Quantcast
Channel: Soliloquy of a Wandering Pilgrim
Viewing all 89 articles
Browse latest View live

Maya and Pema go climbing - a short story

$
0
0

Maya and Pema go climbing ~ a short story 


§ Last night

Mayastands in her room, anticipation coursing through her veins. Tomorrow, she will embark on her next mountaineering expedition, leaving behind the familiar and venturing into the untamed wilderness of the Indian Himalaya. With an overnight train journey awaiting her, she is consumed by the task at hand—packing her rucksack meticulously, ensuring she has everything required for a self-supported, alpine-style climb of a 5000-meter mountain somewhere in Spiti. This is the moment she has prepared for, the culmination of her training and dedication. The time has come to test herself and to embrace the purest form of alpinism and the sense of freedom it brings.

§ Tonight

In the depths of the night, as the world slumbers, Maya's heart is filled with excitement and trepidation. She waits at the train station, her backpack slung over her shoulders, ready to embark on this transformative journey. By her side stands a trusted companion Pema, a friend from her college days who shares her passion for climbing. Together, they form a formidable team, their friendship interwoven with the threads of mountaineering. While Maya has trained diligently, Pema possesses a touch more experience, making their partnership a perfect balance of skills and camaraderie.

As the train rumbles forward, carrying them closer to the foothills of the Indian Himalaya, Maya's mind is filled with a mix of excitement and frustration. She is thrilled to be venturing into the wilderness, to challenge herself on the rugged slopes of the mountain. Yet, beneath her anticipation lies a deep-seated frustration that gnaws at her.

In her society, the true essence of climbing is often misunderstood and overlooked. The media and the masses celebrate those who have conquered famous peaks like Mount Everest, unaware of the commodification of such expeditions. Maya knows that climbing Everest in modern times is a far cry from the raw, unfiltered spirit of alpinism she holds dear. It has become a packaged adventure, accessible to anyone with enough money and a moderate level of fitness. The true essence of climbing, the art of navigating treacherous terrain, the mental and physical fortitude required, has been overshadowed by the allure of reaching the summit.

This societal ignorance frustrates Maya deeply. She recognizes the immense beauty and purity in the pursuit of alpinism, the deep connection it fosters with nature and oneself. Yet, her society fails to grasp this concept. They celebrate those who have simply paid their way to the top, missing the true spirit of climbing that lies in the struggle, the growth, and the relentless pursuit of self-discovery.

But Maya refuses to let this frustration hold her back. She has chosen a different path, one of authenticity and purity. She is determined to carve her own way, to embrace the mountains with a reverence that goes beyond accolades and recognition. Maya's love for climbing is not rooted in the desire for instant glory; it is a profound journey of finding herself and uncovering the true meaning of life.

With each passing mile, Maya's frustration transforms into a quiet resolve. She knows that the path she has chosen may be less celebrated, less understood by her society, but she remains steadfast in her pursuit. She finds solace in the company of her friend Pema, their shared passion and unspoken understanding forging a bond that transcends the shallow applause of the masses.

§ Next morning

As the train nears its destination, Maya feels a surge of anticipation mingled with hope. She knows that the road ahead will be challenging, both physically and emotionally, but she also knows that it is through these challenges that she will find her true self. With hearts brimming with excitement, Maya and Pema step off the train, ready to embark on their expedition. They leave behind the noise and expectations of society, their spirits untamed and their minds open to the transformative power of the mountains.

§ Tomorrow


Maya's frustration may persist, but it serves as a constant reminder of her dedication to the purest form of alpinism. She is fueled by the desire to redefine the narrative, to inspire others to see beyond the superficial accomplishments and recognize the depth and beauty that lies within the art of climbing. Maya and Pema set foot on the path ahead, their souls alight with the fire of self-discovery, eager to navigate the untrodden trails and reach new heights, not for the applause of others, but for the unyielding joy of finding themselves amidst the vast expanse of the mountains.


Maya and Pema's story does not end here. It has just begun.  










অচেনা মানুষের অকারণ কৈফিয়ৎ

$
0
0

(এই লেখাটি বিকাশের অসুখের পরের পর্ব। পাঠক যদি  'বিকাশের অসুখ'পড়তে চান তাহলে এই লিংকে যেতে পারেনঃ https://himalaya-raja.blogspot.com/2021/06/blog-post.html

অচেনা মানুষের অকারণ কৈফিয়ৎ 

“বলো তবে, অদ্ভুত অচেনা মানুষ, কী ভালবাসো তুমি?

আমি ভালবাসি মেঘ, চলিষ্ণু মেঘ…উঁচুতে…ঐ উঁচুতে…

আমি ভালবাসি আশ্চর্য মেঘদল।” 

-( বুদ্ধদেব বসুর অনুবাদে ধরা দেওয়া বোদলেয়ারের দ্য স্ট্রেঞ্জার কবিতার শেষ কটি লাইন)  


এতদিনে বেশ বুঝে গেছি রাজনীতি আমার জীবনে কখনও আলোচনার বিষয় ছিল না। ইদানীং, কখনোসখনো বিজ্ঞের মত দেশের ও দশের সম্পর্কে কিছু বিড়বিড় করে বলে বসলেও, এটা ঠিক যে আপনাদের সমাজ গোল্লায় গেলে আমার কিস্যু আসে যায় না। আপনাদের শিক্ষিত, প্রগতিশীল, আধুনিক মানব সভ্যতায় আমার বেশ অরুচি। কারণ, আমার দৃঢ় বিশ্বাস আপনাদের অসুখ বেশ গুরুতর এবং আমার কাছে সেই অসুখের একমাত্র অ্যান্টি-ডোট আমার অ্যাডভেঞ্চার-নিষ্ঠতা। 


বিগত বিশ বছরে একটা প্যাটার্ন আমার নিজের জীবনে আমি লক্ষ্য করেছি। পর্বতারোহণের পরিচিত বৃত্ত যখনই অসহ্য হয়ে উঠেছে, তখনই ভেসে গেছি ভবঘুরেমির ভেলায়, আবার কিছুদিন পরেই ফিরে এসেছি সেই পর্বতারোহণে। ভবঘুরেমির তৃষ্ণা আমার অকারণে বেরিয়ে পড়ার পাসপোর্ট, আর পর্বতারোহণ হল ঘরে ফিরে আসা। তাই, আমার ভবঘুরেমির কোন বিশুদ্ধ, সীমাবদ্ধ সংজ্ঞা নেই। পর্বতারোহণ এবং ভবঘুরেমি এই দুই মিলেই তৈরি হয়েছে আমার জীবনের অর্কেস্ট্রার বিচিত্র সিমফনি। এখানে রাহুল সাংক্রিত্যায়ন, পল থেরু, এরিক শিপটন, প্রিমো লেভি, রবীন্দ্রনাথ, বিভূতিভূষণ, বুদ্ধদেব বসু, এডোয়ার্ড লিয়ার এবং সুকুমার রায় কোনও এক অন্যমনস্ক অসাবধানতায় মিশে গেছেন বোদলেয়ারের দ্য স্ট্রেঞ্জারে।




আমার মনে হয়, লাগামছাড়া ক্যাপিটালিজম অ্যাডভেঞ্চারকে ভোগ্যপণ্যে পরিণত করে দিতে চাইলেও সারতঃ তা একটি জীবন যাপনের পদ্ধতি। 

পাশ্চাত্যে শিল্প বিপ্লবের পর থেকেই প্রকৃতির প্রতি মানুষের দৃষ্টিভঙ্গি বদলে গিয়েছিল। সেই পরিবর্তনের প্রভাব অতি দ্রুত ছড়িয়ে পড়েছিল বিশ্ব জুড়ে। এতদিন যে প্রকৃতি ছিল মানুষের দৈনন্দিন জীবনের অবিচ্ছেদ্য অঙ্গ, ক্রমশ সে হয়ে দাঁড়াল দূরের গন্তব্য। প্রকৃতির সঙ্গে আত্মীয়তা তার আর থাকল না। প্রকৃতিকে এবার সে অন্য চোখে দেখতে আরম্ভ করল। অষ্টাদশ শতাব্দীর মাঝামাঝি, অর্থাৎ, মানব সভ্যতার আধুনিক ইতিহাসে যে সময়টাকে দ্য গ্রেট ডিভাইডের সময় ধরা হয়; মোটামুটি সেই সময় থেকেই দেখা যায় মানুষ আর প্রকৃতিতে সম্পৃক্ত হয়ে বাস করে না। প্রকৃতি হয়ে দাঁড়ায় তার কারখানার কাঁচা মালের যোগান ক্ষেত্র। প্রকৃতির সঙ্গে মানুষের এই বিচ্ছেদ তার মনে বিরহের জন্ম দেয় এবং সম্ভবত সেকারণেই সে মাঝেমধ্যে সময়-সুযোগ পেলে প্রকৃতিতে ‘ফিরে যায়’ কিংবা ‘ফিরে যাবার’ একটা স্বপ্ন তার অবচেতনে কাজ করে চলে। মানুষের এই প্রকৃতিতে ‘ফিরে যাওয়ার’ পন্থা কিংবা প্রচেষ্টাকে কেউকেউ  শ্রেণীবিভাগ করেছেন তিনভাগে-- রোম্যান্টিক, পিকচারেস্ক এবং অ্যাথলেটিক। যে অ্যাডভেঞ্চারকে আমি একটি জীবন যাপনের পদ্ধতি হিসাবে দেখাতে চাইছি তা হল এই রোম্যান্টিক, পিকচারেস্ক এবং অ্যাথলেটিক পন্থার সমন্বয়। 

বিজ্ঞান  ও প্রযুক্তির হাত ধরে এক মহাপ্লাবনের মত আছড়ে পড়া শিল্পায়ন যদি এই (গ্রেট ডিভাইডের) সময়ের নতুন আকাশ হয় তাহলে সেই আকাশে ফুটে ওঠা এক রামধনুর বিভিন্ন স্তরে তাঁদের নিজস্ব রঙ নিয়ে ছড়িয়ে আছেন ওয়ার্ডসওয়ার্থ, শেলী, কীটস, কোলরিজ থেকে জেমস কুক এবং অ্যালেক্সান্ডার ফন হামবোল্ট। এঁরা প্রত্যেকেই নিজের মত করে নিজেদের জীবন এবং কাজে সেই সমন্বয়ের প্রকাশ রেখে গেছেন। 

তাই, মানুষের সমাজে অ্যাডভেঞ্চারের ন্যায্যতাপ্রতিপন্ন করা কিংবা তার প্রয়োজনীয়তার স্বপক্ষে সওয়াল করা যদি একান্তই জরুরী হয়ে থাকে তাহলে জানিয়ে রাখি-- অ্যাডভেঞ্চারের জন্যই অ্যাডভেঞ্চার, ভবঘুরেমির জন্যই ভবঘুরেমি। পৃথিবীকে, তার বায়ুমণ্ডলকে, তার জীবজগতকে বিপন্ন করে দেওয়াটাই যে আপনাদের সমাজের অভিমুখ তা তো স্পষ্ট। তাই ভবঘুরেদের মতিগতি বোঝা আপনাদের কম্মো নয়। তাদের কোনও প্রশ্ন করার অধিকারও আপনাদের নেই। ছেড়ে দিন। আপনারা বরং মন দিয়ে গ্রিন হাউস গ্যাস এমিসন আরও ত্বরান্বিত করুন। প্রতিদিন বেশ কয়েকটি করে প্রজাতিকে বিলুপ্তির দিকে দ্রুত এগিয়ে দিয়ে মানব জাতির যথাসাধ্য উন্নতি সাধন করুন।  

৩ 

যুব সমাজে অ্যাডভেঞ্চারের প্রয়োজনীয়তা গোছের উপযোগিতামূলক পাঁচালীর ব্যাডেন-পাওয়েলিয় প্রচারকার্য আর যার হোক, আমার জন্য নয়। রাহুলজী যে ধরণের ভবঘুরেদের দেখতে চেয়েছিলেন এবং ভবঘুরেমির শ্রেণীবিন্যাস করেছিলেন, তাদের উঠোনে আমি মাঝেমধ্যে পায়চারি করলেও, জ্যাক কেরোয়াক আমাকে তাঁর বোহেমিয়ানায় প্রভাবিত করলেও, বোদলেয়ারের ‘ফ্ল্যানার’ আমাকে আকর্ষণ করলেও; মন থেকে সমাজকে এক নিরাপদ দূরত্বে রেখে দিতে আমি বরাবরই চেয়েছি। লারেন স্টোভার তাঁর ‘বোহেমিয়ান ম্যানিফেস্টো’ বইতে মূলত পাঁচ রকমের বোহেমিয়ান চিহ্নিত করেছেন- নব্য, জিপসি, বীট, জেন এবং ড্যান্ডি। আমি অনেক ভাবনা চিন্তা করে দেখেছি এই পাঁচটা আর্কিটাইপের কোনটাতেই আমি ঠিক ফিট করি না। আবার জার্মানির যুব সমাজের একাংশের মত নিজেকে একেবারে সমাজ বহির্ভূত ‘আউস্টিগা’-র দলেও ফেলতে পারিনি। 





‘সভ্যতা ও ফ্যাসিবাদ’ প্রবন্ধে কবি বুদ্ধদেব বসু লিখেছিলেন, ‘নিরিবিলি ঘরের কোণে বসে পড়াশোনো করতে’ ও ‘মাঝে মাঝে এক-আধটা কবিতা লিখতে’ চান তিনি। তবু ফ্যাসিবাদের মতো একটি রাজনৈতিক বিষয় নিয়ে কলম ধরতে তিনিও বাধ্য হয়েছিলেন। সেই প্রবন্ধেই রাজনীতিবিমুখ বুদ্ধদেব অপকটে বলেছেন: ‘শান্তির সময়, সুখের সময় নির্লিপ্ত থাকা সম্ভব, হয়তো সে অবস্থাই স্বাস্থ্যের পক্ষে অনুকূল, কিন্তু চারিদিকে যখন অশান্তির আগুন লেলিহান হয়ে জ্বলে উঠে তখন কবি বলো, শিল্পী বলো, ভাবুক বলো কারো পক্ষেই মনের মধুর প্রশান্তি অক্ষুণ্ণ রাখা আর সম্ভব হয় না, যার প্রাণ আছে তার প্রাণেই ঘা লাগে। ...তাই আজ পৃথিবী ভ’রে লোক যখন তার বীভৎসতম মূর্তিতে প্রকট তখন আমরা কবিরা, শিল্পীরা স্বভাবতই, নিজের প্রকৃতির অদম্য টানেই, ঐ বীভৎসতার বিরুদ্ধে দাঁড়াবো—এর মধ্যে রাজনীতির কোনো গূঢ়তত্ত্ব নেই, আমাদের মনুষ্যত্বের, কবিচরিত্রের এটা ন্যূনতম দাবি।’(ঋনঃ রাজীব সরকার, প্রথম আলো) 


বুদ্ধদেব বাবুর যা এক-আধটা কবিতা, আমার কাছে তা একটা পর্বতাভিযান কিংবা আফ্রিকা মহাদেশের বুকে একটা সাইকেল নিয়ে নিরুদ্দেশ হবার মত ঘটনা। তাই পথ চলতে গিয়ে যখন চারপাশে ফ্যাসিবাদের বাড়বাড়ন্ত আবারও চোখে পড়ে তখন তা কবির মত এই সমাজ-নিঃস্পৃহ ভবঘুরেকেও নাড়া দেয়। কারণ, ভবঘুরেরও মনুষ্যত্বের, চরিত্রের এটা ন্যূনতম দাবি। এরমধ্যেও রাজনীতির কোনো গূঢ়তত্ত্ব নেই। 

তবে, আমি যেমন বিশ্বাস করি অ্যাডভেঞ্চার ব্যাপারটা জীবন যাপনের এক পদ্ধতি, এক ধরনের আর্ট, ঠিক তেমনই সমাজ-নিঃস্পৃহ অ্যাডভেঞ্চারময়তা আমার কাছে এক ধরণের কলাকৈবল্য। 


এবং দিনের শেষে আমার চারপাশের লোকজনের মাঝখানে এক অদ্ভুত অচেনা মানুষ হয়ে থাকতেই আমার ভাল লাগে। সমাজ সংস্কার, ধর্ম রক্ষা আপনারাই করুন না! আমি না হয় সেই লিয়ারের ( এবং সুকুমারের, আচ্ছা না হয় সত্যজিতের) জুম্বলিদের মত  ছাঁকনি চেপেই সাগর পাড়ি দেব।    



On the Shore of the Walden Pond

$
0
0
The old adventurer sat in his study, surrounded by worn maps, faded photographs, and dusty artifacts from distant lands. The weight of time bore heavily upon his weary shoulders as he stared out the window, his gaze fixed on the horizon that seemed forever out of reach. 

The Retired Adventurer, Image courtesy: dndspeak.com 

Once, he had roamed the vast wide-open wilderness, a free spirit in search of the unknown. He had traversed deserts, scaled mountains, and sailed across treacherous seas. Every step brought a new adventure, a new story etched into his weathered skin. But now, his body had grown frail, his legs weakened by the relentless march of time. His wanderlust had been confined to the fading memories that flickered like distant stars in the recesses of his mind. Each day, as the sun rose and set, the question echoed in his thoughts: when will he travel again? It haunted him, an ever-present ghost that whispered in his ear, reminding him of his limitations.

The society in which he lived had changed, morphing into a toxic environment that seemed to suffocate the spirit of exploration and wonder. It pulled at him, tugging him into a self-imposed exile within the walls of his home. The outside world felt alien, a place where he no longer belonged.

Was this an implosion, he wondered? A collapsing of dreams and aspirations, crushed beneath the weight of age and societal pressure? But even in his darkest moments, he knew that the answer lay not in dwelling on what could have been, but in accepting what was.

He closed his eyes and let the memories wash over him, like gentle waves lapping at a distant shore. He recalled the scent of the earth after a storm, the exhilaration of reaching a summit, and the warmth of camaraderie shared with fellow wanderers. 

As sadness settled in his heart, he found solace in the acceptance that life had its seasons, its ebb and flow. His adventures had taught him the impermanence of all things, the fleeting nature of experiences. And with that wisdom came a deep calm, a sense of resignation to the passage of time.

He realized that even if he had never tasted the nectar of a free, nomadic life, he would still carry the burden of longing. It was the price one paid for having been touched by the vastness of the world, for having danced with the winds of distant lands.

There would never be an end to this ache, this yearning for what was lost. But he found comfort in the knowledge that his travels had gifted him with resilience, with an unyielding spirit that refused to be extinguished.

And so, as the sun dipped below the horizon, casting a golden glow upon the room, the old adventurer rose from his chair. He walked to the window once more, gazing out at the world beyond, knowing that he would forever be tethered to the memories of his wandering days.

In that moment, a tear trickled down his weathered cheek, but it was not a tear of despair. It was a tear of gratitude for a life well-lived, for the boundless beauty he had witnessed, and for the lessons that had shaped him into who he had become. With a heavy heart, he turned away from the window and made his way to his bed. As he settled beneath the covers, he whispered a silent prayer to the universe, asking for peace and acceptance in the twilight of his days.

And as he closed his eyes, the old adventurer drifted into a world of dreams, where he was once again free, on the shore of the Walden pond, wandering beneath a starlit sky, forever seeking the unknown.

The Walden Pond. Image courtesy: Wikipedia







Memories of a road after the South Lhonak GLOF

$
0
0


In the heart of North Sikkim, the picturesque town of Lachen is currently facing unprecedented challenges after the catastrophic Glacial Lake Outburst Flood (GLOF) from the South Lhonak Glacier Lake on October 4, 2023. As a result of this natural disaster, the vital road connecting Munshithang and Phiring near Chungthang remains impassable, isolating the local community and forcing residents to carve their own trail through the rugged terrain. In a display of sheer resilience and determination, the community members have come together to create a makeshift path, defying the odds imposed by nature. Recently while trying to reach Lachen from Chungthang, I captured a series of video clips vividly showcasing this trail. The trail, weaving through the breathtaking landscapes tells a powerful story of human spirit, adaptation, and survival strategies in the face of adversity. This footage not only captures the challenges faced by the locals but also highlights the indomitable spirit that thrives in Munshithang. In the midst of adversity, the community has demonstrated remarkable improvisation, emphasizing the strength and unity that binds them together. Let this video be a tribute to the resilience of the people of Munshithang.

Helena

$
0
0



Helena Roerich, a visionary philosopher and writer, spent her last years in the serene hills of Kalimpong, where her journey on earth came to a peaceful end. Last week, I had the privilege of visiting her grave, located next to the sacred Durpin Gompa, a site as tranquil and inspiring as her teachings. Her epitaph, a simple yet profound tribute to her life's work, echoes the spiritual depth and intellectual legacy she left behind. Reflecting on her final years in this secluded retreat, one can truly appreciate the profound impact of her wisdom and the tranquillity she sought through her deep connections with the mysteries of the East.





The Final Ascent

$
0
0


The sun barely peeked over the horizon, casting a pale orange glow on the untouched expanse of snow. In the shadow of towering peaks, an unnamed mountain stood tall, its summit a whisper among the giants. Arjun had been climbing for hours, his breath steady and his resolve unwavering. This was not just another ascent; this was to be his final climb.

Arjun's life had been a tapestry of high-altitude adventures, each thread woven with memories of triumph and loss. The mountains had always been his sanctuary, a place where the noise of the world fell away, leaving only the rhythm of his breath and the crunch of snow beneath his boots. Today, however, he sought more than the summit's solitude; he sought an end.

The climb was arduous, the air thinning with each step. Yet, Arjun moved with a grace born of experience, his mind focused on the path ahead. The peak loomed closer, its jagged edges silhouetted against the morning sky. He reached the summit just as the first rays of sunlight kissed the snow, bathing the peak in a golden light.

Arjun stood on the edge, looking out at the vast expanse of the world below. The panorama was breathtaking, a sea of peaks and valleys stretching as far as the eye could see. He took a deep breath, savoring the crisp, clean air one last time. The weight of his decision settled over him, a heavy blanket of finality.

He thought of the reasons that had brought him here: the pain, the emptiness that had crept into his soul, and the sense of purposelessness that no summit could conquer. The mountains had given him so much, but they could not fill the void. Each climb had become a reminder of an unknown absence, the solitude amplifying his loneliness. 

Arjun closed his eyes, feeling the wind whip around him, carrying with it the whispers of the peaks. He took a step closer to the edge, the drop below a silent invitation. The ground seemed to beckon, promising an end to the relentless ache. He opened his eyes, gazing one last time at the beauty around him, a tear escaping down his weathered cheek. 

With a final, resolute breath, Arjun stepped off the edge.

For a moment, he felt weightless, suspended between the sky and the earth. The wind roared in his ears, a final symphony of the mountains he loved. Time seemed to stretch, the descent an eternity. As he fell, memories flashed before him—joyous ascents, moments of triumph, the faces of those he had loved and lost. 

Then, silence.

Arjun's body came to rest on the snowy slope far below, the mountain cradling him in its icy embrace. The peaks stood witness, their eternal vigil undisturbed by the fleeting passage of one man's life. The sun climbed higher, casting long shadows across the snow, the world moving forward as it always had. 

Arjun is sleeping now. An uprooted edelweiss is watching him sleep. But Arjun can't see the edelweiss. It's a pity. Arjun loved the edelweiss, when he was alive. 




The Summit of the Slighted Six

$
0
0



 

#

In the wood-panelled head office of Mountains Make Us Human—an old and respected institution whose walls bore the stories of decades past—tea was being served with biscuits of admirable durability. The society had its share of seasoned climbers, armchair philosophers, and earnest enthusiasts, all bound together by a love for the mountains. Its guiding belief, inscribed on a wooden plaque near the entrance, read: “Mountains teach us humility, patience, and perspective—qualities needed in valleys too.”

Rahul, steeped in the quiet confidence of one who had lived most of his life among mountains, sat in the corner, sipping silently. He was known among a few for his favourite line, quietly offered in moments of tension or pride: "Let the mountains judge, for they never lie." He had recently taken it upon himself to ensure that the world-renowned "Curtains and Crags" Mountain Theatre Festival came to Kalibagan, so that the townspeople would not miss the chance to witness such a rare and classic event. He had to do it—because originally, it was meant to be the responsibility of a small clique within the society.

They were known as The High Altitude Gentlemen's Association—or HAGA for short—a curious constellation of six (sometimes eight, depending on whose cousin or a minion was visiting) members from Kalibagan who had long perfected the art of high-decibel irrelevance. While others in the society reminisced about climbs and trails, HAGA specialised in mountaindering—the noble craft of loudly discussing mountains one had never actually visited, often with such flair that listeners forgot to check the facts. Their conversations were long, looping monologues sprinkled with foreign climbing terms and chai-stained maps that rarely left the table.

It had been their task to liaise with the organisers of "Curtains and Crags." Notices had been sent to them. Emails from the society’s headquarters had reached them well in advance. WhatsApp reminders and posters were shared. HAGA ignored them all. Whether through incompetence or indifference, they simply let the opportunity pass. And so, Rahul stepped in.

The event went splendidly: packed auditorium, spellbound audience, standing ovation. Some said it was the most inspiring evening Kalibagan had witnessed in years.

##

But now, in the annual convocation of Mountains Make Us Human, the air was thick not with reverence but with rumble.

Led by the venerable Mr. Chatterjee-Mukhopadhyay (who once summited the steps of his bungalow and called it an ascent), HAGA was incensed.

"We were not informed," he thundered, his voice quivering like a tent in a high-altitude storm. "To bypass us is to defy the very summit of decorum. One does not pitch a tent on Everest without first consulting the base camp, gentlemen!"

"Yes, yes," chimed in another, who wore a windcheater untouched by wind. "This is a grave breach of protocol! How could a member host an event without consulting us, the cultural conscience of the club?"

The room fell into a hush, broken only by the clinking of tea spoons and the distant sound of someone unfolding their moral compass (badly). A large portrait of a legendary Himalayan climber looked down from the wall, seemingly unimpressed.

Rahul blinked. He hadn't sent emails—those had come from the headquarters of the society. Official communications had been dispatched through every available channel. There were time-stamped emails. Public announcements. Printed posters. WhatsApp invites. And yes, that noticeboard. But none of it mattered to the members of the HAGA. 

HAGA believed—or pretended to believe—that shouting loud enough would erase the facts. They tried to shout a lie into truth, hoping that volume could substitute for veracity.

But the truth, much like a snowfield under moonlight, does not melt under noise.

And Rahul did not defend. He simply smiled.

Later that year, Mountains Make Us Human decided to honour contributions to the club in a new, inventive way. A new prize was conceived: The Foghorn Fellowship for the Loudest Contribution to Silence.

It was awarded unanimously to HAGA.

There was a touching group photo—windcheaters, hiking boots with showroom shine, and all—and they beamed with pride, oblivious to satire.

Someone asked if they’d like to say a few words.

They said many.

And Rahul? He was on a trek that week, somewhere above the treeline, where echoes fade and silence holds meaning.

In Kalibagan, the mountains remained unmoved.

And somewhere in the distance, a gust of wind laughed.

###



Disclaimer:
This is a work of fiction. Any resemblance to actual persons, living or dead, or to real organisations and events is purely coincidental. The characters, incidents, and dialogues are products of the author’s imagination and are intended solely for satirical and narrative purposes. Images used here are generated by AI. 

When The Journey Becomes a Product: Certificate Culture in Trekking and Mountaineering

$
0
0



 

In recent years, the culture of trekking and mountaineering has shifted from introspective exploration to externally validated accomplishment. This short essay critically examines the rise of certificate-oriented treks and the commodification of high-altitude experiences, drawing on personal reflection and broader trends in adventure tourism. From summit selfies to laminated certificates, it explores how social media, bucket-list marketing, and consumer expectations have transformed sacred and solitary landscapes into stages of performance. Juxtaposing this trend with traditional values of humility, transformation, and reverence, the essay asks: what is lost when the journey becomes a product? Through examples from Kilimanjaro, Everest, Annapurna, and beyond, it advocates a return to a slower, deeper, more meaningful engagement with the mountains—one not stamped or shared, but quietly carried within.


Summits for Show: On the Commodification of Trekking


In the summer of 2005, I stood atop Kilimanjaro, Africa’s highest peak. It was a curious postscript to a much tougher expedition I had just led to Kamet (7,756 m) in the Garhwal Himalaya. Where Kamet demanded every ounce of focus and humility from our team, Kilimanjaro was, for me, undertaken almost light-heartedly—a quick adventure out of curiosity.

At the chilly Uhuru Peak, I took in the moment quietly. It was a still, wordless instant—the kind that plants a seed. In hindsight, that was the germination of my love for Africa. It was only the next day, on my way out of the national park, that a guide pressed a colourfully printed certificate into my hands, congratulating me on my success. I remember thanking him politely and stuffing the certificate into my pack, not ungrateful but faintly bemused. After the profound effort and inner journey of Kamet, this piece of paper felt inconsequential—a token to say I had been there, done that. I folded it away and forgot about it.

Little did I know that this summit certificate—at the time a quirky souvenir—would, in the years to come, become a central artefact in what I now think of as the performance culture of trekking.

The Certificate as Summit

The thought resurfaced years later when a man from Kolkata, quite earnestly, contacted me requesting a summit certificate for Everest—not for himself, but for his wife. They had been part of a guided trip, and whether she had actually reached the summit or not remained unclear. He was desperately seeking the certificate as proof, willing to pay a significant sum for it. The paper, to him, wasn’t a souvenir. It was the summit.

More recently, I saw a Facebook announcement from a trekking operator celebrating that their clients had “earned their certificates” for reaching Annapurna Base Camp. The wording struck me: not “completed the journey,” not “witnessed the mountain”—but earned their certificates. It made me pause. At what point did walking through a Himalayan valley demand official endorsement? When did the validation become more important than the experience?

Welcome to the Era of Trophy Trekking

From Kilimanjaro to the Inca Trail, from Everest Base Camp to Kedarkantha, the certificate has evolved from keepsake to badge of honour. For many, it is the most anticipated moment of the trek—the formal, frame-worthy declaration that one has achieved something. On Kilimanjaro, for instance, the Tanzanian authorities issue green certificates for those reaching Stella Point and gold for those reaching Uhuru Peak, complete with date, altitude, and signature¹.

In Nepal, companies guiding clients to Everest Base Camp (5,364 m) offer "Certificates of Accomplishment" even though it is not a summit. Tibet-based operators describe such documents as “your best bragging rights”². Indian trekking firms similarly issue e-certificates for popular trails such as Kedarkantha, Brahmatal, and Sandakphu. Some even issue participation certificates to those who did not complete the trek³.

At first glance, this may seem harmless. After all, who doesn't like a souvenir? But the certificate culture, as it grows, reveals a deeper transformation in how many people relate to the outdoors. The emphasis is shifting from presence to performance, from experience to evidence, from being moved by a mountain to proving you were there. 

From Souvenirs to Status Symbols

The shift is visible across the adventure tourism industry. Trekking packages often include not just logistical support but also professional photos, achievement badges, and pre-printed banners for summit selfies. An entire economy thrives on producing portable, postable tokens of triumph.

For an increasing number of people, the mountain is not the goal. The goal is what the mountain gives them: a certificate, a selfie, a story to tell, a box ticked on a bucket list. Achievement replaces absorption. And in this shift, something elemental is lost.

This isn’t merely a philosophical issue—it has real consequences. 

The Darker Side: Forged Summits and Faked Proof

The pressure to have done it—and to have something to show for it—has led some to fake it. In 2016, an Indian couple, Dinesh and Tarakeshwari Rathod, claimed to be the first Indian husband-wife team to summit Everest. Nepal’s Ministry of Tourism initially issued them certificates. But their summit photo turned out to be digitally manipulated—a crude Photoshop job superimposing their faces onto another climber’s image⁴. Once the fraud was exposed, their summit certificates were revoked and they were banned from climbing in Nepal for 10 years⁵.

A few years later, another Indian climber, Narender Singh Yadav, claimed to have summited Everest in 2016 and submitted faked photos to obtain an official certificate. He was even shortlisted for India's prestigious Tenzing Norgay Adventure Award—a distinction that, given its recurring controversies, often raises deeper questions about the country’s understanding of adventure itself. It took several whistle-blowers to reveal that Yadav never made it to the top. In 2021, his certificate was rescinded and a climbing ban imposed⁶.

These are not isolated cases. Around the world, from marathon races to mountain ascents, there is a rising incidence of achievement fraud—false claims made to gain social capital, jobs, awards, or simply admiration. When the certificate becomes the goal, truth becomes negotiable. 

Overcrowded Peaks and Cultural Fractures

Beyond ethical concerns, the trophy culture of trekking is putting enormous pressure on fragile ecosystems and traditional communities. In 2019, a photo of a traffic jam near the summit of Everest went viral. Dozens of climbers, crammed into the Death Zone above 8,000 m, waited for their turn on the summit ridge⁷. That same season saw a record number of Everest deaths, many due to congestion.

In India, the popular Kedarkantha trek has been inundated. On New Year’s Day 2022, over 3,000 trekkers attempted the summit. Locals described it as a stampede⁸. The alpine meadow was left littered with plastic, snack wrappers, and liquor bottles⁹. The once-quiet village of Sankri, now a booming trailhead, is struggling with sewage issues, water shortages, and unregulated construction¹⁰.

In Ladakh, the authorities had to close Stok Kangri, once the most climbed 6,000 m peak in India, due to overuse. The sacred mountain was being “loved to death” by trophy-seeking trekkers and operators marketing it as a beginner’s summit¹¹.

And then there’s the cultural toll. As trekking becomes a transaction, locals often become service providers in their own sacred landscapes. Sherpas on Everest, Chaggas on Kilimanjaro, and Quechua porters in Peru carry the weight of other people’s ambitions—often without receiving even the certificates that climbers so proudly display¹². Their knowledge, resilience, and sacrifice are invisible behind the photo ops. 

The Addiction to Applause

Social media has fuelled this performative mindset. Treks are planned with the end-photo in mind. Hashtags and filters replace journaling and reflection. One now prepares not just physically for a climb, but narratively—deciding in advance how the experience will be framed and received online.

As British adventurer Adrian Hayes observed, “All these internal drivers—self-fulfilment, curiosity—have been overtaken. We’re in a massive epidemic. We’re striving for recognition and fame.”¹³

Even the noble idea of turning back, once a mark of wisdom and mountain sense, is now often seen as failure unless mitigated by a photo or certificate of participation. But the mountain does not owe you a summit. Or a certificate. Or a narrative arc. It simply is. 

What We Might Lose—and What We Can Still Keep

When climbing becomes performing, and walking becomes posing, we lose the elemental gift of the mountains: their silence, their challenge, their refusal to flatter our egos.

I have returned from many expeditions with no photos, no summit, no applause. But those are often the ones that taught me the most. The wind on a remote ridge. The decision to turn around. The quiet meal in a shepherd’s hut. These don’t fit easily onto a certificate or Instagram story—but they endure.

So here is my invitation: by all means, accept your certificate if offered. Pose for the photo. But don’t let that be the point. Let the real proof lie in your patience, your humility, your willingness to walk slowly, listen deeply, and return changed. 


Endnotes

  1. “Mount Kilimanjaro Certificate.” Tranquil Kilimanjaro. https://www.tranquilkilimanjaro.com/mount-kilimanjaro-certificate/
  2. “Get Mt. Everest Certificate! Your Best Bragging Rights for Tibet Tour.” Tibet Vista, 2024. https://www.tibettravel.org/everest-base-camp-trek/everest-certificate.html
  3. “Do you provide a certificate of completion?” Bikat Adventures. https://www.bikatadventures.com/Home/Itinerary/Annapurna-Base-Camp-Trek
  4. “Indian Couple Banned from Climbing After Faking Ascent of Everest.” The Guardian, 31 August 2016. https://www.theguardian.com/world/2016/aug/31/indian-couple-banned-climbing-fake-everest-ascent
  5. “Nepal Cancels Everest Summit Certificates.” BBC, 2016. https://www.bbc.com/news/world-asia-37218238
  6. “Nepal Bans Three Indian Climbers.” The Guardian, 12 Feb 2021. https://www.theguardian.com/world/2021/feb/12/nepal-bans-indian-climbers-accused-of-faking-everest-summit
  7. “Everest Traffic Jam at 8,000 Metres.” BBC News, 2019. https://www.bbc.com/news/world-asia-48395880
  8. “New Year Stampede on Kedarkantha Peak.” Deccan Herald, 2022. https://www.deccanherald.com/specials/insight/is-a-boom-in-trekking-an-uphill-task-for-conservation-1147720.html
  9. Ibid.
  10. Ibid.
  11. “Stok Kangri Trek Banned to Regrow Ecology.” Trekking Community of Ladakh, 2020. https://www.indiahikes.com/blog/stok-kangri-banned
  12. “On Summit Certificates, Liaison Officers and Funny Mountaineering Rules.” Mark Horrell Blog, 2016. https://www.markhorrell.com/blog/2016/on-summit-certificates-liaison-officers-and-funny-mountaineering-rules/
  13. Hayes, Adrian. Interview in The Guardian, 2019. https://www.theguardian.com/sport/2019/sep/26/everest-instagram-climbers-mountaineering

 

 


Discovering Ladakh’s Uncharted Petroglyphs : A Short Note

$
0
0

 


Whispers on Stone: Discovering Ladakh’s Uncharted Petroglyphs

We were trudging down a dusty trail by the frozen stream near the little village of Lato when something caught our eye: a curious carving on a sun-bleached boulder. At first it seemed like a simple scratch, but as we knelt closer the outlines emerged – faint figures, perhaps animals. Our hearts raced. A closer look revealed many more carvings on adjacent stones, their pale lines surviving in the red-brown patina of the rock. In that quiet Himalayan afternoon, we had stumbled into the remote gallery of ancient hands.

We had been in that area for exploratory mountaineering, prospecting a remote valley for potential future climbs. It was March 2025, and all of Ladakh had just experienced a late winter storm that had blanketed the mountains in fresh snow. On our way out, tired but content, we took a side trail above the river – and that’s when we found the carvings. The discovery felt accidental, but significant: a reminder that in these mountains, even a descent route can lead to something profound. Before reaching any conclusions, we crosschecked with Dr. Sonam Wangchok—widely regarded as an expert in Ladakhi cultural heritage—and he confirmed that this site had not been previously recorded.

We paused in the silence, humbled. Here, etched into stone by someone’s chisel thousands of years ago, were stories left unsought by history. The carved ibex with curved horns, the stocky wild sheep, a hunting scene – these images looked out of place on our modern journey, yet somehow belonged to it as surely as the river belonged to the valley. Encountering them was a moment of wonder and gentle awe. We felt like travellers who had found a secret poem scratched into the earth itself.



Ladakh’s Living Rock-Art Legacy

Our find fits into a vast, little-known tradition. Ladakh’s high valleys are dotted with petroglyphs (rock carvings) spanning millennia. Scholars believe the oldest of these may be about 5,000 years old, dating to the Bronze Age. Carbon dating from nearby sites suggests humans lived here as early as 4700 BCE (Bruneau & Bellezza, 2013). In Ladakh, the prehistoric era’s artists favoured sturdy dark boulders, chiselling out figures of daily life and belief. Over time they recorded hunting, dances, cult scenes and symbols that speak of ancient faiths.

By around 1000–700 BCE, cultures of the Himalayan Bronze Age and wider Eurasian steppes were prolific here. This began an unbroken rock-art tradition from the Bronze Age all the way into the early second millennium CE (Bruneau & Bellezza, 2013). In fact, archaeologists note that this stone art tradition culminates in the spread of Tibet’s great religions: Buddhism and Bon (Bellezza, 2008). Petroglyphs turn up in every Ladakh valley – lower Indus (Sham), Nubra (Shayok), Changthang, Kargil, Zanskar – over 500 sites have now been documented (Devers, Bruneau & Vernier, 2014).

Despite Ladakh’s harsh climate, rock carvings survived here even when ice-age hunters first arrived and when medieval armies marched through. For example, some boulders at Alchi (a famous site) were carved in Bronze/Iron Age styles (hunting scenes, ibex), and centuries later the same rocks were re-carved with Buddhist stupas in the 9th–11th centuries (Denwood, 2008). This continuity shows how Ladakh’s petroglyphs bridge pre-Buddhist shamanic times to the historic era of temples. Our Lato discovery, set in this continuum, likely belongs to those pre-Buddhist Bronze/Iron Age layers, adding precious data about Ladakh’s distant past.

Common Motifs and Their Meanings

Ladakh’s rock art speaks a vivid visual language. Certain themes recur again and again, as if carrying deep meaning for the carvers. Among the most common motifs are:

  • Ibex and wild animals: Granite boulders teem with carvings of mountain goats, wild sheep, deer, yaks, and other game. The ibex – with its long, curving horns – is especially ubiquitous (Bruneau, 2013). In fact, "the hunting of game animals is the single most common rock-art theme in Ladakh," and "ibex hunting scenes number in the thousands" (Bruneau, 2013). These herds of etched ibex and their human hunters dominate the imagery because these animals were vital: they supplied food, hides and ritual value.
  • Hunting scenes and social life: Men with bows, spears and flutes appear alongside animals. Beyond mere hunting records, these scenes may commemorate rites of passage or clan identity. Scholars note that by the Iron Age hunting’s practical importance had waned, yet hunts retained "high prestige and cultural centrality" (Bruneau & Bellezza, 2013).
  • Solar and geometric symbols: Many boulders bear circular suns, spirals, zigzags and concentric rings. For example, sun-wheel symbols appear frequently. In the Alchi carvings, archaeologists catalogue sun, swastika, cross and spiral motifs among the earliest symbols (Jettmar, 1985).
  • Mask-like human faces: One especially mysterious motif is the “mascoid”: round human faces with large eyes and simple features. These appear sporadically, notably in Nubra and along trade routes. Recent research links them to the Okunev culture of Bronze-Age Siberia (Snellgrove, 1967).
  • Other human forms and symbols: Some boulders show dancing figures, horsemen, or even outline drawings of people. Geometric carvings (grids, mazes, footprints) hint at maps or shamanic talismans. Many petroglyphs were later "borrowed" by Buddhist pilgrims: we find stupas, chortens and Tibetan script carved atop or beside ancient scenes (Denwood, 2008).

New Find Amid Known Sites

Ladakh’s petroglyph hotspots are well-charted in broad strokes, but each new discovery still brings surprises. Known sites include Domkhar (home to Ladakh’s Rock Art Sanctuary), Tangtse, Murgi (Nubra), Khaltsi, Zanskar, and Sasoma. An IGNCA survey notes extensive art across Sham valley, Nubra, Changthang and more (IGNCA, 2012). Compared to these, the carvings at Lato were utterly unknown. We found them unannounced by any official record. Even recent scholarship that has expanded the rock-art map of Ladakh remarks only briefly on new sites near "Gya Chu, Meru and Lato" (Devers et al., 2014).

Continuity and Cultural Significance

These ancient carvings matter because they are history in situ – raw data about Ladakh’s pre-Buddhist era. The Lato engravings likely date to the Bronze/Iron Age, a time when Indo-Central Asian cultures mingled here (Rizvi, 1996). Each figure — an ibex, a hunter, a spiral — is a clue to spiritual beliefs or social life that left no written record. Discovering them is like finding a direct voice from antiquity.

Moreover, these carvings show continuity of tradition. Rock engraving in Ladakh did not end with the Stone Age, nor with Buddhism. As late as the 14th century CE local people still added chortens and prayers to stones (Bellezza, 2001). In Ladakh, the very act of marking rock carries sacred weight. Inscriptions in many languages at Tangtse (Kuχean, Sogdian, etc.) tell of traders and pilgrims over a millennium (van Schaik, 2011).

The imagery also hints at community identity. The high relief of ibex hunts in Ladakh parallels "animal style" art across the Eurasian steppes. By adding our find to the record, we help fill in the map of how different clan groups or migrants moved through Ladakh.



Respecting the Stones: A Trekker’s Duty

As trekkers and climbers, we are outsiders but stewards of these wild places. The Lato petroglyphs we found were fragile relics under our feet. We took photos and notes and then left the rocks as we found them. Modern adventurers have a special role. By venturing into remote corners, we can act as first responders to cultural heritage – spotting undocumented sites, alerting researchers, and educating fellow travellers.

In the hush after sunset, as we packed our camp near Lato, the petroglyphs seemed to watch us depart. They reminded us that even in the most familiar-seeming landscape, the past lies just beneath the surface. Our accidental discovery was modest, yet it connects us to a grand continuum of human creativity. May these ancient stones remain safe, their silent stories heard by all who pass this way.

References

  • Bellezza, J.V. (2001). Antiquities of Upper Tibet: An Inventory of Cultural Sites. Asian Highlands Perspectives.
  • Bellezza, J.V. (2008). Zhang Zhung: Foundations of Civilization in Tibet. Austrian Academy of Sciences Press.
  • Bruneau, L. (2013). "Animal Figures in Rock Art from Ladakh."Rock Art Research, 30(1), 43–54.
  • Bruneau, L. & Bellezza, J.V. (2013). "A Preliminary Chronology of Rock Art in Ladakh."Revue d’Etudes Tibétaines, 25, 21–56.
  • Denwood, P. (2008). "Iconography and Continuity in Ladakhi Art."Artibus Asiae, Vol. 68(1), 67–94.
  • Devers, G., Bruneau, L., & Vernier, A. (2014). "Rock Art in Ladakh: A Thematic Overview." In Ladakh: Culture, History, and Development.
  • IGNCA (2012). Documentation of Petroglyphs in Ladakh. Indira Gandhi National Centre for the Arts.
  • Jettmar, K. (1985). Petroglyphs in the Indus and Upper Swat Regions. Heidelberg University Press.
  • Rizvi, J. (1996). Ladakh: Crossroads of High Asia. Oxford University Press.
  • Snellgrove, D. (1967). The Nine Ways of Bon. Oxford University Press.
  • van Schaik, S. (2011). Tibet: A History. Yale University Press.

 

Viewing all 89 articles
Browse latest View live