<figure><img width="2128" height="1416" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109181124/636be3129c7e80680e083ee4jpeg.jpg" alt=""/><figcaption>All photos: SANU RAJA MAHARJAN</figcaption></figure>Traditionally celebrated with much vigour and enthusiasm, the Kartik Nach performance in Patan Durbar, revived to 12 days after many decades last year, was cut short and subdued this year because of the pandemic.Organisers did not admit any visitors and sealed off the ancient square during the dance that was limited to two days. <img width="1672" height="2505" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109181124/636be3159c7e80680e083ee5jpeg.jpg" alt=""><img width="1960" height="1309" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109181124/636be3189c7e80680e083ee6jpeg.jpg" alt="">“It took a lot of convincing to get the dancers to perform this year, due to the coronavirus scare, especially as parents of minors were unrelenting,” says Kiran Chitrakar, chairperson of the Kartik Nach Conservation Committee. “The moral stories require crowds to learn from them and the absence of an audience was a demotivating factor.”Kartik Nach is one of the oldest and consistently staged pyakha in Patan started by King Siddhi Narsingh Malla in the mid 17th century to educate people on their civic duty through dance drama. It takes its name from the lunar month of Kartik and is staged at Kartik Dabu, the elevated platform in Patan Darbar Square.  <img width="1740" height="2606" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109181124/636be31b9c7e80680e083ee7jpeg.jpg" alt=""><img width="2128" height="1416" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109181124/636be31f9c7e80680e083ee8jpeg.jpg" alt=""><img width="2128" height="1416" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109181128/636be3239c7e80680e083ee9jpeg.jpg" alt="">In the number of days that Kartik Nach spans, there are separate segments of different dance dramas with performers portraying various Hindu deities, told in the format of episodes. Last year it was held for 12 days after being revived by Patan’s current mayor Chiri Babu Maharjan. The annual tradition with such high historical and cultural importance runs on a shoestring budget and has been struggling even before the pandemic. <img width="2008" height="3008" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109181128/636be3279c7e80680e083eeajpeg.jpg" alt=""><img width="640" height="427" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109181128/636be32a9c7e80680e083eebjpeg.jpg" alt=""><img width="1408" height="940" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109181128/636be32d9c7e80680e083eecjpeg.jpg" alt="">Lalitpur Metropolitan City provides Rs200,000 for the annual performance but it is insufficient to support the dance crew, and this time, according to Chitrakar the finances have not come through yet.

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Patan’s dance of the deities

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141124/636a587f9c7e80680e05483bjpeg.jpg" alt="" width="3000" height="1886"/><figcaption>All photos: SAMIR SHRESTHA</figcaption></figure>As Kathmandu got ready to celebrate Yenya Punhi (Indra Jatra) with its Kumari chariot procession last week, the masked dancers were also getting ready for their popular street performances.Laxman Ranjit was inside the Lakhey House in the Basantapur Square in Kathmandu, preparing for the ritual. The dancers do not just don masks, leg bells, and colourful flowing skirts, they have to actually go into a divine trance where they become the embodiment of the gods and demons they represent.Whoever wears the mask gets energy from it, and is consumed by its holy aura. As other devotees help Laxman Ranjit get dressed up, his demeanour changes. It looks like the spirit is already entering his body.Finally, a white turban is wrapped on his head which will hold the mask on his head. Four men  hold Ranjit on either side to restrain him as the red lakhey mask is put on.As he is led to the door, there are some rituals to perform: an oil lamp is waved in front of his face as Ranjit’s body starts to shake – at first imperceptibly, but with more and more energy.  Outside on the street, hundreds of people are waiting eagerly for the first lakheys to emerge, as they have for centuries before.Once out of the Lakhey House Laxman Ranjit’s energy explodes like a volcano. The shouts and screams of the crowd seems to energise him even more as he leaps, and spins like a dervish.Masked dancers are ordinary people going about their daily jobs the rest of the year, but at Indra Jatra, designated masked dancers are possessed by the divine spirit and can change into powerful demons or gods just by putting on the holy mask.It is the power of faith, devotion and a responsibility to carry on the culture of their forebears that keeps this festival of the Kathmandu Valley Civilisation alive.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141124/636a58829c7e80680e05483cjpeg.jpg" alt="" width="3000" height="1762"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141124/636a58859c7e80680e05483djpeg.jpg" alt="" width="3000" height="1887"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141124/636a58889c7e80680e05483ejpeg.jpg" alt="" width="3000" height="1869"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141124/636a588c9c7e80680e05483fjpeg.jpg" alt="" width="3000" height="1765"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141124/636a588f9c7e80680e054840jpeg.jpg" alt="" width="3000" height="1950"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141124/636a58929c7e80680e054841jpeg.jpg" alt="" width="3000" height="1933"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141124/636a58959c7e80680e054842jpeg.jpg" alt="" width="3000" height="1993">Read also:<a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="https://www.nepalitimes.com/banner/kathmandu-celebrates-yenya/" target="_blank" rel="noopener">Kathmandu celebrates Yenyā</a>, Monika Deupala

Getting behind the divine mask

<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141112/636a56639c7e80680e054787jpeg.jpg" alt="" width="1500" height="1000"/>Hindu women celebrate Tij all over Nepal, wearing red saris, jingling red bangles and colorful ornaments. They sway to the beat of Tij songs, as they fast all day.Traditionally, women of Nepal celebrated Tij for the long life of their husband or to find a good husband. Shiva temples all over the country are flooded with devotees today as women wait in line for hours to pray and get blessings from lord Shiva.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141112/636a56679c7e80680e054788jpeg.jpg" alt="" width="1500" height="1000"><figcaption>Women gather at Sanga, Bhaktapur, on 2 Sep 2019 to celebrate Tij. Photos: Monika Deupala</figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141112/636a566a9c7e80680e054789jpeg.jpg" alt="" width="5616" height="3744"><figcaption>Women dress up in colorful ornaments for the day.</figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141112/636a566e9c7e80680e05478ajpeg.jpg" alt="" width="5616" height="3744"><figcaption>A woman's plate full of offerings for the worship.</figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141112/636a56729c7e80680e05478bjpeg.jpg" alt="" width="1500" height="1000"><figcaption>Most women dress up in red for the day, which is considered an auspicious colour.</figcaption></figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141112/636a56769c7e80680e05478cjpeg.jpg" alt="" width="1500" height="1000"><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141112/636a567a9c7e80680e05478djpeg.jpg" alt="" width="5616" height="3744"><figcaption>A woman puts on auspicious red tika on her forehead for Tij.</figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141112/636a567e9c7e80680e05478ejpeg.jpg" alt="" width="1500" height="1000"><figcaption>A woman prays at Doleshwar temple, Bhaktapur.</figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141112/636a56829c7e80680e05478fjpeg.jpg" alt="" width="5616" height="3744"><figcaption>A woman on the premises of Doleshwar temple, Bhaktapur.</figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141112/636a56869c7e80680e054790jpeg.jpg" alt="" width="5616" height="3744"><figcaption>A woman whispers into the ears of Nandi, Lord Shiva's bull, in the hope that he will get her wishes to the god faster.</figcaption></figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141112/636a568b9c7e80680e054791jpeg.jpg" alt="" width="5616" height="3744"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141116/636a56909c7e80680e054792jpeg.jpg" alt="" width="1500" height="1000"><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141116/636a56939c7e80680e054793jpeg.jpg" alt="" width="5616" height="3744"><figcaption>Women dance to entertain themselves during their fast on the day of Tij.</figcaption></figure>

Women celebrate Tij

<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108131140/636a4e309c7e80680e04fca0jpeg.jpg" alt="" width="2274" height="1536"/>Human trafficking makes for dramatic stories of suffering, struggle and survival, which is why it is frequently the theme on stage and screen performances. But few, perhaps, with the grace and poignancy of The Flight, presented by Solis Performing Arts and One World Theatre at the Russian Cultural Centre 4-7 July.This immersive musical dance-drama directed by Alizé  Biannic portrays not just the victimisation of young women and their emotional journeys, but tells their story through contemporary European-style dance steps.The sheer physicality of the play makes the strongest impression, whether it is the women with the trembling knees, the exhibition of half-dressed, cowering women in front of leering men who, measuring each woman with their eyes and hands, menacingly circle them and haul them over their shoulders like sacks of potatoes.Read also: <a href="https://www.nepalitimes.com/review/all-the-world-is-a-stage-in-kathmandu/" target="_blank" rel="noopener">All the world is a stage</a>, Sewa BhattaraiWith minimal dialogue, every emotion -- terror, anger, guilt, hope -- is communicated  through body movements, which is fitting because the subject matter revolves around physical relationships. Every action sequence has been framed carefully for visual appeal even when the emotions depicted are negative.“I wanted every scene to look like a painting, because visual impact is very important in such a performance,” explained director Biannic, who trained the actors, most of whom Nepali non-dancers, in ballet-inspired moves so that they look almost as graceful as her.The play does not just take us through the physical journeys of the characters, but also their emotional, spiritual and psychological ones. It starts with a young man whose family is involved in the ‘flesh trade’, and he wonders if he should join in. His journey begins with confusion, then acceptance, then guilt and finally abandonment of this trafficking activity.Read also: <a href="https://www.nepalitimes.com/review/private-is-political/" target="_blank" rel="noopener">Private is political</a>, Sewa Bhattarai<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108131140/636a4e349c7e80680e04fca1jpeg.jpg" alt="" width="640" height="843"><figcaption> </figcaption></figure>“I want to depict the phenomenon from many aspects, including the story of how young men are unwittingly trapped in this vicious circle. Violence breeds violence, and you cannot expect love out of someone who has never seen it. This creates a chain of negativity where young men reproduce the behaviour they have seen,” says Biannic who met with several trafficking victims before writing and directing this play.She wants to draw attention to continued trafficking of Nepali women to brothels in Nepal and abroad. The journey of the women is artfully invoked through symbols and visual metaphors. An eagle, a bird associated with power and spirituality, brings hope to the women. The women bathe, suggesting a spiritual cleansing even when their bodies have been defiled. The women look for an escape from their hell, their bodies writhing and contorting with agony. When they together overcome their pain, the choreography  turns fluid and lithe.Read also: <a href="https://archive.nepalitimes.com/article/nation/why-is-female-sexuality-still-a-taboo-in-Nepal,2908" target="_blank" rel="noopener">Taboo no more</a>, Ayesha ShakyaBiannic has blended classical Tchaikovsky and Stravinsky to create an intense background score that plunges and soars with the storyline. This and the ballet lends the production a strong European flavour, but the story and performance packs an emotional punch that is distinctly Nepali.The FlightDirected by Alizé BiannicRussian Cultural Center4-7 July, 1:30 PM &amp; 6:00 PM<h2>Biannic brings new edge to the Nepali stage</h2>With her flitting butterfly moves and gravity-defying leaps, Alizé Biannic is mesmerising on stage. The ballet-trained artist’s approach to dance may be European, but her animated conversation and emotionally charged approach to art certainly strikes a chord here in Nepal. The French national has been living here for the past six years, creating and acting in plays that have added a cosmopolitan flavour to Nepali theatre.Biannic started learning dance when she was 13 in Germany and Spain before working at The Royal Ballet in London. She developed her own style which merged acting and dancing because she thinks the combination works better. In 2013, she came to Nepal to take a year off, and has stayed here ever since.She met a child while working in a Kathmandu orphanage who is acting in her current production, The Flight. “I realised that I wanted to work with people who are clear and open minded because it made me realise that my life was missing something,” confesses Biannic. “I want my life to have meaning, which I found in Nepal.”<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108131140/636a4e379c7e80680e04fca2jpeg.jpg" alt="" width="640" height="960">Biannic takes the same approach to her work, where she likes to imbue every frame with meaning. Her actors do not just stand in the background, their body positions and movements are minutely choreographed, conveying specific emotions relevant to the scenes. Each person or object has a well-defined role to play in every scene, and every frame looks like a painting.Biannic recently opened Solis Performing Arts, a school which teaches dance, acting and music. And when she is not teaching, she is acting or directing, and has since produced six plays and acted in others, including Arjuna’s Dilemma.“I want to make the best of available resources to create quality drama right here in Nepal,” says Biannic, while adjusting the props, lighting, music, and costumes during a dress rehearsal on Wednesday. “Proper attention to technical details really raises the quality of production, and that should not be neglected.”

Dance-drama takes trafficking head-on

https://youtu.be/1Ur3EvdiaikDevotees lined up inside the Tashi Chhyoling Gumba of Nalma village, Lamjung, recently on Buddha Jayanti to prepare the Ghatu dance. Interestingly, although the day begins with offerings and lamps for the Buddha, the dance begins by invoking Hindu gods.Ghatu seems to bring many cultures and languages together across the mountains of Central Nepal. In Nalma village, a two-hour ride from the district headquarter of Besishahar, four young girls are dressing up in traditional Gurung costumes to prepare for the dance. The rituals actually begin in January on the festival of Shree Panchami, when the dancers are selected. They are then trained until the performance starts on Buddha Jayanti, and goes on for up to a week. <img width="575" height="1024" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108121144/636a41ef9c7e80680e04a6a4jpeg.jpg" alt=""/>On full moon day the dancers line up in a community building at the center of the village, and begin swaying slowly to the music as village elders sing to the beat of the madal. Ghatu tells the tragic story of King Pashramu and Queen Yambawati: Pashramu goes on a hunt, meets and marries Yambawati, and they have a child. Pashramu is killed in action, Yambawati self-immolates on her husband's pyre. The dance climaxes with Yambawati's grief as she gives up her kingdom, says goodbye to her little son, and embraces death. The dancers go into a trembling trance as they perform for hours.Ghatu dance is performed all over central Nepal by Gurung, Magar, Dura, Balami and Kumal communities. But no one is sure how it originated. "It was passed down to us by our ancestors, but they did not tell us where they learnt it or how it began," says Jung Bahadur Gurung, dance teacher in Nalma. "People believe it's based on a local story, and that Pashramu and Yambawati were a local Gurung king and queen."Gurung knows the songs, but says he does not know what language they are in. It sounds like Tharu or Bhojpuri, languages spoken in southern Nepal. Since Pashramu meets Yambawati when he is out hunting and far away from his mountain homeland, some people speculate that queen Yambawati was a woman from the Tarai and brought the songs with her. The Gurungs also do not have the practice of sati depicted in the dance. Considering this and other factors, folk music expert Kishor Gurung concludes that Ghatu was actually brought to Nepal by Lahures who went to India. "Nepali soldiers who joined the British Indian armies must have brought it back with them 150-200 years ago."Professor Yubaraj Gurung thinks the dance is essentially a way for the community to comes to terms with pain and relate it to Yambawati's grief. But there is agreement on what makes the dancers go into a trance as they dance with their eyes closed, swaying slowly to the music."The dancers sometimes don't even know the story, but go with the flow and where the music takes them," says folk music researcher Jhuma Limbu who is making a documentary about Ghatu. "It is a matter of great pride that music which explores the depths of human psychology is still alive in Nepal. We must do our best to preserve it." <img width="2000" height="1123" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108121148/636a41f29c7e80680e04a6a5jpeg.jpg" alt="">As with most folk art, this music has been passed down and preserved orally, and it is known to affect the dancers anytime it is played. Grown women who were former dancers sometimes fall into a trance when they hear the music. Villagers here forbid recording the music, and the performances only happen at designated times.With the march of time, interest is waning in such lengthy dances when other means of entertainment are easily available, says musician Raju Gurung: "It is a very sad that people are losing interest in the ritual part of the dance and it is becoming more and more commercialised. We love our dance very much and would like to preserve it, but it is a losing battle."

Ghatu dance of Lamjung

<figure><img width="1500" height="1020" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108121140/636a40819c7e80680e04a625jpeg.jpg" alt=""/><figcaption>Nyatapola Temple</figcaption></figure>Located at the heart of Bhaktapur in Taumadi, Nyatapola is the tallest temple in Nepal at 30 metres. This five-storey 18th century Malla-era temple, also listed in the World Heritage Site, is a shrine of goddess Siddilaxmi, considered a manifestation of tantric power. The temple took seven months to complete between 1701 to 1702 BS, and did not suffer any major damage in the 2015 earthquake.Himalayan Destinations recently organised a cultural night where 34 foreigners dressed in traditional Newari customs showcased Newa lifestyle. Mahakali dance was performed during the program. <figure><img width="1500" height="879" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108121140/636a40859c7e80680e04a626jpeg.jpg" alt=""><figcaption>A woman weaves traditional fabric in front of the temple</figcaption></figure><figure><img width="1500" height="1000" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108121140/636a40899c7e80680e04a627jpeg.jpg" alt=""><figcaption>A woman plaits straw to make a mat</figcaption></figure><figure><img width="1500" height="865" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108121140/636a408d9c7e80680e04a628jpeg.jpg" alt=""><figcaption>An elderly woman spins thread out of cotton balls</figcaption></figure><figure><img width="1500" height="1022" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108121140/636a40909c7e80680e04a629jpeg.jpg" alt=""><figcaption>Women in traditional Newar costume Haku Patasi demonstrate the way of making chiura or beaten rice using large wooden mortar and pestles</figcaption></figure><figure><img width="1500" height="946" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108121140/636a40939c7e80680e04a62ajpeg.jpg" alt=""><figcaption>A woman prepares food in an earthern pot over traditional Newari mud stove </figcaption></figure><figure><img width="1500" height="959" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108121140/636a40969c7e80680e04a62bjpeg.jpg" alt=""><figcaption>Locals display pottery from Bhaktapur's famous pottery square</figcaption></figure><figure><img width="1500" height="1000" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108121140/636a409a9c7e80680e04a62cjpeg.jpg" alt=""><figcaption>Artists perform Mahakali dance, a traditional masked dance from Bhaktapur</figcaption></figure><figure><img width="1500" height="1018" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108121140/636a409d9c7e80680e04a62djpeg.jpg" alt=""><figcaption>Children participate in the Mahakali dance</figcaption></figure><figure><img width="1500" height="1000" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108121140/636a40a09c7e80680e04a62ejpeg.jpg" alt=""><figcaption>Mahakali dance</figcaption></figure>All photos: Bharatbandhu Thapa

Nyatapola alight

Fenerbahçe Beko won the Turkish Airlines EuroLeague finals in Abu Dhabi, held 23-25 May, defeating Monaco 81-70 in the final. Olympiacos, who defeated Panathinaikos 97-93, finished the series in third place. The Most Valuable Player (MVP) of the final match, Nigel Hayes-Davis from Fenerbahçe Beko, received a prize of 1,000,000 Miles&amp;Smiles from Turkish Airlines’ Chief Commercial Officer Ahmet Olmuştur. The carrier has been the title sponsor of the Turkish Airlines EuroLeague, a top tier tournament, since 2010.

Turkish Basketball

Thousands of Nepali students dreaming of an American education have been forced to look elsewhere as the Trump administration’s visa restrictions make their future uncertain.
The US was long considered a top destination for higher studies, making Nepal the 10th biggest country of origin for international students in America.&nbsp;
However, that number has seen a significant decline with the total for Nepali students now at 16,482. Some 8,000 Nepali students obtained no-objection certificates to study in the US from the Ministry of Education in the past year.&nbsp;
India, Australia, Canada, South Korea, United Kingdom and Japan are the other popular destinations for Nepali students. There are no clear numbers for Nepalis going to India, but a slight decline was noted this year after the deaths of two female students.
The US State Department has issued a circular to its embassies not to issue new visas to applicants until further notice. US Secretary of State Marco Rubio in the directive stated that the department planned to expand the screening of applicants' social media.&nbsp;
While new applicants are barred including those applying for visitor visas, students with scheduled interviews are allowed to proceed.
“Many of our students are affected by the new restrictions, but those who had applied for student visas earlier have got interview dates,” one Kathmandu-based college counsellor told us.
Meanwhile, even foreign students with spotless records already in the US have not been spared, as visa scrutiny intensifies under the new policy. In a move that underscores the growing sense of insecurity, many US colleges advised international students to carry their passports and documents at all times, even when traveling locally.
“Me and my friends did not go home this summer because we were not sure we would be allowed back, so we just went to Niagara Falls,” said a Nepali undergrad in Ohio, who like many interviewed for this report did not want her name used for fear of repercussion.
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Nepali students have adopted a cautious stance, with many choosing not to return home during summer vacation due to fear of visa revocations as well as travel bans. Meanwhile, over 7,000 Nepalis with Temporary Protected Status (TPS) will have to come back to Nepal by 5 August or face deportation. Thirty-seven were flown back to Kathmandu on Omni Air last week.
“The US is one of the most sought-after destinations for higher education, and the ban will definitely impact bright students,” says Narottam Aryal of the King’s College in Kathmandu.
Indeed, Nepali undergraduates admitted into Ivy League colleges for the 2025 academic year have been asked to look for alternatives. The entire Fulbright Foreign Scholarships Board resigned on Wednesday citing interference from the Trump administration on the selection of this year’s cohort. Some Nepali students already on Fulbright scholarships have noted disruptions, delays and even cancellation of stipends.&nbsp;
The student visa restrictions were initially just for foreign students admitted to Harvard University, but it was later extended to all Chinese students and now to all students. Universities like Columbia which actively recruit foreign students, face sharp enrolment declines, threatening their financial stability and diversity.
An Indian female PhD candidate at Columbia University had her visa revoked by the US State Department, and said she was targeted on the basis of her social media posts on Israeli military attacks in Gaza. Social media vetting of political activism has raised concerns about privacy and freedom of expression in a country where such rights were a given.
Many students have been informed via email that their visas have been revoked for getting speeding or parking tickets, but even others with no criminal record have been affected. The fear of deportation looms large amongst international students, including those from Nepal.&nbsp;
For most Nepalis who migrate to the US for education, the journey is a high-stakes investment. They come largely from middle-class families, often rely on a patchwork of scholarships, work-study programs, loans, or even the sale of family assets to afford fees.
Most Nepali students pursue STEM subjects which offer extended Optional Practical Training (OPT) periods that help fund their education. But with the US backsliding on education and humanitarian matters, countries like the UK and Canada are becoming more attractive despite their own recent stricter controls on student visas.&nbsp;
The UK universities saw a 63% rise in Nepali students’ admissions in 2024. Japan is another popular destination with 64,816 Nepali students enrolled as of 2024.
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Already, China, Hong Kong and Malaysia are poised to benefit from the increased scrutiny of US student visas. Several Hong Kong universities are offering unconditional admission to affected students, while Malaysian institutions are targeting previously US-bound Asian students. China and India have 330,000 and 280,000 students respectively in America, but the numbers for China have seen a sharp drop in the past year.
Elsewhere, branch campuses of American institutions such as NYU in Abu Dhabi, Georgetown in Dubai and Northwestern in Doha are getting more admission applications, and universities in the Gulf region are expanding infrastructure to accommodate those who would otherwise have gone to the US.&nbsp;
Even educational institutions in Nepal are hopeful that the US visa restrictions can be an opportunity to at least keep Nepali undergrads in Nepal, and also attract foreign students from the region.&nbsp;
“Many students might choose to complete their undergraduate degree here in Nepal and then move abroad for their Master’s degree later,” says Aryal of King’s College. “There was a need for quality higher education in Nepal anyway in terms of innovation and opportunities, so this could be the time to reduce our dependence on other countries.”
Nepal’s strategic position between India and China makes it sensitive to US policy shifts. India, a key ally, is also under US scrutiny for potential student travel restrictions. Chinese universities are already offering more scholarships to Nepali talent to capitalise on the US retreat.
American universities have challenged student visa restrictions in the courts. A federal court in Boston revoked the blanket ban on Harvard, and the State Department has ordered the resumption of processing student and exchange visitor visas.&nbsp;
Some are still hoping that President Trump will backtrack on the student visa restrictions, just like he has done with many of his more drastic executive orders.
Even so, the visa see-saw and longer-term uncertainties about living in the United States and its education system means students across the world are making alternative plans.
Says Aryal: “Policies of foreign countries change according to their needs, so excessive dependence was never a good idea. We should work to create different opportunities and choices of higher education within Nepal, so students are retained.” &nbsp;

America no longer prime destination for Nepali students

That winter day in January 1664 marked an exceptional event in the reign of King Pratap Malla of Kathmandu. It was 15 Paush 784 of the Nepal Sambat and for the first time, a historical event was being immortalised on canvas for generations to come.&nbsp; The occasion was the grand Tuladaan ceremony of the King’s youngest son Chakrabartendra Malla from his wife Anantapriya, an Indian princess from Cooch Behar in present-day Assam.&nbsp; During the ritual, the prince was weighed against gold, silver, pearls, and other precious stones, which were then offered to Goddess Taleju Bhavani, the guardian deity of the Malla dynasty.&nbsp; The 170 x120cm painting captures the time of King Pratap Malla in all its splendour and is more than a personal tribute to his son: it is a significant visual historical document. It was evidently completed five years later in 1669, and could be considered a photographic record, with retrospective recreation of the event by the unknown artist. A Tuladaan ceremony is performed to purify one’s karma, quell impending bad luck, or as an act of charity and devotion. Chakrabartendra Malla was not well, and the ritual was performed in hopes of restoring his health. King Pratap Malla had arranged for each of his sons to take turns ruling Kathmandu so they got administrative experience. But Chakrabartendra died just two days after assuming power in 1670 (790 NS). This painting is considered the earliest known example in which the composition is dominated by an architectural landscape: the Taleju Temple. Given the stylistic features such as side-profile facial depictions and the rendering of human forms, it is believed that the Nepali artist was trained by a Rajput master.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250615040624_ddad3bc27a327e3f9926c8473287e4f14b53081296c295049009f327a4d97051.jpg" data-media-id="editor_0" data-image-id="20250615040624_ddad3bc27a327e3f9926c8473287e4f14b53081296c295049009f327a4d97051" data-rendition-name="original" width="3248" height="4395" loading="lazy" alt="Tuladaan NT"> </figure>  During that era, there were regular exchanges of artists between Northern India and Kathmandu Valley. The painting is also a melding of Nepali, Tibetan, Mughal, and Rajput art styles of the time. Pratap Malla could have been inspired by a painting of Mughal Emperor Jahangir’s Tuladaan ceremony for his son Khurram in 1607. The Mallas and Mughals shared cordial relations, which is reflected in the cultural influences seen in the art and attire of the period.&nbsp; The clothing of the Malla ruling class, in particular, features colourful tunics, turbans, and jewelry that display strong Rajput and Mughal stylistic elements. The musicians in the upper tier are also dressed in Indian-style clothing, while the ensemble on the lower steps wear local attire, notably without turbans. Their hairstyles also differ, with the lower group wearing their hair tied in a bun at the front. This national treasure is currently in storage at the Collège de France in Paris, and has never been publicly displayed. Nepal’s art scholars like Gautam Vajracharya, Pratap Aditya Pal and Anne Vergati have written about this iconic paubha in the past, but the only detailed study is from the perspective of music history by researcher Richard Widdess who had access to high resolution copies of the original.&nbsp; Widdess from the Department of Music at the School of Oriental and African Studies (SOAS) in London describes the paubha as the most significant and richly detailed documentation of music in Nepali art. He identifies distinct musical ensembles on the terraces of the temple, and remarkably most of them are actively used today. One of them reflects the Mughal naqqārakhāna model — a loud outdoor ensemble typically composed of kettledrums, trumpets, and cymbals, traditionally performed from the gateway of the emperor’s palace to announce his entrances and exits. The depiction of such an ensemble in the tulādāna painting is likely the earliest known representation of a complete naqqārakhāna in Nepal — considered the forerunner of the panche baja, the traditional Nepali ensemble. On the stepped pyramid base of the temple are two groups of musicians playing local instruments: dhimey, bhushya, and dha. They are unmistakably Newar musicians, wearing short skirts and short-sleeved tops, with bare heads and legs—clearly distinguished as local performers.&nbsp; Higher still on the temple pyramid are musicians of apparently higher status, positioned close to the king, and his courtiers, possibly professional court musicians from India, well-versed in rāga and tāla. A dāphā group is also clearly depicted, identifiable by their characteristic instruments.&nbsp; Dāphā bhajan is likely the oldest surviving tradition of Newar devotional singing, and this paubha is the oldest visual record of it. Pratap Malla himself is believed to have composed songs that continue to be performed by dāphā groups throughout Kathmandu till today.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025061211064_d67636730cdc0ec778c02494817aca0b99654f2950d0fae4b95499a61faf7ef3.jpg" data-media-id="editor_1" data-image-id="2025061211064_d67636730cdc0ec778c02494817aca0b99654f2950d0fae4b95499a61faf7ef3" data-rendition-name="original" width="596" height="768" loading="lazy" alt="Priceless paubha in Paris NT"> </figure>  The artist’s thorough attention to musical detail may be attributed to King Pratap Malla’s own deep interest in music. His inscriptions on this painting and elsewhere proclaim his mastery of all branches of knowledge, including music. He is also known as the author of dance dramas and poems, penning his name as Kavindra (king of poets). Some noteworthy elements of new art techniques stand out: for example, the roof of the temple is filled with realistically rendered white doves, pigeons, and crows. This is a rare feature in paubha, where animals and birds are stylised, mythological forms. This remarkably talented unknown artist has managed to also render an orthographic projection: the front and side view of Nepal’s first architectural paubha. The Taleju Temple, with its staggering multi-tiered structure and numerous steps and platforms, is masterfully translated into layers within the painting. This represents a significant artistic achievement of the time, especially considering that dimensional perspectives had not started in deity-based paubha.&nbsp; The artist has also made a meticulous effort to capture architectural details such as the toran (ornamental arch) and temple struts with impressive precision. There are flickering lamps along the steps and some people carrying what appear to be oil pots.&nbsp; It is a full moon night and the dark sky is adorned with all the gods and goddesses, who are depicted as blessing the ceremony while seated on stylised thangka clouds. There is a lot happening in this painting, with people engaged in various activities. The artist has also rendered a forest backdrop behind the temple, complete with deer, trees, and flowers. Could there have once been a royal garden behind the Taleju Temple?&nbsp; More details and clarity can only be achieved if we are able to view the original or a high-resolution scanned version of the artwork. Many countries proudly display art depicting historical events in their national museums with great reverence. France, for example, has The Coronation of Emperor Napoleon and Empress Joséphine by Jacques-Louis David (1808–1822), along with numerous paintings of the Napoleonic Wars. Many were commissioned by Napoleon himself for future generations to remember.&nbsp; For Nepal, the equivalent is the Tuladaan paubha which is a visual record capturing a historic moment involving one of Kathmandu’s greatest kings, on the very day the event took place. Sadly, we await the day when this masterpiece is displayed, shared in high resolution for detailed study, or more rightfully — repatriated to its homeland, where it truly belongs. &nbsp; Shaguni Singh Sakya is the Director of the Museum of Nepali Arts (MoNA) at Kathmandu Guest House in Thamel. <h2>Gods homeward bound</h2> The Nepal Heritage Recovery Campaign and Nepal’s Department of Archaeology are convening the first international conference on the Recovery of Cultural Heritage from 16-18 June in Patan. The conference will address urgent issues of theft, illicit trafficking, the campaign to repatriate looted cultural artifacts, and explore how the return of sacred antiquities contributes to justice, healing, and reconciliation for communities and nations affected by cultural loss. American art crime professor Erin L Thompson and Saubhagya Pradhananga of the Department of Archaeology will deliver the keynote. Meanwhile, author and Nepali Times publisher Kunda Dixit will lead a conversation on Illicit Trafficking: Public Opinion and Role of Media with Erin Thompson, Amr Al Azm, associate professor of Middle East History and Anthropology at Shawnee State University in Ohio, as well as Bradley J Gordon, a lawyer based in Phnom Penh. There will be sessions looking at repatriation perspectives from Cambodia, India, Vietnam, China and Poland, international frameworks for repatriation, emerging digital technologies in the repatriation of cultural heritage, cultural property agreements, museums as well as trends in the art market, and heritage diplomacy and the role of media.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025061211068_59cfccfa8f5d73bfe8b4c5811a7f53abc09ea04e8cb7c638933d62e5283efdf6.jpg" data-media-id="editor_2" data-image-id="2025061211068_59cfccfa8f5d73bfe8b4c5811a7f53abc09ea04e8cb7c638933d62e5283efdf6" data-rendition-name="original" width="1080" height="1350" loading="lazy" alt="Heritage recovery NT"> </figure>  <h2> </h2> Some of the other highlights include James K. Reap, a professor in the Master of Historic Preservation Program at the University of Georgia who has a session on the US response to illicit trafficking. Art historian Lea Saint-Raymond is taking on “Gods at Auction: The Market for Himalayan Artefacts”, while lecturer of criminology at the University of Glasgow Emiline Smith is delving into transformative approaches to heritage ownership and repatriation. Helena Arose of Antiquities Coalition and Melina Antoniadis of NOSTOS Strategies that specialise on the return home of cultural heritage as well as Hao Liu of International Cultural Heritage Law at the School of Law at Shandong University are some of the others attending. The Nepal Heritage Recovery Campaign was set up in 2020 to develop a coordinated movement to reclaim Nepal’s stolen gods and goddesses, with an aim to ensure that recovered items are returned to their original shrines, niches or sanctums. Ahead of the conference opening organisers have arranged for a film screening of Loot &amp; Return: 4 Documentaries at YalaMaya Kendra in Patan Dhoka between 14-15 June. Following the conference is a multimedia exhibition titled Absent Gods: Nepal’s Lost Heritage from 31 July to 4 August at Patan Museum.

Priceless paubha in Paris

While Nepal was hosting the Sagarmatha Sambaad international climate conference in Kathmandu this month, on Mt Everest it was pretty much business as usual.&nbsp; The signs of climate breakdown are all there: a river now runs through Base Camp in summer, the Khumbu Icefall is more unstable, and there are more &nbsp;frequent avalanches. When expeditions arrived in March, the mountains were bare: it had not snowed since September, but then blizzards dumped unseasonal snow in May. And despite climate worries, such is the pull of Himalayan mountaineering that the Everest Industry showed no signs of slowdown. More than 600 international climbers and their Nepali guides had made it to the summit of the world’s highest mountain. At one point there were an estimated 2,000 people in the tent city on the Khumbu Glacier. All the ropes and ladders on the Icefall came down on Thursday, marking the official end of the spring climbing season, and just in time to avoid a monsoon cyclone approaching from the Bay of Bengal. It has been an action-packed season. One factor could be that Everest fees will go up from September: each foreign climber needs to pay a $15,000 royalty, up from the present $11,000. The cost for a Nepali climber on the South Col route will also go up: from Rs75,000 to Rs150,000.&nbsp; The fee to climb Everest in autumn is $7,500 (up from $5,500), but most climbers still prefer spring. Winter permit fee (December-February) is only $3,750 per person and the mountain is now also open for monsoon (June-August) climbs, when the fee is ever lower at $2,750. The revised rule also makes it mandatory for every two climbers on an 8,000m peak to hire one Nepali mountain guide.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025053004050_67f856fe52714e4bdcf21ae7d45c6f18c82117b9d0a5f73ed1efa04c96de1046.jpg" data-media-id="editor_0" data-image-id="2025053004050_67f856fe52714e4bdcf21ae7d45c6f18c82117b9d0a5f73ed1efa04c96de1046" data-rendition-name="original" width="931" height="732" loading="lazy" alt="The Everest Industry graph 1"> </figure>  In addition, climbers also have to pay for porters and guides, equipment, Base Camp costs, Ice Fall and fixed rope team fees, so climbing Everest does not come cheap. But such is the draw of climbing the world’s highest peak that some say the increased fees will not diminish the crowds next year. The government has tried to spread expeditions out to other seasons and other 8,000ers, but with not much success. Earlier this year, Nepal unilaterally increased the number of 8,000m peaks to 14 by adding six more sub-summits to broaden the choice for climbers. Added were: Yalung Kang (8,505m), Yalung Kang West (8,077m) &nbsp;Kangchenjunga Central (8,473m), Kangchenjunga South (8,476m), Lhotse Middle (8,410m) and Lhotse Shar (8,400m).&nbsp; The announcement could go against the accepted topographic criteria that a stand alone peak has to be at least 300m higher than an adjoining prominence, and at more than 3km isolation from it. The UIAA (Union Internationale des Associations d'Alpinisme) still recognises only 14 mountains as eight-thousanders, and only eight of those are in Nepal, or on the border with China. Nepal’s revised mountaineering regulations also increased the insurance coverage of high-altitude workers to protect porters and high altitude guides who usually take more risks on the mountains. Rescue teams and clean-up campaigners to collect trash and remove bodies of dead climbers up to Camp IV of Mt Everest do not need permits.&nbsp; The Sagarmatha Pollution Control Committee is now using drones to fly down trash in 20kg sacks. Each climber is also required to bring down at least 6kg of waste and not just their own, but this rule is erratically enforced. With five fatalities on Everest and Lhotse, Spring 2025 had a historically low death toll. Another five climbers died on Annapurna, Kangchenjunga and Makalu.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025053004050_38681de22f0fefb6faa12b01755566d09c5064d0ff84e12ccc7b5d68ea9ba38a.jpg" data-media-id="editor_1" data-image-id="2025053004050_38681de22f0fefb6faa12b01755566d09c5064d0ff84e12ccc7b5d68ea9ba38a" data-rendition-name="original" width="665" height="740" loading="lazy" alt="The Everest industry graph 2"> </figure>  Journalist Ben Ayers who ran the Everest Live social media channel from Everest Base Camp with daily updates credited the low death rate to dramatic rescues of climbers from the ‘Death Zone’ by their Nepali guides and longline helievacs — the visuals all uploaded on YouTube.&nbsp; “Ironically, this perception of safety is bringing more and more inexperienced climbers to the mountain, and they need more rescues,” Ayers said in one of his dispatches.&nbsp; American expedition chronicler and summiteer Alan Arnette suspects there is a lot of under-reporting given that the jet stream and storms were lashing Everest even till late in the season. He told us: “I heard a lot about frostbite and rescues that were not made public. It’s become practically impossible to cover the details on Everest. All the teams report nice news, and they don’t talk about bad stuff to avoid hurting businesses.” Although trash on Nepal’s mountains makes headlines, what does not receive as much attention is the climate impact of so many expeditions. The Sagarmatha Sambaad conference sidestepped this issue, which is ironic given that the impact of climate breakdown is most evident on Himalayan peaks and their glaciers.&nbsp; <h2>Need for Speed</h2> The big stories this year have been about speed-running from their home cities to the top of Everest. Ukrainian entrepreneur Andrew Ushakov flew out of JFK on 15 May at 10:15AM Nepal time, and was on the summit 3 days, 23 hours, and 7 minutes later on 19 May at 9:22AM.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250601080640_1c5cc6fc991307861768f07037ed9d30930fb20f35dbb57dc31c9a92a9e1a885.jpg" data-media-id="editor_2" data-image-id="20250601080640_1c5cc6fc991307861768f07037ed9d30930fb20f35dbb57dc31c9a92a9e1a885" data-rendition-name="original" width="1440" height="1800" loading="lazy" alt="The Everest Industry"> <figcaption>Andrew Ushakov at the summt. Photo: ELITE EXPED</figcaption> </figure>  “I could never find the time for the traditional 40-50 days of acclimatisation,” Ushakov explained matter-of-factly. His ‘Everest Sea-to-Summit’ climb was possible because he spent 400 hours in hypoxic sleep tents over the past four years in New York. However, Ushakov did use ropes already fixed, hired four Nepali guides, helicoptered to Base Camp, and used much more oxygen than an average climber. And after the climb, Ushakov was arrested at Kathmandu airport for being in possession of $20,000 of undeclared cash and spent a night in jail and fined $60,000.&nbsp; The other speedsters were Garth Miller, Alastair Cairns, Anthony Stazicker, and Kev Godlington, all former British Army commandos. They left London and summited five days later on 21 May, and flew right back. They also used hypoxic tents to simulate the thin air high on Everest.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250601080644_90c8dd5cc07b4b43f2989b1dc0c0650ab80f10ebb06680c25a6909c519957bd8.jpg" data-media-id="editor_3" data-image-id="20250601080644_90c8dd5cc07b4b43f2989b1dc0c0650ab80f10ebb06680c25a6909c519957bd8" data-rendition-name="original" width="810" height="668" loading="lazy" alt="The Everest Industry "> <figcaption>All four members of the Furtenbach team at the summit. Photo: Sandro Gromen-Hayes</figcaption> </figure>  But more controversial was their use of xenon gas therapy in a German hospital to ramp up the production of oxygen-carrying haemoglobins in their blood. Xenon is banned by the World Anti-Doping Agency for being performance enhancing in sports. Expedition leader Lukas Furtenbach said this rule does not apply to mountaineering, as it is not a regulated sport like swimming. Nepal has no rules about xenon, but the Department of Tourism said it was launching an ‘investigation’ to decide on future policy since it is difficult to ban xenon, but allow oxygen. The controversy has also divided the mountaineering community, with some climbers saying they just want to maximise their chances of survival. Spending less time on the mountain could make climbing safer by reducing avalanche risk. It would also mean less trash on the mountains, but it would reduce the income of Nepal’s expedition industry. It is also unclear how much of the success was due to xenon therapy and whether the ex-special forces were already in good physical shape.&nbsp; The need for speed hides the fact that climbing in the Himalaya is dangerous business, and climbers cannot sprint to the top just by huffing xenon. But ultra-fast climbs could be charged more, and the revenue generated can be used to establish state-of-the-art rescue operations, and increase pay and insurance for guides. Two other speed chasers this season were Swiss-Ecuadorian Karl Egloff and American Tyler Andrews, both on Everest without oxygen. Andrews choppered to Base Camp to catch a weather window, but turned back from 8,500m due to high winds. Heavy snow and wind also forced Egloff to descend from 7,000m. Slow and steady climbers like Anja Blacha from Germany did make it to the summit without oxygen, while Kami Rita Sherpa broke his own record with his 31st Everest summit as he led a 26-strong Indian Army group. There were 468 permits issued for foreign climbers from 48 expeditions to Everest this spring. Nepal’s other eight-thousanders together had only 17 expeditions. Nepal has more than 1,000 peaks above 6,000m, and has opened only 476 of them for climbing.&nbsp;