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Sampada Malla is an estab­lished name in Nepali media and entertainment industry. She is the creator of “Drishyansha” nationwide mobile filmmaking competi­tion, as well as a journalist, writer, filmmaker and a board member of Sarwanam The­ater. She is as well known in India as she is in Nepal. Most notably, she wrote the screen­play for the popular Hindi tv serial ‘Ishq Ka Rang Safed’ that was broadcast in Colors TV. Malla was recently honored by Navaratna Award, given by the International Nepali Literary Society (INLS). Sabhyata Jha of APEX caught up with Malla this week for some insight into her life and work. How did your journey into the world of theater and films begin?

I grew up in an artistically stimulating environment. From a very young age, I would accompany my father to various events and I started doing radio shows and adver­tisements when I was in grade two and three. I started writ­ing when I was in grade five and have never looked back. I found my niche in writing and as I grew up, this pas­sion has taken different forms, spanning from journalism to writing screenplay. All of my seemingly scattered achieve­ments fall under the broad canopy of writing.

Would you say writing is your calling then?

Everybody in this world is born for something, is born with a purpose. When you discover your purpose your work becomes your motivation. I would like to think that I was born to write. Writing is like meditation to me. It is cathartic, as well as my passion.

You have worked on many Hindi soap operas. As someone who writes screenplays for them, don’t you think they are rather formulaic?

It happens due to extreme commercialization of the entertainment industry. Indian television shows cater to a specific audience and it produces what this section of population wants to see. At times, trying to be differ­ent goes against these mar­ket interests. Also, the sto­ryline tends to be similar to match the huge demand. As the operas are telecast every day, writers are under great pressure to constantly come up with new material. All of these take creativity out of the task but because of the sheer amount of money involved, this is what you will continue to get. It is very difficult to find your voice as a writer when you are bound by so many limitations. This is also one reason I left this work and returned to Nepal.

Having worked in enter­tainment industries of both India and Nepal, how would you evaluate Nepali entertainment industry?

After my return to Nepal, I have realized the potential of Nepali entertainment indus­try—TV, music and movie alike. We have the capability to be as good as, if not better than, the Indian entertainment media. We are now seeing the audience embrace Nepali movies and songs. We have multiplexes showing Nepali movies and Nepali songs get­ting over seventy million hits on YouTube. So I am positive about the prospect of Nepali entertainment industry and I believe that this, the present, is its golden age.

How is the entertainment industry in Nepal different to its Indian counterpart?

It is the diverse stories that we have and we can have. People want to hear these sto­ries and since we have started exploring these unique sto­ries, the market of Nepali movies has increased. So, we need to delve deeper into these stories.

Any suggestions for those who want to follow on your footsteps into the entertainment business?

I have said it before and I will say it again: everyone has a passion, something that you love to do. If you cannot fathom retirement from a task, pursue it. Find your pas­sion, make it your profession and be the best in whatever you do.

What’s next for Sampada Malla? What are you work­ing on right now?

Currently I am working on a Nepali horror feature film “Eka Deshma” starring Gauri Malla, Mithila Sharma, and Karma. I am the writer as well as the executive producer of this movie. It is going to be directed by Bhimshen Lama. I have other projects lined up as well but this is my primary focus right now.

Following the German tra­dition of one of the largest ‘Volksfests’ in the world, Kathmandu on Oct 27 held its own version of Oktober Beer Festival. The Annapurna Express was the main sponsor of the event that was jointly organized by lyf.cha, Basecamp Outdoor Lifestyle, and tourlyf. Beer and music lovers—both Nepalis and expats—converged at Tangalwood on the sunny Sat­urday afternoon to taste over 50 varieties of beer as well as groove to the tunes of live bands and DJs.

The event, the second for the organizers, saw an unexpected turnout, especially of foreigners. There were so many people there to witness live music and play beer games, all-day-long, that the organizers were overwhelmed. They plan an even bigger event next year.

In Hindu mythology cow rep­resents Laxmi, the goddess of wealth. Thus, during Laxmi puja, the third day of the ‘festival of lights’ or Tihar, there is a tradition of wor­shipping cows. On the fourth day, the Hindus worship oxen, which are representation of the Goverdhan mountain that Lord Krishna lifted to protect his devotees from incessant rains. But while oxen worship has always been limited, people used to enthusiastically worship the cow on the third day. The cows were gar­landed and offered Tihar delicacies like sel and anarsa. But cow worship is a dying tradi­tion in urban areas. In rapidly urban­izing regions like Kathmandu, there is no place for cowsheds, save for a few pocket areas like Kapan and the banks of Bagmati river. People these days also seem to have no patience to go out in search of cows to worship, especially when they are dog-tired cleaning their homes during Tihar.

According to Prem Katuwal, who has been rearing cows in Kathmandu for the past 15 years, there has been a marked drop in the number of people who visit his shed to worship the cows on the third day of Tihar.

“I would say over the past 10 years there has been an approximate 75 percent drop,” he says. He also says that lack of cowsheds and exhaustion are just excuses. “In my village, peo­ple still worship cows with the same reverence that their forefathers had. But here in the city, people are either too lazy or too hesitant to come near these animals that in their reckoning smell.” He also reports that mostly it is the Brahmins and Chhetris who have given up this age-old tradition, but that the indigenous Newar com­munity has not.

However, it is not necessary to visit cowsheds or to endure cattle smell to worship cows. “On Gai Tihar, the cow rearers bring cows that have been properly washed to our neigh­borhood,” says Kanchan Acharya, a resident of Thapathali. “In fact, the same cows that we worship are taken as far as Pulchowk. Frankly, the real devotees should not have much of a problem finding cows.”