Syyskuussa Kirjakahvilassa esillä oleva näyttely ”Going Gonzo in the Himalayas” tuo katsojille valokuvia, jotka on tallennettu vuosikymmenen aikana Länsi-Himalajalla Rasholi-yhteisön parissa. Näyttelyn kautta Anuj Dudwadkar jakaa kokemuksiaan ajalta, jolloin hänet otettiin osaksi tätä yhteisöä, ja jolloin hän oppi heidän ikiaikaisesta tiedostaan ja elämäntavastaan.

”Muutin Himalajalle ennen kuin ehdin suorittaa kouluni loppuun. Tavoitteeni oli irtautua kolonialistisesta koulutuksesta ja oppia muinaisen alkuperäiskansan parissa. Tämä näyttely tarjoaa valokuvallisia välähdyksiä tulevasta kirjastani, joka kertoo Gonzo-tyylisestä kokemuksestani Rasholin kansan keskuudessa.”

Jokainen kuva on tallennettu vaatimattomalla puhelinkameralla, ilman suuria teknisiä asetelmia—tarkoituksena oli tallentaa hetkiä sellaisina kuin ne koettiin. Näyttely on nähtävissä 2.9.-30.9.2024 aina kahvilan ollessa auki, ma-pe klo 12-18 ja tapahtumien aikaan.’

’This September, Kirjakahvila presents the exhibition ”Going Gonzo in the Himalayas,” featuring photographs taken over a decade in the Western Himalayas with the Rasholi community. Through this exhibition, Anuj Dudwadkar shares his experiences from the time he was welcomed into the community, learning about their ancient knowledge and way of life.

”I moved to the Himalayas before completing my formal education. My goal was to step away from colonial education and learn from an ancient indigenous community. This exhibition offers photographic glimpses from my upcoming book about my Gonzo-style experience among the Rasholi people.”

Each photograph was documented with a modest phone camera, without any large technical setups—the purpose was to capture moments as they were truly experienced. The exhibition is open from September 2nd to September 30th, 2024, during cafe hours, Monday to Friday, 12-6 pm, and during events.’

Anuj Dudwadkar, kuva näyttelystä Going Gonzo in Himalayas

For nearly a decade, I’ve immersed myself in the world of the Rasholi community, high in the Western Himalayas—a place where ancient traditions and knowledge flow seamlessly through generations, untouched by the waves of colonialism. This journey was sparked by my critique of the colonial education system in India, which drove me to seek out the wisdom and knowledge systems of indigenous cultures that remain unaltered by external forces. My quest has been as much about self-discovery as it has been about understanding others, finding myself with one foot in the world of ’modern society’ and the other in an ancient civilizational continuum.

This exhibition is a celebration of that enduring culture—a glimpse into a world where the spiritual and the mundane are one. I have shared a few pictures and fewer narratives from my upcoming book -Going Gonzo in Himalayas. Through these photographs, I hope to share the depth, beauty, and spiritual connection that define the ’Rasholi’ way of life. While the focus here is on the richness of what remains, it’s impossible to ignore the subtle signs of change in the distance. The world beyond these valleys is ever-present, and with it comes the quiet, gradual influence of globalism. Yet, this exhibition isn’t about what might be lost, but about what still thrives. It’s a tribute to a culture that, despite the shifts around it, remains strong, vibrant, and full of wisdom.

My approach to documenting Rashol evolved naturally, driven by curiosity rather than a predetermined goal to create an exhibition. As I lived and learned among the Rasholi, my method became one of Gonzo journalism—where the boundary between observer and participant dissolves. Gonzo journalism isn’t about observing from a distance; it’s about stepping into the heart of the story, living it, and sharing it as it unfolds. In my view, particularly in fields like Indology, conventional research methodologies often fall short in acknowledging the constraints of rigid objectivity. Indigenous knowledge systems demand a nuanced approach, one that respects the subjective nature embedded in their way of life. This is why the only way to document this experience with integrity was to embrace my own subjectivity, acknowledging that my presence is woven into the story.

To maintain the authenticity of these moments, I chose to document with only a phone camera, and often, no camera at all. This method was less intrusive, allowing life to be captured as it happened, preserving the emotional truth of each moment. The result is a narrative that reflects the deep connections I formed and the respect I hold for the Rasholi way of life.

At the moment, I operate independently, driven solely by my passion and personal resources. None of this would have been possible without the social capital earned over the years and the incredible warmth and openness of the indigenous communities I’ve had the privilege of encountering.