In the heart of Srinagar, amid the tranquil and narrow alleyways, Ghulam Mohammed Zaz operates what is likely the last traditional workshop for creating the santoor, a beautifully handcrafted trapezoid string instrument. Known for its melodious and bell-like tones, the santoor has been a cornerstone of Kashmir's musical heritage for centuries. Unfortunately, Ghulam is among the last of his kind; a craftsman of over seven generations, he faces the imminent threat of his craft fading into obscurity.
The santoor, resembling a dulcimer, has its roots traced back to Persia, arriving on Indian soil at least as early as the 13th century. It became an essential part of Sufi and folk music culture, with its distinct style evolving over the ages. However, the current musical landscape dominated by hip hop, rap, and electronic music has diminished the relevance of traditional tunes, leading to a significant decline in the demand for this exquisite instrument.
Ghulam and his family name have been synonymous with craftsmanship in Kashmiri music. Elevated by musicians such as Pandit Shiv Kumar Sharma, the santoor received enhancements that cemented its place in Indian classical music. Ghulam's workshop, rich in history and craftsmanship, is filled with tools that have seen better days yet still resonate with music's soul.
Born in Zaina Kadal during the 1940s, Ghulam was nurtured in a world infused with the sounds of traditional music and craftsmanship until health issues forced him to leave formal education early. Instead, he learned the delicate art of santoor-making from his father and grandfather, recognizing that creating music requires not just skill, but a deep connection with the instrument.
Ghulam emphasizes the personal journey involved in crafting each santoor, stating that the process is meticulous and time-consuming, requiring the right choice of aged wood and careful shaping of its components. While modern machines offer quicker and cheaper instrument options, he believes they lack the warmth and character of handmade creations. His work is an act of devotion, marked by patience and an appreciation for the history embedded in each piece.
Despite receiving national recognition, including India's prestigious Padma Shri award for excellence in craftsmanship, Ghulam's plight highlights the precarious future of his art. With no successors in his family, he mourns the fading interest in traditional crafts, despite social media attention drawing temporary curiosity to his workshop.
Ghulam yearns for an apprentice who will cherish the craft not for fame or fortune, but for the love of music itself. Now in his eighties, he reflects on the quietness that fills his workshop, filled with unfinished pieces awaiting life through song. His plea is simple: to pass his art onto someone who recognizes it as more than just a trade.
As modernity sweeps through, Ghulam Mohammed Zaz's workshop stands resilient, a reminder of the timeless bond between wood and music, urging future generations to appreciate and uphold the beautiful legacy of Kashmir’s musical heritage.
