If it is October, it must be Dasain in Kathmandu. And it must be time for Surya Nepal Jazzmandu. This year, the 17th edition of the Kathmandu Jazz Festival returns with artists from all over the globe performing in the city.International bands like Tropic Green, RSxT, Adrian Crookston &amp; Palouse Forro, Paul Tynan &amp; Jake Hanlon and Faby Medina, as well as The Blue Fret, Cadenza Collective and Jooni from Nepal will be performing from 17-23 October in different venues in Kathmandu Valley.Jazz has come a long way from the African American communities on the cobbled streets of New Orleans in the late 19th century to different corners of the globe. It has evolved into latin jazz, gypsy jazz, Afro-Cuban jazz, and even Nepali jazz. But even though the blues and swing-inspired art form has branched out, improvisation -- the essence of jazz -- is still its heart and soul. Read also: <a href="https://www.nepalitimes.com/here-now/kathmandu-and-all-that-jazz/" target="_blank" rel="noopener">Kathmandu, and all that jazz …</a>, Sewa Bhattarai“In Nepal, jazz has influenced and inspired lot of Nepalis into listening, learning and playing jazz. Surya Nepal Jazzmandu has promoted jazz in Nepal and has brought renowned world class musicians to audiences in Kathmandu” says Samir Chettri, an organiser of the festival and band member of Cadenza Collective.The Collective with its eclectic Afro-Funk tunes, Nepali lyrics and jazz undertones have defined the diverse identity of Nepali jazz since its inception almost two decades ago. With the bass, keyboard, bansuri and sarangi. The Blue Fret band has also created its own jazz sound, combining the swing and blues roots of jazz with the traditional spin of Nepali instruments.Read also: <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/jazzing-up-in-kathmandu,3316" target="_blank" rel="noopener">Jazz it up in 'Mandu</a>, Sahina ShresthaJooni, a quintet composed of artists from Nepal and around the world, embodies the sound of modern jazz and traditional Nepali music, giving life to a diversity of sounds and rhythms. The variety of international and national artists this year will add music to the streets and halls of Kathmandu between the holidays, sprinkling their melodious magic.Says Chettri: “Having musicians from different parts of the world brings cultural interaction and diversity. The fusion of Nepali classical music with jazz has also been one of the biggest highlights of the festival. The festival itself is a very inspiring and unique experience for visiting artists, Nepali musicians as well as the audience.” Read also: <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/sounds-of-west-africa-julia-sarr-quartet,3977" target="_blank" rel="noopener">West African Soul</a> <h2>Paul Tynan and Jake Hanlon, Canada</h2> Trumpeter Paul Tynan and guitarist Jake Hanlon are a dynamic jazz duo from Canada. Having played together for more than 10 years, they have developed a rare musical chemistry that is ever present through their fluid improvisations during performances.“Improvisation is the heart and soul of jazz. It’s where the art lives in jazz music.  As a jazz musician improvisation means creating new music in the moment while being mindful of the surrounding sonic environment and what the other musicians are contributing to that by reacting and interacting. It’s a lot like a deep verbal conversation in many ways.”   <img width="500" height="419" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141152/636a5f2b9c7e80680e056e0ejpeg.jpg" alt=""/><h2>Faby Medina, France</h2> <img width="500" height="419" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141152/636a5f2d9c7e80680e056e0fjpeg.jpg" alt="">Faby Medina is a captivating singer-songwriter who released her debut album Following Love in 2017.Her songs are deeply personal, upbeat, occasionally influenced by her Caribbean background and touched with soul, swing and pop. She will be backed by Frank Herrgott (keyboard), Bruno Schorp (bass) and Julie Saury (drums).“Ella Fitzgerald! The first time I heard her voice, I was in shock. Her swing, her scat, her humour, her joy! I just fell in love! My Caribbean roots has also influenced my sound. It helps me to sing with my body. My parents come from Guadeloupe and it’s very important to dance out there! Everyone is comfortable with their body.” <h2>The Blue Fret</h2> Led by the musical Suman Thapa, this Nepali band combines the traditional sound of the bansuri and sarangi with western tones and both English and Nepali lyrics. Its much anticipated debut album Jiri Blues was released in 2018.“When music came through, it was hard to separate the western and eastern style, and the genres we experimented with. But the music incorporated all the elements and it worked. The versatility of the musicians, and the open mindedness to play what feels and sounds good has been crucial to executing this.” <img width="500" height="419" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141152/636a5f2f9c7e80680e056e10jpeg.jpg" alt=""><h2>Jooni Collective</h2> <img width="500" height="419" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141152/636a5f319c7e80680e056e11jpeg.jpg" alt="">Jooni Collective is the musical project of pianist and composer Abhisek Bhadra and vocalist Maria Fajardo. Now a quintet with Alessio Cazzetta on the guitar, Rajat Rai on the bass and Kiran Shahi on the drums, its music is a reflection of the diverse backgrounds and experiences of members.“Nepali music is a very rich tradition with a lot of variations. But the reason why most traditional Nepali music forms, specially Nepali classical music and jazz does work well together is that both forms of music are deeply rooted within the concept of Improvisation. Same is the case for jazz and most folk traditions. Whether or not it blends seamless together or not simply relies on the artist’s intentions and methods to achieve it.” <h2>Adrian Crookston &amp; Palouse Forro, USA</h2> Palouse Forró’s music isn’t exactly ‘jazz’. Forró is a genre, dance, rhythm, that originates in the northeast of Brazil. The sound is inspired by the language of jazz and improvisation through the percussion and accordion. Much of its style is influenced by premier jazz accordion players like Dominguinhos and Sivuca who got their start with Forró.“For me, Jazz is an incredible innovation and gift given to the world primarily by Black Americans. Now, people all over the world are innovating in Jazz, it’s happening right here right now in Kathmandu and has been for a while by Nepalis too!” <img width="500" height="419" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141152/636a5f329c7e80680e056e12jpeg.jpg" alt=""><h2>Tropic Green, Singapore</h2> <img width="1400" height="788" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141152/636a5f349c7e80680e056e13jpeg.jpg" alt="">Tropic Green is an 8 piece jazz band based in Singapore and composed of musicians from Singapore, Venezuela, USA and Cuba. Its music is composed and arranged by pianist Susan Harmer. According to Harmer, 5 horns give the band its unique sound, adding harmonic and textural richness to their music.“Jazz musicians are unashamed borrowers -- there is no single element that is uniquely jazz. Jazz borrows harmonies, rhythms and the element of improvisation from all global genres. It is this universal richness, where no single performance of a tune is alike that is recognized as being jazz.” <h2>Eastern Classical</h2> <img width="1400" height="417" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141152/636a5f379c7e80680e056e14jpeg.jpg" alt="">Vocalist Manmohan Thapaliya Sharma has performed across Nepal and India and has recorded two albums Kahile Gham Kahile Chayaand Shanti Sutra. Flautist Dhan Bahadur Gurung honed his skills in a workshop with the legendary Hariprasad Chaurasia, and received accolades for his work. Gandharva, a travelling traditional Nepali band, has taken its music across the villages of Nepal, keeping folk music alive with classic medleys and local instruments. The late Rabindra Lal Shrestha was a maestro of classical Nepali music. His compositions, teachings and tabla-playing skills have left a lasting impression on younger musicians. His son Bijay Shrestha is performing at Surya Nepal Jazzmandu to pay tribute to his father who remains an inspiration to a new generation of tabla players.“Our classical Nepali music and traditional songs are a part of our identity, history and culture. It is our duty to preserve it. But it can only be preserved and promoted through the collaborative efforts of the government, media, fine arts education and programs like Jazzmandu.”  <h2>Cadenza Collective</h2> <img width="1400" height="707" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141152/636a5f399c7e80680e056e15jpeg.jpg" alt="">Cadenza Collective, Nepal’s first jazz band, seamlessly blends Jazz, Afro-funk and Nepali folk music with an eclectic, energetic sound. It not only pioneered jazz in Nepal but also experimented with it to create a completely unique form of jazz.“Jazz has got better and has come a long way in Nepal, it has become a household word alongside other music genres. Besides guitar, bass, keyboard and drums, we have young musicians picking up horns (trombone, trumpet, and saxophone etc.) and quite a few jazz bands in the scene. It's looking good but we got to keep on pushing further <h2>RSxT, Germany</h2> <img width="1400" height="787" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141152/636a5f3c9c7e80680e056e16jpeg.jpg" alt="">RSxT breaks through genre barriers by seamlessly blending jazz, electronic music, soul, pop and hip-hop. The ‘x’ in RSxT (Roman Schuler X Trio) stands for ‘unknown and the extraordinary’ and ‘for the crossing of Boundaries and directions’. As it constantly remixes its own music, you will never truly know what to expect but you can always look forward to an exciting and dynamic performance.“Jazz for us is not only a genre, but more the permission to be free while expressing ourselves. I love combining the lyrical power of the piano with grooving beats. Hip Hop, Soul and Electronic are styles that have this groove, and also have the space for keyboard sounds of all kinds. I love all this styles and that is why I want to play them, bring them together and mix genres. I'm not afraid to break boundaries.”“Although we are all educated jazz musicians, Jazz for us is not only a genre, but more the permission to be free while expressing ourselves. I love combining the lyrical power of the piano with grooving beats. Hip Hop, Soul and Electronic are styles that have this groove, and also have the space for keyboard sounds of all kinds. To most simply answer is: I love all this styles and that’s why I want to play them, bring them together and mix genres. I'm not afraid to break boundaries.” <h2>Surya Nepal Jazzmandu 2019</h2> CONCERT FOR YOUNG STUDENTS12-1:30pm, 17 October Alliance Française, Jhamsikhel By invitation only Jazzmandu kicks off with a free concert playing great music for young minds. The Concert for School Students continues Jazzmandu’s long tradition of promoting music education and cross-cultural understanding. Interested schools and individual students can request invitations by writing to info@jazzmandu.org. Seating is limited. Gates open at 11.30 am, please be seated by 11.50 am. GROOVIN AT UPSTAIRS7-9pm, 17 October Jazz Upstairs, Lazimpat Ticket: Rs600Cadenza Collective gather new and old friends for an explosive jam at the heart of Jazz in Nepal, Jazz Upstairs! Gates open at 6 pm. Seating is limited. VALLEY JAMS7-9pm, 18 October Ticket: Rs600Moksh, Jhamsikhel – Tropic Green  Jazz Upstairs, Lazimpat – Paul Tynan &amp; Jake Hanlon / Palouse Forro  House of Music, Thamel – RSxT  Manny’s Eatery and Tapas Bar, Jawalakhel – Faby Medina Gates open at 6 pm and close at 7 pm. Seating is limited. JAZZ BAZAAR2:30-10pm, 19 October Gokarna Forest Resort Ticket: Rs1400Get away from the hustle and bustle of Kathmandu and be surrounded by the lush, serene Gokarna Forest Resort and great music. Gates open at 1.30 pm and close at 7 pm. Seating is limited. A ticket does not guarantee a seat. No outside food or beverages allowed. No pets allowed. Free shuttle buses to Gokarna will depart every hour from 1 pm to 4 pm from outside Hotel Marco Polo in Kamal Pokhari, and will stop for pick-ups outside the Hyatt Regency gate in Boudha. Return shuttles will be available between 10 pm and 11 pm, with drop-offs at Boudha and Kamal Pokhari. SOUNDS OF LATIN JAZZ7-9pm, 20 October Dhokaima, Patan Ticket: Rs1600Experience the sounds of authentic Afro-Caribbean and Brazilian Jazz. Gates open at 6 pm and close at 8 pm. Seating is limited. JAZZMANDU MASTERCLASSES11am-1:30pm, 22 October Kathmandu Jazz Conservatory, Jhamsikhel  –Vocal &amp; Instrumental Workshops Free Entry The Jazzmandu master classes are an opportunity for music students &amp; jazz enthusiasts to interact with visiting musicians, share their experiences and stories and learn techniques and tips on various instruments and vocals. Seating is limited and not guaranteed. JAZZ AT THE TEMPLE HOUSE6:30-8:30pm, 22 October Kantipur Temple House, Thamel Ticket: Rs1600An evening of Nepali classical music fused with Jazz in a rich and soulful ambience. International musicians share their musical ideas and energies with Nepal’s top classical musicians and Cadenza Collective at the fabulous Kantipur Temple House. Gates open at 5.30 pm and close at 7pm. Please be seated by 5.45 pm. Seating is limited. JAZZMANDU FINALE5:30-10pm, 23 October Hotel Yak &amp; Yeti, Durbar Marg Ticket: Rs1400The Finale BIG JAM! Musicians from different bands come together on one stage to light up the festivities creating a high-energy, improvised musical treat. Gates open at 4.30 pm and close at 8pm. Seating is limited.

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Jazz returns to the 'Mandu

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141116/636a57049c7e80680e0547b9jpeg.jpg" alt="" width="4032" height="3024"/><figcaption>The Druk Air fleet at home in Paro airport</figcaption></figure>Our flight arrived 45 minutes early. "Only in Bhutan, never in Nepal," grinned a retired army general shouldering his golf clubs and duty free at Kathmandu airport, heading for a weekend on the golf course.On landing in the unique traditional Paro airport, the mountain air fizzed and buzzed with excited tourists snapping selfies and Bhutanese rejoicing on return. Having admired the white Himalayan giants from afar, passengers shared palpable relief at the safe descent with farmhouses, fields and rocky crags flashing by just beyond our wingtips.The Druk Air dragons coil confidently on the orange yellow aircraft tails, and helpful women in colourful kira stamp us into the country from behind fragrant wood desks. Outside, men dressed in gho and knee socks take trouble to assist those caught out by the early arrival to link up with their drivers. Ah yes, the familiar magic of Bhutan is already weaving its spell.I have been here many times, but am still hopelessly susceptible to the enchantment. When Bhutan first opened to tourism in 1974 it was not long before I had a chance to visit with our client, Lindblad Travel. The Swedish visionary entrepreneur, Lars-Eric Lindblad, represented Bhutan from a corner of his New York office draped in prayer flags and woven cloth, and first advised His then-Majesty on the ‘high value, low volume’ model of tourism.Although I only got to Paro and Thimphu on that first visit, from the tortuous roads we spotted otters playing on the riverbanks, and I was captivated by the royal pageantry, ubiquitous archery, claret-clad monks and intense potency of the fortress dzong.Read also: <a href="https://www.nepalitimes.com/opinion/so-far-so-good/adventurers-in-a-vanishing-land/" target="_blank" rel="noopener">Adventures in a vanishing land</a>, Lisa Choegyal<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141116/636a57079c7e80680e0547bajpeg.jpg" alt="" width="1632" height="1224"><figcaption> </figcaption></figure>I have helped with tourism, movies and events in Bhutan on a number of occasions. In 1992, Bernardo Bertolucci strutted the stone flagged courtyards of the massive Paro Dzong, directing with flair and flailing arms the feature film Little Buddha, more ambitious and elaborate than ever again attempted in that holy precinct.Special permissions were needed from the royal government for such an unusual invasion, and my quest graduated from officials in the rows of humble wooden sheds that housed the civil service, to the carpeted offices and corner stairways in the main seat of government in Thimphu, the Tashichho Dzong 'fortress of the glorious religion'.Ravens called and pigeons circled as we negotiated the guards and stepped through the huge doorways into the grey stone precincts, our Bhutanese escorts adjusting their raw silk sashes of formal respect. Sloping walls glowered above us to the painted eaves and massive roofs, and the quarters of the ruling monarch were indicated to us with due deference through the next courtyard. When the rare permission was granted, with typical charm the Foreign Minister hosted us to a celebratory dinner, sitting on carpeted benches and eating red rice, cheese and chillies off small carved tables.A decade later we were back to prepare a national ecotourism strategy, consulting for the tourism authority under the unforgiving eye and dishevelled goh of veteran Thuji Nadik, never one to suffer fools. With our WWF clients we trekked into the back blocks of Bumthang, through flowering rhododendron forests, remote palace strongholds and rural villages, staying in richly decorated houses with sparse impoverished interiors.Read also: <a href="https://www.nepalitimes.com/opinion/so-far-so-good/infectious-enthusiasm-for-travel/" target="_blank" rel="noopener">Infectious enthusiasm for travel</a>, Lisa Choegyal<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141116/636a570b9c7e80680e0547bbjpeg.jpg" alt="" width="640" height="480"><figcaption> </figcaption></figure>We happened to be in Thimphu on 9/11, watching the New York drama unfold on a flickering screen in our favourite Yeedzin Guesthouse. The King called every American in the country to personally condole them and the monk body dedicated days of prayers to those lost in the Twin Towers. By a twist of fate, I stayed in that same guesthouse room last month, little changed since 2001, with familiar erratic service, creaking wood floors and wobbly taps, but now dwarfed by international brand hotels -- a six-lane bypass runs alongside Thimphu’s old archery ground.Read also: <a href="https://www.nepalitimes.com/opinion/recreating-tiger-tops-in-the-tropics/" target="_blank" rel="noopener">Recreating Tiger Tops in the tropics</a>, Lisa Choegyal<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141116/636a570c9c7e80680e0547bcjpeg.jpg" alt="" width="640" height="853"><figcaption> </figcaption></figure>For Thuji and his team we returned several times with the ADB, working on Buddhist circuits and ecotourism. Driving to Mongar and Trashigang in the far east with our Nepali aviation colleagues, we inspected existing and proposed airports, trekking up hilltops to assess feasibility and enjoy the flowers, forest and mountain scenery.Near Trongsa we were rewarded with golden langurs leisurely crossing the road and, in the marshy valley of Phobjica, the sacred black-necked cranes honoured us with their elegant disdain. Communications in those days were so difficult that the Civil Aviation director in Paro was surprised when we reported that Yonphula airstrip, close to the Arunachal Pradesh border, had been recently resurfaced.During a job with the Norwegians, checking out tourism and environmental implications of a proposed hydropower master plan, we indulged in fly-fishing for trout in the pristine rivers. Strictly catch and release, the rules permit fishing only when out of eye-sight of any religious monument, dzong, chorten or stupa. One of Bhutan’s less likely exports is hand-tied flies for the world’s recreational fly-fishers.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141116/636a570f9c7e80680e0547bdjpeg.jpg" alt="" width="640" height="480"><figcaption> </figcaption></figure>Bhutan is the first country in the world to become carbon negative: its forests absorb more carbon than its inhabitants burn. But although much admired as an astute national policy, Bhutan’s uniquely-managed, pre-paid tourism with its tiny population of some 800,000 people and gross national happiness brand is hard, probably impossible, to replicate elsewhere. Amongst our recommendations was to evolve the tourism strategy to ‘high value, low impact’, using financial mechanisms to control visitors at sustainable levels, nurturing the cultural ‘Bhutan style’ for visitors. And to find ways that more tourism benefits can stick in the countryside, something at which Nepal has been far more successful.Bhutan these days is on the move. Lofty electricity pylons march across the country, competing with the hosts of fluttering prayer flags that clamber up the steep ridges above the valley floors. Construction sites have come to characterise the creeping city perimeters of Paro and Thimphu as Bhutanese crowd in from the countryside, and pressure from Indian tourists threatens Bhutan’s grip on its carefully crafted tourism objectives.New hotels and apartment blocks faithfully reflect the carved and painted vernacular architecture of this last Himalayan eyrie, but new roads scar the hillsides and laden trucks grind their way up from India. The swarm of smart imported SUVs have to watch out for horses and mules grazing unfettered along the roadside, avoid the dogs supine in the sunshine, and steer around cows sleeping on the warm tarmac.But some things never change in this blessed kingdom. They still proudly wear their glamorous national garb, blithely manage their dependence on India,<a href="https://www.nepalitimes.com/opinion/who-stands-with-bhutanese-refugees-in-nepal/" target="_blank" rel="noopener"> ignore the thorny issue of refugees</a>, and zealously guard their traditions, navigating the cultural clash of ancient and modern. The Bhutanese must be the only nation on earth who so genuinely and universally adore and revere their royal family. Inspirational they are too, and I for one am happy to be bewitched by Bhutan.Read also: <a href="https://www.nepalitimes.com/opinion/so-far-so-good/the-kathmandu-crowd/" target="_blank" rel="noopener">The Kathmandu Crowd</a>, Lisa Choegyal

Lisa Choegyal

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Bhutan is on the move

We often see ourselves reflected in the other. For someone who grew up in Kathmandu Valley in the eighties and nineties, this maxim comes alive with an even greater force. Nepal’s media ecosystem was dismal, the school curriculum was narrow and did not provide opportunities for creative expression. Perhaps that is why I became obsessed with MTV videos and Bollywood films. I saw my developing self reflected in these story-lines and razzmatazz. When the media and education system do not engage the public and reflect myriad interests, aspirations and lifestyles of the population, citizens get detached and disconnected from their roots. I left for America for further studies, and was somewhat determined to never return to Nepal. It was a country full of potholes and black-outs. But foreigners have been fascinated with our country for decades. In the early 19th century, Francis Buchanan-Hamilton led a pioneering expedition and documented more than a thousand species of plants native to the region. Almost a century later, in 1905, Frenchman Sylvan Levi published ‘the first attempt to produce a comprehensive study of Nepal’, drawing on not just indigenous but available Chinese and European sources as well. After Nepal opened up in the 1950s, different kinds of foreigners have traveled here -- most notably, cold-war era spies disguised as diplomats, and later came the hippies. I returned to Nepal in 2013 and was primarily struck by two major demographics - the artists and the expats. Energised by the recent revolution, the creatives were making vibrant, powerful works. The expats, on the other hand, demonstrated a different way to navigate life in Kathmandu Valley. These two groups of people re-introduced Nepal to me and I began seeing my country and my hometown with a renewed perspective. Which is why one particular image from Giovanna Caruso’s ongoing show at the <a href="https://www.instagram.com/thekalasalon/?hl=en" target="_blank">Kalā</a><a href="https://www.instagram.com/thekalasalon/?hl=en" target="_blank"> Salon</a> curated by <a href="https://nepalitimes.com/review/facades-and-flowers-from-nepal-to-italy" target="_blank">Sophia L Pandé</a> instantly caught my attention -- rather, it called out to me, as if it was composed for me, framing a key moment from my own life. Its title is, coincidentally, 2013. Like most of her other works, the pen-and-ink drawing is punctuated by an explosion of watercolour: a woman standing confidently in front of a Newa-style house, a leg arched up, as if she is fixing a strap around an ankle before stepping out on an adventure. The watercolour depicts a rainbow streaming out of a pot through a second-floor window. The rest of the details are rendered in realism – clusters of garlic and onion hanging to dry from the rafters, and further down a stack of corn. There are towels drying, even an old water pump.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251201121216_f440de5b5402fe0877dc46d94f41647bd46b00035b61241d46fc9f7ffbd87d0f.jpg" data-media-id="editor_3" data-image-id="20251201121216_f440de5b5402fe0877dc46d94f41647bd46b00035b61241d46fc9f7ffbd87d0f" data-rendition-name="original" width="4032" height="3024" loading="lazy" alt="art review Kala Salon"> </figure>  When I walked over to this artwork with Caruso, she chuckled, “Ah, this work is a celebration of my 30 years in Nepal.” It was while trying to calm a restless group of students during her teaching days in Italy that Caruso first came across an iconic image of Kathmandu Darbar Square. She had found an old box of slides and while projecting images from the Himalaya to engage her students, the artist was determined to travel to Nepal. The first flat she rented was close to the square and the view from her rooftop was the same as the one she had encountered inside her classroom. She has been traveling to Nepal every year since. Some of her favourite drawings depict Khokana in morning fog. From 1993-2006, she drew murals at Ram Mandir and Pashupatinath, asking sadhus to guide her and correct her depictions. Caruso received a classical education, which means she was trained to focus on perspective and geometry while capturing mainly portraits and still lives. She is influenced by M C Escher and his explorations of mathematics and symmetry. No wonder she finds the Darbar Square architecture so compelling. She also names as inspiration Gustave Dore, whose style is different from Escher’s and I can see how she has fused these influences in her body of work: Escher’s austerity complimented and slightly dislodged by Dore’s comics and caricatures. “Before starting, the painting needs to be complete in my mind,” she explains as we pass a series of portraits titled Saraswati, Lakshmi, Kali Dancing, and Durga dominated by a roaring tiger. “These are all real people, I ask my friends and family members to sit for me.” The Kali in the drawing has the artist’s fiery copper red hair and she is dancing, surrounded by various men with flowing hair. The artist seems to have experimented here, drawing the revelers from above, and indulging in playful abandon. Depictions of Nepal are often in danger of being exoticised. But Caruso is familiar with her subjects, knows our alleys and temples intimately. Her colours and compositions are passionate and dense. In an essay, Anirudh S Chari writes the artist’s work is splashed with rapturous energy and most drawings have a carnivalesque element. ‘Kali Dancing’ illustrates this idea perfectly in that she has turned Kali’s usual fearsome portrayal on its head by depicting and embracing another feminine principle - the capacity to celebrate and create joy. Apart from drawing inspiration from Hindu goddesses and Nepal’s multi-colored rituals, Caruso has also drawn the Sumerian Ianna and Lillith and the Egyptian Nut. She enjoys drawing Nataraja, and says it is because “Shiva is a good husband”. We stand another painting titled 100 Days a Lion. “There is a saying in Italian, Better one day as a lion than a hundred days as a sheep, but I thought why not 100 Days a Lion?” This sentiment captures this nomadic artist’s spirit spanning four decades, in which she has captured urban energy as well as the sacred imagery of ‘life diaries on canvas’. From Venezia to Kathmandu and Journeys In Between Giovanna Caruso The Kalā Salon Chhaya Centre Mall, Thamel Till 12 December 10am- 8pm

Looking at Nepal from Venice

The COP30 climate summit in Brazil ended this week <a href="https://nepalitimes.com/opinion/cop30-to-cop31">without tangible commitment</a> from countries to reduce fossil fuel emissions. Its impact will be felt halfway around the planet here in Mustang which is already seeing weather extremes.&nbsp; Geographically, Mustang is on the Tibetan Plateau, north of the main Himalayan chain. It is in the rainshadow, and a high altitude desert. Winter snow has failed for eight of the past ten years, unseasonal blizzards, and frequent glacial collapse leading to floods. The Kali Gandaki Corridor follows one of the deepest gorges in the world between Annapurna and Dhaulagiri, the world’s seventh and tenth highest peaks. Lush pine forests cover the southern flanks of these mountains, but within a few kilometers the vegetation undergoes a dramatic change to a landscape of red, brown and grey cliffs.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251129021144_c66ade5e32d20530003abba893869426d75b42d10e4725c28361d738b402721f.jpg" data-media-id="editor_1" data-image-id="20251129021144_c66ade5e32d20530003abba893869426d75b42d10e4725c28361d738b402721f" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Too little snow, too much rain NT"> </figure>  It gets more arid the more north you go. Snow and rain in Upper Mustang used to fall mostly in winter, but now there are cloudbursts and blizzards at other times of the year.&nbsp; In the ancient walled city of Lo Manthang, elderly men have gathered at a local tea shop to drink the salted butter tea. Some sip home-made liquor infused with medicinal herbs.&nbsp; The sun has set, the temperature plummets, and the wind howls outside. Everyone agrees it does not snow like it used to any more. Read also: <a href="https://nepalitimes.com/here-now/comings-and-goings-in-mustang">Comings and goings in Mustang</a>, Shrijan Pandey  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251129021144_ffaabf00a533984cadf160b2e56734cddb6f64d1a660401417d2982a3818f161.jpg" data-media-id="editor_3" data-image-id="20251129021144_ffaabf00a533984cadf160b2e56734cddb6f64d1a660401417d2982a3818f161" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Too little snow, too much rain NT"> <figcaption>The flat mud roofs are leaking because rain is now falling where there used to be snow.</figcaption> </figure>  “The weather has changed drastically over the years,” says Lopsang Tsomfel Bista, Chair of the Lo Dekhar Municipality. “It doesn’t snow in winter, and it falls when it is not supposed to.”&nbsp; Lack of snow means that in spring, the pastures where nomadic herders graze their yaks and goats do not have enough grass. Previously, winter snow on the meadows would seep slowly into the soil with the spring thaw, bringing out fresh grass shoots. &nbsp; In recent years, even if there is winter precipitation, it falls as rain. The soil is not able to soak in rain as efficiently, and torrential downpours increase the risk of soil erosion and floods.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251129021144_93ca69bec63577c5f6cbff8db809c11bce2d8fe01469d3374c20a6f20a7c93f1.jpg" data-media-id="editor_4" data-image-id="20251129021144_93ca69bec63577c5f6cbff8db809c11bce2d8fe01469d3374c20a6f20a7c93f1" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Too little snow, too much rain NT"> </figure>  “There used to be up to 1,500 mountain goats in every village, but now they have stopped keeping livestock,” says Bista. This is due to lack of grass and new lowland diseases moving up the mountains. Mustang has lost 28% of its population between the census in 2011 and 2021, and outmigration also means there are fewer people left to carry on a pastoral lifestyle.&nbsp; “Herders have asked for vet services in their communities because there are new insect-borne diseases,” says Yangchen Dolker Gurung of the Lo Gyalpo Jigme Foundation. Read also: <a href="https://nepalitimes.com/opinion/winds-of-change-sweep-mustang">Winds of change sweep Mustang</a>, Jagannath Adhikari  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251129021144_902593732af83db5792128be5a3bd87c00e0c62ff894afa4c98bffde64e96d26.jpg" data-media-id="editor_6" data-image-id="20251129021144_902593732af83db5792128be5a3bd87c00e0c62ff894afa4c98bffde64e96d26" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Too little snow, too much rain NT"> <figcaption>The mud walls of monasteries and homes are crumbling because of unseasonal rainfall. </figcaption> </figure>  Mustang is flanked to the east and west by mountains that rise up to 6,000m, and glaciers on their slopes are melting fast, turning into lakes. With the rising temperature, the risk of Glacier Lakes Outburst Floods (GLOFs) has also risen.&nbsp; At the rate global average temperatures are rising, scientists say that the Himalaya will lose up to two-thirds of the remaining ice caps. When glaciers melt, it not just raises the risk from GLOFs but also affects water supply downstream.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025112903114_1a6af68965ded5f23897a623bec2e2bed0da4c6663f0af5b5bf79883f2a11c9f.jpg" data-media-id="editor_7" data-image-id="2025112903114_1a6af68965ded5f23897a623bec2e2bed0da4c6663f0af5b5bf79883f2a11c9f" data-rendition-name="original" width="1022" height="767" loading="lazy" alt="Mustang map NT"> </figure>  FLOODS Ringzin Sangbo Gurung in Chumjung village recalls the devastation caused by a GLOF on 8 July this year that swept away a newly inaugurated bridge. The floodplain is now strewn with boulders and sand brought down by the flood which caused damage worth Rs28 million. The flood also damaged the irrigation canals that feed riverside farms where locals grew potato, buckwheat, millet and spinach. Nyima Wangmo Gurung runs a homestay in Nyamdok village, and says: “We don’t have water when we need it. And there is too much when we don’t need it.”&nbsp; Read Also: <a href="https://www.nepalitimes.com/banner/mustang-forced-to-adapt-to-climate-crisis">Mustang forced to adapt to climate c</a><a href="https://www.nepalitimes.com/banner/mustang-forced-to-adapt-to-climate-crisis">risis</a>, Ronan Wallace and Yungdrung Tsewang Gurung  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251129021144_7ae98274ea20e910311ec4431ba0aa3ecd9fe92caaed029a33c185198b33d0d2.jpg" data-media-id="editor_10" data-image-id="20251129021144_7ae98274ea20e910311ec4431ba0aa3ecd9fe92caaed029a33c185198b33d0d2" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Too little snow, too much rain NT"> </figure>  With warming temperatures, farmers in Mustang are growing lowland vegetables which was not possible before in plastic greenhouses. The farms depended on snowmelt in spring to irrigate their fields, but there is less snow to melt in past years. “The last heavy snowfall in winter was about eight years ago, since then we have got little or no snow,” says Tashi Norbu Gurung, Chair of Lo Manthang Rural Municipality. “This affects farmers during the April planting season.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251129021144_010e09f4e9335f39c62f4d6027489c86423b3d10ddfb83558820f6a7a56a477b.jpg" data-media-id="editor_11" data-image-id="20251129021144_010e09f4e9335f39c62f4d6027489c86423b3d10ddfb83558820f6a7a56a477b" data-rendition-name="original" width="1000" height="1500" loading="lazy" alt="Too little snow, too much rain NT"> </figure>  It is not just lack of snowfall that is a problem. Springs have gone dry, and some villages like Dhey have been forced to relocate because life became &nbsp;impossible without water.&nbsp; Villagers of Samjung also <a href="https://nepalitimes.com/news/climate-migration-is-already-happening">migrated</a> to Namashung, near a river when water sources dried up. But now the new settlements are threatened by GLOFs. Karma Gurung, who runs a lodge in Choser, remembers the big flood of 35 years ago which swept away farms and covered them with debris. There have been more frequent, but destructive floods since then in Kagbeni, Lubra and other valleys. Read also: <a href="https://www.nepalitimes.com/banner/mixed-blessings-in-mustang">Mixed blessings in Mustang</a>, Mukesh Pokhrel  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251129021144_da2212bc1ad49c17d126e24bbd92d3fca18e3e6bdd58ac61df14c962deb2edcd.jpg" data-media-id="editor_14" data-image-id="20251129021144_da2212bc1ad49c17d126e24bbd92d3fca18e3e6bdd58ac61df14c962deb2edcd" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Too little snow, too much rain NT"> </figure>  MUD WALLS Because snowfall has been replaced by rain, Mustang’s traditional mud-wall architecture is now in <a href="https://nepalitimes.com/here-now/leaky-roofs-on-the-roof-of-the-world">danger of collapsing</a>. The homes here are closely packed, have flat roofs stacked with juniper branches for firewood. With rain in place of snow, the roofs now leak.&nbsp; Women in Thinkar village say their walls are falling apart. Some homes have collapsed, and families forced to move out. Yangchen Dolker Gurung of the Lo Gyalpo Jigme Foundation says locals need plastic sheets, cement walls and corrugated roofs to cope with the rain.&nbsp; But this would mean that Mustang’s villages would lose their traditional architecture style.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251129021144_59c475cdde3bee8d03ed05e9038c0cf36f1acd31e3d3596f145469e5b4404d9d.jpg" data-media-id="editor_16" data-image-id="20251129021144_59c475cdde3bee8d03ed05e9038c0cf36f1acd31e3d3596f145469e5b4404d9d" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Too little snow, too much rain NT"> </figure>  The ancient 1.5m thick mud walls around Lo Manthang built 600 years ago, the king’s palace, and monasteries are also at risk. “Changes in precipitation patterns, altering the intensity, frequency, and timing of rainfall and snowfall, have damaged traditional and cultural infrastructure, particularly mud-built private and public buildings as well as religious and heritage sites,” explains Bhawani Pandey at the Lo Gyalpo Jigme Foundation. “With the rain, and because the monuments and stupas are made from mud, they have eroded. There is leakage, and the monuments are in a dilapidated condition.” Read also: <a href="https://www.nepalitimes.com/banner/climate-smarter-himalayan-infrastructure/" target="_blank">Climate-smarter Himalayan infrastructure</a>, Sonia Awale  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251129021144_dfc8c93a0a8619893f0d97076d1f9cbba3818e1cc716a903ff9908dbb8939ef6.jpg" data-media-id="editor_18" data-image-id="20251129021144_dfc8c93a0a8619893f0d97076d1f9cbba3818e1cc716a903ff9908dbb8939ef6" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Too little snow, too much rain NT"> </figure>  The Lo Manthang Rural Municipality along with Lo Gyalpo Jigme Foundation, are working on a Local Adaptation Plan of Action and the Disaster Preparedness and Response Plan, which the Nepal government has made mandatory for every municipality. “We took a bottom-up approach and collected data from each village, they know best the impact of climate change and what their needs are,” says Yangchen Gurung. To address the hazards of climate change, local communities and municipalities are adapting through their own resources, without waiting for outside help to improve water conservation, control soil erosion and protect from flood.&nbsp; Says Pandey, “We are returning to conserving traditional drought-resistant crop varieties, organic pest and disease control, cultivating high-value crops and fruits, and practicing sustainable pasture management through rotational grazing. We have also developed new building codes for homes that incorporate water-resistant coating for mud roofs and walls.” &nbsp; Additional Reporting by Tashi Wangyal. &nbsp;

Too little snow, too much rain

The September protests and worry about what is in store for Nepal in 2026 have added more uncertainty to a <a href="https://nepalitimes.com/here-now/nepal-needs-to-use-its-money-better">struggling economy</a>. Real estate transactions are stagnant, industries are operating below capacity because of declining domestic demand, the construction sector is slack, and investors are in wait-and-watch mode. In contrast, total bank deposits increased by Rs124 billion in the month before mid-October to Rs7.4 trillion. Official remittance inflows hit a record $13 billion in the past year. Nepal’s banks are flush with cash, with nowhere to put it. &nbsp; “The economy has flatlined. Non-performing assets are up, and real estate is at a standstill,” said Ashoke SJB Rana, CEO of Himalayan Bank.“There is excess liquidity in the market, with not many places to invest.” The main reason seems to be that both <a href="https://nepalitimes.com/here-now/relocate-reallocate-recover">domestic and foreign investors were spooked</a> by the targeted violence of 9 September, and are so worried about the runup to elections in March that they are holding on to their wallets. Not just businesses, the political uncertainty is keeping individuals &nbsp;from making big financial decisions.&nbsp; Sujeev Shakya, author of the <a href="https://nepalitimes.com/review/retrofitting-nepal-for-future-shocks">newly-released book Nepal 2043</a>, notes that the current doldrum is due to Nepalis playing it safe with their money. &nbsp; “People are holding on to their assets, and keeping their cash,” he says. “They are not investing in real estate, and avoiding buying gold because it is so volatile.”&nbsp; One sector in which banks have a lot of exposure is hydroelectricity, but even here recent floods have shown that this investment is <a href="https://nepalitimes.com/here-now/global-warning-bell-in-belem">increasingly at risk from climate breakdown</a>.&nbsp; Nabil Bank, with its focus on sustainable banking, for instance, has financed 56 hydropower projects with an installed capacity of 3,000MW.&nbsp; Says Nabil CEO Manoj Kumar Gyawali: “We cannot ignore unpredictable rainfall, increased glacier melt, more frequent glacier lake outburst floods, and landslides. These risks mean that while hydropower is essential, Nepal must diversify its energy mix." &nbsp;&nbsp; An open secret in the banking sector is that much of the liquidity is supected laundered money. Banks also have close ownership links with big businesses, and this means that even with a slow economy, banks lend to themselves or to each other to keep transaction volumes up.&nbsp; This is one reason for a high default rate. In the first three months of this fiscal year, 4.86% of bank loans were non-performing, meaning one out of about every 20 borrowers had defaulted. A year ago, this figure was 4.04%. Banks are therefore reluctant to lend, dampening the overall investment climate. &nbsp; Ironically, the high default rate is keeping mainstream newspapers in Nepal afloat at a time when the media business is also in crisis. Even as they suffer from a massive drop in advertising revenue, most daily newspapers often add pages to fit notices to borrowers about repayment, or announcements of bank auctions of collateral property. “While banks may be making a much smaller percentage of income compared to a few decades ago, they are still making a profit,” notes Shakya. “And so they are actually quite happy to be in this low-risk situation. Banks are conservative organisations after all.”&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251128041136_b33dd18d7ce221e273bd18d8a5c4ba4c9196f762b95b87fd24c60df6c2426065.jpg" data-media-id="editor_4" data-image-id="20251128041136_b33dd18d7ce221e273bd18d8a5c4ba4c9196f762b95b87fd24c60df6c2426065" data-rendition-name="original" width="1500" height="1022" loading="lazy" alt="Banks"> <figcaption>Illustration: BHANU BHATTARAI / NEPALI TIMES ARCHIVE</figcaption> </figure>  Among the most striking videos of the September protests that was shared globally by tens of millions of people was the Hilton and Hyatt hotels and the Ncell building burning. That recognisable international brands were targeted did not just cause huge losses to owners, but also damaged Nepal’s overall investment climate. Looting Bhat-Bhateni and homes of businessmen also sent a negative message, spurring capital flight.&nbsp; “That was very bad optics for potential investors, you simply worry about the security of your investment when you see things like that,” says Himalayan Bank CEO Ashoke SJB Rana.&nbsp; Nepal will graduate to Middle Income Country status next year, and donors are set to move from aid to private investment. While this could reduce misuse of money, it could dry up grants and soft loans to the health and education sectors.&nbsp; But the harm may go deeper than just the aftermath of the September events. The recent<a href="https://nepalitimes.com/news/double-trouble-with-taxes"> double taxation issue</a> involving the Dolma Impact Fund, and an earlier controversy over Ncell’s capital gains tax have also put Nepal’s business climate in negative spotlight internationally.&nbsp; The banking sector is firmly on the side of investors. Says Ashoke Rana at Himalayan Bank: “This is a tax regime, it is absurd to order the payment of these taxes retrospectively. When investors see that the rules of the game can change arbitrarily, they won’t really want to put their money here. ” &nbsp; One of the positive changes in the ways Nepalis are using money is digital transactions through QR codes and mobile banking. With smartphones making up 70% of all mobile phones, QR transactions are easy and have become a part of daily life. ONLINE BANKING&nbsp; Most businesses and ride shares have this feature on board, and people do not need to carry a lot of cash or multiple bank cards. But as digital payments become the norm, the days of free transactions may be coming to an end.&nbsp; “Right now these transactions are free for the most part. This is a subsidy by the banks, because of course, it does cost something to make sure the payments go through,” says Rana at Himalayan Bank. “However, as income decreases, banks may have to look for ways to make money, so they may charge small percentages on each QR transaction.”&nbsp; Rapid digitisation has changed not only how customers use money, but also how banks think about their offices. Himalayan Bank’s new Thamel branch, for example, has cancelled plans to redesign the office for 20 tellers.&nbsp; “We realised that people were able to do so much of what they wanted digitally that we plan to have only four tellers,” says Rana.&nbsp; But cutting down on facilities and staff has not always made for a better customer experience at some bank branches.&nbsp; Economist Sujeev Shakya conducts ghost customer experience checks for banks which involves decoys entering banks to evaluate what it is like for somebody to set up a bank account.&nbsp; The stealth missions found that standards of service have regressed, with banks having a working environment reminiscent of government offices.&nbsp; Shakya points out that the general experience of going to the bank should be much better. “Sometimes it’s a knowledge issue -- banks may try to ask for non-disclosure contracts even when they don’t know why they want them,” he says.&nbsp; Despite digitisation, many banks still require paper-based forms and documents. Bankers and customers alike note that it feels archaic, almost absurd, to have to carry multiple copies of documents, sometimes only in Nepali lokta paper, across several family members and fill out what seems to be the same form over and over even though digital files exist. That could soon be changing as well. As more and more Nepalis adopt the National ID, banks have adopted pilot programs that use it to create bank accounts, replacing the myriad documents that customers had to previously present to officials, making all banking transactions more efficient and less of a hassle for the customer.&nbsp; DIGITAL SECURITY As Nepalis move their cash online, digital infrastructure needs to become more secure as well.&nbsp; Bankers spend quite a lot to make sure necessary digital security infrastructure is in place, but some banks could be using pirated software which are not trustworthy.&nbsp; There has to be better regulatory oversight to prevent phishing and fraud as online payments and digital banking spread across Nepal.&nbsp; Banks must also be innovative and ambitious. Says Shakya: “Nowhere else in South Asia are bank loans such a high ratio of the nation’s GDP. &nbsp;This actually points to a well-developed financial system and we have to take advantage of it."&nbsp; Shakya also notes that many bank executives in foreign countries, like Myanmar are actually Nepali, and that banks from Nepal could use their staff and know-how to partner with or acquire banks overseas.&nbsp; While these innovations are all welcome, it is unclear how Nepal's banking sector can jumpstart economic activity in the country. Nepal’s political future looks uncertain and stability is not a guarantee.&nbsp; In the face of continuing progress in hydro electricity and the IT sector seems to be the way forward to stimulate the economy.&nbsp; The GenZ movement was a wakeup call also to financial institutions and the need for greater transparency. Nabil Bank CEO Manoj Kumar Gyawali says the September protests sent a clear message that young Nepalis want an end to corruption, good governance, and real opportunities at home: "The banking sector has a &nbsp;responsibility to direct more lending toward the real economy, sectors that create jobs, build productivity, and strengthen long-term growth," he says.&nbsp; Despite a subdued investment climate, Gyawali is optimistic. "I do see early signs of improvement. Lower interest rates are beginning to restore public and business confidence. Rising remittances provide a safety net and fresh investment capacity for households," he says. "If government capital expenditure continues to improve, it will boost private sector activity."&nbsp;

Cash rich, but poor

It is quite a feat for just two actors on a darkened stage to hold an audience spellbound for more than one hour. Yet, ‘के? Us.’ at Kausi Theatre does just that. It is a thought-provoking but baffling work that leaves the audience questioning reality, the recurring metaphors in this intriguing and powerful dark comedy haunting us for days afterwards.&nbsp; The unsettling sound of deep breathing mingles with percussive drumming and a driving guitar that pulsates amidst a red glow, dimly illuminating shadowy structures charred by fire. A door leads to what is later revealed to be the ancestral home of two brothers which is ‘under renovation’. One of the brothers Ashim (Bijaya Tamrakar) lives in Nepal caring for a supposedly comatose mother who is only depicted by a tree draped with red LED lights that circulate arterial blood corpuscles. Visiting him is a long-lost brother Aaryan (Eelum Dixit) who has returned (deported?) from America.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251202071248_d3050fcd38e1ba471ea48e18fde6a8393a086a5b3afeef71eda190f3e01366e2.jpg" data-media-id="editor_0" data-image-id="20251202071248_d3050fcd38e1ba471ea48e18fde6a8393a086a5b3afeef71eda190f3e01366e2" data-rendition-name="original" width="2048" height="1365" loading="lazy" alt="Chaos play review"> </figure>  The stage is littered with scattered paper trash, a run-down motorcycle chassis, a tattered sofa, and beat-up table and chairs. The stage is set for a sinister plot. Are the characters to be punished in perdition?&nbsp; It does not take long for the audience to grasp that this is an apocalyptic Nepal that, following absurdist traditions, could exist at any time in the future or the present day <a href="https://nepalitimes.com/editorial/election-vs-escalation">post-GenZ protest state</a>. Ashim and Aaryan Adhikari have reunited after 15 years. Ashim, the younger brother, has been burdened with the responsibility of taking care of their brain-dead mother. Aaryan, returns after having migrated to the US, where he married, had children, divorced, and lost everything. He has been at “minus 20 and is now back to zero”.&nbsp; The brothers have intense back-and-forths that expose their cynicism, the conversation tangentially alluding to Nepal’s unstable political landscape, migration, an economy in shambles, aging population, alcoholism and other mental health issues. Even the sibling argument about the relative merits of momos and burgers seems metaphorical. The stagecraft uses lighting and sound effects brilliantly, transporting the audience to a surreal world in which Tamrakar and Dixit improvise their lines — no two shows are exactly the same, although the overall plotline has continuity.&nbsp; In the first scene, Aaryan approaches the house tentatively, creeping rodent-like, and carrying a briefcase and an old-fashioned lantern. And at the end, Ashim screams, “I am chaos.” Is this the end of the beginning, or the beginning of the end?&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251202071252_a49af0960d3f6f61cd8e9d5ea9c5af64655b89865711f5566f3054b701840da1.jpg" data-media-id="editor_2" data-image-id="20251202071252_a49af0960d3f6f61cd8e9d5ea9c5af64655b89865711f5566f3054b701840da1" data-rendition-name="original" width="2048" height="1365" loading="lazy" alt="Choas play review"> </figure>  At one point Aaryan seems perturbed by the sound of protest outside (the Gen Z movement?) and the taut atmosphere grips the audience with fear, shock, and apprehension of the recent death and destruction.&nbsp; Throughout the play there is the sound of breathing, as if through a ventilator, a thumping heartbeat, the morbid buzzing of flies and the glowing red LED veins -- signifying the presence of the comatose Aama. She is featured in a prologue-esque home video at the start of the play in which she reminisces about her two sons and rues her failing memory.&nbsp; The sound of breathing gets accentuated each time a brother gets closer to the tree, and it seems to fuel Ashim’s belief that Aama may be brain-dead but she is still among them. This play can go as deep as each individual in the audience wants it to go.&nbsp; The silenced, comatose mother could be Nepali Aama muted by an entrenched patriarchy. Or, she could be the symbol of a helpless country while her children fight over the ruins of what is left. The cake cutting is a delightfully Shakespearean subplot where we wonder if one of the brothers is going to poison, or knife, the other. The message is clear: how can we move forward if it is brother against brother? The stairs signify political transition (elections, constitutional change, new coalitions) promising upward movement, but eventually lead to falls, leaving the nation exactly where it started, or worse. The mother’s terminal illness evokes an ailing state apparatus, hollowed out by corruption and deep-seated social decay. Yet the brothers cling to an irrational hope — instead of confronting the harsh truth and pursuing radical solutions, suggesting a blind faith in the mother.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251202071252_e30df0ea03c2db1759a09e2e3e3111d9d238d5cd5595a68b8052bbbc8e9ec6b3.jpg" data-media-id="editor_3" data-image-id="20251202071252_e30df0ea03c2db1759a09e2e3e3111d9d238d5cd5595a68b8052bbbc8e9ec6b3" data-rendition-name="original" width="2048" height="1365" loading="lazy" alt="Chaos play review"> </figure>  The brothers are lost. Aaryan climbs up stairs that lead nowhere, Ashim holds on to unrealistic hope that somehow Aama will get better. Tamrakar and Dixit deliver powerful performances, even more remarkable for the fact that they are improvising their lines as they go along. When Aaryan breaks a wall and directly addresses the audience, spectators turn from being passive observers to active participants (‘the society’). The audience then become oglers in this drama, suddenly made self-aware of our role as the scrutinising, cavilling voyeurs that society represents. There is some discomfort of being watched and judged.&nbsp; By asking his brother what he is afraid of while pointing at the audience, Aaryan suggests that the brother's (and perhaps the character's core) fear is not just of the house, or the mother's illness, but of external judgment and societal censure. After the stage goes dark, the applause takes some time. Audience members shuffle out in silence, minds reeling from the collective soul-searching they have just participated in.&nbsp; After ‘के? Us.’ the din at Teku intersection outside sounds different as we wait for our Pathao ride below the खरी tree where <a href="https://www.google.com/search?q=Shukra+Raj+Shastri&amp;client=safari&amp;sca_esv=75e8315709cd5118&amp;rls=en&amp;sxsrf=AE3TifMJhwukjdBBT0n4QcQWe8IYSaEVsw%3A1764648053799&amp;ei=dWQuaYbIMOy94-EPn4ygyAE&amp;ved=2ahUKEwiU1ciogp6RAxXq3TQHHeo9LBIQgK4QegQIARAB&amp;uact=5&amp;oq=nepal+tree+where+martyrs+were+hanged&amp;gs_lp=Egxnd3Mtd2l6LXNlcnAiJG5lcGFsIHRyZWUgd2hlcmUgbWFydHlycyB3ZXJlIGhhbmdlZDIIECEYoAEYwwRIug5QAFiNC3AAeAGQAQCYAc4BoAHrCKoBBTAuNS4xuAEDyAEA-AEBmAIDoALlBMICBRAAGO8FmAMA4gMFEgExIECSBwUwLjEuMqAHzw-yBwUwLjEuMrgH5QTCBwcwLjIuMC4xyAcM&amp;sclient=gws-wiz-serp&amp;mstk=AUtExfCLIneLVW3SFBzxBc964wFcTJ936tcAPSDcvNKljck0PIqDJddMZ_t8Pg610M98MCx14aNdnyLHs9QM0jWLhI7JYmkPhugX1ZHfSQvdCHZE9E5m2_ZQY5Jr893UcGjQfpabtA_C48NfB9Pg56uYMOmTtEBEcGuvz3d96Qaifyb86sI8mAkrRNo_367cv_xmFjLZ55iQkfHtORuOvZSUkIdMvAdpweuf4jPjjI4anbv9lc-uCImdP0JSvtvEGL8ePxwsWWOzYpIbjNP1zofjcWXK&amp;csui=3" target="_blank">Shukra Raj Shastri</a> was hanged in 1941 by the Rana regime. Language and Literature Students, 2026.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251202071252_f2dc03a35cba33b382a66bbd43905206d9d3eb5ec3ebdcf973aeefbb4a50b6b2.jpg" data-media-id="editor_5" data-image-id="20251202071252_f2dc03a35cba33b382a66bbd43905206d9d3eb5ec3ebdcf973aeefbb4a50b6b2" data-rendition-name="original" width="1080" height="1350" loading="lazy" alt="Chaos play review"> </figure>  ‘के? Us.’ Kausi Theatre, Teku Till 7 December (except 2 December) Bookings: +977 9842156109, 9842574607

eastern

Jazz returns to the 'Mandu

Bhutan is on the move

Looking at Nepal from Venice

Too little snow, too much rain

Cash rich, but poor

Staged chaos evokes state of Nepal