Dr. Shubhendu Shekhar Naskar is an Assistant Professor in the Department of English Literature, Language and Cultural Studies, Vidyasagar University, West Bengal, India. He has been engaged in extensive research on Dalit and Tribal Studies, working on the documentation and translation of oral and folk literature, as well as performance traditions, of Dalit and tribal communities in India. He is one of the Associate Editors of Janajati Darpan, the only international multilingual publication series on Indigenous Studies from West Bengal, India. He is a member of the Editorial Board of the Journal of the Department of English, Vidyasagar University, which was previously listed as a Group A journal on the UGC-CARE list. He has many national and international publications covering diverse areas of Dalit and Tribal Studies. His articles appear or are scheduled to appear in reputable journals such as Theatre International, Contemporary Voice of Dalit, Asian Theatre Journal, Journal of Global Postcolonial Studies, and Comparative Studies of South Asia, Africa, and the Middle East, among others. He has authored the book Aesthetics of Dalit Theatre: Perspectives on Caste, Class and Gender, published by Palgrave Macmillan. He has co-edited the book Selected Writings of Shyamali Haldar Naskar: Dalit Literature from Bangla, to be published by Routledge. His edited anthology, Dalit Dialogues: Indian Dalit Plays in English Translation, is soon to be published by Bloomsbury. He is the editor of the book Performing Protest: Marathi Dalit Plays in Translation. Dr. Naskar serves as the series editor for the book series Theatre of the Marginalised: Dalit and Adivasi Performance Traditions in South Asia with Peter Lang. He is also a recipient of the prestigious Charles Wallace Research Grant.

I work at the intersection of caste, class, and gender in South Asia, asking how marginalized communities turn lived experience into literary and theatrical forms. My primary research areas are Dalit literature and theatre—especially texts in translation and anti-caste performance lineages, and Adivasi (tribal) and Bhasha literatures that articulate protest and resistance in regional languages. My recent interest lies in researching African-American and Black British theatre as comparative sites for thinking about caste, race, and activist stagecraft, drawing on archival play-scripts, fieldwork with theatre collectives, and oral histories. I plan to develop a comparative study of Dalit, Adivasi, and Black performance practices around displacement, memory, and solidarities.