Bigotry is not innate, it is learned behaviour — that message is front and centre in Akanchha Karki’s short film, Sanai.
The film won best director, best cinematography, best story, best original score, and best picture at Malaysia’s <a href="https://www.facebook.com/NSIFF" target="_blank">Neo South Independent Film Festival</a> as well as awards at the <a href="https://nhriff.hrfilms.org/" target="_blank">Nepal Human Rights International Film Festival</a> and the <a href="https://nafilmsociety.org/" target="_blank">Nepal America International Film Festival</a>.&nbsp;
Sanai is the story of Rupa and Maya, two teenage Dalit and Brahmin girls form an unconditional friendship within a patriarchal, caste-ridden society. The film starts with Rupa’s father heading to Maya’s house to play the sanai, a musical instrument of the <a href="https://nepalitimes.com/here-now/dalit-lives-must-matter">Dalit community </a>at the wedding of Maya’s uncle.&nbsp;
Dialogue and the behaviour of characters allude to or explicitly exhibit the <a href="https://nepalitimes.com/opinion/caste-no-bar?fbclid=IwAR2MXB-JEYwQYNMY1mn87VfEikVamdxaZ3nmTe6XC9HvpOhfcnA_QovCnMA">caste divide</a>. Maya longs to play the sanai, but is yelled at by her mother for ‘almost causing a disaster’ when she tries to reach for one of the instruments.
Rupa’s mother mends clothes for Maya’s mother and sends Rupa to deliver it, but Maya’s mother will only touch the clothing after ‘purifying’ it first. &nbsp;
However, the two children, brought together by their shared <a href="https://nepalitimes.com/review/in-nepal-east-meets-west-musically?mdrv=www.nepalitimes.com">love of music</a>, rebel in their own ways. Rupa throws away the sel roti dropped onto her hand without touching it by Maya’s mother. Maya refuses free candy given to her to persuade her to stay away from Rupa.&nbsp;
At the wedding, Maya defiantly plays the sanai given to her by Rupa during her uncle’s wedding.
After Maya is told by an adult not to hang out with Rupa due to their caste difference, there is radiant joy when the two girls are told by their teacher that Rupa should ask her mother to sew her the same frock as Maya so that they can look alike.
The following scene, where Maya and Rupa exchange their clothes with Rupa wearing Maya’s prettier outfit, is among the most quietly powerful moments in the film.
Queerness is a subtly recurring motif in the sanai, especially notable during a scene where Maya watches her uncle and his bride dance during their wedding ceremony and imagines herself and Rupa, with matching frocks, in their place.&nbsp;
“As kids, all they care about is their friendship and their love, but queerness is also an angle in the film,” says director <a href="https://nepalitimes.com/review/marriage-drama" target="_blank">Akanchha Karki</a>, of the Kathmandu theatre, <a href="http://kathaghera.com/" target="_blank">Katha Ghera</a>.
The girls’ shared desire to play the sanai binds them together. And while Rupa’s father and his community are expected to breathe music through their sanai in the life and celebrations of upper-caste communities, they are not allowed to be part of those ceremonies.&nbsp;
Karki picked sanai out of all the other instruments played by the Dalit community both because it was convenient for the children to carry and because of its unique sound.&nbsp;
“The sanai produces an achingly beautiful music, which I wanted to bring out for the film,” Karki says.&nbsp;
At the end, a grown-up Rupa and Maya reunite against a backdrop of sanai players. ‘Did you have to wait long?’ asks Maya, as the two hug one another tightly. ‘Only an eternity,’ Rupa replies with a smile.&nbsp;
Only an eternity, not just for the two of them to become adults, but to wait for the walls built by the<a href="https://nepalitimes.com/opinion/putting-dalits-back-in-business?amp=1"> hierarchy of caste</a>, class and exclusion to begin to crumble.&nbsp;
Says Karki: “It is not only about the physical waiting, but how they had to wait for society to transform.”
Having directed, written, and acted in Nepali theatre herself, Karki found it easy to work with actors. But while theatre is a collaborative effort, working with separate departments in filmmaking was a new experience.
“Everything is not always under your control in filmmaking,” Karki notes. “When I make my next film, I think it is going to be about my own experiences.”

original

674x448

610x380

500x500

400x266

400x240

400x203

301x200

1250x600

1084x550

thumbnail

viewImage

An instrument of liberation

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171148/6369375c9c7e80680e03fe2fjpeg.jpg" alt="" width="1500" height="900"/><figcaption>Photo: SEWA BHATTARAI</figcaption></figure>Three best friends are at crossroads in their lives, trying to leave their carefree days behind and move to stability. For Anil the solution is investing in art, and he buys a completely white piece with faint diagonal lines across it, also white. When Mahesh laughs at him, Anil's ego is hurt and their friendship falls apart. The gentle Devashish tries to play peacemaker, but we won’t spoil it for you by revealing whether it works in the stage play, Art.Studio 7 has been staging plays for nearly 40 years at the <a href="http://www.hotelvajra.com/">Hotel Vajra</a>, spanning most of the ups and downs of Nepal’s recent history from the Panchayat monarchy to democracy, war and post-conflict transition. Its choice of <a href="https://archive.nepalitimes.com/article/nation/three-paise-opera-sabine-lehmann-nepal,1866">adapted classics</a> and original works all come with a sharp <a href="http://archive.nepalitimes.com/news.php?id=11865#.XBctL9Iza70">contemporary message</a>. The latest offering, Art is no different. The original play by <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/The-Kathmandu,384">Yasmin Reza</a> premiered in 1994 at the <a href="https://en.wikipedia.org/wiki/Com%C3%A9die_des_Champs-%C3%89lys%C3%A9es">Comédie des Champs-Élysées</a> in <a href="https://en.wikipedia.org/wiki/Paris">Paris</a>, and made it to London and <a href="https://en.wikipedia.org/wiki/Broadway_theatre">Broadway</a>.The play about three friends starts rather slowly, with introductory scenes setting the characters. But soon, the plot thickens as the friends squabble not just about art, but each other and the very basis of their friendship. The blank canvas is not just a painting but a symbol of their youthful bonding.Each viewer can take what is important from the production. Some can see it as a satire on how modern, abstract art fetch huge prices but are not understood by anyone but the artist. What is the use of art that cannot communicate with the viewer? What is the rationale behind their high market value? And if they have such a high commercial value, is it necessary for them to be understood?With very few characters Art’s strength lies in how the characters react to each other and create comic scenes. Anil has turned into a pretentious art hoarder who buys things he may or may not understand, because they are deemed ‘valuable’.Mahesh, meanwhile, retains a youthful brashness, sneering at everything he does not understand and surprised that Anil has moved on. Trying to agree with them both, Devashish doesn't know who he is. This is an interesting interplay of characters and friendships that each of us can relate to: how friendships change with time as our tastes and economic status changes. The director is Studio 7 veteran <a href="http://archive.nepalitimes.com/news.php?id=11646#.XBcsidIza70">Sabine Lehman</a> who succeeds in creating a fast-paced performance that keeps the small audience at the Vajra engaged throughout.Raymon Das Shrestha and <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/a-journey-through-red-and-blue-a-little-prince,3055">Karma</a> are not just convincing, but inhabit their roles as a pompous nouveau-riche dentist and a wannabe cool digital entrepreneur respectively. It is the energetic Kundoon who steals the show, as an indecisive and uninspired Pashmina salesman. With an expressive face and on point comic timing, he creates the most realistic character of a Kathmandu Everyman -- a city boy struggling to make it big on the back of a rich heiress fiancée.Director Lehmann and set designer <a href="http://archive.nepalitimes.com/article/nation/The-guardian-of-the-shadows-%20G%C3%B6tz%20Hagm%C3%BCller,3352">Ludmilla Hungerhuber</a> make a cameo appearance with a satirical song about the ‘ego and arrogance of the boys’, which raises the play's comic pitch. Hungerhuber has designed a minimalist but pleasing set in which the same architecture is rearranged between acts.  Aman Karna's lively music complements the production, building up to an abstract finale.As the holiday season approaches, Art will be an evening well spent in Kathmandu.Art7:15 PM every Friday, Saturday, and Sunday until 30 DecHotel Vajra (01) 4271545

Art by Studio 7

<figure><img width="1500" height="1125" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171132/636933799c7e80680e03df9fjpeg.jpg" alt=""/><figcaption>Yuntai or Cloud Platform, located at the base of the Great Wall's Juyongguan section. Photos: SEWA BHATTARAI</figcaption></figure>The Great Wall of China is one of the world’s most famous landmarks, but what is less well known is the historical link between this World Heritage Site to another one 4,000km to the south in Kathmandu Valley. Here on the white marble Cloud Platform of the Juyongguan Section of the Great Wall 60km from Beijing, visitors come across ancient Buddhist inscriptions that tell the story of the influence of Nepal on the Yuan dynasty in the 13thcentury.At the base of the Great Wall is an arch built in 1345 and inscribed with Buddhist sutras in six languages: Mandarin, Tibetan, Uyghur, Mongolian, Tangut and Sanskrit. Kublai Khan and his descendants had to pass under the script of the Buddhist scriptures when they visited nearby temples.What is surprising is that the Sanskrit lines inside the arch are not in the usual Devanagari letters, but in the Ranjana script that originated in Kathmandu Valley.   <figure><img width="2592" height="1944" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171132/6369337d9c7e80680e03dfa0jpeg.jpg" alt=""><figcaption> </figcaption></figure>Ranjana is called ‘Lanzha’ in Mandarin, and can be found in religious monuments across Tibet and China, having travelled with the spread of Mahayana Buddhism, whose main texts including the Pragya Paramita are written in Ranjana. Many sects of Buddhism had already spread to China through Central and South Asia more than 2,000 years ago, but they were overlaid by Mahayana Buddhism after Princess Bhrikuti took the sect to Tibet in the 7th century from Kathmandu Valley. The practice of inscribing Buddhist scriptures in a distinctive Nepali style have been documented from this time. Cultural historian Satya Mohan Joshi believes that tradition began as early as the 7thcentury in China after the arrival in Beijing of Priyajiv, the ambassador of King Narendra Dev. In his book on <a style="background-color: #ffffff; letter-spacing: 0.01em;" href="https://www.nepalitimes.com/here-now/the-life-and-times-of-arniko/">Arniko</a>, Joshi cites a 1,400-year-old stele inscribed with the Usnisa Vijaya Dharini Sutra in the Xi'an Museum. However, Ranjaan was not in the picture yet, and these scripts may have been the precursors of Ranjana. Ranjana started appearing in Buddhist monuments after the 12th century.  <figure><img width="2502" height="757" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171132/636933809c7e80680e03dfa1jpeg.jpg" alt=""><figcaption> </figcaption></figure>Ranjana alphabet was derived from the Brahmi script and originally developed in Nepal in the 11th century, which is why some say it should be called the ‘Nepali script’. "In Nepal the Brahmi developed into the Lichhavi script and the Nepal script, which further was transformed to Ranjana," says Devdas Manandhar, a forceful proponent for the preservation of Ranjana. "The Nepal script was uniquely Nepali and has a very distinctive way of writing the vowel ‘ae’ which carried over to Ranjana.” However, other scholars say the script originated in Bengal and transferred to Nepal along with other cultural heritage after Buddhism was overrun in northern India. Buddhist scholar Basanta Maharjan says that the Ranjana letters were beautified, and preserved by the Newars of Kathmandu Valley from where it travelled to Tibet, China and on to Korea and Japan."Tibet's religion and philosophy were influential not just in China but in Mongolia in the north and Kashmir in the west. The version of Ranjana found in all these places is distinctly Nepali, and that is something that we can be proud of," says Maharjan.  <img width="640" height="853" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171132/636933839c7e80680e03dfa2jpeg.jpg" alt=""><img width="640" height="850" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171132/636933869c7e80680e03dfa3jpeg.jpg" alt=""><img width="640" height="853" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171132/636933899c7e80680e03dfa4jpeg.jpg" alt="">Nepali art and philosophy got another boost in China from Arniko, the Kathmandu architect who travelled to Beijing in the 13thcentury to help  <a href="http://archive.nepalitimes.com/news.php?id=7263#.W-JtI6cQ0Wp">Kublai Khan</a> build temples and monuments with Buddhist symbolism, and leave a Nepali imprint in the ancient architecture of China, Korea and Japan.  Satya Mohan Joshi researched Arniko in China, and is convinced it was Arniko's influence that helped spread the Ranjana script. The White Dagoba built by Arniko in Beijing in 1279 still stands today, and contains many distinct Ranjana inscriptions. The Cloud Platform at the Great Wall, which Joshi also documented in his book, was built almost a century after Arniko reached China and shows his influence. On top of the arch are Garuda, crocodiles, and other carved elements which look like they have been transplanted from Kathmandu.The Ranjana script was used in a new golden stupa built in Beijing's Patachou as recently as 1960 to house the Buddha's tooth relic. "The prevalence of this script is an example of the enduring influence of Arniko, and the close cultural links between Nepal and China," says Joshi.  <img width="2592" height="1944" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171132/6369338c9c7e80680e03dfa5jpeg.jpg" alt="">Arniko created the White Pagoda on Kublai Khan's command, and it was then a symbol of the unification of China under Yuan dynasty. Today the Miaoying Temple museum in Beijing acknowledges his work as ‘a great symbol of cultural exchange between Nepal and China’. That Nepali art, architecture and the Ranjana script were so widespread in China are proof of this historical trans-Himalayan connection. Devdas Manandhar says that Ranjana is Nepal’s gift to Asia’s culture, and is still seen from Kashmir to the Great Wall of China, and in Japan. He explains: "Since the Ranjana script was associated with the Buddhist scriptures, it is always found above doors, so that you never stepped on the holy fonts.”

The script of the scriptures

Violations of Nepal’s airspace during WWII

At Budhanilkantha School Ujwal Thapa was a few years my senior. He was a quiet person who kept to himself; I didn’t know him very well despite being related to him because of that introversion and natural shyness. What we did have in common, coming of age in the 1990s, is our generation, GenX, which became weary, inured for the most part, to Nepal’s famously unstable politics.&nbsp; Counting the events of this past September, GenX has, astonishingly, lived through three people’s revolutions, one armed conflict, a flawed but hard won constitution, and a major earthquake. Ujwal Thapa, one of Nepal’s most cherished Gen Xers, despite his previous, youthful reticence, did not long remain a complaisant bystander against the backdrop of these extreme upheavals.&nbsp; By the mid 2000s he had become deeply political, but without the equivocation that so often accompanies politics. Thanks to his lived experience, he came to believe that the youth of Nepal are the key to our future. He believed in discerning wisdom (bibeksheelta), innovation, and nurture. He inspired entire generations, young and old, including GenZ, before his untimely death due to Covid in 2021. He was only 44.&nbsp; By the time of his passing he had started a tech company, and employed and mentored scores of youth. It is important to note that only after he had made a significant contribution to civil society did he turn towards politics, founding and then stepping back from the Bibeksheel Nepali party, which has now, after several complicated mergers and splits, been integrated into the Rastriya Swatantra Party (RSP). When the Ujwal Thapa Foundation set out to make a documentary on his life three years ago, no one could have known that it would premiere at such a crucial point in Nepal’s social and political history.&nbsp; Everything that Ujwal Thapa believed in still holds true. I think he would have been proud to see the youth of our country, GenZ, stand up for themselves, peacefully. He would have been grieved at the state condoned bloodshed, and, believing in non-violent protest himself, been deeply shocked by the savage revolution that followed.&nbsp; Most of all, I wonder how he would have reacted to the publishing of the blatantly elitist RSP proportional representation list - the party that many had pinned their hopes on, and that Bibeksheel Nepali has ultimately been absorbed into. That party now seems like it may be a chip off the rotten old block, ruled by men endorsing rampant nepotism, and outnumbered by people without scruples.&nbsp; Many of the names on the list and the rankings, in particular, disrespect the very spirit of a provision that was created for those competent individuals who would not otherwise be able to contest elections, due to lack of monetary and social capital, but whose marginalised voices are vital for inclusive policy making. There is still time for real inclusion, to embrace a more bibeksheel path, before the March elections.&nbsp; Ujwal Thapa’s own, firm, ethical stances are clear in the The Man Who Shook Our Minds, translated loosely from the Nepali title Dimaag Ghhochne Manchhe. While long, at almost two hours, it is filled with thought-provoking and sage counsel. The film also offers very real insight into how Ujwal Thapa evolved into the icon he is today.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026011111018_eb596eb063dcaf0f67840bfa4ffa39eb27df2bf9ec1a3f9a1f531824c1b7a569.jpg" data-media-id="editor_0" data-image-id="2026011111018_eb596eb063dcaf0f67840bfa4ffa39eb27df2bf9ec1a3f9a1f531824c1b7a569" data-rendition-name="original" width="1600" height="670" loading="lazy" alt="Ujwal Thapa"> <figcaption>Stills from the documentary.</figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026011111018_65d9625d3a4865ca228425b7ce7b7b186ae5009313bbfab0ee65eada276aebd6.jpg" data-media-id="editor_1" data-image-id="2026011111018_65d9625d3a4865ca228425b7ce7b7b186ae5009313bbfab0ee65eada276aebd6" data-rendition-name="original" width="1600" height="670" loading="lazy" alt="Ujwal Thapa"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026011111018_2ff455c55722d153cafbd2d650e19584e38d7c098b109271bd106a55201f4fa0.jpg" data-media-id="editor_2" data-image-id="2026011111018_2ff455c55722d153cafbd2d650e19584e38d7c098b109271bd106a55201f4fa0" data-rendition-name="original" width="1600" height="670" loading="lazy" alt="Ujwal Thapa"> </figure>  It isn’t easy making a documentary after the passing of the primary subject. While there are many talking heads, the people featured, friends, family, fellow activists and senior politicians are all eloquent in their descriptions of Ujwal Thapa and his transformation from an engaged, civic minded entrepreneur into a committed political leader who among many other commendable things, believed in putting women first, and understood the crucial necessity for a welfare state that would serve its people. The main man is not deified, he is humanised.&nbsp; The feature is punctuated, and leavened, with moments of real humour as his infamous bluntness and occasional domestic haplessness are gently exposed. Another strength of the film is the profound love story between Ujwal Thapa and his brave, brilliant, incredibly resilient wife, Erica Adhikary, the heroine to a real life hero, and a major force behind the making of this film, alongside many of his stalwart wellwishers and friends, old and new.&nbsp; Sushila Karki, the Prime Minister, was present at the premiere of the film with members of her Cabinet. Candid and sincere in her opening remarks, she said she had wanted to attend the moment she heard about the film. She had known Ujwal Thapa, and she had mourned his loss, praying for him during his illness. She wished that leaders like him were here today to show us the way forward in a time of need. The film opened in theatres on the 9th of January, and is an essential viewing experience for anyone who cares about Nepal’s future and wants some insight into how they might make a difference.&nbsp; Ujwal Thapa was not perfect, but he was remarkable. He realised that being a civic minded citizen just isn’t enough. To make a real difference, one also needs to be principled, insightful, entrepreneurial, creative, self motivated, able to speak truth to power, uncorruptible, practical, well prepared, and, perhaps, most importantly, able to step back from holding power even after attaining it.&nbsp; The saying by Plato that goes “He who does not desire power is fit to hold it” was surely meant for people like Ujwal Thapa. One can only hope that in the near future more people embodying this description will, however reluctantly, come forward to lead Nepal. Ujwal Thapa worked hard to enable this, they must be out there. <div class="embed-block"><iframe width="560" height="315" src="https://www.youtube.com/embed/veO1yVM4pS4?si=f0Lcbs1wasyqfnK1" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div> The Man Who Shook Our Minds is being screened at QFX cinemas across town. Sophia L Pandé is on the Ujwal Thapa Foundation Advisory Board. She is a writer, art-historian and filmmaker, advising on the economic and social potential of the Cultural and Creative Industries. She is Director of Development at the Kathmandu Valley Preservation Trust, and Founding Director of The Kalā Salon, a non-profit space for the arts.

The Man Who Shook Our Minds

Did <a href="https://nepalitimes.com/banner/1921-rendezvous-mallory-pumori-and-everest">George Mallory</a> and Andrew Irvine of the 1924 British Expedition reach the top of the highest mountain in the world? It has been more than a century after the two climbers were last seen just 300m below the summit. And 26 years ago Mallory’s remains were found on the North Face of Everest, while Irvine’s boot was located at its base.&nbsp; Some doubt that the two could have reached the top with the level of equipment and clothing of the time, but others are convinced that at least one of them made it but had an accident on the way down.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260108110148_26b4f6883ce3362c6f0c312d35422a57384c04aeb673f578d3ddb660761747fc.jpg" data-media-id="editor_1" data-image-id="20260108110148_26b4f6883ce3362c6f0c312d35422a57384c04aeb673f578d3ddb660761747fc" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="George Mallory and Everest"> <figcaption>Panuru Sherpa on the top of Mt Everest with a client in 2002. He has climbed the peak 16 times.</figcaption> </figure>  Among those who believe Mallory and Irvine were the first to climb Mt Everest, and not <a href="https://nepalitimes.com/here-now/everest-70-years-on">Hillary and Tenzing in 1953</a>, are the Nepali guides who took part in the research expeditions in 1999, 2001 and 2004 to find clues about Mallory and Irvine. Mallory’s body was found 8,125m on the North Face in 1999, and Irvine’s detached foot and sock with his initials inside a leather hob-nailed boot was found in 2024 in the Rongbuk Glacier below the North Face. Various expeditions have recovered a mitten, an oxygen cylinder, and ice axe from that expedition. “I believe they reached the summit, and fell on the way down in the dark and bad weather,” says <a href="https://nepalitimes.com/here-now/sherpaland-co-usa">Panuru Sherpa</a>, who has climbed Mt Everest 16 times, including on the northern route taken by four British expeditions in 1921, 1922, 1924 and 1933. “They were making good progress past the Second Step from where it is a much easier hour-and-half to the summit. A climber who reaches that point below the final pyramid does not turn back.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260108110148_bdbdd01c5c12cb5bb022857f7ca871cc4ff95e02c2305f6bbf1a63d1d15de8e4.jpg" data-media-id="editor_4" data-image-id="20260108110148_bdbdd01c5c12cb5bb022857f7ca871cc4ff95e02c2305f6bbf1a63d1d15de8e4" data-rendition-name="original" width="1300" height="864" loading="lazy" alt="George Mallory and Everest"> <figcaption>Mt Everest North Face in China which early expeditions took because Nepal was closed till 1950. The red line is the classic route to the peak, the dotted line is probably what George Mallory and Sandy Irvine took in 1924 to avoid the formidable obstacle of the Second Step.</figcaption> </figure>  Panuru is convinced that the location of Mallory’s body and Irvine’s ice axe shows that the two had not lost their way on their descent. He told Nepali Times in Denver, where he now lives: “Mallory’s body was not decomposed even after 75 years, and his exposed back was white like marble. One of legs was broken, and there was an altimeter and letters written to his wife Ruth in his pocket.” He remembers the search team was happy to locate <a href="https://nepalitimes.com/review/mountains-of-books">Mallory</a>, but it was unable to find one of the three cameras believed to be with the duo that could have held the proof that the two, or at least one of them, had indeed been the first to climb Everest.&nbsp; There was a deep wound around Mallory’s waist, which could have been caused during the fall by the rope which was still found tied around his body. Mallory’s remains were covered in stone slabs at the site after a brief ritual, Panuru recalls. A 1975 Chinese expedition reported seeing the body of a Western climber, which was probably Mallory, near their Camp VI. There are rumours in climbing circles that the Chinese also found a camera, but that the negative could not be developed. Everest summiteers have said the Second Step’s 45m overhanging cliff at 8,610m would have been “essentially insurmountable”, and it is only possible today because the Chinese fixed aluminium ladders to the rock face in 1975.&nbsp; But Panuru agrees with other mountaineering historians who believe Mallory could have decided to take a route below the northeast ridge and bypass the Second Step, following the advice of fellow team member Ed Norton who set the then world record by reaching 8,572m. The other finding that could indicate that Mallory reached the top was that a photograph of his wife Ruth which he intended to place at the summit was not in his pocket.&nbsp; EVEREST CONNECTION Panuru is the son of Nima Tsering Sherpa, who was a part of the 1953 expedition to Mt Everest that made Edmund Hillary and Tenzing Norgay the first climbers on the world’s highest peak. Nima carried loads for that expedition up to the South Col. Nima had eight sons and a daughter, Panuru is the sixth, and<a href="https://nepalitimes.com/here-now/nepal-s-most-prolific-mountaineering-clan"> most of his siblings are also climbers</a>. After the successful 1953 expedition, Nima spent time grazing yaks, growing potatoes and raising his family in Phortse. He joined expeditions to support the family. The young Panuru would meet mountaineers who stopped by at the family’s tea house in Phortse. He has walked the Jiri route to Kathmandu many times, and his eldest brother who worked for Mountain Travel Nepal got him a job as a trekking guide. Panuru ended up joining expeditions, climbing Everest from both sides multiple times. Panuru Sherpa’s brother Danuru was the youngest member of the 1999 expedition, and a year earlier had first climbed Everest from the Nepal side when he was only 18. The siblings are now chefs at the Sherpa House in Colorado.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260108110152_9275f617585d33f7324d087455de7c61fd3759fe4d44a7ebe604fa2eefc047df.jpg" data-media-id="editor_7" data-image-id="20260108110152_9275f617585d33f7324d087455de7c61fd3759fe4d44a7ebe604fa2eefc047df" data-rendition-name="original" width="1500" height="523" loading="lazy" alt="George Mallory and Everest"> <figcaption>Brothers Panuru and Danuru Sherpa are now working in Golden, Colorado, and lead occasional climbing trips in the Rockies and Alaska.</figcaption> </figure>  In 2001, both brothers were members of another expedition composed of 20 foreign and 21 Nepali climbers led by David Hahn that tried to find Irvine in the same area of the North Face, guided by the discovery of Irvine’s ice axe in a 1933 expedition as well as sightings of what was believed to be his body near the ridge above. No more clues were found then, or in 2004 when Danuru returned for another search expedition. Remnants of Irvine and Mallory’s Camp VI were found at 8,600m during the 2001 expedition, only about 300m from where Mallory’s body was located.&nbsp; “It was probably dark when Mallory fell because his snow goggles were in his pocket,” says Danuru, who has taken part in the three search expeditions on the north side and is also convinced the two fell on their way down after reaching the summit. Altogether 13 people died on Everest during the three expeditions that Mallory was involved in, of which nine were Nepali porters, cooks and guides who were hired in Darjeeling before the march-in. “Chomolungma and Sherpa are synonymous,” says Danuru. “It was Chomolungma that made the Sherpa people famous globally, and it was Sherpas who made it possible to climb Everest.” Konrad Anker, who led the 1999 team that found Mallory’s body, doubts that one or both the climbers reached the summit in 1924, mainly because of the difficulty of climbing a cliff at 8,600m with the kind of gear they had.&nbsp; “It is possible, but unlikely they climbed the Second Step with 1920s equipment, but even getting to that altitude back then was an incredible accomplishment,” he has said. After the expedition, Anker and Panuru worked together to set up the Khumbu Climbing Center to upgrade the technical skills of Nepali guides. Panuru has also trained hundreds of fellow Nepali guides, and many of them regard him as a mentor. Panuru knew the need for better training because he himself had been badly wounded during a fall into a crevasse in the Khumbu Icefall in one of his early expeditions in 1992 and had to be evacuated by helicopter to Kathmandu.&nbsp; But the very next year, he was back on the mountain. He climbed Everest from the north with a Korean team in 1994, and a year later got to the top again from the north side with an American expedition. He summited again from the Nepal side in 1996, and nearly died in an avalanche on the north side that killed a fellow Sherpa in 1997.&nbsp; So far, Panuru has climbed Everest 16 times, Cho Oyu 14 times from both sides, Xixapangma four times, five other eight-thousanders in Nepal, and Ama Dablam six times. He was the first Nepali to ascend Gurla Mandhata in Tibet. After emigrating to the United States, he has climbed Mt Denali (6,190m) in Alaska three times while also being a part of a volunteer rescue team.&nbsp; Irvine’s boot was found by an expedition led by American climber Jimmy Chin in the Rongbuk Glacier, probably transported there from the base of the face by the movement of ice in the past 100 years. Asked why he climbed Everest 16 times, Panuru echoes George Mallory: “Because I was there.” &nbsp;&nbsp;&nbsp;

Finding George Mallory

This is the 79th episode of Diaspora Diaries, a Nepali Times series in collaboration with Migration Lab providing a platform to share experiences of living, working and studying abroad. <h2>Jitu Mahato</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260111140148_c150516456fed4f4408836b4b955ab937ec54df96456f1f2836d138c597ef7e4.jpg" data-media-id="editor_0" data-image-id="20260111140148_c150516456fed4f4408836b4b955ab937ec54df96456f1f2836d138c597ef7e4" data-rendition-name="original" width="4032" height="2268" loading="lazy" alt="Our migrant sons NT"> <figcaption>Jitu Mahato</figcaption> </figure>  I have three sons. My eldest worked in Saudi Arabia for ten years and then went to Dubai. My second son has lived in Dubai for four years. My youngest worked in Malaysia but came back after his company went bankrupt. Here, we don’t have much land so what they have earned has helped with the grandchildren’s education and other household expenses. My sons feed me, buy my clothes and medication. I take loans from others when I need it for our work in the field and pay them off when they send me money. My farm work is not affected without them here because they had no interest in खेती बारी anyway, even when they were here they did not want to step in the fields. Many youth have migrated from our village. Some have gone to Malaysia, others to the Gulf. Some have done well, others have not. Some buy land or pay off loans, others come back without saving much.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260111140148_086cc14e33c827865d30c07b18bf34d0d06427459ba7b44f6f9ff6b84264e9d7.jpg" data-media-id="editor_1" data-image-id="20260111140148_086cc14e33c827865d30c07b18bf34d0d06427459ba7b44f6f9ff6b84264e9d7" data-rendition-name="original" width="4032" height="2268" loading="lazy" alt="Our migrant sons NT"> <figcaption>Jitu Mahato with a scooter that his son brought him.</figcaption> </figure>  Children can go to school wearing better clothes because of the money migrants send home. There are both good and bad sides of foreign employment. The earnings help because without it we would die hungry. But there are no young men in the village, everyone is abroad. We are old. We are not educated. Even small things like paperwork that require someone who knows how to read and write become inconvenient without them around. During hardships, it becomes more difficult and whoever is left behind comes together to help each other in whatever way we can. My son recently bought me a scooter, as I am getting older and it has become difficult to get around. It has made it convenient to visit my daughters' house and other places. <h2>Mohan Bahadur Karki</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260111140148_cc859f5911adbc106596042b13f89007ea09652046683397351a4f7ef11bab2e.png" data-media-id="editor_2" data-image-id="20260111140148_cc859f5911adbc106596042b13f89007ea09652046683397351a4f7ef11bab2e" data-rendition-name="original" width="1446" height="796" loading="lazy" alt="Our migrant sons NT"> <figcaption>Mahan Bahadur Karki and his wife.</figcaption> </figure>  All three of our sons are working in Malaysia. We had trouble feeding ourselves so they wanted to go and earn for the family. Having sons overseas has helped ensure we can survive, and have clothes to wear. We used to live in a mud house in the past, which had to be repaired over and over again. Now we have a concrete house. All our children and grandchildren should have been living with us, but feels empty sometimes with just the two of us.&nbsp; We have moved many times in our life. This is the ninth place we are living in. Now we won’t move. My son sent the design of the house from Malaysia. He sent a picture of a house he liked from there to the contractor here. It is an exact replica, and people even come here to make Tiktok and music videos.&nbsp; Even in my dreams, I never thought I would one day live in a house like this. Our sons were smart, and managed it. People get surprised that I, a labourer who worked in others’ fields, live in a house like this, but we still have outstanding loans for this house. Many youth from our village have left. Some have lost their jobs and returned. Ours are thankfully okay so far, but one of our sons' companies has started laying off workers so he might be next on the list. Overtime hours have also been cut in Malaysia, they say. We will see.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260111140148_504a381f7e06431c61d75a4e890e48a786f9b3eea4e23d280dd55161378ce84d.jpg" data-media-id="editor_3" data-image-id="20260111140148_504a381f7e06431c61d75a4e890e48a786f9b3eea4e23d280dd55161378ce84d" data-rendition-name="original" width="5712" height="3213" loading="lazy" alt="Our migrant sons NT"> </figure>  We have faced too many difficulties during our lifetime. We don’t know what is waiting for us next. All our lives, we have faced difficult periods uncertain about the next day, the next night. Life has been full of tests. Farming is not reliable because the rains are erratic. Too much of it this year. It was okay for paddy, but not for tomatoes. As you get older, you cannot work as much. While you have your youth, you can earn. I never got to migrate overseas, I grew old just ploughing fields. I did not get an opportunity to study. I don’t even know how to write my name. I worked as a labourer all my life to take care of the family because the land did not produce enough. Now I cannot work, even if I wanted to. I am not so strong anymore, and my mind is not as sharp. Thankfully my sons have taken over and they tell us not to work hard and to rest, they will take care of us.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260111140148_2f483a1ed383f6697f928147b2d1ab5544cca96ae4902a31ca353c135ec0bb67.jpg" data-media-id="editor_4" data-image-id="20260111140148_2f483a1ed383f6697f928147b2d1ab5544cca96ae4902a31ca353c135ec0bb67" data-rendition-name="original" width="5712" height="3213" loading="lazy" alt="Our migrant sons NT"> </figure>  They remind me not to carry heavy loads or push myself too hard in the fields. I have started getting sick more frequently. I spend quite a lot on medication. At some point, I had become near immobile for two months and could not even go to the bathroom. I had to come back from Kathmandu with medicine that cost Rs14,000. If my sons had not gone overseas, we would be relying on our farming. Things would have been tougher. We don’t know how long they will stay overseas. I heard there is a limit of ten years in Malaysia. Once they are back, maybe they will go back to the fields. What other option do they have? But we cannot always rely on overseas work either. What to do? Life’s challenges don’t go away but you have to figure ways out to deal with them. As long as there is even one breath left, we must keep fighting. <h2>Tukra Bahadur Ale Magar / Gangi Maya Ale</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260111140148_8111f8c7205ccf48f9671e1fd3661aec32bd522819447c648037f84b70a0b55f.jpg" data-media-id="editor_5" data-image-id="20260111140148_8111f8c7205ccf48f9671e1fd3661aec32bd522819447c648037f84b70a0b55f" data-rendition-name="original" width="4032" height="2268" loading="lazy" alt="Our migrant sons NT"> <figcaption>Tukra Bahadur and Gangi Maya Ale.</figcaption> </figure>  [Gangi] My son is in Malaysia. He sends us money and we spend on household expenses. I wish we could save money too but we have not been able to. It balances out. He could not get a job here, so he left. Parents do not want to send their children away, but what could we do? We have to spend Rs3,000 just on medicines every month. I am always worried about my son, it's not the same as having them in front of me. When he falls sick, there is no one around and he does not even get to take time off without wage deduction. Those things worry me, having him around was more assuring. Before Malaysia, he worked in Dubai for six years and was back here for two years in between. He got married then and re-migrated as responsibilities increased. The earnings of Dubai is this house. [Tukra] We used to have a small mud house but my son said we should invest in a stronger house. I did not go abroad myself because it was not common in our village back then. But now it has become a trend and our son also left. I wish I had got to migrate as well. By not migrating, I think I did not get to see the world. How is the world? How is it to earn abroad? I have never been in a plane, I just have six goats and the farm. Everything is going alright. <h2>Nirmala Rana Magar</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260111140148_92f559b9b08434a9eaeddaee13ae180304453dd300a24e7b86a8dbab78e454f6.png" data-media-id="editor_6" data-image-id="20260111140148_92f559b9b08434a9eaeddaee13ae180304453dd300a24e7b86a8dbab78e454f6" data-rendition-name="original" width="1388" height="797" loading="lazy" alt="Our migrant sons NT"> <figcaption>Nirmala Rana Magar</figcaption> </figure>  Two of my sons are abroad. One in Kuwait, the other in Malaysia. The younger son migrated more recently and his earnings have mostly gone to pay off recruitment loans. The elder son built this house for us. Before this, we lived in a mud house which I had built with the earnings when I worked in India. &nbsp;Money is important but I miss my sons everyday. I have a lot of love for them. When you have your children, you have the world. We talk in the mornings and evenings via video calls.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260111140148_b66a6e79992800e5525b65993fa589b126b58c4a1c549a010ca88ece85891608.jpg" data-media-id="editor_7" data-image-id="20260111140148_b66a6e79992800e5525b65993fa589b126b58c4a1c549a010ca88ece85891608" data-rendition-name="original" width="5712" height="3213" loading="lazy" alt="Our migrant sons NT"> </figure>  They had to move overseas because we could not survive on their earnings here. We can now afford the school fees of the granddaughters, but their dads around would have been better for them. But what can we do? We had no choice. The recent GenZ protests gave us some hope that things will be better, but it is still unsure. When will the day of the poor come? Will we ever get to live a decent life? No matter what happens, no matter who is in government, it is the poor like us who suffer. So many governments have changed but we are stuck where we were. If our children got good jobs, we would be happy.