"Rema" is a representative musical instrument of the forested regions in Xizang, China. Under the care of experts, scholars, and artists, it has been revived. With its compact and ancient form, it now journeys across forests, mountains, rivers, and lakes, embarking on unique musical tours.

Lost and found: An ancient instrument preserved by experts

On December 14, 2025, a special music sharing session called "Remaand its land"was held at the hima hima Room, a cultural station in eastern Lhasa, Xizang.

Breaking traditional boundaries between stage and audience, the event placed performers from the Nyingchi Ethnic Art Troupe close to the audience, facilitating intimate, face-to-face interaction. Through interpretations of "Rema" art and history, attendees gained a deeper understanding of this ancient instrument, known as the "Soul of Kongpo's Strings", and the ups and downs it has witnessed.

The performance, centered around the sound of "Rema", was made possible thanks to an instrument collected 31 years ago by art researcher Kelsang Chogyal from a family with at least five generations of heritage.It also owesto the determination of dedicated individuals from the Nyingchi Ethnic Art Troupe who later sought to trace the origins of this old instrument.

Ultimately, the rediscovery and restoration of this ancientmusical instrument involved the collective efforts of many people.

With the joint support of relevant cultural departments, experts, and artists, "Rema" and its related history and stories have been included in the2024 literary and artistic creation support projectof XizangAutonomous Region.

Soul of Kongpo's strings: The past and present of "Rema"

As a senior expert in Tibetan art research, Kelsang Chogyal not only collects old musical instruments from various periods but also keeps a 25-page Tibetan-language notebook. Within its yellowed, age-marked pages lies a detailed account of the origins of the Rema and the history of its preservation across generations by a family in Kongpo region.

The Tibetan-language recorder was Dawa Tashi, former director of the Lhasa Mass Art Center, who dedicated his life to cultural and artistic work.

In the winter, 1979, Dawa Tashi traveled to Nyingchi County to collect local folk tales, songs, and proverbs. At the time, counties such as Nyingchi, Mainling, and Kongpo'gyamda were under the administrative jurisdiction of Lhasa City.

In this precious manuscript handwritten by Dawa Tashi, he described the challenges faced in preserving "Rema" at that time… This account later became Kelsang Chogyal's first encounter with"Rema".

Same year, Kelsang Chogyal seized an opportunity to visit Nyingchi for fieldwork. He made a special trip to DemoChongsar Village in Mainri Township, only to find that no one played "Rema" anymore. As someone who had worked in the arts and later turned it into a lifelong research pursuit, Kelsang Chogyal could not remain indifferent. After much effort, he found the"Rema", which had broken strings and no bow, collected it, and brought it back to Lhasa.

Today, this scholar who has devoted most of his life to Tibetan folk art regards this old musial instrument, along with many others he has collected, as treasures of his lifetime.

Looking to the future: A dialogue between professional andfolk heritage

When the Nyingchi Ethnic Art Troupe successfully concluded three events centered on "Rema", Migyur Dandzin, who witnessed the process, finally felt a weight lifted from his heart.

"Before the performance, I wasquite excited when watching the actors rehearse, adjust, and tune the instruments", admitted Migyur Dandzin, a master’s supervisor at the Music Department of Xizang University’s College of Arts and vice chairman of the Xizang Autonomous Region Musicians Association. "To successfully bring an ancient musical instrument onto a modern stage with such impressive results makes me incredibly happy."

In recent years, Migyur Dandzin has been deeply involved in the search for "Rema" and its revival. As a scholar and composer, he maintains a cautious approach: "The professional sphere differs from the folkone, which has its own ecosystem. My philosophy is professionals should avoid disturbing the original state and inherent vitality of folk traditions. If a tradition possesses inherent vitality, it will not perish.

"From a small regional origin to a broader stage, "'Rema' is a string instrument that allows for both plucking and bowing., making it an extremely rare one even on a global scale," said Kelsang Chogyal.

After several concerts, we have come to appreciate the unique depth of "Rema". Though its heritage is geographically limited, audiences who have heard it live unanimously remark on its power to instantly quiet the soul.

Kelsang Chogyal said, "On any stage, achieving a high level of performance and artistic excellence means stepping onto the international stage."

Reoprter: Xiao Yong

Translators: Zheng Yujie, Liu Fang

Review: Drakpa Wangchen, Hu Rongguo