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Hi, Do you have 'the wrong bride' by Susanna Carr? Thank you.
Ashley Renee pinned post 2 Apr at am. Nic Cre pinned post 7 Mar at pm. Cristina Jordan. Im just looking for the last one. Olaide Owolabi. Saraswoti was only eight years old when she was sold to the circus. At fourteen, she found herself married to its owner, and soon after that gave birth to twins, subsequently having another child.
'Even When I Fall' and channelling adversity into creativity
She did not see her family for fourteen years, until a Nepali NGO successfully rescued her and brought her back home. Sheetal came to the circus aged five, and was there for eight years. She claims to remember her mother, but in reality recalls next to nothing about her early childhood. She does not know her original caste, or where she came from, and is even unsure of her actual age. For both Saraswoti and Sheetal, adjusting to life after the circus was challenging.
There is anger towards their families for allowing them to be sold, rather than sending them to school, resulting in illiteracy. Both also feel a certain emotional attachment, even nostalgia for life in the circus, where life was in some senses more straightforward, particularly given the cultural stigma that many survivors of trafficking face in Nepal. Rather than focusing entirely on the victimhood of these poverty stricken Nepalis, for Even When I Fall co-directors Sky Neal and Kate McLarnon decided to instead concentrate on telling a story of resilience and transformation.
Remarkably, the two young women found the strength and courage to use their experiences to create something positive.
Life in the circus left them with a number of performing skills, that they were keen to utilize. Together with eleven other survivors, Sheetal and Saraswoti formed Circus Kathmandu, Nepal's first and only circus. Looking to introduce local audiences to a brand new art-form, and provide a showcase for their many skills, the circus also sought to challenge the stigma facing trafficked women in Nepalese society. Initially, developing these performances was nerve-wracking.
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But as their confidence grows, and word-of-mouth begins to spread around the country, the circus - which is deliberately non-traditional and can be taken anywhere with ease - begins to increase in popularity. The film follows their journey around the country, as they use the performing arts to help educate children and families about the dangers of trafficking, providing audiences with the education that was denied to them.
Circus Kathmandu goes on to develop international fame, culminating in a transformative experience performing to an enormous crowd at the Glastonbury Festival. The filmmakers worked with the performers over six years - some from the moment of their rescue. To authentically capture these experiences, it was essential to first win the trust of the participants, and ensure the film was genuinely collaborative, even though most of the subjects would be completely unfamiliar with the practices of documentary filmmaking.
Many would also struggle to articulate their feelings, despite a clear desire to express them. The film, in part, chronicles that journey, particularly in moving sequences where Sheetal's mother laments that she believes her children are suffering because of her own naivety. To help facilitate this communication, the filmmakers worked closely with the participant's own creative outlook - the circus itself - as the survivors discovered how art and performance could be used to advocate for social change. Even When I Fall tells a deeply upsetting story. However, it also celebrates the ability of storytelling and magic to transform and educate.
The work of Circus Kathmandu goes on, with increasing challenges.