Rain pelleted the windshield furiously. Iva Maharjan dashed down the footpath and slid into the backseat of the taxi, next to me. We were about to be stuck in Kathmandu traffic for exactly two hours and I would ask her a question around which our time would pivot. Iva goes by the name “That cello girl” on her WhatsApp ID. I had always wondered if the title had more to reveal. “Yes, I play the cello,” she flashed a demure smile. The cello is a stringed instrument, used in various genres of music. It is also known as violincello. I had never met a cellist before! The cello isn’t the instrument Iva has always played. When she was 11, she started to learn to play the violin. “My cousin-brother (Sabin Munikar) had set up a music institute in our house so my father asked me if I was interested in learning the violin,” Iva recalled. Her father, Babukaji Maharjan, a music enthusiast himself, plays the dhimay and the flute. He has been the biggest force behind Iva’s music journey. “If my father hadn’t dropped me off to rehearsals, I wouldn’t be here.” I teared up when Iva said that, as I thought about my own father always holding the light for me. When Iva first learned to play the violin, it was very hard. “It’s uncomfortable and painful in the beginning because you’re not used to putting your hand like that and holding the bow in a certain way. It is also difficult to press on strings, hurts your fingertips," Iva said as she showed me the dead skin on her fingers. "But it was a part of the learning and never did it feel like I didn’t want to do it. I liked being known as someone who could play the violin.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241117111120_fbcff54cb40b5fb4f757c687e83ee79964192e6084cc8441f29bfd0e296854f2.jpg" data-media-id="editor_0" data-image-id="20241117111120_fbcff54cb40b5fb4f757c687e83ee79964192e6084cc8441f29bfd0e296854f2" data-rendition-name="original" width="1080" height="1620" loading="lazy" alt="Meet the cello girl"> <figcaption>PHOTO: KATHMANDU YOUTH ORCHESTRA / FACEBOOK</figcaption> </figure>  While the violin became attached to her identity, it was only in 2017 that her instrument really found her. Iva is part of the Nepal-Norway project, which had donated three cellos to Nepali music groups.&nbsp; They had instruments but not enough players. It was then that her cousin asked her if she wanted to take up the cello. Although not a cellist himself, he taught her how to hold it and where to place her fingers. “I started to practice based on the theory I knew from learning the violin,” Iva said.&nbsp; It was difficult for her to make the transition at first. The violin is in the treble clef and the cello is in the bass clef and so there were different notes on the staff notation to navigate. Yet, a month after picking the cello, Iva played in an orchestra. She debuted as a cellist in 2017 at a performance at the British School: “At that time, my mentor told me, play what you can and leave what you can’t. Just stay focused on the staff notation because you need to know where you are in order to pick the notes that you can play. It was quite simple at that time.” Iva has continued playing the cello after that. “I liked the fact that I didn’t have to hold my hand up anymore. For the violin you have to do that. I could sit and play. I liked the sound. When it’s just the violin, the sound can be quite high pitched. With the cello, it balances it out. It also gives it a more fuller feeling.” As I watched Iva smile and talk about her music, the stillness of the traffic and the fury of the rain had somehow started to wane from my mind. Thinking about Iva in the midst of an orchestra brought a simple and real comfort. She brought out her phone and showed me recordings of her performances.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241117111120_e732ece843b7533b3a7f9896284f55d6789d88b4f0b07eaa379de33e5b6322a2.jpg" data-media-id="editor_1" data-image-id="20241117111120_e732ece843b7533b3a7f9896284f55d6789d88b4f0b07eaa379de33e5b6322a2" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Meet the cello girl"> <figcaption>Photo: SAGAR CHHETRI</figcaption> </figure>  What also attracted Iva to the instrument was that it was a unique thing to do. There are currently only a couple of cellists in Nepal and Iva is the only female performing. More recently, Iva has formed a string duo with her friend Phoebe Shrestha on the violin. The duo have presented to audiences in Kathmandu. For Dasain, Iva and her friends released a video, in which she plays the <a href="https://www.youtube.com/watch?v=K0xMEe9Jxa4&amp;t=60s">Malashree dhun</a>. It stoked audience interest in the instrument as noted in comments. “People love it when we play these kinds of songs because they’ve only seen them played on traditional instruments,” Iva said. Outside, the traffic had started to stir. Iva receives a lot of attention on the streets because of her cello--a 5'2" girl, bearing a 48-inch, 4X4 instrument in her arms. “People are curious what’s in the bag because it looks so big. They think it’s a guitar. But when they see it, they don’t know the word ‘cello’ so they just call it a big violin,” she laughed. Iva also teaches violin and cello: “Most musicians in Nepal teach music at multiple schools to sustain themselves as musicians. It is a bit of a hustle to get from one school to another sometimes. Currently, she has many students learning the violin but only one learning the cello. The student doesn’t own her own instrument. It has mostly to do with the inaccessibility to a cello-- the instrument is large and the cheapest costs close to 70K and has to be pre-ordered and shipped to Nepal. The one Iva plays was donated by the Norwegians to The Kathmandu Youth Orchestra, of which she is a member. The group starts rehearsing a month or two ahead of the orchestra and plan to do a show every year. Iva described the group as “just a bunch of musicians getting together to make music”. Since the orchestra is not able to support the players, they have to find work elsewhere, which also means the orchestra doesn’t always get a full set of musicians at times of performance. Iva's job is unique, and rewarding when people come up to her after a performance. She feels the cello has become a part of her identity now. “I would not like to leave it [the cello] behind. I haven’t thought about what life would be if I was not playing.” It continued to pour. We had finally covered six kilometres and arrived at our destination. Suburban Tales is a monthly column in Nepali Times based on real people in Pratibha’s life.

Pratibha Tuladhar

original

674x448

610x380

500x500

400x266

400x240

400x203

301x200

1250x600

1084x550

thumbnail

viewImage

Meet the cello girl

Young boys and girls holding cellos, violas and sitars gather at Narayan Gopal's residence in Maharajganj, ready for practice. Norwegian cellist Eivind Rossbach Heier and violist Ole Rasmus Bjerke lead in tuning the instruments. Soon, the sound of classical renditions of Nepali and Norwegian folk music accompanied by more traditional sounds of sitar and flute, wafts through the neighborhood. “In these moments, you can see how music is the strongest lingua franca,” says Heier, who first came to perform in Nepal, and has kept coming back. He is enamored by Nepali hospitality and has been organising the Norway-Nepal Orchestra Project in collaboration with Annapurna Chamber Orchestra, bringing together musicians from Nepal and Norway to perform together. Read also: <a href="https://www.nepalitimes.com/multimedia/amrit-gurung-unplugged">Amrit Gurung, unplugged</a>, Ashish Dhakal  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230407060448_cf99471a-0234-43b7-a8e9-337812b190bb.jpg" data-media-id="editor_1" data-image-id="20230407060448_cf99471a-0234-43b7-a8e9-337812b190bb" data-rendition-name="original" width="3000" height="4000" loading="lazy" alt="Nepal Norway Orchestra"> </figure>  “The goal of the project is to help establish an orchestra in Nepal, and educating the youth is the first step,” explains Raj Kumar Shrestha, director and conductor of the Annapurna Chamber Orchestra. Shrestha was a student of national anthem composer Ambar Gurung and shares his mentor’s goal of reaching the world with chamber orchestra with classes on the property donated by popular Nepali singer and music composer Narayan Gopal. Shrestha and his colleagues reached out to Norwegian musicians through the World Federation of Amateur Orchestras, eventually forming the Norway-Nepal Orchestra Project in 2015. Since then, the number of Nepali musicians in the production has grown from 30 to nearly 80 in its eighth rendition. Read also: <a href="https://www.nepalitimes.com/here-now/king-of-music-for-kindness">Kind of music for kindness</a>, Ashish Dhakal  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230407060444_ca69adfa6e6bbe90b0caeaa3b7f2134ac53b9d7a4c1051b0ea8e36a1eca608d8.jpg" data-media-id="editor_3" data-image-id="20230407060444_ca69adfa6e6bbe90b0caeaa3b7f2134ac53b9d7a4c1051b0ea8e36a1eca608d8" data-rendition-name="original" width="4000" height="3000" loading="lazy" alt="Nepal Norway Orchestra"> </figure>  For Bjerke, the ties of Nepal and its music has only deepened with each visit. He recently became the board member of the Norway-Nepal Friendship Association in Oslo.&nbsp; The Norwegian duo has facilitated cultural exchange by bringing Norwegian tutors to Nepal and welcoming Nepali students to perform in Norway -- including playing Nepal's national anthem with a viola and violin before Queen Sonja of Norway. “I have seen the growth of Nepali musicians from unsure classical beginners to being skilled players,” says Heier, “and we are now resuming where we left off before the pandemic.”&nbsp; Read also: <a href="https://www.nepalitimes.com/here-now/a-gift-of-music-to-nepali-children">A gift of music to Nepal's children</a>, Marty Logan <div class="embed-block"><div style="max-width: 56vh;"><div style="left: 0; width: 100%; height: 0; position: relative; padding-bottom: 177.7778%;"><iframe src="//cdn.iframe.ly/api/iframe?url=https%3A%2F%2Fyoutube.com%2Fshorts%2FklUFeiAXjVY%3Ffeature%3Dshare&key=87ca3314a9fa775b5c3a7726100694b0" style="top: 0; left: 0; width: 100%; height: 100%; position: absolute; border: 0;" allowfullscreen scrolling="no" allow="encrypted-media *;"></iframe></div></div></div> However, the Annapurna Chamber Orchestra members have been using the lockdowns to practice, and they return this week with Nepal's first Viola Ensemble and Cello Concerto. “I still performed the day before my 11th preboard exam, it has become a passion” says Rojan Rai, who has been a member of the orchestra since Grade 6. Rai is Nepal's fourth-generation orchestra student and strives to continue the legacy. He adds: “Sadly, one cannot make a living through just music in Nepal. And our education system actively discourages us from being involved in anything aside from books.” Read also: <a href="https://www.nepalitimes.com/multimedia/tibetan-music-in-nepals-sacred-valley">Tibetan music in Nepal's sacred valley</a>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230407060444_3ac07a238d6def6648eda21e94328cd2c7730aca11ae1eb39743a49dbea5edb9.jpg" data-media-id="editor_7" data-image-id="20230407060444_3ac07a238d6def6648eda21e94328cd2c7730aca11ae1eb39743a49dbea5edb9" data-rendition-name="original" width="4000" height="3000" loading="lazy" alt="Nepal Norway Orchestra"> </figure>  This fact is evident in the empty chairs of orchestra members who are busy at school. Most students in the practice room are taught instruments by private tutors, and leave after graduating. Students working outside Nepal do not return at all. “Non-profits like us have a limit on what we could do,” says Shrestha, pointing to the building constructed by Kathmandu Metropolitan City to train classical musicians. In the past, Royal Nepal Academy fostered the preservation of Nepali culture through music. Now, only non-profits like Narayan Gopal Music Trust, donors like Marit Bakke from Norway, and publishers like Taleju Prakashan sponsor Nepali musicians who strive to entertain, educate, and communicate through music. Read also: <a href="https://www.nepalitimes.com/here-now/ex-refugee-takes-refuge-in-music">Ex-refugee takes refuge in music</a>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230407060444_7d0cf34aeae898480a76cf4a1aa8e9f55cd875ed78bdc67b124681fc8dbc7045.jpg" data-media-id="editor_9" data-image-id="20230407060444_7d0cf34aeae898480a76cf4a1aa8e9f55cd875ed78bdc67b124681fc8dbc7045" data-rendition-name="original" width="1134" height="2016" loading="lazy" alt="Nepal Norway Orchestra"> </figure>  The Norway-Nepal Orchestra aims to rekindle the love of music with ochestral performances of Nepali classics like 'Taal Ko Pani' and 'Asare Mahinama' in Kathmandu this weekend. In addition, Heier's string trio, Trio no Treble, plans to return to Nepal this October with singer Rachana Dahal. The Norway-Nepal Orchestra Project is not only fostering the next generation of Nepali classical musicians but also strengthening the cultural bond between two geographically distant nations. “I saw Heier's group perform in my school shortly after I started learning the violin,” says Rojan Rai, “I hope to spark the same passion I got from watching their performance in others.” &nbsp; Read also: <a href="https://www.nepalitimes.com/latest/nepal-norway-orchestra-find-harmonies">Nepal-Norway orchestra find harmonies</a> Norway-Nepal Orchestra Project is performing on the grounds of LRI School in Kalankisthan this week on 7 April, 3PM onwards.

Orchestrating cross-cultural collaboration

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110815110/636a61029c7e80680e056eacjpeg.jpg" alt="" width="1500" height="921"/><figcaption>Photo: JAYADEV KRISHNA SHRESTHA</figcaption></figure>Rajkumar Shrestha flicked his baton, musicians raised their instruments, and the audience at the Academy Hall in Kathmandu stood up for Nepal’s national anthem gloriously rendered with violins, violas, cello, sitar and flute by a 60-member orchestra.The lyrics of 'Sayaun Thunga Phool Ka Hami, Eutai Mala Nepali' ('We are different flowers of the same garland') evoke Nepal’s ethnic diversity, but last Wednesday they also defined the diversity of the musicians from Norway and Nepal, of various ages and ethnicities.And because this was a project of the Nepali-Norwegian Orchestra, the soothing tones of the Norwegian national anthem came next. In the centre of the orchestra, surrounded by violinists, was Eivind Rossbach Heier from the string quartet KvartalKvartetten on the cello, alongside his father who played the viola.Raised in a musical family with his mother, a cellist, and his sister a violinist, Heier first came to Nepal in 2015 as an instructor with 3 other tutors and 15 young people through a youth orchestra in Norway. Their goal was to teach Nepali musicians classical music in order to establish orchestras in the country.The Annapurna Chamber Orchestra met the Norwegian musicians from KvartalKvartetten through the World Federation of Amateur Orchestras. The project trains Nepali students for a week and organises performances in different venues of Kathmandu.Ten Nepali musicians also go to Norway for the week-long annual Orchestra Summer Course to interact and exchange music with their Norwegian counterparts. During the course, Nepali and Norwegian musicians play music from both countries even though they sound completely different.Says Heier: “Despite their differences, the appreciation of music is universal. Nepali music has more melodies but not many harmonies, which is the biggest difference from Western music. But it is the language of music that brings us together.”The exchange has also helped the musicians learn about Nepal through music and share a commonality. “It was interesting that after we heard the translated titles of the Nepali songs, we were reminded of patriotic songs from Norway as well,” said music instructor Ole Rasmus Bjerke.In the last five years of the project, the instructors as well as the young musicians know that their music has improved. “I used to play in the junior orchestra, and now I play with the seniors. I can feel the difference and my confidence building up,” says 18-year-old Bikalp Singh Dura.The number of Nepali musicians has also doubled since 2015, from 30 to 60, and is projected to expand in coming years. They range in age from 10 to 60.“The future of the Nepali orchestra is bright. It is growing through these programs,” says Rajkumar Shrestha, conductor and chairman of The Annapurna Chamber Orchestra. “The only challenge is that most students leave the country after Grade 12 for higher studies and we lose good musicians.”

Nepal-Norway orchestra finds harmonies

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

Nepal-Norway orchestra find harmonies

Fenerbahçe Beko won the Turkish Airlines EuroLeague finals in Abu Dhabi, held 23-25 May, defeating Monaco 81-70 in the final. Olympiacos, who defeated Panathinaikos 97-93, finished the series in third place. The Most Valuable Player (MVP) of the final match, Nigel Hayes-Davis from Fenerbahçe Beko, received a prize of 1,000,000 Miles&amp;Smiles from Turkish Airlines’ Chief Commercial Officer Ahmet Olmuştur. The carrier has been the title sponsor of the Turkish Airlines EuroLeague, a top tier tournament, since 2010.

Turkish Basketball

Thousands of Nepali students dreaming of an American education have been forced to look elsewhere as the Trump administration’s visa restrictions make their future uncertain.
The US was long considered a top destination for higher studies, making Nepal the 10th biggest country of origin for international students in America.&nbsp;
However, that number has seen a significant decline with the total for Nepali students now at 16,482. Some 8,000 Nepali students obtained no-objection certificates to study in the US from the Ministry of Education in the past year.&nbsp;
India, Australia, Canada, South Korea, United Kingdom and Japan are the other popular destinations for Nepali students. There are no clear numbers for Nepalis going to India, but a slight decline was noted this year after the deaths of two female students.
The US State Department has issued a circular to its embassies not to issue new visas to applicants until further notice. US Secretary of State Marco Rubio in the directive stated that the department planned to expand the screening of applicants' social media.&nbsp;
While new applicants are barred including those applying for visitor visas, students with scheduled interviews are allowed to proceed.
“Many of our students are affected by the new restrictions, but those who had applied for student visas earlier have got interview dates,” one Kathmandu-based college counsellor told us.
Meanwhile, even foreign students with spotless records already in the US have not been spared, as visa scrutiny intensifies under the new policy. In a move that underscores the growing sense of insecurity, many US colleges advised international students to carry their passports and documents at all times, even when traveling locally.
“Me and my friends did not go home this summer because we were not sure we would be allowed back, so we just went to Niagara Falls,” said a Nepali undergrad in Ohio, who like many interviewed for this report did not want her name used for fear of repercussion.
<div class="embed-block"><iframe title="MORE NO OBJECTIONS" aria-label="Column Chart" id="datawrapper-chart-a7y6L" src="https://datawrapper.dwcdn.net/a7y6L/1/" scrolling="no" frameborder="0" style="width: 0; min-width: 100% !important; border: none;" height="600" data-external="1"></iframe><script type="text/javascript">!function(){"use strict";window.addEventListener("message",(function(a){if(void 0!==a.data["datawrapper-height"]){var e=document.querySelectorAll("iframe");for(var t in a.data["datawrapper-height"])for(var r,i=0;r=e[i];i++)if(r.contentWindow===a.source){var d=a.data["datawrapper-height"][t]+"px";r.style.height=d}}}))}(); </script></div>
Nepali students have adopted a cautious stance, with many choosing not to return home during summer vacation due to fear of visa revocations as well as travel bans. Meanwhile, over 7,000 Nepalis with Temporary Protected Status (TPS) will have to come back to Nepal by 5 August or face deportation. Thirty-seven were flown back to Kathmandu on Omni Air last week.
“The US is one of the most sought-after destinations for higher education, and the ban will definitely impact bright students,” says Narottam Aryal of the King’s College in Kathmandu.
Indeed, Nepali undergraduates admitted into Ivy League colleges for the 2025 academic year have been asked to look for alternatives. The entire Fulbright Foreign Scholarships Board resigned on Wednesday citing interference from the Trump administration on the selection of this year’s cohort. Some Nepali students already on Fulbright scholarships have noted disruptions, delays and even cancellation of stipends.&nbsp;
The student visa restrictions were initially just for foreign students admitted to Harvard University, but it was later extended to all Chinese students and now to all students. Universities like Columbia which actively recruit foreign students, face sharp enrolment declines, threatening their financial stability and diversity.
An Indian female PhD candidate at Columbia University had her visa revoked by the US State Department, and said she was targeted on the basis of her social media posts on Israeli military attacks in Gaza. Social media vetting of political activism has raised concerns about privacy and freedom of expression in a country where such rights were a given.
Many students have been informed via email that their visas have been revoked for getting speeding or parking tickets, but even others with no criminal record have been affected. The fear of deportation looms large amongst international students, including those from Nepal.&nbsp;
For most Nepalis who migrate to the US for education, the journey is a high-stakes investment. They come largely from middle-class families, often rely on a patchwork of scholarships, work-study programs, loans, or even the sale of family assets to afford fees.
Most Nepali students pursue STEM subjects which offer extended Optional Practical Training (OPT) periods that help fund their education. But with the US backsliding on education and humanitarian matters, countries like the UK and Canada are becoming more attractive despite their own recent stricter controls on student visas.&nbsp;
The UK universities saw a 63% rise in Nepali students’ admissions in 2024. Japan is another popular destination with 64,816 Nepali students enrolled as of 2024.
<div class="embed-block"><iframe title="WHERE WE WENT" aria-label="Map" id="datawrapper-chart-yUABv" src="https://datawrapper.dwcdn.net/yUABv/3/" scrolling="no" frameborder="0" style="width: 0; min-width: 100% !important; border: none;" height="500" data-external="1"></iframe><script type="text/javascript">!function(){"use strict";window.addEventListener("message",(function(a){if(void 0!==a.data["datawrapper-height"]){var e=document.querySelectorAll("iframe");for(var t in a.data["datawrapper-height"])for(var r,i=0;r=e[i];i++)if(r.contentWindow===a.source){var d=a.data["datawrapper-height"][t]+"px";r.style.height=d}}}))}(); </script></div>
Already, China, Hong Kong and Malaysia are poised to benefit from the increased scrutiny of US student visas. Several Hong Kong universities are offering unconditional admission to affected students, while Malaysian institutions are targeting previously US-bound Asian students. China and India have 330,000 and 280,000 students respectively in America, but the numbers for China have seen a sharp drop in the past year.
Elsewhere, branch campuses of American institutions such as NYU in Abu Dhabi, Georgetown in Dubai and Northwestern in Doha are getting more admission applications, and universities in the Gulf region are expanding infrastructure to accommodate those who would otherwise have gone to the US.&nbsp;
Even educational institutions in Nepal are hopeful that the US visa restrictions can be an opportunity to at least keep Nepali undergrads in Nepal, and also attract foreign students from the region.&nbsp;
“Many students might choose to complete their undergraduate degree here in Nepal and then move abroad for their Master’s degree later,” says Aryal of King’s College. “There was a need for quality higher education in Nepal anyway in terms of innovation and opportunities, so this could be the time to reduce our dependence on other countries.”
Nepal’s strategic position between India and China makes it sensitive to US policy shifts. India, a key ally, is also under US scrutiny for potential student travel restrictions. Chinese universities are already offering more scholarships to Nepali talent to capitalise on the US retreat.
American universities have challenged student visa restrictions in the courts. A federal court in Boston revoked the blanket ban on Harvard, and the State Department has ordered the resumption of processing student and exchange visitor visas.&nbsp;
Some are still hoping that President Trump will backtrack on the student visa restrictions, just like he has done with many of his more drastic executive orders.
Even so, the visa see-saw and longer-term uncertainties about living in the United States and its education system means students across the world are making alternative plans.
Says Aryal: “Policies of foreign countries change according to their needs, so excessive dependence was never a good idea. We should work to create different opportunities and choices of higher education within Nepal, so students are retained.” &nbsp;

America no longer prime destination for Nepali students

While Nepal was hosting the Sagarmatha Sambaad international climate conference in Kathmandu this month, on Mt Everest it was pretty much business as usual.&nbsp; The signs of climate breakdown are all there: a river now runs through Base Camp in summer, the Khumbu Icefall is more unstable, and there are more &nbsp;frequent avalanches. When expeditions arrived in March, the mountains were bare: it had not snowed since September, but then blizzards dumped unseasonal snow in May. And despite climate worries, such is the pull of Himalayan mountaineering that the Everest Industry showed no signs of slowdown. More than 600 international climbers and their Nepali guides had made it to the summit of the world’s highest mountain. At one point there were an estimated 2,000 people in the tent city on the Khumbu Glacier. All the ropes and ladders on the Icefall came down on Thursday, marking the official end of the spring climbing season, and just in time to avoid a monsoon cyclone approaching from the Bay of Bengal. It has been an action-packed season. One factor could be that Everest fees will go up from September: each foreign climber needs to pay a $15,000 royalty, up from the present $11,000. The cost for a Nepali climber on the South Col route will also go up: from Rs75,000 to Rs150,000.&nbsp; The fee to climb Everest in autumn is $7,500 (up from $5,500), but most climbers still prefer spring. Winter permit fee (December-February) is only $3,750 per person and the mountain is now also open for monsoon (June-August) climbs, when the fee is ever lower at $2,750. The revised rule also makes it mandatory for every two climbers on an 8,000m peak to hire one Nepali mountain guide.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025053004050_67f856fe52714e4bdcf21ae7d45c6f18c82117b9d0a5f73ed1efa04c96de1046.jpg" data-media-id="editor_0" data-image-id="2025053004050_67f856fe52714e4bdcf21ae7d45c6f18c82117b9d0a5f73ed1efa04c96de1046" data-rendition-name="original" width="931" height="732" loading="lazy" alt="The Everest Industry graph 1"> </figure>  In addition, climbers also have to pay for porters and guides, equipment, Base Camp costs, Ice Fall and fixed rope team fees, so climbing Everest does not come cheap. But such is the draw of climbing the world’s highest peak that some say the increased fees will not diminish the crowds next year. The government has tried to spread expeditions out to other seasons and other 8,000ers, but with not much success. Earlier this year, Nepal unilaterally increased the number of 8,000m peaks to 14 by adding six more sub-summits to broaden the choice for climbers. Added were: Yalung Kang (8,505m), Yalung Kang West (8,077m) &nbsp;Kangchenjunga Central (8,473m), Kangchenjunga South (8,476m), Lhotse Middle (8,410m) and Lhotse Shar (8,400m).&nbsp; The announcement could go against the accepted topographic criteria that a stand alone peak has to be at least 300m higher than an adjoining prominence, and at more than 3km isolation from it. The UIAA (Union Internationale des Associations d'Alpinisme) still recognises only 14 mountains as eight-thousanders, and only eight of those are in Nepal, or on the border with China. Nepal’s revised mountaineering regulations also increased the insurance coverage of high-altitude workers to protect porters and high altitude guides who usually take more risks on the mountains. Rescue teams and clean-up campaigners to collect trash and remove bodies of dead climbers up to Camp IV of Mt Everest do not need permits.&nbsp; The Sagarmatha Pollution Control Committee is now using drones to fly down trash in 20kg sacks. Each climber is also required to bring down at least 6kg of waste and not just their own, but this rule is erratically enforced. With five fatalities on Everest and Lhotse, Spring 2025 had a historically low death toll. Another five climbers died on Annapurna, Kangchenjunga and Makalu.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025053004050_38681de22f0fefb6faa12b01755566d09c5064d0ff84e12ccc7b5d68ea9ba38a.jpg" data-media-id="editor_1" data-image-id="2025053004050_38681de22f0fefb6faa12b01755566d09c5064d0ff84e12ccc7b5d68ea9ba38a" data-rendition-name="original" width="665" height="740" loading="lazy" alt="The Everest industry graph 2"> </figure>  Journalist Ben Ayers who ran the Everest Live social media channel from Everest Base Camp with daily updates credited the low death rate to dramatic rescues of climbers from the ‘Death Zone’ by their Nepali guides and longline helievacs — the visuals all uploaded on YouTube.&nbsp; “Ironically, this perception of safety is bringing more and more inexperienced climbers to the mountain, and they need more rescues,” Ayers said in one of his dispatches.&nbsp; American expedition chronicler and summiteer Alan Arnette suspects there is a lot of under-reporting given that the jet stream and storms were lashing Everest even till late in the season. He told us: “I heard a lot about frostbite and rescues that were not made public. It’s become practically impossible to cover the details on Everest. All the teams report nice news, and they don’t talk about bad stuff to avoid hurting businesses.” Although trash on Nepal’s mountains makes headlines, what does not receive as much attention is the climate impact of so many expeditions. The Sagarmatha Sambaad conference sidestepped this issue, which is ironic given that the impact of climate breakdown is most evident on Himalayan peaks and their glaciers.&nbsp; <h2>Need for Speed</h2> The big stories this year have been about speed-running from their home cities to the top of Everest. Ukrainian entrepreneur Andrew Ushakov flew out of JFK on 15 May at 10:15AM Nepal time, and was on the summit 3 days, 23 hours, and 7 minutes later on 19 May at 9:22AM.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250601080640_1c5cc6fc991307861768f07037ed9d30930fb20f35dbb57dc31c9a92a9e1a885.jpg" data-media-id="editor_2" data-image-id="20250601080640_1c5cc6fc991307861768f07037ed9d30930fb20f35dbb57dc31c9a92a9e1a885" data-rendition-name="original" width="1440" height="1800" loading="lazy" alt="The Everest Industry"> <figcaption>Andrew Ushakov at the summt. Photo: ELITE EXPED</figcaption> </figure>  “I could never find the time for the traditional 40-50 days of acclimatisation,” Ushakov explained matter-of-factly. His ‘Everest Sea-to-Summit’ climb was possible because he spent 400 hours in hypoxic sleep tents over the past four years in New York. However, Ushakov did use ropes already fixed, hired four Nepali guides, helicoptered to Base Camp, and used much more oxygen than an average climber. And after the climb, Ushakov was arrested at Kathmandu airport for being in possession of $20,000 of undeclared cash and spent a night in jail and fined $60,000.&nbsp; The other speedsters were Garth Miller, Alastair Cairns, Anthony Stazicker, and Kev Godlington, all former British Army commandos. They left London and summited five days later on 21 May, and flew right back. They also used hypoxic tents to simulate the thin air high on Everest.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250601080644_90c8dd5cc07b4b43f2989b1dc0c0650ab80f10ebb06680c25a6909c519957bd8.jpg" data-media-id="editor_3" data-image-id="20250601080644_90c8dd5cc07b4b43f2989b1dc0c0650ab80f10ebb06680c25a6909c519957bd8" data-rendition-name="original" width="810" height="668" loading="lazy" alt="The Everest Industry "> <figcaption>All four members of the Furtenbach team at the summit. Photo: Sandro Gromen-Hayes</figcaption> </figure>  But more controversial was their use of xenon gas therapy in a German hospital to ramp up the production of oxygen-carrying haemoglobins in their blood. Xenon is banned by the World Anti-Doping Agency for being performance enhancing in sports. Expedition leader Lukas Furtenbach said this rule does not apply to mountaineering, as it is not a regulated sport like swimming. Nepal has no rules about xenon, but the Department of Tourism said it was launching an ‘investigation’ to decide on future policy since it is difficult to ban xenon, but allow oxygen. The controversy has also divided the mountaineering community, with some climbers saying they just want to maximise their chances of survival. Spending less time on the mountain could make climbing safer by reducing avalanche risk. It would also mean less trash on the mountains, but it would reduce the income of Nepal’s expedition industry. It is also unclear how much of the success was due to xenon therapy and whether the ex-special forces were already in good physical shape.&nbsp; The need for speed hides the fact that climbing in the Himalaya is dangerous business, and climbers cannot sprint to the top just by huffing xenon. But ultra-fast climbs could be charged more, and the revenue generated can be used to establish state-of-the-art rescue operations, and increase pay and insurance for guides. Two other speed chasers this season were Swiss-Ecuadorian Karl Egloff and American Tyler Andrews, both on Everest without oxygen. Andrews choppered to Base Camp to catch a weather window, but turned back from 8,500m due to high winds. Heavy snow and wind also forced Egloff to descend from 7,000m. Slow and steady climbers like Anja Blacha from Germany did make it to the summit without oxygen, while Kami Rita Sherpa broke his own record with his 31st Everest summit as he led a 26-strong Indian Army group. There were 468 permits issued for foreign climbers from 48 expeditions to Everest this spring. Nepal’s other eight-thousanders together had only 17 expeditions. Nepal has more than 1,000 peaks above 6,000m, and has opened only 476 of them for climbing.&nbsp;

The Everest Industry

That winter day in January 1664 marked an exceptional event in the reign of King Pratap Malla of Kathmandu. It was 15 Paush 784 of the Nepal Sambat and for the first time, a historical event was being immortalised on canvas for generations to come.&nbsp; The occasion was the grand Tuladaan ceremony of the King’s youngest son Chakrabartendra Malla from his wife Anantapriya, an Indian princess from Cooch Behar in present-day Assam.&nbsp; During the ritual, the prince was weighed against gold, silver, pearls, and other precious stones, which were then offered to Goddess Taleju Bhavani, the guardian deity of the Malla dynasty.&nbsp; The 170 x120cm painting captures the time of King Pratap Malla in all its splendour and is more than a personal tribute to his son: it is a significant visual historical document. It was evidently completed five years later in 1669, and could be considered a photographic record, with retrospective recreation of the event by the unknown artist. A Tuladaan ceremony is performed to purify one’s karma, quell impending bad luck, or as an act of charity and devotion. Chakrabartendra Malla was not well, and the ritual was performed in hopes of restoring his health. King Pratap Malla had arranged for each of his sons to take turns ruling Kathmandu so they got administrative experience. But Chakrabartendra died just two days after assuming power in 1670 (790 NS). This painting is considered the earliest known example in which the composition is dominated by an architectural landscape: the Taleju Temple. Given the stylistic features such as side-profile facial depictions and the rendering of human forms, it is believed that the Nepali artist was trained by a Rajput master.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250615040624_ddad3bc27a327e3f9926c8473287e4f14b53081296c295049009f327a4d97051.jpg" data-media-id="editor_0" data-image-id="20250615040624_ddad3bc27a327e3f9926c8473287e4f14b53081296c295049009f327a4d97051" data-rendition-name="original" width="3248" height="4395" loading="lazy" alt="Tuladaan NT"> </figure>  During that era, there were regular exchanges of artists between Northern India and Kathmandu Valley. The painting is also a melding of Nepali, Tibetan, Mughal, and Rajput art styles of the time. Pratap Malla could have been inspired by a painting of Mughal Emperor Jahangir’s Tuladaan ceremony for his son Khurram in 1607. The Mallas and Mughals shared cordial relations, which is reflected in the cultural influences seen in the art and attire of the period.&nbsp; The clothing of the Malla ruling class, in particular, features colourful tunics, turbans, and jewelry that display strong Rajput and Mughal stylistic elements. The musicians in the upper tier are also dressed in Indian-style clothing, while the ensemble on the lower steps wear local attire, notably without turbans. Their hairstyles also differ, with the lower group wearing their hair tied in a bun at the front. This national treasure is currently in storage at the Collège de France in Paris, and has never been publicly displayed. Nepal’s art scholars like Gautam Vajracharya, Pratap Aditya Pal and Anne Vergati have written about this iconic paubha in the past, but the only detailed study is from the perspective of music history by researcher Richard Widdess who had access to high resolution copies of the original.&nbsp; Widdess from the Department of Music at the School of Oriental and African Studies (SOAS) in London describes the paubha as the most significant and richly detailed documentation of music in Nepali art. He identifies distinct musical ensembles on the terraces of the temple, and remarkably most of them are actively used today. One of them reflects the Mughal naqqārakhāna model — a loud outdoor ensemble typically composed of kettledrums, trumpets, and cymbals, traditionally performed from the gateway of the emperor’s palace to announce his entrances and exits. The depiction of such an ensemble in the tulādāna painting is likely the earliest known representation of a complete naqqārakhāna in Nepal — considered the forerunner of the panche baja, the traditional Nepali ensemble. On the stepped pyramid base of the temple are two groups of musicians playing local instruments: dhimey, bhushya, and dha. They are unmistakably Newar musicians, wearing short skirts and short-sleeved tops, with bare heads and legs—clearly distinguished as local performers.&nbsp; Higher still on the temple pyramid are musicians of apparently higher status, positioned close to the king, and his courtiers, possibly professional court musicians from India, well-versed in rāga and tāla. A dāphā group is also clearly depicted, identifiable by their characteristic instruments.&nbsp; Dāphā bhajan is likely the oldest surviving tradition of Newar devotional singing, and this paubha is the oldest visual record of it. Pratap Malla himself is believed to have composed songs that continue to be performed by dāphā groups throughout Kathmandu till today.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025061211064_d67636730cdc0ec778c02494817aca0b99654f2950d0fae4b95499a61faf7ef3.jpg" data-media-id="editor_1" data-image-id="2025061211064_d67636730cdc0ec778c02494817aca0b99654f2950d0fae4b95499a61faf7ef3" data-rendition-name="original" width="596" height="768" loading="lazy" alt="Priceless paubha in Paris NT"> </figure>  The artist’s thorough attention to musical detail may be attributed to King Pratap Malla’s own deep interest in music. His inscriptions on this painting and elsewhere proclaim his mastery of all branches of knowledge, including music. He is also known as the author of dance dramas and poems, penning his name as Kavindra (king of poets). Some noteworthy elements of new art techniques stand out: for example, the roof of the temple is filled with realistically rendered white doves, pigeons, and crows. This is a rare feature in paubha, where animals and birds are stylised, mythological forms. This remarkably talented unknown artist has managed to also render an orthographic projection: the front and side view of Nepal’s first architectural paubha. The Taleju Temple, with its staggering multi-tiered structure and numerous steps and platforms, is masterfully translated into layers within the painting. This represents a significant artistic achievement of the time, especially considering that dimensional perspectives had not started in deity-based paubha.&nbsp; The artist has also made a meticulous effort to capture architectural details such as the toran (ornamental arch) and temple struts with impressive precision. There are flickering lamps along the steps and some people carrying what appear to be oil pots.&nbsp; It is a full moon night and the dark sky is adorned with all the gods and goddesses, who are depicted as blessing the ceremony while seated on stylised thangka clouds. There is a lot happening in this painting, with people engaged in various activities. The artist has also rendered a forest backdrop behind the temple, complete with deer, trees, and flowers. Could there have once been a royal garden behind the Taleju Temple?&nbsp; More details and clarity can only be achieved if we are able to view the original or a high-resolution scanned version of the artwork. Many countries proudly display art depicting historical events in their national museums with great reverence. France, for example, has The Coronation of Emperor Napoleon and Empress Joséphine by Jacques-Louis David (1808–1822), along with numerous paintings of the Napoleonic Wars. Many were commissioned by Napoleon himself for future generations to remember.&nbsp; For Nepal, the equivalent is the Tuladaan paubha which is a visual record capturing a historic moment involving one of Kathmandu’s greatest kings, on the very day the event took place. Sadly, we await the day when this masterpiece is displayed, shared in high resolution for detailed study, or more rightfully — repatriated to its homeland, where it truly belongs. &nbsp; Shaguni Singh Sakya is the Director of the Museum of Nepali Arts (MoNA) at Kathmandu Guest House in Thamel. <h2>Gods homeward bound</h2> The Nepal Heritage Recovery Campaign and Nepal’s Department of Archaeology are convening the first international conference on the Recovery of Cultural Heritage from 16-18 June in Patan. The conference will address urgent issues of theft, illicit trafficking, the campaign to repatriate looted cultural artifacts, and explore how the return of sacred antiquities contributes to justice, healing, and reconciliation for communities and nations affected by cultural loss. American art crime professor Erin L Thompson and Saubhagya Pradhananga of the Department of Archaeology will deliver the keynote. Meanwhile, author and Nepali Times publisher Kunda Dixit will lead a conversation on Illicit Trafficking: Public Opinion and Role of Media with Erin Thompson, Amr Al Azm, associate professor of Middle East History and Anthropology at Shawnee State University in Ohio, as well as Bradley J Gordon, a lawyer based in Phnom Penh. There will be sessions looking at repatriation perspectives from Cambodia, India, Vietnam, China and Poland, international frameworks for repatriation, emerging digital technologies in the repatriation of cultural heritage, cultural property agreements, museums as well as trends in the art market, and heritage diplomacy and the role of media.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025061211068_59cfccfa8f5d73bfe8b4c5811a7f53abc09ea04e8cb7c638933d62e5283efdf6.jpg" data-media-id="editor_2" data-image-id="2025061211068_59cfccfa8f5d73bfe8b4c5811a7f53abc09ea04e8cb7c638933d62e5283efdf6" data-rendition-name="original" width="1080" height="1350" loading="lazy" alt="Heritage recovery NT"> </figure>  <h2> </h2> Some of the other highlights include James K. Reap, a professor in the Master of Historic Preservation Program at the University of Georgia who has a session on the US response to illicit trafficking. Art historian Lea Saint-Raymond is taking on “Gods at Auction: The Market for Himalayan Artefacts”, while lecturer of criminology at the University of Glasgow Emiline Smith is delving into transformative approaches to heritage ownership and repatriation. Helena Arose of Antiquities Coalition and Melina Antoniadis of NOSTOS Strategies that specialise on the return home of cultural heritage as well as Hao Liu of International Cultural Heritage Law at the School of Law at Shandong University are some of the others attending. The Nepal Heritage Recovery Campaign was set up in 2020 to develop a coordinated movement to reclaim Nepal’s stolen gods and goddesses, with an aim to ensure that recovered items are returned to their original shrines, niches or sanctums. Ahead of the conference opening organisers have arranged for a film screening of Loot &amp; Return: 4 Documentaries at YalaMaya Kendra in Patan Dhoka between 14-15 June. Following the conference is a multimedia exhibition titled Absent Gods: Nepal’s Lost Heritage from 31 July to 4 August at Patan Museum.