One of the better known names in the Nepali music scene today, as the founder of Project Sarangi and part of Kutumba, is Kiran Nepali. He breathes new life into the traditional string instrument, inspiring younger Nepalis to find a sense of pride in their roots, inviting listeners not just to the sound but also to think about persistent caste discrimination.&nbsp; Nepali is steeped in the cultural heritage of the Gandharva community, who were traditionally minstrels travelling from village to village, singing the news of the land through their lyrics.&nbsp; Modern media replaced this communication system in Nepali society, and the cultural value of Gandharva storytelling disappeared. People stopped associating themselves with the music. Gandharvas experienced caste discrimination, and the sarangi itself became untouchable. Growing up in Kathmandu to a lineage of sarangi players, Nepali’s parents discouraged him from learning the instrument. So he learned the guitar. Later, he went back to the sarangi, and that changed everything.&nbsp; “Don’t chase what you don’t have. Take what you do have and make it great,” says Nepali, reflecting on discarded tradition.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240926110940_618e8218d6892a1343a2a7d9e9a7d1a33e7ad587cb7e4aef9ed8d23b5ef84c80.jpg" data-media-id="editor_0" data-image-id="20240926110940_618e8218d6892a1343a2a7d9e9a7d1a33e7ad587cb7e4aef9ed8d23b5ef84c80" data-rendition-name="original" width="990" height="1314" loading="lazy" alt="Kiran playing the Tungna"> <figcaption>Kiran playing the Tungna, a traditional instrument from the mountains.</figcaption> </figure>  Since 2012, the Project has &nbsp;offered educational opportunities to those who want to play the sarangi. They also developed a locally-made redesign of the instrument so it can be incorporated with technology like loop pedals and amps.&nbsp; Nepali’s love for the sarangi is palpable, as he blends the new amplified sound with the traditional melodies he has perfected, with the instrument serving as a musical bridge between the past and present. As a result of the instrument’s newly acquired modern appeal, he has witnessed a dramatic increase in people wanting to learn sarangi, notably those outside the Gandharva community. Many Nepalis are attracted to learning it as a way of connecting to their roots.&nbsp; But is something lost in modernising the playing? Nepali thinks not, having the opinion that traditional instruments must evolve with the times to stay relevant. “Do we want to see this instrument being played or in a museum?” he asks. “Music must go on, because it has a life, it has a soul, and to preserve it means that it’s already dead." <h2>Sarangi for conservation</h2> Gandharva music is also being used by Greenhood Nepal for its anti-poaching anthem. Greenhood's Kumar Paudel interviewed over 100 people arrested for illegal wildlife trade. Faced with fines and prison sentences of up to 15 years, the interviewees expressed regret, many stating that they had not realised the scale of the penalty, and the toll it would take on their families. Paudel then wrote the lyrics for a collection of songs drawn from the interviews. Collaborating with singer and sarangi player Prakash Gandharva, the songs communicate the impact of illegal wildlife trade on ecosystems and communities, and were performed across Nepal in the traditional Gandharva storytelling style. “In communities with high rates of illiteracy and limited access to the internet, music is the most effective way of communicating these messages,” says Paudel.&nbsp; Amrit Gandhari is a music therapist and owner of Abira Music Shop in Thamel, which he opened after the pandemic. While modern technology may threaten Gandharva music, through social media it also provides a large platform to share the music, broadly.&nbsp; Most sarangi sales from Gandhari's shop are to tourists, who can learn how to play from his YouTube tutorials. He even wrote a song during lockdown to spread awareness about Covid in the traditional Gandharva style. Sarangi has traditionally been a male-dominated instrument but more women are now learning it too. Gandhari is especially proud that his college-age daughter, Anu, has learnt to play.&nbsp; Now, the father-daughter duo perform every evening at 6PM in the Kathmandu Guest House courtyard. Says Anu Gandhari: “I want to be the best sarangi player in the world.” &nbsp; Emma Kieran Schaefer is a Thomas J Watson fellow who was in Nepal for a month to research about Gandharva music. &nbsp;

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The musical bridge between past and present

The Sherpa people who live below Mt Everest are so famous globally as intrepid mountain guides that their surname has been expropriated by SUV, lounge chair, pet accessory, momo restaurant brands. But their cultural history of being the custodians of the world's highest mountains and intimate relationship with the mountains is reflected in their folk songs. The lyrics point to the Sherpa reverence for nature, and their innate ecological consciousness.&nbsp; Today, the climate emergency is impacting on the Himalaya through no fault of the inhabitants. Rising temperatures are accelerating the melting of glaciers in the Khumbu region, with the threat of glacial lakes bursting. Flora and fauna in the region have been disturbed by weather extremes.&nbsp; But awareness about protecting nature has been Sherpa folklore for generations, long before climate scientists coined the terms greenhouse effect and climate change. Syar Thinche Nima, a song by Rinjin Lhamo Sherpa, a teacher and member of Himalayan Sherpa Cultural Centre in Khumbu, goes like this: The sun rises in the east If the sun doesn’t rise, the mountains will not glow bright The mountains will not remain If there is no snow on the mountains, there will be no rivers There will be no green water If water does not flow, the fish cannot live If there are no fish, there can be no forests Plants cannot grow If plants cannot grow, there will be no birds There can be no life, creation cannot exist. Read also: <a href="https://nepalitimes.com/opinion/margins/songlines-of-the-rivers-and-forests">Songlines of the rivers and forests</a>, Sewa Bhattarai Explains Rinjin: “This song is proof that our community was conscious of the ecology since they have been living here under the mountains.” The song not just portrays the importance of the mountains, but also vocalises the need for their conservation, on which the fates of the very existence of human civilisation depends. This song is also an example of the role of traditional cultures in combating the climate emergency which threatens to destroy the Himalayan ecosystem, and is caused by the overexploiting of nature. In contrast, indigenous cultures like Sherpa culture, reveres and respects the earth and considers it holy. Many Sherpa songs passed down from generations carry this ethos. Another song shared by Pasang Chhiring Sherpa of the Himalayan Sherpa Cultural Centre, Khangdi Thombi, views the mountains as awe-inspiring and sacred: Look at the mountains to the North How tall they are The heart is glad to see them There is a tall, golden wall here Inside the wall are our priceless treasures Our sages reside there Read also: <a href="https://nepalitimes.com/here-now/bridging-the-andes-and-himalaya-with-music">Bridging the Andes and Himalaya with music</a>, Sewa Bhattarai  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2023090904090_2e7c9aaa46a15aa3b42283fe255a3fd9dd6a13b51df7b78f8819e5882e652c21.jpg" data-media-id="editor_2" data-image-id="2023090904090_2e7c9aaa46a15aa3b42283fe255a3fd9dd6a13b51df7b78f8819e5882e652c21" data-rendition-name="original" width="2000" height="2667" loading="lazy" alt="Page 5"> </figure>  “The song talks about the mountains protecting our most precious possessions, priceless things which we cannot buy with money,” explains Pasang. Sherpas, who know their mountains better than most outsiders, regard them as symbols of purity, greatness, and mystery. These metaphors can be found in much of South Asian literature and religious scriptures like the Rig Veda which regard the icy summits as the abode of the gods. Another song of the Sherpa links the mountains with spirituality and spiritual practices. Another song created by the revered religious leader Thuchi Nyima Rinpoche goes: There is a peak called Kelung Domirila in Tibet It is powerful and sacred We must make many prayer wheels there “Prayer wheels are very important in our religious practice. However, the song does not talk about prayer wheels literally, it implies that we must do good deeds and practice our religion,” explains Pasang. “This song is sung on auspicious occasions and gives a good message.” Read also: <a href="https://nepalitimes.com/multimedia/the-last-of-the-kusunda">The last of the Kusunda</a>, Sewa Bhattarai With modernisation, global travel, tourism and monetary upliftment of the Sherpa people, many songs and traditional practices are also in danger of being lost. “Our children are more familiar with English songs and discos, so we made an effort to teach these sacred songs to them,” says Rinjin, who helps with Sherpa culture classes once a week.&nbsp; Activists have also set up the Himalayan Sherpa Cultural Centre to teach the new generation about different types of Sherpa songs, among other activities. There are many songs in Sherpa culture, sung on different occasions and in various settings. ‘Lu’ means song, and there are songs of sorrow (Kyo-lu), songs for weddings (Janti-lu), courtship songs (Ja-lu). Shyabru-lu are sung while dancing around in a circle.&nbsp; Pasang adds: “Until now, we have educated more than a thousand children about these songs, and taught them to sing and dance the old way.” &nbsp; Read also: <a href="https://nepalitimes.com/here-now/still-dancing-and-singing-for-nepal-revolution">Still dancing and singing for Nepal revolution</a>, Sewa Bhattarai Sewa Bhattarai is a freelance journalist. Her series, On The Margins, &nbsp;focuses on folk music, folklore, and mythology of Nepal's diverse communities.

Sewa Bhattarai

Songs from Chomolungma

The Tharu made up 6.2% of Nepal’s population in the 2021 census in 2021, outnumbering other indigenous communities: the Tamang, Newa, Limbu and Gurung peoples.&nbsp; The rest of the country has just begun to learn about the unique history and heritage of the Tharu people, the important role they play in Nepal’s conservation as well as increasing engagement in national politics. But the rich tradition of Tharu songs and music are less well known. There are songs for every occasion: Maagar songs for auspicious occasions, Barkimar and Sakhiya dances for Dasain, Dhamar and Maghauta for Maghi.&nbsp; The Tharu people traditionally live along the malarial jungles along Nepal’s southern plains bordering India. But from east to west there is great diversity among the Tharu people and language, and this is reflected in their songs. Read also: <a href="https://www.nepalitimes.com/here-now/bridging-the-andes-and-himalaya-with-music">Bridging the Andes and Himalaya with music</a>, Sewa Bhattarai  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2023073109070_17ec0ecf90ae76f4a7d1eba7bf1f6e5de4b13b6813314121d0adcb1ee669da64.jpg" data-media-id="editor_1" data-image-id="2023073109070_17ec0ecf90ae76f4a7d1eba7bf1f6e5de4b13b6813314121d0adcb1ee669da64" data-rendition-name="original" width="1600" height="1066" loading="lazy" alt="Songlines of the rivers and forests NT"> </figure>  With YouTube and social media, some genres of Tharu music are going commercial and gaining popularity. But others languish in obscurity. For instance, Jhumra is a genre of songs sung during Dasain and other fun moments have become popular on the Internet. It used to be only men who sang and danced the Jhumra. Although the Tharu community does have occasions for women to dance, those are celebrations rather than performances.&nbsp; For example, all girls of the village are allowed to sway to group dances like Sakhiya and Barkimar. But, Jhumra is more of a performance where only two people dance for the entertainment of the rest. “Parents have no problems if girls dance to Sakhiya and Barkimar, because everyone is dancing. But they hesitate to let girls perform the Jhumra,” explains Basanti Chaudhary of Dang, a commercial singer from the community. “Men even used to dress up as women to perform that dance.” Read also: <a href="https://www.nepalitimes.com/multimedia/the-last-of-the-kusunda">The last of the Kusunda</a>, Sewa Bhattarai  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2023073109070_88e5eaba9297b3a19e2b9cadd3434e5cac1d0e9d4fc53cd69b3b042334038fef.jpg" data-media-id="editor_3" data-image-id="2023073109070_88e5eaba9297b3a19e2b9cadd3434e5cac1d0e9d4fc53cd69b3b042334038fef" data-rendition-name="original" width="1600" height="1066" loading="lazy" alt="Songlines of the rivers and forests NT"> </figure>  Chaudhary has recorded many Jhumra songs, and also performs them on stage. It was her maternal grandmother who inspired her to take up music.&nbsp; “She was quite advanced for her generation. She used to play the madal and harmonium and make everyone dance. All the other dancers used to be male,” she recalls. Jhumra is easy to dance to and fits any festive occasion. It is popular on YouTube, in Tharu films, and in music festivals, and many women dance to it. “Jhumra is a colourful world, we sing it when we want to sing and dance and have fun,” says Chaudhary. An example of the lyrics of a duet by Basanti Chaudhary:&nbsp; Man: If a sackful of money is required, so be it But I will not give up this pretty girl Woman: I will dance in the yard But I will only exchange my beauty for money Read also: <a href="https://www.nepalitimes.com/banner/on-a-high-note/" target="_blank">Tibetan music in Nepal’s sacred valley</a>, Sewa Bhattarai  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2023073109070_63c8b95652bf85316e52bf556aa501054c0990d34e1d406f5a3a46ec8e7afd78.jpg" data-media-id="editor_5" data-image-id="2023073109070_63c8b95652bf85316e52bf556aa501054c0990d34e1d406f5a3a46ec8e7afd78" data-rendition-name="original" width="1333" height="1000" loading="lazy" alt="Songlines of the rivers and forests NT"> <figcaption>Photo: Sewa Bhattarai</figcaption> </figure>  Chaudhary is not just a commercial singer, but is also interested in the cultural roots of her community, and tries to preserve songs that reflect Tharu culture.&nbsp; Recently, with the help of the music festival 'Echoes in the Valley', she worked with musicians Simma Rai and Hishi Dolma Sherpa to revive Sajana, a popular melody in Tharu culture. Sajana is sung from Saraswati Puja in December to Hareri Puja in August to invite rains if they are late. Or, women in distress also sing it to communicate with their husband and family. Chaudhary, Rai and Sherpa learned these songs from a Tharu elder, Nirmala, and then recreated the song with modern music. The song is now on YouTube, and they also performed it at the Echoes in the Valley Festival in March. Read also: <a href="https://www.nepalitimes.com/review/eastern-melodies-in-kathmandu/" target="_blank">Eastern melodies in Kathmandu</a>, Sewa Bhattarai <div class="embed-block"><div><div style="left: 0; width: 100%; height: 152px; position: relative;"><iframe src="//cdn.iframe.ly/api/iframe?url=https%3A%2F%2Fopen.spotify.com%2Fepisode%2F1QWb6DhiPUTT7UAXWfb74G&key=87ca3314a9fa775b5c3a7726100694b0" style="top: 0; left: 0; width: 100%; height: 100%; position: absolute; border: 0;" allowfullscreen allow="clipboard-write *; encrypted-media *; fullscreen *; picture-in-picture *;"></iframe></div></div>Singer Basanti Chaudhary brings us a bhajhan--sung to console people after the death of a beloved one--and a few other Tharu songs from Dang.</div> We went fishing In the Rapti river The angar katuwa insect Bit my toe I sat on the shore and cried The Bhauji takes the Tapiya basket The Nandi takes the Helaka basket The Bhauji kills Raini fish The Nandi nets in tiny shrimp fish The song depicts the Tharu livelihood of fishing in rivers, and the role of different kinds of equipment and fish in their lives. The songs entertain as well as educate about Tharu culture and are gaining new audiences through the Internet. Songs considered ‘serious’, however, are still confined within the community. One such solemn song is sung to console relatives after a death in the family, and incorporates belief in rebirth.&nbsp; Read also: <a href="https://www.nepalitimes.com/banner/fire-in-the-belly-2/" target="_blank">Still dancing and singing for Nepal revolution,</a> Sewa Bhattarai  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2023073109070_5c6efb916a40e363e02a874de44946faad07e2e5ce99e79c60d4cdfd1d857588.jpg" data-media-id="editor_9" data-image-id="2023073109070_5c6efb916a40e363e02a874de44946faad07e2e5ce99e79c60d4cdfd1d857588" data-rendition-name="original" width="1600" height="1066" loading="lazy" alt="Songlines of the rivers and forests NT"> </figure>  O soul, let's go to that country Where the dear, true Lord lives O soul, O soul Where will you make a home now? You have forgotten the stress of attachments Half the sinners are gone And the mortal body is still on the way “Death is inevitable after birth. If your loved one is dead, how do you console such a person? The body is here, but the soul is gone. Our mortal body is a sinful one. It is here today, and gone tomorrow,” Chaudhary explains. “Tharu bhajan are very touching. We can use them to revive lives devastated by the loss of a loved one.” The song portrays the mortal body as transient, and the soul as permanent. In essence, this song contains the spirit of the Nirgun philosophy, which holds that death is not the end, but the beginning of a journey to the divine. The song expresses the immortality of the soul, the transitory nature of the material world, the longing for liberation from the cycle of birth and death, and the desire to be one with the divine. The fact that the song has captured such a vast philosophy in very succinct words is proof that music is not just entertainment, that music can portray the full spectrum of human experiences and plumb the depths of human emotions. Read also: <a href="https://www.nepalitimes.com/here-now/a-gift-of-music-to-nepali-children">A gift of music to Nepal's children</a>, Marty Logan  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2023073109070_084a0c9fcbba42f7163e9f3c4d7e51e01418be6cdd0433edc073e29031e685cb.jpg" data-media-id="editor_11" data-image-id="2023073109070_084a0c9fcbba42f7163e9f3c4d7e51e01418be6cdd0433edc073e29031e685cb" data-rendition-name="original" width="1600" height="1066" loading="lazy" alt="Songlines of the rivers and forests NT"> </figure>  The Nirgun tradition has deep roots in South Asia, it believes that attachment and sensory experiences lead to sorrow, the world is illusory, the body is impermanent and only the soul is permanent. Concepts like these can be found in ancient scriptures like Mahabharata, Bhagawad Gita, in the teachings of the Buddha, and in modern times in Nepal in the Ramayana of Bhanubhakta. Even though Tharu songs are now going commercial and widely disseminated, spiritual songs still have only limited reach. Other communities in Nepal also have songs to provide solace in difficult times, and open doors to knowledge and philosophy. But many languish in obscurity awaiting younger generations to take notice. Tharu songs are an example of the increasing market for entertainment and dance numbers in indigenous languages of Nepal, but we may have to wait for the time for more serious lyrics and melodies to gain wider listenership.&nbsp; Read also: <a href="https://www.nepalitimes.com/review/ghatu-dance-of-lamjung/">Ghatu dance of Lamjung</a>, Sewa Bhattarai Sewa Bhattarai is a freelance journalist. Her series, On The Margins, will focus on folk music, folklore, and mythology of Nepal's marginalised communities.

Songlines of the rivers and forests

A year ago in the hilltop town of Kirtipur overlooking Kathmandu, musicians started to experiment with a blend of Appalachian Bluegrass with the mewl of the sarangi from the Himalaya. Zoe Levitt, a Bluegrass mandolinist and songwriter from the US, and Prince Nepali, a fourth-generation sarangi player and educator, bonded well and established their Nepali-American folk fusion band, Manaslu Blue.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230521150536_dbba6249269f8f2cf5e3a1ce61bbee2da31f735947d02377ecf44ea6034c0b81.jpg" data-media-id="editor_0" data-image-id="20230521150536_dbba6249269f8f2cf5e3a1ce61bbee2da31f735947d02377ecf44ea6034c0b81" data-rendition-name="original" width="2000" height="1333" loading="lazy" alt="Manaslu Blue"> </figure>  One year later, Manaslu Blue debuted in KatGrass: Bluegrass &amp; Nepali Folk Fusion Concert to a diverse audience of Nepali and international enthusiasts in an evening of high-energy music, dancing, and cheers at Moksh. Manaslu Blue has Prince Nepali on sarangi, Zoe Levitt on mandolin, Anish Tamang on guitar, Sabin Ghising on flute, Yuson Maharjan on percussion, and Ryan O’Donnell on vocals and guitar (featured guest artist for KatGras). The musicians are united in their effort to preserve traditional music with members particularly concerned about preserving folk music and their unique instruments like the sarangi, bansuri, and damaha.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230521150536_ffcdd0197a4e00e4f4d9a693b3a87dc523e5c1db65b29f368e73fc7fdbbec357.jpg" data-media-id="editor_1" data-image-id="20230521150536_ffcdd0197a4e00e4f4d9a693b3a87dc523e5c1db65b29f368e73fc7fdbbec357" data-rendition-name="original" width="2000" height="1333" loading="lazy" alt="Manaslu Blue"> </figure>  “The new generation does not have folk artists to look up to, traditional musicians need to be recognised if we want to preserve our folk tunes,” says Prince Nepali who runs classes in Sarangi Ghar. Nepali is also looking to make archives of traditional songs, including some composed by his great-grandfather.&nbsp; Guitarist Anish Tamang adds that many younger Nepalis, as well as musicians look up to Western genres, prioritising it over traditional music. This has also meant that there are not as many platforms to learn traditional music.&nbsp; Manaslu Blue has an upcoming EP which will highlight Nepali folk music and musicians, and help listeners recognise the band members as artists who can inspire new, younger audiences. Bluegrass and Nepali folk music come from different corners of the world, however, unlike sheet music, both styles are traditional and are learned by ear.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230521150540_8f4a8d4981cc1ff4a4100769bacafe9cd498312165d733b39e47575e606a1b2f.jpg" data-media-id="editor_2" data-image-id="20230521150540_8f4a8d4981cc1ff4a4100769bacafe9cd498312165d733b39e47575e606a1b2f" data-rendition-name="original" width="2000" height="1333" loading="lazy" alt="Manaslu Blue"> </figure>  The musicians have to listen to one another and play what feels right to them at the moment. Since everyone in the band is comfortable with improvisation, the band produces something new every time they perform, a unique charm that defines the band’s synergy. The music alternates between the use of different instruments like mandolin, flute, sarangi, percussion, and guitar as everybody plays in sync as well as spaces out to give every instrument their unique solos and voices.&nbsp; Fusing folk music with Bluegrass also opens the door to experimentation, diverse collaborations, and unique music. The band plans to introduce this fusion to a global audience, starting with Bluegrass festivals around the globe to surprise different musical communities. “Nepali bands often target the Nepali diaspora when touring internationally. Manaslu Blue wants to introduce it to a larger audience, like at Bluegrass festivals and folk festivals and beyond, so Nepali folk music gets exposure to different demographics,” says Zoe Levitt, adding that the band is open to collaborating with folk musicians from around the world.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230521150540_28fd8caca9031aaa7fef03dd178b3937c11f57c188a62267e67f883f0d96d339.jpg" data-media-id="editor_3" data-image-id="20230521150540_28fd8caca9031aaa7fef03dd178b3937c11f57c188a62267e67f883f0d96d339" data-rendition-name="original" width="2000" height="1333" loading="lazy" alt="Manaslu Blue"> </figure>  Band manager Akriti Maya, has her job cut out for herself with Bluegrass being a new musical genre in Nepal. She says: “Fusion can be scary, but when they work, it is almost like they are philosophically connected.” For Maya, folk music is synergetic and works well in courtyards where people from different communities let themselves indulge in the unique mixture of their folk music and dance. At Moksh last week, Americans toe-tapped to the Bluegrass tunes while the Nepalis waved their hands, combining dance steps from both traditions.&nbsp; Manaslu Blue members bridge the musical distance between the Appalachian and Himalayan mountains. The members are united by their shared love for the music and the traditional instruments that produce the sound.&nbsp; Ryan O’Donnell, a featured guest of the band, puts it best: “The music is powerful, beautiful, spellbinding – it is a very logical combination.”&nbsp;

In Nepal, East meets West musically

https://youtu.be/OmJUQXfTVlEA<a href="http://archive.nepalitimes.com/article/nation/winter-emergency-for-quake-survivors,2715" target="_blank" rel="noopener">fter the 2015 earthquake</a>, many mountain communities in Nepal stopped celebrating festivals because they were in mourning. More than three years later, devotional songs are being heard again.Last month in Langtang the Drukpa Tseshi festival that celebrates the Buddha's first teaching at Sarnath was held for the first time since 2015. Ethnomusicologist Mason Brown was there, and says he was lucky to finally hear songs of Nepal’s Tibetan communities directly in relation to earthquake recovery.As an American who grew up a Buddhist, Brown is also a folk music enthusiast, and used to perform at Bluegrass festivals in the US. After studies at the Naropa University in Colorado he went to Japan where he lived with a monk in Nigata and studied liturgical music. His fascination for the Tibetan language led him to choose Tibetan folk songs for his PhD thesis.During his research, Browncame across a CD of songs from <a href="http://archive.nepalitimes.com/article/nation/preaching-on-high,3904" target="_blank" rel="noopener">Nubri in Upper Gorkha</a>. He has been visiting the holy valley ever since to record songs in the dozen or so Tibetan speaking villages beyond Ganesh Himal."Tibetan music in Tibet has been affected by the cultural revolution and also by Chinese musical traditions, whereas in Nepal their music has changed at a slower pace because of the isolation,” Brown explains.Brown’s Nubri recordings have songs from celebrations, festivals, weddings, and contain Buddhist references even when they are secular.This is very different from European music where sacred songs have a particular time and place (usually the Church), and religious references rarely find their way into ballads.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110714118/6369033e9c7e80680e037caejpeg.jpg" alt="" width="1200" height="1110"/><figcaption>METAPHORS: Nubri residents perform a dance with a message of compassion. Folk preformances here communicate the Buddha's teachings. Photos: Mason Brown</figcaption></figure><a href="http://archive.nepalitimes.com/article/nation/winter-emergency-for-quake-survivors,2715" target="_blank" rel="noopener">A Nubri</a> song that starts out as a mantra to Avalokitsewara urges the listener to not be lazy like a cow, but to take heed of impermanence and practice the dharma in this life. The simple lyrics encapsulate the wisdom of Buddhist philosophy: that life is transient, suffering inevitable, and the only way to remedy this is to practice dharma through good deeds.The songs exhort listeners and singers to turn the mind away from samsaric occupations towards dharma, and translate complicated Buddhist precepts into easy to grasp explanations of the preciousness of life, karma, and how to life can be made meaningful before its inevitable end.In one song, Lama Pema Gyamtsho evokes an image of Kathmandu Valley's holy sites and in doing so orients the people of Nubri towards Kathmandu, rather than Lhasa.Boudha stupa is the great father Swoyambhu is the great mother The supreme pilgrimage places That are not found in other worlds are there Says Brown: "Their cosmology is usually organised in a mandala form. Usually there are two competing mandalas, of China and of Dharmashala, and Nepal is left out. But for the people of Nubri, Kathmandu is the centre.” Even so, the songs represent a Nubri-centred worldview rather than an acceptance of the dominance of Kathmandu.With Boudha as the father and Swayambhu as the mother, the other chaityas between them are supposed to be 'happy sons,' self-arisen from leftover stones. Like most folk art, the songs provide a way of challenging dominant ideas and reversing a community’s marginalised status vis-a-vis other power centres, and passing on its unique identity to future generations.Brown says each of Nepal’s Tibetan communities has a different music traditional with a unique identity. In Langtang he found musical harmony (playing more than one note at a time) more common in Western music.The references to philosophy and spirituality, however, may be in danger of being lost due to the popularity of other forms of music among youngsters who <a href="http://archive.nepalitimes.com/article/nation/Nation-road-from-nowhere-to-nowhere,549" target="_blank" rel="noopener">migrate out of the high mountain villages</a> for study and work.But when he sees the same youth document their heritage with mobile phones, Brown is optimistic: "There are still young people who care deeply about local identity, so we don't need to worry about it yet. Hopefully, the music will be preserved and passed on."<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110714118/636903419c7e80680e037cafjpeg.jpg" alt="" width="1200" height="854"><figcaption> </figcaption></figure><h2>"I Go for Refuge to the Authentic Dharma"</h2><h2>"Kathmandu Pilgrimage Praise Song"</h2>Please listen! The secret ōm has (the five syllables): ma ni pad me hungI go for refuge to the excellent authentic dharmaPlease listen! Don’t habitually sleep like a cow, get up!Without sleeping, make offerings to the excellent deityPlease listen! Meditate on Avalokiteshvara with undistracted bodyrecite without distraction, enumerate the six syllablesPlease listen! Write the six syllables on fine paperOffer it to the hand of the Lord of DeathPlease listen! There is no point in worldly deedsWhile we are here we have to practice dharmaSeeing pilgrimage places at the weddingI vividly encountered KathmanduAn amazing spectacle aroseI received great blessings at the stupaBoudha stupa is the great fatherSwayambu is the great motherThe excess earth and stone between themAre the happy sonsIn the upper parts of the Kathmandu cityI heard a golden shawmIt wasn't a golden shawmIt was the speech of the mother and the ḍākinīsThe supreme pilgrimage placesthat are not found in other worlds are there

Tibetan music in Nepal's sacred valley

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

The Last Days of the Khampa

Starting 17 September Turkish Airlines will fly daily to Seville, one of Spain’s major tourist draws. This is Turkish’s sixth destination in Spain after Madrid, Barcelona, Valencia, Malaga, and Bilbao. Seville is in the Andalusia region on Spain’s south coast with a rich Moor history. There are approximately 30,000 Nepalis living in Spain.&nbsp;

Turkish to Seville

The newly-formed Himalayan Art Council is set to launch Nepal’s National Art Protection Platform that seeks to preserve <a href="https://nepalitimes.com/banner/the-history-of-heritage">Nepal’s unique cultural heritage </a>using<a href="https://nepalitimes.com/here-now/artificial-censorship"> AI-powered tools</a>. The Council seeks to safeguard <a href="https://nepalitimes.com/banner/nepali-art-going-places">Nepali art works</a> from neglect, theft and counterfeiting as well as preserve existing artwork and celebrate living masters by giving them a cultural space to continue the <a href="https://nepalitimes.com/banner/sacred-survival">sacred art traditions</a>. "We are introducing a new digital platform designed to preserve, verify and elevate <a href="https://nepalitimes.com/banner/nepals-new-generation-of-alternative-artists">Nepal’s art for generations to come,</a>” says a statement from the Council, adding that the digital platform will use AI told for authentication and blockchain to keep track of works of art. Artists can now be protected by <a href="https://nepalitimes.com/multimedia/ayo-ai?fbclid=IwAR1uwmTVq4gUB70ljfRezjzukD9ArWXPuMnUikopeQ8PoiZMjicToPSwhKE&amp;=1">AI tools</a> that detect forgeries, identify their work even when unsigned, and ensure they receive proper recognition and credit. The archives will be searchable with translated inscription and interactive guides. Says curator Meena Lama: “AI and blockchains are tools that give us the power to detect fakes and identify unsigned paintings and track every piece. With these tools we can restore trust, secure authorship and give artists the dignity they deserve.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250514170544_2ab58f6313c0458f75114a692b0016bd9efb3b59d5f8f07f0da72e1e37b82f53.jpg" data-media-id="editor_6" data-image-id="20250514170544_2ab58f6313c0458f75114a692b0016bd9efb3b59d5f8f07f0da72e1e37b82f53" data-rendition-name="original" width="1300" height="1000" loading="lazy" alt="Artwork at the Traditional Art Exhibition at Patan Museum."> <figcaption>Artwork at the Traditional Art Exhibition at Patan Museum.</figcaption> </figure>  The Council is also holding an exhibition of Nepali cultural masterpieces with 50 historical <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Buzz-the-art,671">thangka and paubha </a>by past masters and <a href="https://nepalitimes.com/review/between-the-sacred-and-everyday">contemporary works by current artists</a>. This curated collection is a living tribute to <a href="https://nepalitimes.com/here-now/when-yaks-go-so-does-culture">Himalayan culture</a> with economic depictions of deities, mandala and sacred narratives. The exhibition at <a href="https://nepalitimes.com/multimedia/a-portal-into-patan-s-past-and-present">Patan Museum</a> also provides an opportunity to meet painters and custodians of art and culture. Read also: <a href="https://nepalitimes.com/review/golden-deities">Golden deities</a>, Sewa Bhattarai ‘The exhibition is only the first step in a long journey to ensure that Nepali art is no just seen but fully understood, <a href="https://archive.nepalitimes.com/article/nation/Narratives-of-Faith-and-Memory-Remembering-the-Lost-Sculptures-of-Kathmandu-exhibition,987">protected and remembered</a>,’ the Council says. Artist Kailash K Shrestha of Artudio has spent decades promoting thankha and paubha traditions because of their beauty and devotional meaning. But he also says artists are underpaid, exploited and ignored. He adds, “AI and blockchain are not just buzzwords, they are powerful tools that can protect Nepal’s artists from fraud, verify authenticity and build a permanent record of provenance.” Traditional Art Exhibition Till 17 May Patan Museum

Digital protection for Nepal’s art

<a href="https://www.instagram.com/prabalgurung/" target="_blank">Prabal Gurung</a> left Nepal for New York in 1999 to escape years of bullying, sexism and homophobia, and to pursue his dream of becoming a fashion designer. He <a href="https://www.youtube.com/watch?v=KqN0VaoAI5w" target="_blank">realised his dream</a>, but did not escape discrimination and racism in the new world. Propelled by passion for fashion, Gurung overcame everything America threw at him. He has attained <a href="https://www.vanityfair.com/style/story/prabal-gurung-recalls-his-first-met-gala-when-zoe-saldana-was-at-his-side?srsltid=AfmBOooy-H0oGgxMit864FnW_Pmw8mUnV8rYrh-co-f6OyYK6m2ip5hP" target="_blank">fame and recognition</a> for his haute couture dress designs while remaining true to his Nepali roots, and is even more resolute in <a href="https://www.youtube.com/watch?v=dSmNauyzACk" target="_blank">fighting prejudice</a> in all its forms. Prabal Gurung’s newly-released memoir <a href="https://www.amazon.com/Audible-Walk-Like-Girl-Memoir/dp/B0DG11HCDQ?fbclid=IwY2xjawKZfpxleHRuA2FlbQIxMQABHuZcIJO2OXyXcRm1oq1iG6wzeoF7VJFrQ7GXOFI0YxuZZ4id_CNvSZSZZIna_aem_pG_mOKG73RTnYvN8JaC4fA">Walk Like a Girl</a> is a saga of harrowing abuse in boarding schools in Nepal and India, only finding himself facing a different kind of bullying in the US. He prevails over it all to be where he is today: an award-winning American fashion designer with his own label. Walk Like a Girl was launched last week in New York at a time when everything Gurung fought for — tolerance, inclusion and diversity — are in retreat in his adopted country because of a president who has espoused a culture of bullying. The book is a searing, raw exposé of how cruel and abusive people can be even at a young age in school. On the other hand, it also shows that there are generous, compassionate and open-minded souls out there. In his book, <a href="https://www.youtube.com/watch?v=K4le_uWX7YE">Prabal Gurung</a> calls out those who tormented and tried to hold him back (some of their names have been altered). The moral of his story is: resist, never stop believing in yourself, do not let others define you, never lose sight of your dream, and help those who have been kept out. “Walk like a girl” was a slur used by bullies back in school in Nepal and India for Gurung’s effeminate ways. He fought back then, and he is still resisting by turning those words into something to be proud of.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519170544_4ffc9c3f565dd2cfa754d10b224816897b82bb31ebaee91b6d79d469fc96f14e.jpg" data-media-id="editor_6" data-image-id="20250519170544_4ffc9c3f565dd2cfa754d10b224816897b82bb31ebaee91b6d79d469fc96f14e" data-rendition-name="original" width="1000" height="1253" loading="lazy" alt="Prabal Gurung NT"> <figcaption>Prabal Gurung at home in Kathmandu in the 1990s.</figcaption> </figure>  “Living through it all was one thing, but writing about it is one of the hardest things I have done in my life,” admitted Gurung during the launch. “I broke down constantly during the six-year writing process.” He continues: “I did not want this to be a victim’s book. I did not want to burden my readers with my emotions. I wanted my struggle to be an inspiration for others facing what I faced. I am grateful to those who bullied me in school, they made me a stronger person ready to face the world.” Indeed, this book is a departure from his earlier one titled simply, Prabal Gurung (Abrams, 2019), which was a lush pictorial autobiography of his career in fashion. Walk Like a Girl is not a typical fashion book, it is an intimate tale of <a href="https://archive.nepalitimes.com/news.php?id=16997">Gurung’s travails and triumphs</a>, and how he willed himself to succeed. Prabal pays a lavish tribute to his mother Durga Rana. We find out she is a descendant of the first wife of the eldest son of Jang Bahadur Rana who was banished to Palpa in the late 19th century. Prabal’s father served in the Singapore Police and that is where he was born before the family returned to Nepal when he was four. Gurung relates with brutal honesty about the violence his mother endured from his father. Durga raises three children as a single mother in Nepal, and Prabal credits her for his fierce determination to resist patriarchy and injustice, which in time manifests itself in his hyper-feminine and subversive dress designs. Writing the book has been a cathartic experience for Gurung, who says he is now relieved of the burdens of his past. It no longer haunts him, and he does not have to prove anything to anyone anymore. Walk Like a Girl has life lessons not just for the <a href="https://www.instagram.com/p/DJmOcSgxdWz/" target="_blank">fashion industry</a>, but for every other profession. How can my job serve a greater cause? Gurung tells us his work is <a href="https://asiasociety.org/blog/asia/why-designer-prabal-gurung-doesnt-want-just-stick-fashion" target="_blank">bigger than just making clothes</a>, it is about making the world a better place because it could do with a lot of improvement.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519170544_d75296ad8bfdc00d88935f40d23543c6fea3d4d6a10e61a99d6cfc6127f2ee5b.png" data-media-id="editor_10" data-image-id="20250519170544_d75296ad8bfdc00d88935f40d23543c6fea3d4d6a10e61a99d6cfc6127f2ee5b" data-rendition-name="original" width="1516" height="1000" loading="lazy" alt="Prabal Gurung"> </figure>  This story of chasing the American dream may sound familiar to many immigrants: knocking on doors for jobs, rejections, trying to survive from day to day on expensive rent, and dealing with subtle racism in white America. Gurung finds racism is rife, and he is often mockingly called ‘gaysian’. He writes: ‘There was a strong hypocrisy — this idea of independence felt like a marketting ruse … and for all the talk of feminism in America, these high society women were trapped by the patriarchy just like in Nepal and India.’ After a trek to the Khumbu region in 2013, Gurung is inspired to use the colours, palette and textures of Nepal for his collection exhibited on Manhattan’s 8th Avenue. A major buyer tells him bluntly: “Stick to making pretty dresses … if I need to see a collection like this, I could buy a copy of National Geographic.” The New York Times was equally dismissive: ‘The designer tries to draw connections between blistered techo-fabric used to construct it and the topography of his homeland, Nepal. But, at the moment, he has lost his map.’ One potential investor tells Gurung he cannot design for Americana because “you do not look American”. Gurung wants to use expletives, but restrains himself. After a fundraiser in New York for the Nepal earthquake in 2015, some belittled his effort, saying: “Here comes the saviour."&nbsp; Read also: <a href="https://nepalitimes.com/review/prabal-gurung-by-prabal-gurung">Prabal Gurung by Prabal Gurung</a>, Kunda Dixit The Gurkha DNA must be dominant in Prabal Gurung’s genes because he does not take such mistreatment lying down. When asked by a fashion publicist why he was designing clothes for fat people, he snaps back: “Because of people like you.” He joins the Black Lives Matter and #MeToo movements, launches the Shikshya Foundation charity in Nepal, and has powerful allies among celebrities who wear clothes he designed: Michelle Obama, Oprah Winfrey, Sara Jessica Parker, Kamala Harris, Deepika Padukone … it is a long list.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519150556_48a5f4211991a23fa85b64bbd5377575ca7081d97309d7542035591dda5180fe.png" data-media-id="editor_12" data-image-id="20250519150556_48a5f4211991a23fa85b64bbd5377575ca7081d97309d7542035591dda5180fe" data-rendition-name="original" width="1114" height="1534" loading="lazy" alt="Being Prabal Gurung by design"> <figcaption>Nigerian novelist Chimamanda Ngozi Adichie wearing Atelier Prabal Gurung’s design for Met Gala 2025 in which the theme was ‘Superfine: Tailoring Black Style’. </figcaption> </figure>  “I don’t dress women to look beautiful, they already are,” Gurung says. “I try to bring out their innate strength and grace.” <a href="https://www.instagram.com/stories/highlights/17908766880140171/" target="_blank">Admirers</a> tell Gurung he makes it all look so easy, but he used to put up a strong facade to not show his own vulnerabilities in public. “I was closed because of my childhood experiences,” he says. “I was always on guard to defend myself because I never knew where the next punch would come from.” But in <a href="https://www.youtube.com/watch?v=PPVepzPA210" target="_blank">Walk Like a Girl,</a> Gurung comes to terms with his vulnerability, and bares his soul. It has not been easy, it took sustained will power and support from his mother, sister Kumudini and a circle of close friends. “I made unbelonging my power,” he says. “Nepal is where I still have my heart and soul. Nepal grounds you. It is where people go to find themselves. But I escaped.” Recently appointed vice-chair of the <a href="https://cfda.com/about-cfda" target="_blank">Council of American Fashion Designers</a>, Gurung says: “I can’t believe I am here, it feels like it is happening to someone else. Writing this book, the healing has finally begun.” <h2>‘Everything is better in color’</h2> The Met Gala was two weeks later, and my table was an example of everything I’d been fighting for all these years as my guests represented everything I believed in: dynamic, powerful, influential women who were unapologetically original and unabashedly graceful. I was grateful to Anna for inviting me to host and dress a table that reflected my ethos—and for her guidance in doing so. I was also aware of the privilege as one of the first-­ever Asian fashion designers—not just from Nepal, but from the entire continent— to get the opportunity to do so. That fact was not lost on me. I reached out beyond the expected Hollywood celebrities and well-­known socialites to curate a table of exceptional women who inspired me. I invited Deepika Padukone and Alia Bhatt for their first-­ever Met Galas, as well as Michelle Yeoh, Mindy Kaling, Camila Cabello, Ashley Park, Denée Benton, KiKi Layne, Quannah Chasinghorse, and Grace Elizabeth. Together we checked many boxes: Asian, Black, Latinx, and Indigenous, each woman undeniably chic and powerful, a dazzling array of skin tones and experiences that proved my decades‑in‑the-­making hypothesis: everything is better in color. Excerpt from Walk Like a Girl Viking © 2025 by Prabal Gurung  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519170520_6b91d560e9f072c37d16876901058c073a51ffa05e7ad1b9461d19e1c9c28215.jpg" data-media-id="editor_16" data-image-id="20250519170520_6b91d560e9f072c37d16876901058c073a51ffa05e7ad1b9461d19e1c9c28215" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Prabal Gurung book details NT"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519170520_345240c21be400e2ce2ec629b52bd82bb53890e5bd86fe95b48340d84b5f1748.jpg" data-media-id="editor_17" data-image-id="20250519170520_345240c21be400e2ce2ec629b52bd82bb53890e5bd86fe95b48340d84b5f1748" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Prabal Gurung book details NT"> </figure>  &nbsp;

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