Heads swinging in the air. Shoulders jiggling. Hands and feet taping in time with the rhythm. People humming along. This was a common sight throughout this week’s Surya Nepal Jazzmandu. The guitar, drums, piano, flute, sarangi (even tapping feet) and other musical instruments fused on stage every evening, producing soulful melodies to keep the audience warm through Kathmandu’s autumn chill. This was the 20th edition of the jazz festival which started on 24 October featuring international and national artists including the likes of Swiss-French trumpeter Erik Trufazz, Aussie Owen James Newcomb, jazz saxophonist, flamenco singer and composer Antonio Lizana, our very own Cadenza Collective and artists from the Dhrupad Gurukul in Kathmandu.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024110104114_e35518cd86adafbd72e0bec4936baad9e81b14ebc911f71aff1d13fe2a2d5b7b.jpg" data-media-id="editor_0" data-image-id="2024110104114_e35518cd86adafbd72e0bec4936baad9e81b14ebc911f71aff1d13fe2a2d5b7b" data-rendition-name="original" width="1656" height="1370" loading="lazy" alt="Jazzmandu 2024 NT"> </figure>  “I really like it here in Nepal, people are friendly, there is virtually no road rage,” Erik Trufazz told nepali Times during one of the parties ahead of their performances. “I have known about Jazzmandu for a while, my sound technician has been with the festival for a quite some time but only this year did everything align for me to be here too. The audience has been warm and receptive.” The annual event (except for the Covid years) first started in 2002 at the height of the Maoist insurgency with the intention of uniting people through music and simultaneously prioritising cultural interaction, music education and promoting tourism in Nepal. “The first edition was rather easy. Everything fell into place. It was as if destiny was leading the way,” says Navin Chettri, one of the founding members of Surya Nepal Jazzmandu who is also the vocalist and drummer of Nepali folk Jazz band Cadenza Collective. “What is harder is to maintain the legacy.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024110104114_79936cc630c834b1d4ff1dd16d23c748ea7e3e6f6bc4e69a567b0a7de9bfa391.jpg" data-media-id="editor_1" data-image-id="2024110104114_79936cc630c834b1d4ff1dd16d23c748ea7e3e6f6bc4e69a567b0a7de9bfa391" data-rendition-name="original" width="1261" height="1000" loading="lazy" alt="Jazzmandu 2024 NT"> </figure>  &nbsp;The jazz scene is ever-evolving and so is the festival but in the recent editions, it is clear that cultural interaction has been more prominent with the collaboration that have taken place between national and international artists. “Jazzmandu has stayed true to the essence of what it was,” says Owen James Newcomb of Australian Jazz band Afro Dizzi Act who was here for the first edition in 2002 and was back this year. Nick Aggs of the same band has been performing in Jazzmandu for the past six years, and agrees: “Kathmandu has become a fertile land for music to flourish. The cross-pollination of music that is happening here says it all.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241101011124_58251b3af8fcca39887a1a772f9a59f12d9afd789bd0af8459089661dfafa6bf.jpg" data-media-id="editor_2" data-image-id="20241101011124_58251b3af8fcca39887a1a772f9a59f12d9afd789bd0af8459089661dfafa6bf" data-rendition-name="original" width="1333" height="1000" loading="lazy" alt="Jazzmandu 2024 NT"> <figcaption>Photo: PINKI RANA</figcaption> </figure>  Jazz has often been credited for embracing culture and diversity, and is known for collaborating with different genres of music. Here in Kathmandu, the festival has taken a step further to blend jazz with eastern music genres. For example this year a Spanish flamenco performer tap dances to the beat of classical Nepali tabla. “We’ve been performing jazz all over the world and the perception of jazz can be sectioned. The open mindedness people here in Kathmandu when it comes to jazz is the most exciting,” said Shannon Sol Carroll of Afro Dizzi Act speaking to Nepali Times before their &nbsp;finale at the Malla Hotel on Wednesday. The demographic of the audience is also changing. While expats and tourists still make up the majority of the audience, younger Nepalis are now a significant presence. There are others like Zoe Meister, 20, who is in Kathmandu as part of her exchange programme. The first experience has already left her wanting for more.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024110104114_d052567ac67050ef3024b8e02e7171ba1ba480fe8df8a279ef358908d6b7dd17.jpg" data-media-id="editor_3" data-image-id="2024110104114_d052567ac67050ef3024b8e02e7171ba1ba480fe8df8a279ef358908d6b7dd17" data-rendition-name="original" width="1486" height="966" loading="lazy" alt="Jazzmandu 2024 NT"> </figure>  Women still remain a minority in the Jazz scene globally. But this edition of Jazz Festival featured an all female band Sheroes from the US and highlighted singer Alma Naidu and her quartet from Germany and classical singer Jonisha Paudel from Nepal.&nbsp; Paudel’s high notes (shall we call it ‘ragajazz’?) underlined the amalgamation of eastern and western music. On initial hearing, the music did come off as Hindustani Classical but as the gig progressed, the sound of tabla, sitar fused with trombone and bass guitar to enhance the symbiosis. Her performance at Yalamaya Kendra on 29 October brought the house down.&nbsp; On the same day, Sheroes sang its own version of My Favourite Things from the 1965 musical The Sound of Music. Seeing the majority of women perform on the same stage made the performance even more inspiring. As the 20th edition of the jazz feast comes to an end, Chettri says, “When the younger musicians come up to me and tell me they are inspired seeing artists in our festivals, I believe we have been successful in setting up jazz culture in Kathmandu and our legacy.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024110104114_4510825ab497a488fd46a9d0c0b76f76ed7e6d0772002d9d0e8f698ed988cb8f.jpg" data-media-id="editor_4" data-image-id="2024110104114_4510825ab497a488fd46a9d0c0b76f76ed7e6d0772002d9d0e8f698ed988cb8f" data-rendition-name="original" width="1194" height="832" loading="lazy" alt="Jazzmandu 2024 NT"> </figure>  <h2>Jazzing up Gokarna</h2> The third day of Jazzmandu, dubbed Jazz Bazaar, took place at Gokarna Forest Resort. This was the longest day, starting at 3PM and running until 10 at night unlike most days of the jazz festival that happened exclusively in the evenings. The stage and the stands for food and drinks were set up in an open meadow at the expansive Gokarna Forest Resort. The stage was the first thing on the left, and the bars were set up opposite that a bit further away. Further in the area there were food stalls presumably set up by the hotel selling food like chowmein, chicken wings, and paneer pakodas. There were bonfires set up which provided quick bursts of much needed warmth in the chilly October evening. Perhaps owing to the location, the crowd seemed much younger than at most of the other days of the festival. There were many children and young adults, both Nepali and foreign. Many seemed to be tourists from South Asia, Europe, the USA, or Australia. The audience either sat in chairs or benches set up opposite the stage, or on mats on the floor right in front of the musicians.&nbsp; One of the main acts of the night was Swiss-French trumpeter Erik Trufazz and his band, a quartet also including keyboard, bass and drums. Trufazz and the band were exceptional with a strong rock element to their act and soon the audience were bobbing their heads or tapping their feet to the music. They were followed by the Antonio Lizana Quintet, spearheaded by jazz saxophonist, flamenco singer and composer Antonio Lizana. The quintet was made up of Lizana on saxophone, a guitar, a bass, drums, and a flamenco dancer. The dancing, done by a member of the five called El Mawi, provided a strong performance aspect to their set and was visually drawing. The tapping nature of the dance also added a quick rhythm on top of the drums. There was also a performance by artists from the Dhrupad Gurukul in Kathmandu. Dhrupad is an ancient Hindustani classical musical tradition characterised by ragas and swaras. The group had sitar and flute players as well as percussion, on a big two-sided Indian drum called the pakhavaj. Their music was accompanied by trippy visuals. Vishad Raj Onta

Pinki Sris Rana

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East meets West at Kathmandu jazz

Right after Dasain festivities, the Surya Nepal Jazzmandu is back in town and this time it is celebrating two decades of the jazz festival. Also known as Kathmandu Jazz Festival, the annual music fest which started in 2002 will run from 24-30 October this year. Over the years, it has established itself as a premier jazz event, pioneering and cultivating the taste of jazz in Nepal.&nbsp; Much like the previous editions, the organisers aim to bring together jazz musicians of different backgrounds and origins, substantiating a platform for cultural interaction simultaneously.&nbsp; “Jazzmandu is an act of love for our city, our audiences, and for the music – and we’ve still got lots more love to give,” says Samir Chettri of Kathmandu Jazz Festival.&nbsp; This year’s five-day musical symposium features a lineup of artists celebrated from across the globe. They specialise not just in jazz but infusing it with different types of music. Eastern Classical featuring Jonisha Paudel, Santosh Bhakta, Roshan Putwar, Nimesh Kapali as well as Gandharva music are something to look forward this edition. <h2>Erik Truffaz (Switzerland)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241023071012_ec1d5abbf4f3be74f7a3298985ff38022f3f4f54627fd8ac51294fa63f24bd0c.jpg" data-media-id="editor_0" data-image-id="20241023071012_ec1d5abbf4f3be74f7a3298985ff38022f3f4f54627fd8ac51294fa63f24bd0c" data-rendition-name="original" width="1200" height="800" loading="lazy" alt="Erik Truffaz"> </figure>  Jazz trumpeter Erik Truffaz’s music has pushed the boundaries of what trumpet-led jazz can be. In his decade-long career, Truffaz has seamlessly blended hip hop, rock and roll and dance music with jazz. Truffaz entered into the jazz scene in the early nineties but it was the 1998 album ‘The Dawn’ that gave him his breakthrough– establishing him as a pioneering force in contemporary jazz. From recording in India on the banks of the Ganga, to collaborations with indie rockers, Truffaz has showcased his ability as a peerless all-rounder and ceaseless innovator. He has given scores to symphony orchestras, and has also written and composed music extensively for cinema.Truffaz is in the ranks of European jazz royalty, continuing to inspire a new generation of musicians and music lovers. Erik Truffaz – Trumpet | Alexis Anérilles – Keyboard | &nbsp;Marcello Giuliani – Bass | Raphael Chassin – Drums <h2>Sheroes (USA)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241023071012_ce7ebb7d4bac391253c5cebfae761dbd2eb027df30b57579c156791d3248ca3f.jpg" data-media-id="editor_1" data-image-id="20241023071012_ce7ebb7d4bac391253c5cebfae761dbd2eb027df30b57579c156791d3248ca3f" data-rendition-name="original" width="2560" height="1369" loading="lazy" alt="Sheroes"> </figure>  This all-female band is an anomaly in the jazz scene where women still remain underrepresented. Sheroes was the brainchild of pianist, composer and arranger Monika Herzig who wanted to bring women jazz musicians together and provide powerful role models on stage and break the lingering gender stereotypes in jazz. The band is celebrating its 10th anniversary this year. The Sheroes ensembles over time have brought together an extended network of talented women jazz musicians. Together, the musicians create music as they navigate their individual skill and style while showcasing an undeniable chemistry. Sheroes continues to elevate some of the top composers and players in jazz.&nbsp; Monica Herzig – Piano | Jamie Baum – Flute |&nbsp; Reut Regev – Trombone | Gina Schwarz – Bass |&nbsp; Rosa Avila – Drums <h2>Alma Naidu (Germany)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241023071012_655281cecef3a041aa0abde2f66cb39deba3a323b37020ae15e01613131a1113.jpg" data-media-id="editor_2" data-image-id="20241023071012_655281cecef3a041aa0abde2f66cb39deba3a323b37020ae15e01613131a1113" data-rendition-name="original" width="2375" height="2560" loading="lazy" alt="Alma Naidu"> </figure>  Described as “one of the most promising singers on the German scene” by Süddeutsche Zeitung, a daily newspaper in Germany, Alma Naidu is a singer, composer and lyricist based in Munich. Naidu boasts an enviable collection of top prizes honouring rising German jazz artists, and has also appeared in various musical theatre and opera productions.&nbsp; Her debut album, Alma, was released in 2022 and comprised almost entirely of her own compositions and arrangements. Relatively an emerging artist among the Jazzmandu’s lineup, has previously performed across Germany, the Czech Republic and France with her touring quartet, which features her on the keys as well as vocals. Alma Naidu – Vocals and piano | Andeas Dombert – Guitar &nbsp;| Ferdinand Schwartz – Bass | Florian Stierstofer – Drums <h2>Antonio Lizana Quintet (Spain)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241023071016_1a0138b8a158fc714b22730390d152d4782ef8480dd780d2387df350a3ab3544.jpg" data-media-id="editor_3" data-image-id="20241023071016_1a0138b8a158fc714b22730390d152d4782ef8480dd780d2387df350a3ab3544" data-rendition-name="original" width="2560" height="1097" loading="lazy" alt="Antonio quintet"> </figure>  Antonio Lizana is a jazz saxophonist and flamenco singer and composer who has blended jazz with flamenco and is one of the most celebrated representatives of new flamenco jazz. Lizana’s quintet have performed in more than 30 countries – including at festivals in London, New York, San Francisco, Shanghai, Madrid, Barcelona and beyond – and has worked on Grammy-winning works with artists such as Arturo O’Farrill and Alejandro Sanz. Lizana’s live shows have been described as a “breathtaking journey from flamenco roots to contemporary jazz”, with his soulful lyrics carrying messages of optimism and sincerity to his audiences access the globe. Antonio Lizana – Vocals and saxophone | Adriano Lozano – Guitar and and backing vocals | Ismael Alcina – Bass and backing vocals&nbsp; | Vincent Thomas – Drums | El Mawi – Flamenco dancing and backing vocals <h2>Afro Dizzi Act (Australia)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241023071016_473edf5ef5fdc479f0c6caf7256cecc3084aba72876ad539150693bec2301e04.jpg" data-media-id="editor_4" data-image-id="20241023071016_473edf5ef5fdc479f0c6caf7256cecc3084aba72876ad539150693bec2301e04" data-rendition-name="original" width="1500" height="1255" loading="lazy" alt="Afro Dizzy Act"> </figure>  Born as an adventurous jam band in Brisbane in the late 1990s, Afro Dizzi Act is known to be one of the best fusion bands to ever come out of Australia, and is celebrated as one of the country’s premier festival bands. From an early sound that blended in hip-hop as well as drum and bass, the band took on influences from jazz and world music as its growing reputation took the musicians to new places, arriving at World Beat Festival that comprises a dizzying variety of musical traditions and a mind-opening global perspective.&nbsp; Afro Dizzi Act has headlined top Australian festivals such as the Big Day Out and the Byron Bay Bluesfest, performed in Dubai, toured the Northeast of India, and played at the first edition of Jazzmandu in 2002. This year, to celebrate Jazzmandu’s 20th anniversary, the band will be performing alongside Navin Chettri of the Cadenza Collective to revive early days of the annual jazz festival. Nick Aggs – Saxophone | Shannon Sol Carroll – Guitar |&nbsp; Oj Newcomb – Bass | Navin Chettri – Drums |&nbsp; Matt Ledgar – Percussions <h2>Cadenza Collective (Nepal)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241023071016_dab2e03a9643141a4b1416a6bc00e8fea59840798b07c631a30190a93f39e7b3.jpg" data-media-id="editor_5" data-image-id="20241023071016_dab2e03a9643141a4b1416a6bc00e8fea59840798b07c631a30190a93f39e7b3" data-rendition-name="original" width="857" height="544" loading="lazy" alt="Cadenza"> </figure>  Cadenza Collective, spearheaded by drummer and composer Navin Chettri, has been blending Jazz, Afro-funk, and Nepali folk into an irresistible sound to get your groove on. Formed in 1998, Cadenza was one of the first bands to experiment with jazz in the Kathmandu Valley, at a time when rock and pop music dominated the music scene. Cadenza broke the mould and has evolved into a mature and experienced collective of musicians and music educators.&nbsp; Their music has pumped vitality into the improvised music scene in Nepal and beyond through regular performances with both classical and western musicians. With 5 albums to date showcasing their original music, their latest, Back to the Roots, won Best Pop/Rock Composition for their song “Namaste”, and Best Pop/Rock Album of the Year at the 2014 Nepal Hits FM Music Awards. Navin Chettri – Vocals and Drums | Rajat Rai – Guitar |&nbsp; Samir Chettri – Bass | InapRaj Shrestha – Tenor Sax |&nbsp; Pravin Chhetri – Alto Sax <h2>Samundra (Nepal)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241023071016_18153f12a84a9e1cc890cad600f0ab3a519be2f563db984e984ec5251e4c7d57.jpg" data-media-id="editor_6" data-image-id="20241023071016_18153f12a84a9e1cc890cad600f0ab3a519be2f563db984e984ec5251e4c7d57" data-rendition-name="original" width="2048" height="1153" loading="lazy" alt="Samundra band"> </figure>  Samundra is a band of musicians and sarangi players known for their performances of Nepali folk fusion music. Formed in 2004, the band stays true to the age-old traditional folk music of the Gandharba community. They recompose authentic Nepali tunes in new forms, updating the cherished old music for contemporary taste. They also educate people on traditional music through their YouTube channel, making it accessible for all. Anil Gandharba also teaches how to use sarangi on their channel. This band is passionate about promoting and preserving the rich cultural heritage of Nepal through their music. Anil Gandharba - Sarangi | Arbajo Buddha Gandharba - Sarangi | Ramkrishna Gandharba - Flute/Arbajo | Samsher Gandharba - Madal | Arjun Gandharba - Madal | Raju Gandharba - Percussion <h2>Dhrupad Gurukul (Nepal)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241023071016_ac99f1d13ac3532016a08227a7592381b03c460fc4df13b06a463059ae0fe24a.jpg" data-media-id="editor_7" data-image-id="20241023071016_ac99f1d13ac3532016a08227a7592381b03c460fc4df13b06a463059ae0fe24a" data-rendition-name="original" width="1280" height="960" loading="lazy" alt="Dhrupad Gurukul"> </figure>  <h2> </h2> Dhrupad is a form of Hindustani classical music that is distinguished by its emphasis on maintaining the purity of ragas and swaras.&nbsp; Vishal Bhattarai joined hands with his gurubhai Inoue Sou to establish Dhrupad Gurukul Kathmandu, and the duo has been performing and teaching Dhrupad in Nepal for the last decade. Their performance at Jazzmandu will be joined by the renowned pakhawaj player Mukesh Shakya, and two students currently training under the Gurukul. <h2>SCHEDULE&nbsp;</h2> Jazz for the Next Generation&nbsp; Thursday, 24 October&nbsp; 11AM- 1:30PM&nbsp; Closed Invitation&nbsp; St Xavier’s School, Jawalakhel&nbsp; Groovin’ at Upstairs Thursday, 24 October&nbsp; 7PM – 9PM&nbsp; Rs1,000 Jazz Upstairs, Lazimpat Valley Jams Friday, 25 October&nbsp; 6:30PM – 9PM Rs800 Simultaneously at:&nbsp; Jazz Upstairs, Lazimpat Electric Pagoda, Thamel Eden, Jhamsikhel La Terrasse, Chundevi Hard Rock Cafe, Durbar Marg Jazz Bazaar Saturday, 26 October 3PM – 10PM&nbsp; Rs1,600 Gokarna Forest Resort Sounds of Flamenco Jazz and Afro-Beat Monday, 28 October 7PM – 9PM Rs2,000 Lawn by Nanglo, Jhamsikhel Jazz at Patan Tuesday, 29 October&nbsp; 7PM – 9PM Rs2,000 Dhokaima Cafe, Patan Jazzmandu Finale Wednesday, 30 October 5:30PM - 10PM&nbsp; Rs1,800 The Malla Hotel, Lainchaur&nbsp;

Jazzing up the town for the 20th time

Kathmandu’s other jazz festival, KatJazz, returns for its sixth iteration this month, blending contemporary tunes with the rich traditional music of Nepal and beyond. This eight-day music fest starts on 22 April and concludes with a grand celebration of a finale on the UNESCO recognised International Jazz Day on 30 April. The very first KatJazz in 2017 had jazz education as its objective. The festival has come a long way since and has been integral in further lifting Nepal’s jazz scene, perfectly aligning with the theme this year ‘The Jazz Trail to Kathmandu: Past Voices. Global Sounds. Future Harmonies.’ “This festival is a two-way thing. It brings Western jazz music to Nepal but it simultaneously puts Nepal’s music to world music,” says Abhisek Bhadra, academic director of Kathmandu Jazz Conservatory (KJC), co-organiser of the festival.&nbsp; This year’s lineup features 15 international and 12 Nepali musicians as well as 11 women musicians of KJC Rajamati Choir. “Our emphasis has been on local artists and the collaboration that will take place between the ensemble,” adds Bhadra.&nbsp; The ‘Taking the Lead: The Diverse Voices of Women in Jazz’ session scheduled for 27 April is set to be the highlight of the entire festival. The session will celebrate female musicians in the jazz scene with performances from Juliana Rodrigues, Enji and Maria Fajardo. The artists have all worked extensively, blending jazz with the traditional and folk music of their homelands. Says Abhisek Bhadra: “We are celebrating contemporary jazz music while acknowledging and appreciating traditional music of Nepal and elsewhere.” &nbsp; Read also: <a href="https://nepalitimes.com/review/jazzing-up-the-mandu-for-20-years">Jazzing up the ‘Mandu for 20 years</a>, Aïsha MacDougall <h2>Ben van den Dungen Quartet &nbsp; (The Netherlands)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240421110428_3f2422989e2c43c002aed73545f7e411557af406286338f37011c3334d8352e6.jpg" data-media-id="editor_1" data-image-id="20240421110428_3f2422989e2c43c002aed73545f7e411557af406286338f37011c3334d8352e6" data-rendition-name="original" width="2000" height="1133" loading="lazy" alt="Ben van den Dungen Quartet"> </figure>  Ben van den Dungen is an acclaimed Dutch Jazz saxophonist who started his concert career in the early 1980s and has since performed in 6,000 concerts in 70 different countries. His band, Ben van den Dungen Quartet, has regularly toured South America, Russia, Indonesia, South Korea, China, India and Europe.&nbsp; At KatJazz, the quartet is paying tribute to the legendary saxophonist John Coltrane, one of the most influential saxophonists of all time. In this dazzling ode, they present a contemporary interpretation of a repertoire that has rightly been labelled as 'classics'. Ben van den Dungen – Saxophone | Miguel Rodriguez – Piano | Steve Zwanink – Bass | Mitchel Damen – Drums <h2>Enji&nbsp;</h2> <h2>(Mongolia/Germany)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240421110432_e4450b10ff9a05f5cd70cd02e96b9acfa2ea78da9e4b54f50695c22e8a4d293b.jpg" data-media-id="editor_2" data-image-id="20240421110432_e4450b10ff9a05f5cd70cd02e96b9acfa2ea78da9e4b54f50695c22e8a4d293b" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Enji"> </figure>  Enkhjargal Erkhembayar ‘Enji’ is a Mongolian-born Jazz singer and songwriter. As such, there is a touch of Mongolian folk to her music. Enji’s previous album, 'Ursgal,' received acclaim from The New York Times, The Washington Post and The Guardian, making it to the Best Jazz Albums of 2023. She was also invited to perform for COLORS in Berlin. For this year’s lineup, she is joined by Martin Zenker on double bass and Paul Brandle on guitar, adding new dimensions to her already extraordinary sound. Enji - Voice | Martin Zenker - Bass |Paul Brandle - Guitar Read also: <a href="https://nepalitimes.com/here-now/bass-and-no-treble">Bass and No Treble</a>, Sajeet M Rajbhandari <h2>Gyan Residency</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240421110432_1e921a7a3312bd71d0950142c655c7a71ff2abbfb63b20e2205f774d2a582dce.jpg" data-media-id="editor_4" data-image-id="20240421110432_1e921a7a3312bd71d0950142c655c7a71ff2abbfb63b20e2205f774d2a582dce" data-rendition-name="original" width="1000" height="1468" loading="lazy" alt="Gyan Residency"> </figure>  The Gyan-KJC Residency, a crucial part of the KatJazz festivals, has been providing a space for collaborative dialogue through music. This year, it brings together Nepali maestros Shree KC (dhrupad vocals), Santosh Bhakta Shrestha (esraj), and Jagannath Dhaugoda (tabla), alongside international artists from Chile (Tomas Carrasco, Moa Edmunds), Brazil (Juliana Rodrigues), Spain (Javier Galiana, Javi Delgado, Guillermo Martín-Viana, Pedro Cortejosa), Mongolia (Enji Erkhem), and Nepali folk musicians, including Pushpa Palanchoke. Before 22 April, these participating artists will discuss Hindustani music, Nepali folk, and Western music in workshops aimed at deepening the understanding of Hindustani music among Western performers and vice-versa, fostering cross-cultural learning. In the next phase from 23-25 April, all the artists will collaborate and put together a blended music piece which will be showcased at the Gyan-KJC Residency concert on 30 April at Moksh in Jhamsikhel.&nbsp; <h2>Jhuma Limbu and Raithane Music&nbsp;</h2> <h2>(Nepal)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240421110436_d8598c4ceaa57272816d15a9d77c9f8ecf174f3e1a36df270737016d6b7b4ff3.jpg" data-media-id="editor_5" data-image-id="20240421110436_d8598c4ceaa57272816d15a9d77c9f8ecf174f3e1a36df270737016d6b7b4ff3" data-rendition-name="original" width="2000" height="1125" loading="lazy" alt="Jhuma Limbu"> </figure>  With over two decades of experience in the Nepali music industry, Jhuma Limbu is a highly skilled folk singer renowned for her performances across diverse genres including cultural, folk, playback, patriotic, and modern music. Limbu is dedicated to preserving and promoting Nepal's rich indigenous musical traditions. This concert is a fundraiser for her ongoing album-recording project in collaboration with Chilean musicians Tomás Carrasco and Moa Edmunds, and Nepali producer, keyboardist and arranger Abhisek Bhadra. Jhuma Limbu - Voice | Manice Gandarva - Sarangi | Tomás Carrasco - Flutes | Moa Edmunds - Guitar | Abhisek Bhadra - Piano | Sudhir Acharya - Percussion | Javier Delgado - Upright Bass Read also: <a href="https://nepalitimes.com/here-now/orchestrating-cross-cultural-collaboration">Orchestrating cross-cultural collaboration</a>, Tayama Rai <h2>Juliana Rodrigues&nbsp;</h2> <h2>(Brazil)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240421110436_94f1cfbe5ec5e59a7930ef9482b9786a2b0dad9f7bc35bae1c0849d9e28170d4.jpg" data-media-id="editor_7" data-image-id="20240421110436_94f1cfbe5ec5e59a7930ef9482b9786a2b0dad9f7bc35bae1c0849d9e28170d4" data-rendition-name="original" width="1750" height="745" loading="lazy" alt="Juliana Rodrigues"> </figure>  A pianist and composer from Sao Paulo, Juliana Rodrigues has released two albums, Vive and Mnemosine, showcasing her unique and diverse musical background. Her team of three performs with excellent cohesion, bringing her compositions to life with a repertoire of rhythms, phrasing, and collective improvisation.&nbsp; Rodrigues is also a member of the women-only samba group Dona da Rua, which recently released singles Filha da Luta and Que Venha em Mim. She has performed at Sala São Paulo, Festival Jazz al Este, Instrumental SESC Brasil, Savassi Festival, and Sonamos Latinoamérica. Juliana Rodrigues - Piano | Rajat Rai - Bass | Prajwal B.K. (Punku) - Drums <h2>Samyog Regmi and Co. (Nepal/Spain)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240421110432_b1e551e11fa610c40a01c8ba51544fa8b8d91998faf649ca437d0e197ad4d62d.jpg" data-media-id="editor_8" data-image-id="20240421110432_b1e551e11fa610c40a01c8ba51544fa8b8d91998faf649ca437d0e197ad4d62d" data-rendition-name="original" width="1000" height="997" loading="lazy" alt="Samyog Regmi"> </figure>  Samyog Regmi, born in Nepal, was immersed in diverse musical influences from an early age, including local traditional music, jazz, and Eastern classical music. An alumni of the Kathmandu Jazz Conservatory (KJC), Regmi pursued musical studies in the Netherlands. His compositions span various ensembles, including his quintet (a group of five playing music/ singing together), septet (a group of seven playing music/ singing together), and the Conservatory of Amsterdam Big Band.&nbsp; Recently, Samyog released his album Unpopular Opinion. At KatJazz 2024, get ready to witness his musical craft accompanied by international artists from Chile and Spain. Guillermo Martín-Viana (Spain) - &nbsp;Drums | Tomás Carrasco (Chile) - &nbsp;Flute/Sax &nbsp;| &nbsp;Pedro Cortejosa (Spain) - Saxophone | Javi Delgado (Spain) - Upright Bass <h2>Versados Despistados Quartet&nbsp;</h2> <h2>(Spain)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240421110448_71b6459b542f238634cf7f154404667f9988999f3b671d330e4dd93b369c7818.jpg" data-media-id="editor_9" data-image-id="20240421110448_71b6459b542f238634cf7f154404667f9988999f3b671d330e4dd93b369c7818" data-rendition-name="original" width="4100" height="1050" loading="lazy" alt="Versados Despistados Quartet"> </figure>  The four Andalusian (south of Spain) musicians that make up Versados Despistados Quartet have been in the national and international scene for years. With their own voice and classic jazz instrumentation, this quartet explores the fusion between different forms of Andalusian and Afro-American music. Featuring Pedro Cortejosa on saxophone, Javier Galiana on piano, Javier Delgado on double bass, and Guillermo Martín-Viana on drums, Versados Despistados, which translates to ‘versed scatterbrains’ takes the audience on a dynamic journey of sound with freshness and a sense of humor that catches one by surprise. Pedro Cortejosa - Tenor saxophone | Javier Galiana - Piano | Javier Delgado - Double Bass | Guillermo Martín-Viana - Drums Read also: <a href="https://nepalitimes.com/review/in-nepal-east-meets-west-musically">In Nepal, East meets West musically</a>, Shrijan Pandey <h2>SCHEDULE</h2> Piano Explorations with Javi Galiana and Juliana Rodrigues&nbsp; Monday, 22 April&nbsp; 7PM onwards&nbsp; Rs800 Alliance Française, Pulchok&nbsp; Samyog Regmi and Co.&nbsp; Tuesday, 23 April 7PM onwards&nbsp; Rs800 Jazz Upstairs, Lazimpat&nbsp; A Tribute to Coltrane by Ben Van Den Dungen Quartet&nbsp; Wednesday, 24 April&nbsp; 7PM onwards&nbsp; Rs800&nbsp; Dhokaima cafe, Patandhoka&nbsp; Enji (Enkhjargal Erkhembayar) Thursday, 25 April&nbsp; 7PM onwards&nbsp; Rs800&nbsp; Moksh, Jhamsikhel&nbsp; Versados Despistados&nbsp; Friday, 26 April&nbsp; 7PM onwards&nbsp; Rs800 EDN Sanepa&nbsp; Taking the Lead: The Diverse Voices of Women in Jazz with Juliana Rodrigues, Enji, Maria Fajardo&nbsp; Saturday, 27 April&nbsp; 6PM onwards&nbsp; Rs1000 Yellow House, Sanepa&nbsp; Jhuma Limbu and Raithane Music Monday, 29 April 7PM onwards&nbsp; Rs1000 Mandala Theatre, Thapagaun International Jazz Day Concert Tuesday, 30 April&nbsp; 7PM onwards &nbsp; Rs1200 Moksh, Jhamsikhel&nbsp;

Jazzing up Kathmandu again

It is festival season here in Nepal. Along with Dasain, Tihar and Chhat there is also Kathmandu’s very own international jazz festival. This year, Surya Nepal Jazzmandu, the music festival that put Nepal on the planetary jazz map, turns 19. With a brand-new ensemble of musicians from all over the world, it might just be the event to help one do away with Dasain blues and warm up for the festival of lights. “It stemmed from the love of jazz we have,” says Samir Chettri of Nepali jazz band Cadenza Collective, who is part of the organising team. “Many Nepalis cannot afford to go abroad and check out concerts, so we thought why not bring international musicians here.” Artists this year include Plurism, Under the Surface, Lucile Chriqui, Palouse Forro, Himalayan Highway, Samundra Band, Dhrubesh/Friends of Sukarma, Nick Aggs &amp; Cadenza Collective as well as other eastern classical musicians. Jazz has come a long way from the cobbled streets of New Orleans in the late 19th century, it has evolved into Latin jazz, gypsy jazz, Afro-Cuban jazz, and even Nepali jazz. But even though the art form has branched out, improvisation is still its heart and soul.&nbsp; “Jazz is never constant, it is evolving. Culture is important in jazz,” explains Chettri. When the festival was first held in Kathmandu in 2002, very few in Nepal had heard of jazz. Today, Nepalis not only make up half of the audience in the concerts, there are local jazz musicians ready to represent Nepal. There are now jazz schools and students performing jazz. Every year with a host of new artists, the festival infuses new styles and trends into the local jazz scene while showcasing Nepal’s best in jazz. Says Chhetri: “At the heart of the festival, we want to celebrate music and inspire a new generation of musicians.” &nbsp;&nbsp; <h2>Plurism (Switzerland/South Africa)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231102051124_cb84ae7f832ef16a8f29b34edcb813eb38e164c76b5eaf4c1d2184f8fb22224a.jpg" data-media-id="editor_0" data-image-id="20231102051124_cb84ae7f832ef16a8f29b34edcb813eb38e164c76b5eaf4c1d2184f8fb22224a" data-rendition-name="original" width="3000" height="2000" loading="lazy" alt="Jazzmandu 2023"> </figure>  Plurism sees Swiss drummer and band leader Dominic Egli combine forces with the esteemed South African trumpeter Feya Faku and a stellar cast of musicians with a shared friendship as well as musical sensibility. Plurism is anchored in Egli’s intense curiosity about the many colours of African rhythm. The nostalgic sensitivity of his playing is grounded by the bass of Xaver Rüegg, with Faku displaying his uncanny temperament on the trumpet, Mthunzi Mvubu with prolific vocabulary is on the alto saxophone and Sisonke Xonti’s audacious yet vulnerable style on the tenor saxophone. Plurism remains complex yet simple, explosive yet tender, down-to-earth yet otherworldly, with the musicians always drawing out more from each other and the audience. Feya Faku – Trumpet and flugelhorn | Mthunzi Mvubu – Alto saxophone &nbsp; Sisonke Xonti – Tenor saxophone | Xaver Ruegg – Bass | Dominic Egli – Drums and cymbals <h2>Lucile Chriqui (France)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231102051124_f9b3a6ba8890eb21bd03f3bd349644da85a20301831fe86e7e7c1bb7e02f656b.jpg" data-media-id="editor_1" data-image-id="20231102051124_f9b3a6ba8890eb21bd03f3bd349644da85a20301831fe86e7e7c1bb7e02f656b" data-rendition-name="original" width="2000" height="1334" loading="lazy" alt="Jazzmandu 2023"> </figure>  Lucile Chriqui, an award-winning singer-songwriter, is one of the brightest new talents in French Jazz. Blessed with natural musical and vocal flair, she honed her craft training under the American jazz singer Sara Lazarus and the French violinist Didier Lockwood, among others. Her list of collaborators includes rising names in international jazz such as Philippe Baden Powell, Munir Hossn, and Nils Frechilla, and she even shared the stage with renowned French singer Camille Dalmais. She has also worked on numerous stage and film productions, including collaboration with the composer Chassol on music for the Netflix series “En place”. Lucile’s music melds influences from Cuba, Andalusia, Brazil, and more, with daring harmonies that define an inimitable style. Lucile Chriqui – Vocals | Bruno Schorp – Bass | Arthur Links – Guitar | Gaetan Diaz – Drum <h2>Nick Aggs &amp; Cadenza Collective (Australia/Nepal)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231102051124_5d6066f9053da401b6f25abafba52a7aeee8968d161458bede9734cc106d654e.jpg" data-media-id="editor_2" data-image-id="20231102051124_5d6066f9053da401b6f25abafba52a7aeee8968d161458bede9734cc106d654e" data-rendition-name="original" width="2250" height="1604" loading="lazy" alt="Jazzmandu 2023"> </figure>  The Cadenza Collective, headed by the drummer and composer Navin Chettri, is one of the most unique and eclectic bands to emerge from Kathmandu. The group moves seamlessly across jazz, afro-funk, and Nepali folk music, creating a genre-bending sound that’s irresistible to the ears. The Cadenza Collective is joined by the Australian saxophonist and composer Nick Aggs. Hailing from Brisbane, and a key member of the acclaimed Australian fusion band Afro Dizzi Act, Aggs has fronted numerous musical ensembles and performed around the world, collaborating with esteemed musicians such as percussionist Trilok Gurtu, guitarist Jesse Van Ruller, kora virtuoso Jali Buba Kuyateh and many others. The Cadenza Collective already has seven albums of original music to its name—the latest is Himalayan Songlines—and is working on a new single due out soon after Jazzmandu.&nbsp; Navin Chettri – Drums, percussion and vocals | Nick Aggs – Saxophone Rajat Rai – Guitar | Samir Chettri – Bass <h2>Himalayan Highway (Nepal)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231102051124_e0b2a85c0c6afd8ceb8f231dfbe55658df451fc7f5fbac8642338e616de41c84.jpg" data-media-id="editor_3" data-image-id="20231102051124_e0b2a85c0c6afd8ceb8f231dfbe55658df451fc7f5fbac8642338e616de41c84" data-rendition-name="original" width="1944" height="2520" loading="lazy" alt="Jazzmandu 2023"> </figure>  A Nepali-American instrumental fusion band formed in Kathmandu, Himalayan Highway weaves together American Bluegrass and old-time Nepali folk music. Inspired by unexpected similarities in the two traditions, the band’s members put a fresh spin on traditional tunes, with infectious harmonies and catchy beats that bring a unique new collaboration to the global music scene.&nbsp; Prince Nepali – Sarangi | Zoe Levitt – Mandolin Anish Tamang – Guitar | Yuson Maharjan – Percussion&nbsp; <h2>Palouse Forro (USA)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231102051124_f9a2414e455e976e959abe5792e04f59d3880f68b8da7c15afdd12787dcdc03d.jpg" data-media-id="editor_4" data-image-id="20231102051124_f9a2414e455e976e959abe5792e04f59d3880f68b8da7c15afdd12787dcdc03d" data-rendition-name="original" width="2250" height="1457" loading="lazy" alt="Jazzmandu 2023"> </figure>  Drawing its name from its home base in the Palouse region of the northwestern United States and the forró music of northeastern Brazil, the Palouse Forró brings to the world a much-beloved Brazilian genre that is yet to get its international due. The band is led by American accordion player Adrian Crookston, who has played with forró ensembles such as Gente Boa, Xaxado Mission, and Forró de Quintal, and has taken his music to audiences across the United States, Europe, South America, and Asia. Adrian Crookston – Accordion and vocals Navin Chettri – Drums | Rajat Rai – Guitar <h2>Under the Surface (Netherlands)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231102051124_616277fbf48f67c8354e88742a3fc72079bf40d7e6e0b11d7c7b92d7aa48f861.jpg" data-media-id="editor_5" data-image-id="20231102051124_616277fbf48f67c8354e88742a3fc72079bf40d7e6e0b11d7c7b92d7aa48f861" data-rendition-name="original" width="2250" height="2812" loading="lazy" alt="Jazzmandu 2023"> </figure>  Under the Surface is an extraordinary combination of three generations of Dutch musicians seeking communion in improvisation. Sanne Rambag’s voice rhymes, whispers and sings over the melodic lines of Bram Stadhouders’ guitar and the subtle percussion style of Joost Lijbaart, transporting listeners into an almost dreamlike new reality. Their music offers both intellectual and emotional pleasure, springing from unshackled improvisation yet far from abstract, adopting surprising forms akin to thoughtful composition. Their eponymous debut album, released to great acclaim in 2017, was nominated for the Edison, an annual Dutch award for outstanding musical achievement. The group’s live album Trinity, from 2019, captures the essence of a sound they have shared with audiences at major festivals across Europe, Asia, South America, Africa, and the Middle East.&nbsp; Joost Lijbaart – Drums and percussion | Sanne Rambags – Vocals Bram Stadhouders – Guitar and electronics <h2>Samundra Band (Nepal)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231102051124_32a9090130f97fabf3d9d2a4aa39ce9380183e111f19a6a24933c1c523155cd1.jpg" data-media-id="editor_6" data-image-id="20231102051124_32a9090130f97fabf3d9d2a4aa39ce9380183e111f19a6a24933c1c523155cd1" data-rendition-name="original" width="2250" height="1776" loading="lazy" alt="Jazzmandu 2023"> </figure>  Formed in 2004, Samundra celebrates and safeguards the Gandharba community’s long tradition of performing Nepali folk music. Holding firm to typical folk instruments, the ensemble plays age-old Nepali tunes recomposed in new forms, updating cherished old music for contemporary tastes. Anil Gandharba – sarangi | Subash Gandharba – bansuri Pujan Gandharba – madal | Ramkrishna Gandharba – arbajo Buddha Gandharba – kartal <h2>Eastern Classical Musicians (Nepal)</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20231102051124_1994ff06190b57547f1dd5618c06657fcc120f763295fe77e1c6f93ed4950e47.jpg" data-media-id="editor_7" data-image-id="20231102051124_1994ff06190b57547f1dd5618c06657fcc120f763295fe77e1c6f93ed4950e47" data-rendition-name="original" width="2250" height="1260" loading="lazy" alt="Jazzmandu 2023"> </figure>  Jonisha Poudel – Vocals As a gifted exponent of khayal, the preeminent genre of Hindustani classical music, Jonisha Poudel has already made a deep mark at a young age. Trained under the guidance of Shree K.C., one of Nepal’s most respected khayal and dhrupad vocalists, she has won multiple honours and performed at many prestigious classical music festivals.&nbsp; Santosh Bhakta – Ishraj Santosh Bhakta Shrestha has dedicated himself to the ishraj for two and a half decades and has achieved tremendous mastery of this classical instrument. A pupil of Mohan Joshi, Shrestha has performed and toured in Nepal and abroad and has contributed to hundreds of recordings. Dhan Bahadur Gurung – Flute Dhan Bahadur Gurung began his training in the flute at the Kalanidhi School of Music – the same school where he is a teacher today. He has honed his skill with the legendary Ustaad Hariprasad Chaurasia and was selected as the best &nbsp;flautist in the Shastriya Sangeet Samiti competition in 2008. <h2>SCHEDULE</h2> Concert for Students Thursday, 2 November 11am-1:30pm Venue: St. Xaviers School, Jawlakhel Entry by invitation only. &nbsp; Grooving at Upstairs Thursday, 2 November 7pm-9pm Venue: Jazz Upstairs, Lazimpat Rs900 Gates open at 6:30pm Valley Jams Friday, 3 November 7pm-9pm Rs700 Gates open at 6:30pm and close at 7pm. Venues: Jazz Upstairs, Lazimpat Electric Pagoda, Thamel Evoke, Jhamsikhel EDN, Sanepa Jazz Bazaar Date: Saturday, 4 November Time: 3pm-10pm Venue: Gokarna Forest Resort Price: Rs1,500 Gates open 2pm and close at 7pm. &nbsp; Sounds Of Latin Jazz Monday, 6 November 7pm-9pm Venue: Mulchok, Baber Mahal Revisited Rs1,800 Gates open at 6pm and close at 8pm. Masterclasses Tuesday, 7 November 11am-1:30pm Venues: The Music Room, Bhatbhateni Yalamaya Kendra, Patan Dhoka FREE ENTRY (limited seating) &nbsp; Jazz At Patan Tuesday, 7 November 7pm-9pm Venue: Yalamaya Kendra, Patan Dhoka Rs1,800 Gates open at 6:30pm and close at 8pm. Seated by 6:45pm. Jazzmandu Finale Wednesday, 8 November 5:30pm-10pm Venue: Hotel Yak &amp; Yeti, Darbar Marg Rs1,500 Gates open at 4:30pm and close at 8pm.

Just Jazz in Kathmandu

<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111414110/63723c129c7e80680e0c95fajpeg.jpg" alt="" width="1024" height="683"/>The wait is over: the annual Surya Nepal Kathmandu Jazz Festival is back in town after a two-year Covid hiatus, spreading the message of peace and compassion through music.Begun in 2002 and founded by Chhedup Bomzan of The Jazz Upstairs Bar and Navin Chettri, drummer and vocalist of Cadenza, ‘Jazzmandu’ is in its 18th year and keeps alive its aim to bring quality jazz to Nepal, transcending cultural boundaries with world-famous musicians getting together in Kathmandu for a week of entertainment this festive season.Just as jazz incorporates elements from folk and traditional music, adding unique melodies and modulations, Surya Nepal Jazzmandu 2022 showcases the best that the genre has to offer in a vibrant cultural exchange.Line-up includes the Jamie Baum Sextet from the USA, Jin Jim from Germany, Catia Werneck from Brazil and France, and Yumi Ito from Switzerland. Nepal’s very own Jonisha Poudel, Cadenza Collective and Samundra Band will also perform.Read also: <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/jazzing-up-in-kathmandu,3316">Jazz it up ‘Mandu</a>, Sahina Shrestha<a href="http://archive.nepalitimes.com/news.php?id=4306#.W9Ktg3szbIV">All that Jazz</a>Over the years, the jazz festival has been putting Nepal on the world music map, bringing the exquisite international sounds of jazz to Nepalis and taking Nepali musicians to the world. Twenty years ago, there were only a handful of jazz musicians in Nepal, but now aspirant instrumentalists queue to learn the style at the Kathmandu Jazz Conservatory. Here too, jazz has developed into a dazzling form of art, with its own distinct identity.The festival promises to enrich lives, promote creativity, encourage sharing of international sounds and ideas, pushing the limits and boundaries of musical expectations, nurturing the talents of Nepali musicians.“I hope that over the years, Jazzmandu has had a positive impact on our youth and evolving music culture,” says Nabin Chhetri, artistic director of Surya Nepal Jazzmandu 2022 and member of Cadenza. “We have a special free concert just for young students every year and this year we are also bringing back the Jazz for the Next Generation music competition.”There is also a three-day free sound workshop from 10 to 12 October with a sound engineer from Switzerland. The theme this year is ‘Music for unity, peace and compassion’ and the festival runs from 13-19 October across many venues in the Valley.<hr/><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111414110/63723c169c7e80680e0c95fbjpeg.jpg" alt="" width="2560" height="1811">The Jamie Baum Sextet (USA)Widely considered among the top jazz flutists and composers in the world, Jamie brings to Jazzmandu some of the most compelling musicians from the New York jazz scene today.Jamie’s passion for South Asian music was heightened over several tours in the region between 2001 and 2009, including two visits to Jazzmandu. She wrote “Honouring Nepal: The Shiva Suite”, commissioned by the Rubin Museum of Himalayan Art, to pay tribute to Nepal after the 2015 earthquake and performed at the Monterey Jazz Festival in 2016. Now, “The Shiva Suite” is coming to Nepal for the first time.<a href="https://jamiebaum.com/">www.jamiebaum.com</a>Jamie Baum – flute, compositionsKenny Warren – trumpetBrad Shepik – guitarZack Lober – bassJulian Shore – pianoJeff Hirshfield – drumsCatia Werneck (Brazil/France)Born into a family of musicians in Rio de Janeiro, Catia began to sing and play from a young age before touring abroad and moving to Paris to further her career. Starting with an early collaboration in France with the Boto Novos Tempos collective, she has gone on to tour across the world and perform at major international jazz festivals.She continues to perform and record in Brazil, showcasing her mastery and creativity in the styles of bossa nova, samba, jongo (a forerunner to samba), and more.<a href="https://jazzmandu.org/_wp_link_placeholder">www.catiawerneck.com</a>Catia Werneck – vocalsNoé Chantraine – piano/keyboardsBenjamin Asnar – bassNavin Chettri – drums<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111414110/63723c199c7e80680e0c95fcjpeg.jpg" alt="" width="2560" height="1811"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111414110/63723c1c9c7e80680e0c95fdjpeg.jpg" alt="" width="2000" height="1600">Yumi Ito (Switzerland)The destruction of Earth, the committal of a friend to a psychiatric hospital, the death of her unknown neighbour from heroin use — Yumi weaves into her music stories about society that matter, no matter how large or small, how bright or dark.Her sound — an amalgam of jazz, art-pop, electronica, free improvisation and neo-classical music — might seem tricky but really isn’t: the musician, composer, producer and arranger navigates a clear stylistic path of her own making, always telling a story along the way.<a href="https://www.yumiito.ch/">www.yumiito.ch</a>Yumi Ito – vocals, compositionsKuba Dworak – bassIago Fernandez – drumsJin Jim (Germany)“Vertical lift-off” is how the broadcaster NDR described Jin Jim’s meteoric rise on the German jazz scene. In 2013, the same year Jin Jim was founded, the band was voted by the public into the finals of the JazzTube Festival in Bonn.Jin Jim’s sound is powered by a mix of latin, jazz and rock influences that create a rhythmically complex yet harmonically accessible whole.<a href="https://jinjim.com/">www.jinjim.com</a>Daniel Manrique Smith – C/alto/ bass fluteJohann May – guitarBen Tai Trawinski – double bassNico Stallmann – drums<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111414110/63723c209c7e80680e0c95fejpeg.jpg" alt="" width="1024" height="683"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111414110/63723c239c7e80680e0c95ffjpeg.jpg" alt="" width="2560" height="1707">Cadenza Collective (Nepal)With a signature blend of jazz, afro-funk and Nepali folk music, Cadenza Collective plays music that’s irresistible for your ears and your booty. Led by the drummer and composer Navin Chettri, the group boasts a hard-driving performance style and has amassed six albums of original music.In addition to pumping up the improvised music scene in Nepal, Cadenza has played across the world and collaborated with a stellar list of both Western and traditional Nepali musicians.<a href="http://www.cadenzacollective.com/">www.cadenzacollective.com</a>Navin Chettri – lead vocals/ drums/percussionPravin Chettri – alto saxophone/vocalsRajat Rai – guitar/vocalsSamir Chettri – bass/vocalsSamundra Band (Nepal)Formed in 2004, Samundra celebrates and safeguards the Gandharba community’s long tradition of performing Nepali folk music. Holding firm to typical folk instruments, the ensemble plays age-old Nepali tunes recomposed in new forms, updating cherished old music for contemporary tastes.<a href="http://www.samundraband.blogspot.com/">www.samundraband.blogspot.com</a>Anil Gandharba – sarangiSubash Gandharba – bansuriPujan Gandharba – madalRamkrishnaGandharba – arbajoBuddha Gandharba – kartal<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111414110/63723c269c7e80680e0c9600jpeg.jpg" alt="" width="2560" height="2022"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111414110/63723c2a9c7e80680e0c9601jpeg.jpg" alt="" width="2560" height="1811">Jonisha Poudel (Nepal)As a gifted exponent of khayal, the preeminent genre of Hindustani classical music, Jonisha Poudel has already made a deep mark at a young age. Trained under the guidance of Shree K.C., one of Nepal’s most respected khayal and dhrupad vocalists, she has won multiple honours and performed at many prestigious classical music festivals.Her talent ranges beyond classical music as well: she has recorded hit songs for the Nepali film industry and been the lead vocalist for the band Vastu.<a href="https://www.facebook.com/Jonishapoudelofficial/">www.facebook.com/jonishapoudelofficial</a>Jonisha Poudel – vocalsSantosh Bhakta – ishrajShree K.C. – harmoniumNimesh Kapali – tabla<hr/>Jazz for the Next GenerationConcert for Young Students / Music CompetitionDate: Thursday, 13 OctoberTime: 11:00am – 1:30pmVenue: Malpi College, GairidharaEntry by invitation only! Groovin’ at UpstairsDate: Thursday, 13 OctoberTime: 7:00pm – 9:00pmVenue: Jazz Upstairs, LazimpatPrice: Rs700Gates open at 6:30pm.Cadenza Collective gather new and old friends for an explosive jam at Kathmandu's most storied jazz club. Valley JamsDate: Friday, 14 OctoberTime: 7:00pm – 9:00pmPrice: Rs700Gates open at 6:30pm and close at 7:00pm.Venues:Jazz Upstairs, Lazimpat – Jamie Baum Sextet (USA)Electric Pagoda, Thamel – Jin Jim (Germany)Evoke, Jhamsikhel – Catia Werneck (Brazil /France)Maitri Marg – Yumi Ito (Switzerland)Visiting Jazzmandu 2022 acts perform intimate sets at venues across the Kathmandu Valley. Jazz BazaarDate: Saturday, 15 OctoberTime: 3:00pm – 10:00pmVenue: Gokarna Forest ResortPrice: Rs1500Gates open at 2:00pm and close at 7:00pm.A day and night of incredible music under an open sky at the lush Gokarna Forest Resort.Sounds of Brazilian Jazz &amp; Nepali Afro-FunkDate: Monday, 17 OctoberTime: 7:00pm – 9:00pmVenue: Aloft, ThamelPrice: Rs1700Gates open at 6:00pm and close at 8:00pm.A classy evening in Thamel with music spanning Brazil, West Africa and Nepal. Jazz at PatanDate: Tuesday, 18 OctoberTime: 7:00pm – 9:00pmVenue: Yalamaya Kendra, Patan DhokaPrice: Rs1700Gates open at 6:30pm and close at 8:00pm.Please be seated by 6:45pm.Nepali classical music fuses with jazz on a magical night in the old city of Patan. Jazzmandu FinaleDate: Wednesday, 19 OctoberTime: 5:30pm – 10:00pmVenue: Hotel Yak &amp; Yeti, Durbar MargPrice: Rs1500Gates open at 4:30pm and close at 8:00pm.The full festival line-up comes together for one last jam to close out Jazzmandu 2022.

And all that Jazzmandu

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171136/636934009c7e80680e03dfcfjpeg.jpg" alt="" width="800" height="1074"/><figcaption>All Photos: Jazzmandu facebook</figcaption></figure>The 16th edition of Nepal’s first and only jazz festival Surya Nepal Jazzmandu 2018 began on 1 November with a free concert for school children at Alliance Française, Jhamsikhel. The rhythm and instruments may have been unfamiliar, but the students enjoyed the lively music, dancing to the beat – proving jazz is indeed universal.They sang along and whistled to international music, from Brazilian beats to European melodies, as musicians interacted with them. The day ended with a performance by Cadenza, the group which first brought Jazzmandu to Nepal, at their home base Jazz Upstairs.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171136/636934039c7e80680e03dfd0jpeg.jpg" alt="" width="1400" height="1126">The following day had jazz gigs at various venues around town. Adrien Brandeis performed piano-led soulful melodies at Manny’s Eatery &amp; Tapas Bar, while Dave Feusi and The Groove Gang presented groove jazz, building their rhythms around saxophones. At Jazz Upstairs, Cynthia Abraham’s husky voice and Eduardo Mendonca’s Brazilian bass gelled well to wow the audiences. Nick’s Cousins presented jazz with a punch of rock at House of Music, a show geared at audiences who enjoy exploratory jazz.The next day was for large stages and group revelries. Free shuttle buses departed to Gokarna Forest resort where musicians wowed crowds at the edge of the forest on 3 November. True to Jazzmandu’s goals, the day showcased not just international artists, but also gave them something to take back and learn about Nepali music, as international artists jammed with a team of sarangi players from Nepal.Read also:<a href="https://www.nepalitimes.com/here-now/kathmandu-and-all-that-jazz/" target="_blank" rel="noopener">Kathmandu, and all that jazz …</a>, Sewa Bhattarai<a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/jazzing-up-in-kathmandu,3316" target="_blank" rel="noopener">Jazz it up in 'Mandu</a>, Sahina Shrestha<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171136/636934069c7e80680e03dfd1jpeg.jpg" alt="" width="640" height="897">On 5 November, the day Nepal worshipped crows, audiences got a South American flavour of jazz, with ‘Sounds of Latin Jazz’ at Dhokaima Cafe. The exuberant audience enjoyed the loud and vibrant music with enthusiastic applause.Students of jazz were able to interact with visiting musicians at the Kathmandu Jazz Conservatory, where vocal and instrumental workshops were held. Like the concert for schoolchildren, this event was also free but with limited seating.“One of Jazzmandu’s main concerns is promoting music education and cross-cultural understanding of music,” says organiser Samir Chettri, also a member of Cadenza. “We have always made these opportunities accessible to those who are interested, and we hope to develop an appreciation for international styles of music through these programmes.”<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171136/636934099c7e80680e03dfd2jpeg.jpg" alt="" width="800" height="874">Kantipur Temple House saw true jazz style fusion as Cynthia Abraham and Maria Fajardo sang soulfully to the tunes of Rabin Lal Shrestha’s tabla, and other eastern classical instruments. An attentive crowd quietly savoured jazz becoming more vibrant with the infusion of eastern classical music.Jazzmandu bid adieu to its 16th year with a finale timed for Dog Day on 6 November at the Yak &amp; Yeti. The week-long extravaganza ended with all the performers coming together for a rousing evening of entertainment. Like every year, Jazzmandu entertained audiences while raising the bar for contemporary music in Nepal.Read also: <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/jazz-comes-to-town,2670" target="_blank" rel="noopener">Fuel up on jazz</a>, Madeline Zutt<a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Enriching-and-exclusive-jazzmandu-Kathmandu,3984" target="_blank" rel="noopener">Enriching-and exclusive?</a>, Rubeena D Shrestha<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171136/6369340c9c7e80680e03dfd3jpeg.jpg" alt="" width="1400" height="934">

Jazzmandu Finale

Between the 1980s and 2000s, over 5,000 <a href="https://download.ssrn.com/11/01/06/ssrn_id1736064_code1383023.pdf?response-content-disposition=inline&amp;X-Amz-Security-Token=IQoJb3JpZ2luX2VjEBkaCXVzLWVhc3QtMSJIMEYCIQCiYUc7BuJ7zaDn%2BOTCFOWBgNKqYarnapqY%2FWZbamFVsgIhAOC%2FPFXHR9Dx6xTicWMj5%2BJXdIEGZ7LxKRyjrCe61Ng9KsYFCPL%2F%2F%2F%2F%2F%2F%2F%2F%2F%2FwEQBBoMMzA4NDc1MzAxMjU3IgzWD1Y1XNz2kaOS3jEqmgX0TbxyBTTrZrpd%2B5N72pFzJAwc%2BxTF8Dc0GnVG2tUGUYyxBt1YmfEqAw5cdOuRCZV23SSKkJwndg9IwI3yrjZGBp9XKxg4lK4Vq0Qy9RMmma5hNCVnA2T0MwGghlnmkgWPZA5ouZPiKFAecf4PE5qml2fu1wj72LEAig5R77cN6nC6%2BxTcygMiuiHrR9yZB4RyvTD9s58avGqUcn9hcIUdku3ydvAGVEgczzgEMCesRMtSgqzHz3E9bju9QLR5RpcDRp0wptfQ89uGXgyBGLCX%2BAl6uareSxQCSaDOthP4PmswWI7y7kBJbQp1pZq8r56Yoa3Qf5WVtmxbsWmDtbOsaSBa0yB6EIS8RKFGeQ%2Bcz%2BnEsOoPHIS%2BqO1k1%2BQuihjN0T66SnWFo8rl8Cv2g4GghY9p9DR3wopBJ6cE%2FtDJMY%2BZ03LkUwS%2Fc7ckyaRpfPX5g6Bb9J56a%2BNA5lnIV5o%2Fpjp%2BZJaVIvEzciyzzTwP58wznmcy3xppvK%2BwXBzBR96cPMXKTdNv9%2FqJ5jlnsgSRJpHWE3UyHbFucwQYXi19i7mCglFSuSkkL5Tg9nQWvXpuP9Z9VmMlQfQ%2F%2FpsfA6KlL81K3UK%2Bp%2FJB2mxQD9SYexZvAf1g21NUSF%2F8I19orsNrT6LutAnoJU%2FOTgO3qMbdgnR%2FuBytI3POnQAEIfbG0Za%2FrEDJ9j8CEbasNXsBMqkx8JKGRG2PUHMRC2xl5Z%2BNIbpsqGB8t%2BvAt40osDpgZStiyeiGdC1nMakUzZtBjWlttzoirCdemwPKJ8M%2BEohj2%2BLEN92yaOKdFewns0gjh%2BUxcotGvBo%2F7QZFappBNjLlR0PyanjcuB4MndEQjeIrd67ntscTKiLDI%2FfzwCHulsl6nbMpewpWFAYwg67guwY6sAGb3VJ2q%2F36hWhrVa8igP2hswnnLlcIU2uhOZa5ge2hCXkUYhL1BcSJfoWy2LwrWCXtdFo%2BT7KMU3p6O3jySdxSop8F4iO%2BJBiXVjSiXm%2FqZo3ri8sVwUgo4ksJI%2BT4AbfK3D3VGYapBgU5LdX%2FjkNwSVoR1vz4vMIyF56i7MKeYG1nFLgc0l9cIjrQI6eY869uIbgZ1XKqqBsuavCbYjSbSy7dMP0QSym%2FgmoWILGE0Q%3D%3D&amp;X-Amz-Algorithm=AWS4-HMAC-SHA256&amp;X-Amz-Date=20250103T172339Z&amp;X-Amz-SignedHeaders=host&amp;X-Amz-Expires=300&amp;X-Amz-Credential=ASIAUPUUPRWE65YAH56X%2F20250103%2Fus-east-1%2Fs3%2Faws4_request&amp;X-Amz-Signature=9b654b526e0779da4fa9f54e2fcde04ac9f7e91fb50d4f8094b1039ebb19e21b&amp;abstractId=1736064">Nepali children were adopted abroad</a>, primarily to the United States, France, and Spain. While international adoption was intended to provide vulnerable children with better opportunities, child trafficking and irregular practices prompted Nepal to suspend adoptions in 2007, and overhaul its policies. By 2010, stricter regulations aligned with the <a href="https://www.hcch.net/en/instruments/conventions/specialised-sections/intercountry-adoption">Hague Adoption Convention</a> drastically reduced adoption numbers. Today, many of these children, now adults, are returning to Nepal in search of their roots, only to encounter a society that no longer recognises them, legally or socially. Behind the statistics lie the <a href="http://hdl.handle.net/1854/LU-01GRNPPXAC1Z3AETV9HARNCG5Q">deeply personal and emotional journey</a> of adoptees returning to reconnect with their past, seek family, and rediscover a sense of belonging. These stories reflect a broader struggle for identity and the complexities of bridging two worlds. Maya Adopted at 9 by a family in Barcelona, Maya carried fragmented memories of her early life in Nepal including the painful recollection of the day her mother and sister vanished, leaving her and her younger siblings behind. She had faint images of her mother, elder sister, and the village where she once lived. In June 2017, Maya came to Nepal accompanied by Chandra Kala and two friends, Jay and Vikram. With only a few photographs of her mother Tulsi, her elder sister Pargati, and her brother-in-law Kamal, along with a street name, Maya arrived in Birendranagar after a 20-hour bus ride from Kathmandu. “Now that we’re close, I feel like I can’t face them,” she confessed to Chandra Kala, wrestling with anxiety about what she might uncover. “I’m nervous. I don’t know if I’ll recognise them or if they’ll recognise me. I don’t know how they’ll react or what they’ll say. And then there’s him [Kamal]. I have such bad memories of him. I don’t know if I can handle this.” Chandra Kala reassured her, reminding her of her courage and the importance of this moment. Maya and her companions asked around the town with little success until a shopkeeper recognised Kamal and directed them to a nearby village. Jay went to confirm and returned excitedly, shouting, “It’s her! It’s your sister!” Maya froze, paralysed by fear and anticipation but she pushed ahead. At the village, Maya’s sister Pargati initially struggled to recognise her. Jay introduced Maya: “Do you recognise her? This is your younger sister. She’s come all the way from Spain to find you.” Slowly, realisation dawned, and the two women embraced, bridging the decades of separation with tears and disbelief. The next day, Maya met her mother Tulsi in an emotionally overwhelming reunion. Tulsi rushed into the room and embraced Maya tightly, sobbing uncontrollably: “Mero chhora-chhori, gaye, gaye… my children they went, they went …” Once the tears subsided, Tulsi and Pargati began recounting the heartbreaking circumstances of their separation. After the death of her husband, Tulsi faced relentless judgment in their village when Kamal stayed with the family before his marriage to Pargati. The villagers accused Tulsi of impropriety, calling her पापी (sinful) and demanded that the family leave. “We didn’t want to leave, but the village didn’t want us here,” explained Pargati. “We left intending to bring you and your siblings later. But when we returned, you were gone.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250103120140_da7482d222e0a03b783c5e1df25536ed416d7b7475442e7fd40e54451572142e.jpg" data-media-id="editor_3" data-image-id="20250103120140_da7482d222e0a03b783c5e1df25536ed416d7b7475442e7fd40e54451572142e" data-rendition-name="original" width="384" height="512" loading="lazy" alt="Searching for a homeland away from home NT"> <figcaption>An adoptee and companion return to Bal Mandir in Kathmandu after 19 years. Photo: CHANDRA KALA CLEMENTE-MARTINEZ</figcaption> </figure>  Tulsi recalled how she had entrusted Maya and her siblings to relatives, hoping they would be cared for temporarily. However, when she returned, the children had been sent away without her knowledge. “I only trusted them because I had no other choice,” Tulsi said through tears. “I didn’t know they would send my children away. What kind of mother does that make me? They called me a bad mother, but what else could I have done?” The reunion brought healing and answers but it also exposed the societal pressures that had fractured Maya’s family. Despite the challenges, Maya spent the rest of her visit bonding with her sister, nieces, and younger half-sister, Sunita, slowly bridging the gaps created by time and distance. Maya’s journey was a testament to the courage required to confront the past, the pain of uncovering difficult truths, and the hope of rebuilding connections once lost. Her story highlights the enduring emotional complexity faced by adoptees navigating their history and identity. Ashmita Unlike some adoptees whose main focus is reuniting with their biological family, 26-year-old Ashmita’s priority has been to uncover the institutional details surrounding her adoption. She wanted to understand what the orphanage and the government knew about her background and why so much information seemed concealed. “I just want to know where I come from,” she said. “Even if I never find my biological family, having a better sense of the places and people connected to my story would mean so much.” For many adoptees, returning to Nepal is not just about reconnecting emotionally, it is about seeking formal recognition as members of the Nepali community. However, the legal framework in Nepal often fails to acknowledge their unique status.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250103120144_bf0158b7829cf5db44382d7386d3b123032adad3f9e10e28096b80cd09170ba6.jpg" data-media-id="editor_4" data-image-id="20250103120144_bf0158b7829cf5db44382d7386d3b123032adad3f9e10e28096b80cd09170ba6" data-rendition-name="original" width="384" height="512" loading="lazy" alt="Searching for a homeland away from home NT"> <figcaption>A mother reunites with her don after 18 years. Photo: CHANDRA KALA CLEMENTE-MARTINEZ</figcaption> </figure>  In Nepali law, adoptees are left in limbo: their birth parents are not considered legal parents, and their ties to the country are effectively erased upon adoption. This lack of recognition creates significant hurdles, particularly in two key areas: accessing pre-adoption records and obtaining Non-Resident Nepali (NRN) status. Despite international norms like the Convention on the Rights of the Child, which guarantees the right to know one’s origins, institutions often refuse to cooperate. Orphanages and non-profits in Nepal, which hold critical pre-adoption records such as birth certificates and citizenship documents, frequently withhold this information, reflecting the systemic reluctance to provide transparency. In numerous cases, records that should include family names, addresses, or relinquishment agreements were either incomplete or falsified. These practices not only prevent adoptees from reclaiming their histories but also perpetuate their disconnection from their heritage. Ashmita’s initial requests for information from her adoption agency were met with delays and incomplete responses. When she turned to the orphanage where she spent her early years, she encountered even greater resistance. At one point, the director of the orphanage issued veiled threats. Nevertheless, Ashmita persisted and managed to find the name of the individual who had brought her to the orphanage. However, the person had disappeared, leaving yet another gap in her story. A breakthrough came when Ashmita accessed a police report that suggested she might have been born in a different municipality than the one in her adoption records, prompting her to seek help from local authorities. The police took an interest in her case and began investigating possible connections to her birth family. While progress was slow, they meticulously followed leads to help her trace her origins. “It’s not easy,” Ashmita said of the process. “But every small step feels like I’m piecing something back together.” She also noted that societal perceptions could add to the difficulty. At times, she felt questioned about her identity and her right to seek answers. “People have asked me why I care so much or even suggested that I’m not Nepali anymore because I was adopted abroad,” she reflected. Ashmita’s story is a complex account of persistence in the face of institutional and personal challenges. While her search has not yet provided all the answers she seeks, it continues to offer her insights into her early life and the systems that shaped her adoption journey. &nbsp;“These records are sealed for a reason. They are not meant to be reopened,” said a government official. Even an NGO representative said: “It’s better for everyone if the past remains in the past.” An orphanage director asked: “Why are you asking these questions? This is not your place anymore.” Hari Prasad Sacré The Non-Resident Nepali (NRN) card is a lifeline for Nepali diaspora members, granting them residency and property rights in Nepal. Yet, adoptees are notably excluded from this framework. While the law stipulates eligibility for individuals whose parents or grandparents were Nepali citizens, it makes no provision for adoptees whose legal ties to their Nepali parents were severed by adoption. When Hari Prasad Sacré, a Nepali adoptee, sought to obtain an NRN card at the Nepal Embassy in Belgium, he encountered officials unfamiliar with processing an NRN request from an adoptee. His case was the first of its kind, setting a precedent but also highlighting the systemic barriers adoptees face. "You are not eligible; your surname is Sacré, it is not a Nepali name," an embassy staff said.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250103120140_9bdc24b7e34930059f895048ab7dc0ad3ca23b16907c572f01a8d5404a5feac5.jpg" data-media-id="editor_5" data-image-id="20250103120140_9bdc24b7e34930059f895048ab7dc0ad3ca23b16907c572f01a8d5404a5feac5" data-rendition-name="original" width="446" height="512" loading="lazy" alt="Searching for a homeland away from home NT"> <figcaption>Hari Prasad Sacré receives tika from his father Khul Prasad Adhikari during Dasain, a few weeks after receiving his NRN card. Photo: HARI PRASAD SACRÉ</figcaption> </figure>  Sacré’s situation was legally ambiguous. Although his biological parents, including his father, Khul Prasad Adhikari, are alive and he maintains contact with them, he no longer had “legal” ties to Nepal due to the adoption process. Carrying a Belgian surname the embassy staff was initially convinced the adoptee couldn’t claim Nepali origin. Nepali law, which does not recognise biological parents as legal guardians once a child is adopted, created complications for the NRN application. To navigate this complexity, Sacré relied on a testimony from his father. Issued by a local government body in Kaski, the testimony affirmed that Hari had been put up for adoption and was of Nepali origin. While this enabled the embassy to approve his NRN card, the process was unnecessarily protracted and emotionally charged, highlighting the inadequacy of current policies to accommodate the unique situations of adoptees. Sacré’s case represents a rare instance where biological parents were alive and willing to provide testimony, but many adoptees are not as fortunate. A large number of adoptees were declared “orphans” during the adoption process, even when their parents were alive. This severed their legal ties to Nepal, stripping them of documentation that could later prove their origin. For others, the absence of living biological relatives or access to their original adoption records creates insurmountable barriers. Without clear documentation or a family member to vouch for their Nepali heritage, adoptees are excluded from the NRN framework. This denies them the rights and privileges afforded by the card, including property rights, legal recognition, and a formal connection to their homeland. Current laws fail to account for the complexities of adoptees’ legal status, leaving them disconnected from their cultural and legal heritage. Adoption papers, as evidence of Nepali descent, should be accepted as proof, granting adoptees rightful access to the NRN card and ensuring their inclusion in Nepal’s diaspora. Such reforms are crucial to ensure that all adoptees, regardless of their circumstances, can reclaim their heritage and establish a sense of belonging in Nepali society. Without these changes, the systemic exclusion of adoptees will persist, perpetuating inequities and denying them the opportunity to step up as active members of the Nepali diaspora. Sacré’s case serves as both a precedent and a call to action. It exemplifies the challenges and triumphs of adoptees navigating complex bureaucracies and advocates for a more inclusive and equitable approach to reconnecting adoptees with their homeland. Nepal can draw inspiration from South Korea, where the government has actively supported the reintegration of adoptees into their society. The F4 visa, established through efforts by organisations like the Global Overseas Adoptees’ Link (GOA'L), grants adoptees the right to live and work in Korea, while dual citizenship acknowledges their dual identity as members of the diaspora and their country of origin. GOA’L further fosters reconnection by offering language classes and cultural exchange programs, creating opportunities for meaningful reintegration and belonging. As Nepal refines its NRN citizenship framework, explicitly including adoptees could address the severance of legal and cultural ties caused by international adoption. Such inclusion would provide adoptees a pathway to residency, citizenship, and rights, enabling them to reconnect with their heritage. Complementing this with programs for language acquisition, cultural immersion, and historical education would honour Nepal’s responsibility to the approximately 5,000 children sent abroad. Nepal could establish a dedicated organisation similar to South Korea’s GOA’L and help adoptees access pre-adoption records, navigate legal processes, and engage in cultural exchange initiatives. It would also serve as a bridge between adoptees and Nepali society, fostering mutual understanding and collaboration. This article is based on doctoral studies by <a href="http://hdl.handle.net/1854/LU-01H4Z85GPS63ZWDJ3WB2E6KS70">Hari Prasad Sacré</a> and <a href="https://www.tandfonline.com/doi/full/10.1080/10357823.2022.2142932">Chandra Kala Clemente-Martínez</a>. Hari Prasad Sacré, PhD, is a postdoctoral researcher at Ghent University in Belgium, specialising in cultural translation, multilingualism, and identity in education. His PhD, Reading Illiteracy, explored fractured multilingualism and illiteracy in displaced identities such as adoptees, with work published in leading journals like Critical Arts and the European Journal for Cultural Studies. Chandra Kala Clemente-Martínez, PhD, is a postdoctoral researcher at the AFIN Research Group, Autonomous University of Barcelona, with a PhD in Social Anthropology. Her research focuses on family strategies, reproductive decisions, and adoption, with extensive fieldwork in Spain and Nepal examining adoptee reunions and related governance and rights.

Searching for a homeland away from home

Villages along the proposed alignment of Nepal’s ambitious <a href="https://nepalitimes.com/banner/putting-nepal-on-the-right-track">east-west train project</a> are excited about the connectivity and development it will bring. But here in Hariban village there is only apprehension. While elsewhere, there are environmental concerns about the train track slicing through national parks and protected forests, here along the densely populated Tarai plains there is worry about losing farmlands. “This project will cost me a big chunk of my land,” says Dinesh Mahato, who farms a small plot in the Ghurkauli village near the East-West Highway. “Why should I agree to give it all away when I will only be compensated partially?” Hari Narayan Mahato echoes his brother’s anger. “The map shows that I have to give up nearly 700 sq m of land, but I know the area is going to be three times bigger once construction begins,” he says. “It’s just not worth it.” There is also opposition in the Dhanpati locality, and 10 households from these two villages have refused to accept the government’s compensation rate for land which they say is much less than market value.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250105050152_41071574c82ba8f9698b8b7fdecb3ebf280dd314b1175262d961f76dc6d6ad5b.jpg" data-media-id="editor_1" data-image-id="20250105050152_41071574c82ba8f9698b8b7fdecb3ebf280dd314b1175262d961f76dc6d6ad5b" data-rendition-name="original" width="1292" height="821" loading="lazy" alt="Nepal train project struggles to stay on track NT"> </figure>  The East-West Electric Railway project will ultimately be <a href="https://nepalitimes.com/here-now/nepal-s-journey-to-electric-public-transport">Nepal’s transportation </a>artery stretching from the eastern border with India in Jhapa to Kanchanpur, connecting 24 districts. It will intersect with the proposed Birganj-Kathmandu railway at a junction in Sarlahi district. When completed, Nepal’s 950km long ‘gateway to prosperity’ as it has been dubbed, will have 123 stations, 10 tunnels, 334 bridges, a dam, and a 132kV transmission line to supply electricity to the locomotives. The project will require the acquisition of about 4,520 hectares of land, including 518 plots belonging to 4,000 households. Some of this will be along corridors through Chitwan, Bardia, Banke and Sukla Phanta <a href="https://nepalitimes.com/news/does-nepal-need-the-army-to-guard-parks">National Parks</a> and other nature reserves. Controversy about land acquisition and compensation as well as environmental impact have stalled the project since 2010. “The biggest issue has been compensation for land,” admits Kamal Kumar Shah of the Department of Railways. Read also: <a href="https://nepalitimes.com/news/india-china-rail-race">India-China rail race</a>, Shristi Karki This means less than half of the work along the 70km Bardibas-Nijgad segment has been completed and 16 bridges built, and this is the first section of the railway where construction started 15 years ago.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250105050148_9e1de8c104dcbd239a70d4a3abda71579f86502c8b9f4cdd7e184aeef90eb638.jpg" data-media-id="editor_5" data-image-id="20250105050148_9e1de8c104dcbd239a70d4a3abda71579f86502c8b9f4cdd7e184aeef90eb638" data-rendition-name="original" width="1280" height="960" loading="lazy" alt="Nepal train project struggles to stay on track NT"> </figure>  Says Senior Division Engineer Kiran Karki: “It is difficult to work here, people have built houses in public land, knowing that the railway is coming. How do we ask them to leave?” Part of the delay is also due to lack of budget, and this has increased the initial estimate of the total cost because of the increase in land value. The government has nationalised over 190 hectares for the Kakadbhitta-Inaruwa section of the railway in the eastern Tarai for which it will have to distribute Rs24.41 billion in compensation. But the budget allocated for that is only Rs1.5 billion. This means farmers have lost their land, but have not yet been compensated. The East-West Railway line was initially estimated to cost around Rs1 billion per km, but this has increased to Rs1.5 billion per km. Just the first Bardibas-Nijgad section will need an additional Rs50 billion to complete. The estimate for the entire project was estimated at Rs955 billion, but a revised budget has already surpassed Rs1.5 trillion. A major bridge across the <a href="https://nepalitimes.com/editorial/kosi-now-kathmandu-next">Kosi</a> north of the barrage on the Indian border is expected to cost more than Rs410 billion. The &nbsp;Detailed Project Report (DPR) has been revised to build an elevated line over towns in the Butwal section, for example, to avoid paying exorbitant compensation. Read also: <a href="https://nepalitimes.com/news/nepal-railways-janakpur-test-drive">Nepal Railways Janakpur test drive</a> “This project works on multi-year contracts, which have been difficult to award due to a lack of budget,” says Shah. “So the date of completion of the project depends on money being forthcoming.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250105050148_addd8a08b727efb1bf1f71752dce1a28d6ea2e9d5f76dafe5dbc9a53a223c5e0.jpg" data-media-id="editor_8" data-image-id="20250105050148_addd8a08b727efb1bf1f71752dce1a28d6ea2e9d5f76dafe5dbc9a53a223c5e0" data-rendition-name="original" width="960" height="1280" loading="lazy" alt="Nepal train project struggles to stay on track NT"> </figure>  Meanwhile, activists have raised concern over the project’s environmental cost. The Railway Department has prepared DPRs for four sections of the railway, but <a href="https://nepalitimes.com/banner/from-nowhere-to-nowhere">Environmental Impact Assessments (EIA)</a> have not been carried out. In Chitwan, the proposed route was realigned to avoid Chitwan National Park following a Supreme Court stay order. However, Chitwan residents have now formed a Railway Victims’ Struggle Committee, saying that the new route would cut through their densely populated communities. “We only found that our land would be part of the railway line when the people from the Railway Department came here last year,” says Hari Thapaliya of Bharatpur Municipality. “The decision to reroute the track was made overnight without any consultation with us.” Angered locals had set fire to a Railway Department vehicle when a survey team reached Krishnapur in July. Bharatpur Deputy Mayor Chitrasen Adhikari says the Railway Department did not even coordinate with the municipality about the new route. “We have proposed an alternate route to the Department,” she adds. “This project affects the livelihoods of people across <a href="https://nepalitimes.com/banner/fogbound-tarai">the Tarai</a>, their concerns must be heard, and they must be included in the decision-making process,” says infrastructure expert Surya Raj Acharya.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250105050148_682ed3ef3e398592f098d1ac638faa4d3b7517515e0f1b2014cb9c4383e6d9c3.jpg" data-media-id="editor_11" data-image-id="20250105050148_682ed3ef3e398592f098d1ac638faa4d3b7517515e0f1b2014cb9c4383e6d9c3" data-rendition-name="original" width="1280" height="960" loading="lazy" alt="Nepal train project struggles to stay on track NT"> </figure>  The problem is that 53% of Nepal’s total population now lives along the narrow strip of plains along the Indian border through which the railway line will pass. The Railway Department is squeezed between the need to balance environmental concerns with high compensation demands of locals. Conservationists have maintained that the railway alignment will go through ecologically sensitive areas, disturbing and fragmenting the habitat of endangered species, blocking their migration routes and disrupting water and food sources. All of this could in turn increase <a href="https://nepalitimes.com/banner/human-animal-interface-in-nepal-wildlife-corridor">human-wildlife conflict</a>. Experts have suggested measures to invest in ‘ecological offsetting’ programs that help in the creation of new protected areas, restoration projects, and wildlife underpass and overpass corridors. There is also <a href="https://nepalitimes.com/here-now/more-pre-monsoon-forest-fires-in-nepal">concern about the forests </a>that have to be sacrificed. Already, 13,500 trees have been cut down in the Bardibas-Nijgad section alone. The Sagarnath Forest, which stretches from Sarlahi to Mahottari, and areas under the Rautahat Division Forest also lie along the proposed alignment. Surya Raj Acharya blames inadequate monitoring and evaluation during the preparation of the DPR because government agencies lack sufficient technical capacity and experience in the railway sector.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250105050148_7823653d3f037122441c11f6485c5407acc716811bedf464255aefe3a76d97f8.jpg" data-media-id="editor_14" data-image-id="20250105050148_7823653d3f037122441c11f6485c5407acc716811bedf464255aefe3a76d97f8" data-rendition-name="original" width="1280" height="960" loading="lazy" alt="Nepal train project struggles to stay on track NT"> </figure>  He adds, “Transparent financial planning and management are necessary to ensure the project’s sustainability and economic viability. But the contracts have been hurriedly awarded without proper land acquisition. An urgent review is necessary.” All this needs stronger political will and coordination between various agencies which is sorely lacking not just in the east-west railway project, but in other infrastructure schemes as well. When built, the nearly 1,000 km long railway will streamline cargo and passenger traffic, making it cheaper and more convenient for ordinary people. Railway junctions can also facilitate the north-south transshipment of goods and passenger traffic when coordinated with public transport. Transport costs for exports and imports from India will also be slashed. “A high-speed train running at 200 to 250km per hour will mean that trains will get from Kathmandu to Dhangadi faster than planes, and at much cheaper fares,” notes Acharya. Trains will also reduce carbon emissions by up to 30% compared to trucks and buses. Train lines will be the backbone of Nepal’s transportation system, boosting tourism in the Kathmandu, Chitwan and Lumbini triangle.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250105050148_ee137f417c5712be9d2d16f295ba7e30fc207e878214103e387346dfed3a9815.jpg" data-media-id="editor_15" data-image-id="20250105050148_ee137f417c5712be9d2d16f295ba7e30fc207e878214103e387346dfed3a9815" data-rendition-name="original" width="577" height="1280" loading="lazy" alt="Nepal train project struggles to stay on track NT"> </figure>  Ultimately, the Kerung-Kathmandu trans-Himalayan railway will connect with the Birganj-Kathmandu line and in future be a future non-maritime corridor for India-China trade. Nepal has been trying to get the East-West railway project funded through foreign investment, but so far there has not been much interest. There also needs to be a better viability study for future railway links, otherwise Nepal may be straddled with loans it cannot repay. Read also: <a href="https://nepalitimes.com/news/nepal-and-china-to-study-trans-himalayan-railway">Nepal and China to study trans-Himalayan railway</a>, Ramesh Bhushal “The border region along the Tarai remains behind in terms of education, health, and the economy,” says economist Bishwo Poudel. “A railway line alone will not do much to improve their quality of life, there have to be other interventions.” Poudel adds that a north-south railway through Kathmandu to connect India and China through Nepal makes much more economic sense. China has been studying the Kerung-Kathmandu track with tunnels under <a href="https://nepalitimes.com/opinion/cleaning-up-high-places">Langtang National Park</a>, which would have technological and financial challenges. India is also working on a railway alignment to connect Kathmandu to its border town of Raxaul. At present the only operational passenger railway in Nepal is the 35km cross-border Jaynagar–Janakpur–Bardibas line. The former Department of Railways Director General Rohit Kumar Bisural is a road engineer, and says: “Very few people in Nepal have experience in railways.”

Nepal train project struggles to stay on track

A young non-resident Newa person in Dallas emails a New York Times article to his grandfather in Nepal who cannot read English.
Grandad copies the English text, pastes it into Google Translate to read it in Newari.
This translation feature, available to the world’s major languages, can now also be used by the indigenous people of Kathmandu Valley to translate their <a href="https://nepalitimes.com/news/decoding-diversity?fbclid=IwAR3P0GygTCQ7HE-LaaVOhmKSyUDLlIrR2l9VzXKwCFJ8Em7YFHSAOiiXqQE">mother tongue</a> into English and vice versa.
This involved three-and-a-half years of effort and will impact everyday life in the study and preservation of Newa culture. It also shows a path forward to Nepal’s 123 other languages and dialects.
The World Newah Organisation (WNO) in 2011 invited Newa people from around the world to a convention in London. Software engineer and historian Sanyukta Shrestha was involved, and now leads WNO.
The top priority for discussion was how to conserve the language which was classified as ‘definitely endangered’ by UNESCO, with only 850,000 speakers left.
“The Newa people are diverse: there are different sects, religions. The language and the calendar are what is common,” explains Shrestha. “The strategy was to unite the community behind an existing technology.”
Ujjwal Rajbhandari, an engineer at Google who does not even speak the language, got involved. “I thought why not take advantage of a great tool that already exists,” Rajbhandari, who is co-founder at Qubrid AI in Austin, Texas, told us on the phone.
Work started December 2020, but the prognosis was bleak. Engineers said that the project may take up to 10 years. Translate runs on a ‘transformer’, a machine learning neural network designed to take sequences as input, uses math to understand the context, and outputs a probable output. It uses an ‘attention’ mechanism, which looks at the input text and tries to work out the relationships of each word to each other word.
The more data you feed this statistical monster, the better it gets. But that was the first problem. There was a dire lack of digital material, either in Newari, bilingual Newari-Nepali or Newari-English dictionaries.
Read also: <a href="https://nepalitimes.com/here-now/languages-are-both-software-and-hardware">Languages are both software and hardware</a>
“Tens of thousands of digital pages of content were needed, so in 2021 we met with the editors of Newa magazines and asked to scan and digitise their material,” Shrestha recalls. “We hunted down writers, publishers, songwriters, invitation cards - anything that was written in Nepalbhasa.” &nbsp;
Google gave WNO a sheet of 1,200 sentences from random contexts, to be translated. WNO formed a committee to complete this task, and by April 2021, Translate could at least identify the language.
Nepalbhasa can be written in 13 different scripts, the two most popular are the Ranjana and Devanagari. The team chose the latter because there is a lot more material in Nepalbhasa in Devanagari, and many more people who can type in it. “Devanagari is what has allowed any of this work at all,” points out Shrestha. “Translation was the much harder problem to solve, converting output to another face is much easier.”
Read also: <a href="https://nepalitimes.com/here-now/lost-in-translation">Lost in translation</a>, Alisha Sijapati
Now the model needed a large volume of input from the community. “<a href="https://nepalitimes.com/opinion/comment/tech-and-transition-in-nepal">Every AI model</a> is dependent on the volume of data, even that which is introduced later. User corrections are fed back, which makes the model more robust,” says Rajbhandari.
This happened to be at peak pandemic-time. People knew how to video-chat and had time on their hands. WNO members met for one or two hours in the evening, on a Zoom call that they also broadcast on Facebook. People worked together translating. Which was very effective, because they could get instant input or feedback from others on the call. “It was cool to see was how this brought together elders who knew the language deeply, and the youngsters who have the tech skills,” says Rajbhandari.
By February 2024 there were 500,000 contributions, and Google deemed that this volume of data was sufficient for the model to ‘level up’. Translate added Nepalbhasa to its list of supported languages in June last year. The language had now been intergrated into a tool that can be used for free from anywhere with an internet connection. Accuracy was unusally high, over 90%.
It opens up a whole different world on the internet, for those who only know Nepalbhasa, since any website integrated with Google can be used automatically and instantly converted to that language.
The translations are already being used in East Europe to translate legal documents, Newa songwriters, like Ujan Shakya, use it to convert English lyrics. And when Rajbhandari speaks to WNO over video, his English is instantly translated into Newari subtitles.
“Older people are happy that language will now not die. Younger ones can use it to self-learn the language, now they can’t blame elders for not teaching them,” says Shrestha.
Yet another use is the integration with large language models, like <a href="https://nepalitimes.com/banner/chatgpt-news-about-nepal">ChatGPT</a>. LLMs encounter Nepalbhasa in their training data, so they can already generate rudimentary responses.
Says Shrestha, “You can ask questions about a Newa book in English, and the LLM &nbsp;gives you a coherent answer and even cite the page number.” This makes the use of Newa books for research possible and a lot faster.
Leading this mammoth task led Shrestha to a better appreciation for his mother tongue. “I saw the richness of Newari. There are onomatopoeia and proverbs that only elders use, and it is these and the dialects that need to be saved,” he says.
The next step is a text-to-speech, speech-to-text interface, which would open up its use by those who speak and understand Nepalbhasa but may not read, write or type it. Tourists to Nepal would also benefit.
Rajbhandari wants to work on similar projects for other endangered languages of Nepal, and the team has shown that it does not need government to do such work.
Says Rajbhandari: “We have learned many things that would make integration of future languages more efficient so we can solve problems in other projects.”

Nepal Bhasa on Google Translate

When a dozen tiger range countries met in St. Petersburg for a summit in 2010, they committed to doubling the population of their big cats in 12 years. Nepal became the first country to not just achieve the target but nearly triple the figure, from 121 in 2010, to 355 in 2022. But some people in Nepal, including Prime Minister KP Oli, now think Nepal has been too successful and the number of <a href="https://nepalitimes.com/latest/nepal-counting-its-tigers">wild tigers</a> should be reduced. This was the same prime minister who last year had urged people to help in the <a href="https://nepalitimes.com/news/nepal-tigers-now-number-235-1iulcaq1">conservation of tigers</a>, calling it “the pride of Nepal”. But last month, in his own pithy language, Oli said <a href="https://nepalitimes.com/here-now/nepal-s-tiger-conservation-too-successful">tigers had become as numerous</a> as dogs, and they could not be allowed to breed at the cost of human lives. “The tiger population should be proportionate to our forest area, why not gift the extra tigers to other countries as economic diplomacy?” Oli added at a debriefing on <a href="https://nepalitimes.com/editorial/bad-cop">COP29</a> last month. <a href="https://nepalitimes.com/banner/human-animal-interface-in-nepal-wildlife-corridor">Human-wildlife conflict</a> has indeed claimed lives, since tigers are venturing outside crowded parks to find prey. So, the prime minister’s proposal to promote wildlife diplomacy may not be such a bad idea since it would raise Nepal’s international profile and highlight <a href="https://nepalitimes.com/here-now/is-wildlife-conservation-a-victim-of-its-own-success-in-nepal">the country’s conservation success story</a>. “Tigers can be sent to other countries through diplomacy, but the receiving countries must have the right capacity and environment,” says Ghana Gurung of World Wildlife Fund (WWF Nepal), adding that tigers to be sent must also be chosen carefully. “The Prime Minister gave an emotionally charged statement, which probably came after he spoke to affected groups,” Gurung added. “We tripled the tiger population, but if proper steps for management and cooperation are not taken, we can lose them all as easily.” However, member countries of the Convention on International Trade in Endangered Species of Wild Fauna and Flora (CITES) would have to follow strict protocols and paperwork to transport the tigers. Previously, Nepal has sent <a href="https://nepalitimes.com/here-now/how-many-rhinos-is-enough-rhinos">rhinos</a> to China in two batches through the completion of complicated procedures. Naturalist Sushila Mahatara at <a href="https://nepalitimes.com/here-now/bardia-s-birds">Bardia National Park</a> does not agree that Nepal has too many tigers. She tells us: “Tiger numbers are not excessive according to the areas allocated for them. If there are too many tigers, they fight and kill each other to keep their numbers in control.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025011008010_8cf30b15459a919f1d72d06ca02b3515255460c025a62222a219218787c08bc6.jpg" data-media-id="editor_8" data-image-id="2025011008010_8cf30b15459a919f1d72d06ca02b3515255460c025a62222a219218787c08bc6" data-rendition-name="original" width="640" height="481" loading="lazy" alt="No. of tigers"> <figcaption>Photo: WWF</figcaption> </figure>  Bardia National Park has 125 adult tigers, and Chitwan National Park has 128. There were about 12 fatalities from tiger attacks in the past year, and some of the maneaters are darted and caged. However, many of them soon die in the confined space. Dhan Bahadur Tamang, a <a href="https://nepalitimes.com/opinion/comment/unsung-heroes-of-nepal-s-tiger-recovery">tiger conservationist </a>with over 50 years of experience explains exactly why tigers venture out when they do: “Those that enter human settlements are usually young tigers which have been separated from their mothers. Some are injured tigers who cannot attack traditional prey.” The other reasons include encroachment as a result of human settlement and infrastructure projects in close proximity or within the protected areas with no wildlife-friendly components such as overpasses. The water shortage made worse by <a href="https://nepalitimes.com/here-now/those-who-stay">the climate crisis</a> has added to the challenge. Although an average of 3,000 people in Nepal are killed every year by venomous snakes, tiger kills get far more media attention. This has led to tigers being seen as a threat rather than an important apex species in an ecosystem. Read also: <a href="https://nepalitimes.com/opinion/borderlines/the-snake-bite-emergency">The snake bite emergency</a>, Chandra Kishore The other threat to tigers is from commercialisation. Last year, then Minister for Forests and Environment Birendra Mahato of Janata Samajwadi Party (JSP) &nbsp;proposed auctioning tigers to trophy hunters because Nepal had “too many tigers”. He calculated that the country could earn $25 million through tiger hunting licenses which would underwrite the cost of maintaining national parks. His statement created widespread outrage as well as mockery from <a href="https://nepalitimes.com/here-now/conservation-vs-conservatives">conservationists</a> and environmentalists, just as Prime Minister Oli’s statement last month did. Tigers are also a major source of revenue for national parks, and a highlight for tourists. “The tigers being in the jungle means that there is the presence of a balanced environment,” says Mahatara at Bardia. “Any <a href="https://nepalitimes.com/banner/between-existence-and-extinction-in-nepal">loss of biodiversity</a> in the parks could lead to a decline in the influx of tourists.” Eco-tourism and tiger safaris are a big source of income also for homestays and the local communities in Chitwan and Bardia. Read also: <a href="https://nepalitimes.com/news/saving-tigers-to-save-the-economy">Saving tigers to save the economy</a> Says <a href="https://nepalitimes.com/here-now/conversation-with-mr-conservation">Ghana Gurung</a> at WWF: “Tourists visit national parks in anticipation of viewing tigers. At present the number is 355 and if tourists don’t spot a single tiger during their safari, then how will they see one if the numbers are reduced?” Better management of wildlife is the key, and involves a mix of approaches including the idea of tiger diplomacy. But because many human-wildlife conflict cases take place when locals go to the forest to collect firewood or fodder, they should be aware of safety precautions. “We have worked continuously through skill development and behaviour change campaigns to help the locals live and maintain a livelihood in the buffer zone and protected areas,” adds Gurung. “This has been one of our major goals, to uplift the living standards of the locals so that they can coexist with wildlife in the area.”&nbsp;

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