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However, not all was lost. My persistent efforts of preserving and spreading awareness about the Sursingar gave me the confidence to create pitches for different organisers. Soon, I started presenting recitals across various events and platforms, such as the Dhrupad Mela, Kashi Sangeet Samaj, Subah-e-Banaras in Varanasi, Prayag Sangeet Samiti in Allahabad, India International Centre and India Habitat Centre in Delhi, and the Golpark Rama Krishna Mission in Kolkata to name a few. Ultimately, it garnered attention from several reputed media houses and thus began to get featured regularly.



On November 25th, when I received the Ustad Bismillah Khan Yuva Puraskar of the Sangeet Natak Academi for Sarod and Sursingar, I was overwhelmed with joy. I still remember receiving countless phone calls from family and friends from every region in the world throughout the day, thus not being able to sleep. It was a fantastic feeling!



I think that my work on preserving and revitalising these long-forgotten instruments will continue beyond today - because the future of Indian classical music is really bright. Despite the fact that I am one of the few people who still play the Sursingar, I also encourage my students to play and protect its cultural legacy. Who is to tell that an instrument that is popular today will remain popular in 200 or even 100 years from now? Every instrument has a shelf life. I do want to revive more lost instruments of Indian classical music.



However, only if people continue to be interested in and supportive of the efforts to restore and bring these instruments to various performances will they be able to survive and thrive. After all, it is the encouragement of the audience, organisers, and the government that makes all the difference.