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Rajula with her little warkari friend at Alandi ghat looking over the shooting of her floor painting


NOMADSLAND/ TIRTHAPATA is conceived as an Imaginary Film. The film is imaginary because no one is making or unmaking it. It only  exists in parts, to be stitched together in the viewer's mind . The im-part-ial whole as colossal as the Universe is glimpsed only through these fragments here; like the visions from a pilgrim’s road, ever changing, becoming, always in movement. These fragments (involving the use of moving image, sound, text and still frames) from the pilgrim’s walk, are intricately connected with many more existing out there in a humongous grid, the secret connects being made in the mind of whoever wanders into the Tirtha kshetra/ Sacred geography of the Nomad's land. The joining of new dots by changing pilgrims Here & Now creates new virtual territories, defined yet perpetually falling outside the set frame.


The starting point of mii journey, has been the sacred landscape of Deccan but walking with a camera in the land of ten thousand Tirthas,  pilgrimage acquires a universal appeal. While the annual wari carries on across centuries with the Warkaris walking in step with the rotations of the agricultural calendar; clouds gather in the sky as the Dhangar maps the Nomad’s land with his herd of sheep. Pandharpur emerges as a multi-layered, palimpsest, a crossroad of many faiths, communities crossing ways.

As a whole it constitutes what Diane Ecke calls a sacred geography as vast and complex as the whole of the subcontinent or may be even the Many Asias that Spivak speaks of; and therefore everything therein, exists as only a part of "a living, storied and intricately connected landscape."

About Rajula

Rajula’s work falls in the interstice of Visual Arts, Poetry and Cinema. She grew up listening to stories and working with tribal and folk artisans from all over the subcontinent and considers it her first school. This is where she absorbed the storytelling practices and learned to make things with hand while working through various craft processes across a range of materials.


The second school was the fine arts faculty of Baroda, where she studied painting briefly under Jyoti Bhatt at the Fine Arts Faculty Baroda gaining a complementary perspective in modern art. Here she also met Vincent Van Gogh in the college library and was deeply influenced by his work and thought. It later led to a decade long engagement with the translation and editing of a book of his letters to Theo in Hindi, published as 'Mujh par bharosa rakhna'/ eq> ij Hkjkslk j[kuk in 2011.

In 2005 she published her first poetry collection ijNkbZa dh f[kM+dh ls / Through the window of shadow which  was awarded the Gyanpeeth Award for New Writing.

While pursuing a Masters in Literature it emerged that the movement was towards Cinema where the many and various strands would fall in place. Following which she studied Cinema, specializing in film direction from Film & Television Institute of India, Pune in 2000.


Her own film practice emerges from an intense dialogue with the various arts, in the inter-connectedness that emerges through a close collaboration with people, their spaces and the meanings that get contextualized in collaboration. Working as independent artist-filmmaker, she began with what is usually known as a documentary, working extensively in film and video exploring the boundaries of fiction/non-fiction, photography, video essay, digital art and in the process producing/ directing a handful of short & feature length films. She also develops scripts in collaboration with fellow artists, craftspeople, and people on the margins who live/work in the interstice of practice and performance.

 Her films have been screened widely.

Her short fictions include Do hafte guzarte do hafte nahin lagte 35mm/ col/ 22 min/ 2000

Aisa nahin hua tha tahira/ Jumbled cans 35mm/ col/ 23 min/ 2013, awarded for its spirit of experiment with John Abraham National Award at SIGNS, Kerela.


Sabad Nirantar/ Word within the word is her feature doc on the resonances of the mystic poet Kabir in contemporary India. It has been received very warmly by lay audiences and critics alike and was awarded the Horizonte prize at DOKFEST, Munich.

Katha Loknath/ Retold by Loknath is appreciated and awarded for walking the fine line of fact/ fiction.

She also works in collaboration with fellow filmmakers. The notable being as Production Designer on Arghya Basu's poetry video Neend se lambi raat and as Cinematographer for the documentary Of Exiles and Kingdoms.

She has  been on various Juries including the National Film Awards. She has been closely studying and contributing to the history and practice of teaching film in India, while interacting with film students, colleagues and fellow practitioners for well over a decade. The reflections on and awareness of the need to develop film teaching methodologies in the Indian context is a concern with her. She designs and directs Filmmaking & Film Appreciation workshops with student groups at FTII and other film and media schools. 


The need to situate the arts practice within the relevant social, political, cultural context has led her to publish a lot of translations, the notable among them being the translation of We are poor but so many by the eminent social scientist Ela Bhatt. Her translations of Forough Farrokhzad's poems into Hindi are published from Tanav. She ran a regular column on Cinema in the NSD magazine Rang Prasang for two years. A grounding in Sanskrit and English gives her an advantage of having a working knowledge of a couple of Indian languages including Bangla, Marathi, Urdu, Gujrati, Punjabi, Chhattisgarhi, and a few dialects, an asset to connect crucially within the sub continental spread given the diverse cultural and linguistic diversity peculiar to India.

She's currently working on a new film called 'At Home Walking'.

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fdUrq chl lky ckn vkt lewph nqfu;k esa [kqyk ckt+kj] vkradh dkWjiksjsV vFkZtky vkSj fuyZTt iw¡thoknh yksdra= dh vuFkZO;oLFkk dk Qy Hkksxrs gq, vkt og nqfo/kk Hkh fiNyh lnh dh ckr yx jgh gSA vc rks /ku dk dkyk ;k lQsn tSlk dksbZ jax ugha jgkA ml ij Nik egkRek xk¡/kh dk psgjk mnkl nh[krk gSA

tc ge fQYeLdwy ls fQYe funsZ'ku dk izf'k{k.k ysdj ckgj fudys] rks vius dke dk jkLrk ge esa ls dqN dks cEcbZ tkrk gqvk ugha nh[kkA deZ{ks= dk ladV vly FkkA nslh vankt+ esa dgsa rks dqN dqN vf/kd i<+h fy[kh dU;k ds ;ksX; oj uk ik ldus dh Hkkjrh; ek¡&cki dh vk'kadk ls esy [kkrk ladV Fkk! cEcbZ baMLVªh esa rduhdh rkSj ij gekjs dqN Nk;kdkjksa vkSj /ofudkjksa ds fy, jkst+xkj Hkys miyC/k gks] fdUrq flusek esa funsZ'kdh; izfrHkk ds ekSfyd iz;ksxksa] xgjs ljksdkjksa ds lkFk ,d thoar laokn cukus dk volj ogk¡ u ds cjkcj FkkA  ^turk dks tks ilan gS* og cukus okyk cEcbZ;k rdZ csekuh gks pqdk FkkA turk us vjlk gq, bu fQYeksa dks ns[kuk can dj fn;k FkkA chp ds cjlksa esa e/;oxhZ; ewY;ksa dk ijpe ygjkrh] v¡xzst+hnka lekt dk vk/kqfud eq[kkSVk ltk,] izoklh Hkkjrh;ksa dks eksgrh] muds fons'kh ckt+kjksa dks Vksgrh iVdFkk,¡ cgqla[; Hkkjrh;ksa ds ljksdkjksa ls dze'k% nwj gksrs gksrs dkslksa nwj xbZ FkhaA

vfgUnh Hkk"kh fQYe izkarksa tSls dsjy ;k caxky ds funsZ'kdksa ds ikl nsl ykSVus dk fodYi FkkA fQj tgk¡ u, funsZ'kdksa dks foLrkj vkSj fodkl dh vko';drk gks] mUgsa ml m|ksx ls D;k tgk¡ dsoy rduhdh dkS'ky vkSj lapkyd dh njdkj gksA blds vykok fQYe laLFkku ds lclhMkbT+M izf'k{k.k ds ckn] foKkiu ds iziaph m|ksx ls tqM+us dk rks loky gh ugha FkkA vkSj L=h dh n`f"V ls ns[kus ij n`'; esa Lo;a dks ns[k ikuk vkSj Hkh eqf'dy gks tkrk FkkA pquk¡ps cpiu esa eu eksgus okys cEcbZ 'kgj dk] flusek okyk jkLrk esjs ;qok gksrs gksrs chp esa fQlydj dgha [kks x;k FkkA


bruk r; gks x;k Fkk fd gekjh ;k=k dh fn'kk] ns'k vkSj muds m|ksxksa ls vyx Fkh] jkLrk u;k] vdsyk vkSj vtkuk FkkA ;g tkuus ls eu Hkkjh Fkk fd ns'k dh iw¡th dk ,d uUgk lk va'k Hkh dyk] Kku] dfork] f'kYi tSls izdYiksa ds fy, miyC/k ugha FkkA ckt+kj ls vyx] vFkZra= ds ykHk&gkfu ds rdZ ls ckgj dYiuk] dFkk] dyk] lkfgR;] n'kZu] lkekftd v/;;u] u`R;&f'kYi&xhr&feFkd laxzg.k tSls fdlh ekuoh; m|ksx dk dksbZ ewY; ugha FkkA rc Hkh eu esa u, LoIu] lkgl] ladYi ls mRlkg dqN de ugha FkkA

fQj ftruk bfrgkl gekjk tkuk cw>k Fkk] mlesa dfo dykdkj dk thou dc ljy jgk\ lR; ds la/kku dk jkLrk dc pkSM+k jktekxZ jgk\

fdLlkdksrkg ;s fd uo funsZ'kdksa dh ubZ mtkZ] dYiuk] dyk dkS'ky ds fy, 'kgj eqEcbZ esa txg ugha FkhA vxjps vki ml [ksy esa muds gh dk;nksa ls [ksyrs gq, mlh Qzse ds Hkhrj mUgsa yydkjus dh lQyrk dk LoIu uk ikyrs gksaA ;w¡ Hkh ,d m|ksx tgk¡ uCcs izfr'kr fQYesa udy ij vk/kkfjr gksa] vk/ks ls vf/kd ctV ckdk;nk fQYe ds izpkj ds fy, vyx j[kk tkuk izFkk gks] ogk¡ funsZ'kd dh ekSfydrk dk D;k ewY; gks ldrk gS\

gekjs ikl dSejk Fkk vkSj ,d n`f"V Fkh&lc dqN dks] lc dqN ls tksM+usokyh n`f"VA u, iqjkus fiz; dfo;ksa dh Hkk"kk] laKku vkSj n`f"V gesa viuh ;kn fnykus dks dkQh Fkh( mudh rjg ge Hkh lewps czgekaM ls de vkSj lgt ekuoh; xfjek ls vf/kd dqN ugha pkgrs FksA ;w¡ vius bl la/kku esa ge Bhd vdsyk vuqHko ugha djrs Fks( D;ksafd bl uotkr flus dyk esa lalkj Hkj ds dykdkj] dfo] flusdkj gekjs iwoZt gh Bgjrs FksA elyu lqnwj teZuh ds uksosfyl dh ;g ckr gekjs cgqr fudV Bgj ldrh Fkh& ^ekuo cu ikuk dyk dk fo"k; gSA*


dyk dh ifjHkk"kk dfBu FkhA vkSj mlls dfBu Fkk mlds izHkko dks ekiukA ij gekjs fudV og thou dk dsanzh; fcUnq FkkA tkus D;ksa og lnk lekt dh ifjf/k ij jgk vk;k\ tgk¡ rd dykdkj dk iz'u gS] ifjf/k mldk pquko gS ;k oLrqfLFkfr\ gekjs fiz; fnoaxr yksdxk;d iatkc ds xenwj veu] dgrs Fks dyk vkSj eqQfylh cgus gSaA fQj dyk vkSj ckt+kj esa D;k laca/k gS\ dykdkj eu D;k pkgrk gS\ mldh lalkj dh ifjdYiuk D;k gS\

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dgrs gSa gj pht+] ckr dk ,d oDr gksrk gSA gekjs fy, ;g loky mBkus dk oDr FkkA ekuo gksus dk vFkZ D;k gS( lkj D;k gS\ D;k gS tks gesa ekuo gksus dh xfjek iznku djrk gS\ bl nkSjku fo;sruke ds ckS} fHk{kq dk ,d 'kCn& baVj&chbax &gekjs ikl vk;kA ge bufMisaMsaV ;k Lora= flusek ls baVjfMisaMsaV ;k ijLij ds flusek dh vkSj izo`Rr gq,A Kku ijaijk esa bls lºn; laokn dh rjg ns[kk x;k gSA dykdkj ds ºn; dk n'kZd ds ºn; ds lkFk ,dkdkj gks tkuk( viuk vki vU; ls vfHk™k gks tkukA bl 'kCn dh xgjkbZ dk dqN dqN vankt+ yxrk gS rks Li"V vuqHkwfr gksrh gS fd bldh vksj ge ckjackj ykSVsaxsA thou vkSj deZ esa bls vkRelkr djuk vkthou vH;kl dk fo"k; gSA

,d lkeqnkf;d dyk lk/kuk ds rkSj ij flusek vius le; ds ewY;ksa dks vius ljksdkjksa esa ij[kus] viuh vfHkO;fDr esa 'kkfey djus esa lgk;d gksrk gSA /khjs /khjs ge [kqn dks dky ds dk;ZdRrkZ] egkdky ds lk/kd dh rjg ns[kus yxrs gSaA gekjh fQYesa 'kuS% 'kuS% fu/kkZfjr dB?kjksa ls ckgj gksus yxrh gSaA dFkkRed] x+Sj dFkkRed] iz;ksxoknh vkfn vkfn iSekuksa ds ckgj viuh vkSj viuh tSlh vU; fQYeksa ds fy, ge u;k uke [kkstrs gSaA 

dSejk vius yksxksa dks tkuus le>us dk tks vuqHko gesa djkrk gS] og cgqewY; gSA ,f'k;k ds Hkkjrh; fgLls esa jgrs gq, vius feFkd] bfrgkl] dyk] dkO;] f'kYi] ekuo vkSj ekuosrj lekt ds v/;;u dks flusek ls ns[kus dk i{k mRrjksRRj gekjs fy, vge gksrk tkrk gSA

flusek m|ksx gSA flusek bYe gS] dyk gS] lk/kuk gSA flusek Ldwy Hkh gS( fcuk nj&vks&nhokj dh v/;;uihB] ikB'kkyk] jl'kkykA ;g catkjs eu dk og foKku gS tgk¡ lc eu ,desd gks tqM+k tkrs gSaA psruk ds vkyksd ls txex bl yksd esa lgt dfBu gS! txh vk¡[k ds bl n'kZu ds ek/;e ls ge ,d VwVrs ekuo lalkj ds fc[kjrs ewY;ksa esa laokn dk vk/kkj <w¡<rs gS( n`'; JO; ds [ksy esa vius gksus dk izek.k [kkstrs gSaA

dke cnLrwj tkjh gSA flusek esa NksVs&NksVs yksdksa dk vkfo"dkj vkSj cM+s lR;ksa dh [kkst tkjh gSA ;gk¡ dyk ds os iz'u gSa] tks dbZ ckj vius mRrjksa ls Hkh cM+s gks mBrs gSaA


tc tc cu iM+rk gS] ge ftl fdlh ds lkFk ?kjQw¡d py iM+rs gSaA dqN nsj dks gh lgh] ;w¡ vius izkphu catkjk eu ls rfud fudVrk ik ysrs gSaA mldh Nk;k esa ?kM+h Hkj ne ys ysrs gSaA {k.k Hkj dks flus dyk ds vkHkkjh gks ysrs gSaA

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