I can’t really claim I had a well-developed political understanding at the age of six years when the Emergency was imposed by Prime Minister Indira Gandhi in 1975. But I do have a visceral political memory of the times, the black cloud of suffocation as well as the spirit of defiance. That I should have such a clear recollection of the politics of the times is entirely due to the way politics was always central to our family.&nbsp; If the freedom struggle politicised our family, future generations carried that understanding into post-colonial authoritarianisms. The centrality of politics to our worldview was sharpened by my mother’s work as a journalist and seeped into everyday life.&nbsp; Conversation at home was peppered with references to political developments, and my grandmother, who had been incarcerated by the British for her part in the freedom struggle (by then both her parents were in jail), was particularly pithy in her scathing comments on the Prime Minister – ‘Mrs G’, as she was known in our house – and her many political depredations.&nbsp; But the memory of the days of the Emergency owes its sharpness to the very specific workplace my mother was then employed in – the Indian Express – a newspaper that was front and centre in the media resistance against the Emergency.&nbsp; As the child of a single parent, I spent vast amounts of time in the Bahadur Shah Zafar Marg office of the newspaper, travelling with my mother, Modhumita Mojumdar, each morning during holidays. Entire school vacations were spent in her shared office space, my presence tolerated with benign affection by her colleagues.&nbsp; In the way that children imbibe and have an astute understanding of their milieu, instinctual rather than intellectual, I understood the Emergency and had a clearly felt sense of its injustice. It was that tangible sense that flooded me when I walked into the exhibition of cartoons marking the birth centenary of the Indian Express’s cartoonist of those times – Abu Abraham. A sense of politics, but also oppositional journalism, tied in with the smell of newsprint, ink, and the long-lost letterpress.&nbsp; The centenary exhibition that is travelling, opened at the India International Centre in Delhi on 6 November, following its inauguration by another stalwart dissenter, historian Romila Thapar. The 1975 Emergency remains a pivotal moment in India’s post-colonial history, the apex of an elected leader’s growing authoritarianism, a dark chapter against which Indians would compare all future excesses.&nbsp; It exacted a terrible price from many, but was also a time of preferment for those who became collaborators, their competitive jousting for new ways to express loyalty echoing eerily in these times.&nbsp; This stark divide – between those who fell in line and those who resisted – was perhaps seen most clearly in the sphere of journalism, the nature of the medium making it public and visible.&nbsp; In a phrase that would continue to haunt Indian journalism, LK Advani – the then president of the Bharatiya Jana Sangh – would tell journalists, “You were asked only to bend, but you crawled.”&nbsp; The verdict, however, was not completely fair. Many journalists were in jail, and for the thousands of column inches of print that served as propaganda – print being the only non-government media at that time – there were also those who used every inch of uncensored space to report on reality and published blank newspaper pages and columns to protest against censorship.&nbsp; Amongst the foremost of them was The Indian Express – and the biting satire of its cartoonist Abu Abraham is a significant part of that storied history.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241110151128_caad280f-1570-4fe3-8e77-a5fb9272a615.jpg" data-media-id="editor_0" data-image-id="20241110151128_caad280f-1570-4fe3-8e77-a5fb9272a615" data-rendition-name="original" width="3060" height="4080" loading="lazy" alt="Abu Abraham on Indian emergency"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241110151128_30f2b8e285cb83f5a9c4d65d2a717745b0cf64d54325ed0dad421f5b6c627b92.jpg" data-media-id="editor_1" data-image-id="20241110151128_30f2b8e285cb83f5a9c4d65d2a717745b0cf64d54325ed0dad421f5b6c627b92" data-rendition-name="original" width="4080" height="3060" loading="lazy" alt="Abu Abraham on the Indian Energency"> </figure>  Whatever the elisions at that time, the Emergency is no longer an unexamined period in India’s political course. Dozens of books, hundreds of articles, research papers, and academic tomes have mapped every aspect of its political trajectory. It has been captured in theatre plays, films, and music, and in the current political climate, it has evolved into a veritable cottage industry of its own.&nbsp; But in the line drawings of Abu – in an exhibition curated by the cartoonist’s daughters to mark his centenary – we are brought close to the moment with an immediacy that is more than memory. In the yellowing sheen of newsprint, the imprints of the stamp of the censor, there is a tangible recall of those days, tactile and palpable, and the sharp sense of the fierce intellectual community of opposition that stood against the depredations on our democratic fabric.&nbsp; Interestingly, Abu’s role as a biting satirist of the Emergency was not inevitable in the early years of his career. The cartoonist’s candid comments about his own life – he also wrote regularly, if not prolifically – have been excerpted as part of the exhibition and allow us to track the course of his political journey.&nbsp; Born in 1924 in Alappuzha in Kerala, Abu’s student years spanned the last decades of the British Raj in the Kingdom of Travancore. Though influenced by the exhilaration of the Independence struggle, Abu is candid about not being an active participant. When he joined the nationalist Bombay Chronicle in 1946, it was not missionary zeal but the fascination of print, he later admitted, that was his impetus.&nbsp; We have cause to be thankful for this lifelong fascination – not only because it led to the production of a brilliant oeuvre spanning more than half a century – but because Abu preserved print, original copies of hundreds of his cartoons and drafts, a substantive part of which still remains, in archives and with his family. &nbsp; While Abu is best known here in India for his trenchant cartoons on Indian politics, especially the Emergency, a substantive part of his early career was with British papers – a decade with the Observer and three years with the Guardian. His cartoons during this time cover not just British politics but consequential global events, such as the Eichmann trial in Jerusalem. He would later return to travel through Palestinian refugee camps.&nbsp; If it was unusual for a brown man to become the first political cartoonist for an established British paper, there was more to come in Abu’s career that was unusual.&nbsp; For one, ‘Abu’ was not the name Attupurathu Mathew Abraham signed his first cartoons with. The name Abu – by which he was known for most of his working life – was coined because David Astor of the Observer, felt ‘Abraham’ as he used to sign his cartoons would be “taken as a Jew and all my cartoons would take on a slant for no reason, and I wasn’t even Jewish”, wrote Abu. What was more, the Middle East was beginning to boil at that time, with Nasser dominating the scene.&nbsp; The boiling Middle East may have also been responsible for ending Abu’s career in British journalism, according to Michael Foote, who is <a href="https://www.theguardian.com/news/2002/dec/07/guardianobituaries.india" target="_blank">quoted</a> in the Guardian’s obituary: “Some years later, as I recall, it was an argument about the worldwide racist disease which persuaded him to return to his native India. A cartoon that he did for us on the subject of the Israeli-Palestinian conflict had been denounced by some of our readers as racist. Never was the slander more ill-judged.” Abu returned for good to India in 1969 to join the Indian Express at a time that would turn out to be a defining moment in Indian history – with the split in the Congress party.&nbsp; At a discussion to mark the exhibition at the Bangalore International Centre in August, historian Janaki Nair, who has annotated an accompanying booklet on the exhibition, emphasised the significance of the Lal Bagh Congress session of 1969, which led to the expulsion of Indira Gandhi from the party and the eventual split.&nbsp; Explaining the impact of the moment on Indian journalism, journalist and author AS Panneerselvan said it marked the end of a post-colonial period during which there was a “consensus on self-censorship in the interests of nation-building”. The Lal Bagh Congress broke that compact, and the role of the cartoonist was key, he said, to opening up the space for criticism by journalists. A self-declared Nehruvian, Abu’s cartoons of 1969 and for some years thereafter reveal his sympathy with Nehru’s daughter, seen then – in one of Indian politics’ gargantuan mistakes – as a powerless marionette.&nbsp; As Indira Gandhi marched towards her position as the unchallenged supremo, Abu’s sympathies remained – for the time being – with her. “In Abu’s cartoons, the dynamism of Centre-State relations and the challenges posed by regional powers and politics is examined largely from a Union Government perspective,” points out Nair in the annotated booklet.&nbsp; But while Abu’s fluid lines and sharp caricatures capture the politics, characters, and vividness of the moment, viewing the cartoons decades later with the luxury of space and time gives us a birds’ eye view of the themes running through the political preoccupations of those times.&nbsp; The cartoons capture the resistance to growing centralisation of power, contentious centre-state relations, federalism, Assam and the citizenship issue, the challenge to the constitution from authoritarianism, and the role of caste politics in elections. The enduring power of these themes in our current times is striking as we view the cartoons now.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241110151136_14d6928a4cdf9c4ae03b1b525c3678d0cc14fd19b20dd0d2eb34bac25ecae2f8.jpg" data-media-id="editor_3" data-image-id="20241110151136_14d6928a4cdf9c4ae03b1b525c3678d0cc14fd19b20dd0d2eb34bac25ecae2f8" data-rendition-name="original" width="4080" height="3060" loading="lazy" alt="Abu Abraham on federalism"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241110151132_e866a9bef9f3940ca49e6d9a70f5a84eeaf570b1a618da3033c8c4e998f36e40.jpg" data-media-id="editor_4" data-image-id="20241110151132_e866a9bef9f3940ca49e6d9a70f5a84eeaf570b1a618da3033c8c4e998f36e40" data-rendition-name="original" width="4080" height="3060" loading="lazy" alt="Abu Abraham on Assam citizenship"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241110151132_2612015b8def3484168f75d6983b926b35cf9ff411c326140553fcc173b51a16.jpg" data-media-id="editor_5" data-image-id="20241110151132_2612015b8def3484168f75d6983b926b35cf9ff411c326140553fcc173b51a16" data-rendition-name="original" width="4080" height="3060" loading="lazy" alt="Abu Abraham on Indian elections"> </figure>  Abu’s cartoons also captured the continuities in global politics – IMF pressure, the global arms trade, and issues which have acquired added or more urgent layers of meaning now – the Israel-Palestine conflict, the cold war in Afghanistan, and the struggle for the creation of Bangladesh.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241110151136_29af7fcfbb5ba14ec9ebac61d345d752a7d3c76432226a2befd4af4841bf3beb.jpg" data-media-id="editor_6" data-image-id="20241110151136_29af7fcfbb5ba14ec9ebac61d345d752a7d3c76432226a2befd4af4841bf3beb" data-rendition-name="original" width="4080" height="3060" loading="lazy" alt="Abu Abraham on IMF and India"> </figure>  In India, whatever sympathy Abu may have had for Indira Gandhi (he was nominated to the Rajya Sabha in 1972) – appears shredded after the imposition of the Emergency. The biting satire of his cartoons – those which were censored and those which were not – would be a critical part of the reputation of the Indian Express for standing up to power during that period.&nbsp; The curators of the exhibition – his daughters Ayisha and Janaki Abraham – have, astoundingly, been able to showcase the original cartoons, which had to be submitted for pre-censorship to the government, and the drafts, stamped, signed, and marked for approval, or “NOT TO BE PUBLISHED”.&nbsp; Interestingly, six months into the Emergency, the Censor allowed the Indian Express to publish a cartoon that depicted the then President Fakruddin Ali Ahmed signing an ordinance in his bathtub, the many layers of servility dove-tailing neatly into the allusion of the emperor with no clothes. But it balked at a rather more innocuous cartoon that punned: “Don’t you think we’ve got a lovely censor of humour”, and, in a clear exhibition of its own lack of humour, marked it “NOT TO BE PUBLISHED”.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241110151136_7d40d3918d78374e7ec8edbe15f342092d83614b8d669a7b28444c9e239d1850.jpg" data-media-id="editor_7" data-image-id="20241110151136_7d40d3918d78374e7ec8edbe15f342092d83614b8d669a7b28444c9e239d1850" data-rendition-name="original" width="4080" height="3060" loading="lazy" alt="Abu Abraham on Fakkrudin Ali"> </figure>  While Abu’s daughters deserve kudos for putting together this exhibition using their resources, the legacy of Abu Abraham needs far wider support, including for the very real challenge of preserving brittle paper that records a rich seam of our nation’s history. If the visceral nature of the material – the paper, the notations that relate to the size, display, and even the white-out used to correct the cartoons – give us a physical sense of the cartooning process and the newsroom of those times, then the sharp satire is a pungent intellectual insight.&nbsp; Unlike text or image that tells a story to a recipient audience, a cartoon, at its sharpest, is a riddle, forcing the viewer’s engagement to puzzle out what is being said and what the joke is. By making the viewer complicit and forcing us to think, it changes the relationship of viewing from one of passive spoon-feeding to a political act.&nbsp; Aunohita Mojumdar is a journalist who has lived and worked in India, Afghanistan, Nepal, and Sri Lanka. She is the former editor of Himal Southasian and currently lives in Bengaluru. Republished with permission from Newslaundry. Read the <a href="https://www.newslaundry.com/2024/11/06/from-satire-to-defiance-the-political-power-of-abu-abrahams-cartoons">original here</a>.&nbsp;

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From satire to defiance: The political power of Abu Abraham’s cartoons

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108121140/636a40789c7e80680e04a622jpeg.jpg" alt="" width="1500" height="1125"/><figcaption>Photo: MIN RATNA BAJRACHARYA</figcaption></figure>The International Federation of Journalists (IFJ) and its affiliate Nepal Press Union (NPU) have strongly condemned new provisions to the Media Council Act that will further tighten the <a href="https://www.nepalitimes.com/opinion/creeping-control-over-the-press-in-nepal/" target="_blank" rel="noopener">state's creeping control over the media</a>. Nepal’s Ministry of Communication and Information Technology registered the Bill to Amend and Integrate the Media Council Act that would have far-reaching implications for the national media.Media protection groups have called on the government to consult media stakeholders and revise the changes. The new provisions risk turning the free press into a mouthpiece of the government, and has been made with an aim to <a href="https://www.nepalitimes.com/from-the-nepali-press/press-freedom-must-be-defended-by-its-maximum-application/" target="_blank" rel="noopener">censor the media</a>, not promote ethical journalism, they said.The move is seen as the latest attempt to <a href="https://www.nepalitimes.com/banner/gagging-the-press-in-installments/" target="_blank" rel="noopener">gag the press in installments</a>, and under it media houses can be fined up to Rs1 million for publishing content in violation of media code of ethics. Under section 18, any media outlet, publishers, editors and/or journalists can be penalised up to Rs1 million for publishing content found to tarnish the dignity or reputation of an individual. The bill also allows for any individual to file a complaint against journalists even if they are not personally affected by the content.If passed, the bill proposes a structure for keeping the Media Council under the government's purview and restrict the freedom of expression and jeopardise independence of watchdog media in Nepal.‘The harsh provisions proposed in this bill will have wide reaching implications for press freedom in Nepal. The media cannot operate in an environment of fear and intimidation, which would be created by many of these proposed changes,’ said the IFJ in its press release. "We call on the Nepali government to conduct consultations with media stakeholders and revise the provisions immediately.”The new provision is latest in a slew of recent moves by the Nepal Communist Party <a href="https://www.nepalitimes.com/here-now/zip-up/" target="_blank" rel="noopener">aimed at muzzling the media</a> and comes close on the heels of Reporters Without Borders' annual Press Freedom Index which saw <a href="https://www.nepalitimes.com/banner/long-shadows/" target="_blank" rel="noopener">Nepal drop six spots to 106</a> this year.First there was the <a href="https://www.nepalitimes.com/banner/strongman-rule/" target="_blank" rel="noopener">Civil and Penal Codes</a> that criminalised photography and cartoons that ridiculed politicians. Then the <a href="https://www.nepalitimes.com/banner/suppressed/" target="_blank" rel="noopener">Privacy Bill</a> put official documents out of journalists' reach. Journalists have been arrested for violating the codes and citizens have been threatened for their social media posts condemning the government's attempt to restrict freedom of expression.

IFJ asks Nepal to revoke media gag

The monsoon has got bad press because Nepal’s tourism operators actively told visitors to avoid <a href="https://nepalitimes.com/opinion/managing-the-monsoon?%2F">the rainy season</a>. It is time to change that. The reason can be found right here in the vast alpine meadows of Central Nepal where this time of year you can walk on velvet grass of pastures abloom with delicate pink, red and yellow flowers as the mist rolls up the valley. There is no sound except the hum of bumble bees. &nbsp;&nbsp; There are dozens of places across high Nepal called Chaurikharka, which means yak pasture. But this particular Chaurikharka in Rukum East located at an altitude of 4,000m stands out for its serene beauty, rustic charm and bucolic setting. There is just the occasional chime of <a href="https://nepalitimes.com/here-now/when-yaks-go-so-does-culture">yak bells</a> in the distance, and the sharp whistle of herders corralling sheep. &nbsp;&nbsp; The grass shoots are so fragile that one hesitates to step on them, the rounded ridges appear and quickly vanish in waves of mist. With the<a href="https://nepalitimes.com/here-now/before-the-next-monsoon"> arrival of monsoon</a>, these meadows are a soothing shade of green dotted with millions of <a href="https://nepalitimes.com/review/the-anatomy-of-a-flower?%2F=">multi-coloured flowers</a>. Until very recently, it took a week or so to hike up to places like Chaurikharka, but with the expansion of the road network even to these far-flung mountains in the lap of Dhaulagiri, they are much more accessible. It is just a three-hour uphill from the Mid-Hill Highway on the border between Baglung and Rukum East.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250802130828_a0b06b494d751b2144ffbbf10894ea64b29e8aed844bc8c66171783abfaf4e16.jpg" data-media-id="editor_4" data-image-id="20250802130828_a0b06b494d751b2144ffbbf10894ea64b29e8aed844bc8c66171783abfaf4e16" data-rendition-name="original" width="2048" height="1365" loading="lazy" alt="Visit Nepal in the monsoon"> </figure>  Purists would say that such easy access devalues the sanctity of these remote high meadows, but it also means more people will be moved to treasure the experience, appreciate <a href="https://nepalitimes.com/banner/natures-fragile-gift-to-nepal">the value of nature </a>so they can take steps to protect it.&nbsp; To be sure, the <a href="https://nepalitimes.com/here-now/deadly-monsoon-in-nepal-turns-deadlier">monsoon season can be challenging for road travel</a>. The roads are rough even at the best of times, and in the monsoon they become muddy and treacherous, often blocked by<a href="https://nepalitimes.com/news/monsoon-deluge-in-nepal"> landslides</a>. But that could be precisely the kind of adventure that the more intrepid visitors crave. Improved road connectivity has already made Chaurikharka and places like Badimallika &nbsp;and other sacred lakes in the mountains of western Nepal popular with domestic tourists. What is driving this traffic is the urge to go to exotic new places and share videos and selfies on social media. Several of Nepal’s travel vloggers have visited Chaurikharka and popularised the place, enticing followers on TikTok or YouTube to retrace their footsteps. But even as they become more popular, these fragile and once-remote places should be protected from over-tourism.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250731110736_f97110b7cdc3e7f80d5877690948fc9f4c95a09c583deb23b07355491e6c5446.jpg" data-media-id="editor_8" data-image-id="20250731110736_f97110b7cdc3e7f80d5877690948fc9f4c95a09c583deb23b07355491e6c5446" data-rendition-name="original" width="1083" height="699" loading="lazy" alt="Visit Nepal in the monsoon NT"> </figure>  <h2>INCREASING FOOTFALL</h2> Chaurikharka is located in Bhume Rural Municipality of East Rukum, near the scenic valley of Dhorpatan in Baglung district. Even in the <a href="https://nepalitimes.com/banner/monsoon-culture">middle of the monsoon</a>, there is a steady stream of Nepali hikers trooping to these high pastures – especially during festival days like Saune Sankranti which this year was on 17 July and actually marks the auspicious beginning of the monsoon here. “This year the rains have not been as heavy and there have been some clear mornings when we could see everything from Dhaulagiri to Machapuchre,” says Khageswar Bhandari, who trekked up here from the road. “The flowers, the greenery and the snowy mountain views make this an incredibly unique place.”&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250802130824_1b9e26f2e9853fdfe69154bb42a7c9ea6da4bf4940efc1da99b304dcfbd7d3d9.jpg" data-media-id="editor_10" data-image-id="20250802130824_1b9e26f2e9853fdfe69154bb42a7c9ea6da4bf4940efc1da99b304dcfbd7d3d9" data-rendition-name="original" width="2048" height="1152" loading="lazy" alt="Visit Nepal in the monsoon"> </figure>  Chaurikharka is worthwhile to get to in any season, but it has a different charm during the monsoon. Word has spread and because it is now easy to get to from Baglung or even Pokhara, people have been flocking here.&nbsp; “Holidays and Saturdays see the largest crowds, with up to 500 visitors every day,” says ward chair Mankaji Pun of Bhume.&nbsp; There was a time not too long ago when local herders brought sheep, goats, cows, buffaloes, horses, and mules to graze here during the monsoon. Although there are still livestock around, animals have been replaced by visitors taking selfies. Read also: <a href="https://nepalitimes.com/here-now/the-monsoon-and-nature-s-arithmetic">The monsoon, and nature’s arithmetic</a>, Tom Robertson Ward Chair Pun says infrastructure development is his main priority. A foot trail to Chaurikharka was built last year by the Tourism Division Office in Kohalpur, but access via the Raniwas-Koipa road section still remains challenging.&nbsp; “If we get more budget, we can improve the road and facilities to make Chaurikharka the main tourist attraction of this region,” says Bhume Municipality Chair Hom Prakash Shrestha. “After that, we hope to promote Chaurikharka as a top tourist spot.”&nbsp; Economic activity is also picking up with the arrival of visitors, but there seems to be a need to manage the makeshift sheds made of corrugated sheets that spoil the beauty of the place. Tea shops and lodges are also available but facilities are basic. Kuldeep Neupane took a three-day trip from Ghorahi in Dang to visit Chaurikharka recently, and says: “This is an ideal trip to make a quick getaway and let nature recharge your mind and body. And it is much more fun with a tent, to watch the sunrise over the Himalaya or the mist blowing in.”

Visit Nepal in the monsoon

The final investigation report on the crash of a Saurya Airlines jet on 24 July 2024 at Kathmandu airport has revealed flaws in the carrier’s technical operation procedures, poor monitoring by the Civil Aviation Authority of Nepal (CAAN) and gaps in the airport’s emergency response. Eighteen people including a child were killed, and only the captain survived as the plane plunged seconds after takeoff, crashing within the airport perimeter. This was the latest in a series of aircraft accidents in previous years, and further tarnished Nepal’s already poor aviation safety record and contributed to the country being retained in the EU’s air safety list. &nbsp;&nbsp;&nbsp; The circumstances in the Saurya crash were different from the Yeti Airlines crash in Pokhara in January 2022 that killed all 72 on board, and two Tara Air crashes in February 2016 and May 2022 on approach to Jomsom that together claimed 45 lives. However, all four tragedies were a result of negligence of carriers and crew, failure to follow procedures, regulatory slackness, and overconfidence. The Saurya crash, especially, was a glaring example of how an ailing airline broke its own rules to allow passengers, including non-employees, a joy ride to Pokhara on a maintenance ferry flight. CRASH REPORT The Final Investigation Report prepared by the Aircraft Accident Investigation Commission and released on the first anniversary of the crash last week carried a long list of rules that were ignored or broken, and of regulatory failure. The first mistake was to cram spares, tools and inflammable chemicals needed for the aircraft’s C-Check in Pokhara into the cargo hold flouting its own ground handling procedures.&nbsp; There was no check-in of passengers, some of whom were not even employees – even though regulations say only flight and maintenance crew should be on board a maintenance positioning flight. Many brought their own luggage into the plane and stored it unsecured in the cabin. There was no flight attendant to give a safety briefing to passengers. The load and trim charts given to the flight crew were rough estimates, and the total takeoff weight of the plane was 18,300kg plus or minus 200 kg. That would still have been all right, but there was a glaring mistake in the speedchart Saurya pilots were using to calculate the minimum takeoff speed (known as VR), and it had been wrong ever since the 21-year-old aircraft entered service with the airline in 2017. FAULTY DATA&nbsp; The Commission probed Flight Data Recorder inputs from previous takeoffs of the Canadian-built CRJ200-LR in 2023-2024 and found that the undetected error in the speedchart had caused the plane to pitch up at an abnormal rotation rate at least 18 times on previous takeoffs.&nbsp; Any rotation rate more than 3°/sec is regarded as unusual. But on at least two occasions, this aircraft with tail number 9N-AME had rotation rates of 5.8°/sec and 5.5°/sec, the second one was when the pilot who survived was flying in March 2024.&nbsp; On this particular day, the plane’s rotation rate was 6.5°/sec, causing it to go into a deep stall soon after takeoff, the Commission report said. Essentially, the plane was not flying fast enough down the runway to take off safely.&nbsp; It is not yet clear whether excess weight, unsecured luggage, wrong centre of gravity were also factors, but relying on a faulty speedchart for the given takeoff weight, the captain flying pulled back on the yoke before the plane had reached takeoff speed and at a pitch angle that was too steep. The investigation report says the plane then went into a deep stall and started banking right with the stick shaking. At this point, the flight officer on the right hand seat is heard on the cockpit voice recorder saying: “Whoa, whoa, whoa. Sir, Sir, Sir…” It then banked left before the pilot flying turned the plane sharply to the right again in an evasive action to avoid the parking aprons of the international and domestic terminals. Had he not done so, there would have been a disaster of a much greater magnitude at Kathmandu airport that day. The plane scraped the runway with its right wingtip, collided with a container having helicopter spare parts, and plunged into a gully east of the runway, exploding in a fireball. The investigation also noted that the impact forces seemed to be survivable for some occupants. The fire trucks took unnecessarily long to reach the site even though it was inside the airport perimeter. The absence of an ICAO-standard runway strip, inadequate rescue drills, lack of training, and a blocked emergency service gate leading to the crash site were cited as other factors. &nbsp;&nbsp; <h2>Timestamp of a Disaster</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250731110724_39cdd04693994ce6e55a5b302905c0fa4884fe85bed21ff0779bb1439f3a5725.jpg" data-media-id="editor_0" data-image-id="20250731110724_39cdd04693994ce6e55a5b302905c0fa4884fe85bed21ff0779bb1439f3a5725" data-rendition-name="original" width="778" height="826" loading="lazy" alt="Flouting rules caused Saurya tragedy NT"> </figure>  11:10:34 - The Saurya Airlines CRJ200 on the takeoff roll from runway 02. It had a takeoff weight of about 18,300kg, but the pilot’s speedcard had a previously undetected mistake about the minimum takeoff speed. 11:10:55 -The plane with tail number 9N-AME goes into deep stall soon after takeoff because it does not have enough speed to lift its weight. The plane also has an abnormally steep nose-up attitude.&nbsp; 11:11:03 - Without enough speed to generate lift, the plane banks right, then left and right again in CCTV photos taken from the domestic apron (below). If it had not banked right, it could have hit the aprons and terminal buildings. Seen parked is Saurya’s other CRJ200 with tail number 9N-ANM.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250731110732_608132f7225c649125cca2691dd6a6bf930984c5b359e888d7ad9e5eacce3afd.jpg" data-media-id="editor_1" data-image-id="20250731110732_608132f7225c649125cca2691dd6a6bf930984c5b359e888d7ad9e5eacce3afd" data-rendition-name="original" width="770" height="555" loading="lazy" alt="Flouting rules caused Saurya tragedy NT"> </figure>  11:11:08 - The plane scrapes the runway with its right wingtip, and falls into the gully. The captain is thrown off the left side of the cockpit and survives. 11:11:15: Plane explodes in a fireball inside the airport perimeter. Firefighters take time to reach the site because of lack of access road and a blocked gate. Read the full investigation report <a href="https://www.tourism.gov.np/files/9N-AME%20AIC%20Final%20Report.pdf">here</a>.

Flouting rules caused Saurya tragedy

American artist Peter Makela was in Nepal in 2022 on a Fulbright scholarship when he experienced the Matya festival in Patan in which devotees made the rounds of the city’s shrines.&nbsp;
He joined the procession, walking through 2,600 stupa and 140 bahal of the town. That immersion left a lasting impression.
As part of Gallery Mcube’s international residency program in Patan, he put his inspiration to canvas in the exhibition Yala Yatra: Walking, Working, Worshipping. The exhibition also coincides with this month’s Matya festival.&nbsp;
Makela has visited Nepal often in the past 11 years but he mostly stayed in and spent his time around Boudha. “This time I stayed in Patan, put the sites I wanted to visit on my map, and off I went,” he tells us. “Each of my artwork is inspired by the stupas and shrines in Patan that I visited.”
The stupa and Ganesh are recurring motifs in his watercolours, and the elephant gods are located in chaityas — reflecting the interplay and blending of the Hindu and Buddhist faiths in Kathmandu Valley.&nbsp;
The stupas and Ganesh are painted in vivid red, yellow, blue and green against abstract backgrounds meant to represent the sky.
“I use the sky as a backdrop because the sky has no border,” says Makela. “The four colours represent the four elements, the different Buddha families and also lights bouncing off of a rainbow.”
The use of just four colours for all the artwork stands out, and combined with the absence of heavy canvases, frames or stands render Makela’s art striking in its simplicity.&nbsp;
The Ganesh is always holding something and the art also portrays the elephant god’s sacred vehicle, the mouse.
While his vibrant stupas and Ganesh reflect the tangibility of Patan’s tradition and heritage, it is as if the backdrops with their shades of grey and red and yellow capture the soul of the city’s shrines.
“If you look closely, there is a sense of form and formlessness at the same time,” he says.&nbsp;
Makela walked 108 kora around the shrines during his exploration of the town, and in the process developed a spiritual connection with Patan’s heritage and traditions.&nbsp;
The exhibition connects with visitors on a deeper, more spiritual, level as well. And with it, they feel a sense of pride as well as the need to urgently preserve Patan’s heritage for future generations.
“Peter’s inclination and approach towards Nepali art and culture is fascinating, and it reflects in his work,” says Mcube curator Manish Lal Shrestha, whose international artist residency program promotes Nepal’s cultural heritage. &nbsp;&nbsp;
Yala Yatra: Walking, Working, Worshipping
1-5 August&nbsp;
10AM-7PM
Gallery Mcube, Patan

Walking, working, worshipping in Patan

French citizen Louis arrived in Nepal for the first time earlier this year, planning to <a href="https://nepalitimes.com/banner/the-abcs-of-a-winter-trek-in-nepal">trek the Annapurna Circuit </a>before heading down to Bardia to hopefully catch a glimpse of some<a href="https://nepalitimes.com/news/nepal-counting-its-tigers"> tigers</a>. Before he began his journey from Besisahar, Louis (who only revealed his first name) had imagined breathing crisp mountain air, and following the melodious gurgle of the Marsyangdi.&nbsp; Instead, he had to breathe fumes and dust all the way to Chame. Louis says he masked his face with a handkerchief: “It was not what I expected, this is not right.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025080304080_f03fce1527cf8a63178e4e82589a1a7096c8cfa28893ca4a5f7fe82d91a6e38a.jpg" data-media-id="editor_2" data-image-id="2025080304080_f03fce1527cf8a63178e4e82589a1a7096c8cfa28893ca4a5f7fe82d91a6e38a" data-rendition-name="original" width="2419" height="1814" loading="lazy" alt="Manang trails NT 1"> </figure>  Many other trekkers are similarly disappointed as roads have been built along what used to be <a href="https://nepalitimes.com/banner/a-walk-back-in-time-chandragiri-hatiban">walking trails</a>. Manang and Humla are the last remote regions in the Himalaya to be connected to the national road network. &nbsp;Construction of the 87km Besisahar-Manang road began in 1994, but was stalled during <a href="https://nepalitimes.com/news/14-years-after-conflict-no-closure-in-nepal">the Maoist conflic</a>t, and finally finished in 2012.&nbsp; Most of it has not yet been blacktopped, and sections have been carved out of vertical cliff faces, making them treacherous. But it has allowed road access to Manang, a journey that previously took a week on foot.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025080304084_32b3ca875a0df9f1dd42dbe915e6f6a2cd4f2e53f1cf2d3ee5cbdb3435905000.jpg" data-media-id="editor_5" data-image-id="2025080304084_32b3ca875a0df9f1dd42dbe915e6f6a2cd4f2e53f1cf2d3ee5cbdb3435905000" data-rendition-name="original" width="2400" height="1505" loading="lazy" alt="Manang trails NT 1"> </figure>  While the <a href="https://nepalitimes.com/opinion/the-road-out-of-nepal">road has improved access</a>, it has impacted on<a href="https://nepalitimes.com/here-now/trekking-in-the-time-of-climate-change"> trekking tourism </a>— the mainstay of Manang’s economy. The number of tourists visiting the scenic valley behind the Annapurnas grew from 21,245 in 2023 to 30,866 in 2024. The Annapurna Circuit is known for unique sights like <a href="https://archive.nepalitimes.com/news.php?id=9194">Tilicho</a>, one of the highest lakes in the world, the Thorong La pass that connects Manang to Mustang, and the valley’s own rich cultural heritage. Thorong La at 5,416m is the highest hiking pass in the world, and was used by locals for trade with Mustang before it became a <a href="https://nepalitimes.com/opinion/comment/lift-restrictions-on-upper-mustang">popular trekking route</a>. &nbsp; “For guests, the excitement of reaching Thorong La is now overshadowed by their disappointment of having to journey through dusty roads to get there,” says Manang lodge-owner Ongma Gurung. “That is the complaint we get the most.” <a href="https://nepalitimes.com/banner/tourism-that-treads-lightly-on-the-land">Local tourism </a>operators are trying to get the government to build alternative foot trails. But there have been delays due to a lack of budget.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025080304084_c5f76e398182785bb17846a148e3ca89de5687b4623580f8e2d725a7a287edfa.jpg" data-media-id="editor_11" data-image-id="2025080304084_c5f76e398182785bb17846a148e3ca89de5687b4623580f8e2d725a7a287edfa" data-rendition-name="original" width="2419" height="1762" loading="lazy" alt="Manang trails"> </figure>  The Naso Rural Municipality has identified other routes along the Annapurna Circuit in Chyamche, Tal, and Khotro so trekkers can bypass heavy vehicles involved in the construction of the Manang-Marsyangdi Hydropower Project. “But the local government cannot do everything,” admits the chair Dhan Bahadur Gurung. “And for leaders in Kathmandu, Manang is out of sight and out of mind.” Munindra Jung Gurung represents Manang in the Gandaki Provincial Assembly, and says he has raised the issue in <a href="https://nepalitimes.com/news/pokhara-s-tourism-woes">Pokhara</a>. He is hopeful there will be a hearing. To be sure, the road is not all bad news. Locals benefit, the number of visitors has grown, and trekkers can now also save time and use it to explore <a href="https://archive.nepalitimes.com/news.php?id=5960">side valleys in Manang</a>, visiting the villages like Nar and Phu. Annapurna Conservation Area (ACA) chief Rabin Kadariya concedes that the road to Upper Manang was crucial to connect the remote region with the rest of Nepal, but adds: “We have built an alternative trail connecting Talgaun, and we will consult local communities about their priorities on other hiking trails.”&nbsp;

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