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  • Lalitpur Earns Global Acclaim, Designated a UNESCO City of Music

    LALITPUR, Nepal – The ancient city of Lalitpur (Patan) is now officially a global beacon for musical heritage, having been designated a UNESCO Creative City of Music.

    The announcement, made by UNESCO Director-General Audrey Azoulay on World Cities Day 2025, places Lalitpur among a group of 58 new cities joining the UNESCO Creative Cities Network (UCCN), which now spans 408 cities across over 100 countries.

    “UNESCO Creative Cities demonstrate that culture and creative industries can be concrete drivers of development. By welcoming 58 new cities, we are strengthening a Network where creativity supports local initiatives, attracts investment and promotes social cohesion.”

    UNESCO Director-General Audrey Azoulay

    This title celebrates Lalitpur not just as a museum of ancient art, but as a living, breathing center of sonic tradition, where music is the heartbeat of daily life and cultural expression.

    A City Where Music Echoes Through the Ages

    For centuries, the soundscape of Lalitpur has been defined by the sacred rhythms of the dhimay and ponga drums during festivals, the melodic chants of Newar Buddhism, and the skillful craftsmanship of traditional instruments.

    This designation validates the city’s enduring commitment to preserving its intangible cultural heritage.

    “This prestigious designation validates what we have always known—that Lalitpur is a city where music breathes, lives, and tells our story,” the announcement was hailed as a historic achievement for every resident and musician, and a moment of great pride for all of Nepal.

    Lalitpur Joins a Diverse Global Cohort

    Lalitpur finds itself in illustrious company. It now shares the “City of Music” title with new members like the jazz birthplace of New Orleans (USA), the vibrant hub of Kisumu (Kenya), and the historic city of Kyiv (Ukraine).

    This year’s cohort also saw the introduction of Architecture as a new creative field, with cities like Quito (Ecuador) and Rovaniemi (Finland) leading the way.

    Other notable new members include Riyadh for Design, Giza for Film, and Aberystwyth for Literature, each celebrated for a distinct cultural expertise that generates social and economic dynamism.

    Did you know? With this addition, Nepal now boasts two UNESCO Creative Cities. Kathmandu was previously recognized as a City of Film, solidifying the entire valley’s status as a powerhouse of South Asian creativity.

    Beyond the Honor: A Future of Creative Exchange

    The designation is a starting point for immense opportunity. As part of the UCCN, Lalitpur is now plugged into a global platform for cooperation.

    The city can share best practices and develop joint projects with other members, from gastronomy cities like Matosinhos (Portugal) to media arts hubs like Malang (Indonesia).

    This membership paves the way for leveraging creativity to attract investment, support local musicians and instrument makers, and integrate cultural strategies into urban planning.

    For tourists and culture lovers, this offers a compelling reason to visit Lalitpur with a more attentive ear.

    They are invited to experience not just the visual splendor of the Patan Durbar Square but to immerse themselves in the sounds of its living heritage—from the spontaneous performances during the Gumlā Bājā festival to the timeless melodies that fill its hidden courtyards.

    Explore the rich musical heritage of the Kathmandu Valley through resources like the Music Museum of Nepal and learn about the intricate process of traditional Newari instrument making.

    The journey continues as all UNESCO Creative Cities are invited to the Network’s 2026 Annual Conference in Essaouira, Morocco,a City of Music since 2019, where Lalitpur will have its first major platform to share its unique rhythm with the world.

    For more information visit the official on the UNESCO Creative Cities Network.

  • Rani Pokhari of Bhaktapur: The Original Queen’s Pond

    In the heart of Bhaktapur lies a quiet pond few tourists notice, yet one that holds a dramatic story.

    Built by Jagat Jyoti Malla in memory of his queen, this lesser-known “Rani Pokhari” predates the one in Kathmandu.

    Chatpter 1: The Royal Love Story Behind Bhaktapur’s Rani Pokhari

    Long before Kathmandu’s Rani Pokhari became a landmark, Bhaktapur’s King Jagat Jyoti Malla built a beautiful pond to honor his queen, Rajlaxmi Devi.

    The inscription says it was completed within five months

    Built in 1687 BS (1630 AD), this original Rani Pokhari Bhaktapur was a testament to royal devotion, designed not just for beauty but also to enhance the city’s prestige and host religious ceremonies.

    But this love story was interrupted by war.

    During a conflict with the kingdom, Kathmandu’s King Pratap Malla invaded Bhaktapur and reportedly demolished the original pond, even taking its golden Nag (serpent deity) and other artworks to adorn his own Hanuman Dhoka Palace.

    Chapter 2: The Rise of “New” Rani Pokhari in Kathmandu

    In a dramatic twist, Pratap Malla replicated it back home. Around 40 years later, in 1727 BS, he built Kathmandu’s Rani Pokhari to console his grieving queen.

    This act of architectural imitation explains the name: Kathmandu’s Rani Pokhari was called Na Pukhu(“New Pond” in Nepal Bhasa), to distinguish it from its older sibling in Bhaktapur.

    Chapter 3: The 38-Year Silence: When the Pond Vanished from Public Memory

    For centuries, the pond was maintained, with King Jitmitra Malla conducting a major renovation, as recorded in an inscription found on the site.

    However, the pond’s fate took a sharp turn in 2040 BS (1983 AD) during the Panchayat era.

    In a move that shocked locals, the Nepal Army took control of nearly 500 ropani of public land in the area, including the historic Rani Pokhari and the adjacent “Sano Tundikhel.”

    The army built a residential school, sports grounds, and other structures on what had been a public commons.

    For 38 years, the pond became a “ghost pond”—overgrown, neglected, and accessible only once a year during the Dewali Puja festival, and even then, only with special military permission.

    A living piece of heritage had vanished from public life.

    Chapter 4: The People’s Victory: Reclaiming a Lost Heritage

    The pond’s modern rebirth is a testament to persistent local advocacy. The turning point came in 2075 BS when Bhaktapur Mayor Sunil Prajapati met with the then-Defense Minister and Chief of Army Staff, Purnachandra Thapa.

    He argued for the pond’s return, highlighting the annual struggles of locals wanting to worship their ancestral deity. His proposal: the municipality would take full responsibility for the restoration and upkeep if the army would return the pond to the public.

    In 2076 BS, the army agreed. The Rani Pokhari was coming home.

    Chapter 5: The Grand Restoration & Archaeological Treasures

    The municipality embarked on an ambitious NPR 2.54 crore restoration, aided by 884 volunteers who contributed their labour. What they uncovered was a time capsule:

    • The restoration confirmed the pond’s area as 12 ropani, 5 aana, 2 paisa.
    • Archaeologists found crucial stone inscriptions from King Jitmitra Malla’s reign, detailing his restoration and the grand festival he held, inviting kings from Kantipur and Lalitpur.
    • Other artifacts like Umamaheshwar statues, Shiva Lingas, and traditional water spouts (Jaldroni) were unearthed, confirming the site’s deep religious significance.

    The pond was meticulously restored in the Malla-era architectural style, with a new boundary wall, four gates, and the central golden Nag reinstated, its head watching over the once-again serene waters.

    Epilogue: A Living Heritage, Once Again

    In 2023, after nearly four decades, Bhaktapur’s Rani Pokhari was officially reopened to the public by Narayanman Bijukchhe.

    Rani Pokhari in Bhaktapur covers about 12 ropani 5 aana. Its centerpiece—a golden Basuki Naag pillar—symbolically connects three sacred ponds:

    • Rani Pokhari (head)
    • Siddha Pokhari (body)
    • Na Pukhu (tail)

    This belief, documented by cultural expert Om Dhaubhadel, reflects Bhaktapur’s ancient cosmological design.

    Around the pond stand Malla-era pati (rest houses), stone pavements, and brick walls built in traditional style.

    One unique structure, the “Hwang-Hwang Falcha”, earned its name from the sound of wind passing through its old, hollow walls.

    In the Malla period, it was a resting point for dance troupes from Patan and Kathmandu who performed in Bhaktapur’s royal courtyards.

    Visit the Revived Rani Pokhari in Bhaktapur

    Today, Rani Pokhari stands not only as a memorial to a queen but as a powerful symbol of community resilience and the successful reclamation of public heritage.

    The story of who built Rani Pokhari has many answers: a king for love, another for conquest, a city for its people, and finally, a community that fought to bring it back to life.

    📍 Where: Nagarkot Road, Sallaghari, Bhaktapur (near the Sainik Awasiya Mahavidyalaya)
    🕒 Hours: Open to the public daily
    🎟️ Entry: Free

  • Dhikri: The Soul Food of Nepal’s Tharu Community You Need to Try

    Dhikri: The Soul Food of Nepal’s Tharu Community You Need to Try

    Move over momo, there’s another dough-based delight in town – and it’s been hiding in plain sight in Nepal’s Terai region.

    Meet Dhikri, the soft, steamed, hand-shaped rice cake that’s more than just food – it’s edible heritage from the Tharu people.

    Dharki - Traditional Food of Tharu Community of Nepal

    Intro: Dhikri

    Dhikri is a traditional steamed rice-flour dumpling central to the culinary and cultural life of Nepal’s Tharu community. Typically prepared during the harvest festival of Maghi, it serves both as festive food and a symbol of community unity and prosperity.

    The magic of Dhikri  lies in its texture: soft, slightly chewy, and incredibly satisfying.

    But what really makes its special is the stories and traditions kneaded into every batch.

    The Cultural Heartbeat of Tharu Celebrations

    Dhikri holds ceremonial importance among Tharu people, especially during Maghi, a celebration marking the New Year and harvest season.

    Families gather to shape and steam the dough into symbolic forms—often rods, rings, or coiled patterns—representing fertility and abundance.

    The making of Dhikri is communal, reinforcing kinship and shared identity.

    Preparation and ingredients

    The dish is made by kneading fine rice flour with warm water into a smooth dough, shaping it into small pieces, and steaming them over banana or sal leaves.

    The result is soft, slightly chewy dumplings with a mild, earthy flavor.

    It is commonly served with:

    • Spicy lentil soup
    • Fried fish from local rivers for a crunchy contrast
    • Tangy tomato chutney
    • Fresh vegetables from kitchen gardens

    Nutritional and regional context

    As a rice-based, gluten-free food, Dhikri provides carbohydrates and is easily digestible, making it a staple for festive meals.

    It reflects the agrarian roots of the Tharu community, whose cuisine emphasizes local grains, seasonal vegetables, and minimal use of oil.

    Where to Taste Dhikri

    Dhikri is best experienced in Tharu homes during festivals like Maghi.

    It is occasionally featured in Nepali restaurants promoting ethnic cuisines and is prepared by Tharu families abroad to preserve their heritage.

    • Tharu Community Homestays in Bardiya and Chitwan offer Dhikri-making sessions.
    • Local eateries in Dhangadhi and Nepalgunj sometimes serve it with fish curry.
    • During Tharu Cultural Festivals, visitors can watch women shape and steam Dhikri fresh in traditional earthen pots.

    Epilogue: Nepal’s Underrated Culinary Gem

    Dhikri might not be trending on Instagram (yet), but it deserves to. In a world where fusion food and fine dining steal the spotlight, this humble Tharu dish reminds us what food really means — connection, celebration, and continuity.

    So next time you travel Terai, skip the usual restaurant route. Visit a Tharu village, sit cross-legged by a mud stove, and let the stories — and steam — do the talking.

  • Kathmandu’s Tempo Tales: Kaalo, Bikram to Safa

    Kathmandu’s Tempo Tales: Kaalo, Bikram to Safa

    How Three-Wheeled Icons Shaped the Valley’s Commutes (and Chaos)

    Kathmandu Tempo Tales

    Imagine Kathmandu in the 1980s: dusty streets, rickety buses, and motorbikes weaving between potholes.

    Then comes a sharp buzz — a Kaalo Tempo whizzing past, its black frame packed with commuters bargaining with the driver.

    For nearly three decades, tempos weren’t just transport. They were the pulse of the Valley.

    From the scrappy Kaalo Tempo (a poor man’s taxi), to the lumbering Bikram Tempo (half-bus, half-truck), and finally to the clean and quiet Safa Tempo, these three-wheelers tell a story of Kathmandu’s chaotic but colorful march toward modernity.

    The Kaalo Tempo: Kathmandu’s Black Beetle

    Nicknamed Kaalo Tempo (“black tempo”), these Bajaj RE three-wheelers were Kathmandu’s cheaper alternative to taxis.

    • Seating: Three passengers max — one next to the driver, two crammed in the back.
    • Fares: Ran on meters, making them a lifeline for students and office-goers.
    • Character: Buzzing, cheap, and omnipresent in the city center.
    Kaalo Tempo in Nepal

    Fun Fact: The sound of a Kaalo Tempo’s two-stroke engine was so distinct that you could identify it before seeing it. When the government banned them in the late 1990s for polluting too much, the city suddenly felt quieter.

    The Bikram Tempo: Kathmandu’s Workhorse

    If Kaalo Tempos were personal rides, the Bikram Tempo was public transport. Imported from India, these three-wheeled vans became Kathmandu’s unofficial buses in the late 80s and 90s.

    • Capacity: Officially 8–10 passengers, but often 12–15 in practice.
    • Routes: Connected major city hubs like Lagankhel–Ratnapark or Chabahil–Kalanki.
    • Role: Served areas where buses were infrequent and Kaalo Tempos too expensive.

    Did you know? Locals always called them “Bikram Tempos,” though the model came from India’s Scooters India Limited (SIL), which branded them as Vikram. Over time, Kathmandu simply Nepali-fied the name into “Bikram.”

    The Safa Tempo: Kathmandu Goes Electric ⚡

    By the mid-1990s, rising pollution forced Kathmandu to rethink transport.

    Enter the Safa Tempo — Nepal’s pioneering electric three-wheeler.

    • Origin: Introduced in 1995 through donor-funded projects to replace diesel tempos.
    • Impact: Cleaner, quieter, and iconic in Kathmandu’s green movement.
    • Routes: Still run today across the Valley, though in smaller numbers, mostly ferrying passengers along fixed short routes.

    Fun Fact: Safa Tempos were one of the earliest large-scale electric public transport fleets in South Asia — long before “EVs” became trendy.

    When Tempos Ruled the Valley

    From the buzzing Kaalo, to the boxy Bikram, to the humming Safa — tempos filled the gap in a city that outgrew its roads.

    • Kaalo = poor man’s taxi
    • Bikram = the people’s bus
    • Safa = the eco-friendly future

    Together, they carried Kathmandu through decades of rapid urban change, even if they clogged roads, smoked the skies, and tested everyone’s patience along the way.

    Where to Spot Tempos Today 👀

    While Kaalo Tempos have completely disappeared, traces of tempo history still remain:

    • Kaalo Tempo: None in operation, but you can sometimes find old ones abandoned in garages or private collections in the Valley.
    • Bikram Tempo: A handful still run short inner-city routes (like Kalanki–Balkhu or Lagankhel–Gwarko), though most have been replaced by micros and Sajha buses.
    • Safa Tempo: The best bet — still operating in central areas like Ratnapark–Tripureshwor, Maharajgunj–New Road, and Lagankhel–Jawalakhel. You’ll spot them charging at dedicated stations near Bhadrakali and Pulchowk.

    Epilogue: Ghosts of Tempos Past

    Today, Kaalo Tempos are gone, Bikram Tempos are fading, and even Safa Tempos struggle against ride-hailing apps, micros, and Sajha buses.

    Yet ask any Kathmanduite and they’ll have a “tempo memory” — bargaining with a Kaalo driver, dangling from a packed Bikram, or dozing off in the hum of a Safa.

    Tempos weren’t just rides. They were Kathmandu’s moving history.

  • Toni Hagen House: Bhaktapur’s Unlikely Masterpiece

    Toni Hagen House: Bhaktapur’s Unlikely Masterpiece

    From Concrete Blunder to Cultural Icon: The Ironic Rebirth of Bhaktapur’s Toni Hagen House

    (And Why the Man Who Hated It Would Love It Today)

    Overhanding beam of Newari architecture in Tony Hagen house

    Picture this: A Swiss geologist visits Nepal in the 1960s, slams a “tasteless” concrete house in his bestselling book, and decades later… the same building bears his name as a symbol of Nepali heritage!

    Welcome to the delicious irony of Bhaktapur’s Toni Hagen House – a story of redemption, art, and how first impressions aren’t always forever.

    Prologue: The Swiss Geologist Who Loved Nepal Too Much to Stay Silent

    Dr. Toni Hagen wasn’t just any tourist. As the first foreigner to walk Nepal’s entire length (over 14,000 km!) in the 1950s, his love for the Himalayas was legendary.

    His book, “Nepal: The Kingdom in the Himalayas” (1960), wasn’t just a travelogue — it was a love letter wrapped in tough love.

    “Concrete buildings in bad taste have the effect of a blot on the landscape…”
    — Hagen’s infamous roast of a certain Bhaktapur house

    Fun Fact: Hagen arrived in 1950 as part of Switzerland’s first foreign aid mission. His documentaries and books (like Building Bridges to the Third World) made Nepal visible to the West.

    Chapter 1: The House That Toni Hated (and Accidentally Immortalized)

    📍 Gachhen Tole, Bhaktapur, circa 1960
    The offending structure? A boxy cement house wedged between medieval brick temples. To Hagen — a fierce advocate for Nepal’s geography and culture — it symbolized cultural erosion.

    But here’s the twist:

    • Hagen NEVER lived here (despite the name!).
    • The house was built by a local family embracing “modern” materials.
    • Its “blot on the landscape” shame lasted decades.

    Chapter 2: The Redemption – Newa Craftsmanship Strikes Back!

    Fast-forward 60 years. That very concrete “blot” underwent a Cinderella transformation!

    In the 2010s, heritage architect Rabindra Puri led a radical restoration: craftsmen stripped away the industrial facade, weaving traditional Newa woodcarvings, intricate lattices, and terracotta tiles into its bones.

    Front View of Tony Hagen House in Bhaktapur
    Cornice of Tony Hagen House

    And the kicker? They renamed it the Toni Hagen House – a cheeky tribute to the critic whose love for Nepal’s geography, art, and culture inspired its rebirth. Today, it stands not as Hagen’s home (he never lived here!), but as a living “sorry-not-sorry” to his critique.

    Why name it after its critic?

    “It’s a tribute to Hagen’s passion for preserving Nepal’s soul.”
    — Rabindra Puri, The Kathmandu Post

    Chapter 3: Guardians of the Lost Gods

    Inside the revived house lies The Heritage Gallery – Nepal’s most poetic act of rebellion.

    Here, meticulous replicas of stolen stone deities sit proudly, whispering to visitors: “Our originals were looted… but Nepal’s soul can’t be taken.”

    These statues are destined for the future Museum of Stolen Art. Until then? They guard this house of second chances – a place once shamed, now sacred.

    Did you know? Over 200 sacred Nepali artifacts sit in museums from NYC to Paris. This gallery fights back with replicas so accurate, they’re used in Interpol recovery cases!

    Epilogue: Why Hagen Would Smile

    Though Dr. Toni Hagen died in 2003, his legacy thrives. The Toni Hagen Foundation Nepal preserves his mission, while his Nepal documentary and Toni Hagen book Nepal collections keep his voice alive.

    The Toni Hagen House isn’t just a building. It’s Nepal’s wink to history: a cement flop turned cultural shrine, honoring the man who accidentally inspired its glow-up.

    Visit & Contribute

    📍 Where: Gachhen Tole, Bhaktapur (near Dattatreya Square)
    🕒 Hours: 10 AM – 5 PM daily
    🎟️ Entry: Free (donations support the Museum of Stolen Art)

    Deeper Dive:


    Watch his documentary: Uhile ko Nepal “उहिलेको नेपाल”