Rhythm of Musical Instruments, Indigenous Knowledge and Cultural Diplomacy
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Have a look at the story on the origin of the musical instrument, Tabla in this month’s special feature. We hope you enjoy it, please share your thoughts and ideas in the comments!?
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Digging In! - This Month's Showcase
Rhythms of the Past: Exploring the Cultural Significance of Traditional Music Instruments – A Focus on Tabla
by Muhammad IBRAHIM
The origin, science, and enduring legacy of tabla has fascinating stories. The tabla is a traditional musical percussion instrument in South Asia, specifically in Pakistan and India. In music terms percussion instruments are those which produce sound by striking, scraping, rubbing through direct human hands or additional instruments, for example drums, guitar, and violin (Image above). The percussion instruments are further divided into two types, idiophones? and membranophones. The idiophones produce sound by vibrating the instrument’s body, for example bells. The membranophones produce sound by vibration of a fixed membrane of the instrument’s body, for example drums. The tabla is defined as a membranophone instrument and included in the musical drums.
The tabla has been an essential component of Pakistan and Indian music for centuries. The rich and resonating sound of tabla has developed interest from listeners and musicians across the world.
Have you ever thought about Tabla’s origins? How did this instrument along with its playing techniques survive over centuries? What makes Tabla’s music so unique?
The music and musical instruments have existed far in the ancient world of contemporary Pakistan and India. Archaeological studies have shown evidence of musical instruments far back to Mehrgarh (c. 7000 BCE to c. 2500 BC) and Indus Valley civilization, 3300-1300 BCE (Harappa, Mohendaro, Dholavira, Lothal etc.). This story of tabla is divided into two categories, Indigenous and exogenous origin based on previous research, theories, and Indigenous knowledge (elders, and oral traditions).
The claims of the Indigenous origin are based on the continuity of cultural traditions from ancient to late Mughal period. The archaeologists unearthed the evidence of drums from ancient Indus Valley Civilizations. The antiquities recovered from the archaeological sites have symbols that resemble contemporary musical instruments (Image above).
According to elders, folktales, and good amount of academic research till the day, tabla originated from the tripushkara. Tripuskara is a centuries old musical instrument (Image above). The tripushkara comes from ancient Sanskrit words translated into tri means three, and pushkara means drum. Ancient art and antiquities have shown the existence of drums and tripushkara.
The archaeological record and literary sources such as Natyashastra (c. 500 BCE to c. 500 CE.) - formal written record of creative industry in ancient Pakistan and India – and Ain-i-Akbari by Abul Fazl (1551- 1602 AD) suggest that the method of making and playing percussion instruments with membrane has a long tradition in Pakistan and India. The translation of Natyashastra has reference to tripushkara, and defines the three drums as Ankika, Alingya and Urdhavaka (Image above).
There are two other percussion instruments that are associated with the origin of tabla, mridangam, and pakhawaj (Image below). These two instruments are cylindrical in shape and have dissimilar sized circular membranes on both heads. The difference is in the playing technique, size, and their structure. The mridangam is smaller and made of hollow wood of jackfruit. The pakhawaj is made of hard hollow wood, and has gatta –wedge shaped wood pieces, and set compositions for playing. The membranes of both instruments are stretched by straps which count sixteen. The membranes and straps are of animal skin (goat, and buffalo). The black paste of starch and ferric oxide is applied on the smaller head to have a metallic treble sound. The larger head has bass sound and dough is applied to wet the membrane for better sound.
It is believed that the tabla, (Pakhawaj jodi, Qawwali Dhamma and Dukkad are quite similar in appearance instruments, however they are different in their sound and size) originated from mridangam and pakhawaj.
Oral traditions, tabla artists and research claim that Amir Khusrou (1253-1325), a sufi poet and musician of Alau-din-Khilji times, is an innovator of tabla. Amir Khusrou broke pakhawaj into two halves, and some sources say awaj- an historical cylindrical drum. Some sources refer to Lala Bhawanidas, a pakhawaj player in the 18th century, as he lost a music competition and smashed the pakhawaj on the ground in anger. The pakhawaj broke into two pieces from the center. Later, Bhavanidas repaired the instrument by joining the two parts together. The repaired instrument emits a distinctive sound, and he named that instrument as tabla. A parallel to these oral tradition reference claims referring to a related instrument Pakhawaj jodi by musicians from the court of Guru Arjan, 5th Guru of Sikhism (15 April 1563 – 30 May 1606).
However, a seventeenth century written record of Akbar’s administration by Abul Fazl in Persian titled Ain-i-Akbari. This document has no mention of tabla among the list of numerous musical instruments. Does this suggest it was not done by Amir Khusrou of the 13th century?
Historical research suggests there is another person with the same name Amir Khusrou Khan (c. 1670—1742), of Mughal era. Amir Khosrow Khan was confused with Amir Khusrou of the 13th century. Khusrou Khan of Mughal era is regarded as the innovator of sitar and tabla, and a composition for string instruments named as Amirkhāni-gat.
There is numerous academic research related to tabla that suggest that tabla have exogenous origin. These studies are based on linguistic analysis and typological similarities. There are references to the naqqara, kettledrum / war drum from Persia and central Asia (Image below). Mughal period history has references to multiple sizes of kettle drums, and the war drums were called tabl-jung (Image above).
Majority of the researchers have a consensus that the tabla origin and patronage is linked with a new genre of music known as khyal, in late Mughal period. However, the exact origin of the khyal genre of classical music has complexities like the story of tabla.
From the 18th century onwards, there are references to the word of tabla in written records and it became a more developed instrument in the musical landscape.
The tabla has two instruments, known as tabla / dayan (right), and dagga/ bayan (left) (Image above). It is interesting that this set of musical instruments is generally known as tabla. However, the tabla is smaller in size, produces treble sound, and is made of wood to be kept on the right side of the player. The dagga is made of metal and produces a bass sound. The left side dagga is like a kettle drum in appearance. Both tabla and dagga have membranes of multiple layers on the head. The center of the membranes has black circles made up by applying ferric oxide, and starch. The dark circle known as syahi means blackish. The membrane is attached by a circular cover, and then stretched by sixteen straps. Tabla have wedge shaped wooden pieces known as gatta for tuning the instrument. The membranes and straps are of animal skin (goat and buffalo).
The compositions of the tabla or playing traditions are divided into six gharanas. The word gharānā means family. The gharanas are Delhi, Ajrada/ Ajrara, Famikhabad, Lucknow, Punjab, and Banaras. The origin of family tradition traced back to the 18th century with names like Laal Bhawanidas, creator of Punjab gharana, and Siddhar Khan, creator of Delhi gharana. They both are identified as royal court tabla musicians and ex pakhawaj players of Mughal emperor Muhammad Shah (1702-1748).
From the colonial period to the mid-20th century the tabla traditions remained restricted to specific families. Tabla has been popularized and has rich compositions by the six gharanas players. The tabla skills and compositions transfer to generations through oral traditions till arrival of film and tv.
Sam Evans is a contemporary Australian musician, tabla player and claimed to be the only Australian to hold a PhD in tabla, wrote in his dissertation that the start of the 21st century witnessed tabla continuing to grow in the cosmopolitan music world across different countries. Evans mentioned that this spread of tabla forces the change in traditional style of saving the compositions and transfer of skills.
Tabla emits harmonic overtones among similar membrane drums, argues famous physicist and Nobel Prize laureate C. V. Raman in research on tabla published in the early 20th century. Raman and later acoustic studies by employing the latest available tools for physics labs proves the validity and utility of indigenous knowledge and local artists skills to playing and making the tabla.
In the recent decades, tabla has been introduced as a university subject, included in research themes, and dedicated departments at university level to offer Master, and PhD programmes in India, Pakistan, Oceania, Europe, and America.
The best example of tabla music in global context can be discovered in qawwali - sufi music genre – as accompaniment instrument, and famous singer, received UNESCO Music Prize and award of legends "Legends" at the UK Asian Music Awards, Nusrat Fateh Ali khan across India and Pakistan. Four-time Grammy award winning tabla player, Zakir Hussain, is famous for solo tabla performances on the global stage. Additional both Zakir Hussain and Nusrat performed collaboratively in 1997.
Famous tabla player can be found in Pakistan and India as legacy of the Gharanas are Zakir Hussain (India), Abdul Sattar Khan (Pakistan), Altaf Hussain (Pakistan), Fazal Qureshi (India), Taufiq Qureshi (India), Shyam Kane (India), Yogesh Samsi (India), Anuradha Pal (India).
The origin and history of music is a fascinating tale that has spanned centuries, especially of most harmonic tone producing drums known as tabla. The concept of inventing or borrowing from a specific cultural tradition is unjustified and half of the story of tabla origin. The available evidence proves that this instrument origin lies in ancient times. The Indigenous knowledge, and exchange of tradition across different cultures in multiple settings give rise to creation of new knowledge and improvisation of existing practices. This instrument existed in various cultures with different shapes and purposes and sounds like the contemporary gharanas of tabla (Image above). While reviewing the origin an important aspects of gender disparity are apparent in tabla. The tabla gharanas are dominated by men. As claimed by tabla elders, it's a physically tough and hard job. However, the sociological fact is colonial legacy, skills, and gender-based stratification of past societies are key factors. There are well preserved references to women music instrument players of medieval history and in tabla gharanas in Pakistan and India. Thanks to the digital revolution, providing safe, diverse, equal, and inclusive space. This digital revolution facilitates preserving and promoting the traditional art of tabla playing, making and creating interest for many enthusiasts who are keen to learn, and improvise the music.
The readers are invited to explore the rich cultural heritage of tabla through various online resources, including YouTube videos and documentaries. It would be exciting to know insights, a related instrument in their native culture, favorite tabla performances, or videos from readers in the comments section.
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Cite this article: Ibrahim, M. “Rhythms of the Past: Exploring the Cultural Significance of Traditional Music Instruments – A Focus on Tabla” Keeping Up With SCHG, 14, (February 2024). link to this newsletter.
Bibliography:
Agarwal, S. A. 2023. “The Physics of Musical Devices: Exploring Sound Generation and Characteristics in Tabla Percussion Instruments" IJNRD 8, (11). https://www.ijnrd.org/papers/IJNRD2311314.pdf
Aizaj, H. 2023. “Development Of Music During Akbar’s Reign -1556-1605 A.D.” International Journal of Creative Research Thoughts (IJCRT). 11, (6 June). https://www.ijcrt.org/papers/IJCRT2306554.pdf
Bhattacharyya, Amitabha. 2015. “C V Raman and the Physics behind Indian Percussion Instruments.” Saptak. ed. By Kreshnendu Dutta. Kolkata: Mofakira. https://www.researchgate.net/publication/279871725_C_V_Raman_and_the_Physics_behind_Indian_Percussion_Instruments
Bowles, E. Addison and Marcuse, . Sibyl. "Percussion instrument." Encyclopedia Britannica, January 13, 2024. https://www.britannica.com/art/percussion-instrument.
Fazl, Abul. 1873, Ain-i-Akbari, text, Vol. I, ed. M.N., Kishore, Newal Kishore Press, Lucknow, 1893, tr., Vol. I, H. Blochmann, Asiatic Society of Bengal, Calcutta.
Ghosh, M. Transl. 1950. Natyashastra. Calcutta: Asiatic Society. https://archive.org/details/NatyaShastra
Ghosh, Nikhil, and San?gi?t Maha?bha?rati?, eds. 2011. The Oxford Encyclopaedia of the Music of India. New Delhi: Oxford University Press. https://www.oxfordreference.com/view/10.1093/acref/9780195650983.001.0001/acref-9780195650983.
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Khan and Tang. 2012, Variations of Portamenti in Bayan, British Journal of Humanities and Social Sciences, 7 (1); https://www.ajournal.co.uk/HSpdfs/HSvolume7(1)/HSVol.7%20(1)%20Article%202.pdf
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Raman, Chandrasekhara Venkata Sir. 1934. “The Indian musical drums.” Proceedings of the Indian Academy of Sciences - Section A: 179-188.?
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WRITER'S BIO
Ibrahim is a cultural heritage consultant, archaeologist, artist, university lecturer and independent researcher with a strong passion for the preserving and promoting human past through the use of digital tools, 3d imaging, exchange of indigenous knowledge across borders to imagine the complete sociology of the ancient communities.
Ibrahim currently works as a part time historical writer and supporting the Save Cultural Heritage Group, to promote the ancient studies, museology, cultural heritage and indigenous knowledge.?Connect on LinkedIn here.
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You are invited to join us in exploring the rich cultural heritage of tabla through sharing your insights, a related instrument in native culture, favorite tabla performances, or videos in the comments section. ?