At the age of five, Dorjee Karmarong fell sick and his local healer-slash-thangka painter cut him a deal: in exchange for treatment, the young patient had to promise to become a painter. The shaman may have been joking, but 38 years later, Karmarong is a successful international artist, and now has a solo exhibition at the Siddhartha Art Gallery. ‘Karmarong: Hidden Valley in the Himalayas’ is a collection of 27 paintings spread across two floors that give the viewer a comprehensive feel for life among the Karmarong community in the remote Mugu district of Karnali. Karmarong has a distinctive style featuring clean outlines, vibrant colours and detailed natural landscapes. Animals, mountains, trees, and the sun and the moon appear constantly. It is a style that took 20 years to perfect, as the painter practised teaching in monasteries of Bangladesh, India, Singapore, and most recently in Vietnam. Mugu is one of the remotest districts in Nepal, but the Karmarong community of about 3,000 people live in about a dozen small villages in the remotest northern corner of the district near the Chinese border. They speak their own dialect. Read also: <a href="https://nepalitimes.com/review/the-present-meets-the-past">The present meets the past</a>, Pinki Sris Rana  <figure><img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241004111032_46339bbefd7b9007dedde289f8c4db9980a60e19ab5a7e0c11c5f1ba4817ba68.jpg" data-media-id="editor_1" data-image-id="20241004111032_46339bbefd7b9007dedde289f8c4db9980a60e19ab5a7e0c11c5f1ba4817ba68" data-rendition-name="original" width="3600" height="2400" loading="lazy" alt="Dorjee Karmarong NT 1"></figure>  Some of the paintings show general goings-on in Karmarong, such as harvest time. ‘The Hospitality of Karmarong’ shows residents gathering to formally welcome an important guest. “In front is someone who is still lucky to have both parents,” explains the painter. ‘Magic of Milarepa’ is a closeup of a grey, cracked yak horn on the floor. There is water on the ground next to the horn, and inside is a green-skinned monk, meditating in robes. “Milarepa was travelling with one of his students in Tibet, who was starting to act a little arrogant. They were suddenly caught up in a storm, and the saint shrank himself and sheltered in the horn, humbling his disciple,” Karmarong explains. Yaks are a constant feature in the exhibition, and the painter Karmarong has given them sentient eyes, with emotions like anger, introspection, suspicion, and even wide-eyed and crazed. “I was once told to study as voraciously as a yak grazes,” says Karmarong. Read also: <a href="https://nepalitimes.com/review/human-spiritual-existence-in-a-digital-ecosystem">Human spiritual existence in a digital ecosystem</a>, Kashish Das Shrestha  <figure><img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241004111032_271aba25a6f1eb642433ef504880407a9b36fea72a85e793a6d70e12299d9274.jpg" data-media-id="editor_3" data-image-id="20241004111032_271aba25a6f1eb642433ef504880407a9b36fea72a85e793a6d70e12299d9274" data-rendition-name="original" width="2400" height="3600" loading="lazy" alt="Dorjee Karmarong NT 1"></figure>  In the middle of ‘The Dance of the Elements’ is a face that is half yellow and half black holding a cigarette around which is coiled a multi-headed serpent. “Thia represents our animal impulses,” Karmarong explains. “It is about how nature makes beautiful things. But when humans tamper with it, something usually goes wrong.” Other pieces are even more abstract. ‘Mandala Fragment’ shows geometric shapes in vibrant colours. Says Karmarong: “It may seem chaotic to a viewer, but I can step back and see something different.” Behind Karmarong’s extraordinary skill and output is a rare life lived in harmony with fate. Even his birth was auspicious: Karmarong was born in a cave to parents returning from working in Himachal Pradesh in India on the eve of Buddha Purnima and Thursday. By age seven Karmarong’s father took him to a cave to learn Tibetan. At 13, the boy was sent to a monastery in Kathmandu and after six years he decided to pursue painting and became an apprentice to master thangka artist Palden. Karmarong trained intensively under the rigid rules of thangka painting. He then met Tenzin Norbu from Dolpo, who helped develop his spiritual connection to art. Read also: <a href="https://nepalitimes.com/review/turning-legends-into-games">Turning legends into games</a>, Vishad Raj Onta  <figure><img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241004111032_3f2d5f809a4230bbee885a2832c2e6872b743343581a96d177fae87885759d76.jpg" data-media-id="editor_5" data-image-id="20241004111032_3f2d5f809a4230bbee885a2832c2e6872b743343581a96d177fae87885759d76" data-rendition-name="original" width="2000" height="1412" loading="lazy" alt="Dorjee Karmarong NT"></figure>  As Karmarong developed artistically and spiritually, he saw art as a fulfilment of his karma. “I started feeling that, in a past life, I had been a yogi who had wanted to build a monastery but couldn’t find an artist,” he says. The yogi committed to a life of dharma to be reborn as an artist. Indeed, there are records of a yogi from Karmarong region named Jimpa Therchan, who struggled with building a monastery and was also a renowned poet and singer. Karmarong also sings, and has written ‘Turquoise Mountain: A Folktale of the Karmarong.’ The titles of the paintings are evocative: ‘Yak’s Reprieve’, ‘Echoes of the Sacred Route’, ‘The Black Yak’s Grace’, or 'The Yak and His Young Keeper.' He is also a YouTuber and his channel has singing performances, rap songs and travel vlogs. Karmarong has depicted his village as a religious, harmonious Shangri-La, although it leaves the viewer a little curious about the darker realities of the place like Milarepa’s own murky past. Karmarong has perhaps consciously or unconsciously woven his own life into the paintings: stories and destinies that translate into the real world. They show travellers leaving from or returning to Karmarong the place, or going on a pilgrimage, reflecting the artist’s own artistic, spiritual and religious journey that has taken him back to his roots. Read also: <a href="https://nepalitimes.com/review/mask">MASK</a>, Sonia Awale ‘Karmarong: Hidden Valley in the Himalayas’ Dorjee Karmarong Siddhartha Art Gallery

Vishad Raj Onta

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Review

Karmarong in Karmarong

The Imadol neighbourhood of Kathmandu Valley was among the worst hit by last weekend’s devastating floods. The Manohara River, swollen by incessant rainfall, overflowed into the settlements along its banks. A photograph taken by French anthropologist Corneille Jest in monsoon 1972 shows the Manohara meandering across a wide plain, its banks lush with ripening paddy. Two farmers cross the field carrying a kharpan, a sturdy traditional bamboo basket carried on shoulders, that has almost vanished from the Valley today. It is a tranquil view of a once-emerald Valley and its unique civilisation that blended urban living with intense agriculture on the fertile topsoil. Gazing at these images shows us the life and times of Old Nepal. This and other photographs taken by Jest during his research in Nepal’s Dolpo and Kathmandu 60 years ago are a reminder of how much in Nepal has changed, and what remains the same. Read also: <a href="https://nepalitimes.com/here-now/kathmandu-s-passage-of-time-in-photos">Kathmandu’s passage of time in photos</a>, Ashish Dhakal  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024100505108_e5eae5b7745301134e49b009d519326ea826f2e11c76b33aa63ea13734fa9d2c.jpg" data-media-id="editor_1" data-image-id="2024100505108_e5eae5b7745301134e49b009d519326ea826f2e11c76b33aa63ea13734fa9d2c" data-rendition-name="original" width="2500" height="1667" loading="lazy" alt="An anthropologist's perspective of Nepal"> <figcaption>Offering a prayer flag at a pass above Tukuche in 1963.</figcaption> </figure>  Jest visited Nepal every other year since 1960, and the exhibition itself shows us the passage of time -- it is aesthetic and evocative, a lament and sometimes deeply nostalgic.&nbsp; The exhibition is organised by Mémoires de l’Himalaya, a French association that works to preserve works on the trans-Himalayan region. Jest was a prolific photographer and out of the 45,000 negatives in his collection, &nbsp;almost 100 black and white and colour prints were selected for this exhibition at the Patan Museum. “The data researchers collect rarely helps the community being studied.. So, it was Jest's idea and ours as an organisation to give back, what we can, to the local community,” says Rémi Chaix of Mémoires de l’Himalaya, who is also one of the curators. “The field notes taken by Jest can also be accessed.” Read also: <a href="https://nepalitimes.com/here-now/making-nepal-s-history-colourful">Making Nepal’s history colourful</a>, Kanak Mani Dixit  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241004091020_eb98695b6253e9dde6f051b24596bc09060834bdba1219b9cff2ac080540c63c.jpg" data-media-id="editor_3" data-image-id="20241004091020_eb98695b6253e9dde6f051b24596bc09060834bdba1219b9cff2ac080540c63c" data-rendition-name="original" width="1500" height="3000" loading="lazy" alt="An Anthropologist's Early Glimpses of Nepal NT"> <figcaption>Members of the Tarap community at Dolpo's Drolma Pass during their pilgrimage to the Buddha-ri sacred mountain in 1960.Corneille Jest - Mémoires de l'Himalaya</figcaption> </figure>  Curated by Fernand Meyer, Kunsang Namgyal-Lama and Chaix, the first floor of the museum showcases photographs of Kathmandu Valley and the second floor is dedicated to Dolpo, especially Tarap Valley where Jest spent most of his time. This curatorial choice of placing the photographs of a place in a specific floor is important, allowing viewers to keep the two worlds separate. The photographs on the first floor are exclusive and published for the first time. There is also an 11 minute documentary on loop that captures the 1968 Seto Machhindranath festival. One does not just get to see this era but even hear its sounds. Photos of Dolpo on the second floor show how little the landscape and dwellings of this remote region has changed in the past decades, although with the road now reaching the district it will inevitably undergo rapid transformation. Read also: <a href="https://nepalitimes.com/here-now/memories-of-an-archivist">Memories of an archivist</a>, Anita Bhetwal  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241004091020_ae632fde3aac88ac90bad7e348904446b10b793d650d7bfc4a2f7a977f6f84cc.jpg" data-media-id="editor_5" data-image-id="20241004091020_ae632fde3aac88ac90bad7e348904446b10b793d650d7bfc4a2f7a977f6f84cc" data-rendition-name="original" width="2000" height="884" loading="lazy" alt="An Anthropologist's Early Glimpses of Nepal NT"> <figcaption>Attendees at a Buddhist ritual, Tarap, 1963.Corneille Jest - Mémoires de l'Himalaya</figcaption> </figure>  Some of the Dolpo photographs have already been published in Jest’s books like ‘Tales of The Turquoise: A Pilgrimage in Dolpo’. “Jest had a habit of clicking the same image twice. One would be in black and white and the other would be in colour,” explains Chaix who along with other two curators had to decide which would be a better fit for the exhibit. Jest’s photos of Dolpo are intimate and let the audience peek into the Himalayan lifestyle at the time. Researching about the Himalayan people and the culture while living in Tarap Valley, Jest developed a particular affinity for Dolpo, shares Guillaume Jest, one of Corneille’s sons, who was here at the inauguration of the exhibition.&nbsp; “I think that my father’s fondness for the population of Dolpo and their religion and culture comes from the fact that they build their way of life in a very harsh but breathtaking world of the high valleys of the Himalayas,” says Guillaume. Read also: <a href="https://nepalitimes.com/here-now/adventures-of-a-lone-archivist">Adventures of a lone archivist</a>, Alisha Sijapati  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241004091020_6cba26cf4cd2c38db65a4b00966f58ed87d46de3e01c8927f6ac1d8d3f5cadc3.jpg" data-media-id="editor_7" data-image-id="20241004091020_6cba26cf4cd2c38db65a4b00966f58ed87d46de3e01c8927f6ac1d8d3f5cadc3" data-rendition-name="original" width="2500" height="1666" loading="lazy" alt="An Anthropologist's Early Glimpses of Nepal NT"> <figcaption>Terraced maize and paddy fields during the 1972 monsoon at Imadol, which has been built over and was submerged on 28 September.Corneille Jest - Mémoires de l'Himalaya</figcaption> </figure>  Being an anthropologist, Jest’s focus is always on the people he encounters and the landscape or architecture being props. This is a rich visual documentation of what people wore, what they ate, what the houses looked like, their daily work in the fields, the harvest process, cultural rituals and celebrations. “Corneille Jest’s photographs give us a rare insight into the everyday life, culture, and landscapes of Nepal during a pivotal period in the country’s history, just after its opening to the rest of the world. They reveal the depth and diversity of Nepali culture,” says Virginie Corteval, French Ambassador to Nepal, who opened the exhibition last week. She adds: “These represent a testimony of the important work by pioneer French researchers such as Corneille Jest or Sylvain Lévi, in studying the diversity of the Nepali civilisation.” &nbsp; Read also: <a href="https://nepalitimes.com/here-now/an-archive-of-nepali-heritage">An archive of Nepali heritage</a>, Ashish Dhakal <h2>Lalita Niwas 60 years ago</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241004091020_72859aaf3e5f323bfce71e7adb8ba84fe1016e7e7323b4b3458570be22572146.jpg" data-media-id="editor_9" data-image-id="20241004091020_72859aaf3e5f323bfce71e7adb8ba84fe1016e7e7323b4b3458570be22572146" data-rendition-name="original" width="2500" height="1667" loading="lazy" alt="An Anthropologist's Early Glimpses of Nepal NT"> </figure>  The Lalita Niwas Land grab scandal is making headlines today, and has implicated the high and mighty of the land. But few know what the original palace of Subarna Shumsher Rana looked like. Corneille Jest’s aerial photograph in 1963 of the neoclassical palace gives us an idea of the grandeur and size of the complex that spread over a 7 hectare plot in Baluwatar. After the property was nationalised during the Panchayat, it has been fragmented, bought and sold numerous times. The scandal has put 18 of the 310 individuals charged behind bars. The building now houses the Nepal Rastra Bank.&nbsp; Read also: <a href="http://archive.nepalitimes.com/news.php?id=19789#.YX-e4S8w3u0">The first photographs of us</a>, Kanak Mani Dixit An Anthropologist’s Early Glimpses of Nepal 10AM-6PM Till 18 October Patan Museum

Pinki Sris Rana

The present meets the past

Nepali activist Radha Paudel who works on dignified menstruation through her foundation shows in her new book just how pervasive menstrual discrimination is around the world.&nbsp;
Menstrual Stories: An Anthology from Global South is replete with tales of stigma, taboo, mockery, disrespect, shame, teasing, bullying by boys that persists.&nbsp;
Radha Paudel is a nurse who has worked in government hospitals across Nepal, and wrote an harrowing account about being caught up in the Maoist attack on Jumla in 2002. She turned into a dignified menstruation activist because of the discrimination and ostracisation she herself faced while growing up in Chitwan.
She established the Global South Coalition for Dignified Menstruation and Radha Paudel Foundation which hosted a six-month virtual fellowship in 2023 with participants from Austria, Bangladesh, Costa Rica, Malawai, Nepal, Nigeria, the Philippines, Sri Lanka, and the UK.&nbsp;
The book is an outcome of those interactions where campaigners across the world spoke about their own experiences of having their first periods, the reaction of their families, school mates and peers.
A thread running through all the stories is that no matter where in the world women are, rich countries or poor, North or South, educated or uneducated, menstrual taboos persist to a greater or lesser degree.
There are stories of girls not telling their parents because the first bleeding was “too sensitive”, the restrictions on the freedom of young women by family members, schools not teaching reproductive health with accuracy and the right values.
In one school in Dhaka, biology text books had the chapter on sexual reproduction stapled shut. Many young men in Colombia’s conservative Catholic families even refused to answer questions in a survey about menstruation, and some confused menstruation with masturbation.
In Nepal, the lack of separate restrooms for girls in schools and shame about menstruation has contributed to the high female dropout rate after Grade 5. The practice of chhaupadi in western Nepal is an extreme form of menstrual banishment.&nbsp;
Paudel does not like the word chhaupadi because it is “too neutral”, and does not convey the discrimination.
The books also has examples of women across the world resisting the stigma and taboos, and spreading awareness.&nbsp;
A marathon runner in the UK recently ran without pads and ‘let the blood flow freely’. A Chinese athlete who won a medal at an international sports event was frank in her answer to a question from the media about her performance: she said she was having her periods.
Writes Laura Contreras-Aristizabal from Colombia: “It is ironic that despite the fact that more than half of the world’s population is made up of women and menstruating individuals, menstruation is still stigmatized and a taboo subject.”
We know there are even more serious problems of female genital mutilation in some parts of the world. But for the more pervasive and persistent occurrence of menstural discrmination, this slim volume offers practical solutions in schools and society to ensure a more dignified approach to accepting the monthly biological cycle in women without stigma.&nbsp;

Menstruation is normal, period

On 16 September, the iconic grand steps of <a href="https://www.metmuseum.org/">The Metropolitan Museum of Art (Met)</a> in New York had all the signs of closing time: hot dog vendors were packing up for the day, visitors were taking their final selfies, and Museum security had informed the skateboarders to wrap up using the steps as a ramp.&nbsp; The Met was in fact preparing for a special after-hours occasion: the pre-opening reception of its exhibition ‘<a href="https://www.metmuseum.org/exhibitions/mandalas-mapping-the-buddhist-art-of-tibet">MANDALAS: Mapping The Buddhist Art of Tibet</a>’ curated by <a href="https://metmuseum.academia.edu/KurtBehrendt">Kurt Behrendt</a>, the museum’s Associate Curator of South Asian Art. Anchoring the show is the installation ‘Biography of a Thought’, by 42-year-old Kathmandu-born artist <a href="https://www.artbasel.com/stories/tenzing-rigdol-artist-portrait?lang=en">Tenzing Rigdol</a>.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240926060912_5bc8e982c84d159c52c7348e8c8d86bb6ae07d611896c2ae10357fa115f61757.jpg" data-media-id="editor_4" data-image-id="20240926060912_5bc8e982c84d159c52c7348e8c8d86bb6ae07d611896c2ae10357fa115f61757" data-rendition-name="original" width="1875" height="2500" loading="lazy" alt="Tenzing Rigdol MET NT"> </figure>  As the world hunkered down in 2020 due to Covid, Rigdol spent the lockdowns traversing history, philosophy, Buddhist teachings and art, letting it all seep into the innermost corners of his mind and allowing it to shape what would be one of his largest and most important undertakings.&nbsp; Two years ago he was still working out his final processes in Kathmandu before putting acrylic on canvas, testing over 30 shades of blue. In his studio in Boudha, he had said: “I am finally happy with a couple of the colours, it is very important that I get it right.”&nbsp; Finally, earlier this year, the artworks arrived at The Met. In August, the artist posted an announcement of his upcoming exhibition on his social media platforms. Upon entering The MET’s Gallery 963, the Robert Lehman Wing in an atrium, visitors have multiple vantage points for an overhead view of the exhibition. Awash in natural light from the soaring glass ceiling above, guests are greeted with a panoramic view of Rigdol’s Biography of a Thought.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024092606098_53bde372631f4344b65c6d1408b410c0dcc125a162ace705ec09cb7b67775a64.jpg" data-media-id="editor_5" data-image-id="2024092606098_53bde372631f4344b65c6d1408b410c0dcc125a162ace705ec09cb7b67775a64" data-rendition-name="original" width="3024" height="4032" loading="lazy" alt="Tenzing Rigdol MET NT"> <figcaption>Photo: KASHISH DAS SHRESTHA</figcaption> </figure>  It is bold in both scale and concept. The 21 canvases add up to nearly 95 sq m of painted work. An additional 100 sq m of handwoven Tibetan carpet is part of the installation, for which Rigdol collaborated with Mt Refuge as the fabricators.&nbsp; Rigdol’s 2014 body of work, ‘My World Is Your Blind Spot’, consisted of five 1 m panels using silk, Buddhist scriptures, photographs, and focused on the issue of self-immolation. In 2011, after covertly transporting over twenty tons of soil from Tibet to Dharamshala, India, he created a three-day site specific installation work titled Our Land, Our People so visitors could walk on Tibetan soil again and later take home small packets of it. To enter this exhibition is to enter Tenzing Rigdol’s mind. It is a large mandala and the only way to to view it is to look at it from above or actually enter and walk through it. Art came to Rigdol early in life after he was awarded at age six by Queen Aishwarya. His artwork were bought for carpet designs when he was still a young boy. As a teenager, he grew up admiring the works of contemporary Nepali artists.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240926060912_1cf34be9eebab5a264672982c200ae5bea3c07e34905cee49d794efde352d872.jpg" data-media-id="editor_6" data-image-id="20240926060912_1cf34be9eebab5a264672982c200ae5bea3c07e34905cee49d794efde352d872" data-rendition-name="original" width="674" height="960" loading="lazy" alt="Tenzing Rigdol MET NT"> <figcaption>Rigdol at six accepting an award from Queen Aishwarya. Photo courtesy of Tenzing Rigdol.</figcaption> </figure>  “I can’t begin to express the love and respect I have for Nepal’s artists,” he tells us in New York. “But Indra Pradhan holds a special place in my heart. The first art exhibition I ever went to was his.” At age 15 in 1997, Rigdol actually won the Indra Pradhan Memorial Inter-School Painting Competition in Kathmandu. He earned a BFA at the University of Colorado Denver in art history of the world, but realised in college that there was so much to first learn about art in Tibet and Nepal. Rigdol was using a book of Tibetan art for show and tell in class, when his professor asked him about some of the work. He was unable to satisfactorily answer them, and found this gap in his own &nbsp;knowledge and skill unacceptable to himself. He returned to Kathmandu to the Tibetan Thangka Art School, and learnt about sand painting and butter sculpture at Shekar Chorten Monastery. In the last two decades, Rigdol has emerged as one of the world’s top contemporary Tibetan artists and thinkers, helping redefine contemporary Tibetan art. He also mentored many of the movement’s well known artists early in their careers, connecting them with international representatives, curators and collectors alike.&nbsp; His work has been exhibited in museums and galleries around the world and are in private and museum collections. In 2014, he became the first Tibetan artist whose ‘<a href="https://www.metmuseum.org/Collections/search-the-collections/623093" target="_blank">Pin drop silence: Eleven-headed Avalokiteshvara</a>’ (Ink, pencil, acrylic, and pastel on paper) was added to the Permanent Collection of The MET. It was his layered and intricate work 233x125 cm. Last year the University of Colorado awarded Tenzing Rigdol an honorary doctorate. <div class="embed-block"><iframe width="560" height="315" src="https://www.youtube.com/embed/48Zsiof6MM0?si=Kjgw653xweFbUwIh" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe>Video: KASHISH DAS SHRESTHA</div> Rigdol’s art is a seamless combination of the masterful skill of a thangka artist, the mind of a scholar, a philosophical provocateur, with the instinct and courage of a rebel and the fierce vision of a creative force. Even if one were to not dive into the depths of his art, the powerful visual aesthetics and hints of their deeper meaning can leave viewers impressed and overwhelmed.&nbsp; Biography Of A Thought marks an unprecedented historic moment for artists from Nepal and the Himalayan region and places Rigdol as one of the most important and thought provoking contemporary artists from Asia of this time. At the pre-opening reception, Rigdol's mother Dolma Tsering wandered through her son's installation. "I knew it would be good," she exclaimed. "But this is beyond even my expectations."  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240926060912_9ac2c141dda3c91f42946df8be7032691b2de04e99f23fa94340e4bbe7f34f6b.jpg" data-media-id="editor_9" data-image-id="20240926060912_9ac2c141dda3c91f42946df8be7032691b2de04e99f23fa94340e4bbe7f34f6b" data-rendition-name="original" width="3024" height="4032" loading="lazy" alt="Tenzing Rigdol MET NT"> <figcaption>Tenzing Rigdol with his mother at the MET. Photo: KASHISH DAS SHRESTHA</figcaption> </figure>  <a href="https://www.metmuseum.org/exhibitions/mandalas-mapping-the-buddhist-art-of-tibet">MANDALAS: Mapping The Buddhist Art of Tibet</a> The Metropolitan Museum of Art, New York Till 12 January, 2025 Watch artist Tenzing Rigdol discuss his installation Biography Of A Thought: &nbsp;<a href="https://www.metmuseum.org/perspectives/videos/2024/9/rigdol-interview" target="_blank">https://www.metmuseum.org/perspectives/videos/2024/9/rigdol-interview</a>&nbsp; Overview <a href="https://www.metmuseum.org/exhibitions/mandalas-mapping-the-buddhist-art-of-tibet" target="_blank">from The MET </a>While drawing on Buddhist ideas, practices, and artistic formats seen in the surrounding galleries, Tenzing Rigdol’s installation presents our world from a secular perspective. Moving clockwise from left, paintings address the ecosystem and human behaviour, conflict and aggression, and virtue juxtaposed with the illusory world and the digital age. On the final wall, the waves quiet, and we are invited to consider our relationship to the whole. Lines running through the sky speak to the underlying structure of Tibetan Buddhist paintings, while clouds represent thoughts and the churning ocean emotion. The repeated figure of the artist, with a cloth-wrapped head symbolising the limits of his own understanding, guides us through the work. A carpet woven by hand, a tradition that Rigdol’s family participated in as refugees, leads to a composition at the atrium’s centre that explores interdependency.

Human spiritual existence in a digital ecosystem

The Nepali art scene is seeing a surge of interest in performance art. However, it is not a novelty because of its origins in the blend of painting, theatre, and poetry. Interdisciplinary artists like Jivan Acharya, Ashmina Ranjit, <a href="https://salil.blog/music-portfolio/">Salil Subedi</a>, and Mahima Singh have used blended art forms to draw attention to socio-political issues such as state violence, <a href="https://nepalitimes.com/banner/nepal-struggles-to-balance-nature-and-industry">exploitation of natural resources</a>, and gender inequality. In 2014, Amrit Karki, a fine arts student at Kathmandu University, put together a 13-minute showpiece Fire and Ice at the Taragaon Museum in which he cut off locks of his hair and burnt them on a singing bowl in a visceral depiction of personal attachment and abandonment. “At the time, I was researching and exploring different trends in contemporary art. I was deeply struck by <a href="https://www.guggenheim.org/artwork/11412">Francis Alÿs and his ‘When Faith Moves Mountains’ </a>and <a href="https://www.theguardian.com/artanddesign/2023/sep/25/marina-abramovics-shocking-rhythm-0-performance-shows-why-we-still-cannot-trust-people-in-power">Marina Abramović and her ‘Rhythm Zero’.</a> I realised that art could move beyond the confines of a painting,” explains Karki. Read also: <a href="https://nepalitimes.com/banner/the-karnali-on-canvas">The Karnali on canvas</a>, Sewa Bhattarai Over the years, Pokhara native Karki has continued to explore this idea further. In his fifth performance art titled<a href="https://www.amritkarki.com.np/2023/03/blog-post.html"> Breathing Through the Stillness</a> in 2022, Karki stood still for more than four hours as masons constructed a brick wall around his body.&nbsp; The audience stood and watched as the bricklayers mixed cement, measured the alignments of the bricks, and stacked the bricks. In the end, the newly-constructed brick wall fell behind Karki as he walked out. Karki’s latest work ‘What You Have Given Me, I Set Free Forever’ at the Nepal Art Council last week was a part of the Rubin Museum’s exhibition ‘Reimagine: Himalayan Art Now’, and Abramović was one of the co-curators. <a href="https://hbr.org/2016/11/marina-abramovi">Abramović</a>, a Serbian conceptual and performance artist, is famous for probing the relationship between performer and audience along with experimentation of endurance art. Karki’s new work, unsurprisingly, has the audience actively participating in the making of art. The room was warm and stuffy, there was no ventilation in the wide, white-walled room. In the middle was a skeletal dome-like structure made of copper arcs that converged to form a space for an upside down receptacle.&nbsp; A giant copper water storage drum nearby contained dyed water maintained at room temperature. It was colourless the first day, yellow the second, green the third, blue the fourth and then finally red. Read also: <a href="https://nepalitimes.com/banner/nepals-new-generation-of-alternative-artists">Nepal's new generation of alternative artists</a>, Ashish Dhakal From 12PM to 6PM every day for the duration of the performance, Karki wore a white shirt and pants and sat on a raised copper pedestal and a white cushion just below the receptacle which had a hole on its tip.&nbsp; The audience could take a jug of water from the drum and fill the receptacle so that a steady stream of dyed water poured on Karki’s head, cascading down his body, and staining his white shirt and pants. The deliberate choice of the dye colours mimicked the pattern of<a href="https://nepalitimes.com/here-now/lets-only-buy-bio-degradable-prayer-flags"> prayer flags</a> which in turn symbolises the five elements: air, space, fire, water, and earth. The artist's statement that how “viewers will witness the gradual accumulation of everything the artist has accepted from them and set free forever” suggests the influence of the Buddhist philosophy of letting go of earthly burdens and belongings.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240925110928_90381a95c139fa3a9e0f92a9dcbbf2592bcba5eb337521d69c29a561502e1aa9.jpg" data-media-id="editor_9" data-image-id="20240925110928_90381a95c139fa3a9e0f92a9dcbbf2592bcba5eb337521d69c29a561502e1aa9" data-rendition-name="original" width="5137" height="3425" loading="lazy" alt="Amrit Karki's performance art "> <figcaption>Photo: Sumit Dangol</figcaption> </figure>  “Having the chance to discuss my performance art with her was a grateful experience. Even a small comment from her helped illuminate the impact of my performance art,” says Karki of Abramović who has been a constant inspiration for the artist. Karki often embraced himself. His right arm caresses his left shoulder, rubbing it, and after six hours of sitting still under the stream of water, his body looks stiff and tense.&nbsp; His chest area and the cushion on which he sat was stained dark green. His long hair had been tied into a bun which the stream of water hit. If no one filled the receptacle, Karki’s shirt would remain unstained.&nbsp; While the performance does nudge viewers to pour the water on the receptacle as a “visual reminder of the things that daily pollute and burden the mind”, the act of doing so also raises a moral question: how fair is it for someone to hand over one’s burdens onto others? Read also: <a href="https://nepalitimes.com/review/all-the-world-is-a-stage-in-kathmandu">All the world is a stage in Kathmandu</a>, Sewa Bhattarai&nbsp; The interval between visitors felt empty, everyone in the room waited with bated breath as Karki stared ahead, his eyes vacant, but they were also periods of respite.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240925110928_c5f06447c7553f0e104ccb05423ea2e62cfb2fda21d5b935ac01b22a19f9b7b6.jpg" data-media-id="editor_11" data-image-id="20240925110928_c5f06447c7553f0e104ccb05423ea2e62cfb2fda21d5b935ac01b22a19f9b7b6" data-rendition-name="original" width="4821" height="3214" loading="lazy" alt="Amrit Karki's performance art"> <figcaption>Photo: Kripa Shakya</figcaption> </figure>  Sitting still for six hours a day while a stream of water is poured on top of your head must test the limits of human endurance. At one point, Karki raised his right foot and rested it gently on top of his left foot. The soles of his feet were also lightly stained green. “The extent and impact of audience participation depends upon the idea and concept of the creators but it is when audiences are allowed to participate that the performance art becomes stronger,” says Karki. “On the last day, the receptacle was almost always filled through the day. The more people felt connected with my performance, the more they participated.”

Performing art that sets us free

In the middle of a rainstorm, surrounded by forests and temples, Jung Bahadur faces off against the fearsome masked Lakhe Aju in a boss scene in the new Nepali video game, Jange. Wild red hair thrashing about, eyes glowing, Lakhe Aju pursues Jung Bahadur, who is dressed in a red shirt, blue cape, and a bird of paradise shripech crown. Jung is trying to avoid taking damage, while getting some hits of his own on the mythical demon. The Lakhe hurls fireballs that have to be dodged.&nbsp; The larger story at play here is a fictional, extrapolated historical Nepal where the country is under attack by infected aliens. Jung Bahadur, on horseback, wields a sword against the invaders.&nbsp; This is digital artist Ashim Shakya’s newest video game project that uses interactive gaming visuals to bring alive Nepali history and culture. &nbsp;&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240923140924_82e368d0acd6eb89202124df358ab76e582b6e61efe5cafe56d85c44ad96ad28.jpg" data-media-id="editor_0" data-image-id="20240923140924_82e368d0acd6eb89202124df358ab76e582b6e61efe5cafe56d85c44ad96ad28" data-rendition-name="original" width="2250" height="2079" loading="lazy" alt="Ashim Shakya | Allare NT"> </figure>  It is a work in progress, and we find Shakya working solo in constructing the game, integrating his many interests and talents in digital art, 3D modelling, music, video, and game development. It has been six years since he started the Jange project, and he documents recent progress on his YouTube. When he prepares a new aspect of the game, like vehicles, earthquakes or the Lakhe fight scene, Shakya uploads the sequence. “As the protector of Kathmandu Valley, Lakhe Aju is patrolling the borders of his domain and tests Jange’s might to decide whether to bless or devour him,” Shakya explains.&nbsp; Even Jange is a detour from another more lengthy, complex project called Allare, which translates to ‘directionless bum’ or words to that effect.&nbsp; Shakya explains: “Allare is about a young man who gets into a lot of trouble in his village and moves to old Kathmandu, where he must dabble in crime and struggle in order to shape up.”&nbsp; Allare is set in Kathmandu Valley in the 1960s, and has period visual elements like vintage blue jeeps, rattly buses, bicycles, and dirtbikes. Characters in the game are clad in traditional wear, and will talk to the player in Nepali when approached.&nbsp; A drunk character named Twake occasionally spews slurs, threats and starts fights. Shakya experimentally leveraged his YouTube audience to voice the drunk character, and received many &nbsp;enthusiastic submissions.&nbsp; It is obvious from the gameplay that a lot of effort has gone into it, and this is even more striking because Shakya is working on it all by his lonely self.&nbsp; “It is easier for me to do all the parts myself, instead of explaining what I want to someone else,” says Shakya, who used to be better known as a Nepali pioneer in digital art.&nbsp; Shakya puts in 16-18 hour days, breaking only to eat or to stretch. "Coffee helps, and if I hit a creative block I switch attention to making music, or to do client work.”&nbsp; Shakya is self-taught in skills and software tools in his workflow. He uses Maya and Nomad Sculpt to make the 3D models, then Photoshop and Procreate for their textures, and Unreal Engine and Blueprints for programming and game logic. Shakya draws from his previous experience in game development, having published on Google Play Store for Android devices. One of them is titled Flight: The Valley, described as ‘an offline meditative flying adventure’ where a player can become a monk that turns into a raven in Kathmandu.&nbsp; Two other games, Didi and Urban Legends - Survival, are also exploratory 3D games that feature models of Nepali buildings and objects. Urban Legends, in particular, is available for free, has registered over 100,000 downloads and has earned a 4.0 star rating. &nbsp; Jange and Allare will be released first on PC and then perhaps adapted to console and &nbsp;mobile. Given Shakya’s artistic skill set, his ability to integrate them, the time and effort he has put in, and his approach to story and community engagement means aficionados here and abroad can soon play exciting games that also pay tribute to the legends of old Kathmandu. &nbsp;

Turning legends into games

Halucha is a carpenter living a happy life with his big family in Kathmandu’s Maru Hiti in the 1960s handcrafting chairs, tables and temple woodwork. He observes festivals of his Newa community including <a href="https://nepalitimes.com/banner/the-legend-behind-the-myth-of-indra-jatra">Yenya</a>, Indra Jatra, enjoys his favourite choila baji and with friends, and occasionally momocha. Read also: <a href="https://nepalitimes.com/opinion/suburban-tales/wine-and-women-during-yenya">Wine and women during Yenya</a>, Pratibha Tuladhar  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240914040936_b1f8b03dc37e18d45a24c93422715ea0f6480b050683893d0fc5f3a8d6a290ce.jpg" data-media-id="editor_2" data-image-id="20240914040936_b1f8b03dc37e18d45a24c93422715ea0f6480b050683893d0fc5f3a8d6a290ce" data-rendition-name="original" width="1833" height="1000" loading="lazy" alt="London Lakhey review MASK NT2"> </figure>  But then a big new furniture factory is set up nearby, which takes away the jobs of those with the ancestral occupation of carpentry. Halucha loses his customers.&nbsp; One thing leads to another and by the 1970s, Halucha travels to <a href="https://nepalitimes.com/news/nepalis-in-the-garden-of-england">England for work</a> after borrowing money at a high interest rate. London is rainy and dreary, he struggles with the language and at his job. He has no friends, people look at him differently and treat him poorly. He feels lonely and homesick. The isolation affects his <a href="https://nepalitimes.com/news/the-other-pandemic-mental-health">mental health</a> and before long, he loses his job and is homeless.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240914040952_5ff460d094ce67737cfcdf0bbf88edaadeffd58571806fe91bfc37a962d1390f.jpg" data-media-id="editor_5" data-image-id="20240914040952_5ff460d094ce67737cfcdf0bbf88edaadeffd58571806fe91bfc37a962d1390f" data-rendition-name="original" width="1320" height="1000" loading="lazy" alt="London Lakhey review MASK NT3"> </figure>  Author Ojesh Singh weaves a layered tale that delves into the universal themes of migration, <a href="https://nepalitimes.com/editorial/50-diaspora-diaries-in-nepali-times">diaspora</a>, mental health, racism, heritage and identity in simple, engaging storytelling style with vibrant illustrations by Sahanshil Dangol in the new Nepali children’s book, London Lakhey. Read also: <a href="https://nepalitimes.com/news/brain-gain-into-brain-drain">Brain gain into brain drain</a>, Sonia Awale “Children are smarter than we give them credit for, they have genuine reactions and responses, and the earlier they are exposed to difficult emotions, the sooner they will learn to express them openly and grow up better able to deal with them,” says Dangol on some of the heavier themes underlying London Lakhey. Indeed, as children’s literature, the book does not shy away from difficult topics. This was a very conscious choice, says Singh, who himself went to England in 1999 and is now an aerospace engineer running two restaurants specialising in Newa cuisine in London. Read also: <a href="https://nepalitimes.com/opinion/suburban-tales/passing-the-baton-on">The Unstoppables</a>, Pratibha Tuladhar&nbsp; “The story is inspired by some of my own experience when I moved to England and that of people close to me, the not-so-easy beginning, the loneliness,” adds Singh, who is in Kathmandu to launch the book.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240914040956_bc4f28cd93c2b2c568d979707bc0d8a04f37e0fe519e1d8752f952b91a5fdea2.jpg" data-media-id="editor_9" data-image-id="20240914040956_bc4f28cd93c2b2c568d979707bc0d8a04f37e0fe519e1d8752f952b91a5fdea2" data-rendition-name="original" width="1500" height="1141" loading="lazy" alt="London Lakhey review MASK NT"> </figure>  “The first thing we Nepalis seek abroad is a plate of <a href="https://nepalitimes.com/here-now/dal-bhat-power">warm dal bhat</a> and not getting that can be so hard, then there are our festivals, dance and music that we miss so much.” Singh had it relatively easy as his father was already in the UK. But even then, he had to support himself and for the first five years he studied by day, while working at a restaurant at night. Finally, he bought his own restaurant, and another one a few years later. He calls them “Nepali-Indian” restaurants but actually specialise in Newa food, the first of few in the London area. “I do a lot of work virtually so the restaurant for me is like a living room and it is as if I am cooking for my friends and family, it keeps me feeling alive,” says Singh, whose clan home is in Basantapur. He is actively involved in the Pasa Pucha Guthi in London as one of the founding member since its inception in 2000. Read also: <a href="https://nepalitimes.com/news/nepalis-in-the-garden-of-england">Nepalis in the Garden of England</a>, Joy Stephens The Newa-English community in London organises cultural events including performing the <a href="https://nepalitimes.com/here-now/the-spirit-that-is-fire">Lakhey mask dance</a> during Mha Puja, also the Newari New Year. This real-life tradition in London serves as an inspiration for the book. “The new generation of Nepali diaspora should know the struggles of their parents, what they went through, some were asylum seekers, others came for better opportunities,” says Singh, stating how this was one of the ideas behind the book, especially as he is himself a father now. A mutual contact brought animator and illustrator Sahanshil Dangol onboard for the book, and the two would go on to work closely for the nearly two years it took for the volume to develop. Dangol works for London-based studios and was previously involved in making commercials and music videos for up-and- coming Nepali artists like Yugal Gurung and Ankit Shrestha.&nbsp; Read also: <a href="https://nepalitimes.com/here-now/memories-of-a-london-nepali-hangout">Memories of a London Nepali hangout</a>, Sunil Pun But what really got him passionate about the book project was the Lakhey element. During his undergrad, Dangol was working on a film to document his cousin’s mask dances in Pokhara but had to shelve it. He has since come across the Nepali Creative Gang, an online collective of artists, writers, game developers, animators and others which helps young talent with guidance and feedback as well as protection for their work. Dangol went on to develop a 4-minute-long stop motion film called Death and Exposure but he always had the Lakhey project at the back of his mind. “It felt like a second chance to work on something close to my heart,” he told Nepali Times in a video interview from London. It also helped that the characters spoke to him. Having moved to London at 11 following his father who was in the army, Dangol never felt like he quite fit in, neither in London, nor in Kathmandu. “Growing up, I didn’t have Nepali friends, and in any case, I didn’t feel like I completely belonged anywhere, and while I didn’t go through everything that Halucha went through in the story, I could still resonate with the character and sympathise with him, it is a relatable story with so many of our friends and families migrating today.” Dangol based the physical attributes of Halucha and other characters on people around him. The last few pages of the book are dedicated to the process of illustration including doodles and sketched studies of Lakhey and his masks. Read also: <a href="https://nepalitimes.com/news/getting-behind-the-divine-mask">Getting behind the divine mask</a> The Lakhey mask depicted in the book is a variation of the real thing which is supposed to give devotees divine powers when they wear them. In fact, communities in Kathmandu did not want their actual mask to be represented in the book for fear of offending the deities.&nbsp; Lakhey is a demon in the carnival of God but is worshipped as a deity protecting townspeople of the Newa civilisation. He is depicted as having a ferocious face, protruding fangs, and a mane of red or black hair.&nbsp; During festivals including Indra Jatra which falls on 17 September this year (below), he comes out on the streets and dances in a trance whirling and jumping to the thump of drums.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240914040936_0d60bd64fe6b3db69c9654e3a90569768ba0caeaaaacd1b46b5ca4e357b21a6e.jpg" data-media-id="editor_15" data-image-id="20240914040936_0d60bd64fe6b3db69c9654e3a90569768ba0caeaaaacd1b46b5ca4e357b21a6e" data-rendition-name="original" width="2170" height="1000" loading="lazy" alt="London Lakhey review MASK NT 4"> </figure>  On the surface, London Lakhey is a children’s book but since its release, it has found as many adolescent and adult readers who have requested most copies, says Dangol. “I want our children to remember their roots and not be ashamed of it. They can so easily feel embarrassed because they are eating dal bhat for lunch and not burgers and pizza,” says Singh.&nbsp; “We have to own up to our roots but we don’t have to stick to one singular identity either, it can be a mix of Newa and British like in my own persona. This is important for stability and a peace of mind.” ­­  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240914040936_4af67a538381c66209f7cc834a6b2056857275cc12c2b3a5e3bf6f3f1c1c78c9.jpg" data-media-id="editor_16" data-image-id="20240914040936_4af67a538381c66209f7cc834a6b2056857275cc12c2b3a5e3bf6f3f1c1c78c9" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="London Lakhey review MASK NT 5"> </figure>

Sonia Awale

MASK

For the Sherpa people who live below Mt Everest, <a href="https://nepalitimes.com/opinion/margins/songs-from-chomolungma">Chomolungma </a>means ‘mother god’. And as a young girl growing up below it, Lhakpa Sherpa gazed up at the mountain with awe and reverence.&nbsp; <a href="https://nepalitimes.com/review/pasang-lhamu-sherpa-the-film">Pasang Lhamu Sherpa</a> was the first Nepali woman to reach the summit in 1993, but she died on the way down. Lhakpa remembers the funeral in Kathmandu, and says she sensed Pasang Lhamu’s soul enter her at the cremation.&nbsp; Since then, Lhakpa holds the <a href="https://www.guinnessworldrecords.com/world-records/most-ascents-of-mt-everest-by-a-woman#:~:text=At%20the%20age%20of%2048,at%206.15%20a.m.%20local%20time.">Guiness World Record</a> for having climbed Mt Everest ten times, the most by any woman anywhere, and breaking her own record several times. Lhakpa Sherpa seeks Chomolungma’s blessings and forgiveness before and after every climb. Read also: <a href="https://nepalitimes.com/news/the-rise-and-fall-of-nims-purja">The rise and fall of Nims Purja</a>, Pradnya Pradhan “I respect the mountain like my mom,” she says in the new Netflix documentary Mountain Queen: Summits of Lhakpa Sherpa.&nbsp; The film is as much about Lhakpa’s skill and stamina as a high altitude climber, as about her courage to stand up to an abusive husband and the strength to raise three children as a single mother working in a Whole Foods Market in the US state of Connecticut. &nbsp; Directed by Lucy Walker who excels in documenting real life characters, the 104 minute film provides viewers with an intimate glimpse of Lhakpa’s home, conversations with her daughters, and some spectacular footage of her climbing in Everest’s Death Zone. Walker removes layer upon layer of Lhakpa’s life to introduce us to the real person that she is.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240910120952_549f2ebdc425038deb78854480449122da0890957389aa86b6a612bf91d33ec3.jpg" data-media-id="editor_4" data-image-id="20240910120952_549f2ebdc425038deb78854480449122da0890957389aa86b6a612bf91d33ec3" data-rendition-name="original" width="450" height="630" loading="lazy" alt="Mountain Queen Lhakpa Sherpa NT2"> </figure>  As a girl Lhakpa was a headstrong girl, and says her mother used to call her “too tough, too tall and very, very bossy” – and that is exactly how she comes across in the film. But behind the toughness and cheerful smile, Lhakpa is a soft-hearted person who has been in search of love and healing all her life. Read also: <a href="https://nepalitimes.com/review/on-screen-mountains">On-screen mountains</a>, Sahina Shrestha Lhakpa was a social misfit, but found her true calling in mountaineering. She started out as a porter carrying up to 100kg on her back -- double her body weight. She had to pretend to be a boy since women did not get jobs with expeditions back then. Then, she was promoted to be a kitchen boy, cooking for the climbers in base camps.&nbsp; She needed money to climb but nobody at the time was sponsoring a woman. A chance meeting with King Birendra and Prime Minister Girija Prasad Koirala got her the sponsorship she needed in 2000 to lead an all-women Nepali Everest expedition. She reached the top for the first time, the only climber from her group to do so. Read also: <a href="https://nepalitimes.com/review/streaming-the-himalaya-on-film">Streaming the Himalaya on film</a>, Pinki Sris Rana Her goal achieved, that should have been it. But Lhakpa was hopelessly hooked to the thrill of climbing. She met the Romanian-American mountaineer George Dijmarescu who encouraged her not to just be a porter, and join him in climbing Everest from the Tibet side.&nbsp; For the next several years the two became climbing partners, the ultimate power couple in Himalayan mountaineering. She emigrated to the United States and gave birth to daughters Sunny and Shiny. It was not long before Dijmarescu showed his true self, and Lahkpa was trapped in an abusive marriage in a foreign land. As a girl child in Nepal, she was never sent to school and had no other job except climbing. The fairytale had ended. She was featured in a <a href="https://www.nytimes.com/2023/01/31/sports/lhakpa-sherpa-everest.html">New York Times</a> report, training for her 10th ascent of Mt Everest carrying boxes of vegetables and fruits at Whole Foods. In Mountain Queen, Walker directs a highly personalised profile of Nepal’s &nbsp;almost-forgotten mountaineering legend, digging up her troubles and triumphs with sensitivity and care. Walker does more than tell the story of perseverance and resilience that go hand-in-hand with climbing, she also tells the story of a matriarch who has to be strong for her family. &nbsp; Read also: <a href="https://nepalitimes.com/banner/why-we-climb-mountains">Why we climb mountains</a>, Damien Francois After her 10th Everest ascent, sponsors line up to fund an expedition to even more challenging K2, which Lhakpa climbed last year. Pasang Lhamu’s soul burns brightly in Lhakpa Sherpa, and she sums up her own journey: “I’ll give my life to the mountains, keep climbing until the day I die.” Mountain Queen: Summits of Lhakpa Sherpa Directed by Lucy Walker Netflix, 2024 104 minutes&nbsp;

Daughter of Chomolungma

Pasang Lhamu Sherpa was the first Nepali woman to climb Mt Everest, but she died on the descent. She is a national icon, but few have heard of Lhakpa Sherpa, the first Nepali woman to scale the world’s highest mountain and get back down alive.
Both Pasang and Lhakpa were enduring, resilient women who defied the patriarchy, struggled, and triumphed. Their compelling stories are the subjects of two international documentaries.
The 2024 Netflix film Mountain Queen: The Summits of Lhakpa Sherpa recounts her career from porter to a mountaineer who scaled Mt Everest for the 10th time in 2022, and then her hard life as an immigrant in the United States.
That film follows the 2022 documentary Pasang: In the Shadow of Everest which breathes life into a celebrated national hero whose climb and tragic death every Nepali knows by heart. The film is available on Amazon Prime Video in the UK and the US.
The recent trend of making documentaries about mountaineering for streaming sites was kicked off by 14 Peaks: Nothing Is Impossible featuring Nepal-born Nims Purja, in 2021. 14 Peaks was on Netflix's top ten list for months after its release.&nbsp;
Read also: <a href="https://nepalitimes.com/review/seeking-identity-in-diversity">Seeking identity in diversity</a>, Sonia Awale
This was followed by another Netflix production, the docuseries Aftershock: Everest and the Nepal Earthquake about the earthquake-triggered avalanche at Everest Base Camp in 2015 that killed 18 climbers.
Biopics about mountaineers or dramatised adaptations of real-life expeditions have an even longer history with Hollywood’s 1998 IMAX film Everest and the 2015 movie, also titled Everest, about climbers killed by a storm on the mountain in 1996. A biopic on Tenzing Norgay is currently being produced by Apple Original Films starring Tom Hiddleston and William Dafoe.
“The West had always seen Nepal from the set narrative of exotic Shangri La or Shambala, and mountaineering adventure has always pulled them,” explains Ramyata Limbu of the Kathmandu International Mountain Film Festival (KIMFF).
More rare have been films about Nepali mountaineers made by Nepali producers. But as Nepali mountain guides move from being porters for hire to expedition leaders and accomplished mountaineers in their own right, this may be changing.
Says filmmaker Shanta Nepali: “It is only now that the extraordinary stories of Nepali mountaineers are being recognised.” Her 2023 documentary Climbing Temperatures features the Sherpa struggle to adapt to the impact of climate breakdown in the Himalaya.&nbsp;
Read also: <a href="https://nepalitimes.com/review/pasang-lhamu-sherpa-the-film">Pasang Lhamu Sherpa, the film</a>, Tayama Rai
The 2024 documentary Girls Rewriting Destiny by Lawa Pyakurel is another example of Nepali filmmakers telling the story of Nepali mountaineers. Pyakurel’s documentary stars mountaineer Maya Gurung and explores the lives she has touched over the years.&nbsp;
As Nepalis gain fame and respect for their mountaineering feats, this has concurrently opened up opportunities for local filmmakers to chronicle their adventures on streaming channels.
“It is ten times harder for Nepali filmmakers to take equally deserving Nepali stories to a global platform like Netflix,” says Nepali. “It’s not that we cannot come up with good stories, we just cannot afford it.”
Lack of exposure and a talent gap means some Nepali productions have not been of sufficient quality for streaming sites to take interest. Co-production can be a way out for films on mountaineering, and some have opted for this. But it is equally important for international filmmakers to use local expertise where available so the stories ring true.
Says Nepali. “If local filmmakers are hired just as fixers, they don’t have much say. But if it is for creative input in cinematography, production, or their cultural understanding, the production has an authentic voice.”&nbsp;
Read also:<a href="https://nepalitimes.com/here-now/nepal-s-star-shines-in-locarno"> Nepal’s star shines in Locarno</a>, Pinki Sris Rana

Streaming the Himalaya on film

K V Rajan, India’s ambassador to Nepal from 1995 to 2000, and Atul Thakur, a respected voice in Nepal affairs in India, have jointly published ‘Kathmandu Chronicle: Reclaiming India-Nepal Relations’.&nbsp; The book is an earnest attempt to reproduce Rajan’s personal experience during his tenure in Kathmandu combined with research by Thakur and makes for interesting and meaningful reading.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240828120824_73c2130fef41483d02101d520ad44e20c79797b4f6e365d9091fbb660ff10b91.jpg" data-media-id="editor_0" data-image-id="20240828120824_73c2130fef41483d02101d520ad44e20c79797b4f6e365d9091fbb660ff10b91" data-rendition-name="original" width="1280" height="720" loading="lazy" alt="K V Rajan and Atul Thakur NT 1"> </figure>  The methodology is simple, aligning both formal and informal which projects the right tone to guide people-to-people connect between the two neighbouring countries.&nbsp; The book starts with a first-person account by Rajan, moving on to analyse the complicated political transition in Nepal, and concludes with an elaboration on future challenges. And unlike many other such works penned by former Indian bureaucrats, this one is honest, unbiased and more balanced -- all much needed to move Indo-Nepal relations forward, at least from the Nepali perspective. Rajan cites his personal rapport with King Birendra with whom he built the trust needed to guide bilateral ties. When Rajan landed in Kathmandu, back in Delhi India’s Nepal policy was in the hands of veterans like Prime Minister P V Narasimha Rao, External Affairs Minister Pranab Mukherjee and Foreign Secretary Salman Haider. Their line was to build relations with the palace as well as the political parties.&nbsp; Rajan quotes Prime Minister Rao as advising him, ‘The King seems to have learnt his lessons. So have we. Let him know we take him seriously, we are not taking him for granted … Make all political leaders feel that they are equally important for us, whether they are supposed to be pro or anti-India. I will not give an inch more to the pro-India prime minister, and not an inch less to the anti-India one.’ Then, of course, Birendra was killed in the massacre at the royal palace on 1 June 2001. Pranab Mukherjee apparently warned him after an earlier meeting with Birendra that the king ‘felt a certain threat’ and was ‘very worried’ before the killings.&nbsp; Rajan makes the rather far-fetched connection between Crown Prince Dipendra and Pakistan’s Inter Services Intelligence (ISI) and the underworld, thereby hinting at a conspiracy that he does not expound on. We have to remember that these undercurrents followed the hijacking of Indian Airlines flight IC 814 from Kathmandu to Delhi on 24 December 1999.&nbsp; The plane was forced to fly to Kandahar in Afghanistan and finally released at the turn of the millennium on 31 December. The hijacking itself affected Nepal-India ties for years after. &nbsp; Rajan takes us on a flashback of Nepal’s recent history in which the shadow of King Mahendra loomed large, and Gyanendra’s effort to emulate his father after his coup on 1 Februrary 2005 when he assumed total state power.&nbsp; It is quite clear from the book that India was not in favour of the move by Gyanendra, who ws regarded as being more friendly towards China. Rajan does provide an honest analysis of the dilemma India faced in dealing with Gyanendra and the political forces at a time when Nepal was in the throes of the Maoist conflict.&nbsp; ‘Tactical U-turns and transactional compromises would leave lasting perceptions in Kathmandu of Indian inconsistency, unreliability and insincerity, and in Delhi, of Nepal’s ingratitude, deviousness and how easily it could be led astray,’ Rajan writes, referring to India’s twin-pillar policy of supporting both the constitutional monarchy and parliamentary democracy post-1990.&nbsp; The authors urge India to fashion a new twin-pillar policy of ‘strengthening democracies as well as civil society engagement for regional good’. The second section of the book retells the long political transition of Nepal from Panchayat system of absolute monarchy right up to turning itself into a secular federal democratic republic, and India’s role in these changes. The authors argue that the aspirations of Nepalis has been thwarted by the power struggle among the ruling elite, which have prevented the peace dividend after the conflict to be fully realised. The authors are also critical of Nepal’s foreign policy as being ‘chaotic and lacking vision’, but also advise Indian policy makers on how to should provide space and support to Nepal. They hark back to the role of statesmen like Prime Minister B P Koirala, a polished and respected leader, whom the Nepali public should follow to revive his glory.&nbsp; The book touches upon the Tarai-Mountain division in Nepal, and controversial bilateral issues like 1950 Treaty, the Limpiyadhura border dispute and the ‘China factor’. The book tries to untangle the political, socio-economic and even psychological factors affecting Nepal’s quest for being a true democratic country. The last section of the book looks at ways to repurpose India-Nepal ties by strengthening cooperation in various fields, especially water resources and trade. A ‘revolutionary resolve’ is needed from both sides, they say, to meet the aspirations of the Nepali people.&nbsp; Structural reforms and an alternate development paradigm are a must for Nepal, they argue, and this can be achieved by strengthening bilateral, regional as well as sub-regional cooperation. The book quotes Nepali authors like Manjushree Thapa, Sanjay Upadhyay, Prashant Jha, Lok Raj Baral, Hari Bansh Jha, Aditya Adhikari, among others, to add a Nepali perspective.&nbsp; The authors are unnecessarily brutal in criticizing Amish Raj Mulmi’s ‘All Roads Lead North’ which is actually a cogent analysis of how China came in to Nepal in a big way post-2015. It would also have been useful if Ambassador Rajan could have elaborated on the relations he built during his posting with members of Nepal’s business community, civil society and media.&nbsp; Rajan was well known at the time for promoting India soft power, the mention of which is limited to just one event in the book. That India is an important player in Nepali politics is a given, what the book falls short on is explaining why India has not been able to show greater magnanimity in its dealings with a much smaller neighbor.&nbsp; Socially and also psychologically, there are changing perceptions among citizens of both Nepal and India regarding each other. The book could have elaborated on how real change can be brought about in an era of social media magnification of opinion.&nbsp; Nevertheless, this can be good reference material for those interested in the recent history of Nepal-India relations as well as those concerned about its future, as told by an insider with a researcher.&nbsp; Akanshya Shah is a Nepali journalist and researcher based in New Delhi. Kathmandu Chronicle: Reclaiming India–Nepal Relations&nbsp; by K V Rajan and Aul K Thakur Penguin, 2024 Paperback, 280 pages INR 499 ISBN-13 : 978-0143463375  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240828120824_7081ca2518c8db6d14e80d41c19cb85ad1f482cdf5cd86e1694c093b49ad6168.jpg" data-media-id="editor_1" data-image-id="20240828120824_7081ca2518c8db6d14e80d41c19cb85ad1f482cdf5cd86e1694c093b49ad6168" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Kathmandu Chronicle cover page NT 2"> </figure>

How to reboot Nepal-India relations

The daily 10-hour curfew at Tribhuvan International Airport from 8 November that will last five months has affected tourism during Nepal’s peak season, with some hotels and trekking agencies here reporting cancellations into spring next year. The reduced hours at Nepal’s main aviation gateway till 31 March means that a third of all flights have been cut. This has also caused ticket prices to surge by up to eight times of normal fares. For example a Kathmandu-Delhi ticket that used to cost Rs12,000 is now listed at Rs50,000, and even then seats are not available.&nbsp; “Especially if they are here to trek, change in flight dates can cause tourists to miss their connections,” says Jagan Timilsina, who runs a trail running and outdoor education business. &nbsp; Pokhara is feeling the brunt as hotels report last-minute cancellations for November because of flight disorders. Some hoteliers also say although there have been some cancelled trips, most itineraries have been rescheduled.&nbsp; Hari Prasad Sharma Gaire of the local chapter of the Hotel Association of Nepal says the Kathmandu airport closure should have been timed for the off-season. He told us: “Starting construction during the peak tourist season was a mistake and will cause the tourism industry to lose a lot of business. The upgrade could have been spread out over a longer time but closed for fewer hours at night so that disruption was minimal.”&nbsp; Nearly a third of the 1.2 million tourists who visit Nepal annually come to Pokhara, which is also the gateway to Mustang, the Annapurna treks and pilgrimage tourism to Muktinath. Located by scenic lakes with a range of adventure sports like hot air ballooning, paragliding, canyoning, bungee and ziplines, Pokhara is also popular among diaspora Nepalis. “Besides its own attractions, Pokhara is really the hub for central Nepal, and we have been trying to get visitors to extend their stay here,” says Timilsina, who started out as a trekking porter and rose up the ranks to be an expedition guide and entrepreneur. &nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024111603114_0e071ce63ea9b0a9a7ee76f8c3cea0ff08c6767c41dd09f6bc4413d2db067a60.jpg" data-media-id="editor_0" data-image-id="2024111603114_0e071ce63ea9b0a9a7ee76f8c3cea0ff08c6767c41dd09f6bc4413d2db067a60" data-rendition-name="original" width="3500" height="2333" loading="lazy" alt="Pokhara's tourism woes NT"> <figcaption>Tourist arrivals in Pokhara have slumped since the disruptions at Kathmandu airport due to upgrading work. Photo: KRISHNA MANI BARAL/NEPALI TIMES ARCHIVE</figcaption> </figure>  Even without the Kathmandu airport closure affecting tourist arrivals, Pokhara was already suffering from a decline due to many factors like the poor state of the Prithvi Highway, the shortage of luxury accommodation for high-end tourists, and the reluctance of international airlines to start direct flights to Pokhara despite an expensive new airport that was inaugurated two years ago.&nbsp; “There was a lot of initial excitement on the construction of the international airport,” says Timilsina, “but it hasn’t delivered as expected due to politics. People have invested in nearby businesses, and have faced losses.” India has blocked direct flights from its cities to Pokhara because the facility was built by a Chinese company. Although tourists and pilgrims from India hit record levels this year, the poor state of the highways and the Indian bus accident on the highway to Kathmandu in July that killed 27 pilgrims from Maharashtra state dampened arrival figures. Gaire says, “While tourist arrivals to Pokhara are now approaching pre-Covid levels, we haven’t seen the improvement we were expecting. We need a better marketing strategy. What are our embassies abroad doing?”&nbsp; Indeed, Pokhara used to be a favourite destination for Chinese tourists. There was a boom in arrivals from China before Covid, especially after a popular Chinese tv serial was shot on location here. But arrivals from China have not really recovered since the pandemic because of the economic slowdown there. Promoting Pokhara airport to handle direct flights from Chengdu or Kunming could revive Chinese arrivals.&nbsp; Nepal’s Civil Aviation Authority (CAAN) has used the Kathmandu airport closure as an excuse to arm-twist international airlines to start flying to Bhairawa, which has barely been in operation for two years since it was inaugurated. So far, Fly Dubai, Thai AirAsia, Jazeera and Qatar are flying to Bhairawa, but most use it as a hop before flying on to Kathmandu, which does not reduce congestion at Kathmandu.&nbsp; An ideal situation could have been to get Pokhara to run to full capacity while Kathmandu is partially out of action. Pokhara entrepreneurs are puzzled why the CAAN and the national government have not taken more interest in promoting Pokhara as an alternative to reduce the congestion in Kathmandu. Nepal’s football team that was flying to Dushanbe this week couldn’t get tickets via Delhi, and took a domestic flight to Bhadrapur, crossed over to Bagdogra and flew on to Delhi to catch their flight to Tajikistan.

Pokhara’s tourism woes

An excerpt of a conversation between an anthropologist and linguist Mark Turin, PhD and Lava Deo Awasthi, PhD, the first Chairperson of the Language Commission of Nepal. Nepali Times: What is the role of Nepal’s Language Commission and when was it formed? Lava Deo Awasthi: The Constitution of Nepal (2015) created a Language Commission (LC) with the following four core mandates: (a) to develop eligibility criteria for gaining status as an official language and offer recommendations to the Government of Nepal about the official language(s) in each province; (b) to offer recommendations to the Government about measures to be taken for the conservation, promotion, and development of languages; (c) to suggest possible ways of using mother tongues in education by assessing their stage of development; and, (d) to conduct studies, carry out research and perform monitoring functions about the response to the constitutional provisions for the federalisation of languages in Nepal. The Commission was founded in 2016 and I was appointed as the Chairperson of the Commission in September of the same year by the Cabinet of Ministers. What in your own professional and educational background helped to prepare you for the role? I have worked with the Government of Nepal for about 30 years, alongside holding teaching appointments at universities in Nepal. Prior to assuming the role of the Chairperson of the Commission, I served as permanent Secretary to the Government of Nepal and worked as the Chief Administrator of the Central Development Region. I was appointed as Director General of the Department of Education and completed my assignments as Joint Secretary at the Planning, Monitoring and Educational Administration Divisions of the Ministry of Education.&nbsp; In addition, I have taught courses as a visiting professor at Tribhuvan University and Kathmandu University for more than three decades. Later, I also started supervising MPhil and PhD students at the Far Western University in Mahendranagar, Kanchanpur. My PhD project from the Danish University of Education was dedicated to making sense of Nepal’s social construct and commitment to multilingualism, exploring the persistence of monolingual school practices in the face of constitutional promises and state commitments to multilingualism. I conducted a survey of Nepal’s languages and carried out a qualitative study of the Tharu language in the district of Bardia. I analysed language policy statements and explored classroom pedagogies in schools. I documented how teachers showed a tendency to resist change and maintain the status quo because they were not consulted when new educational language policies were introduced. Teachers also exhibited a deeply-held adherence to the Gurukul education system which appears to have been harnessed as a way to resist newer pedagogical ideologies imported from the West. Recognising how engrained these rich traditions of knowledge transmission are, I wanted to know how students’ engagement in the learning process appeared to have dwindled, creating a gap between children’s home languages and the language(s) of the school. Whilst statutory provisions for education in the mother tongue were oriented towards promotion, classroom pedagogies remained resolutely monolingual and exclusionary. The result was that multilingual education policies that had been introduced in Nepal did not result in meaningful changes in classroom practices. My research was also a reflection of childhood traumas I had experienced at the earliest stage of formal education. My home language, Baitadeli, has a strong oral tradition and no written literature. English is my fifth language in terms of exposure and competence, and my home district of Baitadi is well-known for its loyalty to the local language. I had to drop out of school after completing my sixth grade. Staying at home, I received much attention from my family and had much greater exposure to my native language, culture and environment. My overall impression is that dropping out of school had a surprisingly positive impact on my life. The opportunity offered a surprising dividend for me as I gained mastery in my mother tongue and received extensive exposure to folk literature and Indigenous knowledge and survival skills, cultivating my interest in language, culture, literature and local cosmologies.&nbsp; Now that I reflect on it, I appreciate how language has always played a key role in my life. I grew up in a multilingual environment: brought up with Baitadeli, Hindi, Sanskrit, Nepali and English. Language played a major part in my decision to leave school and my later success is closely linked to my competence in several languages. It was rewarding to be at home with my family as I deepened my understanding of native language and culture, which in turn helped me to harness and refine my art of living. Languages matter so much to me because they are both software and hardware. Later, when I was in secondary school, I realised that my command of my home language contributed significantly to enhancing my Nepali and English. I used my mother tongue as a form of linguistic capital to strengthen my competence in both English and Nepali.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024111811110_5400ba54792bf9e4854e1c1effde8bf09804e99647f23513700b450cc49adc4a.jpg" data-media-id="editor_0" data-image-id="2024111811110_5400ba54792bf9e4854e1c1effde8bf09804e99647f23513700b450cc49adc4a" data-rendition-name="original" width="1000" height="1500" loading="lazy" alt="Dr Lava Deo Awasthi"> </figure>  In your term as the Commission’s first Chairperson, what were your strategic goals and objectives? My first strategic goal was to create an environment conducive to implementing the provisions of the Constitution of Nepal in relation to language. My priority was to prepare a detailed action plan for my six-year tenure in consultation with language stakeholders, including language experts, professionals, activists, Indigenous community members and representatives of relevant national and local-level institutions. The Commission formed a body of high-level advisors to ensure that the Chairperson’s work was well-informed and credible. The advisors to the committee had highly visible professional and social reputations in Nepal and had much experience in the field of language conservation, promotion, research and development. Another strategy we adopted was to establish close institutional linkages with federal, provincial, and local level governments for collecting opinions and disseminating information widely.&nbsp; What critical issues did you have to consider while discharging your duty? When Nepal’s new Constitution was drafted, a number of concerns could not be adequately addressed. These related to the conservation of languages, the recognition of official languages at the provincial level, and the use of mother tongues at federal, provincial, and local levels. These unresolved issues and matters pertaining to the federalizsation of Nepal’s languages were passed on to the Language Commission to address and resolve.&nbsp; Regarding the recommendations for official languages, a five-year timeline had been set by the Constitution. With great effort, we succeeded in having all provinces agree to recognise their official languages as per the recommendations of the Commission.&nbsp; What were your greatest achievements during your term? One of the greatest achievements was that we succeeded in setting a language agenda at all levels. Nepal’s language communities and other stakeholders expressed the view that this was the first time their languages were recognised and their voices heard by the state. People participated in debates and discussed issues relating to language that in all likelihood had never before happened in their lifetimes, at least not in ways that were supported by the state. We encouraged people to speak in their own language(s) and provided translators during plenary sessions and group discussions. Another major achievement was developing criteria for the status planning of languages at federal, provincial, and local levels, and to recommend 11 province-level official languages, in addition to the Nepali language. Similarly, a notable achievement was recognising Indigenous languages spoken by smaller communities, all of whom faced ongoing marginalisation and high levels of endangerment. The Commission identified 9 new languages that had not been reported in the 2011 census, and provided a framework for recognising official languages within a municipality. The commission emphasised the need for documentation and digitisation of languages for developing corpora and archives at national and sub-national levels.&nbsp; Languages of historical importance as well as classical languages were given recognition for their protection, growth, and development. Recommendations were made for the conservation, promotion and development of Nepal’s marginalised languages that are threatened by majority languages and for those languages that hold particular power at local and global levels. Recommendations were also made for how best to safeguard Nepal’s languages from the ever-growing spread of English and other powerful, globalising languages.&nbsp; A further important aspect of the Commission’s work was to emphasise mother tongue medium instruction in schools across the nation. Recognising the role of language in children’s cognitive, socio-emotional and academic development, the Commission suggested strategies for linking schools with ward-level language clusters for use in the classroom. The importance of nurturing and respecting a child’s first language was reiterated in the Commission’s recommendations for children’s learning and all-round development. By the end of my term, a remarkable change could be observed in terms of building trust within and across Nepal’s diverse language communities. A network of language groups and stakeholders across the country proved to be a powerful way of bringing all language communities under one roof for a collective review of and response to the process of federalising language policy. The many language stakeholders across Nepal appreciated the opportunity to work within a coordinated framework, and—feeling empowered by this—seemed genuinely enthusiastic about the initiatives taken by the Commission.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024111811114_b45297fdd2fedf17bdb6313e495a1062c0d87f1a19fa5349f871f220b75f93ab.jpg" data-media-id="editor_1" data-image-id="2024111811114_b45297fdd2fedf17bdb6313e495a1062c0d87f1a19fa5349f871f220b75f93ab" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Dr Lava Deo Awasthi NT"> </figure>  What were the most significant challenges for you as Chairperson? One of the major challenges was winning people’s trust in advocating for the mission of the Language Commission. I faced considerable resistance as I sought to emphasise the use of native languages in families and communities. While the Commission advocated for multilingualism and promoted linguistic diversity, the prevailing policy circles and central level institutions had been deeply influenced by a one-language discourse and ideology of Nepali only. The spread of English also poses a huge threat to Nepal’s languages. However, people in power do not seem to see this as a problem. They tend to abandon their own languages in preference for English. The way that Nepal’s municipalities are increasingly introducing English as a medium of instruction at the earliest stage of a child’s school-based education has proven to be detrimental to their cognitive development, socio-emotional wellbeing and academic success. Most of Nepal’s elites have been heavily influenced by the spread of English and remain unaware about its impact on their home languages as well as on the inter-generational transmission of Indigenous languages in the country. I wish that we could have produced more compelling evidence to show the consequences of making poor policy choices for our children’s education. Demystification calls for a collective response. To make change happen across this entire, complex and federalising country was daunting work and left like a race against time. I feel that I could have done more to offer concrete examples in favour of using the mother tongue as a medium of children’s education at the earliest stages of a child’s education. What do you see the Language Commission achieving in the next 5-10 years? The Language Commission will have to ensure that all of its key recommendations are implemented at all levels of government. In 10 years’ time, all seven of Nepal’s provinces will have their official languages in place. These languages will also be recognised as languages of federal business, alongside Nepali. I anticipate that all official languages in the federal and provincial systems will have a national portal for inter-language corpora using machine translation to fulfil their federal, provincial and local level language functions, and that all languages spoken in Nepal will be represented through a digital database in the national archive. The Office of Statistics will monitor the status of Nepal’s languages over time. By the end of the next decade, each municipality in the country will have recognised one or two official languages at the local level, based on speech populations. Other local languages will have received community-level legal recognition and official status to fulfil their functional roles. Languages that are highly endangered or at risk will be entitled to receive state grants for enhancing local level capabilities to encourage families and young learners to speak the language. Incentive schemes will be introduced in municipalities that promote language within the family and at home. Inter-generational transmission of languages will have received welcome and timely attention across Nepal. It is my hope that all schools—public and private—will have introduced mother tongue medium instruction at the earliest stage of school education, at least up to class five. Nepali, English and other national as well as classical and foreign languages will be taught as subjects. The existing policy of English medium education at the early stage of education will be abolished. The Government of Nepal will be held accountable if the number of speakers of any language decreases or if local communities face language loss and greater endangerment. Under the aegis of the Language Commission, a Centre for Language Research and Innovation will be created with world-class facilities for language documentation and archiving in collaboration with Tribhuvan University’s Central Department of Linguistics and other relevant institutions. Harnessing the vastness of Nepal’s linguistic diversity, the Language Commission will morph into a centre of excellence for national and international communities to engage in collaborative language research, to share experiences and document best practices at in service of global linguistic diversity and Nepal’s many Indigenous languages.

Languages are both software and hardware

Turkish Airlines has introduced a new amenity kit collection designed in collaboration with French fashion house Lanvin for international business class passengers on flights more than five hours. It consists of five pieces designed for sustainability and elegance. Bags are reusable and will consist of Lanvin cosmetic products like hand and body lotions and lip balm. Eye masks and socks are made from recycled materials, earplugs are packaged in paper and the toothbrush is bamboo.

Turkish amenity kit

Earlier this month, Nepal received Rs1.6 billion from the World Bank as part of its <a href="https://nepalitimes.com/news/will-nepal-ever-be-paid-for-saving-trees">Forest Carbon Partnership Facility (FCPF)</a>, rewarding the country for increasing its carbon sink capacity. Nepal is the first in South Asia to benefit from this facility, and it is specifically to recompense the country for increasing forest cover in 13 Tarai districts between 2018-2024. “We are also trying to get another Rs13 billion from the facility while also preparing for free market-based carbon trading in the international market,” says Nabaraj Pudasaini of the REDD (Reducing Emissions from Deforestation and Forest Degradation in Developing Countries) Implementation Centre. Big emitters of greenhouse gases are under pressure to reduce their carbon emissions, and many have signed agreements to do so by investing in decarbonisation projects in developing countries. Countries that emit more than a specified amount of carbon would be able to buy emission rights from countries that emit less. Nepal is internationally known for its community forestry program which has been largely credited for <a href="https://nepalitimes.com/banner/tree-mendous">increasing tree cover to over 45%</a> in less than three decades. But this achievement had not been adequately recognised or rewarded internationally before. Forests, especially in the tropics, absorb and store large amounts of carbon while releasing oxygen in a process known as photosynthesis. <a href="https://www.fao.org/forest-resources-assessment/en/">Preventing deforestation</a> and increasing canopy cover is considered a much more achievable goal than reducing emission in the scale necessary to limit global average temperature to 1.5°C above pre-industrial levels. COP11 in Montreal in 2005 first proposed reducing carbon emissions by improving forest quality by halting degradation. By 2015, a new mechanism of financial assistance was created to help less developed countries with sustainable management of forests <a href="https://www.un-redd.org/">(called REDD+)</a>. Under this new mechanism, countries receive aid based on their efforts to prevent forest degradation and increase carbon sink, and in 2021 the World Bank was entrusted with implementing it. Nepal’s FCPF receipt this month was calculated on the basis of 2.4 million tons of carbon stored at a rate of $5 per ton. In the second phase, Nepal will receive more than Rs4 billion within the next year for storing an additional 7 million tons of carbon. Eighty per cent of this amount obtained from carbon trading needs to be spent on local beneficiaries and indigenous communities.&nbsp; But carbon trading is not easy, Nepal needs to prove that protected forests will not be destroyed in future.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241121091132_c8a381c9a95aa86fec558951650d97bb87914741f01766982ba2b086af001f16.jpg" data-media-id="editor_4" data-image-id="20241121091132_c8a381c9a95aa86fec558951650d97bb87914741f01766982ba2b086af001f16" data-rendition-name="original" width="1500" height="999" loading="lazy" alt="Greenbacks for greenery NT "> <figcaption>Photo: KUNDA DIXIT</figcaption> </figure>  Explains carbon trading expert Yugan Manandhar. “Forests should be handed over to the community and shown that they are managed sustainably. Proving this will be particularly challenging; forest encroachment and degradation is rife in the Tarai.” <a href="https://nepalitimes.com/multimedia/nepal-is-going-up-in-smoke">Deliberate forest fires</a> have also added to the challenge because they increase carbon emissions and reduce the sink capacity of forests. The basis for the amount that Nepal received was set five years ago by calculating the carbon reserves of forests in the 13 Tarai districts. In the meantime, sustainable forest management, tree plantation, forest destruction and erosion control were prioritised to increase carbon reserves in those forests. Nepal is signing another carbon trading agreement during the ongoing Baku climate conference. The <a href="https://www.leafcoalition.org/">Lowering Emissions by Accelerating Forest finance (LEAF Coalition) </a>proposes to sell the carbon stored in the forests of Bagmati, Gandaki and Lumbini provinces. For this, Nepal signed the letter of intent three years ago at COP26 in Glasgow. The target is to store 70 million tons of carbon in 32 million hectares of forest in the three provinces per which Nepal will receive Rs13 billion in four years at $10 per ton with provisions to increase the rate if various conditions are met. However, the agreement in itself doesn’t guarantee the amount. According to the targets set by Nepal, forest degradation should be stopped and carbon reserves increased by protecting tree cover. Preparations are also underway for clean air carbon trade because it has offset fossil fuel use by introducing 30,000 electric vehicles. Nepal has been selected for the first round to receive $40 million within one and a half years through the Clean Air System of the World Bank. Given that most of Nepal’s energy mix is from biomass, replacing them with electric stoves can significantly improve health by reducing indoor pollution as well as strengthen the country’s capacity for carbon trade. “Nepal's goal now is to sell carbon in the free market where carbon credits are bought and sold based on supply and demand in an open and transparent manner,” adds Pudasaini of the REDD Implementation Centre. “Nepal can now set its own price and bargain with interested buyer countries and organisations.” Lately, India has been discussing setting up a carbon market. Nepal has exported Rs12.72 billion worth of electricity to India so far this fiscal year, which can be traded under Nepal’s carbon market. “Carbon trading can create significant economic benefits for Nepal, which will help reinvest in development and environmental protection projects,” says Manandhar. “But we must prioritise sustainable management of forests, cutting older trees and allowing regrowth as well as promoting electric stoves and electric vehicles.”