Musical practices of the Mongol people have become increasingly well-known around the world, particularly Mongolian throat-singing and the two-string horsehead fiddle, morin khuur. Much less is known about treasured local fiddle forms in Inner Asia, such as the ikel from Western Mongolia and the choor from Eastern Inner Mongolia, China. In this paper, I explore the important role that the choor fiddle has played in Inner Mongolia, as part of storytelling ritual in the past and as part of a cultural revival in the present. Due to historical ruptures and emphasis on stage performance, the choor fiddle was largely abandoned and forgotten in the mid-twentieth century. In the early 2000s, however, a renewed interest in the instrument was stimulated and many young people have now taken interest in the choor as a powerful sonic link to an unmodernized tradition, predating Chinese occupation of Inner Mongolia. Drawing on theories of revival (Bithell and Hill 2013) and a growing literature on intangible cultural heritage in China (Tang 2021, Wong 2019, Wilcox 2018, Maags and Svensson 2018), I examine how the choor serves as a flexible sonic resource and bridge for young Inner Mongols to reconnect with their past and to imagine new futures.