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

Nepal’s only international aviation gateway, at Kathmandu airport, will cut night-time operation hours to allow construction of taxiways, and airlines have been told to curtail flights. This is expected to lead to more than normal chaos during the height of peak autumn and spring tourist seasons at an airport that is congested even at the best of times. The airport will close from 10PM to 8AM from 8 November-31 March 2025. The taxiways will now connect to the thresholds at both ends of the runway, making the airport more efficient in handling higher frequencies of landings and takeoffs. The parallel taxiway extension will allow international flights to land every 4 minutes instead of the current every 7 minutes. At present planes have to wait to land until a plane taking off backtracks along the runway.&nbsp; Kathmandu is Nepal’s only airport with international operations, and it has only one runway that is only one way in from the south over the mountains. With the taxiway improvement, the airport will be able to handle 42 aircraft landings and takeoffs per hour — double the current capacity.&nbsp; The Civil Aviation Authority of Nepal (CAAN) has been trying to entice international airlines to also start flying to and from the other two international airports at Pokhara and Bhairawa (Lumbini) by slashing landing and handling charges. But so far only Nepal Airlines operates a weekly flight to Bhairawa from Kuala Lumpur.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241018161016_046569e53d1d66cd445cc66c697c0ef724810aec9f54bdf827481e3cd6b80c32.jpg" data-media-id="editor_0" data-image-id="20241018161016_046569e53d1d66cd445cc66c697c0ef724810aec9f54bdf827481e3cd6b80c32" data-rendition-name="original" width="2356" height="1134" loading="lazy" alt="Kathmandu airport expansion"> <figcaption>Kathmandu Airport Expansion plan with extension of taxiways to the thresholds of runways 02 and 20 that will limit airport operations from 8 November 2024 - 31 March 2025. Areas in blue are existing structures, including the international terminal which in future will be the domestic airport, and the new international terminal near the north end of the runway,</figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241018121028_6e17cc2ee87c1b02d78cb54905825b7aa15299b7a00f5eddb01a59579ab85c1a.jpg" data-media-id="editor_1" data-image-id="20241018121028_6e17cc2ee87c1b02d78cb54905825b7aa15299b7a00f5eddb01a59579ab85c1a" data-rendition-name="original" width="1353" height="1328" loading="lazy" alt="Kathmandu airport NT"> </figure>  CAAN has reportedly told international airlines to cut their flight frequency to Kathmandu citing the shorter operation hours and has told budget airlines to shift some of their flights to Pokhara or Bhairawa, or face cuts. Many airlines currently operate regular flights to and from Kathmandu between 10PM and 8AM: Air Arabia to Sharjah, Fly Dubai to Dubai, Jazeera Airways to Kuwait, Cathay Pacific to Hong Kong, Singapore Airlines, several Nepal Airlines flights, and one of four daily flights by Qatar Airways to Doha. Jazeera Airways, FlyDubai, and Thai AirAsia have applied and got permission from CAAN to begin regular flights to Bhairawa’s Gautam Buddha International Airport. Starting 9 November, FlyDubai will start making a stopover in Bhairawa before flying on to Kathmandu. Immigration, customs and security are all fully functional in Bhairawa. In Kathmandu, the next phase of the airport upgrade includes converting the current international terminal for domestic operations, the construction of a new international terminal where the domestic departure area is now, as well as moving the hangars and the Nepal Army Air Wing to the eastern side of the runway. The apron area will also double its parking space for widebody jets. This is part of a Airport Capacity Enhancement Project that was initially funded through a $80 million loan from the Asian Development Bank (ADB), and the entire masterplan is expected to cost $800 million. This project is the latest upgrade to Nepal’s only international airport since it saw its first flight in 1949. The current international and domestic terminals are too small to handle the current annual traffic volume of 8.5 million passengers a year that is growing at 20% a year.

Kathmandu airport to cut flight hours

As Kathmandu becomes more congested and polluted, and with remote online work becoming the norm, many professional Nepalis are planning to retire in Pokhara, or move there.&nbsp; With its stunning mountain panorama, balmy winters and proximity to a profusion of wilderness areas, builders are responding to this demand with new townhouses, housing development and apartments. One such block of flats is the 10-storey <a href="https://sungavaapartment.com/">Sungava Apartment</a> located at Phulbari above the Seti River, near the point where it flows into and under Pokhara. The imposing structure near Manipal Hospital is almost complete, and on a recent visit the site was strewn with huge boulders unearthed while digging the foundation.&nbsp; The Seti brought down these boulders during a gigantic flood that geologists estimate happened 800 years ago when a chunk of Annapurna IV broke off and ploughed into the glacier below. Today, Sungava (means ‘orchid’) sits safely on a high terrace, 100m above the blue-green Seti and commands a view of Dhaulagiri, Annapurna South, Machapuchre, Annapurna III and IV.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024102411104_5f8fc736c86ea3c08d7bef43bb727081d3cc1a2caa55ae2b441717e6044de7e9.jpg" data-media-id="editor_1" data-image-id="2024102411104_5f8fc736c86ea3c08d7bef43bb727081d3cc1a2caa55ae2b441717e6044de7e9" data-rendition-name="original" width="2016" height="1512" loading="lazy" alt="High living below the Himalaya NT"> </figure>  The soil here is conglomerate that has solidified like concrete, and the boulders were extracted by heavy earthmovers. It is intriguing to think that these metamorphic rocks as big as cars, rounded by glacial grinding, were once a part of a much higher Annapurna IV. Even for those with little interest in geology, Sungava is an ideal place to contemplate the tectonic forces that pushed these peaks into the sky to be sculpted into delicate shapes by wind, snow, earthquake and avalanche over millions of years. The view of the Himalayan panorama from Sungava’s many balconies are breathtaking when not obscured by clouds, or the haze that drifts in from across the southern border. On most days, just watching the towering pyramid of Machapuchre (Tamu name: कतासुँ क्लिको) play hide and seek with the clouds is mesmerising. There are rocks aplenty at Phulbari, and it is probably the flowers that grew along the flat terraces e that gave the place its flowery name. The boulders will hopefully be turned into a rock garden while landscaping. An nearby restaurant complex is making the best use of the stones in its design, using flat rocks as outdoor benches and tables. Sungava was designed by the husband-wife architect team of Deepak Sherchan and Jyoti Joshi of <a href="https://thedarkmermaidamarbshrestha.blogspot.com/2013/12/creative-builders-collaborative-cbc.html">Creative Builders Collaborative (CBC)</a>, which also built Heritage Plaza, Indreni Apartment and numerous other projects in Nepal. Sadbhavana retains CBC’s trademark Newari-style masonry and here it borrows from the orange brickwork of the old town of Pokhara, integrating it with modern design elements. A few of those heritage houses are still standing in Ganesh Tole and Ram Krishna Tole in Pokhara’s old quarter.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024102411108_5eb64a4885961b6d30781cefeb1e8a313da313ac5227c7a66b60f0c7d48d6fab.jpg" data-media-id="editor_3" data-image-id="2024102411108_5eb64a4885961b6d30781cefeb1e8a313da313ac5227c7a66b60f0c7d48d6fab" data-rendition-name="original" width="1362" height="595" loading="lazy" alt="High living below the Himalaya NT"> </figure>  About 400m from the apartment past a bend on the river, and down below three tiers of terraces in the canyon is a suspension bridge. Below it, the Seti is still swollen with post-monsoon flow as it tumbles away in a hurry to head down south.&nbsp; Back at the apartment, it is quiet, far away from the hubbub of Lakeside a 15 minute drive away, and in the lap of greenery. There are 52 units at Sungava and it already has a close-knit prospective community of professionals, including doctors, publishers, engineers, and businesspeople from the renewable energy and IT sectors.&nbsp; Some residents say they opted for a second home in Pokhara to make it a ‘base camp’ to explore the Annapurnas with its many hiking trails made newly accessible with new roads. With the NRN citizenship law, overseas Nepalis can now also buy the flats. &nbsp; The floor plans include options for north and south-facing 3-bedroom apartments with verandas, and the facility has underground parking has EV charging, heated pool, sauna and gym. There are still some unsold apartments with panoramic views of the mountains and one can imagine oneself at the kitchen with its huge window, humming a ditty while preparing breakfast: “खाना पकाउँ हिमाल हेरेर...”

High living below the Himalaya

When the United Nations held its Summit of the Future at its headquarters in New York in September, many world leaders, including Nepal’s Prime Minister K P Oli, highlighted the effect of climate breakdown in increasing the frequency and intensity of natural disasters. What did not get as much attention was the long term impact of the climate crisis on food production. In fact, heat stress, weather extremes and the consequences on rain-fed agriculture is already being felt worldwide, undermining the chances of the <a href="https://unstats.un.org/sdgs/">UN’s Sustainable Development Goals (SDGs)</a> being met by 2030.&nbsp; The SDG’s 17 targets commit countries like Nepal to reduce poverty and inequality, end malnutrition, protect the natural environment, and ensure that citizens all enjoy health, justice and prosperity without leaving anyone behind.&nbsp; However, besides the impact of climate breakdown on agricultural production, in Nepal the area under cultivation is impacted by urban expansion, falling productivity and the need for expensive inputs like fertiliser and pesticides.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241019041052_626413c5baf4dae407ac9579231b41daeb51510aa636b75aeb7489d94cca6a62.jpg" data-media-id="editor_1" data-image-id="20241019041052_626413c5baf4dae407ac9579231b41daeb51510aa636b75aeb7489d94cca6a62" data-rendition-name="original" width="999" height="1500" loading="lazy" alt="urban agriculture in Kathmandu"> <figcaption>Kathmandu's urban sprawl is eating into its fertile cultivable lands. Photo: TAYLOR MASON</figcaption> </figure>  Now, a new study led by Nepali researcher Prajal Pradhan at the University of Groningen in The Netherlands looks at how urban agriculture may offer a solution to falling food production and meeting SDG targets. The researchers evaluated 1,450 publications exploring the contributions of urban agriculture with both positive and negative effects, and published their findings in the journal Cells Report Sustainability. Urban agriculture can help achieve 17 SDGs, positively influencing 81 targets. However, it could also undermine 51 goals.&nbsp; Read also: <a href="https://nepalitimes.com/here-now/the-vanishing-land">The vanishing land</a>, Taylor Mason “Urban agriculture offers immense potential for sustainable development, but realising this potential depends crucially on adopting practices that minimise its adverse effects while maximising its benefits,” Pradhan explains. Urban agriculture can substantially enhance urban food security, provide employment to the urban poor, serve as ground water recharge in built-up areas, and preserve open spaces that can serve as safe havens during disasters like earthquakes. However, it also presents problems like the potential health risks from contamination and the need for expensive inputs. &nbsp; “Urban agriculture plays a definitive role in advancing the SDGs, but achieving this requires tailored, context-specific solutions that address the unique challenges of different regions,” says Yuanchao Hu of Wuhan University in China and who is a researcher at the Potsdam Institute for Climate Impact Research. “But it needs equitable access and rigorous management of environmental risks.”&nbsp; Rapid urbanisation is eating into Nepal’s most fertile agricultural land, which means farming in remaining open spaces inside cities can be a viable alternative, especially as food prices rise.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241019041052_7b7c9413086226fbdc630d45acf772cfa1ced77a8970b9056ec5ec7e5226fdf8.jpg" data-media-id="editor_3" data-image-id="20241019041052_7b7c9413086226fbdc630d45acf772cfa1ced77a8970b9056ec5ec7e5226fdf8" data-rendition-name="original" width="1500" height="999" loading="lazy" alt="urban agriculture in Kathmandu"> <figcaption>A vegetable patch in between new houses in Thimi. Photo: TAYLOR MASON</figcaption> </figure>  “The conversion of Nepal’s most fertile land into cities is a severe problem,” Pradhan told Nepali Times. “Crop cultivation, horticulture, agroforestry, beekeeping, livestock rearing, or aquaculture can all be farming activities within and around cities.”&nbsp; The study makes recommendations for sustainable practices that build on the positive aspects of urban agriculture while mitigating the downsides, thereby promoting more resilient cities in future. Research shows that urban agriculture has been helping many countries attain SDG targets by enhancing food security and biodiversity while helping education and preservation of open spaces.&nbsp; Indeed, many farmers from the hinterland who have settled in Kathmandu Valley or other urban areas of the country have been practicing urban agriculture, leasing neighbourhood patches or cultivating roof gardens both out of necessity because of inflation and falling income to grow their own food, and also as a fulfilling hobby. Saurav Dhakal, a sustainability advocate with Story Cycle and now research fellow at the Asian Institute of Technology in Thailand, says there are socio-economic and environmental benefits of urban agriculture. “It provides benefits to all urban dwellers, regardless of their income status,” says Dhakal, “families get fresh food, and there are many other benefits like water retention, heat regulation and biodiversity. These are all public goods, so special government incentives may be needed.” It is not unusual to see vegetable patches and even paddy fields within inner city Kathmandu where an older generation of farmers are using available fertile land and <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/rooftop-gardens-kathmandu,1415">roof gardens to produce fresh, nutritious food </a>to reduce their dependence on food items that have to be bought after being trucked in from large distances.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024101905100_1291ce98dbbb8caed8702ac4b1d469b3e13016d7ecaaf3bfd5f91c974d3c0c77.jpg" data-media-id="editor_5" data-image-id="2024101905100_1291ce98dbbb8caed8702ac4b1d469b3e13016d7ecaaf3bfd5f91c974d3c0c77" data-rendition-name="original" width="1500" height="999" loading="lazy" alt="urban agriculture in Kathmandu"> <figcaption>An older generation of farmers are using any available fertile land to continue farming but it is getting more and more difficult. Photo: TAYLOR MASON </figcaption> </figure>  Nepal’s urban population grew rapidly from only 3.6% in 1991 to 25% today. There is large outmigration from the mountains to peri-urban areas of the Tarai, to Kathmandu Valley and Pokhara, with many young men then moving abroad for work. Kathmandu Valley’s population has swelled to nearly 3 million, and is growing at 6.5% a year. Dilip Shrestha, 71, used to work for Nepal Food Corporation, so he knew firsthand about inflation, shortages and vegetables with pesticide residue. So, when he designed his new house in Kathmandu, he built a spacious roof where he grows cucumber, ginger, garlic, coriander, onions, tomatoes, chili, beans, okra, pumpkin and lettuce. His family eats healthier, and he has reduced dependence on the market.&nbsp; The co-author of the Cell Reports Sustainability journal article, Daya Raj Subedi who is a PhD candidate at Beijing Forestry University, says urban agriculture also promotes inclusion and psycho-social wellbeing.&nbsp; He says, “A crucial finding of the study is the identification of opportunities and challenges associated with urban agriculture, it can promote sustainable transformation of society.” In Banepa, 55-year-old Bijaya Manandhar in her lifetime has watched the fertile farms of her neighbourhood that used to supply vegetables to Kathmandu, now completely built up with no open space left. The pandemic lockdown prompted her to turn to the family’s <a href="https://nepalitimes.com/banner/rooftop-agriculture-on-the-roof-of-the-world">ancestral livelihood by growing food</a> not on terrace farms, but on the roof terrace. Manandhar is now a part of <a href="https://nepalitimes.com/banner/rooftop-agriculture-on-the-roof-of-the-world%5C%5C">कौसी खेती र करेसाबारी क्रान्ती</a> (Rooftop Farming and Garden Revolution) which has an online membership of 52,000, and awards annual prizes to women who excel in urban agriculture.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241019041052_7257f5def8f823f35a799fa6f6825e153f2ffa406ac11325d4fe74049b79e96d.jpg" data-media-id="editor_8" data-image-id="20241019041052_7257f5def8f823f35a799fa6f6825e153f2ffa406ac11325d4fe74049b79e96d" data-rendition-name="original" width="1600" height="736" loading="lazy" alt="urban agriculture in Kathmandu"> <figcaption>Rooftop farming is gaining popularity as a form of urban agriculture. </figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241019041052_beff1a4494ce896dd8fd383ee1f518e5448bcf7ea8bb138255391c7bcb9769ed.jpg" data-media-id="editor_9" data-image-id="20241019041052_beff1a4494ce896dd8fd383ee1f518e5448bcf7ea8bb138255391c7bcb9769ed" data-rendition-name="original" width="4000" height="3000" loading="lazy" alt="urban agriculture in Kathmandu"> </figure>  Pradhan says the challenge now is to upscale such examples of successful urban agricultural practices so they support Neal’s efforts to meet SDG targets. He adds, “Crop cultivation around cities can be protected by land use plans and regulations. Promoting community-based agriculture, including rooftop gardens, requires community engagement and public-private partnerships across the food value chain.”&nbsp; Such support would accelerate the popularity of existing rooftop farming and community gardens in Kathmandu Valley, or kitchen garden initiatives in Pokhara, and building on traditional farming practices that are preserved and integrated into urban settings like in Bhaktapur and Banepa. In Lalitpur, the Women Entrepreneurship Facilitation Center promotes urban farming enhancing both sustainability and empowerment.&nbsp; Another co-author of the report, Yuanchao Hu from China says followup research of the team will aim to identify good practices in local urban agriculture practices. He adds, “There are examples of urban agriculture that optimise sustainability, ensuring that it remains a viable solution for cities globally while countries try to meet SDG targets.” Prajal Pradhan, Daya Raj Subedi, Kshitij Dahal, Yuanchao Hu, Prakriti Gurung, Sijal Pokharel, Sagar Kafle, Biplav Khatri, Sudeeksha Basyal, Monika Gurung, and Aruna Joshi. Urban Agriculture matters for sustainable development. Cell Reports Sustainability, 1:100217, 2024. [DOI: 10.1016/j.crsus.2024.100217] Prajal Pradhan (<a href="mailto:p.pradhan@rug.nl">p.pradhan@rug.nl</a>) This article is brought to you by <a href="https://nepalitimes.com/" target="_blank">Nepali Times</a>, in collaboration with <a href="https://inpsjapan.com/en/" target="_blank">INPS Japan</a> and <a href="https://sgi-peace.org/" target="_blank">Soka Gakkai International</a>, in consultative status with UN ECOSOC.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240630110640_30c3782f9c09219bf1c249b51483a3cfb7a53a06d117d2aebd23ca7080d12758.jpg" data-media-id="editor_14" data-image-id="20240630110640_30c3782f9c09219bf1c249b51483a3cfb7a53a06d117d2aebd23ca7080d12758" data-rendition-name="original" width="680" height="103" loading="lazy" alt="SDG logo"> </figure>

Back to the land in the cities

The 700-year-old Lakshmi Narasingha temple in Bhaktapur houses a rare half-lion and half-human incarnation of Lord Vishnu carrying the Goddess Lakshmi. The temple was destroyed in the 1934 mega earthquake that killed 10,000 people and destroyed many monuments in Kathmandu Valley. It was rebuilt by a German project in the 1980s, but as a single-storey structure instead of its original two-tier pagoda design.&nbsp; With new findings from in-depth research, Bhaktapur municipality began re-restoring the temple in 2021, preserving its original architecture.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241017131016_2fae38cce543ad7b1f6de632feb3e212e08ed1acedd747830e949d7b8e878f18.jpg" data-media-id="editor_0" data-image-id="20241017131016_2fae38cce543ad7b1f6de632feb3e212e08ed1acedd747830e949d7b8e878f18" data-rendition-name="original" width="2048" height="1365" loading="lazy" alt="In with the old in Nepal NT"> </figure>  “Our temples and heritage sites hold deep meaning. It is disheartening to witness how often they lose their original elements, whether by design or accident,” explains Kumar Chawal of the Consumer Committee of Bhaktapur. “There is a need to preserve our architecture and protect its historical value for future generations. Otherwise, we risk losing a vital part of our identity.” The Laksmi Narsingha restoration is similar to the Bhai Dega temple in Patan Darbar Square which also collapsed in 1934, but was rebuilt with a Moghul-style dome by the Rana government at the time. Only two months before the 2015 earthquake, heritage conservationists had started to rebuild Bhai Dega as the original three-tier based on early photographs. But priorities shifted when four other temples in the square were brought down by the 7.8M earthquake on 25 April 2015.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241017131016_697ea707d9ad163be5de5f2efbf5b70d3cab771adcc22f0fae6bf937c6cb0130.jpg" data-media-id="editor_1" data-image-id="20241017131016_697ea707d9ad163be5de5f2efbf5b70d3cab771adcc22f0fae6bf937c6cb0130" data-rendition-name="original" width="2048" height="1365" loading="lazy" alt="In with the old in Nepal NT"> </figure>  This showed how damage to monuments in Kathmandu Valley spanned from one earthquake to the next. Bhai Dega restoration remains half-complete to this day because money for its restoration ran out.&nbsp; Whereas Bhai Dega restoration was done by the Kathmandu Valley Preservation Trust with grants from western embassies and international foundations, in Bhaktapur it is the municipality itself that allocated the Rs30.7 million needed to restore the Lakshmi Narasingha temple. The expected date of completion is early 2025. The municipality and local communities are focusing on two main aspects: preserving the past and promoting localisation. The restoration team has designed a blueprint for the temple by using historical photographs and insights from older generations.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241017131016_182882fdc393c99e70d1d0490319e415229563666c4934e3a582426ebf00ca30.jpg" data-media-id="editor_2" data-image-id="20241017131016_182882fdc393c99e70d1d0490319e415229563666c4934e3a582426ebf00ca30" data-rendition-name="original" width="1200" height="560" loading="lazy" alt="In with the old in Nepal NT"> </figure>  “At first, the Lakshmi Narasingha temple had only one entrance, but during the demolition process, we uncovered the foundations of four doors. Now, we are restoring all of them. This is an example of how our ancient structures have changed over time, often without our knowledge,” says Chawal. “Constructing temples is not like building houses. They carry historical and spiritual values, which is why they hold a special place in our hearts,” he adds. By replicating ancient design elements and rebuilding the temple as accurately as possible to its original form, the team has stayed true to Bhaktapur’s soul. But the restoration also revived ancient techniques that were in danger of being forgotten, generating employment for woodcarvers, masons, and contractors. The community of Bhaktapur’s Gahiti neighbourhood near the famous Nyatapola Temple has also set aside specific days for locals to volunteer in the reconstruction work. This has encouraged young people to take pride in ownership of their heritage. Families have also supported the effort by donating funds for bells, the temple pinnacle, and other structural features to the temple.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241017131016_db850ec0c084cdbe54f65bee92dad2ad8122d20fd60ec87ec086fbb9d2f72bd6.jpg" data-media-id="editor_3" data-image-id="20241017131016_db850ec0c084cdbe54f65bee92dad2ad8122d20fd60ec87ec086fbb9d2f72bd6" data-rendition-name="original" width="2048" height="1365" loading="lazy" alt="In with the old in Nepal NT"> </figure>  “I feel at peace knowing I have contributed my sweat to restoring this temple,” said one volunteer. “It is our duty to preserve our temples and heritage. The Nyatapola area will look magical once this temple is completed.” Community mobilisation is a long-standing tradition in Bhaktapur. In the past, locals have actively participated in the restoration of other temples in the city, such as Bhairav and Nyatapola fostering a strong sense of ownership. This collective engagement has not only been crucial in preserving the city's historical monuments but also in strengthening the bond between local communities and their heritage, says officials at the municipality. While securing funding is essential, and the municipality showed it values heritage conservation, the Lakshmi Narasingha restoration is proof that active involvement and sense of responsibility of the local community is as important, if not more. Local involvement also means that the monuments will be cared for into the future, When locals take ownership of these efforts, the restored monuments are not only protected in the present but are also cared for in the future.

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