The scriptures from the Lichchhavi Period, which refer to musical instruments, stand as evidence that music has always been an integral part of the Nepali society.[break]
Also, ancient Nepali inscriptions, which have been found engraved on stones, make references to musical instruments, and these portray Nepal’s rich musical heritage.
According to Ram Prasad Kandel, founder of The Nepali Folk Musical Instruments Museum (NFMIM) in Tripureshwor, till date, 650 types of musical instruments have been found in the country.
“The diverse culture with 115 types of castes, varied ethnicities and around 100 types of national, local and indigenous languages has contributed in the origin of various folk musical instruments. Such instruments have always been a part of various occasions from birth to death,” says Kandel.
Beenaa
Among the folk musical instruments, 450 types of them are collected and restored at the NFMIM but many have been found to be lost with time.
Goddess Saraswati is usually depicted holding or playing the instrument Beenaa which was popular during the Lichchhavi and Malla periods. Back then, 100 types of Beenaa were found. But at present, it is limited only to the statues of the goddess in temples. In the post-Malla period, the instrument was seen less in the arts of temples.
Jor Murali, twin flutes adjacent to each other and which was common among the farmers in Bhojpur, is now lost. Pinwaachaa, an instrument that belongs to the Jyapu community, is also extinct.
This bamboo instrument has two strings with its body covered in goatskin. Various folksongs and prayers used to be played on its two gut strings, using a bamboo and horsehair bow.
“It was in the time of the Shah rule that Saarangi came into prominence which completely replaced the Pinwaachaa,” says Kandel.
“The diverse culture with 115 types of castes, varied ethnicities and around 100 types of national, local and indigenous languages has contributed in the origin of various folk musical instruments. Such instruments have always been a part of various occasions from birth to death,” says Kandel.
Yakuchaa Babhu is another such instrument that used to exist in the past. This instrument, which originated with the Jyapu caste, is made from a piece of bamboo. When played, it is held under one arm by pulling the string.
Kandel informs that there were 20 types of Saankhas (conch shells) which used to be played during various events.
Instruments like Kaantaa Dabadaba, played by the Newar ethnic groups in the Kathmandu Valley, also disappeared from the musical scene. The instrument has two damaru drums and its top part is covered by goat hides.
Pinwaachaa
Hring is the chief folk instrument of the Chepang ethnic group found in the districts of Dhading, Makwanpur, and Chitwan. The instrument which is a one-sided drum along with Tantric symbols hanging from the frame of the drum is also rare now.
The western instrument tambourine has replaced Baalun Khainjadi which looks a bit like a drum. Ke (Chyaabrung), instrument of the Limbu community, which was widely played, is also not much in use now.
As per Kandel, in earlier times, tiger skin was used to cover each side of this cylindrical wooden drum, the sound of which is similar to that of the tiger’s roar. Later, it was made with khamaari wood with cowhide covering both the drumheads. Instruments like Mridanga, Nawa Baja and Muwali started dwindling as well.
“More than 100 instruments are gradually being lost. We still haven’t completed our study of the instruments as we are in the early stage of our classification. Limited manpower and budget constraints are factors that act as a hindrance to our research,” says Kandel.
“We aren’t aware of our culture and very little is being done to preserve what we have. This is the main reason behind many instruments being lost.”
Another factor he points out is that people who used to play such instruments started migrating from one village to another for better education and work, and with it, their culture got lost in transition.
He states that the occupational musician castes like Damai, Kapali, Badi and Gandharba or Gaaine used to hand their tradition of playing music over to their younger generations. But now, due to fewer opportunities in the field, the younger generations are discouraged to take it up professionally and have forsaken the tradition.
“Even in schools, English rhymes are given more priority than Nepali ones. Nor are there studies that focus on preserving our culture. So we’re really not raising culturally aware children. This is why we need to teach culture preservation from the school level itself,” says Kandel.
Cultural expert Govinda Tandon mentions that the influx of modern instruments is the reason behind our local folk instruments having less prominence.
“Brass bands are more popular these days due to its attractiveness. On auspicious occasions, the playing folk instruments was mandatory. But it’s more about modern instruments these days,” he says.
He also mentions that instruments like Muhali, Sahanahi, Jhyamte are played less often. “We need to encourage and give priority to our folk instruments. Only then we can foster our culture.”
Yakuchaa Babhu
Prem Dev Giri, musician and founder of Bagina Samuha, a cultural organization based in Surkhet, mentions that popular instruments like Madal, Sarangi and Bansuri are still in use but other instruments like Yalambara and Aarbaja aren’t played anymore.
Krishna Gurung, Assistant Music Officer at the Culture Corporation (Rastriya Nach Ghar), however, is of the opinion that it is due to limited budget and the continuing unstable political state of the country that has hindered the process of protecting musical instruments.
“Though we’re willing, we haven’t been able to do anything. Also, there isn’t much encouragement for those who want to research,” says he.
On the other hand, Khark Bahadur Budha Magar, Assistant Music Officer at the Culture Corporation, believes that the declining number of folk musicians who play such folk instruments is the main reason that has led to the disappearance of folk musical instruments.
“Those who played folk instruments back then didn’t have the luxury to record in the studios. So we lost tracks of many instruments that have disappeared down the line. The government is also not doing anything to preserve it,” says Budha Magar. “In order to preserve our musical instruments and our culture, we need to spread more awareness. We can start from the school level itself by making it compulsory to learn about it in the school curriculum.”
Photo Courtesy: Nepali Folk Musical Instruments Museum
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