| Project title: | Transition in Tradition |
| Location: | Kathmandu Art House, Kathmandu, Nepal |
| Date(s): | November 15 – December 4th |
CONTEXTUAL STATEMENT
‘Transition in Tradition’ is a series of canvas paintings that explores how Nepal’s indigenous communities adapt and preserve their artistic practices and cultural heritage. It calls attention to the impact of modernisation and highlights the dedication of individuals and communities that strive to keep those practices relevant and accessible to young people today and future generations.
This body of work will be exhibited in Nepal, the UK and Ireland, launched in Kathmandu at the Kathmandu Guest House the venues garden setting situates the work in a public, interactive space, reflecting how artistic practices are interwoven into everyday Nepali life.
ARTIST STATEMENT
With a background in site specific Street Art, deeply influenced by community Art and Hip Hop culture, my work has always been firmly rooted in local community. As I transition to studio based, canvas painting I am committed to retaining key elements of community collaboration and interaction.
Informed by historical and local references unique to each place, my research-led approach to painting draws inspiration from the less-platformed narratives of local communities wherever I am in the world. I believe that stories are active constructions of meaning and understanding, essential for breaking down social and cultural barriers.
I strive to work closely and ethically with the individuals and communities that I collaborate with and amplifying aspects of their stories while ensuring their agency remains key to my methodology.
Through merging social, figurative and magical realism, and drawing inspiration from socially engaged art practices, my work explores the evolving relationship between a particular community and the wider society, simultaneously drawing from and weaving together the past and the present, whilst offering a sense of hope for the future.
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METHODOLOGICAL CONTEXT
The project adopts a research-led, collaborative approach to art making, combining ethnographic exploration, narrative documentation and visual art. Through ethical collaboration with local – indigenous artists, cultural practitioners, and community members I documented their stories with photographs, notes and audio recordings. This process ensures the outcomes echo the stories of my collaborators whilst retaining their authenticity and agency. In rethinking traditional gallery spaces and embracing the public setting, the paintings were strategically placed to encourage exploration. Using an interactive map and QR codes, viewers can navigate the exhibition while accessing the stories behind the artworks, making the experience interactive, participatory and accessible to non-gallery-going audiences.
THE STORY OF SARANGI MUSIC FROM THE GANDHARVA PEOPLE OF NEPALS MID HILLS.
Barta Gandharva, a renowned Sarangi player, has been instrumental in reviving this traditional instrument central to the Gandharva community’s identity. Once endangered due to caste stigma, the Sarangi is experiencing a resurgence, with Barta’s efforts paving the way for women to learn and perform. Her appearances, including on Nepal’s Got Talent, have helped diversify and revitalize this hauntingly beautiful music tradition.
Listen to Barta tell her story (English translation follows original):
THE STORY OF DAPHA, A DEVOTIONAL MUSIC FROM THE INDIGENOUS PEOPLE OF THE KATHMANDU VALLEY.
‘Dapha: Rhythms of Transformation and Survival’ 100 x 64 cm. Mixed media on canvas. 2024
This painting draws inspiration from Pushpa Palanchoke and her dedication to preserving Dapha music, as well as the incredible women of Tahnani Dapha Khalah in Kirtipur and the work of Folklok. It serves as a tribute to their perseverance in safeguarding this tradition for future generations.
Dapha, a devotional music tradition of the Newa community in the Kathmandu Valley, features classical Newar ragas and rhythmic cycles played on instruments like the Khim (drums) and Tah (cymbals). Once at risk due to urbanization and shifting social dynamics, Dapha continues to thrive thanks to efforts like theirs.
Listen to Pushpa tell some of the story of this ancient music:
THE STORY OF BAL KRISHNA BANAMALLA AND THE DANCE OF THE NINE DURGAS FROM BHAKTAPUR.
‘Transition in Tradition – Portrait of Bal Krishna’. 2024. Acrylic on canvas. 118 x 76cm.
Bal Krishna broke centuries-old Nava Durga traditions as the first dancer to pursue a fine arts degree, using his art to depict the deity’s he performs. This painting pays tribute to the courage required to challenge strict traditional values. By portraying a dancer in modern clothing—unthinkable during the ritual—I underscore the tension between ancient traditions and modernity.
Listen to Bal Krishna tell his story (English translation follows) :
Thank you:
Bal Krishna Banamala
Sushant Banamala
Nava Durga dance group of Baktapur
Kiran Nepali
Barta Gandharva
Bhawani Silwal
Pushpa Palenchoke
Tahnani Dapha Kala of Kirtipur
Raju Shakya
Kathmandu Art House (KAH)
Museum of Nepali Art (MONA)
Bikkil Sthapit