A dedicated exploration of natural dyes in artwork. Reusing discarded items to produce art. The Kala Salon in Chhaya Centre in Thamel is the newest haven for art lovers with green hearts.&nbsp; On a lower level is Foraging Chroma by Nepali fashion designer Meena Gurung. The exhibit reminds one of a home décor store with the walls adorned in intricately artful fabric, only much more vibrant. Meena Gurung has woven each fabric from natural materials such as plants, leaves, and barks of trees.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240313130332_551179ef18cd10564eaf3494c266a476a050d528c0246db9d98ae58171e98a9a.jpg" data-media-id="editor_0" data-image-id="20240313130332_551179ef18cd10564eaf3494c266a476a050d528c0246db9d98ae58171e98a9a" data-rendition-name="original" width="1920" height="1280" loading="lazy" alt="Alternative lifestyle, alternative art"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240313130332_3230c3fdd554c738005845b7c50477d6a538e4016388860cd82e37ff28019611.jpg" data-media-id="editor_1" data-image-id="20240313130332_3230c3fdd554c738005845b7c50477d6a538e4016388860cd82e37ff28019611" data-rendition-name="original" width="1280" height="1920" loading="lazy" alt="Alternative lifestyle, alternative art"> </figure>  Founder of Bora Studio, Gurung studied fashion design in Ireland and was set to follow in her chosen path. But when the Rana Plaza garment factory in Dhaka that was supplying apparel to Louis Vuitton and Zara collapsed in 2013, killing 1,134 mainly women workers, everything changed. Wracked with guilt, Gurung realised she was part of an industry that promoted wasteful and exploitative fast fashion, contributing to a superficial lifestyle and to environmental degradation and climate breakdown.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240313130332_8d25202f8e710866a100698106daf5055bfe878eb87071bf3baad0a4dc35bdd9.jpg" data-media-id="editor_2" data-image-id="20240313130332_8d25202f8e710866a100698106daf5055bfe878eb87071bf3baad0a4dc35bdd9" data-rendition-name="original" width="1920" height="1280" loading="lazy" alt="Alternative lifestyle, alternative art"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240313130336_bd7bf478a859d6f341f63173dae68fb6f888ca389ba8ae40258e4444a0eafab4.jpg" data-media-id="editor_3" data-image-id="20240313130336_bd7bf478a859d6f341f63173dae68fb6f888ca389ba8ae40258e4444a0eafab4" data-rendition-name="original" width="1280" height="1920" loading="lazy" alt="Alternative lifestyle, alternative art"> </figure>  Upon returning to Nepal, Gurung started experimenting with natural dyes. Through trial and error, she mastered the techniques to produce vibrant organic colours and textures. She uses naturally dyed cotton sheets made via an iron bath process as her canvas. Eucalyptus and guava leaves and invasive species are then used as printing tools. Over the past seven years, Gurung has moved through Dolakha, Nuwakot, Tanahu, and Chitwan collecting materials and inspiration.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240313130336_5076ef43a3401f0246f95198a04d80be869c1e3686e65cb682e3383381c40b17.jpg" data-media-id="editor_4" data-image-id="20240313130336_5076ef43a3401f0246f95198a04d80be869c1e3686e65cb682e3383381c40b17" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Alternative lifestyle, alternative art"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240313130332_3a1b407b27102ca63c0c9d9a5cb95cbb252191c120bf5e78bd58f2d9c908a2a6.jpg" data-media-id="editor_5" data-image-id="20240313130332_3a1b407b27102ca63c0c9d9a5cb95cbb252191c120bf5e78bd58f2d9c908a2a6" data-rendition-name="original" width="1920" height="1280" loading="lazy" alt="Alternative lifestyle, alternative art"> </figure>  Fallen leaves of invasive species are a prominent theme in her work: collected from paths inside Nepal’s community forests. The dyes are also on display at the exhibition, and Gurung is on hand to explain her techniques.&nbsp; “In today's world, we need to think critically about what we're leaving behind for future generations. How are we shaping the world, and how can we live more consciously,” says Gurung. “There are always alternative solutions available. By being more mindful of our behaviour and attitudes towards living, we can make a positive difference.” Gurung credits Sophia L Pandé, a fan of her work on Instagram, for encouraging her with the exhibition. Pandé who is also the founding director of The Kala Salon recognised the artistry in Gurung's creations.&nbsp; Says Pandé: “Meena’s work transcends fashion, it's art. People need to see this.” Gurung herself hopes that seeing the work firsthand will spark lifestyle changes that are required for human beings to have smaller ecological footprints. On top of the airy expanse of the Salon, Italian artist Cinzia (pictured below) awaits with her exhibit Zero to Sunya, a mixed-media exhibit using photography, paperwork and copper. &nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240313130336_debb223c76b896d38be0bc20db59e5f8191a40a342ca0a0299714a3af0764444.jpg" data-media-id="editor_6" data-image-id="20240313130336_debb223c76b896d38be0bc20db59e5f8191a40a342ca0a0299714a3af0764444" data-rendition-name="original" width="1920" height="1280" loading="lazy" alt="Alternative lifestyle, alternative art"> </figure>  Cinzia, a globetrotter originally from a now-deserted village in Italy, finds herself constantly drawn back to Nepal. Her travels fuel her artistic spirit, she collects unique items and transforms them into captivating creations. The copper jewelry she crafted in Italy has journeyed with her across the world and now finds a home in this exhibition. Cinzia defies categorisation as a mere jewelry designer or artist, embracing all art forms. A standout piece is a surprising combination of hard paper, a face mask, and cable wires found on a busy road in Kathmandu. These transformed elements create a captivating figure with "hair" fashioned from the wires, resembling a tree with leaves (top photo).  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240313130336_eaca6a2dcc5ab617b21b2dd861ecc8b4e273864550850cd3bb9ebd02693ec293.jpg" data-media-id="editor_7" data-image-id="20240313130336_eaca6a2dcc5ab617b21b2dd861ecc8b4e273864550850cd3bb9ebd02693ec293" data-rendition-name="original" width="1920" height="1280" loading="lazy" alt="Alternative lifestyle, alternative art"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240313130340_c896522d4b48ce53dac516b20770d069d627c00b0d49f49c6e072b5563c717d1.jpg" data-media-id="editor_8" data-image-id="20240313130340_c896522d4b48ce53dac516b20770d069d627c00b0d49f49c6e072b5563c717d1" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Alternative lifestyle, alternative art"> </figure>  &nbsp;“Wherever I travel, I carry a piece of myself. And I seek out kindred spirits, people who share my passion for creation,” Cinzia explains. “This exhibition isn't just a showcase of my efforts, but a testament to the collaboration with my friends who have refined my work and introduced me to new techniques.” Another installation here titled Purusha-Prakriti is crafted from salvaged cardboard and metal mesh from a construction site, showcasing beauty in unexpected places.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240313130336_0fc2dd72680fc89e6a9c453f0cb5ecaa36a3afb549eef8e015e9a78978c0d0d8.jpg" data-media-id="editor_9" data-image-id="20240313130336_0fc2dd72680fc89e6a9c453f0cb5ecaa36a3afb549eef8e015e9a78978c0d0d8" data-rendition-name="original" width="1920" height="1280" loading="lazy" alt="Alternative lifestyle, alternative art"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240313130336_d6b364dce649d425f0caf9d56f093981352ac554096f33fcc00353a7e9a2e460.jpg" data-media-id="editor_10" data-image-id="20240313130336_d6b364dce649d425f0caf9d56f093981352ac554096f33fcc00353a7e9a2e460" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Alternative lifestyle, alternative art"> </figure>  Both exhibitions at the Chhaya Centre leave a lasting impression and invite open interpretation, prompting viewers to question wasteful and energy-intensive modern lifestyles, demonstrating the potential for artistic expression to inspire positive change. Says Sophia Pandé: “Cinzia's exquisite jewelry and Meena's hand-dyed shawls transcend mere function. These wearable artworks hold a value equal to that of a traditional canvas, serving as powerful reminders of the transformative power of artistic expression.” Foraging Chroma by Meena Gurung Zero to Sunya by Cinzia Everyday 11am to 6pm Until 24 March The Kala Salon, Chhaya Centre

Alisha Sijapati

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Alternative lifestyle, alternative art

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

Ocean to mountains

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

India and Pakistan are twins separated at birth. Tensions between them have been at a hair trigger ever since independence and has erupted into full scale conflict at least four times in the past 80 years.
The 22 April terrorist attack in Kashmir that killed 25 Indian tourists and a Nepali citizen, threatens to escalate tension between the two nuclear-armed nations. India has squarely blamed Pakistan for the attacks, and Prime Minister Narendra Modi has given his military “operational freedom” to respond. Pakistan has said it has credible intelligence of an Indian military strike and its officials have promised a “full spectrum” response — a code for a <a href="https://nepalitimes.com/editorial/thinking-the-thinkable">nuclear retaliation</a>.
For Nepal, the killing of its national in the Pahalgam attack comes as another stark reminder that in conflicts from Afghanistan to Iraq, from <a href="https://nepalitimes.com/opinion/how-to-agree-an-armistice-in-ukraine">Ukraine</a> to Israel, <a href="https://nepalitimes.com/news/10-nepalis-from-one-town-fighting-in-ukraine">Nepalis are getting caught in the crossfire</a>. The last time full-scale fighting broke out between <a href="https://nepalitimes.com/opinion/peacemongers-at-india-pakistan-border">India and Pakistan</a> on Kargil in 1999, at least 22<a href="https://nepalitimes.com/here-now/india-s-trial-by-fire-for-soldiers-from-nepal?%27%5C%22="> Nepalis fighting for the Indian Army</a> were killed in action.
Three of Nepal’s immediate neighbours (China, India, Pakistan) have nuclear weapons, and they do not have good relations. With China supplying weapons, <a href="https://nepalitimes.com/editorial/war-and-warming">missile technology</a> and other support to Pakistan, this triangular friction could set off a regional conflagration.&nbsp;
<a href="https://www.nature.com/articles/s43016-022-00573-0" target="_blank">Research at Rutgers University</a> has calculated that even a week-long tactical nuclear exchange between India and Pakistan would throw up so much smoke and debris into the atmosphere that it would block out the sun for years, and lead to a collapse of the <a href="https://nepalitimes.com/news/grow-nourish-sustain-together-world-food-day">global food system</a>. This does not take into account the radioactive fallout that prevailing winds would blow up to <a href="https://nepalitimes.com/here-now/lives-on-the-line-in-the-himalaya">the Himalaya</a>, contaminating glaciers that are the sources of <a href="https://nepalitimes.com/here-now/saving-what-is-left-of-himalayan-rivers">Asia’s main rivers</a>.
The impact of <a href="https://nepalitimes.com/news/climate-breakdown-linked-to-thame-flood">climate breakdown </a>on High Asia was already ringing alarm bells about its <a href="https://nepalitimes.com/news/himalayan-icecap-melting-faster-than-thought">shrinking ice cap</a> reducing the dry season flow of water downstream. Water was going to be the next strategic commodity, geopolitical experts warned, and the next wars in Asia would be over water.
That water war is already happening. India retaliated to the Kashmir attack by suspending the <a href="https://www.nytimes.com/2025/04/24/world/asia/india-pakistan-indus-waters-treaty.html" target="_blank">Indus Waters Treaty</a> of 1960 mediated by the World Bank that has withstood at least three wars between India and Pakistan. The treaty gives India control over the three eastern tributaries of the Indus (<a href="https://en.wikipedia.org/wiki/Beas_River" target="_blank">Beas</a>, <a href="https://en.wikipedia.org/wiki/Ravi_River" target="_blank">Ravi</a> and <a href="https://en.wikipedia.org/wiki/Sutlej" target="_blank">Sutlej</a>), while Pakistan got water from the Indus and two of its western tributaries (<a href="https://en.wikipedia.org/wiki/Indus_River" target="_blank">Indus</a>, <a href="https://en.wikipedia.org/wiki/Chenab_River" target="_blank">Chenab</a> and <a href="https://en.wikipedia.org/wiki/Jhelum_River" target="_blank">Jhelum</a>.
Pakistan was assured of 70% of the annual flow, and India could use a reasonable amount of water for<a href="https://archive.nepalitimes.com/news.php?id=15231"> irrigation and hydropower</a>. &nbsp;Within days of its threat, India stopped water flowing down to Pakistan from the Chenab river and is reportedly preparing to do the same on the Jhelum.
The sabre-rattling has reached a crescendo. Besides threats and counter-threats there are also symbolic drills, with the Indian Air Force practicing landing on an expressway in Uttar Pradesh by its Rafale, Su-30 and Jaguar fighter jets to demonstrate ‘operational readiness’. In response Pakistan test-fired its Abdali ballistic missile that can carry a nuclear warhead and has a range of 450km.&nbsp;
The danger is that with ultra-nationalist rhetoric and the beating the war drums by both sides, India’s government and Pakistan’s military may have to ‘do something’ to appease domestic public opinion. But any tactical strike, an artillery exchange, or territorial incursion could quickly escalate out of control.
Expecting an Indian retaliation for the Pahalgam killings, Pakistan is using<a href="https://nepalitimes.com/opinion/interfaith-collaboration-for-nuclear-disarmament"> nuclear deterrence </a>and warning of “catastrophic consequences”. The two neighbours came close to a nuclear exchange in 2019 after an attack on the Indian military in Kashmir, and prompt international intervention led by the United States cooled tensions.&nbsp;
This time, the <a href="https://nepalitimes.com/news/trump-shock-wave-hits-nepal">Trump administration</a> is too distracted and not as engaged. Pakistan has denied it was responsible for the terrorist attack and called on Washington to stop a possible Indian retaliation. India and Pakistan have stopped overflights by each other’s airlines, and some international carriers have even stopped flying over Pakistan fearing an air war.
Washington, Beijing, the UN and the EU have all urged restraint. Iran, which has good relations with both India and Pakistan has sent its foreign minister to urge both countries not to go into a tit-for-tat war. Iran has its own nuclear flashpoint to worry about with tensions in Israel, &nbsp;Yemen and Syria.
India and Pakistan both share similar problems of joblessness, <a href="https://nepalitimes.com/here-now/why-nepal-s-poverty-rate-is-stuck">poverty </a>and <a href="https://nepalitimes.com/here-now/climate-change-new-threat-to-nepal-s-rhinos">environmental threats</a>. Neither side needs the threat of a senseless war, and we in the neighbourhood do not need it either.&nbsp;
Kunda Dixit
This Editorial 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.

Nukes in the neighbourhood

Most Nepalis thought they had seen the last of it after <a href="https://nepalitimes.com/news/11-56-25-april-2015-wkc9q2an">the 25 April 7.8 magnitude </a>earthquake ten years ago. But the Himalaya had more surprises in store. On 12 May, another 7.3 magnitude tremor that some said was an aftershock, but was strong enough to itself be a major earthquake, struck Dolakha.&nbsp; Not many people had heard of Singati till then — a cluster of houses by the Tama Kosi River along a narrow gorge that is the roadhead to Rolwaling Valley.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250508110520_57b6e316656851f71eca56ca6f98d9bbcc820c1a00d62af3c990725b4361244d.jpg" data-media-id="editor_1" data-image-id="20250508110520_57b6e316656851f71eca56ca6f98d9bbcc820c1a00d62af3c990725b4361244d" data-rendition-name="original" width="1000" height="1500" loading="lazy" alt="Climate magnifies earthquake risk in Nepal village NT"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250508110520_016534fb2b6a79957402281cda768efb83a146786377e39e11df3e251d37159e.jpg" data-media-id="editor_2" data-image-id="20250508110520_016534fb2b6a79957402281cda768efb83a146786377e39e11df3e251d37159e" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Climate magnifies earthquake risk in Nepal village NT"> </figure>  It was here that dozens were killed on 25 April in the first earthquake. Hundreds of <a href="https://archive.nepalitimes.com/article/nation/Singati-rising-from-rubble-rebuilding,3703">Singati survivors</a> had lined up for food and relief supplies in the morning of 12 May when the second earthquake triggered a rock slide that buried a nearby camp. At least 50 people were killed. &nbsp; Three hours later, a US Marine Corps UH-1Y Venom helicopter landed in a nearby cornfield to pick up the wounded, and flew off. The aircraft lost contact with air traffic control in Kathmandu and its wreckage was located high on Kalinchok four days later. Six American servicemen, two Nepal Army soldiers, and five wounded civilians from Singati were killed. Today, Singati bears little physical scar of the multiple tragedies that struck the town ten years ago. Most <a href="https://nepalitimes.com/multimedia/bungamati-builds-back">houses have been rebuilt</a> as urban-style concrete structures, and Singati has become an economic hub on the road leading up to several hydropower plants and a<a href="https://nepalitimes.com/banner/off-the-beaten-trek-in-nepal"> popular trekking destination</a>.&nbsp; The town looks less like a village and more like a suburb of the Dolakha district headquarter of Charikot, 47km away.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250508110520_196f341d1df1403ba133e5dfeb837eec20d7cbcb4c8c56b17cc5598810de5df2.jpg" data-media-id="editor_6" data-image-id="20250508110520_196f341d1df1403ba133e5dfeb837eec20d7cbcb4c8c56b17cc5598810de5df2" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Climate magnifies earthquake risk in Nepal village NT"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250508110524_ae66c4a92430f67db51b5e11e017059eedfbac4cb18c8e073f2a50cca1fe904e.jpg" data-media-id="editor_7" data-image-id="20250508110524_ae66c4a92430f67db51b5e11e017059eedfbac4cb18c8e073f2a50cca1fe904e" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Climate magnifies earthquake risk in Nepal village NT"> </figure>  “The demand for construction material, cement, iron rods and bricks peaked after the earthquakes,” says Suresh Khadka, who owns a hardware business here and now supplies material to the 456MW Upper Tama Kosi hydropower project that is undergoing repairs after it was damaged by a landslide last year. The demand for cement boomed since most residents believe, not necessarily correctly, that <a href="https://nepalitimes.com/banner/in-a-disastrous-state">cement houses are safer</a>. Although Khadka did well selling construction material after the earthquake, he worries that most new structures do not follow seismic-resistant building codes.&nbsp; The construction boom financed by bank loans has in turn forced many from Singati to <a href="https://nepalitimes.com/banner/making-overseas-migration-better">migrate overseas for work</a> so they can service their debt.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250508110524_50caa4530bd5ff9120cf7ab70a62173846d337ef448ff8bac339f3faa375a9e2.jpg" data-media-id="editor_10" data-image-id="20250508110524_50caa4530bd5ff9120cf7ab70a62173846d337ef448ff8bac339f3faa375a9e2" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Climate magnifies earthquake risk in Nepal village NT"> <figcaption>Suresh Khadka</figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250508110520_ef8b7d3993fc3b5df852bbf952feb3fbabc96d6883b0d5eb74ee5c60f4123b83.jpg" data-media-id="editor_11" data-image-id="20250508110520_ef8b7d3993fc3b5df852bbf952feb3fbabc96d6883b0d5eb74ee5c60f4123b83" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Climate magnifies earthquake risk in Nepal village NT"> <figcaption>Phu Doma Sherpa (right)</figcaption> </figure>  “My family had no choice but to borrow money to rebuild our home since the government compensation was not enough, and ten years later we are still paying off the loan,” says Phu Doma Sherpa, 60. Because of the shortage of qualified masons and proper seismic engineering, <a href="https://nepalitimes.com/here-now/structural-problems">many of the buildings are of questionable building standards </a>and the traditional architecture has been abandoned, admits Kul Bahadur Budathoki, deputy chair of the municipality. “But these buildings were more expensive than what the government grants could cover, many people here are heavily in debt and the men have <a href="https://nepalitimes.com/here-now/every-day-is-closer-to-pay-day">migrated to the Gulf to pay their loans</a>,” Budathoki says.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250508110520_32f89e97b7e757fc9286c0bbb671f48ea8d4468e9634fa646d7247c650ad8480.jpg" data-media-id="editor_14" data-image-id="20250508110520_32f89e97b7e757fc9286c0bbb671f48ea8d4468e9634fa646d7247c650ad8480" data-rendition-name="original" width="1501" height="1079" loading="lazy" alt="Climate magnifies earthquake risk in Nepal village NT"> <figcaption>Kul Bahadur Budathoki</figcaption> </figure>  Singati is in a multi-hazard zone. The <a href="https://archive.nepalitimes.com/article/nation/Singati,3091">12 May 2015 earthquake </a>could have led to the collapse of Nepal’s largest glacial lake, <a href="https://nepalitimes.com/here-now/stairway-to-heaven">Tso Rolpa</a>, upstream. Due to global warming, the glacier has turned into an expanding lake 3.5km long, and its collapse would have unleashed a catastrophic Himalayan tsunami down the Tama Kosi Valley, with Singati directly in its path. Singati has literally risen from the ashes of 2015, with its residents beginning to recover from the trauma and financial toll. But it is not out of danger as <a href="https://nepalitimes.com/news/climate-breakdown-linked-to-thame-flood">climate breakdown </a>magnifies the risk from future earthquakes.

Climate magnifies earthquake risk in Nepal village

The streets of Patan are alive this month with lavender jacaranda trees under rain-washed skies as <a href="https://nepalitimes.com/banner/the-red-god-rises-again-in-patan">the chariot of Rato Matsyendranath</a> is pulled across town. This is the festival of the rain god, and inevitably the heavens opened up and pre-monsoon showers pelted the chariot as it started being pulled in Pulchok last week. Thousands of devotees, onlookers and the chariot procession organisers thronged the streets on the first day last week. The rhythmic cymbals and drums exuded a vibrant energy as the enormous four wheels turned and the chariot lurched.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025051007050_81df97744db16f732a419dc1f1579d235ce3df37642b078f50b83bd4bd026688.jpg" data-media-id="editor_1" data-image-id="2025051007050_81df97744db16f732a419dc1f1579d235ce3df37642b078f50b83bd4bd026688" data-rendition-name="original" width="1000" height="1503" loading="lazy" alt="Divine chariot"> </figure>  The<a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Red-rain-god,3141"> red rain god</a> has Hindu and Buddhist antecedents, alternatively called Bungadya and<a href="https://nepalitimes.com/here-now/kathmandu-s-gravity-defying-chariot-festival"> Karunamaya</a> — reflecting Kathmandu Valley’s syncretic mixture of the two religions.&nbsp; “Bungadya is a profoundly <a href="https://nepalitimes.com/opinion/12-full-opinion/marketing-the-intangible">intangible form of heritage</a>,” explains heritage expert Monalisa Maharjan. “It embodies traditional knowledge,<a href="https://nepalitimes.com/multimedia/reviving-nepal-s-craft"> artisanal skills passed down through generations</a>. Local communities and specific families have specified roles in being custodians of the heritage, ensuring their survival over the centuries.” There are many legends and stories about this annual tradition. Lichhavi king Narendra Dev is supposed to have brought Rato Matsyendranath from Assam to Kathmandu Valley to convince Guru Gorakhnath to lift a spell that created a two-year drought in Kathmandu.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250510050520_347a9a398f8a9abc4a7fb4e2774fde8264cccbdce8bdab23851ab3f0e73c3e8a.jpg" data-media-id="editor_6" data-image-id="20250510050520_347a9a398f8a9abc4a7fb4e2774fde8264cccbdce8bdab23851ab3f0e73c3e8a" data-rendition-name="original" width="1503" height="1000" loading="lazy" alt="Divine chariot"> </figure>  Matsyendranath was Gorakhnath’s mentor, and upon seeing him, the serpents were released, unleashing the rains. The chariot festival honours the return of this life-giving rain. The deity is seen as an icon for thriving agriculture, t<a href="https://nepalitimes.com/here-now/before-the-next-monsoon">he arrival of monsoon</a> showers, and the welfare of the community. Read also: <a href="https://nepalitimes.com/opinion/the-reign-of-the-god-of-rain">The reign of the god of rain</a>, Vidhu Prakash Kayastha Till this day, the Rato Matsyendranath festival is no ordinary celebration. Patan does not sleep for a month as the chariot is pulled through various neighbourhoods. It unfolds at a state level with the president (formerly the king) attending the climax of the Bhoto Jatra in Jawalakhel later this month.&nbsp; The intergenerational transmission of tradition is unique in the world, and the reason the festival is one of the most vibrant cultural expressions that thrives despite inroads of modernity. The other unique aspect is that it is a transnational festival, binding Patan with Guwahati in the Indian state of Assam.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025051005058_8bc685ada13045d863b28e3eed91c931da2b510714586af6fd7eb5d1e298a24a.jpg" data-media-id="editor_9" data-image-id="2025051005058_8bc685ada13045d863b28e3eed91c931da2b510714586af6fd7eb5d1e298a24a" data-rendition-name="original" width="1000" height="1503" loading="lazy" alt="Divine chariot"> </figure>  “Unlike Nepal, where the deity commands grandeur and devotion, many in Assam are unaware of Rato Matsyendranath,” says Khagen Sharma of Gauhati University, which convened <a href="https://nepalitimes.com/news/nepal-assam-connection-revived">a symposium in February in Guwahati on the rain god</a>. Attending was a delegation led by Lalitpur Mayor Chiribabu Maharjan, organisers of the festival, and builders of the chariot. After the symposium, a committee was formed to explore and revive the tradition in Assam as well. Although the team had planned to visit Nepal this month, logistical challenges delayed the trip. Still, there are plans to build a Guru Matsyendranath statue in Assam to reestablish regular worship practices in the Guwahati shrine.&nbsp; The vines used to build the chariot in Patan are sourced from the jungles of Assam. But Sharma notes that in recent years unclear regulations have blocked the official import of the vines, although they are still brought to Nepal informally. The <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/makers-of-machhindranath,2204">chariot making</a> has also had a taste of modernisation in recent times. In the past, even a single nail or piece of steel was avoided. But over time, the wooden structure, particularly the shaft between the wheels, has been replaced with bronze. When that too proved unstable, metal clamps were introduced, which have become a pragmatic compromise.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250510050524_b2a819a5791612f14c81d30fc393dbd3f99f0c64b90a9110e8b0855d944bfa93.jpg" data-media-id="editor_12" data-image-id="20250510050524_b2a819a5791612f14c81d30fc393dbd3f99f0c64b90a9110e8b0855d944bfa93" data-rendition-name="original" width="1500" height="998" loading="lazy" alt="Divine chariot"> </figure>  Another welcome change is the focus on safety. Builders climbing the chariot’s tower now wear harnesses and there are efforts in crowd control. The most visible change in recent years has been the involvement of Patan’s enthusiastic youth in the festival — the tradition is now passing to a new generation. Says Matsyendranath expert Vidhu Kayastha: “There is more energy, the young people in red t-shirts this year were very organised, these modern touches aren’t diluting our culture, they’re keeping it alive in new forms.” He adds, “We are <a href="https://nepalitimes.com/here-now/searching-for-a-homeland-away-from-home">reconnecting with our roots</a>, we have more resources, more awareness than ever before. We must not be swept away by western values that may not serve us, and in some ways, cause more harm than good. We must revive our own culture.”&nbsp;