Nepal has already received the monthly average of precipitation for August in the first two weeks of the month. This year’s monsoon has so far killed nearly 200 people in landslides and floods across the country. On 16 August, a flash debris flow from a suspected glacial collapse <a href="https://nepalitimes.com/here-now/lives-on-the-line-in-the-himalaya">damaged half the village of Thame</a> in the Everest region. All this comes after a full scale national emergency due to record-breaking wildfires in March and April that ravaged the country’s forests. Climate breakdown was partly the culprit in most of these calamities. The impacts of climate change are increasing, both in frequency and magnitude, outpacing slow progress in mitigating its causes, and in building resilience. The conversation around <a href="https://nepalitimes.com/opinion/guest-editorial/act-now-on-climate">loss and damage due to the climate crisis</a> is becoming ever so important for vulnerable countries like Nepal. However, despite COP28 in Dubai last year seeing a historic agreement on a ‘Loss and Damage Fund’, the idea that climate-induced destruction can in practice be compensated still seems far-fetched.&nbsp; The Fund is still in its early stages and few details are known as its operational elements are being worked on. The World Bank is the interim host of the fund for four years, and as of March $661 million had been pledged. This is negligible compared to what is required, with calculations by the Loss &amp; Damage Collaboration estimating a need for $671bn annually by 2030.&nbsp; It is important that the foundation to operationalise the fund be laid soon with stable funding sources. A resource allocation system with guidance on eligibility needs to be devised, and questions on who, how and for what countries can access funds remains crucial. Within the ‘for what’ conversation, climate-induced loss and damage can have both economic losses such as the loss of infrastructure (which are easy to quantify) and non-economic losses such as loss of biodiversity and cultural heritage (which are difficult to quantify). One must also note that tangible economic assets such as buildings, monuments, archaeological sites can also hold intangible values.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240823120852_923a048b026a9e18e5415056697f38b76528f8358a58fffb6c3bb190cb003192.jpg" data-media-id="editor_2" data-image-id="20240823120852_923a048b026a9e18e5415056697f38b76528f8358a58fffb6c3bb190cb003192" data-rendition-name="original" width="600" height="900" loading="lazy" alt="GLOFs Limi Valley"> <figcaption>Glacial lake outburst flood in Halji of Humla's Limi Valley in 2011 destroyed a monastery.</figcaption> </figure>  After the Thame flood this week, the little coverage the incident has received still focuses on the economic losses and possible fatalities. These are important, but what about non-economic loss of the rich history and heritage of the village that lies on the ancient Khumbu-Tibet trade route across the Nangpa La? Artefacts passed on from generations in families carry indigenous knowledge and wisdom, the memories and spirituality associated with infrastructure have formed the lived experiences of the Sherpa people. These aspects are as important as economic ones, especially because they are rooted in the core ideas and norms that shape our communities and inspire collective aspiration to achieve climate justice. The importance of incorporating cultural and societal aspects when we talk about the non-economic impacts of climate loss and damage is uncontested. However, despite the recognition of the significance of non-economic losses, they have been under-represented in climate negotiations as well as in climate research. How do we quantify these losses and compensate for them? It is true that doing so is not straightforward, but it is a false premise that such losses cannot be quantified. Rather, we must first admit that we have not come up with and agreed on ways to put an economic value to them.&nbsp; Environmental economists have for long devised models and frameworks to put a price on environmental goods such as clean air, water and access to nature. And yet, the global community is far from putting a right price on nature and quantifying nature loss as an economic loss.&nbsp; It is naïve to think we cannot put a price on culture and heritage. There has always been a market for expensive arts and artefacts, and there is enough precedence on pricing non-tangible assets. In an abstract sense, putting a price on any asset is derived from its utility. It is important to build on existing knowledge as well as ideate innovative ways to price non-tangible cultural and heritage loss, and incorporate that in the Loss and Damage Fund. This should be a key agenda item both for its secretariat as well as global climate negotiators, researchers, grassroot organisations, and development partners. The question and challenge, however, is not just to incorporate these things in the Loss and Damage fund. The premise of loss and damage rests on the fact that something has already been lost. After all, flow of finance cannot be the substitute for loss of culture and heritage.&nbsp; The important question is what can we do to prevent such loss, and preserve culture and heritage from the climate crisis before they are lost? This requires integration of culture and heritage components in the design of climate mitigation and adaptation projects and policies. Working with indigenous communities, religious leaders and faith groups, and civil society will be critical in achieving this.&nbsp; In a recent trip to Lahore, I was told that it is almost impossible to elicit behavioural change to climate action in certain areas of Pakistan without working closely with the imams and mosques. Religion plays an important aspect in many of the world’s climate vulnerable communities, and needs to be incorporated in climate action. Needless to say, measuring the climate impact on culture and heritage must go beyond climate loss and damage and be an integral component of any climate intervention. This should also be a priority for Nepal whose culture, history and tradition is closely linked to the lived environment and nature. Forests with cultural significance to local communities, shrines and important pilgrimage are located along the confluence of holy rivers, and the Himalaya holds profound cultural and religious significance to Hinduism, Buddhism, Bon and other faiths. We must act now to ensure that we preserve and are compensated for climate loss and damage of not just physical infrastructure but also the intangible heritage that is often left out of broader financial calculations. &nbsp; Rastra Raj Bhandari is a co-founder and fellow at the Himalayan Water Project, where he leads the research on climate finance opportunities for the Himalaya. He contributes regularly to Nepali Times on climate change.&nbsp;

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Measuring climate impact on culture and heritage

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022120710128/639058b09c7e80680e0ce1b5jpeg.jpg" alt="" width="1000" height="667"/><figcaption>Patan Darbar Square. Photo: NEPALI TIMES ARCHIVE</figcaption></figure>As Nepal gears up for the <a href="https://www.nepalitimes.com/banner/caste-vote/" target="_blank" rel="noopener noreferrer">general election on 20 November</a>, it is that time again to put our best bet on the same veteran patriarchs. The last time I wrote a piece of breaking news as a journalist in 2020, I remember how then-Prime Minister K P Oli pulled the best gambit ever, announcing a nationwide election in November amidst the Covid pandemic.If only it were as easy to restart one's life like prime ministers announce elections at the drop of a hat. And while the country's finance, foreign affairs, defence, federal affairs, water supply, and so on are mentioned in every election rally, culture and heritage does not deserve that distinction.And while 'culture' has been part of the Nepali vernacular for decades, 'heritage' is just beginning to creep into the leaders' lexicon. Hopefully, after these elections, culture and heritage will find their own meaning and importance in government policy. For now, they are lost in transition, appended to the Ministry of Civil Aviation and Tourism.In fact the 'culture' baton has been shunted from one ministry to another for 40 years. No one quite seems to know what to do with culture. The term ‘culture’ was first used by the Council of Ministers in correlation with the Ministry of Education in 1981. The irony is that before culture was included in the ministry, the Department of Archaeology (DoA), the country's primary organisation for archaeological research and protection of cultural heritage, was established in 1952 and was administered by the Ministry of Education for 28 years.Since then, 'culture' has been shunted around in the Ministry of Youth Sports and Culture; the Ministry of Culture, Tourism and Civil Aviation; the Ministry of Culture and State Rebuilding; the Ministry of Federal Affairs, Constituent Assembly, Parliamentary Affairs and Culture; and finally the Ministry of Culture, Civil Aviation and Tourism again since 2011.The Ministry of Culture, Civil Aviation and Tourism has had six ministers since 2020: Yogesh Bhattarai, Bhanu Bhakta Dhakal, Uma Shankar Arajriya, Lila Nath Shrestha, Prem Ale, and Jeevan Ram Shrestha.These ministers are known for their one-of-a-kind personalities: from Prem Ale's video scandal, to Ale exposing Yogesh Bhattarai for alleged land extortion in Narayanhiti, while Uma Shankar Arajriya and Lila Nath Shrestha may have broken the Guinness World Record by now for the shortest tenure as Ministers of Culture.Jeevan Ram Shrestha also had a leading role in the September 2022 episode at the VFS Global Visa Application Centre in Thamel when a security guard was arrested for requesting him to stand in the queue like everyone else for his Canadian visa biometric.And, while Bhanu Bhakta Dhakal was not the Culture Minister at the time, he was caught picking his nose as Health Minister on national television, before he was assigned to the Ministry of Unculture.Culture is now the step-sibling of the Ministry of Civil Aviation and Tourism. As is customary, the cream of the crop gets divided among the veteran leaders and parties, while Culture is relegated to the backburner. Let's take the annual budget as an example.Read Also: <a href="https://www.nepalitimes.com/banner/the-history-of-heritage/" target="_blank" rel="noopener noreferrer">The history of heritage</a>, Ashish Dhakal<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022120710128/639058b29c7e80680e0ce1b6jpeg.jpg" alt="" width="4000" height="2707"><figcaption> </figcaption></figure>Minister Sharma notified in a speech on 29 June that a Mountaineering Research Centre and a museum reflecting the adventurous identity of Sherpas will be established in the Everest region, and the Himalayan Monastery Conservation Program will be implemented for the protection of Himalayan monasteries older than 500 years.In addition, a Newa Museum will be established with Kathmandu Metropolitan City, and assistance will be provided for the implementation of the Master Plan for Indigenous Gurung Culture Preservation in Pokhara.However, ministers in the past have repeatedly failed to set aside budgets for training and recruitment for heritage preservation and culture. Along with agriculture and tourism, culture  should also receive government subsidies and assistance. But, tourism and civil aviation always end up taking a larger chunk, leaving the scraps for culture.If Nepal Tourism Board (NTB) has the budget to promote Janakpur's tourism, it might as well provide more resources to the promotion of the city's culture and heritage. In addition to the Janaki Temple and being the birthplace of Sita, Janakpur also houses a vibrant Mithila culture, art and cuisine. Tourists are drawn to culture, not the other way around. Tourism, Civil Aviation and Culture are all intertwined, but without culture, there is no tourism. Without tourism, what happens to civil aviation?We live in a country where the youth is deprived of Nepal's history. For instance, there is no knowledge of the original copies of the Sugauli Treaty. Who is accountable for its loss? What is the state of the country's archives? Instead of spending money on the disastrous Yetis of Visit Nepal 2020, give resources and budget to passionate lone <a href="https://www.nepalitimes.com/here-now/adventures-of-a-lone-archivist/" target="_blank" rel="noopener noreferrer">archivists like Santosh Khaderi</a>, who works day-in and night in Qatar searching for Nepal's history online through newspaper clippings and museum archives abroad.The state of our national and state museums is not much better, and the DoA with limited resources and employees is expected to manage such large institutions. The chief of the National Museum Jayaram Shrestha remarks that he has tried his best to make the Museum relevant to the nation, but, given the limited budget, their hands are tied as they are not autonomous like the Patan and Narayanhiti museums and have to seek permission from the DoA for every single detail.Speaking of Narayanhiti, there is not a piece of land untouched by controversy and the cronies of the country.Only during the 2015 earthquake did culture and heritage generate a stir. Now, almost eight years later, we're back to square one. The National Library of Nepal, Kaiser Mahal, Singha Durbar, Sanskrit University, and many other projects remain unfinished. The disasters of <a href="https://www.nepalitimes.com/banner/our-kamal-pokhari/" target="_blank" rel="noopener noreferrer">Kamal Pokhari</a>, Rani Pokhari and <a href="https://www.nepalitimes.com/banner/tri-chandras-run-down-state-is-a-microcosm-of-nepal/" target="_blank" rel="noopener noreferrer">Tri-Chandra College</a> are clear examples of how the metropolitan city offices, Department of Archaeology, and Ministry of Culture have failed to respect culture.Aside from simply rebuilding or adding wooden bars to support the walls, the government has consistently failed to preserve heritage, which includes the history, the artefacts, wall details, arts, statues, books, relics, furniture, pictures, and the legacy of the place, all on top of its structure.Moreover, the public wants to know what books, what paintings, what artefacts remain within Singha Durbar and Kaiser Mahal. But there is scant record keeping for the future generation to get a glimpse of what Nepal once looked like.Read Also: <a href="https://www.nepalitimes.com/banner/restoring-a-piece-of-nepals-history/" target="_blank" rel="noopener noreferrer">Restoring a piece of Nepal's history,</a> Sahina ShresthaInterestingly, Nepal Tourism Board website also boasts of various intangible heritage of our country, but when one browses through UNESCO's list of intangible heritage of Nepal, the list is empty. If Nepal is to promote intangible heritage as a mode of tourism, it must also take a step back and preserve it from a cultural standpoint.It is true that often it rests on the community's shoulders to keep their practices, rituals and heritage from going extinct, but without support and incentive from the government, without the necessary research, the meaning behind the rich dances, jatra may soon be lost to time.There is also a National Language Commission, and many of Nepal’s languages are on the verge of extinction. But what is truly missing? Budget and human resources.In 2021, there was fake news that the Nepal government did not have the budget to <a href="https://www.nepalitimes.com/banner/laxmi-narayan-is-home/" target="_blank" rel="noopener noreferrer">repatriate a stolen Laxmi-Narayan figure from the US</a>. The government panicked because it had never dealt with repatriation with so much media interest before.Currently, the DoA is nearly exhausted due to the rapid homecoming of stolen devi-devta, many of which are in transit, as the Chhauni Museum prepares to return them to their communities. Despite this, the Ministry of Civil Aviation, Tourism and Culture and the rest of the government continue to only demonstrate "a keen positive interest", as shopping malls, swimming pools and apartment buildings continue to rise on public space, towering over the red roofs and golden spires of our heritage.Citizens and communities can take ownership, but if the elected candidates do not represent us or assist us in preserving these heritages, there will no longer be the temples or the palaces that have been the emblem of our cultural and historical legacy for centuries. Even Mt Everest is now listed as ‘endangered heritage’ by UNESCO, owing to the climate crises and garbage buildup. Everyone requires resources to keep up with the expanding economy, but if Nepal does not act now, we will have nothing left to teach the next generation.It is past time to detach Culture from Tourism and Civil Aviation. Culture and Heritage, when combined, can provide a platform for opportunities that have previously been unexplored. The sector that has borne most of the brunt of development and urbanisation has been culture. It is time to move beyond words and into deeds.Alisha Sijapati is a former Nepali Times Culture Correspondent, and is currently pursuing a masters in Cultural Heritage Studies at the Central European University in Vienna.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022120710128/639058b69c7e80680e0ce1b7jpeg.jpg" alt="" width="88" height="110">

Culture cannot be an afterthought

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111412118/637221b09c7e80680e0c02ccjpeg.jpg" alt="" width="1682" height="1158"/><figcaption>Photos: LITTLEBIG</figcaption></figure>A painting of Mt Everest could have only been unveiled on Everest Day 29 May at the iconic <a href="https://www.nepalitimes.com/banner/a-himalayan-high/" target="_blank" rel="noopener noreferrer">Hotel Everest View</a> in Syangboche.The triptych by British visual artist Sacha Jafri shows the panorama of a discoloured mountain range, the black of the rocks seeping into the fluid snow, against a sky progressively deeper the higher it goes.Below are reddish-brown hills gathered for a conference of sorts, their heads ever so slightly bent as if they are listening and thinking. At the centre lies a pool of water so blue it seems to be collecting the whole sky above.The painting appears as an almost abstract expression of the mountain rather than its reflection. It is Jafri's subconscious journey to the Himalaya, and there can be found immediately something childlike, innocence without pretense - a theme recurrent in his other artworks as well.The Everest painting is one of 50 Jafri is creating for <a href="https://www.theartmaze.com/" target="_blank" rel="noopener noreferrer">the Art Maze project</a> in partnership with UNESCO, and commemorates the 50th anniversary of the UNESCO <a href="https://whc.unesco.org/en/convention/">Convention concerning the Protection of the World's Cultural and Natural Heritage</a> signed on 16 November 1972. The Convention then came into force on 17 December three years later.“This comes at a time in the world, with <a href="https://www.nepalitimes.com/banner/here-today-gone-tomorrow/" target="_blank" rel="noopener noreferrer">climate change</a>, the pandemic, the geopolitical flux, to reflect on the next 50 years and ask ourselves what we truly value as individual, societies and countries, and what should be passed down to the future generations,” says UNESCO Representative to Nepal Michael Croft.As such, the UNESCO’s <a href="https://whc.unesco.org/en/next50/">The Next 50 campaign</a> forms the foundation for the Art Maze, and 34 of the paintings of World Heritage Sites, including the Acropolis in Greece, Angkor Wat in Cambodia, the Hyrcanian Forests in Iran, the Saint-Sophia Cathedral in Kyiv, the Pyramids of Egypt, and <a href="https://www.nepalitimes.com/here-now/telling-the-story-of-buddhas-lumbini/" target="_blank" rel="noopener noreferrer">Lumbini in Nepal</a> have been completed.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111412118/637221b39c7e80680e0c02cdjpeg.jpg" alt="" width="1313" height="1969"><figcaption> </figcaption></figure>The paintings are characterised by their unique assortment of colours, which is reminiscent of lively crayons from childhood. Textbook realism has no place in these canvases, as the paintings are stripped to their essence.“We over analyse, become pompous and over-intellectualise art,” Jafri explains. “But all art, at the end of the day, is rubbish and superb.”This apparent contradiction finds reconciliation in the artist’s intent with which they create. “And I think if you focus on your intentions, then everything you create will be perfect,” Jafri adds.There is a sublime simplicity to Jafri’s method and work, enabling viewers to be more conscious in their world, their lives, and be open to love and compassion.The Art Maze curated by Marcus Schaefer is a 12x12m steel labyrinth gallery with Jafri’s paintings, giving visitors the opportunity to choose which path to take and create an experience where “the journey is the destination”.For over 25 years, Jafri’s work has been about reconnecting with the soul of the earth. His Journey of Humanity (2020) is dubbed the world’s largest and took him a year to create during the pandemic.That is the process of being an artist, Jafri believes – a journey where things continue to evolve, and one eventually creates something. “It is not about the moment of creation,” he adds. “It is the journey that has allowed it.”Journey of Humanity is a striking play of bold, vibrant colours, incorporating artworks by children from 140 countries, and spread over 1,700 square metres – roughly the size of two football pitches – and it’s aim as profound as its span: to raise around $11 million – it ended up raising $62 million – to help children across the world in need of education, health care and digital connectivity.The idea behind the painting was re-connectivity, which then expanded into the Art Maze. When Schaefer approached him with the concept, Jafri found it resonated with his own. Jafri then thought perhaps the project would be even more poignant if it was about the World Heritage Sites.The Maze was then launched on 23 March at the Burj Al Arab Jumeirah Helipad in Dubai with 30 works, and will be travelling around the world with plans for a Nepal stopover next year.“I thought if I represent these World Heritage sites in an art maze we could reconnect humanity to our natural and cultural heritage, to our ancestral past, to the custodians of our cultures, and we could start communicating again on a deeper level,” Jafri says.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111412118/637221b79c7e80680e0c02cejpeg.jpg" alt="" width="1979" height="763"><figcaption> </figcaption></figure>The Maze and the Next 50 campaign also come at a time when Nepal is changing rapidly, trying to balance development with nature. Everest itself continues to be affected by the climate crisis and mass mountaineering.At the unveiling, Bishnu Rokaya of the Sagarmatha National Park said: “While Mt Everest and the park are already well-known, the painting will help us reach even more people, share our stories, and promote tourism and conservation efforts.”According to <a href="https://www.nepalitimes.com/latest/leverage-lumbinis-soft-power/" target="_blank" rel="noopener noreferrer">Michael Croft</a>, the campaign and Art Maze represent a strategic exercise to work with youths and Indigenous communities, not just in Nepal but around the world, to have discussions on sustainable living, successfully adapting to climate change, and hopefully push back against environmental degradation.“Nepal is an intensely diverse country and people with different identities and languages and experiences are able to identify themselves as Nepali, and that gives hope. If all this can exist and work, it is a positive story for the world,” remarks Croft.Raza Beig, executive advisor to ArtFi Chairman of BoredPuma has bought the Everest painting and plans to house its three panels in a museum and share it with the world. The profits from the sale of Jafri’s paintings will help communities living in the Heritage Sites they represent.His son Aly wrote to Nepali Times: “We feel Mt Everest and Sagarmatha National Park to be one of the most spiritual places on our planet, and now we get to look at it every day and share it with the world.”

Ashish Dhakal

Everest's natural heritage on canvas

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111144/63721c779c7e80680e0bd493jpeg.jpg" alt="" width="4096" height="2731"/><figcaption>Photos: AMIT MACHAMASI.</figcaption></figure>Prem Lal Shilpakar of in Bhaktapur was eleven when he first worked on the chariot for the ancient <a href="https://www.nepalitimes.com/banner/the-tug-of-tradition/">Biska Jatra</a>. The chariot, which is one of the main attractions of the festival worshipping the <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/the-boy-gods-of-kathmandu,4158">gods Bhairav</a> and Bhadrakali, is an engineering marvel.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111144/63721c7b9c7e80680e0bd494jpeg.jpg" alt="" width="960" height="720"><figcaption>Prem Lal Shilpakar. Photo: HIMAL KHABAR.</figcaption></figure>The <a href="http://archive.nepalitimes.com/news.php?id=9445#.YlOL8tNBxH0">three-storey pagoda style chariot</a> stands 10m tall, and is supported by four wooden wheels 2.5m in diameter, all fastened together without any nails or metal hooks.“I used to come with my father and grandfather every day and help,” recalls Shilpakar who has been involved in the construction of the chariot for over 50 years.Bisket Jatra begins every year in the month of Chaitra. The first day of the jatra, known as Dhwo kwabijyaigu or ‘the god carried downwards’, this year was on 10 April, and saw <a href="https://www.nepalitimes.com/banner/biska-celebrations-begin-in-bhaktapur/">throngs of devotees</a> gather in Bhaktapur to join in the festivities.Read also: <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/makers-of-machhindranath,2204">Makers of Machhindranath</a>, Cynthia CooTaking place over nine days and attended by devotees from the three cities of the Valley, the celebrations start four days before 1 Baisakh, which is Nepali New Year, and end four days after, with the chariot, Bhailakha, being pulled by locals in front of the <a href="https://www.nepalitimes.com/banner/a-new-nyatapola/">Nyatapola Temple</a> on both days.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111144/63721c7f9c7e80680e0bd495jpeg.jpg" alt="" width="4096" height="2731"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111144/63721c839c7e80680e0bd496jpeg.jpg" alt="" width="4096" height="2731"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111144/63721c879c7e80680e0bd497jpeg.jpg" alt="" width="2250" height="1892">Shilpakar has been in charge of the construction of the Bhailakha for the past couple of years, which begins two months before the jatra and involves all castes, with Shilpakars building the structures, Chitrakars adding colour and paints, Nakarmis installing the roof, and Manandhars tying the ropes of the chariot.This year six artisans over the age of 40 built the Bhailakha. One of them was the 75-year-old Lal Bahadur Tamakhu, who is a farmer for ten months in a year and spends the remaining two building the chariot.“It is God's work,” he says. “Doing it gives me great pleasure and enjoyment, and we also get to make some money.”Prem Lal Shilpakar used to be paid 60 paisa a day when he started working on the chariot. Last year workers were paid Rs1,500 a day. But chariot-making is no walk in the park.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111144/63721c8a9c7e80680e0bd498jpeg.jpg" alt="" width="960" height="720"><figcaption>Lal Bahadur Tamakhu. Photo: HIMAL KHABAR.</figcaption></figure>“Since the chariot is <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/makers-of-machhindranath,2204">built with wood</a> which was already part of the construction in previous years, it is difficult to find people with the right experience,” he says. There is much care and attention involved, Shilpakar adds, as new wood is only used to replace decayed or damaged pieces. The current Bhailakha has timber that is more than 65 years old in its structure.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111144/63721c8d9c7e80680e0bd499jpeg.jpg" alt="" width="960" height="720"><figcaption></figcaption></figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111144/63721c909c7e80680e0bd49ajpeg.jpg" alt="" width="960" height="720">Lal Bahadur Tamakhu shows the ropes for the Bhailakha. Photo: HIMAL KHABAR.But an increasing number of <a href="https://www.nepalitimes.com/banner/who-looted-nepals-gods/">younger people are moving away</a> from this ancestral craft. At present, few artisans are as experienced as Prem Lal Shilpakar in the construction, but his own sons do not share his passion or enthusiasm.“I worry what will happen when I cannot work anymore,” he laments. “If the younger generation does not step up, this craft, this knowledge will disappear with me.”<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111144/63721c939c7e80680e0bd49bjpeg.jpg" alt="" width="4096" height="2731"><figcaption></figcaption></figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114111144/63721c979c7e80680e0bd49cjpeg.jpg" alt="" width="4096" height="2731">Many local traditions and heritage in Kathmandu now risk facing the same fate with the <a href="https://www.nepalitimes.com/banner/no-country-for-young-men/">younger generation moving overseas</a> for studies and work. But Aash Bahadur Lakhey Ghising Deu, who joined the Bhailakha artisans three years ago, is rather hopeful and says it is up to the people to keep them thriving.He adds: “It is a tradition <a href="http://archive.nepalitimes.com/news.php?id=15607#.YlON8tNBxH0">passed down through generations</a>. If we don’t do it, who will?”Translated from the <a href="https://www.himalkhabar.com/news/129169">Himal Khabar original</a> by Aria Parasai.Read more: <a href="http://archive.nepalitimes.com/news.php?id=18013#.YlOKbdNBxH0">Whose heritage is it  anyway?</a> Marit Bakke

The tug of tradition

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114101136/63720c889c7e80680e0b7875jpeg.jpg" alt="" width="1053" height="1012"/><figcaption>Photo: PRATIBHA TULADHAR</figcaption></figure>On nights when things got unbearable, Laxmi Maya always stepped out of the house in the quiet of the night. There was nowhere to go, really, but the <a href="http://archive.nepalitimes.com/news.php?id=7121#.YiRUsy8w3u0" target="_blank" rel="noopener noreferrer">gully</a>. The gully or galli, as she said it, was the long tunnel that went from under the house on the main street into a courtyard where one of the four houses flanking the square, brick-paved space, was hers. Her husband’s family’s rather.The bickering over the house had gone on for so long. Every few weeks, government officials showed up at her threshold, and asked her innumerable questions. Where was the infamous husband? “I don’t know,” was Laxmi Maya’s consistent answer.As time went by, she had learned to say those words without at all batting an eyelid. And as she said it on repeat, the words became more believable to the government officials, as they did to her. She had started to believe she had no idea about his whereabouts.In her mind, Calcutta was a distant country of which she did not know anything. She did not know what its streets or nooks looked like or how the tram she had heard about operated. And so knowing that her husband was in Calcutta was tantamount to not knowing where he was. So, her statement was not entirely false.Read also: <a href="https://www.nepalitimes.com/opinion/coping-with-the-patriarchy/">Coping with patriarchy</a>, Bhumi GhimiréThe government officials always appeared in a pair. Laxmi Maya would hurry upstairs to her baiga after asking them to sit down on the wicker mats and quickly poach two eggs and pour a dash of aeila into little copper kholas and present them before the men.“So you do not know where your husband is?” one of them would ask between taking a sip.“I don’t,” she would say quietly.“We are only letting you live in this house because you have three small children. By law, he is banished and so everything he owns is now government property, we hope you know.”“I know, Sarkar. But this house was given to me in dowry by my father,” Laxmi Maya would lie again. It had become a drill.Promptly, the officers would leave after polishing off their snack, setting in motion for Laxmi Maya, the wait for another such visit.Did she miss the husband? She could not say. His presence had been punctuated by his time spent with the dancers, or neighbourhood events from where he always came away as the feared. What was there to miss of such a man, besides moments of imagined intimacy when his limbs were hers to hold? She wondered, had she been a dancer, would it also have kept him from straying? Yes, they said he had strayed.Read also: <a style="font-size: 15px; letter-spacing: 0.01em;" href="https://www.nepalitimes.com/opinion/nepals-unequal-marriages/" target="_blank" rel="noopener noreferrer">Nepal's unequal marriages</a>, Anjana RajbhandaryBut the women in her clan did not dance. They had not been taught to. Dancing, they said, was for women who were “loose”. They had taught her to speak softly, tread softer and to hold her tongue and restrict her movements to grace. That was who she was-- all those things they said she should be.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114101136/63720c8a9c7e80680e0b7876jpeg.jpg" alt="" width="126" height="150">Standing in the darkness of the galli, Laxmi Maya often felt streams of hot tears soak her face. She had never learned to cry before others, so the quiet of the night was a good time. On one such night, she had seen rows of carriages go by, carrying large boxes. They were followed by rumours that the Ranas were getting their belongings removed to India because some kind of revolution was afoot to throw them off. They said that was why the king had left for India.Tonight, though, there was no such activity. It was quiet. As Laxmi Maya stood there, tears finding their way down her jaw, she thought she saw a light flicker near the Naradevi temple. It was followed by the clanking of a door and then of ghangala, the bunch of bells worn by the goddess. Wafting in with the sound was the goddess herself, stepping out of her temple, draped in a long red frock, a <a href="https://www.nepalitimes.com/banner/getting-behind-the-divine-mask/" target="_blank" rel="noopener noreferrer">mask</a> on her face. As the deity started doing the familiar dance, lilting her hands in the air, feet shuffling, Laxmi Maya froze, but her tears ran down in thick rivulets. She stared in awe and trembled.…“The wedding was fun?”“The ratyauli was fun.”“The what?”“Yes. Ratyauli. I had heard about it but never seen one before,” says Mamu.I ask her to explain, but she says she cannot because it would embarrass us both. She will not divulge any detail, but tells me how she felt a tinge of envy that <a href="https://www.nepalitimes.com/banner/parodying-patriarchy-at-tij/" target="_blank" rel="noopener noreferrer">women had the liberty</a> to engage in that kind of lewd talk without being judged while singing and dancing and acting.Read also: <a style="font-weight: bold; letter-spacing: 0.01em;" href="https://www.nepalitimes.com/opinion/boys-will-be-boys-is-never-an-excuse/" target="_blank" rel="noopener noreferrer">Boys will be boys is never an excuse</a>, Anjana Rajbhandary“How come women in our community don’t dance?” I ask.“We have the gods and the goddess, the masked dancers,” she says.“But they are all men wearing masks,” I remind her. Then Mamu goes on to explain how apart from the Jyapu community, women from other clans had never been given that kind of freedom.“Don’t you think that is so unfair? Taking the right from you to revel, to be in tune with your own body. When else do you explore the joy of being in your body as you do with dancing? It is so much to take away from a woman.”“I don’t know, I never thought about it. My movements don’t sync and so I don’t dance.”Mamu often sits in a corner watching others dance. When asked to dance, she will sometimes try, but her footwork never matches her hand gestures or the music: “I guess, I just watch people dance.”Read also: <a href="https://www.nepalitimes.com/editorial/patriarchy-in-an-oligarchy/">Patriarchy in an oligarchy</a>, Editorial…Dance! My senior, who is having a “ragging” session with me, orders. Do the twist, she says, and sings a Rafi number. What is a twist, I wonder. She says, if you do not obey your seniors, you measure the entire campus with a one rupee coin. In my heart, I wished I could just dance and get over it. But I can’t. Like Mamu, my feet are wooden, too. I just stand there, my face burning in shame and fury.Here, she says. Take this coin and now go measure the entire place with it.As I bend down at her feet and place the coin on the ground, I wish I could have told her I cannot dance because women in my community <a href="https://www.nepalitimes.com/opinion/letter-to-a-nepali-aunty/" target="_blank" rel="noopener noreferrer">are not expected to dance</a>. But saying that, would also require a dance-- of the tongue. So, I bend down and start flipping the coin inch by inch across the campus.Read also: <a href="https://www.nepalitimes.com/opinion/anger-management-for-nepali-women/" target="_blank" rel="noopener noreferrer">Feel angry? read this</a>, Anjana RajbhandarySuburban Tales is a monthly column in Nepali Times based on real people (with some names changed) in Pratibha’s life.

Pratibha Tuladhar

The light of feet

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111410110/637203c69c7e80680e0b2826jpeg.jpg" alt="" width="640" height="960"/><figcaption>Photo: JESSICA DA ROSA/UNSPLASH</figcaption></figure>I was having lunch with some acquaintances, and one of them said, "I hate that I look so young, people think I am still in high school."I thought she was my age, and I am 38. I am not trying to be mean, but I know what children look like, and she did not look like one. She asked me if I had ever experienced being mistaken for a high schooler, I said no, not for the last two decades.This is humble bragging, the unfortunate art of fake modesty -- boasting about something, but pretending to be annoyed by it or turning it into a complaint. In essence, bragging with a sense of false humility.Read also: <a href="https://www.nepalitimes.com/opinion/too-fat-or-too-thin-but-never-quite-right/" target="_blank" rel="noopener noreferrer">Too fat or too thin, but never quite right</a>, Anjana RajbhandaryPeople who slyly toot their own trumpet while pretending not to think they are coming across as being genuine and down-to-earth when it is mostly the opposite. And it is clear to their audience that they are shamelessly self-promoting.A friend in Nepal told me how unhappy she was about her husband, who was having an affair with someone we all knew. A couple of days later, she went online and posted, ‘My husband surprised me with diamond earrings for no reason #blessed #lucky.’ My initial reaction was confusion, followed by shock.She explained that I would never understand why she did what she did since I did not live in Nepal. From her point of view, it was essential to brag about those earrings because of the society she lived in.Read also: <a href="https://www.nepalitimes.com/opinion/coping-with-covid-fomo/" target="_blank" rel="noopener noreferrer">Coping with Covid FOMO</a>, Anjana RajbhandaryThat is sad. But it is common on social media. Sometimes bragging is a way to make ourselves appear happier than we really are, and it happens often on social media posts.We all have had a friend or a relative complain, "I am so tired of my boss only giving me the most important assignments when there are so many other people." Or an acquaintance that has complained, "I hate that I lost so much weight because now, I cannot fit in any of my clothes."A fitting example of humble bragging online can be when people say how #grateful and #blessed they are to have a wonderful family, job, or experience in their lives. ‘I am so #blessed to have the best husband in the world’. To which I feel like asking how could you know? You have only had one husband so far.Humble bragging is typical because people want to show off their achievements without sounding pompous. The only way to do it subtly is by making it come across as a complaint, but it is usually straightforward to the listening ears.Ovul Sezer, an assistant professor of organisational behavior at the Kenan-Flagler Business School, says, "You think, as the humble bragger, that it's the best of both worlds, but what we show is that sincerity is actually the key ingredient."Read also: <a href="https://www.nepalitimes.com/opinion/childless-by-choice/" target="_blank" rel="noopener noreferrer">Childless by choice</a>, Anjana RajbhandaryWhen you are humble bragging, there is nothing sincere about it. It is a lie combined with a lack of insincerity.Humble bragging is a twisted way of getting people to like you for your competence without them disliking you for revealing those traits yourself. A lot of effort goes into this, it is much easier to just brag. At least people who boast they can be forgiven for their honesty, but it is hard to overlook something said so disingenuously.In this PC world, we cannot call out a humble bragger, without sounding mean either. So here is my suggestion: if you want to boast about something, go ahead. Brag away. Just do not make it a case of pretentious sincerity because it is more likely for people to dislike you for your false modesty than straight-up bragging.To be sure, we all at some point might have been at fault for humble bragging without realising it. For the sense of power it brings about. Or to be liked, accepted or loved by others.Sometimes we have to be above it all, and look beyond such demonstration of insincerity.Anjana Rajbhandary writes this fortnightly Nepali Times column Life Time about mental health, physical health and socio-cultural issues.

Anjana Rajbhandary

Boasting while pretending not to

The <a href="https://www.nepalitimes.com/banner/ancient-panautis-french-connection/">ancient town of Panauti</a> is preparing for its once-in-12-years Makar Mela this month, a festival that dates back 1,000 years. Despite the Omicron scare, the town 40km east of Kathmandu expects 6 million pilgrims from Nepal and India during the month of Magh.  Although it is among the better preserved historic <a href="https://www.nepalitimes.com/here-now/khokana-and-bungamati-strive-to-save-heritage/">Newa towns</a>, even here the sloping tile roofline is being replaced by flat-top concrete blocks that dwarf the temples and shrines. But the town is preserving its past, not just by restoring its monuments but also reviving its many festivals like the Makar Mela. The recent release of the bilingual book Panauti: Passé– Présent Panauti Past- Present (1976-2020) is perfectly timed not just for the 12-year festival which starts on 15 January, but also to draw attention to the town’s many other festivals.<img class="alignnone size-full wp-image-84494" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114091156/637203819c7e80680e0b2812jpeg.jpg" alt="" width="3072" height="2048"/><img class="alignnone size-full wp-image-84495" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114091156/637203859c7e80680e0b2813jpeg.jpg" alt="" width="3072" height="2048">Indreswor Mahadev Temple. Photos: Gerard Toffin, 1976 (left) and Prasant Shrestha, 2020 (right)With French and English text by Gérard Toffin of the French National Center for Scientific Research (CNRS), and illustrated with before and after photographs by Toffin, the ethnologist Corneille Jest and Panauti-based photographer Prasant Shrestha, the book is a must-have guide to anyone interested in exploring the history of this unique town.Toffin and Shrestha met in 2010 during the last Makar Mela and were both struck by the changes that Panauti was undergoing, mostly for the worse, and decided to make a photographic documentation before it was too late.‘This book is a testimony to the mutations in Panauti,’ writes Toffin in the Introduction. ‘It gives a real importance to photography, aims at highlighting the local cultural heritage and how the current uncontrolled urbanisation threatens it.’ <img class="alignnone size-full wp-image-84489" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114091156/637203889c7e80680e0b2814jpeg.jpg" alt="" width="1528" height="1036"><img class="alignnone size-full wp-image-84490" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114091156/6372038c9c7e80680e0b2815jpeg.jpg" alt="" width="3072" height="2048">Panauti. While the town's roofline has changed, the surrounding hills have more forest. Photos by Gerard Toffin, 1976 (left) and Prasant Shrestha, 2011 (right). For Shrestha, it was a matter of using his profession to further the cause of the preservation of the heritage of his beloved hometown, and this passion shows in the meticulous care he has taken in repeat photography of shrines and landscapes. Just as the German government undertook to <a href="https://www.nepalitimes.com/here-now/saving-kathmandus-past-for-the-future/">restore Bhaktapur</a> as a coronation gift to King Birendra, the French chose the out-of-the-way town of Panauti. Legend has it, Panauti was given by the king of Bhaktapur as dowry to his newly-married sister.  Panauti is located in the sacred tri-junction of the Punyamati, Lilawati (Rosi Khola) and the mythical underground river, Rudrawati – a miniature replica of the holy confluence of the Ganga, Jamuna and Saraswati at Prayag in India. Which is why the Makar Mela is also called Nepal's own Kumbha Mela.<img class="alignnone size-full wp-image-84488" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111410110/637203909c7e80680e0b2816jpeg.jpg" alt="" width="3077" height="2048"><img class="alignnone size-full wp-image-84493" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111410110/637203959c7e80680e0b2817jpeg.jpg" alt="" width="3072" height="2048">Tribeni Ghat as photographed by Gerard Toffin, 1976 (left) and Prasant Shrestha, 2020 (right)Panauti’s Tribeni was so revered that it was among the sources from which holy water was poured into the Rani Pokhari by Pratap Malla when he consecrated the royal pond in Kathmandu in 1669.Archaeological evidence points to Panauti having been settled from the early Kirat period 1,500 years ago. It escaped being conquered by Prithvi Narayan Shah, and was annexed when <a href="http://archive.nepalitimes.com/news.php?id=15468">Bhaktapur</a> fell in 1769.  The town was on a ancient trade route to the Tarai, and with its Indreswar Mahadev, Bhadrakali and Unmatta Bhairav shrines it is <a>predominantly Hindu</a>. However, there are Buddhist influences.<img class="alignnone size-full wp-image-84502" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111410110/637203999c7e80680e0b2818jpeg.jpg" alt="" width="4096" height="2777"><img class="alignnone size-full wp-image-84559" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111410110/6372039d9c7e80680e0b2819jpeg.jpg" alt="" width="3252" height="2068">Panauti Layaku Area. While the traditional houses have been replaced with concrete blocks, the temple appear to be in a better state.   Photos by: Gerard Toffin, 1976 (left) and Prasant Shrestha, 2020 (right). Panauti was the <a href="http://archive.nepalitimes.com/news.php?id=10973#.YdPsrMlBypo">scene of a battle</a> during the insurgency in 2006, and suffered damage in the 2015 earthquake. But now, its glorious past is threatened by modernisation, which is why this book by Toffin and Shrestha is so important. It does not just show us the changes in the past 40 years, but also encouraging signs of how its monuments and festivals are being restored.The Makar Mela itself is a celebration of Panauti’s proud heritage during which there is a vigil for the king of the serpents, Vasuki Nag. (This is the reason the Shah kings never attended the Mela because they would have to compete with another ‘king’.)Other examples of revival are the Devi Pyakhan masked dance which used to be performed in the past to ward off cholera, and the Jya Punhi full moon festival which is only celebrated here. And in 2015, Panauti also reinstated its own <a href="https://www.nepalitimes.com/here-now/a-goddess-among-people/">Kumari Living Goddess</a> tradition.The book reprints a scroll dating back to 1635 that depicts the sacred Tribeni confluence which we learn is now in the Virginia Museum of Fine Art in the United States. To draw attention to the stolen holy objects from Nepal, Bhaktapur-based architect Rabindra Puri has set up the Museum of Stolen Arts in Panauti with replicas of the statuary from this town, and other parts of the Valley.<img class="alignnone size-full wp-image-84505" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111410110/637203a09c7e80680e0b281ajpeg.jpg" alt="" width="4096" height="2797"><img class="alignnone size-full wp-image-84506" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111410110/637203a49c7e80680e0b281bjpeg.jpg" alt="" width="3072" height="2048">Panauti with Gorakhnath Hill in the backdrop. Photos: Gerard Toffin, 1976 (left) and Prasant Shrestha, 2020 (right)Under federalism, Panauti became a municipality that includes some of the surrounding villages. Mayor Bhim Neupane was elected in 2017, and says preparations are complete to manage the influx of pilgrims from 15 January – 12 February.“Despite the pandemic, we are expecting about 200,000 people a day,” says Neupane. “We are directing everyone to take health precautions seriously, and have cleared the Tribeni area to make space. There is a bypass road and extra bus parks.” Panauti: Passé– Présent Panauti Past- Present (1976-2020) is a book that proves to other towns in Nepal that it is indeed possible to save what is left of the country’s unique cultural heritage and diversity.<img class="alignnone size-full wp-image-84532" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111410110/637203a89c7e80680e0b281cjpeg.jpg" alt="" width="1550" height="594">Panauti: Passé– Présent Panauti Past- Present (1976-2020)Text:Gérard Toffin Photos: Prasant ShresthaAmbassade de France Népal and Alliance Française,2021ISBN 978-9937-0-8212-9114 pages

Kunda Dixit

Creation to destruction, then revival

<figure><img width="3000" height="1000" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110151156/636d11589c7e80680e0a9881jpeg.jpg" alt=""/><figcaption>The mustard fields of Chobhar have been turned into an amusement park. All photos: SCOTT FAIIA</figcaption></figure>Nepal is known the world over for its majestic mountains and historic monuments, but for American development worker <a href="http://archive.nepalitimes.com/news.php?id=19735#.YX-M7FVBypo">Scott Faiia</a> there are two more reasons why Nepal is irresistible: “The people are very amiable, and they smile a lot.”Turn to any page in his picture book Changing Kathmandu and this is evident: children and the elderly are captured in a state of sincere bliss without affectations. What is more, Faiia follows the same people in the same places over the decades, as a visual record of the passage of time.  In a neighbourhood in Bhaktapur, Maiya Shahi sits in her fruit shop in her black-and-red haku patasi garb. The year is 1992, and she is turning a cotton wick in between her fingers. Faiia returns to the shop in 2009 and 2018 – besides fruits she now also sells clothing and other merchandise. Despite the intervening 26 years, the shopkeeper still looks directly at the camera with the same spontaneous smile.<a href="https://www.nepalitimes.com/banner/portrait-of-a-photographer-in-rural-nepal/">Portrait of a photographer in rural Nepal</a>, Monika Duepala <figure><img width="1500" height="1000" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110151156/636d115c9c7e80680e0a9882jpeg.jpg" alt=""><figcaption> </figcaption></figure><img width="1500" height="1000" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110151156/636d11609c7e80680e0a9883jpeg.jpg" alt=""><img width="1500" height="1000" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110151156/636d11639c7e80680e0a9884jpeg.jpg" alt="">Change is the central theme of Faiia’s meticulous repeat photography. Ever since 1988, the former Nepal country director of Oxfam has seen the Valley transformed. Neighbourhoods have become unrecognisable, neighbours have moved on.  The undulating mustard fields of Chobhar have been turned into an amusement park. The crisp view of the Boudhanath stupa as seen from Gujeswori is now obstructed by a concrete jungle, and a layer of smog. “Life and places are not static,” he says. “But the problem with Kathmandu Valley is that the changes are unmanaged and out of order.” This is evident from the pictures of Asan road photographed in 1988, 2009 and 2018. The changes are dramatic, with the fronts of the houses dangling with mannequins, people peep out of the windows with a sense of loss.  <a href="https://www.nepalitimes.com/here-now/making-nepals-history-colourful/">Making Nepal’s history colourful</a>, Kanak Mani Dixit <figure><img width="1500" height="1000" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110151156/636d11679c7e80680e0a9885jpeg.jpg" alt=""><figcaption> </figcaption></figure><img width="1500" height="1000" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110151156/636d116a9c7e80680e0a9886jpeg.jpg" alt=""><img width="1500" height="1000" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110151156/636d116d9c7e80680e0a9887jpeg.jpg" alt="">Still, many things remain the same in this eternal city. The people Faiia follows have grown older, frailer in some cases, but still flash that happy smile. Concrete high rises have come up, but the city cores of Bhaktapur and Patan have been built back better after the 2015 earthquake. Faiia is not against development, his work documents progress as well. The enamel on a carved torana of a Ganesh temple in Patan has been removed to reveal the original texture of the wood. The Akash Bhairab temple in Indra Chok has been restored. And in the midst of it all there are always people, devotees, shoppers, children returning from school, witnesses to the transformation -- all smiling.<a href="https://www.nepalitimes.com/opinion/nepals-past-present-and-future-in-a-photo/">Nepal’s past, present and future in a photo</a>, Bhumi Ghimiré <img width="1500" height="1000" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110151156/636d11719c7e80680e0a9888jpeg.jpg" alt=""><img width="1500" height="1000" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110151156/636d11759c7e80680e0a9889jpeg.jpg" alt="">The enamel on a carved torana of a Ganesh temple in Patan has been removed to reveal the original texture of the wood. Meme is a resident of Bouddha, and when Faiia first photographed him looking out of his window in 1988, he was 47. The photographer went back to take pictures of him again and again in 2008, 2017 and 2018.  “When I went to see him again in 2017, he opened the door, asked me to wait, went inside and brought the picture I had taken of him in 1988,” Faiia recalls.  Each of the added years brings out in Meme a deep sense of contentment with life.  His eyes have seen everything, but they are not tired. In fact, they look beyond to the future, anticipating further transformations. <a href="http://archive.nepalitimes.com/news.php?id=19789#.YX-e4S8w3u0">The first photographs of us</a>, Kanak Mani Dixit <img width="1500" height="1000" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110151156/636d11789c7e80680e0a988ajpeg.jpg" alt=""><img width="1500" height="1000" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110151156/636d117c9c7e80680e0a988bjpeg.jpg" alt="">The Ganesh Mandir in 1991 (left) and 2009 (right).Faiia did not receive any formal photography training, and it is a personal hobby he took up as a way “to keep balance in life”. During his time in Ethiopia in the 1980s, the country was going through the horrors of a civil war and famine. He was managing food distribution for millions of internally displaced people, and Faiia lost several of his own staff.“It was very grim. Photography was a way for me to get away from the violence,” he says, “not to connect the dots in a war but to turn my attention to something else.” It was his Nikon that helped him find beauty and meaning in the world’s other trouble spots where he has served: Somalia, Sudan, Haiti. Faiia first came up with the idea to do a picture series of the same people and places of Kathmandu Valley when he was going rummaging through some old boxes of prints. “I found many old photos that I had taken in the past and the idea was born,” he says. Read also: <a href="https://www.nepalitimes.com/opinion/photojournalism-looking-for-solutions/">Photojournalism looking for solutions</a>, Min Ratna Bajracharya

Kathmandu’s passage of time in photos

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161128/636d18c29c7e80680e0ac7e1jpeg.jpg" alt="" width="5616" height="3744"/><figcaption>Photo: MONIKA DEUPALA</figcaption></figure>If you are a woman, it is easy to get angry. If you are a Nepali woman, it is even easier to get mad at cultural norms and societal pressures that have become an unnecessary constant in your life.Despite our progress, women are made to feel like they are there to serve the men, many of whom speak of gender, class or ethnic equality but <a href="https://www.nepalitimes.com/here-now/epidemic-of-online-sexism/">rarely apply it to their lives</a>.For example, it is pointless trying to convince a man that it is not an insult to his manhood to prepare a cup of tea for you. Alternatively, when was the last time your <a href="https://www.nepalitimes.com/opinion/boys-will-be-boys-is-never-an-excuse/" target="_blank" rel="noopener noreferrer">older brother or husband</a> brought you a cup of tea when you came home tired from work?I have held on to years of frustration and anger within me, and talking to other women, I realised that they do as well. It is terrible to constantly feel negative emotions because it affects our physical health and our overall well-being.When I was younger, I vented out my anger a lot but over the years, it has adversely affected my relationships with people. My inability to let go has affected my life quality and the time spent with my loved ones.Early on in life, I learned that it is better to <a href="https://www.nepalitimes.com/opinion/staying-mum-about-sexual-assault/" target="_blank" rel="noopener noreferrer">speak up</a> about the issues bothering you than holding them in. But I misinterpreted it so that I started to express my frustration over minor problems instead of thinking about them critically.When I asked others for help, they told me not to get angry, which made me angrier because I already knew that. I didn’t want to be angry, but I needed to learn how not to be.I once met this wise person who told me that there is nothing wrong with anger, that it is normal — but it is how we express the anger that makes a difference.Having been angry for years, he told me that I would not stop at will, but it was possible to change. He told me to think about a few things when I get angry, which can be challenging in the heat of the moment, so I decided to write them down to look at when I get mad.“Ask if it is worth it.”“How is this anger benefitting me now?”“Do not react, no matter how mad you feel—hold it in and be patient.”“Put your phone away.”We have all become more impulsive about the need to express anger. In this digital world, it means expressing it via instant messages or social media, angry Tweets that you cannot take back.I thought holding things in was a sign of weakness, but sometimes it is a sign of intelligence.Often, I have regretted the things said and texted when I was angry. So, practicing patience is one of the best pieces of advice for anger management. It allows me to feel anger but not react until I have cooled down. Generally, things don’t seem as awful after you give it time.This is not me saying to hold things in, but it is always best not to react in the heat of the moment when things usually come out wrong. It is also not about letting all the anger go, but analysing it to see why it bothers you so much.Anger is oftentimes hidden sadness, and as such, I thought of it as my strength. But I have hurt too many people in the process, so I am trying to rid myself of this habit.So now, whenever I get angry, I look at my notes and wait. It is difficult, but I do it because it is the best way to approach anger. I take it one day at a time, and it works.I am still working on not reacting unnecessarily to people but giving myself time to see if what caused the anger is worth it, and the truth is, it never is. In the past, I used to realise it too late, but not anymore.It will take a long time for our society and <a href="https://www.nepalitimes.com/opinion/coping-with-the-patriarchy/" target="_blank" rel="noopener noreferrer">its patriarchal ways</a> to change. In the meantime, we cannot afford to lose more of ourselves and our ability to reason by giving into negative emotions. Change comes from within and from a mind at peace.That is why the first step is to channel the energy productively. We need to be mature about this and know which emotions to express and which ones to hold in.When I feel myself boiling inside, I wait, breathe, and pray for the strength to let go of the anger that benefits no one. I am working on controlling my anger rather than letting it control me. It is the best present I can give myself this Festive season.

Feel angry? Read this.

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141132/636cfde49c7e80680e0a0c0djpeg.jpg" alt="" width="1500" height="1000"/><figcaption>A dancer impersonating Goddess Nil Barahi at the festival. All photo: SAURAV THAPA SHRESTHA</figcaption></figure>More than 500 years after they were first performed, Kathmandu Valley’s tantric dance festivals are seeing something of a revival.The Lichhavi and Malla era <a href="https://www.nepalitimes.com/banner/kathmandus-festival-of-the-mysterious-dancing-goddess/" target="_blank" rel="noopener noreferrer">Nil Barahi Dyo Pyakhan</a> (निलबाराही द्यो प्याखँ), a mystical ancient dance, is a part of Kathmandu Valley’s rich intangible heritage that is staging a comeback.Residents of Bodey, a quaint Newa settlement north of Thimi, have been performing the tantric dance consisting of different deities including Bhairav, Barahi, Kumari, Simha, Dwarpal and Ganesh.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141132/636cfde89c7e80680e0a0c0ejpeg.jpg" alt="" width="1500" height="1000"><figcaption>All the deities line up with the Bhairab at centre during a special ritual called Kha Tyeligu that takes place every 12 years.</figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141132/636cfdeb9c7e80680e0a0c0fjpeg.jpg" alt="" width="667" height="1000"><figcaption>An offering of Kisli (prepared with rice, coins and betel nuts) to the deity</figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141132/636cfded9c7e80680e0a0c10jpeg.jpg" alt="" width="667" height="1000"><figcaption>Devotees wait for their turn to provide offerings to the deities.</figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141132/636cfdf09c7e80680e0a0c11jpeg.jpg" alt="" width="1000" height="1500"><figcaption>A musician playing mwali</figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141132/636cfdf29c7e80680e0a0c12jpeg.jpg" alt="" width="1000" height="1500"><figcaption>Dwarpal at Nilbarahi Naach</figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141132/636cfdf59c7e80680e0a0c13jpeg.jpg" alt="" width="1500" height="1000"><figcaption>Simha jump (Simha ti nwoigu) is one of the most spectacular shows during the festival. Here it is being performed at Nil Barahi Temple premises in Bodey.</figcaption></figure>Legend has it that a Bodey farmer with the surname Dhon (धों) was abducted by the Nil Barahi herself in her deer form and carried into the nearby dense forest of Tigini. The deity taught him a tantric dance, which the locals would go on to perform every year ever since.Some believe that the ritual dates back to an even earlier Lichhavi era, 1,000 years ago. But the first record of the dances being performed are from 1514 (Nepal Sambat 633) when King Subarna Malla commissioned the performance of the Navadurga Naach (नवदुर्गा नाच) in the drought-hit <a href="https://www.nepalitimes.com/here-now/bhaktapur-shows-the-way-by-rebuilding-itself/" target="_blank" rel="noopener noreferrer">Bhaktapur</a>.He also organised Layaku Bhaila (लायकु भैलः) in Thimi and Nil Barahi Naach in Bode. Later in 1718, King Bhupatindra Malla offered ‘Chhati Kathi’, the Royal Sceptre (राजदण्ड) and land for the ritual. The sceptre is intact, and still has the date inscribed on it.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141132/636cfdf99c7e80680e0a0c14jpeg.jpg" alt="" width="1500" height="1000"><figcaption>Ganesh deities during one of the performances.</figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141132/636cfdfc9c7e80680e0a0c15jpeg.jpg" alt="" width="1500" height="1000"><figcaption>Ganesh deities take a short rest in between the performances.</figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141132/636cfdff9c7e80680e0a0c16jpeg.jpg" alt="" width="1500" height="1000"><figcaption>A participant holding the Sukunda of Bhairab in Nilbarahi Naach Festival.</figcaption></figure>Others state that the dance is the celebration of a peaceful victory in an ancient battle. According to local folklore, three dances took place at the time. Mahakali Naach at Nagadesh portrayed preparation for the war, Navadurga Naach represented the war itself, and Nil Barahi was the celebration.The four days preceding <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/saparu-the-festival-of-death-and-rebirt,2543" target="_blank" rel="noopener noreferrer">Gaijatra</a>, mark the beginning of the festival which this year is held 24-27 August. On these days, the Bodey locals representing the deities are taught the dance in the process called Pyakha Syenegu (प्याखं स्यनेगु), which translates into ‘teaching the dance’. As patrons of the dance, the attendance of Bhairav, Barahi and Ganesh is mandatory.The individuals representing deities draw on heavenly power once they put on their masks. With tantric ability, they dance for four nights and three days despite all hardships. The entire time they dance, the deities and their families cannot consume anything, cannot talk, and only use hand gestures.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141132/636cfe039c7e80680e0a0c17jpeg.jpg" alt="" width="1000" height="1500"><figcaption></figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141132/636cfe069c7e80680e0a0c18jpeg.jpg" alt="" width="1000" height="1500"><figcaption></figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141132/636cfe089c7e80680e0a0c19jpeg.jpg" alt="" width="1500" height="1000"><figcaption></figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141132/636cfe0c9c7e80680e0a0c1ajpeg.jpg" alt="" width="1500" height="1000"><figcaption></figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141132/636cfe109c7e80680e0a0c1bjpeg.jpg" alt="" width="1500" height="1000"><figcaption>Various accessories adorned by the deities.</figcaption></figure>Each deity is accompanied by Jwokalu (ज्वकालु, a helper) to help them with their needs. If the performers need to rest, they can do so only for a few minutes. If a dancer dies before the ritual or during it, one of the family members must step in.The <a href="https://www.nepalitimes.com/latest/patans-dance-of-the-deities/" target="_blank" rel="noopener noreferrer">animated dance procession</a> has 19 masked dancers but it is acted out by an ensemble of some 100 residents of Bodey. This includes deities, gurus, dancers, musicians and helpers.A variety of musical instruments accompanies the dance. An individual carries a ‘Sukunda’, which has to be aflame throughout the festival. In the past when the lamp had turned off, deities had gotten sick.As soon as every member arrives at Dyo Chhen, the parade begins. But before that, all the masks are brought to Naskuti (नासःकुथि), inside the Dyo Chenn where Jwokalu carries them. An accompanying musical tune is played during the mask-wearing procession.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141132/636cfe149c7e80680e0a0c1cjpeg.jpg" alt="" width="1500" height="1000"><figcaption>The crowd gathered to watch the masked dance.</figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141132/636cfe199c7e80680e0a0c1djpeg.jpg" alt="" width="1500" height="1000"><figcaption>The gathering of all the deities.</figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141132/636cfe1c9c7e80680e0a0c1ejpeg.jpg" alt="" width="1500" height="1000"><figcaption>The pwonga musical team at the festival.</figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141132/636cfe209c7e80680e0a0c1fjpeg.jpg" alt="" width="1500" height="1000"><figcaption></figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141132/636cfe239c7e80680e0a0c20jpeg.jpg" alt="" width="1500" height="1000"><figcaption></figcaption></figure>The procession has a sequenced lined up: flag (ध्वाय्), sword and shield (सँय्), Chilakh (flames), sceptre (rajdanda), Bhairab, Barahi, Kumari, Simha, Dwarpal, Ganesh and musical team at the back.From the Dyo Chhen, the parade takes you to Lachhi (लाछी), Lyaku (लाय्कु), Bishnughat (विष्णुघाट), Bhangu (भाँगु), Khansi (खाँसी) and back to Akha through Lachhi. The deities’ march through the gallis is accompanied by traditional musical instruments like dhaa baja (two-headed drums), ta and bhusyah (cymbals), ponga and mwali (flutes).A variety of rhythmic music is played based on four different dance styles: Nhyakhin Taal (न्ह्याखीं), Dhaa: Taal (द्यःताल), Lisa: Nyosa: (लिसाः न्ह्यसाः ताल) and Simha ti nwoigu Taal (सिंद्य तिं न्वइगु ताल). Deities receive offerings from the locals and relatives as part of the ritual.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141132/636cfe269c7e80680e0a0c21jpeg.jpg" alt="" width="1500" height="1000"><figcaption>Those who can't make it to the procession can still worship the deities with offering at Dyo Chhen at nights during the festival.</figcaption></figure>The enthusiasm and passion of the inhabitants in Bodey is the key to preserving this <a href="http://archive.nepalitimes.com/news.php?id=12277#.YSd36i2B2CR" target="_blank" rel="noopener noreferrer">ancient tradition</a>, which is why the ritual has continued to this day for the past five centuries. For viewers, it is a unique taste of our culture, for the performers, it is a life-long commitment.The 19 dancers who represent Bhairav, Nil Barahi, Kumari, Singha, Dwarpal and Ganesh take the responsibility for life until a new group is appointed in what is called Dyo Gan Hilegu (द्यःगं हिलिगु; where the deities are changed). The current group has been performing the ritual since 1958 and most of them are in their 70s and 80s.

Kathmandu Valley’s Nil Barahi Dyo Pyakhan

Nepal’s only international aviation gateway, at Kathmandu airport, will cut night-time operation hours to allow construction of taxiways, and airlines have been told to curtail flights. This is expected to lead to more than normal chaos during the height of peak autumn and spring tourist seasons at an airport that is congested even at the best of times. The airport will close from 10PM to 8AM from 8 November-31 March 2025. The taxiways will now connect to the thresholds at both ends of the runway, making the airport more efficient in handling higher frequencies of landings and takeoffs. The parallel taxiway extension will allow international flights to land every 4 minutes instead of the current every 7 minutes. At present planes have to wait to land until a plane taking off backtracks along the runway.&nbsp; Kathmandu is Nepal’s only airport with international operations, and it has only one runway that is only one way in from the south over the mountains. With the taxiway improvement, the airport will be able to handle 42 aircraft landings and takeoffs per hour — double the current capacity.&nbsp; The Civil Aviation Authority of Nepal (CAAN) has been trying to entice international airlines to also start flying to and from the other two international airports at Pokhara and Bhairawa (Lumbini) by slashing landing and handling charges. But so far only Nepal Airlines operates a weekly flight to Bhairawa from Kuala Lumpur.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241018161016_046569e53d1d66cd445cc66c697c0ef724810aec9f54bdf827481e3cd6b80c32.jpg" data-media-id="editor_0" data-image-id="20241018161016_046569e53d1d66cd445cc66c697c0ef724810aec9f54bdf827481e3cd6b80c32" data-rendition-name="original" width="2356" height="1134" loading="lazy" alt="Kathmandu airport expansion"> <figcaption>Kathmandu Airport Expansion plan with extension of taxiways to the thresholds of runways 02 and 20 that will limit airport operations from 8 November 2024 - 31 March 2025. Areas in blue are existing structures, including the international terminal which in future will be the domestic airport, and the new international terminal near the north end of the runway,</figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241018121028_6e17cc2ee87c1b02d78cb54905825b7aa15299b7a00f5eddb01a59579ab85c1a.jpg" data-media-id="editor_1" data-image-id="20241018121028_6e17cc2ee87c1b02d78cb54905825b7aa15299b7a00f5eddb01a59579ab85c1a" data-rendition-name="original" width="1353" height="1328" loading="lazy" alt="Kathmandu airport NT"> </figure>  CAAN has reportedly told international airlines to cut their flight frequency to Kathmandu citing the shorter operation hours and has told budget airlines to shift some of their flights to Pokhara or Bhairawa, or face cuts. Many airlines currently operate regular flights to and from Kathmandu between 10PM and 8AM: Air Arabia to Sharjah, Fly Dubai to Dubai, Jazeera Airways to Kuwait, Cathay Pacific to Hong Kong, Singapore Airlines, several Nepal Airlines flights, and one of four daily flights by Qatar Airways to Doha. Jazeera Airways, FlyDubai, and Thai AirAsia have applied and got permission from CAAN to begin regular flights to Bhairawa’s Gautam Buddha International Airport. Starting 9 November, FlyDubai will start making a stopover in Bhairawa before flying on to Kathmandu. Immigration, customs and security are all fully functional in Bhairawa. In Kathmandu, the next phase of the airport upgrade includes converting the current international terminal for domestic operations, the construction of a new international terminal where the domestic departure area is now, as well as moving the hangars and the Nepal Army Air Wing to the eastern side of the runway. The apron area will also double its parking space for widebody jets. This is part of a Airport Capacity Enhancement Project that was initially funded through a $80 million loan from the Asian Development Bank (ADB), and the entire masterplan is expected to cost $800 million. This project is the latest upgrade to Nepal’s only international airport since it saw its first flight in 1949. The current international and domestic terminals are too small to handle the current annual traffic volume of 8.5 million passengers a year that is growing at 20% a year.

Kathmandu airport to cut flight hours

As Kathmandu becomes more congested and polluted, and with remote online work becoming the norm, many professional Nepalis are planning to retire in Pokhara, or move there.&nbsp; With its stunning mountain panorama, balmy winters and proximity to a profusion of wilderness areas, builders are responding to this demand with new townhouses, housing development and apartments. One such block of flats is the 10-storey <a href="https://sungavaapartment.com/">Sungava Apartment</a> located at Phulbari above the Seti River, near the point where it flows into and under Pokhara. The imposing structure near Manipal Hospital is almost complete, and on a recent visit the site was strewn with huge boulders unearthed while digging the foundation.&nbsp; The Seti brought down these boulders during a gigantic flood that geologists estimate happened 800 years ago when a chunk of Annapurna IV broke off and ploughed into the glacier below. Today, Sungava (means ‘orchid’) sits safely on a high terrace, 100m above the blue-green Seti and commands a view of Dhaulagiri, Annapurna South, Machapuchre, Annapurna III and IV.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024102411104_5f8fc736c86ea3c08d7bef43bb727081d3cc1a2caa55ae2b441717e6044de7e9.jpg" data-media-id="editor_1" data-image-id="2024102411104_5f8fc736c86ea3c08d7bef43bb727081d3cc1a2caa55ae2b441717e6044de7e9" data-rendition-name="original" width="2016" height="1512" loading="lazy" alt="High living below the Himalaya NT"> </figure>  The soil here is conglomerate that has solidified like concrete, and the boulders were extracted by heavy earthmovers. It is intriguing to think that these metamorphic rocks as big as cars, rounded by glacial grinding, were once a part of a much higher Annapurna IV. Even for those with little interest in geology, Sungava is an ideal place to contemplate the tectonic forces that pushed these peaks into the sky to be sculpted into delicate shapes by wind, snow, earthquake and avalanche over millions of years. The view of the Himalayan panorama from Sungava’s many balconies are breathtaking when not obscured by clouds, or the haze that drifts in from across the southern border. On most days, just watching the towering pyramid of Machapuchre (Tamu name: कतासुँ क्लिको) play hide and seek with the clouds is mesmerising. There are rocks aplenty at Phulbari, and it is probably the flowers that grew along the flat terraces e that gave the place its flowery name. The boulders will hopefully be turned into a rock garden while landscaping. An nearby restaurant complex is making the best use of the stones in its design, using flat rocks as outdoor benches and tables. Sungava was designed by the husband-wife architect team of Deepak Sherchan and Jyoti Joshi of <a href="https://thedarkmermaidamarbshrestha.blogspot.com/2013/12/creative-builders-collaborative-cbc.html">Creative Builders Collaborative (CBC)</a>, which also built Heritage Plaza, Indreni Apartment and numerous other projects in Nepal. Sadbhavana retains CBC’s trademark Newari-style masonry and here it borrows from the orange brickwork of the old town of Pokhara, integrating it with modern design elements. A few of those heritage houses are still standing in Ganesh Tole and Ram Krishna Tole in Pokhara’s old quarter.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024102411108_5eb64a4885961b6d30781cefeb1e8a313da313ac5227c7a66b60f0c7d48d6fab.jpg" data-media-id="editor_3" data-image-id="2024102411108_5eb64a4885961b6d30781cefeb1e8a313da313ac5227c7a66b60f0c7d48d6fab" data-rendition-name="original" width="1362" height="595" loading="lazy" alt="High living below the Himalaya NT"> </figure>  About 400m from the apartment past a bend on the river, and down below three tiers of terraces in the canyon is a suspension bridge. Below it, the Seti is still swollen with post-monsoon flow as it tumbles away in a hurry to head down south.&nbsp; Back at the apartment, it is quiet, far away from the hubbub of Lakeside a 15 minute drive away, and in the lap of greenery. There are 52 units at Sungava and it already has a close-knit prospective community of professionals, including doctors, publishers, engineers, and businesspeople from the renewable energy and IT sectors.&nbsp; Some residents say they opted for a second home in Pokhara to make it a ‘base camp’ to explore the Annapurnas with its many hiking trails made newly accessible with new roads. With the NRN citizenship law, overseas Nepalis can now also buy the flats. &nbsp; The floor plans include options for north and south-facing 3-bedroom apartments with verandas, and the facility has underground parking has EV charging, heated pool, sauna and gym. There are still some unsold apartments with panoramic views of the mountains and one can imagine oneself at the kitchen with its huge window, humming a ditty while preparing breakfast: “खाना पकाउँ हिमाल हेरेर...”

High living below the Himalaya

When the United Nations held its Summit of the Future at its headquarters in New York in September, many world leaders, including Nepal’s Prime Minister K P Oli, highlighted the effect of climate breakdown in increasing the frequency and intensity of natural disasters. What did not get as much attention was the long term impact of the climate crisis on food production. In fact, heat stress, weather extremes and the consequences on rain-fed agriculture is already being felt worldwide, undermining the chances of the <a href="https://unstats.un.org/sdgs/">UN’s Sustainable Development Goals (SDGs)</a> being met by 2030.&nbsp; The SDG’s 17 targets commit countries like Nepal to reduce poverty and inequality, end malnutrition, protect the natural environment, and ensure that citizens all enjoy health, justice and prosperity without leaving anyone behind.&nbsp; However, besides the impact of climate breakdown on agricultural production, in Nepal the area under cultivation is impacted by urban expansion, falling productivity and the need for expensive inputs like fertiliser and pesticides.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241019041052_626413c5baf4dae407ac9579231b41daeb51510aa636b75aeb7489d94cca6a62.jpg" data-media-id="editor_1" data-image-id="20241019041052_626413c5baf4dae407ac9579231b41daeb51510aa636b75aeb7489d94cca6a62" data-rendition-name="original" width="999" height="1500" loading="lazy" alt="urban agriculture in Kathmandu"> <figcaption>Kathmandu's urban sprawl is eating into its fertile cultivable lands. Photo: TAYLOR MASON</figcaption> </figure>  Now, a new study led by Nepali researcher Prajal Pradhan at the University of Groningen in The Netherlands looks at how urban agriculture may offer a solution to falling food production and meeting SDG targets. The researchers evaluated 1,450 publications exploring the contributions of urban agriculture with both positive and negative effects, and published their findings in the journal Cells Report Sustainability. Urban agriculture can help achieve 17 SDGs, positively influencing 81 targets. However, it could also undermine 51 goals.&nbsp; Read also: <a href="https://nepalitimes.com/here-now/the-vanishing-land">The vanishing land</a>, Taylor Mason “Urban agriculture offers immense potential for sustainable development, but realising this potential depends crucially on adopting practices that minimise its adverse effects while maximising its benefits,” Pradhan explains. Urban agriculture can substantially enhance urban food security, provide employment to the urban poor, serve as ground water recharge in built-up areas, and preserve open spaces that can serve as safe havens during disasters like earthquakes. However, it also presents problems like the potential health risks from contamination and the need for expensive inputs. &nbsp; “Urban agriculture plays a definitive role in advancing the SDGs, but achieving this requires tailored, context-specific solutions that address the unique challenges of different regions,” says Yuanchao Hu of Wuhan University in China and who is a researcher at the Potsdam Institute for Climate Impact Research. “But it needs equitable access and rigorous management of environmental risks.”&nbsp; Rapid urbanisation is eating into Nepal’s most fertile agricultural land, which means farming in remaining open spaces inside cities can be a viable alternative, especially as food prices rise.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241019041052_7b7c9413086226fbdc630d45acf772cfa1ced77a8970b9056ec5ec7e5226fdf8.jpg" data-media-id="editor_3" data-image-id="20241019041052_7b7c9413086226fbdc630d45acf772cfa1ced77a8970b9056ec5ec7e5226fdf8" data-rendition-name="original" width="1500" height="999" loading="lazy" alt="urban agriculture in Kathmandu"> <figcaption>A vegetable patch in between new houses in Thimi. Photo: TAYLOR MASON</figcaption> </figure>  “The conversion of Nepal’s most fertile land into cities is a severe problem,” Pradhan told Nepali Times. “Crop cultivation, horticulture, agroforestry, beekeeping, livestock rearing, or aquaculture can all be farming activities within and around cities.”&nbsp; The study makes recommendations for sustainable practices that build on the positive aspects of urban agriculture while mitigating the downsides, thereby promoting more resilient cities in future. Research shows that urban agriculture has been helping many countries attain SDG targets by enhancing food security and biodiversity while helping education and preservation of open spaces.&nbsp; Indeed, many farmers from the hinterland who have settled in Kathmandu Valley or other urban areas of the country have been practicing urban agriculture, leasing neighbourhood patches or cultivating roof gardens both out of necessity because of inflation and falling income to grow their own food, and also as a fulfilling hobby. Saurav Dhakal, a sustainability advocate with Story Cycle and now research fellow at the Asian Institute of Technology in Thailand, says there are socio-economic and environmental benefits of urban agriculture. “It provides benefits to all urban dwellers, regardless of their income status,” says Dhakal, “families get fresh food, and there are many other benefits like water retention, heat regulation and biodiversity. These are all public goods, so special government incentives may be needed.” It is not unusual to see vegetable patches and even paddy fields within inner city Kathmandu where an older generation of farmers are using available fertile land and <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/rooftop-gardens-kathmandu,1415">roof gardens to produce fresh, nutritious food </a>to reduce their dependence on food items that have to be bought after being trucked in from large distances.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024101905100_1291ce98dbbb8caed8702ac4b1d469b3e13016d7ecaaf3bfd5f91c974d3c0c77.jpg" data-media-id="editor_5" data-image-id="2024101905100_1291ce98dbbb8caed8702ac4b1d469b3e13016d7ecaaf3bfd5f91c974d3c0c77" data-rendition-name="original" width="1500" height="999" loading="lazy" alt="urban agriculture in Kathmandu"> <figcaption>An older generation of farmers are using any available fertile land to continue farming but it is getting more and more difficult. Photo: TAYLOR MASON </figcaption> </figure>  Nepal’s urban population grew rapidly from only 3.6% in 1991 to 25% today. There is large outmigration from the mountains to peri-urban areas of the Tarai, to Kathmandu Valley and Pokhara, with many young men then moving abroad for work. Kathmandu Valley’s population has swelled to nearly 3 million, and is growing at 6.5% a year. Dilip Shrestha, 71, used to work for Nepal Food Corporation, so he knew firsthand about inflation, shortages and vegetables with pesticide residue. So, when he designed his new house in Kathmandu, he built a spacious roof where he grows cucumber, ginger, garlic, coriander, onions, tomatoes, chili, beans, okra, pumpkin and lettuce. His family eats healthier, and he has reduced dependence on the market.&nbsp; The co-author of the Cell Reports Sustainability journal article, Daya Raj Subedi who is a PhD candidate at Beijing Forestry University, says urban agriculture also promotes inclusion and psycho-social wellbeing.&nbsp; He says, “A crucial finding of the study is the identification of opportunities and challenges associated with urban agriculture, it can promote sustainable transformation of society.” In Banepa, 55-year-old Bijaya Manandhar in her lifetime has watched the fertile farms of her neighbourhood that used to supply vegetables to Kathmandu, now completely built up with no open space left. The pandemic lockdown prompted her to turn to the family’s <a href="https://nepalitimes.com/banner/rooftop-agriculture-on-the-roof-of-the-world">ancestral livelihood by growing food</a> not on terrace farms, but on the roof terrace. Manandhar is now a part of <a href="https://nepalitimes.com/banner/rooftop-agriculture-on-the-roof-of-the-world%5C%5C">कौसी खेती र करेसाबारी क्रान्ती</a> (Rooftop Farming and Garden Revolution) which has an online membership of 52,000, and awards annual prizes to women who excel in urban agriculture.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241019041052_7257f5def8f823f35a799fa6f6825e153f2ffa406ac11325d4fe74049b79e96d.jpg" data-media-id="editor_8" data-image-id="20241019041052_7257f5def8f823f35a799fa6f6825e153f2ffa406ac11325d4fe74049b79e96d" data-rendition-name="original" width="1600" height="736" loading="lazy" alt="urban agriculture in Kathmandu"> <figcaption>Rooftop farming is gaining popularity as a form of urban agriculture. </figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241019041052_beff1a4494ce896dd8fd383ee1f518e5448bcf7ea8bb138255391c7bcb9769ed.jpg" data-media-id="editor_9" data-image-id="20241019041052_beff1a4494ce896dd8fd383ee1f518e5448bcf7ea8bb138255391c7bcb9769ed" data-rendition-name="original" width="4000" height="3000" loading="lazy" alt="urban agriculture in Kathmandu"> </figure>  Pradhan says the challenge now is to upscale such examples of successful urban agricultural practices so they support Neal’s efforts to meet SDG targets. He adds, “Crop cultivation around cities can be protected by land use plans and regulations. Promoting community-based agriculture, including rooftop gardens, requires community engagement and public-private partnerships across the food value chain.”&nbsp; Such support would accelerate the popularity of existing rooftop farming and community gardens in Kathmandu Valley, or kitchen garden initiatives in Pokhara, and building on traditional farming practices that are preserved and integrated into urban settings like in Bhaktapur and Banepa. In Lalitpur, the Women Entrepreneurship Facilitation Center promotes urban farming enhancing both sustainability and empowerment.&nbsp; Another co-author of the report, Yuanchao Hu from China says followup research of the team will aim to identify good practices in local urban agriculture practices. He adds, “There are examples of urban agriculture that optimise sustainability, ensuring that it remains a viable solution for cities globally while countries try to meet SDG targets.” Prajal Pradhan, Daya Raj Subedi, Kshitij Dahal, Yuanchao Hu, Prakriti Gurung, Sijal Pokharel, Sagar Kafle, Biplav Khatri, Sudeeksha Basyal, Monika Gurung, and Aruna Joshi. Urban Agriculture matters for sustainable development. Cell Reports Sustainability, 1:100217, 2024. [DOI: 10.1016/j.crsus.2024.100217] Prajal Pradhan (<a href="mailto:p.pradhan@rug.nl">p.pradhan@rug.nl</a>) This article is brought to you by <a href="https://nepalitimes.com/" target="_blank">Nepali Times</a>, in collaboration with <a href="https://inpsjapan.com/en/" target="_blank">INPS Japan</a> and <a href="https://sgi-peace.org/" target="_blank">Soka Gakkai International</a>, in consultative status with UN ECOSOC.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240630110640_30c3782f9c09219bf1c249b51483a3cfb7a53a06d117d2aebd23ca7080d12758.jpg" data-media-id="editor_14" data-image-id="20240630110640_30c3782f9c09219bf1c249b51483a3cfb7a53a06d117d2aebd23ca7080d12758" data-rendition-name="original" width="680" height="103" loading="lazy" alt="SDG logo"> </figure>

Back to the land in the cities

The 700-year-old Lakshmi Narasingha temple in Bhaktapur houses a rare half-lion and half-human incarnation of Lord Vishnu carrying the Goddess Lakshmi. The temple was destroyed in the 1934 mega earthquake that killed 10,000 people and destroyed many monuments in Kathmandu Valley. It was rebuilt by a German project in the 1980s, but as a single-storey structure instead of its original two-tier pagoda design.&nbsp; With new findings from in-depth research, Bhaktapur municipality began re-restoring the temple in 2021, preserving its original architecture.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241017131016_2fae38cce543ad7b1f6de632feb3e212e08ed1acedd747830e949d7b8e878f18.jpg" data-media-id="editor_0" data-image-id="20241017131016_2fae38cce543ad7b1f6de632feb3e212e08ed1acedd747830e949d7b8e878f18" data-rendition-name="original" width="2048" height="1365" loading="lazy" alt="In with the old in Nepal NT"> </figure>  “Our temples and heritage sites hold deep meaning. It is disheartening to witness how often they lose their original elements, whether by design or accident,” explains Kumar Chawal of the Consumer Committee of Bhaktapur. “There is a need to preserve our architecture and protect its historical value for future generations. Otherwise, we risk losing a vital part of our identity.” The Laksmi Narsingha restoration is similar to the Bhai Dega temple in Patan Darbar Square which also collapsed in 1934, but was rebuilt with a Moghul-style dome by the Rana government at the time. Only two months before the 2015 earthquake, heritage conservationists had started to rebuild Bhai Dega as the original three-tier based on early photographs. But priorities shifted when four other temples in the square were brought down by the 7.8M earthquake on 25 April 2015.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241017131016_697ea707d9ad163be5de5f2efbf5b70d3cab771adcc22f0fae6bf937c6cb0130.jpg" data-media-id="editor_1" data-image-id="20241017131016_697ea707d9ad163be5de5f2efbf5b70d3cab771adcc22f0fae6bf937c6cb0130" data-rendition-name="original" width="2048" height="1365" loading="lazy" alt="In with the old in Nepal NT"> </figure>  This showed how damage to monuments in Kathmandu Valley spanned from one earthquake to the next. Bhai Dega restoration remains half-complete to this day because money for its restoration ran out.&nbsp; Whereas Bhai Dega restoration was done by the Kathmandu Valley Preservation Trust with grants from western embassies and international foundations, in Bhaktapur it is the municipality itself that allocated the Rs30.7 million needed to restore the Lakshmi Narasingha temple. The expected date of completion is early 2025. The municipality and local communities are focusing on two main aspects: preserving the past and promoting localisation. The restoration team has designed a blueprint for the temple by using historical photographs and insights from older generations.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241017131016_182882fdc393c99e70d1d0490319e415229563666c4934e3a582426ebf00ca30.jpg" data-media-id="editor_2" data-image-id="20241017131016_182882fdc393c99e70d1d0490319e415229563666c4934e3a582426ebf00ca30" data-rendition-name="original" width="1200" height="560" loading="lazy" alt="In with the old in Nepal NT"> </figure>  “At first, the Lakshmi Narasingha temple had only one entrance, but during the demolition process, we uncovered the foundations of four doors. Now, we are restoring all of them. This is an example of how our ancient structures have changed over time, often without our knowledge,” says Chawal. “Constructing temples is not like building houses. They carry historical and spiritual values, which is why they hold a special place in our hearts,” he adds. By replicating ancient design elements and rebuilding the temple as accurately as possible to its original form, the team has stayed true to Bhaktapur’s soul. But the restoration also revived ancient techniques that were in danger of being forgotten, generating employment for woodcarvers, masons, and contractors. The community of Bhaktapur’s Gahiti neighbourhood near the famous Nyatapola Temple has also set aside specific days for locals to volunteer in the reconstruction work. This has encouraged young people to take pride in ownership of their heritage. Families have also supported the effort by donating funds for bells, the temple pinnacle, and other structural features to the temple.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241017131016_db850ec0c084cdbe54f65bee92dad2ad8122d20fd60ec87ec086fbb9d2f72bd6.jpg" data-media-id="editor_3" data-image-id="20241017131016_db850ec0c084cdbe54f65bee92dad2ad8122d20fd60ec87ec086fbb9d2f72bd6" data-rendition-name="original" width="2048" height="1365" loading="lazy" alt="In with the old in Nepal NT"> </figure>  “I feel at peace knowing I have contributed my sweat to restoring this temple,” said one volunteer. “It is our duty to preserve our temples and heritage. The Nyatapola area will look magical once this temple is completed.” Community mobilisation is a long-standing tradition in Bhaktapur. In the past, locals have actively participated in the restoration of other temples in the city, such as Bhairav and Nyatapola fostering a strong sense of ownership. This collective engagement has not only been crucial in preserving the city's historical monuments but also in strengthening the bond between local communities and their heritage, says officials at the municipality. While securing funding is essential, and the municipality showed it values heritage conservation, the Lakshmi Narasingha restoration is proof that active involvement and sense of responsibility of the local community is as important, if not more. Local involvement also means that the monuments will be cared for into the future, When locals take ownership of these efforts, the restored monuments are not only protected in the present but are also cared for in the future.