You may well have already seen Mar Lébou’s The Book of Molfars in The Re-Enchantment Issue. After publishing it, we received an unusual number of (serious) emails, asking us where one can purchase said book. The answer? If it wasn’t clear from his photo essay, Lébou says “the book is within us.”
The artist was born in Russia, and in his late 20s emigrated to Portugal. He is better known by another name and is a respected documentary photographer. His photos have appeared in National Geographic, the BBC, and The Guardian, among others, and he has worked with various NGOs. The Book of Molfars was initially published as a multimedia project by Bird in Flight. These photographs offer an intimate portrait of a community of shamans living in the Carpathian Mountains, who live with nature, not against it. We had a chat with Lébou about the making of this project.
Elizabeth Kim You're a documentary photographer known by another name, in a well-respected agency. Why did you decide to do this work under another name?
Mar Lébou As a documentary photographer I usually cover humanitarian and environmental issues, like climate change or child slavery. At the same time in my personal life, I have for many years been exploring the relationship between humans and the world of the Spirit. When working on Molfars project, its format didn’t fit into my “normal” photography life so I decided to publish it under my spiritual name, Mar Lébou, which I received during one mystical initiation in Senegal. Some of my colleagues know about this project and the name I work under. I am quite excited to experiment with publishing some of my works under a different name, I think it’s not an unusual practice.
EK How did you learn about the Molfars?
ML In 2018 I visited Ukraine many times and really wanted to explore the Hutsul magical traditions in the Western part of the country. That’s how I discovered molfars. I partnered up with a Ukrainian online magazine, BirdInFlight, and they sent me to the Carpathian Mountains to find the mysterious magicians.
EK What drew you to this project?
ML I am currently working on a big project about world shamanism and wanted to see what I could find in Ukraine. Back in 2010-2011, when I lived in Mozambique for a year, I was working on a project titled ‘The Spirit of Mozambique’ and met many shamans and traditional healers. I also underwent a spiritual initiation in the Nyau brotherhood. Those experiences really opened me up to the reality of the spiritual world. Earlier in life, I was involved in religious and spiritual life in the Eastern Orthodox tradition and in the Islamic Sufi path where I underwent several initiations as well, experiences based on belief. Meeting with the African shamans turned belief into knowledge, based on direct experience, if you understand what I mean. Since then I regularly go to Africa and continue my exploration of those traditions, many of which still remain hidden. A few years ago I’ve decided to expand this exploration and look for other world shamanic traditions. That’s how Molfars have become a part of it.
EK Was it hard to gain access? And were you able to document everything?
ML It was and wasn’t easy at the same time. When you work on projects like this you need to understand that not everything will work under the normal rules and circumstances. Some potent and mysterious things happened during the course of shooting. For example, on a number of occasions, we tried to get into the village to see one famous molfar lady, and we weren’t able to. Every time something would happen—the car broke down, people would give us the wrong direction. It was clearly a sign for us not to disturb that lady. Also, some molfars do not want to go public, as several years ago one very famous molfar, Mykhailo Nechay, was assassinated because of his work. I had only two weeks in the region and of course, it wasn’t enough time to find and visit all of the molfars. But those we visited shared some of their knowledge with us.
EK How long has this project been in the making?
ML Two weeks in the field and several months of home-based work. When I brought back the images from Ukraine, I realised it would not be a normal documentary-style project. It was asking for something more. The molfars wanted to speak through it themselves. That’s why the text (as well as the whole format) is quite esoteric and has many riddles and hidden messages. Those who have eyes shall find them. When I was writing the text I was receiving many ideas in my meditations and dreams—all of them are reflected in the project. I’ve also researched many old Ukrainian books on folk magic, grimoires and even underwent some shamanic ceremonies to better understand what they feel when they do it. It was quite a journey and I am happy with the result.
EK What kinds of rituals and beliefs do molfars typically practise/hold?
ML It varies. Some are healers or herbalists, others invoke spirits and do spells. With a few exceptions, most of them are involved in village magic and their practices are related to sowing or harvesting rituals, healing wounds, connecting with elements and natural places of power, protecting homes and people from the influence of the bad spirits, and so on.
EK For those keen to learn more about molfars and Ukrainian shamanism, are there any books you can recommend?
ML I could recommend the classic book Shadows of Forgotten Ancestors by Ukrainian writer Mykhailo Kotsiubynsky. Another interesting read is a book printed in 1909, called Materials about Hutsul demonology, written by Antin Onischuk. I’m not sure if there is an English version, but those who read Russian or Ukrainian will enjoy it.
EK What have you learned about yourself and the world while working on this series?
ML Well, many things. I had another confirmation that we are all connected, and not only through our physical existence. Messages from the molfars were reaching me even after I left the Carpathian mountains, when I got back to my home in Thailand. There, while working on drawings, poems and text, I received a message, telling me to experience the burial ceremony, a very ancient initiation practice that is also used for healing. The famous molfar, Nechay, did it once a year. I decided to do it on my 38th birthday for 38 minutes and asked my friends to witness it. Spending 38 minutes buried alive, with a bamboo straw in my mouth as the only connection with the outside world, was quite an experience! I had many visions and realisations while underground, which I reflected on in this project. But the best thing was reconnecting with my father, who died at the age of 38… When I left my “grave” I felt something had shifted. I am not the same person I was before.
Mar Lébou’s The Book of Molfars appeared in The Re-Enchantment Issue. You can also experience the multimedia project via Bird in Flight. Follow the artist on Instagram @marlebou.
All images © Mar Lébou