Art and culture are not just reflections of society; they are powerful forces that shape economies, national identities, and geopolitical influence. Art, through music, dance, visual expression, and literature, embodies human emotions, ideas, and identity, while culture represents the collective values, traditions, and beliefs that define a community. Together, they serve as the bedrock of civilisation, offering insights into societal evolution and global interactions.

In the sociopolitical context, art and culture are essential tools for fostering unity, preserving heritage, and driving change. The introduction of this “Culture & Arts Series” in Aawaaj News & Research aims to explore the intricate connections between creativity and society, amplifying the voices of Nepali artists and cultural pioneers. By shedding light on their struggles and triumphs, this initiative seeks to celebrate Nepal’s artistic heritage while sparking conversations on the transformative role of culture in economic and social development.

The cobblestone streets of Amsterdam, the vibrant energy of New York, and the historic theaters of London have long been synonymous with the global creative industry. These cities are well-funded cultural hubs that attract talent, investment, and international recognition. In contrast, places like Kathmandu, despite their rich artistic and cultural traditions, struggle to gain similar visibility. This disparity is not due to a lack of creativity but stems from systemic inequalities, financial constraints, and cultural gatekeeping shaped by historical and political dynamics.

A key paradox lies in the role of digital platforms. While the internet is theoretically an open and democratic space where content from anywhere can be accessed globally, its infrastructure disproportionately benefits certain regions. Why does digital content consumption overwhelmingly favor Western narratives, even when artists and storytellers from Nepal and other Global South nations contribute compelling work? The answer extends beyond economic status (developed vs. developing nations) and into the realms of digital hegemony, algorithmic biases, and geopolitical interests.

To explore these challenges, perspectives were gathered from professionals across diverse fields—heritage and culture, technology, and creative marketing—to understand how Nepal’s artistic and cultural presence can expand globally.

Rishi Amatya, a Heritage Management graduate from the University of Birmingham and a heritage communication professional, emphasises that the global imbalance in cultural representation is not accidental. He highlights the logistical advantage of Western media and publishing industries, citing how a book like Feel-Good Productivity by Ali Abdaal reached Patan Book Shop within two months of publication—an outcome of strong marketing and distribution networks. Western nations recognise the power of cultural diplomacy and invest heavily in promoting their art and heritage as soft power.

In contrast, Nepal has largely confined its cultural engagement to preservation rather than promotion. The notion of keeping traditions “untouched and protected” has merits, but without strategic investment and modernisation, cultural heritage risks stagnation. While Nepal markets its tangible heritage (e.g., mountains and temples), its rich intangible cultural assets—literature, performing arts, and contemporary creative movements—receive far less attention. According to Amatya, “for Nepal to thrive on the global stage, it must move beyond passive celebration and actively promote its culture through policies that integrate arts into national economic planning”. 

Mahesh Singh Kathayat, an associate professor of Computer Engineering at Kathmandu Engineering College and former head of Nepal’s Computer Directorate, highlights the fragmented nature of Nepal’s cultural promotion. Decentralised and lacking coordination among key institutions, Nepal struggles to amplify its artistic and cultural presence internationally.

Technology offers a solution according to Kathayat. Digital platforms can serve as bridges, connecting Nepalese artists and creators to global audiences. However, economic disparities in digital infrastructure, coupled with algorithmic biases, limit Nepal’s global cultural reach. While Western art and media benefit from extensive online exposure, Nepali content often remains confined to niche audiences. Economic limitations also shape content creation, as the financial sustainability of creative industries in Nepal remains fragile. Without targeted investments in digital literacy, e-commerce for creative exports, and strategic collaborations, Nepal will continue to lag in the digital cultural economy.

Abhash Bikram Thapa, Director of Design at Leapfrog Technology Inc., points to Nepal’s marketing limitations as a critical issue. While Nepali illustrators, graphic designers, and marketers are highly skilled, the projects they engage in often lack the scale and visibility of Western campaigns.

The global marketing giants, from David Ogilvy’s advertising empire to Hollywood’s cultural machinery, have mastered the art of branding and storytelling. Nepal, in contrast, has yet to fully leverage branding to elevate its cultural and artistic presence. Investment in creative marketing and advertising strategies is crucial in making Nepali art and culture globally recognisable and financially viable.

Figure 1 Visitors observe Kishore Kayastha’s Mustang Nostalgia: A Two Decade Odyssey at Nepal Arts Council

Finally, to understand the deeper mechanisms of global cultural imbalance, Noam Chomsky’s Manufacturing Consent: The Political Economy of the Mass Media (co-authored by Edward S. Herman) offers key insights. The book outlines five filters that shape mass media narratives, which are also relevant to how Nepali art and culture struggle to gain global visibility. The “five filters” describe the mechanisms through which any information is filtered before reaching the audience and is a model that explains how systemic biases in mass media serve elite interests and shape public opinion. Similarly, in the case of broadcasting or publishing Nepal’s Art & Culture, even though the internet is often considered a democratic platform, these filters can still create differences. 

Ownership – Major media and digital platforms are controlled by corporate giants that prioritise content aligned with their economic and geopolitical interests.

Advertising – Western content benefits from vast advertising investments, ensuring broader reach, while Nepali cultural content receives minimal promotional backing.

Sourcing – Information from Western institutions is often deemed more “credible,” leading to an inherent bias in content promotion.

Flak – Content that aligns with dominant narratives faces fewer barriers, while alternative perspectives, including Nepali cultural narratives, struggle for exposure.

Ideology – Digital and mainstream platforms tend to prioritise content reflecting dominant ideological frameworks, reinforcing Western hegemony in art and culture.

These structural biases explain why, even in the digital age, Nepal’s cultural contributions remain marginal on global platforms.

If Nepali artists and cultural practitioners were granted the same global opportunities and visibility as their Western counterparts, the economic implications would be profound. A thriving creative industry could boost tourism by attracting cultural enthusiasts seeking authentic artistic experiences, strengthen exports of art, literature, music, and digital content through global platforms, create employment across multiple sectors, from entertainment to heritage management and foster foreign investment in creative industries, enhancing Nepal’s soft power and diplomatic leverage. It would also help diversify the economy beyond traditional sectors, ensuring long-term sustainability.

A robust cultural economy would not only benefit individual artists but also position Nepal as a significant global cultural hub. Moreover, fostering inclusivity in cultural representation would contribute to a fairer world, where artistic narratives from all regions are equally valued.

For Nepal to harness the full economic and social potential of its rich artistic heritage, it must move beyond passive preservation and embrace active cultural diplomacy. Strategic investment in marketing, digital transformation, and international collaborations is crucial. If Nepal prioritises the creative economy as a key driver of growth, it can redefine its place on the global stage—ensuring that its stories, traditions, and artistic expressions receive the recognition they deserve.

About Shreyansi Shrestha: 

Shreyanshi Shrestha is a New Media Visual Artist who blends diverse tools and techniques to convey a wide spectrum of emotions, including curiosity, nostalgia, joy, introspection, and vulnerability. Her journey into visual storytelling began at 17, driven by a passion to create spaces where individuals can freely express themselves. Shreyanshi’s work advocates for breaking out of normalcy, challenging conformity and comparison-driven thinking, and encouraging people to embrace their unique traits and perspectives, recognising that every individual is shaped by distinct experiences.

Her focus lies in documenting authentic musical encounters—ranging from underground hip-hop and street style to folk music—along with cultural narratives that explore the whys behind rituals rather than just the whats, artistic expression, and neurodivergent thinking patterns rooted in cognitive science. Through writing, photography, and videography, she captures these themes with a depth that fosters genuine connection and understanding.

With a background in computer science, Shreyanshi views technology as a powerful amplifier of human experience. She is committed to creating immersive, tech-integrated experiences that merge her artistic passions with innovative digital tools, pushing the boundaries of how we perceive music, culture, art, and the mind.