Gulam Ali to steal many hearts in capital

By Razen Manandhar

KATHMANDU, Aug 29 - After spell-binding Nepali music lovers with his evergreen numbers like Gajalu tee thula thula ankhha, Gulam Ali, the legendary ghazal singer is back in the capital to steal the audiences’ hearts once again.

The veteran Pakistani singer Ali appreciated Almighty God Tuesday for bestowing him an opportunity to come amidst Nepali audience again with Nepali numbers after a gap of 15 years.

The famous singer of ghazals who made a revolutionary craze for ghazals among Nepali audience in 1985, is here in Kathmandu for his live concert and recording of a new album with all new Nepali songs.

In a simple and yet erudite voice, he paid homage to God whom he believes the most, for having "an opportunity" to visit Nepal. "I really thank God that I am here. I know, nothing happens without God’s will."

Audience’s response was the most important gift for Gulam Ali during his first visit. He still remembers the response Nepali audience gave him fifteen years ago. He recalled, "In my first visit, the audience gave me that much of response and love that I have not forgotten yet. And I’m not going to forget it till end (of my life)"

The 59-year-old maestro’s songs have gained fame all over the world but he is thrilled that the Bengali, Afghani and Nepali audience can "give their life" for classical music.

He is aware of the encroachment of Western music in and around the Indian subcontinent but this threat of pop songs cannot flicker his morale. He said,"Pop songs are like storms. It comes and fades and what remains is just eternal."

Gulam Ali came across ghazal singing in his childhood, when his father Daulat Ali Khan took him to different music maestros. Bade Gulam Ali Khan and Barkat Ali Khan were some of his teachers whom he esteems even today.

"I love ghazals because it is always full of sublime words. One can experience beauty of words, expressed through sonorous voice -- when the meaning of words and feeling of voice comes together, they are bound to hypnotize the audience." he explained.

After giving four peerless songs written by MBB Shah during his previous visit, Gulam Ali has recorded eight new songs written and composed by Nepali younger artistes. Digital Symphonic Recording is releasing his new album Sambandh soon. "These songs will be my gift for Nepalis,"
he said.

He will perform two live concerts, one in Radisson Hotel and another in Royal Nepal Academy on 31 August and 3 September respectively.

Earlier, according to the organizers, Their Majesties had graced his special concert at the Royal Palace last Friday.

Gulam Ali, who is also a decent tabla player, has so far recorded around 5,000 songs. Still, he does not believe that he has hit the perfection. "I am continuing my journey. An artiste never finds his journey complete. It is just like journey into the sea - the deeper you go the more water you will find," he said.

These days, he spends "normal and easy" life in the Pakistani city of Lahore.
[Kathmandu Wednesday August 30, 2000 Bhadra 14, 2057.]

How a 'gem' of Gaijatra faded in modernity...

By Razen Manandhar
KATHMANDU, Aug 16 - Blame it on democracy or the media revolution, Gaijatra has lost a major charm khyalaa, street comics and satires.

As in the last few years, those who lost their parents a year earlier took out religious processions today, without any schedule for khyalaas in different nooks and corners of the capital cities. Whereas earlier khyalaas used to be performed even about a week after the Gaijatra day.

Until as late as mid' 80s, the street comics were an integral part of Gaijatra festival. The satirists and other artistes used to take part in the routine 'cow carnival' with instruments, and perform at crossroads for the surrounding audience.

In such comics, the actors played the roles of ministers, lawyers, doctors, farmers and other dignitaries of the society. Each actor represented one particular community and they shed shower of satires and humour in common people's language.

"Those were the days when locals used to compete with each other to attract our performance to their courtyards," says Prem Bahadur Tamrakar, 57, who wrote and directed such street comics in his young days.

Tamrakar, one of the founders of a Gaijatra troupe Khyalaa Khalaa in 1959, said, "We could even play the King's role. No matter how strict the censorship was, we used to experience the complete freedom of expression at least on the day of Gaijatra."

The tradition of street comic, the khyalaa, is deep rooted in Nepali culture. Dr Chunda Bajracharya explaining the history of khyalaa said, it began in the seventeenth century by King Srinivas Malla of Patan when he added "Bathaa" episode in the Kartik Dance.

Dr Bajracharya said that when King Pratap Malla (1641-1674) started the cow festival, it was a means of entertainment assimilated with social satires. "Religious aspect might have been added later after developing the myth of Yamaraj and the gate to the Heaven," she said.

The tradition of cow carnival and street comics flourished side by side. The aboriginal Kathmanduites, Newar farmers were much active in such performances. The period of the year was a free and leisurely period for them.

A social organisation, Munasa tried to convert such comics into stage dramas in the years 1972-79 and held yearly competitions before it collapsed due to political restrictions. Nabin Chitrakar, a founder of Munasaa, proudly recounts that there were over 80 such troupes taking part in the khyalaa competitions.

On disappearance of such street comics, litterateur-turned-politician Padma Ratna Tuladhar says, "It is unfortunate that the changing time has virtually confined Gaijatra merely into a ritual these days."

In the autocratic Panchayati period Gaijatra and the khyalaa were the only means for the public to voice their dissatisfaction against the government. "Now the freedom of speech and other means of expression have diverted public interest from such traditional beauties," he added.

Former lawmaker Tuladhar is one among the celebrated comic writers in Nepalbhasa literature, who started writing comics in early 1970s.

Ramesh Kaji Sthapit, one of the comic director takes the change as a step of evolution if not really development. He says organising street comics in present context is not practical. "Life has become too busy, neither actors nor audience have time for street entertainment."

Critic Dr Mohan Himanshu Thapa says nobody has to wait for Gaijatra to kick satire against the government now. So the impact of khyalaa is fading out. He blames foreign TV channels for deviating people's attention from indigenous genre of humour and satire. "People must fight against such cultural encroachment unitedly and preserve the rich tradition," he stressed.

[Kathmandu Thursday August 17, 2000 Bhadra 01, 2057.]

Swoyambhu facelift not according to masterplan

By Razen Manandhar

KATHMANDU, Aug 10 - It was once dreamt that the hill of Swoyambhunath with its stupa established over 1500 years ago would be restored to its full traditional glory by the year 2000. But the action taken so far in and around the monument site is far from the actual plan.

Unplanned and ugly constructions are taking place almost unabashed in contrast to the vision of the Swoyambhunath Conservation Masterplan (Swoyambhu 2000), recognised by the Ministry of Culture in 1989. The masterplan was prepared by Neils Gutschow and Gotz Hagmuller with Ramesh Jung Thapa and Saphalya Amatya.

The Swayambu, believed to be self-emerged and later developed into a proper stupa by King Vrishavadev in the 4th century AD, is an UNESCO World Heritage Site (WHS) since 1979.

Under Secretary of Ministry of Culture, Tourism and Civil Aviation Dr Saphalya Amatya, involved in designing the masterplan, regrets that it was not being followed. "Everybody knows the masterplan's guidelines are being ignored, it is pathetic," he says.

However, Department of Archaeology (DoA), the government authority responsible for implementing the masterplan has hardly done anything. Director General of DoA Riddi Pradhan is apathetic towards her responsibility. "We don't appreciate any construction done without DoA's approval," she said.

The masterplan suggests to restrict any new constructions, and ensures retaining of the traditional character of the hill. It accepts the existing traditional structures of Theravada and Lamaistic institutions but proposes strict control of any so-called Mane-Gumbas.

Despite the masterplan's proposal to demolish around two dozen ugly new buildings in and around the monument zone, none have been demolished. Instead, a number of new residential houses, Mane-gumbas are being constructed along with serious encroachment of public land.

Ironically, the huge concrete walls being constructed around Swoyambhu hill, which is being proclaimed as a new attraction, is completely against the spirit of the masterplan. The wall is conceptualized in the masterplan, but much traditional looking and modest. The case is similar for big Buddha statue being constructed on the western foot hill.

Bujung Gurung of Manang District Khangsar Society, supervising the construction of the Buddha statue refutes that such a work could be illegal.

On this, DoA Research Officer Bhim Nepal says DoA did not approve the statue. "We had approved the use of land only for a green park but not for big statue construction," he said.

Architect and Historian Sudarshan Raj Tiwari is also against the construction of such a huge wall. He laments that in recent days DoA has become timid in implementing proper norms.

On the other hand, the chairman of Federation of Swoyambhu Management and Conservation Ratna Bahadur Bajracharya claims that all the new construction are adding beauty to the shrine. He even accepts use of cement, which is prohibited by law, as timely requirement. "We cannot always follow the old masterplan. We need timely changes."

As the monument is a world heritage site, an office of UNESCO in Kathmandu supervises it, and reports to the World Heritage Centre, Paris. A Technical Mission of UNESCO formulated 55 recommendations in March 1998, which had stated that "the scale and style of new development within the monument zone will be strictly controlled in accordance with the existing by-laws in order to protect the setting of Swoyambhu hill."

Now, like any other six world cultural heritage sites of the country, Swoyambhu is under the threat of being delisted from the prestigious list. UNESCO officials say that a High Level Delegation is coming to Nepal in September to discuss with government officials about the conservation situation. The delegation is expected to play major role about the fate of seven cultural heritages of the Kathmandu valley.

Gongabu Bus Park is still on the first gear

By Razen Manandhar
KATHMANDU, July 16 - The construction work at Gongabu Bus Park is yet to begin, a month after its much hyped handover by Kathmandu Metropolitan City (KMC) to Lhotse Multipurpose Pvt Ltd (LM).

On May 15, KMC had handed over the 161-ropani (82,000 sq km) Gongabu park, at north-west of Kathmandu to a newly formed private company LM for 45 years. According to the terms of the KMC-LM agreement, the bus park will be developed into a well-managed bus terminal with modern facilities added to the existing facility.

The immediate need is to build 26 tellers, clean the shrubs, repair lightings and provide passengers with up-to-date information on the arrival and departure of buses.

Now, about 150 buses use the ill-maintained bus park and over 15,000 passengers visit it each day.

"It's time LM showed some evident construction works at the park," says KMC Under Secretary Surya Silwal on Friday. He argued that one month is long enough to start the construction and sort out the past mismanagement.

LM signed an agreement with KMC to develop the bus park area into a modern complex within five years at a cost of Rs 327 million. There will be a petrol pump, workshop, garage, supermarket, hotel, additional parking space, first-aid centre, restaurants, and a green park within the bus terminal.

"We have a dream," says Gehendra Bahadur Karki, the chairman of ML . "We will make this bus park a model for the whole country." LM is to pay an annual Rs 5.1 million in lease to KMC which will then increase every year. As the first instalment, KMC has received revenue of Rs 1.7 million from LM.

The park was set by the Japanese government at a cost of Rs 260 million in 1994 and handed over to Nepal. The ownership was eventually transferred to KMC which additionally spent Rs 33.7 million to expand it. Before the handover, the Japanese Embassy objected to KMC's plan to transfer it into a private company. It wrote a letter to the Finance Secretary on April 10, asking it to intervene. In response, Ministry of Local Development (MLD) urged KMC to stop the handover, quoting a Japan-Nepal agreement which requires the two sides to agree in case of reconstruction. The Parliament's Public Accounts Committee (PAC) is currently probing the case.

Kathmandu Mayor Keshab Sthapit urges that despite such "minor problems which are common in Nepal", construction of the bus park will go ahead. He said KMC has spent around Rs 4 million every year in maintaining the bus park. "The private party now is giving us 5.1 million. That means, in all KMC will gain Rs 9.1 million every year," he says.

Kathmandu's Deputy Mayor Bidur Mainali himself is not fully convinced, however. "I am not against privatisation. But the procedure must be transparent."

But Under Secretary Silwal claims that every step of KMC is transparent and regular. An MLD official said that the Ministry is not satisfied with the way the Mayor has moved ahead with the transfer. "He has neglected legal aspects," he says.
[Kathmandu Monday July 17, 2000 Sharawan 02, 2057.]

Gongabu Bus Park is still on the first gear

By Razen Manandhar
KATHMANDU, July 16 - The construction work at Gongabu Bus Park is yet to begin, a month after its much hyped handover by Kathmandu Metropolitan City (KMC) to Lhotse Multipurpose Pvt Ltd (LM).

On May 15, KMC had handed over the 161-ropani (82,000 sq km) Gongabu park, at north-west of Kathmandu to a newly formed private company LM for 45 years. According to the terms of the KMC-LM agreement, the bus park will be developed into a well-managed bus terminal with modern facilities added to the existing facility.

The immediate need is to build 26 tellers, clean the shrubs, repair lightings and provide passengers with up-to-date information on the arrival and departure of buses.

Now, about 150 buses use the ill-maintained bus park and over 15,000 passengers visit it each day.

"It's time LM showed some evident construction works at the park," says KMC Under Secretary Surya Silwal on Friday. He argued that one month is long enough to start the construction and sort out the past mismanagement.

LM signed an agreement with KMC to develop the bus park area into a modern complex within five years at a cost of Rs 327 million. There will be a petrol pump, workshop, garage, supermarket, hotel, additional parking space, first-aid centre, restaurants, and a green park within the bus terminal.

"We have a dream," says Gehendra Bahadur Karki, the chairman of ML . "We will make this bus park a model for the whole country." LM is to pay an annual Rs 5.1 million in lease to KMC which will then increase every year. As the first instalment, KMC has received revenue of Rs 1.7 million from LM.

The park was set by the Japanese government at a cost of Rs 260 million in 1994 and handed over to Nepal. The ownership was eventually transferred to KMC which additionally spent Rs 33.7 million to expand it. Before the handover, the Japanese Embassy objected to KMC's plan to transfer it into a private company. It wrote a letter to the Finance Secretary on April 10, asking it to intervene. In response, Ministry of Local Development (MLD) urged KMC to stop the handover, quoting a Japan-Nepal agreement which requires the two sides to agree in case of reconstruction. The Parliament's Public Accounts Committee (PAC) is currently probing the case.

Kathmandu Mayor Keshab Sthapit urges that despite such "minor problems which are common in Nepal", construction of the bus park will go ahead. He said KMC has spent around Rs 4 million every year in maintaining the bus park. "The private party now is giving us 5.1 million. That means, in all KMC will gain Rs 9.1 million every year," he says.

Kathmandu's Deputy Mayor Bidur Mainali himself is not fully convinced, however. "I am not against privatisation. But the procedure must be transparent."

But Under Secretary Silwal claims that every step of KMC is transparent and regular. An MLD official said that the Ministry is not satisfied with the way the Mayor has moved ahead with the transfer. "He has neglected legal aspects," he says.
[Kathmandu Monday July 17, 2000 Sharawan 02, 2057.]

Esperanto: A different language

Razen Manandhar
Esperanto. It’s the language of love, shareing and respecting one another’s identity. Basically, language is the strongest tie that binds two hearts, communities and even countries. And love is what keeps the world rolling.

According to Judeo-Christian mythology, the descendants of Noah settled in a city after the Great Flood and they challenged God’s authority by deciding to build a tower ‘Babel’ that would reach heaven. God then divided the people into different groups speaking different languages. Since the people could not understand one another, their plan to outwit God went down the drain.

There is one language ‘Esperanto”, which is beyond colonialism and linguistic slavery, through which people can communicate. Esperanto is ‘constructed’ and is designed to be used as a second language by people belonging to any community for inter-personal, inter-communal or international purposes. It was never conceived to eliminate the existing languages. Instead, it respects mother languages of all communities.

Origin
An optician, Dr Lazaro Ludoviko Zamenhof, who had some knowledge of Linguistics, created the language almost accidentally in 1887. He was born in Bjalistok, a province of the Russian Empire (now it lies in Poland). The people living there spoke different languages and it was one major cause of their conflicts and differences. Each community felt its language to be superior to that of others and refused to use other languages.

The adolescent boy set out to solve this problem. He started to create a language, using some three dozen Indo-European languages he knew. It finally took years to emerge as a language. It is still with us today, a miraculous gift to the world.

When Dr. Zemenhof published his First Book (an introduction to the international language in Russian), he used the pseudo name as Dr Esperanto( the optimist).Eventually the language came to be known by that name.

Unlike other languages, it is a neutral language. It does not belong to any country, political party, community or religion. So everyone is free to adopt it and it is very easy to learn. You can learn in a month or so. The whole language can be summarized into 16 basic rules.

History

After the release of his First Book, Dr. Zamenhof started promoting the languag. Within two years, a thousand Esperantists (users of the language) were registered. La Esperantisto was the first Esperanto magazine. In 1905, the first Esperanto Congress in Boulogne-sur-Maer. International correspondence, visits, get-togethers gradually breached barriers. However during the world wars, Esperanto had to face some unavoidable problems. But the language has spread through the world.

Political support perhaps contributes a lot to a language’s prosperity. The century-long history of Esperanto has seen both cheerful and bleak days. No government has officially adopted Esperanto but many have encouraged. Least European countries, Vietnam and China have even supported Esperanto financially. On the other hand, both the Tsars' and Stalin’s Russian did not encourage Esperanto. Many Central European countries outlawed it. Hitler considered it as a tool of Jewish domination and Japan though it to be the Communists’ language. China has encouraged Esperanto of official but not for personal use. Ceausescu in Romania banned Esperanto books. A few years ago, an Esperanto teacher was deported from Iraq.

Today

Organizations for the development of Esperanto are on the increase. There are about 100 major associations in various countries, over 80 international clubs devoted to various concerns. Like art, teaching, economy, environment etc. There are radio programmes and libraries for those who need them.

Hundreds of books and magazines are published every year. Most of the World Classics have been translated and original works, dictionaries in Esperanto are on the rise. According to the British Esperanto Association, several tens of thousands of books have been published in Esperanto. There are about 100 periodicals, plus countless local bulletins and newsletters. At one point, there was even a daily newspaper in Esperanto.

The Universal Esperanto Association (UEA, established in 1908) is the Central Office of Esperanto associations in the world. It lies in Netherlands and has 19,169 members from 119 countries (membership fee is quite high). It is in official relations with UN and UNESCO. Every year, it conducts a worldwide congress in which thousands of participants from over a hundred countries meet, discuss and interact as friends wtihout having to use any rich, powerful or influential country’s language. In 1998, the 83rd Universal Congress (UK) in Montpellier, France hosted 3,133 delegates worldwide. Kofi Annan sent an encouraging message to 84th UK. In 2000 July, the 85th UK will be held in Tell Aviv, Israel. Around the same time, the youth section of UEA will conduct the Youth Congress in Hong Kong.

Correspondence, tourism, education, business and bilateral cooperation are Esperanto’s main fields. But using it for getting a life partner, employment or alms from richer countries is considered a great misuse.

Esperanto in Nepal

Esperanto came to Nepal in 1956 when Tibor Sekelj introduced it to some one hundreds students. Its learners then formed the Esperanto-Societo de Katmandu. It later dissolved, but in 1990, Joachim Werden came and taught the language to some 200 enthusiastic learners. Then Nepala Esperanto-Asocio was formed. An Esperanto tourist event tales place here every other year. Volunteers of Esperanto-Domo commenced a correspondence course but it soon stopped. A Nepali-Esperanto dictionary is in the process of compilation. Many people neglect Esperanto because it does not offer prompt opportunities and some Nepali Esperantists now seem more interested in travelling abroad than actually learning, using or teaching it.

[2000-06-18, The Sunday Post]

Let’s go to Kathmandu

By Razen
Those were the days, when people used to dream that they would at least once in lifetime tread over the pious valley called “Nepal”. They knew there are the temples of Lord Pashupatinath, Guheshwari, Dakshinkali and Budhanilkantha. The gigantic stupas of Swayambhunath and Boudhanath are also there. And, how can one visit and do not take a holy dip in the sacred river of Bagmati?

A lot of water has flown under the bridge since then. Along the changing time, the purpose of visiting Kathmandu has also changed. Now, the educated, intelligent and up-to-date people of Nepal do not have time to think about those outmoded constructions that can give you no jagir, no promotion. Then? Is it that the importance of Kathmandu is withering out? Absolutely not. There are many more reasons for visiting Kathmandu than thronging around the temple of Pashupatinath for a pint of chandan.

Last week, CPN-UML organized an unprecedented programme – ‘Let’s go to Kathmandu”. First, I was shocked why the always-on-fire party is promoting domestic tourism. After a single call from their revered leaders, tens of thousands of people came here. It was just like an avalanche, an ocean or Siberian grassland. I was happy that this old city still retained the charm of Manisha Koirala, which could attract that bold extravaganza at a wink.

All of a sudden, I saw uncountable mass of political activities moving to and fro, countless buses being parked around Ring Road and the streets were more reddish (with sittings of paan) than usual. The population of the capital is ever soaring but it had not tickled my eyes as it did on that day. Actually my eyes were here with a great mission.

They stated there for a couple of days – doing nothing. I thought didn’t they have anything to do – for example, agriculture, factory, business, government services, etc – in their hometowns? Anyway, mouth-watering dishes were waiting for them without having to toil their fingers like in the village. Bottles of imported whiskey and local specialities like buff momo (a rare thing for their villages) had added to the charm. Where else could they enjoy Kantipur FM and shake their hips? Enjoy yourself as much as you can for time and tide waits for nobody.

I thought that this event would certainly boost tourism industry of Kathmandu. They would stay in five-star hotels, eat in executive restaurants and buy some souvenirs from this city of artists. But you see, they had neither money, neither time, nor interest to do anything more than they were supposed to perform. Still, I heard that some tried to meet the lawmakers of their constituency and told hal-khabar of their villages.

On the Judgement Day, all the people were taken to Khulla Manch – the ground that welcomes all, regardless of their parties, qualifications and intentions. The flocks were happy because they saw their sansad leaders for the first time after the election campaign, almost a year ago.

And when the leader saw that the ground was fully occupied, he raised his hand. I was curious what would be his next step. Oh! He then declared that all the leaders, except those belonging to his party, were corrupt.

It was a good idea. Collect some thousands of pseudo-supporters on hire and declare what is the most uncommon. Here goes a Hindi saying – jiski lathi uski bhains (the buffalo belongs to him who possesses a baton).
[2000-04-21, Post Platform]

My house beneath Bagmati bridge

By Manandhar
I swear, I belong to a family that is more indigenous than the indigenous people. My forgather came here long before the Bagmati river started to find her way from Baghdwar. Can you imagine this? I know you can’t.

Let me tell you a story. Once upon a time, there was a legendary lake by the southern slope of the Himalayas. One day, Lord Manjusree of China came over that lake and sent all the water away. When he ventured on this heroic deed, my forefather was his personal secretary. By the grace of Lord Manjusree , our family has been living in the same place where our new building lies. Some other true residents also followed that great idea and settled in the fertile land permanently.

It was only after hundreds of years of our arrival that a river called Bagmati flowed by our land. The river was so naughty that it flowed just beside our parental property. “Poor river,” we though and pardoned her waywardness. We asked her many times to change route but she was stubborn and turned a deaf ear. We didn’t mind it for she looked ‘chwank’ in those days. Then we slept Rip-Van-Wrinkle’s sleep for thousands of years.

We didn’t know how easily time passed. One after another, dynasties came over here to rule and proved themselves good. Then the Ranas came and again “Kangresi’ Democracy followed. What next? The original Pranchayati Democracy followed. We were still sleeping. Yet, we were not unconscious and had at least some idea that weird things were taking place now and then, here and there. Even in those periods, some of our comrades tried to ‘reclaim’ their lawful property. It was not as easy as now. Some crossed the border and some failed.

Then came the ‘topple-or-be-toppled’ Democracy. Hooray! This was the golden chance to occupy the land that our forefathers left for us some thousand years ago. Since all the prime ministers and ministers can’t see other things in this great country beside that hypnotic chair in Singha Durbar, we were free to claim the land of our choice.

But it was not so easy. Some low level officers objected when we tried to build a house on our land. No problem. This is democracy. Money is the only thing we have left to call our culture. A handful of money can hush them for sure. It is a matter of joy for us that this Kathmandu has become the centre of commotion for the whole country. And the environment is so romantic that you can claim any land in this lustrous city provided you know some officials personally. Let’s first build a house and then think whether people will believe in its legitimacy. What if the Bagmati bridge stretches farther than our land. As I have said before, we have been here ever before Bagmati herself, let us leave that bridge alone.

So long as the government falls upon the hands of those who never care whether the Bagmati came first or we did, more and more houses will be built along the ever-narrowing banks of the poor Bagmati. Some day, one will have guts enough to build [ a mansion] just under the bridge and even pull down the bridge itself. Just watch. And if you really have power or money in your pocket, join us. It’s far lucrative than crying out of stopping the pollution in the river.
[2000-04-05, The Kathmandu Post, Post Platform]

Sundari Chowk with marvelous water spout

[HERITAGE TOUR]
By Razen Manandhar

In the history of the Kathmandu Valley, the middle of the seventeenth century is particularly remembered for this is the apex of the awesome Malla dynasty architecture. All the kings of Kathmandu, Lalitpur and Bhaktapur, spent more time in decirating their palaces and surroundings than paying due attention to safeguard their states from foreign invaders. One among the masterpieces of the period is Sundari Chowk of Patan Durbar Square.

The 355 year old courtyard, with one type of art or another in every inch of its walls, windows, door, roofs of buildings as well as the floor with the water spout on its centre, can be the model of the height of Malla period art and architecture. The credit of this courtyard goes to two art-loving and religious kings of Patan — Siddhi Narasimha Malla and his son Sri Nivas Malla.

Though Patan Durbar Square is the smallest among the three palaces of the valley, it is no less significant in art and architectures. Among all, the beauty of Sundari Chowk is incomparable, which in fact extended the palace itself from the southern side. Some said that King Siddhi Narshimha Malla became so ambitious to have the ‘unearthly’ bath spout constructed that he even shifted an ancient Buddhist monastery to some other places and constructed a totally new courtyard on that place. It was the year 1647 AD.

The courtyard of well-proportioned three-storey quadrangle, an outstanding example of Newari architecture reflects the luxury a royal residents could seek out of indigenous ornamentation.

The intricate door way is decorated with guarding images giant stone lions, Hanuman, Narasimha and Ganesh by the wall.

Though the quadrangle itself is not so big, each and every corner has the power to spell bound any visitor with its unparalleled beauty with the minutest carving. Its interior part particularly beautiful, with, and on the top floor a sacreen gallery that over looks the Tusa hiti, the royal bath.

One can hardly find any structure, which is non-functional there. All the structures bear separate utility in the construction or keeping it intact for centuries. On the ground floor, a series of columns leave a small piece of semi-open area under the building. The wood beams are heavily decorated, so are the doors, windows and struts. But, apart from that, the artists have made the whole quadrangle a big sculpture and with detail carvings, giving each piece of wood and stone shapes of Brahmanical deities, human beings, legendary animals and flowers.

The windows just look like showpieces, hanging on the wall. On the third floor, a series latticed windows or screen-verandah is make continuously on all four sides.

The central part of stone-paved ground is the stone waterspout, which used to be the royal bath in Malla times where the religious kings used to purify themselves, offer water to all the deities before thinking about politics. It was so beautiful that Pratam Malla had a copy of it in his Hanumandhoka palace. The water spout is made of metal in the shape of a cock shell, on which gilt Vishnu sits with his consort Laxmi, about to fly on Garuda, his vehicle. It is guarded by two relief images of elephants below the spout.

The spout valley or pit is surrounded by at over 70 magnificent stone idols of Hindu deities in two series of niches, on its retaining wall as well as on the brink. The whole set of beauties is encircled by a pair of serpents, in the mood of protecting the shrine and pilgrims. Moreover, just above the spout one can find miniature of the famous Krishna Temple.

But having such a marvellous specimen of art and monument of cultural heritage is not enough. For at least seven years, the court has been closed. The section of Department of Archaeology does not even have a clear concept what should be done with the courtyard.

The officers there said that Sundari Chowk is closed because the surrounding buildings are crumbling and is waiting for renovation.

But the truth is that nobody knows when it will be renovated. Out of foreign donation, an extravagant "documentation" was done several years ago that blew up tens of millions of rupees. And the department is waiting that some other donors will come up and renovate the monument for them.
[ Kathmandu, Sunday, March 31, 2000 Chaitra 18, 2058.]
http://www.nepalnews.com.np/contents/englishweekly/sundaypost/2002/mar/mar31/2ndpage.htm#3

Indra Pradhan's dream fulfilled

 ART & ARTIST
                     By Razen Manandhar
                    

                     KATHMANDU, April 11 - When God forbids, nobody can
accomplish what he wishes. It was cruel of the Almighty to snatch away
Indra Pradhan just a week before he could resume his one-man show,
leaving his paintings behind for three whole years. Eventually, more than
a hundred paintings by the artist are on show as a retrospective
exhibition at the Nepal Art Council Gallery.

                     The paintings in the collection speak of a whole age
- the most fruitful one after the concept of contemporary art entered
Nepal. Pradhan was not alone. The atmosphere remained always a welcome
and the artists from Nepal or those who completed their studies abroad,
were collectively painting the whole city with novel colours, concepts
and techniques. It could be more than a coincidence that after the demise
of Pradhan, the Nepali art world witnessed a sort of void which is yet to
be filled by the present artists. Both sides of the truth is equally
conspicuous.It was fortunate that Pradhan lived in the decade when
artists were very active and also the era got an artist like Pradhan who
made an impact in the contemporary artists circle with never-tiring
enthusiasm.

                     Broadly speaking, the paintings of Pradhan are
centred in nature and cultural phenomena. Mountains, trees, landscapes,
masks, fish,  portraits and abstract ones make the collection a spectrum
in the world of the artists psyche. Among them, masks have become an
idiosyncrasy- the result of the artists deep concern to culture and
religion from the days of his childhood. There are 27 paintings in this
series and 27 abstract paintings, which are mainly the creations of his
later period of studying, basically, nature, in vague yet deep level. The
Tree series has 25 paintings. Fishes, faces, flowers and landscapes
characterise Pradhan as an artist who loved nature at different
levels from different viewpoints. Besides, about a dozen of portraits
done in his earlier period, which include men and women of various ages,
including a nude, are the evidence that indicates how seriously he had
studied human figures and sentiments.

                     The size of his paintings are as varied as the
topics he had chosen. The exhibition holds paintings from 67.5"X89.5" to
10.5"X10.5" in size. He seemed equally elegant in all the methods- oil,
acrylic on both paper and canvas. His mix media paintings have distinct
identity.  The artists range of colours is indeed wide but he seemed easy
with cool blue. Against his jolly character, his paintings are placid, mild
and soothing to the eyes. An unearthly peace and meditative moods are
vivid in his paintings which could prove a remedy to face the tumultuous
world of today. Yet, they do not allow you to escape from the reality but
places you in a balance.

                     Interested in poetry, music, dance as well as
painting, Pradhan was born on August 15, 1944 in Ilam amidst the lovely
hills of far east Nepal. He studied drawing and painting from Sir JJ
School of Arts and graduated in 1970 before returning with dreams in his
heart.

                     By 1971, he had resumed a couple of group and solo
exhibitions but was not happy with the shows. He wanted to hold an
exhibition with whom he could share some similarities. He discussed with
three other artists, products of the same college where he came from
-Shashi Shah, Krishna Manandhar and Batsa Gopal Baidhya to hold a group
exhibition with some thing new. One day, they gathered at Manandhars room
and came out with a name for the exhibition - SKIB71. Thus an exemplary
group was formed which gave group exhibitions every year for almost two
decades and set a history in the field of Nepali contemporary art.

                     He was the second eldest member of the group and no
doubt, very enthusiastic who encouraged us to hold exhibitions regularly,
said Batsa Gopal Baidhay, a member of SKIB and his room-mate at the
college in Bombay. "He was very dynamic, loving and dear to all in the
college. He used to love all his juniors. And specially, me. I had little
idea about the place and art of learning but he was my guide
during all our stay there."

                     He further explained that they set the group with a
view that everything could be possible if they worked in group. But they
did not paint at the same place. Their preparation was on individual
basis; not affecting one another in the technique and subject matter.
They,  however, used to hold regular meeting and discussed most actively
in topics concerning art and artists of those days. The included other
fields of art are - literature, music, dance and so on. Nonetheless, if
the participants showed little interest, the tradition is not likely to
last long. Baidhya likes his early paintings with symbolic representation
of his innermost feelings. Later he shifted to abstract ones and added
more yellow on the canvas.

                     His contribution in the continuation of SKIB can
never be underestimated. He was the one who used to compel us to work
hard. After he started teaching in Budhanilkantha School, he could not
give much time for us but still, we met regularly, Baidhya added.

                     In 1995, Pradhan intended to hold an one-man show
and for that he worked so hard in preparation that he got stroke after
having the date fixed. He remained in Teaching Hospital for long and
passed away in Delhi while undergoing due treatment, leaving an ambitious
exhibition undone.

                     In the meantime, SKIB was thinking to resume another
group exhibition to mark the 25 years of group forming. After his death,
we went to the Art Council to get some paintings for the show but we
could not succeed and we only kept three of his art works that we had, he
disclosed.

                     He further said that activities of SKIB witnessed a
decline just before the popular movement of 1990 due to the changing
circumstances but his demise has left a vacuum not only to SKIB but to
the whole circle of contemporary artist of Nepal. It would have been
better if the paintings of the late artist were collected by any
government-funded institution than being sold openly but it is useless to
expect such a thing from the present government, he lamented.

                     Pradhan held three solo exhibitions in his life time
and participated in dozens of group exhibitions, including the National
Art Exhibitions. Numerous national and international awards decorated his
dedication to art, such as Indra Rajya Laxmi Pragya Puraskar and many others.

                     No, Indra Pradhan is not dead. An artist can never
die. He has just refused to paint any more. Each painting, in which he
has put parts of his own life, is the evidence that he is living among us".

https://groups.google.com/forum/#!topic/soc.culture.nepal/E5dSdwuqQFk

[14/04/1998}

Paintings with a difference on display

The Kathmandu Post [1997-12-23]
Razen Manandhar

Jaco’s 10 etchings are brought for the collection. Comparatively smaller in
size, his prints are of some that vary in nature from one another. Giving a
faint image of human figures, he has allowed the shapes to hypnotise the
audience with diversity of stretches and distractions-making us aware how
fragile human beings are.

Influenced by his artist mother, Jaco taught handicraft and then turned to
arts school in Rotterdam. He is a sculptor who does etching as well as
sculpturing side by side, and says both are strongly related and belong to
each other. The prints are made of sculptures but those are not replicas, but
just a kind of experiment as he says-bringing about forms, stretching on the
paper.

Generally artists do not prefer graphic designs for each copy varies in
colour and the audience cannot buy anything original. There is a big
possibility that the result may not be what the artist really wants to produce.

However, Jaco takes as minutely and says, “Everybody can buy it; though
paintings are basically for rich people”.

The 37 years old Jaco, who has resumed several exhibitions, aims at
making the people aware of things happening in the world through his work.

Living in a crowded city he made up his mind that the world cannot go on
like this-lots of aggression and violence. Furthermore, working for four
hours daily in a hospital, he has seen many people sick and dying which has
made him aware of vulnerability of human beings-anything can happen; life
is short. “I want to show that though people have never had as much money
as they desire, there is another world where people tend to help the needy”.

He considers himself to be quite pessimistic about the duties of an artist but
says that an artist should be creative "I want people to enjoy". You cannot
please everybody. Only a small group like my work and that is enough.

Paintings: A Heritage of Chitrakars

by Razen Manandhar From Kathmandu Post
The Kathmandu Valley has never been separate from art and artists for each and every cultural, religious or festive occasions and the sole responsibility to decorate the Valley with color has been fulfilled by the Chitrakars, or painters, those who follow painting as traditional profession generation after generation. Heritage of Chitrakars silently advocates their age-long contribution in dressing up the beautiful city.

The huge collection includes a portrait of Bhimsen Thapa done by an anonymous painter in 1832, and many more anonymous antique paintings of which dates are uncertain. Painting of Bagalamukhi, Guhyeshwori, Dwarika and Bishnu exposes the transition from purely traditional to contemporary trend. The paubhas has more to show off than imaginary deities with decorative details. For the collector generally has his family's name and date written with the details of the occasion, and prayer to the God at the bottom.

There are paintings by milestones to Nepali artistic movements like Tej Bahadur Chitrakar, the pioneer to modernization of paintings and Amar Chitrakar, a living legend who still paints today after half a century of non-stop exploration in traditional and modern paintings. Manohar Man Poon's numerous paintings are enough to make people aware of his presence there. Other old and newly emerging artists from Chitrakar circle includes DB Chitrakar, Hera, Keshab, Ratna Bahadur, Sunder Lal, Dil Bahadur, Buddhi Lal, Purna Man, Keshav, Julum, Lekh, Indira, Sunil, Bidya, Nabin Manik, Surya, Resham, Prachanda. Amir, Marina, Sarada, Laxmi, and many others who have been devoted to the world of colors not only for the sake of preserving traditional profession but to revive the value of once neglected creative imagination.

Another interesting part of the exhibition is the pot-painting and decorative prints with stone-colored fillings. The Newars need painted clay pots right after a baby is born. In almost every ritual, such potteries painted with different signs play significant roles. Festivals like Gathamuga, Gaijatra, chariot procession of Kumari and Matchhendranath postulates are paintings by them. A girl child "marrying" with never-drying fruit, a man getting married, an old man celebrating his 66th birthday and even at funerals - such pots can stop the whole affair if they were not produced at the right moment. The Chitrakars have special method of painting them which may have dense meaning behind the simple-looking pictures. The set of such pots, prints, masks etc are also exhibited which are indeed essential for those who claim to understand

Nepal from cultural angles. Besides, some historic and recent photographs, collected by Shyam and Kiran. King Jayasthiti Malla was the one who, in search of producing balance to social diversity and to give traditionl skills a professionalism, divided the local residents of the country in several categories, i.e., families. It originally was not a bad idea to divide the society according to the profession they practiced but later it appeared that the social circumstances led people to believe the working class as inferior to the administrative ones. Further, it became even a fashion to discriminate people according to the profession, that is, their family names. This resulted in Chitrakars reluctance in practicing their profession and later they even shifted themselves came to regard painting as humiliating job.

Meantime, a simple artist Bhajuman got an opportunity to accompany Jung Bahadur Rana in his ever first visit to Britain and commenced practicing with oil color for the first time in Nepal. Later, in 1921, two artists Tej Bahadur Chitrakar and Chandra Man Maskey went to Calcutta and became the first ones to obtain formal training in painting. Both of them started creating disciples in their specializations, oil and water color respectively. This was in one way or another, Renaissance for the artistic movement in Nepal which continued till Lain Sing Bangdel brought new concepts here by 1960s. Some three years ago, Chitrakar Society was formed with the view to channeling the excessive expenditure in social affairs and other activities of social upliftment. It set two targets : teaching basics of painting to Chitrakars and to resume an exhibition of the heritage of Chitrakars. "We are working on how to preserve our ritual art so that the coming generation may feel proud at their ancestors," says Madan Chitrakar, the co-ordinator of the exhibition.

In short, the exhibition is a museum of the heritage of Chitrakars they have so far preserved, evidence of the milestones they have offered to the country and the significance of their paintings and other artwork in social and religious life of the locals.

Bideshko Nepali Shahar - Gangtok 1997-03-01

By the grace of policemen

POST PLATFORM

Razen Manandhar
"You scoundrels, what on earth are you supposed to do for this country? Why don't you try to do something worthwhile? You good-for-nothing boys. I know how to bring you on the track..."

I will never forget the dramatic situation I faced nearly a year ago when I went to Janasewa police station to file a complaint that my brother's store had been burgled. It was 7.00 am. I had a Mahabharat raging inside me to tell. I went straight to the counter and related all I could swiftly. Suddenly, the policeman took off his cap and yelled out, " I know, you Kathmanduites are all fools. You don't take care of your belongings and simply cry over the spilt milk. Do you think we have nothing to do but watch your assets?"

He finished his tea and jotted down all I told him. He then beckoned me to go into a room and wait. There were some eight boys of my age in the room, sitting sleepily, leaning to the wall. They were in different moods. One was already asleep. I later found that they were gablers, brought from Jhochhen the previous days. The inspector-in-charge came and started his stereotype lecture on the responsibility of youth. I admired, how happy we all would be, where all the people (at least all policemen) be wise and conscious.

After a few minutes, the policeman outside entered and told him why I was there. Gee, I missed the chance. He turned to me without regret, and calmly said, "You have to wait a bit. I'll call the fingerprint specialist."

He ordered someone through the phone to send a specialist there. "He will go with you and trace all the prints. That will make our investigation easier," he told me.

I was content with his reply. He read all newspapers spread on the table, smoking cigarettes after cigarettes. I was waiting, waiting and waiting silently. Time was running -- my stomach rumbled. My throat carved for a cup of tea but I saw no sign of getting even a glass of water. With my open eyes, I dreamt as far as my mind could travel (the mind does not do too far on an empty stomach). I saw the cops working hard and catching the burglar and we had got back everything that had been stolen - what a happy ending!

It was 12.00 noon and the concerned person was yet to appear. My patient gave way finally - I forgot every thing but my duty to save me from starvation. I got up and dared to say, " It would be better if I could go."

"You must be joking. Where do you want to go? The man is coming and you have to wait. Sit down," the policeman said. he wrote somebody's name on a pice of paper and handed it over to me.

"Take this. Go to Hanumandhoka and ask for this man. He knows everything. Just show him the place"

I went to Hanumandhoka Police Office and asked a policemen if anybody knew him. Among the crowd, it was not very difficult to meet him. No sooner did he see me, than he boomed, " Why are you so late? I've been waiting here for more than an hour. Understand?"

I preferred to shut my mouth. I simply led him to the shop. He sincerely worked with different types of brushes, black powder etc. Hi finished his job and said, "Look boy. I've finished my job. YOu are not the only person who has suffered this. I hope you are lucky and you get your things back."

Nothing came of it. Months passed. I wished I had gone to the Prahari Anuroth actors, they do things in a wink.
[10/09/1996]

At the funeral of monkeys

POST PLATFORM

Razen Manandhar
"Ladies and gentleman, this tragedy comes as a terrible shock to me. I really feel bitter to stand at the funeral of our so called 38 brave citizens. Although this mishap occurred due to the negligence of Nepal Electricity Authority, I do share the responsibility as I am a staunch authority of human beings. I feel, I should have warned them earlier," The president of the Monkey Republic of Pashupati, an elderly monkey, rearranged the microphone made for that special ceremony. After a deep sigh, continued his speech, taking out his thick spectacles.

"I remember, they have worked hard to build this country's reputation, to keep the legends alive and to keep pace with a world rushing after modernity.

"They were all good monkeys and had a bright future. They are capable of doing something really remarkable for this country.

"Unlike their human counterparts, they are never lured by bribery, never try to twist our holy constitution for their benefit and never torture their counterparts. They have a great respect for their neighbors which other human beings lack. No one snatches others' property nor do they eye the government's property. The only difference between we monkeys and the insatiable men is that we never become greedy for what we really don't need.

"As our country is democratic one, many political parties exist here and those dead too believed in different political principles, but I've never seen them squabbling with each other like their human counterparts.

"Like all our citizens, these victims were also found of entertainment, as if they were born to enjoy. Some of them were hardworking sportsmen and devoted artists bent upon preserving our cultural heritage. they did wear jeans but preferred their mother tongue in FM programmes. they did belong to a different creed but never compared theirs as better one.

"They all were great scholars indeed. They never left their classrooms for narcotic puffs or for any political riot. I'm proud, they never turned themselves into puppets as students in Nepal do. They insisted o avoiding foreign textbooks and teachers. And you see, the children we have are simply geniuses.

"Well, all I want to say is that I smell a big conspiracy here. Most probably, these Fund people are planning a genocide. Perhaps, they want to eliminate us and import a different species of monkeys from Maharashtra.

"I'm grateful to those martyrs who sacrificed their lives against the power of encroachment of some suspicious human beings. May God resettle those departed souls in Heaven. Amen"

[31/08/1996]

Just for a Pajero

POST PLATFORM

Razen Manandhar
"Could there be any thing more shameful than that I, the legitimate wife of a MP, will be walking home even wen all 200 MPs have registered their names to import the most sophisticated vehicles for themselves?" she was offensive at my quiet mood.

It has been more than two weeks my wife's persuading me to buy a Pajero for ourselves, as per the government's extra-ordinary facility for the MPs of this 147th LDC country.

"Look budhi. You have to choose one of us -- you want this husband or go and hunt for another MP-husband who will bring a Pajero for your pleasure." My patience gave way and I had only to say, " Do you know how much money I hand over to you every month?" That eighteen ropani bari in our village won't even fetch you an Indian motorcycle...."

I seldom find guts to retaliate, while she starts her never-ending lecture on home-politics. I broom up my vocal cords and she sweeps all my breeze with her god-gifted hurricane. I tried, "You know how much I earn. My love, I know you have dreams, so do I. But can you feel..."

"Stop it, will you? You see, Dhankumari's father, the MP from our district, he has half the land that we have. I met her last week and she was telling me her father is going to buy one."

"Oh! That old man dupes people easily every year. Let me tell you..."

"And you are chanting a song of sincerity. What a fool! do you know in which country you live? Bribery and corruption are symbols of survival here You have to do at least something for the sake of this country."

"Go on. Let me be proud of a better half of a woman like you. I used to think that had the world be rushing after illegal earnings, my sweet wife will always be at my side to battle against the serpent in the Garden of Knowledge. Now, show me where the apple is."

"I've never thought that you're such a milky naive," she seemed tired of convincing me (could she be?). This is the golden chance our government has provided us with to enhance corruption," she said.

Everybody knows it's simply impossible for a MP to buy a vehicle which costs more than his sincere life-long earnings.

"Think, why we the whole whole pack of them are after a Pajero when they too wear the same piece of cloth as you? You will get the vehicle in 13 lakhs while it costs about 40 lakhs in the market. You don't have to pay a paisa. There will be buyers with sacks full. Just give a couple of signatures and you'll profit a building in Kathmandu, the dream of a MP's wife," she explained.

I was spell-bound. I, now believe that only he who can coax and hoax can lead this country. I confess that the secret of my success is my ingenious wife. It is decided. I'll surely participate in this bonanza!
[Kathmandu, 17/08/1996]

Sisters, go for love!

POST PLATFORM

Razen Manandhar (1996-07-25)

Centuries have pased since the saga of supresson of women commenced. They are acrushed, grouned and squeezed but never heard moaning as in the case of equal property rights. They have made dozens of demands and got even the lawmakers to listen. They are at their shrilling best. It's all happening because they now know only the language of the land, and not of love.

Right from the dawn of civilisation, women seek to posess all the things they see around them. Love for them is nothing more than cuffst to keep spouses and offsprings by their side. Kitchen, garden, office, factory, jeans, and short hair…What else do they need?

A man gets married when he wants to possess something. A woman kicks him out when the right moment comes.

Sisters, I have no prejudice against you. But think, once you claim your parental property, you will be obliged to do all what your brothers do for your parents. Don't you know that parents are the most selfish creatures in the world?

They 'pay' their sons in advance for tehir security. So, you cannot leave them till death and there will be social respnsibilities for you during and even after their deaths.

Even today, parents generally shudder at the thought of a girl child because they cost a hefty dowry. Now, do you think they will ever accept a girl child who will grab the portion and quit with her man?I'm afraid that day will come soon when you will visit a national history museum to trace your own species.

Reluctantly though, you confess that you are always subjected to auction in a way or another. Very soon, you'll create another criterion to have yourself priced. You will be apprised about the resale value of your property and you'll start calling the right customers. Be proud to show off your rightful possessions and buy a handsome husband. So gals, are you ready for the show?

Let parrots, you go on yelling that men exist only to dominate, destroy and demolish the fair sex. Not only you, your cirtues and beauty but your treasures will also be counted. How beautiful our social scenario will be! (For me it's OK. I'll divorce my wife and search for a more wealthy one).

Marriage in our society is getin more and more extravagant and mompous. Oly a few faters can afford a daughter's wedding ceremony without being hurt by the shock of almost going bankrupt. Don't you want to share the true property (i.e., bankrupcy and loans) with your brothers?

So, sisters, don't get furious at this junk. It might be a social crime to utter a single word more against your flock. There are many other spheres of practice which are more vital for your existance. It is merely an open secret that not equality but coveteousness is what matters. Doing always what otehrs say would lead you to an abyss. It's your life, your choice.

So, do you really want land taken by force in the name of women's right or love that 'makes the world go round'? I simply feel pity when you cannot realise that you are runnign after men's signals. Moreever, you will be boycotted or given small patches of land which will cost you a lot -- love.

What turns tourism terrible?

POST PLATFORM
Razen Manandhar
We quote Vedas and say guests are gods. Now, however, the reality we see today is so different that it could just make us ridiculous. Our society has become so mundane that all our divine principles of hospitality have turned into dust. All we care for today is money. The word 'guest' has taken a different meaning altogether in the tourism industry.

Everyday we read that our government spends a huge amount of money to promote tourism. Seminars aren workshops are arranged and training programmes are conducted. But what of them? Dinners and lunches aside, what we get is only papers. Paper for paper's sake? I'm not such a fool as to expect pollution to stop. But I wish we could reform our polluted mentality.

A tourist comes to Nepal to enjoy the exotic beautiy, to gather some memoriies of this Sangri-la. But he is eventually subjected to tolerate and be indifferent to the chaos he sees all around him. You have no other choice than give excuses for all the mismanagement seen everywhere -- from airport to airport.

Some weeks ago, one of my foreign friends came here for holidays. At the airport, I had hardly greeted her when a boy suddently pushed the trolley near a parked taxi and threw her gaggage inside. We too were pushed in the cab as he hurridly told the driver the name of a small hotel where the boy belonged to. I could't even get the time to call the police.

I took her to historical places. I admired her diplomacy for she didn't complain of beggars, vendors, dust, water, noice and taxi fare. Well, when we were at Bhaktapur Durbar Square, a middleaged man poked his crooked nose on us.

"Who's that kuire with you?" he asked.

"Ah, a friend of mine. She's very happy to be here," I retorted.

"Llisten gentleman, we have an association of city guides and you are not allowed to operate as a tourist guide without license. It's beter you send her to me or…", he exploded.

I was dumbstruck to know that I had no right to stroll around my birthplace with friends. Eventually, the matter was settled with the help of two bottles of ber. We trand together and waved eath other good bye. But I forgot to ask whethere he had the licence or not.

Whenever I went to meet her in the hotel, the receptionist always did his best to drive me out. For him, all Nepalis were money changers or drugs sellers.

On the mornign she was to depart, I went to the escort her to the airport. The receptionist frowed as said, "Sorry, she is gone." I was in a fix. I knew there was plenty of time and I drote to the airport.

I waited for half an hour and she arrived. She was shocked and came to me with hears in her heyes. She explained," Thanks, you're here. But the guy told me that you rang him hearly in the morning, telling that you wouldn't come as your ma had an accident. How's she?"
1996-07-02