Nepal’s newest music festival is guaranteed to start with a bang. Surya Nepal Drum Jatra next week will feature the heavy beats of metal, wood and leather drums alongside delicate sounds of bells and singing bowls. <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/making-the-sound-of-music-in-patan,3976" target="_blank" rel="noopener">The damphu, madal and dholak will inject a Nepali flavour</a> to this international event.“We want to showcase the variety of styles we have in drums because Nepal is so rich in them, but we hardly ever celebrate drums,” says festival organiser Navin Chhetri. “Every major city in the world has drum festivals, except Kathmandu — we wanted to start something new.”Kathmandu will reverberate 24-29 June with Drum Jatra concerts that will feature Nepali sounds like Naykhibaja, the drumming of the butcher community in Bhaktapur, which was almost lost due to caste stigma, and Tamang Selo, which embodies the history of that hill community.Foreign rhythms will sound out courtesy of the Australian didgeridoo and in the person of Esad Halilovich, an acclaimed drummer from Vienna who will add a Balkan flavour.Along with performances, a series of workshops by experts will allow aspiring drummers to tap into Nepali percussion styles and Afro-Brazilian beats. Events will take place all over the city, culminating with the finale at Summit Hotel on 29 June.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<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110813114/636a46709c7e80680e04d3dajpeg.jpg" alt="" width="1400" height="933"/>Esad HalilovicJazz drummer, composer and teacher based in Vienna the trio-playing Halilovice has presented his compositions at renowned international jazz festivals. He will also be giving workshops on hand techniques for drummers and improvisation of drum sets.Performs: Traditional folk music from the Balkans in the language of contemporary jazz.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110813114/636a46739c7e80680e04d3dbjpeg.jpg" alt="" width="1400" height="1050">Kathmandu Baja PucaA young group performing in the Naykhibaja tradition. Nay refers to Newar butchers, with whom the tradition originated, khi means drum, and baja denotes an instrument or musical ensemble. The butchers were considered untouchable, and their musical legacy was forgotten as youngsters rejected it because of the caste stigma.Performs: The recovered Naykhibaja repertoire with pride, with determination to preserve it for future.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110813114/636a46779c7e80680e04d3dcjpeg.jpg" alt="" width="1400" height="932">Abhaya Krishna ShresthaMusician, composer and ethnomusicologist with expertise in processional drumming in Kathmandu Valley, Shrestha documents different Nepali drumming traditions, exploring ways to bring them into the academic realm and international contemporary music. His initiative to learn the Naykhibaja of Bhaktapur's Newar butcher community has raised its profile.Performs: Dhimaybaja, Navabaja of Bhaktapur, Naykhibaja of butchers of Bhaktapur, and Dapha music.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110813114/636a467a9c7e80680e04d3ddjpeg.jpg" alt="" width="1400" height="933"><figcaption>All Photos: MUSIC ROOM/DRUM JATRA</figcaption></figure>Salil SubediA pioneer didgeridoo player who has explored the ancient wind instrument’s potential beyond music, employing it in theatre, performance art, sound art, and social and public art for educational, social and cultural causes. His central theme is nature and spirituality.Performs: unique styles of didgeridoo as a percussive and rhythmic instrument, revealing the versatile nature of the instrument and the performer.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110813114/636a467d9c7e80680e04d3dejpeg.jpg" alt="" width="1400" height="933">Kiran SahiA drummer and percussionist with a long record of performance and teaching, Sahiis best known for playing with the Nepali progressive rock band Jindabaad and the jazz ensembles Le-piro Quintet and Mad Jazz Quintet.Performs: Drums and other percussion instruments with a flavour of progressive rock and jazz.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110813114/636a467f9c7e80680e04d3dfjpeg.jpg" alt="" width="1400" height="1042">Rabin Lal ShresthaA leading figure of classical music in Nepal, and one of the country’s most respected and renowned musical performers, recording artists and educators, Shrestha taught music in the royal palace for over two decades. He has lectured and headed a department at the Fine Arts Campus of Tribhuvan University.Performs: Percussion instruments in classical style.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110813114/636a46839c7e80680e04d3e0jpeg.jpg" alt="" width="1400" height="933">Naresh PrajapatiA percussionist specialising in Madal Tarang, Prajapati studied traditional Nepali percussion under the maestros Nuchhe Bhadur Dangol and Rabin Lal Shrestha, and his work appears on albums such as Pandit Hariprasad Chaurasia Live! in Nepal.Performs: A wide range of traditional drums like madal, tabla, dholak, shimmy and khi.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110813114/636a46869c7e80680e04d3e1jpeg.jpg" alt="" width="1400" height="933">Navin ChettriA percussionist, vocalist, composer and music educator, and founder and artistic director of the Kathmandu Jazz Festival (popularly called Jazzmandu). Chhetri is a pioneer of jazz in Nepal, and a driving force behind its growth.Performs: Jazz, Nepali folk, Indian classical, West African, Afro -Cuban and Brazilian rhythms<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110813114/636a46899c7e80680e04d3e2jpeg.jpg" alt="" width="1400" height="933">Mangal Man MaharjanAn accomplished singing- bowl artist, as well as theatre practitioner and Charya dancer, Maharjan is a keen collector and historian of singing bowls, and strives to unearth the ancient roots of the bowls in Newari culture.Performs: Singing bowl, in order to preserve and revive its traditions in the Kathmandu Valley.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110813114/636a468c9c7e80680e04d3e3jpeg.jpg" alt="" width="1217" height="824">Tamba GroupA group performing in the Tamang Selo style, a musical tradition central to Tamang culture. Tamba songs are one of the oldest and most prized parts of Tamang musical tradition and integral to rituals and habits that mark the course of every Tamang’s life, from birth to death. This ensemble presents a glimpse of Tamang culture and history.Performs: Tamang rituals, folktales and beliefs to the rhythmic accompaniment of the Damphu drum.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110813114/636a468f9c7e80680e04d3e4jpeg.jpg" alt="" width="1400" height="934"><a href="http://cadenzacollective.com/" target="_blank" rel="noopener">Cadenza Collective</a>A unique and eclectic band in Kathmandu. From humble beginnings in the early 1990s as a rock, funk and reggae outfit, Cadenza went on to become among the first bands to experiment with jazz in Nepal, pumping vitality into the country's improvised music scene.Performs: Jazz, afro-funk and Nepali folk music, creating a genre-bending sound that’s irresistible to the ears.Read also: <a href="https://www.nepalitimes.com/review/jazzmandu-finale/" target="_blank" rel="noopener">Jazzmandu Finale</a>, Sewa BhattaraiWORKSHOP SCHEDULE24 June10:00 am- 11:00 am / Hand technique for Drummers - Esad Loliovich11:00 am - 12:00pm / Nepali Folk Percussion Presentation - Abhay Shrestha1:00pm - 2:00 pm / Essential Grooves for Jazz Drummers - Navin Chettri2:00pm- 3:00pm /Afro - Cuban / Brazilian Rhythm Section - Navin Chettri25 June10:00 am- 11:00 am / J Dilla on Drumset - Kiran Shahi11:00 am - 12:00pm / Madal Tarang - Naresh Prajapati1:00pm - 2:00 pm / Essential Grooves for Jazz Drummers - Navin Chettri2:00pm- 3:00pm /Afro - Cuban / Brazilian Rhythm Section - Navin Chettri26 June10:00 am- 11:00 am / Drum-set Improvisation - Esad Loliovich11:00 am - 12:00pm / Healing with Singing Bowls - Mangal Man Maharajan1:00pm - 2:00 pm / Essential Grooves for Jazz Drummers - Navin Chettri2:00pm- 3:00pm /Afro - Cuban / Brazilian Rhythm Section - Navin ChettriCONCERT SCHEDULE26 JUNEDRUM JATRA AT UPSTAIRS‘Cadenza &amp; Multi Drummers’Show Time: 8:00pm to 10:00pmVenue: Jazz Upstairs, LazimpatTicket: Rs 500/-Multiple drummers come together with Cadenza Collective to create a night of infectious grooves at Jazz Upstairs.(Gates open at 7:30pm. Seats are based on a first-come, first-served basis, and are not guaranteed with a ticket).JUNE 27DRUM JATRA AT MOKSH‘Cadenza &amp; Multi Drummers’Show Time: 8:00pm to 10:00pmVenue: Moksh, JhamsikhelTicket: Rs 500/-Bringing Cadenza &amp; Multi Drummers across the bridge to Moksh, a special showcase of multiple drummers with Cadenza Collective.(Gates open at 7:30pm. Seats are based on a first-come, first-served basis, and are not guaranteed with a ticket).JUNE 28EKTAAL'Subtle Sounds of Percussions'Show Time: 7:00pm to 9:00pmVenue: Kantipur Temple House, ThamelTicket: Rs 1000/-Featuring the subtle, delicate and charismatic colours of drums at Kantipur Temple House with visiting drummers and some of Nepal's top traditional percussionists.(Gates open at 6:30pm and closes at 7:30pm. Seats are based on a first-come, first-served basis, and are not guaranteed with a ticket).JUNE 29DRUM JATRA FINALEShow Time: 7:00pm to 9:00pmVenue: Summit Hotel, Sanepa HeightTicket: Rs 800/-The Finale will showcase some of the top festival performers, with high-energy drumming traditions spanning from western percussion ensembles, African drumming styles and Brazilian rhythms to traditional Nepali drums, such as Madal tarang and Women’s Tamang Selo ensemble.(Gates open at 6:30pm. Seats are based on a first-come, first-served basis, and are not guaranteed with a ticket).

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DRUM ROLL

https://youtu.be/1Ur3EvdiaikDevotees lined up inside the Tashi Chhyoling Gumba of Nalma village, Lamjung, recently on Buddha Jayanti to prepare the Ghatu dance. Interestingly, although the day begins with offerings and lamps for the Buddha, the dance begins by invoking Hindu gods.Ghatu seems to bring many cultures and languages together across the mountains of Central Nepal. In Nalma village, a two-hour ride from the district headquarter of Besishahar, four young girls are dressing up in traditional Gurung costumes to prepare for the dance. The rituals actually begin in January on the festival of Shree Panchami, when the dancers are selected. They are then trained until the performance starts on Buddha Jayanti, and goes on for up to a week. <img width="575" height="1024" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108121144/636a41ef9c7e80680e04a6a4jpeg.jpg" alt=""/>On full moon day the dancers line up in a community building at the center of the village, and begin swaying slowly to the music as village elders sing to the beat of the madal. Ghatu tells the tragic story of King Pashramu and Queen Yambawati: Pashramu goes on a hunt, meets and marries Yambawati, and they have a child. Pashramu is killed in action, Yambawati self-immolates on her husband's pyre. The dance climaxes with Yambawati's grief as she gives up her kingdom, says goodbye to her little son, and embraces death. The dancers go into a trembling trance as they perform for hours.Ghatu dance is performed all over central Nepal by Gurung, Magar, Dura, Balami and Kumal communities. But no one is sure how it originated. "It was passed down to us by our ancestors, but they did not tell us where they learnt it or how it began," says Jung Bahadur Gurung, dance teacher in Nalma. "People believe it's based on a local story, and that Pashramu and Yambawati were a local Gurung king and queen."Gurung knows the songs, but says he does not know what language they are in. It sounds like Tharu or Bhojpuri, languages spoken in southern Nepal. Since Pashramu meets Yambawati when he is out hunting and far away from his mountain homeland, some people speculate that queen Yambawati was a woman from the Tarai and brought the songs with her. The Gurungs also do not have the practice of sati depicted in the dance. Considering this and other factors, folk music expert Kishor Gurung concludes that Ghatu was actually brought to Nepal by Lahures who went to India. "Nepali soldiers who joined the British Indian armies must have brought it back with them 150-200 years ago."Professor Yubaraj Gurung thinks the dance is essentially a way for the community to comes to terms with pain and relate it to Yambawati's grief. But there is agreement on what makes the dancers go into a trance as they dance with their eyes closed, swaying slowly to the music."The dancers sometimes don't even know the story, but go with the flow and where the music takes them," says folk music researcher Jhuma Limbu who is making a documentary about Ghatu. "It is a matter of great pride that music which explores the depths of human psychology is still alive in Nepal. We must do our best to preserve it." <img width="2000" height="1123" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108121148/636a41f29c7e80680e04a6a5jpeg.jpg" alt="">As with most folk art, this music has been passed down and preserved orally, and it is known to affect the dancers anytime it is played. Grown women who were former dancers sometimes fall into a trance when they hear the music. Villagers here forbid recording the music, and the performances only happen at designated times.With the march of time, interest is waning in such lengthy dances when other means of entertainment are easily available, says musician Raju Gurung: "It is a very sad that people are losing interest in the ritual part of the dance and it is becoming more and more commercialised. We love our dance very much and would like to preserve it, but it is a losing battle."

Ghatu dance of Lamjung

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

The Last Days of the Khampa

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

Turkish to Seville

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

Digital protection for Nepal’s art

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