The Last Santoor Craftsman

Kashmir, a region celebrated for its enchanting landscapes, vibrant culture, and rich musical heritage, holds a special place for the Santoor—a stringed instrument that has become an enduring symbol of its traditional music. Though crafted in Iran and France as well, the Kashmiri Santoor, with its distinctive tone and refined construction, is renowned worldwide. Yet, the art of its creation is fading, leaving the valley with only one remaining artisan skilled in its crafting: Padma Shri Ghulam Mohammad Zaz.

The Santoor, traditionally played in Sufiana Qalam, a genre of classical Kashmiri music, has evolved to become a staple in India’s classical music scene, particularly under the influence of legendary musicians like Pandit Shiv Kumar Sharma and Bhajan Sopori. In its original form, the Santoor used in Kashmiri Sufiana Mausiqi is a trapezium-shaped box made of seasoned mulberry wood, with dimensions meticulously crafted to bring out its unique tonal qualities. "Santoors are made in Iran and France also, but God has given sweetness to the Kashmiri Santoor," said Zaz. "If there was anything lacking in it, it was fulfilled by Shiv Kumar Sharma and Bhajan Sopori. The newness and the way it was played by them, nobody has played it like that."

In a traditional Kashmiri Santoor, the box’s parallel sides facing the performer are 20 to 21 inches long, with a thickness around four to four-and-a-half inches. The hollowed-out interior serves as a resonator, enhancing the sound produced by a set of 100 strings arranged in groups of four and tuned to single notes. Each group is carefully laid over small bridges, totaling 25 in all. It is a meticulous craft requiring a blend of precision, patience, and passion, which Zaz has cultivated over decades of dedication.

Ghulam Mohammad Zaz, a resident of the historic Zaina Kadal area of Srinagar, was recently conferred the Padma Shri award, a national honor celebrating his contribution to the field of arts. Yet, at 80 years old, Zaz expressed bittersweet emotions about the award, saying he would have been happier had it come earlier, in a time when his grandfather, father, and uncles—those who shaped him as a craftsman—could have witnessed it.

Born into a lineage of master Santoor makers, Zaz is the last of an eight-generation family tradition that has produced some of the valley’s most exquisite Santoors. As a boy of twelve in 1953, he began apprenticing under the masters of his family, soon developing the skills to create instruments played by musical icons like Shiv Kumar Sharma and Bhajan Lal Sopori.

However, Zaz is keenly aware of the fragility of his legacy. “All my relatives are not ready to follow this craft,” he laments. “I am 80 years old. Till I am alive, I will continue this craft.” With three daughters who have pursued their own careers, Zaz is left without a direct successor. He holds on to the hope that someone from Kashmir will one day take up the craft, preserving the Santoor and keeping it alive for future generations.

Beyond the Santoor, Zaz’s expertise extends to other traditional Kashmiri instruments, including the sarangi, rabab, dilruba, tanpura, sur bahar, and tawoos. "These instruments are also made in other parts of India, but our instruments are the best," he says with pride, echoing the Kashmiri belief in the unique beauty of their art and craftsmanship.

The art of Santoor making represents more than a craft—it embodies the resilience of Kashmir’s cultural heritage, the intricate beauty of its music, and the dedication of those who have devoted their lives to passing it down. The question that looms over this tradition, however, is one of continuity. Without a successor, this craft, perfected over generations, risks fading into history, joining the ranks of other lost art forms.

For Kashmir and the world, the story of Ghulam Mohammad Zaz serves as a poignant reminder of the delicate balance between preservation and progress. In a time when modernization often eclipses tradition, it is vital to recognize and celebrate the artisans who strive to keep cultural heritage alive. Their work is a testament to the power of music to transcend borders, and their instruments resonate not only with notes but with the essence of a people’s identity.

As we celebrate the legacy of the Santoor and those like Zaz who have shaped its history, we must ask ourselves: what value do we place on preserving heritage, and how far are we willing to go to protect it? In honoring Ghulam Mohammad Zaz, we are reminded that each craft, each tune, and each instrument carries with it the spirit of generations—a spirit that, with continued support, can still inspire future melodies in the land of Kashmir.