At the age of five, Dorjee Karmarong fell sick and his local healer-slash-thangka painter cut him a deal: in exchange for treatment, the young patient had to promise to become a painter. The shaman may have been joking, but 38 years later, Karmarong is a successful international artist, and now has a solo exhibition at the Siddhartha Art Gallery. ‘Karmarong: Hidden Valley in the Himalayas’ is a collection of 27 paintings spread across two floors that give the viewer a comprehensive feel for life among the Karmarong community in the remote Mugu district of Karnali. Karmarong has a distinctive style featuring clean outlines, vibrant colours and detailed natural landscapes. Animals, mountains, trees, and the sun and the moon appear constantly. It is a style that took 20 years to perfect, as the painter practised teaching in monasteries of Bangladesh, India, Singapore, and most recently in Vietnam. Mugu is one of the remotest districts in Nepal, but the Karmarong community of about 3,000 people live in about a dozen small villages in the remotest northern corner of the district near the Chinese border. They speak their own dialect. Read also: <a href="https://nepalitimes.com/review/the-present-meets-the-past">The present meets the past</a>, Pinki Sris Rana  <figure><img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241004111032_46339bbefd7b9007dedde289f8c4db9980a60e19ab5a7e0c11c5f1ba4817ba68.jpg" data-media-id="editor_1" data-image-id="20241004111032_46339bbefd7b9007dedde289f8c4db9980a60e19ab5a7e0c11c5f1ba4817ba68" data-rendition-name="original" width="3600" height="2400" loading="lazy" alt="Dorjee Karmarong NT 1"></figure>  Some of the paintings show general goings-on in Karmarong, such as harvest time. ‘The Hospitality of Karmarong’ shows residents gathering to formally welcome an important guest. “In front is someone who is still lucky to have both parents,” explains the painter. ‘Magic of Milarepa’ is a closeup of a grey, cracked yak horn on the floor. There is water on the ground next to the horn, and inside is a green-skinned monk, meditating in robes. “Milarepa was travelling with one of his students in Tibet, who was starting to act a little arrogant. They were suddenly caught up in a storm, and the saint shrank himself and sheltered in the horn, humbling his disciple,” Karmarong explains. Yaks are a constant feature in the exhibition, and the painter Karmarong has given them sentient eyes, with emotions like anger, introspection, suspicion, and even wide-eyed and crazed. “I was once told to study as voraciously as a yak grazes,” says Karmarong. Read also: <a href="https://nepalitimes.com/review/human-spiritual-existence-in-a-digital-ecosystem">Human spiritual existence in a digital ecosystem</a>, Kashish Das Shrestha  <figure><img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241004111032_271aba25a6f1eb642433ef504880407a9b36fea72a85e793a6d70e12299d9274.jpg" data-media-id="editor_3" data-image-id="20241004111032_271aba25a6f1eb642433ef504880407a9b36fea72a85e793a6d70e12299d9274" data-rendition-name="original" width="2400" height="3600" loading="lazy" alt="Dorjee Karmarong NT 1"></figure>  In the middle of ‘The Dance of the Elements’ is a face that is half yellow and half black holding a cigarette around which is coiled a multi-headed serpent. “Thia represents our animal impulses,” Karmarong explains. “It is about how nature makes beautiful things. But when humans tamper with it, something usually goes wrong.” Other pieces are even more abstract. ‘Mandala Fragment’ shows geometric shapes in vibrant colours. Says Karmarong: “It may seem chaotic to a viewer, but I can step back and see something different.” Behind Karmarong’s extraordinary skill and output is a rare life lived in harmony with fate. Even his birth was auspicious: Karmarong was born in a cave to parents returning from working in Himachal Pradesh in India on the eve of Buddha Purnima and Thursday. By age seven Karmarong’s father took him to a cave to learn Tibetan. At 13, the boy was sent to a monastery in Kathmandu and after six years he decided to pursue painting and became an apprentice to master thangka artist Palden. Karmarong trained intensively under the rigid rules of thangka painting. He then met Tenzin Norbu from Dolpo, who helped develop his spiritual connection to art. Read also: <a href="https://nepalitimes.com/review/turning-legends-into-games">Turning legends into games</a>, Vishad Raj Onta  <figure><img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241004111032_3f2d5f809a4230bbee885a2832c2e6872b743343581a96d177fae87885759d76.jpg" data-media-id="editor_5" data-image-id="20241004111032_3f2d5f809a4230bbee885a2832c2e6872b743343581a96d177fae87885759d76" data-rendition-name="original" width="2000" height="1412" loading="lazy" alt="Dorjee Karmarong NT"></figure>  As Karmarong developed artistically and spiritually, he saw art as a fulfilment of his karma. “I started feeling that, in a past life, I had been a yogi who had wanted to build a monastery but couldn’t find an artist,” he says. The yogi committed to a life of dharma to be reborn as an artist. Indeed, there are records of a yogi from Karmarong region named Jimpa Therchan, who struggled with building a monastery and was also a renowned poet and singer. Karmarong also sings, and has written ‘Turquoise Mountain: A Folktale of the Karmarong.’ The titles of the paintings are evocative: ‘Yak’s Reprieve’, ‘Echoes of the Sacred Route’, ‘The Black Yak’s Grace’, or 'The Yak and His Young Keeper.' He is also a YouTuber and his channel has singing performances, rap songs and travel vlogs. Karmarong has depicted his village as a religious, harmonious Shangri-La, although it leaves the viewer a little curious about the darker realities of the place like Milarepa’s own murky past. Karmarong has perhaps consciously or unconsciously woven his own life into the paintings: stories and destinies that translate into the real world. They show travellers leaving from or returning to Karmarong the place, or going on a pilgrimage, reflecting the artist’s own artistic, spiritual and religious journey that has taken him back to his roots. Read also: <a href="https://nepalitimes.com/review/mask">MASK</a>, Sonia Awale ‘Karmarong: Hidden Valley in the Himalayas’ Dorjee Karmarong Siddhartha Art Gallery

Vishad Raj Onta

original

674x448

610x380

500x500

400x266

400x240

400x203

301x200

1250x600

1084x550

thumbnail

viewImage

Karmarong in Karmarong

The Nepali art scene is seeing a surge of interest in performance art. However, it is not a novelty because of its origins in the blend of painting, theatre, and poetry. Interdisciplinary artists like Jivan Acharya, Ashmina Ranjit, <a href="https://salil.blog/music-portfolio/">Salil Subedi</a>, and Mahima Singh have used blended art forms to draw attention to socio-political issues such as state violence, <a href="https://nepalitimes.com/banner/nepal-struggles-to-balance-nature-and-industry">exploitation of natural resources</a>, and gender inequality. In 2014, Amrit Karki, a fine arts student at Kathmandu University, put together a 13-minute showpiece Fire and Ice at the Taragaon Museum in which he cut off locks of his hair and burnt them on a singing bowl in a visceral depiction of personal attachment and abandonment. “At the time, I was researching and exploring different trends in contemporary art. I was deeply struck by <a href="https://www.guggenheim.org/artwork/11412">Francis Alÿs and his ‘When Faith Moves Mountains’ </a>and <a href="https://www.theguardian.com/artanddesign/2023/sep/25/marina-abramovics-shocking-rhythm-0-performance-shows-why-we-still-cannot-trust-people-in-power">Marina Abramović and her ‘Rhythm Zero’.</a> I realised that art could move beyond the confines of a painting,” explains Karki. Read also: <a href="https://nepalitimes.com/banner/the-karnali-on-canvas">The Karnali on canvas</a>, Sewa Bhattarai Over the years, Pokhara native Karki has continued to explore this idea further. In his fifth performance art titled<a href="https://www.amritkarki.com.np/2023/03/blog-post.html"> Breathing Through the Stillness</a> in 2022, Karki stood still for more than four hours as masons constructed a brick wall around his body.&nbsp; The audience stood and watched as the bricklayers mixed cement, measured the alignments of the bricks, and stacked the bricks. In the end, the newly-constructed brick wall fell behind Karki as he walked out. Karki’s latest work ‘What You Have Given Me, I Set Free Forever’ at the Nepal Art Council last week was a part of the Rubin Museum’s exhibition ‘Reimagine: Himalayan Art Now’, and Abramović was one of the co-curators. <a href="https://hbr.org/2016/11/marina-abramovi">Abramović</a>, a Serbian conceptual and performance artist, is famous for probing the relationship between performer and audience along with experimentation of endurance art. Karki’s new work, unsurprisingly, has the audience actively participating in the making of art. The room was warm and stuffy, there was no ventilation in the wide, white-walled room. In the middle was a skeletal dome-like structure made of copper arcs that converged to form a space for an upside down receptacle.&nbsp; A giant copper water storage drum nearby contained dyed water maintained at room temperature. It was colourless the first day, yellow the second, green the third, blue the fourth and then finally red. Read also: <a href="https://nepalitimes.com/banner/nepals-new-generation-of-alternative-artists">Nepal's new generation of alternative artists</a>, Ashish Dhakal From 12PM to 6PM every day for the duration of the performance, Karki wore a white shirt and pants and sat on a raised copper pedestal and a white cushion just below the receptacle which had a hole on its tip.&nbsp; The audience could take a jug of water from the drum and fill the receptacle so that a steady stream of dyed water poured on Karki’s head, cascading down his body, and staining his white shirt and pants. The deliberate choice of the dye colours mimicked the pattern of<a href="https://nepalitimes.com/here-now/lets-only-buy-bio-degradable-prayer-flags"> prayer flags</a> which in turn symbolises the five elements: air, space, fire, water, and earth. The artist's statement that how “viewers will witness the gradual accumulation of everything the artist has accepted from them and set free forever” suggests the influence of the Buddhist philosophy of letting go of earthly burdens and belongings.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240925110928_90381a95c139fa3a9e0f92a9dcbbf2592bcba5eb337521d69c29a561502e1aa9.jpg" data-media-id="editor_9" data-image-id="20240925110928_90381a95c139fa3a9e0f92a9dcbbf2592bcba5eb337521d69c29a561502e1aa9" data-rendition-name="original" width="5137" height="3425" loading="lazy" alt="Amrit Karki's performance art "> <figcaption>Photo: Sumit Dangol</figcaption> </figure>  “Having the chance to discuss my performance art with her was a grateful experience. Even a small comment from her helped illuminate the impact of my performance art,” says Karki of Abramović who has been a constant inspiration for the artist. Karki often embraced himself. His right arm caresses his left shoulder, rubbing it, and after six hours of sitting still under the stream of water, his body looks stiff and tense.&nbsp; His chest area and the cushion on which he sat was stained dark green. His long hair had been tied into a bun which the stream of water hit. If no one filled the receptacle, Karki’s shirt would remain unstained.&nbsp; While the performance does nudge viewers to pour the water on the receptacle as a “visual reminder of the things that daily pollute and burden the mind”, the act of doing so also raises a moral question: how fair is it for someone to hand over one’s burdens onto others? Read also: <a href="https://nepalitimes.com/review/all-the-world-is-a-stage-in-kathmandu">All the world is a stage in Kathmandu</a>, Sewa Bhattarai&nbsp; The interval between visitors felt empty, everyone in the room waited with bated breath as Karki stared ahead, his eyes vacant, but they were also periods of respite.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240925110928_c5f06447c7553f0e104ccb05423ea2e62cfb2fda21d5b935ac01b22a19f9b7b6.jpg" data-media-id="editor_11" data-image-id="20240925110928_c5f06447c7553f0e104ccb05423ea2e62cfb2fda21d5b935ac01b22a19f9b7b6" data-rendition-name="original" width="4821" height="3214" loading="lazy" alt="Amrit Karki's performance art"> <figcaption>Photo: Kripa Shakya</figcaption> </figure>  Sitting still for six hours a day while a stream of water is poured on top of your head must test the limits of human endurance. At one point, Karki raised his right foot and rested it gently on top of his left foot. The soles of his feet were also lightly stained green. “The extent and impact of audience participation depends upon the idea and concept of the creators but it is when audiences are allowed to participate that the performance art becomes stronger,” says Karki. “On the last day, the receptacle was almost always filled through the day. The more people felt connected with my performance, the more they participated.”

Performing art that sets us free

Wise and wrinkled grandmothers dressed in vividly patterned dresses lounge elegantly against Mughal backdrops, and are attended to by young women, lovers, and deities. The paintings depict traditional grandmoms in non-traditional settings, and Muna Bhadel in her ongoing exhibition Silent Whispers at Siddhartha Art Gallery forces us to do a double take.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240822120812_e941c14b423047b56a14cc8e4a20eae1005c99325c5a05532922ca8aa2178877.jpg" data-media-id="editor_0" data-image-id="20240822120812_e941c14b423047b56a14cc8e4a20eae1005c99325c5a05532922ca8aa2178877" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Muna Bhadel NT"> </figure>  Bhadel, a recipient of the 2022 <a href="https://www.australianhimalayanfoundation.org.au/">Australian Himalayan Foundation </a>Art Award, explains: ‘This series is a tapestry woven with threads of emotional bonds, captures the poignant experiences of grandmothers as I have felt them. Their journeys through time are uniquely their own.’ In a painting titled Mute Melodies, an elderly woman reclines on a pillow with her hair down, frowning into the distance while surrounded by three young women. One fans her face, another presents her with a box of jewelry, and the third anoints her feet in a ‘sora singar’ wedding ceremony representing a bride’s transformation from girl to wife.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240822110840_e78e786aca3447be1b6583acc3ef6c26bf55befbacc4abf1b8fca4aa967578d6.jpg" data-media-id="editor_2" data-image-id="20240822110840_e78e786aca3447be1b6583acc3ef6c26bf55befbacc4abf1b8fca4aa967578d6" data-rendition-name="original" width="2676" height="3024" loading="lazy" alt="Mute Melodies by Mona Bhadel NT 2"> </figure>  The juxtaposition of the grandmother’s wrinkled face and veined arms with the smooth-skinned attendants painted like a fantastical Mughal mural, is a recurrent motif in Bhadel’s exhibition. The paintings contrast images of youth and age, and explore the longing and unfulfilled dreams and the imagery blends memories with dreams of what look like nautch girls. Bhadel trained at the Lalitkala Academy of Fine Art, then joined the MFA program at Tribhuvan University while doing a residency at Taragaon Museum. Her works were also exhibited at the Himalayan Art Festival in 2022 and the Dalai-La gallery in 2023. The 2023 exhibition titled 'Co-Relation Between Us' featured subjects dressed in vibrant textiles, and she has carried this style to Silent Whispers as well. A painting titled Uncharted Desires features reclining woman clad in a dhaka-patterned cholo, a golden shawl, and a flowery black gunyo, while a turbaned young man combs her hair.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240822110844_fd5e920221af3d2613059a2e673aa1308c0eb78c601ddda661956b24f263ad52.jpg" data-media-id="editor_3" data-image-id="20240822110844_fd5e920221af3d2613059a2e673aa1308c0eb78c601ddda661956b24f263ad52" data-rendition-name="original" width="2676" height="3024" loading="lazy" alt="Uncharted Desires by Mona Bhadel NT 3"> </figure>  Many of the women in this series feature elderly women seemingly reminiscing romance, perhaps experiences or fantasies they had when younger. Sometimes, there is a doting man in attendance.&nbsp; Bhadel wants to leave a lot to the viewers’ imagination, and so as not to give it all away, just says, “This is how I imagined they would like to be with their past companions.”&nbsp; Most of the paintings at the exhibition are acrylic on canvas, but some are done in coloured pencils on the walls, perhaps studies or sketches before working on her final pieces. The drawings show two hands, one often visibly aged, and the other smooth and young.&nbsp; “These represent memories of my grandmother and how we are connected despite our difference in age,” says Bhadel. “It reminds me of a time when she pinched the skin on her hand and then the skin on mine.”&nbsp; Perhaps some of Bhadel’s reflections on the passage of time comes from the recent birth of her child, and the passing of her grandmothers who lived simple lives, nurturing their families, yet trapped by duty and society. While the women have aged physically in the paintings, their minds and spirits burn brightly and full of life in Bhadel’s works.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240822110848_a31931b41dbb24cbe9db3da768788613d13d560a855a58a99b5a40f5185e6e17.jpg" data-media-id="editor_4" data-image-id="20240822110848_a31931b41dbb24cbe9db3da768788613d13d560a855a58a99b5a40f5185e6e17" data-rendition-name="original" width="2129" height="3576" loading="lazy" alt="Custodian of Fate by Mona Bhadel NT 4"> </figure>  These bittersweet emotions are expressed in colours that are either bright and saturated, or dull and subdued, but both enveloped in warm vermillion. Read also: <a href="https://nepalitimes.com/review/artistic-prayer-for-our-common-future">Artistic prayer for our common future</a>, Pinki Sris Rana Explains Sangeeta Thapa of Siddhartha Art Gallery: ‘Muna Bhadel’s paintings are an observation about the cycle of life -- of birth and death, youth with all its beauty and seductions, and about loss, ageing, nostalgia, and isolation.’ Silent Whispers Paintings by MunaBhadel Siddhartha Art Galley Baber Mahal Revisited 18 August – 18 September Kathmandu Triennale 2026 Although it is still almost two years away, the organisers of the Kathmandu Triennale are not waiting till the last moment to start preparations. Siddharth Art Gallery and Nepal Academy of Fine Arts are poised to unfurl a vibrant canvas in February 2026 with the theme ‘Coexistence, Kinship and Care’.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024082212080_376592b1d0ce331e80f65820ea891b99d7e4b2bcdca9c51951f7eee9777965e5.jpg" data-media-id="editor_6" data-image-id="2024082212080_376592b1d0ce331e80f65820ea891b99d7e4b2bcdca9c51951f7eee9777965e5" data-rendition-name="original" width="1750" height="992" loading="lazy" alt="Triennale Siddhartha Art Gallery 2026 NT"> </figure>  Kathmandu will host a kaleidoscope of creativity, with shows at venues like the Siddhartha Art Galley, Patan Museum and Nepal Art Council. The triennale will be curated by Australian artist Natalie King and Sujan Chitrakar of the Kathmandu University School of Art, and will feature at least 40 Nepali and international artists.&nbsp; Outgoing Australian Ambassador Felicity Volk spoke at the event announcing the Triennale, saying: “In a world fragmented by politics, war, and geopolitical tensions, we seek unity—a shared canvas where we weave threads of solidarity and harmony.”&nbsp;

The unbearable lightness of being old

Gregor Samsa wakes up from his bed one day and realises he has changed into an insect. This is the opening act of Franz Kafka’s novella ‘The Metamorphosis’. Gregor now has to navigate his life as an insect and he sees a change in how the world including his family views him and alternatively, him the world and himself. One of the opening paintings of Hannah Grace’s solo exhibition has amoeba-like patterns in vibrant colours. Upon closer look, viewers find a grasshopper in the right corner. The grasshopper is a misfit and yet seems to belong there. Grace tells us she sees herself as the grasshopper navigating a symmetric world. Kafka’s Gregor metamorphosing into a bug symbolises his alienation from society resulting from the exploitation he faced all his life. Grace’s paintings, on the other hand explore <a href="https://nepalitimes.com/banner/nepal-struggles-to-balance-nature-and-industry">human exploitation of the natural </a>world, to a point where both are in irreversible decline.&nbsp; Read also: <a href="https://nepalitimes.com/banner/a-nation-built-on-sand">A nation built on sand</a>, Ramesh Kumar In her ‘Where My Home and Allegiance Lie’ exhibition at Takpa Gallery, Grace brings California’s Napa Valley to Kathmandu through depictions of living organisms in vivid detail. The artworks are precise, albeit repetitive, and create a “sense of buzz” like she experienced as a dyslexic child.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024081412088_70087676d9e0d3a2c938653662aaeb5a1f8c874b46a6bb33a01d37408893fbc1.jpg" data-media-id="editor_2" data-image-id="2024081412088_70087676d9e0d3a2c938653662aaeb5a1f8c874b46a6bb33a01d37408893fbc1" data-rendition-name="original" width="3106" height="2337" loading="lazy" alt="Where My Home and Allegiance Lies NT "> </figure>  Growing up in the Grace Family Vineyards founded by her grandparent Dick Grace, she learned early on about <a href="https://nepalitimes.com/here-now/families-that-farm-together-stay-together">sustainable agriculture</a> and practiced “compassionate animal husbandry” from her parents. This upbringing later turned into passion as she pursued environmental science in college. Read also: <a href="https://nepalitimes.com/here-now/the-vanishing-land">The vanishing land</a>, Taylor Mason Even then, something was missing, and Grace decided to take on studio art. “Science helps me understand where I fit in the world and art helps me explore and showcase the interaction I have with nature,” the 25-year-old artist told us. Interestingly, in a painting titled ‘A Place Called Home’, Grace puts together a diagram of an ecosystem which has an uncanny resemblance to a mandala, like the ones in<a href="https://nepalitimes.com/review/remembering-nepals-lost-and-the-found"> Buddhist artworks</a>.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240814110824_044b06bc590dcd8b2abf406ea2711b8a267a29c3bd9683f48fe34d6577e1cdd6.jpg" data-media-id="editor_6" data-image-id="20240814110824_044b06bc590dcd8b2abf406ea2711b8a267a29c3bd9683f48fe34d6577e1cdd6" data-rendition-name="original" width="2872" height="2831" loading="lazy" alt="Where My Home and Allegiance Lies NT 3"> </figure>  “Buddhist paintings were part of my childhood. It felt natural to do that,” says Grace as she talks about how her grandparents who frequent Nepal to support <a href="https://nepalitimes.com/opinion/changing-disability-to-this-ability">disabled children</a>, <a href="https://nepalitimes.com/here-now/nepali-women-flee-abuse-for-overseas-work">abuse survivours</a>, and children with cancer had Mandala paintings on their walls.&nbsp; Read also: <a href="https://nepalitimes.com/banner/nepal-mandal-in-manhattan">Nepal Mandal in Manhattan</a>, Kanak Mani Dixit “For me, the circular expression of the mandala represents the cyclic life of the ecosystem,” she adds. In 2016, Grace came to Nepal herself and volunteered in a monastery, teaching English, mathematics and art to the young monks. Eight years later, Nepal is also where she chose to exhibit her art for the first time as a professional.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240814120816_5f3ac03dd3dbf33b0aecc2837ea24fe7eb02a0585d9519d8b8d2343aeb6f3196.jpg" data-media-id="editor_10" data-image-id="20240814120816_5f3ac03dd3dbf33b0aecc2837ea24fe7eb02a0585d9519d8b8d2343aeb6f3196" data-rendition-name="original" width="5689" height="4271" loading="lazy" alt="Where My Home and Allegiance Lies NT 4"> </figure>  Most of the paintings here are acrylic, but Grace has experimented with different techniques for unique texture and feel. In ‘Fantom Flowers’, she used her fingers to paint the background, while for ‘Rainbow Trout and the Rainbow’ and ‘Salmonberry Thorn’, she used beads. “I have always liked mixing and matching colours, and trying out different tools which give me different sensory inputs. It is exciting and calming at the same time,” says Grace of her methods.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240814120816_babb538f7136ded1ccf44b09e99910ca6743d2aa07513c5422f66f5720cfd94b.jpg" data-media-id="editor_11" data-image-id="20240814120816_babb538f7136ded1ccf44b09e99910ca6743d2aa07513c5422f66f5720cfd94b" data-rendition-name="original" width="2627" height="3318" loading="lazy" alt="Where My Home and Allegiance Lies NT 5"> </figure>  All 15 artworks at the exhibit are bright, colourful and vibrant even as the artist is trying to portray a grim future brought on by anthropogenic ‘development’ and ‘progress’. Grace says it is a strategic move. Read also: <a href="https://nepalitimes.com/banner/vibrant-mithila-art-thrives-in-nepal">Vibrant Mithila art thrives in Nepal</a>, Anita Bhetwal  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240814120828_4f1d75cc31b5117a397bfee3cc975345a08a1ceef398f335caa68a2de8a40c95.jpg" data-media-id="editor_13" data-image-id="20240814120828_4f1d75cc31b5117a397bfee3cc975345a08a1ceef398f335caa68a2de8a40c95" data-rendition-name="original" width="451" height="638" loading="lazy" alt="Where My Home and Allegiance Lies NT 6"> </figure>  She adds, “This is a prayer for the future. I want to remind people of all the beautiful things that exist simultaneously with us in nature and do our part in preserving them.” Where My Home and Allegiance Lies 11AM-7PM (Fridays to Sundays) 11AM-6PM &nbsp;(Tuesdays to Thursdays) Till 25 August&nbsp; Takpa Gallery&nbsp;

Pinki Sris Rana

Artistic prayer for our common future

<a href="https://nepalitimes.com/review/alternative-lifestyle-alternative-art">The Kalā Salon at the Chhaya Centre</a> in Thamel is now four shows old, and currently is running an exhibition of paintings by South Asian artists of the elephant-headed deity, Ganesh.
Also known as Binayak, Ganesh is worshipped as a remover of obstacles and is honoured before starting new ventures.
Read also: <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/the-boy-gods-of-kathmandu,4158">The boy gods of Kathmandu</a>, Sahina Shrestha
Titled ‘Hamsadhwani: Depictions of Ganesha’, the exhibit showcases paintings from the private collection of the Pratima and Prithvi Pandé family. It is curated by Chakshita R who is also the archivist of the gallery.&nbsp;
“My parents have always supported the arts in Nepal, often sponsoring artists and musicians,” says Sophia L Pandé, founding director of The Kalā Salon. The Gallery is continuing this support, sponsoring residencies for two artists a year, one male and one female under the age of 30.&nbsp;
Some of the paintings depict Ganesh traditionally with his official vehicle, the mouse, and laddoos, while others show the God more abstractly.
“The title "Hamsadhwani," referring to a serene raga in Hindustani classical music, reflects the many ways in which Ganesha is celebrated and worshipped, across disciplines,” writes Chakshita R in her introduction to the exhibit.&nbsp;
The paintings are in the second, attic-like floor of the gallery, a rectangular space where every painting can be seen from anywhere in the room.&nbsp;
Read also: <a href="https://nepalitimes.com/review/deity-devotion-and-divine-dance">Deity, devotion, and divine dance</a>, Vishad Raj Onta
A painting by Daya Ram Palpali shows Ganesh as he may be seen in a temple around Kathmandu: lights are lit, bells are hanging, and the statue is golden and garlanded. The entire picture is in warm colors that make sections of green leaves stand out. Batsa Gopal Vaidya paints a blue Ganesh dancing on a background of green hills, mountains and a red sky. The tusks and the outlines of the mountains are done in a reflective silver underlay on the paint.&nbsp;
A series of three paintings by Shankar Raj Singh Suwal show Ganesh in a celestial, heavenly form, engulfed in murky clouds.One of the three shows him with blue-skin just like his father, Shiva.
Suwal paints a winged mouse, perhaps pointing out the irony of an elephant-headed God riding around on a rodent. &nbsp;
Then there are two prints by Seema Sharma Shah: of a temple glowing gold and a Ganesh standing up in a reddish-orange lotus with blue bells hanging above him.
“These are very sophisticated to make, and need to be etched out on metal first, and then treated with acid to create places for the paint to go into. Then they are printed layer by layer, blue first, then red, and then black,” explains Chakshita R.&nbsp;
Real also: <a href="https://nepalitimes.com/review/in-the-realm-of-the-gods">In the realm of the gods</a>, Pinki Sris Rana
S C Suman’s work is influenced by <a href="https://nepalitimes.com/banner/vibrant-mithila-art-thrives-in-nepal">Mithila art </a>and his piece looks like a pen drawing on a background of red, yellow and orange. The outline is then filled in concentrically, and some parts look like fingerprints.&nbsp;
One abstract Ganesh, by Kiran Manandhar looks like it was finished in a hurry. Another in black and white uses stippling to create illusions of light and shadow. Yet another one shows a Ganesh with his usual gadgets and mouse but also with tattoos and posture that makes him look feminine. The mouse is smiling at him from below.&nbsp;
Another Ganesh signed ‘Jizza’ features a cartoony, round Ganesh with a peacock feather on his head and ornaments in gold and weapons in silver, apparently a style found in South India.&nbsp;
Going clockwise around the room, the depictions of Ganesh get more and more abstract and humanlike. This culminates in a series of prints by noted Indian painter M F Hussein where the deity is drawn with animals such as an elephant, a bird, a horse and a bull.&nbsp;
The paintings are often in a single primary colour, with Ganesh as a fighter, a dancer and a toddler, just hanging out drinking water, or in a hammock.
“All these paintings were collected by my parents, who never acquired paintings for their name but only if they liked them,” says Sophia Pandé about the exhibition. “The Kalā Salon is a non-profit space for artists to see works by Nepali masters collected over the past 40 years, as well as a place to support current Nepali talent.” &nbsp;&nbsp;
Hamsadhwani: Depictions of Ganesha
The Kala Salon
Chhaya Centre, Thamel
11AM-6PM, until 10 August

A gallery full of Ganeshes

In the middle of the first floor of the Rasa Lila exhibition at the Nepal Art Council is a model of Patan’s Krishna Temple made of Jenga blocks (pictured above). Inside the temple is a red holographic Radha, dancing. The temple here represents Vraja, a realm that lies far away from the universe in the heights of paradise. This mystical place is the setting of the Rasa Lila: a long lyric poem in the 10th book of the Bhagavata Purana that describes Krishna’s circular dance of love with his female devotees. So the choice of material makes sense: Vraja, much like buildings made out of Jenga, is more an impermanent zone where players dance with focus and balance.&nbsp; Read also:<a href="https://nepalitimes.com/banner/my-sweet-lord"> My Sweet Lord</a>, Sewa Bhattarai Rasa Lila is put together by Priyam Pradhan and team and is made up of various media, including paintings, sculptures, songs, and films.&nbsp; The exhibit spans two floors of the Bagmati Art Gallery atop the Nepal Art Council in Baber Mahal. The first floor is about the Rasa Lila (Rasa: divine dance, Lila: divine play). The start of the exhibit plays with the story of Shiva being stopped from entering the Rasa Lila, because he is nine feet tall and not a woman. So he takes a dip into the Yamuna River and emerges a beautiful lass ready to take part.&nbsp; Referring to this story is Gopeshwar Mahadev, a sculpture made out of concrete hands and feet joined by rods of carbon steel. The pre-dip hands are masculine, and the post-dip feet, adorned with ghungroo beads, are feminine.&nbsp; Next is a river of letters that represents the Yamuna River and contains the initials of the team who worked on the project. Explains Pradhan: “I want visitors to the exhibit to feel like Mahadev, crossing the river into Vraja." A description reads, "The Yamuna is a bridge spanning the celestial and physical realms, and bathing in its waters is the final act after which the Gopis return to everyday life." Read also: <a href="https://nepalitimes.com/review/swasthani-lecture">Swasthani lecture</a> Next to this piece are two large wiry structures of Gopis in dance. They have black metal rod skeletons and wire bodies: one red, and one yellow.&nbsp; Inside an alcove in the gallery is a five minute film on loop titled ‘There is no perfection, only life’ made by Urza Acharya. It depicts the life of a Gopi after participating in the Rasa Lila. She is initially struck by depression and lethargy, but slowly finds the motivation to dance and be creative again.&nbsp; The short movie describes the fleeting nature of transcendental moments of pure creativity, and how most other moments are boring and mundane. Reads the description: ‘The banality of everyday, in fact, is what fuels those exceptional moments.’ &nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024072812074_21e2b50f2ac9f7a30a596f110d957ede1f9569e59c716688bf63b6befcb01447.jpg" data-media-id="editor_2" data-image-id="2024072812074_21e2b50f2ac9f7a30a596f110d957ede1f9569e59c716688bf63b6befcb01447" data-rendition-name="original" width="1500" height="1125" loading="lazy" alt="Vastraharan NT"> <figcaption>'Vastraharana,' a scene from the Mahabharata where the Pandavas gamble away Draupadi's honor </figcaption> </figure>  While the first floor was about the Rasa Lila, the second floor depicts scenes from the <a href="https://nepalitimes.com/review/being-good-is-not-easy">Mahabharata</a>, especially ones where Krishna features heavily. Vastraharan (pictured above) is a striking piece of a female figure in a white dress in the middle of a gambling board. Rectangular dice lie on the board and instead of a head the sculpture has a red light. The story depicted is from the Mahabharata of a game of chance between the Pandavas and the Kauravas where Duryodhana cheats the Pandavas out of all that they have, to the point where Yudhishthira puts up the Pandavas' wife Draupadi, promptly losing her too.&nbsp; Duryodhana orders his Kaurava brother to disrobe Draupadi in the court, and although the game has clearly gone too far, nobody in the court, not even Bhishma and Drona, intervene. The clear identical masks represent their shared passivity.&nbsp; As her sari is being unravelled, Draupadi has no other option but to pray to Krishna, who saves her by extending her sari infintiely. Yet she is still ashamed and angry, represented by the red light.&nbsp; Read also: <a href="https://nepalitimes.com/review/the-violence-of-violation">The violence of violation</a>, Sewa Bhattarai In the next room is a blue angular metal sculpture of Krishna waking up on a bed of coins.&nbsp; “Coins represent Lakshmi, who is present wherever Krishna is,” explains Pradhan. “To make the sculpture we first 3-D printed a mould, then laser cut metal sheets and welded them together.” The last piece in the exhibit is a large painting of Krishna’s mother Devaki, a divine, pure figure who kept giving birth to divine incarnations even when locked up in a dark murky jail by her brother Kansa.&nbsp; The exhibition follows a cohesive theme overall and is well timed for the upcoming Krishnashtami festival which this year falls on 27 August. &nbsp; Rasa Lila Nepal Art Council Baber Mahal 10AM-5PM, until 3 August

Deity, devotion, and divine dance

The ongoing Deities of Nepal II exhibition at Nepal Art Council coincided this week with the Conference on the Restitution of Heritage where questions were raised about whether it is appropriate to charge a fee to look at gods in glass cases in museums and galleries. The answer from some experts was that a statue of a deity is a work of art until it is consecrated in a temple, after which it attains a divine status worthy of worship. Only 149 of the tens of thousands of sacred objects stolen from Nepal have been returned.&nbsp; Early guidebooks on Nepal used to say that there were more gods than people and more temples than houses in Kathmandu Valley. That probably has not been true for a long time, but the Deities of Nepal II exhibition tries to do justice to the sheer diversity in the Hindu-Buddhist faith that has enriched Nepal’s art and culture. Much like there are gods and goddesses in every alley corner in Kathmandu Valley, the exhibition’s maze of grey-white corridors lead us to various depictions of deities in sculpture, paubha, painting and carvings. Read also: <a href="https://nepalitimes.com/here-now/the-godhead-of-pharping">The godhead of Pharping</a>, Alisha Sijapati  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240527200524_18279b8c0f3396953295dfab001c57cbf672532e0641e8deb670033caedbac63.jpg" data-media-id="editor_1" data-image-id="20240527200524_18279b8c0f3396953295dfab001c57cbf672532e0641e8deb670033caedbac63" data-rendition-name="original" width="1625" height="1000" loading="lazy" alt="Deities of Nepal NT"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240527200524_cf028a19ae4d2fb54dbc14707ea55d41c74f89c155e52d2c43a15c64d2f27abb.jpg" data-media-id="editor_2" data-image-id="20240527200524_cf028a19ae4d2fb54dbc14707ea55d41c74f89c155e52d2c43a15c64d2f27abb" data-rendition-name="original" width="1438" height="1108" loading="lazy" alt="Deities of Nepal NT"> </figure>  In the middle of the exhibit is an intricately crafted wooden temple with a bronze Ganesh at the centre. On both sides are wooden pillars with bells, and there is space to circumambulate as if it were a real shrine. Nepal Art Council’s Sagar SJB Rana explains that the exhibition’s design was a deliberate attempt to recreate Kathmandu’s sacred urbanscape in a gallery setting. He adds, “We are trying to look at art galleries beyond the maths of the selling and buying of arts, to have an exhibition that is new, innovative as well as having an educational element.” Read also: <a href="https://nepalitimes.com/here-now/the-house-of-chitrakars">The house of Chitrakars</a>, Anita Bhetwal  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240527200524_ca458b71917eb6517233ccd081355e9375714ff174d909aa85aad3097f3b0c40.jpg" data-media-id="editor_4" data-image-id="20240527200524_ca458b71917eb6517233ccd081355e9375714ff174d909aa85aad3097f3b0c40" data-rendition-name="original" width="1600" height="1200" loading="lazy" alt="Deities of Nepal NT"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240527200524_1e56a270ad04e9d635070648d44907c08236313d8118b7a4ca8bc347877744ab.jpg" data-media-id="editor_5" data-image-id="20240527200524_1e56a270ad04e9d635070648d44907c08236313d8118b7a4ca8bc347877744ab" data-rendition-name="original" width="1600" height="1200" loading="lazy" alt="Deities of Nepal NT"> <figcaption>Photos: SAILESH RC</figcaption> </figure>  This is the second Deities of Nepal show, after the success of the first one in 2022. It features over 200 creations by 163 artists. Except for Nelson Ferreira’s Nocturnal Paintings of Kathmandu Valley which gleam only after turning on the phone’s flashlight towards the painting, all the other artworks are by Nepal-born artists.&nbsp; “Deities are popular among both artists and audiences,” says curator Swosti Rajbhandari Kayastha. “The first exhibition gave us the confidence to be more ambitious and have a bigger show.” Deities of Nepal II took a year of preparation, and the featured artworks were selected from a pool of over 500 items from more than 400 artists. “Exhibitions are a way of introducing Nepal’s heritage to the younger generation which may be more interested in going to an exhibition than paying a visit to a temple, and that is why we decided to give this exhibition continuity,” adds Kayastha. Read also: <a href="https://nepalitimes.com/here-now/kathmandu-s-gravity-defying-chariot-festival">Kathmandu’s gravity-defying chariot festival</a>, Alok Siddhi Tuladhar  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240527200524_dbb589a2ac205d403a7b12464e6a36aef9926ce096f70b4fc169095e127ff8a4.jpg" data-media-id="editor_7" data-image-id="20240527200524_dbb589a2ac205d403a7b12464e6a36aef9926ce096f70b4fc169095e127ff8a4" data-rendition-name="original" width="1200" height="1600" loading="lazy" alt="Deities of Nepal NT"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240527200524_5b994b5f3520b9d3b743a7c6c8450d2070763a3f2d44d559b8c12a67f02baa4a.jpg" data-media-id="editor_8" data-image-id="20240527200524_5b994b5f3520b9d3b743a7c6c8450d2070763a3f2d44d559b8c12a67f02baa4a" data-rendition-name="original" width="1548" height="1000" loading="lazy" alt="Deities of Nepal NT"> </figure>  The audience one afternoon this week was made up of different age groups and from different walks of life. There were art connoisseurs, college students, the middle-aged, senior citizens and even parents with children. In addition to paintings, thangka, paubha and charcoal drawings, the exhibition features stone and bronze sculptures, and immersive media using the motion graphics of a lotus painting. Says Rana: “Divine art fuses deities and handicrafts, and we have tried to recreate that here.” While the first gallery room is a replica of Kathmandu, an adjacent one is devoted to the stolen deities of Nepal. The second floor has more Hindu gods, and Mithila paintings from the Ramayana and the third floor is mostly made up of sculptures.&nbsp; The exhibition reaches beyond Kathmandu Valley to Tibetan and Mithila art, with some artists having added their own improvisations to reimagine our gods. All this makes Deities of Nepal II a fine showcase of Nepali faith and craftsmanship.&nbsp; Deities of Nepal II 10AM- 5PM (Sundays to Thursdasy) 10AM- 4PM (Fridays) Till 10 June Nepal Art Council, Baber Mahal

In the realm of the gods

Buddha Was Born in Nepal आमा बुबाको आशीर्वाद उडायो कान्छी तिम्रो पछ्यौरी मेरो रफ्तारले पैसा बिनाको ATM र जब बिनाको KTM उस्तै रहेछ Don’t Tich Your Father’s How 2 Drive These colourful messages behind long-haul trucks and other public transport on Nepal's roads represent art and literature in motion, an outlet for their drivers for creative expression and social commentary.&nbsp; Tipper trucks and buses might advise fellow road users to ‘Horn Please’, or ‘Speed Control’ while others sport bumper art that proclaim them to be ‘Road King’.&nbsp; Examples of truck art are on exhibit at the ‘Sawari Kathaharu’ exhibition at Siddhartha Art Gallery with photographs by writer-photographer Sravasti Ghosh Dastidar, London-based journalist Abhushan Gautam, and digital illustrations by graphic designer and artist Shubha Joshi.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240517120556_b2cbb63ad822d8e03deaafee229be470523fb627eb6da21278c258753b5abedc.jpg" data-media-id="editor_0" data-image-id="20240517120556_b2cbb63ad822d8e03deaafee229be470523fb627eb6da21278c258753b5abedc" data-rendition-name="original" width="1502" height="1000" loading="lazy" alt="Art and poetry in motion NT"> <figcaption>(From left to right) Writer/photographer Sravasti Ghosh Dastidar, Siddhartha Art Gallery curator Sangeeta Thapa, curatorial assistant Urza Acharya, and illustrator Shubha Joshi. Photo: NAVARAJ DANGOL</figcaption> </figure>  The photographs showcase attempts by drivers and owners to breathe life and personality into the vehicles they spend so much of their lives on. But they also reflect the Nepali zeitgeist. The ‘Love and Death’ and ‘Philosophy’ series feature images of vehicle literature, verses, messages, and commentary that are in turn humorous and profound.&nbsp; The back of one truck photographed by Gautam seems to be inspired by Nepal’s high highway accident rate: ‘Donate blood but not on the road’. A jeep carrying banana leaves has a flirty message of unrequited underneath a poignant statement on youth migration.&nbsp; One of Gautam’s photographs is of the back of a silver microbus ‘No Speed No Ulti’, possibly a branding exercise to attract passenger prone to car sickness.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240517120556_1185146ce26e613cc328c025664f445ebf77925b04dbdf747d39b1a6a76c3179.jpg" data-media-id="editor_1" data-image-id="20240517120556_1185146ce26e613cc328c025664f445ebf77925b04dbdf747d39b1a6a76c3179" data-rendition-name="original" width="1503" height="1000" loading="lazy" alt="Art and poetry in motion NT"> <figcaption>Photos: SRAVASTI GHOSH DASTIDAR</figcaption> </figure>  Other photographs from Ghosh Dastidar show vehicles embellished with bright and gaudy artwork ranging from deer walking serenely along a green field, to pop culture’s beloved supervillain The Joker peering menacingly at passersby from the back door of a truck.&nbsp; A lot of the art depict gods from the Hindu pantheon, but there are also images of the Buddha, King Birendra’s family, international football players, Bollywood actors, and of late, Kathmandu Mayor Balen Shah in shades. “I like to find beauty in everything, and everyone,” said Ghosh Dastidar at the opening of the exhibition on Monday. “Amidst all the dust and clutter of the roads and workshops, I tried to concentrate on the colours and figures painted, painstakingly, onto lacklustre metal bodies.”&nbsp; Ghosh Dastidar has also documented work that goes on behind the scenes, &nbsp;with photographs of the materials involved as well as audio testimonies of artists who meticulously render images and text onto the bodies of vehicles. Gautam has similarly been documenting ‘Sawari Sahitya’ on his Instagram Account Literature on Wheels since 2013, taking photographs of vehicles featuring memorable quotes.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240517120556_be718f3ecb68a56abcdfd342e62ebc3cd26f0b706132a08a25cf845c4bb77c37.jpg" data-media-id="editor_2" data-image-id="20240517120556_be718f3ecb68a56abcdfd342e62ebc3cd26f0b706132a08a25cf845c4bb77c37" data-rendition-name="original" width="1000" height="1503" loading="lazy" alt="Art and poetry in motion NT"> </figure>  Artist Shubha Joshi for her part has created vibrant digital illustrations of some of the more witty and notable examples of vehicle literature, and has tried to undercut masculine narratives with feminine takes in some of her work. One such illustration includes a lady in traditional garb riding a motorcycle with a man holding onto her shoulders behind her which says, ‘‘कान्छा Love मा धोका खानु भन्दा आउ, मेरो बाइक पछाडी बसेर KTM को धुलो खाउ’. (Kanchha, rather than be betrayed in love, come ride pillion in my bike and bite Kathmandu’s dust) “Some of the messages were quite male-centric, so Shubha turned them around,” explained Sangeeta Thapa, curator of the Siddhartha Art Gallery.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024051713050_cd1210d69be02462b5534e8b0b33aee95d0069e15dfd4e6dedb6baaaeaf4281f.jpg" data-media-id="editor_3" data-image-id="2024051713050_cd1210d69be02462b5534e8b0b33aee95d0069e15dfd4e6dedb6baaaeaf4281f" data-rendition-name="original" width="1503" height="1000" loading="lazy" alt="Art and poetry in motion NT"> </figure>  For Joshi it has been challenging to turn the flashy, over-the-top graphics illustrating truck literature into digital art. “While travelling through micros, tempos and bus rides, I had often observed truck literature, but working on this project made me see them in a new light,” said Joshi. “Beyond the act of creation, what truly resonated with me was the ethos of the truck art itself, its spirit of fun, freedom and taking life in its stride.”&nbsp; The exhibition also includes a short documentary titled Sawari Sahitya made by Urza Acharya, Julin Rajbhandari and Sejol Pradhanang which has interviews with drivers, aspiring drivers and workshop staff. The exhibition also has an interactive puzzle which visitors can put together to form their own truck literature. Some have left their own poetry, like: ‘तिम्रो ढाकाटोपी भरी हनिमुन मनाउला,’ &nbsp;and ‘धोका खानेलाई Bike को रफ्तारले पोखरामा’.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240517120556_aaac4fbe7b51b49d541944f00dc5b75334e6c8315d60272cb9bfb121011060a7.jpg" data-media-id="editor_4" data-image-id="20240517120556_aaac4fbe7b51b49d541944f00dc5b75334e6c8315d60272cb9bfb121011060a7" data-rendition-name="original" width="1502" height="1000" loading="lazy" alt="Art and poetry in motion NT"> <figcaption>Photo: NAVARAJ DANGOL</figcaption> </figure>  “Many of us look at this kind of art condescendingly but to the truck drivers, the truck owners or the artists, this is their livelihood, the trucks are their homes,” said Ghosh Dastidar. Indeed, angry travellers stuck on gridlocked highways may not find funny a painting of Lord Shiva smoking pot on the back of a truck, but for the drivers the truck is their canvas, their workplace, &nbsp;and a place of worship.&nbsp; Besides being their means of livelihood, the back of a bus is also a blank page for poetry and socio-political reflection. Sawari Kathaharu&nbsp; 11AM-5PM (Sunday to Friday) 12PM-5PM (Saturday) Till 27 May Siddhartha Art Gallery, Baber Mahal Revisited

Shristi Karki

Art and poetry in motion

Nestled within the historic confines of Baber Mahal Revisited, the ‘Amalgam’ art exhibition at Siddhartha Art Gallery is a vibrant tapestry of contemporary expressions of over 40 Nepali artists young and not-so-young.
A staple of Kathmandu’s annual art calendar since 2009, Amalgam aspires to foster &nbsp;connections between artists, art aficionados, writers, and patrons, all converging to celebrate creativity and vitality.
Initially begun as 'Monsoon Moods', the exhibition has evolved over time into Amalgam, but still happens during the wettest part of Nepal’s rainy season, embodying the melding of various viewpoints, concepts, and artistic forms.
The exhibition spans two venues within Baber Mahal Revisited: the main gallery showcases 54 items featuring diverse mediums such as acrylic, polymer clay, oil on canvas, sculpture.
‘Melting Life’ by Min Thapa is a painting meticulously composed of thousands of dots, masterfully capturing the urgency of the climate crisis.
Read also: <a href="https://www.nepalitimes.com/review/deciphering-thangmi">Deciphering Thangmi</a>, Ashish Dhakal
Teesha Shrestha’s ‘Beauty and the Beast II’ poignantly portrays the encroachment of modern cement structures upon the city’s cultural urbanscape.&nbsp;
Sara Koinch’s ‘Parallel Journeys’ is a reflection on a personal odyssey of transitions between traditional and contemporary norms sensitively conveyed evoking both worlds.&nbsp;
The visual diversity of the exhibition becomes remarkably apparent through the vibrant colour palette and the intricate play of textures on the first floor. In contrast, the second floor presents a more subdued tone with sepia and pen and ink hues, gently conjuring a sense of nostalgia and timelessness.
The annexe building has 25 artworks using mediums like knitwork, mixed media, embroidery, digital print, mandala work.
The common theme in both galleries is thoughtful exploration of contemporary societal dynamics with a compelling mix of themes that ranging from culture, religion, and traditionalism to materialism, climate change, and the modern world. Spiritualism and indigeneity are also explored.&nbsp;
Read also: <a href="https://www.nepalitimes.com/banner/vibrant-mithila-art-thrives-in-nepal">Vibrant Mithila art thrives in Nepal</a>, Anita Bhetwal
The convergence of established and emerging artists adds depth and contrast to the exhibitions. Curator Sangeeta Thapaexplains: “Amalgam is a platform that gives space to artists who have not got a chance to represent their art. Younger artists may feel left out because of the long waiting period to be seen. This is so they do not feel that way.”&nbsp;
Prithvi Shrestha from Bindu who collaborated on amalgam has his own artwork ‘Believe’ that hangs on the first floor of the art gallery.&nbsp;
"Our different cultures are getting lost, but the young generation still has veneration for an invisible force,” says Shrestha, pointing out his display. “The mask signifies that. When we put on the mask, we get the feeling of being god ourselves." &nbsp;
Shrestha adds that the mission of the exhibition is to spotlight the skill and creativity of artists from various backgrounds and experiences. Amalgam is successful in showcasing Nepal’s diversity.&nbsp;
Amalgam
Siddhartha Art Gallery
Till 27 August, 11pm to 5pm&nbsp;
Free entry
Read also: <a href="https://www.nepalitimes.com/banner/nepali-art-going-places/">Nepali art going places</a>, Kunda Dixit

Amalgamation of Nepali art

The oil paintings hang in sharp relief against the white walls at Siddhartha Art Gallery, and have a distinct sepia tint reminiscent of historical images from the early days of photography. &nbsp; And just like the sepia tone protects prints and keeps them from ageing, artist Mann Gurung uses the warm monochrome tint to preserve the history and identity of his indigenous community in the mountains of central Nepal.&nbsp; Gurung’s collection of 24 burnt umber paintings titled Lost in Translation II is a continuation of his<a href="https://www.nepalitimes.com/review/lost-in-transition"> 2019 exhibition</a> of the same name. His art depicts real men, women and children from up country villages in his native Gorkha district, and are as much an act of cultural conservation as a homage.&nbsp; Born in Gorkha’s Khorla village, Gurung grew up away from home to attend school in the neighbouring towns. As a child, he would draw pictures of gods and goddesses and create his own comic strips, which eventually gained the attention of an INGO worker who suggested he study art in Kathmandu.&nbsp; For a long time after he left home, Gurung took comfort in the memory of his village where people still wore their customary jama, bhoto, lungi and cholo, sang dohori during Dasain, &nbsp;and were self-reliant in agriculture and trade.&nbsp; But when he returned after completing his Master’s in the United States, Gorkha had changed. The district was just getting over the trauma of conflict, and traditional attire and customs had given way to new influences. T-shirts had replaced bhoto, film songs on mobile phones had taken the place of dohori and ghatu. Just like he had, many young men had left the village, and only the elderly, women and children remained.&nbsp; Read also: <a href="https://www.nepalitimes.com/banner/at-the-edge-of-tomorrow">At the edge of tomorrow</a>, Mark Turin  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230712100744_1da3e2e936ab582955cf91d92c3cf759ac9d89a2e6d539a837e1c2185bc81e3f.jpg" data-media-id="editor_2" data-image-id="20230712100744_1da3e2e936ab582955cf91d92c3cf759ac9d89a2e6d539a837e1c2185bc81e3f" data-rendition-name="original" width="1500" height="1714" loading="lazy" alt="Lost in Transition"> <figcaption>Photo: MANN GURUNG</figcaption> </figure>  “Our identity was being wiped out in front of our very eyes with no visual reference point and archive,” explains Gurung. “I knew that if we did not document our history and culture, they would become a mere memory.” The artist travelled through 13 villages in Gorkha documenting what he saw for his Lost in Transition exhibition in 2019. And in 2021, he started work once again to create a second collection.&nbsp; Gurung paints his subjects as if they are posing in front of a camera, a calculated choice to reflect the indigenous community’s unfamiliarity with modern devices even as they move towards modernity.&nbsp; Their smiles are careful, stances self-conscious. An elderly woman looks out at visitors, clad in lungi, cholo, ghalek, and patuki. Her head is covered with a pachyeuri, and she wears gumboots. Another man has a tungna strapped to his jacket, and a patuki around his sweater, and smiles beatifically as he glances away. &nbsp; But the most striking work in the collection is the only one in which Gurung deviates from his monochromatic style. A single family of eight women and children are standing as if to get a family portrait taken at a photo studio. The men are present only in the background, in colourful signages of remittance companies.&nbsp; In another part of the gallery, Himalayan Light Award 2022 recipient Riti Maharjan is wrapping up her own migration-themed exhibition, Awaiting. The theme here is more contemplative, and portrays the longing and waiting for a faraway relative.&nbsp; Read also: <a href="https://www.nepalitimes.com/here-now/chitwan-s-bote-people-in-a-changing-world">Chitwan’s Bote people in a changing world</a>, Sravasti Ghosh Dastidar  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230712100744_a4c5c06b34fdeb7df36d78ab01d20b44d936b3c36fc7f755e5f3cc7b9135d1e7.jpg" data-media-id="editor_4" data-image-id="20230712100744_a4c5c06b34fdeb7df36d78ab01d20b44d936b3c36fc7f755e5f3cc7b9135d1e7" data-rendition-name="original" width="1009" height="1000" loading="lazy" alt="Awaiting"> <figcaption>Photo: RITI MAHARJAN</figcaption> </figure>  Maharjan uses vibrant colours that are also poignant, and feature women and children as they wait for their migrant sons and husbands and fathers to return home. Maharjan completed her Masters in Fine Arts in China, and that was the first time she had been away from her family for an extended period. She says, “It hit me that many Nepalis are far from their loved ones, and on return I began to notice that there wasn’t a family in my community that didn’t have someone living abroad.” Born in Kathmandu, Maharjan married into a family in Lamjung after graduating. On visits to her in-law’s village, like Mann Gurung in Gorkha, she noticed that there were only women, children and the elderly. She also noticed how the women tended their homes with dedication and care, painting murals on the walls that are traditional to Brahmin communities in the region. “These women might not realise that they are folk artists, and I felt that their work should be honoured,” adds Maharjan. Read also: <a href="https://www.nepalitimes.com/banner/no-country-for-young-men">No country for young men</a>, Shristi Karki  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230712100744_ae35181903d7b20b2bba96b580d04a36c45b0f332c952f40b643e138ab5debe6.jpg" data-media-id="editor_6" data-image-id="20230712100744_ae35181903d7b20b2bba96b580d04a36c45b0f332c952f40b643e138ab5debe6" data-rendition-name="original" width="1000" height="1000" loading="lazy" alt="Awaiting"> <figcaption>Photo: RITI MAHARJAN</figcaption> </figure>  Geometric murals are a recurring motif in her paintings which have rich reds, yellows and greens, providing a backdrop for a depiction of a young girl longing for her father as she sits in her mother’s lap. In My Father’s Hat another toddler has on his father’s too-big Dhaka topi while his mother looks on at a framed photograph of her previously intact family.&nbsp; The Melting Emotion shows an elderly woman standing and waiting for somebody, longing etched in her wrinkled forehead. Maharjan has painted her as if she is dissolving away with age and grief, her entire being dripping with tears.&nbsp; Curator Sangeeta Thapa of Siddhartha Art Gallery notes that although migration is the central theme in both exhibitions, the artists employ differing stylistic approaches which provide entirely different perspectives.&nbsp; “Both of these collections are representative of how communities are impacted by Nepal hurtling from tradition towards modernity for the last seventy-odd years, while our culture and traditions have failed to catch up,” says Thapa. “What we need to figure out is how we balance progress with preserving culture and identities.” Read also: <a href="https://www.nepalitimes.com/multimedia/the-last-of-the-kusunda">The last of the Kusunda</a>, Sewa Bhattarai Mann Gurung’s Lost in Transition II is on exhibit at Siddhartha Art Gallery until 18 July. Riti Maharjan’s collection, Awaiting, can be viewed online <a href="https://www.siddharthaartgallery.com/online-gallery/394-awaiting-riti-maharjan" target="_blank">here</a>.

Home and away

The Nepal Premier League T20 men’s cricket tournament is a culmination of much progress in the sport in Nepal over the past decade, and a thrilling first step into higher level sports events in the country. Adding to the excitement is the international talent taking part. The tournament features eight teams made up of Nepali and international cricketers, including Shikhar Dhawan, one of India’s greatest ODI batsmen over the 2010s, and an IPL stalwart for the Delhi and Mumbai franchises. Dhawan is playing for the Karnali Yaks at the NPL. Other eminent imports include Kiwi batsman Martin Guptill, Indian-American Unmukt Chand, and Trinidadian fast bowler Anderson Philip. The NPL franchises are named for Nepal’s provinces and cities. Beside the Yaks, there are the Biratnagar Kings, the Chitwan Rhinos, the Janakpur Bolts, the Kathmandu Gurkhas, the Lumbini Lions, the Pokhara Avengers, and the Sudurpaschim Royals. The franchises have a wide variety of backers, including Kantipur Publications behind the Gurkhas, Chitwan Medical College behind the Rhinos, and Himalayan Builders for the Yaks. These entities are paying the international stars salaries rumoured to be in the Rs5 million range ($37,000) for the 21-day contest.&nbsp; The teams will play each other first in a round-robin league, after which the best performers will progress to playoffs. There will be 32 games in total, all to be held at the Tribhuvan University International Cricket Ground in Kirtipur which is being spruced up, including additions of an expanded boundary, digital scoreboard, new sight screens, and practice pitches.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241129041152_9236da646959b888a8635b10bd46b9f9e08f0068ab031a4b8ad736a185288164.jpg" data-media-id="editor_0" data-image-id="20241129041152_9236da646959b888a8635b10bd46b9f9e08f0068ab031a4b8ad736a185288164" data-rendition-name="original" width="1080" height="1080" loading="lazy" alt="NPL"> </figure>  “Holding all the games at the same stadium makes sense logistically for this inaugural season,” says Chhumbi Lama of the Cricket Association of Nepal (CAN). “Future editions will see matches happen across Nepal.”&nbsp; Another benefit of the tournament in future is that it may expedite the completion and upgrades of stadiums across the country, such as Mulpani Cricket Stadium in Kathmandu, the Gautam Buddha International Stadium in Bharatpur, and the Fapla Cricket Ground in Kailali. The main benefit of the tournament is said to be the development of Nepali cricket talent. The rules are also made up to favour this with each 16-player squad having no more than four foreign players. One Nepali ‘marquee’ player was selected by lottery, and others were signed through auctions for as high as Rs1.5 million. “Each team will have the marquee player from the province they represent,” says Lama, although this does not seem to be the case in practice. The 24-year-old leg spinner Sandeep Lamichhane, for example, is captaining the Biratnagar Kings, although he comes from Syangja district in Gandaki Province. “NPL’s goal is to support the development of cricket and our players,” says ex-captain and CAN secretary Paras Khadka. Players who are not usually selected for the national team will have the chance to show their cricketing skills. This has proved very beneficial in similar domestic leagues around the world. The Indian Premier League, for instance, led to the discovery and improvement of players like fast-bowler Jasprit Bumrah and batsman Suryakumar Yadav, who not only have become regular starters for the Indian national team, but also are now some of the top-ranked cricketers in the world, contributing to India being the best team in both T20s and ODIs. Nepal’s excellent run in the T20 World Cup this summer, with stellar performances against The Netherlands, South Africa and Bangladesh showed the world that the country could compete at the highest level in cricket. This has added to the legitimacy of the NPL and also promises longevity through future editions: the titular sponsor of the tournament, Siddhartha Bank, has committed to this role until 2029. Ncell is also involved, as the ‘Powered by’ sponsor, continuing the telecom company’s support for cricket, football, volleyball, golf and paralympic athletes. Another sponsor for the Kathmandu Gurkhas, is Chinese electric vehicle giant BYD. Adding weight to the NPL is that it is being broadcast live on Star Sports, giving it a global audience. Perhaps the eyes on the tournament that will have the added benefit of discouraging match fixing which has been a problem in past attempts to organise cricket leagues in Nepal.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024112905110_d1817c8e82f476c20081dae3ba820c7f7305b8cfb095a97264915c6af50f3d60.jpg" data-media-id="editor_1" data-image-id="2024112905110_d1817c8e82f476c20081dae3ba820c7f7305b8cfb095a97264915c6af50f3d60" data-rendition-name="original" width="1440" height="1080" loading="lazy" alt="Nepal Premier League NT 3"> </figure>  The 2022-23 Nepal T20 league, sold to Indian sports management company Seven3Sports by CAN, saw individual cricketers approached by sports bettors to ‘spot-fix’ by getting out quickly or conceding a lot of runs when bowling. The large sums of money offered to the athletes by fixers is tempting, especially considering that salaries are not only low but sometimes unpaid. This led to an investigation from officials from the International Cricket Council, and cases filed against cricketers by the District Attorney’s Office in Kathmandu. The much wider coverage of this tournament should do better at discouraging corruption. Ticketing partner Khalti reports that tickets for the opening game are quickly selling out. The winning trophy was revealed at a ceremony at Dharara on Saturday. Marquee Players including Lamichhane, Rohit Paudel, Dipendra Singh Airee and Sompal Kami flanked Prime Minister KP Oli as he presented the cup: a large silver piece with an engraving of Mt Everest, topped by a stone from Kala Pattar (pictured).&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241129041152_f37ca66b9e68f28ad9bf1ab6f7dc74314e71345b8b3a02794c62be9357fb08be.jpg" data-media-id="editor_2" data-image-id="20241129041152_f37ca66b9e68f28ad9bf1ab6f7dc74314e71345b8b3a02794c62be9357fb08be" data-rendition-name="original" width="1080" height="720" loading="lazy" alt="Nepal Premier League NPL NT 1"> </figure>  The tournament kicks off at 12:15PM on Saturday 30 November, with a game between the Biratnagar Kings and the Janakpur Bolts. Two games are scheduled almost every day until 16 December, with the first starting at 9:15AM and the second at 1:15PM. Playoffs start on 18 December with teams that end up third and fourth playing first, with the loser eliminated. The first and second play next, with the winner advancing to the final. The loser then plays the winner of the first match for a place in the final. This format, compared to a straight semifinal-final approach, rewards teams for having done better in the group stages, as teams 1 and 2 have multiple chances at reaching the grand finale on 21 December. A team to look out for is the Sudurpaschim Royals which is well-backed, with the most Facebook followers. Captained by popular national team all-rounder Dipendra Singh Airee, the Royals also have batsman Aarif Sheikh, bowler Abinash Bohara and Scottish all-rounder Brandon McMullen in their ranks.

Here comes the Nepal Premier League

Despite the contemporary narrative that Nepalis are giving up on their country and are migrating in droves, a recent public opinion poll shows that nearly half the Nepalis are still positive about the direction the country has been going since the last election in 2022. Asked if they feel that the situation has worsened, improved, or remained the same in the past two years, 45.4% of the respondents in the nationwide survey said they were satisfied about the way Nepal is headed. Of them, 13.9% of respondents said they were ‘significantly positive’, while 31.5% said they were ‘somewhat positive’ about the situation in Nepal over the past two years. Although 34.6% of those answering the question believed that the socio-political situation in the country was ‘unchanged’ since 2022, Sharecast Initiative in its analysis of the results, said there was ‘a notable sense of optimism about the current state of affairs’. Even so, about 18% felt the situation was either ‘significantly negative’ or ‘somewhat negative’. And most respondents (35%) felt there had been no change in the country’s situation in the past two years.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241201111212_f1ec1009533e9c1e6847672142da4688694159bb5ff0e5dc9088007cb6d995a1.png" data-media-id="editor_0" data-image-id="20241201111212_f1ec1009533e9c1e6847672142da4688694159bb5ff0e5dc9088007cb6d995a1" data-rendition-name="original" width="1192" height="1030" loading="lazy" alt="Nepalis not so unhappy"> </figure>  “If we count those who say ‘no change’ as not being satisfied and add that to those who had a negative view of the way the country is going, then we have 55% of the people not happy,” says Madhu Acharya of the research organisation Sharecast Initiative Nepal, which conducts annual public opinion polls. Still, 45% of the people being positive means the national mood is not as pervasively cynical and despondent as Nepal’s public sphere believes it is. Even more unexpected, and also contrary to prevailing perceptions, is that disaggregated data of the responses showed that the level of optimism is highest among young Nepalis, especially women. It was also higher, not surprisingly, among those in the higher income brackets. A higher percentage of female respondents (15.6%) thought Nepal’s current situation was ‘signficantly positive’ while only 12% of males felt that way. More men (11.5%) also had a ‘negative’ view of the past two years, compared to only 7% of women feeling the same way. Provincewise, most of those surveyed in Bagmati and Gandaki said there had been no change, while in the Madhes Province respondents held strong views with 26.5% saying they were ‘signficantly positive’ and 15.7% feeling things are ‘signficantly negative’ — both positive and negative responses were higher in Madhes than any other province. Because Nepal’s migration pattern is blurring the lines between city folk and those residing in villages, the level of positivity was at equal levels in both urban and rural areas of the country, with nearly half the respondents in both areas feeling ‘somewhat’ and ‘significantly’ positive about their circumstances. Literacy appears to play a significant role in determining satisfaction with the state of affairs. Generally, those with higher education were happier than those with less education. Illiterate respondents had the most negative view about their status. Even though understanding among media commentators is that Nepali youth are frustrated and cannot wait to leave the country, the survey showed that 54% of those in the 18-24 age group were either ‘somewhat’ or ‘significantly’ positive about the state of things. In general the older people are, the less happy they seem to be about the way things are. The survey results showed that even though those with higher incomes are generally more satisfied, one-tenth of them felt ‘significantly negative’ about the way things are going in Nepal. The scientific poll was conducted face-to-face earlier this year among 4,267 respondents from all seven provinces and three ecological zones. Nearly 70 supervisors and enumerators fanned out across the country to interview Nepalis selected by domicile, gender, walks of life, socio-economic strata, ethnicity in the ratio of their representation in the population. Most Nepalis see progress in <a href="https://nepalitimes.com/editorial/beijing-30-zak6iu1w">gender equality</a>, but cite problems: 1. Violence against women 2. Lack of say within households 3. Political representation 4. Societal restraints  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241201111224_faf741ca7a1187cb971b468eca573c8c3ee756f585d6a72e0dc1bd99114f4088.jpg" data-media-id="editor_2" data-image-id="20241201111224_faf741ca7a1187cb971b468eca573c8c3ee756f585d6a72e0dc1bd99114f4088" data-rendition-name="original" width="6720" height="4480" loading="lazy" alt="gender equality"> </figure>  As the world marks 16 Days of Activism against Gender-Based Violence from 25 November–10 December, a recent public opinion poll in Nepal has shown that both men and women respondents place ‘safety from violence’ as their number one concern. Asked ‘What are the primary issues facing women in Nepal today?’ more than one-third of the respondents felt it was safety and security. Both genders – and especially younger respondents -- identified protection from violence as the main problem facing Nepali women. Geographically, people in Bagmati, Sudurpaschim and Madhes prioritised safety as of women as their main concern.&nbsp; Societal restraints against women was seen as the second-most important problem, especially in regions of the country considered to have more entrenched patriarchal norms like the Karnali. ‘Lack of household decision-making’ was the third main issue respondents said women in Nepal face, and this was especially pronounced in rural areas. It could be a significant pointer to the feminisation of Nepal’s hinterland, with the outmigration mainly of young men from households.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241201111216_79f09832d11b27679a1cbeb8a8f9189d28afdd3b91a52df4c143d876e23d06f8.png" data-media-id="editor_3" data-image-id="20241201111216_79f09832d11b27679a1cbeb8a8f9189d28afdd3b91a52df4c143d876e23d06f8" data-rendition-name="original" width="1420" height="858" loading="lazy" alt="gender equality in Nepal"> <figcaption>Source: SHARECAST DATA INITIATIVE, THE STORY KITCHEN</figcaption> </figure>  This was among seven questions asked in a recent nationwide survey ‘General Perceptions of Gender Issues in Nepal’ by Sharecast Data Initiative and the Story Kitchen. The poll was conducted by enumerators in face-to-face interviews with 4,267 respondents selected for a balanced representation of Nepal’s population.&nbsp; In answer to questions if Nepal has been making progress on gender equality, most respondents had positive outlook about female representation, constitutional and legal safeguards and cultural norms. Asked about Nepal’s socio-political and cultural changes affecting women, nearly 62% had a positive response while about 15% said they had noticed no change and about 16% said the country was moving in a negative direction. Younger respondents of both genders, urban residents and those with higher education and income levels tended to have a more optimistic view about socio-political and cultural changes that affected women.&nbsp; In response to a question about new constitutional and legal provisions safeguarding women’s rights and gender equality, nearly three-quarter of respondents (both men and women) felt they had benefited women. Only about 10% felt the laws had negatively affected women.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241201111216_b359ef289ca228753e83564c3d5a278c650aa8a13dff93a2d49fffff7305646c.png" data-media-id="editor_4" data-image-id="20241201111216_b359ef289ca228753e83564c3d5a278c650aa8a13dff93a2d49fffff7305646c" data-rendition-name="original" width="1212" height="804" loading="lazy" alt="gender equality in Nepal"> </figure>  Again, it was younger men and women, city-dwellers and better educated people who were more optimistic. In its analysis of the results, Sharecast says: ‘However, there are areas of concern, particularly among less educated and lower income groups, indicating a need for targeted interventions to address these disparities.’&nbsp; In response to the question about which areas Nepali women have not yet received equal opportunities with men, a surprising 35% said they could not answer, while 20% felt there was no inequality anymore.&nbsp; But among those who said there was inequality, the highest number (12.8%) said it was within in the household. Almost as many cited unequal representation in politics, while education, high-paying jobs and protection from violence were also of concern to respondents.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241201111220_59198bf078425a63f4a27fe6f6910170fd22ded6da77824de2bdd3c5ebbb337a.png" data-media-id="editor_5" data-image-id="20241201111220_59198bf078425a63f4a27fe6f6910170fd22ded6da77824de2bdd3c5ebbb337a" data-rendition-name="original" width="1430" height="928" loading="lazy" alt="gender equality in Nepal"> </figure>  More men (16.3%) cited unequal political representation, while only 9.5% of women respondents felt that was an issue and they pointed to not having enough say within the household (13.7%) as their main concern. Asked about the problems faced by Nepal’s men, the highest number of respondents (27%) said men had ‘no problems’, and a significant number (14.4%) said they had no idea. Most of those who chose to answer (15.4%) said it was lack of jobs and wages.&nbsp; To a question about the problems faced by adolescent girls and boys, substance abuse and mental health topped the list (22.7%), while violence against girls (21.3%) and education came next. Nearly 30% said they didn’t know or couldn’t say.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241201111220_a5ea2454f1462a05a50730a51450ffe99b06b53f58bf5e3db3414ca14338cabf.png" data-media-id="editor_6" data-image-id="20241201111220_a5ea2454f1462a05a50730a51450ffe99b06b53f58bf5e3db3414ca14338cabf" data-rendition-name="original" width="1710" height="1050" loading="lazy" alt="gender equality in Nepal"> </figure>

Nepalis not so unhappy

More than 300 media practitioners from 40 countries will be in Kathmandu this week for the <a href="https://globalvoicesonline.org/">Global Voices</a> Summit 2024 for two days of deliberations on challenges and opportunities in the new digital media space. &nbsp; This is the <a href="https://globalvoices.org/about/annual-summits/">ninth Summit</a> of Global Voices on 6-7 December in which journalists, translators, activists, technologists, policymakers and development experts discuss issues related to free expression and language diversity.&nbsp; <a href="https://globalvoices.org/">Global Voices</a> was founded 20 years ago as an international multilingual community of editors and journalists, translators and human rights activists to use the Internet to tell stories that build understanding across borders.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241203091216_01c2f2ccaae529abfced7db24a88364cd22a85321ea3e10736088883f8693eba.png" data-media-id="editor_3" data-image-id="20241203091216_01c2f2ccaae529abfced7db24a88364cd22a85321ea3e10736088883f8693eba" data-rendition-name="original" width="1415" height="666" loading="lazy" alt="Global Voices conference in Kathmandu"> </figure>  Its content is translated and shared in the media across the world in 52 languages, including Nepali. Participants will also examine threats to media freedom in authoritarian regimes, including those with elected autocrats, and also discuss political activism and climate justice. “Throughout the two days we will examine threats like transnational repression and digital authoritarianism, explore open knowledge initiatives in a fragmenting internet,” says <a href="https://summit2024.globalvoices.org/author/georgia-popplewell/">Georgia Popplewell</a>, a journalist from Trinidad and Tobago who is Managing Director of Global Voices. Since 2006, <a href="https://globalvoicesonline.org/about/annual-summits/">Global Voices Summits</a> have brought together innovative digital activists and citizen media networks from around the world. Past Summits were held in London, New Delhi, Budapest, Santiago de Chile, Nairobi, Cebu City, and Colombo. Nepali Times has partnered with Global Voices for the Kathmandu Summit.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241203091216_c4c4b0abd65c038466da9956432b8aecb1cd833fc565a45926a4ddf269902577.png" data-media-id="editor_6" data-image-id="20241203091216_c4c4b0abd65c038466da9956432b8aecb1cd833fc565a45926a4ddf269902577" data-rendition-name="original" width="1251" height="775" loading="lazy" alt="Global Voices conference in Kathmandu"> </figure>  “For each Summit, we seek a location that is of strategic importance for citizen media, and consider the country’s press freedom record and ease of access for visitors of different nationalities,” Popplewell added. “Nepal is home to a dynamic and diverse media landscape, which has managed to grow in the context of a fraught transition to democracy. &nbsp;The rest of the world has much to learn from the opportunities and challenges that Nepal's many online communities have experienced.” The packed <a href="https://gv2024.sched.com/list/simple/">Summit agenda</a> will kick off on Thursday with a plenary panel on The Past, Present and Future of Digital Conversations in Nepal with Ujjwal Acharya of Journalism Academy and Nepali Times publisher Kunda Dixit. Other conversations will be on topics like blogging, digital connectivity, AI and deep fakes, state control of internet content and multilingual media.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241203091220_8d059c15a1bdc534c666cb8944c3944d05f5424a14c3fae00ccfc6e1dc94bfd4.jpg" data-media-id="editor_8" data-image-id="20241203091220_8d059c15a1bdc534c666cb8944c3944d05f5424a14c3fae00ccfc6e1dc94bfd4" data-rendition-name="original" width="1200" height="754" loading="lazy" alt="Global Voices conference in Kathmandu"> </figure>  News stories from Nepal are regularly translated across the languages of Global Voices, and the service also carries <a href="https://globalvoices.org/-/world/south-asia/nepal/">off-beat stories from Nepal</a>. Recent ones include why <a href="https://globalvoices.org/2024/12/01/the-journey-of-the-esperanto-movement-in-nepal-over-the-past-eight-decades/">Esperanto is so popular in Nepal</a>, the <a href="https://globalvoices.org/2024/11/25/in-a-nepali-village-residents-struggle-to-reconcile-traditional-artisanship-with-modernization/">vanishing craft of bamboo baskets</a>, and <a href="https://globalvoices.org/2024/11/18/scores-of-nepalis-tricked-into-joining-the-russian-army/">Nepalis tricked into joining the Russian Army</a>. Summit sessions will be available online and highlights posted on <a href="https://twitter.com/globalvoices">X</a>, <a href="https://www.instagram.com/globalvoicesonline/">Instagram</a>, <a href="https://www.facebook.com/globalvoicesonline?fref=ts">Facebook</a> and <a href="https://mstdn.social/@globalvoices/">Mastodon</a>.

Global Voices Summit in Kathmandu

“I am headed to Atlantis the Royal to advance my career … it is my dream to work there,” said Kanchan Rai. She passed her apprenticeship interview at one of the most luxurious properties in the UAE, and credits it to her late mother.&nbsp; She says, “I can feel my mother watching over me. After returning to Nepal, I want to start a restaurant in her name.” Other young Nepalis recruited recently by the company Vision and Value shared similar excitement about star chefs at Atlantis they would work with, the multinational colleagues, and opportunities to learn new skills.&nbsp; “Atlantis the Royal in my CV will set me up for life,” beamed another candidate.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024113015110_9280b5bd5b524b83d114714e2f58d9dd0faeea35de3f8e1c761f579372d5819a.jpg" data-media-id="editor_0" data-image-id="2024113015110_9280b5bd5b524b83d114714e2f58d9dd0faeea35de3f8e1c761f579372d5819a" data-rendition-name="original" width="1280" height="960" loading="lazy" alt="Labour mobility"> <figcaption>Kanchan Rai with her colleagues.</figcaption> </figure>  Migrating out of ‘compulsion’ is a common theme in Nepal’s public discourse. But here, बाध्यता as a driver for migration was not a prominent feature, in fact it barely came up.&nbsp; Upward mobility during migration merits more attention. Reputable employers offer opportunities for cross-training and career advancement.&nbsp; Seven years ago, Bikash Tripathi went to the UAE to work as a packing staff. A year into his contract, he used his month-long break to cross-train and five promotions later now works as a pastry chef managing a multinational team of eight.&nbsp; “I was always preparing for the next job when I was working, even if it meant using my holidays or covering for colleagues when they were absent. My supervisors took notice,” says Tripathi, who wants to open a restaurant on return to Nepal. “In addition to saving money, I am glad my parents now have financial freedom and don’t have to worry about making ends meet like they did,” he says.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024113015114_739c801ebf914dd055335c39a5c9adcf974de2cc31a45f4c43a50c5dc9d904a3.jpg" data-media-id="editor_1" data-image-id="2024113015114_739c801ebf914dd055335c39a5c9adcf974de2cc31a45f4c43a50c5dc9d904a3" data-rendition-name="original" width="1200" height="1200" loading="lazy" alt="Labour mobility"> <figcaption>Pastry chef Bikash Tripathi manages a multinational team of eight in the UAE.</figcaption> </figure>  Some motivated workers invest in their own upskilling. Dharmendra Sah went as a labourer to Qatar at a salary of 700 Riyal. When he left seven years later he was working as a lifting supervisor and earning 6000 Riyals because he followed his colleague’s advice to take a training course.&nbsp; “I did not know what work I would be doing overseas or what my future had in store for me,” he recalls. “I paid 1000 riyals from my own pocket for the training, but it was worth it because it opened up better opportunities.”&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024113015114_46e72c40ad7707a0abb31a3da82ca2171e5f52c885c1ac2ba8b6753577453380.jpg" data-media-id="editor_2" data-image-id="2024113015114_46e72c40ad7707a0abb31a3da82ca2171e5f52c885c1ac2ba8b6753577453380" data-rendition-name="original" width="1200" height="1600" loading="lazy" alt="Labour mobility"> <figcaption>Lifting supervisor Dharmenda Sah who tained and upskilled there abroad.</figcaption> </figure>  The hard-earned perception that Nepalis are loyal and hard-working works to their advantage. But also important is the role of a trusted labour mobility industry to attract the best employers.&nbsp; Ultimately it is the recruiters who matchmake workers and employers. While the internet and more awareness among workers may gradually decrease reliance on them, for now recruitment is heavily intermediated. Factors like under-the-table commissions play a role in helping recruiters bag job demands from overseas employers. These costs are eventually borne by workers as recruitment fees. The competition can be unhealthy with thousands of recruiters from other countries competing against each other.&nbsp; In this race-to-the-bottom, standing out as good actors and responsible businesses can be difficult. Strong credentials are needed, including international licenses and accreditations, marketing and research skills, thorough audits, references from previous clients, capacity to screen and mobilise the right candidates, among others.&nbsp; These aspects of building a strong labour mobility industry have not received adequate policy attention in Nepal. The government also needs to engage more proactively with host country industry associations, employers, and government counterparts.&nbsp; Recruiters often struggle to have a direct approach with employers and instead themselves rely on intermediaries. Interviews with workers in senior positions in the hospitality sector overseas show that Nepal’s recruitment process is rife with bureaucratic hurdles that dissuade employers looking to hire in small numbers.&nbsp; For example, a hotel looking to hire a chef or operation manager would rather not hire from Nepal as it is significantly easier and quicker to do so from the Philippines or India. While these delays are less problematic for bulk hiring, they become a major obstacle for smaller recruitment efforts, or vacancies that need to be filled quickly even when employers are willing to cover all costs and offer competitive salary packages. Attracting good employers to Nepal is not only helpful for migrants’ financial and career growth, but is a way to prevent abuses in the first place. The risk of wage theft or contract infringement is reduced when reputable companies hire directly, and in the event of such incidents, the likelihood of corrective action is higher. Attracting quality employers should be central to Nepal’s foreign employment policy. Setting up migrants for success overseas also means preparing them for success upon return. After working abroad as a rope access cleaner, Rudra Bahadur Gurung established the Asset Integrity Group in Kathmandu, providing internationally accredited training and licensing to both Nepali and non-Nepali migrants seeking to upskill during their vacations.&nbsp; Shiva Sharan Khatri returned to Nepal after working in hotels in Qatar, the UAE, and Seychelles to set up Sankalpa Management Facilities Service, a cleaning company that now employs over 80 workers.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024113015114_91f493ca4928b2a10de1dbfb0e4bdf6b178a416ca27b437a6d49ad12694cca03.jpg" data-media-id="editor_3" data-image-id="2024113015114_91f493ca4928b2a10de1dbfb0e4bdf6b178a416ca27b437a6d49ad12694cca03" data-rendition-name="original" width="1280" height="720" loading="lazy" alt="Labour mobility"> <figcaption>Rudra Sharan Khatri returned to set up a cleaning company which employs over 80 people. </figcaption> </figure>  Both Rudra and Shiva began their migration journeys in low-paying positions and leveraged their overseas experiences to create successful enterprises at home. Not only did they earn more, but also applied their experience in their business enterprises back home. A World Bank study in Bangladesh has shown how temporary migration can help migrant workers overcome credit constraints so they can invest in business creation. Unfortunately, this ‘continuum’ is lacking in many migrant workers. Take Gyanendra’s story. His father was the first to migrate to Qatar and villagers called him ‘Arabe Kafle’ because he has moved across Qatar, Saudi Arabia, Kuwait, and is now headed to Dubai.&nbsp; Gyanendra had to start from scratch each time, and as a cleaner in his new job in the UAE will work for the same basic salary as younger peers migrating for the first time. Remigration is common from Nepal, but many workers like Gyanendra struggle to build on previous experiences. While they can still use earnings to meet household expenses back home, professional growth takes a backseat with each migration episode. In some case, they are compelled to even accept lower wages and benefits.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024113015114_e28445dccaa225fd6699053d8e99b0374b7287af5f20c0d584ed3bb6d652e20d.jpg" data-media-id="editor_4" data-image-id="2024113015114_e28445dccaa225fd6699053d8e99b0374b7287af5f20c0d584ed3bb6d652e20d" data-rendition-name="original" width="236" height="326" loading="lazy" alt="Labour mobility"> <figcaption>Gyanendra's father ‘Arabe Kafle’.</figcaption> </figure>  The bar is currently set very low, and many workers worry if they will get the promised job, or be able to pay off recruitment loans. Nepalis need reliable employers and recruiters so ‘good migration outcome’ is not just simply about workers getting the promised job or wages, but about attaining their full potential.&nbsp; Outgoing workers need better guidance to make the most of their overseas opportunity. They currently are required to take pre-departure orientation training courses that cover basic do’s and don'ts.&nbsp; But also needed is practical career guidance to improve job readiness with advice on cross-training, building soft skills, networking, promotions so they can make the most of their migration with long-term growth.&nbsp; Successful returnees like Rudra and Shiva would be stellar mentors for younger workers. Exposure, work ethic, learning, skills, technology transfer, and networks are ‘social remittances’ and can be positive gains for Nepal besides financial remittances. &nbsp;

art-exhibition