<figure><img width="2304" height="1536" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230208140212/63e3a0639c7e80680e0d7035jpeg.jpg" alt=""/><figcaption>All photos: SUMAN NEPALI</figcaption></figure>There is darkness, except for the faint trace of a white tree at one corner, dancing ripples (or golden flames?) at another. Light pours downward like the first rays of creation upon four figures lying on the ground. Sound of the madal drum fills the air.The women rise, fluid to the music of nature. Their expressions dart from sombre to elated, reflecting the beat. One raises her hand high in the air while another reaches deep into the earth. They go around in circles, and behold: a child is born.Meanwhile, a shadow surrounded by cool blue light dances in perfect sync with the women on stage -- Reflecting them? Guiding them? There is a sense of womanhood, motherhood, as life is created. The child grows into a girl who now learns the dance from the women who came before her. This is a form of storytelling that bridges the past and present, future, preparing and shaping expectations. <img width="2304" height="1536" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230208140212/63e3a0669c7e80680e0d7036jpeg.jpg" alt=""><a href="https://www.nepalitimes.com/review/no-exit-from-lake-constance/">One World Theatre</a>’s latest play Deurali Daandi, in collaboration with Actor’s Studio Nepal, begins in a kind of a musical trance, almost wordless, with a Genesis narrative of its own. And the audience immediately feels as though it has always been living in the fabric of its history and cosmology.When the prelude ends and a new movement begins, the audience already knows the world: its hills and its mountains, the sounds of choppers and planes in the air that announce the arrival of goods and bodies. This village is, after all, already branded into our collective psyche through the media. We may not all live there, but we have heard of it and its people. There are no men left here. A strange epidemic that manifests itself as parched and coarse sand made them all leave. The audience is not surprised -- there are repercussions now that are more biting and terrible. Drawing from the elements of Sati Ghatu folk dance of the Gurung community of Nepal and performed mainly on the full moon of Baisakh Purnima, the play examines Nepal’s labour migration practices and its fallout. It explores a world of deafening absences, and how cultures, traditions and life are affected.Read also: <a href="https://www.nepalitimes.com/review/ghatu-dance-of-lamjung/">Ghatu dance of Lamjung</a>, Sewa Bhattarai<a style="background-color: #ffffff; outline: 0px; letter-spacing: 0.15px;" href="https://www.nepalitimes.com/nt/here-now/diaspora-diaries/?page=1" target="_blank" rel="noopener noreferrer">Diaspora Diaries </a> <img width="2304" height="1536" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230208140212/63e3a06a9c7e80680e0d7037jpeg.jpg" alt="">Springs dry up, birds do not sing, a baby deer dies in the forest, and the women are also getting sick. What is this disease? ask the characters, sometimes staring at the audience. We know this disease of the sand: we feel it in our bones, and are unsettled by this revelation. For director Rose Schwietz, the metaphor is pretty direct and apparent. “The way labour migration spreads in Nepal is like an epidemic, through contact,” she says. “What we have is a bit of a poeticism and magic realism approach to the idea. And a part of what we are trying to do in the play is bringing the stories that are not heard or told.”Indeed, the majority of the stories one hears about labour migration in Nepal centre on the men who either return or do not at all. “These stories are obviously very important,” Schwietz adds, “but I also wondered about their trickle-down effect.”Schwietz norticed this effect during a Fulbright stint studying Ghatu at Nalma in Lamjung in 2014. She found that every family in the village had someone abroad, or planning to leave.“I was really interested in this idea of people who are here and what they experience,” she says. “And, for the most part, it’s the women who are left behind.” The women adjust their lives in this world, but what happens when the ‘epidemic’ resurges, like a new variant? The women realise they have to respond differently to it and take action to save themselves and their way of life from disappearing. But what actions can they take? Read also:<a href="https://www.nepalitimes.com/banner/between-home-and-the-deep-blue-sea/">Between home and the deep blue sea</a>, Prakash Gurung<a href="https://www.nepalitimes.com/here-now/the-qatar-job-mirage/" target="_blank" rel="noopener noreferrer">The Qatar job mirage</a>, Nepali Times <img width="2304" height="1536" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230208140212/63e3a06d9c7e80680e0d7038jpeg.jpg" alt="">It is a desperate path, beset by nightmares and abuse. The city lights are alluring promises seen from a distance, but even mobile telephones may not fully reconcile the gulf in reality. Nevertheless, there is hope too, which is most visible in how the women come together, to support one another, to discuss, decide, and dance.The all-women cast, largely unheard of in Nepali and global theatre, is effortless and impeccable. Their fierce and emotionally-charged performance is the core of the play. Working closely with Bir Kashi Gurung, a Sati Ghatu performer from Nalma, the actors portray elegant and moving gestures to dramatic perfection, especially as they deliver their lines, giving an ethereal touch to Deurali Daandi. “We listen to each other,” explains actor Deeya Maskey. “It has been easy to communicate, understand and form lasting rapport with each other. We learn new perspectives, become more sensible as people.”Says actor Pashupati Rai, “We have been able to relate to our characters, to the many layers of womanhood, friendships, how society views us. All of this has made teamwork easier and possible.”Saraswati Chaudhary adds, “Perhaps it would have been a different experience with male actors, but we also sit together to eat together and call each other by our character’s name.” In fact, Eating and sitting together encouraged the actors to share their joys and sorrows, which is reflected in the play.This powerful collaboration is what makes Deurali Daandi a stunning production. While there is no consensus as to when and how the Ghatu dance originated, its tradition, moves and spirit have been passed down through generations. This, in turn, directs the play which also looks at the idea of transference and how traditions hit a roadblock when there is hardly anyone left to receive and propagate them.Read also: <a href="https://www.nepalitimes.com/here-now/female-migrant-workers-hold-up-half-the-sky/" target="_blank" rel="noopener noreferrer">Female migrant workers hold up half the sky</a>, Sahina Shrestha<a href="https://www.nepalitimes.com/opinion/nepali-migration-in-the-2020s/" target="_blank" rel="noopener noreferrer">Nepali migration in the 2020s</a>, Upasana Khadka <img width="2304" height="1536" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230208140212/63e3a0719c7e80680e0d7039jpeg.jpg" alt=""> “The play does not recreate Ghatu absolutely,” explains playwright Sahalesh, “We are using it as a form to tell a contemporary story and explore the idea of skills, culture being passed down from mothers to daughters, and how a way of life is intrinsically tied to people and traditions, how they co-exist.”This is important to consider in times when we may become desensitised to news. <a href="https://www.nepalitimes.com/banner/qatar-refuses-payoffs-to-world-cup-stadium-workers/" target="_blank" rel="noopener noreferrer">Thousands lost their lives in Qatar alone</a> during the construction of World Cup infrastructure. Such statistics have a numbing effect. But Schwietz believes poetry and theatre can give people a different angle to examine this issue, and preserve its ambiguity for the viewer to analyse.“The whole situation cannot be portrayed wholly as evil,” she remarks. “For individuals, foreign employment can be hugely beneficial, but perhaps not so much for the community or the country as a whole. We have tried to reflect this complexity in the play.” Deurali DaandiRanjana Bhattarai, Sarswoti Chaudhary, Deeya Maskey, Menuka Pradhan, Pashupati Rai and Binita Thapa MagarWritten by SahaleshDirected by Rose SchwietzStaged at Actor’s Studio Theatre, Pingalasthan, KathmanduRuntime: 1h45m without intermissionUntil 29 January 20235:00pm (Matinees on Saturdays 1:00pm)Tickets: Students: Rs300 General: Rs500 VIP: Rs1000Read also: <a href="https://www.nepalitimes.com/review/the-price-of-a-kiss/" target="_blank" rel="noopener noreferrer">The price of a kiss</a>, Ashish Dhakal

Ashish Dhakal

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Between sand and a hard place

https://youtu.be/1Ur3EvdiaikDevotees lined up inside the Tashi Chhyoling Gumba of Nalma village, Lamjung, recently on Buddha Jayanti to prepare the Ghatu dance. Interestingly, although the day begins with offerings and lamps for the Buddha, the dance begins by invoking Hindu gods.Ghatu seems to bring many cultures and languages together across the mountains of Central Nepal. In Nalma village, a two-hour ride from the district headquarter of Besishahar, four young girls are dressing up in traditional Gurung costumes to prepare for the dance. The rituals actually begin in January on the festival of Shree Panchami, when the dancers are selected. They are then trained until the performance starts on Buddha Jayanti, and goes on for up to a week. <img width="575" height="1024" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108121144/636a41ef9c7e80680e04a6a4jpeg.jpg" alt=""/>On full moon day the dancers line up in a community building at the center of the village, and begin swaying slowly to the music as village elders sing to the beat of the madal. Ghatu tells the tragic story of King Pashramu and Queen Yambawati: Pashramu goes on a hunt, meets and marries Yambawati, and they have a child. Pashramu is killed in action, Yambawati self-immolates on her husband's pyre. The dance climaxes with Yambawati's grief as she gives up her kingdom, says goodbye to her little son, and embraces death. The dancers go into a trembling trance as they perform for hours.Ghatu dance is performed all over central Nepal by Gurung, Magar, Dura, Balami and Kumal communities. But no one is sure how it originated. "It was passed down to us by our ancestors, but they did not tell us where they learnt it or how it began," says Jung Bahadur Gurung, dance teacher in Nalma. "People believe it's based on a local story, and that Pashramu and Yambawati were a local Gurung king and queen."Gurung knows the songs, but says he does not know what language they are in. It sounds like Tharu or Bhojpuri, languages spoken in southern Nepal. Since Pashramu meets Yambawati when he is out hunting and far away from his mountain homeland, some people speculate that queen Yambawati was a woman from the Tarai and brought the songs with her. The Gurungs also do not have the practice of sati depicted in the dance. Considering this and other factors, folk music expert Kishor Gurung concludes that Ghatu was actually brought to Nepal by Lahures who went to India. "Nepali soldiers who joined the British Indian armies must have brought it back with them 150-200 years ago."Professor Yubaraj Gurung thinks the dance is essentially a way for the community to comes to terms with pain and relate it to Yambawati's grief. But there is agreement on what makes the dancers go into a trance as they dance with their eyes closed, swaying slowly to the music."The dancers sometimes don't even know the story, but go with the flow and where the music takes them," says folk music researcher Jhuma Limbu who is making a documentary about Ghatu. "It is a matter of great pride that music which explores the depths of human psychology is still alive in Nepal. We must do our best to preserve it." <img width="2000" height="1123" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108121148/636a41f29c7e80680e04a6a5jpeg.jpg" alt="">As with most folk art, this music has been passed down and preserved orally, and it is known to affect the dancers anytime it is played. Grown women who were former dancers sometimes fall into a trance when they hear the music. Villagers here forbid recording the music, and the performances only happen at designated times.With the march of time, interest is waning in such lengthy dances when other means of entertainment are easily available, says musician Raju Gurung: "It is a very sad that people are losing interest in the ritual part of the dance and it is becoming more and more commercialised. We love our dance very much and would like to preserve it, but it is a losing battle."

Ghatu dance of Lamjung

“Let's have another cup of tea,” <a href="https://nepalitimes.com/here-now/ujwal-thapa-s-light-shines-on-n0tfurod">Ujwal Thapa</a> of the alternative Bibeksheel Nepali party told the young activist Pukar Bam ten years ago. The two had 12 cups of tea that day, discussing ways to get Nepal out of its political deadend. Thapa contested the Constituent Assembly election in 2013 as an independent from Kathmandu, and formed Bibeksheel Nepali to galvanise youth impatient for change, fielding candidates in the first federal election in 2017.&nbsp; Ujwal Thapa was a political guru who was way ahead of his time, and his protégés were among the RSP’s winning candidates in last week’s election. Pukar Bam was a core member of Bibeksheel Nepali until its dissolution, and won the Kathmandu-4 seat this time. Other former Bibeksheel members who won the election from the RSP in Kathmandu include Ranju Neupane from Kathmandu-1, Sasmit Pokharel from Kathmandu-5, and Biraj Bhakta Shrestha in Kathmandu-8. As votes were counted and the results from Kathmandu began to come in, the candidates paid fulsome tribute to Ujwal Thapa’s mentorship and in inspiring idealistic youth to become a part of an alternative political force.&nbsp; Today, as RSP members of Parliament, they are no longer an alternative, but a part of Nepal’s new mainstream politics. Thapa returned to Nepal after finishing his undergraduate computer science degree in the US at the peak of the Maoist insurgency. His foray into politics began when he traveled to Nepal’s western mountains to train communities in mediation. After the war, he started a computer design company for young entrepreneurs entering the workforce. But he became frustrated with the inability of the second Constituent Assembly to promulgate the Constitution, and the power struggle between political parties played out in the streets that led to frequent shutdowns paralysing the country.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260313120348_d18647d53a3b2927328067c35b2e3e6eecf9aefe13f23384e73a2c17211cd9cb.jpg" data-media-id="editor_1" data-image-id="20260313120348_d18647d53a3b2927328067c35b2e3e6eecf9aefe13f23384e73a2c17211cd9cb" data-rendition-name="original" width="823" height="682" loading="lazy" alt="The RSP's activist DNA"> <figcaption>Thapa with Pukar Bam, who was elected to Parliament last week from Kathmandu-4. Photo: PUKAR BAM / FACEBOOK</figcaption> </figure>  PROTEST TO POLITICS Ujwal Thapa had had enough, and rallied people from across walks of life, leading peaceful, silent demonstrations proclaiming 'नेपाल खुल्ला छ' against prolonged, violent strikes. Citizens fed up with the main political parties organised to defy the shutdowns. Thapa’s activism and vision for a new Nepal drew disenchanted and previously apathetic youth into politics and to join the Bibeksheel Nepali Party in 2013.&nbsp; Thapa was the pioneer of alternative politics in Nepal, and was leading a youth force long before the GenZ became synonymous with Nepal’s September Storm. He mentored and guided social activists who are today influential youth leaders engaged in non-traditional politics. “Ujwal Thapa, with his entrepreneurial spirit, wanted to address people’s pain-points, and believed that activism was the starting point to alternative politics,” explains <a href="https://nepalitimes.com/opinion/nepal-loses-rare-purpose-driven-leader">Ashutosh Tiwari</a>, former member of Bibeksheel Sajha party. “He sought to build confidence, motivate, and build a community for young people, which drew a lot of people into Bibeksheel.” He adds: “ And while people might say that Bibeksheel never got big, that was never its point. Its function was to be an early talent incubator, which is what it did as evident by the result of this election.” Thapa died in 2021 of complications related to Covid-19, and Bibeksheel had two mergers with Rabindra Mishra’s Sajha Party before being permanently dissolved in 2021. But many of its idealistic members joined Rabi Lamichhane’s RSP, formed just four months before the 2022 federal election. Such was the groundswell of support for change that the RSP became the fourth-largest in Parliament. In 2017, Ranju Neupane (then Ranju Darshana) was the youngest mayoral candidate for Kathmandu at age 21, and contested the federal election in 2022. Pukar Bam himself lost the 2022 election in Kathmandu-1 as an independent.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260313120348_6302a9b534f57191d9a2cb2c31b31449873c6cc27d375344a248dd90847921dd.jpg" data-media-id="editor_3" data-image-id="20260313120348_6302a9b534f57191d9a2cb2c31b31449873c6cc27d375344a248dd90847921dd" data-rendition-name="original" width="1729" height="1365" loading="lazy" alt="The RSP's activist DNA"> <figcaption>Photo: SOCIAL MEDIA</figcaption> </figure>  Sashmit Pokharel also ran an unsuccessful campaign as an independent candidate in Kathmandu during the 2022 provincial election. Later, he was a member of the City Planning Commission under Balendra Shah when he was elected mayor of Kathmandu in 2022.&nbsp; Last week, the RSP swept the election with a supermajority of 182 seats in Parliament. Voters placed their trust in the party and its leaders to steer Nepal in a new direction after the youth unrest in September.&nbsp; In many ways, Nepal’s youth have decided, just as Ujwal Thapa once did, that enough is enough with corruption, malgovernance, nepotism and dynastic politics.&nbsp; In the <a href="https://nepalitimes.com/review/the-man-who-shook-our-minds">documentary</a> about his life, Dimag Ghochne Manche, released earlier this year, some RSP nominees who previously worked with and were mentored by Thapa spoke of the impact he had on their lives, career, and activism. Among them is Biraj Bhakta Shrestha, former minister of Youth and Sports who is now a second time RSP parliamentarian. “I tell everybody that if it hadn’t been for Ujwal Dai, I would not have gotten into politics,” he says in the film.&nbsp; It would be unfair to attribute all the success of the hard-fought campaigns entirely to Ujwal Thapa’s protégés and former coworkers.&nbsp; But his ethos and vision for Nepal was what inspired them, and will in the coming years be reflected in national politics through the young idealists he mentored. Says Ashutosh Tiwari: “There are many Bibeksheels outside of RSP in constant and open communication with their old friends who have been elected. They will be keeping the lawmakers in check so that they do no stray too far from the values that they grew up with.”

RSP’s activist DNA

The Bell that rang in the new A daughter stands in her family's living room, frantically ringing an actual घण्टी at her father. He is a lifelong Nepali Congress (NC) voter. She tells him his party loyalty is as humiliating as a daughter eloping.&nbsp; He looks visibly defeated, and because of RSP’s landslide sweep in this election, he has no reply. She is not a party member. Nobody told her to do this.&nbsp; Multiply this actual family scene by hundreds of thousands of households across Nepal and you find the reason for the RSP tsunami. Children ringing bells at parents over dinner. Aunties shaking bells at legacy party candidates on their morning walks. Taxi drivers, lifelong UML supporters, cheerfully announcing they have switched.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026031014038_096f980a799b4f80118863174ed629680cc6c21b02e226a899ce1dc5268b4b72.png" data-media-id="editor_0" data-image-id="2026031014038_096f980a799b4f80118863174ed629680cc6c21b02e226a899ce1dc5268b4b72" data-rendition-name="original" width="364" height="662" loading="lazy" alt="RSP Flag prank"> </figure>  And overseas, Nepalis in Dubai and Doha, Sydney and Seattle, calling home to deliver just one instruction: “चुपचाप &nbsp;घण्टीमा छाप”।&nbsp; How did an election symbol like the Bell jump off a ballot paper and become weaponised for generational shame?&nbsp; The RSP's 2026 campaign is a case study in how a symbol becomes so participatory and instinctive, that citizens start campaigning on behalf of a party they never formally joined. It may look like a cult, but it is a phenomenon no political party in Nepal has ever pulled off. The ghost in the machine&nbsp; The 3-year-old RSP entered the 2026 race without the campaign infrastructure that legacy parties considered essential. It has no sister organisations, no vanguard student unions, no established cadre networks.&nbsp; In a country where ground reach and organisation wins elections, this looked like a fatal handicap. Established parties had spent decades building a top-down machinery: youth wings that mobilise on orders and unions within government. But it was all hollow and manufactured.&nbsp; That is why when the NC or UML posted a policy manifesto, it got barely 200 shares. When a 19-year-old posts an <a href="https://nepalitimes.com/here-now/spot-ai-generated-election-videos">AI video on TikTok </a>of Balendra Shah swinging a bell like a Kung Fu Hustle weapon, it gets 5 million views.&nbsp; The RSP’s very absence became its strategic advantage. Without a chain of command for content, every post felt peer-to-peer. Supporters built communities instead of following orders. Network effects took over: one person posts, three friends remix it, their followers adapt it for their own local context, and the message multiplies without a single directive from party headquarters. A TikTok from Kathmandu featuring Balendra Shah gets remixed by someone in Birganj who <a href="https://www.tiktok.com/@bhojpuriyasuppor0/video/7596686360111484178?q=bhojpuri%20dub%20balen&amp;t=1773115199365">dubs it in Bhojpuri</a>. A supporter in Pokhara takes the same “अबकि बार बालेन सरकार” audio and films it over footage of the city’s broken road.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026031014038_56090217f5b3482fad934c4f76fc872047571b3c86331a4eda1ac19ae389c2fc.jpg" data-media-id="editor_3" data-image-id="2026031014038_56090217f5b3482fad934c4f76fc872047571b3c86331a4eda1ac19ae389c2fc" data-rendition-name="original" width="375" height="646" loading="lazy" alt="Balen Bhojpuri remix"> </figure>  A Nepali worker in Dubai films himself shaking his phone at the camera, captioning it “I can't vote but my family can”. The content stays structurally the same (bell + emotion) but the surface changes every time. The format is the constant. The context is the variable. A single post multiplies into a thousand pieces of local content without anyone coordinating it. Legacy parties spent money on reach. RSP's strategy built reach for free, because participation itself was the product. The Bell, blazer and brand&nbsp; Run the sensory test. The UML's Sun symbol is only visual. You see it on a ballot, on a flag. You cannot hear a sun. You cannot perform a &nbsp;sun. Nobody walks into a room and ‘suns’ at an opponent.&nbsp; The NC’s Tree symbol is also only seen. It communicates nothing as a verb. Nobody ‘trees’ the father across the dinner table. Ujyalo Nepal's lightbulb was the most passive symbol of all, it just sits there being always on. The Bell had rare resonance as an election symbol. It is a verb (to ring), a sound (tintinnabulation), a physical action (shaking), and a metaphor (wake-up call). घण्टी is participatory by design. You do not just see it, you perform it.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260310140312_c5580164e1f11a8466f591c4d514420bb5313a34b559554db05364065486c3b7.png" data-media-id="editor_4" data-image-id="20260310140312_c5580164e1f11a8466f591c4d514420bb5313a34b559554db05364065486c3b7" data-rendition-name="original" width="368" height="654" loading="lazy" alt="Classroom ghanti NT"> </figure>  It works as a metaphor: wake up. It works as a taunt: we are coming (“हामी आयौँ”). It operates across sensory channels a meme can travel through. The other party symbols are logos. The घण्टी is a multimedia verb in active voice. Poets on the frontline Politics has always been about performance. Murray Edelman wrote decades ago that political actions are symbolic acts: what politicians do matters less than what their actions represent.&nbsp; Guy-Ernest Debord argued that spectacle replaces lived experience. But the stage has changed. The social media feed is the new stage, and the algorithm is the casting director. It does not select for policy depth, but for recognisability, emotional charge, and remix potential. Poets have always been at the frontlines of political rupture. The French Revolution had its pamphleteers. The Bolsheviks had Mayakovsky. The Black Panthers had Gil Scott-Heron. Nepal's own political history is full of writers who paid for their words with prison or exile.&nbsp; Rap is rhythm and poetry. Balen Shah did not cross from entertainment into politics, his art was always political. “सडकबालक" in 2012 was already a protest song. The diss tracks against corruption were manifestos set to beat.&nbsp; So, if घण्टी was the sound, Balen was the voice. Supporters rang Bells to perform, projecting their hopes on Balen. One is participatory (anyone can ring it), the other is aspirational (representing what you want the country to become). Together, they form a complete symbolic system: an action and an icon, a thing you do, and a person you believe in. Both are algorithm-native. The sunglasses are instantly recognisable in a thumbnail at any size. The bell sound action is identifiable within half a second of a video starting. The confrontational attitude generates the emotional charge that the algorithm rewards.&nbsp; Balen was already trained in the language of the algorithm: hooks, rhythm, timing, and audience retention. While legacy politicians are just now trying to learn the language of the algorithm, Balen grew up speaking it. The folk song brand kit: The slogans wrote themselves. While legacy politicians are just now trying to learn the language of the algorithm, Balen has grown up speaking it. The folk song brand kit The slogans wrote themselves. “चुपचाप &nbsp;घण्टीमा छाप” spread through tea shops and bus parks like a folk proverb. <a href="https://nepalitimes.com/here-now/nepal-s-ai-generated-election">AI-generated Mahabharat edits</a> positioned Balendra Shah as a warrior-hero fighting K P Oli in golden armour.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026031014038_cd7fbb8b4a97628757977b55d1244b192c233566dad268e894c7132d16cf180c.png" data-media-id="editor_6" data-image-id="2026031014038_cd7fbb8b4a97628757977b55d1244b192c233566dad268e894c7132d16cf180c" data-rendition-name="original" width="369" height="667" loading="lazy" alt="Ghanti Chhap NT"> </figure>  The entire package, partly by accident, partly by instinct, was built to be remixed. Every element is modular: the bell, the sunglasses, the slogan, the attitude. Take any piece and make your own version. Like a ‘Deusi re” song, the melody is fixed, everyone knows it, but anyone can change the words to fit their occasion and mood. It survives across generations precisely because no one controls it.&nbsp; The घण्टी ecosystem works the same way. The melody is fixed: the bell, the sound, the slogan, the sunglasses, the attitude. But the lyrics can be anyone’s. Shoot it in your neighborhood. Dub it in your language. Film your grandmother's reaction. Set it to your local context. That's why it spread faster than any IT cell could manufacture.&nbsp; The generational pincer The standard narrative is that digital movements stay digital, and that memes are a GenZ thing. RSP broke both assumptions. Its content operation executed a pincer movement across generations, capturing not just the youth vote but used youth as a delivery mechanism into households where no party organiser could reach. The Generational Pincer Flowchart Three vectors of pressure, all converging on the same target: the living room and the dinner table, where votes in Nepal are actually decided. Downward: children trolling parents by ringing bells at dinner, turning family meals into campaign arenas. A bell rings as a prank, then as a joke, then as a political statement. By the third night, it's not funny anymore. It's a conversation.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260310140316_446e465f60994532e53b1786368dd025e9ad99a387b4121493f8826c46921cb7.png" data-media-id="editor_7" data-image-id="20260310140316_446e465f60994532e53b1786368dd025e9ad99a387b4121493f8826c46921cb7" data-rendition-name="original" width="364" height="669" loading="lazy" alt="Ghanti prank"> </figure>  Lateral: the diaspora pipeline. Nepalis in Australia, the Gulf, Japan, could not vote, but they turned every Viber call home into a campaign touchpoint.&nbsp; Upward: the bell pressured power itself. No RSP organiser gets a meeting with a UML ward chairman or a NC MP. But those people go home. And at home, they have teenagers, nieces, nephews, and staff whose kids are on TikTok.&nbsp; A party boss's son rings a bell at dinner and asks uncomfortable questions. A NC donor's daughter shares RSP content on her Instagram story, visible to her father's entire social circle. No political structure, no matter how hierarchical, is sealed off from its own household. The bell did not need to breach the gates of Singha Durbar, it walked in through the kitchen window. The result crossed every demographic line analysts thought was fixed. Memes didn't just stay in the feed. They colonised the living room, the kitchen, the long-distance phone call, the taxi ride. Content nobody commissioned&nbsp; What the RSP's organic content looked less like a political campaign and more like a football fan club. People were not posting because they were told to. They were posting because they belonged. Trace the trends as they accumulated: <ul> <li>“<a href="https://www.tiktok.com/@rameshmahto065/video/7610784878174424338?q=chup%20chap%20ghanti%20chap&amp;t=1773115568686">चुपचाप &nbsp;घण्टीमा छाप</a>” started as a TikTok post, then showed up on motorcycle stickers, WhatsApp statuses, AI-remixed songs, and in tea-shop conversation as a folk proverb.</li> <li><a href="https://www.tiktok.com/@rajjimond_18/video/7612570510508969236?q=ma%20ta%20balen%20ko%20fan&amp;t=1773115129539">Original songs composed by supporters</a>, not the party, gained millions of views. People danced to them at rallies and in the streets. People at polling booths created TikToks to RSP anthems to show their support.</li> <li>AI spectacle videos of Balen as a Mahabharat hero, filmy dialogue, stylised Nepal flag. Slapstick clips hitting 200K+ likes and 5M views. All made by random accounts, none traceable to party infrastructure.</li> <li>Supporters built Bell apps and websites on their own. One site, <a href="https://ghanti.website">ghanti.website</a>, was registered by a random supporter in January. Open it on your phone, shake it side to side, and it rings. Within weeks, crowds of supporters were walking through neighborhoods shaking their phones in unison, producing a wall of digital bell sound.</li> <li>The intimate content. A husband-wife vlog filmed inside a car, casually discussing what a lawmaker should actually do. Just two people talking, and it resonated more than any campaign ad.</li> </ul> None of this was centrally coordinated. Parties across Nepal spent money on polished graphics that looked like professional advertisements. RSP supporters spent nothing and made content that felt like conversation. The algorithm doesn't reward production value, it rewards emotional resonance. And nothing resonated more than the feeling that you, personally, could participate in this movement without anyone's permission. Now what? The RSP has a supermajority. The Bell rang louder than anyone predicted. But a movement built on open-source energy now has to deliver closed-source results: budgets, legislation, diplomacy, institutional reform. Balen built his brand by bypassing institutions, Prime Minister Balendra Shah has to run them. He communicated through Facebook posts and rap lyrics. Now he needs to communicate with India, China, and multilateral lenders.&nbsp; His midnight F-bomb post, deleted within 30 minutes but screenshotted by thousands, showed both his appeal (unfiltered authenticity) and his risk (unfiltered impulsiveness). The question is not whether the bell rang loud enough. It obviously did. The question is what happens when the supporters who posted without being asked start expecting results they did not specify. When the meme energy that won living rooms has to translate into parliamentary committees.&nbsp; For decades, the promise of democracy was that people choose their leaders. What RSP's campaign revealed is something more uncomfortable: in the age of the algorithm and remixable content, people do not just choose their leaders.&nbsp; They build the campaign, write the slogans, produce the content, convert their own families, and then show up to vote for the movement they made with their own hands. The party becomes a container for energy it didn't create and can't fully control.&nbsp; That's either the most democratic thing that's ever happened in Nepal, or the most dangerous. It might be both.

Nobody ran the campaign. That is why it worked.

Amidst the euphoria in Nepal about the RSP’s landslide victory, the party’s future government, possibly led by Balendra Shah will plunge headlong into an energy and economic crisis sparked by the war in West Asia. Nepal gets all its diesel, petrol, gas and aviation fuel from India and lacks a strategic stockpile to buffer against shortages. The United States has unsanctioned Russian crude oil to India for one month, but India will only export refined petroleum products to Nepal after meeting its own domestic demand. As it is, India has only 10 days of stockpile of cooking gas and it is giving preference to household use. Energy experts say new oil and gas supplies from Russia and elsewhere will take another month to arrive at Indian ports. “This conflict didn’t develop overnight, yet we did nothing to augment our reserves. Clearly, we didn’t manage procurement anticipating supply disruptions,” says economist Pushkar Bajracharya. The conflict has escalated, seriously disrupting global petroleum supplies. Nearly 20% of the world’s oil and gas moves out of the Strait of Hormuz which is now blocked. The Persian Gulf makes up most of the oil and liquified natural gas supplied to Japan (75%), India (50%) and China (38%). Crude oil prices have nearly doubled to $100 a barrel this week.&nbsp; “This crisis is only going to intensify, so in the short term, it means fuel prices will increase as will the cost of goods and services,” adds Bajracharya. “This doesn’t bode well for the new government, especially when people have such high expectations from it.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260315020356_e9f97cc4e8a41bab08fb9c318be887a7eef5ac674326a9a1c878fd80109c3ec7.jpg" data-media-id="editor_0" data-image-id="20260315020356_e9f97cc4e8a41bab08fb9c318be887a7eef5ac674326a9a1c878fd80109c3ec7" data-rendition-name="original" width="1315" height="801" loading="lazy" alt="Strait of Hormuz NT"> </figure>  Fuel stoppages from India have happened before, notably during the 2015 Blockade. But Nepal could be better placed this time to cushion the shock because of the proliferation of battery-operated vehicles, and electrification of household cooking to some extent. “The increase in electric vehicles provides some relief, but it is not enough,” says energy economist and former Water Resources Minister Dipak Gyawali. “Most critical services still run on diesel, and they cannot be replaced overnight.”&nbsp; Nepal’s expanding road network means diesel and petrol consumption is also increasing. If the war drags on, there will be a critical shortage of aviation fuel that could also hurt tourism at the start of the trekking and mountaineering season. There is already a nationwide shortage of cooking gas which is used by 62% of Nepali households. &nbsp; The fuel crisis will have a knock-on effect on the economy which the RSP government will have to tackle on an emergency footing as soon as it comes into office. The priority would be to cap fuel prices with subsidies, control hoarding, and in the longer term expedite the switch to electricity for transportation and cooking.&nbsp; MONEY IN The other impact will be on jobs in West Asia and remittances. Nearly half the $11 billion a year Nepalis send home every year comes from West Asian countries. Nepal’s hard currency reserves have hit a record high $21.09 billion, but that cash will be of no use if there is no fuel to buy. A sharp drop in remittances due to the collapse of the economies of the Gulf states if the war is prolonged will have a multiplier impact particularly on Nepalis' household expenses and the country’s economy in general. This in turn will have a knock-on effect on investment, and affect the RSP government’s main agenda which is to create jobs at home. The vicious cycle will then mean that more Nepalis will want to migrate for overseas jobs, but options in the Gulf may not be available. The RSP’s ministers in government will have to come up with innovative ways to re-integrate Nepalis forced to return because they lose their jobs, or for safety reasons. There are nearly 2 million Nepalis across the UAE, Qatar, Kuwait and Saudi Arabia, and another 7,000 mainly women caregivers in Israel. “Other than the impact on remittances and the economy, there could be the additional challenge of rescuing over 2 million Nepalis in West Asia if it comes to that,” says Bajracharya. “We don’t have the resources, and we will have to rely on India’s logistical help.” The RSP’s main vote bank was among global Nepalis, who could not cast &nbsp;ballots themselves but influenced families and friends back home to choose the party. Social media was abuzz with slogans that promoted how choosing the RSP would bring their children back home from the Gulf. “The RSP got a majority, and that’s a good thing but voters came together to oppose UML, NC and the Maoists. But there is no clear ideology or philosophy, so while their slogan to bring Nepalis back from the Gulf sounds nice, what would they come back to?” asks Gyawali. The Nepali diaspora in the Gulf that influenced the electorate so effectively will now be looking at how the government it helped get to power in Kathmandu will help as war engulfs the region.&nbsp; There is an almost unrealistically high expectation of the RSP, and the party may not even get the customary 100-day honeymoon period. The cabinet could be put together easily enough, but the bureaucracy, judiciary, police, and the Upper House are all populated by loyalists of the old parties. Despite bad blood, the RSP will have to work together with all parties in the face of the crisis unleashed by the war. And Nepal’s politicised foreign policy must be galvanised to deal with the crisis.

Rough road ahead for new Nepal rulers

The series Nepal Made profiles Nepali products and the people who make them possible While premium beauty product outlets were closing during the Covid-19 pandemic, two young women gambled on setting up a new skin and haircare brand with natural ingredients mostly sourced from Nepal and suited for the Nepali complexion. Arushree Sharma Khatiwada and Megha Agarwal were batchmates in school before they left for studies abroad, returning to set up Avani Nepal after year-long rigorous research into ayurveda-based cosmetic products. Avani in Sanskrit means ‘earth’, and as the name suggests it is committed to bringing all natural, pure and authentic range of beauty solutions.&nbsp; “We found a gap in the Nepali market demand for cosmetics, which is why we decided on a brand sourced from all-natural Himalayan herbs that are not used or explored properly,” says co-founder Khatiwada.&nbsp; Nepal is a treasure trove for medicinal plants and those with therapeutic properties. After all, legend has it that Hanuman flew right across the subcontinent from Sri Lanka to the Himalaya to find a rare medicinal plant to save the life of Lord Ram, who was wounded in battle. When he could not find the specific plant, he tore off a whole mountain and brought it down. Read also: <a href="https://nepalitimes.com/multimedia/looking-good-by-doing-good">Looking good by doing good</a>, Sudiksha Tuladhar  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260314120356_32323fd084540236fe4edb3b98286c131d67c73310279c8038510da1e1ae1bc0.jpg" data-media-id="editor_1" data-image-id="20260314120356_32323fd084540236fe4edb3b98286c131d67c73310279c8038510da1e1ae1bc0" data-rendition-name="original" width="3024" height="2012" loading="lazy" alt="Avani"> </figure>  Medicinal plants in Nepal range from yarsagumba to jatamasi and 500 other species traditionally used in the Ayurveda as well as now in the wellness industry. Avani is also trying to experiment hibiscus, Himalayan honey and other plants to eventually launch an export drive. Running a business in Nepal is no easy task, especially for small scale locally crafted products but in a few years, Avani has ammased loyal customer base and have many repeat customers. “While it was tricky initially, we were determined to launch our products with the best quality ingredients and in an affordable price range,” says Khatiwada. Following a worldwide trend and emulating the method used by Korean cosmetic brands, Avani has deployed celebrities and influencers to increase its outreach through tikTok , Facebook and YouTube. &nbsp;Actresses Barsha Shiwakoti and Shilpa Maskey and makeup artists like Lemi have reviewed their products favourably. Sutainability is a big part of the brand, and Avani uses glass bottles, cardboard boxes, paper bags for all its products. Plastic use is cut to a minimum, and where used is recycled.&nbsp; “Many people think that sustainable brands are expensive, we want to bust that myth,” Khatiwada told us. “We focus on being eco-friendly using ethically sourced materials that are paraben, silicon, and cruelty free.”&nbsp; Read also: <a href="https://nepalitimes.com/here-now/proud-to-wear-dolpo">Proud to wear DOLPO</a>, Vishad Raj Onta  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260314120356_da0d7d4082a9aa51c96ecbcb8a2e7a5bc60e27de202fb339a522036aa3f50b49.jpg" data-media-id="editor_3" data-image-id="20260314120356_da0d7d4082a9aa51c96ecbcb8a2e7a5bc60e27de202fb339a522036aa3f50b49" data-rendition-name="original" width="1048" height="1280" loading="lazy" alt="Avani"> </figure>  Avani has expanded its business to get a toehold in Nepal’s tourism and wellness industry, and the products are carried by spas in leading hotels and resorts in Kathmandu and Pokhara such as the Terraces, Marriott, and Kavya resort, and is in talk with the Hideaway Resort in Pokhara.&nbsp; The skin and haircare brand that initially started with 10 products has since expanded its line to 60 with goods placed in more than 100 stores across Kathmandu. Plans are in the works to expand to India, China and in Japan partnering with Okada. Avani Nepal’s founders say that they support empowerment through employment and training opportunities for women at the company. Khatiwada herself has been engaged with organisations such as Nepal Women Chamber of Commerce, and Nepal Youth Entrepreneur Forum. Additional support from the government such as the provision of lower excise duties has helped but guidance for export and other business regulations is as crucial. Such an environment would also foster opportunities for the youth who are otherwise moving away for jobs or study abroad. “While everyone is trying to go abroad, opportunities can be created here in Nepal itself, with adequate support from the government,” says Khatiwada. “In the meantime, we are eyeing for long term benefits. We are trying to create a legacy for cosmetic brands in Nepal.” Read also: <a href="https://nepalitimes.com/here-now/java-in-the-himalaya-y1ilc21h">Java in the Himalaya</a>, Vishad Raj Onta

ghatu

Between sand and a hard place

Ghatu dance of Lamjung

RSP’s activist DNA

Nobody ran the campaign. That is why it worked.

Rough road ahead for new Nepal rulers

Redefining the criteria for beauty