Like a delicate mandala emerging from meditative silence, a new wave of spiritual cinema has been gently transforming Bhutan’s cinematic horizon. It is a <a href="https://nepalitimes.com/here-now/kathmandu-s-ranjana-renaissance">renaissance</a> that represents more than just an <a href="https://nepalitimes.com/review/south-asia-in-the-abstract">artistic movement</a>, it is a dialogue between cultural memory and contemporary expression. The filmmaking style feels closer to what Paul Schrader in his book Transcendental Style in Film. Unlike psychological realism that characterises much of contemporary cinema, this transcendental approach expresses spiritual states through austere camerawork, performances stripped of self-consciousness, and editing that resists <a href="https://nepalitimes.com/opinion/suburban-tales/the-tenderness-in-men">narrative manipulation</a>.&nbsp; Like the Buddhist <a href="https://nepalitimes.com/here-now/medication-to-meditation-in-the-mountains">practice of meditation</a>, these films ask viewers to witness life's complexities with gentle awareness, to see beyond surface narratives and touch the underlying currents of human experience. At the centre of this movement stands Khyentse Norbu — a figure with delicate crossing of spiritual wisdom and art. Norbu is not just a director but a Buddhist lama who is said to be the incarnation of the 19th-century saint, Jamyang Khyentse Wangpo.&nbsp; His debut feature, The Cup (1999), is about young monks in a Himalayan monastery who are passionate about soccer, showing that spirituality can harmoniously coexist with worldly interests. This film marked a pivotal moment in Bhutan’s cinema, emerging from Norbu's experience assisting Bernardo Bertolucci during the filming of Little Buddha. In his latest film, Pig at the Crossing, Norbu works with the Buddhist concept of Bardo, the liminal space between death and <a href="https://nepalitimes.com/opinion/comment/rebirth">rebirth</a>, where consciousness navigates the terrain between dissolution and transformation.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250205030228_e327b58a04981953011579c9e5ddb61abc9a145172577232738a8e8b12e5bc63.jpg" data-media-id="editor_5" data-image-id="20250205030228_e327b58a04981953011579c9e5ddb61abc9a145172577232738a8e8b12e5bc63" data-rendition-name="original" width="5461" height="7016" loading="lazy" alt="Pigs at Crossing"> </figure>  &nbsp; The film's protagonist, Dolom, becomes a metaphorical pig at a metaphysical crossroad, his journey representing deep-seated attachments and the potential for spiritual liberation. Buddhism views this transition as a unique opportunity for consciousness to release its entanglements of guilt, shame, ignorance, and glimpse a more expansive understanding of reality.&nbsp; The movie treats death not as an end, but as a chance for understanding. It shows life as a kind of dream where people can find freedom through their struggles. When the film suddenly cuts to black, it leaves Dolom's fate unclear. This ending invites viewers to think about their own experiences, much like life’s open-endedness. Pig at the Crossing carries deep spiritual insights, but falls short technically compared to Norbu's previous works like Travellers and Magicians and Hema Hema. The film feels less polished, with editing that sometimes loses its rhythm and visuals that do not quite match the profound ideas it tries to explain.&nbsp; Yet, this very imperfection might be intentional — a reflection of the film's central theme about life’s inherent unpredictability.&nbsp; Along with his mentor Khyentse Norbu, Pawo Choyning Dorji emerged as a compelling new voice in Bhutan’s film industry. He was an assistant director to &nbsp;Norbu in his film Vara: A Blessing, and later produced Hema Hema: Sing Me a Song While I Wait.&nbsp; Dorji’s first film as director, Lunana: A Yak in the Classroom, brought international attention to Bhutan’s cinema. His latest film, The Monk and the Gun, continues to showcase his directorial talent. Set in 2006 during the kingdom's transition to democracy, the film presents the tableau of a society navigating the delicate balance between traditional values and modern <a href="https://nepalitimes.com/here-now/everything-is-political">political processes</a>.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250205030228_f3b72361dfbc230a46e7463ac006b9e8fa7349c2cad4a2137e0c13e9b3850c07.jpg" data-media-id="editor_7" data-image-id="20250205030228_f3b72361dfbc230a46e7463ac006b9e8fa7349c2cad4a2137e0c13e9b3850c07" data-rendition-name="original" width="737" height="1066" loading="lazy" alt="The monk and the gun"> </figure>  Through a narrative that follows a rural monk, an election official, and various villagers, Dorji crafts a subtle critique of democratic implementation that goes far beyond the political process. The film introduces Ronald Coleman, a not-so-subtle homage to the actor Ronald Colman from Lost Horizon, who serves as a stand-in for America.&nbsp; The film's true brilliance lies in its ability to reveal cultural complexities through seemingly mundane interactions. Dorji uses Bhutan’s mock elections as a test to examine how external political influence can disrupt communal harmony, highlighting the tension between imposed <a href="https://nepalitimes.com/news/is-democracy-too-expensive-for-nepal">democratic ideals</a> and indigenous social structures.&nbsp; The motifs of guns, television, and international media serve as metaphors for cultural penetration, suggesting that true progress is not about external prompts, but about maintaining fundamental human connections and collective happiness. The film offers a subtle message, especially in the context of what is happening in &nbsp;America. The Monk and the Gun offers a watchable but tepid satire that lacks real bite. Dorji's approach feels overly cautious, rendering what could have been a sharp cultural critique into a forgettable narrative. The result is a film that is neither bad nor particularly memorable. Bhutan's film industry has long been influenced by Indian cinema, with many early films closely following Bollywood trends. But there has been a significant change in the past two decades, filmmakers started to develop their own unique approach. The future of Bhutan’s cinema is bright, as if the filmmakers have found their original voice. Perhaps this movement can be called ‘Cinéma du Dharma’, a term one could easily imagine being on the pages of Cahiers du Cinéma.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025020508028_4af8d9bc9974e00702f71ba6c9391188b1252e0850c93d51e0885d895b080d4f.jpg" data-media-id="editor_9" data-image-id="2025020508028_4af8d9bc9974e00702f71ba6c9391188b1252e0850c93d51e0885d895b080d4f" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Bhutan's filmmakers"> </figure>  Beyond Norbu and Dorji, there are other talented directors in Bhutan’s new wave: &nbsp;Dechen Roder, Tashi Gyeltshen, Karma Takapa, and Ugyen Wangdi. Then there is Arun Bhattarai, whose feature-length documentary Agent of Happiness follows a surveyor who measures happiness, and in the process gently ribs Gross National Happiness. Read also: <a href="https://nepalitimes.com/here-now/min-bahadur-bham-s-cinematic-quest">Min Bahadur Bham’s cinematic quest</a>, Abishek Budhathoki Like the transformative cinema movements that have emerged across the globe, Bhutan’s filmmakers are redefining storytelling that is uniquely rooted in their cultural context. Their approach transcends geographical representation, offering a meditation that melds spiritual insight with artistic dialogue.&nbsp; Through films that resist traditional narrative constraints and Western cinematographic conventions, they are crafting a distinctive new language of cinema.

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Bhutan's New Wave

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

The Sundance Kid in Nepal

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

Nepal PM expands her Cabinet

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

"It is hard to feel neutral"

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

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