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

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Of women, for women, by women

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

Rice fields to concrete terraces

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

Nepali artist at Miami Art Week

Things are getting a little surreal in the Subcontinent. The erosion of regionalism is making South Asia an abstract concept. Which is perhaps what makes a new exhibition of expressionist art in Kathmandu so emblematic. Glimpses of the Mind: Surrealism and Abstract Expressionism in South Asian Art’ at The Kalā Salon in Thamel showcases a selection of outstanding surreal and abstract expressionist works by Nepali and Sri Lankan artists.&nbsp; “What you see is that painters from Nepal started exploring new impressionistic styles later in their careers, often after going abroad, especially to Europe,” says archivist-curator of the gallery, Chakshita Rana. Walking past paintings in the Glimpses of the Mind exhibition is like taking a series of Rorschach Tests. Stare at a painting long enough and the deep recesses of the mind stare back, the canvas morphs into hearts, trees, mountains, and wide-eyed, worried faces. The paintings are from the vast art collection of Pratima and Prithvi Pandé and the exhibition includes works by Nepali artists Jeevan Rajopadhyaya, Uttam Nepali, Sunil Sigdel, Manuj Babu Mishra, Ram KC, Kiran Manandhar, Sunita Rana, Shyam Lal Shrestha, Birendra Pratap Singh, Surendra Pradhan as well as Manoranjana Herath from Sri Lanka.&nbsp; While the paintings may not represent objective reality, they convey the murkier and more confusing parts of the universe and the mind. One painting shows a person in a yellow suit jumping over a cow with a purple mask, amidst a backdrop of a dark blue starry sky with a dark sun.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024120612124_5a1945393bb3f542153421ae45cb350d48de0735605c973ebb8fae10b1490b48.jpg" data-media-id="editor_0" data-image-id="2024120612124_5a1945393bb3f542153421ae45cb350d48de0735605c973ebb8fae10b1490b48" data-rendition-name="original" width="1300" height="1000" loading="lazy" alt="South Asia in the abstract"> </figure>  This is one in the Surrealism category, an art movement that began a century ago largely out of Freud’s writings on dreams and the unconscious mind. Surrealist paintings feature real objects, often combined seemingly illogically with other bizarrely drawn objects. &nbsp; One of the most recognisable in this style is Salvador Dali’s ‘The Persistence of Memory’ with its iconic melting clocks. Indeed, one of the dreamlike pieces by Sunil Sigdel also has a clock in the background, although the primary focus is on two bald figures waist-deep in either muddy water or quicksand. One is blue with orange lips and the other is orange with blue lips, and both look quite distressed. Through its absurdity, surrealism made it okay to challenge the rigid notions regarding reality and of what art should be. Abstract Expressionism then came through in the 1940s and 50s, still featuring themes of the subconscious. But this style did away with any forms at all, and instead focused on spontaneity and emotion. “Paintings in these styles are expressive and individualistic,” explains The Kalā Salon founder Sophia L Pande. “The artist’s voice really jumps out, and they are often making a very personal or political statement.”&nbsp; Impressionistic paintings leave much more to the imagination of the viewer, although it is easier to guess what the artist has in mind in some paintings, more than others. One dark blue canvas by Uttam Nepali could be a skull, an alien or a dog. Another of Nepali’s paintings has shades of green, brown and orange that could be a tree, or an intense fire. The form is not as important here to interpret the work — more relevant is mood and choice of colour.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024120612124_4cbc05a47715e173fa5c85cef7a3a37141dda2c7494264e83b2bba9dac334b8d.jpg" data-media-id="editor_1" data-image-id="2024120612124_4cbc05a47715e173fa5c85cef7a3a37141dda2c7494264e83b2bba9dac334b8d" data-rendition-name="original" width="1300" height="1000" loading="lazy" alt="South Asia in the abstract"> </figure>  Kiran Manandhar’s paintings have his distinctive quick dry brushstrokes in vivid colours, and are all arranged in a row at the exhibition. Explains curator Rana: “We decided to put his paintings next to each other so that the evolution of his work stands out.”&nbsp; The paintings by Manoranjana Herath from Sri Lanka feature sharp geometric shapes, with lots of triangles and faces in green and blue — reminiscent of Picasso-esque cubism. The Kalā Salon is showing a larger exhibition of Herath’s work starting 13 December.&nbsp; “We are primarily a non-profit, and because of the depth of the collection we can regularly show works of many different Nepali artists, spanning a lot of genres and time periods,” says Pande. “Most exhibitions feature the work of only one artist, at one time in their lives. We hope to be a valuable resource and inspire new Nepali artists.” The gallery also sponsors three-month long residencies for promising artists twice a year. One male artist and one female are chosen, often self-taught or fresh out of a Bachelor's in Fine Arts. &nbsp;At the end, a show of their work is held at the Salon. Three such rounds have been held so far, and the first cohort for 2025 has already been selected.&nbsp; Says Pande, “We are committed to giving these talented young artists a start and exposure in art, and a chance to become immediately self-sustaining.” The Kalā Salon&nbsp; Chhaya Center Mall, Aloft Hotel 11am-8pm&nbsp; Till 10 December

Vishad Raj Onta

South Asia in the abstract

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

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

India and Pakistan are twins separated at birth. Tensions between them have been at a hair trigger ever since independence and has erupted into full scale conflict at least four times in the past 80 years.
The 22 April terrorist attack in Kashmir that killed 25 Indian tourists and a Nepali citizen, threatens to escalate tension between the two nuclear-armed nations. India has squarely blamed Pakistan for the attacks, and Prime Minister Narendra Modi has given his military “operational freedom” to respond. Pakistan has said it has credible intelligence of an Indian military strike and its officials have promised a “full spectrum” response — a code for a <a href="https://nepalitimes.com/editorial/thinking-the-thinkable">nuclear retaliation</a>.
For Nepal, the killing of its national in the Pahalgam attack comes as another stark reminder that in conflicts from Afghanistan to Iraq, from <a href="https://nepalitimes.com/opinion/how-to-agree-an-armistice-in-ukraine">Ukraine</a> to Israel, <a href="https://nepalitimes.com/news/10-nepalis-from-one-town-fighting-in-ukraine">Nepalis are getting caught in the crossfire</a>. The last time full-scale fighting broke out between <a href="https://nepalitimes.com/opinion/peacemongers-at-india-pakistan-border">India and Pakistan</a> on Kargil in 1999, at least 22<a href="https://nepalitimes.com/here-now/india-s-trial-by-fire-for-soldiers-from-nepal?%27%5C%22="> Nepalis fighting for the Indian Army</a> were killed in action.
Three of Nepal’s immediate neighbours (China, India, Pakistan) have nuclear weapons, and they do not have good relations. With China supplying weapons, <a href="https://nepalitimes.com/editorial/war-and-warming">missile technology</a> and other support to Pakistan, this triangular friction could set off a regional conflagration.&nbsp;
<a href="https://www.nature.com/articles/s43016-022-00573-0" target="_blank">Research at Rutgers University</a> has calculated that even a week-long tactical nuclear exchange between India and Pakistan would throw up so much smoke and debris into the atmosphere that it would block out the sun for years, and lead to a collapse of the <a href="https://nepalitimes.com/news/grow-nourish-sustain-together-world-food-day">global food system</a>. This does not take into account the radioactive fallout that prevailing winds would blow up to <a href="https://nepalitimes.com/here-now/lives-on-the-line-in-the-himalaya">the Himalaya</a>, contaminating glaciers that are the sources of <a href="https://nepalitimes.com/here-now/saving-what-is-left-of-himalayan-rivers">Asia’s main rivers</a>.
The impact of <a href="https://nepalitimes.com/news/climate-breakdown-linked-to-thame-flood">climate breakdown </a>on High Asia was already ringing alarm bells about its <a href="https://nepalitimes.com/news/himalayan-icecap-melting-faster-than-thought">shrinking ice cap</a> reducing the dry season flow of water downstream. Water was going to be the next strategic commodity, geopolitical experts warned, and the next wars in Asia would be over water.
That water war is already happening. India retaliated to the Kashmir attack by suspending the <a href="https://www.nytimes.com/2025/04/24/world/asia/india-pakistan-indus-waters-treaty.html" target="_blank">Indus Waters Treaty</a> of 1960 mediated by the World Bank that has withstood at least three wars between India and Pakistan. The treaty gives India control over the three eastern tributaries of the Indus (<a href="https://en.wikipedia.org/wiki/Beas_River" target="_blank">Beas</a>, <a href="https://en.wikipedia.org/wiki/Ravi_River" target="_blank">Ravi</a> and <a href="https://en.wikipedia.org/wiki/Sutlej" target="_blank">Sutlej</a>), while Pakistan got water from the Indus and two of its western tributaries (<a href="https://en.wikipedia.org/wiki/Indus_River" target="_blank">Indus</a>, <a href="https://en.wikipedia.org/wiki/Chenab_River" target="_blank">Chenab</a> and <a href="https://en.wikipedia.org/wiki/Jhelum_River" target="_blank">Jhelum</a>.
Pakistan was assured of 70% of the annual flow, and India could use a reasonable amount of water for<a href="https://archive.nepalitimes.com/news.php?id=15231"> irrigation and hydropower</a>. &nbsp;Within days of its threat, India stopped water flowing down to Pakistan from the Chenab river and is reportedly preparing to do the same on the Jhelum.
The sabre-rattling has reached a crescendo. Besides threats and counter-threats there are also symbolic drills, with the Indian Air Force practicing landing on an expressway in Uttar Pradesh by its Rafale, Su-30 and Jaguar fighter jets to demonstrate ‘operational readiness’. In response Pakistan test-fired its Abdali ballistic missile that can carry a nuclear warhead and has a range of 450km.&nbsp;
The danger is that with ultra-nationalist rhetoric and the beating the war drums by both sides, India’s government and Pakistan’s military may have to ‘do something’ to appease domestic public opinion. But any tactical strike, an artillery exchange, or territorial incursion could quickly escalate out of control.
Expecting an Indian retaliation for the Pahalgam killings, Pakistan is using<a href="https://nepalitimes.com/opinion/interfaith-collaboration-for-nuclear-disarmament"> nuclear deterrence </a>and warning of “catastrophic consequences”. The two neighbours came close to a nuclear exchange in 2019 after an attack on the Indian military in Kashmir, and prompt international intervention led by the United States cooled tensions.&nbsp;
This time, the <a href="https://nepalitimes.com/news/trump-shock-wave-hits-nepal">Trump administration</a> is too distracted and not as engaged. Pakistan has denied it was responsible for the terrorist attack and called on Washington to stop a possible Indian retaliation. India and Pakistan have stopped overflights by each other’s airlines, and some international carriers have even stopped flying over Pakistan fearing an air war.
Washington, Beijing, the UN and the EU have all urged restraint. Iran, which has good relations with both India and Pakistan has sent its foreign minister to urge both countries not to go into a tit-for-tat war. Iran has its own nuclear flashpoint to worry about with tensions in Israel, &nbsp;Yemen and Syria.
India and Pakistan both share similar problems of joblessness, <a href="https://nepalitimes.com/here-now/why-nepal-s-poverty-rate-is-stuck">poverty </a>and <a href="https://nepalitimes.com/here-now/climate-change-new-threat-to-nepal-s-rhinos">environmental threats</a>. Neither side needs the threat of a senseless war, and we in the neighbourhood do not need it either.&nbsp;
Kunda Dixit
This Editorial is brought to you by <a href="https://nepalitimes.com/" target="_blank">Nepali Times</a>, in collaboration with <a href="https://inpsjapan.com/en/" target="_blank">INPS Japan</a> and <a href="https://sgi-peace.org/" target="_blank">Soka Gakkai International</a>, in consultative status with UN ECOSOC.

Nukes in the neighbourhood

The streets of Patan are alive this month with lavender jacaranda trees under rain-washed skies as <a href="https://nepalitimes.com/banner/the-red-god-rises-again-in-patan">the chariot of Rato Matsyendranath</a> is pulled across town. This is the festival of the rain god, and inevitably the heavens opened up and pre-monsoon showers pelted the chariot as it started being pulled in Pulchok last week. Thousands of devotees, onlookers and the chariot procession organisers thronged the streets on the first day last week. The rhythmic cymbals and drums exuded a vibrant energy as the enormous four wheels turned and the chariot lurched.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025051007050_81df97744db16f732a419dc1f1579d235ce3df37642b078f50b83bd4bd026688.jpg" data-media-id="editor_1" data-image-id="2025051007050_81df97744db16f732a419dc1f1579d235ce3df37642b078f50b83bd4bd026688" data-rendition-name="original" width="1000" height="1503" loading="lazy" alt="Divine chariot"> </figure>  The<a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Red-rain-god,3141"> red rain god</a> has Hindu and Buddhist antecedents, alternatively called Bungadya and<a href="https://nepalitimes.com/here-now/kathmandu-s-gravity-defying-chariot-festival"> Karunamaya</a> — reflecting Kathmandu Valley’s syncretic mixture of the two religions.&nbsp; “Bungadya is a profoundly <a href="https://nepalitimes.com/opinion/12-full-opinion/marketing-the-intangible">intangible form of heritage</a>,” explains heritage expert Monalisa Maharjan. “It embodies traditional knowledge,<a href="https://nepalitimes.com/multimedia/reviving-nepal-s-craft"> artisanal skills passed down through generations</a>. Local communities and specific families have specified roles in being custodians of the heritage, ensuring their survival over the centuries.” There are many legends and stories about this annual tradition. Lichhavi king Narendra Dev is supposed to have brought Rato Matsyendranath from Assam to Kathmandu Valley to convince Guru Gorakhnath to lift a spell that created a two-year drought in Kathmandu.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250510050520_347a9a398f8a9abc4a7fb4e2774fde8264cccbdce8bdab23851ab3f0e73c3e8a.jpg" data-media-id="editor_6" data-image-id="20250510050520_347a9a398f8a9abc4a7fb4e2774fde8264cccbdce8bdab23851ab3f0e73c3e8a" data-rendition-name="original" width="1503" height="1000" loading="lazy" alt="Divine chariot"> </figure>  Matsyendranath was Gorakhnath’s mentor, and upon seeing him, the serpents were released, unleashing the rains. The chariot festival honours the return of this life-giving rain. The deity is seen as an icon for thriving agriculture, t<a href="https://nepalitimes.com/here-now/before-the-next-monsoon">he arrival of monsoon</a> showers, and the welfare of the community. Read also: <a href="https://nepalitimes.com/opinion/the-reign-of-the-god-of-rain">The reign of the god of rain</a>, Vidhu Prakash Kayastha Till this day, the Rato Matsyendranath festival is no ordinary celebration. Patan does not sleep for a month as the chariot is pulled through various neighbourhoods. It unfolds at a state level with the president (formerly the king) attending the climax of the Bhoto Jatra in Jawalakhel later this month.&nbsp; The intergenerational transmission of tradition is unique in the world, and the reason the festival is one of the most vibrant cultural expressions that thrives despite inroads of modernity. The other unique aspect is that it is a transnational festival, binding Patan with Guwahati in the Indian state of Assam.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025051005058_8bc685ada13045d863b28e3eed91c931da2b510714586af6fd7eb5d1e298a24a.jpg" data-media-id="editor_9" data-image-id="2025051005058_8bc685ada13045d863b28e3eed91c931da2b510714586af6fd7eb5d1e298a24a" data-rendition-name="original" width="1000" height="1503" loading="lazy" alt="Divine chariot"> </figure>  “Unlike Nepal, where the deity commands grandeur and devotion, many in Assam are unaware of Rato Matsyendranath,” says Khagen Sharma of Gauhati University, which convened <a href="https://nepalitimes.com/news/nepal-assam-connection-revived">a symposium in February in Guwahati on the rain god</a>. Attending was a delegation led by Lalitpur Mayor Chiribabu Maharjan, organisers of the festival, and builders of the chariot. After the symposium, a committee was formed to explore and revive the tradition in Assam as well. Although the team had planned to visit Nepal this month, logistical challenges delayed the trip. Still, there are plans to build a Guru Matsyendranath statue in Assam to reestablish regular worship practices in the Guwahati shrine.&nbsp; The vines used to build the chariot in Patan are sourced from the jungles of Assam. But Sharma notes that in recent years unclear regulations have blocked the official import of the vines, although they are still brought to Nepal informally. The <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/makers-of-machhindranath,2204">chariot making</a> has also had a taste of modernisation in recent times. In the past, even a single nail or piece of steel was avoided. But over time, the wooden structure, particularly the shaft between the wheels, has been replaced with bronze. When that too proved unstable, metal clamps were introduced, which have become a pragmatic compromise.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250510050524_b2a819a5791612f14c81d30fc393dbd3f99f0c64b90a9110e8b0855d944bfa93.jpg" data-media-id="editor_12" data-image-id="20250510050524_b2a819a5791612f14c81d30fc393dbd3f99f0c64b90a9110e8b0855d944bfa93" data-rendition-name="original" width="1500" height="998" loading="lazy" alt="Divine chariot"> </figure>  Another welcome change is the focus on safety. Builders climbing the chariot’s tower now wear harnesses and there are efforts in crowd control. The most visible change in recent years has been the involvement of Patan’s enthusiastic youth in the festival — the tradition is now passing to a new generation. Says Matsyendranath expert Vidhu Kayastha: “There is more energy, the young people in red t-shirts this year were very organised, these modern touches aren’t diluting our culture, they’re keeping it alive in new forms.” He adds, “We are <a href="https://nepalitimes.com/here-now/searching-for-a-homeland-away-from-home">reconnecting with our roots</a>, we have more resources, more awareness than ever before. We must not be swept away by western values that may not serve us, and in some ways, cause more harm than good. We must revive our own culture.”&nbsp;

Divine chariot

In 2025, two seemingly disconnected acts of violence shattered the illusion of stability in the region. In March, <a href="https://www.ft.com/content/16f7f947-1e96-4206-9844-891378adc683" target="_blank">militants hijacked a passenger train</a> near the Bolan Pass in Balochistan, executing soldiers in cold blood. A month later, <a href="https://www.nytimes.com/2025/04/22/world/asia/kashmir-terrorist-attack.html" target="_blank">gunmen in Kashmir’s</a> Pahalgam Valley massacred tourists. 
In both Islamabad and New Delhi, <a href="https://www.aljazeera.com/news/2025/4/25/were-cursed-kashmiris-under-attack-across-india-after-pahalgam-killings" target="_blank">the reaction was reflexive:</a> condemn the violence, <a href="https://www.economist.com/asia/2025/04/22/india-and-pakistan-could-come-to-blows-over-kashmir" target="_blank">blame external enemies</a>, declare the situation contained. But South Asia’s leaders are not fighting terrorists alone. They are fighting the consequences of their own betrayals.
Across <a href="https://www.bbc.com/news/world-asia-26272897" target="_blank">Balochistan</a>, <a href="https://www.bbc.com/news/world-south-asia-11693674" target="_blank">Kashmir</a>, <a href="https://www.crisisgroup.org/asia/south-asia/india/346-finding-way-out-festering-conflict-indias-manipur" target="_blank">Manipur</a>, and beyond, decades of <a href="https://www.amnesty.org/en/projects/enforced-disappearance-in-south-asia/" target="_blank">enforced disappearances</a>, broken promises, and brute militarisation have hollowed out the social contracts meant to hold these nations together. The grievances that drove rebellions from the 1940s through the 1990s – demands for dignity, recognition, and political agency – were never meaningfully addressed. They were buried beneath asphalt and propaganda, paved over by development projects and security checkpoints.
States may claim victory. But their victories are mirages, dissolving the moment anyone looks too closely. South Asia’s unfinished wars are not relics of a violent past. They are live ammunition, loaded into the future.
<a href="https://www.theguardian.com/world/2025/mar/24/he-only-wanted-revenge-the-bloody-insurgency-in-balochistan-gaining-lethal-momentum" target="_blank">Balochistan</a> has been at war with Pakistan for most of its modern history. Rich in gas, minerals, and coastline, the province has been plundered for decades under the language of national development. 
Projects like the <a href="https://eastasiaforum.org/2020/11/26/pakistans-three-evils-cpec-and-good-governance/" target="_blank">China-Pakistan Economic Corridor (CPEC)</a> promise progress but deliver exclusion: minerals are mined, ports are secured, but Baloch homes are raided. 
The insurgency endures not because of foreign conspiracies, as Islamabad endlessly insists, but because the Pakistani state remains incapable of seeing its <a href="https://thebalochistanpost.net/2025/01/enforced-disappearances-in-balochistan-in-december-2024-tbp-report/" target="_blank">Baloch citizens</a> as anything other than a security problem to be managed.
In <a href="https://www.forbes.com/sites/ranisingh/2016/07/12/kashmir-in-the-worlds-most-militarized-zone-violence-after-years-of-comparative-calm/" target="_blank">Kashmir</a>, the Indian government claims to have <a href="https://www.nytimes.com/2023/03/08/world/asia/kashmir-village-defense-committees.html" target="_blank">“normalised” the valley</a> after revoking its autonomy in 2019. It <a href="https://www.cfr.org/global-conflict-tracker/conflict/conflict-between-india-and-pakistan" target="_blank">looks a lot like occupation</a>. Soldiers outnumber local leaders, dissent is criminalised, internet shutdowns suffocate public life. Tourism campaigns and investment summits cannot erase a generation raised under curfew and surveillance.
<a href="https://www.bbc.com/news/world-asia-india-66260730" target="_blank">Manipur’s descent into ethnic bloodshed</a> in 2023 exposed another fault line Delhi prefers to ignore. Long-simmering tensions between the Meitei and Kuki communities erupted into violence that shattered any illusions of northeastern integration. The central government’s delayed, politicised response made clear what many Manipuris had always suspected: they are citizens of India only when convenient.
Even the <a href="https://msf.org.au/rohingya-worlds-largest-stateless-population" target="_blank">Rohingya, stateless and exiled from Myanmar</a>, find themselves entangled in South Asia’s ethnonationalist calculus. Fleeing genocide, they are criminalised anew in Bangladesh and India – trapped between the countries that reject them and the memories that refuse to let them go.
South Asia’s states have excelled at suppressing rebellion. But failed at extinguishing the reasons rebellions rise in the first place. And the wars South Asia tries to forget at home have found new life abroad.
Across <a href="https://www.abc.net.au/news/2024-06-17/modis-indian-government-accused-of-spying-silencing-critics/103974414" target="_blank">Canada, Australia, Britain, and the United States</a>, diasporic communities have become memory-keepers and, increasingly, <a href="https://www.business-standard.com/world-news/khalistan-supporters-hold-protest-outside-indian-consulate-in-vancouver-123092600087_1.html" target="_blank">the agitators</a> for the struggles their home states would rather erase.
Khalistan flags fly outside Indian consulates in Vancouver and <a href="https://www.tribuneindia.com/news/punjab/perturbed-over-waving-of-khalistani-flags-at-an-event-in-melbourne-india-warns-australia-of-khalistan-separatists-and-their-links-with-terror-groups-458320/" target="_blank">Melbourne</a>. Tamil activists march through London, demanding accountability for the <a href="https://www.aljazeera.com/news/2024/5/19/grim-reminder-sri-lankas-tamils-mark-15-years-since-end-of-civil-war" target="_blank">massacres in Mullivaikkal</a>. Kashmiri protests in Washington and New York refuse to let India’s crackdown slip into diplomatic amnesia.
For host countries, these movements pose uncomfortable questions. Freedom of expression collides with fears of extremism. Clashes erupt between communities carrying wounds that their new homelands.
Meanwhile, South Asian states pursue their adversaries across borders. India faces allegations of <a href="https://www.nbcnews.com/news/world/canada-says-india-home-minister-ordered-campaign-against-sikh-activist-rcna177972" target="_blank">targeting Sikh activists for assassination in Canada</a> and the <a href="https://www.npr.org/2024/10/27/g-s1-29561/sikh-separatist-assassination-india" target="_blank">United States</a>. Pakistan continues to court Kashmiri separatists abroad while crushing Baloch dissent at home. <a href="https://apnews.com/article/sri-lanka-tamils-civil-war-dead-5b372b0bba567837c5a4d94250040e7d" target="_blank">Sri Lanka</a> lobbies furiously to brand Tamil diaspora organisations as fronts for terrorism, even as it stonewalls investigations into its own wartime atrocities.
The old insurgencies have not been defeated. They have been globalised. South Asia’s governments have long mistaken silence for stability.
In Punjab, India broke the back of the <a href="https://www.cnn.com/2023/10/06/india/india-canada-sikh-khalistan-analysis-intl-hnk/index.html" target="_blank">Khalistan insurgency</a> through brute force. The fields grew green again, the trains ran on time. But the wounds were never closed, the <a href="https://www.dw.com/en/why-is-indias-khalistan-separatist-movement-on-the-rise/a-65081729" target="_blank">movement’s heart beats</a> not in Amritsar but in Brampton and Surrey.
In Sri Lanka, the <a href="https://www.academia.edu/4738983/The_Man_Who_Destroyed_Eelam" target="_blank">military crushed the Tamil Tigers</a> with <a href="https://www.newyorker.com/magazine/2011/01/17/death-of-the-tiger" target="_blank">overwhelming brutality in 2009</a>. <a href="https://www.scmp.com/week-asia/politics/article/3264148/we-want-our-children-back-sri-lankan-families-still-demanding-justice-their-missing-loved-ones" target="_blank">Tamil families still search for their missing</a>, still mourn their dead – and still organise across the diaspora for justice that remains undelivered.
In Kashmir, Delhi boasts of new <a href="https://www.aljazeera.com/opinions/2023/2/4/kashmir-is-bleeding-its-economy" target="_blank">highways and investment corridors</a>, showcasing the region as a trophy of unity. But when the visitors leave and the cameras are packed away, <a href="https://harvardlawreview.org/print/vol-134/from-domicile-to-dominion-indias-settler-colonial-agenda-in-kashmir/" target="_blank">the checkpoints, the raids, and the quiet despair remain.</a>
Victory parades fade. Grievance endures. Suppressing insurgency may end battles. It does not end the ideas that fueled them. In a region where <a href="https://www.nytimes.com/2025/04/23/world/asia/kashmir-attack-india-pakistan.html" target="_blank">history is rarely past</a>, and memory is rarely voluntary, states that rule through repression are only ever buying time. And often, not very much.
South Asia’s unfinished wars are not accidents. They are the inevitable consequences of states that confuse conquest with consent, and erasure with reconciliation. They cannot legislate memory out of existence.
Every <a href="https://www.bbc.com/news/articles/c15qyyzz89lo" target="_blank">disappeared son in Balochistan</a>, every <a href="https://medium.com/the-wvoice/the-half-widows-in-kashmir-fef80c6b88e9" target="_blank">half-widow in Kashmir</a>, every <a href="https://www.doctorswithoutborders.org/what-we-do/focus/rohingya-refugee-crisis" target="_blank">refugee child born stateless in a Rohingya camp</a> carries forward the memory of betrayal – a memory that outlives soldiers, politicians, and peace accords alike.
The region’s future will not be decided by GDP figures or infrastructure projects alone. It will be decided by whether its governments can summon the political courage to face the truths they have long suppressed – or whether they will continue down a path <a href="https://theconversation.com/india-is-using-the-g20-summit-to-further-its-settler-colonial-ambitions-in-kashmir-205166" target="_blank">where forgetting is demanded</a>, and rebellion becomes inevitable.
Shyam Tekwani is a professor at the Daniel K. Inouye Asia-Pacific Center for Security Studies in Hawaii. This <a href="https://dkiapcss.edu/nexus_articles/ghosts-at-the-border-south-asias-unfinished-wars/" target="_blank">article</a> was originally published on <a href="https://dkiapcss.edu/security-nexus/" target="_blank">DKI APCSS Security Nexus.</a> The views expressed in this article are those of the author and do not reflect the official policy or position of DKI APCSS, the Department of Defense, or the US Government. The appearance of external hyperlinks does not constitute endorsement by the United States Department of Defense (DoD) of the linked websites, or the information, products, or services contained therein. DoD does not exercise any editorial, security, or other control over the information you may find at these sites.

Balochistan to Kashmir

Most Nepalis thought they had seen the last of it after <a href="https://nepalitimes.com/news/11-56-25-april-2015-wkc9q2an">the 25 April 7.8 magnitude </a>earthquake ten years ago. But the Himalaya had more surprises in store. On 12 May, another 7.3 magnitude tremor that some said was an aftershock, but was strong enough to itself be a major earthquake, struck Dolakha.&nbsp; Not many people had heard of Singati till then — a cluster of houses by the Tama Kosi River along a narrow gorge that is the roadhead to Rolwaling Valley.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250508110520_57b6e316656851f71eca56ca6f98d9bbcc820c1a00d62af3c990725b4361244d.jpg" data-media-id="editor_1" data-image-id="20250508110520_57b6e316656851f71eca56ca6f98d9bbcc820c1a00d62af3c990725b4361244d" data-rendition-name="original" width="1000" height="1500" loading="lazy" alt="Climate magnifies earthquake risk in Nepal village NT"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250508110520_016534fb2b6a79957402281cda768efb83a146786377e39e11df3e251d37159e.jpg" data-media-id="editor_2" data-image-id="20250508110520_016534fb2b6a79957402281cda768efb83a146786377e39e11df3e251d37159e" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Climate magnifies earthquake risk in Nepal village NT"> </figure>  It was here that dozens were killed on 25 April in the first earthquake. Hundreds of <a href="https://archive.nepalitimes.com/article/nation/Singati-rising-from-rubble-rebuilding,3703">Singati survivors</a> had lined up for food and relief supplies in the morning of 12 May when the second earthquake triggered a rock slide that buried a nearby camp. At least 50 people were killed. &nbsp; Three hours later, a US Marine Corps UH-1Y Venom helicopter landed in a nearby cornfield to pick up the wounded, and flew off. The aircraft lost contact with air traffic control in Kathmandu and its wreckage was located high on Kalinchok four days later. Six American servicemen, two Nepal Army soldiers, and five wounded civilians from Singati were killed. Today, Singati bears little physical scar of the multiple tragedies that struck the town ten years ago. Most <a href="https://nepalitimes.com/multimedia/bungamati-builds-back">houses have been rebuilt</a> as urban-style concrete structures, and Singati has become an economic hub on the road leading up to several hydropower plants and a<a href="https://nepalitimes.com/banner/off-the-beaten-trek-in-nepal"> popular trekking destination</a>.&nbsp; The town looks less like a village and more like a suburb of the Dolakha district headquarter of Charikot, 47km away.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250508110520_196f341d1df1403ba133e5dfeb837eec20d7cbcb4c8c56b17cc5598810de5df2.jpg" data-media-id="editor_6" data-image-id="20250508110520_196f341d1df1403ba133e5dfeb837eec20d7cbcb4c8c56b17cc5598810de5df2" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Climate magnifies earthquake risk in Nepal village NT"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250508110524_ae66c4a92430f67db51b5e11e017059eedfbac4cb18c8e073f2a50cca1fe904e.jpg" data-media-id="editor_7" data-image-id="20250508110524_ae66c4a92430f67db51b5e11e017059eedfbac4cb18c8e073f2a50cca1fe904e" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Climate magnifies earthquake risk in Nepal village NT"> </figure>  “The demand for construction material, cement, iron rods and bricks peaked after the earthquakes,” says Suresh Khadka, who owns a hardware business here and now supplies material to the 456MW Upper Tama Kosi hydropower project that is undergoing repairs after it was damaged by a landslide last year. The demand for cement boomed since most residents believe, not necessarily correctly, that <a href="https://nepalitimes.com/banner/in-a-disastrous-state">cement houses are safer</a>. Although Khadka did well selling construction material after the earthquake, he worries that most new structures do not follow seismic-resistant building codes.&nbsp; The construction boom financed by bank loans has in turn forced many from Singati to <a href="https://nepalitimes.com/banner/making-overseas-migration-better">migrate overseas for work</a> so they can service their debt.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250508110524_50caa4530bd5ff9120cf7ab70a62173846d337ef448ff8bac339f3faa375a9e2.jpg" data-media-id="editor_10" data-image-id="20250508110524_50caa4530bd5ff9120cf7ab70a62173846d337ef448ff8bac339f3faa375a9e2" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Climate magnifies earthquake risk in Nepal village NT"> <figcaption>Suresh Khadka</figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250508110520_ef8b7d3993fc3b5df852bbf952feb3fbabc96d6883b0d5eb74ee5c60f4123b83.jpg" data-media-id="editor_11" data-image-id="20250508110520_ef8b7d3993fc3b5df852bbf952feb3fbabc96d6883b0d5eb74ee5c60f4123b83" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Climate magnifies earthquake risk in Nepal village NT"> <figcaption>Phu Doma Sherpa (right)</figcaption> </figure>  “My family had no choice but to borrow money to rebuild our home since the government compensation was not enough, and ten years later we are still paying off the loan,” says Phu Doma Sherpa, 60. Because of the shortage of qualified masons and proper seismic engineering, <a href="https://nepalitimes.com/here-now/structural-problems">many of the buildings are of questionable building standards </a>and the traditional architecture has been abandoned, admits Kul Bahadur Budathoki, deputy chair of the municipality. “But these buildings were more expensive than what the government grants could cover, many people here are heavily in debt and the men have <a href="https://nepalitimes.com/here-now/every-day-is-closer-to-pay-day">migrated to the Gulf to pay their loans</a>,” Budathoki says.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250508110520_32f89e97b7e757fc9286c0bbb671f48ea8d4468e9634fa646d7247c650ad8480.jpg" data-media-id="editor_14" data-image-id="20250508110520_32f89e97b7e757fc9286c0bbb671f48ea8d4468e9634fa646d7247c650ad8480" data-rendition-name="original" width="1501" height="1079" loading="lazy" alt="Climate magnifies earthquake risk in Nepal village NT"> <figcaption>Kul Bahadur Budathoki</figcaption> </figure>  Singati is in a multi-hazard zone. The <a href="https://archive.nepalitimes.com/article/nation/Singati,3091">12 May 2015 earthquake </a>could have led to the collapse of Nepal’s largest glacial lake, <a href="https://nepalitimes.com/here-now/stairway-to-heaven">Tso Rolpa</a>, upstream. Due to global warming, the glacier has turned into an expanding lake 3.5km long, and its collapse would have unleashed a catastrophic Himalayan tsunami down the Tama Kosi Valley, with Singati directly in its path. Singati has literally risen from the ashes of 2015, with its residents beginning to recover from the trauma and financial toll. But it is not out of danger as <a href="https://nepalitimes.com/news/climate-breakdown-linked-to-thame-flood">climate breakdown </a>magnifies the risk from future earthquakes.

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