<figure><img width="640" height="479" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111128/636cd27b9c7e80680e08f911jpeg.jpg" alt=""/><figcaption>Niranjan Koirala's demeanour was more professorial than political.</figcaption></figure>It was a glowing autumn afternoon in Bhaktapur with the sun warming the terracotta roof tiles and moulded brick facades. Keanu Reeves had just finished shooting the kabaddi sequence in the temple square, liberally enhanced with fibre glass sculptures and carved wood trellises to transform it into Prince Siddhartha’s contemporary Kapilvastu palace. The crowd of extras lining the <a href="https://archive.nepalitimes.com/regular-columns/So-far-so-good/little-buddha-comes-to-town-filming,957" target="_blank" rel="noopener noreferrer">Little Buddha set</a> stirred with excitement as the prime minister arrived in an official bustle of shiny black cars and watchful bodyguards, greeted by the movie’s Italian director Bernardo Bertolucci in a stylish panama hat. No one noticed Niranjan amongst his entourage, characteristically keeping in the background but without whom this film would never have been possible.Niranjan Koirala was the self-effacing adviser to the tourism ministry who enabled us to pull off this major international movie that not only showcased <a href="https://www.nepalitimes.com/opinion/nepals-tourism-now-has-to-re-start-from-zero/" target="_blank" rel="noopener noreferrer">Nepal’s heritage, architecture and scenery</a> to a global audience, but employed hundreds of locals and added millions of dollars representing ten percent to that years’ total tourism revenue. Niranjan had recognised its potential value for Nepal, arranged our film permit, and urged his newly elected uncle Girija Prasad Koirala, leader of the first democratic government of the recent era, to give us his full personal support.It was 1992 and there were no less than 13 Oscar awards amongst Bertolucci’s multi-national film crew, many fresh from success with the first movie shot on location in China, <a href="https://www.imdb.com/title/tt0093389/" target="_blank" rel="noopener noreferrer">The Last Emperor</a>. Thanks to Niranjan, we were granted direct access to the prime minister’s office over the eight months that the production team worked in dozens of locations throughout Kathmandu Valley and Chitwan. If we encountered any hitches with the filming of Little Lama (as it was code named prior to release), they were swiftly resolved at the highest level. <figure><img width="792" height="520" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111128/636cd27f9c7e80680e08f912jpeg.jpg" alt=""><figcaption> </figcaption></figure>Although a fully-fledged member of the Biratnagar-based Koirala dynasty, direct descendent of the great BP and uncle of the <a href="https://www.nepalitimes.com/banner/manisha-koiralas-new-life/" target="_blank" rel="noopener noreferrer">matchless Manisha</a>, ‘Niruda’ as he was known in the family wore his politics lightly and preferred a life in the shadows savouring the freedom to travel and study.  Having witnessed the upheavals of the royal takeover in 1961, he studied political science in Banaras Hindu University and the University of California Berkeley, then worked in tourism before retreating to academia in the United States. I met Niranjan only after he was wrenched back to Nepal public life as political adviser to the Minister of Tourism and Civil Aviation, Ram Hari Joshi. He was an unlikely figure amongst the dusty desks, smeared windows and civil service culture, more professorial than political, gentle but determined, smiling but steely, preferring tweed jackets and colourful sweaters, a neat moustache and thick hair curling carelessly over his collar. The perfect person for the role, Niranjan’s well-travelled vision and drive for Nepal’s tourism economy was refreshingly tempered by his impatience with bureaucracy and innate political realism. “Never underestimate the complexity of running a poor mountainous country with precious few natural resources,” he counselled me. At home in Boudnath he kept a pet monkey in a tree house, and his hospitality featured produce from the garden, and much talk of travel, films and books. Despite inevitable opposition, it was during Niranjan’s tenure that <a href="https://www.nepalitimes.com/here-now/the-himalayan-odyssey/" target="_blank" rel="noopener noreferrer">Nepal’s modern tourism</a> policy was forged. The industry was liberalised by carefully opening up forbidden areas such as Upper Mustang and Dolpa to benefit local livelihoods, instituting mountain and trekking trail clean ups to beautify the Himalaya, world promotion by permitting ambitious international movie shoots such as Little Buddha, Eric Valli’s Himalaya, and Enigma’s Eyes of Truth, and allowing private commercial airlines to flourish within Nepal that ended the national flag-carrier RNAC’s monopoly and revolutionised domestic travel. I can envisage Niranjan humbly shaking his head in vehement disagreement with my words, but Nepal could not have achieved what it has without his wisdom and behind-the-scenes interventions. With his advocacy for aviation reform and safety, it was especially ironic and tragic that his first wife Santosh was killed in the Thai Airways disaster that year, leaving their two small sons returned from California and dazed with grief. <figure><img width="1500" height="1088" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111128/636cd2819c7e80680e08f913jpeg.jpg" alt=""><figcaption> </figcaption></figure>Niranjan attempted another stint in public life as Member Secretary of the King Mahendra Trust, now <a href="https://ntnc.org.np/" target="_blank" rel="noopener noreferrer">National Trust for Nature Conservation</a>, before taking his own advice to effect political change from the sidelines, repairing to Delhi where he could indulge his appreciation of art, music, religion, history, travel and good food. Despite losing his second wife Ila Dalmia to cancer in 2003, Niranjan’s infectious spirit and enthusiastic appreciation of civilisation endured. Until the end, his cheerful and unflinching Facebook postings from his expansive verandah and unruly garden in central Delhi were testament to his concern for a better world, relief for the oppressed, for liberal democracy and responsible leadership. Little Buddha remained something of which he was “particularly proud”. Niranjan passed away in Delhi 13 days ago aged only 73, <a href="https://www.nepalitimes.com/opinion/losing-a-colleague-to-covid-19/" target="_blank" rel="noopener noreferrer">another unexpected victim of the coronavirus</a>. As his sons Himanshu and Bhaskar so beautifully wrote, he has “departed for his next journey”.

Lisa Choegyal

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Niranjan Koirala, 73

<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107161116/636921fb9c7e80680e03a100jpeg.jpg" alt="" width="640" height="438"/><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107161116/636921fd9c7e80680e03a101jpeg.jpg" alt="" width="640" height="436"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107161116/636922009c7e80680e03a102jpeg.jpg" alt="" width="640" height="438"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107161116/636922039c7e80680e03a103jpeg.jpg" alt="" width="640" height="443">The blue sky was clear and early afternoon sunlight bounced off the glaciers, gullies and rock walls of the Langtang peaks, but the helicopter captain was keen to leave. He was concerned about the effects of altitude after several hours filming in the high meadow above Kyangjin Gompa. I could see the Hollywood team were groggy, hauling heavy camera equipment in the thin Himalayan air, and I was beginning to feel lightheaded myself.Director Julien Temple called to us from across the hill: “Let’s just try one more time with the flute players and local kids, but without the yaks and ponies.” Laxman had a headache and his back hurt from carrying Rinchen - the young star - up and down the ridge on his shoulders, simulating the swaying movements of an elephant against the mountain backdrop.Dazed with fatigue and breathless, the film crew once more realigned their gear, the local extras were ushered into position, silver reflectors were repositioned, the clap-board snapped action, Rinchen set off regal on his fake elephant, and the cameras rolled for the last time that day.I looked around as we quickly stowed the paraphernalia, thanked Thiley Lama, our Langtang fixer, and his friends, waved to the yak handlers and horsemen, and piled back into the big Russian chopper. We took off slowly, the rotors roaring and prayer flags flailing, as the squat stone monastery and small cluster of flat-roofed houses receded beneath us, dwarfed by the rampart of towering white peaks protecting the Langtang Valley. Soaring south, it took only a few minutes skimming above the hilltops back home to Kathmandu, but it seemed like another world.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107161116/636922069c7e80680e03a104jpeg.jpg" alt="" width="1075" height="696"><figcaption> </figcaption></figure>It was spring 1994 and we were filming one of Asia’s first music videos – the MTV generation was still in its infancy. The Eyes of Truth, a track from Enigma’s Cross of Changesalbum, is a haunting electronic melody of buzzing bees, rhythmic chanting and wailing Mongolian shepherdesses. Julien Temple was amongs the first to pioneer the music video genre, his boyish looks belying a background with giants including David Bowie, The Rolling Stones and Sex Pistols.Read also:  <a href="https://www.nepalitimes.com/opinion/sun-striped-shadows/" target="_blank" rel="noopener">Sun striped shadows</a>, Lisa Choegyal<a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="https://www.nepalitimes.com/opinion/the-cantankerous-conservationist/" target="_blank" rel="noopener">The Cantankerous Conservationist</a>, Lisa ChoegyalInspired by Buddhist iconography and the Valley stupas’ all-seeing eyes, Temple and his wife Amanda had written a prescient mini-saga about an abandoned boy brought up by elephants, then driven into an unknown world by environmental destruction, where he would be hailed prince of truth, before retreating back into the jungle with his pachyderm dependents. “The Eyes of Truth are always watching you.” They asked me to arrange the film permit and logistics, as complex as any full-length feature, and to find the main character – a spiritual young boy with a generic Asian-Western look who was comfortable around elephants. That was easy. Both my sons Sangjay and Rinchen were at the British School in Kathmandu, and Malcolm McDougal was also put forward as a candidate – all boys blessed with an upbringing amongst the Tiger Tops elephant camps in Chitwan and Bardia. Four-year-old Rinchen, whose acclaimed Cowardly Lion in the kindergarten Wizard of Oz production had sparked acting aspirations, was thrilled to be selected. What could be better than to take two weeks off school, hang out with elephants, and be paid for it?<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107161116/636922089c7e80680e03a105jpeg.jpg" alt="" width="523" height="815"><figcaption> </figcaption></figure>The pristine air quality and unbuilt vistas of Kathmandu Valley of the early 1990s enabled us to select locations and deliver The Eyes of Truth storyboard as originally envisaged in Julien and Amanda’s script. Our film support team, fresh from months working on Little Buddha, swung into action. For the ten-day shoot, hundreds of skilled Newari artistes, Nepali musicians and Valley villagers were dressed and rehearsed, domestic elephants from Chitwan and Kathmandu were booked and briefed, and Rinchen’s costumes and jewelled headdresses were designed and prepared.“I hope they can’t see up my sarong.” Little Rinchen clambered up Sita Kali’s trunk, hanging onto her patient elephant ears. My favourite moment follows the honey hunter opening sequence, when the camera finds Rinchen, angelically asleep amidst falling leaves, lying on Sita Kali’s massive body, resting supine on the forest floor. Thankfully her mahout driver and my boys’ favourite jungle friend, Kale, was never far away off screen, controlling her with quiet voice commands. A pretty wife and baby from the Tiger Tops elephant camp were engaged for the Moses scene, during which the child is rescued from his floating cradle by kind elephant carers – the buoyancy of the woven basket caused us lots of problems.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107161116/6369220a9c7e80680e03a106jpeg.jpg" alt="" width="523" height="815"><figcaption> </figcaption></figure>Read also: <a href="https://www.nepalitimes.com/opinion/so-far-so-good/the-kathmandu-crowd/" target="_blank" rel="noopener">The Kathmandu Crowd</a>, Lisa Choegyal<a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="https://www.nepalitimes.com/opinion/past-everest-anniversaries/" target="_blank" rel="noopener">Past Everest Anniversaries</a>, Lisa ChoegyalAt Bodnath, where Rinchen was filmed, enthroned on his zoo elephant dressed in silk and gold, pilgrims prostrated and made offerings, mistaking him for a real Rinpoche. Bungamati villagers showered him with flower petals thrown from their upper windows, echoing a scene with Keanu Reeves in Little Buddha. At Bhaktapur, the clashing cymbals, drums and dancers brought the Darbar Square to a standstill, and a lovely sequence beside the river chaityasat Gokarna Mahadev was left on the cutting room floor.On the last day of 4AM starts with loyal Laxman in attendance. After long hours of make-up, and hours as the centre of attention with his crew of new admirers, Rinchen descended reluctantly from his elephant and, looking around for Julien, asked: “And now, where’s my money?”Not only did The Eyes of Truth music video top the Asian charts for weeks, the poignant tune, familiar even today, became a Youtube sensation viewed by millions. We have used it at countless travel conferences and trade shows as a subtle sell to promote the variety and scenic splendour of Nepal – its succinct five-minute span perfectly captures the essence of Nepal’s natural, cultural and adventure appeal.https://www.youtube.com/watch?v=b8ri14rw32c

The Eyes of Truth

In 2003, the death by police firing of a student protesting a rise in fuel prices pushed Nepal’s student activists to join the प्रतिगमन विरोधी आन्दोलन (Movement Against Regression), which political parties had begun after king Gyanendra’s sacking an elected government a year before. The students’ participation elevated the movement and prompted more Nepalis to join in, leading to the People’s Movement that first sidelined the monarchy and then abolished it in 2008.&nbsp; That took five years to happen. But 12 years later, this month, a youth-led protest forced the prime minister to resign within 30 hours.&nbsp; Police massacred GenZ activists, many of them students, outside Parliament on 8 September. This intensified public anger, leading to targeted attacks, looting, and burning of the homes of political leaders, private businesses, and public buildings.&nbsp; Amid the smouldering ruins of state institutions, young Nepalis chose a new prime minister to lead an interim government and deliver a fresh mandate. All of this happened in five days.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250910140912_019d62de4b62a366299a27d1276e931a7dadefcc674441e7fb3acd503970efaf.jpg" data-media-id="editor_0" data-image-id="20250910140912_019d62de4b62a366299a27d1276e931a7dadefcc674441e7fb3acd503970efaf" data-rendition-name="original" width="8000" height="5760" loading="lazy" alt="Nepal in ashes"> <figcaption>Parliament building up in flames during the GenZ protest on 9 September. Photo: KAMAL PRASAI</figcaption> </figure>  Students have been central to Nepal’s democratic and political process since the mid 20th century. In her 2018 book Making New Nepal, researcher Amanda Thérèse Snellinger traces the history of student activism and politics against a background of &nbsp;Nepal’s socio-political history and party politics.&nbsp; Snellinger examines the interplay of ideology and identity, explores how student activists fit into a political landscape continually occupied by the traditional elite, and details how student leaders have established themselves through relationships with influential actors on local, national, regional, and transnational levels. The Rana regime’s repression caused students to be politically aware. In 1947, students held the first organised protest against the Rana autocracy demanding educational reforms. The breadth of student activism expanded during the Panchayat era after king Mahendra banned political parties, which drove mainstream politicians and parties underground. &nbsp;Student activists then became proxies for multiparty democracy because they were still able to organise.&nbsp; Student politics was institutionalised, and unions emerged as vanguard sister organisations of political parties. Student activism, more so than mainstream political parties, played key roles during &nbsp;both major movements in 1990 and the 2000s, as they mobilised the citizenry to join the democratic process.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250924130940_f94cf97fb7ed98b90b48736e1aa8a76466f50337dffc36ec78e9cd5e6927deea.jpg" data-media-id="editor_1" data-image-id="20250924130940_f94cf97fb7ed98b90b48736e1aa8a76466f50337dffc36ec78e9cd5e6927deea" data-rendition-name="original" width="1952" height="2928" loading="lazy" alt="1990 people's movement Nepal"> <figcaption>The iconic image of the 1990 People's Movement agaist the autocratic Panchyat regime of the king. Photo: MIN RATNA BAJRACHARYA</figcaption> </figure>  Through extensive ethnographic research between 2003 and 2015, Snellinger investigates the political coming of age of student activists during the final years of the armed insurgency and their role in and beyond the movement that ultimately abolished the monarchy. Her research revolves around the political journeys of five student activists: Akash and Rishi from the Nepali Congress (NC) student wing Nepal Student Union (NSU), Salini from the UML’s All Nepal National Free Students’ Union (ANNFSU-Akhil), Gyanu from ANNISU-Revolutionary of the Maoists, and Lagan, who began his political journey from Nepal Majdoor Kisan Party’s student wing Nepal Krantikari Bidyarthi Sangathan. The ‘movement against regression’ in 2003 served as the entry point &nbsp;for activists into national party politics. Indeed, it was their &nbsp;participation in the movement that elevated the profile of the main subjects of Snellinger’s research. In the years that followed, the paths of the five activists diverged. Some made it into mainstream politics, even becoming lawmakers. In doing so, they have had to trade idealism for pragmatism, and their attempts realise their previous vision for Nepal’s democracy have been overshadowed by their political opportunism and position. And even decades after they began their journey as student activists, the generation that the book focuses on are still considered &nbsp;‘youth’ leaders. Snellinger quotes a former student leader who joined mainstream politics as saying: “I am still a youth because &nbsp;my aspirations remain unfulfilled.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250924130944_7cca095d79fb5ce45cf92c61b77d72c31c5e0931aa744c73e264b6f91efdd29b.jpg" data-media-id="editor_2" data-image-id="20250924130944_7cca095d79fb5ce45cf92c61b77d72c31c5e0931aa744c73e264b6f91efdd29b" data-rendition-name="original" width="1500" height="1004" loading="lazy" alt="2006 People's Movement of Nepal"> <figcaption>A student protester wearing a paper crown and ridiculing Gyanendra with an impersonation, a day after king stepped down and left his palace. Photo: AJAY JOSHI / A PEOPLE WAR</figcaption> </figure>  Meanwhile, the refusal of Nepal’s octogenarian leaders to retire (even after The upheaval this month) has created a surplus of younger adults waiting in the wings, making the word ‘youth’ relative in Nepal’s political trajectory. Other subjects of Snellinger's research have retreated from student and mainstream activism, either in disappointment over their mother party’s retreat from some of their more radical positions, or to &nbsp;continue their work at the community level through education and journalism. One of them has leveraged her political connections to further women-led initiatives after unsuccessful election bids. Nearing the end of her research in 2015, Snellinger observes the disappointment of Madhesi communities whose movement to demand more inclusive provisions of the draft Constitution had gone in vain, even after 45 lives were lost.&nbsp; As the Constitution was promulgated in 2015, TVs were switched off in the Tarai, and there were sighs of resignation. In Kathmandu, Snelllinger noted that the student leaders that entered mainstream politics protesting for inclusive democracy had little empathy for the struggles and similar demands of groups in the Madhes. Despite the students’ role in ending the monarchy, Nepal’s political status quo has remained. The institutions and people that replaced the &nbsp;monarchy have allowed one set of Kathmandu elites to be replaced with another.&nbsp; The socio-political benefits promised during the movement two &nbsp;decades ago have remained tightly controlled by leaders who refuse to give up their hold on power. The political system was overhauled, but without concrete reform. It was only a matter of time before public frustration would boil over. Indeed, Snellinger concludes her book by predicting the inevitability of future movements in Nepal.&nbsp; She writes: ‘Leaders emerge through the andolan … a new generation will emerge shaped by Nepal’s accumulated socio-political heritage, which they will mediate to shape a liveable present and future for themselves in their country, perhaps by continuing the movement.’&nbsp; And that is exactly what happened on 8-9 September. Students marched in the streets demanding an end to corruption and impunity, but this time not as proxies of political parties.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250908120948_8a9acceede487651487c2f15b65e40f900ee6cd390bbf98394eade6b95d05b28.jpg" data-media-id="editor_3" data-image-id="20250908120948_8a9acceede487651487c2f15b65e40f900ee6cd390bbf98394eade6b95d05b28" data-rendition-name="original" width="1600" height="1200" loading="lazy" alt="Gen Z protest"> <figcaption>A student during the GenZ protest against acorruption on 8 September. Photo: SUDIKSHA TULADHAR</figcaption> </figure>  Their desire for socio-political reform was apolitical at a time in Nepal’s history when the nation’s student organisations have weakened and lost credibility, mirroring the erosion of trust in their parent parties. Along with party-based student unions, the Free Student Union (FSU)— the umbrella body all student unions—has lost its reputation due to corruption and embezzlement. That is not to say there are no similarities in movements past and present. Whether political or apolitical, protests have been overshadowed by a lack of unity within the groups that spearhead movements. They have led to destruction of public and private institutions.&nbsp; Leaders of youth and student movements have also had to bear the brunt of the frustration of the people they represent when there is no delivery on their demands. The academics of students have suffered because of frequent lockouts of university and college administration. Youth andolan, whether political or apolitical, has been a rite of passage into Nepali democratic politics — dissensus is an integral part of political regeneration. It remains to be see how the fall &nbsp;from grace of political parties after the GenZ movement will affect their affiliated student unions. As elections approach, student unions and youth collectives will find their own footing in Nepal’s &nbsp;newly emerging socio-political landscape. The youth who took to the streets are asking for a complete overhaul for political parties. Establishmentarian leaders still have not seen the writing on the wall.&nbsp; NextGen leaders in their parties have been waiting for years for their turn &nbsp;to break through the glass ceiling. These established political actors will not go down without a fight in the run-up to March elections.&nbsp; Amanda Thérèse Snellinger perhaps needs a post-script or even a sequel to her book to see how a new generation of leaders, forged by their student activism, will compete in Nepal's new political arena.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250923190928_98d53dd49d56c92950bc34642eaee51dea458fd64312d945a358ad70e5e994bb.jpg" data-media-id="editor_4" data-image-id="20250923190928_98d53dd49d56c92950bc34642eaee51dea458fd64312d945a358ad70e5e994bb" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Making new Nepal book details NT"> </figure>

Nepal’s historic youth dissensus

What does a journalist do when young protesters are shot in front of her? Does she do her job and stay neutral? Can you stay neutral?&nbsp; As protests engulfed Kathmandu, Nepal's journalists found themselves reporting a story that was personal. While doing their job, some of them were even targeted by mobs.&nbsp; Dart Asia Pacific Fellow <a href="https://www.linkedin.com/in/arunkarki/" target="_blank">Arun Karki</a> visited their newsrooms and spoke with his colleagues on their experience of reporting the GenZ protests that erupted on 8 September. These are the first-hand accounts of journalists who witnessed the turmoil in the city they call home. Sunita Karki was at a workshop in a hotel on 8 September. She saw the first waves of protests through hotel windows. Curfew alerts flooded her phone, a vehicle belonging to a human rights group sat burning across the road, young boys were taking their wounded friends on motorbikes to the Everest Hospital, and police were beating a teenager with hands raised up.&nbsp; “I cried a lot,” she said, but the tears were not out of fear -- they were because she felt guilt. “I couldn’t write the news. We were witnessing these scenes from a five-star hotel.” By evening, the death toll had reached 19. On 9 September at about 3:35 p.m. &nbsp;her outlet, the Annapurna Post's office in Tinkune, Kathmandu, was set on fire. Staff had to leave the building as parts of the newsroom burnt down.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250924040948_e1cc49c9e4fcc4bd4cd3c0163c782fc4e9956bf633cff7b53a63cf8e2dd74cff.jpg" data-media-id="editor_1" data-image-id="20250924040948_e1cc49c9e4fcc4bd4cd3c0163c782fc4e9956bf633cff7b53a63cf8e2dd74cff" data-rendition-name="original" width="1333" height="1000" loading="lazy" alt="Dart Centre Asia Pacific"> </figure>  When she knew her office was burning, she anxiously told her husband that she would resign from the job: "If we have to hide our identification cards in every protest, what kind of journalist am I?" she asked herself. She filed a story the next day, but her emotions kept bouncing between that of a journalist’s duty and shock. She said that in moments like this, it’s hard to feel truly neutral. After watching the police beat people, she felt a strong urge to step in, not just stand back and report. The first real calm came later, when people came to the street and lit small candles together. “This was a sort of victory procession. I felt some relief after brutal days,” she said. <a href="https://www.linkedin.com/in/angaddhakal/" target="_blank">Angad Dhakal</a> a photojournalist who works at Kantipur National Daily, was standing outside his office building when protesters stormed in and set parts of it on fire. He had already been informed that protesters were planning to torch his office building and &nbsp;rushed to his office hoping to save his hard drives containing ten years of photography work. He failed. He raised his camera and "forcefully" pressed the shutter - more to document the scene than out of "professional enthusiasm or duty".&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250924040948_ebafaacb85c4ea045c41f2c63f1eff06fee9a4ddb5fbf419724e1a5d533781fa.jpg" data-media-id="editor_3" data-image-id="20250924040948_ebafaacb85c4ea045c41f2c63f1eff06fee9a4ddb5fbf419724e1a5d533781fa" data-rendition-name="original" width="1333" height="1000" loading="lazy" alt="It is hard to feel neutral NT"> <figcaption>Photo: GAURAV POKHAREL</figcaption> </figure>  “My office was burning. What should I photograph?” he recalled. A few moments later, a protester noticed the “PHOTO” label on his yellow Press jacket. Dhakal deflected it by saying he was an early career freelancer and YouTuber. So that protesters wouldn't find out, he went to one corner and took his jacket off. When it comes to covering street protests, &nbsp;Angad usually stands near the police because it feels safer. But on 8 September, fire and gunshots made even that area unsafe. A rubber bullet hit his friend Dipendra Dhungana that badly injured him.&nbsp; He thought, “Where do we go now? If we stay here, we’ll be hit.” After witnessing two days of protests, violence, and killings, and seeing his own office burning, he couldn't sleep for days. The same afternoon that government buildings burned and Kantipur was attacked, a message in a protest Discord forum talked openly of 'attacking Kantipur'.&nbsp; Rumours spread to other outlets. Outside OnlineKhabar's office, where <a href="https://www.linkedin.com/article/edit/7376157229248528384/?author=urn%3Ali%3Afsd_company%3A79132377#" target="_blank">Gaurav Pokharel</a> works, the newsroom manager saw “very suspicious people were walking around”. They lowered blinds, avoided windows, locked the front gate and dispersed staff to other places across the city. The outlet was threatened and effectively locked down, but not torched. Pokharel hid his press ID. “ I never showed the ID card. Sometimes I had to enter the crowd shouting slogans, just to blend in among the protesters,” he said. He watched people fall under gunfire, he helped pull one surrounded journalist out of a hostile crowd.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250924040948_3b335eee57280373cb51f460534ca4476df23f89c787ba9e4a66d116a537b1a3.jpg" data-media-id="editor_5" data-image-id="20250924040948_3b335eee57280373cb51f460534ca4476df23f89c787ba9e4a66d116a537b1a3" data-rendition-name="original" width="1333" height="1000" loading="lazy" alt="It is hard to feel neutral NT"> <figcaption>Photo: GAURAV POKHAREL</figcaption> </figure>  As a freelancer, Gaurav also contributed articles for international outlets. Later, while transcribing an interview of a young protest organiser, he wrote to his editor at an international outlet : “This was very hard to write. I cried many times while doing it.” He had been working at a stretch for days battling bouts of exhaustion and low blood pressure.&nbsp; Protesters vandalised and set fire within the Singha Darbar complex housing Nepal Television and Radio Nepal. They tried to disrupt public broadcasting.&nbsp; Surendra Paudyal began the day with his press ID hanging on his neck, thinking it would let him move freely. But when he reached Singha Darbar around 3:30PM, the situation felt dangerous.&nbsp; He put the ID in his pocket. When asked what mattered most, he answered without pause: life comes first. In that moment, he felt real fear and a strong duty to protect his team.&nbsp; His focus narrowed to basic things: stay calm, find exits, get everyone out safely. Later, they were able to keep the 8 pm news on air through a regional link. He felt mixed emotions and a sense of relief that the broadcast continued, but also sadness and anger that their own studio had come under attack. Reprinted with permission from the Dart Centre Asia Pacific, a regional hub that provides trauma-informed support and advice to journalists.

"It is hard to feel neutral"

Among the songs GenZ protesters were chanting at the Mandala on 8 September was Amrit Gurung’s folk-rock rendition of the Panchayat-era patriotic song, <a href="https://www.youtube.com/watch?v=0iXnL31W93c">रातो र चन्द्र-सुर्जे जङ्गी निशान हाम्रो</a>. But amidst waving double pennants that day in Kathmandu were strands of Gopal Yonjan singing <a href="https://www.youtube.com/watch?v=N7D8P-g3Uw4" target="_blank">बनेको छ पहराले</a> and <a href="https://www.youtube.com/watch?v=57SlGf4m7R4" target="_blank">देशले रगत मागे</a>. The irony is that the message of Nepali nationalism the musician was trying to convey 50 years ago with his lyrics carries a new resolute relevance in today's context: I am a son of Nepal who will never kowtow to anyone.&nbsp; You can behead me, but I will never bend the knee. &nbsp; I can withstand fire, but will not stand injustice.&nbsp; If the nation demands blood, I will sacrifice myself. My mother will not weep, for she is the daughter of a Nepali. This was pure patriotic poetry that only someone like Gopal Yonjan could write. They are inter-generational and immortal — speaking as much for the GenZ today, as it was for the early days of nation-building when they were recorded in vinyl and broadcast over Radio Nepal.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025092210094_4d5f65bf3ba2d2823e3da8aff6a77f2b9aa4eff4b1e1b6a8eeed8c0bcb58e47b.jpg" data-media-id="editor_3" data-image-id="2025092210094_4d5f65bf3ba2d2823e3da8aff6a77f2b9aa4eff4b1e1b6a8eeed8c0bcb58e47b" data-rendition-name="original" width="2000" height="1600" loading="lazy" alt="Gopal Yonjan NT 1"> <figcaption>Gopal Yonjan was an adept flautist from a young age in Darjeeling.</figcaption> </figure>  Those two songs together have over 20 million views on the Music Nepal YouTube channel, and many of the comments have been posted after the 9 September massacre and the raging conflagration at the epicentre of the Nepali state&nbsp; They attest to the emotional depth of Nepali nationhood and love of motherland in every citizen of every generation no matter how dreadful the circumstances — and especially when the future looks fragile and uncertain.&nbsp; The release of Gopal Yonjan: The Man &amp; His Music by his wife Renchin could not have come at a more momentous time in Nepal’s history to celebrate this iconic legend of modern Nepali music. Yonjan would have been 82 today, and as a poet, lyricist, singer innovated and improvised using Nepal’s folk traditions to infuse modern arrangements, meld melody with harmony, and lend them words that made the songs eternal.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025092308098_76c4e4df756de0c1bea9858e1da0bcb6acb8145f27963e1679f5509a6ac2f078.jpg" data-media-id="editor_4" data-image-id="2025092308098_76c4e4df756de0c1bea9858e1da0bcb6acb8145f27963e1679f5509a6ac2f078" data-rendition-name="original" width="2712" height="3900" loading="lazy" alt="Gopal Yonjan Narayan Gopal"> <figcaption>Narayan Gopal with Gopal Yonjan, the ‘Gopal Duet’ at Swayambhu circa 1963.</figcaption> </figure>  HOMECOMING Renchin Yonjan brings us an intimate family album of historic photographs of Gopal growing up in school in Darjeeling, his arrival in Kathmandu and the decision to make Nepal his home. She quotes Gopal: ‘I was deeply moved by the very glimpse of Nepal. I was enchanted by the greenery of Kathmandu, the gentle nature of the people, their pure thoughts, and their hospitality … how wonderful it would be to spend my live in such a beautiful and serene place.’ It was a kind of homecoming for Gopal Yonjan, the land his ancestors left to migrate to British India. In Kathmandu he found kindred spirits and musicians as passionate about their craft as himself: Narayan Gopal, Nagendra Thapa, Ratna Shumsher Thapa, Shiva Shanker, Pushpa Nepali  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250922100920_99a97f6cd76c130d5df91a38ac236906bcb21ba6fc2d2d693ba51e0a97c045d4.jpg" data-media-id="editor_5" data-image-id="20250922100920_99a97f6cd76c130d5df91a38ac236906bcb21ba6fc2d2d693ba51e0a97c045d4" data-rendition-name="original" width="1500" height="1071" loading="lazy" alt="Gopal Yonjan"> <figcaption>Gopal Yonjan arriving at Kathmandu airport in 1963 and greeted by Nepali singers Pushpa Nepali, Dilmaya Khati, Shiv Shanker Shrestha, among others. </figcaption> </figure>  Gopal Yonjan and Narayan Gopal hit it off right away, complementing and inspiring each other with their shared love for meaningful music. They came to be known as the ‘Gopal Duet’, and Yonjan wrote in Nepali in his diary on 21 April 1963 about their first meeting: ‘I was immediately struck by his talent and presence. There was something in both his artistry and demeanour that drew me in. It didn’t take long for us to draw close.’ Towards the end of his life, Gopal Yonjan drifted away from themes of patriotism and unity to celebrate music in its purest form in his Gopalaya Studio in Kathmandu. It became art for art’s sake.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250922100912_f9aeec8d96049c580a4b63789664e1ae80971d3be3c7809acfe51b84e3e31cd1.jpg" data-media-id="editor_6" data-image-id="20250922100912_f9aeec8d96049c580a4b63789664e1ae80971d3be3c7809acfe51b84e3e31cd1" data-rendition-name="original" width="2000" height="1304" loading="lazy" alt="Gopal Yonjan"> <figcaption>Gopal Yonjan at his Gopalaya Studio in Kathmandu in 1992.</figcaption> </figure>  The words of his song <a href="https://www.youtube.com/watch?v=D8ZHg3wkvzw" target="_blank">मेरो गीत मेरै प्रतिविम्ब होइन</a> immortalised by Narayan Gopal has lines that give goosebumps to anyone who listens to them: मेरो गित भन्ने अधिकार छैन, गित को पो म हूँ मेरो गित होइन (I have no right to call this my song. This song does not belong to me. I belong to this song.) &nbsp; In Nepal, Gopal Yonjan also found a more complicated story. There were grand historical narratives of nationalism, bravery and glory, but there was an undercurrent of fear and control. Renchin writes in the chapter, Tell Me Where My Country Lies: ‘[Gopal saw] national pride slowly erode in the face of social exclusion, political silence, and economic disenfranchisement.’  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250922100912_57578ebebc7e405cf6ad3080611366893bee30cfc071567e6509038da866b2f2.jpg" data-media-id="editor_8" data-image-id="20250922100912_57578ebebc7e405cf6ad3080611366893bee30cfc071567e6509038da866b2f2" data-rendition-name="original" width="1500" height="1043" loading="lazy" alt="Gopal Yonjan"> <figcaption>Renchin and Gopal Yonjan in their garden in Kathmandu in the late 1980s.</figcaption> </figure>  Gopal Yonjan’s song <a href="https://www.youtube.com/watch?v=Zru8yWSuRCI" target="_blank">भनिदे नेपाली दाइ मेरो देश कहाँ पर्यो</a> is ‘as much an elegy as a manifesto’ with searing lines like ‘Where is the river that ran red with Nepali blood? Where is the battlefield where our defenders wiped their khukri?’ Gopal Yonjan sings this song himself, reminding Nepalis of the sacrifices made to forge this nation, and for us not to squander them.&nbsp; In his song <a href="https://www.youtube.com/watch?v=_pVKpsK6Wy8" target="_blank">लाहुरे</a>, Yonjan celebrates Nepal’s illustrious history written in blood both to keep the nation free and then spilling it to defend other countries. Today, the same song takes on added meaning of Nepali lahure shedding not blood but sweat and tears as they toil abroad to send money to families back home. It evokes the pain of separation, and an anger at an uncaring state that drives them to leave. Gopal Yonjan died aged 53 in 1997 in a New Delhi hospital, leaving a legacy that still defines the Nepali nation in ageless musical compositions. The US-based <a href="https://www.gopalaya.org/" target="_blank">Gopayala</a> and the Gopal Yonjan Foundation have worked to remaster some of the tapes and recordings that are in safekeeping at Cornell University’s Carl A Koch Library.&nbsp; Renchin Yonjan has collected some of that valuable documentation in her book, Gopal Yonjan: The Man &amp; His Music. Her concluding paragraph sounds prescient because of what Nepal has just been through: ‘Gopal’s patriotic compositions remain timeless not because they repeat old slogans, but because they ask new questions, and demand that we answer not with our voices, but with our lives.’  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025092210090_3d0b5ecad2313b09e83e0de91bf510004f1ff836d7e66f0543ccd49432bb6386.jpg" data-media-id="editor_12" data-image-id="2025092210090_3d0b5ecad2313b09e83e0de91bf510004f1ff836d7e66f0543ccd49432bb6386" data-rendition-name="original" width="1136" height="518" loading="lazy" alt="Gopal Yonjan"> </figure>

Gopal Yonjan’s immortal songs

Harry Jackson was on an epic adventure ‘from Thailand to the UK on 2 wheels’ when he ran into the ultimate sidequest. Having just visited Zangla in Ladakh, Jackson had only landed in Kathmandu when he found himself in the middle of GenZ protests earlier this month. ‘<a href="https://www.youtube.com/watch?v=Slq6zWu9o9w">Arriving in Nepal - Chaos, Protest &amp; Curfews</a>’ is the title of his first video (<a href="https://www.youtube.com/@wehatethecold/videos">wehatethecold on YouTube</a>) about the protest. He shoots police as they shoot at protesters outside Parliament. Jackson is riding a Honda CT125, a retro lightweight motorbike with off-road capabilities. Strapped to the bike is his sparse luggage, flute, and a faded Union Jack. People are rioting on the streets and there is a heavy armed police presence as he makes his way to his hostel in Thamel. His vlog the day after on 9 September has 29 million views. In ‘<a href="https://www.youtube.com/watch?v=IyxSqeFrlp0">The side of Nepal the media won’t show you</a>’, Jackson rides his bike straight at the crowd just past the Parliament building into Old Baneswar.&nbsp; He parks it and walks among the protestors, documenting it all: from the police firing capsules of tear gas into the crowd to the burning Parliament building as well as the jubilant, victorious crowd in the premises as they destroy police vehicles and dance. “I’m shocked at the scenes I’ve witnessed here today. I have truly witnessed history on a stupid trip from Thailand to England on a f***ing moped!” exclaims Jackson as he leaves the scene for the day, heading back to his hostel to edit the footage. The hostel is in direct contrast to the raucous scenes of the protest, as tourists and Nepalis sit and lounge at tables. ‘KUIRE VLOGGER’ Nepalis quickly called him the ‘kuire vlogger’, and attribute his skin colour to his popularity. Objectively, the videos are well made. Jackson goes full gonzo journalist, putting himself right in the heart of the action, talking directly to the people, all while narrating the events as they unfold. Despite being cut together in an entertaining way, the footage retains a raw, unpolished quality that outdoes what most professional journalists with a heavy duty camera crew could do. At a time when legacy media has been seen to be pushing biased narratives, Jackson wants to see for himself what happened, and make up his own mind.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250925120956_f7141e06c72655502fc4b2e56120d084b0f5ae111078d66df4fd0415adf8d376.jpg" data-media-id="editor_3" data-image-id="20250925120956_f7141e06c72655502fc4b2e56120d084b0f5ae111078d66df4fd0415adf8d376" data-rendition-name="original" width="2880" height="1604" loading="lazy" alt="WehateTheCold"> </figure>  This kind of video journalism takes a lot of skill and a certain personality. Many people, almost everybody, had their phones out at the protests, but only a handful were like Jackson. He interviewed people firsthand, edited the clips and uploaded them the same day. Jackson continued his vlogging over the next few days as the curfew was first put in place and then lifted. He explores the city as the Valley rebounds. By this time, Nepalis recognise him everywhere he goes. Jackson had achieved moderate fame as a 23-year old DJ in Birmingham, but what he has done in Nepal is something else. Almost everyone he talks to has already seen his vlog, and they are all eager to interact. He has been on multiple podcasts in Nepal too, and most videos online on the protests reference his vlogs. Before his Nepal blogs, Jackson had a modest 16k subcribers on YouTube, but after Nepal figure is now almost 700k, gaining over 100k each through 11-13 September. Most of them are Nepali viewers. “I’m just a regular dude who just did what he wanted to do,” says Jackson on a podcast. “I wanted to go on an adventure, learn about history, and learn languages. And I wanted to film it, document it, and have a wicked film for my life to show future generations.” &nbsp;

little-buddha

Niranjan Koirala, 73

The Eyes of Truth

Nepal’s historic youth dissensus

"It is hard to feel neutral"

Gopal Yonjan’s immortal songs

The accidental journalist