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Tejeswor Babu Gongah, whose life reflects an unwavering commitment to education, culture, and public service, was born in Bhaktapur, Nepal in 1935. His early life was shaped by the natural environment–one with open space and no urban constraints–and the socio-political changes taking place at the time. He was raised by his maternal uncle who played a significant role in his early education. 

In 1940, when he was just five years old, his parents followed a traditional cultural practice. Children were given five freshly harvested rice grains without letting them touch their tongues. This practice was believed to bring knowledge and wisdom. Gongah ate the rice grains. This ritual was believed to ensure that he would become a learned and highly educated person.

Gongah started his formal education at the Bhaktapur English School, which later became Shree Padma High School. During this time, political changes were taking place in Nepal. In 1946, Prime Minister Padma Shamsher ascended the throne and transformed the school into a high school. These early years also marked a period of political awakening for Gongah.

During the height of the anti-Rana struggle, congress leaders came to speak at his school, criticizing the Rana regime for denying people their educational rights. Gongah recalls the moment vividly, though he was too young to understand the intricacies of politics. “We were told we would get free snacks and once we reached, they were giving the speech and we were forced to listen to them,” he says. He recalls wondering about the congress party, asking himself questions like, “Do they have three legs? Do they have horns?” He was fascinated but unaware of the true nature of the political discourse happening around him.

In 1948, Gongah moved to Kathmandu and continued his studies at JP High School. One of his teachers was Sarada Prasad Upadhyay, brother of the famous politician Surya Prasad Upadhyay. In 1953, after completing his School Leaving Certificate (SLC), Gongah enrolled at Tri Chandra Multiple Campus for his intermediate studies in arts. During his time at college, Gongah discovered his passion for teaching. He later worked as a headmaster there for three years. He also taught English at Shanker Dev Campus. 

His role at Shanker Dev Campus also coincided with his involvement in teaching Nepal Bhasa (Newar language), a skill that garnered significant attention. The General Secretary of Shanker Dev Campus approached him to teach Nepal Bhasa, as there was increasing pressure to preserve the language. Gongah happily accepted the offer and taught the language for around four years. His deep connection to his cultural roots made this an enriching experience.

As his career progressed, he transitioned into a government position as a section officer. However, his thirst for knowledge didn’t stop there. In pursuit of further education, Gongah traveled to the US to study Cultural Anthropology, a field that fascinated him. In America, he encountered a new academic environment. He found that success there was often linked to one’s ability to discuss ideas and engage in academic debate. 

His time in the US proved to be a transformative experience. Despite facing some initial challenges, such as being looked down upon by some peers for coming from a developing country, he persevered. He spent hours in the library, diligently studying the systems, cultures, and languages of his new environment. His efforts paid off when one of his professors, impressed by his academic rigor, publicly praised Gongah in class for preparing exceptional research notes. “I still have all the term papers that I had prepared at that time,” says a visibly emotional Gongah.

Over time, Gongah gained the respect of his peers, who began offering him help and support. They would bring him blankets, clothes, and provide transportation to and from his apartment. He also delivered numerous speeches and wore traditional Nepali attire, including the Dhaka topi (Nepali traditional hat), which helped him retain a sense of his cultural identity while abroad.

After returning to Nepal, Gongah resumed his role in the government service and continued to work in the training sector, imparting knowledge to new recruits. He was also entrusted with the position of training chief. His dedication to training and mentoring new generations of officers marked the continuation of his commitment to education.

Despite his deep engagement in public service and education, he has never been interested in active politics. Although he has witnessed many political changes in Nepal, from the fall of the Rana regime to the political turmoil and the rise of democracy, he has always preferred to focus on his work rather than getting involved in political activism. Instead, he has always been captivated by the rich culture of Nepal, which has greatly influenced his work and personal life.

He also served as the first elected president of the Bhaktapur Bidhyarthi Sangh (Bhaktapur Student Union) where he had the opportunity to meet many prominent poets and intellectuals, including the legendary Laxmi Prasad Devkota. “When I was preparing for my SLC exam, he was one of my tutors,” says Gongah.

He was deeply influenced by Devkota and attributes much of his writing style to Devkota’s influence. “He was a fluent English speaker and he spoke for nearly one hour when he visited the Soviet Union to participate in an international youth festival held in Bucharest in Romania. I was enthralled,” says Gongah. He adds Devkota was friendly and approachable despite his stature as a literary giant.

Throughout his life, Gongah has maintained a close relationship with the royal family. He worked closely with King Birendra and was frequently invited to brief the monarch on various government projects even after his retirement. 

In addition to his work in the government sector and academia, he is also a prolific writer. He began writing for Gorkhapatra when he was quite young and his articles earned him recognition. He was paid Rs 20 per article and Gongah confesses that he didn’t know you could get paid to write before that. He says his proficiency in English, honed during his time in the US, enabled him to write fluently and effectively. He continues to contribute to newspapers and engage in cultural and educational discourse through his writing.

He remains a respected figure in Nepal, admired for his work in education, culture, and public service. Even today, he continues to inspire those around him with his passion for knowledge, his commitment to excellence, and his deep respect for Nepal’s rich cultural heritage.

Subhankar Sen is the Executive Director (Lubes) of Bharat Petroleum Corporation Limited (BPCL). Shreya Shrestha from ApEx interviewed him about BPCL performance and the oil market in Nepal.

Can you brief about MAK Lubricants performance worldwide?

MAK Lubricants is from Bharat Petroleum, India’s national oil company, which covers the entire spectrum of automobile and industrial lubricants. Today, we cater to all models of automobiles and every industrial sector. We are really happy to say that we have one of the best research and development teams that work from Mumbai. They are constantly working on new formulations, sustainable lubricant grades because that is the need of the hour. Both across automobiles and industrial sectors. We have a presence across the length and breadth of India, and we are very proud that we are the one of the oldest lubricant brands in Nepal. We have an excellent parther in Sipradi who have been with us since 23 years.

Nepal is a very big market for us and very important as well. Just the way, it is a very important neighbor of India. It’s a very important market because we recognize that the economy of Nepal which is expected to grow with 4-5 percent which is also one of the highest growing economies in this part of the world, and we recognize that the consumer aspirations in Nepal are much as anywhere else in the world. We are looking at various propositions where we offer a complete solution. We are moving from a product centric organization to a solution centric organization. One of the initiatives that we have just started in Nepal is a MAK Serve, which is basically a proposition which takes care of the vehicle and lubricant is just one part of it. We also offer an end to end solution which is just like a car care. 

Across the world, we are present in over nine countries and we have plans to grow about 35 countries across the world and our immediate focus remains our immediate neighbors which is Nepal and Bangladesh where we have a long standing presence.

In this competitive industry, how do you differentiate yourself?

The first point of difference is always quality and I can tell you with a lot of conviction that our lubricant products are made out of the finest base oils in the world. Our base oils which are group 2+ and group 3, manufactured in our Mumbai factory, are acknowledged to be the finest formulations. Whether we are providing the lubricant or not, it's our oil which is going out of the majority of the vehicles. So that’s the foundation of the belief that our products are one of the finest. Ultimately, what does the customer want? They want a) quality b) peace of mind c) better value for money. And when all these three are put together, we can confidently say that MAK Lubricant is providing the best propositions to the customer.

What are your future plans for Nepali market?

For Nepali market, we are now going to focus on the newer grades for the newer vehicles because we have seen a lot of new models on the roads, including two-wheelers with four-stroke engines and passenger vehicles. We are focused on investing a lot both in terms of bringing new products, new value propositions, new service oriented offerings like MAK Serve. We are also looking for an industrial sector and we have a range of industrial products. We are making a beginning in certain areas and we believe that while we go forward working closely with Sipradi, we will be able to add a lot of value to the industries in Nepal from the perspective of total cost of ownership  with the products that we will provide.

What are some of the major trends in the industry and how is BPCL gearing for the same?

Asia and the Indian subcontinent in particular is where a lot of action is happening these days. Asia is at the top of the world and we see trends happening in terms of consumer aspirations to always go for propositions which are better both in terms of value and quality. We see ourselves doing a lot of work in the environmental sustainability area. In fact we are doing  a lot of work for sustainable products. So, back in India we have a large portfolio of sustainable products which are across the sectors and we hope to bring that to Nepal at the earliest. We have seen Nepal is also moving towards BS6 while regulations may come in but there are a lot of BS6 vehicles which are already on the road. So, pollution is one area where we believe we can play a role in bringing down automobile pollution by introducing some of our grades which are absolutely wonderful when it comes to reducing C02 emissions.

With the growth in EVs, how has the lubricant industry been impacted?

Well EV certainly is not the form factor of mobility and we are investing ourselves quite heavily in EV. In India, we can share that we have the largest network of EV fast charging stations which have 1,000 fast charging stations and we have set up across what we called fast charging highway corridors. The entire country is mapped. While we have done that on the charging space. On the Lubricant side, it's just  engine oil that is not required in EVs, everything else is required.we are specializing ourselves in looking at new technology for EV fluids. There are a whole lot of Lubricants which would be required, there are moving parts in Electric Vehicles. So, those will require friction to be taken care of so in that space, we see ourselves playing a big role. We see healthy co-existence in both segments and for times to come, I think that’s the way  it’s gonna be . Both segments will grow and we believe that there is space for growth. So, we are there as a solution provider for personal commercial mobility. Whichever form factor mobility comes in, MAK Lubricants will always be there.

The Dhrupad Gurukul was established a decade ago in Kathmandu, Nepal, with a vision to preserve and promote the ancient tradition of Dhrupad, a form of classical music that has its origins in the Indian subcontinent. Under Vishal Bhattarai, a disciple of the renowned Gundecha brothers, and Inoue Sou, a dedicated artist and collaborator, the gurukul has become a key institution for the practice and teaching of Dhrupad in Nepal. It also provides a platform for students from diverse backgrounds, including the underprivileged.

“We started the gurukul to protect the deeply meditative and spiritual aspects of this music. Especially in Nepal, where this tradition is very limited, there was a need for an authentic space to learn and safeguard it,” he says.

Bhattarai, who trained in Dhrupad under the Gundecha brothers, has been actively performing and teaching this ancient form for more than 10 years. Mukesh Shakya, a group member is a talented pakhawaj player who learned under the legendary late Rabin Lal Shrestha, a prominent figure in Hindustani classical music. Shakya’s skill and dedication to the Dhrupad style have made him an invaluable member of the gurukul.

The gurukul also serves as a nurturing space for younger students, including Rajin Khadka, a flute player, and Keshav Badi, a differently-abled vocal student. Badi, who has been training at the gurukul since his early years, adds a unique dimension to the group’s work. His participation underscores the power of music to transcend barriers and touch the hearts of all, regardless of physical limitations.

“We have been teaching Keshav since his early years at the Disabled Service Association, and Rajin has been learning Dhrupad flute at our school for the past three years. Our shared dedication to this music and similar work ethic brought us together,” says Bhattarai. Khadka adds that Badi is talented, and they collaborate with him by focusing on communication and practicing with cues to ensure their coordination is smooth.

Dhrupad is a spiritual and meditative form of music with roots dating back to the Vedic chants of the Sama Veda. Dhrupad is not meant for entertainment. It’s for evoking inner peace and contemplation through sound. The gurukul wants to preserve a traditional form of music as well as make it accessible to younger generations.

“Some of the students come from underprivileged and challenging backgrounds and their parents have provided positive feedback, having observed how Dhrupad music has contributed not only to their children’s musical abilities but also to their emotional and spiritual growth,” says Bhattarai.

He believes that with the right guidance and dedication, the younger generation can come to appreciate and love it. “Some may like it, others may not, but for those who understand and embrace it, it becomes a lifelong love,” he says. 

Khadka says his goal is to keep learning and playing this beautiful music with his teachers (gurus) and to share it with others as much as possible and also to focus on connecting with modern audiences as well.

Khadka and Badi, both of whom have been at the gurukul for several years, represent the future of Dhrupad in Nepal. Badi, who faces physical challenges, is a testament to the fact that music transcends all boundaries. His vocal practice, along with Khadka’s flute playing, brings new life to the gurukul, allowing Dhrupad to evolve while staying true to its roots.

The gurukul has also made efforts to take Dhrupad beyond Nepal’s borders. Bhattarai and his team have performed internationally, sharing this ancient art with a broader audience. They see the potential for Dhrupad to connect with people worldwide, especially in today’s fast-paced digital world.

“For the young generation, Dhrupad offers a unique opportunity to connect with music at a deeper level. It’s a practice that requires patience, focus, and time, but the rewards are tenfold,” says Bhattarai. 

The future vision for Dhrupad Gurukul includes expanding its outreach, collaborating with other traditional music forms, and promoting cultural tourism. Bhattarai hopes that Dhrupad will gain international recognition, much like jazz, which shares the same core value of improvisation. “We believe Dhrupad is the ‘jazz’ of ancient music—it has improvisation at its core, just like jazz, but with a deeper spiritual essence,” he says. “Dhrupad is not just about music, it’s a form of worship, a way to connect with the universe and with our own inner selves.”

In a world increasingly dominated by technology and digital distractions, Bhattarai sees Dhrupad as an antidote to the noise of modern life. It offers listeners an opportunity to connect deeply with themselves. “In today’s world, pure traditional music like Dhrupad gives us the space to reflect, to meditate, and to reconnect with our inner selves,” he says.

Bhattrai stresses on the importance of training, discipline, and connecting with both modern and traditional audiences. Badi, as a differently-abled student at the gurukul, is not only an inspiring example of the inclusivity of Dhrupad, but also a testament to the universal power of music. “Music transcends all barriers,” says Bhattarai, “We hope that through this work, more people, regardless of their backgrounds or abilities, can find peace and fulfillment through Dhrupad.”

By sharing the beauty of Dhrupad, both in Nepal and internationally, the gurukul hopes to inspire future generations to appreciate the richness and transformative power of classical music.

Winter means there is a certain dryness in the environment which leads to different health issues and problems. The dropping temperatures also makes you more prone to flu, allergies, and various other ailments. While everyone loves basking in the sun in the winter, no one likes being bundled up in layers of clothes and the bunch of issues that the season brings. ApEx spoke to four people to find out what they dislike about winter, how they deal with it, and what they think should be done at policy level to manage some of the environmental issues we face today.

Prasiddha Prajapati, 21

There is definitely more air pollution during the winter as it's the dry season and it’s worsening because of industrialization. There are more vehicles on the roads and what makes it worse is that the roads are dug up randomly and left in semi-constructed states which lead to a lot of debris and dust. Building constructions also add to the pollution. I think it can be minimized by the use of green nets to trap dust but that is seldom the case. If this continues, I fear it will be difficult for us to access clean air and water in the future. We are already being forced to wear masks and double boil and filter our tap water. I hope the government looks into this issue seriously and works on mitigating air pollution.

Rajin Khadka, 30

I think one of the main reasons for pollution in Kathmandu valley is deforestation. It seems to be worse in winter because it’s dry and also because people tend to light fires to keep themselves warm. There is also the issue of people burning waste in urban areas. I believe it will lead to many health issues if not corrected on time. As it is, respiratory problems, allergies, infections etc. are already on the rise. Older people and those with comorbidities are at grave risk and our government seems to be least bothered. It only springs to action when it’s already too late. I think we must take care of ourselves—get proper exercise, eat a balanced diet, and work on improving our immunity—if we want to stay healthy in the long run.  

Abhishek Bista, 37

The air pollution during the dry season makes me nostalgic of the times during my childhood, where there was less pollution and we used to spend our days playing outdoors. Now due to air pollution, it becomes very hard to breathe if you are out for a long time. On certain days, when the air quality is very bad, my eyes start to burn while riding my bike. Breathing polluted air on a regular basis has many negative effects on our bodies. Issues with the lungs and skin being one of them. Wearing masks and sunglasses are some of the ways in which I try to protect myself from air pollution but I fear these little things aren’t enough.

Ram Laxmi Lohala, 62

In winter it’s usually dry as there is little to no rain. And while that might come as a respite to many, in the light of the recent floods that wreaked havoc, it brings with it a different set of problems. Dry weather leaves us more prone to allergies and infections. It’s quite common for people to fall ill during the winter, and especially those who already have health issues face an even bigger risk. I believe drinking warm water, wearing proper clothes, keeping your homes well insulated, and watering the road outside your homes (if it’s dry and dusty) can go a long way in keeping you safe during winter. I’m also a big believer in getting your daily dose of vitamin D by sitting out in the sun—it can help prevent many issues.

Sumnima Setling calls herself ‘Amazumi’. The name is inspired by the Amazon rainforest and the struggles of the ‘Yanomami’ tribe and the way of the indigenous lifestyle. The name reflects the strength and connection to nature which is the foundation of her identity. “When I perform on stage, it feels like I have the whole world in my hands and the name is what gives me that energy or power,” she says.

Born in Hong Kong, she has been traveling to different countries for various purposes. After spending her formative years in Nepal and Hong Kong, she decided to study journalism in India. She was just 17. She explored storytelling through various mediums, gaining invaluable experience in the world of performance, theater, and visual storytelling that later shaped her career in music.

“My dad’s younger brother gifted me an electric guitar and encouraged my musical endeavors. I played in every school band, performed in plays, dances, karaoke contests and concerts,” she adds, explaining how she got interested in music.

When she was in England, she immersed herself in a vibrant community of musicians and rappers. The experience of participating in rap cyphers opened her eyes to the freedom of expression inherent in rap music—a stark contrast to the structured limitations she felt in journalism.

Her foray into Hip Hop happened in 2019 after being selected in De Nieuwe Lichting, a nationwide music competition in Belgium. The experience of performing on a stage previously graced by Kendrick Lamar solidified her passion for music. “I realized that through my art, I could channel my emotions, past, and cultural heritage into something powerful,” she says.

Amazumi’s musical style is a captivating blend of nu metal, and rap. Growing up, she was influenced by alternative rock, grunge and nu-metal, genres that reflect raw emotion and authenticity. “For people to truly grasp the weight behind a word like ‘Hangma’ (Queen in Limbu language), recognize lines from a Bhailini song (that I perform in an unreleased track) and feel the warmth and pride that I have experienced in Nepal hits differently,” she says.

Her music is characterized by aggressive sounds yet empathetic lyrics that demand a certain level of energy from her audience. Her performance often incorporates elements from her Nepali roots, with occasional Limbu and Nepali words that enhance the authenticity of her narratives.

Amazumi says her music is deeply personal, drawing from her life experiences, struggles, and triumphs. She channels her repressed feelings and emotional turmoil into her art, creating a powerful connection with her listeners. This emotional depth is particularly resonant in her performances, where she feels an almost transcendent connection to her audience, a feeling she describes as being ‘possessed’ by the music.

“Navigating the music industry as a woman presents unique challenges, particularly in a genre often dominated by male artists. I acknowledge that the struggle for recognition can be twice as difficult for women rappers, yet I believe that the quality of their music often surpasses expectations,” she says. “Women often don’t get paid on time and they don’t get paid enough which is another challenge.”

She confesses that initially her family was skeptical about her musical aspirations, viewing it as a mere hobby. However, their perspective has shifted as she began to establish her career. Today, her parents’ encouragement is a source of strength.

Her journey in music reached a pivotal moment when she performed in Nepal, where she felt a deep connection with her audience. The appreciation and recognition she received were transformative, solidifying her identity as an artist. Her lyrics, particularly in her native languages, creates an emotional bond with listeners, allowing her to reclaim her narrative and redefine success.

“I want my audience to feel like they can create their own identity and do whatever they want and follow the passion and utilize the freedom in music,” says Amazumi. She wants her audience to feel like they are being transported to a different world when they are at her concert.

Apart from her involvement in the music industry, she loves theater and wants to create a new platform for young girls who want to pursue rap music. Her journey, she says, isn’t just about personal expression. It’s a celebration of heritage, empowerment, and the transformative power of art. Drawing strength from her experiences across continents—from stories learnt of tribes fighting for their land and culture in the lush landscapes of the Amazon rainforest as well as her own native land of Yakthung people to the vibrant rhythms of Nepal and thriving artistic communities in Belgium—Amazumi’s music and storytelling have an authenticity that is unmatched.

In addition to her musical endeavors, Amazumi is committed to fostering a sense of community and empowerment among aspiring female artists. She co-organized the “God is a WOMAN” hip-hop festival in The wonderland, a celebration of all female talent that garnered significant support from the Embassy of Switzerland. This initiative not only showcased incredible female artists but also inspired young girls in Nepal to pursue their dreams in a male-dominated industry.

Amazumi’s dedication to her craft and community reflects her belief in the transformative power of music. She actively engages with her audience, sharing stories and experiences that resonate on a personal level, creating a safe space for dialogue and connection. Her journey, marked by resilience and passion, is a testament to the power of art in bridging divides and fostering understanding. Through her music, she not only shares her own experiences but also amplifies the voices of those who often go unheard.

As Amazumi continues to evolve as an artist, she remains deeply connected to her roots, drawing inspiration from her past while forging a path into the future. With each performance, she captivates audiences, reminding them of the beauty of authenticity and the importance of storytelling in our lives. Amazumi is poised to leave an indelible mark on the music industry, a true embodiment of strength, creativity, and cultural pride.

As Tihar approaches, vendors across Nepal face the challenges of rising costs and shifting consumer habits. This has led to economic uncertainty during this festive season. Shreya Shrestha of ApEx talked to three shop owners regarding their views on the present economic status.

Sonu Tamang, 28

I’ve been selling these flowers for two years, and it’s tough to care for them because they wither quickly. I’m a street vendor and I don’t have any equipment to keep them fresh so I have to get them from the dealer every day. There are many flowers in the market and the prices are considerably low yet customers continue to bargain, which can be disheartening. I normally sell flowers till the end of the Tihar because everyone needs them as they are needed in many rituals. These days people also grow their own flowers which means fewer customers.

Sandeep Khaitu, 39

We have been running a family business for nearly three years. There is no fixed number of sweets that we sell every year. It varies. People have different tastes and want different things. So its hard for us to decide what to focus on. The most popular sweets are rasbari, lal mohan, barfi, and laddu. But the ingredients required to make these sweets are becoming increasingly expensive, making it harder to sell them at prices that consumers might consider reasonable.

Nhiche Bahadur Prajapati, 72

My wife and I have been making things with clay for quite some time. We make diyo (traditional oil lamps) and many other household items out of clay. We are planning on making more diyos for Tihar because people use them during Laxmi Puja and Mha Puja. The raw material is quite expensive because we have to buy it from different vendors. Mud was once found locally but with so much construction going around, it’s difficult to source it these days. We have to raise the cost of our products accordingly and so now they are quite pricey. 

In 2017, Sajan Shrestha was working as a driver. By 2018, he had ventured into the world of stand-up comedy. A friend suggested he watch Kshitiz KC’s comedy and that opened his eyes to a new world, where jokes could change how you view things and even make someone’s day. “The idea of comedy, and its ability to resonate with people, fascinated me,” he says.

But stepping into the world of stand-up wasn’t as simple as it seemed. “I was really scared of crowds,” he says. “I almost decided not to do it but then I decided to give it a shot. That first show was amazing.”

His debut performance was a memorable one—a comedic exploration of the quirks of a ‘typical mom’. “Looking back at those early days, I’m a little embarrassed,” he says. “We didn’t know much about jokes or timing. We just went up there and cracked jokes about whatever came to mind.”

What started as a fear of crowds evolved into a love for the energy they bring. “I didn’t know it then, but those early shows were some of the best moments of my life. Now, I can’t imagine being anywhere else—there’s something powerful about connecting with an audience, sharing a laugh, and feeling their energy.”

A major turning point in Shrestha’s career came when he found himself torn between his passion for comedy and the reality of having to eke out a living. “Most comedians at the time were struggling with their finances,” he says, adding after a year of pursuing comedy, he started feeling guilty. There was no financial growth, and he was newly married. He began to question his decision and even considered going back to his old driving job. But despite the financial challenges, comedy still had a strong pull.

His breakthrough came when he started participating in Comedy Champion, which helped him gain recognition. Just when things seemed to be turning around, the pandemic lockdown happened. “I was completely hopeless,” he says. “With just Rs 20,000 in my account, I was feeling frustrated and lost.”

Then, he decided to start his own YouTube channel, a move that would eventually become a lifeline during the lockdown. He started creating reaction videos on the reality show ‘Blind Date’. It was something his wife suggested. This allowed him to build a solid online presence.

Determined to make his YouTube channel work, he started researching the equipment he would need to produce quality videos. He quickly learned about cameras, lights, and microphones—but the reality was that he had none of these. His only tool was an old mobile phone, one that was slow and struggled to capture clear footage.

Undeterred, he got creative and transformed a small room into a makeshift studio, using the window as his primary light source and a bent laptop as a tripod. For lighting, he dug into DIY tutorials and made a lamp using a cardboard box and a CFL bulb.

“The mobile was so old that I had to edit the videos by listening to the audio, because the video wouldn’t even play properly on that phone,” he says. Despite the limitations, Shrestha pushed forward, determined to make it work. Things began to look up when a friend gifted him a microphone on his birthday. “I was really happy and excited to finally have a proper mic. It felt like my setup was starting to come together,” he says.

One of the major challenges Shrestha faced early in his career was navigating the complex landscape of censorship. The freedom to express humor in Nepal was limited, and comedians often found themselves toeing a fine line. “Comedians were put in jail simply because of the type of comedy they performed,” he says. This environment created a sense of fear and caution, as comedians not only had to avoid offending people. They even received threats from those who took jokes too personally.

What was worse was that Shrestha and his fellow comedians had no mentors to guide them. They were forced to learn the ropes on their own, seeking inspiration from foreign and Indian comedians to understand what worked in the comedy scene. “The comedy that was popular in Nepal at the time wasn’t youth-centric. It was more politically driven,” he says. Watching international comedians gave them a broader perspective, and they began to carve out a new style—one that resonated with younger audiences and moved away from the heavy political satire that dominated the scene

His love for performing in front of a crowd grew with time. Stand-up is unique. It offers immediate audience feedback. Comedians face the pressure of eliciting laughter or risk having their jokes fall flat. The primary goal is to entertain and connect with the audience through humor. However, this dynamic can be tricky. “You never know how a joke will land. What makes one person laugh might offend someone else,” he says.

Stand-up performances are fleeting moments, meant to be experienced live, yet in today’s digital age, audience members often film and share these performances online. This creates an added layer of pressure, making it harder for comedians to experiment with new material. “I just wish everyone would be considerate and refrain from recording our sets,” he says, highlighting the need for a supportive atmosphere that allows comedians to explore their craft without the fear of permanent judgment.

He also started a podcast channel where he talks to people from the entertainment industry. This way, he has had the opportunity to connect with many people, and he’s begun to gain recognition in the community. He also launched a segment called ‘Bear the Dare’ where he visits different locations, poses tricky questions to strangers, and offers them a chance to win money. “It started as a backup plan, just in case the podcast didn’t work,” he says.

Shrestha admits he has a spontaneous approach to life. “I’m not someone who likes to plan. I believe not everything goes as planned, and that can be disappointing. Instead, I let life unfold naturally.” His journey is testament to the fact that stepping out of your comfort zone can lead to unexpected and rewarding transformations.

Dashain is here and there’s a festive feel in the air. But people ApEx spoke to confessed that it’s not the same anymore. We asked three people how things have changed and what they miss the most and here’s what they had to say. 

Shristika Prajapati, 19

Dashain has always been my favorite festival and getting to spend time with my family is the best part. I miss my brother as he is abroad and he won’t be coming home. I believe Dashain isn’t what it used to be several years ago. It’s changed and people have tweaked the rituals to fit their schedules. I miss the traditional feel of the festival. Many people don’t go to temples and conduct elaborate pujas anymore. Rather, it’s become an excuse to party and have fun without partaking in rituals that actually matter. 

Kusum Rimal, 57

I’m a religious person who enjoys performing puja and spending time with my family. During Dashain, I miss my family even more. My daughters live away from home and they won’t be able to come back and join in on the festivities. Dashain has lost its charm because it’s not about being with your family and friends anymore. Many youngsters these days don’t know why we celebrate Dashain. The older generation must ensure we pass on our traditions and stories so that they aren’t lost over time. 

Bhim Bahadur Tamang, 79

Dashain isn’t about pujas and rituals as it once used to be. It’s more about food and parties and meeting relatives. I guess that is okay too. But I wish we gave more importance to traditions and didn’t let them fade away. I fear that in the future, people won’t even go to put tika and take blessings from their relatives as they will be too preoccupied with their lives. Since most families are scattered around the world, the tradition is already on the decline.