Fejos Postdoctoral Fellowship: Natasha Fijn
Once again we are proud to present a trailer and blog post from one of our Fejos Postdoctoral Fellows, Dr. Natasha Fijn. In 2016 Dr. Fijn received a Fejos Postdoctoral Fellowship to aid filmmaking on Two Seasons: Multispecies Medicine in Mongolia.
Two Seasons Trailer from Natasha Fijn on Vimeo.
Two Seasons: Multispecies Medicine in Mongolia
Fejos Postdoctoral Fellowship
We bumped along a rough dirt track across rolling Mongolian grassland. Ganbaa, the driver, was heading for a spring encampment of an elder, who is often called upon to carry out bloodletting on horses. I was in the field to focus on filming cross-species medicinal practices amongst herders for a Fejos Postdoctoral Fellowship. Part of my interest was in how medicinal knowledge is still passed on within herding families in the form of practical mentorship.
As we passed a free-roaming horse herd beside the rutted road, I exclaimed ‘Zogsooroi!’ (Please stop!). Tiny hooves were protruding from a mare as she lay heaving on the ground. We tumbled out of the vehicle but our approach on foot caused the mare to painfully rise and walk a few steps away. The rest of the herd surrounded her as a means of protection from the strangers. I began filming while Ganbaa retrieved some milk from his vehicle and began whispering an incantation, sprinkling the milk three times to the heavens (Tengger). Both he and I were concerned for the foal, as although the head had emerged there didn’t seem to be any movement. We drove up the hillside to a nearby encampment and were immediately welcomed by a young herding couple. When the herder looked through his very old monocular he commented nonchalantly that the foal had just been born. We leapt up from small stools and hurried down the hill to where the mare was still standing.
Unlike earlier, the mare allowed the familiar herder to approach and inspect the placenta. He was clearly someone she trusted and, like her newborn foal, was perhaps one of the first humans she saw in the world. The herder picked up a brown, rubbery object near the placenta, in Mongolia called the ‘foal’s bite’ (or in English the ‘foal’s bread’). He gave it as a gift to Ganbaa, even though he could have sold it as medicine. Ganbaa was excited by the experience, as it was a sign of good fortune for our travels, witnessing a foal born during daylight, while the herder added that it was the first born for that year within the herd, another auspicious sign. Later, as we set off down the road again, Ganbaa sang songs featuring foals, still elated from our lucky encounter. As I looked out at the expansive rolling landscape from the back seat, I felt elated too, as I could clearly see that what we had just witnessed would make a poignant scene for the start of the documentary.
Such events are the best aspects of observational filmmaking, as without structuring according to a script, or the re-creation of scenes, spur-of-the-moment happenings become important elements. The birth of the foal and the herder’s family would not have occurred as a result of a list of shots, or a pre-planned script. The scene encompassed many aspects that I wanted to convey within the film in relation to multispecies medicine in Mongolia, such as: the significance of other beings, not just humans; how ritual and psychology are connected with medicinal health; the importance of timing and the seasons; the nurturing and welfare of mothers and their newborns and that multispecies medicine includes products that are derived from both domestic and wild animals and plants.
I lived in Mongolia for a year in 2005 and again in the spring of 2007. During my PhD fieldwork I found that an almost daily task was the treatment of extended family members, including herd animals by knowledgeable practitioners. One chapter of my book, Living with Herds: human-animal coexistence in Mongolia (2011), describes a multispecies form of Mongolian medicine, yet I wanted to return to the countryside to delve into the topic further through filmmaking. In between, my academic research and filmmaking was focused on Aboriginal Australia, until I returned to Ulaanbaatar in the autumn of 2016 for the coordination of a workshop on ‘One Health’. I knew that the most active times of year are spring, with many births and extreme fluctuations in weather conditions. The other key season is autumn, when herders collect medicinal herbs, while preparing hay for the long and hard winter months.
For the purposes of filming this multispecies medicine film, I re-visited two extended families after not having seen them and the beautiful river valleys for ten years. Many of the children were now all grown up and even getting married, yet daily life and routines with the herd animals were still much the same. With their wonderful generosity and cooperation they re-connected me with the local herding community. I discovered the benefits of a longitudinal perspective of researching in the field and noted many subtle changes over time, particularly in the availability of modern medicine.
Ganbaa became not just a driver of the vehicle to carry me into the field from the capital of Ulaanbaatar, he became a collaborator while in the field. He offered to take me to his homeland where he grew up and where his extended family and friends still reside. Through his familial connections in the area, we were warmly welcomed in the homes we visited. He insisted on gifts of a bottle of vodka and his latest book of poetry, spontaneously reciting poetry in every home we visited. Ganbaa is a great orator and managed to loosen even the most reticent herders’ tongues. I gave him background information on what I wanted to learn from the herders we visited. During informal interviews and conversations, I let Ganbaa ask questions, in order to allow the discussion to flow smoothly. I wanted to avoid external interruptions and it meant I could concentrate on responding to the conversation with the video camera. If I needed to change a shooting position, or film some different shots of the surroundings, it was only then that I would interject and ask a question to occasionally redirect the conversation for further insights.
The two other homelands within the film were where I had lived in 2005 and the spring of 2007. Nara, as matriarch of a large extended family encampment, is Buddhist and adheres to ritual and ceremony to keep her family and the herds healthy. The film includes other characters within Nara’s homeland, however, such as her son. I filmed Nara’s son with his own young son observing, while he nurtured a newborn foal in freezing temperatures. Mongolian medicine involves many different forms of treatment, including preventative strategies, moxibustion, bone-setting, antibiotics and vaccinations. I chose to focus primarily on medicinal herbs and bloodletting, which meant that I could draw upon the differing knowledge of herding men and women. It is often the women who collect the medicinal plants, prepare and dry them, and ultimately administer them to the family, or young animals. Bloodletting, on the other hand, is passed down along male patrilines and is usually practiced by men.
The third field location where I filmed was in Bor and Bömbög’s homeland. I had lived in the same valley previously within Bömbög’s mother’s encampment, which meant I had established strong bonds with the extended family. Herders are often reticent to admit that they have any ill animals at all, as a successful practitioner and herder pride themselves in preventing illness in the first place. Some individual casualties, however, are inevitable in such harsh environmental conditions. Bor has been a leader of the local herding community and is well respected for his herding knowledge. Because both he and his wife have confidence in their abilities, they were willing to reveal that they had individual herd animals that were injured and allowed me to film the treatment of them. Bor drove me to the nearest township to visit the local doctor, who also practices traditional medicine, and was comfortable with me filming the doctor diagnosing his ailments.
The concept of a homeland (nutag) and a strong sense of place are important to semi-nomadic herders. I felt the unique environmental conditions should be an important aspect within a film focusing on Mongolian medicine. While editing the footage together, in terms of structure, I chose to focus on the three different areas I filmed in spring and then again in autumn, hence the title ‘Two Seasons’. Layering the two seasons with the three locations meant the film is divided into six separate parts: Ganbaa visiting his homeland in spring; Nara’s homeland in spring; Bor and Bömbög’s homeland in spring, then again all three homelands in autumn. Although the inter-titles focus on just four main protagonists, the different homelands encompass many other knowledgeable individuals from different inter-connected herding families that I filmed within the project.
Filming within a multispecies context in a remote cross-cultural field location requires a form of both observational and participatory filmmaking. Participant observation requires time, embedded in context on location, but it also means that the filmmaker is there and attuned to situations when they happen to occur. Having already spent over a year in the Khangai Mountains ten years previously, it meant I could quickly reintegrate with families and an inherent trust, while new relationships could be formed through collaboration with Mongolians with an ongoing connection to their homeland.