [their most recent art collective, named after a progressive group that supported Abraham Lincoln during the 1860 presidential election] took off in my old studio in December 2019.

C.K.: We were trying to plug into society and see how we could influence it. When 2020 happened — the pandemic, the lockdown, the insurrection — we really hit the accelerator with it.

H.W.T.: I’d call the Wide Awakes our first public collaboration. But then again, 2016 is when “Reach” [their sculpture at Chicago’s O’Hare airport] first started. We’re excited to have it be one of the largest public acknowledgments of something we’ve been doing for 30 years.

C.K.: In our collaborations, we kind of fill in each other’s gaps.

H.W.T.: As a conceptual artist, I have great ideas — a lot of them. Coby, who has a history as an industrial designer and animator, is the bridge between the proposal and how it happens. With virtually every one of my public sculptures, he’s done all the initial concepting. He’s always had this ability to see what others are thinking. We also have different tastes.

C.K.: And they’re sometimes at odds with each other, which is one of the best parts [of our working relationship], because I’d hate for both of us to be middle ground.

H.W.T.: Coby has a very clear, singular vision, while I create art through consensus. I want to make a statement [so I’m often asking others], “What do you think about it?” I envy Coby’s talent. But I also think not having his talent gives me a reliance on other people, which is helpful in the context of making public art.

C.K.: I know that he’ll tell me the truth about anything I come up with, and he knows that if I have to talk trash about one of his ideas, I’ll talk trash about it.

H.W.T.: As much as I’d like Coby to think like me, then he wouldn’t be him and I wouldn’t be me. We allow each other to be who we are. — N.A.

INGAR DRAGSET AND MICHAEL ELMGREEN, ARTISTS Have worked as the duo Elmgreen & Dragset on more than 90 solo shows and site-specific installations, including a 2005 replica of a Prada store near Marfa, Texas, since 1995.

A portrait of Dragset and Elmgreen smiling and standing in front of a gray background. Dragset wears a black T-shirt and Elmgreen wears a black hoodie.

From left: Dragset, 54, and Elmgreen, 62, photographed at their studio in Neukölln, Berlin, on Feb. 7, 2024.

Julia Sellmann

INGAR DRAGSET: We met at After Dark, the only gay club at the time in Copenhagen, in 1994. I was 24 and Michael was 32. I thought he looked amazing — he had this Dennis Rodman-style hair that was bleached with baroque black patterns on it. We both had big Dr. Martens boots and were much grungier than the rest of the crowd.

MICHAEL ELMGREEN: The club was a classic disco — a lot of blown-out hair and Gloria Gaynor. It wasn’t difficult to spot each other.

I.D.: We got more than a little tipsy. When we both started to walk home, we realized that we lived not only in the same neighborhood but in the same building. That was the beginning of our 10-year romantic relationship. The artistic collaboration started eight months later, a little bit by accident. I was doing theater at the time.

M.E.: I was writing poetry and experimenting with texts that would morph in front of people’s eyes on IBM computers. To my surprise, I was considered a visual artist.

I.D.: Michael got invited to do an exhibition in Stockholm. He had the idea of creating abstract pets that people could cuddle, but he didn’t know how to make them. And I said, “Well, I’m good at knitting.” So that’s how the collaboration started.

M.E.: The Swedes are, as we know, a bit stiff; they were terrified about interacting with the artwork. So we were sitting in [opposite] corners with these knitted pets, cuddling them, and people thought it was a performance.

I.D.: That accidental performance inspired us to do more. The next one was a piece where I was furiously knitting at one end of a very long white cloth while Michael was unraveling everything from the other end. That should tell you a bit about our partnership.

M.E.: When we were coupled, we were almost the same size in clothes, so we even shared socks, we shared bank accounts, all our friends.

I.D.: We had one email account, one cellphone.

M.E.: Starting a new chapter after we split up was like meeting again, workwise. We had separate lives for some hours of the day. Suddenly, you could bring in exciting things that the other hadn’t experienced.

I.D.: It was a very difficult time. We put most things on hold, but we had one exhibition that would’ve been hard to cancel: a solo show at Tate Modern [in London]. In a big room with a window overlooking the Thames, we added another windowpane and, in between the panes, we had an animatronic but very realistic-looking sparrow that seemed to be gasping for life and flapping its wings, and nobody could help it.

M.E.: I think the beauty of it all was that we dared to stop being boyfriends because we knew we wouldn’t lose each other. Today, it’d be impossible to say who came up with what idea. It’s not two half authorships. It’s like this imaginary third persona in between us that we feed — an invisible genius kid who’s much, much younger, brighter and more charming than either of us. He’s creating the artworks. — J.H.

BOBBI SALVÖR MENUEZ, ACTOR, AND MICHAEL BAILEY-GATES, ARTIST Have collaborated on dozens of performances and photography projects throughout their decade-long friendship.

A portrait of Bobbi Salvör Menuez and Michael Bailey-Gates against a gray background.

From left: Menuez, 30, and Bailey-Gates, 30, photographed at Smashbox Studios in Culver City, Calif., on Feb. 1, 2024.

BOBBI SALVÖR MENUEZ: I curated a 2014 show at [the Brooklyn exhibition space] Muddguts that was part of a series in which I invited people who didn’t always make performance work to create something in a performance context. We’d been in a group show together before and had mutual friends, and I was excited about the work I was seeing Michael make.

MICHAEL BAILEY-GATES: It was me, Bobbi and maybe two or three other people. I had this party trick of being able to talk really fast, like an auctioneer. When I said certain phrases, one of them would stand up, and another would scream at the top of their lungs or throw an object at someone.

B.S.M.: It felt like the beginning of us making things together on the fly. We both had this down-to-get-into-it energy that was well matched.

M.B.G.: We shared an urgency to make work come to life. Sometimes it’s as simple as being a body for another person. I’ve been the lead in Bobbi’s performances, and I’ve been in the background, lying on a floor covered in red paint. Performance art in New York at the time was about executing an idea without a lot of money. These days, I don’t go into a shoot thinking we’re performing, but it’s very much that: The camera is the audience looking back at us.

B.S.M.: Michael has this ability to see the kaleidoscopic possibility of someone’s self- expression. Around 2018, I was out as nonbinary to my close friends and finding my new name. I took a break from auditions and started working part-time as a substitute teacher. When a film I’d shot the year before got into [the 2019] Sundance [Film Festival], it was an invitation to step back into the spotlight. I’d shaved my head and was nervous about that formal, public coming- out moment. It just felt so cringe. I went to Los Angeles before going to Sundance and made some pictures with Michael that were only for us. Those were the first images of Bobbi that entered the world.

M.B.G.: I never want to make a picture of somebody that’s not reflective of them. I’ve chosen in my practice to always focus on a small group of friends, and those collaborations are the grounding force of my work. Without them, what would my pictures be? They’d be something less precious. — C.R.

Makeup: Zenia Jaeger at Streeters using Submission Beauty. Hair assistant: Drew Martin. Production: Resin Projects. Photo assistants: Michael Preman, Jack Buster

Humberto Leon, restaurateur and creative director

Humberto Leon rests his cheek on his hand and leans his elbow on a countertop. He is wearing a black jacket with white stripes and a white shirt.

Leon, 48, photographed at his restaurant Chifa in Los Angeles on Dec. 14, 2023.

Ryan James Caruthers

Then: The co-founder, with Carol Lim, of Opening Ceremony, the influential New York clothing store established in 2002; the co-creative director of the French fashion house Kenzo between 2011 and 2019.

Now: Co-runs three restaurants in Los Angeles — Chifa, Monarch and Arroz & Fun.

In 1975, the year I was born, my mom opened a restaurant in Lima — my mom’s from Hong Kong, my dad from Peru — and so I’ve always thought of a meal as a way to learn and to meet new people. In 2020, I’d recently quit Kenzo and sold Opening Ceremony. My sisters and brother-in-law were in the midst of changes of their own, and we’d always wanted to tell my mom’s story. So we decided to open a restaurant together in Eagle Rock, the Los Angeles neighborhood where my family first lived when we immigrated to the United States in the late ’70s. We named it Chifa, after my mom’s place in Lima, and based the menu on a similar mix of classic Peruvian dishes like lomo saltado (beef stir fry) and anticucho (meat skewers) and Chinese home cooking — though my brother-in-law, the chef John Liu, has added some of his Taiwanese family’s culinary staples, too.

Starting anything new is scary, and I didn’t have the confidence to do so until the pandemic, which gave me time to try new ideas. (I also wrote a screenplay and a script for a TV show.) I tried to channel the intuition [I’d brought to Opening Ceremony] into other fields. I realized that what I’d done with the store was ultimately about the fond memories people had of the place rather than any specific product. Food does something similar: It creates conversations and memories.

I had the same feeling when I opened the store: “Will anyone show up?” We’d built Opening Ceremony from the ground up — no ads, only word of mouth — and that experience lent itself to launching Chifa, as well as Monarch and Arroz & Fun [our second and third restaurants, which opened last year in the Arcadia and Lincoln Heights neighborhoods, respectively]. In many ways, I’m bringing the same sensibility to the restaurants that I brought to Opening Ceremony: They’re places where you can discover new things. We aren’t aiming for formality or perfection. If anything, part of the experience is dropping your fork and noticing the cool terrazzo floor or really looking at the flatware, which we made with the designer Izabel Lam. As a person who shops and eats a lot, I want to be excited, to feel that nervousness of trying something new. — M.S.

Nick Cave, musician, writer and artist

Nick Cave, wearing a shirt, tie and white jacket and sitting in a pink room in front of a tall mirror, holds a paint brush above a porcelain figure. In front of him, on the table, are paint palates, a bowl of fruit and various sculptures.

Cave, 66, photographed at his studio near his home in Brighton, England, on Jan. 29, 2024.

Then: Rose to prominence with his post-punk band the Bad Seeds, formed in Melbourne, Australia, in 1983; became one of rock’s most celebrated lyricists and performers.

Now: Makes ceramics at a studio close to his home on the south coast of England, and his first major solo show, “ The Devil — A Life ,” is on view now through May 11 at Xavier Hufkens gallery in Brussels. Will release a new record with the Bad Seeds later this year.

I learned early on that the grand designs you have in life don’t always pan out. Starting in secondary school, I wanted to be a painter. I went to art school [for university in 1976] and, to my horror, failed my second year. At the same time, my first band [the Boys Next Door, which eventually became the Birthday Party] was starting to do well in the underground scene in Melbourne. I was much more interested in painting — I did figurative work that often referenced myself — but I’d failed, so I carried on with the band.

I started making ceramics during the pandemic. I collect Victorian Staffordshire-style figurines, the sort of thing an English grandmother might have on her mantelpiece, and one day I thought, “I could make these.” I found I was really swept up by clay. I struggle hugely with writing songs — not the music, but the lyrics. They never feel good enough. Mostly it’s all doubt and despair. But I don’t think I’ve felt more pleasure than I have when pulling a piece out of the kiln and looking at something I’ve made with my hands.

At some point, I had an idea to make a devil, mostly because I wanted to paint a figure in a fiery red glaze. I made one devil and then others, and eventually they began to tell a story. In the beginning, there’s a sort of lightheartedness about this wicked little guy: In his youth, he’s embedded in the world and in love with it. But then he kills his child, and [the figures] get dark and desperate. Later, he becomes remorseful and dies a terrible death. And in the end he’s forgiven by his child.

The death of a child is obviously very important to me because two of my own children have died. [Cave’s son Arthur died in 2015 at age 15. His oldest son, Jethro, died in 2022 at age 31.] And the works were saying something very powerful to me about my unfolding situation in life, something that my songs didn’t really talk about. I found that I could look at this poor devil in a pool of tears, with his lost child extending his hand to him, as a kind of meditation on my own place in the world and find a way that I — or we or whoever — may live a life. — M.H.M.

Jordi Roca, pastry chef

In an ice cream shop with blue walls and pipes painted red and white, Jordi Roca leans on a glass countertop covering various tubs of ice cream and toppings.

Roca, 45, photographed at Rocambolesc Gelateria in Girona, Spain, on March 13, 2024.

Anna Bosch Miralpeix

Then: Joined the restaurant El Celler de Can Roca — founded in 1986 by his brothers, Joan and Josep, in Girona, Spain — in 1997, becoming head pastry chef in 2000.

Now: After starting his own gelateria chain, Rocambolesc, in Girona with his wife, Alejandra Rivas, in 2012, and being diagnosed with a rare neurological disorder four years later, opened an outpost of the gelateria in Houston in 2022 with a neurodiverse team.

When I first started to lose my voice, it didn’t have much of an effect on my creative process in the kitchen. I had to learn to interact more through gesture, but I could still speak during quieter moments. That was around 2016, when I was giving a lot of interviews. It was a period in my career when I needed to speak but, instead, was a time of introspection. Once I got the diagnosis — I have an unusual expression of spasmodic dysphonia [a neurological disorder that causes spasms in the voice box] — it meant I could finally move forward. Now I think of this as just part of who I am.

The idea to open a U.S. branch of Rocambolesc, the gelateria, which has five locations in Spain, came a year or so before this. In 2015, when we were [hosting] cooking events around the world for Celler de Can Roca, we met our business partner Ignacio Torres in Houston. He has family members with autism, and having a place that would hire people with autism and Down syndrome was part of his idea from the beginning. By the time we opened Rocambolesc in Houston in 2022, we’d already had experiences in Celler de Can Roca with team members who had neurological differences. But staffing a project with a neurodiverse team was a huge personal gamble taken by Ignacio and his wife, Isabel, to transform the stigmas around neurodivergence in the United States. The project’s really been embraced in Houston. We have staff who’ve been with us right from the beginning. Of course, my own difficulties have given me a deeper empathy with people who can’t always express themselves in the way they might like. But what I’ve learned — especially through this project — is that we all live in the same world. There’re just many ways to see it. — M.S.

Cassi Namoda, painter

Cassi Namoda leans back on a step ladder with one arm over a large painting of a woman with green outlines on an orange background. Around her, in a large space with a brick roof and plenty of pillars, various paintings are displayed.

Namoda, 35, photographed with paintings in progress at her studio in Biella, Italy, on Feb. 25, 2024.

Claudia Gori

Then: A visual artist known for her spare yet color-rich depictions of contemporary African people and landscapes who was last based in the Berkshires region of Massachusetts.

Now: Living in Biella, in the Piedmont region of northern Italy, where she’s working in a new studio and preparing to become a mother.

Biella has a beautiful, fantastical landscape — you have a backdrop of the snowcapped Alps, but there are also palm trees, beeches, pines and cypresses. It’s an easier flight to my family in Mozambique [than from the United States]. And we’re a 10-minute drive away from my husband’s family.

I found an incredible studio where I can visualize having my child and making magnificent work. The commercial art world is a masculine environment. But this is my own world. There’s a large kitchen with big windows and an amazing chef’s oven, so there can be lunches. I’ll put in a daybed because I know I need naps. There’ll be a baby corner, with a crib and maybe some safe paints. I’m really into self-preservation and embracing femininity.

My life before was very utilitarian. Some days, I’d get to the studio early and be there until 3 or 4 a.m., eating popcorn and puffing on a cigarette. The child has already forced me to have a healthier balance with work. But I have these dreams about me before [there was] this new spirit in me. It’s not a somber or sad thing, like, “Oh, I wish I was Cassi in Tambacounda, Senegal, plein-air painting in the field.” But I’m remembering that person.

I finally got into the Italian health care system, which has been a nightmare. It’s not superfriendly to foreigners. Meanwhile, I’m preparing for a solo exhibition in September and a museum show opening in December. In my head I’m like, “The baby’s coming really soon, I don’t really have a doctor, I’m still setting up my studio and I have a 53-foot-long cargo container with all of my belongings arriving on Monday!”

There are large works to start but, with this heavy belly, I can’t balance on a ladder. I might bring the canvases down to the floor and rest them on bricks. I’m visiting a softer, more romantic side. The world’s in a dark place; why not make something beautiful? I’m seeing flamingo pink and yellow and sandy tones. It’s soft and rosy. I don’t think it’s because I’m having a girl — the sex of the baby is a surprise — but that’s how I’m feeling right now. — E.L.

Jon Bon Jovi, musician and singer-songwriter

Bon Jovi, with gray hair pushed to one side, wears a leather jacket and leans his elbows on a wooden table and looks into the camera.

Bon Jovi, 62, photographed at his restaurant JBJ Soul Kitchen in Red Bank, N.J., on March 1, 2024.

Sebastian Sabal-Bruce

Then: Co-founded the rock band Bon Jovi in Sayreville, N.J., in 1983. Began experiencing vocal difficulties in 2014.

Now: Is recovering from throat surgery, a process depicted, among other things, in the docuseries “Thank You, Goodnight: The Bon Jovi Story,” out this month. Will release a new album, “Forever,” with the band in June.

My problems started about a decade ago. In 2013, we had the number one tour in the world, and I was great for 100-plus shows. But in 2014, I wasn’t really making any music, which was hard psychologically. Then some of the recordings and shows we did, especially after 2017, were challenging — my range seemed to have narrowed and it was becoming difficult to sing consistently. But none of the professionals I saw could figure it out.

In March 2022, a doctor in Philadelphia explained that one of my vocal cords was atrophying. I thought I could get my voice back in shape if I just did enough shows, so I went back on the road. But it was a struggle. Finally, that June, I had an implant put [inside the cartilage of my larynx] to bring my [vocal folds] together. There was no singing at all for the first six weeks. Then I started speech therapy. I have rehab four times a week. But I’m still not sure what to expect. Yesterday when I was rehearsing with the band, I had a rough go with the song “Limitless” from the album “2020” [released by the group that same year]. I said, “Guys, I only ever sang this song when I was broken. I don’t know how to sing it not broken.” If I had the word “lay,” I’d put an “E” on the end of it to try to push it up to pitch: “layeee.” But right after that, I popped the high notes on [our 1986 hit] “Livin’ on a Prayer.”

This new album’s much more of a collaborative record than the ones I’ve made in the past. It’s a celebration of my accepting any and all input and acts of kindness. It’s not been a good decade. It’s not been easy to not be the best guy in the band; it’s not easy to be the worst. It’s humbling but I don’t mind the humility. I just want my tools back. Yesterday, I pressed the point-of-no-return button and said yes, in theory, to a handful of possible shows abroad for the summer, the first ones since the spring of 2022. I’m not an applause junkie. I do it because I love to write a song and play it for people. If I have all my tools, it’ll be a joy. — E.L.

Grooming: Loraine Abeles

Titus Kaphar, artist

Titus Kaphar sits on an office chair in a gallery space with three large paintings of the exteriors of houses hanging on the walls.

Kaphar, 47, photographed at his studio in New Haven, Conn., on Feb. 22, 2024.

Artwork, from left: Titus Kaphar, “I Knew,” 2023 © Titus Kaphar; Titus Kaphar, “Do You Want It Back?” 2023 © Titus Kaphar; Titus Kaphar, “Some Things Can’t Be Worked Out on Canvas,” 2023 © Titus Kaphar

Then: An artist whose works, which often confront family history and the experience of being Black in America, are in the collection of the Museum of Modern Art, among other institutions.

Now: Wrote and directed his first feature-length film, “Exhibiting Forgiveness,” which premiered at Sundance in January. Paintings Kaphar made for the film (pictured above) will be shown at Gagosian in Beverly Hills in September.

“Exhibiting Forgiveness” started as a series of paintings — in particular, with one of a burning lawn mower. It didn’t take long to realize that what I was doing wasn’t best processed with paintings alone. [The film focuses on a successful artist, Tarrell, played by André Holland, who struggles to deal with the reappearance of his estranged, abusive father, La’Ron, played by John Earl Jelks, who’d force Tarrell to perform grueling manual labor as a child.] The power of painting’s often the absences: what’s not there, what’s implicit. You don’t know what happened before and you don’t know what will happen after. In film, you have an opportunity for elaboration.

I’ve tried hard not to read reviews of the film, though a friend sent me one. It was positive but what [the critic] wrote at the end, I’ll never forget. He said, “But I can’t say this film is entertaining.” [ Laughs. ] With film, some of us expect entertainment, to have a great time. And that response does frame the way we distinguish film from painting. As a painter, I don’t stand in front of [Pablo Picasso’s] “Guernica” and go, “This isn’t entertaining!” I didn’t approach filmmaking as anything different from painting. I wanted the film to be a painting in motion. The way I make decisions in the studio, about how to follow my intuition or instincts, or how to lay out a composition, was the same process I used on set. The difference is I had an extraordinary cinematographer and cast of actors to help me realize the paintings in my head.

At its essence, “Exhibiting Forgiveness” is about generational healing. I took on this project because I wanted to have a conversation with my children about the world I grew up in, which is so different from the world they’ve grown up in. And I think making the film helped resolve something within me. The revelation I had is that I can’t make my father out as the villain in my mind. He’s a victim of violence himself. And even though [he] created challenges for me, I’ve never wondered whether or not he loved me. — M.H.M.

Bárbara Sánchez-Kane, artist

Bárbara Sánchez-Kane wearing a double-breasted black jacket stands in a doorway.

Sánchez-Kane, 36, photographed at his studio (the artist uses she/her and he/him pronouns interchangeably) in Mexico City on Jan. 22, 2024.

Ana Topoleanu. Artwork, clockwise from left: Bárbara Sánchez-Kane, “La Diegada,” 2016, courtesy of the artist and Estudio Sánchez-Kane; Bárbara Sánchez-Kane, “Tragic Stages,” 2023, courtesy of the artist and Estudio Sánchez-Kane; Bárbara Sánchez-Kane, “Moctezuma’s Revenge,” 2017, performance by Sierva M, courtesy of the artist and Estudio Sánchez-Kane, photo: Karla Ximena

Then: The designer of Sánchez-Kane, the genderless clothing brand she founded in Mérida, Mexico, in 2016.

Now: An artist working with painting, sculpture and performance — while still running the label.

One of my first shows in a museum was at the Institute of Contemporary Art in Los Angeles in 2017. The curators invited me to present a collection from my fashion line that I’d shown in New York, and I said, “No, but maybe I can do a performance.” There’s a kind of freedom in making wearable sculptures because, in the end, clothing has to be ergonomic: The jacket I made with boxing gloves has an opening for your hands so you can eat a burger. But for the ICA show, I created a pair of transparent plastic pants with a metal frame that made them almost impossible to walk in. And last year, for my first New York solo exhibition, at Kurimanzutto gallery, I made a piece from 1,170 black plastic belts that was so big and heavy, I had to break it into parts to show it. I remember reading an article by the queer theorist Jack Halberstam on the work of the artist Gordon Matta-Clark, who would [create] windows in structures where they shouldn’t be. For me, the work is like that: opening windows that give you a different way of seeing what’s in front of you.

I started as an industrial engineer first and then became a fashion designer, but I’ve come to realize that it doesn’t matter what you’ve studied or haven’t. When I feel like the worst sculptor, I think, “Well, at least I’m a good designer.” And when I feel like a great sculptor, I might look at [the clothes in my studio] and think, “Those terrible [expletive] trousers!” Expanding into other fields is a way to embrace yourself. All we have is our imagination, which allows us to create things: objects, garments, skins that we wear when we go out into the world. I’m not saying they’ll save us, but maybe they can help us navigate the transition to another universe. — M.S.

Miguel Adrover, 58, Calonge, Majorca

A black-and-white portrait of Miguel Adrover with a feather in his hair wearing a black suit jacket.

The former fashion designer Miguel Adrover, now a full-time photographer, photographed at home on Majorca, Spain, on Jan. 8, 2024.

The provocative Spanish fashion designer, who had a New York-based clothing line, put a sheep on the runway and made a coat out of the ticking from the gay icon Quentin Crisp’s discarded mattress. He left the industry over a decade ago.

I started my own line in 1999 in New York, where I had been living in the East Village since 1991, and shut it down in 2005 and left the city. In 2012, I [returned] to present one runway show, which I called Out of My Mind. It was made up of personal garments I’d repurposed. I was 46.

I’d been trying to find a way out of this unsustainable industry, this imaginary fantasy that fashion creates. My collections dealt with social justice, environmental consciousness and diversity before those topics became mainstream, and some seasons I didn’t sell anything. I never had a sugar daddy, and I invested everything I made back into the company.

I miss New York a lot. I’m homesick for it, but it isn’t the same city, and fashion is very different, too — it feels inauthentic and disconnected from reality. When I was doing consulting and research for Alexander McQueen [in the mid-90s], we had no money. But the energy was amazing. When you don’t have money, that’s when you’re most creative. Now all of these big companies have so much money that it feels like a different world. [Still] I’d love to have the chance to put on one last presentation, one last show to express how I feel today and how I see the world right now.

When I left New York, I decided to come to Majorca, where my parents have a farm. I started doing photography accidentally; I had no knowledge of cameras, every day was a process of me learning something totally on my own. There was a 300-year-old well on the property with no water inside, and I realized it could be my studio. It’s kind of like a basement; light comes from a little window high above. It reminds me of my apartment in New York. It’s where I develop my [projects]. I use things that surround me: tulips and rose bushes, fruit trees, a tropical garden, chickens.

When I got here, I didn’t have a team [as I did in fashion], and one of the challenges was being surrounded by people who don’t care about what I did or what I’m doing. Photography was the ideal thing to do because I don’t need anybody, I can do it on my own. I don’t have any models; I started working with mannequins and, for many years, I collected them on eBay or from secondhand stores on the island. [I decided] I’d rather not use models — when you photograph human beings, they’re pretending or acting, and I was running away from that.

It’s been nine years since I found photography, and I’m really happy. I have a monograph coming out later this year. The photographs are like my biography. I’ve developed my style in photography and I have a creative language. Fashion was the platform I once used, but the soul inside me is the same. — interview by J.W.

Ralph Ellison, writer, circa 1913-94

Ralph Ellison sits in front of an a typewriter under an awning writing.

Ralph Ellison, the author of the 1952 novel “Invisible Man,” in June 1957 during his fellowship at the American Academy in Rome.

James Whitmore/The Life Picture Collection/Shutterstock

Ralph Ellison spent seven years writing his only completed novel, “Invisible Man,” and its publication in 1952, when he was in his late 30s, not only catapulted him to literary fame but made him nothing less than a spokesperson for postwar America. His contemporary Norman Mailer would write of him that at his best, “He writes so perfectly that one can never forget the experience of reading him.” “Invisible Man,” a surreal picaresque that follows an unnamed Black protagonist — “a man of substance, of flesh and bone,” Ellison writes — as he travels through a country full of people who “refuse to see me,” is a book of such remarkable confidence that Ellison’s career, in later years, became mired in questions of what next? Ellison, a prolific writer of essays, reviews and criticism, worked for years on a follow-up, suffering one setback when a 1967 house fire destroyed portions of his manuscript. When he died in 1994, he left behind thousands of pages of drafts, fragments and unfinished tangents. Ellison’s literary executor and longtime friend, John F. Callahan, tried to edit the material down into a “single, coherent narrative,” as he put it, and published the result, called “Juneteenth,” in 1999; the New York Times critic Michiko Kakutani called it “disappointingly provisional and incomplete.” Ellison often struggled with writing. He once likened his second novel to a “bad case of constipation” and, in a 1958 letter to his friend the author Saul Bellow, Ellison wrote, “I’ve got a natural writer’s block as big as the Ritz and as stubborn as a grease spot on a gabardine suit.” — M.H.M.

Charles Laughton, actor and director, 1899-1962

Charles Laughton sits in a director's chair wearing a straw hat with a girl looking through a viewfinder in his lap.

The actor turned director Charles Laughton with the actress Sally Jane Bruce on the set of “The Night of the Hunter” (1955).

Everett Collection

Born in the last year of the 19th century, Charles Laughton left his family’s successful hotel business at the age of 26 to study acting at the Royal Academy of Arts in London. What he lacked in movie star looks — the critic J. Hoberman described him as “coarse-featured, overweight and slovenly” — he made up for in talent. Following a successful stage career in London’s West End, he turned to film, making a name for himself as a versatile character actor in the 1930s and ’40s. In 1955, at the age of 55, he made his most indelible contribution to his craft, directing “The Night of the Hunter,” a film noir so dark it easily passes today as horror. (William Friedkin, the director of 1973’s “The Exorcist,” described it as “one of the scariest films ever made.”) Robert Mitchum plays a terrifying ex-convict posing as a preacher and stalking the children of his former cellmate in order to find a hidden fortune. While casting Lillian Gish in the role of the children’s caretaker, Laughton told the actress about his disappointment in audiences’ lack of attention for movies, how they “slump down with their heads back, or eat candy and popcorn. I want them to sit up straight again,” he said. Though now often ranked among the greatest American movies, “The Night of the Hunter” — released just a few years before Alfred Hitchcock’s “Psycho” (1960) made the psychological thriller into a marketable genre — was a commercial flop. Reviews were mixed; The New York Times’s Bosley Crowther called it “a weird and intriguing endeavor.” Years later, Terry Sanders, a second-unit director of the film, wrote that “the rejection by critics and the indifference of audiences hit [Laughton] hard and crushed his spirit. It wasn’t just disappointment he felt, it was utter and deeply debilitating devastation.” He never directed a second movie. — M.H.M.

Willis Alan Ramsey, 73, Loveland, Colo.

Willis Alan Ramsey stands with his hands behind his back wearing a cowboy hat.

The singer-songwriter Willis Alan Ramsey, photographed at Sam’s Town Point bar in Austin, Texas, on March 14, 2024.

Caleb Santiago Alvarado

The singer-songwriter Willis Alan Ramsey, originally from Alabama, released his self-titled debut album in 1972, becoming a forebear of the alt-country genre. Jimmy Buffett and Lyle Lovett became devoted fans. More than 50 years later, Ramsey still hasn’t completed his second album.

I started trying to write songs around 1968. My first song was just awful, but I got better over time. I dropped out of college twice, the second time in 1970, from the University of Texas [at Austin], after discovering a folk club where I became an opening act for $5 a night. Those were golden, halcyon days in Austin filled with sunshine and margaritas and very little traffic. That fall, I left to begin performing at colleges around the country. I was briefly back in Austin to play at U.T. and, somehow, during two days there, I’d managed to play for Gregg Allman and Leon Russell, two of the most influential musicians of that decade. They both gave me their cards and said to look them up if I ever made it their way. [I went to Los Angeles] and recorded a demo at Skyhill, Leon’s personal home studio, and he basically offered me the moon to sign with his new label, Shelter Records [which folded in 1981]. I’d just turned 20. Over the next year, I recorded my first and only album to ever be released [“Willis Alan Ramsey,” often known as the Green Album for its green cover].

I finished the record when I was 21. I was just a kid. Leon gave me my career, to the extent that I’ve had one [but the reason I never released another record was also] Leon’s fault. He told me that if I signed with Shelter, he’d show me the studio and how it worked, and he did. I immediately wanted to learn everything I could about the recording process. I used seven studios and three rhythm sections [to make the record]. I was given carte blanche. The budget was 85 grand. I could do it for 200 grand [now], but I can’t do it any cheaper. I’d need to rehearse every musician. And my songs are all over the place. I get bored doing one particular style.

I’m the most frustrated recording artist you’ve probably ever met in your life. But I still feel I’ll figure something out. I’ve always been optimistic. I’ve got at least three more records of material. I’m pretty tough on myself in terms of writing, and I’m very attached to what I’ve written. I just haven’t been able to get a deal that’d work for me. I mean, the world works, you know? I think the key is just to work with the world. — interview by M.H.M.

Photo assistant: Sergio Flores

Harper Lee, writer, 1926-2016

A portrait of Harper Lee sitting on a rocking chair on a porch smoking a cigarette.

The writer Harper Lee in her hometown, Monroeville, Ala., in 1961, the same year that her debut novel, “To Kill a Mockingbird,” won the Pulitzer Prize.

Donald Uhrbrock/Getty Images

“I sort of hoped someone would like it well enough to give me encouragement,” Harper Lee said in a 1964 radio interview, describing her low expectations for her 1960 debut, “To Kill a Mockingbird.” Instead, her novel, about a lawyer in the fictional town of Maycomb, Ala. (a stand-in for the writer’s hometown, Monroeville), who defends a Black man from a false accusation of rape by a white woman, became one of the biggest literary sensations of its era. Lee, who worked as an airline reservations agent in New York for a few years before quitting (with friends’ financial support) to work on her writing, won the Pulitzer Prize in 1961; two years later, a film adaptation starring Gregory Peck won three Academy Awards. “To Kill a Mockingbird” would go on to sell tens of millions of copies and become a fixture of high school English classes.

Lee had a hard time with her sudden fame. After that radio interview in 1964, she mostly avoided the press and, as the years and decades passed without a second novel, Lee continued to guard her privacy, albeit regularly attending the Methodist Church in Monroeville and occasionally visiting the local high school during lessons about her work. The year before she died at age 89 in 2016, a previously unknown novel, “Go Set a Watchman,” which had been written before “To Kill a Mockingbird,” appeared to tepid reviews and claims that Lee, by then largely deaf and blind following a stroke, had been manipulated into releasing subpar work. Controversy aside, even just the announcement of a lost novel reignited interest in Lee’s lone masterpiece; at that point, sales of “To Kill a Mockingbird” in trade paperback nearly tripled. — M.H.M.

Luc Tuymans, 65, visual artist

A drawing of a van driving down the street as two people in aprons collect trash cans.

Luc Tuymans, “Mijn Grote Vakantie” (1967).

Courtesy of the artist and David Zwirner. Photo: Alex Salinas

When I was 7 or 8, we had to make drawings for school about our summer holidays. I was completely intrigued by the people gathering the garbage outside of our house in Antwerp [Belgium] — their truck, their dress code. During a summer day, I took out my colored pencils. I wrote underneath the drawing, “My Big Vacation.”

It came across as fairly cynical: My big vacation was garbage. It wasn’t meant that way. I really was intrigued by this operation. [Looking at it now] I’m amazed that there’s this perspective already in it. The teacher didn’t believe I made the drawing and took me by the ear to the blackboard to do it again in front of the class.

I’d been bullied a lot as a kid. I was extremely shy. Drawing was a way out, in a sense. I’d draw people who came to visit my parents and, at the end of the year, when exams were done, I’d make drawings for the whole class — whatever they wanted. I always had a ballpoint pen and a piece of paper with me, and people would gather around me while I was drawing, sometimes 20 to 30 of them. The kids were happy to have a drawing, but it didn’t really change the bullying pattern.

I saved most of my [childhood] drawings and gave them to my nephew. Unluckily, he lost them. This is virtually the only one that survived, and I gave it to my wife as a present.

It’s quite interesting to see the size of things — the difference between the houses and the people — and most of all, the idea of space that was already in the drawing. [If I were to redraw this today] it’d be a bit more meticulous, more worked out. But it’s an indication of things that would come later. My skepticism is embedded in this drawing without my doing that consciously — this quite specific, sardonic sense of humor. When I found it again, I had to laugh very, very hard. — J.H.

Do Ho Suh, 62, visual artist

Do Ho Suh, “Tiger Mask” (1971).

This drawing is based on a Japanese anime character, Tiger Mask, that was really popular in the ’70s. Back in those days, Korean TV broadcast Japanese anime in black and white. Everybody at school watched. The character is a pro wrestler who puts on a tiger mask to disguise his identity. I drew the mask directly from the anime. I was probably 9.

Once my friends saw it, they all wanted one. Demand for tiger masks became much greater than supply. Some of the rich kids wanted to trade their Japanese pencils — which had graphics or custom characters on the surface — and colorful erasers for a drawing. My parents couldn’t afford those things, and they weren’t available in Korea. The kids’ parents must have traveled to Japan, which was quite rare back then, and brought them back. [Eventually] I had a box full of those pencils, but I didn’t have the guts to actually use them. The pencils are untouched; the erasers are dried out. For some reason, my mom kept them all these years. — J.H.

Niki Nakayama, 49, chef and Restaurant owner

Tonkatsu is a Japanese home-style staple. It’s a breaded, deep-fried pork cutlet — “ton” means “pork” and “katsu” is a sort of translation of “cutlet” — and it was my absolute favorite food when I was a kid. When my mom made tonkatsu, she’d have my sister and me do the breading, and we really bonded over that. It helped me understand family. We’d set up in the dining room and dredge the cutlets in flour, dip them into the egg wash, cover them with dried breadcrumbs and stack them high on paper plates that we’d bring in to my mother to fry up. Our kitchen had high countertops, and I can remember her standing at the stove in these three-inch platform clogs she’d wear to be a little taller.

I loved seeing how something became something else — it felt like unraveling magic. One day when I was about 9, I came home from school and got the brilliant idea to make my own [but with chicken]. I grabbed some drumsticks from the freezer, did the breading and, while standing on a stool, dipped them in hot oil. (I never admitted this to my mom.) When they turned the color they were supposed to, I was so proud. I bit into one and it was still frozen. That was my first shock of “I can’t believe I didn’t make [this thing] the way I imagined it would be.”

Anytime I was in Japan, especially in my 20s, my friends there would ask what subarashii gochiso, or “the best thing one could possibly eat,” was for me. I’d say tonkatsu, and they’d be like, “What?!,” because it’s such a simple dish — it was like asking for a sandwich. It isn’t the sort of thing I specialize in at my restaurant [N/Naka in Los Angeles], and I don’t have it often anymore because, as I age, I’m trying to eat lighter, but I still associate it with deliciousness and with happiness. Ever since childhood, I’ve thought of food as being about coming together and cooking as an expression of care and love. Having been on the receiving end of that, I do the work that I do to try to make people happy. — K.G.

Marina Abramović, 77, performance artist

A painting of two vehicles crashing into each other.

Marina Abramović, “Truck Accident (I)” (1963).

When I was a teenager in Communist Yugoslavia, there were these ugly green trucks that weighed so much, they often fell over. I started taking photographs of them and trying to paint them at home. But that wasn’t enough for me, so I bought some toy cars and left them on the highway to see if the real trucks would smash them; they were always untouched. I was fascinated by car crashes. Then when I was 17 or 18 years old, I painted the big car smashed and the little car protected — the idea that innocence survives everything.

My mother studied art history, and I was always going to museums. When I was a baby, my first words weren’t “mama” or “papa”; they were “El Greco.” I had my first exhibition at a youth center when I was 14. They mostly had group shows, but I made so much work that I had my own show. I always say I was jealous of Mozart because he started at 5.

I didn’t know then that painting wasn’t my ultimate goal. It takes a long time to realize who you are. I remember the incredible joy of going into my studio — an extra space in my family’s apartment — with my little cup of Turkish coffee. I would be so much in the dream of painting that I’d accidentally drink turpentine instead of the coffee.

Though I wasn’t aware of it [until recently], this crash represents the energy that I’d create in my early performances: two bodies running toward each other, crashing into each other and making this blurry image. My research today is about the body and how to create a field in which you aren’t afraid of pain, of dying, of limits. When you’re young, you don’t see the straight line but, [looking back] it all seems so logical. — J.H.

Deborah Roberts, 61, visual artist

A drawing of a boy resting his chin on his knee.

Deborah Roberts, “James” (1982).

Courtesy of the artist

I used to do a lot of drawings of people at church or kids in the neighborhood. I made this when I was 19, of this boy who came by to play with my brothers. My mother threw most of my drawings away. She had eight children; she couldn’t have all that stuff piling up.

[With that many siblings] you only get attention when you’re sick. But I got a lot of attention for drawing. I was the best artist in my school. The teacher would ask me, “What grade would you want?” I’d say, “I want an A+.” I had a big head. Then I went to the gifted and talented program with high school art students from all over Austin, Texas. I wasn’t the best anymore, but it just made me work harder. That’s where I was first introduced to the work of Henry Ossawa Tanner [one of the first African American painters to achieve international fame, in the early 20th century]. I didn’t even know there were Black artists. We didn’t have the internet or access to museums. We were poor.

I’d ride a small yellow bus to a community college to meet in a special room for the three-hour art class. Eventually, I became the best student in that class, at least in my head. They didn’t ask me what grade I wanted, but I still got an A.

If I were doing it now, I’d blend that hair into the wood better. I wouldn’t have light sources coming from two different areas. But if you look at my collages today, my whole idea’s about seeing people as humans, as children, as vulnerable. I think this is a very vulnerable piece. — J.H.

David Henry Hwang, 66, playwright

David Henry Hwang, manuscript of “Only Three Generations” (1968).

Courtesy of David Henry Hwang. Photo: Lance Brewer

I was about 10 years old, and my maternal grandmother got sick and it looked like she might be close to the end. I remember feeling that that’d be quite tragic — not only would I lose my grandmother but she also happened to be the family historian. I was one of those kids who, for whatever reason, was always really interested in hearing about family history.

I was born and raised in Los Angeles, but my mom grew up in the Philippines, where my maternal grandparents still lived, so I asked my parents if I could spend a summer there. I went and collected what we’d now call oral histories from my grandmother on cassette tapes, then came back and compiled them into a 60-page family history, “Only Three Generations,” which was [photocopied] and distributed to my family members. Then in the early aughts, someone — my uncle, I think — went and printed two or three dozen copies as a bound version.

I wasn’t someone who felt [that] writing was my calling. I didn’t do another major writing project until I got to college and started writing plays, so I find it interesting that the one time I took on [something] like this was to contextualize myself in a historical framework. That’s consistent with what I’ve done as an adult: sometimes being at sea about who I am and looking at history to gain a sense of self.

The [history] starts with my great-great-grandfather, then the second [part]’s about my great-grandfather and then the third section’s about my grandmother’s generation. I [used] their real names. I think I was trying to be fairly accurate, as opposed to when it later became the basis of my [1996] play “Golden Child.” There’s a lot more liberty taken there. When we did the play on Broadway, my grandmother was still alive and came to see the show. She was supportive of it, but I feel like she liked this version better. — J.A.R.

Ice Spice, wearing a black dress and heels, leans back in a beanbag chair.

Ice Spice wears a Balenciaga jacket, $2,150, balenciaga.com; Norma Kamali dress, $350, normakamali.com; Graff cross necklace, $14,000, graff.com; Alexander McQueen shoes, $1,150, alexandermcqueen.com; stylist’s own tights; and her own jewelry. Photographed at a private home in Los Angeles on Feb. 6, 2024.

Photograph by Shikeith. Styled by Ian Bradley

Name: Ice Spice Profession: Rapper Age: 24

Debuting in: Her first full-length album, “Y2K,” titled after her birth date — Jan. 1, 2000 — which comes out this year.

What she’s excited about: “Going on tour. I can’t wait to see my fans up close and personal and really interact with them — interacting with fans online can be a little overwhelming. All their profile pictures are of me. It feels like a bunch of me’s talking back: It’s weird. Especially when it’s pictures I’ve never seen or don’t remember.”

What she’s nervous about: “I don’t even want to put out that energy. People don’t need to know what I’m nervous about.”

How she works in the studio: “If I was already dressed up and cute, that’d produce a different vibe — but for the most part I like to be really comfortable. I need inspiration around me, too, so I’ll have stacks of money sitting next to the mic. Or I have a bunch of stickers of, like, boobs and butts, stuff like that. They’re drawings, though — I don’t just have porn in my studio.”

How it’s gotten easier since making her EP: “When I was working on [2023’s] ‘Like ..?,’ I was stressed out because I had no idea how the next song was going to come out. Each time, I was like, ‘How am I going to make another song that’s good?’ But then it happened, and then it happened again and again so, after that, I was like, ‘OK, making music is really fun.’ As long as I’m having fun, it’s going to sound fun — and I’m going to be happy with it.” — J.A.R.

Production: Resin Projects. Makeup: Karina Milan at the Wall Group

Mia Katigbak leans forward with her left leg in the air holding a railing with both hands.

Katigbak, photographed at Lincoln Center Theater in Manhattan on Feb. 2, 2024.

Jennifer Livingston

Name: Mia Katigbak Profession: Actress and co-founder of NAATCO Age: 69

Debuting in: Lincoln Center Theater’s revival of Anton Chekhov’s “Uncle Vanya” (1899), opening this month.

What she’s excited about: “My character, Marina [the central family’s maid], infantilizes everyone. Everything is falling apart around her, but she’s like, ‘Aren’t the old ways better?’ There are a lot of possibilities in that — without getting too metaphorical about the state of Russia, politically and socially.”

What she’s nervous about: “There’s always going to be that common nervousness of ‘I’m going to mess up,’ but somebody brought to my attention that NAATCO [the National Asian American Theatre Company, which was founded in 1989] has done quite a lot of Chekhov; I didn’t even realize it, and I chose all of them. What I find fabulous about Chekhov is that there are sad situations but also human comedy. You have to find the funny if you’re in dire straits, otherwise you’ll slit your wrists.”

How she feels about having her Broadway debut after five decades on the New York stage: “You live long enough, [expletive] happens. I’d kind of figured, ‘Maybe I’m not Broadway material.’ Usually, when Asians get cast, it’s a musical, and I’m not a singer-dancer, so it was never necessarily going to be a goal. I’m a little bit more realistic: I recently got a text [with a photo of the ‘Uncle Vanya’ ad] from a colleague who said, ‘Look at Miss Fancy Pants,’ and I’m like, ‘I’m just a working stiff.’”

How she reinterprets classics: “From the get-go, the point of NAATCO was to ask people to open their vistas in terms of ‘how, what, by whom, for whom’ in theater. We tackled the Western classics first — William Shakespeare’s ‘A Midsummer Night’s Dream’ (1600) and Thornton Wilder’s ‘Our Town’ (1938) — and my only caveat was not to change them to Asian settings. I remember the first couple of years, maybe decades, people always used to ask, ‘Oh, you’re doing Shakespeare! Are you going to set it in Japan?’ Which isn’t bad, but it’s not the only way to do it. Reception was mixed; there was criticism from both Asian and non-Asian audiences. When we started to do new work — with Michael Golamco’s ‘Cowboy Versus Samurai’ in 2005 — it became a redefinition of what immigrant stories were. Most of the time, the work’s thought of as only one thing, so that was something to figure out. But you can say that about all good theater: It’s asking you to receive something in a different way.” — J.A.R.

Arielle Smith stands with her hands behind her back in the corner of a dance studio.

Smith, photographed at Rambert School of Ballet and Contemporary Dance in the London suburb of Twickenham on Feb. 14, 2024.

Andrea Urbez

Name: Arielle Smith Profession: Choreographer Age: 27

Debuting in: A reimagined “Carmen,” based on the French writer Prosper Mérimée’s 1845 novella about a Roma woman in southern Spain, which Smith has set instead in Cuba for the version (of the same name) she’s choreographing that premieres at San Francisco Ballet this month.

What she’s excited about: “As a performer, I trained in classical ballet but then went into contemporary dance — the reason I fell out of love with ballet was that the female roles didn’t feel empowering. Not that I needed to be empowered all the time, but every story was dictated by the relationship a woman has to a man. So when Tamara [Rojo, the company’s artistic director] approached me, my first thought was, ‘How could we justify another “Carmen”?’ I wondered how the story would change if one of her lovers was a woman. Musically it’s also not the same — we’ve got a new score from the Mexican Cuban composer Arturo O’Farrill [departing from the French composer Georges Bizet’s 1875 opera], so it’s quite a leap from where it was birthed.”

What she’s nervous about: “I don’t see the point in telling a story again the same way, so that’s one element I’m not nervous about ... but I’m about everything else. The challenge is trying to tell an intimate story in a big space. To make this piece well, it has to move people in some way, and that’s what I’m anxious to get across — for people to feel something.”

How she’s translating the Spanish-set story to Cuba: “Bizet wasn’t Spanish, [so] I thought it’d be more interesting to mainly hear Cuban sounds. I’m Cuban; Tamara’s Spanish; and [the Uruguayan fashion designer] Gabriela Hearst is our costume designer. It’s a full Latinx team, but we’re all different. And this is a universal story that’s not driven by geography. It’s not set on a certain road in Havana but in the soul of these people. I’m not trying to overly examine Cuba. It’s about who I am, as a person who happens to be Cuban, and what my voice contributes.” — J.A.R.

Photo assistant: Callum Su

Pidgeon, photographed at Playwrights Horizons in Manhattan on March 10, 2024.

Sean Donnola

Name: Sarah Pidgeon Profession: Actor Age: 27

Debuting in: “Stereophonic,” a new play by David Adjmi with music by Will Butler (formerly of the indie-rock band Arcade Fire), which transfers to Broadway this month following a run at Playwrights Horizons, where it premiered last fall — that production was Pidgeon’s New York stage debut.

What she’s excited about: “This story [about a fictional band’s interpersonal struggles while recording an album in the 1970s] talks about relationships and what one has to sacrifice to make art. New York’s full of artists, and I’m excited to hear what types of conversations people have after seeing the show.”

What she’s nervous about: “The transition to the Golden Theatre. Singing’s so vulnerable. It’s one thing to mess up in front of 200 people, another to mess up in front of four times that many. Off Broadway, we’d have instruments [accidentally] break down halfway through a scene, and we’d have to figure out how to make it feel authentic.”

How she created her character, Diana, one of the band’s lead singers: “Diana’s not looking to other people to give her an example — she’s not following some blueprint. Her band’s waiting for her to make that next great song, and she gets commodified really fast. I can’t say the same for myself, but I’m [also not dealing with being] a woman in [rock in] the 1970s.”

How she settled into the three-hour play’s slowed-down, naturalistic rhythms: “Our director, Daniel Aukin, kept talking about a documentary feel. I think the design of the play — of hearing overlapping conversations — is [very] fly-on-the-wall. Because of its realism, it can evoke the feeling of a film. There’s this sense that it’s not necessarily a performance when we’re doing these shows; it’s not showy. It’s this thrill of being able to keep things private while also recognizing there’re people in the audience two feet away from you. As an actor, you really feel the tension.” — J.A.R.

Hair: Tsuki at Streeters. Makeup: Monica Alvarez at See Management

Olujobi (third from left), at the Public Theater in Manhattan on March 9, 2024, along with (from left) the “Jordans” actor Naomi Lorrain, the director Whitney White and the actors Brontë England-Nelson, Kate Walsh, Ryan Spahn, Toby Onwumere, Meg Steedle, Matthew Russell and Brian Muller.

Video by David Chow

Name: Ife Olujobi Profession: Playwright Age: 29

Debuting in: “Jordans,” her first fully staged production, opening this month at New York’s Public Theater under the direction of Whitney White. The play is about a 20-something woman named Jordan (Naomi Lorrain), the only Black employee at a creative studio, whose office life is upended when her boss hires another Jordan (Toby Onwumere), who’s also Black, to be the company’s director of culture.

What she’s excited about: “For a while, this was that play everybody thought was great but nobody wanted to produce. I thought it’d just be a thing that ends up on the page: It’s such a crazy, visual play that lives in this imaginative space, with a lot of production elements. I’m excited to bring that to life — and have it be people’s introduction to me.”

What she’s nervous about: “Making a play that feels current — in the sense that I started writing it in 2018, did the first reading in 2019 and now we’re in 2024. The play addresses the idea of bringing people of color into a [professional] situation as a trend, not out of any genuine interest in them. It has to do with quote-unquote diversity in the workplace, and it feels like we’ve gone through three different cycles of that conversation since I started writing it. I’m trying to synthesize everything that we’ve been through in the past six years but not feel like I’m shaping the play to respond to these fluctuations.”

How she found her way to playwriting: “I was in the Public’s Emerging Writers Group in 2018, which was my introduction to theater. I was never a theater kid; film was my first love — I’d worked at the Criterion Collection during school and done my thesis in screenwriting. When I graduated [from New York University], I [only] wrote a play to get into the [playwriting] group. I had this experience of being fired three times in a row [after] graduation and felt like I had to express something about being the only Black person entering professional spaces.”

How the play’s surrealist tone came to be: “The main character gets coffee poured on her face in the first scene. For me, that was a big breaking open of the play: ‘This is the kind of world that she’s living in. What else can happen in this world?’ It has what we might call surreal elements, but I don’t always think about it that way because, within this play, everything is real. It’s not a dream.” — J.A.R.

Photo assistant: Serena Nappa. Digital tech: Zachary Smith. Production: Shay Johnson Studio

Kim, photographed at his restaurant, Noksu, in Manhattan on Jan. 15, 2024.

Daniel Terna

Name: Dae Kim Profession: Chef Age: 28

Debuting in: Noksu, the 14-seat tasting counter he’s run since last October below ground in Manhattan’s Herald Square, where he serves Korean-inflected dishes, including grilled mackerel with brown butter and squab with gochujang agrodolce.

What he’s excited about: “I had a feeling, during the pandemic, that something might change — like everyone had to start [again] from zero. Even three-star sous-chefs changed careers: They’ve stopped working in restaurants; they’re selling truffles or doing kitchen shows or TikToks. There was a gap, and I thought if I played up my Asian heritage and my French cooking background, someone would be looking for that. Then I met [the restaurant’s] owners, and they offered me this space in a Koreatown subway station.”

What he’s nervous about: “With restaurants, you prove yourself every day. There’s no tomorrow, no next week. I knew I had to have a tasting menu: I have a personal goal — I’m not telling anyone what it is — and, to reach that level, I think it can only be a tasting menu. I’m not enjoying cooking that much; it’s not a passion. This is my career. I don’t cook at home but, if I think about that goal, it makes me come to the restaurant.”

What he took from working at the New York restaurants Per Se and Silver Apricot: “I really thought, ‘What kind of person am I? What kind of cook? What’s my individualism?’ Working in fine dining is such an honor, but it’s their food. It’s not me. I started focusing on food that would represent who I was.”

How he’s handling everyone’s dietary restrictions: “Right now, we don’t accommodate, because we’re a small kitchen. But sometimes they can push you: If a guest can’t eat dairy, how do you make that sauce creamy without using milk? It requires more work, more thought, more team effort. It’s happened a couple of times, and we just freestyle.” — J.A.R.

Tyla wears an Alexander McQueen jacket $5,990, and shorts, $1,690, alexandermcqueen.com; and Prada shoes, $1,120, prada.com. Photographed at Issue Studio in Los Angeles on March 16, 2024.

Photograph by Shikeith. Styled by Sasha Kelly

Name: Tyla Profession: Singer-songwriter Age: 22

Debuting in: Her first full-length album, “Tyla,” released last month. It’s the product of more than two years of collaboration with writers and producers from around the world — and her first time traveling outside of South Africa (she grew up in Johannesburg). Together, they refined her sound, which she describes as “music that people can dance to: Afrobeats, pop, R&B and amapiano,” the last of which is syncopated electronic music that originated in South Africa in the 2010s.

What she’s excited about: “My first tour. My creative director, Thato Nzimande, and I have been speaking about this forever. I have Coachella coming up and, after sitting for so long with this music and all these ideas, I’m excited to see people’s reactions.”

What she’s nervous about: “I used to be very nervous about performing because all of this is very new and, once something’s on the internet, it’s saved forever. I don’t want to look at it years from now and be cringing . I’m a perfectionist but, as an artist, you’re never going to be happy with everything all the time. That’s something I had to learn — how to let go.”

How she synthesizes South African and American influences: “I love the sound of amapiano production, with the log drum and the shakers and the drops. But I’ve also always wanted to be a chart-topper like Michael Jackson and Britney Spears and now SZA, except I wanted to do it with my sound [her first hit, “Water,” debuted on the Billboard Hot 100 in October]. Obviously, people believe, ‘Oh, I have to make just pop.’ But that’s boring to me. I want to sell what I know and love.”

Why South African music has global appeal: “People say they can feel it, and that’s cool because we feel it. It’s very spiritual to us; it’s a genre we feel in our bodies. All these amapiano dance moves that everyone does, it’s not even dancers that come up with these moves — it’s just random people, drunk uncles in the corners of clubs. It’s organic, and I think people are looking for that genuine vibe.” — E.L.

Production: Shay Johnson Studio. Hair: Christina “Tina” Trammell. Makeup: Jamal Scott for YSL Beauty

Peck (near center, in a black shirt), photographed at the Park Avenue Armory in Manhattan on Feb. 27, 2024, along with (top row, from left) the “Illinoise” musicians Kathy Halvorson and Jessica Tsang, the dancer Craig Salstein, the musician Brett Parnell, the dancers Byron Tittle and Christine Flores, the musician Kyra Sims, the dancer Robbie Fairchild, the musician Daniel Freedman, the vocalist Shara Nova, the music arranger and orchestrator Timo Andres and the music director Nathan Koci; (middle row, from left) the vocalist Elijah Lyons, the dancer Ahmad Simmons, the vocalist Tasha Viets-VanLear, the dancers Ricky Ubeda and Kara Chan, the writer Jackie Sibblies Drury and the associate music director Sean Peter Forte; (bottom row, from left) the musician Domenica Fossati and the dancers Jeanette Delgado, Ben Cook, Alejandro Vargas and Rachel Lockhart.

Video by Jason Schmidt

Name: Justin Peck Profession: Director and choreographer Age: 36

Debuting in: “Illinoise,” the first stage musical he’s directing, which opens this month on Broadway after a run last month at the Park Avenue Armory. Based on the singer-songwriter Sufjan Stevens’s 2005 indie-folk album, “Illinois,” the show was also conceived and choreographed by Peck, who collaborated on its narrative with the playwright Jackie Sibblies Drury.

What he’s excited about: “The ‘Illinois’ song cycle [in which every track relates to the Midwestern state] is one of the great albums of the last 20 years: [Sufjan] didn’t have a recording studio; he’d find a musician up in [New York’s] Washington Heights and record a violin part without realizing what it was going to be part of — he’d run all over, assembling [bits]. I’ve had a long collaboration with him [Peck has based six ballets on Stevens’s music, beginning with “Year of the Rabbit” for New York City Ballet in 2012], so it feels full circle, having discovered that album as a teenager.”

What he’s nervous about: “It’s not a conventional musical; it lives between genres. It’s framed as a gathering around a campfire, being intoxicated by the heat … a campfire beckons storytelling. We enter into the worlds of these people sharing stories on an evening in the wilderness. That’s a difficult thing for managing audience expectations. One of the most challenging parts is trying to tell a full story without words. There are lyrics, but even the lyrics have a sense of poetry to them. They’re not literal.”

How he brought on board his collaborator Jackie Sibblies Drury: “Sufjan was involved early in developing the musical arrangements but has been relatively hands-off [since being diagnosed with Guillain-Barré syndrome, an autoimmune disorder, last year] and wasn’t in a place where he wanted to go back to that time in his life. I needed a storytelling partner. Jackie told me how much she loved the album; when she moved to Chicago, she and her then boyfriend listened to it on the road there. A lot of these songs resonated with both of us at a coming-of-age time in our lives, and that’s part of our approach: intimate and personal.” — J.A.R.

Production: Shay Johnson Studio. Photo assistants: Shinobu Mochizuki, Tom Rauner. Digital tech: Kyle Knodell

Stella, photographed at Percy Priest Lake Park in Nashville on March 7, 2024.

Stacy Kranitz

Name: Maisy Stella Profession: Actress and singer Age: 20

Debuting in: “My Old Ass,” a coming-of-age comedy in which her character, Elliott, a young woman leaving her small Canadian hometown for college, meets her 39-year-old self, played by Aubrey Plaza, while tripping on mushrooms. In theaters this August, it’s Stella’s first movie — and her first acting project since spending much of the past decade on the TV series “Nashville” (2012-18), in which she played a country star’s singer daughter.

What she’s excited about: “Being reintroduced in a way that feels true to me. I was a baby when ‘Nashville’ started; it’s hard to have people see you as a character for so many years. You have to be careful with the next thing you do, especially after you take a break [to finish high school], and I wanted to be represented in a way that felt genuine and pushed me in the direction I wanted to go. I thought a project like this would come 10 years down the line, if ever.”

What she’s nervous about: “I think I confuse anticipation with anxiety. I just feel general anticipation all the time, whether it’s about a date this weekend or this movie coming out; it’s that feeling that something’s about to happen. In my body, I might confuse it with nerves, but there are happy and cozy feelings, as well, so it levels out.”

How she collaborated with the writer-director Megan Park on her dialogue: “I watch a lot of young adult shows and think, ‘Oh my God, we sound so dumb. We don’t talk like that.’ Not everything’s abbreviated and slang. Megan [who’s 37] knows how to write for Gen Z because she includes us in her process. She doesn’t have an ego and molds her characters to who’s playing them. We’d do scripted takes and then ‘fun runs,’ where we got to improv, and she’d add lines in the moment.”

What was it like creating the template for Plaza’s character: “You’d think Aubrey would’ve come first, but I was the first one attached to the film. In any other situation, it’d be me matching her, but I feel like Elliott is very similar to me so, when Aubrey and I met, I could feel her filming me with her eyes, trying to get a scope.” — J.A.R.

Hair and makeup: Laura Godwin

Lakota-Lynch (bottom row, in a white T-shirt), photographed at Open Jar Studios in Manhattan on Feb. 26, 2024, along with (top row, from left) the “Outsiders” composer Zach Chance, the choreographers Rick and Jeff Kuperman and the writer and composer Justin Levine; (middle row, from left) the actors Brent Comer, Jason Schmidt, Joshua Boone, Kevin William Paul and Dan Berry; (bottom row, from left) the actors Emma Pittman and Brody Grant, the director Danya Taymor, the writer Adam Rapp and the actor Daryl Tofa.

Justin French

Name: Sky Lakota-Lynch Profession: Actor Age: 32

Debuting in: “The Outsiders,” a new musical that opened this month and is based on S.E. Hinton’s 1967 novel about rival teen gangs. Lakota-Lynch plays Johnny Cade, a shy 16-year-old from an abusive home. He appeared in “Dear Evan Hansen” in 2018, but this is his first time originating a role on Broadway.

What he’s excited about: “I’ve been with the show for six years, and it finally feels fully baked. People are going to be expecting us to come out tap-dancing, but you have [the writer] Adam Rapp and [the director] Danya Taymor, and those people have never done a musical. It’s the ultimate place for an actor-singer. It’s truly a play with music [by Zach Chance and Jonathan Clay of the folk duo Jamestown Revival, and the songwriter Justin Levine], and I think it’s going to shock people.”

What he’s nervous about: “It’s going to be sad to eventually let Johnny go. I’m doing this on Broadway, but it’s like the period at the end of the sentence.”

The actor sings a snippet of James Taylor’s 1970 song “Fire and Rain.”

Video by Jordan Taylor Fuller

How he’s approaching playing a beloved character: “Johnny doesn’t have a lot of lines: He’s like an Edward Scissorhands [type] — I have to fill the space with energy. The cool thing about playing the character is that I got to imbue him with myself. I’m Native American and Black, and the story is set in Tulsa, Okla., where that’s [not uncommon]. My costume has Native American embroidery; my version of Johnny feels fully fleshed out. Of course, I stole things from Ralph [Macchio, who played the role in the 1983 Francis Ford Coppola film] and from the novel — it’s that fine line between tough and tender, but it’s tailored to me.” — J.A.R.

Production: Shay Johnson Studio. Photo assistant: Shen Williams-Cohen

Becoming a Character

The comedian and actress Meg Stalter, photographed at Smashbox Studios in Los Angeles on Jan. 24, 2024, tests a few moods in front of the camera.

Photographs by Shikeith. Styled by Delphine Danhier

The comedian and actress Meg Stalter, 33, started gaining attention on social media during the 2020 Covid-19 lockdowns when she posted absurd short-form videos playing different personae, like a Disney World team leader conducting an employee orientation. The following year, she had her TV debut on HBO’s “Hacks” as Kayla, a less than helpful assistant to a talent agent. Now she’s filming her first lead role on the new Netflix series “Too Much,” written and directed by Lena Dunham (and loosely based on Dunham’s life), in which she plays the workaholic Jessica, who responds to a breakup by moving to London.

I took so many improv classes when I first [was] doing comedy. It’s the starting point for me when I develop characters. During the pandemic, I’d do improv on Instagram Live every night. The theme would be “We’re going to Paris” or “We’re doing a women’s exercise class.” It was just me doing improv online by myself for hours. When I take on a role, I study the script and imagine if I had to improv a scene. “What would I add or take away? How’s this person different from me? What could I give to the character of my own personality?”

When I read the part of Kayla, I’d already met Paul [W. Downs, a co-creator of “Hacks”] at a stand-up show. [I found out later that] he had me in mind when he wrote the script. That was almost more nerve-racking: It was strange to think, “What if I lose this part to someone else but they were thinking of me in the first place?”

Kayla started as the assistant who comes in and says a crazy line. But in the third season of “Hacks,” she has more emotional scenes, which add another layer: When a character experiences a range of emotions, it makes the crazy stuff even funnier.

The comedian and actress tells a knock-knock joke.

At first when you get a script, you picture yourself in it and think, “Oh, well, she probably looks like me.” That changes the more you get to know the character. Lena [Dunham]’s been so open to talking through Jessica. She’ll say, “Tell me what you think about the hair,” and, “Tell me if there’re any outfits you don’t like.” She even made a playlist Jessica would listen to. There’s Avril Lavigne, Girlpool, Sabrina Carpenter. When I’m studying the script, I’ll play that in the background. Jessica’s into the dreamy side of London and Jane Austen. She’s a little girlie and wears a lot of pink. She wears [nightgowns] as actual dresses and things that’re a little bit too cute for work. I sent [the costume designer] Arielle [Cooper-Lethem] some dresses from Fashion Brand Company. They look like [they could be in an Austen adaptation] but modern and sexier. Like shirts with ribbons all over or matching sets made of lace. Everything’s kind of funny but also hot. It’s stuff I would’ve worn when I thought I was straight. I feel like Jessica’s the straight version of me.

It’s interesting to be playing a version of someone whose work I’ve admired for so long. I’ve rewatched [Dunham’s 2012-17 HBO series] “Girls” so many times. To have everything she’s written in my head but be told, “Just do it the way that you would do,” or, “This is all yours now,” it feels freeing. There’re some directors and writers who want you to say exactly what’s on paper.

When you’re in character in front of a camera, there’re certain things you can’t prepare for. I can research so much for a part — create memories for the character, talk through costume — but if it comes out differently [than what I imagined], that’s OK. It’s important to be able to let go and let the scene be what it is. Some people torture themselves after performing. They’re like, “I should’ve said this or that.” I really don’t do that. Once it’s out there, that’s what it’s supposed to be.

Stalter wears, from start: Versace dress, $1,990, versace.com ; and Alexander McQueen ring, $690, alexandermcqueen.com . Versace dress and headband, $325. Wray shirt, $185, wray.nyc ; Dolce & Gabbana dress, $2,095, dolcegabbana.com ; and Sophie Buhai earrings, $395, ssense.com .

Production: Resin Projects. Hair: Tiago Goya. Makeup: Holly Silius. Manicure: Pilar Lafargue

Making a Painting

The artist Roberto Gil de Montes, photographed at his studio in La Peñita, Mexico, on Feb. 13, 2024, painting “Man With Lizard Mask.”

Photographs by Nuria Lagarde

Since 2005, the painter Roberto Gil de Montes, 73, has lived and worked in the fishing village of La Peñita de Jaltemba north of Puerto Vallarta on the Pacific coast of Mexico. He was born in Guadalajara but moved as a teenager to Los Angeles, where he was active in the Chicano art movement. It wasn’t until he took part in the 2020 show “Siembra” at the gallery Kurimanzutto in Mexico City, though, that the art world took notice of his dreamlike Surrealist works. Next year, Gil de Montes will be the subject of a career survey at the Los Angeles County Museum of Art.

I live in a place where there’re no museums or galleries. I’m inspired by my surroundings — by the jungle, by the ocean. I often say there’s no better background than the ocean for painting. I have two studios: one at home, where I work on paper, and a painting studio in town near the ocean. Usually, I start at home on paper. I either sketch or use watercolor wash. If I’m going to do an oil painting, I go to the studio in town. Before I work, I might just sit around and look at books — I like [monographs about Henri] Matisse, [Paul] Cezanne, [Edouard] Manet. It’s sort of a meditation. A lot of times, an idea surges when I’m working on something already; other times, it might be a memory. Or a dream. The other day, I had a dream that I was taking a photo with my phone of a house on fire — but I was conscious that the house was a drawing. [When I woke up] I thought, “Well, I should do a painting of that.”

I’m very intrigued by how memory works and how the memory of something can trigger [a new idea]. [While putting together the career survey] I’ve revisited all of these old works of mine. Some I remember painting. Others I don’t remember at all. I’m 73 years old. I forget things, and then I start thinking, “Wow, this is interesting because if I’m working from memory and forgetting things, how’s that going to affect the work that I do? How can I explore that?” For instance, somebody sent me a painting they said was mine. I said, “No, I didn’t do that painting. I’m sorry,” only to find out that I’d signed the back. A lot of the ideas I’ve been working on come from the past. In the [2022] Venice Biennale, I had a painting [“Up,” 2021] of somebody hanging upside down or falling through the sky. That came [about] when I walked into the studio and noticed I had inadvertently put a painting upside down. I said, “Actually, that’ll make a good painting upside down.” I don’t know how other artists work. I’m very open to ideas.

Reimagining a Retrospective

The conceptual artist Jenny Holzer, photographed at her studio in upstate New York on Feb. 6, 2024, with LED text from her series “Survival” (1983-85), which will be on view at her exhibition at the Solomon R. Guggenheim Museum from May through September.

In 1989, the conceptual artist Jenny Holzer installed an LED scroll of aphorisms — “Abuse of power comes as no surprise” is among the most famous — on three of the six internal ramps of the Solomon R. Guggenheim Museum in New York. It was part of her retrospective “Untitled (Selections From Truisms, Inflammatory Essays, the Living Series, the Survival Series, Under a Rock, Laments and Child Text).” Next month, Holzer, 73, will restage the work there as part of her show “Jenny Holzer: Light Line” (which will also include other pieces from her 50-plus-year career). But this time, the LED installation — which will display the original “Truisms” and other text series — will go all the way to the top.

I’m a self-loathing, slow study so [ahead of the 1989 retrospective at the Guggenheim] I had to walk and walk around and around and around the museum. It finally occurred to me, “Oh, around and around is the answer [to how the piece should be displayed].” I’m relieved I attended to what Frank Lloyd Wright did: The building is magnificently, utterly self-sufficient. It doesn’t necessarily need art, and it’s inclined to shrug it off at times.

As I was developing the new exhibition, I started walking the museum again — and not just the ramps. I went up and down the stairs a few thousand times. I went in the elevator, in assorted bathrooms, in nooks and crannies. And in those places, I put everything from the first diagrams I made in the ’70s on up to icky paintings made by A.I.

The conceptual artist discusses a sculpture by the artist Louise Bourgeois.

Video by Joshua Charow

If I have a specialty, and I’m not certain that I do, it’s installation. I like hunting and seeing. The first step is to go blank, with no preconceptions. And then, since it is visual art, using my eyes to see. Then that mysterious thing happens: Ideas come — when you’re lucky. Otherwise, you try again.

When I’m just trying to make a new artwork for anywhere, it’s adequate to lie on the couch with my eyes closed and wait for that pizza to arrive — the “art” pizza. But when I’m [fortunate enough] to be in a building like Wright’s Guggenheim, it’s — surprise, surprise — necessary for the body to be in the space. Alert, alive, all tentacles reaching out, all senses going. And on some level, being hopeful.

Photo assistant: Ece Yavuz

Adapting an Ibsen Play

For the second time, the playwright Amy Herzog, 45, has adapted a work by Henrik Ibsen. The first was “A Doll’s House” (1879), starring Jessica Chastain. Herzog’s latest staging, “An Enemy of the People” (1882), stars Jeremy Strong as Dr. Thomas Stockmann, a physician who is shunned for warning his town that its lucrative public baths are contaminated. Michael Imperioli plays his brother, Peter Stockmann, the mayor, who seeks to suppress Thomas’s findings.

When I begin an adaptation, I first read a few different translations of the play. Then I try to get those out of my head. For “A Doll’s House” and now “An Enemy of the People,” I’ve worked with a translator named Charlotte Barslund. She does a literal translation in English, which stays as close to the feeling and meaning of the original Norwegian as possible. I go through that line by line, translating it into my own words without making any big decisions. Once I have my first version, I start the bigger work of cutting. For “An Enemy of the People,” we cut three characters. I decided to cut the character of Katherine, Thomas Stockmann’s wife, after a lot of conversations with Sam [Gold, the play’s director and Herzog’s husband]. Her sections weren’t working; they were feeling really turgid. There’re sections that his daughter, Petra [played by Victoria Pedretti], could pick up if Katherine was gone.

What was remarkable about cutting Katherine was realizing how little had to change. The fact that you didn’t have to do major surgery on the play was one tell that cutting Katherine was a good idea. It gives Stockmann this recent terrible grief. It’s a particular grief when you’re a doctor, I think, to lose a spouse — to be the doctor who can’t save your loved ones. That spring loads the play as it begins: He’s reaching a place where he can have happiness again — [only] to be completely betrayed by his community and to lose everything he’s finally gained.

Ibsen wrote domestic psychological plays and social plays. “A Doll’s House” is the former and “An Enemy of the People” the latter. [When adapting “A Doll’s House”] I learned some pretty basic things about the mechanics of making it feel leaner and more modern. But other than that, it was shockingly different to translate them and humbling that he had plays that were so totally different inside of him. This play is bigger and rangier and even more relevant than “A Doll’s House.” It’s very timely — there’re a few headlines it brings up. One is climate change. I was reading a lot about scientists who weren’t listened to when they tried to sound the alarm years ago. I was also reading Naomi Klein’s [2023 memoir] “Doppelganger” and thinking about the way the body politic becomes sick. I try to do a lot of research before writing — I read a fair amount of Ibsen biographies — so there’s no single influence that’s too loud while I’m working. When I’m really doing the translation, I need quiet and cloistering. So there’d be gaps in my communication with [Jeremy] and everyone else. Then there’d be the moments, after reading a draft, when it was time to talk and become porous again.

Jeremy was the reason for the production. From the moment I began to work on “An Enemy of the People,” I knew who was playing Thomas Stockmann. I’ve known Jeremy since 1997, and I’ve seen a ton of his work, so his voice was influencing the way I adapted that character.

[Jeremy and Dr. Stockmann] are similar in that they both have a total commitment to what they believe in. Having someone in my life with that kind of devotion to his craft and to his storytelling means that I’m coming to [the character] with the texture of a real, contemporary person. Every few days, he sends me a poem or an article or something that’s meant something to him related to the play. He sent me the William Butler Yeats poem “A Coat.” The first three lines are “I made my song a coat / Covered with embroideries / Out of old mythologies.” There’s this incidental line in Ibsen’s original [script] that people often cut — but I didn’t, I love it — when Captain Horster [Dr. Stockmann’s loyal friend] makes his first entrance before you even see Dr. Stockmann, who says, “Hang your coat on that peg. Oh, you don’t wear an overcoat?” Captain Horster is this character who has no pretense and is an uncorrupted type of human. And Ibsen has him coatless at the beginning. So the idea of a coat and what it is to cover yourself has become an interesting thematic touch point for us.

Putting Up a Gallery Show

Since graduating from the Rhode Island School of Design in 1999, the visual artist Joe Bradley, 49, has made a habit of reinvention. His style continuously shifts, from mixed-media sculptures to line drawings to highly saturated large-scale canvases. His most recent exhibition of paintings opens this month at David Zwirner gallery in New York.

I tend to arrive at my studio [in Long Island City, Queens] around nine, turn the lights on, make a pot of coffee. Then, depending on what sort of stage the paintings are at, I’ll just start working. If it’s early on [in the piece], I’m much more active. When the paintings [begin] to come together, it’s a lot more about just looking and making little decisions to resolve things. I don’t have a real ritual. I don’t even have to be in any particular state of mind. If I’m distracted or depressed or happy or whatever, I just come in and see what happens.

I do begin with some practical decisions. I know how big the painting is going to be and what sort of surface I’m going to be working on. I know what the contour of [a show] will look like. I don’t make any sort of preparatory sketches — the paintings reveal themselves to me through the process of working on them. But the deadline [for the show] ends up being this organizing force. It’s the day your entire year revolves around, the time [by which] you know the paintings will have to be presentable and cohesive. It’s helpful to have that because, otherwise, you could keep things up in the air indefinitely.

When I paint today, I might be responding to a mark on the canvas that I made six weeks or six months ago. What I’m doing early in the process isn’t going to be available visually by the end — most of it’ll be painted out or it’ll disappear in the process. I lay traps or create little problems for myself to encounter. It’s almost like the uglier it gets in the early stages, the better the painting will be.

Building an Installation

Suzanne Jackson sits on a bucket assembling a sculptural work involving paper or plastic and wire mesh.

The artist Suzanne Jackson, photographed at her Savannah, Ga., studio on Feb. 1, 2024, works on a piece that will eventually be installed on a terrace at the San Francisco Museum of Modern Art.

Kendrick Brinson

The Savannah, Ga.-based artist Suzanne Jackson, 80, has worked as a dancer, a set and costume designer, a professor and a poet — but most notably as a painter. Jackson describes her ethereal compositions as “anti-canvases,” which she creates by building up layers of acrylic paint and at times found materials, including netting and produce bags. In 2025, she’ll display a selection of work from her six-decade career, along with a new site-specific installation, as part of a retrospective at the San Francisco Museum of Modern Art.

I’m working on a commission for the fourth-floor terrace of [SFMoMA]. It’s an installation that’ll climb the walls of the terrace and partially fill the open space. My approach is quite different than if I were working on a painting in my studio: I have to think of it in an architectural or sculptural sense. There’re technical aspects, so I’ve been doing a lot of research in airports and from airplane windows, looking at large-scale structures that don’t fall down — things on the rooftops of buildings like windsocks or poles. This piece will be built from the ground up, unlike my other work that hangs from the walls or ceiling.

I don’t go looking for ideas. I just go into the studio and start painting. Now that I’m older and not teaching, I don’t have to do anything except paint. In the morning, I roam around the house. I do the laundry. I feed the cats. I look out the window and stare at nature. I have a big window at the end of my kitchen and can see tall trees and birds and animals and insects. I go through the studio to get to the kitchen from my bedroom, so sometimes I end up stopping and looking at work I’ve already done. There’s a lot of sitting and thinking and looking. Sometimes, I’ll turn on music — Charles Mingus and Eric Dolphy or Yo-Yo Ma. On Mondays and Fridays, it’s [the Savannah radio D.J. and jazz historian] Ike Carter’s show “Impressions.”

As the music flows, so does the paint — that’s a spiritual environment to be in. Other times, I’ll work in absolute silence. At the beginning, I explore. I’m never quite sure what’s going to happen. Usually, it comes spontaneously. One brushstroke leads to the next, and then it becomes another idea. I might think I have one idea when I start, but it often changes along the way to be something completely opposite. I’m just having a good time being a painter. That’s how I started, and it’s how I’m going to end.

Photo assistant: Dayna Anderson

Lorraine O’Grady,

89, new york city.

The multidisciplinary artist and critic, whose solo show at Mariane Ibrahim gallery in Chicago opens this month.

A suit of armor with a spiky helmet and a raised sword.

Lorraine O’Grady’s “Announcement Card 2 (Spike With Sword, Fighting)” (2020).

I thought I was going to be a writer. My family tells me that I made my first poem when I was a year and a half old: “I like mice because they’re nice.” [In my early 30s, after working for five years] as an intelligence analyst, I went to the Iowa Writers’ Workshop for fiction. I hadn’t really been reading fiction, though, so I wasn’t very good at writing it. I spent most of my second year there translating short stories written by my instructor [the Chilean novelist] José Donoso.

Growing up, I had all these exposures to beauty. I’d gone to the Museum of Fine Arts in Boston as a child and seen [Paul] Gauguin’s “Where Do We Come From? What Are We? Where Are We Going?,” a painting that continues to influence me. And my mother was a dress designer. She redid our house every six months. By the time I was 10, I basically had everything that I’m now working with in place, but I didn’t have the language. I didn’t get that language until the early 1970s, when I read [the critic and curator] Lucy Lippard’s “Six Years: The Dematerialization of the Art Object From 1966 to 1972.” [Then] I was ready. The ideas for my visual art already existed within my experience. I just hadn’t known they were art before.

A few years later, when I was in my early 40s, I had to have a biopsy of my breast. After — thank God, it was negative for cancer — I was thinking about what I could give my doctor as a thank-you present. Reading my copy of the Sunday New York Times, I saw a line in the sports pages about Julius Erving that said, “The doctor is operating again.” I said, “OK, this could be the start of something,” and I made a really good poem for my doctor [out of words clipped from the newspaper]. But when I finished the poem, I said, “This is too good to give to him.” Then I immediately started making newspaper poems for a project called “Cutting Out The New York Times.” I made one every week for 26 weeks. When I finished, I realized that I’d become a visual artist — or revealed that I was a visual artist. — interview by J.C.

Toni Morrison,

The author of 11 novels, including “Beloved,” “Sula” and “Song of Solomon.”

By the time Toni Morrison wrote “Beloved” (1987), her best-known novel, she’d worked for nearly two decades as a book editor. Her debut, “The Bluest Eye” (1970), was published when she was 39 and, while not a commercial success, was critically praised. She published three more books between 1973 and 1981 — including “Song of Solomon” — while still at her editing job.

Prior to going into publishing, Morrison — who had a master’s degree in American literature from Cornell University — spent nearly a decade teaching college English. After her divorce, she worked for a textbook division of Random House before joining Random House proper as its first Black female editor; there, she championed and published Black authors such as Angela Davis, June Jordan, Gayl Jones and Toni Cade Bambara. “I didn’t go to anything. I didn’t join anything,” she once said about the civil rights movement. “But I could make sure there was a published record of those who did march and did put themselves on the line.” All the while, Morrison was waking by dawn to write before heading into the office. She’d later describe those sessions as a form of liberation: “The writing was the real freedom because nobody told me what to do there. That was my world and my imagination. And all my life it’s been that way.”

For many years, Morrison considered her day job essential to her art. “I thrive on the urgency that doing more than one thing provides,” she once said. But the industry had its difficulties — the overwhelming whiteness, the increasing commercial demands — and she left her position in 1983. Four years later, at age 56, she published “Beloved.” In a preface to the 2004 edition of the book, she looks back on the rush of feelings she experienced following her last day at the job. “I was happy, free in a way I had never been, ever. It was the oddest sensation. Not ecstasy, not satisfaction, not a surfeit of pleasure or accomplishment. It was a purer delight, a rogue anticipation with certainty. Enter ‘Beloved.’”

65, New York City

The multidisciplinary artist and former drag performer, whose paintings are currently on view at the Dallas Contemporary art space and the MassArt Art Museum in Boston.

A floral painting with a purple background.

A 2023 acrylic on canvas by Tabboo! titled “Lavender Garden.”

My mother put me into an art class when I was 15 at the Worcester Art Museum, and then I went on to art school [at the Massachusetts College of Art and Design], where I majored in painting and fine art. I remember my first sale, to my aunt Julie. She wanted me to copy [Jean-François] Millet’s “The Gleaners.” I didn’t want to copy someone else’s stuff — I think one of the reasons I’m popular is that I’m very original — but I still did the painting, of course. It was a commission and I was being paid!

I started performing drag in nightclubs when I moved to New York in 1982, but I’ve always been painting, too. This isn’t something I just came up with, like, “Oh, I can’t get on ‘RuPaul’s Drag Race,’ I better start painting.” I had one-man shows and gallery exhibitions right after graduating from art school. Elton John and Gianni Versace bought my paintings. I don’t want anyone to have the impression — which certain people seem to — that I took up painting just because I stopped doing drag. I might be getting a bit more attention for it now, but I’ve always been doing it.

I usually get up at four in the morning. I feed my cat and then start painting. A lot of my paintings are sunrises. And I do sunsets and cityscapes. Or if it rains in a weird way, I’ll do a rain painting. It’s a very spiritual, meditative, private thing. There isn’t a day that goes by that I haven’t done something, and so my work gets better and better and better. And I must say, I’m a master of my craft now.

Sometimes a collector will ask, “Can we come over to the studio and watch you paint?” I tell them no. I usually do it naked. — interview by J.C.

Justin Vivian Bond,

60, new york city and the hudson valley, n.y..

The performer and multidisciplinary artist, whose work has been exhibited at Participant Inc. and the New Museum in New York City, and will be on view at Bill Arning Exhibitions in Kinderhook, N.Y., in May.

Justin Vivian Bond’s watercolor “Witch Eyes, by Viv, to Protect You From Evil Chodes: Lois” (2024).

When I was in high school, I was interested in visual art as well as music and acting, but I decided to major in theater in college because I thought it was a career that could get me out of Maryland and allow me to move to New York. I became a performer, and I’ve been doing cabaret for many years. In 2008, when I broke up my cabaret act Kiki and Herb, my rent was so cheap that I didn’t have to work as much. I started painting again, and it flows very naturally for me.

My watercolors are primarily portraits of people I know. I’ll ask them to pose for a photograph and then paint from that. I also make pseudo fan art, like my “Witch Eyes” series, which is based on iconic photographs of celebrities’ eyes. The wonderful thing about painting is that you have total control over it, if you’re lucky. Onstage, there’re so many variables. And with painting, you don’t have to be there [when people see your work]. I love being in front of an audience, but I don’t really love being among people. The pleasure for me is singing but, when the show’s over, I have to talk to a lot of people. I like all of them, but there’re too many, so it can be a little overwhelming. You don’t ever get to connect on a deeper level. The most satisfying times in my life have been when my shows have been installed and it’s the night before the opening. All of it’s exactly how I want it — the room, the lighting — and I just sit there and look and have this sense of utter satisfaction. — interview by J.C.

Wallace Stevens,

The poet, whose best known works include “The Emperor of Ice-Cream,” “The Snow Man” and “Anecdote of the Jar.”

Wallace Stevens never quit his day job. Though he had literary ambitions as a young man, serving as the editor of the Harvard Advocate as an undergraduate, he earned his degree from New York Law School and in 1916 joined the Hartford Accident and Indemnity Company, where he remained, specializing in surety and fidelity claims, until his death, in 1955. Yet he was writing all the time: on his daily walk to work, at home in the evenings and sometimes in the office.

It wasn’t until 1914, when Stevens was 34, that his first post-college poems appeared in literary journals. He went on to publish seven volumes of poetry over the course of his lifetime. The first, “Harmonium,” released in 1923, sold fewer than 100 copies; the last, 1954’s “The Collected Poems of Wallace Stevens,” won the Pulitzer Prize.

The themes of Stevens’s work — the affirming power of art and beauty, the sublime contained within the mundane — suggest one reason why he stuck with insurance law even as his artistic acclaim grew. His steady paycheck would have allowed writing to remain a purely creative act. In his essay “Surety and Fidelity Claims,” Stevens says of his insurance work, “You sign a lot of drafts. You see surprisingly few people. ... You don’t even see the country; you see law offices and hotel rooms.” Poetry, on the other hand — as he characterizes it in 1923’s “Of Modern Poetry” — “must be the finding of a satisfaction.” It was his livelihood, in the most artistic sense of the word.

Theaster Gates,

50, chicago.

The University of Chicago professor and multidisciplinary artist, whose solo shows at the Gagosian gallery in Le Bourget, France, and the Mori Art Museum in Tokyo open this month.

A sculpture resembling a piano covered with white metal.

Theaster Gates’s sculptural work “Sweet Sanctuary, Your Embrace” (2023).

In 2000, I took a job as the arts planner at the Chicago Transit Authority. There was so much new construction happening there, and my role was to appeal to the Federal Transit Administration for a portion of the transit money to be set aside for public art. In a way, it was like an M.B.A.: I managed $26 million over four or five years. My negotiating skills went through the roof.

I’d graduated from Iowa State [in 1995] with a degree in community and regional planning and then did a [post-baccalaureate] in religious studies and fine art at the University of Cape Town. After that, I spent time in Japan studying ceramics. So when I came to the C.T.A., my background incorporated both art and community and, every day, I was leaving there and going to my ceramics studio.

In 2005, I left the C.T.A. because I outgrew the position, and I stopped making pots because I couldn’t afford my studio. I started using more recycled materials in my work [such as wood pallets]. It was during this period that I was starting to combine my knowledge of minimalism and conceptual practices with my background in building and working with my dad, who was a roofer. Now buildings have kind of become my primary monuments, and the project management and team building that I learned at the C.T.A. are really evident in the way that I create.

I did a project at the New Museum [that opened in late 2022 and] was essentially an exhibition about mourning and loss. My father had died six months prior to the opening, and I didn’t have time to mourn his death or the deaths of dear friends like [the fashion designer] Virgil Abloh, my mentor [the Nigerian curator and art critic] Okwui Enwezor, [the author] bell hooks and [the film scholar] Robert Bird. The show grew out of a desire to grapple with my feelings and honor these people. The museum didn’t necessarily have the budget to do all of the things that I wanted to, so I had to figure out, “Are there poetic ways to articulate loss that don’t require substantial build-out, or big, fancy gestures or expensive audio equipment?”

Ultimately, I included Bird’s 9,500-volume library, and Virgil Abloh’s widow loaned me his yellow diamond-studded necklace. Those were moments when limitations built new friendships and more nuanced opportunities, and I feel like having been a planner’s what made me willing to pick up the phone and say, “Hey, would you be willing to collaborate with me?” — interview by J.C.

Remember That You’re Never Truly Equipped to Start Anything

As actors, we feel like we have to be ready, but I’d say you’re never ready. You’re not prepared for something you’ve never done before, so let go of that. This past year I did some symphony gigs for the first time, and it was incredible. It was better than being ready, because I just had to be new. — Ali Stroker, 36, actress and singer

Myha'la stands outside under a dim sky wearing a hoodie.

Myha’la in season one of “Industry,” 2020.

Amanda Searle/HBO

Embrace Fear — but Come Prepared

I have the curse of perfectionism, and there’ve been so many projects where I’ve said, “I’m not right for that, so I’m not going to audition.” But that’s kind of lazy, so I’ve rewired my thinking: If something’s targeting some insecurity in me, why not take the opportunity to work on that thing? I used to avoid anything with an accent but now, if I got the call for “Bridgerton,” I’d feel confident enough to go for it. Definitely do your homework, though. With almost every trading scene in “Industry,” I’ve thought, “Nope, I’m not going to be able to get the words out.” I don’t sleep the night before, and I’m wrecked the next morning. Then everything pours out because I’ve come in prepared. Filming the first season of “Industry” in 2019 was the first time I’d been on a job longer than five days, the first time I’d worked out of the country, the first everything, and I was so nervous. Go toward things that scare you. — Myha’la, 28, actor

Make Yourself Start

Deciding what’s a good idea is an ongoing battle. But you can only think about something for so long before you just have to try it. Someone once told me that when he makes a painting he likes, he’ll make another one with the same idea to see if it holds up and then another, which I thought was pretty good advice. Sometimes I force myself to go to my studio and start painting [Gordon initially set out to be a visual artist and started focusing more on her art practice about 25 years ago], even if I don’t have an idea. I like conceptual thinking, but I also like the physicality of painting. Usually that leads me to something and, even if it doesn’t — what am I going to do, sit around and watch movies all day? — Kim Gordon, 70, musician and visual artist

Put Yourself in Your Body — and Your Past

Sometimes painting can feel like this dream I have where I’m in the back of a moving car and I’m reaching over to the front seat to try to get control. That’s a nervous system in panic. There’s a grounding exercise I like to do where I jump and really feel my feet smack the floor — trying to get yourself back into your body’s part of the trick. And then I go, “Well, who’s dreaming?” If you can get there, you’re lucid in the dream, and that’s a good place to be. Still, feelings will come up that you don’t want. When I was working on this satyr painting, suddenly the satyr was my old friend Chris, who betrayed me when I was 18 to a group of guys who beat me up. I thought, “Why am I painting Chris? I don’t want to paint Chris.” I was in flow for a while but, when I hit this painting, I experienced self-doubt and thought, “People are going to think these paintings are awful.” Then I went on Instagram and liked one of his pictures. It felt like a weird, brave task. And he wrote to me and asked if he could call me, 26 years after ghosting me, and he apologized for 20 minutes. I cried and I think he probably cried, and I felt it all melt away. And then I went back to the painting. — TM Davy, 43, artist

Kim Gordon, wearing a floral jumpsuit, poses in front of a red background and extends her left hand.

Kim Gordon in 1990.

Laura Levine/Corbis via Getty Images

Psych Yourself Out

If things are too hard, something’s wrong, but you also have to embrace the awkward feelings. See if you can fool yourself — I used to get self-conscious about drawing when I was a teenager in an art class with a model, and the teacher said, “Don’t think of it as drawing. Think of it as designing the page.” That really loosened things up for me. It’s amazing what you can do if you pretend. — Kim Gordon

When people say they’re self-taught, it means they asked somebody else how they did it. When I began in folk music, I went to the clubs and I begged and borrowed and asked. [More recently, having taken up painting acrylics a little over a decade ago,] I was painting [Anthony] Fauci and couldn’t figure out how to do his glasses. I called an artist friend and she had all these tricks — “Don’t try to copy the photograph,” she told me, “just use dabs of paint here and there to give the impression of glass.” It didn’t take more than 45 minutes to learn how to put glasses on Fauci. Without her, I would’ve struggled for weeks trying to get it right. — Joan Baez, 83, singer-songwriter, activist, painter and author

Don’t Sweat the End — and Work on More Than One Thing at Once

Remember that the maker almost never knows exactly what they’re making in advance. The great works often appear when we’re aiming toward something completely different. Start as soon as you see a way in. I [also] find it helpful to work on multiple things at the same time. Not in the same moment but during the same general time period. The beauty is that different projects are at different stages, so you can avoid getting burned out on any one [thing]. We can step away, work on something else and come back with new eyes, as if we’re seeing it for the first time. Tunnel vision’s easy to fall into when working on a single project for a long period. We can end up getting lost in details nobody else will ever notice, while losing touch with the grand gesture of the work. — Rick Rubin, 61, music producer and author of “The Creative Act: A Way of Being”

Murray Hill in 1996.

Catherine McGann/Getty Images

Treat Procrastination as Productivity

There were certain things I couldn’t do during the [SAG-AFTRA] strike, but I did get a book deal. It’s called “Showbiz! My Unexpected Life as a Middle-Aged Man,” and I’ve got to get that done — by June 1st! I’m used to being onstage. When I’m sitting at my desk in my studio apartment, I procrastinate quite a bit, and I’m always asking myself, “Is this part of the creative process for me, or am I just making my life harder?” But I also procrastinate in productive ways. I go for a walk — in rehab, they taught us, “Move a muscle, change a thought.” Then I come back and put on jazz music. Doing that removes the blocks, probably because jazz is so much about improvisation and I’m at my core an improviser. Another thing I’ll do to light the match is turn to others’ work. I’ll watch Dean Martin videos or a documentary or old game shows. For this memoir, I’ve been reading memoirs by other people — Gary Gulman, Viola Davis, Maria Bamford, Leslie Jones, Aparna Nancherla — and not only does that awaken my creative senses, it triggers memories. — Murray Hill, 52, comedian, actor and writer

Be Comfortable With Discomfort

There was a time when [my] body was always ready, and when I had so many axes to grind and windmills to chase [that] something would come out. Now I can’t just depend on my body being there — that I’m going to bust a move and seduce — so I have to be a little more strategic: “What’s the idea? Does it serve anyone other than you?” I’m trying to reaffirm for myself that what I have left in me to say is worth saying. Doubt is always with us, and it burns like fire. But if I refuse to give up the mantle of being a creative artist, I’ve got to do something. [You might say] “Well, why don’t you just love a child? Why don’t you go work at a soup kitchen down the street?” Because I’m a self-involved son of a bitch. Procrastination says, “I don’t dare,” but can you live with yourself if you don’t? So how do you start? Terror. Guilt. Fear. All negatives to this generation of young people who don’t ever want to be uncomfortable, but the generation that formed me and my own generation had that feeling that you’re being pushed against and you’ve got to push back, because you’re not like them. As Martha Graham said to Agnes de Mille, “There is only a queer divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others.” I’ve got to believe that about myself, and the evidence is what I dare to do. — Bill T. Jones, 72, choreographer, director and dancer

If Your Work Goes Up in Flames, Don’t Fetishize the Ashes

One thing that eases the prospect of getting started is remembering that not everything you make needs to be for consumption or even to count as art. I recently spent nine months quietly making these works — mineral paint on cement slabs — and ended up throwing them all away because I decided they were too conventional. You’re not married to your old self, either. In 2013, there was an electrical fire at the studio I’d just moved into, and the building burned to the ground. I lost cartons of negatives and proof sheets that were over six feet tall, as well as photographs — stuff I’d made five, seven, 10, 15 years prior. Of course, it was traumatic and terrifying, but it was also freeing. Eventually I realized it was an opportunity for me to draw a line and stop making a certain kind of work. As artists, we think, “I got known for this type of thing,” or, “This is what everybody seems to like of mine.” A part of me felt, “I have to rebuild this person,” and then I thought, “Well, I don’t,” and I started something else. It was actually one of the most fruitful periods of my creative life. — Anthony Pearson, 55, painter, sculptor and photographer

Joan Baez holds a guitar and sings into a microphone.

Joan Baez in 1974.

David Redfern/Redferns via Getty Images

Practice Some Denial

When I was working on “Diamonds & Rust” (1975), I was at a low point of my career and I made a decision that I was going to concentrate on music and quit globe-trotting for different issues. I realized that the music needed my time and attention if it was going to be any good. Learning to live with the state of the world’s a daily practice. Everything we do, we do against the backdrop of global warming and fascism. I never dreamed I’d live in a world this chaotic and discouraging, and I’m overwhelmed but I’m also a great believer in denial — I think that’s where you have to be in order to create, or have fun or dance — providing that we set aside a certain amount of time to come out of denial and actually do something to help. — Joan Baez

Reject Fear. And Put Your Ego to Bed.

Last year, I went through what medical professionals would call a flop era. I’d had three years of the kind of lovely, psychotic busyness that has you hopping from job to job, just following green lights, but then everything went poof — the show I was working on got canceled; the financing for the film adaptation of my novel fell through. I’d been working on such personal things regarding sex and disability and, when those things ended or weren’t [well] received, I began to doubt myself. But then, you’re combating panic, and I started thinking really awful thoughts like, “Do I need to write a pilot where there’s a dead body?” Fear is the most poisonous thing to creativity. You can’t force it, and you have to listen to the work — it’ll tell you what it needs to be. Look at me getting all woo-woo, but it’s true. When you make a living off of writing, not every single project’s going to be from the depths of your soul, but I think there should always be some level of enjoyment. Starting over is really humbling, by the way. Knowing when to stop and when to start over requires giving your ego an Ambien. Real failure is letting your ego drive the bus of your life right off the cliff. — Ryan O’Connell, 37, writer and actor

Alice McDermott, 70, writer

There are three kinds of novels I’ve never taken to heart: science fiction, murder mysteries and novels about novelists. So I’ve decided to try my hand at each. If I fail, they’re probably not books I’d want to read anyway.

Thurston Moore, 65, musician and author

I’m putting the final touches on a new album, “Flow Critical Lucidity.” But after my memoir, “Sonic Life” (2023), came out, I realized my next mission was a novella, the working title of which is “Boomerang and Parsnip.” It concerns two madly in love youths in the wilds of Lower Manhattan circa 1981, and it’s wholly irreal, bordering on fantasy.

A painting of a bearded man with long white hair flipping through a book with a large die inside. Stacks of books are on shelves behind him. A sheathed knife hangs on the wall. On the table in front, a goblet and a baguette.

Courtesy of Samuel Delany

Samuel R. Delany, 82, writer

I’m writing a guidebook for a set of tarot cards I designed with the artist Lissanne Lake.

Susan Cianciolo, 54, visual artist

I’m preparing a solo exhibition that will open at Bridget Donahue gallery next month, so I’m making new works and curating older ones. It’ll definitely feature a book of my watercolor tree paintings, “Tell Me When You Hear My Heart Stop.”

Jenny Offill, 55, writer

I’m planning to start a band called Spacecrone. (I’ve stolen the name from a book of Ursula K. Le Guin essays.) It’ll be all female and 55-plus. Our faces will be made up like Ziggy Stardust, but we’ll wear sensible clothes and shoes. What’s kept me from starting it is that I can’t sing or play any instruments.

Alex Eagle, 40, creative director

We’re finessing our bag collection, which we’re trying to make as luxurious, but also as practical, as possible. And I’m planning to write a cookbook with my son Jack.

Earl Sweatshirt, with his hair in long dreadlocks, wearing a gray T-shirt and a wristband, holds up a microphone.

Jim Bennett/Wire Image, via Getty Images

Earl Sweatshirt, 30, rapper and producer

Making more music — it’s the one thing I always find myself coming back to, though every time I do, I have to overcome intense feelings of self-doubt. I also want to try stand-up, but I’m scared because there’s no music to hide behind. I don’t want dogs-playing-poker laughs, either. You know the [paintings] of dogs playing cards? Like, “Oh, it’s a rapper doing stand-up.”

Alex Da Corte, 43, visual artist

I’ve been writing an opera for some years now based on Marisol Escobar’s [assemblage] “The Party” (1965-66). It’s set at a time when the sun only shines for one day a year, and the players at the party are all wondering how to move forward while holding on to their pasts.

Danny Kaplan, 40, designer

While clay has been my faithful medium for years, I’ve lately been fueled to broaden the scope of my craft by embracing — and learning how to push the boundaries of — new materials like wood, metal and glass.

Kengo Kuma, 69, architect

Getting out of [Tokyo]. I’m doing my best to reduce the burden on big cities — I think humankind has reached a limit when it comes to congestion — and I’ve recently opened five satellite offices in places like Hokkaido and Okinawa.

Raul Lopez, 39, fashion designer, Luar

The thing I’m always meaning to restart is my video blog “Rags to Riches: Dining With the Fabbest Bitches,” an exploration of how food, fashion, music and art all connect.

Charles Burnett, 80, filmmaker

Right now I’m involved in the development of two films. The first, “Edwin’s Wedding,” is the story of two cousins, separated by the Namibian armed struggle with South Africa, who are both planning their weddings. The second, “Dark City,” also set in Namibia, is more of an emotional roller coaster about betrayal and vengeance told in the Hitchcockian mold.

Ludovic Nkoth, 29, visual artist

I’m looking to experiment outside the confines of the canvas — sculpture and video have always been lingering in the back of my head.

Elena Velez, 29, fashion designer

I want to start a series of salons to bring together great minds across multiple disciplines, while feeding the subculture that my work draws from.

Daniel Clowes, 63, cartoonist

I’ve always had the desire to do fakes of artworks I admire — to figure out how they were done, and so I could have otherwise unaffordable artwork hanging in my living room. Painting [with oil] is as frustrating and exhilarating as I remember it being when I was in art school 43 years ago, and my paintings look alarmingly not unlike the ones I did at 19.

Piero Lissoni, 67, architect and designer

I’ve started the design for several new buildings that will become government offices in Budapest. I’d like to start designing chairs, lights, skyscrapers, spacecraft. In truth, I’d like to start doing everything again.

A painting of tangled bodies fighting with a man raising a baby into the air.

Peter Paul Rubens’s “The Massacre of the Innocents” (circa 1610), Art Gallery of Ontario, Toronto

Robert Longo, 71, visual artist

I’ve been struggling to figure out how best to make sense of the overwhelming images in the news, so I’m turning to the past. I’m working on two monumental charcoal drawings based on paintings [about war]: Peter Paul Rubens’s “The Massacre of the Innocents” (circa 1610) and Francisco de Goya’s “The Third of May 1808” (1814).

Gabriel Hendifar, 42, designer

I’m moving into a new apartment by myself after a series of long relationships. I’m excited to challenge my own ideas about how I want to live and to see how that affects the work of my design studio [Apparatus] as we begin our next collection.

Donna Huanca, 43, visual artist

I’m working on two solo exhibitions. One will be in a late 15th-century palazzo with underground vaulted rooms in Florence, Italy; the other in a modern white cube in Riga, Latvia. For years, I’ve tailored works to the architecture of their exhibition spaces, so I’m enjoying working within this duality.

Satoshi Kuwata, 40, fashion designer, Setchu

We’re about to start offering shoes. I’ve thought of the design. Now I just have to go to the factory and see them in real life.

Aaron Aujla, 38, and Ben Bloomstein, 36, designers, Green River Project

We’re starting a new collection of furniture based on offcuts from the studio that are finished with a modified piano lacquer. Hopefully, a suite of these pieces will be ready for exhibition by fall. We also have a commission we’re excited to start — a large sculptural fireplace made from three unique logs of rare wood.

Adrianne Lenker, 32, musician, Big Thief

I want to start learning how to paint. The few times I’ve tried it, I loved it but also felt daunted by all I needed to learn. I often think of my songs in terms of paintings. My grandmother Diane Lee’s an amazing watercolorist. Recently she gave me a lesson all about gray.

A textile artwork with patterns of green and purple bars and three circular patterns with a spider in the center.

Melissa Cody’s “Power Up” (2023), courtesy of the artist and Garth Greenan Gallery, New York

Melissa Cody, 41, textile artist

I’m starting to create wall tapestries that incorporate my pre-existing designs, which were handwoven on a traditional Navajo/Diné loom, but these new works are highly detailed sampler compositions made on a digital Jacquard loom.

Josh Kline, 44, multidisciplinary artist

I’m working toward shooting my first feature film — a movie, not a project for the art world.

Sally Breer, 36, interior decorator

My husband and I have started building some structures on a property we own in upstate New York — he has a construction company in Los Angeles. We’re using locally sourced wood and are 80 percent done with a studio-guesthouse, a simple 14-by-18-foot box set on foundation screws, tucked into a pine forest. This is the first time we’re really working together as a design-build team. He’s started referring to it as our “art project.”

Eddie Martinez, 47, visual artist

I’m restarting a group of large-scale paintings for an exhibition at the Parrish Art Museum [in Water Mill, N.Y.] this summer. They’re each 12 feet tall and based on a drawing of a butterfly. The series is called “Bufly” since that’s how my son, Arthur, mispronounced “butterfly” when he was younger. I’d put the paintings aside while I finished my work for the Venice Biennale. Now I’m locked in the studio, painting like a nut!

Karin Dreijer, a.k.a. Fever Ray, 49, singer-songwriter

I’ve been thinking about learning to play the drums. They’ve always felt like a bit of a mystery to me.

Eric N. Mack, 36, visual artist

I’m starting to recharge in order to begin my next body of work. I journal, read, explore the Criterion Channel and get deep-tissue massages. I keep wishing I’d organize the fabrics in my studio.

Jenni Kayne, 41, fashion designer

We’re starting the next iteration of the Jenni Kayne Ranch [the brand’s former property in Santa Ynez, Calif., where she’d invite guests for yoga, dining and spa experiences], only this time we’re heading to upstate New York. We’re calling it the Jenni Kayne Farmhouse, and it’ll include a self-care sanctuary where slow living is a genuine ritual.

Christine Sun Kim, 43, multidisciplinary artist

I have a bit of an adverse reaction to people doing American Sign Language interpretations of popular songs on social media — they’re usually based entirely on the lyrics in English, when rhyming works differently in ASL. So I’ve been wanting to make a fully native ASL “music” video. One day.

Ellia Park, 40, restaurateur

I’ve started collaborating with the in-house designer at Atomix, one of the restaurants I run with my husband, Junghyun Park, on custom welcome cards for the guests that feature bespoke artwork.

Awol Erizku, 35, visual artist

Awol Erizku’s “Pharrell, SSENSE” (2021), from "Awol Erizku: Mystic Parallax" (Aperture, 2023), courtesy of the artist

I’m focused on my exhibition “Mystic Parallax,” opening in May in Bentonville, Ark. [which will include concerts and portraits of such people as Solange and Pharrell Williams]. What I never seem to get around to is archiving all of my negatives in the studio.

Jeremiah Brent, 39, interior designer

As I navigate the [effect of the] ever-so-saturated interior design algorithm, I’m challenging our team to expand the language we speak, diversifying design references by looking to the unexpected: playwrights, films, historians and science.

Vincent Van Duysen, 61, architect

I’m focusing on the 90th anniversary of [the Italian furniture company] Molteni & C. I’m also excited about our recent addition to the family — a black-and-tan dachshund called Vesta after the virgin goddess of the hearth and home.

Kwame Onwuachi, 34, chef

I’m working on launching a sparkling-water line — the proceeds of which will help bring clean water wells to African countries — and starting to write my third cookbook. I start everything I think of.

Larissa FastHorse, 52, playwright and choreographer

I’m adapting a beloved American musical — I can’t say which — into a TV series. Which is scary because, even though I just adapted “Peter Pan” for the stage, the TV process is the opposite: Instead of cutting down a three-hour musical, I have to add hours and hours of content. So it feels like beginning over and over again.

Peter Halley, 70, visual artist

I’ve started to paint watercolors. Now that I’ve reached 70, I thought it was about time. The images are arranged in a grid like on a comic book page, but the narrative’s asynchronous. They’re based on images of one of my cells exploding, an obsession I’ve had going all the way back to the ’80s.

Darren Bader, 46, conceptual artist

I want to start an art gallery called Post-Artist that regularly shows art but refuses to name who made it. No social media presence. I also want to do what Harmony Korine is doing, except with none of that content.

Jeff Tweedy, 56, musician, Wilco

I’m about to record an album of new music with my solo band, which isn’t really solo at all. I’m bringing my sons and the close friends and quasi family who’ve been playing with me live for the past 10 years or so into the studio. I’ve written songs that feel like they can be a vessel for all of our voices together: a miniature choir. There’s really no experience that compares to singing with other people. I think it tells us something about how to be in the world.

Charles Yu, 48, writer

I’m about to start promoting the “Interior Chinatown” series [based on Yu’s 2020 novel]. I’d like to get into music and service. My son’s a drummer, and he’s awakened some latent impulse in me. And my daughter and wife have been volunteering. I’m not exactly sure what’s been keeping me from either. I could say work, but I suspect the actual answer is nothing.

Elyanna, 22, singer-songwriter

I’d love to improve my Spanish. I visit my family in Chile at least once a year and, every time I fly back to L.A., I realize that I need to keep practicing.

Boots Riley, 53, filmmaker and musician

I’m getting ready to start filming a feature I wrote about a group of professional female shoplifters who find a device called a situational accelerator that heightens the conflict of anything they shoot it at. I also have a sci-fi adventure: a janky, lo-fi epic space funk opera. My dream is to use the same crew and shoot the two movies back to back in Oakland, Calif. [where I live]. That’s one thing about being 53 — I want to be able to spend more time with my kids.

Boots Riley, wearing a brown jumpsuit, sunglasses, and with low sideburns, a mustache and a soul patch sits on a swing set in a park.

Damien Maloney/The New York Times

Sable Elyse Smith, 37, visual artist

I’ve recently embarked on an operatic project. Yikes! MoMA invited me to make a sound piece that’ll open in July, and it’ll be a kind of prelude to a larger version. It’s titled “If You Unfolded Us.” It’s a queer love story and a coming-of-age story about two Black women.

Satoshi Kondo, 39, fashion designer, Issey Miyake

My latest experiment with washi , or traditional Japanese paper, is blending fibers extracted from the remaining fabrics of past clothing collections with the pulp mixture from which washi is made. It’s a way of playing with color and texture.

Laila Gohar, 35, chef and artist

Almost all of my work has used food as a medium and has therefore been ephemeral. Making work that isn’t — namely, sculptures — is an idea I’ve been toying with for a while, but I haven’t been able to jump into it yet. I once read something an artist said about how she thought male artists are more concerned with legacy than female artists, and that female artists are more comfortable creating ephemeral work. This rang true for me, but now I feel slightly more confident about making things that might outlive me.

Patricia Urquiola, 62, architect and designer

I was nominated [last year] as a member of the Royal Academy of Fine Arts of San Fernando in Madrid, so now I’m writing the acceptance thesis, or discurso de ingreso . It’s an occasion to reflect on ideas — for example, I reread the philosopher Bruno Latour, who argues that design “is never a process that begins from scratch: To design is always to redesign.”

Luke Meier, 48, and Lucie Meier, 42, fashion designers, Jil Sander

We’ve started making some objects — glass and ceramics. We aren’t at all experienced in these fields, so it’s invigorating to play again.

Two women wearing baseball caps sit and talk. One, center, is holding a binder of papers with the label "The Salt Path Draft" on the front.

Kevin Baker/Courtesy of Number 9 Films.

Marianne Elliott, 57, director

I’ve always wanted to do a film, but it requires so much time and theater is a hungry beast, so it’s eluded me until now: “The Salt Path,” starring Gillian Anderson, is based on a true story about a remarkable English couple [who embark on a 630-mile hike].

Samuel D. Hunter, 42, playwright

Last year, I was approached by Joe Mantello and Laurie Metcalf, who wanted someone to write a play for Joe to direct and Laurie to star in. I’d never met either of them but, if I had to pick one actor on earth to write a role for, it would be Laurie. “Little Bear Ridge Road,” a dark comedy about an estranged aunt and nephew who are forcibly reunited after the passing of a troubled family member, will go into rehearsals in May.

Thebe Magugu, 30, fashion designer

When I was 16, I began writing a novel, taking place between the small South African towns of Kimberley and Kuruman, that I’ve contributed to every year since. It currently sits as a huge slab of a book — around 80,000 words — and I’ve been meaning to rewrite and polish the earlier chapters. I’ve given myself the next 10 years [to finish the project]. It’ll be a gift I give to myself when I turn 40.

Misha Kahn, 34, designer and sculptor

I have an idea for this toothpaste project called Zaaams that’s expanded, of its own volition, into an entire cinematic universe. Sometimes an idea can grow so big that it’s unmanageable and nearly unstartable. Sometimes I’ll really start working on it, but I get overwhelmed by the seismic rift in society it would cause and feel dizzy. Crest, if you’re reading this, call me.

Nell Irvin Painter, 81, visual artist and writer

I’m way too old to be a beginner. I’m 81 and have already written and published a million (OK, 10) books. But a very different kind of project’s been tugging at me: something like an autobiographical Photoshop document with layers from different phases of my life in the 1960s and ’70s — spent in France, Ghana, the American South. I’d have to be myself at different ages.

A black-and-white self-portrait of a smiling woman taken in a mirror.

Courtesy of Nell Irvin Painter

Sharon Van Etten, 43, singer-songwriter

In 2020, I became familiar with the work of Susan Burton, the founder of A New Way of Life, which provides formerly incarcerated women with the care and community they need to get their lives back on track, and was so moved by her story I asked my record label if it was OK to use money from my music video budget to produce a minidocumentary on the organization, “Home to Me.” I still have a lot to learn about filmmaking, but I think it’s the beginning of something beautiful.

Piet Oudolf, 79, garden designer

I’m starting the planting design for Calder Gardens, a new center dedicated to the work of the artist Alexander Calder in Philadelphia. I’m working on it with Herzog & de Meuron architects, and it’ll include a four-season garden that will evolve with the months. Early in the year, it’s about ephemerals (bulbs). Spring is when woodland flowers are important. Summer will be the high point of the prairie-inspired areas, and in fall and winter there’ll be seed heads and skeletons. I think a good, harmonious garden is like a piece of living art.

Rafael de Cárdenas, 49, designer

As a consummate shopper, I’ve always thought the best way to bring my interests together would be with a store — a lab for testing things out and creating a connoisseurship in the process. I’m thinking Over Our Heads (the second iteration of Edna’s Edibles in [the 1979-88 sitcom] “The Facts of Life”) meets Think Big! (a now-closed shop in SoHo) meets [the London gallery] Anthony d’Offay meets [the defunct clothing store] Charivari meets [the old nightclub] Palladium.

Gaetano Pesce, 84, architect and designer

I’m working on a possible collaboration with a jewelry company from Italy. I can’t say the name yet, but the pieces stand to be very innovative. Also, another collaboration with the perfume company Amouage inspired by time I spent in Oman’s Wadi Dawkah and the beautiful frankincense trees there.

John Cale, 82, musician and composer

Ever since I played viola in the National Youth Orchestra of Wales, I’ve been hypnotized by the thought of the discipline needed to conduct. My attention soon wandered — from John Cage to rock music. Now, 60 years on, it’s finally time.

Nona Hendryx, 79, interdisciplinary artist and musician

I’m working on the Dream Machine Experience, a magical 3-D environment that’ll be filled with music, sound, images and gamelike features. It’ll premiere at Lincoln Center this June. [My idea was] to create an imaginative world inspired by Afro-Futurism that encourages a wide, multigenerational audience to share.

Faye Toogood, 47, designer and visual artist

I’d like to develop a jewelry collection, but I haven’t. Is it because no one’s asked — no phone call from Tiffany! — or because I’m struggling to understand how adornment fits into our current world?

Freddie Ross Jr., a.k.a. Big Freedia, 46, musician

I’m recording a kids’ album and publishing a picture book for early readers. Much of my art is about language and the unique colloquialisms that we have in bounce culture. Children respond to its snappy rhymes and phrases.

Danzy Senna, 53, writer

Every time I write a novel, I think, “This is the most masochistic experience I’ve ever had — I’m going to quit this racket.” But I feel incomplete without this depressive object to feel beholden to. I just finished editing one book [“Colored Television”] and have the sinking feeling I’m about to start another.

Jackie Sibblies Drury, 42, playwright

I’m starting, hopefully in earnest, to write a play in collaboration with the director Sarah Benson inspired by action movies. We were intrigued by the problem of trying to put chase scenes or action sequences onstage, where it’s difficult to build momentum or suspense because in theater we have less control over the viewer’s eye, among other things. But hopefully the play will be about what it means to see ourselves in these macho cis men who often get hurt pretending to almost die for our entertainment — or something like that?

Lindsey Adelman, 55, designer

I’m putting together a digital archive of my work and ephemera — about 30 years’ worth — revisiting everything from the sculpture I made as a student at RISD to the paper lights David Weeks and I sold for $25 to datebooks where I scribbled notes about things I wished would come true and then did. I hope it’ll encourage others to start something. I want them to understand, “Oh, this was the first step … this beautiful, finished thing was inspired by a piece of garbage dangling from a streetlamp.”

Elizabeth Diller, 69, architect, Diller Scofidio + Renfro

A shadowy image of a blurred figure in an illuminated doorway at the top of some stairs.

David Wall/Getty Images

Since 2012, when my studio was doing research for a contemporary staging of Benjamin Britten’s chamber opera of Henry James’s “The Turn of the Screw,” I’ve been meaning to start a book about ghosts. While ghosts are a well-trod literary device, their visual representation on stage and screen also has a rich history that can be told through the lens of an architect. Despite the fact that ghosts transcend the laws of physics, they’re stubbornly site-specific — they live in walls, closets, attics and other marginal domestic settings, and they rarely stray from home.

David Oyelowo, 48, actor

Something that three friends and I are in the process of building and developing is a streaming platform that we launched last year called Mansa. The idea — born out of growing frustration with making things that I love and then having to use some kind of distribution mechanism where the decision makers are almost always people who don’t share my demographic — is Black culture for a global audience. Essentially, we started a tech company that intersects with our love of story and our need to create [pipelines] for people of color and beyond to be seen.

Franklin Sirmans, 55, museum director, Pérez Art Museum Miami

There’s a recurring exhibition that I’ve worked on with [the curator] Trevor Schoonmaker since 2006 called “The Beautiful Game” that consists of art about soccer. We do it every four years because of the World Cup, and I’m starting to get into the 2026 iteration. I’ve also been trying to finish a book of poems since I graduated college more than 30 years ago. But it’s happening. It’s not like you don’t write a good sentence every now and then.

Jamie Nares, 70, multidisciplinary artist

I’ve always loved this line of poetry [from the Irish poet John Anster’s loose translation of Goethe’s “Faust”] that goes, “Whatever you can do, or dream you can, begin it. Boldness has genius, power and magic in it.” One thing I’ve begun recently is a revisiting of my 1977 performance “Desirium Probe,” for which I hooked myself up to a TV that the audience couldn’t see, and relayed what was happening onscreen through re-enactment. Now I’m going to do it with YouTube videos chosen at random from the wealth of rubbish and interesting stuff on there. And as a video, because I’m not as agile as I once was.

Joseph Dirand, 50, architect and designer

A rendering of the interior of a hot air balloon, with a tufted carpet, a circular table and a curved upholstered bench. An oval window looks onto the top of clouds.

My firm has just started developing, with a French company called Zephalto, a prototype of the interiors for a hot-air balloon that will take travelers to the stratosphere, and the carbon footprint of the journey will be equivalent to that of the production of a pair of blue jeans. The balloon is transparent, so it’ll be almost as if you’re going up in a bubble of air — riders will see the curve of the earth. We’re designing three private cabins: sexy, organic cocoons that reference the ’60s and the dream of space, but are otherwise pretty minimal. The landscape is the star of the show.

Amaarae, 29, singer-songwriter

I’m working on the deluxe version of my 2023 album, “Fountain Baby.” The approach for the original album was very maximalist — I organized these camps all over the world and had a bunch of people come through to work on the music. Afterward, I felt underwhelmed — not by the project but by how I felt at the end of it all. [So] I stripped back everything so it’s just me and my home setup, trying ideas. Before, I was really lofty, but now my feet are touching grass a little bit.

Jennifer Egan, 61, writer

I’m starting a novel set in late 19th-century New York City. As always with my fiction, I have little idea of what will happen, which lends an element of peril to every project! Time and place are my portal into story, and I’m interested in a time when urban America was crowded and full of buildings we occupy today, yet the landscape beyond seemed almost infinite.

Carla Sozzani, 76, gallerist and retailer

Just as my partner, Kris Ruhs, and I revamped the then-unknown Corso Como area of Milan, we’re now putting our energy into the construction of a new studio for him, as well as the expansion of the Fondazione Sozzani [cultural center], both of which are in Bovisa, another old industrial neighborhood. I wanted to be an architect when I was young, but my father said, “No!”

Stephanie Goto, 47, architect

If my clients allow me to peel one eye away from their commissions, I’d like to dive deeper into the renovation of my own property in Connecticut, which includes the circa 1770 former home of Marilyn Monroe and a tobacco-and-milk barn that will house my studio.

Amalia Ulman, 35, visual artist and filmmaker

I’m beginning to write the script for my third feature film — probably my favorite part of the process, when I just need to close my eyes and see the film in my head. It’s the closest to a holiday because it feels like daydreaming.

Wim Wenders, 78, filmmaker

Several years ago, I started a project about the Swiss architect Peter Zumthor, who, along with others, designed the new Los Angeles County Museum of Art that’s being built now. The working title of the film is “The Secret of Places,” and it’s done in 3-D. My dream is to make a comedy one day. [ Laughs .] Seriously. [ Laughs again .] I’m working on it.

A painting of a pattern of triangular shapes in red, blue and orange.

Wendy Red Star, 43, visual artist

I’ve started highlighting Crow and Plateau women’s art history by making painted studies of parfleches, these 19th-century rawhide suitcases embellished with geometric designs. I’m learning so much about these women just by their mark making, but have only come across a few that have the name of the person who made it, so I’m titling my works by pulling women’s and girls’ names from the census records for the Crow tribe between 1885 and 1940.

Nick Ozemba, 32, and Felicia Hung, 33, designers, In Common With

Next month, we’re opening Quarters, a concept store and gathering space in TriBeCa that will feature our first furniture collection.

Bobbi Jene Smith, 40, dancer, choreographer and actress

My husband, Or Schraiber, and I are creating a work composed of solos for each dancer of L.A. Dance Project, where we’ve been residents for the past year and a half. We’ve had the unique opportunity to connect deeply with some of the dancers, and this — a gratitude poem for each of them — will be our culminating project. They’ll each be a few minutes long and characterized by physicality set against silence.

Editor’s note: The architect and designer Gaetano Pesce, whose comments are included in this piece, died on April 4 at age 84.

Share full article

IMAGES

Essay on Life in an Indian Village
Essay on Life in an Indian Village
Life In An Indian Village Essay 150, 200, 300 Words
Essay On Life in an Indian Village for Students and Children
Essay On Life In An Indian Village In English || @edurakib
Essay on Village Life

VIDEO

5 lines on my village essay || My village short 5 lines in English || Short essay on my village
Village Life VS City Life Essay in English 10 Lines || Short Essay on Village Life VS City Life
10 lines on My Village in english || My Village essay in English
Essay On "Village Life" In English With Quotations
essay on village life in english/10 lines on village life in english/gaon ki zindagi par nibandh
My Village essay in english

COMMENTS

Essay on Life in an Indian Village for Students in English
Life in an Indian village is called rural life and city life is considered urban life. Life in an Indian village for students and children is different from those growing up in urban households. The children are often led to their family occupation of agriculture and work as farmers. Farmers are the most undervalued people in our society.
Essay on Life in an Indian Village
The government should work to make life a bit easy in villages to make it a better place to live in. Short Essay on Life in an Indian Village in English 150 words. Life in an Indian village is elementary, where the people need to wake up very early in the morning to go to fields and work, and their life is not easy at all.
Essay on Life in an Indian Village
500 Words Essay on Life in an Indian Village Introduction. Life in an Indian village is a unique blend of simplicity, tranquility, and cultural richness. Unlike the urbanized, fast-paced city life, Indian villages offer a glimpse into the country's heart, where traditions are preserved, and life unfolds at its own pace. ...
Essay on Life in an Indian Village for Students and Children
500+ Words Essay on Life in an Indian Village. One fact of which we are all made aware is that India is an agricultural country. This means that the majority of the population practices agriculture either for self-sustenance or as a commercial activity. So there are far more villages and small towns in India that cities and metros.
Essay on Indian Villages
100 Words Essay on Indian Villages Introduction. ... culture, and simplicity. Life in Villages. Life in Indian villages is serene and peaceful. People live in harmony with nature. They wake up early, work in the fields, and lead a simple life. ... Each Indian village is a microcosm of India's rich cultural tapestry. The local festivals, art ...
Life in an Indian Village Essay in English for Children and Students
Short Life in an Indian Village Essay in 200 words. Life in an Indian village is simple and sorted. People in Indian villages mostly wake up early in the morning and begin with their daily chores. Agriculture is the main occupation of people living in the villages.
Essay on Life in an Indian Village
Life in an Indian Village Essay 10 Lines (100 - 150 Words) 1) In Indian villages, people are mostly employed in agriculture. 2) An Indian village preserves ancient culture and tradition. 3) Life in an Indian village is more peaceful than in cities. 4) Indian village lacks many basic facilities that make village life tough.
Essay on An Indian Village
An Indian Village essay 100, 150, 200, 250, 500 words in English helps the students with their class assignments, comprehension tasks, and even for competitive examinations. You can also find more Essay Writing articles on events, persons, sports, technology and many more.
Life in an Indian Village Essay
Short Essay on Life in an Indian Village - Essay 1 (200 words) Life in an Indian village is simple and sorted. People in Indian villages mostly wake up early in the morning and begin with their daily chores. Agriculture is the main occupation of people living in the villages.
Essay on My Village for Students and Children in English
Essay on My Village: Life in metro cities and metropolises can be prospective and exciting, but life in rural villages and countryside radiates an entirely different vibe from city life. The Indian villages, scattered all over the Indian subcontinent, are beautiful sights to behold. ... which consists of 100 words. Long Essay on My Village in ...
Village Life Essay
200 Words Essay On Village Life. Most people who live in villages are engaged in agricultural pursuits and avoid the hectic pace of city life. They have an easy existence. A villager's day begins in the early hours of the morning. Around five in the morning, most people start their regular activities.
My Village Essay for Students in English
Essay on My Village. A majority of the Indian population are farmers who are settled in villages. They toil to make both ends meet and produce crops for the entire nation. India has about 500000 villages, which are scattered throughout the country. A village is a settlement that has fewer than 5000 living units.
Essay on Village Life: Samples in 150, 250 Words
Essay on Village Life in 150 Words. With an increasing number of people in the world, pollution is also increasing. But you can lead a pollution-free life in the village. ... Authentic Indian culture can be witnessed through the lifestyle led by the villagers. One thing which is a major concern for village life is the lack of education.
Life In An Indian Village Essay 150, 200, 300 Words
Long Essay on Life in an Indian Village - Essay 5 (600 words) Introduction. India encompasses more than 6 lac villages spread across the country. Each village has its own culture and story to tell. While the traditions and customs of people living in different villages in India vary drastically, one thing that they have in common is their ...
Essay on Village Life in English for Children and Students
Short Essay on Village Life 200 words - Sample 1 ... Essay on Village Life in India 500 words - Sample 4. Indian villages are beautiful and serene. Majority of the Indian population resides in villages. The villagers lead a peaceful life amid greenery away from the mad rush of the cities. The needs of the villagers are less so they are ...
Life in an Indian Village Essay In English
Essay 2 (400 words) - A New Indian Village. introduction. India is a beautiful country and this whole country has beautiful villages and their history too. Be it the northern part of India or the southern, villages are everywhere and they have a different taste in life. These lands produce 80 percent of agricultural products; This is possible ...
Village Life Essay
Essay on Village Life in India - Essay 4 (500 words) Introduction. Indian villages are beautiful and serene. Majority of the Indian population resides in villages. The villagers lead a peaceful life amid greenery away from the mad rush of the cities. The needs of the villagers are less so they are satisfied with whatever little they have.
Speech on Life in an Indian Village
Good morning everyone, my heartiest greetings to all of you present here. I am <name> and today I am here to speak on life in an Indian village. Well, as we all know, India is an agricultural country, and most of the agricultural fields are in our villages. A greater percentage of the rural population of India work in agriculture.
Essay on My Village for all Classes in
Village life is a canvas painted with simplicity. Here are essays reflecting the beautiful simplicity of village life. These essays are perfect for students of all ages as these are from a brief 100 words to a more detailed 400+ words. Let's explore the fresh air, green fields, and the unique charm of village life through these essays.
Essay on Village Life for all Class in 100 to 500 Words in English
Village Life Essay 10 Lines (100 - 150 Words) 1) A village life is full of peace and happiness. 2) People in the village live a simple and satisfying life. 3) Village people are more hard-working and helpful. 4) Village life is free from pollution and noise. 5) The real beauty of nature can be experienced in village life.
My Village Essay in English
100 Words on My Village Essay in English. The name of my village is Lamahatta. It is a small village present in the outskirts of North Bengal. I was born and brought up in Lamahatta. Lamahatta is well known for its lush pine forests, vast stretches of Darjeeling tea garden and the views of the snow-capped mountains.
Essay on Life in an Indian Village in 500 words
Life in an Indian Village: Village area is enjoyable and peaceful. When the word "village" first comes to mind, we imagine a lush green field and unpolluted environment, and this is the exact scenario in Indian villages. They learn to share and care from a very young age, which comes from the concept of joint families.
Essay on Village Life in 300, 400, 500, 600 Words for Class 1-10
Essay on Village Life in 300 Words. Introduction: Village life is very different from city life. Lots of people prefer this life over city life because of a few reasons. First of all, now all the facilities that people get in the big cities are available in the villages.
Essay on School in 500 Words in English for Students
Quick Read: My Village Essay in 600 Words in English for Students. Benefits of School in Our Lives. There are several benefits of going to school, from becoming an ideal student to gaining success in life. Schools are responsible for making a country's future secure. The more educated students and people there are, the better a country will grow.
How to Begin a Creative Life
Their collective perseverance — a mix of dogged determination and wild hope — is a reminder for all of us that a creative life, that alllife, takes nerve. It takes humility. It takes a kind of ...

Essay on Life in an Indian Village for Students and Children

The Farmer Life

Infrastructure and Environment in Villages

Cultural Life in Villages

Customize your course in 30 seconds

Leave a Reply Cancel reply

Download the App

Essay on Indian Villages

100 Words Essay on Indian Villages

Life in Villages

250 Words Essay on Indian Villages

Rich Cultural Tapestry

Economic Backbone

Challenges and Opportunities

500 Words Essay on Indian Villages

The Simplicity and Authenticity

The Socio-Cultural Fabric

Economic Aspects

Leave a Reply Cancel reply

Essay on Village Life in English for Children and Students

Long and Short Essay on Village Life in English

Short Essay on Village Life 200 words – Sample 1

Essay on Village Life: Pros and Cons 300 words – Sample 2

Essay on Village Life and City life 400 words – Sample 3

Essay on Village Life in India 500 words – Sample 4

Long Essay on Village Life: Problems and Solutions 600 words – Sample 5

Frequently Asked Questions on Essay on Village Life

What is a village in a short note?

Why is village life important?

What are 5 things in a village?

What is a village also called?

Who lived in a village?

What is the beauty of village life?

Is village life good or bad?

What are the two types of villages?

How many villages are in India?

Related content

Life in an Indian Village Essay

Life in an Indian Village Essay In English - 1900 in words

Short and Long Essays on Life in an Indian Village in English

Essay 2 (400 words) - A New Indian Village

You might also like:

Essay 3 (600 words) - Some positive and negative aspects of village living

Life in an Indian Village Essay In English

Village Life Essay

Long and Short Essay on Village Life in English

Short Essay on Village Life – Essay 1 (200 words)

Essay on Village Life: Pros and Cons – Essay 2 (300 words)

Essay on Village Life and City life – Essay 3 (400 words)

Essay on Village Life in India – Essay 4 (500 words)

Long Essay on Village Life: Problems and Solutions – Essay 5 (600 words)

Related Posts

About Life in an Indian Village Speech in English

Short Speech on Life in an Indian Village

Long Speech on Life in an Indian Village

10-Lines Indian Village Children Speech

Writing a Speech on Life in an Indian Village in English for Students

FAQs on Speech on Life in an Indian Village

Essay on My Village for all Classes in – 100, 150, 200, 300 and 400 + Words

Table of Contents

Essay on My Village 150 Words

Essay on My Village 250 Words

Essay on My Village 300 Words

The Heart of the Community

A Relaxing Village Life

Enjoying Simple Moments

A Rich Blend of Traditions

Essay on My Village 400+ Words

My Village Day-to-Day

Farming and Family: How Our Village Works

Village Friendships: More Than Just Neighbors

Together We Stand: Unity in Adversity

Harvesting Hope: Celebrating Strength and Solidarity

A Future Woven with Tradition: Carrying Our Legacy Forward

Essay on Village Life

Short and Long Essays on Village Life in English

Village Life Essay 10 Lines (100 – 150 Words)

Essay 1 (250 Words) – Village Life in India

Essay 2 (400 Words) – Village Life: My Visit to Village

Essay 3 (500 – 600 Words) – Village Life