The proposed law, which sought to increase the size of the lower house by about 55% to 850 seats ahead of the 2029 general elections, fell short of the required two-thirds majority, with 298 lawmakers voting in favor and 230 against in the Lok Sabha.

The government had linked the expansion to the implementation of women’s reservation, arguing that redrawing constituency boundaries based on updated population data was necessary to ensure equitable representation. Seats in parliament have remained frozen since the 1971 census, despite significant demographic changes.

Opposition parties supported the principle of reserving seats for women but opposed tying it to a nationwide delimitation exercise, alleging the move could be used to alter electoral dynamics in favor of the ruling party.

Opposition leader Rahul Gandhi criticized the bill shortly after the vote, calling it an “unconstitutional trick” that undermined the Constitution under the guise of advancing women’s representation.The government rejected those claims, maintaining that the proposal was essential for modernizing India’s electoral framework.

Interior Minister Amit Shah defended the bill in parliament, warning that blocking it would disappoint women across the country and vowing continued efforts to secure legislative backing for gender quotas.

A law passed in 2023 had already approved reserving one-third of parliamentary seats for women, but its implementation was contingent on the completion of the next census and subsequent constituency redrawing, a process still underway and expected to delay enforcement beyond the next election cycle.

Women currently account for about 14% of members in the lower house and 17% in the upper house, with representation in state legislatures averaging around 10%, according to official data.

The failure of the bill highlights ongoing political divisions over electoral reforms and gender representation, as well as the challenges of securing broad consensus for constitutional amendments in India’s increasingly polarized parliament.

Addressing the lower house, Modi said the measures, which include increasing the number of legislators, extending quotas for women to state assemblies and redrawing constituency boundaries, would move India in a “new direction.” He said greater representation of women would bring “new strength, fresh thinking, and a greater sense of sensitivity” to governance.

The government said the proposed boundary changes reflect population shifts since constituencies were last fixed following the 1971 census, arguing the reforms are necessary to align representation with demographic realities.

The proposals come from the ruling National Democratic Alliance, which does not hold the two-thirds majority required to pass constitutional amendments in both houses of parliament, and is seeking support from smaller parties and opposition groups ahead of a vote expected this week.

Opposition parties, including the Congress, said they support the principle of women’s reservation but accused the government of attempting to use constituency redrawing to its political advantage. They called for immediate implementation of the quota without linking it to broader structural changes.

The bills propose increasing the strength of the lower house by about 55% to around 850 members, alongside proportional expansion in state legislatures, by the next general election scheduled for 2029.They also aim to operationalise the one-third reservation for women in both parliament and state assemblies by that timeline.

The quota was approved in legislation passed in 2023 but tied to a future census, delaying its implementation beyond the next election cycle.The proposed changes require ratification by at least half of India’s state legislatures before becoming law.

India currently does not reserve seats for women in parliament, despite women comprising nearly half of the country’s 968 million voters.

Women account for about 14% of members in the lower house and 17% in the upper house, while representation in state legislatures stands at roughly 10%.

A London-based performer known by the stage persona Midgitte Bardot is using drag, writing and live performance to examine social attitudes toward dwarfism, gender identity and public scrutiny, drawing on personal experience to inform their work on prominent cultural stages.

The artist, who identifies as a non-binary trans drag performer with dwarfism, has gained recognition for combining provocative performance with autobiographical storytelling.

Appearing in fishnets and theatrical costume as Midgitte Bardot, they have developed a reputation for performances that challenge audience expectations and address issues of identity, representation and social perception.

Their work gained wider attention through participation in Sound of the Underground, a queer cabaret revue created by Travis Alabanza. In one performance, the artist delivered a blues-rock number while elevated on stage equipment, incorporating visual and thematic elements that drew a strong audience response at the Royal Court Theatre.

The performer has since returned to the stage with a new production, Shooting From Below, presented at the Southbank Centre. The show marks their first major appearance following spinal surgery undertaken after a condition that risked paralysis.

According to the performer, spinal complications are relatively common among individuals with dwarfism, and their own condition involves curvature in the lower spine.

The production centres on a fictional narrative in which the stage character addresses an audience directly, framing the performance around themes of historical marginalisation and contemporary objectification.

The performer cites examples, including accounts of individuals with dwarfism being treated as novelty figures in social settings, to illustrate ongoing patterns of exclusion and commodification.In interviews, the artist has described frequent public interactions that they say reflect intrusive curiosity and harassment.

They report being stared at, filmed without consent and subjected to personal questions in public spaces, including inquiries about their body, family background and personal relationships. Such encounters, they say, occur regularly in everyday settings such as streets and public transport.

The performer notes that these experiences have shaped both their artistic direction and personal outlook. While they emphasise that such behaviour does not represent the majority of interactions, they argue that it reflects broader social attitudes toward visible difference.

They also describe concerns about being followed after initiating casual conversations in public, which they say has influenced how they navigate social situations.Their work engages with historical representations of dwarfism in entertainment, which they describe as marked by exploitation and limited roles.

They reference examples from film and popular culture in which individuals with dwarfism have been depicted as symbolic or comedic figures, often reinforcing stereotypes. According to the performer, opportunities in the arts sector can be accessible but frequently involve forms of representation that they consider reductive.

The performer also references historical accounts, including the case of a family of performers with dwarfism who survived detention during the Holocaust after being selected for medical experimentation by Nazi physician Joseph Mengele.

They cite this example to illustrate what they describe as a contradictory dynamic in which individuals with dwarfism have been both marginalised and subjected to intense scrutiny.Midgitte Bardot, as a stage persona, is intended to challenge these dynamics by reclaiming language and reframing identity through performance.

The artist says the name deliberately references a historically derogatory term, recontextualised to assert control over its meaning. Through humour and narrative, the performances incorporate personal experiences, including instances of rejection and discrimination, into structured theatrical material.

The artist describes their approach as rooted in self-acceptance and visibility. They say their earlier life was shaped by attempts to conform, but that their current work reflects a conscious decision to foreground difference as a central element of their identity.

They also link this perspective to their understanding of gender, noting that their experiences have informed their identification as non-binary.Born in Gloucester and raised in Cheltenham, the performer recalls early experiences of being perceived as different from peers, which led them to begin writing at a young age.

They continued to develop this practice academically, studying creative writing at Liverpool John Moores University, where they graduated with top honours.During their university years, they began participating in literary and performance events, including hosting open mic nights.

Their transition into drag performance followed encouragement from peers, including a fellow performer known as Auntie Climax. The Midgitte Bardot persona gained local recognition in Liverpool, leading the artist to relocate to London in 2021 to pursue broader opportunities within the performance circuit.

The performer says their understanding of gender identity evolved alongside their work in drag. They describe observing differences in how they and others were perceived in public, particularly in relation to attention and scrutiny, which contributed to their self-identification as non-binary trans.

They also emphasise the importance of directly addressing harassment, rather than ignoring it. According to the performer, confronting such behaviour can deter repeat incidents and challenge assumptions about vulnerability.

They argue that advising individuals with dwarfism to avoid confrontation may reinforce perceptions of weakness.Looking ahead, the performer says they hope their current production will resonate with other individuals with dwarfism and contribute to the development of a more supportive community.

They note that their experiences performing in major venues are often marked by isolation, as they are frequently the only person with their physical characteristics on stage.

Their work continues to explore how visibility, performance and narrative can be used to address social attitudes, with a focus on expanding representation and creating space for more diverse perspectives within the arts.