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“The idea is to fuse our tangible heritage like this temple premises with intangible heritage like ethnic music,” says Lochan Rijal, the head of the Kathmandu University’s Department of Music. “We want to restore this place to its former glory and give continuity to its traditions while also creating an environment for pure teaching and learning.”

The ambitious project has only crossed its infancy. The idea of an institution that preserves both ethnic Nepali music and an almost forgotten heritage site is commendable. But there is no shortage of vested interests that are hindering reconstruction. Squatters who have unlawfully taken over the guthi land refuse to move. Some of them are living with their families and some have established businesses within the premises.

Kathmandu University—an autonomous, not-for-profit, self-funding public institution—signed a formal agreement with the Guthi Sansthan in 2016 to use the Tripureshwor Mahadev temple premises for 30 years (five years for construction and 25 years for operation). The condition was that the university would rebuild all the physical properties in the area and give continuity to the temple’s traditions.

The temple property starts from the main Tripureshwor road and extends to the bank of the Bagmati River on the Kathmandu side. The temple itself was built in 1818 AD by Queen Tripura Sundari in the memory of her deceased husband King Rana Bahadur Shah. The queen is also recognized as the first female writer of the country and her other recognizable feats include the construction of a bridge that joined Kathmandu and Lalitpur (in Kunpodole) and commissioning Prime Minister Bhimsen Thapa to build the Dharahara.

On paper, the site, excluding the part of the river bank which KU has the permission to use, is 12 ropanis (approx. 65,700 sq. ft.). But when Rijal, who came up with the idea and took up the responsibility of completing it, began to inspect the area, he found squatters encroaching on most of the property. Around 20-25 families were living within the premises when he started reconstruction in 2016.

Brick by brick
“Many families have since moved,” Rijal says. “But there are a few rigid ones who took us to court. We have had more than half a dozen court cases, all of which we have won,” Rijal says. Moving them out is still difficult because of the pressure from the locals and other communities. He fears the project might not meet its five-year completion deadline despite his team’s
best efforts.

The project began with Rijal’s idea of creating an ideal environment where ethnic Nepali musicians from all over the country could be employed in teaching interested students. At the same time, if the idea caught on, at least one heritage site could be saved as a public institution.
The rebuilding of the Mahadev temple and the relocation of the KU Department of Music to the site is not profit-oriented, Rijal informs. “Gone are the days when people built temples and took care of them out of sheer devotion,” Rijal says. “To preserve a heritage site like this, a public institution needs to be involved. This is the KU’s vision. Moreover, we want to start a movement whereby all of our traditional heritages are protected by institutions that can care for them.”

At KU’s current Department of Music in Bhaktapur, the university permits only 27 students in the Bachelor’s program. For the Master’s, only a handful of students are chosen. KU also accommodates international students and has exchange programs for its own students. The department, when it starts operating from Tripureshwor, aims to enroll around 400 students in different courses. Rijal is also planning a Master’s program where students will research extensively on music from various parts of the country and create an ethnographic Nepali music atlas. The bigger plan is also to devise school curriculums that include Nepali ethnic music and to build learning centers in musical communities across the country.

From near and far

The Department of Archeology estimates resurrecting costs of Rs 290 million. But Rijal intends to complete the project with the Rs 200 million he has. After all, he began the ambitious project in 2016 with only Rs 1.9 million. At the time, Nepali as well as international musicians had organized concerts to collect funds. His PhD supervisors from the University of Massachusetts had also put together some funds. (Rijal is the first Nepali to get a PhD in Ethnomusicology, completed jointly from KU and UMass.)

KU approved his vision and gave him an additional Rs 20 million. He lost no time in getting his dream project started. The Thai government then gave him $1.49 million (roughly Rs 167 million). This Government of Thailand donation to KU’s Department of Music was put together by Thai citizens to help rebuild Nepal after the 2015 earthquake.

“Although we have a sizable budget, we will still took to stick to our budget and time limits. To help the cause, as a project director, I take no remuneration. The only remuneration I get is from my classes at KU,” Rijal says. “But there are people out there who want to ruin this project for their personal benefit.”

Rijal points to a private NGO that operates a folk music museum within the temple premises. The NGO’s contract with the Guthi Sansthan is up. Despite the countless efforts of the university as well as the government to relocate the museum, the owner refuses to do so. The NGO instead filed a lawsuit against KU, which the court has decided in the university’s favor. Yet the NGO continues to stay put and to defame KU.
“They have been spreading rumors that KU is a private organization which is going to misuse guthi property. But how can a university whose chancellor is the country’s prime minister be a private institution?” Rijal asks. “They even claim that I am an anti-Hindu and I am doing all this to destroy the temple’s heritage and promote some other religion.”

But Rijal himself comes from a Brahmin family who have followed Hinduism for generations. As for the traditions of the temple, Rijal informs that the university plans to give continuity to the old tantrik rituals at the temple. KU will also provide accommodations to the pujari family that has traditionally performed the rituals.

Fingers crossed

With technical support from his site supervisor Sushil Rajbhandari—who leads a team of more than 100 workers in both day and night shifts—and the knowledge of heritage expert Rohit Ranjitkar, the project’s chief architect, Rijal stays on site to ensure smooth rebuilding. There have been security issues in the past, but Rijal is determined to carry out his responsibility. Prime Minister KP Oli has himself visited the project site and applauded Rijal’s efforts. But the government is yet to provide security to the site and the workers.
For Rijal, there is nothing more important than completing the rebuilding by the target 2020 timeline.
“I am scared that if we fail to complete the project on time, many stakeholders will lose interest and a great dream will die. I have nothing to take from this project besides the satisfaction that I am involved in saving our country’s tangible and intangible heritages which otherwise might go extinct,” says the 40-year-old Rijal, who is also a passionate musician and one of Nepal’s most awarded singers.
The end goal is not only to preserve the temple while creating a space for musicians to study, but also to change music education. Musicians from local communities given opportunities to teach. “The music school will make our music inclusive. All religion-, race- and caste-based music that had been limited to particular communities will now be open to everyone,” Rijal says. With the right skills, anyone from any background will be able to become a musician or a music teacher, he adds. “The world will then recognize Nepali music as a single entity and Nepali musicians will flourish”

No, he’s not popular or famous. At least not among the wider Nepali audience for whom the genre he plays has almost become obsolete. But for the musicians and the aspiring entrants to Nepali rock, Satish Sthapit is a name they revere. Be it established the live musicians who have been performing in concerts around the country or the beginners who have just started their rounds in Kathmandu’s pub-circuit, Sthapit is a musician they all look up to.

Sthapit, now 47, was born and brought up in Kathmandu. He grew up in the Lagan tole, in close proximity of Basantapur, where he spent his childhood scrounging for cassettes of famous international artists to listen to. After his School Leaving Examination, his friends wanted to learn guitar in the break. Fearing he’d be left out, Sthapit joined the legendary music teacher CB Chhetri’s guitar classes in New Road out of whim, and thus his musical odyssey began.

In 1989, Sthapit joined the local band ‘Vampire’ comprised of his neighborhood friends. “Thrash is what we listened to in those days and thrash is what we started playing,” Sthapit recalls. After playing a few concerts with the band, he decided he would have a new outfit, and with friends who connected heads with him musically, he formed Newaz in 1990. Newaz then released its debut album in 1991 and quickly became one of the most popular bands in Kathmandu’s rock scene.

Newaz played live shows in the pubs of Thamel, along contemporaries who could be counted on fingers. From the early 90s, they also started doing outdoor concerts, which were more common in those days, performing for enthusiastic youngsters of Kathmandu. The band’s popularity was recognized by a group of Finnish filmmakers who made the documentary “Kathmandu Rock N Roll” based on the band members and their lives in Kathmandu. Newaz, supposedly a rock n’roll outfit, saw through and explored for themselves the transition of Kathmandu’s musical taste from heavy metal/thrash to rock to grunge.

From the beginning, as a young boy who just wanted to learn guitar so that he could be with his friends to becoming a rockstar of Kathmandu in his late-teens/early 20s, Sthapit’s passion for music only got stronger. But the more serious he got about music, the more worried he became about not finding proper studio technicians and sound engineers to record, mix and master his music. “I got so sick of asking people to help us record our music and then ending up with unsatisfactory results that I decided to learn sound engineering myself,” says Sthapit.

Sthapit made the big move in 1996. He left for Australia to study sound engineering and to explore more music in the developed country. During his stay there, he managed to get a Bachelor Degrees in Sound Engineering from SAE Sydney and to play music with different bands of the city. “Education and experience” is what he got from his stay there. It would be 17 years before he decided to head back to his native country.

He returned to Nepal in 2013 and revived the band Newaz with its original member Roshan Kansakar on the bass. The band has since been performing original music and a few selected covers in shows and concerts in Kathmandu. Sthapit also started a home studio in the underground basement of his house in Lagan, the same room where he used to rehearse with his bands almost three decades ago.

The ‘studio underground,’ as musicians sometimes refer to his studio without a name, hosts recording artists who are unsigned, non-commercial and are looking to break into the music scene with their creations helped by Sthapit’s production skills. The role of a music producer is the most underestimated job in the Nepali music industry but the awareness for quality is gradually growing.

So Sthapit has been ‘hanging in there,’ as most of his contemporary musicians like to put it. “I come from a time when rock music was associated with drugs and violence,” Sthapit says. “But I’m happy to have been able to continue my music through everything. I feel lucky.” Lucky is what the bands that he cuts out the singles and albums for feel. As well as the audience who get to witness him live in action with his band Newaz.

Sthapit also dons the cap of organizing musical events for genres that commercial event companies do not dare pursue. After successful campaigns with grunge and rock music, 2019 will be the fourth year of his dream project—the Kathmandu Blues and Roots Festival. What started in 2016 as a small fundraiser blues event after the 2015 earthquake has now taken a magnanimous turn. The expected revival of the blues has taken speed and last year’s festival saw a half-a-dozen local blues artists perform alongside an international act in the event with an audience of around 1,500—a big number for the blues. “We hope this year’s event will be even bigger and more people with attend,” says Sthapit.

I got to taste many luscious Japanese delicacies during my two visits to the country, in 2015 and 2016. After coming back to Nepal I wanted to taste authentic Japanese, especially the freshly-made sushi, sashimi, the rich and perfectly cooked grilled fish, and refreshing sake—my favorites. At that time I was clueless. But thankfully, I have over the years found a few places in Kathmandu to satisfy my craving for Japanese food. Here are five of them. 

DanRan Restaurant

This homely restaurant in Jhamsikhel run by a Japanese family is quite famous in Lalitpur area. It opened its doors in 2003 and has since been serving authentic Japanese food. With an outdoor garden as well as private rooms, this restaurant can accommodate up to 50 people. DanRan is known for its clam ambience, excellent service, and fresh and delicious Japanese cuisines. Sashimi, Tenpura and udon here are mouth-watering. Check out their Facebook page as they also organize parties with Japanese food. If you are out for a cozy family Japanese dinner, we suggest you to visit this restaurant. The average price of food here is Rs 1,000. Call 015521027 for details.

Sapporo Japanese Restaurant Kathmandu 

Situated in a quiet neighborhood in Baluwatar, this restaurant serves typical Japanese food and drinks. Known for its homemade soba, udon, ramen, goma-ae and teriyaki, this is a food haven for the lovers of Japanese cuisine. Located right opposite Russian Embassy, this restaurant, opened in 2017, also has a seasonal menu you can choose from. Relax in the peaceful and shady garden during warm summer days and evenings. You can also choose traditional Japanese seating as well as standard tables and chairs. Private rooms are available too. Visit for a true taste of Japan. The average price of food here is Rs 900. Call 9803445405 for details.

Kotetsu Restaurant

At Hotel Ambassador in Lazimpat is hidden a gem of a Japanese restaurant, Kotetsu, serving authentic Japanese cuisine. They have a sushi bar, Teppan counter and private rooms as well where you can enjoy the yummy food. Many reviewers have gone on to say that it is the best Japanese restaurant in town. The grilled fish that is quite hard to cook right is a must-try, but the sushi is the restaurant’s specialty. And there is an elaborate menu you can order from. If you drink, then don’t forget Kotetsu sake. The average price of food here is Rs 1,000. Call 016218513 for details.

Urutora Japanese Restaurant

Urutora (“Strong tiger” in Japanese) in Baluwatar has an upbeat ambience and serves great Japanese cuisine that will lift your spirits. There are separate rooms for groups and couples, if you want privacy. They have live music, beer offers and cocktail parties. You enjoy your food listening to soothing Japanese music. The specialty of this lavish restaurant is sushi, Japanese rice sets, pork cutlet rice ball and ramen. The lunch here will keep you energized for a full day. The average price of a dish here is around Rs 700. Contact 014419057 for details.

Tokyo Izakaya food and bar

Izakaya is what I miss the most about Japan. It is an informal Japanese pub that people go to for drinks after work. Drinking is a common way of socializing in Japan and Izakaya is built just for that. And there is one right in the heart of Kathmandu, Thamel. Known for its finest Japanese and continental cuisines, Tokyo Izakaya food and bar was established in 2017. Its mission is to serve the very best food in a relaxed environment. The menu here is exactly like the ones you see in Japan and also gives you a lot to choose from. There are five types of ramen—so you can imagine. Of course, while at it, try some sake too. The price of food here is Rs 500. Contact 014413548 for details.

As anyone who has lived here for more than a few years knows, it gets harder and harder to take home gifts for friends and family. You’ve already taken carpets, Thangkas, and enough pashmina to start a shop! You name it, expats have taken it home. And for Nepalis visiting family overseas, aside from granny’s pickles, what can be taken from Nepal that will be appreciated by young people growing up in the US, Australia or Europe?

Somewhere around mid-2017, I was facing this problem yet again. Then I came across a wonderful concept shop selling uniquely different, and, moreover, good quality locally made products. Opened in spring of 2017, officially in July of the same year, The Local Project Nepal was among the first three concept shops to open up in Kathmandu. But what exactly is a concept store? ‘Bringing different brands and designers together to combine new ideas that promote, suggest or support a certain theme or lifestyle’ is a standard definition. Certainly The Local Project Nepal brings together designers and manufacturers of different brands that appeal to a certain type of customer. The locations of their shops and the products inside, as well as the modern décor, signal quality and a certain price tag. 

I talked with Sachin Shrestha, co-owner, about The Local Project’s beginnings. “My partner, Binam Shakya was a friend of the owner of Evoke who was in the process of building a community of creativity around his restaurant. This is how it began,” explains Shrestha. With Shrestha already working in the manufacturing industry and having contacts with young and new manufacturers/entrepreneurs it seemed a logical step for Shakya and Shrestha to come together. So successful was the store in Evoke’s compound in Jhamsikhel, that in December 2018 The Local Project Nepal opened its second outlet in Le Sherpa in Pani Pokhari. 

What exactly is on sale? Aside from the beanies, notebooks and jewellery I have bought for gifts they also sell amazing copper ware, bags inspired by Mustang cloth, casual shoes, sportswear, paper goods, games, candles, natural beauty goods such as shampoo bars and Himalayan pink salt body scrub…. Around 40 different brands in total. 

“Our original aim was to promote local producers while at the same time benefiting indigenous workers and resources,” states Shrestha. “But actually now we find we are working with brands that focus on different approaches. For example, some work with underprivileged groups, some aim to achieve fair wages for all, some concentrate on the design aspect. The majority of the manufacturers are small. Sometimes the owner is both the designer and craftsman.”

The most popular brands or products? “Most of the customers buy for gifts so jewellery and travel items are popular. I don’t really want to highlight just one of our great brands, but the bags and backpacks created by Mhecha are bestsellers. Not a single day goes by without us selling at least one Mhecha bag,” comments Shrestha. I want to know why they are so popular— with prices ranging from Rs 1,350 to Rs 4,750 these are not inexpensive items.  I’m told that they have become a status symbol for the Nepali youth studying overseas. “We often get calls saying someone is going to study abroad the very next day, and do we have a certain bag in stock,” explains Shrestha.   I take another look at the backpacks and bags.

Meantime I wonder what the future holds for The Local Project Nepal. I’m told that first of all they need to bring their website up to date. Particularly as they are looking to develop online ordering and overseas shipping—no small challenge. Second, an idea is running round Shrestha’s head to collaborate with concept stores overseas. Personally, I look forward to being able to send stunning Nepali made products home through an online shopping portal!

To find out more check out The Local Project Nepal on Facebook.