I was a new mother trying to protect my young family from Covid in 2020, and that was when I first noticed Jacinda Ardern’s leadership. Our own prime minister was spreading misinformation about the strong immune system of Nepalis and our herbal concoctions being antidotes.&nbsp; Later in 2024, Ardern showed up after the mass shooting at mosques in New Zealand with tears in her eyes, and the strong message: “They are us.” It was refreshing to see such empathetic leadership, especially as political news was dominated by elected authoritarians, while Nepal was held hostage by repeat prime ministers.&nbsp; Ardern’s book A Different Kind of Leadership should be essential reading for all Nepalis with political aspirations, especially the new generation that wants real change. The theme that repeats throughout the book is to be human before becoming a politician.&nbsp; The book is not just about Ardern showing up for her people as one of them, it is also about why she decided to show up the way she did, and what brought her to politics to begin with — resolve, a little bit of luck, and stepping up when she had to.&nbsp; Political ambition is not a bad thing. But stepping up to lead when the situation demands it, and knowing when it is time to leave, is what makes a leader. Ardern was given the opportunity to become her party’s deputy leader at a relatively young age, and her party leader resigned — two events uncommon in Nepali politics. Ardern mentions multiple times not thinking of herself as politician material because she has a thin skin, and she talks equally often of her feelings of being intimidated in political spaces, up until she accepted the position of party leader.&nbsp; But she was accountable at a time when we in Nepal were getting used to non-reactions and non-answers from the loud, confident men who played with power. Somehow, somewhere, not least because of the malestream ideas we have been fed about politics and politicians, we imagine that leadership should look a certain way. Strong, macho, loud, confident or even better, overconfident. We imagine that empathetic leadership is soft, is scared to make people angry, is ineffective.&nbsp; LOOKING AFTER PEOPLE Ardern’s leadership was effective. New Zealand had less Covid fatalities than most developed countries, and it went in and out of lockdown with relative ease. Ardern’s approval ratings were high at a very unstable time in politics globally. A significant portion of the chapters that talk about Ardern’s time in office also delve into her struggles being a working mother. But she does not consider herself a supermom who did it all. She portrays herself as simply a working mom, one with lots of support, and discusses how common it is for parents, especially mothers, to juggle work and family. She comes across as one of us. There is a section in the book where Ardern’s daughter asks her the question she has been dreading, and which many of us working moms also face, “Mummy, why do you have to work so much?” Ardern explains that she has a “very important job” and explains it to her three-and-half-year-old as “looking after people”.&nbsp; I put down the book when I reached that sentence. I want the next prime minister of my country to read this book, and then lead. I want the next prime minister of Nepal to think that he (all the top contenders for the job are men, page 9) is looking after people, making sure no Nepali child is undernourished, that people can make a living without risking their lives, hearing the concerns of citizens and solving them.&nbsp; I want him to lead like a woman, like Sushila Karki has been leading for the last six months, with quiet determination and integrity, and without fanfare. I want him to remember that leadership is just service, and that, like Maya Angelou wrote, ‘Your legacy is what you do every day.’ It is not loud speeches and the making of some imagined, glorified history. Karki was picked to lead us back during the black days of early September when the country was in flames. The very first video of her on 9 September, the day after young people and students had been shot by the government that was meant to protect them shows her angry and emotional, her voice shaking.&nbsp; It was Karki’s actions in those days of fragility that showed us, once again, that the leader we deserve gets emotional on our behalf, but also knows how to do the work. After five years of leading her country through a global pandemic, Ardern realised that she is exhausted, that she does not have enough in her anymore to keep leading New Zealand, and she steps down.&nbsp; Towards the end of the book, Ardern tells readers like herself, sensitive and self-doubting, that if we want to be leaders, we should channel our anxieties and sensitivities to humble ourselves, to read more and seek out advice, and prepare ourselves for the challenges. Nepal’s next prime minister has to have these qualities: humility, teamwork, diligence and accountability. Good intention, ambition, university degrees, professional achievements are not enough to change the country’s trajectory.&nbsp; And when they have completed the task, or when they know they cannot do it they must have the courage to step down like Jacinda Ardern.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260308010340_b1c2a873eb640e3f10ab912c368dc9271f12f60d600bf8d5db5d2c13422a317c.jpg" data-media-id="editor_0" data-image-id="20260308010340_b1c2a873eb640e3f10ab912c368dc9271f12f60d600bf8d5db5d2c13422a317c" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Jacinda book details"> </figure>  &nbsp;

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Review

Ending Nepal’s malestream politics

If you did not watch the understated movie उनको स्विटर / (The Woolen Sweater) after it was released in May last year, you missed a major turning point in Nepali cinema. Much-hyped films fall short of expectations, but here is an exquisitely acted and directed production with a strong underlying message of tolerance. What a contrast from formulaic melodramatic Kollywood fare — a love story so simple, cinematography so subtle in capturing the beauty of the monsoon on mountain pastures, and a background folk song accompaniment that evokes the flavour and tenor of multi-ethnic eastern Nepal. Since its release, Unko Sweater received praise in Nepal, but it was in multiplexes across Nepaliphone India where the movie became a rage. Positive reviews spread by word of mouth on social media, where the script, performance and camera work were praised for reflecting a genuine and unsullied rural Nepal. The movie is a layered portrayal of caste, ethnicity, gender and culture with the tender romance between the shy Dharanidhar Kafle (Bipin Karki) and Phool Gurung (Miruna Magar) in which the two, despite being soulmates, have to deal with societal norms and gossip. They do this without rebelling, in their own quiet way. In the first scene in a crowded jeep, people are seen discussing an election. An elderly greying Kafle is headed home, and the rest of the movie has back and forth flashbacks revealing the story of his unspoken affection for Phool. But there is an undercurrent of ethnic rigidity. When Kafle’s brother Dambar elopes with Iksha Limbu, the repercussions are borne by both families. Then Kafle’s uncle is banished for being an outcast.&nbsp; Miruna Magar as Phool, as an ebullient woman, is in contrast to the introverted Kafle, who does not say much but has a melodious singing voice. As the plot thickens, Kafle is shown to be bound by circumstances that pose obstacles to his love for Phool. The storyline delicately shows how life and situations constantly force people to shift direction. Despite underlying differences, the various castes and ethnicities in this fictitious village near the Sikkim border get along because they have to. There is an interdependence between highland farmers and other ethnicities living down the valley that is at the heart of Nepal’s ethnic harmony. Despite taboos about interethnic and intercaste relationships, people still have trust and faith amongst each other. There is no time reference to the story, but it does speak of a nostalgic era decades ago when rural Nepal was not yet connected by roads and phones, when people had no choice but to get along. Things have changed now with outmigration, and education has blurred ethnic lines. A QUIET LOVE Director Nabin Chauhan is not in your face with his message, giving viewers a hint of deep rooted traditional values that still govern society. Each character adds to the storyline, validating the way they behave, pushing the plot forward.&nbsp; There are many emotions that are intricately woven into the plot, and the most prominent, of course, is love. Not the showy, lustful way it is shown in flamboyant formula films, but a quiet bond that does not need words, a silence, a glance and a gesture conveying the universe of love. When Phool asks Kafle what he will do if they cannot be together, he says he will build her a house with a beautiful garden of flowers in the meadows where he herds livestock. He builds it awaiting her return, while Phool knits him a sweater, the symbol of their interwoven love. In screenings of the film in Nepal and India, there has not been a dry eye in the audience. The background score and music by Kobid Bazra and the powerful rendition by Jhuma Limbu of the ‘Kafle’ strike a strong chord. The cinematography by Chintan Rajbhandari does not glamourise Nepal’s rural landscape, it is shown in its raw misty beauty as a constant backdrop. The viewer is uplifted by the notion that love transcends social restrictions and orthodoxies.&nbsp; The ending is left deliberately unfinished, possibly to make way for a sequel which we can only hope will be as compelling as उनको स्विटर. &nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260301060348_42480e8b6934c9a5c518c44c2970748b341bbbf290c2b303b6aa6359d883567b.jpg" data-media-id="editor_0" data-image-id="20260301060348_42480e8b6934c9a5c518c44c2970748b341bbbf290c2b303b6aa6359d883567b" data-rendition-name="original" width="1280" height="560" loading="lazy" alt="Unko Sweater"> </figure>  उनको स्विटर / (The Woolen Sweater) Artmandu Nepal, 2025 Directed by Nabin Chauhan 145 minutes Available now on YouTube <div class="embed-block"><iframe width="560" height="315" src="https://www.youtube.com/embed/lCgtmgiII7M?si=MirwKOwKmxE3jLS6" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div>

Now for something completely different

After his critically acclaimed 2023 book of essays सुन्यताको मुल्य on the state of women and children in the <a href="https://nepalitimes.com/banner/the-karnali">Karnali</a>, paediatrician and writer Nawaraj KC has come out with a next one, Swasparsh. The new book is almost a sequel to the first one, with real-life stories drawn from his medical practice and social engagement. Both are powerful accounts of suffering, resilience, and the search for human dignity in Nepal’s most remote and underserved districts. The book opens with deeply disturbing yet real incidents of the suicide of a Grade 2 student. A &nbsp;frantic mother rushes in with a son who had already written a suicide note but was saved at the last moment. There is a desperate call from a young woman threatening to jump into the Karnali River.&nbsp; We meet children carrying immense trauma: a toddler who refuses to eat after losing her mother, and another child who stops speaking after experiencing sexual abuse within the family. The emotional climax comes when KC himself falls into depression after being violently attacked by a drug addict patient, leaving him with a serious head injury.&nbsp; But this is not a book of only sad stories of deprivation and poverty. It is how people who find themselves in the worst circumstances struggle to overcome what life has thrown their way, and triumph in the end. By just surviving against all odds, people emerge stronger, often with a renewed commitment to helping others. As a paediatrician working out of his native Surkhet in Karnali Province, KC's work brings him face-to-face with the human side of what a centralised government’s neglect and apathy can do to communities in <a href="https://nepalitimes.com/banner/no-dasain-in-kalikot">Nepal’s most far-flung region</a>. KC shows empathy not just to human beings in trouble, but also animals and underlines the importance of coexisting with the natural world. By helping others individuals ultimately help themselves. Although a paediatrician by profession, KC demonstrates a deep understanding of structural oppression, gender discrimination, caste hierarchy, class inequality, and regional marginalisation within the Nepali state.&nbsp; He also captures moments of tenderness, such as young couples supporting one another through hardship. How poverty can drive families to take heartbreaking decisions — like a patient forced to discontinue life-saving medicine in order to qualify for disability allowances needed to repay debt.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260217030252_ffd67815063cffe51a0310f10405a554f6094ba05564993f34086fe4b31543f6.jpg" data-media-id="editor_2" data-image-id="20260217030252_ffd67815063cffe51a0310f10405a554f6094ba05564993f34086fe4b31543f6" data-rendition-name="original" width="1646" height="2048" loading="lazy" alt="Swasparsha"> </figure>  A former teacher is forced to beg despite receiving treatment, exposing the failure of conventional development models that ignore sustainable livelihoods.&nbsp; Then there are inspirational stories like the one of Mandire, who ran away at age 12 to work as a labourer in India, suffered severe burns while unloading coal, and lost a hand. Despite this, his infectious smile and fortitude transformed him into a local symbol of hope both in India and Nepal.&nbsp; Even in old age, he is always smiling and helping others less fortunate.&nbsp; Through Mandire’s story, KC explores the science of the healing power of a smile, the positive psychology of a ‘mental gymnasium’ in which optimism is cultivated through conscious practice.&nbsp; For example, a young girl from the historically marginalised Badi community which faces deep social exclusion refuses to accept her circumstances, and grows into an advocate for other disadvantaged children. A devoted foster mother dedicates her life to raising orphans, empowering them despite her own hardships. One of the book’s strengths lies in its accessibility. In Nepali language, KC blends science, philosophy, and lived experience into everyday language that resonates with villagers and ordinary readers. He comes across not only as a doctor and healer, but also as a teacher, nature lover, and social activist. He tries to introduce greenery to a remote school, and how this transformed children’s learning experience. He reflects that his patients are his greatest teachers helping to expand knowledge beyond medicine and technology into the realms of humanity and ethics. I read Swasparsh after witnessing the recent GenZ movement. The book’s recurring calls to youth, appearing at the end of several chapters, has special relevance today. KC reminds young readers that hardship is part of everyday life, but within struggle lies the potential for healing and growth.&nbsp; He encourages self-reflection, self-healing, and cultivating a positive mindset. Above all, he asserts that humanity’s greatest gift is its own human capacity henceforth solutions to all problems lie within oneselves rather than outside forces. The GenZ movement represents an urban youth revolt against traditional political parties and state institutions that have failed to deliver opportunities and accountability. Rising unemployment, widespread corruption, and frustration with stagnant governance have fuelled demands for new political alternatives.&nbsp; With the 5 March election less than three weeks away, many young people hope that new forces will be capable of bringing systemic change. Yet whether these forces can truly meet their aspirations remains uncertain. Established political actors are reluctant to relinquish power, while emerging groups often lack organisational depth and historical experience. In many ways, these new political actors resemble the people of Karnali: resource-poor, And in the periphery of power, yet rich in commitment and determination. Drawing from Buddhist teachings that recognise suffering, understanding its causes, and seeking pathways to overcome it, KC indirectly inspires today’s youth. Every problem contains the seeds of its own solution, provided we learn to know ourselves, care for ourselves, and care for others. Ultimately, the title Swasparsh means self-healing, self-reflection, and self-confidence. At a time of political uncertainty and generational change, this book speaks directly to Nepal’s younger and the emerging alternative forces — reminding them that transformation begins from within.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026021704020_1d2a855730bc14acbea596cce7b3a00b20f85c79c3a7d8ca46274a15eb642f59.jpg" data-media-id="editor_3" data-image-id="2026021704020_1d2a855730bc14acbea596cce7b3a00b20f85c79c3a7d8ca46274a15eb642f59" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Swasparsha"> </figure>  Hisila Yami served as CA member, Minister of Physical Planning &amp; Works, Minister of Tourism &amp; Minister of Land Reform. At present, she is a member of Central Political Council in Pragatishil Loktantrik Party and is a lecturer in IOE Pulchok.

Essays on self-realisation and self-healing

One aspect of colonial cartography of South Asia leaps out in this must-see exhibition – while the coastline of India, Ceylon, Burma are extraordinarily accurate in maps made more than 200 years ago, the Himalayan hinterland is wholly approximate and inexact. The accuracy improves as modern survey techniques are introduced by atlas-makers, but even then formidable terrain and forbidden lands thwart precision. Map aficionados will be fascinated by the 40 antique maps from The Rajbhandari Collection on display at the exhibition ‘Imaging South Asia: Nepal in the Making at Kathmandu Art Gallery’ at Baber Mahal Revisited from 13 February - 17 March.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260211090252_0cbeb88674a97c6292e2b43b2135df219257ca641cbd4723e9aabf5541c2b258.jpg" data-media-id="editor_0" data-image-id="20260211090252_0cbeb88674a97c6292e2b43b2135df219257ca641cbd4723e9aabf5541c2b258" data-rendition-name="original" width="4160" height="3485" loading="lazy" alt="Map Land NT"> </figure>  The first maps were made on clay tablets and cave paintings, but maps improved with Chinese maritime charts of Southeast Asia and beyond. Nautical maps created during the European Age of Exploration used geometry, latitude and longitude. Competition for colonial riches rested on the accuracy of these maps. The Portuguese had the lead in the 15th century, but were soon overtaken by the Spanish with Columbus voyaging to India but landing up in the Americas.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260211090252_1fb21d20cf29b408119f5279ce666e73dee089356e52277d753a27e3440364eb.jpg" data-media-id="editor_1" data-image-id="20260211090252_1fb21d20cf29b408119f5279ce666e73dee089356e52277d753a27e3440364eb" data-rendition-name="original" width="4030" height="3407" loading="lazy" alt="Map Land NT"> </figure>  European mapping of the coastline of peninsular India &nbsp;began after Vasco de Gama sailed around the Horn of Africa to arrive at what is now Kerala in 1498. The British and French struggled for control of India, and the Carnatic Wars of the 19th century were extensions of their rivalry in Europe.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260211090252_0fb0969dc3e07c5a77123b4aa5eb0f11d2ffea73c108077f7e4d1892d6bd4bb6.jpg" data-media-id="editor_2" data-image-id="20260211090252_0fb0969dc3e07c5a77123b4aa5eb0f11d2ffea73c108077f7e4d1892d6bd4bb6" data-rendition-name="original" width="2842" height="4160" loading="lazy" alt="Map Land NT"> </figure>  While most of the maps at this exhibition were commissioned by the East India Company and the Survey of India, there are quite a few made by Parisian cartographers and feature Pondicherry and the Danish trading outpost at Tranquebar. Followed chronologically, the maps show improvements in cartographic techniques. The earliest French map L’Inde of J D Barbié du Bocage from 1760 is a copper engraving with hand painted colours demarcating boundaries. ‘Napaul’, ‘Gorka’ and ‘Catmando’ are depicted. The rivers of India are precisely drawn, as is the Brahmaputra (Yarou Tsanpou) even though locations across the rest of Tibet are rough estimates.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260211090252_486dc1b12f391550516be164f27170d4702a69b5125c1b8c4b10f76fdae4c0b1.jpg" data-media-id="editor_3" data-image-id="20260211090252_486dc1b12f391550516be164f27170d4702a69b5125c1b8c4b10f76fdae4c0b1" data-rendition-name="original" width="1675" height="604" loading="lazy" alt="Map Land NT"> </figure>  The 1781 map Carte des Indes en deçà et au-delà du Gange of Rigobert Bonne has slightly more detail about Nepal with even ‘Pattan’ and ‘Bagmally’ river marked. William Darton’s 1802 map has ‘Nogarcot’ and ‘Mocaumpour’ wrongly placed to the east of the valley of ‘Napaul’. Samuel Arrowsmith’s 1828 map ‘India and the Birman Empire’ has Nepal’s rough boundaries demarcated for the first time within a hand-coloured green border, with the mountain ‘Dholagiri’ and ‘Dhunchi’ appearing for the first time. The 1835 map by Boston-based American cartographer Thomas Bradford has a more precise ‘Burrampooter’ river with ‘Sgigatoe’, ‘Lassa’ and ‘Bootan’ marked. In Nepal, ‘Batgan’, ‘Macwampour’ and ‘Lelit Pattan’ appear near ‘Catmandu’.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260211090252_5509c8e043a74b3e34e399c0684ca8eef7fc79953ee0dd18aedc738e8189d552.jpg" data-media-id="editor_4" data-image-id="20260211090252_5509c8e043a74b3e34e399c0684ca8eef7fc79953ee0dd18aedc738e8189d552" data-rendition-name="original" width="4094" height="3646" loading="lazy" alt="Map Land NT"> </figure>  One striking landmark appears consistently through a century of map-making from 1760 onwards, and that is the sacred Yamdrok Tso near Lhasa. It is precisely located, although it is drawn as a circular lake called ‘Jamdro or Palto Lake’ till J Bartholomew’s lithographic map in 1893 Constable’s Hand Atlas of India. Bartholomew’s map is also where ‘Mt Everest’ appears for the first time with its altitude ’29,002ft’ after Peak XV was calculated to be the highest mountain in the world by the Survey of India. Meanwhile, ‘Kinchinjunga’ appears in some of the earlier maps from the mid-1800s, north of ‘Dorjeloo’. The maps did not only have locations of towns, rivers and mountains but also other interesting facts about places. History buffs will find much to pore over in these maps.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260211090252_8280c979b175946a2ac29e22b7a2b2427f7f36f22093c3456524f1f529311498.jpg" data-media-id="editor_5" data-image-id="20260211090252_8280c979b175946a2ac29e22b7a2b2427f7f36f22093c3456524f1f529311498" data-rendition-name="original" width="4160" height="2762" loading="lazy" alt="Map Land NT"> </figure>  Many have sites of major British battles while conquering India. The ‘British India’ map by J Rapkin has dates and times of the ‘Principle Massacres’ during the Indian Mutiny of 1857. The map also shows India’s growing railway network with completed lines and those ‘in progress’. Narrow gauge lines can be seen in successive maps snaking up to the Nepal border to haul sal logs for sleepers for India’s expanding railway network. Many maps were drawn by British military intelligence. One even has the Kuti route of the Nepal Army while invading Tibet in 1791, and the Chinese Army’s advance in hot pursuit through Kerung to Nuwakot.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260211090252_a41ff6a7453f95d1e83c12ed3f831911d65ebd4d2389e0e3b774252dfa037132.jpg" data-media-id="editor_6" data-image-id="20260211090252_a41ff6a7453f95d1e83c12ed3f831911d65ebd4d2389e0e3b774252dfa037132" data-rendition-name="original" width="1173" height="679" loading="lazy" alt="Map Land NT"> </figure>  Pre-1857 maps show the western Tarai as a part of British India, but in later ones the Naya Muluk districts of Banke, Bardia, Kailali and Kanchanpur have reverted back to Nepal. The maps clearly mark Nepal as an independent nation, and represent it differently from Indian princely states. The Atlas of India of 1846 shows the ‘Dominion of the King of Nepal’.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260211090252_52132146d9ee8b922560b98e90d866149715d7f53ced408b5f3af8f3b142a07b.jpg" data-media-id="editor_7" data-image-id="20260211090252_52132146d9ee8b922560b98e90d866149715d7f53ced408b5f3af8f3b142a07b" data-rendition-name="original" width="4149" height="3682" loading="lazy" alt="Map Land NT"> </figure>  Visitors will be curious about Nepal's claim to Limpiyadhura and Lipu Lek. A map by Mason &amp; Payne from 1846 clearly shows the ‘Kallee River’ as being the border between Nepal and British India, with Kalapni within Nepal. The Lipu Gad tributary (which India claims is the border) is not marked. Some other maps, however, seem to show the border not following the Kali river to Limpiyadhura but the tributary up to Lipu Lek.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026021112024_9a1b6055a9fbecca7b64c3882c205efb336aac03e64ecf43a2044cb079cd699f.jpg" data-media-id="editor_8" data-image-id="2026021112024_9a1b6055a9fbecca7b64c3882c205efb336aac03e64ecf43a2044cb079cd699f" data-rendition-name="original" width="875" height="1215" loading="lazy" alt="Map Land NT"> </figure>  Imaging South Asia: Nepal in the Making&nbsp; Kathmandu Art Gallery, Baber Mahal Revisited&nbsp; 13 February – 17 March For guided walk-throughs and curatorial tours: +977 1-5318048 Panel discussions: -Cartographic Practices from the &nbsp;Gorkha Polity to the Present with Buddhi Narayan Shrestha and Kanak Mani Dixit&nbsp; Friday, 13 February, 4pm -Mapping Beyond Borders with Akhilesh Upadhyay and Amish Raj Mulmi Wednesday, 25 February, 4pm&nbsp;

Kunda Dixit

Map land

We walk past familiar neighbourhoods and wonder how much it has changed. An ongoing exhibition at The Kalā Salon titled Changing Times by The Pagoda Group aims to do just that -- capture ever-changing society within a captivating display of colourful canvases. Brick-lined houses, local tea shops, ancient temples, quiet devotion are themes in Pradhumna Shrestha’s series Shangri-La, much of which is an imagined past filled with nostalgia of the place he grew up in. By keeping people out of the frame, he allows space for what he calls a divine aura to surface.&nbsp; “I was born and brought up here and my canvases echo the nostalgia of cities like Kathmandu, Bhaktapur, and Lalitpur which are dense with myth, folklore, religion, and an ever-present divinity. All of this is truly what is ours, and we must treasure it,” says Shrestha. “Whatever I truly felt in my heart, I translated it into my work.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260128100132_32a8f9e9816595f12ec0da357528feffbb249fd19adbb658c18e72e2b721f9df.jpg" data-media-id="editor_0" data-image-id="20260128100132_32a8f9e9816595f12ec0da357528feffbb249fd19adbb658c18e72e2b721f9df" data-rendition-name="original" width="1280" height="1036" loading="lazy" alt="The Kala Salon exhibition NT"> </figure>  The swirling clouds that drift across Shrestha’s canvases borrow from thangka and paubha traditions, lending the scenes a sense of mysticism and otherworldliness. Within this dreamscape are red circular forms which represent wheels of chariots. &nbsp;The presence of divinity dominates from above, its presence asserted in soft blue brushstrokes below, as if the deity’s gaze itself has seeped into the land. Gods linger as guardians and temples hum with enigma in his paintings. In his much earlier work, Cultural Bond, a lakhe masked dancer bursts forward in vibrant red, dancing against a backdrop of molten gold clouds. The lakhe’s trance signifies protection and where it steps, the evil cannot follow. Hence, the skulls that surround but never fall beneath its feet but, one leg hangs suspended in midair, suggesting uncertainty, raising questions.&nbsp; Is this a symbol of culture and tradition, secure, or is it endangered by modernity? The work captures a society at a crossroads, honouring tradition while grappling with the risk of drifting away from it.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260128100132_c78307920acc7b14fb9f469a011043661accec66c230b5e7587bcba0199bcbf1.jpg" data-media-id="editor_1" data-image-id="20260128100132_c78307920acc7b14fb9f469a011043661accec66c230b5e7587bcba0199bcbf1" data-rendition-name="original" width="979" height="1280" loading="lazy" alt="The Kala Salon exhibition NT"> </figure>  In Panchatatva Mandala, Pasang Bikram Lama fuses two mandalas into a single visual meditation, suggesting unity where each colour carries symbolic weight: yellow evokes the soil of the earth, blue flows as water, red burns with fire, and black opens into the vastness of the spatial sky. Together, these elements form a quiet cosmology that speaks of creation and dissolution, of life folding endlessly into death and returning again. Says Lama, “Everyone has a mandala of their own being, and the elements represent their cycle of life.” Mala Shrestha’s works Water of the Divine Mother and The Spirit of Serenity unfold in a dreamy and delicate fusion of nature and religion, suggesting that divine forms are not separate from the natural world. Trees and branch-like motifs appear as origins of sacred sculptures and spiritual presences.&nbsp; Her goddesses, adorned in alluring ornaments, emerge from trunks and streams, painted in aqua green, pink pastels, and rustic browns, as if grown rather than created, affirming that the divine is inseparable from nature and present everywhere.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260128100132_1f8cce84b4515a0d6d8b8fc169367bf5d39a7479c2c30038dafe90ec2bb3c4c9.jpg" data-media-id="editor_2" data-image-id="20260128100132_1f8cce84b4515a0d6d8b8fc169367bf5d39a7479c2c30038dafe90ec2bb3c4c9" data-rendition-name="original" width="4032" height="3024" loading="lazy" alt="The Kala Salon exhibition NT"> </figure>  Kishor Nakarmi’s Essence of Nepal, where Gautam Buddha appears embedded within leaves, brick walls, birds, and wilderness, dissolving boundaries between the sacred and the earthly. These canvases radiate calm and their subtlety is enriched by finely observed details. Similarly, Rudra Bahadur Pun captures the vitality of mask dances and ritual movements found in the monasteries of Mustang, weaving together tradition, landscape, and daily life. The essence of the exhibition comes together in Roshan Pradhan’s works. His paintings reflect a contemporary tension where technology collides with ancestral myth and the power of tradition. A fierce Garud rises within a landscape saturated by technological apparatuses, while at its feet a human form representing AI clings tightly, attempting to assert control.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260128100132_dc2c1ad4a4cefea6c6c7d02e9ed500309b7c862535247fe6451038e1d053d6b2.jpg" data-media-id="editor_3" data-image-id="20260128100132_dc2c1ad4a4cefea6c6c7d02e9ed500309b7c862535247fe6451038e1d053d6b2" data-rendition-name="original" width="4032" height="3024" loading="lazy" alt="The Kala Salon exhibition NT"> </figure>  In another work, Bhairab confronts a human embodiment of AI in a theatrical standoff, with the deity ultimately prevailing, reaffirming endurance over technological dominance. The human figures in Pradhan’s paintings are drawn from life with his friends volunteering as models, photographed and later translated onto canvas.&nbsp; “Technology has taken over our lives. Many can probably not even imagine life without it now. But, culture, too, is integral to human existence. Our life would be much different without our culture; it is a part of us,” notes the artist. Rather than framing technology as purely antagonistic, Pradhan explores coexistence, and while acknowledging its destructive potential, he affirms his belief in the power of our myths and traditions.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260128100132_bc831a663ca8977c39979a363a95bcae5e41cfe624d78152c546579caa3e680f.jpg" data-media-id="editor_4" data-image-id="20260128100132_bc831a663ca8977c39979a363a95bcae5e41cfe624d78152c546579caa3e680f" data-rendition-name="original" width="4032" height="3024" loading="lazy" alt="The Kala Salon exhibition NT"> </figure>  Pradhan adds, “These paintings are also an archive of its time. Viewers centuries from now may read these paintings as records of the age we inhabit. While technology is important, cultural continuity must walk alongside it. Festivals must still be celebrated, oral traditions must be sustained, and our roots must be remembered, especially by future generations.” Curator Sophia L Pande says the exhibition took more than a year to put together:&nbsp; “It responds to a shifting world, seeking to capture both transformation and the quiet fear of loss. Its themes move fluidly across environment, technology, artificial intelligence, and climate change, reflecting the diverse yet interconnected practices of the artists, providing a glimpse into the evolving landscape of contemporary Nepali art.” Changing Times The Kalā Salon Chhaya Centre, Thamel 11AM-8PM

Time, transience, transition

The slow, arduous labour of democracy rarely announces itself with the fanfare of constitutional moments. &nbsp;It proceeds instead through committee rooms, ward meetings, half-attended assemblies, the awkward choreography of speech and silence, and the everyday compromises between aspiration and constraint.&nbsp; The book Nepal’s Federalism and the Pursuit of Deliberative Democracy attends precisely to this unglamorous terrain. In it, Vishnu Kumari Tandon does not ask whether democracy is desirable — an already settled question — but whether it can be made to think, to listen, and to endure under conditions of inequality, historical fracture, and institutional novelty.&nbsp; Her wager is modest yet demanding: that federalism, when tethered to participatory planning and deliberative fors, might recalibrate the relationship between state and citizen without promising redemption. Tandon’s Nepal is neither a site of democratic salvation nor a study in failure. It is a space of trial, where ideas migrate from constitutional text to municipal practice, altered by context, power, and expectation. Democracy here appears not as an ideal form but as a situated practice -- procedural, contested, and unfinished.&nbsp; The book’s quiet achievement lies in redirecting debates on deliberative democracy away from abstract normativity and toward the ethical friction of lived institutions. Federalism arrives in Nepal not as a technocratic reform but as a historical concession, wrested from conflict, exclusion, and prolonged political unrest. Tandon, who is a governance consultant at the World Bank, situates the 2015 Constitution within this unsettled genealogy, treating federalism less as an administrative innovation than as a moral response to longstanding claims of marginalisation.&nbsp; The constitutional recognition of local autonomy is thus freighted with ethical expectation. Yet the book refuses to equate decentralisation with empowerment. Federalism, Tandon insists, redistributes power without dissolving hierarchy. Domination may simply reappear closer to home. The central question, therefore, is not whether local governments exist, but how they govern: whether institutionalised participation genuinely alters the terms on which citizens speak, decide, and contest public priorities. Federalism emerges not as a stable structure but as a field of tension—between autonomy and dependence, inclusion and capture, aspiration and capacity. It is within this unstable terrain that the democratic experiment unfolds.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260127090120_62bd86d5cbb0dc9d199b797b2c90a5be37213b6c9236f79220706469cd3689a0.jpg" data-media-id="editor_0" data-image-id="20260127090120_62bd86d5cbb0dc9d199b797b2c90a5be37213b6c9236f79220706469cd3689a0" data-rendition-name="original" width="800" height="800" loading="lazy" alt="Vishnu Kumari Tandon"> <figcaption>Vishnu Kumari Tandon</figcaption> </figure>  UNEQUAL SKIES&nbsp; Participation, one of democracy’s most invoked terms, often risks conceptual exhaustion. Tandon restores its weight by treating participation as labour rather than ritual. Drawing on fieldwork in Buddhabhumi and Dhanushadham municipalities, she reconstructs the choreography of local planning: assemblies, committees, and councils through which proposals circulate, stall, or vanish. Participation here is unevenly distributed. It is shaped by gendered expectations, caste hierarchies, economic precarity, and anticipations of return. Attendance becomes a calculation rather than a civic reflex. This analytical attention to motivation marks one of the book’s strengths.&nbsp; Citizens participate not out of abstract virtue but through pragmatic reasoning, moral obligation, and strategic interest. Participation thus appears neither ennobling nor cynical, but politically intelligible. If participation concerns presence, deliberation concerns voice — and, crucially, whose voice matters. Tandon’s engagement with deliberative democratic theory is respectful yet revisionist. Habermasian ideals of reasoned consensus are treated as aspirational rather than portable, strained by structural inequality. In municipal assemblies, deliberation is patterned by authority: who speaks first, who commands attention, whose claims are legitimised. Marginalised citizens may be present without influence, audible without consequence. Deliberation risks becoming procedural affirmation rather than substantive redistribution of voice. Yet Tandon does not abandon deliberation as a democratic practice. Instead, she broadens its normative horizon. Drawing on second-generation deliberative theory, she legitimises emotion, self-interest, and strategic speech as components of democratic reasoning. Deliberation becomes a contested exchange rather than a purified rationality. The common good, if it appears, emerges provisionally: negotiated rather than presumed. One of the book’s most original contributions lies in its treatment of fiscal decentralisation. Money is not merely a resource but a language through which priorities are articulated and participation structured. The devolution of budgetary authority transforms deliberation into distributive politics. Citizens attend assemblies not simply to speak but to secure roads, water systems, clinics, schools. Voice is tethered to material expectation. This proximity intensifies engagement while sharpening conflict. Fiscal autonomy thus amplifies the stakes of deliberation without guaranteeing its equity. Local representatives emerge as paradoxical figures: empowered yet constrained, accountable yet insulated. Tandon resists binary judgments, showing instead how fiscal decentralisation deepens democratic possibility while exposing institutional fragility. Threaded through the book is a sustained interrogation of the ‘common good’. Revered in theory and suspect in practice, the concept is neither discarded nor sanctified. In unequal societies, appeals to the common good can obscure asymmetries of sacrifice. Empirically, deliberation proceeds through articulated self-interests: neighbourhood demands, caste claims, gendered priorities. Far from undermining democracy, these claims animate it. Self-interest becomes deliberation’s motor rather than its negation. The book thus advances a quiet ethical argument: democracy does not require the transcendence of interest, but its articulation under conditions of mutual visibility. The common good, if it exists, is emergent, fragile, and revisable. Institutions, for Tandon, are moral technologies. Laws mandate participation, but they cannot generate trust, courage, or equality. Procedural compliance may coexist with substantive exclusion. Yet repetition matters. Even imperfect fora can cultivate habits of speaking and being heard. Deliberative democracy, the book suggests, is not an event but a discipline, learned slowly, unevenly, and reversibly. Federalism is less a solution than a condition: one that opens space for democratic learning without securing its outcome. Firmly grounded in Nepal’s political history, the book resists parochialism. Nepal functions as a mirror, reflecting broader dilemmas of democratic deepening across unequal societies. Comparative resonances with Brazil, India, and donor-driven governance reforms are handled without formula or prescription. Nepal is neither an exemplar nor an exception. It is a site where democracy reveals its ordinary difficulties. The prose mirrors the argument: careful, analytic, resistant to grand claims. What lingers is not a verdict but a sensibility: an attentiveness to democracy’s tempo. Deliberative democracy appears less as consensus achieved than as disagreement sustained without rupture. In an age of democratic impatience, Tandon offers a quieter ethic. Democracy must be allowed to think slowly, to falter, and to learn. This book stands as a thoughtful companion to that discipline, reminding us that democratic transformation often occurs far from the centre, in places where speaking itself remains an achievement.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260127090112_4bd0fdb8c4ef4e44c21e9cba4ae63a8481ca1d61bb20f716b29f649bcdf1a4bc.jpg" data-media-id="editor_1" data-image-id="20260127090112_4bd0fdb8c4ef4e44c21e9cba4ae63a8481ca1d61bb20f716b29f649bcdf1a4bc" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Federalism book details NT"> </figure>  Aftab Husain is a Pakistan-born poet and literary and cultural critic. He teaches South Asian literature and culture at the University of Vienna.

Nepal’s slow grammar of democracy

A mighty metal bird, ‘Heron on Hunt’ spreads its wings and unhinges its mouth hungrily. It looks down at ‘The Defending Crab,’ which has windshield wipers for legs and opens its pincers defiantly at the heron, daring it to attack. The crab shell is made of a ceiling fan, the blades of which have been cut up to form the bird’s wings. “The story is that you are what you eat,” says artist <a href="https://taragaonnext.com/events/artist-in-studio-9-metamorphosis-by-saurab-koirala/" target="_blank">Saurab Koirala</a>, whose solo exhibition ‘<a href="https://taragaonnext.com/events/artist-in-studio-9-metamorphosis-by-saurab-koirala/" target="_blank">Metamorphosis</a>’ at <a href="https://taragaonnext.com/events/archiving-for-the-future-an-intersection-of-heritage-and-architecture/" target="_blank">Taragaon Next </a>has sculptures made of material retrieved from garbage warehouses. Koirala was in the studio when protestors ransacked the adjacent Hyatt Hotel on 9 September. The windows of the iconic museum designed by <a href="https://www.archdaily.com/957728/carl-pruscha-an-architect-investigating-overlooked-territories" target="_blank">architect Carl Pruscha</a> in the 1960s were all shattered, but the studio survived. He used the broken glass to make fins for his fish sculptures and wings for insects.  <figure><img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026012409010_0c6c0f6d69472940e1c623db7bae62235a18ded418066b1c8ecc89485d76dcd4.jpg" data-media-id="editor_4" data-image-id="2026012409010_0c6c0f6d69472940e1c623db7bae62235a18ded418066b1c8ecc89485d76dcd4" data-rendition-name="original" width="1000" height="1500" loading="lazy" alt="Saurab Koirala exhibition Taragaon Next NT"></figure>  Metamorphosis is a reference to the transformation of trash into art, but it is also fitting because many of the repurposed items are of insects: a firefly, a dung beetle, a spider, a dragonfly, a queen ant. The most striking are the pair of praying mantises, the smaller one is black, made of windshield wipers, and the larger grey one is made of a motorcycle silencer, bicycle parts, and a fluorescent tube holder. About the unrealistic size difference, Koirala notes that each piece is made of a component that defines its size. For the larger grey mantis, the defining piece is the silencer that makes up its torso. “The mantises are mating,” Koirala explains. “The female mantis will cannibalise the male afterwards, and the dragonfly witnesses the whole scene.” It is possible to look at each installation and immediately recognise what it is meant to be, but on looking closer we see what the parts are made of, and how. The exhibition is from Koirala’s Taragaon Next residency program sponsored by the Saraf Foundation.  <figure><img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026012409010_35d47a71c3e357d4cdba166cdcbf37019639c68a3d69a158f19fe97ea48065ea.jpg" data-media-id="editor_5" data-image-id="2026012409010_35d47a71c3e357d4cdba166cdcbf37019639c68a3d69a158f19fe97ea48065ea" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Saurab Koirala exhibition Taragaon Next NT"></figure>  Koirala thinks of himself as primarily a painter and a caricature artist, and not a sculptor. His mother was a teacher, and would make miniature animals, gods, houses for her students. “Seeing how happy she was doing that made me want to do it too, although she did not want me to be an artist,” Koirala recalls. Some of his mother’s creations are also on display at the exhibition. Koirala got more experience working with 3D models digitally in his work at Incessant Rain animation studio, especially animals. This seems to have given him strong visualisation skills that he has put to use in the art pieces, using minimal bending and cutting. Koirala participated in the WastArt Competition in 2018, where his Danphe sculpture made from colourful coke and soda cans was so striking that it became a part of the permanent collection at the Sagarmatha Next Art Gallery in Syangboche. Koirala worked in the studio in Khumbu, fashioning yaks and bees out of trekking trash.  <figure><img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026012409010_253578bca93f136dca51102fc03a675cc3a8f47ba0b2d31ae2a4020c2c6e7485.jpg" data-media-id="editor_6" data-image-id="2026012409010_253578bca93f136dca51102fc03a675cc3a8f47ba0b2d31ae2a4020c2c6e7485" data-rendition-name="original" width="1000" height="1500" loading="lazy" alt="Saurab Koirala exhibition Taragaon Next NT"></figure>  “My back hurts,” he grimaces as he opens the doors to the studio, an unassuming shed a short walk from the exhibition which is littered with metal spare parts for future art. He has gone through three whole bicycles with a power saw. Koirala seems to want to alter the scrap as little as possible, and it is uncanny how well some of it fits the pieces. The aerodynamic curved fuel tank of a Bajaj Avenger motorcycle becomes the abdomen of a gigantic queen ant. A mosquito repellent becomes the green body of a spider. A stapler and a coconut turn into a snail. The steel legs of a rolling office chair curve exactly into the legs and paws of a fox in motion. “I did not want the animals to be in static poses. I wanted to capture dynamic movement,” says Koirala. Fittingly, most of the parts he has chosen have come from vehicles: bicycles, motorcycles, scooters, car horns, air filters. While Koirala’s work in his Sagarmatha Next residency was about waste encroaching into nature in the mountains, his work in Metamorphosis is a nostalgic memory of a happy childhood in Biratnagar. ‘There used to be abundant dragonflies in my hometown,’ writes Koirala in his description. “As kids, we would catch them and tie threads to their tails and fly them like kites.” The message about the degradation of nature is more valid than ever. The world is seeing the mass extinction of insects, and uncontrolled urbanisation of polluted Kathmandu Valley means only ants and some spiders survive. Artist in Studio #9: <a href="https://taragaonnext.com/events/artist-in-studio-9-metamorphosis-by-saurab-koirala/" target="_blank">Metamorphosis</a> <a href="https://taragaonnext.com/" target="_blank">Taragaon Next</a> Till 30 January 10AM-5:30PM

Vishad Raj Onta

Turning trash into sculptures

The Kathmandu Valley has attracted an exceptional number of outstanding and accomplished foreigners over the decades, but few as extraordinary as Marilyn Silverstone (1929-1999).&nbsp; Frances Klatzel’s book A Portrait of Ourselves, Marilyn Silverstone: From Photojournalist to Buddhist Nun, is a fitting and fascinating biographical celebration of this American woman whose life of unusual choices took her, as the title suggests, from an affluent Jewish childhood in Scarsdale, New York to becoming an acclaimed and adventurous Magnum photographer.&nbsp; Roving the world, her camera captured many of the most iconic events of the 20th century, her images were published in Time, Life, Newsweek, Look, National Geographic, Paris Match, Vogue and other magazines. Following the teachings of Dilgo Khyentse Rinpoche, Marilyn Silverstone devoted the last twenty years of her eventful life to living quietly and practising Buddhism in Nepal. Ordained as a Buddhist nun, she took vows in the sanctified Solukhumbu precincts of Thubten Choling with Venerable Trulshik Rinpoche in the spring of 1977. Living in Kathmandu until her death in Shechen Monastery, which she helped create, Marilyn wrote: ‘When I look back over the years, although I did not know it at the time, ending my life as a Buddhist nun was logical and inevitable.’&nbsp; Ani Marilyn was a familiar figure amid the sacred spaces of the Valley, the lanes of Boudha and even Kathmandu’s drawing rooms during my early years in Nepal, a large smiling presence draped in maroon robes, dyed sneakers, slightly whiskered, robust.&nbsp; As a wedding gift she gave Tenzin and I an inscribed copy of her slim volume, Ocean of Life, aptly named for the span of her achievements and expansive embrace – editor, translator, writer, filmmaker, photographer, journalist and Buddhist nun. Marilyn’s nephew wrote: ‘Her legacy was that she was always herself no matter what chapter of her life that she was living.’  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260122100124_70d489c3d161f59668f315ede60cbb213d365357b0a9f2d7aad3b537a14dcb5e.png" data-media-id="editor_0" data-image-id="20260122100124_70d489c3d161f59668f315ede60cbb213d365357b0a9f2d7aad3b537a14dcb5e" data-rendition-name="original" width="1164" height="1600" loading="lazy" alt="Ani Marilyn"> <figcaption>Ani Marilyn as a Tibetan Buddhist nun at Shechen Monastery in Boudha.</figcaption> </figure>  Working with a wide range of impeccable sources, Frances Klatzel has assembled first-hand the personal recollections and unsparing insights from Marilyn’s most intimate friends. One of these, Jane Abell Coon, wrote the Introduction. She was a well-known person in 1980s Kathmandu whose husband Carlton Coon served as American Ambassador to Nepal and she simultaneously as American Ambassador in Bangladesh.&nbsp; The book begins with a rare message from the 14th Dalai Lama and a touching Foreword by Venerable Rabjam Rinpoche. It ends with exquisite excerpts from a Buddhist religious tract that Marilyn had translated from its traditional Tibetan text. Marilyn’s initial trip to India was to photograph Ravi Shankar in 1955, the classical sitar maestro. Increasingly fascinated by ‘the complex and compassionate culture’ of Tibet, her Himalayan archives include images throughout India, Nepal, Sikkim and Bhutan.&nbsp; The first internationally accredited photojournalist to base herself in India, from 1959 Marilyn lived in Bombay then Delhi, with her lifelong partner Frank Moraes, the Goan journalist, writer, commentator and first Indian editor of the Times of India after Independence. INDIAN INFLUENCERS I remember being taken to meet the legendary Frank Moraes in 1973, by then politically exiled in Marilyn’s elegant but chaotic London house, a magnet for South Asian intellectuals. She was not there, but Frank’s son the poet Dom Moraes was slumped desultory on a sagging sofa. My impression of Frank was well-dressed, polite and slightly distracted. Marilyn’s talent for friendship and wide network of Indian influencers and princely connections gave her unique access to historic events, as well as recording refugees, rituals, droughts, floods, famines and funerals. In addition to maharajahs and global leaders, her images portray personal moments, ordinary people, unflinching pain and flashes of joy. She said: ‘In my job, the closer you get to people, the better off you are.’ This book is illustrated with a thrilling trove of pictures of and by Marilyn, many of which reflect the impact of Henri Cartier-Bresson who signed her up as one of the first women to join his prestigious Magnum photo cooperative.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260122100124_6dfdef41da5945aea0a8bbd8c1514af5de2adb36361d4e20c29914c59f2039e0.png" data-media-id="editor_1" data-image-id="20260122100124_6dfdef41da5945aea0a8bbd8c1514af5de2adb36361d4e20c29914c59f2039e0" data-rendition-name="original" width="2124" height="1404" loading="lazy" alt="Ani Marilyn"> </figure>  Her assignments ranged across warzones in Vietnam, the Shah of Iran’s coronation, and Russian tanks rolling into Prague. Marilyn’s 1960s involved constant travel, her Magnum beat was the ‘Far East’, from Pakistan and Bangladesh to China, Korea, and Japan.&nbsp; With a knack at being in the right place at the right time, Marilyn was the only western woman journalist to record the arrival from Lhasa into ‘safety and exile’ of the young Dalai Lama in 1959. She was at Prime Minister Jawaharlal Nehru’s funeral in Delhi, the Chogyal of Sikkim’s marriage to Hope Cooke, and with Jacqueline Kennedy on a small boat at the Lake Palace of Udaipur.&nbsp; Marilyn snapped the Pope giving blessings in Bombay, Mother Teresa attending to the poor, and the Beatles on their way to meet the Maharishi. With Frank, she travelled to Africa and shot Emperor Haile Selassie in Ethiopia, Nigeria’s independence celebrations, and a very old and solar-topied Dr Albert Schweitzer in his jungle hospital in Gabon.&nbsp; A Portrait of Ourselves, Marilyn Silverstone: From Photojournalist to Buddhist Nun, is a highly recommended tribute to an inspirational life, told with discerning honesty and private perceptions by those who knew her best.&nbsp; Her monastic years living in Nepal continued to feature travel, hard work, undiminished curiosity, dogged fights for right, uncompromising support for others, disdain for conformity and battles with ill health, but all with her characteristic good humour. Marilyn leaves us with some sound advice in her own words: “I can say that I did it all. The secret though is just keep walking through life without analysing it too much or clinging to it too much. Just walk on.” &nbsp;&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260122100140_dc0c465e462bd14e92b2a2e79b5349f23fa039bcda81cc02a9a70adbcee35c7b.jpg" data-media-id="editor_2" data-image-id="20260122100140_dc0c465e462bd14e92b2a2e79b5349f23fa039bcda81cc02a9a70adbcee35c7b" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="marilyn silverstone"> </figure>

Lisa Choegyal

“Just walk on”

Bhairav is the fierce manifestation of Lord Shiva, and his strength is depicted in a fearsome face but he is also a protector and guardian. There are eight forms of Bhairav in Kathmandu, and they are all featured in Mukesh Shrestha’s exhibition Bhairav Bhav at Gallery 108 in Darbar Marg. The artist was moved to contemplate the violent September protests through this series of paintings.&nbsp; “The GenZ protests exposed the greedy and aggressive side of leaders in which many young Nepalis lost their lives. Bhairav teaches people that forms of aggression and peace can go hand in hand, and peace can be chosen,” Shrestha explains. The artworks on display have a distinct palette of yellow, black and white, symbolising peace even during turbulent times. “Yellow is an auspicious colour for Hindus and Buddhists, it also has religious significance,” he says. Each painting is imbued by the black walls of the gallery and spotlight with warm lights. Says gallery manager Pooja Mahato, “The backdrop is black deliberately so that the visitors’ focus goes more to the artwork and less on the surrounding.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026012008018_ac2e3090a926cb57fca481d580d1c087b43d392299e2d99231a6044a05696964.jpg" data-media-id="editor_0" data-image-id="2026012008018_ac2e3090a926cb57fca481d580d1c087b43d392299e2d99231a6044a05696964" data-rendition-name="original" width="2784" height="3984" loading="lazy" alt="Bhairav art review"> </figure>  Each of the paintings depicts Bhairav’s face in the real form but the bodies are imagined by the artist. This distinction is also made by the use of colours on the face while the body is conspicuously black and white. As Bhairav is one of Lord Shiva’s forms, serpents are an essential part of the portraits. The pieces on Kal Bhairav of Kathmandu Darbar Square and Bagh Bhairav of Kirtipur ooze power from every angle. Kal Bhairav is the Lord of time, and the Bagh Bhairav represents the ferocity of the tiger. Meanwhile, Unmatta Bhairav, also known as Digambar sacrificed the greed for life and is depicted naked. Couples who do not have children are blessed with offspring if they worship this Bhairav avatar. Then there is Batuk Bhairav, the childish god with a happy face. The blue here creates a vibrant, ritualistic visage even as it emotes calmness. “It is believed that Bhairav came in this child-like form to fool the demons to destroy them, and is represented through small hands and feet,” explains Mahato.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026012008018_e1f25fe3e0d9431df47cd8f76182649e969d511298c17c0c92179475e8008809.jpg" data-media-id="editor_1" data-image-id="2026012008018_e1f25fe3e0d9431df47cd8f76182649e969d511298c17c0c92179475e8008809" data-rendition-name="original" width="2120" height="3728" loading="lazy" alt="Bhairav art review"> </figure>  Shweta Bhairav's face is also depicted exactly the same as it is in Kathmandu Darbar Square. Its body includes the feet of Bhramayani Devi, one of the forms of Nava Durga. It is believed that this form of Bhairav is granted entry in Kathmandu only after the welcome of Bhramayani Devi.&nbsp; Shweta Bhairav was wrongly identified as the Akash Bhairav when it was chosen as the motif for Royal Nepal Airlines 60 years ago. Despite this, the carrier’s aircraft still carry the wrong Bhairav on their fuselage. Shanta Bhairav, meanwhile, entered Kathmandu Valley in the form of a human to meet his beloved, Lassi. After agreeing to take the role of the protector for children as many were lost, he was allowed to live in the Valley.&nbsp; The paintings also represent peace and tranquility: lotus flowers emerging from the heads of a male and female body, and military tanks below them. Says Mukesh Shrestha, “Each artwork is a journey from ignorance to knowledge. Whatever we think, we become. If we think of peace, we become peaceful, but if we think of destruction, we become destructive.” Bhairav Bhav By Mukesh Shrestha Gallery 108, Darbar Marg Until 31 January 11am-7pm (Mondays by appointment)

The power of peace

The India Art Fair (IAF) advertises itself as ‘the biggest event in India’s cultural calendar … a leading platform’ for art collectors who can discover modern and contemporary art from South Asia.&nbsp; For this year’s ticketed event on 5-8 February in New Delhi, more than 133 exhibitors from 14 countries will be representing top artists from their networks. Danfe Arts, a touring art space from Kathmandu, will participate in the Galleries Section of IAF’s 17th edition featuring a booth with works by six Nepali artists.&nbsp; One of them is Sanjeep Maharjan, Assistant Professor for Sculpture at Kathmandu University, who will showcase his claywork as part of Danfe Arts’ entourage. In 2024, Maharjan curated a show for Danfe Arts at Takpa Gallery titled, ‘Unfolding the City’. The IAF prefers to showcase skilled artists who have honed their practice over many years. Much like various biennales and residencies that have been popping up increasingly in Asia, the Fair delves into sociopolitical issues of the region such as many comissioned works including <a href="https://indiaartfair.in/exhibitor/yogesh-barve-supported-by-art-charlie" target="_blank">Yogesh Barve</a>’s installation entitled ‘I am not your Dalit’ featured at the feastival last year.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260115110136_13f262546fca46c0fe4d76f758a694afe7c0c1cfee5bf74eb4f257f78734f8f2.jpg" data-media-id="editor_1" data-image-id="20260115110136_13f262546fca46c0fe4d76f758a694afe7c0c1cfee5bf74eb4f257f78734f8f2" data-rendition-name="original" width="989" height="1500" loading="lazy" alt="Nepali artists at India Art Fair"> <figcaption>Anil Shahi's Hand of Hope, Oil on Canvas, 36 x 60 inches. Exhibiting work at IAF.</figcaption> </figure>  As the name implies, it is a grand bazaar where artists and their agents show up, to be seen — a powerful regional platform where creativity merges with commercial interests. This is not necessarily a bad thing. Artists have a reputation for being weak at business.&nbsp; And in Kathmandu, where the contemporary art scene has been steadily expanding since the early aughts, more and more creatives are seeking platforms like IAF and collaborators like Danfe Arts in order to boost their portfolios. A NEW COURSE In 2022, I was invited to participate in a formal group discussion by founder of and curator at Danfe Arts Shivangi Bansal who was preparing to chart a new course with her Danfe Journal. The journal included photos of artworks as well as writings about art and helped bridge the gap between art and the Nepali public’s understanding of associated processes. Contemporary art and literature is considered a niche activity. Proper marketing and outreach is required to make the product accessible to the average consumer. Besides, consistency can also be an issue. Too often, energetic graduates might register organisations and launch initiatives only to burn out within a year or so. Nepali society would benefit more from a sustained effort with a long-term vision rather than trendy initiatives that look bright and shiny. Danfe Arts discontinued the journal but continued to engage with Nepal’s art community, like facilitating a commission for Mini Tamang by the India Art Fair (IAF) in 2025, as part of IAF’s Young Collector’s Program. Tamang’s artwork, ‘Evocative Waves’, was installed at New Delhi’s Stir Art gallery last year. In 2024, Danfe Arts had organised a group exhibition called ‘A Lake That Once Was’ in New Delhi’s Bikaner House to coincide with the India Art Fair, which listed the exhibition as part of its parallel programs. This meant the Nepali artists received more visibility and value among IAF’s much larger audience.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026011804014_2a15d57a63c375503965a41396b22c006152368a018450d2617f4c8c076ccc74.jpg" data-media-id="editor_2" data-image-id="2026011804014_2a15d57a63c375503965a41396b22c006152368a018450d2617f4c8c076ccc74" data-rendition-name="original" width="1500" height="998" loading="lazy" alt="arts"> <figcaption>A Lake That Once Was, 2024 at Bikaner House, Delhi.</figcaption> </figure>  Since its inception, Danfe Arts has put out an eclectic mix of programs, demonstrating innovative thinking and effort. With its multi-platform approach, Danfe Arts has collaborated with restaurants like Mezze, putting up an exhibition in November 2025, ‘Bhoye - The Feast’. Danfe Arts is also cultivating relationships with specific artists based on synergies and sensibilities.&nbsp; The history of art practice in Nepal is long and illustrious, but due to political and geographical constraints, esteemed artists have been sheltered and confined within our national borders.&nbsp; By featuring these six artists for the 2026 edition of IAF, Danfe Arts is helping them make regional connections. And as our artists and gallerists show up on global platforms, they might in turn compel Nepalis to view more critically the value of art and how creative practices can contribute positively to society. As technology takes over and AI bots spam the Internet, the issue of originality might become tantamount to survival. We should take risks in our professional pursuits in order to design new communal models of exchange. &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; India Art Fair New Delhi 5-8 February&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026011804014_f226a31af8a33f8da5e7359886289de3fd1b2db17697b96b909404e582d75124.png" data-media-id="editor_3" data-image-id="2026011804014_f226a31af8a33f8da5e7359886289de3fd1b2db17697b96b909404e582d75124" data-rendition-name="original" width="1500" height="1875" loading="lazy" alt="arts"> </figure>

Nepali artists at India Art Fair

Nepali Congress (NC) President Gagan Thapa's candidacy in Sarlahi-4 has thrust this Madhes constituency into rare national focus. If Thapa wins and the NC emerges as the largest party, Sarlahi-4 will send Nepal's next prime minister to Parliament. But if he does not, Nepal’s grand old party will face the next years in the opposition to fight another day. There is a troubling paradox in Sarlahi-4 where the district bordering the Indian state of Bihar has been a battleground for national politicians with fierce electoral competition, all while remaining one of the region's most underserved and underdeveloped constituencies.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260305140344_069cbbc11e971a851b444866dee57f760c0cc611ed40bdf96c627e343e3c0485.png" data-media-id="editor_0" data-image-id="20260305140344_069cbbc11e971a851b444866dee57f760c0cc611ed40bdf96c627e343e3c0485" data-rendition-name="original" width="1802" height="1276" loading="lazy" alt="Sarlahi-4 voting"> <figcaption>Photo: MADHES PAHARA MEDIA</figcaption> </figure>  Ever since Mahant Thakur split from NC in 2008 to form the Tarai Madhes Loktantrik Party, the district has seen rotating political alliances and fragmented votes. Yet, despite 18 years of candidates promising change irrigation schemes remain incomplete, market access for farmers has not improved, unemployment is high.&nbsp; On election day, voters here marked their ballots with fingers stained by dye from the Holi festival the day before. The road leading to Barathawa Bazar was deserted for the most part, except for some youth riding in motorcycles. This is where the high-profile contest between Gagan Thapa and RSP nominee Amresh Singh is being staged. Among the other aspirants is 27-year-old UML candidate Amnish Yadav, the son of former MP Shiv Pujan Yadav. The Yadavs are a political family with considerable caste influence in the constituency. In 2022 Yadav’s daughter Madhumala Yadav received over 14,000 votes here, ranking third overall. Yadav was voted MP from the Maoist party, but defected to the UML this time. His other son is the chair of Sarlahi’s Ramnagar Rural Municipality. Sarhali-4 has 121,012 voters, and the Yadav is banking on the 27,000-strong Yadav vote bank. Sarlahi-4 voter Avishek Sah told us he wanted his vote to go to a young nominee and not someone who has been MP thrice already, like Amresh Singh. &nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260305140344_527c5c2f9aa6a6c7e3bbdfbfe79fdafb0a0b56a62427e9ced86b924c6c563b10.jpg" data-media-id="editor_1" data-image-id="20260305140344_527c5c2f9aa6a6c7e3bbdfbfe79fdafb0a0b56a62427e9ced86b924c6c563b10" data-rendition-name="original" width="1200" height="1600" loading="lazy" alt="Sarlahi-4 voting"> <figcaption>Photo: AYUSHA CHALISE</figcaption> </figure>  To make local loyalties even more complicated, Amnish Yadav’s uncle, Harinder Yadav is an active NC member and walked side by side with Gagan Thapa during his door-to-door campaigns.&nbsp; The NC is betting on Thapa getting over 60% of the total votes. Amresh Singh’s tally could be limited to 10,000 votes — that too because of the nationwide RSP wave, and the popularity of its prime ministerial hopeful Balendra (Balen) Shah. “Amresh Singh lost his appeal when he played victim after he was denied a ticket by the NC in 2022,” Harinder Yadav says. Voters we spoke to here agreed with this assessment that Singh did not do much for the district once he got elected in the past, and being a part of the RSP seems to be his biggest asset. “The only reason I voted for Amresh Singh is because Balen is in RSP,” local voter Mahendra Gupta from Barathawa. &nbsp;“This is his last chance to return the people’s trust.”&nbsp; Gupta is aware of the institutional presence of the NC here. The party received the most votes in 2022 local elections, adding that the candidacy of someone as high-profile as Thapa is a positive sign for Sarlahi-4.&nbsp; Other voters like Ruby Gupta are rooting for both the NC and the RSP. “I will vote for Gagan and for Balen,” she says, adding that her FPTP vote will go to Thapa while her PR ballot would be for the RSP. RSP supporters are confident that their candidate will win big because even though many voters may not have openly voiced their support they still voted for the party and candidate. The Balen Wave was not limited to RSP voters, but also to UML candidate Yadav, who said in a gathering that he will be “the voters Balen” if they elect him. He touted his party’s track record in government, and largely campaigned on administrative efficiency, infrastructural expansion, and local service delivery. Amresh Singh ran on the RSP’s anti-establishment brand, promising to fight corruption, challenge traditional party politics, improve basic services such as education, health, jobs, and infrastructure, while pushing for stronger representation and development for Madhes.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260305140344_982df01801fa7d3532ca0555ecb8a0756e3223be3d93650e08ca82a312dc2ebd.jpg" data-media-id="editor_2" data-image-id="20260305140344_982df01801fa7d3532ca0555ecb8a0756e3223be3d93650e08ca82a312dc2ebd" data-rendition-name="original" width="1600" height="1200" loading="lazy" alt="Sarlahi-4 voting"> <figcaption>Photo:AYUSHA CHALISE</figcaption> </figure>  Singh’s rivalry with his NC competitor goes beyond the ballot— he allegedly blames Thapa for being denied the NC ticket in 2022, which led him to win the election from Sarlahi-4 as an independent. &nbsp; For his part, Gagan Thapa focused on a more pragmatic development agenda that includes upgrading roads and irrigation, improving schools and hospitals, supporting farmers, and creating employment opportunities with improved governance at the centre. He also promised to build an engineering college in the constituency.&nbsp; Thapa also promoted his own anti-establishment image within the NC, repeatedly reminding voters on the campaign trail that he represents the aspirations of the youth.&nbsp; On Thursday, as voting progressed, there were violent disruptions in two centres where voting was briefly halted. But Sarlahi district police spokesperson Saroj Rai told Nepali Times that there were no major problems. Police in collaboration with the Nepal Army sent the ballot papers to the district’s counting stations, where the votes are expected to be tallied through the night and the winner announced Friday morning.

Sarlahi-4 nervously watches ballot count

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Nepal Election live results

As this report is uploaded, the latest results in Nepal’s election show that the Rastriya Swatantra Party (RSP) is headed for an even bigger sweep than most had predicted.
The RSP was leading by large margins in 49 of 165 constituencies, &nbsp;with the UML, NC and NCP trailing far behind. Prominent political figures from the old parties like K P Oli, Minwndra Prasad Rijal, Ishwar Pokhrel, Bishnu Prasad Poudel, Bimalendra Nidhi all seem headed for defeat.
It does look like the RSP’s bell election symbol is ringing right across Nepal — from cities to the remotest districts in the mountains and plains. The party’s blue colour is sweeping the land.
The Nepali people seem to have sent a clear message that they were throughly dissatisfied with the chronic failure of the three main parties to work in the national interest to create jobs and deliver development. It was also an expression of lingering outrage over the the 8 September massacre outside Parliament. &nbsp;
It now looks almost certain that Balendra Shah will get to be Nepal’s next, and youngest, prime minister. Hopefully he will be leading a cabinet of competent and honest technocrats. It remains to seen how the power equation between Shah and the RSP’s leader, Rabi Lamichhane will play out.
Lamichhane is out of jail on bail for fraud cases which he has called political vendetta by the previous regime. Both he and Shah are charismatic and ambitious. Their working relationship will determine Nepal's political stability and whether it can avoid the political cronyism of the past.
This election was not just about casting votes. It was about standing up to principles and a value system, and respecting the hopes and aspirations of Nepal’s youth. It to push for transparent government and against impunity — including for the gunning down of young Nepalis in cold blood.
<div class="embed-block"><iframe src="https://election-geo-dashboard.pages.dev/" width="100%" height="600" frameborder="0"> </iframe>Live election results as winners of candidates are announced.</div>
CAN DO MAN
Shah got mixed reviews as mayor. He was impulsive and ad hoc, but most people inKathmandu and beyond liked his can-do attitude and unconventional style which stood in sharp contract to the legacy leaders. Over his three year mayorship he showed more maturity and planning capacity.&nbsp;
But he always ran headlong into opposition from the federal government over his urban planning and other initiatives to make Kathmandu more liveable. Coming from a civil and structural engineering background, he was involved in building low-cost housing after the 2015 earthquake.
But his public persona is more tied to his irreverent rap lyrics that stood up for the marginalised underprivileged in society, while exposing the high-handedness and apathy of the state. But this also exposed contradictions because he also used his own municipal guards to beat and chase away street vendors and squatters.
But there is no doubt that a combination of the sharp messaging in his rap videos amplified by the algorithms of social media ignited Nepal’s youth to rise up. It was more about optics and emotion than policy and strategy.
He studied Kathmandu district for five years, visiting experts in every field before announcing his independent candidacy for mayor in 2022. Many like me in his own constitunecy did not know who he was and where he came from.
He is a year younger than my architect son, and I saw in him a reflection of my own son’s commitment to serving the nation. I voted for him to be mayor despite his sometimes erratic behaviour, which could be attributed to his youth.
The best sign of his strategic planning, which unsettled septuagenarian and octogenarian politicians, is the he did not grab the first easy option of becoming prime minister in September when GenZ activists offered him the post.&nbsp;
Joining RSP was a masterstroke, as was his challenge to Oli in Jhapa to project national branding. He needed a party platform and Lamichhane needed a popular prime ministerial persona since he himself could not hold the post.
Shah has shown the capacity to take risks when he believes the value justifies the action for the country. Now, he will have to show more strategic thinking on a national scale, as well as understand the delicate geopolitics of Nepal.&nbsp;
He must rise above the kind of crude social media posts that earned him followers on X, but did nothing to erase his erratic and impulsive image.&nbsp;
Some assume that behind his trademark RayBan shades is a closet dictator, and his past remarks about Hitler are still up on social media. He has in the past shown impatience with criticism, unleashing supporters on social media to troll detractors.&nbsp;
Even so, the public seems willing to place their hope on an educated young man with integrity and a proven record for planning at the helm. By tomorrow it will be clear whether the hope Nepalis have held has been fulfilled, and the coming years will show if the RSP will lead Nepalis to a better future.
The voters seem to have shown the door even to the NC despite the fact that under Gagan Thapa, the party had turned a new leaf. A strong government under Prime Minister Balendra Shah heading a carefully selected cabinet and a strong opposition of the NC, UML and other parties for check and balance may be just what we need for a stable Nepal.&nbsp;
Nepalis have collectively always shown maturity in elections. This time they have given a resounding endorsement for integrity and for good governance.

Bells ring all over Nepal

After Thursday’s election, Nepalis are in a wait-and-watch mode. The Election Commission says counting ballot papers will be expedited this time, and the results for the First-Past-The-Post (FPTP) will start being declared within days. In 2022, it took three weeks for the final results to be tallied.&nbsp;
But winning an election is only half the challenge for the parties, forming a government under parliamentary politics is like a complicated mathematical equation.&nbsp;
In 2022, the Nepali Congress (NC) emerged as the biggest party, winning 89 seats. But the UML with 78 seats and the Maoists with 32 formed a minority government. In fact, Sher Bahadur Deuba did not become PM then despite leading the biggest party in Parliament.
This time, there is an unmistakeable Rastriya Swatantra Party (RSP) wave led by its prime ministerial candidate, Balendra Shah. Besides his own popularity, Shah represents change which most Nepalis are clamouring for after decades of corrupt and feckless coalitions that did not deliver.&nbsp;
The past months of campaigning has seen massive youth engagement on social media through memes, AI clips, and viral images. Digital content that appeals to emotion rather than policy debate between candidates shape electoral outcomes in Nepal and elsewhere. &nbsp;
Shah represents GenZ aspirations, and was their candidate for prime minister. It was only when he declined that Sushila Karki was nominated. None of the political parties in the recent past -- new, old, or revolutionary — have won enough seats to go it alone.&nbsp;
The most recent majority government was formed by the short-lived Communist Party of Nepal after the UML-Maoist merger in 2022. But that rare two-thirds majority collapsed after a power struggle between K P Oli and Pushpa Kamal Dahal. The only party to have won a majority was the NC in the 1991 and 1999 elections. But it is near impossible for it to repeat this success now, even with Gagan Thapa's rebranding of the party.&nbsp;
We have compiled these possible scenarios for election outcome in order of likelihood:
RSP gets a majority
RSP hits the magic 138 to form a government entirely on its own. Balendra Shah wins Jhapa-5, and becomes the new prime minister at 35, the youngest ever to hold the office in Nepal. But danger lurks: there could be a personality clash between Shah and Lamichhane who are both equally ambitious. History could repeat itself.&nbsp;
RSP wins but does not get a majority
RSP is likely to sweep the most votes, but what if it does not secure enough seats for a majority? It would need a coalition partner and Nepali Communist Party (NCP) under Pushpa Kamal Dahal could fit the bill, but only if it has the numbers. The RSP is not likely to team up with the UML or NC.
The NCP is relatively untainted by the 8 September events, and also has former UML defectors like Madhav Kumar Nepal and Bhim Rawal who could bag their rural vote banks. After all, there are no permanent foes in politics. If the royalist RPP and Tarai-based Janata Samajwadi have enough seats, those could be options for the RSP. &nbsp;
NC is second
The NC under the new leadership of Gagan Thapa could become the second biggest force and form a government with RSP in a power-sharing deal with Shah. This would be the most stable scenario since the RSP and NC have competent and idealistic young technocrats. Thapa himself embodies a strong combination of both old and new politics to navigate the system for more efficient government. But then Thapa and the RSP's Rabi Lamichhane do not get along.
NC and NCP form a majority
If the NC becomes the largest party but not by a big margin, it could join up with the NCP and Ujyalo. Teaming up with the UML would likely face backlash with the party and outside. If Gagan Thapa becomes prime minister he will face internal pressure from both Deuba loyalists. Same old story.
Minority coalition of NC, UML and NCP
RSP becomes the first party but does not get a majority, paving the way for the three legacy parties to cobble together a minority government. While this is possible in Nepal’s parliamentary system, such a scenario is likely to lead to more instability and dissatisfaction among young Nepalis demanding change, and even trigger street unrest. &nbsp;