Seto Chapal | The White Slippers
Seto Chapal | The White Slippers is a conceptual public performance artwork addressing social conservatism and ritualized norms surrounding life and death. At its core, the work examines the psychological pressure imposed by cultural obligations and inherited traditions. In Nepali society, white signifies mourning, red represents marriage, and black symbolizes misfortune (Ashuva). Within this context, the white slippers become a metaphor for mourning and a critique of conservative social obligations.
Personally, this performance emerged from the psychological weight I experienced after my mother passed away. Following her cremation at Pashupatinath, I felt restrained by ritual expectations that discouraged participation in celebrations and auspicious gatherings. Although these practices are deeply rooted, they are often imposed as obligation rather than choice. As a result, the body hesitates even when the mind desires movement and social presence.
Furthermore, Nepali social structures reveal deep gender inequalities surrounding mourning rituals. After a husband’s death, a woman is expected to wear white and is often treated as untouchable (jutho). In contrast, men are permitted to remarry shortly after mourning rituals conclude. Similarly, menstruating women are still isolated from domestic spaces in many communities. These practices, which lack rational explanation, appear as prolonged mourning imposed on women’s bodies.
Consequently, I began questioning why such conservative applications continue to shape social norms. Often, answers are justified through concepts of Dharma (good deeds) and Paap (sin). However, my understanding is simple: actions rooted in compassion are good, while actions driven by fear and control are harmful. Seto Chapal, therefore, represents the silent questions of countless individuals who endure similar psychological pressures throughout their lives.
Performance Elements and Symbolism
During the performance, I carried a Kolan, a ritual vase traditionally used to hold Pinda during Shraddha ceremonies. Conventionally, Pinda is a white sphere representing the deceased body. Instead, I created five Pindas in different colors to symbolize the five elements—water, air, sky, fire, and earth. Through this gesture, the performance emphasized death as a universal truth rather than a feared taboo. Additionally, the ringing bell represented time, continuity, and impermanence.
As an artist, I work with color, movement, and emotion in moments of joy and grief alike. For me, creation itself becomes ritual. Above all, freedom of expression remains essential, and there is no harm in confronting lived realities through art.
Ultimately, Seto Chapal mourns not only personal loss but also collective suffering within society and the world. It asks silent yet urgent questions about compassion, freedom, and humanity.
Public Interaction and Reflection
During the performance procession, an elderly street vendor at Indra Chowk offered money in the name of God as part of the ritual. Later, as people noticed the colorful Pindas, more offerings followed. This unexpected response deeply moved me and revealed profound compassion within the public.
After the performance concluded in Itumbahal, I returned to meet the same woman with fellow participants. When I revealed my identity, she again attempted to offer money. Instead, I returned the collected offerings to her, adding additional money from my pocket. At that moment, emotion was shared mutually, transcending performer and audience.
When the performance was explained, it became clear that the work was a tribute to my mother. Through this exchange, the performance completed a full circle of intention, action, and compassion. In the end, it reaffirmed a simple truth: death is inevitable, life must continue, and compassion must guide our actions.
Indeed, art holds the power to transform perception, connect strangers, and create meaningful change.
