Tag Archives: travel

Finding Family with Cheuk-Yin

   Listen to the full story / 点击此处收听完整故事

We’re excited to announce a new partnership with Hong Kong-based media platform MAEKAN. Rallying around the motto of “Stories for the Curious,” their insightful storytelling and audio-centric approach have been a much-needed breath of fresh air in a digital landscape overpopulated with listicles and rehashed content.

Together, we’ll be creating a series of stories that celebrate culture and creativity in all shapes and forms.

For the debut of our collaboration, photographer Cheuk-Yin To shares a story about how he ended up in a special reunion at his ancestral village on a recent trip to China.

我们很高兴地宣布和位于香港的媒体平台 MAEKAN 建立了伙伴关系。他们以富有见地和音频为主的讲述方法,致力于“把故事讲给好奇的人听”(Stories for the Curious),而这恰是在充斥着大量数字内容的当下所急需注入的一股新生力。


在我们合作的首篇文章中,摄影师 Cheuk-Yin To 分享了他近期到中国旅行时,竟无意中找到了他的祖籍村庄,并最终认亲团聚的故事。

As the modern world continues to race toward the future, we can find ourselves constantly groping for radical or material ways to find our identities in it. But while we might be obsessed with going forward and discovering the new, we sometimes forget to look back and to the old — to our own pasts.

Cheuk-Yin To is a photographer MAEKAN has worked with in the past. One summer evening, he dropped by the MAEKAN office where he shared a special story of how he took a side trip on a whim only to find both his roots and a few long-lost relatives.


Cheuk-Yin To 是曾与 MAEKAN 合作过的摄影师。在某个夏夜,他们就在 Yin 的办公室里听他讲述了一个特别的故事——那是在一次无意的旅行中,Yin 竟意外发现了自己失散已久的远亲和血脉的故事。

To Family Village sits on one of the many distributaries in the Pearl River Delta region. / Yin老家的村庄位于珠江三角洲地区众多分支之一

 “To be honest, it kinda broke the spell a bit. I wanted my ancestral village to be with like, old school donkey carts and stuff. It’s not like that anymore. There’s mopeds, there’s smartphones. Everyone’s in on this now.”

— Yin remarking on his unexpectedly modern ancestral “village.”


——Yin 不曾料想到祖辈的“村庄”早已现代化了

Yin with his uncles and cousin on the far right. His grandfather’s older cousin is seated. / Yin和他的远房叔伯及表亲,他的大叔公坐在正中
Yin’s grandfather’s cousin (the younger of two brothers). / Yin的小叔公
Yin’s grandfather’s cousin (the elder of two brothers). / Yin的大叔公

“Within the next generation, it’s not going to be the same anymore. I don’t think kids these days will actually stay in these villages; they’ll all go to the cities and no one’s going to maintain the traditions.”


The two girls, Qingqing (left) and Yingying (right) are the daughters of a cousin Yin did not meet and are referred to as nieces. / 青青和莹莹,这两个小女孩是Yin的侄女,她们的父亲是Yin未曾谋面的表亲
Lunch prepared the first day of Yin’s visit. / Yin第一天到访时乡亲为他准备的午餐
Yin’s aunt with the family Gai Lan crop. / Yin的阿姨和自家的芥兰田
Yin’s uncle and nephew (cousin once removed). / Yin的叔叔和侄子
Yin’s cousin. / Yin的侄子
Eating sugar cane the traditional way. / 嚼甘蔗
Yin’s niece “plays” with a chicken during an evening stroll with the family. / Yin的侄女在和家人傍晚散步时逗鸡玩

“My grand aunt made a feast that could have fed double the amount of people. […] We all ate together and watched TV at the same time, just like every other Chinese family.”


“To Family Village, Wangniudun Town, Dongguan City” / 老家之村,东莞,望牛墩镇

“You can’t describe this experience. If someone else were to find their roots — completely unintentionally…I think that’s the reason why I was so happy.”


This story is part of a content partnership and media exchange between Neocha and MAEKAN. To see more from our collaboration, click here.

本文为 Neocha 和 MAEKAN 媒体及内容合作篇。点击此处 获悉更多我们的合作内容。

Media Partner: MAEKAN

Script & Narration: Nate Kan
Audio: Elphick Wo
Photographer: Cheuk-Yin To

Images, Audio, & Text Courtesy of MAEKAN

媒体合作伙伴: MAEKAN

供稿人: Nate Kan
音频制作: Elphick Wo
摄影师: Cheuk-Yin To


The Ghats of Varanasi

Devotees bathing at a ghat, in the river Ganges. / 信徒们在瓦拉纳西河里沐浴

Varanasi, or Kashi as Hindus call it, is regarded as one of the holiest places in India. It’s also one of the oldest continually inhabited places in the world, and in modern times, it continues to receive both devotees and tourists in astounding numbers day after day. While Varanasi holds a reputation of being the spiritual capital of India due to its association with various religious figures, the historical city is most closely associated with Lord Shiva, one of the principal deities of the Hindu pantheon, and who, according to legend, founded the city.

瓦拉纳西(Varanasi),印度人又称之为“卡西”(Kashi),被认为是印度最神圣的地方之一,也是世界上最古老的、持续拥有长居人口的城市之一。而现在,它每天都以惊人的数目接待信徒和游客。由于与众多传奇宗教人物之间的联系,这座城市历来被誉为印度或印度教的精神之都,其中,它和湿婆神(Lord Shiva)之间的联系最为密切。湿婆神是印度教万神殿的主神之一,传说也是这座城市的创造者。

A sadhu reads his texts at the ghats. / 一个印度教的苦行僧在河坛上读经

Being such an ancient city, Varanasi has been demolished and rebuilt countless times over the years. The city as we know it now was primarily built by the Maratha Empire in 1700 A.D. They built the iconic ghats, or the riverfront steps leading to the banks of the Ganges River, which allowed people to easily access the river for religious rites, cleaning, and bathing. Although the ghats have fallen in disrepair over the years, they continue to be the center of cultural and religious activity in the city, with people all over the world making the pilgrimage to Varanasi just to experience them in person.

作为一个如此古老的城市,瓦拉纳西在漫长岁月中经历过无数次的拆毁和重建。我们今天所看到的这座城市,主要是由马拉塔帝国(Maratha Empire)建立于公元 1700 年。当时他们还建造了具有标志性的河坛(ghats),也就是通往恒河河岸的台阶。这些河坛便于人们走进恒河举行宗教仪式,或者进行清洁和沐浴。虽说如今的河坛早已年久失修,但它们仍然是文化和宗教活动的中心,许多人会专门到瓦拉纳西朝圣,只为了去参观下这些河坛。

Women make ritual offerings to the Ganges. / 妇女们祈祷并向恒河献祭
Devotees descend upon the ghats early in the morning. / 信徒们清晨走下河坛
Priests observe their morning rituals. / 祭祀们观看他们的晨礼

Activity at the ghats starts in the early hours of the morning. Devotees descend the steps to bathe in the Ganges. The river is worshipped as the holiest one in Hinduism and bathing in it is believed to rid one of all sins that one might have committed in life. In addition to taking a dip in the river, devotees also visit to pray with offerings of flowers and oil lamps. Alongside these devotees, Hindu priests perform their own daily prayers. While their offerings look similar to the earlier devotees, the incantations are much more complex.


People change into dry clothes, after bathing in Ganges. / 人们在恒河沐浴后换上干衣服

Varanasi also offers an interesting look at the contradicting ideals around shame and nudity in India. Conservative-minded individuals who might frown upon public displays of affection or revealing clothing like short skirts or low neckline blouses won’t hesitate to publically bathe and change clothes along the ghats, even with hordes of photographers all around.


A priest meditates at a ghat in Varanasi. / 在瓦拉纳西,一位牧师在河潭边打坐冥想
A Buddhist monk conversing with a Hindu monk. / 一个佛教僧侣正在与一个印度教僧侣交谈

The ghats also reveal an interesting perspective on how some Hindus perceive certain devotees and their motives for visiting the city. Tongue-in-cheek phrases are inscribed and penned in Hindi along the walls, urging devotees to think rather than blindly follow. One phrase takes a dig at people who sin without hesitation and return to the Ganges to bathe and be absolved of them.


Manikarnika ghat on the night of Dev Deepawali festival. / 迪瓦里节(又称排灯节)之夜,马尼卡尼卡河坛
The burning ghat by the day. / 白天进行火葬仪式的马尼卡尼卡河坛

The ghat that arouses the most curiosity, especially amongst non-Indians, is the burning ghat. It’s known as the Manikarnika Ghat, and it’s where more than three hundred cremations take place every week. The Dom community, a low-caste community of corpse burners in Varanasi, carries out the cremations day after day. Their work never stops, not even for a second; even during times of festivities, the cremations continue on.

Dying in Varanasi and what it means to Hindus is a concept that confounds most. A Western mind, familiar with Abrahamic religions, is used to thinking of death as finality. However, in Hinduism, life is believed to be a circle of birth and death. A soul keeps on taking births so as to bear the fruits and punishments of actions of past life. It goes on until the soul’s ledger of both is balanced, which might take all eternity. One of the ways to be free of that is to die in Varanasi and have the ashes immersed in the Ganges after the cremation. This is why dying in the city is an important affair and the cremations seem endless.

在外国游客看来,最让他们好奇的,通常都是那个用来进行火葬的河坛,它被称为马尼卡尼卡河坛(Manikarnika Ghat)。每星期,这里都会举行 300 多次火葬仪式。“Dom”社群——圣城瓦拉纳西中负责焚尸的一个低种姓社群,负责执行火葬仪式。他们的工作忙得不可开交,甚至连一秒钟的休息时间都没有。并且即使在节庆日活动期间,火葬仪式也会照常举行。

而死亡在瓦拉纳西及其对印度教徒的意义,则是最令人困惑的部分。在西方思想中,人们熟于亚伯拉罕诸教(Abrahamic religions),死亡往往被视为终结。然而在印度教中,生命则被认为是生与死的循环。一个灵魂会不断重生,去承受前世应得的善果和恶报。这样的轮回循环会一直持续,永恒不灭,直到灵魂帐目中的功过相抵。这也是为什么“死亡”在这座城市有着如此重要的意义,而火葬仪式也永远不会停止。

Preparations for the Ganga Aarti are underway. / 恒河暮祭的准备工作

As the day draws to a close, tourists start gathering at the Dashashwamedh Ghat. Every day, between 6 to 7 pm, five young priests simultaneously perform what is known as Ganga Aarti, a prayer to the Ganges, and the rituals go on for a little over an hour. As the prayers conclude, the day at the ghats is officially over, but locals will remain along the ghats to relax, play musical instruments, and sing Bollywood songs.

随着夜幕降临,游客开始聚集在达萨斯瓦梅朵河坛( Dashashwamedh Ghat)。每天晚上六点到七点之间,五名年轻的祭司会同时表演“恒河暮祭”(Ganga Aarti)。这是对恒河的祈祷,整个仪式持续一个多小时当祈祷结束的时候,河坛一天的活动才算正式结束。但人们还是会一直逗留在河坛沿路。当地人喜欢在这里闲逛,演奏乐器或演唱宝莱坞歌曲。

A child priest performs the prayer. / 做结束祈祷的儿童牧师

Varanasi is a place that is hard to make sense of, for both Hindus and non-Hindus. It takes time to begin fathoming the system at work beneath all the apparent chaos. Reading about Varanasi prior to visiting might walk you through the history of Varanasi and what Hinduism is all about, but the only way to truly understand the multilayered city is to experience it in person.

As philosopher Karl Marx once said, “Religion is the sigh of the oppressed creature, the heart of a heartless world, and the soul of soulless conditions. It is the opium of the people.” However, perhaps religion should be seen as more than simply a provider of temporary comfort. These holy rituals and ceremonies are a preservation of traditions that perpetuate cultural values and ideologies – essentially, they’re celebrations of life. Nowhere is this more apparent than at the ghats of Varanasi.


宗教,哲学家卡尔·马克思(Karl Marx)曾说,“它是被压迫生灵的叹息,是无人性世界中的人性,亦是无灵魂之境中的灵魂。宗教是人民的鸦片。”但是,它或许不仅应被认为是短暂的慰藉。宗教中这些神圣的典礼和仪式沿袭了传统,使其文化价值和意识形态得以留存——本质上来说,也是对生命的庆典。而这一点,恰在瓦拉纳西的河坛上表现得淋漓尽致。

Contributor & Photographer: Garima Garg

供稿人与摄影师: Garima Garg

Building Bridges Through Dance

From left: Suleman Malik, Bilal Malik and Nasir Sirikhan.

Quick Style is an Oslo-based international dance group and creative agency best known for their unique style and infusion of various Asian cultures in their projects, with one of their most notable being the Strawhatz concept. The latest manifestation of their passion for dance comes in the form of Quick Style Studio Chinaa collaborative studio created with China’s Sinostage, which debuted last year in Chengdu. With this project, they’re eager to show that dance is an activity anyone can partake in as well as showcase the value of dance as an outlet of creativity and self-expression. Since opening, the joint-run studio has often invited international teachers to open a cross-cultural dialogue with Chengdu’s local community using the language of dance. At a time when many are speaking of building walls, Quick Style shows us how we can build bridges through dance and cultural exchange. To better understand Quick Style’s cross-cultural entrepreneurship efforts, we talked to Bilal Malik, one of the three co-founders of Quick Style, to find out more about their work and experiences in China.

Quick Style是来自挪威奥斯陆的一支国际舞蹈团体和创意机构,向来以独特的创意风格和对各种亚洲文化的融合而闻名,其中最为人熟知的莫过于其推出的Strawhatz 舞蹈项目。Quick Style Studio China正是他们对舞蹈那份热爱的最新见证,这是Quick Style和Sinostage合作创办的工作室。从2016年成立以来,这个工作室已经成为一个文化与创意的中心。这个项目背后的理念是,舞蹈属于所有人,可以让人们以充满创意和健康的方式来表达自我。在当下这个人们相互间“筑墙”设防的时代,Quick Style向人们展示着如何建立起沟通的桥梁。为了加深理解Quick Style在跨文化产业上所作的努力,我们和它的创始人之一Bilal Malik聊了聊,试图了解更多关于他们在中国的工作和经历。

Quick Style teaching a class at the studio in Chengdu.
Koharu Sugawara, world-famous dancer and choreographer from Japan leads a class.

Neocha: How did the idea to start a Quick Style dance studio in China come about? What was it about the country that made it stand out as a potential location for your second studio?

Bilal Malik: The idea came about on our first trip to China. We checked out different dance communities and held workshops all over China. We explored the food, culture, music, people, and different places of China; we also met up with dancers around the country. We realized that it was not like Europe, the U.S., or any other Asian countries we have been to. The dancers here had a lot of emotion. We felt that Chinese dancers have a bright future. We also felt that they would bring a new wave of honest flavor to the whole world dance community. We started talking about how Chinese dancers will grow very fast since people had begun to accept the urban dance lifestyle. It was very clear to us that they are on the right track because they bring all kind of choreographers to teach dance across China.

Then on our last trip, we met Koko, the CEO of Sinostage. She had very different moves than anyone else. She has a passion and mindset that we’ve not seen in many people. She thinks about her people and wants to make dance huge in China, to change people’s lives! We connected very easily. Her passion moved us and we decided very quickly to do business and open a collaborative studio together. Our mission is to provide some Scandinavian mindset to the Chinese community. The country has so much potential. After being in China we have learned a lot. We know that we still have a lot more to learn, and we are sure that whatever we do here, it will be game changing for all of us.

Neocha: 怎么会选择在中国开设Quick Style舞蹈工作室?这个国家具有什么与众不同的潜力吗?

Bilal Malik: 我们第一次来中国时就已经有这个想法。我们在中国各地看到了不同的舞蹈团体,也举办过各种工作坊。我们深入地去了解中国的美食、文化、音乐、人以及不同的地方,去认识各地的舞者。我们意识到,这里不像欧洲、美国或其它我们去过的亚洲国家,这里的舞者有很饱满的情感。中国的舞者前景很大,我们相信,他们能给全世界的舞蹈界带来一种更真实的风格。我们开始谈到一旦人们开始接受urban dance的风格后,中国舞者的数量会增长得非常快。我们非常清楚,中国舞者的发展是在正确的轨道上的,因为他们会把不同风格的舞蹈编导都邀请到中国各地去教学。


Moving in sync - a class with Toby DeeDaran from Oslo, Norway.

Neocha: Can you tell us more about the process of making this project a reality?

Bilal Malik: The process was really interesting when I look back at it. Once we decided to open a studio together with Sinostage, things moved pretty quickly. We got to witness that Chinese people, or especially Koko, do not joke around when they work! We discussed the design and details and she started immediately. Not long after, there we are at the opening. It happened very fast, and we jumped into something very new for all of us. I believe that both parties have learned a lot from the process, and our relationship with Sinostage is still growing every day. Koko is an extremely talented woman and knew our taste even only after knowing us for such a short amount of time. We trusted her on every decision.

Neocha: 能跟我们分享一下是如何实现这个项目的吗?

Bilal Malik: 当我回过头来看,会觉得这个过程其实非常有趣。我们决定和Sinostage一起开办工作室后,一切就进展得很快了。中国人工作时真的很认真,尤其是Koko!我们讨论过设计和细节之后,她就会立即开始行动。感觉一眨眼,我们就到了开幕日。一切都进展得非常快,那是对我们所有人来说全新的体验,双方在过程中都学到了很多,我们与Sinostage的关系也在变得越来越好。Koko是一位非常有才华的女性,在我们相处了很短的时间后,她就已经清楚明白我们的风格。我们很信任她作出的每一个决定。

Welcome to Quick Style X Sinostage

Neocha: You’ve referred to Chengdu as your second home. What is it about that city that makes it so special to you? What traits have you observed that makes it stand out from other cities in China?

Bilal Malik: Chengdu is a special place for us. Of all the places we’ve been in China, Chengdu always treats us well, and we get a different vibe of the city every time we go there. They are definitely leading in terms of style and art. They are open-minded people and the city is growing very fast. There’s always something to do, and we also love the spicy food.

Neocha: 你曾经说过成都是你的第二个家。为什么它对你来说这么特别?就你看来,它和中国的其他城市有什么不同?

Bilal Malik: 成都对我们来说是一个特别的地方。在我们去过的所有中国城市中,成都总能让我们有不错的体验,并且每次去成都,我们都会有不一样的感觉。在时尚和艺术方面,这座城市绝对是领先的。这里的人们思想开放,城市的发展非常迅猛。在这里永远也不会觉得无聊。当然了,我们也很喜欢这里辛辣的美食。



Neocha: Now that Quick Style Chengdu has been open for a year, what kind of changes have you observed in China’s dance scene since?

Bilal Malik: The dance scene has changed a lot in China since we opened the studio. We don’t think it’s only because of us and the dance studio with Sinostage. The whole community is working together every day to make dance huge in China. Right now, China is arranging some of the biggest events, workshops, and TV shows for dance. Sinostage is doing a great job working with everyone, being open-minded, and making the studio open to all kinds of people. I feel that now, Chinese dancers have more confidence and are moving towards finding their own style. More dancers and a higher level of competition both lead to finding an original way of doing things. In addition to this, the dancers put a Chinese flavor into their art and performance, which makes it very unique.

Neocha: Quick Style Studio成立至今已经一年了,这期间你看到国内舞蹈界有没有发生什么变化?

Bilal Malik: 从我们成立了这个工作室之后到现在,中国的舞蹈界发生了很大的变化。当然这不是单靠我们或与Sinostage合作的舞蹈工作室就能带来的变化。而是整个舞蹈界的共同努力,才得以令舞蹈在中国的影响力变得这么大。眼下,中国正在筹办一些和舞蹈有关的大型活动、工作坊和电视节目。Sinostage和所有人的合作都很棒,他们的心态非常包容,欢迎各种各样的人加入。我觉得,现在的中国舞者更自信了,也正在逐渐找到自己独特的风格。越来越多的舞者,越来越高水平的竞争,这些都有助于他们去发现创意。除此之外,他们的作品和表演中因为加入了一些中国风格而变得更加独特。



Neocha: What is the reason behind sending dancers from Quick Style Studio Oslo to Chengdu? Why is this cross-culture exchange so important to you?

Bilal Malik: There are lots of reasons why it’s important for us to send dancers from Oslo to Chengdu. We believe our dancers grow not only in dance by traveling to teach, but grow in a bigger sense by experiencing another culture. Every time dancers from Quick Style come back to Olso, they come back with a bag full of experiences. They become a little bit more mature about their own life. They’ve just spend three months in one of the biggest countries in the world! Being in a place with different language, food, and ways of thinking, they’re challenged by new situations every day. In the end, they come back stronger and see the world differently. In addition to this, the instructors from Oslo represent us in Chengdu. They are there to share with and learn from the other dancers. Overall, it’s a great cultural and artistic exchange.

Neocha:为什么要把Quick Style在奥斯陆的舞者带到成都来?为什么跨文化的交流对你来说如此重要?

Bilal Malik: 之所以把奥斯陆的舞者带到成都是出于很多考虑的。我们的舞者不仅能通过到国外教学来提升自己的舞蹈水平,更能通过体验另一种文化获得更大意义上的成长。每次Quick Style的舞者回到奥斯陆,他们都是带着丰富经验回来的。他们的人生态度也会变得更加成熟。毕竟他们在全球最大的国家之一生活了三个月啊!在这种有着不同语言、食物和思维方式的地方,他们每天都会遇到新的情况,新的挑战。最后,他们回来时会变得更强大,也能够用不同的角度去看待世界。除此之外,去成都教学的奥斯陆舞者就代表着我们。他们去那里是去分享的,也是去跟其他舞者学习的。总的来说,这是一次非常棒的文化和艺术交流。



Neocha: What is your approach to teaching dance?

Bilal Malik: We really do not see ourselves as teachers or our workshops as being regular “dance” classes. We feel that we share ourselves more than teach them something specific. We can’t teach anyone to dance. We believe everyone can dance. We feel sharing ourselves with people in our workshop will open some gate in their mind, to grow or learn something that can make either a small or big change in their life.  We are happy to continue sharing because over the years we’ve witnessed tremendous change in many people lives – that is our biggest motivation today.

Neocha: 你是如何传授舞蹈的?

Bilal Malik: 我们真的不认为自己是老师,我们的工作坊也不是普通意义上的舞蹈课堂。更多的是分享,而不是去教什么具体的东西。你是不能教人跳舞的。因为我们相信,每个人都会跳舞。但是通过分享,我们可以帮他们变得更放得开,去成长或学习,让他们的生活产生或大或小的改变。我们很高兴可以继续这样的分享,因为多年来,我们已经见证了很多人在生活上发生的巨大变化,而这也是我们今天最大的动力。



Neocha: If you think about the bigger picture and the vision for Quick Style, what role does China or Asia in general play in it?

Bilal Malik: For Quick Style’s vision for the future, China – and Asia as a whole – is very important for us. We grew up as Asians in a Western country like Norway. We see ourselves as Norwegian with a unique cultural understanding because of our strong cultural ties through our families. We were lucky to grow up in a place that’s very open-minded. Many people or countries do not have that privilege. We believe we have the experience, knowledge, and sensitivity to build cultural bridges between different countries. Whenever we interact with people, we choose to go deeper and find what people really feel and like because we care about them.

Asia is a very important place for us. You can find inspiration and discover strong cultural roots almost everywhere. We really believe that art is for everyone and that art is a very important thing for the society. This is why we want to make sure we continue to inspire people with our art and keep growing the movement of creative and cultural interactions.

Neocha: 如果你从整体来看,从Quick Style的愿景来考虑,中国或亚洲扮演什么角色?

Bilal Malik: 在Quick Style的未来规划中,中国和亚洲都是非常重要的。我们是在像挪威这样的西方国家长大的亚裔。我们是有着独特文化见解的挪威人,那是我们家庭所带来的深厚文化联系。我们很幸运,可以成长在一个开明的国家里。很多人或国家就没这么幸运了。我们相信,我们有足够丰富的经验、知识和敏感度,去在不同国家之间建立文化桥梁。每当我们与别人互动时,都会真的去深入地了解他们真正的感受和喜好,因为我们真的关心他们。


"We believe everyone can dance." - Bilal Malik

Facebook: @thequickstyle
YouTube: ~/TheQuickStyle
Instagram: @thequickstyle
Twitter: @thequickstyle


Contributor: Aleesha Suleman
Images & Videos Courtesy of Quick Style & Sinostage

脸书: @thequickstyle
YouTube: ~/TheQuickStyle
Instagram: @thequickstyle
推特: @thequickstyle


供稿人: Aleesha Suleman
图片与视频由Quick Style与Sinostage提供


Written in not-so-perfect English, a sign at the Bangkok Railway Station reads, “Travelling by Train is Comfort, Economical, Fast and Safe.” This nostalgic form of transport has long piqued the curiosity of Thai photographer, Watcharawit Phudork, who created his series, DELAYED, centered around the 19-hour train journey from Bangkok to his hometown of Hat Yai.

乘火车旅行,舒适、经济、快速、安全”—— 这是曼谷火车站的一个标语。这种传统交通方式,激起了泰国摄影师Watcharawit Phudork的好奇心,将镜头对准从曼谷到他的家乡合艾共19个小时的火车旅程,创作出摄影系列《DELAYED》(晚点)。

Phudork notes that whilst other forms of transportation excel both in speed and economically, there is a still a sizable demand for Thailand’s slowest form of domestic travel. With a mind full of questions and a camera in hand, he bought the cheapest ticket available and embarked on his near day-long journey home.


The subjects of DELAYED are noticeably from an older generation; commuters who likely accepted their longer journeys as the norm. The half empty, run down carriages inspired Phudork to explore the other side of railway travel; the inevitable abandonment caused by dwindling demand. His second series, Out of Service, lead him to visit Hat Yai train garage, where worn out train compartments are sent for repair or abandonment.

DELAYED》镜头下的对象大都是上了年纪的人;他们早已习惯了如此漫长的旅途。残旧的车厢中有一半的座位都是空的,受此启发,Phudork又去探讨火车旅行的另一面——需求下降后,那些被扔弃的火车。在第二个摄影系列《Out of Service》(停止服务)中,他前往合艾火车车库,这里堆满了送来维修和废弃的火车车厢。

“Every compartment will be brought to a garage, even if they are in a completely bad condition,” he says. This includes the compartments that were near obliterated during a bombing by the South Thailand insurgency, the remains of which have been left behind alongside other trains to wither away with passing time. Today, Phudork works out of Bangkok and continues to tell stories of disappearing slices of Thai culture through his trusty lens.


Website: watcharawit.wixsite.com
Instagram: @watcharawitwat


Contributor: Whitney Ng

网站: watcharawit.wixsite.com
Instagram: @watcharawitwat


供稿人: Whitney Ng

The Long Journey

Johan Chomet is a French photographer born in Paris. In 2013, he set out on The Long Journey, a series of travels that led him overland through Europe, Russia, Mongolia, China, Japan, Vietnam, Thailand, Myanmar, and Nepal. Most recently, Johan’s journey took him to Seoul, South Korea, where he captured a series of images that present his perspective of the city. Johan tells Neocha more about his work and his travels below.

Johan Chomet是来自法国巴黎的摄影师。2013年,他上了《The Long Journey》,进行了一场跨越欧洲、俄罗斯、蒙古、中国、日本、越南、泰国、缅甸和尼泊尔的漫长旅程。最近,Johan又去了韩国的首尔,在那里,他拍摄了许多照片,记录下他眼中的这座城市。Johan跟Neocha分享了许多关于他的作品与旅行的故事。

Neocha: What’s your process for planning your travels?

Johan: I never have a plan or route. I don’t try to organize anything in advance. I usually get transportation and visa sorted to my first destination and then take it from there. It gives me a lot more freedom as I don’t have to be somewhere at any specific time and can change my plans at the last minute if I feel like it. I also try not to have any time constraints.

Traveling overland is a totally different experience. You have to endure every kilometer of your trip, you have to find your way, and you have to deal with uneasy, sometimes unpleasant, situations. But you also get to live and share so much more. You see the landscapes changing and get to meet people along the way. To me, travel means freedom. It means adventures, meeting people, seeing things from a different perspective, and obviously photography! Travel and photography can hardly be separated for me.

Neocha: 你是怎样计划你的旅行的?

Johan: 我从来不会做计划或设计路线,我不喜欢提前计划好任何事情。我一般只会先把第一个目的地的交通和签证办好,然后就出发。这样我可以有更多的自由,因为我不需要在特定的时间到达某个特定的地方,也可以随时改变计划。我也尽量不给自己时间上的限制。


Neocha: How did your trip to Seoul come about?

Johan: I really had no idea about what to expect when I decided to go to Seoul. I had been in Japan for a few months and my visa was expiring, meaning that I had to leave the country for a while. South Korea had always been on my list, and I was really looking forward to seeing it for myself, as for some reason I never got to see many images of the country. When I got to Seoul, it took me about 24 hours and a lot of walking around the city to take my first photo. Things were a lot less accessible and obvious than in Japan, and it felt like I had to soak it all in before I could start taking any photographs.

Neocha: 为什么会想要去首尔?

Johan: 我一开始决定去首尔的时候,我真的没有带着什么特别的期望。当时我已经在日本呆了几个月,签证快要过期,所以我要离开日本一会儿。韩国一直是我想要去的国家之一,我也很期待去这个国家,但不知道为什么,我一直很少机会看到关于这个国家的图片。刚到首尔的时候,我在这座城市里逛了很久,过了快24小时才拍下第一张照片。比起日本,这里的一切更难以接触,更隐晦,感觉就像我必须要深入其中,才能拍到想要的照片。

Neocha: What were some of your first impressions of the city?

Johan: Seoul had been very confusing for me at first, as I could see very little related to its past and history, and what I could see did not always feel coherent. Architecture in many parts of the city made me feel like I was in some sort of communist country with all these identical concrete buildings shaping the landscape, and just a few kilometers away you’d find yourself walking on huge avenues filled with hundreds of high-end shops, and you’d be reminded that you were in a country that’s embraced capitalism like no other.

Another thing that struck me was the overabundance of churches everywhere. Every direction you look, you’d see them – red neon crosses that have invaded Seoul’s skyline. Talking about neon, it’s something I’ve been shooting a lot of lately. I love the light and the atmosphere that it creates. Neon definitely feels a little bit retro, but at the same time, it keeps us fantasizing about these futuristic vertical metropolises.

Neocha: 你对这座城市的第一印象是什么?

Johan: 一开始,首尔让我感到很困惑,我很难看到这座城市与其过去和历史的关联,我所看到的事物也总是感觉不是很一致。很多地方的建筑让我感觉这是一个共产主义国家,一模一样的凝土建筑物,组成了这座城市的景观,然后仅几公里之外,就是宽阔的商业大道,充满数以百计间高端商店,这时你才会意识到,这也是个不折不扣的资本主义国家。


Neocha: As a film photographer, what are your thoughts on the film versus digital debate?

Johan: There shouldn’t be any final conclusion about film or digital – they both have their pros and cons. Digital is easy to use, convenient, accessible to everyone, and gives flawless results. Unlike film, the processing is instantaneous, costless, and allows for endless post-processing modification. As always, industries deliver what consumers are asking for.

Film is expensive and frustrating. There’s no insane post-processing to make dull images look great in the end. You can’t take hundreds of photos in a day, hoping to have a good one in the end or take the same photo over and over again until it looks good on-screen. You have to get it right the first time, and this is without a doubt the best way to learn. Shooting mechanical cameras and film gives me the feeling that I’m part of the process, that I’m in control, and that I’m actually making the photo. Working with film, I realized that I was spending a lot more time on framing and working on composition, and more importantly, I would not rely solely on the camera for the result. If your photos are not good enough, you can’t blame the autofocus or justify it by the fact that you didn’t have the money for that ISO 204800 camera. If your photos aren’t good, it’s simply because you’re not a good photographer. Technology in photography doesn’t make things better. It just makes things more convenient.

Neocha: 作为一名用胶片拍摄的摄影师,你对于胶片摄影与数码摄影之间的争论有什么看法?

Johan: 对于胶片摄影与数码摄影之间的争论,应该永远也不会有最后结论,这两者都有各自的优点和弊处。数码摄影更容易、更方便,所有人都可以使用,拍出来的照片也很不错。与胶片摄影不同,数码摄影即时显像,不需要成本,也可以有无休止的后期修改。每个行业都会努力提供消费者所需要的产品,这一点向来如此。

而胶片摄影的成本更高,也往往容易令人沮丧,你不可以疯狂地进行后期处理,将一张原本平庸的照片变成一幅棒极了的照片;你也不能一天拍好几百张照片,然后指望其中会有一张好照片;或是一遍又一遍地拍同一张照片,直到在你屏幕上的照片看起来不错。你必须在第一次按快门就拍好,所以这无疑是学习摄影的最佳途径。用机械胶片相机和胶片拍摄,让我感觉自己成为了这个创作过程的一部分,我有控制权,我感觉这才是真正地在创作一张照片。用胶片拍摄时,我发现自己会花更多时间思考构图,更重要的是,我不会全然依赖相机。如果你的照片不够好,你不能说是自动对焦的问题,也没有藉口说是因为你没有足够的钱,买一台ISO 204800的相机。如果你的照片不够好,只是因为你不是一个好的摄影师。在摄影方面,科技不会让照片拍得更好。它只会让拍照变得更方便。

Neocha: How would you summarize your approach to photography, and what are some recurring themes in your work?

Johan: I used to take a lot of photos of people in busy places, mostly cities, of people in motion, people that would catch my attention. I’ve never tried to make any specific statement with my photos. I just want my photographs to be a reflection of a time and place. They’re just snapshots. I usually go out walking with a camera in my hand and take photos of the things that I react to. I don’t believe photography should be too cerebral, and I try not to overthink my shots. I like spontaneous things.

As I mentioned, film photography changed my approach a little. It forced me to take my time. It helped me to be more patient, and so I started to photograph things differently – more still images, pictures with no people, empty spaces. I also started paying more attention to colors and geometry. When I’m traveling, things are also a bit different. I try to build a series rather than taking a bunch of candid shots without any specific theme.

Neocha: 你如何描述自己的摄影方式,你的作品中的常见主题有哪些?

Johan: 我曾经拍过很多人们在繁忙地方的照片,大多是在城市,拍摄一些行动中的人们,拍摄那些会引起我注意的人。我从来没有试图在我的照片中表达某种特定的态度。我只想通过自己的照片记录某个时刻和地方……它们只是一张张快照。我通常拿着相机就出门散步,看到想拍的事物就拍下来。我认为摄影的时候不需要思考太多的事情,我在拍摄时尽量不去考虑太多。我喜欢自然而然的东西。


Neocha: Are there any particular themes or lasting impressions from your series in Seoul?

Johan: Culturally, It feels like there’s this huge gap with massive differences of interests and lifestyle between generations. South Korea, and Seoul probably even more, has been changing so much and in such a short period of time. Because so many younger generations of South Koreans are able to travel and study abroad, I guess many came back with a different idea of what they wanted for their country and for their lives. South Korea has been heavily impacted by Western culture, but it feels like its people managed to adapt and blend it to their own culture, making it theirs. I definitely want to go back to South Korea and focus more on the youth next time.



Neocha: What is your personal philosophy towards photography? What does photography mean to you?

Johan: To me, photography is about accurately remembering and capturing real life for future generations. Photographers are witnesses of time, documenting life. Some photographers are talented enough to add emotions and beauty to their images, to get reactions out of their viewers. I hope that people can see my photographs in 30, 40, 50 years in a different context. Who knows what will have become of photography and the world in general by then.

My relation to photography is very personal – it’s almost a kind of therapy for me. Walking with a camera in my hands is one of the rare moments when I manage to completely focus my mind on what I’m doing. It forces me to be in the moment, and it stimulates me. It keeps me curious and gives me the motivation to make new projects, or even just to simply go outside and do something.

Neocha: 关于摄影,你的个人理念是什么?摄影对你来说意味着什么?

Johan: 对我来说,摄影是要准确地记录和捕捉当下的现实生活,留给未来的人们看。摄影师是时间的证人,生活的记录者。一些才华横溢的摄影师能把情感和美融入到他们的照片中,引起观众的情感共鸣。我希望在30、40或50年后,不同时代的人们可以看到我的照片。谁知道到时候,摄影和世界会变成怎么样呢?




Contributor: George Zhi Zhao



供稿人: George Zhi Zhao

A Route of Contrasts



Cesar Ruiz Preciado is a Spain-based UX designer who, beyond design alone, has found a passion for the art of filmmaking. This interest stems from his travels and his enjoyment of capturing realistic portraits of local life. In Vietnam, the newly released addition to his series of short travel films, Preciado traverses the entirety of the beautiful country from north to south. Traveling on a combination of motorcycles, bicycles, trains, and boats, Preciado explores the tropical jungles of Sapa and Tam Coc as well as the hectic, moped-filled streets of Hanoi and Ho Chi Minh City. He describes his journey through Vietnam as an exhilarating experience filled with contrasts.

Cesar Ruiz Preciado是一名居住在西班牙的UX设计师。设计之外,他也是一位热爱拍摄短片的电影人,Preciado喜欢在旅行的时候用镜头记录下所去之地的风土人情。 短片《Vietnam》正是他旅行短片系列的其中一部。从越南北部的河内市一路向南到达胡志明市,他骑过摩托车和自行车,也乘过火车和船,经过了Sapa (沙壩)和Tam Coc (宁平)的原始丛林,再去往塞满路人和摩托车的繁忙城市,Preciado形容这是一场充满对比碰撞的旅途。

Website: ruizpreciado.com
Vimeo: ~/ruizpreciado


Contributor: Ye Zi



供稿人: Ye Zi

People of the Music



The shrine has a mosque-like roof, white as a meringue. People, some in robes, walk among evergreen trees laden with jackfruit. It’s the rainy season in Bangladesh and everything is hot and wet. Muhammed Ali fixes us with a calm gaze beneath authoritarian eyebrows. Behind him, a woman sweeps around the grave of saint Lalon Shah and that of his mother. The two six-foot-long prisms are covered with patterned material and spicy smoke threads through latticed burners. More of Lalon’s disciples are buried outside the small mausoleum. Ali points out one of the graves. “My father lies there. I inherited the role of caretaker from him,” he says. He takes us to the main hall. We slip off our shoes and step onto cool, white stone. Inside, devotees recline in the midday heat. Women and children sit around bags of spicy peas and rotis, their saris the color of oak and red squirrels and emerald. Lalon Shah lived and taught here, in Kushtia, Bangladesh, throughout the 19th century. He died in 1890 aged over 100 years old.

这座陵墓的白色屋顶充满清真寺风格,看上去像是一块巨型蛋糖霜。常绿乔木菠萝蜜树林中,人来人往,其中还穿插着穿着长袍的僧人。正值孟加拉雨季,一切炎热又潮湿。Muhammed Ali凝视着我们,目光平静而肃穆。在他身后,一个女人正在清扫圣人Lalon Shah和他母亲的陵墓。两个六英尺长的棱柱,被布满花纹图案的材料覆盖着,一缕缕刺激的烟雾从镂空的焚烧器里飘出来。Lalon的其他弟子被埋在了小陵墓的外面。Ali指着其中一处墓地,说:“我的父亲就埋在那儿。我继承了他管理者的职位。”我们跟着他来到主殿,脱掉鞋子,踏上冰冷的石头地板。在炎热的正午,信徒们正在殿内斜躺着。女人和儿童围着一袋袋辣豌豆和罗蒂斯坐着,头上戴着橡木色、红棕色和翡翠绿色的纱丽布。19世纪的时候,Lalon Shah就在孟加拉的库什蒂亚这里生活和教课。1890年逝世时,他的年龄已经超过100岁。

“Lalon was one of the most influential mystic saints of the Indian subcontinent. He inspired millions with his songs,” says Lalim Haque, a researcher and Lalon expert. “His lyrics are so profound. He has been able to touch the lives of not only people who have a taste for music but all people.” Haque said Lalon’s songs, especially when heard in their original Bangla, have the power to propel people to spiritual heights. Estimated to have composed thousands of songs, Lalon and his followers went on to influence 20th-century greats like Bengali poet Rabindranath Tagor, American poet Allan Ginsberg, and even Bob Dylan. To contemporary Bangladeshis, he’s like Shakespeare, Martin Luther King Jr., and Eckhart Tolle rolled into one.

Lalim Haque是一名研究学者和Lalon专家,他说:“Lalon 是印度最有影响力的神秘圣人之一。他用音乐激励着无数的人。他的歌词如此深刻,他所触动的不仅仅是爱好音乐的人,而是所有人的生活。”Haque觉得,Lalon的音乐,特别是当它们以原始孟加拉语唱出时,拥有提升人们精神境界的力量。据估计,Lalon和他的追随者谱写了上千首歌曲,许多20世纪的文学和音乐才子都受到过他们音乐的影响,譬如印度诗人泰戈尔(Rabindranath Tagor),战后“垮掉的一代”代表诗人艾伦·金斯堡(Allan Ginsberg)和民谣歌手鲍勃·迪伦(Bob Dylan)。对于现代孟加拉人来说,他就像是集莎士比亚(Shakespeare)、马丁·路德(Martin Luther King)和心灵作家艾克哈特·托勒(Eckhart Tolle)于一身的伟人。

Outside the shrine, there is a park overlooked by a ten-foot portrait of Lalon. The air wafts of weed and tobacco. Rumana, a former lawyer, has been a full-time Baul for 22 years. She plants a clay pipe between her fingers, cups her hands and inhales. She is charismatic, intelligent, and, unlike many of her companions, reveals clean white teeth whenever she smiles, which is often. She can speak English but refuses to be interviewed until we come back with a translator, saying that Bengla is the only language she can use to describe these sacred things.

在陵墓之外的一个公园里,放置着一个高达10英尺的Lalon雕像。雕像上布满了杂草和烟草。前律师 Rumana 已经是一名有 22 年经验的全职巴乌尔。她的手指间夹着一根陶土烟斗,她双手掬起,吸了一口烟。她是一位漂亮而聪明的女性,还很喜欢笑,和她的许多同伴不同,她在笑的时候,会露出一口洁白的牙齿。她会说英语,但拒绝用英语接受采访,直到我们带回了一位会说孟加拉语的翻译,她才肯接受采访。她说,神圣之物只能用孟加拉语来讲述。

After returning with a translator, she tells us that she smokes weed every day to help focus and access a meditative state. “We believe that Lalon’s songs are as important as the verses in the Quran. In Islamic law people are obliged to recite verses from the Quran every day; similarly, we Bauls sing Lalon’s songs every day,” Rumana says. She exhales a plume of smoke and passes the pipe to a friend with a matted beard and bloodshot eyes. She picks up her ektara and starts to pluck, making up for her rudimentary singing talents with her sincerity. Her bearded companion calls for tea, prompting a sari-swathed woman in a nearby stall to bawl at her daughter, who jumps up and soon arrives with tiny cups of tea that would be unpalatably strong were it not for the large scoops of sugar.

有了翻译之后,她告诉我们,她每天都会抽食大麻,这样可以帮助她集中精神,达到冥想的状态。“我们相信,Lalon的音乐和在《古兰经》的经文一样重要。伊斯兰教法要求人们每天诵读《古兰经》;同样的,我们巴乌尔人也会每天唱颂 Lalon的音乐。”Rumana 说。她呼出一口烟,将烟斗传给旁边的友人。她的朋友长着一脸乱蓬蓬的胡子,双眼布满了血丝。她拿起Ektara(孟加拉单弦琴),开始弹奏。虔诚的心弥补了她质朴的歌声。她留着胡须的友人向邻近一个摊档点了一杯茶,裹着纱丽的女摊主把蹦蹦跳跳的女儿叫来,让她把几杯茶端来。如果不是加了好几大勺的糖,这些茶会浓得难以下咽。

Muhammed Ali places his teacup down on the shrine floor and strokes his beard. Behind him, a Baul group start to sing “A Strange Bird,” one of Lalon’s favorite songs. Below is the song translated by Azfar Hussain.

“Look, how a strange bird flits in and out of the cage!

O mind, you are a bird encaged! And of green sticks
Is your cage made, but it will be broken one day.
Lalon says: Open the cage, look how the bird wings away!”

Even though I don’t understand Bengla, the song touches my heart with its longing; it makes me want to rush over to someone and fling open my arms. There is no applause when it’s over, instead, the Bauls bless a finished song by praising the lord, saying “shai shai, shai shai.”

Muhammed Ali将茶杯放在陵墓地板上,捋着他的胡子。在他身后,一群巴乌尔音乐人开始哼唱Lalon最喜欢的歌《一只怪鸟》(A Strange Bird),Azfar Hussain翻译了其中的歌词。



尽管我不懂孟加拉语,但这首歌所诠释的渴望之情触动了我的心;它使我想要跑向某人的怀中,张开我的双臂。歌声结束时,没有掌声。因为一般歌唱完毕后,巴乌尔音乐人喜欢说一个词来代替掌声,他们会说:“shai shai(我的主), shai shai(我的主)”。

Contributors: Nathan ThompsonJeremy Meek
Photographer & Videographer: Jeremy MeekNathan Thompson

供稿人: Nathan Thompson, Jeremy Meek
图片与视频摄影师: Jeremy MeekNathan Thompson

Myeongdong Cat Café



Hidden deep within a meandering maze of boutique shops and restaurants in Seoul’s busiest shopping district, the Myeongdong Cat Café is a place where people can go to enjoy a coffee or tea, while playing with a wide variety of adorable kitties.


The café houses about 40 cats, from more than 10 different breeds, that all roam freely alongside café-goers. If you are a cat lover but are unable to have a cat as a pet or don’t want the responsibility of caring for one at home, then this is the place for you.


Upon entering the café on the fourth floor, visitors are asked to kindly remove their shoes, put on slippers, pay a door fee, and to refrain from overfeeding the kitties. Inside, the café looks like a cat’s playground filled with toys, cushions, and cardboard houses.


There are all sorts of cats roaming around the café: Burmese cats, orange Tabby cats, black cats, playful cats, little kittens, shy anti-social cats, sleeping cats, cats wearing costumes, and fat cats. Which kind is your favorite?

各种各样的猫在咖啡馆里悠闲地走来走去: 缅甸猫、橙斑猫、黑猫、调皮活泼的猫、小猫咪、比较害羞的猫、爱睡觉的猫、穿着衣服的猫、还有胖胖的猫。你最喜欢哪一种呢?

The most popular cat at the café is a rarely seen, hairless breed, called the Sphynx cat. For many visitors, this is usually the first time they will have ever encountered this kind of unique cat. Bald, wrinkled, and a bit fat, this highly social cat draws a lot of attention wherever she goes.


After a busy day of shopping or a Korean BBQ dinner in Myeongdong, be sure to head straight over to the cat café for a relaxing time playing with some cute kitties. But if the cats aren’t enough to satisfy your needs, Seoul is also home to a number of dog cafés, sheep cafés, and raccoon cafés. Amazing!


37-14, Chungmuro 2-ga, Jung-gu
Seoul, South Korea




Contributor, Photographer & Videographer: Leon Yan

37-14 忠武路2街



视频摄影师与图片摄影师: Leon Yan

Black & White Tokyo

Veteran Japanese photographer Junichi Hakoyama is best known for his minimalist black-and-white stills that he captures on the streets of Tokyo. Armed with his Leica M Monochrom, Hakoyama creates alluring images with bold lines and high contrasts through his effective use of light and shadow. The result is a beautifully understated monochromatic series that he has simply titled Tokyo. Every shot carries a soothing balance of proportion and geometric structure, which transforms a simple subject in a common setting into a moment full of purpose. See more of his work below.

日本资深摄影师Junichi Hakoyama凭借在东京街头捕捉的简约黑白摄影作品而闻名。通过他的Leica M Monochrom 相机,他用大胆的线条和高对比度的光影组合呈现了一系列出色的影像作品。他将这个精美而低调的黑白摄影作品系列简洁地命名为《东京》(Tokyo)。每一张照片的比例和几何结构都有一种令人看上去很舒服的平衡,将人们常见的环境和普通的人物定格为一个充满目的性的时刻。一起来欣赏一下他的作品吧。

Flickr: ~/junichihakoyama
Instagram: @junichi_hakoyama


Contributor: Whitney Ng

Flickr: ~/junichihakoyama
Instagram: @junichi_hakoyama


供稿人: Whitney Ng




Based out of Shanghai, Marc Ressang is a Dutch photographer and videographer whose recent travels took him to Tajikistan. There, he shot Buzkashi, a short film offering an intimate look into how one of the oldest and most violent sports in the world is played. Buzkashi, which roughly translates to “goat pulling” in Persian, is a highly dangerous sport. The fiercely competitive sport calls for players to undergo extensive amounts of training prior to ever competing. Imagine polo but with more aggression, more competitors swarming the field, and instead of using a ball, they opt for a decapitated – and often times eviscerated – goat carcass.

荷兰摄影师兼电影人Marc Ressang目前生活在上海,他最近到了塔吉克斯坦旅行。在那里,他拍摄了短片《Buzkashi》,近距离地观察当地的抢羊比赛“buzkashi”——世界上最古老和最暴力的体育项目之一。“Buzkashi”是波斯语,可以大概地翻译成“拉羊”,这项比赛的竞争异常激烈,且有一定的危险性,所以大多数选手在比赛开始之前都要先进行艰苦的训练。可以把这项比赛想像成更激烈的马球比赛,有更多的竞争者,而他们要抢的不是一个球,而一头通常被斩首(或已经取出内脏)了的羊的尸体。

While buzkashi can be traced back to nomadic Turkic tribes, its exact origins are up for debate. In modern times, it’s been established as the official national sport of Afghanistan. However, derivative forms of the sport have made its way out of the country, including a form of buzkashi in western China that’s played on yaks instead of horses. In Ressang’s short film, rather than the more structured, team-oriented playstyles seen in Afghanistan, he presents the most common playstyle of Tajikistan – a sprawling, chaotic free-for-all where individual riders attempt to wrestle control of the carcass and score a goal. Watch the stunning video in full above or scroll down to see more images from Ressang’s trip to Tajikistan.


Website: marcressang.com
Vimeo: ~/marcressang
Facebook: ~/MarcRessangPhotography
Instagram: @unioz


Contributor: David Yen

网站: marcressang.com
Vimeo: ~/marcressang
脸书: ~/MarcRessangPhotography
Instagram: @unioz


供稿人: David Yen