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;

Vishad Raj Onta

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The unbearable lightness of being old

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

Pinki Sris Rana

Artistic prayer for our common future

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

A gallery full of Ganeshes

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

Deity, devotion, and divine dance

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

In the realm of the gods

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

Shristi Karki

Art and poetry in motion

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

Amalgamation of Nepali art

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

Home and away

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230228150232/63fe113c9c7e80680e0da4cfjpeg.jpg" alt="" width="3000" height="1688"/><figcaption>Photos: SURESH L YONJAN</figcaption></figure>Taragaon Next’s ‘Object in Focus’ is a unique series that brings one object by one artist addressing one big idea.Envisioned by curator Roshan Mishra to invite contemplation of contemporary art in Nepal, the series also featured the works of visual artists Koka Vashakidze from Georgia and Alicia Junissaliyeva from Kazakhstan about the origins of Boudhanath next door in a symbolic reprise.Now, Kathmandu’s own Bidhata KC takes centre stage to depict the interconnectedness between daily life, consumerism, globalisation and spirituality.A single installation connects heaven and earth through a metallic pole, like a bridge for elementary particles to commute. Two circular bars spread out, between which are the unmistakable mani prayer wheels.Auspiciously and coincidentally 21 in number, something is different about these wheels – they in fact look like tin cans, with corrugated bands an abstraction for the mantra that traditionally decorate the wheels. For support, oblique rods slant out from the circumference to the base of the pole.‘Object in Focus #6: Out of emptiness’ has a myriad of figures in addition to the mani wheels: a slightly open upside down umbrella, a downward arrow, or maybe a funnel. Such inversion may come naturally, especially with the overall and immediate image of things pointing towards the ground. Yet, the longer one looks, there is a sense of calm, an echo or reflection of shifting perspectives.The viewer may even rotate the wheels and reproduce for themselves the feeling of walking through a sacred shrine, participating in the great cosmic churning of consciousness. One of the many theories behind the mani wheel, after all, is that rotating mantra relate to yogic or Tantric practices whereby practitioners visualise the mantra revolving around their nadi. It is doubly symbolic to consider that the rotations also indicate reading or chanting.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230228150232/63fe11409c7e80680e0da4d0jpeg.jpg" alt="" width="1500" height="1000">The exercise in abstraction does not end there. When we consider the material design of KC’s artwork, it opens several other cans of worms (as it were). The use of tinplate cans, steel coated with a thin layer of tin, is climate-conscious art since steel cans are the most recycled closed-loop packaging material. These increase the shelf-lives of products, protect them from damage by light, oxidation, extremes of temperature and contamination, safeguarding flavour, appearance and quality from factory to consumer.Now, transform this thought on to KC’s artwork: this striking marriage of generations-long spiritual traditions and a corrosion-resistant symbol of consumerism with an ecological meaning gives one pause. What is KC trying to say here? One does not arrive at a conclusion, and that may be KC’s intention.Instead, the viewer is asked to think outside the box – or cans. The tug-of-war between history and traditional values, practices, and modern politics, luxury, hunger, etc is often indispensable in Nepali contemporary art. Aptly so, considering the unique position of the country’s many living cultures.KC’s work gives this a little spin: not so much of a tug-of-war here, but something more fluid. Rather than being at opposing ends, KC invites us to consider how culture and modern life may in fact be informing each other, especially among the Himalaya, and people are not so much rejecting one in favour of another, but building practices and lifestyles that incorporate both ideas.“The artwork is inspired by my own experience as a traveller, through my observations and memories,” says KC, who also wanted to see what reaction would bringing a mani wheel to a gallery space evoke. “How does a wheel embossed with prayers compare to a simple tin can?”KC believes that adding embellishment and confounding jargon would limit the art experience. Viewers also take a leap of faith when engaging with the piece, which itself necessitates the act of letting go, without which the boundlessness of a prayer wheel may never be reckoned with.Object in Focus #6: Out of emptinessby Bidhata KCCurated by Roshan MishraWith support from Aakar Kalaghar and Contemporary Art of Nepal FoundationTaragaon Next, BoudhaTill 15 February 2023, 10:00am – 5:00pm

Ashish Dhakal

Giving prayer wheels an arty spin

<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230228150228/63fe10489c7e80680e0da48fjpeg.jpg" alt="" width="2304" height="1536"/>Right after entering Siddhartha Art Gallery, a large painting immediately catches the eyes of visitors. ‘Modern Rawan’ an acrylic on canvas by Roshan Pradhan shows a naked figure, orange and brown, crouching with one hand under its chin.Its face is missing, replaced by a pink lotus. The figure wears a golden crown on its head with a swirl of clouds wrapped around its shoulders like an ethereal scarf. Disembodied faces of Albert Einstein, Michael Jackson, Steve Jobs, Da Vinci, Stephen Hawking, <a href="https://archive.nepalitimes.com/news.php?id=13102#.Y9yu7HZByJA" target="_blank" rel="noopener noreferrer">Karl Marx</a>, even Adolf Hitler, hang on both sides.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230228150228/63fe104c9c7e80680e0da490jpeg.jpg" alt="" width="1536" height="2304">Pradhan’s striking depictions of cultural motifs and <a href="https://www.nepalitimes.com/banner/traders-barter-tradition-for-modernity/" target="_blank" rel="noopener noreferrer">traditions in conversation with modernity</a> are at once a reflection and diversion. In a time when AI-generated digital art is in vogue, centuries-old practices hang uncertain.An android is a central figure in ‘New World’, with metallic limbs and closed eyes. Honeycomb is another prominent motif which calls to mind the laborious bees, hive-mind, as well the notion of clockwork-like colonies.Pradhan is concerned with the questions of free-will, human intelligence, culture and nature, and what we take into the future. Or, rather, is anything from the past worth saving and acknowledging, when modern ideas and technologies continuously inform our choices and lifestyle?Pradhan is part of the five-member Pagoda Group, featuring artists Kishor Nakarmi, Pradhumna Shrestha, Mala Shrestha and Rudra Bahadur Pun, whose works are currently being exhibited at Siddhartha Art Gallery. Called Collective Expressions, the paintings cover a wide array of motifs and styles, but have among them a common theme of <a href="https://www.nepalitimes.com/banner/the-history-of-heritage/" target="_blank" rel="noopener noreferrer">Nepali cultural heritage, from monuments to symbols</a>.The variance in style reaffirms Nepal’s unique position as a living culture with diverse traditions, faiths and backgrounds. Experimental in nature, from Pradhan’s futuristic metaphors, Pun’s calming chörten to Nakarmi’s gothic Buddhas, or Pradhumna Shrestha’s blazing Darbar Squares to Mala Shrestha’s expressionistic mudra, the paintings capture the dialogue between creative forces and a sense of spirituality and influence of one’s roots.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230228150228/63fe10519c7e80680e0da491jpeg.jpg" alt="" width="2304" height="1536">A striking example of this is Pradhumna Shrestha’s ‘Shangrila’ series, which focuses on architectural and material space. His paintings depict the Darbar squares of Kathmandu Valley, as seen through a fiery lens, with delicate accuracy.But these are far from simply realistic. There is a discomforting hotness to the artworks, concerned with vanishing traditions and heritage, almost crying out to the viewer: What are you waiting for, how can you sit comfortably as fire rages around you?Read also:<a href="https://www.nepalitimes.com/banner/a-tale-of-three-cities/">A tale of three cities</a>, Ashish Dhakal<a href="https://www.nepalitimes.com/banner/painted-walls-and-pieces-of-history/" target="_blank" rel="noopener noreferrer">Painted walls and pieces of history</a>, Ashish Dhakal<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230228150228/63fe10559c7e80680e0da492jpeg.jpg" alt="" width="1536" height="2304">Elsewhere, Mala Shrestha takes the symbol of nature and life merging a step further. In her paintings, <a href="https://www.nepalitimes.com/banner/the-delta-of-kama/" target="_blank" rel="noopener noreferrer">woodcarvings</a> blend with trees, and by extension the earth, their origin. Mala’s works highlight the significance of emotions and thoughts that often bridge nature to the arts and crafts. In ‘Holy Water’ colours and shapes inspire the viewer to look beyond the present reality.<h4>Woodcut prints</h4>The gallery’s other space across the courtyard is currently showing a very different kind of artwork: woodcut prints. Monsoon Printmaking 2023 is the result of an online workshop organised by <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/The-solace-of-art-Nepal,2934" target="_blank" rel="noopener noreferrer">Bindu Space for Artists</a> in 2022 and brings together the unique expressions of 35 multidisciplinary artists, including Anusha Thapa, Aman Maharjan, Bidhata KC, Bidhyaman Tamang, Jenney Ghale, Saurganga Darshandhari and Sujita Chaudhary.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230228150228/63fe105a9c7e80680e0da493jpeg.jpg" alt="" width="2304" height="1536"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230228150228/63fe105e9c7e80680e0da494jpeg.jpg" alt="" width="2304" height="1536">Woodcut is a form of relief printing, and this artform highlights the balance between ink and no ink, which the artist cuts away into the surface of a block of wood with gouges, leaving the printing parts level with the surface while removing the non-printing parts.One can find a variation of tones, from monochrome, duotone to multicoloured prints. Manisha Manandhar’s ‘Lukha Duwa’ pays homage to Newa traditions and architecture while Katyani Rai’s ‘Self Portrait’ depicts a surreal landscape with trees, faces and a crow. Bidhyaman Tamang’s ‘The Older I get, The More I Learn’ shows a letterbox surrounded by cats and rats and a urinating dog while Snellen charts are strewn on the ground: a metaphor, perhaps, of miscommunication and lack of vision.Right next to it sits another very endearing feline, its round eyes like planets peering at coins in the sky. Called ‘Gravity’ by Sony Rai, these symbols for money present the staggering reality of capitalist attractions as a curious creature looks on. Inside, ‘Structures’ by Bidhata KC shows an ambiguous green landscape with no top or bottom – or are we looking at it from above? – as rectangles and squares make out buildings, drawing attention to the dialogue between the earth, the trees and the skies, and humans.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230228150232/63fe10619c7e80680e0da495jpeg.jpg" alt="" width="1536" height="2304"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230228150232/63fe10669c7e80680e0da496jpeg.jpg" alt="" width="3931" height="5898">Rubi Maharjan’s ‘In the Blues’ appears like a raging sea, but looking deeper there is a profoundly beautiful sadness in between the spaces, which is, inexplicably, also hopeful.Together, both exhibitions occupy a kind of a liminal space between the seasons, where it feels as though all meanings are possible. Experimentation of styles draws attention to many challenges and expressions that define our lives and experiences, but, here, there be no easy answers.Collected Expressionsby Pagoda GroupTill 17 February 2023 Monsoon Printmaking 2023By Various Artists Till 18 February 2023Siddhartha Art Gallery, Baber Mahal RevisitedSunday – Friday: 11:00am - 05:00pmSaturday: 12:00 - 5:00pm

When art unites what divides us

Bhogendra Kathayat successfully defended his PhD thesis at Tribhuvan University, and the very next night he was at Tribhuvan International Airport.&nbsp; No, not to emigrate, but to captain a Nepal Airlines Airbus A330 on a 7-hour flight to Narita. Capt Kathayat, 41, is now the only PhD airline pilot in Nepal, and one of a handful actively flying internationally. Read also: <a href="https://archive.nepalitimes.com/page/women-standing-above-the-ground">Standing above the crowd</a>, Ayesha Shakya Born in the village of Sanischare in Morang to a farming family, it was a hard life. Money was always short, and the four siblings went to a village school with mud floors.&nbsp; Kathayat excelled in his studies, earning a scholarship after topping the entrance exam out of 1,000 students for admission into<a href="https://nepalitimes.com/banner/tri-chandras-run-down-state-is-a-microcosm-of-nepal"> Tri Chandra College in Kathmandu</a>. Always good in maths, he passed his MSc in Physics with flying colours – which may be why he took up flying next.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024082213088_f1f4ffbfff44f8701cf6808495375afecc6f978632e5c1090af614ed5ccf2b45.png" data-media-id="editor_2" data-image-id="2024082213088_f1f4ffbfff44f8701cf6808495375afecc6f978632e5c1090af614ed5ccf2b45" data-rendition-name="original" width="1298" height="1316" loading="lazy" alt="doctor-pilot Capt Kathayat NT1"> </figure>  This was 2006, <a href="https://archive.nepalitimes.com/news.php?id=10616#.YV7B7tVBypp">the conflict</a> had just ended, and Nepal Airlines announced a scheme for pilot training. His parents did not have the collateral to afford the Rs3.4 million loan to pay for flight school. But Kathayat managed to borrow from relatives, and was off to Kota Bahru in Malaysia.&nbsp; When he returned after a year to join Nepal Airlines, Kathayat was flying Twin Otters but did not even have a driving license because he could not afford a car or motorcycle. He was a Himalayan bush pilot for the next seven years, flying in challenging weather and terrain to remote airfields carved out of mountainsides.&nbsp; Read also: <a href="https://nepalitimes.com/banner/60-years-of-living-dangerously">60 years of living dangerously</a>, Kunda Dixit In 2015, <a href="https://nepalitimes.com/latest/jet-closure-benefits-nepal-airlines">Nepal Airlines</a> bought two Airbus A320s, and Capt Kathayat was off to Toulouse – leaping straight from Twin Otters to twin jets. But it was easier for him than for colleagues who had been flying 757s, because Boeing and Airbus have different philosophies of flying. After being on 320s for three years, Kathayat upgraded to the bigger Airbus A330s, but still does not have a car license and arrived for this interview in a Honda Unicorn. “Although I felt like aviation was in my blood, there was this nagging sense that my education was incomplete,” Capt Kathayat recalls. Meeting Nepal’s foremost atmospheric scientist Arnico Panday on a flight, he was convinced that Nepal needed more scientific research into<a href="https://nepalitimes.com/here-now/air-pollution-is-more-dangerous-than-smoking"> air pollution</a>. Since Panday is an aviation buff himself, they devised a way to use decades of visibility data from Nepal’s airports to come up with policy-level solutions to <a href="https://nepalitimes.com/business/making-monsoon-flying-safer-in-nepal">improve aviation safety</a> as well as public health.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240822120848_523fef9cb91959c2b39f2798fbbd066d9d55f4c9778ff692dd957cb58cdd827e.png" data-media-id="editor_8" data-image-id="20240822120848_523fef9cb91959c2b39f2798fbbd066d9d55f4c9778ff692dd957cb58cdd827e" data-rendition-name="original" width="1922" height="1062" loading="lazy" alt="doctor-pilot Capt Kathayat NT3"> <figcaption>Capt Kathayat(right) and Arnico Panday(left)</figcaption> </figure>  Capt Kathayat used long layovers in Dubai, Doha and Tokyo to pore over historical airport data from Bhairawa and Kathmandu to look into how domestic and crossborder pollution sources, humidity, or aerosols affected the optical property of suspended particulates. He also analysed seasonal and time of day variations. The results were predictable: the number of days with <a href="https://nepalitimes.com/editorial/good-cop-bad-cop">heavy smog in Kathmandu</a> increased steeply after 2000. The days when planes could land under visual flight rules (VFR) had gone down in Bhairawa, especially as winter fog had become thicker, more frequent and long-lasting.&nbsp; Kathayat’s PhD thesis also carries recommendations. Bhairawa may not always be useful as an alternate airport for big jets in winter because it is fogged up when Kathmandu visibility is also below minima. Bhairawa will need a Cat II Instrument Landing System (ILS).&nbsp; The long-term solutions are to control pollution at source, and in Kathmandu that means vehicular emission, open garbage fires, cross residue burning, and in Bhairawa reducing industrial and crop burning. But for both airports, visibility will remain marginal unless pollution is controlled in north India. Capt Kathayat’s PhD adviser,<a href="https://nepalitimes.com/banner/arnico-panday-the-political-scientist"> Arnico Panday who is also a member of the opposition RSP</a>, is a proud mentor. He says: “Capt Bhogendra is the hardest working student I have ever supervised, and his topic is very relevant for aviation safety and efficient flight operations.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240822120856_f455cfac962eada84c53b588575b80051845107ab83371509d9eab6648fe03e8.png" data-media-id="editor_11" data-image-id="20240822120856_f455cfac962eada84c53b588575b80051845107ab83371509d9eab6648fe03e8" data-rendition-name="original" width="1636" height="1302" loading="lazy" alt="doctor-pilot CaptKathayat NT 4"> <figcaption>Arnico Panday, Capt Kathayat, and his Phd supervisor Narayan Chapagain after his Phd thesis defence </figcaption> </figure>  At a time when most <a href="https://nepalitimes.com/news/brain-gain-into-brain-drain">young Nepalis are cynical about the country’s future</a>, this doctor-pilot is an example of how, given the opportunity, even Nepalis from the humblest beginnings can rise up. Says Capt Kathayat: “It is fashionable nowadays to be negative about the government, but I keep reminding myself that I would not be where I am today without government subsidies, government scholarships and the opportunity that a government-owned airline provided me.” Yes, and plus a lot of hard work and perseverance.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024082306084_adf00d94a8d7229ab1ef05fe5862dfc3203e7f9a9a36b4df30ae328005c2368b.jpg" data-media-id="editor_13" data-image-id="2024082306084_adf00d94a8d7229ab1ef05fe5862dfc3203e7f9a9a36b4df30ae328005c2368b" data-rendition-name="original" width="996" height="2048" loading="lazy" alt="Nepal's flying doctor"> </figure>

Nepal’s flying doctor

Bidya Prasad Pant was a junior ophthalmic assistant at <a href="https://getaeyehospital.org.np/">Geta Eye Hospital</a> in Dhangadi when a 70-year-old man, blinded by cataract, was brought in by a relative who carried him for a week in a bamboo basket from Bajhang.&nbsp; Back then in 1984, the charity-funded hospital only performed cataract operations when its Nordic surgeons were visiting. So the man had to be turned away. &nbsp; “It made me feel helpless, my inability to help the man touched me deeply. I made up my mind to be an eye surgeon myself,” Pant told us just before flying to Copenhagen to receive this year’s Boberg-Ans Award from the Danish Ophthalmological Society on 27 September for 'significant contribution to the dissemination and advancement of cataract surgery in the developing world'. In the past 40 years, Pant has done over 200,000 eye surgeries in Nepal, Burma, and around the world. He possibly holds the record for most eye surgeries: 312 in one day and 16,005 in one year. Read also: <a href="https://nepalitimes.com/here-now/myopia">MYOPIA</a>, Yugeshwor Koirala Pant shuns publicity, and agreed to this interview after repeated requests. His is an extraordinary journey of determination, perseverance -- and vision. The cheapest and fastest way to become a doctor those days was to go to Russia. Pant left his wife with three children at home and went to Russia in 1992 and graduated in 1999 from Rostov-on-Don, specialising in eye surgery. He was then invited by his surgeon colleague from Geta, Dag Riise, to Hamar in Norway to get further training in ocular operations. The conflict was raging in Nepal, and Riise offered Pant a job in Hamar, but he refused. Pant did not just return to Nepal, but came back to Dhangadi to rejoin Geta.&nbsp; Riise regarded Pant as his “Nepali son” and the family invited him for his funeral in 2013 after he drowned at age 81 during a skiing accident. Back in Nepal, Pant devoted his life to expanding Geta, which offered free surgeries to patients from Nepal and India.&nbsp; Bidya Pant was trained as his surgical assistant by Albert Kolstad who founded Geta Eye Hospital in 1982 as a WHO and Norwegian government project. Kolstad’s wife Sissel Halden remembers Pant as a “gifted young man”. She adds: “My husband noticed his potential immediately. Bidya was smart, a fast learner and he started doing cataract surgery under supervision. His work as a surgeon was outstanding.” Read also:<a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/dhanvantari-miracle-men-sanduk-ruit-cataract-surgery,751"> The miracle men</a>, Buddha Basnyat  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240905100948_59cd6d0dbb32d14d337909ac270880f223547bc7a112271a2a4e4c1cd1fc4cb2.jpg" data-media-id="editor_3" data-image-id="20240905100948_59cd6d0dbb32d14d337909ac270880f223547bc7a112271a2a4e4c1cd1fc4cb2" data-rendition-name="original" width="1600" height="1200" loading="lazy" alt="Bidya Prasad Pant eye surgeon NT 2"> <figcaption>Bidya Prasad Pant has performed over 200,000 ocular surgeries in the last 40 years, including in Burma, Ethiopia, Nepal and with Orbis Flying Eye Hospital.</figcaption> </figure>  When an Indian diplomat visiting Dhangadi noticed that 85% of the patients at Geta were from India, the embassy helped build an annexe to the hospital. More surgeons were trained, and at one point the hospital was performing 45,000 surgeries a year. <a href="https://helpmesee.org/meet-dr-bidya-pant-from-nepal/">Pant worked with HelpMeSee </a>to perform free surgeries in Nepal, and also on board<a href="https://www.orbis.org/en/news/2020/10-facts-flying-eye-hospital"> DC-10s of Orbis</a>, the flying eye hospital hopping to airports all over Africa, Asia and Latin America.&nbsp; Since 2014, Pant has been doing free eye surgeries for<a href="https://dak.org.au/"> Australia's DAK Foundation</a> in developing countries, and he and his team have performed 300,000 operations just in Burma. &nbsp; The need is still great because of the backlog of ageing patients, and greater ultraviolet solar radiation risk at higher altitudes due to the thinning of the stratospheric ozone layer. Cataract is the cause of more than half the blindness worldwide, and this will increase by 70% in the next 25 years.&nbsp; Read also: <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/sanduk-%C2%ADruit-%C2%ADtil-ganga,2574">New vision for Nepal</a>, Stéphane Huët One of the neediest places is the Burmese hinterland near Mandalay where Pant leads a team of surgeons at Tipitaka Chalupala Eye Hospital and Monastery. “When I first went to Yangon in 2013 there were people waiting up to six months in queue for eye surgery,” recalls Pant. Burmese Nepalis were excited a doctor from Nepal was doing the operations. When his father died last year in Dhangadi, Pant’s Burmese patients collected more than $4,500 as donation, which he promptly handed over to the monastery.&nbsp; Pant was not just operating, but also helping Burmese surgeons to be trained at Kathmandu’s <a href="https://tilganga.org/">Tilganga </a>and other hospitals.&nbsp; For his work in Burma, Pant was recognised by the British Medical Journal with the Surgical Team of the Year award, and the International Association of Preventive Blindness (IAPB) Eye Health Hero Award in 2017. &nbsp; Read also: <a href="https://nepalitimes.com/banner/nepals-far-sighted-eye-care">Nepal's far-sighted eye care</a>, Sonia Awale

Nepali surgeon with a vision for the world

More than 2.5 million Nepalis left the country just in the last three years to study and work abroad. In the past year alone, <a href="https://nepalitimes.com/news/push-factors-driving-nepalis-out">nearly 900,000 students and migrant workers flew out of Kathmandu airport</a>. These figures do not include those who crossed over to India.&nbsp;
There were, of course, returnees in that period, but it is estimated that up to 16% of Nepal’s population at any given time is outside the country. Most of them are 20-35 years old, which means an estimated q<a href="https://nepalitimes.com/news/nepals-demographic-window-is-closing">uarter of all Nepalis in that age group are abroad</a>.&nbsp;
It is mandatory for students going overseas to get a certificate from the Ministry of Education, and last year alone 112,593 were issued -- nearly double the pre-Covid figure (graph, below).
Before leaving, Nepali students officially exchanged Rs117 billion last year into hard currency to pay for their education costs. The actual figure through unregulated channels is probably higher.
<div class="embed-block"><iframe title="MORE NO OBJECTIONS" aria-label="Column Chart" id="datawrapper-chart-OBL1y" src="https://datawrapper.dwcdn.net/OBL1y/2/" scrolling="no" frameborder="0" style="width: 0; min-width: 100% !important; border: none;" height="600" data-external="1"></iframe><script type="text/javascript">!function(){"use strict";window.addEventListener("message",(function(a){if(void 0!==a.data["datawrapper-height"]){var e=document.querySelectorAll("iframe");for(var t in a.data["datawrapper-height"])for(var r=0;r<e.length;r++)if(e[r].contentWindow===a.source){var i=a.data["datawrapper-height"][t]+"px";e[r].style.height=i}}}))}(); </script>All graphs: RAMESH KUMAR</div>
<div class="embed-block"><iframe title="$ in, $ out" aria-label="Column Chart" id="datawrapper-chart-gUPnY" src="https://datawrapper.dwcdn.net/gUPnY/4/" scrolling="no" frameborder="0" style="width: 0; min-width: 100% !important; border: none;" height="600" data-external="1"></iframe><script type="text/javascript">!function(){"use strict";window.addEventListener("message",(function(a){if(void 0!==a.data["datawrapper-height"]){var e=document.querySelectorAll("iframe");for(var t in a.data["datawrapper-height"])for(var r=0;r<e.length;r++)if(e[r].contentWindow===a.source){var i=a.data["datawrapper-height"][t]+"px";e[r].style.height=i}}}))}(); </script></div>
Meanwhile, the 4 million <a href="https://nepalitimes.com/opinion/guest-editorial/the-migration-myth">Nepali migrant workers</a> in Malaysia, Qatar, Saudi Arabia, UAE, Kuwait, Korea, Europe and elsewhere sent back through banking channels Rs1.47 trillion in remittances ($11 billion) last year. Actual figures are higher.
“The great irony is that while poorer Nepalis toil in the Gulf and Malaysia to increase our foreign exchange reserves, middle and upper class families are exchanging a part of that money to pay for college fees, travel and medical care abroad,” points out migration researcher Ganesh Gurung.
The numbers going to Australia and Canada dropped last year because of visa restrictions. But that has been more than made up by a 30% uptick in <a href="https://nepalitimes.com/here-now/nepal-s-hard-working-students-overseas">Nepali students</a> going to the US (11,261) and UK (13,339) compared to last year.
But by far the largest number of students are going to <a href="https://nepalitimes.com/banner/why-nepalis-are-flocking-to-okinawa">Japan</a> (34,731) which is also an increase of 30% over the previous year (map, below). Numbers going to <a href="https://nepalitimes.com/news/yo-man-ta-mero-nepali-ho">South Korea</a> doubled in one year to 6,889.&nbsp;
Nepalis go to 66 countries for higher studies, with <a href="https://nepalitimes.com/here-now/looking-for-the-nepali-dream">Denmark</a>, Finland and France becoming more popular, although the numbers are still much lower than the top six.
Till recently, Nepalis were the third largest number of foreign students in Australia. They were number three also in Canada. Nepalis were among the top ten in the US.
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It is no secret that many young Nepalis leaving on student visas <a href="https://nepalitimes.com/banner/migration-certificate">intend to emigrate permanently</a>.&nbsp;
Countries in the Global North experiencing declining populations know this, but find it a convenient way to allow controlled entry for much-needed workers in the service or tech sectors.
“Many young Nepalis plan to settle in first-world countries eventually, or to return only after 10-20 years,” affirms migration expert Ganesh Gurung.&nbsp;
“Destination countries benefit too, they are getting a new generation of cheap labour without having spent anything on raising or educating them. What’s more, they also earn university fees. It’s a way for them to allow calibrated migration,” he adds.
Nearly half the students coming out of 10+2 schools opt to go <a href="https://archive.nepalitimes.com/regular-columns/Between-the-lines/More-Nepali-students-settle-overseas,528">abroad for higher education</a>, leading to a significant drop in college enrolment across Nepal.&nbsp;
Just like migrant workers are a safety valve that lets the government off the hook from providing jobs at home, students going abroad allows the state to dodge its responsibility to improve higher education quality here.&nbsp;
Indeed, some argue that better universities and colleges in Nepal would not lessen the exodus of young Nepalis, because many of them intend to emigrate for good.&nbsp;
“Yes, student visas have become a means to an end, <a href="https://nepalitimes.com/editorial/hardworking-students">the goal is to work and settle</a>,” says Narottam Aryal of King’s College in Kathmandu. “But more alarming than the figures of students leaving is that we are taking it so casually, calling it normal."&nbsp;
He adds: “Let us not worry about people who will leave anyway, but focus on the students who will stay if Nepal’s higher education is system is redesigned, repurposed and reformed to foster an entrepreneurial mindset so they benefit the country.”&nbsp;
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The method of education in state-run colleges and universities are still stuck in the era of rote learning taught by under-motivated teachers using outdated curricula, regurgitating memorised answers at exam time. The university environment is politicised and there are frequent disruptions with delayed exam results.
One way to change this is twinning with international universities, but for this there has to be a less xenophobic and transparent government machinery that is open to new methods.
“Accreditations, partnerships and exchanges with institutions around the world will open up opportunities for students,” says Aryal. “The government should welcome foreign universities, they will force us to raise the standard of our education.”
Information technology and <a href="https://nepalitimes.com/here-now/grass-is-greener-overseas-for-nepals-doctors">medicine</a> are among the most lucrative options for Nepali students abroad. Institutions of higher learning in Nepal itself could specialise in inter-disciplinary liberal arts, social studies, agriculture and the environment, public health, hospitality, or heritage studies.&nbsp;
Youth are also leaving because there is no guarantee of jobs even when they get a higher degree here. <a href="https://nepalitimes.com/editorial/brain-drain-into-brain-gain">The informal sector</a> is still the biggest employer, and job options in private companies and civil service are limited.&nbsp;
Ganesh Gurung says the education sector must adapt to the changing labour market such that Nepal produces skilled human resources in the areas with high demand like <a href="https://nepalitimes.com/here-now/nursing-grievances-against-the-state">nursing</a>.
He adds, “The focus must be on our strengths. The economy can be revived by making the best use of Nepal’s natural beauty to generate jobs in the hospitality industry, and turn it into a <a href="https://nepalitimes.com/news/go-away">destination for international retirees</a>.”&nbsp;

Brain gain into brain drain

A flash debris flow just after noon on 16 August had damaged half the village of Thame in the Everest region, but no human casualties have been reported.&nbsp; Experts and residents have said <a href="https://nepalitimes.com/news/himalayan-icecap-melting-faster-than-thought">rapid melting of the Himalaya</a> due to climate breakdown was the cause of this and more frequent flash floods on Nepal glacier-fed rivers in the past years. Read also: <a href="https://nepalitimes.com/here-now/nepal-s-mountains-are-melting">Nepal’s mountains are melting</a>, Alton C Byers  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240817040812_b5c90a2ec0cdf7aede204f3912c646f2a30b8fbb668548f8f6ba832c47e6a608.png" data-media-id="editor_2" data-image-id="20240817040812_b5c90a2ec0cdf7aede204f3912c646f2a30b8fbb668548f8f6ba832c47e6a608" data-rendition-name="original" width="1050" height="535" loading="lazy" alt="Thame flash flood NT 2"> <figcaption>Friday afternoon after the flood hit Thame.</figcaption> </figure>  Early reports said five lodges, a school, a health clinic and 12 homes were damaged in Thame, which usually has a population of 300 Sherpa people who depend mostly on trekking and mountaineering for their livelihood. One person who was trapped in one of the buildings is said to be missing.&nbsp; Thame was hit by an even more devastating <a href="https://www.researchgate.net/figure/Dig-Tsho-4-400-m-as1-the-pear-shaped-glacial-lake-lies-embedded-in-the-uppermost_fig12_271811212" target="_blank">glacial lake outburst flood on 4 August 1985</a> when the Dig Tso lake burst after an avalanche from the east face of the 6,940m high Tengi Rau fell into the lake. Twelve people were killed then, a hydropower plant was destroyed and part of the Everest trekking trail was washed away. Thame also suffered extensive damage in the 2015 earthquake.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240817030856_ab024c339325d46527245315cdf1682da699499c8b2532388f4d8d93e76d0c72.png" data-media-id="editor_4" data-image-id="20240817030856_ab024c339325d46527245315cdf1682da699499c8b2532388f4d8d93e76d0c72" data-rendition-name="original" width="1182" height="774" loading="lazy" alt="4 August 1985 Dig Tso lake glacial lake outburst flood NT"> <figcaption>The glacial lake outburst flood in 1985. </figcaption> </figure>  Dig Tso has again filled up in the past decades due to glacial melt and could have burst again, experts say. There was heavy rain in the catchment area of the Bhote Kosi this week, and this could have also swept down melted glacial moraine from further up the mountain.&nbsp; “Unfortunately, those of us who have done the least to contribute to this man-made climate change are the ones facing the worst consequences,” said Dawa Steven Sherpa, mountaineer and tourism entrepreneur. “When will we learn that for many of us, <a href="https://nepalitimes.com/banner/the-climate-crisis-is-a-water-crisis-in-the-himalaya">the threats of climate change</a> are not in some distant future but are already happening?” Read also: <a href="https://nepalitimes.com/news/living-with-climate-anxiety">Living with climate anxiety</a>, Rastraraj Bhandari <div class="embed-block"><div><div style="left: 0; width: 100%; height: 0; position: relative; padding-bottom: 56.25%;"><iframe src="//cdn.iframe.ly/api/iframe?url=https%3A%2F%2Fwww.youtube.com%2Fembed%2FkYJ95MCRpWY%3Fsi%3DEuyCEbZPK8Eew368&key=87ca3314a9fa775b5c3a7726100694b0" style="top: 0; left: 0; width: 100%; height: 100%; position: absolute; border: 0;" allowfullscreen scrolling="no" allow="accelerometer *; clipboard-write *; encrypted-media *; gyroscope *; picture-in-picture *; web-share *;"></iframe></div></div></div> Thame is on the former trade route between Nepal’s Khumbu region and Tibet across the 5,806m high Nangpa La pass. After The Chinese annexation of Tibet, the trade route was closed and the Sherpa people turned from being traders to mountaineering guides. There are several other smaller glacial lakes upstream from Thame, and a team from the National Disaster Risk Reduction and Management Authority (NDRRMA) flew to the valley on Saturday morning to find the actual cause. “We weren’t aware that the lakes were at the risk of bursting but we suspect it might have been Dig Tso again, or one of them,” Ward chair Pasang Galzen Sherpa. Dig is a highland yak pasture below the lakes, and it is not known if any livestock of herders were affected.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240817040812_08b1a13e9e5cff070775f7b91aa46e1c57298a26e56f7ddf8e75586020fff596.png" data-media-id="editor_8" data-image-id="20240817040812_08b1a13e9e5cff070775f7b91aa46e1c57298a26e56f7ddf8e75586020fff596" data-rendition-name="original" width="1070" height="1610" loading="lazy" alt="Glacial outburst Thame flash flood NT 3"> </figure>  The sudden flood in Thame Khola at about 1:30PM on Friday gave locals just enough time to flee to safer higher ground. The trekking off-season meant this Sherpa village of 45 families at about 3,800m in Khumbu Valley was relatively empty. Thame is also the staging point for the Renzo La traverse from Thame to Gokyo Valley. Read also: <a href="https://nepalitimes.com/banner/tracing-past-glacial-floods-in-kangchenjunga">Tracing past glacial floods in Kangchenjunga</a>, Alton C Byers  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240817040816_72a0727d11706de3e845caf759a3356f47c5751f72535d4d2bd7ecc3baa31a42.png" data-media-id="editor_10" data-image-id="20240817040816_72a0727d11706de3e845caf759a3356f47c5751f72535d4d2bd7ecc3baa31a42" data-rendition-name="original" width="1300" height="926" loading="lazy" alt="Thame flash flood NT 4"> </figure>  The District Administration Office of Khotang issued an alert about a flash flood downstream on the Dudh Kosi into which the Bhote Kosi flows. The District Police Office, Halesi Tuwachung Municipality, Aiselukharka Rural Municipality and Rawabensi Rural Municipality have asked people to move to higher ground, but no casualties or major damage was reported overnight. Nepal Police in Thambuche and Namche and a team from the Nepal Army have been deployed in the flood-damaged areas. Helicopter flights were prevented from reaching the site on Friday due to bad weather.

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