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

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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

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Songs from Chomolungma

Songlines of the rivers and forests

In Nepal, East meets West musically

Tibetan music in Nepal's sacred valley