Various shots signs on the foothills. MS sign on the foothills. Various shots of the Army Base Camp of Kameng Frontier range. Check Post with barrier in the middle (the road beyond the barrier leads to Bomdilla where Dalai Lama would first arrive and then move down from there to Tezpur). Barrier being lowered. CU thick jungle surrounding the area. CU of sign hanging from a tree indicating prohibited area. LS of the road leading to Nefa Area. Various shots of army personnel clearing the roads of fallen trees. Various shots soldiers cutting trees to remove them from the road. Two shots of elephant carrying tree branches to be used on temporary roads for the arrival of the Dalai Lama. People buying vegetables in market place. Various shots of the market with tribesmen and women squatting on floor displaying their articles for sale, woman weighing on scales, group of women arriving with baskets tied on their back, shots of market purchasing. Date on dope sheet is 11/12th April 1959.
Glorious colour film of a fishing trip and geese-hunting expedition in north-eastern India. G. Mackrell was a tea planter and big game hunter who lived in India from the mid-1930s to the late-1950s with his wife, R.S. Mackrell. His amateur films provide some of the clearest records of the adventurous life that many British entrepreneurs and military personnel forged for themselves in India prior to Independence. This glorious colour film records a fishing trip by canoe down the Barak River in north-eastern India, and a geese-shooting expedition, which prove extremely fruitful judging by the array of catch the Mackrell party and local fishermen are seen posing for the camera with. During WWII, Mackrell was also involved in rescuing refugees fleeing Upper Burma before the Japanese advance.
Ethnographic feature film following two headhunters of the Naga tribes in north-eastern India. Part ethnographic film, part narrative feature, Nyimsao and Kheseto follows two men of the Naga people, living in a village in the hills above Assam in the far north-east of India. With origins in Yunnan (China) and Burma, the Naga tribes had their own dialect, and customs included headhunting - filmmaker Charles Suydam Cutting had joined a party sent by the local British district commissioner to stamp out this practice. Headhunting was finally banned in the region in 1991.
On the 15th of August 1985, these words of Rajiv Gandhi seemingly brought to an end one of the longest agitations in Assam. An agitation which claimed hundreds of lives and had brought the economic growth of the state to a standstill but signing of the Assam Accord a new beginning was promised the Accord address itself to the principal issues of contention the infiltration of foreigners in Assam the economic package for all round development and the protection of Assamese culture and tradition. The effort then began to identify the foreigners as per the conditions agreed to in the Accord. Those who immigrated prior to 1996 were to be given Indian citizenship. Immigrants who came into Assam between 1966 and 1971 were to be disenfranchised for 10 years. Those arriving after 1971 were to be deported. The 1985 elections saw the agitation leaders become the new political masters of Assam. It was from this campus of Guwahati University a young band of student leaders has marshal their forces and mobilize the people's movement to challenge the government and paralyze administration. Now, these leaders were the cabinet ministers of Assam Gana Parishad Movement. This footage is part of the broadcast stock footage archive of Wilderness Films India Ltd., the largest collection of HD imagery from South Asia. The collection comprises of 150, 000+ hours of high quality broadcast imagery, mostly shot on 4K, 200 fps slow motion, Full HD, HDCAM 1080i High Definition, Alexa and XDCAM. Write to us for licensing this footage on a broadcast format, for use in your production! We are happy to be commissioned to film for you or else provide you with broadcast crewing and production solutions across South Asia. We pride ourselves in bringing the best of India and South Asia to the world... Please subscribe to our channel wildfilmsindia on Youtube www.youtube.com/wildfilmsindia for a steady stream of videos from across India. Also, visit and enjoy your journey across India at www.clipahoy.com , India's first video-based social networking experience.
Part of India on Film: 1899 – 1947 Excerpt from "Aka and Daffla Dances (1934)" Dancers from the Dafla (Daphla) tribe perform spectacular tight-rope tricks, and act out a ritualised hunt with masks.
For the Khasis, traditional archery is not only about marksmanship of the archers but also about their spiritual and psychological prowess What makes the sport special is the elaborate prelude to the archery-invoking the blessings of Ka Mei Hukum or the Mother Teacher who apparently teaches her worshippers from within, setting up of covenants or terms of challenge between two teams, arguing over these covenants and finally submitting the arguments to Ka-Mei-Hukum for her judgment.The locals believe that unless a player has the blessings of the Mother, he cannot win even if he is an excellent marksman. At the end of a game, it is entertaining to watch the winning team sing a victory song mocking the opponent
This film is a study on the relationship between the tribals and the bamboo as a relationship from birth to death. It investigates further into the flowering of bamboo in Manipur and Mizoram which has got environmental, economic and political dimensions.
The film is about the famous music teacher in Shillong since late 1980s Bah Richard Nongrum. Students from around Shillong throng to his School of music to learn the art of music and try to copy his mesmerizing tune.
This archival documentation from the Sangeet Natak Akademi filmed on location since 1956 glimpses the tapestry of the folk and tribal dances of North-east India. Compiled by Susmit Bose in 1999.
a Sacred grove or Law Kyntang has stood for at least 1000 years and one of the reasons the forest still survives is because cutting down any tree or branch here is taboo. This forest is the home of U Ryngkew U Basa. The forest covers almost 80 hectares. It is under the Kingdom or Hima Mawphlang, in which here they perform various thanksgiving and blessing ceremoies. Some of the this rituals go back to 900 years old.
Ambi Jiji always planted her crops on soil where forests have been burnt. This jhum field would then be abandoned and left to regenerate into a forest and a new one burnt. Increasingly, jhum fields are being turned into orchards which provide cash and food security. Through Ambi Jiji and her daughters, we see the passing of a way of life in a remote village in Meghalaya.
Alu muri man is the person whom the students seek to find after end of their schools. There are over 3000 alu muri men roaming around Shillong everyday. Regardless of hygiene, it is unquestionably mouth watering mixed boiled potatoes a treat to watch.
Pomu Das a second Generation Shillong Bengali is the irrespresible producer of the second film to be made in Khasi - Ka mon Bajwat. What sets the film apart is it's exuberent appropriation of Bollywood, something Pomu Das does with elan giving our city a taste of itself in mainstream flavours. The film which was released in 1998 was an instant hit in a city often seen to be at logger heads with the idea of India.
Considering the geo-physical isolation as well as socio-economic condition of this region it is necessary to extend wider exposure of socio-cultural and economic activities including tourism product of the state.
Abiding Grace' is an informative film on the culture, landscape and history of the North East of India. It takes us through the seven states in the North East, namely Meghalaya, Assam, Nagaland, Manipur, Tripura, Mizoram and Arunachal Pradesh. North East India has a predominantly humid sub-tropical climate with hot, humid summers, severe monsoons and mild winters. Along with the west coast of India, this region has some of the Indian subcontinent's last remaining rain forests. The cultural traditions are not confined to themes of divine love but also include a strong influence of mythology that people can easily identify with. The film travels to each state and visually narrates the traditions, dances and practices along with the distinct landscapes of each of the seven states.
