Contact sheet II 21 1975

Karsha, Chamba’s village. Detail of mud brick house in foreground and furze on roof. materials. Other similar houses on the steep slope above, some very substantial.

On the way from Karsha back to camp, it’s getting late & dark. High snow peaks in the background and silhouette of chorten on the hill.

Children in front of Karsha village, Chamba’s home village. Contrast between sunlight and shade too much.

Karsha, Chamba’s village. View South through the village and across the plains of Padam to the Great Himalayan range, or the Zanskar Range beyond

A bridge on the way to the Pensi La Pass.

On the way from Padam to Kargil. Yaks yoked to the plough. Woman leading them and man guiding the plough behind.

Christina riding towards the Pensi La Pass on the way to Kargil.

Karsha, Chamba’s village. View South through the village, chorten in foreground, and across the plains of Padam.

Kasha village. A house entrance & baskets of dung/wood roots ? for fuel.

Karsha village. Chamba’s house. Furze in foreground, for fuel and or for the roof ?

On the way from Karsha back to camp, it’s getting late & dark. High snow peaks in the background and silhouette of chorten on the hill.

Tirthan valley. A house built into the rock, 2 children in the foreground a curved balcony behind them

Miyar: Dorze making ‘gyuma’, sausages of blood, ‘masala’ and ‘atta’ fed into sheep intestines

All of these are taken from colour transparencies. They are of ceremony around Hadimba temple in at the old mela ground in Dhungri forest. A romantic setting, so colourful on all colour with the dark and mysterious forest. At this time we were living at Duff Dunbar above the temple. The ceremonies would last for several days. It usually began in the evening with an arresting drum beat and trumpet calls, that I found irresistible. The meeting of the ‘deotas’ and the ‘rath’ could sometimes be tempestuous. As the day wore on the dancing became more vigorous and would often last into the night. The man who had removed his top is xxx of becoming a ‘gaur’ oracle of the ‘devi’. The man behind him is ready to support him if the ‘devi’ so possesses him that he cannot stand.

All of these are taken from colour transparencies. They are of ceremony around Hadimba temple in at the old mela ground in Dhungri forest. A romantic setting, so colourful on all colour with the dark and mysterious forest. At this time we were living at Duff Dunbar above the temple. The ceremonies would last for several days. It usually began in the evening with an arresting drum beat and trumpet calls, that I found irresistible. The meeting of the ‘deotas’ and the ‘rath’ could sometimes be tempestuous. As the day wore on the dancing became more vigorous and would often last into the night. The man who had removed his top is xxx of becoming a ‘gaur’ oracle of the ‘devi’. The man behind him is ready to support him if the ‘devi’ so possesses him that he cannot stand.

All of these are taken from colour transparencies. They are of ceremony around Hadimba temple in at the old mela ground in Dhungri forest. A romantic setting, so colourful on all colour with the dark and mysterious forest. At this time we were living at Duff Dunbar above the temple. The ceremonies would last for several days. It usually began in the evening with an arresting drum beat and trumpet calls, that I found irresistible. The meeting of the ‘deotas’ and the ‘rath’ could sometimes be tempestuous. As the day wore on the dancing became more vigorous and would often last into the night. The man who had removed his top is xxx of becoming a ‘gaur’ oracle of the ‘devi’. The man behind him is ready to support him if the ‘devi’ so possesses him that he cannot stand.

Air India advertisement for trekking, showing CCN and her backpack and a background of snowy mountains

‘Doetoas’’ ‘raths’ being carried from the Hadimba to the mela ground.