Sarangi soul Bharat Nepali, Sarangi teacher has been playing the Sarangi for the past 45 years. For him music is not just a part of his life but a way of living. His job as a Sarangi teacher gives him the chance to hone his expertise further. At his workshop one can find Sarangis on display made by the artist himself. What goes into making a Sarangi? A typical Sarangi is made by hand, usually from a single block of wood. The material used is sourced locally. The instrument has a total of six parts including the knot, bridge, neck, hollow section, stand and the skin. It takes weeks or a month at least depending upon the craftsmanship involved in making it. However, the design of a sarangi varies from region to region.   How do you think we can preserve the Sarangi and its tunes? The motivation for preservation of its physical form has to be initiated by the nation itself. Also, providing proper training to music enthusiasts can help us pass knowledge onto our next generation of musicians. The greatest player known to have played this instrument Krishna Gopal Nepali was a great Sarangi player. The tunes he generated from it were heart touching. Some recordings of his music and instruments are safely preserved at Kathmandu University, Department of Music. Fusing tunes Dr Lochan Rijal, Assistant Professor, Kathmandu University’s Department of Music Aside from being a gifted musician, Lochan Rijal recently completed his PhD in Ethnomusicology. His fascination with the Arbajo began in 2013 and he has incorporated its strains in his latest songs. How did you discover the Arbajo? I discovered the Arbajo in Kaski, which was on the brink of its extinction. The Arbajo is regarded as the male counterpart to the Sarangi. It is a lute made from willow that has a hollow neck and body. It provides low frequency- rhythmic accompaniment to the melodic Sarangi. Your inspiration to play the Arbajo? Mohan Gandharva of Kaski inspired me. He is the greatest player to play this instrument. How can we promote the instrument? The subject matter should be included in the curriculum in educational institutions across the country. By incorporating it in musical performances can help raise its popularity among muscians. Sound from yesteryears! Agrim Lama, Sitar / Sarod / Dhyamgyen player Agrim Lama first listened to Dhamngyen tunes when he was five years old. He started playing it when he was a music scholar at KU, Department of Music. He majored in Organology and while preparing for his thesis he learnt the art of making the Dhamngyen. Tell us about the instrument Dhamngyen is specially played in the Tamang, Hyolmo, Tibetans and Sherpa communities but forms of lutes used by these communities vary from each other. Even though Dhamngyen has a history, it is still in its rudimentary stage and has not undergone significant changes as it still lacks standard features of any lute. But craftsmanship and folklore associated with the lute are outstanding. How do we familiarise our musicians with the Dhamngyen? We can start by organising workshops and by regularly incorporating its tunes in mainstream songs. Any known musicians associated with this instrument? There aren’t any musicians, that I know of, in the mainstream music industry who are known to have played or play this instrument. Most musicians who play Dhamngyen can be found in Rasuwa district and they are the best. Rasuwa has managed to preserve the Dhamngyen. Dhawa Wangel Tamang Moktan, whom I met frequently during my research, is the one who makes and plays the instrument in its raw form.