Taken in totality, Nepali mainstream cinema concerns itself with a specific ideological inclination, a tendency towards ‘melodramatic realism’.
Disguised as social realism, this is cinema of affirmation cloaked in the language of critique. This tendency is not indigenous but inherited: <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Lights-camera-copy-paste,1146">a diluted echo and imitation of Bollywood</a>.&nbsp;
Film directors, driven by the understandable desire for commercial viability, have adopted Bollywood's worst tendencies: its emotional maximalism and narrative predictability. But they have done so without the budget, without its system, without its technicality.
The result is cinema that mimics form without function. The cinematography with its saturated colour and glamour-obsessed image is an aesthetic colonisation. Let us name it what it is: a cinema of sympathy.
<a href="https://nepalitimes.com/review/powerful-movie-upacks-questions-of-identity">Social injustice</a> is not interrogated but assumed. Suffering is not resisted but aestheticised. Characters do not struggle to change the world, they endure it. They are saints in ragged clothes, martyrs in the mountains, whose nobility lies in their passivity. In this cinema, pain is purity, and purity is always poor.
These films are said to reflect contemporary society—but they do so in the way a mirror reflects a dream: distorted, beautified, bathed in the light of sentimentalism. They portray not society as it is, but as it feels to remember. What we have, then, is not realism, but a kind of sentimental mythos.
The culprits are not hard to find. They are the most celebrated directors of our time. Their films win national awards, their actors become stars. Yet what unites them all — from rural dramedies like Kabaddi, family melodramas like Prasad, or soft-issue social parables like Saili — is a fundamental conservatism of narrative logic.&nbsp;
If there is politics, it is personal. If there is history, it is just the setting. Society, in these films, is static. The caste system, the labour exodus, gendered violence, these are presented as conditions of nature, not conditions of power. To suffer within them is to be good, to fight against them would be, it seems, impolite.
What defines this tendency is its inability to dramatise complexity. The films are either naively dualistic or neurotically symbolic. <a href="https://nepalitimes.com/here-now/she-is-the-story">Women are either goddesses or ghosts</a>. Men are either stoic heroes or cartoonish predators. The poor are noble. The rich are cruel. Nothing is ambiguous. Nothing is difficult. Nothing is allowed to breathe.
Most insidious is the rise of populist humour, that soft, crowd-pleasing comedy which diffuses even the most tragic premises, like a nervous laugh at a funeral. Laughter that is not disruptive.&nbsp;
This humour, often rooted in exaggerated dialect, village caricature, or romantic incompetence, serves to neutralise discomfort. It appears not only in comedies but in ‘social drama’, where it functions as an emotional pressure valve. A girl is nearly sold into marriage — but wait, here comes the lovable drunk uncle with a one-liner.&nbsp;
The humour, while infectious , mocks just the symptoms like arranged marriage and patriarchal values, but not the structures themselves. There is no class struggle here, only romantic miscommunication. When misogyny appears, it is played for laughs, when caste lines emerge, they're side-stepped in favour of musical reconciliation.&nbsp;
Politicians are corrupt, yes, but hilariously so. Systemic failure is rendered absurd, not grotesque. Their jokes are universal. But in avoiding discomfort, they also avoid depth. They laugh with the people, not for them.
But why are we laughing? And what are we laughing at? If the answer is that we are laughing without bitterness and rage, at our own condition, then our cinema is no longer a mirror but a lullaby.
Even stylistically, the image is clean but unimaginative, the dialogue is moralistic, almost liturgical. The endings are too often redemptive, even when they pretend to be tragic. One watches these films not to be challenged, but to be comforted: to be reminded that pain is meaningful, that goodness suffers, that, in the end, Nepal is still beautiful.
But cinema is not therapy. It is not the job of film to make pain feel poetic. To reduce our political and economic trauma to matters of individual heartbreak is not just aesthetically lazy, it is dangerous. This is how ideology works: not through propaganda, but through sentiment.&nbsp;
The films, by making injustice feel tragic instead of intolerable, teach audiences not to resist reality, but to accept it.&nbsp;
This is not to say that all cinema is compromised. There are filmmakers, few but growing—who refuse the consolation of melodrama, like Min Bahadur Bham's <a href="https://archive.nepalitimes.com/article/must-see/Kalo-pothi-review,3101">The Black Hen</a>, and Sujit Bidari's <a href="https://nepalitimes.com/here-now/nepali-new-wave-cinema">Butterfly on the Windowpane</a>, which create spaces of silence, of interiority. Their characters are not metaphors, but people. Their conflicts are not tidy, their resolutions are not redemptive. In short, they resist the tendency.
But <a href="https://nepalitimes.com/here-now/min-bahadur-bham-s-cinematic-quest">these exceptions only highlight the rule</a>. The mainstream appetite, whether among producers or the public, still favours the emotionally saturated, the morally clear and the forced humour.&nbsp;
"Show Nepal," they say. "Make it cry. Make it real. But not too real."
What has become of anger in our cinema? What has become of satire, irony, provocation? Where are the films that disrupt rather than reflect? That confront the audience, rather than embrace them?&nbsp;
If art is meant to mirror society, then what society are we mirroring? A quiet one, perhaps, a stoic one, a beautiful one. But not a just one.
This is the paradox of our cinema: in trying so hard to reflect the people, it forgets to challenge them. In trying to represent suffering, it aestheticises it. In trying to honour tradition, it enshrines conservatism.
Cinema should not be devotional. It should not be a hymn. It must be a question. And until directors begin to ask those questions — not in press kits, but in the language of cinema itself — we will remain, for all fanfare and film festivals, a national cinema without a national consciousness. &nbsp;
Abishek Budhathoki is a multidisciplináry artist specialising in media and mass culture. He has directed a number of short films and has also worked on feature films and documentaries.

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Nepali cinema’s melodramatic realism

Rohit is from Bihar and drives an auto rickshaw in Mumbai. Life has been a struggle ever since he lost his parents in a car crash. Like many young men from Bihar in this big city, he migrated here to make a living.Then came the pandemic in 2020, and the lockdown meant that Rohit had no income at all. He and his family had to rely on the municpality’s two free meals a day.   “Mumbai belongs to the rich, except during elections,” says the 23-year-old as he negotiates the city’s dreary traffic, recalling how his wife and young son were evicted from their room for unpaid rent.But one day a miracle happened. A Nepali caregiver named Manjeela, whom Rohit knew, came to the rescue and along with her two daughters offering his family shelter and food for a few weeks.Rohit says he and his wife struggled to comprehend Manjeela’s generosity. Why was she going out of her way to help a poor family when their own family in Bihar had refused to help them?“I am so used to people turning their back on me that I just did not understand Manjeela’s kindness. It felt uncomfortable to accept such a genuine gesture,” he adds.Manjeela then found out from the media that the popular Bollywood actor Sonu Sood was helping migrant workers like Rohit with transportation to their homes. She coordinated with Sood’s team and registered Rohit and his family so they could travel back to Bihar.“Sonu Sir came to see us off and I even got to shake his hands,” smiles Rohit. Had it not been for Manjeela and Sonu Sood, Rohit knows he would have been one of the hundreds of thousands walking home to their villages along train tracks, evicted and penniless -- an iconic image during India’s first lockdown in early 2020. “What other option did we have? Even thinking about the possibility of walking back brings tears to my eyes,” he says. <img width="640" height="853" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114091156/637203159c7e80680e0b27ecjpeg.jpg" alt=""/>Adds Rohit: “For tens of thousands like me, Sonu was a real-life hero. But for my family specifically, Manjeela was an angel. I will never be able to forget what they did for me and my family.” --AmitA quiet man with a wide smile, 45-year old Amit spent a decade in Saudi Arabia taking care of a family of 7, alongside three <a href="https://www.nepalitimes.com/opinion/south-asias-migrants-shared-problems-share-solutions/">other South Asian migrants</a> including a Nepali housemaid.He had come home to India for his nephew’s wedding when Covid-19 hit, and he was stuck because of a Saudi ban on flights because of the Delta outbreak. Two years later, it finally looks like he can <a href="https://www.nepalitimes.com/opinion/labour-mobility/crossborder-virus-and-nepali-migrant-workers/">rejoin his employment</a>, but only by making a <a href="https://www.nepalitimes.com/latest/indians-use-nepal-to-circumvent-travel-bans/">convoluted journey through Kathmandu</a> for a flight to Riyadh. India has finally been lifted off the Saudi red list, but direct flights from Mumbai are unaffordable for Amit. That is why he is flying from Delhi to Kathmandu along with three other stranded Indian migrant workers. This is a less expensive option – at least that is what his agent told him.Agents are skillful at finding loopholes around flight bans and restrictions, and provide options for desperate workers like Amit. But the Kathmandu option is also expensive for him: he had to pay the agent ₹85,000, including costs for a two-week quarantine in Nepal.It was not an ideal arrangement, given pre-Covid flights were a fraction of what he is paying now, but Amit says at least he will start earning again soon. The <a href="https://www.nepalitimes.com/here-now/living-with-covid-in-2022/" target="_blank" rel="noopener noreferrer">uncertainties brought by Omicorn</a> might trap him for extended periods once again, but he cannot afford to take any more chances.“For now, the priority is my daughter’s wedding,” says Amit who will have to pay the groom up to ₹400,000 (Rs640,000) in dowry. This is over 15 months of his wages, even if he were to save every paisa. There are other regular costs to take care of back home -- for food, medicine, loans for the ticket and his children’s education, making it difficult to save even a small portion of his earnings.Amit looks out of the plane’s window (pictured right) at Himalayan peaks as the plane begins its descent into Kathmandu. He says: “The work in Saudi is not easy. What work is easy? But it pays, and that’s what matters. I can save ₹25,000 a month, and that’s more than double of what I can earn in India.” <img width="640" height="853" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114091156/637203189c7e80680e0b27edjpeg.jpg" alt="">Dhana Dhana is from Gulmi district in Nepal, and is finally flying home from Delhi after the pandemic hit two years ago.“Nepal is so close, yet I have not seen my family for two-and-half years,” he says.For many Nepalis, a work stint in India is a stepping stone to go to Malaysia or the Gulf. They can save enough in India to afford to pay recruiters for the overseas jobs.But Dhana’s work history is unique. He has been to India before, then to Malaysia, Saudi Arabia, UAE and he has come right back to India after his boss in the UAE transferred him to look after his home in India. <img width="640" height="853" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114091156/6372031b9c7e80680e0b27eejpeg.jpg" alt="">Older Nepali migrant workers find the culture and familiarity of India more appealing, even though the earnings may not be as much as elsewhere. Many others are here for seasonal work as drivers or security guards because they cannot afford to pay recruiters for jobs in the Gulf. Younger Nepalis, however, do not find India as appealing.Despite being one of the largest destination countries for Nepali workers, India seldom gets the attention it deserves and is treated akin to internal migration. There is no precise count of Nepali workers in India because of the open border and no requirement for permits. But this migrant workforce <a href="https://www.nepalitimes.com/here-now/indias-covid-catastrophe-hits-nepalis-hard/">suddenly became visible during India’s Covid lockdowns</a> as Nepalis <a href="https://www.nepalitimes.com/latest/nepal-braces-for-its-2nd-covid-wave/">streamed back</a> in the hundreds of thousands.Dhana himself works at an Indian household, so was spared during Covid-19. But he knows of many Nepalis who suffered. Four of his acquaintances who lived close by lost their lives during the 2021 Delta peak.Deaths of Nepali workers in India also go largely unnoticed -- with or without Covid-19. There is no count, no compensation to families of the deceased, and no government help with repatriation as happened from the Gulf or Malaysia.“The only consolation is that here you can expect that full procedures will be followed during funerals according to Hindu rituals which you probably cannot expect elsewhere,” says Dhana. “The Nepal government should compensate families of the deceased as they are from the poorest families.”But he is quick to note the privileges of being a migrant in India versus other countries where he has lived and worked. “You don’t become undocumented in India. You are not obliged to stay with the same employer,” he says.Dhana should know: he has spent months hiding in the jungles of Johor Baru in Malaysia with 19 other Nepalis to avoid raids when he became undocumented because his employer went bankrupt.He quit his job in Saudi Arabia after three months despite having paid Rs100,000 to a recruiter. In both cases, he felt trapped as he wasn’t able to exit the countries without incurring fees, and was <a href="https://www.nepalitimes.com/here-now/in-the-minds-of-nepals-migrant-workers/">mentally stressed.</a>After making a full circle back to India where he had spent over a decade in his early twenties before venturing to Malaysia and the Gulf, he values the freedom for <a href="https://www.nepalitimes.com/latest/people-to-people-at-india-nepal-border/">Nepali workers like him in India. </a>Some names have been changed.

Rohit, Amit and Dhana

<img width="640" height="361" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108101152/636a26df9c7e80680e043a3cjpeg.jpg" alt=""/>Rap music entered the subcontinent’s musical firmament decades ago, but its essence has never been as well encapsulated as in the new Bollywood film, Gully Boy, that is in cinemas in Kathmandu this week.Right at the outset, protagonist Murad (Ranveer Singh) points out what contemporary Indian rap sounds like: “What kind of song is this? Look, this is my car! Look, this is my girl! Look at all this gold I have!” Yes, those are the rap songs we usually see from the likes of singers like Yoyo Honey Singh in most Bollywood songs.Gully Boy, however, takes us to the origins of rap, born from a need to express and to seek release from pain and suffering, from the need to stay honest and sane in a fake world, a need to seek your own centre in the constant glut of sensations that the world throws at you.It starts with the eponymous Gully Boy Murad (meaning ‘wish’, cleverly named) who lives in a slum with his extended family, just as his father brings home a second wife who is closer in age to him than his father. Murad goes to college so that he does not have to become a chauffeur like his father. But disturbed by everything he sees around him, he writes poetry at night, and is touched one day when he sees a rapper perform the kind of songs he writes.The rest of the movie is more or less predictable, but still a heartwarming tale of his eventual success as a rapper. What makes this movie watchable are the typically Indian characters, and very relatable across South Asia. The one who stands out is Shrikant aka Sher (Siddhant Chaturvedi) who essays the role of Murad’s mentor with the confidence of a seasoned performer, and not the newcomer that he is. Safeena played by Alia Bhatt is another instantly memorable character. Bhatt turns the role of a supportive girlfriend, a role that may have passed in the blink of an eye, into a fiery portrait of a millennial woman. She is studious, but also adventurous. She loves her parents, but does not hesitate to lie to them when she is going out with her boyfriend. She is smart, and keeps her own communication apps well hidden as she outs another girl who is flirting with her boyfriend. Murad and Safeena’s childhood sweethearts may seem too romanticised and unrealistic in other parts of the world. But not here in South Asia, where everyone is familiar with the game of cat and mouse with family, and sneaky ways to hang out. Meanwhile, the movie also manages to portray what life in Mumbai’s slums actually look like. Murad lives in a cramped loft of a two-room shed, and counts among his friend people who steal cars and deal with drugs. Director Zoya Akhtar’s last movie, the glitzy Dil Dhadakne Do that lacked an engaging story, had fallen flat both commercially and critically, and she had almost been slotted into a rich-world storyteller. With Gully Boy, she proves her versatility and her ability to mine all kinds of social strata. Ultimately, the movie succeeds in showing what rap means in India. For those who are alien to the genre and think rap is about ranting whatever comes to the mind (‘JPT’ in Nepali cyberlingo) Sher (meaning ‘couplet’, another clever name) gives a lecture about the centrality of poetry and rhythm in rap. Sher’s constant mentoring, and Murad’s incessant practicing, also break the myth that stars are born. Instead, it shows how much hard work it takes to be good at what you want to do. One of the most memorable scenes is when Murad is arguing with his father about his dreams, and breaks into rhythm naturally, as if he had internalised it with constant practice. Such poetry fills every moment of our lives, and we only need to open our eye and ears to see and hear them. Gully Boy reminds us how each of us have stories to tell, and if we do not tell them, we may just explode. Ultimately, it is a celebration of the human need to spell out our feelings in the form of art, so that we can connect with each other.https://www.youtube.com/watch?v=JfbxcD6biOk

Gully Boy

https://www.youtube.com/watch?v=b4g5rSiWEhMShe was just 19 when she starred in her first movie in Bollywood. As a fresh face from the mountains and with her enormous talent, <a href="https://www.imdb.com/name/nm0463539/" target="_blank" rel="noopener">Manisha Koirala</a> shone in the Indian film industry in the 1990s, winning many prestigious awards.At one point in her busy career, she was doing a dozen movies a year, working exhausting 18-hour days. Fast forward to 2012 through a string of unsuccessful romances and films, a failed marriage, and alcoholism, Manisha came face to face with death.In 2012, she was diagnosed with last-stage ovarian cancer. How she dealt with the crisis and how she came out a survivor, extricating herself not just out of the clutches of the disease, but also the rut that her life had fallen into, is the dominant theme in her new book Healed.Always a headstrong girl with a passion for details and love of nature, Manisha was raised under the loving care of her grandmother <a href="http://archive.nepalitimes.com/news.php?id=6808#.XBtl5FUzbIU" target="_blank" rel="noopener">Sushila Ama</a>, <a href="http://archive.nepalitimes.com/news.php?id=3099#.XBtlwVUzbIU" target="_blank" rel="noopener">B P Koirala’s</a> wife.Growing up with the egalitarian outlook of the Koirala household moulded her.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171148/6369378a9c7e80680e03fe42jpeg.jpg" alt="" width="200" height="174"/>Reaching out to those in need was instilled into her young mind, and it has stayed with her: lending a helping hand, including for cancer patients, or rooting for women’s health and wellbeing as <a style="background-color: #ffffff; letter-spacing: 0.01em;" href="http://(UNFPA) http://archive.nepalitimes.com/news.php?id=7019#.XBtim1UzbIU" target="_blank" rel="noopener">goodwill ambassador for the UN Population Fund</a>.And now, with <a style="background-color: #ffffff; letter-spacing: 0.01em;" href="https://www.amazon.in/Healed-How-Cancer-Gave-Life/dp/0670091979" target="_blank" rel="noopener">Healed</a>, she decided to open up her life and its learnings to benefit the public at large. “Now that I am healed, I wish to help others,” Manisha Koirala told Nepali Times in an interview this week ahead of the Nepal Literature Festival in Pokhara, where her parents will unveil the book on 22 December.Read also: <a style="background-color: #ffffff; letter-spacing: 0.01em;" href="https://archive.nepalitimes.com/article/nation/think-pink-breast%20cancer-diagnosis-treatment,3877" target="_blank" rel="noopener">Think Pink</a>, Sonia AwaleManisha was among the lucky quintile of women who have been diagnosed with stage four ovarian cancer but beaten the disease. She has now been cancer free for six years, and now follows a ‘reformed” regimen of meditation, prayer, yoga, pranayama and vegetarian diet, with a huge dollop of mindfulness. She went back to Bollywood after a five year break, and is now focused on taking on fewer, yet more meaningful films.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171148/6369378b9c7e80680e03fe43jpeg.jpg" alt="" width="1500" height="1000"><figcaption> </figcaption></figure>Manisha considers herself lucky for the unflinching support of her family (especially her parents and brother) and friends, as well as the resources and connections to battle cancer. Cancer treatment is expensive, she says, and wants the Nepal Government to do more on prevention by checking toxic contamination of air, water and food, promote healthier lifestyles, and to  provide world class affordable cancer treatment for the needy. And the rest is up to individuals.“Cancer is not a death sentence, so one should not lose hope,” she says.Read also: <a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="http://archive.nepalitimes.com/news.php?id=9322#.XBtn01UzbIU" target="_blank" rel="noopener">Cancer refuge </a>Healed is co-authored with Neelam Kumar, also a cancer survivor, in which we join Manisha in a roller-coaster ride as she struggles against the disease. Through the highs and lows of her emotions as she learns about the diagnosis in Kathmandu, the confirmation in Mumbai, the final verdict and treatment in New York, and then her slow and bumpy recovery towards being cancer free.In the process, Manisha’s tale meanders through the darkness of her feelings of fear, panic and pain and oscillates between glimmers of hope and shadows of hopelessness.  It is a book of self-discovery, where the author honestly and minutely analyses her own life, her decisions, her ‘toxic relationships’ and  mistakes. It combs through events and people that shaped her, and allowed her to overcome the disease.The fluid narrative borrows on memories of an actress who has starred in over 80 Bollywood movies, and lays bare the ordinary human being behind the trappings of the spotlight and glamour. Nothing is spared, the raw emotions are laid out in agonising detail: her post surgery ‘ruthlessly stapled’ abdomen, the time she lets out a ‘guttural cry’ in the privacy of her shower, or when she likens the agony of the first chemotherapy session to ‘…dark, wild wolves, their mouths open, fangs bared, seeking out each vein of my body, tearing forward at great speed, hell-bent on destruction.’Read also: <a href="http://archive.nepalitimes.com/article/nation/Communicati-about-non-communicable-diseases,1153" target="_blank" rel="noopener">Communicating about non-communicable diseases</a>, Elina Pradhan and Bigyan R BistaIt is a frank book, where the movie star has not hesitated to share even not-so-flattering photos of her post-chemo self, sans hair, eyebrows or eyelashes. And all the time as the narrative moves forward, she intersperses it with reflections from the past, detailed description of sights, sounds and smells in the world around her – the sea, sunlight, birds, flowers, forests and mountains, the scent of incense. The book even has descriptions of what her doctors in Kathmandu, Mumbai or New York were wearing.There are tales within tales that make the reader keep turning the pages, whether it is the roles of the magic mala, the Maori healers and the redhot ovaries, the Cherokee parable, the trapped butterfly, or the references to words of wisdom and spiritualism, the mantras, and even quantum physics, that helped her in the path to being healed.We travel along with Manisha as she turns from a ‘weak tree’ to a ‘deep-rooted banyan’ in this journey of self-discovery. We learn from the abundant tips and tricks she shares about self-healing, whether it is ‘visualisations, affirmations, and talking to the body’ or the auto-suggestion of repeating ‘I’m cured, I’m strong, I’m healthy, I’m fine.’<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171148/6369378e9c7e80680e03fe44jpeg.jpg" alt="" width="640" height="960">Manisha admits that cancer came into her life ‘as a gift, that left her with many learnings, just like a flooded river that leaves behind rich deposits of silt’. And she shares these learnings with her readers, more so her female readers.She dissects her life choices, her habits, and directs us to pay attention to everyone’s ‘inner compass’, to embrace life and live in the moment just as she learnt to.Healed: How cancer gave me a new lifeManisha Koirala with Neelam KumarPenguin Random House India, 2018INR: 499219 pagesBuy Healed on <a href="https://amzn.to/2rOTmAV" target="_blank" rel="noopener">amazon</a><a href="https://amzn.to/2rOTmAV"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171148/636937919c7e80680e03fe45jpeg.jpg" alt="" width="200" height="307"></a>Read also: <a href="http://archive.nepalitimes.com/news.php?id=19634#.XBtovVUzbIV" target="_blank" rel="noopener">A win-win battle</a>, Buddha Basnyat<a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="http://archive.nepalitimes.com/news.php?id=12756#.XBtn7VUzbIU" target="_blank" rel="noopener">Peaceful end</a>, Jemima Sherpa

Manisha Koirala’s new life

The book <a href="https://www.amazon.com/Another-South-Asia-Nath-Pathak/dp/9386552582" target="_blank" rel="noopener">Another South Asia!</a> with an assertive exclamation mark in its title requires one to pause, and step back to recall what is South Asia, before one engages with the idea of what could be ‘another’.The essays in this book explore institutional lapses like <a href="http://archive.nepalitimes.com/page/saarc-timeline" target="_blank" rel="noopener">SAARC</a> which have not done much about the region, and includes the failure of academics. The book posits the possibility of exploring ‘another’: a soothing, disarming, and yet not credulous, utopia.It is common to understand the region <a href="https://archive.nepalitimes.com/regular-columns/by-the-way/reimagining-south-asia,396" target="_blank" rel="noopener">through the lens of ‘India’s hegemonic power’</a> -- often provides for understanding everything bad in South Asia, be it the <a href="http://archive.nepalitimes.com/article/editorial/autopsy-of-a-blockade%20,2863" target="_blank" rel="noopener">Indian Blockade of Nepal</a> or the omnipresence of China’s influence in the region. The book jolts one out of this intellectual stupor, rejecting not just the conventional approach, but also explores a tapestry of lived history woven into the fabric of daily life. It begins to feel that there is more to the idea of <a href="https://archive.nepalitimes.com/regular-columns/On-the-way-up/Different-regionalisms-SAARC,987" target="_blank" rel="noopener">South Asia</a> than one realised.The book explores South Asia through its fluid faiths and intellectual history, cross border bonhomie of artists, revolutionary poets of the region in the framework of ‘organic intellectuals’, and the Progressive Writers’ Association as a case for a South Asian literary imagination.That is not all. The dramatic and performative traditions of the region show them to be trans-local and deeply melodramatic without being Bollywood-like. It also invites us to see, smell, and savour South Asia far beyond its cartographic territory. Most importantly, this all premises on the idea that the region ought to be understood on its own both as a World Region, a civilisational entity in its own right.This is a refreshing departure from intellectual preoccupations of scholars, diplomats, bureaucrats, and officials who tend to be in confusion about South Asia. It is not too concerned with finding ‘the other’, but in this strength is also its weakness. Even while the book accepts the predominance of the state in South Asia, it resists an attempt to have a discussion about it. It is perhaps due to the objective of exploring much needed utopian imagination.  The book can only be summarised in metaphor, which is also a metaphor for the history of South Asia. The Jinnah House in Bombay which Indians cannot understand why after insisting on a separate nation, Jinnah said he wanted to spend a peaceful retired life in it after partition. Pakistani diplomats insist that it is a sign of Jinnah’s generosity, and that Indians have misunderstood him. Meanwhile, the biggest builder of Bombay who is also a member of parliament wants to pull it down, and replace it with something ‘better’.If the gates of that abandoned house were to be opened for people to live in it, and the house was to have a library, one imagines that a copy of this book would find a prized place on the shelves of that library. Another South Asia! Offers that tantalising possibility.  Shray Mehta is a PhD candidate at the Department of Sociology, South Asian University, New DelhiAnother South Asia!Edited by Dev Nath PathakNew Delhi: Primus Books, 2017ISBN: 978-93-86552-58-7Price: INR 1,395		
										<img width="344" height="499" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171132/636933af9c7e80680e03dfb1jpeg.jpg" alt=""/>Read also:<a href="https://www.nepalitimes.com/editorial/sorry-state/" target="_blank" rel="noopener">Sorry state</a>, Editorial

Re-imagining South Asia

Architecture can be a powerful agent of change, shaping not just spaces but the way people live, connect, and experience the world.&nbsp; For Nepal, which is <a href="https://nepalitimes.com/banner/natures-fragile-gift-to-nepal">gifted by nature</a> and rich in <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/ambassador-fund-cultural-preservation-nepal,2092">cultural heritage</a>, &nbsp;reviving rural architecture with modern amenities could hold the key to more <a href="https://nepalitimes.com/here-now/what-sustainable-tourism-means-in-practice">sustainable tourism </a>that benefits local people more. “<a href="https://nepalitimes.com/banner/bayalpata-hospital-in-nepal-wins-global-design-award">Design and architecture</a> are amazing tools to create a unique experience for visitors,” says Spanish architect Tomeu Esteva of Esteva i Esteva Architecture Studio. “Difficult destinations have beautiful hotels with design and comfort.” Esteva was in Kathmandu with his colleagues at an event organised by the Spanish Honorary Consulate at Dwarika’s Hotel last week to showcase buildings which Nepali architects can adapt with local material and design inputs.&nbsp; Rural architecture holds a unique significance: it is more than a shelter and must reflect <a href="https://nepalitimes.com/here-now/inking-an-idenity">local identity, culture</a> and <a href="https://nepalitimes.com/here-now/saving-humla-from-heritage-loss">heritage</a>. An area’s natural and cultural harmony can be upset by <a href="https://nepalitimes.com/here-now/protecting-protected-areas-from-infrastructure?fbclid=IwAR1wK0MDFlFST_2EYb3f54LS4-fPt6rYfLG1DJ1JaQsU3w8-ezyXIxGOqzk">poorly planned development</a>, speakers at the event said, but the environment can be improved and revitalised by well-integrated structures.&nbsp; Another Spanish architect, Belen Moneo, has designed hotels at elevations of 3,700m in her home country Spain that supply natural spring water spas. “<a href="https://nepalitimes.com/banner/lost-in-reconstruction">Creativity in construction</a> must be encouraged. Rural architecture always shows possibilities of what we can do better,” Moneo explains, adding that designs must enhance <a href="https://nepalitimes.com/opinion/the-healing-power-of-nature">the beauty of nature</a> and give a natural feel at a time when steel, glass and cement dominate <a href="https://nepalitimes.com/here-now/rebuilding-kathmandu-after-the-1934-quake">urban design</a>.&nbsp; This is why the <a href="https://nepalitimes.com/here-now/weaving-nature-into-craft">use of natural products</a> such as bamboo, local timber, straw and rammed earth are in demand from customers who want a fresh eco-friendly look encouraged in construction of rural architectural structures. The demand for boutique hotels has increased world over, with &nbsp;more and more tourists favouring aesthetics, experience and comfort over price. While creativity is an important part of <a href="https://nepalitimes.com/here-now/architecture-for-mountains">construction and architecture</a>, incentives to build and use <a href="https://archive.nepalitimes.com/article/nation/Building,370">rural construction materials</a> still remain minimal, and Moneo emphasises the significance of design and execution.&nbsp; Esteva helped design the Vana Retreat in Dehradun that kept the natural environment in focus, with the structure giving an elaborate aesthetic experience to visitors. Another example is Hotel Las Mercedes in the Dominican Republic which was designed and constructed by Moneo and the company she co-founded Moneo Brock, respecting and revaluing the traditional architecture of the area. Hotels providing such experience could attract tourists and revenue. The Spanish ambassador to Nepal Juan Antonio March Pujol said, “The role of architecture and architects in developing tourism is crucial, not only in urban areas but rural settings as well.”&nbsp; The concept of rural boutique hotels gained traction in Spain during the 1990s, particularly in regions like Majorca with economic and environmental sustainability as the main focus. In Nepal <a href="https://nepalitimes.com/opinion/12-full-opinion/guiding-nepal-s-tourism-industry">the tourism industry</a> directly employs about 1 million people, and makes up about 8% of the country’s GDP. In Nepal, the stone homes of <a href="https://nepalitimes.com/news/reviving-himalayan-vulture-and-culture">Mustang and Manang</a>, bamboo and mud structures of <a href="https://nepalitimes.com/here-now/the-tarai-s-shrinking-forests">the Tarai</a>, and the Kathmandu Valley’s terra cotta tile skylines, graceful temples, and tranquil bahal courtyards are all examples of <a href="https://nepalitimes.com/here-now/nepal-s-traditional-seismic-resistant-designs">Nepal’s traditional architecture</a>.&nbsp; Nepali architect Sarosh Pradhan has been working for the past eight years on the Brakka Village project in Manang Valley north of <a href="https://nepalitimes.com/banner/municipalities-want-to-manage-annapurna">the Annapurnas</a>. Other examples of this kind of rural architecture for high-end tourism are the Shinta Mani Hotel in Mustang and Khumbu Lodge below <a href="https://nepalitimes.com/news/mt-everest-pvt-ltd">Mt Everest</a>. Says Pradhan, “There are places in Nepal that radiate purity and embrace simplicity. Creating projects in such settings require deep reflection and thoughtful planning.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250421030444_a07a23f6b60fa89c0f35b9dc1aaf19937da4881e6bfb2e1858f3c27dff91729f.jpg" data-media-id="editor_19" data-image-id="20250421030444_a07a23f6b60fa89c0f35b9dc1aaf19937da4881e6bfb2e1858f3c27dff91729f" data-rendition-name="original" width="4608" height="2184" loading="lazy" alt="A new architecture for Nepal's tourism"> </figure>  Rural architecture is not easy, and sometimes more expensive. Inflation, energy efficiency, <a href="https://nepalitimes.com/here-now/those-who-stay">the climate crisis</a>, and <a href="https://nepalitimes.com/banner/cost-of-living-in-a-big-city">increased costs of living</a> pose obstacles to sustainable rural architecture. Read also: <a href="https://nepalitimes.com/here-now/forgotten-international-starchitects-in-nepal">Forgotten international starchitects in Nepal</a>, Anne Feenstra and Varun S Bapu Esteva says faith and trust between client and architect is necessary for any project to be successful. He adds that architects must practice being humble, the process of designing always involves learning and not imposing their ideas on clients. Nepal is uniquely positioned for the growth of <a href="https://nepalitimes.com/banner/hiking-up-the-benefits-of-tourism">rural tourism</a> because of its stunning countryside as well as its internationally renowned traditions in holistic wellness. Creating infrastructure that is small, thoughtfully planned and that respects both tradition and contemporary hospitality standards is crucial. “Projects in Nepal can be made cost effective by using materials from houses that have been brought down,” says Esteva. “Pilot projects involving <a href="https://nepalitimes.com/banner/local-government-by-the-people-for-the-people-of-the-people">local people </a>and simple designing also helps the process.” <a href="https://nepalitimes.com/banner/vacant-homes-become-homestays-in-nepal">The growth of homestays in Nepal</a> is a step in the right direction, but they are still a bit too rustic for the international traveller who also wants comfort and is willing to pay extra for it. Upgrading the facilities in homestays and ensuring that the <a href="https://nepalitimes.com/here-now/an-archive-of-nepali-heritage">architectural heritage</a> of the locality is preserved using locally sourced building material could allow owners to charge more. Says Sangita Shrestha of Dwarika’s Hotel, “Our effort is to build upon rural architecture by empowering local communities and using what is available locally. We can fine tune and encourage indigenous design and training.” The vision goes beyond just boosting the economy, it is about building a future where tourism helps villages grow in a healthy and lasting way. Instead of using up resources, it gives back to the land and the people. It supports local communities by<a href="https://nepalitimes.com/opinion/staying-in-nepal-to-create-jobs"> creating jobs</a>, improving infrastructure, and protecting natural beauty. When done right, tourism can be a tool for <a href="https://nepalitimes.com/editorial/progress-and-or-preservation">preserving culture and nature</a>, not harming them. Architects must therefore see their work as more than just designing buildings, they also need to care deeply about people and places, especially in rural areas that can benefit the most.&nbsp; With global interest in sustainable and off-the-beaten-path travel increasing, Nepal stands at the cusp of a <a href="https://nepalitimes.com/news/missing-out-on-nepal-s-tourism-potential">tourism transformation</a> that values community-driven, eco-conscious hospitality. A mix of modern ideas and traditional knowledge could transform rural tourism in Nepal. Says Shrestha, “Young architects should spend time with <a href="https://nepalitimes.com/latest/the-unsung-heroes-of-conservation">local and indigenous communities</a>, listen to their stories, and learn from their <a href="https://nepalitimes.com/banner/life-and-livelihood-in-remote-nepal">ways of living</a>. These communities have deep knowledge about the land, materials, and climate. If this wisdom is used in new designs, it can help create tourism spaces that truly benefit everyone.” &nbsp;

A new architecture for Nepal's tourism

Extract from an addendum to Nepal's Two Wars, Chapter 2 in the updated edition of Essays on Nepal: Past and Present by Sam Cowan, a retired British Army general with a long association with the Gurkhas. The book was first published in 2018, and republished earlier this month by FinePrint exclusively on Amazon. The addendum details a one-to-one conversation the author had in the <a href="https://archive.nepalitimes.com/news.php?id=8884">Royal Palace </a>with the <a href="https://archive.nepalitimes.com/news.php?id=8371">King Gyanendra</a> in November 2002 just after he had taken his initial steps on the road that ultimately led to <a href="https://archive.nepalitimes.com/news.php?id=14681">the abolition of the monarchy</a> in Nepal in 2008. In the early evening of September 16, 2002, in my role as Colonel Commandant of the Brigade of Gurkhas, I had my second and last official audience with King Gyanendra to give him an update on the Brigade’s activities over the previous 12 months. I had some 6 or 7 such audiences with <a href="https://nepalitimes.com/here-now/preserving-king-birendra-s-family-home">King Birendra</a>.&nbsp; These were official affairs with the British ambassador of the day present, along with key <a href="https://archive.nepalitimes.com/news.php?id=12233">palace officials</a> and a representative from Nepal's Foreign Ministry. The two monarchs were very different in character and temperament, but both treated me with the utmost civility and made the audiences as relaxed and easy for me as possible.&nbsp; It is, however, worth recording that when the official business had been covered, King Birendra, with a twinkle in his eye, often ended by asking, “Now General, what’s the gossip in London?” The second audience with <a href="https://archive.nepalitimes.com/news.php?id=8026">King Gyanendra </a>was my last official act in uniform. We came back to Kathmandu in the first week of November (after treks) to stay for a few nights with our Defence Attaché before heading back to the UK. Waiting for me was a message from the Palace saying that King Gyanendra would like to meet me informally: <a href="https://archive.nepalitimes.com/news.php?id=6933">no uniform</a> and no ambassador.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250421080420_f9046f9882d4481781d14f2b64f18c7fbbea62562e1d74e3465de6d01fb43750.jpg" data-media-id="editor_7" data-image-id="20250421080420_f9046f9882d4481781d14f2b64f18c7fbbea62562e1d74e3465de6d01fb43750" data-rendition-name="original" width="1750" height="2406" loading="lazy" alt="Gyanendra crowned page 1"> <figcaption>Nepali Times Special Edition of 6-14 June 2001 with enthronement of Gyanendra. </figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250421080424_21333d6ae21828eb47fe3f849438d215fe2804460d47bb2896ef4aee4e895ad2.jpg" data-media-id="editor_8" data-image-id="20250421080424_21333d6ae21828eb47fe3f849438d215fe2804460d47bb2896ef4aee4e895ad2" data-rendition-name="original" width="1500" height="1857" loading="lazy" alt="Royal massacre"> <figcaption>Nepali Times 22-29 June 2001 covering the royal massacre after which Gyanendra became king. </figcaption> </figure>  Although I had no idea what the purpose of the meeting might be, events in Kathmandu since I last saw the king put me on edge. On October 4, 2002, Gyanendra had dismissed Prime Minister Sher Bahadur Deuba, allegedly for failing to hold <a href="https://nepalitimes.com/news/what-goes-on-in-nepal-s-elections">elections</a>. He had put in place a new prime minister and a cabinet personally selected by him. When I heard the news on my travels, the people I met were generally supportive of the king’s actions. There was a general view that something had to be done, the country was going nowhere, and the king deserved his chance, not least to solve<a href="https://nepalitimes.com/latest/14-years-after-conflict-no-closure-in-nepal"> the Maoist </a>problem. Back in Kathmandu, views were not so sanguine. The chosen prime minister, Lokendra Bahadur Chand, was a relic from <a href="https://nepalitimes.com/here-now/mob-movement-and-mayhem">the Panchayat period</a> whose party had failed to win a single seat in the last elections held in 1999. Some of the chosen cabinet ministers had, to put it mildly, dubious reputations, and others had no record of proven competence in any field. There was a fear that the king’s real motive in dismissing <a href="https://nepalitimes.com/editorial/deubas-denouement">Deuba</a> was to start to reverse the democratic gains made since 1990. I informed <a href="https://nepalitimes.com/news/nepal-britain-mark-centenary-of-1923-treaty">the British ambassador</a> about the invitation. He was strongly against accepting it, which was probably the clinching reason for my decision to do the polite thing and accept it. On the evening of November 7, 2002, I presented myself at the royal palace, alone and in civilian attire.&nbsp; As in the past, the Military Secretary, Major General Vivek Shah, met and escorted me into the presence of the monarch. This time, however, he was politely asked to leave the room and shut the door behind him. King Gyanendra greeted me warmly and invited me to sit down.&nbsp; Read also:<a href="https://nepalitimes.com/news/the-ghost-of-monarchy-returns-to-haunt-nepal"> The ghost of monarchy returns to haunt Nepal</a>, Shristi Karki  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250421080424_e382af945d0ad2a04ae41fabe5393f793dd10f54cb1220f111c7c9e7423eb558.jpg" data-media-id="editor_15" data-image-id="20250421080424_e382af945d0ad2a04ae41fabe5393f793dd10f54cb1220f111c7c9e7423eb558" data-rendition-name="original" width="1000" height="993" loading="lazy" alt="Gyanendra coup"> <figcaption>Nepali Times 4-10 February 2005 after king Gyanendra's coup imposed media censorship. anendra became king. </figcaption> </figure>  I had wondered, and to be truthful, had worried, not just about the purpose of the meeting, but about how the conversation might start and develop. I reduced my resolve to two points: be polite but speak candidly. The latter resolve was quickly put to the test with the king’s opening words: “Sam, [in previous meetings it had been ‘General’, you walk the highways and byways of this land more than most, tell me what the common man is thinking?” &nbsp;“Your Majesty, I have no idea what they are thinking, but they are waiting.” “Waiting?” “Yes, Your Majesty, they are waiting to see whether what you did some weeks ago in appointing your own prime minister and cabinet ministers is going to make any difference to their lives or whether it is just going to be more Kathmandu hot air.” “Everything is going to be difficult and is going to take time, a lot of time.” “Your Majesty, time is the one thing you don’t have. You must act quickly and decisively to take advantage of the opportunity you have created. Everyone knows that you have appointed these new ministers. Why don’t you get them in here one by one and tell them that they have three months to deliver a programme in their area of responsibility that is going to make a difference to people’s lives? Most will fail to do so. Sack them! It will be a powerful signal of your strong intent to deliver real change.” I can express the opening of our conversation in this way because just about every word is still etched in my mind. The king’s response to my last quoted words was to challenge me to give an example of something that could be delivered quickly. I can give a verbatim record of what I said in response to this unexpected challenge: “Health posts, Your Majesty, there is no shortage of them throughout the country as building them has been one of the sources of local corruption, but very few have any medicine to issue at present or have skilled people to assess and meet medical needs. Your Majesty, children are dying for lack of a few pills. Given the right priority, over a period, say of six months, every health post could be fully stocked with medicine and manned with trained people. This is something I could help to lead for you as I know it would have strong international backing. At last, people would know that you mean business.” As I warmed to the theme, I could see no sign of the king having any enthusiasm for the idea, and I quickly disengaged as it dawned on me, as it had clearly dawned on the king, that the reason for the deficiencies in health posts was to prevent any Maoist combatant from gaining access to any <a href="https://nepalitimes.com/opinion/tech-away/nepal-s-health-tech-industry-is-here-to-stay">medical support</a>, and if this meant people suffering, so be it. The subject of the Maoist insurgency inevitably came up, and I took the opportunity to elaborate on what is written in the final four paragraphs of the article above. I advised King Gyanendra that, self-evidently, since there were three parties in the conflict—him, the Maoists, and the political parties—it was imperative that he form an alliance with one of them, preferably the political parties; otherwise, he would find himself isolated, as the other two parties would inevitably, at some stage, form their own alliance. However, it quickly became apparent that the king’s mind was on a totally different track. On the Maoists, he told me that he had channels open to them, but he was scathing about the political party leaders. He made it clear that they would be waiting for a very long time before he gave any power back to them, and that is a polite way of expressing the actual words he used, but “crawling through the door” is a phrase which has stuck in my mind.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250421080424_5403455ff6168f0d202a96cb53edea69136d74d59b989cfcc7cc4a1d57672cb5.jpg" data-media-id="editor_17" data-image-id="20250421080424_5403455ff6168f0d202a96cb53edea69136d74d59b989cfcc7cc4a1d57672cb5" data-rendition-name="original" width="2000" height="1317" loading="lazy" alt="fall of monarchy"> <figcaption>Nepali Times 28 April-3 May 2005 with cover image by Ajay Joshi of jubilant protesters after street demonstrations sidelined king Gyanendra, paving the way for a ceasfire and restoration of democracy. </figcaption> </figure>  As the conversation developed, it became ever clearer that King Gyanendra had decided to go in alone, relying on the misleading assurances he was constantly receiving from <a href="https://archive.nepalitimes.com/news.php?id=14954">the army</a>, and no doubt his close advisers, that the Maoists could and would be quickly defeated militarily, and taken out of the equation. This would obviate the need for him to do any deal with the political parties.&nbsp; Thus, the way would be clear for him to establish a version of his father’s Panchayat system, under a constitution that would be granted to the people by him, their sovereign, as his father and brother had done in 1962 and 1990. As in those constitutions, ultimate power would have remained in the sovereign’s hands. This proposed direction of travel was very clear from what the king said to me. In sum, King Gyanendra was motivated by a desire to emulate his immediate predecessors by granting his people a constitution that would restore his father’s Panchayat system in a modern form and give him a central role in decision-making. What was particularly dispiriting was that beyond this single objective he had no plan worthy of the name, nor demonstrably did he have the people with the skills to implement an appropriate plan even if one had existed. Crucially and depressingly, there was little or no indication from the king that he realised that such a course of action could put Nepal’s monarchy into serious jeopardy, as indeed proved to be the case. <h2>King Twice</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250420110436_315d519fe3d68d2406ebe1480fed54720fbf21b8907a4da5cde751fdc623d445.jpg" data-media-id="editor_19" data-image-id="20250420110436_315d519fe3d68d2406ebe1480fed54720fbf21b8907a4da5cde751fdc623d445" data-rendition-name="original" width="1302" height="632" loading="lazy" alt="“Tell me what the common man is thinking!”"> </figure>  <a href="https://archive.nepalitimes.com/news.php?id=8371">Gyanendra Bir Bikram Shah has been king twice</a>. In 1950 he was enthroned briefly as a child king (left, above) by the Rana Prime Minister Mohan Shumsher when his grandfather, King Tribhuvan, fled to exile in India. In 2001 he was crowned king again after the massacre in the royal palace in which his brother King Birendra and nine other members of his family were killed by Crown Prince Dipendra.&nbsp; During his second reign, Gyanendra gradually asserted power by sacking Prime Minister Sher Bahadur Deuba in 2002, and then taking full control after the 1 February 2005 coup. He was sidelined after the ceasefire in April 2006, and became a commoner after the Constituent Assembly finally <a href="https://archive.nepalitimes.com/article/from-nepali-press/Ftnp-abolishing,624">abolished the monarchy in 2008</a>. In the past year, Gyanendra has tried to exploit public dissatisfaction with the political parties to restore the monarchy.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250421080432_26ef4a4b0e3cee9fdc6794446702efe16550d293904b4f6dd46fe35d4d10c788.jpg" data-media-id="editor_22" data-image-id="20250421080432_26ef4a4b0e3cee9fdc6794446702efe16550d293904b4f6dd46fe35d4d10c788" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Essays on Nepal by Sam Cowen"> </figure>

“Tell me what the common man is thinking!”

“It's Kathmandu.” Just as the family was sitting down for one of its extended lunches, that jubilant cry was from François Driard’s grandfather announcing the next posting for his diplomat parents.&nbsp; Driard (pictured) was 18 in the summer of 1996,<a href="https://nepalitimes.com/opinion/suburban-tales/chasing-a-nomad"> a bit of a hippie</a> already, and his life was about to change forever with the magical word “<a href="https://nepalitimes.com/banner/time-capsule-of-kathmandu">Kathmandu</a>”. “I was awed with that information from my grandfather, nothing else mattered … In France <a href="https://nepalitimes.com/here-now/tales-of-courage-and-suffering-cx95f89e">in the 1990s</a>, Kathmandu had a mythical aura,” Driard recalls. He came to Kathmandu for Christmas that year to visit his stepfather, the French Ambassador Michel Lummaux. It was to be the first of many visits during school holidays, before he decided to permanently settle down in Nepal. “Kathmandu, and Nepal, were very different then, it was magical, I liked the nature, the people, civilisation, temples, trees,” says Driard, who explored the country sitting on the top of buses. “Visitors talk about the crazy <a href="https://nepalitimes.com/banner/cost-of-living-in-a-big-city">urbanisation</a>, traffic jams today, and all that is true. But Kathmandu has not <a href="https://nepalitimes.com/here-now/loss-of-soul-and-soil">lost its soul</a>.” After his stepfather’s tenure in Nepal ended, Driard worked as a business reporter for international publications but decided he did not want to be anyone’s employee anymore. In 2007 he landed in Kathmandu with €20,000 in savings to invest.&nbsp; He knew a few crucial things about himself: he liked food and nature, which is very much tied up with his upbringing--full of lively conversations during lunch and dinner at the family table between <a href="https://nepalitimes.com/here-now/nepals-yak-cheese-is-on-world-map">abundant cheese, wine and cigars</a>. So he decided it would be cheese, and registered Himalayan French Cheese and went to the French Alps for a month to learn how to make Tomme de Savoie. “<a href="https://nepalitimes.com/banner/the-story-of-langtang-cheese">Cheese making is such an ancient craft </a>and so I thought I won’t need much money or studying which I hated and indeed, if you have a tamako bhado and fire you are set,” explains Driard. But Nepal’s temperature and humidity were not ideal, even at higher altitudes. The first customers for his cheese were the Hyatt Regency and Nina and Hager. But he needed to create a market for cheese in a country which only knew hard churpi in the north and soft paneer in the south. He started selling his cheeses at the Summit Hotel weekend market, expanding to his own 1905 Farmer’s Market which later moved to Le Sherpa in Maharajganj, where it is now, and also a market at Labim Mall in Pulchok. He had cow dairies in Nuwakot and Dhulikhel, and finally a yak cheese unit at 3,379m in Ramechhap. It was the yak blue cheese from here that went on to win a Gold Medal in France, putting Nepal’s French cheese on the world map. “People come and try our cheese at the market, they ask questions. There is a lot of education to be done about cheese,” adds Driard, who also has three cheese shops in the Valley. Driard now makes 25 types of cheese. The products are being noticed and every year he has French students coming to Nepal to learn the art of yak cheese making. “In France, one family or company makes one kind of cheese for generations. In that I’m very unique as a cheese artisan,” he says. “The students come in to learn but I tell them to also teach us something too, add another cheese to my collection.” Read also: <a href="https://nepalitimes.com/here-now/langtang-after-10-years">Langtang after 10 years</a>, Sonia Awale Being a foodie, Driard is now also dabbling in meat with his own charcuterie at Meatini with bacon, ham, sausage and pâtés. All of this is now served at his Emilio’s Pizza, a leafy hideaway in Lazimpat. His South Side in Moksh is probably the smallest wine bar in the world. “I call the process sublime,” says Driard of his ventures, which have grown organically. “You need the same temperature and humidity of 12°C and 80% for cheese, meat and wine.” Emilio’s speciality is the eight-cheese pizza (which has eight types of cheeses), and a pizza with bhutan topping (not the country but fried intestines and organs Nepali-style). He has opened a small branch at Courtyard in Pokhara.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250426070456_bacae302c040dc18eeecdeafda72ddf06a6d2cec138ea9be7e45fe94cdf8b5b3.jpg" data-media-id="editor_8" data-image-id="20250426070456_bacae302c040dc18eeecdeafda72ddf06a6d2cec138ea9be7e45fe94cdf8b5b3" data-rendition-name="original" width="1500" height="1125" loading="lazy" alt="8 cheese pizza"> <figcaption>Eight-cheese pizza</figcaption> </figure>  With two artisanal cheese units, two farmers’ markets, a <a href="https://nepalitimes.com/here-now/the-meat-of-the-story">meat processing unit</a>, a bakery, and wine bar he now envisions a vineyard so he can add Nepali wine to his repertoire. Another future plan is to start up an agri-tourism business where customers can drink, eat and work in peace. In the past 20 years in Nepal, Driard has not always succeeded in his ventures but this hasn’t curbed his enthusiasm. He is learning as he goes, and like an old wine, Nepal is growing on him. Its slowness suits his French art de vivre with eating slowly outdoors, having conversation, importing less.&nbsp; “I have proven that with even a little money you can do a lot of things in Nepal,” adds Driard. “In the West, they easily invest half a million euros on a cheese factory, I invested 10 times less.”&nbsp;

Fromage, vin et charcuterie Népalais

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

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