Cultural Affection

American Documentary filmmaker Carlos Gomez with Indian filmmaker Rwita Dutta and Taiwanese artist  during The Nepal International Indigenous Film Festival-2012, Kathmandu. 

Published on Kantipur National Daily. visit: http://www.ekantipur.com/kantipur/news/news-detail.php?news_id=296908

• By Phulman Bal

Kathmandu: Carrying a pie chart of Colombia, last year an American filmmaker Carlos Gomez arrived to Nepal International Aboriginal Film Festival (NIF) and said to Nepali film makers: “I want to collaborate.” Clinging to that very determination, he arrived this time once again.  This time he had a documentary movie based on Nepal. During the seventh convention of NIIFF, he displayed a documentary entitled as ‘Indigenous Media Postcard from Nepal’ as a spectator depicting the effort of Nepali aboriginal communities to preserve their culture and lifestyle; now he had a responsibility of jury member to cooperate on. Lost in far nooks of Nepal for three weeks after the mark of formal conclusion of the festival, he was convened at Basantapur of the capital as the twilight broke at a particular dusk.

“This time I got lost in the villages,” He, who was starting filmmaking of different nation and their communities said, “My days are all memorable which I spent on nearly extinct Nepali culture and diverse traditions.” As the festival halted he lunged to Panchthar to examine the uniqueness of Limbu culture; remained there for two weeks. He was assisted by Limbu festival organization, and even did a four days workshop on the film. There he prepared a documentary on Limbu myth on fire: ‘Misek’. The myth opines that the spark reaching a particular direction while torching the woods is an indicator for a new happening; he even edited this belief in his work.

“All the aborigines of the world seem same”, he told his emotions while wandering through the Limbu village carrying Panasonic GH6 camera, an Apple Computer, and a mini sound set, “From food to traditions to dance, all feels the same.” He added. With this nostalgia he even recalled his tour to Ecuador. When he reached Ecuador by sailing across the Amazon River continuously for two days in a small yacht with his Japanese wife, he was welcomed there by half naked aborigines of Ecuador. “See these people,” he said indicating the photo he uploaded in Facebook and added, “If we don’t make a film on their social status, it is soon going to be extinct.”

To the very community he donated a computer, a solar system, a camera, and a sound system to establish a media center, and he wants to exercise the same stuff in Nepal. Last year he donated a camera to Chandra Mangmu, resident of Paachthar; this year he has come up with greater ideas. After he returned from the east, he moved towards Kavre to find a new community with young film makers Prinaraj Joshi and Ravi Sharma where he made a new documentary movie on the role of community radios to preserve the cultural paradigm and the language of aborigines of that place.

“There we found a fascinating subject,” he said after collecting all the works of community radios and electing Radio Namobuddha as an ideal one, “Radios are connecting to various people across the globe.” During the shoot of documentary, he met Gunjaman Dong of Kavre, Tilam Machhegaun, whose progenies are living in America and he is working on the radio exalting the significance of culture and tradition wishing the future generation shall never marginalize these fundamental aspects. Dwelling in America for two decades, the sons of Gunjaman and their life is going to be featured in next documentary, Carlos said.

“This is community based documentary,” he even added the movement of his organization Cineminga, “I am planning to make this association worldwide, which actually started in 2007.” The president of Cineminga, a Colombian word for ‘cooperation in movies’, Carlos opined that during the era of globalization films are going to connect the communities of the world.” He has been conducting charity after he features the documentary visiting different parts of the globe. “I do have a plan to establish community film centers,” Carlos said as he is going to America this Monday, “Next year; I shall establish two such centers in Nepal.”

Technology and the Third World

Published on The Kathmandu Post Daily-

http://www.ekantipur.com/the-kathmandu-post/2012/06/19/et-cetera/technology-and-the-third-world/236231.html

POST REPORT

KATHMANDU, JUN 19 – Phulman Bal, the bureau chief of the Kantipur daily’s Art and Culture section, has just released a 15-minute short film titled Cellphone. The clip was shown at a press conference organised at the Indigenous Film Archive in Anamnagar on Tuesday.

Bal is a seasoned journalist who has worked in the media for over a decade, and he has both directed and penned the script for the short himself. The film revolves around a poverty-stricken Tamang Jhankri family, where the father wants his son to take up the Jhankri tradition, but his son is more interested in other things. After coming across a fellow villager carrying a mobile phone, the son decides he must have one for himself, especially if he is to impress the girl he likes.

Lacking any other alternative, he ends up going to the city to sell his Dhangro—the Jhankri drum—and purchasing a mobile with the money. On returning to his village, he finds that his father has fallen ill, a fact that causes him to regret his decision.  “What I wanted the film to convey was the impact of new technologies on rural communities,” Bal says. “The idea that globalisation has crept into even remote areas in Third World countries like ours is something that fascinates me.” He stresses on the fact that technology needs to be made culturally-friendly, being that it is already an inescapable aspect of living in these modern times.

Cellphone has been shot in the Tamang language and subtitled in English and Nepali. It stars Umesh Tamang, Shanti Waiwa and Prem Lopchan, Sonam Moktan among others, in leading roles. Producers of the film include Ngima Pakhrin, Sangey Lama, Chandramaya Tamang and Shanti Waiwa. “I came in contact with Lama and Tamang via Facebook, and it was while chatting online that they requested me to write the script, which I did,” says Bal.

Cellphone is scheduled to be screened at the 6th Indigenous Film Festival on July 13.

The wild cell phone chase

Aashish Bhattarai (Published on The Kathmandu Post Daily)

Film Director Phulman Bal delivering a speech about his short film ‘Cell Phone’ at Martin Chautari, Kathmandu.

http://www.ekantipur.com/the-kathmandu-post/2012/09/29/related_articles/the-wild-cell-phone-chase/240222.html

KATHMANDU, SEP 29 –
How important is it for one to have a cell phone in today’s techno-world? The lead in Phulman Bal’s short film Cell Phone is so strongly driven by the notion that cell phones are indispensable that he trades his family inheritance, a dhyangro, to buy one.

Based on the Tamang community, Bal’s film explores the impact of modernisation—geared mostly by advancements in technology—on the culture and tradition of the numerous indigenous communities that populate the country. The film, in particular, highlights the inherent passive nature of a third-world country, where the entire population is made up of ‘technology-receivers’.

Cell Phone is set in rural Nepal, where Chhoiku, the son of a witchdoctor, is driven into bouts of envy when he sees his cousin, Palmo, talk to a man boasting about how he has two cell phones. This triggers in him a deep desire to become the proud owner of a cell phone, come what may. During dinner one night, he asks his Apa for two thousand rupees, but is rejected right away.

This, however, does nothing to kill his desire, which attains unprecedented heights when he comes across an antique dealer during a ritual ceremony. It is here that he makes up his mind to steal his father’s dhyangro to sell to the dealer. He then proceeds to buy two cell phones—one for himself and the other for Palmo—with that money. When he finds out, Chhoiku’s father, the witchdoctor, falls sick. Distressed, he condemns himself for his failure to pass on to his son the traditional skills of healing he received from his father.

Concluding the story at this point, director Bal leaves his audience to mull over the extent to which modern equipments have overridden long-standing traditions. While technology continues to enhance life in different ways, films like Cell Phone compel reflection on their implications on society and our values.

Shot at Devichaur VDC of Lalitpur district, Cell Phone combines works of amateur as well as professional actors. It recently received an Encouragement Award from the Indigenous Films Archive. Phulman Bal directed the film while Anil Khadka worked as casting director. The film was screened at Martin Chautari on September 27

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