The <a href="https://www.nepalitimes.com/banner/ancient-panautis-french-connection/">ancient town of Panauti</a> is preparing for its once-in-12-years Makar Mela this month, a festival that dates back 1,000 years. Despite the Omicron scare, the town 40km east of Kathmandu expects 6 million pilgrims from Nepal and India during the month of Magh.  Although it is among the better preserved historic <a href="https://www.nepalitimes.com/here-now/khokana-and-bungamati-strive-to-save-heritage/">Newa towns</a>, even here the sloping tile roofline is being replaced by flat-top concrete blocks that dwarf the temples and shrines. But the town is preserving its past, not just by restoring its monuments but also reviving its many festivals like the Makar Mela. The recent release of the bilingual book Panauti: Passé– Présent Panauti Past- Present (1976-2020) is perfectly timed not just for the 12-year festival which starts on 15 January, but also to draw attention to the town’s many other festivals.<img class="alignnone size-full wp-image-84494" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114091156/637203819c7e80680e0b2812jpeg.jpg" alt="" width="3072" height="2048"/><img class="alignnone size-full wp-image-84495" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114091156/637203859c7e80680e0b2813jpeg.jpg" alt="" width="3072" height="2048">Indreswor Mahadev Temple. Photos: Gerard Toffin, 1976 (left) and Prasant Shrestha, 2020 (right)With French and English text by Gérard Toffin of the French National Center for Scientific Research (CNRS), and illustrated with before and after photographs by Toffin, the ethnologist Corneille Jest and Panauti-based photographer Prasant Shrestha, the book is a must-have guide to anyone interested in exploring the history of this unique town.Toffin and Shrestha met in 2010 during the last Makar Mela and were both struck by the changes that Panauti was undergoing, mostly for the worse, and decided to make a photographic documentation before it was too late.‘This book is a testimony to the mutations in Panauti,’ writes Toffin in the Introduction. ‘It gives a real importance to photography, aims at highlighting the local cultural heritage and how the current uncontrolled urbanisation threatens it.’ <img class="alignnone size-full wp-image-84489" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114091156/637203889c7e80680e0b2814jpeg.jpg" alt="" width="1528" height="1036"><img class="alignnone size-full wp-image-84490" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114091156/6372038c9c7e80680e0b2815jpeg.jpg" alt="" width="3072" height="2048">Panauti. While the town's roofline has changed, the surrounding hills have more forest. Photos by Gerard Toffin, 1976 (left) and Prasant Shrestha, 2011 (right). For Shrestha, it was a matter of using his profession to further the cause of the preservation of the heritage of his beloved hometown, and this passion shows in the meticulous care he has taken in repeat photography of shrines and landscapes. Just as the German government undertook to <a href="https://www.nepalitimes.com/here-now/saving-kathmandus-past-for-the-future/">restore Bhaktapur</a> as a coronation gift to King Birendra, the French chose the out-of-the-way town of Panauti. Legend has it, Panauti was given by the king of Bhaktapur as dowry to his newly-married sister.  Panauti is located in the sacred tri-junction of the Punyamati, Lilawati (Rosi Khola) and the mythical underground river, Rudrawati – a miniature replica of the holy confluence of the Ganga, Jamuna and Saraswati at Prayag in India. Which is why the Makar Mela is also called Nepal's own Kumbha Mela.<img class="alignnone size-full wp-image-84488" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111410110/637203909c7e80680e0b2816jpeg.jpg" alt="" width="3077" height="2048"><img class="alignnone size-full wp-image-84493" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111410110/637203959c7e80680e0b2817jpeg.jpg" alt="" width="3072" height="2048">Tribeni Ghat as photographed by Gerard Toffin, 1976 (left) and Prasant Shrestha, 2020 (right)Panauti’s Tribeni was so revered that it was among the sources from which holy water was poured into the Rani Pokhari by Pratap Malla when he consecrated the royal pond in Kathmandu in 1669.Archaeological evidence points to Panauti having been settled from the early Kirat period 1,500 years ago. It escaped being conquered by Prithvi Narayan Shah, and was annexed when <a href="http://archive.nepalitimes.com/news.php?id=15468">Bhaktapur</a> fell in 1769.  The town was on a ancient trade route to the Tarai, and with its Indreswar Mahadev, Bhadrakali and Unmatta Bhairav shrines it is <a>predominantly Hindu</a>. However, there are Buddhist influences.<img class="alignnone size-full wp-image-84502" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111410110/637203999c7e80680e0b2818jpeg.jpg" alt="" width="4096" height="2777"><img class="alignnone size-full wp-image-84559" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111410110/6372039d9c7e80680e0b2819jpeg.jpg" alt="" width="3252" height="2068">Panauti Layaku Area. While the traditional houses have been replaced with concrete blocks, the temple appear to be in a better state.   Photos by: Gerard Toffin, 1976 (left) and Prasant Shrestha, 2020 (right). Panauti was the <a href="http://archive.nepalitimes.com/news.php?id=10973#.YdPsrMlBypo">scene of a battle</a> during the insurgency in 2006, and suffered damage in the 2015 earthquake. But now, its glorious past is threatened by modernisation, which is why this book by Toffin and Shrestha is so important. It does not just show us the changes in the past 40 years, but also encouraging signs of how its monuments and festivals are being restored.The Makar Mela itself is a celebration of Panauti’s proud heritage during which there is a vigil for the king of the serpents, Vasuki Nag. (This is the reason the Shah kings never attended the Mela because they would have to compete with another ‘king’.)Other examples of revival are the Devi Pyakhan masked dance which used to be performed in the past to ward off cholera, and the Jya Punhi full moon festival which is only celebrated here. And in 2015, Panauti also reinstated its own <a href="https://www.nepalitimes.com/here-now/a-goddess-among-people/">Kumari Living Goddess</a> tradition.The book reprints a scroll dating back to 1635 that depicts the sacred Tribeni confluence which we learn is now in the Virginia Museum of Fine Art in the United States. To draw attention to the stolen holy objects from Nepal, Bhaktapur-based architect Rabindra Puri has set up the Museum of Stolen Arts in Panauti with replicas of the statuary from this town, and other parts of the Valley.<img class="alignnone size-full wp-image-84505" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111410110/637203a09c7e80680e0b281ajpeg.jpg" alt="" width="4096" height="2797"><img class="alignnone size-full wp-image-84506" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111410110/637203a49c7e80680e0b281bjpeg.jpg" alt="" width="3072" height="2048">Panauti with Gorakhnath Hill in the backdrop. Photos: Gerard Toffin, 1976 (left) and Prasant Shrestha, 2020 (right)Under federalism, Panauti became a municipality that includes some of the surrounding villages. Mayor Bhim Neupane was elected in 2017, and says preparations are complete to manage the influx of pilgrims from 15 January – 12 February.“Despite the pandemic, we are expecting about 200,000 people a day,” says Neupane. “We are directing everyone to take health precautions seriously, and have cleared the Tribeni area to make space. There is a bypass road and extra bus parks.” Panauti: Passé– Présent Panauti Past- Present (1976-2020) is a book that proves to other towns in Nepal that it is indeed possible to save what is left of the country’s unique cultural heritage and diversity.<img class="alignnone size-full wp-image-84532" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111410110/637203a89c7e80680e0b281cjpeg.jpg" alt="" width="1550" height="594">Panauti: Passé– Présent Panauti Past- Present (1976-2020)Text:Gérard Toffin Photos: Prasant ShresthaAmbassade de France Népal and Alliance Française,2021ISBN 978-9937-0-8212-9114 pages

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Creation to destruction, then revival

<figure><img width="640" height="480" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109141112/636ba7609c7e80680e07377cjpeg.jpg" alt=""/><figcaption>Puneeta Sharma working on the restoration of the 160-year-old water colour on paper painting by Rajman Singh Chitrakar of a Tibetan antelope at the Zoological Society London. Photo: ZSL</figcaption></figure>A painting of a rare Tibetan antelope by a Nepali artist gifted by Jang Bahadur Rana to the British resident in Kathmandu in the mid-19th century has come alive thanks to the painstaking work of a British restoration artist of Indian descent.The story of the 160-year-old painting from Nepal, and how it came to be stored at the Zoological Society of London (ZSL), is an intriguing tale of the convergence of history, art, zoology and politics.    In 2014, Puneeta Sharma was looking for a graduation project at the Camberwell College of Arts in London and was going through the ZSL’s archives when, in a collection of wildlife art from Britain’s colonial possessions, she came across the painting of a chiru, the Tibetan antelope prized for its wool.The fine shatoosh fur from the necks of baby antelopes is used to weave the finest pashmina shawls which are so valuable that the graceful animal that grazes on the western Tibetan Plateau has been hunted almost to extinction, because it takes the fur of four baby antelopes to make a single shawl.There is even a theory that the Anglo-Nepal War of 1814-16 was fought because the East India Company <a href="http://archive.nepalitimes.com/article/nation/The-Pashmina-War,1024" data-saferedirecturl="https://www.google.com/url?q=http://archive.nepalitimes.com/article/nation/The-Pashmina-War,1024&amp;source=gmail&amp;ust=1598339584191000&amp;usg=AFQjCNFtSQoT_2q6Ng1oacQhLVv3fbs8tQ">wanted access to the high Himalayan passes</a> to Tibet that were then controlled by the Gorkha Empire.     “It was a natural urge that made me want to preserve this work of art,” Sharma recalls. “Much of it was because the artwork belonged to Nepal, a close neighbour of my parents’ country.” <figure><img width="640" height="846" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109141112/636ba7629c7e80680e07377djpeg.jpg" alt=""><figcaption> </figcaption></figure>The gauche painting was water colour on Nepali lokta paper, measuring 83.5 x 63.5cm and was deteriorating with age. Even more intriguing were two inscriptions on the painting. One was a Devnagari caption, and the other in English at the back read: ‘Birds and mammals done by my painter. Sent to me by Jung Bahadur.’This was in the handwriting of <a href="http://archive.nepalitimes.com/news.php?id=3246#.X0JVIegzbb0" data-saferedirecturl="https://www.google.com/url?q=http://archive.nepalitimes.com/news.php?id%3D3246%23.X0JVIegzbb0&amp;source=gmail&amp;ust=1598339584191000&amp;usg=AFQjCNGDCULcUn7XNe5Gp4WiPyaGS59Ggw">Brian Houghton Hodgson (1820-43)</a> who was the first British Resident in Kathmandu, a keen naturalist and who served as one of the earliest links between Kathmandu Valley and the outside world.Hodgson spent more of his time immersing himself into Kathmandu’s culture, indigenous inhabitants and researching Nepal’s incredible biodiversity than being a listening post for the Company. At his own expense he trained a group of Nepali research assistants to collect plant and animal specimen, preserve <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/years-of-botanical-art,3222" data-saferedirecturl="https://www.google.com/url?q=https://archive.nepalitimes.com/article/Nepali-Times-Buzz/years-of-botanical-art,3222&amp;source=gmail&amp;ust=1598339584191000&amp;usg=AFQjCNGDc-zLRAuxxwtkPFMh0Z6soHxa3Q">and paint them</a>.One of his apprentices was <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/pencilling-in-kathmandu-rajman-singh-chitrakar,3379" data-saferedirecturl="https://www.google.com/url?q=https://archive.nepalitimes.com/article/Nepali-Times-Buzz/pencilling-in-kathmandu-rajman-singh-chitrakar,3379&amp;source=gmail&amp;ust=1598339584191000&amp;usg=AFQjCNEngcrxOm4dW0b8IAvH6lMvIfCp8Q">Rajman Singh Chitrakar</a>, whose pencil sketches are an important pictorial record of 19th century Kathmandu Valley. As it turns out, the Devnagari caption below the painting was by Rajman Chitrakar.Puneeta at first thought it might be Hindi, and sought the help of her parents who had left India to settle in UK in 1970, but they could not make sense of it. Her grandmother in India could not decipher it either. Then she approached her uncle Major General Vijay Kumar Dutt, who had served with Gorkha troops in the Indian Army.  He translated the Nepali sentence roughly to read: ‘The deer is roaming in the king’s jungle.” <figure><img width="640" height="481" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109141112/636ba7649c7e80680e07377ejpeg.jpg" alt=""><figcaption> </figcaption></figure><figure><img width="800" height="66" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109141112/636ba7669c7e80680e07377fjpeg.jpg" alt=""><figcaption> </figcaption></figure>It turns out that although the painting was by a Nepali artist, the chiru antelope was not from Nepal at all. In his book the Prisoner of Kathmandu: Brian Hodgson in Nepal, <a href="http://archive.nepalitimes.com/news.php?id=9612#.X0JV7egzbb0" data-saferedirecturl="https://www.google.com/url?q=http://archive.nepalitimes.com/news.php?id%3D9612%23.X0JV7egzbb0&amp;source=gmail&amp;ust=1598339584191000&amp;usg=AFQjCNGd29Ll_j7QzNET7VA_MswIeJ6t-g">Charles Allen</a> (who died last week at the age of 80) says the antelope was in fact reared at a monastery in Tibet of the Tashi Lama, the second spiritual leader after the Dalai Lama.The chiru was gifted to the king of Nepal, who gave it to Prime Minister Bhimsen Thapa, who then passed it on to Brian Hudgson because of his interest in exotic Himalayan wildlife. But the antelope never got used to the heat in Kathmandu and died within a month at the British Residency in Lazimpat. Hodgson then sent the fur and horns of the animal to Clarke Abel at the Asiatic Society of Bengal in Calcutta. <figure><img width="979" height="1307" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109141112/636ba7679c7e80680e073780jpeg.jpg" alt=""><figcaption> </figcaption></figure>Some time before it died, it appears Rajman Chitrakar painted the antelope. And from Hodgson’s writing at its back one can surmise that Jang Bahadur gifted this painting and many others to the British Resident, with whom he was close.  The chiru was one of the first mammals that Hodgson introduced into the world, personally naming the species, the Patholops hodgsonii in 1834. According to ornithologist <a href="https://www.nepalitimes.com/banner/protecting-the-last-home-of-the-spiny-babbler/" data-saferedirecturl="https://www.google.com/url?q=https://www.nepalitimes.com/banner/protecting-the-last-home-of-the-spiny-babbler/&amp;source=gmail&amp;ust=1598339584191000&amp;usg=AFQjCNG2nYEAz1_g9UsEf7lpHasNECKgqg">Carol Inskipp</a> it is believed that Hodgson transported specimens of 9,512 species of animals and birds from Nepal and Darjeeling to the UK. Among them, 124 species had never before been classified.Hemsagar Baral, who represents ZSL in Nepal says that much of what we know today about Nepal’s biodiversity is still from Hodgson’s records in the 1830s, and the drawings and paintings done by his Nepali assistants. In fact, even though it has not been sighted in Nepal for 200 years, the chiru is recorded in the National Parks and Wildlife Conservation Act of Nepal as an indigenous endangered species.For a more exact translation of Rajman Chitrakar’s inscription in the back of his painting, we approached archivist Shamik Mishra at the Madan Puraskar Pustakalaya in Kathmandu. Mishra’s translation is somewhat different from that done by Puneeta Sharma’s military uncle: ‘This chiru animal lives in the snow in the jungles of China’s Thiri state.’   <a href="https://www.youtube.com/watch?v=Rg-LHlPuaE0" data-saferedirecturl="https://www.google.com/url?q=https://www.youtube.com/watch?v%3DRg-LHlPuaE0&amp;source=gmail&amp;ust=1598339584191000&amp;usg=AFQjCNEiDIkBYP0fuH4vVXl9GiOp_oQixg">Puneeta Sharma now works as a conservator in the Royal Collection Trust</a> at Windsor Castle. Her thesis titled The Convergence of a Watercolour and Gauche Painting 1840 has recorded the painstaking restoration of the painting that was framed, and moved from the ZSL’s warehouse to a pride of place on the wall of its library.https://www.youtube.com/watch?v=Rg-LHlPuaE0&amp;feature=emb_logoShe says: “Many visitors are attracted by this beautiful painting, and 160 years after it was created, Rajman Chitrakar’s painting is still introducing Nepal to the world.”Read also:<a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/pencilling-in-kathmandu-rajman-singh-chitrakar,3379" data-saferedirecturl="https://www.google.com/url?q=https://archive.nepalitimes.com/article/Nepali-Times-Buzz/pencilling-in-kathmandu-rajman-singh-chitrakar,3379&amp;source=gmail&amp;ust=1598339584192000&amp;usg=AFQjCNH32TKn7xRSbWJHt0nI7ARhkOtFlQ">Pencilling in Kathmandu</a>, Niels Gutschow<a href="http://archive.nepalitimes.com/news.php?id=2051#.X0JWOOgzbb0" data-saferedirecturl="https://www.google.com/url?q=http://archive.nepalitimes.com/news.php?id%3D2051%23.X0JWOOgzbb0&amp;source=gmail&amp;ust=1598339584192000&amp;usg=AFQjCNEr4EI8JHxqaSBlPxVt_sFOEgv_NQ">Giving their art and soul</a>, Naresh Newar<a href="https://www.nepalitimes.com/review/nepals-botanical-art-in-wuhan/" data-saferedirecturl="https://www.google.com/url?q=https://www.nepalitimes.com/review/nepals-botanical-art-in-wuhan/&amp;source=gmail&amp;ust=1598339584192000&amp;usg=AFQjCNERvCFf3z4LhpYOLqfLH-MMDet_cQ">Nepal's botanical art in Wuhan</a>, Nepali Times<a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/years-of-botanical-art,3222" data-saferedirecturl="https://www.google.com/url?q=https://archive.nepalitimes.com/article/Nepali-Times-Buzz/years-of-botanical-art,3222&amp;source=gmail&amp;ust=1598339584192000&amp;usg=AFQjCNEnbv7TVqZvCY4Ul5YlbHykE-PhUQ">200 years of botanical art</a>, Nepali Times

An antelope and an artist

Earthquakes wreck lives, and destroy towns. And when they are rebuilt, nothing is the same again.Five years after the ancient Newa towns of Khokana and Bungamati were nearly razed to the ground in the 2015 earthquake, amidst new concrete pillars are still piles of bricks of collapsed buildings.Because most of the temples and homes collapsed and reinforced concrete buildings survived, there is a belief in Kathmandu Valley that cement is stronger and will withstand the next quake. Khokana and Bungamati wards tried to protect the urban ambience of the town by issuing guidelines about how even homes rebuilt with concrete beams should have brick facades, tile roofs and reflect traditional design elements.Alas, these guidelines have rarely been followed. The gradual destruction of the traditional silhouettes of Kathmandu Valley began long before the earthquake, but the disaster hastened the process. Pressure of urbanisation, the demand for rental rooms, and a quest for safety have forced families to build box-like concrete high rises.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109121120/636b8daf9c7e80680e06b35fjpeg.jpg" alt="" width="252" height="128"/><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109121120/636b8db09c7e80680e06b360jpeg.jpg" alt="" width="2592" height="1456"><figcaption> </figcaption></figure>Ironically, the town that protested the alignment of the Kathmandu-Tarai expressway construction because it destroyed the town’s heritage, has not been able to preserve the traditional architecture that gave Bungamati its uniqueness.“The rebuilding guidelines say houses should be made in traditional style with sloped tile roof and should not be more than 10 metres high,” explained Krishna Gopal Maharjan, junior engineer at Bungmati’s ward office. “If a house is made without following the guidelines we do not issue the construction completion certificate. But the rule has been flouted.”There is pressure from local families to rebuild damaged or destroyed homes in any way they see fit, since it is their property. “People have ignored the ward’s guideline because they think it is impractical, they believe a three-story house cannot accommodate the whole family hence they tend to build a four-story or even a five-story house,” explains Jay Krishna Maharjan, 35.The most contentious issue seems to be the height limitation. In both Khokana and Bungamati, a majority of the homes that have been rebuilt has traditional brick facades, but they say limiting homes to two floors is unrealistic.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109121120/636b8db39c7e80680e06b361jpeg.jpg" alt="" width="640" height="480"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109121120/636b8db69c7e80680e06b362jpeg.jpg" alt="" width="2592" height="1728"><figcaption> </figcaption></figure>“At first they were even unwilling to use bricks in outside walls, but at least they agreed to that,” says Chandra Shobha Dangol, social mobiliser at Khokana’s ward office who admits that the height limit has been difficult to enforce.To be sure, a house with traditional design is costlier to build than a cement house, and this is why many of the families have not even started rebuilding even five years after the earthquake.The house of 77-year-old Asta Maya Maharjan was completely destroyed by the earthquake, and she has been living in her relative’s house for the past five years. She says: “Those who have money build houses, we do not have enough money to build a house, let alone a house in the traditional style.”The government’s Rs300,000 grant does not pay for even a room, and this is why rubble from the earthquake five years ago still lies strewn across both towns. Those who can afford it, have built gleaming 5-6 storey buildings that dwarf nearby shrines. “People who have money are building homes, people without money cannot build them. It is just the way it is,” says Gyan Bahadur Maharjan, 81, in a tone of resignation as he basked in the sun in front of his family’s new house.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109121120/636b8dba9c7e80680e06b363jpeg.jpg" alt="" width="2664" height="2000"><figcaption> </figcaption></figure>Ashakaji Shakya, 64, whose house in Bungmati was damaged in 2015 agrees that the guidelines are too rigid, and although he admits that saving the culture is important, a safe shelter is even more important. Indeed, it seems the older generation of these twin towns have made peace with the fact that the towns of their childhood can never be brought back.Shakya asks: “Say I have a family of five sons, each son would need at least one flat for himself, and on top of that if there is an old mother the house goes up to six floors. How can one accommodate such family in a three-storey house?”Bungamati also lost its most important temple, the shrine of Rato Machindranath from where the god of rain is transported in a chariot every year through the streets of Patan. Once in 12 years the chariot is taken from Bungamati itself, an event that draws devotees from all over the Valley.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109121120/636b8dbd9c7e80680e06b364jpeg.jpg" alt="" width="5184" height="2912"><figcaption> </figcaption></figure>This year, the chariot festival has been scaled down to just worshipping at the shrine. Restoration of the temple was given to a construction company with the financial support from the Sri Lankan government. But after delays, the contract was dismissed by the National Reconstruction Authority (NRA) which then handed over the project to a local committee.Jit Bahadur Maharjan, 74, of Khokana remembers growing up as a little boy. Things were simpler then, he says, houses had thatch roofs, there was always the smell of mustard from the town famous for its oil presses. He says: “The word ‘culture’ exists, but no one knows what it means anymore. We are trying to save our culture, but if you look around, there is nothing left to save.”Indeed, the transformation of the architectural grammar of a town seems to change everything: its festivals, its traditional trade, craftsmanship, and the lifestyle of the inhabitants.Says Suresh Suras Shrestha at Department of Archaeology: “When the look of the houses along a street changes, a town loses its identity. Khokana no longer remains Khokana,”<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109121120/636b8dc19c7e80680e06b365jpeg.jpg" alt="" width="5328" height="4000"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109121120/636b8dc59c7e80680e06b366jpeg.jpg" alt="" width="6000" height="3368"><figcaption> </figcaption></figure><h2 style="font-weight: 400; letter-spacing: 0.15px;">Mixing old with new</h2>Jaa Dangol’s ancestral home was destroyed by the 2015 earthquake, he decided to build back better. He wanted not just a home, but a source of income as well.At a time when his neighbours were moving away from traditional occupations and homes after the earthquake, Dangol saw an opportunity in going back to Newa cuisine, craftsmanship and restore his building into a traditional homestay that would give visitors an authentic experience.Indeed, until the coronavirus lockdown destroyed business, Dangol was providing tourists with local food in a traditional ambience in his restaurant called ‘Laachi’, which means a place for local foods and products. “I reused 70% of the traditional materials from the house that brought down by the earthquake,” says Dangol, who says that if others in Khokana were to follow the same model they would not just augment family income, but also protect the town’s heritage.Indeed, despite the destruction and the changes of the past five years, Khokana still retains its old world charm with a pervasive smell of the mustard oil presses, women spinning cotton and weaving carpets in sidewalk shops.

Khokana and Bungamati strive to save heritage

https://youtu.be/aG3NqSX0Sk8Woodcraft embellish Kathmandu Valley’s traditional architecture, adorning columns, eaves, windows and door frames with meticulously carved figures of gods and goddesses. Historically, these anonymous works of devotional art were carved by generations of the Shilpakar clan, whose surname was derived from their ancestral profession.Indra Prasad Shilpakar is from a long line of the woodcarvers from Bhaktapur who has decided to give new life to the craft by using traditional motifs, but adding artistic license with new elements. He has separated these pieces from architecture and created them as freestanding structures of art, modifying some background designs and poses of the gods.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108131140/636a4ebb9c7e80680e04fcd0jpeg.jpg" alt="" width="1500" height="1000"/><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108131140/636a4ebe9c7e80680e04fcd1jpeg.jpg" alt="" width="640" height="853">"Woodcarving on temples are strictly defined by rules that follow the storyline of the scriptures,” Shilpakar explained during a walk around his ongoing solo exhibition at the Taragaon Museum this week. “But outside of the architectural frame, I try to experiment.”Shilpakar has a degree in fine art from Tribhuvan University and he says the background in  contemporary art helps him try out new aesthetics so that traditional woodcarvings can also be viewed separately as individual pieces of art.In his day job these day, Shilpakar works in the restoration of Patan’s Bhai Dega temple which was destroyed in the 1934 earthquake. There he tries to replicate missing pieces of the temple based on old photographs and damaged pieces. After work, he is back at his basement workshop in Bhaktapur where with his father Indra Kaji Shilpakar he works on traditional carvings.Indra Kaji is not too enthusiastic about his son trying out new styles and selling them in galleries. He says: “Work in exhibitions ultimately end up in private collections, and only a few people will see them. On the other hand, when your carving adorns a temple everyone sees them, and it spans generations.”<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108131140/636a4ec19c7e80680e04fcd2jpeg.jpg" alt="" width="640" height="853"><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108131140/636a4ec59c7e80680e04fcd3jpeg.jpg" alt="" width="1500" height="1000"></figure>Artist Indra Prasad Shilpakar (right) with his father Indra Kaji ShilpakarNonetheless, the younger Shilpakar says it is difficult to make a living making traditional wood carvings for temples, whereas experimenting with modern forms of traditional art and exhibiting them in galleries can earn the artist extra money.Shilpakar's Taragaon exhibition that ended on Tuesday depicted the best of woodcarving found in temples: windows with intricate patterns of flowers, deities like the Buddha, Ganesh, and Matrika, animals like crocodiles and Garuda, a pair of singing Gandharva and dancing Kinnara.Even more modern renditions of traditional wood carvings are strewn around Shilpakar’s workshop in Bhaktapur. Senior Shilpakar and his son share a passion for traditional woodcraft, and have designed their home keeping true to their Newa heritage. Carved wooden pillars line the ground floor, a traditional wooden staircase leads to the second floor which has intricately-carved wooden windows.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108131140/636a4ec89c7e80680e04fcd4jpeg.jpg" alt="" width="1500" height="1000"></figure>Photos: Monica DeupalaThe attic kitchen has a high, triangular roof supported by wooden balustrades, and the balcony outside is lined with woodwork. The walls have a museum feel with displays of mallets, chisels, gouges and skews in various sizes that were used by their ancestors. "We wanted our house itself to reflect and preserve traditions," says the younger Shilpakar.Indra Prasad Shilpakar feels his family’s ancestral work is still seen as a lowly occupation, and he wants to be recognised as a creative artist as well. He says: "It is sad that we don’t know the names of the masters who created the exquisite carvings on our temples. They were never known as artists. But here in this gallery I am known as an artist in my own right.”<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108131140/636a4ecb9c7e80680e04fcd5jpeg.jpg" alt="" width="4000" height="3000">Wood Carving: The Art of the Newars of Nepal Solo exhibition of wood art by Indra Prasad ShilpakarTaragaon Museum, 1-9 July

In with the old, in with the new

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108111152/636a35199c7e80680e048290jpeg.jpg" alt="" width="1000" height="998"/><figcaption>Photos: SHEILIN TEO</figcaption></figure>The <a href="https://archive.nepalitimes.com/page/Patan-town-as-a-museum-piece" target="_blank" rel="noopener">Patan Museum</a> is a must-visit among the draws of Kathmandu Valley: tastefully designed and informative, its curation is logical yet sensitive to the nuances of the richly-layered heritage and local traditions. Visitors can trace chronological lines in Nepal’s cultural history, and are guided to recognise stylistic themes in the faces of gods and goddesses and the iconography that they pass on the streets of the Valley’s old towns.Visitors get an introduction to the symbiosis of Hinduism and Buddhism in the Nepa civilisation. Besides the artifacts on display, the corridors provide an unassuming serenity, places of repose and leisure of rulers past. We see courtyards where the public would gather to celebrate, debate or venerate, and sense a graciousness, a deep attention to detail. And most striking: these are living traditions that carry on to the present day.Read also: <a href="https://www.nepalitimes.com/here-now/saving-kathmandus-past-for-the-future/" target="_blank" rel="noopener">Saving Kathmandu's past for the future</a>, Sonia Awale<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108111152/636a351b9c7e80680e048291jpeg.jpg" alt="" width="1250" height="1252">There is the bathing well, (tusha hiti) of King Siddhi Narasimha Malla in <a style="background-color: #ffffff; letter-spacing: 0.01em;" href="http://archive.nepalitimes.com/news.php?id=17399#.XKXurlUzaUk" target="_blank" rel="noopener">Sundari Chok</a> with its gilded garuda spout. Or, a large display of a gilded pair of the Buddha’s hands, ‘calling the earth to witness’, depicting the moment he attained enlightenment.In these days of quick-fix concrete and steel, visitors sense a dwindling appreciation of lingering around a water well, resting on a courtyard ledge, or leaning in to admire the intricate carvings of a temple’s eaves.Which is why it is important to accept the invitation to spend a day at the museum, to explore, to rest, to compose one’s impressions of the city, and even rekindle the divine spark with greenery, nourishing food and inspiring architecture.Monuments are kept alive by their relevance to the community. In Nepal, they have been maintained by devotion: annual rites and festivals that ensure places of worship are regularly tended to and repaired by devotees. In cases where monuments are given into state care, they have often fallen into disrepair.Luckily, the team led by <a href="http://archive.nepalitimes.com/article/nation/The-guardian-of-the-shadows-%20G%C3%B6tz%20Hagm%C3%BCller,3352" target="_blank" rel="noopener">Austrian architect Götz Hagmüller</a> that was given the charge to restore Patan Durbar in the 1990s, took to the task with an intention to turn the palace complex into a self-sustaining cultural institution, capable of withstanding not just natural shakeups but also political instability.In its modernisation into a world-class cultural treasure, the palace complex underwent a significant rearrangement to house not only artifacts, but a constant flow of people within what would once have been quiet, private quarters of the royal court. Amid the mostly faithful restoration of the palace to its Malla heritage, the Patan Museum also features a clutch of modern elements: new materials and motifs seamlessly worked into the intricate historical fabric of the East Wing’s Malla and <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/the-rana-reign-a-recap-of-history,3751" target="_blank" rel="noopener">Rana styles</a>. As part of the rearrangement, a graceful timber staircase leads from a new foyer to a stunning display of iconic tundaal: intricately carved timber struts featuring deities in various poses.The columns and capitals supporting the restored Rana-style wing are detailed in steel and timber, to clean modernist lines, and hold their own within the simple brick and white plastered detailing of the period. They also feature a postmodern take on the scrolls of old Newa capitals, reinterpreting the decorative art of traditions past, whilst acknowledging the architectural language of the restoration’s own timeline. At the Museum Café, new metal-roofed pavilions also feature similar modern detailing in timber, a graceful reminder within the new construction of its heritage.The restoration efforts that led to the establishment of Patan’s Royal Palace as a public museum in 1997 features modern twists on traditional motifs, designed in timber and steel by Hagmüller’s team. The clean lines and geometric postmodern interpretation of decorative Newa carving presents a nod to the architectural language of the restoration’s own timeline.Patan Museum8am-6.30pmCourtyards and access to the Museum Cafe are open 7am-6.30pm.Entry fees to the Museum:Foreigners: Rs1,000 (included in Patan entry fee)SAARC: Rs250Nepali Rs30Nepali Students Rs5 (with ID)<a href="http://www.patanmuseum.gov.np/" target="_blank" rel="noopener">http://www.patanmuseum.gov.np/</a>Read also:<a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/In-perfect-harmony,3251" target="_blank" rel="noopener">In perfect harmony</a>, Sahina Shrestha<a href="http://archive.nepalitimes.com/news.php?id=15470#.XKXxaFUzaUl" target="_blank" rel="noopener">Ancient mordern</a>https://www.youtube.com/watch?v=ViWX21zLjVQ&amp;feature=youtu.be<h2>Heritage gastronomy</h2><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108111152/636a351f9c7e80680e048292jpeg.jpg" alt="" width="1250" height="833"><figcaption> </figcaption></figure>Ever since it opened more than 20 years ago, <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/patan-museum-updated,1304" target="_blank" rel="noopener">Patan Museum</a> has been a quiet sanctuary hidden away from the densely-packed city outside. And in a tranquil, leafy corner of the complex is an oasis within an oasis: the Patan Museum Café.Under new management by Dwarika’s Hotel, the restaurant offers a delectable selection of continental cuisine, as well as finessed pickings of Nepali and Asian dishes. The menu features healthy salads, brunch specialties, snacks and full-portioned meals, hinting at the raison d’être of the place: all-day dining, whether you choose to start, continue or end your day at the museum.Lush greenery reaches up to rooflines of weathered jhingati tiles. Artfully contained shrubs spread against the geometric curves of patterned brick and into dining nooks and inviting enclosures. Low-slung pavilions reminiscent of Patan’s many resting platforms (pati) provide shady private cubicles, as do cafe-style umbrellas dappled with shadowplay as the trees dance with the wind.Austrian <a href="http://archive.nepalitimes.com/blogs/thebrief/2016/06/15/gotz-hagmuller-awarded/" target="_blank" rel="noopener">restoration architect Götz Hagmüller</a> also transformed the Kaiser Café in the Garden of Dreams in Thamel into the popular destination it is today. It seems fitting, then, that both these treasured historic restorations now feature bars and cafés managed by Dwarika’s Hotel whose revenues contribute to the upkeep of the sites. Patan Museum Café now has a menu and service that places quality and consistency foremost.Read also:<a href="http://archive.nepalitimes.com/article/nation/The-guardian-of-the-shadows-%20G%C3%B6tz%20Hagm%C3%BCller,3352" target="_blank" rel="noopener">The guardian of the shadows</a>, Sebastian Gansrigler<a href="http://archive.nepalitimes.com/news.php?id=19497#.XKXvEFUzaUk" target="_blank" rel="noopener">Living in Bhaktapur the Austrian way</a><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108111152/636a35229c7e80680e048293jpeg.jpg" alt="" width="476" height="1024">Museum menuOrganic produce from Dwarika’s own organic farm in Dhulikel features on the cafe menu.Caprese saladCreamy buffalo mozzarella, organic tomatoes and torn holy basil, drizzled with rich, flavourful olive oil, and a selection of viscous balsamic or crisp white wine vinegar to liven the palate.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108111152/636a35259c7e80680e048294jpeg.jpg" alt="" width="1250" height="1671">Baked Jalkapur fish with quinoa and vegetable saladA sweet sticky sauce accentuates the mouthwatering caramelisation of a fried Jalkapur fillet, cooked to moist, breakaway softness. Soft quinoa and hearty vegetables complete the healthy ensemble.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108111152/636a35289c7e80680e048295jpeg.jpg" alt="" width="1250" height="938">Shrimp bisqueA rich bisque, perfectly sweet and buttery, with pieces of cooked shrimp and a hint of cream, garnished with a sprig of micro herbs.AffogatoA generous double shot of espresso with a double scoop of vanilla ice cream, served in style in a martini glass.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108111152/636a352c9c7e80680e048296jpeg.jpg" alt="" width="1250" height="1568"><figcaption> </figcaption></figure>Almond chocolate cakeA luscious log of nutty chocolate cake, smothered in rich chocolate ganache, accompanied by an assortment of fresh fruits and slivered almonds.Read also:<a href="https://www.nepalitimes.com/banner/nepoli-nepali/" target="_blank" rel="noopener">Napoli Nepali</a>, Kunda Dixit<a href="https://www.nepalitimes.com/here-now/northeast-indian-cuisine-is-a-hot-new-sensation-in-nepal/" target="_blank" rel="noopener">Northeast Indian cuisine is a hot new sensation in Nepal</a>, Sewa Bhattarai

Patan's museum piece

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.

restoration