In India's Gujarat state lies the Little Rann of Kutch, a sprawling salt marsh desert where temperatures soar to 50 degrees Celsius. This harsh landscape is home to the Agariyas, nomadic tribal families who have harvested salt here since the 16th Century. For eight months of every year, they migrate to this harsh environment, living in temporary shacks and pumping briny groundwater into vast pans where it evaporates into gleaming, sturdy crystals. This traditional practice, responsible for 75% of India's salt production, is now under a grave existential threat. Seasonal cycles, predictable for centuries, have become erratic. Unexpected rains and sudden cyclones frequently wash away months of intensive labour, leaving families in mounting debt. Despite providing an essential global commodity, these workers earn three percent of the salt's final value, living without running water or basic sanitation.

Hope emerges through innovation and activism. Scientists at the Central Salt and Marine Chemical Research Institute are introducing new types of pan linings and solar-powered pumps to reduce costs and increase yields. Activists like Pankti Jog fight for land rights, healthcare and education, establishing mobile schools in old buses for the next generation. Yet, the future remains a gamble. While some children dream of becoming teachers or police officers, many feel tethered to the salt by heritage and lack of choice.

In 2017, the heir to South Korea’s biggest company is facing jail, leaving it with an uncertain future. After 80 years of business, how did Samsung get here? And how did a deal meant to secure family control of the company go so wrong? We take you behind closed doors inside the billion-dollar deals and the family power struggles that shape global empires. When your relatives are also your business partners, every decision is personal. In these dynasties, the boardroom is not just about profit - it is about survival. A new 10-part series from the BBC World Service.

Stephanie was brought up in France in a French family, but her birth parents are Indian – she’s an intercountry adoptee. In the 1980s and 1990s thousands of babies, like Stephanie, were adopted from India into white, western families. Now, inter-country adoption is more regulated, and there’s a recognition that this is a practice open to abuse – several countries have banned it altogether.

In France, Stephanie grew up very happily with her adoptive mum and dad. But after they both died, she began to think more about her origins. And she experienced a desire to re-connect with her motherland. In this edition of Assignment, Stephanie journeys into rural India in the state of Maharashtra with journalist, Tanya Datta. Together they attempt to find Stephanie’s birth mother. Along the way, Stephanie discovers she isn’t an ‘absolutely abandoned and destitute child’ found on the roadside as she’s been led to believe her whole life, but was born to an unmarried teenager. Nearly 40 years later, will she find that 50-something woman?

This episode of The Documentary comes to you from Assignment, investigations and journeys into the heart of global events.

On a busy street in Kabul, a young artist steps into traffic wearing a steel sculpture she has shaped around her breasts and buttocks. She calls the piece Armour. Within minutes, a crowd gathers. Days later, death threats force her to flee the country. Today, Afghan artist Kubra Khademi lives in exile in France, creating bold multidisciplinary works that confront patriarchy while reclaiming the female body as a site of power, sexuality and resistance. Drawing on personal history and the cultures she grew up in across Afghanistan, Iran and Pakistan, her art blends performance, painting and symbolism to challenge deeply rooted taboos around women’s bodies.

For her latest series, Origin of the Universe, Khademi paints surreal scenes of women giving birth to animals — images inspired by a story her grandmother once told her about strength and survival. Following her creative process, Sahar Zand joins Khademi in her studio as she paints one of the works, revealing how memory, exile and defiance are transformed into art.