<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110914114/636ba5b39c7e80680e0736dcjpeg.jpg" alt="" width="1000" height="714"/><figcaption>Anna Marie Stirr has completely immersed herself into the world of Nepali dohori folk duets, not just doing a PhD on the subject and publishing a book, but also performing the song routines.</figcaption></figure>Anna Marie Stirr was intrigued and thoroughly captivated the first time that she listened to a dohori traditional duet in Nepal twenty years ago. Was it a song or a long playful banter between musicians?She was a student of ethnomusicology at New York’s Columbia University at the time, and the dohori genre stood out not only for its unique vocal tone and style, but because it blurred the lines between music and drama, delivering a performance that was unlike anything she had ever witnessed before.Stirr began to delve into the world of Nepali folk music, learnt the language and spent two decades traveling within Nepal, studying and analysing minutely the spontaneous lyrics, the rules governing the musical back-and-forth, and what made dohori such an essence of Nepali culture.On one of her many trips in 2005, cheered on by members of a local mothers’ group in Lamjung Stirr was urged to join in the singing. She came up with her own dohori compilation: “Aye ma ta yo gaun ma khuruka, sab bhujna sukha ra dukha, mirmireko gham…” (I have come to this village to understand both happiness and pain, the twinkling sun…)The mothers were delighted by her fluent and mellifluous Nepali, and the way she had grasped the soul of the songs. Ever since, Stirr has been obsessed with dohori. She is now Associate Professor at the University of Hawaii and her 2017 book based on her PhD research, <a href="https://global.oup.com/academic/product/singing-across-divides-9780190631987?lang=en&amp;cc=us">Singing across Divides: Music and Intimate Politics in Nepal</a>, was awarded the <a href="https://www.asianstudies.org/grants-awards/book-prizes/cohn-prize/">Bernard S Cohn Book Prize</a> last year.https://www.youtube.com/watch?v=UauGVtwbC9s&amp;feature=emb_logo“Dohori is a truly challenging and complex musical practice,” explains Stirr, who has studied the variations of dohori by singers like Sharmila Gurung and Devi Gharti Magar, whose voices feature impeccable skill and precision when carrying out the complicated kharki voice modulation in their songs. <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/songs-of-rebellion,3249">Komal Oli’s</a> steady and controlled voice has now become characteristic of her personal style and flair.“Dohori singers must be poets at heart,” says Stirr, who defines the singing in her book as ‘dialogic, conversational sung poetry’ that uses improvisation, wit, playfulness, and ingenuity all at the same time. Dohori is not just entertainment, it tackles societal issues like gender, class and caste discrimination, and the songs challenge rulers.During the Panchayat, dohori was a medium for democratic activism, and today with the failure of governance that is driving hundreds of thousands of young Nepali women and women abroad in search of work, it is an outlet for the popular dissatisfaction as well as expressions of longing and separation.During the <a href="https://www.nepalitimes.com/banner/parodying-patriarchy-at-tij/">Tij festival</a> dohori has now moved beyond playful teasing between men and women headlong into <a href="https://www.nepalitimes.com/banner/nepali-folk-songs-move-beyond-love-and-loss/">tackling Nepal’s patriarchal mores.</a> During the conflict as people migrated to the cities for safety, the Rodhi Ghar became a place of refuge and urban-rural interaction where the songs served to cement Nepal’s ethnicities.Read also: <a href="https://www.nepalitimes.com/banner/nepali-folk-songs-move-beyond-love-and-loss/">Nepali folk songs move beyond love and loss</a>, Reeti K.C.https://www.youtube.com/watch?v=9vYfyFbeC8Q&amp;feature=emb_logoStirr also researched Nepal’s progressive and <a href="https://www.nepalitimes.com/here-now/still-singing-and-dancing/">revolutionary folk music</a>, producing a documentary in collaboration with Bhakla Syangtan of Radio Namobudhha that profiles folk musician-turned-MP Khusi Ram Pakhrin.“Hajarau ko balidan le kalo yuga dhaleko cha,” (The dark age has ended through the sacrifice of thousands of people) goes one of Pakhrin’s song. And there is hope for a better future in this one:  “Srijana ra sambriddhi ko bato khulna thaleko cha” (The path of creativity and prosperity is beginning to open up).Stirr writes in her book: ‘Mediating technologies, narratives of national feeling, and new feelings engendered in changing surroundings continue to shape modern ideas of “village voices” (folk music), at the intersection of development, nostalgia, exploration and evolving ideas of belonging.’Stirr has spent nearly ten years studying and enjoying Nepali folk music in Nepal, she taught at the music department of Kathmandu University in 2004, fostering connections with folk musicians like Tulsi Parajuli and Satyakala Rai, and frequenting live performances of dohori songs in the Nirmaya Rodhi Club alongside folk singer Sheila Ale.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110914114/636ba5b59c7e80680e0736ddjpeg.jpg" alt="" width="640" height="980"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110914114/636ba5b89c7e80680e0736dejpeg.jpg" alt="" width="640" height="980">Preforming in traditional attire with near-perfect Nepali inflection, Anna Stirr is as much Nepali as she is American. She considers Nepal as her second home, and even though she is 13,000km away in Hawaii she keeps her connections alive through dohori and preparing Nepali food of which her favourites are local kukhura ko masu and alu ko achar.Stirr says she would still like to visit many more places in Nepal, exploring and studying different regions and their <a href="http://archive.nepalitimes.com/news.php?id=18795#.XzNmBYoza71">folk music</a>, and she would have been in Nepal now if it had not been for the COVID-19 crisis.She told <a href="http://archive.nepalitimes.com/news.php?id=15058#.XzNU64oza70">Nepali Times in an interview</a> in 2008: "I can make people laugh when I sing a dohori, but I haven't yet been able to make them cry."Read also:<a href="http://archive.nepalitimes.com/news.php?id=18795#.XzK0DSgzbb0">Songs of our past</a>, Amar Gurung<a href="https://www.nepalitimes.com/latest/norway-nepal-lockdown-concert-on-the-internet/">Norway-Nepal lockdown concert on the internet</a>, Nepali Times <img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110914114/636ba5bb9c7e80680e0736dfjpeg.jpg" alt="" width="640" height="427">Singing Across Divides: Music and Intimate Politics in NepalBy Anna Marie Stirr <a style="background-color: #ffffff; letter-spacing: 0.01em;" href="https://global.oup.com/academic/product/singing-across-divides-9780190631970?cc=us&amp;lang=en&amp;">Oxford University Press, 2017</a>312 Pages $105 ISBN: 9780190631970<a href="https://global.oup.com/academic/product/singing-across-divides-9780190631987?lang=en&amp;cc=us">Paperback</a> <a href="http://www.oxfordscholarship.com/view/10.1093/oso/9780190631970.001.0001/oso-9780190631970">Oxford Scholarship Online</a>Ebook<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110914114/636ba5bf9c7e80680e0736e0jpeg.jpg" alt="" width="166" height="250">

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An American-Nepali duet

https://www.youtube.com/watch?v=F323tUAS99w&amp;feature=youtu.beInside buses on their daily commute Nepalis are used to listening to familiar-sounding songs that feature alternating female and male voices, responding to one another, often cheekily.Called lok dohori (people’s duet) this genre originated with the Gurung community and its tradition of the rodi ghar dance halls. After a hard day of harvests on the terrace farms, young men and women challenged each other with duets in which the musical repartee had to come within 30 seconds.“The rodi tradition had gone by the time we grew up in Gorkha, but our elders still sang the duets and we learnt it from them. We sang about love, happiness and sadness,” recalls noted folk singer Harimaya Gurung. “But the songs have changed a lot. These days it is not as emotional as before.”Cultural historians agree that the commercialisation of the entertainment industry and the advent of YouTube and Facebook have cost Nepali folk songs their cultural value. Still, every Tij festival folk singers come up with new numbers in which the lyrics delve into contemporary issues like migration, patriarchy or even corruption in government.Read also: <a href="https://www.nepalitimes.com/banner/on-a-high-note/" target="_blank" rel="noopener">Tibetan music in Nepal’s sacred valley</a>, Sewa Bhattarai“We must change as the trend develops,” notes folk singer Chandra Sharma of the National Folk and Duet Song Academy. “They may be commercial hits, but they have mostly added to the continued appeal of the lok dohori genre.”However, there are complaints about folk songs being too explicit or provocative, even obscene. Sharma admits there are some extreme examples, but his Academy has set standards and criteria for song lyrics.The folk songs are changing in other ways, too. The popular and controversial song by Pashupati Sharma, Lutna sake lut (Loot all you can) was a satirical critique of rampant corruption, and became an anthem for frustrated Nepalis, especially when it was censored after the singer received threats from ruling party youth.“These voices have brought positive changes. There are many songs about corruption, freedom for women, against caste discrimination and songs about the state of the country. That means folk duets are relevant and playing a constructive role in society,” hit folk singer Badri Pangeni told Nepali Times.Read also: <a href="https://www.nepalitimes.com/review/eastern-melodies-in-kathmandu/" target="_blank" rel="noopener">Eastern melodies in Kathmandu</a>, Sewa Bhattarai<h2>Message or entertainment?</h2><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110814114/636a54259c7e80680e052390jpeg.jpg" alt="" width="1000" height="667"/>New generation lok dohori singers who want to send a message sometimes find themselves up against traditional expectations. “I have sung songs with social content, but when I sing on stage I focus on romantic songs, because that is what people want to hear,” says Kala Lamsal, a contemporary folk duet singer who recently released her Tij song, Patali.Singer Mina Lama tries to find a balance. “It depends on the place and time,” she says. “I prefer to sing songs that give a message as well as entertaining songs to sing with friends and family.”Generally, fans who attend a stage performance want fast-moving entertainment, says Lama. “People today want to dance and have fun. While there are people who listen to the lyrics, the crowd during festivals and mela (fairs) include more young people, who enjoy dancing.”Read also: <a href="https://www.nepalitimes.com/banner/fire-in-the-belly-2/" target="_blank" rel="noopener">Still dancing and singing for Nepal revolution,</a> Sewa Bhattarai<h2>Changing Tij tunes</h2><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110814114/636a54289c7e80680e052391jpeg.jpg" alt="" width="1000" height="667"><figcaption> </figcaption></figure>Tij is traditionally celebrated by women all over Nepal either for the long lives of their husbands, or so they can find good husbands. Dressed in red saris, red and green bangles, and other colourful ornaments, they sing and dance on the streets while thronging Pashupati and other temples to pray to Shiva and Parbati, the celestial couple.Although some activists boycotted Tij because of its patriarchal overtones, today the festival's songs carry a message of gender empowerment and poke fun at the patriarchy, while at the same time promoting solidarity. However, as women get more educated, even that is changing. Many women just want to have fun with their female relatives and friends and do not want to sing only depressing songs about victimhood.“People asked me why women were only singing about suffering because not all women suffer. This made me change my mind,” says folk duet singer Chandra Sharma. “It seemed that women just want to let their hair down and make Tij their festival of sisterhood.”Read also: <a href="https://www.nepalitimes.com/banner/parodying-patriarchy-at-tij/" target="_blank" rel="noopener">Parodying patriarchy at Tij,</a> Sewa Bhattarai<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110814114/636a542a9c7e80680e052392jpeg.jpg" alt="" width="1000" height="1173"><figcaption> </figcaption></figure>It’s not only the content that is changing, male singers are also performing Tij songs, which would have been rare 20 years ago. For example, the 2018 Tij song, Motiram ra Jamuna by Badri Pangeni delivered the positive message about husband Motiram supporting his wife Jamuna when she gets elected in local elections. Because of her busy schedule, the husband begins doing all the household work:“Barsaudekhi nariharu le gare chulochaukaMahila le ni paunu parcha desh banaune mauka”“For years women worked in the kitchen station,Now, she need the chance to build the nation.”https://www.youtube.com/watch?v=bdGQaphxrxMSays folk singer Harimaya Gurung: “Tij is a festival of women but men also sing Tij songs. I think this is a good trend because it means they are supporting us women.”Read also: <a href="http://archive.nepalitimes.com/news.php?id=16252#.XV5_LuMzbIU" target="_blank" rel="noopener">Re-inventing Tij</a>, Mallika Aryal

Nepali folk songs move beyond love and loss

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

Turkish Basketball

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

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