Far away from the bustle of Kolkata lies Dadpur, a quiet village in Bengal’s Howrah district where hundreds of families handcraft beautiful Indian classical instruments such as the sitar and sarod. This musical tradition was started decades ago by Tarapada Halder, who learned the craft and brought it back to the village, helping lift his community out of deep poverty. Today, the demand for these exquisite handmade instruments is higher than ever before. However, the village faces an uncertain future. The right kind of wood is becoming hard to find, and younger generations are choosing easier, faster-paying jobs instead of learning this slow, patient art. Despite a lack of government support and proper recognition, the hardworking artisans of Dadpur continue to craft these instruments, hoping to keep the warm soul of traditional Indian music alive for generations to come.A finished travelling sitar, a modern version of the traditional sitar carved in fine work of celluloid. Photo: Sourajit Pramanik.The small yet lively village, protected from the cacophony of the city, is located within the Uluberia subdivision of Howrah. Around 300 families here are involved in making Indian classical instruments. From sarod, veena, santoor, esraj, dilruba and rubab to modern instruments like the zitar, travelling sitar and tanpuri, they make them all with perfection.A worker fixing celluloid in the neatly crafted designs. Photo: Dipam Debnath.Shallow shells of lau (bottle gourd) used to make the sound drum of a sitar are being dried. Photo: Dipam Debnath.Tarapada Halder, the architectDadpur was once blessed by the presence of the late Tarapada Halder, who was involved in several odd jobs. One such job landed him at the famous Radhakrishna Sharma & Co. music store in the heart of north Calcutta, where he learned the art of making a sitar. Later his growing interest in the field persuaded him to travel to Lucknow with the dream of mastering the art of making classical instruments. After returning home, he started a factory at his place in Dadpur, with a few village men. In those days of misery and poverty, Dadpur found its salvation in the craft of making classical instruments under Halder’s leadership. Now, even after almost half a century, Dadpur and a few surrounding villages are still carrying forward his legacy.Shyamal Halder, Tarapada Halder’s son, told The Wire, “I was the first disciple of my father, I used to assist him after school, and watch him teach others humbly and with lot of patience. I have been in this profession for almost 45 years, every family in our village has at least one member working in this profession today, and it makes me happy.” Shyamal Halder. Photo: Sourajit Pramanik.An uncertain futureDespite several challenges, such as restrictions on the supply of toona tree logs (used to make the body of instruments as the wood is easy to carve) from Assam’s Tinsukia district and the unavailability of skilled labour, the industry has only grown. With increasing demand from abroad and from schools making music compulsory, the industry is in full bloom. Although the demand has surged over time, uncertainty still looms large.A worker carving the toona tree, used to make the body of instruments. Photo: Dipam Debnath.Millennials and Gen Z seem less interested in pursuing the craft. Learning it takes time and effort, and also the initial days are often unpaid. So many find other career options that offer more immediate and lucrative earnings than learning this craft. This situation could create an acute shortage of skilled workers in the years to come.Samar Mondal, a skilled worker with 30 years of experience, polishes an instrument using fire and gala varnish. Photo: Dipam Debnath.Ronit Halder, one of the very few workers in Dadpur from the younger generation. Photo: Sourajit Pramanik.Government initiativesSeveral attempts have been made by the district administration, including initiating a cluster project for workers and owners involved in the craft of making instruments and proposing the establishment of a statue in honour and memory of Halder.However, none of these efforts has been successful. A little support from the local government could help the industry flourish and give the village of Dadpur some much-needed recognition.Piyush Kanti Mondal, a student of Tarapada Halder, runs one of the largest workshops in the area. Photo: Sourajit Pramanik.Missing gratitudeEvery family and worker interviewed had two things in common: their gratitude towards and acknowledgement of the legendary Tarapada Halder and their dismay that a man with such a vision, who transformed an entire village, received so little appreciation and credit for his contributions from the government and from Bengal’s musical elites. “Tarapada babu did not receive the sendoff he deserved; we could not even build a statue or name a road after him. How will the younger generations remember him?” said Golam Rasul, who has been crafting classical instruments for over 40 years. Golam Rasul. Photo: Dipam Debnath.As we move deeper into modernity, we often tend to give up our traditional values and culture. Easily made and easily tuned electric instruments lack the grandeur and warmth of traditional ones.A worker chiseling the body of a sitar as the last of a day’s work. Photo: Sourajit Pramanik.Moreover, Indian classical instruments are not just instruments – they are symbols of our age-old culture and tradition, which must be preserved at any cost for generations to come.Dipam Debnath is an independent researcher based in Kolkata.