Q. Can you share how your journey with the surna began and at what age you discovered your passion for playing it? Please brief us in detail.

Julley! I would like to thank the Reach Ladakh team for this interview. My name is Ali Mohammad, and I was born in Spituk. My father, Abdul Ali, and my grandfather, Ibrahim, played a significant role in my upbringing. I received a wealth of knowledge and education from them.

The surna's journey to Ladakh is quite intriguing. It arrived here with Gyal Khatoon from Skardo Gilgit as part of her dowry, and our tribe also migrated around the same time. Our ancestors played the Larna (tune) 360 at the palace, and they passed down all 360 melodies to me, which became the foundation of my learning.

I was just 4 years old when my father gave me a linyu (flute), and I played it for eight years. Subsequently, I was introduced to the surna and trained for twelve years. It was only after this extensive training that I started to play the surna professionally.
At the age of 25, I secured a job at a radio station where I served for 45 years until my retirement in 2012. During my career, I had the opportunity to explore places like Switzerland, Paris, France, Italy, and Bombay. I was honored with several awards, including the State Award, Bharat Jyoti Award, and Art Culture Award. Now, at 74 years old, I continue to cherish and celebrate the art of playing the surna.
Q. Have you ever had to overcome any obstacles or difficulties while learning or playing the surna?
Yes, I faced several challenges early on. Initially, many people discouraged me from playing the surna due to social stigma and caste-based discrimination. There was a perception that playing the surna was associated with lower social status, which led to resistance and criticism. Despite these obstacles, I persevered. I formed an association with others who played traditional instruments, like the drum, even though they faced similar social biases. My commitment to teaching my tribe and preserving our cultural heritage remained strong.

The social stigma associated with our traditional music has been a significant hurdle, but it has gradually diminished over time. Today's generation is more accepting and appreciative of our cultural traditions, and I continue to teach and share the art of playing the surna, dedicated to preserving our heritage until my last breath.

Q. What kind of music do you enjoy playing on the surna?

One of the most special pieces I enjoy playing on the surna is a traditional song called Gying Lu. This piece is reserved for special occasions and was historically performed only in the presence of kings, nobles, and the royal family. It is played very rarely and holds a significant place in our musical heritage.
Additionally, during wedding ceremonies, after lighting the butter lamp, we traditionally play a specific melody known as Larna. Following this, three other pieces of music are played, which are considered both auspicious and essential for the ceremony. Unfortunately, these traditions are becoming less common, and there is a growing need to preserve and continue these musical practices to maintain our cultural heritage.

Q. How many aspiring surna players have you mentored or taught so far?

I have mentored and taught around 200-300 aspiring surna players. Among them, 20 have become professionals, having completed the full course and excelling in their performances. My students come from diverse backgrounds and classes, and they learn with great enthusiasm and skill, free from any discrimination.

Q. As the surna and drum are integral to Ladakhi culture, tradition, and heritage, what changes have you noticed in Ladakh from the past to today?

In the past, the surna and drum were central to our cultural practices, but there were also certain challenges. One significant issue was caste-based discrimination, which led to stereotypes that discouraged people from touching or playing the surna. However, I’m pleased to see that attitudes have changed over the years. Today, students from all backgrounds are actively learning and playing the surna, reflecting a more inclusive and open-minded approach to our cultural heritage.
Another positive development is the preservation of traditional melodies. All the traditional tunes have been meticulously documented in a book at the Ladakh Cultural Academy. This book serves as a valuable resource for teaching and maintaining our musical traditions. The continuity of these melodies is crucial for keeping our cultural heritage alive and passing it on to future generations.

Overall, the evolution from past practices to today’s inclusive and preservation-focused approach highlights the progress Ladakh has made in embracing and celebrating its rich cultural heritage.

Q. How does the surna differ from other instruments?

In my view, modern instruments like the guitar, harmonium, and various bands are wonderful in their own right, but they risk overshadowing and eventually leading to the extinction of our traditional and cultural instruments if we're not careful. My primary goal is to preserve and strengthen the use of traditional instruments such as the Dimjang, Linyu (flute), Damnyan (a string instrument), Pivang, Khakong (sitar), and Daph (Dafli).

Each of these instruments, including the surna, plays a unique role in our cultural practices. For instance, the surna and daman are essential for wedding ceremonies, and without them, these events would feel incomplete. The surna’s distinct sound and its role in our traditional music make it special compared to other instruments. It embodies our cultural heritage and is integral to our ceremonial and festive occasions.

By focusing on preserving and promoting these traditional instruments, we ensure that our cultural heritage remains vibrant and continues to be an important part of our community.

Q6. Are folk music and traditional musical instruments on the brink of extinction? What is your opinion?

In the past, there was a significant risk of our folk music and traditional instruments facing extinction. However, I am optimistic that this will not happen if we recognize and appreciate the value of instruments like the dhap, pivang, and linyu.

We must move beyond caste-based discrimination and focus on preserving and valuing our traditional instruments such as the drum, surna, and flute. These instruments are integral to our cultural heritage and are central to various traditional dances and ceremonies, including Chabs Kyan rtsas, shondol, and Kompa sumrtsags. By promoting and celebrating these traditions, we can ensure that they continue to thrive for future generations.

Q. According to you, what are the solutions to promote and preserve folk art and music?

To promote and preserve folk art and music, several measures can be implemented:
1.    Regular Training Programs: Establish comprehensive training programs at cultural academies and other institutions. These should be conducted regularly to ensure that traditional skills are continuously taught and refined.
2.    Professional Instructors: It’s crucial to provide high-quality instruction. This means employing skilled and professional teachers who are experts in traditional instruments like the daman and surna.
3.    School and Community Engagement: Expand initiatives to include more schools and village associations. Sponsoring instruments and offering training in these communities can help foster interest and preserve traditional practices.
4.    Cultural Events and Festivals: Organize cultural events and festivals that highlight traditional music and art. These platforms can showcase the richness of folk traditions and encourage participation from younger generations.
5.    Documentation and Research: Support efforts to document traditional music and folk art. This includes recording performances and maintaining archives that can serve as educational resources for future generations.
By implementing these strategies, we can better ensure the preservation and promotion of our rich cultural heritage.

Q. How do you balance traditional surna with modern innovations and experimentation?

The primary challenge is that modern instruments like the guitar, violin, and harmonium are designed for contemporary music and cannot easily incorporate traditional folk melodies. Traditional instruments like the surna, daman, and dhaps are specifically crafted for playing folk songs and Jabro. To preserve their unique sound and cultural significance, it’s important to keep these traditional instruments distinct from modern innovations. This ensures that the essence of folk music remains intact while also allowing space for modern experimentation in other genres.

Q. How can young surna learners avoid common mistakes and stay motivated?

My advice to young surna learners is to focus on preserving the traditional tunes and melodies while practicing diligently. It's important to respect and learn from their teachers to maintain a strong connection with the heritage of the surna. While exploring modern music is valuable, they should always keep the essence of traditional music at heart. Consistent practice and a deep appreciation for their cultural roots will help them avoid common mistakes and stay motivated.

Message to Readers

I urge everyone to embrace and wear our traditional attire, Sulma and Kos, and participate in traditional dances such as Kompa Sumsrtsags and Shondol. These practices are vital for preserving our cultural heritage and preventing them from fading away. To the youth, I make a special request: carry forward our rich traditions, culture, and heritage. Your involvement and commitment are essential in keeping our legacy alive.