“एकादेशमा…” is how every bedtime story that Nepali parents tell children starts. It is a portal to shared childhood memories, and a collective moral code.&nbsp; The stories live in our hearts, and as adults quietly mould the way we see the world. The jolts of everyday life and distance from parents fade treasured oral traditions, and fairy tales that once stitched generations are lost.&nbsp; Some of these tales come to life in Roshan Bhandari’s exhibition, Once Upon A Time / एकादेशमा at Takpa Gallery. Folktales have been transformed into visual stories, showing fables passed down through generations, heard crackling through old radios, and discovered in the pages of well-worn books. Bhandari moves between abstraction and figuration, creating a masterpiece of deliberate fusion. Yet, they remain grounded in the figurative, allowing viewers to follow a narrative thread. The result is a dramatic, emotional landscape of unfolding stories. He explains: “A lot of it is abstract because it carries the soul. And the soul has no shape. You cannot shape the soul and the subconscious. It flows.” &nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025061308068_ca93afbf07dc2dac0e8d4a5c7011ddd3c555ba4cce553686700be1fdd3746e11.jpg" data-media-id="editor_0" data-image-id="2025061308068_ca93afbf07dc2dac0e8d4a5c7011ddd3c555ba4cce553686700be1fdd3746e11" data-rendition-name="original" width="1440" height="1080" loading="lazy" alt="Morals in murals NT"> </figure>  The final piece in Bhandari’s previous series, The Story of Mountain - Contemplation, now stands as the opening to this new collection. The painting captures a young girl in a moment of introspection, embodying the quiet inner strength of Nepalis. &nbsp; She is suspended in time, mirroring the weight of everyday life in the mountains, marked by limited access to roads, healthcare, and education. The bold brushwork reflects the layered complexity of her emotions, caught between the harshness of reality and the strength it takes to endure. Around her, mountain goats graze calmly, life goes on, but she pauses. Not necessarily in defeat but in reflection. It is a moment of stillness we so often overlook in our own fast-paced lives. “She’s my kind of Mona Lisa,” Bhandari says with a broad smile. The aggression of the brushstrokes speaks to the intensity of her struggles, while the vibrant colour palette suggests that there is hope even in hardship. Life, the painting reminds us, is a balance between chaos and calm. Whispers of Nature tells the story of a radiant woman from the Tarai who can speak to birds and animals, but is an outcast, accused of witchcraft.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025061308068_31790cb4120cfe78f79e868fccbfa91617bf534acb4b9e339f1fb5a6d57ced53.jpg" data-media-id="editor_1" data-image-id="2025061308068_31790cb4120cfe78f79e868fccbfa91617bf534acb4b9e339f1fb5a6d57ced53" data-rendition-name="original" width="1440" height="1080" loading="lazy" alt="Morals in murals NT"> </figure>  A Tale of Virtue and Reward on the other hand highlights the timeless truth that compassion, even when quietly practiced, never goes unnoticed. It portrays the contrasting outcomes of benevolence and malevolence -- a moral reflection on how the intentions behind our actions shape the fate that follows. Many of the wildlife-inspired tales in Bhandari’s work echoes a bygone era, when humans and animals lived in closer harmony. Though fantasy made animals talk, reason and relate, the core of these stories remain real. They make us ponder the growing rift between humans and nature today. &nbsp; Tied by Love, Freed by Empathy echo themes of freedom, coexistence, and justice, while From Humble Roots to Golden Roads offers lessons in how small acts of goodness can pave the way to hopeful outcomes. Each piece carries tales of timeless truths and its own distinct moral core. “Roshan Bhandari’s visual form is incredibly attractive. There is a sense of movement within the paintings, almost as if something is alive inside them,” says Tsherin Sherpa, artist and founder of Takpa. “The narratives are woven in such a unique and engaging way. These age-old stories are presented through a contemporary visual lens, which makes them feel both timeless and fresh.” &nbsp; Once Upon A Time / एकादेशमा Till 21 June Tuesday-Thursday: 11AM-6PM Friday-Sunday: 11AM-7PM Closed on Mondays Takpa Gallery, Lazimpat

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Review

Morals in murals

Bhumi is a 25-year-old tourist guide and Sagar, 48, is a Nepali-Canadian visiting Lumbini. The two find themselves unexpectedly paired in a guest house. It is their intimacy and conversations that form the story behind director Ghimire Yubaraj’s play Lost and Found being staged at Shilpee Theatre till 31 May. Their conversations are occasionally interrupted by calls from their families, providing fleeting glimpses into their personal lives, yet never telling the full story. The audience is left anticipating how this relationship will unfold. The stage set shifts back and forth between the guesthouse cafe and <a href="https://nepalitimes.com/here-now/telling-the-story-of-buddha-s-lumbini">the palace of Siddhartha Gautam in Lumbini</a>. Bhumi and Sagar exchange strong opinions on nation, philosophy, and history. Why did Siddhartha abandon his wife Yasodhara and newborn son Rahul, and leave the palace?&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250528110532_18b7d824d19579ccd40691b992ba3b9f870b8e616f5a84ec4bd6140bef355a54.jpg" data-media-id="editor_1" data-image-id="20250528110532_18b7d824d19579ccd40691b992ba3b9f870b8e616f5a84ec4bd6140bef355a54" data-rendition-name="original" width="2048" height="1365" loading="lazy" alt="Drama of loss and discovery"> </figure>  The story of the Buddha has resonance for the characters. Bhumi, we learn, was raised by a single mother, and Sagar is a husband and father growing distant from his own family. Bhumi is vibrant and outspoken, her laughter is infectious yet laced with an eerie undertone that hints tension ahead. Sagar, on the other hand, is more reserved but gradually softens, absorbing some of Bhumi’s lively energy. Bhumi is a strong and self-assured woman, unafraid to speak the truth about herself. She openly shares her sexual desires, how she enjoys intimacy and multiple partners, and declares her desire to live life on her own terms. Such <a href="https://nepalitimes.com/here-now/she-is-the-story">a portrayal of a young woman </a>is rarely seen on the <a href="https://nepalitimes.com/here-now/nepali-cinema-s-melodramatic-realism">Nepali stage and cinema</a>. Bhumi also suffers from multiple personality disorder, she has sudden episodes as her body trembles, and she transforms into different people, revealing hidden truths that the viewers must piece together from the intense scenes. Two cafe servers played by Suhana Acharya and Govinda Oli are ever-present and add another dimension to the intricate layers of narrative and occasional play-within-a-play. Their presence complements the dialogue between Bhumi and Sagar with moments of humour and intrigue, but their own stories reveal personal struggles shaped by vastly different journeys of different people at different paths of life.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250528110532_9b439c55a747b352fd043f398f7923d0c615a61c340dae6bfb9e1ec56092c517.jpg" data-media-id="editor_4" data-image-id="20250528110532_9b439c55a747b352fd043f398f7923d0c615a61c340dae6bfb9e1ec56092c517" data-rendition-name="original" width="2048" height="1365" loading="lazy" alt="Drama of loss and discovery"> </figure>  The play keeps the audience on its toes for the entire hour and forty-minute runtime. Transitions between scenes are swift and the acting is spot on, we are almost peeking at real life stories unfolding. Bhumi and Sagar talk about their problems. Bhumi on her struggles with citizenship due to an absent father, and frustrated by <a href="https://nepalitimes.com/opinion/born-in-nepal-treated-as-a-foreigner">systemic injustices</a>. Sagar is in an unhappy marriage, navigating interpersonal conflict with his wife and the children, and the legal complexities of divorce. People are torn by the threads of life, love, and relationships. People give up on people. And people give up on themselves. They struggle to show up for themselves in a world where personal and societal struggles make survival increasingly alienating. People then seek survival in unexpected places and personal quests. Each problem is so uniquely tangled up to each individual and their own life story. This shapes how one sees the world and connects with, or fails to, with another. Hence, the complexity of human relationships and human emotions. Lost and Found manages to somehow capture all of this in a story of two drifting souls seeking to find their own survival. In his director’s note, Ghimire Yubaraj writes: ‘Why is humanity so restless in today’s world? Why do relationships, built through personal choice and care, break apart so quickly? And in the name of peace, why has humanity strayed so far from it?’ The ending and the climax collide. What begins as a light-hearted conversation between Bhumi and Sagar saying their goodbyes, quickly unfolds into an intense revelation. This ending epiphany reshapes the entire narrative, and leaves the audience stunned even after the curtains close. Lost and Found Till 31 May Shilpee Theatre, Battisputali Sun-Fri except Tue: 5:15PM Saturday: 5:15PM, 1PM (Matinee)

Drama of loss and discovery

<a href="https://www.instagram.com/prabalgurung/" target="_blank">Prabal Gurung</a> left Nepal for New York in 1999 to escape years of bullying, sexism and homophobia, and to pursue his dream of becoming a fashion designer. He <a href="https://www.youtube.com/watch?v=KqN0VaoAI5w" target="_blank">realised his dream</a>, but did not escape discrimination and racism in the new world. Propelled by passion for fashion, Gurung overcame everything America threw at him. He has attained <a href="https://www.vanityfair.com/style/story/prabal-gurung-recalls-his-first-met-gala-when-zoe-saldana-was-at-his-side?srsltid=AfmBOooy-H0oGgxMit864FnW_Pmw8mUnV8rYrh-co-f6OyYK6m2ip5hP" target="_blank">fame and recognition</a> for his haute couture dress designs while remaining true to his Nepali roots, and is even more resolute in <a href="https://www.youtube.com/watch?v=dSmNauyzACk" target="_blank">fighting prejudice</a> in all its forms. Prabal Gurung’s newly-released memoir <a href="https://www.amazon.com/Audible-Walk-Like-Girl-Memoir/dp/B0DG11HCDQ?fbclid=IwY2xjawKZfpxleHRuA2FlbQIxMQABHuZcIJO2OXyXcRm1oq1iG6wzeoF7VJFrQ7GXOFI0YxuZZ4id_CNvSZSZZIna_aem_pG_mOKG73RTnYvN8JaC4fA">Walk Like a Girl</a> is a saga of harrowing abuse in boarding schools in Nepal and India, only finding himself facing a different kind of bullying in the US. He prevails over it all to be where he is today: an award-winning American fashion designer with his own label. Walk Like a Girl was launched last week in New York at a time when everything Gurung fought for — tolerance, inclusion and diversity — are in retreat in his adopted country because of a president who has espoused a culture of bullying. The book is a searing, raw exposé of how cruel and abusive people can be even at a young age in school. On the other hand, it also shows that there are generous, compassionate and open-minded souls out there. In his book, <a href="https://www.youtube.com/watch?v=K4le_uWX7YE">Prabal Gurung</a> calls out those who tormented and tried to hold him back (some of their names have been altered). The moral of his story is: resist, never stop believing in yourself, do not let others define you, never lose sight of your dream, and help those who have been kept out. “Walk like a girl” was a slur used by bullies back in school in Nepal and India for Gurung’s effeminate ways. He fought back then, and he is still resisting by turning those words into something to be proud of.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519170544_4ffc9c3f565dd2cfa754d10b224816897b82bb31ebaee91b6d79d469fc96f14e.jpg" data-media-id="editor_6" data-image-id="20250519170544_4ffc9c3f565dd2cfa754d10b224816897b82bb31ebaee91b6d79d469fc96f14e" data-rendition-name="original" width="1000" height="1253" loading="lazy" alt="Prabal Gurung NT"> <figcaption>Prabal Gurung at home in Kathmandu in the 1990s.</figcaption> </figure>  “Living through it all was one thing, but writing about it is one of the hardest things I have done in my life,” admitted Gurung during the launch. “I broke down constantly during the six-year writing process.” He continues: “I did not want this to be a victim’s book. I did not want to burden my readers with my emotions. I wanted my struggle to be an inspiration for others facing what I faced. I am grateful to those who bullied me in school, they made me a stronger person ready to face the world.” Indeed, this book is a departure from his earlier one titled simply, Prabal Gurung (Abrams, 2019), which was a lush pictorial autobiography of his career in fashion. Walk Like a Girl is not a typical fashion book, it is an intimate tale of <a href="https://archive.nepalitimes.com/news.php?id=16997">Gurung’s travails and triumphs</a>, and how he willed himself to succeed. Prabal pays a lavish tribute to his mother Durga Rana. We find out she is a descendant of the first wife of the eldest son of Jang Bahadur Rana who was banished to Palpa in the late 19th century. Prabal’s father served in the Singapore Police and that is where he was born before the family returned to Nepal when he was four. Gurung relates with brutal honesty about the violence his mother endured from his father. Durga raises three children as a single mother in Nepal, and Prabal credits her for his fierce determination to resist patriarchy and injustice, which in time manifests itself in his hyper-feminine and subversive dress designs. Writing the book has been a cathartic experience for Gurung, who says he is now relieved of the burdens of his past. It no longer haunts him, and he does not have to prove anything to anyone anymore. Walk Like a Girl has life lessons not just for the <a href="https://www.instagram.com/p/DJmOcSgxdWz/" target="_blank">fashion industry</a>, but for every other profession. How can my job serve a greater cause? Gurung tells us his work is <a href="https://asiasociety.org/blog/asia/why-designer-prabal-gurung-doesnt-want-just-stick-fashion" target="_blank">bigger than just making clothes</a>, it is about making the world a better place because it could do with a lot of improvement.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519170544_d75296ad8bfdc00d88935f40d23543c6fea3d4d6a10e61a99d6cfc6127f2ee5b.png" data-media-id="editor_10" data-image-id="20250519170544_d75296ad8bfdc00d88935f40d23543c6fea3d4d6a10e61a99d6cfc6127f2ee5b" data-rendition-name="original" width="1516" height="1000" loading="lazy" alt="Prabal Gurung"> </figure>  This story of chasing the American dream may sound familiar to many immigrants: knocking on doors for jobs, rejections, trying to survive from day to day on expensive rent, and dealing with subtle racism in white America. Gurung finds racism is rife, and he is often mockingly called ‘gaysian’. He writes: ‘There was a strong hypocrisy — this idea of independence felt like a marketting ruse … and for all the talk of feminism in America, these high society women were trapped by the patriarchy just like in Nepal and India.’ After a trek to the Khumbu region in 2013, Gurung is inspired to use the colours, palette and textures of Nepal for his collection exhibited on Manhattan’s 8th Avenue. A major buyer tells him bluntly: “Stick to making pretty dresses … if I need to see a collection like this, I could buy a copy of National Geographic.” The New York Times was equally dismissive: ‘The designer tries to draw connections between blistered techo-fabric used to construct it and the topography of his homeland, Nepal. But, at the moment, he has lost his map.’ One potential investor tells Gurung he cannot design for Americana because “you do not look American”. Gurung wants to use expletives, but restrains himself. After a fundraiser in New York for the Nepal earthquake in 2015, some belittled his effort, saying: “Here comes the saviour."&nbsp; Read also: <a href="https://nepalitimes.com/review/prabal-gurung-by-prabal-gurung">Prabal Gurung by Prabal Gurung</a>, Kunda Dixit The Gurkha DNA must be dominant in Prabal Gurung’s genes because he does not take such mistreatment lying down. When asked by a fashion publicist why he was designing clothes for fat people, he snaps back: “Because of people like you.” He joins the Black Lives Matter and #MeToo movements, launches the Shikshya Foundation charity in Nepal, and has powerful allies among celebrities who wear clothes he designed: Michelle Obama, Oprah Winfrey, Sara Jessica Parker, Kamala Harris, Deepika Padukone … it is a long list.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519150556_48a5f4211991a23fa85b64bbd5377575ca7081d97309d7542035591dda5180fe.png" data-media-id="editor_12" data-image-id="20250519150556_48a5f4211991a23fa85b64bbd5377575ca7081d97309d7542035591dda5180fe" data-rendition-name="original" width="1114" height="1534" loading="lazy" alt="Being Prabal Gurung by design"> <figcaption>Nigerian novelist Chimamanda Ngozi Adichie wearing Atelier Prabal Gurung’s design for Met Gala 2025 in which the theme was ‘Superfine: Tailoring Black Style’. </figcaption> </figure>  “I don’t dress women to look beautiful, they already are,” Gurung says. “I try to bring out their innate strength and grace.” <a href="https://www.instagram.com/stories/highlights/17908766880140171/" target="_blank">Admirers</a> tell Gurung he makes it all look so easy, but he used to put up a strong facade to not show his own vulnerabilities in public. “I was closed because of my childhood experiences,” he says. “I was always on guard to defend myself because I never knew where the next punch would come from.” But in <a href="https://www.youtube.com/watch?v=PPVepzPA210" target="_blank">Walk Like a Girl,</a> Gurung comes to terms with his vulnerability, and bares his soul. It has not been easy, it took sustained will power and support from his mother, sister Kumudini and a circle of close friends. “I made unbelonging my power,” he says. “Nepal is where I still have my heart and soul. Nepal grounds you. It is where people go to find themselves. But I escaped.” Recently appointed vice-chair of the <a href="https://cfda.com/about-cfda" target="_blank">Council of American Fashion Designers</a>, Gurung says: “I can’t believe I am here, it feels like it is happening to someone else. Writing this book, the healing has finally begun.” <h2>‘Everything is better in color’</h2> The Met Gala was two weeks later, and my table was an example of everything I’d been fighting for all these years as my guests represented everything I believed in: dynamic, powerful, influential women who were unapologetically original and unabashedly graceful. I was grateful to Anna for inviting me to host and dress a table that reflected my ethos—and for her guidance in doing so. I was also aware of the privilege as one of the first-­ever Asian fashion designers—not just from Nepal, but from the entire continent— to get the opportunity to do so. That fact was not lost on me. I reached out beyond the expected Hollywood celebrities and well-­known socialites to curate a table of exceptional women who inspired me. I invited Deepika Padukone and Alia Bhatt for their first-­ever Met Galas, as well as Michelle Yeoh, Mindy Kaling, Camila Cabello, Ashley Park, Denée Benton, KiKi Layne, Quannah Chasinghorse, and Grace Elizabeth. Together we checked many boxes: Asian, Black, Latinx, and Indigenous, each woman undeniably chic and powerful, a dazzling array of skin tones and experiences that proved my decades‑in‑the-­making hypothesis: everything is better in color. Excerpt from Walk Like a Girl Viking © 2025 by Prabal Gurung  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519170520_6b91d560e9f072c37d16876901058c073a51ffa05e7ad1b9461d19e1c9c28215.jpg" data-media-id="editor_16" data-image-id="20250519170520_6b91d560e9f072c37d16876901058c073a51ffa05e7ad1b9461d19e1c9c28215" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Prabal Gurung book details NT"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519170520_345240c21be400e2ce2ec629b52bd82bb53890e5bd86fe95b48340d84b5f1748.jpg" data-media-id="editor_17" data-image-id="20250519170520_345240c21be400e2ce2ec629b52bd82bb53890e5bd86fe95b48340d84b5f1748" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Prabal Gurung book details NT"> </figure>  &nbsp;

Being Prabal Gurung by design

Katha Ghera’s ongoing theatre production वायुपङ्खी बफेलो (Bayupankhi Buffalo, Winged Buffalo) at<a href="https://nepalitimes.com/here-now/all-the-men-and-women-merely-players"> Kausi Theatre</a> begins with all the buffalos at a farm are granted semi-human qualities by a magical entity called ‘The Hand’. A young buffalo in the herd, named Aai like all of his fellow bovines, takes one look at the state of things around him with his newfound cognitive abilities and immediately decides that he has no prospects in Nepal. Written and directed by Kshitiz Parajuli, वायुपङ्खी बफेलो chronicles the misadventures of Aai as he sets out to make his <a href="https://nepalitimes.com/here-now/quake-survivors-migrate-for-work">dreams of migrating for a better life </a>into reality. He is helped in his quest by his supportive father, played by Rishikesh Basyal, and the other stage buffaloes in his life. The application process can be daunting, but the play does not take itself too seriously, presenting the <a href="https://nepalitimes.com/here-now/no-country-for-young-men-c89lgrrl">desperation of young Nepalis to migrate</a> through multiple comedic twists, fourth-wall breaks by the narrator, musical moments, and over-dramatised scenes. The fast pace play does not make the story feel out of place. When Aai finds himself short on money for citizenship and passport documents made, he robs a bank. When it is time to take an emigration language test, the only way Aai is able to speak English is via rap verse. When he tells his father that he does not wish to be lonely in his new life abroad, he arranges for Aai to marry a cow. The play stands out because despite its quixotic plot and arrangement, most Nepalis identify with the core theme of <a href="https://nepalitimes.com/opinion/the-truth-about-migration">migration</a>. And so is the process Aai has to follow to get his documents, his struggles to obtain citizenship presents a pointed message about what Nepalis go through to establish their <a href="https://nepalitimes.com/banner/nepal-is-turning-into-a-nation-of-hybrid-identities">national identity</a> with the language barriers along the way.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250509140548_1907cd2d7935e66571206e737b3207b462b27b4acdde996e17a20cc20cc7dbbd.jpg" data-media-id="editor_5" data-image-id="20250509140548_1907cd2d7935e66571206e737b3207b462b27b4acdde996e17a20cc20cc7dbbd" data-rendition-name="original" width="2048" height="1346" loading="lazy" alt="No country for bovines"> </figure>  That he resorts to crime for a chance to leave the country is reflective of people willing to let the end justify the means, evoking stories of countless Nepalis who take months-long journeys through dangerous back routes to attempt to get into countries like the US. The cast, along with the production’s costume and make-up department, deserve flowers. Nishan Khatri and Rishikesh Basyal in particular do a stellar job playing Aai and his father, imbuing their buffalo characters with humanity while maintaining their bovine body language and mannerisms. Read also: <a href="https://nepalitimes.com/review/prosperous-farm-un-happy-animals">‘Prosperous Farm, (Un)happy Animals’</a>, Shristi Karki Just when it seems as though Aai has finally crossed all hurdles (spoilers ahead) he is caught at the airport trying to leave the country on a fake passport, and sent to prison. Upon release from jail, he returns home, seemingly having given up on his dreams to go abroad entirely, to find that his father is no longer at home. Neither Aai nor the audience is given answers as to where his father might have gone and why he left. And so Aai quietly goes back to being a buffalo, reminding us that while <a href="https://nepalitimes.com/opinion/guest-editorial/the-migration-myth">thousands leave Nepal</a> daily in search of a better life, the dreams of just as many, if not more, never take flight. At this sombre end, the audience is left wondering about the circumstances that have led to <a href="https://nepalitimes.com/here-now/nepal-s-hard-working-students-overseas">young Nepalis</a> believing the grass is really greener beyond our borders. Bayupankhi Buffalo is a tragi-comic reflection of the dreams contemporary Nepali youth dare not dream here at home. Bayupankhi Buffalo Till 17 May Katha Ghera, Kausi Theatre, Teku

No country for bovines

Bhuthan भुठान starts with Bishnu Bahadur KC played by <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/dhuwa-smoke-telefilm,2671">Hari Bansha Acharya</a> on a call, requesting to speak to the visa officer. By this point, he had <a href="https://nepalitimes.com/here-now/nepal-should-now-allow-visa-on-arrival">applied for a visa </a>to Bhutan 10 times, but was denied each time. KC was a <a href="https://nepalitimes.com/here-now/nepal-s-women-excel-in-sports-in-2024-z9ramyct">national football player </a>in Bhutan in 1988 before he and other Nepali-speaking Lhotsampa people were forced out of the country in the 1990s as part of the Druk regime’s ‘One Nation One People’ campaign. Over 100,000 Bhutanese Nepalis were forced out, driven across India and dumped in Nepal where they lived in seven<a href="https://nepalitimes.com/here-now/elderly-left-in-bhutan-refugee-camp"> refugee camps</a> supervised by the United Nations and other charities until they were resettled in the United States, Australia, New Zealand and some European countries starting in 2007. In the fictional movie with the satirical English title The World’s Happiest Man, KC has resettled in the state of Ohio in the US but wishes to visit his home country once before he dies. Between flashbacks, we learn KC has died without having fulfilled his wish. &nbsp; The drama then focuses on KC’s two families from two marriages as they debate whether to cremate him as per <a href="https://archive.nepalitimes.com/article/from-nepali-press/muslim-hindu,2996">Hindu rites </a>or give him a Christian burial. A mediator played by Hollywood actor Bruce Dern urges them to take a firm decision before it is too long.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250430140420_b398a08091b866da2b0b8f6c1e6e26781609749aba896bfd2c68a10a519295c3.jpg" data-media-id="editor_5" data-image-id="20250430140420_b398a08091b866da2b0b8f6c1e6e26781609749aba896bfd2c68a10a519295c3" data-rendition-name="original" width="945" height="945" loading="lazy" alt="Bhutan, the movie"> </figure>  There are drawn out scenes of KC being baptised and when he is confronted by his first wife from Darjeeling played by Anuradha Majumdar, he says he changed his religion in the hope that he will be <a href="https://nepalitimes.com/opinion/comment/bhutan-s-refugees-between-hope-and-despair">allowed back in Bhutan</a>.&nbsp; We find out KC has a second wife, a Christian Nepali played by Puja Chand. Dayahang Rai as the younger son doesn’t have much screen time to flex his acting chops. &nbsp; Acharya competently portrays a man that is equal parts haunted by the memories of and longing for his home country. KC’s pain and loss is acute when he is teaching football to Gungun but between mid-scene, he freezes, perhaps lost in memories of being in Bhutan’s national team. &nbsp; In another scene, KC recalls his mother singing a lullaby in Dzongkha. He also has a box filled with medals, photographs and a football which he deflates with a knife in a powerful depiction of his <a href="https://nepalitimes.com/here-now/searching-for-a-homeland-away-from-home?fb_comment_id=1506516030025634">complicated emotions about his homeland</a>. KC keeps checking his mailbox in the hopes that his <a href="https://archive.nepalitimes.com/news.php?id=4977">visa application</a> has been accepted. He says in Nepali: “If a tree that has already struck roots in one place is shifted to another, it will not survive.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250430140420_4a9c27410326489576c04dedf40016bda3825e8f9663317f54fbfec4cbda6d34.jpg" data-media-id="editor_9" data-image-id="20250430140420_4a9c27410326489576c04dedf40016bda3825e8f9663317f54fbfec4cbda6d34" data-rendition-name="original" width="1422" height="2048" loading="lazy" alt="Bhutan, the movie"> </figure>  Dern’s character says that the <a href="https://nepalitimes.com/opinion/comment/nepal-s-transitional-justice-and-the-west-s-recalibration">western world</a> has become “lonely in pursuit of happiness”, another reference to Bhutan’s obsession with its Gross National Happiness index. Scenes shift quickly throughout making the story difficult to follow at times. The use of symbolism is a trite overdone. Nonetheless, भुठान is a nuanced depiction of raw pain and agony of losing one’s homeland. But one cannot help but leave the theatre feeling deflated. KC dies without having visited <a href="https://nepalitimes.com/here-now/small-bhutan-dreams-big">Bhutan</a>, but perhaps he does in his afterlife. It is up to the audience to create its own ending to this sad story of exile. भुठान Mad Monkey Films, 2025 Directed by Binod Paudel 102 minutes In cinemas in Nepal

Bhutan, the movie

Bhaktapur is all about ritual, resistance, and remembrance. Now a <a href="https://nepalitimes.com/banner/nepals-new-generation-of-alternative-artists">new generation of artists</a> is exploring the city of devotees through art. Balkrishna Banmala was a child <a href="https://nepalitimes.com/review/deity-devotion-and-divine-dance">deity dancer</a> who performed sacred tantric rituals. But what many saw as divine honour for Banmala was a time stolen from his childhood. “On the surface, it looked beautiful to be honoured with offerings and prayers,” Banmala tells us. “But behind the masks and the barefoot dances, we were children denied a normal life. No school, no shoes, no time to play.” Banmala is now an artist and his canvases are part of the Chitra Katha exhibition at <a href="https://nepalitimes.com/review/amalgamation-of-nepali-art">Siddhartha Art Gallery</a>. His artwork blur the line between the sacred and the everyday: a masked deity riding a bicycle, a divine child licking an ice cream cone. Some of these images have sparked outrage in his own community. “When I first exhibited these works, community leaders saw them as betrayal,” adds Banmala. “Some even tore up my paintings. A police complaint was filed. But I believe art must speak the truth even when it is uncomfortable.” His <a href="https://nepalitimes.com/here-now/painting-a-painter">paintings</a> at Chitra Katha incorporate circular motifs inspired by the Navadurga Jatra where Banmala weaves cosmological cycles into his paintings, saying, “In the cycle of life: Brahma creates, Vishnu sustains, and Shiva destroys. My work reflects this cycle--today, tomorrow, and beyond.” Read also: <a href="https://nepalitimes.com/review/old-art-meets-new">Old art meets new</a>, Sikuma Rai  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250424110456_8f9008ff390c9e49dbd60d4c0a887e04f249686a8d1db3329cc0d66dc3a0737f.jpg" data-media-id="editor_5" data-image-id="20250424110456_8f9008ff390c9e49dbd60d4c0a887e04f249686a8d1db3329cc0d66dc3a0737f" data-rendition-name="original" width="848" height="809" loading="lazy" alt="Between the sacred and everyday"> <figcaption>Brahma by Balkrishna Banmala Photo: SIDDHARTHA ART GALLERY</figcaption> </figure>  For Banmala, <a href="https://nepalitimes.com/banner/the-art-of-healing">art has become a form of therapy</a>, a step to healing the inherited burdens of tradition. “Children in my community continue to be worshipped at the cost of their dreams. I want them to have what I didn’t. My <a href="https://nepalitimes.com/banner/art-as-a-call-to-action">art is my protest</a>, my hope, and my prayer.” Altogether, 28 artists from <a href="https://nepalitimes.com/banner/clash-of-cultures-in-bhaktapur">Bhaktapur</a> are exhibiting their works at Siddhartha Art Gallery with everyday stories of the city in the form of paintings, drawings, ceramics, printmaking, light installations. Many works use local materials like terracotta, wood and cement, grounding their expressions both literally and metaphorically in Bhaktapur’s soil. Narayan Bohaju’s diptych Floating Hopes II offers a dreamlike view of <a href="https://archive.nepalitimes.com/news.php?id=15106">urban chaos</a>. Public vehicles float alongside lotus leaves. The visual texture almost resembles Studio Ghibli, and invites onlookers to romanticise even the most distressing reality, thereby offering some hope even in unexpected places. In Echoes of Childhood Community, Bohaju returns to Bhaktapur’s spiritual core. A towering temple-like chariot teems with figures in communion: local vendors, families, fruit baskets, religious icons--anchoring a city where sacred and mundane coexist.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025042412044_81a2b9042948ed7edc871671b486bb14fa1a137e09119b0a0bb945236a72619c.jpg" data-media-id="editor_10" data-image-id="2025042412044_81a2b9042948ed7edc871671b486bb14fa1a137e09119b0a0bb945236a72619c" data-rendition-name="original" width="1999" height="1721" loading="lazy" alt="Between the sacred and everyday"> <figcaption>Echoes of Childhood Community by Narayan Bohaju</figcaption> </figure>  Meanwhile, <a href="https://nepalitimes.com/review/reimagined-roots">Pooja Duwal</a>’s series Custodians of the Ephemeral celebrates the beauty in the ordinary. Rendered in oil, her scenes capture fleeting moments of men in dhaka topi, elders sipping tea, neighbours chatting at street corners. Her remarkable works showcase unremarkable everyday scenes. Reminiscing Memories by Srijan Ulak uses pen and ink to trace the fading outlines of <a href="https://archive.nepalitimes.com/news.php?id=19496">Bhaktapur’s architecture</a> and <a href="https://nepalitimes.com/here-now/building-homes-on-a-deadline">ancestral homes</a>. His detailed work speaks to nostalgia, and the slow erosion that came with <a href="https://nepalitimes.com/review/rice-fields-to-concrete-terraces">urbanisation and concrete</a>. For artist Anjila Manandhar, power comes from turning personal struggles into sacred strength. Her artwork often features skulls and divine figures but they represent her, she tells us. “The heads and skulls I draw are like those of Chamunda or Kali. But I gave that power to myself. I made myself the <a href="https://archive.nepalitimes.com/news.php?id=16471">goddess</a> strong, playful, and defiant. It’s how I motivate myself and heal.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025042412040_a2c54afebe5e244cd5fed0ed30f27956c3aa317c0d8435dcc01d69352e98cbb6.jpg" data-media-id="editor_16" data-image-id="2025042412040_a2c54afebe5e244cd5fed0ed30f27956c3aa317c0d8435dcc01d69352e98cbb6" data-rendition-name="original" width="1440" height="960" loading="lazy" alt="Between the sacred and everyday"> <figcaption>Nothing by Anjila Manandhar Photo: SIDDHARTHA ART GALLERY</figcaption> </figure>  Manandhar’s works explore identity through <a href="https://nepalitimes.com/banner/when-art-unites-what-divides-us">surreal metaphors</a>. One recurring image is of an ant with a human face. “Ants are everywhere. Tiny, sensitive, stepped on without notice. In many ways, humans are the same. We keep moving, but we rarely look down. Maybe if we did, we’d be more grounded.” Sunflowers are another constant theme, and Manandhar explains that the blossoms always turn to the sun and feel like guardians that are always rising, watching, and protecting. Anjila’s art moves fluidly between strength and fragility, empowering viewers. The exhibition also features Suraj Shilpakar, a master <a href="https://nepalitimes.com/review/in-with-the-old-in-with-the-new">woodcarver </a>deeply rooted in his family’s artisanal legacy. Woodcarving is his identity, and he strives to preserve the craft while constantly aiming to reinterpret it. Shilpakar explores modern themes through painting, printmaking, and ceramics. His Baja Gaja series is a standout at the exhibition, a sculptural tribute to the role of music in <a href="https://nepalitimes.com/editorial/progress-and-or-preservation">cultural preservation</a>.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025042412040_936a3c559c3de6f3177c5d2a01f15e765208727e54949324395668e19bbda11e.jpg" data-media-id="editor_20" data-image-id="2025042412040_936a3c559c3de6f3177c5d2a01f15e765208727e54949324395668e19bbda11e" data-rendition-name="original" width="3222" height="2177" loading="lazy" alt="Between the sacred and everyday"> <figcaption>Baja Gaja series by Suraj Shilpakar</figcaption> </figure>  The piece is built in the tudal style. The struts represent support. He says, “It honours how youth and <a href="https://nepalitimes.com/here-now/the-sacred-female-energy-of-shakti">women uphold traditions </a>through music. Today, <a href="https://nepalitimes.com/here-now/the-musical-bridge-between-past-and-present">music isn’t just a celebration, it holds culture together.</a>” The work is a reminder that tradition can evolve, adapt, and inspire, while keeping its essence. Each piece at the Chitra Katha exhibition is a meditation on heritage, belief, and identity. The lotus reappears as a quiet metaphor for resilience amidst chaos. The skulls, deities, and age-old rituals find their place beside evocations of temples, myths, and ancestral echoes. Themes of religion, tradition, mortality and divinity recur. Bhaktapur’s artists offer their intimate stories, inviting onlookers to find personal resonance within the folds of collective memory. They are building new ways for future generations to remember their lives. Chitra Katha Siddhartha Art Gallery, Baber Mahal Revisited Until 11 May Sunday to Friday 11AM-5PM Saturdays 12-5PM

Between the sacred and everyday

Il y a d’autres Annapurnas dans la vie des hommes

The <a href="https://nepalitimes.com/banner/time-capsule-of-kathmandu">Kathmandu Valley civilisation</a> can also be called a hydrological culture where sophisticated<a href="https://nepalitimes.com/news/nepal-needs-to-plan-for-plenty-and-scarcity-of-water"> water management</a> allowed densely-packed settlements to co-exist with intense <a href="https://nepalitimes.com/editorial/back-to-the-future-of-farming">agriculture</a> on the fertile soil of the former lake-bed. Both needed plenty of water, but <a href="https://nepalitimes.com/here-now/geopolitics-of-nepal-s-rivers">the Valley’s rivers </a>are not snowfed. So, the rulers of the kingdoms sourced them from the surrounding hills in an elaborate <a href="https://nepalitimes.com/here-now/kathmandu-s-ancient-water-spouts-still-functioning">network of canals </a>that did not just provide water for irrigation and fill ponds that recharged ground water, but also ensured urban supply through sunken spouts called hiti.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025032705030_4e0cf8c700f36086c3ea12917b03f2ae1f5224db3c9eac61c02b9a2a0d3ba91a.jpg" data-media-id="editor_5" data-image-id="2025032705030_4e0cf8c700f36086c3ea12917b03f2ae1f5224db3c9eac61c02b9a2a0d3ba91a" data-rendition-name="original" width="1500" height="1227" loading="lazy" alt="Hiti "> <figcaption>Photo: HAYLEY SAUL</figcaption> </figure>  The fact that the hiti system is still a vital source of water for the residents of inner city <a href="https://nepalitimes.com/here-now/a-green-city-is-a-smart-city">Kathmandu</a>, <a href="https://nepalitimes.com/here-now/patan-for-beginners">Patan</a> or <a href="https://nepalitimes.com/banner/clash-of-cultures-in-bhaktapur">Bhaktapur </a>despite rapid urbanisation is a testament to the engineering and planning expertise of our ancestors dating back to the <a href="https://nepalitimes.com/here-now/losing-loose-change-in-nepal">Lichhavi period</a> (400–750 CE) and later expanded during the Malla era (10th–18th century CE). ‘The Liquid Landscape of Kathmandu Valley: Hiti Pranali Water Heritage’ is a new exhibition at<a href="https://nepalitimes.com/here-now/patans-museum-piece"> Patan Museum</a> to pay tribute to this <a href="https://nepalitimes.com/opinion/comment/culture-cannot-be-an-afterthought">cultural heritage</a> and explores recent archaeological research that offers solutions to not just their preservation but also to maintain them to supplement modern systems.&nbsp; Read also: <a href="https://nepalitimes.com/news/saving-nepal-s-hiti-heritage">Saving Nepal’s hiti heritage</a> The research by Hayley Saul of Heritage for Global Challenges Research Centre and PhD scholar Anoj Khanal at the University of York in the UK entailed using Ground Penetration Radar (GPR) to generate electromagnetic waves to map underground water conduits. Collaborating in the research was engineer and author of the seminal book Hiti Pranali, Padma Sunder Joshi of the Madan Bhandari University of Science and Technology. “We used GPR to explore if we can find filtration systems or functions that allow for the flow and control of water and its distribution,” Saul explained. Although many of the <a href="https://nepalitimes.com/here-now/in-with-the-old-in-nepal">historical monuments of the Valley</a> that were destroyed in <a href="https://nepalitimes.com/here-now/lessons-not-learned-from-2015-o2etq6zu">the 2015 earthquake </a>have now been rebuilt, there has been minimal work in finding out about underground water conduits that may have been damaged, and in their restitution. Read also: <a href="https://nepalitimes.com/multimedia/a-portal-into-patan-s-past-and-present">A portal into Patan’s past and present</a>, Prakriti Kandel GPR technology can be used to map the main canals (raj kulo) and their branches, explore how they were designed and built in the first place, without having to carry out expensive excavation -- which would be difficult anyway because much of the Valley floor is now built up.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025032705038_c51c4e9e1a59d413f652d10f78b1ea7ee49a6c02e4ca01dff29c1ed79df10796.jpg" data-media-id="editor_16" data-image-id="2025032705038_c51c4e9e1a59d413f652d10f78b1ea7ee49a6c02e4ca01dff29c1ed79df10796" data-rendition-name="original" width="14888" height="10627" loading="lazy" alt="Hiti GPR results"> <figcaption>Photo: HAYLEY SAUL and ANOJ KHANAL</figcaption> </figure>  Local governments can now use the data collected by the researchers to map out the network canals, enforce building restrictions if needed and to maintain them.&nbsp; The hiti of Kathmandu were not just functional, but sacred and served as social and spiritual hubs. They provided water for drinking, laundry, household use, rituals, while also serving as gathering places for communities.&nbsp; With the<a href="https://nepalitimes.com/multimedia/water-for-the-ages"> introduction of modern water mains </a>from the late 19th century onwards and <a href="https://nepalitimes.com/banner/cost-of-living-in-a-big-city">rapid urban growth</a>, many hiti have fallen into disrepair or dried up. Of the at least 573 stone spouts once counted in Kathmandu Valley, many are lost, damaged, or no longer functional due to neglect, pollution, and encroachment of ponds and canals that feed them. Joshi explains that<a href="https://nepalitimes.com/review/thimi-s-urban-tissue"> Kathmandu’s ancient urban planners </a>developed the hiti network after the kingdoms located to higher ground to leave the lower areas for <a href="https://nepalitimes.com/news/aid-rarely-aids-agriculture-in-nepal">agriculture</a>. It forced them to devise ways to bring water through a network of canals fed by aquifiers, and use the gradient to sunken hiti stone spouts for distribution.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025032705034_ae12c7503ea6717c4a727a1c14a500f964e0e86668f9f923950cfb8a6c907d81.png" data-media-id="editor_21" data-image-id="2025032705034_ae12c7503ea6717c4a727a1c14a500f964e0e86668f9f923950cfb8a6c907d81" data-rendition-name="original" width="890" height="677" loading="lazy" alt="Hiti map"> </figure>  The exhibition at Patan Museum also demonstrates that the hiti system incorporates space for living beings, making it a self-functioning <a href="https://nepalitimes.com/opinion/people-tigers-trees-and-rivers">ecosystem </a>in itself. The existence of plants such as ferns and algae, and snakes and frogs indicate a <a href="https://nepalitimes.com/here-now/orchids-of-godavari-phulchoki">healthy ecosystem </a>in the sunken spouts. Absence of such biodiversity today indicates that the <a href="https://nepalitimes.com/here-now/saving-the-waters-of-life">water systems</a> have been degraded or <a href="https://nepalitimes.com/news/too-little-too-much-or-too-polluted">polluted</a>. “The<a href="https://nepalitimes.com/opinion/nepal-must-keep-water-on-its-land"> ponds </a>were used to collect water and recharge groundwater and aquifers,” explains Joshi. “They were primarily used for farming ducks which needed the algae in the ponds as food.”&nbsp; Every June just before <a href="https://nepalitimes.com/opinion/managing-the-monsoon">the monsoon</a>, Kathmandu Valley’s <a href="https://nepalitimes.com/news/kathmandu-marks-ihi-with-a-difference">Newa community </a>ritually cleans wells and other sources of water to maintain drainage and ensure that they serve as effective storage systems. Which is why Kathmandu’s hydrological culture is such an important part of its civilisation to this day.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250327100320_02d01e05c3f8aa3cde1f5af1569e8e09bf84dee88ebda76bb68ee0e0df669c80.png" data-media-id="editor_29" data-image-id="20250327100320_02d01e05c3f8aa3cde1f5af1569e8e09bf84dee88ebda76bb68ee0e0df669c80" data-rendition-name="original" width="1339" height="634" loading="lazy" alt="Kathmandu hiti NT"> </figure>  Read also: <a href="https://nepalitimes.com/opinion/the-water-emergency">The Water Emergency</a>, Ajaya Dixit The underground network of water canals also showed advanced engineering skills, and the system was so well built that it has lasted centuries, even though local communities may have lost the skills needed to build and maintain them. Says Anoj Khanal, “The wisdom from the past must be preserve and used. The technique and knowledge must be adapted to the modern times.” The York University team used the GPR technology at 33 hiti sites in Patan, and now hope to do similar research in Kathmandu.&nbsp; The hiti system thrived because it worked in balance with nature which has been disrupted with modern pressures as over-extraction of ground water and the disappearance of recharge ponds. Pollution from septic tanks and <a href="https://nepalitimes.com/banner/blueprint-for-a-net-zero-nepal">industrial waste</a> contaminate aquifers, while <a href="https://nepalitimes.com/news/climate-breakdown-linked-to-thame-flood">climate breakdown</a> alter rainfall patterns. Many hiti that once flowed year-round are now dry even during <a href="https://nepalitimes.com/news/soon-monsoon">the monsoon</a>.&nbsp; The hiti exhibition showcases the intricate <a href="https://nepalitimes.com/banner/the-history-of-heritage">heritage of Kathmandu Valley</a>’s water supply network and how <a href="https://nepalitimes.com/opinion/comment/tech-and-transition-in-nepal">modern technology</a> can help restore them. It is also a call to action to preserve the canals, spouts, ponds and the catchment areas on the Valley’s rim.&nbsp; Says Khanal, “It is possible to revive the hiti using the maps of water conduits underground to figure out alternate routes where water can flow. It is better late than never.” The Liquid Landscape of Kathmandu Valley: Hiti Pranali Water Heritage Until 30 March Patan Museum

Kathmandu’s liquid landscape

Deepak Rauniyar’s third feature Rajagunj is currently in <a href="https://nepalitimes.com/here-now/nepal-s-qfx-cinema-needs-a-happy-ending">cinemas</a>, and should be seen for many reasons: it is a solid nail biter, a kidnapping whodunnit, a political thriller with two unconventional, heart wrenching, love stories.
It is also a sharply observed commentary on<a href="https://nepalitimes.com/here-now/race-against-time"> race relations</a> that refrains from being overly didactic — a common fault in many political films that alienate the viewer instead of enlightening them.
Internationally aired as Pooja, Sir, the film premiered in 2024 at the Orizzonti section which runs parallel to the main competition at the Venice Film Festival. It has since made its way through the festival circuit to finally open in Nepali cinemas.
However, it suffered a glitch at the hands of the Censor Board which has a history of choosing conservatism over wisdom in what they want to edit out, treating viewers like juveniles and attempting to subvert reality by demanding that real events be redacted.
Thankfully, the film is not hurt much from this interference, though concentration is required to follow the twists and turns of the plot. Without giving too much away, the story involves the seemingly cold-blooded kidnapping of two young boys in the eponymous Rajagunj.
It plays out against the volatile backdrop of the deadly real life protests in 2015 that killed dozens in the Madhes over fury regarding the inadequacies of the new <a href="https://nepalitimes.com/news/nepal-s-contentious-constitution-day">Constitution</a>.
Pooja Thapa (played by the formidable Asha Magrati), a detective inspector from Kathmandu, is sent to <a href="https://nepalitimes.com/here-now/the-tarai-s-shrinking-forests">the Tarai</a> in the blistering heat to investigate. One of the young boys is the son of a prominent, local Madhesi politician, the other child is his friend and the offspring of the house-help. One can guess which victim necessitated the dispatch of a high ranking police officer from Kathmandu.
From the beginning Pooja is a compelling enigma, she is forthright and committed, keenly intelligent and a force of nature. She is also stubborn, and occasionally not very sympathetic to her fellow Madhesi colleagues.
There is little humour in the way she is written, the nuances appear thanks to Magrati’s calibrated performance. Pooja is also a lesbian which is hinted at from the very first scene with a shot of her from the back that emphasises her short boy-cut.
Her sexual orientation is further underscored by a slight but intimate scene in the kitchen with Rama, her partner, before she has to leave for Rajagunj.
Rauniyar’s social conscience and investment in the woes of Nepali society has been evident from his first film, Highway (2012) which, while messy, showed he had both heart and brains as he grappled with multiple characters, each conveying a particularly complicated aspect of the everyman’s struggles.
His second feature White Sun or Seto Surya <a href="https://archive.nepalitimes.com/article/must-see/White-sun-seto-surya-movie-review-2016,3420">(previously reviewed in this paper</a>) came out in 2016, cementing his place as an independent filmmaker and a politically conscious auteur.
Read also: <a href="https://nepalitimes.com/here-now/min-bahadur-bham-s-cinematic-quest">Min Bahadur Bham’s cinematic quest</a>, Abishek Budhathoki
Rajagunj shows how far this director has come with a story of a woman who finds herself in an alien city and culture, racing against time to locate two helpless kids, even as she navigates the intensely charged protests in the Madhes as a Pahadi herself, with prejudices further compounded by her own queerness.
There is much that happens in this gritty, urban film that for once does not romanticise or exotify <a href="https://nepalitimes.com/review/expressing-culture-and-nature-in-eco-art">Nepal’s culture and natural landscape</a> for viewers internally or abroad. There are no rose-tinted lenses or filters here.
The cinematography is matter of fact, precise, brutal when it needs to be, hewing to a script with excellent, natural dialogue that was written by Rauniyar, Magrati (Rauniyar’s partner in life), and David Barker.
Certainly, there are moments when the film seems to have jumped a scene or failed to impart a crucial piece of information, but the acting is moving, and the subject matter so affecting that it is easy to forgive these occasional, technical lapses.
While Magrati’s brave performance anchors the film there are several other substantial performances. Reecha Sharma, plays Sabita Koirala the fair, Pahadi, upper caste wife of the Madhesi politician, and mother of one of the kidnapped boys.
She is also the headmistress of the local, but now suspiciously shuttered, school. Veteran actor Dayahang Rai, also an executive producer of the film, does a fine job portraying Madan, the seemingly mild mannered police captain who oversees Rajagunj.
Nikita Chandak is completely engrossing in her portrayal of Mamata Gupta, a complicated junior Madhesi police officer who slowly comes into her own under Pooja’s rough but wise tutelage.
Politics is ever at work behind and infront of the scenes in Rajagunj, and not everyone is as they initially seem. <a href="https://nepalitimes.com/here-now/untold-stories-of-unsung-heroes">Women are heroes</a>, anti-heroes, villains, mothers, lovers, and fighters.&nbsp;
Multiple personal and<a href="https://archive.nepalitimes.com/article/nation/Political-theory-versus-reality-federalism,4061"> political realities</a> are portrayed, sometimes simultaneously, and while there are some bizarre leaps of logic, Rauniyar’s virtuoso gift is evident throughout, particularly in set pieces like the one where Pooja and her other trusty sidekick, Inspector Amar, are following Mamata who is forced to stand in for Sabita’s timorous maid as she bravely delivers the shockingly high ransom.
As the people from the region protest their frustration over the inadequacy of <a href="https://nepalitimes.com/here-now/share-rule-and-self-rule">the new Constitution</a> that was supposed to enshrine the <a href="https://nepalitimes.com/news/nepal-s-chance-on-transitional-justice">rights of all Nepalis</a>, not just the fairer skinned ones, Pooja and Amar struggle against the tide of shouting protestors, desperately trying to keep track of Mamata.
Pooja has to do an animal mask to hide her Pahadi origin, Mamata is dressed in a red sari (to imitate the maid) that drapes around her head to hide her face. The atmosphere is tense, pregnant with violence, and our dread is further keyed up by Pooja’s mask, which renders her figure ghoulish, lending the scene a nightmarish quality which is entirely appropriate given the hellish subject matter.
Nepali cinema has evolved over the years, but from the trailers that plied us before Rajagunj and during the intermission, that evolution is still flailing somewhere in-between <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Lights-camera-copy-paste,1146">Bollywood</a> melodrama and skilled, thoughtful verisimilitude, erring mostly toward the former.
Rajagunj is not a perfect film, but it is an admirable one, and will stay with you long after it finishes. It is an important stepstone, one could go so far as to say a vital one, in the journey towards better, more <a href="https://nepalitimes.com/review/kimff-2019-p8070ipt">meaningful filmmaking</a> in this country.
While this reviewer firmly believes in the power of cinema for pure, unaffected, even silly, mainstream entertainment, cinema is also an <a href="https://nepalitimes.com/review/a-flowering-artform">art form</a>, and Rauniyar’s film has moments of pure art, motivated by an undaunted spirit, and bolstered by the filmmaker’s own humanity.
Sophia L Pandé is a writer, art historian and filmmaker. She is Director of Development at the Kathmandu Valley Preservation Trust and Founding Director of The Kalā Salon.

Powerful movie upacks questions of identity

If there is no one way to live life, there is no one way to be a writer. And if <a href="https://nepalitimes.com/news/writing-about-nepal-from-afar">writing </a>advice could be summed up into a book written specifically for the South Asian writer and reader, How I Write would be just the one. Edited by Sonia Faleiro, founder of the literary mentorship program South Asia Speaks, the book is a collection of conversations that began as masterclasses at the program. Once exclusive to the fellows in the program, the book makes the invaluable knowledge and experience of 30 writers open to all.&nbsp; Featured writers have deep connections with <a href="https://nepalitimes.com/editorial/south-asia-2040-qxr16oup">South Asia</a> and write about the region’s life through <a href="https://nepalitimes.com/banner/novelist-returns-to-non-fiction">fiction and non-fiction</a>, prose and poetry. A conversation between two writers, the interviews are candid, thoughtful, and poignant, even funny.&nbsp; In one light-hearted moment, Mira Kamdar asks Suketu Mehta how writing and life relate to each other, and before diving into the details of the answer, Mehta mentions, “I’ve been cooking a lot.”&nbsp; Mansi Choksi shares a vulnerable side of the <a href="https://nepalitimes.com/here-now/1-000-weeks-of-nepali-times">publishing world</a>, when she felt like a failure because The New York Times did not review her book. Moments like these remind us that an aspiring writer must eventually graduate from the label of ‘genius’ or ‘artist’, to a life with real responsibilities and expectations, and write within the joys and pains of that very life. Read Kamila Shamsie with Sanam Maher when it is difficult to let go of the words. Shamsie is stoic about chopping off 30,000 words if her writing calls for it. Read V V Ganeshananthan with Sonia Faleiro when the writing process takes forever. It took Ganeshananthan 18 years to write Brotherless Nights.&nbsp; Read: <a href="https://nepalitimes.com/opinion/so-far-so-good/writing-about-writing">Writing about writing</a>, Lisa Choegyal Each conversation is a stand-alone piece and does not require to be read in chronological order. But the conversations themselves are inevitably in conversation with each other. The book also introduces writers with South Asian roots to readers. Many of their works, while accomplished in their own right, are not readily available in <a href="https://nepalitimes.com/here-now/the-story-of-books-in-nepal">bookstores in Kathmandu</a>. What How I Write does is give the reader reasons to come across the writers when and where possible.&nbsp; The conversations in the book do not shy away from critiques, like the West-dominated publishing industry and its repercussions on the reader and the writer, a theme explored throughout many interviews. Vauhini Vara shares, ‘….it must be really frustrating to be a writer in South Asia interested in writing for a global audience, say the US, because there’s this very restricting idea in the US about what’s interesting and what’s going to sell.’&nbsp; Many agree on the need to stay true to one’s story and to fight through what the industry might at times force on the writer. Adding on to what the industry refers to as a marketable writer, Manjushree Thapa says, ‘It’s been important for me to step back and say, “Look, I need to keep evolving as a writer, and I need to be honest to my writing desires. I don’t want to be just a writer from Nepal who did this in the past. I’m going to write in the future.”’ Read also: <a href="https://nepalitimes.com/multimedia/finding-a-permanent-home-in-poetry">Finding a permanent home in poetry</a>, Pinki Sris Rana The lived experiences of the writers are stories in themselves. Some have gone and done their MFAs, some stumbled into writing, some are journalists who are writers, some are writers who have never studied journalism but teach journalism, and some host podcasts.&nbsp; There is no one way to be a writer, there is no one designated path. But if there is one common overlapping idea, is it this: there is no easy way to write, no quick fix. With every book, the writers are lost. They experiment, they learn. They toil through doubt and continue to write for the love and labour of it all.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025022714028_fed6ec52e80a23d8a3fa181149403c96ce6f890b54077d7a13612267189a7f7c.jpg" data-media-id="editor_7" data-image-id="2025022714028_fed6ec52e80a23d8a3fa181149403c96ce6f890b54077d7a13612267189a7f7c" data-rendition-name="original" width="640" height="395" loading="lazy" alt="Book details "> </figure>  &nbsp;

With love, labour and writing

Fenerbahçe Beko won the Turkish Airlines EuroLeague finals in Abu Dhabi, held 23-25 May, defeating Monaco 81-70 in the final. Olympiacos, who defeated Panathinaikos 97-93, finished the series in third place. The Most Valuable Player (MVP) of the final match, Nigel Hayes-Davis from Fenerbahçe Beko, received a prize of 1,000,000 Miles&amp;Smiles from Turkish Airlines’ Chief Commercial Officer Ahmet Olmuştur. The carrier has been the title sponsor of the Turkish Airlines EuroLeague, a top tier tournament, since 2010.

Turkish Basketball

Thousands of Nepali students dreaming of an American education have been forced to look elsewhere as the Trump administration’s visa restrictions make their future uncertain.
The US was long considered a top destination for higher studies, making Nepal the 10th biggest country of origin for international students in America.&nbsp;
However, that number has seen a significant decline with the total for Nepali students now at 16,482. Some 8,000 Nepali students obtained no-objection certificates to study in the US from the Ministry of Education in the past year.&nbsp;
India, Australia, Canada, South Korea, United Kingdom and Japan are the other popular destinations for Nepali students. There are no clear numbers for Nepalis going to India, but a slight decline was noted this year after the deaths of two female students.
The US State Department has issued a circular to its embassies not to issue new visas to applicants until further notice. US Secretary of State Marco Rubio in the directive stated that the department planned to expand the screening of applicants' social media.&nbsp;
While new applicants are barred including those applying for visitor visas, students with scheduled interviews are allowed to proceed.
“Many of our students are affected by the new restrictions, but those who had applied for student visas earlier have got interview dates,” one Kathmandu-based college counsellor told us.
Meanwhile, even foreign students with spotless records already in the US have not been spared, as visa scrutiny intensifies under the new policy. In a move that underscores the growing sense of insecurity, many US colleges advised international students to carry their passports and documents at all times, even when traveling locally.
“Me and my friends did not go home this summer because we were not sure we would be allowed back, so we just went to Niagara Falls,” said a Nepali undergrad in Ohio, who like many interviewed for this report did not want her name used for fear of repercussion.
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Nepali students have adopted a cautious stance, with many choosing not to return home during summer vacation due to fear of visa revocations as well as travel bans. Meanwhile, over 7,000 Nepalis with Temporary Protected Status (TPS) will have to come back to Nepal by 5 August or face deportation. Thirty-seven were flown back to Kathmandu on Omni Air last week.
“The US is one of the most sought-after destinations for higher education, and the ban will definitely impact bright students,” says Narottam Aryal of the King’s College in Kathmandu.
Indeed, Nepali undergraduates admitted into Ivy League colleges for the 2025 academic year have been asked to look for alternatives. The entire Fulbright Foreign Scholarships Board resigned on Wednesday citing interference from the Trump administration on the selection of this year’s cohort. Some Nepali students already on Fulbright scholarships have noted disruptions, delays and even cancellation of stipends.&nbsp;
The student visa restrictions were initially just for foreign students admitted to Harvard University, but it was later extended to all Chinese students and now to all students. Universities like Columbia which actively recruit foreign students, face sharp enrolment declines, threatening their financial stability and diversity.
An Indian female PhD candidate at Columbia University had her visa revoked by the US State Department, and said she was targeted on the basis of her social media posts on Israeli military attacks in Gaza. Social media vetting of political activism has raised concerns about privacy and freedom of expression in a country where such rights were a given.
Many students have been informed via email that their visas have been revoked for getting speeding or parking tickets, but even others with no criminal record have been affected. The fear of deportation looms large amongst international students, including those from Nepal.&nbsp;
For most Nepalis who migrate to the US for education, the journey is a high-stakes investment. They come largely from middle-class families, often rely on a patchwork of scholarships, work-study programs, loans, or even the sale of family assets to afford fees.
Most Nepali students pursue STEM subjects which offer extended Optional Practical Training (OPT) periods that help fund their education. But with the US backsliding on education and humanitarian matters, countries like the UK and Canada are becoming more attractive despite their own recent stricter controls on student visas.&nbsp;
The UK universities saw a 63% rise in Nepali students’ admissions in 2024. Japan is another popular destination with 64,816 Nepali students enrolled as of 2024.
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Already, China, Hong Kong and Malaysia are poised to benefit from the increased scrutiny of US student visas. Several Hong Kong universities are offering unconditional admission to affected students, while Malaysian institutions are targeting previously US-bound Asian students. China and India have 330,000 and 280,000 students respectively in America, but the numbers for China have seen a sharp drop in the past year.
Elsewhere, branch campuses of American institutions such as NYU in Abu Dhabi, Georgetown in Dubai and Northwestern in Doha are getting more admission applications, and universities in the Gulf region are expanding infrastructure to accommodate those who would otherwise have gone to the US.&nbsp;
Even educational institutions in Nepal are hopeful that the US visa restrictions can be an opportunity to at least keep Nepali undergrads in Nepal, and also attract foreign students from the region.&nbsp;
“Many students might choose to complete their undergraduate degree here in Nepal and then move abroad for their Master’s degree later,” says Aryal of King’s College. “There was a need for quality higher education in Nepal anyway in terms of innovation and opportunities, so this could be the time to reduce our dependence on other countries.”
Nepal’s strategic position between India and China makes it sensitive to US policy shifts. India, a key ally, is also under US scrutiny for potential student travel restrictions. Chinese universities are already offering more scholarships to Nepali talent to capitalise on the US retreat.
American universities have challenged student visa restrictions in the courts. A federal court in Boston revoked the blanket ban on Harvard, and the State Department has ordered the resumption of processing student and exchange visitor visas.&nbsp;
Some are still hoping that President Trump will backtrack on the student visa restrictions, just like he has done with many of his more drastic executive orders.
Even so, the visa see-saw and longer-term uncertainties about living in the United States and its education system means students across the world are making alternative plans.
Says Aryal: “Policies of foreign countries change according to their needs, so excessive dependence was never a good idea. We should work to create different opportunities and choices of higher education within Nepal, so students are retained.” &nbsp;

America no longer prime destination for Nepali students

While Nepal was hosting the Sagarmatha Sambaad international climate conference in Kathmandu this month, on Mt Everest it was pretty much business as usual.&nbsp; The signs of climate breakdown are all there: a river now runs through Base Camp in summer, the Khumbu Icefall is more unstable, and there are more &nbsp;frequent avalanches. When expeditions arrived in March, the mountains were bare: it had not snowed since September, but then blizzards dumped unseasonal snow in May. And despite climate worries, such is the pull of Himalayan mountaineering that the Everest Industry showed no signs of slowdown. More than 600 international climbers and their Nepali guides had made it to the summit of the world’s highest mountain. At one point there were an estimated 2,000 people in the tent city on the Khumbu Glacier. All the ropes and ladders on the Icefall came down on Thursday, marking the official end of the spring climbing season, and just in time to avoid a monsoon cyclone approaching from the Bay of Bengal. It has been an action-packed season. One factor could be that Everest fees will go up from September: each foreign climber needs to pay a $15,000 royalty, up from the present $11,000. The cost for a Nepali climber on the South Col route will also go up: from Rs75,000 to Rs150,000.&nbsp; The fee to climb Everest in autumn is $7,500 (up from $5,500), but most climbers still prefer spring. Winter permit fee (December-February) is only $3,750 per person and the mountain is now also open for monsoon (June-August) climbs, when the fee is ever lower at $2,750. The revised rule also makes it mandatory for every two climbers on an 8,000m peak to hire one Nepali mountain guide.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025053004050_67f856fe52714e4bdcf21ae7d45c6f18c82117b9d0a5f73ed1efa04c96de1046.jpg" data-media-id="editor_0" data-image-id="2025053004050_67f856fe52714e4bdcf21ae7d45c6f18c82117b9d0a5f73ed1efa04c96de1046" data-rendition-name="original" width="931" height="732" loading="lazy" alt="The Everest Industry graph 1"> </figure>  In addition, climbers also have to pay for porters and guides, equipment, Base Camp costs, Ice Fall and fixed rope team fees, so climbing Everest does not come cheap. But such is the draw of climbing the world’s highest peak that some say the increased fees will not diminish the crowds next year. The government has tried to spread expeditions out to other seasons and other 8,000ers, but with not much success. Earlier this year, Nepal unilaterally increased the number of 8,000m peaks to 14 by adding six more sub-summits to broaden the choice for climbers. Added were: Yalung Kang (8,505m), Yalung Kang West (8,077m) &nbsp;Kangchenjunga Central (8,473m), Kangchenjunga South (8,476m), Lhotse Middle (8,410m) and Lhotse Shar (8,400m).&nbsp; The announcement could go against the accepted topographic criteria that a stand alone peak has to be at least 300m higher than an adjoining prominence, and at more than 3km isolation from it. The UIAA (Union Internationale des Associations d'Alpinisme) still recognises only 14 mountains as eight-thousanders, and only eight of those are in Nepal, or on the border with China. Nepal’s revised mountaineering regulations also increased the insurance coverage of high-altitude workers to protect porters and high altitude guides who usually take more risks on the mountains. Rescue teams and clean-up campaigners to collect trash and remove bodies of dead climbers up to Camp IV of Mt Everest do not need permits.&nbsp; The Sagarmatha Pollution Control Committee is now using drones to fly down trash in 20kg sacks. Each climber is also required to bring down at least 6kg of waste and not just their own, but this rule is erratically enforced. With five fatalities on Everest and Lhotse, Spring 2025 had a historically low death toll. Another five climbers died on Annapurna, Kangchenjunga and Makalu.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025053004050_38681de22f0fefb6faa12b01755566d09c5064d0ff84e12ccc7b5d68ea9ba38a.jpg" data-media-id="editor_1" data-image-id="2025053004050_38681de22f0fefb6faa12b01755566d09c5064d0ff84e12ccc7b5d68ea9ba38a" data-rendition-name="original" width="665" height="740" loading="lazy" alt="The Everest industry graph 2"> </figure>  Journalist Ben Ayers who ran the Everest Live social media channel from Everest Base Camp with daily updates credited the low death rate to dramatic rescues of climbers from the ‘Death Zone’ by their Nepali guides and longline helievacs — the visuals all uploaded on YouTube.&nbsp; “Ironically, this perception of safety is bringing more and more inexperienced climbers to the mountain, and they need more rescues,” Ayers said in one of his dispatches.&nbsp; American expedition chronicler and summiteer Alan Arnette suspects there is a lot of under-reporting given that the jet stream and storms were lashing Everest even till late in the season. He told us: “I heard a lot about frostbite and rescues that were not made public. It’s become practically impossible to cover the details on Everest. All the teams report nice news, and they don’t talk about bad stuff to avoid hurting businesses.” Although trash on Nepal’s mountains makes headlines, what does not receive as much attention is the climate impact of so many expeditions. The Sagarmatha Sambaad conference sidestepped this issue, which is ironic given that the impact of climate breakdown is most evident on Himalayan peaks and their glaciers.&nbsp; <h2>Need for Speed</h2> The big stories this year have been about speed-running from their home cities to the top of Everest. Ukrainian entrepreneur Andrew Ushakov flew out of JFK on 15 May at 10:15AM Nepal time, and was on the summit 3 days, 23 hours, and 7 minutes later on 19 May at 9:22AM.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250601080640_1c5cc6fc991307861768f07037ed9d30930fb20f35dbb57dc31c9a92a9e1a885.jpg" data-media-id="editor_2" data-image-id="20250601080640_1c5cc6fc991307861768f07037ed9d30930fb20f35dbb57dc31c9a92a9e1a885" data-rendition-name="original" width="1440" height="1800" loading="lazy" alt="The Everest Industry"> <figcaption>Andrew Ushakov at the summt. Photo: ELITE EXPED</figcaption> </figure>  “I could never find the time for the traditional 40-50 days of acclimatisation,” Ushakov explained matter-of-factly. His ‘Everest Sea-to-Summit’ climb was possible because he spent 400 hours in hypoxic sleep tents over the past four years in New York. However, Ushakov did use ropes already fixed, hired four Nepali guides, helicoptered to Base Camp, and used much more oxygen than an average climber. And after the climb, Ushakov was arrested at Kathmandu airport for being in possession of $20,000 of undeclared cash and spent a night in jail and fined $60,000.&nbsp; The other speedsters were Garth Miller, Alastair Cairns, Anthony Stazicker, and Kev Godlington, all former British Army commandos. They left London and summited five days later on 21 May, and flew right back. They also used hypoxic tents to simulate the thin air high on Everest.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250601080644_90c8dd5cc07b4b43f2989b1dc0c0650ab80f10ebb06680c25a6909c519957bd8.jpg" data-media-id="editor_3" data-image-id="20250601080644_90c8dd5cc07b4b43f2989b1dc0c0650ab80f10ebb06680c25a6909c519957bd8" data-rendition-name="original" width="810" height="668" loading="lazy" alt="The Everest Industry "> <figcaption>All four members of the Furtenbach team at the summit. Photo: Sandro Gromen-Hayes</figcaption> </figure>  But more controversial was their use of xenon gas therapy in a German hospital to ramp up the production of oxygen-carrying haemoglobins in their blood. Xenon is banned by the World Anti-Doping Agency for being performance enhancing in sports. Expedition leader Lukas Furtenbach said this rule does not apply to mountaineering, as it is not a regulated sport like swimming. Nepal has no rules about xenon, but the Department of Tourism said it was launching an ‘investigation’ to decide on future policy since it is difficult to ban xenon, but allow oxygen. The controversy has also divided the mountaineering community, with some climbers saying they just want to maximise their chances of survival. Spending less time on the mountain could make climbing safer by reducing avalanche risk. It would also mean less trash on the mountains, but it would reduce the income of Nepal’s expedition industry. It is also unclear how much of the success was due to xenon therapy and whether the ex-special forces were already in good physical shape.&nbsp; The need for speed hides the fact that climbing in the Himalaya is dangerous business, and climbers cannot sprint to the top just by huffing xenon. But ultra-fast climbs could be charged more, and the revenue generated can be used to establish state-of-the-art rescue operations, and increase pay and insurance for guides. Two other speed chasers this season were Swiss-Ecuadorian Karl Egloff and American Tyler Andrews, both on Everest without oxygen. Andrews choppered to Base Camp to catch a weather window, but turned back from 8,500m due to high winds. Heavy snow and wind also forced Egloff to descend from 7,000m. Slow and steady climbers like Anja Blacha from Germany did make it to the summit without oxygen, while Kami Rita Sherpa broke his own record with his 31st Everest summit as he led a 26-strong Indian Army group. There were 468 permits issued for foreign climbers from 48 expeditions to Everest this spring. Nepal’s other eight-thousanders together had only 17 expeditions. Nepal has more than 1,000 peaks above 6,000m, and has opened only 476 of them for climbing.&nbsp;

The Everest Industry

While Nepal marked <a href="https://nepalitimes.com/news/mt-everest-pvt-ltd">Mt Everest</a> Day on 29 May, on the other side of the planet in the US state of Colorado dozens of Nepalis who have climbed the world’s highest peak multiple times were busy working as chefs and Uber drivers. Among them is Nima Doma Sherpa, who climbed Mt Everest in 2019 after her husband Tshering Wangchu was among 16 crushed by an avalanche on <a href="https://nepalitimes.com/banner/on-thin-ice-in-the-khumbu">the Khumbu Icefall</a> five years earlier. A large serac broke off the West Shoulder of <a href="https://nepalitimes.com/news/the-everest-industry">Mt Everest </a>and fell directly on a group of <a href="https://nepalitimes.com/opinion/more-porters-sick-on-everest-trail">porters and guides</a> making their way up the Icefall at 5,800m. Their bodies were flown by helicopter to Khumjung where Tshering Wangchu was born. He was excited about climbing Mt Everest for the first time.&nbsp; In Khumjung, Nima Doma felt like her own life had also ended. This was the kind of news Sherpa wives, mothers and sisters dreaded every <a href="https://nepalitimes.com/here-now/peak-climbing-season-2025-s4abrxny">mountaineering season</a>. She stayed home for more than two years grieving, but ultimately gathered up all her emotional strength to take care of her 6-year-old son and 3-year-old daughter. Nima had grown up in Khumjung hearing <a href="https://nepalitimes.com/review/stories-of-nepal-s-summiteers">tales of adventure on the mountains </a>from their father, Ang Chubi Sherpa who had climbed Everest in 1993. He used to bring her and her sisters and brother European chocolates after every expedition, and used to tell them that the chocolate bars grew on the mountains. “It was only after we got older did we realise that he told us that chocolates grew in the mountains so we would not worry about him putting himself in harm's way,” Nima Doma recalled with a faraway look at her home in Boulder this week. Nima went to the school that <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/commemorating-edmund-hillary-in-nepal,4145">Edmund Hillary</a> opened in Khumjung till Grade 8, and then dropped out to help in the kitchen and <a href="https://nepalitimes.com/here-now/when-yaks-go-so-does-culture">tend yaks</a>. She was married off to Tshering Wangchu, who was also a high altitude guide. When Tshering went on expeditions, Nima also started working as a porter from Namche to Base Camp. It was perhaps her father’s tales of mountains of chocolates that had always attracted her to <a href="https://nepalitimes.com/here-now/knowing-our-mountains-43v4iyvo">the peaks</a>. After her husband was killed ten years ago this month, being a widow with children was not easy for Nima Doma. But she was not alone: there were at least 200 single mothers in <a href="https://nepalitimes.com/here-now/khumbu-since-1950-jaww4qn0">the Khumbu</a>, and 20 of them just in Khumjung whose husbands had been killed in <a href="https://archive.nepalitimes.com/article/nation/tragic-start-to-himalayan-spring-nepal,3695">mountaineering accidents</a>. Some were not even 20 years old, and had children growing up without fathers. But there were also women in the 50s whose husbands had been killed in the 1980s. Nima found sponsors for her children’s education, and moved to Kathmandu. In the capital, Sherpa widows used to meet to help each other. Some of them had joined the Nepal Mountaineering Association (NMA) training for rock and ice climbing. “I decided that it was no use sitting home and crying anymore, after meeting other single mothers I felt less alone,” remembers Nima, who joined the Juniper Foundation and enrolled in an NMA training camp in Manang. There she climbed Chulu East (6,584m) and met Furadiki Sherpa, whose rope-fixing husband had also been <a href="https://nepalitimes.com/news/on-mt-everest-s-70th-records-and-fatalities">killed on Everest</a> in 2013. They set themselves the goal of climbing Everest one day, and started a fund-raising drive.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250530090544_621be0724b9182c8e3594b2c562a71ec32ac01d985a71d0cf31646de9d51e15a.png" data-media-id="editor_12" data-image-id="20250530090544_621be0724b9182c8e3594b2c562a71ec32ac01d985a71d0cf31646de9d51e15a" data-rendition-name="original" width="2678" height="1274" loading="lazy" alt="Everest summiteers find new life in the US"> </figure>  “We decided we had to overcome society’s stigma of <a href="https://archive.nepalitimes.com/article/nation/widows-personal-happiness-comes-last-in-face-of-social-financial-hardships,1855">widowhood</a> and prove that <a href="https://nepalitimes.com/here-now/remembering-junko-tabei">women could also climb mountains</a>,” Nima said, adding that she was inspired by Nepal’s first woman Everest summiteer Pasang Lhamu Sherpa, who died during her descent in 1993. Nima Doma and Furdiki climbed the technically-difficult Ama Dablam (6,812m) and then arrived at Everest Base Camp in April 2019 as part of their Two Widows Expedition with the motto, ‘So Can We’. While climbing up the Icefall Nima passed the spot where her husband had been killed. It was a jumble of constantly-shifting ice blocks bigger than houses. She closed her eyes and said a prayer. “I remember thinking, this is so difficult and dangerous. This is what my husband had to do to support our family,” Nima Doma said. “I was determined to fulfil my husband’s dream of climbing Chomolungma, and to prove to ourselves that we two women could do it.” It was 23 May 2019 when <a href="https://www.reuters.com/article/world/two-sherpa-widows-scale-everest-and-smash-stigma-idUSKCN1SU0MV/" target="_blank">Nima and Furdiki stepped on the summit</a> and looked over into Tibet, and down at Tengboche Monastery to the south.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250530090544_6b822582b5d88ba5e972db084f184690b40653c6efd9901b2dd082ffba2a263b.png" data-media-id="editor_16" data-image-id="20250530090544_6b822582b5d88ba5e972db084f184690b40653c6efd9901b2dd082ffba2a263b" data-rendition-name="original" width="2700" height="1522" loading="lazy" alt="Everest summiteers find new life in the US"> </figure>  Nima Doma hugged Furdiki, took off her mask and wept. But for the first time in five years, it was not from grief but relief — relief for being free of all the sadness and sacrifices and for fulfilling her husband’s dream. They had found <a href="https://nepalitimes.com/here-now/life-after-death">life after death</a>. “I felt this immense joy to be on top of the world, it was indescribable,” Nima Doma said, “I have wept only twice in my life. Once when my husband died, and once there on top of Everest.” The tears had frozen on Nima Doma’s cheeks, as she and Furdiki headed back down the mountain.