Laxmi Dangol

Dashain and Malshree Dhun are deeply connected in Nepali culture. The sacred melody of Malshree is considered the musical soul of Dashain, and helping preserve this tradition is Nepal’s first and only female sarod player, Rupa Neupane. Rupa Neupane was born in Asar 2026 B.S. (1969 A.D.) in Mulpani, Kathmandu. She was married at the age of 12 in 2038 B.S. Despite early marriage and social responsibilities, her passion for music gradually found its way into her life. At the age of 24, in 2050 B.S. (1993 A.D.), she began learning the sarod, marking the beginning of her remarkable musical journey. She first trained under senior sarod maestro Mohan Sundar Shrestha in Kathmandu. Later, she continued her studies with Suresh Raj Bajracharya and further refined her skills under Dr. Anupama Kumari in India. Through dedication and continuous practice, she steadily established herself as a respected sarod instrumentalist. In a field traditionally dominated by men, Rupa Neupane broke barriers and created a historic identity as Nepal’s pioneering female sarod player. Her performances of Malshree Dhun during Dashain have strengthened the cultural connection between classical instrumental music and Nepal’s most celebrated festival. Today, she continues her journey as a committed sarod artist, inspiring women and young musicians across the country. Her life reflects perseverance, courage, and devotion to classical music, proving that passion and determination can overcome social and personal challenges.

Manohar Sunam is a distinguished Nepali music arranger and instrumentalist, renowned for his significant contributions to the Nepali music and film industry. His expertise in music arrangement has enriched numerous songs and films, leaving a lasting impact on Nepal's musical landscape. Career Highlights: Throughout his career, Manohar Sunam has been instrumental in arranging music for various Nepali movies and songs. Notable works include: "Samarpan": In this film, Sunam served as the music arranger, showcasing his ability to enhance cinematic narratives through his musical compositions. "Dulahi Rani": His role as the music arranger in this movie further exemplifies his versatility and dedication to the craft. "Piratiko Paluwa": Sunam's recent involvement as a music arranger in this project highlights his enduring presence and relevance in the industry. Collaborations: Manohar Sunam has collaborated with various artists and filmmakers, contributing to the success of numerous projects. His collaborations have resulted in memorable songs and soundtracks that resonate with audiences. Online Presence: For those interested in exploring his work, Manohar Sunam's music arrangements can be found in various Nepali films and music videos. Platforms like YouTube host several of these works, providing easy access to his contributions. Additional Information: While detailed personal information about Manohar Sunam is limited, his professional achievements and contributions to Nepali music are well-recognized. His dedication to music arrangement has played a pivotal role in shaping the soundscape of Nepali cinema and music.

Mukesh Shakya is a young Nepali tabalist and classical musician, known as a disciple of the late maestro Rabin Lal Shrestha. He has performed in classical music sessions organized by the Society of Classical Music Nepal, including their 76th session, where his tabla playing was featured and praised for its precision and depth. Mukesh represents a new generation of Nepali classical artists dedicated to preserving and evolving traditional forms like tabla and Hindustani music. His training under Rabin Lal Shrestha places him in a respected lineage of percussionists, and his public performances reflect a growing commitment to Nepal’s classical music scene

Manohari Singh (1931–2010), born in Kolkata to a Nepalese Bhusal family, is celebrated as one of South Asia’s finest woodwind and orchestral arrangers. Though globally known for his work with R.D. Burman, his Nepali heritage and musical upbringing in a Nepali household shaped his tonal sensibility, melodic phrasing, and emotional depth — qualities that strongly resonated with Nepali film composers.His mastery of alto saxophone, flute, piccolo, clarinet, mandolin, and bansuri made him a sought‑after session musician whose sound influenced the orchestral palette of Nepali film music in the 1980s–1990s. Many Nepali composers — especially those working in Mumbai and Kolkata studios — relied on his phrasing style, brass‑woodwind layering, and melodic counterlines as a reference point.Although he did not score many Nepali films directly, his arrangement style, brass band roots, and Nepali musical lineage helped shape the cross‑border sound that Nepali cinema adopted during its modern era. His work as part of the Basu–Manohari duo also inspired Nepali arrangers who studied Indian studio orchestration.