Overview : 

This is a story about a small village and indigenous people in Northeast India, as well as their traditional hunting practices. This year, under the Convention on Biological Diversity, countries around the world are negotiating a new set of objectives to avert catastrophic biodiversity loss and ecological collapse. The focus has shifted to how aims like conserving 30% of land and marine would affect populations living in biodiversity hotspots. It is becoming more clear that indigenous peoples' and local communities' viewpoints and experiences must be at the forefront of protected area management and design. 

The film will provide insight into the perspectives of local people who live in these biodiverse regions.

Hi, My name is Khushi Mehar. In pursuit of a career in wildlife filmmaking, I am currently studying for a master’s degree in Wildlife Filmmaking in a cohort of ambitious aspiring filmmakers at the University of West England in collaboration with BBC Natural History Unit.

As part of the degree, we are required to produce a 12 minute broadcast quality short film which will be sent to film festivals and screened to industry professionals.

Being from Central India, I have grown up loving and understanding  wildlife around me. Having lived my life among tribal people, and in close proximity to wildlife, I have always considered the tribes that lived on the periphery of the forest and myself, a part of the wild. In my imagination, I see the world from the other side and bringing that perspective to life through my camera lens is where my passion lies. 

This is a project that I've been working on for a long time and am really thrilled to finally share with you. Throughout this time I've attempted to comprehend the intricate interactions that indigenous people have with the natural environment, particularly their reliance on it.

Much has been stated about Nagaland's eating habits, and how food consumed here is not considered food in India's greater political environment. I believe that when we enter such areas with moral stances on hunting, it may be humiliating to the locals, as well as disrespectful and dismissive of hunting motivations. 

Hunting is not a new concept in human history; in fact, contemporary people have spent much of their evolutionary history as hunter-gatherers. Even now, in the midst of the growing extinction problem, not all hunting is created equal. It is not all intense and for global trade. Many people readily associate hunting with either commerce or protein consumption, but what we frequently overlook is people's fondness for wild meat and the intricate relationships they have with the killed animal. For many people, wild animals have various meanings.

Through the film, I want to,  if not define, then shed more light on the fact that healthy wildlife populations can sustain some level of hunting in such landscapes, especially when people have such intertwined relationships with wildlife.

The impact : 

What strikes me about the film is the depth and care with which it attempts to portray hunting. We're already behind on attempting to encourage change where it's required if we don't connect with these bio-cultural systems in a respectful, nuanced, and open-minded manner.

Another thing I'm looking for is that we explore alternate local conservation methods, particularly in settings like Nagaland, where hunting is nuanced and multilayered. Nagaland has a lot of stories about empty jungles and how everything has been hunted out. However, when you connect with such areas in a more meaningful way, rather than dismissively, it has the potential to surprise you. People astound you, and the way they coexist with and interact with animals is fascinating. Bringing these differences to light has the potential to shift how we think about conservation and interact with people in more meaningful, inclusive, and respectful ways.

However, I require your support and assistance in order to complete this project. I would require financial assistance to meet the expenditures associated with high-quality film production.

I'd be eternally thankful if you could help me out bring this dream project to life.

Your contribution will support the film's production expenditures, which include but are not limited to:

• Transportation and travel
• Accommodation
• Expenses incurred when filming in Nagaland
• Equipment for production
• Costs of post-production

As an expression of gratitude, all my patrons will receive a link to watch the film before it's released next year in addition to a personalized souvenir (ranging from a post card to delightful goodies from India). I will be extremely grateful to everyone for making a donation and I cannot thank you enough for believing in my idea.