Baber Mahal Revisited—Again
Unfortunately, despite its amazing history, glorious good looks and interesting shops, it does seem as though Baber Mahal Revisited (BMR) needs a bit of refreshing. Even as recently as 10 years ago, it saw many more visitors. So what has gone wrong? It doesn’t appear to be the complex itself. Could it be a change in shopping habits with the opening of new, glass-fronted malls? Or the dreadful traffic that makes customers think twice about heading to somewhere that is, let’s face it, in the middle of nowhere? Whatever it is I hope this review will inspire you to visit!
Situated between Singha Durbar and Maitighar Mandala, I’m sure you have been there. But when was the last time you really paid attention to the beautiful architecture as you rushed towards your favourite shop or restaurant?
You may know that BMR was created around 1996/97. But are you also aware that BMR pays homage to the Rana palaces that were built throughout Kathmandu during the 1800s to the mid-1900s? This being the period when the Rana dynasty rose and fell; the founder being the infamous Jung Bahadur Rana (1817-1877).
What you might not know, however, is that Baber Mahal Revisited takes its name from the original Baber Mahal (later becoming the Department of Roads), built by Field-Marshal Maharaja Chandra Shumsher Jung Bahadur Rana in 1910 for his son. As these Rana palaces with their European Neoclassical and Baroque architecture were built on vast expanses of landscaped grounds, it’s not hard to visualise why the original palace stables and guard house is now part of Baber Mahal Revisited.
If you really know your Rana palaces, you will know that BMR is not just simply an old cow shed and guard room with some new building constructed around about. No, it’s a complex copying and recreating some of the great Rana palaces; sculptured with a great deal of planning, research, and love.
The entrance to the complex is a small replica of the entrance to Singha Durbar. The first courtyard’s façade is a copy of the Thapathali Durbar, with its Mughal touches and pati. One side of the biggest courtyard, the Mul Chowk, is a replica of Babar Mahal Durbar. Those former cowsheds now house boutique shops in what is known as the galli. Another small courtyard is in the style of less grand townhouses of the period. The windows taken from actual shop fronts in Patan, representing both Asian and European architectural styles. The original guard house stands over by Chez Caroline restaurant, housing more shops. Still want to rush past?
One side of the biggest courtyard, the Mul Chowk, is a replica of Baber Mahal Durbar
Yes, you’ve probably eaten at the great French restaurant, running since BMR opened. I’m sure you have attended an art event at Siddhartha Gallery. But have you seen the Elephant House at the other end of the gullie that sells everything elephant? Elephant statues, elephant necklaces, elephant cuff links, elephant napkin rings, elephant mugs, elephant bottle openers, and did I mention elephants? Next door the Japanese Whisky House might have escaped your attention too. And you might wish it had stayed that way when you see the price tags!
Yamazaki single malt from the distillery near Kyoto is indeed for the (rich) connoisseur, with prices that range in the laks of rupees. Take a moment to discover the hidden terrace hidden within Bawarchi restaurant, where you can partake of a less expensive spirit. Or go upstairs (above Chez Caroline) to Pipalbot where the welcoming owner may offer a cup of Tibetan or Nepali tea while you discuss an up-coming catered gathering, surrounded by Tenzing Norbu prints, silver trinkets, rugs, and wall hangings. There is even heritage-inspired accommodation in the form of Baber Mahal Vilas, run by BMR’s owners, and the discrete, boutique, 3 Rooms by Pauline, run by a French entrepreneur.
With so much on offer, how can we not Revisit?
Rocking with the band
It is not strange to see a popular Nepali singer take the stage with a backing track, and without a band. Then there are other young singers who, accompanied by a single acoustic guitar and a loop station, perform for the audience, eliminating the need for musicians to back them up. As lucrative as this may be for individual singers, the audience may then miss out on power-packed performance of a real band onstage. Musicians will suffer. But who cares so long as the singers are making money? A singer who does is Kengal Meher Shrestha, popularly known as “Kenny” among her friends and followers. A top contestant of the first Nepal Idol, Kengal became a household name through the reality show, thanks to her energetic stage performance and powerful vocals. Her claim to fame came from her ability to recreate unforgettable versions of famous Nepali songs in her live performances, and she sure was able to cash in on the popularity by travelling the world on concert tours with her fellow contestants.
But Kengal wants the world to know that doing covers on music tracks is not her thing. She now wants to continue something she had been doing before reality TV made her popular—be part of a band again. Thus the formation of Type III with former band members and close friends Carey Maharjan on drums, Sunny Raj Shrestha on guitars and Laxu Prajapati on bass.
“I was more into performing with a band ever since I started singing, and much before Nepal Idol happened. I used to perform with Carey, Sunny and other members,” Kengal says. “I know how hard we worked together to make good music in the initial days and there is always a sentimental attachment between the members. We are like a family.” Kengal, Sunny and Carey, all in their mid-20s, go back to 2011 when they were trying to enter the music scene and looking for like-minded musicians to collaborate.
The road to band-formation has not been easy for Kengal though. “My image as a solo singer definitely doesn’t help. It has been difficult to promote the band only by its name,” says Kengal, who doesn’t want to prefix the band with her name unlike many other popular singers. Being a part of a new act without using her already popular name is obviously a challenge.
Type III is working on its original music and is ready to hit the studios with a few singles
But despite the challenges of putting together musicians from different backgrounds, petty arguments, and managing time for compositions and rehearsals, Type III members believe sheer love of music and team spirit will pull them through. Type III is just a name, the members say, and they chose it because it had a nice ring to it. They define their music as alternative rock, highly influenced by the American female-fronted band Evanescence. Type III is working on its original music and is ready to hit the studios with a few singles and eventually an album. It is also performing live at every opportunity it gets and definitely wowing the audience.
Type III also featured in The Annapurna Express Music Fest on Feb 9 at Tangalwood, Kathmandu where the band impressed one and all with its heavy sounds and tight performance. There are still only a handful of female-fronted rock bands in the country. Therein lies great potential for Type III.
A taste of Spain
The El Mediterraneo restaurant and tapas bar at Jhamsikhel, Lalitpur has been in operation since 2012 and claims to be the first Spanish restaurant in Kathmandu, and probably the only one thus far. The quaint little premise of the El Mediterraneo is right on the main road from Pulchowk to Sanepa and is a hub for Spanish food lovers, or anyone who wants to try new cuisines. The normal tapas menu at El Mediterraneo features Gazpacho, Patata Brava, Bomba Patata, Solomillo a la plancha and other Spanish delicacies while the main course has a wide range of pastas and rice dishes. (Don’t get intimidated by the names though, the menu at El Mediterraneo does have English translations and details of all the food items it serves.)
THE MENU
Chef’s Special:
- Risotto
- Jamon Serrano Y Pan Con Tomate
- Grilled Prawns
Opening hours: 12:30 - 9 pm
Location: Jhamsikhel, Lalitpur
Cards: Accepted
Meal for 2: Rs 2,500
Reservations: 01-5527059
A Weeping Banyan captures Kathmandu’s plight
The Weeping Banyan is an exhibition of 10 artworks by American Visual Artist Maureen Drdak, a Fulbright scholar pursuing her fellowship in Nepal. Seven of her artworks employ lapis lazuli (a gem) and palladium and blend them with graphite drawings. The other three employ a more complicated combination of copper repousse metal integrated with painting, ‘a material synthesis’ pioneered through her study with Master Rabindra Shakya of Patan.
At first, one could be bewildered trying to decipher the meaning behind the artworks. But on introspection, what appears to be a random stroke of brushes gradually make sense.
The exhibition is a “visual meditation on environmental degradation” inspired by a banyan tree Maureen saw in the nearby Kalikasthan. Constrained from growing into its natural form, the tree’s roots became hanging appendage of tree mass. Maureen drew a parallel with Kathmandu’s development and its spite for nature. The result: the Weeping Banyan.
The exhibit at the Contemporary Art Gallery, Taragaon Museum, runs through Feb 24.
