Media and culture are powerful tools of expression for civil society to highlight different perspectives and make issues visible which were previously unseen. The CrossCulture Programme supports committed civil society activists who are working in this field. They are creative individuals expressing the voices of their communities through their chosen media. The focus topic encompasses a broad range of activities: common professions of the participants include filmmaking, journalism, acting, visual arts, curation, theatre production, or TV and radio moderation. This page provides individual insights into their activities and experiences with the fellowship programme.
In 2025, an additional focus will be placed on the topic of the culture of remembrance, which is aimed at people in the field of history education, curators and researchers, museum professionals, as well as activists who deal with the writing and presentation of history.
I was an extremely shy child. I would hesitate to talk in public or in the classroom. But once I got the opportunity to be part of a secondary school play, and when I said my lines in front of a big crowd for the first time, I realized that I have a voice and I can speak. To me, one of the most fascinating things about theatre is the fact that it doesn't discriminate. It is for everyone. If groups which don't necessarily have the space or medium to say something in public use theatre to make their perspectives visible, it can be very powerful.
Once, I did a playback theatre performance with a show just for women. In Nepal, there aren't many spaces in which women get to tell their stories. One participant shared her experience of being discriminated against in her community and what that did to her. Being a witness to her story and making it present through the performance was very moving. In my opinion, the link between theatre and feminism is that it gives voices to those who find it difficult to share or open up. This act of sharing an experience with the audience is crucial for raising awareness and building support systems.
So far, my work with Kuringa has been immersive and engaging. Since July, I’ve been involved with projects such as managing a major premiere show on the premises of Kuringa and participating in a workshop on Forum Theatre. I have also been rehearsing with one of Kuringa’s branch theatre groups for a show in August for the “Forum Theatre Weekend”. It’s been quite invaluable learning from such a diverse set of people. I am eager to apply and spread these theatre forms in my own context in Nepal.
The theatre scene in Nepal is vibrant. There are many groups, especially in Kathmandu, as well as places like Pokhara, Jhapa or Dhading. I really hope that more and more young people will join the theatre and practise it more so that its magic can be spread.
