<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141132/636cfd679c7e80680e0a0be1jpeg.jpg" alt="" width="1464" height="1124"/><figcaption>The iconic photograph of Durga Thapa, 22, as she leapt up during a victory rally on 9 April 1990 to shout “Long live democracy!” Photo: MIN RATNA BAJRACHARYA</figcaption></figure>In the four decades that <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/untold-story-of-photojournalist-min-ratna-bajracharya,2890">I have been a photojournalist</a>, the technology has changed so much and made photographs so easy to take and disseminate that everyone with a phone is now a photographer.Just a few decades ago, the film rolls in which I took photographs with my analogue camera had to be processed, the negatives turned into positive, and scanned into zinc blocs to be printed in smudgy newsprint on letter presses.We are in the age of citizen photojournalism. Online platforms like Instagram, Facebook, Tiktok and others have levelled the playing field, offering anyone and everyone the opportunity to post pictures and videos online. The mainstream media is no longer the sole purveyor of photography.There has been a tendency to strive for hits and likes, manipulation and deep fake imagery, but the technology has also aroused public interest in photojournalism. Enrolment in media schools and training institutes in Nepal have jumped, as many want to graduate to learn more about the techniques of professional digital photography. There is even a retro trend of re-discovering film processing in dark rooms.With all this technological advancement, it is easy to forget about the purpose of photography. What is it all for? Does photography have a higher calling to spur reform and promote social justice? Or is our job just to visually capture what is out there, and let the chips fall where they may?In my career, I have learnt that photojournalism can be a powerful catalyst of change — usually for the better. <a href="https://www.nepalitimes.com/banner/one-moment-30-years-ago-today/">One photograph I took</a> during the 1990 People’s Movement, by clambering up an electricity pole for a higher perspective of student activist Durga Thapa leaping out of the crowd with a victory sign, became an iconic image of the pro-democracy struggle. I would like to think that it helped raise awareness in the public about democracy.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141132/636cfd6a9c7e80680e0a0be2jpeg.jpg" alt="" width="508" height="502">Photographs of flash flood survivors have done more to show the public the impact of climate change than thousands of thousand-word articles. Photographs have warned us about the seriousness of the <a href="https://www.youtube.com/watch?v=L7-w7_jXD1E">pandemic</a>, and also spread public awareness of the need to protect ourselves with <a href="https://www.nepalitimes.com/banner/vaccines-or-no-vaccines-mask-and-distance/">vaccination and masks</a>.Pictures by citizen journalists from <a href="https://www.theguardian.com/world/2021/aug/16/kabul-airport-chaos-and-panic-as-afghans-and-foreigners-attempt-to-flee-the-capital">Kabul airport</a> this week, posted live on social media, brought home the desperation and fear of the Afghan people, and will be seared in the public memory for decades to come.We are also reminded that photojournalists are by definition on the frontlines of events, no matter how dangerous. This is why there is such a high mortality rate among us, with the death of <a href="https://www.nepalitimes.com/latest/farewell-danish/">Reuters' Danish Siddiqui</a> in Kandahar on 16 July being just the latest tragic example. There is also increased risk now from state control even in supposedly democratic states, from police, and from having to risk getting infected with Covid-19 while covering the pandemic.We also have to accept that photojournalists do not have a very good image in the public. Paparazzis are seen as nosey parkers, they have been called ‘vultures’, or ‘wolves’ who hunt in packs. We are accused of being invasive, aggressive, and not respecting the privacy of people who have just suffered tragedy.As in all other forms of media, photojournalism also suffers from a ‘negative bias’. It comes from the very definition of news: that it has to be something out of ordinary, absurd, or sensational to be newsworthy. This makes some of us focus on disasters, zoom in on suffering, and portray the worst human qualities, cropping everything else out.In some ways, that is the nature of the beast. The news business is built on negative bias. But in these cynical times, does it hinder or help? Does it just reconfirm our worst fears about a nightmarish future, underline the futility of tackling climate change or working for peace, and paralyse us individually and as communities from taking action?Fortunately there is now a trend among media educators and editors to promote ‘solutions journalism’. Not to whitewash society’s problems and misery, but to present it in a new light that restores hope in the future, builds solidarity, and encourages constructive action.The World Press Photo Foundation is also helping to promote a <a href="https://www.worldpressphoto.org/programs/develop/solutions-visual-journalism-initiative?mc_cid=88805c919e&amp;mc_eid=df6ccdaa9b">Solutions Visual Journalism Initiative </a>so that photographers do not just dwell on difficult issues and dire situations, but use in-depth field reporting to photograph them taking action to solve those problems.Many Nepali journalists are already doing this, and we must continue to push this kind of photography at a time when disasters, instability and societal breakdown are becoming self-fulfilling prophecies because of an exclusive focus on how bad things are. There is a better way.On World Photography Day on 19 August, I wish my colleagues in the profession personal fulfilment and self-satisfaction in their work.<a href="https://www.nepalitimes.com/banner/one-moment-30-years-ago-today/">Min Ratna Bajracharya</a> was a staff photographer for Nepali Times and Himal Khabarpatrika and past president of the Nepal Forum of Photo Journalists (NFPJ).Read Also:<a href="https://www.nepalitimes.com/banner/one-moment-30-years-ago-today/">One moment 30 years ago</a>, Mukesh Pokhrel<a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/untold-story-of-photojournalist-min-ratna-bajracharya,2890">Capturing the city,</a> Smriti Basnet

original

674x448

610x380

500x500

400x266

400x240

400x203

301x200

1250x600

1084x550

Photojournalism looking for solutions

<figure><img width="1310" height="1292" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110151112/636d07509c7e80680e0a5fb4jpeg.jpg" alt=""/><figcaption>Danish Siddiqui 1983-2021</figcaption></figure>Ten years ago, some of us young photojournalists got recruited by Reuters news agency, and were all flown to Bangkok for a Managing Hostile Environments Training.That is where I first met Danish Siddiqui, during sessions in which veteran war correspondents trained us in how to keep safe in conflict zones. Danish went into many areas wracked by war and disasters after that, earning a reputation for getting photographs that portrayed human suffering and survival with empathy and sensitivity.Despite all that training and experience, Danish was at the wrong place at the wrong time when he was caught in the crossfire between Afghan Special Forces and the Taliban in Kandahar on 16 July. He along with a senior Afghan officer were killed.  <figure><img width="1236" height="823" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110151112/636d07539c7e80680e0a5fb5jpeg.jpg" alt=""><figcaption>Nepali photojournalists on 20 July paid tribute to Danish Siddiqui, who was killed while covering Afghanistan this week.</figcaption></figure>We had become good friends in Bangkok, and had kept in touch. When I had gone to Mumbai on assignment I stayed in his flat, and we went around together. I had chatted with him on WhatsApp just last week. I saw his photos on social media, and thought, “Oh, so he is now in Afghanistan”, and liked them.Danish had a can-do attitude and often ended up in the toughest assignments: in Afghanistan, Mosul in Iraq, the anti-Muslim pogroms in Delhi last year, Hong Kong’s pro-democracy protests, and the Covid crisis. <figure><img width="2028" height="1124" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110151112/636d07569c7e80680e0a5fb6jpeg.jpg" alt=""><figcaption>Danish Siddiqui and Navesh Chitrakar (second and third from left, back row) in Bangkok in 2009 during a Reuters training on managing risk while covering dangerous situations.</figcaption></figure>He was also sent to Kathmandu after <a href="http://archive.nepalitimes.com/blogs/kundadixit/2015/05/27/a-month-that-felt-like-a-year/" target="_blank" rel="noopener noreferrer">the 2015 earthquake</a>. Things were topsy turvy, and we did not see each other much. But we did manage to be together to shoot survivors being pulled out of collapsed buildings in Gongabu. Danish’s pictures were stunning and shocking, but he always captured the stark reality of people caught up in unimaginable crises. Only Danish could have taken the kind of drone image of dozens of funeral pyres burning at once in a Delhi crematory earlier this year — showing the world the <a href="https://www.google.com/url?client=internal-element-cse&amp;cx=bead8272edd0f2143&amp;q=https://www.nepalitimes.com/banner/we-knew-the-tsunami-was-approaching/&amp;sa=U&amp;ved=2ahUKEwjF45XN0-vxAhVTyzgGHRl6A2QQFjAJegQIABAC&amp;usg=AOvVaw2-M6Aqr-Q_bh9MP6fz5PpN" target="_blank" rel="noopener noreferrer">catastrophe that the coronavirus</a> had caused in India. <figure><img width="1876" height="984" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110151112/636d07599c7e80680e0a5fb7jpeg.jpg" alt=""><figcaption>All photos: Danish Siddiqui/Reuters</figcaption></figure><figure><img width="1718" height="1150" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110151112/636d075c9c7e80680e0a5fb8jpeg.jpg" alt=""><figcaption></figcaption></figure>Another photograph showed two elderly Covid-19 patients sharing a bed in a Delhi hospital. The pictures told stories that pages and pages of text could not about the true extent of the crisis caused by the pandemic.In Nepal in 2015, while other photojournalists took pictures of ruined temples, Danish concentrated on telling human interest stories. His photograph of a young girl in a hospital bed in Kathmandu, her broken legs attached to plastic water bottled filled with water for traction showed how medical personnel had to improvise to care for the wounded. <figure><img width="1870" height="1276" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110151112/636d07609c7e80680e0a5fb9jpeg.jpg" alt=""><figcaption></figcaption></figure>Some of Danish’s photographs from the Battle of Mosul in 2016 as Iraqi and coalition forces fought Islamic State fighters are remembered for their vivid portrayal of the intensity of violence he witnessed.But the pictures that earned Danish Siddiqui the Pulitzer for Feature Photography in 2018 was the series he did on the <a href="https://www.nepalitimes.com/banner/ramadan-in-exile/" target="_blank" rel="noopener noreferrer">Rohingya refugees</a> fleeing Burma by boat. One image stands out: an exhausted and drenched woman near collapse on a beach in Bangladesh after a harrowing boat journey from Burma. Even without looking at the credit line for photographs, I would instinctively be able to tell which photograph was Danish’s. He was always one step ahead of other photojournalists in bringing out the human element. He was driven by a hunger to tell the unblemished truth through his photography.  <figure><img width="1876" height="984" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110151112/636d07639c7e80680e0a5fbajpeg.jpg" alt=""><figcaption></figcaption></figure><figure><img width="1872" height="1232" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110151112/636d07669c7e80680e0a5fbbjpeg.jpg" alt=""><figcaption></figcaption></figure>Us photojournalists are often blamed by society for being voyeurs or insensitive paparazzi harassing people, and invading their privacy. Danish was aware of such criticism, and he approached each situation with a deep desire to tell the world the real story of suffering and survival. Whether it was the photograph of a Muslim man being mercilessly beaten by a Hindu extremist mob in Delhi during riots, or the photographs from the frontlines of the Afghan war, Danish witnessed it all on our behalf, often risking his life doing it. It was not safe being a Muslim man out on the lawless streets of Delhi last year, or travelling in an armoured personnel carrier with Afghan commandos. But for Danish this was his work, his life. <figure><img width="1800" height="1136" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110151112/636d07699c7e80680e0a5fbcjpeg.jpg" alt=""><figcaption></figcaption></figure>Danish was criticised in India for transmitting graphic images of the funeral pyres and the <a href="https://www.nepalitimes.com/banner/the-real-cost-of-nepals-second-wave/" target="_blank" rel="noopener noreferrer">suffering during the second wave</a>. After the Nepal earthquake, we were accused of sensationalising the suffering. But it is always important to tell the truth, especially when governments try to play down the true extent of the pandemic. Photographs do not lie. And it was the pictures of the Nepal earthquake which went around the world that galvanised relief aid for the country.After I heard the news on Friday of Danish’s death in the line of duty, I could not bear to dig up old photographs of us together, or to look at these pictures. I did not want to read about how he died, although I found out that he had been wounded in the hand by shrapnel a day earlier in Kandahar. <figure><img width="1644" height="1090" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110151112/636d076d9c7e80680e0a5fbdjpeg.jpg" alt=""><figcaption></figcaption></figure>Danish was not just a war photographer. One of his photos that I admire the most is the technically difficult one he took inside a dark cinema hall in Mumbai in 2010, where the movie Dilwale Dulahniya Le Jayenge had been running continuously for 15 years.The enraptured faces of the viewers, their sheer enjoyment and the ambience of the cinema is so beautifully captured that it is uplifting, and at the same time informs us of the power of Bollywood cinema in India. <figure><img width="1798" height="1202" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110151112/636d07709c7e80680e0a5fbejpeg.jpg" alt=""><figcaption></figcaption></figure>A year after this photograph was taken, Danish and I had gone to see a movie with Akshay Kumar together in Mumbai and we talked about that image and how it came about.In our last chat, he wanted to know about the Covid situation in Nepal, I asked him about his two young daughters who are living with their German mother. My son and his first daughter were born at about the same time.He liked Nepal a lot, and wanted to visit with his family — for once not to cover a disaster but to enjoy the sights. I was looking forward to it, and letting our children get to know each other. It was not to be. Farewell, Danish. We will miss you.Navesh Chitrakar is a Reuters photojournalist in Nepal.Watch <a href="https://www.youtube.com/watch?v=T1KEA_Ab0Bg" target="_blank" rel="noopener noreferrer">TedX talk</a> by Danish Siddiqui about his photographs of Rohingya refugees that won him a Pulitzer in 2018.

Farewell, Danish

Sahina Shrestha, Digital Products Strategist<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109101148/636b77e29c7e80680e064662jpeg.jpg" alt="" width="2208" height="1562"/>As the results of the<a href="https://www.nepalitimes.com/banner/mobile-nepal-is-hooked-on-youtube/" target="_blank" rel="noopener noreferrer"> Sharecast Initiative Nepal Survey 2020</a> featured in this issue show, Nepal is going digital in a big way. There is a dramatic increase in ownership of mobile devices, a vast amount of video content is being uploaded on YouTube and Facebook, and internet use is set to grow further with demand for smartphones and data plans.Following this trend, Nepal’s media companies are also opening up to the use of digital tools in storytelling. There has been an explosion of news and entertainment portals and YouTube channels. It is fair to say that the Nepali Times was one of the pioneers of online journalism in Nepal. It was ahead of the pack in 2000 when it started a digital edition even before making a splash with its first print copy. Over the years, even as the hardcopy version took precedence, we made sure to experiment with data visualisation, audio-visual content and interactive graphics. After the 2015 earthquake, Nepali Times adopted a digital-first policy, uploading content online before a version appeared on Friday in print. Today, as more of our audience meet us online, we are rethinking not only our product but also our business model. Journalism worldwide is increasingly dependent on and being influenced by the likes of Facebook, Google and Twitter. These are no longer ‘just platforms’ for our content. On the one hand we compete with them for audience and ad revenue, and on the other we rely on them for technologies and dissemination.With shrinking budgets and revenue pressures, ‘legacy’ newsrooms like that of Nepali Times are being forced to think innovatively with the resources we have. As a traditional news organisation seeking innovation, growth opportunities and sustainability, we will continue to explore new platforms to distribute content and grow audiences. We will continue to work around the algorithms and experiment with social- and mobile-optimised formats that are shareable and quick to ingest.I am glad to be back at Nepali Times in this new position just as the paper marks its millennial milestone and am looking forward to streamlining a new media strategy for the future.Sonia Awale, Associate Editor<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109101148/636b77e69c7e80680e064663jpeg.jpg" alt="" width="2032" height="1480">Welcome to this 1000th print edition of the Nepali Times weekly that also celebrates the 8 March International Women’s Day. It has been a two-decade long journey, during which my predecessors who have transitioned through this newsroom have witnessed history first-hand: the war, the 2001 palace massacre, the royal-military coup of 2005, restoration of democracy, a prolonged political transition, the earthquake, the Blockade and finally federal elections in 2017.The earthquake struck on my first week as an intern at the Nepali Times five years ago. Reporting on the aftermath of the disaster was like being thrown off the deep end. In 2017, after completing my master’s in digital journalism, I returned to the paper with a focus on covering health, environment and the climate crisis.Unlike other newsrooms, the Nepali Times does not have much hierarchy, and we are not rigid about beats. I was involved in the team that redesigned the online edition of the Nepali Times, which has seen a three-fold increase in reader numbers in the last three years. We have tried to bring the newsroom and the audience closer, refined our multimedia content and come up with original, in-depth coverage of a Nepal outside Kathmandu.    For the past two decades, the Nepali Times newsroom has pursued context and process, rather than simply covering events. This gives the hard copy edition a longer shelf-life, and the archives impart research value to Nepal-related topics that will be useful into the future.Every week,<a href="https://www.nepalitimes.com/" target="_blank" rel="noopener noreferrer"> www.nepalitimes.com</a> has more than 100,000 unique visitors, most of whom have bookmarked the homepage and begin browsing there, instead of clicking on story links on social media. The average reader spends five minutes per page, which is remarkable in an age of short attention spans.  Nearly half of the Nepali Times’ readership online is women, mostly in the 25-34 age group. Contrary to common perception, more than 80% of readers are Nepali, and 35% reside in Nepal. Most diaspora readers work and study in the United States, India, the UK, Australia and the Gulf, in that order.Thank you, readers for being with us the past 1,000 times. We in the Nepali Times  newsroom look forward to the next 20 years of making sense of the three-pronged crises of democracy, media and climate that Nepal and the world face today – and trying to find solutions.Alisha Sijapati, CorrespondentStarting when I was six years old, my grandmother had me read the headlines from the Nepali newspapers out loud to her every morning. She enjoyed hearing me read the news and as I became a better reader, I read whole articles to her. My interest in journalism developed from this morning practice that we still share.My career as a journalist started with internships first at The Himalayan Times and then at Himal Southasian. The journey of a trainee journalist is not always rosy, but these experiences taught me a lot. Later, as a full-time reporter at The Kathmandu Post, I was on the culture beat, but also had the opportunity to do business reporting and some investigative stories.Leaving a large daily for the smaller newsroom of the Nepali Times has been a big change for me. This place is a breath of fresh air. There is a calmness here even during frantic deadline pressure, and as media becomes faster paced the way our newsroom operates has lessons for everyone.In preparation for this 1000th issue of the Nepali Times, my colleagues and I flipped through the archives of the paper, and I got a glimpse of its underlying philosophy of 'solution journalism'.This means not limiting ourselves to a description of the problem, but looking beyond the current difficulty and searching for answers. It may take the form of analysis or profiles of people who have overcome obstacles despite tremendous odds. The Nepali Times has consistently and doggedly pursued issues that matter, always holding out for a better future and suggesting how we might get there.After seven years in journalism, there are some important understandings that I take with me from one newsroom to another. I believe that we journalists work for our readers and viewers and that we must be accountable to and sensitive towards those we write about even as we strive to uncover wrongdoings through honest and unbiased reporting.Monika Deupala, Photojournalist<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109101148/636b77e99c7e80680e064664jpeg.jpg" alt="" width="1985" height="1330">Two years ago, during my internship at the Nepali Times, my editor told me: “You have the eye to see things others don’t.” That was the first time anyone had recognised my passion for photography.Soon, I was a Nepali Times staffer, but while shooting events I saw how few of us women were out there taking pictures. This is a problem. In a competitive field, the gender gap manifests in people not taking women as seriously. I am still not very confident in crowds.There are advantages, too: being women gives us access that many male colleagues would find difficult. But it will take time to make people understand that female photographers are good on their own merit, and not because of their gender.Back in high school, I was part of a class group that monitored the daily newspapers. We had to arrange them in rows before morning assembly. I was not much of a reader, but was intrigued by the photographs. I told my teacher I wanted to be a photojournalist, and he frowned, asking if I thought it was a profession for a woman. But I pursued my goal. I took a media course in college, bought my first DSLR, and honed my camera skills during class assignments.The last two years at the Nepali Times have been a journey of self-exploration for me. I understand my abilities now beyond limitations, and have more confidence travelling alone to new places and talking to strangers I am photographing. This paper has shown me what true professionalism is.Sanghamitra Subba, Reporter<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109101148/636b77ec9c7e80680e064665jpeg.jpg" alt="" width="2376" height="1493">Fresh into my first job, I entered the welcoming, sunny and dog-filled newsroom of the Nepali Times. I came in as an intern, bright-eyed and ready to learn from the editors and reporters whose work I had admired as a student rifling through the colourful newspaper every Friday in the library.Into my first week, I was invited to join a journalism dialogue between graduate students from India, Pakistan and Nepal. Those three days provided a crash-course in crossborder journalism, and fired my interest in reporting. This was the first of many amazing opportunities that I have had working at Nepali Times.With the freedom to pursue the topics that I wanted to and the generous encouragement of newsroom colleagues, I covered everything from community homestays in Panauti to multiethnic marriages. At every step, I received the generous guidance of seniors, who taught me everything they knew about being an effective interviewer, editing videos and most importantly, maintaining composure during even the most challenging assignments.This women-dominated newsroom has been both a source of inspiration and a reliable support system. While my peers struggle to find their footing in other jobs, I have a positive work environment that has helped me grow as a multimedia reporter, and as a woman finding my way in the world.

Newswomen

<figure><img width="1500" height="990" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108151116/636a655c9c7e80680e059925jpeg.jpg" alt=""/><figcaption>Alam gagged by police officer. Photo: SUVRA KANTI DAS</figcaption></figure>On Day of the Imprisoned Writer 2018, Indian author <a href="https://www.nepalitimes.com/latest/arundhati-and-shahidul-write-to-each-other/">Arundhati Roy penned an open letter to Shahidul Alam</a>, the renowned Bangladeshi photojournalist who had been incarcerated for over 100 days. ‘Dear Shahidul,’ Roy wrote, ‘I believe the tide will turn. It will. It must. This foolish, shortsighted cruelty will give way to something kinder and more visionary.’Shahidul Alam replies in his book, The Tide Will Turn, a photography and text collection lovingly named after Roy’s letter. Combining sketches from fellow inmates, historical work by Bangladeshi photographers, reflections and political commentary, The Tide Will Turn does more than document Alam’s time in jail and his views: it serves as a curated collection of political art and writing, acting as a critique of autocracy.Alam was arrested and detained on 5 August 2018, shortly after a televised Al-Jazeera interview where he criticised Bangladesh's Sheikh Hasina government for its response to protests by young students demanding road safety. The months after saw a worldwide campaign for his release with mass exhibitions, petitions, demonstrations and letters from prominent figures. <figure><img width="1698" height="1254" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108151116/636a65609c7e80680e059926jpeg.jpg" alt=""><figcaption> </figcaption></figure>In Nepal, journalists and students <a href="https://www.nepalitimes.com/latest/freeshahidulalam/">protested in front of the Bangladesh Embassy</a> in Kathmandu and lit up the city’s walls with projections of quotes and photographs by Alam during the visit to the Nepal capital by Sheikh Hasina for a South Asian leaders’ summit.Alam, still imprisoned, was awarded the <a href="https://www.nepalitimes.com/banner/shahidul-alam-photo-kathmandu-award/">Photo Kathmandu Award of Excellence</a> on 26 October 2018, both to celebrate the immense impact he has had on generations of Nepali journalists and photographers and as a clear sign of solidarity with one of South Asia’s most prominent photojournalists.‘There is a Bangla saying – “Apnake dhonnobad janie choto korbo na” (I will not belittle you by thanking you),’ Alam writes in his preface. ‘This book is my way of making amends.’Alam dedicates the first part to the prisoners in Keraniganj Jail in Dhaka. Without a camera to document his stay, he uses vivid writing to capture images of his detainment: the surroundings, the guards, his inmates and their stories, and the sparrows he made friends with.The chapter also includes notes, sketches, a mural and even a radio made by inmates who were concerned that Alam ‘a journalist, did not have access to news’. The chapter can almost be read as a standalone, a poignant reflection on <a href="https://www.nepalitimes.com/banner/shahidul-alam-100th-day-in-jail/">his 107-day incarceration</a>.The longest section of the book provides a detailed historical commentary on Bengali photography, touching on artists who have captured some of the most striking images to come out of Bangladesh, as well as on Alam’s own work. It includes one of his earliest series, which focuses on former sex worker Hazera Beagum.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108151116/636a65639c7e80680e059927jpeg.jpg" alt="" width="1500" height="978">When Shahidul Alam first met Hazera Beagum in 1996, she was a sex worker. Beagum at her orphanage in Adabor Market in Dhaka in December 2014 (pictured right). Photos: SHAHIDUL ALAM<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108151116/636a65669c7e80680e059928jpeg.jpg" alt="" width="1185" height="1140">The photographs show Beagum first in 1996 and then in 2014, now running her own orphanage and ensuring that all her children receive an education. With photospreads of select iconic images, the chapter also makes for a stunning collection of Bangladeshi art over a century.The third section of The Tide Will Turn centres entirely on Bangladeshi politics. Alam uses the 1971 Liberation War as a starting point to discuss identity, secularism and the failures of the government, detailing his own experience with the 2013 Dhaka garment factory collapse and the killing of Bangladeshi-American secular blogger Avijit Roy. There is an underlying critique of autocracy running through the book, but it is this chapter that really reveals to us <a href="https://www.nepalitimes.com/banner/the-death-of-democracy/">Alam’s commitment to free speech and democracy</a>.The Tide Will Turn is best summed up by Alam himself in his letter to Arundhati Roy: ‘The tide will turn, and the nameless, faceless people will rise. They will rise against the entire state machinery.’ This deep conviction that underlies his stunning photography makes for a book that leaves readers with much to ponder.The Tide Will TurnShahidul AlamGöttingen, Germany, Steidl, 2019184 pages, 111 images, Hardback€ 28.00ISBN: 978-3-95829-693-0www.steidl.de<a href="https://steidl.de/Books/The-Tide-Will-Turn-1224303445.html"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108151116/636a656a9c7e80680e059929jpeg.jpg" alt="" width="2328" height="3030"></a>

A photojournalist's powerful portrait from prison

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.