Kathmandu Funerals

A Corpse, Prepared for Cremation, Is Carried Along the Banks of the Bagmati River

Pashupatinath located on the outskirts of Kathmandu along the banks of the sacred Bagmati River and close to the international airport is Nepal's most important Hindu temple. It is also one of the most important pilgrimage sites in the Hindu world.  The temple is dedicated to Shiva, specifically his incarnation as the Lord of the Beasts, Pashupati.  Pashupati is considered to be the national deity of Nepal.  Ninety-five percent of the people who die in Kathmandu are cremated at Pashupatinath.

Being a Non-Hindu, I was not allowed to enter the main temple.  However, I had visited Pashupatinath specifically to observe and document the open air cremations conducted along the banks of the Bagmati River and the Sadhhus.  Non-Hindus, after paying an entrance fee, are allowed to access the areas of the cremations, Shiva shrines, and hillside.

Living in Thailand and being exposed to the Buddhist rituals and attitudes towards death, I have become interested in the ways and traditions in which people deal with the final days of loved ones.

Since I started living in Thailand ten years ago, I have attended more funerals than in all my previous 58 years.  Visiting Pashupatinath was my first opportunity to witness and experience the Hindu funeral ritual.

Son and Priest Perform Ritual for Dead Parent

After a short walk from the entrance to the site, I came upon the east ghats along side of the Bagmati River - a short stone throw from the ghats on the other side of the river where cremations were being performed.  Ghats are the stairs that lead down to the river.  Often the term, ghat, is used to describe the stone platforms built on and among the stairs upon which the funeral pyres are constructed.

Typically the body being cremated is a person who died at home only a few hours earlier.  When a Hindu dies it is a common practice to cremate the body either before the sunset or sunrise following the death.  Cremation is held as soon as possible after all family members have the opportunity to view the body.  Customarily the body is brought to holy grounds for cremation.  Hindus believe that the soul quickly leaves the body upon death.  To help facilitate the soul on its journey, the cremation is performed as promptly as possible to ensure there is no temptation for the soul to linger on this side of the world. 

One of the first raised stone platforms that I encountered on the east side of the river was the site of a special ritual.  Cremation are held as soon as possible after all family members have the opportunity to view the body. In past times this was easy to comply with since families remained largely intact - tied to the land or village.  However today families, of all castes, are often separated by miles, kilometers, mountains, national borders, rivers, lakes, and even oceans.  There are thousands Nepalese Hindus living and working in countries such as Bhutan, the Middle East, and further afar.  Often they are not able to promptly return upon the death of a family member.  In such circumstances, the cremation is conducted, and the family member returns when they can to perform a special offering to honor the departed person.

I stopped and witnessed such a special offering ritual.  According to my guide, the man's father or mother had died and had been cremated.  The son had been unable to attend the cremation, he had returned now and with the assistance of a Hindu priest was making a special offering.

The man had shaved all of his hair from his head except for a small tuft at the upper backside of his skull.  He had also modestly removed his shoes, socks, pants, undergarments, and shirt and placed a loose white garment around his waist.  White is the color of mourning for Hindus rather than black.

The ritual was quite involved with many bowls, and containers.  Marigolds, water, rice, incense, plant leaves, and paper money were involved.  The marigold petals, rice, and water were at various points during the ritual sprinkled onto the head of the mourning man and flicked into the air.

It was a very moving and interesting ritual - a ritual that I did not understand, but a ritual that I will learn more about when I return to Nepal someday, someday soon.

Corpse is carried by males to the cremation site.  Rice is sprinkled on the pyre.

The caste system no longer exists in Nepal.  It was made illegal in 1962.  That is the way things are supposed to be and then there is the reality of the way things actually are.  Although the caste system was legislated away in 1962, there are clear and strongly defined economic stratification as well as class distinctions in Nepal society today.  These distinctions and stratification can be witnessed even in the cremation of bodies at Pashupatinath.

The Bagmati River is crossed by two pedestrian bridges.  South of the bridges, is where the common people are cremated.  North of the bridges, where the royals were cremated, is where the rich are cremated.

The body on a bamboo litter is carried around the pyre three times

Bodies to be cremated are carried by men on stretchers or handcrafted bamboo litters from the north to the south where the appropriate pyre platforms are located.  The bodies have been washed and prepared for cremation elsewhere.  They are wrapped in white except for the head.  An easily removable cloth covers the face of the deceased.  Garlands of marigolds cover the body.  Marigolds, saffron yellow, are considered pure whereas the corpse is considered to be impure.  The cremation, a ritual of fire, is a purification rite.  After the corpse is carried three times clockwise around the funeral pyre, the garlands are removed and used to decorate the funeral pyre.  The body is placed on the funeral pyre with the head pointed north - north, the direction of the dead.

Female relative pays respect

The cremation ritual is lead by by the eldest son.  If the eldest son is not available, the next oldest son will perform the duties.  If the deceased person did not have any sons, the responsibility will pass over to the eldest male relative on the patriarchal side of the family.  Daughters or any other females do not perform the ritual.

Eldest male relative, most likely son, supervises the ritual

As part of the cremation ritual, the eldest male places a rice ball, pinda, is placed in the mouth of the deceased to provide nourishment to the spirit for the journey from this this world.

Offerings and fire are carried around the funeral pyre

As part of the ritual, family members circle the body and place offerings of sandalwood kindling on the body.  Holy water from the Bagmati River, just beneath the cremation platform, is sprinkled by hand over the deceased person's body.

Holy Water from the Bagmati River is sprinkled upon the body

Cremation worker builds a funeral pyre

Eldest male relative completes building the funeral pyre

The eldest male, typically the son, completes the construction of the pyre on top of the body and lights the funeral pyre at the mouth of the deceased person.  It is believed that the spirit leaves the body through the mouth.  Starting the cremation fire at the mouth ensures that the spirit is purified as it exits.  Once the fire has commenced straw dampened with water from the river is placed upon the pyre to create a cloaking smoke of the cremation.

Smoke begins to rise from a funeral pyre 

As the funeral fire starts dampened straw is added to the pyre

Pashupatinath cremation scene

Eldest male washes and dismantles the bamboo litter

Smoke from wet straw rises above funeral pyre

Cremation worker tends the pyre

Relatives sit vigil as body is cremated

Ghat located north of the two pedestrian bridges is prepared for a wealthy person DSC 3019

West ghats are cleansed with water from the sacred Bagmati River DSC 3030

Each cremation is but a part of the mosaic of life along the Bagmati River.  Next to ongoing cremation rituals, the funeral workers, members of the lowest caste, build the pyres out of logs in preparation the next cremation that will happen with certainty. For cremations, where the mourners the mourners have left other than for some male relatives maintain a vigil, other funeral workers tend to the fires with long poles to ensure that all the remains are consumed by the purifying fire.  The two pedestrian bridges are jammed and lined with people - Nepalese as well as foreigners witnessing it all and photographing it all.  Behind the pyres, in the areas accessible only to Hindus, people can be scene entering shrines and temples as part of practicing their faith. The hillside on the east side of the river is covered with tourists congregating about the Sadhhus who are to found amongst the shrines to Shiva.  Further up the hillside, families are enjoying the view of it all from an overlook while enjoying snacks and beverages from the refreshment stand.  Life continues with the players all playing their roll of the moment and often oblivious to the others.

 I will return again to Kathmandu to witness and document the Hindu funerals but more importantly, to better understand the details and nuances of the ritual.  My wife will accompany me this time and I look forward to sharing with her the source of many of the rituals that she practices in her Theravada Buddhist faith.  Although she is Buddhist, her faith includes many Animist as well as Hindu precepts and practices.

All though we are often oblivious to each other and the ways along with beliefs of others, it is through travel that we will discover and commence to understand that we are actually all connected.

Sadhhus

Sadhhus are Hindu holy men.  Hindu holy women, far fewer than the number of Sadhhus, are known as Sadvin.

Sadhhus are found all over India and Nepal.  Saddhus can be seen wandering the roads, some live in monasteries, taking temporary residence at shrines and many can be seen a religious festivals. They are associated with many Hindu orders and schools of beliefs.  They are wandering ascetics, people who live austerely - forsaking family, friends, and comforts of this life to focus on their religion and religious development. They are highly respected by Hindus as being representatives of the gods.

Today, people from any caste can become a Sadhhu.  Becoming a Sadhhu, for a Hindu, is a stage, the fourth and final stage of this life that every man is expected to go through.

They rely upon the generosity of others for their survival.  Of their few possessions, one of the most important is their begging bowl. Other typical possessions are a wooden staff, a cloth bag.

Sadhhu lives are devoted to spiritual matters - self purification, meditation, worshiping, making pilgrimages, studying religious texts as well as adhering to dress codes, diets, and requirements of their sect.  Sadhhus also preach and teach religion to others.

Life as a Sadhhu can involve some unique and fascinating rituals as well as displays.  Many Sadhhus are known for smoking marijuana and hashish.  Some Sadhhus cover their almost naked bodies with the ashes of cremated people. There are Sadhhus who perform physical feats such as keeping their left arm raised ... for years, remaining silent for years, pierce their tongues, or perform other extreme displays of yoga practice.

I have written several times on this blog site about life - specifically "There is the way that things are supposed to be and then there is the way that things are".  So it is with Sadhhus, or at least some Sadhhus that I encountered.

I am intrigued with unique religious practices, beliefs, and people's devotion.  Living in Southeast Asia, I have many opportunities to satiate my thirst and hunger to experience some of those rituals and practices.

One of my goals for my tour of Upper Mustang, the former Kingdom of Lo, was to photograph some Sadhhus.  My research prior to departure, revealed that Sadhhus can be found at the Hindu temple of Pashupatinath outside of Kathmandu, Nepal.  Actually, my research found many photographs of the same Sadhhus there.

Upon my return to Kathmandu, from Upper Mustang, I went to Pashupatinath in the morning to observe and photograph the cremations and the Sadhhus.

The Saddhus were easily found.  The first Sadhhu that I encountered was seated on some steps alongside the broad walkway from the temple entrance to the ghats lining the sacred Bagmati River.

He was extremely photogenic and it was obvious that he knew how to "work it" for the camera. My research also had informed me that it was customary, if not expected, to make an offering to the Sadhhus for photographing them.

After spending considerable time photographing the funeral rituals along the river banks, my guide and I commenced climbing the concrete steps to the higher levels of the temple.  Part way up the incline we encountered a crush of tourists - tourists busily photographing a group of Sadhhus seated in or in front of the stone shrines dotting the hillside.

These Sadhhus were familiar faces from my previous research. As I jockeyed about to take more candid photographs of the Saddhus, rather than obviously staged poses, and photographs not cluttered up with other tourists in them, I made eye contact with one of the Sadhhus.  He had been watching me and seemed concerned that I had not made an "offering".  I pantomimed to him that I would make the "offering" after first taking my photographs.  He seemed to accept that promise and went about with his "work" for the other tourists.  I like and prefer to make my offerings and payments after taking the photographs knowing full well what I got for my money.  I thought this was rather odd - wandering ascetics who have rejected all the ways, objects, and comforts of this world being concerned about not getting offerings for having his photograph taken.

 "There is the way that things are supposed to be and then there is the way that things are".

I would have liked to have engaged in some conversation with these Sadhhus - to get to know some more about them, their life, their beliefs and their philosophy but the crush of tourists (photography frenzy?) was not conducive to such an experience.  I also had developed that these "holy men" might not have any "secrets of life" to share with me or that I would value.  After all, I am an American and fully aware as well as experienced of capitalism and materialism.

Further up the hill, we encountered another group of Sadhhus located in front of another shrine.  This locale was much more peaceful - shade from trees and no other tourists.  I have learned from my travels that if you want better photographs and unique experiences, you have to make the extra effort and go a little further away from, if not far away, from the maddening crowd.

The Sadhhus were very photogenic, just as their brethren down the hill, and accustomed to being photographed.  For me the relaxed atmosphere was much more enjoyable than down the hill.  These Sadhhus also expected to receive offerings.

Were these real Sadhhus, true holy men?  Were these real Sadhhus or were they more like cosplayers or as real as a tiger is a tiger that lives in a zoo cage?  I don't know.  It is not for me to say.

Paraphrasing Paul Simon's lyrics in "The Boxer" ... "a man believes what he wants to believe and disregards the rest"

During my journey in Upper Mustang, far from anywhere where there was not even a defined road - just miles and miles of dust and rocks in the Kali Gandaki River gorge, we encountered a Sadhhu.  I suspect that he was on a pilgrimage to the Hindu holy site of Muktinath.  I remember and cherish the brief exchange with him as we rumbled by in our four wheel drive vehicle.  Our driver and guide excitedly and emotionally shouting to him and calling him "Baba" - honorific term for "father".  It was a true moment of respect and joy.

Back From Bhutan - 2018

My wife and I recently returned from our second tour of Bhutan in a year.  Once again we enjoyed touring the nation that values "Gross National Happiness".  This second tour gave us the opportunity to tour some different locations in the Buddhist Himalayan nation as well as opportunities to revisit locales, events, and people that we had enjoyed on our previous trip.

As I have written in previous blogs, I like to travel to special places more than once.  I find that you begin to understand a culture, place as well as people only on subsequent journeys. The first tour provides an introduction and a basis for further study and appreciation.

For this return tour of Bhutan, I had created a list, prior to our departure, of twenty photography goals to achieve.  I typically develop a list of priorities and goals for photography as well as sightseeing prior to each of our journeys.  I find that doing such planning and scheduling, helps to achieve goals and assists in keeping me focused as well as mentally organized.  It is often easy to become confused and overwhelmed when on tour of exotic lands.  Pre-planning and developing goals provides some direction and structure.

The goals for this tour were:

     1.   Levitating Cham Dancers
     2.   Eyes of Dancers Inside of Masks
     3.   Young Monks Reciting/Chanting
     4.   Elderly People at Prayer Wheels in temple
     5.   Temple Ceiling Paintings
     6.   People Lighting/Worshiping at Butter Lamps
     7.   Monk Filling Butter Lamps
     8.   Unfurling tapestry on closing day of Domkhar Festival
     9.   Cham Dancers Getting Dressed
    10.  Cham Costumes, Masks, and Instruments
    11.   Religious Paraphernalia In Window Light
    12.   Monk At Shrine
    13.   Monk's Afternoon Debates
    14.   Masks at Handicraft Center
    15.   People Painting Thangkas
    16.   People Carving Wood
    17.   People Doing Handicrafts
    18.   Indian Road Workers
    19.   Traditional House Roof - Wood & Rocks
    20.   Milky Way

These photography goals were developed from my experiences on the previous tour last Spring as well as to try out some new techniques and skills that I had studied in the past year.  I was also planning on obtaining some photos for a couple of projects that I have in mind.



          1.  LEVITATING CHAM DANCERS

Last year, I was able to capture moments when Cham performers leaped into the air and appeared to be suspended between the Earth and the Heavens.  In my studies of Cham I have learned that these movements, like every movement, have significant religious significance.  For this tour, I wanted to capture and share more of those moments, special moments when the performer appeared to be levitating.

 

          2.   EYES OF DANCERS INSIDE OF MASKS

Performers wear costumes and masks to transform themselves into the deity or manifestations of the Cham that they are performing.  The dancers also use mediation to become the deity or manifestation.  Although the masks have eyes, for the vast majority of the masks, the performers see out of the mask's mouth rather than the mask's eyes.  I am intrigued with the dichotomy of the performer becoming a deity or manifestation but, for me, still being a man beneath it all.  For me, this dichotomy is best illustrated by showing the performer's eyes beneath the mask.  During last year's tour, I was able to get some photographs - eyes beneath the masks while dancing and eyes in posed portraits.  For this trip, I wanted to focus more on shots of eyes beneath the mask while performing.

     3.   YOUNG MONKS RECITING/CHANTING

Living in Southeast Asia and being married to a devout Buddhist, I have many occasions to witness and document the lives of boy Monks.  Again I am fascinated by the dichotomy of "holy men" and of "boys being boys".  On the previous tour of Bhutan, I had a very personal moment photographing young monks chanting and reciting mantras at a temple.  For this second tour, I want to photograph a similar scene if not recreate that moment.

I had taken a photograph of that special moment on last year's tour and I was carrying a print to give the young Monk on this tour.  We inquired about the young Monk in the small village where the temple was located and determined that the boy was still a Monk at the temple.  Upon arrival at the temple, we discovered that things had changed ... a reminder of the Buddhist tenet that "Life is change".  The room where the young Monks study, recite, and chant was no longer accessible to outsiders.  The door was closed and the windows were covered.  Signs on the door indicated that the Monks were not to be disturbed.  Fortunately we found some young Monks outside the room.  They recognized the young Monk in my photograph and agreed to give it to him.

Fortunately, we were able to photograph some young Monks at a new locale, for us, during a puja.

 

 

     4.   ELDERLY PEOPLE AT PRAYER WHEELS IN TEMPLE

Throughout Bhutan, you will encounter prayer wheels.  Prayer wheels come in a myriad sizes.  In addition to size, the prayer wheels have various means of propulsion.  Some are rotated by merely rotating the wrist.  Some are spun by rotating its shaft with the palm of the hand.  Others are rotated by pulling on a cord suspended from the rim of the wheel.  I have seen some prayer wheels that had a circular handrail at the base that you grab to turn the wheel.  My favorite type of prayer wheels are propelled by water.

Everyone turns prayer wheels in Bhutan.  However I like, best of all, to photograph elderly people spinning the prayer wheels.

     5.   TEMPLE CEILING PAINTINGS

I was not able to take any photographs of the mandalas painted on the ceilings of many of the temples in Bhutan.  This year we had a slightly different itinerary than the one that we followed last spring.  Although our new itinerary presented new opportunities for photographs, some previous opportunities were not available.

     6.   PEOPLE LIGHTING/WORSHIPING AT BUTTER LAMPS


One of the rituals of Buddhism in Bhutan is to light butter lamps.  Butter lamps are brass receptacles that resemble goblets that were originally filled with Yak butter but today most likely filled with vegetable or palm oil.  Last year, at a mountain pass rest stop, I took some photos of people worshiping by lighting some butter lamps.  Taking the shots was difficult due to the confined space of the room and the relative darkness.  This year I had a wide angle fast lens to take such photos.  I wanted to document the darkness of the room - darkness from lack of lighting except for the lamps and windows, as well as from soot deposits from years of thousands of burning lamps.  I wanted to better capture the solemness of such a ritual.

     7.   MONK FILLING BUTTER LAMPS

Last year, I witnessed a Monk filling butter lamps in a special room at a temple.  I was not allowed to photograph him.  I was impressed with the scene and wanted other opportunities to document such moments.  My attitude for this trip was that there are other Monks and perhaps they would be cooperative.  As it turned out, this year's tour did not take us to that temple or any other temple where Monks were filling butter lamps.  In another example of the late 20th century philosopher, Mick Jagger's mantra "You can't always get what you want But if you try sometime you find You get what you need"

I tried and I got photographs of the proprietor of the mountain pass rest stop filling the butter lamps.

     8.   UNFURLING TAPESTRY ON CLOSING DAY AT DOMKHAR FESTIVAL

A very important part of Tshechus, religious festivals in Bhutan, is unfurling a a large tapestry called a thondrol.  It is believed that merely looking at the tapestry provides merit and blessings to the people.

We arrived at the festival this year just after the thondrol had been unfurled.  However we were able to observe the veneration of it by Monks and laypeople.

 

     9.   CHAM CHAM DANCERS GETTING DRESSED

Our tour of Bhutan allows us special access to the dressing room of the Domkhar Festival.  One by one we are escorted into the room where the cham dancers dress and prepare prior to exiting on to the performance ground.  In addition to observing the performers "backstage", we are able to photograph the masks, instruments, and costumes that are used for the various sacred dances.  Besides getting dressed, the performers warm up and practice the intricate movements required for each specific cham.  During this time they also focus and meditate to transform themselves into the embodiment of the deity for their performance.

 

 

    10.  CHAM COSTUMES, MASKS, AND INSTRUMENTS

In addition to being able to photograph cham masks in the Domkhar Festival dressing room, we had the privilege to photograph them at a monastery along our tour route in Eastern Bhutan.

The masks are of deities and manifestations central to each cham.  The masks also represent various human traits such as stubbornness, greed, compassion, wisdom ...

    11.   RELIGIOUS PARAPHERNALIA IN WINDOW LIGHT

    12.   MONK AT SHRINE

I had a specific goal of photographing a Monk at a shrine for this trip.  I had in mind the shrine at the Domkhar Festival.  Last year I took some photos but I was too polite to get the exact shots that I prefer.  I now have more confidence to politely ensure that I get my shots.  This year I chose to not go into the shrine, preferring to maintain my location outside at the performance ground for the Chams.

Unexpectedly, and most fortunately, I was able to get some photographs at a temple and much more importantly - during a puja.  Duang and I returned to a temple where I had spent 2 hours and Duang had spent 6 hours attending a special ritual last year.  This year we were immediately recognized and welcomed by the Monks who were once again having a special ritual.  We were welcomed and the Monks had us sit at one of their worship stations.  They clued us into what to do during the 3 hour ritual.  It was a wonderful experience for both of us.  Photographs are not allowed in the temple, or photographs of the Guru.  Early into the ritual, the Monks motioned to me to take photographs.  I motioned back that I understood that photography was not allowed.  They reassured me that it was OK even to photograph the Guru.  I took some photos that I treasure but out of respect will not share.


    13.   MONK'S AFTERNOON DEBATES

Last year we were unable to witness the afternoon Monk debates at Lhodrak Kharchu Goemba in Jakar due to heavy rain.  My goal this year, weather permitting, was to photograph the highly animated debates.  In the adapted words of Robert Burns in "To A Mouse" ... "The best-laid plans of mice and men often go awry." My goal was my plan, however Duang and my itinerary did not take us to Jakar this year.  The tour group went there but we went on to another town further afield and to the north. As I often say ... "Another reason why we need to return".


    14.   MASKS AT HANDICRAFT CENTER

We did not get to stop at the Handicraft Center in Zungney Village on this tour.  We had higher priorities and it was complicated by our stay at a different hotel this year.  With the opportunities afforded to photograph masks at other locations this year, this specific goal was no longer relevant.


    15.   PEOPLE PAINTING THANGKAS

There is a special school in Thimphu, National Institute for Zorig Chusum, often referred to as School of 13 Traditional Arts.  We were not able to visit it last year since it is closed on Sunday.  This year it was on the top of our list and was the first sight that we visited upon arrival in Bhutan.

Students spend 4 to 6 years taking courses specializing in woodcarving, painting, sculpting clay, and embroidery.

Thangkas are religious pictures painted typically on canvas.  They are bright, colorful, and intricate.

 

 

    16.   PEOPLE CARVING WOOD

 

    17.   PEOPLE DOING HANDICRAFTS

    18.   INDIAN ROAD WORKERS

Bhutan is shrinking each day.  Locations are getting closer and closer.  The distances remain basically the same, but the time between places along with the ease of travel is continually improving.  Duang and I were shocked and to a certain degree, dismayed, at the differences in just one year.  The road improvement program and paving of the West/East highway is astounding.  Hours have been cut from the driving time from some of the points along our tour route.  There is more traffic in the Eastern part of Bhutan.  This "progress" is attributable to the scores of road workers from southern India.  These workers were found all along the West/East highway last year working along the cliffs and mountain sides carving a second lane as well as paving the roadway.  They lived in primitive camps in the wilderness.  For me they seemed to be the "silent people, the invisible people".  I wanted upon my return to photograph them.

    19.   TRADITIONAL HOUSE ROOF - WOOD & ROCKS

Traditional Bhutanese architecture is wood roofs held down with stones.  Bhutan is 71% forested and the Constitution requires that a minimum 60% of Bhutan's forests remain.  Each Bhutanese household is allowed to harvest a certain amount of trees for their home and household use.  The selection and harvest is regulated and controlled by Forest Rangers.  Due to the amount of forests, roofs composed of long wood shingles were traditional.  Today, with concerns to conserve resources and a desire to maintain a low carbon footprint, these wood roofs are becoming scarce.  Wood roofs are being replaced by corrugated metal roofs.  The King provides the metal roofs free to the households.

    20.   MILKY WAY
 
 I am constantly looking to learn and utilize different skills as well as techniques for my photography.  Since Bhutan has many areas of "dark sky", I intended to try some astro-photography on the tour.  Photos of the Milky Way was my goal, but I knew that due to our schedule the opportunities would be difficult.  The new moon is the best time to photograph the Milky Way.  We were not going to be in Bhutan during the new moon.  As it turned out the phase of the moon did not matter for this tour.  The Monsoon Season had arrived early this year in Bhutan.  If it was not raining, the skies were heavily overcast throughout our tour - not conducive to photographing the Moon, stars, let alone the Milky Way.. 


Well this year's tour was great.  We saw many wonderful things.  We saw some new sights, reunited with many people and met many new people.  Just as in life, everything did not go exactly as we planned or even hoped. However,  just as in life, we were able to make the most of it and thoroughly enjoyed it.  The key to happy traveling as well as to a happy life is to adapt to change rather than resisting it.  Always do your best based upon what you know at the time. Appreciate what you have and do not fret or obsess over what you don't have.