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 “Barud Mathi Udda”, a literary work of Captain Rameshwor Thapa being published by Bookhill Publi­cation, will hit the bookstands in the first week of December.

The book is based on the pilot and entrepreneur’s extensive fly­ing career, including during the 10 years of the Maoist insurgency. Thapa had as a pilot back then saved the lives of numerous army personnel. According to him, the book offers vivid portrayals of the battlefields and describes his experience of flying during those tumultuous times.

Former AIG Rajendra Bahadur Singh offers insight into Thapa’s role during the Maoist rebellion. “The pilots in the army were not able to supply arms and ammunition to the contingent that was defending the village of Khara from the Maoist forces. Notwithstanding the chal­lenge presented by the chaotic bat­tle, Captain Thapa was able to safely land the aircraft, ensuring that the army had enough supplies and that the injured got essential medical care. Were it not for him, the battle at Khara would have taken a heavy toll on Nepal Army.”

Singh isn’t the only one to appre­ciate Thapa’s flying prowess. Nepal Police DSP Yogeshwor Rom Thami says in the book, “Captain Thapa’s audacity and skillful maneuvers helped us survive Maoist sieges many times.”

The book provides descriptions of Thapa’s flying experiences throughout Nepal. It revisits Tha­pa’s rescue and supply missions in various corners of the then war-torn Nepal such as Khara, Rukum; Bhi­mad, Sindhuli; Bethan, Ramechhap; and Nomu, Dailekh.

It is also a rich story that explains Thapa’s life-altering experiences and frustrations that characterize his journey

But the book is more than just a compendium of Thapa’s experiences during the Maoist insurgency. It is also a rich story that explains Thapa’s life-altering experiences and frustrations that characterize his journey from a kid born into an ordinary farming family to the renowned entrepreneur that he is today. The book has been edited by Rajaram Gautam, former editor of the Annapurna Post.

The aptly named Butterfly Effect, whereby even the smallest of chang­es today can alter or even revolu­tionize the future, is helping raise awareness about gender-based vio­lence, sexuality, and human rights through music.

The Butterfly Effect is bringing together female- headed bands in a celebratory concert, part of its three-phase event that also involves key personnel and celebrities pledg­ing their support through hashtags and photographs over social media. Donations raised through the Cel­ebration Phrase of live concert will be utilized in awareness programs in urban and rural areas of the country. Videos of the concert will appear on TV and social media to further spread the word.

Organized by Sangeet Pathsha­la, in association with Dristi Nepal, a non-profit working for women affected by drugs, HIV and AIDs, the concert will feature Nattu with 11.11 OST, Samriddhi Rai, Mental Radio, Somiya Baraily, Space, Didi Bahini, Faithom, and Superfuzz. The Anna­purna Express is the media partner for the event.

The seventh edition of the Nepal Literature Festival being held on December 22-25 in Lakeside, Pokhara, will feature prominent writers and literary luminaries from across South Asia like Nami­ta Ghokale, Gurcharan Das, Man­jushree Thapa, Prajwal Parajuli and Mohammed Hanif.

Prominent Indian writer Gurcha­ran Das is going to launch his new book during the festival. Festival coordinator Rabin Giri says that the event will also feature a ‘master workshop’ by British graphic novelist Dr. Nicola Streeten, a photo exhibi­tion by photo.circle as well as an art exhibition.

Giri says the festival will deal with topics like literature and democracy, women violence and economy, and topics that are not directly related to literature.

“We organizers believe that litera­ture is an invaluable tool to inspect our society,” Giri says.

The festival is being sponsored by the IME Group. Its Managing Director Hem Raj Dhakal said that the group has always been always willing to work on creative still. “Since we have been offering schol­arships to students from financially weak families and helping earth­quake-affected families fund their children’s education, our interest in education and literacy seems to align with that of Bookworm’s,” Dhakal says.

On being asked about the choice of the venue, Pokhara, festival director Ajit Baral replied, “The environment of Pokhara is clean and majestic, making it a perfect place for the participating authors and guests to see the festival like a vacation experience, free from pollution and noise of overly-urbanized cities like Kathmandu.”

Bookworm has been hosting the Nepal Literature Festival since 2011. What started as an event featuring 75 literary figures, mostly from Nepal, has now turned into a major litera­ture festival of South Asia, with 130 prominent writers, journalists and other literary luminaries participat­ing at the last event in 2017.

“This upward trend is evident not only in the number of participat­ing authors, but is also noticed in the number of visitors, which has soared from 1,000 in 2011 to 25,000 in 2017,” Giri says.

To confine Kanta Dab Dab to a restrictive genre like “fusion” or “classical” or any other broad term would be to undermine the vast talent of this trio of versatile musicians. For Kanta Dab Dab’s music encapsulates no less than the tradition, culture and musicality of the livelihood of the Kathmandu valley.

Sunit Kansakar on sitar, Rizu Tuladhar on bass and Nikhil Tuladhar on drums/percussions, all in their early 40s now, are childhood friends. With over two decades of acquaintance and playing together, their friendship has in time blossomed into strong kinship, which shows in their music. Kanta Dab Dab performs and sounds like a single unit—a magical jukebox playing unique sounds.  

The name and the eponymous debut album of the band (released in 2016) “Kanta Dab Dab” is rooted in the mystical and mythical Newari traditions its members grew up in. The band is named after a character called “Kanta Dab Dab” that emerges during Newari jatras (festivals). The mythological character, dressed in red, never speaks but it is the sound that it makes with its instruments that fascinates everyone, and hence he is named after the sound.

The band takes pride in the fact that it is respected around the world solely for its music

So how does Kanta Dab Dab compose music? “Nikhil is our power house,” Sunit says. “He comes up with unique rhythms and beats inspired by ethnic Newari music, upon which we improvise and create our music.” But it is not only rhythm and beats, Nikhil adds. “Our music is the soul of the environment we grew up in. We are influenced by our cultures, traditions and the colorful livelihood of the Kathmandu Valley.”

Traditional Newari dhime groups practicing in their neighborhoods, the sounds of the various jatras, the stories and folklores in their communities—they all inspire Kanta Dab Dab. “Our music is an interpretation of the themes we take from our lives and the surroundings,” Rizu adds.

Explaining Kanta Dab Dab’s music to someone new is rather difficult. (Hence we took a video of them performing live to compliment this article). On paper, Kanta Dab Dab’s music is a methodical juxtaposition of ethnic Newari folk music and classical music of the South Asia fused with the Western influences of blues, funk, rock, jazz and Latin music. Sans vocals, their songs are not confined to words but still, each tells a story, interpreted in their own way by a vigilant listener. Seeing the band perform live is like watching an ancient conjurer hypnotize his audiences with mesmerizing tricks, one after the other. “Anyone who’s a dreamer and can dream when listening to music will love our music,” says Rizu. Adds Nikhil, “We once had someone from the audience come and tell us that our music intoxicated him. A comment we took as a compliment.”

But what the band does not take as a compliment happened once on their Japan tour. “A Japanese man came and talked to us after the show and told us that although he had seen many musicians from Nepal, he was surprised to find someone who can have a rational conversation and this level of skills with their instrument,” Rizu recalls. “Although it was meant as a compliment, we felt embarrassed. What kind of people represent Nepali music in the international community?” 

The band’s complaint is about the Nepali cultural troupes associated with various political parties who go as representatives of to Nepali music. Kanta Dab Dab has toured extensively in Europe and has also had performed in Uzbekistan and Japan. In Kathmandu and Pokhara, Kanta Dab Dab draw huge crowds, comprised of locals and expats alike, to its shows. 

The band takes pride in the fact that it is given respect and gratitude at international venues not because it is representing a poor third-world country but solely because of its music. “The West has by now seen numerous artists play the sitar or the tabala,” says Nikhil. “But our sound is completely new to them. They appreciate us for our music and not just because we play Eastern instruments or classical music.”

After the success of their nine-track debut album, the band is working on its new one. “There are challenges and it is not as easy as it sounds,” Sunit says. “Personally, I am trying to find new ways to break the sitar’s limitations. I cannot give the same sound to all songs without making them monotonous. So I am exploring with tones and technology for the new album.”

Rizu also feels challenged by the fact that his electric bass is the most modern instrument in the band. He uses a five-string bass to compensate for the instrument’s limited range. “But I found my originality playing bass with Kanta Dab Dab and we are determined to overcome these limitations to create new music,” he says.

Years of listening, learning, teaching, practicing, rehearsing and playing has seasoned the members of Kanta Dab Dab into the dexterous musicians they now are. With their commitment to making music, we can expect more original, organic compositions from them.