Transition in Tradition is an ongoing dialogic artistic research project by Martin Travers exploring how Indigenous artistic and cultural traditions in Nepal are adapting within rapidly changing contemporary realities. Through long-term collaboration with communities across Nepal, the project examines how artistic practices respond to urbanisation, globalisation, development, changing aspirations, and shifting social values, while remaining deeply rooted in community identity, place, and lived experience. Rather than viewing tradition as static or disappearing, the project explores how continuity is actively negotiated through participation, creativity, community agency, and cultural self-determination.
Developed as the major practice-based research project for Martin’s MA Fine Art at Falmouth University, Transition in Tradition brings together documentary photography, painting, oral histories, audio recordings, archival material, and interactive exhibition to create a dialogue between artistic practice and ethnographic research. The project continues to evolve through ongoing fieldwork and collaborative relationships with artists, practitioners, and communities throughout Nepal.
The Transition in Tradition project has been exhibited at Kathmandu Art House and Patan Museum in Nepal, and at Siamsa Tíre Theatre & Arts Centre in Ireland, combining paintings, photography, sound, and interactive installations to foster meaningful engagement with the stories, voices, and lived experiences of the communities involved. The project has also informed conference presentations, academic publications, and continuing doctoral research, extending these conversations into new spaces of dialogue while remaining grounded in the knowledge and experiences of the people who continue to shape these living traditions.

Here are some pics from the exhibitions in Nepal and Ireland……

Here is a selection of some of the paintings from the ongoing body of work….

‘The Dance of the Nine Durgas’ by Martin Travers, acrylic on canvas, 101 x 76cm

The Nava Durga dance is a profound ritualistic performance that embodies the rich cultural tapestry of Bhaktapur, a historic city in Nepal known for its vibrant Newa traditions. Dating back beyond the 10th century, this dance serves as a living testament to the artistic and spiritual heritage of the Newar community. The Nava Durga dance honours the goddess Durga, a symbol of strength, protection, and the triumph of good over evil. The performers don elaborates costumes and masks that transform them into divine embodiments of the goddess and her retinue. The dance is not merely an entertainment form; it is a sacred act that fosters a deep connection between the community and the divine. Culturally, the Nava Durga dance holds immense significance within the Newa society. It serves as a vital medium for preserving history, folklore, and religious practices, passed down through generations.

‘Transition in Tradition – portrait of Bal Krishna’ by Martin Travers, acrylic on canvas, 80 x 135cm

Bal Krishna Banamala’s remarkable journey is one of grit, determination, and inner strength, illustrating the transformative power of art in the face of what often seems like insurmountable obstacles.
As he navigated the deeply rooted customs of his community, Bal Krishna faced the challenge of breaking away from centuries-old traditions to forge a new path for himself. He became the first dancer within the Nava Durga tradition to pursue higher education, enrolling in university to study fine arts. Bal Krishna’s ambition to become a professional artist while remaining true to his role as a dancer signifies a powerful reconciliation between past and present, underscoring his commitment to both his heritage and his aspirations.

Scan the QR code to hear Bal Krishna share some of his story.

‘Dance of the Lakhe’ by Martin Travers, acrylic on canvas, 118 x 79cm

The Lakhe ritual mask dance is part of the Indra Jatra festival, one of the most important religious celebrations of the Newa people, the indigenous community of Kathmandu. Steeped in deep cultural significance, the dance has been performed for centuries, originating from the Newa’s ancient traditions. As the city of Kathmandu expands, the Newa people face the challenge of preserving their cultural identity amidst the pressures of rapid urban development and modernization. In this struggle, rituals like the Lakhe dance stand as poignant symbols of resilience, continuity, and the role that tradition plays in protecting the soul of the community.

‘Threads in Time’ by Martin Travers, By Martin Travers, acrylic on canvas, 75 x 100cm

The Newa people, the original inhabitants of the Kathmandu Valley, were the architects of the valley’s historic heritage and the custodians of its vibrant artistic legacy. Renowned for their exquisite art and architecture, the Newar’s nurtured a rich creative culture that flourished until the unification of Nepal in the 16th century.
Despite the relentless pace of urbanization and the rapid transformation of their surroundings, the Newar people have preserved many of their ancient traditions, maintaining a profound connection to their cultural roots.

‘Tradition unbound – Portrait of Barta Gandharva’ by Martin Travers, acrylic on canvas, 118 x 80cm.

Barta Gandharva is a highly skilled and popular Nepali musician, playing the Sarangi, a traditional instrument that has been integral to the Gandharva community for centuries. The Sarangi, deeply embedded in the cultural identity of the Gandharva people, is not just an instrument but a vessel for their ancient traditions. Once on the brink of extinction due in part to caste-related stigma, the Sarangi has seen a resurgence thanks to musicians like Barta, who have dedicated themselves to reviving its popularity. Her performances, including on platforms such as ‘Nepal’s Got Talent,’ have helped to opened doors for women to learn and perform sarangi music, contributing to the diversification and revitalisation of this hauntingly beautiful music.

Scan the QR Code to listen to Barta’s story

‘Dapha: Rythms of Transformation and Survival’ by Martin Travers, mixed media on canvas, 64 x 100cm

Dapha is a traditional form of devotional music practiced by the Newa community in the Kathmandu Valley, Nepal. The music is characterized by its use of classical Newar ragas and rhythmic cycles, often accompanied by traditional instruments like drums (Khim), cymbals (Tah). This centuries-old music tradition, was at risk of fading away due to the changing social dynamics that have accompanied urbanisation and development throughout the valley. However, recent efforts led by community groups and ethnomusicologists like Pushpa Palanchoke have revived interest in this indigenous art form. Key to this revival has been the inclusion of women, historically, Dapha was a male-dominated practice, and the role of women was highly restricted. In Kirtipur, for example, the Tahnani Dapha Khalah has embraced female apprentices, allowing women to step into roles traditionally reserved for men. This shift has been transformative, as their participation in Dapha music and the breaking of both gender and caste barriers has created new spaces for community expression and social cohesion, helping to preserve this tradition for future generations.

Please scan the Qr code to hear Pushpa Palenchoke share the story of one local woman’s desire to overcome gender barriers and pave the way for women to participate in the ancient musical tradition.

‘The Magic of Freedom’ by Martin Travers, acrylic on canvas, 100 x 76cm.

This painting explores the shifting role of women within Nepalese culture, focusing on how societal changes are transforming their place in the world. Traditionally, women in Nepal have been constrained by rigid cultural norms, limiting their participation in various aspects of society. However, with the country’s hard fought opening up of opportunities, these restrictions are rapidly disintegrating, particularly in the realm of the arts. Today, more and more women are emerging as artists, musicians, writers, and performers, redefining the cultural landscape with their voices and perspectives in a field traditionally dominated by men. This painting highlights the freedom that young women of the modern generation are forging for themselves, particularly within the creative space, which has become a vital platform for self-expression, empowerment, and societal change.This painting is a tribute to all women who are redefining their roles, both in society and in the creative world, demonstrating that the power of art lies not just in the work itself, but in the people who create it.

‘The Labourer and the Crimson Sunbird’ by Martin Travers, acrylic on canvas, 91 x 65cm.

In the vibrant tapestry of Nepalese life, it is common to witness women labouring on construction sites, in brick-making factories, and in the fields. Their faces often shrouded in scarves as they toil under the relentless sun, seeking protection from the heat and dust that accompany their daily grind. Many of these women work in informal employment, existing outside the safety nets of legal or regulatory frameworks, facing challenges that can be both harsh and unforgiving.

‘A dance through time – Portrait of Sushant’ by Martin Travers, acrylic on canvas, 100 x 77cm.

Today, there are only about 100 families directly descended from the original Nava Durga Gathus, and the boy depicted in this painting is one of them. He represents not only the lineage of a rich cultural heritage but also the challenges faced by those living within it.
Sushant’s journey is particularly compelling, as he grapples with the expectations of his community while striving to carve out a new path for himself. He is breaking away from tradition by becoming one of the first dancers to go to school on a permanent basis while maintaining his role as a performer. This dual commitment reflects both the struggle and resilience inherent in balancing cultural heritage with modern aspirations.