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Rajani Shrestha, born in 1981 in Jhapa, Nepal, has carved a unique place for herself in the world of bodybuilding. Her journey from a woman with no knowledge of bodybuilding to becoming an inspiration for many is a testament to her resilience, determination, and passion for health and fitness. However, her journey wasn’t an easy one. It was shaped by unexpected challenges, health issues, societal criticism, and a profound love for fitness that transformed her life.

Shrestha was born and raised in Jhapa in eastern Nepal. She lived a normal life, focusing on family, work, and other daily responsibilities. The idea of working out or engaging in any form of physical transformation didn’t cross her mind until much later in life. However, everything changed when she had a health scare at 32.

She developed a series of troubling symptoms, including 25 to 30 knots in her throat, which were later suspected to be signs of cancer. After consulting several doctors in both Nepal and India, the diagnosis didn’t look good. Many doctors feared the worst, and cancer was high on the list of potential diagnoses. It was a terrifying and uncertain time in her life.

Then her husband encouraged her to work out. At first, the idea seemed ludicrous. She was sick, exhausted, and overwhelmed by the uncertainty of her medical condition. But her husband, who has always been her pillar of support, gently persuaded her to go to the gym.

“Even though I was sick and in a bad phase of my life, my husband told me that getting fit physically and working out could help me. He got me enrolled in the gym, and that’s where everything started,” says Shrestha.

Slowly, working out began to have a remarkable effect on her. Not only did she start feeling better physically, but her health also began to improve. After years of consistent exercise and determination, Shrestha’s health improved. The transformation was nothing short of miraculous, both physically and emotionally.

Her newfound passion for fitness didn’t end with recovery. She worked out more and as she saw her body’s structure change, she became interested in the idea of bodybuilding. This was not an easy decision to make, as bodybuilding in Nepal, especially for women, was not widely accepted at the time. She began to explore bodybuilding in 2016, and it quickly became a significant part of her life.

As a female bodybuilder, Shrestha faced intense societal criticism. “When I just started, it was compulsory to wear a two-piece outfit at the gym and for games. My family and relatives were against it,” she says. “But my husband was my biggest supporter. He motivated me and gave me the strength to continue.”

So, she dedicated herself to bodybuilding, working relentlessly to build muscle and strength. “For women, it’s much harder to build muscle mass. People criticize a lot when a woman starts gaining muscle,” she explains. “They say, ‘Is this a girl or a boy?’ or ‘Your body doesn’t suit you. You should be soft and have a small body.’”

But Shrestha understood that people’s criticisms stemmed from a lack of understanding of bodybuilding, especially for women. Over time, she became more confident in her decisions and started pushing back against the norms. “Now, people are more accepting of women in bodybuilding,” she says. “There’s still some criticism, but it’s getting better.”

Her journey was not solitary. Her husband, who had always been her rock, played an instrumental role in her success. He not only supported her emotionally but also went against societal norms to help her pursue her dream. Together, they worked hard to achieve her goals, even opening a shop to sustain their livelihood. They also both went to the gym every day, making fitness a shared experience.

Her family, initially unsupportive, gradually came around. Despite the challenges of managing both her family life and bodybuilding career, she made it a priority to balance her personal life with her commitment to fitness. “I want to make sure I give enough time to my family and not make tournaments my only focus,” she says.

Shrestha follows a simple yet healthy diet to maintain her physique. “I prefer eating home cooked meals and I avoid oily food. We mostly use ghee. I also don’t use a lot of spices. When I’m preparing for a competition, I eat mostly boiled food,” she says. 

Supplements are also very important, she says, adding it must be consumed in moderation. “We need to have different multivitamin and fish oil for ligaments and joints. I usually have glutamine because it helps and supports my muscles and prevents my muscles and joints from hurting,” she says.

She competes in the men’s bodybuilding category, where the focus is on building muscle mass and gaining size. “In bodybuilding, some people focus on physique and shape, while others, like me, aim for muscle mass and strength,” she says. “There are also categories like model physique, where the focus is on a smaller body with no muscle mass.”

Her first major international achievement came in 2019, when she won a competition in Indonesia. “I was so happy to stand there and represent Nepal. I can’t explain how I felt. It was like I was fulfilling my purpose,” she says.

However, her journey has not been without sacrifices. In 2013, Shrestha was unable to participate in a competition in South Korea because she didn’t get a visa. It was a bitter disappointment that still lingers with her.

Bodybuilding is an expensive sport, especially in Nepal, where there is limited government support for athletes. She has borne most of the financial burden herself. “It costs a lot, especially when preparing for international competitions. This time, I spent more than Rs 10,00,000  and we had no help from the government,” she says.

Shrestha hopes that in the future, there will be more support for athletes like her. She envisions a time when the government will provide financial assistance to sportspersons. “I hope that in the coming years, we will receive financial support, just like athletes from other countries,” she says.

Throughout her journey, she has learned the value of patience and perseverance. “In bodybuilding, timing is everything. You can’t just start whenever you want. Everything has to be planned and executed with discipline,” she says.

Her advice to others is simple yet powerful, “There is nothing stopping you from pursuing your passion. If I can continue at 44, anyone can.”

Reflecting on her journey, she wishes she had started earlier. “I regret not starting bodybuilding before I had health issues. But at least I’m here now, and I’ve made a difference in my life,” she says. She encourages everyone to dedicate at least an hour to their fitness and well-being every day. “If you take care of your health and fitness, you won’t fall sick,” she says.

Her journey is a powerful reminder that transformation is possible, even in the face of adversity. Through hard work and passion for bodybuilding, she has become not only a symbol of strength but also a role model for many, proving that age, gender, or society’s expectations should never limit one’s potential.

Sheroes is a jazz band that has not only made its mark in the global music scene but has also reshaped the perception of women in jazz. Formed in 2014, the band’s debut performance in Kathmandu happened at Jazzmandu in October this year. It quickly became known for its electrifying live performances, innovative compositions, and powerful music. The band’s name, ‘Sheroes’, is a declaration of empowerment, inspired by the word ‘heroes’ and the strength of women who have been underrepresented in jazz.

Jazz, an art form known for its improvisation and constant evolution, has traditionally been a male-dominated genre. Sheroes is changing this narrative by celebrating female empowerment through its music, which breaks boundaries and challenges the stereotypes surrounding women in jazz. The band includes Jamie Baum, a flute player, Reut Rege, a trombone player, Monika Herzig, a pianist, Gina Schwarz,  on bass, and Rosa Avila as the drummer. 

The concept of Sheroes emerged from a desire to create something revolutionary. The band’s founding member Herzig wanted to forge a path that highlighted female talent in a male-centric world. The formation of the band in 2014 was more about taking a stand. The name itself, Sheroes, was chosen to honor the often overlooked contributions of women in the world of jazz, while also acknowledging the challenges they face.

For female musicians, there’s often an inherent challenge that goes beyond the music itself. In a genre where virtuosity and power are highly valued, women are still, at times, expected to prove themselves in ways their male counterparts do not. Sheroes confront this stereotype head-on. With every performance, they deliver an unexpected, powerful sound that defies expectations. Herzig says audiences are often left astonished by the depth and energy of the music, with many commenting, “We weren’t expecting such powerful music from you,” or “If I close my eyes, I wouldn’t even know it’s a female band.” These reactions underscore how Sheroes constantly redefines the limits of what people expect from women in jazz.

Sheroes draws deep inspiration from some of the most innovative and influential women in jazz history. Carla Bley, a revolutionary jazz composer, Geri Allen, a pianist and composer, and Mary Lou William, jazz pianist serve as key influences on the band’s sound. Their work in pushing the boundaries of jazz is a guiding force for Sheroes. Herzig, who is known for blending various styles and traditions into jazz, has also been a significant influence on Sheroes, allowing the band to develop its own distinctive voice. 

One of the core philosophies of Sheroes is that jazz is a living, breathing art form—constantly evolving and never fixed. “For the band, each performance is an opportunity to create something new. Jazz, unlike other genres, has no rigid aesthetic. It’s about spontaneity and response,” says Herzig. The musicians involved in Sheroes understand this deeply, using each performance to interact with the audience, the environment, and the energy in the room. Every note is shaped by the moment, creating a unique and unpredictable experience for the audience.

This emphasis on improvisation and fluidity is a hallmark of Sheroes’ performances. Whether they are playing in an intimate venue or a grand concert hall, the band’s music always feels fresh, driven by an energy that is palpable and electric. The connection between the players and the audience creates an atmosphere that makes every concert a shared journey, one that can never be replicated. 

Sheroes’ influence is spreading far beyond the stage. Since its formation, the band has been performing across the globe, captivating audiences with their energy and groundbreaking sound. Their tours, which take place twice a year, have introduced Sheroes to international audiences, allowing the band to share their unique blend of jazz with fans worldwide. 

The band’s first album, released shortly after their debut performance in 2014, was just the beginning of their journey. Since then, they have released four albums, with their most recent project, ‘All In Good Time’, produced by jazz legend Lenny White, reaching the Top 40 on the US JazzWeek Radio charts.

Sheroes’ success is not just about their music but also about the messages they impart with each performance. Through their groundbreaking work, Sheroes is inspiring the next generation of female musicians to step up and break down the barriers that still exist in the world of jazz.

At the heart of Sheroes is a powerful message of empowerment—If you love music, go for it. This message is one of defiance against fear and limitation, encouraging women to pursue their passion, no matter the obstacles. The band exemplifies the idea that there is always room to break through barriers, create something powerful, and make a lasting impact. They prove that the stage is not limited by gender, and that women are just as capable of shaping the future of jazz as anyone else.

Sheroes isn’t just a band, it’s a movement and a force of nature within the jazz world. By combining electrifying performances with a message of empowerment and breaking through societal expectations, they are shaping the future of jazz and inspiring countless women to take their place on the stage. As they continue to tour and make music, Sheroes will undoubtedly leave an indelible mark on the world of jazz, proving that the power of music, when combined with the strength of women, is unstoppable.

HIV/AIDS, a global health crisis, continues to impact millions of lives worldwide. While significant strides have been made in prevention, treatment, and care, the disease remains a pressing issue, particularly in developing countries. In Nepal, a nation grappling with various social and economic challenges, HIV/AIDS poses a significant threat to public health. ApEx spoke to three people to find out what they think needs to be done to tackle this issue. 

Shreya Ganeju, 19

By now we all know that AIDS is a sexually transmitted disease. It’s caused by HIV (Human Immunodeficiency Virus) that weakens the immune system. AIDS is the most advanced stage of HIV infection. In a country like Nepal, AIDS is an important topic. Many people are involved in sex trade for their livelihoods. There’s unprotected sex with multiple partners and that has resulted in AIDS becoming quite prevalent. The thing is that AIDS is stigmatized and people hesitate to talk about it. We need more awareness on the importance of safe sex and also access to good healthcare facilities to reduce HIV transmission.

Radha Lama, 29

AIDS is a disease which can be transferred through blood and even breastfeeding. But you don’t get it by shaking hands, sharing food, or hugging someone who has the infection. It can prove to be fatal as your immune system becomes weak due to the infection and it leads to other issues in the body. But I feel there is limited knowledge and awareness about HIV/AIDS and that also results in the spread of the disease. There should be more campaigns and programs to make people understand what it actually is and how it can be prevented. 

Sangita Kunwar, 54

AIDS is mainly a sexually transmitted disease and so it should be quite easy to prevent it. But that’s not the case here in Nepal. The death rate is still high and I think that is largely because people are unaware about all the other ways you can get it. You can be infected through infected blood, sharing needles, and breastfeeding as well. So apart from the focus on protected sexual intercourse, people should also be made aware about the other ways in which they need to safeguard themselves. 

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.