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When you look good, you feel good. A little makeup can boost your confidence level when something feels off (and don’t we all have those days). Asmi Shrestha, a professional makeup artist and owner of the studio Glamour by Asmi in New Baneshwor, Kathmandu runs us through the basics of makeup while offering some helpful tips on how to take care of our skin. 

 What is the most important thing to keep in mind while buying makeup products? 

You need a good solid base to begin with so investing in proper moisturizer and primer is crucial. It’s also important to make sure your makeup items don’t clash with one another so keep a basic color palate in mind. Also, not every brand will suit you so you have to find out what works for you. I recommend you avoid dupes and invest in good quality products. 

 As a makeup artist, what is the one thing you recommend for those wanting to experiment with makeup?

I’d like to tell people to take care of their skin first and then choose makeup that helps enhance their features. Cleanse your skin every day. Test products before you buy them to ensure it doesn’t lead to rashes or breakouts. You can’t compromise on essentials like face serums, eye creams, moisturizers, and sunscreens. Then, for everyday makeup, consider investing in a good concealer for coverage, mascara to brighten your eyes, blush for a radiant complexion, and a solid lipstick to complete your look. 

 How important is it to understand your skin type before applying any makeup? 

Different skin types have different needs so you must use products that don’t hamper your skin and aggravate your skin issues, should you have any.  Dry skin needs a dewy base, like a good product with cream oil and a thick moisturizer. Oily skin, on the other hand, needs a mattifying product for a clear look. A primer is also essential so as not to clog your pores even further. I recommend a foundation-setting powder to most of my clients because it helps the makeup to stay in place for a long time. Those who have sensitive skin should stay away from makeup products or visit a dermatologist before putting anything on the skin. 

 How do you select the right foundation and concealer shades for different skin tones?

There are three main skin tones, warm, cool, and neutral. In Nepal, you often come across neutral and warm skin tones. Look at the labels for words like Neutral Cool (NC), Neutral (N), and Warm (W) to find the right shade for your skin tone. You can choose one or two shades lighter than your skin tone, apply it to your jawline, and wait for five min to check for oxidation. Likewise, for concealer, you can pick one that’s two shades lighter than your foundation. If it blends seamlessly, that shade is your perfect match. 

Can you share some makeup tricks?

Blending is the most challenging part of makeup but it can make or break your look. Good blending gives you a defined look and can highlight your best features. So practice it well. For eye makeup, use a concealer first for a matt finish. If you want your lipstick to look nice and last long, apply a lip balm before putting on lipstick, and also use a lip liner to enhance the shape of your lips. Highlighting and contouring play major roles in enhancing your facial features. To add a little structure to your face, contour the jawline, lower cheeks, and forehead. Use a highlighter where natural light hits your face, especially on the cheekbones, bridge of your nose, under brows, and chin.

 Is there anything specific people tend to overlook while doing their makeup?

I believe it’s very important to use the right makeup tools. Different brushes are designed for different purposes. I recommend a beauty sponge to apply foundation. For liquid products like blush and contour, flat-top brushes are quite useful. As a makeup artist, I recommend you to have at least a fluffy brush, eye makeup brush, and brows brush in your makeup bag. After each use, make sure to clean and sanitize your brush. For thorough cleaning, you can use baby shampoo and olive oil. As for the beauty sponge, you need to wash it after every use and squeeze it properly otherwise the water will dilute your oil-based makeup.

Dinesh Raj Puri, 34, who is originally from Ramechhap, is a renowned poet and lyricist, who has contributed a lot to Nepali literature and the folk music industry. Puri has written many poems, ghazals, and muktakas. He has also penned dozens of songs such as ‘Mayako Natak’, ‘Chal Chal’, ‘Je Man Lagcha Tei Gara’, ‘Hangako Phool’, and others. Not just that, Puri also wrote the song ‘Kasam Kasam’ for the Nepali movie ‘Ma Yesto Geet Gauchu - 2’ and ‘Tal Tal Talakkai’ for the movie ‘Jhinge Dau’. He is also associated with the Music Royalty Collection Society Nepal. Babita Shrestha from ApEx spoke to Puri about the essence of songwriting and the things that go on in his head when he sits down to write. 

How did you start writing?

Ever since my childhood, I have been creative and I used to actively participate in writing competitions. When I was in middle school, I wrote a poem called ‘Garib Bhariya Ko Jindagi’, and the appreciation I got for it was actually what motivated me to write more. At a very young age, I was awarded many times in district-level essay competitions and even secured first and second positions in national-level poetry competitions. At that time, the school honored me by holding a press conference. The more I wrote, the more I got passionate about writing. As time passed, I became interested in learning about literature. I especially liked poetry and essays.

What made you venture into songwriting?

After coming to Kathmandu, I wanted to explore new things and became interested in music. I tried my hand at songwriting and came up with ‘Aasu Le Bato’. Renowned singer Ramesh Raj Bhattarai, who was on my Facebook friend’s list, liked the song and he approached me with the proposal of a collaboration. He recorded the song in Anju Pant’s voice. I was beyond honored to have worked with such great artists at the beginning of my career.

After the launch of my first song, I took a break. But when I had the opportunity to meet singer Arjun Pokharel, I shared some of my works with him. He liked my work because he hinted that he wanted to work with me. I was overwhelmed and I eventually began writing songs for him. I consider myself lucky to have gotten the chance I did. Since then, I’ve worked as a lyricist and written many songs including ‘Aat Garenau Bhaney’, ‘Dadai Kataula’, and ‘Chocolatey Syau’.   

How do you ensure your songs are well received by the listeners? 

I believe in originality. When I write, I’m not concerned about whether the song will be a hit. I just write. Most of the time, I write about what I’ve experienced, the effect different things have had on me, and the various cultures or realities of life that I have witnessed. I don’t force myself to be creative. I let the things I see and feel inspire me and that mostly happens when I’m enjoying solitude. I don’t keep up with what’s going on in the market. I don’t know what’s trending and all.  So I guess what makes my work popular is its relatability. 

What would you say is the biggest challenge of being a lyricist in Nepal?

Nowadays, the quest for market hits has hampered the Nepali music industry. Some artists are seen following market trends rather than coming up with creative work. Generally, artists channel personal experiences into generic themes, but the rise of vulgarism and double-meaning songs, I believe, is corrupting the industry. 

There are also some new songwriters who pay to get their songs released, which is an unhealthy trend. Doing so is insulting the artists themselves. Also, I feel that lyricists and songwriters should be acknowledged like musicians, actors/actresses, and videographers. That’s not the case here in Nepal. 

Is there any advice you’d like to give? 

You can become anyone you want to be when you have an unwavering desire to do something. All you need is undivided dedication and hard work. When you feel disconnected from what you’re doing, look for something else that makes you happy. Go for it if you believe in yourself. Success is totally up to you. It’s within you. All you have to do is discover it. Above all, you must learn to create your individuality.

Electric vehicles are a new rage all over the world where fossil fuel-run vehicles are rapidly becoming a thing of the past. Given ever-increasing petroleum prices and a large carbon footprint that the conventional vehicles leave behind, not to mention increasing costs of running a fossil fuel-based economy, Nepal is also not immune from this switch to the EVs.
Against this backdrop, SERES—an EV brand born in the USA, mastered in China, proven in Europe—has entered Nepal, where a couple of other brands already have their presence.

Devendra Gautam of ApEx had a free-wheeling conversation with Jeevan Jung Shahi, director of LRR Group, the authorized distributors of SERES for Nepal.   

SERES took part in the NADA Auto Show 2023. How was SERES’ performance? What word best describes the customers’ response?

The customer response was absolutely fantastic, there was an incredible crowd and they were crazy about SERES. NADA Auto 2023 was an incredible success for SERES, with an outstanding booking of almost 334 units. 

Any special feature that you think gives SERES EVs an edge over competitors? 

The 190mm ground clearance is a feature that is really unmatched, this is really one of the many features exclusive to SERES in the SUV EV segment. 

Nepal’s roads are rough and climatic conditions quite challenging. Do you expect a smooth journey ahead for SERES, EVs in particular? 

Navigating challenging road conditions and extreme climates can be a significant hurdle for electric vehicles in Nepal, but I expect that with SERES' design and durability, these obstacles can be overcome. SERES manufacturers design their vehicles to withstand rough road conditions and challenging climates, incorporating features such as reinforced suspensions and a higher ground clearance of 190mm in SERES. These enhancements, along with all-wheel-drive systems, can greatly enhance a vehicle's ability to handle uneven and rough terrain. 

The national economy is not so healthy. Do you still think this was the right time to enter the Nepali market? 

Entering a new market, especially one facing economic challenges like the Nepali market does now, requires careful consideration and a well-thought-out strategy. It’s time for EVs globally, a boom time in EV technology. So, this was the perfect time for LRR GROUP in EV Automobiles to enter the Nepali market.

What is the price range of SERES EVs? What special features do they entail? What financing options are available? What about-after sales services?

The price range of SERES EVs can vary depending on the model and features. Currently, we have two models in the market: One is the comfort variant, and the other is the premium variant, priced at Rs 5m and Rs 5.3m, respectively. The premium variant offers additional features like a panoramic sunroof, 360-degree camera, wireless charger, sunglass holder, and front auto-heated seats.

Certainly, customers can avail themselves of EMI options with a 20 percent down payment over a span of seven years, at a competitive 10.49 percent interest rate on SERES vehicles.

LRR Motors is committed to providing roadside assistance and mobile service options. I want to assure the SERES family that we will deliver the best after-sales services, including maintenance, warranty coverage, and support for SERES vehicle owners.

Nepal’s petroleum addiction seems to be getting worse. A country with formidable hydropower potential imports petroleum products from a monopoly market through South Asia’s first cross-border petroleum pipeline, the Motihari-Amlekhgunj pipeline. Plans are underway to extend the pipeline to Chitwan and then to Kathmandu. Another cross-border project--the Siliguri-Charali pipeline is also on the cards. Given such a scenario, how friendly are government policies vis-a-vis the EVs?

Yes, there is a 69-km cross-border petroleum pipeline project, running from the state-run Indian Oil's terminal in Motihahari in north Bihar to Nepal Oil Corporation’s Amlekhgunj depot. The project was initially scheduled for completion in 2020 but is still in progress. We hope that once this project is finished, it will significantly improve the situation compared to today.

Like many countries, Nepal faces environmental challenges, including air pollution and climate change. Promoting EVs aligns with efforts to reduce carbon emissions and combat pollution. Nepal possesses significant hydropower potential, making it an ideal source of electricity for EVs. Reducing reliance on petroleum imports through the development of EV infrastructure can enhance energy security.

Expanding EV infrastructure such as charging stations constitutes a key component of government policies aimed at supporting EV adoption. Plans to extend petroleum pipelines may not necessarily conflict with EV policies if the government considers EVs as a complement to traditional transportation.

Does Nepal have adequate infra to switch at least partially to a transport system that is EV-driven?

Nepal has made efforts to develop the infrastructure necessary to support EVs, but it is still in the early stages of development. The extent of EV infrastructure in Nepal can vary by region, and it's important to note that progress may have occurred since that time. To assess the current state of EV infrastructure in Nepal and its adequacy for a partial transition to an EV-driven transport system, it is advisable to check with local authorities, electric utilities and EV industry stakeholders for the most up-to-date information. The development of EV infrastructure is often an ongoing process, and governments and private sector entities may continue to invest in this area to facilitate the adoption of electric mobility solutions. 

The government has started setting up charging stations for electric vehicles, primarily in urban areas like Kathmandu. However, the number of charging stations is relatively limited compared to the demand. Nepal’s significant hydropower potential can serve as a source of clean energy for EVs, making it an ideal candidate for a transition to electric mobility. Spreading awareness among consumers about the benefits of EVs and addressing concerns like range anxiety are essential for a successful transition.

Does the LRR Group have some dreams and a long-term vision for our country? Dreams like developing indigenous EVs in Nepal itself, together with young minds, innovators, engineering/technical institutions, investors and the government? 

Yes, we have dreams for our country and a vision. LRR Group is still striving to contribute to government efforts and policies as an electric vehicle (EV) business in a proactive way to support the growth of the EV industry and promote sustainable transportation. 

Box

Here are several ways through which your EV business can contribute to government initiatives: 

Advocacy and lobbying

Join or support industry associations or groups dedicated to electric vehicles. These organizations often advocate for policies that benefit the EV industry.

Collaborate with these associations to collectively engage with government officials and policymakers to voice your concerns and offer insights. 

Policy recommendations

Develop well-researched policy recommendations that can support the growth of the EV market. These recommendations can cover areas such as incentives, charging infrastructure, emissions standards, and tax policies.

Present these recommendations before relevant government agencies, legislators, and policymakers. 

Education and outreach

Organize events, workshops, and seminars to educate government officials, the public, and potential customers.

Arun Gupto is a Professor of English, culture critic and author. His book ‘Goddesses of Kathmandu Valley’ as well as the edited book ‘Literary Theory and Criticism’ have been published by Routledge. His latest book in Nepali ‘Sanskriti Chintan,’ a collection of essays and interviews, has garnered acclaim among Nepali readers and thinkers for his distinct ideas on nationalism, patriotism, identity and culture. In an interview with Ken Subedi,  Gupto talked about his fascination towards books, literature, culture, tradition and art. Excerpts:

As an author and long-time reader yourself, what are your favorite books, particularly fiction?

I will have difficulty in naming my favorite novels. I love novels by the Bronte sisters of 19th century England. I prefer to read about strong women characters. Jane Eyre by Charlotte Bronte is one of my favorites. My daughter influenced me to read the works of these sisters carefully. I love to read British novels of the 19th century. The novelists of the time created intellectually vibrant female characters. The tragic vision of their lives in the stories express how suffering of the characters leads to wisdom on the part of the readers. Another powerful woman is Binodini in Rabindra Nath Tagore’s Chokher Bali.  She disrupts an ideal house like a pile of cards, and yet the reader seems to love her. I wish I had the opportunity to talk about Anna Karenina for hours.

You have devoted your productive years thus far to research and teaching in the realms of critical theory and Western tradition. Have you ever considered trying your hand at writing short stories or even a novel? What aspects of theories intrigue you that may differ from fiction?

I have written a novelistic memoir Cracks in the Wind, which I am trying to publish. I have recently completed writing a play, Racial Neck: The Middle Game. I have sent this to my professor in the US. I have written some stories and one more play which I am editing. I do not distinguish theory and literary creativity. Profound theories are like the philosophy of art and literature. I am reading and offering a course on the intersectionality of philosophy, art and literature as complementarities. I do not belong to the school of generic divisions when it comes to the ideas like reason and imagination, creativity and critical thinking, philosophy and fiction as separatist domains. Doing so is a hasty generalization.

I heard that in your initial years as a lecturer at TU, you were influenced heavily by post-structuralism/deconstruction theory, especially of Derrida and Foucault. You also seem to be fascinated with ideas of irrationality, surrealism, absurdism, différance, arbitrariness, hybridity etc. Why are they so close to you?

I have read Plato’s dialogues extensively, not all thought but many with intensity of reading and discussing. Derrida comes out of such Socratic discursive tradition and then comes Spivak. Foucault’s line of thought is more on reformulating historical knowledge and Derrida focuses on the methodology of meanings. They are known as post-structuralists. You have correctly suggested that they have led me to discourses of double binds, différance, and irrationalities. Double binds keep you near to the child’s innocence. Too much logic is a menace and they lead you to think like an atrocious dictator. Whom would you choose, the innocent child or the fire breathing logicians?

Salman Rushdie, in one of his interviews, said, ‘Literature should be about breaking rules, not doing conventional things, pushing boundaries and taking risks.’ To what degree do you agree with it?

Unless literature threatens the society, it becomes a hypocritical moral tale. Rushdie is perhaps talking about how you begin to hate your system because you love it. You question everything. Is white white? Such writers save the world by refining consciousness in strange fictional ways, in the modes, which Fredric Jameson calls the political unconscious, which Marx is nervous about literature being the slave of ideologies, which Socrates prepares us for dialectical thinking. If you analyze keenly, Rushdie is talking about a long tradition of what literature, art, philosophy has been doing, that is, “pushing boundaries” as you have said. Read Marx on ideology and one will know what “pushing boundaries” is.

There are also books which are not radical but instead focus on forms and realist storytelling. While you pick literature, do you look after its form and style or are you inclined to seek the radical themes the book has raised?

I look for the themes of radical, bold, strong, and ideas with the intensity of pushing boundaries. If your themes and characters are strong, they shape the form and design of the work. Anna Karenina, the legend tells, would appear in front of Tolstoy and dictate to him how to write about her and her life. This is a metaphor of what and how about creativity. The person is the form, Tolstoy realized. Form is embedded in themes. Yeats asks: How can we know the dancer from the dance? Is a novel novel because it is a form or content? 

There is no realism, no realist narrative. All works of art are perspectives, even historical accounts are perspectives, opinions, beliefs, and attitudes. Realism as a concept has been both elitist and bourgeois ideology. There is no nature in front of you but human-cultural perspectives on nature. Nature does not exist for us because we are the subjects of ideologies.  As soon as you narrate and describe nature, it is human perspective. Realism is a beautiful lie, formulated, designed to give constructed values to art. It rules our literary tradition and my student-friend Bishnu Sapkota, hence, loves Oscar Wilde. It is imperative to refer to him if you engage in further discourse.

In your view, why publishers are less interested in short story collections compared to novels? Is it because novels proved to be more salable?

It seems but I am not sure. After all, the market is the one who decides. We may dislike commodity culture but it helps us survive through competitions, not always though. We have to abide by the master’s rules of the game. The cultural logic of late-capitalism, for Jameson, is also about the dominance of what is circulated is what is value. Philanthropy is capitalism’s subsidiary gesture, it needs to pile up profits first. Hence, if a novel is salable, short stories have to wait.

Your analysis of the book Shirish Ko Phool and Suyogbir as a villainous character has been praised critically. The book is quite dear to you. What other Nepali books are close to your heart and can you name a few Nepali books that deserve translation into English?

The contemporary writings of Nepali women poets have to be seriously taken for translation projects. There are many who in recent times are rich in ideas with contemporaneity of themes with the quality of language which are suggestive of their social realities. What method and why I am interested in such projects at present has my own critical reasons.

The classical Nepali writers have to be read with the present ones, not in isolation as Devkota, Motiram, and Siddhicharan. Synthetic criticism is what I am thinking about. For instance, I will critique how Devkota’s Prem Pari is placed within the structure of poetic meaning of Sima Abhas’s Ma Stri Arthat Aimai. As an example, I am referring to the concept of Dhvani by the 9th century author of India Anandavardhana. The synthesis I am talking about is reading the classics in the context of contemporary writers, not the Arnoldian “touchstone” method of comparing the present writers with the greats of the past. Synthesize Devkota’s poems on women with works of Jhamak or Sima. I am bringing critics, some from the past and some from the present, in the light of Sanskrit poetics, which I have to read in English, and discourses on tropes by writers like Paul de Man and so on. 

I cannot produce a list of names but we need to read and plan. The process of translation must be done with a team of serious academics and media people only after a serious reading of the recent novels, plays, and poems.

Do you agree that the number of Nepali writers writing in English, particularly fiction, is still few? Does it have any link with colonial history?

Nepali writers writing in English are fewer than many South Asian countries. But whoever is published in the Anglophonic world is good and powerful. Nepal did not directly and conspicuously bore colonial experience, I mean institutionally, and therefore English is not an internalized language. I think writing in English or translating Nepali or vernacular literary works into English is necessary because Nepali works need to be globalized. Globalization in this context is participating with world literature. Once we participate, we will be tested in a wider context. There is no easy road to recognition and fame.

You also taught art where you discussed artworks by Proust to Picasso and Gericault to Dali. Personally, which genre of painting do you prefer?

The impressionists, the cubists, surrealists, and abstract expressionists are the ones who cut across the comforts of realism of the 19th century. The crises created by human factors can only be expressed through the flicker of perspectives of the impressionists, the reduction of fake-humanism into lines and figures of the cubists, dream consciousness of the surrealists, and the language of the color of the soul by abstract expressionists. They were overwhelmingly radical in ideas and expressions.