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It takes a lot for a small business like Kasthamandap Bhandar in Maru Chowk to be continuously in opera­tion for nearly 60 years. This Maari Pasal that sells Nepali and Newari sweets bustles with customers in the morning. The smell of warm sel roti (traditional sweet, ring-shaped bread) greets you as you enter. “This is our fam­ily business, which used to be run by our grandfather,” says Gambir Rajkarnikar, the current proprietor. “Though we sell many kinds of sweets, our focus is on sel and malpuwa.” Their sel is so popular that people from as far as Dakshinkali and Thankot come to get them.

“Usually, we prepare sel using mainly wheat and rice flour, from 6:30 am to 10 am in the morning,” he says. The great­er availability of new products in the market such as cookies and biscuits has hampered the sales of traditional food like sel, malpuwa and gwaramari (round bread). “Not so much though,” informs Rajkarnikar. “Because sel is a cultural food, its value is intact,” he asserts. Especially during the Newari Mha Pooja, sales are high as its use is mandatory for making mandaps. Also, those who visit different homes singing Deusi and Bhailo during Tihar are traditionally greeted with sel, sweets and money.

With Tihar approaching, business is in full swing. “Compared to other times, the sales of sel increases by 60-70 percent during Tihar. We are planning to make sel from around 6 am to 5 pm, every day, during the festival. We want it to be fresh and because we never keep stock, we need to keep making it round the clock,” he informs. Sel costs Rs 10 apiece at the store but during Tihar, they increase its size and sell it at Rs 20-Rs 40. “We can make sel as big as the customers want,” Rajkarnikar says.

Many people used to make sel at home. But they have perhaps realized, he says, that the time and money involved in making it is just not worth it and so they prefer to purchase. “But in some houses, they still make sel at home as they want it to be ‘pure’ for pooja,” he reveals.

The market of sweets in Kathmandu is changing. A lot of people have entered this business and sel is now even sold commercially in department stores such as Bhat-Bhateni. “We are not competing against other similar businesses though,” Rajkarnikar adds. “We focus on our own product. People know they can have freshly prepared sel here so sales remain robust.”

Tihar is never complete with­out homemade ‘sel rotis’ and ‘phinis’ among other assort­ed desserts. It’s true that we today can easily procure them, ready­made, from one of the stores. Yet there can surely be no substitute for cooking them, fresh, in our own kitchen. APEX caught up with Chef Sandeep Khatri, also known as Pak Shastri, to get some tips. With 20-plus years of experi­ence in food experimentation, Khatri brings you contemporized versions of the traditional bread-based delicacies—exclusively for APEX.

First, a little info about the chef. Khatri learned culinary arts in Europe and he has travelled the world, learning, practicing and mastering his skills. Khatri is also an educator and founder of the Global Nepalese Chef Forum, which is working in collaboration with Global Chefs to make Nepali food popular around the world. His recent venture, Ka’ffi Global Catering, specializes in catering to the Nepali movie industry.

Sel Roti

(Authentic crispy rice donuts, coated with dark chocolate and coconut powder)

Sel roti is made in such a way that it will not go bad for months. Nor will it get fungus as it is deep-fried. It actually tastes better the next day, at least to some peo­ple. The sel roti is like an arti­san’s baguette or other Europe­an bread which they make and store to consume for days and months. That’s the reason they ferment the dough. Sel roti was historically the staple for travel­ers who walked up to Tibet for days to trade salt. Here we offer a lip-smacking version of it, sel 2.0 if you will.

Preparation Time: 3 hrs

Cooking time: 15 mins

Batch: 15 each

Ingredients

• Rice flour: 800 gm soaked for at least one hour

• Regular flour: 300 gm (Mixed well with rice flour in a batter, just as in pancake)

• Sugar: As per taste (Standard will be 10 tablespoons)

• Coconut powder: 1 cup

• Chocolate block: 1 cup (Micro­wave it to melt)

• Sesame seeds: Handful

• Water: 6 to 8 cups

• Baking powder: 1 teaspoon

• Spices like cinnamon powder, cardamom and vanilla are optional (for a tangy twist)

• Chocolate syrup

• Ice cream: The best would be vanilla but you can get a flavor of your choice

• Dry fruits: Crushed, to sprinkle on top

• Mint leaves for garnishing

Method

• Take a mixing bowl and add both rice and regular flours. Pour water gradually

• Add sugar and keep mixing, adding more water

• Dip the spoon and run your fingers on the back of it. The paste should be no more than 1 cm thick

• Then add the spices of your choice

• Again add sug­ar to ensure it is up to your taste

• S p r i n k l e some white s e s a m e seeds

• Let the mixture then ferment for three hours to get a nice texture

• Add baking powder (optional, and to be used only if you want to get fluffy sel rotis)

• In a deep pan, heat oil. It should be enough to submerge the dough

• Take a mineral water bottle and cut it in half. Use the neck part of the bottle to give your sel rotis a consistent, circular shape

• Put the dough in the half-cut bottle and pour it in the heated oil, in a circular shape

• Use a wooden stick or ladle to turn the sel roti

• Once it is golden brown, remove the roti from the pan

Time for the twist now

• Soak one side of the sel roti with melted chocolate on a serving plate

• Sprinkle some coconut powder and Gems chocolates on top

• Once the melted chocolate dries, top it up with vanilla ice-cream and pour some chocolate sauce

• Enjoy your contemporary sel roti

Phini Roti

(Nepali puff layered bread, with spinach and beet-root)

Preparation Time: 1 day

Cooking time: 30 mins

Batch: 15 each

Ingredients

Regular flour: 500 gm

Rice flour: 500 gm

Clarified butter (Ghee): 1 cup

Water: 3 to 5 cups

Beetroot: Bake or boil one medi­um-sized beetroot. Mash it up in a blender and let the water drain so that just the chunks remain

Spinach juice: Blanch a few spin­ach leaves and make puree in the blender

Method

• Add the spinach puree into regu­lar flour to make soft dough

• Add clarified butter/ghee with the rice flour and mix well to get your ‘satho’ ready

• Once the dough is ready, oil a flat, hard surface (maybe the marble in your kitchen or a sturdy chopping board) and roll the dough into a square, thin surface

• Add the mix of ‘satho’ on top

• Add some chunks of beet root

• Roll the dough from one side, just like you would roll a news­paper

• Once the roll is ready, cut the dough evenly into small sizes

• Roll the small cut-outs into square or round shapes. Don’t flip the phini while rolling, unlike you would do to normal roti

• Once rolled into the shapes you want, make at least 2/3 small cuts in the center of your phini so that they don’t get too puffed up while frying

• Fry the phini in a deep pan, just like you would the sel roti

• But do not flip the phini while frying. Use a ladle to pour hot oil on top of the phini while frying

The spinach and beet-root will give exotic colors to your regular phinis. Feel free to exper­iment with the sizes, shapes and presentation.

Print and social media are flooded with news of the international and local artists who are congregat­ing in Kathmandu this week for Nepal’s own jazz festival. We are all excited to see on stage artists coming from around the world. But what about those working in the background? As the audience we rarely acknowledge the technicians, so let’s address this now. I first met Daniel (Danlo) Laurent in 2014 when I myself was one of those invisible vol­unteers helping Jazzmandu run smoothly. Born in Swit­zerland, Laurent studied elec­tronics and music, beginning his career in small clubs and recording rock bands. Accord­ing to him, life was intense then: handling the sound at big festivals, and for interna­tional bands on tour. Aside from work, philosophy and travel are his passions. So per­haps these, and his love of Asia, drew him to Jazzmandu, where he has been the main sound technician for the past nine years. Like me, he saw an advert for volunteers and thought it would be ‘interest­ing’. Unlike me, what Laurent brings to the table is three decades of experience, in 40 countries, recording over 150 albums, having his own recording studios, and work­ing at such festivals as Cully Jazz and Montreux Jazz.

How does Jazzmandu com­pare to the likes of these Euro­pean festivals? “Jazzmandu is unique because it is more than a jazz festival: it is a state of mind with energies that cannot be found anywhere else. The artists are gener­ally very touched by their participation for that reason. It took me a while to under­stand how things work in Nepal, but little by little things dropped into place and I feel we can be satisfied with the progress the festival has made over the years.”

Why, after so many years, is he still drawn to Nepal? Laurent replies, “Coming to Nepal and Jazzmandu is a human adventure which I would like to continue for the foreseeable future. And, there are still things I would like to see improved so that this festival can grow and evolve even more. I remember my very first day at Jazzmandu; actually there are so many memorable moments from the past years. Crazy jam ses­sions at Gokarna, intense and magical moments at Kantipur Temple House… too many to mention,” he laughs.

And what about those tense moments when things go wrong? “Of course we have faced hardships. The most radical were those long power cuts. Now everything is on battery. Overall, my main fear is communication problems between the stage and the control room. My wish? If I could have one, it would be for me to give back to Nepal as much as Nepal has given me in terms of inspiration and joy.” And what does he look forward to the most this year? “If I have to say just one thing, I would say the audience reac­tion—here are always so warm and appreciative,” he reflects.

Jazzmandu is spread over many venues and obviously each must have its own chal­lenges. “Yes, each place has its own particular identity. The main challenge is to guarantee a linear and homogeneous sound to all the audience, regardless of where they are sitting. I would say Kantipur Temple Hotel is one of the most interesting because it is possible to mix natural and amplified sounds. The most difficult is probably the Yak and Yeti Hotel because of the sound reflection on the buildings at the side of the stage. Overall, in each venue, I would love a little more time to get things right; to improve the monitoring manage­ment of the sound on stage,” answers Laurent.

So this year, when you go along to Jazzmandu, look out for the guy behind the sound­board with the look of high concentration on his face. Without him those on the stage would be mere shadows of their talented selves!

Jazzmandu runs from November 1-6 at different ven­ues around the valley.

 “It started in 2012,” says 30-year-old Sunil Pahadi, a bass play­er who is currently living and working in Yinchuan city of the Ningxia Hui Autonomous Region of China. “We were playing as ‘The Critics’ at a bar in Thamel when a Chinese man appeared and told us he liked our music. His English was limited so the conversation didn’t go anywhere.” The band members had forgotten about the meeting when the same person appeared again after a few days, this time with a British friend. “The British guy became the mediator and through him we learnt that the Chinese man was the boss of a famous Chinese chain of restaurants which featured live music. He offered us jobs as musicians but we were rather skeptical. We gave a half-hearted response but he continued to follow up through emails, even from China. The company finally sent us formal job offers. We then got our visas, took the ‘no objection’ letter from the Labor Ministry and landed in China in 2013.”

The process was not easy though, Pahadi says. Getting the approval of the Department of Foreign Employ­ment (under the Labor Ministry) was tricky as China rarely issued working visas for Nepalis, and cer­tainly not to musicians. But Pahadi says the initial struggle has proven to be “well worth it”.

Working in China as musicians is a lot easier than doing so in Nepal, the China-based Nepali musicians we talked to tell us. On an average, a Nepali musician’s monthly earnings starts at around 5,000 RMB (roughly Rs 90,000), far more than what they make playing in Kathmandu’s pubs. All traveling expenses are covered by the sponsoring Chinese pubs, which also provide free accommo­dation and meals to the musicians.

“The standard of life is high while the cost of living is low. So we get to save as much as we like,” says Bishesh Bhandari, 29, who went to China in 2014. Initially hired as a bass player, Bhandari sings and plays guitars with his Nepali band­mates, also in Yinchuan city. Before leaving for China, Bhandari had spent 10 years playing in the pub circuit in Thamel, barely making a living out of it. “But right now I am saving and sending home decent money. Although the work is not as fun as in Kathmandu, it is easy. Life is chilled in China,” says Bhan­dari, who is currently traveling on vacation, travelling different cities in China.

Saroj Bardewa, a 28-year-old keyboard player, corroborates Bhandari’s words. Bardewa has been in China for two years. After working with Nepali musicians for a year, he joined a multinational ensemble which performs at a pop­ular bar in Shenzhen city of Guang­dong province. “The guys here are having a lot of fun,” he says. “Some have taken Chinese wives while oth­ers have Chinese girlfriends. I might soon get married to my Chinese girlfriend as well.”

Foreigners in China enjoy special hospitality, Bardewa claims, and it is this hospitality coupled with decent pay that is luring talented musicians away from Nepal. In fact, China is a home to musicians from all over the world, Bardewa says. “There are Nepali musicians who’re making up to Rs 250,000 a month in other cities,” he adds. “The bigger the city, the more the pay”. Accord­ing to him, generally, local Chinese musicians are the highest paid, fol­lowed by the ‘white faces’ (read: Europeans and Americans)—and they get to perform in all the big cities. The remuneration for the Nepali musicians, who are mostly based in smaller cities, is compara­bly lower, yet still respectable. “It has gotten progressively easier for Nepali musicians to work in China as most of those who have come from Nepal have been able to impress their Chinese bosses with their hard work and ability. Nepali musicians have thus come to be highly valued,” Bardewa says.

In the reckoning of Pahadi, the bass player, about 30-35 Nepali musicians are currently working in China, mainly in and around Yinch­uan city. “Our biggest competitors here are the Filipinos who preceded us and are somewhat more profes­sional. But we’re also getting there.”

In terms of music, Nepali musi­cians perform contemporary English songs and also play backing music for Chinese singers. The work­ing hours are usually 9 to 12 every night, with breaks in between. They get two off days a week, in addi­tion to 20-30 days of annual leave. No wonder so many Nepali musi­cians have made their way north, including popular names like Somea Baraili from “Jaalma” fame. Among the more recent ones to do so is 26-year-old Preety Manandhar, a popular name in Kathmandu’s live music scene.

“I came here only a few months ago,” she says. “I was selected directly by a Chinese bar owner who saw me perform live in Kath­mandu and invited me to come play in China.” Manandhar says she makes around 6000-7000 RMB (Rs 100,000-118,000) a month and is content with her life in Yinchuan city. “It is easy here,” she says. “I get to sing what I like, to work with amazing musicians. Moreover, it is completely safe to work as female singers here.”

The musicians working in China are proud that their skills, underrat­ed in their own country, are being appreciated and amply rewarded abroad. Some see this as a long-term career move while others see it as a stepping stone to a more successful career in music.

“This is so much better than going to the Gulf for employment,” says Bardewa, who has already worked as a salesman in Dubai before his China stint. “I now work in a big company that has over 500 bars around China. It’s like plying in the Chinese version of the Hard Rock Café”.