For the Estuary Festival 2021, Thamesmead Texas have commissioned two artist filmmakers to produce new works for a screening programme in response to the theme of Imperial Legacy, specific to the sub themes of territories’, land ownership and mobile populations. The two featured artist filmmakers: Asmita Shrish and Daniel Turner (Aka ‘The Gypsy Sculptor’) are deeply embedded in Thamesmead, with a history of either living or researching in the locality. Thamesmead Texas have supported both Asmita and Dan to produce and display the works for a curated film programme, alongside an accompanying series of short films of their choice, with works by: Farak Squad, Laxcha Bantawa and Maximus Limbu, for display from the Thamesmead Travelling Cinema, Lakeside Centre throughout the weekend of the Estuary Festival 29-30 May 2021. See more here.
Curated by Scully & Scully. Funded by Estuary Festival, Peabody and Bow Arts Trust.
Click here for interview with Asmita Shrish
Could you give us an insight into your background and your journey into filmmaking?
I studied computer engineering but after finishing the study (I passed somehow!) I chose to do a Masters in Visual Arts and Animation and then went into Filmmaking. Filmmaking is certainly a challenging world, but it has been very therapeutic for me, also meditative in a way.
Could you give us a brief introduction to why and when the Nepalese people first arrived in the UK and particularly the Woolwich/Plumstead and Thamesmead areas?
It all goes back to ‘Anglo Nepali War from 1814 to 1816’, by the end of which there was the famous ‘Sugauli treaty’. From that point Gurkha regiments began to be raised as part of the East India Company’s army, which eventually on 21 May 2009 the Home Office announced that Gurkhas (Nepali soldiers) who served between 1948 and 1997 in British army would also be allowed to settle in the UK. This means older veterans, some even in their 70s and 80s, won the right to come here. Before that until 2004, only Gurkhas who retired after 1997 were able to come and settle. So, the influx of most elder Gurkhas and their family started from 2009. Particularly in Aldershot and Woolwich because of Aldershot Military base and Woolwich Garrison barracks, which were prominent military bases in World wars I and II.
What are the biggest challenges faced by this community living in the UK now, and what are the battles we can win?
As I have been researching Gurkha migration and integration since my first documentary Auntie Ganga (2013), the biggest challenge faced is the language, which can be heard in the pilot as well. The challenge in language then escalates to branch out in communication gap in medical, social, legal, mental aspects of their lives. There should be no battle in first place, but the idea is to give this community a visibility outside of Gurkha (Nepali) or English soldier community. They are well known as warriors all over the world, but isn’t that again a form of Imperialism? Most of the Gurkhas (in old days) are from Indigenous background that also informs ‘Sugauli Treaty’ from Nepali government side. All political things aside I am just trying to capture the rhythms and textures of their present lives.
Please tell us about your new work for the Estuary festival 2021 and how it addresses the specific theme of Imperial Legacy?
For the Estuary Festival 2021, I am presenting a pilot of the ongoing participatory documentary Little Nepal (working title). This pilot in particular features four Gurkha widows in their 70s living in Woolwich. It will let audience to engage with them briefly while they introduce themselves. Some audience may find it a bit ambiguous but that is purpose of continuation of the work, which will bring some sort of clarity. The main purpose of featuring these four bojus (grannies) is to embed human migration caused due to British Imperial Legacy. They have been moving their whole life and even now in old age they chose to migrate, it is not a forced migration but there is an element of indirect influence, which I want to explore more.
In your film we see a group of women in the home, talking directly to camera, Is there a reason you chose not to show their husbands?
They are all widows, which can be heard in one of the dialogue. Regarding talking directly to camera, I like the characters to engage with the audience and they are lovely to see, their warmth, honesty and humbleness cannot be seen otherwise.
The work is a pilot for a bigger piece, where do you see the film going from here?
I am following different group of elderly Gurkhas all over UK but right now I am focused more in Woolwich and Greenwich area and more recently in Kent as well. I am hoping to get more participants and contributors in the documentary predominantly women. I have specific topics in mind to talk about but recently I talk to Migration Museum to collaborate with me for a workshop I am envisioning. If that happen that would be great!
We asked you to select a film that could show alongside your work; perhaps in dialogue with the themes you address, can you tell us about your choice and the artist you selected?
The films and filmmakers are chosen so as to cover the diverseness of Nepali community in the UK. Although I must admit all of the filmmakers are children of Gurkhas. That also speaks the volume of imperialism of why they are all here at first place. ‘Pawan’ is about a small boy who moves to UK, ‘Vendors’ explores notion of space and migration, the music videos are filmed in Woolwich periphery with Nepali youth initiative groups like Hamro Baje Bajai and Farak Squad. The topics they choose are subjective but nevertheless speak about space; identity and community, which I thought, would add more layers and compliment the theme of the pilot.
Thank you for bringing this project to the Thamesmead Travelling Cinema, which is the first public outing of our cinema. it is our intention to use the cinema not only to entertain but also to show challenging works that draw awareness to issues that may go overlooked. Liam & Vanessa
ASMITA SHRISH is an independent filmmaker living in London for the past 10 years and deeply connected with the Nepali diaspora in the UK. Her filmmaking practice oscillates from documentaries to dramas, anchoring real issues and narratives to navigate and represent identity within physical and metaphysical space. Her films have always been the results of collaborations with the subjects/casts with particular attraction towards characters that are intimately close to their environment. She is endorsed by British Council and a recent beneficiary of the Sinchi Fund 2019/2020 as an emerging Indigenous filmmaker.