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Journey to Maasai Land
Rombo Manyatta, Kenya — 2016

I lived for several days in the Maasai village of Rombo Manyatta, in southern Kenya, sharing daily life with the community. My presence was quiet and gradual, shaped by observation rather than intervention, allowing moments of everyday life to unfold naturally in front of the camera.

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The photographs document ordinary gestures: herding livestock, collecting water, washing clothes at the river, resting in the shade, or moving through the village at night. Livestock plays a central role in the community’s life, shaping both its economy and social structure, while dogs guard the village perimeter after dark, protecting it from wildlife roaming the surrounding savanna.

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Education, work, and responsibility intersect early in life. Older children often take on herding duties, while younger siblings are more likely to attend school. Women manage the household and much of the daily organization of village life, while men spend long periods away with the cattle.

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This project is not intended as a comprehensive description of Maasai culture, but as a personal visual account of time spent within the community. By focusing on details, routines, and quiet moments, Journey to Maasai Land seeks to reflect the rhythm of everyday life as experienced from within, rather than observed from a distance.

Africa offers an intensity that reveals itself only to those prepared to slow down and listen. Its richness is found not only in vast landscapes and wildlife, but in everyday life: in colors, gestures, smells, and human relationships, particularly far from urban centers.
 

I first traveled to Africa in 2014, drawn by the great national parks of northern Tanzania. Yet the defining moment of that journey came by chance. Our driver, who was connected to a local village chief, suggested visiting a small Maasai village located inside the Ngorongoro Crater. The visit lasted only a short time, but it left a lasting impression. I was so absorbed by what I was experiencing that I did not even raise my camera.
 

As we left the village, a clear thought formed: I will return here.
 

I did not want to approach the Maasai as an observer passing through. My intention was to understand their daily life from within — to experience the savannah not as a visitor, but through proximity and shared time. Back in my country, I began searching for a way to return, fully aware of the difficulty of being accepted as a mzungu, a European photographer, within a traditional community.
 

My search led me to an interview with Catarina Jimenez, a traveler from Costa Rica who had developed a deep relationship with a Maasai community in Kenya. Through her contribution to the construction of a village school, she had earned trust and respect, and was given the Maasai name Nemeyan. I contacted her, and she immediately supported the project, offering to introduce me to the community during her next visit.
 

In May 2016, I returned to Africa, traveling to the Maasai village of Rombo Manyatta, Kenya. I was hosted by one of the women of the village and lived in a small mud hut, sharing the rhythms of daily life.

Living within the community allowed me to observe everyday routines and to recognize gradual changes taking place.

Despite the absence of electricity, modern and technological objects are increasingly present, revealing the growing influence of the outside world. The Maasai, an ancient population, continue to navigate a fragile balance between preserving their traditions and adapting to external pressures.

 

Time in the village felt expanded. Days unfolded outdoors, shaped by natural rhythms rather than clocks. Body and mind gradually adjusted to this pace, rooted in the land.

Through this experience, I became aware of something we have largely lost elsewhere — a sense of connection to time, space, and community that remains deeply embedded in this way of life.

Chants

Original raw record taken in the evening, when the children gathered around the bonfires and sang traditional chants.

Final Chants

Last evening in the manyatta. Raw record.

ANDREA CALANDRA

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