Almost a quarter of a century ago, in December 2000, a group of four anthropologists and historians at the University of Cambridge set out to explore new methods for collecting, protecting and connecting historical multimedia collections relating to the Himalayan region in ways that would widen access to the materials through emerging digital platforms.&nbsp; Sarah Harrison, Alan Macfarlane, Sara Shneiderman and I named this pilot project ‘<a href="https://www.digitalhimalaya.com/collections/journals/">Digital Himalaya</a>’. We began by digitising older sets of ethnographic data held in European collections to protect them from obsolescence and decay, forward migrate them as new standards emerged, and share them back with originating communities in the Himalayan region and with scholars everywhere through the web and other appropriate and increasingly accessible digital platforms.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024101515100_b4aedd4b922b06065357141b8989dba5f04e7adfe33d099f08e0636ae63cfb7b.png" data-media-id="editor_1" data-image-id="2024101515100_b4aedd4b922b06065357141b8989dba5f04e7adfe33d099f08e0636ae63cfb7b" data-rendition-name="original" width="1917" height="1200" loading="lazy" alt="Digital Himalaya"> </figure>  The collections that we host have grown over the years, as has the geographic reach of our project and the network of partner institutions with whom we are affiliated. In all, the Digital Himalaya Project has widened and deepened over time, connecting with new audiences and users online and in person. Digital Himalaya is now, by any estimation, a ‘mature’ Digital Humanities project. It emerged before Google was a household name and long before the term Digital Humanities had much traction. The very survival of Digital Himalaya for these 25 years is an indication of its staying power and endurance.&nbsp; That <a href="https://nepalitimes.com/here-now/16-600-pages-of-nepali-times-on-digital-himalaya">Digital Himalaya is still ‘here’</a> after all these years (wherever ‘here’ is in these ambiguously-sited digital spaces) when so many other projects of a similar vintage have folded, tells us something about agility and resilience. The Digital Himalaya project has repeatedly had to make a virtue of a necessity. Born at Cambridge, the project moved to Cornell University from 2002 to 2005, where it also began its collaboration with the University of Virginia funded by a grant from the US Department of Education Technological Innovation and Cooperation for Foreign Information Access Program. The project then returned to Cambridge until 2009 when it moved, briefly, to Yale University but without any structural and formal support. From July 2014, the project relocated to the University of British Columbia in Vancouver and became engaged in a loose collaboration with China’s Sichuan University. In each case, rather like being part of a large extended and multigenerational family, these alliances helped to demonstrate to our partners, patrons and ourselves that we were mobile and could bend as new opportunities arose, and harness the particular skills and assets in each institution: Nepali language instruction at Cornell, Tibetan Studies at the University of Virginia, community engagement at the University of British Columbia.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024101515100_30076d0830cc94f24deb49e84e35a789eab92cf7b382c38f48024fc490529005.jpg" data-media-id="editor_3" data-image-id="2024101515100_30076d0830cc94f24deb49e84e35a789eab92cf7b382c38f48024fc490529005" data-rendition-name="original" width="4000" height="3000" loading="lazy" alt="Digital Himalaya"> <figcaption>Komintal Thami scanning back issues of Nepali-language journals in the Digital Himalaya office in Patan in 2010.</figcaption> </figure>  In 2024 Digital Himalaya developed a partnership with <a href="https://www.archivenepal.org/home">Archive Nepal</a>, a non-profit entity that has taken over the day-to-day management and future developments of Digital Himalaya. I have been worrying about the future of Digital Himalaya from the moment that I helped bring it into being. I was at once delighted that we were in a position to help protect, connect and digitally repatriate these precious collections and at the same time troubled by the fact that, once again, the initiative was housed at an elite Western university far from the communities whose cultural heritage we had the honour and responsibility of managing. I was also acutely aware that I embarked on the Digital Himalaya journey long before I had a permanent job adding an additional layer of vulnerability to an already somewhat fragile undertaking.&nbsp; Over the last decade, I have been principally concerned with two matters when it came to Digital Himalaya. First, ensuring that our collections were stable, secure and accessible to communities in the Himalayan region. Second, to find a way to make myself dispensable and disposable. It was always our intention that one day the collection would either be repatriated to the Himalayan region or maintained and managed by professionals from the region. In April 2022, I was approached by Monish Singh, Founder and Executive Director of a new initiative called Archive Nepal, a non-profit based in New York and Kathmandu registered with the Social Welfare Council of Nepal.&nbsp; Its mission is to encourage the understanding of Nepal’s rich history and culture by curating, digitising, and improving accessibility to digital resources. Archive Nepal is run by an impressive collective of professional Nepalis with backgrounds in project management, software development, archives and information management, data visualisation, data analysis, and data migration.&nbsp; Our first partnership involved <a href="https://www.archivenepal.org/nepalitimes">cohosting the Nepali Times collection</a> which was such a success that we entered into a wide-ranging conversation about the Archive Nepal team taking over the management and maintenance of the Digital Himalaya website to ensure its continued accessibility. On 29 May 2024, day-to-day management of Digital Himalaya was handed over to Archive Nepal. It was always the dream of the founders that Digital Himalaya would one day be run by professionals from the Himalayan region, and in Archive Nepal, we found just the partner we had been hoping for.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024101515100_4b26be64f05ac3dfb769ccf6c1be63236f280625fac9c094feae044948004888.jpg" data-media-id="editor_6" data-image-id="2024101515100_4b26be64f05ac3dfb769ccf6c1be63236f280625fac9c094feae044948004888" data-rendition-name="original" width="953" height="715" loading="lazy" alt="Digital Himalaya"> <figcaption>Using a SONY Color Film Chain Adaptor, 16mm projector and a digital camera in Cambridge 2001.</figcaption> </figure>  Digital Himalaya was established to engage in a process of ethical connection and return, ensuring that the historical documentation of Himalayan cultures, languages and publications would be available to communities from the Himalayan region itself, whether online, in print or through local databases.&nbsp; Archive Nepal’s mission is closely aligned with ours: to encourage the understanding of Nepal’s rich history and culture by curating, digitising, and improving access to digital resources. Beginnings are generally easier than endings, whether in relationships or projects. People generally don’t like to talk about endings as these are usually synonymous with death and decline, but those of us active in digital spaces must think critically about not only how we bring things into existence and life, but also how we bring them to a close.&nbsp; Creating dependencies in which projects (or children) cannot live without the people (or parents) who created them is not a position that should be fostered or cultivated, but rather an unfortunate by-product of unhealthy attachment styles and people becoming overly invested in their roles, authorities and importance. Rather like the phoenix of ancient Greek mythology, I have now come to think of Digital Himalaya as an undertaking that will be cyclically regenerated and reborn, gaining new life by rising from the ashes of its earlier incarnation, under new management, as it were, at each transition. As Kahlil Gibran so tenderly wrote, ‘You are the bows from which your children as living arrows are sent forth.’ This is as true for the work we do as it is for the families of which we are part. With anticipation and excitement, I look forward to the next incarnation of Digital Himalaya under the leadership of Archive Nepal. To look at the PDF archives of Nepali Times from #0 till this week, go to <a href="http://www.nepalitimes">www.nepalitimes</a> and click on the Archive dropdown menu.&nbsp;

Mark Turin

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A homecoming for Digital Himalaya

When Balaram Chitrakar was only 10, he started helping his father in a photo studio in inner city Kathmandu to develop photos in darkroom. By age 12, Chitrakar was already a bonafide photographer. By the time he finished high school in 1959, his father had handed him the keys to the studio. He attended Trichandra College during the day and developed film by night. “Perhaps because photography had become my passion it did not matter that I worked all night,” says Chitrakar, now 82. In 1967, as he finished his BSc exam Chitrakar joined the Department of Archeology’s Bir Library. But during the first few months, all he was made to do was keep written records of the documents. He realised that library users, mostly foreign researchers, had access to original texts and documents of historical importance, as a result of which they had become torn and damaged.&nbsp; So Chitrakar proposed to the Director of the Archeology Department to make duplicate copies of documents so the originals were preserved. The department accepted it and set aside Rs800 for him to buy a camera.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2023092511090_e3d69f83f919105d3885e9a8b62ced12ba56051e38cd5b69d1f52eaa14fe2ace.jpg" data-media-id="editor_0" data-image-id="2023092511090_e3d69f83f919105d3885e9a8b62ced12ba56051e38cd5b69d1f52eaa14fe2ace" data-rendition-name="original" width="6000" height="4000" loading="lazy" alt="Microfilm archiving in Nepal"> </figure>  Chitrakar then began to make photocopies of documents, the first time this was done. Impressed with his work, the Department of Archaeology sent him to India to be trained in microfilming.&nbsp; “Microfilms had not been introduced in Nepal at the time, so I used my curiosity and made an effort during training to figure out how the practice could be brought into application back home,” Chitrakar recalls. When he returned in 1969, the Bir Library was incorporated into the Department of Archaeology’s National Archives. The Nepal government had also agreed with their German counterparts to make microfilms of Nepal’s archival documents, one copy of which would be with Nepal and the other sent to Germany.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2023092511094_422339effd991229237231a70c2213de5d6ae2ac09850c98d32d5a88204ab209.jpg" data-media-id="editor_1" data-image-id="2023092511094_422339effd991229237231a70c2213de5d6ae2ac09850c98d32d5a88204ab209" data-rendition-name="original" width="3000" height="1981" loading="lazy" alt="Microfilming in Nepal"> <figcaption>Balarama Chitrakar with German representative Bernhard Kolver (third from right).(Photo: suman)</figcaption> </figure>  German state-of-the-art equipment, including cameras and dark rooms were used to microfilm 29,000 documents during the first phase of the five-year project. The team worked every day for five years, microfilming many old books and paintings that Patan and Bhaktapur wanted preserved.&nbsp; In 1972, King Birendra personally took an interest in Chitrakar’s work and helped him with preserving the archives. The work continued for 25 years during which 182,000 manuscripts, inscriptions, copper plates, and other objects of archaeological significance were microfilmed. <div class="embed-block"><iframe width="560" height="315" src="https://www.youtube.com/embed/yv8Fc2WDHPA?si=im2dd1KXGr69Af6D" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe></div> Chitrakar travelled to Helambu, Langtang, Pokhara, Manakamana, Janakpur and elsewhere to preserve more archival religious documents. &nbsp; He even went to microfilm archives in Dhaka.&nbsp; By 1993 Chitrakar found there was a storage unit of microfilms but it was not temperature and humidity controlled. With his help, the Madan Puraskar Pustakalaya in Patan also began microfilming its archives.&nbsp; After 30 years, Chitrakar retired in 2001, and some of the documents he archived are 1,700 years old. But since then, the fragile microfilms themselves need to be preserved with digitisation.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2023092511094_d660a59924507009b148c5e7a11828447a267f94cde841261b54d9e6220e93a2.jpg" data-media-id="editor_3" data-image-id="2023092511094_d660a59924507009b148c5e7a11828447a267f94cde841261b54d9e6220e93a2" data-rendition-name="original" width="3000" height="2000" loading="lazy" alt="Microfilming in Nepal"> <figcaption>Balram Chitrakar in Lumbini stydying microfiliming. </figcaption> </figure>  The microfilms Chitrakar had so painstakingly preserved are beginning to deteriorate due to ‘Vinegar Syndrome’— a chemical reaction that decays the emulsion in film. &nbsp; Microfilms have a lifespan of 100 years, but in Nepal they have begun to deteriorate in half that time. The National Archive has more than 200,000 positives and negatives of ancient texts and documents, out of which 500 are already damaged beyond repair. The Department of Archaeology submitted the Microfilm Reel Preservation Action Plan to the Ministry of Culture, Tourism and Civil Aviation in 2014 but the Ministry has not done much.&nbsp; Nepal stands to lose its archive of archaeological objects, and 82-year-old Chitrakar stands to lose his life’s work and legacy. He preserved historical documents by microfilming them which themselves now need to be preserved. “The fact that these microfilms are in a state of decay means that my entire life’s work will have gone to waste,” says Chitrakar wearily. “And what will we have left if we fail to conserve these microfilms?” &nbsp;

Memories of an archivist

I unwrap The Public Life of Women, A Feminist Memory Project, and then slide the book out of its maroon case. An olive photo book with black pages reveals itself to me. My palms and fingers close around it in an embrace, the texture of a book always tells you something. I flip through the pages and want to turn to the only other person on the terrace-pub, a stylishly-dressed young woman, to say: What a gorgeous, wholesome book! Flipping through the pages, I am swept by gratitude for the women who came before us, for making sitting alone in public places in Nepal possible for women. When my friend shows up, I nudge the book in her direction. She says: “The white letters against black pages are symbolic, like light in the dark, showing us the way forward.” Valentina Abenavoli’s aesthetics will not just pass you by — the design carries the depth of the content, even if the book might need a stronger binding. This collection by Nepal Picture Library is based on an archival campaign representing women from all &nbsp;backgrounds from all over Nepal. The acknowledgement, as acknowledgement should be, is generous and not at all rushed. Read also: <a href="https://www.nepalitimes.com/here-now/feminist-prints">Feminist prints</a>, Monika Deupala &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;…  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230903030940_1c791ae4eba749940e0373ea3a992ca6e1b436d440bbee7b74cee87850e6adc0.jpg" data-media-id="editor_1" data-image-id="20230903030940_1c791ae4eba749940e0373ea3a992ca6e1b436d440bbee7b74cee87850e6adc0" data-rendition-name="original" width="1065" height="710" loading="lazy" alt="Feminist project NT"> </figure>  Mamu receives the book, flips through it and says: “This is the book for every Nepali woman. Many thanks to whoever made this.” She sits down at the dining table and starts turning the pages right away. She pauses at the photo of urban Nepali women in Moscow in 1963. Yes, they did represent a certain class of Nepali society. Still, it makes me wonder if my mother, growing up, gained hope from women like them. And even though she has spent her own life in and around the kitchen, perhaps knowing that there were women out there, who were trying, gave her hope for her unborn daughters? The thought makes me weep. I wish Mamu had a moment like Prativa Subedi, standing coy of the ocean in a 1994 image, a reminder of The Awakening by Kate Chopin. “We will save the book for my unborn daughters,” I say. Mamu nods. Read also: <a href="https://www.nepalitimes.com/opinion/comment/coping-with-patriarchy">Coping with patriarchy</a>, Bhumi Ghimire &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;…  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230903030940_f05d136605b0771f07a63f7bb398868c54f9d6a96f0d3cce0abeec6382785184.jpg" data-media-id="editor_3" data-image-id="20230903030940_f05d136605b0771f07a63f7bb398868c54f9d6a96f0d3cce0abeec6382785184" data-rendition-name="original" width="1065" height="710" loading="lazy" alt="Feminist project NT"> </figure>  Throughout history invisible lines have been drawn around women. This book is about those who have taken us beyond those lines. The first images in the book are of women at public events. Strangers stare back from the images. They feel familiar, because which woman is not &nbsp;familiar to another? They were women who cooked and cleaned alongside their public or political lives. Some operated as flag bearers for the men they loved. Long after I have put the book down, the image lingers of Rashmi Shah pillion riding on a motorbike with her husband, and her poem where red becomes the colour of revolution, the colour that binds them. The book is a collage of arrested moments in some stranger’s camera or perhaps that of acquaintances, mostly male. It is a representation of the gaze, all of them very different from one another, just as the women we see in the images, who tried to change the idea of belonging in class or caste. Read also: <a href="https://www.nepalitimes.com/opinion/suburban-tales/memory-of-a-conversation">Memory of a conversation</a>, Pratibha Tuladhar  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230903030940_69399aa9662bb1ad09cd1241de5b341f288a1aa33c2a31c09f667bb700dcaab9.jpg" data-media-id="editor_5" data-image-id="20230903030940_69399aa9662bb1ad09cd1241de5b341f288a1aa33c2a31c09f667bb700dcaab9" data-rendition-name="original" width="1440" height="1440" loading="lazy" alt="Feminist project NT"> </figure>  Sushila Shrestha’s ‘party marriage’ to Ashok Rai, which breaks the social convention is one such example, where marriage is also a political project. There is also mention of an ‘arrest warrant’ but no details divulged, making Shrestha’s story one of the many incomplete anecdotes in the book.&nbsp; Shanta Manavi is also ‘compelled’ to work as an underground operative after she met Modnath Prasrit in Banaras. And the un-captioned mugshots collected by Parijat and Punaya Prabha Devi Dhungana. So, they become an enigma. In the mystery of the intersection of the private and the political, are the very public images of Nani Maiya Dahal at the election victory rally in 1981. The photos are probably the first such we see of a woman leader woven into the fabric of her supporters. They depict what Nepal might have had to offer to its women politicians.&nbsp; Read also: <a href="https://www.nepalitimes.com/banner/are-women-not-nepali-enough">Are women not Nepali enough?</a>, Sahina Shrestha  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230903030940_213ab8ef0355e04cd5ea95b42d87182e5debeb8602a2613527a74b733626e8a1.jpg" data-media-id="editor_7" data-image-id="20230903030940_213ab8ef0355e04cd5ea95b42d87182e5debeb8602a2613527a74b733626e8a1" data-rendition-name="original" width="1066" height="711" loading="lazy" alt="Feminist project NT"> </figure>  And yet, their political careers have always been short-lived, mostly oligarchic in nature, many of them operating from backstage, emerging time and again and then, exeunt. Women are beautiful. And the most beautiful are those who have fought like images of the Tharu women from Karjahi of Dang who led the peasants’ revolt in 1980 against local landlords. We shine brightest when it is dark. The photos of women in education are the most important for obvious reasons -- they trace the trajectory to women’s becoming. There is the fierceness of conviction in Chandra Malla establishing a school for girls in Makhan, circa 1935. Two high school teachers in Tehrathum in 1970: something remarkable about the light in their eyes. Female students prepare for Kathmandu education in an image from Doti in 1966. Little girls stand around them, watching, a moment so familiar to me. Seeing my Nini go to TU as a child was how I first decided that someday, I too would go to university.&nbsp; Images of ladies’ handbags and shoes and no-shoes are representations of status and economic independence.The book is more than just images, it is a repository of scraps and letters, articles, interviews, records, copies, journals, and notes and legal documents tucked in neatly, each revealing something about lives known and unknown. The images are flanked by texts in both English and Nepali, the Nepali version reads better and provides better context. Read also: <a href="https://archive.nepalitimes.com/news.php?id=17426">Singing of sorrow</a>, Indu Nepal  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230903030936_fb05a4c2314c5f2545bf1b5b0507006f35c8fe3c52e06c4435746d44190ba41a.png" data-media-id="editor_9" data-image-id="20230903030936_fb05a4c2314c5f2545bf1b5b0507006f35c8fe3c52e06c4435746d44190ba41a" data-rendition-name="original" width="1200" height="1600" loading="lazy" alt="Feminist project NT"> </figure>  The book follows no chronology, but segments act like the stream of consciousness, flowing from one thing that stands out to another. Some recent photos appear in black and white, as if to give them a dated feel. Probably aesthetics. So many lives: their aspirations, suffering, dreams, period cramps, menopausal mood swings. Who knows what they were experiencing at the time they were facing the camera. It is as much for the audience to feel as for the subjects of the images. Like Nayantara Gurung Kakshapati says in the curator’s conversation section, where one is in their lives when they engage with the images impacts how one interacts with images. And she raises an important question: What about those who were not photographed? More archiving, then? Read also: <a href="https://www.nepalitimes.com/here-now/making-nepal-s-history-colourful">Making Nepal’s history colourful</a>

Pratibha Tuladhar

Pictures of women taking pictures

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161132/636d19c69c7e80680e0ac83bjpeg.jpg" alt="" width="1500" height="1000"/><figcaption>Niels Gutschow next to the 17th century wooden door added to the guest house. All photos: MONIKA DEUPALA</figcaption></figure>"Welcome to my playground,” calls Niels Gutschow from the brick-laid front yard of his home in Bhaktapur. At the centre stands the single-storey house, with a narrow door in the middle of the vast brick façade, bracketed by two lattice windows. The house originally had three floors, but the 2015 earthquake brought much of the structure down.Cool breeze rushes in from all sides, filling the air with a polyphonic rustle of leaves. Here is a world unto itself, far from the hustle and bustle of this historic city. The sky is blue, the landscape is crisp, absent of dust, and butterflies flutter about. The nearest road is a 7-minute walk away, whatever trace of the mechanical city life beyond filtered by the willow trees that line the narrow trail leading up to the house.Gutschow’s wife Wau sits on the plinth next to the door, knitting. “A sweater for Niels,” she says, holding it up. “I knitted a red one before, did I not?”Gutschow nods. It is a white sweater this time.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161132/636d19cb9c7e80680e0ac83cjpeg.jpg" alt="" width="1500" height="1000"><figcaption> </figcaption></figure>Every year for the last 30 years (although, Nepal has been his home for nearly 50 years now), Niels and Wau would leave Nepal for Germany in November where they live near Heidelberg amidst landscape much like their Tahaja Hill home in Bhaktapur, secluded and peaceful.But this November, the Gutschows are making the trip back for the last time, leaving behind an extensive bibliography on the architectural anthropology of Nepal as well as an invaluable contribution to the conservation of the country’s tangible and intangible heritage.A striking example of this can be found in the <a href="https://www.nepalitimes.com/business/hyatt-performs-its-annual-chaitya-puja/" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://www.nepalitimes.com/business/hyatt-performs-its-annual-chaitya-puja/&amp;source=gmail&amp;ust=1635599145453000&amp;usg=AFQjCNGKse0tTwL-gkaxdbdj7U6diiE7Xw">chaitya-studded lobby</a> of the Hyatt Regency in Bouddha which Gutschow designed. These are the exact replica of shrines built between the 7th and 19th centuries around Kathmandu Valley.Even as the Valley’s cityscape turns to cement and steel, spreading like tumour devouring the countless quarters of historical and cultural significance, visiting the stone archive in Hyatt lobby presents some consolation and even a chance to return to our architectural roots.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161132/636d19ce9c7e80680e0ac83djpeg.jpg" alt="" width="1500" height="1000"><figcaption> </figcaption></figure><a href="https://www.asia-europe.uni-heidelberg.de/en/people/person/persdetail/gutschow.html" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://www.asia-europe.uni-heidelberg.de/en/people/person/persdetail/gutschow.html&amp;source=gmail&amp;ust=1635599145453000&amp;usg=AFQjCNEzu69uTKZOvGSr0pRp7f2IrReWOA">Gutschow</a> was born in 1941 in Hamburg. His father was an architect, to whom he credits his entry into the visual 3-D world. He studied Latin and Greek in school, and in 1958 attended Buddhist Sunday classes. Educated not just in the Western classical canon but also Buddhist philosophy, he first came to Nepal in 1962 en route to Burma.In May of the same year, he witnessed the Machindranath Jatra in Lalitpur which had a profound impact on him, and made him decide this was something he would like to study. An architectural anthropologist by profession, he returned to Nepal in 1970, sponsored by the German Research Council to study the villages of Marpha and Tukche in lower Mustang.It was around this time that he met a German diplomat who wanted Gutschow involved in a project to restore the historic Pujari Math priestly residence in Bhaktapur. He prepared a plan for its restoration after surveying the badly ruined building complex with the help of Krishna Shrestha, the director of the National Art Gallery.The project was a precursor to what was to follow: an ambitious bilateral initiative between Nepal and Germany for the <a href="https://archive.nepalitimes.com/news.php?id=19496#.YXqErFVByJA" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://archive.nepalitimes.com/news.php?id%3D19496%23.YXqErFVByJA&amp;source=gmail&amp;ust=1635599145454000&amp;usg=AFQjCNFaE5KX7Au_TkhfxlIGyc6fP4fKeA">conservation of the architectural heritage of Bhaktapur</a>. He returned to Nepal on 22 August 1971 to organise the site visit, and took up residence at Bhaktapur in the ‘Rana House’ – now a homeopathic clinic – near Nag Pokhari.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161132/636d19d29c7e80680e0ac83ejpeg.jpg" alt="" width="1500" height="1000"><figcaption> </figcaption></figure>Walking around Bhaktapur even today is like stepping back in time. Its unique charm is preserved intact in the folds of its buildings and heritage – still largely untouched by the haphazard westernisation that has destroyed other towns in the Valley.Back in the 1970s, Bhaktapur was dilapidated, but had its historic urbanscape even more pristine. The Arniko Highway was just being built, and there were only a couple of buses a day to and from Kathmandu. Gutschow fully immerse himself in the life and happenings of this little city. He witnessed Indra Jatra and Dasain, and experienced communities get together during the Bisket Jatra and during the procession of the Navadurga.“It was fascinating to see Newars use their space as a stage,” he recalls.Read also: <a href="https://www.nepalitimes.com/review/remembering-robert-powell/" target="_blank" rel="noopener noreferrer">Remembering Robert Powell</a>, Ashish Dhakal<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161132/636d19d59c7e80680e0ac83fjpeg.jpg" alt="" width="1500" height="1000">Gutschow returned in 1974 with a scholarship to study Bhaktapur, which was also the year the German-supported Bhaktapur Development Project (BDP) got a start. Although many consider that Gutschow himself was part of the project, he says it is a misunderstanding.“I only wrote the first paper to initiate the project,” he adds. “The project went through a tender and we were young people then, we did not compete.”That paper is only a small part of Gutschow’s vast scholarship on Nepal. One of the many people who have <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/remembering-the-kathmandu-we-have-lost,3804" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://archive.nepalitimes.com/article/Nepali-Times-Buzz/remembering-the-kathmandu-we-have-lost,3804&amp;source=gmail&amp;ust=1635599145454000&amp;usg=AFQjCNGh8sMM2TUnfH-Rq-sLC9OGLvfVBQ">introduced Nepal to Nepalis</a>, he conducted architectural surveys of Gorkha and Nuwakot, Kag and Khyinga (in Mustang) from 1980 to 1988 and from 1990 to 1995. He also studied in greater detail the 19th century temples of Patan, <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/pencilling-in-kathmandu-rajman-singh-chitrakar,3379" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://archive.nepalitimes.com/article/Nepali-Times-Buzz/pencilling-in-kathmandu-rajman-singh-chitrakar,3379&amp;source=gmail&amp;ust=1635599145454000&amp;usg=AFQjCNFeD3US2WS_CdO-jWiHXfT2UZgC6w">Kathmandu</a> and Deopatan, and Buddhist chaitya to develop a chronology based on stylistic evidence.Further, his documentation and analysis of the urban space and rituals of Bhaktapur, his mapping of the city’s religious and social topography, and his architectural and anthropological research are unparalleled in their significance and impact.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161132/636d19d89c7e80680e0ac840jpeg.jpg" alt="" width="947" height="369"><figcaption> </figcaption></figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161132/636d19da9c7e80680e0ac841jpeg.jpg" alt="" width="1200" height="1017"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161132/636d19dd9c7e80680e0ac842jpeg.jpg" alt="" width="1629" height="1373">He has written three detailed volumes on death rituals (Handling Death), initiation rituals (Growing Up) and marriage rituals (Getting Married) of Newars, with special focus on Bhaktapur. The 3-volume encyclopædic opus Architecture of the Newars, spans the early, Malla and modern times. Another book, The Sky Face studies Kirtimukha – a recurrent iconography of a fierce monster face with huge fangs and gaping mouth – and related creatures in Nepal, South- and Southeast Asian art and architecture.In the 50 years that he has spent in Nepal, Gutschow has also witnessed the steady change and decline of the Valley’s pristine <a href="https://www.nepalitimes.com/here-now/protecting-kathmandus-historic-roofscape/" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://www.nepalitimes.com/here-now/protecting-kathmandus-historic-roofscape/&amp;source=gmail&amp;ust=1635599145454000&amp;usg=AFQjCNH3ZS3m3pvF94PuKiF7OAnSi81f9g">landscape</a> into an ugly concrete jungle, which he also documented in his 2012 book, <a href="http://archive.nepalitimes.com/news.php?id=19765#.YXqB4VVByJA" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=http://archive.nepalitimes.com/news.php?id%3D19765%23.YXqB4VVByJA&amp;source=gmail&amp;ust=1635599145454000&amp;usg=AFQjCNGRu8irEABYxHUEsLPvoFzWllq58g">The Kathmandu Valley</a>.A meticulous chronicler of change, Gutschow held a deliberately dispassionate tone in the book – subdued and impartial, despite the sadness, telling Nepali Times: “The curiosity I feel about this ongoing development has nothing denunciatory about it. The documentation of the construction sites does reveal a certain crudity, not to say brutality. Its aim is to achieve a largely unemotional presentation of one aspect of reality.”<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161132/636d19e09c7e80680e0ac843jpeg.jpg" alt="" width="2048" height="1343"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161132/636d19e39c7e80680e0ac844jpeg.jpg" alt="" width="1250" height="1194">Gutschow’s <a href="http://archive.nepalitimes.com/article/review/towers-in-stone-niels-gutschow,1762" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=http://archive.nepalitimes.com/article/review/towers-in-stone-niels-gutschow,1762&amp;source=gmail&amp;ust=1635599145454000&amp;usg=AFQjCNG4O0PgeSv0XMLeOypVaA1ErzV7Iw">passion and dedication to documentation</a> can also be seen in his house in Bhaktapur – an integral part of his œuvre, a historical record of three decades in bricks and beams, where his research, scholarship and life spent among the people, the rituals, and the festivals of the Newa communities of Bhaktapur culminate, and which he is leaving behind when he returns to Germany.The house stands atop Tajaha Hill (literally ‘a net of snakes’) where snakes are indeed a common feature to this day. Gutschow remembers several large snakes basking in the sun, and some smaller ones in the lotus pond, especially in the monsoon or winter afternoons.Unlike most mythologies in the West, snakes represent strength and rebirth in Buddhism and Hinduism. This feels like an apt analogy, adding to the serene, mythical quality of the house, which itself was rebuilt and reconfigured in 1989 and lived in for 30 years.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161132/636d19e79c7e80680e0ac845jpeg.jpg" alt="" width="1500" height="1000"><figcaption> </figcaption></figure>Narrow bricked steps lead the visitor away from the trail and towards the house, flanked on both sides by a small forest of monkey grass, isicha, willow trees, mugwort and persimmon among others. A small round lotus pool on the right and a kuwa, or a wellspring, on the left are near the entrance.A stone pikhalakhu sits on the ground before the steps leading to the courtyard where a long arcade has been reconfigured after the earthquake. The columns and capital-brackets on top Gutschow bought for the price of firewood. “No one wanted these,” Gutschow says, shaking his head. The carvings depict buffalo eyes, lotus leaves, snake virgins under snake hoods, and the mythical makara aquatic beings.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161132/636d19eb9c7e80680e0ac846jpeg.jpg" alt="" width="1500" height="1000"><figcaption> </figcaption></figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161132/636d19ee9c7e80680e0ac847jpeg.jpg" alt="" width="767" height="1500">Behind the house stands the Kadam Chörten, a chaitya completed in 2002 to commemorate the passing of the Buddha, and further up is the tall guest house, its roof peeking from behind the fan palm and lapsi. Two giant vermillion circles look ahead from under the roof like eyes keeping watch over the hill, the neighbouring houses and fields.“The earthquake affected this building too, the base twisted,” Gutschow says, demonstrating the jerk and twist with his own body. The door had to be removed and replaced with a wall upon which another giant red circle was plastered with a smaller yellow circle painted inside. When asked about its meaning, Gutschow smiles slyly: “I cannot tell you that, you should come up with your own interpretation.”From the guest house, one can see another tower up ahead which looks as though it is simply a decorative piece. The bricks are of singular styles not seen elsewhere in the house, which were designed by students from Frankfurt.“It was an experiment,” Gutschow says, moving his hand across the jagged motif. The traditional Newa bricks are arranged at the bottom, with a layer of modern rough bricks above, followed by a single line of traditional bricks, above which the Frankfurt-designed bricks sit, and the pattern continues.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161132/636d19f29c7e80680e0ac848jpeg.jpg" alt="" width="1500" height="1000"><figcaption> </figcaption></figure>Three columns stand in the tower – two on one side and one inside a narrow opening opposite. These are unique columns, which came from Pondicherry in India, wide at the base, and tapered rather sharply at the top. The lonely column on the other side is painted red, as is the top of the wall inside. This colour is a recurring motif with Gutschow. “Red is an important colour, almost like my trademark. It is the colour of blood, and especially associated with life and death,” he adds.Red also has ritualistic significance in Hinduism and Buddhism, and is the colour of the sun in mornings and evenings. Gutschow would not reveal the mystery of the coloured circles in the guest house, but perhaps they too represent the same sense of duality: of life and death, of dawn and dusk, of Nepal and Germany.However, Gutschow is cautious with hasty interpretations, since in art they can often allude to a notion of functionality, and an object is reduced simply to its utility. “But form does not need to follow function,” he says as we walk away from the tower towards the house.“The lonely pillar stands in the space as an aesthetic choice, an object to be appreciated as itself,” he says.It is the same with the anthropomorphic façade of his study tower, where two window panels that function as eyes are separated in the middle by a wooden arch which is the nose. Above the eyes, the cornice serves as eyebrows and there in the central axis sits a small block carved into a third eye. This is a prime example of the “impulse to adorn” which features heavily in the architectural practice of Bhaktapur, where decorations serve a pure aesthetic purpose.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161132/636d19f79c7e80680e0ac849jpeg.jpg" alt="" width="1500" height="1000"><figcaption> </figcaption></figure>After the tour, sitting inside the arcade, Gutschow recounts the Navadurga ritual, which he has been attending for the past 50 years not as a tourist but as an inhabitant of Bhaktapur, belonging to the community. Even then, despite his work, projects and involvement all these years, Gutschow has been coming to Nepal on a tourist visa which covers about five months at a time, and he still has to buy a $15 entry ticket every time he visits Bhaktapur Durbar Square.But, he shrugs: “Now it does not matter anymore.”Gutschow laughs when asked about how he balanced being in Nepal and Germany. “I enjoyed being in two worlds, and being able to work and write in Germany as well as in Nepal meant that when I returned to one of the places, I always returned with new questions.”

Ashish Dhakal

Niels Gutschow leaves home

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109141144/636baf039c7e80680e07802ajpeg.jpg" alt="" width="1329" height="928"/><figcaption>King George V with Prime Minister Chandra Shumshere Rana with a tiger trophy in Chitwan in 1911. Sotheby’s</figcaption></figure>Archiving should be a state responsibility, and Nepal does have a National Archive. But a Nepali working in the Gulf has shown how much can be achieved by just one individual with a passion for history.No one can find the original of the 1816 Sugauli Treaty anywhere. Important historical documents, agreements with Tibet, China and British India are also missing. Many of them probably went up when Singha Darbar caught fire in 1973.Which is why <a href="https://twitter.com/SantoshKhaderi">Santosh Khaderi</a> (pictured below) has taken it upon himself to archive as much as possible of official records, early photographs, letters and ephemera from Nepali history as he can. What started out as a hobby, has now become an important contribution to archiving in Nepal for this 28-year-old Dang native and college dropout.He has been in Abu Dhabi for the past six years, working night shifts. He found so much factually incorrect news about Nepal that he started collecting digital records of the country’s past wherever he could find them on the Internet. Working 6-7 hours during the day, Khaderi has built up a collection that he also shares widely through his Twitter account and with regular well-researched articles in Annapurna Post.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109141144/636baf069c7e80680e07802bjpeg.jpg" alt="" width="640" height="518"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109141144/636baf099c7e80680e07802cjpeg.jpg" alt="" width="598" height="474">It all started in 2016, as Nepal was reeling from the aftermath of the earthquake and the Indian Blockade. Khaderi found so many falsehoods and half-truths in media reports that he gave himself the mission to preserve history. Once, while watching Indian news channels he came across a documentary about Prime Minister PV Narsimha Rao which delved into archives to tell his story.“The hour-long episode was so in-depth and based on historical documents and records, that I wondered why a Nepali could not make a similar documentary about B P Koirala,” Khaderi said in a phone interview from the UAE.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109141144/636baf0b9c7e80680e07802djpeg.jpg" alt="" width="627" height="806"><figcaption> </figcaption></figure>This is why, while carrying on his usual work of collecting historical records, he started zooming in on everything he could find on BP, including archival film footage of his funeral procession in Kathmandu in 1984, letters and other documents.“Being away from Nepal has made me value my homeland even more, and to stay in touch while being relevant to my roots and upbringing,” Khaderi says. “In addition, it gives me the opportunity to correct historical inaccuracies, bending of facts, or deliberate lies.”Indeed, his social media posts do not carry that angry tone common to many these days who all bristle with strong opinion about everything. He is not provocatively controversial, he just wants to lay out historical facts based on documents.Khaderi says it is thanks to the corpus of knowledge on the searchable Internet that he can do this work. Without the net it would be immensely complicated since the documents, records, news clips and film footage are scattered around the world.“It’s all there on the net, you just have to know how to search for it,” he says. “But I am limited to material that is in the public domain, I don’t have the money to pay for other content.”Among the rare items in his collection are Rana-era photos, letters written by the palace in Kathmandu to the British in India about the use of Simara airport during World War II, rare clips of Edward VIII, then Prince of Wales with Chandra Shumshere Rana during a hunting trip in Chitwan in 1921, or Tribhuvan’s funeral in Switzerland.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109141144/636baf0d9c7e80680e07802ejpeg.jpg" alt="" width="3715" height="3253"><figcaption> </figcaption></figure>Khaderi’s archive so far has 600 videos, 700 books and newspaper clips, numerous government letters, even invitation cards from Mohan Shumshere for a diplomatic reception at the Nepal Embassy at Barakhamba Road in New Delhi in 1950.Khaderi has dug up news clips from 100 years ago to piece together Bishnu Shumshere Rana’s affair with a Hollywood dancer, and his eventual death in the Bahamas. What he does not have are photographs of Bishnu Shumshere’s body arriving in Banaras for cremation, which are in the Madan Puraskar Pustakalaya archives in Kathmandu.“It is disappointing that our country does not have any papers related to the Kalapani border issues and whatever news has been printed is just mudslinging between two governments, there are few fact-based statements,” he says.He has also dug up a 27-page booklet on Mohan Shumshere Rana that deals with the 1950 Indo-Nepal Treaty with the newly-independent India. Nepal’s claim to Kalapani is mentioned there too.“I believe that history is now more important than ever, so it is absolutely important for us to have historical evidence from the past. Nepal is at its weakest point now because we never cared about archives as they had vested interest somewhere else,” Khaderi says.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109141144/636baf119c7e80680e07802fjpeg.jpg" alt="" width="2048" height="2881"><figcaption> </figcaption></figure>Among Khaderi’s archives is correspondence between Indian Ambassador and Prime Minister Nehru in 1950 in which he cites the Royal Nepal Army’s lack of preparedness to deal with external threats. Within two years of Prime Minister Matrika Prasad Koirala’s visit to India in 1952, Indian military communication units were placed at 17 points along the India-Nepal border.Khaderi has also dug up reports filed by Indian military about patrols to Kalapani in 1959 that prove that the Indian Army already had bases there. China had just annexed Tibet, the Dalai Lama had fled to India, and India and China were soon to go to war. But these documents prove that the Indian bases in Kalapani were not allowed there during or after the war, but perhaps as long before as 1956.“Our country and the government has a handful of shortcomings, but the biggest shortcoming is the lack of archives,” Khaderi says. “these should be digitised, stored, and even made public. Hardcopy files can be destroyed, misplaced or even disappear.”Khaderi says he went to the UAE for financial reasons, but he is itching to get back to Nepal where he wants to set up and maintain a historical archive, and what he has collected so far will be the starting point.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109141144/636baf149c7e80680e078030jpeg.jpg" alt="" width="1117" height="896"><figcaption> </figcaption></figure>

Adventures of a lone archivist

In the black and white photograph, General Wangdu smiles broadly in front of the dusty cactus garden in Kathmandu’s Annapurna Hotel. With an ill-fitting jacket and shaggy hair he looks benign enough, but this was the last leader of the Tibetan freedom fighters who led the resistance against the Chinese from their remote mountain hideouts in <a href="https://nepalitimes.com/here-now/comings-and-goings-in-mustang">Mustang</a>. Five months later, Wangdu was dead. Snapped in March 1974, I had only recently arrived in Nepal. How did I meet this legendary fighter? Possibly with his devoted camp follower, Lynne Klapecki, and probably in the Om Restaurant near Freak Street which was the preferred <a href="https://nepalitimes.com/banner/hippie-trail-nostalgia-in-kathmandu">hippie hang-out</a>. Om Lobsang and his brother Yeshe were <a href="https://archive.nepalitimes.com/page/earthquake-brings-back-memories-of-camps-for-tibetan-refugees">refugees from East Tibet </a>whose cafe offered a friendly welcome and<a href="https://nepalitimes.com/multimedia/momo-loco"> the best momos</a> - they became my in-laws after I married their eldest brother Tenzin, but that was a decade later.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_4573b34282b0f5395c007243d6bef12c7ba76bfd520419e994cdcea048d795a1.jpg" data-media-id="editor_4" data-image-id="2025052403054_4573b34282b0f5395c007243d6bef12c7ba76bfd520419e994cdcea048d795a1" data-rendition-name="original" width="1000" height="1583" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>Photo: LISA CHOEGYAL</figcaption> </figure>  Wangdu’s English was enthusiastically rudimentary, but even riding around town with him on the back of an aging <a href="https://nepalitimes.com/here-now/kathmandu-s-new-motorbike-museum">motorbike</a>, he was a commanding presence. Always flanked by armed outriders, impressive scars marked his forearms and a pistol hung from the cord around his neck. A charismatic guerrilla leader, Wangdu was celebrated by his followers for his tough commitment and respected for his measured pragmatism. He seemed so young to have shouldered such a responsibility of command, leading hundreds of hardened <a href="https://archive.nepalitimes.com/article/nation/50-years-after-the%20raid-into-Tibet,1012#google_vignette">Khampa combatants </a>through what had been a particularly <a href="https://nepalitimes.com/news/heavy-snowfall-over-nepal-himalaya">brutal winter in Mustang</a>, the last bastion to hold out against the Chinese invasion of their Tibetan homeland.&nbsp; The freedom fighters of Tibet, known as the Chushi-Gangdruk, had emerged to resist the <a href="https://nepalitimes.com/editorial/territorialism">Chinese takeover</a> of Tibet during the 1950s. Estimated to be 80,000-strong at the time of <a href="https://nepalitimes.com/here-now/what-or-who-after-the-dalai-lama">the Dalai Lama</a>’s final escape to India in 1959, the sheer number of Chinese deployed into Tibet eventually forced the Chushi-Gangdruk to retreat to Mustang, From this high Himalayan stronghold, they continued cross-border raids on the Chinese People’s Liberation Army (PLA) throughout the 1960s.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_8a4a935ba25ae79dc3a63bb5c14626927020e5ec098093c45ccb9a5982e009fd.jpg" data-media-id="editor_10" data-image-id="2025052403054_8a4a935ba25ae79dc3a63bb5c14626927020e5ec098093c45ccb9a5982e009fd" data-rendition-name="original" width="1114" height="676" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>Guerrillas known as the Chushi-Gangdruk emerged to resist the Chinese annexation of Tibet during the 1950s. Photo courtesy: MIKEL DUNHAM</figcaption> </figure>  Their Kathmandu base was a small discreet lodge in a back lane near Rani Pokhari. Sipping sweet tea from a blue mug with a chipped lid, I sat bemused in a corner of the Mustang Hotel room whilst Wangdu and his cohorts received a battered brown suitcase from their CIA connection, a tousle-haired American in a leather jacket. Heaved onto the dingy bedspread that covered the thin mattress, it was clicked open to reveal piles of neatly stacked dollar bills.&nbsp; I cannot think why Wangdu allowed me to witness this handover but I was clearly no threat, a newly arrived world traveller with no understanding of the stakes nor any Nepali or <a href="https://nepalitimes.com/multimedia/tibetan-music-in-nepals-sacred-valley">Tibetan language</a>. Despite armed guards in the corridor,Wangdu radiated confidence and bravado, and there was a practiced familiarity to the tense transaction. This deadly dance for many years had been funded by the Americans, tolerated by <a href="https://nepalitimes.com/here-now/the-kingdom-within-a-republic">Mustang’s residents</a>, and permitted by King Mahendra and the Nepali authorities who it suited to turn a blind eye.&nbsp; But Mahendra died in 1972, and times were changing. Richard Nixon’s ping-pong diplomacy thawed the cold war and signalled a fresh entente with China. Nepal’s yet-to-be-crowned <a href="https://nepalitimes.com/here-now/if-birendra-was-alive-nepal-could-still-be-a-monarchy">King Birendra </a>was under pressure to curb the irritating incursions against the PLA launched from the Nepali territory of Mustang. Keen to appease his northern neighbour, on several occasions the King summoned Wangdu for peace talks but, despite increasingly overwhelming odds, Wangdu refused to surrender.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_a8efd5cfb92cd997bd7cb74296a936fef46e2f7428f9cd642b03f1ac4ea11ecb.jpg" data-media-id="editor_14" data-image-id="2025052403054_a8efd5cfb92cd997bd7cb74296a936fef46e2f7428f9cd642b03f1ac4ea11ecb" data-rendition-name="original" width="1055" height="885" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>General Wangdu flanked by two Tibetan resistance fighters in Mustang in the 1970s. Photo courtesy: MIKEL DUNHAM</figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_75969125a745847a2ef82b6fe8b9106c0b21a116d85b8efdf5d2ee89a347bb31.jpg" data-media-id="editor_15" data-image-id="2025052403054_75969125a745847a2ef82b6fe8b9106c0b21a116d85b8efdf5d2ee89a347bb31" data-rendition-name="original" width="1044" height="792" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>King Birendra with General Wangdu (right in dark glasses) taken in 1974 possibly in Mustang after one of their few attempts at negotiation. Photo courtesy: RAJRNDRA KUNWAR</figcaption> </figure>  While I naively rode pillion around Kathmandu in the spring sunshine, Wangdu was in the midst of what turned out to be his final round of negotiations with the Nepal government. Refusing to cease hostilities with the Chinese, Wangdu must have suspected the cost of his decision, making his cheerful smile in the photograph all the more poignant and brave. It was only much later that I appreciated the significance of the moment. Wangdu had been sent to replace the first resistance leader in Mustang, Baba Gen Yeshe, a much derided corrupt character who stole money meant for his troops and exploited fleeing refugees by seizing their treasures. Baba Gen Yeshe never forgave Wangdu,and sought revenge in May 1974 by betraying him and his commanders to the Nepal authorities. Renewed Chinese incursions from the north, active PLA collusion with the Nepali forces under the new King, and treachery from within the Chushi-Gangdrukranks combined to seal their fate.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_e0987a7c90d76431b0d7d5e6115ebfe3dbda7ab939e5941e079c18d722e884c0.jpg" data-media-id="editor_16" data-image-id="2025052403054_e0987a7c90d76431b0d7d5e6115ebfe3dbda7ab939e5941e079c18d722e884c0" data-rendition-name="original" width="1400" height="769" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>British television journalists George Patterson and Adrian Cowell embedded themselves with Khampa guerrillas and accompanied them from Tsum Valley on a cross border raid on a Chinese Army convoy in 1964. Photo: ESSAYS ON NEPAL / SAM COWAN</figcaption> </figure>  Mikel Dunham, renowned author of Buddha’s Warriors, writes: ‘It is possible that Wangdu was waiting for some cue from the Dalai Lama’s government-in-exile in Dharamsala, India. It is equally possible – during that last, <a href="https://nepalitimes.com/multimedia/the-human-cost-of-nepal-s-yarsa-gold-rush?fbclid=IwZXh0bgNhZW0CMTEAAR31-Cqw8oyIwMPzf_35e4Skr0ululJvLf3_vDkzHn-AYG2h8uPw2rqqErg_aem_tGVn5coY1-jA7fze_xqhew">desolate winter </a>– that he made the decision to go out in glory rather than admit defeat. Over the last fifteen years, Wangdu had experienced Tibet’s organized resistance being squeezed and shoved around by every conceivable outside force.&nbsp; First they had been pushed out of their own country by the PLA; then they had been refused sanction while on <a href="https://nepalitimes.com/opinion/borderlines/nepal-india-trans-boundary-bonds?fbclid=IwAR0PpJ5zUEbwdug3g_U3ar6FUugngRY0S8Tl2v_7wqzrsHmXWcXsKjvL4t4">Indian soil</a>; then they were abandoned by the Americans because, apparently, Nixon wanted to make friends with Wangdu’s mortal enemies, the communists; then they had been betrayed by the vampiric Baba Gen Yeshe – a Tibetan and, even worse, a fellow Khampa; and now, finally Wangdu’s army was being evicted by the Nepalis. One thing was certain: Wangdu was a warrior. To imagine Wangdu simply giving up and settling down in the pacific squalor of a <a href="https://nepalitimes.com/here-now/elderly-left-in-bhutan-refugee-camp">refugee camp </a>was unthinkable.’  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_8fc1ffef4ae751628b90ae781b66e11e51e4fdde2787207c9042efbee345ce49.jpg" data-media-id="editor_20" data-image-id="2025052403054_8fc1ffef4ae751628b90ae781b66e11e51e4fdde2787207c9042efbee345ce49" data-rendition-name="original" width="500" height="746" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>The much derided Baba Gen Yeshe, the first Tibetan resistance leader in Mustang, who betrayed Wangdu for personal gain. Photo courtesy: MIKEL DUNHAM</figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_b1d833cdb00d3ac4416b844d8730475cd88c238caaaf8da69889a584eea229a3.jpg" data-media-id="editor_21" data-image-id="2025052403054_b1d833cdb00d3ac4416b844d8730475cd88c238caaaf8da69889a584eea229a3" data-rendition-name="original" width="500" height="656" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>Aditya SJB Rana of the Royal Nepal Army whose team ambushed Wangdu and his cohorts at the top of Tinker Pass in Darchula, West Nepal. Photo courtesy: GAUTAM SJB RANA</figcaption> </figure>  By August 1974 the game was up. Wangdu and six of his exhausted party were killed on their horses by <a href="https://archive.nepalitimes.com/news.php?id=7270">the Royal Nepal Army</a> on the brink of escape. The officer in charge, Aditya SJB Rana, cleverly predicted their route into India after they failed to silence a police radio in Yari. A carefully laid ambush trapped them near the summit of the Tinker Pass in Darchula,at 5,000 meters the highest military operation of its time. Wangdu’s body was helicoptered to Kathmandu, and a big show made of the royal Nepal victory.&nbsp; The Tibetan armed insurgency against China had reached its end.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250524030520_3ff9c6fc85a65bc9a2c3afe9736d9f5f9413de752e790a5d9dca0981ea94f9b4.jpg" data-media-id="editor_23" data-image-id="20250524030520_3ff9c6fc85a65bc9a2c3afe9736d9f5f9413de752e790a5d9dca0981ea94f9b4" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="The last days of the Khampa NT"> </figure>

The Last Days of the Khampa

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;

Turkish to Seville

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

<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, <a href="https://www.youtube.com/watch?v=K4le_uWX7YE">Prabal Gurung</a> 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_6" 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_10" 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."&nbsp; 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_12" 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_16" 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_17" data-image-id="20250519170520_345240c21be400e2ce2ec629b52bd82bb53890e5bd86fe95b48340d84b5f1748" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Prabal Gurung book details NT"> </figure>  &nbsp;