VOLUME 1, ISSUE 4 JANUARY 1st, 2017

Thread Whispers, Chapter 1 VISITOR'S COMMENTS ......

Lovely experience! This quiet space makes me Of Rock and Apricot and Mountaintop introspect & look at my art practice in a new way. Hope to take a lot from . Thanks. MONISHA AHMED exhibition at LAMO this summer was spoken word, they part of that on-going engagement with looked at theatrical -Neha Puri Dhir, Textile Artist he Brogpas of Dha and Hanu the Brogpas. performances of have ignited many people’s their stories by the imaginations over the years. Using their rich tradition of oral lit- proponents them- T An inspiration for what can be done for young Inspired by legends of them being erature, Shivani and Corinne explore selves evoking their minds to carve their cultural and artistic future descendants of Alexander the Great’s the world they inhabit – from a man’s imagination and Bravo LAMO! Army and the last Aryans to three search for elusive love to Zawa, a with each character brothers migrating over the mountains woman whose husband has turned to playing out the story Wendell Rodricks & Jerome Marrel, Textile from Gilgit, they have fuelled many ash because of a curse, to a witch who against the backdrop Designer Thread Whispers, of Rock and Apricot and Mountaintop creative reconstructions of history. devours the flesh of unsuspecting men of their landscape, Shivani Gupta and Corinne Adam’s and animals. But going beyond the wearing their tradi- is a region rich in story telling, tional dress or using found objects and many people remember sitting This building is a wonder and it holds such a from plastic waste to natural materials. huddled around the stove on long, cold good creative spirit. winter evenings intently listening to Shivani is a professional photographer their elders or professional story-tell- Linda Connor, Photographer and classical Mohiniattam dancer from ers regale them night after night. Un- Goa/Mumbai, and Corinne E Adams fortunately, other forms of entertain- is a writer, teacher, and musician from ment, especially television, have now What an honour to be here with you all. Bravo. Texas/Japan. Working with the people replaced sessions like these. And as of Dha and Hanu, Shivani and Corinne memory fades, stories get lost or for- Anish Kapoor, Artist converged the practices of photogra- gotten for the future. LAMO is com- phy, performance, story-telling, sound mitted to ensuring they are recorded and video to present Thread Whispers. and stay relevant, especially as they in- Very wonderful and inspirational exhibition. A multi-disciplinary project it drew spire a search for a fantastical realism Thank you for bringing the children of our from many fields including anthropol- amongst the ordinary. world and the human experience closer ogy, visual arts, poetry and translation. together! May all beings be free! It contemplated how communities in- Ani Yangchen vestigate their history; the part factual memory plays in this and the part of Monisha Ahmed is Executive Director, Thread Whispers exhibited in the Gallery - Gyawo Wing imaginative reconstruction. LAMO Water through your lenses Are Leh’s glaciers receding? cameras but taking photos with TASHI MORUP seen the mouth of the big glacier decades Participatory Photography Workshop single-use cameras that work with ago. “It was right here, the black cavity film rolls was a new experience for eh’s water sources are stretched of the glacier so big that one could step most of them. Taking photos when to their maximum. Mushrooming into it,” she said holding her head in dis- you only have a limited number of pho- Lhotels and growing population belief. She even believed that the black tos available and not being able to see are some of the main reasons. Last sum- soot on the glacial mouth was due to them immediately like with a digital mer, the age-old churpon system in Leh charcoal used by our ancestors to build camera, gives a whole other experience collapsed and people struggled fierce- the glacier. to the photographer. Otsal is currently ly to get water to their fields and many the only photographer in town to have regretted irrigating their agricultural This myth in Ladakh about using char- a darkroom where development can lands for there was not enough water in coal to build glaciers was broken on our be done, and he offered to develop the Leh’s stream. As a part of the workshop trip to Phutse glacier by Susanne Smith, films and show us the process. 'Water through your Lenses' LAMO de- Professor at Heidelberg University, who cided to visit the two glaciers Phutse and told us the opposite – she suggested The photographs, later exhibited at Nangtse that supply water to Leh town. that Europe faced the Little Ice Age in LAMO, represented the diverse forms the 18th century, and perhaps this cor- water can have ranging from clouds, to The first visit was to Nangtse and we relates with a similar impact felt in the streams and ice. They also visualized were accompanied by Kunzes Dol- Himalayas. Perhaps corroborating this the various uses of water in Leh from is the story about the 12- A participant working on her mind-mapping of water. water used to wash vehicles, to build year drought Leh faced JUDITH MULLER and ideas through photography. The with cement, to get drinking water, to some 70 years ago and method of participatory photography perform religious rituals, and many the charcoal remains at picture is worth a thousand research aims at revealing opinions and more examples. A critical point of view Nangtse. words”, is an often-repeated perceptions of participants that may not on current social and economic pro- Chinese proverb. This idea was be visible through verbal interviews. cesses often became visible through the On the other hand, Phu- A images. tse glacier, which I last put to practice in a workshop I held at Mind-mapping was used as a first step, LAMO in April this year that focused before the participants actually went visited in 2009 with em- on the method of participatory photog- outside and took photos, to do a kind Each photo selected for the exhibition inent glaciologist Joseph raphy and mind-mapping to visualize of brainstorming of what water means is an individual artwork; each was both Gergan looked more or what water meant to people in Leh. for them. Everyone created a graphic on abstract and creative. Later, I inter- less the same. Susanne Tibetan fine paper with words that they viewed participants to better understand said this meant, the gla- Living in a cold desert region such as think of, when thinking of water. I was the ideas behind them. cier is stable. However, Ladakh, people face several challenges joined in the workshop by Otsal Jig- Kunzes Dolma showing the receded Nangtse Glacier if we look closely at earlier when it comes to managing their scarce stenpa, a practicing photographer from The experience of doing this workshop images of the glacier we water resources. Water plays a crucial Leh, who provided a theoretical and showed me how important and relevant ma from Gangles. Now 50 years old, can see a marked difference in the sizes role for all forms of life and is affect- technical input on photography. the topic of water seems to be for many Kunzes had spent her youth in Nang- and note that it has receded too. The trip ed by various processes in societies all people in Leh, also the young ones. It tse valley herding livestock. Along the taught us the need to be vigilant of the over the world. Especially where water The participants were all residents of taught me how worried most of the par- three-hours trek she kept us engaged glaciers and constantly monitor them, as is scarce, like in Ladakh, these prob- Leh, mainly Old Town and Changspa, ticipants are about the future of water in with stories from her past, showing us they are important to Leh's water supply. lems become very obvious. from the age of 16 to 45 years. Many Leh. I felt that the workshop was just a the abandoned Pulu (small house) of them were familiar with the use of starting point that could lead to a much where she lived for many years My PhD project focuses on water is- more intense project on wa- when she herded sheep, goats and sues and socio-environmental change in ter in the near future. yaks. She remembered names of Leh. As part of this study I approached different mountains including LAMO to hold a workshop where par- one named after the famous 12th ticipants would use photography to col- century Tibetan Yogi Mila Raspa, lect ideas on the various forms water Judith Müller, is a PhD can- who once wandered in the valley. can embody, besides its obvious appear- didate in Geography from ance, using the method of participatory Heidelberg University, Ger- As we neared the top, with bated photography and mind-mapping. Par- many; the workshop was breath to see the glacier, but what ticipatory photography is a tool used for supported by LAMO and the awaited us there took all of us by Heidelberg Centre for the surprise! There was no sign of the community empowerment where peo- Phutse Glacier in September 2016 ple contribute by sketching out a cer- Environment. glacier except for a few snowl- tain issue by visualizing their thoughts ines on the mountain’s edge. For Kunzes it was even harder to believe as she had Tashi Morup is Projects Director, LAMO Festival Poetry Photography

Dosmoche got more colourful In collaboration with American photographer, Lin- at LAMO’s public collaboration Khayal Ladakhi Jigmet da Connor, presented a slide- that included the wishing tree, Nurboo, LAMO orga- show with music of her major an open canvas, photography nized a regional Urdu work ODYSSEY. Linda has TIMELINE exhibition, film screenings Symposium. Urdu po- been visiting Ladakh since and a music session. People ets from and Leh 1985, her monograph encom- actively participated, express- participated, reciting ro- passes 35 years of work from 2016 ing their thoughts on environ- mantic, humorous and around the world as well as ment, through words and art. patriotic poetry. recent images from Ladakh.

A Summer Internship at LAMO Editorial Note TEVA KAPLAN how people interacted with the historic space The past year has been engaging and enriching, further enhancing the work we do and opening it up to new possibilities. Our they occupied. While the research provided focus this year was the environment and its impact on the landscape. Beginning with Dosmoche, where visitors reflected on ld stone steps wind steeply upwards numbers, the map tied together demograph- the theme through an open canvas to this year’s Art Camp that discussed the experience of it through communities, change, throughout the building. Simple ic information, cultural practices and spatial destruction and loss. Workshops on Water and Climate drew on personal experiences and emphasized the rising concern of wooden steps stand in for stone steps understanding. The project culminated with people in the region. Niharika Rajput did a residency with us, looking at the endangered Black Necked Crane and taking her O crumbled away over time. As an architecture two publications; one delving deeper into work to schools in the Leh area and Changthang. and preservation student, I couldn’t have each home in Kharyok and the other about been happier working below the palace in In May we opened the exhibition ‘Thread Whispers’ with Shivani Gupta and Corrine Adams, looking at oral histories and LAMO’s Old Town exhibition investigating stories through photography and performance in the area of Dha and Hanu. It demonstrated the importance of recording oral Leh in the beautifully restored former resi- art projects and practices carried out in the literature in Ladakh as memory fades and the older generation moves on. Tashi Morup’s research on music and cultural spaces dence of the Secretary to the King. neighbourhoods. The project garnered cu- in old town Leh also reflects this, and this year he brought his many years of work on the subject together into a film. riosity locally as Old Town moves towards Munshi House taught me about Ladakhi ver- developing awareness of historical and her- Our level of engagement with art and artists has both evolved and increased, and in many ways we feel we are now deeper nacular building styles, focused on natural itage value and educational programmes for rooted in the field to provide for more developed artistic ventures. Having taken slow steps getting here, it is exciting to see lighting, local materials, and interior versus both locals and tourists. the potential that is now unfolding. We conducted a three-day pilot workshop with DIET (District Institution for Education exterior spaces. At LAMO, I was handed re- and Training) to emphasise the role of art in the classroom, and we hope to take this forward and build on it with them in the search to organise into a cohesive presenta- future to develop more meaningful programs in the arts for schools and teachers. Our Sound Studio in collaboration with tion. Knowing I needed a way to graphically Siddhartha Cultural and Welfare Society will open next year and we look forward to workshops and training in the field, as well as initiating an oral archives project. We have collaborated with WAA (What About Art) to start a Residency program represent the information, I began the process Teva Kaplan, a Masters student in Architec- at LAMO from 2017 that will reach out to artists from all over the world. And next year we are holding the first-ever group of developing a map of the five neighbour- ture and Masters in Preservation Studies, show of contemporary artists from Ladakh at Tarq gallery in Mumbai. hoods in Old Town. I sought to understand Tulane University, interned at LAMO in July.

We have had many engaging visits by artists, musicians, architects and other professionals and interactions with them help us reflect on the work we do. While a growing number of visitors from students to community elders and government officials has demonstrated our contribution to, and relevance in, Ladakh. Their increasing participation in our workshops or presence at exhibition openings and film screenings has been our strength this year. Support from individuals and local organisations reaf- firms our role and we were grateful to the donation we received from the Ladakh .Three wonderful interns joined us in the summer – Jigmet Angmo from Ladakh, Teva Kaplan and Joseph Michel from the States.

To everyone who has contributed to LAMO this year and supported us in endless ways we say a big Thank You. As each one of us at LAMO develops our skills and strengths we look forward to another exciting year and to welcoming you all again.

The LAMO Team Kharyog, Leh 31st December 2016

Learning at LAMO Digital mapping of Old Town Leh, Teva Kaplan

Traffic: The Growing Woes of Leh

RINCHEN DOLMA

eople associate Ladakh with pris- tine beauty and clean air. While Pthat is still true of our villages, in Leh, it is very different. Here, life has become dependent on technologies in the name of development. People are adapting to a modern lifestyle, looking for comfort without much concern for the environment. Leh is now a hub of Sonam Angchuk shooting the event, crowded guesthouses and hotels, a mul- titude of shops and restaurants/cafes, of SONAM ANGCHUK been possible if I were not working with cars and Royal Enfield’s, of garbage and LAMO’s Media section. pollution. Negotiating a street in Leh by joined LAMO in 2012 as a Research foot is impossible these days. It is not Fellow. It was for a project on the Now, I cover almost all the events in only the traffic but also the increase in A vehicle in Leh Market area in 1970s. Photo: Harjit Singh, LAMO Visual Archive I Old Town of Leh, where I also live. Leh. I really enjoy being in this line as pollution, dirt and its effect on health lack of proper parking facilities, traffic ber of vehicles affects the health and My area of research was to visually doc- I get to meet and talk to different peo- that are growing. signs and signals. eco-system of humans and animals ument Old Town using both photogra- ple. In September I covered the biggest alike. It not only creates congestion on phy and video. I didn’t know how to event in Leh, the Naropa Festival at If I look back to my younger days, I Looking at data from the Regional the road but also attributes to one of the use a SLR camera or shoot film, but I Hemis, and currently I’m working on a do not remember there being so many Transport Office (RTO) – in 1995-96 leading sources of pollution, be it air or had a keen interest in both. I had to small documentary film on one part of cars on the road. It was only some army there were only 196 vehicles registered noise. Ladakh, being a desert area with choose one area of interest, related to it. I am also doing a film based on old vehicles and very few private cars. But with it. Twenty years later, this number not enough greenery to purify the air, architectural heritage and I focused on town, on how the area and people’s lives today, there are so many vehicles that has risen to 1,649. This huge increase in makes the region more fragile to the the rabsal (balcony). have changed over time. the roads are proving to be narrow with automobiles over time is due to many toxics. factors but the main Today, I work as LAMO’s Media As- Alongside my work with photography ones are an increase Without a systematic methodology to sistant. When I first joined the organisa- and film I also install the exhibitions in number of taxis, navigate this increase, it is proving to tion, I had no knowledge about media or held at LAMO. Whether they are surplus money to be a challenge in our everyday life. It is filmmaking. LAMO gave me a platform canvas or photos, mixed media instal- buy cars, loans giv- also proving to be a big environmental and an opportunity to learn about both. lations, I work with the artist(s) and en out by banks for challenge. Though we cannot put a stop With more and more practice with the together we shape the display of the ex- cars, amongst oth- to the purchase of vehicles, efforts have camera, I gained enough confidence to hibition. Sometimes it’s difficult as we ers. And like every- to be made to introduce a proper system go out and shoot an entire event. have limited materials in Leh for hang- where, Ladakhis also for the rising number of vehicles and ing or we have restrictions, as LAMO is aspire to own a car regulation of traffic. I started with filming events at LAMO, in a heritage house. But I’ve learned to for their basic need happenings in Leh town, and festivals in be both innovative and resourceful. At and sometimes, due Ladakh. Gradually, I learned more. My times the artists can be a bit demanding to competitiveness. photographs have appeared at LAMO but I’ve learned to be patient as well! In addition, there is Rinchen Dolma is Projects exhibitions and Stawa magazine. The the huge and grow- Officer, Media, LAMO; she is current- first film I worked on was a 5-minute As I work with LAMO my sense of the ing presence of the ly doing a research project on traffic in production, called ‘Maongspa’” based visual world has greatly heightened. Indian army in La- Leh. on the 2010 flash flood in Leh, as a cam- dakh and the number era man. This year, in July, not only did of vehicles they ply I get the opportunity to take photos and should also be taken Sonam Angchuk is Media Assistant, videos of His Holiness the 14th Dalai into account. but I also got the opportunity to LAMO. A jeep in Leh Market in the 1970s, photograph by Lalit Kumar meet him. This was an opportunity I will Gohil, courtesy Sanjay Kumar, LAMO Visual Archive This unanticipated always treasure and it would not have increase in the num- Workshop Painting Film Screening

Sara Smith, Professor of Ge- Artist Richard Wein- ‘Saving Mes-Aynak’ was screened ography at the University of stein, a specialist in followed by a discussion with North Carolina, initiated her oil and watercolor por- former Ambassador and LAMO project ‘Explore student life traiture, conducted a Trustee Phunchok Stobdan. The through Film and Photogra- ‘Portrait making work- film is about Afghan archaeologist, phy’ at LAMO with a workshop shop’ with water- Qadir Temori, braving terrorist for the participating students. colours. Many artists threats and attacks, to save Mes An exhibition will follow based and enthusiasts from Aynak from a Chinese coal mining on this Project in 2017. Leh attended. company.

had planned it be interactive and made is very diverse in its approach. To be a sure there was equal participation from filmmaker one must be fluent in all the Screenplay Writing Workshop everyone involved. I had assumed the above-mentioned arts and that is what role of a trusted guide and an initiator makes filmmaking so intense and inter- RIGZIN KALON from the predictability and boorishness long intensive programme we managed and helped them discover the stories esting as well. of everyday Leh, that the city has unfor- to cover quite a lot. We began with our embedded deep within themselves. It can still vividly recall one lazy af- tunately come to become of late. discussion on conception of an idea and is paramount to realize our own stories How could one have a screenplay-writ- ternoon day lounging with my dear methods to build a story based on it. We as our experiences are unique to us. No ing workshop without getting to know friend Tashi Morup, indulging in To begin with I was pretty impressed then proceeded to write a short story one will ever know exactly how we feel the films, which are considered recent I inspired from the idea. Once the story some Irish coffee and getting drenched with the turn out of the participants and react to the incidents, as we know landmarks and have helped redefine in the warm April sun. After a hec- for the workshop. There were ten of was locked, we learned the techniques about them ourselves, this is where the filmmaking today. We saw Alejandro tic schedule of production work for a them – most were students, then there of dissecting it and forming synopsis seed of our originality and peculiarity Inarritu’s ‘Revenant’, which won 2015 Mumbai based commercial I was visi- lies and this is where Oscar for Best Film and the other was bly relaxed and soaking in the magnif- we all are structured Apichatpong Weerasethakul’s ‘Uncle icent -kangri view. I have had this differently with our Bonmee’ which won Palme d’Or at the great association with TM (as he is af- own special flavour 2010 Cannes Film Festival. fectionately known) for years now and I of life. feel at ease to talk about anything with- These films were very different in their out the slightest fear of being judged, This was very im- approach towards storytelling yet both and absolutely envy his love for the portant for them to managed successfully to do it in their things mundane and profound alike that understand to realize own unique style. That was the idea. To he passionately discusses, flavouring that stories should showcase these films and let the partici- them perfectly with his uncanny sense come forth from pants know the importance of reflecting of humour and insight. within through thor- ones’ individuality in a work of art. ough self-realization That spring day, on a whim, I expressed rather than trying to Overall it was a deeply satisfying ex- my wish to do a script-writing work- find them in other ercise for me sharing whatever little I shop in collaboration with LAMO. people’s experiences know about filmmaking and hopefully Before I knew it, TM immediately sug- and stories. By the everyone associated with the workshop gested a date and I excitedly agreed. end of each day they also got something out of it. We plan to all were given home- meet up next summer and work further Jump cut to a month later, there I was, a work (never trust a at developing the screenplay. The sto- half hour early all geared for the work- workshop without ry we have narrowed on is a children’s shop. As I waited, I wandered aimlessly Rigzin Kalon, on left, conducts the Screenplay writing workshop one!), which helped story, told in today’s time with ample around the well-restored LAMO prem- the class progress doses of magic realism. Sounds good? ises. I consider each visit to LAMO an was a professional filmmaker, an aspir- steadily each day. Trust me it will be a great story with all experience, I thoroughly relish their ing fashionista, a school teacher and a out of them. Finally, with the synopsis of us putting our creative best. old-world ambience perennially buzz- talented scientist with a keen interest ready we took to elaborating them into Within our tight schedule of learning ing with well curated activities and in the arts. I must say ‘an interesting scenes. And thus, we saw the complete script writing, I somehow managed to shows. Being there, it becomes so easy bunch of enthusiasts to work with!’ process from idea to a screenplay with- hold a brief session about art apprecia- in this short span of time. to slip in to the embrace of quality art tion that included introductory talks on Rigzin Kalon is a spiritual-seeker, film- works and invoke one’s higher con- We decided to call the programme “The literature, music, poetry, painting and maker and entrepreneur sciousness, which is a wonderful escape art of script writing.” Within that week- To make the sessions more immersive I theatre. Filmmaking, as a creative form, Wallposter Comics Heroes Elevate Empathy: A Global Collaboration for Young People JIGMET ANGMO ISAAC GERGAN was desperately hopping sta- Excerpts by Students tioneries for drawing pens AMO in collaboration I when I got distracted by a with the Siddhartha crowd of excited kids gathered Cultural and Welfare Kushok Bakula is my hero around a wall, each one hold- L because he brought awareness among the Society hosted ‘Heroes Ele- ing some colour pencils and co- vate Empathy: A Global Col- people of Ladakh for education. His mis- louring furiously. Amidst all the laboration for Young People’, sion was to promote harmony and peace heads I saw Joseph’s, interact- among the people whether they were and invited four schools from Buddhist, Hindu, Muslim or Christian. He ing with the kids, a big smile on Children looking at and colouring the wall comic the Leh area to take part in a posters put up in the market, Leh asked the communities to stay together his face. The picture was clear, five-day workshop to look at and respect all religions. I thought to myself, ‘our Wall heroes of our times through Students make and wear masks of heroes that inspire them ownership, but it also encourages de- Comics were a success!’ art and essay. Continuing the Stanzin Migmar, Central Institue of bate in the society. Working with children is always a great Buddhist Studies project from schools in Colorado, New joy because in such interactions precon- ...... York City and Stok, the LAMO work- Joeseph Michel (USA) and I both hap- ceived ideas and boundaries become I have always been interested in painting shop was designed to delve into the nonexistent. Children are the best out Conveying a message through illustra- pen to share this interest in comic mak- but never managed to paint anything. At lives of these heroes through a range of box thinkers and once a comfortable tion is sometimes much more effective ing and illustration. We met in LAMO, the workshop I leant how to make faces, of skill and capacity building activities space for creative thinking and making is than a paragraph of words. The idea of where we were both interning in the eyes, nose, ears. I was never so confident before coming up with writing, sketches provided, they can analyze, critique and but now I can draw something that truly ‘Wallposter Comics’ came from Sha- summer, and planned a comic making and final portraits of the chosen heroes. conceptualize the given task in some of satisfys me. I needed a hero, a person rad Sharma; the aim is to encourage workshop with students. the most ingenious ways. Their knowl- whom I admire, and I had many people in the less heard members of society to The workshop included a series of ex- While different activities brought in edge through such involvement can now mind and finally I chose Malala Yousufzai communicate their opinions, problems as my hero. equally remarkable results, I found our manifest in original and stimulating re- and challenges they face using imag- ercises, discussions and presentations. role play session the most noteworthy. sults. I believe that such activities can es rather than words. Their Wallposter One of the exercise was “Exquisite Stanzin Phantok, Lamdon Model School Children wore masks of their heroes and be part of the methods we provide our comics then encourages responses Corpse”, a helpful way to get kids to were asked to talk like them about is- children for learning and developing from others in the community because talk and feel comfortable as co-par- What I liked most was the role-play, sues from their lives. In a most engaged new ways of thinking. The crazy wacky of the placement of the comics in areas ticipants. This exercise would trigger wearing masks and conversing with conversation, children took on the roles ideas with some refining can sometimes each other as our heroes. Someone asked of high-foot traffic. creativity as well as encourage partici- pants to become comfortable with each where a Hilary Clinton asked HH Da- be the best solutions. Similarly I believe me, “By science many technologies are lai Lama his views on ethical politics or coming up which can lead to many global The format of these comics, 4-panel other. ‘This is so far my best, I want to existing education structures must help name it Ben Fatima,’ shouted Hamida when Aung San Suu Kyi asked APJ Ab- and aid this progress for the young kids. issues, what do you think of that?” I strips, as a mode of communication is dul Kalam his views on the importance replied, ‘everything has advantages and an effective way to address messages Bano a 1st grader, on the character her disadvantages like science. If we apply it of science. One ninth grader recited an Following the workshops we opened because they are short and concentrate group developed. in a proper way then it is best for all of us. entire prayer of Buddha’s as response to an exhibition which involved the works on one theme. Because these com- a question about war. While they asked of children from around the world, in ics are succinct and use illustrations The workshop ended up with each stu- Kesang Wangmo, Mahabodhi Residential and answered as children would, I was which the range of heroes gave us the to push forward messages, they work dent coming up with their own comic School surprised at how accurate it could have opportunity to learn more about other well in areas with low-literacy rates. strips of which we made large copies to been to a real life conversation among cultures, histories and values. Chacha Nehru is my hero because he Using walls in the community as a be distributed onto the walls of shops that are in view of people passing by. these world leaders. This activity truly sacrificed everything and lived for others. platform for showcasing these comic Isaac Gergan is Projects Officer, Arts One of the walls was in the main mar- let the children empathise with and for Heroes could be like superman, or our strips is not only empowering for par- LAMO ket, opposite the mosque where Joe that moment be their “heroes”. parents can be heroes as well. But they ticipants and encourages them to take are like everyday heroes and a true hero spent the day explaining the project to is someone who has done a surprising viewers. And that’s where I found him amount of work for not one or two people the day I went stationary shopping, but for everyone. with a group of kids who had come to see the comics and then started colour- Ngawang Sertso, Central Institute of ing them. We had come full circle. Buddhist Studies

Jigmet Angmo has a B.A in animation and VFX (MAAC Delhi). She interened with LAMO this summer and is cur- rently working on A comic book fea- turing a witch called ‘Dungjonma’. Joseph Michel teaching wall comic Portraits of the Heroes Archaeology Politics Climate Visit

Archaeologist, Dr So- LAMO Trustee GM Sheikh Sonam Lotus, Director Met Sir Anish nam Spalzin, gave a gives an insight on ‘Local Dept. J&K, gave a talk on Kapoor – renowned talk on her book ‘Ster- Governance as Politics’ ‘Climate and Weather of British Indian nying’, which looks at and how it plays a vital role Ladakh’, speaking on the Sculptor visits archaeological finds in our society. A healthy importance of location in LAMO Centre and in the region and the discussion followed where determining climatic condi- interacts with local importance of preserv- participants shared their tion, the effects of wind di- artists who were ing these pre-historic daily experience and the rections, and how climate honoured to show remains in Ladakh. role of polity in it. change is evident in the him their work. region. Open Studios - Art Camp 2016 Working in a Traditional space

TSETAN ANGMO Isaac Gergan talks about his experience at this year’s Art Camp he brown mud walls, the sooted ceilings, tion to the camera, which became a tool to doc- he memories of the sum- the textures that time had pressed on ument and create. However the camera, the eye, mer colour surfaced like wood, the fading pigments on walls and the act of looking also became a subject to study. a beautiful flower from T Tweathered elements became an inspiration for What was my experience and how did I photo- the deep. The open blue sky seen this year’s Art Camp. As I deconstructed the tra- graph it? How did my framing the mud walls, from the LAMO courtyard and ditional space of the historical Munshi House/ stained pillars, the ceilings and spaces affect the the intense discussions kept the LAMO Centre, these raised questions of the im- understanding and memory of the space? artists engrossed with their work. pact of architectural structure, traditional build- This is the fourth of the LAMO ing methods, weathering and human touch. This My installation became about highlighting the Art Camps, held each year in the method of understanding the space synecdochi- space with found materials. I chose a corner summer, bringing together Ladakhi cally initiated my research, even though during space that had all the elements of my initial in- artists studying at different art col- the two weeks I found myself asking more ques- terest: misshaped wall, blackened beams, a sky leges in the country and some who tions than finding answers. light and an old doorway, which all had their have graduated. LAMO has thus own energy and story. By re-employing empty become a platform where I along My interest in the elemental suddenly branched frames, stones, thread, a ladder, a painted can- with my artist friends can express into topics of heritage, memory, time and tra- vas rolled up in a corner, and other elements that our thoughts through our respec- dition. How was what I was doing speaking were natural to the space, I created juxtaposi- tive mediums and show our work Funeral procession by Artist Tashi Namgyal to the space I was working in and vice versa? tions that either highlighted the space or gave in Ladakh. cession on the canvas. Jigmet Wangchok introduced us as to how animal agriculture is profoundly affect- The initial process included collecting samples new meaning. In an adjacent section, collaged that spoke to my topics and creating sketches of photographs of these spaces and other parts of This year, the theme revolved around mountain en- ing our environment bringing forward the loss of these. For the second part, it was a natural transi- the building spoke to the installation. The expe- vironments and the experience of it through commu- compassion in humans. While Paljor illustrated how rience of the installation, one that nities, change, loss and damage. This time, the focus the modern stigma of plastic is ruining the serene was felt as one maneuvered around was more on the process. It followed an open studio landscape of Ladakh. Among these, my work was it, and its consequence on memory, format where each artist chose a designated space more focused on the endangered and existing species became the artwork. The installation at LAMO and made it their “studio”. Visitors to of Ladakh, talking about this through polygon de- then was simply an aid and technic LAMO could engage with the artist while seeing the signs that showed their limited mystifying existence. to react to traditional Ladakhi space. research and process method. It was a bit daunting to It was then a curated journey into work in such a public atmosphere but also interesting We came to know what loss means to us from our memory, presence and place, play- to interact and get feedback from the audience. At perspective and the results were worth seeing and an- ing on imagination, allowing this the same time it was fun to meet with other artists, alysing, evoking in the minds of people that it is high momentarily heightened experience explore each other’s world, understand their perspec- time to value what you would might lose forever. to be re-projected onto many surfac- tive as each artist came up with their own concept es beyond where it was first experi- and techniques and rendered their piece of work. Tsetan Angmo is a third year BFA student in Applied enced. In this, Chemet Dorjey and Skalzang Otsal tried to Arts, College of Art, New Delhi. bring forward the gradual evasion of culture in our daily lifestyle while Tashi Namgail looked at the con- Isaac's installation on display Isaac Gergan is Projects Officer, cept of ‘death’ in his artwork, showing a funeral pro- Arts LAMO

I am a Visual artist and a creative con- with the local community through out- The project gradually inflated into a se- Art for Wildlife Conservation servationist, using sculptural forms as reach programs. ries of workshops conducted with chil- The Himalayan rang- my medium to investigate the damage dren from various schools in Leh town, es are a paradise for and dissociation caused by the ur- ‘Art for Wildlife Conservation’ was , , Korzok and Satho on bird lovers and on ban intellect. I make birds largely us- a month-long project aimed at unrav- the way to and one conduct- my first visit to Lada- ing unconventional materials such as elling the truth about the declining ed at LAMO. The workshops entailed kh I heard about the M-seal, Paper and Wire. I use my art to numbers of the Black-Necked Crane in building cranes out of paper and wire, Black Necked Crane address social, political and economic Ladakh. The project kick-started with bird watching trips with guides and the from one of the taxi issues focusing on nature and wildlife, a display of a Black-Necked Crane use of binoculars. The children were drivers who drove and raising concerns about their current sculpture suspended from the roof of introduced to bird feeders and houses me. The Crane is the status. My work in Ladakh has primari- the lantern of the Library at LAMO. As too. The concept of ‘Citizen Science’ State bird of J&K ly focused on the Black Necked Crane. two pairs of Black-Necked cranes flew was also established amongst them, and is an endangered above we were reminded of their status showing them how to gather data on species listed in Ap- LAMO played an integral role in host- and the threats they face. wildlife and share it with conservation- pendix 1 of CITES ing and collaborating on ists or publish it on web portals for use (The Convention on this project, assisting me by scientists. As the next generation International Trade to dissolve the boundaries and future guardians of Ladakh, hope- in Endangered Spe- between what is natural fully they will use these methods in the Black necked cranes exhibited in the library of LAMO cies of Wild Fauna and what is human. It pro- years to come. vided a platform which NIHARIKA RAJPUT and Flora). The bird resides in the Tibetan plateau and mi- helped me establish the he sheer melody of the cheerful grates to Ladakh and Bhutan. On learning natural within the realm Niharika Rajput is an Artist/Conser- hidden chirrups at the break of more about the current status of this mag- of the human threshold vationist. Her residency at LAMO was dawn fills every bird lover with nificent bird, and the threats they face, and allowed me to use art T I wanted to initiate an ‘Art for Wildlife as my weapon to spread supported by ATREE Foundation, Ban- joy. I have always been intrigued by na- galore ture’s sophisticated mechanisms, but my Conservation’ project in Ladakh. awareness and engage Children making black necked crane from paper at Satho love for birds is unmatched. High School

Himalayan Melodies – A Review LAMO Staff Monisha Ahmed: Executive Director RICHARD HENDIN of the volume, entitled ‘Of Love’. It’s This pro- Tashi Morup: Projects Director a kind of fusion flashback to Romanti- vides an Isaac Gergan: Program Officer, Arts Stanzin Lhaskyabs, an engineer, pub- cism because free form contemporary interesting Rinchen Dolma: Program Officer, Media Sonam Angchuk: Assistant Officer, Media lished a volume of poems, entitled Hi- poets tend to shun romantic words such tension be- Lamo's forthcoming publications malayan Melodies, illustrated by Lokesh as heart, soul, Lord, etc. which permeate tween the Tsering Chonzom: Librarian and Accountant Pangty. It is a good thing that engineers, this volume. Buddhist doctors, revolutionaries, and yes, even abnegation LAMO Trustees: LAMO Advisors: politicians (Keats, Wordsworth, Eliot) It takes a long and rigorous time, both of of the self, Ravina Aggarwal Clare Harris write poetry, because if only “poets” did spontaneous creation and self-criticism, and the Monisha Ahmed Ghani Sheikh we tend to be offered poems about writ- for any poet to find his or her own voice, strong Ro- Phunchok Stobdan Kaneez Fatima ing poetry: clever, self-referential and so it will be interesting to see how Stan- mantic-style Ghulam Mohd. Sheikh Thinles Angmo Postmodern maybe, but a narcissistic zin’s voice develops over the years. He sense of self SkalzangYoudon Tsering Dawa regress nonetheless; or, to put it another confesses an admiration for W.B.Yeats, that is the receptacle for the intimate Dorje Angchuk way, before you sit down to write, better the Irish poet whose poems are infused feelings the poet attempts to convey. stand up and live. with Celtic mythology, and Stanzin buys But not all poetry is Romantic – I would into the Buddhist philosophy that per- have liked to listen to a poem, say, about As part of LAMO’s Author’s Talk’s meates Ladakh in a similar way, for in- the tensions inside an ancient bridge, or series an audience gathered to listen to stance in one of the poems, “Four Noble how an agricultural machine works and Design and layout by: Rinchen Dolma Stanzin talk about poetry and read his Truths”, he puts himself into the mind of what it achieves, written with a Bud- poems. A poem for this poet is a fu- the Buddha. dhist Ladakhi engineer’s insight. Then I would say to myself: only Stanzin Copyright LAMO 2016 sion of contemplation and imagination This is published and printed by LAMO, Post that guides the reader into the feelings The moment he gives up himself, Lhaskyabs could have written this. Box No. 152, Below Namgyal Palace, Old Town, of the writer. In Himalayan Melodies, He sees nothing but the pure mind. Leh, Ladakh 194101, J & K . these feelings are often unashamedly The moment he gave up his self, Email : [email protected]; Web: www.lamo.org.in; personal and romantic, expressed in a He sees nothing but others. Facebook: https://www.facebook.com/LAMO- free form, especially in the first section Richard Hendin is an NGO volunteer Ladakh, https://www.facebook.com/oldtownleh