<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110101156/636ccac39c7e80680e08bb87jpeg.jpg" alt="" width="3000" height="2000"/>There was a time when smartphone shoppers looked for phones packed with every feature they could possibly need. Everybody wanted a phone that is a radio, torch, camera, Internet portal, gaming console, alarm clock, calculator, map, calendar, personal assistant, notepad and more – all rolled into one block of various metals, wrapped in plastic (or glass).These days, phone users are just looking for a great camera to capture moments to share. Yes, battery life and physical features are still important when making a purchase, but with most premium phones averaging at a battery capacity of 3500-5000mAH, the power bank is hardly a matter of contention.Regarding the physical appearance, snazzy phone covers and pop sockets are still trending, making it easy for people to regularly reinvent the way their phone looks. Turns out that choosing a smartphone is like choosing a romantic partner -- it helps to have good looks, of course, but quality and performance are what will determine whether the relationship is a lasting one.So, the camera is queen. The key point to keep in mind is whether the smartphone you have your heart set on has the camera quality you want or need.In most cameras, the image sensor plays an important role. The bigger the pixel size, the better the camera performance. For example, a 48 MP camera with a 1/2-inch sized sensor is considered pretty good. You want your pixels to be large, as a larger pixel can capture more light than a smaller pixel.The ability to capture more light means better performance when you’re taking pictures with friends at a dimly lit bar, when light is at a premium. A lot of phone makers tie up with well-known brands to bump up their camera setup, which allows Nokia to offer a Carl Zeiss lens and Huawei to partner with Leica.However, bigger, better sensors and a larger pixel size is not always possible. Enter a technique called pixel binning, a powerful process that sees data from four pixels combined into one.So, a camera sensor with tiny 0.9 micron pixels will produce results equivalent to 1.8 micron pixels when taking a pixel-binned shot. Smartphone manufacturers use this to keep customers happy with camera quality, especially in the budget phone segment.Ultra high resolution cameras may take time to come to the Nepal mobile market, but the current crop of 40MP and 48MP sensors are already showing impressive results when using pixel binning. With ever-improving capabilities like night modes, better zoom, and AI smarts, there is plenty of potential for better smartphone photos right now.The tiny hole that you can see inside your phone camera lens concerns the opening of the lens, or the aperture. Let’s pretend there are doors sliding in front of your camera lens: you may call these doors Aperture. How much these doors open and close, and how much light they let in, determines the quality of picture.The lower the number next to the ‘F’ (signifying Focal Length), the brighter and more visible your photo will be. Unlike DSLR cameras, most smartphones come with a fixed aperture, but luckily, nowadays the ‘Pro’ mode on your phone camera offers customisation of the aperture.Google Pixel is a great example of a phone that excels with a single lens, but multi lens is an added bonus. Instead of counting the visible camera lenses on your phone (triple cam, anyone?), you are better off judging the phone’s image processing skills.This is a software that processes the data that is captured by the camera. Unlike a sensor or a lens, which cannot be changed or replaced after you get your phone, image processing is an AI system based on algorithms that can actually be altered or improved post-purchase.Tip: To test the power of image processing, try installing G Cam (the Google Camera app) on your Android phone and check out the different it makes to your picture quality.Basic features to look out for:HDR Mode: High Dynamic Range mode allows the camera to click over-exposed, under-exposed and normal images which it combines to produce a well-balanced high-definition photograph with great clarity, excellent detailing and accurate colouring.Portrait Mode: This premium feature blurs the background, and keeps the object in the foreground sharp and clear. Portrait Mode plays with the depth of field to give a unique, dreamy effect that will garner heavy Likes.Optical Zoom vs. Digital Zoom: Optical Zoom uses the actual lens of the camera to zoom into a frame before clicking. Digital Zoom uses digital software to zoom into the frame and crop it to produce the picture, but this compromises the quality of image.EIS and OIS: Often photographs and videos come out blurry or shaky because of manual handling of the phone without a stabilising accessory like a tripod or gimble (popular with professionals). This is when EIS and OIS come to the rescue. EIS (Electronic Image Stabilisation) helps make the video recording smoother by cropping some of the bad frames automatically. OIS (Optical Image Stabilisation) is hardware-related and not a digital shortcut to perfection. This means that phones that offer camera setups with OIS support tend to cost more, usually because high-end flagship models offer it.Panorama Mode: Labelled ‘Pano’ on many phones, this feature was once a novelty, but now an expected ‘essential’ that allows the phone to capture more of a scene by combining images to create a horizontally wide panoramic photo. This is a great addition for people in Nepal who regularly capture mountain views on treks.Time Lapse: A filmmaker’s favourite this feature lets you take a sequence of frames at set intervals to record changes that take place slowly over time. When the frames are shown at normal speed, the action seems much faster, as you may have seen the sun setting bit by bit really quick, or flowers blooming in movies.

Saniaa Shah

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The full picture on phone cameras

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111132/636cd33b9c7e80680e08f958jpeg.jpg" alt="" width="1500" height="1213"/><figcaption></figcaption></figure>In the age of smartphones under pillows, screenshots, Internet of Things (IoT) devices, location trackers and free platforms that make money off our data: <a href="https://www.nepalitimes.com/opinion/facebook-and-the-future-of-online-privacy/" target="_blank" rel="noopener noreferrer">privacy</a> is rapidly becoming elusive.Ever since WhatsApp’s new privacy policy provoked a mass exit (leading users to impulsively switch to smaller messaging apps such as <a href="https://signal.org/en/" target="_blank" rel="noopener noreferrer">Signal</a> and <a href="https://telegram.org" target="_blank" rel="noopener noreferrer">Telegram</a>) privacy has been a hot topic in the media. But how many of us actually peruse privacy policies of every app, every social platform, every website and every device we allow into our lives?“Privacy is no longer a social norm,” Facebook’s Mark Zuckerberg has been quoted as saying. This is the same man who, together with his wife, purchased a home in Palo Alto, as well as four residential properties surrounding it, just to protect their privacy.It is not that people have changed their views on privacy after getting on <a href="https://www.nepalitimes.com/banner/so-you-want-to-quit-facebook/" target="_blank" rel="noopener noreferrer">social media</a>, we are simply unaware of the repercussions of sharing information with a website. And even if we do, many of us will not know where to start when it comes to protecting personal data and reducing our digital footprint.The truth is: the more private and secure you want to become, the more inconvenient your life will be. Start with your browser and Internet habits, manage your social media presence better, migrate to privacy-focused messaging platforms, control your smartphone and laptop (don’t give them access to everything), steer clear from IoT devices.Privacy is like yoga: it is not just a discipline, it is a lifestyle. If you are willing to give it a shot, let us get started:BECOME A PASSWORD PROAvoid your browser’s in-built password saving and managing features. Avoid weak passwords, or re-using the same password everywhere just because it is convenient. If hackers break through your common password, they will likely get access to all your accounts at once. Have trouble remembering all your passwords? Use a password manager, an online application that stores your login details in an encrypted vault (under a master password) and generates complex passwords for you. Some of the best free password managers out there are LastPass, <a href="https://nordpass.com/" target="_blank" rel="noopener noreferrer">NordPass</a>, <a href="https://www.remembear.com" target="_blank" rel="noopener noreferrer">RememBear</a>, <a href="https://bitwarden.com" target="_blank" rel="noopener noreferrer">Bitwarden</a> and <a href="https://www.stickypassword.com" target="_blank" rel="noopener noreferrer">Sticky Password</a>. I personally use <a href="https://www.lastpass.com" target="_blank" rel="noopener noreferrer">LastPass</a> because it’s secure, packed with useful features and easy to use.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111132/636cd33d9c7e80680e08f959jpeg.jpg" alt="" width="1500" height="919">HIKE UP YOUR SECURITY BARRIERS‘What’s your mother’s maiden name?’ ‘Which elementary school did you attend?’ and ‘What is your favourite food?’ are questions any Facebook friend of yours could answer. Do not answer any Security Question honestly, instead create cryptic answers with an inside joke. Additionally, make sure your WiFi router is protected, use WPA2 security, and enable two-factor authentication for everything, even if it adds a few extra seconds to your sign-in process.Regarding fingerprint log-ins and facial recognition features, biometric authentication and biometric identification are exceptionally secure systems, but that does not make them 100% safe. If those databases are compromised, a hacker could get access to your biometric data, or they could be used for surveillance. While this data is more vulnerable than passwords, the good news is, such high-profile data is usually secured on a stronger level as well.CONTROL PRIVACY SETTINGSDisable everything in your Google ‘My Activity’ page. Do not give web platforms information such as your home address and disable location tracking if you can help it. When using social media, utilise the Privacy Settings to strengthen control. Do not befriend strangers, avoid public posts and avoid commenting on public platforms if you do not have your personal data on limited access.USE ENCRYPTED APPSUnfortunately, this means that good old SMS is not a safe way to communicate at all. Signal Messenger is gaining popularity for its privacy-focused approach, but bear in mind that WhatsApp does still have end-to-end encryption and the option to make profile pictures and status private. Studies show that most people do not bother visiting the Privacy Settings of apps they download. Sticking to the default settings of the app is common practice, which often is not the smartest, most secure way to use it.Another logical argument is that leaving WhatsApp is not the answer if you are still using Facebook Messenger, Google Hangouts and Zoom – the last of which has been dealing with security scandals while also experiencing <a href="https://www.nepalitimes.com/opinion/home-work-during-the-lockdown/" target="_blank" rel="noopener noreferrer">monumental growth in usage during the pandemic</a>. If you wish to truly make the switch, consider less popular but extremely privacy-conscious video calling platforms such as <a href="https://www.linphone.org" target="_blank" rel="noopener noreferrer">Linphone</a>, <a href="https://meet.jit.si" target="_blank" rel="noopener noreferrer">JitsiMeet</a> and <a href="https://www.mumble.info" target="_blank" rel="noopener noreferrer">Mumble</a>.PRACTICE SAFER BROWSINGChrome, Safari or Firefox store cookies to track you, so it is important to clear temporary data frequently and use Incognito mode when necessary. <a href="https://duckduckgo.com" target="_blank" rel="noopener noreferrer">DuckDuckGo</a>, a privacy-conscious browser, recently hit 100 million searches in a single day, ranking #2 in the USA, only behind Google, beating both Bing and Yahoo.DuckDuckGo’s primary advantage is its privacy features which allow users to search without personal information being collected and sold to advertisers. <a href="https://www.startpage.com" target="_blank" rel="noopener noreferrer">StartPage.com</a> gives Google results while protecting anonymity, and <a href="https://searx.me" target="_blank" rel="noopener noreferrer">Searx.me</a> is a fully open-source ‘privacy-respecting metasearch engine’ that is quickly becoming a favourite within the security community.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111132/636cd3419c7e80680e08f95ajpeg.jpg" alt="" width="1500" height="1000"><figcaption> </figcaption></figure>PROTECT YOUR PHONEEvery morning, most of us reach out for our smartphones before we even step out of bed. The smartphone is a device physically closest to us, which is why we need to keep it under strict control. Phones come with powerful sensors and data trackers that are constantly turned on, making it easy to extract data that can be shared with other tech companies.Disable Analytics and go into App Settings to ensure that each app only gets permission for what they really need to perform well. Make sure you are using automatic software updates for both the operating system and applications, so that you receive the latest fixes and security updates.With new high-end phones running on Android 8.0 and up or iOS 14 (for Apple users), you get the option of MAC address randomisation. If you have these updated operating systems, this is a huge plus because this feature protects mobile devices from being tracked as they move through Wi-Fi-rich environments.Disable NFC, WiFi, Bluetooth, Radio when they are not in use, especially when moving around in public areas.Disable unnecessary features of existing apps, and control yourself from installing apps you do not need. The more apps you download, the more likely a security breach. In short, less is more.KEEP AN EYE ON YOUR COMPUTERMost of the above tips are applicable for desktop or laptop usage as well. Consider opting out of computer tracking, and disabling unused radios on your computer. Installing an application like <a href="https://www.bleachbit.org" target="_blank" rel="noopener noreferrer">Bleachbit</a> helps remove temporary data and clean your system, while also clearing disk space. Needless to add, public computers are a huge risk, but it is 2021 and the age of ‘cyber cafes’ has passed.THE DARK SIDE OF SMART TECHNOLOGYThe bad news for gadget geeks is that wearable tech devices (smartwatches, fitness bands, etc.) and gadgets that use IOT (Internet of Things) are not particularly healthy for your privacy. If data is not stored locally, you risk sharing all your personal information with third parties. What is more, hackers can potentially break through your wearable device to get your smartphone and get access to all your contacts, photos, videos and financial information.Choose your brands carefully, spend time understanding their privacy practices and minimise.PRO TIP: USE VPN WHEN YOU CANA VPN (Virtual Private Network) redirects your internet traffic, disguising where your computer, phone or other device is when it makes contact with websites. It also encrypts information you send across the internet, making it unreadable to anyone who intercepts your traffic. That includes your internet service provider. A few of the trusted VPN providers are: <a href="https://surfshark.com" target="_blank" rel="noopener noreferrer">Surfshark</a>, <a href="https://protonvpn.com" target="_blank" rel="noopener noreferrer">ProtonVPN</a>, <a href="https://www.ivpn.net/" target="_blank" rel="noopener noreferrer">IVPN</a>, <a href="https://mullvad.net/en/" target="_blank" rel="noopener noreferrer">Mullvad</a> and <a href="https://windscribe.com" target="_blank" rel="noopener noreferrer">Windscribe</a>.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111132/636cd3449c7e80680e08f95bjpeg.jpg" alt="" width="640" height="640">Saniaa Shah writes this fortnightly column, TechAway, for Nepali Times.

Privacy is power

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

Shantanu Dhakal wakes up to a cold misty dawn, dons his college uniform and fastens his tie, tightening it carefully so as not to dislodge the tracheostomy tube protruding from his throat.
Gingerly, he brushes his teeth, mindful not to hurt the wound on his left cheek, where a bullet tore through during the GenZ protests on 8 September in the highway town of Itahari in eastern Nepal.&nbsp;
Dhakal, 18, came home from college that day three months ago and then took the bus to Itahari to join some friends who were protesting in front of the sub-metropolitan city office. It was mid-afternoon, and the crowd was chanting anti-corruption slogans and holding up placards.
Like most young Nepalis, Dhakal and his friends had been angered by videos on social media of the offspring of Nepal’s rich and powerful flaunting their lavish lifestyles.&nbsp;
"That was the trigger for me to join the protest, it opened my eyes to just how widespread nepotism and corruption was," Dhakal told Nepali Times.&nbsp;
The police arrested a few students, angering the crowd even more. They massed at the gate of a nearby police station to demand their friends be released. &nbsp;
Dhakal was standing across the street from the police station when the first shots rang out. The crowd scattered. As he ran for cover, there was a searing pain in his left jaw. Blood was streaming and it took some time for him to realise he had been shot.&nbsp;
“I was bleeding profusely and couldn’t speak. My vision blurred, there was a ringing in my ears,” Dhakal recalls. “I collected myself and continued to run, fearing that I would be shot a second time.”
Dhakal collapsed some distance away, and a fellow protestor took him to a nearby hospital, where doctors bandaged his jaw. He was referred to Birat Medical Teaching Hospital, where surgeons immediately performed an emergency operation. &nbsp;
The bullet had torn through his left jaw, shattering the bone, teeth, and soft tissue. Blood had rushed into his throat, obstructing the airway so doctors first performed a tracheostomy, installing a tube in his throat to help him keep breathing. A week later, the doctors reconstructed his jaw with metallic plates, grafting skin from his chest and transplanting it to the lower left side of his face.&nbsp;
Dhakal spent three weeks in hospital before being discharged. But the relief of being home was marred by disturbing thoughts. He says, “Just sitting there doing nothing began to take a toll on my mental health.” &nbsp;
Since he was always interested in content creation and <a href="https://www.youtube.com/@docsbyshantanu">producing short documentaries</a>, he decided to document online his near-death experience and post-protest life.&nbsp;
Shantanu Dhakal’s Instagram and TikTok <a href="https://www.instagram.com/shantanu__dhakal/">posts are simple, short videos</a> every other day about his treatment process, dressing his wound and cleaning his tracheostomy tube, attending events with others injured during the protests, and scenes from everyday life in his family farm.&nbsp;
The comment section has Nepalis and people from around the world reaching out to ask how he is doing and keeping his spirits up. Dhakal now has a caring social media community, and he uses the platforms to keep in touch with other injured protestors across the country.&nbsp;
Life is returning to a new normal. This week, he returned to college to resume classes after more than two months and is making up for lost time. He has adjusted to speaking and eating with the tube, although the pain never quite goes away.&nbsp;
“I can eat mostly fine, but it is still difficult to speak,” he says. Soon, he will go to hospital for his fortnightly follow-up, and doctors will determine when his tracheostomy tube can be removed.
Like other young Nepalis, Dhakal is now even more politically engaged and actively reads the news of the interim government installed after the GenZ protests.&nbsp;
With the 5 March elections only three months away, young Nepalis like Dhakal hope that the elections will throw out the old and bring in the new. He is among the more than 800,000 new voters who have registered.&nbsp;
“The most important thing is that we have stable government,” he says. “As far as candidates go, an ideal one for me would be a person who prioritises health and education. But if the candidates in my constituency are not up to mark, I may not vote.”
Dhakal along with other injured protesters and relatives of those killed met &nbsp;Energy Minister Kulman Ghising, who has launched his own Ujyalo Nepal Party, and he is cautiously optimistic about the work of the current leadership. &nbsp;
It is a different story in Kathmandu, where Prime Minister Sushila Karki is struggling to manage the expectations of various youth collectives while trying to convince the old parties to participate in elections.&nbsp;
While the UML and NC are actively trying to delegitimise Karki’s government as they prepare to hold their respective general conventions, they are also preparing to give out tickets for elections.&nbsp;
Self-proclaimed GenZ leaders who used Discord to elect Karki prime minister are putting up their own conditions for the polls, even demanding her resignation for failing to meet their demands. This is in sharp contrast to the feelings of many of those injured during the protests who want elections so the nation can heal, and move on.

A new normal

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

Staged chaos evokes state of Nepal

Nepali Times spoke to Manoj Kumar Gyawali, CEO of Nabil Bank about the post-GenZ economic condition of the country. Excerpts:
Nepali Times: With COP30 in Brazil having failed to agree on tangible goals on phasing out fossil fuels, how important is the concept of sustainable banking in Nepal?
Manoj Kumar Gyawali: Sustainable banking is not optional anymore for countries like Nepal. It’s essential. We are one of the most climate-vulnerable countries in the world, and our financial decisions today will determine the kind of Nepal we leave behind.
When Nabil joined the Partnership for Carbon Accounting Financials (PCAF) it encouraged us to take a much closer look at our financed emissions. And the truth is, once you start measuring your impact, you can’t unsee what the numbers tell you. It naturally pushes you to rethink how and where you deploy capital.
For Nabil Bank, sustainable banking is about more than compliance, it’s about directing finance toward sectors that safeguard the environment, uplift communities, and strengthen governance. Frameworks like PCAF give us a credible, globally recognised way to measure and manage our ESG impacts. 
That level of transparency and accountability not only improves our own decision-making, it also positions Nepal to tap into blended finance and other concessional funding streams that reward responsible, forward-looking investments.
So, for Nepal, sustainable banking is not a niche activity - it’s central to how we operate.
But is sustainable banking itself sustainable, given that international commitment to climate financing is not adequate to tackle climate breakdown?
This is a concern I hear quite often, and it’s valid. Global climate finance must increase, especially for countries like Nepal. Our economy is already feeling the impact of climate change across agriculture, hydropower, tourism. But sustainable banking, in my view, does not depend solely on external funding.
For us, it’s fundamentally about managing climate and environmental risks more intelligently, understanding the footprint of our own portfolio, and reallocating capital toward climate-positive and resilient sectors. These are things we must do anyway if we want long-term financial stability. It also means embedding strong ESG practices into our daily operations, supporting social impact, advancing financial inclusion, and driving sustainable economic development.
So even if global climate finance remains inadequate, sustainable banking is planned to be sustainable for Nepal in long run. It strengthens the resilience of our financial system, safeguards our clients, and positions banks to tap into emerging opportunities in the green economy. More importantly, it ensures that Nepal’s development pathway remains environmentally responsible, socially inclusive, and anchored in good governance. For now, we are not looking at whether sustainable banking is sustainable financially but considering our responsibility as the leading bank of Nepal.
Nepal’s banks, including yours have a lot of exposure in hydropower. Is there not a need to diversify Nepal’s energy mix
Hydropower is and will remain Nepal’s strongest natural advantage. At Nabil, we have financed 56 hydropower projects across 37 rivers in 21 districts with a total installed capacity of over 3,000 MW, so we understand the scale and importance of this sector.
But we also cannot ignore the realities of climate change — unpredictable rainfall, increased glacier melt, more frequent glacier lake outburst incidents, floods, and landslides. These risks make it clear that while hydropower is essential, Nepal must diversify its energy mix to remain resilient. 
The good news is Nepal has enormous solar potential and wind corridors. Our national commitments already call for at least 15% of total energy demand to come from clean energy, with 5–10% from solar and other renewables. This creates real opportunities for banks like Nabil to support solar, wind, and emerging clean technologies alongside hydropower. We have already approved financing of 5 solar projects having a total capacity of 120 MW.
Tax rebates on EVs allowed Nepal to take a lead in adopting battery-operated vehicles in Nepal. How can we build on this to reduce our petroleum import bill?
The EV push has already shown results—we saw a reduction of nearly Rs22 billion in our petroleum import bill in 2024/25. That's a notable achievement.
But if we want to truly scale EV adoption, we need three things: More charging infrastructure that is reliable, widespread, and commercially viable, Local assembly and value creation we should be assembling EVs here, and Stable policy that gives people and businesses confidence to invest.
We are ready with financing models for EV fleets, public transport, and charging infrastructure. With the right ecosystem, Nepal can significantly cut its oil dependency.
The GenZ uprising showed the urgent need for transparency in government and investment in productive sectors to create jobs. What would be the banking sector’s role in this? 
The GenZ movement is more than a protest, it’s a clear message. Young Nepalis are demanding transparency, good governance, and real opportunities at home, and their concerns could be considered justified. The banking sector has a major responsibility: we need to direct more lending toward the real economy, sectors that create jobs, build productivity, and strengthen long-term growth, while also encouraging businesses to adopt stronger ESG practices.
Our financing has helped support around 112,000 direct jobs, with nearly 30% held by women. And through initiatives like the Nabil School of Social Entrepreneurship and our wider CSR programs, we’re working directly with communities to uplift the most vulnerable and nurture the next generation of entrepreneurs.
Across Nepal we also see evidence of haphazard over-development, at Nabil do you have guidelines about projects that result in environmental degradation?
Absolutely. We cannot afford to support development that harms the environment, it eventually becomes a financial risk as well. Environmental stewardship is one of our core priorities. Haphazard development may look profitable in the short term, but it leads to long-term economic, social, and ecological losses and ultimately becomes a financial risk. 
Nabil has a strong Environmental and Social Risk Management (ESRM) Guideline, a clear exclusion list in our credit policy, and a Sustainable Banking Policy to guide our decisions.
Every project we finance must meet both local regulations and international standards. If it doesn’t, we simply don’t fund it. Our goal is straightforward: to support development that is responsible, sustainable, and in Nepal’s long-term interest.
Nepal’s macroeconomy is looking good, remittances are up, but the economy is not growing as fast as it should. Banks have cash, but no one is borrowing. Do you see a light at the end of the tunnel?
Nepal’s economy today carries both optimism and caution. As you say, remittances are strong, reserves are healthy, and liquidity is available. Yet investment appetite remains subdued because of structural issues like political instability, slow government spending, and weak investor confidence.
That said, 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. And if government capital expenditure continues to improve, it will act as the essential boost for private sector activity.
From Nabil’s side, we are ready to finance strong, bankable projects. With stable policies and timely execution, I believe Nepal is on a path toward gradual but meaningful economic recovery. The road ahead may be challenging, but the lights are definitely there.

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