The year is 2001, the place: somewhere in the city of Nirmal Pradesh in India. It is an auspicious day. A newly married couple takes leave from the bride’s house. The journey to the groom's village is an extended voyage that requires a boat, a bus, a train, and another bus ride. Right off the bat, viewers cannot help but draw relevance to Nepal. We have the same class and caste system. Women are bound by the patriarchal society that treats them as less than equal and takes away their life choices. The practice of dowry is still prevalent in these parts of the world.&nbsp; The only difference: we don’t have the extensive railroads like India. Back to the story: on the train compartment, our couple encounter two more newly married pairs, the brides similarly attired with a veil covering their faces. When the train reaches his station, the groom gestures for his wife to get off. &nbsp;Only after reaching the village— when his mother unveils his bride to the waiting family– does the groom realise that the woman he has brought along from the train is not his wife. Laapataa Ladies starts with this rather bizarre premise that can only happen in movies. But the presence of three brides– all donning bridal red, all veiled, all of them in the same train compartment– gives enough plausibility for the audience to be engaged. A satirical approach to the patriarchy and the deeply-rooted customs that have oppressed women, the film is a wittily crafted piece of art. Adapted from Biplop Goswami’s story Two Brides, director Kiran Rao has made Laapataa Ladies a story about how getting lost helps two women to find their individual selves. The character of Jaya (Pratibha Ranta)– who ends up getting off the train with the groom Deepak (Sparsh Shrivastav), &nbsp;and Phool Kumari (Nitanshi Goel)-- Deepak’s wife who gets left behind–are two ends of a spectrum. Phool is the idealistic daughter– bright-eyed, naive and proud of the homemaking skills she has been taught. Jaya, on the other hand, is what the patriarchy would label ‘rebellious’ because she would rather go to college than be married. While Phool is the kind of person to live within restrictions that forbid women from uttering their husbands’ name out loud, Jaya is defiant of such limitations.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240619100624_adc3650769df398de6fe7f5730fe1150c30f7118cfef1c36907256bf214fd1ab.jpg" data-media-id="editor_0" data-image-id="20240619100624_adc3650769df398de6fe7f5730fe1150c30f7118cfef1c36907256bf214fd1ab" data-rendition-name="original" width="1668" height="1000" loading="lazy" alt="Laapataa Ladies review"> </figure>  Without celebrating any definition of what women have to be – either by conservative or progressive standards, the film centres around how the two women each navigate and make their own place in the patriarchal world. Apart from the simplistic storytelling, the film’s highlight is its portrayal of female relationships. In a world where many films are still about heroes and heroism, seeing women, women-led stories and the depth of their relationships is a rarity. And unlike how women are stereotypically portrayed in films to drag each other down, the film does just the opposite. Rao’s Laapataa Ladies is thus a breath of fresh air. The relationship Jaya and Phool develop individually with supporting female characters makes the viewer’s heart full, like the friendship that gradually flourishes between Jaya and Poonam, the eldest daughter-in-law of the house Jaya is not supposed to be in. Poonam has a knack for sketching but does not think much of it. It is Jaya who encourages her to draw and realise her potential. And while Poonam might never take up sketching professionally –that part is never dealt with within the film– that her skill was validated and appreciated is a meaningful detail. Meanwhile, everyday casual conversations that take place between the women in the film also have a deeper meaning. And though it is set in rural India, the issues the women face seem universal, especially to women across South Asia and the global south. A scene that stands out is a conversation between Manju Mai – who runs a food stall at the train station where Phool is stranded – and Phool. Phool is cooking for Manju Mai and when Manju asks if she would be okay cooking in a kitchen foreign to her, Phool replies, “As women, we are only taught to embrace a kitchen foreign to us”. Laapaata Ladies might come across as preachy at times, but aside from that, this two-hour-long film is a reflective, thought-provoking piece about women finding their place in the world. Laapaata Ladies is streaming on Netflix.

Pinki Sris Rana

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A tale of two brides in Laapataa Ladies

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109141144/636baef29c7e80680e078023jpeg.jpg" alt="" width="605" height="331"/><figcaption></figcaption></figure>Is the concept of happiness merely an illusion? Are those who naively chase the idea for life of luxury and fame inevitably bound to dip into the perilous character of the human spirit, namely greed, envy, and even enticement to murder?Is pursuing the abstract notion of instant comfort and wealth bound to destroy reality? These are the themes that Shirish Gurung’s latest film Lato Kosero addresses.The film is directed, produced and edited by Gurung, who remains loyal to the definition of ‘indie’ despite it having become a buzzword of late.Either by choice or circumstance Gurung film’s mode of production of Lato Kosero is low budget, autonomous, small-scale, and it is a personal and creative film. Shot in 2014, the production stage began three years later in 2017 and is presented in black and white format relating a story that might have taken place in pre-urban Bhaktapur.The protagonist, Bishnu Shrestha, comes across as a feeble character that puts up with everyone without resistance, a nagging wife that cannot bear to see him unemployed, a friend that speaks but never listens, a customer who pushes his way through negotiation during the transaction for his bike, and a Shaman who commands his lifestyle with a promise for a future of ‘happiness’.The perpetual state of unemployment, overdue rent, complaining wife, envious mindset and economic hardship leads Bishnu to seek refuge with a shaman.A shaman can either be a source of strength or a source that exploits the disenfranchised and the disenchanted. In Bishnu’s case, the shaman encourages him to face his fear before he can achieve happiness.For Bishnu, happiness is epitomised by his childhood friend, Gokul, who made his wealth abroad, and now owns a house, a car and is married to a submissive wife, whereas Bishnu lives in a flat with overdue rent, rides a bicycle after having to sell his prized motorcycle, and lives with a wife who often threatens to leave him to go back to her parents.Nepal was at war during the period of the film, and it could reflect the frustrations that forced many young men like Bishnu to take up arms against the state. The economic and social issues that the underclass faced have not changed much, and have even been exacerbated by the economic crisis because of the lockdown.Even so, Bishnu is perhaps too passive to have become a guerrilla. He has decided that he has no control over his circumstance or fate, and decides to leave it to the shaman.Is he a personification of the estranged youth of peripheral Nepal at the time? Is this the form of fatalism affecting Nepalis that Dor Bahadur Bista wrote about three decades ago?The film is a journey that Bishnu takes, under the instruction of the shaman, to face his fear so that he can ultimately reach the state of happiness. But will he?https://www.youtube.com/watch?v=6WxDf429AOM&amp;feature=emb_titleLato Kosero is now available on <a href="https://www.amazon.com/Lato-Kosero-Nivan-Shilpakar/dp/B08BZ1S8CT/ref=sr_1_3?dchild=1&amp;qid=1595636683&amp;refinements=p_n_feature_ten_browse-bin%3A13413562011&amp;s=instant-video&amp;sr=1-3">Amazon Prime</a>.

Buy happiness here

<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110814110/636a53a59c7e80680e052360jpeg.jpg" alt="" width="800" height="800"/>Much has been said about the darker, edgier remake of the beloved 1994 animated classic <a href="https://www.imdb.com/title/tt0110357/" target="_blank" rel="noopener">The Lion King</a> since its release a month ago. Most notably, the digitised re-release uses new photorealism techniques to bring to life breathtaking computer-generated shots of wildlife and nature.It is so realistic we have to remind ourselves we are not watching <a href="https://www.imdb.com/name/nm0041003/" target="_blank" rel="noopener">Attenborough</a> or Animal Planet. But in retelling the original cartoon movie, it is precisely this virtual realism that has been panned by reviewers for ‘lacking soul’, and being ‘heartless’, or ‘trading feelings for realism’.Still, as someone who was so moved as a child by the original Lion King, <a href="https://www.imdb.com/title/tt6105098/fullcredits/?ref_=tt_ov_st_sm" target="_blank" rel="noopener">the 2019 version</a> worked well, as it retold the story of a young cub who must embrace his role as the rightful king of Pride Rock and avenge the death of his father Mufasa at the hands of his villainous Uncle Scar.The young Simba crying for help after the stampede is as powerful and as painful to watch, if not more. The audience of young Nepalis at a matinee show at Labim Mall was thoroughly transfixed by the boisterous 3D duo of Pumbaa and Timon. Hakuna Matata is there, so is a body positive message in the mix. And despite working with a different medium, the characterisation of young-adult Simba is still on point: joyously chasing after butterflies over a clearly perplexed antelope.The only actor reprising his voice role, James Earl Jones as Mufasa sounds as kingly as he did the first time around. The voices of <a href="https://www.imdb.com/name/nm2255973/?ref_=tt_ov_st_sm" target="_blank" rel="noopener">Donald Glover</a> as Simba and Beyoncé as Nala are perfect fits. <a href="https://www.imdb.com/name/nm6556377/?ref_=ttfc_fc_cl_t6" target="_blank" rel="noopener">JD McCrary</a> as young Simba is full of life, naive and entitled. <a href="https://www.imdb.com/name/nm0252230/?ref_=ttfc_fc_cl_t1" target="_blank" rel="noopener">Chiwetel Ejiofor</a> presents a different Scar, downright menacing and terrifying, a departure from <a href="https://www.imdb.com/name/nm0000460/?ref_=tt_cl_t7" target="_blank" rel="noopener">Jeremy Iron</a>’s charismatic villain. But the highlight have to be Simba’s sidekicks, Pumbaa and Timon, voiced by hilarious <a href="https://www.imdb.com/name/nm0736622/?ref_=tt_ov_st_sm" target="_blank" rel="noopener">Seth Rogen</a> and <a href="https://www.imdb.com/name/nm2813994/?ref_=ttfc_fc_cl_t13" target="_blank" rel="noopener">Billy Eichner</a>.<a href="https://www.imdb.com/name/nm0001877/?ref_=ttfc_fc_cr13" target="_blank" rel="noopener">Hans Zimmer</a> and Elton John return for musical composition. Circle of life, as the opening of the film, is a shot-for-shot adaptation of the original. The high-spirited Hakuna Matata and soulful Can you Feel the Love Tonight? are full of nostalgia.Director <a href="https://www.imdb.com/name/nm0269463/?ref_=tt_ov_dr" target="_blank" rel="noopener">Jon Favreau</a> made <a href="https://www.imdb.com/title/tt3040964/?ref_=nm_flmg_prd_9" target="_blank" rel="noopener">The Jungle Book</a> in 2016, and used some of the new technology in this Lion King. During promotions Favreau said it was important that the film have the illusion of being a naturalistic documentary. The fact that the Lion King is based in Africa drives home the reality of desertification and biodiversity loss caused by human greed and the <a href="https://www.nepalitimes.com/banner/living-below-nepals-melting-mountains/" target="_blank" rel="noopener">climate emergency</a>.One might ask why we need a photorealistic Lion King with Musafa explaining to Simba the circle of life when ecosystem collapse is already so real. Besides, we have Animal Planet and other nature documentaries. Here's why: the Lion King anthropogenises wildlife, forcing children hooked on cartoons to learn early about nature’s balance and the need for <a href="https://www.nepalitimes.com/banner/in-conservation-nepal-is-not-out-of-the-woods-yet/">conservation</a>. The message is more powerful when the digital animals are more realistic.Cartoons are keeping pace with animation technology, and this can only make them more relevant at a time when the Planet is facing its <a href="https://www.nepalitimes.com/banner/between-existence-and-extinction-in-nepal/" target="_blank" rel="noopener">sixth extinction</a>. If they can be entertaining and goad the next generation to be activists for the Earth's protection, that can only be a good thing.

Sonia Awale

Animal Planet meets Disney World

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110813110/636a45739c7e80680e04d386jpeg.jpg" alt="" width="4032" height="3024"/><figcaption>Protests against the proposed Guthi Bill in Lalitpur on Thursday. Photos: Sanu Raj Maharjan</figcaption></figure>Foreigners are often puzzled why Nepalis never take to the streets despite the chronic failure of the government to provide basic services. It is true, Nepalis are a tolerant lot. But this week, something snapped.Citizens have been gathering on the streets, braving water cannons and tear gas to oppose a bill in Parliament that would dismantle the centuries-old tradition of guthi community trusts to manage religious sites and festivals.Coming soon after the Media Council Bill, and detention by police of a YouTuber for posting a satirical review of a bad movie, the slew of recent street protests reflects growing disillusionment with and defiance of a powerful Nepal Communist Party (NCP) government that is perceived to be corrupt to the core and uncaring of the public interest.Read also: <a href="https://www.nepalitimes.com/banner/scripted-arrest/">Scripted arrest</a>, Masta KC<a href="https://www.nepalitimes.com/opinion/nepal-has-press-freedom-but-no-freedom-after-press/">Nepal has press freedom, but no freedom after press</a>, Shashank Shrsethahttps://youtu.be/uf2W5I3r9hoIn the past months, citizens of Chapagaon, Baudhha and Thali have spontaneously risen up to blockade roads, demanding that they be repaired. Journalists took to the streets last month to protest provisions in the draft Media Council Bill that could lay hefty fines on journalists found to be violating officials guidelines.But the most organised protests so far have been against the Guthi Bill, and clips of Police attacking demonstrators with batons, kicks and water cannons have gone viral on the very media that the government seems intent on controlling.Read also: <a href="https://www.nepalitimes.com/banner/suppressed/">Suppressed</a>, Om Astha Rai<a href="https://www.nepalitimes.com/banner/gagging-the-press-in-installments/">Gagging the press in installments,</a> Sewa Bhattarai<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110813110/636a45779c7e80680e04d387jpeg.jpg" alt="" width="1333" height="2000"><figcaption> </figcaption></figure>There are more than 2,000 guthi all over Nepal, and they collectively own nearly 150,000 hectares of prime real estate. The management of such entities is traditionally passed down from one generation to the next.The Guthi Bill would create a central government authority to manage community trusts all over the country. It would have more executive powers than Guthi Sansthan, the current body that oversees trusts. Guthi members and heritage conservationists say the government is working with the land mafia to take over Guthi property.“The government doesn’t understand how the guthi system works,” said activist Alok Tuladhar, “it just want to usurp the land. The government’s intention is total control, not just the guthi but also free speech and other rights enshrined in the Constitution.”The protests that began on 9 June have snowballed with more groups and activists joining in. In Parliament, the opposition Nepali Congress halted proceedings on Tuesday, calling for the bill to be scrapped.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110813110/636a457a9c7e80680e04d388jpeg.jpg" alt="" width="2129" height="1419">Minister for Land Management and Cooperatives Padma Kumari Aryal defended the Bill in Parliament, saying it was intended to bring uniformity to guthi administration in order to protect heritage and culture. She says many trusts do not keep proper accounts and are not answerable to anyone.Minister for Home Affairs Ram Bahadur Thapa said the government accepted moral responsibility for the street violence, and promised to investigate. But protests escalated Thursday with a large demonstration in Patan’s Mangal Bazar (pictured above).Read also: <a href="https://www.nepalitimes.com/banner/long-shadows/">Long Shadows</a>, Sewa Bhattarai<a href="https://www.nepalitimes.com/opinion/creeping-control-over-the-press-in-nepal/">Creeping control over the press in Nepal</a>, Ajay Pradhan

Culture Revolution

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110813110/636a45439c7e80680e04d377jpeg.jpg" alt="" width="2052" height="1368"/><figcaption>Protesters walked from Pulchowk to Maitighar on Wednesday to silently demonstrate against the arrest of Pranesh Gautam, who was jailed this week for reviewing the movie Bir Bikram 2. Photos: MONIKA DEUPALA</figcaption></figure>The Kathmandu District Court has ordered that YouTuber Pranesh Gautam, who was arrested for his review of the movie Bir Bikram 2, be kept in custody for one more day. Gautam was arrested on 7 June and is charged with violating the Electronics Transaction Act.Gautam uploaded his satirical review of the movie on YouTube channel Meme Nepal. He compared the film to the Hindi movie Sholay, criticised the acting of the film’s stars, and called the direction weak.Read also: <a href="https://www.nepalitimes.com/opinion/nepal-has-press-freedom-but-no-freedom-after-press/" target="_blank" rel="noopener">Nepal has press, but no freedom after press</a>, Shashank ShresthaThe director-producer of the movie, Milan Chams, filed a police complaint against Gautam two weeks ago, claiming the video negatively impacted the movie's sales and the director and actors' reputation. The police arrested Gautam, and filed a case under the Electronic Transaction Act.Cyber law expert and advocate Baburam Aryal calls this an extreme misuse of power. "This shows that the police administration is not adhering to the law," he says. "This is an example of how the administration can misuse power. Such an action by the police is a travesty in a democratic society. Such acts decrease the creative potential of a society and push the country towards dictatorship."Read also:<a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="https://www.nepalitimes.com/here-now/zip-up/" target="_blank" rel="noopener">Zip up</a>, Rameshwor Bohora<a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="https://www.nepalitimes.com/banner/long-shadows/" target="_blank" rel="noopener">Long shadows</a>, Sewa Bhattarai<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110813110/636a45469c7e80680e04d378jpeg.jpg" alt="" width="2106" height="1404"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110813110/636a454a9c7e80680e04d379jpeg.jpg" alt="" width="2129" height="1419"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110813110/636a454d9c7e80680e04d37ajpeg.jpg" alt="" width="2052" height="1368"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110813110/636a45519c7e80680e04d37bjpeg.jpg" alt="" width="2106" height="1404">Nepali Congress MP Gagan Thapa called it wrong to file a case against a comedy video. "Absurdist humour is taken as normal all over the world," he tweeted. "It is unfortunate that Pranesh Gautam was charged with cyber crime for a satire video, and it is against freedom of speech. Criticism is the main pillar of democracy, let us protect it."Nepal's Constitution guarantees freedom of expression as a fundamental right. Other laws address misuse of speech through slander and libel, so there should be no reason to resort to using the Electronic Transaction Act.Read also:<a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="https://www.nepalitimes.com/banner/gagging-the-press-in-installments/" target="_blank" rel="noopener">Gagging the press in installments</a>, Sewa Bhattarai<a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="https://www.nepalitimes.com/opinion/creeping-control-over-the-press-in-nepal/" target="_blank" rel="noopener">Creeping control over the press in Nepal</a>, Ajay PradhanCitizens are free to react to subjects of public interest and to comment on other people's creative outputs. Being arrested on the basis of such comments is nothing more than a way for the police to intimidate critics. Advocate Aryal claims that since a movie is a 'product,' it is not considered slander to review it, since only negative comments made on a personal level can be libellous.However, the Producers' Association accuses Gautam of undermining the movie industry. A group of people from the industry, including producer Akash Adhikari, actor Bhuwan KC and media-person Naresh Bhattarai, visited the Metropolitan Crime Department in Teku to support Chams.Read also:<a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="https://www.nepalitimes.com/banner/suppressed/" target="_blank" rel="noopener">Suppressed</a>, Om Astha Rai<a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="https://www.nepalitimes.com/banner/strongman-rule/" target="_blank" rel="noopener">Strongman rule</a>, Om Astha RaiChams had promised to withdraw the case if Meme Nepal is shut down, but is now demanding Rs10 million to withdraw the case.Bir Bikram 2 was released on 17 May, and Gautam reviewed the movie five days later. After complaints from the movie producers, Meme Nepal removed the video from YouTube.

Scripted arrest

<img width="683" height="1024" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108101152/636a27049c7e80680e043a4bjpeg.jpg" alt=""/>In an industry prone to profit from escapism, Nepali cinema has suddenly started coming out with movies that portray the reality of life with all its ugly truths.The latest is <a href="https://www.imdb.com/title/tt8622286/" target="_blank" rel="noopener">Bulbul</a>, a film with a straightforward plot, ordinary characters and portraying contemporary Nepal where issues like gender, patriarchy, migration, joblessness, health care, and the struggle to survive are all intertwined.This is not about 2 hours of dancers gyrating to the pulse of masala film songs, but a chronicle of the life of Ranakala (<a href="https://www.imdb.com/name/nm8758984/" target="_blank" rel="noopener">Swastima Khadka</a>) who drives a tempo in Kathmandu’s busy and narrow streets. Her husband went to Saudi Arabia to work, but has not returned for six years and cannot send money home. She lives in a dingy flat taking care of her paralysed father-in-law. Ranakala has a daughter too, but has placed her child in a boarding school so that she can have a brighter future.Read also: <a href="https://www.nepalitimes.com/review/tom-dick-and-hari/" target="_blank" rel="noopener">Tom, Dick and Hari</a>, Ayush NiroulaBulbul is written and directed by Binod Paudel, principal of Oscar International College of Film Studies which has produced quite a few film-makers of the New Wave of Nepali Cinema. <img width="1280" height="720" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108101152/636a27069c7e80680e043a4cjpeg.jpg" alt="">A lead character like Ranakala is a novelty in Nepali films, which usually have exaggerated personas, unrealistic romances and facile characters. In Ranakala, however, director Paudel taps into the story of struggle and the complex emotions of a Nepali woman's life.Bulbul has a character driven plot, and Swastima Khadka's authentic portrayal of Ranakala is refreshing and captivates. Her hardships are writ large in her sombre expressions and sharp dialogues which give us a nuanced, all-round portrait of her complex psychology. One can't help but root for this simple, independent girl as she makes a living in a difficult city. She is fierce at her job, tender as a mother, understanding as a friend, struggling as a wife. But overall Ranakala embodies the female shakti.  Since <a href="https://www.nepalitimes.com/opinion/changing-the-headlines-on-migration/" target="_blank" rel="noopener">migration</a> has become such an important facet of the lives of Nepalis today, it is inevitable that it figures prominently in contemporary <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/the-saili-wave-hemant-rana,3561" target="_blank" rel="noopener">Nepali music videos</a> and movies. But in Bulbul, Paudel tackles a new figure in the equation -- the impact of migration on the wives men leave behind at home.Read also: <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/the-saili-wave-hemant-rana,3561" target="_blank" rel="noopener">The Saili Wave</a>, Sahina Shresthahttps://www.youtube.com/watch?v=KXONssqFatQRanakala speaks to her husband through ear pods as she drives her tempo, pleading that he come home, speaking frankly about their relationship. Paudel is subtle, but searing as he shows us the toll migration is taking on women – a tale repeated hundreds of thousands of times in homes across Nepal.The supporting cast is also competently natural, elevating the movie's authenticity. <a href="https://www.imdb.com/name/nm9936603/" target="_blank" rel="noopener">Mukunda Bhushal</a> as Chopendra provides both comic relief and  is refreshing as an anti-hero character that veers from the traditional perception of a lead actor in Nepali movies. Ranakala's co-drivers demonstrate a camaraderie that sustains them through difficult times, perhaps through the knowledge that they are suffering together.Ranakala's dismal habitation and its overwhelming silence, always with a backdrop of monsoon rain, poignantly accentuate her lonely struggle. Bulbul gets more intense as the plot thickens, as unpredictably as life often does. We don't know what will happen to Ranakala and what decisions she will make, but we want to understand her psyche because Paudel builds our intimacy with her in a way that makes us co-travellers in her life.Bulbul does not have any unnecessary drama, it is a candid immersion into contemporary Nepal through a woman’s eyes. Paudel has redefined what a heroine is in Nepali cinema: not just a pretty lady dancing to a superficial romance, but an individual trying to stay afloat after being thrown off the deep end of life.

Bulbul

<img width="1400" height="875" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108101132/636a22fa9c7e80680e0417bfjpeg.jpg" alt=""/>The aptly titled movie <a href="https://www.imdb.com/title/tt7668870/" target="_blank" rel="noopener">Searching </a>is a film for our times. In an era where youngsters haven’t touched a physical newspaper for the past five years, when they spend more time on the mobile monitor than looking at the real world. Searching plays out almost entirely on-screen with a nearly all-Asian cast, and most of the script is not voiced dialogue but through apps like Facetime and Skype, Google searches, Instagram and Facebook posts. When David Kim (<a href="https://www.imdb.com/name/nm0158626/?ref_=tt_ov_st_sm" target="_blank" rel="noopener">John Cho</a>) realises his quiet, studious teenage daughter Margot <a href="https://www.imdb.com/name/nm8045046/?ref_=nmbio_bio_nm" target="_blank" rel="noopener">(Michelle La</a>) is missing, he starts a search for her. He files a police report, but starts a search of his own, going through her contact records and chats on their shared computer. Telling you whether or not David finds the culprit and saves his daughter would be a spoiler, but suffice to say that the ending is unexpected and dramatic, as every good mystery should be. The movie has also received praise for its Asian-American cast, the first time they have headlined a Hollywood thriller. But much more than all these factors, it is the contemporary storytelling style that makes Searching stand out. The movie goes virtual right from the start: the opening scene is of a computer logging in. Calendar entries and reminders tell us how Margot is doing at school, and also how her mother’s health is progressing. When Margot creates, postpones, and finally deletes the entry ‘Mom comes home’, we realise the tragedy, but without an accompanying melodrama. If this sounds a little impersonal, that is what the world has become as the lines between online and offline get blurred.  https://www.youtube.com/watch?v=3Ro9ebQxEOYDavid does not recognise the daughter he knows in her online persona with her intimacies and random people she chats with. This and other paradoxes ring true to our experiences of how social media exaggerates and distorts our perceptions. As the search progresses, sensational lists appear on gossip websites, including ‘21 reasons why David could have killed his daughter’, and an unflattering photo of David soon makes the rounds, labeled ‘Father of the Year’ – indicating the trolling phenomenon. Teens who were never particularly close to Margot post teary videos claiming to be her best friend, to thunderous (virtual) applause.Directed by one-time Google filmmaker <a href="https://www.imdb.com/name/nm3792134/?ref_=nv_sr_1" target="_blank" rel="noopener">Aneesh Chaganty</a>, the movie gets all its technology tones right, from the ubiquitous sounds of computers opening and ring tones of various communication apps, to David not knowing the new age social media like tumblr (he googles ‘tumbler’). Technology-based movies are not new in Hollywood, nor is the sci-fi genre. But Searching is part of a new generation of movies where the technology showcased is real, but its content is virtual. Sci-fi is not about aliens or futuristic worlds any more. In 2013, <a href="https://www.imdb.com/title/tt1798709/?ref_=nv_sr_1" target="_blank" rel="noopener">Her </a>featured Scarlett Johansson’s voice as an alluring artificial intelligence assistant that the protagonist falls in love with. In 2016, we saw <a href="https://www.imdb.com/title/tt3713166/?ref_=nv_sr_2" target="_blank" rel="noopener">Unfriended</a>, where a ghost haunts online chats. Since 2011, <a href="https://www.imdb.com/title/tt2085059/?ref_=fn_al_tt_1" target="_blank" rel="noopener">Black Mirror</a> has been projecting how the technologies we know could grow to control our lives, in an eerily familiar manner. Searching is part of this genre, where sci-fi is not about unrealistic fantasies but about how the technology we live with is changing the way we live and process information. And it is all the more scary because it is true.Searching is not just for youngsters and techno buffs. And if it does not make it to Nepali screens, readers of this review can always search and find it online!

Searching

<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171152/636937bf9c7e80680e03fe59jpeg.jpg" alt="" width="640" height="870"/>It is a sight repeated tens of millions of times every morning across northern India: groups of women carrying water lota making their way to the fields before dawn to defecate. They need to do this before light, and ahead of the men.The off-Bollywood movie <a href="https://www.imdb.com/title/tt5785170/" target="_blank" rel="noopener">Toilet: Ek Prem Katha</a> begins with women carrying lanterns and lota ducking behind bushes. But this morning there is a slight complication: an ‘eve-teaser’ passes by driving a tractor and the women are caught in the headlights. They freeze and hurriedly cover their faces with the pallu of their saris.Read also: <a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="https://www.nepalitimes.com/banner/toilet-trained/" target="_blank" rel="noopener">Toilet trained</a>, Sonia Awale<a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="https://www.nepalitimes.com/opinion/where-to-take-a-dump/" target="_blank" rel="noopener">Where to take a dump</a>, Bhushan Tuladhar<a href="https://www.nepalitimes.com/here-now/nature-calls/" target="_blank" rel="noopener">Nature calls</a>Director <a href="https://www.imdb.com/name/nm3109648/?ref_=tt_ov_dr" target="_blank" rel="noopener">Shree Narayan Singh</a> plunges directly into the ugly reality of India where 300 million people still defecate in the open, an activity that is especially risky for women. He uses scatological humour to tackle a serious taboo.Toilet tells the tale of 36-year-old Keshav Sharma who dreams of getting married but cannot unless he finds a girl with two thumbs in her left hand, as per the requirement of his priest father. He is also made to marry a black buffalo in an attempt to rid him of a fault in his horoscope.But after a chance meeting outside a train toilet, Keshav immediately falls for Jaya Joshi, who eventually reciprocates his feelings. Keshav makes a fake thumb for Jaya to wear to get his father’s approval for marriage. But the very next morning after their wedding, Jaya, a graduate from a well-to-do educated family, is shocked to find that Keshav’s house does not have a loo.Initially Keshav does not understand what is the big deal. Why doesn’t his new wife socialise with the other lota women at dawn? She refuses, so he tries to convince his orthodox father to make a latrine inside the house. Dad thinks that would be sacrilegious. Keshav then comes up with hilarious temporary solutions to stop Jaya from ultimately leaving him, but we won’t tell you what they are.Toilet is not just about the lack of latrines. At a deeper level it deals with India’s entrenched patriarchy, the irrational orthodoxy of religious fundamentalists, bureaucratic disinterest and corruption. Which is all very familiar to us here in Nepal, albeit less pervasive.The film was one of the highest grossing Hindi movies ever, but has already come and gone in Kathmandu theatres in 2018. Those who missed it can stream it online.This movie will probably be more effective than thousands of editorials and public service announcements to stop open defecation. Toilet is edutainment cinema at its best, communicating a public health message while addressing the underlying social contradictions.Veteran actor <a href="https://www.imdb.com/name/nm0451600/?ref_=ttfc_fc_cl_t5" target="_blank" rel="noopener">Anupam Kher</a> as the self-confessed ‘dirty mind but clean hearted’ uncle of Jaya, and <a href="https://www.imdb.com/name/nm4450033/?ref_=ttfc_fc_cl_t4" target="_blank" rel="noopener">Divyendu Sharma</a> playing Keshav’s bother add the much-needed comic relief in this at times preachy film. <a href="https://www.imdb.com/name/nm1106058/?ref_=tt_ov_st_sm" target="_blank" rel="noopener">Sudhir Pandey</a> as the father of Keshav deserves a special mention for his brilliant characterisation of a devout Hindu priest set in his ways. Relative newcomer <a href="https://www.imdb.com/name/nm6277267/?ref_=tt_ov_st_sm" target="_blank" rel="noopener">Bhumi Pednekar</a> has stage presence as the strong-willed Jaya. <a href="https://www.imdb.com/name/nm0474774/?ref_=tt_ov_st_sm" target="_blank" rel="noopener">Akshya Kumar</a> as Keshav is perfectly cast, if a little too old for the part.Toilet does suffer from the typical Bollywood plot-holes: too many happenstance and ironically larger than life events for a movie inspired by a true story. But it is still a stark portrayal of a society where mobiles are more prized than toilets.https://www.youtube.com/watch?v=ym4EJQ7XORk

Love and Loo

<img width="1078" height="516" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107121148/6368f1379c7e80680e035a1cjpeg.jpg" alt=""/>A chhuchi girl Muna (<a href="https://www.imdb.com/name/nm8619216/?ref_=nv_sr_1" target="_blank" rel="noopener">Shristi Shrestha</a>) in Dharan meets a pulpuleko dude Ved (<a href="https://www.imdb.com/name/nm4641795/?ref_=nv_sr_1" target="_blank" rel="noopener">Vinay Shrestha</a>) from America. He has all the money to host luxurious pool parties and she has no money for milk in her morning tea. Will they ever click?It seems unlikely: he tears her kurta as he shoves past her and she splashes paint at him. But the director <a href="https://www.imdb.com/name/nm4531129/" target="_blank" rel="noopener">Naresh KC</a>  manages to bring the two together to create sizzling, sparkling chemistry. The transition from spitfire to flames (from sandwich me to sketch me to sandwich chhaina? back again) is entirely believable. Along the way we also learn why the girl is so stubborn, and why the guy so callous. Vinay is a convincing insensitive brat, Shristi credibly essays a struggling small-town girl in flowery kurtas and plaited hairdos, but it's her sister who brings the eastern flavor with her on-point accent.Not that the movie is not without flaws. The editing, especially in the first half, is not that great, it jumps abruptly from a girl doing the shradha funeral ritual to a bikini party to a dream sequence with a monster. And the shock value of that gimmicky bikini party song on Nepali screen is a whole another story (was it really necessary to imitate wannabe South Asian rap videos? Kathale magekai ho?).There are some tropes that could have worked until the 90s, but not today. For example, when Ved loses access to his money and is forced to do Muna's bidding, the audience comes up with a thousand reasonable things he could have done to solve it. Some plot twists are reminiscent of Korean melodramas. Sushma Karki's gold-digger character is not just over the top, but the entire subplot is annoying.What is refreshing, however, is movie’s approach to real world issues instead of taking the masala Bollywood route that most of Kollywood is fond of. In his first film <a href="https://www.imdb.com/title/tt3552320/?ref_=fn_al_tt_1" target="_blank" rel="noopener">Dying Candle</a>, the director had explored complicated family dynamics with an absent, benevolent father and a problematic mother. This time he reverses it with a romanticised, absent mother and a difficult father. This movie calls itself a tribute to Van Gogh, and Van Gogh's strong bond with his supportive brother finds itself reflected in Jukhuri and Thupri, that was also at the centre of Dying Candle.Animation plays a refreshingly large role, perhaps for the first time in Nepali cinema. A CGI-rendered monster haunts Muna in her dreams and spills over into her paintings. It is a symbol of issues that we cannot run away from how we must slay our own demons. The attempt to tackle deep seated emotional trauma is laudable, but not entirely satisfactory -- and this is the movie's biggest flaw. One wishes the writer had worked harder to make the reconciliation more plausible.Still, Van Gogh is a rare treat to movie-going eyes. Starry Night swirls everywhere: from the title credits to Vinay's shirt to songs. A blue train chugs behind Shristi in a red dress and parasol, bringing Bridges across the Seine at Asnieres to life. A field of post-impressionist sunflowers wave in the wind. A couple takes a mid day Siesta after Millet on a haystack to Sukmit Gurung's Pal Pal Timrai Samjhana Ma. Giving new meaning to old songs is something of a favourite for KC. Having used the classic Kehi Mitho Baat Gara to great effect in Dying Candle, he does it again with the mushy favourite Gahiro Gahiro Sagar Jastai. The movie's original songs are also delightful, especially the soulful Sanjh Paryo.Though this movie is wanting in a lot of ways, it is watchable for venturing into new territories. It captures Nepali filmdom at a time it is just beginning to flex its wings, so this is not yet time to compare the fledgling industry with the world cinema. But there are some things this movie does as well as any other: deliver an emotional punch, especially on its central theme--the redemptive power of love.https://www.youtube.com/watch?v=YpcXJBdB4xo

Romeo & Muna

<img width="813" height="647" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107121140/6368ef519c7e80680e035972jpeg.jpg" alt=""/>Master story teller <a href="https://www.imdb.com/name/nm0386246/?ref_=fn_al_nm_1" target="_blank" rel="noopener">Rajkumar Hirani</a> does his magic on screen yet again with <a href="https://www.imdb.com/title/tt6452574/?ref_=fn_al_tt_1" target="_blank" rel="noopener">Sanju</a>. A powerful, moving and compelling movie, it depicts the fascinating, controversial and dramatic of ‘80s superstar <a href="https://www.imdb.com/name/nm0004569/?ref_=fn_al_nm_1" target="_blank" rel="noopener">Sanjay Dutt.</a>Sanju begins with Sanjay Dutt (played by Bollywood heart-throb <a href="https://www.imdb.com/name/nm1633541/?ref_=fn_al_nm_1" target="_blank" rel="noopener">Ranbir Kapoor</a>) looking for a writer to pen his biography, as he prepares to surrender following a Supreme Court’ decision related to his possession of a firearm.After one writer fails him, Dutt goes to an established biographer, Winnie (<a href="https://www.imdb.com/name/nm3087728/?ref_=fn_al_nm_1" target="_blank" rel="noopener">Anushka Sharma</a>), with hopes of sharing his side of the story. It is during these meetings we get to visit Dutt’s past and understand him beyond biased media coverage. We get deep insights and honest recollections from the man who lived life in all its highs and lows.Director Rajkumar Hirani takes us on an emotional journey through various stages of Dutt’s life. From the early days of his first movie<a href="https://en.wikipedia.org/wiki/Rocky_(1981_film)" target="_blank" rel="noopener"> Rocky</a>, when a young and nervous Dutt was crushed by the pressures of his illustrious family, to getting into a vicious cycle of drug and alcohol addiction while dealing with the loss of his mother, it continues to his subsequent time in rehab. Followed by his notorious trials and tribulations in the Arms Act case, and his alleged involvement in the 1993 Mumbai blasts, the film takes you through Dutt’s tumultuous life. The deep emotions, which Hirani is an expert at bringing out, keep us drawn to the screen and leave us wanting more.Rajkumar Hirani made it clear that although this is a biopic of sorts, he has taken creative liberty, with permission from Dutt himself, to portray specific chapters of Dutt’s life the way he wanted. Those criticising the movie for leaving out key pieces of Dutt’s life, like his previous marriages and the birth of his first child, must remember this is his version of the story.The first half of the movie revolves around Dutt’s struggle with drug addiction. The scenes where Dutt is completely out of his senses are cleverly executed: colorful, vivid, animated and loopy. Although dramatised, the scenes perfectly deliver the essence of how addiction takes control of one’s mind, without overdoing it. The second half deals with Dutt’s odyssey of court cases related to his alleged link with underworld dons.Besides the drama and controversy, what holds the story together is the relationship between fathers, son and best friend. The father and friend are his moral anchors throughout.Veteran actor <a href="https://www.imdb.com/name/nm0712546/?ref_=nv_sr_1" target="_blank" rel="noopener">Paresh Rawal</a> plays <a href="https://www.imdb.com/name/nm0004570/?ref_=fn_al_nm_1" target="_blank" rel="noopener">Sunil Dutt</a> (Sanjay’s father) brilliantly. His role of a supportive and loving father, quietly suffering the responsibility of looking after a troubled son, is performed with intense earnestness. Some of the most heart-wrenching scenes are the ones between the two.Following a solid performance as a Pakistani soldier in Meghna Gulzaar’s 2018 spy thriller<a href="https://www.imdb.com/title/tt7098658/?ref_=fn_al_tt_1" target="_blank" rel="noopener"> Raazi</a>, <a href="https://www.imdb.com/name/nm5817249/" target="_blank" rel="noopener">Vicky Kaushal</a>’s stellar performance as Sanjay Dutt’s friend Kamlesh keeps us transfixed. Playing a simple and stable New York-based Gujarati man, a rock-solid support to Dutt, the relative newcomer in the film industry has made it clear he has a future in the industry.Ranbir Kapoor’s portrayal of Dutt is completely convincing as he brilliantly embodies his character’s persona.His transformation to to fit the role of Bollywood’s original ‘bad boy’ is commendable.Depicting Dutt’s life story -- complex, turbulent and full of extremes -- is not an easy task. Countless speculation, allegations, controversies and tragedies have been dealt with sensitively by Hirani, making this human story a skillfully crafted work of art.https://www.youtube.com/watch?v=1J76wN0TPI4

Sanju

One smoggy winter morning in February 2019, Ekta regretted coming to her sculpture class. It was the first day of her period, and the 19-year-old wished she was home, curled up in bed with a hot water bag to soothe her cramps.
Her class was at Kalapremi Ceramic Studio, a dark room on the ground floor of a house in Maharajganj, and Ekta’s teacher was the artist Gopal Das Shrestha ‘Kalapremi’, a noted sculptor.
Two other students were already there, using all their muscle strength to knead the sculpting clay. Ekta, now 24, recalls how Kalapremi asked her if she was feeling all right. She avoided him, as she did not want everyone to know she was menstruating.
Kalapremi repeatedly asked Ekta what was wrong. She finally muttered that she was having her period, after which he grabbed her hand and led her to a partitioned corner of the studio and sat her on a chair. Before she could stop him, he slid his hand under her dress, and started massaging her abdomen.
“I was horrified,” Ekta recalls. “I told him to stop, but he didn’t listen, asking me not to be shy, saying he knew how to relieve my pain. He stopped only after I protested furiously.”&nbsp;
The art tutor then said, “You’re like my daughter. I’m doing it out of love to make you feel better, but you’re so stubborn.”&nbsp;
“Instead of saying sorry he acted like I was the one having crazy thoughts,” remembers Ekta, adding that from April 2016 to August 2020 beginning the time she was 16, the artist sexually abused and harassed her on several occasions. &nbsp;
Now, Ekta and the artist’s other former students are finally sharing their experiences and some are pressing legal charges against him, hoping that others do not have to endure what they did.&nbsp;
Award-winning artist and teacher Gopal Das Shrestha ‘Kalapremi’ (the name means ‘Art Lover’) is known for his ceramic art, sculpture, and contemporary pottery. He was <a href="https://nepalitimes.com/review/the-house-of-kalapremi">profiled in Nepali Times after a collaborative exhibition</a>, ‘Where the Wild Things Are’ at the Siddhartha Art Gallery three years ago.&nbsp;
His pieces, titled Gaalis, featured sculpted female figures with the heads of dogs, sheep, and donkeys (pictured) to depict derogatory terms for women. Some critics said the collection was a satire on feminists.
Kalapremi started his artistic and teaching career in 1983 and over the years taught at Bhanubhakta School, Kathmandu University School of Arts, Lalitkala Campus and at his private Kalapremi Ceramic Studio. He has also lectured at Jeonju University in South Korea and recently at Tabor Academy in the United States.
Seven of Kalapremi’s former students were interviewed for this story. Five female students said he touched them inappropriately in his studio or at Kathmandu University. Two male students said they witnessed him abuse and harass the women. In all cases, the students struggled to recognise the abuse when it occurred, and the lack of reporting systems left them to cope on their own for years.&nbsp;
Earlier this year, students shared a social media post hinting at Kalapremi’s history of abusive behaviour following which more students of the artist reached out sharing similar experiences. Some students spoke of abuse that happened as long as 20 years ago.
Kalapremi, 60, has denied the allegations. He told Nepali Times: “Some years ago, there was a movement encouraging people to hug and kiss. I used to do it purely out of friendship and love. But after seeing posts on social media last year calling out my behaviour, I realised my actions may have hurt some people. I understand now that I should have been more mindful.”
He added: “I am also an auxiliary health worker, so I know the exact points to massage to relieve menstrual pain. It’s not just menstruation, I take anyone who is ill to the hospital.”
Sexual abuse is much more rampant than reported given how difficult it is to prove it in court. The law defines sexual abuse as occuring when someone touches another’s private parts, coerces them into touching theirs, uses vulgar language, shows degrading images, or behaves indecently towards them without consent.&nbsp;
Ekta and her fellow students are consulting lawyer Suneeta Regmi Pokhrel, who says they know that even if the court decides in their favour, it is difficult to survive after speaking up, and influential men defend themselves saying they are being framed.&nbsp;
“They are in a lot of pain and weep when recalling how he abused them,” Regmi Pokhrel told us. “They are angry and have filed a case against him, but they are also terrified. They know he is a powerful man and they have seen how our society treats women who speak up against abusers. Unless people speak up, perpetrators will be emboldened.”
Art and academia in Nepal simply reflect the power imbalances in society where people with intersecting identities experience worse forms of abuse. Theatre actors Raj Kumar Pudasaini, Rajan Khatiwada, and Sunil Pokhrel were called out during the #MeToo movement in the Nepali theatre scene in 2019. Even after the allegations Pokhrel went on to receive national awards, while others continued to work without repercussions.
“If you speak up against abusers, you gradually get sidelined from projects,” explained a theatre artist who wished anonymity fearing professional setbacks. “The theatre scene in Nepal is quite small, you just have to make peace with the perpetrators and work with them if you want to sustain yourself.”&nbsp;
In academia there is a history of faculty members sexually harassing students and getting away with it. After Tribhuvan University (TU) lecturer Krishna Bhattachan was accused of harassing women students, the university said it would follow Nepal’s sexual harassment law and set up a reporting mechanism. But nothing happened to the professor, who had already retired. Instead, he counter-accused the students of 'attacking the indigenous people’s movement with baseless allegations' as <a href="https://kathmandupost.com/letters/2019/01/29/bhattachan-responds">he told the Kathmandu Post in 2019</a>. He continues to be featured as a prominent speaker including at TU.
Other faculty members previously accused of sexual harassment include Jagadish Murti Koirala from TU, Bishnu Prasad Acharya from Ratna Rajya Campus, and Bodha Raj Tripathee from Lalitpur Madhyamik Vidhyalaya. A woman staff member from TU also filed a sexual abuse complaint against Dambar Chemjong from TU.
Prominent figures like <a href="https://nepalitimes.com/news/the-rise-and-fall-of-nims-purja">mountaineer Nims Purja</a> have been <a href="https://www.nytimes.com/2024/05/31/sports/mountaineering-sexual-harassment-abuse-nims-purja.html">accused of sexual assault</a>, and cricketer Sandeep Lamichhane, actor <a href="https://nepalitimes.com/news/celebrity-rape-case-spotlights-nepal-laws">Paul Shah</a>, and former speaker of Parliament <a href="https://nepalitimes.com/news/mahara-arrested">Krishna Bahadur Mahara</a> have been accused of rape, but society-at-large has let off the alleged perpetrators amdist a larger debate about justice for survivors and punishment of perpetrators.&nbsp;
‘Gaushala-26’ is the court name given to the 18-year-old who accused Sandeep Lamichhane, former captain of Nepal’s national cricket team and skipper of Biratnagar Kings in the <a href="https://nepalitimes.com/here-now/here-comes-the-nepal-premier-league">ongoing Nepal Premier League</a>, of rape. She left the country citing society questioning her character affecting her mental health while Lamichhane got an outpouring of support. In May, the Patan High Court overturned a prior verdict that found Lamichhane guilty of rape and had sentenced him to eight years in prison. During the 23-month legal battle to pursue justice, Gaushala-26 faced threats of gang rape and acid attacks.&nbsp;
Exhausted by the struggle, Gaushala-26 sought to “move to a new world” where she could live free without hiding her identity.
Actress Samragyee Rajya Laxmi Shah in an Instagram video now deleted detailed the harassment she faced from a filmmaker during a movie shoot. She did not name any name but veteran actor Bhuwan KC filed a defamation case against Rana, but the court ruled that the charge lacked sufficient evidence.&nbsp;
Former Kathmandu mayor <a href="https://nepalitimes.com/opinion/theytoo">Keshav Sthapit also mocked the #MeToo movement</a>, calling accusations against him by journalists Rashmila Prajapati and Ujjwala Maharjan “a rape of men’s rights”.
Serial Abuse
Back at the Kalapremi Ceramics studio, another former student, 24-year-old Rajiv, says he felt the need to speak out after seeing his female classmates being abused.&nbsp;
“He frequently kissed them on their cheeks,” he told Nepali Times. “Whenever they walked into the studio he flailed his arms like a child asking for a hug. They awkwardly hugged him from the side, but he pulled them closer, held their chin, and kissed their cheeks.”&nbsp;
Rajiv says he also saw Kalapremi pull the women’s bra straps, touch their breasts, and slap their buttocks. The young students would freeze, not knowing how to react, and if they protested, he would say it was “normal in art”. Rajiv, 19 at the time like his classmates, remembers thinking perhaps the well-respected artist was right after all.
Another student, Luna, who took lessons at Kalapremi’s studio from 2020 to 2022 did try to confront the tutor after he made an obscene proposal to her. She recalls: “One day when the other students had left the studio and it was just the two of us, he told me that God had given him special artistic talent and he could transfer those powers to me. But to do that both of us will have to be naked, inside a dark room, and have sex.”
Luna, who was 18 then, was livid and told him she did not want any of his powers, but she says he laughed at her as if he was joking. She did not tell her family about the incident because she thought no one would believe her.&nbsp;
“They were all in awe of this famous artist and felt I should be grateful that to be learning sculpting from him,” she says. “I was scared to be alone with him in case he talked about sex again. My coping mechanism was to be rude so he wouldn’t try to come close to me.”
Seeing how some classmates were standing up to Kalapremi, Ekta too tried to push back against his advances, but she said he found ways to coerce her. Since Ekta, Rajiv, and Luna could not afford Kalapremi’s Rs30,000 monthly fee for lessons, he had offered them all a stipend to assist him in the studio.
“He had spondylosis and took me to his therapy sessions to learn massage techniques, then he often made me and other students massage him,” says Ekta. Whenever she refused, he would feign pain to make her feel sorry for him. “He would insist that I put my hands under his shirt so that I could massage him better,” she adds.
The art tutor often tried to “seduce sympathy” from Ekta by sharing how he had never been loved as a child and was “sexually frustrated” as an adult.&nbsp;
“At 7PM, he would pour himself Signature whiskey and immediately go off again about how he was sex-starved. I didn’t know how to respond. It took me time to realise alcohol was just an excuse to talk about sex,” Ekta says.
If convicted, Kalapremi could face financial penalty and/or a prison sentence of up to three years according to Section 224 of National Penal (Code) Act 2017.&nbsp;
Data suggests that victims of child sexual abuse on average take nearly 24 years to tell someone about their trauma, and some may never disclose it at all.&nbsp;
“In our culture, children are rarely taught about boundaries. They often react, show anger when adults pinch their cheeks. But adults insist they did it out of love, and force the children to accept it,” says Sita Lama, a psychotherapist at Manka Kura. “And even when someone touches them inappropriately they struggle to identify and verbalise it.”
When perpetrators claim to be “acting out of love”, Lama says survivors are likely to perceive it as something safe, rather than recognising it as abuse.&nbsp;
“It may take years for them to realise they were abused,” she explains. "And even when they become aware, the power imbalance with the abuser and the associated shame often prevents survivors from speaking up."
Other former students from the School of Art at Kathmandu University have also come forward years later, saying Kalapremi sexually abused them. As young adults, they felt his behaviour was off but were uncertain if it was inappropriate, illegal, or they did not know how to respond. After having understood that it was indeed abuse, they say they are speaking out now to protect others.&nbsp;
Amina Singh, a visiting faculty member at Kathmandu University, says there is no clause against sexual abuse in contracts of teachers, and there is no formal grievance handling mechanism for the students.&nbsp;
“So the only way students can to deal with sexual abuse is approach someone they trust,” she says.
Eight other former art students of Lalit Kala Campus and Srijana College of Fine Arts of Tribhuvan University and other private art studios in Kathmandu say they were also sexually abused by their art teachers. Three faculty members interviewed from these institutions said they saw the abuse, but felt it was futile to report it given how powerful the teachers were.
In the absence of a formal system, some longtime women artists warned each other about “problematic” artists. They shared &nbsp;a “heads-up” to be more cautious when collaborating with them, and avoided responding to their calls and texts after work hours.
To ensure art institutions are safe for all, galleries, museums, artist studios, and smaller art spaces need to develop policies on sexual harassment. This would include a code of conduct or studio policies that hold the leadership accountable and outline the principles of professional ethics.&nbsp;
Students and employees should inquire about accountability mechanisms for raising concerns, both formally and informally, advocates say.
Three years after Ekta left the ceramics studio, she learnt that Kalapremi had harassed many other women. Still trying to get a footing in the art industry, she attended a workshop in Kathmandu where women artists discussed ways to stay safe in the art sector.&nbsp;
Since it was a close-knit group Ekta opened up about how she felt violated and realised she was not alone, he had been abusing underprivileged students for years, and this was common knowledge among artists in Nepal.
Ekta says that even after she quit, Kalapremi continued sending her text messages like ‘I am thinking of you’, ‘Why have you stopped speaking with me’, or ‘I am waiting for your call’.&nbsp;
But what really forced her to act was when Ekta found out that he was sending similar texts to her younger sister.&nbsp;
“I’ve had enough,” she told us. “He abused me all these years but I won’t let him abuse my sister.” &nbsp;
Ekta, Rajiv and Luna are not the real names of the students.&nbsp;

‘Art Lover’ accused of sexual abuse

It was 8:15 in the evening of 25 March 1968 when everyone in the village of Batulechaur near Pokhara heard a deafening sound like thunder as a bright flashing object hurtled down to land in a field.&nbsp; That field belonged to Kul Timilsina, and the next morning he retrieved a sheet of metal about 2m by 1m and carried it home with the help of a few others, thinking it would be useful for his buffalo shed.&nbsp; Before he died at age 83 three years ago, Timilsina had told photo archivist Sunil Ulak that the black metal sheet was not rectangular and had rounded corners. There are a few witnesses still alive who have a clear recollection of the object that fell from the sky that night.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024120707128_75cc85aac56b9cc4a77366471f058d7b3eb6868776811b0923845c2d0a61f014.jpg" data-media-id="editor_0" data-image-id="2024120707128_75cc85aac56b9cc4a77366471f058d7b3eb6868776811b0923845c2d0a61f014" data-rendition-name="original" width="1170" height="601" loading="lazy" alt="UFO over Pokhara"> <figcaption>The field in Batulechaur belonging to Kul Timilsina where fragments of a flying object fell from the sky in 1968.</figcaption> </figure>  One of them is Timilsina’s wife Gyanu, who was 22 at the time. She had been at home, and remembers hearing the big bang and the sky becoming very bright. “We saw the thing in the field in the morning,” she told us. “It looked like a lid, a covering of some sort. The way it was stuck in the ground, it must have fallen from the sky. We thought we could use it to dry clothes on, and took it home.”&nbsp; Another witness is Kul Narayan Paudel. “I was only eight then. We ran to the field to see what had fallen. It was a four-sided metal sheet. The elders took it away, and I don't know what happened to it.” &nbsp; Ram Bahadur Baniya, a teacher at the local school, says he had heard the sheet had been brought to the school, and later handed over to the Zonal Commissioner at the time, Nanda Prasad Malla. “But that is all hearsay,” he says.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024120707128_0bf207a12063fb8155b3c8d9a00a94887b126380c9e0627527c84cf5e1101f54.jpg" data-media-id="editor_1" data-image-id="2024120707128_0bf207a12063fb8155b3c8d9a00a94887b126380c9e0627527c84cf5e1101f54" data-rendition-name="original" width="1170" height="610" loading="lazy" alt="UFO over Pokhara"> <figcaption>Gyanu Timilsina, wife of Kul Timilsina.</figcaption> </figure>  There are two versions of what happened to Kul Timilsina’s metal sheet. One is that an American Peace Corp Volunteer teaching at the nearby Bindyabasini School took it, and another is that it was handed over to the government. Recently declassified Central Intelligence Agency (CIA) and US State Department documents from the time say that the US Embassy in Kathmandu tracked down the object two years later and had it shipped back to the US. A telegram from the Department of State and Department of Defense tagged as ‘MOON DUST / Space Fragments’ dated 1 March 1972 stated: ‘1. Restored space fragment will be on board Embassy support flight 115 arriving Kathmandu on or about March 10. Fragment is packed in shipping crate (cargo no. 72-33365) marked in care of DAO.&nbsp; 2. State and Defense representatives examined fragments prior to shipment finding restoration acceptable.’  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241207071212_929d903ee06d41baa4f6040e981cd7c7d7bd75cc9c37c9b617d307fc8538d2df.png" data-media-id="editor_2" data-image-id="20241207071212_929d903ee06d41baa4f6040e981cd7c7d7bd75cc9c37c9b617d307fc8538d2df" data-rendition-name="original" width="856" height="568" loading="lazy" alt="UFO over Pokhara"> <figcaption>Declassified CIA documents about the investigation into the object sighted in Pokhara. </figcaption> </figure>  The documents show that the US government, military and intelligence agencies investigated this incident thoroughly when it occurred, and have continued to revisit it ever since, as recently as five years ago. What is even more intriguing is that the object that fell in Pokhara was not the only unidentified space object that fell to earth that year. There were similar sightings of objects falling from the sky in Ladakh, Sikkim and Bhutan between 19 February and 25 March 1968.&nbsp; These mysteries were the subject of a CIA investigation in 1968 titled ‘<a href="https://www.cia.gov/readingroom/docs/CIA-RDP81R00560R000100070007-8.pdf">Sighting of Unidentified Flying Objects in Ladakh, Nepal, Sikkim and Bhutan</a>’, and the report is part of the recent online declassification of 800,000 top-secret documents from the period.&nbsp; &nbsp;Although unidentified flying objects (UFOs) have a connotation now of being alien craft, it could be pieces of satellite, missile, rocket or even aircraft. The CIA report documents six sightings in 1968 and quotes local sources as describing all of them having similar characteristics: bright blue or red streaks in the sky accompanied by loud sounds like lightning and thunder and objects falling to the ground. Aside from the metallic object that was found in Batlechaur, there were other items also found nearby in Tallakot, Tureypasal, Armalakot and Maidan. Whatever the object was, it seems to have disintegrated even before it hit the ground.&nbsp; The CIA report records the first sighting on 19 February 1968 in various parts of Sikkim and Olangchung Gola and Ghunsa in eastern Nepal. The light was said to be ‘long and thin’ and giving out ‘green and red light’. &nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241207071212_c3c825027d966a2aedc846970390eebe063957503c7eacc8e01e0517843f9bbb.png" data-media-id="editor_4" data-image-id="20241207071212_c3c825027d966a2aedc846970390eebe063957503c7eacc8e01e0517843f9bbb" data-rendition-name="original" width="892" height="596" loading="lazy" alt="UFO over Pokhara "> </figure>  Two days later on 21 February, a soundless blue object was seen traveling fast across the sky above Thimphu in Bhutan. Then on 4 March there were multiple daytime sightings or white streaks in the sky at Chang La Pass, Fukche and Koyul in Ladakh. There were more sightings in Ladakh on the very day fragments fell near Pokhara on 25 March 1968.&nbsp; After the sightings in Pokhara, rumours started flying in Kathmandu that these were aliens trying to land on Earth, it could be Russian or Chinese spy planes or satellites, and some even say it as a sign from heaven that the end of the world was near. This was at the height of the Cold War. The Russians and Americans were testing their thermonuclear devices as well as intercontinental ballistic missile delivery systems. The Washington-Beijing rapprochement had not yet happened, and China was making quick progress testing atomic bombs. Within two years after its first atomic test, in 1966 China exploded its first hydrogen bomb at the Lop Nur site in Xinjiang, 3,000km to the north from Nepal. After neary six decades, what is still intriguing is that all the sightings within a few months of each other in 1968 were along the Himalayan arc bordering Tibet: from Bhutan, Sikkim Nepal, to Ladakh. The US military intelligence seems to have concluded that this was not a coincidence and there were frequent research trips to the site in Pokhara by American officials in the months after the incident. With the help of the Royal Nepal Army, the region north of Pokhara was thoroughly searched.&nbsp; A confidential memo dated 25 June 1968 by Jerry C Trippy to a ‘Mr Farley’ mentions that the US Air Force’s Foreign Technology Division had decided that the debris could be important because it may be related to a Chinese missile test or a Soviet ‘Vehicle Venik’ rocket.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241207071216_feb5425692dc36b20187de4e4fcc2ce9fd12b6d9e1b8724398e50bcdbf9032fe.jpg" data-media-id="editor_5" data-image-id="20241207071216_feb5425692dc36b20187de4e4fcc2ce9fd12b6d9e1b8724398e50bcdbf9032fe" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="UFO over Pokhara"> </figure>  On 28 August 1968 the US Embassy in Kathmandu sent a letter to Washington DC saying that the object could be of Soviet origin, possibly from when the rocket carrying the ‘Kosmos 208’ satellite re-entered the atmosphere. But why were the fragments falling to earth several weeks apart, and in the same region? No one knows where the metal sheet that Kul Timilsina recovered is now. It was definitely packed in a crate and taken to the US, and although it is rumoured that it was returned that is not very likely. Archivist Sunil Ulak heard from the Timilsina family that CIA officials had returned to the site five years ago. &nbsp; Interest in UFOs peaked in the US in the 1950s, with the Cold War space race and tests of atomic weapons and delivery rockets. CIA and scientists were being sent to investigate sightings, both publicly and privately. Could the Pokhara fragments as well as the sightings in Ladakh and Bhutan actually be alien craft falling to earth? The renewal in interest in space travel in large part due to Elon Musk’s SpaceX, UFOs and sightings are again subjects of public interest.&nbsp; Even 57 years later, even if there was definitive proof about whether the Batlechaur fragment was from a Chinese missile or a soviet rocket, it has not been made public in documents declassified so far. We may never know.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241207071216_b6938795f40731e7657fd6dcbb3cf460a326186a15eb11d4f832f602201ff598.jpg" data-media-id="editor_6" data-image-id="20241207071216_b6938795f40731e7657fd6dcbb3cf460a326186a15eb11d4f832f602201ff598" data-rendition-name="original" width="642" height="320" loading="lazy" alt="UFO over Pokhara"> </figure>  Sunil Ulak speculates if the debris actually came from an American aircraft, perhaps on an intel mission upon China. “Which could explain why they were so thorough in collecting the fragments in Pokhara,” he says. But that still does not explain the multiple sightings weeks apart in 1968.&nbsp; Indeed, US military aircraft were at that time flying frequent night-time missions from air force bases in India to supply weapons to Khampa guerrilla camps in Nepal located north of Pokhara in Mustang. It could very well be that the Chinese shot down one such aircraft. The other sightings could have been contrails of US spy planes, or Chinese anti-aircraft missiles.&nbsp; There were quite a few developments regarding UFOs in 2024. In a US congressional hearing in July, former intelligence officer David Grusch claimed that the government had long been involved in a program to investigate and retrieve non-human craft crashes, and then try to reverse engineer them. However Grusch did not show any evidence.&nbsp; The UAP Disclosure Act of 2024 was signed into law by Joe Biden in December 2023. It plans to oversee the public disclosure of UFO information. However, there is a clause in it that prevents disclosure if it would cause threats to military defense, intelligence operations or foreign relations.&nbsp; It is unlikely that the declassified documents about sightings in the Himalayan will cause any real surprise about definite evidence of alien life even if it was found. It seems humanity will continue, at least for now, to wonder about curious lights in the sky and whether there is anybody out there.&nbsp;

UFO over Pokhara

When Rastriya Swatantra Party (RSP) president Rabi Lamichhane was arrested in October on charges of defrauding depositors of cooperatives, the party’s vice president Swarnim Wagle gifted him Fareed Zakaria’s book, Age of Revolutions.
Since then, Lamichhane has been shunted around from Kathmandu to Pokhara to Chitwan and back to Pokhara to attend police investigations and court proceedings. He was being flown to Birganj via Kathmandu on Buddha Air on Monday. There is another pending case in Janakpur.
Human rights groups and civil society have criticised the government for hounding Lamichhane with inhumane treatment that borders on physical torture. The two parties in the coalition, Nepali Congress (NC) and the UML, see Lamichhane’s RSP as a potentially formidable challenge to their power.
Even if the fraud charges against Lamichhane are true, the Nepali public is increasingly looking at the government’s actions through the police and courts as political vendetta.
Despite all the travelling, sometimes by plane and often by road at night, Lamichhane appears to be in high spirits, waving to supporters who often gather if they know he is going to be driven around. A social media video shows him giving high fives to fellow passengers on a recent flight to Pokhara.&nbsp;
In the past weeks, streets in Pokhara have erupted with parallel protests by Lamichhane’s supporters as well as depositors of cooperatives who lost their savings to the scam.&nbsp;
Although family visits are allowed, prison officials in Pokhara told Nepali Times that not many people visit Lamichhane these days. He added, “When he does get visitors, he asks them to bring him books.”
Lamichhane is currently Nepal’s most high-profile public figure in custody, and highlights the stark difference between how influential prisoners are treated compared to ordinary inmates.
There are six prison cells at Kaski District Police Office’s two-story detention centre, three on each floor. And while authorities pack prisoners into already overcrowded cells, Lamichhane has an entire room on the second floor to himself.&nbsp;
He has also been allowed to call his family every few days. Other prisoners are not permitted phone calls except for emergencies.
Meanwhile, Lamichhane’s former business partner Chhabilal Joshi, an ex-Deputy Inspector General of Police with whom he established his Gorkha Media Network, is in custody under the same charges in the prison cell next to him.
Lamichhane is accused of siphoning off depositors' money to the tv network in which he was part-owner and anchor. &nbsp;
Both Lamichhane and Joshi are able to buy food from the police canteen instead of being served the regular meal like other prisoners. Joshi has also given his statement to authorities in Rupandehi and Kathmandu for his alleged role in the scam. Lamichhane is yet to be presented in Kathmandu for questioning.
While he was in custody at the Kathmandu District Police Complex, Joshi expressed his desire to sleep in a police officer’s office, reportedly assuring authorities that he would not run away and he was entitled to certain facilities as a former officer of the law.
“He seemed to be under the impression that he is still a police officer,” says a source at the Kathmandu District Police. “We made it clear to him that as someone accused of a crime, he was not entitled to special treatment.”
Former ministers Balkrishna Khand and Top Bahadur Rayamajhi, and ex-home secretary Tek Narayan Pandey, who were arrested in connection with the fake refugee scam last year, were similarly housed in the offices of law enforcement officials instead of prison cells. Khand has since been released after six months in jail.
While there is no legal provision to keep high-ranking officials in separate detention centres when they are arrested, authorities granting them special facilities is not uncommon. Law enforcement officials say VIP detainees expect preferential treatment while in police custody.
Among those is former Kosi Province minister Lila Ballav Adhikari, who was arrested from Biratnagar on 10 November over his alleged involvement in human trafficking and brought to Kathmandu. Adhikari had flown to Japan without government approval with three individuals on 29 October to attend a cultural conference, but had been sent back to Nepal from Narita.&nbsp;
His three companions were arrested at Kathmandu airport upon their arrival, but Adhikari was able to exit unscathed from the VIP lounge. Adhikari had resigned as the Kosi Province Minister for Internal Affairs and Law when it became public that his companions had been taken into custody, and was himself arrested shortly after. He has since been cleared by the courts.
Throughout his detention, Adhikari was kept separately from other inmates. Senior Superintendent of Police (SSP) Basant Rajouri, head of the Bhadrakali complex, says that while there is no separate detention area for VIPs, some detainees are kept separately depending on the nature of their crime.
However, sources say that arrangements were made for retired judges and others to visit Adhikari frequently worked at the office of a Deputy Superintendent of Police (DSP) during his time in custody.&nbsp;
“He used to constantly pester the authorities to let him sit outside in the sun, and to be able to use the police officer’s shower area,” added an officer.
Adhikari was released on 25 November after the government prosecutor’s office decided not to charge him in a move that was seen to expose the government’s double standards.
Over at Kathmandu’s Dilli Bazar Prison, former Kist Bank CEO Kamal Gyawali emerges from his prison cell into the courtyard of the prison’s ‘Ka (क)’ block every morning with a thick book in his hands, ready to give his daily sermon.
With his long beard, Gyawali, who is serving a prison sentence for banking fraud, looks the part of a religious guru as he implores his rapt listeners to “walk the right path, abandon bad thoughts and turn to scripture and spirituality”.&nbsp;
Afterward, the attendees gather to discuss politics and current affairs. Inmates at his daily sermons at the prison include other high-profile detainees, including former MP Ichchha Raj Tamang, who is in jail for money laundering and cooperatives fraud, former joint secretary Chudamani Sharma, who was convicted of corruption, as well as NC leader Chandra Bahadur Lama and Krishna Bahadur Upreti of the UML both of whom are on trial for embezzling billions of rupees.
Victims of the cooperatives scam that former lawmaker Tamang was involved in have made trips to the prison and requested visits, but he has refused to meet with any of them.
“Tamang often complains that the state has prevented him from returning the money to the victims by locking him up,” says a police officer at the Dili Bazar jail.
“All you hear every day from the VIP prisoners is that they have been framed,” adds the officer. “No one admits that they were involved in misdeeds.”
But while most high-profile prisoners complain about prison conditions, one exception is former provincial lawmaker Deepak Manange, who is serving a sentence at Dilli Bazar Jail for attempted murder.
“He is the happiest prisoner here,” says a warden. “Unlike the others, he doesn’t claim to have been framed, in fact he doesn’t seem to care that he is in prison.”
Manange is detained in the ‘Kha (ख)’ block of the prison complex, which he renovated at his own expense. The block previously housed female prisoners, but Manange used his influence to transfer them elsewhere. He faces no shortage of visitors, who range from political leaders to people from the underworld.
Along with Manange, other well-known prisoners in this block include Nepal Telecom Managing Director Sunil Poudel, and former executive director of the Surakshan Printing Centre Bikal Poudel, who are serving time for corruption.
Former prisoners at Dilli Bazar prison include ex-ministers Khum Bahadur Khadka and Shyam Sundar Gupta, NC leader Ganesh Lama, Maoist MP Balkrishna Dhungel, Nagarik Unmukti Party leader Resham Chaudhary, as well as former IGs Ramesh Chand Thakuri, Om Bikram Rana, and Hem Bahadur Gurung.
Section 54 of Nepal’s Prison Act assigns each prison’s internal administration the
responsibility of governing its prisoners, which means the more favourable the jail management is, the more comfortable it is for prisoners.
Dilli Bazar prison has been the prison of choice for many high-ranking prisoners, especially those convicted of white collar crimes, due to its more accommodating administrators. The prison, which has the capacity to house 700 inmates, is also less crowded than other jails.
Anuj Bhattarai, spokesperson of the Department of Prison Management, says that there is no legal classification in Nepal for felons to be assigned prisons based on the nature of their crimes.
“That Dilli Bazar Jail has a higher number of prisoners convicted of crimes like corruption is most likely a coincidence,” says Bhattarai. “There is no provision for influential people to be able to choose where they will be incarcerated.”&nbsp;
Translated by Shristi Karki from the Nepali original published in himalkhabar.com

What Nepal’s VIP prisoners do in jail

If you were raised in Nepal, you must have picked up its unique set of vocabulary: आन्दोलन, चक्का जाम, बन्द, राँके जुलुस, आफ्नो मान्छे, हाम्रो दल, कर्फु and many more words connoting political protest.
We became familiar with the acrid smell of burning tyres, and eyes smarting from tear gas. And yet, everyone speaks of another revolution in the making. Not by desire, but by suffocation.
We heard speeches about नयाँ नेपाल, but the New Nepal never arrived. The governance system changed, but it did not reflect on people’s lives — except for those close to centres of power. The state is still unreachable and is not bothered about <a href="https://nepalitimes.com/here-now/matter-of-life-and-debt">victims of loan sharks</a>, cooperative scams and other injustices.
Politicians continue to speak in sound bites, but fail to deliver. They have mastered the game of pointing fingers towards an external enemy and convincing people that they are never at fault. The political narrative is so disconnected from the actual analysis of the problem that suffocation doesn’t go away after every revolution.
No genuine effort has been made to deliver at all, which is why there is a palpable sense of disillusionment in the air forcing us to seek another revolution, even if Nepal may not be able to afford it.
How has the current system successfully held power, even if the public is deeply frustrated? How is it that for three decades we continue to be led by the same faces, who have time and again, proved to us that they may be great politicians but not national leaders?
<a href="https://nepalitimes.com/opinion/improving-internet-governance-in-nepal">My experience at the epicentre of politics</a> has led me to identify three cultures that have enabled political parties to keep a tight hold on power: acceptance, silence and dependency.
We accept things the way they are. We use fatalistic phrases like “नेपालमा यस्तै हो” or “नेपालको कानुन दैब जानुन”. While this resilience enables us to rise back up from devastating calamities, it is also a reason for our compliance with the status quo.
Despite so many ‘revolutions’ that have led to significant reforms, these phrases keep getting reinforced, to the point that the upcoming generations have made it their lingo.&nbsp;
This acceptance is not a symbol of law-abiding citizens, but citizens living in fear of those in power, unable to ask the whys and why-nots.
Innovation suffocates in this culture of acceptance of the status quo. This is manifested in remarks like “but we don’t have any laws for this,” or “we don’t have the capacity to implement this”. An innovator or entrepreneur therefore has to spend that energy to become a political lobbyist, often educating and convincing the bureaucracy.&nbsp;
Remember when locally assembled <a href="https://nepalitimes.com/banner/designed-and-made-in-nepal">Yatri motorbikes</a>, despite having willing customers, had to suffer to secure license numbers because of a lack of regulations? Instead of creating new laws, the government kept chanting the “We will promote Nepal-made goods” mantra, leaving entrepreneurs in a labyrinth of bureaucracy. The weight of acceptance of the law lies heavily on innovators. Fatalism is a tactic used by those in power to generate mass fear in society.
When we accept, we become silent. This is a pervasive phenomenon. We are trained to keep quiet, lest we ruffle feathers, burn bridges, or not get the help we need in future. We know, yet we don’t speak.
Read also: <a href="https://nepalitimes.com/here-now/bureaucratic-hurdles-in-researching-nepals-bureaucracy">Bureaucratic hurdles in researching Nepal's bureaucracy</a>, Daniel W Edwards
Here is one example: the 2021 census shows that the number of baby boys born for every 100 baby girls is 112. This is a clear indication of female foeticide because of boy preference in society.
Despite such horrifying realities, there is finger-pointing within the government between the Ministry of Health and Population with the Ministry of Home Affairs. At the citizen level, we know those who are involved in killing girls. Yet, we don’t speak up. The Nepal Medical Council reports state that despite this gender imbalance at birth, there is no indication of any action.
But why would anyone speak against one's own fraternity, no matter how vile the act is?
When we accept and keep quiet, we become dependent on those who yield power. From getting our government procedure completed on time to getting transfers, to accessing any of our legally protected rights as well, we are forced to depend on our networks of चिनेको मान्छे people we know by blood, village, relations, political affiliation.
The culture of dependency has been the established way in Nepal. If you drive a two-wheeler or four-wheeler, and you get into a small accident, you will be asked to sort it yourself, dialing up the most powerful person you know. It becomes a competition of who knows who.
Recently I was told that there were calls from the Ministry of Health and Population and another from the Prime Minister's Office for just one medical position in a private hospital. Each was pushing its own candidate. Guess which candidate got the position.&nbsp;
The dependency of people is not on the laws or the state, it is with people in power, a reliance on the network of somebody who knows somebody, including those not officially in power.
These cultures are deeply ingrained in our heads, and in society. Collectively they form a vicious circle that helps those in power to retain power. This is not the society we want to live in.
Then, what do we do as a collective to break away from this? How do we break away from the cultures of acceptance and silence that have created this dependency? What can we do to ensure that our children do not have to learn the jargon of आन्दोलन before they learn about the state?
These are the cultures political parties need to shed rather than use them to perpetuate their power. This is what <a href="https://nepalitimes.com/opinion/comment/an-alternative-to-alternative-politics-in-nepal">alternative politics</a> needs to be about.
Sumana Shrestha is a member of Parliament’s Education, Health and Information Technology parliamentary committee and represents the Rastriya Swatantara Party.

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