<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141124/636cfbe89c7e80680e0a0b5ajpeg.jpg" alt="" width="1500" height="1000"/><figcaption>Artist Mukti Singh Thapa at his studio this week. Photo: MUSEUM OF NEPALI ART</figcaption></figure>“Your paintings are as unique as my chips,” Bill Gates said to Mukti Singh Thapa during a lunch conversation back in 1992 in the canteen of his Microsoft office in Redmond, Washington. Gates had acquired seven of this Nepali artist’s paintings at an exhibition.Besides Microsoft, Thapa’s paintings also adorn walls at Boeing headquarters in Seattle and other corporate offices around the world. Thapa’s other masterpieces are prominently displayed at the Nicholas Roerich Museum in New York, Oglethorpe University Museum in Atlanta, Vienna’s Welt Museum and as a <a href="https://www.mona.com.np/art/v/naari" target="_blank" rel="noopener noreferrer">permanent collection at our very own Museum of Nepali Art</a> (MoNA) in Kathmandu.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141124/636cfbeb9c7e80680e0a0b5bjpeg.jpg" alt="" width="1500" height="969"><figcaption> </figcaption></figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141124/636cfbee9c7e80680e0a0b5cjpeg.jpg" alt="" width="1500" height="1041"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141124/636cfbf19c7e80680e0a0b5djpeg.jpg" alt="" width="1500" height="1032"><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141124/636cfbf49c7e80680e0a0b5ejpeg.jpg" alt="" width="1500" height="1019"><figcaption> </figcaption></figure>Despite his international acclaim and being one of the most sought-after artists for <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Buzz-the-art,671" target="_blank" rel="noopener noreferrer">paubha</a> and contemporary art, Thapa is a modest man who yearns to share his skill and knowledge with a younger generation of aspiring artists and art enthusiasts. Nepali art in the 21st century will be incomplete without his mention, yet only a handful of people here know about him, or have seen his work. This is unfortunate.Thapa is also the youngest artist ever to receive National Award from NAFA (Nepal Academy of Fine Arts) at the age of 20.The time has come to <a href="https://www.nepalitimes.com/banner/nepali-art-going-places/" target="_blank" rel="noopener noreferrer">take pride in our art</a> and recognise ourselves as a nation of great artists and artisans. Nepali art has thrived for over 2,500 years, but we are yet to truly acknowledge and appreciate our past and present masters.Read also: <a href="https://www.nepalitimes.com/opinion/lain-singh-bangdels-sigh/" target="_blank" rel="noopener noreferrer">Lain Singh Bangdel's 'Sigh'</a>, Rajan Sakya<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141124/636cfbf89c7e80680e0a0b5fjpeg.jpg" alt="" width="1500" height="1032"><figcaption> </figcaption></figure>The streets of Kathmandu Valley are consecrated with temples and monuments, which are also exemplary, exquisite works of devotional art. We worship these sculptures, scroll paintings and murals, but do not acknowledge the anonymous artists who create them. The <a href="https://www.nepalitimes.com/banner/sacred-survival/" target="_blank" rel="noopener noreferrer">paubha and thangka artforms</a> represent illustrated spiritual and religious teachings, and their makers deserve more recognition.Contemporary art, on the other hand, gives expression to creativity, crying out with suppressed emotions, opinions, aggressions and love. Thapa is one of Nepal’s most disciplined adherents of traditional art forms, and his works in the genre are some of the most prolific.However, he is also a <a href="https://www.nepalitimes.com/review/old-art-meets-new/" target="_blank" rel="noopener noreferrer">contemporary</a> artist who stays within the bounds of traditional iconography to unleash human emotions, desires and deliberations, providing a searing commentary on modern human existence.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141124/636cfbfb9c7e80680e0a0b60jpeg.jpg" alt="" width="768" height="1378"><figcaption> </figcaption></figure>This Mukti Singh Thapa masterpiece at <a href="https://www.nepalitimes.com/banner/nepals-first-private-art-museum/" target="_blank" rel="noopener noreferrer">MoNA</a> is titled “NARÌ” (Female) and is an exposé of present-day Nepali society. Provocative and perceptive, it consists of 47 figures of deities and humans in distinctive forms that express various aspects of female characteristics.The 54cm x 104cm canvas brims with activity, there are so many things happening here. But one is instinctively drawn by the central singular female figure. Red-bodied, eyes wide-opened, five pairs of hands holding attributes ranging from a book to a gun, and everything in between.Miss World Beauty Pageant sash in particular stands out. No matter how resilient, determined and dedicated a woman may be, is society always judging her only by her physical attributes? Despite the inner strength and vigour of womanhood, a patriarchal world still judges and appraises women through their exterior appearance and youthfulness.Thapa is known for his aggressive and free-flowing use of nudity in both his traditional and contemporary artwork, even though he is skilfully subtle in this one. His representation of raw phantasmagoria stands out among today’s artists.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141124/636cfbfe9c7e80680e0a0b61jpeg.jpg" alt="" width="1500" height="1000"><figcaption> </figcaption></figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141124/636cfc009c7e80680e0a0b62jpeg.jpg" alt="" width="1500" height="1000"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141124/636cfc049c7e80680e0a0b63jpeg.jpg" alt="" width="1500" height="1000">The five-headed central character brushed with explosive colours denotes the vivid and varied expressions of a woman. We see her physically subduing underfoot a man, who is strangely content. Could this be an interpretation that patriarchy is just a pretentious mirage of male consciousness, and ultimately men are the suppressed gender? A pictorial dichotomy between male physical domination and female emotional domination.As we delve deeper into the artwork, the background can be divvied into upper and lower levels. The top part seems to consist of all the female deities, in their original form, shape and colour with traits of traditional iconography.However, the lower half is disillusioned, chaotic and frenzied. The images of people worshipping lifeless and colourless statues, blindly attributing faith and beliefs onto objects seem to indicate a society blinded by hypocrisy. The artist has captured both Hinduism and Buddhism in this work to also depict the inter-religious and interdependent culture of Nepal.“NARÌ” can have various subjective connotations for different people from different walks of life. To decipher a specific interpretation is impossible, which is what masterpieces do to you. Every time you look at her you discover yourself, and a different you.Rajan Sakya is the founder of the Museum of Nepali Art at Kathmandu Guest House, Thamel and contributes this monthly column For Arts Sake in Nepali Times.

Rajan Sakya

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N A R Ì by Mukti Singh Thapa

<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109101124/636b71fc9c7e80680e0600ffjpeg.jpg" alt="" width="1500" height="1125"/>This week Siddhartha Art Gallery brings to us the rare opportunity to view the works of two celebrated Tibetan thangka artists, Tenzing Dhargay and Lobsang Tseten (pictured). Viewers will be able to observe the beauty and intricacy of the painters’ works of devotional art, as well as the unique specialties of the paintings of their school when compared with the thangkas with which we are more familiar.The thangka tradition dates to antiquity and paintings were originally commissioned for temples and religious shrines. Artists used colours found in nature, grinding stones by hand. Four schools of thangka art developed in Tibet over time, and some of them share many similarities with Kathmandu Valley paubha art.There are, however, many ways to distinguish artistic works of various Himalayan traditions. Chief guest Rinpoche Tsepri Lopan Tulku pointed out during the exhibition’s inauguration that while Indian-influenced paintings of Buddha have his shawl going over his left shoulder and leave his right shoulder bare, Tibetan paintings have the shawl coming over the right shoulder. In his talk, Rinpoche also praised the two artists for using original stone colours and real gold in the paintings’ backgrounds. “I am not saying this just to flatter them, but because they are really good and represent the ancient art well,” he said.Read also: <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Devoted-to-painting,1705" target="_blank" rel="noopener">Devoted to painting</a>, Stéphane HuëtTenzing Dhargay is a tenth-generation artist of the Khari Khangsar family who, like most thangka painters, learnt the art by assisting his father. Belonging to the Menri school, he has painted both peaceful and wrathful deities. “Many people have asked why we paint such scary figures. In Tibet we believe that the soul wanders in limbo for 49 days after death, where there are many demons. If children grow up looking at these figures, then they will not be scared when they see them after death,” he said. Dhargay also spoke of how thangka is changing. The Menri school that he comes from is known for artists’ profuse use of green colour, and detailed backgrounds including waterfalls, trees and other natural features. Dhargay has kept the dominance of green, but experimented with the background, leaving that of many of his paintings bare.Lobsang Tseten’s works are large, intricate pieces depicting Buddha at the center surrounded by many other deities. Depending on the level of detail, the paintings may take him 5-6 months to create. The fourth-generation artist is also of the Menri school and started learning with his father at the age of 12, but then went on to study contemporary art in Canada. “I have come back to this form because of a concern for it. It is disappearing in its true form, and my work is an attempt to preserve that,” he said.Read also: <a href="https://www.nepalitimes.com/review/guru-rimpoche-in-a-new-light/" target="_blank" rel="noopener">Guru Rimpoche in a new light</a>, Sewa BhattaraiTibetan Thangka paintings by celebrated Tibetan artistsSiddhartha Art Gallery, Babarmahal28 Jan-11 Feb

Golden deities

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141116/636a56c29c7e80680e0547a2jpeg.jpg" alt="" width="1000" height="959"/><figcaption>Photo: TARAGAON MESUEM</figcaption></figure>Surrounded by overwhelmingly large ‘Sale’ signs is a tiny object in a large hall. Ang Tsherin Sherpa’s golden statue of a Tibetan deity in underwear is literally the object in focus at an exhibition at Taragaon Museum this week, part of the ‘Object in Focus’ series, designed to give viewers the opportunity to understand art in depth.“When we are surrounded by many exhibits, we often cannot digest what it all means. So this is our effort to delve deep into an important piece of art,” says museum curator Roshan Mishra. US-based Nepali artist Sherpa is the third artist featured in the series.Sherpa’s statue presents many interesting facets to explore: its face, hair and headgear are those of a Tibetan Buddhist deity. But instead of wearing the usual finery, it is attired like a modern superhero, and poses with one arm thrown in the air, Superman style.This piece ‘…and the winner is’ is a replica of Sherpa’s 2D work Victory in Spirit, but the actual metal casting was carried out by Shyam Maharjan, a traditional craftsman from Kathmandu.Read also: <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/The-world-beyond-thangkas,3139" target="_blank" rel="noopener">The world beyond thangkas</a>, Smriti BasnetSherpa’s work carries on his previous tradition of mixing traditional and modern art. Coming from a <a href="https://www.nepalitimes.com/banner/the-craft-of-art/" target="_blank" rel="noopener">family of renowned thangka painters</a>, Sherpa himself trained as a painter from the age of 13, and worked with his father on murals and monasteries for almost 20 years. He migrated to the US and painted there, also giving classes on traditional painting. That was when western art motifs began to infiltrate his work.Sherpa’s later works have depicted ancient deities caught in the modern world: gods in non-traditional poses, wearing western outfits, trying to break out of little boxes, shuttered inside claustrophobic modern motifs and trying to be heard amid the cacophony.The 3D work at Taragaon Museum fits this mould, but Sherpa does not want to talk about what it means. “To me, the pose symbolises a subjugation of negativity, it’s about hope,” he said at an interaction at the museum. “But I don’t want to attribute a particular significance to it. I would rather let viewers explore their imagination.”Read also: <a href="https://www.nepalitimes.com/review/us-nepali-art/" target="_blank" rel="noopener">US-Nepali Art</a>, Sonia AwaleInstead, Sherpa wants to talk about traditional art and his role in promoting it. “I used to work for months on a thangka piece, but then clients would ask why they should pay $3,000 for it when they can get a thangka for $200. The ordinary customer does not know the difference between real traditional art and souvenir art. Artists often fall prey to these market forces and are forced to compromise on quality,” he says.“That leads me to question what will happen to this art form 50 years down the line. Will we have any masters left, or only souvenir artists?” asks Sherpa.In an effort to promote traditional art, Sherpa visited many museums in the west and spoke to many curators. He found that they too had been desensitised by the flux of copies, and were unable to tell the difference between quality art and mediocre art. Sherpa then decided to contribute in his own way to get more recognition for traditional art.Read also: <a href="https://www.nepalitimes.com/banner/the-craft-of-art/" target="_blank" rel="noopener">The craft of art</a>, Sewa BhattaraiHe returned to Nepal after the 2015 earthquake, and has since been trying to serve as a bridge between traditional artists and the modern, western art world. For this exhibit, he sought out Shyam Maharjan, renowned for casting religious figures. “I did have to convince him to take up my unconventional work, by showing him photos of myself being blessed by several rinpoches,” laughs Sherpa. “But this is a way of highlighting high quality traditional metal casting as well, when this statue is exhibited abroad.”Taragaon’s Roshan Mishra also raised the question of ownership about pieces of art like this one: while the metal craftsman is the one who makes the physical object, the art is usually attributed to the designer who conceptualises it. For his part, Maharjan is glad that the statue came out so well.“Many religious teachers have complimented me on my work, and I know I am a good craftsman. I am happy to see that even this unconventional design looks so good,” he says.Though his work veers far from his traditional roots, Sherpa contends that he has a deep respect for traditional arts, and aims to put more focus on them. “We don’t have an infrastructure to support traditional artists, due to which it is dying out. Through my work I want to open up a conversation about how to best address this,” he says.Sherpa has sometimes been accused of ‘sacrilege’ but the art world has welcomed his work as a breath of fresh air. “Thanks to the artist for this diabolical piece,” says Sangeeta Thapa, founder of Siddhartha Art Gallery. “We always see the same deities everywhere and wonder why artists don’t experiment.”Read also: <a href="https://www.nepalitimes.com/banner/nepali-art-going-places/" target="_blank" rel="noopener">Nepali art going places</a>, Kunda Dixit Object in Focus 3rd Edition3-13 SeptemberTaragaon Museum, Bouddha

God and Superman

Exhibition showcases contemporary Nepali Thangka and Paubha painters <figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107101152/6368d62d9c7e80680e03146bjpeg.jpg" alt="" width="1400" height="930"/><figcaption>Muna Photos: Michael Gordon</figcaption></figure>Walk into most <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/Buzz-the-art,671" target="_blank" rel="noopener">Paubha</a> or Thangka shops in Thamel or Durbar Marg, and you will probably hear a story about Tibetan monks grinding stone pigments high in the Himalaya. ‘Exotic’ spirituality has become as much of a brand as Iphones used to Instagram it, but in reality most of these paintings are produced by Tamangs, Gurungs, and Newars using inexpensive poster colors in warehouses around Boudha and Bhaktapur.The painting factories may not seem ‘authentic’, but for the artist it puts food on the table. The demands of economic survival and the need for cultural preservation create new terms of authenticity for paubha and thangka.Thangka and paubha were originally ritual objects for Vajrayana Buddhists. Many would like to separate what is sacred and what is sold, but this is a false distinction. The paintings always involved financial transactions.However, as secular art collectors and tourists buy more of them, profit drives commodification.Tularam Lama has been painting for over 25 years, yet he is still at the mercy of gallery dealers who do not share their profits with artists.“We are compelled to sell cheap,” says Lama, who founded the Nepal Association of Thangka Artists. He still strives to maintain artistic integrity, teaching Tamang students to paint with inexpensive pigments as well as to understand the tradition's cultural heritage.Some painters use the market to build connections. Bhim Thapa, manager of Tara Thangka Center in Thamel, donates 25% of his sales to his community in Sindhupalchok. Prior to the earthquake, Thapa’s sales supported orphan children and women’s education. Today he focuses on basic necessities like blankets and food. "Thangka is not about perfect iconography, says Thapa, “to help is my dharma.”At the other end of the spectrum, internationally renowned <a href="http://archive.nepalitimes.com/blogs/thebrief/2014/10/05/devoted-to-painting/" target="_blank" rel="noopener">Lok Chitrakar</a> paints with traditional mineral colors and works with scholastic rigour. He will be the first to gently remind you that paubha and thangka are not the same thing.Paubha was developed by the Newars of Kathmandu Valley in the 7th century. Nepali Princess Bhrikuti is said to have taken some of the images with her when she introduced Buddhism to Tibet 1,300 years ago. Over centuries, Tibetans developed their own stylistic code known as thangka. After the exile of the Dalai Lama in 1959, Tibet and its people gained increasing global popularity. Today, many tourists flock to Nepal as a surrogate for Tibet, hoping to find the monasteries (and thangkas) they saw in TinTin in Tibet and National Geographic documentaries.But what they find may defy expectations: Lok Chitrakar’s use of Hindu gods like Ganesh as icons of Newari Buddhism is not just an artistic choice, but a testimony to Nepal’s unique religious coexistence.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107101156/6368d6309c7e80680e03146cjpeg.jpg" alt="" width="500" height="889">For many, however, maintaining these traditions is oppressive. Historically, thangka and paubha were made by men, but today the field is changing thanks to women artists like Muna Moktan. For her thangka means not just employment but also empowerment. She supports her family and a school of aspiring Tamang artists (mostly girls) with her paintings.“Women need to find a way to live on their own means, and I found it through thangka,” says Moktan.Read Also: <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/Buzz-the-art,671" target="_blank" rel="noopener">The art of gods</a>, Tsering Dolker GurungSonam Dolma guides (rather than ‘teaches’) students in ritual pursuit of perfection.Many painting production centers now use transparent plastic overlays to rapidly reproduce outlines. Sonam’s students at the Tsering Art school use black wooden boards thinly coated with ghee and dusted with white chalk- to repeatedly draw until outlies are memorised, “by hand, mind, and heart.” The painters begin and end each day with prayer, to remember the true purpose of their craft.One of Sonam’s top students, Karma Rinchhen Gurung, paints to strengthen his practice as a Buddhist monk. At 15, he entered Samten Ling Monastery, and like his monastic vows, his painting brings him freedom through discipline. He considers his practice meditation, focusing his mind and brush on a single point. People often ask if he paints to make money. He himself wonders: “Am I doing this for dharma or for economic reasons?” Many students at Tsering Art School, including monks, paint for private dealers to afford living in Kathmandu.Read Also: <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/Illustrated-history-of-chitrakars-nepal,3655" target="_blank" rel="noopener">An illustrated history of the Chitrakars</a>,  Sahina Shrestha<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107101156/6368d6329c7e80680e03146djpeg.jpg" alt="" width="1500" height="986"><figcaption> </figcaption></figure>The foreign interest in thangka and paubha has also encouraged artistic individuality. <a href="http://archive.nepalitimes.com/news.php?id=3915#.WvP2AH_BXIU" target="_blank" rel="noopener">Tenzin Norbu</a> comes from a 400 year old lineage of thangka painters.Each new generation <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/The-world-beyond-thangkas,3139" target="_blank" rel="noopener">broke away from the stylistic trends</a> of their predecessors. Norbu now illustrates modern Dolpo life and has shown around the world from the Rubin Museum in New York to Luxembourg Gardens in Paris. His ancestors never signed their paintings, believing in the collective accumulation of merit. Norbu now champions his distinct style as an emblem of personal entrepreneurship.For some, the craft is a way of maintaining cultural and spiritual lineage. For others, redefining not only what is painted, but who gets to paint affirms the rapid democratisation of the art from. To all artists, the paintings are a means of sacred survival, providing both sanctuary and subsistence.Sacred Survival, an exhibition of seven contemporary thangka and paubha artists 11 to 21 May, Siddhartha Art Gallery, Baber Mahal Curated by Michael Gordon.

Sacred survival

“Let's have another cup of tea,” <a href="https://nepalitimes.com/here-now/ujwal-thapa-s-light-shines-on-n0tfurod">Ujwal Thapa</a> of the alternative Bibeksheel Nepali party told the young activist Pukar Bam ten years ago. The two had 12 cups of tea that day, discussing ways to get Nepal out of its political deadend. Thapa contested the Constituent Assembly election in 2013 as an independent from Kathmandu, and formed Bibeksheel Nepali to galvanise youth impatient for change, fielding candidates in the first federal election in 2017.&nbsp; Ujwal Thapa was a political guru who was way ahead of his time, and his protégés were among the RSP’s winning candidates in last week’s election. Pukar Bam was a core member of Bibeksheel Nepali until its dissolution, and won the Kathmandu-4 seat this time. Other former Bibeksheel members who won the election from the RSP in Kathmandu include Ranju Neupane from Kathmandu-1, Sasmit Pokharel from Kathmandu-5, and Biraj Bhakta Shrestha in Kathmandu-8. As votes were counted and the results from Kathmandu began to come in, the candidates paid fulsome tribute to Ujwal Thapa’s mentorship and in inspiring idealistic youth to become a part of an alternative political force.&nbsp; Today, as RSP members of Parliament, they are no longer an alternative, but a part of Nepal’s new mainstream politics. Thapa returned to Nepal after finishing his undergraduate computer science degree in the US at the peak of the Maoist insurgency. His foray into politics began when he traveled to Nepal’s western mountains to train communities in mediation. After the war, he started a computer design company for young entrepreneurs entering the workforce. But he became frustrated with the inability of the second Constituent Assembly to promulgate the Constitution, and the power struggle between political parties played out in the streets that led to frequent shutdowns paralysing the country.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260313120348_d18647d53a3b2927328067c35b2e3e6eecf9aefe13f23384e73a2c17211cd9cb.jpg" data-media-id="editor_1" data-image-id="20260313120348_d18647d53a3b2927328067c35b2e3e6eecf9aefe13f23384e73a2c17211cd9cb" data-rendition-name="original" width="823" height="682" loading="lazy" alt="The RSP's activist DNA"> <figcaption>Thapa with Pukar Bam, who was elected to Parliament last week from Kathmandu-4. Photo: PUKAR BAM / FACEBOOK</figcaption> </figure>  PROTEST TO POLITICS Ujwal Thapa had had enough, and rallied people from across walks of life, leading peaceful, silent demonstrations proclaiming 'नेपाल खुल्ला छ' against prolonged, violent strikes. Citizens fed up with the main political parties organised to defy the shutdowns. Thapa’s activism and vision for a new Nepal drew disenchanted and previously apathetic youth into politics and to join the Bibeksheel Nepali Party in 2013.&nbsp; Thapa was the pioneer of alternative politics in Nepal, and was leading a youth force long before the GenZ became synonymous with Nepal’s September Storm. He mentored and guided social activists who are today influential youth leaders engaged in non-traditional politics. “Ujwal Thapa, with his entrepreneurial spirit, wanted to address people’s pain-points, and believed that activism was the starting point to alternative politics,” explains <a href="https://nepalitimes.com/opinion/nepal-loses-rare-purpose-driven-leader">Ashutosh Tiwari</a>, former member of Bibeksheel Sajha party. “He sought to build confidence, motivate, and build a community for young people, which drew a lot of people into Bibeksheel.” He adds: “ And while people might say that Bibeksheel never got big, that was never its point. Its function was to be an early talent incubator, which is what it did as evident by the result of this election.” Thapa died in 2021 of complications related to Covid-19, and Bibeksheel had two mergers with Rabindra Mishra’s Sajha Party before being permanently dissolved in 2021. But many of its idealistic members joined Rabi Lamichhane’s RSP, formed just four months before the 2022 federal election. Such was the groundswell of support for change that the RSP became the fourth-largest in Parliament. In 2017, Ranju Neupane (then Ranju Darshana) was the youngest mayoral candidate for Kathmandu at age 21, and contested the federal election in 2022. Pukar Bam himself lost the 2022 election in Kathmandu-1 as an independent.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260313120348_6302a9b534f57191d9a2cb2c31b31449873c6cc27d375344a248dd90847921dd.jpg" data-media-id="editor_3" data-image-id="20260313120348_6302a9b534f57191d9a2cb2c31b31449873c6cc27d375344a248dd90847921dd" data-rendition-name="original" width="1729" height="1365" loading="lazy" alt="The RSP's activist DNA"> <figcaption>Photo: SOCIAL MEDIA</figcaption> </figure>  Sashmit Pokharel also ran an unsuccessful campaign as an independent candidate in Kathmandu during the 2022 provincial election. Later, he was a member of the City Planning Commission under Balendra Shah when he was elected mayor of Kathmandu in 2022.&nbsp; Last week, the RSP swept the election with a supermajority of 182 seats in Parliament. Voters placed their trust in the party and its leaders to steer Nepal in a new direction after the youth unrest in September.&nbsp; In many ways, Nepal’s youth have decided, just as Ujwal Thapa once did, that enough is enough with corruption, malgovernance, nepotism and dynastic politics.&nbsp; In the <a href="https://nepalitimes.com/review/the-man-who-shook-our-minds">documentary</a> about his life, Dimag Ghochne Manche, released earlier this year, some RSP nominees who previously worked with and were mentored by Thapa spoke of the impact he had on their lives, career, and activism. Among them is Biraj Bhakta Shrestha, former minister of Youth and Sports who is now a second time RSP parliamentarian. “I tell everybody that if it hadn’t been for Ujwal Dai, I would not have gotten into politics,” he says in the film.&nbsp; It would be unfair to attribute all the success of the hard-fought campaigns entirely to Ujwal Thapa’s protégés and former coworkers.&nbsp; But his ethos and vision for Nepal was what inspired them, and will in the coming years be reflected in national politics through the young idealists he mentored. Says Ashutosh Tiwari: “There are many Bibeksheels outside of RSP in constant and open communication with their old friends who have been elected. They will be keeping the lawmakers in check so that they do no stray too far from the values that they grew up with.”

RSP’s activist DNA

The Bell that rang in the new A daughter stands in her family's living room, frantically ringing an actual घण्टी at her father. He is a lifelong Nepali Congress (NC) voter. She tells him his party loyalty is as humiliating as a daughter eloping.&nbsp; He looks visibly defeated, and because of RSP’s landslide sweep in this election, he has no reply. She is not a party member. Nobody told her to do this.&nbsp; Multiply this actual family scene by hundreds of thousands of households across Nepal and you find the reason for the RSP tsunami. Children ringing bells at parents over dinner. Aunties shaking bells at legacy party candidates on their morning walks. Taxi drivers, lifelong UML supporters, cheerfully announcing they have switched.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026031014038_096f980a799b4f80118863174ed629680cc6c21b02e226a899ce1dc5268b4b72.png" data-media-id="editor_0" data-image-id="2026031014038_096f980a799b4f80118863174ed629680cc6c21b02e226a899ce1dc5268b4b72" data-rendition-name="original" width="364" height="662" loading="lazy" alt="RSP Flag prank"> </figure>  And overseas, Nepalis in Dubai and Doha, Sydney and Seattle, calling home to deliver just one instruction: “चुपचाप &nbsp;घण्टीमा छाप”।&nbsp; How did an election symbol like the Bell jump off a ballot paper and become weaponised for generational shame?&nbsp; The RSP's 2026 campaign is a case study in how a symbol becomes so participatory and instinctive, that citizens start campaigning on behalf of a party they never formally joined. It may look like a cult, but it is a phenomenon no political party in Nepal has ever pulled off. The ghost in the machine&nbsp; The 3-year-old RSP entered the 2026 race without the campaign infrastructure that legacy parties considered essential. It has no sister organisations, no vanguard student unions, no established cadre networks.&nbsp; In a country where ground reach and organisation wins elections, this looked like a fatal handicap. Established parties had spent decades building a top-down machinery: youth wings that mobilise on orders and unions within government. But it was all hollow and manufactured.&nbsp; That is why when the NC or UML posted a policy manifesto, it got barely 200 shares. When a 19-year-old posts an <a href="https://nepalitimes.com/here-now/spot-ai-generated-election-videos">AI video on TikTok </a>of Balendra Shah swinging a bell like a Kung Fu Hustle weapon, it gets 5 million views.&nbsp; The RSP’s very absence became its strategic advantage. Without a chain of command for content, every post felt peer-to-peer. Supporters built communities instead of following orders. Network effects took over: one person posts, three friends remix it, their followers adapt it for their own local context, and the message multiplies without a single directive from party headquarters. A TikTok from Kathmandu featuring Balendra Shah gets remixed by someone in Birganj who <a href="https://www.tiktok.com/@bhojpuriyasuppor0/video/7596686360111484178?q=bhojpuri%20dub%20balen&amp;t=1773115199365">dubs it in Bhojpuri</a>. A supporter in Pokhara takes the same “अबकि बार बालेन सरकार” audio and films it over footage of the city’s broken road.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026031014038_56090217f5b3482fad934c4f76fc872047571b3c86331a4eda1ac19ae389c2fc.jpg" data-media-id="editor_3" data-image-id="2026031014038_56090217f5b3482fad934c4f76fc872047571b3c86331a4eda1ac19ae389c2fc" data-rendition-name="original" width="375" height="646" loading="lazy" alt="Balen Bhojpuri remix"> </figure>  A Nepali worker in Dubai films himself shaking his phone at the camera, captioning it “I can't vote but my family can”. The content stays structurally the same (bell + emotion) but the surface changes every time. The format is the constant. The context is the variable. A single post multiplies into a thousand pieces of local content without anyone coordinating it. Legacy parties spent money on reach. RSP's strategy built reach for free, because participation itself was the product. The Bell, blazer and brand&nbsp; Run the sensory test. The UML's Sun symbol is only visual. You see it on a ballot, on a flag. You cannot hear a sun. You cannot perform a &nbsp;sun. Nobody walks into a room and ‘suns’ at an opponent.&nbsp; The NC’s Tree symbol is also only seen. It communicates nothing as a verb. Nobody ‘trees’ the father across the dinner table. Ujyalo Nepal's lightbulb was the most passive symbol of all, it just sits there being always on. The Bell had rare resonance as an election symbol. It is a verb (to ring), a sound (tintinnabulation), a physical action (shaking), and a metaphor (wake-up call). घण्टी is participatory by design. You do not just see it, you perform it.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260310140312_c5580164e1f11a8466f591c4d514420bb5313a34b559554db05364065486c3b7.png" data-media-id="editor_4" data-image-id="20260310140312_c5580164e1f11a8466f591c4d514420bb5313a34b559554db05364065486c3b7" data-rendition-name="original" width="368" height="654" loading="lazy" alt="Classroom ghanti NT"> </figure>  It works as a metaphor: wake up. It works as a taunt: we are coming (“हामी आयौँ”). It operates across sensory channels a meme can travel through. The other party symbols are logos. The घण्टी is a multimedia verb in active voice. Poets on the frontline Politics has always been about performance. Murray Edelman wrote decades ago that political actions are symbolic acts: what politicians do matters less than what their actions represent.&nbsp; Guy-Ernest Debord argued that spectacle replaces lived experience. But the stage has changed. The social media feed is the new stage, and the algorithm is the casting director. It does not select for policy depth, but for recognisability, emotional charge, and remix potential. Poets have always been at the frontlines of political rupture. The French Revolution had its pamphleteers. The Bolsheviks had Mayakovsky. The Black Panthers had Gil Scott-Heron. Nepal's own political history is full of writers who paid for their words with prison or exile.&nbsp; Rap is rhythm and poetry. Balen Shah did not cross from entertainment into politics, his art was always political. “सडकबालक" in 2012 was already a protest song. The diss tracks against corruption were manifestos set to beat.&nbsp; So, if घण्टी was the sound, Balen was the voice. Supporters rang Bells to perform, projecting their hopes on Balen. One is participatory (anyone can ring it), the other is aspirational (representing what you want the country to become). Together, they form a complete symbolic system: an action and an icon, a thing you do, and a person you believe in. Both are algorithm-native. The sunglasses are instantly recognisable in a thumbnail at any size. The bell sound action is identifiable within half a second of a video starting. The confrontational attitude generates the emotional charge that the algorithm rewards.&nbsp; Balen was already trained in the language of the algorithm: hooks, rhythm, timing, and audience retention. While legacy politicians are just now trying to learn the language of the algorithm, Balen grew up speaking it. The folk song brand kit: The slogans wrote themselves. While legacy politicians are just now trying to learn the language of the algorithm, Balen has grown up speaking it. The folk song brand kit The slogans wrote themselves. “चुपचाप &nbsp;घण्टीमा छाप” spread through tea shops and bus parks like a folk proverb. <a href="https://nepalitimes.com/here-now/nepal-s-ai-generated-election">AI-generated Mahabharat edits</a> positioned Balendra Shah as a warrior-hero fighting K P Oli in golden armour.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026031014038_cd7fbb8b4a97628757977b55d1244b192c233566dad268e894c7132d16cf180c.png" data-media-id="editor_6" data-image-id="2026031014038_cd7fbb8b4a97628757977b55d1244b192c233566dad268e894c7132d16cf180c" data-rendition-name="original" width="369" height="667" loading="lazy" alt="Ghanti Chhap NT"> </figure>  The entire package, partly by accident, partly by instinct, was built to be remixed. Every element is modular: the bell, the sunglasses, the slogan, the attitude. Take any piece and make your own version. Like a ‘Deusi re” song, the melody is fixed, everyone knows it, but anyone can change the words to fit their occasion and mood. It survives across generations precisely because no one controls it.&nbsp; The घण्टी ecosystem works the same way. The melody is fixed: the bell, the sound, the slogan, the sunglasses, the attitude. But the lyrics can be anyone’s. Shoot it in your neighborhood. Dub it in your language. Film your grandmother's reaction. Set it to your local context. That's why it spread faster than any IT cell could manufacture.&nbsp; The generational pincer The standard narrative is that digital movements stay digital, and that memes are a GenZ thing. RSP broke both assumptions. Its content operation executed a pincer movement across generations, capturing not just the youth vote but used youth as a delivery mechanism into households where no party organiser could reach. The Generational Pincer Flowchart Three vectors of pressure, all converging on the same target: the living room and the dinner table, where votes in Nepal are actually decided. Downward: children trolling parents by ringing bells at dinner, turning family meals into campaign arenas. A bell rings as a prank, then as a joke, then as a political statement. By the third night, it's not funny anymore. It's a conversation.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260310140316_446e465f60994532e53b1786368dd025e9ad99a387b4121493f8826c46921cb7.png" data-media-id="editor_7" data-image-id="20260310140316_446e465f60994532e53b1786368dd025e9ad99a387b4121493f8826c46921cb7" data-rendition-name="original" width="364" height="669" loading="lazy" alt="Ghanti prank"> </figure>  Lateral: the diaspora pipeline. Nepalis in Australia, the Gulf, Japan, could not vote, but they turned every Viber call home into a campaign touchpoint.&nbsp; Upward: the bell pressured power itself. No RSP organiser gets a meeting with a UML ward chairman or a NC MP. But those people go home. And at home, they have teenagers, nieces, nephews, and staff whose kids are on TikTok.&nbsp; A party boss's son rings a bell at dinner and asks uncomfortable questions. A NC donor's daughter shares RSP content on her Instagram story, visible to her father's entire social circle. No political structure, no matter how hierarchical, is sealed off from its own household. The bell did not need to breach the gates of Singha Durbar, it walked in through the kitchen window. The result crossed every demographic line analysts thought was fixed. Memes didn't just stay in the feed. They colonised the living room, the kitchen, the long-distance phone call, the taxi ride. Content nobody commissioned&nbsp; What the RSP's organic content looked less like a political campaign and more like a football fan club. People were not posting because they were told to. They were posting because they belonged. Trace the trends as they accumulated: <ul> <li>“<a href="https://www.tiktok.com/@rameshmahto065/video/7610784878174424338?q=chup%20chap%20ghanti%20chap&amp;t=1773115568686">चुपचाप &nbsp;घण्टीमा छाप</a>” started as a TikTok post, then showed up on motorcycle stickers, WhatsApp statuses, AI-remixed songs, and in tea-shop conversation as a folk proverb.</li> <li><a href="https://www.tiktok.com/@rajjimond_18/video/7612570510508969236?q=ma%20ta%20balen%20ko%20fan&amp;t=1773115129539">Original songs composed by supporters</a>, not the party, gained millions of views. People danced to them at rallies and in the streets. People at polling booths created TikToks to RSP anthems to show their support.</li> <li>AI spectacle videos of Balen as a Mahabharat hero, filmy dialogue, stylised Nepal flag. Slapstick clips hitting 200K+ likes and 5M views. All made by random accounts, none traceable to party infrastructure.</li> <li>Supporters built Bell apps and websites on their own. One site, <a href="https://ghanti.website">ghanti.website</a>, was registered by a random supporter in January. Open it on your phone, shake it side to side, and it rings. Within weeks, crowds of supporters were walking through neighborhoods shaking their phones in unison, producing a wall of digital bell sound.</li> <li>The intimate content. A husband-wife vlog filmed inside a car, casually discussing what a lawmaker should actually do. Just two people talking, and it resonated more than any campaign ad.</li> </ul> None of this was centrally coordinated. Parties across Nepal spent money on polished graphics that looked like professional advertisements. RSP supporters spent nothing and made content that felt like conversation. The algorithm doesn't reward production value, it rewards emotional resonance. And nothing resonated more than the feeling that you, personally, could participate in this movement without anyone's permission. Now what? The RSP has a supermajority. The Bell rang louder than anyone predicted. But a movement built on open-source energy now has to deliver closed-source results: budgets, legislation, diplomacy, institutional reform. Balen built his brand by bypassing institutions, Prime Minister Balendra Shah has to run them. He communicated through Facebook posts and rap lyrics. Now he needs to communicate with India, China, and multilateral lenders.&nbsp; His midnight F-bomb post, deleted within 30 minutes but screenshotted by thousands, showed both his appeal (unfiltered authenticity) and his risk (unfiltered impulsiveness). The question is not whether the bell rang loud enough. It obviously did. The question is what happens when the supporters who posted without being asked start expecting results they did not specify. When the meme energy that won living rooms has to translate into parliamentary committees.&nbsp; For decades, the promise of democracy was that people choose their leaders. What RSP's campaign revealed is something more uncomfortable: in the age of the algorithm and remixable content, people do not just choose their leaders.&nbsp; They build the campaign, write the slogans, produce the content, convert their own families, and then show up to vote for the movement they made with their own hands. The party becomes a container for energy it didn't create and can't fully control.&nbsp; That's either the most democratic thing that's ever happened in Nepal, or the most dangerous. It might be both.

Nobody ran the campaign. That is why it worked.

Amidst the euphoria in Nepal about the RSP’s landslide victory, the party’s future government, possibly led by Balendra Shah will plunge headlong into an energy and economic crisis sparked by the war in West Asia. Nepal gets all its diesel, petrol, gas and aviation fuel from India and lacks a strategic stockpile to buffer against shortages. The United States has unsanctioned Russian crude oil to India for one month, but India will only export refined petroleum products to Nepal after meeting its own domestic demand. As it is, India has only 10 days of stockpile of cooking gas and it is giving preference to household use. Energy experts say new oil and gas supplies from Russia and elsewhere will take another month to arrive at Indian ports. “This conflict didn’t develop overnight, yet we did nothing to augment our reserves. Clearly, we didn’t manage procurement anticipating supply disruptions,” says economist Pushkar Bajracharya. The conflict has escalated, seriously disrupting global petroleum supplies. Nearly 20% of the world’s oil and gas moves out of the Strait of Hormuz which is now blocked. The Persian Gulf makes up most of the oil and liquified natural gas supplied to Japan (75%), India (50%) and China (38%). Crude oil prices have nearly doubled to $100 a barrel this week.&nbsp; “This crisis is only going to intensify, so in the short term, it means fuel prices will increase as will the cost of goods and services,” adds Bajracharya. “This doesn’t bode well for the new government, especially when people have such high expectations from it.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260315020356_e9f97cc4e8a41bab08fb9c318be887a7eef5ac674326a9a1c878fd80109c3ec7.jpg" data-media-id="editor_0" data-image-id="20260315020356_e9f97cc4e8a41bab08fb9c318be887a7eef5ac674326a9a1c878fd80109c3ec7" data-rendition-name="original" width="1315" height="801" loading="lazy" alt="Strait of Hormuz NT"> </figure>  Fuel stoppages from India have happened before, notably during the 2015 Blockade. But Nepal could be better placed this time to cushion the shock because of the proliferation of battery-operated vehicles, and electrification of household cooking to some extent. “The increase in electric vehicles provides some relief, but it is not enough,” says energy economist and former Water Resources Minister Dipak Gyawali. “Most critical services still run on diesel, and they cannot be replaced overnight.”&nbsp; Nepal’s expanding road network means diesel and petrol consumption is also increasing. If the war drags on, there will be a critical shortage of aviation fuel that could also hurt tourism at the start of the trekking and mountaineering season. There is already a nationwide shortage of cooking gas which is used by 62% of Nepali households. &nbsp; The fuel crisis will have a knock-on effect on the economy which the RSP government will have to tackle on an emergency footing as soon as it comes into office. The priority would be to cap fuel prices with subsidies, control hoarding, and in the longer term expedite the switch to electricity for transportation and cooking.&nbsp; MONEY IN The other impact will be on jobs in West Asia and remittances. Nearly half the $11 billion a year Nepalis send home every year comes from West Asian countries. Nepal’s hard currency reserves have hit a record high $21.09 billion, but that cash will be of no use if there is no fuel to buy. A sharp drop in remittances due to the collapse of the economies of the Gulf states if the war is prolonged will have a multiplier impact particularly on Nepalis' household expenses and the country’s economy in general. This in turn will have a knock-on effect on investment, and affect the RSP government’s main agenda which is to create jobs at home. The vicious cycle will then mean that more Nepalis will want to migrate for overseas jobs, but options in the Gulf may not be available. The RSP’s ministers in government will have to come up with innovative ways to re-integrate Nepalis forced to return because they lose their jobs, or for safety reasons. There are nearly 2 million Nepalis across the UAE, Qatar, Kuwait and Saudi Arabia, and another 7,000 mainly women caregivers in Israel. “Other than the impact on remittances and the economy, there could be the additional challenge of rescuing over 2 million Nepalis in West Asia if it comes to that,” says Bajracharya. “We don’t have the resources, and we will have to rely on India’s logistical help.” The RSP’s main vote bank was among global Nepalis, who could not cast &nbsp;ballots themselves but influenced families and friends back home to choose the party. Social media was abuzz with slogans that promoted how choosing the RSP would bring their children back home from the Gulf. “The RSP got a majority, and that’s a good thing but voters came together to oppose UML, NC and the Maoists. But there is no clear ideology or philosophy, so while their slogan to bring Nepalis back from the Gulf sounds nice, what would they come back to?” asks Gyawali. The Nepali diaspora in the Gulf that influenced the electorate so effectively will now be looking at how the government it helped get to power in Kathmandu will help as war engulfs the region.&nbsp; There is an almost unrealistically high expectation of the RSP, and the party may not even get the customary 100-day honeymoon period. The cabinet could be put together easily enough, but the bureaucracy, judiciary, police, and the Upper House are all populated by loyalists of the old parties. Despite bad blood, the RSP will have to work together with all parties in the face of the crisis unleashed by the war. And Nepal’s politicised foreign policy must be galvanised to deal with the crisis.

Rough road ahead for new Nepal rulers

The series Nepal Made profiles Nepali products and the people who make them possible While premium beauty product outlets were closing during the Covid-19 pandemic, two young women gambled on setting up a new skin and haircare brand with natural ingredients mostly sourced from Nepal and suited for the Nepali complexion. Arushree Sharma Khatiwada and Megha Agarwal were batchmates in school before they left for studies abroad, returning to set up Avani Nepal after year-long rigorous research into ayurveda-based cosmetic products. Avani in Sanskrit means ‘earth’, and as the name suggests it is committed to bringing all natural, pure and authentic range of beauty solutions.&nbsp; “We found a gap in the Nepali market demand for cosmetics, which is why we decided on a brand sourced from all-natural Himalayan herbs that are not used or explored properly,” says co-founder Khatiwada.&nbsp; Nepal is a treasure trove for medicinal plants and those with therapeutic properties. After all, legend has it that Hanuman flew right across the subcontinent from Sri Lanka to the Himalaya to find a rare medicinal plant to save the life of Lord Ram, who was wounded in battle. When he could not find the specific plant, he tore off a whole mountain and brought it down. Read also: <a href="https://nepalitimes.com/multimedia/looking-good-by-doing-good">Looking good by doing good</a>, Sudiksha Tuladhar  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260314120356_32323fd084540236fe4edb3b98286c131d67c73310279c8038510da1e1ae1bc0.jpg" data-media-id="editor_1" data-image-id="20260314120356_32323fd084540236fe4edb3b98286c131d67c73310279c8038510da1e1ae1bc0" data-rendition-name="original" width="3024" height="2012" loading="lazy" alt="Avani"> </figure>  Medicinal plants in Nepal range from yarsagumba to jatamasi and 500 other species traditionally used in the Ayurveda as well as now in the wellness industry. Avani is also trying to experiment hibiscus, Himalayan honey and other plants to eventually launch an export drive. Running a business in Nepal is no easy task, especially for small scale locally crafted products but in a few years, Avani has ammased loyal customer base and have many repeat customers. “While it was tricky initially, we were determined to launch our products with the best quality ingredients and in an affordable price range,” says Khatiwada. Following a worldwide trend and emulating the method used by Korean cosmetic brands, Avani has deployed celebrities and influencers to increase its outreach through tikTok , Facebook and YouTube. &nbsp;Actresses Barsha Shiwakoti and Shilpa Maskey and makeup artists like Lemi have reviewed their products favourably. Sutainability is a big part of the brand, and Avani uses glass bottles, cardboard boxes, paper bags for all its products. Plastic use is cut to a minimum, and where used is recycled.&nbsp; “Many people think that sustainable brands are expensive, we want to bust that myth,” Khatiwada told us. “We focus on being eco-friendly using ethically sourced materials that are paraben, silicon, and cruelty free.”&nbsp; Read also: <a href="https://nepalitimes.com/here-now/proud-to-wear-dolpo">Proud to wear DOLPO</a>, Vishad Raj Onta  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260314120356_da0d7d4082a9aa51c96ecbcb8a2e7a5bc60e27de202fb339a522036aa3f50b49.jpg" data-media-id="editor_3" data-image-id="20260314120356_da0d7d4082a9aa51c96ecbcb8a2e7a5bc60e27de202fb339a522036aa3f50b49" data-rendition-name="original" width="1048" height="1280" loading="lazy" alt="Avani"> </figure>  Avani has expanded its business to get a toehold in Nepal’s tourism and wellness industry, and the products are carried by spas in leading hotels and resorts in Kathmandu and Pokhara such as the Terraces, Marriott, and Kavya resort, and is in talk with the Hideaway Resort in Pokhara.&nbsp; The skin and haircare brand that initially started with 10 products has since expanded its line to 60 with goods placed in more than 100 stores across Kathmandu. Plans are in the works to expand to India, China and in Japan partnering with Okada. Avani Nepal’s founders say that they support empowerment through employment and training opportunities for women at the company. Khatiwada herself has been engaged with organisations such as Nepal Women Chamber of Commerce, and Nepal Youth Entrepreneur Forum. Additional support from the government such as the provision of lower excise duties has helped but guidance for export and other business regulations is as crucial. Such an environment would also foster opportunities for the youth who are otherwise moving away for jobs or study abroad. “While everyone is trying to go abroad, opportunities can be created here in Nepal itself, with adequate support from the government,” says Khatiwada. “In the meantime, we are eyeing for long term benefits. We are trying to create a legacy for cosmetic brands in Nepal.” Read also: <a href="https://nepalitimes.com/here-now/java-in-the-himalaya-y1ilc21h">Java in the Himalaya</a>, Vishad Raj Onta

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