The Vitat instruments are those which are made from the skin of animals. After tightening the skin on a hollow wooden or clay pot-like shape, sound is produced when it is struck with the hand or a stick. Damru, Dafli, Dholak, Mridang, Dahki, Timki, Nagada, Mandal etc. are Vitat instruments. Tat instruments must have come after these. Tat instruments are those which have strings or strings. These strings must have been made from animal hair in the beginning, which later on started being made from metal strings. Bana, Tumra, Kindi, Kamda etc. are examples of ancient Tat instruments. Ghan instruments must have come at the end, when man must have discovered metals and learned their various uses. In which metal is essentially used. For example, Ghungroo, Chimta, Khartaal, Manjira etc.
In tribal culture, these four types of instruments are prominently used in dance and folk songs. On one hand, these instruments are a powerful medium to express happiness in dance and folk songs. On the other hand, they also became the center of faith and devotion and started being used in their religious, social, cultural and daily rituals. For example, in the Gond tribe, Bana (Kikri) is also worshipped as Bada Dev and this instrument remains a symbol of their most loved deity even today. Kikri is made of Khmer wood on which cow leather is applied and horse tail hair is used to tie the strings on it. Sambhar horn is also used in this instrument in which small ghungroos are also tied. All three types of instruments Tat, Vitat and Ghan have been used in a single instrument. Similarly, the second and most prominent instrument of the tribes is Dahaki i.e. Shiva's Damru. This instrument is made by hollowing out teak, bija or khmer wood and tightly binding leather on both its ends. It is prominently found in different forms among tribes like Korku, Ojha, Gond, Bhil etc. Mandal or Mridang is also a very popular instrument which is often found in the entire tribal life of Madhya Pradesh. Only a little difference can be found in its size and the material used.
All the above mentioned types of instruments are used not only in music and dance but also in many cultural and social rites of life. That is, in all the rites from birth to death, marriage, worship, festivals etc. All these instruments have originated from the association of life in close proximity to nature and are the medium of expressing sorrow, happiness, faith, belief and joy. But today due to changes in tribal social life, their use has started decreasing and they are almost getting extinct. Therefore, an attempt has been made to document them before they get extinct and this book is a part of this effort.
Ashok Shah
IAS
Director
Tribal Research and Development Institute
Bhopal (Madhya Pradesh)
Introduction
The cultural splendor of the tribal world of Madhya Pradesh has a distinct identity in the country. In the tribal world, dance and music are integral parts of their unique but simple lifestyle. Dance is a powerful medium of expression of joy and music is the expression of the feelings of the mind with rhythm and beat. Instruments like Madal, Timki, Dhol, Nagada, Kundi Thiski, Khartal, Dholak, Algojha, Chikara, Gudumbh, Baja, Jhanj, Flute, Shehnai etc. instill joy in the hearts of tribal dancers, movement in their feet and sound in their throats.
"Karma" is the favourite dance of the Baiga tribe. Mandal is the main instrument in the dance. Bharia tribe uses instruments like Dhol, Timki, Jhanj, Flute etc. in Bhadam and Saittam dance. "Solo" Chalavani, Dodavani and Ghodi are the favourite dances of the Bhil tribe in which Dhol, Kundi, bronze plate and Bahli (flute) are their favourite instruments. Dances of the Korku tribe are more based on festivals and myths. Dhol, Dholak, Mridang, Timki, Algojha, Bhugadu, Pawai, Jhanj etc. are used in Korku, Chachari, Thapati, Dhadhal, Hororya and Dhadhya dance. Korku women use "Chitkaura" instrument in Gadli dance on marriage occasions. Gond tribe's favourite dance "Karma" and Saila Mandal , starts in the evening to the beat of dholak and tune of flute and continues till night.
The musical instruments of the tribes are also ritualistic. In order to complete and purify the rituals from birth to death, the Gond community invites the people of the village to play the "Badadev ka Bana" with rituals from their "Sangha Pradhan" on various occasions. Similarly, the Jantur instruments are also played by the Gond tribe during the worship of the deities. According to their belief, Jantur instruments are played the entire night after the death of a person to unite the soul with the deity.
The creators of musical instruments used in singing, dancing and other ceremonial rites are basically the tribals themselves. Modernization and contact with urban civilization have affected the divine cultural splendor of the tribal world. The book titled "Janjatriba Vadya" is an effort towards the written maintenance of rare tribal musical instruments in the event of their gradual change and extinction. I express my respectful gratitude to the source of inspiration for giving concrete form to this effort, Mr. Ashok Shah, Director. The guidance of Mr. Nitiraj Singh, Joint Director of the organization, in preparing the book is also noteworthy in a collaborative manner.
During the preparation of this book, great men from various tribal areas of Madhya Pradesh have played an important role in collecting information and contacting tribal families. Among them, the contribution of cultural workers of Sidhi district, Mr. Neeraj Kunder, Mr. Roshni Prasad Mishra and Mr. Rajiv Mishra, Lecturer, Mandla is noteworthy. The cordial cooperation of Mr. Brijesh Pandey, Assistant Commissioner, Mr. Satish Chandra Patidar and their colleagues during the visit to collect information related to the musical instruments of the Bhil tribe during the Bhagoria festival is unforgettable. Photography is an effective and authentic medium to preserve images tangibly. Along with the images of musical instruments shown in the book, the photographer of the organization, Mr. Keshav Thakur, is a helper in the collection of information.
The source persons and the tribal brothers and sisters of the tribal area have provided information with good intentions for preparing the book, I am grateful and thankful to them. It is hoped that the effort made towards the written maintenance of tribal musical instruments will prove useful for scholars and researchers.
Mrs. Madhu Gupta
Research Officer
Index
S.N Descriptions page No
1 Introduction
2 Tribal Culture and Musical Instruments
3 Instruments
(A) Madal
(B) Dhol
(C) Mridang
(D) Nagariya
(E) Nagada
(F) Timki
(G) Dafla
(H) Dahaki
(I) Dhank (Damaru)
(J) Dhap or Ghera
(K) Kundi
(L) Dholgi
(M) Dholak
(N) Dosuri Dholak
4 String instruments(tat vaadhya) 63-72
(A) Tamura
(B) Jantur instrument
(C) Bana (Kikri)
(D) Sarangi (Chinkara)
(E) Kinnari
(F) Kamda
(5) Instruments( Ghan vaadhya) 73-88
(A) Ghotihari
(B) Thiski
(C) Khartal
(D) Manjira (Cymbals)
(E) Chitkora
(F) Choora
(G) Jhika
(H) Ghunguru
(I) Paijna
(J) Tongs
(K) Wooden Stick
( L) Grinding Stick
(M) Saila
(O) Chutkule
(P) Brass Thali
6. Wind instruments ( Sudheer vaadhya ) 89-101
(A) Flute
(B) Pavi or Pavai
(C) Algojha
( D) Singudi (Conch blowing)
( E) Bhugadu
(F) Turra
(G) Singi Baja
(H) Shehnai
(I) Piya (Bhera)
( J) Bamboo Baja
( K) Fefre
7. Instruments and Modifications 102- 103
(8) Appendix-1
Brief Description of Tribal Instruments
Appendix-2
Source Persons Related to the Study
Appendix-3
Resident Based Tribal Population Year 2011
9. Reference List 116
10. Photographs 117-122
Introduction
Instruments: Introduction
Music has originated and developed with the origin and development of culture. Music is as ancient and timeless as the human race. The throat is a natural and instinctive gift to man and this determines the creation of his songs and instruments. Primitive man must have first pronounced words according to the rhythm. It was only after singing songs that primitive man got the idea of making instruments according to it. Primitive man must have first used an instrument to add rhythm and melody to his voice, that is, he must have used a rhythm instrument for the first time by hitting a metal or by hitting a substance or a leather. Seeing the bamboo automatically ringing in the whistling wind in dense forests, he must have given the shape of a flute to a hollow bamboo stick. This is probably the autobiography of today's sophisticated instruments drums and flutes. Gradually, with the passage of time, man's interest became more sophisticated and musical. Through these changes, sophisticated musical instruments were developed.
Types of instruments
According to the medium of playing, there are four types of instruments:
(1) Vitta Vadya
(2) Tat Vadya
(3) Ghan Vadya
(4) Wind instruments
Vitta Vadya
Vitta Vadya are those instruments which are covered with leather and sound when struck. This strike can be done by hand, stick or any other medium. These are also called "Aandha" or "Avandhya" instruments. Damru, Dholak, Mridang and Tabla are instruments of this category.
Tat Vadya:
Tat Vadya are those instruments which have strings. A cone or finger is used to play them. Veena, tanpura and violin are instruments of this category.
Ghan Vadya:
Ghan Vadya is one which is made of metal or wood and the sound in it is generated by impact. Cymbals, Manjira, Khartaal, Ghanta and Ghunghru etc. are instruments of this category.
Wind instruments:
The fourth type of instruments is called "sushir", in which sounds are produced by blowing air into holes.
Flute, Shehnai, etc. are instruments of this category.
Evolution of musical instruments:
It is believed that among the above mentioned four types of musical instruments, wind and stringed instruments must have been made first. People roaming in forest areas and river basins must have got inspiration to make such instruments from the music of nature. The idea of making hollow bamboo after making holes in it and blowing on it must have been inspired by following the sound produced by the entry and circulation of air in the hollows of trees. The idea of making leather or leather instruments also arose from contact with nature. The skin of dead prey was used to make various instruments. The primitive man realized that sound is produced by stretching the skin on a hollow object and striking it. This led to the idea of instruments like Dundubhi and Bhumi Dundubhi. In the first, a wooden shell was taken and leather was stretched on it and in the second, leather was stretched on hollow ground or a pit. Damru, Mridang are similar instruments. The next stage was the development of string instruments. The twanging of the bow string was their daily experience. The sound that comes out when the string is plucked with the finger was their daily experience.
Three instruments were made after the invention of metal. The striking of metal and wooden pieces on each other produces resonance. Cymbals and bells are similar percussion instruments.
Tribal culture and musical instruments
Man develops some system for his livelihood. This entire system is called culture.
Culture is related to the specific life system of a human group and its lifestyle. In fact, culture is a social heritage but this heritage is not transferred by inheritance. It is learned through succession and intelligence. Every society has its own specific type of culture.
The cultural splendor of the tribal society is the unique identity of Madhya Pradesh. Every tribe has a different lifestyle and different traditions. Puja rituals, festivals, dance, music, songs and rituals of birth, death, marriage etc. have their own unique attraction due to the uniqueness of all the tribes. Every activity of the tribals is a part of their natural routine. Which they inherit in the form of rituals.
Tribals live closest to nature and have a deep affinity with nature, hence rhythm and beat are in their every vein. The swaying of trees, the gurgling of rivers, the chirping of birds are the factors that give rise to their dance and music.
In the tribal world, dance and music are an integral part of their simple lifestyle. Dance is an expression of their joy and music reveals the melody of their mind.
It is not possible to perform dance and music without musical instruments. Instruments control the rhythm, melody and tone. Controlled music gives uniformity to the dancers' footsteps.
The tribals have invented musical instruments for the melody of music and dance. Certainly, their musical instruments are natural and crude, with which they present wonderful music. Their dances continue throughout the year on different festivals and occasions.
Dances of major tribes and instruments used
Baiga tribe
Dussehra dance
Baigas dance and sing throughout the year. Their dances start from Dussehra. Since it starts from Dussehra, this dance is also called Dussehra dance. Dussehra is the original dance of Baiga. Dhol is used in Dussehra dance.
Karma Dance:
The Karma dance of the Baigas continues from Dussehra to the beginning of the monsoons. In the Karma dance, men stand in the middle and play the Mandar and sing. Women dance in a circle around them with their hands on their waists. At some places, men and women dance in separate rows. Karma dance is performed in four ways according to the rhythm and pace of the steps:
1 Karma Khari
2 Karma Khap
3 Karma Jhulki
4 Karma Lahki
There is no difference in these four Karmas when seen from the outside, but when observed closely, there is a fundamental difference in the pace and rhythm of all the four. In the dance, the pace and rhythm of the steps change with the beats of the Madal.
Jharpat Dance
In Jharpat dance, men and women stand face to face in separate rows. Both have thiskis in their hands. There are questions and answers in the songs. Jharpat means teasing.
The speed of Jharpat dance increases with the lyrics of the song.
Reena Dance:
Reena dance is performed only by the Baiga. There are two groups of women, who sometimes dance in a row and sometimes in circles facing each other. Baiga women have wooden tongs in their hands. Reena dances to the rhythm of Mandar and Timki.
Bilma Dance:
Bilma is a wedding dance, it is also called Birha dance. Young men and women perform this dance to the beats of Madal Timki when the wedding procession departs from the village. Men dance at a faster pace and women dance slowly by sliding their feet. The reason for this contrast is that men dance exudes joy and women dance exudes separation.
Pardhoni Dance:
Pardhoni is a wedding dance. This dance is performed to the beats of nagada and timki. The louder the nagada is played, the faster the men dance and make different gestures. On this occasion, the boy's side makes an elephant and makes it dance in the courtyard. The nagadas keep playing. The person sitting on the elephant makes different gestures with his hands.
The Baiga has a dance drama called "Gherta". The various characters participating in it dance wearing different masks, which are usually indicative of wild animals. Loud drums are also used for this.
Bharia Tribe
The Bharia tribe performs Karma, Saila, Bhadam and Saitam dances. Bharia men dance with drums in Bhadam dance. Dhol, timki, cymbals, dholak and flute are used in other dances.
Bhil Tribe:
The Bhil tribe performs Lahari, Dand, Solo, Pali, Chalavani and Daudavani and Ghodi dances, in which they use instruments like Dhol, Timki, Kundi, Bronze plate and Bahli (flute) as well as flat mouthed Alguja. On the occasion of Bhagoria festival, Bhils dance in a trance to the beats of Dhol!
Gond Tribe
Karma
"Karma" festival dance is an important festival of Gond tribals. In the month of Bhadon, people of Gond community bring a branch of Karmi, Kalmi or Haldu tree from the forest, which is wrapped in cloth and buried at a fixed place in the village. A community feast is organized and Gond boys and girls perform group dances around the branch to the beat of Mandar and Dholak and the tune of flute. This dance starts in the evening and continues throughout the night, till daybreak.
In the dance, there is a group of men on one side. The group of men stand in a semi-circular shape holding each other's hands, on the other side, a group of girls dance with their hands around each other's waist, holding hands and keep singing romantic songs. The songs are of answers and questions of men and women. The people playing the Mandar keep dancing with the Mandar in the middle.
This dance festival is an important dance festival of Gond tribals as well as other tribals settled in Chhattisgarh.
Saila:
The festival of Bhujaliyan is celebrated with enthusiasm and joy in the Gondwana region of Madhya Pradesh. "Saila" dance is the dance of this occasion, which is performed compulsorily on the day of Bhujaliyan along with the entire month of Sawan. There are eight to ten men in this dance, who have sticks one to one and a half feet long in their hands. The dance is performed in a circular circle by clashing these sticks with each other in a rhythmic manner.
In "Saila" dance, singing also goes on along with the dance. Among the musical instruments, drums and sometimes timki are used.
This dance process continues in the form of a procession to immerse Bhujaliyan in the river. However, this dance is performed here and there throughout the month.
Korku Tribe
Korku is a dance loving tribe. All the dances of Korkus are associated with some festival or myth.
Dances performed in the month of Chaitra include Dev Dussehra dance, Chachari dance and Gongolya Naav, Thapati dance in Vaishakh, Dhandal and Dodabali dance in Jyeshtha, Danda dance on the occasion of Jiroti in Shravan, Dev Dussehra dance, Hororya and Chiludi dance in Kuar, "Thathya dance" on Kartiki Padwa and "Gadli dance" of women in marriage are very famous.
Dev Dussehra Dance:
In the month of Chaitra, from Padwa to Dussehra, people gather on the Dev platform and sing songs of gods and goddesses, which are called "Dham Geet". While singing Dham Geet, the revered person of Korku performs the "Padiar" dance! In this dance, the musicians play musical instruments like dholak, timki, brass thali, cymbals, etc.
Thapati Naach:
This is a female dominated group dance performed in the month of Vaishakh. Women dance in a semicircle. They have cymbals and chitakora in their hands to play. The songs sung in this dance are called "Thapati Syringa". Instruments like dholak, timki, jhanj etc. are used in the dance. Women play cymbals and chitakora. The remaining instruments are played by male musicians. Due to the chitakora instrument, it is also called chitakora naach.
Chachari Nritya:
This is a male dominated group dance performed in the month of Chaitra. Twelve to twenty people participate in this dance. The dancers stand in a circle and dance in different postures by clapping.
While performing this dance, the dancers make the sound of "dhurr dhurr" from their mouth. They sing songs by tying ghungroos to their feet. No other instruments are played in this dance.
Dhadhal Dance: Dhadhal is the most popular dance of the Korkus. Dhadhal dances are performed during leisure time on the nights of Chaitra and Vaishakh. There are five types of Dhadhal dances based on postures:
(1) Tanda or Dhakar Dhandhal
(2) Padop Dhandhal
(3) Bhil Dhandhal
(4) Sidiki Dhadhal
(5) Chacharij Dhadhal
Tada Dhadhal has two circles of even number. There is a big circle outside and the other inside. The instrumentalists are outside the circle. The dancer has a stick in his hand. The stick strikes the stick of the dancer standing in the front circle. The dancers standing in the circle go round and round and keep changing their positions from small circle to big circle while clashing the sticks. In this way the posture of the dance appears like the blooming of a flower petal. The speed of the dance is slow in the beginning, which later changes to fast speed. The dancers sing and dance the lines of the song with the beats of dholak and timki. Dhol, dholak, timki, cymbals are used in the dance.
No musical instrument is played in Padop Dhandhal. This dance is performed on the rhythm of song and clapping.
In Bhil Dhandhal, there is a circle of dancers. Each one has a stick in his hand. In the middle, there are Dholak, Timki, and cymbal players. On the rhythm of Dholak and Timki, the strike and counter strike of the sticks moves in a triangle.
Seediku Dhandhal is a special type of dance. In this, the dancers do not stand in a circle but stand parallel to each other facing each other. Each one has a stick in his hand. Each dancer strikes the sticks of the dancer in front of him, which produces a special kind of sound 'sarr sarr'. The song is played on Dholak and Timki and the speed of the dance increases.
In Chacharij Dhandhal dance, the dancers stand in a line facing each other and each dancer keeps his hand on the waist of the dancer standing next to him. Dholak and Timki are the main instruments. On the beats of the dholak, the dancers of Chacharis dance by bending from the waist to the rhythm of their feet. One row bends and the other stands, then the second bends and the first stands. This sequence continues on the lines of the song and the beats of the dholak and the sound of the timki.
Danda Naach:
This is a male dominated dance performed on the occasion of Jiroti festival in the month of Shravan. Twenty to forty people participate in this dance. All the dancers have a small stick in their hands. They dance by standing in a circle, sometimes on the right and left, sometimes sitting and sometimes fighting with the stick.
The speed of the dance is moderate in the beginning, but it increases with the sound of the instruments and becomes fast and impressive at the peak. Instruments like Dholak, Timki, Flute and Cymbals play a special role in this dance.
Hororaya Naach:
This is a male dominated group dance performed in the month of Kawar. The specialty of this dance is that children, young and old all participate equally in it. In this dance, about twenty to forty dancers stand in two rows facing each other. Each dancer has a stick of about 4 feet in his hand. On the tip of which ghungroos are tied.
The dancers of the first row bend their waist forward and move forward one step at a time by swaying. Along with the movement of the steps, they also put the stick with ghungroos on the ground. The dancers of the second row also move back while repeating the same sequence. This sequence continues till a distance of thirty to forty feet. In this dance, no other instrument is played except the stick with ghungroos.
Thathya Dance:
This dance is performed on the night of Diwali in Kwar Kartik and on Padwa. This dance is performed by the cowherds of Korkus who are called "Thathya". Thathya dances to the beats of dhol, dholak and timki by playing different tunes on bhugdu (a flute-like instrument made of bamboo pongli, about 4 feet long and played with a blow).
Gadli Naach:
This is a dance performed by Korku women on the occasion of marriage. Korku men play flute, algojha, dhol, dholak, timki and cymbals. On the folk tune of flute and algojha, women perform very charming and attractive dance in various postures while playing chitkora in their hands.
Korku male instrumentalists also dance by swinging and adding speed to the instruments. As the speed of the instruments increases, the dance becomes more charming!
Oraon Tribe
Sarhul Dance :
"Sarhul" is the main dance festival of Oraon tribes. It is celebrated on the full moon day of Chaitra month as a symbol of marriage of Sun and Mother Earth. The flowering of Sal trees is an indication of the arrival of this festival. It is also called the festival of "Sal flowers". On this occasion, the priest applies turmeric to a black cock and a black hen and their marriage is solemnized and the ritual of sacrifice is completed. Sarana Gudi is the Dev Sthal of the village. It is located on the outskirts of the village in the thicket of Sal trees. A Sal branch laden with flowers is brought to this place and worshipped. After this, a collective feast is organized after drinking Handiya. After that, young men and women gather adorned with various ornaments of Sal flowers and enjoy songs and dances on the beats of the Pyantra Mandar from night till dawn. The whole village is filled with happiness on the enthusiasm and excitement of this dance song.
Madia Tribe
Kaksar:
Kaksar is the dance festival of Madia youth of Bastar, which starts to stir the hearts of youth with the end of summer and the first shower of rain. This dance festival is of aesthetic importance, in which new pairs of young boys and girls are prepared, which become the basis of future marriage bond. This festival is also celebrated for the worship of Gotra Dev and is celebrated on different days in every village.
The young men and women dance to the beats of traditional Mandar, the sound of Timki and the tune of flute. The belt of bells tied on the waist gives new tunes to their every step of the dance.
Dandami Madia Tribe:
Gaur _
"Gaur" dance is the main dance of Dandami Madia tribes of Bastar. In this dance, the dancers wear "Gaur" horns and a crest made of peacock on their heads. Women wear "Tirtudi" in their right hand, a crest made of peacock feathers on their heads, iron or copper earrings in their ears, and adorn themselves with beed garlands around their necks, while holding each other's waists with their left hands, they dance. With the continuity of the footsteps of the dance, the stick of the right hand is struck together. The Madia wearing Gaur horns play heavy drums in the background and make the environment musical with songs in the tune of the instrument. The specialty of this dance is that the prominence of footsteps along with the sound and rhythm of the drum and stick is more fascinated by the song in the dance.
Tribal songs and instruments
Mention of musical instruments is also found in the songs of the tribes. Musical instruments have been mentioned in the song of the Baiga tribe:
"Bajat hai taam ke nagada,
Chali dekhi aao thakur dusara!!
Kekhar Ghar maandar baaje, kekhar ghartaara,
Kekhar Ghar baajat nagara,
Chali dekhi aao thakur , dusara!!
Ghasiyan Ghar maandur baaje, luharan ghara Tara,
Duliyan Ghar ho baaj the nagara,
Chali dekhi aao thakur , dusara !!
Kekhar Ghar manduvaa chhaye,kekhar Ghar bhara,
Kekhar Ghar the ho lagun vichaara,
Chali dekhi aao thakur , dusara!!
Ghumiyan Ghar maduvaa chhaye, bhariyan Ghar bhaara,
Baigan Ghar ho the ho lagun vichara,
Chali dekhi aao thakur , dusara!!"
Meaning: The drums of the tambourine are being played. Come/come/let's see if there is a marriage taking place at Thakur's house? In whose house are mandar and timki being played? In whose house is the nagada being played. Come and see Thakur's house. Mandar is being played at the Ghasiyars' house. Timki is being played at the blacksmiths' house. Nagada is being played at the washermen's house. Come and see Thakur's house. In whose house is a mandap set up? In which house is a guest house provided? In which house is a wedding taking place? In the Banjaras' house is a guest house provided. In the Bharias' house is a guest house being provided. In the Baiga's house is a wedding taking place!
Musical instruments are also mentioned in the songs of Korku tribe. Holika Dahan in Korku is not celebrated on the full moon day of Falgun but on the next day, Padwa. In the evening, all the men and women of the village gather at the Holi venue. Men sing the song "Sajanai Phaganai" while playing dhol, ghera and cymbals. After burning Holika, people happily sing the song "Jhamata" on the beats of dhol, dholak, ghera and cymbals. The song Sajanai Phaganai is as follows:
"Gaanjvaa lagaayo baso!
Bolo re Gaanjvaa lagaayo baaso!!
Ye timaki kyon maare ,taaro baini Rove re!
Gaanjava lagayo baaso!!
Ye jhaanjh kyon maare ,
Taaro baini Rove re।
Gaanjava lagayo baaso!!
Ye dholaki kyon mare ,
Taaro baini Rove re !
Gaanjvaa lagayo baaso!!
Meaning:
You have smoked stale ganja (tobacco). Why are you playing the timki? Your sister is crying.
Why are you playing the cymbals? Your sister is crying.
Why are you playing the dholak? Your sister is crying.
Why are you playing the dholak? Your sister is crying.
"Mandar Bajaye Aan Desh" is a Karma song:_
Maadar baajay aan desh
"Lahaki kahaan jaay ola kon samjhaaye
Nahi to dikhay paachhu
Nahi to dikhay mor akeel
Ke devaiya ola kon samjhaaye"
Meaning: _
When the Madal is played, its echo can be heard far and wide. Its sound makes the mind happy. The feet start dancing. The desire to dance awakens.
The lyricist says, "I want to go to the place where the Madal is being played. But there is no companion to go there, how do I convince my mind.
"Kaisan Haway Baja" is also a Karma song, in which the beauty of Mandal and the Mandal player is described.
" kaise havay baaza
Kaisan havay bajvaiya
Kaisan havay ookhare shareer
Laalit havay baza
Peerit hai bajbaiya
Shyaam Sundar okhaare shareer"
Meaning:
What is the instrument like? And what is the appearance of the player?
The instrument is red in colour and the player is yellow. His body is beautiful like Shyam (Krishna).
Mandal:
Mandal is a major musical instrument played by hanging it from the neck with a rope and by clapping with the hands. The shape of the mandal resembles a drinking glass. It is less rounded at one end and the roundness gradually increases at the other end i.e. the Dhammak part is wider and the Taali (Chaanti) part is a little narrower.
To make a mandal, a clay shell is made and leather is covered on it. The shell of the mandal is made from clay by the potter caste people. It is made using the wheel in the same way as pots are made. After this, it is baked on fire. The work of putting leather on the prepared shell of the mandal is done by the people of the Ghasiya caste. They first select the leather for putting leather on it. For this, the leather of bull, buffalo or goat is considered suitable. In the process of putting leather on the shell, first of all, the leather is wetted with water and stretched after straightening it. The hair is cleaned from the leather and the shell is measured and cut to the size required. A rope-like thing is made from the leather for the baddi. The leather baddi is dyed with different colours. With the help of the baddi, the leather is stretched on both sides of the shell.
The round part in the middle of the more rounded part (Dhammak) and the less rounded part (Chaanti) of Madal is black and brown respectively. There is some variation in its preparation according to the tribe!
In the Gond tribe, the material used in both the 'thaap' of the Madal is called Kharan. It is prepared by cooking Chamargoti stone and different kinds of gum. Therefore, the common people cannot prepare it. Only its specialized artisans prepare it. According to another process in the Gond tribe, the Godihari stone (white stone) is grinded and cooked rice is mixed in it, after adding water, it is kneaded well with the stone. It is applied on the leather of both the 'thaap' like ink. When it dries a bit, it is rubbed with the stone in a smooth round shape. After it dries completely, designs are made on the leather with color.
The musical instrument of the Bhil tribe, Madal, is made of wood. The work of the shell of the Madal is done by a carpenter and the work of leather is done by a cobbler.
Mango, Bahuda, Sheesham, Sajibra wood is used for making Madal. It is made of dry wood. The length of Madal is two to three feet and width is one and a half to two and a half feet. Goat skin is wrapped in bamboo rings and tied with rope on the circular circles on both sides of the Madal shell. For good sound of Madal, a layer of wet flour of wheat, millet or sorghum is applied.
Mango, Bahuda, Sheesham, Sajibra wood is used for making Madal. It is made of dry wood. The length of Madal is two to three feet and width is one and a half to two and a half feet. Goat skin is wrapped in bamboo rings and tied with rope on the circular circles on both sides of the Madal shell. For good sound of Madal, a layer of wet flour of wheat, millet or sorghum is applied.
The Madal instrument is played by the tribes of the state such as Baiga, Gond, Bhil, Bhujia, Birhor, Ghanwar, Khairwar, Kharia, Korwa, Manjhi, Majhwar, Mawasi, Nagesia Paw and Sotan tribes in traditional dances like Karma dance, Phadki dance on Diwali, Saila dance, etc. The Madal instrument is played by the Bhil tribe during Indalpuja and Bhagoria festivals. In this tribe, Madal is also played during the mourning procession on death.
2 Dhol:
It is an instrument played by tribes on almost all occasions. There are different types of drums, big and small. The drum is made by a carpenter.
For making the shell of the drum, wood of trees like mango, neem, teak, baheda, mahua etc. is used. The drum is made of dry wood. Its length is three to four and a half feet and goat's skin is cleaned on the round shape and wrapped in a bamboo ring and tied with a rope. A rotating wooden stand is also present with the big drum.
Among the tribes of the state, tribes like Birhor, Bhil, Bharia, Damor, Khairwar, Kolam, Korku, Mavaasi, Manjhi, Majhwar, Munda, Saharia, Pardhan etc. use the drum as a musical instrument.
Bhils usually play drums from Vijayadashami to Ramnavami. It is played on special occasions like Indalpuja, Diwali, Holi, Bhagoria festival. Apart from this, it is also played during Gaata Murti (installation of the statue of a dead person).
Dhol is very popular in Korku tribe. Korku mainly use this instrument on the occasion of Holi while singing "Sajnai Phaganai song" and while performing Gadli dance in marriage.
There is a famous saying in Korku tribe "Dhol Pavi Ka Baja Korku Raja" which means that the one who holds the drum and flute is the Korku king. This saying indicates that drum and flute have an important place in Korku tribe.
Tribes use drums in their traditional dances, Karma dance, marriage dance, Sua dance, Sarhul dance and other religious rituals and ceremonies.
3 Mridang:
Mridang has been the most important instrument among musical instruments. Initially, this instrument was called "Mridang" because it was made of clay. Later, it started being made of wood.
Mridang is shaped like a dholak. The shell of Mridang is prepared from the wood of mango, silk cotton tree, siwan or beeja tree. The wood of beeja tree is known as beejasar wood. The shell of beejasar wood does not tear easily. The shell of Mridang is also prepared from khamher wood. Goat or goat leather is covered on both the spheres of the shell. The wooden shell is purchased and leather is applied by a cobbler.
There is a difference in the size of both the balls (spheres) in Mridang. One ball is small and the other is big. A cotton rope is attached to tighten these balls. In Mridang, wooden blocks are attached in place of rings under the cotton rope. The cotton rope is tightened or loosened to make a slight change in the tone.
At present, the cost of making a Mridang instrument is Rs. 4 to 5 thousand.
The Korku tribe uses this instrument while singing folk bhajans and Gwalini songs. The Gond tribe plays the Mridang in the Ahir dance on the occasion of Chandipuja in the month of Kartik.
4 Nagariya:
Nagariya instrument is an instrument made of clay and leather. The shell of Nagariya which is called "Koha" is made by the people of Kumhar caste. The work of putting leather in Koha is done by the people of Saket (Chamar) caste. For this, goat or vine leather is considered suitable. First the leather is selected, after this the leather is wet with water and straightened, the hair stuck in the leather is separated. A thin rope of leather which is called Baddi is prepared. The leather is put in Koha and tightened with Baddi. The weaving (kassai) of Baddi is normal or patterned. In the patterned weaving of Baddi, Baddi is used in large quantity and also takes more time, but its advantage is that it does not come off easily.
Nagariya instrument is used by Agariya, Gond, Kol, Khairwar Panika tribes. The instrument is mainly played in Kuldevi Pujan, Gram Devta Pujan, Bidri Puja, Navratri. Apart from this, it is also played during various types of festivals and rituals, Mundan Sanskar, Marriage Sanskar and Teej festivals.
Nagada looks somewhat like a very big tabla. The structure of the Nagada is made of clay, on which leather is covered. It is surrounded by a net made of leather threads on all sides. Nagada is kept slightly tilted from the back on a bamboo or cloth mat. Due to this, the playing part is tilted right in front of the player.
Nagada is used by Baiga, Bhil, Gond, Korku, Mavaasi, Pardhan, Panika, Kaul, Sahariya tribes. Nagada is also used to send messages in the village.
In the Baiga tribe, Nagada is an instrument played on all occasions from the sixth day of birth rituals to the death feast.
6 Gudum Baja:
The Gudum Baja is made of iron sheet, the shell of Gudum is made by blacksmiths Agariya and Bharewa. The shell is covered with cattle leather. The work of covering leather in Gudum is done by cobbler or Ghasiya (Sahis). The stick for playing Gudum is made of leather or at present by cutting the tyre of a car. It is flexible.
While playing Gudum with Naagada, the player keeps it completely horizontal on the left and the Gudni. The player plays Taari and Gudum with two bamboo sticks respectively.
This musical instrument is mainly played by the Dhuliya tribe during weddings, worship of gods and dances.
