Mural motives behind funded and independent treet art in Kathmandu valley

Abstract

This research paper explores the themes depicted in Kathmandu's street art through a visual analysis comparing funded and independent works. It delves into the embodiment of iconography, composition, artistic rhetoric, and symbolism employedin fundedand independent mural creators. Additionally, this study examines how Kathmandu's street arti use the streets to comment on societal, political, and personal issues. Furthermore, the study investigates the potential presence of influences or underlyingmessages that may even be unknown to the artists themselves. Through comparative analysis of funded and independently created visual texts, the researcher argues that these murals embody distinct iconography, composition and artistic choices to convey social and political messages. To gather data, this paper utilizes qualitative reading through semi-structured interviews alongside observational techniques informed by the theory of spectacle. For the interview, a list of topics that dealt with intent, inspiration, collaboration, and funding process were amassed. Furthermore, the study places itself within a comprehensive framework of street art, engaging with the ideas of Erwin Panofsky, John Berger, Michael Foucault, Antonio Gramsci, Edward Said and Laura Muvley. The research findingsrevealthat Kathmandu street murals serve different purposes based on funding. Funded murals, often supported by foreign embassies, highlight cultural diversity and inclusivity to strengthen diplomatic ties, butalsoreflect power dynamics. In contrast, independent murals allow artists to freely critique government hypocrisy, resist agendas, and highlight gender violence. Key Words: Street Art, funded art, independent art, power dynamics, cultural hegemony, scopophilia, iconography, intrinsic meaning, consent, and orientalism.