First of all over the past three Kumbh Melas since this project began, the scope of media has changed, with less expensive consumer cameras, mobile phones with cameras and especially in the past few years, the [...]]]> What do you believe are the main reasons that your idea of empowering ascetics with cameras have attracted the sadhus ?

First of all over the past three Kumbh Melas since this project began, the scope of media has changed, with less expensive consumer cameras, mobile phones with cameras and especially in the past few years, the popularity of self publishing on the internet, more non-ascetics attend than in the past (no doubt finding out about the mela via the internet), bringing with them all sorts of equipment. At the mela the babas see the technology all around them, most of the time pointed at their faces. And with any good advertisement, the babas are (human) not immune, many of them (of course not all) want these recording gadgets too! For many it is a way to participate and connect with outsiders who come to the mela. For most it is a way to collect memories (photos and video) of their time shared, as the mela is like one big family reunion.

Obviously though not everyone is attracted to it (the use of media recording devices). Someone like Amar Bharti, who keeps one arm up in the arm now for over a decade, is not necessarily someone I would approach to offer a camera. He is busy with his sadhana. Not to say those who are using the cameras are not busy with their own sadhana, but with any religiosity, there are levels of seriousness and dedication as well as distractions. Some ascetics spend so much time running their ashrams, schools or ngo trusts, or giving lecture tours that their own personal time is limited for activities of such extreme austerity as standing on one leg 24 hours a day for 12 years. I did however offer a camera to Rajraneshwar Puri, one of those standing babas. He however declined, explaining that he has no time, nor interest in taking pictures or shooting a movie. So in an Akhara of 100s of thousands, obviously not everyone can or even wishes to participate in this program.

However depending upon their exposure to the (outside) world and/or their education level, there are those (like Mahant Hari Giri from Gujarat or Rajrajeshwar Giri from Haridwar) who had already gained experience with cameras well before meeting me, just as there are others who still lack the confidence to even try. So when faced with the unconfident elderly women in the mai varda (women’s camp), I would just remind them, “You call yourself a Mahatma (a great soul). You tell me, everyday in your meditation you meet g-d. And you don’t think you can use a camera? Meeting g-d is such a big thing, using a camera is such a small thing, of course you can learn.” This usually gets the women inspired.

But to be honest this project/program happened by accident. Like many foreigners, I first attended Kumbh Mela in 2001 as part of a film crew. Afterwards I imagined I would make some sort of multimedia project documenting the entire first 12-year cycle of the millennium. I had already connected with Acharya Mahamadaleshwar Swami Avedeshanand Giri Ji, the spiritual leader of Juna Akhara (the largest and oldest organization of ascetics who worship Shiva), and made arrangements for a tent in his camp for the 2004 Kumbh Mela in Ujjain. However a week before arriving to Ujjain, on my 29th birthday, I fell off a bicycle and tore all the major ligaments in my left knee. I arrived with a brace on my leg and a bamboo stick to aid in my limping.

After taking our first morning baths in the holy Shipra River, Saugat (a long time friend and creative partner of mine from New Delhi) and I took a seat on the ghats (steps), finding shade from the 110 degree sun, under a tree and next to a group of (mostly naked & ash covered) naga sadhus, from Juna Akhara Aside from the fact that I may have been the first foreigner to arrive to town, several weeks before the first bathing date as well as before most of the camping facilities were set up, my limping up the steps and struggling to sit with my left leg in a brace was plenty to warrant attention. Almost immediately several sadhus were edging closer to us, asking what happened and who we were? Saugat was carrying the bag of equipment (digital still camera, digital video camera, 35mm still camera, mini disc recorder, microphone, headphones, dv tapes, film and mini discs). Assuming I knew less Hindi than I did, the sadhus began to ask Saugat who he was in relation to me, “Are you her guide or her bodyguard?” We joked and said we were brother and sister; naturally no one believed us, as we look nothing alike. Finally sick of being questioned, Saugat began to pull from the bag some of the gear to show them and explain in words to which they could relate, “She is my guru.” Though I had invited him to travel with me as my assistant, I couldn’t believe my ears. “She is teaching me photography, videography and sound recording,” he continued. I never imagined they would believe him, much less how far this slightly ridiculous rumor would go.

Perhaps it was only two days later, I was limping through the Juna Akhara camps, down the main road running along side the Shipra River, when one naga called out to me to come join him by his dhuni (sacred fire). His persistence won over my reluctance, and I sat to join him. “I’ve heard all about you and have been waiting to meet you! Such an honor this is!” he said, pulling out a 4×6 photo album from his small baba bag. Eagerly he flipped through the pages to show me his photos and asked to my utter astonishment, “Am I good enough to be your student?”

At that moment I had crossed over the line. I was no longer a pretrekar (a journalist), no longer just a photographer or filmmaker like all the other white kids with cameras. I became a teacher, something they respected (as a guru is essentially a teacher as well). In that instance my identity changed and throughout the mela evolved greatly. One thing I discovered that year was those young babas who run around checking everything out, are far less respected than those who sit in their assans (seats), do their sadhana or attend to their visitors. By the first procession (a parade of ascetics and disciples following their gurus, riding on chariots) through the town of Ujjain, I had a crew of several naga sadhus, auditioning their albums, coming to me for rolls of film, using my digital equipment and eventually (as our roles slowly reversed) getting their own photos of me published in local newspapers. It was due to my accident I couldn’t run around the mela documenting anything (like I had originally planned) I was stuck sitting in my assan, attending to visitors (mostly those looking for film refills) and slowly, slowly gaining respect. By the end of the mela I had become, not quite one of their own, but (in all my attempts to document them) closer to them than I imagined I ever would.

However it was by accident that this program started, it has picked up in numbers (of participants) each mela. Initially, at least during the Mela, it seems the ascetics are interested in participating for the sake of collecting memories for their own photo albums. As it has grown, more and more ascetics with cameras also seem to find it important to not only have images of themselves, and take photos of other important people within the Akhara, but also (as I’ve witnessed more this year) there is a growing interest in giving the photos back to those they photographed as well. Every photo that goes out has a label with the project’s website: www.asceticswithcameras.org, the year and place the photo was taken, my first name (in Hindi), as well as the photographer’s name (also in Hindi). This also becomes like advertizing, initially intended for archival purposes, so years or decades from now, they can look at the photo and know when/where it was taken and who shot it, but it has not only helped myself to become known within the Akhara but also gives the photographer credit and a sense of belonging to the program (both of which I am still unsure of it’s importance to them).

Still only a few have been shooting video so far, often times initially imitating they styles in which they may have been interviewed in the past.

This is the first year I am continuing the program beyond the Kumbh Mela dates, as well as the first year (after plenty of auditioning – seeing through their photos whose eyes have a good sense of composition) that I plan to more formally make a film with them.

Tell me a bit about the experience of the “ascetics with camera” during Kumbh Mela 2010. How did it worked stet by step: providing the sadhus lessons and cameras, then printing right away ? How did they reacted to the result of their own work ?

As I mentioned before, in 2004 this all happened so spontaneously. 2007 was my first attempt to do this with intention having actually brought a collection of cameras gathered over the 3 years in between including 40 disposable one-time-use 35mm point-n-shoots, as well as two 4×6 printers. I had already given one set of all the photos I shot of the women in 2004 to Shri Mahant Meera Puri (of Nahaan, Himachel Pradesh) when I last visited her a few months after the Ujjain Kumbh. And although she was not attending in Allahabad, she had reached out to another Shri Mahant Meera Puri (of Lucknow, Uttar Pradesh), who by the time I reached was already expecting and welcoming me. I had some duplicate photos from 2004 that I could give out to get the ball rolling, when I first appeared in the Mai Varda. Then one morning I returned with a bag full of cameras and let the crowd huddle around me with their hands out. It was chaotic to say the least. Nonetheless I tried my best to keep track of to whom I was distributing. I had already labeled each camera with a number and kept a notebook where I wrote down their names, addresses and phone numbers (of those who actually had phones). That year I gave out over 40 cameras, mostly disposable one time use cameras and several regular 35mm point and shoots and lots of film. I would get the films developed in town, along with a CD and all their prints. I’d keep the negatives and CD and give them the prints. I also allowed several maiyon to use my digital camera and we made those prints from our tent. In total I gave away over 1000 images.

This year I was even more organized and scheduled particular dates for giving out cameras determined by specific events occurring during the mela, such as sanskar (initiation rites) or sahi snaan (holy bath) processions. I spent the first month giving away photos and DVDs from 2004 and 2007 and what seemed like just hanging around (spending time with them, getting re-acquainted with old friends or getting to know new women with whom I have not spent time before). With so many maiyon (knowing my plan) expecting cameras from me and with my limited supply, I had to carefully calculate and make a list to whom I planned to distribute the cameras. I only had 56 disposable cameras and 10 others (a mix of digital and 35mm point and shoots. By the approach of mens and womens’ sanskar and the 2nd bathing day in March did I begin to distribute. I gave the few digital and 35mm point and shoot cameras to those who already had prior experience (in 2007) and also further narrowed the list down to those who’s eyes were good (those whose photos were among the best of the lot). Then I gave the remaining (including the disposables) to the Shri Mahants and worked my way down the ladder, so to speak. I would also limit how many cameras I would carry with me to the mai varda (women’s camp) at one time, leaving the rest of the stash in my room (the office) for later distribution dates (second and third rounds of initiation and future bathing days). As the mela weeks passed I began to give cameras to those “new” sanyasinis who had just taken initiation, to see the Mela through their “fresh-eyes”.

However it never ceases to amaze me how much surrendering to the flow plays a big part in life in India, among the ascetics, and especially at the Kumbh Mela. Each time I come to the Mela I release more and more of what my Western-up-bringing deems responsible, in terms of preparation, planning, or pre-production (along the lines of filmmaking). Being a teacher in NYC I am expected to draft lesson plans, daily time tables, weekly, monthly, semester, and yearly schedules, all skills and tasks of which become useless here. Having lived on the edge of Maya Devi Mandir (a temple for worshiping the acknowledgement of all illusion in life) for the past three months and as I now step outside myself and witness how this project has unfolded itself, I can acknowledge the blurred lines between assumed failures or setbacks and that of success or the fact that everything is just happening as it is supposed to happen.

For example: The morning of the second round of women’s initiation, my mobile phone had gotten stolen out of my tent, causing me to spend the majority of the day dealing with the police station and my phone service. Along my errands I passed one Shri Mahant who began scolding me saying, “Where have you been? We’ve been calling you all morning, but you have not picked up your phone! Sanskar is happening; you should be shooting.” Luckily I had already distributed another round of cameras the day before and reminded her of this. I told her to tell those women to shoot initiation themselves, as they now have the cameras to do so. By the time I reached the ghats, by 4:30 in the late afternoon, six women approached me returning their disposable cameras, their rolls finished full with photos of the initiation. This was exactly what I had wanted to happen; it felt great to sit back and watch my “students” complete their “assignments” on their own without me. The photos they have taken always prove to be completely different than anything I or any other foreigner would have taken. My initial disappointment of loosing my phone proved insignificant and greatly overshadowed by the joy of seeing the fruits of my labor, as a photo teacher.

Getting their photos back from the store or from downloading the memory cards is amazing. Not only do I get to see all the moments I missed, had I tried to document everything on my own, but also I get to see a real sense of hierarchy within the Akhara, i.e. with whom are they goofing off and being casual, or whose feet are they touching. However giving the photos back to them is another joy, to not only witness their being satisfied with the good photos they shot, but also to witness their learning from experience, to see those few tips I told them in the beginning actually sink in, like: 1. Don’t shoot with the sun in front of you, the subject may end up in silhouette; 2. Don’t shoot inside the tent, everything may end up too dark; or 3. Watch how you hold the camera so you don’t take a photo of your fingers. These may seem like basic photography concepts, but sometimes get lost in translation (from English to Hindi to Nepali) and for some really only tend to sink in by experience. They are learning, just as I did when I first picked up a camera. What feels good for me, as a teacher, is when they don’t feel discouraged by their mistakes and ask for another camera or roll of film on which to try again.

Do you believe that the sadhus are aware of how their images are largely spread as an exotic freak show by international press? Do you feel that their interest in being part of your project has to do with giving an answer to this ?

I assume before me they have already realized the importance of their recorded history, though I’m not sure how long it took for them to consider how they are regarded in the images that represent them in the global media. Of course there are some babas who pose for photos, many (I imagine some) out of unresolved ego desires for fame, or believing that their image may travel somewhere where they can grow an international following and perhaps get to travel the world as well. Any photographer or filmmaker can find some baba willing to do lingam yoga (a posture where one would wrap their penis around a stick or sword), or various other quite difficult postures, for the cameras, clearly seen as exotic. So when one searches the internet for images of naga babas or kumbh mela, in my opinion often the types of images found only show very small slices of ascetic life, which unfortunately when seen out of context is often depicted as a freak show.

This year there were way more foreigners than I remember in the past; most of them just tend to stand at the pathways in front of tents and take photos with everything from digital SLRs with big lenses to cell phones and keep on moving. It’s always very disappointing how much it feels like a zoo during Kumbh, outsiders looking into tents from the lanes, not willing to take off their shoes in order to sit down. Over the past few Kumbhs, watching this phenomenon, I realized how any foreigner pointing a camera at them changes their entire natural presence and more importantly how so many other journalists before me have exploited their sensationalism.

Yes I believe many of them are very aware of this phenomenon. When talking to the babas about all the photographers and film crews that wander the lanes of tents, the biggest issue that comes up is they believe it’s a fact that these people are making money off these sensational images, often without permission, often without making any real connection with them, and most definitely without giving anything back to them or the Akhara aside from a little dakshina (monetary donation). I have met many photographers whose goal at the mela seems to be to get that “money-shot” of some naga, without having much understanding about who that naga actually is.

I think this fact is what makes my project different and therefore what makes me more accepted among the Akhara. One of the first things said to me, as I began to assimilate and my identity transformed from journalist/photographer/filmmaker to teacher/student/friend among the babas, was “You are different, most foreigners just take our photos, maybe sit and have a chai or chillum (smoke of hash) for a bit and chelo (leave). We never see them again.” To them I am not just a photographer, I am a teacher (teaching them from my 20 years experience with photography), a student (willing to sit with them, travel with them, and discuss philosophy with them so I too can learn something) and a friend (with whom they confide in and share their lives, willing to do the same with them).

They often introduce me as one of their own, or at least a “videshi baba”, a foreign sadhu. I heard one mai telling her disciple, as she introduced me “Ask anyone who is Nicole, the whole Akahara knows her. No one can stop her from marching in the processions with us, from sitting with us at bandharas (feasts), or from making our sanskar DVDs, not even the police!” Very few other photographers/fillmakers have assimilated as I have. Some are now beginning to follow my lead and give photos are well. But I still have yet to see others shooting the kinds of exclusive scenes I now (after 9 years) have access to. The main reason I gain access is they know in the end they will gain a DVD or a pile of prints; they realize I am shooting for them, not for myself, or the rest of the world. And these days, I’m actually shooting alongside them, guiding them with cameras of their own.

I try to convey to them that the use of photography is like their camera training. Those who have good eyes for composition and moments will move on to learn the video cameras to make their own movies. When we talk about plans to make an actual film, I stress to them not only have I seen a lot of films about them, but that I think they themselves can do better. I remind them continually, when I’m shooting, that if any film is made out of this, I realize I can’t possibly do it on my own. I may not necessary go as far as to teach them the Mac computer and Final Cut Pro, but I am very adamant about editing along side them, making sure they have a say in what gets shown and in what context. I believe they respect that.

Furthermore when I would sit with the babas during the Kumbh and this “Zoo” affect happens, some of them ask me to call the foreigners over to sit so I can help them have a conversation, by translating between them. So in a way I’ve also acted as somewhat like a liaison between the babas and other foreigners with cameras. I also make sure to give them my card with email so they can email me the photo and I can print it for them, trying to explain to them how important it is for them, at least they can get something out of it. So far only about 3 tourist / photographers I met actually emailed me photos. But I have begun to see more and more photographers giving their photos back to their subjects. I certainly hope this trend picks up.

Some sadhus are known by answering with fury to photographers who point their cameras to them. Did you faced any hostility by them during all these years shooting and photographing the Kumbh Mela ?

Yes I have witnessed a lot this year, other (both foreign and Indian) filmmakers / photographers (even ones who have been around for several Kumbhs) getting kicked out of various tents, Maya Devi Mandir or the ghats during initiation rites or other special rituals. I’ve seen and heard first account stories of their being beaten both by nagas and female kotwals (like Akhara guards) during the bathing processions as well. Even this year several times, I’ve intervened with a more polite English translation, as female Kotwals and Shri Mahants cursed out several foreign photographers forcing them to leave the women’s camp with threats of being hit with their sticks.

I think again because my approach has always been different, I have never faced any major hostility. In early years especially in Ujjain, I did not shoot unless asked to. Especially nowadays not only do I not have to shoot, I’ve given enough cameras to other people so they can shoot for themselves; but also I tend make effort to participate more than document, sometimes even when asked “Where is your camera? Why aren’t you shooting?” or “Is there a camera I can use today?” I would reply something along the lines of “Let’s just live this one,” reminding them sometimes the real reason we are here is to participate in the bath, not shoot it. Again, on each visit to the Kumbh since Ujjain, I’ve always given photos and DVDs well before breaking out my own camera. This establishes a trust and reassurance that I’m not just “taking” from them.

The Sadhus are mainly known as monks that renounce the ordinary life as part of their search of enlightenment. I met many of them carrying mobiles, typing on MSN…Whats your opinion about this approach of the ascetics to modern technologies? Does it seems to you as a natural step into new times or a misuse of sadhus traditional path of privations?

Recluse or not, we are social by nature as humans and need to communicate. Communication (be it using a mobile phone to find someone in a crowd or making a film to spread larger messages) is part of it and technology today helps facilitate our communication in various ways. Even in 2001 having previously only seen photos of them in a book, I was shocked by my first encounter with a naga baba, walking towards me naked, covered with ash, and carrying a cell phone in his hand. I did not even have a cell phone at that time. Now the majority of numbers in my phone are of members of Juna Akhara. But I also recall the days before such technology where I would memorize most of my friends phone numbers and now I don’t have to, I can store it in my phone. But I can also just as easily loose those contacts (having not memorized them) when I loose my phone.

There are plenty of other philosophical issues that can arise regarding the use of technology as the sole form of communication especially with the rate at which these tools are developing; and having read Autobiography of a Yogi, plenty of issues come to mind, including stories of yogis who just used their minds to communicate. I can only hope the use of technology doesn’t replace the original use of our brains, intuition and inner voice. This is a thesis in and of itself beyond the bounds of your article. But basically where the line gets blurred is the distinction between being “in the world” and “of the world”. In regards to ascetics using technology, I understand this to mean, one must have a sense of indifference about whether or not they have all this material-techy-stuff, popular culture suggests we should have. Although I am always shocked how some of them behave in regards to their wanting a camera, photos, or a DVD. Thus one must also recognize, just because they have taken sanyas and consider themselves a Mahatma (a great soul) doesn’t mean they are already enlightened. It’s a path towards a destination; many take lifetimes to reach. Bottom line is (as I negotiate it), one can use technology, that is not the issue; the issue arises when they become attached to it, even attached to wanting it. In samsara this is where most of us (non-ascetics) fail, not being able to live without our smart phones, laptops or social media applications like Facebook. It’s amazing to witness the difference between some mahatmas and others, in how they react to their cameras or photos being stolen or lost (it happens). Frankly those who take it like “no big deal” are the ones to whom I’d prefer to give re-prints or a second camera. However, those who seem more devastated by the loss may have bigger “attachment” lessons to learn out of the experience, and I deliberately choose not to satisfy their cravings.

Meanwhile in India, especially at the Mela or on pilgrimage treks to mandirs or the char dhams (4 major pilgrimage treks), it is becoming more and more difficult to live without being exposed to at least a mobile phone with a camera. Several of my ascetics with cameras have their own recording devices (not provided by me), be it mobile phones with good cameras built in, the latest digital point and shoot, or their own HD handyCam (most of the time gifted to them by disciples). Through out the past two melas I’ve also provided the seva (services) of downloading their own photos and video footage to my harddrive, sitting with them in front of the laptop to pick out which prints they would like made and eventually burning them DVD disc of their files.

Within any society there is always someone who tends to lean towards an interest in documenting what’s happening, while others are more interested in actually living it. There can also exist a balance between the two. As I said before, within the largest Akhara, there will always be the negotiations among various levels of austerity and so called worldly living. One could also argue that someone who runs a big ashram or an NGO (non-governmental organization) is more like a householder (i.e. less ascetic) than one who lives in a cave, but both types of ascetics can still be members of the Akhara. My point in providing cameras to the Akhara is so that the ones doing the documenting are actually on the “inside” rather than an outsider having to break in (and perhaps show their world through a skewed lens). Over the years of seeing footage and photos shot by these ascetics, I have never seen anything like it shot by someone on the “outside”, and strongly believe in order to make a documentary true to the subject, sometimes the subject has to turn the lens on themselves.

Nonetheless as much as there are already several Juna Akhara ascetics with websites, YouTube channels and Facebook profiles (although mostly the foreign ones are on Facebook), this is an issue I’m constantly considering as sensitive. Cameras and filmmaking to spread their messages are one thing, but I don’t necessarily think we should be empowering the babas to use computers (without guidance) and enabling them to roam the internet freely, potentially exposing themselves to something they may have never imagined existed, perhaps corrupting their innocence (as there is a lot you can see online and there are still some ascetics, quite innocent). But think about how media has developed over the centuries, in regards to spreading spirituality. First we had oral teachings, knowledge only passed down verbally, which over time may cause the stories to get skewed. Next we had scribes to duplicate scriptures by hand, which not only took a long time to produce but was also quite expensive, so only an elite class could access this kind of spiritual education. Then the printing press was invented and that changed everything, book production became cheaper and faster to produce, giving more and more people access to knowledge. There are already many Mahatmas who have authored books. But now even to get a book published and distributed is considered expensive compared to most of multimedia published on the internet. The current time in which we are living is as revolutionary as the invention of the printing press. With relatively inexpensive tools and some proper guidance, I believe these people can be empowered to share ideas with the world and reach a much larger audience (including those with lower literacy skills) through multimedia than through books.

At the same direction of the previous question: If they are supposed to be recluse individuals, avoiding the ordinary world, what do sadhus have to offer back to the world on images ?

Again the distinction has to be made, and it is something I found quite confusing in the beginning. It’s not about avoiding the ordinary world, it’s about not being attached to it.

Regardless, what I realized, is for most babas (those without rich or modern followers and their own websites or Facebook pages), rather than sharing with the Westernized World, it is more important for them to show the people with whom they personally interact, local people in their villages, disciples, even relatives with whom they may still be in touch. However those with greater education do recognize the power of media (written words, stills and moving images) and realize it as an accessible means of spreading messages, including globally. On a more basic level, it’s really about keeping an archive, a record of who is who in the Akhara. Many of the photos that get shot, those most desired to be re-printed later, are those of mahatmas who have already taken Samadhi (left the body). Furthermore having several volumes of photo albums to show their guests is like giving a different kind of dharsan.

Meanwhile, several times I’ve gotten asked, “Where can we see these images on the internet?” by both babas and their disciples, followed up with an offering of email addresses to put on my “mailing list”.
I have also gotten asked to pose for photos with various mata jis. One woman claimed she wanted to take these photos back to her village to show the people there that there are even “foreign babas”.

When I asked one mai from Katmandu Nepal, why she enjoys using the cameras and receiving her photos, she replied: “I can show my family what my life is like, what we do here at Kumbh Mela, and what a mata ji is.” This issue comes up the most and is why I am most interested in empowering the women with these media tools, more so than the men. [If you noticed there are a few men in the program since it started, but my focus is not to empower the men, I feel they get enough already]. Many times I’ve been asked by male babas, why I have not given them a camera. I explain to them bluntly at first, “If you are going to become a mai, then I can give you a camera.” They laugh. Then I explain more sincerely, “Most of the world who knows about Kumbh Mela, knows what a naga baba is, very few know what is a mata ji.” When the women overhear me say this, they feel happy to be a part of this, they feel they are given a voice. I imagine they see the truth in my statement.

And my goal through this media education program (because I feel it is more about media education than strictly making a film), first and foremost is to build this photo archive. Secondly is the production of a video series, so that these ascetics can begin to share with the world their own stories, of what led them on this path to become sanyas in the first place, and what they found once they embarked upon it (so we have a greater sense of who they are). Finally, by empowering ascetics with these multimedia tools, I hope they can use their voices to make a difference in the world, share stories about how they worship nature, and ultimately spread messages about what people can do to stop destroying our environment. This may be a long journey, however one upon which I’ve already dedicated myself and now it seems no use in turning back.

Now I will repeat one of the questions about your goals on shooting the sadhvis. Until your experience now, what do you think that had led these women to choose this path of ascetics vs. marriage or single career-woman lifestyles?

I am still exploring this and do not plan to reveal much of what I have found so far until the release of the actual film / book production.

When do you intend to release this documentary about the sadhvis ?

Frankly we are in the middle of an epic type film series, as I consider this more of a multimedia education program, less than a one-time film venture. I’m hoping to instill in them to continue using multimedia as a means to spread their messages. However we are hoping to release this some sort of video series as a world premier, especially for the Juna Akhara members themselves, during the 2013 Maha Kumbh Mela in Allahabad-Prayag. Only after that will the rest of the world get to see much more than excerpts.

As soon as they lose contact with you the sadhus also stop using cameras or some of them kept photographing by their own?

First of all over the many years of getting to know them (I first attended Kumbh Mela in 2001), many of them do not lose contact with me. At the very least we see each other every three years at the Mela. But I also get phone calls and believe it or not even emails from some through out the 3 years in between Melas. Upon arriving at Haridwar this year, I even got film back from Sadhvis who had finished their rolls some time after I had left in 2007 and saved it for me to develop for them. This year however I plan to stay in India for most of the year or longer (a duration determined upon pending funding), and therefore loosing contact is not likely. Currently I’m based in Haridwar where not only a handful of them live, but also a good launching point for those headed to any of the Char Dhams (4 pilgrimage spots: Yamunotri, Gangotri, Kedarnath, and Badrinath). Meanwhile, as I’ve been taking the few weeks between the end of the Mela till the opening of the trekking routes as time to log footage, edit some short promo videos and write things like this, I continue my contact with most of those who have joined the program.

Thanks for reading such details…
Om namo narayan
Nicole

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on [...]]]> Teaching Mahant Durga Giri, from Nepal, how to use her new 35mm point and shoot.

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14 January, thursday – Makar Sankranti Snaan – 1st Snaan (bath) 15 January, friday – Mauni Amavasya and Surya Grahan ( Solar Eclipse) – 2nd Snaan 20 January, Wednesday – Basant Panchmi Snaan – 3rd snaan 30 January, Saturday – Magh Purnima Snaan – 4th Snaan 12 February, Friday – Maha Shivratri – Pratham Shahi Snaan! 15 [...]]]> ok chelo, who’s with me??

14 January, thursday – Makar Sankranti Snaan – 1st Snaan (bath)
15 January, friday – Mauni Amavasya and Surya Grahan ( Solar Eclipse) – 2nd Snaan
20 January, Wednesday – Basant Panchmi Snaan – 3rd snaan
30 January, Saturday – Magh Purnima Snaan – 4th Snaan
12 February, Friday – Maha Shivratri – Pratham Shahi Snaan!
15 March, Monday- Somvati Amavasya – Dvitya Shahi snaan!
24 March, Wednesday- Ram Navmi – 5th Snaan
30 March, Tuesday – Chaitra purnima snaan
14 April, Wednesday – Baisakhi – Pramukh Shahi Snaan.
28 April, Wednesday – Shakh Purnima – snaan

source: http://www.haridwarcity.in/haridwar_kumbh_2010_dates.html
har har maha dev!

मैं जो जूना अखाड़ा के साधु और साध्वी जो कुंभ मेले में भाग के बारे में दस्तावेजी फिल्म बना रहा है हूँ. लेकिन आज कल मैं एक आलग अलग फिल्म बना रहा हूँ. इस बार, मैं उन्हें को कैमरों दे रहा हूँ और वे इस फिल्म बना [...]]]> हिन्दी मेरी पहली भाषा नहीं है. मैं ही सीख रही हूँ…

मैं जो जूना अखाड़ा के साधु और साध्वी जो कुंभ मेले में भाग के बारे में दस्तावेजी फिल्म बना रहा है हूँ.
लेकिन आज कल मैं एक आलग अलग फिल्म बना रहा हूँ. इस बार, मैं उन्हें को कैमरों दे रहा हूँ और वे इस फिल्म बना रहे हैं.
कुंभ मेले २००७ पर, प्रयाग में, मैंने जूना अखाड़ा के संन्यासियों को ४० कैमरों दिया.
लगभग सभी उनके फोटो की वेबसाइट पर हैं यहं.
अगली बार, 2010 हरिद्वार में, मैं और फ़ोतो और वीडियो कैमरे देने चाहूँगी, और उन्हें सिखाने की कैसे का इस्तेमाल करने के लिए , तो मैं जुना अखाडा कि मिदिया संगठन बना सकती हूँ.
इसलिए मैं अपने पुराने कैमरे दान के लिए पूछ रहा हूँ. धन्यवाद!
अपने पुराने कैमरे दान करने के लिए, मुझे ईमेल भेजो.

Last night, as I do every so often, I sent out a few text messages to some of the phone numbers I have stored in my phone from Kumbh 2007. All I wrote (in Hindi) was that I was thinking about them… my phone rang a [...]]]>

Prem Giri and Nicole, Varanasi 2007 - photo: gabi ghersi

Last night, as I do every so often, I sent out a few text messages to some of the phone numbers I have stored in my phone from Kumbh 2007. All I wrote (in Hindi) was that I was thinking about them… my phone rang a lot last night from +91 country codes…. I also received two emails:

Below is the email I received from Prem Giri, a Sadhvi who lives in Haridwar, where the next Kumbh will be:

dere nicol,

kumb decmber me 2009 me suru hoga march 2010 tak chala ga sevin -six month abhi aour baki hai room ki koi problam nahi hai room avibale hai, aur detil mite gay ge to am bata ta rahu ga

god bleas you
prem giri, me tumko, apne photo bheaj raha hun,