The Sherpa people who live below Mt Everest are so famous globally as intrepid mountain guides that their surname has been expropriated by SUV, lounge chair, pet accessory, momo restaurant brands. But their cultural history of being the custodians of the world's highest mountains and intimate relationship with the mountains is reflected in their folk songs. The lyrics point to the Sherpa reverence for nature, and their innate ecological consciousness.&nbsp; Today, the climate emergency is impacting on the Himalaya through no fault of the inhabitants. Rising temperatures are accelerating the melting of glaciers in the Khumbu region, with the threat of glacial lakes bursting. Flora and fauna in the region have been disturbed by weather extremes.&nbsp; But awareness about protecting nature has been Sherpa folklore for generations, long before climate scientists coined the terms greenhouse effect and climate change. Syar Thinche Nima, a song by Rinjin Lhamo Sherpa, a teacher and member of Himalayan Sherpa Cultural Centre in Khumbu, goes like this: The sun rises in the east If the sun doesn’t rise, the mountains will not glow bright The mountains will not remain If there is no snow on the mountains, there will be no rivers There will be no green water If water does not flow, the fish cannot live If there are no fish, there can be no forests Plants cannot grow If plants cannot grow, there will be no birds There can be no life, creation cannot exist. Read also: <a href="https://nepalitimes.com/opinion/margins/songlines-of-the-rivers-and-forests">Songlines of the rivers and forests</a>, Sewa Bhattarai Explains Rinjin: “This song is proof that our community was conscious of the ecology since they have been living here under the mountains.” The song not just portrays the importance of the mountains, but also vocalises the need for their conservation, on which the fates of the very existence of human civilisation depends. This song is also an example of the role of traditional cultures in combating the climate emergency which threatens to destroy the Himalayan ecosystem, and is caused by the overexploiting of nature. In contrast, indigenous cultures like Sherpa culture, reveres and respects the earth and considers it holy. Many Sherpa songs passed down from generations carry this ethos. Another song shared by Pasang Chhiring Sherpa of the Himalayan Sherpa Cultural Centre, Khangdi Thombi, views the mountains as awe-inspiring and sacred: Look at the mountains to the North How tall they are The heart is glad to see them There is a tall, golden wall here Inside the wall are our priceless treasures Our sages reside there Read also: <a href="https://nepalitimes.com/here-now/bridging-the-andes-and-himalaya-with-music">Bridging the Andes and Himalaya with music</a>, Sewa Bhattarai  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2023090904090_2e7c9aaa46a15aa3b42283fe255a3fd9dd6a13b51df7b78f8819e5882e652c21.jpg" data-media-id="editor_2" data-image-id="2023090904090_2e7c9aaa46a15aa3b42283fe255a3fd9dd6a13b51df7b78f8819e5882e652c21" data-rendition-name="original" width="2000" height="2667" loading="lazy" alt="Page 5"> </figure>  “The song talks about the mountains protecting our most precious possessions, priceless things which we cannot buy with money,” explains Pasang. Sherpas, who know their mountains better than most outsiders, regard them as symbols of purity, greatness, and mystery. These metaphors can be found in much of South Asian literature and religious scriptures like the Rig Veda which regard the icy summits as the abode of the gods. Another song of the Sherpa links the mountains with spirituality and spiritual practices. Another song created by the revered religious leader Thuchi Nyima Rinpoche goes: There is a peak called Kelung Domirila in Tibet It is powerful and sacred We must make many prayer wheels there “Prayer wheels are very important in our religious practice. However, the song does not talk about prayer wheels literally, it implies that we must do good deeds and practice our religion,” explains Pasang. “This song is sung on auspicious occasions and gives a good message.” Read also: <a href="https://nepalitimes.com/multimedia/the-last-of-the-kusunda">The last of the Kusunda</a>, Sewa Bhattarai With modernisation, global travel, tourism and monetary upliftment of the Sherpa people, many songs and traditional practices are also in danger of being lost. “Our children are more familiar with English songs and discos, so we made an effort to teach these sacred songs to them,” says Rinjin, who helps with Sherpa culture classes once a week.&nbsp; Activists have also set up the Himalayan Sherpa Cultural Centre to teach the new generation about different types of Sherpa songs, among other activities. There are many songs in Sherpa culture, sung on different occasions and in various settings. ‘Lu’ means song, and there are songs of sorrow (Kyo-lu), songs for weddings (Janti-lu), courtship songs (Ja-lu). Shyabru-lu are sung while dancing around in a circle.&nbsp; Pasang adds: “Until now, we have educated more than a thousand children about these songs, and taught them to sing and dance the old way.” &nbsp; Read also: <a href="https://nepalitimes.com/here-now/still-dancing-and-singing-for-nepal-revolution">Still dancing and singing for Nepal revolution</a>, Sewa Bhattarai Sewa Bhattarai is a freelance journalist. Her series, On The Margins, &nbsp;focuses on folk music, folklore, and mythology of Nepal's diverse communities.

Sewa Bhattarai

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Songs from Chomolungma

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110914114/636ba5b39c7e80680e0736dcjpeg.jpg" alt="" width="1000" height="714"/><figcaption>Anna Marie Stirr has completely immersed herself into the world of Nepali dohori folk duets, not just doing a PhD on the subject and publishing a book, but also performing the song routines.</figcaption></figure>Anna Marie Stirr was intrigued and thoroughly captivated the first time that she listened to a dohori traditional duet in Nepal twenty years ago. Was it a song or a long playful banter between musicians?She was a student of ethnomusicology at New York’s Columbia University at the time, and the dohori genre stood out not only for its unique vocal tone and style, but because it blurred the lines between music and drama, delivering a performance that was unlike anything she had ever witnessed before.Stirr began to delve into the world of Nepali folk music, learnt the language and spent two decades traveling within Nepal, studying and analysing minutely the spontaneous lyrics, the rules governing the musical back-and-forth, and what made dohori such an essence of Nepali culture.On one of her many trips in 2005, cheered on by members of a local mothers’ group in Lamjung Stirr was urged to join in the singing. She came up with her own dohori compilation: “Aye ma ta yo gaun ma khuruka, sab bhujna sukha ra dukha, mirmireko gham…” (I have come to this village to understand both happiness and pain, the twinkling sun…)The mothers were delighted by her fluent and mellifluous Nepali, and the way she had grasped the soul of the songs. Ever since, Stirr has been obsessed with dohori. She is now Associate Professor at the University of Hawaii and her 2017 book based on her PhD research, <a href="https://global.oup.com/academic/product/singing-across-divides-9780190631987?lang=en&amp;cc=us">Singing across Divides: Music and Intimate Politics in Nepal</a>, was awarded the <a href="https://www.asianstudies.org/grants-awards/book-prizes/cohn-prize/">Bernard S Cohn Book Prize</a> last year.https://www.youtube.com/watch?v=UauGVtwbC9s&amp;feature=emb_logo“Dohori is a truly challenging and complex musical practice,” explains Stirr, who has studied the variations of dohori by singers like Sharmila Gurung and Devi Gharti Magar, whose voices feature impeccable skill and precision when carrying out the complicated kharki voice modulation in their songs. <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/songs-of-rebellion,3249">Komal Oli’s</a> steady and controlled voice has now become characteristic of her personal style and flair.“Dohori singers must be poets at heart,” says Stirr, who defines the singing in her book as ‘dialogic, conversational sung poetry’ that uses improvisation, wit, playfulness, and ingenuity all at the same time. Dohori is not just entertainment, it tackles societal issues like gender, class and caste discrimination, and the songs challenge rulers.During the Panchayat, dohori was a medium for democratic activism, and today with the failure of governance that is driving hundreds of thousands of young Nepali women and women abroad in search of work, it is an outlet for the popular dissatisfaction as well as expressions of longing and separation.During the <a href="https://www.nepalitimes.com/banner/parodying-patriarchy-at-tij/">Tij festival</a> dohori has now moved beyond playful teasing between men and women headlong into <a href="https://www.nepalitimes.com/banner/nepali-folk-songs-move-beyond-love-and-loss/">tackling Nepal’s patriarchal mores.</a> During the conflict as people migrated to the cities for safety, the Rodhi Ghar became a place of refuge and urban-rural interaction where the songs served to cement Nepal’s ethnicities.Read also: <a href="https://www.nepalitimes.com/banner/nepali-folk-songs-move-beyond-love-and-loss/">Nepali folk songs move beyond love and loss</a>, Reeti K.C.https://www.youtube.com/watch?v=9vYfyFbeC8Q&amp;feature=emb_logoStirr also researched Nepal’s progressive and <a href="https://www.nepalitimes.com/here-now/still-singing-and-dancing/">revolutionary folk music</a>, producing a documentary in collaboration with Bhakla Syangtan of Radio Namobudhha that profiles folk musician-turned-MP Khusi Ram Pakhrin.“Hajarau ko balidan le kalo yuga dhaleko cha,” (The dark age has ended through the sacrifice of thousands of people) goes one of Pakhrin’s song. And there is hope for a better future in this one:  “Srijana ra sambriddhi ko bato khulna thaleko cha” (The path of creativity and prosperity is beginning to open up).Stirr writes in her book: ‘Mediating technologies, narratives of national feeling, and new feelings engendered in changing surroundings continue to shape modern ideas of “village voices” (folk music), at the intersection of development, nostalgia, exploration and evolving ideas of belonging.’Stirr has spent nearly ten years studying and enjoying Nepali folk music in Nepal, she taught at the music department of Kathmandu University in 2004, fostering connections with folk musicians like Tulsi Parajuli and Satyakala Rai, and frequenting live performances of dohori songs in the Nirmaya Rodhi Club alongside folk singer Sheila Ale.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110914114/636ba5b59c7e80680e0736ddjpeg.jpg" alt="" width="640" height="980"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110914114/636ba5b89c7e80680e0736dejpeg.jpg" alt="" width="640" height="980">Preforming in traditional attire with near-perfect Nepali inflection, Anna Stirr is as much Nepali as she is American. She considers Nepal as her second home, and even though she is 13,000km away in Hawaii she keeps her connections alive through dohori and preparing Nepali food of which her favourites are local kukhura ko masu and alu ko achar.Stirr says she would still like to visit many more places in Nepal, exploring and studying different regions and their <a href="http://archive.nepalitimes.com/news.php?id=18795#.XzNmBYoza71">folk music</a>, and she would have been in Nepal now if it had not been for the COVID-19 crisis.She told <a href="http://archive.nepalitimes.com/news.php?id=15058#.XzNU64oza70">Nepali Times in an interview</a> in 2008: "I can make people laugh when I sing a dohori, but I haven't yet been able to make them cry."Read also:<a href="http://archive.nepalitimes.com/news.php?id=18795#.XzK0DSgzbb0">Songs of our past</a>, Amar Gurung<a href="https://www.nepalitimes.com/latest/norway-nepal-lockdown-concert-on-the-internet/">Norway-Nepal lockdown concert on the internet</a>, Nepali Times <img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110914114/636ba5bb9c7e80680e0736dfjpeg.jpg" alt="" width="640" height="427">Singing Across Divides: Music and Intimate Politics in NepalBy Anna Marie Stirr <a style="background-color: #ffffff; letter-spacing: 0.01em;" href="https://global.oup.com/academic/product/singing-across-divides-9780190631970?cc=us&amp;lang=en&amp;">Oxford University Press, 2017</a>312 Pages $105 ISBN: 9780190631970<a href="https://global.oup.com/academic/product/singing-across-divides-9780190631987?lang=en&amp;cc=us">Paperback</a> <a href="http://www.oxfordscholarship.com/view/10.1093/oso/9780190631970.001.0001/oso-9780190631970">Oxford Scholarship Online</a>Ebook<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110914114/636ba5bf9c7e80680e0736e0jpeg.jpg" alt="" width="166" height="250">

An American-Nepali duet

<figure></figure>										<img width="960" height="639" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108181148/636a96c09c7e80680e05dc86jpeg.jpg" alt=""/><figcaption>Photo: MANOSE NEWA/FACEBOOK</figcaption>												Flautist Manose Newa, known mononymously as Manose, is the first Nepali to be nominated for a Grammy Award. He was nominated for his contributions to musician Deva Premal’s album, Deva, for the Best New Age Album category. In a <a href="https://www.facebook.com/photo.php?fbid=10157865816469432&amp;set=a.10153750059194432&amp;type=3&amp;eid=ARDLQ4jiZL3HiLSVpMZyLhwrrd2LuJIzolEvyMXMFTJL5OwL0l6ioqRMdK-qoPQyVlzN62N_lPkER6jM" target="_blank" rel="noopener">Facebook post published on 21 November</a> Manose wrote: ‘And the Grammy goes too… This morning beloved Deva and Miten called me and gave me some surpris news… We have been nominated for a Grammy!” The winners will be announced at the 62nd Grammy Awards on 27 January 2020. Manose fell in love with the bansuri when he first heard its haunting sound one night at the age of eight. Although he didn’t know what that sound was then, he later discovered that it was that of a bansuri, he said in <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/manose-nepali-flutist,1950?fbclid=IwAR1a0BMsuws2uY2AhIHYI1Ju3S79Za2mo0jLlrwuCfCtckVq3XCGXr1UqH0" target="_blank" rel="noopener">an interview with Nepali Times</a> in 2015. Since hearing the soul-touching sound as a young boy, he has established himself as a flute virtuoso.Manose left Nepal in 1998 at the age of 20 to tour the west with Nepali tabla player, Homnath Upadhyaya. Since then, he has travelled to more than 25 countries, searching for inspiring musicians to collaborate with. He has played with musicians from a wide range of genres like <a href="https://www.nepalitimes.com/review/cadenzas-new-collection/" target="_blank" rel="noopener">Cadenza Collective</a>, 1974 AD, <a href="http://archive.nepalitimes.com/blogs/kundadixit/2017/11/05/anis-song/" target="_blank" rel="noopener">Ani Choying</a> and his own band, Sukarma. During his many travels, Manose met Premal, a female musician who is known for her devotional songs, mantras and spiritual elements in her music, and her life and duet partner, Miten.The album Deva, which consists of 7 tracks that incorporate the enchanting Gayatri Mantra, is described to be “a deeply relaxing mantra sound-bath for body, mind &amp; spirit, ideal for meditation and slow yoga flows.” Manose’s soaring flights of the bansuri in the album is hauntingly beautiful and woven melodiously in the mantras of each track.

First Nepali to be nominated for a Grammy Award

<figure><img width="864" height="648" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141156/636a60799c7e80680e056e81jpeg.jpg" alt=""/><figcaption>PHOTO: JAYADEV KRISHNA SHRESTHA </figcaption></figure>Rajkumar Shrestha flicked his baton, musicians raised their instruments, and the audience at the Academy Hall in Kathmandu stood up for Nepal’s national anthem gloriously rendered with violins, violas, cello, sitar and flute by a 60-member orchestra.The lyrics of Sayaun Thunga Phool Ka Hami, Eutai Mala Nepali (“We are different flowers of the same garland”) evokes Nepal’s ethnic diversity, but last Wednesday it also defined the diversity of the musicians from Norway and Nepalis of various ages and ethnicities.And because this was a project of the Nepali-Norwegian Orchestra, the soothing tones of the Norwegian national anthem came next. In the center of the orchestra, surrounded by violinists was Eivind Rossbach Heier from the string quartet KvartalKvartetten on the cello alongside his father who played the viola.Raised in a musical family with his mother a cellist and sister a violinist, Heier first came to Nepal in 2015 as an instructor with three other tutors and fifteen young people through a youth orchestra in Norway. Their goal was to teach Nepali musicians classical music to establish orchestras in the country. <figure><img width="1600" height="1200" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141156/636a607c9c7e80680e056e82jpeg.jpg" alt=""><figcaption>PHOTO: JAYADEV KRISHNA SHRESTHA </figcaption></figure>The Annapurna Chamber Orchestra met the Norwegian musicians from KvartalKvartetten through the World Federation of Amateur Orchestra. The project trains Nepali students for a week and  organises performances in different venues of Kathmandu.Ten Nepali musicians also go to Norway for the week-long annual Orchestra Summer Course to interact and exchange music with their Norwegian counterparts. During the course, Nepali and Norwegian musicians play music from both countries even though they sound completely different.https://www.youtube.com/watch?v=FFe9XQLtJWs&amp;feature=youtu.be Says Heier: “Despite their differences, the appreciation of music is universal. Nepali music has more melodies but not many harmonies which is the biggest difference from Western music. But it is the language of music that brings us together.”  Read also:<a href="https://www.nepalitimes.com/latest/jazzmandu-2019-kicks-off/" target="_blank" rel="noopener"> Jazzmandu 2019 kicks off</a>, Nepali TimesThe exchange has also helped the musicians learn about Nepal through music and share a commonality. "It was interesting that after we heard the translated titles of the Nepali songs, we were reminded of patriotic songs from Norway as well,” said music instructor Ole Rasmus Bjerke.In the last five years of the project, the instructors as well as the young musicians know that their music has improved. Says 18-year-old Bikalp Singh Dura: "I used to play in the junior orchestra, and now I play with the seniors. I can feel the difference and my confidence building up.”   https://www.youtube.com/watch?v=UGP6hz85ngc&amp;feature=youtu.beThe number of Nepali musicians has also doubled since 2015 from 30 to 60 aged between 10-60 years, and is projected to expand in the coming years. Read Also: <a href="https://www.nepalitimes.com/here-now/jazz-returns-to-the-mandu/">Jazz returns to the ‘Mandu</a>, Sanghamitra Subba <a href="https://www.nepalitimes.com/review/norway-nepal-a-love-story/">Norway-Nepal, a love story</a>, Kunda Dixit  “The future of the Nepali orchestra is bright. It is growing through these programs,” says Rajkumar Shrestha, conductor and chairman of The Annapurna Chamber Orchestra. “The only challenge is that most students leave the country after Grade 12 for higher studies and we lose good musicians.”

Nepal-Norway orchestra find harmonies

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).

DRUM ROLL

https://youtu.be/dftVLbsLptIA long time ago in the beginningThere was no vast cosmos,And there was no beautiful earthLater the omnipotent Ningwaphuma arrivedAnd she created the earthIt is rare to hear folk songs in the Limbu language in Kathmandu, but this was Manu Nembang, Jhuma Limbu and Deepa Suhang (pictured) singing a traditional song from their community at Shilpee Theatre this week. The event was organised by Raithane Music to promote true folk melodies that people live by, and which are endangered by assimilation.This was Raithane Music’s first performance and started off with Hakpare, a melody popular among the Limbus from eastern Nepal. It is a kind of Mundhum, songs passed down orally from one generation of Limbus to another, with information about the community’s traditions, beliefs and worldview. Sung by priests, healers and shamans, the Mundhum is also called the ‘Veda’ of the Limbus, since they contain instructions for life. Read also: <a href="http://archive.nepalitimes.com/news.php?id=18795#.XDco3lUzbIU" target="_blank" rel="noopener">Songs of our past</a>, Amar Gurung<a href="https://www.nepalitimes.com/banner/fasting-feasting-and-festivities-of-gaura/" target="_blank" rel="noopener">Fasting, feasting and festivities of Gaura</a>, Sewa BhattaraiMundhums contain age-old lyrics that trace the history of the Limbu community. Hakpare is believed to be the oldest melody or style of Limbu music tradition sung during important occasions like weddings, births, and even deaths. “When one person starts singing a Hakpare, another person may contradict him, and yet another may add information to clarify it. And so Hakpare progresses as a form of dialogue,” says sociologist Chaitanya Subba who thinks that since Hakpare contained references to people living in caves, the songs could be from the period the Limbus first settled in what is now eastern Nepal 10,000 years ago.Hakpares can be sung during weddings and about what life was like before people started getting married, and how a young couple’s courtship proceeds. The ones sung during pregnancy wish for the baby’s safe birth, and the songs of death wish for the departed soul’s safe passage. And then there are the dense songs that sing of the history of the earth, and how human civilisation came about. “There is a saying we find in these Hakpares. When the wind blows too chilly, or the weather grows gloomy, a human heart becomes full of feelings. That is when we sing these songs, to console the heart,” said Lokman Wanem from Taplejung. Read also: <a href="http://archive.nepalitimes.com/news.php?id=7665#.XDcn5FUzbIU" target="_blank" rel="noopener">Translating Bairagi Kainla</a>, Manjushree Thapa<a href="https://www.nepalitimes.com/banner/on-a-high-note/" target="_blank" rel="noopener">Tibetan music in Nepal's sacred valley</a>, Sewa Bhattarai 		
										<img width="1400" height="1050" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108101132/636a22539c7e80680e041782jpeg.jpg" alt=""/> Senior poet and Mundhum expert Bairagi Kainla added: “Youngsters are holding hands and singing to each other. One would imagine their songs would be joyful. But no, Hakpares are sorrowful. That is because they are aware that we are mortal. No matter what we achieve, it is gone. This awareness of the core nature of human existence is what makes the songs melancholy. We need these sorrowful melodies,” says Kainla who has collected and documented Mundhums.These songs were orally passed down from one generation to the next, and were barely documented until modern times, but today, their usage is fading as people do not need these songs for entertainment or for social guidelines. “Our ancestors thought that if they sung and memorised the lessons from their lives, it would be easier for the following generations to live their lives. It is not just music but an entire community’s history and tradition,” said Kainla. The melody is popular in eastern Nepal and other communities sing their own lyrics, including in Nepali. There are even modern and pop songs based on the melody, but the thousands of years of knowledge and wisdom that Limbus collected can only be found in the original Limbu Hakpare. We the siblings of human genesis We the wisest animals on earth Let this Mundhum remain forever And let this continue even after lifeRead also: <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/making-the-sound-of-music-in-patan,3976" target="_blank" rel="noopener">Saving the sound of music</a>, Sebastian Wellingbat<a href="https://archive.nepalitimes.com/article/nation/nation-have-nepalis,601" target="_blank" rel="noopener">Have Nepalis forgotten Dharmaraj Thapa?</a> Sunir Paney

Eastern melodies in Kathmandu

https://www.youtube.com/watch?v=W-sFnHEoH5U&amp;t=63sAsk a person in China about Nepal, and the answer is mostly that it is a happy Himalayan country of Buddhism and mountains. Justin Zhao and Liang Ye have decided that is not enough for the 400,000 Chinese tourists that are expected during <a href="https://archive.nepalitimes.com/article/nation/bringing-in-two-miilion-tourists,3551" target="_blank" rel="noopener">Visit Nepal Year 2020</a>. When they first arrived in Nepal as tourists themselves, the duo decided that the country had a lot more to offer. Many more Chinese would visit if they knew about the culture, history, <a href="https://www.nepalitimes.com/banner/prithvis-earthy-art/">art</a>  and <a href="https://www.nepalitimes.com/here-now/the-life-and-times-of-arniko/" target="_blank" rel="noopener">architecture of Nepal</a> . Zhao and Ye have set up <a href="https://www.facebook.com/himalayanlight/" target="_blank" rel="noopener">Himalaya Light Culture House</a> in Jhonche to exhibit and propagate Nepali art, modern paintings, historical books and local handicrafts. By deliberately locating in the former <a href="http://archive.nepalitimes.com/news.php?id=7121#.XCSzoVUzaUk" target="_blank" rel="noopener">Freak Street</a>, not Thamel, the two wanted to reboot Nepal’s tourism brand among mainlanders.Read also: <a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/chinese-ink-wash-paintings-in-Nepal,2622, Justin Zhao" target="_blank" rel="noopener">Nepal in ink and brush</a> <figure><img width="1400" height="788" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171152/636937c59c7e80680e03fe5bjpeg.jpg" alt=""/><figcaption>NORTHERN LIGHT: Justin Zhao and Liang Ye (below) with their art gallery in Jhochhen and Boudha. They call themselves “volunteer envoys” working to improve people-to-people ties between China and Nepal. Photos: Ruixue Zhang </figcaption></figure>It is easy to miss the signboard for Himalaya Light Culture House amidst the thangka and scarf shops, the momo eateries and bars in this street off Darbar Square that used to be the haunt of <a href="https://nepalitimes.atavist.com/feeling-groovy" target="_blank" rel="noopener">hippies</a>. Through a narrow passageway, after turning right on a sundeck, is the Culture House.“No wonder so few people visit our Culture House, even I sometimes get lost,” jokes Ye, who was at Darbar Square when the <a href="http://archive.nepalitimes.com/article/nation/Monumental-loss,2215" target="_blank" rel="noopener">2015 earthquake destroyed the monuments</a> here, and remembers weeping when he saw the devastation.For his part, Zhao has been to Nepal 18 times since 2013, and cannot seem to stop coming back. He was drawn by Kathmandu’s rich heritage, sculpture and handicraft, and decided to establish a new museum, guest house and restaurant here. Zhao says that after the earthquake, many Chinese gave up their businesses and went back, so he had to start from square one. But now he is one of the most influential persons for trans-Himalayan cultural exchanges.  <img width="1400" height="788" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171152/636937c89c7e80680e03fe5cjpeg.jpg" alt="">Ye, 36, used to be a doctor, first came to Kathmandu in 2014, became a travel writer. “At first, I chose Nepal because of its tourism potential, but now Nepal is like my lover,” he admits, smiling. After seeing the <a href="http://archive.nepalitimes.com/blogs/kundadixit/2015/05/27/a-month-that-felt-like-a-year/" target="_blank" rel="noopener">devastation in 2015</a>, Ye started posting scenes of the damage on Chinese social media to explain that Nepalis revered Lord Shiva the creator and destroyer, and saw the earthquake as part of another divine cycle. The posts helped spread a huge response in China for relief aid. Zhao has always been fascinated by <a href="https://www.nepalitimes.com/banner/the-craft-of-art/" target="_blank" rel="noopener">Nepali modern art</a> and wants to bring it to the attention of Chinese collectors. “Nepali artists are deeply rooted in their society, and their work carry socio-cultural meanings,” explains Zhao, “but the average Chinese tourist only knows about <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Buzz-the-art,671" target="_blank" rel="noopener">thangkas </a>and wood c<a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/a-craving-for-carving,3637" target="_blank" rel="noopener">arvings.</a>”Ye has been in Nepal long enough to understand geopolitical sensitivities. “Nowadays, the relationship between China and Nepal is like friends while Nepal and India are like brothers,” he says diplomatically, “brothers can fight but will always be brothers. China will always be a close friend.”Ye and Zhao say they want to go beyond government-to-government links to be China’s “volunteer envoys” to connect the peoples of China and Nepal. In the past three years, Zhao has taken young Nepali artists to China, held exhibitions and discussions about paintings and music. Zhao’s father Zhao <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/chinese-ink-wash-paintings-in-Nepal,2622" target="_blank" rel="noopener">Jianqiu</a> is a famous Chinese artist whose exquisitely detailed ink and brush paintings of Nepal’s mountains and Kathmandu’s temples have been exhibited in Beijing and Kathmandu.Tourism in Nepal has gone through many phases: the world jet-set ‘discovered’ Nepal in the early 1960s, the <a href="https://www.nepalitimes.com/here-now/the-gangster-of-love/" target="_blank" rel="noopener">hippies </a>came in the 1970s, trekkers and budget travelers after that. Ye and Zhang perhaps represent a new breed of Asian tourists who are drawn by Nepal’s unique natural and cultural heritage, as well as its modern creativity.