Saraswati Puja on 14 February also marks the first day of spring on Nepal’s lunar calendar. Schools hold special functions, students sing hymns, and children go to temples of the goddess of knowledge to write their first letters in chalk on the walls. The belief that goddess Saraswati resides in books, musical instruments, even laptops and other devices for intellectual pursuit prevails to this day.&nbsp; The most exquisitely carved figure of Saraswati in all of Nepal was in a temple in Pharping, 20km south of Kathmandu. On 11 November 1984 devotees were shocked to see that their goddess had been beheaded. This was in the 1980s when idol theft in Kathmandu Valley was rampant. International traffickers in collusion with Nepal’s high and mighty were smuggling out sacred objects to sell to collectors and museums abroad.&nbsp; Read also: <a href="https://nepalitimes.com/news/nepal-s-diaspora-helps-return-stolen-gods">Nepal’s diaspora helps return stolen gods</a>, Alisha Sijapati Since the 1.2m high Saraswati carved out of black granite was so large and heavy, the thieves hacked off just the head and took it away under cover of night. Black granite is not found locally, and is similar to the stone used in the sleeping Vishnu at Budhanilkantha and the Bhagwati at Kavrepalanchok — all believed to date back to the Lichhavi period 1,000 years ago. German historian Jürgen Schick was living in Kathmandu at the time, and was deeply troubled by the plunder of Nepal’s religious treasures, and the emotional toll it was taking on local communities. He started his own photographic documentation of missing sacred objects and published the book, Die Götter verlassen das Land, in 1989. It was updated and translated in 1997 into English as The Gods are Leaving the Country: Art Theft from Nepal.&nbsp; Read also: <a href="https://nepalitimes.com/banner/faith-stolen-lost-in-nepal-found-in-america">Faith Stolen: Lost in Nepal, found in America</a>, Lost Arts of Nepal  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240213120244_ee3c3b4bdd2c9db368171fbfc0a6ef9101327cccb717fb0e23eff0feca4aa696.jpg" data-media-id="editor_2" data-image-id="20240213120244_ee3c3b4bdd2c9db368171fbfc0a6ef9101327cccb717fb0e23eff0feca4aa696" data-rendition-name="original" width="817" height="498" loading="lazy" alt="The godhead of Patan"> <figcaption>THE REAL FACE: German historian Jürgen Schick's photographs of the Pharping Saraswati (above) taken before and after it was decapitated by thieves in 1984. The head was sold to an art collector in the United States, who returned it to Nepal in 1999. Since then it has been stored at the National Museum, and for the past two years has been on display with other repatriated stolen deities (below).</figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240213120244_f17dba3a2da5cd75a87ab75aa9c0ba63f0cbeca1363f1a65291e557fce9bf1c7.jpg" data-media-id="editor_3" data-image-id="20240213120244_f17dba3a2da5cd75a87ab75aa9c0ba63f0cbeca1363f1a65291e557fce9bf1c7" data-rendition-name="original" width="1000" height="1500" loading="lazy" alt="The godhead of Patan"> <figcaption>Photo: GOPEN RAI</figcaption> </figure>  On 8 May 1984, Jürgen had photographed the intact Pharping Saraswati. He went again on 10 December 1984 and took a picture of the decapitated goddess which also had its right foot missing.&nbsp; Residents of the area, Mohan Narayan Balami and Sapta Balami, told Schick that when they arrived for morning prayers, the Saraswati was tilted, with her head missing. There was a huge nationwide outcry as word of the theft spread. &nbsp; "The fate of the Saraswati statue is special because it clearly shows that the art robbers do not shy away from even decapitating a beautiful statue of a deity that has been worshipped for centuries," Schick said. "There could be no clearer evidence of their brutality, the same brutality that they also use against the human protectors of the sacred images, as was clearly shown during the theft of the Halchok Akash Bhairav image in 2021 when they threatened the temple priest with a knife to his throat."&nbsp; Eventually, Pharping's devotees replaced the head with a replica that was so ugly that many found it an insult to the deity, and a reminder of the crime. It was replaced with a more accurate carved head, which is there to this day but still does not match the artistry and beauty of the original. Read also: <a href="https://nepalitimes.com/review/remembering-nepals-lost-and-the-found">Remembering Nepal's lost and the found</a>, Ashish Dhakal In 1999, Riddhi Baba Pradhan, then Director-General of the Department of Archaeology, received a letter from the Nepal Embassy in Washington DC that a US-based art curator Pratapaditya Pal had located the Sarswati head and four other sacred objects from Nepal with a private collector. &nbsp; Pratapaditya Pal checked Lain Singh Bangdel’s seminal book, The Lost Art of Nepal, and brought this to the notice of the collector, who promptly agreed to return the objects. The Saraswati head was then returned to Nepal in 1999 along with three other sacred objects and have been in the National Museum at Chhauni ever since.&nbsp; “When the boxes arrived from the airport customs, it was a very emotional moment for all of us," recalls Pradhan, who is now chair of the Nepal Heritage Recovery Campaign.&nbsp; Read also: <a href="https://nepalitimes.com/news/itumbahas-living-museum">Itumbaha's living museum</a>, Sahina Shrestha  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240213120244_9f71a0815f3a655c8f3c0b590df1044297a33d4c60f39e58ff0fa5da4b33ab69.jpg" data-media-id="editor_6" data-image-id="20240213120244_9f71a0815f3a655c8f3c0b590df1044297a33d4c60f39e58ff0fa5da4b33ab69" data-rendition-name="original" width="1388" height="2080" loading="lazy" alt="The godhead of Patan"> <figcaption>TWO HEADS: The Saraswati figure (above) at the shrine in Pharping (below) where thieves hacked off the head in 1984 and took it away to be sold to international art traffickers. The head was replaced with an ugly replica, and later by a more accurate version which has been worshipped now for 40 years. The real head, which was returned from a collector in the United States in 1999, is now in the National Museum in Chhauni. Photos: SAURAV THAPA SHRESTHA</figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240213120244_5a11c3d4b7dea4538698c29ba487ac6bf298269ce55008b55250daaa1673e256.jpg" data-media-id="editor_7" data-image-id="20240213120244_5a11c3d4b7dea4538698c29ba487ac6bf298269ce55008b55250daaa1673e256" data-rendition-name="original" width="1499" height="1000" loading="lazy" alt="The godhead of Patan"> </figure>  She adds, "It was the first indication that our gods would be returning to their rightful places.”&nbsp; Bal Ram Balami in Pharping still remembers the first time he heard on tv news that the Saraswati head was coming back: “I had this deep sense of happiness, I was overwhelmed with joy and relief.” &nbsp;&nbsp; Many in Pharping wanted the retrieved head to be reinstated on the Saraswati and were looking forward to its true homecoming. But 25 years later, the head is still in the museum. It was in storage till two years ago when it went on public display with other repatriated stolen objects. The National Museum and the Pharping community have been in constant communication, but no tangible progress has been made.&nbsp; Pharping’s Ward Chair Shailesh Man Manandhar says the locals want the Saraswati returned, but security concerns persist.&nbsp; Read also: <a href="https://nepalitimes.com/here-now/the-homecoming-of-nepal-s-gods">The homecoming of Nepal's gods</a>, Alisha Sijapati National Museum director Jayaram Shrestha agrees that worries about it being stolen again persist, and the community also does not want to take responsibility for its safekeeping. “For now, it is important for the head to remain where it is until a final decision is reached,” says Manandhar, who has plans to establish a museum in Pharping itself with other religious objects.&nbsp; By now, the local community has become attached to the replica head since it is being worshipped and already embodies the essence of Saraswati’s wisdom and knowledge.&nbsp; He says, “It may be wise to let the original head remain where it is under protection of the National Museum until we are ready to take it back.” Read also: <a href="https://nepalitimes.com/here-now/nepal-s-deities-in-transit">Nepal’s deities in transit</a>, Anita Bhetwal

Alisha Sijapati

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The godhead of Pharping

Two 1,000-year-old stone deities return to Nepal, but hundreds of other stolen objects are still out there<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110710110/6368c9ad9c7e80680e02f2c5jpeg.jpg" alt="" width="800" height="980"/><figcaption>HOMECOMING: The 12th century Uma Maheswar stele from Tangal Hiti, Patan, stolen in early 1980s.</figcaption></figure>In Yatkha Tole, Krishna Bahadur Tuladhar, 62 shows Nepali Times a brass crown belonging to the Standing Buddha that was stolen from a shrine in his neighbourhood in 1986. His family has worshipped the crown every day ever since the Buddha went missing.On Wednesday, the 10th century Standing Buddha of Yatkha Tole was one of two holy stone sculptures returned to Nepal by The Metropolitan Museum of Art in New York. The other was a 12th century stele of Uma Maheswar stolen from Tangal Hiti in Patan in 1980.“This looks like the same statue missing from our temple,” says Tuladhar looking at the photograph of the Standing Buddha being returned. “If it is the same, the crown should fit it,” he adds.Since the sculpture went missing 30 years ago, the community has installed another statue in its place. But the open space the bahi once occupied has shrunk because of the private houses that tower all around.Shyam Dangol remembers playing in the bahi and praying to the deity when he was a child. “It is the same one that went missing from here,” he says looking at the photograph. “When the idol was stolen, the authorities came with big dogs and even the locals were accused of assisting in the crime. We never found out who did it.”https://www.youtube.com/watch?v=gtN1KiH9Va0The epidemic of idol thefts started soon after the end of the Rana era in the 1950s, as Nepal opened up to the world. Over the next few decades, thousands of deities worshipped in temples and monasteries in Kathmandu Valley were stolen to be sold to collectors and museums in the West. The process accelerated during the 1980s.When Tej Ratna Tamrakar heard about the stone Buddha being returned to Nepal, he had hoped it was another statue from his clan’s Arya Naam Sangiti guthi that was stolen 30 years ago. After the Buddha was stolen from the Agan Chhen (sacred house housing the clan’s god) in Yatkha Bahal the guthi installed a much smaller stone Buddha.“When I heard the news, I thought that our God was coming home,” 70-year-old Tamrakar told us this week, “but this one is not ours. Our Buddha was sitting down in bhusparsa position, this is standing.”The Uma Maheswar was donated to The Metropolitan Museum of Art in 1983 by a collector, and the Standing Buddha was donated in 2015. During the acquisition process of the Standing Buddha, The Met found out from Lain Singh Bangdel’s book Stolen Images of Nepal, published in 1989, that the two figures had been smuggled out of Nepal, and so the process for its return began.In 2017, the Museum contacted the Nepal government and offered to return the sculptures, after which the Consulate of Nepal in New York contacted the Museum to coordinate and facilitate the process. The nose of the Standing Buddha currently looks different from the picture in Stolen Images of Nepal, (where it looks slightly damaged). John Guy, curator of the Arts of South &amp; South East Asia at The Met believes the nose was repaired when sold to the collector about 30 years ago.“When the statues were carved and consecrated, no one would have thought that centuries later someone would try to steal them. That is why they were not anchored securely and were easy to lift off, and that is also why the government did not have an inventory,” says heritage activist Kanak Mani Dixit.Fortunately, the works of Lain Singh Bangdel, Jürgen Schick and later Ramesh Dhungel have sought to fill the gap. Bangdel and Schick separately photographed and documented hundreds of statues in their original place and publishedStolen Images of Nepal and The Gods are Leaving the Country respectively. Dhungel studied the Nepali artefacts in The Met and documented them in The Lost Heritage.“Ramesh Dhungel studied Nepali art in the same museum from where the two idols have been returned, and his book along with the others' shows how many more Nepali idols are still out there,” said Bhesh Narayan Dahal, Director General of Department of Archaeology.Since April 1996, when 19 stolen artefacts were returned from Britain, only a few out of the thousands have been returned to Nepal. And even from those few, many have ended up in museums, rather than the communities where they belong. The two images of the Standing Buddha and Uma Maheswar have also been handed over to the National Museum of Nepal at Chhauni.“The idols have spiritual, psychological and emotional connotation for the people so they need to be returned to the community. The government should help safeguard it,” says Ramesh Dhungel. “When they end up in museums they merely become items of art, which is unfair to the people who believe that the idols have life.”<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110710110/6368c9af9c7e80680e02f2c6jpeg.jpg" alt="" width="800" height="1200"><figcaption> </figcaption></figure>The communities also want the Gods to be returned to them and not housed in museums. Clutching an old photograph of an idol of Balabhadra stolen from their community 40 years ago, Tirtha Raj Bajracharya, Bishwa Bhakta Malla and Shree Ram Tamrakar of Tangal Hiti want their God back too.“They stole it in the past but now we as a community will look after it now,” says Bajracharya.In Yatkha Tole, Tuladhar told Nepali Times, “It is our God. We should be able to pray to it daily and it should be returned to us.”The Department of Archaeology is positive, “As per the Ancient Monument Preservation Act 1956, the communities can send in an application through the district administration and if we are convinced about the monument’s safety, it will be returned,” Dahal said.As for Tej Ratna Tamrakar he still hopes that his God will also be returned one day. He says: “I am hopeful but not too confident it will happen in my lifetime.”<h2>Homecoming</h2>3 April, 199619 artefacts returned from Britain. Currently in the National Museum, Chhauni.10 September, 19994 artefacts returned from US. Currently in the National Museum, Chhauni.24 October 2003The Kanakmuni Dipanker Buddha stolen from Nagbahal, Lalitpur was brought to the Department of Archaeology. The idol was handed over to the Guthi in Nagbahal.25 June, 2007China returned 28 artefacts stolen from Dolpa. On 15 August, 2007 the idols were returned to Dolpa.16 June, 2017Four idols from the private collection of Leroy Allen Ehrenreich  returned to Nepal. Currently in the National Museum, Chhauni.

Sahina Shrestha

Bringing our Gods home

With Saturday's deadline on Malaysia’s announcement of new criteria for selecting private recruiting agencies for migrant workers having lapsed, Nepal and Bangladesh have rejected the conditions.
The Malaysian move three weeks ago came in the aftermath of deadly GenZ riots in September, when Nepal’s interim government does not have designated heads in the Foreign Ministry and the Labour Ministry.
Interim Prime Minister Sushila Karki instructed the Labour Ministry to examine the implications of the standards and recommend appropriate steps to address them, but it has said it cannot send Nepali workers to Malaysia based on those criteria.
“In line with Nepal’s foreign employment policy and regulations, we are currently unable to accept or implement the proposed criteria,” says Pitambar Ghimire, spokesperson at the Ministry of Labor, Employment and Social Security in Kathmandu.
In response to the government’s request for their opinion on the Malaysian stipulation, the Nepal Association of Foreign Employment Agencies (NAFEA) has also flatly rejected the criteria, saying it could create a harmful syndicate and restrict fair competition, violate Nepal’s Constitution and laws, and increase recruitment fees that workers must pay.
On 25 October, the Malaysian Ministry of Foreign Affairs sent letters to the governments of Nepal, Bangladesh, Burma, Pakistan and India with 10 criteria meant to ‘rationalise the number of licensed private recruitment agencies permitted to facilitate recruitment and placement of workers to Malaysia’.
The proposed criteria include: at least five years of operating experience, deployment of 3,000 workers in the past three years of operation, experience sending workers to at least three countries, valid licenses and good conduct certificates, five employer testimonials, operating their own training and accommodation centres, and even a requirement for the staffing agency to have a 10,000 sq m office maintained for three years.
“We have communicated our views to the Ministry of Foreign Affairs, and have proposed discussing various labour related matters with our Malaysian counterparts diplomatically through bilateral dialogue and negotiations including renewal of the Nepal-Malaysia labour agreement,” Pitamber Ghimire said.
NAFEA has urged the government to prevent this measure from moving forward using diplomatic channels, and has held &nbsp;several gatherings and press conferences opposing the proposal since the Malaysian letter was received three weeks ago.
“We have taken commitment letters from members that they will not be engaged in activities related to the syndicate,” said Sujit Shrestha of NAFEA. “And if they break the commitment, they will face consequences including the revocation of their NAFEA membership. These letters also send a strong message to the government that this is irrevocably and collectively rejected by the industry.”
Bangladesh has also not accepted the proposal despite the 15 November deadline to send a list of recruiters that meet the criteria. That in itself would have been an impossible task to complete to begin with even if the government had accepted the proposal.&nbsp;
According to media reports, Bangladesh has sent a letter to the Malaysian government requesting that three of the proposed criteria be relaxed. This includes flexibility regarding the requirements for a 10,000 sq ft office, a dedicated training center, and the condition of having deployed 3,000 workers in the last five years. Despite the official request to Malaysian authorities, the Bangladeshi Government has also been collecting applications from recruiters who meet Malaysia’s proposed criteria, raising confusions about the contradictory stance.&nbsp;
Just like NAFEA, the recruitment association in Bangladesh, the Bangladesh Association of International Recruiting Agencies (BAIRA) has also outright rejected the proposal including in a letter to the Bangladeshi government, calling the criteria ‘unprecedented and exclusionary, unreasonable, discriminatory and syndicate-driven &nbsp;that would effectively disqualify 99% of legitimate agencies from participation’.&nbsp;
Now that the ball is back in Malaysia’s court and the proposal has not gained much support from two of the major origin countries, it will be interesting to see how they respond.

Nepal, Bangladesh reject Malaysian conditions

New and old, businessmen and former diplomats, engineers and academics — they have all been trooping to the Election Commission to register political parties ahead of the Sunday deadline.
Till press time Thursday, five new parties had been registered and 21 new parties were in the process of applying. Behind the scenes, new parties are head-hunting, well-known figures are shopping for parties to join, while older parties are splitting or uniting to form new united parties.
“It is reason for optimism that people are enthused to form new parties,” notes political analyst Indra Adhikari. But, she adds, this does not mean that despite the celebrity status they will win votes and succeed in politics.
The outlier in all this are the Nepali Congress (NC) and the UML, which are still licking the wounds after being swept out of power by the GenZ protests in September. Neither are too keen on elections because of the prospect of losing badly.
Former prime minister K P Oli is the most recalcitrant, and seems to want to scuttle elections so Parliament will be reinstated. After announcing that he was stepping down, the NC’s Sher Bahadur Deuba has had a change of heart in Singapore and is gunning to restore Parliament.
Neither party and their leaders have shown any remorse for the 8 September massacre, or understood the outrage on the streets against their decades-long incompetence and corruption. &nbsp;
Among those registering parties are various GenZ youth groups and family members of those killed during the September protests. Notable among the new parties certified this week was Gatishil Loktantrik Party (गतिलो) backed by Buddha Air founder Birendra Basnet and led by sociologist Dinesh Prasai. Dharan Mayor Harka Sampang’s Shram Sanskriti Party is also registered.
Energy and Infrastructure Minister in the interim government Kulman Ghising has backed the Ujyalo Nepal with former secretary Anup Kumar Upadhyaya as its chair. Ghising has been playing coy about his political ambitions, and is planning to resign from his cabinet post before elections.&nbsp;
Ghising had been talking to Rabi Lamichhane’s RSP about joining, but that negotiation failed. Former RSP lawmaker Sumana Shrestha was supposed to join Ghising, but pulled out following Ghising’s reluctance to resign from government.
Ghising has much public support because he is credited with ending power cuts as head of the Nepal Electricity Authority, but is now getting flak for being unwilling to give up his ministerial portfolios while still wanting to contest elections. &nbsp;
Ujyalo has hit other snags. GenZ activist Tashi Lhazom, who was considered for a Cabinet position last month but was dropped by Prime Minister Sushila Karki, has said she is not in Ujyalo despite being listed as a Central Committee member. Another member has said that he will not be a part of Ujyalo due its “a lack of political culture”.
Even though Nepalis from across backgrounds and professions are eager to participate in the country’s new political landscape, there are doubts about the structure of their parties, ideology and electoral platforms.&nbsp;
Hurriedly set up parties without a shared philosophy have less chance of political influence and longevity. For example, the RSP was formed just months before the 2022 polls to become the fourth-largest party in Parliament, has lost its momentum, and its leader is in jail.
“Parties like the RSP, which did some positive work after being elected, have still not been able to establish a clear ideological roadmap or organisational structure,” Adhikari says. &nbsp;“It is easy to form parties, the real work goes into building an institution, which is the hard part”
Meanwhile, despite expectations of increased and inclusive youth participation not just at the polling booths but also on the ballot, only a few GenZ-led parties are applying at the Election Commission. They include the Rastriya Pariwartan Party and the Rastriya GenZ Party Nepal. Most other parties are led by men in their 40s, even in their 70s.&nbsp;
Analysts note that despite hopes of young blood in politics, Nepalis are still inclined to trust those with experience, as evidenced by GenZ’s choice of Sushila Karki to succeed KP Oli as Prime Minister after the September protests.&nbsp;
“So it will be difficult for young Nepalis without prior political experience to lead parties and it will be even more difficult for them to cultivate enough public trust to get votes,” says Adhikari.&nbsp;
Then there are the old political players, who have been breaking up and making up new alliances. Resham Chaudhary quit his Nagarik Unmukti Party and registered a new one.
Last week, Puspha Kamal Dahal’s Maoist Centre, and Madhav Kumar Nepal’s Unified Socialists merged along with smaller leftist parties to form the Nepali Communist Party (NCP). Disgruntled former UML members like Bhim Rawal have also joined the NCP. On the other hand, Janardan Sharma has fallen out with Dahal and is going his own way.&nbsp;
Even though the NC, UML and NCP show little sign that they have learnt their lesson and will be turning a new leaf, they still have the party organisation and vote banks to fall back on at election time in the runup to 5 March. &nbsp;
Says Adhikari: “At the end of the day, Nepali society remains hyper-partisan. And although the newly-formed parties and their popular candidates may give older leaders a run for their money, established parties will still benefit from their solid vote base.”

Party Time

The very first frame in The Lama’s Son starts with a vision of Shangrila and the quest of a mythical utopia in the Himalaya when the rest of the world is crumbling away. It is also the personal search of filmmaker Kesang Tseten, but what he finds there are adherents of the Bon Po faith clinging to the last remnants of a culture as it erodes away like the sandstone cliffs of Mustang. “It was while editing the documentary that the story became distilled: how does what we see in the high Himalaya relate to the notion of the Shangrila idyll that especially the West ascribed to them,” asked Tseten during a recent trip to Kathmandu from Berne where he now lives. He continued: “Often and perhaps rightly criticised as an orientalist construct, I wondered if there was any basis at all to the Shangrila notion, and I hung the film on that idea.”&nbsp; Tseten takes us to the vast vistas of Mustang and Dolpo, a landscape of his Tibetan ancestors. This is as much an intimate documentation of families on Nepal’s Himalayan rimland torn between remoteness and globalness as it is about Tseten’s own quest for rootedness.&nbsp; We start from Lubra, a 3,000m village in Mustang the 15 households of which follow the Bon faith. Lama Tsultrim is from a 900-year-old lineage of the animist faith and an exponent of the tradition that is slowly being subsumed first by Buddhism and now modernism. For Tseten, the material is familiar, and not at all exotic as it is for non-Nepalis and indeed for many urban Nepalis. Bon, founded in Tibet, predates Buddhism, but over time, the two religions have come to resemble each other.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251113111156_ecf8148fbaa17b93c81ddfa3ed244bed266e3ef6af0cd5e6ca7b64c181b97d45.jpg" data-media-id="editor_0" data-image-id="20251113111156_ecf8148fbaa17b93c81ddfa3ed244bed266e3ef6af0cd5e6ca7b64c181b97d45" data-rendition-name="original" width="1920" height="1080" loading="lazy" alt="The periphery cannot hold NT"> </figure>  ‘Both believe in karma, rebirth, and that humans can become enlightened. Nature and spirits are predominant in Bon, and rituals are what keep them benign and alight,’ says Tseten, who rarely narrates in his documentaries. “This is not really a personal film as such, but it has a point of view,” Tseten said. “I decided to have a voice-over on this one and cast my presence in the film.”&nbsp; Lubra's Lama Tsultrim is called upon to perform rituals from Kagbeni and other villages, but there is no one to continue the tradition after him, which is passed from father to son. Lama Tsultrim’s son (hence the title of the film) is a sushi chef in New York and has been gone for 20 years. “The Lama is like a setting sun, his son should come back and take over his father’s responsibilities,” says a local youngster chatting with friends. “If he dies tomorrow, where do we go? We can’t just light butter lamps ourselves to the gods.” It is not only the Lama’s son who has left. The village is nearly empty, and more are planning to leave. One of them is Chimi, a teacher who will be joining her fiancé who is an Uber driver in New York. Her brother is already in Hong Kong. In Lo Manthang a local is back home for a three-month vacation after being in New York for 12 years. A shopkeeper was in Japan for several years, and has returned. “Everything has changed, our language, our tsampa, our religion. We used to work and live together, now the children live separately,” says a middle-aged woman. “There are roads now, and vehicles stop right outside our house, but what’s the point? No one stays home.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251113111156_47b4c4984fa33e42791b16dba1f078aaa7f9d8bd51ca3bfd5415b436c3a0bf2c.jpg" data-media-id="editor_1" data-image-id="20251113111156_47b4c4984fa33e42791b16dba1f078aaa7f9d8bd51ca3bfd5415b436c3a0bf2c" data-rendition-name="original" width="1920" height="1080" loading="lazy" alt="The periphery cannot hold NT"> </figure>  Like most of Tseten’s films, The Lama’s Son is an honest documentation of a place and people whose lifestyle, culture and heritage cling precariously to the past. In Dri village we come across local women filling their buckets with water. Tseten asks them why the village is so empty: “Where is everyone?” The women reply that they are “here, there and everywhere”. Then it is their turn to ask Tseten about where he lives and what he is doing in their village. Migration is a recurring theme in Tseten’s documentaries from We Corner People, In Search of the Riyal, or Saving Dolma. His previous film Diversity Plaza documented the lives of Nepali and Tibetan emigrants in Jackson Heights in the borough of Queens in New York.&nbsp; Diversity Plaza was shown at DOC NYC in 2023, and The Lama’s Son will be one of only two Asian films shown next week at one of the biggest documentary film festivals in the world.&nbsp; “The Lama’s Son is not loud, not attention grabbing but intimate, so I was surprised they chose a quiet film for a big, flashy event,” Tseten told us. In Lama’s Son, we also see how climate breakdown is impacting Nepal’s trans-Himalayan regions. Lama Tsultrim shows us the aftermath of a recent glacial flood that swept away houses and fields. The debris-covered farms are as hard as cement.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251113111156_c82126a3c2dc4577b99beb9bef20aafa16f532a3f41e59caea17c93914c59fff.jpg" data-media-id="editor_2" data-image-id="20251113111156_c82126a3c2dc4577b99beb9bef20aafa16f532a3f41e59caea17c93914c59fff" data-rendition-name="original" width="1920" height="1080" loading="lazy" alt="The periphery cannot hold NT"> </figure>  The nearby village of Dhey at 3,900m is a high and dry cold desert. Farmers get one crop in a year, but the springs have gone dry and there is no snow in winter. So they are relocating to New Dhey, closer to the road. We follow Kesang Tseten to Samling in Dolpo, which at 4,200m is another Bon village. Locals are preparing for the Walchu festival in which Lama Sherrab carries out elaborate rituals to appease spirits that can turn malevolent. But unlike Lama Tsultrim in Lubra, Lama Sherrab has a community of lamas to help him, including two sons, one of whom will eventually take on his role. We move on to the adjacent village of Bicher and listen in as locals talk about how despite being dirt poor, they thrive in scarcity and are resilient. “We wear sheepskin, eat stew and yak meat, and drink wine. But we are very poor, we have nothing. Look at how dirty our clothes are. We may be dirty, but we have few illnesses,” says one. But even here in Upper Dolpo, a week’s walk from the nearest road, things are changing. There are mobile phones, readymade clothes and instant noodles.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251113111156_d1472165cfa9ffa6edbf72de59167e8cbddcc2bf4a7928f7830e099966259a78.jpg" data-media-id="editor_3" data-image-id="20251113111156_d1472165cfa9ffa6edbf72de59167e8cbddcc2bf4a7928f7830e099966259a78" data-rendition-name="original" width="1920" height="1080" loading="lazy" alt="The periphery cannot hold NT"> </figure>  At the Walchu ritual, Tseten watches men and women with hand-woven blankets and down jackets sing and dance after the main ceremony. He narrates: “Bon is sustained by a way of life that fosters a fine but fragile balance between nature and people, where humans come before gods. This is what lies at the heart of Shangrila if there is such a thing.” The film then takes us half-way around the world to a Bon centre in New York, but (spoiler alert) the eponymous Lama’s son never appears. He did not want to be filmed, but it makes for a more powerful portrayal of the life of emigrants forever trapped between two worlds. “Bon villages may be in danger, but the Bon has spread widely across the world,” narrates Tseten, a director who likes to call his storytelling ethnographic, and avoids coming to an apt conclusion. Lama Sherrab’s words after the Walchu ritual is a perfect segue:&nbsp; “Whether you say om mani padme hum (in Buddhism) or matri mi yu (in Bon) they are the same. When you go up, it’s the same heavenly realm. If you go down, it’s still the lord of death who awaits. There isn’t a separate heaven and hell for Buddhists and Bon, it has to be the same for both.” &nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025111312110_82817ef48840bb6baa1732d5b0b90c90ead2f9bd9eb0c289940fa61d8058de8d.jpg" data-media-id="editor_4" data-image-id="2025111312110_82817ef48840bb6baa1732d5b0b90c90ead2f9bd9eb0c289940fa61d8058de8d" data-rendition-name="original" width="7087" height="10004" loading="lazy" alt="The Lama's Son NT"> </figure>  The Lama’s Son by Kesang Tseten, 2025 Shunyata Films To be screened at DOC NYC 16 November at 2:05PM local time, Online: 17-30 November Details <a href="https://www.docnyc.net/film/the-lamas-son/">here</a>.

The periphery cannot hold

The sixth edition of PhotoKTM will mark a decade of visual storytelling and continue its role as a vital platform for photographers and visual artists to explore the politics of photographs and their role in shaping our histories and futures.&nbsp; The month-long festival across Kathmandu Valley features 18 exhibitions, slideshows, workshops, artist talks, panel discussions, portfolio reviews, and film screenings. While Nepal Art Council will be the anchor venue, the festival will go on the road in Mangahiti and Chyasal in Patan, Nigu Pukhu in Madhyapur Thimi, Nandi Keshar Bagaincha in Naxal and Tribhuvan University. The curatorial themes of PhotoKTM 6 Global South Solidarities draws inspiration from the historic 1955 Bandung Conference in Indonesia, which marks its 70th anniversary this year.&nbsp; The festival explores the political and cultural legacy of the Third World Project, exploring the history of global resistance and solidarity, and how they have shaped contemporary processes to reclaim sovereignty of regions battered by centuries of colonialism, exploitation, and violence.&nbsp; The festival spotlights the work and curatorial voices of artists from over 40 artists based in the Global South, from Santiago to Lubumbashi and Quito to Dakar, alongside Nepali photographers and filmmakers. “We hope this year’s coming together will deepen cultural understanding among artists and cultural communities across the Third World, strengthen reciprocal transnational solidarities through the sharing of our histories, stories, struggles and hopes, and open up pathways for more south-south collaboration and exchange across geographies,” says NayanTara Gurung Kakshapati, co-founder and festival director.&nbsp; Also featured are eight Nepali artists from the 2025 photo.circle fellowship cohort, whose works explore questions, challenges, and contradictions surrounding the notions of ‘development’ and ‘progress’ in contemporary Nepal.&nbsp; The festival comes two months after the GenZ protests, at a pivotal moment when Nepal is navigating significant political transitions. Says curator Diwas Raja KC: “From anti-colonial struggles to the Bandung Conference, to the non-alignment movement and revolutionary cultural exchanges, these histories continue to shape how countries like Nepal imagine their place in the world.”&nbsp; PhotoKTM6 is supported by the Shikshya Foundation Nepal, the Embassy of Switzerland in Nepal, as well as independent non-profit organisations FreeMuse and Cultural Workers Solidarity Front. “I think it is particularly relevant that these spaces are created and maintained because it is only if people meet and continue to do this important work, in which they think collectively, they work collectively, and they hold up certain values, that they will be capable of contributing to what I would call a ‘free world’,” says yasmine eid-sabbagh, who is the invited interlocutor to this year’s festival. &nbsp;&nbsp; <h2>Ji ta Newa Bhyaa Mawa (I don’t know Nepal Bhasa)&nbsp;</h2> Jyoti Shrestha  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251113121124_0fbeb8abf122867f5d5294c6e4c7ef2a4e3785e2d4083fb663ebe543e9b8396d.jpg" data-media-id="editor_0" data-image-id="20251113121124_0fbeb8abf122867f5d5294c6e4c7ef2a4e3785e2d4083fb663ebe543e9b8396d" data-rendition-name="original" width="1000" height="667" loading="lazy" alt="The politics behind photographs NT"> <figcaption>Photo: JYOTI SHRESTHA</figcaption> </figure>  Jyoti Shrestha was born to Newar parents in Kathmandu but grew up without learning the mother tongue, Nepal Bhasa. ‘My parents, with the best of intentions, taught us English and Nepali—languages of success and survival in a world that had set ours aside... A Newar without language, I felt alien in the very culture that was meant to be mine,’ writes Shrestha in her testimony. Nepal Bhasa is in UNESCO’s ‘definitely endangered’ list. Shrestha has begun to learn her language with help from her parents, and in doing so, their relationship has shifted for the better. She adds: “No census counts the intimacy of a shared memory, the tenderness of language passed between generations, or the weight of an inherited silence.” <h2>The Land Remembers Our Name&nbsp;</h2> Rejin Purja  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251113121128_14b44a9e7a9d27c9ac5e893e59930d049d1be05401a42217c304a7d08c2e47e2.jpg" data-media-id="editor_1" data-image-id="20251113121128_14b44a9e7a9d27c9ac5e893e59930d049d1be05401a42217c304a7d08c2e47e2" data-rendition-name="original" width="1200" height="800" loading="lazy" alt="The politics behind photographs NT"> <figcaption>Photo: RENJIN PURJA</figcaption> </figure>  The Department of Mines and Geology has confirmed the presence of iron ore in Jhumlawang in East Rukum. Iron mining has not started yet but a Kathmandu-based private company is said to have won the bid at Rs40.3 million. If the project indeed takes off, most of the families will have to be evacuated. “Not only will they lose their houses, land, and forests, but their roots, culture, and autonomy are also at stake. How can this project be considered of national benefit when it forces the very people it should serve to live in fear of their future?,” Rejin Purja writes in his testimony. Economic development exploits the natural resources of native and indigenous communities. Such projects may boost GDP and corporate profits, but they rarely improve the lives of the people whose land is being extracted from. This work reflects the uncertainty felt by the local people about their village’s future. <h2>Fragmented Land and Me</h2> Sujata Khadka  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251113121128_f28f960361f822792d8e4442f61deaea71bdf6022b9906509b7e9258939fdbcb.jpg" data-media-id="editor_2" data-image-id="20251113121128_f28f960361f822792d8e4442f61deaea71bdf6022b9906509b7e9258939fdbcb" data-rendition-name="original" width="1200" height="800" loading="lazy" alt="The politics behind photographs NT"> <figcaption>Photo: SUJATA KHADKA</figcaption> </figure>  Sujata Khadka’s ancestral home in Godavari’s Jharuwarasi was destroyed in the 2015 earthquake, after which her family built a new house on a small plot of land nearby. In the decade since the earthquake, rapid land trade has turned the farmland surrounding her home into a housing development. For the past 10 years, Khadka has been watching natural and man-made events unfold on the plots from her window on the second floor of her house. The land has been witness to playing children, negotiating brokers, bulldozers, and prowling wildlife. But despite relentless hemming and hawing by buyers and sellers over the past decade, no houses have been built on the land. &nbsp;“This misshapen land feels like a stage where a cast of characters performs an ongoing act,” says Khadka. “Perhaps this land and I are spectators to this drama.” <h2>Why doesn’t home feel like home?</h2> Karma Tshering Gurung  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251113121128_c568cdf076247f8904b289e9108ed4e7b5187d86694913751123a6b5df663142.jpg" data-media-id="editor_3" data-image-id="20251113121128_c568cdf076247f8904b289e9108ed4e7b5187d86694913751123a6b5df663142" data-rendition-name="original" width="1200" height="800" loading="lazy" alt="The politics behind photographs NT"> <figcaption>Photo: KARMA TSHERING GURUNG</figcaption> </figure>  Karma Tshering Gurung was born in Manang to a Manangi family, where he was raised with his siblings. But in recent times, whenever he has visited his family in Manang, he has felt a sense of unease, like the place sees him as an occasional visitor, an outsider who no longer understands the aspirations of his people. As Manang becomes a tourist spot, Gurung’s brother thinks it is a good idea to tear down their ancestral house and build a snooker house in its place. But Gurung thinks the house is their Appa’s legacy, and worth preserving. The brothers’ ideas of home have diverged. &nbsp; &nbsp;“With a camera in hand, I am trying to rediscover my relationship with this place, with my past, navigating ideas of home and belonging tied to Manang,” he says. “Maybe home for me is no longer just a place, but this search for identity, memory and connection.” <h2>Life and Struggle of Garment Workers&nbsp;</h2> Taslima Akhter (Bangladesh)  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251113121128_9447434bde6d70048768c33dda8001e4e3f8da0718c8fff8f96970c4d69139ef.jpg" data-media-id="editor_4" data-image-id="20251113121128_9447434bde6d70048768c33dda8001e4e3f8da0718c8fff8f96970c4d69139ef" data-rendition-name="original" width="1200" height="800" loading="lazy" alt="The politics behind photographs NT"> <figcaption>Photo: TASLIMA AKHTER@Taslima Akhter</figcaption> </figure>  This project focuses on the millions of workers who leave their villages and move into crowded worker barracks in the cities of Bangladesh, in search of a better life. <h2>Between Us, a Thread&nbsp;</h2> Ahmed Alaqra (Ramallah)  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251113121128_805845728d6e1fd13539d5c0af35f202f72ffbfb8e7dd502cc3c44067e2b574f.jpg" data-media-id="editor_5" data-image-id="20251113121128_805845728d6e1fd13539d5c0af35f202f72ffbfb8e7dd502cc3c44067e2b574f" data-rendition-name="original" width="1200" height="800" loading="lazy" alt="The politics behind photographs NT"> <figcaption>Photo: RUBA ALFARAOUNA</figcaption> </figure>  A quiet gesture between photographers, image-makers, and those who hold memory like a fragile light. Palestinian, Arab, scattered — yet orbiting the same wound.&nbsp; <h2>Possible and Imaginary Lives&nbsp;</h2> yasmine eid-sabbagh / Rozenn Quéré  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251113121128_a30877e2c30764d5d29c0b0457e2722685138e968549dedd8803dee1299bc45c.jpg" data-media-id="editor_6" data-image-id="20251113121128_a30877e2c30764d5d29c0b0457e2722685138e968549dedd8803dee1299bc45c" data-rendition-name="original" width="1200" height="800" loading="lazy" alt="The politics behind photographs NT"> <figcaption>Photo Courtesy: YASMINE EID-SABBAGH AND ROZENN QUÉRÉ(Photo: ) </figcaption> </figure>  An exhibition, based on family photographs and taped interviews, tells the story of four strong and feisty Palestinian-Lebanese sisters, exiled to the four corners of the globe. <h2>Martyrs, Saints &amp; Sellouts&nbsp;</h2> Siona O’Connel (South Africa)  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251113121128_7b84f695bdd27353af1f35ff5f739283d739b4fa7594e4965ca1230d4d60940b.jpg" data-media-id="editor_7" data-image-id="20251113121128_7b84f695bdd27353af1f35ff5f739283d739b4fa7594e4965ca1230d4d60940b" data-rendition-name="original" width="1200" height="800" loading="lazy" alt="The politics behind photographs NT"> <figcaption>Photo: BENNY GOOL</figcaption> </figure>  Comprised of photographs by Benny Gool, Zubeida Vallie and Adil Bradlow, documenting apartheid South Africa, this exhibition presents a vivid narrative of violence, loss and injuries that continue to reverberate under the rhetoric of the post apartheid landscape. <h2>Humo, Semilla, Raíz</h2> Isadora Romero (Ecuador)  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251113121132_b01b94f340265fd42dcdffd98f39f58d3b1b3385718cb055d2b35e04fb1eda58.jpg" data-media-id="editor_8" data-image-id="20251113121132_b01b94f340265fd42dcdffd98f39f58d3b1b3385718cb055d2b35e04fb1eda58" data-rendition-name="original" width="1200" height="798" loading="lazy" alt="The politics behind photographs NT"> <figcaption>Photo: ISADORA ROMERO</figcaption> </figure>  An alternate look into environmental issues through the prism of possibility, instead of catastrophic consequence is what this exhibition brings. Romero’s visual research engages with how the loss of ancestral memory and Indigenous knowledge resulting from colonisation, forced displacement, and racism is causing seeds to disappear at an alarming rate. <h2>First week schedule (selected)</h2> Friday, 14 November Bhandarkhal Garden, Patan Museum, 5:30pm -7:30pm Festival Opening + Award of Excellence Saturday, 15 November Yala Maya Kendra, Patan Dhoka 3pm-4pm Demounting Louis Agassiz – Artistic Renegotiation of Archive, Memory &amp; Place. Talk by Sasha Huber (moderated by Diwas Raja Khatri) 4:30pm-6pm Witness or Accomplice: Photography, Human Rights and the Question of Freedom. Talk by Prof. Siona O’ Connell (moderated by NayanTara Gurung Kakshapati) Sunday, 16 November Yala Maya Kendra July, Unfinished. Jaheen Faruque Amin in conversation with Sabnam Lama, 3pm- 4pm When The World is Blind – Images by Palestinians. Ahmed Alaqra in conversation with yasmine eid-sabbagh, 4- 6pm Manga Hiti, 7pm-8pm Slideshow – Who Does The River Belong To? Monday, 17 November Yala Maya Kendra, 3pm - 4pm Memory is an Inaccurate Place: Dialogues Across Time, Territories, and Histories. Isadora Romero in conversation with Tanvi Mishra 4:30pm-6pm Third Camera – a Film Series: Ernest Cole: Lost and Found Dir. Raoul Peck 2024 | 1h 46m | English Tuesday, 18 November Yala Maya Kendra Sustaining Art Ecosystems That Resist and Nurture – Part 1 Paola Farran in conversation with Jessica Lim, 3pm- 4pm Sustaining Art Ecosystems That Resist and Nurture – Part 2 Chelsea Chua in conversation with Tif Ng, 4pm:30-6pm Khapinchhen, Patan A Photographer’s Fifty-Year Journey in Nepal. A Slideshow and Talk with Kevin Bubriski, 7-7:30pm PhotoKTM Bhoé, 7:30pm-9:30pm Rs1,800 (early bird), Rs2,000 (door sale) Wednesday, 19 November Yala Maya Kendra 3pm- 4pm Sustaining Art Ecosystems That Resist and Nurture – Part 3 Andrea Thal in conversation with Diwas Raja Khatri 4:30pm-6pm We must refuse silence! Samir Eskanda, Shahidul Alam, and Tabara Korka Ndiaye in conversation with yasmine eid-sabbagh Thursday, 20 November Nepal Art Council, 4pm- 6pm Walk-thru at NAC with Enuma Rai, Jyoti Shrestha, Karma Tshering Gurung, Manoj Bohara, Manjit Lama, Rejin Purja, Sujata Khadka, Sushila Bishwakarma More details <a href="https://photoktm.com/photoktm6-schedule/">here</a>. PHOTOKTM6 14 November-14 December Kathmandu Valley All events free and open

stolen-idols

The godhead of Pharping

Bringing our Gods home

Nepal, Bangladesh reject Malaysian conditions

Party Time

The periphery cannot hold

The politics behind photographs