<figure><img width="2456" height="1632" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114131140/637237749c7e80680e0c732ejpeg.jpg" alt=""/><figcaption>Photo: DEEPAK TOLANGE</figcaption></figure>When Kathmandu-based filmmaker Deepak Tolange visited the Museum of Asian Art in Berlin seven years ago, he sought out the collection from Nepal (pictured above). It was a large section around the corner from the Tibetan artefacts on the same floor.Among the items was an ornate 70.5cm tall two- storeyed <a href="https://id.smb.museum/object/1714079/buddhistischer-schrein">Buddhist shrine</a> richly decorated, inlaid with precious stones, gold and silver. Three standing bodhisatva were placed in niches on the lower level, and there were three other deities inside the upper chamber.The object represented elements of Newa architecture: the torans, the iconographies, the jala nhyaka, but the roof had Tibetan touches. And, upon inspection, Tolange noticed traces of vermilion and saffron powder on the idols, indicative of continued worship.The Nepali in him was intrigued, Tolange wondered if the antique shrine was stolen from a temple in Kathmandu Valley like many others.The first historical account of a <a href="https://www.nepalitimes.com/banner/who-looted-nepals-gods/" target="_blank" rel="noopener noreferrer">religious object stolen from Nepal</a> is from 1765, when the statue of Narayan disappeared from the Bhagwati temple in Hanuman Dhoka. Plunder peaked in the 1960s, as Nepal started to open up to the outside world. Today, after campaigning by citizen groups and the government, foreign museums and collections are <a href="https://www.nepalitimes.com/banner/the-enigma-of-arrival-of-nepals-gods/" target="_blank" rel="noopener noreferrer">repatriating stolen deities</a>. According to the Department of Archaeology (DoA), in the past decades, 93 religious objects have been returned, of which as many as 19 were repatriated since July.Back in Berlin, Tolange reached out to Bernadette Broeskamp, a researcher of East Asian and Buddhist art at Freie Universität Berlin. Based on his findings, Tolange made a 6-minute short film Buddhist Shrine.“I thought that maybe, if it was indeed stolen, it would be possible to return the shrine to Nepal,” Tolange recalls.The museum dates the ritual object to the 19th century. Provenance record shows that it was sold to the museum in 1936 by one Heinrich Meinhard, but beyond that nothing is known. Tolange speculates that because war was brewing in Europe at the time, Meinhard might have been in need of money which prompted him to sell the object to the museum.There are no other documents, which were either never kept or were subsequently lost during the war. The only thing certain is that Meinhard told the museum that the object was indeed from Nepal.The short film was shown at the museum in 2015, where it was received well. “The Q&amp;A after the screening was very heated,” recalls Tolange. “Everyone wanted to know if the object was really stolen and, if yes, then would it be returned.” The question remained unanswered. <figure><img width="997" height="1200" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114131140/637237789c7e80680e0c732fjpeg.jpg" alt=""><figcaption> </figcaption></figure>Tolange returned to Nepal for three months in 2016 for a field visit as part of his MA. He had been thinking about the altar, wondering if there was a bigger story behind it.He went to Patan to meet Bhim Ratna Shakya, senior sculpture artist, who recalled that his father had made six altars like the one in Berlin. That was a significant clue, and Tolange spoke with historians Satya Mohan Joshi, Sukra Sagar Shrestha, Mukunda Raj Aryal, KVPT’s Rohit Ranjitkar, and went to Boudha to meet the Buddhist monk S Dharmacharya.The conversations shed more light on stolen artefacts, even though he did not get a substantial lead on the shrine in the Berlin museum. “I found out that these shrines, or altars, were often for private use,” Tolange says. “And that people in Mangal Bazar continue to make them.”But the artisans still do not sign their names on the pieces, and that makes it difficult to track them down. “On top of this, when the dealers sell the altars, they sell it at the value of an art object -- while the artisans are paid only the rate of the labourer,” he adds. “Artists does not always get the recognition they deserve, and this practice is ongoing.”Upon graduation, Tolange proposed to the museum that he would add the Nepali side of the story and make another film with the new findings, this time a little longer and more detailed. Titled Buddhist Altar, the 16-minute film was completed in 2022 after much research.After Covid restrictions were lifted, Tolange visited Khenpo Gyaltsen from Rangjung Yeshe Institute and Loponma Ani Phuntsok Wongmo from Hasantar Nunnery. He also went to Buddhist temples and observed traditional rituals at the Golden Temple in Patan, Swayambhu, Boudha and other monasteries in Kathmandu.“I discovered that in many Buddhist shrines, the idol of the Buddha is at the centre, representing his body, with <a href="https://www.nepalitimes.com/here-now/neighbourhoods-save-their-shrines/" target="_blank" rel="noopener noreferrer">chaitya</a> to his right representing his mind and a book to his left representing dharma or his speech, teachings,” Tolange says.Other deities in the shrine depend on the people and the families. In fact, as Bhim Ratna Shakya remarked in the film, any god can go in the chambers.Historians are convinced that the person who crafted the Buddhist shrine in the Berlin museum was a Newa, possibly from Patan, although there is still some doubt regarding where it was actually made, since there are Tibetan influences on it as well. Historically, these shrines were commissioned by families for their use, and the one in Berlin was commissioned too, most likely by Meinhard himself.In the film, which is first and foremost about a quest, Tolange has tried to trace the craft behind the shrine, digging into its past and current practices. Intercut with images of the mountains, the hills and the temples, he also focuses on the religious syncretism in Kathmandu Valley to contextualize the artefact as still being a part of a living culture.The film has been selected to the permanent collection at the Humboldt Forum, where it will be screened next to the shrine itself to mark the inauguration of the Asian section of the Berlin-based centre on 16 September.Tolange also plans to show the film to Nepali audience.Says Tolange: “Working on the film helped me rediscover my country and its cultures. If I hadn't done it, I'd have known nothing about the object and its importance.” Read also: <a href="https://www.nepalitimes.com/here-now/how-nepali-antiquities-got-to-chicago-museum/">How Nepali antiquities got to Chicago museum</a>, Alisha Sijapati

Ashish Dhakal

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How did a Nepali ritual altar end up in Berlin?

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161148/636d1e1f9c7e80680e0af3f3jpeg.jpg" alt="" width="1017" height="531"/><figcaption>Scene from the Czech film 'Its Bean Too Hot'.</figcaption></figure>Films on cultivating coffee sustainably, plastic pollution of oceans, and community media in India were among films that won prizes in 10 categories in the 2021 Global Sustainability Film Awards.The annual awards are given out by the London-based tve (Television Trust for the Environment) with Blockchain World to outstanding films made by corporate entities, activist groups and non-profits. The films are chosen for inspiring audiences with doable solutions for sustainable and equitable growth.The awards were announced earlier this month in London in ten categories selected from over 90 submissions from 27 countries. International jury panels shortlisted the films and the final awardees were selected by experts on environment and film.“I am delighted to congratulate the worthy winners of the landmark 10th tve-GSFA. The global participation in these awards is a matter of great satisfaction indicating the increasing concern organizations and individuals have for the environment,” said Surina Narula of the GSFA.The awards were judged on the basis of five criteria: creativity in storytelling, clarity of communication, audience engagement, relevance to current environmental concerns, and impact.The ten films were effective in raising global awareness, changing public perception and inspiring action, tve said. GSFA seeks to promote effective, credible solutions-oriented storytelling about environmental and sustainability issues.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161152/636d1e229c7e80680e0af3f4jpeg.jpg" alt="" width="1064" height="524"><figcaption>Scene from the Indian entry 'Fixing India: How Community Media Like Video Volunteers Changed During COVID-19'.</figcaption></figure>Among the winners was a documentary on how community video volunteers in India changed its activities to address the socio-economic challenges of the <a href="https://www.devdiscourse.com/news?tag=Covid" data-saferedirecturl="https://www.google.com/url?q=https://www.devdiscourse.com/news?tag%3DCovid&amp;source=gmail&amp;ust=1639809702867000&amp;usg=AOvVaw1liwGNQqif-K5yi7yxGkwb">Covid</a> pandemic that ravaged <a href="https://www.devdiscourse.com/news?tag=India" data-saferedirecturl="https://www.google.com/url?q=https://www.devdiscourse.com/news?tag%3DIndia&amp;source=gmail&amp;ust=1639809702867000&amp;usg=AOvVaw0D1URUCg7lisz_QLBIdO5j">India</a> earlier this year. The film, Fixing India: How Community Media Video Volunteers Changed During COVID 19 won in the the <a href="https://www.devdiscourse.com/news?tag=Adaptation+and+Resilience+Short+Film" data-saferedirecturl="https://www.google.com/url?q=https://www.devdiscourse.com/news?tag%3DAdaptation%2Band%2BResilience%2BShort%2BFilm&amp;source=gmail&amp;ust=1639809702867000&amp;usg=AOvVaw1K7niDr_GHC50fNw1k0z7W">Adaptation and Resilience Short Film</a> category.“It is unique and different from other awards in that it is both a film awards and a sustainability awards — entries are judged on the power of their storytelling and creativity, as well as on the credibility and impact of their content,” it said, adding that the award categories recognized various types of sustainability issues and storytelling formats that sought to address different audiences.The Young Filmmaker Award went to <a href="https://www.devdiscourse.com/news?tag=Hedvika+Michnova" data-saferedirecturl="https://www.google.com/url?q=https://www.devdiscourse.com/news?tag%3DHedvika%2BMichnova&amp;source=gmail&amp;ust=1639809702867000&amp;usg=AOvVaw082YodrMti-pmYfTz8AjA0">Hedvika Michnova</a> (Czech Republic) for It's Bean Too Hot (UK); Financing Sustainability Award to Our Planet: Too Big To Fail (UK); Transforming <a href="https://www.devdiscourse.com/news?tag=Society+Award" data-saferedirecturl="https://www.google.com/url?q=https://www.devdiscourse.com/news?tag%3DSociety%2BAward&amp;source=gmail&amp;ust=1639809702867000&amp;usg=AOvVaw2-ZktLuoVSZEjWQQ1eKI5s">Society Award</a> to S.T.O.P. (Stop The Ocean Pollution) (Czech Republic); and Documentary Impact Award to Thank You for the Rain (UK).The AI and Digital Innovation Award went to The Life Value of Energy (Singapore); <a href="https://www.devdiscourse.com/news?tag=Nature+Based+Solutions+Award" data-saferedirecturl="https://www.google.com/url?q=https://www.devdiscourse.com/news?tag%3DNature%2BBased%2BSolutions%2BAward&amp;source=gmail&amp;ust=1639809702868000&amp;usg=AOvVaw2P3eB7fbDGIf_FxL97WUDU">Nature Based Solutions Award</a> to Voice Above Water (US); <a href="https://www.devdiscourse.com/news?tag=Energy+Transitions+Award" data-saferedirecturl="https://www.google.com/url?q=https://www.devdiscourse.com/news?tag%3DEnergy%2BTransitions%2BAward&amp;source=gmail&amp;ust=1639809702868000&amp;usg=AOvVaw0ffasQknk7oVUSPGbTnVeD">Energy Transitions Award</a> to NORCAP Energy: A Commitment to Communities (Norway); and Clean Transport Award to Swytch Your Bicycle.The Founder's Award went to the film Passing, which shows how centuries on, race relations remain relevant in today's world. Jury chair <a href="https://www.devdiscourse.com/news?tag=Nick+Nuttall" data-saferedirecturl="https://www.google.com/url?q=https://www.devdiscourse.com/news?tag%3DNick%2BNuttall&amp;source=gmail&amp;ust=1639809702868000&amp;usg=AOvVaw1zcR4QFAa2ViTDywv6FWWF">Nick Nuttall</a> said the films captured the breadth of challenges facing the planet, but also the spirit and ingenuity of so many individuals and communities determined to chart a better future.“We believe our efforts will continue to add value to the resolution of climate change devastations,” tve Chair Mei-Sim Lai said in a statement.The Winners:Young Filmmaker Award Its Bean Too Hot (Hedvika Michnova, U.K.)Adaptation &amp; Resilience Fixing India: How Community Media Like Video Volunteers Changed During COVID-19 (Video Volunteers, India)Nature Based Solutions Voice Above Water (Turning Tides Films, U.S.; Directed by Dana Frankoff)Energy Transitions NORCAP Energy. A commitment for the communities (Panot Films and Norwegian Refugee Council, Norway)Clean Transport Swytch—Your Bicycle. Electric. The World’s Smallest &amp; Lightest eBike Conversion Kit (Swytch Technology, U.K.)Financing Sustainability Our Planet: Too Big To Fail (WWF-UK &amp; Silverback Films, U.K.)Transforming Society S.T.O.P. (Stop The Ocean Pollution) (Plastic Oceans International, Czech Republic)Documentary Impact Thank You for the Rain (Banyak Films, U.K.)AI and Digital Innovation The Life Value of Energy (Bittwatt, Singapore)Founder’s Award PassingYou can watch the films at: <a href="https://www.youtube.com/playlist?list=PLYT7vD5He2VACQ-5jAzz54JXIIB5nVsD0" data-saferedirecturl="https://www.google.com/url?q=https://www.youtube.com/playlist?list%3DPLYT7vD5He2VACQ-5jAzz54JXIIB5nVsD0&amp;source=gmail&amp;ust=1639809702868000&amp;usg=AOvVaw09JYgBs4NEvHkYOzwYry9y">https://www.youtube.com/playlist?list=PLYT7vD5He2VACQ-5jAzz54JXIIB5nVsD0</a>

Environment films get tve Award

<figure><img width="1080" height="1080" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161128/636d196c9c7e80680e0ac81bjpeg.jpg" alt=""/><figcaption></figcaption></figure>The Nepali film <a href="https://www.mymovies.it/ondemand/uiff/movie/9726-a-scarecrow/" data-saferedirecturl="https://www.google.com/url?q=https://www.mymovies.it/ondemand/uiff/movie/9726-a-scarecrow/&amp;source=gmail&amp;ust=1635219475912000&amp;usg=AFQjCNGMn92yR9U9Eix-Lao3LSUPAhw5fw">A Scarecrow</a> has won the UNICEF Iris 75 award at the <a href="https://www.unicef-irc.org/uiff" data-saferedirecturl="https://www.google.com/url?q=https://www.unicef-irc.org/uiff&amp;source=gmail&amp;ust=1635219475912000&amp;usg=AFQjCNHX4PmiajpN2OkgPa-twxTYInDMGg">UNICEF Innocenti Film Festival 2021</a> (UIFF) in Florence for its portrayal of what it means to be a girl child in Nepal today.An international jury selected <a href="https://www.mymovies.it/ondemand/uiff/movie/9726-a-scarecrow/" data-saferedirecturl="https://www.google.com/url?q=https://www.mymovies.it/ondemand/uiff/movie/9726-a-scarecrow/&amp;source=gmail&amp;ust=1635219475912000&amp;usg=AFQjCNGMn92yR9U9Eix-Lao3LSUPAhw5fw">A Scarecrow</a> written and directed by self-taught Nepali filmmaker, Rajesh Prasad Khatri, for the top award. Khatri, who is also a schoolteacher, is said to accurately depict the cultural barriers that often prevent young girls from gaining an education. "Being a teacher in the remotest village, I have had the privilege to interact with a group of innocent kids where I always learn to feel the stories of each students' cold homes, broken dreams, and their tears along with my experience.” Khatri said. “Most of all, these are the stories of truth which I am hoping to advocate for their rights and share their stories to the world through the medium of cinema.”https://youtu.be/eIwovOmOMMoThe Florence festival is organised by <a href="https://www.unicef-irc.org/" data-saferedirecturl="https://www.google.com/url?q=https://www.unicef-irc.org/&amp;source=gmail&amp;ust=1635219475912000&amp;usg=AFQjCNFFnFM55kBTg3qU0sYfcafgi6zycw">UNICEF’s Office of Research – Innocenti</a>, and celebrates films about children. This year’s festival was held 21-24 October and  featured 38 films from 29 countries. The Iris Award recognises excellence in filmmaking about children to encourage exploration of childhood all over the world as a cinematic theme. This year, a total of 1,700 films were submitted for consideration from 114 countries.The honor for the best overall film at UIFF is the UNICEF 75 Iris, created to mark UNICEF’s 75thanniversary, now being celebrated around the world. The jury selected <a href="https://www.mymovies.it/ondemand/uiff/movie/9726-a-scarecrow/" data-saferedirecturl="https://www.google.com/url?q=https://www.mymovies.it/ondemand/uiff/movie/9726-a-scarecrow/&amp;source=gmail&amp;ust=1635219475912000&amp;usg=AFQjCNGMn92yR9U9Eix-Lao3LSUPAhw5fw">A Scarecrow</a> because of its rich visual symbolism and its crucial message to uphold the Convention on the Rights of the Child. Set in a Himalayan mountain community in Nepal, the film tells the story of a young girl taken out of school to help her mother earn a living making scarecrows.  <figure><img width="640" height="475" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161128/636d196f9c7e80680e0ac81cjpeg.jpg" alt=""><figcaption>Rajesh Prasad Khatri, the director of 'A Scarecrow,' that won the Iris Award at the UNICEF Innocenti Film Festival 2021. </figcaption></figure>The award for Best Film Under 18 Iris was made by a group of children in the slums of Nairobi, and tells the story of determination and creativity to play the game they love. The jury commended the artistry of the young amateur filmmakers as well as its message: young people will not allow their circumstances to hinder them. In the category Best Film, Childhood and Pandemic the winner was the short documentary, <a href="https://www.mymovies.it/ondemand/uiff/movie/9724-antara/" data-saferedirecturl="https://www.google.com/url?q=https://www.mymovies.it/ondemand/uiff/movie/9724-antara/&amp;source=gmail&amp;ust=1635219475912000&amp;usg=AFQjCNGi0BuiN-wDGZ-hDg1tdIdE8ZH6NA">Antara</a> about the Covid-19 lockdown as seen through the eyes of a young girl in Bangladesh. The Best Film in the non-fiction open category went to <a href="https://www.mymovies.it/ondemand/uiff/movie/9750-being-someone-else/" data-saferedirecturl="https://www.google.com/url?q=https://www.mymovies.it/ondemand/uiff/movie/9750-being-someone-else/&amp;source=gmail&amp;ust=1635219475913000&amp;usg=AFQjCNH5SrxuX2aIkRyInQVwWPr6SpsWwg">Being Someone Else</a> that follows a 13-year-old as she prepares for Comic Con and reflects on the impacts of her disability. The jury noted this intimate portrayal’s fresh perspective on understanding children with autism. The Best Film in the fiction category went to <a href="https://www.mymovies.it/ondemand/uiff/movie/9730-the-name-of-the-son/" data-saferedirecturl="https://www.google.com/url?q=https://www.mymovies.it/ondemand/uiff/movie/9730-the-name-of-the-son/&amp;source=gmail&amp;ust=1635219475913000&amp;usg=AFQjCNF3vHDJrfSwz7xIb6lf9reCpWaejg">The Name of the Son</a> that follows a 13-year-old trans boy on vacation with his father and younger sister, where the new closeness puts their relationship to the test. All films from UIFF will be available to stream online for free until 29 October via <a href="https://www.mymovies.it/ondemand/uiff/" data-saferedirecturl="https://www.google.com/url?q=https://www.mymovies.it/ondemand/uiff/&amp;source=gmail&amp;ust=1635219475913000&amp;usg=AFQjCNGXmrVdY5G1IMSjmupgf9ZmDAaLeA">MyMovies.it</a>.

Nepali film wins Unicef award

<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108151128/636a67809c7e80680e0599dfjpeg.jpg" alt="" width="3000" height="1252"/>Road-trips are not an established genre in Nepali films, like romance, action or comedy even though they may have all these elements. But in the last few years more than a few have made it to commercial cinema as a trend.Road trip movies tend to be mostly romantic and usually feature guy and girl trekking to Jomsom or Mustang with a gaggle of friends to bicker and eventually fall in love. Dollops of crude and convoluted sex jokes spice up the script, and keep the plot moving.There is usually a dead parent, a crazed brother or a failing orphanage in the mix as part of a thinly established back story or a point of conflict. The mountains always glisten in the backdrop as romance blossoms. It is a Nepali movie-goers have to suffer.However, there are a few memorable films within the sub-genre if we look at the last couple of decades. <a href="http://archive.nepalitimes.com/issue/344/Interview/13437#.XgSKDVUzaUk" target="_blank" rel="noopener">Caravan</a>, <a href="http://archive.nepalitimes.com/news.php?id=14366#.XgSKIlUzaUk" target="_blank" rel="noopener">Kaagbeni</a> and <a href="http://archive.nepalitimes.com/news.php?id=19506#.XgSJ5lUzaUk" target="_blank" rel="noopener">Highway</a> come to mind – adventure, horror, and the last a political drama.<a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="https://www.themoviedb.org/movie/631523-ama-khando?language=en-US" target="_blank" rel="noopener">Ama Khando</a> is an addition to this list. It is an intimate comedy-drama depicting the journey of two families from Lo Manthang in Mustang to Pokhara, as part of an annual trip. But this year is different, especially for the little boy who is co-lead with his mother in the film.https://www.youtube.com/watch?v=drOXmPvz2l8The eponymous Khando of the movie’s title is Ama, or mother, to a school-skipping, fight-picking 10-year-old who never seems to listen to her. Even though the film’s central relationship is between Khando and her son Dhondup, the family friends who are travelling with them also ebb and flow inside the story.The elder son Lobsang of the other family wrestles with his fate of having to abandon his studies for a lack of money, and has a terse relationship with his father because of this.Khando, a financially vulnerable single mother is also frustrated with her son as she worries for his future. The elders in the story are concerned for their children’s prospects in the difficult terrain of Mustang as the world closes in. Even though they are conflicted about the idea of the city, its bustle and pollution are a draw.For young adults like Lobsang the idea of remaining farmers is financially and socially unattractive. Much like most of our young migrants overseas, they can only be nostalgic for a homeland they are already moving away from.For children like Dhondup , who does not care for much beyond food, entertainment and his long lost father, these larger themes do not interfere in his small adventures, but will eventually decide his fate.Writer-director Tshering Dhondup is from <a href="https://nepalitimes.atavist.com/high-and-dry-upper-mustang" target="_blank" rel="noopener">Upper Mustang</a>, and drew from personal experiences to create this story. He plays himself in some portions of the film and so does his own mother, and his friends have roles too.The film is made up of little moments, small talk and chance encounters. There are no spectacles here, but much like the colossal mountains that make for the background in this journey, brooding themes of love, loss and identity are quietly visible under the surface.  Here at least, the mountains do stand for something. Here is a road movie where the characters are real and the emotional stakes highly resonant.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108151128/636a67839c7e80680e0599e0jpeg.jpg" alt="" width="990" height="756"><figcaption> </figcaption></figure>The film does occasionally falter (musical cues seem needlessly placed and expose a proclivity for forced sentimentality, and some handheld shots feel random) but in the larger scheme of things, Ama Khando works.And one reason it does is the lead actress Pema Dolker Gurung’s performance which is unencumbered by showiness and lends itself so beautifully to the screen. The score by Pushpa-Sangam, and the understated cinematography by Ali Rasheed and Manoj Panta blend well.Made by a skeletal crew and under the painful circumstances that come with filming in far off locations on a shoestring budget, the film nevertheless has heart enough to travel. The film was selected for the prestigious <a href="https://www.biff.kr/eng/html/program/prog_view.asp?idx=42642&amp;c_idx=332&amp;sp_idx=&amp;QueryStep=2">Busan Film Festival</a> and the <a href="http://pibarchive.nic.in/newsite/photoright.aspx?phid=149731">50th International Film Festival of India in Goa</a>, coming home in December to a warm reception at the Kathmandu International Film Festival, where it won the audience award for best film.

Ama Khando: a different road trip film from Nepal

<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108181140/636a95549c7e80680e05dbffjpeg.jpg" alt="" width="1448" height="2048"/>Film Southasia is held every two years, and in 2019 the theme of the festival of documentary films says it all: ‘Where the Mind Is Free’. Indeed, since the last edition of the festival, the space for free expression is increasingly constricted throughout the region.From 14-17 November, 64 documentaries from the Subcontinent will be shown at Yalamaya Kendra, Patan – many of them films that would be difficult to have a public screening anywhere else in South Asia.  "In the region’s increasingly cloistered space, exclusion seems to be a common concern of the documentaries," says festival director Mitu Varma. "The films focus on the marginalised like growing up in Ladakh, transgender love, and the crisis of Rohingyas and Dalits. Many of the films focus on people who have little in terms of resources, but a huge store of empathy and compassion for all living creatures, that marks them out as more human than many in the so called mainstream  There are five films on Kashmir, and several films on migration and education."By its very definition, the documentary is a film genre that takes time to dwell on social injustices and delve in-depth into the structural reasons for discrimination, inequality, exploitation. Film-makers tend to give voice to the voiceless, show the plight of neglected or abused people whom the mainstream media ignores.With the space for dissent and the marketplace of ideas shrinking all over the region, Nepal remains the last bastion of free speech. This year also, Film Southasia will be showing films that could not be screened elsewhere.Read also: <a href="http://archive.nepalitimes.com/news.php?id=18597#.XcPHuFUzbIU" target="_blank" rel="noopener noreferrer">Documenting Nepal</a>, Angelo D’Silva and Diwas KCThe focus of the festival this year is Pakistan, and the opening film Indus Blues profiles the country’s disappearing musical instruments and folk art, given the rightward movement of the state. Other films on Pakistan investigate scavenging ships on the Arabian Sea beaches and the murder of an activist who sought to provide a cultural space called "The Second Floor" in Karachi where all art forms could be shared and different issues could be freely debated and discussed.With most of South Asia living under similar social-political conditions, the  subject matter of the films focus on similar concerns common to all countries. However, there is a lot of experimentation in the form of film-making.There is a documentary shot mostly in the night with striking visuals (And What Is the Summer Saying), another film that simply records conversations that swirl inside a tea shop at the centre of a heated religious debate (Chai Darbari). The documentary about old Delhi with a 400 strong cast of actors straddles the line between fiction and nonfiction (Ghode ko Jalebi Khilane Le Ja Riya Hoon)."There are quiet films with little dialogue, where the story is told with visual imagery, or with the neutral eye of a fly on the wall," explains FSA organiser Alok Adhikari. "The film-maker takes the backseat with these observational techniques lets the story tell itself."This year the festival went digital for the first time, accepting submissions online instead of asking for DVDs to be couriered to Kathmandu. The number of submissions soared to more than 2,500, a testimonial to the rising interest in this form of storytelling.The festival's jury comprises of filmmakers Sumathy Sivamohan from Sri Lanka and Ayisha Abraham from India, and Nepali journalist Kunda Dixit.Read also: <a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="http://archive.nepalitimes.com/news.php?id=17242#.XcPHvlUzbIU" target="_blank" rel="noopener noreferrer">The world of South Asia</a><h2>8 FILMS from 8 COUNTRIES</h2><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108181140/636a95579c7e80680e05dc00jpeg.jpg" alt="" width="640" height="427">Pariah DogsJesse Alk, IndiaA group of people, themselves outcast, poor, and living in slums, take care of street dogs in Kolkata, India.Kabul, City in the WindAboozar Amini, AfghanistanA glimpse into the strained, tenuous life in Kabul where violence is a constant backdrop to daily life.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108181140/636a95599c7e80680e05dc01jpeg.jpg" alt="" width="329" height="153"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108181140/636a955a9c7e80680e05dc02jpeg.jpg" alt="" width="640" height="427">Opium WarsJohn La Raw, MyanmarJade miners who work under dangerous circumstances are being sucked into opium trade, while the state turns a blind eye to the issue of minorities.Scratches on CelluloidVindhya Buthpitiya &amp; Timothy P A Cooper, Pakistan/Sri Lanka/United KingdomWith the rise in multiplexes and home entertainment, days are numbered for traditional matinee theatres.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108181140/636a955d9c7e80680e05dc03jpeg.jpg" alt="" width="640" height="360"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108181140/636a955f9c7e80680e05dc04jpeg.jpg" alt="" width="640" height="360">The Next GuardianArun Bhattarai &amp; Dorottya Zurbo, BhutanA priest wants his son to inherit the profession, but the son would rather play football and watch Facebook in rapidly modernising Bhutan.After SabeenSchokofeh Kamiz, PakistanHuman rights activist Sabeen Mahmud is shot dead in her car, and the film captures the aftermath of the tragedy.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108181144/636a95639c7e80680e05dc05jpeg.jpg" alt="" width="640" height="360"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108181144/636a95669c7e80680e05dc06jpeg.jpg" alt="" width="640" height="360">Bamboo StoriesShaheen Dill-Riaz, BangladeshThe use of bamboo is dying out, but there are still many whose lives have depended on floating bamboo rafts down river.The Winter TapAashish Limbu &amp; Debin Rai, NepalThe story of the struggle to build a water supply in a remote Himalayan village is not as simple as it seems.

Film Southasia 2019

<img width="640" height="427" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171144/636936b89c7e80680e03fdf7jpeg.jpg" alt=""/>If you ask people what they know about menstruation in Nepal, the first answer will be the practice of <a href="http://archive.nepalitimes.com/article/nation/women-speaking-out-against-chaupadi,3518" target="_blank" rel="noopener">chhaupadi</a>, the menstruation exile. Most local and international media focus is banishment of women to the cow shed, even though the issue is much more complex, and there is a wealth of activity in Nepal to promote more dignified periods.Activists are now challenging the media representation with visual images, photography, film and art. The Menstrual Health and Hygiene Management Alliance’s forthcoming MenstruAction on 11 December at the Kathmandu International Film Festival (KIMFF) will bring together film-makers and activists for a panel debate titled Breaking Code Red – A Conversation on Menstruation and How to See It.For many Nepali girls, menstruation means not only blood and cramps but also forced seclusion and social ostracism once a month. These traditional and religious beliefs have even led to the death of some young girls who are forced to practice ritual segregation.A new law in Nepal says that discrimination of young girls during their monthly <a href="http://archive.nepalitimes.com/article/nation/Girl-talk-period,2377" target="_blank" rel="noopener">period</a> is illegal but how do the girls see the process? What are the fears and beliefs that force them to be a part of it? How do urbanites see it? What are the discussions around menstruation? The KIMFF sessions will explore this subject through photography, collaborative films, virtual reality, and a panel discussion.Panelists include menstrual health and rights expert Pema Lhaki, transmedia artist Poulomi Basu, researcher/filmmaker Sara Baumann, photographer Uma Bista and Sara Parker. The session will be moderated by Diwas Raja KC of The Feminist Memory Project. The collaborative film Menstrual Practices and Displacement in Far-West Nepal, which is an initiative of the University of Pittsburgh Graduate School of Public Health and the Nepal Fertility Care Center, will also be screened.Read also: <a href="https://archive.nepalitimes.com/regular-columns/GUEST-COLUMN/blood-sisters-menstruation,839" target="_blank" rel="noopener">Blood sisters</a>, Sangits Thebe LimbuThe photography and virtual reality exhibitions Blood Speaks by Poulomi Basu and I’m Pure by Uma Bista are presented in collaboration with Voices of Women Media. Sara Parker and Kay Standing of Liverpool John Moores University have been researching gender education and participation in Nepal over the past 25 years, and are currently working on a British Academy Global Challenges Research project with Tribhuvan University on the origins of <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/removing-menstrual-shame,4148" target="_blank" rel="noopener">menstrual beliefs and practices</a>. They have been studying the impact of reusable sanitary <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/pad-power-nepal,4147" target="_blank" rel="noopener">pad</a> kits. Called Dignity Without Danger, the project explores diverse range of beliefs, practices and historical and cultural roots which underpin menstrual health customs in all 7 provinces. The project is being launched at KIMFF whose theme this year is Women Move Mountains.   Breaking Code Red A Conversation on Menstruation and How to See ItSunday 9 December 11:30 – 1:30 pmNepal Tourism BoardKIMFF

Bloody period

<figure><img width="2000" height="1333" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171116/63692fce9c7e80680e03c0c5jpeg.jpg" alt=""/><figcaption>Photo: PHOTO KATHMANDU/CHEMI DORJE</figcaption></figure>Inside a darkened room at the Chhaya Centre, eight screens switch on simultaneously to depict images of <a href="http://archive.nepalitimes.com/regular-columns/Interesting-Times/nepal-archaic-law-puts-deadlineon-reporting-sexual-crimes,368">sexual violence</a> in the Subcontinent – from the India-Pakistan partition till the present day. The stories are searing in their intensity: daughters who hear their elders planning to burn them alive so rapists will not get them, of women paraded naked through a village and <a href="https://www.nepalitimes.com/banner/justice-for-sale/">raped</a> for refusing sex, of sticks and knives inserted into vaginas.Why are women so often singled out for abuse in conflict? And why do these stories vanish after wars end? Filmmaker Amar Kanwar explores these questions through testimonies like: “Night fell, and they kept raping the women, they did not care about killing us at all.”At first glance, it might look like a story of abuse by fighting men, but many atrocities were by local communities during the Partition. Kanwar shows us that no one community has a monopoly on atrocities, and sometimes they are perpetrated among members of the same community, as with Muslims who fought Muslims during the Bangladesh liberation war.The statistics are numbing: 75,000 women raped during the Partition, 150,000 during the Bangladesh war – and those were just the ones counted. No matter what a war is about, it is the women who are first engulfed by cruelty.“There is a sense of macho-ness and pride associated with conquering women of another culture,” explains Kanwar. “Victory has always been defined by the subjugation of women, and violating enemy women is a matter of pride. My work depicts this <a href="https://www.nepalitimes.com/opinion/the-roots-of-rape/">toxic masculinity</a>.”Read also:<a href="https://www.nepalitimes.com/banner/photo-returns-to-kathmandu/"> Photo returns to Kathmandu</a>, Monika Deupala<a href="https://www.nepalitimes.com/here-now/hippinis/">Hippinis</a>, Lucia de Vries<a href="https://www.nepalitimes.com/here-now/the-gangster-of-love/">The  Gangster of Love</a>, Lucia de VriesKanwar (pictured below) does not just examine the price women pay for the wars men fight, but also how the atrocities are resisted and remembered. We watch the story of a mother who weaves her murdered daughter’s courage into a shawl – the red background standing for women’s beauty and rebellion, ant-like patterns for her relentless pursuit of justice. <figure><img width="2000" height="1333" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171116/63692fd19c7e80680e03c0c6jpeg.jpg" alt=""><figcaption> </figcaption></figure>The body itself becomes a symbol of dignity and protest. Theatre artist Sabitri Heisnam enacts a real-life drama in which Draupadi, an indigenous woman, refuses to be clothed after being raped by police, shaming the rapists with her nudity. Heisman has been performing the play for decades, but in 2004, real life mothers in Manipur also protested naked in support of a woman murdered after rape.Kanwar’s film is from 2007, but is relevant today as an epidemic of rape sweeps the Subcontinent and #MeToo gathers velocity on the Internet. The woman’s body continues to signify honour and humiliation, political disputes and caste wars are still settled by physically humiliating women. The film does not offer solutions, but links us to the past so we can contemplate present day violence of violation.Women through history have been trapped between honour and shame. A look back at this history may help us understand the brutality so it is not repeated in future. This is an overwhelming installation, and the most searing in this year’s Photo Kathmandu festival.Kanwar says he projected eight separate screens at once because it is important to see what happened in history and what is happening today at the same time. He adds: “I hope it will help us understand what women go through during any conflict.”--The Lightning Testimoniesby Amar KanwarPhoto Kathmandu 201811AM – 7 PM6th floor Chhaya Centre, ThamelTill 12 April, 2019

The violence of violation

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

Nukes in the neighbourhood

The streets of Patan are alive this month with lavender jacaranda trees under rain-washed skies as <a href="https://nepalitimes.com/banner/the-red-god-rises-again-in-patan">the chariot of Rato Matsyendranath</a> is pulled across town. This is the festival of the rain god, and inevitably the heavens opened up and pre-monsoon showers pelted the chariot as it started being pulled in Pulchok last week. Thousands of devotees, onlookers and the chariot procession organisers thronged the streets on the first day last week. The rhythmic cymbals and drums exuded a vibrant energy as the enormous four wheels turned and the chariot lurched.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025051007050_81df97744db16f732a419dc1f1579d235ce3df37642b078f50b83bd4bd026688.jpg" data-media-id="editor_1" data-image-id="2025051007050_81df97744db16f732a419dc1f1579d235ce3df37642b078f50b83bd4bd026688" data-rendition-name="original" width="1000" height="1503" loading="lazy" alt="Divine chariot"> </figure>  The<a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Red-rain-god,3141"> red rain god</a> has Hindu and Buddhist antecedents, alternatively called Bungadya and<a href="https://nepalitimes.com/here-now/kathmandu-s-gravity-defying-chariot-festival"> Karunamaya</a> — reflecting Kathmandu Valley’s syncretic mixture of the two religions.&nbsp; “Bungadya is a profoundly <a href="https://nepalitimes.com/opinion/12-full-opinion/marketing-the-intangible">intangible form of heritage</a>,” explains heritage expert Monalisa Maharjan. “It embodies traditional knowledge,<a href="https://nepalitimes.com/multimedia/reviving-nepal-s-craft"> artisanal skills passed down through generations</a>. Local communities and specific families have specified roles in being custodians of the heritage, ensuring their survival over the centuries.” There are many legends and stories about this annual tradition. Lichhavi king Narendra Dev is supposed to have brought Rato Matsyendranath from Assam to Kathmandu Valley to convince Guru Gorakhnath to lift a spell that created a two-year drought in Kathmandu.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250510050520_347a9a398f8a9abc4a7fb4e2774fde8264cccbdce8bdab23851ab3f0e73c3e8a.jpg" data-media-id="editor_6" data-image-id="20250510050520_347a9a398f8a9abc4a7fb4e2774fde8264cccbdce8bdab23851ab3f0e73c3e8a" data-rendition-name="original" width="1503" height="1000" loading="lazy" alt="Divine chariot"> </figure>  Matsyendranath was Gorakhnath’s mentor, and upon seeing him, the serpents were released, unleashing the rains. The chariot festival honours the return of this life-giving rain. The deity is seen as an icon for thriving agriculture, t<a href="https://nepalitimes.com/here-now/before-the-next-monsoon">he arrival of monsoon</a> showers, and the welfare of the community. Read also: <a href="https://nepalitimes.com/opinion/the-reign-of-the-god-of-rain">The reign of the god of rain</a>, Vidhu Prakash Kayastha Till this day, the Rato Matsyendranath festival is no ordinary celebration. Patan does not sleep for a month as the chariot is pulled through various neighbourhoods. It unfolds at a state level with the president (formerly the king) attending the climax of the Bhoto Jatra in Jawalakhel later this month.&nbsp; The intergenerational transmission of tradition is unique in the world, and the reason the festival is one of the most vibrant cultural expressions that thrives despite inroads of modernity. The other unique aspect is that it is a transnational festival, binding Patan with Guwahati in the Indian state of Assam.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025051005058_8bc685ada13045d863b28e3eed91c931da2b510714586af6fd7eb5d1e298a24a.jpg" data-media-id="editor_9" data-image-id="2025051005058_8bc685ada13045d863b28e3eed91c931da2b510714586af6fd7eb5d1e298a24a" data-rendition-name="original" width="1000" height="1503" loading="lazy" alt="Divine chariot"> </figure>  “Unlike Nepal, where the deity commands grandeur and devotion, many in Assam are unaware of Rato Matsyendranath,” says Khagen Sharma of Gauhati University, which convened <a href="https://nepalitimes.com/news/nepal-assam-connection-revived">a symposium in February in Guwahati on the rain god</a>. Attending was a delegation led by Lalitpur Mayor Chiribabu Maharjan, organisers of the festival, and builders of the chariot. After the symposium, a committee was formed to explore and revive the tradition in Assam as well. Although the team had planned to visit Nepal this month, logistical challenges delayed the trip. Still, there are plans to build a Guru Matsyendranath statue in Assam to reestablish regular worship practices in the Guwahati shrine.&nbsp; The vines used to build the chariot in Patan are sourced from the jungles of Assam. But Sharma notes that in recent years unclear regulations have blocked the official import of the vines, although they are still brought to Nepal informally. The <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/makers-of-machhindranath,2204">chariot making</a> has also had a taste of modernisation in recent times. In the past, even a single nail or piece of steel was avoided. But over time, the wooden structure, particularly the shaft between the wheels, has been replaced with bronze. When that too proved unstable, metal clamps were introduced, which have become a pragmatic compromise.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250510050524_b2a819a5791612f14c81d30fc393dbd3f99f0c64b90a9110e8b0855d944bfa93.jpg" data-media-id="editor_12" data-image-id="20250510050524_b2a819a5791612f14c81d30fc393dbd3f99f0c64b90a9110e8b0855d944bfa93" data-rendition-name="original" width="1500" height="998" loading="lazy" alt="Divine chariot"> </figure>  Another welcome change is the focus on safety. Builders climbing the chariot’s tower now wear harnesses and there are efforts in crowd control. The most visible change in recent years has been the involvement of Patan’s enthusiastic youth in the festival — the tradition is now passing to a new generation. Says Matsyendranath expert Vidhu Kayastha: “There is more energy, the young people in red t-shirts this year were very organised, these modern touches aren’t diluting our culture, they’re keeping it alive in new forms.” He adds, “We are <a href="https://nepalitimes.com/here-now/searching-for-a-homeland-away-from-home">reconnecting with our roots</a>, we have more resources, more awareness than ever before. We must not be swept away by western values that may not serve us, and in some ways, cause more harm than good. We must revive our own culture.”&nbsp;

Divine chariot

In 2025, two seemingly disconnected acts of violence shattered the illusion of stability in the region. In March, <a href="https://www.ft.com/content/16f7f947-1e96-4206-9844-891378adc683" target="_blank">militants hijacked a passenger train</a> near the Bolan Pass in Balochistan, executing soldiers in cold blood. A month later, <a href="https://www.nytimes.com/2025/04/22/world/asia/kashmir-terrorist-attack.html" target="_blank">gunmen in Kashmir’s</a> Pahalgam Valley massacred tourists. 
In both Islamabad and New Delhi, <a href="https://www.aljazeera.com/news/2025/4/25/were-cursed-kashmiris-under-attack-across-india-after-pahalgam-killings" target="_blank">the reaction was reflexive:</a> condemn the violence, <a href="https://www.economist.com/asia/2025/04/22/india-and-pakistan-could-come-to-blows-over-kashmir" target="_blank">blame external enemies</a>, declare the situation contained. But South Asia’s leaders are not fighting terrorists alone. They are fighting the consequences of their own betrayals.
Across <a href="https://www.bbc.com/news/world-asia-26272897" target="_blank">Balochistan</a>, <a href="https://www.bbc.com/news/world-south-asia-11693674" target="_blank">Kashmir</a>, <a href="https://www.crisisgroup.org/asia/south-asia/india/346-finding-way-out-festering-conflict-indias-manipur" target="_blank">Manipur</a>, and beyond, decades of <a href="https://www.amnesty.org/en/projects/enforced-disappearance-in-south-asia/" target="_blank">enforced disappearances</a>, broken promises, and brute militarisation have hollowed out the social contracts meant to hold these nations together. The grievances that drove rebellions from the 1940s through the 1990s – demands for dignity, recognition, and political agency – were never meaningfully addressed. They were buried beneath asphalt and propaganda, paved over by development projects and security checkpoints.
States may claim victory. But their victories are mirages, dissolving the moment anyone looks too closely. South Asia’s unfinished wars are not relics of a violent past. They are live ammunition, loaded into the future.
<a href="https://www.theguardian.com/world/2025/mar/24/he-only-wanted-revenge-the-bloody-insurgency-in-balochistan-gaining-lethal-momentum" target="_blank">Balochistan</a> has been at war with Pakistan for most of its modern history. Rich in gas, minerals, and coastline, the province has been plundered for decades under the language of national development. 
Projects like the <a href="https://eastasiaforum.org/2020/11/26/pakistans-three-evils-cpec-and-good-governance/" target="_blank">China-Pakistan Economic Corridor (CPEC)</a> promise progress but deliver exclusion: minerals are mined, ports are secured, but Baloch homes are raided. 
The insurgency endures not because of foreign conspiracies, as Islamabad endlessly insists, but because the Pakistani state remains incapable of seeing its <a href="https://thebalochistanpost.net/2025/01/enforced-disappearances-in-balochistan-in-december-2024-tbp-report/" target="_blank">Baloch citizens</a> as anything other than a security problem to be managed.
In <a href="https://www.forbes.com/sites/ranisingh/2016/07/12/kashmir-in-the-worlds-most-militarized-zone-violence-after-years-of-comparative-calm/" target="_blank">Kashmir</a>, the Indian government claims to have <a href="https://www.nytimes.com/2023/03/08/world/asia/kashmir-village-defense-committees.html" target="_blank">“normalised” the valley</a> after revoking its autonomy in 2019. It <a href="https://www.cfr.org/global-conflict-tracker/conflict/conflict-between-india-and-pakistan" target="_blank">looks a lot like occupation</a>. Soldiers outnumber local leaders, dissent is criminalised, internet shutdowns suffocate public life. Tourism campaigns and investment summits cannot erase a generation raised under curfew and surveillance.
<a href="https://www.bbc.com/news/world-asia-india-66260730" target="_blank">Manipur’s descent into ethnic bloodshed</a> in 2023 exposed another fault line Delhi prefers to ignore. Long-simmering tensions between the Meitei and Kuki communities erupted into violence that shattered any illusions of northeastern integration. The central government’s delayed, politicised response made clear what many Manipuris had always suspected: they are citizens of India only when convenient.
Even the <a href="https://msf.org.au/rohingya-worlds-largest-stateless-population" target="_blank">Rohingya, stateless and exiled from Myanmar</a>, find themselves entangled in South Asia’s ethnonationalist calculus. Fleeing genocide, they are criminalised anew in Bangladesh and India – trapped between the countries that reject them and the memories that refuse to let them go.
South Asia’s states have excelled at suppressing rebellion. But failed at extinguishing the reasons rebellions rise in the first place. And the wars South Asia tries to forget at home have found new life abroad.
Across <a href="https://www.abc.net.au/news/2024-06-17/modis-indian-government-accused-of-spying-silencing-critics/103974414" target="_blank">Canada, Australia, Britain, and the United States</a>, diasporic communities have become memory-keepers and, increasingly, <a href="https://www.business-standard.com/world-news/khalistan-supporters-hold-protest-outside-indian-consulate-in-vancouver-123092600087_1.html" target="_blank">the agitators</a> for the struggles their home states would rather erase.
Khalistan flags fly outside Indian consulates in Vancouver and <a href="https://www.tribuneindia.com/news/punjab/perturbed-over-waving-of-khalistani-flags-at-an-event-in-melbourne-india-warns-australia-of-khalistan-separatists-and-their-links-with-terror-groups-458320/" target="_blank">Melbourne</a>. Tamil activists march through London, demanding accountability for the <a href="https://www.aljazeera.com/news/2024/5/19/grim-reminder-sri-lankas-tamils-mark-15-years-since-end-of-civil-war" target="_blank">massacres in Mullivaikkal</a>. Kashmiri protests in Washington and New York refuse to let India’s crackdown slip into diplomatic amnesia.
For host countries, these movements pose uncomfortable questions. Freedom of expression collides with fears of extremism. Clashes erupt between communities carrying wounds that their new homelands.
Meanwhile, South Asian states pursue their adversaries across borders. India faces allegations of <a href="https://www.nbcnews.com/news/world/canada-says-india-home-minister-ordered-campaign-against-sikh-activist-rcna177972" target="_blank">targeting Sikh activists for assassination in Canada</a> and the <a href="https://www.npr.org/2024/10/27/g-s1-29561/sikh-separatist-assassination-india" target="_blank">United States</a>. Pakistan continues to court Kashmiri separatists abroad while crushing Baloch dissent at home. <a href="https://apnews.com/article/sri-lanka-tamils-civil-war-dead-5b372b0bba567837c5a4d94250040e7d" target="_blank">Sri Lanka</a> lobbies furiously to brand Tamil diaspora organisations as fronts for terrorism, even as it stonewalls investigations into its own wartime atrocities.
The old insurgencies have not been defeated. They have been globalised. South Asia’s governments have long mistaken silence for stability.
In Punjab, India broke the back of the <a href="https://www.cnn.com/2023/10/06/india/india-canada-sikh-khalistan-analysis-intl-hnk/index.html" target="_blank">Khalistan insurgency</a> through brute force. The fields grew green again, the trains ran on time. But the wounds were never closed, the <a href="https://www.dw.com/en/why-is-indias-khalistan-separatist-movement-on-the-rise/a-65081729" target="_blank">movement’s heart beats</a> not in Amritsar but in Brampton and Surrey.
In Sri Lanka, the <a href="https://www.academia.edu/4738983/The_Man_Who_Destroyed_Eelam" target="_blank">military crushed the Tamil Tigers</a> with <a href="https://www.newyorker.com/magazine/2011/01/17/death-of-the-tiger" target="_blank">overwhelming brutality in 2009</a>. <a href="https://www.scmp.com/week-asia/politics/article/3264148/we-want-our-children-back-sri-lankan-families-still-demanding-justice-their-missing-loved-ones" target="_blank">Tamil families still search for their missing</a>, still mourn their dead – and still organise across the diaspora for justice that remains undelivered.
In Kashmir, Delhi boasts of new <a href="https://www.aljazeera.com/opinions/2023/2/4/kashmir-is-bleeding-its-economy" target="_blank">highways and investment corridors</a>, showcasing the region as a trophy of unity. But when the visitors leave and the cameras are packed away, <a href="https://harvardlawreview.org/print/vol-134/from-domicile-to-dominion-indias-settler-colonial-agenda-in-kashmir/" target="_blank">the checkpoints, the raids, and the quiet despair remain.</a>
Victory parades fade. Grievance endures. Suppressing insurgency may end battles. It does not end the ideas that fueled them. In a region where <a href="https://www.nytimes.com/2025/04/23/world/asia/kashmir-attack-india-pakistan.html" target="_blank">history is rarely past</a>, and memory is rarely voluntary, states that rule through repression are only ever buying time. And often, not very much.
South Asia’s unfinished wars are not accidents. They are the inevitable consequences of states that confuse conquest with consent, and erasure with reconciliation. They cannot legislate memory out of existence.
Every <a href="https://www.bbc.com/news/articles/c15qyyzz89lo" target="_blank">disappeared son in Balochistan</a>, every <a href="https://medium.com/the-wvoice/the-half-widows-in-kashmir-fef80c6b88e9" target="_blank">half-widow in Kashmir</a>, every <a href="https://www.doctorswithoutborders.org/what-we-do/focus/rohingya-refugee-crisis" target="_blank">refugee child born stateless in a Rohingya camp</a> carries forward the memory of betrayal – a memory that outlives soldiers, politicians, and peace accords alike.
The region’s future will not be decided by GDP figures or infrastructure projects alone. It will be decided by whether its governments can summon the political courage to face the truths they have long suppressed – or whether they will continue down a path <a href="https://theconversation.com/india-is-using-the-g20-summit-to-further-its-settler-colonial-ambitions-in-kashmir-205166" target="_blank">where forgetting is demanded</a>, and rebellion becomes inevitable.
Shyam Tekwani is a professor at the Daniel K. Inouye Asia-Pacific Center for Security Studies in Hawaii. This <a href="https://dkiapcss.edu/nexus_articles/ghosts-at-the-border-south-asias-unfinished-wars/" target="_blank">article</a> was originally published on <a href="https://dkiapcss.edu/security-nexus/" target="_blank">DKI APCSS Security Nexus.</a> The views expressed in this article are those of the author and do not reflect the official policy or position of DKI APCSS, the Department of Defense, or the US Government. The appearance of external hyperlinks does not constitute endorsement by the United States Department of Defense (DoD) of the linked websites, or the information, products, or services contained therein. DoD does not exercise any editorial, security, or other control over the information you may find at these sites.

Balochistan to Kashmir

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