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The Nepal-India Inter-Governmental Committee (IGC) has made a detailed review of all areas of bilateral trade and economic relations. The IGC is a bilateral mechanism aimed at strengthening trade and business relations between the two countries.

The meeting of the IGC related to trade, transit and cooperation to control unauthorized trade was held in Kathmandu on January 10 and 11.

The agenda included review of transit treaty and trade treaty including electrification of Raxaul-Birgunj railway line, proposed amendments to existing agreements, coordination of norms and gradual development of trade infrastructure. The two sides also reviewed issues related to mutual market access, IPR and taxes.

In the meeting, the Indian side informed that Nepal's request for supply of 200,000 metric tonnes of wheat has been approved.

The Nepali side thanked the Indian side for its continued support in ensuring the supply of essential commodities to Nepal.

At the request of the Nepali side, the Indian side has agreed that in the case of cargo-in-transit in Kakarbhitta (Nepal)-Banglabandh (Bangladesh) via Phulbari (India) route, the maximum axle weight of 18.5 tonnes for two-axle vehicles and 28 tonnes for three-axle vehicles can also be applied in the case of Nepali vehicles as per the prevailing regulations of the Ministry of Road Transport and Highways.

Responding to the request of the Nepali side, the Indian side informed that Sal (Shorea robusta) seeds and squash have been included in India's plant quarantine order.

Requests for inclusion of Jatamsi-root extract, Fragrant Kokila Berry extract, Fragrant Rhizome extract and Timur Berry extract in the list of processed products have also been accepted.

At the request of the Indian side, the Nepali side said that it was positive to review the documents related to reclassification of products such as 'IPAQE 28' in its technical system.

The Indian side briefed about the problems seen in the export of milk to Nepal. The Nepali side has agreed to positively consider the Indian side's request for milk products, including mohi (whey), cheese, which are not produced in sufficient quantities in Nepal.

The meeting welcomed the bilateral initiatives aimed at strengthening uninterrupted inter-country connectivity between India and Nepal through construction of new integrated check posts and railway links, among others.

The two sides expressed their commitment to advance bilateral connectivity, reflecting the shared vision of prosperous bilateral trade.

The two sides have agreed to form a joint working group to discuss the online approval with Nepal and the South Asian Free Trade Area (SAFTA).

Secretary at the Ministry of Industry, Commerce and Supplies Govinda Bahadur Karki led the Nepali delegation to the meeting.

Similarly, the Indian delegation was led by Sunil Barthwal, Commerce Secretary at the Ministry of Commerce of India in the meeting attended by senior officials from the Embassy of India in Kathmandu and various ministries.

A joint secretary-level inter-governmental sub-committee (IGSC) meeting on trade, transit and cooperation to control unauthorized trade was held in Kathmandu from January 12 and 13, 2024.

More than 110,000 adolescent girls of Kathmandu district would be vaccinated with 'Human Papillomavirus' (HPV) vaccine against cervical cancer.

At a program organized by the Public Health Office, Kathmandu, on Sunday, senior public health administrator Satish Bista shared that 110,263 girls aged 10-14 of 11 local levels of Kathmandu district would get HPV vaccine against cervical cancer.

A total of 97,540 girl students from Grade 6-10 as well as 12,723 girls between 10-14 years, who are out of school, would be vaccinated.

The vaccine would be administered through 1,101 schools and 146 other vaccination centres.

Total 2,412 health workers would be deputed for vaccination campaign in Kathmandu district. It would run from February 5-18.

Chief of the Public Health Office, Kathmandu, Basanta Adhikari, said activities are underway by forming vaccination committee under coordination of Mayor and chairperson in municipalities to run the campaign successfully.

The government is launching a vaccination campaign against cervical cancer targeting 1.688 million adolescent girls between 10-14 years from Grade 6-10 across the country.

The bird census conducted in the wetlands in eastern Chitwan has concluded with the recordings of the presence of 55 species.

The census was held in collaboration with the Bird Education Society and Nepalese Ornithological Union on January 6-7.

This time, two more species of birds:  Kalo Tauke Ganga Chil (Black-headed Gull) and Raja Gangachil (Pallas's Gull) were found here, according to Bird Education Society's education coordinator ornithologist Basu Bidari.

The census was conducted along the area from Lothar to Darai Botetal, from Gaidhawa (Jindagani Ghat) to Saurahaghat, Saurahaghat to Kasara Bridge, Tamor Lake, Lami Lake, Bish Hajari Lake, Bhandara Machhapokhare, Budhi Rapti Dhungare river and Patana Lake.

A total of 7,150 birds were traced during the census and among them, 4107 were ruddy shelducks.

Comparatively this time, the population of shelducks has slightly decreased as they numbered 4,304 last year. 

Increasing pollution, water-base extractions and increasing human movement and encroachment have been noticed as growing threats to birds' habitats.

In areas where pollution is less, relatively more birds have been found. 

The Society has been conducting the census of birds since 1987. The census of aquatic birds takes place in 35 countries in East Asia, including in Nepal, in January.

So far, 652 species of birds have been recorded in Chitwan and this year 159 species have been traced while the species of bird dependent on water is 55.

“I’m in love with Kathak,” said dancer Subima Shrestha, who began teaching the dance form at Nritya Aangan in 2009. Kathak, rooted in Sanskrit, is derived from the phrase, ‘Katha Kahe so Kathak Kehelawe’ in Hindi, which translates to ‘the one who tells a story is a Kathak.’ It’s one of the simplest forms of storytelling, historically performed by communities like the Banjara in Northern India, who were believed to belong to a caste of storytellers. These performers narrated tales across different regions, embedding cultural and spiritual narratives in their art.

Shrestha explains that Kathak evolved as a medium of devotion, recounting mythological tales of deities like Ram and Sita. Over time, during the Mughal era, it became an expression of aestheticism, with its graceful movements transitioning into a form of courtly entertainment. However, under British rule, Kathak was suppressed and nearly vanished from practice.

After independence, Kathak had a resurgence. Shrestha recalls learning about Kathak’s rich history which, she says, deepened her respect and love for the dance form. “Kathak isn’t just a dance form for me. There’s a love there I can’t describe,” she says.

She was a teenager when she joined a Kathak class at Padma Kanya Campus in Kathmandu, Nepal. Though her memories of her initial experiences are hazy, she vividly remembers meeting her teacher, Guru Honey Shrestha, who became a significant influence. He not only nurtured her talent but also encouraged her to pursue professional dance education in India, which was a turning point in her Kathak journey.

During her early years as a student in India, she also taught Kathak as a private tutor to support herself. Reflecting on her time there, Subima observes a stark difference in the foundational understanding of Kathak between India and Nepal. “The basic level we learn here in Nepal is already inherent knowledge for most students in India,” she says. To illustrate, she offers a culinary analogy: “Just as Nepalis are experts in making diverse varieties of momo, Indians have a deeper understanding of Kathak.”

She also admires the discipline and ideology that she found more prevalent in India, essential traits for mastering Kathak. “The most important aspect is to feel and give your best through your heart and body and to live with it,” she says. This philosophy, she adds, is the cornerstone of not just learning Kathak but embodying it as a way of life.

Recalling her first performance before formally joining a Kathak class, Shrestha shares a cherished memory of dancing on the show ‘Pratibha Ko Dabali’. The program, which aired on Nepal Television in 1989 showcasing a variety of talents, had been a dream platform for her.

She recollects how her parents had signed her up for the performance, celebrating her passion for dance. “They even had my costume ready,” she says, still amazed at how everything fell into place, though she had no idea where the outfit came from. That moment—her debut performance—remains one of her happiest memories. It’s a vivid reminder of the joy and encouragement she received from her family.

Traditionally, Kathak is a storytelling dance form centered on divine tales, but Shrestha had difficulties envisioning the gods while following the steps her guru taught her. Initially, this made it difficult for her to connect deeply with Kathak. But soon she began to reinterpret Kathak in her own unique way, focusing on human stories and real-life issues. “I still find it hard to imagine gods while dancing. I have to force myself to do it where necessary,” she admits.

But Kathak is a competitive space. Your biggest competition is you, says Shrestha. The dance form demands a lot of physical, mental, and emotional involvement. “One thing you should never do, as a dancer and otherwise, is compare yourself and your progress with others.”

Kathak, she says, has reshaped how she thinks of herself and views the world around her. “Engaging in any form of art—whether drawing, singing, or any other creative expression—is essential because art has always been an integral part of our lives. It’s not just a choice but a fundamental right, enriching our existence and fostering self-expression. Everyone should embrace some form of art for a meaningful and fulfilling life,” she says. 

Reflecting on her past, she admits that she feels a sense of sadness and guilt. “If I could go back, I would have practiced more,” she says. She recognizes there is still a lot of room for growth and improvement. Looking ahead, she has a clear vision of where she wants to be and is actively working towards it, though there is a fair bit of worry and doubt of whether she is approaching things the right way. 

Despite having regrets of missed opportunities in the past, she embraces her journey with hope and resolve. With a clear vision for the future, she remains committed to her growth, navigating challenges with determination and an unwavering belief in her potential.