<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107121148/6368f09f9c7e80680e0359e3jpeg.jpg" alt="" width="1000" height="668"/>A child looks on intently as Shradha Shrestha paints the blank walls of Kanti Children's Hospital at Maharajganj. "Look at aunty painting a tiger on the wall," says the child's mother. In fact, Shrestha is painting a giraffe.Shrestha and Kiran Maharjan were busy at work the past few months, painting the walls of Nepal's only government hospital for children. The young patients, their parents, doctors, nurses, and staff came by to watch them work, offer feedback and suggestions. As the murals slowly took shape in the busiest corridors, the colourful paintings raised spirits and added some beauty to an otherwise grimy hospital.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107121148/6368f0a29c7e80680e0359e4jpeg.jpg" alt="" width="5024" height="3354">Shrestha and Maharjan are part of the ‘Health Transformed by Art’ project that has been trying to bring the therapeutic value of art into Kathmandu’s hospitals with support from Siddhartha Art Gallery."Art is usually seen only in galleries, so we thought, why not bring it outside - to hospitals - where the power of art, and its engagement and expression, is very much needed," explains coordinator Shristi Shakya. With Raju Giri and Anoj Subedi, the group chose nature as the theme, for its healing potential, and they picked Kanti Children's Hospital because its patients hail from all over the country.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107121148/6368f0a69c7e80680e0359e5jpeg.jpg" alt="" width="5893" height="3934">Speaking at the opening of the exhibit, art critic Abhi Subedi explained the purpose of art has always been mental and spiritual wellbeing. Following the 2015 earthquake, many art groups went around affected areas, conducting painting workshops for children. When they returned to their classrooms, students were told to draw their experiences as a means to deal with trauma.The results showed how art provides a medium for children to articulate their feelings and find some relief from stress. Still, art's therapeutic value had not been recognised in Nepal, and its potential for healing is not a widespread concept.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107121148/6368f0aa9c7e80680e0359e6jpeg.jpg" alt="" width="1000" height="668">For this project, art therapist Lajja Dixit first trained 11 artists on art therapy. They then conducted art-based therapy workshops in the cancer ward. After that, the team of Shristi Shakya, Raju Giri and Anoj Subedi collected non-hazardous hospital waste like bottles, caps, containers, tubes for installation art pieces. Waste from Kanti, Norvic, Manmohan, Om, Grande, and Gangalal hospitals was sterilised and sorted, then upcycled into installations by artists including students from Kathmandu University and Shrijana College of Fine Arts. It would have otherwise become landfill.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107121148/6368f0ad9c7e80680e0359e7jpeg.jpg" alt="" width="1000" height="668">Working in a government hospital had its challenges: not only did the team have to wait for six months just to get permission, the artists were not allowed to work during the doctors' rounds. This meant working until 1am. The results are there for all to see: a colourful, bright orange phoenix soaring above a statue of Queen Kanti, and tiny birds in blue, red and yellow hanging from the ceiling.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107121148/6368f0b09c7e80680e0359e8jpeg.jpg" alt="" width="1080" height="815">The works also carry subtle messages concerning the politics of medical care, and how it should be affordable and accessible to all Nepalis. Mekh Limbu's installation displays a row of tiny medicine bottles, but instead of labels they have pictures of Nepal's herbs. The piece is a commentary on how the people suffer from a lack of drugs, despite Nepal being rich in medicinal plants.Hospital director Ganesh Rai is happy with his hospital doubling as an art gallery: "I don't know much about art, but a lot of people have complimented me on the fresh look of the hospital. It spreads positive energy, which is helpful for the children.”<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107121148/6368f0b29c7e80680e0359e9jpeg.jpg" alt="" width="1000" height="668">Siddhartha Art Gallery hopes to continue this project in other hospitals around Nepal. "These are cynical times, but idealism, hard work and integrity of the artists have brought us this far," says the gallery's director Sangeeta Thapa, whose own recent health scare was an impetus for the project."As I was lying in a hospital, I would get calls every day from the artists. They asked me to decide on one thing after another, shared their problems, their ideas," said she as she broke down in tears at the inauguration. "It was difficult for me to handle all that, but it came to mean so much to me, personally, as well. This project to heal others has ended up healing myself."<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107121148/6368f0b59c7e80680e0359eajpeg.jpg" alt="" width="1000" height="668"><figcaption> </figcaption></figure>Also read: <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/street-art-mural-in-Kathmandu,3840" target="_blank" rel="noopener">Walls as art, not barriers,</a> Shaleen Shah<a href="http://archive.nepalitimes.com/page/street-art-nepal-earthquake">Murals of Hope</a>, Stephene Huet<a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/Buzz-Kathmandu-murals-wall-paint,707" target="_blank" rel="noopener">Colourful capital</a>, Sangam Shilpakar<a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/Koloring,289" target="_blank" rel="noopener">Kolorful Kathmandu</a>, Tserign Dolker Gurung<a href="http://archive.nepalitimes.com/news.php?id=5119#.W1gzptUzbIU" target="_blank" rel="noopener">A Nepali feminist in Japan</a>https://www.youtube.com/watch?time_continue=1&amp;v=fjdTxkRmLTs

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The art of healing

<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107121144/6368efcc9c7e80680e03599bjpeg.jpg" alt="" width="1400" height="850"/>Ask any Nepali about Ireland, and most have no idea where it is and some may mention the Irish pubs in Lukla, Thamel or Pokhara. Ask a person on the street what a ‘Guinness’ is and the answers will pertain more to a certain book of world records rather than the dark beer.Which is why the first-ever exhibition of Irish art in Nepal is such a landmark in Kathmandu’s cultural firmament. It is a small brief window that gives people here in Kathmandu a glimpse of the sensibilities of this gentle land on the edge of the north Atlantic.The artists, affiliated with Wexford Arts Center in Ireland, have brought to the Siddhartha Art Gallery an eclectic collection that includes landscapes, portraits, mixed media and photographs.Viewers are exposed not just to contemporary art themes but also techniques: some exhibits hang by clothes pegs on washing lines, tiny installations are framed in the style of miniatures, and there are renderings of the Irish landscape.Because the artists came from so far away and on such short notice, they mostly brought smaller pieces. The collection has landscapes which artists say is representative of contemporary Irish art trends.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107121144/6368efcf9c7e80680e03599cjpeg.jpg" alt="" width="1400" height="888">“I do not paint exact representations of the landscape, what you see, are my emotional response to it,” explains Olivia O’Dywer (below, right) whose dreamy, almost pointillist series is called 'Between the Sky and the Sea'.Declan Cody looks for themes in the abstract, and ventures beyond landscapes to visuals like cow skin, groups of birds, or a close up of a patch of sand. He says: “I prefer to call my art abstracted rather than abstract, to differentiate it from traditional abstract art.”Oil and acrylic mediums and techniques of layering are popular among Irish artists, and they hope to foster a cultural exchange between Nepal and Ireland, learning from <a href="https://www.nepalitimes.com/review/old-art-meets-new/" target="_blank" rel="noopener">each other’s art forms</a> through this exhibition. The Irish visitors are attending an art camp for Nepali artists in Kathmandu on Sunday.Also read: <a href="https://www.nepalitimes.com/banner/artivists-at-the-bank/" target="_blank" rel="noopener">Artivists at the bank</a>, Kanak Mani Dixit<a href="https://www.nepalitimes.com/review/under-kathmandus-spell-2/" target="_blank" rel="noopener">Under Kathmandu's Spell</a>, Duksangh SherpaThe use of pastels, blue, white, gray, soft pink dominate the paintings. Bernadette Doolan’s impressionist portraits stand slightly apart from the trend of landscapes, capturing “emotions rather than persons”. Her titles like Determined, In Quiet Agreement, It’s My Party, I wish, are intense with emotional expression.“As adults we pretend to be strong, but in reality we all have a child in us,” explains Doolan (below, left). “And children are strong, but also vulnerable. My portraits remind us all to let the child out sometimes.”At the other end of the spectrum lie inert machines, which photographer Michael Duggan (top) foregrounds in his skillful compositions. Tools like a plough and a forge, which have now fallen into disuse, give us a glimpse of the transition in Ireland’s traditionally agrarian society.“I capture machines that were once beautiful in their efficiency, but today are just ornamental, and so, beautiful in another way,” says Duggan.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107121144/6368efd39c7e80680e03599djpeg.jpg" alt="" width="1400" height="953">“Documentary photographers everywhere try to capture things used today that will disappear ten years later. Our work might not make sense at the moment, but it will be valued more as time passes.”The artists all agree that the scope of art as a career is limited and full of struggles in Ireland, just like everywhere else in the world.The exhibition hosts works by two other artists who could not make it to Nepal: Kate Murphy whose titles seem larger than her miniature mixed media frames, and Paddy Lennon’s elegantly inked Water Series.“Nepal and Ireland have completely different landscapes, one has mountains and the other has oceans and islands,” said Veronica Cody, European Union’s Ambassador to Nepal, who is herself Irish.Our landscapes affect how we see the world, and exchange of art is an opportunity to transcend that worldview and get a glimpse of another.”Cody hoped the exhibition could be an inspiration for Nepali artists, and that Ireland would be inspired to host them in future.Irish Artists in NepalAn Exhibition of Mixed Media Works (till July 20)Bernadette Doolan, Declan Cody, Kate Murphy, Michael Duggan, Olivia O’Dwyer, Paddy LennonSiddhartha Art Gallery, Baber Mahal RevisitedSunday to Friday 11 am – 5 pmSaturday 12 noon - 5 pmAlso read: <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/planet-nepal-art-environment-festival,1738" target="_blank" rel="noopener">Art in the Planet</a>, Stéphane Huët<a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/years-of-botanical-art,3222" target="_blank" rel="noopener">200 years of botanical art</a>

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Ocean to mountains

Sha Bahadur Gurung was 30 years old when he was arrested for participating in a peaceful protest. He died aged 65 last week in Bhutan’s Chamgang Central Prison. He was among 31 prisoners of conscience in Bhutan, many of whom are serving long sentences for opposing the regime’s forcible expulsion of 100,000 of its Lhotsampa people in the early 1990s. ‘Mr Gurung died on 15 December in his prison cell under circumstances that raise serious concerns about custodial negligence and long-term abuse,” said a statement by the Global Campaign for the Release of Political Prisoners in Bhutan (GCRPPB) based in The Hague which demanded an external probe, justice and release of remaining political prisoners. Gurung was from Chirang and was arrested in 1990 while serving in the Royal Bhutan Army, and accused of having sympathies for the Lhotsampa people. He was mostly held at the notorious Rabuna Prison in Wangdi Phodrang District.&nbsp; Gurung’s relatives in the United States said he had endured prolonged physical and psychological abuse during his imprisonment, and repeatedly subjected to torture and inhumane treatment. They believe the decades of ill-treatment had damaged his health, ultimately leading to his death. Earlier this month, Gurung was transferred from Rabuna to Chamgang Central Prison. On 14 December. He had gone to bed after dinner without any visible sign of distress. He was found unconscious in his cell the next morning.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251224151248_5fc8305ecd320d89b9e343c04a1a897dc1353353da55b6d277f5398034b265ea.jpg" data-media-id="editor_0" data-image-id="20251224151248_5fc8305ecd320d89b9e343c04a1a897dc1353353da55b6d277f5398034b265ea" data-rendition-name="original" width="902" height="1103" loading="lazy" alt="Sha Bahadur Gurung NT"> <figcaption>Sha Bahadur Gurung, who died at age 65 in prison in Bhutan after serving 30 years for expressing political opinion.</figcaption> </figure>  He was referred to a hospital in Thimphu, suggesting that he was still alive during transfer to a local health post. But it appears that he had already died before being taken from prison. Gurung’s death occurred two days before Bhutan’s National Day on 17 December, when families, supporters, and human rights advocates worldwide had hoped for the release of political prisoners through a royal amnesty. Instead, the death of one of the longest-serving political prisoners has caused grief and anger in the Bhutanese diaspora.&nbsp; “We strongly condemn the treatment and death of Gurung, a peaceful and justice-loving Bhutanese citizen,” the V statement said. ‘This tragedy raises serious questions about the treatment of political prisoners in Bhutan and stands in stark contrast to the country’s international image under the principles of Gross National Happiness, compassion, and mindfulness.’ Earlier this year, The <a href="https://www.ohchr.org/en/special-procedures/wg-arbitrary-detention/opinions-adopted-working-group-arbitrary-detention/opinions-adopted-working-group-arbitrary-detention-its-101st-session" target="_blank">United Nations Working Group on Arbitrary Detention</a> said the Bhutan government was detaining citizens without parole for <a href="https://nepalitimes.com/news/detainees-in-dire-straits-in-bhutan-s-prisons" target="_blank">expressing political opinion</a>. The New York-based Human Rights Watch (HRW) said in 2023 that there were least 37 <a href="https://www.hrw.org/news/2023/03/13/bhutan-free-long-term-political-prisoners" target="_blank">political prisoners</a> in Bhutan’s jails. Of them, 32 belong to the Nepali-speaking Lhotshampa community, which has faced <a href="https://www.hrw.org/news/2003/06/18/nepal-bhutanese-refugees-rendered-stateless" target="_blank">decades of discrimination and abuse</a> and eviction. Most of them were convicted because of prohibited political activity between 1990 and 2008. One political prisoner, <a href="https://nepalitimes.com/news/no-country-for-dissent?fbclid=IwAR07lpitMBWAYSkny_3d_smQBlmoxAOQm1OxdNtl-27h8mV0RNO9IxVY2qs" target="_blank">Madhukar Monger</a>, who was released in 2023 after serving 29 years described brutal conditions in <a href="https://www.hrw.org/asia/bhutan" target="_blank">Bhutan</a>'s jails. Political prisoners were not given enough food, and medical care, he said, urging the internaitoonal community to press for the release of prisoners of conscience.&nbsp; In March, <a href="https://www.hrw.org/about/people/meenakshi-ganguly" target="_blank">Meenakshi Ganguly</a>, Deputy Asia director at Human Rights Watch, urged Bhutan’s international partners to call on the Bhutan government to release all remaining political prisoners immediately.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251224161216_9d11a78ed5490091c595341900e4c26f5c0dd0328718f6930ef19c1e9b7f95a6.jpg" data-media-id="editor_8" data-image-id="20251224161216_9d11a78ed5490091c595341900e4c26f5c0dd0328718f6930ef19c1e9b7f95a6" data-rendition-name="original" width="1000" height="1422" loading="lazy" alt="Bhutan political prisoners NT"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251224161216_176855f3d3df42d24ac7e77372bbf49115695b732a6c094a66267e969111dfca.jpg" data-media-id="editor_9" data-image-id="20251224161216_176855f3d3df42d24ac7e77372bbf49115695b732a6c094a66267e969111dfca" data-rendition-name="original" width="1000" height="1420" loading="lazy" alt="Bhutan political prisoners NT"> </figure>  &nbsp;

Bhutan political prisoner dies in detention

‘Get out of my house.’ ‘All my sickness is because of you.’ ‘You’re a millstone around my neck.’ Arundhati Roy heard these admonitions from her mother over and over throughout her life.&nbsp; This must be a singular, yet universal experience. There must be very few daughters who make it through life unscathed by their mothers. And vice-versa.&nbsp; How many of our mothers look at us and see in us the potential of all of the lives they could have lived? How many resent us for it, or want us to live those lives in their stead? And how many of us look back at our mothers and imagine what they would have achieved had they not been expected and assigned to play the role of wife, daughter-in-law, mother — had we never existed in their lives? How many mothers project their experiences onto their own daughters and continue the cycle? No daughter seems to escape it — no matter how well-behaved, docile, unruly, or rebellious. Certainly not the child who would go on to become a Booker prize-winning author. Arundhati Roy’s memoir Mother Mary Comes To Me chronicles her complex relationship with her mother Mary, or Mrs Roy, as her educator mother had her two children refer to her. In December, Arundhati Roy was in Kathmandu to sign books and briefly interact with readers at two bookshops in the city. She describes a childhood overshadowed by her mother’s volatility towards her and her brother. Mary herself was raised by an abusive father to escape whom she married the first man who proposed — Arundhati’s father who in her mother’s words turned out to be an alcoholic ‘Nothing Man’.&nbsp; Mary left her husband in Assam and eventually wound up with her two children in her town of Aymanam in Kerala, encountering other family members along the way who did not treat her, or her children with respect. The trauma and cruelty her mother endured could not be contained in her body, and spilled out onto her two children, towards whom she was physically, verbally, and emotionally abusive.&nbsp; While she treated her children with disregard, she would build a school in the nearby town of Kottayam from the ground up, educate thousands of children, take up a legal fight that led to the Supreme Court granting Syrian Christian women in India equal inheritance rights, and uplift many orphaned children and women in Kerala.&nbsp; Arundhati lived with both her mother’s brutality and brilliance. And like her daughter, readers must reconcile the indefensible parts of Mary Roy’s personality — the cruelty of calling her nine-year-old daughter a bitch, or shooting the family dog that mated with a stray — with her unyielding drive to educate thousands, fight for equal rights, and challenge the way her world viewed women.&nbsp; Mrs Roy had little kindness for her own children, but plenty for the students, children, and women whose lives she shaped, and made better. And her kindness was not rooted in empathy, but in anger at the hand she had been dealt in life. Eventually, Arundhati decided to temporarily cut all contact with Mrs Roy — not because she did not love her, she writes, but so that she could continue to love her. Her desire to get away from her abusive mother, and her fascination with the ideas inspired by the architect who built her mother’s school, would lead her to the Delhi School of Architecture at age 16. In Delhi, Arundhati became roommates with Hisila Yami before she and her Maoist ideologue husband Baburam Bhattarai went underground to lead Nepal’s decade-long armed struggle. &nbsp; But architecture was not her calling. In Delhi, the heart of India’s statecraft, Arundhati came into young adulthood against a backdrop of the country’s changing socio-politics, which began to take a turn for the hyper-nationalist, Hindu supremacist community that it has now largely become. The winds of those changes have now blown into Nepal. In the city, far from her mother, Arundhati met the man who would become her partner of many years, collaborating with him on several films and screenplays before finding the language (‘I needed to hunt [language] down like prey,’ she writes) she needed to become the writer she is now.&nbsp; She went on to write her Booker prize-winning novel The God of Small Things, but the wealth and status the book brought her did not sit comfortably. So she smashed her newly-built gilded cage, as she describes it, and became more political. Contrary to norm, she published several works of non-fiction, and would only publish her second novel, The Ministry of Utmost Happiness, in 2017, 20 years after The God of Small Things. &nbsp;&nbsp; Her fierce opposition to India’s nuclear policies, to a dam that would displace millions of indigenous people and ecologically damage the Narmada Valley, her championing of Kashmiri self-determination, and her time spent with Maoist rebels in the forests of Chhattisgarh as they took up arms to defend their land and resources against corporate interests made her an enemy of the state.&nbsp; Meanwhile, being raised by a single mother had never sat well within her Syrian Christian community. ‘I wasn't Christian enough. I wasn't Hindu enough. I wasn't communist enough. I wasn't enough,’ Roy writes in her memoir. For all her love for India, the nation did not seem to reciprocate. The circumstances might be different, but it might strike a chord with readers in Nepal, many of whom marched on the streets in September hoping for a better tomorrow, but were gunned down by the very institutions meant to protect them. It might resonate with those who are not seen as citizens of this nation simply because they might not fit into an imagined idea of Nepali nationhood.&nbsp; Arundhati’s relationship with her mother, who was simultaneously proud and disdainful of her daughter’s accomplishments, continued to be tumultuous until the end of Mary Roy’s life.&nbsp; One of Mrs Roy’s last messages to her daughter before she passed was: ‘There is no one in the world whom I have loved more than you.’ Arundhati muses that her lifelong refusal to stop loving her mother must have finally breached her barriers. One wonders if that final declaration of love was solace enough, apology enough, for all the pain caused.&nbsp; But for Arundhati Roy, her love for her mother and her motherland outweighs the cruelty both have shown her. This, too, must be a singular, yet universal experience.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025122208128_32b171acb09df2184495367b74efd91fe2896b0f5ba75b276e1533276268761c.jpg" data-media-id="editor_0" data-image-id="2025122208128_32b171acb09df2184495367b74efd91fe2896b0f5ba75b276e1533276268761c" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Mother Mary Comes to Me review"> </figure>

The sins of our mothers

Nepal’s Gurkha soldiers have a well-deserved reputation worldwide for uncommon valour and loyalty. However, what happened in Hawaii in 1986 and the long struggle for fair pay and pension shows that the formidable fighters from Nepal also do not tolerate injustice. The Hong Kong-based 1st Battalion of the 7th Duke of Edinburgh’s Own Gurkha Rifles was in Hawaii for jungle warfare training exercises at the Joint Pacific Multinational Readiness Center when they beat up their commanding officer, Major Corin Pearce. &nbsp;&nbsp; The Gurkhas said Pearce had insulted them, and 111 soldiers were dismissed. Pearce suffered broken ribs and a head injury, and was himself also discharged. The incident got worldwide publicity and enforced the belief that the Nepalis were not treated fairly in the British Army. It also led some retired soldiers to begin a decades-long struggle for compensation at par with their British peers.&nbsp; Retired British Gurkha soldier Shankar Rai in his book Triumph and Tears revisits the Hawaii incident which he witnessed, and also his experience in the Falkland Islands/Malvinas war in 1982.&nbsp; He has lots of grievances: unequal treatment and injustice from the British Army towards himself and his comrades. This is an indignant and disillusioned account of the good, the bad and the ugly of being a British Gurkha, which he says let him down despite his service and belief in it.&nbsp; The book could also be a cautionary tale of how one person on a power-trip can tarnish two centuries of the shared history of Nepal and the UK, as well as ruin the lives of those involved. It also is proof that loyalty should never be taken for granted. Four years after defeating the Argentinians in the Falklands, several companies and platoons of Gurkha rifles were stationed in Hawaii in 1986 for joint US-UK ‘Exercise Union Pacific’ military exercises. The goal was to ‘perfect the art of marine warfare in collaboration with the US Marine Force’. The rules were that a British Gurkha company commander needed to have the rank of major and pass a Nepali language test. Captain Pearce was the son-in-law of a British Brigadier on extra-regiment employment, and this rule was waived. He was appointed Acting Major. Pearce didn’t bother to learn Nepali language or culture, and from Rai’s account took every chance to belittle and embarrass the Gurkhas as poor, stupid, rude, backward, and lucky to be there. He writes: ‘After Captain Pearce reached Hawaii, he began to project himself as a master and the Gurkhas as servants, to show off to the Americans.’ The author also recounts other slights, such as only receiving a fourth of the rations they were due during hard training, being forced to train even when some of the soldiers had high fever, and claims to have ‘civilised’ the Nepalis.&nbsp; Pearce had been to eastern Nepal before the training and seen the grinding poverty. He kept telling the Gurkhas how lucky they were to be in the job, and that they were making ‘more money than Nepal’s prime minister’. During the final farewell party in Hawaii, Pearce set up tables to form a saluting platform, and asked the Gurkha pipe and drum band to march around him while playing. The enraged soldiers could not take it anymore, and after the party an inebriated group ran Captains Pearce and Chandra Kumar Pradhan out of their tents and beat them up. Both officers broke ribs, and the major needed 15 stitches on his head. ‘This sorry and unseemly episode is considered to have been entirely at odds with the Brigade of Gurkhas’ tradition of loyalty and gallant service in the British Army. It is regarded as an isolated and untypical event, which will not be permitted to detract from the high esteem in which the Brigade is held,’ reads the report of an investigation. Most of the 1/7 company soldiers were dismissed whether they had been involved in the assault or not. The author describes the shame that followed, with dismissed soldiers returning to Nepal with lost face.&nbsp; ‘I burned with humiliation, and life scared me,’ writes the author, whose father told him that he was ashamed to call him his son. ‘Many of my friends’ girlfriends left them and married other people. Rifleman Khem Gurung (21162015) of Itahari committed suicide,’ writes Rai, adding that those dismissed were blacklisted, and could not get other jobs.&nbsp; They tried to pursue legal action against the British Government, but backed down when they could not afford expensive hotshot lawyers, and would not have the money to cover the British government’s legal fees in the likely case of a loss in court. Gurkhas who had served for four years in the UK were allowed to move there, an option that many of those dismissed in the Hawaii incident took, including the author, who now lives in Oxford. Rai pours out his hurt and emotion in the book. Towards the end, he writes: ‘I depend on small jobs for livelihood. In the remaining time, I actively raise the issue of the victims of the Hawaii incident. We are burdened with insults, hatred, and contempt for a lifetime. It was harsher than a court martial, too heavy to bear.’ The is a slim book, and is a quick, engaging read of an incident 30 years ago, and Rai writes with a soldier’s precision. Even though the anger shows even after all these years, there is no over-dramatisation in the narrative.&nbsp; The first part of the book is about sailing across the South Atlantic in the QEII, which had been converted into a troop ship to take the Gurkhas to war. The soldiers from landlocked Nepal were mostly sea-sick, but were happy to get two cans of beer a day. Barclays Bank even had a branch on board. Rai’s descriptions of the friendships he developed in the Company and on the battlefield are poignant. They braved Argentinian bombs, dug trenches and fought through the rain in the Southern Hemisphere winter. There are vignettes of sharing tea with fellow Nepalis, seeing comrades fall, and finding pictures of wives and children in the pockets of dead young Argentine soldiers. Behind the prestige, honour and myths of being a Gurkha soldier, it seems this is just another job with nepotism, horrible bosses and bad pay. But such is the desperation that up to 20,000 young Nepalis still apply for 300 openings in the British Army every year. &nbsp;&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251227041256_694a253e782c83b0bf89fc1b9840b0ade3f7beca2d0b01dbc4fcd3e63c207f50.jpg" data-media-id="editor_0" data-image-id="20251227041256_694a253e782c83b0bf89fc1b9840b0ade3f7beca2d0b01dbc4fcd3e63c207f50" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Triumph and tears book details NT"> </figure>

Not taking loyalty for granted

From its headwaters near Mansarovar on the Tibetan Plateau to its confluence with the Ganga in India, <a href="https://nepalitimes.com/banner/faith-to-reality">the Karnali</a> remains one of the last great free-flowing rivers in the Himalaya. At a time when most major Asian rivers have been dammed by concrete, the Karnali still surges, migrates, floods and recedes according to its own natural rhythms. This sustains an entire living system -- wildlife, communities and cultures — that cannot be replicated once a river is turned into a staircase of reservoirs. The Karnali is a natural artery for western Nepal. It nourishes fertile floodplains, recharges aquifers, supports fisheries and connects remote communities.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251221101240_213faa0e9da42af63e6c4f8a41e23a96efbd9f29a1d148227d65d2f16bb64b53.jpg" data-media-id="editor_1" data-image-id="20251221101240_213faa0e9da42af63e6c4f8a41e23a96efbd9f29a1d148227d65d2f16bb64b53" data-rendition-name="original" width="2500" height="1875" loading="lazy" alt="Karnali"> <figcaption>Confluence of the Humla and Mugu Karnali.</figcaption> </figure>  Bardia National Park and its rich biodiversity, including the tiger and fresh water dolphins, depend on the river and its seasonal interaction with the floodplain and wetlands. Riverine birds, crocodilians, endemic fish, all depend on the river. Millions of people in Nepal and India rely on the Karnali (called Ghaghara in India) for household use, irrigation and livelihoods. This living river now faces <a href="https://nepalitimes.com/banner/dams-and-dreams-a-journey-down-the-karnali">a cascade of proposed hydropower projects</a>. So far, the Upper Karnali &nbsp;(900MW) and the massive Karnali-Chisapani (10,800MW) have been purposed. Both have been mired in controversy and have been delayed. Construction of smaller projects like the Bheri-Babai Diversion are already underway.&nbsp; The Upper Karnali is a Rs146 billion project first purposed in 2006. It started construction earlier this year with the Indian conglomerate GMR leading the task. Even so it faces a setback as Bangladesh cancelled the power purchase deal of 500MW.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025122109124_80c381c4299dd7e18dbbcacb26e567edc5cfffba76d428e3b325dd194eae8a47.jpg" data-media-id="editor_3" data-image-id="2025122109124_80c381c4299dd7e18dbbcacb26e567edc5cfffba76d428e3b325dd194eae8a47" data-rendition-name="original" width="4284" height="5712" loading="lazy" alt="Karnali"> <figcaption>Free-flowing Upper Karnali.</figcaption> </figure>  The project is located on the stupendous Karnali Bend where the water can be pushed through a 2.5km tunnel over a drop of 130m, creating a huge generation capacity. But Nepal’s move towards big dams comes at a time when scientists warn of more extreme weather events like floods and landslides in the already fragile Himalayan landscape. Nepal now needs investment in storage projects as most hydropower plants are of the run-of-river type, which means power generation drops in the dry season. But a piecemeal dam-by-dam approach risks destroying a unique resource for benefits that could be achieved elsewhere with far less ecological cost. Once a free-flowing river is fragmented, its sediment delivery is choked, fish migrations are cut off, floodplains dry out and local cultures that revolve around seasonal flows begin to unravel. These changes are effectively permanent.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025122109120_4f59b09b6e03889457b9b98d72d6b604d3519895f8825b4b03f486d67ea299af.jpg" data-media-id="editor_4" data-image-id="2025122109120_4f59b09b6e03889457b9b98d72d6b604d3519895f8825b4b03f486d67ea299af" data-rendition-name="original" width="2500" height="1875" loading="lazy" alt="Karnali"> <figcaption>Local children play indigenous musical instrument.</figcaption> </figure>  “The Karnali is the last and most pristine Himalayan River left, most others are already exploited. It should be protected as a wild, scenic, free flowing river as a gift to future generations,” says activist Megh Ale, who wants the river to be developed as an eco-tourism corridor on the pilgrim trail to Mt Kailash and Mansarovar.&nbsp; “We have many big tributaries to the Karnali,” Ale adds. “We can keep the main stream of the river as free flowing, and develop hydro projects on the tributaries. More than 6,000MW can be produced without touching the main river stem.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025122109128_223faf7f50c43f3bf008a7745b90131fa91975689109533b71ed7d9dcdb8c53e.jpg" data-media-id="editor_5" data-image-id="2025122109128_223faf7f50c43f3bf008a7745b90131fa91975689109533b71ed7d9dcdb8c53e" data-rendition-name="original" width="1875" height="2500" loading="lazy" alt="Karnali"> <figcaption>Rafters say Karnali is one of the best places for white water rafting in the world.</figcaption> </figure>  Nepal has abundant alternatives to hydropower: solar energy has been hardly tapped, and integrating them with pump storage systems are cheap, quick to build and are low impact. Smarter siting and design, modern transmission links and regional power trading can deliver reliable energy without sacrificing the country’s last pristine river. Preserving the Karnali would also pay dividends in climate resilience: free-flowing rivers buffer <a href="https://nepalitimes.com/banner/climate-denial-in-the-himalaya">extreme floods and droughts</a>, carry sediment that builds deltas and replenishes nutrients on farmland, and provide insurance against glacial and monsoon variability.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025122109124_a5726642ee785b624ee3e6d81a051091c91a8d388dba8c33f4a03bab1fddc97f.jpg" data-media-id="editor_7" data-image-id="2025122109124_a5726642ee785b624ee3e6d81a051091c91a8d388dba8c33f4a03bab1fddc97f" data-rendition-name="original" width="2500" height="1875" loading="lazy" alt="Karnali"> <figcaption>Tharu women repair a channel fed by the Karnali, which is a life line for their farms.</figcaption> </figure>  The Karnali is also a cultural and economic asset in its own right. As a rare, undammed Himalayan river, it underpins nature-based tourism, scientific research, and a way of life for Indigenous and local communities. Kalashtham Tharu, 32, is an elephant mahout in Bardia, and says the Karnali is an important source of water for animals and farming. Diversion for irrigation near Chisapani has meant that a channel going into Bardia National Park has gone dry, affecting biodiversity and nearby farms. &nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025122109120_6d3a45a440263e859d64c427a8543c6ede5a447a411797d25a6a41d713d33e91.jpg" data-media-id="editor_8" data-image-id="2025122109120_6d3a45a440263e859d64c427a8543c6ede5a447a411797d25a6a41d713d33e91" data-rendition-name="original" width="1500" height="2000" loading="lazy" alt="Karnali"> <figcaption>Panning for gold on the banks of the Karnali. She makes Rs200,000 per year. </figcaption> </figure>  Similarly, the Sonahar community in Bardia relies on the river to pan for gold, their sole source of income. Anita, 40, says there is much less water in the Karnali this year. On an average, she makes Rs200,000 from middlemen for the gold she pans during non-monsoon months. &nbsp; WILD RIVERS Around the world, countries are beginning to recognise the value of keeping a few great rivers wild. Protecting the Karnali would place Nepal at the forefront of that movement and strengthen efforts to seek international recognition for the river’s outstanding natural heritage. Any decision should be grounded in a transparent, basin-wide assessment that weighs the full social, ecological and economic costs—not just the megawatts on a project spreadsheet. That means evaluating alternatives, safeguarding critical habitats and migration routes, and recognising the rights and knowledge of the people who live along the river. It also means asking a simple question: If Nepal can meet its energy goals without damming the Karnali’s main stem, why wouldn’t it?  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025122109128_3e357c863de55b397f09cfd666c762de297a8b07ac024a41a8bb5b9e8d3a76cf.jpg" data-media-id="editor_9" data-image-id="2025122109128_3e357c863de55b397f09cfd666c762de297a8b07ac024a41a8bb5b9e8d3a76cf" data-rendition-name="original" width="2000" height="1500" loading="lazy" alt="Karnali"> <figcaption>River mining the Karnali in Kalaili district causing uneven landscape with the river flowing away from Bardia National park.</figcaption> </figure>  Advocates have petitioned Nepal’s Supreme Court to protect the Karnali, with a hearing scheduled in Kathmandu on 22 December. International lenders and investors should take note: Financing high-impact dams on the Karnali would run counter to emerging global standards on biodiversity, <a href="https://nepalitimes.com/banner/dancing-with-the-river">climate resilience</a> and free-flowing river protection. Funding clean energy in Nepal should not require sacrificing the country’s most pristine river. For three decades, I have documented the Karnali from its source in Tibet to its entry into India, capturing the river’s seasons and the lives it sustains. The images I have captured and the voices of people who depend on the river, tell a simple truth: a free-flowing Karnali is irreplaceable. Once the concrete is poured, there is no going back.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025122109128_760ae5218d5f7e961c198da0a6c8696247e34281752a2857de935f9e8aec2c5c.jpg" data-media-id="editor_11" data-image-id="2025122109128_760ae5218d5f7e961c198da0a6c8696247e34281752a2857de935f9e8aec2c5c" data-rendition-name="original" width="1504" height="1502" loading="lazy" alt="Karnali"> <figcaption>Inner sanctum of Mt Kailas in the vicinity of Manasarovar and Rakshas lakes in Tibet.</figcaption> </figure>  Nepal has many options for generating power. <a href="https://nepalitimes.com/here-now/a-karnali-portrait?%2F">It has only one Karnali</a>. Keeping this river wild would be a gift to the living Earth and to future generations — a legacy measured not in megawatts, but in life. Says Megh Ale: “We are very rich in natural resources but manage them very poorly. We want instant solutions but do not have a long-term vision. We are not against development but there needs to be a good balance with nature.” &nbsp;

installation-art

The art of healing

Ocean to mountains

Bhutan political prisoner dies in detention

The sins of our mothers

Not taking loyalty for granted

The river of life