<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114121112/637222f79c7e80680e0c0328jpeg.jpg" alt="" width="1705" height="1279"/><figcaption>Aashma Dangol, "Sir Frog", Oil paint on canvas. All photos: BIKALPA ART CENTRE.</figcaption></figure>Bikalpa Art Centre (BAC) in Pulchok is an interdisciplinary space onto itself. A cosy complex cloistered by low-hanging trees, it has a cafe, workstations, a music stage and a rectangular gallery where the latest pop-up exhibition Monsoon Hymn is underway.Bikalpa means 'alternative' in Nepali, and the gallery features works by artists Aashma Dangol, Sundar Lama, Aditi Sherpa, Anamika Gautam, Devina Joshi, Katyani Rai and Priyanka Singh Maharjan. The exhibition explores the essence of growing up and youth culture in Nepal, alongside documenting their multifaceted inner lives and their surroundings, through photographs, paintings and poetry.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114121112/637222fb9c7e80680e0c0329jpeg.jpg" alt="" width="1382" height="1037"><figcaption> </figcaption></figure>Among the striking works is ‘Letting Out’, a photographic journey by Devina Joshi through a period of mental exhaustion, looking to find spiritual, emotional and creative outlet for her thoughts and feelings.The picture of feet decorated with ala (red pigment) turns the lens towards the inner child emulating the Kumari. The divine feminine resides in every girl, believes Joshi, and the picture represents a search for the goddess within.Next to it is a photograph of a chair – washed-up, almost, in sepia tones, exuding a profound sense of loneliness and immobility. Pictures speak a thousand words – and this is the case with the other artworks on display as well – and here, the four-legged furniture waits: for company, perhaps, or for meaning. The edges look frayed and fading, and there is also a sense of time trickling away.But even then, the outward motion of expressing or releasing reflects back to one’s interior. Joshi relates life and time in her photographs, and ultimately finds a connection to herself. This act of healing is immediately relatable to the viewer, whether in the solitary chair or in fading footsteps.Healing is indeed a large part of the monsoon, as rains can symbolise the washing down of one’s sorrows and plights. And the many artworks in the exhibition have that quality about them, even when what they represent or depict appear at the outset intimidating and violent.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114121112/637222fe9c7e80680e0c032ajpeg.jpg" alt="" width="1382" height="1037"><figcaption> </figcaption></figure>For example: Katyani Rai’s ‘The Waves’, ‘Hymn of Death’ and ‘Insomnia’, that form a sequence of varied media where dreams and dismay peek with engaging looks from across the frames. Finding inspiration in her insomnia, Rai experiments with printmaking, charcoal and pain to tell cohesive stories of war-torn realities in deep red, beaked angels of death in black and white, and anxious feet soothed by silvery moths.Elsewhere Aashma Dangol’s triptych ‘Coming of Age’ depicts the creation of self and body autonomy through the classic American bacon and eggs breakfast, each frame zooming into the image of vulnerability that comes with breaking open one’s shell and turning to face the world.Next to it sits the ‘Sir Frog’, its wide eyes and smile – slightly flirtatious and immensely comforting – drawn in the style of portraits of important people. Perhaps this painting is the most obvious connection to monsoon, reminding one of the integral roles the amphibian plays in an <a href="https://www.nepalitimes.com/banner/monsoon-culture/" target="_blank" rel="noopener noreferrer">agrarian ecosystem</a> such as Nepal’s.This is the nature of a pop-up exhibition, explains curator Saroj Mahato: “There is no overarching theme: it’s just artists expressing themselves and being promoted.”And this is true of Monsoon Hymns, which was quickly brought together in collaboration with the artists and BAC. The title reflects the in-between season– a period for planting and growth – and the symbolism of new, rising artists showcasing their works here could not be more apt.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114121112/637223019c7e80680e0c032bjpeg.jpg" alt="" width="1889" height="1417"><figcaption> </figcaption></figure>And the absence of a rigid theme has allowed an assortment of artists with diverse stories to take their place in the ever-expanding Nepali contemporary art scene.For instance, Anamika Gautam’s cubist ‘Winter in her Palace’ and ‘The Grief’ are captivating medleys of geometric shapes. Here, she depicts the socio-political assessment of gender and mental health in deceptively simple execution with vibrant colours.Priyanka Singh Maharjan’s ‘Home in a City’ is also an example of simple and vibrant series, but here the subjects are entirely different. Evenly spaced thin lines fall from the top of the canvas to the bottom, and in those lines shapes begin to take form, women talking, telling stories, working, participating. In pen and ink, she weaves the tapestries of society, placing women front and centre and depicting the side of our culture and community so often overlooked by the prominent male gaze.Sundar Lama’s sequence of three – ‘Lungs’ – are selectively coloured and paired with poems in Nepali that look at the Covid pandemic and healthcare. Ribs suspended mid-air feature in the three frames, as symbols of protection or prisons, together with clouds, floating hands, and a quiet <a href="https://www.nepalitimes.com/latest/nepals-long-covid-impact-on-children/" target="_blank" rel="noopener noreferrer">child caught between</a> the past, the future and salvation.Aditi Sherpa’s colourful paintings are equally abstract in their narratives. Eyes stare out right into the viewer’s souls. The cacophony of shapes ask “What are you?” in large bold Devnagari letters. A yellow lemon with windows floats between a banana, omelette, lizard, face and a confused clock. As the artist grows from one canvas to the next, these are anxious pieces that look for answers in our environment and imaginations.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114121112/637223049c7e80680e0c032cjpeg.jpg" alt="" width="1751" height="1313"><figcaption> </figcaption></figure>Says Namami Rana, assistant art manager at BAC:  “This is a vulnerable exhibit. The artists have explored topics such as mental health, social conformity, stigma, the fear of Covid. It is very exciting to see the positive response from the audience as well which has bene encouraging to the artists.”In fact, some of the artists are showing their works for the first time at Monsoon Hymns, and Mahato’s curation is impeccable, giving each their own space, their own corner to shine, without saturating in the mix.Most artworks are for sale, especially as the promotion of the artists and finding a space for them to explore and be discovered are central to the exhibition, and the prices range between Rs10,000-40,000Monsoon HymnsCurated by Saroj MahatoBikalpa Art Centre, PulchokTill 15 July 2022.

Ashish Dhakal

original

674x448

610x380

500x500

400x266

400x240

400x203

301x200

1250x600

1084x550

Nepal's new generation of alternative artists

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114101116/6372083f9c7e80680e0b54d8jpeg.jpg" alt="" width="4231" height="2744"/><figcaption>The curators of the Nepal Pavilion set to make its Venice debut in April (from left) Hit Man Gurung and Sheelasha Rajbhandari with the exhibiting artist Ang Tserin Sherpa. All photos: CHHIRING DORJE GURUNG.</figcaption></figure>Nepal is set to make its debut at the 59th International Art Exhibition (<a href="https://www.labiennale.org/en">La Biennale di Venezia</a>) with the inaugural pavilion titled ‘Tales of Muted Spirits – Dispersed Threads – Twisted Shangri-La’.The exhibition is curated by Sheelasha Rajbhandari and Hit Man Gurung, and will feature the work of <a href="http://www.tsherinsherpa.com">Ang Tserin Sherpa</a>. The project is co-commissioned by Nepal’s Ministry of Culture, Tourism and Civil Aviation, the Nepal Academy of Fine Arts and the Siddhartha Arts Foundation, with support from the <a href="https://www.nepalitimes.com/latest/rubin-to-return-nepal-antiquities/" target="_blank" rel="noopener noreferrer">Rubin Museum of Art</a> in New York.“There is a lot of projection onto Nepal internationally, and often our own voices are not taken into account,” Sherpa told Nepali Times on Friday. “The main agenda behind the<a href="https://www.instagram.com/nepalinvenice/" target="_blank" rel="noopener noreferrer"> Nepal Pavilion </a>is to express these projections and their impacts in our own language, and take ownership of our own voice and identity.”The pavilion will focus on the contradictory conceptualisation of Nepal and the broader Himalayan region brought about by the ‘fetishisation of a spiritual highland’. The multimedia installation will feature Sherpa in collaboration with local artists across the country to expose the intricate reality of interconnected communities with shared experiences of loss and displacement beneath the Shangri-La of bliss and longevity.The Nepal Pavilion will also explore the systemic oppression and exclusion of the many indigenous groups of Nepal by colonial and regional powers in the 19th and 20th century.‘International understanding of Nepali art remains plagued by a Western conceptualisation of the Himalayan region,’ Sherpa said. ‘A pervasive, romanticised vision that frames Nepal as static, pure and untouched by time and modernity. We need to create a space to reflect and re-evaluate these biases.’Indeed, the Himalaya has often been seen through the lens of exotic mysticism that masks the complexities and diversity that give the region its identity. The communities of Nepal are often portrayed as wise but primitive, sturdy but poor, lacking in historical data but rich in spiritual wisdom.“While it has been encouraging and inspiring to see the <a href="https://www.nepalitimes.com/here-now/thamels-new-art-street/" target="_blank" rel="noopener noreferrer">art scene thrive in Nepal</a> at present,” says co-curator Rajbhandari, “there is still a disconnect in dynamics between the global art world and Nepal. Venice can be a platform to mediate that lack of communication.”<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114101120/637208449c7e80680e0b54d9jpeg.jpg" alt="" width="2592" height="1944"><figcaption> </figcaption></figure><a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/The-world-beyond-thangkas,3139">Ang Tserin Sherpa</a> was born in Kathmandu and trained in thangka painting by his father Master Urgen Dorje. Influenced by his own experience in the Himalayan diaspora and the nomadic history of its peoples, Sherpa’s œuvre has grown to feature a rich vocabulary of Buddhist iconography paired with pop-culture references, to reflect the interplay and tension between what is sacred and secular, and what is traditional and contemporary.This is related also to the increasing commodification of traditional art in Nepal whereby artworks have been reappropriated as mere objects to be marketed and showcased.“These are our cultural heritage as well,” says Sherpa. “We cannot rely on other people to uphold and preserve our culture, our history when we ourselves overlook and forget them.”To renegotiate and reexamine this trend is a larger theme with Sherpa’s work at the Biennale. He adds, “My plan is to collaborate with many Nepali artists and artisans, and initiate a dialogue about our heritage, skills and contemporary art.”The application process for Nepal’s pavilion at the Biennale began in June 2021, and was pushed forward by seed money from the Rubin Museum in New York. But because of various delays, it was not until November that the work finally began.“In Nepal there is no proper support system for artists to get international exposure,” Sherpa added. “But this is not a one-time thing. Funding is still an issue but hopefully this initiative can inspire artists, communities and corporate bodies to be involved together.”This resonates with the burgeoning push for the global visibility of Nepal’s contemporary art scene in the international arena, as was seen at the <a href="https://www.nepalitimes.com/banner/nepali-art-going-places/" target="_blank" rel="noopener noreferrer">Nepal Art Now exhibition at the Weltmuseum Wien in 2019</a> and the ongoing <a href="https://www.kathmandutriennale.org" target="_blank" rel="noopener noreferrer">Kathmandu Triennale 2077</a> set to begin on 11 February.“The inaugural Nepal Pavilion at the Venice Biennale is a historical moment for the contemporary art of the region,” said Fabio Rossi of Rossi &amp; Rossi who represent Ang Tserin Sherpa. “Though Tsherin will be the focus of the pavilion, it will also be a collaborative effort which will bring greater visibility to the diverse artistic and curatorial expressions that can be found in Nepal.”Jorrit Britschgi, the Executive Director of the Rubin Museum of Art, believes that the pavilion will help to raise the Nepali profile as a vibrant country for the production, promotion and presentation of contemporary art.He said in a statement: ‘The Nepal Pavilion will provide artists with an invaluable international platform to showcase their work whilst positioning the country to contribute to a broader narrative on contemporary art that moves away from a Eurocentric art history and discourse.’First founded in 1895, La Biennale di Venezia is one of the most visited art exhibitions in the world today. The Nepal Pavilion will be presented at Sant’Anna Project Space One, located on Fondamenta S. Anna in the area between the Arsenale and Giardini – the two main venues of the Biennale, which will run from 2 April through 27 November 2022.Ang Tserin Sherpa is hopeful of the precedent this attendance sets. “It is not that there are fewer artists in Nepal or less production of art, but that there are fewer avenues,” he said. “Venice is a first and I believe this can inspire our second involvement to be an even more organic event, bringing together communities, artists and institutions.”

Nepal art debut in Venice

Sahina Shrestha, Digital Products Strategist<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109101148/636b77e29c7e80680e064662jpeg.jpg" alt="" width="2208" height="1562"/>As the results of the<a href="https://www.nepalitimes.com/banner/mobile-nepal-is-hooked-on-youtube/" target="_blank" rel="noopener noreferrer"> Sharecast Initiative Nepal Survey 2020</a> featured in this issue show, Nepal is going digital in a big way. There is a dramatic increase in ownership of mobile devices, a vast amount of video content is being uploaded on YouTube and Facebook, and internet use is set to grow further with demand for smartphones and data plans.Following this trend, Nepal’s media companies are also opening up to the use of digital tools in storytelling. There has been an explosion of news and entertainment portals and YouTube channels. It is fair to say that the Nepali Times was one of the pioneers of online journalism in Nepal. It was ahead of the pack in 2000 when it started a digital edition even before making a splash with its first print copy. Over the years, even as the hardcopy version took precedence, we made sure to experiment with data visualisation, audio-visual content and interactive graphics. After the 2015 earthquake, Nepali Times adopted a digital-first policy, uploading content online before a version appeared on Friday in print. Today, as more of our audience meet us online, we are rethinking not only our product but also our business model. Journalism worldwide is increasingly dependent on and being influenced by the likes of Facebook, Google and Twitter. These are no longer ‘just platforms’ for our content. On the one hand we compete with them for audience and ad revenue, and on the other we rely on them for technologies and dissemination.With shrinking budgets and revenue pressures, ‘legacy’ newsrooms like that of Nepali Times are being forced to think innovatively with the resources we have. As a traditional news organisation seeking innovation, growth opportunities and sustainability, we will continue to explore new platforms to distribute content and grow audiences. We will continue to work around the algorithms and experiment with social- and mobile-optimised formats that are shareable and quick to ingest.I am glad to be back at Nepali Times in this new position just as the paper marks its millennial milestone and am looking forward to streamlining a new media strategy for the future.Sonia Awale, Associate Editor<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109101148/636b77e69c7e80680e064663jpeg.jpg" alt="" width="2032" height="1480">Welcome to this 1000th print edition of the Nepali Times weekly that also celebrates the 8 March International Women’s Day. It has been a two-decade long journey, during which my predecessors who have transitioned through this newsroom have witnessed history first-hand: the war, the 2001 palace massacre, the royal-military coup of 2005, restoration of democracy, a prolonged political transition, the earthquake, the Blockade and finally federal elections in 2017.The earthquake struck on my first week as an intern at the Nepali Times five years ago. Reporting on the aftermath of the disaster was like being thrown off the deep end. In 2017, after completing my master’s in digital journalism, I returned to the paper with a focus on covering health, environment and the climate crisis.Unlike other newsrooms, the Nepali Times does not have much hierarchy, and we are not rigid about beats. I was involved in the team that redesigned the online edition of the Nepali Times, which has seen a three-fold increase in reader numbers in the last three years. We have tried to bring the newsroom and the audience closer, refined our multimedia content and come up with original, in-depth coverage of a Nepal outside Kathmandu.    For the past two decades, the Nepali Times newsroom has pursued context and process, rather than simply covering events. This gives the hard copy edition a longer shelf-life, and the archives impart research value to Nepal-related topics that will be useful into the future.Every week,<a href="https://www.nepalitimes.com/" target="_blank" rel="noopener noreferrer"> www.nepalitimes.com</a> has more than 100,000 unique visitors, most of whom have bookmarked the homepage and begin browsing there, instead of clicking on story links on social media. The average reader spends five minutes per page, which is remarkable in an age of short attention spans.  Nearly half of the Nepali Times’ readership online is women, mostly in the 25-34 age group. Contrary to common perception, more than 80% of readers are Nepali, and 35% reside in Nepal. Most diaspora readers work and study in the United States, India, the UK, Australia and the Gulf, in that order.Thank you, readers for being with us the past 1,000 times. We in the Nepali Times  newsroom look forward to the next 20 years of making sense of the three-pronged crises of democracy, media and climate that Nepal and the world face today – and trying to find solutions.Alisha Sijapati, CorrespondentStarting when I was six years old, my grandmother had me read the headlines from the Nepali newspapers out loud to her every morning. She enjoyed hearing me read the news and as I became a better reader, I read whole articles to her. My interest in journalism developed from this morning practice that we still share.My career as a journalist started with internships first at The Himalayan Times and then at Himal Southasian. The journey of a trainee journalist is not always rosy, but these experiences taught me a lot. Later, as a full-time reporter at The Kathmandu Post, I was on the culture beat, but also had the opportunity to do business reporting and some investigative stories.Leaving a large daily for the smaller newsroom of the Nepali Times has been a big change for me. This place is a breath of fresh air. There is a calmness here even during frantic deadline pressure, and as media becomes faster paced the way our newsroom operates has lessons for everyone.In preparation for this 1000th issue of the Nepali Times, my colleagues and I flipped through the archives of the paper, and I got a glimpse of its underlying philosophy of 'solution journalism'.This means not limiting ourselves to a description of the problem, but looking beyond the current difficulty and searching for answers. It may take the form of analysis or profiles of people who have overcome obstacles despite tremendous odds. The Nepali Times has consistently and doggedly pursued issues that matter, always holding out for a better future and suggesting how we might get there.After seven years in journalism, there are some important understandings that I take with me from one newsroom to another. I believe that we journalists work for our readers and viewers and that we must be accountable to and sensitive towards those we write about even as we strive to uncover wrongdoings through honest and unbiased reporting.Monika Deupala, Photojournalist<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109101148/636b77e99c7e80680e064664jpeg.jpg" alt="" width="1985" height="1330">Two years ago, during my internship at the Nepali Times, my editor told me: “You have the eye to see things others don’t.” That was the first time anyone had recognised my passion for photography.Soon, I was a Nepali Times staffer, but while shooting events I saw how few of us women were out there taking pictures. This is a problem. In a competitive field, the gender gap manifests in people not taking women as seriously. I am still not very confident in crowds.There are advantages, too: being women gives us access that many male colleagues would find difficult. But it will take time to make people understand that female photographers are good on their own merit, and not because of their gender.Back in high school, I was part of a class group that monitored the daily newspapers. We had to arrange them in rows before morning assembly. I was not much of a reader, but was intrigued by the photographs. I told my teacher I wanted to be a photojournalist, and he frowned, asking if I thought it was a profession for a woman. But I pursued my goal. I took a media course in college, bought my first DSLR, and honed my camera skills during class assignments.The last two years at the Nepali Times have been a journey of self-exploration for me. I understand my abilities now beyond limitations, and have more confidence travelling alone to new places and talking to strangers I am photographing. This paper has shown me what true professionalism is.Sanghamitra Subba, Reporter<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109101148/636b77ec9c7e80680e064665jpeg.jpg" alt="" width="2376" height="1493">Fresh into my first job, I entered the welcoming, sunny and dog-filled newsroom of the Nepali Times. I came in as an intern, bright-eyed and ready to learn from the editors and reporters whose work I had admired as a student rifling through the colourful newspaper every Friday in the library.Into my first week, I was invited to join a journalism dialogue between graduate students from India, Pakistan and Nepal. Those three days provided a crash-course in crossborder journalism, and fired my interest in reporting. This was the first of many amazing opportunities that I have had working at Nepali Times.With the freedom to pursue the topics that I wanted to and the generous encouragement of newsroom colleagues, I covered everything from community homestays in Panauti to multiethnic marriages. At every step, I received the generous guidance of seniors, who taught me everything they knew about being an effective interviewer, editing videos and most importantly, maintaining composure during even the most challenging assignments.This women-dominated newsroom has been both a source of inspiration and a reliable support system. While my peers struggle to find their footing in other jobs, I have a positive work environment that has helped me grow as a multimedia reporter, and as a woman finding my way in the world.

Newswomen

<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171116/63692f4d9c7e80680e03c09cjpeg.jpg" alt="" width="2902" height="2223"/>The third edition of Nepal’s international <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Photo-Kathmandu-in-Patan,2669" target="_blank" rel="noopener">photography festival</a> is all set to kick off on Friday for a month-long festival of images. As a sign of the times, the shows will zoom in on gender, identity, as well as explore how patriarchy and sexuality affect power dynamics in societies around the world.This year, the extravaganza of images will spill over beyond <a href="https://archive.nepalitimes.com/page/Patan-town-as-a-museum-piece" target="_blank" rel="noopener">Patan </a>to Kathmandu. The walls and alleyways of the two cities are once again plastered with photographs, projections, murals in preparation for the shows, exhibits, panel discussions and installations. They will use the visual medium to bring together the city and its citizens, join its past with its present and future, and connect it all to the outside world.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171116/63692f509c7e80680e03c09djpeg.jpg" alt="" width="1500" height="1000">“This year Photo Kathmandu is curating works on gender, power, identity, patriarchy and sexuality through its exhibitions,” says festival director Nayantara Gurung Kakshapati.Read Also: '<a href="https://www.nepalitimes.com/?p=14825&amp;preview=true" target="_blank" rel="noopener">Hippinis</a>', Lucia deVries'<a href="https://www.nepalitimes.com/?p=14836&amp;preview=true" target="_blank" rel="noopener">The Gangster of Love</a>', Lucia de VriesThe festival will be inaugurated by Minister for Women, Children and Senior Citizens Tham Maya Thapa on 12 October. There are 14 print exhibitions, four slideshow nights, 17 talks by artists and panel discussions, and eight workshops and exchanges, and mixed media residency programs. This year <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/photography-festival,3322" target="_blank" rel="noopener">Photo Kathmandu</a> will also host a South Asia Incubator program. The media residency is a platform where artists will work for a month on individual projects to showcase it at the end.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171116/63692f549c7e80680e03c09ejpeg.jpg" alt="" width="1500" height="1000">More than 90 national and international artists, including photographers, curators, editors, writers from 25 countries are taking part in the festival which the organisers estimate will get half a million visitors. Artists and photographers from Italy, Germany, Bangladesh, India, United Kingdom, South Africa, USA, Hong Kong, Cambodia, Finland, Iran, Spain, Turkey, Canada, and Pakistan will be exhibiting.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171116/63692f579c7e80680e03c09fjpeg.jpg" alt="" width="631" height="443">Kakshapati adds: “This year <a href="http://archive.nepalitimes.com/blogs/mycity/2015/11/04/photo-kathmandu/" target="_blank" rel="noopener">Photo Kathmandu</a> is more focused on the process than the product itself." There will be a month-long mixed-media residency with Indian curator and art writer Veerangana Kumari Solanki and Nepali artist Sujan Chitrakar who oversee artists work together. Other artists include Nhooja Tuladhar and Bandana Tulachan from Nepal, Marco Panzetti and Valentina Abenavoli from Italy, Pakistan’s Fiza Khatri, and Ilgin Denix Akseloglu from Turkey who will delve into the intersection of photography, video, stage performance.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171116/63692f599c7e80680e03c0a0jpeg.jpg" alt="" width="1500" height="1000">The ‘Multimedia Storytelling and Web Documentary’ workshop by Uwe H Martin and ‘The Self and Representation’ workshop by Robin Hammond are highlights of this year’s festival. UK-based artist Robin Hammond is also exhibiting ‘Where Love is illegal’ creating a space for LGBTQI+ participants to share stories of discrimination and survival. There are also shows in Freak Street showcasing images and stories from <a href="https://www.nepalitimes.com/here-now/hippinis/" target="_blank" rel="noopener">the hippie era</a>.The month long Photo Kathmandu festival creates space for conversation with people around the world with multiple exhibitions, collateral events, workshops, public programs and much more.Read also: <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/Philip-Blenkinsop-and-Tuomo-Manninen-in-Photo-Kathmandu,2682" target="_blank" rel="noopener">Real people, real lives</a> , Hannan Lewsley<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171116/63692f5d9c7e80680e03c0a1jpeg.jpg" alt="" width="1500" height="1000">

Monika Deupala

Photo returns to Kathmandu

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.

multimedia