<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141124/636cfbe89c7e80680e0a0b5ajpeg.jpg" alt="" width="1500" height="1000"/><figcaption>Artist Mukti Singh Thapa at his studio this week. Photo: MUSEUM OF NEPALI ART</figcaption></figure>“Your paintings are as unique as my chips,” Bill Gates said to Mukti Singh Thapa during a lunch conversation back in 1992 in the canteen of his Microsoft office in Redmond, Washington. Gates had acquired seven of this Nepali artist’s paintings at an exhibition.Besides Microsoft, Thapa’s paintings also adorn walls at Boeing headquarters in Seattle and other corporate offices around the world. Thapa’s other masterpieces are prominently displayed at the Nicholas Roerich Museum in New York, Oglethorpe University Museum in Atlanta, Vienna’s Welt Museum and as a <a href="https://www.mona.com.np/art/v/naari" target="_blank" rel="noopener noreferrer">permanent collection at our very own Museum of Nepali Art</a> (MoNA) in Kathmandu.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141124/636cfbeb9c7e80680e0a0b5bjpeg.jpg" alt="" width="1500" height="969"><figcaption> </figcaption></figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141124/636cfbee9c7e80680e0a0b5cjpeg.jpg" alt="" width="1500" height="1041"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141124/636cfbf19c7e80680e0a0b5djpeg.jpg" alt="" width="1500" height="1032"><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141124/636cfbf49c7e80680e0a0b5ejpeg.jpg" alt="" width="1500" height="1019"><figcaption> </figcaption></figure>Despite his international acclaim and being one of the most sought-after artists for <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Buzz-the-art,671" target="_blank" rel="noopener noreferrer">paubha</a> and contemporary art, Thapa is a modest man who yearns to share his skill and knowledge with a younger generation of aspiring artists and art enthusiasts. Nepali art in the 21st century will be incomplete without his mention, yet only a handful of people here know about him, or have seen his work. This is unfortunate.Thapa is also the youngest artist ever to receive National Award from NAFA (Nepal Academy of Fine Arts) at the age of 20.The time has come to <a href="https://www.nepalitimes.com/banner/nepali-art-going-places/" target="_blank" rel="noopener noreferrer">take pride in our art</a> and recognise ourselves as a nation of great artists and artisans. Nepali art has thrived for over 2,500 years, but we are yet to truly acknowledge and appreciate our past and present masters.Read also: <a href="https://www.nepalitimes.com/opinion/lain-singh-bangdels-sigh/" target="_blank" rel="noopener noreferrer">Lain Singh Bangdel's 'Sigh'</a>, Rajan Sakya<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141124/636cfbf89c7e80680e0a0b5fjpeg.jpg" alt="" width="1500" height="1032"><figcaption> </figcaption></figure>The streets of Kathmandu Valley are consecrated with temples and monuments, which are also exemplary, exquisite works of devotional art. We worship these sculptures, scroll paintings and murals, but do not acknowledge the anonymous artists who create them. The <a href="https://www.nepalitimes.com/banner/sacred-survival/" target="_blank" rel="noopener noreferrer">paubha and thangka artforms</a> represent illustrated spiritual and religious teachings, and their makers deserve more recognition.Contemporary art, on the other hand, gives expression to creativity, crying out with suppressed emotions, opinions, aggressions and love. Thapa is one of Nepal’s most disciplined adherents of traditional art forms, and his works in the genre are some of the most prolific.However, he is also a <a href="https://www.nepalitimes.com/review/old-art-meets-new/" target="_blank" rel="noopener noreferrer">contemporary</a> artist who stays within the bounds of traditional iconography to unleash human emotions, desires and deliberations, providing a searing commentary on modern human existence.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141124/636cfbfb9c7e80680e0a0b60jpeg.jpg" alt="" width="768" height="1378"><figcaption> </figcaption></figure>This Mukti Singh Thapa masterpiece at <a href="https://www.nepalitimes.com/banner/nepals-first-private-art-museum/" target="_blank" rel="noopener noreferrer">MoNA</a> is titled “NARÌ” (Female) and is an exposé of present-day Nepali society. Provocative and perceptive, it consists of 47 figures of deities and humans in distinctive forms that express various aspects of female characteristics.The 54cm x 104cm canvas brims with activity, there are so many things happening here. But one is instinctively drawn by the central singular female figure. Red-bodied, eyes wide-opened, five pairs of hands holding attributes ranging from a book to a gun, and everything in between.Miss World Beauty Pageant sash in particular stands out. No matter how resilient, determined and dedicated a woman may be, is society always judging her only by her physical attributes? Despite the inner strength and vigour of womanhood, a patriarchal world still judges and appraises women through their exterior appearance and youthfulness.Thapa is known for his aggressive and free-flowing use of nudity in both his traditional and contemporary artwork, even though he is skilfully subtle in this one. His representation of raw phantasmagoria stands out among today’s artists.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141124/636cfbfe9c7e80680e0a0b61jpeg.jpg" alt="" width="1500" height="1000"><figcaption> </figcaption></figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141124/636cfc009c7e80680e0a0b62jpeg.jpg" alt="" width="1500" height="1000"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141124/636cfc049c7e80680e0a0b63jpeg.jpg" alt="" width="1500" height="1000">The five-headed central character brushed with explosive colours denotes the vivid and varied expressions of a woman. We see her physically subduing underfoot a man, who is strangely content. Could this be an interpretation that patriarchy is just a pretentious mirage of male consciousness, and ultimately men are the suppressed gender? A pictorial dichotomy between male physical domination and female emotional domination.As we delve deeper into the artwork, the background can be divvied into upper and lower levels. The top part seems to consist of all the female deities, in their original form, shape and colour with traits of traditional iconography.However, the lower half is disillusioned, chaotic and frenzied. The images of people worshipping lifeless and colourless statues, blindly attributing faith and beliefs onto objects seem to indicate a society blinded by hypocrisy. The artist has captured both Hinduism and Buddhism in this work to also depict the inter-religious and interdependent culture of Nepal.“NARÌ” can have various subjective connotations for different people from different walks of life. To decipher a specific interpretation is impossible, which is what masterpieces do to you. Every time you look at her you discover yourself, and a different you.Rajan Sakya is the founder of the Museum of Nepali Art at Kathmandu Guest House, Thamel and contributes this monthly column For Arts Sake in Nepali Times.

Rajan Sakya

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N A R Ì by Mukti Singh Thapa

<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109101124/636b71fc9c7e80680e0600ffjpeg.jpg" alt="" width="1500" height="1125"/>This week Siddhartha Art Gallery brings to us the rare opportunity to view the works of two celebrated Tibetan thangka artists, Tenzing Dhargay and Lobsang Tseten (pictured). Viewers will be able to observe the beauty and intricacy of the painters’ works of devotional art, as well as the unique specialties of the paintings of their school when compared with the thangkas with which we are more familiar.The thangka tradition dates to antiquity and paintings were originally commissioned for temples and religious shrines. Artists used colours found in nature, grinding stones by hand. Four schools of thangka art developed in Tibet over time, and some of them share many similarities with Kathmandu Valley paubha art.There are, however, many ways to distinguish artistic works of various Himalayan traditions. Chief guest Rinpoche Tsepri Lopan Tulku pointed out during the exhibition’s inauguration that while Indian-influenced paintings of Buddha have his shawl going over his left shoulder and leave his right shoulder bare, Tibetan paintings have the shawl coming over the right shoulder. In his talk, Rinpoche also praised the two artists for using original stone colours and real gold in the paintings’ backgrounds. “I am not saying this just to flatter them, but because they are really good and represent the ancient art well,” he said.Read also: <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Devoted-to-painting,1705" target="_blank" rel="noopener">Devoted to painting</a>, Stéphane HuëtTenzing Dhargay is a tenth-generation artist of the Khari Khangsar family who, like most thangka painters, learnt the art by assisting his father. Belonging to the Menri school, he has painted both peaceful and wrathful deities. “Many people have asked why we paint such scary figures. In Tibet we believe that the soul wanders in limbo for 49 days after death, where there are many demons. If children grow up looking at these figures, then they will not be scared when they see them after death,” he said. Dhargay also spoke of how thangka is changing. The Menri school that he comes from is known for artists’ profuse use of green colour, and detailed backgrounds including waterfalls, trees and other natural features. Dhargay has kept the dominance of green, but experimented with the background, leaving that of many of his paintings bare.Lobsang Tseten’s works are large, intricate pieces depicting Buddha at the center surrounded by many other deities. Depending on the level of detail, the paintings may take him 5-6 months to create. The fourth-generation artist is also of the Menri school and started learning with his father at the age of 12, but then went on to study contemporary art in Canada. “I have come back to this form because of a concern for it. It is disappearing in its true form, and my work is an attempt to preserve that,” he said.Read also: <a href="https://www.nepalitimes.com/review/guru-rimpoche-in-a-new-light/" target="_blank" rel="noopener">Guru Rimpoche in a new light</a>, Sewa BhattaraiTibetan Thangka paintings by celebrated Tibetan artistsSiddhartha Art Gallery, Babarmahal28 Jan-11 Feb

Golden deities

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141116/636a56c29c7e80680e0547a2jpeg.jpg" alt="" width="1000" height="959"/><figcaption>Photo: TARAGAON MESUEM</figcaption></figure>Surrounded by overwhelmingly large ‘Sale’ signs is a tiny object in a large hall. Ang Tsherin Sherpa’s golden statue of a Tibetan deity in underwear is literally the object in focus at an exhibition at Taragaon Museum this week, part of the ‘Object in Focus’ series, designed to give viewers the opportunity to understand art in depth.“When we are surrounded by many exhibits, we often cannot digest what it all means. So this is our effort to delve deep into an important piece of art,” says museum curator Roshan Mishra. US-based Nepali artist Sherpa is the third artist featured in the series.Sherpa’s statue presents many interesting facets to explore: its face, hair and headgear are those of a Tibetan Buddhist deity. But instead of wearing the usual finery, it is attired like a modern superhero, and poses with one arm thrown in the air, Superman style.This piece ‘…and the winner is’ is a replica of Sherpa’s 2D work Victory in Spirit, but the actual metal casting was carried out by Shyam Maharjan, a traditional craftsman from Kathmandu.Read also: <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/The-world-beyond-thangkas,3139" target="_blank" rel="noopener">The world beyond thangkas</a>, Smriti BasnetSherpa’s work carries on his previous tradition of mixing traditional and modern art. Coming from a <a href="https://www.nepalitimes.com/banner/the-craft-of-art/" target="_blank" rel="noopener">family of renowned thangka painters</a>, Sherpa himself trained as a painter from the age of 13, and worked with his father on murals and monasteries for almost 20 years. He migrated to the US and painted there, also giving classes on traditional painting. That was when western art motifs began to infiltrate his work.Sherpa’s later works have depicted ancient deities caught in the modern world: gods in non-traditional poses, wearing western outfits, trying to break out of little boxes, shuttered inside claustrophobic modern motifs and trying to be heard amid the cacophony.The 3D work at Taragaon Museum fits this mould, but Sherpa does not want to talk about what it means. “To me, the pose symbolises a subjugation of negativity, it’s about hope,” he said at an interaction at the museum. “But I don’t want to attribute a particular significance to it. I would rather let viewers explore their imagination.”Read also: <a href="https://www.nepalitimes.com/review/us-nepali-art/" target="_blank" rel="noopener">US-Nepali Art</a>, Sonia AwaleInstead, Sherpa wants to talk about traditional art and his role in promoting it. “I used to work for months on a thangka piece, but then clients would ask why they should pay $3,000 for it when they can get a thangka for $200. The ordinary customer does not know the difference between real traditional art and souvenir art. Artists often fall prey to these market forces and are forced to compromise on quality,” he says.“That leads me to question what will happen to this art form 50 years down the line. Will we have any masters left, or only souvenir artists?” asks Sherpa.In an effort to promote traditional art, Sherpa visited many museums in the west and spoke to many curators. He found that they too had been desensitised by the flux of copies, and were unable to tell the difference between quality art and mediocre art. Sherpa then decided to contribute in his own way to get more recognition for traditional art.Read also: <a href="https://www.nepalitimes.com/banner/the-craft-of-art/" target="_blank" rel="noopener">The craft of art</a>, Sewa BhattaraiHe returned to Nepal after the 2015 earthquake, and has since been trying to serve as a bridge between traditional artists and the modern, western art world. For this exhibit, he sought out Shyam Maharjan, renowned for casting religious figures. “I did have to convince him to take up my unconventional work, by showing him photos of myself being blessed by several rinpoches,” laughs Sherpa. “But this is a way of highlighting high quality traditional metal casting as well, when this statue is exhibited abroad.”Taragaon’s Roshan Mishra also raised the question of ownership about pieces of art like this one: while the metal craftsman is the one who makes the physical object, the art is usually attributed to the designer who conceptualises it. For his part, Maharjan is glad that the statue came out so well.“Many religious teachers have complimented me on my work, and I know I am a good craftsman. I am happy to see that even this unconventional design looks so good,” he says.Though his work veers far from his traditional roots, Sherpa contends that he has a deep respect for traditional arts, and aims to put more focus on them. “We don’t have an infrastructure to support traditional artists, due to which it is dying out. Through my work I want to open up a conversation about how to best address this,” he says.Sherpa has sometimes been accused of ‘sacrilege’ but the art world has welcomed his work as a breath of fresh air. “Thanks to the artist for this diabolical piece,” says Sangeeta Thapa, founder of Siddhartha Art Gallery. “We always see the same deities everywhere and wonder why artists don’t experiment.”Read also: <a href="https://www.nepalitimes.com/banner/nepali-art-going-places/" target="_blank" rel="noopener">Nepali art going places</a>, Kunda Dixit Object in Focus 3rd Edition3-13 SeptemberTaragaon Museum, Bouddha

God and Superman

Exhibition showcases contemporary Nepali Thangka and Paubha painters <figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107101152/6368d62d9c7e80680e03146bjpeg.jpg" alt="" width="1400" height="930"/><figcaption>Muna Photos: Michael Gordon</figcaption></figure>Walk into most <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/Buzz-the-art,671" target="_blank" rel="noopener">Paubha</a> or Thangka shops in Thamel or Durbar Marg, and you will probably hear a story about Tibetan monks grinding stone pigments high in the Himalaya. ‘Exotic’ spirituality has become as much of a brand as Iphones used to Instagram it, but in reality most of these paintings are produced by Tamangs, Gurungs, and Newars using inexpensive poster colors in warehouses around Boudha and Bhaktapur.The painting factories may not seem ‘authentic’, but for the artist it puts food on the table. The demands of economic survival and the need for cultural preservation create new terms of authenticity for paubha and thangka.Thangka and paubha were originally ritual objects for Vajrayana Buddhists. Many would like to separate what is sacred and what is sold, but this is a false distinction. The paintings always involved financial transactions.However, as secular art collectors and tourists buy more of them, profit drives commodification.Tularam Lama has been painting for over 25 years, yet he is still at the mercy of gallery dealers who do not share their profits with artists.“We are compelled to sell cheap,” says Lama, who founded the Nepal Association of Thangka Artists. He still strives to maintain artistic integrity, teaching Tamang students to paint with inexpensive pigments as well as to understand the tradition's cultural heritage.Some painters use the market to build connections. Bhim Thapa, manager of Tara Thangka Center in Thamel, donates 25% of his sales to his community in Sindhupalchok. Prior to the earthquake, Thapa’s sales supported orphan children and women’s education. Today he focuses on basic necessities like blankets and food. "Thangka is not about perfect iconography, says Thapa, “to help is my dharma.”At the other end of the spectrum, internationally renowned <a href="http://archive.nepalitimes.com/blogs/thebrief/2014/10/05/devoted-to-painting/" target="_blank" rel="noopener">Lok Chitrakar</a> paints with traditional mineral colors and works with scholastic rigour. He will be the first to gently remind you that paubha and thangka are not the same thing.Paubha was developed by the Newars of Kathmandu Valley in the 7th century. Nepali Princess Bhrikuti is said to have taken some of the images with her when she introduced Buddhism to Tibet 1,300 years ago. Over centuries, Tibetans developed their own stylistic code known as thangka. After the exile of the Dalai Lama in 1959, Tibet and its people gained increasing global popularity. Today, many tourists flock to Nepal as a surrogate for Tibet, hoping to find the monasteries (and thangkas) they saw in TinTin in Tibet and National Geographic documentaries.But what they find may defy expectations: Lok Chitrakar’s use of Hindu gods like Ganesh as icons of Newari Buddhism is not just an artistic choice, but a testimony to Nepal’s unique religious coexistence.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107101156/6368d6309c7e80680e03146cjpeg.jpg" alt="" width="500" height="889">For many, however, maintaining these traditions is oppressive. Historically, thangka and paubha were made by men, but today the field is changing thanks to women artists like Muna Moktan. For her thangka means not just employment but also empowerment. She supports her family and a school of aspiring Tamang artists (mostly girls) with her paintings.“Women need to find a way to live on their own means, and I found it through thangka,” says Moktan.Read Also: <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/Buzz-the-art,671" target="_blank" rel="noopener">The art of gods</a>, Tsering Dolker GurungSonam Dolma guides (rather than ‘teaches’) students in ritual pursuit of perfection.Many painting production centers now use transparent plastic overlays to rapidly reproduce outlines. Sonam’s students at the Tsering Art school use black wooden boards thinly coated with ghee and dusted with white chalk- to repeatedly draw until outlies are memorised, “by hand, mind, and heart.” The painters begin and end each day with prayer, to remember the true purpose of their craft.One of Sonam’s top students, Karma Rinchhen Gurung, paints to strengthen his practice as a Buddhist monk. At 15, he entered Samten Ling Monastery, and like his monastic vows, his painting brings him freedom through discipline. He considers his practice meditation, focusing his mind and brush on a single point. People often ask if he paints to make money. He himself wonders: “Am I doing this for dharma or for economic reasons?” Many students at Tsering Art School, including monks, paint for private dealers to afford living in Kathmandu.Read Also: <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/Illustrated-history-of-chitrakars-nepal,3655" target="_blank" rel="noopener">An illustrated history of the Chitrakars</a>,  Sahina Shrestha<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107101156/6368d6329c7e80680e03146djpeg.jpg" alt="" width="1500" height="986"><figcaption> </figcaption></figure>The foreign interest in thangka and paubha has also encouraged artistic individuality. <a href="http://archive.nepalitimes.com/news.php?id=3915#.WvP2AH_BXIU" target="_blank" rel="noopener">Tenzin Norbu</a> comes from a 400 year old lineage of thangka painters.Each new generation <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/The-world-beyond-thangkas,3139" target="_blank" rel="noopener">broke away from the stylistic trends</a> of their predecessors. Norbu now illustrates modern Dolpo life and has shown around the world from the Rubin Museum in New York to Luxembourg Gardens in Paris. His ancestors never signed their paintings, believing in the collective accumulation of merit. Norbu now champions his distinct style as an emblem of personal entrepreneurship.For some, the craft is a way of maintaining cultural and spiritual lineage. For others, redefining not only what is painted, but who gets to paint affirms the rapid democratisation of the art from. To all artists, the paintings are a means of sacred survival, providing both sanctuary and subsistence.Sacred Survival, an exhibition of seven contemporary thangka and paubha artists 11 to 21 May, Siddhartha Art Gallery, Baber Mahal Curated by Michael Gordon.

Sacred survival

This week at the National Population Policy launch Prime Minister K P Oli exhorted Nepalis to get married by age 20 and have three babies by the time they are 30. This was the first indication that the highest office in the land has understood the need to address Nepal’s dramatically <a href="https://nepalitimes.com/news/nepals-demographic-window-is-closing">falling birth rate</a>, but Oli’s statement was greeted with ridicule on<a href="https://nepalitimes.com/banner/avoiding-the-quicksand-of-social-media"> social media</a> — especially by women. Most urban young are already grappling with economic pressures and shifting life priorities. Even with a university degree,<a href="https://nepalitimes.com/here-now/workers-return-to-jobless-nepal?%2F"> many cannot find jobs</a>, and are taking the first flight out for overseas employment. Having a child is now a fraught decision shaped by income, individual autonomy, and family pressure. The <a href="https://www.unfpa.org/swp2025">UNFPA’s State of the World Population report </a>released last month, highlighted a significant <a href="https://nepalitimes.com/here-now/migrating-males-and-population-decline">decline in fertility rates </a>around the world. The global average fertility rate is 2.25 children per woman, and 18% of the reproductive adults said they will not be able to have the number of children they desire. The total fertility rate in Nepal has plummeted to 2.1 births per woman — down from 5 just 30 years ago. This is considered replacement level, meaning the newborns will replace their parents.&nbsp; However, birth rates are not declining as rapidly everywhere. The Tarai in has a total fertility rate of 2.20, and northwestern mountains is still 2.24.&nbsp; There are multiple factors in play, and the report broadly divides them into four categories: health issues, economic concerns, fears about the future, and lack of a supportive partner or their absence. More than half of the respondents said finance, which includes unemployment and increased cost of housing, as well as parenthood, was a barrier to having children. “More and more people prefer one or two children at maximum. Many women also decide to have children at a much later age,” says Kamala Devi Lamichhane of Tribhuvan University. “The opportunity cost is far higher for women.” But there is also a cost for the country, as the National Population Policy notes. At the rate the total fertility rate is falling it will soon be below replacement level — meaning that in the next three decades Nepal will be confronted with an <a href="https://nepalitimes.com/opinion/the-future-is-older">ageing population</a>.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250714140740_bac3e5a284b69a77d97b3b99daf2e7fd3019bc48f1a399fb2771381c751d8291.png" data-media-id="editor_6" data-image-id="20250714140740_bac3e5a284b69a77d97b3b99daf2e7fd3019bc48f1a399fb2771381c751d8291" data-rendition-name="original" width="1302" height="501" loading="lazy" alt="Nepalis having fewer babies. Why?"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250714140740_251115b0a88d4e82be70245c43cb74477f3be18042ef1aa3b904c597d815f13b.png" data-media-id="editor_7" data-image-id="20250714140740_251115b0a88d4e82be70245c43cb74477f3be18042ef1aa3b904c597d815f13b" data-rendition-name="original" width="1125" height="500" loading="lazy" alt="Nepalis having fewer babies. Why?"> </figure>  Besides income, there are also cultural factors at play in women having fewer babies — they are expected to do all the childcare duties, even putting their careers on hold. In general, there is little help from spouses, and with more nuclear families there is less support from relatives. “Women today are well educated, career-oriented, and economically independent, allowing them to delay marriage as well as being conscious about their body and <a href="https://nepalitimes.com/multimedia/nepal-far-from-hitting-contraceptive-target?%2F">reproductive rights</a>,” says Laxmi Tamang of the International Confederation of Midwives (ICM). Also present at the policy launch was demographer Yagya Bahadur Karki, who said that women are more educated and hence, empowered to take their own informed decisions regarding having children.&nbsp; He adds, “But the fertility rates have reached replacement rate, and that stands as a warning for the future.”&nbsp; Fertility rates have fallen in inverse proportion to the rise in female literacy. The regions of Nepal where couples have more babies is where women are less educated. Couples in Madhes and Sudur Paschim provinces, where child marriage, gender-based discrimination, menstrual huts and dowry are still widespread are where the fertility rate is still high.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250717120740_ababfd31ed5ff79ded427e1f1adfff02e6af2384bd541e51dfe05e52fbbccb39.jpg" data-media-id="editor_9" data-image-id="20250717120740_ababfd31ed5ff79ded427e1f1adfff02e6af2384bd541e51dfe05e52fbbccb39" data-rendition-name="original" width="994" height="682" loading="lazy" alt="TFR Map"> </figure>  And because female literacy also has a direct correlation with <a href="https://nepalitimes.com/news/fatal-discrimination">infant and child mortality</a>, couples in those regions tend to have more babies so some of them survive.&nbsp; But it is Nepal’s urban centres among the educated where the increased choices in reproductive health, including alternative methods of conception like IVF and treatment for infertility, as well as <a href="https://nepalitimes.com/banner/implant-service-providers-take-contraception-to-nepals-poor">contraceptives</a> offer more options for family planning. “There are more choices regarding reproductive health, and there is more awareness as well, which is why people decide carefully on whether or not to bear a child,” says population expert Yogendra Gurung. <a href="https://nepalitimes.com/here-now/migrants-returning-from-the-gulf-with-infertility">Migration is another factor</a> adding to the decline in fertility rates. Many young Nepalis of reproductive age leave every day in pursuit of better jobs overseas. Spousal separation means fewer children.&nbsp; “Once away, even if not educated, they realise that child-rearing costs are high, and try to have fewer and even no children in some cases,” Gurung adds. Recent studies have also shown that men returning after their stint in the Gulf and Malaysia, where they are <a href="https://nepalitimes.com/news/gulf-workers-need-protection-from-heat">exposed to extreme heat </a>for extended periods as well as various chemicals and toxins in their work environment &nbsp;have a range of health problems, including infertility. To increase the birth rate, Nepal will have to reverse its family planning strategy of the past 40 years. Complicating this is that some regions of Nepal will need measures to control the birth rate, while urban areas will need a strategy to help parents have more babies. One way to help families have more children is to develop more <a href="https://nepalitimes.com/here-now/future-proofing-nepal-s-population-strategy?s=04&amp;fbclid=IwY2xjawFQf-NleHRuA2FlbQIxMQABHRxSwwGPfm7_2cBhDVAowPxEmFXP0Os-KRs1DXqIW_84wDhciExtZuNi1g_aem_jzRqN2cEVAppfwr5qedxRg">family-friendly policies</a> that favour women and youth as the Nordic countries, which also have falling birth rates, have done. They have introduced flexible parental leaves for both parents, including financial and health incentives. China, also concerned about its declining birth rate and an ageing population, now has a three-child policy as well as tax deductions, expanded childcare services, and leave policies to encourage couples to have more children. “We must work towards childbirth and childcare policies and plans that are suitable for Nepal, so that couples planning for children do not have to think twice about it because of finances or other reasons,” adds Gurung. Tamang of the International Confederation of Midwives says a gender transformative approach is needed to address the issues of the gender gap which is adding to the decline in childbirth. Husbands need to play a more important role in child-rearing. Instead of increasing fertility for the sake of it, the objective should be to assist young people to start the families they desire, at a point and time of their choice. Respect for everyone’s rights and dignity lays a foundation for a more balanced demographic trend. Lamichhane sums it up: “If fertility rates are to be sustained, it requires changes in the gender roles and behaviour, keeping the youth’s aspirations in mind.”

Nepalis are having fewer babies. Why?

Does anyone know that 2023-33 was declared the <a href="https://nepalitimes.com/banner/visit-nepal-again">Visit Nepal</a> Decade? Or that Pokhara announced that 2025 is a Special Tourism Year? The fuselage of Nepal Airlines jets still carry the Visit Nepal Year 2020 logos. Such ad hoc and unnoticed promotion is emblematic of the way Nepal has tried to increase visitor arrivals <a href="https://nepalitimes.com/news/nepal-hopes-for-tourism-rebound-in-2021-rk4dlo9t">post-Covid</a> — and of the country’s wider political disarray. Deepak Raj Joshi of the Nepal Tourism Board (NTB) has his work cut out to coordinate various agencies of the government to boost arrivals.&nbsp; He says, “We have been working on marketing strategies to revive the tourism sector, and are hopeful that this year will mark a 8-10% increase in arrivals compared to the pre-pandemic times.” On paper, tourist numbers have rebounded to pre-Covid numbers with over 1 million last year, but official figures do not give a true picture of duration of stay, average spending, and the fact every visitor is counted as a ‘tourist’, even repeat visitors who come on business. The few bright spots are largely a result of private sector promotion of niche tourism products, individual social media posts of <a href="https://archive.nepalitimes.com/page/top-10-treks">adventurous treks in Nepal</a>, or the fact that Indians are allowed to enter China again to visit Lake Mansarovar and Mt Kailash via Nepal. Indeed, Simkot airport has up to 15 flights a day from Nepalganj bringing in <a href="https://nepalitimes.com/opinion/borderlines/nepal-india-trans-boundary-bonds">Indian pilgrims</a> who are then ferried by helicopter to the border in Hilsa, or Lapcha Pass from where the holy sites in Tibet are visible. The rudimentary hotels and rest houses along the route in Humla have been bursting at the seams for the past month, to the point that some establishments are no longer able to provide patrons basic amenities.&nbsp; Last year, 1.14 million tourists visited Nepal, and the government has projected up to 10% increase in tourist arrivals this year. International tourist arrivals to Nepal have been steadily increasing, especially from the US, Europe, and India. Domestic and regional travel has also increased after the <a href="https://nepalitimes.com/news/lockdown-5-utlzqtvs">Covid lockdowns</a>.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250717120756_e1c8f08e7e26496d2b2394e0be776e147fb46c415347b781ed9e5c64d9c9e505.jpg" data-media-id="editor_5" data-image-id="20250717120756_e1c8f08e7e26496d2b2394e0be776e147fb46c415347b781ed9e5c64d9c9e505" data-rendition-name="original" width="1145" height="668" loading="lazy" alt="Tourist numbers"> </figure>  The tourism industry employs at least 1 million people, trekking injects money directly into the <a href="https://nepalitimes.com/editorial/not-rising-nepal">rural economy </a>and sustains ancillary sectors like handicrafts and domestic aviation. In the last fiscal year, tourism brought in Rs82.33 billion, according to Nepal Rastra Bank. But the industry has been affected by negative publicity about poor infrastructure, air pollution in Kathmandu, travel safety and news of disasters like the <a href="https://nepalitimes.com/news/rasuwa-flood-likely-a-glof">China-Nepal flood last week</a> that made international headlines. Growing worries about the climate crisis is also affecting youth travel, especially from Europe. Read also: <a href="https://nepalitimes.com/news/missing-out-on-nepal-s-tourism-potential">Missing out on Nepal’s tourism potential</a> “The limitations of airport and road infrastructure has hindered the development of the tourism sector,” admits Joshi. “And many are put off by the appalling state of our road network, especially during <a href="https://nepalitimes.com/opinion/managing-the-monsoon">the monsoon season</a>.” Nepal is home to 20 protected areas, 10 heritage sites, and eight out of the world’s 10 highest mountains, and despite all the obstacles it is still the perfect destination for the modern social media savvy traveller, who are experience-driven and inclined to look for itineraries that emphasise wellness and cultural immersion.&nbsp; Some hotels around Kathmandu, Pokhara, Jomsom and the Khumbu have strived to adapt to this new tourism landscape, expanding facilities with significant international investment. <a href="https://nepalitimes.com/business/a-thamel-within-thamel">Luxury hotels like Aloft Kathmandu</a> in Thamel were inaugurated just before the pandemic lockdowns, survived the crisis and thrived as it. Says General Manager Vikram Singh (pictured, below): “Our prime location in Thamel enhances the guest experience, especially for those seeking convenience and immersion in the local scene and travellers who want to be in the centre of it all.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025071805070_8d29803e8b52bcd4439422e7b7a0bc25aa68ef3d227b9130bd0e079af626677d.jpg" data-media-id="editor_11" data-image-id="2025071805070_8d29803e8b52bcd4439422e7b7a0bc25aa68ef3d227b9130bd0e079af626677d" data-rendition-name="original" width="1066" height="1600" loading="lazy" alt="Aloft GM"> </figure>  <a href="https://nepalitimes.com/here-now/what-sustainable-tourism-means-in-practice">Sustainability </a>and environmental consciousness has also become an integral part of the hospitality industry. ISO certifications as well as sustainability initiatives like the Travelife sustainability certification for eco-friendly resorts validate credibility of hotels. Aloft is the first five-star hotel in Nepal to have earned the Waste Smart Certificate, and it has also been awarded the ISO 14001:2015 certification, which is the internationally recognised standard for environmental management systems (EMS). But such investments will not amount to much unless Nepal makes serious efforts to promote itself as a<a href="https://nepalitimes.com/here-now/peak-tourism-in-2023-9ukoi8iz?utm="> tourism destination</a>, especially to its two giant neighbours. More importantly, the country needs to increase activities in which tourists can spend the money they want to. “While <a href="https://nepalitimes.com/here-now/nepal-pushes-mountain-bike-tourism?fbclid=IwAR1MNH0iFGv1vRz5G9uZ4AzUlKxB6nY7JKq0qT6je_FV4_SuxPZqviwKGn0">mountaineering and adventure tourism</a> are extensively promoted, we have fallen short of marketing other elements such as wildlife, pilgrimage and cultural heritage,” says Joshi. “There is a need to diversify promotion to increase income from the tourism sector.” Meanwhile, making Nepal more accessible to international and domestic visitors, must also be a priority. Kathmandu remains the sole aerial gateway despite new airports in Pokhara and Bhairawa. “International airlines have shown interest, and if access and flights are increased these airports can be fully functional,” says Joshi. But Sichuan Airlines has stopped flying to Pokhara, and there does not seem to be much interest from Thai, Vietnamese and Cambodian carriers to fly directly to Lumbini. Says Singh: “There’s tremendous opportunity to strengthen Nepal’s destination marketing by telling richer, more compelling stories that <a href="https://nepalitimes.com/opinion/comment/culture-cannot-be-an-afterthought">connect travellers with our culture</a>, nature, and people.”

Tourism needs a new push

Many of us former Nepal Peace Corps volunteers (PCVs) would agree that our time in Nepal changed in significant but very different ways our perspectives on life if not the future paths we chose to follow. Of no one was this truer than Dorothy Mierow. Dorothy was born in 1920, in Colorado Springs. Her father Charles C Mierow was a classics scholar and Latin professor, who served for ten years as president of Colorado College.&nbsp; Dorothy developed an interest in animals as a child, graduated with a BA degree in natural history from Carlton College in 1942, a Master’s in biology from the University of Pittsburgh, and another Master’s in geography from the University of Minnesota.&nbsp; As a young woman, Dorothy traveled with her father throughout Europe, including a visit to ancient Greek ruins, and took a Magellan Tour by cruise ship around the world in 1958.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025071901074_0bad133ab22aada319e74bbad95d563e191371db291c08f373839fbd15440262.jpg" data-media-id="editor_0" data-image-id="2025071901074_0bad133ab22aada319e74bbad95d563e191371db291c08f373839fbd15440262" data-rendition-name="original" width="903" height="1178" loading="lazy" alt="How the Peace Corps changed a volunteer's life"> <figcaption>HOME AWAY FROM HOME: Dorothy Mierow as a college student in her native Colorado.</figcaption> </figure>  She was a college teacher during much of the 1940s, also teaching at a girls’ school in Hawaii. Then back to her native Colorado in 1953, where she became a curator and later director of the Colorado College Natural History Museum. She taught geography classes, and in her free time, Dorothy climbed 22 of Colorado’s 14,000-foot peaks. Traveling in India in 1960, Dorothy decided to spend two weeks in Nepal. In late 1961, she filled out an application to join the Peace Corps and specified that she wanted to go to Nepal, ‘because I admired the people so much when my father and I were there on our trip’.&nbsp; Dorothy reached Kathmandu in September 1962 as the first group of American Peace Corps volunteers in Nepal. She stood out from the others: one of the few women in that group, surely the oldest at age 41, a world traveler, and a woman who already had established a professional career.&nbsp; One doubts if Dorothy had had a husband and children whether she would ever have gone to work and spend much of the rest of her life in Nepal.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025071901078_68e84ade1ffb0f6c83c7f8fa5c1e7315b5f6c543217f96cde012e4d86f171515.jpg" data-media-id="editor_1" data-image-id="2025071901078_68e84ade1ffb0f6c83c7f8fa5c1e7315b5f6c543217f96cde012e4d86f171515" data-rendition-name="original" width="1259" height="910" loading="lazy" alt="How th Peace Corps changed a volunteer's life NT"> <figcaption>Pokhara Bazar in 1962.</figcaption> </figure>  The Peace Corps assigned Dorothy to teach geography at Tri-Chandra College. After the school closed in the winter due to lack of heating, USAID and the College of Education asked Dorothy to help train general science teachers.&nbsp; She taught for two months and became involved in a textbook-writing project, commenting: ‘I would like the children to know something about public health, conservation (the trees are going fast and so is the soil), and learn the names of some of their common birds, trees, and flowers. They are more impressed with electricity, airplanes, and cell structure.’ When a new college opened in Pokhara in 1963, Dorothy was transferred there and lived with a Nepali family. The college boasted 30 students and no permanent buildings.&nbsp; In October 1963, Dorothy wrote: ‘Pokhara is a town of almost 5,000 people … We are in a fertile valley surrounded by foothills … There is a small Mission Hospital … a Leper Hospital and Tibetan Refugee Camp started by the Red Cross and now run by the Swiss. With winter approaching, more Tibetans are appearing in town, often with pack horses or donkeys. Some have been carrying large boxes of powdered milk,donated (by USAID) to the camp from the airport … There is no electricity, and the transportation problems make many items scarce and expensive. I am really a sort of a museum. The landlord brings all kinds of people in to see how I live and count my shoes and dresses. They express amazement at my books, pictures, tin oven, Nepali dolls from Kathmandu, screened food shelves and curtained closet.’ The standard term for Peace Corps volunteers was two years, but Dorothy extended her term and was still at Prithvi Narayan College at the end of 1965, when she wrote that she had 20 Geography students in the first-year class and 6 in the second year preparing for the IA Examination. The college enrollment was 125 students, and the foundation for a new science building was being excavated.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025071901074_c6a80e5e0db0c705b2f8733c6d30dc0386fe3abbd2238ea9d947b7d746f94a29.jpg" data-media-id="editor_2" data-image-id="2025071901074_c6a80e5e0db0c705b2f8733c6d30dc0386fe3abbd2238ea9d947b7d746f94a29" data-rendition-name="original" width="902" height="605" loading="lazy" alt="How the Peace Corps changed a volunteer's life"> <figcaption>Mierow and friends at Phewa Lake.</figcaption> </figure>  Dorothy noted that she ate one meal a day at the (Shining Mission) Hospital but otherwise lived on dal-bhat, momo, and potato curry at local shops. However, she had developed a new passion: to build what she initially called the Pokhara Museum of the Himalaya. In commendable Peace Corps fashion, Dorothy always worked with Nepalis and respected the culture. ‘The greatest joy and satisfaction I have had has been from the building of a Museum-Library in memory of my parents … It has been possible to feel like a wealthy benefactor with the money saved by father for the family’s education and now available for the education of others… (Father) would have loved to be in on the founding of a new college and be able to plan a library. Several hundred of the books to be in the museum-library came from his collection and were carefully selected to be of use for students in Nepal…’&nbsp; ‘The museum part is to satisfy my own inclinations and was thought of when I found how little diversion there was for the people of Pokhara… It is part of the University requirements for the college that it should have a geography and biology museum. The museum building is small but adequate.&nbsp; I have tried to design it in harmony with Nepalese architecture and decorate it with some of the art of the best artists or woodcarvers… Posts holding up the porch roof are carved by Cottage Industries to represent different peoples of Nepal in typical costumes. The door was carved by a local wood carver and has typical birds of Nepal around it. Inside are 10 roof-support carvings designed by the retired Director of the National Museum in Kathmandu, Mr. C.M. Maskey.&nbsp; They were carved by the best wood carvers in Patan very skilfully. The building has three rooms: the library, the exhibition room, and a smaller workroom which can be used by our newly formed Woman’s Club as well as other groups or classes.’  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025071901074_03d3359c65389d30a0134e9a4862778994121e7e833b7d28b18e06e36fc76ff8.jpg" data-media-id="editor_3" data-image-id="2025071901074_03d3359c65389d30a0134e9a4862778994121e7e833b7d28b18e06e36fc76ff8" data-rendition-name="original" width="629" height="599" loading="lazy" alt="How the Peace Corps changed a volunteer's life"> <figcaption>Mierow with local women in Pokhara in 1969.</figcaption> </figure>  Dorothy promoted her project to influential Nepalis connected with organisations whose support she solicited: The Department of Archaeology, the Department of Agriculture, the Godavari Botanical Gardens; Tribhuvan University’s Science and Education Department, Nature Conservation Society.&nbsp; The museum was opened officially in early 1967. The Annapurna Natural History Museum, the building Dorothy designed and had constructed, is still open and features some exhibits which she created many years ago.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025071901074_54326a8a0685e980e782378076de2f5cd02d2426e9b0d94eed972d3dbe83af26.jpg" data-media-id="editor_4" data-image-id="2025071901074_54326a8a0685e980e782378076de2f5cd02d2426e9b0d94eed972d3dbe83af26" data-rendition-name="original" width="1333" height="1000" loading="lazy" alt="How the Peace Corps changed a volunteer's life"> <figcaption>The Annapurna Natural History Museum.</figcaption> </figure>  Dorothy returned to America in 1967, but she longed for Nepal. In the spring of 1969, she again tried to enroll as a Peace Corps volunteer but was told that as she had spent more than four years, she would not be eligible for another assignment. Undeterred, she persuaded the college in Pokhara to invite her to return as a teacher.&nbsp; UNICEF and the Forestry Department sponsored Dorothy to prepare charts on trees, birds, animals and flowers in colour for distribution to the schools of Nepal. Dorothy, back in the Peace Corps, returned to Pokhara and the Museum in 1972. She formed a friendship with her former geography student from Sikles, Chandra Prasad Gurung, and in 1974, she brought Chandra to America, where he enrolled in Colorado College and studied cultural anthropology.&nbsp; Chandra subsequently earned his PhD in geography from the University of Hawaii and returned to Pokhara to become director of the Annapurna Conservation Area Project. Gurung actively promoted ecotourism, landscape conservation, and biodiversity conservation in Nepal. His life was cut short along with those of 23 other Nepalis and foreigners who perished in a helicopter crash near Taplejung in September 2006.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025071901074_322d3c3ac6f1b08ffa07c44a19998b937a7db9eb43527f7539cf6481e1546314.jpg" data-media-id="editor_5" data-image-id="2025071901074_322d3c3ac6f1b08ffa07c44a19998b937a7db9eb43527f7539cf6481e1546314" data-rendition-name="original" width="2500" height="1000" loading="lazy" alt="How the Peace Corps changed a volunteer's life"> <figcaption>Mierow's four books on Nepal and its biodiversity. </figcaption> </figure>  Dorothy worked with several well-known Nepalis to publish her paintings and photos in beautifully illustrated books. She and Hemanta Mishra of the National Parks and Wildlife Service wrote Wild Animals of Nepal (Ratna Pustak Bhandar, 1976). More than 400 photos Dorothy took on treks to the Everest region, Gosaikunda, Muktinath, Jumla and Rara Lake, as well as travels in the Tarai, appeared in Himalayan Flowers and Trees (Sahayogi Prakashan, 1978).&nbsp; The botanist Tirtha Bahadur Shrestha identified the species. Dorothy and Kesar Lall published This Beautiful Nepal (Sahayogi Press, 1981). Birds of the Central Himalayas (1988) contained Dorothy’s paintings of 250 species of birds found along the areas of the Kali Gandaki River, Pokhara, Chitwan and the central Tarai. Dorothy summed up her life and work in Nepal in Thirty Years in Pokhara (Pilgrims Book House, 1997). Dorothy returned to Pokhara and her adopted Gurung family several times during the 1980s and 1990s to celebrate festivals and meet old friends. Her final years were spent at her mountain cottage in Green Mountain Falls north of Colorado Springs. She died at the age of 79 in August, 2000. Nepal gave new meaning and purpose to Dorothy Mierow’s life. Daniel W Edwards was a Peace Corps volunteer in 1966 and is the author of several books on Nepal. The author thanks Special Collections, Tutt Library, Colorado College.

How the Peace Corps changed a volunteer’s life

Local residents of Mustang, including a sitting MP and several politicians, submitted a petition to Prime Minister KP Oli in Kathmandu this week urging the government to lift the region’s ‘restricted’ status. This is not the first time such a demand has been raised, and as infrastructure the region’s accessibility improved over the years, calls to remove the long-standing restriction have grown louder.&nbsp; Upper Mustang is no longer weeks away <a href="https://nepalitimes.com/here-now/postcards-from-kathmandu">from Kathmandu.</a> Nearly 85% of the road from Beni to Kagbeni has been blacktopped, and one can drive from Kathmandu to Lo Manthang with an overnight stop in Pokhara. Between April 2024 and April 2025, Lower Mustang received 144,745 international tourists, a near 50% increase compared to the previous year. Most of these were <a href="https://nepalitimes.com/opinion/borderlines/nepal-india-trans-boundary-bonds">Indian pilgrims </a>travelling to Muktinath. <a href="https://nepalitimes.com/here-now/comings-and-goings-in-mustang">Mustang</a> is also gaining popularity among Nepali visitors, with 700,000 visiting the region in 2024. A hotel operator in Kagbeni estimated that about 20% of Nepali visitors to Muktinath also travel to Korala, the trade and transit checkpoint on the <a href="https://nepalitimes.com/latest/north-of-the-border">China border</a>. That would mean that nearly 100,000 domestic tourists visit Upper Mustang annually. In stark contrast, international tourist numbers to Upper Mustang (north of Kagbeni) have remained stagnant, hovering around 4,000 visitors per year. The primary reason is the continued enforcement of the region’s restricted status. Foreign visitors must pay a steep permit fee: a minimum of $500 for 10 days, with an additional $50 per day thereafter. Tourism some entrepreneurs, politicians, and residents want these fees to be abolished so Upper Mustang can attract a broader range of international travellers. The success of Lower Mustang, where relaxed restrictions have led to a<a href="https://nepalitimes.com/here-now/boom-time-in-central-tarai"> tourism boom</a>, is often cited as proof of what lifting restrictions could achieve. Upper Mustang is not the only region in Nepal with a restricted status. Several northern areas prefixed with ‘Upper’ (Upper Manaslu, Upper Dolpo, Upper Kanchenjunga, and Upper Arun) also need similar permits and fees. Although no clear official explanation exists, these areas were primarily restricted due to historical inaccessibility, ecological and cultural fragility and security concerns. Read also: <a href="https://nepalitimes.com/news/upper-mustang-opposes-prohibited-areas">Call to scrap Upper Mustang tourist fee</a> In the 1960s and 1970s, these remote regions served as shelters for Khampa guerrilla fighters who launched cross border ambushes on the <a href="https://nepalitimes.com/here-now/the-last-days-of-the-khampa">Chinese military </a>across the border.&nbsp; Though the Khampa have long gone, security concerns rooted in that era seem to persist. The government in Kathmandu is seemingly unaware of the changed political and security landscape. If concerns do remain, they are not made public. One of the main reasons for maintaining the restricted designation is to limit visitor numbers. But with <a href="https://nepalitimes.com/opinion/the-road-out-of-nepal">improved road access and services</a>, as Upper Mustang has seen, this justification no longer holds. When Upper Mustang first opened to international tourists in 1992, it had no formal lodges or hotels, and it took four to five days of trekking from Jomsom to Lo Manthang.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250716120744_4e4405cf10e6f127f90a1cd40feda0b9d8d69efd13093a2563530ca31489ba9f.jpg" data-media-id="editor_8" data-image-id="20250716120744_4e4405cf10e6f127f90a1cd40feda0b9d8d69efd13093a2563530ca31489ba9f" data-rendition-name="original" width="2000" height="509" loading="lazy" alt="Lift restrictions on Upper Mustang"> <figcaption>Photo: SHRIJAN PANDEY / NT ARCHIVE</figcaption> </figure>  Without a nechyang (a household with traditional friendship), it was difficult to find a place to stay or get a proper meal. Only a few elite households offered accommodation. Today, there are now more than 80 lodges and hotels above Kagbeni, spread across nearly every village. Several upmarket hotels now struggle to stay afloat during the off-season, relying on low-spending domestic visitors to survive. Lo Manthang, once a remote destination, is now just a few hours’ drive from Jomsom, easily reachable by lunchtime for early starters. Once the remaining road sections are blacktopped, travel time will be further reduced. Yet, the government still charges a flat $500 fee for a 10-day permit based on outdated &nbsp;assumptions from a bygone era. There has been no serious review of the permit structure to align with current realities, nor any response to local aspirations to attract more international tourists and <a href="https://nepalitimes.com/here-now/peak-tourism-in-2023-9ukoi8iz">harness tourism for economic development</a>. Concerns about over tourism are valid. There is a risk that increasing visitor numbers could erode Upper Mustang’s <a href="https://nepalitimes.com/here-now/a-million-mantras-in-mustang">cultural heritage</a>, social fabric, and fragile natural environment, precisely the features that make it special. However, the region’s 33 years of tourism experience have been largely positive.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250716120744_5c7e5e05097cd0e5a1027b51c7e3db3be0bd67e0f7cbaea6d2c447b1dacafc8a.jpg" data-media-id="editor_11" data-image-id="20250716120744_5c7e5e05097cd0e5a1027b51c7e3db3be0bd67e0f7cbaea6d2c447b1dacafc8a" data-rendition-name="original" width="1400" height="1050" loading="lazy" alt="Lift restrictions on Upper Mustang"> <figcaption>Photo: MUKESH POKHREL / NT ARCHIVE</figcaption> </figure>  Tourism has contributed significantly to the restoration and <a href="https://nepalitimes.com/here-now/the-history-of-heritage?%2F">preservation of religious and historical sites</a> like the Thubchen and Jampa monasteries in Lo Manthang, the ongoing conversion of the old palace in Ghami into a premium hotel, and the rehabilitation of many monasteries and chortens.&nbsp; These efforts, supported by international donors and heritage experts, demonstrate that tourism—when well managed—can be a powerful driver of <a href="https://nepalitimes.com/here-now/shrinking-tourism-s-ecological-footprint">conservation</a>. The high permit fees have been somewhat effective in limiting international visitors, but they have no influence on the growing number of domestic tourists, particularly during the Dasain and Tihar holidays. The most pressing need now is for all levels of government—federal, provincial, and local—to<a href="https://nepalitimes.com/news/why-invest-in-nepal"> invest in </a>managing tourist flows and maintaining tourist sites. These efforts are essential not only to enhance visitor experience but also to build long-term resilience and sustainability for the destination. Read also: <a href="https://nepalitimes.com/news/greening-nepal-s-tourism">Greening Nepal’s tourism</a>, Hanna Wells Visitor numbers are central to any tourism development strategy that aims to balance economic, social, and environmental goals. Clinging to obsolete policies and concerns to justify Upper Mustang’s restricted status is not only unfair, it also suggests an undemocratic and discriminatory attitude toward a remote district.&nbsp; Shailendra Thakali, PhD, is from Jomsom and is a freelance consultant on protected areas, tourism, conservation, and sustainable livelihoods.