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I’m a woman of 48 – and as replaceable in the office as the swivel chair at my desk | The Guardian
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A woman walks past a mural of birds flying, and plants and flowers painted within the profile of a head

I’m a woman of 48 – and as replaceable in the office as the swivel chair at my desk

In her words

“If I take another pay cut, I might as well start working pro bono,” I joked with a friend recently, during another brutal round of job hunting in my home city, Delhi. She, in her early 40s, laughed but said: “I feel the same.”

In my last full-time role, I took a 50% pay cut – the alternative was to lose the job. I accepted while thinking I would soon dazzle them into raising my salary. I forgot one crucial factor – as a 48-year-old woman, I was as replaceable as the swivel chair at my desk.

There is a need to look at the gender aspect of the age penalty – because for women, ageism coincides with their menopause. It is what I call a “menopenalisation”. Many, like me, who have managed to make it through the marriage penalty and the child penalty, are now caught in the age penalty – right when we are also struggling with menopausal blues.

Physical and emotional symptoms such as hot flushes, brain fog or anxiety are being used to dismiss women as less capable during this phase of life.

There is little doubt that many women in their late 40s or early 50s – prime years for leadership – are leaving the workforce because of menopenalisation.

According to a report by LinkedIn and the Quantum Hub, the percentage of women in senior leadership roles in India was 18.3% last year.

A 2022 survey of American women aged 40 to 55 found that nearly a third had considered switching from full-time to part-time work, and 22% were considering taking early retirement. Another survey from the UK showed that 18% of women going through menopause were thinking about quitting altogether.

I have been in perimenopause for a few years now. And yes, I struggle with various symptoms.

But it has not taken away my skills and my productivity. I am at my creative peak – I wrote two books while in perimenopause, and another two are slated for next year. I recently launched a website called Wednesday, a one-stop destination for information on various aspects of women’s lives.

I have done this while feeling oddly unwell some days, with inexplicable aches and pains, and sudden brain fogs. I am still here and still productive, but I am apparently unhirable.

We need policies that protect older women in the workforce, and leadership pipelines that do not just look like boys’ clubs with a token woman thrown in. We need workplaces that are sensitive to women’s needs at various stages of their reproductive lives. Above all, we need to stop allowing ourselves to be exploited for being experienced, knowledgable and, yes, older.

Nilanjana Bhowmick is a writer based in Delhi, India. Main photograph by Arun Sankar/AFP/Getty Images. Read the full article here

Women behind the lens: ‘It’s about listening to dreams as messages’

A black and white collage of photographs showing a woman in sitting in an arm chair with a man in a top hat standing beside her. Both wear old-fashioned Edwarian style clothes

Ke Go Beile Leithlo (I’ve Got My Eyes On You) is part of a project called Ditoro, meaning “dreams” in my home language, Setswana. It is a growing body of work exploring archival imagery through the lens of dreams and memory – a space where the past and present blur and where dreams become portals into untold stories.

This piece depicts a dream I had that lingered long after I woke. In the dream, two figures commanded the space: a woman sitting gracefully on a dark leather couch, her white dress billowing around her. She was calm, majestic, almost otherworldly. Beside her stood a tall figure – a man, confident, an enigmatic guardian or a silent observer.

The dream had a quiet strangeness to it. After I woke, I realised that the two figures were my maternal grandparents who had passed away many years ago. I could only identify them through family photographs.

The dream not only inspired the collage but the entire Ditoro project. To create the work, I used a combination of imagery found in public archives, photographs I’ve taken and my own family archives. I carefully selected the images based on energy, gesture and expression. I cut, rearranged and layered the elements to recreate the surreal mood of the dream.

Each decision – from costume to posture – was intuitive, like following a thread back to something half remembered. This work is personal. It’s about listening to dreams as messages and using art to make sense of them. Through Ditoro, I’m learning to trust what my inner world is trying to say – and offering those visions back as stories worth telling.

Tshepiso Moropa is a collage artist based in Johannesburg. She is one of four winners of the V&A Parasol Foundation prize for women in photography 2025. Her work will be exhibited at a group show at the Copeland Gallery, London from 16-25 May. Read the full article here

Things to look out for

Fifty years on from the start of Lebanon’s civil year, photographer Rania Matar’s photographs show the “resilience, dignity and creativity” of the country’s women. Her project, Where Do I Go? is on show at the Galerie Tanit Beirut until 22 May. Matar has described the images as her “love letters to Lebanon”.

Also from Lebanon, the artist Mounira Al Solh explores displacement through a female lens in her Stray Salt exhibition, at the Sfeir-Semler gallery in Beirut until 1 August. Her work will also be on show at Tate Liverpool in the UK, as part of the Liverpool Biennale, 7 June-14 September.

The World Was in Our Hands is a new collection of first-hand accounts of people living through the Boko Haram conflict, from abducted girls to soldiers. Edited by the activist and writer Chitra Nagarajan, it is published by Nigeria’s Cassava Republic Press.

Unsilenced: Sexual Violence in Conflict, at London’s Imperial War Museum, from 23 May to 2 November, will be the UK’s first major exhibition on the subject. It features case studies from the first world war to the present day, and highlights NGOs working in the field.

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