When one thinks about South Indian food in Kathmandu, the image that comes to mind is the usual vegetarian fare: dosa, idli, vada served with sambhar and coconut chutney. But what if we told you that even non-vegetarians can get their fill of South Indian chicken, mutton or fish dishes? Named after the Arabian Sea coast region of Kerala, Malabar Groove on the ground floor of Chhaya Centre in the heart of Thamel is serving this South Indian cuisine known for its rich and unique flavours.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240403080424_1f45a52bc7256c33d03fbd3109734384b572650b8949cdf530d32fde058bbdf8.jpg" data-media-id="editor_0" data-image-id="20240403080424_1f45a52bc7256c33d03fbd3109734384b572650b8949cdf530d32fde058bbdf8" data-rendition-name="original" width="1467" height="882" loading="lazy" alt="malabar groove"> </figure>  The space is cosy and the decor is minimal with vibrant wall art featuring Pacha, a character from the popular dance drama Kathakali. The staff guides you through the menu, explaining the specialities. At Malabar Groove the menu is all about flavour and textures featuring a selection of South Indian specialities that are both familiar and exciting, like the range of dosa, light and crispy fermented rice and lentil crepe and vada, savoury fried snack made of lentils or sooji as well as a variety of curry including Malabari Prawn Curry, Kottayam Coconut Chicken, Mutton Coconut fry and Kerala Fish Moille.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240403080424_22769f3875bd0cc6e5751f7d267c1dccee308a4ff8a3b32d74210e094d5489d9.jpg" data-media-id="editor_1" data-image-id="20240403080424_22769f3875bd0cc6e5751f7d267c1dccee308a4ff8a3b32d74210e094d5489d9" data-rendition-name="original" width="3234" height="2074" loading="lazy" alt="malabar groove"> <figcaption>Chef J Ekambaram</figcaption> </figure>  Stewarded by chef J Ekamabaram, who has been working in kitchens all over India since 1997, dining at Malabar Groove is a taste extravaganza and culinary experience.&nbsp; Dive into the chicken dosa, crispy and filled with spiced minced meat, it is ideal for dipping into the coconut chutney and tangy tomato pickle that accompanies it. The sambhar here is a good balance of savory and sweet making it a good accompaniment to the main meal. For a lighter appetiser opt for fried idli that comes with the chef’s special podi masala, a combination of lentils, spices and chilli.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240403080424_3e7aac4ded3ea7268ab8859f14d49e77116170e9b95cd0135bdd9d0bab93c65b.jpg" data-media-id="editor_2" data-image-id="20240403080424_3e7aac4ded3ea7268ab8859f14d49e77116170e9b95cd0135bdd9d0bab93c65b" data-rendition-name="original" width="5388" height="3616" loading="lazy" alt="malabar groove"> <figcaption>Chicken Thali set</figcaption> </figure>  Malabar cuisine is influenced by many cultures, the incorporation of which is clearly visible in the range of preparations. Popular amongst guests at Malabar Grove seems to be the Thali set, options include vegetable, chicken, mutton, fish and prawn and diners can choose between rice, chapati and Malabar paratha. The chicken thali comes with chicken cashew curry, rasam, sambhar, beetroots, coconut chutney, achar, papad, salad, dahi and rava halwa.&nbsp; The standout in the thali set apart from the creamy chicken is the beetroot, diced and tossed in spices, it eliminates the earthy taste of the vegetable so much so that a guest who ordered a vegetable set confused it for chicken. Wash it all down with a glass of chaas, spiced buttermilk made of yogurt, spices and herbs, to cleanse the palate before the next course  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240403080424_a3bf24ff96e112dc700e46494656be9071f7c3e03141728fecea984f52ceca6c.jpg" data-media-id="editor_3" data-image-id="20240403080424_a3bf24ff96e112dc700e46494656be9071f7c3e03141728fecea984f52ceca6c" data-rendition-name="original" width="5232" height="3460" loading="lazy" alt="malabar groove"> <figcaption>Glimpse of a tiffin box combo and filter coffee.</figcaption> </figure>  .For those looking to sample multiple favourites, a tiffin box combo would be the best option with four different combos to choose from.&nbsp; No South Indian meal is complete without a cup of strong and creamy filter coffee. What makes the coffee at Malabar Groove unique is that the restaurant imports the beans from South India itself, making it a must-try for coffee enthusiasts looking for something different from the usual cuppa.&nbsp; With accessible locations in Thamel and now also at Bagaicha in Naxal, Malabar Groove is a must-visit for anyone looking to be transported from the Himalaya to the Nilgiri.&nbsp;

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Review

Kerala to Kathmandu

Patan Museum is a repository of Kathmandu Valley heritage, but in its gallery wing is a temporary multimedia exhibition devoted to the indigenous Tharu people of Nepal’s southern plains.&nbsp; As the largest ethnic group in the Tarai, and because of their connection to US-funded malaria eradication in the 1960s, trans-migration of mountain dwellers to their forests in the Rapti Valley, as well as the Maoist conflict, the impact on the Tharu has been extensively analysed. But most of this research has come from non-Tharu academics. Now, the exhibition Daule Daule aims to highlight the history, culture and inter-generational knowledge and skills of the Tharu people by the Tharu themselves. “Exhibitions about the Tharu community were mostly from other people and sometimes they gave <a href="https://nepalitimes.com/here-now/5-myths-about-the-tharu">wrong information</a>,” says Birendra Mahato, one of the curators. “We thought it was important to tell our stories on our own.”&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024032709034_e78efaffd168f3d150ed3afdc0c41d7429f09f9d4a26687e9a9559bb36058dbe.jpg" data-media-id="editor_1" data-image-id="2024032709034_e78efaffd168f3d150ed3afdc0c41d7429f09f9d4a26687e9a9559bb36058dbe" data-rendition-name="original" width="5435" height="3623" loading="lazy" alt="Daule daule"> </figure>  The exhibition starts with a section dedicated to the Tharu women because it is the women who carry forward the culture. Says another curator Lavkant Chaudhary: “When you enter a Tharu village women are the first people you see and even inside the house from cooking to medicine, they are the ones who have the responsibility.” Indeed, the very first photograph by Vivek Chaudhary is of Tharu women walking on a foggy morning in Dang with firewood balanced on their heads. Other images play with the same theme: women carrying a water pitcher, grass, baskets.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024032709034_f398e9467dfd175f507f34cd5e6bfbfff923f74a467e021ebb8529ca3b9ae5c8.jpg" data-media-id="editor_2" data-image-id="2024032709034_f398e9467dfd175f507f34cd5e6bfbfff923f74a467e021ebb8529ca3b9ae5c8" data-rendition-name="original" width="6000" height="4000" loading="lazy" alt="Daule Daule"> </figure>  Tharu women are perceived to be freer and more empowered because they do not face gender restrictions prevalent among Nepal’s other ethnic groups. Researchers have even called Tharu society matriarchal.&nbsp; Indu Tharu in her note accompanying the photographs begs to disagree. She writes that Tharu women are not so much free as ‘persistent’. They &nbsp;women still need a husband's permission to decide matters, and the Tharu are not matriarchal unless matriarchy means ‘leaving parent’s house and staying at the husband's house after marriage … or giving birth to as many babies as the family wishes … or until a son is born’.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024032709030_05c859c3ed5461b358647a8cc0630a96e9d0da7c6ad15f2517cdda1be4c0feb1.jpg" data-media-id="editor_3" data-image-id="2024032709030_05c859c3ed5461b358647a8cc0630a96e9d0da7c6ad15f2517cdda1be4c0feb1" data-rendition-name="original" width="5113" height="3409" loading="lazy" alt="daule daule"> </figure>  Tharu women are often photographed in full traditional regalia of ornaments. But the exhibition has pictures of Tharu women working at home, in fields and participating in <a href="https://nepalitimes.com/here-now/the-karjahi-movement">political movements</a> from the abolishment of the Kamaiya and Kamlari system to the Tharuhat movement, showing their resistance.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024032709030_b55a2b2c289871e199e1eed2f95293fc01ab7d3c71c049d496e8a20a46613cc9.jpg" data-media-id="editor_5" data-image-id="2024032709030_b55a2b2c289871e199e1eed2f95293fc01ab7d3c71c049d496e8a20a46613cc9" data-rendition-name="original" width="5911" height="3941" loading="lazy" alt="daule daule"> </figure>  In the corner of the exhibition hangs a painting of a Tharu woman, Parbati Chaudhary with her baby on her back. During the <a href="https://nepalitimes.com/here-now/tikapur-s-protracted-trauma">Tikapur riots</a>, Parbati’s husband, who has a disability, was also apprehended by the police. Parbati then joined the movement carrying her baby with her. The photos from the movements and the painting serve as a reminder of the historical injustices in the hands of the state.&nbsp; Tharu women are now venturing into fields that were once male-dominated. There are photos of female mahouts bathing elephants, showing the continuity of the human-animal relationship that the Tharus traditionally practiced.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024032709030_4fd80ef1e2f427c02bb83a614234c3be7ddb0b23bf775bb117f2453f885733bf.jpg" data-media-id="editor_7" data-image-id="2024032709030_4fd80ef1e2f427c02bb83a614234c3be7ddb0b23bf775bb117f2453f885733bf" data-rendition-name="original" width="4917" height="3278" loading="lazy" alt="Daule Daule"> </figure>  Also included in the exhibition are photos of body art that adorns the back, hands and legs of the Tharu women. In the community, tattooing is a skill passed to daughter by their mothers and is not only an art form but is also used as therapy, the belief that it eases pain.&nbsp; “Tattoos are not only an important way of sharing inter-generational knowledge but there is also a belief that when one dies, the tattoo travels into the afterlife,” explains Lavkant Chaudhary.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024032709030_95fb44a92c69e6d87cf7014afaa25a05755390dd9608b39cb3c52bb2a770d862.jpg" data-media-id="editor_8" data-image-id="2024032709030_95fb44a92c69e6d87cf7014afaa25a05755390dd9608b39cb3c52bb2a770d862" data-rendition-name="original" width="6000" height="4000" loading="lazy" alt="Daule daule"> </figure>  One wall of the gallery is festooned with fishing nets and tools, providing a glimpse of the Tharu lifestyle in forests, grasslands and rivers. With changing times, traditional Tharu fishing areas are protected, threatening a way of life and the skills and knowledge amassed through generations. Most of Tharu activities are collective, and are sustainable. They do not fish alone, the women go to the forests in groups to collect clay which they beat into pottery. This skill is dying which is why photographic documentation is so important.&nbsp; The curatorial team is later planning on taking the exhibition to other parts of Nepal as well. Younger generations of Tharus who grew up in the capital and non-Tharus not able to visit the Tharu museum in Chitwan will learn a lot from this show. Daule Daule&nbsp; Curated by Birendra Mahato, Indu Tharu, Sanjib Chaudhary, Lavkant Chaudhary, Arnab Chaudhary, Maria Bossert and Tom Robertson&nbsp; Patan Museum, Until 31 March

The Tharu story by the Tharu

A dedicated exploration of natural dyes in artwork. Reusing discarded items to produce art. The Kala Salon in Chhaya Centre in Thamel is the newest haven for art lovers with green hearts.&nbsp; On a lower level is Foraging Chroma by Nepali fashion designer Meena Gurung. The exhibit reminds one of a home décor store with the walls adorned in intricately artful fabric, only much more vibrant. Meena Gurung has woven each fabric from natural materials such as plants, leaves, and barks of trees.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240313130332_551179ef18cd10564eaf3494c266a476a050d528c0246db9d98ae58171e98a9a.jpg" data-media-id="editor_0" data-image-id="20240313130332_551179ef18cd10564eaf3494c266a476a050d528c0246db9d98ae58171e98a9a" data-rendition-name="original" width="1920" height="1280" loading="lazy" alt="Alternative lifestyle, alternative art"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240313130332_3230c3fdd554c738005845b7c50477d6a538e4016388860cd82e37ff28019611.jpg" data-media-id="editor_1" data-image-id="20240313130332_3230c3fdd554c738005845b7c50477d6a538e4016388860cd82e37ff28019611" data-rendition-name="original" width="1280" height="1920" loading="lazy" alt="Alternative lifestyle, alternative art"> </figure>  Founder of Bora Studio, Gurung studied fashion design in Ireland and was set to follow in her chosen path. But when the Rana Plaza garment factory in Dhaka that was supplying apparel to Louis Vuitton and Zara collapsed in 2013, killing 1,134 mainly women workers, everything changed. Wracked with guilt, Gurung realised she was part of an industry that promoted wasteful and exploitative fast fashion, contributing to a superficial lifestyle and to environmental degradation and climate breakdown.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240313130332_8d25202f8e710866a100698106daf5055bfe878eb87071bf3baad0a4dc35bdd9.jpg" data-media-id="editor_2" data-image-id="20240313130332_8d25202f8e710866a100698106daf5055bfe878eb87071bf3baad0a4dc35bdd9" data-rendition-name="original" width="1920" height="1280" loading="lazy" alt="Alternative lifestyle, alternative art"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240313130336_bd7bf478a859d6f341f63173dae68fb6f888ca389ba8ae40258e4444a0eafab4.jpg" data-media-id="editor_3" data-image-id="20240313130336_bd7bf478a859d6f341f63173dae68fb6f888ca389ba8ae40258e4444a0eafab4" data-rendition-name="original" width="1280" height="1920" loading="lazy" alt="Alternative lifestyle, alternative art"> </figure>  Upon returning to Nepal, Gurung started experimenting with natural dyes. Through trial and error, she mastered the techniques to produce vibrant organic colours and textures. She uses naturally dyed cotton sheets made via an iron bath process as her canvas. Eucalyptus and guava leaves and invasive species are then used as printing tools. Over the past seven years, Gurung has moved through Dolakha, Nuwakot, Tanahu, and Chitwan collecting materials and inspiration.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240313130336_5076ef43a3401f0246f95198a04d80be869c1e3686e65cb682e3383381c40b17.jpg" data-media-id="editor_4" data-image-id="20240313130336_5076ef43a3401f0246f95198a04d80be869c1e3686e65cb682e3383381c40b17" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Alternative lifestyle, alternative art"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240313130332_3a1b407b27102ca63c0c9d9a5cb95cbb252191c120bf5e78bd58f2d9c908a2a6.jpg" data-media-id="editor_5" data-image-id="20240313130332_3a1b407b27102ca63c0c9d9a5cb95cbb252191c120bf5e78bd58f2d9c908a2a6" data-rendition-name="original" width="1920" height="1280" loading="lazy" alt="Alternative lifestyle, alternative art"> </figure>  Fallen leaves of invasive species are a prominent theme in her work: collected from paths inside Nepal’s community forests. The dyes are also on display at the exhibition, and Gurung is on hand to explain her techniques.&nbsp; “In today's world, we need to think critically about what we're leaving behind for future generations. How are we shaping the world, and how can we live more consciously,” says Gurung. “There are always alternative solutions available. By being more mindful of our behaviour and attitudes towards living, we can make a positive difference.” Gurung credits Sophia L Pandé, a fan of her work on Instagram, for encouraging her with the exhibition. Pandé who is also the founding director of The Kala Salon recognised the artistry in Gurung's creations.&nbsp; Says Pandé: “Meena’s work transcends fashion, it's art. People need to see this.” Gurung herself hopes that seeing the work firsthand will spark lifestyle changes that are required for human beings to have smaller ecological footprints. On top of the airy expanse of the Salon, Italian artist Cinzia (pictured below) awaits with her exhibit Zero to Sunya, a mixed-media exhibit using photography, paperwork and copper. &nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240313130336_debb223c76b896d38be0bc20db59e5f8191a40a342ca0a0299714a3af0764444.jpg" data-media-id="editor_6" data-image-id="20240313130336_debb223c76b896d38be0bc20db59e5f8191a40a342ca0a0299714a3af0764444" data-rendition-name="original" width="1920" height="1280" loading="lazy" alt="Alternative lifestyle, alternative art"> </figure>  Cinzia, a globetrotter originally from a now-deserted village in Italy, finds herself constantly drawn back to Nepal. Her travels fuel her artistic spirit, she collects unique items and transforms them into captivating creations. The copper jewelry she crafted in Italy has journeyed with her across the world and now finds a home in this exhibition. Cinzia defies categorisation as a mere jewelry designer or artist, embracing all art forms. A standout piece is a surprising combination of hard paper, a face mask, and cable wires found on a busy road in Kathmandu. These transformed elements create a captivating figure with "hair" fashioned from the wires, resembling a tree with leaves (top photo).  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240313130336_eaca6a2dcc5ab617b21b2dd861ecc8b4e273864550850cd3bb9ebd02693ec293.jpg" data-media-id="editor_7" data-image-id="20240313130336_eaca6a2dcc5ab617b21b2dd861ecc8b4e273864550850cd3bb9ebd02693ec293" data-rendition-name="original" width="1920" height="1280" loading="lazy" alt="Alternative lifestyle, alternative art"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240313130340_c896522d4b48ce53dac516b20770d069d627c00b0d49f49c6e072b5563c717d1.jpg" data-media-id="editor_8" data-image-id="20240313130340_c896522d4b48ce53dac516b20770d069d627c00b0d49f49c6e072b5563c717d1" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Alternative lifestyle, alternative art"> </figure>  &nbsp;“Wherever I travel, I carry a piece of myself. And I seek out kindred spirits, people who share my passion for creation,” Cinzia explains. “This exhibition isn't just a showcase of my efforts, but a testament to the collaboration with my friends who have refined my work and introduced me to new techniques.” Another installation here titled Purusha-Prakriti is crafted from salvaged cardboard and metal mesh from a construction site, showcasing beauty in unexpected places.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240313130336_0fc2dd72680fc89e6a9c453f0cb5ecaa36a3afb549eef8e015e9a78978c0d0d8.jpg" data-media-id="editor_9" data-image-id="20240313130336_0fc2dd72680fc89e6a9c453f0cb5ecaa36a3afb549eef8e015e9a78978c0d0d8" data-rendition-name="original" width="1920" height="1280" loading="lazy" alt="Alternative lifestyle, alternative art"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240313130336_d6b364dce649d425f0caf9d56f093981352ac554096f33fcc00353a7e9a2e460.jpg" data-media-id="editor_10" data-image-id="20240313130336_d6b364dce649d425f0caf9d56f093981352ac554096f33fcc00353a7e9a2e460" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Alternative lifestyle, alternative art"> </figure>  Both exhibitions at the Chhaya Centre leave a lasting impression and invite open interpretation, prompting viewers to question wasteful and energy-intensive modern lifestyles, demonstrating the potential for artistic expression to inspire positive change. Says Sophia Pandé: “Cinzia's exquisite jewelry and Meena's hand-dyed shawls transcend mere function. These wearable artworks hold a value equal to that of a traditional canvas, serving as powerful reminders of the transformative power of artistic expression.” Foraging Chroma by Meena Gurung Zero to Sunya by Cinzia Everyday 11am to 6pm Until 24 March The Kala Salon, Chhaya Centre

Alisha Sijapati

Alternative lifestyle, alternative art

What we know of <a href="https://nepalitimes.com/banner/time-capsule-of-kathmandu">Kathmandu Valley</a>’s history is mostly through epigraphs, the engraved inscriptions scattered around the Valley that document important events. <a href="https://nepalitimes.com/banner/the-historic-kathmandu-beneath-our-feet">These are mostly found above ground.</a> But underground, there is much more to be discovered about the waves of civilisations that thrived and waned in Kathmandu Valley over the past millennia.&nbsp; The fertile soil of the former lake bed was the source of Kathmandu's agricultural surplus and, along with its <a href="https://archive.nepalitimes.com/article/nation/putting-dolkha-back-on-the-map,3312">entrepôt status between India and Tibet</a>, a source of its wealth. The same soil also hides clues to the Valley’s past, but many of these archaeological sites are now built over with concrete houses and asphalt roads. &nbsp; The first exploration of Kathmandu Valley’s prehistory was carried out by R V Joshi but it did not yield any palaeolithic or microlithic relics. In 1965, S B Deo carried out an excavation in Manamaneswor near Hadigaon and Lazimpat that showed the earliest habitations were in the ‘early centuries of the Christian era’. But further digs by the Department of Archaeology (DoA) did not show new evidence of habitation. Then the DoA, with an Italian team from Instituto Italiano per il Medio ed Estremo Oriente (IsMEO) jointly organised excavations and surveys in Hadigaon. The excavations at the Satya Narayan temple dated the earliest habitation of Kathmandu to the first century BCE, much earlier than previously thought. Now, the results of the expedition from 1984-1989 have been published in the new book Harigaon Revisited: Chronicle and Outcomes of an Excavation in Kathmandu by Giovanni Verardi with Dániel Balogh, Daniela De Simone and Elio Paparatti.&nbsp; Read also: <a href="https://nepalitimes.com/banner/the-historic-kathmandu-beneath-our-feet">The historic Kathmandu beneath our feet</a>, Sahina Shrestha The idea to revisit the 80s excavation and turn it into a book came as IsMEO itself was closed down. Its documentation of excavations, particularly the graphic and photographic materials, were archived at Museo Nazionale di Arte Orientale in Via Merulana, Rome. In 2016, the museum merged with Museo Nazinale Preistorico Etnografico Luigi Pigorini in Piazza Guglielmo Marconi, Rome, to form the new Museo delle CiviltàIn Rome where a large part of the documentation is kept, ‘waiting to be rearranged and usable’. While much of the book is technical results of the excavation, the first part provides a narrative of the fieldwork from a personal point of view of Giovanni Verardi, an archaeologist and Professor specialising in the civilisations of central Asia and India who was appointed the Director of the Nepali-Italian Archaeological Mission in 1988.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240301120340_3db207944131f4fef141161c056760bae59f887b0d2337048c88791638422335.jpg" data-media-id="editor_4" data-image-id="20240301120340_3db207944131f4fef141161c056760bae59f887b0d2337048c88791638422335" data-rendition-name="original" width="1500" height="794" loading="lazy" alt="Hadigaon"> <figcaption>The inscribed water conduit donated by Priyavarman in 749 AD.</figcaption> </figure>  Verardi remembers a different Kathmandu from today and says he found Nepali people to be "kind and cooperative" but the Ministry was "strict and severe" about the excavation. The team was obliged to write a daily report about their work and submit it to the DoA every afternoon. &nbsp;“Kathmandu back then was different,” said Verardi over the phone from Italy. “I returned to Nepal after many years in 2007/8 and then again two years ago, and was surprised by the transformation. I did not expect it to change so much.” Verardi spent a few months travelling across the Valley visiting old sites like Gokarna and Thankot with the Director General of DoA. With epigraphical inscriptions and Lain Singh Bangdel, then with the Royal Nepal Academy, identifying images found in Hadigaon to second century CE, the Satya Narayan temple seemed promising. Large areas were limited in number but Hadigaon was large enough for the team to conduct horizontal excavations to see if different kinds of buildings came out and they did get interesting results, like 898kg of ceramic materials. They were mostly broken pieces of pottery but 213 of them were intact vessels.&nbsp; More interesting were a Mathura-type sandstone fragments which were later determined to be a training weight. It depicts a scene of Lord Krishna slaying a horse demon Keshin. A water drain bearing the inscription dated 4 March 749 that says that one of the ancient names of the place was Andigrama, donated by Priyavarman to honour his deceased parents. The team also exposed a nine-pit structure which was named navakunda. Among the scholars who visited the site were Dhanavajra Vajracharya who had published Licchavikalaka Abhilekha and Prayag Raj Sharma, professor of history at Tribhuvan University who had assisted S B Deo during the excavation at Manamaeswor.&nbsp; It was not until Verardi came across a Mahayana silpa text, the Manjushrivastuvidyasastra, that it was established to be a part of a Buddhist stupa. The team found a few antiquities that were recognisable as Buddhist. One was a ‘conical sealing that on the bottom exhibited a stupa and an inscription in Licchavi characters’. Read also: <a href="https://nepalitimes.com/here-now/restoring-a-piece-of-nepal-s-history">Restoring a piece of Nepal's history</a>, Sahina Shrestha &nbsp;Another was the handle of a terracotta lamp showing Aksobhya, one of the five Wisdom Buddhas. The book also dedicates a section to the restoration of the <a href="https://nepalitimes.com/banner/the-historic-kathmandu-beneath-our-feet">Jayavarma statue which was found by chance in Maligaon in 1992</a>, near the Hadigaon excavation site. Elio Papparatti of the Nepali-Italian team restored the statue from twenty-three fragments and also made it earthquake proof. The statue is now housed at the National Museum. These and other discoveries clearly put Hadigaon as a place of archaeological and historical significance.&nbsp; But like much of Kathmandu, Hadigaon is also built up. While archeological finds were still being unearthed when digging foundations of new houses until a few years ago, the government has shown little interest in preserving the area for future research. Verardi says not all is yet lost. “There are still small areas where it would be possible to excavate in Hadigaon,” he says. "We already have a sequence so it would be much simpler to excavate compared to the 1980s.” &nbsp; Harigaon Revisited is an important documentation of an excavation that provide historical evidence that pre-date the earliest dates mentioned in known inscriptions. While some may argue that archaeological digs may be unnecessary given other inscriptions found in the Valley, the Hadigaon excavations demonstrated that the history of the Valley was much earlier than those dated by epigraphical evidence.&nbsp; Perhaps the only way for us to actually understand the real sequence of the earliest history of Kathmandu is through excavations. This book, though technical, will be useful for anyone interested in learning the prehistory of Nepal.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240301120348_0e24ad7a92ef531466fb81ccd66ced772e6e8bedcdb6b2879d7342e1f71f422c.jpg" data-media-id="editor_7" data-image-id="20240301120348_0e24ad7a92ef531466fb81ccd66ced772e6e8bedcdb6b2879d7342e1f71f422c" data-rendition-name="original" width="1218" height="643" loading="lazy" alt="Hadigaon"> </figure>

Sahina Shrestha

What lies below Hadigaon

Katrin Hagen was poring through photographs that her father <a href="https://archive.nepalitimes.com/regular-columns/So-far-so-good/a-serious-swiss-toni-hagen-nepal,888">Toni Hagen</a> had taken of western Nepal for geological research, when she was astounded by how much of this remote region had changed – and how much remained the same 70 years later. She dug deeper into the photo archives with some of the earliest colour prints and slides of Nepal to find some gems. Some were later published in 1960 in his classic hardcover book, <a href="https://himalbooks.com/product/toni-hagens-nepal-the-kingdom-in-the-himalaya/">Toni Hagen’s Nepal</a>, that introduced the country to the world.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240228120252_6d7921f767904775a139b059fa3efcab0772548b1cb9e4b8aa5ad710906fdb52.jpg" data-media-id="editor_2" data-image-id="20240228120252_6d7921f767904775a139b059fa3efcab0772548b1cb9e4b8aa5ad710906fdb52" data-rendition-name="original" width="884" height="431" loading="lazy" alt="Toni Hagen's western Nepal routes"> </figure>  Toni Hagen first came to Nepal in 1950 as a United Nations adviser to carry out a geological survey to find mineral potential, and <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/tony-hagen-kathmandu-exhibition,3946">crisscrossed Nepal on foot over 12 years</a>, traversing 15,000km. Along the way, he became less and less interested in geology and more in finding ways to enhance the living standards of Nepalis, especially in the more remote parts of the mountains. “I found people more important than rocks,” he once said.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240228120248_b567c07836388e6af9602f7af1a8e2f557afda1b6a157ffc14fd14b6536b7e71.jpg" data-media-id="editor_4" data-image-id="20240228120248_b567c07836388e6af9602f7af1a8e2f557afda1b6a157ffc14fd14b6536b7e71" data-rendition-name="original" width="1000" height="1500" loading="lazy" alt="Toni Hagen western Nepal"> <figcaption>Young woman in Simkot, where the dress style has not changed much.</figcaption> </figure>  Nepal’s average lifespan then was 40 years, and it was even less in the Karnali and far west. Nearly four in every ten babies did not survive to age five in the 1950s. Malnutrition was widespread. Karnali and Sudur Paschim Province are now doing much better, but still lag behind the national average in all <a href="https://nepalitimes.com/editorial/not-rising-nepal">development parameters</a>.&nbsp; There are now roads even to the remotest valleys that Hagen trekked weeks to get to. Even the <a href="https://nepalitimes.com/here-now/time-catching-up-with-timeless-dolpo">trans-Himalayan district of Dolpo</a> is now connected to the Chinese border by road, and will soon have roads to Mustang and Rukum West.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240228120248_32b730a1d8549f79db753a252077f4e109625382b03e14f31fdeebb980b90468.jpg" data-media-id="editor_7" data-image-id="20240228120248_32b730a1d8549f79db753a252077f4e109625382b03e14f31fdeebb980b90468" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Toni Hagen western Nepal"> <figcaption>Upper Kuwadi Valley towards Sankha La in nothern Humla.</figcaption> </figure>  The other urgent need he saw for Nepal was connectivity. Walking across the country, he found the lack of bridges to be a major obstacle to getting around. Nepal seemed to be an archipelago of islands separated not by sea, but by rivers. This presaged the decades long Swiss involvement in <a href="https://nepalitimes.com/here-now/10-000-bridges">building thousands of suspension trail bridges all over Nepal</a>. Hagen proposed a series of tunnels on a highway to connect Kathmandu to the Tarai across another one of his survey ideas, to build a reservoir on the Kulekhani River. The Kulekhani dam was built in 1984, but the Kathmandu-Fast Track is on the slow track and still only a dream. &nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240228120248_7963aa60e4a63a7f2e4d51a0e7aae211c174ba0c9f2bb0587ebe06a9ccdc555e.jpg" data-media-id="editor_9" data-image-id="20240228120248_7963aa60e4a63a7f2e4d51a0e7aae211c174ba0c9f2bb0587ebe06a9ccdc555e" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Toni Hagen western Nepal"> <figcaption>Men paddling across the Karnali River in inflated buffalo skins.</figcaption> </figure>  A selection of Hagen’s photographs from western Nepal are being shown in a series of exhibitions in Patan, Surkhet, Mahendranagar and Jumla in the coming months. What is most striking about the images is the stark contrast between the scenic beauty of the region and its underdevelopment. Toni Hagen took almost as many portraits of people as of the landscape, and in the faces of the people of <a href="https://nepalitimes.com/banner/a-karnali-portrait">Karnali</a> we do not see poverty, but frugality. The wrinkles indicate the hardships of everyday life, but they are also smile lines. The clothing is all made from local wool, the houses are stone, thatch or slate surrounded by terrace farms of ripening buckwheat.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240228120248_b5e2deedb3a599880b69b37efc2fdec4377aadb948d081629e11759c0082f8b4.jpg" data-media-id="editor_11" data-image-id="20240228120248_b5e2deedb3a599880b69b37efc2fdec4377aadb948d081629e11759c0082f8b4" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Toni Hagen western Nepal"> <figcaption>Toni Hagen's porters below Murma Top overlooking Rara Lake, the shores of which are today covered in thick forest.</figcaption> </figure>  Surkhet Valley which today is all urbanised, was a patchwork of paddy fields then. <a href="https://nepalitimes.com/news/rara-s-rare-beauty">Rara Lake</a> is resplendent in turquoise, and to think that it took Toni Hagen a month’s trek from the Indian border to get there. Today, there is a road connecting it to Jumla and Surkhet. The lake’s shores, barren 70 years ago, is today thickly draped in pine forests after the villages were evacuated to create a national park. &nbsp; <a href="https://archive.nepalitimes.com/news.php?id=19173">Toni Hagen</a> died in 2003 in Switzerland after many visits to Nepal during which he saw the changes, both good and bad, sweeping the country. Katrin Hagen accompanied her father in many of the trips, and still conducts orthopaedic surgical camps in remote parts of Nepal where her father once walked.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240228120248_bcd3d8fcefb27909641e0f0688c3daaccdfb05f99557a30516721226fcd5f574.jpg" data-media-id="editor_14" data-image-id="20240228120248_bcd3d8fcefb27909641e0f0688c3daaccdfb05f99557a30516721226fcd5f574" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Toni Hagen western Nepal"> <figcaption>Village in Humla.</figcaption> </figure>  And through books, special exhibitions and collaborations with organisations such as the Nepal Geological Society and the Nepal Heritage Society, Katrin ensures that her father's work continues to be celebrated and shared with audiences in Nepal and around the world. The <a href="https://archive.nepalitimes.com/news.php?id=11274">significance of Toni Hagen's work</a> extends beyond its aesthetic appeal. His research and documentation have played a crucial role in advancing our understanding of Nepal's geology, particularly in Western Nepal. The Nepal Geological Society now uses Hagen's photographs in its research.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024022905020_b8cda063d9ca15932567cbd491d4b5725b22bf31074b07ae63f6189b0dc84cc8.jpg" data-media-id="editor_16" data-image-id="2024022905020_b8cda063d9ca15932567cbd491d4b5725b22bf31074b07ae63f6189b0dc84cc8" data-rendition-name="original" width="1500" height="981" loading="lazy" alt="Toni Hagen western Nepal"> <figcaption>Toni Hagen in his tent with curious onlookers, somewhere in western Nepal in 1952, flying the United Nations and Nepal flags.</figcaption> </figure>  ”My father’s work helps bridge the gap between the past and the present,” Katrin Hagen said at the inauguration of the first exhibition of Western Nepal in the 1950s at Yala Maya Kendra on Tuesday. “The pictures allow Nepalis to see Nepal through his eyes and appreciate the changes that have occurred over time.”&nbsp; Western Nepal in the 1950s, an exhibition of Photos by Toni Hagen&nbsp; Yalamaya Kendra, Patan 27 February - 2 March Patan Museum, 4-13 March&nbsp; Surkhet, Mahendranagar, Jumla (to be announced)  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024022813020_3bcea5e7bc2ba14a584e6fda40a556167804d599ea5bad5f4df044748396acfc.jpg" data-media-id="editor_17" data-image-id="2024022813020_3bcea5e7bc2ba14a584e6fda40a556167804d599ea5bad5f4df044748396acfc" data-rendition-name="original" width="1263" height="1000" loading="lazy" alt="Toni Hagen's Nepal"> </figure>

West is West

A Flushing Local 7 subway train approaches the platform and commuters get ready to step in. The scene cuts to solid black. These first few seconds set the tone for the rest of Diversity Plaza — this is going to be a film &nbsp;about people in motion. Movement through time and space is something of a trademark for acclaimed documentary maker Kesang Tseten, with previous films like In Search of the Riyal, <a href="https://archive.nepalitimes.com/news.php?id=13035">We Corner People</a>, Castaway Man and Frames of War. <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Kesang-Tseten-documentary-on-Dor-Bahadur-Bista,2176">Some of these films</a> will be screened in a retrospective this weekend.&nbsp; For the next minute or so, Diversity Plaza shows us beauty parlours and nail salons, a kabab king, street vendors, a Covid-19 vaccine centre and a momo van.&nbsp; We are in Jackson Heights in the New York borough of Queens. A subtitle tells us it is ‘the most linguistically diverse zip code in the US and perhaps the world’. Queens is home to 75,000 immigrants from Nepal, Bhutan and India. More than 60% of the people here are foreign-born and speak 160 languages. They are politically aware, and concerned about their place in a changing America, and an altered world. There is an intersection in Queens actually named Diversity Plaza, and Tseten films immigrants campaigning for candidates for city council amidst the Covid crisis, while there are attacks on Asians after President Trump called the bug the “Chinese Virus”. Near the Plaza in a nondescript building is Adhikaar which works for the rights of Nepali immigrants. &nbsp;Among them is Dibya Shori Shakya, who ever so slowly writes her name and address on the board. A group of women gathers to talk about being ashamed initially of their status as domestic help and nannies. “The children we raise will go on to become doctors, engineers or even presidents someday. So we shouldn’t feel lowly or discriminate against ourselves,” says one woman. United Sherpa Association Inc may sound like a mountaineering outfit, but is a monastery. After prayers, devotees do yoga. Some asana are too difficult, and they burst out laughing.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024022304020_dc3c87201c606792b8980dbb7203eb88332eebf015f4e3a638a74c9c11a780b0.jpg" data-media-id="editor_2" data-image-id="2024022304020_dc3c87201c606792b8980dbb7203eb88332eebf015f4e3a638a74c9c11a780b0" data-rendition-name="original" width="1426" height="750" loading="lazy" alt="Diversity Plaza"> <figcaption>Screengrab from Kesang Tseten's Diversity Plaza</figcaption> </figure>  This is an intimate look at Himalayan peoples living in Jackson Heights, their struggles and aspirations. Some are busy celebrating festivals and keeping traditions alive, others try to assimilate and are more concerned with making their voices heard in their new country. Adhikaar staff are out on the streets of New York including at Times Square in Manhattan, <a href="https://nepalitimes.com/news/the-promise-of-an-american-dream">advocating for immigrant rights</a>. They are also urging fellow Nepalis to fill up census applications. “Census means numbers. What happens when there are numbers? Power, and when there is power, there is wealth… when there is wealth there is respect and when there is respect, there is recognition,” Narbada Chettri of Adhikaar explains on camera. During the film’s hour-long runtime, viewers in Nepal are transported to the other side of the world, almost forgetting that the scenes are happening on a screen. The cuts are rough, almost cinéma vérité style, unlike some of the sleeker films being made today. Tseten does not embellish the stories, the landscape, the people. Like his previous documentaries, the film lays bare the raw reality of immigrant life in America.&nbsp; <a href="https://nepalitimes.com/here-now/kesang-tseten-is-still-silent-but-not-absent">The director</a> himself takes a back seat, his inputs barely discernible. But of course he is there throughout in the composition of the shots, selection of scenes, the final edits. Tseten calls it an ‘unprompted’ style modelled after American filmmaker Frederick Wiseman. Even though there is no script in Diversity Plaza, the documentary still has a beginning, middle and an end. In Kathmandu this week, Tseten recalled how he was in New York in 2021, trying to persuade a character for his forthcoming film on the<a href="https://nepalitimes.com/banner/bon-voyage"> Bön Po</a>, when he heard about Diversity Plaza with its strong Nepali presence. He was familiar with Jackson Heights ever since he was a student at Columbia Journalism School in the 1980s, and it piqued his attention. “Diversity Plaza is like Thamel,” he says. “The restaurants are filled with our own people.” The documentary ends on a high note, literally and figuratively. An immigrant from India performs a Karnatak song as the 7 train clatters above Diversity Plaza. She translates the verse into English before singing its original: “Do not seek or mind similarity in identity in the world. Why is it that we always look for the things that are the same about one another instead of celebrating and valuing our differences?” &nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024022304020_d5d5a26acda7234986e3edbd6f7dc593b10ecdeaf2f4178880249381d5371ec2.jpg" data-media-id="editor_6" data-image-id="2024022304020_d5d5a26acda7234986e3edbd6f7dc593b10ecdeaf2f4178880249381d5371ec2" data-rendition-name="original" width="1135" height="635" loading="lazy" alt="Diversity Plaza"> </figure>  Social Science Baha and photo.circle's Kesang Tseten Retrospective will take place from 23 to 25 February at Nepal Tourism Board.

Sonia Awale

Seeking identity in diversity

Many browsing the shelf of a bookstore or library may see Shépa written in bold all caps on the cover of this book, and misread it as 'Sherpa' and think it is yet another book on the ethnic group from the Khumbu. That happened to this reviewer when a copy arrived by mail. But Shépa in Tibetan actually means ‘explanation’ and is a unique form of oral poetry sung in the question-answer style and the intangible heritage of Tibetan-speaking people in danger of dying out.&nbsp; The book contains Shépa poetry that has been passed down from one generation of the Choné people of Amdo to the next. The original Tibetan verse is translated into English and Mandarin, and includes animistic beliefs before Buddhism got to the plateau. There are Bon Po legends, explanations of various Mahayana traditions, as well as the shared memory of the ebb and flow of history. &nbsp; The Shépa has a wide range of subjects and has been recited and shared for hundreds of years, and the book is a result of contributions from researchers, monks, and devotees. It is thus a valuable undertaking to document this oral tradition before it disappears forever. The book is part of the World Literature Series and the ebook version is available for free from OpenBook Publishers.&nbsp; “This trilingual publication is a landmark in Tibetan studies, making research findings accessible to the community for whom Shépa is a living practice,” says Tsering Shakya of the University of British Columbia.&nbsp; Why the Choné people came to embrace the Shépa oral tradition is buried in history, but it does resemble the recited verse of the Himalayan rimlands. Shépa performances can be religious or secular, sing about the Tibetan cosmology, history and recite chants at weddings. The verses are rendered by elderly men and are performed somewhat like the back-and-forth dohori in Nepal.&nbsp; Shépa orature is varied and constantly revised, its mutability giving it relevance as Tibet is swept by change. The book may be a bit too detailed for the lay reader, but will be valuable for students and researchers of Himalayan linguistics, ethnicity, and even for those studying Nepal’s indigenous groups.&nbsp; More importantly, the book is an invaluable documentation of an oral tradition that is hanging by its thread, made accessible because of the translation of the stanzas into English and Mandarin.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240215150228_7c1e788f70d5d20a2ca7e94fb9db29f14f0244b629d96f9fcfa3824440beb6b9.jpg" data-media-id="editor_0" data-image-id="20240215150228_7c1e788f70d5d20a2ca7e94fb9db29f14f0244b629d96f9fcfa3824440beb6b9" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Shepa"> </figure>

Kunda Dixit

The Shépa lexicon

The 240 year reign of the Shah dynasty in Nepal that ended in 2008 saw palace intrigues, coups, a revolution and massacres. And 16 years after it was abolished, there are calls to reinstate the monarchy. After Nepal’s founding king Prithvi Narayan Shah died in 1775, there were a series of infant and/or weak kings with little to no involvement in government. The country was run by power brokers either from the royal family or its retainers. After Jang Bahadur’s coup in 1847, the kings were just puppets. It was not until 1951 when the Rana regime ended that the Shah kings became more involved. Too involved, in fact. In 1960 King Mahendra staged a coup and dissolved an elected parliament for a 30-year experiment with the partyless system. After the 1990 democracy movement, King Birendra gave up absolute powers to be a constitutional monarch, but the Maoists immediately launched their armed struggle to end the Hindu monarchy. However, the royal family itself imploded in the 2001 royal massacre, and it took just seven more years for Nepal to become a secular republic. The political aspects of Nepal’s transition from monarchy to republic has been written about extensively, but Anne Taylor Mocko in her book Unraveling the Crown: Rituals, Politics and the Fall of Kingship in Nepal takes a more historical and anthropological approach. She examines the rituals that make a king a king, and why and how taking away those rituals interrupts the process. Mocko, who is professor of religion at Concordia College in Minnesota, draws connections between ritual, politics and kingship. She distinguishes between succession rituals (‘those which mark the end of one office-holder’s tenure and the beginning of a new office-holder’s tenure’) and reinforcement rituals (‘that permit the constant reproduction of a social office throughout the duration of the office holder’s tenure’). The reinforcement rituals appear to reflect rather than produce a social status. Mocko expands on this by analysing the rituals following the royal massacre. The massacre left Gyanendra, King Birendra’s brother, as the only surviving royal family member eligible to rule. The book delves into the government handling of the murder investigation. The two-member team was given three days to investigate. The investigation did not include any forensics and the final report did not have the results of the ballistics test. It then looks into the cremations and coronation of two kings (Dipendra was crowned in a coma). Mocko concludes that the rituals were either highly problematic or incomplete, given the unusual circumstances. She draws from Ronald Grimes’ ‘ritual infelicity’, a concept that accounts for the many ways that a ritual can go wrong. Given the loopholes in the massacre report, many shocked Nepalis concluded that Gyanendra himself was to be blamed for the killings. The response to his enthronement ritual was therefore unenthusiastic and controversial. Mocko also brings up the incomplete ritual of katto for both Birendra and Dipendra, as both the brahmins who volunteered for the rituals did not leave the Valley as they were supposed to, given their dissatisfaction with the compensation and offerings, hence leaving the ritual unfinished. With these and other shortcomings in the succession rituals, the book points out that the reinforcement rituals were more important for Gyanendra to solidify his kingship. The bulk of the book deals with three annual events where the king plays a public role: the Bhoto Jatra, the Indra Jatra and the Dasain festival. The writer examines these rituals in the aftermath of 2006 people’s movement and 2007 when the political parties made moves to strip the palace of reinforcement rituals even though the king was still living in Narayanhiti. Gyanendra at first tried to continue being involved: he attended Bhoto Jatra, received the blessings of the Kumari at the end of Indra Jatra and continued to put tika on the public at the palace in 2006. But by 2008, an elected Constituent Assembly voted to abolish the monarchy and Gyanendra left the palace. When the Prime Minister took over these ex-royal rituals, the king ended up being just a regular citizen. The gradual demotion of the king showed how important these rituals were in giving the king legitimacy. Mocko makes us wonder whether Gyanendra would have remained king even without any connection to the government if he had retained his royal ritualistic role. This South Asian version of the book is slightly updated from its 2016 version Demoting Vishnu: Ritual, Politics and the Unraveling of Nepal’s Hindu Monarchy published by Oxford University Press in Europe and North America, and has new photographs and a new title. This is a recommended resource for anyone interested in Nepal and its monarchy at a time when Gyanendra is once more in the political arena.  <figure><img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240215150216_4faf43761932353d053627ef8117c4c47ee466d6089fdd15cdfd15153ab917bb.jpg" data-media-id="editor_0" data-image-id="20240215150216_4faf43761932353d053627ef8117c4c47ee466d6089fdd15cdfd15153ab917bb" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Unraveling the crown NT"></figure>

The role of rituals in royalty

A lot has happened since American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer by Kai Bird and Martin J. Sherwin was first published in 2005. The book set off ripples after it won a Pulitzer, but created a tidal wave of interest after Christopher Nolan adapted it for his 2023 blockbuster movie Oppenheimer which is dominating this award season. American Prometheus is a nuanced portrait of a scientist ‘whose brilliance was matched only by his internal conflicts’, and by retelling its protagonist’s life and times the book is a call for rationality in the nuclear age to contain the fearful threat posed by weapons of mass destruction and terror.&nbsp; The book took 25 years to research and write and is a sobering reminder that the doomsday clock is closer to midnight today than at any time since the end of the Cold War. It has been ticking ever since the world’s greatest scientific minds got together in Los Alamos in New Mexico in 1943 to build an atom bomb before the Germans did.&nbsp; Germany surrendered, but that did not stop hawks in the US military to use it to kill 200,000 people in Hiroshima and Nagasaki in August 1945. The Americans justified this by saying that a long-drawn assault on the Japanese mainland would have cost a lot more lives. And Oppenheimer himself felt that the first military use of atomic weapons should be so spectacular and destructive that its ferocity would deter future use. The book reminds us that he opposed the detonation of the second bomb over Nagasaki, and the development of the hydrogen bomb. The fact that nuclear weapons have not been used in war for the past 80 years shows the reasoning could have some merit. But it has not stopped nuclear proliferation, and countries like Pakistan, India and North Korea now own atomic warheads as well.&nbsp; Read also: <a href="https://nepalitimes.com/here-now/the-nuclear-weapons-story-is-not-over">The nuclear weapons story is not over</a>, Nepali Times Speaking with Nepali Times ahead of his session at the Nepal Literature Festival in Pokhara on 17 February, Kai Bird emphasised that the nuclear story is not over, and it could still end very badly: Vladimir Putin’s threat to use tactical nuclear weapons against Ukraine, Israel's strategic ambiguity, and Iran's impending nuclear arsenal. Closer to home, Nepal is surrounded by nuclear-armed countries which are not exactly friendly with each other. India has frequent border skirmishes with Pakistan and China, and Nepali soldiers serve in the Indian Army.&nbsp; Amitav Ghosh in his 1999 book Countdown following the Indian nuclear test wrote that even tactical use of nuclear weapons could result in fallout carried by prevailing winds to Himalaya glaciers that could turn Asia’s rivers radioactive and contaminate aquifers. &nbsp; If Middle East tensions escalate into a nuclear confrontation, it will endanger 2 million Nepalis who work there and most will have to return home for safety. Nepali students were killed by Hamas in Israel, and continue to die for Russia in Ukraine.&nbsp; The staunchest critic of nuclear weapons was the architect of the first atomic bomb himself. The book recounts how after the Japanese surrender, Oppenheimer met President Truman and said he felt he had “blood in his hands”. Truman told aides later he never again wanted to see that “son of a bitch … cry-baby scientist”. &nbsp; Oppenheimer used his newfound fame as a celebrity scientist to slow the nuclear arms race. ‘He tried valiantly to divert us from the bomb culture by containing the nuclear threat he helped to set loose,’ the authors write in Prometheus.&nbsp; Read also: <a href="https://nepalitimes.com/here-now/what-the-movie-oppenheimer-missed">What the movie Oppenheimer missed</a>, Katsuhiro Asagiri But at the height of the anti-Communist McCarthy purges in the 1950s, Oppenheimer was singled out for his peace initiatives in &nbsp;hearings designed to silence and humiliate the scientist.&nbsp; “Oppenheimer became the chief celebrity victim of the McCarthyite witch-hunts. And today around the globe we seem to be experiencing similar xenophobia about immigrants, ethnic and religious minorities and workers disrupted by technology and globalisation,” Bird says in his interview (overleaf).&nbsp; The dense 700-page biography reads like a political thriller that starts with Oppenheimer’s precocious childhood. He is so fascinated by rocks and minerals that the New York Mineralogical Club invites him to deliver a lecture not knowing he is only a 12-year-old boy. He is miserable at Harvard and Cambridge, his mental well-being is put to a test and he is diagnosed with schizophrenia. But he flourishes in Göttingen in Germany where he learns quantum physics. Back in America, his Berkeley department becomes the centre of fundamental research into atomic physics. He supports leftist causes but never joins the Communist Party.&nbsp; Today, there is a theoretical debate about which is worse: all out nuclear war, or climate breakdown. &nbsp;One has more immediate and irreversible implications than the other, but the fact is that both are manmade threats and we have it in our power to remove them.&nbsp; Read : <a href="https://nepalitimes.com/opinion/comment/ukraines-lessons-for-sandwiched-nations-like-nepal">Ukraine's lessons for sandwiched nations like Nepal</a>, Bhaskar Koirala Harnessing atomic energy was always a double edged sword. Besides the bomb, many energy planners are pushing for nuclear reactors to be climate-friendly. But atomic reactors have a problem with radioactive waste disposal, and the dangers of Chernobyl or &nbsp;Fukushima type meltdowns.&nbsp; The future may be in fusion reactors, the same physics that drove the thermonuclear bomb that Oppenheimer so staunchly opposed. Fusion is cleaner energy with water as the only by-product.&nbsp; “It is becoming increasingly likely that the problem will not be resolved with renewable energy – which is growing too slowly to make a significant difference – or expensive technologies like carbon capture and sequestration and green hydrogen,” says Nouriel Roubini of New York University’s Stern School of Business. “Instead, we may see a fusion energy revolution, provided that a commercial reactor can be built in the next 15 years.” Oppenheimer said that the only defense against nuclear terrorism was the elimination of nuclear weapons, and in the age of nuclear arms race he was also worried about mankind’s moral survival. His friend, a fellow theoretical physicist Isidor Isaac Rabi said, ‘You drop a bomb and it falls on the just and the unjust.’ In Japan, surviving hibakusha and their descendants continue to suffer genetic defects. In the South Pacific, Kazakhstan and other nuclear test sites, many still suffer devastating health consequences from fallout. The Los Alamos site itself led to inter-generational sickness from radioactive fallout for 15,000 Navajo people living downwind. They were not warned before the test, and they have been forgotten since.&nbsp; American Prometheus reminds us of the urgent need for nuclear arms control in a volatile world. Bird and Sherwin have narrated the moral dilemma and persecution of the inventor of a fearful weapon, coming generations will have to grapple with ways to keep prevent its use. Read also: <a href="https://nepalitimes.com/editorial/year-of-reckoning">Year of reckoning</a>, Editorial  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024021515028_d560d5d86980d0c3493c75fd1e4e7e2bb3a91c490d2641329aea2901d6564482.jpg" data-media-id="editor_4" data-image-id="2024021515028_d560d5d86980d0c3493c75fd1e4e7e2bb3a91c490d2641329aea2901d6564482" data-rendition-name="original" width="1136" height="669" loading="lazy" alt="American Prometheus NT"> </figure>

The destroyer of worlds

There has been a feast of new books covering Nepali cuisine and recipes in recent years: A Taste of Nepal, The Rana Cookbook, Nepali Home Cooking &amp; Healthy Living, Timmur. The list goes on. Rohini “Dolly” Rana, the author of The Rana Cookbook: Recipes from the Palaces of Nepal, has now come out with yet another book, The Nepal Cook Book: 108 Regional Recipes. And unlike her previous collection which focused on the royal cuisine of her Rana clan, this one spreads across Nepal to extol the country’s culinary diversity. Rana’s second book is not just a sequel to Rana recipes, but also a sort of supplement to Timmur, Prashant Khanal’s food tour of 12 of Nepal’s main ethnic groups. The Nepal Cook Book divides up the world of Nepali cuisine into chapters: Sherpa, Tamang, Magar, Gurung, Thakuri-Brahmin-Chhetri, Thakali and Newar, and sticks to the more iconic dishes of each.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240215130232_04e711975456065799a8753c8521f56ff15e2493e87bfca73da9839598dcfeed.jpg" data-media-id="editor_0" data-image-id="20240215130232_04e711975456065799a8753c8521f56ff15e2493e87bfca73da9839598dcfeed" data-rendition-name="original" width="1000" height="1500" loading="lazy" alt="Nepal Cook Book NT"> </figure>  The book is lavishly designed and mouth-wateringly illustrated, reminding us that Nepal’s natural and ethnic diversity is also reflected in its cuisine, with influences from north, south, east and west that have also evolved within Nepal into homegrown dishes. Like Timmur, The Nepal Cook Book is an important effort to document the diversity of Nepal's cuisine, which is being eroded steadily by Dal Bhat hegemony. Each chapter is visually rich, showing not just professional food photography but also the fabric, utensils and even jewelry of &nbsp;the ethnic groups featured.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240215130232_0187516b9050411596bb560dab9bdf7fe7046faa1e52104af2618d93be7482c5.jpg" data-media-id="editor_1" data-image-id="20240215130232_0187516b9050411596bb560dab9bdf7fe7046faa1e52104af2618d93be7482c5" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Nepal Cook Book NT"> </figure>  Ethnic cuisine tends to be difficult to replicate because ingredients are not available or its preparation needs practice. But Dolly Rana has simplified the process so that the preparation of Tamang Batuk, Sherpa Thukpa, Tharu Dhikari, for example, seem to be a piece of cake, as it were. When Nepalis stop at ‘Thakali’ restaurants along the highway in Mugling, they are usually looking for a Dal Bhat eatery that is just cleaner and the food tastier than other places. But it is from the Thakali chapter in The Nepal Cook Book that we find out how inaccurate this stereotype is. Original Thakali recipes from Mustang have buckwheat Dhindo, Kanchemba Fried Buckwheat Fingers, Yak Sukuti, and Timur Chope. And Dolly Rana gives us step-by-step instructions to prepare them so that the amateur chef will not be intimidated.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240215130232_bbaf2bb25409a88e55986b690cac7a7950317495c9f32030562dda9cb84ecbea.jpg" data-media-id="editor_2" data-image-id="20240215130232_bbaf2bb25409a88e55986b690cac7a7950317495c9f32030562dda9cb84ecbea" data-rendition-name="original" width="1000" height="1500" loading="lazy" alt="Nepal Cook Book NT"> <figcaption>Kanchemba</figcaption> </figure>  Few know that the most popular dish among the Magar community is the Sutkeri Kukhura Ko Jhol. Unlike what its name suggests, this is not a dish made of the mother hen, but a nutritious broth especially prepared for nursing mothers. The Gurung have gone a step further and marinated their chicken into a pickle so that it does not spoil on long journeys in the days before refrigeration. And the closest Nepal’s cuisine comes to preparing crustaceans is the Tharu Ghoongi snail dish. The most elaborate chapter is on more mainstream Thakuri-Brahmin-Chhetri food, but even here we find speciality dishes that some of us may not be familiar with: Koiralo Ko Achar (nothing to do with the clan of Nepal’s former prime ministers) is a pickle made of ebony buds, or Bhang Ko Achar made from hemp seeds, roasted so they are not narcotic.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240215130232_618ff5f15de30ffc9773f9219a445019186105e5f746f3192ed4f4ee647ad4ab.jpg" data-media-id="editor_3" data-image-id="20240215130232_618ff5f15de30ffc9773f9219a445019186105e5f746f3192ed4f4ee647ad4ab" data-rendition-name="original" width="1000" height="1500" loading="lazy" alt="Nepal Cook Book NT"> </figure>  Besides the chapters on ethnic cuisines, The Nepal Cook Book also has helpful sections on indigenous spices (jimbu and timur), and Nepali fermented foods (kinema, gundruk, tama, yangben). And there is even an explanation about the significance of the number 108 in Vedic cosmology which is why Dolly has chosen that many recipes for her book.&nbsp; She explains in her foreword: ‘I hope that with this auspicious number, my book will succeed in offering a higher level of insight into Nepalese cuisine and culture.’  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240215130228_d58dbf754ba202a9e610b01506a79d10daf76ce43ad9eae37147824675659ace.jpg" data-media-id="editor_4" data-image-id="20240215130228_d58dbf754ba202a9e610b01506a79d10daf76ce43ad9eae37147824675659ace" data-rendition-name="original" width="782" height="534" loading="lazy" alt="The Nepal Cook Book"> </figure>