<figure><img width="1918" height="973" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161144/636d1cb39c7e80680e0af373jpeg.jpg" alt=""/><figcaption>Shri Mananka, circa 5th Century AD. The obverse shows a lion while the reverse a seated goddess. Photo: OLDCOINSTAMPNOTE</figcaption></figure>On the walkway leading to the Pashupatinath Temple, vendors sit on cold stone slabs with stacks of glittering red and yellow coins before them. Some devotees stop by to buy bunches of the Re1 or Rs 2 coins for a little more than their value to offer to the gods inside.The transaction happens quickly. One side produces paper cash and the other hands over the metal coins in exchange. Chances are, some of the coins will find their way back to the vendors again, to be ‘recycled’.With lower currency denominations nearly worthless, one of the few places in Nepal where coins are still used are temples like Pashupatinath. These days, one does not pay in coins but for coins — the medium of exchange has become the object of trade itself.Bibash Shrestha, a shopkeeper in Kirtipur, cannot recall the last time he handled a coin in his store. “There is rarely any loose change to return,” he remarks. “Before we used to give out candies to make up for the difference, now even they are worth more than Re1 or Rs2.”Coins are still integral in Hindu and Buddhist puja, marriages and other rituals. During the Hindu chaurasi puja, for instance, bundles of gold coins are handed out to attendees at the end. And when building a house, coins need to be ceremonially placed on the foundation.But coins bear clues to Nepal’s historical and economic past, and carry great anthropological significance. Govinda Neupane, a student of archaeology, remarks that in the digital world of today, coins are the new kinds of intangible heritage.He says: “Coins are the witnesses that justify our history, they have archaeological and historical value. They provide a window to understanding our past and present, and function as markers to specific historical periods.”Indeed, letters and markings on coins inform us about the king or queen at the time of their minting. The alloys of copper, silver or gold used tell us about the state of the economy of that time and place. The figures on the coin reveal the religious beliefs and influences of the period. <figure><img width="1600" height="1200" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161144/636d1cb69c7e80680e0af374jpeg.jpg" alt=""><figcaption> </figcaption></figure>As for metal coins, the oldest excavated in Nepal are punch-marked ones from the 5th century BCE from Kapilvastu in Lumbini. Currently in display at the <a href="https://numismaticsmuseum.gov.np">National Numismatics Museum</a> in Chhauni, there coins are originally from what is now India and have various symbols ‘punched’ on them. These coins prove that trade had moved beyond the barter system in the region.Historian Satyamohan Joshi writes in his book नेपाली राष्ट्रिय मुद्रा (National Currencies of Nepal) that coinage in Nepal can be divided into three eras starting in the 5th century AD during the Lichhavi, Malla and Shah dynasties in the Valley.The earliest coins found in Kathmandu was issued by the first Lichhavi king, Mandev (pictured above). Minted during his reign from 464AD to 505AD, the obverse has a lion with its paw raised and ‘Sri Mananka’ written above it, while the reverse shows a figure of a goddess seated on lotus with ‘Bhogini’ inscribed on it. The script used is Brahmi, the forerunner of almost all writing systems found in South Asia. The current writing system of Nepal, the Devnagari, is a descendant of Brahmi.The figure of the goddess recalls influence of the ancient Indo-Greek kingdom from the 1st century BCE. All Lichhavi coins are made of copper and have on them the king’s name, the figure of a god or goddess, with flowers, vajra, trisul, kalas, the sun, the moon, or animals such as the bull, lion, cow and elephant. There is consistency in their shapes and sizes, and are handmade, but there is no date inscribed on them.Lichhav kings Gunakamdev and Anshuvarma have similar coins to their predecessors, while coins issued by King Jisnugupta (635 - ?) show a bull on one side, and a vajra or a trisul on the reverse. Satyamohan Joshi takes this as proof of the king’s devotion to both Shiva and the Buddha.Suman Basnet, an avid collector of Nepali coins for the past 20 years, says that in addition to the metal used, the different symbols and depictions are in themselves records of history and the attitudes of people.“These coins are concrete evidence of how people lived in those specific times and places,” he says. “I wanted to delve deep into our history through something concrete and ubiquitous as coins. These coins could have been handled by farmers, merchants, kings, men women and children in the past.”Indeed, the pre-Lichhavi period and the 800 years between Lichhavi and Malla rule in Kathmandu’s history are less well-known largely because there are no coins from those eras. After the Lichhavi period, the oldest coins and Nepal’s first ever silver ones, were issued by King Indra Dev of <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/heritage-conservation-outside-kathmandu,3487">Dolakha</a> in 1545AD.Then in 1566 King Mahendra Malla, who built Kathmandu’s <a href="https://www.nepalitimes.com/here-now/how-nepali-antiquities-got-to-chicago-museum/" target="_blank" rel="noopener noreferrer">Taleju Temple</a> two years previously, issued silver coins in the Valley. Various historical sources mention that he presented a swan and a hawk to the Mughal Emperor Akbar in Delhi (some say it was Humayun) who in turn granted Mahendra Malla permission to mint silver coins of 6 masa (~5.8 grams) in his name. These coins are also known as Mahendra malli and according to historian Balchandra Sharma, the practice of calling silver coins Mohar began with them.While both the Lichhavi and the Malla coins show cross-cultural influences — Indo-Greek, Mughal and Tibetan, among others, for example — the medieval designs of Malla coins are much more elaborate, with tantric and Vajrayani motifs, and do not depict figures of deities. The coins themselves are either square or circular. Even animals (other than the lion) are absent, and more importantly, the name of the ruler with the year is inscribed legibly, written in Ranjana, Persian or Arabic alphabets. <img width="2059" height="2053" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161144/636d1cb99c7e80680e0af375jpeg.jpg" alt=""><img width="1280" height="1280" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161144/636d1cbd9c7e80680e0af376jpeg.jpg" alt="">Mohar from Pratap Malla's reign. Photo: HERITAGE AUCTIONSSeveral stamped clay and leather 'tokens' with illegible writings on them have been discovered from these times as well, but not enough research has been done regarding their purpose and use as media of exchange, and historians are cautious to call them 'coins' literally. In fact, while coins have been metallic historically, some of the earliest-known tokens of exchange were kaudis, essentially small shells used as circulation currency in Ancient India before metallurgy became widespread. Malla coins contain a confluence of Hindu and Buddhist symbols. Geometry is prominent and each coin is decorated with various artifacts (kalas, vajra, trisul, clubs and astamangal) in triangles, squares, hexagons and octagons. The symbols and letters represented the kings’ names, their queens and family members. They also etched on the metal their interests, their lofty aspirations, with their various epithets. Satyamohan Joshi writes that these aesthetic choices were intended to attract the public’s imagination and devotion towards the rulers and their families. The smallest silver coin in the world is in fact a Malla coin — called Jawa in Newari, or Fukkadam — minted during the reign of Jaya Prakash Malla, the last king of Kathmandu, and weighing 0.004 grams. <figure><img width="640" height="480" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161144/636d1cc19c7e80680e0af377jpeg.jpg" alt=""><figcaption> </figcaption></figure>The Malla period ended with Prithvi Narayan Shah’s annexation of the three kingdoms of the Valley. Historian Dinesh Raj Panta says that before Prithvi Narayan, there is hardly any concrete evidence of Shah coins. But after his conquest of the Valley, unified Nepal’s first king began to issue silver mohar in his own name.The first one with Prithvi Narayan Shah’s name inscribed on it had a trisul on the obverse surrounded by ‘Sri Sri Prithvi Narayan Shahdev’ written within gaps made by a swastik on a square. The sun and the moon sat on each top corner and at the bottom was inscribed the date in the Saka calendar: 1692 (1770AD).On the reverse is a wheel at the centre divided in three sections, on which is written ‘Sri Sri Bhawani’. There is a khadga at the centre of this wheel decorated by dots in a bell-like arrangement. Around the edge are letters श्री, श्री, श्री, गो, र, ष, ना and थ (‘Sri Sri Sri Gorakhnath) after the patron deity of the Shah dynasty. <figure><img width="1500" height="745" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161144/636d1cc49c7e80680e0af378jpeg.jpg" alt=""><figcaption> </figcaption></figure>The Shah coinage also saw rise in the use of gold, which had begun sporadically in the medieval period. Despite the rare metal, each Shah king or queen has issued at least a couple Nisar gold coins (named after the commemorative medallions the Mughal emperor Shah Jahan issued at his court in the 17th century) in their name, although for special occasions only.As Nepal had no silver mines, the metal had to be imported from Tibet. As per the 1556 treaty Mahendra Malla signed with Tibet, the coins minted in Nepal would be used there as well, allowing Kathmandu Valley’s trade, art and culture to spread and flourish.The full value of Nepali coins in Tibet was set at a single denomination of 15 karma. But when people needed smaller denominations, the coin could be cut into two-third, half and one-third along its petalled design. These were called chotang in Tibet, meaning ‘cut Mohar’ and a few examples dating to the times of Jaya Prakash Malla and Pratap Singh Shah can be found at the National Numismatic Museum. <img width="1125" height="705" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161144/636d1cc79c7e80680e0af379jpeg.jpg" alt=""><img width="1125" height="651" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161144/636d1cca9c7e80680e0af37ajpeg.jpg" alt=""><figure><img width="4032" height="3024" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161144/636d1ccd9c7e80680e0af37bjpeg.jpg" alt=""><figcaption> </figcaption></figure>Jaya Prakash Malla had hoped to alleviate the crisis brought by Prithvi Narayan’s blockade of the Valley by minting low quality coins mixed with copper to export to Tibet. When the Shah king wanted to revert to using pure silver coins, the Tibetans asked to have all the older coins replaced as well. The war of annexation had just ended and this would have added further financial burden to the new ruler. The dispute went unresolved, which was in turn inherited by Prithvi Narayan's descendants after his death. Tibet by then had begun to send low quality rock salt to Nepal in retaliation.The Nepali delegation sent to Tibet to resolve these trade issues was rejected, giving the Gorkhali kingdom a pretext to raid rich monasteries north of the border, and in 1788 to invade Tibet itself.The first invasion ended with Gorkhali victory, and Tibet agreed to pay war reparations to Kathmandu and a further Rs50,001 in annual tribute. But after the first year, Tibet stopped paying it and the war continued.During the second invasion, China’s Qing emperor came to the aid of Tibet and chased the Gorkhali forces back over the mountains as far south as Nuwakot, only 30km northwest of Kathmandu. The Sino-Nepal war ended in 1792 with Gorkhali defeat. A treaty was signed at Bhetrawati near Nuwakot Palace, and Nepal started paying a tribute to China in 1792, 1794, 1795, 1823, 1842 and 1865.Following the war, Nepal was no longer able to export its coins to Tibet. A mint was established in Lhasa to supply coins to Tibet which affected the amount of silver coming to Nepal and its economy. The Gorkhalis were also waging a costly war against the East India Company in newly-conquered areas of Garhwal and Kumaon.After <a href="https://www.nepalitimes.com/banner/beginning-of-the-end-of-the-gorkha-empire/">the Anglo-Gorkha war</a>, rulers in Kathmandu tried to compensate for the shortage of silver coins by prohibiting the import of British coins and turning the <a href="http://archive.nepalitimes.com/article/nation/The-Pashmina-War,1024">East India Company</a> coins into Nepali ones, but even then the supply was not enough.In fact, ‘Company’ coins because so valuable that some elderly women in remote parts of Nepal can still be found wearing garlands made of East India Company silver coins. <figure><img width="1200" height="1002" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161144/636d1cd09c7e80680e0af37cjpeg.jpg" alt=""><figcaption> </figcaption></figure>Later in early 19th century, the second Rana prime minister, Ranoddip Singh brought water-powered machines to help artists and craftsmen mint consistent-looking coins more efficiently.  These machines would flatten the metal and etch designs on both sides.Ranoddip’s nephew and successor Bhim Shamsher then brought coal-powered machines to mint coins. This gift of industrialisation would mint around 12,000 alloy coins daily in Dharara Taksar in Kathmandu. Today, the mint has shifted to Babermahal and only makes commemorative coins.The designs of Shah coins have been more or less the same since 1770, with similar symbols and motifs. However, when democracy was established, silver-alloy coins were issued that showed King Tribhuvan wearing a Dhaka topi as opposed to a crown against a five-pointed star. <figure><img width="1200" height="1200" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161144/636d1cd39c7e80680e0af37djpeg.jpg" alt=""><figcaption> </figcaption></figure>‘This design, in light of the end of the Rana rule, was meant to signify that the king was no different from a commoner,’ Satyamohan Joshi explains in his book. Tribhuvan’s successors Mahendra, Birendra and Gyanendra were similarly depicted.When monarchy was formally abolished by the Constituent Assembly in 2008, the figures of the kings were replaced by the डाँफे (Impeyan pheasant) and the cow. Only Re1 and Rs2 were in circulation, and even those are now falling out of use.“In the digital age where all our transactions are invisible in the internet, it is important that focus be given to the cultural, religious, social and political significance of coins,” says Suman Basnet.He compares this changing attitude towards physical money and especially coins to postage stamps: “Perhaps this is what progress looks like, but as we move to a cash-less society, there is a possibility that we lose connection with our heritage and our past. This calls attention to the fact that it is important now more than ever that we retain and remember our history.”The Nepal Numismatic Society holds meetings regularly in Thapathali, and there are more and more younger attendees, meaning that coin-collecting is still popular. “Traditionally, it had been the elderly and the tourists who collected coins,” says Basnet. “But there are a few young people who show great promise.”Says Govinda Neupane: “Coins bring several different avenues of our society together. We can study economics, language, history through coins, and we should preserve them for our future generations to look back and develop their own analyses and understanding.”

Ashish Dhakal

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Losing loose change in Nepal

Robert Redford was an A-list megastar who had dominated Hollywood throughout the 1970s, generally considered the high water mark of American cinema.&nbsp; In those days Nepal was a fashionably remote destination, so it was not unusual for us to be looking after celebrity visitors. But Robert Redford was huge by any standards.&nbsp; “Call me Bob,” was the first thing he said to me, with that wonderful embracing smile that had lit up screens and quickened heartbeats around the world throughout the previous decade.&nbsp; We met over a cosy Mountain Travel dinner in Al Read’s brick and stucco house in Dhobighat. The floors were traditional terracotta tiles, the low beams darkly varnished and a cheerful fire warmed the October chill.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250921110940_32dd66ba4b578a843bbbf6a74bca7d47f9ac7083c3bf50f8213ac3e5322974fd.jpg" data-media-id="editor_0" data-image-id="20250921110940_32dd66ba4b578a843bbbf6a74bca7d47f9ac7083c3bf50f8213ac3e5322974fd" data-rendition-name="original" width="1396" height="920" loading="lazy" alt="Robert Redford in Nepal"> <figcaption>Robert Redford in 1982 at Meghauli airfield in Chitwan with young Kirsten Annapurna Read, the daughter of Al Read, managing director of Mountain Travel Nepal.</figcaption> </figure>  Our heroes often seem diminished in real life and Redford was shorter than expected, though taller than his friends and co-stars Paul Newman and Dustin Hoffman. But most striking was his pock-marked skin which must have challenged makeup artists over the years.&nbsp; I was disappointed he was not wearing his trademark cowboy boots, but Bob’s fame infused the room with his gentle politeness and low-key glamour. Next morning I picked him up from the Malla Hotel for some light sightseeing around the Valley. Under strict instruction from ‘his people’ that any fuss from fans was to be minimised, I was surprised to see him wearing a Sundance tee-shirt – just in case no one recognised him.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250921040916_1674398340a9501127e9f8b6b775f41b35703253f772ee05c6ab064819cd0abb.jpg" data-media-id="editor_1" data-image-id="20250921040916_1674398340a9501127e9f8b6b775f41b35703253f772ee05c6ab064819cd0abb" data-rendition-name="original" width="840" height="1280" loading="lazy" alt="Robert Redford in Nepal"> <figcaption>Robert Redford exploring the Kathmandu Valley in 1982. Photo: GALEN ROWELL </figcaption> </figure>  Unmolested, we walked the ancient streets of Bhaktapur, and Bob was duly entranced by the visual impact of Malla Newar’s enduring culture. Robert Redford’s main purpose in Nepal was to trek in the Khumbu with his friend Galen Rowell, an adventure photographer, conservationist and mountaineer who met a premature death in 2002 in a small plane crash in Bishop, California.&nbsp; There may have been some talk of a film about Everest, but nothing came of it. After the trek, Bob and Galen explored the grasslands and forests of Chitwan, staying with us at Tiger Tops Jungle Lodge to view wildlife from the back of a well-trained elephant.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250921110948_7c2339d73cedfcc9e659169d1d1bc2239d3d9973f6c4b1a945bfeb74b9b74d19.jpg" data-media-id="editor_2" data-image-id="20250921110948_7c2339d73cedfcc9e659169d1d1bc2239d3d9973f6c4b1a945bfeb74b9b74d19" data-rendition-name="original" width="723" height="958" loading="lazy" alt="Robert Redford in Nepal"> <figcaption>Robert Redford in Chitwan, with Tiger Tops Manager KK Gurung on 9 December 1982. Photo: GALEN ROWELL</figcaption> </figure>  Confiding that he was not much of a traveller, Bob told us Nepal was one of his first trips outside the USA. Bob preferred his homes in Malibu on the Pacific coast and the wide open spaces of Utah, which he named Sundance after his favourite role.&nbsp; SOARING GRANDEUR With his strong affinity for the outdoors, Redford’s horizons must have been significantly expanded by the soaring grandeur of Nepal's sublime mountains, untamed rivers, and tiger and rhino infested lowlands. Galen’s knowledge and enthusiasm for all things Himalayan made him the perfect person to introduce this prominent novice tourist to Nepal’s wild places. Framed photographs of Bob taken by Galen’s skilled camera still grace tourist lodges on the Everest trail, and I confess to having one hanging in our downstairs loo.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250921070932_7bff2986293742e6e97c91c879f2549f2a99095f1f4a98c50e3b74c7f91f7b84.jpg" data-media-id="editor_3" data-image-id="20250921070932_7bff2986293742e6e97c91c879f2549f2a99095f1f4a98c50e3b74c7f91f7b84" data-rendition-name="original" width="1076" height="1624" loading="lazy" alt="Rovert Redford in Nepal"> <figcaption>Robert Redford in snowbound Namche Bazar in 1982.</figcaption> </figure>  His movie classics that defined our youth included the iconic Butch Cassidy and the Sundance Kid, The Sting, All The President’s Men and The Way We Were. With many Oscar nominations, his personal best was Ordinary People, his directing debut which swept the award board in 1980, shortly before his Nepal trip. But Robert Redford was more than just an all American action man actor and successful film director. He chose roles that highlighted his political and social outlook. He was admired as an active environmental campaigner, using his fame to fight for clean air and pure water, serving as a trustee of the Natural Resources Defence Council.&nbsp; Redford once said: “The danger of success is that it forces you into a mould. I prefer independence.” Choosing the wilds of Utah over the jungles of Hollywood, in 1981 he started the Sundance Institute to cultivate controversial and independent movie talent.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250921040916_081aa6b2c1f9f82f3ea6a550c6887d9a991f2983a0a976456d627d711ae8a2e2.jpg" data-media-id="editor_4" data-image-id="20250921040916_081aa6b2c1f9f82f3ea6a550c6887d9a991f2983a0a976456d627d711ae8a2e2" data-rendition-name="original" width="2448" height="3264" loading="lazy" alt="Robert Redford in Nepal"> <figcaption>Robert Redford being shown around Bhaktapur by Lisa Choegyal on 21 Nov 1982. Photo: GALEN ROWELL</figcaption> </figure>  Festival screenings and workshops gave thousands of film people a chance of artistic freedom, nurturing a galaxy of filmmaker greats. At the end of his long life, Redford’s Sundance is widely recognised as having profoundly influenced American cinema.&nbsp; I like to think that Robert Redford’s rare overseas holiday amidst the stunning natural beauty of Nepal’s high mountains, Sherpa villages, living heritage and endangered animals might have opened his eyes and perhaps even sparked his lifelong concern for social and environmental issues.&nbsp;

The Sundance Kid in Nepal

This text has been updated. Ten days after being nominated caretaker, Prime Minister Sushila Karki has added four more members to her Council of Ministers: Magsaysay winner Mahabir Pun, tv anchor Jagadish Kharel, former Justice Anil Kumar Sinha and Samata Foundation chair Madan Pariyar. Karki was under pressure to complete her compact Cabinet quickly. But it appears that her attempt to find professionals with non-political background, integrity, a record of professionalism while making the selection inclusive has not been easy.&nbsp; Several candidates that Prime Minister Karki had approached is said to have refused to join the interim government. Some have political ambitions and were worried that they would not be able to campaign ahead of early elections called for 5 March 2026.&nbsp; Among those who opted out for various reasons include famed ophthalmologist Sanduk Ruit who said his main responsibility was running his Tilganga Institute of Ophthalmology. Also considered for the role of the Health Minister was cardiologist Bhagwan Koirala who is thought to have declined because of his association with Min Bahadur Gurung, owner of Bhat-Bhateni supermarket chain who had pledged Rs410 million to his Kathmandu Institute of Child Health. Twelve Bhat-Bhateni stores across the country were looted and set on fire during the GenZ protests on 9 September.&nbsp; The Prime Minister had finalised public health expert Sangita Kaushal Mishra for Health Minister, sending her name to the President's office along with the other Cabinet picks on Sunday evening. But the PM withdrew Mishra's name from the list on Monday after it emerged she was under a corruption investigation.&nbsp; Mahabir Pun of the National Innovation Center is the new Minister of Education, Science and Technology. Tv talk show host Jagadish Kharel who runs a popular current affairs program will lead the Ministry of Communication, while Anil Kumar Sinha seems set to be named Minister of Law, Justice and Parliamentary Affairs. Sinha and Mishra are from the Madhes. The new ministers will be sworn in on Monday. The names of the new ministers were finalised in consultation with the representatives of the GenZ protesters. Appointments of new ministers last week, especially of advocate Om Prakash Aryal as Home Minister, was rejected by Sudan Gurung of Hami Nepal, one of the GenZ campaigners, who even demanded resignation of the newly appointed Prime Minister Sushila Karki because his group was not consulted. Last week, advocate Om Prakash Aryal was appointed Home Minister as well as Minister of Law, while former CEO of NEA Kulman Ghising as Energy Minister Urban Development Minister and Minister of Physical Infrastructure, and former finance Secretary Rameshwore Khanal as Finance Minister last week and were sworn in on 15 September. The new ministers have their work cut out as Prime Minister Sushila Karki has set elections for the House of Representatives for 5 March 2026. Electoral reform such that Nepalis outside the country could vote remains a challenge due to time limitation and because of the dissolution of Parliament. The interim government could ask for two more months beyond the initial six to prepare for voting.&nbsp; KNOW THE MINISTERS Names of possible ministers and their portfolios: Mahabir Pun, Minister of Education, Science and Technology  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250921150956_5e04418c4d79e283ac66932fbe9cffa8bfdccb8973c7ba867b3a241d0a5c19a4.jpg" data-media-id="editor_0" data-image-id="20250921150956_5e04418c4d79e283ac66932fbe9cffa8bfdccb8973c7ba867b3a241d0a5c19a4" data-rendition-name="original" width="2365" height="3143" loading="lazy" alt="Mahabir Pun"> </figure>  He is the founding chair of the National Innovation Center which was set up in 2012 and most recently restored 484 medical devices including ventilators, dialysis machines, X-rays and autoclaves worth Rs243 million in government hospitals.&nbsp; Pun, 70, is the recipient of the prestigious Ramon Magsaysay Award for community leadership in 2007 for his effort in connecting rural Nepal with wireless internet. Jagadish Kharel, Minister of Communications and Information Technology  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250921150956_25b90f5febc65782a3e74a288212175d075b4078802cdd1c0fe16767cf9dd95c.jpg" data-media-id="editor_1" data-image-id="20250921150956_25b90f5febc65782a3e74a288212175d075b4078802cdd1c0fe16767cf9dd95c" data-rendition-name="original" width="1920" height="1080" loading="lazy" alt="Jagadish Kharel"> </figure>  He is a tv journalist with nearly 20 years of experience. He is currently the news head of Image Channel as well as the host of the show Hot Seat, and is known for in-depth political and government policy analysis and commentary. Kharel was previously thought to have been invited to join Rabi Lamichhane’s Rastriya Swatantra Party (RSP) after it emerged as the fourth biggest party in Parliament after the last elections. Anil Kumar Sinha, Minister of Industry, Commerce and Supply; Minister of Law, Justice and Parliamentary Affairs; Minister of Land Reforms, Cooperatives and Poverty Alleviation  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250921150956_ba224a8c2d4c4434ed6e08e858d798b382a06c8606583841c935f927acb5d2f4.jpg" data-media-id="editor_2" data-image-id="20250921150956_ba224a8c2d4c4434ed6e08e858d798b382a06c8606583841c935f927acb5d2f4" data-rendition-name="original" width="1200" height="710" loading="lazy" alt="Anil Kumar Sinha"> </figure>  Anil Kumar Sinha was appointed as a Supreme Court Justice in 2016, and retired in 2023, after reaching the age limit of 65. Home Minister Om Prakash Aryal was formerly also given the responsibility of leading the Ministry of Law. Sinha specialises in tax and corporate law. Most recently, Sinha was a member of the Supreme Court bench that issued a verdict allowing an investigation into misappropriation of government land at Lalita Niwas in Baluwatar. Sinha played a significant role in the eventual impeachment of the then chief of the Commission for the Investigation of Abuse of Authority (CIAA) Lokman Singh Karki ion 2016 over legality of his appointment. He also resolved the dispute concerning the first dissolution of the House of Representatives by then-Prime Minister KP Sharma Oli on 20 December 2020. Madan Pariyar, Minister of Agriculture&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250921180928_83a9a885704826f04b439cf5096063a0596544a750f78b5ff02ee82df43ca0cf.jpg" data-media-id="editor_3" data-image-id="20250921180928_83a9a885704826f04b439cf5096063a0596544a750f78b5ff02ee82df43ca0cf" data-rendition-name="original" width="640" height="640" loading="lazy" alt="Madan Pariyar"> </figure>  Madan Pariyar is a scholar with notable research contribution in several fields including poverty alleviation, inclusion, good governance, agriculture, industry resource management. He obtained his doctorate and master'sin enginerring from the Asian Institute of Technology in Bangkok and Bachelors of Science in Agricultural Engineering from the Allahabad Agricultural Institute in India. Bcck in 2011, the government appointed Pariyar the chair of the State Restructuring Commission (SRC) which was tasked with advising the Constitutional Assembly on the best possible model of federalism to be adopted for Nepal. Pariyar is also the chair of Samata Foundation that advocates for the rights of the Dalit people and their capacity building.&nbsp; OTHER NAMES Ajaya Bhadra Khanal, research director of the thinktank Center for Social Innovation and Foreign Policy (CESIF Nepal) is likely to be appointed the chief adviser to the Prime Minister. GenZ campaigners have also suggested the name of veteran Nepal Airlines aptain Vijay Lama for the Minister of Culture, Tourism and Civil Aviation. Rights activist Mohna Ansari, heritage conservationist Ganapati Lal Shrestha and Mansi Bhattarai, daughter of former Maoist prime minister Babauram Bhattarai have also been floated for various ministries. PM Karki has said she will limit her cabinet to 11 members for 22 ministries. Karki is likely to handle two or more ministries herself. At present, Kulman Ghising is leading three ministries while Om Prakash Aryal has two.&nbsp;

Nepal PM expands her Cabinet

What does a journalist do when young protesters are shot in front of her? Does she do her job and stay neutral? Can you stay neutral?&nbsp; As protests engulfed Kathmandu, Nepal's journalists found themselves reporting a story that was personal. While doing their job, some of them were even targeted by mobs.&nbsp; Dart Asia Pacific Fellow <a href="https://www.linkedin.com/in/arunkarki/" target="_blank">Arun Karki</a> visited their newsrooms and spoke with his colleagues on their experience of reporting the GenZ protests that erupted on 8 September. These are the first-hand accounts of journalists who witnessed the turmoil in the city they call home. Sunita Karki was at a workshop in a hotel on 8 September. She saw the first waves of protests through hotel windows. Curfew alerts flooded her phone, a vehicle belonging to a human rights group sat burning across the road, young boys were taking their wounded friends on motorbikes to the Everest Hospital, and police were beating a teenager with hands raised up.&nbsp; “I cried a lot,” she said, but the tears were not out of fear -- they were because she felt guilt. “I couldn’t write the news. We were witnessing these scenes from a five-star hotel.” By evening, the death toll had reached 19. On 9 September at about 3:35 p.m. &nbsp;her outlet, the Annapurna Post's office in Tinkune, Kathmandu, was set on fire. Staff had to leave the building as parts of the newsroom burnt down.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250924040948_e1cc49c9e4fcc4bd4cd3c0163c782fc4e9956bf633cff7b53a63cf8e2dd74cff.jpg" data-media-id="editor_1" data-image-id="20250924040948_e1cc49c9e4fcc4bd4cd3c0163c782fc4e9956bf633cff7b53a63cf8e2dd74cff" data-rendition-name="original" width="1333" height="1000" loading="lazy" alt="Dart Centre Asia Pacific"> </figure>  When she knew her office was burning, she anxiously told her husband that she would resign from the job: "If we have to hide our identification cards in every protest, what kind of journalist am I?" she asked herself. She filed a story the next day, but her emotions kept bouncing between that of a journalist’s duty and shock. She said that in moments like this, it’s hard to feel truly neutral. After watching the police beat people, she felt a strong urge to step in, not just stand back and report. The first real calm came later, when people came to the street and lit small candles together. “This was a sort of victory procession. I felt some relief after brutal days,” she said. <a href="https://www.linkedin.com/in/angaddhakal/" target="_blank">Angad Dhakal</a> a photojournalist who works at Kantipur National Daily, was standing outside his office building when protesters stormed in and set parts of it on fire. He had already been informed that protesters were planning to torch his office building and &nbsp;rushed to his office hoping to save his hard drives containing ten years of photography work. He failed. He raised his camera and "forcefully" pressed the shutter - more to document the scene than out of "professional enthusiasm or duty".&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250924040948_ebafaacb85c4ea045c41f2c63f1eff06fee9a4ddb5fbf419724e1a5d533781fa.jpg" data-media-id="editor_3" data-image-id="20250924040948_ebafaacb85c4ea045c41f2c63f1eff06fee9a4ddb5fbf419724e1a5d533781fa" data-rendition-name="original" width="1333" height="1000" loading="lazy" alt="It is hard to feel neutral NT"> <figcaption>Photo: GAURAV POKHAREL</figcaption> </figure>  “My office was burning. What should I photograph?” he recalled. A few moments later, a protester noticed the “PHOTO” label on his yellow Press jacket. Dhakal deflected it by saying he was an early career freelancer and YouTuber. So that protesters wouldn't find out, he went to one corner and took his jacket off. When it comes to covering street protests, &nbsp;Angad usually stands near the police because it feels safer. But on 8 September, fire and gunshots made even that area unsafe. A rubber bullet hit his friend Dipendra Dhungana that badly injured him.&nbsp; He thought, “Where do we go now? If we stay here, we’ll be hit.” After witnessing two days of protests, violence, and killings, and seeing his own office burning, he couldn't sleep for days. The same afternoon that government buildings burned and Kantipur was attacked, a message in a protest Discord forum talked openly of 'attacking Kantipur'.&nbsp; Rumours spread to other outlets. Outside OnlineKhabar's office, where <a href="https://www.linkedin.com/article/edit/7376157229248528384/?author=urn%3Ali%3Afsd_company%3A79132377#" target="_blank">Gaurav Pokharel</a> works, the newsroom manager saw “very suspicious people were walking around”. They lowered blinds, avoided windows, locked the front gate and dispersed staff to other places across the city. The outlet was threatened and effectively locked down, but not torched. Pokharel hid his press ID. “ I never showed the ID card. Sometimes I had to enter the crowd shouting slogans, just to blend in among the protesters,” he said. He watched people fall under gunfire, he helped pull one surrounded journalist out of a hostile crowd.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250924040948_3b335eee57280373cb51f460534ca4476df23f89c787ba9e4a66d116a537b1a3.jpg" data-media-id="editor_5" data-image-id="20250924040948_3b335eee57280373cb51f460534ca4476df23f89c787ba9e4a66d116a537b1a3" data-rendition-name="original" width="1333" height="1000" loading="lazy" alt="It is hard to feel neutral NT"> <figcaption>Photo: GAURAV POKHAREL</figcaption> </figure>  As a freelancer, Gaurav also contributed articles for international outlets. Later, while transcribing an interview of a young protest organiser, he wrote to his editor at an international outlet : “This was very hard to write. I cried many times while doing it.” He had been working at a stretch for days battling bouts of exhaustion and low blood pressure.&nbsp; Protesters vandalised and set fire within the Singha Darbar complex housing Nepal Television and Radio Nepal. They tried to disrupt public broadcasting.&nbsp; Surendra Paudyal began the day with his press ID hanging on his neck, thinking it would let him move freely. But when he reached Singha Darbar around 3:30PM, the situation felt dangerous.&nbsp; He put the ID in his pocket. When asked what mattered most, he answered without pause: life comes first. In that moment, he felt real fear and a strong duty to protect his team.&nbsp; His focus narrowed to basic things: stay calm, find exits, get everyone out safely. Later, they were able to keep the 8 pm news on air through a regional link. He felt mixed emotions and a sense of relief that the broadcast continued, but also sadness and anger that their own studio had come under attack. Reprinted with permission from the Dart Centre Asia Pacific, a regional hub that provides trauma-informed support and advice to journalists.

"It is hard to feel neutral"

Among the songs GenZ protesters were chanting at the Mandala on 8 September was Amrit Gurung’s folk-rock rendition of the Panchayat-era patriotic song, <a href="https://www.youtube.com/watch?v=0iXnL31W93c">रातो र चन्द्र-सुर्जे जङ्गी निशान हाम्रो</a>. But amidst waving double pennants that day in Kathmandu were strands of Gopal Yonjan singing <a href="https://www.youtube.com/watch?v=N7D8P-g3Uw4" target="_blank">बनेको छ पहराले</a> and <a href="https://www.youtube.com/watch?v=57SlGf4m7R4" target="_blank">देशले रगत मागे</a>. The irony is that the message of Nepali nationalism the musician was trying to convey 50 years ago with his lyrics carries a new resolute relevance in today's context: I am a son of Nepal who will never kowtow to anyone.&nbsp; You can behead me, but I will never bend the knee. &nbsp; I can withstand fire, but will not stand injustice.&nbsp; If the nation demands blood, I will sacrifice myself. My mother will not weep, for she is the daughter of a Nepali. This was pure patriotic poetry that only someone like Gopal Yonjan could write. They are inter-generational and immortal — speaking as much for the GenZ today, as it was for the early days of nation-building when they were recorded in vinyl and broadcast over Radio Nepal.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025092210094_4d5f65bf3ba2d2823e3da8aff6a77f2b9aa4eff4b1e1b6a8eeed8c0bcb58e47b.jpg" data-media-id="editor_3" data-image-id="2025092210094_4d5f65bf3ba2d2823e3da8aff6a77f2b9aa4eff4b1e1b6a8eeed8c0bcb58e47b" data-rendition-name="original" width="2000" height="1600" loading="lazy" alt="Gopal Yonjan NT 1"> <figcaption>Gopal Yonjan was an adept flautist from a young age in Darjeeling.</figcaption> </figure>  Those two songs together have over 20 million views on the Music Nepal YouTube channel, and many of the comments have been posted after the 9 September massacre and the raging conflagration at the epicentre of the Nepali state&nbsp; They attest to the emotional depth of Nepali nationhood and love of motherland in every citizen of every generation no matter how dreadful the circumstances — and especially when the future looks fragile and uncertain.&nbsp; The release of Gopal Yonjan: The Man &amp; His Music by his wife Renchin could not have come at a more momentous time in Nepal’s history to celebrate this iconic legend of modern Nepali music. Yonjan would have been 82 today, and as a poet, lyricist, singer innovated and improvised using Nepal’s folk traditions to infuse modern arrangements, meld melody with harmony, and lend them words that made the songs eternal.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025092308098_76c4e4df756de0c1bea9858e1da0bcb6acb8145f27963e1679f5509a6ac2f078.jpg" data-media-id="editor_4" data-image-id="2025092308098_76c4e4df756de0c1bea9858e1da0bcb6acb8145f27963e1679f5509a6ac2f078" data-rendition-name="original" width="2712" height="3900" loading="lazy" alt="Gopal Yonjan Narayan Gopal"> <figcaption>Narayan Gopal with Gopal Yonjan, the ‘Gopal Duet’ at Swayambhu circa 1963.</figcaption> </figure>  HOMECOMING Renchin Yonjan brings us an intimate family album of historic photographs of Gopal growing up in school in Darjeeling, his arrival in Kathmandu and the decision to make Nepal his home. She quotes Gopal: ‘I was deeply moved by the very glimpse of Nepal. I was enchanted by the greenery of Kathmandu, the gentle nature of the people, their pure thoughts, and their hospitality … how wonderful it would be to spend my live in such a beautiful and serene place.’ It was a kind of homecoming for Gopal Yonjan, the land his ancestors left to migrate to British India. In Kathmandu he found kindred spirits and musicians as passionate about their craft as himself: Narayan Gopal, Nagendra Thapa, Ratna Shumsher Thapa, Shiva Shanker, Pushpa Nepali  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250922100920_99a97f6cd76c130d5df91a38ac236906bcb21ba6fc2d2d693ba51e0a97c045d4.jpg" data-media-id="editor_5" data-image-id="20250922100920_99a97f6cd76c130d5df91a38ac236906bcb21ba6fc2d2d693ba51e0a97c045d4" data-rendition-name="original" width="1500" height="1071" loading="lazy" alt="Gopal Yonjan"> <figcaption>Gopal Yonjan arriving at Kathmandu airport in 1963 and greeted by Nepali singers Pushpa Nepali, Dilmaya Khati, Shiv Shanker Shrestha, among others. </figcaption> </figure>  Gopal Yonjan and Narayan Gopal hit it off right away, complementing and inspiring each other with their shared love for meaningful music. They came to be known as the ‘Gopal Duet’, and Yonjan wrote in Nepali in his diary on 21 April 1963 about their first meeting: ‘I was immediately struck by his talent and presence. There was something in both his artistry and demeanour that drew me in. It didn’t take long for us to draw close.’ Towards the end of his life, Gopal Yonjan drifted away from themes of patriotism and unity to celebrate music in its purest form in his Gopalaya Studio in Kathmandu. It became art for art’s sake.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250922100912_f9aeec8d96049c580a4b63789664e1ae80971d3be3c7809acfe51b84e3e31cd1.jpg" data-media-id="editor_6" data-image-id="20250922100912_f9aeec8d96049c580a4b63789664e1ae80971d3be3c7809acfe51b84e3e31cd1" data-rendition-name="original" width="2000" height="1304" loading="lazy" alt="Gopal Yonjan"> <figcaption>Gopal Yonjan at his Gopalaya Studio in Kathmandu in 1992.</figcaption> </figure>  The words of his song <a href="https://www.youtube.com/watch?v=D8ZHg3wkvzw" target="_blank">मेरो गीत मेरै प्रतिविम्ब होइन</a> immortalised by Narayan Gopal has lines that give goosebumps to anyone who listens to them: मेरो गित भन्ने अधिकार छैन, गित को पो म हूँ मेरो गित होइन (I have no right to call this my song. This song does not belong to me. I belong to this song.) &nbsp; In Nepal, Gopal Yonjan also found a more complicated story. There were grand historical narratives of nationalism, bravery and glory, but there was an undercurrent of fear and control. Renchin writes in the chapter, Tell Me Where My Country Lies: ‘[Gopal saw] national pride slowly erode in the face of social exclusion, political silence, and economic disenfranchisement.’  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250922100912_57578ebebc7e405cf6ad3080611366893bee30cfc071567e6509038da866b2f2.jpg" data-media-id="editor_8" data-image-id="20250922100912_57578ebebc7e405cf6ad3080611366893bee30cfc071567e6509038da866b2f2" data-rendition-name="original" width="1500" height="1043" loading="lazy" alt="Gopal Yonjan"> <figcaption>Renchin and Gopal Yonjan in their garden in Kathmandu in the late 1980s.</figcaption> </figure>  Gopal Yonjan’s song <a href="https://www.youtube.com/watch?v=Zru8yWSuRCI" target="_blank">भनिदे नेपाली दाइ मेरो देश कहाँ पर्यो</a> is ‘as much an elegy as a manifesto’ with searing lines like ‘Where is the river that ran red with Nepali blood? Where is the battlefield where our defenders wiped their khukri?’ Gopal Yonjan sings this song himself, reminding Nepalis of the sacrifices made to forge this nation, and for us not to squander them.&nbsp; In his song <a href="https://www.youtube.com/watch?v=_pVKpsK6Wy8" target="_blank">लाहुरे</a>, Yonjan celebrates Nepal’s illustrious history written in blood both to keep the nation free and then spilling it to defend other countries. Today, the same song takes on added meaning of Nepali lahure shedding not blood but sweat and tears as they toil abroad to send money to families back home. It evokes the pain of separation, and an anger at an uncaring state that drives them to leave. Gopal Yonjan died aged 53 in 1997 in a New Delhi hospital, leaving a legacy that still defines the Nepali nation in ageless musical compositions. The US-based <a href="https://www.gopalaya.org/" target="_blank">Gopayala</a> and the Gopal Yonjan Foundation have worked to remaster some of the tapes and recordings that are in safekeeping at Cornell University’s Carl A Koch Library.&nbsp; Renchin Yonjan has collected some of that valuable documentation in her book, Gopal Yonjan: The Man &amp; His Music. Her concluding paragraph sounds prescient because of what Nepal has just been through: ‘Gopal’s patriotic compositions remain timeless not because they repeat old slogans, but because they ask new questions, and demand that we answer not with our voices, but with our lives.’  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025092210090_3d0b5ecad2313b09e83e0de91bf510004f1ff836d7e66f0543ccd49432bb6386.jpg" data-media-id="editor_12" data-image-id="2025092210090_3d0b5ecad2313b09e83e0de91bf510004f1ff836d7e66f0543ccd49432bb6386" data-rendition-name="original" width="1136" height="518" loading="lazy" alt="Gopal Yonjan"> </figure>

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