<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114121112/637222d59c7e80680e0c0319jpeg.jpg" alt="" width="1200" height="800"/><figcaption>Bhaktapur Darbar Square. Photo: AMIT MACHAMASI</figcaption></figure>Restoration of monuments damaged in the 2015 earthquake have been carried out differently in <a href="https://www.nepalitimes.com/here-now/a-monumental-rivalry/" target="_blank" rel="noopener noreferrer">Kathmandu</a>, <a href="https://www.nepalitimes.com/banner/restoring-a-piece-of-nepals-history/" target="_blank" rel="noopener noreferrer">Lalitpur</a> and <a href="https://www.nepalitimes.com/here-now/bhaktapur-shows-the-way-by-rebuilding-itself/" target="_blank" rel="noopener noreferrer">Bhaktapur</a>, and this has depended a lot on the political will and community involvement to adhere to traditional building methods and materials.The <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/righting-heritage-%20reconstruction-gone-wrong,3670" target="_blank" rel="noopener noreferrer">cohesiveness of the community</a> living in the historic core of the three cities has also determined the pace and accuracy of reconstruction after the 2015 earthquake.Since Bhaktapur and Lalitpur have retained much of the historic sense of community and have elected more accountable mayors, restoration there has gone much better than in Kathmandu.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114121112/637222d89c7e80680e0c031ajpeg.jpg" alt="" width="1000" height="750"><figcaption> </figcaption></figure>For example, restoration work on the Trailokya-Mohan Narayan temple in Kathmandu is now complete. The plastered walls, wooden colonnade, cornices and tile roofs of the three-storey shrine on a five-stage brick plinth at Hanuman Dhoka have returned to their pre-2015 state.However, for specialists like German architect <a href="https://www.nepalitimes.com/banner/love-of-heritage/" target="_blank" rel="noopener noreferrer">Wolfgang Korn</a>, the restoration is not quite what it should be. He was surprised to see that the temple had been rebuilt with unpainted plaster that is Rana-style, and not Malla-era as it should be.“The struts in Malla-era temples are always carved, with the red dachi appa used as veneer bricks,” says historian Dinesh Raj Panta, according to whom the temple was originally built in the late 17th century by Parthivendra Malla, Pratap Malla’s son. This makes the white walls uncharacteristic.Restoration of the nearby Maju Dega is not yet complete, and scaffolds and green net cover the construction. Korn, who made detailed measurements of the temple in the 1970s (see accompanying piece, below) fears that Maju Dega will also repeat the mistakes on the Trailokya-Mohan Narayan.“The Department of Archaeology requires only traditional materials and methods be used in rebuilding these sites,” says Korn. “So, I ask myself why this Rana-style on a Malla-era temple? Where are the carved struts?”Read Also: <a href="https://www.nepalitimes.com/banner/the-history-of-heritage/" target="_blank" rel="noopener noreferrer">The history of heritage</a>, Ashish DhakalSanjeev Man Shrestha, who is a retired engineer with the Department of Archaeology (DoA) and was involved in the reconstruction of the Trailokya-Mohan temple, says that the verification of the rebuilt structure is in fact based on photographic evidence. And photos taken before 2015 show both temples with white plaster walls and, in the case of the Narayan temple, with some uncarved struts on the second and third tiers.“We do not know if it was indeed renovated previously,” Shrestha adds, “but we have used all original materials in the rebuilding wherever possible, even renovating the broken and cracked timber, and replacing with replicas where necessary.”Architect Amit Bajracharya at the Hanuman Dhoka Darbar Square Conservation Program says that 80% of the wooden windows, doors, pillars and struts were recovered after the earthquake and they have been used in the restoration.It could be that some of the temples in Kathmandu have been restored to their pre-2015 form, but this is not necessarily what they looked like before the 1934 earthquake. This has thrown up questions of how far back we should go when restoring a monument.Kathmandu has also seen geopolitical competition in restoration, with the Chinese helping rebuild the Hanuman Dhoka Palace, the Americans involved in the restoration of Gaddi Baithak, and the Japanese of other temples in the palace complex.Read Also:<a href="https://www.nepalitimes.com/here-now/kathmandus-temple-restoration-after-1934-quake/" target="_blank" rel="noopener noreferrer"> Kathmandu's temple restoration after 1934 earthquake</a>, Sahina Shrestha<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114121112/637222da9c7e80680e0c031bjpeg.jpg" alt="" width="1000" height="667"><figcaption> </figcaption></figure>Over in Bhaktapur, the town’s main gate was plastered white during the Rana-era. It was damaged again in 2015, but architects there have retired it to its Malla-era state with exposed bricks.“We wanted it to look traditional, keeping with how it must have appeared when it was built,” explains architect Ram Govinda Shrestha of Bhaktapur Municipality.Nearly all of Bhaktapur’s monuments damaged in 2015 have been restored because of active cooperation between the local communities and the municipality.Shrestha says the municipality used three approaches for renovation: by the community, by the municipality and through DoA contractors: “In all three approaches, the community was involved in supervision. Woodworkers, masons and craftspeople were also selected by the people, and the municipality helped with finding funds.”<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114121112/637222dd9c7e80680e0c031cjpeg.jpg" alt="" width="1000" height="667"><figcaption> </figcaption></figure>In Lalitpur, most renovation and rebuilding projects were undertaken through the Kathmandu Valley Preservation Trust (KVPT) with active community participation.Says KVPT’s Rohit Ranjitkar: “There was minimal bureaucracy, and the work was completed through coordination of the local government and the community. KVPT has also been working in Patan since 2008, which means that the locals trust us.”It is different in Kathmandu because it does not have the level of expertise that the other two cities of the Valley have, and <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/rebuilding-kasthamandap-nepal,4012" target="_blank" rel="noopener noreferrer">community participation</a> is also not at the same level.“Kathmandu lacks the skilled artisans, and therefore is <a href="https://www.nepalitimes.com/banner/resurrecting-rani-pokhari-right/" target="_blank" rel="noopener noreferrer">dependent upon Bhaktapur</a>,” admits Amit Bajracharya. “There is also less public participation or interest, as many locals in and around the old town have moved away.”Ranjitkar says this has meant that the people around the heritage sites in Kathmandu are not original residents but people who rent rooms or shops. “As fewer and fewer locals remain, there is also less and less ownership and engagement,” he adds.This has also meant that much of the rebuilding in Kathmandu is being done through the DoA’s bidding process, adding to the inaccuracy in restoration.For instance, the medieval Chilancho Chaitya in Kirtipur which was damaged in 2015 was quickly renovated by the DoA. But just a year later, a crack appeared from the finial to the dome.Read Also:<a href="https://www.nepalitimes.com/here-now/rebuilding-kathmandu-after-the-1934-quake/" target="_blank" rel="noopener noreferrer"> Rebuilding Kathmandu after the 1934 quake</a>, Alina BajracharyaEach rebuilding and renovation is particular to the monument, as there is not one such treatment for every building: but a contractor may not be aware of this. Indeed, the lowest bidder with experience in working mostly with concrete, and building modern houses and roads are involved in Kathmandu’s heritage restoration.“On top of lack of expertise and resources, this is also a result of a lack of forethought and patience,” explains Bharat Maharjan of Nepal Heritage Documentation Project. “Brick walls are different from concrete, sometimes it may take days between one layer and another, work may be paused because a decoration needs to be set. Each step is sensitive and significant. But when people don’t know much about heritage conservation, they don’t consider the quality of work, but only deadlines.”Further, there are also traditional dimensions to consider in a temple, and processes that are no longer practiced in residential buildings, but integral to heritage restoration.“With tender, it becomes overly bureaucratic, with a lot of interference,” says Bajracharya. “And the lowest bidder with no expertise in heritage conservation leads to inferior work and compromises to the structure and design.” However, he adds that workers and artisans involved in Hanuman Dhoka have been trained: “Even though it is the lowest bidder who gets the contract, we have tried to make the restoration as authentic as possible.”Sanjeev Man Shrestha agrees, saying that the DoA has its criteria when selecting the contractor, which takes into account their experience in working with wood, bricks and other traditional materials.But it may not always be possible to use traditional materials and practices. Korn believes that if the Malla architects had known of ways to make buildings even more structurally sound, they would have used them.While traditional practices, designs and methods should be preserved and utilised, Rohit Ranjitkar says that architects should also be pragmatic. In a few cases, modern elements, such as steel beams, have been used in Patan just to make the structures stronger.“We also have to think about our place in an earthquake-prone region and it is not prudent to blindly remake a structurally unsound temple or monument,” Ranjitkar adds. “We should also think about how we may improve a previously collapsed building so that more lives may be saved in time of the next disaster.”<h2>Measuring up to Kathmandu's heritage</h2><h5>Restoration of monuments is made easier because of scale drawings by a German architect done 50 years ago</h5>https://youtu.be/GOBtQaqQg0wWolfgang Korn leads the way up to the top floor of Lalit Heritage Hotel in Patan. Through the glass doors, the terrace opens almost like a stage for a view of Patan Darbar.Under the grey sky, the oblique roofs, red bricks and stone temples look restful, against rows of people on benches. Among the scaffolds, spires and baked tiles, the two-tiered Char Narayan Temple stands out.This is one of many monuments of Kathmandu Valley that Korn surveyed in 1970, producing detailed drawings.Born in Dessau in what was then East Germany, Korn first arrived in Nepal when he was 25 in 1968. Having studied architecture, he had applied for a German Development Service project in West Africa. They asked him if he would like to go to Nepal instead.He was fascinated by his first walk around Kathmandu past gods and goddesses, quaint brick houses along narrow streets, wood carvings and stone monuments.Korn worked for the Physical Planning Section of the government designing the office buildings. There, he met architect <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/taragaon-museum-boudha,1609" target="_blank" rel="noopener noreferrer">Carl Pruscha</a> who was then mapping out two Ring Roads to give Kathmandu an urban plan for future growth, and started surveying sacred sites.“It is important to know where the heritage sites are when one plans a town,” explains Korn. “Very often, I went alone with the driver, as people in the government did not want to leave their office.”This work brought him closer to the ancient Newa architecture of Kathmandu Valley that used wood and bricks to create a highly structured network of urban buildings and open spaces.“I am not a historian or a researcher but a curious craftsman,” says Korn, recalling how he climbed into the shrines to measure, collect and draw cross-sections.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114121112/637222df9c7e80680e0c031djpeg.jpg" alt="" width="1000" height="667"><figcaption> </figcaption></figure>Once in <a href="https://www.nepalitimes.com/banner/ancient-panautis-french-connection/" target="_blank" rel="noopener noreferrer">Panauti</a>, he had to convert to Hinduism for 17 minutes to study the damage to the Indresvar Temple.“I was staring up at the carvings when the pujari came over and asked what I was doing,” recounts Korn. “When I explained to him my profession, he asked me my opinion regarding the topmost, third tier of the temple that was leaning to one side.”When Korn said that he would not be able to say much from the ground, the priest brought out a copper plate with flowers, vermilion and rice grain. He then started chanting a prayer, sprinkled water and put a red tika on Korn's forehead, declaring him a temporary Hindu so he could enter the sanctorum to study it.Keeping to the walls, Korn climbed up to the topmost tier, made some quick pencil sketches, and came down covered in dust and pigeon muck. He briefed the priest about the kind of repairs needed, after which he performed the ceremony in reverse, wiping the tika off his forehead, and restored Korn back to Christianity.The experience at Indresvar also confirmed to Korn that the Valley's temples were historically two-tiered, and the third roof was often a later addition.Between 1970 and 1977, Korn prepared scaled drawings of many structures, including the Indra Sattal in Bhaktapur, Kasthamandap, Lakshmi-Narayan Sattal, Chusya Baha in Kathmandu, and Char Narayan Temple in Patan.After an extensive survey of Pujari Math in Bhaktapur in 1971 and 1972, Korn embarked solo on the Temple Catalogue Project to prepare an inventory of all tiered temples of the Valley with a photographic catalogue and typologies.His later work with the Hanuman Dhoka Renovation Project in 1973 and private documentation of temples, monasteries, falcha, private houses, carved windows, led to the publication of the first book on Newa architecture, <a href="https://archive.org/details/TraditionalArchitectureOfTheKathmanduValleyByWolfgangKorn_201712" target="_blank" rel="noopener noreferrer">Traditional Architecture of the Kathmandu Valley</a>, in 1976.After the 2015 earthquake destroyed many historical monuments in the Valley, Korn’s detailed scale drawings of the Maju Dega, <a href="https://www.nepalitimes.com/banner/resurrecting-kasthamandap-from-the-rubble/" target="_blank" rel="noopener noreferrer">Kasthamandap</a>, Char Narayan and Vatsala Temple have been instrumental in their accurate restoration.Despite this, Korn is not happy about the haphazard urbanisation of Kathmandu Valley, especially post-2015. He was surprised by the restoration of the Malla-era Trailokya Mohan Narayan Temple in Kathmandu where the walls have been plastered and painted white in the Rana-era style. The same methods are being used in rebuilding Maju Dega, another Malla-era temple dating back to 1692, of which Korn had also taken detailed measurements 50 years ago.“It looks like the contractor wanted to save money and got away with it,” Korn says, shaking his head.He believes rebuilding heritage sites should never be given to the lowest bidder, especially when they know nothing about struts, carvings and dimensions.“To rebuild heritage, you need architects who understand the specific materials traditionally used, such as dachi appa in Newa buildings,” he says.These rejections of standard building practices are perhaps the reason why the Valley’s towns look the way they do today: residences, offices blocks and view towers rising in a babble of concrete and steel.Fortunately, the dramatic transformation of the Valley has not deterred Korn’s caring and curious spirit. He has been visiting Nepal several weeks a year to work with the Kathmandu Valley Preservation Trust (KVPT) on renovations at Patan Darbar Square.He also lectures to Nepali architecture students, inspiring a new generation to care about heritage. “Because,” he adds, “you kill the past by not caring.”

Ashish Dhakal

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A tale of three cities

<figure><img width="3000" height="1998" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111148/63721da99c7e80680e0bd4fejpeg.jpg" alt=""/><figcaption>The Taleju Temple of Patan with the Mulchok courtyard in 2019. Photo: NHDP.</figcaption></figure>Seven years ago, on a particularly gloomy Saturday, the ground groaned as an earthquake shook Central Nepal, flattening villages and killing thousands.<a href="http://archive.nepalitimes.com/article/nation/Monumental-loss,2215">Many historical monuments</a> of Kathmandu Valley were reduced to rubble in just 50 seconds. Photos of the ruins crossed the world: a broken Dharara, toppled houses leaning on each other over darkened streets, piles of bricks and timber covered in yellow dust. Seven years later, monuments are coming out of their scaffolds, while others still have cracks that run the length of their walls.Kathmandu <a href="https://www.nepalitimes.com/here-now/kathmandus-temple-restoration-after-1934-quake/">has rebuilt itself</a> every century after a major earthquake. The decision on how to rebuild is determined by the resources and sensibilites of the ruler at the time. What constitutes '<a href="https://archive.nepalitimes.com/news.php?id=18013#.YmN0LtNBxH0">heritage</a>' also changes with time. <img width="412" height="198" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111148/63721dac9c7e80680e0bd4ffjpeg.jpg" alt=""><figure><img width="2080" height="2080" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111148/63721dad9c7e80680e0bd500jpeg.jpg" alt=""><figcaption> </figcaption></figure><figure><figcaption>The temple after the 2015 earthquake which toppled the cupola representing Krishna Mandir. Photo: KVPT.</figcaption></figure><figure><img width="3000" height="2002" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111148/63721db39c7e80680e0bd502jpeg.jpg" alt=""><figcaption> </figcaption></figure>“A family tree and heritage are almost synonymous,” says conservationist Alok Siddhi Tuladhar. “Because what we get from our ancestors is our heritage.” Our parents and grandparents pass on heirlooms to us, Tuladhar explains, and this gives ‘heritage’ an immediate tangible tone, evidenced by the temples, monuments,<a href="https://www.nepalitimes.com/latest/saving-nepals-hiti-heritage/"> hiti spouts</a> that form the cultural legacy of Nepal spanning centuries of artistic and socio-political expression.  “Heritage also goes beyond just the physical monuments,” he adds. “The concept of heritage beyond just an object or artefact is especially true in the case of Nepal, where <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/saving-the-intangible,3303">traditional and Indigenous practices are still living</a> and breathing.” This is different than, for example, the Colosseum in Rome which has archaeological significance, but in the absence of gladiators, that is now recontextualised. “But here in Kasthamandap, it is a vastly different feeling to interact with Ganesh and Gorakhnath, who are still worshipped,” Tuladhar says. "The very manner of interaction is also part of Nepal’s unique heritage." <figure><img width="2592" height="1924" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111148/63721db69c7e80680e0bd503jpeg.jpg" alt=""><figcaption> </figcaption></figure><figure><img width="3000" height="2167" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111148/63721dba9c7e80680e0bd504jpeg.jpg" alt=""><figcaption> </figcaption></figure><figure><img width="2589" height="2056" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111148/63721dbd9c7e80680e0bd505jpeg.jpg" alt=""><figcaption> </figcaption></figure><figure><img width="6720" height="4480" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111148/63721dc19c7e80680e0bd506jpeg.jpg" alt=""><figcaption> </figcaption></figure>Bharat Maharjan of Nepal Heritage Documentation Project agrees: “All human acts, including fashion, cuisine, agriculture and architecture, are heritage, evidence for which can be found in everything around us.”For instance toponyms give us a glimpse into the age-old practices of a certain place and community.“In Kirtipur, there is a place called कांफ्वंद्वं which is now part of the university,” he says, “there used to be a funeral mound and people would go during the time of pandemic to pacify the spirits with wind instruments. Now the practice is obsolete, but the name of the place helps us trace that part of our history and culture.” The Kathmandu Valley is remarkable because this ethnically and religiously diverse bowl-shaped valley of only 665 sq km has at least 130 important monuments, and lies at the crossroads of ancient civilisations of the subcontinent.Read also: <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/saving-the-intangible,3303">Preserving the intangible</a>, Chandani KC“Another uniqueness of the Valley is that human civilisation has flourished here continuously since ancient times without interruption, as can be found in the inscriptions, monuments and historical records,” adds Maharjan. <a href="https://www.nepalitimes.com/banner/the-tug-of-tradition/">Continuity is integral to heritage</a>, as without it there is no sense of inheritance. In fact, the word ‘heritage’ is related to Latin heres, meaning ‘heir’, and <a href="https://www.nepalitimes.com/banner/the-tug-of-tradition/">relies on practices and monuments being kept alive through people</a>.This is closely related to the <a href="https://www.nepalitimes.com/banner/culture-revolution/">Guthi in Newa communities</a>, the membership to which is also almost always hereditary.Tuladhar explains that the <a href="https://www.nepalitimes.com/here-now/bhaktapur-shows-the-way-by-rebuilding-itself/">core value of building a monument revolves around the Guthi</a>, a unique aspect of the Nepal Mandala’s culture, which oversees the upkeep, jatra, puja associated with the monument through community participation and income from the land allocated to it. “This is an important part of our heritage, because the practice brings together people to form the rich socio-cultural fabric of our society,” Tuladhar adds. “All of which, while intangible practices, help conserve the physical monuments. This way, both tangible and intangible heritage can be kept alive.” <figure><img width="1500" height="1000" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111148/63721dc69c7e80680e0bd507jpeg.jpg" alt=""><figcaption> </figcaption></figure><figure><img width="2106" height="1404" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111148/63721dc99c7e80680e0bd508jpeg.jpg" alt=""><figcaption> </figcaption></figure>SHAKING THINGS UPWhen the 2015 Gorkha earthquake struck, the Valley had not experienced a natural disaster of such magnitude for 81 years. Many monuments that came down had also been <a href="https://www.nepalitimes.com/here-now/kathmandus-temple-restoration-after-1934-quake/">destroyed in the 1934</a> earthquake, and had been hastily rebuilt. While some temples and palace complexes were restored to their original Newa style of architecture, others were rebuilt in the Rana-era Mughal flourish. Bharat Maharjan thinks this was because of the strict restrictions on importing wood during the Rana-era. “When Jang Bahadur built the Kalmochan Temple with the Mughul-style dome, it quickly became a popular style,” he adds, “The use of brick and stucco plaster was much cheaper and less time-consuming than that of wood, which also included carving.”Read also: <a href="https://www.nepalitimes.com/here-now/nepals-traditional-seismic-resistant-designs/">Nepal’s traditional seismic resistant designs</a>, Sheilin TeoThe <a href="https://www.nepalitimes.com/banner/restoring-a-piece-of-nepals-history/">Bhaidega Temple in Patan</a> used to be an impressive three-tiered structure built in 1678 by Bharo Bhagirath Bhaiya before it collapsed in 1934. It was then quickly rebuilt in the Mughal stucco dome style, which itself collapsed in 2015. It is now being restored to its pre-1934 design.   The <a href="https://www.nepalitimes.com/here-now/bhaktapur-shows-the-way-by-rebuilding-itself/">conservation response of communities and activist groups</a> after the 2015 earthquake was in many ways similar to the age-old traditions of the Valley, just like how their ancestors did after every previous disaster.“Our ancestors were building these monuments knowing there would be earthquakes,” says Tuladhar, “Plans were in place to repair, restore and conserve the structure from time to time.”Such outlook <a href="https://www.nepalitimes.com/here-now/nepals-traditional-seismic-resistant-designs/">appears to have been affected by building materials</a> as well, such as the use of stone in the Lichhavi era versus bricks and wood in the Malla era.  <figure><img width="1500" height="1132" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111148/63721dcc9c7e80680e0bd509jpeg.jpg" alt=""><figcaption> </figcaption></figure>Conservation architect Sudarshan Raj Tiwari suggests in his 2009 paper <a href="https://www.researchgate.net/publication/305876762_Material_Authenticity_and_Conservation_Traditions_in_Nepal">Material Authenticity in Tradition of Conservation of Nepal</a> that the difference in the terms used – pratisamskar (‘near to handed down from respected tradition’) in the Lichhavi inscriptions and jirnoddhar (‘renovation’) or navakam vara (‘new cover’) in the Malla period – may be because ‘the later conservation involved less of repair and reconsecration of images and more of restoration, repair and reconstruction of buildings and building parts.’He goes on to write: ‘This also substantiates that the material nature of the <a href="https://www.nepalitimes.com/here-now/nepals-traditional-seismic-resistant-designs/">ensemble of architecture had changed</a> with development of comparatively tall temples in brick and wood and construction and reconstruction methods informed with a greater empirical understanding of the action of deteriorating agents of climate, earthquake and fire.’Countries and communities have different understanding of heritage and its conservation. “The dictionary definition and umbrella practices may not relate to each and every place,” explains Tuladhar. “Nepal has its own rituals, practices, materials and climate, which affects how heritage can be protected and restored.” <figure><img width="900" height="600" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111148/63721dcf9c7e80680e0bd50ajpeg.jpg" alt=""><figcaption> </figcaption></figure><figure><img width="1024" height="683" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111152/63721dd29c7e80680e0bd50bjpeg.jpg" alt=""><figcaption> </figcaption></figure>At the same time, restoring these cultural sites go beyond replacing the broken pieces. Heritage is intrinsic to the polis, history and cultural activity.Tiwari suggests that is what King Anshuvarma must have been thinking 1,500 years ago when he inscribed after the restoration of the wood and brick Devkula Temple in Kathmandu,“having repaired carefully so as to keep it in good condition for longer into future”.Heritage, says Bharat Maharjan, incorporates the different aspects of society – political, economic and cultural – into one common identity. And every age has its own identity. Palaces and monuments that once looked out of place in Kathmandu have now become a part of Nepal's heritage.Ram Bahadur Kunwar of the Department of Archaeology says: “Each building style and cultural practice mirrors a particular time and society.”  <img width="1500" height="1023" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111152/63721dd49c7e80680e0bd50cjpeg.jpg" alt=""><figure><img width="1500" height="976" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111152/63721dd79c7e80680e0bd50djpeg.jpg" alt=""><figcaption> </figcaption></figure>The stark contrast between the Malla-era buildings and the European neo-classical <a href="https://www.nepalitimes.com/here-now/inside-story-of-nepals-rana-dynasty/">Rana</a> architecture that favoured wide walls and tall windows with Greco-Roman columns tells us that different historical periods developed their own distinct heritage in Kathmandu Valley, often determined by the availability of both materials and craftspeople, and influenced by exchanges with other regions.For example, UNESCO regards the architecture of the Valley as having developed with particular attention to traditional values, cultures and norms to create a harmonious urban landscape through the prohibition of  infrastructure taller than temples in an area. At present, the scenario is quite different. ‘City by-laws have often <a href="https://www.nepalitimes.com/editorial/lessons-unlearnt/">neglected height restrictions</a> and related measures to protect the immediate surroundings of palace squares and other important sites, which can impact the quality and integrity of the sites,’ UNESCO Nepal wrote in a response to a Nepali Times query.‘Conservation processes need to be informed by traditional practices, skills and knowledge, for without safeguarding the living heritage and the link to the community, it is difficult for the conservation of such monuments and sites to be meaningful.’ <figure><img width="4208" height="2368" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111152/63721ddb9c7e80680e0bd50ejpeg.jpg" alt=""><figcaption> </figcaption></figure>Alok Siddhi Tuladhar sees that in the <a href="https://nepalitimes.com/here-now/nepals-traditional-seismic-resistant-designs/">tiered-roof temples and shikhara-style shrines</a> complementing each other in the Valley.“Imagine, in the past, the temple roofs with the mountains behind them, against the blue sky, like twins, side-by-side. It is the urban landscape taken together in harmony with nature.”In contrast to this image are the <a href="https://www.nepalitimes.com/here-now/tall-order/">highrise steel structures</a> towering over the ancient towns. The skywalk in-progress in Kamaladi, for example, if seen at the right angle, breaks out behind the Ghanta Ghar like a glitzy attraction in a travelling fair.But then that is probably how residents of Kathmandu regarded the alien design and dimension of the Ghanta Ghar when it was built. Will the Kamaladi stucture and the <a href="https://www.nepalitimes.com/latest/nepals-shortsighted-view-tower-craze/">many view-towers across the country</a> also one day become a part of our heritage? Read more: <a href="https://www.nepalitimes.com/editorial/lessons-still-not-learnt/">Lessons still not learnt</a>, Editorial

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The history of heritage

One smoggy winter morning in February 2019, Ekta regretted coming to her sculpture class. It was the first day of her period, and the 19-year-old wished she was home, curled up in bed with a hot water bag to soothe her cramps.
Her class was at Kalapremi Ceramic Studio, a dark room on the ground floor of a house in Maharajganj, and Ekta’s teacher was the artist Gopal Das Shrestha ‘Kalapremi’, a noted sculptor.
Two other students were already there, using all their muscle strength to knead the sculpting clay. Ekta, now 24, recalls how Kalapremi asked her if she was feeling all right. She avoided him, as she did not want everyone to know she was menstruating.
Kalapremi repeatedly asked Ekta what was wrong. She finally muttered that she was having her period, after which he grabbed her hand and led her to a partitioned corner of the studio and sat her on a chair. Before she could stop him, he slid his hand under her dress, and started massaging her abdomen.
“I was horrified,” Ekta recalls. “I told him to stop, but he didn’t listen, asking me not to be shy, saying he knew how to relieve my pain. He stopped only after I protested furiously.”&nbsp;
The art tutor then said, “You’re like my daughter. I’m doing it out of love to make you feel better, but you’re so stubborn.”&nbsp;
“Instead of saying sorry he acted like I was the one having crazy thoughts,” remembers Ekta, adding that from April 2016 to August 2020 beginning the time she was 16, the artist sexually abused and harassed her on several occasions. &nbsp;
Now, Ekta and the artist’s other former students are finally sharing their experiences and some are pressing legal charges against him, hoping that others do not have to endure what they did.&nbsp;
Award-winning artist and teacher Gopal Das Shrestha ‘Kalapremi’ (the name means ‘Art Lover’) is known for his ceramic art, sculpture, and contemporary pottery. He was <a href="https://nepalitimes.com/review/the-house-of-kalapremi">profiled in Nepali Times after a collaborative exhibition</a>, ‘Where the Wild Things Are’ at the Siddhartha Art Gallery three years ago.&nbsp;
His pieces, titled Gaalis, featured sculpted female figures with the heads of dogs, sheep, and donkeys (pictured) to depict derogatory terms for women. Some critics said the collection was a satire on feminists.
Kalapremi started his artistic and teaching career in 1983 and over the years taught at Bhanubhakta School, Kathmandu University School of Arts, Lalitkala Campus and at his private Kalapremi Ceramic Studio. He has also lectured at Jeonju University in South Korea and recently at Tabor Academy in the United States.
Seven of Kalapremi’s former students were interviewed for this story. Five female students said he touched them inappropriately in his studio or at Kathmandu University. Two male students said they witnessed him abuse and harass the women. In all cases, the students struggled to recognise the abuse when it occurred, and the lack of reporting systems left them to cope on their own for years.&nbsp;
Earlier this year, students shared a social media post hinting at Kalapremi’s history of abusive behaviour following which more students of the artist reached out sharing similar experiences. Some students spoke of abuse that happened as long as 20 years ago.
Kalapremi, 60, has denied the allegations. He told Nepali Times: “Some years ago, there was a movement encouraging people to hug and kiss. I used to do it purely out of friendship and love. But after seeing posts on social media last year calling out my behaviour, I realised my actions may have hurt some people. I understand now that I should have been more mindful.”
He added: “I am also an auxiliary health worker, so I know the exact points to massage to relieve menstrual pain. It’s not just menstruation, I take anyone who is ill to the hospital.”
Sexual abuse is much more rampant than reported given how difficult it is to prove it in court. The law defines sexual abuse as occuring when someone touches another’s private parts, coerces them into touching theirs, uses vulgar language, shows degrading images, or behaves indecently towards them without consent.&nbsp;
Ekta and her fellow students are consulting lawyer Suneeta Regmi Pokhrel, who says they know that even if the court decides in their favour, it is difficult to survive after speaking up, and influential men defend themselves saying they are being framed.&nbsp;
“They are in a lot of pain and weep when recalling how he abused them,” Regmi Pokhrel told us. “They are angry and have filed a case against him, but they are also terrified. They know he is a powerful man and they have seen how our society treats women who speak up against abusers. Unless people speak up, perpetrators will be emboldened.”
Art and academia in Nepal simply reflect the power imbalances in society where people with intersecting identities experience worse forms of abuse. Theatre actors Raj Kumar Pudasaini, Rajan Khatiwada, and Sunil Pokhrel were called out during the #MeToo movement in the Nepali theatre scene in 2019. Even after the allegations Pokhrel went on to receive national awards, while others continued to work without repercussions.
“If you speak up against abusers, you gradually get sidelined from projects,” explained a theatre artist who wished anonymity fearing professional setbacks. “The theatre scene in Nepal is quite small, you just have to make peace with the perpetrators and work with them if you want to sustain yourself.”&nbsp;
In academia there is a history of faculty members sexually harassing students and getting away with it. After Tribhuvan University (TU) lecturer Krishna Bhattachan was accused of harassing women students, the university said it would follow Nepal’s sexual harassment law and set up a reporting mechanism. But nothing happened to the professor, who had already retired. Instead, he counter-accused the students of 'attacking the indigenous people’s movement with baseless allegations' as <a href="https://kathmandupost.com/letters/2019/01/29/bhattachan-responds">he told the Kathmandu Post in 2019</a>. He continues to be featured as a prominent speaker including at TU.
Other faculty members previously accused of sexual harassment include Jagadish Murti Koirala from TU, Bishnu Prasad Acharya from Ratna Rajya Campus, and Bodha Raj Tripathee from Lalitpur Madhyamik Vidhyalaya. A woman staff member from TU also filed a sexual abuse complaint against Dambar Chemjong from TU.
Prominent figures like <a href="https://nepalitimes.com/news/the-rise-and-fall-of-nims-purja">mountaineer Nims Purja</a> have been <a href="https://www.nytimes.com/2024/05/31/sports/mountaineering-sexual-harassment-abuse-nims-purja.html">accused of sexual assault</a>, and cricketer Sandeep Lamichhane, actor <a href="https://nepalitimes.com/news/celebrity-rape-case-spotlights-nepal-laws">Paul Shah</a>, and former speaker of Parliament <a href="https://nepalitimes.com/news/mahara-arrested">Krishna Bahadur Mahara</a> have been accused of rape, but society-at-large has let off the alleged perpetrators amdist a larger debate about justice for survivors and punishment of perpetrators.&nbsp;
‘Gaushala-26’ is the court name given to the 18-year-old who accused Sandeep Lamichhane, former captain of Nepal’s national cricket team and skipper of Biratnagar Kings in the <a href="https://nepalitimes.com/here-now/here-comes-the-nepal-premier-league">ongoing Nepal Premier League</a>, of rape. She left the country citing society questioning her character affecting her mental health while Lamichhane got an outpouring of support. In May, the Patan High Court overturned a prior verdict that found Lamichhane guilty of rape and had sentenced him to eight years in prison. During the 23-month legal battle to pursue justice, Gaushala-26 faced threats of gang rape and acid attacks.&nbsp;
Exhausted by the struggle, Gaushala-26 sought to “move to a new world” where she could live free without hiding her identity.
Actress Samragyee Rajya Laxmi Shah in an Instagram video now deleted detailed the harassment she faced from a filmmaker during a movie shoot. She did not name any name but veteran actor Bhuwan KC filed a defamation case against Rana, but the court ruled that the charge lacked sufficient evidence.&nbsp;
Former Kathmandu mayor <a href="https://nepalitimes.com/opinion/theytoo">Keshav Sthapit also mocked the #MeToo movement</a>, calling accusations against him by journalists Rashmila Prajapati and Ujjwala Maharjan “a rape of men’s rights”.
Serial Abuse
Back at the Kalapremi Ceramics studio, another former student, 24-year-old Rajiv, says he felt the need to speak out after seeing his female classmates being abused.&nbsp;
“He frequently kissed them on their cheeks,” he told Nepali Times. “Whenever they walked into the studio he flailed his arms like a child asking for a hug. They awkwardly hugged him from the side, but he pulled them closer, held their chin, and kissed their cheeks.”&nbsp;
Rajiv says he also saw Kalapremi pull the women’s bra straps, touch their breasts, and slap their buttocks. The young students would freeze, not knowing how to react, and if they protested, he would say it was “normal in art”. Rajiv, 19 at the time like his classmates, remembers thinking perhaps the well-respected artist was right after all.
Another student, Luna, who took lessons at Kalapremi’s studio from 2020 to 2022 did try to confront the tutor after he made an obscene proposal to her. She recalls: “One day when the other students had left the studio and it was just the two of us, he told me that God had given him special artistic talent and he could transfer those powers to me. But to do that both of us will have to be naked, inside a dark room, and have sex.”
Luna, who was 18 then, was livid and told him she did not want any of his powers, but she says he laughed at her as if he was joking. She did not tell her family about the incident because she thought no one would believe her.&nbsp;
“They were all in awe of this famous artist and felt I should be grateful that to be learning sculpting from him,” she says. “I was scared to be alone with him in case he talked about sex again. My coping mechanism was to be rude so he wouldn’t try to come close to me.”
Seeing how some classmates were standing up to Kalapremi, Ekta too tried to push back against his advances, but she said he found ways to coerce her. Since Ekta, Rajiv, and Luna could not afford Kalapremi’s Rs30,000 monthly fee for lessons, he had offered them all a stipend to assist him in the studio.
“He had spondylosis and took me to his therapy sessions to learn massage techniques, then he often made me and other students massage him,” says Ekta. Whenever she refused, he would feign pain to make her feel sorry for him. “He would insist that I put my hands under his shirt so that I could massage him better,” she adds.
The art tutor often tried to “seduce sympathy” from Ekta by sharing how he had never been loved as a child and was “sexually frustrated” as an adult.&nbsp;
“At 7PM, he would pour himself Signature whiskey and immediately go off again about how he was sex-starved. I didn’t know how to respond. It took me time to realise alcohol was just an excuse to talk about sex,” Ekta says.
If convicted, Kalapremi could face financial penalty and/or a prison sentence of up to three years according to Section 224 of National Penal (Code) Act 2017.&nbsp;
Data suggests that victims of child sexual abuse on average take nearly 24 years to tell someone about their trauma, and some may never disclose it at all.&nbsp;
“In our culture, children are rarely taught about boundaries. They often react, show anger when adults pinch their cheeks. But adults insist they did it out of love, and force the children to accept it,” says Sita Lama, a psychotherapist at Manka Kura. “And even when someone touches them inappropriately they struggle to identify and verbalise it.”
When perpetrators claim to be “acting out of love”, Lama says survivors are likely to perceive it as something safe, rather than recognising it as abuse.&nbsp;
“It may take years for them to realise they were abused,” she explains. "And even when they become aware, the power imbalance with the abuser and the associated shame often prevents survivors from speaking up."
Other former students from the School of Art at Kathmandu University have also come forward years later, saying Kalapremi sexually abused them. As young adults, they felt his behaviour was off but were uncertain if it was inappropriate, illegal, or they did not know how to respond. After having understood that it was indeed abuse, they say they are speaking out now to protect others.&nbsp;
Amina Singh, a visiting faculty member at Kathmandu University, says there is no clause against sexual abuse in contracts of teachers, and there is no formal grievance handling mechanism for the students.&nbsp;
“So the only way students can to deal with sexual abuse is approach someone they trust,” she says.
Eight other former art students of Lalit Kala Campus and Srijana College of Fine Arts of Tribhuvan University and other private art studios in Kathmandu say they were also sexually abused by their art teachers. Three faculty members interviewed from these institutions said they saw the abuse, but felt it was futile to report it given how powerful the teachers were.
In the absence of a formal system, some longtime women artists warned each other about “problematic” artists. They shared &nbsp;a “heads-up” to be more cautious when collaborating with them, and avoided responding to their calls and texts after work hours.
To ensure art institutions are safe for all, galleries, museums, artist studios, and smaller art spaces need to develop policies on sexual harassment. This would include a code of conduct or studio policies that hold the leadership accountable and outline the principles of professional ethics.&nbsp;
Students and employees should inquire about accountability mechanisms for raising concerns, both formally and informally, advocates say.
Three years after Ekta left the ceramics studio, she learnt that Kalapremi had harassed many other women. Still trying to get a footing in the art industry, she attended a workshop in Kathmandu where women artists discussed ways to stay safe in the art sector.&nbsp;
Since it was a close-knit group Ekta opened up about how she felt violated and realised she was not alone, he had been abusing underprivileged students for years, and this was common knowledge among artists in Nepal.
Ekta says that even after she quit, Kalapremi continued sending her text messages like ‘I am thinking of you’, ‘Why have you stopped speaking with me’, or ‘I am waiting for your call’.&nbsp;
But what really forced her to act was when Ekta found out that he was sending similar texts to her younger sister.&nbsp;
“I’ve had enough,” she told us. “He abused me all these years but I won’t let him abuse my sister.” &nbsp;
Ekta, Rajiv and Luna are not the real names of the students.&nbsp;

‘Art Lover’ accused of sexual abuse

It was 8:15 in the evening of 25 March 1968 when everyone in the village of Batulechaur near Pokhara heard a deafening sound like thunder as a bright flashing object hurtled down to land in a field.&nbsp; That field belonged to Kul Timilsina, and the next morning he retrieved a sheet of metal about 2m by 1m and carried it home with the help of a few others, thinking it would be useful for his buffalo shed.&nbsp; Before he died at age 83 three years ago, Timilsina had told photo archivist Sunil Ulak that the black metal sheet was not rectangular and had rounded corners. There are a few witnesses still alive who have a clear recollection of the object that fell from the sky that night.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024120707128_75cc85aac56b9cc4a77366471f058d7b3eb6868776811b0923845c2d0a61f014.jpg" data-media-id="editor_0" data-image-id="2024120707128_75cc85aac56b9cc4a77366471f058d7b3eb6868776811b0923845c2d0a61f014" data-rendition-name="original" width="1170" height="601" loading="lazy" alt="UFO over Pokhara"> <figcaption>The field in Batulechaur belonging to Kul Timilsina where fragments of a flying object fell from the sky in 1968.</figcaption> </figure>  One of them is Timilsina’s wife Gyanu, who was 22 at the time. She had been at home, and remembers hearing the big bang and the sky becoming very bright. “We saw the thing in the field in the morning,” she told us. “It looked like a lid, a covering of some sort. The way it was stuck in the ground, it must have fallen from the sky. We thought we could use it to dry clothes on, and took it home.”&nbsp; Another witness is Kul Narayan Paudel. “I was only eight then. We ran to the field to see what had fallen. It was a four-sided metal sheet. The elders took it away, and I don't know what happened to it.” &nbsp; Ram Bahadur Baniya, a teacher at the local school, says he had heard the sheet had been brought to the school, and later handed over to the Zonal Commissioner at the time, Nanda Prasad Malla. “But that is all hearsay,” he says.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024120707128_0bf207a12063fb8155b3c8d9a00a94887b126380c9e0627527c84cf5e1101f54.jpg" data-media-id="editor_1" data-image-id="2024120707128_0bf207a12063fb8155b3c8d9a00a94887b126380c9e0627527c84cf5e1101f54" data-rendition-name="original" width="1170" height="610" loading="lazy" alt="UFO over Pokhara"> <figcaption>Gyanu Timilsina, wife of Kul Timilsina.</figcaption> </figure>  There are two versions of what happened to Kul Timilsina’s metal sheet. One is that an American Peace Corp Volunteer teaching at the nearby Bindyabasini School took it, and another is that it was handed over to the government. Recently declassified Central Intelligence Agency (CIA) and US State Department documents from the time say that the US Embassy in Kathmandu tracked down the object two years later and had it shipped back to the US. A telegram from the Department of State and Department of Defense tagged as ‘MOON DUST / Space Fragments’ dated 1 March 1972 stated: ‘1. Restored space fragment will be on board Embassy support flight 115 arriving Kathmandu on or about March 10. Fragment is packed in shipping crate (cargo no. 72-33365) marked in care of DAO.&nbsp; 2. State and Defense representatives examined fragments prior to shipment finding restoration acceptable.’  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241207071212_929d903ee06d41baa4f6040e981cd7c7d7bd75cc9c37c9b617d307fc8538d2df.png" data-media-id="editor_2" data-image-id="20241207071212_929d903ee06d41baa4f6040e981cd7c7d7bd75cc9c37c9b617d307fc8538d2df" data-rendition-name="original" width="856" height="568" loading="lazy" alt="UFO over Pokhara"> <figcaption>Declassified CIA documents about the investigation into the object sighted in Pokhara. </figcaption> </figure>  The documents show that the US government, military and intelligence agencies investigated this incident thoroughly when it occurred, and have continued to revisit it ever since, as recently as five years ago. What is even more intriguing is that the object that fell in Pokhara was not the only unidentified space object that fell to earth that year. There were similar sightings of objects falling from the sky in Ladakh, Sikkim and Bhutan between 19 February and 25 March 1968.&nbsp; These mysteries were the subject of a CIA investigation in 1968 titled ‘<a href="https://www.cia.gov/readingroom/docs/CIA-RDP81R00560R000100070007-8.pdf">Sighting of Unidentified Flying Objects in Ladakh, Nepal, Sikkim and Bhutan</a>’, and the report is part of the recent online declassification of 800,000 top-secret documents from the period.&nbsp; &nbsp;Although unidentified flying objects (UFOs) have a connotation now of being alien craft, it could be pieces of satellite, missile, rocket or even aircraft. The CIA report documents six sightings in 1968 and quotes local sources as describing all of them having similar characteristics: bright blue or red streaks in the sky accompanied by loud sounds like lightning and thunder and objects falling to the ground. Aside from the metallic object that was found in Batlechaur, there were other items also found nearby in Tallakot, Tureypasal, Armalakot and Maidan. Whatever the object was, it seems to have disintegrated even before it hit the ground.&nbsp; The CIA report records the first sighting on 19 February 1968 in various parts of Sikkim and Olangchung Gola and Ghunsa in eastern Nepal. The light was said to be ‘long and thin’ and giving out ‘green and red light’. &nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241207071212_c3c825027d966a2aedc846970390eebe063957503c7eacc8e01e0517843f9bbb.png" data-media-id="editor_4" data-image-id="20241207071212_c3c825027d966a2aedc846970390eebe063957503c7eacc8e01e0517843f9bbb" data-rendition-name="original" width="892" height="596" loading="lazy" alt="UFO over Pokhara "> </figure>  Two days later on 21 February, a soundless blue object was seen traveling fast across the sky above Thimphu in Bhutan. Then on 4 March there were multiple daytime sightings or white streaks in the sky at Chang La Pass, Fukche and Koyul in Ladakh. There were more sightings in Ladakh on the very day fragments fell near Pokhara on 25 March 1968.&nbsp; After the sightings in Pokhara, rumours started flying in Kathmandu that these were aliens trying to land on Earth, it could be Russian or Chinese spy planes or satellites, and some even say it as a sign from heaven that the end of the world was near. This was at the height of the Cold War. The Russians and Americans were testing their thermonuclear devices as well as intercontinental ballistic missile delivery systems. The Washington-Beijing rapprochement had not yet happened, and China was making quick progress testing atomic bombs. Within two years after its first atomic test, in 1966 China exploded its first hydrogen bomb at the Lop Nur site in Xinjiang, 3,000km to the north from Nepal. After neary six decades, what is still intriguing is that all the sightings within a few months of each other in 1968 were along the Himalayan arc bordering Tibet: from Bhutan, Sikkim Nepal, to Ladakh. The US military intelligence seems to have concluded that this was not a coincidence and there were frequent research trips to the site in Pokhara by American officials in the months after the incident. With the help of the Royal Nepal Army, the region north of Pokhara was thoroughly searched.&nbsp; A confidential memo dated 25 June 1968 by Jerry C Trippy to a ‘Mr Farley’ mentions that the US Air Force’s Foreign Technology Division had decided that the debris could be important because it may be related to a Chinese missile test or a Soviet ‘Vehicle Venik’ rocket.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241207071216_feb5425692dc36b20187de4e4fcc2ce9fd12b6d9e1b8724398e50bcdbf9032fe.jpg" data-media-id="editor_5" data-image-id="20241207071216_feb5425692dc36b20187de4e4fcc2ce9fd12b6d9e1b8724398e50bcdbf9032fe" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="UFO over Pokhara"> </figure>  On 28 August 1968 the US Embassy in Kathmandu sent a letter to Washington DC saying that the object could be of Soviet origin, possibly from when the rocket carrying the ‘Kosmos 208’ satellite re-entered the atmosphere. But why were the fragments falling to earth several weeks apart, and in the same region? No one knows where the metal sheet that Kul Timilsina recovered is now. It was definitely packed in a crate and taken to the US, and although it is rumoured that it was returned that is not very likely. Archivist Sunil Ulak heard from the Timilsina family that CIA officials had returned to the site five years ago. &nbsp; Interest in UFOs peaked in the US in the 1950s, with the Cold War space race and tests of atomic weapons and delivery rockets. CIA and scientists were being sent to investigate sightings, both publicly and privately. Could the Pokhara fragments as well as the sightings in Ladakh and Bhutan actually be alien craft falling to earth? The renewal in interest in space travel in large part due to Elon Musk’s SpaceX, UFOs and sightings are again subjects of public interest.&nbsp; Even 57 years later, even if there was definitive proof about whether the Batlechaur fragment was from a Chinese missile or a soviet rocket, it has not been made public in documents declassified so far. We may never know.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241207071216_b6938795f40731e7657fd6dcbb3cf460a326186a15eb11d4f832f602201ff598.jpg" data-media-id="editor_6" data-image-id="20241207071216_b6938795f40731e7657fd6dcbb3cf460a326186a15eb11d4f832f602201ff598" data-rendition-name="original" width="642" height="320" loading="lazy" alt="UFO over Pokhara"> </figure>  Sunil Ulak speculates if the debris actually came from an American aircraft, perhaps on an intel mission upon China. “Which could explain why they were so thorough in collecting the fragments in Pokhara,” he says. But that still does not explain the multiple sightings weeks apart in 1968.&nbsp; Indeed, US military aircraft were at that time flying frequent night-time missions from air force bases in India to supply weapons to Khampa guerrilla camps in Nepal located north of Pokhara in Mustang. It could very well be that the Chinese shot down one such aircraft. The other sightings could have been contrails of US spy planes, or Chinese anti-aircraft missiles.&nbsp; There were quite a few developments regarding UFOs in 2024. In a US congressional hearing in July, former intelligence officer David Grusch claimed that the government had long been involved in a program to investigate and retrieve non-human craft crashes, and then try to reverse engineer them. However Grusch did not show any evidence.&nbsp; The UAP Disclosure Act of 2024 was signed into law by Joe Biden in December 2023. It plans to oversee the public disclosure of UFO information. However, there is a clause in it that prevents disclosure if it would cause threats to military defense, intelligence operations or foreign relations.&nbsp; It is unlikely that the declassified documents about sightings in the Himalayan will cause any real surprise about definite evidence of alien life even if it was found. It seems humanity will continue, at least for now, to wonder about curious lights in the sky and whether there is anybody out there.&nbsp;

UFO over Pokhara

When Rastriya Swatantra Party (RSP) president Rabi Lamichhane was arrested in October on charges of defrauding depositors of cooperatives, the party’s vice president Swarnim Wagle gifted him Fareed Zakaria’s book, Age of Revolutions.
Since then, Lamichhane has been shunted around from Kathmandu to Pokhara to Chitwan and back to Pokhara to attend police investigations and court proceedings. He was being flown to Birganj via Kathmandu on Buddha Air on Monday. There is another pending case in Janakpur.
Human rights groups and civil society have criticised the government for hounding Lamichhane with inhumane treatment that borders on physical torture. The two parties in the coalition, Nepali Congress (NC) and the UML, see Lamichhane’s RSP as a potentially formidable challenge to their power.
Even if the fraud charges against Lamichhane are true, the Nepali public is increasingly looking at the government’s actions through the police and courts as political vendetta.
Despite all the travelling, sometimes by plane and often by road at night, Lamichhane appears to be in high spirits, waving to supporters who often gather if they know he is going to be driven around. A social media video shows him giving high fives to fellow passengers on a recent flight to Pokhara.&nbsp;
In the past weeks, streets in Pokhara have erupted with parallel protests by Lamichhane’s supporters as well as depositors of cooperatives who lost their savings to the scam.&nbsp;
Although family visits are allowed, prison officials in Pokhara told Nepali Times that not many people visit Lamichhane these days. He added, “When he does get visitors, he asks them to bring him books.”
Lamichhane is currently Nepal’s most high-profile public figure in custody, and highlights the stark difference between how influential prisoners are treated compared to ordinary inmates.
There are six prison cells at Kaski District Police Office’s two-story detention centre, three on each floor. And while authorities pack prisoners into already overcrowded cells, Lamichhane has an entire room on the second floor to himself.&nbsp;
He has also been allowed to call his family every few days. Other prisoners are not permitted phone calls except for emergencies.
Meanwhile, Lamichhane’s former business partner Chhabilal Joshi, an ex-Deputy Inspector General of Police with whom he established his Gorkha Media Network, is in custody under the same charges in the prison cell next to him.
Lamichhane is accused of siphoning off depositors' money to the tv network in which he was part-owner and anchor. &nbsp;
Both Lamichhane and Joshi are able to buy food from the police canteen instead of being served the regular meal like other prisoners. Joshi has also given his statement to authorities in Rupandehi and Kathmandu for his alleged role in the scam. Lamichhane is yet to be presented in Kathmandu for questioning.
While he was in custody at the Kathmandu District Police Complex, Joshi expressed his desire to sleep in a police officer’s office, reportedly assuring authorities that he would not run away and he was entitled to certain facilities as a former officer of the law.
“He seemed to be under the impression that he is still a police officer,” says a source at the Kathmandu District Police. “We made it clear to him that as someone accused of a crime, he was not entitled to special treatment.”
Former ministers Balkrishna Khand and Top Bahadur Rayamajhi, and ex-home secretary Tek Narayan Pandey, who were arrested in connection with the fake refugee scam last year, were similarly housed in the offices of law enforcement officials instead of prison cells. Khand has since been released after six months in jail.
While there is no legal provision to keep high-ranking officials in separate detention centres when they are arrested, authorities granting them special facilities is not uncommon. Law enforcement officials say VIP detainees expect preferential treatment while in police custody.
Among those is former Kosi Province minister Lila Ballav Adhikari, who was arrested from Biratnagar on 10 November over his alleged involvement in human trafficking and brought to Kathmandu. Adhikari had flown to Japan without government approval with three individuals on 29 October to attend a cultural conference, but had been sent back to Nepal from Narita.&nbsp;
His three companions were arrested at Kathmandu airport upon their arrival, but Adhikari was able to exit unscathed from the VIP lounge. Adhikari had resigned as the Kosi Province Minister for Internal Affairs and Law when it became public that his companions had been taken into custody, and was himself arrested shortly after. He has since been cleared by the courts.
Throughout his detention, Adhikari was kept separately from other inmates. Senior Superintendent of Police (SSP) Basant Rajouri, head of the Bhadrakali complex, says that while there is no separate detention area for VIPs, some detainees are kept separately depending on the nature of their crime.
However, sources say that arrangements were made for retired judges and others to visit Adhikari frequently worked at the office of a Deputy Superintendent of Police (DSP) during his time in custody.&nbsp;
“He used to constantly pester the authorities to let him sit outside in the sun, and to be able to use the police officer’s shower area,” added an officer.
Adhikari was released on 25 November after the government prosecutor’s office decided not to charge him in a move that was seen to expose the government’s double standards.
Over at Kathmandu’s Dilli Bazar Prison, former Kist Bank CEO Kamal Gyawali emerges from his prison cell into the courtyard of the prison’s ‘Ka (क)’ block every morning with a thick book in his hands, ready to give his daily sermon.
With his long beard, Gyawali, who is serving a prison sentence for banking fraud, looks the part of a religious guru as he implores his rapt listeners to “walk the right path, abandon bad thoughts and turn to scripture and spirituality”.&nbsp;
Afterward, the attendees gather to discuss politics and current affairs. Inmates at his daily sermons at the prison include other high-profile detainees, including former MP Ichchha Raj Tamang, who is in jail for money laundering and cooperatives fraud, former joint secretary Chudamani Sharma, who was convicted of corruption, as well as NC leader Chandra Bahadur Lama and Krishna Bahadur Upreti of the UML both of whom are on trial for embezzling billions of rupees.
Victims of the cooperatives scam that former lawmaker Tamang was involved in have made trips to the prison and requested visits, but he has refused to meet with any of them.
“Tamang often complains that the state has prevented him from returning the money to the victims by locking him up,” says a police officer at the Dili Bazar jail.
“All you hear every day from the VIP prisoners is that they have been framed,” adds the officer. “No one admits that they were involved in misdeeds.”
But while most high-profile prisoners complain about prison conditions, one exception is former provincial lawmaker Deepak Manange, who is serving a sentence at Dilli Bazar Jail for attempted murder.
“He is the happiest prisoner here,” says a warden. “Unlike the others, he doesn’t claim to have been framed, in fact he doesn’t seem to care that he is in prison.”
Manange is detained in the ‘Kha (ख)’ block of the prison complex, which he renovated at his own expense. The block previously housed female prisoners, but Manange used his influence to transfer them elsewhere. He faces no shortage of visitors, who range from political leaders to people from the underworld.
Along with Manange, other well-known prisoners in this block include Nepal Telecom Managing Director Sunil Poudel, and former executive director of the Surakshan Printing Centre Bikal Poudel, who are serving time for corruption.
Former prisoners at Dilli Bazar prison include ex-ministers Khum Bahadur Khadka and Shyam Sundar Gupta, NC leader Ganesh Lama, Maoist MP Balkrishna Dhungel, Nagarik Unmukti Party leader Resham Chaudhary, as well as former IGs Ramesh Chand Thakuri, Om Bikram Rana, and Hem Bahadur Gurung.
Section 54 of Nepal’s Prison Act assigns each prison’s internal administration the
responsibility of governing its prisoners, which means the more favourable the jail management is, the more comfortable it is for prisoners.
Dilli Bazar prison has been the prison of choice for many high-ranking prisoners, especially those convicted of white collar crimes, due to its more accommodating administrators. The prison, which has the capacity to house 700 inmates, is also less crowded than other jails.
Anuj Bhattarai, spokesperson of the Department of Prison Management, says that there is no legal classification in Nepal for felons to be assigned prisons based on the nature of their crimes.
“That Dilli Bazar Jail has a higher number of prisoners convicted of crimes like corruption is most likely a coincidence,” says Bhattarai. “There is no provision for influential people to be able to choose where they will be incarcerated.”&nbsp;
Translated by Shristi Karki from the Nepali original published in himalkhabar.com

What Nepal’s VIP prisoners do in jail

If you were raised in Nepal, you must have picked up its unique set of vocabulary: आन्दोलन, चक्का जाम, बन्द, राँके जुलुस, आफ्नो मान्छे, हाम्रो दल, कर्फु and many more words connoting political protest.
We became familiar with the acrid smell of burning tyres, and eyes smarting from tear gas. And yet, everyone speaks of another revolution in the making. Not by desire, but by suffocation.
We heard speeches about नयाँ नेपाल, but the New Nepal never arrived. The governance system changed, but it did not reflect on people’s lives — except for those close to centres of power. The state is still unreachable and is not bothered about <a href="https://nepalitimes.com/here-now/matter-of-life-and-debt">victims of loan sharks</a>, cooperative scams and other injustices.
Politicians continue to speak in sound bites, but fail to deliver. They have mastered the game of pointing fingers towards an external enemy and convincing people that they are never at fault. The political narrative is so disconnected from the actual analysis of the problem that suffocation doesn’t go away after every revolution.
No genuine effort has been made to deliver at all, which is why there is a palpable sense of disillusionment in the air forcing us to seek another revolution, even if Nepal may not be able to afford it.
How has the current system successfully held power, even if the public is deeply frustrated? How is it that for three decades we continue to be led by the same faces, who have time and again, proved to us that they may be great politicians but not national leaders?
<a href="https://nepalitimes.com/opinion/improving-internet-governance-in-nepal">My experience at the epicentre of politics</a> has led me to identify three cultures that have enabled political parties to keep a tight hold on power: acceptance, silence and dependency.
We accept things the way they are. We use fatalistic phrases like “नेपालमा यस्तै हो” or “नेपालको कानुन दैब जानुन”. While this resilience enables us to rise back up from devastating calamities, it is also a reason for our compliance with the status quo.
Despite so many ‘revolutions’ that have led to significant reforms, these phrases keep getting reinforced, to the point that the upcoming generations have made it their lingo.&nbsp;
This acceptance is not a symbol of law-abiding citizens, but citizens living in fear of those in power, unable to ask the whys and why-nots.
Innovation suffocates in this culture of acceptance of the status quo. This is manifested in remarks like “but we don’t have any laws for this,” or “we don’t have the capacity to implement this”. An innovator or entrepreneur therefore has to spend that energy to become a political lobbyist, often educating and convincing the bureaucracy.&nbsp;
Remember when locally assembled <a href="https://nepalitimes.com/banner/designed-and-made-in-nepal">Yatri motorbikes</a>, despite having willing customers, had to suffer to secure license numbers because of a lack of regulations? Instead of creating new laws, the government kept chanting the “We will promote Nepal-made goods” mantra, leaving entrepreneurs in a labyrinth of bureaucracy. The weight of acceptance of the law lies heavily on innovators. Fatalism is a tactic used by those in power to generate mass fear in society.
When we accept, we become silent. This is a pervasive phenomenon. We are trained to keep quiet, lest we ruffle feathers, burn bridges, or not get the help we need in future. We know, yet we don’t speak.
Read also: <a href="https://nepalitimes.com/here-now/bureaucratic-hurdles-in-researching-nepals-bureaucracy">Bureaucratic hurdles in researching Nepal's bureaucracy</a>, Daniel W Edwards
Here is one example: the 2021 census shows that the number of baby boys born for every 100 baby girls is 112. This is a clear indication of female foeticide because of boy preference in society.
Despite such horrifying realities, there is finger-pointing within the government between the Ministry of Health and Population with the Ministry of Home Affairs. At the citizen level, we know those who are involved in killing girls. Yet, we don’t speak up. The Nepal Medical Council reports state that despite this gender imbalance at birth, there is no indication of any action.
But why would anyone speak against one's own fraternity, no matter how vile the act is?
When we accept and keep quiet, we become dependent on those who yield power. From getting our government procedure completed on time to getting transfers, to accessing any of our legally protected rights as well, we are forced to depend on our networks of चिनेको मान्छे people we know by blood, village, relations, political affiliation.
The culture of dependency has been the established way in Nepal. If you drive a two-wheeler or four-wheeler, and you get into a small accident, you will be asked to sort it yourself, dialing up the most powerful person you know. It becomes a competition of who knows who.
Recently I was told that there were calls from the Ministry of Health and Population and another from the Prime Minister's Office for just one medical position in a private hospital. Each was pushing its own candidate. Guess which candidate got the position.&nbsp;
The dependency of people is not on the laws or the state, it is with people in power, a reliance on the network of somebody who knows somebody, including those not officially in power.
These cultures are deeply ingrained in our heads, and in society. Collectively they form a vicious circle that helps those in power to retain power. This is not the society we want to live in.
Then, what do we do as a collective to break away from this? How do we break away from the cultures of acceptance and silence that have created this dependency? What can we do to ensure that our children do not have to learn the jargon of आन्दोलन before they learn about the state?
These are the cultures political parties need to shed rather than use them to perpetuate their power. This is what <a href="https://nepalitimes.com/opinion/comment/an-alternative-to-alternative-politics-in-nepal">alternative politics</a> needs to be about.
Sumana Shrestha is a member of Parliament’s Education, Health and Information Technology parliamentary committee and represents the Rastriya Swatantara Party.

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