There are more than a hundred names for a river in northern India. It begins in the Garhwal Himalaya and travels about 1,550 miles to the Bay of Bengal after falling more than 14,000 feet from the Gangotri Glacier terminus. It is more than simply a river for almost a billion Hindus in India and throughout the world. It is the extension of the divine—Lord Shiva. The Ganges River not only carries the prayers of devotees who visit its waters, but it also supports hundreds of millions of people, a large industry, agriculture, and threatened
It was a straightforward concept. From its source, follow the sacred waters of this river to the sea. Follow the Ganges watershed from its peak through the Himalaya, over the Gangetic plain, and through the delta until it touches the sea. The trip down India’s lifeline river would be the typical, age-old one, offering a glimpse into the nation’s culture, religion, industry, birth, rites, love, and even death. The aim would be to record the river, its surroundings, and even water quality along the way.
I knew enough about the world through which the river flowed from a prior assignment for National Geographic, where I had traveled to the Ganges many years before, to understand one crucial fact: A sourcetosea mission is theoretically easy. It would be frightening to undertake it. The logistics of every sourcetosea assignment are extremely difficult. They may be confusing in India. Near distant headwaters, communication is either nonexistent or restricted. It may take six months to a year for the permit procedure to bury you in red tape. The process of hiring a helicopter for a scouting/filming trip started nine months ago. The trip itself would last six weeks.
Being a visual storyteller, I was aware that there would be an unavoidable dilemma in the midst of the multitude of beauty, rawness, and chaotic energy that makes up India’s tapestry of life: where and when should I aim the camera?
Have they succeeded, though? I ask in order to keep the philistines away. Although many original owners have sold their land to outsiders, Nandagopal notes that “Thankfully, most of the newcomers have artistic sensibilities and don’t disturb the ethos. ” It would be hopeful to assume that this will persist or that future generations will continue the Cholamandal tradition. Unfortunately, unlike plots of land, art is not as easily influenced by favorable genes. Although the
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