New Documentary on Dolgan Tribe and Mammoth Tusk Trade Revealed

Tamara Kotevska, a twice Oscar-nominated director known for “Honeyland,” has announced her next venture after her latest film, “The Tale of Silyan,” making its debut at the Venice Film Festival. Her new creation revolves around the indigenous Dolgan community, located in Siberia. Entitled “The Mammoths That Evaded Erlik Khan’s Dominion,” this documentary dives into the harsh and demanding conditions of the Yakut Tundra through the lens of Vladik, a reindeer hunter caught between tradition and modernity.

The young, resilient hunter wrestles with the decision to continue his ancestral and time-honoured practices of hunting, taught by his father, Roma, or to shift towards a contemporary and capitalist means of subsistence by unearthing and selling the tusk of the extinct woolly mammoth. Roma, deeply entwined with the ancient ethos of the Dolgan tribe, urges his son to heed the ancestral wisdom that views disturbing the mammoth remains as an ill omen.

However, the allure of mammoth tusk trading pulls Vladik towards this lucrative path. This choice propels him onto an uncertain journey, which may demand unforeseen tolls on his familial bonds, cultural roots, and the delicate balance of the Tundra ecosystem. The documentary ‘The Mammoths That Evaded Erlik Khan’s Dominion’ is a joint effort of Alecrim Vagabundo from Lisbon, Denmark’s Real Lava, L.A.- and London-based company The Corner Shop, and the production enterprises Ciconia Film and Kotevska and Dakar.

Kotevska started her solo journey with “The Walk,” which was showcased at various film festivals. Her endeavour to work on “The Mammoths…” was inspired by the iconic book “Before They Passed Away” by photographer Jimmy Nelson. It offers a poignant glimpse into the lives of the tusk hunters in Siberia, surviving their harsh conditions while maintaining their indigenous traditions in the face of relentless modernization.

The team undertook a grueling journey to access the heart of the Tundra. By hopping onto a single-prop plane, drifting on a rubber dinghy in the icy Anabar River, and finally riding by quad bike, they reached the distant Dolgan village of Yurunkhaya. Their journey continued further north, where they stumbled upon reindeer herders residing in temporary settlements.

These settlements, known as baloks, represent the Dolgan’s heritage and pragmatism. These movable log cabins, enveloped by reindeer skins and assembled on sleds for convenience, are striking symbols of their nomadic lifestyle. Embracing the local culture, the team lived amidst the tribe in Yakut Tundra for a month, adjusting to the local diet of reindeer meat and sleeping under the starlit summer sky.

The landscape will experience a drastic transformation by the time the team returns for continuation of filming at the end of November. To edify themselves about surviving extreme temperatures that can drop to -40 or -50 degrees, the filmmakers have wandered off to Denmark for what was termed ‘basic training’. At such extreme temperatures, seemingly trivial activities can turn fatal.

The team realized that their best survival strategy was to trust and obey the advice of the Dolgan people. ‘The Mammoths…’ introduces viewers to the wisdom of the Dolgan tribe, which has traditionally relied on reindeer herding and fishing for survival. This serene way of life is now confronting the forces of capitalism and the profitable mammoth tusk trade.

The younger generation is lured by these modern temptations, causing rifts within the community. The stark choice that Vladik, the young reindeer herder, must make now stands as a powerful symbol of the larger struggle the Dolgan people face. This struggle is against the encroaching modernizing forces, although the story ultimately hints at redemption.

Kotevska’s body of work continues to explore pressing themes in contemporary society, delving deeper into how global capitalism and rapid modernization shape and transform our lives. Her films often carry a message of the demise of ancient wisdom that our survival depends upon, making them a critical commentary on the times we live.

She carries on the mission of documenting the struggles of indigenous communities trying to retain their old ways in the face of change. This passion for narrating the tales of cultures at the brink of extinction is what drives her to continue creating documentaries. Her poignant storytelling style is a testament to her commitment and dedication to sharing these narratives with the world.