Lochan Rijal: On a mission to preserve ethnic music

Lochan Rijal, the head of Kathmandu University’s Music Department, holds a pioneering doctorate in Ethnomusicology from Kathmandu University, Nepal, and the University of Massachusetts, USA. He initially started his career as a pop/rock singer-songwriter but later delved into ethnomusicology to become a music scholar. 

A multi-award-winning multi-instrumentalist, Rijal has enriched the world of music with his unique contributions. Some of his well-received songs, such as ‘Chandrama,’ ‘Samaj,’ ‘Paurakhi,’ and ‘Chetana,’ can be found on his critically acclaimed albums like ‘Coma’ and ‘Kancho Awaz’ (Raw Sounds). In addition to his musical achievements, he has collaborated closely with local Nepali musicians from various communities, including Gandharvas, Santhals, Rautes, Chaudhary, Rajbanshi, Limbus, and more.

Internationally recognized, Rijal has received honors from institutions like the Massachusetts Institute of Technology (MIT) and the Particle Physics Laboratory (CERN), where he was celebrated as a guest artist and lecturer. For the past decade, he has dedicated his efforts to preserve Nepal’s tangible and intangible musical heritage. Ken Subedi engages in a conversation with him, exploring his deep passion for music, culture, tradition, and heritage preservation.

You do not seem to follow the popular music trend. Rather, you like experimentation and try to set a new trend. Is that due to your focus on ethnic music?

Yes, I prefer experimenting with music and setting new trends rather than following popular trends. This preference is indeed related to my focus on our own musical heritage and world music. Our musical traditions and instruments provide a rich source of inspiration with its unique sounds and traditions, allowing me to create something distinct and innovative. 

You hold a doctorate in ethnomusicology. Can you please share the title of your dissertation and findings in brief?

My dissertation was titled “Transmission of Music in Nepal: The Gandharva Tradition”. In this study, I aimed to revitalize and contemporize traditional Nepali instruments like Arbajo and Sarangi, create a music education database for Nepal, and develop a model for preserving the endangered musical heritage and local musicians of Nepal. The findings emphasized the importance of preserving and contemporizing our musical heritage.

How do you evaluate the current Nepali music scene? 

The current Nepali music scene has a mixture of quantity and quality. While there is a diverse range of musical expressions and talents rooted in the traditional settings, there is room for improvement in both quality and diversity. Many contemporary artists are experimenting and pushing boundaries, but it’s essential to balance commercial trends while preserving cultural authenticity.

There are a lot of discussions among government bodies regarding the preservation of tradition and culture of different tribes. I hope you agree that language alone is not enough for such preservation? Where does music stand for that mission?

No, language alone is not sufficient for preserving traditions and culture. Music plays a vital role in this mission. It encapsulates the emotions, stories, and values of a community, making it a powerful medium for cultural preservation. Through music, traditions are passed down through generations, fostering a sense of identity and belonging. The Government of Nepal should focus on creating job opportunities for the local musicians as music teachers in all the public schools and universities.

Preparations, conferences and background studies are ongoing for developing Nepal Studies as a discipline in Nepal. As a scholar and expert in music, what are your messages and recommendations to the concerned authorities?

I would suggest recognizing the interdisciplinary nature of music and its role in understanding culture and society. Including the study of music in Nepal Studies can provide valuable insights into Nepal's diverse heritage. Additionally, investing in Intangible heritage, music education and research can help preserve Nepal's rich musical traditions for future generations.

You have been a singer, musician, lyricist and arranger. What area do you find the most joy in?

Being a scholar-musician brings me the most joy. This role allows me to bridge academia and artistic expression and encourages me to sing, write texts, arrange and perform music for the future. Through research, I am in the process of gaining a deeper understanding of musical traditions and other related fields like music and heritage, instrument making etc. Which enhances my compositions, performances and amplifies my craving to build a better Nepal. This synergy between scholarship and creativity brings me immense satisfaction.

These years, from Smule to StarMaker, there are lots of Karaoke Apps where people can record songs in their voice. This has led to loss of originality and increased copy versions. How does that impact the original artist and the music industry?

The explosion of Karaoke Apps can impact original artists and the music industry. It may lead to a flood of copy versions, diluting the uniqueness of original creations. This can affect artists financially. However, it also offers a platform for aspiring talents. To mitigate the impact on original artists, it's important to protect their intellectual property rights and ensure fair compensation for their work. 

Ethnic music is connected to ethnic tradition and language of ethnic communities. Picking up select rhythms from such ethnicity can be a daunting task. That’s where you utilize your research skills. Can you please share an incident regarding how you add their musicality in your songs?

One notable incident is when I worked closely with the Santhals, Damai and Limbu community of our country. In our recording session, they shared their traditional instruments with me. I incorporated these elements into a song composition, creating a collaborative effort that honored their musical heritage while creating something new and meaningful. This song is called “Nepali”.

The world we are living in is turning more and more homogenous. From language to culture and tradition, capitalist mode of production, consumerism and the current world order are threatening the diversity of populations. To what extent can they dismantle the age-old music and tradition of ethnic people? How can we save their legacy for future generations?

Globalization and modernization can indeed threaten the music and traditions of ethnic communities in no time. To preserve their legacy, we should urgently but systematically document and utilize their music and traditions, support cultural education, and advocate for the preservation of music of all the Nepalese of all the times. Creating job opportunities in Universities and Schools across Nepal, promoting Nepal based curriculum, cultural exchange and celebrating diversity can also raise awareness about the importance of preserving these invaluable aspects of our global heritage. The smart thing to do is invest in scholarly research because Nepal itself is a vast laboratory consisting 125 ethnic groups and 123 different spoken languages.