Sarangi
The Sarangi(Nepali: सारङ्गी) is a folk Nepalese string instrument. Traditionally, in Nepal, Sarangi was only played by people of Gandarva or Gaine cast, who sings narrative tales and folk song. However, in present days, its widely used and played by many. It is made up of single piece of wood having a neck and hollowed out body. It is carved out from a very light wood, locally known as Khiro. The body is carved into a hollow frame with two openings. The lower opening is then covered up with dried sheep-skin. The original strings were made out of sheep intestine. The village people allotted intestines of sheep, sacrificed during major festivals like Dasain, to the Gandarvas. The Gandarvas left the intestine in a pot for some days. Once the meat was fully rotten, it was pulled out, leaving behind the fine nerves of the intestine which were then woven to get the strings, which produced fine quality sound. However these days, readily available nylon and steel strings are more popular with Sarangi players as they do not have the time to prepare the traditional variety of strings. Sarangi has four strings and played with the help of a bow. Horse-tail hair was originally used for the bow string of the Sarangi but these days nylon strings are common. The strings are supported by two bridges and tuned by Kunti (tuner). The Sarangi’s neck is fretless and the bridge is seated on a skin stretched over the body of the instrument. Different notes are made by touching the strings with the nail of fingers of the left hand.
Damaha
The damaha is the kettledrum that gives its name to the Damai caste. It is a large, unpitched 
kettledrum made of copper with a head of bullock (goru) hide. Damaha are made by coppersmiths blacksmiths of the middle hills. To forge a damaha requires about 4 kilos of raw copper, which is melted and then forged into a bowl shape by two or three smiths working together with heavy hammers. The heads are usually made and attached to the bodies by members of the Badi or Sarki occupational castes of tanners. Tanning the skin for the heads requires soaking it in water with several types of herbs for two to three days, and then curing with herbs, turmeric and oil. As the heads must be wet when played, a small hole is made in the bottom of the copper body to facilitate wetting the inside of the damaha head. A base ring of layers of hide is attached around this hole, and the damaha is inverted onto the head, which is then attached with strips of hide in a straight-lacing or v-lacing pattern. When the head is attached, a shoulder strap is added, and the damaha is complete. The damaha is unique because it is made of copper, a sacred metal, and has a higher ritual significance than the other instruments of the Panchai Baja. For this reason, says Tingey of the damaha making tradition in Gorkha, a puja must be performed for the damaha right when it is made. This puja is required for both kettledrums, the damaha and the nagara, because when lacing the head onto the copper body, the feet are used to support the instrument. Touching the instrument with one's feet is considered an insult to the deity for which the instrument will be played, so a puja must be performed in apology. Tingey suggests that though the dolakhi is also laced using the feet for support, it does not require a puja because it is less ritually significant. The way that the damaha is played varies from region to region. In central Nepal, it is played with one large stick (gajo), though in ritual contexts it is played with two sticks, as a nagara.
kettledrum made of copper with a head of bullock (goru) hide. Damaha are made by coppersmiths blacksmiths of the middle hills. To forge a damaha requires about 4 kilos of raw copper, which is melted and then forged into a bowl shape by two or three smiths working together with heavy hammers. The heads are usually made and attached to the bodies by members of the Badi or Sarki occupational castes of tanners. Tanning the skin for the heads requires soaking it in water with several types of herbs for two to three days, and then curing with herbs, turmeric and oil. As the heads must be wet when played, a small hole is made in the bottom of the copper body to facilitate wetting the inside of the damaha head. A base ring of layers of hide is attached around this hole, and the damaha is inverted onto the head, which is then attached with strips of hide in a straight-lacing or v-lacing pattern. When the head is attached, a shoulder strap is added, and the damaha is complete. The damaha is unique because it is made of copper, a sacred metal, and has a higher ritual significance than the other instruments of the Panchai Baja. For this reason, says Tingey of the damaha making tradition in Gorkha, a puja must be performed for the damaha right when it is made. This puja is required for both kettledrums, the damaha and the nagara, because when lacing the head onto the copper body, the feet are used to support the instrument. Touching the instrument with one's feet is considered an insult to the deity for which the instrument will be played, so a puja must be performed in apology. Tingey suggests that though the dolakhi is also laced using the feet for support, it does not require a puja because it is less ritually significant. The way that the damaha is played varies from region to region. In central Nepal, it is played with one large stick (gajo), though in ritual contexts it is played with two sticks, as a nagara. 
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