In the middle of a rainstorm, surrounded by forests and temples, Jung Bahadur faces off against the fearsome masked Lakhe Aju in a boss scene in the new Nepali video game, Jange. Wild red hair thrashing about, eyes glowing, Lakhe Aju pursues Jung Bahadur, who is dressed in a red shirt, blue cape, and a bird of paradise shripech crown. Jung is trying to avoid taking damage, while getting some hits of his own on the mythical demon. The Lakhe hurls fireballs that have to be dodged.&nbsp; The larger story at play here is a fictional, extrapolated historical Nepal where the country is under attack by infected aliens. Jung Bahadur, on horseback, wields a sword against the invaders.&nbsp; This is digital artist Ashim Shakya’s newest video game project that uses interactive gaming visuals to bring alive Nepali history and culture. &nbsp;&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240923140924_82e368d0acd6eb89202124df358ab76e582b6e61efe5cafe56d85c44ad96ad28.jpg" data-media-id="editor_0" data-image-id="20240923140924_82e368d0acd6eb89202124df358ab76e582b6e61efe5cafe56d85c44ad96ad28" data-rendition-name="original" width="2250" height="2079" loading="lazy" alt="Ashim Shakya | Allare NT"> </figure>  It is a work in progress, and we find Shakya working solo in constructing the game, integrating his many interests and talents in digital art, 3D modelling, music, video, and game development. It has been six years since he started the Jange project, and he documents recent progress on his YouTube. When he prepares a new aspect of the game, like vehicles, earthquakes or the Lakhe fight scene, Shakya uploads the sequence. “As the protector of Kathmandu Valley, Lakhe Aju is patrolling the borders of his domain and tests Jange’s might to decide whether to bless or devour him,” Shakya explains.&nbsp; Even Jange is a detour from another more lengthy, complex project called Allare, which translates to ‘directionless bum’ or words to that effect.&nbsp; Shakya explains: “Allare is about a young man who gets into a lot of trouble in his village and moves to old Kathmandu, where he must dabble in crime and struggle in order to shape up.”&nbsp; Allare is set in Kathmandu Valley in the 1960s, and has period visual elements like vintage blue jeeps, rattly buses, bicycles, and dirtbikes. Characters in the game are clad in traditional wear, and will talk to the player in Nepali when approached.&nbsp; A drunk character named Twake occasionally spews slurs, threats and starts fights. Shakya experimentally leveraged his YouTube audience to voice the drunk character, and received many &nbsp;enthusiastic submissions.&nbsp; It is obvious from the gameplay that a lot of effort has gone into it, and this is even more striking because Shakya is working on it all by his lonely self.&nbsp; “It is easier for me to do all the parts myself, instead of explaining what I want to someone else,” says Shakya, who used to be better known as a Nepali pioneer in digital art.&nbsp; Shakya puts in 16-18 hour days, breaking only to eat or to stretch. "Coffee helps, and if I hit a creative block I switch attention to making music, or to do client work.”&nbsp; Shakya is self-taught in skills and software tools in his workflow. He uses Maya and Nomad Sculpt to make the 3D models, then Photoshop and Procreate for their textures, and Unreal Engine and Blueprints for programming and game logic. Shakya draws from his previous experience in game development, having published on Google Play Store for Android devices. One of them is titled Flight: The Valley, described as ‘an offline meditative flying adventure’ where a player can become a monk that turns into a raven in Kathmandu.&nbsp; Two other games, Didi and Urban Legends - Survival, are also exploratory 3D games that feature models of Nepali buildings and objects. Urban Legends, in particular, is available for free, has registered over 100,000 downloads and has earned a 4.0 star rating. &nbsp; Jange and Allare will be released first on PC and then perhaps adapted to console and &nbsp;mobile. Given Shakya’s artistic skill set, his ability to integrate them, the time and effort he has put in, and his approach to story and community engagement means aficionados here and abroad can soon play exciting games that also pay tribute to the legends of old Kathmandu. &nbsp;

Vishad Raj Onta

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Turning legends into games

<a href="https://nepalitimes.com/banner/the-legend-behind-the-myth-of-indra-jatra">Yen Yaa</a> has many popular myths associated with it. But sometimes popularity is shallow. We must dig deeper and uncover the layers through which history has evolved. Only then will we fully appreciate how truly ancient and profound our culture is. Tuesday was a public holiday in Kathmandu Valley for Yeṃ Yāḥ. While we celebrate Yeṃ Yāḥ with much gusto and fervour for a week, ending Saturday, we also lament over how Indrāju, the chief deity worshipped during Yeṃ Yāḥ, and his consort Indrāṇi have been globetrotting, leaving us devotees in a spiritual void. <div class="embed-block"><iframe width="560" height="315" src="https://www.youtube.com/embed/aC4pMWoYRek?si=m9P5ClcqPqtsczCS" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div> As reported by the Facebook page Lost Arts of Nepal, this 38cm tall wooden image of Indrāju and Indrāṇi, originating in Nepāl Maṇḍala in the 17th or 18th century CE, was up for sale last year on 28 September at the Stallion Hill Gallery of Stamford, Connecticut — the same day the Nepal government had declared a holiday in honour of Indrāju. Yaḥsiṃ, also known as Indradhoj, the symbolic wooden pole of Indrāju, was erected Sunday morning at the former royal palace complex in Hanumāndhokā, marking the formal beginning of the mystical and colorful Yeṃ Yāḥ festival.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240919080912_5700bcba2227c375fbe652bff8dc990a3cfe21763c64c4397b6cf1ca8896d638.jpg" data-media-id="editor_2" data-image-id="20240919080912_5700bcba2227c375fbe652bff8dc990a3cfe21763c64c4397b6cf1ca8896d638" data-rendition-name="original" width="1000" height="1500" loading="lazy" alt="yashim/indradhoj before it is hoisted NT"> <figcaption>Yasih, the symbolic pole of Indra, before it is hoisted.</figcaption> </figure>  The legend goes that on the fourth of the dark half of Bhadra, lord of heaven Indra came to Kathmandu to get the Parijāt flower (night-blooming jasmine, Nyctanthes arbor-tristis), which his mother needed to perform a sacred ritual in honour of goddess Vasundharā. Kathmanduites caught him stealing the flower and tied him up in a wooden pole in a busy marketplace to shame his thieving act — this tradition continues till today by putting up his effigy in street intersections.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240919080920_22694309d71b583f2bf9ada217c01eded6944af6f3d7fcc7cf5b70c0d8333e7a.jpg" data-media-id="editor_3" data-image-id="20240919080920_22694309d71b583f2bf9ada217c01eded6944af6f3d7fcc7cf5b70c0d8333e7a" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Indraju tied up on a pole NT"> <figcaption>Indrāju image tied up on a tall machan in Maru, Kathmandu.</figcaption> </figure>  Says cultural documentarian Sandip Maharjan, “People worship Indra that night and offer him hard-to-chew roasted maize, wheat and beans — a kind of a punishment for his misdeed. On this day, Indra is called khuṃ dyaḥ, meaning thief god in Nepālbhāsā.” The festival is celebrated to glorify Lord Indra's visit — though unpleasant — to earth, and hence the name Indra Jatra. Says Jaa Dangol, founder of Lachhi that promotes ethnic food, living, and products, “The full moon day is celebrated in many parts of the Kathmandu valley as Samayabaji Punhi, when every Newāḥ household prepares special food items to distribute it in the neighborhood as a means of earning good karma to help deceased ancestors find their way to heaven.” The food items include puffed rice, black soybean, ginger pieces, marinated buffalo meat and lentil pancake — representing sky, wind, fire, water and earth respectively, the five building blocks of the universe as per Vedic philosophy.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240919080912_69cf13389ff2a0a13c1ff706893fb282c25a93f68cf4cd1bd15d575982aea1e9.jpg" data-media-id="editor_4" data-image-id="20240919080912_69cf13389ff2a0a13c1ff706893fb282c25a93f68cf4cd1bd15d575982aea1e9" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Samaybhaji NT"> <figcaption>Ceremonial Samaybaji, the food that represents the universe.</figcaption> </figure>  Indra's celestial elephant Pulu Kisi, and eventually his mother Dāgīṃ, descended to earth looking for the erring Indra, the legend goes on. Both these events are mirthfully acted out in the streets of Kathmandu during Indra Jatra till today.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240919080916_f11397ca5db1dca01c0f949a92f39dc27e98f2db4e03fe3a1b37e9b1bdcfd812.jpg" data-media-id="editor_5" data-image-id="20240919080916_f11397ca5db1dca01c0f949a92f39dc27e98f2db4e03fe3a1b37e9b1bdcfd812" data-rendition-name="original" width="1788" height="1000" loading="lazy" alt="Dagim, Indra's mother NT"> <figcaption>Dagim, Indra's mother, parading the streets of Kathmandu.</figcaption> </figure>  The older — and possibly original — interpretation of the gala Indra Jatra fest is much more profound than the entertaining story of the thief god Indra. That explanation is connected with the agrarian civilisation of Kathmandu Valley, and its climatic conditions that determine the quality and quantity of agricultural produce. For the indigenous Newāḥ people of Nepāl Maṇḍala, all ancestors have supernatural powers, and hence are divinities. The autumnal festival Yeṃ Yāḥ is celebrated in honor of one particular ancestral deity — Indrāju — in appreciation of his rainmaking capabilities. Indrāju is the conjunct of Indra, the king of heaven, and Āju, the male ancestral divinity. Indrāju has blessed Nepāl Maṇḍala with plenty of rain during the monsoon, hence enabling a bountiful harvest. The people of Nepāl Maṇḍala are now celebrating Yeṃ Yāḥ, at the end of the monsoon, in honour of Indrāju for the rain he sent down to earth from heaven. Another name for Indrāju is Yemāḥ Dyaḥ, from which Indra Jatra's original name — Yeṃ Yāḥ — is derived. Indrāju is easily identifiable with the horizontal third eye on his forehead. He is usually accompanied by the elephant, his vehicle.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240919080924_ebbd7c0737721c747824d47703f0c44a5344ec90e41d3dd850366a5af840998f.jpg" data-media-id="editor_6" data-image-id="20240919080924_ebbd7c0737721c747824d47703f0c44a5344ec90e41d3dd850366a5af840998f" data-rendition-name="original" width="1280" height="854" loading="lazy" alt="Pulu Kisi, Indra's celestial elephant "> <figcaption>Pulu Kisi, Indra's celestial elephant.</figcaption> </figure>  Indrāju is no doubt the protagonist in this week-long gala. But of equal — if not greater — importance is the exuberant display of Hāthu Dyaḥ, commonly venerated as Vedic deity Bhairava in recent centuries. Why is Bhairav so ubiquitous during Yeṃ Yāḥ, the festival that venerates Indrāju? Numerous images of Hāthu Dyaḥ are brought out from storage and displayed atop special wooden platforms at street intersections throughout the old settlements of Kathmandu Valley during the Yeṃ Yāḥ festival.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240919080916_477f02add39d232482ccc2f344098b6b66c9b072fe1cf219a6e4fe59409bccf5.jpg" data-media-id="editor_7" data-image-id="20240919080916_477f02add39d232482ccc2f344098b6b66c9b072fe1cf219a6e4fe59409bccf5" data-rendition-name="original" width="1000" height="1333" loading="lazy" alt="Hathu Dyah NT"> <figcaption>Primordial image of Hāthu Dyaḥ.</figcaption> </figure>  According to Gautama Vajracharya, an eminent Sanskritist and scholar of Newāḥ heritage, Hāthu Dyaḥ is the ancestral sky god who bestows monsoon rains upon the earth. The cult of Hāthu Dyaḥ existed in Nepāl Maṇḍala before the arrival of the Licchavis from northern India in 300 CE. At that time, Hāthu Dyaḥ was venerated by Kathmandu Valley's agrarian population as the male ancestral deity and sky god who bestowed the valley with rain during the monsoon. Putting up a Hāthu Dyaḥ image on a raised platform in the street and carrying out the Hāthu Hāyeke ritual (pouring of home made rice beer from a container behind the Hāthu Dyaḥ image) every day for a week during Yeṃ Yāḥ was a way to thank him for the rains that enabled a good rice plantation season. It is believed that drinking the holy beer that flows from Hāthu Dyaḥ's mouth contributes to one's good health for the rest of the year. An imposing and elaborately decorated image of Hāthu Dyaḥ (specific name: Āju Dyaḥ, meaning male ancestral deity) is brought out from his temple at Vaṃghaḥ, nowadays also known as Indrachowk. This was a major intersection in old Kathmandu that was given the name during Rānā regime because of the image of Indrāju put up on a high platform during Yeṃ Yāḥ. Throughout Yeṃ Yāḥ, the blue Āju Dyaḥ is put up for a resplendent display on a wooden stage, complete with a glistening metal roof and three finials, built just for this purpose.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240919080920_0c3bf5f0340711727f1b5e768553ed170815ef5baa2247ea8f64215613b32447.jpg" data-media-id="editor_8" data-image-id="20240919080920_0c3bf5f0340711727f1b5e768553ed170815ef5baa2247ea8f64215613b32447" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Aju Dyah NT"> <figcaption>Āju Dyaḥ image put up for display on the street.</figcaption> </figure>  Twice a day during Yeṃ Yāḥ, the Hāthu Hāyeke ritual takes place here. Āju Dyaḥ is also known as Yelam, derived from the archaic Nepāl Bhāsā word ailam, meaning sky. Hence, a modern name of Āju Dyaḥ is Ākāś Bhairava, literally the sky Bhairava. Hāthu Dyaḥ, Āju Dyaḥ and Bhairava are always depicted by Newāḥ artisans with abstract circular patterns in parts of the face, such as in the eyebrows and around the mouth. These metaphysical shapes are defined by art historians as water foliage — rain drops that make up the cloud. This connects Hāthu Dyaḥ with the sky and rain once more. The trend of giving continuity to Hāthu Hāyeke by using the physical form of Bhairava instead of the primordial Hāthu Dyaḥ took root in the post-Licchavi era (after 879 CE), according to Vajracharya. Essentially, Yeṃ Yāḥ is the autumnal festival that celebrates the end of the rainy season by thanking the ancestral rainmaker deity who underwent transformation from pre-Lichhavi period Hāthu Dyaḥ to the post-Lichhavi period Bhairava. &nbsp;Says Vajracharya, "During the Lichhavi period, he was mostly venerated as Indrāju, the combined form or Vedic god of rain Indra and male ancestor Āju."  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240919080928_6856416e04ecd74394fd05a3f0ee92af42309865e1f51183a38f73f6db1c9e22.jpg" data-media-id="editor_9" data-image-id="20240919080928_6856416e04ecd74394fd05a3f0ee92af42309865e1f51183a38f73f6db1c9e22" data-rendition-name="original" width="1000" height="1500" loading="lazy" alt="Devi Nach NT"> <figcaption>The ancient Devi Nach performed during the festival.</figcaption> </figure>  All modern forms of Hāthu Dyaḥ are depicted as the Vedic deity Bhairava, the wrathful form of lord Śiva. Hanumāndhokā's Hāthu Dyaḥ, nowadays commonly known as Śveta Bhairava, is a recent one — it was built in the early Śāh period (late 18th century CE). All Hāthu Dyaḥ images look irate and have a third eye. Alok Siddhi Tuladhar is a cultural preservation activist and documentary filmmaker. Tuladhar dedicates himself to preserving Nepal's cultural legacy, aiming to celebrate his roots and inspire younger generations of its value for a better tomorrow. He can be reached at <a href="mailto:alokstuladhar@gmail.com">alokstuladhar@gmail.com</a>.

Yeṃ Yāḥ

Halucha is a carpenter living a happy life with his big family in Kathmandu’s Maru Hiti in the 1960s handcrafting chairs, tables and temple woodwork. He observes festivals of his Newa community including <a href="https://nepalitimes.com/banner/the-legend-behind-the-myth-of-indra-jatra">Yenya</a>, Indra Jatra, enjoys his favourite choila baji and with friends, and occasionally momocha. Read also: <a href="https://nepalitimes.com/opinion/suburban-tales/wine-and-women-during-yenya">Wine and women during Yenya</a>, Pratibha Tuladhar  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240914040936_b1f8b03dc37e18d45a24c93422715ea0f6480b050683893d0fc5f3a8d6a290ce.jpg" data-media-id="editor_2" data-image-id="20240914040936_b1f8b03dc37e18d45a24c93422715ea0f6480b050683893d0fc5f3a8d6a290ce" data-rendition-name="original" width="1833" height="1000" loading="lazy" alt="London Lakhey review MASK NT2"> </figure>  But then a big new furniture factory is set up nearby, which takes away the jobs of those with the ancestral occupation of carpentry. Halucha loses his customers.&nbsp; One thing leads to another and by the 1970s, Halucha travels to <a href="https://nepalitimes.com/news/nepalis-in-the-garden-of-england">England for work</a> after borrowing money at a high interest rate. London is rainy and dreary, he struggles with the language and at his job. He has no friends, people look at him differently and treat him poorly. He feels lonely and homesick. The isolation affects his <a href="https://nepalitimes.com/news/the-other-pandemic-mental-health">mental health</a> and before long, he loses his job and is homeless.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240914040952_5ff460d094ce67737cfcdf0bbf88edaadeffd58571806fe91bfc37a962d1390f.jpg" data-media-id="editor_5" data-image-id="20240914040952_5ff460d094ce67737cfcdf0bbf88edaadeffd58571806fe91bfc37a962d1390f" data-rendition-name="original" width="1320" height="1000" loading="lazy" alt="London Lakhey review MASK NT3"> </figure>  Author Ojesh Singh weaves a layered tale that delves into the universal themes of migration, <a href="https://nepalitimes.com/editorial/50-diaspora-diaries-in-nepali-times">diaspora</a>, mental health, racism, heritage and identity in simple, engaging storytelling style with vibrant illustrations by Sahanshil Dangol in the new Nepali children’s book, London Lakhey. Read also: <a href="https://nepalitimes.com/news/brain-gain-into-brain-drain">Brain gain into brain drain</a>, Sonia Awale “Children are smarter than we give them credit for, they have genuine reactions and responses, and the earlier they are exposed to difficult emotions, the sooner they will learn to express them openly and grow up better able to deal with them,” says Dangol on some of the heavier themes underlying London Lakhey. Indeed, as children’s literature, the book does not shy away from difficult topics. This was a very conscious choice, says Singh, who himself went to England in 1999 and is now an aerospace engineer running two restaurants specialising in Newa cuisine in London. Read also: <a href="https://nepalitimes.com/opinion/suburban-tales/passing-the-baton-on">The Unstoppables</a>, Pratibha Tuladhar&nbsp; “The story is inspired by some of my own experience when I moved to England and that of people close to me, the not-so-easy beginning, the loneliness,” adds Singh, who is in Kathmandu to launch the book.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240914040956_bc4f28cd93c2b2c568d979707bc0d8a04f37e0fe519e1d8752f952b91a5fdea2.jpg" data-media-id="editor_9" data-image-id="20240914040956_bc4f28cd93c2b2c568d979707bc0d8a04f37e0fe519e1d8752f952b91a5fdea2" data-rendition-name="original" width="1500" height="1141" loading="lazy" alt="London Lakhey review MASK NT"> </figure>  “The first thing we Nepalis seek abroad is a plate of <a href="https://nepalitimes.com/here-now/dal-bhat-power">warm dal bhat</a> and not getting that can be so hard, then there are our festivals, dance and music that we miss so much.” Singh had it relatively easy as his father was already in the UK. But even then, he had to support himself and for the first five years he studied by day, while working at a restaurant at night. Finally, he bought his own restaurant, and another one a few years later. He calls them “Nepali-Indian” restaurants but actually specialise in Newa food, the first of few in the London area. “I do a lot of work virtually so the restaurant for me is like a living room and it is as if I am cooking for my friends and family, it keeps me feeling alive,” says Singh, whose clan home is in Basantapur. He is actively involved in the Pasa Pucha Guthi in London as one of the founding member since its inception in 2000. Read also: <a href="https://nepalitimes.com/news/nepalis-in-the-garden-of-england">Nepalis in the Garden of England</a>, Joy Stephens The Newa-English community in London organises cultural events including performing the <a href="https://nepalitimes.com/here-now/the-spirit-that-is-fire">Lakhey mask dance</a> during Mha Puja, also the Newari New Year. This real-life tradition in London serves as an inspiration for the book. “The new generation of Nepali diaspora should know the struggles of their parents, what they went through, some were asylum seekers, others came for better opportunities,” says Singh, stating how this was one of the ideas behind the book, especially as he is himself a father now. A mutual contact brought animator and illustrator Sahanshil Dangol onboard for the book, and the two would go on to work closely for the nearly two years it took for the volume to develop. Dangol works for London-based studios and was previously involved in making commercials and music videos for up-and- coming Nepali artists like Yugal Gurung and Ankit Shrestha.&nbsp; Read also: <a href="https://nepalitimes.com/here-now/memories-of-a-london-nepali-hangout">Memories of a London Nepali hangout</a>, Sunil Pun But what really got him passionate about the book project was the Lakhey element. During his undergrad, Dangol was working on a film to document his cousin’s mask dances in Pokhara but had to shelve it. He has since come across the Nepali Creative Gang, an online collective of artists, writers, game developers, animators and others which helps young talent with guidance and feedback as well as protection for their work. Dangol went on to develop a 4-minute-long stop motion film called Death and Exposure but he always had the Lakhey project at the back of his mind. “It felt like a second chance to work on something close to my heart,” he told Nepali Times in a video interview from London. It also helped that the characters spoke to him. Having moved to London at 11 following his father who was in the army, Dangol never felt like he quite fit in, neither in London, nor in Kathmandu. “Growing up, I didn’t have Nepali friends, and in any case, I didn’t feel like I completely belonged anywhere, and while I didn’t go through everything that Halucha went through in the story, I could still resonate with the character and sympathise with him, it is a relatable story with so many of our friends and families migrating today.” Dangol based the physical attributes of Halucha and other characters on people around him. The last few pages of the book are dedicated to the process of illustration including doodles and sketched studies of Lakhey and his masks. Read also: <a href="https://nepalitimes.com/news/getting-behind-the-divine-mask">Getting behind the divine mask</a> The Lakhey mask depicted in the book is a variation of the real thing which is supposed to give devotees divine powers when they wear them. In fact, communities in Kathmandu did not want their actual mask to be represented in the book for fear of offending the deities.&nbsp; Lakhey is a demon in the carnival of God but is worshipped as a deity protecting townspeople of the Newa civilisation. He is depicted as having a ferocious face, protruding fangs, and a mane of red or black hair.&nbsp; During festivals including Indra Jatra which falls on 17 September this year (below), he comes out on the streets and dances in a trance whirling and jumping to the thump of drums.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240914040936_0d60bd64fe6b3db69c9654e3a90569768ba0caeaaaacd1b46b5ca4e357b21a6e.jpg" data-media-id="editor_15" data-image-id="20240914040936_0d60bd64fe6b3db69c9654e3a90569768ba0caeaaaacd1b46b5ca4e357b21a6e" data-rendition-name="original" width="2170" height="1000" loading="lazy" alt="London Lakhey review MASK NT 4"> </figure>  On the surface, London Lakhey is a children’s book but since its release, it has found as many adolescent and adult readers who have requested most copies, says Dangol. “I want our children to remember their roots and not be ashamed of it. They can so easily feel embarrassed because they are eating dal bhat for lunch and not burgers and pizza,” says Singh.&nbsp; “We have to own up to our roots but we don’t have to stick to one singular identity either, it can be a mix of Newa and British like in my own persona. This is important for stability and a peace of mind.” ­­  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240914040936_4af67a538381c66209f7cc834a6b2056857275cc12c2b3a5e3bf6f3f1c1c78c9.jpg" data-media-id="editor_16" data-image-id="20240914040936_4af67a538381c66209f7cc834a6b2056857275cc12c2b3a5e3bf6f3f1c1c78c9" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="London Lakhey review MASK NT 5"> </figure>

Sonia Awale

MASK

<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141116/636a57119c7e80680e0547bejpeg.jpg" alt="" width="4096" height="2730"/>This week Kathmandu celebrates Indra Jatra — the chariot festival presided over by none other than the Living Goddess Kumari.Locally known as Yenyā, the festival dedicated to the god of rain Indra, is marked with much enthusiasm and devotion by Hindus and Buddhists alike in Kathmandu Valley, and is celebrated for eight days with singing, dancing and feasting.Ritual dances — featuring masked demons, gods and goddesses are performed in various parts of the Valley. Kathmandu’s famous Lakhey dancers are also part of the chariot procession.Monika Deupala on Monday was in Basantapur to capture glimpses of the first day of the annual festival.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141116/636a57159c7e80680e0547bfjpeg.jpg" alt="" width="2106" height="1404"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141116/636a57189c7e80680e0547c0jpeg.jpg" alt="" width="2106" height="1404"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141116/636a571b9c7e80680e0547c1jpeg.jpg" alt="" width="2106" height="1404"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141116/636a571e9c7e80680e0547c2jpeg.jpg" alt="" width="2106" height="1404"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141116/636a57219c7e80680e0547c3jpeg.jpg" alt="" width="2106" height="1404"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141116/636a57249c7e80680e0547c4jpeg.jpg" alt="" width="2106" height="1404">A Nepali Times video of last year's Indra Jatrahttps://www.youtube.com/watch?v=jqjg2X00SCQRead also: <a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="https://www.nepalitimes.com/latest/prepping-for-indra-jatra/" target="_blank" rel="noopener">Prepping for Indra Jatra</a><a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="http://archive.nepalitimes.com/news.php?id=10881#.XXdTLC4zaUk" target="_blank" rel="noopener">When Indra was caught stealing</a>, Desmond Doig

Are you ready for Indra Jatra?

https://www.youtube.com/watch?v=cucFTrSTSmcWhen an 8.3 magnitude earthquake struck Kathmandu Valley on 15 January 1934, killing more than 10,000 people, among the destroyed structures was <a href="https://www.nepalitimes.com/banner/learning-from-nepals-past-to-rebuild-its-future/" target="_blank" rel="noopener">the 17th-century Bhaidega temple</a> in Patan. The three-tier pagoda temple was quickly rebuilt, but in the Moghul stucco dome style.Eighty-one years later, the Kathmandu Valley Preservation Trust (KVPT), with support from the Norwegian Embassy, had just started <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/norway-restoration-project-patan-durbar-square-bhaidegah,2179" target="_blank" rel="noopener">restoring Bhaidega</a> in its original tri-pyramid design when the 25 April 2015 earthquake hit. Four temples nearby went down.<a href="https://www.nepalitimes.com/here-now/a-monumental-rivalry/" target="_blank" rel="noopener">Reconstruction of temples</a> that were destroyed in both 1934 and 2015 are now simultaneously nearing completion in Patan,  drawing attention to how damage from the two earthquakes often overlap in Kathmandu Valley.“There was so much destruction here in 1934 that many of temples were quickly rebuilt in the Moghul style, but finally Bhaidega is being restored to its original glory,” says Rohit Ranjitkar of KVPT. <figure><img width="1400" height="786" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108121140/636a405e9c7e80680e04a617jpeg.jpg" alt=""/><figcaption>OLD IS GOLD: Artisans busy rebuilding Patan's Bhaidega temple to its original design. Pic: Hrijata Dahal</figcaption></figure>Architecture is much more than the sum of its structural elements, and nowhere is this more true than in Kathmandu Valley’s historic monuments. The structures go well beyond physical materials like wood, stone and bricks, and include intangibles that give them inter-generational continuity. After 2015 devotees continued to worship their gods amidst the ruins of destroyed temples.Located at the western edge of Patan Square, the  three-storey Bhaidega was supported by exquisitely carved wooden struts and capped by a golden pinnacle. After 1934, Nepal’s Rana rulers rebuilt it to less than half its size using the cut-and-paste Moghul dome design like other damaged structures in the Valley.Luckily, many carved eaves, columns and stone carvings at the base were preserved, and have  featured in Bhaidega restoration. Nearly 20 artisans from Bhaktapur and Patan are hard at work at the site re-carving the missing pieces. <figure><img width="1400" height="534" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108121140/636a40609c7e80680e04a618jpeg.jpg" alt=""><figcaption> </figcaption></figure><figure><img width="1400" height="547" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108121140/636a40639c7e80680e04a619jpeg.jpg" alt=""><figcaption> </figcaption></figure>The temple is named after its creator, Bhagirath Bhaiya, a commoner who rose to prominence in Patan and built the structure in 1687, dedicating it to the Bishwanath form of Lord Shiva. It is the only temple in Darbar Square not commissioned by a king.“It was a travesty that such an important monument was not rebuilt in its original design after 1934,” says Ranjitkar.Fortunately, there were some grainy black-and-white photographs taken before 1934 as well as meticulous sketches by Henry Ambrose Oldfield, a surgeon at the British Residency in Lazimpat in the 1850s, which showed the original form of the temple.“Without Oldfield’s drawings, we might not have known what the original looked like or that it had been altered,” explains Ranjitkar.Based on these early records, restoration work began in January 2015 with a ritual Chhyama Puja performed by tantrik priests. But within three months, the <a href="http://archive.nepalitimes.com/blogs/thebrief/2015/04/25/massive-earthquake-rattles-nepal/" target="_blank" rel="noopener">7.8 magnitude quake</a> struck, destroying many of the temples that had survived 1934. The priority shifted to rebuilding the other Patan temples and work on Bhaidega was delayed.KVPT has tried to salvage as much of the original material as possible for the reconstruction, but for new wooden columns and struts the right kind of timber was needed and artisans with carving skills had to be located.  <figure><img width="640" height="878" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108121140/636a40659c7e80680e04a61ajpeg.jpg" alt=""><figcaption> </figcaption></figure><figure><img width="1000" height="1100" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108121140/636a40689c7e80680e04a61bjpeg.jpg" alt=""><figcaption> </figcaption></figure>Earthquakes have actually helped keep the ancient craftsmanship of Kathmandu alive because of the need to rebuild temples and monuments. However, Ranjitkar is worried that the traditional skills required are disappearing and it will be difficult to find expertise in future.Reconstruction of Bhaidega is expected to be completed by November 2020, with support from Lalitpur Municipality and Prithvi B Pande of Nepal Investment Bank.  KVPT is also involved in rebuilding nearby Char Narayan, Hari Shankar and Krishna Mandir temples and other monuments like Mul Chok and Sundari Chok.KVPT believes in transparency in its projects – quite literally. The artisans crafting pieces for Bhaidega work behind a see-through plastic fence so passersby can observe the skill and devotion needed to build these ancient temples.There are other structures in Patan Darbar Square that were also rebuilt after 1934 with stucco domes and need to be rebuilt in the original <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/In-perfect-harmony,3251" target="_blank" rel="noopener">shikhara or pagoda styles</a>. The Mangal Bazar police station itself is where a large shikhara temple once stood.Says Ranjitkar: “Our immediate focus was on Bhaidega as there were sketches and photographs of the original structures. Earthquakes happen once in a generation, and what matters is how we rebuild after each. If we fail to maintain our <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/restoring-bhai-dega-temple-in-patan,4046" target="_blank" rel="noopener">tangible heritage</a>, we will weaken our <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/saving-the-intangible,3303" target="_blank" rel="noopener">intangible heritage</a>.”

Good as old after two earthquakes

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110714118/636903349c7e80680e037cabjpeg.jpg" alt="" width="1400" height="934"/><figcaption>Photos: SONIA AWALE</figcaption></figure>Mahendra Shakya had been in Boston for seven years in 1992 when he came across Monk, Householder, and Tantric Priest: Newar Buddhism and its Hierarchy of Ritual by David N Gellner. He felt ashamed of himself.Here was a Western academic who had studied the culture of his own neighbourhood Buddhist monastery Hiranya Varna Mahavihar in Patan, and yet as a native he knew next to nothing about it.Shakya returned to Nepal two years later, started the Momo King chain but couldn’t sustain the business because of the war.He finally found his true calling: heritage tourism. Unlike other hotels that recreate Newari culture, he decided to embed himself in his ancestral neighbourhood, in the midst of Patan’s holiest Buddhist temples: Maha Boudha and the Hiranya monastery.“By being right in the middle of it all we can give our guests a genuine feel for authentic Newari heritage,” he says of his new hotel Heranya Yala. Shakya also owns Heranya Hotel Lazimpat, opened three years ago.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110714118/636903389c7e80680e037cacjpeg.jpg" alt="" width="640" height="427">Carpenters were hard at work this week, putting finishing touches for next Thursday’s soft opening of the hotel, built where Shakya’s ancestral home used to be before the 2015 earthquake. Much of the brick, wood and stone in the hotel’s elegant design were salvaged from the old brick and mortar structure.Heranya Yala is located at the 12th century stone spout of Thapa Hiti in Patan, and is a short walk from Mangal Bazar, and several Buddhist monasteries and temples.Low doors lead through narrow corridors into wide bahals and bahis, where devotees worship every morning and evening and the sound of chanting and devotional music emanates from the lattice windows.Shakya’s hotel has Buddhist motifs everywhere, including astamangal signs carved and painted on the exterior. Inside the rooms are well appointed, with double-glaze windows that filter the street noise and provide insulation. The hotel is a cocoon of tranquillity amidst the hustle and bustle of inner city Patan, where the only sound in the courtyards is of prayer cymbals, and only the smell is of incense.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110714118/6369033b9c7e80680e037cadjpeg.jpg" alt="" width="640" height="359">The eight rooms are bright, with Newari motifs, and through the windows offer views of the bahal, hiti and street through which the Machindranath Chariot passes every year. Shakya has thought of everything -- even an Amsterdam-style suitcase hoist for the upper floors.“My target clients are those who have a deep understanding of and appreciation for culture and heritage,” adds Shakya.There is more to Patan than just Darbar Square.”Indeed, the hotel could provide a unique cultural base camp to explore Patan’s little-known religious sites, and would be ideal for tourists tired of one-size-fits-all hotel rooms, Nepal-based expats, and Nepalis.“The residents of Kathmandu could come to Patan as weekend tourists, why not?” asks Shakya.The in-house restaurant Omrit, named after the Amritbarna Mahabihar shrine outside, has a rich menu of Newari delicacies: kwati, chaku, chatamari, yomari, as well as a healthy choice of continental. The restaurant also serves a 12-course Newari bhoj dinner as well as the aila rice spirit made by neighbours.Says Shakya: “Much of Patan is still a hidden treasure. And what could be a better way to preserve the heritage of my own neighbourhood than through cultural tourism?”Heranya Yala opens from 16 August at $90 per night at booking.com.Read also: <a href="https://www.nepalitimes.com/business/gambling-on-the-future/">Gambling on the future</a>, Sikuma Rai<a href="http://archive.nepalitimes.com/blogs/kundadixit/2018/02/07/no-tiger-no-mountain/">No tiger, no mountain</a>, Kunda Dixit

Patan's hidden treasures

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

The Last Days of the Khampa

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

Turkish to Seville

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

Digital protection for Nepal’s art

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

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