At the start of May, Bunu Dhungana brought some things in the belly home to Nepal. When she had curated the first iteration of the show in 2023, in Delhi, she had hoped she would be able to bring it home, and she did. The exhibition opened to the public in Kathmandu at Nepal Art Council on 2 May and closes on 16 May. The exhibition brings together works by Asmita Badi, Irina Giri, Shradha Devkota, Tripty Tamang Pakhrin, Shristi Shrestha, Ujjwala Maharjan, and the curator, Bunu Dhungana herself. And there’s an installation of yours truly. In the step up to the show, Bunu organised calls for the artists. Tripty joined at odd hours from her newfound home in Syracuse. As did Shradha from her home in London. Ujjwala joined, from her many different trips to India and other places in Nepal.&nbsp; The rest of us joined from wherever we were in Nepal during call hours, probing the unknown, most of us unsure what we wanted to present to the public. The only thing we had clarity on was the theme Bunu had suggested: mother-daughter relationship. And we were to exchange letters with our mothers. Some of us wrote letters to our mothers from the comfort of our homes, some from Pokhara, or whichever town we were in at the time of writing-- sending it by snail mail, which thankfully, hasn’t gone obsolete yet! Our mothers responded to us from their comfort nooks, each one, taking it up seriously like little girls responding to school assignments. Standing before the wall that has the mothers’ letters at the exhibition, one is easily struck by the basicness of the stationery used by the mothers to write to their daughters. They use pages torn out from a notebook, loose examination sheets or even an abandoned diary. So simple and so straightforward. And in that, powerful. Like the truth of the uterus that is all mothers. In the letters, their emotions take center-stage, as maternal emotions do, coming from a place of wanting the best for their daughters-- to protect them, and to keep them happy and healthy. Daughters’ desires are not too different from that of the mothers. But they come in more complex forms and through different mediums. They write an entire journal on these feelings, write pages and pages, enough to fill a room, weave poems and songs from the rhythm that connects the phantom umbilical cord to the mother. Daughters compose images-- some of oil and smoke, some of suffocation, of stillness, of water and ice and of open spaces and of moments of strife, like something heavy being dragged up a stairway by a lone woman.&nbsp; “While not all the works were made exclusively for the show, I did create new pieces - paper made from a letter I wrote to my mothers, and a series of linoleum cut prints. These processes made me reflect more deeply on the role of repetitive, physical labor in my practice and how it relates to the everyday labor of my mothers,” says Tripty, who documents work dedicated to her two mothers. And there are bright hues in gouache, where mothers and daughters are arrested in moments of fun and chit-chat or even just being at the table watching Tiktok. There’s abandoned sound in a dark, spotlit corner, which takes the listener through a journey of contemplation and upheavals. And there are stories from the kitchen, the base for most mothers in the world. For many of us, it is sometimes impossible to separate the fragrance of spices from our mothers or to tell the spices apart from the scent of our mothers.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250514140528_1dd1b5f95e6230f49afb3b084b88542b3fbcc6a454548a3eee60ee85724f7215.jpg" data-media-id="editor_0" data-image-id="20250514140528_1dd1b5f95e6230f49afb3b084b88542b3fbcc6a454548a3eee60ee85724f7215" data-rendition-name="original" width="2048" height="1365" loading="lazy" alt="some things in the belly"> </figure>  some things in the belly is an intimate exhibition, and as the show got underway, visitors were seen returning as if to collect something they had left behind. Many kept coming back to read and to write. And that was precisely what Bunu had wanted to create-- a safe space. Visitors sat down, read, wrote letters to their mothers, listened, watched, laughed and wept. Ujjwala says: “The [letter-posting] wall, how it’s growing and how people are reading and writing, that’s the most interesting thing for me. You don’t know how people connect and what hits who. But I’ve seen people tearing up at the letter-writing section. You forget that it does reach the people it needs to reach.” Bunu’s aim when she was taking on the challenge of curating the exhibition was to also create a circle of sisterhood, by bringing together women to work together on a theme. And in the process, she has also managed to help the artists involved create and learn from one another and to be deeply touched by the familiarity of sentiments. “Each piece is so different and that is the beauty of this exhibition that has come together. Tripty’s and Shradha’s work, the experimentation was very inspiring for me and the process itself...what has come out is powerful,” explains Ujjwala.&nbsp; She adds: “They are visual artists but the poetry in it is so beautiful. Shristi’s work, I fell in love with. The care of it. Ashmita’s work, too. To textual people, the importance of a desk and sitting down, the tactileness of books that inspire us. What would mom write? What would their lives be like...the imagination is dreaming along with our moms-- the amalgamation of dreams.” In one of her journal notes to her mother, Ujjwala mentions she can’t remember how long it has been since she gazed carefully into her mother’s face. One pauses to read that sentence again. How long since we did that? At the heart of the stories in the exhibition is also intergenerational trauma and mother-daughter conflict-- how mothers and daughters tug in different directions, even when they’re chasing the same love.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250514140528_d150acebaa02da545dd3c92db7c1202aef73e60d600537106ec0db40dc84cbfc.jpg" data-media-id="editor_1" data-image-id="20250514140528_d150acebaa02da545dd3c92db7c1202aef73e60d600537106ec0db40dc84cbfc" data-rendition-name="original" width="2048" height="1365" loading="lazy" alt="some things in the belly"> </figure>  When Hishila Yami and her daughter Manushi visited the exhibition with little Yugeen in tow, we caught up on this topic briefly. Manushi said: “We hold so much in our hearts and who do we tell it all to? So we end up dumping it on our mothers. Because who else is there for us as mothers are? “We have such complex relationships of love with our mothers,” Bunu said.&nbsp; All loves have their own equations. The love daughters feel for their mothers is raw and tender and full of familiarity. Everything daughters want for their mother is the same they would want for their daughter, so in that, we serve an endless knot.&nbsp; Then there’s the question of language. What language really serves as a bridge in the gap that exists in mother-daughter relationships? How do we make up in language for the absence of words that can ever convey the sentiments? And so the process of creating some things in the belly has been something like reforging mother-daughter relationships in the crucible. “Each one of us has shaped our practices, and stepped more fully into ourselves. Watching that unfold has been such a privilege,” says Shradha. “I hope, as a collective, this exhibition has offered something real for people to hold onto, reflect upon, or carry with them.” Read also: <a href="https://nepalitimes.com/opinion/suburban-tales/our-mothers-silences">Our mothers' silences</a>, Pratibha Tuladhar some things in the belly Till 16 May Nepal Art Council, Baber Mahal

Pratibha Tuladhar

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Dear Maa,

The monsoon has got bad press because Nepal’s tourism operators actively told visitors to avoid <a href="https://nepalitimes.com/opinion/managing-the-monsoon?%2F">the rainy season</a>. It is time to change that. The reason can be found right here in the vast alpine meadows of Central Nepal where this time of year you can walk on velvet grass of pastures abloom with delicate pink, red and yellow flowers as the mist rolls up the valley. There is no sound except the hum of bumble bees. &nbsp;&nbsp; There are dozens of places across high Nepal called Chaurikharka, which means yak pasture. But this particular Chaurikharka in Rukum East located at an altitude of 4,000m stands out for its serene beauty, rustic charm and bucolic setting. There is just the occasional chime of <a href="https://nepalitimes.com/here-now/when-yaks-go-so-does-culture">yak bells</a> in the distance, and the sharp whistle of herders corralling sheep. &nbsp;&nbsp; The grass shoots are so fragile that one hesitates to step on them, the rounded ridges appear and quickly vanish in waves of mist. With the<a href="https://nepalitimes.com/here-now/before-the-next-monsoon"> arrival of monsoon</a>, these meadows are a soothing shade of green dotted with millions of <a href="https://nepalitimes.com/review/the-anatomy-of-a-flower?%2F=">multi-coloured flowers</a>. Until very recently, it took a week or so to hike up to places like Chaurikharka, but with the expansion of the road network even to these far-flung mountains in the lap of Dhaulagiri, they are much more accessible. It is just a three-hour uphill from the Mid-Hill Highway on the border between Baglung and Rukum East.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250802130828_a0b06b494d751b2144ffbbf10894ea64b29e8aed844bc8c66171783abfaf4e16.jpg" data-media-id="editor_4" data-image-id="20250802130828_a0b06b494d751b2144ffbbf10894ea64b29e8aed844bc8c66171783abfaf4e16" data-rendition-name="original" width="2048" height="1365" loading="lazy" alt="Visit Nepal in the monsoon"> </figure>  Purists would say that such easy access devalues the sanctity of these remote high meadows, but it also means more people will be moved to treasure the experience, appreciate <a href="https://nepalitimes.com/banner/natures-fragile-gift-to-nepal">the value of nature </a>so they can take steps to protect it.&nbsp; To be sure, the <a href="https://nepalitimes.com/here-now/deadly-monsoon-in-nepal-turns-deadlier">monsoon season can be challenging for road travel</a>. The roads are rough even at the best of times, and in the monsoon they become muddy and treacherous, often blocked by<a href="https://nepalitimes.com/news/monsoon-deluge-in-nepal"> landslides</a>. But that could be precisely the kind of adventure that the more intrepid visitors crave. Improved road connectivity has already made Chaurikharka and places like Badimallika &nbsp;and other sacred lakes in the mountains of western Nepal popular with domestic tourists. What is driving this traffic is the urge to go to exotic new places and share videos and selfies on social media. Several of Nepal’s travel vloggers have visited Chaurikharka and popularised the place, enticing followers on TikTok or YouTube to retrace their footsteps. But even as they become more popular, these fragile and once-remote places should be protected from over-tourism.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250731110736_f97110b7cdc3e7f80d5877690948fc9f4c95a09c583deb23b07355491e6c5446.jpg" data-media-id="editor_8" data-image-id="20250731110736_f97110b7cdc3e7f80d5877690948fc9f4c95a09c583deb23b07355491e6c5446" data-rendition-name="original" width="1083" height="699" loading="lazy" alt="Visit Nepal in the monsoon NT"> </figure>  <h2>INCREASING FOOTFALL</h2> Chaurikharka is located in Bhume Rural Municipality of East Rukum, near the scenic valley of Dhorpatan in Baglung district. Even in the <a href="https://nepalitimes.com/banner/monsoon-culture">middle of the monsoon</a>, there is a steady stream of Nepali hikers trooping to these high pastures – especially during festival days like Saune Sankranti which this year was on 17 July and actually marks the auspicious beginning of the monsoon here. “This year the rains have not been as heavy and there have been some clear mornings when we could see everything from Dhaulagiri to Machapuchre,” says Khageswar Bhandari, who trekked up here from the road. “The flowers, the greenery and the snowy mountain views make this an incredibly unique place.”&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250802130824_1b9e26f2e9853fdfe69154bb42a7c9ea6da4bf4940efc1da99b304dcfbd7d3d9.jpg" data-media-id="editor_10" data-image-id="20250802130824_1b9e26f2e9853fdfe69154bb42a7c9ea6da4bf4940efc1da99b304dcfbd7d3d9" data-rendition-name="original" width="2048" height="1152" loading="lazy" alt="Visit Nepal in the monsoon"> </figure>  Chaurikharka is worthwhile to get to in any season, but it has a different charm during the monsoon. Word has spread and because it is now easy to get to from Baglung or even Pokhara, people have been flocking here.&nbsp; “Holidays and Saturdays see the largest crowds, with up to 500 visitors every day,” says ward chair Mankaji Pun of Bhume.&nbsp; There was a time not too long ago when local herders brought sheep, goats, cows, buffaloes, horses, and mules to graze here during the monsoon. Although there are still livestock around, animals have been replaced by visitors taking selfies. Read also: <a href="https://nepalitimes.com/here-now/the-monsoon-and-nature-s-arithmetic">The monsoon, and nature’s arithmetic</a>, Tom Robertson Ward Chair Pun says infrastructure development is his main priority. A foot trail to Chaurikharka was built last year by the Tourism Division Office in Kohalpur, but access via the Raniwas-Koipa road section still remains challenging.&nbsp; “If we get more budget, we can improve the road and facilities to make Chaurikharka the main tourist attraction of this region,” says Bhume Municipality Chair Hom Prakash Shrestha. “After that, we hope to promote Chaurikharka as a top tourist spot.”&nbsp; Economic activity is also picking up with the arrival of visitors, but there seems to be a need to manage the makeshift sheds made of corrugated sheets that spoil the beauty of the place. Tea shops and lodges are also available but facilities are basic. Kuldeep Neupane took a three-day trip from Ghorahi in Dang to visit Chaurikharka recently, and says: “This is an ideal trip to make a quick getaway and let nature recharge your mind and body. And it is much more fun with a tent, to watch the sunrise over the Himalaya or the mist blowing in.”

Visit Nepal in the monsoon

The final investigation report on the crash of a Saurya Airlines jet on 24 July 2024 at Kathmandu airport has revealed flaws in the carrier’s technical operation procedures, poor monitoring by the Civil Aviation Authority of Nepal (CAAN) and gaps in the airport’s emergency response. Eighteen people including a child were killed, and only the captain survived as the plane plunged seconds after takeoff, crashing within the airport perimeter. This was the latest in a series of aircraft accidents in previous years, and further tarnished Nepal’s already poor aviation safety record and contributed to the country being retained in the EU’s air safety list. &nbsp;&nbsp;&nbsp; The circumstances in the Saurya crash were different from the Yeti Airlines crash in Pokhara in January 2022 that killed all 72 on board, and two Tara Air crashes in February 2016 and May 2022 on approach to Jomsom that together claimed 45 lives. However, all four tragedies were a result of negligence of carriers and crew, failure to follow procedures, regulatory slackness, and overconfidence. The Saurya crash, especially, was a glaring example of how an ailing airline broke its own rules to allow passengers, including non-employees, a joy ride to Pokhara on a maintenance ferry flight. CRASH REPORT The Final Investigation Report prepared by the Aircraft Accident Investigation Commission and released on the first anniversary of the crash last week carried a long list of rules that were ignored or broken, and of regulatory failure. The first mistake was to cram spares, tools and inflammable chemicals needed for the aircraft’s C-Check in Pokhara into the cargo hold flouting its own ground handling procedures.&nbsp; There was no check-in of passengers, some of whom were not even employees – even though regulations say only flight and maintenance crew should be on board a maintenance positioning flight. Many brought their own luggage into the plane and stored it unsecured in the cabin. There was no flight attendant to give a safety briefing to passengers. The load and trim charts given to the flight crew were rough estimates, and the total takeoff weight of the plane was 18,300kg plus or minus 200 kg. That would still have been all right, but there was a glaring mistake in the speedchart Saurya pilots were using to calculate the minimum takeoff speed (known as VR), and it had been wrong ever since the 21-year-old aircraft entered service with the airline in 2017. FAULTY DATA&nbsp; The Commission probed Flight Data Recorder inputs from previous takeoffs of the Canadian-built CRJ200-LR in 2023-2024 and found that the undetected error in the speedchart had caused the plane to pitch up at an abnormal rotation rate at least 18 times on previous takeoffs.&nbsp; Any rotation rate more than 3°/sec is regarded as unusual. But on at least two occasions, this aircraft with tail number 9N-AME had rotation rates of 5.8°/sec and 5.5°/sec, the second one was when the pilot who survived was flying in March 2024.&nbsp; On this particular day, the plane’s rotation rate was 6.5°/sec, causing it to go into a deep stall soon after takeoff, the Commission report said. Essentially, the plane was not flying fast enough down the runway to take off safely.&nbsp; It is not yet clear whether excess weight, unsecured luggage, wrong centre of gravity were also factors, but relying on a faulty speedchart for the given takeoff weight, the captain flying pulled back on the yoke before the plane had reached takeoff speed and at a pitch angle that was too steep. The investigation report says the plane then went into a deep stall and started banking right with the stick shaking. At this point, the flight officer on the right hand seat is heard on the cockpit voice recorder saying: “Whoa, whoa, whoa. Sir, Sir, Sir…” It then banked left before the pilot flying turned the plane sharply to the right again in an evasive action to avoid the parking aprons of the international and domestic terminals. Had he not done so, there would have been a disaster of a much greater magnitude at Kathmandu airport that day. The plane scraped the runway with its right wingtip, collided with a container having helicopter spare parts, and plunged into a gully east of the runway, exploding in a fireball. The investigation also noted that the impact forces seemed to be survivable for some occupants. The fire trucks took unnecessarily long to reach the site even though it was inside the airport perimeter. The absence of an ICAO-standard runway strip, inadequate rescue drills, lack of training, and a blocked emergency service gate leading to the crash site were cited as other factors. &nbsp;&nbsp; <h2>Timestamp of a Disaster</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250731110724_39cdd04693994ce6e55a5b302905c0fa4884fe85bed21ff0779bb1439f3a5725.jpg" data-media-id="editor_0" data-image-id="20250731110724_39cdd04693994ce6e55a5b302905c0fa4884fe85bed21ff0779bb1439f3a5725" data-rendition-name="original" width="778" height="826" loading="lazy" alt="Flouting rules caused Saurya tragedy NT"> </figure>  11:10:34 - The Saurya Airlines CRJ200 on the takeoff roll from runway 02. It had a takeoff weight of about 18,300kg, but the pilot’s speedcard had a previously undetected mistake about the minimum takeoff speed. 11:10:55 -The plane with tail number 9N-AME goes into deep stall soon after takeoff because it does not have enough speed to lift its weight. The plane also has an abnormally steep nose-up attitude.&nbsp; 11:11:03 - Without enough speed to generate lift, the plane banks right, then left and right again in CCTV photos taken from the domestic apron (below). If it had not banked right, it could have hit the aprons and terminal buildings. Seen parked is Saurya’s other CRJ200 with tail number 9N-ANM.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250731110732_608132f7225c649125cca2691dd6a6bf930984c5b359e888d7ad9e5eacce3afd.jpg" data-media-id="editor_1" data-image-id="20250731110732_608132f7225c649125cca2691dd6a6bf930984c5b359e888d7ad9e5eacce3afd" data-rendition-name="original" width="770" height="555" loading="lazy" alt="Flouting rules caused Saurya tragedy NT"> </figure>  11:11:08 - The plane scrapes the runway with its right wingtip, and falls into the gully. The captain is thrown off the left side of the cockpit and survives. 11:11:15: Plane explodes in a fireball inside the airport perimeter. Firefighters take time to reach the site because of lack of access road and a blocked gate. Read the full investigation report <a href="https://www.tourism.gov.np/files/9N-AME%20AIC%20Final%20Report.pdf">here</a>.

Flouting rules caused Saurya tragedy

American artist Peter Makela was in Nepal in 2022 on a Fulbright scholarship when he experienced the Matya festival in Patan in which devotees made the rounds of the city’s shrines.&nbsp;
He joined the procession, walking through 2,600 stupa and 140 bahal of the town. That immersion left a lasting impression.
As part of Gallery Mcube’s international residency program in Patan, he put his inspiration to canvas in the exhibition Yala Yatra: Walking, Working, Worshipping. The exhibition also coincides with this month’s Matya festival.&nbsp;
Makela has visited Nepal often in the past 11 years but he mostly stayed in and spent his time around Boudha. “This time I stayed in Patan, put the sites I wanted to visit on my map, and off I went,” he tells us. “Each of my artwork is inspired by the stupas and shrines in Patan that I visited.”
The stupa and Ganesh are recurring motifs in his watercolours, and the elephant gods are located in chaityas — reflecting the interplay and blending of the Hindu and Buddhist faiths in Kathmandu Valley.&nbsp;
The stupas and Ganesh are painted in vivid red, yellow, blue and green against abstract backgrounds meant to represent the sky.
“I use the sky as a backdrop because the sky has no border,” says Makela. “The four colours represent the four elements, the different Buddha families and also lights bouncing off of a rainbow.”
The use of just four colours for all the artwork stands out, and combined with the absence of heavy canvases, frames or stands render Makela’s art striking in its simplicity.&nbsp;
The Ganesh is always holding something and the art also portrays the elephant god’s sacred vehicle, the mouse.
While his vibrant stupas and Ganesh reflect the tangibility of Patan’s tradition and heritage, it is as if the backdrops with their shades of grey and red and yellow capture the soul of the city’s shrines.
“If you look closely, there is a sense of form and formlessness at the same time,” he says.&nbsp;
Makela walked 108 kora around the shrines during his exploration of the town, and in the process developed a spiritual connection with Patan’s heritage and traditions.&nbsp;
The exhibition connects with visitors on a deeper, more spiritual, level as well. And with it, they feel a sense of pride as well as the need to urgently preserve Patan’s heritage for future generations.
“Peter’s inclination and approach towards Nepali art and culture is fascinating, and it reflects in his work,” says Mcube curator Manish Lal Shrestha, whose international artist residency program promotes Nepal’s cultural heritage. &nbsp;&nbsp;
Yala Yatra: Walking, Working, Worshipping
1-5 August&nbsp;
10AM-7PM
Gallery Mcube, Patan

Walking, working, worshipping in Patan

Every year, up to 15 people are killed by tigers in and around Nepal’s Chitwan National Park, famous for its <a href="https://nepalitimes.com/here-now/is-wildlife-conservation-a-victim-of-its-own-success-in-nepal">conservation success story</a>.&nbsp; But this was not always the case — elders say there used to be many more tigers but fewer deaths. What changed? Long before <a href="https://chitwannationalpark.gov.np/index.php">Chitwan National Park</a> was established in 1972, the indigenous Tharu people and tigers coexisted, fostering a centuries-old relationship based on an understanding of each other’s behaviour. In the late 19th and early 20th centuries, <a href="https://nepalitimes.com/here-now/the-tarai-s-shrinking-forests">the Tarai </a>plains, especially Chitwan, gained fame for <a href="https://nepalitimes.com/here-now/the-tarai-s-shrinking-forests">tiger hunting</a> and proved useful as Nepal’s rulers employed hunting diplomacy by inviting British royals to extravagant hunting parties. Hunting expeditions would descend from Kathmandu in winter months to avoid malarial summers. The Tharu supplied rice, vegetables, goats, and constructed access roads.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250729160752_c9998ffdaa27ff3c251556bd472945bf6e648fdb4016d3b152cbef86f321c7f7.jpg" data-media-id="editor_4" data-image-id="20250729160752_c9998ffdaa27ff3c251556bd472945bf6e648fdb4016d3b152cbef86f321c7f7" data-rendition-name="original" width="1500" height="1146" loading="lazy" alt="Tharu people"> <figcaption>A US-supported DDT spraying campaign against malaria in Chitwan in the 1950s that opened the valley to trans-migration of farmers from the hills. The Tharu people were partially immune to malaria. Photo: USOM RECORDS, US NATIONAL ARCHIVES, COLLEGE PARK, MARYLAND</figcaption> </figure>  Rana rulers also relied upon Tharu mahout expertise in handling elephants, navigating the jungle, and tracking wildlife for hunting. The Ranas and their guests killed an astonishing number of tigers. During a hunting expedition in 1850, Rana Prime Minister Jung Bahadur Rana personally shot dead 31 tigers. In 1876, during two weeks, British King Albert Edward VII shot 23 tigers.&nbsp; In 1911 King George V killed four bears, eight one-horned rhinoceroses, and 39 tigers. Rana Prime Minister Juddha Shumsher is said to have killed 433 tigers from all across the Tarai between 1930 to 1940. At the time, 90% of <a href="https://nepalitimes.com/here-now/chitwan-s-bote-people-in-a-changing-world">Chitwan’s population </a>were indigenous Tharu, Bote, Musahar, with the Kumal making up the rest. While people were worried about their crops and food sources, they were also mindful of tigers, rhinos, and other forms of <a href="https://nepalitimes.com/banner/human-animal-interface-in-nepal-wildlife-corridor?%2F">wildlife</a>.&nbsp; The Tharu trapped tiger prey such as wild boar and deer for their survival, also understood that predators like tigers sometimes hunted their buffalos, goats, and cows — especially when they grazed in or near the jungle. To Tharu, this seemed only fair. “In 1973, just before the establishment of the<a href="https://nepalitimes.com/here-now/on-the-tri-junction-of-wildlife-conservation-conflict-and-co-existence"> Chitwan National Park</a>, my family owned between 200 and 300 cows, oxen, and buffaloes,” says Keval Chaudhary, 95. “Tigers killed four to five of my cattle each year, but we never hated tigers and never felt like killing them. It was coexistence — we shared the same land.”&nbsp; Shukhlal Chaudhary of Bachauli once told us there used to be significantly more tigers before malaria eradication in the 1950s, but that did not mean there was more conflict with humans. “We used to go into the forest every day, and were familiar with the routines of the animals that lived there,” he used to say. “The tigers rarely ventured into our village or killed anyone who lived there.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250729160756_e39f7bdb451f752b753b1d8fc4e590196afd5cd21e2456443557c2eafb6c5c82.jpg" data-media-id="editor_8" data-image-id="20250729160756_e39f7bdb451f752b753b1d8fc4e590196afd5cd21e2456443557c2eafb6c5c82" data-rendition-name="original" width="1915" height="1443" loading="lazy" alt="Tigers in Nepal"> </figure>  In the days before the National Park, the tiger population in Chitwan was probably bigger. The Ranas had laws against hurting rhinos and tigers, but more importantly, <a href="https://nepalitimes.com/opinion/comment/unsung-heroes-of-nepal-s-tiger-recovery">the Tharu also cared for the animals </a>and the jungle. This respect for nature runs deep in our tradition. The Tharu worship through the Gurau spiritual healer and honour the forest deity known as Bandevi. Says Aasha Ram Mahato, an 85-year-old resident of Madi: “हमरा पुजा करइ खुनिय जम्मा देवी देउता जससनेकी सोमेसोरबाणि, कल्की माइ, बिक्रम बाबा सब थारु देवी देउता क नाउ लेके हमरा सन्सारी बर्ना कर्साहु इय जेठवा नत एसार्ह महिनावमा हमरा इअ बाली बिर्ही बचावके, बनवका चिजुवा बिजुवा बचावके कहके हमरा बरसमा ३ चोटी पुजा कर्साहु एसार्ही बर्ना, लेरुवा पैठ हसे चैत पैठ बर्ना।” <a href="https://nepalitimes.com/here-now/5-myths-about-the-tharu">The Tharu </a>take the names of all the gods they worship — such as Somesor Baani, Kalki Maai, and Bikram Baba, and perform Sansaari Puja, a traditional ritual to protect crops, wild and domestic animals, insects, and everything in nature. This ritual reflects the community’s deep respect and spiritual bond with the natural world and is performed three times a year. Bikram Mahato, 65, recalls an incident six years ago when 10 people entered Chitwan National Park to cut fodder grass. A tiger was 50m away, silently watching them and preparing to attack. The group quickly decided not to run or scatter. Instead, they stayed close together.&nbsp; This smart and immediate decision prevented a <a href="https://nepalitimes.com/here-now/close-encounters-with-tigers-in-nepal">tiger attack</a>. It also depicts the Tharu indigenous community’s understanding of nature and wildlife, as well as their choice of coexistence and protection. The Nepal government and foreign aid organisations have mostly forgotten the history of Tharu–tiger coexistence and the community’s silent but c<a href="https://nepalitimes.com/opinion/conservation-at-the-crossroads">rucial role in tiger conservation</a>. Nevertheless, let us hope that the state will eventually acknowledge and pay tribute to the contributions of the Indigenous Tharu in protecting the forests and wildlife, especially the tigers, that currently make up Chitwan National Park. Birendra Mahato is an elected member of the Ratnanagar Municipality Ward 6 and Founder Chair of the Tharu Culture Museum Research Centre in Sauraha.

mother-daughter-relationships

Dear Maa,

Visit Nepal in the monsoon

Flouting rules caused Saurya tragedy

Walking, working, worshipping in Patan

Nepal’s Tharu are tiger protectors