Frustrated with revolving door <a href="https://nepalitimes.com/news/the-geopolitics-of-nepal-s-politics">politics</a> with the same <a href="https://nepalitimes.com/editorial/tried-tested-and-failed">tired, tested and failed </a>leaders, Nepal’s cybersphere is harking back to the good old days when we had strongmen rulers like <a href="https://nepalitimes.com/multimedia/jung-bahadur-s-destitute-descendants">Jang Bahadur Rana </a>or <a href="https://nepalitimes.com/news/king-mahendra-didn-t-pay-hunting-bill-in-us">King Mahendra</a>. The<a href="https://nepalitimes.com/here-now/inside-story-of-nepal-s-rana-dynasty"> century-long Rana oligarchy</a> ended 74 years ago this week, and the Shah kings airbrushed <a href="https://nepalitimes.com/here-now/the-insect-that-changed-nepal-s-history">Nepal’s history</a> to downplay their achievements and glorify their own dynasty. After <a href="https://nepalitimes.com/here-now/if-birendra-was-alive-nepal-could-still-be-a-monarchy">the monarchy</a> was abolished in 2008, <a href="https://nepalitimes.com/review/the-role-of-rituals-in-royalty">the Shah kings</a> were similarly vilified. But Nepali society is mature enough to realise that the truth is not all black and white. Jang Bahadur may have usurped power in a ruthless coup, but he was a geopolitical strategist way ahead of his time. Whatever you may say about King Mahendra’s efforts in quashing <a href="https://nepalitimes.com/news/is-democracy-too-expensive-for-nepal">democracy</a> and pushing a unitary state, he defended <a href="https://nepalitimes.com/opinion/guest-editorial/nepal-should-recognise-palestinian-sovereignty">Nepal’s sovereignty</a> and projected its international image right through the sensitive Cold War period. Jang Bahadur in England is a new Nepali language book by journalist Gajendra Budhathoki about the visit in 1850 by Nepal’s prime minister to England and France, the first by a South Asian potentate. He met Queen Victoria and by all accounts was able to establish Nepal’s presence on the world stage. Historians have long mulled why a devout Hindu like Jang Bahadur would want to break the taboo and cross the Black Waters. Budhathoki recounts the incident upon his arrival at Southampton on 2 May 1850, when British customs officials tried to check the belongings of the Nepali entourage. Furious, Jang Bahadur threatened to sail right back to France if they opened any of the bags. Jang had three main reasons for his trip. Essentially he was on a spy mission to assess <a href="https://nepalitimes.com/here-now/a-forgotten-gurkha-rebellion-e8z403ab">British military</a> might to decide if it was worthwhile for Nepal to try to militarily take back territory ceded to British India in the Sugauli Treaty of 1816. So, Jang asked his perplexed hosts to show him cannon factories, artillery and naval yards. He even visited Woolwich Arsenal (now the Royal Arsenal) not once, but three times.&nbsp; Read also: <a href="https://nepalitimes.com/here-now/looking-back-at-the-1923-nepal-britain-treaty">Looking back at the 1923 Nepal-Britain Treaty</a>, Santa Gaha Magar Suitably impressed, Jang decided to be Britain’s BFF, and even rode down to Lucknow with 3,200 Nepali troops to rescue the British from the Sepoy Mutiny of 1857. As a reward, the British gave back the Tarai districts of Banke, Bardia, Kailali, and Kanchanpur (Naya Muluk). This close relationship continued with Jang’s descendants right till the time the British left India in 1947. Jang Bahadur was also fed up with the Governor General Lord Dalhousie in Calcutta who tended to bully Nepal, and wanted to build direct contacts with his bosses in London. The British told him Dalhousie was their man in India, and Jang should deal with him. <a href="https://nepalitimes.com/banner/the-way-we-were">Jang’s visit to France</a> does not get as much attention in the book, but he was also trying to gauge France’s strength and to see if its military was more powerful than Britain’s. At that time, France was Britain’s main rival and was trying to make inroads in India. At the Louvre, Jang Bahadur was drawn to exhibits reflecting French military prowess. Later, when he met Louis Napoleon III, he asked if he could see a parade of 900,000 troops to assess France’s military might.&nbsp; Read also: <a href="https://nepalitimes.com/review/nepal-france-ties-in-photos">Nepal-France ties in photos</a>, Reeti KC Freshly returned from <a href="https://nepalitimes.com/here-now/a-long-way-to-europe">Europe</a>, an emboldened Jang Bahadur Rana led Nepal in a war against Tibet in 1855 which ended with the Treaty of Thapathali a year later. This was the third time Nepal and Tibet had fought, the first time being soon after <a href="https://archive.nepalitimes.com/regular-columns/guest-editorial/Prithvi-Narayan-Shah-a-visionary-leader,1102">Prithvi Narayan Shah</a> in 1788.&nbsp; The Qing Dynasty came to the rescue of Tibet, and while both sides claimed victory, the Sino-Nepalese War ended essentially as a stalemate with the Treaty of Betrawati.&nbsp; All of this is detailed in Axel Michaels’ book, Nepal: A History from the Earliest Times to the Present which is a recent English translation of his German Kultur und Geschichte Nepals published in 2018.&nbsp; Michaels is a Professor of Classical Indology and Religious Studies at Heidelberg University, and writes that Nepal mattered little to China. Proof of this is that while both Nepal and Tibet agreed to accept the suzerainty of the Qing emperor following the war, Nepal managed to retain its autonomy but Beijing asserted its control over <a href="https://nepalitimes.com/business/himalaya-to-lhasa">Lhasa</a>. And despite a clause in the treaty which stated, ‘if a foreign power attacks Nepal, China shall support Nepal’, China never did so during the1814–16 war with the East India Company.&nbsp; This practice has continued to this day. Aside from token petroleum shipments, Beijing did not help out Nepal during the Indian Blockade of 2015. Even though Nepali leaders have tried to play India off against China, the two do not find Nepal important enough to fight over and prefer to leave it as a buffer state between them.&nbsp; In that sense, Britain also did not press home its victory after 1816 and left Nepal alone. The malarial Jangles to the south, rugged Himalayan terrain and the lack of marketable products (except soldiers) may have persuaded the traders at the East Indian Company that it was not worth the effort. There is a lesson from history here for Nepal: the country must look out for itself, and this requires deft diplomacy to understand what our giant neighbours really want and leverage it for our gain. This may require strategies like the ones made by Jang Bahadur and King Mahendra after all. Michaels is not a fan of either the Rana or the Shah dynasties. He says that although the Rana era is characterised as ‘a century of tyranny’, the description holds true for the Shah period as well.&nbsp; Michaels does not mince his words about Gurkha recruitment into the British and Indian Armies (another legacy of the Sugauli Treaty). He calls the mercenaries ‘cheap labour’ and Pushpa Kamal Dahal ‘represents a continuation of the King-Brahmin alliance’. In fact, he goes at length to discuss how the Khas-Arya used ‘Hindu state’ to homogenise a country that couldn’t have been more diverse. But democracy has not served Nepal well either. Corruption, impunity and lack of transparency are rife. And so, Michaels asks if Nepal is a failed state. No it is not, but it is a fragile state. He leaves us with these parting words: ‘If Nepal succeeds in continuing down this road, preserving its ethnic and cultural diversity, leaving the ethnic populations with a certain degree of autonomy, while at the same time integrating them into political decision-making processes, and if it manages the reforms needed for land-ownership, labour, education, infrastructure, then the country can become a model for unity in diversity, even in the age of leveling globalisation.’&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250222070248_a32db0a1e39c4a3a5158af81bbcf927aeb96524bcbc6b41086a223685642b367.jpg" data-media-id="editor_17" data-image-id="20250222070248_a32db0a1e39c4a3a5158af81bbcf927aeb96524bcbc6b41086a223685642b367" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Jang Bahadur in England "> </figure>  &nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250222070252_e2fa5309f10d36f963243c24ea06d7d354d3dfaf24c7ef283d70369fbeabd02e.jpg" data-media-id="editor_18" data-image-id="20250222070252_e2fa5309f10d36f963243c24ea06d7d354d3dfaf24c7ef283d70369fbeabd02e" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Nepal Book"> </figure>  &nbsp;

Sonia Awale

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Review

Nepal is not a failed state, but it is a fragile one

A <a href="https://nepalitimes.com/banner/nepals-new-generation-of-alternative-artists">new generation of Nepali artists</a> is exploring bold narratives and experimental themes, pushing boundaries, and redefining societal conventions.&nbsp; That could be one perspective on the exhibition ‘I Am Rooted, But I Flow’ at <a href="https://nepalitimes.com/multimedia/tsherin-sherpa-returns-home-to-takpa">Takpa Gallery</a>. Curated by Pratima Thakali, it showcases works by eight female artists who explore the interplay between identity, culture, and personal evolution. Artists Anmari Tamang, Kripa Shakya, Kripa Tuladhar, Krisha Tamrakar, Pooja Duwal, Priyanka Singh Maharjan, Sony Rai, and Sumitra Baral bring together diverse perspectives that challenge traditional narratives and invite a fresh thinking of <a href="https://nepalitimes.com/opinion/comment/culture-cannot-be-an-afterthought">Nepal’s cultural landscape</a>. These emerging female artists compel us to contemplate the evolution of <a href="https://nepalitimes.com/here-now/inking-an-idenity">identity</a>, where tradition and transformation coexist in an ever-shifting cultural terrain. The title, drawn from Virginia Woolf’s The Waves, reflects the core theme: the balance between the stability of <a href="https://nepalitimes.com/multimedia/reviving-nepal-s-craft">our roots</a> and the fluidity of our evolving selves. Krisha Tamrakar co-director of Artudio draws inspiration from her hometown of <a href="https://nepalitimes.com/here-now/patan-for-beginners">Patan</a>, and her fascination with human spaces. <a href="https://nepalitimes.com/here-now/lost-in-translation">Familiar landmarks are disappearing</a>, a theme that deeply influences her work through her series of Between Colors and Spaces. “Traditional brass utensils have begun to blend seamlessly with modern, colourful clothing in my neighbourhood,” she says, explaining her Between Colors and Spaces XXI.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250212040228_b85945a657c6eb7be39c449bfc9f24bd0dbe6786261fb7ec29bd6010526c1844.jpg" data-media-id="editor_7" data-image-id="20250212040228_b85945a657c6eb7be39c449bfc9f24bd0dbe6786261fb7ec29bd6010526c1844" data-rendition-name="original" width="3599" height="2400" loading="lazy" alt="Reimagined roots NT"> <figcaption>Artist Krisha Tamrakar draws inspiration from her hometown Patan in her Between Colors and Spaces series. Photo: KAILASH K SHRESTHA</figcaption> </figure>  Tamrakar notes how metal brass utensil shops that once lined the streets have now been replaced by clothing and shoe stores, which also makes us ponder about the effects of rising consumerism. Read also: <a href="https://nepalitimes.com/here-now/the-art-of-living">The art of living</a>, Kunda Dixit Tamrakar believes contemporary art is essential because it allows her to express herself in the present while providing a lens for future reflection. Despite the surrealist images in her work, she thinks the local community will be able to relate to it as her art integrates everyday aspects of their lives. The founder of Artudio Kailash K Shrestha reflects on the inspiration behind his space in 2010: “Back then, there were no accessible platforms for local, young, and emerging artists. There was a lack of open spaces where artists could come together to collaborate, exchange ideas, inspire one another, and offer mutual support." While Tamrakar thinks every artist’s work is valuable, she also acknowledges the underrepresentation of <a href="https://nepalitimes.com/opinion/from-paintbrush-to-tattoo-needle">female artists</a> in the contemporary art scene and encourages greater inclusion. Read also: <a href="https://nepalitimes.com/review/amalgamation-of-nepali-art">Amalgamation of Nepali art</a>, Aayusha Pokharel ‘To All The Women Who Came Before Me’ by Priyanka Singh Maharjan is another artwork series that stands out. Using embroidery on fabric, she represents the often-overlooked and unacknowledged <a href="https://nepalitimes.com/multimedia/nepals-working-women-in-photos">work of women</a>, particularly mothers, and grandmothers, a role that is indispensable in society. ‘Amidst the Watts of Steam’ series by Pooja Duwal showcases a three-decade-long local momo shop, Na: pasa: in Bhaktapur. The ambience in which the food is made and consumed outweighs the food itself as it is more about the sense of familiarity and warmth that make customers inhabit the space.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250212040228_1cf576bd9ba9fc3eac16e80796fb176181469701fa1fceec7dd75efe3ee00f52.jpg" data-media-id="editor_12" data-image-id="20250212040228_1cf576bd9ba9fc3eac16e80796fb176181469701fa1fceec7dd75efe3ee00f52" data-rendition-name="original" width="1505" height="1129" loading="lazy" alt="Reimagined roots NT"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250212040228_5f1dfb425db65f43a3f6209a23c70a90ce5e68b9552ac704f57940283d5cd526.jpg" data-media-id="editor_13" data-image-id="20250212040228_5f1dfb425db65f43a3f6209a23c70a90ce5e68b9552ac704f57940283d5cd526" data-rendition-name="original" width="1189" height="1585" loading="lazy" alt="Reimagined roots NT"> </figure>  Kripa Shakya and Sony Rai also incorporate unconventional mediums into their work. Shakya uses <a href="https://nepalitimes.com/multimedia/weaving-the-fabric-of-a-new-life?fbclid=IwZXh0bgNhZW0CMTEAAR2V6f30hX4eilYDsJKsIZVffQN3SCev4wJJxVYUxPIxY28mHcjlL9XOSmQ_aem_D-yqkaobj1DveD4Uytym3w">fabric</a>, nails, and string along with other mixed media to represent shared experiences of interpersonal conflicts and acceptance, while Rai presents intricately woven threads through aquatint to find beauty in simplicity. Sumitra Baral’s sculptures interpret <a href="https://nepalitimes.com/here-now/fusion-fashion">fashion</a> as not just an outward beauty but an expression of inner artistry and cultural heritage. Her art label reads, ‘Fashion is not just about attire; it is a symbol of identity, a definition of personality, and a living story of culture.’  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250212040228_32955f8db287d4177669a1bbcf5e60cade25ea36aebc6caff5756f23e8a1b7e4.jpg" data-media-id="editor_16" data-image-id="20250212040228_32955f8db287d4177669a1bbcf5e60cade25ea36aebc6caff5756f23e8a1b7e4" data-rendition-name="original" width="1147" height="1529" loading="lazy" alt="Reimagined roots NT"> </figure>  ‘I Am Rooted, But I Flow’ gives a voice to fluid, multifaceted experiences of how our identities are shaped by both deep-rooted traditions and the transformative forces of personal growth. I Am Rooted, But I Flow 8 February - 8 March Takpa Gallery &nbsp;

Reimagined roots

Like a delicate mandala emerging from meditative silence, a new wave of spiritual cinema has been gently transforming Bhutan’s cinematic horizon. It is a <a href="https://nepalitimes.com/here-now/kathmandu-s-ranjana-renaissance">renaissance</a> that represents more than just an <a href="https://nepalitimes.com/review/south-asia-in-the-abstract">artistic movement</a>, it is a dialogue between cultural memory and contemporary expression. The filmmaking style feels closer to what Paul Schrader in his book Transcendental Style in Film. Unlike psychological realism that characterises much of contemporary cinema, this transcendental approach expresses spiritual states through austere camerawork, performances stripped of self-consciousness, and editing that resists <a href="https://nepalitimes.com/opinion/suburban-tales/the-tenderness-in-men">narrative manipulation</a>.&nbsp; Like the Buddhist <a href="https://nepalitimes.com/here-now/medication-to-meditation-in-the-mountains">practice of meditation</a>, these films ask viewers to witness life's complexities with gentle awareness, to see beyond surface narratives and touch the underlying currents of human experience. At the centre of this movement stands Khyentse Norbu — a figure with delicate crossing of spiritual wisdom and art. Norbu is not just a director but a Buddhist lama who is said to be the incarnation of the 19th-century saint, Jamyang Khyentse Wangpo.&nbsp; His debut feature, The Cup (1999), is about young monks in a Himalayan monastery who are passionate about soccer, showing that spirituality can harmoniously coexist with worldly interests. This film marked a pivotal moment in Bhutan’s cinema, emerging from Norbu's experience assisting Bernardo Bertolucci during the filming of Little Buddha. In his latest film, Pig at the Crossing, Norbu works with the Buddhist concept of Bardo, the liminal space between death and <a href="https://nepalitimes.com/opinion/comment/rebirth">rebirth</a>, where consciousness navigates the terrain between dissolution and transformation.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250205030228_e327b58a04981953011579c9e5ddb61abc9a145172577232738a8e8b12e5bc63.jpg" data-media-id="editor_5" data-image-id="20250205030228_e327b58a04981953011579c9e5ddb61abc9a145172577232738a8e8b12e5bc63" data-rendition-name="original" width="5461" height="7016" loading="lazy" alt="Pigs at Crossing"> </figure>  &nbsp; The film's protagonist, Dolom, becomes a metaphorical pig at a metaphysical crossroad, his journey representing deep-seated attachments and the potential for spiritual liberation. Buddhism views this transition as a unique opportunity for consciousness to release its entanglements of guilt, shame, ignorance, and glimpse a more expansive understanding of reality.&nbsp; The movie treats death not as an end, but as a chance for understanding. It shows life as a kind of dream where people can find freedom through their struggles. When the film suddenly cuts to black, it leaves Dolom's fate unclear. This ending invites viewers to think about their own experiences, much like life’s open-endedness. Pig at the Crossing carries deep spiritual insights, but falls short technically compared to Norbu's previous works like Travellers and Magicians and Hema Hema. The film feels less polished, with editing that sometimes loses its rhythm and visuals that do not quite match the profound ideas it tries to explain.&nbsp; Yet, this very imperfection might be intentional — a reflection of the film's central theme about life’s inherent unpredictability.&nbsp; Along with his mentor Khyentse Norbu, Pawo Choyning Dorji emerged as a compelling new voice in Bhutan’s film industry. He was an assistant director to &nbsp;Norbu in his film Vara: A Blessing, and later produced Hema Hema: Sing Me a Song While I Wait.&nbsp; Dorji’s first film as director, Lunana: A Yak in the Classroom, brought international attention to Bhutan’s cinema. His latest film, The Monk and the Gun, continues to showcase his directorial talent. Set in 2006 during the kingdom's transition to democracy, the film presents the tableau of a society navigating the delicate balance between traditional values and modern <a href="https://nepalitimes.com/here-now/everything-is-political">political processes</a>.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250205030228_f3b72361dfbc230a46e7463ac006b9e8fa7349c2cad4a2137e0c13e9b3850c07.jpg" data-media-id="editor_7" data-image-id="20250205030228_f3b72361dfbc230a46e7463ac006b9e8fa7349c2cad4a2137e0c13e9b3850c07" data-rendition-name="original" width="737" height="1066" loading="lazy" alt="The monk and the gun"> </figure>  Through a narrative that follows a rural monk, an election official, and various villagers, Dorji crafts a subtle critique of democratic implementation that goes far beyond the political process. The film introduces Ronald Coleman, a not-so-subtle homage to the actor Ronald Colman from Lost Horizon, who serves as a stand-in for America.&nbsp; The film's true brilliance lies in its ability to reveal cultural complexities through seemingly mundane interactions. Dorji uses Bhutan’s mock elections as a test to examine how external political influence can disrupt communal harmony, highlighting the tension between imposed <a href="https://nepalitimes.com/news/is-democracy-too-expensive-for-nepal">democratic ideals</a> and indigenous social structures.&nbsp; The motifs of guns, television, and international media serve as metaphors for cultural penetration, suggesting that true progress is not about external prompts, but about maintaining fundamental human connections and collective happiness. The film offers a subtle message, especially in the context of what is happening in &nbsp;America. The Monk and the Gun offers a watchable but tepid satire that lacks real bite. Dorji's approach feels overly cautious, rendering what could have been a sharp cultural critique into a forgettable narrative. The result is a film that is neither bad nor particularly memorable. Bhutan's film industry has long been influenced by Indian cinema, with many early films closely following Bollywood trends. But there has been a significant change in the past two decades, filmmakers started to develop their own unique approach. The future of Bhutan’s cinema is bright, as if the filmmakers have found their original voice. Perhaps this movement can be called ‘Cinéma du Dharma’, a term one could easily imagine being on the pages of Cahiers du Cinéma.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025020508028_4af8d9bc9974e00702f71ba6c9391188b1252e0850c93d51e0885d895b080d4f.jpg" data-media-id="editor_9" data-image-id="2025020508028_4af8d9bc9974e00702f71ba6c9391188b1252e0850c93d51e0885d895b080d4f" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Bhutan's filmmakers"> </figure>  Beyond Norbu and Dorji, there are other talented directors in Bhutan’s new wave: &nbsp;Dechen Roder, Tashi Gyeltshen, Karma Takapa, and Ugyen Wangdi. Then there is Arun Bhattarai, whose feature-length documentary Agent of Happiness follows a surveyor who measures happiness, and in the process gently ribs Gross National Happiness. Read also: <a href="https://nepalitimes.com/here-now/min-bahadur-bham-s-cinematic-quest">Min Bahadur Bham’s cinematic quest</a>, Abishek Budhathoki Like the transformative cinema movements that have emerged across the globe, Bhutan’s filmmakers are redefining storytelling that is uniquely rooted in their cultural context. Their approach transcends geographical representation, offering a meditation that melds spiritual insight with artistic dialogue.&nbsp; Through films that resist traditional narrative constraints and Western cinematographic conventions, they are crafting a distinctive new language of cinema.

Bhutan's New Wave

This week it will be 29 years since the Maoist faction of the Communist Party of Nepal launched its armed struggle against <a href="https://nepalitimes.com/here-now/if-birendra-was-alive-nepal-could-still-be-a-monarchy">Nepal’s constitutional monarchy</a>. It had been just six years since the People’s Movement had forced <a href="https://nepalitimes.com/here-now/preserving-king-birendra-s-family-home">King Birendra </a>to abandon the absolute monarchy of the partyless Panchayat system. But the Maoist party felt that parliamentary democracy was too slow a process to end entrenched <a href="https://nepalitimes.com/editorial/feudalism-to-federalism">feudalism</a> in the country. They give Prime Minister Sher Bahadur Deuba, who was on his first term as prime minister, a 40-point demand and an ultimatum to fulfil them. There was no way many of those demands could be fulfilled in stipulated time, and Deuba went off to New Delhi on a state visit. The Maoists did not even wait till he returned to launch armed attacks on police stations in Gorkha, Rolpa and other districts. At first the rulers in Kathmandu did not take the attacks seriously, and treated it like an ordinary law-and-order issue. Read also: <a href="https://nepalitimes.com/news/the-geopolitics-of-nepal-s-politics?fbclid=IwY2xjawEuOktleHRuA2FlbQIxMQABHcCK3p7P-idPc6TBvU9rJebDNgb7ANxs2mx508KjmiGBQDCxk77FUhBRow_aem_j0MdlBmrAbqvY_AFnwKx1A">The geopolitics of Nepal’s politics…</a>, Shristi Karki But, as we know from history, the violence spread like <a href="https://nepalitimes.com/news/wildfire-season-starts-early-in-nepal">wildfire across the country</a>. With light weapons and low morale, the police were incapable of dealing with the spreading insurgency and added fuel to the fire with their own atrocities during the ‘Kilo Sierra’ operations. The Maoists attacked the Royal Nepal Army for the first time in 2001, five months after the royal massacre and the fighting intensified. Many of the incidents of this frightful decade in Nepal’s history is included in Dhangadi-based journalist Dirgha Raj Upadhyay’s book द्वन्द्व पत्रकारिताको एक दशक. One of the chapters deals with Prime Minister Deuba’s own providential escape during a Maoist ambush on his motorcade at Pahalmanpur on the highway to Surkhet in 2003. His bodyguards and the driver of the vehicles risked their lives to save him. Deuba was the chief guest at the recent launch of Upadhayay’s book in Kathmandu, and with him on the podium was Lekhraj Bhatta, the former Maoist commander of Seti-Mahakali area (pictured). In his speech, Bhatta echoed what the Maoists had said after the ambush, that the attack was a mistake and not aimed at Deuba. Read also: <a href="https://nepalitimes.com/latest/14-years-after-conflict-no-closure-in-nepal">14 years after conflict, no closure in Nepal</a> When his turn came to take to the podium, Deuba retorted: “It is a mistake to shoot anyone during a ceasefire. It was a mistake to resort to violence.” The exchange showed that the memories of the 10 year conflict are still fresh, 19 years after it ended — however much the two opposing sides try to bury their excesses. Enemies are now the state, and have abandoned the bullet for the ballot but many Nepalis are asking whether the ten years of carnage was worth it. Upadhyay’s book is a documentation of some of the greatest battles and loss of life in western Nepal during the conflict and after. He describes in graphic detail a government that was confined to district headquarters, but not safe even there. A terrified populace sought safety of the cities, or migrated to India. Maoists asked for ‘vias’ to enter their base areas, soldiers at security posts doing strict checks rudely interrogated civilians. Reading all this takes us back to the decade of violence and conflict that left scars on the nation and society. There are descriptions of reporters being helicoptered into army bases while Maoists fired mortars nearby, of attending a Maoist meeting which dispersed on hearing gunships flying overhead, the battle of Pandaun, a field report of villages terrorised by both sides in Accham. As the regional member of the Federation of Nepalese Journalists (FNJ) Upadhyay was called upon to mediate on behalf of journalists like Lucky Chaudhari in Kailali or Dekendra Thapa in Dailekh. Chaudhari was released by the Army, but Thapa disappeared and his body was exhumed after the war ended. He had been buried alive after torture. And he covered the death in custody of Maoist journalist Krishna Sen. The end of the war did not bring peace, and Upadhyay had to work to free journalists jailed and tortured after King Gyanendra’s coup, including Nagendra Upadhyay. Like many war correspondents, much of this work was dangerous. And Upadhyay writes in his book: ‘The Nepali public relied on journalists for correct information. But who do we journalists rely on for our safety?’ The book draws attention to the fact that in most modern wars, it is the civilians who are caught in the crossfire. <a href="https://nepalitimes.com/banner/all-is-fair-in-war-and-peace">The Maoist conflict</a> happened before social media spread, and both sides craved sympathetic coverage in the press. It was perhaps expected that the Maoists, as a rebel force, would force reporters to write as instructed. But what was not acceptable was that the state and its security forces being democratically elected and adhering to the rule of law would also respect basic human rights and not use the media as a propaganda tool.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025020210024_6d026854835f6ede3b8d275165346dd70a948cf6bbf67c0e1c8671a6b3e680e2.jpg" data-media-id="editor_7" data-image-id="2025020210024_6d026854835f6ede3b8d275165346dd70a948cf6bbf67c0e1c8671a6b3e680e2" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Book details"> </figure>

29 years since start of Maoist war

Gender, diversity, equity and inclusion have deliberately been turned into slurs, as the world’s most powerful nation silences activists at home and abroad. It is therefore audacious and reassuring that an art exhibition titled Feminist Futures is being held in Kathmandu. Nepal is one of the few remaining safe spaces in South Asia for open-minded discussion on balancing the scales of social justice, and Taragaon Next has curated an exhibition with artists from Nepal, India, Bangladesh, Sri Lanka and Pakistan. South Asia is not safe for women, New Delhi has one of the highest numbers of sexual violence cases against women in the world. Horrific crimes against women frequently make it to the headlines in Nepal.&nbsp; Feminist Futures: Art, Activism, and South Asian Womanhood attempts to highlight this through the transformative power of art to express experiences and aspirations tied to womanhood and feminism.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025020111024_fc6e1ebf5619487b41127782e1163abc4c77623c2a87657023d535e49ed7bba2.jpg" data-media-id="editor_0" data-image-id="2025020111024_fc6e1ebf5619487b41127782e1163abc4c77623c2a87657023d535e49ed7bba2" data-rendition-name="original" width="1600" height="1200" loading="lazy" alt="Of women, for women, by women NT"> </figure>  “We wanted to bring this region together for a common cause,” explains Namita Saraf of Taragaon Next. “We wanted to give visitors something to reflect on and be inspired by. Art expresses emotions, and its intensity is what can bring change.”&nbsp; The exhibition is spread over Taragaon Next’s tubular brick structures and includes paintings, photographs, installations and videos from artists Anita Dube, Anoli Perera, Ashmina Ranjit, Bidhata KC, Mithu Sen, Naiza Khan, Pushpamala N, Sheba Chhachhi, Tayeba Begum Lipi, and Uma Bista. It is curated by Arshiya Lokhandwala. Nepali artist Ashmina Ranjit at the launch event on 25 January performed Sita! An Ideal Wife depicting the difficulties and injustices women face when they get married (pictured, above).&nbsp; “Patriarchy treats women as objects and does not give women the rights of ‘ansa’ and ‘bansa’,” Ranjit tells Nepali Times, using the rhyming Nepali words for ‘inheritance’ and ‘ancestry’. Nepali activists have been struggling for equal inheritance rights and citizenship for the children of single mothers for decades, with little progress.&nbsp; While a seemingly subtle force, art has the potential to spread awareness and catalyse reform. However, the true power and impact of art lies in its ability to connect with the community. When art resonates deeply with people, inviting them to interpret, reflect, and react, it is transformed from being just personal expression into collective action.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025020111024_3bf7561e4abbf1331f35fb4ac42627c9dee279520b91000b72ee09881ad68228.jpg" data-media-id="editor_1" data-image-id="2025020111024_3bf7561e4abbf1331f35fb4ac42627c9dee279520b91000b72ee09881ad68228" data-rendition-name="original" width="1600" height="1200" loading="lazy" alt="Of women, for women, by women NT"> </figure>  “Being able to engage a large audience rather than a whole community and deliver an impactful message beyond boundaries is what an artist dreams of,” adds Tayeba Begum Lipi from Bangladesh. Anita Dube from India exhibits Sea Creature, a collection of eyes embedded in a hand. She explains, “The eyes are the eyes of God, but when they come together as people’s eyes, incredibly beautiful energy emerges.” Sri Lanka’s Anoli Perera’s I Let My Hair Loose represents the protest against the male gaze. Women are constantly uncomfortably stared upon by the opposite sex, so her portrayal of the faces of women covered in long hair shows that women represent strength and value equal to, if not more, than men. Nepali artist Bidhata KC says her work Being a Daughter, Being a Woman is aimed at changing mindsets across generations. She says: “The idea is to show the independent identity of women as equal human beings, not merely as girls or daughters.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025020111024_d0acf07611201d126841e1743756a5a5954566d3cc1ecac5646abb77d6ec1aac.jpg" data-media-id="editor_2" data-image-id="2025020111024_d0acf07611201d126841e1743756a5a5954566d3cc1ecac5646abb77d6ec1aac" data-rendition-name="original" width="1600" height="1200" loading="lazy" alt="Of women, for women, by women NT"> </figure>  Some pieces at the exhibition are stark and confrontational denouncements of violence against women, others are more subtle critiques on the invisibility of women’s labour. Both force viewers to introspect: when can the world truly become a place of equality and safety for women? Kathmandu, with its space for free speech and artistic expression, is the ideal &nbsp;venue for this and other exhibitions at a time when there are increasing threats around the region and the world constricting open expression.&nbsp; Says Bidhata KC, “Kathmandu is all about art, our temples, and religious shrines. Our very existence is defined by an artistic culture in which women have always been portrayed as powerful.” In a cultural setting where stories of women are often marginalised or stigmatised, the exhibition highlights the creativity and strength of South Asian women as they reclaim the narrative, and lead a growing wave of feminist activism.&nbsp; This goes beyond simply challenging oppression. It advocates a future where art, activism, and solidarity can uplift and empower women at a time when Trumpian regression threatens to trample social justice. &nbsp;&nbsp; Feminist Futures: Art, Activism and South Asian Womanhood Every day 10AM-5:30PM until mid-May Taragaon Next Hyatt Regency premises

Of women, for women, by women

Journalism as a form of communication is limited by its format and style. After all, it is history in a hurry. Fiction tries to transcend this, and novels are sometimes turned into movies to get the message across more urgently about the human condition. Poetry goes beyond words and employs sonic language to dig deeply into our innermost feelings. Art takes visual cues to go beyond even poetry. But it is often art for art’s sake. Actually, art is a pure form of communication. Only art can reach the subconscious in us to explore existence and expression. Which is what Mukhiya Samridh and Subesh KC are trying to get across to us with their joint exhibition of installations and paintings in WHOARE.YOU at Siddhartha Art Gallery. Subesh KC is a Norway-based artist who is obsessed with how language determines who we are, how we perceive and are perceived. We take words and sentences as a given, the linguistic codes tumbling out from the recesses of our brain and we spout and write words without thinking. KC deconstructs language into a series of paintings ‘We Simply Find Ourselves Here’ with stylised human forms in a backdrop that looks like gibberish – random imaginary hieroglyphics. The underlying message could be that the written language is just a phonetic code of what is spoken, which in turn encrypts our thoughts, feelings and communicates them imperfectly. WHOARE.YOU is not a question, it is an answer. But visitors are not given answers in a platter, each has to find their own meaning and interpretation. Artists are not required to explain the meaning of their work, but we ask KC anyway. “I am trying to investigate the links between language and our perception of reality, using asemic letters and abstraction to question how language determines our understanding of the self,” he says. KC has partnered with Mukhiya Samridh for this exhibition and has two joint works on display. The most striking is ‘Status Quo’ -- an installation with 1,500 nails hammered into an off-white board and arranged in a sine curve running across like a graph.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250127130128_4f8399e6a907b404a34a6dbc6d3fe12b7b4014ea737f5d44316bdbb1771b49ea.jpg" data-media-id="editor_0" data-image-id="20250127130128_4f8399e6a907b404a34a6dbc6d3fe12b7b4014ea737f5d44316bdbb1771b49ea" data-rendition-name="original" width="1778" height="1000" loading="lazy" alt="WHOARE.YOU art review"> <figcaption>Status Quo</figcaption> </figure>  “This is the cycle of consciousness,” explains Mukhiya. “We start from a high point where the ego is dominant, then we find out we are not so smart after all, and only after that lesson in humility do we rise up again to be enlightened. And all the time society is trying to hammer in any nail that sticks out.” Mukhiya is the son of artist Tekbir Mukhiya who has designed over 4,000 covers of Nepali books, many of them in wood blocks, in a career spanning five decades. Samridh has obviously inherited some of the abstract ways of expression from his versatile father. Samridh and Subesh went their separate ways from Nepal and came together again last year for this exhibition of conceptual work, and took five months to hammer out the main message which is an inquiry into who we are. And as visitors move from one exhibit to the next, they are left to also ponder: Who am I? Why am I? What am I? Where am I going after this? Samridh’s installations have a bleached faded look with no colours to distract us from the message. In a series called Nepali Time, just the second hand of clocks tick noisily reminding us also of the temporal dimension. While exploring concepts of language, consciousness, illusion and freedom, the collaborative exhibition has a thread running through it: the question of identity. Not a national or ethnic identity but a sentient identity, a being that is capable of pondering the mystery of its own existence and express it in the language of art. WHOARE.YOU forces us to think about why are we in this world at this time. Kunda Dixit  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250127130128_946d7cebeacaf615ae468a1cab597badcc1d75e0161a2aa22ae2eaca1a4519d3.jpg" data-media-id="editor_1" data-image-id="20250127130128_946d7cebeacaf615ae468a1cab597badcc1d75e0161a2aa22ae2eaca1a4519d3" data-rendition-name="original" width="1134" height="1000" loading="lazy" alt="WHOARE.YOU art review"> </figure>  WHOARE.YOU Till 19 February Siddhartha Art Gallery Baber Mahal Revisited

Communicating existence through art

As a struggling photographer in Bhaktapur 30 years ago, Kishor Kayastha could not even afford furniture. Buying a new lens was out of the question. Later, as one of Nepal’s <a href="https://archive.nepalitimes.com/news.php?id=1520">top fashion and travel photographers</a>, Kayastha toured the world, doing shoots in exotic places for famous brands. Money was not as much a limiting factor anymore. Then came the accident. The shoot team was caught in a blizzard in Mustang in 2019, when Kayastha and the horse he was riding tumbled down a steep slope in whiteout conditions.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025010810014_4df10f4086c81192b5e9fdda030c3d2b2b186b549c9b0683a6922dc4b4699ce6.jpg" data-media-id="editor_1" data-image-id="2025010810014_4df10f4086c81192b5e9fdda030c3d2b2b186b549c9b0683a6922dc4b4699ce6" data-rendition-name="original" width="3714" height="1000" loading="lazy" alt="Eyes wide open in Mustang NT"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250108050116_fe7e94e613c7c6de648043252095475c789260a9a66f88d5d7e349bab9f21c98.jpg" data-media-id="editor_2" data-image-id="20250108050116_fe7e94e613c7c6de648043252095475c789260a9a66f88d5d7e349bab9f21c98" data-rendition-name="original" width="1366" height="911" loading="lazy" alt="Eyes wide open in Mustang NT"> </figure>  “My whole life flashed before me,” he recalls, “I was filled with regret for all work I had not done. I suddenly realised all the money in the world cannot buy you life. Miraculously, Kayastha survived and the near-death experience was an epiphany that changed the trajectory of his life. Since then, his photographs have a more dreamlike tone, the visuals documenting an observed reality but transcending it. Which is why a visit to Kishor Kayastha’s ongoing exhibition of 30 ultra-wide panoramas at Nepal Art Council, MUSTANG: A Two-Decade Odyssey, feels like a pilgrimage to <a href="https://nepalitimes.com/news/hibernating-students-of-the-himalaya">Mustang</a>: it is the next best thing to being there oneself. The high resolution prints are vast, some of them 6m wide, and do justice to Mustang’s big sky and the wrinkled, ochre terrain of this arid trans-Himalayan district. Kayastha has been going to Mustang at least four times a year for the past two decades, and the exhibition spans the time in which much has changed with the arrival of the highway, outmigration and climate breakdown. But a lot remains the same. “I first went in 2004 mainly because I could not go to Tibet,” Kayastha relates. “And I found there is a Tibet in Nepal, too. Mustang has always been a refuge, a beyul, to escape the materialistic world of Kathmandu.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250108050116_41d004484b0a3471cc441b23360fe187eda813c19ca26314795215f428ddcbaf.jpg" data-media-id="editor_4" data-image-id="20250108050116_41d004484b0a3471cc441b23360fe187eda813c19ca26314795215f428ddcbaf" data-rendition-name="original" width="1366" height="911" loading="lazy" alt="Eyes wide open in Mustang NT"> <figcaption>Photos: SUMAN NEPALI</figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250108050116_131a471fb81aa7d0d314bf08bd5912951bb20d0d3b6977e1c1ff523da6456500.jpg" data-media-id="editor_5" data-image-id="20250108050116_131a471fb81aa7d0d314bf08bd5912951bb20d0d3b6977e1c1ff523da6456500" data-rendition-name="original" width="1366" height="912" loading="lazy" alt="Eyes wide open in Mustang NT"> </figure>  Kayastha, now 47, was born into photography. His <a href="https://archive.nepalitimes.com/news.php?id=14249">parents owned a studio</a> in Bhaktapur, and as a boy he helped his mother in the darkroom, dipping black and white prints into developers and fixers under a dim red light. Today, everyone with a mobile device is taking pictures, but Kayastha believes photography is more relevant than ever: “Selfies have become selfish. Like they said that the invention of the camera would make paintings obsolete, photography is not going away either.” &nbsp; Anyone who has travelled north of Kagbeni, especially <a href="https://nepalitimes.com/review/mustang-in-shadows-and-light">in the old days</a> before Sumo jeeps replaced mule trains, will appreciate the tranquility of this windswept plateau where time stood still.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250108050116_d478c15cb66377326d0ef88b70f38eaeb9f20b97bd06d7753f04671550881545.jpg" data-media-id="editor_8" data-image-id="20250108050116_d478c15cb66377326d0ef88b70f38eaeb9f20b97bd06d7753f04671550881545" data-rendition-name="original" width="1366" height="911" loading="lazy" alt="Eyes wide open in Mustang NT"> </figure>  “The horizon is so wide, the sky so immense, the land so unending that Mustang makes you feel small in the scheme of things. It brings you down to size, both physically and spiritually,” Kayastha says. The extra-wide prints were so big, even the Nepal Art Council’s walls could not accommodate all of them, so Kayastha had to scale some of the photographs down. The sheer size of the images evoke in visitors the finiteness of human existence in time and space.&nbsp; Kayastha speaks to us as he unrolls a stitched panorama of Kagbeni he took in 2004. That image and another one taken from the same spot in 2024 serve as bookends at the exhibition, revealing through repeat photography the passage of time. Kagbeni’s monastery complex is now much bigger, there are new concrete buildings, and scars from <a href="https://nepalitimes.com/here-now/what-is-lost-cannot-be-repaid">the great flood last year</a> that tore through town.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250108050116_063acabfe6e991f69e1d5eaace3620b4136f2212135f899a5ac0c4e5011e31e6.jpg" data-media-id="editor_10" data-image-id="20250108050116_063acabfe6e991f69e1d5eaace3620b4136f2212135f899a5ac0c4e5011e31e6" data-rendition-name="original" width="1365" height="910" loading="lazy" alt="Eyes wide open in Mustang NT"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250108050116_cb401c5d83a34e999f96ab24a69dae2cbe525d575a3a798182ab09bab2490628.jpg" data-media-id="editor_11" data-image-id="20250108050116_cb401c5d83a34e999f96ab24a69dae2cbe525d575a3a798182ab09bab2490628" data-rendition-name="original" width="1365" height="910" loading="lazy" alt="Eyes wide open in Mustang NT"> </figure>  Yet, beyond and above the Kali Gandaki’s fossil-strewn banks, the russet brown folds in the rock strata remind us that in geological timescale human beings have been here for less than a millisecond of a camera’s shutter speed. Kishor Kayastha’s exhibition forces us to think that Mustang’s fierce afternoon winds will keep sculpting its dyed organ pipe cliffs long after we are not here to see them.&nbsp; MUSTANG: A Two Decade Odyssey by Kishor Kayastha Till 14 January, 11AM-4PM Nepal Art Council

Kunda Dixit

Eyes wide open in Mustang

For the last thirty years, Kapil Mani Dixit has been obsessed with the naked human figure. All he has painted are female and male nudes.&nbsp; He has drawn the human body so often that he can paint them from memory. The intention is not to draw perfect bodies like Greek statues, but evoke emotions about human force, frailty or beauty among viewers. “I don’t need models anymore,” says Dixit, who has a solo exhibition Lines of Emotions: Nude Expressions at Takpa Gallery this month. The works break the rules to convey human emotions in a raw, unprocessed style. Fingers can look like toes, and eyes can take the place of heads.&nbsp; Read also: <a href="https://nepalitimes.com/review/south-asia-in-the-abstract">South Asia in the abstract</a>, Vishad Raj Onta Only seeing it as nude art would not do justice to Dixit’s pieces. In one painting, a warped female figure is lying on her side, her body spilling onto the ground. “The inspiration for this one was when I saw a woman reclining comfortably in a park,” explains Dixit, moving on to another painting also inspired by a park spectacle: a couple embracing, one figure behind the other making the body look double-headed, multi-armed and hugging itself.&nbsp; Dixit keeps the colours simple and does not hide the underpainting on the canvas. The bodies are jarring but fascinating to look at, they are deliberately imperfect as the artist lets his intuition guide the process.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250103130144_402251ccfa231c45e24caa509dda3b111c3de2c119605db8473cf02fa03fe5d0.jpg" data-media-id="editor_1" data-image-id="20250103130144_402251ccfa231c45e24caa509dda3b111c3de2c119605db8473cf02fa03fe5d0" data-rendition-name="original" width="1000" height="1000" loading="lazy" alt="ART"> </figure>  “I don’t paint over mistakes. They don’t matter to me. Sometimes there are six fingers instead of five,” he says. “I work every day, all the time, fast, in flow. I don’t know what’s going to come out when I sit down to paint.” &nbsp; In many of the paintings at his show, Dixit has abandoned the brush and painted with his fingers, likening this to the feeling of sculpting with clay. The spontaneity and improvisation is different from <a href="https://nepalitimes.com/banner/nepali-art-going-places">traditional Nepali art forms</a>.&nbsp; But Dixit has faced criticism throughout his career for the nudity he portrays, with some saying it is ‘un-Nepali’. When asked, he replies with the air of someone who is tired of answering this question: “That does not make a lot of sense to me, since I am a Nepali and this is my work. Just look at the <a href="https://nepalitimes.com/here-now/kathmandu-s-temple-restoration-after-1934-quake">temples in Kathmandu</a>, you see nudity everywhere.” &nbsp;&nbsp; And yet Nepal deserves a lot of credit: it is a lot more tolerant than many other places in the world today. Even in the US, one of Dixit’s exhibitions was deemed suitable only for people 18 and over. There is no such label at Takpa.&nbsp; “Actually, the art audience in Nepal is quite open-minded to new ideas,” he says. “But I still wish my work would start to be seen more as a form of self-expression, rather than just focusing on the nude aspect. My children have no problem saying in school that their Dad is a nude painter.”&nbsp; Indeed, Dixit thinks he was inspired by his father who used to sketch the human body. He shifted later from drawing landscapes to painting the humanscape.&nbsp; Dixit always knew he was going to be an artist, but it was while pursuing fine art at the University of Texas in Austin that he began drawing nudes. “It was pretty unheard of, for a Nepali, to study art. People were always pushing me towards more sensible fields, like tech,” recalls Dixit, who worked fast food, pizza delivery, and gas station jobs to pay his way. Read also: <a href="https://archive.nepalitimes.com/article/review/Manandhar-fourth-exhibit-Nepal,2641">Empowering expressionism</a> Dixit says he has gone through phases as an artist, and currently he is fascinated by eyes. Large, complex eyes are present in almost all of the pieces at the Takpa exhibition.“The human eye reveals a person’s naked emotion,” he says. “I started painting eyes during the pandemic after noticing how people’s eyes were full of fear and confusion. And with everyone having masks on, the eyes were much more prominent.”&nbsp; Given the modern taboos about nudity and the lack of understanding of post-impressionist art in Nepal, Kapil Mani Dixit’s exhibition is courageous and contemporary. &nbsp; Lines of Emotions: Nude Expressions by Kapil Mani Dixit Takpa Gallery &nbsp;(4 January - 1 February)

Vishad Raj Onta

Visible to the naked eye

Four Nepali and four Dutch artists will feature in a project to draw attention to what has been lost as Kathmandu Valley is transformed from an integrated rural-urban society to a metropolis of 4 million people. The transition has happened just in the last 30 years with the growth accelerating after the start of the 10-year conflict in 1996. What was once an emerald valley has turned into a concrete jungle. The NEDNEP3 2024/2026 art project of the eight artists will unfold in two phases with a current show till 5 January in the Netherlands, and during the Kathmandu Triennale in February 2026. The ongoing exhibition is in the northern Dutch city of Haarlem at <a href="https://www.devishal.nl/kunst/from-burning-rice-fields-to-urban-growth/" target="_blank">De Vishal</a>, a popular hub of contemporary art.&nbsp; The exhibition is curated by Dutch artists Erna Anema and Renate Schwarz, who have been frequent visitors to Nepal and they have selected the works of four Nepali artists (Sujan Dangol, Kripa Tuladhar, Sunita Maharjan and Sagar Chhetri) along with artists Maartje Smits and Liesbet Bussche and themselves from The Netherlands. Anema and Schwarz spent five weeks at the ceramics workshop of Dil Bahadur Prajapati in Thimi, making their ceramic sculptures for this project and meeting Nepali artists and planning their collaboration. Sujan Dangol was in The Netherlands during the preparations and the grand opening of the exhibition at De Vishal in Haarlem. He also conducted workshops there and at the renowned Rietveld Academy in Amsterdam.&nbsp; Erna Anema’s work is titled Moraines to Clay and uses clay, oil on canvas in a large installation. She says, “I want to take you on a journey from the pressed clay circles of the Kathmandu Valley supported by sculptures representing the moraines to the towering ice giants of the Himalayas, which are represented on the left wall in sculptural forms.” Anema’s installation includes two clay tiles sourced from one of the valley’s remaining fertile rice fields.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024122804128_04e9ed612274775036fc408a7d957e446b84402926b535c7b740ccd0b4a84442.jpg" data-media-id="editor_1" data-image-id="2024122804128_04e9ed612274775036fc408a7d957e446b84402926b535c7b740ccd0b4a84442" data-rendition-name="original" width="1000" height="1333" loading="lazy" alt="From Burning Rice Fields to Urban Growth"> <figcaption>Erna Anema's Moraines to Clay</figcaption> </figure>  Liesbet Bussche’s Building Rings are grinded and sanded out of clay blocks, a light building material often used in quick expanding areas of the city. The installation of the carved rings is combined with brick dust and explores urban materiality from a makers perspective. Liesbet’s first project with clay was realised with Pukar Risal in 2008 in the streets of Kathmandu during NEDNEP 1. Kripa Tuladhar’s Remembrance of Shadows is made of traditional lokta paper and thread and evokes the Asan neighbourhood, which she says becomes a canvas of its people, marked by those who have passed through it. “Layers of movement from the footsteps of our ancestors, crumbling bricks and windows, and the future pushing its way against the old reshaping it,” she adds, “cutting out these traces in paper, layering them, like the city’s layers of history, memories of the city are encapsulated in fleeting shadows.” Renate Schwarz has sculptures titled Jars of Then and Now with clay and plastic taps that draw attention to water. The abundance of it in the lake that was once Kathmandu Valley, torrential rain, the glacial streams in the mountains. Water irrigated the Valley’s soil, making it fertile. Says Schwarz: “The transformation of the Kathmandu Valley has struck me ever since my first visit in 1984. What a mega tsunami of change has come over this valley … with my sculptures I express the delicate balance between water, clay and craftsmanship.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024122804124_92e1b1a2b10f9fc3e91691989bf44302d9b1ce81c77b0187db2c9f0e3579667d.jpg" data-media-id="editor_2" data-image-id="2024122804124_92e1b1a2b10f9fc3e91691989bf44302d9b1ce81c77b0187db2c9f0e3579667d" data-rendition-name="original" width="1000" height="1333" loading="lazy" alt="From Burning Rice Fields to Urban Growth"> <figcaption>Renate Schwarz's Jars of Then and Now</figcaption> </figure>  Nepali photographer Sagar Chhetri’s Brutality of Geometry explores the definition of land and how earth, soil, vegetation all become monetised commodities. The photographs depict the greed that drives the ecocide of hillsides by real estate ‘plotting’ on the Valley’s rim. The photos show maps of property, and Chhetri explains: “As an artist, I wish to respond to and investigate this geometry of brutality on the land in depth.” Sujan Dangol’s Mandala is a mixed media tribute to the original fertility of Kathmandu Valley with a collection of 54 types of grain, beans, and spices that used to grow here. He also collected bamboo, copper, glass, plastic, and steel utensils to represent the shift from an agricultural era to an industrial one. “The place which we call home—the Earth—is not only ours. Coexistence with animals, birds, plants, insects, water, and soil is essential for the well-being of our Ecosystem,” Dangol says.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024122804124_058b88c5a00c1a8ab178b37a734cfb900eeb090d8e5602eb6469049e28300a98.jpg" data-media-id="editor_3" data-image-id="2024122804124_058b88c5a00c1a8ab178b37a734cfb900eeb090d8e5602eb6469049e28300a98" data-rendition-name="original" width="1333" height="1000" loading="lazy" alt="From Burning Rice Fields to Urban Growth"> <figcaption>Sujan Dangol's Mandala</figcaption> </figure>  Sunita Maharjan’s Curtain of Change is stencil print on handmade cotton and depicts her hometown of Kirtipur, where the ancestral lands of her ancestors are now occupied by Tribhuvan University. “The continuous influx of students has altered the fabric of Kirtipur - both figuratively and literally,” Maharjan says. “In Curtain of Change I want to document and comment on the evolving identity of my hometown, where urbanisation, industrialisation, and educational migration intersect, leaving both visible and invisible marks on the community.” In Wild Bees in the Netherlands Maartje Smits uses letterpress prints on paper to show the &nbsp;sudden disappearance of honeybees in Europe, and how the artist decided to become a beekeeper, hoping it would help. But honeybees are competing for survival with wild bee species. “Just as with the Kathmandu Valley, the Dutch landscape has been hollowed out and built up.” She says. “Food and nesting places for flying pollinators are scarce, so trying to save one species can mean the demise of another.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024122804124_16461120522a119da0966d714da5e20f67c123fccc8a029419dc344e5d6b35ea.jpg" data-media-id="editor_4" data-image-id="2024122804124_16461120522a119da0966d714da5e20f67c123fccc8a029419dc344e5d6b35ea" data-rendition-name="original" width="1658" height="1000" loading="lazy" alt="From Burning Rice Fields to Urban Growth"> </figure>  NEDNEP3 2024/2026 From Burning Rice Fields to Urban Growth De Vishal, Haarlem (29 November-5 January) Kathmandu Triennale in Nepal (February 2026)

Rice fields to concrete terraces

This year’s Miami Art Week brought high-profile openings and exhibitions with some exciting exhibitions and installations from South Asia and Nepal. The event was a dynamic mix of galleries, immersive installations and schedule packed with must-see art fairs, pop-ups, and cultural events with Art Basel taking centre stage.&nbsp; This was the 22nd edition of Art Basel and brought in 286 galleries from 38 countries, the largest contemporary art event in US with 75,000 visitors, collectors and art lovers.&nbsp; The Art Week has the NADA fair featuring the work of Nepali ceramic artist Shushank Shrestha, who had a whole booth by the French Gallery, Galerie Lefebvre &amp; Fils. Louis Lefebvre, director of the gallery had reached out to Shrestha last year after seeing photos of his graduating show in New York. &nbsp; A whole booth for a single artist is an honour, and it showcased Shrestha’s 14 brightly coloured ceramic figures that playfully explore mythical characters from Nepali culture and blends it with the artist’s fascination for super-heroes. The figures evoke a touch of humour, childhood memories of fun and family moments.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024122508128_49675d8240747eaa76403605db7a0b6767952b0198ab565f65026e3dc9ec9870.jpg" data-media-id="editor_0" data-image-id="2024122508128_49675d8240747eaa76403605db7a0b6767952b0198ab565f65026e3dc9ec9870" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Nepali artist at Miami Art Week NT"> </figure>  Shrestha’s mastery in the techniques of ceramic making can be observed from the glazed gigantic, free-standing multi-coloured Garuda with extended wings that take centre stage. It has minute details providing an emotional connection to viewers familiar with Nepali culture.&nbsp; Read also: <a href="https://nepalitimes.com/review/amalgamation-of-nepali-art">Amalgamation of Nepali art</a> The exhibition drew much attention from visitors, with many marveling at its attractive presentation and the artist’s ability to maneuver the flexible medium into imaginative characters through the coiling technique.&nbsp; The challenge of <a href="https://nepalitimes.com/banner/take-to-pottery-during-the-pandemic">ceramic making</a> is that the process from the start to the finish is delicate, the clay itself being sensitive to moisture when moulding and to heat when firing.&nbsp; Shrestha’s booth is a powerful reminder that <a href="https://nepalitimes.com/banner/nepali-art-going-places">Nepali artists have entered the world stage</a> following the footsteps of Lain Singh Bangdel, Siddhimuni Shakya, Lok Chitrakar, Mukti Singh Thapa, Udaya Charan Shrestha, Ang Tsherin Sherpa, Hitman Gurung, Koshal Hamal, Sneha Shrestha, and others.&nbsp; Shushank Shrestha is a Kathmandu-based artist and a graduate of New York State College of Ceramics at Alfred University. He received his BFA from Kathmandu University School of Arts in 2016, and his work has been exhibited in Nepal, Pakistan, China, France, and the United States.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024122508128_ebfae6a66c43872b968e76df82ca8189b93ca28a5ffe17e5c93ae295953b4ba4.jpg" data-media-id="editor_4" data-image-id="2024122508128_ebfae6a66c43872b968e76df82ca8189b93ca28a5ffe17e5c93ae295953b4ba4" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Nepali artist at Miami Art Week NT"> </figure>  Galerie Lefebvre &amp; Fils was founded by Henri Lefebvre in 1880 with an eclectic collection and has a legacy of exchanges with museum curators and ties with private collectors. In 2009, the gallery started to focus on contemporary ceramics, highlighting the renewing nature of the medium and its relevance to society.&nbsp; Read also: <a href="https://nepalitimes.com/banner/nepal-art-now-in-vienna">Nepal Art Now in Vienna</a> Another highlight of the art week was the Great Elephant Migration from India. The installation on Miami’s South Beach featured a hundred life size elephants from the <a href="https://www.unesco.org/en/mab/nilgiri">Nilgiri Biosphere Reserve</a> in South India. The individual elephants were all hand crafted by <a href="https://www.therealelephant.com/coexsistence-collective">Coexistence Collective</a>, a group of 200 local indigenous artisans and designed by <a href="https://www.shubhranayar.com/">Shubhra Nayar</a>.&nbsp; The elephants are made from an invasive weed that crowds out other native species and reduces biodiversity threatening to overtake the natural habitat of Indian elephants. The project also provides sustainable income for the local community through 20 villages with workshops that make the elephants.&nbsp; Ashish Kapoor, a London-based Indian artist, sucks viewers into a vertiginous concavity that confound our perception. &nbsp;Wangechi Mutu, a Kenyan American multi-disciplinary artist presents culturally specific and transnational presentations of contemporary realities, while offering new models for a radically changed future informed by feminism, Afrofuturism, and interspecies symbiosis.&nbsp; Swosti Rajbhandari Kayastha is curator at the Nepal Art Council.&nbsp;

Nepali artist at Miami Art Week

Just few days into office, President Donald Trump has brought about a work-stop to ongoing USAID supported projects and complete stop to new grants or aids. The executive order was justified under Trump’s ‘America First’ promise, and it has shaken up recipient countries, including Nepal. Since 1951, USAID has provided $1.5 billion in aid to Nepal. The breakdown for recent years is $105.94 million for 2020-21 and US$ 125 million in 2018-19. In 2022, USAID and Nepal signed a five-year Development Objective Agreement worth $659 million (pictured, above).&nbsp; Some of the key sectors where USAID has supported and supports Nepal with aid include health, education, agriculture, infrastructure; economic growth, humanitarian aid and women and children empowerment. All of these projects will be affected, and grants disbursement suspended. According to USAID’s Country Development Cooperation Strategy (December 2020-December 2025), the overall goal of the USAID’s development cooperation in Nepal is to realise ‘A more self-reliant, prosperous, and inclusive Nepal that delivers improved democratic governance and health and education outcomes.’ Four identified development objectives are:&nbsp; i) More Effective, Participatory, and Equitable Democratic Ecosystem ii) Broad-Based and Inclusive Economic Growth Fostered iii) Inclusive Health and Education Systems Strengthened iv) More Equitable and Improved Natural Resources and Disaster Risk. Under these development goal and objectives as per the data available under Government of Nepal’s Aid Management Platform (AMP) there are currently USAID supported 21 key projects ongoing in Nepal.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250126090140_0bd9163cb9826464409887995eb8f2eff42c7cf1269610c3761773cde59ff52c.jpg" data-media-id="editor_0" data-image-id="20250126090140_0bd9163cb9826464409887995eb8f2eff42c7cf1269610c3761773cde59ff52c" data-rendition-name="original" width="1005" height="825" loading="lazy" alt="USAID fund in nepal after Trump"> </figure>  These 21 projects with some data missing totals a commitment of $178,140,467 from 2021-2029 in Nepal. Of these commitments $89,115,031 (about half) have already been disbursed. With Trump’s executive order the rest of the 50% is now going to be on hold until the review is completed and further decisions are made by the new US administration.&nbsp; Most development goals of USAID in Nepal are embedded with key principles like ‘equity’ and ‘inclusive’. With the Trump government’s aversion to the previous emphasis on Gender, Equity, Inclusion and Accessibility (GEIA) principles, projects focusing on those issues will be hit hardest. USAID upheld policies and actions that promoted equal access and opportunities for all people, with an emphasis on the Tarai, gender issues, family health and through contractors on human rights and democracy. The impact on Nepal’s development aid will be substantial, affecting livelihoods in incomes generated by USAID supported projects. Individual independent consulants already received notices over the weekend that the work they were &nbsp;doing under a USAID contract is subject to work-stop now.&nbsp; The question is whether the 5-year Country Development Cooperation Strategy for Nepal that finishes by end-2025 will go ahead. And when the new post-2025 Strategy is formulated, it is certain that the Trump’s administration will not entertain GDEI, which so far has been people-centered and not political.&nbsp; Kishor Pradhan is an independent development consultant concentrating on development information and knowledge management issues. <a href="mailto:kishorpradhanktm@gmail.com" target="_blank">kishorpradhanktm@gmail.com</a>

How USAID cut affects Nepal

They are rare, they are elusive and they are so well camouflaged, they are difficult to see, even when they are right there. That is why <a href="https://nepalitimes.com/opinion/comment/nepal-brings-back-the-snow-leopard">snow leopards</a> are called the ‘Ghosts of the Himalaya’. And because they are also regarded as being sacred, they are called ‘God’s Pets’.&nbsp; Nepal has <a href="https://nepalitimes.com/news/does-nepal-really-have-too-many-tigers">tripled its tiger population</a> in 12 years since 2010. There have been successive years with zero rhino poaching and the numbers have bounded back. But few know about the country’s success story with snow leopard conservation. Preliminary data from an on-going census shows that Nepal ranks fourth among the 12 snow leopard range countries in central and South Asia. This is despite the country having just 2% of the total area where snow leopards can be found.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250127070148_0f22a5439d56e5db58d8f65789ee4ff5e87a29c898d5e8cbff60bf8f1814af4b.jpg" data-media-id="editor_2" data-image-id="20250127070148_0f22a5439d56e5db58d8f65789ee4ff5e87a29c898d5e8cbff60bf8f1814af4b" data-rendition-name="original" width="1311" height="724" loading="lazy" alt="snow leopards in Nepal NT 1"> <figcaption>Despite possessing just 2% of the snow leopard range across Central and South Asia, Nepal has the fourth highest number of elusive mammals in the world. Photo: TASHI R GHALE </figcaption> </figure>  Nepal also leads in <a href="https://nepalitimes.com/news/satellite-tracking-snow-leopards-in-nepal-to-study-climate-impact">snow leopard research</a>. Less than 3% of the snow leopard range has been studied through camera traps and genetic studies, but it is Nepal that has done the most. <a href="https://nepalitimes.com/here-now/nepal-leads-in-snow-leopard-study">Over 100 Years of Snow Leopard Research</a> by the World Wildlife Fund (WWF) in 2021 showed that 74% of the snow leopard habitat in northern Nepal has been the subject of research into the species. “We are leading globally when it comes to snow leopard conservation and study, starting from 2013 in Kanchenjunga using GPS to study their habitat,” says <a href="https://nepalitimes.com/here-now/conversation-with-mr-conservation">Ghana S Gurung of WWF Nepal</a>. “We also found via camera traps they went as high as 5,800m and as low as 2,600m.” There are an estimated 300-500 snow leopards across high mountain Nepal with Dolpo, Manang and <a href="https://nepalitimes.com/banner/participating-to-save-kangchenjunga">Kangchenjunga</a> the main hotpots for the endangered species. Unlike with tigers and rhinos which are poached by wildlife traffickers, snow leopard killings are mostly retaliatory for killing livestock. Snow leopards attack yaks, sheep and goats of herding communities in the mountains. One of the most effective methods to protect the species from traps and poisoning is to help local communities build mesh wire corrals. The San Francisco-based <a href="https://snowleopardconservancy.org/">Snow Leopard Conservancy</a> through the Nepal group <a href="https://www.mountainspirit.org.np/">Mountain Spirit</a> has designed and tested portable corrals that can move with herders.&nbsp; “They move all year around so that the livestock have enough pasture to graze on, which is why it was important that our improved corrals could be dismantled and moved around,” explains Shailendra Thakali of the Snow Leopard Conservancy. The team consulted herders in Manang and Mustang while developing the corrals based on traditional design, with a stone base but wire mesh on the sides and the roof as well as strong wire gates for secure closure. They are also using fox lights to deter activities at night.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025012803018_4a166ea1124008cfcf551ffd59c5841acb2bc9c443d9fbe56490b280492eb441.png" data-media-id="editor_9" data-image-id="2025012803018_4a166ea1124008cfcf551ffd59c5841acb2bc9c443d9fbe56490b280492eb441" data-rendition-name="original" width="2244" height="1246" loading="lazy" alt="corraling"> <figcaption>Improved corrals in Manang and Mustang made up fo mesh wires to protect livestock from snow leopard attacks. Photo: PURNA MAN SHRESTHA</figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250127070152_009bc57c5d2244a393a8423d56098f921ed29b8d0a60a9c15422dd58615b5e5b.jpg" data-media-id="editor_10" data-image-id="20250127070152_009bc57c5d2244a393a8423d56098f921ed29b8d0a60a9c15422dd58615b5e5b" data-rendition-name="original" width="4032" height="3024" loading="lazy" alt="snow leopards in Nepal NT 1"> <figcaption>The corrals are portable allowing herders to move them as they take livestock for grazing in high Himalayan pastures. Photo: PURNA MAN SHRESTHA</figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250127070152_3b84ce156de1ed1deea79d23a15c1a3dfa5a412dca3644deec1333bda7f91cd0.jpg" data-media-id="editor_11" data-image-id="20250127070152_3b84ce156de1ed1deea79d23a15c1a3dfa5a412dca3644deec1333bda7f91cd0" data-rendition-name="original" width="1500" height="1125" loading="lazy" alt="snow leopards in Nepal NT 1"> <figcaption>Local herders in Manang and Mustang were consulted while developing improved corrals. Photo: BRIAN PENISTON</figcaption> </figure>  Tourism and agriculture in Manang and <a href="https://nepalitimes.com/here-now/comings-and-goings-in-mustang">Mustang</a> dropped during the pandemic, and the Conservancy also helped herder communities with alternative livelihoods.&nbsp; “We trained them in basic hotel business such as lodge management skills but more importantly to restore abandoned pastures by planting jimbu which is highly valued for cooking in Kathmandu and Pokhara,” says Brian Peniston, also with the Snow Leopard Conservancy. “The tourist figures have now increased considerably and this has directly benefited 1,000 households in three municipalities.” <a href="https://www.wwfnepal.org/">WWF Nepal</a> has also collaborated with the Department of National Parks and Wildlife Conservation (DPNWC) to train locals in Dolpo and Kangchenjunga to make their own mesh wire corrals with subsidies on raw materials.&nbsp; WWF has partnered with Amchi traditional medicine practitioners to promote conservation of snow leopard in mountain communities where people trust faith healers. School eco-clubs also involve youth in conservation.&nbsp; “We must trust communities and promote local ownership when it comes to wildlife conservation, and if it were not for the communities there, snow leopards would be long gone,” says Gurung of WWF Nepal. “It is important to revive the belief that snow leopards are sacred because they are god’s pets, tie them up with the spiritual, cultural and traditional belief of the people.” Community-managed livestock insurance schemes have attained zero retaliatory killings in Kangchenjunga where WWF and the government has sent up an endowment worth Rs10 million to compensate herders for snow leopard kills. A similar scheme is being implemented in Dolpo which has double the density of snow leopards compared to Kanchenjunga.&nbsp; But the compensation mechanism is cumbersome and often inefficient. Claimants need to provide photographic evidence with tags of the livestock still attached but snow leopards often go for the head and tags are lost. The evidence has to be submitted promptly, and this is difficult for herders in isolated villages.&nbsp; Insurance agents are based in headquarters like Chame in Manang and are not willing to travel all the way up. Similarly, photographic evidence needs to be assessed by veterinarians who are also reluctant to go to remote areas that take up days. “The compensation policy hasn’t changed in the last 20 years,” says <a href="https://nepalitimes.com/review/snow-leopard-redux">Tashi R Ghale</a>, high-altitude wildlife photographer and conservationist. “Here in Manang, herders would get Rs6,000 in compensation for a yak when the market rate was Rs20,000. The market rate is now Rs150,000 but they still get only Rs6,000. Even then, they have to wait for months.” Brian Peniston feels improving and tailoring compensation suitable to the landscape is of utmost priority, and the schemes need to be more accessible and effective as well as herder friendly. He adds, “Local governments should be handed authority in these matters, and it should be equal parts trust and verify. It is over-verification at the moment.” Climate breakdown has added to the challenge of snow leopard conservation. Either blizzards or winter droughts mean fewer prey for the mountain cats, this in turn has also led to leopards preying on livestock. Usually, the wild prey to livestock ratio in a snow leopard diet is 70:30. Blue sheep (pictured below) are the main prey species for snow leopards, but there is now competition with lowland spotted leopards which have moved up the mountains, while the Himalayan wolf has descended. The prey density may not have decreased, but predator species have more than doubled.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250127070156_f23ed8414be46782c90df4198d46c30f423d63d59f97343f89760283011c7c0b.jpg" data-media-id="editor_15" data-image-id="20250127070156_f23ed8414be46782c90df4198d46c30f423d63d59f97343f89760283011c7c0b" data-rendition-name="original" width="1400" height="1050" loading="lazy" alt="snow leopard conservation in Nepal"> <figcaption>The climate crisis has meant that lowland spotted leopards which have moved up the mountains, while the Himalayan wolf has descended, leading to a reduced number of blue sleep which is one of the main prey species for snow leopards. Photo: SHAILENDRA THAKALI</figcaption> </figure>  Other disrupters include <a href="https://nepalitimes.com/multimedia/the-human-cost-of-nepal-s-yarsa-gold-rush">overharvesting of yarsagumba</a> and increased movement in this fragile landscape, with adverse impacts on all wildlife, not just snow leopards. Expansion of the road network to the remotest corners of the country is another concern, adding to the risk of human-wildlife conflict and poaching.&nbsp; “There has been much research on snow leopard behaviour in the last 30 years but what we haven’t done nearly enough is study human behaviour,” says Peniston. Despite the challenges, the rebound of snow leopard populations has increased the opportunity to <a href="https://nepalitimes.com/banner/trekking-to-save-nepals-snow-leopards">snow leopard viewing eco-tourism</a>, as is being practiced in Dolpo.&nbsp; Says <a href="https://nepalitimes.com/review/ice-to-water-alv4lorf">Tashi R Ghale</a>: “Local communities here in Manang and Dolpo are doing what they can, but the Nepal Tourism Board needs to step in to promote snow leopard trekking and tourism. The co-benefits would motivate communities to protect the big cats.” &nbsp;&nbsp;&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250127070156_698d64632273185cecbcaca626c7c49861ba54a0930119843792572f01114942.jpg" data-media-id="editor_19" data-image-id="20250127070156_698d64632273185cecbcaca626c7c49861ba54a0930119843792572f01114942" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="snow leopard conservation in Nepal"> <figcaption>FIND ME: Elusive in nature, snow leopard sightings are rare and often only detected on camera traps (below). Spot the snow leopard in this picture taken by conservationist Tshiring Lhamu Lama in Dolpo, a hotspot for big cats in Nepal. Photos: TSHIRING LHAMU LAMA</figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025012708018_42acdb2ba0c5941b1c3a89ede1bac048808d6424f4c70aadb68df6ab5176bbb6.jpg" data-media-id="editor_20" data-image-id="2025012708018_42acdb2ba0c5941b1c3a89ede1bac048808d6424f4c70aadb68df6ab5176bbb6" data-rendition-name="original" width="2041" height="1314" loading="lazy" alt="Snow leopard conservation in Nepal"> </figure>  &nbsp;

Ghosts of the Himalaya

In December, the Nepal government announced it would not allow a Beijing-appointed Tibetan spiritual leader, the Panchen Lama, to attend a Buddhist conference in Kathmandu. Immigration at the airport was put on high alert to ensure he did not try to sneak in.&nbsp; Coming soon after Prime Minister K P Oli’s visit to China, that decision underscored Nepal’s precarious tight-rope act in addressing religio-political sensitivities in its relations with China. The Panchen Lama episode can be seen as a test for Nepal’s handling of the succession of the Dalai Lama, who turns 90 in July. “When the time comes to find a successor to the Dalai Lama, Nepal will face a larger policy dilemma,” predicts Sudheer Sharma, author of two recent books on Nepal-China relations. “The government is still unclear what it will do if the successor is chosen from the Tibetan community in Nepal, or from China or India.” <a href="https://nepalitimes.com/news/dalai-lama-gets-block-of-glacial-ice">The Dalai Lama</a> is the spiritual leader of Tibetan Buddhism and a symbol of Tibetan identity; he is revered as the manifestation of Avalokitesvara, the Bodhisattva of Compassion. He was born in 1935 in northeastern Tibet and was formally recognised as the Dalai Lama in 1940.&nbsp; He has been living in exile in Dharamsala for the past 65 years after fleeing Lhasa following the Chinese takeover. He has been allowed to make a low-profile visit to Lumbini only once in 1987, and never after that due to objections from China.&nbsp; Nepal does not have a national strategy to handle the presence of <a href="https://nepalitimes.com/news/nepal-s-sherpas-mourn-tengboche-abbott">religious leaders</a>. If there are policies, they are ad-hoc or undeclared, depending on the government of the day in Kathmandu. The Nepal government, under Chinese pressure, even prevents public celebrations marking the Dalai Lama’s birthday on 6 July. “The Dalai Lama’s attempts to visit Nepal again have been stopped &nbsp;since Nepal thinks he is not only a religious leader, but a political figure as well,” says Sharma. “There is no discussion in Nepal’s political circles regarding the succession of the Dalai Lama. The topic is regarded as a non-issue.”&nbsp; Over the years, the Dalai Lama has made various statements regarding his succession. At times, he has suggested that he will write a will to select a successor from within the Tibetan community. On other occasions, he has hinted that the next Dalai Lama could be chosen from a “free country”, and could even be a woman.&nbsp; The Panchen Lama succession in 1995 could provide a hint about how the post-Dalai Lama era will play out. The Panchen Lama is the second most important spiritual leader in Tibetan Buddhism, and heads the <a href="https://archive.nepalitimes.com/news.php?id=18580">Tashilhunpo Monastery in Xigatse</a>, the epicentre of the 7 January earthquake, located 250km away from Lhasa.&nbsp; The Panchen Lama traditionally has the role of finding the next Dalai Lama, but the previous Panchen Lama (Lobsang Trinley Lhundrup Choekyi Gyaltsen) has been missing since 1995, after the Chinese installed their own candidate (Gyaltsen Norbu). The present Panchen Lama’s visits are carefully planned, and he has made only one foreign visit so far, to Thailand. “Nepal did not permit Panchen Lama’s visit as he is Chinese Communist Party-appointed, thus making him a political figure,” says Amish Mulmi, author of the book All Roads Lead North.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250124090148_3bb3d803c04c34657d0ac9759ca904073f75734a446506f8a57e50178b381c00.jpg" data-media-id="editor_3" data-image-id="20250124090148_3bb3d803c04c34657d0ac9759ca904073f75734a446506f8a57e50178b381c00" data-rendition-name="original" width="1087" height="697" loading="lazy" alt="Dalai Lama NT"> </figure>  What China was trying to do through the Panchen Lama’s visit for the Nanhai Conference in Kathmandu last month was to project its soft power, and perhaps prepare the ground for the Dalai Lama succession. But the ban raised the question of what Nepal will do if there is a visit by Hindutva figures from India at events in Nepal.&nbsp; Religious leaders and figures from various faiths regularly visit Nepal for devotional events, meetings and conferences. Their trips are often significant for promoting dialogue and cultural exchange, and cannot be banned under the Constitution. “We did the Nanhai Conference, and in future religious leaders will definitely visit Nepal. The question arises whether or not to allow them to engage in political activities or not,” says Mulmi. “Religion has always been political. So Nepal must not take easy decisions and must think it through.” Although Nepal and Tibet fought wars in the past two centuries, they share deep-rooted and ancient cultural, religious and trade ties. After the Chinese annexation of Tibet 70 years ago, Kathmandu gradually started dealing directly with Beijing.&nbsp; Today, Nepal is the only country with a consulate in Lhasa, a city from where the only direct international flight is to Kathmandu. Over the years, these ties have evolved, with shifts in trade dynamics and people-to-people interactions reflecting broader regional and global changes. Despite this, the historical bond between Nepal and Tibet remains a significant aspect of present-day bilateral relations with China, and this is why the selection of the next Dalai Lama has resonance here. “It is clear that China has been trying to adopt Tibetan Buddhism as a soft power. It is trying to co-opt Tibetan Buddhism on the lines of China’s ambitions and narratives,” explains Mulmi.&nbsp; The Dalai Lama’s <a href="https://archive.nepalitimes.com/news.php?id=14733">considerable following</a> in Nepal, India, Europe and the United States is an irritant for Beijing. Recent Sino-American tensions have therefore given the spiritual ownership of Tibetan Buddhism a geopolitical dimension, and in this the Dalai Lama succession will become an important factor.&nbsp; Relations between Washington and Beijing during the second Trump term will have a bearing on this. As a buffer state between India and China, Nepal has historically tried to maintain equidistance between the two powers.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025012308014_95372c819980513e21490c3abe2aa8e712af6c89c5829e04d5f57880ad4f2a23.jpg" data-media-id="editor_5" data-image-id="2025012308014_95372c819980513e21490c3abe2aa8e712af6c89c5829e04d5f57880ad4f2a23" data-rendition-name="original" width="2500" height="1000" loading="lazy" alt="What (or who) after the Dalai Lama NT"> <figcaption>THEIR HOLINESSES: The Dalai Lama, who will be 90 in July (left), and China-installed Panchen Lama (above). Traditionally, it is the Panchen Lama who has a role in finding a new Dalai Lama. Photos: TENZIN CHOEJOR (left) / CHINAN NEWS SERVICE (right)</figcaption> </figure>  But China has rarely stuck its neck out for Nepal. Despite repeated requests for military help during its war with the British East India Company in 1814-16, the emperor in Beijing refused.&nbsp; Explains Sudheer Sharma: “China did not want to get involved with the British. They thought of their own national interests then, and they are thinking of their own national interests now with India.” During the Khampa Uprising in the 1960s, Kathmandu was also squeezed between American support for the guerrillas and China’s objections to Nepal being used as a base. But with the Nixon-Mao rapprochement in 1972, the Americans stopped helping the Khampas. Nepal then yielded to pressure from Mao Zedong to mount a military campaign to drive them out.&nbsp; Nepal was left to manage and host Tibetan refugees, and balance that with China’s security concerns. Explains Amish Mulmi: “Nepal has pretty much done everything China has asked to do, including deporting Tibetans. China doesn’t need to be insecure, but Nepal needs to maintain a careful balance.” Today, despite Donald Trump’s chest-thumping and <a href="https://nepalitimes.com/editorial/trump-s-second-coming">threats of a tariff war against Beijing</a>, he and Chinese President Xi Jinping are on the same page regarding democracy and freedoms. Which may mean Washington could once more leave the Tibetans in a lurch, and this could have a direct bearing on the Dalai Lama succession sequence. The United States' shifting foreign policy has often been criticised for leaving allies and partners to fend for themselves. Trump may revive his pressure on Japan, Korea and Taiwan to pay for the US defence umbrella.&nbsp; Nepal’s stance on the Tibetan community relies on marking boundaries and offering protection. During Chinese President Xi Jinping’s visit to Nepal, China proposed that Nepal sign an extradition treaty which Nepal politely refused. “Nepal has tactfully not let the Chinese side extend a longer hand on the Tibetan issue,” says Sharma. “Possibly, we are learning our lessons from history.” The question of who will choose the successor to the Dalai Lama will be decided by geopolitics, and China’s increased stature as a global economic power.&nbsp; Beijing could insist on sticking to tradition to let its candidate for the Panchen Lama make the final decision. This would allow it to move the seat of the Dalai Lama from Dharamshala back to Lhasa. The present Dalai Lama could also appoint his own candidate, but that person will not be allowed into Tibet by China. In that case, we may have a situation where there are two Dalai Lamas.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250127030140_c9048725407641601bc68568db19e48197154cd6396f39d67ab113d94c26e675.jpg" data-media-id="editor_7" data-image-id="20250127030140_c9048725407641601bc68568db19e48197154cd6396f39d67ab113d94c26e675" data-rendition-name="original" width="1910" height="757" loading="lazy" alt="Voice for the Voiceless Dalai Lama"> <figcaption>Dalai Lama's latest book Voice for the Voiceless details his dealings with China over the last seven decades. </figcaption> </figure>

What (or who) after the Dalai Lama?

Between the 1980s and 2000s, over 5,000 <a href="https://download.ssrn.com/11/01/06/ssrn_id1736064_code1383023.pdf?response-content-disposition=inline&amp;X-Amz-Security-Token=IQoJb3JpZ2luX2VjEBkaCXVzLWVhc3QtMSJIMEYCIQCiYUc7BuJ7zaDn%2BOTCFOWBgNKqYarnapqY%2FWZbamFVsgIhAOC%2FPFXHR9Dx6xTicWMj5%2BJXdIEGZ7LxKRyjrCe61Ng9KsYFCPL%2F%2F%2F%2F%2F%2F%2F%2F%2F%2FwEQBBoMMzA4NDc1MzAxMjU3IgzWD1Y1XNz2kaOS3jEqmgX0TbxyBTTrZrpd%2B5N72pFzJAwc%2BxTF8Dc0GnVG2tUGUYyxBt1YmfEqAw5cdOuRCZV23SSKkJwndg9IwI3yrjZGBp9XKxg4lK4Vq0Qy9RMmma5hNCVnA2T0MwGghlnmkgWPZA5ouZPiKFAecf4PE5qml2fu1wj72LEAig5R77cN6nC6%2BxTcygMiuiHrR9yZB4RyvTD9s58avGqUcn9hcIUdku3ydvAGVEgczzgEMCesRMtSgqzHz3E9bju9QLR5RpcDRp0wptfQ89uGXgyBGLCX%2BAl6uareSxQCSaDOthP4PmswWI7y7kBJbQp1pZq8r56Yoa3Qf5WVtmxbsWmDtbOsaSBa0yB6EIS8RKFGeQ%2Bcz%2BnEsOoPHIS%2BqO1k1%2BQuihjN0T66SnWFo8rl8Cv2g4GghY9p9DR3wopBJ6cE%2FtDJMY%2BZ03LkUwS%2Fc7ckyaRpfPX5g6Bb9J56a%2BNA5lnIV5o%2Fpjp%2BZJaVIvEzciyzzTwP58wznmcy3xppvK%2BwXBzBR96cPMXKTdNv9%2FqJ5jlnsgSRJpHWE3UyHbFucwQYXi19i7mCglFSuSkkL5Tg9nQWvXpuP9Z9VmMlQfQ%2F%2FpsfA6KlL81K3UK%2Bp%2FJB2mxQD9SYexZvAf1g21NUSF%2F8I19orsNrT6LutAnoJU%2FOTgO3qMbdgnR%2FuBytI3POnQAEIfbG0Za%2FrEDJ9j8CEbasNXsBMqkx8JKGRG2PUHMRC2xl5Z%2BNIbpsqGB8t%2BvAt40osDpgZStiyeiGdC1nMakUzZtBjWlttzoirCdemwPKJ8M%2BEohj2%2BLEN92yaOKdFewns0gjh%2BUxcotGvBo%2F7QZFappBNjLlR0PyanjcuB4MndEQjeIrd67ntscTKiLDI%2FfzwCHulsl6nbMpewpWFAYwg67guwY6sAGb3VJ2q%2F36hWhrVa8igP2hswnnLlcIU2uhOZa5ge2hCXkUYhL1BcSJfoWy2LwrWCXtdFo%2BT7KMU3p6O3jySdxSop8F4iO%2BJBiXVjSiXm%2FqZo3ri8sVwUgo4ksJI%2BT4AbfK3D3VGYapBgU5LdX%2FjkNwSVoR1vz4vMIyF56i7MKeYG1nFLgc0l9cIjrQI6eY869uIbgZ1XKqqBsuavCbYjSbSy7dMP0QSym%2FgmoWILGE0Q%3D%3D&amp;X-Amz-Algorithm=AWS4-HMAC-SHA256&amp;X-Amz-Date=20250103T172339Z&amp;X-Amz-SignedHeaders=host&amp;X-Amz-Expires=300&amp;X-Amz-Credential=ASIAUPUUPRWE65YAH56X%2F20250103%2Fus-east-1%2Fs3%2Faws4_request&amp;X-Amz-Signature=9b654b526e0779da4fa9f54e2fcde04ac9f7e91fb50d4f8094b1039ebb19e21b&amp;abstractId=1736064">Nepali children were adopted abroad</a>, primarily to the United States, France, and Spain. While international adoption was intended to provide vulnerable children with better opportunities, child trafficking and irregular practices prompted Nepal to suspend adoptions in 2007, and overhaul its policies. By 2010, stricter regulations aligned with the <a href="https://www.hcch.net/en/instruments/conventions/specialised-sections/intercountry-adoption">Hague Adoption Convention</a> drastically reduced adoption numbers. Today, many of these children, now adults, are returning to Nepal in search of their roots, only to encounter a society that no longer recognises them, legally or socially. Behind the statistics lie the <a href="http://hdl.handle.net/1854/LU-01GRNPPXAC1Z3AETV9HARNCG5Q">deeply personal and emotional journey</a> of adoptees returning to reconnect with their past, seek family, and rediscover a sense of belonging. These stories reflect a broader struggle for identity and the complexities of bridging two worlds. Maya Adopted at 9 by a family in Barcelona, Maya carried fragmented memories of her early life in Nepal including the painful recollection of the day her mother and sister vanished, leaving her and her younger siblings behind. She had faint images of her mother, elder sister, and the village where she once lived. In June 2017, Maya came to Nepal accompanied by Chandra Kala and two friends, Jay and Vikram. With only a few photographs of her mother Tulsi, her elder sister Pargati, and her brother-in-law Kamal, along with a street name, Maya arrived in Birendranagar after a 20-hour bus ride from Kathmandu. “Now that we’re close, I feel like I can’t face them,” she confessed to Chandra Kala, wrestling with anxiety about what she might uncover. “I’m nervous. I don’t know if I’ll recognise them or if they’ll recognise me. I don’t know how they’ll react or what they’ll say. And then there’s him [Kamal]. I have such bad memories of him. I don’t know if I can handle this.” Chandra Kala reassured her, reminding her of her courage and the importance of this moment. Maya and her companions asked around the town with little success until a shopkeeper recognised Kamal and directed them to a nearby village. Jay went to confirm and returned excitedly, shouting, “It’s her! It’s your sister!” Maya froze, paralysed by fear and anticipation but she pushed ahead. At the village, Maya’s sister Pargati initially struggled to recognise her. Jay introduced Maya: “Do you recognise her? This is your younger sister. She’s come all the way from Spain to find you.” Slowly, realisation dawned, and the two women embraced, bridging the decades of separation with tears and disbelief. The next day, Maya met her mother Tulsi in an emotionally overwhelming reunion. Tulsi rushed into the room and embraced Maya tightly, sobbing uncontrollably: “Mero chhora-chhori, gaye, gaye… my children they went, they went …” Once the tears subsided, Tulsi and Pargati began recounting the heartbreaking circumstances of their separation. After the death of her husband, Tulsi faced relentless judgment in their village when Kamal stayed with the family before his marriage to Pargati. The villagers accused Tulsi of impropriety, calling her पापी (sinful) and demanded that the family leave. “We didn’t want to leave, but the village didn’t want us here,” explained Pargati. “We left intending to bring you and your siblings later. But when we returned, you were gone.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250103120140_da7482d222e0a03b783c5e1df25536ed416d7b7475442e7fd40e54451572142e.jpg" data-media-id="editor_3" data-image-id="20250103120140_da7482d222e0a03b783c5e1df25536ed416d7b7475442e7fd40e54451572142e" data-rendition-name="original" width="384" height="512" loading="lazy" alt="Searching for a homeland away from home NT"> <figcaption>An adoptee and companion return to Bal Mandir in Kathmandu after 19 years. Photo: CHANDRA KALA CLEMENTE-MARTINEZ</figcaption> </figure>  Tulsi recalled how she had entrusted Maya and her siblings to relatives, hoping they would be cared for temporarily. However, when she returned, the children had been sent away without her knowledge. “I only trusted them because I had no other choice,” Tulsi said through tears. “I didn’t know they would send my children away. What kind of mother does that make me? They called me a bad mother, but what else could I have done?” The reunion brought healing and answers but it also exposed the societal pressures that had fractured Maya’s family. Despite the challenges, Maya spent the rest of her visit bonding with her sister, nieces, and younger half-sister, Sunita, slowly bridging the gaps created by time and distance. Maya’s journey was a testament to the courage required to confront the past, the pain of uncovering difficult truths, and the hope of rebuilding connections once lost. Her story highlights the enduring emotional complexity faced by adoptees navigating their history and identity. Ashmita Unlike some adoptees whose main focus is reuniting with their biological family, 26-year-old Ashmita’s priority has been to uncover the institutional details surrounding her adoption. She wanted to understand what the orphanage and the government knew about her background and why so much information seemed concealed. “I just want to know where I come from,” she said. “Even if I never find my biological family, having a better sense of the places and people connected to my story would mean so much.” For many adoptees, returning to Nepal is not just about reconnecting emotionally, it is about seeking formal recognition as members of the Nepali community. However, the legal framework in Nepal often fails to acknowledge their unique status.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250103120144_bf0158b7829cf5db44382d7386d3b123032adad3f9e10e28096b80cd09170ba6.jpg" data-media-id="editor_4" data-image-id="20250103120144_bf0158b7829cf5db44382d7386d3b123032adad3f9e10e28096b80cd09170ba6" data-rendition-name="original" width="384" height="512" loading="lazy" alt="Searching for a homeland away from home NT"> <figcaption>A mother reunites with her don after 18 years. Photo: CHANDRA KALA CLEMENTE-MARTINEZ</figcaption> </figure>  In Nepali law, adoptees are left in limbo: their birth parents are not considered legal parents, and their ties to the country are effectively erased upon adoption. This lack of recognition creates significant hurdles, particularly in two key areas: accessing pre-adoption records and obtaining Non-Resident Nepali (NRN) status. Despite international norms like the Convention on the Rights of the Child, which guarantees the right to know one’s origins, institutions often refuse to cooperate. Orphanages and non-profits in Nepal, which hold critical pre-adoption records such as birth certificates and citizenship documents, frequently withhold this information, reflecting the systemic reluctance to provide transparency. In numerous cases, records that should include family names, addresses, or relinquishment agreements were either incomplete or falsified. These practices not only prevent adoptees from reclaiming their histories but also perpetuate their disconnection from their heritage. Ashmita’s initial requests for information from her adoption agency were met with delays and incomplete responses. When she turned to the orphanage where she spent her early years, she encountered even greater resistance. At one point, the director of the orphanage issued veiled threats. Nevertheless, Ashmita persisted and managed to find the name of the individual who had brought her to the orphanage. However, the person had disappeared, leaving yet another gap in her story. A breakthrough came when Ashmita accessed a police report that suggested she might have been born in a different municipality than the one in her adoption records, prompting her to seek help from local authorities. The police took an interest in her case and began investigating possible connections to her birth family. While progress was slow, they meticulously followed leads to help her trace her origins. “It’s not easy,” Ashmita said of the process. “But every small step feels like I’m piecing something back together.” She also noted that societal perceptions could add to the difficulty. At times, she felt questioned about her identity and her right to seek answers. “People have asked me why I care so much or even suggested that I’m not Nepali anymore because I was adopted abroad,” she reflected. Ashmita’s story is a complex account of persistence in the face of institutional and personal challenges. While her search has not yet provided all the answers she seeks, it continues to offer her insights into her early life and the systems that shaped her adoption journey. &nbsp;“These records are sealed for a reason. They are not meant to be reopened,” said a government official. Even an NGO representative said: “It’s better for everyone if the past remains in the past.” An orphanage director asked: “Why are you asking these questions? This is not your place anymore.” Hari Prasad Sacré The Non-Resident Nepali (NRN) card is a lifeline for Nepali diaspora members, granting them residency and property rights in Nepal. Yet, adoptees are notably excluded from this framework. While the law stipulates eligibility for individuals whose parents or grandparents were Nepali citizens, it makes no provision for adoptees whose legal ties to their Nepali parents were severed by adoption. When Hari Prasad Sacré, a Nepali adoptee, sought to obtain an NRN card at the Nepal Embassy in Belgium, he encountered officials unfamiliar with processing an NRN request from an adoptee. His case was the first of its kind, setting a precedent but also highlighting the systemic barriers adoptees face. "You are not eligible; your surname is Sacré, it is not a Nepali name," an embassy staff said.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250103120140_9bdc24b7e34930059f895048ab7dc0ad3ca23b16907c572f01a8d5404a5feac5.jpg" data-media-id="editor_5" data-image-id="20250103120140_9bdc24b7e34930059f895048ab7dc0ad3ca23b16907c572f01a8d5404a5feac5" data-rendition-name="original" width="446" height="512" loading="lazy" alt="Searching for a homeland away from home NT"> <figcaption>Hari Prasad Sacré receives tika from his father Khul Prasad Adhikari during Dasain, a few weeks after receiving his NRN card. Photo: HARI PRASAD SACRÉ</figcaption> </figure>  Sacré’s situation was legally ambiguous. Although his biological parents, including his father, Khul Prasad Adhikari, are alive and he maintains contact with them, he no longer had “legal” ties to Nepal due to the adoption process. Carrying a Belgian surname the embassy staff was initially convinced the adoptee couldn’t claim Nepali origin. Nepali law, which does not recognise biological parents as legal guardians once a child is adopted, created complications for the NRN application. To navigate this complexity, Sacré relied on a testimony from his father. Issued by a local government body in Kaski, the testimony affirmed that Hari had been put up for adoption and was of Nepali origin. While this enabled the embassy to approve his NRN card, the process was unnecessarily protracted and emotionally charged, highlighting the inadequacy of current policies to accommodate the unique situations of adoptees. Sacré’s case represents a rare instance where biological parents were alive and willing to provide testimony, but many adoptees are not as fortunate. A large number of adoptees were declared “orphans” during the adoption process, even when their parents were alive. This severed their legal ties to Nepal, stripping them of documentation that could later prove their origin. For others, the absence of living biological relatives or access to their original adoption records creates insurmountable barriers. Without clear documentation or a family member to vouch for their Nepali heritage, adoptees are excluded from the NRN framework. This denies them the rights and privileges afforded by the card, including property rights, legal recognition, and a formal connection to their homeland. Current laws fail to account for the complexities of adoptees’ legal status, leaving them disconnected from their cultural and legal heritage. Adoption papers, as evidence of Nepali descent, should be accepted as proof, granting adoptees rightful access to the NRN card and ensuring their inclusion in Nepal’s diaspora. Such reforms are crucial to ensure that all adoptees, regardless of their circumstances, can reclaim their heritage and establish a sense of belonging in Nepali society. Without these changes, the systemic exclusion of adoptees will persist, perpetuating inequities and denying them the opportunity to step up as active members of the Nepali diaspora. Sacré’s case serves as both a precedent and a call to action. It exemplifies the challenges and triumphs of adoptees navigating complex bureaucracies and advocates for a more inclusive and equitable approach to reconnecting adoptees with their homeland. Nepal can draw inspiration from South Korea, where the government has actively supported the reintegration of adoptees into their society. The F4 visa, established through efforts by organisations like the Global Overseas Adoptees’ Link (GOA'L), grants adoptees the right to live and work in Korea, while dual citizenship acknowledges their dual identity as members of the diaspora and their country of origin. GOA’L further fosters reconnection by offering language classes and cultural exchange programs, creating opportunities for meaningful reintegration and belonging. As Nepal refines its NRN citizenship framework, explicitly including adoptees could address the severance of legal and cultural ties caused by international adoption. Such inclusion would provide adoptees a pathway to residency, citizenship, and rights, enabling them to reconnect with their heritage. Complementing this with programs for language acquisition, cultural immersion, and historical education would honour Nepal’s responsibility to the approximately 5,000 children sent abroad. Nepal could establish a dedicated organisation similar to South Korea’s GOA’L and help adoptees access pre-adoption records, navigate legal processes, and engage in cultural exchange initiatives. It would also serve as a bridge between adoptees and Nepali society, fostering mutual understanding and collaboration. This article is based on doctoral studies by <a href="http://hdl.handle.net/1854/LU-01H4Z85GPS63ZWDJ3WB2E6KS70">Hari Prasad Sacré</a> and <a href="https://www.tandfonline.com/doi/full/10.1080/10357823.2022.2142932">Chandra Kala Clemente-Martínez</a>. Hari Prasad Sacré, PhD, is a postdoctoral researcher at Ghent University in Belgium, specialising in cultural translation, multilingualism, and identity in education. His PhD, Reading Illiteracy, explored fractured multilingualism and illiteracy in displaced identities such as adoptees, with work published in leading journals like Critical Arts and the European Journal for Cultural Studies. Chandra Kala Clemente-Martínez, PhD, is a postdoctoral researcher at the AFIN Research Group, Autonomous University of Barcelona, with a PhD in Social Anthropology. Her research focuses on family strategies, reproductive decisions, and adoption, with extensive fieldwork in Spain and Nepal examining adoptee reunions and related governance and rights.