<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108181144/636a96399c7e80680e05dc55jpeg.jpg" alt="" width="1000" height="667"/><figcaption>Chair of Film South Asia Kanak Mani Dixit with musician Amrit Gurung. Photo: FILM SOUTH ASIA</figcaption></figure>From the inaugural documentary Indus Blues, it became evident that a lot of the documentaries at the <a href="http://www.filmsouthasia.org/" target="_blank" rel="noopener">Film South Asia </a>2019 festival this week in Kathmandu could not be shown in their home countries. Such is the state of free expression in the Subcontinent that Kathmandu became the relatively free space where the screenings could happen.The documentary genre evolved to use film to explore, explain and expose facets of modern society largely missed out by fictional cinema or mainstream journalism. It has got new life in the post-truth, alternative-fact age by daring to dig deep and shine a light into the dark, hidden corners of our societies, so that we can see, hear and act on the concerns of people and places in the periphery.Read Also: <a href="https://www.nepalitimes.com/review/film-southasia-2019/" target="_blank" rel="noopener">Film South Asia 2019</a>, Sewa BhattaraiAt a time when democracy, freedom of expression, pluralism, inclusiveness and non-violence are all under threat from elected demagogues in South Asia and beyond, the work of these courageous documentary makers is more important than ever.Whether or not it was deliberate, Film South Asia also delivered a number of striking pairings. Abu and The Next Guardian for instance, were screened on consecutive nights at Yala Maya Kendra, and both trace a family’s hope for their son and provide reflections on cultural attitudes towards sexual orientation.Abu is a portrait of a patriarch, and the tale of the ebbs and flows of family relationships seen through the eyes of filmmaker Arshad Khan. However crippling the undertow of misunderstandings, secrets and lies that exist in his family, its members still draw close, bound by love but tethered in pain as they explore life as migrants and grapple with the politics of religion, sexuality and family expectations.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108181144/636a963b9c7e80680e05dc56jpeg.jpg" alt="" width="640" height="360"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108181144/636a963f9c7e80680e05dc57jpeg.jpg" alt="" width="1000" height="563"><figcaption> </figcaption></figure>The oppression felt by the filmmaker in his youth is palpable: we feel his father’s disapproval or his mother’s avoidance in the recordings of his well-documented childhood. In the end, fear and oppression might dissolve into love and forgiveness, but the family secrets and lies remain, settled deep into the fragile stillness of resignation and silence.Silently too, and nodding to sleep, a young Bhutanese boy deigned to be the next guardian of his family’s monastery suffers his father’s gentle verbal lashings and pressure to take on the role and become a monk. His sister’s sexual orientation is pragmatically and matter-of-factly attributed to her past life in a half-comic spiel the father delivers to the camera.Read Also:<a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/documenting-south-asia/film-southasia,3996" target="_blank" rel="noopener">Documenting South Asia</a>, Sahina Shrestha<a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="http://archive.nepalitimes.com/news.php?id=17242#.XdYmyNUzbIU" target="_blank" rel="noopener">The world of South Asia,</a> Nepali TimesA well-paired set of observations on India’s diversity was served with Chai Darbari, followed immediately by Growing up in Ladakh. Both are exquisitely filmed, and capture the inherent beauty of India’s varying lands: Ayodhya and Ladakh. Where Chai Darbari features heated masculinity of various political positions jostling for a voice amidst the moments of clamour and calm in an ancient city and hotbed of conflict, the latter follows two young girls growing up in isolated desert mountains, nourished by familial love and community and supported by their school and elders as they undertake a gruelling pilgrims’ progress called Gotchak.In another thematic pairing, Janani’s Juliet and Badshah Lear are adaptations of two of Shakespeare’s most famous plays, and with aplomb they bring the Bard’s humanist dramas to life in two different Indian contexts. Janani’s Juliet follows director Koumarane Valavane and his actors as they adroitly weave the story of star-crossed lovers from warring families into the fray of India’s caste system and the warped tragedy of so-called ‘honour killings’.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108181144/636a96419c7e80680e05dc58jpeg.jpg" alt="" width="960" height="540"><figcaption> </figcaption></figure>Two films featured bamboo. The one from Bangladesh, Bamboo Story, won the main trophy at FSA 2019. A multi-layered ethnographic study using outstanding cinematography, the film provides empathy and respect for an unnoticed floating population shuttling between a forest and an urban jungle. The other bamboo film from Nepal, Winter Tap, co-winner in the student category, is a small-is-beautiful tale of how not to waste resources in the process of accessing water in a remote mountain village.The festival closed with a screening of two films, one about a rooster running amok in a Mumbai household’s small flat, and the other featuring four dog-loving eccentrics in Kolkata. The humans who adopt them exist precariously, whether on the cusp of life and death, sanity and madness, or crammed in cages and tethered to things they cannot fathom.Pariah Dog cleaves into the underbelly of Kolkata, to show a world where people live isolated, desperate lives. Those caring for community dogs are doing so as much to assuage their consciences as to address a yearning for companionship, purpose and recognition in a world fast atomizing into anonymity, where they themselves may be considered pariah. Tungrus is darkly comic as it traces the fate of a handsome broiler rooster who seemingly has it good, ruling the roost and terrorising the family. His fate is painfully bleak, in a scene at once comical and horrific.Life and art are one. Art exists only with life and life thrives only with art. Film South Asia 2019 was a documentary feast where the mind could thankfully still be free.Read Also: <a href="http://archive.nepalitimes.com/news.php?id=12133#.XdYsVtUzbIV" target="_blank" rel="noopener">Film South Asia travels back</a><a href="http://archive.nepalitimes.com/news.php?id=12133#.XdYsVtUzbIV" target="_blank" rel="noopener">,</a> Nepali Times

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Feasting on documentary films

<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108181140/636a95549c7e80680e05dbffjpeg.jpg" alt="" width="1448" height="2048"/>Film Southasia is held every two years, and in 2019 the theme of the festival of documentary films says it all: ‘Where the Mind Is Free’. Indeed, since the last edition of the festival, the space for free expression is increasingly constricted throughout the region.From 14-17 November, 64 documentaries from the Subcontinent will be shown at Yalamaya Kendra, Patan – many of them films that would be difficult to have a public screening anywhere else in South Asia.  "In the region’s increasingly cloistered space, exclusion seems to be a common concern of the documentaries," says festival director Mitu Varma. "The films focus on the marginalised like growing up in Ladakh, transgender love, and the crisis of Rohingyas and Dalits. Many of the films focus on people who have little in terms of resources, but a huge store of empathy and compassion for all living creatures, that marks them out as more human than many in the so called mainstream  There are five films on Kashmir, and several films on migration and education."By its very definition, the documentary is a film genre that takes time to dwell on social injustices and delve in-depth into the structural reasons for discrimination, inequality, exploitation. Film-makers tend to give voice to the voiceless, show the plight of neglected or abused people whom the mainstream media ignores.With the space for dissent and the marketplace of ideas shrinking all over the region, Nepal remains the last bastion of free speech. This year also, Film Southasia will be showing films that could not be screened elsewhere.Read also: <a href="http://archive.nepalitimes.com/news.php?id=18597#.XcPHuFUzbIU" target="_blank" rel="noopener noreferrer">Documenting Nepal</a>, Angelo D’Silva and Diwas KCThe focus of the festival this year is Pakistan, and the opening film Indus Blues profiles the country’s disappearing musical instruments and folk art, given the rightward movement of the state. Other films on Pakistan investigate scavenging ships on the Arabian Sea beaches and the murder of an activist who sought to provide a cultural space called "The Second Floor" in Karachi where all art forms could be shared and different issues could be freely debated and discussed.With most of South Asia living under similar social-political conditions, the  subject matter of the films focus on similar concerns common to all countries. However, there is a lot of experimentation in the form of film-making.There is a documentary shot mostly in the night with striking visuals (And What Is the Summer Saying), another film that simply records conversations that swirl inside a tea shop at the centre of a heated religious debate (Chai Darbari). The documentary about old Delhi with a 400 strong cast of actors straddles the line between fiction and nonfiction (Ghode ko Jalebi Khilane Le Ja Riya Hoon)."There are quiet films with little dialogue, where the story is told with visual imagery, or with the neutral eye of a fly on the wall," explains FSA organiser Alok Adhikari. "The film-maker takes the backseat with these observational techniques lets the story tell itself."This year the festival went digital for the first time, accepting submissions online instead of asking for DVDs to be couriered to Kathmandu. The number of submissions soared to more than 2,500, a testimonial to the rising interest in this form of storytelling.The festival's jury comprises of filmmakers Sumathy Sivamohan from Sri Lanka and Ayisha Abraham from India, and Nepali journalist Kunda Dixit.Read also: <a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="http://archive.nepalitimes.com/news.php?id=17242#.XcPHvlUzbIU" target="_blank" rel="noopener noreferrer">The world of South Asia</a><h2>8 FILMS from 8 COUNTRIES</h2><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108181140/636a95579c7e80680e05dc00jpeg.jpg" alt="" width="640" height="427">Pariah DogsJesse Alk, IndiaA group of people, themselves outcast, poor, and living in slums, take care of street dogs in Kolkata, India.Kabul, City in the WindAboozar Amini, AfghanistanA glimpse into the strained, tenuous life in Kabul where violence is a constant backdrop to daily life.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108181140/636a95599c7e80680e05dc01jpeg.jpg" alt="" width="329" height="153"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108181140/636a955a9c7e80680e05dc02jpeg.jpg" alt="" width="640" height="427">Opium WarsJohn La Raw, MyanmarJade miners who work under dangerous circumstances are being sucked into opium trade, while the state turns a blind eye to the issue of minorities.Scratches on CelluloidVindhya Buthpitiya &amp; Timothy P A Cooper, Pakistan/Sri Lanka/United KingdomWith the rise in multiplexes and home entertainment, days are numbered for traditional matinee theatres.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108181140/636a955d9c7e80680e05dc03jpeg.jpg" alt="" width="640" height="360"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108181140/636a955f9c7e80680e05dc04jpeg.jpg" alt="" width="640" height="360">The Next GuardianArun Bhattarai &amp; Dorottya Zurbo, BhutanA priest wants his son to inherit the profession, but the son would rather play football and watch Facebook in rapidly modernising Bhutan.After SabeenSchokofeh Kamiz, PakistanHuman rights activist Sabeen Mahmud is shot dead in her car, and the film captures the aftermath of the tragedy.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108181144/636a95639c7e80680e05dc05jpeg.jpg" alt="" width="640" height="360"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108181144/636a95669c7e80680e05dc06jpeg.jpg" alt="" width="640" height="360">Bamboo StoriesShaheen Dill-Riaz, BangladeshThe use of bamboo is dying out, but there are still many whose lives have depended on floating bamboo rafts down river.The Winter TapAashish Limbu &amp; Debin Rai, NepalThe story of the struggle to build a water supply in a remote Himalayan village is not as simple as it seems.

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Film Southasia 2019

<a href="https://nepalitimes.com/here-now/waiting-for-bipin-joshi" target="_blank">Nepali student Bipin Joshi</a>, who was taken captive by Hamas on 7 October 2023, was not on the list of those freed following the end of the bombardment and fighting in Gaza.&nbsp; On Monday morning, the Israeli military notified Bipin's family and Nepal’s ambassador to Israel Dhan Prasad Pandit, that there is no evidence of him still being alive. However, Nepal's Foreign Ministry is yet to be notified by Israel's government of Bipin's status. The news came three days after a US-brokered ceasefire between Israel and Hamas came into effect, and hostage and prisoner exchanges by the two sides started Monday morning.&nbsp; Almost 2,000 Palestinians held in Israeli prisions are expected to be released by Israel in exchange for the hostages during the next phase of the peace deal between the two parties, and the bodies of deceased hostages remaining in Gaza are also expected to be returned.&nbsp; Bipin Joshi was among a group of Nepalis who had arrived in Israel in 2023 just weeks before 7 October 2023 as part of a ‘learn and earn’ program to work and earn in kibbutz farms there.&nbsp; Along with other students Joshi had been working on a farm in Kibbutz Alumim in southern Israel near Gaza. <a href="https://nepalitimes.com/here-now/war-in-israel-earthquake-and-grief-in-nepal">Ten Nepali students were killed </a>while taking cover in shelters near their farms in two separate attacks by Hamas fighters.&nbsp; Joshi’s colleagues, fellow Nepalis who survived the attack, recall gunmen lobbing two grenades into the bunker that they had taken cover in. Bipin hurled one of the grenades out, they say, but the other one exploded, killing and injuring Nepalis inside. &nbsp;&nbsp;&nbsp;&nbsp; Shortly after, Bipin was captured by Hamas along with a Thai national and led away into Gaza. CCTV footage showed Bipin alive and at a hospital in Gaza on the day of the attack itself after he was taken hostage.&nbsp; Thirty-one Thai citizens, who like Nepalis worked in farms in Israel, were taken hostage during the Hamas attack, the highest number of foreign captives in October 2023.&nbsp; <a href="https://nepalitimes.com/news/deft-diplomacy-freed-thai-hostages">Deft Thai diplomatic engagement</a> with officials from Iran, Egypt, and Qatar brought about the release of 23 of its nationals in 2023. Five more Thai nationals were released earlier this year.&nbsp; In August, Joshi’s family visited Israel at the invitation of the government and urged the international community to push for his return. Bipin’s mother Padma and sister Pushpa have been at the United Nations to lobby for his release.&nbsp; His family last week also released a video clip of Bipin briefly speaking on camera, reportedly obtained by Israel and said to be filmed in November 2023, around a month after he was taken captive. Joshi looks healthy in that video.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251013091028_d551c7f88204c52217152fb5db655bb5a5f8bf2cff1e6a055326ebf64453ff9f.png" data-media-id="editor_3" data-image-id="20251013091028_d551c7f88204c52217152fb5db655bb5a5f8bf2cff1e6a055326ebf64453ff9f" data-rendition-name="original" width="2848" height="1528" loading="lazy" alt="Bipin Joshi NT"> </figure>  More than 67,000 Palestinians have been killed during the last two years of the genocide in Gaza. About 1,200 people were killed during the Hamas attack on 7 October 2023, while more than 251, including Bipin Joshi, were taken as captives.&nbsp; This is the third ceasefire implemented in Gaza since 7 October 2023 after previous ones in November 2023 and January 2025. This 20-point deal facilitated by intermediaries US, Qatar, Turkey, and Egypt included terms for Hamas to give up its arms, and for a devastated Gaza to be governed by a Palestinian body of independent technocrats, while Israeli troops will withdraw in stages from Gaza.&nbsp; Hamas has agreed to relinquish control of Gaza, but has rejected the demand for disarmament, saying the group will demobilise but is prepared to resume fighting if Israel breaches the ceasefire.&nbsp; Following the ceasefire, Palestinians in Gaza have begun long journeys back to homes reduced to rubble by Israel’s two-year assault on the strip. The flow of humanitarian aid in the city has also increased following the peace deal.&nbsp; Israel's closure of humanitarian corridors in the past months had blocked the entry of food and medicine into Gaza, causing widespread famine. The United Nations Relief and Works Agency for Palestine Refugees in the Near East (UNRWA) has said that the restriction of aid into the beseiged city has left as many as <a href="https://www.unrwa.org/newsroom/news-releases/gaza-unrwa%E2%80%99s-lancet-study-reveals-alarming-surge-child-malnutrition">54,600 children acutely malnourished</a>.&nbsp; Meanwhile, US president Donald Trump landed in Israel on Monday as hostages were being released, and world leaders are expected to head to Egypt for an international summit to discuss the next steps in Gaza, Israel, and West Asia.&nbsp;

Nepali hostage in Gaza not alive: Israel

In the very first page of the first chapter of Nepal 2043: The Road to Prosperity are two maps. The first places Nepal right at the epicentre of Asia, and in the second the Kathmandu is at exactly the midpoint between Mumbai and Beijing. With his trademark optimism, author Sujeev Shakya says Nepal is not land-locked but land-linked to three billion people in China and India. We just need those two economic engines to pull us in the same direction. ‘With China and India becoming the two largest economies in the world in the next two decades … Nepal is the most valuable piece of real estate in the world,’ Shakya writes. For one thing, Nepal does not look beyond India and China for tourism — with the right policies it can attract millions of tourists just from those two countries. Nepal is set to graduate from a low- to a middle-income country by 2026 and to a high-income country in 2043 — hence the name of the book. The year 2043 in the Bikram Sambat calendar is also 2100 — a new Nepali century. The book delves into the past, present and future of Nepal and analyses enablers including hydropower, a fundamental transformation of which will drive the 2043 goal. The commoditisation of electricity will be the biggest transformation. Nepal can deploy ‘Cyber Gurkhas’ to attract foreign investors with the management of data centres with climate friendly renewable energy. Access to technology such as precision agriculture, a data-driven approach to farming to improve food production, reduce environmental impact and enhance profitability could be Nepal’s strategy into 2043 and beyond. ‘Earlier, we needed ploughs and strong hands in agriculture. Now, you need a computer and strong fingers,” Shakya writes, citing a neighbour’s son who inspects his crops from drone cameras. A farmer in an Ilam teashop tells the author he asks AI questions in Nepali, and it answers promptly. The biggest enabler of all is Nepal’s young demography with 62% of the population in the active 15-60 age bracket, while 28% are younger than 14. Nepal’s dependency ratio has dropped to the lowest in history with 100 Nepalis having to support 62 dependents. But this demographic dividend window is closing. Nepal’s total fertility rate declined from 2.62% in 1981 to 0.92% in 2021 — below replacement level. We have less than 30 years left to make the best use of the youth, many of whom are currently studying and working abroad. Nepal’s biggest resource, therefore, is its diaspora spread across the world who send home $20 billion a year. Migration is not just a necessity but an aspiration for many Nepalis, and they are an important source of contacts, investment and soft power. This young and educated group has taken advantage of connectivity and digitisation in all arenas of national life. TikTok and Instagram have become e-commerce platforms, or mobile app-riven digital services. Nepal’s software companies exported over $1 billion worth of IT products last year. Next we need a change in the bureaucratic mindset to eliminate paper and manual processes, which would also contribute to reducing corruption. Shakya comes up with many revelations: 81% of Nepalis live in houses they own, much higher than most other South Asian countries which means higher disposable income. Nepal has the highest tax-to-GDP ratio in South Asia. The banking sector is twice the size of Bangladesh despite Nepal having just one-fifth of its population. In 2021, 12.62% of the population had demat accounts in Nepal, while India had only 5.32%. For every five male investors, there are four women in Nepal while it is 10:1 in India. With such figures and prospects, how come Nepal just went through a violent uprising that took the shortest time to topple a democratically-elected government in modern history? One early chapter of 2043 is actually dedicated to how Nepalis have always thrived on chaos. When people faced up to 20 hours of power cuts a day, people worked around the load-shedding schedule, woke up at ungodly hours to cook and stock up on inverters. They did not put up a fight, or even protest. ''Generally, Nepalis are used to taking things lying down, and perhaps this also needs to change,' says Shakya, writing that line before last month’s uprising. ‘On the one hand, some of these issues speak volumes about the average Nepali’s patience and perhaps optimism that things will change in the long run. On the other hand, one is also forced to wonder how much longer they will be able to put up with unfavourable conditions if things don’t change.’ It does seem Nepali had enough with corruption, governance failure and political apathy to the concerns of ordinary people. The final chapter lists the non-negotiables to realise the 2043 Nepal Roadmap: democratic values and freedom of speech, a capitalist welfare state and socio-political transformation to tackle corruption and impunity. The book notes, ‘Countries transitioning to democratic rule experienced a 20% increase in GDP over a 25 year period compared to what they would have achieved under authoritarian regimes. After the end of the Shah rule in 2006, Nepal’s GDP rose from US$10 billion to US$44 billion by 2024.’ The government’s Vision 2030 document projects Nepal’s GDP at US$100 billion, and the Vision 2043 estimates that it will be a US$423 billion economy with a per capita of US$12,100. However, it will need more than optimism and practical action to make these projections real. China and India loom large throughout the book with examples of small city states like Singapore which have taken advantage of their strategic location. Despite the tension between India and China, the two will have to collaborate given the inherent advantages. China has replaced the United States as India’s biggest trading partner. Sujeev Shakya is a great admirer of former Singaporean diplomat and author Kishore Mahbubani, and he has written a blurb for the book. He quotes Mahbubani saying that for the past 2,000 years, apart from the last two hundred, Asian countries have dominated the world, and it is quite natural that the world’s economic centre is returning to Asia. And Nepal is strategically placed to make the most of it because of its location between two of the world’s fastest growing economies. We just have to get our politics right, and have a strategy for equitable growth in the new Nepali century.  <figure><img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251016091052_78b2d1495d59cd492a17693e0e770b65230c7cb749393ac6643f4676b73832ef.jpg" data-media-id="editor_0" data-image-id="20251016091052_78b2d1495d59cd492a17693e0e770b65230c7cb749393ac6643f4676b73832ef" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Sujeev Shakya book details NT"></figure>

Retrofitting Nepal for future shocks

In the aftermath of the GenZ protests last month, as new PM Sushila Karki chose the first members of her Council of Ministers, youth collectives urged that it reflect the country’s diversity by including women, youth and people from various ethnic and socio-cultural backgrounds.&nbsp;
It took another couple of weeks for Karki to include &nbsp;bureaucrat and public health expert Sangeeta Mishra as &nbsp;Health Minister in her next tranche of ministers. Almost immediately, people dug up a video of Mishra calling herself “Nepali, but a native Indian”.
She was telling it like it was: Mishra is a naturalised Nepali citizen. But there was outrage in the ultra-nationalistic cybersphere. Mishra’s name was withdrawn from the list of ministers, with government officials citing an ongoing investigation at the CIAA.&nbsp;
With her Cabinet still incomplete a month after taking office, Prime Minister Karki was preparing to induct GenZ as ministers. A leak in the media floated the names, one of which was of Tashi Lhazom, a climate activist and filmmaker from Humla’s Limi Valley.&nbsp;
Almost immediately, social media erupted with discriminatory, xenophobic and misogynistic epithets against her: that she supported a separatist movement, that she was a foreign agent, that her citizenship was disputed, that she did not ‘look’ or ‘speak’ like a Nepali.&nbsp;
Political figures like Gyanendra Shahi, a prominent voice calling for the restoration of a Hindu monarchy, added fuel to the fire by making bigoted and false remarks about her heritage.
The former Commissioner of the National Human Rights Commission, Mohna Ansari, wrote on social media that it was shameful to question Lhazom’s identity: ‘Ms Tashi Lhazom is as Nepali as you are. Our society’s ugliest face and biggest flaw is doubting our own. Real patriotism embraces diversity — fake nationalism must end.’
Ansari, a human rights lawyer and activist, has also often been subject to Islamophobic and derogatory comments on digital platforms. &nbsp;
In response, the Indigenous GenZ Collective released Lhazom’s Nepali citizenship certificate to debunk the mistruths spreading on digital as well as mainstream media.
What makes a Nepali? What does a Nepali look or sound like? Who is a Nepali?
‘Had my name been Tashi Poudel, Thapa, Bhattarai or Ghimire, this would not have happened,’ Lhazom said in an interview with Kantipur following an avalanche of bigotry against her. ‘They questioned me because I do not look Nepali, or speak Nepali like a Khas. Because it is not my mother tongue.’
It is an indictment of Nepali society that indigenous Nepalis have to present proof, at the slightest inconvenience of mostly the dominant groups, of being a citizen of this nation simply because they might not fit into an imagined idea of Nepali nationhood by virtue of physical appearance, speech, geography, or faith.
And while we celebrate the successes of Nepal-born naturalised foreign citizens (some now hold elected office in the US) we refuse to afford the same respect to naturalised Nepali citizens, and those born in Nepal to excluded groups, nor do we expect them to work in the national interest if they are given responsibility to govern. And women are singled out twice as much for scrutiny.
Then cyber Nepal went into a tizzy when videos appeared of a biker’s group clad in black t-shirts emblazoned with the acronym ‘TOB’ which was interpreted to stand for ‘Tibetan Original Blood’ and linked to the Free Tibet movement.
The accusations snowballed into disinformation, xenophobia, and even calls for violence against Nepalis of Tibetan heritage and the Tibetan community in Nepal.&nbsp;
In the aftermath of the September protest, the hope was that politics and the bureaucracy would finally be rid of orthodox political actors. But first, we as a nation need to collectively examine the biases and bigotry that exist in Nepal’s socio-cultural space.&nbsp;
Otherwise, Nepal’s multiculturalism will be limited to just words in the Constitution and political tokenism.
No one who is in government now or in future can be expected to be completely free of subjective opinions, ideology, affiliation to a cause, or prior activism. And such criticism falls disproportionately on activists, advocates, and members from underserved and underrepresented communities.&nbsp;
One cannot be apolitical and hope to participate in politics, and as we move forward to rebuild the system it must not just reflect diverse communities, but also celebrate diversity of thought and beliefs.&nbsp;
Resorting to ethnocentrism, racism and chauvinism with conspiracy theories and discriminatory dog-whistling about fellow citizens is a disservice to Nepali nationhood. It is Nepal’s diversity that makes us strong.&nbsp;
Shristi Karki

What makes a Nepali?

Chuden Kabimo is in Kathmandu to receive this year’s Madan Puraskar prize for his novel, <a href="https://thuprai.com/book/urmal/?srsltid=AfmBOopuAcN_Emi7s7ptdJNBJhP17OQEkWBwF2OjbkZik99xCWS4sqPn" target="_blank">उरमाल</a> that is set among the tea plantations and their workers in northeast India’s Dooar plains.&nbsp; The award ceremony was postponed due to Nepal's violent GenZ protests, and his trip had to overcome highways and bridges destroyed by this week’s heavy rains in the Darjeeling hills and across the border in Nepal.&nbsp; Kabimo’s previous work, <a href="https://thuprai.com/book/faatsung/?srsltid=AfmBOopwCankD0dycz4oef2BifQlIq1vWwHSawc33IPiBWExo_n8YAb3" target="_blank">फातसुङ</a> was the story of the Gorkhaland Movement in Darjeeling 30 years ago told through fictionlised characters and their friendships, their love for the land, and revolution. Song of the Soil is its English translation by Ajit Baral published in 2021, and there are also Hindi and Bengali translations.&nbsp; The Gorkhaland Movement sought to create a separate state for Nepali-speaking Indians of West Bengal. There is plenty of violence, arson, and young death in the book, and a poignant contemplation on the 8-9 September Gen Z protests in Nepal.&nbsp; The plot is structured as a story, inside of a story, inside of a story, and starts off as the narrator gets the bad news that his childhood friend Ripden was killed in a landslide. He heads back to the site, Malbung, where he was born.&nbsp; He reminisces about his days in school with the rebellious Ripden, who encouraged the narrator to skip school and led him on adventures instead. He remembers villagers who sold their farms for alcohol, and dedicated teachers who helped them dream of better lives.&nbsp; Ripden lives with his uncle. His mother died when he was four, and his father disappeared in the Movement. One day he hears that his father is in fact dead as well, and decides to run away to a village called Lolay. There the pair meet Nasim, who is involved in the Gorkhaland Movement as a child soldier.&nbsp; Chuden Kabimo is of the Lepcha community, a people fiercely proud of their identity, homeland, history, and myths. He weaves together the stories of the characters, detailing their motivation to rebel. ‘I may give up my life, I may give up my soul. But Gorkhaland, I will have anyhow,’ says one leader of the Movement.&nbsp; It is the story of all revolutions where young idealistic people join with the best of intentions, but things betray their initial hopes. The spirit of the revolution can get everyone to protest, even those who do not want to be so involved, but they get killed anyway. Much like what happened outside Parliament last month in Kathmandu.&nbsp; Others think of personal success through the movement, and dream of a day where even the pigs can eat rice and every house has a swimming pool. Others keep themselves going through with alcohol and remembering past, present, or potential lovers.&nbsp; Ajit Baral’s translation has short, crisp sentences that make the 200 pages move along at a fast clip. The sparse language allows the writer to recede to the background as the story unfolds by itself. &nbsp; Kabimo condenses love stories into a chapter or sometimes just a few paragraphs. This works because the story of the revolution must be at the centre, and all else is tangential. Characters are sometimes introduced only to be killed off quickly.&nbsp; Like in all revolutions, there are factions and they are fighting among themselves, against Communists, or against the police. Readers not familiar with Gorkhaland may find it difficult to keep track, but this also parallels the real confusion of a society in turmoil.&nbsp; Kabimo also tends to start his chapters with statements like ‘history is written by those who stumble in life’ which sounds better in Nepali, and something is lost in translation. &nbsp; Read with the recent Nepal protests in mind, there is almost a sense of relief that the fires that spread here burnt themselves out so quickly. But in Song of the Soil, the revolution is never-ending with villages and families living in terror and deprivation.&nbsp; It seems that the longer insurrections last, the more people die, and groups become divided making it easier to subvert the original goal of a revolution.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251012051032_089e7a01ed5afdad35c7a298024e65893b8cf252eb2fce3b919e72c60a3c7a8f.jpg" data-media-id="editor_2" data-image-id="20251012051032_089e7a01ed5afdad35c7a298024e65893b8cf252eb2fce3b919e72c60a3c7a8f" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Song of the soil NT"> </figure>  --- <h2>"I make sure I am always connected to the story"</h2> - Chuden Kabimo, the winner of this year's Madan Puraskar literary prize for the book Urmaal Nepali Times: Your journalism about the Gorkhaland Movement inspired your earlier novel, Faatsung. What was your process in learning about tea plantation workers for Urmaal? Chuden Kabimo: I had been reporting on the second Gorkhaland movement, so it was easy for me to write Faatsung. For Urmaal, I lived with the tea plantation community. I started work six months after Faatsung was published, heading to the Dooars and exploring it. I had gone with the intention of writing a story about child marriage in a community there.&nbsp; I talked to the locals and the workers, and the need to write Urmaal started pulling me. I would often think that I had enough material for my story, but then I would want to add certain elements, which kept me going back over the five years it took to write the book.&nbsp; How does all that information you gather develop into a storyline and characters?&nbsp; When I start the book I don’t know how the plot will start and end. I talk to many people from different backgrounds. Each person tends to introduce me to other people that I should speak to.&nbsp; I listen to their stories. As the stories start to fit together, I get a sense of the plot and that is where my characters come from. For a single character I need to bring together the stories of many people, maybe ten or twelve. It is not possible to base a character on a single individual all the time. I start where I want to, and as I keep writing the story slowly takes shape. I wrote what ended up becoming the last chapter for Urmaal, first.&nbsp; What about your actual writing process? I wake up early in the morning, then I either go cycling or play football. Then I get back and &nbsp;sit at my computer for sometimes two hours. I sometimes write only two lines in the two hours, sometimes I can write five hundred words. I don’t set a word count for myself. I cannot write a lot at once, I am a slow writer, but I strongly believe that you have to write daily.&nbsp; When you do not write daily, especially for a novel, you tend to lose the connection to the story. I just make sure that I am always connected to the story, which helps me always think about it even when I am on the bus or something.&nbsp; What does winning the Madan Puraskar mean to you?&nbsp; I feel that the Madan Puraskar is the biggest prize in Nepali literature, so it is a source of great pride for me.&nbsp; When I wrote my first book, I hadn’t thought of winning any prizes. When I wrote Faatsung I was thinking much more of Kalimpong and Darjeeling. What Faatsung did for me was make me recognised. A lot of people in Nepal liked it too. How to outdo Faatsung was a challenge for me when I wrote Urmaal. After the book was published, it was getting some good reviews but I didn’t expect it to win the Madan Puraskar. I was at home reading in Siliguri when I got the news.&nbsp; For other awards, like the JCB, they had contacted me to tell me that I had been shortlisted or that I won, but to not reveal it to anyone. It was the opposite with the Madan Puraskar. I was notified via Facebook!&nbsp; It was a unique type of happiness. It is also great motivation for me to work on my third novel. Perhaps I will do something about Sikkim, moving away from Gorkhaland.&nbsp; How does it feel being recognised in Nepal? Six years ago, readers in Nepal did not know who I was. I was new to Nepal and Nepal was new to me. I grew up in rural Kalimpong, and we only had a radio for entertainment. On the radio, we used to listen to Nepali programs, which developed an emotional attachment to the country.&nbsp; I came to Kathmandu for the first time for Faatsung, and it was a lot of fun seeing the places that I had heard about on the radio. The journey after that, of the love the readers have shown for the book and now the prize, has been very meaningful.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251012051032_98bbbef41bc3ca68f0e8c84edd40f7e6c5bd012186e09a08b4ed9631fd9a009b.jpg" data-media-id="editor_3" data-image-id="20251012051032_98bbbef41bc3ca68f0e8c84edd40f7e6c5bd012186e09a08b4ed9631fd9a009b" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Urmaal NT"> </figure>

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