The rib of the body is grabbed firmly with one hand and the membrane is played with the other hand. During this, the Cymbals attached to the body ,also plays automatically, producing a compound sound. Sometimes the membrane is touched form inside to produce different notes.

                 Khanjari is made from a pipe shaped hollow piece of wood, about 6 to 7 inches in length and 4 to 5 inches in diameter. One side of the body is covered with lather and the other side is left open. Now, square shaped holes of about 2 inches are made on the body, and two three metal cymbals are introduced with the help of metal sticks. Generally the number of these cymbal holes are two or four. There is no specified method of fixing the lather skin to the body, the maker does it as per his own convenience. According to Dr. Devajit Saikia, author of Badya Abhigyan , earlier, facilities to adjust the tension of the membrane were provided in Khanjaris. However, such provisions are not seen in present day Khanjaris.

                           Khanjari is accompanied with Lokageets ( Folk songs) of lower Assam. In some places of Kamrup district, a particular folk song called ‘ Khanjari- Naam’ are performed, where the only instrument ised is a Khanjari. Apart  from this Khanjari is found being used along with different religious and semi religious folk music.




                   At first look Khanjari seem to be  a Dogor but significantly differs in sound and use. The specialty  of Khanjari is that is produces the sound of two instruments together. There seems to be a confusion with the name Khanjari . In some places of Upper Assam and among the Bodos, an instrument similar to Siritaal is known as Khanjari. The Malitas of Dhuliya Oja’s sing the story of evolution of Khanjari.

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1. Badya Abhigyan—Dr. Devajit Saikia– Axom Naam Xamroh Udjapon Xomiti—Auniati Xotro

2. Axomor Badyajantra—Sri Dharmeswar Duwara—Bani Prakash

Dwijen Gogoi – Serekapar – Sibsagar