ANUSTHA SHRESTHA
OCT 26 -
While most Nepali mainstream films do not gain any international importance, Nepali documentaries have been doing quite well—not just with their content, but also with their technical aspects. Documentary makers benefit from the cultural and social diversity of our country. And another Nepali documentary has recently hit the headlines, premiering at the 11th Annual ImagineNative film and media art festival in Toronto, Canada.
Kumari, directed by Prina Raj Joshi, premiered at the indigenous film
fest on Oct. 23. The eight-minute film promises to eliminate misconceptions about the Living Goddess and to promote Nepali culture. This is the only film from South Asia to have been screened at the film festival.
The documentary shows how a young Shakya girl is selected as the most powerful Goddess of the country and how people crave to get her blessings. Many documentary makers have attempted this venture and it has become a commonplace story; nevertheless, the six-member team from Perfect Media took up the challenge to present the story of the living goddess in a different manner. “There is a popular myth about how a Kumari is selected and how a young girl is kept in a dark room surrounded by heads of buffalo to check whether she is fit to be a goddess,” says Joshi. “This has posed several issues concerning human rights from international organisations. We want to make it clear that this is nothing but just a myth.” The documentary shows how the living goddess lives in her facilitated residence, Kumarichhen. There are around half a dozen caretakers for her; she has her special study hours, and she is given more privilege than a normal child. “She is one of the most privileged children in our country—even the head of the state bows to her,” explains Joshi.
“This documentary took us around a year-and-a-half of research and filming,” he says. The Kumari makes public appearances around 13 times in a year on various festive occasions—that was the maximum number of chances that the team had to capture the glimpse of the goddess through their lens. Though the Kumarichhen is normally open to Nepali visitors, cameras are not allowed inside. Therefore, the cameramen had to be patient and alert because if they missed a shot, they would have to wait for a year to complete the project. Moreover, anadditional challenge for them was the protection of their camera. On rare occasions such as Indrajatra, Dashain, Ghode Jatra and other festivals, when the Kumari is taken around the city in a chariot, huge crowds prevent any filming of the event. “We almost lost our camera three or four times and once, we were nearly hit by a part that fell off a poorly-maintained chariot,” says Joshi. Though they were also restricted by the poor lighting—as most filming took place during the evenings—they managed to shoot a rare scene of the Kumari walking on the ground; the Kumari is either pulled in her chariot or always carried by someone. Only a few know about this event as it takes place in the night.
Joshi, who has shot half a dozen documentaries, has screened two documentaries—Twisin and Gway Maru—previously at the same film festival. “Although we are still behind in technology, this is nothing to be discouraged about. We can come up with competitive presentations and content.” Kumari is a silent documentary, and the current length of eight minutes will be extended to around 35 minutes before the filmmakers screen it in Nepal. A Canadian distributor has already put up a proposal for the film, which is an encouragement for upcoming Nepali filmmakers.
“I live in Nepal. I have been watching all the festivals and the Kumari
since long, but these festivals are still mystical,” says Joshi. He considers it necessary to have a visual record of our festivals and celebrations for the younger generation and to the world. And Kumari seems to be the right beginning for this.
Posted on: 2010-10-27 07:51
While most Nepali mainstream films do not gain any international importance, Nepali documentaries have been doing quite well—not just with their content, but also with their technical aspects. Documentary makers benefit from the cultural and social diversity of our country. And another Nepali documentary has recently hit the headlines, premiering at the 11th Annual ImagineNative film and media art festival in Toronto, Canada.
Kumari, directed by Prina Raj Joshi, premiered at the indigenous film
fest on Oct. 23. The eight-minute film promises to eliminate misconceptions about the Living Goddess and to promote Nepali culture. This is the only film from South Asia to have been screened at the film festival.
The documentary shows how a young Shakya girl is selected as the most powerful Goddess of the country and how people crave to get her blessings. Many documentary makers have attempted this venture and it has become a commonplace story; nevertheless, the six-member team from Perfect Media took up the challenge to present the story of the living goddess in a different manner. “There is a popular myth about how a Kumari is selected and how a young girl is kept in a dark room surrounded by heads of buffalo to check whether she is fit to be a goddess,” says Joshi. “This has posed several issues concerning human rights from international organisations. We want to make it clear that this is nothing but just a myth.” The documentary shows how the living goddess lives in her facilitated residence, Kumarichhen. There are around half a dozen caretakers for her; she has her special study hours, and she is given more privilege than a normal child. “She is one of the most privileged children in our country—even the head of the state bows to her,” explains Joshi.
“This documentary took us around a year-and-a-half of research and filming,” he says. The Kumari makes public appearances around 13 times in a year on various festive occasions—that was the maximum number of chances that the team had to capture the glimpse of the goddess through their lens. Though the Kumarichhen is normally open to Nepali visitors, cameras are not allowed inside. Therefore, the cameramen had to be patient and alert because if they missed a shot, they would have to wait for a year to complete the project. Moreover, anadditional challenge for them was the protection of their camera. On rare occasions such as Indrajatra, Dashain, Ghode Jatra and other festivals, when the Kumari is taken around the city in a chariot, huge crowds prevent any filming of the event. “We almost lost our camera three or four times and once, we were nearly hit by a part that fell off a poorly-maintained chariot,” says Joshi. Though they were also restricted by the poor lighting—as most filming took place during the evenings—they managed to shoot a rare scene of the Kumari walking on the ground; the Kumari is either pulled in her chariot or always carried by someone. Only a few know about this event as it takes place in the night.
Joshi, who has shot half a dozen documentaries, has screened two documentaries—Twisin and Gway Maru—previously at the same film festival. “Although we are still behind in technology, this is nothing to be discouraged about. We can come up with competitive presentations and content.” Kumari is a silent documentary, and the current length of eight minutes will be extended to around 35 minutes before the filmmakers screen it in Nepal. A Canadian distributor has already put up a proposal for the film, which is an encouragement for upcoming Nepali filmmakers.
“I live in Nepal. I have been watching all the festivals and the Kumari
since long, but these festivals are still mystical,” says Joshi. He considers it necessary to have a visual record of our festivals and celebrations for the younger generation and to the world. And Kumari seems to be the right beginning for this.
Posted on: 2010-10-27 07:51
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