<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141132/636cfd679c7e80680e0a0be1jpeg.jpg" alt="" width="1464" height="1124"/><figcaption>The iconic photograph of Durga Thapa, 22, as she leapt up during a victory rally on 9 April 1990 to shout “Long live democracy!” Photo: MIN RATNA BAJRACHARYA</figcaption></figure>In the four decades that <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/untold-story-of-photojournalist-min-ratna-bajracharya,2890">I have been a photojournalist</a>, the technology has changed so much and made photographs so easy to take and disseminate that everyone with a phone is now a photographer.Just a few decades ago, the film rolls in which I took photographs with my analogue camera had to be processed, the negatives turned into positive, and scanned into zinc blocs to be printed in smudgy newsprint on letter presses.We are in the age of citizen photojournalism. Online platforms like Instagram, Facebook, Tiktok and others have levelled the playing field, offering anyone and everyone the opportunity to post pictures and videos online. The mainstream media is no longer the sole purveyor of photography.There has been a tendency to strive for hits and likes, manipulation and deep fake imagery, but the technology has also aroused public interest in photojournalism. Enrolment in media schools and training institutes in Nepal have jumped, as many want to graduate to learn more about the techniques of professional digital photography. There is even a retro trend of re-discovering film processing in dark rooms.With all this technological advancement, it is easy to forget about the purpose of photography. What is it all for? Does photography have a higher calling to spur reform and promote social justice? Or is our job just to visually capture what is out there, and let the chips fall where they may?In my career, I have learnt that photojournalism can be a powerful catalyst of change — usually for the better. <a href="https://www.nepalitimes.com/banner/one-moment-30-years-ago-today/">One photograph I took</a> during the 1990 People’s Movement, by clambering up an electricity pole for a higher perspective of student activist Durga Thapa leaping out of the crowd with a victory sign, became an iconic image of the pro-democracy struggle. I would like to think that it helped raise awareness in the public about democracy.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141132/636cfd6a9c7e80680e0a0be2jpeg.jpg" alt="" width="508" height="502">Photographs of flash flood survivors have done more to show the public the impact of climate change than thousands of thousand-word articles. Photographs have warned us about the seriousness of the <a href="https://www.youtube.com/watch?v=L7-w7_jXD1E">pandemic</a>, and also spread public awareness of the need to protect ourselves with <a href="https://www.nepalitimes.com/banner/vaccines-or-no-vaccines-mask-and-distance/">vaccination and masks</a>.Pictures by citizen journalists from <a href="https://www.theguardian.com/world/2021/aug/16/kabul-airport-chaos-and-panic-as-afghans-and-foreigners-attempt-to-flee-the-capital">Kabul airport</a> this week, posted live on social media, brought home the desperation and fear of the Afghan people, and will be seared in the public memory for decades to come.We are also reminded that photojournalists are by definition on the frontlines of events, no matter how dangerous. This is why there is such a high mortality rate among us, with the death of <a href="https://www.nepalitimes.com/latest/farewell-danish/">Reuters' Danish Siddiqui</a> in Kandahar on 16 July being just the latest tragic example. There is also increased risk now from state control even in supposedly democratic states, from police, and from having to risk getting infected with Covid-19 while covering the pandemic.We also have to accept that photojournalists do not have a very good image in the public. Paparazzis are seen as nosey parkers, they have been called ‘vultures’, or ‘wolves’ who hunt in packs. We are accused of being invasive, aggressive, and not respecting the privacy of people who have just suffered tragedy.As in all other forms of media, photojournalism also suffers from a ‘negative bias’. It comes from the very definition of news: that it has to be something out of ordinary, absurd, or sensational to be newsworthy. This makes some of us focus on disasters, zoom in on suffering, and portray the worst human qualities, cropping everything else out.In some ways, that is the nature of the beast. The news business is built on negative bias. But in these cynical times, does it hinder or help? Does it just reconfirm our worst fears about a nightmarish future, underline the futility of tackling climate change or working for peace, and paralyse us individually and as communities from taking action?Fortunately there is now a trend among media educators and editors to promote ‘solutions journalism’. Not to whitewash society’s problems and misery, but to present it in a new light that restores hope in the future, builds solidarity, and encourages constructive action.The World Press Photo Foundation is also helping to promote a <a href="https://www.worldpressphoto.org/programs/develop/solutions-visual-journalism-initiative?mc_cid=88805c919e&amp;mc_eid=df6ccdaa9b">Solutions Visual Journalism Initiative </a>so that photographers do not just dwell on difficult issues and dire situations, but use in-depth field reporting to photograph them taking action to solve those problems.Many Nepali journalists are already doing this, and we must continue to push this kind of photography at a time when disasters, instability and societal breakdown are becoming self-fulfilling prophecies because of an exclusive focus on how bad things are. There is a better way.On World Photography Day on 19 August, I wish my colleagues in the profession personal fulfilment and self-satisfaction in their work.<a href="https://www.nepalitimes.com/banner/one-moment-30-years-ago-today/">Min Ratna Bajracharya</a> was a staff photographer for Nepali Times and Himal Khabarpatrika and past president of the Nepal Forum of Photo Journalists (NFPJ).Read Also:<a href="https://www.nepalitimes.com/banner/one-moment-30-years-ago-today/">One moment 30 years ago</a>, Mukesh Pokhrel<a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/untold-story-of-photojournalist-min-ratna-bajracharya,2890">Capturing the city,</a> Smriti Basnet

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Photojournalism looking for solutions

<figure><img width="1310" height="1292" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110151112/636d07509c7e80680e0a5fb4jpeg.jpg" alt=""/><figcaption>Danish Siddiqui 1983-2021</figcaption></figure>Ten years ago, some of us young photojournalists got recruited by Reuters news agency, and were all flown to Bangkok for a Managing Hostile Environments Training.That is where I first met Danish Siddiqui, during sessions in which veteran war correspondents trained us in how to keep safe in conflict zones. Danish went into many areas wracked by war and disasters after that, earning a reputation for getting photographs that portrayed human suffering and survival with empathy and sensitivity.Despite all that training and experience, Danish was at the wrong place at the wrong time when he was caught in the crossfire between Afghan Special Forces and the Taliban in Kandahar on 16 July. He along with a senior Afghan officer were killed.  <figure><img width="1236" height="823" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110151112/636d07539c7e80680e0a5fb5jpeg.jpg" alt=""><figcaption>Nepali photojournalists on 20 July paid tribute to Danish Siddiqui, who was killed while covering Afghanistan this week.</figcaption></figure>We had become good friends in Bangkok, and had kept in touch. When I had gone to Mumbai on assignment I stayed in his flat, and we went around together. I had chatted with him on WhatsApp just last week. I saw his photos on social media, and thought, “Oh, so he is now in Afghanistan”, and liked them.Danish had a can-do attitude and often ended up in the toughest assignments: in Afghanistan, Mosul in Iraq, the anti-Muslim pogroms in Delhi last year, Hong Kong’s pro-democracy protests, and the Covid crisis. <figure><img width="2028" height="1124" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110151112/636d07569c7e80680e0a5fb6jpeg.jpg" alt=""><figcaption>Danish Siddiqui and Navesh Chitrakar (second and third from left, back row) in Bangkok in 2009 during a Reuters training on managing risk while covering dangerous situations.</figcaption></figure>He was also sent to Kathmandu after <a href="http://archive.nepalitimes.com/blogs/kundadixit/2015/05/27/a-month-that-felt-like-a-year/" target="_blank" rel="noopener noreferrer">the 2015 earthquake</a>. Things were topsy turvy, and we did not see each other much. But we did manage to be together to shoot survivors being pulled out of collapsed buildings in Gongabu. Danish’s pictures were stunning and shocking, but he always captured the stark reality of people caught up in unimaginable crises. Only Danish could have taken the kind of drone image of dozens of funeral pyres burning at once in a Delhi crematory earlier this year — showing the world the <a href="https://www.google.com/url?client=internal-element-cse&amp;cx=bead8272edd0f2143&amp;q=https://www.nepalitimes.com/banner/we-knew-the-tsunami-was-approaching/&amp;sa=U&amp;ved=2ahUKEwjF45XN0-vxAhVTyzgGHRl6A2QQFjAJegQIABAC&amp;usg=AOvVaw2-M6Aqr-Q_bh9MP6fz5PpN" target="_blank" rel="noopener noreferrer">catastrophe that the coronavirus</a> had caused in India. <figure><img width="1876" height="984" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110151112/636d07599c7e80680e0a5fb7jpeg.jpg" alt=""><figcaption>All photos: Danish Siddiqui/Reuters</figcaption></figure><figure><img width="1718" height="1150" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110151112/636d075c9c7e80680e0a5fb8jpeg.jpg" alt=""><figcaption></figcaption></figure>Another photograph showed two elderly Covid-19 patients sharing a bed in a Delhi hospital. The pictures told stories that pages and pages of text could not about the true extent of the crisis caused by the pandemic.In Nepal in 2015, while other photojournalists took pictures of ruined temples, Danish concentrated on telling human interest stories. His photograph of a young girl in a hospital bed in Kathmandu, her broken legs attached to plastic water bottled filled with water for traction showed how medical personnel had to improvise to care for the wounded. <figure><img width="1870" height="1276" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110151112/636d07609c7e80680e0a5fb9jpeg.jpg" alt=""><figcaption></figcaption></figure>Some of Danish’s photographs from the Battle of Mosul in 2016 as Iraqi and coalition forces fought Islamic State fighters are remembered for their vivid portrayal of the intensity of violence he witnessed.But the pictures that earned Danish Siddiqui the Pulitzer for Feature Photography in 2018 was the series he did on the <a href="https://www.nepalitimes.com/banner/ramadan-in-exile/" target="_blank" rel="noopener noreferrer">Rohingya refugees</a> fleeing Burma by boat. One image stands out: an exhausted and drenched woman near collapse on a beach in Bangladesh after a harrowing boat journey from Burma. Even without looking at the credit line for photographs, I would instinctively be able to tell which photograph was Danish’s. He was always one step ahead of other photojournalists in bringing out the human element. He was driven by a hunger to tell the unblemished truth through his photography.  <figure><img width="1876" height="984" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110151112/636d07639c7e80680e0a5fbajpeg.jpg" alt=""><figcaption></figcaption></figure><figure><img width="1872" height="1232" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110151112/636d07669c7e80680e0a5fbbjpeg.jpg" alt=""><figcaption></figcaption></figure>Us photojournalists are often blamed by society for being voyeurs or insensitive paparazzi harassing people, and invading their privacy. Danish was aware of such criticism, and he approached each situation with a deep desire to tell the world the real story of suffering and survival. Whether it was the photograph of a Muslim man being mercilessly beaten by a Hindu extremist mob in Delhi during riots, or the photographs from the frontlines of the Afghan war, Danish witnessed it all on our behalf, often risking his life doing it. It was not safe being a Muslim man out on the lawless streets of Delhi last year, or travelling in an armoured personnel carrier with Afghan commandos. But for Danish this was his work, his life. <figure><img width="1800" height="1136" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110151112/636d07699c7e80680e0a5fbcjpeg.jpg" alt=""><figcaption></figcaption></figure>Danish was criticised in India for transmitting graphic images of the funeral pyres and the <a href="https://www.nepalitimes.com/banner/the-real-cost-of-nepals-second-wave/" target="_blank" rel="noopener noreferrer">suffering during the second wave</a>. After the Nepal earthquake, we were accused of sensationalising the suffering. But it is always important to tell the truth, especially when governments try to play down the true extent of the pandemic. Photographs do not lie. And it was the pictures of the Nepal earthquake which went around the world that galvanised relief aid for the country.After I heard the news on Friday of Danish’s death in the line of duty, I could not bear to dig up old photographs of us together, or to look at these pictures. I did not want to read about how he died, although I found out that he had been wounded in the hand by shrapnel a day earlier in Kandahar. <figure><img width="1644" height="1090" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110151112/636d076d9c7e80680e0a5fbdjpeg.jpg" alt=""><figcaption></figcaption></figure>Danish was not just a war photographer. One of his photos that I admire the most is the technically difficult one he took inside a dark cinema hall in Mumbai in 2010, where the movie Dilwale Dulahniya Le Jayenge had been running continuously for 15 years.The enraptured faces of the viewers, their sheer enjoyment and the ambience of the cinema is so beautifully captured that it is uplifting, and at the same time informs us of the power of Bollywood cinema in India. <figure><img width="1798" height="1202" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110151112/636d07709c7e80680e0a5fbejpeg.jpg" alt=""><figcaption></figcaption></figure>A year after this photograph was taken, Danish and I had gone to see a movie with Akshay Kumar together in Mumbai and we talked about that image and how it came about.In our last chat, he wanted to know about the Covid situation in Nepal, I asked him about his two young daughters who are living with their German mother. My son and his first daughter were born at about the same time.He liked Nepal a lot, and wanted to visit with his family — for once not to cover a disaster but to enjoy the sights. I was looking forward to it, and letting our children get to know each other. It was not to be. Farewell, Danish. We will miss you.Navesh Chitrakar is a Reuters photojournalist in Nepal.Watch <a href="https://www.youtube.com/watch?v=T1KEA_Ab0Bg" target="_blank" rel="noopener noreferrer">TedX talk</a> by Danish Siddiqui about his photographs of Rohingya refugees that won him a Pulitzer in 2018.

Farewell, Danish

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

Newswomen

<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

The newly-formed Himalayan Art Council is set to launch Nepal’s National Art Protection Platform that seeks to preserve <a href="https://nepalitimes.com/banner/the-history-of-heritage">Nepal’s unique cultural heritage </a>using<a href="https://nepalitimes.com/here-now/artificial-censorship"> AI-powered tools</a>. The Council seeks to safeguard <a href="https://nepalitimes.com/banner/nepali-art-going-places">Nepali art works</a> from neglect, theft and counterfeiting as well as preserve existing artwork and celebrate living masters by giving them a cultural space to continue the <a href="https://nepalitimes.com/banner/sacred-survival">sacred art traditions</a>. "We are introducing a new digital platform designed to preserve, verify and elevate <a href="https://nepalitimes.com/banner/nepals-new-generation-of-alternative-artists">Nepal’s art for generations to come,</a>” says a statement from the Council, adding that the digital platform will use AI told for authentication and blockchain to keep track of works of art. Artists can now be protected by <a href="https://nepalitimes.com/multimedia/ayo-ai?fbclid=IwAR1uwmTVq4gUB70ljfRezjzukD9ArWXPuMnUikopeQ8PoiZMjicToPSwhKE&amp;=1">AI tools</a> that detect forgeries, identify their work even when unsigned, and ensure they receive proper recognition and credit. The archives will be searchable with translated inscription and interactive guides. Says curator Meena Lama: “AI and blockchains are tools that give us the power to detect fakes and identify unsigned paintings and track every piece. With these tools we can restore trust, secure authorship and give artists the dignity they deserve.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250514170544_2ab58f6313c0458f75114a692b0016bd9efb3b59d5f8f07f0da72e1e37b82f53.jpg" data-media-id="editor_6" data-image-id="20250514170544_2ab58f6313c0458f75114a692b0016bd9efb3b59d5f8f07f0da72e1e37b82f53" data-rendition-name="original" width="1300" height="1000" loading="lazy" alt="Artwork at the Traditional Art Exhibition at Patan Museum."> <figcaption>Artwork at the Traditional Art Exhibition at Patan Museum.</figcaption> </figure>  The Council is also holding an exhibition of Nepali cultural masterpieces with 50 historical <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Buzz-the-art,671">thangka and paubha </a>by past masters and <a href="https://nepalitimes.com/review/between-the-sacred-and-everyday">contemporary works by current artists</a>. This curated collection is a living tribute to <a href="https://nepalitimes.com/here-now/when-yaks-go-so-does-culture">Himalayan culture</a> with economic depictions of deities, mandala and sacred narratives. The exhibition at <a href="https://nepalitimes.com/multimedia/a-portal-into-patan-s-past-and-present">Patan Museum</a> also provides an opportunity to meet painters and custodians of art and culture. Read also: <a href="https://nepalitimes.com/review/golden-deities">Golden deities</a>, Sewa Bhattarai ‘The exhibition is only the first step in a long journey to ensure that Nepali art is no just seen but fully understood, <a href="https://archive.nepalitimes.com/article/nation/Narratives-of-Faith-and-Memory-Remembering-the-Lost-Sculptures-of-Kathmandu-exhibition,987">protected and remembered</a>,’ the Council says. Artist Kailash K Shrestha of Artudio has spent decades promoting thankha and paubha traditions because of their beauty and devotional meaning. But he also says artists are underpaid, exploited and ignored. He adds, “AI and blockchain are not just buzzwords, they are powerful tools that can protect Nepal’s artists from fraud, verify authenticity and build a permanent record of provenance.” Traditional Art Exhibition Till 17 May Patan Museum

Digital protection for Nepal’s art

India and Pakistan are twins separated at birth. Tensions between them have been at a hair trigger ever since independence and has erupted into full scale conflict at least four times in the past 80 years.
The 22 April terrorist attack in Kashmir that killed 25 Indian tourists and a Nepali citizen, threatens to escalate tension between the two nuclear-armed nations. India has squarely blamed Pakistan for the attacks, and Prime Minister Narendra Modi has given his military “operational freedom” to respond. Pakistan has said it has credible intelligence of an Indian military strike and its officials have promised a “full spectrum” response — a code for a <a href="https://nepalitimes.com/editorial/thinking-the-thinkable">nuclear retaliation</a>.
For Nepal, the killing of its national in the Pahalgam attack comes as another stark reminder that in conflicts from Afghanistan to Iraq, from <a href="https://nepalitimes.com/opinion/how-to-agree-an-armistice-in-ukraine">Ukraine</a> to Israel, <a href="https://nepalitimes.com/news/10-nepalis-from-one-town-fighting-in-ukraine">Nepalis are getting caught in the crossfire</a>. The last time full-scale fighting broke out between <a href="https://nepalitimes.com/opinion/peacemongers-at-india-pakistan-border">India and Pakistan</a> on Kargil in 1999, at least 22<a href="https://nepalitimes.com/here-now/india-s-trial-by-fire-for-soldiers-from-nepal?%27%5C%22="> Nepalis fighting for the Indian Army</a> were killed in action.
Three of Nepal’s immediate neighbours (China, India, Pakistan) have nuclear weapons, and they do not have good relations. With China supplying weapons, <a href="https://nepalitimes.com/editorial/war-and-warming">missile technology</a> and other support to Pakistan, this triangular friction could set off a regional conflagration.&nbsp;
<a href="https://www.nature.com/articles/s43016-022-00573-0" target="_blank">Research at Rutgers University</a> has calculated that even a week-long tactical nuclear exchange between India and Pakistan would throw up so much smoke and debris into the atmosphere that it would block out the sun for years, and lead to a collapse of the <a href="https://nepalitimes.com/news/grow-nourish-sustain-together-world-food-day">global food system</a>. This does not take into account the radioactive fallout that prevailing winds would blow up to <a href="https://nepalitimes.com/here-now/lives-on-the-line-in-the-himalaya">the Himalaya</a>, contaminating glaciers that are the sources of <a href="https://nepalitimes.com/here-now/saving-what-is-left-of-himalayan-rivers">Asia’s main rivers</a>.
The impact of <a href="https://nepalitimes.com/news/climate-breakdown-linked-to-thame-flood">climate breakdown </a>on High Asia was already ringing alarm bells about its <a href="https://nepalitimes.com/news/himalayan-icecap-melting-faster-than-thought">shrinking ice cap</a> reducing the dry season flow of water downstream. Water was going to be the next strategic commodity, geopolitical experts warned, and the next wars in Asia would be over water.
That water war is already happening. India retaliated to the Kashmir attack by suspending the <a href="https://www.nytimes.com/2025/04/24/world/asia/india-pakistan-indus-waters-treaty.html" target="_blank">Indus Waters Treaty</a> of 1960 mediated by the World Bank that has withstood at least three wars between India and Pakistan. The treaty gives India control over the three eastern tributaries of the Indus (<a href="https://en.wikipedia.org/wiki/Beas_River" target="_blank">Beas</a>, <a href="https://en.wikipedia.org/wiki/Ravi_River" target="_blank">Ravi</a> and <a href="https://en.wikipedia.org/wiki/Sutlej" target="_blank">Sutlej</a>), while Pakistan got water from the Indus and two of its western tributaries (<a href="https://en.wikipedia.org/wiki/Indus_River" target="_blank">Indus</a>, <a href="https://en.wikipedia.org/wiki/Chenab_River" target="_blank">Chenab</a> and <a href="https://en.wikipedia.org/wiki/Jhelum_River" target="_blank">Jhelum</a>.
Pakistan was assured of 70% of the annual flow, and India could use a reasonable amount of water for<a href="https://archive.nepalitimes.com/news.php?id=15231"> irrigation and hydropower</a>. &nbsp;Within days of its threat, India stopped water flowing down to Pakistan from the Chenab river and is reportedly preparing to do the same on the Jhelum.
The sabre-rattling has reached a crescendo. Besides threats and counter-threats there are also symbolic drills, with the Indian Air Force practicing landing on an expressway in Uttar Pradesh by its Rafale, Su-30 and Jaguar fighter jets to demonstrate ‘operational readiness’. In response Pakistan test-fired its Abdali ballistic missile that can carry a nuclear warhead and has a range of 450km.&nbsp;
The danger is that with ultra-nationalist rhetoric and the beating the war drums by both sides, India’s government and Pakistan’s military may have to ‘do something’ to appease domestic public opinion. But any tactical strike, an artillery exchange, or territorial incursion could quickly escalate out of control.
Expecting an Indian retaliation for the Pahalgam killings, Pakistan is using<a href="https://nepalitimes.com/opinion/interfaith-collaboration-for-nuclear-disarmament"> nuclear deterrence </a>and warning of “catastrophic consequences”. The two neighbours came close to a nuclear exchange in 2019 after an attack on the Indian military in Kashmir, and prompt international intervention led by the United States cooled tensions.&nbsp;
This time, the <a href="https://nepalitimes.com/news/trump-shock-wave-hits-nepal">Trump administration</a> is too distracted and not as engaged. Pakistan has denied it was responsible for the terrorist attack and called on Washington to stop a possible Indian retaliation. India and Pakistan have stopped overflights by each other’s airlines, and some international carriers have even stopped flying over Pakistan fearing an air war.
Washington, Beijing, the UN and the EU have all urged restraint. Iran, which has good relations with both India and Pakistan has sent its foreign minister to urge both countries not to go into a tit-for-tat war. Iran has its own nuclear flashpoint to worry about with tensions in Israel, &nbsp;Yemen and Syria.
India and Pakistan both share similar problems of joblessness, <a href="https://nepalitimes.com/here-now/why-nepal-s-poverty-rate-is-stuck">poverty </a>and <a href="https://nepalitimes.com/here-now/climate-change-new-threat-to-nepal-s-rhinos">environmental threats</a>. Neither side needs the threat of a senseless war, and we in the neighbourhood do not need it either.&nbsp;
Kunda Dixit
This Editorial is brought to you by <a href="https://nepalitimes.com/" target="_blank">Nepali Times</a>, in collaboration with <a href="https://inpsjapan.com/en/" target="_blank">INPS Japan</a> and <a href="https://sgi-peace.org/" target="_blank">Soka Gakkai International</a>, in consultative status with UN ECOSOC.

Nukes in the neighbourhood

Most Nepalis thought they had seen the last of it after <a href="https://nepalitimes.com/news/11-56-25-april-2015-wkc9q2an">the 25 April 7.8 magnitude </a>earthquake ten years ago. But the Himalaya had more surprises in store. On 12 May, another 7.3 magnitude tremor that some said was an aftershock, but was strong enough to itself be a major earthquake, struck Dolakha.&nbsp; Not many people had heard of Singati till then — a cluster of houses by the Tama Kosi River along a narrow gorge that is the roadhead to Rolwaling Valley.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250508110520_57b6e316656851f71eca56ca6f98d9bbcc820c1a00d62af3c990725b4361244d.jpg" data-media-id="editor_1" data-image-id="20250508110520_57b6e316656851f71eca56ca6f98d9bbcc820c1a00d62af3c990725b4361244d" data-rendition-name="original" width="1000" height="1500" loading="lazy" alt="Climate magnifies earthquake risk in Nepal village NT"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250508110520_016534fb2b6a79957402281cda768efb83a146786377e39e11df3e251d37159e.jpg" data-media-id="editor_2" data-image-id="20250508110520_016534fb2b6a79957402281cda768efb83a146786377e39e11df3e251d37159e" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Climate magnifies earthquake risk in Nepal village NT"> </figure>  It was here that dozens were killed on 25 April in the first earthquake. Hundreds of <a href="https://archive.nepalitimes.com/article/nation/Singati-rising-from-rubble-rebuilding,3703">Singati survivors</a> had lined up for food and relief supplies in the morning of 12 May when the second earthquake triggered a rock slide that buried a nearby camp. At least 50 people were killed. &nbsp; Three hours later, a US Marine Corps UH-1Y Venom helicopter landed in a nearby cornfield to pick up the wounded, and flew off. The aircraft lost contact with air traffic control in Kathmandu and its wreckage was located high on Kalinchok four days later. Six American servicemen, two Nepal Army soldiers, and five wounded civilians from Singati were killed. Today, Singati bears little physical scar of the multiple tragedies that struck the town ten years ago. Most <a href="https://nepalitimes.com/multimedia/bungamati-builds-back">houses have been rebuilt</a> as urban-style concrete structures, and Singati has become an economic hub on the road leading up to several hydropower plants and a<a href="https://nepalitimes.com/banner/off-the-beaten-trek-in-nepal"> popular trekking destination</a>.&nbsp; The town looks less like a village and more like a suburb of the Dolakha district headquarter of Charikot, 47km away.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250508110520_196f341d1df1403ba133e5dfeb837eec20d7cbcb4c8c56b17cc5598810de5df2.jpg" data-media-id="editor_6" data-image-id="20250508110520_196f341d1df1403ba133e5dfeb837eec20d7cbcb4c8c56b17cc5598810de5df2" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Climate magnifies earthquake risk in Nepal village NT"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250508110524_ae66c4a92430f67db51b5e11e017059eedfbac4cb18c8e073f2a50cca1fe904e.jpg" data-media-id="editor_7" data-image-id="20250508110524_ae66c4a92430f67db51b5e11e017059eedfbac4cb18c8e073f2a50cca1fe904e" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Climate magnifies earthquake risk in Nepal village NT"> </figure>  “The demand for construction material, cement, iron rods and bricks peaked after the earthquakes,” says Suresh Khadka, who owns a hardware business here and now supplies material to the 456MW Upper Tama Kosi hydropower project that is undergoing repairs after it was damaged by a landslide last year. The demand for cement boomed since most residents believe, not necessarily correctly, that <a href="https://nepalitimes.com/banner/in-a-disastrous-state">cement houses are safer</a>. Although Khadka did well selling construction material after the earthquake, he worries that most new structures do not follow seismic-resistant building codes.&nbsp; The construction boom financed by bank loans has in turn forced many from Singati to <a href="https://nepalitimes.com/banner/making-overseas-migration-better">migrate overseas for work</a> so they can service their debt.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250508110524_50caa4530bd5ff9120cf7ab70a62173846d337ef448ff8bac339f3faa375a9e2.jpg" data-media-id="editor_10" data-image-id="20250508110524_50caa4530bd5ff9120cf7ab70a62173846d337ef448ff8bac339f3faa375a9e2" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Climate magnifies earthquake risk in Nepal village NT"> <figcaption>Suresh Khadka</figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250508110520_ef8b7d3993fc3b5df852bbf952feb3fbabc96d6883b0d5eb74ee5c60f4123b83.jpg" data-media-id="editor_11" data-image-id="20250508110520_ef8b7d3993fc3b5df852bbf952feb3fbabc96d6883b0d5eb74ee5c60f4123b83" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Climate magnifies earthquake risk in Nepal village NT"> <figcaption>Phu Doma Sherpa (right)</figcaption> </figure>  “My family had no choice but to borrow money to rebuild our home since the government compensation was not enough, and ten years later we are still paying off the loan,” says Phu Doma Sherpa, 60. Because of the shortage of qualified masons and proper seismic engineering, <a href="https://nepalitimes.com/here-now/structural-problems">many of the buildings are of questionable building standards </a>and the traditional architecture has been abandoned, admits Kul Bahadur Budathoki, deputy chair of the municipality. “But these buildings were more expensive than what the government grants could cover, many people here are heavily in debt and the men have <a href="https://nepalitimes.com/here-now/every-day-is-closer-to-pay-day">migrated to the Gulf to pay their loans</a>,” Budathoki says.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250508110520_32f89e97b7e757fc9286c0bbb671f48ea8d4468e9634fa646d7247c650ad8480.jpg" data-media-id="editor_14" data-image-id="20250508110520_32f89e97b7e757fc9286c0bbb671f48ea8d4468e9634fa646d7247c650ad8480" data-rendition-name="original" width="1501" height="1079" loading="lazy" alt="Climate magnifies earthquake risk in Nepal village NT"> <figcaption>Kul Bahadur Budathoki</figcaption> </figure>  Singati is in a multi-hazard zone. The <a href="https://archive.nepalitimes.com/article/nation/Singati,3091">12 May 2015 earthquake </a>could have led to the collapse of Nepal’s largest glacial lake, <a href="https://nepalitimes.com/here-now/stairway-to-heaven">Tso Rolpa</a>, upstream. Due to global warming, the glacier has turned into an expanding lake 3.5km long, and its collapse would have unleashed a catastrophic Himalayan tsunami down the Tama Kosi Valley, with Singati directly in its path. Singati has literally risen from the ashes of 2015, with its residents beginning to recover from the trauma and financial toll. But it is not out of danger as <a href="https://nepalitimes.com/news/climate-breakdown-linked-to-thame-flood">climate breakdown </a>magnifies the risk from future earthquakes.

Climate magnifies earthquake risk in Nepal village

<a href="https://www.instagram.com/prabalgurung/" target="_blank">Prabal Gurung</a> left Nepal for New York in 1999 to escape years of bullying, sexism and homophobia, and to pursue his dream of becoming a fashion designer. He <a href="https://www.youtube.com/watch?v=KqN0VaoAI5w" target="_blank">realised his dream</a>, but did not escape discrimination and racism in the new world. Propelled by passion for fashion, Gurung overcame everything America threw at him. He has attained <a href="https://www.vanityfair.com/style/story/prabal-gurung-recalls-his-first-met-gala-when-zoe-saldana-was-at-his-side?srsltid=AfmBOooy-H0oGgxMit864FnW_Pmw8mUnV8rYrh-co-f6OyYK6m2ip5hP" target="_blank">fame and recognition</a> for his haute couture dress designs while remaining true to his Nepali roots, and is even more resolute in <a href="https://www.youtube.com/watch?v=dSmNauyzACk" target="_blank">fighting prejudice</a> in all its forms. Prabal Gurung’s newly-released memoir <a href="https://www.amazon.com/Audible-Walk-Like-Girl-Memoir/dp/B0DG11HCDQ?fbclid=IwY2xjawKZfpxleHRuA2FlbQIxMQABHuZcIJO2OXyXcRm1oq1iG6wzeoF7VJFrQ7GXOFI0YxuZZ4id_CNvSZSZZIna_aem_pG_mOKG73RTnYvN8JaC4fA">Walk Like a Girl</a> is a saga of harrowing abuse in boarding schools in Nepal and India, only finding himself facing a different kind of bullying in the US. He prevails over it all to be where he is today: an award-winning American fashion designer with his own label. Walk Like a Girl was launched last week in New York at a time when everything Gurung fought for — tolerance, inclusion and diversity — are in retreat in his adopted country because of a president who has espoused a culture of bullying. The book is a searing, raw exposé of how cruel and abusive people can be even at a young age in school. On the other hand, it also shows that there are generous, compassionate and open-minded souls out there. In his book, <a href="https://www.youtube.com/watch?v=K4le_uWX7YE">Prabal Gurung</a> calls out those who tormented and tried to hold him back (some of their names have been altered). The moral of his story is: resist, never stop believing in yourself, do not let others define you, never lose sight of your dream, and help those who have been kept out. “Walk like a girl” was a slur used by bullies back in school in Nepal and India for Gurung’s effeminate ways. He fought back then, and he is still resisting by turning those words into something to be proud of.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519170544_4ffc9c3f565dd2cfa754d10b224816897b82bb31ebaee91b6d79d469fc96f14e.jpg" data-media-id="editor_6" data-image-id="20250519170544_4ffc9c3f565dd2cfa754d10b224816897b82bb31ebaee91b6d79d469fc96f14e" data-rendition-name="original" width="1000" height="1253" loading="lazy" alt="Prabal Gurung NT"> <figcaption>Prabal Gurung at home in Kathmandu in the 1990s.</figcaption> </figure>  “Living through it all was one thing, but writing about it is one of the hardest things I have done in my life,” admitted Gurung during the launch. “I broke down constantly during the six-year writing process.” He continues: “I did not want this to be a victim’s book. I did not want to burden my readers with my emotions. I wanted my struggle to be an inspiration for others facing what I faced. I am grateful to those who bullied me in school, they made me a stronger person ready to face the world.” Indeed, this book is a departure from his earlier one titled simply, Prabal Gurung (Abrams, 2019), which was a lush pictorial autobiography of his career in fashion. Walk Like a Girl is not a typical fashion book, it is an intimate tale of <a href="https://archive.nepalitimes.com/news.php?id=16997">Gurung’s travails and triumphs</a>, and how he willed himself to succeed. Prabal pays a lavish tribute to his mother Durga Rana. We find out she is a descendant of the first wife of the eldest son of Jang Bahadur Rana who was banished to Palpa in the late 19th century. Prabal’s father served in the Singapore Police and that is where he was born before the family returned to Nepal when he was four. Gurung relates with brutal honesty about the violence his mother endured from his father. Durga raises three children as a single mother in Nepal, and Prabal credits her for his fierce determination to resist patriarchy and injustice, which in time manifests itself in his hyper-feminine and subversive dress designs. Writing the book has been a cathartic experience for Gurung, who says he is now relieved of the burdens of his past. It no longer haunts him, and he does not have to prove anything to anyone anymore. Walk Like a Girl has life lessons not just for the <a href="https://www.instagram.com/p/DJmOcSgxdWz/" target="_blank">fashion industry</a>, but for every other profession. How can my job serve a greater cause? Gurung tells us his work is <a href="https://asiasociety.org/blog/asia/why-designer-prabal-gurung-doesnt-want-just-stick-fashion" target="_blank">bigger than just making clothes</a>, it is about making the world a better place because it could do with a lot of improvement.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519170544_d75296ad8bfdc00d88935f40d23543c6fea3d4d6a10e61a99d6cfc6127f2ee5b.png" data-media-id="editor_10" data-image-id="20250519170544_d75296ad8bfdc00d88935f40d23543c6fea3d4d6a10e61a99d6cfc6127f2ee5b" data-rendition-name="original" width="1516" height="1000" loading="lazy" alt="Prabal Gurung"> </figure>  This story of chasing the American dream may sound familiar to many immigrants: knocking on doors for jobs, rejections, trying to survive from day to day on expensive rent, and dealing with subtle racism in white America. Gurung finds racism is rife, and he is often mockingly called ‘gaysian’. He writes: ‘There was a strong hypocrisy — this idea of independence felt like a marketting ruse … and for all the talk of feminism in America, these high society women were trapped by the patriarchy just like in Nepal and India.’ After a trek to the Khumbu region in 2013, Gurung is inspired to use the colours, palette and textures of Nepal for his collection exhibited on Manhattan’s 8th Avenue. A major buyer tells him bluntly: “Stick to making pretty dresses … if I need to see a collection like this, I could buy a copy of National Geographic.” The New York Times was equally dismissive: ‘The designer tries to draw connections between blistered techo-fabric used to construct it and the topography of his homeland, Nepal. But, at the moment, he has lost his map.’ One potential investor tells Gurung he cannot design for Americana because “you do not look American”. Gurung wants to use expletives, but restrains himself. After a fundraiser in New York for the Nepal earthquake in 2015, some belittled his effort, saying: “Here comes the saviour."&nbsp; Read also: <a href="https://nepalitimes.com/review/prabal-gurung-by-prabal-gurung">Prabal Gurung by Prabal Gurung</a>, Kunda Dixit The Gurkha DNA must be dominant in Prabal Gurung’s genes because he does not take such mistreatment lying down. When asked by a fashion publicist why he was designing clothes for fat people, he snaps back: “Because of people like you.” He joins the Black Lives Matter and #MeToo movements, launches the Shikshya Foundation charity in Nepal, and has powerful allies among celebrities who wear clothes he designed: Michelle Obama, Oprah Winfrey, Sara Jessica Parker, Kamala Harris, Deepika Padukone … it is a long list.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519150556_48a5f4211991a23fa85b64bbd5377575ca7081d97309d7542035591dda5180fe.png" data-media-id="editor_12" data-image-id="20250519150556_48a5f4211991a23fa85b64bbd5377575ca7081d97309d7542035591dda5180fe" data-rendition-name="original" width="1114" height="1534" loading="lazy" alt="Being Prabal Gurung by design"> <figcaption>Nigerian novelist Chimamanda Ngozi Adichie wearing Atelier Prabal Gurung’s design for Met Gala 2025 in which the theme was ‘Superfine: Tailoring Black Style’. </figcaption> </figure>  “I don’t dress women to look beautiful, they already are,” Gurung says. “I try to bring out their innate strength and grace.” <a href="https://www.instagram.com/stories/highlights/17908766880140171/" target="_blank">Admirers</a> tell Gurung he makes it all look so easy, but he used to put up a strong facade to not show his own vulnerabilities in public. “I was closed because of my childhood experiences,” he says. “I was always on guard to defend myself because I never knew where the next punch would come from.” But in <a href="https://www.youtube.com/watch?v=PPVepzPA210" target="_blank">Walk Like a Girl,</a> Gurung comes to terms with his vulnerability, and bares his soul. It has not been easy, it took sustained will power and support from his mother, sister Kumudini and a circle of close friends. “I made unbelonging my power,” he says. “Nepal is where I still have my heart and soul. Nepal grounds you. It is where people go to find themselves. But I escaped.” Recently appointed vice-chair of the <a href="https://cfda.com/about-cfda" target="_blank">Council of American Fashion Designers</a>, Gurung says: “I can’t believe I am here, it feels like it is happening to someone else. Writing this book, the healing has finally begun.” <h2>‘Everything is better in color’</h2> The Met Gala was two weeks later, and my table was an example of everything I’d been fighting for all these years as my guests represented everything I believed in: dynamic, powerful, influential women who were unapologetically original and unabashedly graceful. I was grateful to Anna for inviting me to host and dress a table that reflected my ethos—and for her guidance in doing so. I was also aware of the privilege as one of the first-­ever Asian fashion designers—not just from Nepal, but from the entire continent— to get the opportunity to do so. That fact was not lost on me. I reached out beyond the expected Hollywood celebrities and well-­known socialites to curate a table of exceptional women who inspired me. I invited Deepika Padukone and Alia Bhatt for their first-­ever Met Galas, as well as Michelle Yeoh, Mindy Kaling, Camila Cabello, Ashley Park, Denée Benton, KiKi Layne, Quannah Chasinghorse, and Grace Elizabeth. Together we checked many boxes: Asian, Black, Latinx, and Indigenous, each woman undeniably chic and powerful, a dazzling array of skin tones and experiences that proved my decades‑in‑the-­making hypothesis: everything is better in color. Excerpt from Walk Like a Girl Viking © 2025 by Prabal Gurung  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519170520_6b91d560e9f072c37d16876901058c073a51ffa05e7ad1b9461d19e1c9c28215.jpg" data-media-id="editor_16" data-image-id="20250519170520_6b91d560e9f072c37d16876901058c073a51ffa05e7ad1b9461d19e1c9c28215" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Prabal Gurung book details NT"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519170520_345240c21be400e2ce2ec629b52bd82bb53890e5bd86fe95b48340d84b5f1748.jpg" data-media-id="editor_17" data-image-id="20250519170520_345240c21be400e2ce2ec629b52bd82bb53890e5bd86fe95b48340d84b5f1748" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Prabal Gurung book details NT"> </figure>  &nbsp;