Exploring the human and greater-than-human world

filming Shining Spirit in Amdo, TibetOn Thursday, 2 February 2012, from 3:30-5pm, the Museum of Anthropology at the University of British Columbia, in co-sponsorship with the UBC Department of Anthropology and the Contemporary Tibetan Studies program at UBC’s Institute for Asian Research, will host a screening of the documentary film, SHINING SPIRIT: THE MUSICAL JOURNEY OF JAMYANG YESHI (2009) in the Michael Ames Theater (http://www.moa.ubc.ca/events/index.php?pg=2).  Jamyang Yeshi will be in attendance to play a concert of traditional Amdo Tibetan music, and the film’s director, Karen McDiarmid, will also join the event to take audience questions after the film.

Download and share the Shining Spirit Poster

LISTEN to samples of Jamyang Yeshi’s music here: http://jamyangyeshi.com/index.php?option=com_metaudio&view=metaudio&Itemid=137

JY performing at Vancouver Folk Festival

SHINING SPIRIT has screened at film festivals around the world, including the National Geographic’s “All Roads” Film Festival and the Banff Mountain Film Festival & World Tour; and Jamyang’s music is featured in several documentary films. In 2009, Jamyang toured in Hungary, and performed at the Vancouver Folk Music Festival, as well as opening for k.d. lang at a special concert during the Dalai Lama’s visit to Alberta.

For more information on the film and how it gives back to Tibetan communities in Tibet, please visit SHINING SPIRIT’s webpage: http://www.taracafeproject.ca.

Amdowa woman singing

With fourteen veterans of the First Special Service Force installed in the front row of the Robson Ballroom at the Mayfield Inn and Suites in Edmonton, Alberta, and over 100 more audience members seated and standing behind them, In the Footsteps of The Force was successful premiered on Friday, August 12th, 2011. Upon entering the [...]

 

In the Footsteps of The Force - a documentary film

SUMMER 2011 – A documentary film, In the Footsteps of ‘The Force,’  captures the final return of U.S. and Canadian veterans from The First Special Service Force to their World War II path in Italy.

In the Footsteps of ‘The Force’  follows veterans from “The Force” – the first and only joint unit of U.S. and Canadian soldiers and precursor to today’s special forces – over a nine days’ journey from May to June 2010 in central Italy.   From the mountains, valleys and villages of the Gustav Line front once held by the Germans, to the now-picturesque Mediterranean beachhead of Anzio, to the hazy gates of Rome, In the Footsteps… both breathtakingly and intimately documents Force veterans’ return to key battle sites that were not only literally on the road to Rome, but that ultimately led to the liberation of Rome from Nazi occupation on 4 June 1944.

In the Footsteps of ‘The Force’  also journeys to the memorials and cemeteries emerging in post-war commemoration of those killed-in-action in the Italian Campaign.  At both U.S. and Commonwealth cemeteries, Force veterans sought out fallen comrades while second and third generations stood before the gravestones of their fathers, uncles, brothers, grandfathers, and unknown soldiers – all humbled into staggering reflection.  Memorials were also made during the course of the film from the vistas of Hill 720 and Monte La Defensa, sanctified by the efforts alone it took to bring six veterans – all in their 80s or older – and the 70-plus members of their U.S., Canadian, and Italian entourage to the summits.

This lovingly-shot film also captures the response local villagers have to the return of The Force – of colorful commemorative wreaths placed in Artena, of celebratory meals of local foods and wine spread out in the afternoon shadow of La Defensa, and of a younger generation of Italians guiding the veterans, awestruck, to where they once fought, and to museums commemorating their battle through archaeological preservation.  “Thank you,” one man says as a Forceman signs his copy of the book, Supercomandos, after a Memorial Day ceremony at the Sicily-Rome U.S. War Cemetery and Memorial, “for what you did for our country.”

In the Footsteps of ‘The Force’,  first-time director, Tamar Victoria Scoggin has a personal connection to her film’s subject: her grandfather was a 1st Lieutenant in The Force and was killed 2 February 1944 on Anzio beachhead. It would be another 99 days before The Force and Allied forces broke through the beachhead, and onto the liberation of Rome. “To have traveled with veterans who had not only survived the Italian Campaign but then The Force’s deployment and eventual disbandment in southern France was, quite simply, the closest I’d ever mortally felt to the grandfather I never knew,” Scoggin says about the  experience filming In the Footsteps of ‘The Force’.  “And I was not the only one on such a journey.  By visiting the places The Force had been, everyone on that trip was searching for more memories of ‘the boys’ – and in doing so, powerfully bringing a few things in our own lives full-circle.”

In the Footsteps of ‘The Force’  thus comes to document the journey younger generations are on to understand the legacy of WWII while they still have veterans with them.  For the vets, their re-discoveries meant the cessation of doubts, regrets, nightmares, and bringing things full circle too.  Most powerfully, In the Footsteps… serves as critical documentation of the fading numbers of World War II veterans, and that of living First Special Service Force veterans in particular.  Their return for reconciliation to the far away places symbolizing their greatest battles as brothers-in-arms transcends a close but unexpected national border.

***

More on the film and RiMo Productions:

Facebook Page: https://www.facebook.com/pages/In-the-Footsteps-of-The-Force/114809148604365

RiMo (MountainGirl) Productions: http://whenrainandsunlighttouch.wordpress.com/

 http://www.boulderdigitalarts.com/directory/listing.asp?id=1113

Tamar V. Scoggin, director and producer of In the Footsteps of The Forcehttp://www.anth.ubc.ca/graduates/student-profiles/tamar-v-scoggin.html & http://ubc.academia.edu/TamarVScoggin

Please lend your support to this film, the first documentary to be made about FSSF veterans retracing their footsteps during the Italian Campaign of World War II.

Like “In the Footsteps of ‘The Force’” on Facebook.

Pledge your support for the film via our Kickstarter campaign.

When I went to test this preview for premier at the Saturday night banquet of the 64th First Special Service Force (FSSF) Association Reunion, the projector and my computer had a major disagreement about video output. The sound was good, but the picture was either too blue or green, and no amount of technological corrective worked – this in a film symbolized by the red wild poppies of World War I and II. The preview was cut from footage I shot in Italy this past May and June, following six FSSF vets and their families back to the World War II battlegrounds. This was also the first edited work to be shown to the people who had been in Italy with me – the veterans, their families, and families of other vets – as well as to the rest of the FSSF families and current-day special forces soldiers and families gathered for the reunion in Helena, Montana.

And here it was, the afternoon of the banquet premier, and we couldn’t get the picture to go.

“We” were John Hart, Gianni Blaisi, and myself. John is from Medicine Hat, Alberta, and coordinated the North American component the 2010 May-June tour. His father, Sgt. Geoffrey Hart (1-2), was in The Force. Gianni was the local, Liri Valley coordinator in Italy for the tour, is a professor of literature and historian of The Force, and was in Helena to attend the reunion. Given our incredibly bonding time in Italy two months before, it was so wonderful to be in the same room with them again – even if we were vexed over the video projection. I offered that “at least” we could get the sound right, so the poor picture would just have to do. We weren’t happy with the conclusion but knew we could live with it. Beyond the color issues, I was already excited and nervous about showing this preview to the ones who matter the most in this whole film project – the disappearing veterans of World War II, and especially those of the First Special Service Force.

You’ll find out why when you watch this preview .

So come the banquet, I hooked up my computer to the projector and sound, and checked once to see if the picture came up – it did. I then went away to film, eat dinner and socialize until it was time to begin the presentation about the Italy tour with the preview. When the time arrived, John took the podium and we opened with a short video duet I had cut from a dedication ceremony on Hill 720: bagpipes from the the Liri Valley where the FSSF had fought; and a FSSF vet, Jack Furman, reading a poem, “My Buddy,” with Gianni translating. Then John delivered an awesome, heart-felt speech, which can be read here: John’s Helena speech.

After that, it was showtime. I opened the film preview and began playing it. When Ann Picken showed up in her bright red jacket clear-as-day after the “Flanders Fields” opening poem, I almost cried out in joy. I looked over at John and to Gianni to gage their reaction. Everyone looked riveted. The picture color was perfect, the sound just right – and the initial response encouraging and humbling from everyone at the banquet. (I was even awarded a Special Forces challenge coin, beware!)

For those associated with the First Special Service Force, we have a saying when things like this happen: The Power of ‘The Force’. Just when it seems like things might not work out… And then they do so in wonderfully unexpected ways: that’s “the power of The Force.” This saying expresses a belief, a longing we FSSF descendants hold: that “the Force” is still with us, looking out for us as our fathers, husbands, brothers, uncles, grandfathers, and once-sons and soldiers…

My grandfather was 1st Lieutenant Charles R. Scoggin (5-3), killed in action at Mussolini Canal, February 2nd, 1944. He died along with two other lieutenants through the finality of a booby-trapped trench. His son (my dad) and I went to where it happened just inland from Anzio beachhead this past 2010 trip. I commemorated it with a few poignant scans and shots, some of which show up in this preview, and more of which will definitely show up in the film. My grandfather is my Guardian Angel, and part of the Power of The Force that makes this film possible.

Thank you very much for watching this preview . Feedback is appreciated. Forwarding is too.

Grazie,
Tamar

P.S. If you want to receive news of when the DVD is released in August 2010, please email me at rimotamar(at)me.com.

How long to sing this song?

A review of “Tibet in Song” and open letter to the film’s director, Ngawang Choephel la

“We won’t waste even a drop….”

Tashi delek Ngawang Choephel la. I just finished seeing your film “Tibet In Song” at the Boulder International Film Festival on February 11th, 2010. I am sorry that you were not able to make the screening because of the latest storm on the east coast, but what would have been the unforgettable force of your presence was well matched by the film on its own. The stunned feeling I had the moment after your film concluded is still with me. The songs, the voices of your people, the brave footage you captured, and the suffering you endured as a political prisoner to make this film still shake my mind and consciousness as I drive home, grab dinner, and sit down to write. That is how powerful, vivid, honest, well-made and ALIVE your film is, and I dare anyone to watch it and still argue that Tibetan culture is not on the brink of extinction or that the forced change it is undergoing is not shameful – I cannot think which is worse, as they both offer a heartbreaking conclusion.

And what might be that heartbreaking conclusion? As your footage presents in all its “ethnographic” authority – that is, documentation of people at their most self-explanatory and raw – our hearts would break over the loss of not just an “ethnicity: Tibetan; but of evidence that human beings (yes, all of us) deserve the right to thrive and sing and dance in the way of our ancestors, as the way to peaceful world-making as we self-determine it. I’d rather see a wrinkled but twinkling grandmother dancing and singing in a dusty chupa than the garish, Chinese-determined Tibetan hybridity of Tseten Dolma wailing in the nightclubs of Lhasa and Chengdu. Ngawang Choephel la, your film reminds us that humans have evolved to “must needs” to commune with our past, and thus come to grips with the purpose of our own present lives – or we will perish in the chaotic alternative.

As “Tibet In Song” unequivocally demonstrates though gripping historic and ethnographic footage, the “chaotic alternative” to tradition for Tibetans – and anyone who supports the Tibetan cause – has been to confront the mind boggling, highly problematic, intrinsically-violent, always-irrelevant and -unjust P.R.C. rule of Tibet, and to live with the fact that such a local-global power arrangement still persists as China’s hegemonic star continues to ascend. But with the incriminating impact and implications promised by such films as Choephel’s (and many other Tibetans I know!), perhaps the artifice of hypocrisy and hype that the Chinese Communist Party has mounted in defense of “its” Tibet (much less its “China”) will groan a little too hard one day under the burden of its own contradictions and karma, and the “chaos” (as bemoaned by one man salvaging the “shattered opera” tradition in the Tashi Sholpa region of central Tibet) will cease to persist in a cloud of rangzen dust.

And that which has fled into exile may be repatriated with each stomp of a dancing foot in Tibetan soil and each melody re-threading its aural way through northern Himalayan mountain air. And that which has grown in the perilous soil of the homeland will once again thrive without fear of the punishment of the sun for not singing the Chinese National Anthem. But in order to live in a world of one less unnecessary, violent and illegal occupation, we have to take the conscious steps to change that which we most certainly can: “we” being Tibetans, Americans, Chinese, Indians, Europeans, Iraqis, Pashtuns – ANYONE willing to stand up against Power that enforces propaganda over posterity, against Rule of Law that enforces dehumanizing domination over meaningful autonomy, much less true independence. The C.C.P. will change its corrupt, outmoded, and myoptic stance against Tibet ONLY if the global powers-that-be-make it impossible not to (are you listening all ye governments who are held by the economic short-and-curlies by the Yuan?). And “should” (it seems too possibly tyrannical to say “when”) this sea change happen, may we see a proliferation of dedicated people and successful projects that not only rescue many other cultures around the world from the brink of extinction, but prove that the return of the Dalai Lama to Tibet for a visit (just for starters!) could be “world-making” at its most courageous, peaceful, and just.

This coming Sunday is Valentine’s Day, and on this same day Losar, the Tibetan new year, will begin. This year, more Tibetans than I anticipated will choose not to celebrate it. “No Losar this year!” one of my friends told me when I naively wished him a happy new year after the screening in Boulder this evening. The first ever Losar I celebrated was a “black Losar,” where the usual traditions and customs were not practiced that year (1999) in deference and mourning of a recent death in the family. Last year 2009 was also a black Losar for Tibetans as they commemorated almost 50 years in exile, and, even more immediately, in mourning of their brothers and sisters killed, arrested and imprisoned in the protests of spring 2008 – right before Beijing hosted the 2008 Summer Olympics. (That the Vancouver 2010 Winter Olympics will begin on the day after this screening of “Tibet In Song” only adds another note of urgency and serendipity to your film’s message.)

The collective sorrow of the Tibetan people is now evident in another consecutive observance of a black Losar, as well as in the songs Tibetans have composed in the wake of Chinese occupation in general, and prison torture in particular. As a fellow anthropologist and filmmaker, from your film, Ngawang Choephel la, I detected two kinds of self-determination that the Tibetan people are observing and producing in music in exile and under occupation; the first is the mournful, post-1959 shift in song composition. When one former political prisoner sings on camera an endurance hymnal she wrote to the tune of the most reviled Chinese pop songs, “Beijing is a Golden Mountain,” while serving in solitary conferment, we are not at leisure to marvel at the cultural hybridity her composition evidences. Instead, realize all-to-starkly that the new essence of Tibetan folk songs is sorrow, and injustice at the hands of the C.C.P. That Tibetan self-determination must manifest in the expression of such suffering is only made bearable and triumphant by the fact that these same songs carry messages of “not backing down,” and that of the blood spilled by Tibetan freedom fighters, not a “single drop will be wasted.”

The second form of self-determination is, of course, the concerted project to preserve and inherit traditional Tibetan folk songs. In saving these songs, Ngawang Choephel la, you save Tibetan culture, values, and consciousness, of which songs are an “innate manifestation.” Though your first taste of your true homeland, Tibet – a land “fenced ‘round with snow mountains” as a 9th century folk song goes – might have landed you in a Chinese prison, even there “in hell” you found fellow Tibetans still fighting, resisting, existing through song. Even in the currently inescapable claws of the Chinese Communist Party government, or in the chaotic, alienating waters of exile, you managed to “feel” your culture – its music and its enslavement – truly for the first time. I came away from “Tibet In Song” knowing that “true Tibetan cultural essence” – the kind by which we still see it important to define as “ethnicity” – could still survive thanks to the conscious, humbling dedication of key Tibetans. One knows their power and significance when one meets them – be it on screen, in solitary protest, or separated by circumstance of a winter snowstorm that arrived few days before another black Losar.

“Tibet in Song” reminds us of how essential this quixotic thing called “tradition” is, especially when faced with the blatant, infuriating causes of its disappearance by such facist governmental regimes as the Chinese Communist Party (yes, I might have just officially flushed any chance getting a Chinese visa down the drain with that last statement, but nothing compared to the seven years your served in prison, the first year of which you were tortured everyday).

The Tibetan struggle, as so viscerally presented in your film, offers us all a stark example of what this world – along with the Tibetan people – is losing in the march of globalization as marshaled by the (un)ethics of the People’s Republic of China. I feel incensed enough to suggest that we should fret as much over the coming disappearance of Tibetan song, dance, language, art, and – especially – His Holiness the 14th Dalai Lama as we do the polar ice caps and bears. Nothing is “only” local or cliché anymore, and even if we intentionally set-out to preserve something in the name of global “diversity,” let us get past the anxiety of fakery and the postmodern “implications of it all” to embrace the fact that we at least acted on foresight when we could.

Free Tibet! If the U.S. can repatriate a panda, President Obama should not only have free reign to meet with the Dalai Lama, but to do it in that tabooed little yellow room in the top corner of the Potala Palace in Lhasa city, currently the provincial capital of the Tibetan Autonomous Region of the People’s Republic of China.

Bono once crooned on the last song of U2’s only hard rock album _War_: “How long / to sing this song?” Even as they wrote songs about war, they wanted peace, not just for Northern Ireland but for a world still in the grip of the Cold War (1983); just as Tibetans sing about occupation but want freedom to this day. This connection came to mind toward the end your film, “Tibet In Song,” as it fully embraced what seems to be the “new” folk songs of Tibet – songs of sorrow and unforeseen end to struggle. To Ngawang Choephel la and all the other singers of Tibet – keep on singing! But how long to sing this song?

Yours in solidarity,

Tamar

Documentaries:

TIBET IN SONG
screening in Boulder on February 11th, 2010 at 4:30pm
@ The Church, 1421 Spruce St.
303.786.7030
Boulder International Film Festival

(synopsis courtesy of film’s website: Tibet in Song

Tibet in Song is both a celebration of traditional Tibetan folk music and a harrowing journey into the past fifty years of cultural repression inside Chinese controlled Tibet. Director and former Tibetan political prisoner, Ngawang Choephel, weaves a story of beauty, pain, brutality and resilience, introducing Tibet to the world in a way never before seen on film.

The beauty of traditional Tibetan folk music is showcased through a variety of working songs, songs about family and the beauty of the land. These rarely seen performances are deftly juxtaposed against startling footage of the early days of the Chinese invasion and a concise explanation of the factors leading to the Dalai Lama’s flight into exile in 1959. Ngawang Choephel sets the stage for a unique exploration of the Chinese impact on Tibetans inside Tibet.

What follows is a heartbreaking tale of cultural exploitation and resistance, which includes Ngawangs’ own eventual imprisonment for recording the very songs at the center of the film. Tibet in Song provides raw and uncensored look at Tibet as it stands today, a country plagued by Chinese brutality, yet willing to fight for the existence of its unique cultural heritage.

Tibet in Song is directed by Ngawang Choephel, and contains both original music composed by Ngawang himself, and an array of traditional folk songs sung by native Tibetans.

Shining Spirit
A film made by a friend of mine, Karen McDiarmid, that demonstrates how the importance of music in Tibetan culture can reunite families across the divide of exile

Angry Monk
A film made a fellow anthropologist about the life, work, struggle and death of Gedun Choephel, the first Tibetan historian and anthropologist at the dawn of Chinese rule in Tibet

Leaving Fear Behind
A film made by Dhondup Wangchen in the aftermath of the 2008 uprisings in Tibet – he was arrested and sentenced to prison by Chinese authorities for making this film, and my film OUR SHADOWS COLLIDE is dedicated to him

Fire Under the Snow
A film about Palden Gyatso, a Tibetan political prisoner who smuggled out instruments of torture and memories of his imprisonment by Chinese authorities as empirical evidence of human rights abuses in China

Red Flag Over Tibet
The first film I ever watched about the historical events surrounding China’s takeover of Tibet as a study abroad student in Dharamsala, India (screening hosted by the Amnye Machen Institute)

The Sun Behind the Clouds
By the directors of “DREAMING LHASA”, a film made controversial at the 2010 Palm Springs Film Festival when Chinese filmmakers pulled out of the festival because this film – documenting the protests of Spring 2008 – was being screened as well

The Unwinking Gaze
A film originally made just to chronicle a day in the life of the Dalai Lama that became indispensable by following His Holiness the aftermath of the Spring 2008 protests…

When the Dragon Swallowed the Sun
I look forward to seeing this film when it is finished

Feature Films:

Kekexili
A searing film about the failed attempts of a band of self-appointed Tibetan game wardens to stop the poaching of Tibetan antelope, documented through the eyes of Tibetan-Chinese journalist

Windhorse
Secretly shot in Lhasa, this film is about a Tibetan family struggling under the Chinese occupation in various ways: assimilation, existentialism, activism – my film OUR SHADOWS COLLIDE owes much to the bravery of the filmmakers and actors in this classic film

Kundun
Martin Scorsese’s take on the life and point of exile of the current 14th Dalai Lama

Dreaming Lhasa
The first feature film shot in Dharamsala, India – exile home of the Dalai Lama – touching upon the oft-overlooked, multicultural experience of exile for Tibetans

Himalaya (Caravan)
Beautiful film, beautiful soundtrack, capturing a cultural practice that is dissolving in the wake of globalization

I started volunteering at a Therapeutic Riding Center last week. It was the first week of their short 6 week winter session. My regularly scheduled time is at 11am on Fridays, but I came in on last Monday and Wednesday as a sub. I was glad to help out so much so quickly. The experience would have been rewarding regardless, but to have three quick fire volunteer sessions was especially fulfilling. Each session was unique and intense, and so illuminating and giving. I came into contact with human life conditions that I rarely get exposed to on a daily basis – emotional, cognitive, physical ailments so unlike my own set of circumstances. But we both are healed by the therapeutic interaction of horses, however unique this healing is to our personal set of conditions.

The first session I was a horse leader for Katie, who was ridden by E. E was a slight six year old girl who had been riding for two years. She enjoyed stopping Katie at the letters (“woah”) around the indoor arena (“E is for my name”), counting to “3,” and then asking Katie to “walk on.” She did not have gloves and got very cold and uncomfortable holding the reins. I zipped up her cute pink hoodie while we were untacking Katie, wishing her warmer but so happy to have “ridden” with her and Katie. Katie was happy to return to the hay I had extracted her from earlier. The instructor was great, and it was good to connect with her.

The second session was with L and I was a sidewalker to Lou, a white Dutch Warmblood / Thoroughbred mare whose stride was significant. On top of that, she was still battling an eye infection she had had when I first worked with her in a training session a month earlier. She had to wear an eye mask, and the instructor was very cautious about handling anything around Lou’s eye. Lou ended up wearing a black fine mesh mask, rope halter and regular halter with side-snap rainbow reins for the session. Her handler struggled with keeping Lou’s gait down in front of me, and I struggled not to trip on his heels as I, 5’4”, braced L with thigh holds on a 16+ hand horse. Lou could be a tank, and there was pro and con to a stride such as hers. It is very long and rhythmic and can help people who are paralyzed, stiff, and in pain to receive waves of movement and consistency that help, ultimately, to keep their bodies more healthy, alive – and enlivened by the companionship of a horse. The con can be that the horse’s stride is too intense for the rider and the team supporting him / her for therapeutic benefit.

After rolling his wheelchair up the mounting ramp, L boarded Lou – lifted by his caregiver and other volunteers and staff from his everyday wheelchair confinement and onto Lou – big, gracious Lou, who makes you feel instantly royal even if she can sometimes move too fast. During the session, L kept falling over to my side. I had to prop him up in an encouraging way while the sidewalker on the other side would occasionally hoist him back over to the other side. If L would make noises indicating possible distress, we would stop (“WOAH”) and assess, but he seemed just fine through the whole ride. Whenever I could get him to look at me or respond to (or defy) my attempts to support his riding experience was encouragement. L was cognitively and physically disabled, as well as infected with Hepatitis B and another condition that drove him to gnaw on a towel fashioned like a bib across his chest. L’s caregiver, however, did seemed concerned after the session at how much (too much?) Lou moved L. The instructor remained an advocate of Lou’s therapeutic gait, and as the winter session progresses I hope horse and rider figure each other out. Too bad I won’t see it as this was also a sub session.

My regularly scheduled session once more saw Lou and me together, but this time I was her horse leader. I thought I had had Pete, but the day of the session I was signed up with Lou. Her eye was even worse, but hopefully on the way to healing for good now. No mask this time, but her eye was a swollen, infected sore. I don’t know how she saw for the swelling and pus of it, but she handled circling to this off side well enough. In fact, she did great. I really talked to her and tried to get on an ideal, mutual level. She moved so slowly and “good” into the mounting area. The rider’s wheelchair was parked like L’s, and a crew of well wishers helped her seat Lou. But it went downhill from there.

Lou moved slowly enough out of the mounting ramp and block area, but D was overwhelmed by Lou’s size as she both sat and rode it. D’s core strength did not kick in for her after we mounted and walked away, and it looked like her sternum coupled with her solar plexis got drummed by the horn and mantle of the saddle. She needed to be sat up and stabilized, but as a horse leader I am to concentrate first and foremost on Lou, so I did. When they finally got her sitting upright she was fully in pain by the experience. She could vocalize that she wanted water so it was brought to her, but she could not recover from the intensity of mounting Lou. This was D’s first attempt to ride a horse in a saddle since her traumatic brain injury. She had been a horsewoman before her accident, and it was only fitting that horses should become therapeutic for her – first through hippotheraphy, and now through this attempt to ride Lou. I hope next week we can help D recover and build from her first attempt to ride Lou, and from so much more…

Windhorse

I was housesitting out at my parents’ ranch the morning Christmas 2006 bloomed, the first “white” Christmas we had since I was a little girl. My parents were out in north-central California, visiting my brother and his family. My grandmother, who I would be celebrating the day with later over brunch and dinner, was at her house in downtown Boulder. With my human family dispersed, I had my animal family instead. Brio and Willa, two black labs from a long lineage of labs bred at my parents’ ranch, sneezed and shook their ears expectantly the second they saw my eyes were open. Wishbone, a Border Collie / Golden Retriever mix I was watching for a married couple that consisted of two of my best friends, simply gazed steadily at me, a slight, non-threatening curl in his lip that spoke of expectations as well. When I arose from bed, Wish let out his characteristic speak-squeal, Willa bounced on her front feet, and Brio’s slapping tail sent her backend sideways, knocking into the other dogs.

The bedroom door opened, and the race began – first to the front door of the house. Waiting for me to unlock and open it was almost unbearable with Brio now joining Wish in a much less cute rendition of squealing, and Willa bouncing, bouncing, bouncing. Now on the opposite side of the glass front door, I was watched with the intensity of first year medical students in their first anatomy class: “now she’s putting on the shoes: we’re waiting for the left one to go on – oh, it’s on! Now for the gloves – why does she have to wait and put every single finger in?!” Once prepped for venturing outside into an environment with at least two feet of snow on the ground, I opened the front door. More squealing and jumping. I was followed like a rock star down the front walk, across the driveway to the garage, fans squealing and jumping on me the entire way. I entered the garage through the “human” door, and a hush fell over the crowd. Suddenly, the garage door roared open, and the fans bum-rushed into the garage like it was Wembley Stadium. Willa grabbed one of the sticks she kept handy in a bucket full of sticks. Brio was now screaming. Wishbone, ever the gentlemen in his natural, all-body tuxedo coat, observed my actions silently with a more pronounced lip curl, as though he was about to start singing “I Can’t Help Falling in Love with You” as I dished up their breakfasts.

For the labs, breakfast was over in two gulps – one for the green beans they ate to keep the weight off their hips, and one for the dry food that was, well, just more food. Wishbone ate his dry food without complaint, but keep eyeing me to see if I was getting ready to serve up dessert: dried pigs’ ears. Once Wish was finished, it was time to “sit, SIT!” Only until all three dogs were sitting before me, did I grab the red bag that contained dessert. At the sound of the plastic crunching in my hands, all three dogs leap up with excitement: Willa bouncing, Brio tilted sideways, and Wishbone with his Elvis sneer. “Sit, SIT!” I commanded, and they obeyed. First Willa – she grabbed the pig’s ear delicately with her mouth and bolted out of the garage. Brio snapped up the ear like she was auditioning for the Discovery Channel. Wishbone allowed the ear to hover in front of his mouth, his sneer simultaneously registered disbelief and delight, and then he took it, wondering what good fortune he had acquired to be dog-sat by Aunt Tamar. “Merry Christmas!” I cried after the departing dogs, each seeking a space in the snow to savor the crispy, greasy remnants of a pig’s external hearing devices.

As I picked up the dogs’ dishes, I heard a sound inaudible to most human beings. A second later, my cat, Hootie, shimmered into the eating area and took her place on the shelf where she was fed. A little dry food and a full can of “Savory Salmon Mix” in her dish (it was Christmas), she vocalized her cat-specific appreciation and dug in. I returned the compliment in a dialect incomprehensible to both her and me (it just felt intuitive) and left the garage to feed the horses.

Ladore, a black Quarter Hourse mare who was the last in my mother’s lineage of race horses, pawed the green gate to her corral in anticipation. Her daughter, Rosie, a spunky paint horse with brown and white body markings and a shock of black mane and eyes, gave me her “What’s up, T-mar?” neigh, which I followed with a song, again intelligible only to the intuition, that carried the melody of an old Duran Duran song. George, another paint horse (this time with the shock of one blue eye and terrible trail riding abilities) straddled the snowy ground and peed once he saw me coming. Egypt, a solid bay gelding as fast a lightning, put on his Scrooge face, tucking his ears back, his eyes clouding with ill humor. When my dad’s new horse, a towering Fox Trotter by the name of “Chilly,” emerged from the barn and entered Egypt’s radius, Egypt shot his neck out like a Saharan cobra and nipped at Chilly. Chilly, who I call “Chilly-horse-asuarus” because of his dinosaur like stature, side-jumped from Egypt, good humor and hunger still flashing in his eyes.

“Merry Christmas!” I cried, and all I got back was “I’m hungry!” neighs, foot-stomping, post-elimination groans, and ears that would not face forward until breakfast was served. Each horse got two flakes of grass hay, rounded out by a Christmas treat – a short pour of grain. I threw the hay first, yelling at Egypt as he chased George and Chilly around after each round of hay was thrown enough for the three of them. When I emerged from the barn with the bucket of grain, each horse must have known exactly what I was doing, because they had forgotten about the hay and were at the fence, watching my every move. Commando training would not have prepared me for what it took to distribute the grain – I was dodging horse teeth and rear ends like a ninja. Good thing I can pack a verbal punch, because for as long as I have known these horses – even Chilly caught on immediately – they knew I meant business through voice power alone. And they knew that I had nothing but love and respect for them too – enough carrots in the middle of the night after coming home from enough beers formed us a bond that was unbreakable.

Horses fed, I began walking back to the house, preceded by dogs who found no greater joy in life than living in the moment where they could simultaneously dive through snow like a porpoise and strain the snow through their mouths like a baleen whale. Once at the house, I began strapping on my cross-country ski boots, again watched like an episode of “Grey’s Anatomy.” When I emerged with skis and poles in hand, you would have thought I was one big walking pig’s ears at the response I got from my fan club: squealing, screaming, bouncing – I felt like Bono at Madison Square Garden. Strapped in, we headed west, across the bridge over the creek that cut through my parents’ backyard, and to a trail on “open space” – land set aside by the city of Boulder to never be developed – except for grazing, cross-country skiing, and a wickedly enforced dog control program. Sometimes I was so nervous about what constituted bad behavior about my dogs that when I saw them pee on “open space” I wondered if I should be collecting it lest it should be considered polluting substance.

Once we crossed the creek and the western-most pasture on my parents’ ranch, I ducked through the wires of the fence separating their property from “open space,” and suddenly I was exactly that, on open space. The front range of the Rocky Mountains rose before me as it characteristically does in Boulder – jabs of red sandstone in the shape of the flat face of a pressing iron, myriad frosted trees, bluebird sky, and the contours of a mountain range that I had witnessed so many times at so many different times of day at so many different points in life that I have come to regard this eight mile track of mountains and foothills from Eldorado Canyon to Flagstaff Mountain as an altar upon which I have laid countless prayers and dreams. As I paused to wish the mountains and open space a merry Christmas, dogs were porpoising past me, seeking a beginning to our trek on Christmas morning.

A fresh snow had fallen, about six inches, on Christmas Eve, covering up the trail that had been there just yesterday. I had been on this trail so many times, though, that I could eye ball a path in the generic canvas of the fresh snow. Nothing gives you a greater workout, however, than breaking trail. Luckily, Brio is the type of dog who likes to trail blaze, and so I followed in the wake of her footsteps except when I snagged a rock or thought she was going off course. We climbed steadily, the mountains’ presence becoming closer and more palpable with our approach. I thought of all the different ways I had seen this trail. What it is like when you first heard the Meadowlark in the spring, sitting on a dried head of a yucca blossom, singing greenness into the spikes of the plant. When the bluebirds flit down the wire on the fence as you approach, then realize that you are going their way, so they take off and fly at length in a way only birds can do. Or when you are heading home on a glorious run, the sun having just sent, sending rays of light onto the bellies of clouds that make you think of the aura borealis; the type of sunset that you are so enthralled by that you don’t watch where you are going as closely as you normally do, and you clip your foot on a rock; and when you finally get around to picking yourself up from the ensuing fall, you realize you have torn your hamstring so badly you think you have broken your leg from the pain you feel. It was exactly this kind of fall I took on this very trail about four months prior that had kept me from coming out here in the ritualistic way I once had. But today, instead of breaking my leg, I was breaking trail, my breath as laborious as it would be if I were on a good run.

I wanted to make it to a spot I usually turned around on a short run, but as I watched the dogs dive and disappear, dive and disappear in the snow, I knew that the trail only got deeper and that I was ready to turn around. “We earned our turns!” I exclaimed as I turned around and glided out on the trail I had just cut for us. A moment later the dogs were passing me like dolphins next to a sailboat. I sailed down the trail, the dense crunch I repeatedly heard on the way up was replaced by the shimmer of skis across sugary snow. As we went through a family of Pondersosa Pine, I suddenly smelled their vanilla perfume on the wings of an incredibly pleasant, soft, warm breeze. Growing up in Boulder, one of the strongest memories I have of the natural world at wintertime is the unlikely combination of fresh snowfall being kissed by a “Chinook” a warm breeze. I figured I had not noticed the Chinook on my way up the trail because I was not traveling in the direction of the wind – but had I not been traveling west, toward the mountains, and slightly south where most Chinnok winds come from? I paused to consider the unexpected warmth of the wind and found myself at the top of a ski-able little hill. The dogs did not know what to do with me as I careened down the hill – Brio dodged my path on the way down just in time. But by the second try, they got the picture, and while I glided alongside the streams of the wind, they dove and tumbled down hill with joy only a dog can communicate in their own particular body language. After a few more times up and down that small hill below the pine tree family, we set out for home, the Chinook guiding us the entire way.

A few days later, when my family had reconstituted itself through grandmother, parents, daughter, and the barnyard menagerie, my dad informed me that Burrlito had died on Christmas Day. Burrlito had been the horse I grew up with, and we had both been the same age. He was 28 when he died – a good, long life for a horse. We’d been out riding one day when I was in high school when he tore his hamstring and turned up lame. We sent him out to pasture with some friends who had property on the prairie, close to the Colorado-Kansas border. “Burr” had first been a Racing Quarter Horse, and then been brought into our family as a roping horse for my dad. Then somehow we got the notion I could train him in Dressage, so at the age of twelve I was saved some of the horrors of adolescence by training a racehorse/rodeo horse/Quarter Horse to stick it to those warm blooded, predigreed horses and their riders. Being first and foremost a racehorse, Burr had come to master his left-sided gait like a champ, so our only real issue in training had been his picking up his right gait. He passed the higher levels of Dressage tests beautifully, but it was always when I asked for this fundamental, right-sided gait without any complexity that his racehorse instinct kicked in too greatly. I remember getting so mad, so frustrated at him when we would ride on our own in our neighbors’ arena that he would just stop and not move an inch, no matter how much I urged him to go on – and this time I have to ashamedly say I had not yet mastered the firm-compassion of my voice-only power of persuasion. It was as if he was saying: “I’ll do anything for you except to have you get your way through anger.”

Our best times, however, were when we would flaunt our training and just go ride. I grew up in a neighborhood full of “bridle paths” and we had a particular route that took us to the top of a plateau that not only overlooked our entire neighborhood, but the entire Boulder Valley, including the contours of the mountain range that would later become so familiar and sacred to me. We would take in the view, and then turn it loose. Burrlito was first and foremost a racehorse, and on these occasions I would let him be that once again. Not flying lead changes, no gathering trot from A to B, then a posting trot from X to Z. Across that plateau, Burrlito would shift gears until he would “breeze” a term especially given to the gait racehorses achieve when they are going their ultimate fastest. Tears would stream down my cheeks, and often I would let go of the reins and just hold on to his mane. Back then, before the development of “open space” with trailheads, trail markers, and bags provided to pick up your dog’s doing, Burr and I ran until he just couldn’t go anymore. Then we would turn around, and a slower run, we would come home.

When I heard Burr died on Christmas day, I thought back to the Christmas when I got my first Dressage riding bridle, complete with this bizarre bit called a “snaffle.” I could not get my britches and boots on fast enough to go out with Burr and try it out. Photos show us riding in the round-pen at our old house, me with embarrassingly styled bangs, and Burr with his head up high, wondering what the hell was in his mouth and what I wanted him to do with it. Like I said, somehow we got good enough to place in our first show, but that was all we ever did. I think preoccupations of being a teenager set in, and I suddenly became painfully aware that not only would I ever join “Pony Club” with a Quarter Horse with too small of hooves, but that I did not want to join “Pony Club” if it meant giving up Burr. So instead, we stuck with trail riding. When my parents’ moved to the ranch they live at now, I was a sophomore in high school. I used to go over there after school and ride the horses. One day, when I was riding Burr and a girlfriend of mine was riding Ladore, a thunderstorm came upon us – I won’t say “suddenly” because I am sure there were all the signs but we were just too young and ignorant to read them. We were out pretty far on open space when the bolt of lightning hit next to us. Ladore reared, but my friend hung on. Burr “spooked” big time – it was like an entire lifetime of fear and emotion welled up in his legs and then exploded underneath us like a Christmas popper. It was particularly concentrated in his back left leg, and when I finally got him to stop running, he could barely walk because of the hamstring he had pulled in that leg. We trudged home in the pouring rain and constant lightning, I kept crying out and pleading to Burr as he kicked out his pained back leg each time he tried to step on it. I cannot remember how I told my parents, I do not remember when I decision was made to send him to pasture. I do know that I never saw him again.

When I found out all these years later that he was dying, I wanted to go with my dad to be with him when he put Burr down. My dad cautioned me against doing so, asking me to remember Burr as the awesome athlete, teacher, explorer, and friend he had once been. I did not have to decide, the weather decided for me, sending in a blizzard of the kind I had not seen since I was a young girl. This was the day of the winter solstice. We were marooned at the foot of the mountains for more than a week. During a telephone conversation with my brother who is a horse veterinarian, I suggested that this blizzard, especially intense on the eastern prairie, might do dad’s job for him. And it did, on Christmas Day. So when I felt that Chinook, so uncanny and unexpected at first, it was perhaps Burrilto’s spirit finding his way home.

The first film that told me I could be a filmmaker someday was Boyz in the Hood by John Singleton.  The score and soundtrack were written to capture the culture and flavor of the time, 1990s rap and R&B, when it really came on my radar as the ghetto culture of south central L.A.  Colors had come out by then, but Boyz stung me because it showed how the promise of getting out of the ghetto – football, but take any other college-achieving talent – could be snubbed out over the crushing pettiness, cruelty and tragedy of gang violence.  Kids killing each other with guns from cars?  These kids were especially violatile in my eyes because they came from such a different background than me.  My thirteen year old self could not fathom such a life from my privileged existence in the Rocky Mountain Foothills.  But something still heavily connected because when I walked out of the theater, historic and smelling of gaseous wood, into the Boulder, Colorado summer streets on the University Hill. I was still reeling from the force of life and death in southcentral L.A. that Singleton delivered in motion picture.  So moved, so impacted by a film by a created by a first-time director still fresh out of film school and so obviously interwoven with his film’s story, I found unforgettable inspiration to make my own moving films.

I finished my first screenplay when I was fifteen, I think.  To teach myself the correct writing format of screenplays, I bought a book copy of the Dances with Wolves screenplay (inspired by another successful first time director, Kevin Costner) and used it as a guide.   My screenplay came to be named Shade and it was about a high-school aged girl in Manhattan, Dahlia Shade, living with her mother’s boyfriend, Harrison, after her mother is killed on a subway train when Dahlia is just a little girl.  The film follows Dahlia years afterward, in the throes of emerging adolescence, as she meets Harrison’s new personal assistant / driver, Eric.  She falls for him in both love and murderous discovery, transforming Dahila from privileged, protected engenue to a raw, awakened young woman.  I was inspired from so many different sources to craft this story.  I imagined an interplay of the film and text, flashing quotes on the screen to suggest an essential point in the corresponding scenes.  I distinctly remember being inspired by my recent discovery of Edgar Allan Poe’s poem “The Raven” and the quote I wanted to lift and expose on screen to  corresponded with a flashback scene where Dahlia recalls losing her virginity to a Roma gypsy with a raven tattoo, while on one of her many excursions to Europe to get over her mother’s death.  At age fifteen, I had also just recently visited New York City for the first time.  Losing myself to the sanctuary of the Metropolitan Museum of Art, having the chandelier “almost” crash on me at Phantom of the Opera, strutting in a fashionable Manhattan crowd, and boldly braving the subways all got re-lived and even more significant in Shade’s retelling.  Of genre, the film was such that when Kids came out I felt like I had serendipitously hit the nail on the head.  Previous engagement with Heathers inspired the themes of school cliques, outsiders, teen angst and forbidden, destructive love.  A growing, lusty appreciation for literature and poems as well as songs and lyrics by bands like U2 and Pink Floyd led to the idea of integrating quotes in silent-movie homage, to give what I would now be compelled to call “intertextual reference” to the development of the story’s plot, themes and messages.  I also had a lot of accompanying music ideas too, but cannot recall those in as great of detail as I lost the only paper copy of Shade when my family moved from the house I grew up in to a small ranch at the mouth of a canyon in Boulder, Colorado.  Though an electronic copy is still entombed in a boxy Macintosh computer circa early 1990s somewhere in storage…

During my high school years I followed all the news from the film world, buying magazine after magazine like Premiere and Entertainment, and studying film after film from how it was advertised to how it was directed to how it was received by critics and audiences.  When I got to college I beelined to the introductory course in Film Studies as an elective.  We studied the cannon – from Nanook of the North to Shoah in all nine and a half  hours – and I was not disappointed in what I learned.  But when I approached my professor, characteristically, for me, toward the end of the semester after I’d thoroughly evaluated what impression I wanted to make, and shared with him my desire to major in film studies and become a director, all that stuck with me from his advice was: “don’t, most people don’t make it, so don’t take the gamble.”  Turning to my parents for back-up was not an option.  While they were pleased that I was capable of being so interested in something germane to their existence – they liked watching films – they were not significantly supportive of my becoming a filmmaker.  This lack of enthusiasm also extended to my contemplating becoming an actress or artist, though if I could have reclaimed my body enough they would have been pleased to see me pursue dancing (just not run away with a hip hop troop as I had contemplated my sophomore year).  Pursuing my dream to become a filmmaker thus got greatly diverted in college, and by the time I graduated I was more trained in the ethnographic arts of traveling, interviewing, writing and photographic documentation.  No motion picture camera in sight when I made my first journey to Tibet, which is actually understandable, for from the moment I felt that first rub of wealthy, white privilege against antithetical subjects of potential photographs my relationship with cameras became fraught and non-fluent.

By the time I entered the PhD program in anthropology at the University of British Columbia, however, it was only an added perk that Vancouver was considered the “Hollywood of the North.”  I entertained no illusions about breaking into the film business while pursuing my PhD to become a professor and museum curator.  My niche, so I thought, was already well-carved and presented on my C.V.

But then I met a young Tibetan filmmaker on the verge of making his first documentary, Journey of a Dream, at a party for Losar, the Tibetan New Year, 2008.  He invited me to join him as writer and producer for the film.  I participated in the pre-production in Vancouver and then the filming in India and New York City, and it is scheduled for completion by 2010.  Despite my skills in story and film editing, research, rights and permissions, I stepped out of the post-production for Journey of a Dream to leave it to the autonomy of its original creator and to become the creator of my own original work.

My first screenplay in fifteen years, Our Shadows Collide, is a familiar combination of the type of films I am inspired to make.  Tapping into genres made noticeable by famous films – Out of Africa as an epic romance – my films then combine with details from my lived experience in places and cultures far from home, giving the story historical and political grip, suggesting deeper truths and humbling existential complexity through the dramatization of recent world events.  I am also interested in the craft of storytelling, and gravitate to the cyclical transformations, classic themes, and potential for new awakenings in the symbolic resonance of cultural archetypes.  As such, my films find their story arc through conscious and creative reinterpretations of stories told before – myths, legends, folk stories, novels and poems.  My penchance for intertextuality to brightly illuminate a message, a feeling, a foreshadowing remains never far away.

To Better Days

Last night I went to a dinner-wake observing the one year anniversary of Connor MacMahon’s death.  He was the son of family friends who, just upon turning 27 a week before, pulled out in traffic on his motorcycle only to have a car pull out in front of him just as he got his speed going…  At least that is what I remember my mother telling me as I listened to the news over the phone while I was in Darjeeling, India, a year ago.  In a culture where tragedy is always so close that tears seem indulgent, I had to walk out of the room and go cry by myself on the balconey over looking the hillsides of Darjeeling just so I would not upset our cook, Kanchi, and her drunkard husband.

I had met Conor just once.  We had had dinner over at his parents’ house in Boulder upon his return from serving in Afghanistan for four years.  His mother made Polish food, the family’s Portuguese Water Dogs watched us intently as we ate, and I remember just having a really good time.  He was a few younger than me and was now going to school at CU.  I remember it being really good to meet him.  And that was it.

When I heard of his accident half  a world away, my thoughts and pain went immediately to his parents – wonderful people with a passion for art and horses, in short, my kind of folks.  They were good friends with my parents, and always so kind and interested in my gypsy life – even as it plunged my own parents into a different sort of year of grief.

But perhaps what gripped my heart the most the moment I heard about Conor – and has not really loosened a year later – was that he did not deserve to die when we had both been doing the same thing the day he died: riding a motorcycle.

For me, I had been descending the pass leading out of Kalimpong after filming a jam session of musicians at Cloud 9 Hotel the night before.  I was on the back of my bike clinging to my then-boyfriend, a dangerous, deceptive human being if there ever was one.  We were in India filming his documentary on my money – including motorcycle rental.  While he had wanted to be filmed alone or just with the boys on his bike, I had pestered him enough to let me ride with him for a little bit of the journey back to Darjeeling.

I remember the journey on the back of the bike as wonderful.  We were so close to trees, animals, people and buildings that I usually had only seen at the snail’s pace of a walk or through the isolation of a vehicle window.  The sun and air were warmer on the Kalimpong-side of the Teesta River, and for a moment, as I held on to the back of the man who would later on almost destroy me, I remember the potent, simultaneous experience of love, gratitude and joy.

When was it that Conor died that day?  Was it while I was literally hanging on to my illusion on the back of the bike?  Or was it later on that night, when I was back on the bus, and the motorcycles kept breaking down on one of the most haunted parts of the road between Darjeeling and Kalimpong?  All I know is that when I got back to Darjeeling and phoned my mother and found out about Conor, a phrase – hegemonic, illusory, powerful and something good human beings have been saying since day one – came into my head: “It should have been me.”

I was the one who rode without a helmut.  I was the one who was estranged from her family and causing them daily heartbreak. I had not sacrificed my life for four years for war.  I had not just returned the prodigal child ready to go to school and take on the world.  Why am I alive and Conor is not?

Like I said, this line of thinking is not healthy, but it is historical, and given my sensitive, closet-metaphysical nature, it is a natural thought and pang in the gut to have.  I finally came clean to my mother at Conor’s dinner-wake about my feeling of unworthiness, guilt, and sadness, moping up my selfish tears with a cocktail napkin.  ”I came back,” I managed to choke out, “and he didn’t.”

Conor’s parents looked so old and small a year later.  ”To better days,” his father said upon his first glass of wine, and we all concurred and drank.  He went on to apologize to his wife in his welcome speech, projected by such a feeble voice, for having to live with such a “dark Irish bastard” this past year.  But her eyes betrayed her own dark journey.  I know those eyes, they shrink and shrivel from so much crying and expulsion of grief and bewilderment.  I know those eyes, for I have had them too in this past year.  Conor’s father, ever the gracious man, conversed knowingly with me and said that it was good to have me back.  It was all I could do to nod and keep my heart from exploding in a quixotic combination of sadness, responsibility, and determination.

After the dinner – Lamb and Guiness stew via an Italian chef, a good friend of Conor’s family – the drinks, the dessert, the shared memories and partial conversations, we all started to leave by beginning with our goodbyes to Conor’s parents.  His mother – who in the midst of her grief celebrated the return of my (fragile) blonde hair – hugged me, and my god, it was like hugging a leaf, so thin, quaking, yet still alive.  I don’t know how she came around to saying it, but she must have divined it from my half-start/half-stop attempts to tell her something of what I have just told you now.  ”Take his good into the world,” she finally told me.

And I will.

Follow

Get every new post delivered to your Inbox.