Every once in a while comes an art exhibition that is not just aesthetically pleasing and tasteful, but raises piercing questions about human rights, equity, and justice. And there is one such unique, yet unsettling, exhibit on the upper section of the Nepal Art Council in Baber Mahal that will go in till March 2024.&nbsp; The &nbsp;Sovereign Forest is certainly not art for art’s sake. It is a &nbsp;multimedia installation of film, large books, as well as artefacts from the mineral-rich but dirt-poor Indian state of Odisha where indigenous people have been driven out to make way for natural resource extraction. Visitors step into sudden darkness, and it takes time for the pupils to adjust to the dim interior. Unlike conventional exhibitions, this one is purposely designed to evoke outrage at the blatant injustice and oppression that underlies the plunder. The show invites a new kind of engagement that challenges perceptions and expectations in which various art forms are curated to shock observers out of apathy and recalibrate their moral compass.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231221061228_f1d2cc741f15f07422f8cadf095fd2b527d48693b9b275d38e0c4661567b50cb.jpg" data-media-id="editor_0" data-image-id="20231221061228_f1d2cc741f15f07422f8cadf095fd2b527d48693b9b275d38e0c4661567b50cb" data-rendition-name="original" width="2048" height="1366" loading="lazy" alt="sovereign forest"> </figure>  The &nbsp;Sovereign Forest is put together by the Indian filmmaker Amar Kanwar and offers a compelling and immersive narrative through a blend of visuals, artistry, archival materials, and the screening of a &nbsp;documentary.&nbsp; Kanwar has been documenting through art the activities of the mining-industrial complex and how it has impacted the farmers and indigenous communities in Odisha. Some Nepali visitors may not immediately find a connection to one of the less known and underserved states in India, but the greed and abuse that drives the extraction machinery there has parallels to what is going on here. Kanwar’s exploration of exploitation is projected powerfully through a unique narrative style devoid of a concrete subject. Some in the audience might be lost, and engaging with Kanwar's message demands patience as he intricately unravels the story of an activist killed during a farmers' &nbsp;protest, and goes into the profound grief of a woman mourning his loss.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231221061228_ee8a9829571f76ea0f2e364ddb0c112003c0e021b58292c63646d3eefdd7d4be.jpg" data-media-id="editor_1" data-image-id="20231221061228_ee8a9829571f76ea0f2e364ddb0c112003c0e021b58292c63646d3eefdd7d4be" data-rendition-name="original" width="2048" height="1366" loading="lazy" alt="sovereign forest 4"> </figure>  The film's captivating visuals immerse the audience in the farmers' plight, offering us a window into the destruction of nature and the people who have traditionally lived in harmony with it. &nbsp; The &nbsp;Sovereign Forest is divided into four distinct spaces, inviting audiences to interpret the essence of the Constitution and what it means in reality on the ground. Kanwar’s visual depiction of the funeral of Shankar Guha Niyogi in Chattisgarh in 1991, and flashbacks to the activist’s premonitions of demise through the text of the cassette records and diaries add a haunting dimension to his story. There are revelations of injustices perpetrated by India’s and the world’s richest conglomerates: the Jindals, Tata, and the Korean company, POSCO. &nbsp;It is an age-old story of the struggle of those who live off the land against those who want to own it.&nbsp; The show also exhibits 272 seeds meticulously preserved by a farmer in Odisha, and forces us to think about native seeds that are being driven into extinction by hybrids. This has resonance in Nepal, where seeds adapted to Himalayan microclimates and soils are similarly being replaced by high-yield monocultures that need expensive inputs.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231221061228_efe9148d95f7780c3570337e4f5d02aa7a5868b3dec14e786d60df9cca75eac1.jpg" data-media-id="editor_2" data-image-id="20231221061228_efe9148d95f7780c3570337e4f5d02aa7a5868b3dec14e786d60df9cca75eac1" data-rendition-name="original" width="2048" height="1366" loading="lazy" alt="soverign forest3"> </figure>  “There is an urgent need to explore similar untold stories also in Nepal, &nbsp;shedding light on communities marginalised in the name of progress, &nbsp;modernisation, and industrialisation,” says Nayantara Gurung Kakshapati of <a href="http://photo.circle/" target="_blank">photo.circle</a> that brought Kanwar’s exhibition to Kathmandu. “It forces us to reflect upon and connect with the struggles faced by indigenous groups also in Nepal, and offers a deeper understanding through art of the socio-economic challenges of development,” she adds.&nbsp; Replace Chhattisgarh with <a href="https://nepalitimes.com/here-now/why-is-it-vital-to-protect-the-chure" target="_blank">Chure</a>, and Shankar Guha Niyogi with <a href="https://nepalitimes.com/news/sisters-carry-on-slain-brother-s-fight" target="_blank">Dilip Mahato</a> and suddenly it becomes clear that the Sovereign Forest is also about us. &nbsp;It is a clarion call for citizens to struggle for justice and morality against the acquisitiveness of the big, rich, powerful entities. &nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231221061228_95120fc6ff49105abe2d8831884539bf82086f0f037b7983b964165d705ab1b3.jpg" data-media-id="editor_6" data-image-id="20231221061228_95120fc6ff49105abe2d8831884539bf82086f0f037b7983b964165d705ab1b3" data-rendition-name="original" width="2048" height="1366" loading="lazy" alt="sovereign forest 5"> </figure>  Ultimately, &nbsp;The Sovereign Forest can spur solidarity and action against structural inequity and abuse of power not just in Odisha, but also in Nepal, 500km away to the north. &nbsp; The Sovereign Forest&nbsp; by Amar Kanwar in collaboration with Sudhir Pattnaik, Samadrusti and Sherna Dastur&nbsp; Nepal Art Council&nbsp; Till 31 March, 2024

Alisha Sijapati

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Seeing the forest and the trees

Much of our species’ 300,000 years of existence has been spent foraging, hunting, and gathering in the forests. And <a href="https://nepalitimes.com/here-now/the-salt-of-the-earth">nomadism</a> is in our blood, as it were. Our ancestors were still nomadic when they left their African homeland 100,000 years ago and ultimately colonised all six continents. But even after leaving Africa, they continued practicing nomadism for tens of thousands of years. Although nomadism has been the primary way of life for most of human evolution, 10,000 years ago some of our ancestors gave it up, settled down, and began farming– a practice that continues today.&nbsp; The success of early agriculturalists inspired most cultures across the globe to transition to farming settlements. Slowly, nomadism became the norm of the past.&nbsp; Yet, some human populations resisted the new ways of life and continued their foraging, hunting, and gathering lifestyles. Only a handful of them have survived to this day. The Raute of Nepal are the last of the <a href="https://nt.exposure.co/last-but-not-least">nomadic hunter-gatherers</a> in the Himalaya. In 2006, while I was researching about the indigenous peoples of Nepal for a study in human genetics, I was surprised to find a chapter in Dor Bahadur Bista’s book, &nbsp;सबै जातको फुलबारी in which he described the Raute as one of the ancient peoples of Nepal.&nbsp; Bista highlighted that there was not enough study on the Raute but postulated that they potentially descended from an Australoid population. The origins and history of the Raute remains unknown to this day. In 2016, I finally got the opportunity to meet with the Raute people. From Kathmandu, my fellow researcher Yoshina Gautam and I flew to Nepalganj, where we met Prof Guru Prasad Gautam, who has established a long working relationship with the Raute.&nbsp; Read also:<a href="https://nepalitimes.com/review/imagine-no-possessions"> Imagine no possessions</a>, Kunda Dixit  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231019111040_dded3a3a20e2701ee88db1bf18b2341ecaab8615ca52cf5304031ea022fe2205.png" data-media-id="editor_3" data-image-id="20231019111040_dded3a3a20e2701ee88db1bf18b2341ecaab8615ca52cf5304031ea022fe2205" data-rendition-name="original" width="1493" height="848" loading="lazy" alt="Raute map"> </figure>  We drove up the winding accident-prone Karnali Highway for several hours and reached Tunibagar of Dailekh district, a small town serving as a rest stop for trucks. We hiked several hours the next day to reach the Raute camp located on the banks of a small river in Achham district. At first the Raute were apprehensive of us, but they gradually opened up.&nbsp; The <a href="https://archive.nepalitimes.com/news.php?id=434">Raute</a> are elusive and mystical, divine yet destitute, enlightened albeit unschooled, appreciated and disliked by mainstream society. Because of their nomadic lifestyle, duodecennial nature, and preference for obscurity the Raute are portrayed as fearsome and savage in folklore.&nbsp; Yet the Raute consider themselves divine: direct descendants of Lord Ram, and therefore entitled to rule the forest as kings. They also hunt monkeys, a sacred Hindu symbol that local farmers would not dare to harm despite the nuisance and toll the monkeys take by destroying crops.&nbsp; They navigate high hills of far western Nepal with precision and are remarkably knowledgeable about the nutritional and medicinal value of hundreds of local plants. The Raute do not seem to disturb the settlers’ lives and livelihoods at all, yet their existence seems to irritate them. While later settlers sometimes regard the Raute with curiosity, most of them flatly reject the Raute way of life. Their claims of divinity despite their destitution are incomprehensible to the settlers. The only desire the Raute have is the right to their isolation, and the settlers promise them everything except that.&nbsp; This dichotomous relationship appears to have existed for a long time because the Raute have incorporated aspects of Hindu culture to establish themselves as equals and not inferior to the higher caste settlers. Whether such elements are superficial and used by the Raute only to deal with the settlers, or it has influenced the Raute identity and self-perception remains unknown.&nbsp; Even though the Raute have endured immense pressure to give up their nomadism and settle down, <a href="https://archive.nepalitimes.com/news.php?id=11239">dwindling forests and increasing urbanisation</a> has added to the pressure to assimilate. Read Also: <a href="https://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/20231019111048_ce8d6dd4c509ea645ed4d3f5c6628a32148d4a76df3ac7778ebb5329bae17e8d.jpg" data-media-id="editor_7" data-image-id="20231019111048_ce8d6dd4c509ea645ed4d3f5c6628a32148d4a76df3ac7778ebb5329bae17e8d" data-rendition-name="original" width="533" height="800" loading="lazy" alt="exploring genetic roots of the raute"> <figcaption>A temporary Raute settlement in Salyan district of Nepal.(Photo: Kishor Sharma)</figcaption> </figure>  The Himalayan foothills were once home to several other nomadic groups including the <a href="https://archive.nepalitimes.com/news.php?id=15950">Kusunda</a>, the Ban Rawat (Dadeldhura Raute), the Raji, and the Chepang. All of them have succumbed to the pressure to settle and this transition has left them fragmented.&nbsp; They have suffered massive loss of culture, many of their deities have been forgotten, <a href="https://nepalitimes.com/here-now/lost-in-translation">their languages are dying</a>, and these ancient cultures are rapidly becoming extinct. Such loss of cultural heritage makes Nepal’s much-vaunted ethnic diversity poorer.&nbsp; Importantly, the nomads and their ways of life provide us a means to gaze into our past. Understanding their lifestyle, culture, and diet allows us to peek into how our own ancestors lived.&nbsp; The Raute are the last nomadic group of Nepal, and therefore are the only means through which we can peek into the past to understand the ways of life of our ancestors.&nbsp; However, the <a href="https://archive.nepalitimes.com/news.php?id=12649">Raute way of life</a> is understudied. From the little ethnographic and linguistic data that exists, the Raute appear to be descendants of an ancient population. Their aboriginal lifestyle is ancient, and their Khamchi language also appears to be among the ancient Himalayan dialects.&nbsp; Since historical, anthropological, and archeological data on the Raute is limited, my laboratory at the New York University Abu Dhabi (The Genetic Heritage Group) is relying on genetic analyses to address some of the outstanding questions regarding Raute population history.&nbsp; We are analysing genetic variation within the Raute to understand how members of the group are related to one another, which may benefit the Raute to avoid consanguineous marriages. This data can also be useful to estimate Raute population sizes over time, which can provide key pieces of information to understand their history.&nbsp; Furthermore, we are comparing genetic data of Raute with many other Asian populations to demonstrate how they could be related to neighbouring Nepali populations and their distant cousins elsewhere in the region.&nbsp; Finally, we seek to compare Raute DNA with publicly available genetic data from ancient populations obtained from thousands of years old bones excavated from archeological sites across Asia. They could tell us more about the origins of the Raute. The research is ongoing, but we believe the results will provide solid scientific evidence to establish the Raute as the living national treasures of Nepal. &nbsp; Read also: <a href="https://nepalitimes.com/here-now/chepang-and-their-chiuri">Chepang and their Chiuri</a>, Bhadra Sharma Aashish Jha, PhD, is Assistant Professor at the Department of Biology at the New York University campus in Abu Dhabi. &nbsp;&nbsp;

Exploring the genetic roots of the Raute

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.

Sewa Bhattarai

Songlines of the rivers and forests

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110714114/636903279c7e80680e037ca6jpeg.jpg" alt="" width="640" height="810"/><figcaption>Photo: Kunda Dixit</figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110714114/6369032a9c7e80680e037ca7jpeg.jpg" alt="" width="640" height="819"><figcaption> </figcaption></figure>SIGNS OF THE TIMES: A gate in Phidim of Panchthar put up by Limbuwan activists (left) and a traffic sign in Quebec.After many years of working in Nepal, in 2014 I moved to Vancouver for a university job where many of the objectives outlined by Nepal’s adivasi janajati movements are being implemented by the First Nations, Inuit and Métis communities that have lived for thousands of years in what is now Canada.Indigenous nations comprise just over 4% of Canada’s population, whereas <a href="http://archive.nepalitimes.com/news.php?id=10776#.W2vvdVUzbIU">adivasi janajati make up more than one third of Nepalis</a><a href="http://archive.nepalitimes.com/news.php?id=10776#.W2vvdVUzbIU" target="_blank" rel="noopener">.</a> Yet, Canada is far ahead of Nepal in creating a just society in which indigenous voices are uplifted, indigenous knowledge woven into the public education system and the uninterrupted indigenous connection to traditional territory is recognised and respected.Canada has been no haven for indigenous peoples. Canada’s federal and provincial governments institutionalised racist legislation that dispossessed indigenous peoples from their lands, tearing children away from their parents, lodging them with white foster parents or shipping them off to assimilationist Indian residential schools where many students died and all were prohibited from speaking their ancestral languages.Until 1952, Canadian legislation prevented indigenous people from turning to the courts for help with government injustices. Only in 1960 did the government grant indigenous people the right to vote in federal elections without losing their treaty rights and ‘Indian’ status. Settler colonialism which sought to replace the original and indigenous population with a new and invasive society of uninvited settlers remains Canada’s original sin.The insatiable European appetite for new land and natural resources necessitated the marginalisation, relocation and ultimately the eradication of the original inhabitants of kanata—an Iroquoian word meaning ‘village’ or ‘settlement’ from which the nation of Canada derives its name.Also read: <a href="http://archive.nepalitimes.com/news.php?id=434#.W2vvOlUzbIU" target="_blank" rel="noopener">Nepal's last hunter-gatherers</a>, Sagun S LawotiT<a style="background-color: #ffffff; letter-spacing: 0.15px;" href="http://archive.nepalitimes.com/news.php?id=16971#.W2vvfFUzbIU" target="_blank" rel="noopener">he Mongols are coming</a>, Rabi ThapaGiven this painful and recent history, the 150th anniversary of Confederation in 2017, promoted by the government as Canada 150, felt more like Colonisation 150 for many of my indigenous students and colleagues. The story of the resilience of indigenous communities across Canada over the last 150 years is one of local endurance and immense perseverance against the very objectives of the nation itself.Yet, over the last few years, Canada has been experiencing an ‘indigenous moment’. Many are asking how long it will last and whether the pivot is a temporary and expedient response to an emerging political necessity or whether it will lead to lasting change.Since becoming prime minister in 2015, Justin Trudeau and his Liberal federal government have pledged to develop nation-to-nation relationships with the elected governments of First Nations, Inuit and Métis communities (formerly referred to by the unwelcome collective term ‘Aboriginal’) and to implement each of the 94 Calls to Action released by the <a href="http://archive.nepalitimes.com/article/nation/truth-about-truth-commission,3565" target="_blank" rel="noopener">Truth and Reconciliation</a> Commission of Canada.Read also: <a style="background-color: #ffffff; letter-spacing: 0.01em;" href="http://archive.nepalitimes.com/news.php?id=4140#.W2vvf1UzbIU" target="_blank" rel="noopener">Some reservations about reservations</a>, Naresh Newar<a href="http://archive.nepalitimes.com/regular-columns/As-It-Happens/lessons-for-nepal-from-Indias-patel-movement,559" target="_blank" rel="noopener">Lessons from India's Patel movement</a>, Om Astha RaiCanada is receiving international media attention for newly proposed national legislation officialising <a href="http://archive.nepalitimes.com/article/nation/Mind-your-languages,133" target="_blank" rel="noopener">indigenous languages</a>, and renaming public buildings that carry problematic colonial names with more inclusive designations. Across the country, programs that honour indigenous history and understandings are being rolled out at elementary, secondary and university levels.Overall, Canada’s indigenous communities are in the limelight, albeit in sometimes uncomfortably instrumentalised ways. The bitter irony of the current context is inescapable: colonial governments have for centuries marshalled their economic, military and administrative might to extinguish indigenous peoples. Now, in the eleventh hour, they are looking to strengthen and celebrate the very diversity that they set out to destroy.Why is this happening? The simple answer is that much land and many resources are still legally owned and controlled by indigenous peoples in Canada -- land and resources that the Canadian state is eagerly eyeing to exploit, expropriate and monetise. A series of ground-breaking rulings by the Supreme Court over the last few decades have confirmed that indigenous title involves a real and tangible interest in the land, and provides the owner with the right to choose what the land can be used for.Read also: <a href="http://archive.nepalitimes.com/article/nation/Mind-your-languages,133" target="_blank" rel="noopener">The place of Nepali</a>, Kanak Mani Dixit<a style="background-color: #ffffff; letter-spacing: 0.15px;" href="http://archive.nepalitimes.com/news.php?id=15734#.W2vuj1UzbIU" target="_blank" rel="noopener">Mother tongue</a>, Mukta Singh TamangWhile Nepal has not had the misfortune of being colonised by European settlers, some have suggested that the historical oppression of indigenous and other marginalised communities has operated like colonisation. If Nepal has never been colonised, can it ever be, or does it need to be, de-colonised? This discussion is gathering momentum in the scholarly community. A well-attended panel entitled ‘Decolonising Research in the Himalayas’ at the Association of Nepal and Himalayan Studies Conference hosted by the University of Colorado, Boulder, in September 2017 generated heated, if necessary debate.For most of my indigenous colleagues in Canada, decolonisation is not a metaphor. Rather, it involves implementing tangible, measurable and structural changes in who controls, creates and administers knowledge. Decolonising education and research are about substance not symbol, and necessarily involving a sincere commitment to promoting indigenous voices in the academy and in society.Nepal’s federal restructuring provides a unique opportunity for the state to engage deeply with th<a href="https://www.nepalitimes.com/here-now/hail-to-the-chiefs/" target="_blank" rel="noopener">e needs, goals and dreams of the hundreds of indigenous communities </a>who contribute to this richly diverse nation. Celebrating and promoting inspiring indigenous voices (whether in Canada, Nepal or in other multi-cultural federal democracies) helps make a country stronger, more representative and more just. It is a chance not to be squandered. Mark Turin is a linguist and anthropologist who teaches at the University of British Columbia in Vancouver@markturinRead also:<a style="letter-spacing: 0.15px; background-color: #ffffff;" href="http://archive.nepalitimes.com/news.php?id=17961#.W2vv51UzbIV" target="_blank" rel="noopener">ILO 169, Nepal as a model </a><a style="background-color: #ffffff; letter-spacing: 0.01em;" href="http://archive.nepalitimes.com/news.php?id=15775#.W2v2I1UzbIU" target="_blank" rel="noopener">Nepal's multi-ethnic future</a>, Shyam Shrestha

Do Nepali attitudes need to be decolonised?

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

The Last Days of the Khampa

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

Turkish to Seville

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

Digital protection for Nepal’s art

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

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