<a href="https://www.instagram.com/prabalgurung/" target="_blank">Prabal Gurung</a> left Nepal for New York in 1999 to escape years of bullying, sexism and homophobia, and to pursue his dream of becoming a fashion designer. He <a href="https://www.youtube.com/watch?v=KqN0VaoAI5w" target="_blank">realised his dream</a>, but did not escape discrimination and racism in the new world. Propelled by passion for fashion, Gurung overcame everything America threw at him. He has attained <a href="https://www.vanityfair.com/style/story/prabal-gurung-recalls-his-first-met-gala-when-zoe-saldana-was-at-his-side?srsltid=AfmBOooy-H0oGgxMit864FnW_Pmw8mUnV8rYrh-co-f6OyYK6m2ip5hP" target="_blank">fame and recognition</a> for his haute couture dress designs while remaining true to his Nepali roots, and is even more resolute in <a href="https://www.youtube.com/watch?v=dSmNauyzACk" target="_blank">fighting prejudice</a> in all its forms. Prabal Gurung’s newly-released memoir <a href="https://www.amazon.com/Audible-Walk-Like-Girl-Memoir/dp/B0DG11HCDQ?fbclid=IwY2xjawKZfpxleHRuA2FlbQIxMQABHuZcIJO2OXyXcRm1oq1iG6wzeoF7VJFrQ7GXOFI0YxuZZ4id_CNvSZSZZIna_aem_pG_mOKG73RTnYvN8JaC4fA">Walk Like a Girl</a> is a saga of harrowing abuse in boarding schools in Nepal and India, only finding himself facing a different kind of bullying in the US. He prevails over it all to be where he is today: an award-winning American fashion designer with his own label. Walk Like a Girl was launched last week in New York at a time when everything Gurung fought for — tolerance, inclusion and diversity — are in retreat in his adopted country because of a president who has espoused a culture of bullying. The book is a searing, raw exposé of how cruel and abusive people can be even at a young age in school. On the other hand, it also shows that there are generous, compassionate and open-minded souls out there. In his book, Prabal Gurung calls out those who tormented and tried to hold him back (some of their names have been altered). The moral of his story is: resist, never stop believing in yourself, do not let others define you, never lose sight of your dream, and help those who have been kept out. “Walk like a girl” was a slur used by bullies back in school in Nepal and India for Gurung’s effeminate ways. He fought back then, and he is still resisting by turning those words into something to be proud of.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519170544_4ffc9c3f565dd2cfa754d10b224816897b82bb31ebaee91b6d79d469fc96f14e.jpg" data-media-id="editor_5" data-image-id="20250519170544_4ffc9c3f565dd2cfa754d10b224816897b82bb31ebaee91b6d79d469fc96f14e" data-rendition-name="original" width="1000" height="1253" loading="lazy" alt="Prabal Gurung NT"> <figcaption>Prabal Gurung at home in Kathmandu in the 1990s.</figcaption> </figure>  “Living through it all was one thing, but writing about it is one of the hardest things I have done in my life,” admitted Gurung during the launch. “I broke down constantly during the six-year writing process.” He continues: “I did not want this to be a victim’s book. I did not want to burden my readers with my emotions. I wanted my struggle to be an inspiration for others facing what I faced. I am grateful to those who bullied me in school, they made me a stronger person ready to face the world.” Indeed, this book is a departure from his earlier one titled simply, Prabal Gurung (Abrams, 2019), which was a lush pictorial autobiography of his career in fashion. Walk Like a Girl is not a typical fashion book, it is an intimate tale of <a href="https://archive.nepalitimes.com/news.php?id=16997">Gurung’s travails and triumphs</a>, and how he willed himself to succeed. Prabal pays a lavish tribute to his mother Durga Rana. We find out she is a descendant of the first wife of the eldest son of Jang Bahadur Rana who was banished to Palpa in the late 19th century. Prabal’s father served in the Singapore Police and that is where he was born before the family returned to Nepal when he was four. Gurung relates with brutal honesty about the violence his mother endured from his father. Durga raises three children as a single mother in Nepal, and Prabal credits her for his fierce determination to resist patriarchy and injustice, which in time manifests itself in his hyper-feminine and subversive dress designs. Writing the book has been a cathartic experience for Gurung, who says he is now relieved of the burdens of his past. It no longer haunts him, and he does not have to prove anything to anyone anymore. Walk Like a Girl has life lessons not just for the <a href="https://www.instagram.com/p/DJmOcSgxdWz/" target="_blank">fashion industry</a>, but for every other profession. How can my job serve a greater cause? Gurung tells us his work is <a href="https://asiasociety.org/blog/asia/why-designer-prabal-gurung-doesnt-want-just-stick-fashion" target="_blank">bigger than just making clothes</a>, it is about making the world a better place because it could do with a lot of improvement.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519170544_d75296ad8bfdc00d88935f40d23543c6fea3d4d6a10e61a99d6cfc6127f2ee5b.png" data-media-id="editor_9" data-image-id="20250519170544_d75296ad8bfdc00d88935f40d23543c6fea3d4d6a10e61a99d6cfc6127f2ee5b" data-rendition-name="original" width="1516" height="1000" loading="lazy" alt="Prabal Gurung"> </figure>  This story of chasing the American dream may sound familiar to many immigrants: knocking on doors for jobs, rejections, trying to survive from day to day on expensive rent, and dealing with subtle racism in white America. Gurung finds racism is rife, and he is often mockingly called ‘gaysian’. He writes: ‘There was a strong hypocrisy — this idea of independence felt like a marketting ruse … and for all the talk of feminism in America, these high society women were trapped by the patriarchy just like in Nepal and India.’ After a trek to the Khumbu region in 2013, Gurung is inspired to use the colours, palette and textures of Nepal for his collection exhibited on Manhattan’s 8th Avenue. A major buyer tells him bluntly: “Stick to making pretty dresses … if I need to see a collection like this, I could buy a copy of National Geographic.” The New York Times was equally dismissive: ‘The designer tries to draw connections between blistered techo-fabric used to construct it and the topography of his homeland, Nepal. But, at the moment, he has lost his map.’ One potential investor tells Gurung he cannot design for Americana because “you do not look American”. Gurung wants to use expletives, but restrains himself. After a fundraiser in New York for the Nepal earthquake in 2015, some belittled his effort, saying: “Here comes the saviour’. Read also: <a href="https://nepalitimes.com/review/prabal-gurung-by-prabal-gurung">Prabal Gurung by Prabal Gurung</a>, Kunda Dixit The Gurkha DNA must be dominant in Prabal Gurung’s genes because he does not take such mistreatment lying down. When asked by a fashion publicist why he was designing clothes for fat people, he snaps back: “Because of people like you.” He joins the Black Lives Matter and #MeToo movements, launches the Shikshya Foundation charity in Nepal, and has powerful allies among celebrities who wear clothes he designed: Michelle Obama, Oprah Winfrey, Sara Jessica Parker, Kamala Harris, Deepika Padukone … it is a long list.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519150556_48a5f4211991a23fa85b64bbd5377575ca7081d97309d7542035591dda5180fe.png" data-media-id="editor_11" data-image-id="20250519150556_48a5f4211991a23fa85b64bbd5377575ca7081d97309d7542035591dda5180fe" data-rendition-name="original" width="1114" height="1534" loading="lazy" alt="Being Prabal Gurung by design"> <figcaption>Nigerian novelist Chimamanda Ngozi Adichie wearing Atelier Prabal Gurung’s design for Met Gala 2025 in which the theme was ‘Superfine: Tailoring Black Style’. </figcaption> </figure>  “I don’t dress women to look beautiful, they already are,” Gurung says. “I try to bring out their innate strength and grace.” <a href="https://www.instagram.com/stories/highlights/17908766880140171/" target="_blank">Admirers</a> tell Gurung he makes it all look so easy, but he used to put up a strong facade to not show his own vulnerabilities in public. “I was closed because of my childhood experiences,” he says. “I was always on guard to defend myself because I never knew where the next punch would come from.” But in <a href="https://www.youtube.com/watch?v=PPVepzPA210" target="_blank">Walk Like a Girl,</a> Gurung comes to terms with his vulnerability, and bares his soul. It has not been easy, it took sustained will power and support from his mother, sister Kumudini and a circle of close friends. “I made unbelonging my power,” he says. “Nepal is where I still have my heart and soul. Nepal grounds you. It is where people go to find themselves. But I escaped.” Recently appointed vice-chair of the <a href="https://cfda.com/about-cfda" target="_blank">Council of American Fashion Designers</a>, Gurung says: “I can’t believe I am here, it feels like it is happening to someone else. Writing this book, the healing has finally begun.” <h2>‘Everything is better in color’</h2> The Met Gala was two weeks later, and my table was an example of everything I’d been fighting for all these years as my guests represented everything I believed in: dynamic, powerful, influential women who were unapologetically original and unabashedly graceful. I was grateful to Anna for inviting me to host and dress a table that reflected my ethos—and for her guidance in doing so. I was also aware of the privilege as one of the first-­ever Asian fashion designers—not just from Nepal, but from the entire continent— to get the opportunity to do so. That fact was not lost on me. I reached out beyond the expected Hollywood celebrities and well-­known socialites to curate a table of exceptional women who inspired me. I invited Deepika Padukone and Alia Bhatt for their first-­ever Met Galas, as well as Michelle Yeoh, Mindy Kaling, Camila Cabello, Ashley Park, Denée Benton, KiKi Layne, Quannah Chasinghorse, and Grace Elizabeth. Together we checked many boxes: Asian, Black, Latinx, and Indigenous, each woman undeniably chic and powerful, a dazzling array of skin tones and experiences that proved my decades‑in‑the-­making hypothesis: everything is better in color. Excerpt from Walk Like a Girl Viking © 2025 by Prabal Gurung  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519170520_6b91d560e9f072c37d16876901058c073a51ffa05e7ad1b9461d19e1c9c28215.jpg" data-media-id="editor_15" data-image-id="20250519170520_6b91d560e9f072c37d16876901058c073a51ffa05e7ad1b9461d19e1c9c28215" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Prabal Gurung book details NT"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519170520_345240c21be400e2ce2ec629b52bd82bb53890e5bd86fe95b48340d84b5f1748.jpg" data-media-id="editor_16" data-image-id="20250519170520_345240c21be400e2ce2ec629b52bd82bb53890e5bd86fe95b48340d84b5f1748" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Prabal Gurung book details NT"> </figure>  &nbsp;

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Review

Being Prabal Gurung by design

Katha Ghera’s ongoing theatre production वायुपङ्खी बफेलो (Bayupankhi Buffalo, Winged Buffalo) at<a href="https://nepalitimes.com/here-now/all-the-men-and-women-merely-players"> Kausi Theatre</a> begins with all the buffalos at a farm are granted semi-human qualities by a magical entity called ‘The Hand’. A young buffalo in the herd, named Aai like all of his fellow bovines, takes one look at the state of things around him with his newfound cognitive abilities and immediately decides that he has no prospects in Nepal. Written and directed by Kshitiz Parajuli, वायुपङ्खी बफेलो chronicles the misadventures of Aai as he sets out to make his <a href="https://nepalitimes.com/here-now/quake-survivors-migrate-for-work">dreams of migrating for a better life </a>into reality. He is helped in his quest by his supportive father, played by Rishikesh Basyal, and the other stage buffaloes in his life. The application process can be daunting, but the play does not take itself too seriously, presenting the <a href="https://nepalitimes.com/here-now/no-country-for-young-men-c89lgrrl">desperation of young Nepalis to migrate</a> through multiple comedic twists, fourth-wall breaks by the narrator, musical moments, and over-dramatised scenes. The fast pace play does not make the story feel out of place. When Aai finds himself short on money for citizenship and passport documents made, he robs a bank. When it is time to take an emigration language test, the only way Aai is able to speak English is via rap verse. When he tells his father that he does not wish to be lonely in his new life abroad, he arranges for Aai to marry a cow. The play stands out because despite its quixotic plot and arrangement, most Nepalis identify with the core theme of <a href="https://nepalitimes.com/opinion/the-truth-about-migration">migration</a>. And so is the process Aai has to follow to get his documents, his struggles to obtain citizenship presents a pointed message about what Nepalis go through to establish their <a href="https://nepalitimes.com/banner/nepal-is-turning-into-a-nation-of-hybrid-identities">national identity</a> with the language barriers along the way.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250509140548_1907cd2d7935e66571206e737b3207b462b27b4acdde996e17a20cc20cc7dbbd.jpg" data-media-id="editor_5" data-image-id="20250509140548_1907cd2d7935e66571206e737b3207b462b27b4acdde996e17a20cc20cc7dbbd" data-rendition-name="original" width="2048" height="1346" loading="lazy" alt="No country for bovines"> </figure>  That he resorts to crime for a chance to leave the country is reflective of people willing to let the end justify the means, evoking stories of countless Nepalis who take months-long journeys through dangerous back routes to attempt to get into countries like the US. The cast, along with the production’s costume and make-up department, deserve flowers. Nishan Khatri and Rishikesh Basyal in particular do a stellar job playing Aai and his father, imbuing their buffalo characters with humanity while maintaining their bovine body language and mannerisms. Read also: <a href="https://nepalitimes.com/review/prosperous-farm-un-happy-animals">‘Prosperous Farm, (Un)happy Animals’</a>, Shristi Karki Just when it seems as though Aai has finally crossed all hurdles (spoilers ahead) he is caught at the airport trying to leave the country on a fake passport, and sent to prison. Upon release from jail, he returns home, seemingly having given up on his dreams to go abroad entirely, to find that his father is no longer at home. Neither Aai nor the audience is given answers as to where his father might have gone and why he left. And so Aai quietly goes back to being a buffalo, reminding us that while <a href="https://nepalitimes.com/opinion/guest-editorial/the-migration-myth">thousands leave Nepal</a> daily in search of a better life, the dreams of just as many, if not more, never take flight. At this sombre end, the audience is left wondering about the circumstances that have led to <a href="https://nepalitimes.com/here-now/nepal-s-hard-working-students-overseas">young Nepalis</a> believing the grass is really greener beyond our borders. Bayupankhi Buffalo is a tragi-comic reflection of the dreams contemporary Nepali youth dare not dream here at home. Bayupankhi Buffalo Till 17 May Katha Ghera, Kausi Theatre, Teku

No country for bovines

Bhuthan भुठान starts with Bishnu Bahadur KC played by <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/dhuwa-smoke-telefilm,2671">Hari Bansha Acharya</a> on a call, requesting to speak to the visa officer. By this point, he had <a href="https://nepalitimes.com/here-now/nepal-should-now-allow-visa-on-arrival">applied for a visa </a>to Bhutan 10 times, but was denied each time. KC was a <a href="https://nepalitimes.com/here-now/nepal-s-women-excel-in-sports-in-2024-z9ramyct">national football player </a>in Bhutan in 1988 before he and other Nepali-speaking Lhotsampa people were forced out of the country in the 1990s as part of the Druk regime’s ‘One Nation One People’ campaign. Over 100,000 Bhutanese Nepalis were forced out, driven across India and dumped in Nepal where they lived in seven<a href="https://nepalitimes.com/here-now/elderly-left-in-bhutan-refugee-camp"> refugee camps</a> supervised by the United Nations and other charities until they were resettled in the United States, Australia, New Zealand and some European countries starting in 2007. In the fictional movie with the satirical English title The World’s Happiest Man, KC has resettled in the state of Ohio in the US but wishes to visit his home country once before he dies. Between flashbacks, we learn KC has died without having fulfilled his wish. &nbsp; The drama then focuses on KC’s two families from two marriages as they debate whether to cremate him as per <a href="https://archive.nepalitimes.com/article/from-nepali-press/muslim-hindu,2996">Hindu rites </a>or give him a Christian burial. A mediator played by Hollywood actor Bruce Dern urges them to take a firm decision before it is too long.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250430140420_b398a08091b866da2b0b8f6c1e6e26781609749aba896bfd2c68a10a519295c3.jpg" data-media-id="editor_5" data-image-id="20250430140420_b398a08091b866da2b0b8f6c1e6e26781609749aba896bfd2c68a10a519295c3" data-rendition-name="original" width="945" height="945" loading="lazy" alt="Bhutan, the movie"> </figure>  There are drawn out scenes of KC being baptised and when he is confronted by his first wife from Darjeeling played by Anuradha Majumdar, he says he changed his religion in the hope that he will be <a href="https://nepalitimes.com/opinion/comment/bhutan-s-refugees-between-hope-and-despair">allowed back in Bhutan</a>.&nbsp; We find out KC has a second wife, a Christian Nepali played by Puja Chand. Dayahang Rai as the younger son doesn’t have much screen time to flex his acting chops. &nbsp; Acharya competently portrays a man that is equal parts haunted by the memories of and longing for his home country. KC’s pain and loss is acute when he is teaching football to Gungun but between mid-scene, he freezes, perhaps lost in memories of being in Bhutan’s national team. &nbsp; In another scene, KC recalls his mother singing a lullaby in Dzongkha. He also has a box filled with medals, photographs and a football which he deflates with a knife in a powerful depiction of his <a href="https://nepalitimes.com/here-now/searching-for-a-homeland-away-from-home?fb_comment_id=1506516030025634">complicated emotions about his homeland</a>. KC keeps checking his mailbox in the hopes that his <a href="https://archive.nepalitimes.com/news.php?id=4977">visa application</a> has been accepted. He says in Nepali: “If a tree that has already struck roots in one place is shifted to another, it will not survive.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250430140420_4a9c27410326489576c04dedf40016bda3825e8f9663317f54fbfec4cbda6d34.jpg" data-media-id="editor_9" data-image-id="20250430140420_4a9c27410326489576c04dedf40016bda3825e8f9663317f54fbfec4cbda6d34" data-rendition-name="original" width="1422" height="2048" loading="lazy" alt="Bhutan, the movie"> </figure>  Dern’s character says that the <a href="https://nepalitimes.com/opinion/comment/nepal-s-transitional-justice-and-the-west-s-recalibration">western world</a> has become “lonely in pursuit of happiness”, another reference to Bhutan’s obsession with its Gross National Happiness index. Scenes shift quickly throughout making the story difficult to follow at times. The use of symbolism is a trite overdone. Nonetheless, भुठान is a nuanced depiction of raw pain and agony of losing one’s homeland. But one cannot help but leave the theatre feeling deflated. KC dies without having visited <a href="https://nepalitimes.com/here-now/small-bhutan-dreams-big">Bhutan</a>, but perhaps he does in his afterlife. It is up to the audience to create its own ending to this sad story of exile. भुठान Mad Monkey Films, 2025 Directed by Binod Paudel 102 minutes In cinemas in Nepal

Bhutan, the movie

Bhaktapur is all about ritual, resistance, and remembrance. Now a <a href="https://nepalitimes.com/banner/nepals-new-generation-of-alternative-artists">new generation of artists</a> is exploring the city of devotees through art. Balkrishna Banmala was a child <a href="https://nepalitimes.com/review/deity-devotion-and-divine-dance">deity dancer</a> who performed sacred tantric rituals. But what many saw as divine honour for Banmala was a time stolen from his childhood. “On the surface, it looked beautiful to be honoured with offerings and prayers,” Banmala tells us. “But behind the masks and the barefoot dances, we were children denied a normal life. No school, no shoes, no time to play.” Banmala is now an artist and his canvases are part of the Chitra Katha exhibition at <a href="https://nepalitimes.com/review/amalgamation-of-nepali-art">Siddhartha Art Gallery</a>. His artwork blur the line between the sacred and the everyday: a masked deity riding a bicycle, a divine child licking an ice cream cone. Some of these images have sparked outrage in his own community. “When I first exhibited these works, community leaders saw them as betrayal,” adds Banmala. “Some even tore up my paintings. A police complaint was filed. But I believe art must speak the truth even when it is uncomfortable.” His <a href="https://nepalitimes.com/here-now/painting-a-painter">paintings</a> at Chitra Katha incorporate circular motifs inspired by the Navadurga Jatra where Banmala weaves cosmological cycles into his paintings, saying, “In the cycle of life: Brahma creates, Vishnu sustains, and Shiva destroys. My work reflects this cycle--today, tomorrow, and beyond.” Read also: <a href="https://nepalitimes.com/review/old-art-meets-new">Old art meets new</a>, Sikuma Rai  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250424110456_8f9008ff390c9e49dbd60d4c0a887e04f249686a8d1db3329cc0d66dc3a0737f.jpg" data-media-id="editor_5" data-image-id="20250424110456_8f9008ff390c9e49dbd60d4c0a887e04f249686a8d1db3329cc0d66dc3a0737f" data-rendition-name="original" width="848" height="809" loading="lazy" alt="Between the sacred and everyday"> <figcaption>Brahma by Balkrishna Banmala Photo: SIDDHARTHA ART GALLERY</figcaption> </figure>  For Banmala, <a href="https://nepalitimes.com/banner/the-art-of-healing">art has become a form of therapy</a>, a step to healing the inherited burdens of tradition. “Children in my community continue to be worshipped at the cost of their dreams. I want them to have what I didn’t. My <a href="https://nepalitimes.com/banner/art-as-a-call-to-action">art is my protest</a>, my hope, and my prayer.” Altogether, 28 artists from <a href="https://nepalitimes.com/banner/clash-of-cultures-in-bhaktapur">Bhaktapur</a> are exhibiting their works at Siddhartha Art Gallery with everyday stories of the city in the form of paintings, drawings, ceramics, printmaking, light installations. Many works use local materials like terracotta, wood and cement, grounding their expressions both literally and metaphorically in Bhaktapur’s soil. Narayan Bohaju’s diptych Floating Hopes II offers a dreamlike view of <a href="https://archive.nepalitimes.com/news.php?id=15106">urban chaos</a>. Public vehicles float alongside lotus leaves. The visual texture almost resembles Studio Ghibli, and invites onlookers to romanticise even the most distressing reality, thereby offering some hope even in unexpected places. In Echoes of Childhood Community, Bohaju returns to Bhaktapur’s spiritual core. A towering temple-like chariot teems with figures in communion: local vendors, families, fruit baskets, religious icons--anchoring a city where sacred and mundane coexist.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025042412044_81a2b9042948ed7edc871671b486bb14fa1a137e09119b0a0bb945236a72619c.jpg" data-media-id="editor_10" data-image-id="2025042412044_81a2b9042948ed7edc871671b486bb14fa1a137e09119b0a0bb945236a72619c" data-rendition-name="original" width="1999" height="1721" loading="lazy" alt="Between the sacred and everyday"> <figcaption>Echoes of Childhood Community by Narayan Bohaju</figcaption> </figure>  Meanwhile, <a href="https://nepalitimes.com/review/reimagined-roots">Pooja Duwal</a>’s series Custodians of the Ephemeral celebrates the beauty in the ordinary. Rendered in oil, her scenes capture fleeting moments of men in dhaka topi, elders sipping tea, neighbours chatting at street corners. Her remarkable works showcase unremarkable everyday scenes. Reminiscing Memories by Srijan Ulak uses pen and ink to trace the fading outlines of <a href="https://archive.nepalitimes.com/news.php?id=19496">Bhaktapur’s architecture</a> and <a href="https://nepalitimes.com/here-now/building-homes-on-a-deadline">ancestral homes</a>. His detailed work speaks to nostalgia, and the slow erosion that came with <a href="https://nepalitimes.com/review/rice-fields-to-concrete-terraces">urbanisation and concrete</a>. For artist Anjila Manandhar, power comes from turning personal struggles into sacred strength. Her artwork often features skulls and divine figures but they represent her, she tells us. “The heads and skulls I draw are like those of Chamunda or Kali. But I gave that power to myself. I made myself the <a href="https://archive.nepalitimes.com/news.php?id=16471">goddess</a> strong, playful, and defiant. It’s how I motivate myself and heal.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025042412040_a2c54afebe5e244cd5fed0ed30f27956c3aa317c0d8435dcc01d69352e98cbb6.jpg" data-media-id="editor_16" data-image-id="2025042412040_a2c54afebe5e244cd5fed0ed30f27956c3aa317c0d8435dcc01d69352e98cbb6" data-rendition-name="original" width="1440" height="960" loading="lazy" alt="Between the sacred and everyday"> <figcaption>Nothing by Anjila Manandhar Photo: SIDDHARTHA ART GALLERY</figcaption> </figure>  Manandhar’s works explore identity through <a href="https://nepalitimes.com/banner/when-art-unites-what-divides-us">surreal metaphors</a>. One recurring image is of an ant with a human face. “Ants are everywhere. Tiny, sensitive, stepped on without notice. In many ways, humans are the same. We keep moving, but we rarely look down. Maybe if we did, we’d be more grounded.” Sunflowers are another constant theme, and Manandhar explains that the blossoms always turn to the sun and feel like guardians that are always rising, watching, and protecting. Anjila’s art moves fluidly between strength and fragility, empowering viewers. The exhibition also features Suraj Shilpakar, a master <a href="https://nepalitimes.com/review/in-with-the-old-in-with-the-new">woodcarver </a>deeply rooted in his family’s artisanal legacy. Woodcarving is his identity, and he strives to preserve the craft while constantly aiming to reinterpret it. Shilpakar explores modern themes through painting, printmaking, and ceramics. His Baja Gaja series is a standout at the exhibition, a sculptural tribute to the role of music in <a href="https://nepalitimes.com/editorial/progress-and-or-preservation">cultural preservation</a>.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025042412040_936a3c559c3de6f3177c5d2a01f15e765208727e54949324395668e19bbda11e.jpg" data-media-id="editor_20" data-image-id="2025042412040_936a3c559c3de6f3177c5d2a01f15e765208727e54949324395668e19bbda11e" data-rendition-name="original" width="3222" height="2177" loading="lazy" alt="Between the sacred and everyday"> <figcaption>Baja Gaja series by Suraj Shilpakar</figcaption> </figure>  The piece is built in the tudal style. The struts represent support. He says, “It honours how youth and <a href="https://nepalitimes.com/here-now/the-sacred-female-energy-of-shakti">women uphold traditions </a>through music. Today, <a href="https://nepalitimes.com/here-now/the-musical-bridge-between-past-and-present">music isn’t just a celebration, it holds culture together.</a>” The work is a reminder that tradition can evolve, adapt, and inspire, while keeping its essence. Each piece at the Chitra Katha exhibition is a meditation on heritage, belief, and identity. The lotus reappears as a quiet metaphor for resilience amidst chaos. The skulls, deities, and age-old rituals find their place beside evocations of temples, myths, and ancestral echoes. Themes of religion, tradition, mortality and divinity recur. Bhaktapur’s artists offer their intimate stories, inviting onlookers to find personal resonance within the folds of collective memory. They are building new ways for future generations to remember their lives. Chitra Katha Siddhartha Art Gallery, Baber Mahal Revisited Until 11 May Sunday to Friday 11AM-5PM Saturdays 12-5PM

Between the sacred and everyday

Il y a d’autres Annapurnas dans la vie des hommes

The <a href="https://nepalitimes.com/banner/time-capsule-of-kathmandu">Kathmandu Valley civilisation</a> can also be called a hydrological culture where sophisticated<a href="https://nepalitimes.com/news/nepal-needs-to-plan-for-plenty-and-scarcity-of-water"> water management</a> allowed densely-packed settlements to co-exist with intense <a href="https://nepalitimes.com/editorial/back-to-the-future-of-farming">agriculture</a> on the fertile soil of the former lake-bed. Both needed plenty of water, but <a href="https://nepalitimes.com/here-now/geopolitics-of-nepal-s-rivers">the Valley’s rivers </a>are not snowfed. So, the rulers of the kingdoms sourced them from the surrounding hills in an elaborate <a href="https://nepalitimes.com/here-now/kathmandu-s-ancient-water-spouts-still-functioning">network of canals </a>that did not just provide water for irrigation and fill ponds that recharged ground water, but also ensured urban supply through sunken spouts called hiti.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025032705030_4e0cf8c700f36086c3ea12917b03f2ae1f5224db3c9eac61c02b9a2a0d3ba91a.jpg" data-media-id="editor_5" data-image-id="2025032705030_4e0cf8c700f36086c3ea12917b03f2ae1f5224db3c9eac61c02b9a2a0d3ba91a" data-rendition-name="original" width="1500" height="1227" loading="lazy" alt="Hiti "> <figcaption>Photo: HAYLEY SAUL</figcaption> </figure>  The fact that the hiti system is still a vital source of water for the residents of inner city <a href="https://nepalitimes.com/here-now/a-green-city-is-a-smart-city">Kathmandu</a>, <a href="https://nepalitimes.com/here-now/patan-for-beginners">Patan</a> or <a href="https://nepalitimes.com/banner/clash-of-cultures-in-bhaktapur">Bhaktapur </a>despite rapid urbanisation is a testament to the engineering and planning expertise of our ancestors dating back to the <a href="https://nepalitimes.com/here-now/losing-loose-change-in-nepal">Lichhavi period</a> (400–750 CE) and later expanded during the Malla era (10th–18th century CE). ‘The Liquid Landscape of Kathmandu Valley: Hiti Pranali Water Heritage’ is a new exhibition at<a href="https://nepalitimes.com/here-now/patans-museum-piece"> Patan Museum</a> to pay tribute to this <a href="https://nepalitimes.com/opinion/comment/culture-cannot-be-an-afterthought">cultural heritage</a> and explores recent archaeological research that offers solutions to not just their preservation but also to maintain them to supplement modern systems.&nbsp; Read also: <a href="https://nepalitimes.com/news/saving-nepal-s-hiti-heritage">Saving Nepal’s hiti heritage</a> The research by Hayley Saul of Heritage for Global Challenges Research Centre and PhD scholar Anoj Khanal at the University of York in the UK entailed using Ground Penetration Radar (GPR) to generate electromagnetic waves to map underground water conduits. Collaborating in the research was engineer and author of the seminal book Hiti Pranali, Padma Sunder Joshi of the Madan Bhandari University of Science and Technology. “We used GPR to explore if we can find filtration systems or functions that allow for the flow and control of water and its distribution,” Saul explained. Although many of the <a href="https://nepalitimes.com/here-now/in-with-the-old-in-nepal">historical monuments of the Valley</a> that were destroyed in <a href="https://nepalitimes.com/here-now/lessons-not-learned-from-2015-o2etq6zu">the 2015 earthquake </a>have now been rebuilt, there has been minimal work in finding out about underground water conduits that may have been damaged, and in their restitution. Read also: <a href="https://nepalitimes.com/multimedia/a-portal-into-patan-s-past-and-present">A portal into Patan’s past and present</a>, Prakriti Kandel GPR technology can be used to map the main canals (raj kulo) and their branches, explore how they were designed and built in the first place, without having to carry out expensive excavation -- which would be difficult anyway because much of the Valley floor is now built up.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025032705038_c51c4e9e1a59d413f652d10f78b1ea7ee49a6c02e4ca01dff29c1ed79df10796.jpg" data-media-id="editor_16" data-image-id="2025032705038_c51c4e9e1a59d413f652d10f78b1ea7ee49a6c02e4ca01dff29c1ed79df10796" data-rendition-name="original" width="14888" height="10627" loading="lazy" alt="Hiti GPR results"> <figcaption>Photo: HAYLEY SAUL and ANOJ KHANAL</figcaption> </figure>  Local governments can now use the data collected by the researchers to map out the network canals, enforce building restrictions if needed and to maintain them.&nbsp; The hiti of Kathmandu were not just functional, but sacred and served as social and spiritual hubs. They provided water for drinking, laundry, household use, rituals, while also serving as gathering places for communities.&nbsp; With the<a href="https://nepalitimes.com/multimedia/water-for-the-ages"> introduction of modern water mains </a>from the late 19th century onwards and <a href="https://nepalitimes.com/banner/cost-of-living-in-a-big-city">rapid urban growth</a>, many hiti have fallen into disrepair or dried up. Of the at least 573 stone spouts once counted in Kathmandu Valley, many are lost, damaged, or no longer functional due to neglect, pollution, and encroachment of ponds and canals that feed them. Joshi explains that<a href="https://nepalitimes.com/review/thimi-s-urban-tissue"> Kathmandu’s ancient urban planners </a>developed the hiti network after the kingdoms located to higher ground to leave the lower areas for <a href="https://nepalitimes.com/news/aid-rarely-aids-agriculture-in-nepal">agriculture</a>. It forced them to devise ways to bring water through a network of canals fed by aquifiers, and use the gradient to sunken hiti stone spouts for distribution.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025032705034_ae12c7503ea6717c4a727a1c14a500f964e0e86668f9f923950cfb8a6c907d81.png" data-media-id="editor_21" data-image-id="2025032705034_ae12c7503ea6717c4a727a1c14a500f964e0e86668f9f923950cfb8a6c907d81" data-rendition-name="original" width="890" height="677" loading="lazy" alt="Hiti map"> </figure>  The exhibition at Patan Museum also demonstrates that the hiti system incorporates space for living beings, making it a self-functioning <a href="https://nepalitimes.com/opinion/people-tigers-trees-and-rivers">ecosystem </a>in itself. The existence of plants such as ferns and algae, and snakes and frogs indicate a <a href="https://nepalitimes.com/here-now/orchids-of-godavari-phulchoki">healthy ecosystem </a>in the sunken spouts. Absence of such biodiversity today indicates that the <a href="https://nepalitimes.com/here-now/saving-the-waters-of-life">water systems</a> have been degraded or <a href="https://nepalitimes.com/news/too-little-too-much-or-too-polluted">polluted</a>. “The<a href="https://nepalitimes.com/opinion/nepal-must-keep-water-on-its-land"> ponds </a>were used to collect water and recharge groundwater and aquifers,” explains Joshi. “They were primarily used for farming ducks which needed the algae in the ponds as food.”&nbsp; Every June just before <a href="https://nepalitimes.com/opinion/managing-the-monsoon">the monsoon</a>, Kathmandu Valley’s <a href="https://nepalitimes.com/news/kathmandu-marks-ihi-with-a-difference">Newa community </a>ritually cleans wells and other sources of water to maintain drainage and ensure that they serve as effective storage systems. Which is why Kathmandu’s hydrological culture is such an important part of its civilisation to this day.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250327100320_02d01e05c3f8aa3cde1f5af1569e8e09bf84dee88ebda76bb68ee0e0df669c80.png" data-media-id="editor_29" data-image-id="20250327100320_02d01e05c3f8aa3cde1f5af1569e8e09bf84dee88ebda76bb68ee0e0df669c80" data-rendition-name="original" width="1339" height="634" loading="lazy" alt="Kathmandu hiti NT"> </figure>  Read also: <a href="https://nepalitimes.com/opinion/the-water-emergency">The Water Emergency</a>, Ajaya Dixit The underground network of water canals also showed advanced engineering skills, and the system was so well built that it has lasted centuries, even though local communities may have lost the skills needed to build and maintain them. Says Anoj Khanal, “The wisdom from the past must be preserve and used. The technique and knowledge must be adapted to the modern times.” The York University team used the GPR technology at 33 hiti sites in Patan, and now hope to do similar research in Kathmandu.&nbsp; The hiti system thrived because it worked in balance with nature which has been disrupted with modern pressures as over-extraction of ground water and the disappearance of recharge ponds. Pollution from septic tanks and <a href="https://nepalitimes.com/banner/blueprint-for-a-net-zero-nepal">industrial waste</a> contaminate aquifers, while <a href="https://nepalitimes.com/news/climate-breakdown-linked-to-thame-flood">climate breakdown</a> alter rainfall patterns. Many hiti that once flowed year-round are now dry even during <a href="https://nepalitimes.com/news/soon-monsoon">the monsoon</a>.&nbsp; The hiti exhibition showcases the intricate <a href="https://nepalitimes.com/banner/the-history-of-heritage">heritage of Kathmandu Valley</a>’s water supply network and how <a href="https://nepalitimes.com/opinion/comment/tech-and-transition-in-nepal">modern technology</a> can help restore them. It is also a call to action to preserve the canals, spouts, ponds and the catchment areas on the Valley’s rim.&nbsp; Says Khanal, “It is possible to revive the hiti using the maps of water conduits underground to figure out alternate routes where water can flow. It is better late than never.” The Liquid Landscape of Kathmandu Valley: Hiti Pranali Water Heritage Until 30 March Patan Museum

Kathmandu’s liquid landscape

Deepak Rauniyar’s third feature Rajagunj is currently in <a href="https://nepalitimes.com/here-now/nepal-s-qfx-cinema-needs-a-happy-ending">cinemas</a>, and should be seen for many reasons: it is a solid nail biter, a kidnapping whodunnit, a political thriller with two unconventional, heart wrenching, love stories.
It is also a sharply observed commentary on<a href="https://nepalitimes.com/here-now/race-against-time"> race relations</a> that refrains from being overly didactic — a common fault in many political films that alienate the viewer instead of enlightening them.
Internationally aired as Pooja, Sir, the film premiered in 2024 at the Orizzonti section which runs parallel to the main competition at the Venice Film Festival. It has since made its way through the festival circuit to finally open in Nepali cinemas.
However, it suffered a glitch at the hands of the Censor Board which has a history of choosing conservatism over wisdom in what they want to edit out, treating viewers like juveniles and attempting to subvert reality by demanding that real events be redacted.
Thankfully, the film is not hurt much from this interference, though concentration is required to follow the twists and turns of the plot. Without giving too much away, the story involves the seemingly cold-blooded kidnapping of two young boys in the eponymous Rajagunj.
It plays out against the volatile backdrop of the deadly real life protests in 2015 that killed dozens in the Madhes over fury regarding the inadequacies of the new <a href="https://nepalitimes.com/news/nepal-s-contentious-constitution-day">Constitution</a>.
Pooja Thapa (played by the formidable Asha Magrati), a detective inspector from Kathmandu, is sent to <a href="https://nepalitimes.com/here-now/the-tarai-s-shrinking-forests">the Tarai</a> in the blistering heat to investigate. One of the young boys is the son of a prominent, local Madhesi politician, the other child is his friend and the offspring of the house-help. One can guess which victim necessitated the dispatch of a high ranking police officer from Kathmandu.
From the beginning Pooja is a compelling enigma, she is forthright and committed, keenly intelligent and a force of nature. She is also stubborn, and occasionally not very sympathetic to her fellow Madhesi colleagues.
There is little humour in the way she is written, the nuances appear thanks to Magrati’s calibrated performance. Pooja is also a lesbian which is hinted at from the very first scene with a shot of her from the back that emphasises her short boy-cut.
Her sexual orientation is further underscored by a slight but intimate scene in the kitchen with Rama, her partner, before she has to leave for Rajagunj.
Rauniyar’s social conscience and investment in the woes of Nepali society has been evident from his first film, Highway (2012) which, while messy, showed he had both heart and brains as he grappled with multiple characters, each conveying a particularly complicated aspect of the everyman’s struggles.
His second feature White Sun or Seto Surya <a href="https://archive.nepalitimes.com/article/must-see/White-sun-seto-surya-movie-review-2016,3420">(previously reviewed in this paper</a>) came out in 2016, cementing his place as an independent filmmaker and a politically conscious auteur.
Read also: <a href="https://nepalitimes.com/here-now/min-bahadur-bham-s-cinematic-quest">Min Bahadur Bham’s cinematic quest</a>, Abishek Budhathoki
Rajagunj shows how far this director has come with a story of a woman who finds herself in an alien city and culture, racing against time to locate two helpless kids, even as she navigates the intensely charged protests in the Madhes as a Pahadi herself, with prejudices further compounded by her own queerness.
There is much that happens in this gritty, urban film that for once does not romanticise or exotify <a href="https://nepalitimes.com/review/expressing-culture-and-nature-in-eco-art">Nepal’s culture and natural landscape</a> for viewers internally or abroad. There are no rose-tinted lenses or filters here.
The cinematography is matter of fact, precise, brutal when it needs to be, hewing to a script with excellent, natural dialogue that was written by Rauniyar, Magrati (Rauniyar’s partner in life), and David Barker.
Certainly, there are moments when the film seems to have jumped a scene or failed to impart a crucial piece of information, but the acting is moving, and the subject matter so affecting that it is easy to forgive these occasional, technical lapses.
While Magrati’s brave performance anchors the film there are several other substantial performances. Reecha Sharma, plays Sabita Koirala the fair, Pahadi, upper caste wife of the Madhesi politician, and mother of one of the kidnapped boys.
She is also the headmistress of the local, but now suspiciously shuttered, school. Veteran actor Dayahang Rai, also an executive producer of the film, does a fine job portraying Madan, the seemingly mild mannered police captain who oversees Rajagunj.
Nikita Chandak is completely engrossing in her portrayal of Mamata Gupta, a complicated junior Madhesi police officer who slowly comes into her own under Pooja’s rough but wise tutelage.
Politics is ever at work behind and infront of the scenes in Rajagunj, and not everyone is as they initially seem. <a href="https://nepalitimes.com/here-now/untold-stories-of-unsung-heroes">Women are heroes</a>, anti-heroes, villains, mothers, lovers, and fighters.&nbsp;
Multiple personal and<a href="https://archive.nepalitimes.com/article/nation/Political-theory-versus-reality-federalism,4061"> political realities</a> are portrayed, sometimes simultaneously, and while there are some bizarre leaps of logic, Rauniyar’s virtuoso gift is evident throughout, particularly in set pieces like the one where Pooja and her other trusty sidekick, Inspector Amar, are following Mamata who is forced to stand in for Sabita’s timorous maid as she bravely delivers the shockingly high ransom.
As the people from the region protest their frustration over the inadequacy of <a href="https://nepalitimes.com/here-now/share-rule-and-self-rule">the new Constitution</a> that was supposed to enshrine the <a href="https://nepalitimes.com/news/nepal-s-chance-on-transitional-justice">rights of all Nepalis</a>, not just the fairer skinned ones, Pooja and Amar struggle against the tide of shouting protestors, desperately trying to keep track of Mamata.
Pooja has to do an animal mask to hide her Pahadi origin, Mamata is dressed in a red sari (to imitate the maid) that drapes around her head to hide her face. The atmosphere is tense, pregnant with violence, and our dread is further keyed up by Pooja’s mask, which renders her figure ghoulish, lending the scene a nightmarish quality which is entirely appropriate given the hellish subject matter.
Nepali cinema has evolved over the years, but from the trailers that plied us before Rajagunj and during the intermission, that evolution is still flailing somewhere in-between <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Lights-camera-copy-paste,1146">Bollywood</a> melodrama and skilled, thoughtful verisimilitude, erring mostly toward the former.
Rajagunj is not a perfect film, but it is an admirable one, and will stay with you long after it finishes. It is an important stepstone, one could go so far as to say a vital one, in the journey towards better, more <a href="https://nepalitimes.com/review/kimff-2019-p8070ipt">meaningful filmmaking</a> in this country.
While this reviewer firmly believes in the power of cinema for pure, unaffected, even silly, mainstream entertainment, cinema is also an <a href="https://nepalitimes.com/review/a-flowering-artform">art form</a>, and Rauniyar’s film has moments of pure art, motivated by an undaunted spirit, and bolstered by the filmmaker’s own humanity.
Sophia L Pandé is a writer, art historian and filmmaker. She is Director of Development at the Kathmandu Valley Preservation Trust and Founding Director of The Kalā Salon.

Powerful movie upacks questions of identity

If there is no one way to live life, there is no one way to be a writer. And if <a href="https://nepalitimes.com/news/writing-about-nepal-from-afar">writing </a>advice could be summed up into a book written specifically for the South Asian writer and reader, How I Write would be just the one. Edited by Sonia Faleiro, founder of the literary mentorship program South Asia Speaks, the book is a collection of conversations that began as masterclasses at the program. Once exclusive to the fellows in the program, the book makes the invaluable knowledge and experience of 30 writers open to all.&nbsp; Featured writers have deep connections with <a href="https://nepalitimes.com/editorial/south-asia-2040-qxr16oup">South Asia</a> and write about the region’s life through <a href="https://nepalitimes.com/banner/novelist-returns-to-non-fiction">fiction and non-fiction</a>, prose and poetry. A conversation between two writers, the interviews are candid, thoughtful, and poignant, even funny.&nbsp; In one light-hearted moment, Mira Kamdar asks Suketu Mehta how writing and life relate to each other, and before diving into the details of the answer, Mehta mentions, “I’ve been cooking a lot.”&nbsp; Mansi Choksi shares a vulnerable side of the <a href="https://nepalitimes.com/here-now/1-000-weeks-of-nepali-times">publishing world</a>, when she felt like a failure because The New York Times did not review her book. Moments like these remind us that an aspiring writer must eventually graduate from the label of ‘genius’ or ‘artist’, to a life with real responsibilities and expectations, and write within the joys and pains of that very life. Read Kamila Shamsie with Sanam Maher when it is difficult to let go of the words. Shamsie is stoic about chopping off 30,000 words if her writing calls for it. Read V V Ganeshananthan with Sonia Faleiro when the writing process takes forever. It took Ganeshananthan 18 years to write Brotherless Nights.&nbsp; Read: <a href="https://nepalitimes.com/opinion/so-far-so-good/writing-about-writing">Writing about writing</a>, Lisa Choegyal Each conversation is a stand-alone piece and does not require to be read in chronological order. But the conversations themselves are inevitably in conversation with each other. The book also introduces writers with South Asian roots to readers. Many of their works, while accomplished in their own right, are not readily available in <a href="https://nepalitimes.com/here-now/the-story-of-books-in-nepal">bookstores in Kathmandu</a>. What How I Write does is give the reader reasons to come across the writers when and where possible.&nbsp; The conversations in the book do not shy away from critiques, like the West-dominated publishing industry and its repercussions on the reader and the writer, a theme explored throughout many interviews. Vauhini Vara shares, ‘….it must be really frustrating to be a writer in South Asia interested in writing for a global audience, say the US, because there’s this very restricting idea in the US about what’s interesting and what’s going to sell.’&nbsp; Many agree on the need to stay true to one’s story and to fight through what the industry might at times force on the writer. Adding on to what the industry refers to as a marketable writer, Manjushree Thapa says, ‘It’s been important for me to step back and say, “Look, I need to keep evolving as a writer, and I need to be honest to my writing desires. I don’t want to be just a writer from Nepal who did this in the past. I’m going to write in the future.”’ Read also: <a href="https://nepalitimes.com/multimedia/finding-a-permanent-home-in-poetry">Finding a permanent home in poetry</a>, Pinki Sris Rana The lived experiences of the writers are stories in themselves. Some have gone and done their MFAs, some stumbled into writing, some are journalists who are writers, some are writers who have never studied journalism but teach journalism, and some host podcasts.&nbsp; There is no one way to be a writer, there is no one designated path. But if there is one common overlapping idea, is it this: there is no easy way to write, no quick fix. With every book, the writers are lost. They experiment, they learn. They toil through doubt and continue to write for the love and labour of it all.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025022714028_fed6ec52e80a23d8a3fa181149403c96ce6f890b54077d7a13612267189a7f7c.jpg" data-media-id="editor_7" data-image-id="2025022714028_fed6ec52e80a23d8a3fa181149403c96ce6f890b54077d7a13612267189a7f7c" data-rendition-name="original" width="640" height="395" loading="lazy" alt="Book details "> </figure>  &nbsp;

With love, labour and writing

Till about 200 years ago <a href="https://nepalitimes.com/news/india-china-rail-race">China and India</a> were the world’s largest economies, and that helped Kathmandu prosper as an entrepôt between the two. We have now come full circle. China and India are ascendant once more, and the two giant neighbours can be the locomotives to pull Nepal along if we play our cards right. That is the message in former Kantipur editor <a href="https://nepalitimes.com/review/two-takes-on-the-nepal-india-nexus">Sudheer Sharma</a>’s omnibus edition of two books that explore the <a href="https://nepalitimes.com/opinion/so-far-so-good/nepals-history-through-art">historical</a> and <a href="https://nepalitimes.com/news/the-geopolitics-of-nepal-s-politics">geopolitical dimensions of Nepal</a>’s relations with China.&nbsp; The two Nepali language books, भिक्षु, व्यापार र बिद्रोह (Monks, Trade and Rebellion) and हिमालपारिको हुरी (Trans-Himalayan Hurricane) follow Sharma’s previous work प्रयोगशाला (Laboratory) which looked mainly at Nepal-India relations and was translated into English as The Nepal Nexus. The first book is predominantly about Kathmandu’s historical links with Lhasa, and by extension <a href="https://nepalitimes.com/editorial/beijing-30-zak6iu1w">Beijing</a>. Vajrayana Buddhism played a significant role in bringing the two sides of <a href="https://nepalitimes.com/here-now/lives-on-the-line-in-the-himalaya">the Himalaya</a> together, allowing social and trade relations to thrive.&nbsp; Princess Bhrikuti, King Narendra Dev and Arniko were prominent historical figures, but thousands of lesser known <a href="https://archive.nepalitimes.com/article/nation/monks-and-nuns-help-in-rescue-and-relief,2320">monks</a>, traders, and travellers also played their part in cementing Kathmandu-Lhasa ties. These connections were so strong that they endured three wars that the <a href="https://nepalitimes.com/banner/beginning-of-the-end-of-the-gorkha-empire">Gorkha Kingdom</a> and <a href="https://nepalitimes.com/here-now/gift-a-goat-to-tibet-nomads-in-nepal">Tibet</a> fought against each other in which <a href="https://nepalitimes.com/here-now/neither-side-lost-both-sides-won">Chinese emperors</a> sent military help to fight off the Nepalis. Although<a href="https://nepalitimes.com/news/nepal-assam-connection-revived"> Nepal’s historic connections</a> with Tibet waned after the Chinese annexation of the plateau in the 1950s, it is on that foundation that present day <a href="https://nepalitimes.com/news/nepal-china-agreements-are-stuck">Nepal-China relations</a> are built.&nbsp; Till today, Nepal is the only country with a consulate in Lhasa, and the only <a href="https://nepalitimes.com/news/kathmandu-airport-to-cut-flight-hours">international flights</a> from Lhasa are to Kathmandu. But as Sharma notes, even back then, Nepal’s proximity with northern India figured importantly in its<a href="https://nepalitimes.com/editorial/home-is-where-the-heart-is-yqkvf5vx"> socio-economic </a>and cultural connections with <a href="https://nepalitimes.com/banner/there-are-muslims-in-tibet-too">Tibet</a>. Nepal was the corridor for the exchange of trade and faith between the Ganga plains and <a href="https://nepalitimes.com/banner/it-is-getting-hotter-on-the-roof-of-the-world">the Tibetan plateau</a>. The road between Patna and Potala, Banaras and Beijing passed through <a href="https://nepalitimes.com/banner/bringing-silicon-valley-to-kathmandu-valley">Kathmandu Valley</a>. Sharma traces this socio-political landscape to explain how it went on to shape the country’s modern day relations with the neighbours.&nbsp; There were 2,000 Buddhist monks in Nepal during the reign of Lichhavi king Amshuverma, and Arniko established himself in the court of Kubulai Khan and took eight years to build the massive White Dagoba in Beijing. Read also: <a href="https://nepalitimes.com/here-now/the-life-and-times-of-arniko">The life and times of Arniko</a>, Sewa Bhattarai While Mahayana Buddhism spread from India, through Nepal to China and beyond, it was <a href="https://nepalitimes.com/editorial/crony-communism">Communism</a> that later came from China to Nepal. King Mahendra had great geopolitical savvy and navigated the complicated geopolitics of the <a href="https://nepalitimes.com/here-now/land-reform-in-cold-war-nepal">Cold War</a> to cultivate relations with both Nehru and Mao, while keeping both at arms length. Mahendra wrested aid to build infrastructure like the Kodari and Prithvi Highways from China, but also from India, the Soviet Union and the United States. In fact Nepal was only the eighth non-Communist country to receive foreign aid during Mao’s China.&nbsp; Read also: <a href="https://nepalitimes.com/editorial/the-new-equaliser">The new equaliser</a> But when <a href="https://nepalitimes.com/news/14-years-after-conflict-no-closure-in-nepal">Nepal’s Maoists</a> launched an armed struggle against <a href="https://nepalitimes.com/here-now/if-birendra-was-alive-nepal-could-still-be-a-monarchy">the monarchy</a>, China’s official media never called them ‘Maoists’. As far as Beijing was concerned, Mao was dead in his mausoleum. It was only later under <a href="https://nepalitimes.com/here-now/what-is-xi-jinping-s-big-surprise">Xi Jinping </a>that China warmed up to Pushpa Kamal Dahal’s ‘Maoist’ label.&nbsp; The first book takes us to the point when the Constituent Assembly <a href="https://archive.nepalitimes.com/article/from-nepali-press/Ftnp-abolishing,624">abolished Nepal’s monarchy</a> in 2008, and the second book, as the name suggests, looks at how the whirlwind rise of China has buffeted Nepal.&nbsp; Sharma encourages readers to abandon <a href="https://archive.nepalitimes.com/regular-columns/guest-editorial/Prithvi-Narayan-Shah-a-visionary-leader,1102">Prithvi Narayan Shah</a>’s famous metaphor of Nepal being ‘yam between two boulders’ to it being more like a ‘narrow canyon’ between two big <a href="https://nepalitimes.com/banner/why-we-climb-mountains">mountains</a>, emphasising the challenges of maintaining sovereignty amid geopolitical pressures not just between India and China, but increasingly, with the United States. We have to see how the new Sino-US Cold War will evolve under <a href="https://nepalitimes.com/editorial/trump-s-second-coming">the second Donald Trump presidency</a>. The <a href="https://nepalitimes.com/news/the-great-game-2nd-half">suspension of the MCC</a> this week will be an opening for <a href="https://nepalitimes.com/editorial/crony-communism">China to push its own BRI infrastructure projects</a> in Nepal. It is not very helpful to see Nepal as being ‘squeezed’ between its giant neighbours, but leverage the country’s geostrategic location by being a connector between India and China. Both neighbours, naturally, have their own interests in Nepal as a buffer state, but both want stability. Kathmandu’s strategy should be to take advantage of the economic growth of its neighbours. Read also: <a href="https://nepalitimes.com/news/poor-cash-rich-nepal">Poor cash-rich Nepal</a>, Sonia Awale &nbsp; Both books look at the arrival of Tibetan refugees into Nepal from the late 1950s, and how this resulted in geopolitical push and pull. Although American support for Khampa guerrillas was cut off after Henry Kissinger’s secret visit to Beijing in 1971, US and western support for Tibetans in exile resumed after that.&nbsp; Nepal allowed the<a href="https://nepalitimes.com/news/mindfulness-about-bhutan-s-refugees"> refugees</a> to stay and work here, but under Chinese pressure Kathmandu adopted stricter measures — including <a href="https://archive.nepalitimes.com/news.php?id=2754">deporting Tibetans entering Nepal</a>. The Tibetan exile community remains one of Beijing’s biggest concerns in Nepal. Successive Kathmandu governments have been pressured to curb ‘anti-Chinese activities’ like celebrating the Dalai Lama’s birthday and other anniversaries.&nbsp; Sharma notes that so far Nepal has deftly balanced its support for refugees while keeping relations with Beijing on an even keel. It is significant that China has been surprisingly understanding of the presence of<a href="https://nepalitimes.com/banner/the-start-of-the-anglo-gorkha-war"> Gorkha soldiers from Nepal</a> in the Indian Army along the disputed border where India and China fought a war in 1962, and after which there have been frequent skirmishes.&nbsp; The two books should be read chronologically so as to track the trajectory of historical Nepal-Tibet ties right up to present-day Nepal-China relations. The most relevant concern for bilateral relations today, as Sharma points out, is <a href="https://nepalitimes.com/opinion/how-nepal-can-avert-an-economic-crunch">Nepal’s economic independence</a>, <a href="https://archive.nepalitimes.com/news.php?id=15973">sovereignty</a>, and role in a <a href="https://nepalitimes.com/opinion/guest-column/nepal-in-the-new-world-order">transformed world order</a>. &nbsp;&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250224140256_38f09c2f6dc3b7c79892cf556976fa9f7b3a2f43fb53bd7a248a6c6af3ba4715.jpg" data-media-id="editor_37" data-image-id="20250224140256_38f09c2f6dc3b7c79892cf556976fa9f7b3a2f43fb53bd7a248a6c6af3ba4715" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Sudheer Sharma 1"> </figure>  &nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250224140256_c6eb78b8f59cfda4b3dae582212306fd3ea25b1973d554fdb7579b9d8f345969.jpg" data-media-id="editor_38" data-image-id="20250224140256_c6eb78b8f59cfda4b3dae582212306fd3ea25b1973d554fdb7579b9d8f345969" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Sudheer Sharma 2"> </figure>  &nbsp;

A past foretold

The post World War II <a href="https://nepalitimes.com/review/west-is-west">decade of the 1950s</a> saw the dismantling of colonial systems, establishment of a new world order with the United States replacing Britain. <a href="https://nepalitimes.com/opinion/peacemongers-at-india-pakistan-border">India and Pakistan</a> had just gained independence and were still traumatised by partition.&nbsp; In China, Mao Zedong came to power after 20 years of revolution, and promptly annexed Tibet. The <a href="https://nepalitimes.com/here-now/a-new-cold-war-in-the-himalaya">Cold War</a> between the US and the Sino-Soviet alliance led to proxy wars in Korea and Vietnam. In Nepal itself, <a href="https://nepalitimes.com/here-now/inside-story-of-nepal-s-rana-dynasty">the Ranas</a> were replaced by <a href="https://nepalitimes.com/here-now/history-on-canvas">the Shahs</a> in 1951, and ten years later <a href="https://nepalitimes.com/here-now/last-days-with-bp-koirala">BP Koirala</a> became the first democratically elected prime minister — soon deposed in a coup by King Mahendra. Nepal opened up to the world and tried to keep a delicate balance between global and regional powers. The book, Nepal in the Long 1950s, explores politics, economics and the socio-culture milieu in the decade following the end of the Rana rule. Edited by researchers Pratyoush Onta, Lokranjan Parajuli and anthropologist Mark Liechty, the book is a collection of 10 essays, the first six of which place <a href="https://nepalitimes.com/news/the-geopolitics-of-nepal-s-politics">Nepal in the larger geopolitical context</a>, while the last four explore the role of foreign specialists and institutions in reshaping Nepal. Prawash Gautam examines how the last years of <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/the-rana-reign-a-recap-of-history,3751">Rana rule</a> were marked by looser controls, enabling the emergence of the public sphere. One tea shop near Dharara became a space for socialisation, discourse, as well as political organisation.&nbsp; However, while this teashop was unique in that it allowed customers from ‘lower’ caste communities, Gautam says <a href="https://nepalitimes.com/news/nepal-s-caste-struggle">caste-based discrimination</a> and limited access to women still prevented public spaces from <a href="https://nepalitimes.com/banner/everybody-counts-in-nepal">being inclusive</a>. Bandana Gyawali writes about how the Nepali notion of unnati (progress), was replaced by the concept bikas (development), a ‘more democratic’ term championed by the American aid programs that associated development with material gain which at the time meant little to Nepalis.&nbsp; Peter Gill’s chapter discusses efforts to legislate and implement socio-economic reform, including birta abolition, tenancy rights, and land distribution. However, he writes, these reforms were ultimately a populist tool used by new leaders for political gain. Sharad Ghimire delves into the state’s disaster response in the aftermath of<a href="https://archive.nepalitimes.com/article/nation/60-years-after-1954-devastating-flood-same-failings-of-government-today-post-quake,2433"> the deadly 1954 floods</a>. Political incompetence and attempts to politicise the crisis led to the failure of relief led by Prime Minister M P Koirala, ultimately deepening rifts between himself and leaders of the ruling coalition — giving King Mahendra the chance to assert himself.&nbsp; Meanwhile, the US answered Nepal’s call for help in <a href="https://nepalitimes.com/banner/disastrous-management-in-nepal">disaster management</a> to curb possible Communist influence in Nepal, much to India’s annoyance. Pratyoush Onta examines how <a href="https://nepalitimes.com/here-now/kingdom-lost-republic-gained">post-Rana politics</a> encouraged Nepalis to realise their intellectual freedom and pursue knowledge creation and distribution. The formation of the short-lived Nepal Sanskritik Foundation, set up by political leaders, scholars, and intellectuals like Bal Chandra Sharma and Isvar Baral who had witnessed and participated in India’s anti-colonial movements, facilitated social research and knowledge enterprise. Two chapters discuss the development of <a href="https://nepalitimes.com/editorial/lessons-not-learnt-homework-not-done">Nepal’s education sector</a>. Lokranjan Parajuli looks into how domestic and foreign actors impacted the founding of Tribhuvan University, documenting the role of queen consorts Janti Rajya Laxmi Devi Shah and Queen Ishwari Rajya Laxmi Devi Shah, even as Mahendra remained wary lest it produce intellectuals who would undermine his authority. Read also: <a href="https://nepalitimes.com/banner/america-nepal-and-the-royal-coup">America, Nepal and the Royal Coup</a>, Tom Robertson India and the US were vying to help TU, writes Parajuli, but China and USSR arrived to also support higher education sector with less strings attached. This led to US and India joining forces, and the US eventually let India take the lead. Susan Heydon’s research into <a href="https://nepalitimes.com/opinion/is-free-health-care-possible-in-nepal">Nepal’s healthcare</a> sector reveals that development in biomedicine was in large part due to assistance from Christian missionaries, despite Nepalis’ wariness towards them, visiting foreign <a href="https://nepalitimes.com/here-now/grass-is-greener-overseas-for-nepals-doctors">healthcare experts</a>, as well as <a href="https://nepalitimes.com/news/e75-million-eu-aid-to-nepal-for-covid-19-ckmyfbkq">international aid</a>.&nbsp; As <a href="https://nepalitimes.com/news/how-usaid-cut-affects-nepal">USAID fund cuts impact Nepal</a>, Jeremy Rappleye’s chapter on the US development assistance and Nepal’s modern education system is relevant read. He recalls how American educator Hugh Wood’s aid-centered blueprint for educational development in the 1950s was incongruous with what Nepali officials wanted. Wood’s model laid the groundwork for <a href="https://nepalitimes.com/banner/teaching-nepali-teachers-to-teach-better?fbclid=IwY2xjawIfg2JleHRuA2FlbQIxMQABHRlYZ7S9dci12M2TMdHcirodLAD3e5OHzlfKW0z07B4plWF8Ofxo88JPfQ_aem_Ka7WIxuhTW0ghPf2qD-Yzg">Nepal’s modern education</a>, writes Rappleye, although it was not entirely appropriate. Former USEF Nepal director Thomas Robertson takes on the US ‘Four Point Program’ aimed at making Nepal reliant on American support. With the region in the grip of the Cold War, the US sought to expand its sphere of influence in Asia, in particular to stop India from going the way of China. Nepal therefore became strategically important to America’s aspirations for the region, writes Robertson. This meant Washington poured aid and into Nepal, including anti-malaria programs and land reform initiatives — in stark contrast to <a href="https://nepalitimes.com/news/the-great-game-2nd-half">Donald Trump’s current pullout of USAID, MCC and other programs</a>. Mark Liechty ends the book with his exploration of the life and times of Boris Lisanevich and his Hotel Royal which ushered Nepal into the age of <a href="https://nepalitimes.com/news/missing-out-on-nepal-s-tourism-potential">tourism</a>. But Boris was not particularly well versed in the art of hospitality, and while Nepalis in this burgeoning sector realised the opportunities and went about realising those potentials Lisanevich continued to dwell in his anachronistic <a href="https://nepalitimes.com/news/nepal-britain-mark-centenary-of-1923-treaty">colonial fantasy</a> of Nepal, not doing himself any favours.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250220080248_ac072d9d13e541b5d8616f34edb4aae86a8859c6fe44682932408722fa9bff37.jpg" data-media-id="editor_23" data-image-id="20250220080248_ac072d9d13e541b5d8616f34edb4aae86a8859c6fe44682932408722fa9bff37" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Nepal in the long 1950s"> </figure>

Shristi Karki

Nepal in the world, the world in Nepal

The newly-formed Himalayan Art Council is set to launch Nepal’s National Art Protection Platform that seeks to preserve <a href="https://nepalitimes.com/banner/the-history-of-heritage">Nepal’s unique cultural heritage </a>using<a href="https://nepalitimes.com/here-now/artificial-censorship"> AI-powered tools</a>. The Council seeks to safeguard <a href="https://nepalitimes.com/banner/nepali-art-going-places">Nepali art works</a> from neglect, theft and counterfeiting as well as preserve existing artwork and celebrate living masters by giving them a cultural space to continue the <a href="https://nepalitimes.com/banner/sacred-survival">sacred art traditions</a>. "We are introducing a new digital platform designed to preserve, verify and elevate <a href="https://nepalitimes.com/banner/nepals-new-generation-of-alternative-artists">Nepal’s art for generations to come,</a>” says a statement from the Council, adding that the digital platform will use AI told for authentication and blockchain to keep track of works of art. Artists can now be protected by <a href="https://nepalitimes.com/multimedia/ayo-ai?fbclid=IwAR1uwmTVq4gUB70ljfRezjzukD9ArWXPuMnUikopeQ8PoiZMjicToPSwhKE&amp;=1">AI tools</a> that detect forgeries, identify their work even when unsigned, and ensure they receive proper recognition and credit. The archives will be searchable with translated inscription and interactive guides. Says curator Meena Lama: “AI and blockchains are tools that give us the power to detect fakes and identify unsigned paintings and track every piece. With these tools we can restore trust, secure authorship and give artists the dignity they deserve.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250514170544_2ab58f6313c0458f75114a692b0016bd9efb3b59d5f8f07f0da72e1e37b82f53.jpg" data-media-id="editor_6" data-image-id="20250514170544_2ab58f6313c0458f75114a692b0016bd9efb3b59d5f8f07f0da72e1e37b82f53" data-rendition-name="original" width="1300" height="1000" loading="lazy" alt="Artwork at the Traditional Art Exhibition at Patan Museum."> <figcaption>Artwork at the Traditional Art Exhibition at Patan Museum.</figcaption> </figure>  The Council is also holding an exhibition of Nepali cultural masterpieces with 50 historical <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Buzz-the-art,671">thangka and paubha </a>by past masters and <a href="https://nepalitimes.com/review/between-the-sacred-and-everyday">contemporary works by current artists</a>. This curated collection is a living tribute to <a href="https://nepalitimes.com/here-now/when-yaks-go-so-does-culture">Himalayan culture</a> with economic depictions of deities, mandala and sacred narratives. The exhibition at <a href="https://nepalitimes.com/multimedia/a-portal-into-patan-s-past-and-present">Patan Museum</a> also provides an opportunity to meet painters and custodians of art and culture. Read also: <a href="https://nepalitimes.com/review/golden-deities">Golden deities</a>, Sewa Bhattarai ‘The exhibition is only the first step in a long journey to ensure that Nepali art is no just seen but fully understood, <a href="https://archive.nepalitimes.com/article/nation/Narratives-of-Faith-and-Memory-Remembering-the-Lost-Sculptures-of-Kathmandu-exhibition,987">protected and remembered</a>,’ the Council says. Artist Kailash K Shrestha of Artudio has spent decades promoting thankha and paubha traditions because of their beauty and devotional meaning. But he also says artists are underpaid, exploited and ignored. He adds, “AI and blockchain are not just buzzwords, they are powerful tools that can protect Nepal’s artists from fraud, verify authenticity and build a permanent record of provenance.” Traditional Art Exhibition Till 17 May Patan Museum

Digital protection for Nepal’s art

India and Pakistan are twins separated at birth. Tensions between them have been at a hair trigger ever since independence and has erupted into full scale conflict at least four times in the past 80 years.
The 22 April terrorist attack in Kashmir that killed 25 Indian tourists and a Nepali citizen, threatens to escalate tension between the two nuclear-armed nations. India has squarely blamed Pakistan for the attacks, and Prime Minister Narendra Modi has given his military “operational freedom” to respond. Pakistan has said it has credible intelligence of an Indian military strike and its officials have promised a “full spectrum” response — a code for a <a href="https://nepalitimes.com/editorial/thinking-the-thinkable">nuclear retaliation</a>.
For Nepal, the killing of its national in the Pahalgam attack comes as another stark reminder that in conflicts from Afghanistan to Iraq, from <a href="https://nepalitimes.com/opinion/how-to-agree-an-armistice-in-ukraine">Ukraine</a> to Israel, <a href="https://nepalitimes.com/news/10-nepalis-from-one-town-fighting-in-ukraine">Nepalis are getting caught in the crossfire</a>. The last time full-scale fighting broke out between <a href="https://nepalitimes.com/opinion/peacemongers-at-india-pakistan-border">India and Pakistan</a> on Kargil in 1999, at least 22<a href="https://nepalitimes.com/here-now/india-s-trial-by-fire-for-soldiers-from-nepal?%27%5C%22="> Nepalis fighting for the Indian Army</a> were killed in action.
Three of Nepal’s immediate neighbours (China, India, Pakistan) have nuclear weapons, and they do not have good relations. With China supplying weapons, <a href="https://nepalitimes.com/editorial/war-and-warming">missile technology</a> and other support to Pakistan, this triangular friction could set off a regional conflagration.&nbsp;
<a href="https://www.nature.com/articles/s43016-022-00573-0" target="_blank">Research at Rutgers University</a> has calculated that even a week-long tactical nuclear exchange between India and Pakistan would throw up so much smoke and debris into the atmosphere that it would block out the sun for years, and lead to a collapse of the <a href="https://nepalitimes.com/news/grow-nourish-sustain-together-world-food-day">global food system</a>. This does not take into account the radioactive fallout that prevailing winds would blow up to <a href="https://nepalitimes.com/here-now/lives-on-the-line-in-the-himalaya">the Himalaya</a>, contaminating glaciers that are the sources of <a href="https://nepalitimes.com/here-now/saving-what-is-left-of-himalayan-rivers">Asia’s main rivers</a>.
The impact of <a href="https://nepalitimes.com/news/climate-breakdown-linked-to-thame-flood">climate breakdown </a>on High Asia was already ringing alarm bells about its <a href="https://nepalitimes.com/news/himalayan-icecap-melting-faster-than-thought">shrinking ice cap</a> reducing the dry season flow of water downstream. Water was going to be the next strategic commodity, geopolitical experts warned, and the next wars in Asia would be over water.
That water war is already happening. India retaliated to the Kashmir attack by suspending the <a href="https://www.nytimes.com/2025/04/24/world/asia/india-pakistan-indus-waters-treaty.html" target="_blank">Indus Waters Treaty</a> of 1960 mediated by the World Bank that has withstood at least three wars between India and Pakistan. The treaty gives India control over the three eastern tributaries of the Indus (<a href="https://en.wikipedia.org/wiki/Beas_River" target="_blank">Beas</a>, <a href="https://en.wikipedia.org/wiki/Ravi_River" target="_blank">Ravi</a> and <a href="https://en.wikipedia.org/wiki/Sutlej" target="_blank">Sutlej</a>), while Pakistan got water from the Indus and two of its western tributaries (<a href="https://en.wikipedia.org/wiki/Indus_River" target="_blank">Indus</a>, <a href="https://en.wikipedia.org/wiki/Chenab_River" target="_blank">Chenab</a> and <a href="https://en.wikipedia.org/wiki/Jhelum_River" target="_blank">Jhelum</a>.
Pakistan was assured of 70% of the annual flow, and India could use a reasonable amount of water for<a href="https://archive.nepalitimes.com/news.php?id=15231"> irrigation and hydropower</a>. &nbsp;Within days of its threat, India stopped water flowing down to Pakistan from the Chenab river and is reportedly preparing to do the same on the Jhelum.
The sabre-rattling has reached a crescendo. Besides threats and counter-threats there are also symbolic drills, with the Indian Air Force practicing landing on an expressway in Uttar Pradesh by its Rafale, Su-30 and Jaguar fighter jets to demonstrate ‘operational readiness’. In response Pakistan test-fired its Abdali ballistic missile that can carry a nuclear warhead and has a range of 450km.&nbsp;
The danger is that with ultra-nationalist rhetoric and the beating the war drums by both sides, India’s government and Pakistan’s military may have to ‘do something’ to appease domestic public opinion. But any tactical strike, an artillery exchange, or territorial incursion could quickly escalate out of control.
Expecting an Indian retaliation for the Pahalgam killings, Pakistan is using<a href="https://nepalitimes.com/opinion/interfaith-collaboration-for-nuclear-disarmament"> nuclear deterrence </a>and warning of “catastrophic consequences”. The two neighbours came close to a nuclear exchange in 2019 after an attack on the Indian military in Kashmir, and prompt international intervention led by the United States cooled tensions.&nbsp;
This time, the <a href="https://nepalitimes.com/news/trump-shock-wave-hits-nepal">Trump administration</a> is too distracted and not as engaged. Pakistan has denied it was responsible for the terrorist attack and called on Washington to stop a possible Indian retaliation. India and Pakistan have stopped overflights by each other’s airlines, and some international carriers have even stopped flying over Pakistan fearing an air war.
Washington, Beijing, the UN and the EU have all urged restraint. Iran, which has good relations with both India and Pakistan has sent its foreign minister to urge both countries not to go into a tit-for-tat war. Iran has its own nuclear flashpoint to worry about with tensions in Israel, &nbsp;Yemen and Syria.
India and Pakistan both share similar problems of joblessness, <a href="https://nepalitimes.com/here-now/why-nepal-s-poverty-rate-is-stuck">poverty </a>and <a href="https://nepalitimes.com/here-now/climate-change-new-threat-to-nepal-s-rhinos">environmental threats</a>. Neither side needs the threat of a senseless war, and we in the neighbourhood do not need it either.&nbsp;
Kunda Dixit
This Editorial is brought to you by <a href="https://nepalitimes.com/" target="_blank">Nepali Times</a>, in collaboration with <a href="https://inpsjapan.com/en/" target="_blank">INPS Japan</a> and <a href="https://sgi-peace.org/" target="_blank">Soka Gakkai International</a>, in consultative status with UN ECOSOC.

Nukes in the neighbourhood

Most Nepalis thought they had seen the last of it after <a href="https://nepalitimes.com/news/11-56-25-april-2015-wkc9q2an">the 25 April 7.8 magnitude </a>earthquake ten years ago. But the Himalaya had more surprises in store. On 12 May, another 7.3 magnitude tremor that some said was an aftershock, but was strong enough to itself be a major earthquake, struck Dolakha.&nbsp; Not many people had heard of Singati till then — a cluster of houses by the Tama Kosi River along a narrow gorge that is the roadhead to Rolwaling Valley.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250508110520_57b6e316656851f71eca56ca6f98d9bbcc820c1a00d62af3c990725b4361244d.jpg" data-media-id="editor_1" data-image-id="20250508110520_57b6e316656851f71eca56ca6f98d9bbcc820c1a00d62af3c990725b4361244d" data-rendition-name="original" width="1000" height="1500" loading="lazy" alt="Climate magnifies earthquake risk in Nepal village NT"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250508110520_016534fb2b6a79957402281cda768efb83a146786377e39e11df3e251d37159e.jpg" data-media-id="editor_2" data-image-id="20250508110520_016534fb2b6a79957402281cda768efb83a146786377e39e11df3e251d37159e" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Climate magnifies earthquake risk in Nepal village NT"> </figure>  It was here that dozens were killed on 25 April in the first earthquake. Hundreds of <a href="https://archive.nepalitimes.com/article/nation/Singati-rising-from-rubble-rebuilding,3703">Singati survivors</a> had lined up for food and relief supplies in the morning of 12 May when the second earthquake triggered a rock slide that buried a nearby camp. At least 50 people were killed. &nbsp; Three hours later, a US Marine Corps UH-1Y Venom helicopter landed in a nearby cornfield to pick up the wounded, and flew off. The aircraft lost contact with air traffic control in Kathmandu and its wreckage was located high on Kalinchok four days later. Six American servicemen, two Nepal Army soldiers, and five wounded civilians from Singati were killed. Today, Singati bears little physical scar of the multiple tragedies that struck the town ten years ago. Most <a href="https://nepalitimes.com/multimedia/bungamati-builds-back">houses have been rebuilt</a> as urban-style concrete structures, and Singati has become an economic hub on the road leading up to several hydropower plants and a<a href="https://nepalitimes.com/banner/off-the-beaten-trek-in-nepal"> popular trekking destination</a>.&nbsp; The town looks less like a village and more like a suburb of the Dolakha district headquarter of Charikot, 47km away.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250508110520_196f341d1df1403ba133e5dfeb837eec20d7cbcb4c8c56b17cc5598810de5df2.jpg" data-media-id="editor_6" data-image-id="20250508110520_196f341d1df1403ba133e5dfeb837eec20d7cbcb4c8c56b17cc5598810de5df2" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Climate magnifies earthquake risk in Nepal village NT"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250508110524_ae66c4a92430f67db51b5e11e017059eedfbac4cb18c8e073f2a50cca1fe904e.jpg" data-media-id="editor_7" data-image-id="20250508110524_ae66c4a92430f67db51b5e11e017059eedfbac4cb18c8e073f2a50cca1fe904e" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Climate magnifies earthquake risk in Nepal village NT"> </figure>  “The demand for construction material, cement, iron rods and bricks peaked after the earthquakes,” says Suresh Khadka, who owns a hardware business here and now supplies material to the 456MW Upper Tama Kosi hydropower project that is undergoing repairs after it was damaged by a landslide last year. The demand for cement boomed since most residents believe, not necessarily correctly, that <a href="https://nepalitimes.com/banner/in-a-disastrous-state">cement houses are safer</a>. Although Khadka did well selling construction material after the earthquake, he worries that most new structures do not follow seismic-resistant building codes.&nbsp; The construction boom financed by bank loans has in turn forced many from Singati to <a href="https://nepalitimes.com/banner/making-overseas-migration-better">migrate overseas for work</a> so they can service their debt.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250508110524_50caa4530bd5ff9120cf7ab70a62173846d337ef448ff8bac339f3faa375a9e2.jpg" data-media-id="editor_10" data-image-id="20250508110524_50caa4530bd5ff9120cf7ab70a62173846d337ef448ff8bac339f3faa375a9e2" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Climate magnifies earthquake risk in Nepal village NT"> <figcaption>Suresh Khadka</figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250508110520_ef8b7d3993fc3b5df852bbf952feb3fbabc96d6883b0d5eb74ee5c60f4123b83.jpg" data-media-id="editor_11" data-image-id="20250508110520_ef8b7d3993fc3b5df852bbf952feb3fbabc96d6883b0d5eb74ee5c60f4123b83" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Climate magnifies earthquake risk in Nepal village NT"> <figcaption>Phu Doma Sherpa (right)</figcaption> </figure>  “My family had no choice but to borrow money to rebuild our home since the government compensation was not enough, and ten years later we are still paying off the loan,” says Phu Doma Sherpa, 60. Because of the shortage of qualified masons and proper seismic engineering, <a href="https://nepalitimes.com/here-now/structural-problems">many of the buildings are of questionable building standards </a>and the traditional architecture has been abandoned, admits Kul Bahadur Budathoki, deputy chair of the municipality. “But these buildings were more expensive than what the government grants could cover, many people here are heavily in debt and the men have <a href="https://nepalitimes.com/here-now/every-day-is-closer-to-pay-day">migrated to the Gulf to pay their loans</a>,” Budathoki says.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250508110520_32f89e97b7e757fc9286c0bbb671f48ea8d4468e9634fa646d7247c650ad8480.jpg" data-media-id="editor_14" data-image-id="20250508110520_32f89e97b7e757fc9286c0bbb671f48ea8d4468e9634fa646d7247c650ad8480" data-rendition-name="original" width="1501" height="1079" loading="lazy" alt="Climate magnifies earthquake risk in Nepal village NT"> <figcaption>Kul Bahadur Budathoki</figcaption> </figure>  Singati is in a multi-hazard zone. The <a href="https://archive.nepalitimes.com/article/nation/Singati,3091">12 May 2015 earthquake </a>could have led to the collapse of Nepal’s largest glacial lake, <a href="https://nepalitimes.com/here-now/stairway-to-heaven">Tso Rolpa</a>, upstream. Due to global warming, the glacier has turned into an expanding lake 3.5km long, and its collapse would have unleashed a catastrophic Himalayan tsunami down the Tama Kosi Valley, with Singati directly in its path. Singati has literally risen from the ashes of 2015, with its residents beginning to recover from the trauma and financial toll. But it is not out of danger as <a href="https://nepalitimes.com/news/climate-breakdown-linked-to-thame-flood">climate breakdown </a>magnifies the risk from future earthquakes.

Climate magnifies earthquake risk in Nepal village

Starting 17 September Turkish Airlines will fly daily to Seville, one of Spain’s major tourist draws. This is Turkish’s sixth destination in Spain after Madrid, Barcelona, Valencia, Malaga, and Bilbao. Seville is in the Andalusia region on Spain’s south coast with a rich Moor history. There are approximately 30,000 Nepalis living in Spain.&nbsp;