Manish Adhikari

Saran Kumar Pradhan (1943–1974) was one of Darjeeling’s most gifted lyricists, composers, and mandolin virtuosos, shaping the golden era of modern Nepali music. Born on 4 May 1943, he grew up in a culturally vibrant Darjeeling and taught himself banjo, harmonium, and mandolin with remarkable mastery. A science graduate from St. Joseph’s College, he later taught at St. Robert’s School, where he also composed the school anthem. A student of maestro Amber Gurung, Saran emerged as a leading figure of Adhunik music alongside Aruna Lama, whom he married in 1963. Their partnership produced timeless classics such as “Yaha Ful Nakhili Cha,” “Sabaile Bhanthe,” “Hera Na Hera Kancha,” and many others. His music club Sangeet Sangam became a creative hub that nurtured Darjeeling’s finest talents. Saran passed away in 1974 at just 31, leaving behind a luminous body of work that continues to define Nepali musical heritage.

V. Balsara (Vistas Ardeshir Balsara) is revered as the first music director of Nepali cinema and the pioneering architect who shaped the earliest sound, rhythm, and emotional identity of Nepali film music. His compositions for Aama (1964), Nepal’s first feature film produced in Nepal, established the musical soul of an entire industry.Born in India and trained under legendary maestros such as Ustad Mushtaq Hussain, Master Ghulam Haider, and Khemchand Prakash, Balsara began his musical journey in 1942 with the Hindi film Badal. He became an independent music director with Circus Girl (1943) and went on to compose for 32 Bengali, 12 Hindi, and 3 Nepali films, along with more than 200 albums, showcasing mastery over piano, melodica, Univox, and several other instruments.His entry into Nepali cinema came when director Hira Singh Khatri decided to record the music of Aama in Calcutta. Balsara not only composed the first Nepali film songs but also introduced and shaped the voices of Shiv Shankar Manandhar, Tara Devi, and Pushpa Nepali in playback singing. His melodies for the lyrics of M.B.B. Shah and Laxman Lohani gave Nepali cinema its first musical fragrance.He returned for Hijo Aaja Bholi and later Parivartan, a landmark film that truly transformed Nepali film music. Through Parivartan, Balsara brought Narayan Gopal into playback singing, introduced Mira Rana, expanded Tara Devi’s musical range, and collaborated with writers like Chetan Karki and Tirtha Shrestha.The song “Bujhnai Sakenau Timile Mero Aankha Ko Bhaka” became an immortal milestone in Nepali film music, while “Bainiko Daya Chha Bhane Rodhigahr Dai Nachyo Nabhane” blended folk essence with cinematic sound in a groundbreaking way.Quiet, visionary, and deeply devoted to his craft, Balsara shaped not only melodies but also artists, opportunities, and the very direction of Nepali film music. His contribution remains foundational—etched in gratitude and golden memory.He passed away on 23 March 2005, but his melodies continue to echo as the first sweet remembrance of Nepali cinema’s musical journey.

Rajesh Thapa is a talented Nepali music director and instructor. He has been working as a music composer and instructor for almost 20 years, specializing in eastern classical music. Rajesh is also an ECA (Extra-Curricular Activities) teacher for music at Radiant Readers Academy. Career Highlights Music Director: Rajesh has composed music for various projects, showcasing his expertise in eastern classical music. Music Instructor: He has been teaching music for nearly two decades, sharing his knowledge and passion with students. Personal Life Rajesh Thapa is known for his dedication to music and his ability to inspire others through his teaching and compositions. He continues to contribute significantly to the Nepali music industry.

Panna Kaji Shakya (1931–2017) was a pioneering Nepali singer, composer, and lyricist, widely regarded as one of the foundational voices of Nepal’s modern music era. Born in Ombahal, Kathmandu, he began his musical journey through devotional singing and later became one of the earliest and most influential artists associated with Radio Nepal, where he worked from 1951 to 1985.Across four decades, Shakya contributed his voice and compositions to over 300 songs, shaping the sound of early Nepali modern, folk‑inspired melodies, and bhajans. His timeless recordings—“Tiriri Murali Bajyo Banaima,” “Naulakhe Tara,” “Kina Kina Timro Tasbir,” “Lolaeka Ti Thula Timra Ankha”—remain cultural landmarks and continue to define Nepal’s musical heritage.Beyond music, Shakya was active in theatre and stage performance during a period when male actors often portrayed female roles due to the absence of women in the field. He was also briefly involved in political activism through the Nepal Praja Parishad, leading to his arrest in 1962.In recognition of his lifelong contribution to Nepali music, he received the Tuborg Image Award – Lifetime Achievement Award (2013). Panna Kaji Shakya passed away on January 25, 2017, at the age of 85, leaving behind a legacy that continues to inspire generations of Nepali musicians.