<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109191124/636bf0f34b0ad905ca02f041jpeg.jpg" alt="" width="3264" height="2448"/><figcaption>Nepali archer training for the Tokyo Olympics. Photo: NEPAL OLYMPIC COMMITTEE</figcaption></figure>As Nepal plunges headfirst into 2021, it is worth reflecting back on a year of cancelled, postponed, or improvised events. Weddings and graduations to cricket tournaments and international conferences, all had to be cancelled or put off.Visit Nepal 2020 was an early casualty to the pandemic, and the lockdown wrecked the tourism industry. But <a href="https://www.nepalitimes.com/banner/2020s-tips-for-2021/" target="_blank" rel="noopener noreferrer">there is some cautious optimism</a> about numbers picking up in 2021.There were advantages to cancelled events, virtual exhibitions and festivals meant geography was no longer a barrier.Organisers are looking forward to holding these cancelled physical events in 2021:Sustainable SummitsDuring the 4th Sustainable Summits at Chamonix in France, Nepal won the contract to host the 5th edition of the international event in Kathmandu in 2020. It was slated for June and <a href="https://sustainablesummits2020.org/" target="_blank" rel="noopener noreferrer">had to be postponed</a>. The organisers released a 50-minute video in which leaders and experts spoke about the impact of the climate crisis on the Himalaya.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109191124/636bf0f74b0ad905ca02f042jpeg.jpg" alt="" width="933" height="1280"><figcaption></figcaption></figure>The Sustainable Summits 2021 will now be held virtually as well as physically from 31 May to 4 June at ICIMOD headquarters in Kathmandu, just ahead of the Climate Summit COP26 in Glasgow. The Glasgow Summit was itself postponed and is a vital step to heal the planet.“The situation is getting more urgent with climate change, and the Himalaya is getting more and more focus because we're seeing the effects of glacial retreat and permafrost cracking underneath houses in Khumbu,” says Lisa Choegyal, who is part of the organising committee fo the four-day summit.“The fact that we’ve got COP26 coming up means Sustainable Summits has grown to being something that can make a global statement and achieve lasting change,” Choegyal says. “In a way, we’ve taken a step up to be global leaders as opposed to being a voice on the side.”One of the beneficial side-effects of the global pandemic is that global carbon emissions actually decreased in 2020 despite forest destruction that decreased land sinks for CO2.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109191124/636bf0f94b0ad905ca02f043jpeg.jpg" alt="" width="640" height="360"><figcaption>Kathmandu Triennale 2017. Photos: SHRAJESH TULADHAR, GOPEN RAI and ANUJ ARORA</figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109191124/636bf0fa4b0ad905ca02f044jpeg.jpg" alt="" width="640" height="427"><figcaption></figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109191124/636bf0fc4b0ad905ca02f045jpeg.jpg" alt="" width="640" height="425"><figcaption></figcaption></figure>Kathmandu TriennaleThe Siddhartha Art Foundation’s second <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/art-on-the-city-kathmandu-triennale,3607" target="_blank" rel="noopener noreferrer">Kathmandu Triennale</a> was supposed to be in 2020 and was supposed to explore multiple discourses on decolonisation, migration, indigenous knowledge.  It has been pushed to the second half of 2021, and will feature works from over 100 artists and collaborators from more than 40 countries.The Triennale will run for a month at multiple venues including the Nepal Art Council, The Taragaon Museum, <a href="https://www.nepalitimes.com/here-now/patans-museum-piece/" target="_blank" rel="noopener noreferrer">Patan Museum</a>, The Chhauni Museum, Siddhartha Art Gallery, and the Bahadur Shah Baithak. The exhibitions will be curated by Cosmin Costinas of Para Site in Hong Kong, as well as Sheelasha Rajbhandari and Hit Man Gurung.“The Triennale format has enabled us to link with all the Biennale and Triennale happening around the world in 2021, and place Nepal on the global art map,” Sangeeta Thapa of the Siddhartha Art Foundation.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109191124/636bf0fe4b0ad905ca02f046jpeg.jpg" alt="" width="1500" height="1000"><figcaption></figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109191124/636bf1024b0ad905ca02f047jpeg.jpg" alt="" width="1000" height="667"><figcaption></figcaption></figure>Photo Kathmandu Nepal’s best known <a href="https://www.nepalitimes.com/review/photo-kathmandu-in-a-new-avatar/" target="_blank" rel="noopener noreferrer">photography festival</a> was supposed to happen in November, but will stretch out its 4th edition right through 2021 as opposed to previous month-long events. The shows and talks will mostly be virtual, and some of them have already begun. There will be physical exhibitions in 2021 if the pandemic tapers off.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109191124/636bf1044b0ad905ca02f048jpeg.jpg" alt="" width="800" height="351"><figcaption></figcaption></figure>Film Festivals Nepal International Film Festival (NIFF) barely managed to be held February just as the pandemic was spreading. But other events such as the <a href="https://www.nepalitimes.com/review/irena-taskovski-virtually-in-nepal/" target="_blank" rel="noopener noreferrer">Pame Film Festival</a>, the National Human Rights International Film Festival (NHRIFF), and KIMFF went virtual during the tail end of 2020, which meant that a large number of viewers including the Nepali diaspora had access to participating Nepali films.<a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="https://www.nepalitimes.com/latest/nepal-postpones-international-events-as-fear-of-covid-19-intensifies/" target="_blank" rel="noopener noreferrer">Pokhara Film Society</a>, however, opted to wait out the pandemic and postponed it from March, well before the Covid lockdown began. Festival Director Santosh Sharma Sapkota says, “We are hoping to have the 5th edition physically in 2021 with virtual options for viewers who prefer it.”<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109191124/636bf1054b0ad905ca02f049jpeg.jpg" alt="" width="1152" height="864"><figcaption>Nepali athletes train for the Tokyo Olympics. Photo: NEPAL OLYMPIC COMMITTEE</figcaption></figure>Tokyo Olympics<a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="https://www.nepalitimes.com/latest/nepals-tennis-shines-in-covid-times/" target="_blank" rel="noopener noreferrer">Nepali athletes</a> were just gearing up for the Tokyo 2020 Summer Olympics when it was  rescheduled for 23 July-8 August 2021. Fifteen Nepali athletes are training for archery, judo, tae kwon do, karate, shooting, weightlifting, swimming, and athletics. Of them, ten are in Kathmandu and three are in Pokhara, while two swimmers have been training in London.Chaturananda Raj Vaidhya of the Nepal Olympics Committee (NOC) told Nepali Times  the committee has constantly been in touch with the athletes virtually to ensure that their training and nutrition needs were being met.  Although training was scaled-back during the lockdown, athletes are now back to full-fledged schedules.2020 saw many sports institutions and teams across the world adopt bio-bubbles to restrict players’ exposure to the coronavirus.  Nepali athletes are also in closed training camps. “The International Olympics Committee has informed us that all participating Olympians will be vaccinated for free in the event that any coronavirus vaccine is approved,” Vaidhya explains. "In the meantime, we are following all safety protocols.”

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Ring in the old in 2021

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109181156/636bea0f9c7e80680e0878f8jpeg.jpg" alt="" width="3264" height="2448"/><figcaption>Nepali archer training for the Tokyo Olympics. Photo: NEPAL OLYMPIC COMMITTEE</figcaption></figure>As Nepal plunges headfirst into 2021, it is worth reflecting back on a year of cancelled, postponed, or improvised events. Weddings and graduations to cricket tournaments and international conferences, all had to be cancelled or put off.Visit Nepal 2020 was an early casualty to the pandemic, and the lockdown wrecked the tourism industry. But <a href="https://www.nepalitimes.com/banner/2020s-tips-for-2021/" target="_blank" rel="noopener noreferrer">there is some cautious optimism</a> about numbers picking up in 2021.There were advantages to cancelled events, virtual exhibitions and festivals meant geography was no longer a barrier.Organisers are looking forward to holding these cancelled physical events in 2021:Sustainable SummitsDuring the 4th Sustainable Summits at Chamonix in France, Nepal won the contract to host the 5th edition of the international event in Kathmandu in 2020. It was slated for June and <a href="https://sustainablesummits2020.org/" target="_blank" rel="noopener noreferrer">had to be postponed</a>. The organisers released a 50-minute video in which leaders and experts spoke about the impact of the climate crisis on the Himalaya.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109181156/636bea129c7e80680e0878f9jpeg.jpg" alt="" width="933" height="1280"><figcaption> </figcaption></figure>The Sustainable Summits 2021 will now be held virtually as well as physically from 31 May to 4 June at ICIMOD headquarters in Kathmandu, just ahead of the Climate Summit COP26 in Glasgow. The Glasgow Summit was itself postponed and is a vital step to heal the planet.“The situation is getting more urgent with climate change, and the Himalaya is getting more and more focus because we're seeing the effects of glacial retreat and permafrost cracking underneath houses in Khumbu,” says Lisa Choegyal, who is part of the organising committee fo the four-day summit.“The fact that we’ve got COP26 coming up means Sustainable Summits has grown to being something that can make a global statement and achieve lasting change,” Choegyal says. “In a way, we’ve taken a step up to be global leaders as opposed to being a voice on the side.”One of the beneficial side-effects of the global pandemic is that global carbon emissions actually decreased in 2020 despite forest destruction that decreased land sinks for CO2.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109181156/636bea159c7e80680e0878fajpeg.jpg" alt="" width="640" height="360"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109181156/636bea179c7e80680e0878fbjpeg.jpg" alt="" width="640" height="427"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109181156/636bea1a9c7e80680e0878fcjpeg.jpg" alt="" width="640" height="425"><figcaption> </figcaption></figure>Kathmandu TriennaleThe Siddhartha Art Foundation’s second <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/art-on-the-city-kathmandu-triennale,3607" target="_blank" rel="noopener noreferrer">Kathmandu Triennale</a> was supposed to be in 2020 and was supposed to explore multiple discourses on decolonisation, migration, indigenous knowledge.  It has been pushed to the second half of 2021, and will feature works from over 100 artists and collaborators from more than 40 countries.The Triennale will run for a month at multiple venues including the Nepal Art Council, The Taragaon Museum, <a href="https://www.nepalitimes.com/here-now/patans-museum-piece/" target="_blank" rel="noopener noreferrer">Patan Museum</a>, The Chhauni Museum, Siddhartha Art Gallery, and the Bahadur Shah Baithak. The exhibitions will be curated by Cosmin Costinas of Para Site in Hong Kong, as well as Sheelasha Rajbhandari and Hit Man Gurung.“The Triennale format has enabled us to link with all the Biennale and Triennale happening around the world in 2021, and place Nepal on the global art map,” Sangeeta Thapa of the Siddhartha Art Foundation.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109181156/636bea1c9c7e80680e0878fdjpeg.jpg" alt="" width="1500" height="1000"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109181156/636bea209c7e80680e0878fejpeg.jpg" alt="" width="1000" height="667"><figcaption> </figcaption></figure>Photo Kathmandu Nepal’s best known <a href="https://www.nepalitimes.com/review/photo-kathmandu-in-a-new-avatar/" target="_blank" rel="noopener noreferrer">photography festival</a> was supposed to happen in November, but will stretch out its 4th edition right through 2021 as opposed to previous month-long events. The shows and talks will mostly be virtual, and some of them have already begun. There will be physical exhibitions in 2021 if the pandemic tapers off.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109181156/636bea229c7e80680e0878ffjpeg.jpg" alt="" width="800" height="351"><figcaption> </figcaption></figure>Film Festivals Nepal International Film Festival (NIFF) barely managed to be held February just as the pandemic was spreading. But other events such as the <a href="https://www.nepalitimes.com/review/irena-taskovski-virtually-in-nepal/" target="_blank" rel="noopener noreferrer">Pame Film Festival</a>, the National Human Rights International Film Festival (NHRIFF), and KIMFF went virtual during the tail end of 2020, which meant that a large number of viewers including the Nepali diaspora had access to participating Nepali films.<a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="https://www.nepalitimes.com/latest/nepal-postpones-international-events-as-fear-of-covid-19-intensifies/" target="_blank" rel="noopener noreferrer">Pokhara Film Society</a>, however, opted to wait out the pandemic and postponed it from March, well before the Covid lockdown began. Festival Director Santosh Sharma Sapkota says, “We are hoping to have the 5th edition physically in 2021 with virtual options for viewers who prefer it.”<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109181156/636bea249c7e80680e087900jpeg.jpg" alt="" width="1152" height="864"><figcaption> </figcaption></figure>Tokyo Olympics<a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="https://www.nepalitimes.com/latest/nepals-tennis-shines-in-covid-times/" target="_blank" rel="noopener noreferrer">Nepali athletes</a> were just gearing up for the Tokyo 2020 Summer Olympics when it was  rescheduled for 23 July-8 August 2021. Fifteen Nepali athletes are training for archery, judo, tae kwon do, karate, shooting, weightlifting, swimming, and athletics. Of them, ten are in Kathmandu and three are in Pokhara, while two swimmers have been training in London.Chaturananda Raj Vaidhya of the Nepal Olympics Committee (NOC) told Nepali Times  the committee has constantly been in touch with the athletes virtually to ensure that their training and nutrition needs were being met.  Although training was scaled-back during the lockdown, athletes are now back to full-fledged schedules.2020 saw many sports institutions and teams across the world adopt bio-bubbles to restrict players’ exposure to the coronavirus.  Nepali athletes are also in closed training camps. “The International Olympics Committee has informed us that all participating Olympians will be vaccinated for free in the event that any coronavirus vaccine is approved,” Vaidhya explains. "In the meantime, we are following all safety protocols.”

Shristi Karki

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109181112/636bdfc59c7e80680e083dbajpeg.jpg" alt="" width="1824" height="2736"/><figcaption>Local women and youth of Chyasal participate in a workshop + mural project lead by The Fearless Collective on the themes of inheriting fear, history and courage. The fourth edition of Photo Kathmandu will open with online programming from 3-9 December 2020. The festival hopes to continue with physical exhibitions and public programming in 2021 once it becomes safer to organize public gatherings. Photo: Pawan Joshi/ Photo Kathmandu</figcaption></figure>Since its inception in 2015, <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Photo-Kathmandu-in-Patan,2669" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Photo-Kathmandu-in-Patan,2669&amp;source=gmail&amp;ust=1604466780313000&amp;usg=AFQjCNFUZXangwu2rzOUn5r6cfbgsFb6MQ">Photo Kathmandu </a>has gained worldwide recognition for its professionalism and creativity, and has raised the bar for other art festivals in Nepal.However, due to the Covid-19 crisis, this year’s fourth iteration of the bi-annual festival which used to be held in Patan, will be spread out virtually over 2021.Since 2015, the festival has given artists and photographers a free platform to express their creativity through open-air exhibitions, workshops, portfolio reviews and with many other interactive public events. The past three Photo Kathmandu events have been month-long jamborees in which the historic heart of Patan itself turned into a stage for an explosion of the visual arts.This year, instead of being held over a month, the festival will go on for a whole year beginning from <a href="https://www.facebook.com/photoktm/photos/pcb.2602938853331557/2602935206665255" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://www.facebook.com/photoktm/photos/pcb.2602938853331557/2602935206665255&amp;source=gmail&amp;ust=1604466780313000&amp;usg=AFQjCNGoz6uLE1-swwvhEP2g2pJLu2Xs5w">3 December 2020 to 2 December 2021.</a><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109181112/636bdfc89c7e80680e083dbbjpeg.jpg" alt="" width="568" height="568"><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109181112/636bdfca9c7e80680e083dbcjpeg.jpg" alt="" width="2499" height="1668"><figcaption>Curator and visual artist Sujan Chitrakar leads a team of volunteers to install Professor Bruce McCoy Owens exhibition titled "BUNGAYĀ: RĀTO MATSYENDRANĀTH: FORTY YEARS OF FESTIVAL". The fourth edition of Photo Kathmandu will open with online programming from 3-9 December 2020. The festival hopes to continue with physical exhibitions and public programming in 2021 once it becomes safer to organize public gatherings.</figcaption></figure>Coincidentally, the announcement of the festival's extension came a few days prior to selection of Photo Kathmandu’s co-founder and festival director <a href="https://www.worldpressphoto.org/news/2020/jury-chairs-announced/40607" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://www.worldpressphoto.org/news/2020/jury-chairs-announced/40607&amp;source=gmail&amp;ust=1604466780313000&amp;usg=AFQjCNFeqonfRjvT4weIPKy29EJKOPx8Aw">Nayantara Gurung Kakshapati, as the jury chair of World Press Photo</a> 2021 Contest. This honour is itself expected to add to the festival’s international standing.Organising a festival on this scale was never an easy task, and challenges have been plenty, Kakshapati told Nepali Times. The very first edition in 2015, was held just after the earthquake struck Nepal and devastated the town centre of Patan. It was held despite a Blockade and shortages of fuel and supplies.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109181112/636bdfce9c7e80680e083dbdjpeg.jpg" alt="" width="1500" height="1000"><figcaption>Visitors at Nepal Picture Library's Feminist Memory Project exhibition at Mulchowk, Patan Durbar Square. This chapter of the Feminist Memory Project traced Nepali womens' participation in the rise of Nepali print culture and its intrinsic ties to the struggle of democracy and progress. The fourth edition of Photo Kathmandu will open with online programming from 3-9 December 2020. The festival hopes to continue with physical exhibitions and public programming in 2021 once it becomes safer to organize public gatherings.</figcaption></figure>This year, too, with the pandemic there are many challenges, but Kakshapati’s team is determined to pull off a successful full year of online events.The festival is a part of a larger continuum of image-making, research and civic engagements at <a href="https://www.photocircle.com.np/" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://www.photocircle.com.np/&amp;source=gmail&amp;ust=1604466780313000&amp;usg=AFQjCNHuV2uB9pOTfKzblmb2AfFZcSpB2g">photo.circle</a> and <a href="https://www.nepalpicturelibrary.org/" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://www.nepalpicturelibrary.org/&amp;source=gmail&amp;ust=1604466780313000&amp;usg=AFQjCNE-rXdVtmPRHOu4PhsGx49bZCFeGA">Nepal Picture Library</a>, and has devised two strategies for the upcoming festival: time and place."We come once in two years for a month, create a momentum and disappear, so we had been thinking for a while to stretch the festival over a longer period and create a conversation over the whole year. We are excited about the new possibilities," says Kakshapati, adding that most of the events will be virtual, particularly workshops, artist talks and portfolio reviews.“However, if the Covid situation gets better by the second-half of 2021, the team could work on a small-scale physical exhibition in Patan making a more permanent presence in a collaboration with local communities," she explains.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109181112/636bdfd19c7e80680e083dbejpeg.jpg" alt="" width="1000" height="667"><figcaption>Locals in Patan engage with Kishor Sharma's exhibition titled "Living in the Mist: The Last Nomads of Nepal". Photo Kathmandu installs all exhibitions in public and community spaces and access to all exhibitions, artist talks and other festival public programming is free and open to the public. The fourth edition of Photo Kathmandu will open with online programming from 3-9 December 2020. The festival hopes to continue with physical exhibitions and public programming in 2021 once it becomes safer to organize public gatherings.</figcaption></figure>Instead of physical exhibitions, this year the Photo Kathmandu team plans to collaborate with newspapers and come with print exhibitions for the artists and photographers that it will select to feature.The opening week of the festival in December will have a series of portfolio reviews and will include professionals from all over the world. People can sign up for a free 30-minute session. Along with that, there will be artist talks and panels.The festival is trying to turn the pandemic crisis into an opportunity to bring in artists from all over the world who would otherwise perhaps not have been able to travel to Nepal.Because of the global pandemic, the 2020-2021 edition has also cancelled the artist residency program. However, there will be more roll out and incubation programs from January 2021.Says Kakshapati: "We have come over various obstacles over the past and we hope that panning out the festival for an entire year will bring more international visibility for Photo Kathmandu and give opportunities for more artists in the future."

Photo Kathmandu in a new avatar

<figure><img width="1500" height="990" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108151116/636a655c9c7e80680e059925jpeg.jpg" alt=""/><figcaption>Alam gagged by police officer. Photo: SUVRA KANTI DAS</figcaption></figure>On Day of the Imprisoned Writer 2018, Indian author <a href="https://www.nepalitimes.com/latest/arundhati-and-shahidul-write-to-each-other/">Arundhati Roy penned an open letter to Shahidul Alam</a>, the renowned Bangladeshi photojournalist who had been incarcerated for over 100 days. ‘Dear Shahidul,’ Roy wrote, ‘I believe the tide will turn. It will. It must. This foolish, shortsighted cruelty will give way to something kinder and more visionary.’Shahidul Alam replies in his book, The Tide Will Turn, a photography and text collection lovingly named after Roy’s letter. Combining sketches from fellow inmates, historical work by Bangladeshi photographers, reflections and political commentary, The Tide Will Turn does more than document Alam’s time in jail and his views: it serves as a curated collection of political art and writing, acting as a critique of autocracy.Alam was arrested and detained on 5 August 2018, shortly after a televised Al-Jazeera interview where he criticised Bangladesh's Sheikh Hasina government for its response to protests by young students demanding road safety. The months after saw a worldwide campaign for his release with mass exhibitions, petitions, demonstrations and letters from prominent figures. <figure><img width="1698" height="1254" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108151116/636a65609c7e80680e059926jpeg.jpg" alt=""><figcaption> </figcaption></figure>In Nepal, journalists and students <a href="https://www.nepalitimes.com/latest/freeshahidulalam/">protested in front of the Bangladesh Embassy</a> in Kathmandu and lit up the city’s walls with projections of quotes and photographs by Alam during the visit to the Nepal capital by Sheikh Hasina for a South Asian leaders’ summit.Alam, still imprisoned, was awarded the <a href="https://www.nepalitimes.com/banner/shahidul-alam-photo-kathmandu-award/">Photo Kathmandu Award of Excellence</a> on 26 October 2018, both to celebrate the immense impact he has had on generations of Nepali journalists and photographers and as a clear sign of solidarity with one of South Asia’s most prominent photojournalists.‘There is a Bangla saying – “Apnake dhonnobad janie choto korbo na” (I will not belittle you by thanking you),’ Alam writes in his preface. ‘This book is my way of making amends.’Alam dedicates the first part to the prisoners in Keraniganj Jail in Dhaka. Without a camera to document his stay, he uses vivid writing to capture images of his detainment: the surroundings, the guards, his inmates and their stories, and the sparrows he made friends with.The chapter also includes notes, sketches, a mural and even a radio made by inmates who were concerned that Alam ‘a journalist, did not have access to news’. The chapter can almost be read as a standalone, a poignant reflection on <a href="https://www.nepalitimes.com/banner/shahidul-alam-100th-day-in-jail/">his 107-day incarceration</a>.The longest section of the book provides a detailed historical commentary on Bengali photography, touching on artists who have captured some of the most striking images to come out of Bangladesh, as well as on Alam’s own work. It includes one of his earliest series, which focuses on former sex worker Hazera Beagum.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108151116/636a65639c7e80680e059927jpeg.jpg" alt="" width="1500" height="978">When Shahidul Alam first met Hazera Beagum in 1996, she was a sex worker. Beagum at her orphanage in Adabor Market in Dhaka in December 2014 (pictured right). Photos: SHAHIDUL ALAM<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108151116/636a65669c7e80680e059928jpeg.jpg" alt="" width="1185" height="1140">The photographs show Beagum first in 1996 and then in 2014, now running her own orphanage and ensuring that all her children receive an education. With photospreads of select iconic images, the chapter also makes for a stunning collection of Bangladeshi art over a century.The third section of The Tide Will Turn centres entirely on Bangladeshi politics. Alam uses the 1971 Liberation War as a starting point to discuss identity, secularism and the failures of the government, detailing his own experience with the 2013 Dhaka garment factory collapse and the killing of Bangladeshi-American secular blogger Avijit Roy. There is an underlying critique of autocracy running through the book, but it is this chapter that really reveals to us <a href="https://www.nepalitimes.com/banner/the-death-of-democracy/">Alam’s commitment to free speech and democracy</a>.The Tide Will Turn is best summed up by Alam himself in his letter to Arundhati Roy: ‘The tide will turn, and the nameless, faceless people will rise. They will rise against the entire state machinery.’ This deep conviction that underlies his stunning photography makes for a book that leaves readers with much to ponder.The Tide Will TurnShahidul AlamGöttingen, Germany, Steidl, 2019184 pages, 111 images, Hardback€ 28.00ISBN: 978-3-95829-693-0www.steidl.de<a href="https://steidl.de/Books/The-Tide-Will-Turn-1224303445.html"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108151116/636a656a9c7e80680e059929jpeg.jpg" alt="" width="2328" height="3030"></a>

A photojournalist's powerful portrait from prison

<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171132/636933ba9c7e80680e03dfb6jpeg.jpg" alt="" width="1500" height="1000"/>On the 100th day of incarceration of <a href="https://www.nepalitimes.com/latest/freeshahidulalam/" target="_blank" rel="noopener">Bangladeshi photographer Shahidul Alam</a>, 34 prominent South Asians including Arundhati Roy, Shabana Azmi, Amitav Ghosh, Mohammad Hanif, Nepal's former Chief Justice Sushila Karki, among others have signed a letter to Prime Minister Hasina Wazed demanding his immediate release.The letter states: 'As well-wishers of Bangladesh and supporters of its 166 million citizens’ struggle for dignity, social justice and prosperity, we are distressed by the continued imprisonment of photographer and cultural activist <a href="https://www.youtube.com/watch?v=tCpmlkiqbf4" target="_blank" rel="noopener">Shahidul Alam</a>.”<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171132/636933be9c7e80680e03dfb7jpeg.jpg" alt="" width="5760" height="3840">The internationally renowned <a href="https://www.nepalitimes.com/banner/shahidul-alam-photo-kathmandu-award/" target="_blank" rel="noopener">photographer and mentor to many Nepali photojournalists </a>was forcefully taken from his home on 5 August and has been held at Dhaka Central Jail for the last 100 days. He is accused of ‘hurting the image of the nation’ while reporting on protests by young students demanding road safety. He has been denied bail five times.Read also:<a href="https://www.nepalitimes.com/latest/freeshahidulalam/" target="_blank" rel="noopener">#FreeShahidulAlam</a><a href="https://www.nepalitimes.com/banner/the-death-of-democracy/" target="_blank" rel="noopener">The death of democracy</a>, Aditya Adhikari The letter notes: 'Shahidul Alam is a Bangladeshi citizen, but the rest of us in South Asia are also proud to call him our own, for the values of truth, justice and social equality he promotes.'<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171132/636933c29c7e80680e03dfb8jpeg.jpg" alt="" width="1500" height="908"><figcaption>Portrait taken by Shahidul Alam of Nepal's former Chief Justice Sushila Karki for an interview in Nepali Times. Karki was one of the signatories to a joint letterto Bangladesh Prime Minister Sheikh Hasina Wazed, demanding his release. Photo: SHAHIDUL ALAM/DRIK.</figcaption></figure>Other distinguished persons who have joined this appeal include singer/songwriter Moushumi Bhowmik (Kolkata), political scientist Jayadeva Uyangoda (Colombo), poet/critic Sankha Ghosh (Kolkata), historian/writer Ramchandra Guha (Bangalore), photographer Raghu Rai (Delhi), artist Salima Hashmi (Lahore) photographer Dayanita Singh (Delhi), Manjushree Thapa and Kanak Mani dixit (Kathmandu) among others.The signatories adds: 'It is clear to us that the case of <a href="https://www.nepalitimes.com/banner/the-death-of-democracy/" target="_blank" rel="noopener">Shahidul Alam is being used as a means to suppress criticism</a> by others in civil society. His arrest and continued detention appear to be manifestation of an intolerant political atmosphere, an attempt to threaten and silence the voice of Bangladeshi citizens.'Read also: <a href="https://www.nepalitimes.com/banner/shahidul-alam-photo-kathmandu-award/" target="_blank" rel="noopener">Shahidul Alam Photo Kathmandu award</a>, Alisha Sett<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171132/636933c49c7e80680e03dfb9jpeg.jpg" alt="" width="2000" height="1334"><figcaption>Photo of Arundhati Roy that Shahidul Alam took. Photo: SHAHIDUL ALAM/DRIK.</figcaption></figure>Full text of letter with list of signatories:H.E. Sheikh Hasina Wazed Prime Minister of Bangladesh Prime Minister’s Office Dhaka, Bangladesh 13 November 2018 Subject: Appeal for release of Shahidul Alam on 100th day in custody Your Excellency: As well-wishers of Bangladesh and supporters of its 166 million citizens’ struggle for dignity, social justice and prosperity, we are distressed by the continued imprisonment of photographer and cultural activist Shahidul Alam. Since the founding of the nation in 1971, the people of Bangladesh have led by example, fighting poverty, ending social injustices and being standard-bearers of participatory development. This advance has been made possible by the democratic spirit of the people, who have challenged military rulers and autocrats alike. As well-wishers of Bangladesh, we fear that these gains are in danger due to the rising political intolerance and denial of fundamental freedoms. Shahidul Alam is a Bangladeshi citizen, but the rest of us in South Asia are also proud to call him our own, for the values of truth, justice and social equality he promotes. His work and activism are respected all over our region and beyond, with innumerable friends who admire his concern for the voiceless and marginalised. One example is his latest work highlighting the tragedy of the Rohingya people, who have been given refuge in Bangladesh by your Government. Since Shahidul Alam was forcefully taken from his home on the 5th of August, he was remanded first in Detective Branch custody for seven days and, then held at Dhaka Central Jail at Keraniganj. He is accused of ‘hurting the image of the nation’ while reporting on protests by young students demanding road safety. It is clear to us that the case of Shahidul Alam is being used as a means to suppress criticism by others in civil society. His arrest and continued detention appear to be manifestation of an intolerant political atmosphere, an attempt to threaten and silence the voice of Bangladeshi citizens. With the country preparing for general elections, this is a time when there should be more space for debate and discussion, not less. As believers in the rule of law, we are shocked to learn that government lawyers continue to oppose Shahidul Alam’s release on bail using various stratagems and delays intended to deprive him of his fundamental rights to liberty and due process. Across South Asia, politicians and citizens have fought for the right to speak, and to write, and it is astonishing to us that a government today, especially one which seeks to harness technology for progress, should choose to use a law to proscribe online speech to jail a citizen.Sincerely,<ol><li dir="ltr">Akram Khan, London</li> <li dir="ltr">Amar Kanwar, New Delhi</li> <li dir="ltr">Amitav Ghosh, Goa</li> <li dir="ltr">Anish Kapoor, London</li> <li dir="ltr">Aparna Sen, Kolkata</li> <li dir="ltr">Arundhati Roy, New Delhi</li> <li dir="ltr">Ashok Vajpeyi, New Delhi</li> <li dir="ltr">Buddhadeb Dasgupta, Kolkata</li> <li dir="ltr">Dayanita Singh, New Delhi</li> <li dir="ltr">Ina Puri, Kolkata</li> <li dir="ltr">Jayadeva Uyangoda, Colombo</li> <li dir="ltr">Kanak Mani Dixit, Kathmandu</li> <li dir="ltr">Laila Tyabji, New Delhi;</li> <li dir="ltr">Manjushree Thapa, Toronto</li> <li dir="ltr">Mohammed Hanif, Karachi</li> <li dir="ltr">Moushumi Bhowmik, Kolkata</li> <li dir="ltr">Nandita Das, Kolkata</li> <li dir="ltr">Nimalka Fernando, Colombo</li> <li dir="ltr">Patricia Mukhim, Shillong</li> <li dir="ltr">Pooja Sood, New Delhi</li> <li dir="ltr">Rachana Singh, New Delhi</li> <li dir="ltr">Raghu Rai, New Delhi</li> <li dir="ltr">Rajdeep Sardesai, New Delhi</li> <li dir="ltr">Ramchandra Guha, Bangalore</li> <li dir="ltr">Romilla Thapar, New Delhi  </li> <li dir="ltr">Salima Hashmi, Lahore</li> <li dir="ltr">Sanjay Kak, New Delhi</li> <li dir="ltr">Sanjoy Hazarika, Shillong</li> <li dir="ltr">Sankha Ghosh, Kolkata</li> <li dir="ltr">Shabana Azmi, Mumbai</li> <li dir="ltr">Sushila Karki, Kathmandu</li> <li dir="ltr">Vijay Prashad, New Delhi</li> <li dir="ltr">Vikram Seth, New Delhi</li> <li dir="ltr">Vrinda Grover, New Delhi</li></ol>https://www.youtube.com/watch?v=tCpmlkiqbf4

Shahidul Alam 100th day in jail

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171120/636930669c7e80680e03c0f7jpeg.jpg" alt="" width="1500" height="1000"/><figcaption>Photo: PRAVEEN CHETTRI</figcaption></figure><a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/best-years-of-their-lives-migrant-workers,3722" target="_blank" rel="noopener">Shahidul Alam</a>, the acclaimed Bangladeshi photographer, activist and prisoner of conscience was awarded the <a href="https://www.nepalitimes.com/banner/photo-returns-to-kathmandu/" target="_blank" rel="noopener">Photo Kathmandu</a> Award of Excellence at Patan Museum on Friday.He was <a href="https://www.nepalitimes.com/banner/the-death-of-democracy/" target="_blank" rel="noopener">detained and arrested by the Bangladeshi government</a> on 5 August 2018 for 'disseminating false, confusing and provocative statements that caused a deterioration in the law and order situation of the state, hurt the image of the state and hurt the sentiment of young students that instigated them to create social instability and engage in destructive activities' through a Facebook live video.Alam has been in incarceration without hope of bail for the past 82 days. However, it has been widely acknowledged that Alam’s documentation of the protests and his frank interview on Al Jazeera, critical of the Awami League government’s lack of action, are what motivated the Hasina-Wazed government to pursue prolonged detention for one of the father-figures of Southasian photography.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171120/636930699c7e80680e03c0f8jpeg.jpg" alt="" width="1500" height="1000"><figcaption>Photos:CHEMI DORJE</figcaption></figure>Kanak Mani Dixit, founder of Himal Southasian, who traveled to Dhaka recently, said at the event that Alam’s imprisonment is part of Prime Minister Hasina Wazed’s vindictive agenda to instill fear in social activists across the country before the state elections in December 2018. Coming at this crucial time, this prestigious award stands as a testimony against the silencing of one of Southasia’s most prominent photojournalists.The award acknowledges Alam’s “'instrumental contribution towards the development of Nepali photography and journalism', and his role as an enabler of Photo Kathmandu. The jury made up of Bikas Rauniar (senior Nepali photojournalist), Bikas Karki (President of Photojournalists Club Nepal and Photo Editor of Annapurna Post) and Sagar Shrestha (President of National Forum of Photojournalists), said the decision was unanimous.Alam is a renowned institution builder in the photography community recognised for founding Pathshala Southasian Media Institute, Chobi Mela International Festival of Photography, Majority World and the Drik Picture Library. The school, festival, agency and archive combined have been foundational to the development of photographic artists across the subcontinent. These novel initiatives have also contributed to giving photographers from the global south their rightful place as equals in the international media, an industry notorious for its Western bias. Alam has traveled the world demanding fair pay, fair representation, and fair access. This is why Nobel Laureates as prominent as Amartya Sen and Archbishop Desmond Tutu have been <a href="https://www.nepalitimes.com/latest/freeshahidulalam/" target="_blank" rel="noopener">demanding his unconditional release</a>.https://www.youtube.com/watch?v=SmR_8qo9mBQBut how did a Bangladeshi make such a deep impact in Nepal? In a short video made for the occasion, several generations of Nepali journalists and photographers spoke about the immense impact Alam had on their personal and professional development. Bikas Rauniar remembered when Alam succeeded in bringing the World Press Photo exhibition to Kathmandu in September 2002. This was a difficult feat because such an expensive international show had never been accessible to a Nepali public before. Several others like Uma Bista and Arpan Shrestha spoke about the critical educational opportunities and occasions for international exposure that Alam provided.Nayantara Gurung Kakshapati, co-founder of Photo Kathmandu, met Alam in 2007, at the opening of 'A People’s War', a photobook trilogy launched at the end of the Maoist War. Alam has taught her that working in countries where resource crunches and political pressures were inevitable requires courage, persistence, kindness and passion. Their dialogue has continued over a decade and during this time Photo Circle, the festival’s parent organisation that has been active for over eleven years, has imbibed much of its ethos through Alam’s examples. The way in which their exhibitions blend into the city through nurturing neighborhood participation and discussion is a key tenet of Chobi Mela, the region’s first festival of photography founded by Alam.In his absence, Gurung Kakshapati invited Alam’s students, colleagues and supporters on stage to accept the award. The 35 people who walked forward represented a cross-section of Nepali, Indian and Bangladeshi artists. Holding masks of Alam’s face over their faces, they stood together in silence. The collective solidarity visible in this moment was indicative of the depth of Alam’s influence.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171120/6369306d9c7e80680e03c0f9jpeg.jpg" alt="" width="640" height="427">Munem Wasif, an artist and longtime-colleague of Alam, said a few words on behalf of the Bangladeshi community when Gurung Kakshapati presented the award. Choking with emotion at having to fill the shoes of his mentor, Wasif spoke of the many lessons he had learned: “This year marks 30 years of Drik, and 20 years of Pathshala and Chobi Mela. There are many people like me who have grown up with these institutions… and showed how to see beyond ourselves. Shahidul taught us how to be rooted while also having global ambitions”.Alam is also a prolific writer and penned these lines: 'There is no government I know that does not champion democracy and human rights in its rhetoric but also actively suppress both in its practice. It’s best to recognise that reality and work within it rather than fantasise on some ideal solution that has no relevance to everyday art practice. So we use the tactics of judo wrestlers, using the opponent’s weight and turning it to our advantage. We use fulcrums and gravity and capitalise on the inherent inertia of the establishment. We are nimble and fleeting. As Ali might have done, we flit like the butterfly and sting like the bee.'Alisha Settled is co-founder of Kashmir Photo Collective and Deputy Course Director for Critical Theory, Aesthetics and Practice at Jnanapravaha, Mumbai.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171120/636930719c7e80680e03c0fajpeg.jpg" alt="" width="1500" height="1000">Read also:<a href="https://www.nepalitimes.com/latest/freeshahidulalam/" target="_blank" rel="noopener">#FreeShahidulAlam</a><a href="https://www.nepalitimes.com/banner/the-death-of-democracy/" target="_blank" rel="noopener">The death of democracy</a>, Aditya Adhikari<a href="https://www.nepalitimes.com/banner/photo-returns-to-kathmandu/" target="_blank" rel="noopener">Photo returns to Kathmandu</a>, Monika Deupala

Shahidul Alam Photo Kathmandu award

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171116/63692fec9c7e80680e03c0cejpeg.jpg" alt="" width="2000" height="1333"/><figcaption>Photo: CHEMI DORJE</figcaption></figure>This year’s <a href="https://www.nepalitimes.com/banner/photo-returns-to-kathmandu/" target="_blank" rel="noopener">Photo Kathmandu</a> has a unique multi-chapter exhibition titled The Public Life of Women: A Feminist Memory Project which displays archival images collected by Nepal Picture Library showcasing Nepali women.Exhibited in the open at Patan Darbar Square, the pictures show photographs of Nepali women gradually moving beyond the confines of the household to public life. There are women breaking away from social norms and being involved in street demonstrations, taking on professional jobs, and becoming public figures.“It took us six months to curate his exhibition on the history of the women’s struggle in Nepal, and it will continue even after Photo Kathmandu,” says festival organiser Nayantara Gurung Kakshapati. “We have had overwhelming response, not just from families that made archival photographs available, but also from visitors in Patan.”Read also: <a href="https://www.nepalitimes.com/review/the-violence-of-violation/" target="_blank" rel="noopener">The violence of violation</a>, Sewa BhattaraiThe first part of the Feminist Memory Project is titled ‘Women of the People’ seeks to create a visual archive of women’s movements in Nepal through collected  photographs, other documents and oral testimonies from around Nepal. The women are seen at key moments in Nepal’s history, profiling female pioneers of the democratic struggle and human rights.Many visitors are moved by the images of Rashmi Rajya Laxmi Shah who committed suicide in full bridal wear after husband was killed during the anti-monarchy revolt in 1962. Many of these are unknown and unnamed personalities from the past who have remained in the shadows because of a male-dominated historiography.The second part is ‘Stepping out into the World’ displayed in Dhaugal which showcases Nepali women on trips abroad, wearing saris and carrying quaint handbags. ‘Reading Under the Candlelight’ explores experiences of women in public education.Read also: <a href="https://www.nepalitimes.com/here-now/hippinis/" target="_blank" rel="noopener">Hippinis</a>, Lucia de Vries Patan’s Rashika Maharjan sees the exhibits every day on her way to school, and says: “The images are powerful, and seeing them every day in a public space drives home the important role Nepali women have played in our history.”<a href="http://www.photocircle.com.np/projects/nepalpicturelibrary/" target="_blank" rel="noopener">Nepal Picture Library</a>, a photographic archive that has contributed to the study of Nepali photography and to explore the issues of memory, identity and history.The Public Life of Women: A Feminist Memory Project <a href="http://www.photoktm.com/" target="_blank" rel="noopener">Photo Kathmandu</a> 2018 <figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171116/63692fef9c7e80680e03c0cfjpeg.jpg" alt="" width="1500" height="1000"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171116/63692ff19c7e80680e03c0d0jpeg.jpg" alt="" width="1500" height="1000"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171116/63692ff49c7e80680e03c0d1jpeg.jpg" alt="" width="1500" height="1091"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171116/63692ff89c7e80680e03c0d2jpeg.jpg" alt="" width="1500" height="1000"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171116/63692ffb9c7e80680e03c0d3jpeg.jpg" alt="" width="1500" height="956"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171116/63692ffe9c7e80680e03c0d4jpeg.jpg" alt="" width="1500" height="1000"><figcaption> </figcaption></figure>

Monika Deupala

Feminist prints

<figure><img width="2000" height="1333" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171116/63692fce9c7e80680e03c0c5jpeg.jpg" alt=""/><figcaption>Photo: PHOTO KATHMANDU/CHEMI DORJE</figcaption></figure>Inside a darkened room at the Chhaya Centre, eight screens switch on simultaneously to depict images of <a href="http://archive.nepalitimes.com/regular-columns/Interesting-Times/nepal-archaic-law-puts-deadlineon-reporting-sexual-crimes,368">sexual violence</a> in the Subcontinent – from the India-Pakistan partition till the present day. The stories are searing in their intensity: daughters who hear their elders planning to burn them alive so rapists will not get them, of women paraded naked through a village and <a href="https://www.nepalitimes.com/banner/justice-for-sale/">raped</a> for refusing sex, of sticks and knives inserted into vaginas.Why are women so often singled out for abuse in conflict? And why do these stories vanish after wars end? Filmmaker Amar Kanwar explores these questions through testimonies like: “Night fell, and they kept raping the women, they did not care about killing us at all.”At first glance, it might look like a story of abuse by fighting men, but many atrocities were by local communities during the Partition. Kanwar shows us that no one community has a monopoly on atrocities, and sometimes they are perpetrated among members of the same community, as with Muslims who fought Muslims during the Bangladesh liberation war.The statistics are numbing: 75,000 women raped during the Partition, 150,000 during the Bangladesh war – and those were just the ones counted. No matter what a war is about, it is the women who are first engulfed by cruelty.“There is a sense of macho-ness and pride associated with conquering women of another culture,” explains Kanwar. “Victory has always been defined by the subjugation of women, and violating enemy women is a matter of pride. My work depicts this <a href="https://www.nepalitimes.com/opinion/the-roots-of-rape/">toxic masculinity</a>.”Read also:<a href="https://www.nepalitimes.com/banner/photo-returns-to-kathmandu/"> Photo returns to Kathmandu</a>, Monika Deupala<a href="https://www.nepalitimes.com/here-now/hippinis/">Hippinis</a>, Lucia de Vries<a href="https://www.nepalitimes.com/here-now/the-gangster-of-love/">The  Gangster of Love</a>, Lucia de VriesKanwar (pictured below) does not just examine the price women pay for the wars men fight, but also how the atrocities are resisted and remembered. We watch the story of a mother who weaves her murdered daughter’s courage into a shawl – the red background standing for women’s beauty and rebellion, ant-like patterns for her relentless pursuit of justice. <figure><img width="2000" height="1333" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171116/63692fd19c7e80680e03c0c6jpeg.jpg" alt=""><figcaption> </figcaption></figure>The body itself becomes a symbol of dignity and protest. Theatre artist Sabitri Heisnam enacts a real-life drama in which Draupadi, an indigenous woman, refuses to be clothed after being raped by police, shaming the rapists with her nudity. Heisman has been performing the play for decades, but in 2004, real life mothers in Manipur also protested naked in support of a woman murdered after rape.Kanwar’s film is from 2007, but is relevant today as an epidemic of rape sweeps the Subcontinent and #MeToo gathers velocity on the Internet. The woman’s body continues to signify honour and humiliation, political disputes and caste wars are still settled by physically humiliating women. The film does not offer solutions, but links us to the past so we can contemplate present day violence of violation.Women through history have been trapped between honour and shame. A look back at this history may help us understand the brutality so it is not repeated in future. This is an overwhelming installation, and the most searing in this year’s Photo Kathmandu festival.Kanwar says he projected eight separate screens at once because it is important to see what happened in history and what is happening today at the same time. He adds: “I hope it will help us understand what women go through during any conflict.”--The Lightning Testimoniesby Amar KanwarPhoto Kathmandu 201811AM – 7 PM6th floor Chhaya Centre, ThamelTill 12 April, 2019

The violence of violation

<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">

Photo returns to Kathmandu

<img width="3592" height="1975" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171116/63692f6c9c7e80680e03c0a6jpeg.jpg" alt=""/>When Nepal became a destination for overland travelers in the 1960s, one young man was ready: Trilochan Shrestha, probably Nepal’s first <a href="https://nepalitimes.atavist.com/feeling-groovy" target="_blank" rel="noopener">hippie</a>. Born in 1945 as the oldest son to a wealthy Newar family, he grew up in Jhhochen where his aunt lived. Trilochan used to skip school to swim in the <a href="http://archive.nepalitimes.com/page/encounter-with-bagmati-river" target="_blank" rel="noopener">Bagmati </a>at Pashupati, and it was there that he met the Aghori Babas, a cult of Shaivite ascetics. They took him under their wing, and inspired the young boy to grow his hair and to smoke. “I was always an overexcited child, nowadays I would be diagnosed with ADHD. <a href="http://archive.nepalitimes.com/news.php?id=879#.W78dD3szbIU" target="_blank" rel="noopener">Ganja </a>helped a lot, it cooled me down. For me, it is a herbal medicine,” says Trilochan, who easily connected with the overland travelers.“I was a hippie before the word was invented. Hippies are the babas of the twentieth century. I simply loved them.”Read also: '<a href="https://www.nepalitimes.com/?p=14825&amp;preview=true" target="_blank" rel="noopener">Hippinis</a>', Lucia De VriesWith his Mediterranean complexion Trilochan was often mistaken for a Westerner, and the western hippies in Jhochhen were intrigued by his ability to light a chillum. “You smoke like a chimney,” they told him admiringly. Trilochan’s first hippie friend was Eight Finger Eddie, an American bohemian who is credited with popularising Goa as a tourist destination. Trilochan started living with overland travelers in Kimdol below Swayambhu, cultivating three longterm relationships with Western women, with whom he fathered two children. Trilochan tried various <a href="http://archive.nepalitimes.com/article/nation/Store-drugs-lead-addicts-to-street-drugs,3201" target="_blank" rel="noopener">drugs</a>, starting with LSD and magic mushrooms, got addicted to coke but managed to kick the habit. Read also:  '<a href="https://www.nepalitimes.com/?p=14813&amp;preview=true" target="_blank" rel="noopener">Photo returns to Kathmandu</a>', Monica Deupala <img width="640" height="634" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171116/63692f709c7e80680e03c0a7jpeg.jpg" alt=""><img width="640" height="924" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171116/63692f739c7e80680e03c0a8jpeg.jpg" alt="">In 1970 Trilochan and his Spanish partner Curry Ojeda opened Ying Yang Restaurant in Jhochhen. An artist at heart, he created an unforgettable design with drapes, funky lights, and the best sound system in town. “Ying Yang was a magic place, it was the only club in Nepal at the time and it had a view on the old palace and the souvenir market. It became <a href="http://archive.nepalitimes.com/news.php?id=3761#.W78ZCnszbIU" target="_blank" rel="noopener">Freak Street’s</a> main meeting point and I was somehow in the middle of it all,” Trilochan recalls.‘On cleverly devised, carpeted levels and in an atmosphere of vermillion, and gilded gloom, seekers of bliss drift through before dinner beers, meals and after-dinner joints,’ wrote Desmond Doig about the place. At Ying Yang, people could dance any time of the day and stay late. The place never seemed to close, remembers a regular, Susan Burns: “Trilochan had all of us trapped in there.”Trilochan used to invite <a style="background-color: #ffffff; letter-spacing: 0.15px;" href="http://archive.nepalitimes.com/news.php?id=4446#.W78ZjXszbIU" target="_blank" rel="noopener">Pashupati sadhus</a> and beggar children to the restaurant to give them free food. When Trilochan registered the Ying Yang he put Jhochhen as its location, with ‘Freak Street’ in brackets – immortalising the name. He says: “I was a freak myself, so I figured it was a good name. I never thought it would become so popular.”  Trilochan feels hippies have been misunderstood, and were not given due credit. He says: “Freak just means ‘different’. We are all born freaky, but society wants to put us in a box. Hippies just want to get out of the box and create a peaceful, creative society.”  Trilochan went on to become a successful tourism entrepreneur, but also a black sheep of his family. “It was painful to listen to people criticising me for being a hippie who ruined the family reputation. What did they expect? That I would drive a Rolls Royce and live an artificial life?” In 1976, under pressure from the US government, Nepal banned the use and sale of marijuana. Trilochan started a campaign to revoke the decision, and was arrested with 30 other families. Although no drugs were found on him, Trilochan spent seven years in prison.  <img width="3499" height="2333" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171116/63692f769c7e80680e03c0a9jpeg.jpg" alt="">When he came out, the scene had changed, marijuana had been replaced by hard drugs like ‘brown sugar’ and heroine. A new breed of travelers started coming, but they went to Thamel. Trilochan went back to Pashupati and reconnected with his sadhus. He still lives ‘the baba life’ and practices sun meditation, which he considers to be his new ‘drug’. Despite suffering two strokes, he still visits trance parties, dancing all night. “Sometimes I look at myself and I think: Wow, beautiful, the child in me is still intact. I remain a gangster of love,” says the aging hippie. “I feel blessed having met many beautiful souls from all over the world. They taught me wonderful things.”  Trilochan Shrestha's photo collection is featured in ‘Something Big and Glorious and Magnificently Insane’ exhibition as part of the Photo Kathmandu festival in Jhochhen, 12 October-16 November.Read also: <a href="https://nepalitimes.atavist.com/feeling-groovy" target="_blank" rel="noopener">Feeling groovy</a>, Lucia de Vries <a href="http://archive.nepalitimes.com/news.php?id=7121#.W8COx_nBWUl" target="_blank" rel="noopener">Not so freaky anymore on Freak Street</a>, Alok Tumbahangphey<a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/circumambulating-with-swayambhu-billy,2193" target="_blank" rel="noopener">Circumambulating with Swayambu Billy</a>, Lucia de Vries <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

The Gangster of Love

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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