Dhad

RESONANCE MUSIC

Waisted drum of Punjab

M. Lalitha and M. NandiniJANUARY 04, 2018

http://www.thehindu.com/entertainment/music/tracing-the-roots-of-dhad-in-punjab/article22366783.ece

The dhad is linked to the Sikh bardic tradition

We were in Delhi for a concert and decided to visit a friend in Mohali, Punjab. Apart from the routine sightseeing, we listened to some amazing singers, who were playing a small drum, called dhad. Shaped like an hour-glass (also called waisted drum), this percussion instrument is unique to Punjab and accompanies Sikh music.

The group of singers who play the drum are known as Dhadis. They sing folk and traditional songs about valiant soldiers and heroes, drawn from religious and romantic tales, the deeds of Sikh gurus and tales of the Sikh tradition.

Change in the repertoire

Guru Hargobind is said to have brought about a change in the Dhadis’ repertoire from singing the praise of rulers to that of god. He made the Dhadis sing the Gurbani from Guru Granth Sahib (which are the hymns written by the Sikh Gurus). The group of Dhadis (also known as Dhadi Jatha) usually consists of one Sarangi performer, two dhad players and one narrator of the story. They sing together and individually.

The dhad also accompanies Bangra performances and fairytale songs for children.

A small percussion instrument, it belongs to the category of the avanaddha vadyas or membranophones. Having a low bass and mellow tone, its body is made of wood from the mango tree, mulberry or ‘sheesham.’ Its two heads are covered with goat skin and are tightened with ropes. This enables the instrument to be held tightly. It is held in one hand and struck on both sides. The pitch can be modified by tightening the cloth that is draped around its waist. The tautness of the skin can be controlled by the performer with one hand to manipulate the sound as he plays it with the other. Closed and open sounds can be produced. The tone is decided by the tightness of the cord.

Hour-glass shaped drums are found in many global music traditions though its construction, usage or playing technique may differ. The instruments that fall into this category include the udukkai (Tamil Nadu), the Indian Damaru, Dhad (Punjab), Idakka (Kerala), Urumi (heard in the folk music of Tamil Nadu), Talking Drum (Africa), Janggu (Korean), Jiegu (used in ancient China during the Tang Dynasty), the Japanese Kakko (used in Taiko ensembles) and Gagaku (used in Japanese court music), the Tsuzumi (heard in the Japanese theatrical form Noh, Kabuki and in folk music minyo). Ōtsuzumi (also played in traditional Japanese theatre and folk music) and Yoruban Bata drum (of Nigeria is played during religious functions).

The Udukkai and Dhad have similar playing techniques yet differ in their social significance.

Unlike the Dhad, both sides of the Damaru have cords that are knotted and this hand-held drum is played by moving the hand fast in a semi-circular motion so that the knotted cords strike the heads. The dhad is also adorned with tassels and bells. The Udukkai is usually connected with the Mariamman temples, the Damaru with the Saivite tradition, the Idakka with the Kerala temples and the Dhad with Sikh bardic tradition.

The writers are well-known Carnatic musicians

Khol

RESONANCE MUSIC

Soul of kirtans

Dr. M. Lalitha and M. Nandini

NOVEMBER 30, 2017

The khol drum, popular in north-east, is an integral part of bhakti and folk music

We were at the International Society for Krishna Consciousness temple in Thiruvanmiyur, Chennai, where we witnessed the Khol being played during the puja. Khol is usually used as an accompaniment for bhajans, kirtans, light classical songs and folk music.

Khol, which means ‘open sound’, is commonly seen in Assam, Manipur, Odisha, West Bengal and Bangladesh. Khol is also known as mridang and belongs to the category of avanaddha vadyas/percussion instruments where the resonating body known as the ‘anga’ is made of clay or terracotta. Fiberglass and brass have also been used to make this instrument.

The structure

The head portion of thekhol known as khol puri includes the gajra, kinar, maidan and syahi. The gajra is the outermost rim, where the tuning straps (tasma), 32 on each side, are woven. According to the Gaudiya Vaishnavas, the 64 straps are believed to represent the Lord.

The kinar or the rim is the next layer. The section between the kinar and the syahi, an open layer is called the maidan. The black circle in the middle of the puri is the syahi, which is made of clay, rice pudding, iron fillings, wheat and an unknown vegetable extract that is also referred to as the ank or gab. Of the two heads, the smaller one is known as the dayan, while the bigger one is referred to as the bayan, meaning right and left. Due to the application of a special paste, the right side gives a high, sharp sound and the left bass sound. The skin between kinar and gab is rubbed with a moist cotton cloth when the bass side is too taut. Khols of higher quality generally use red-coloured syahis on both heads.

There are three positions in which the khol is played. One in which the the performer sits down and the drum is placed on a cushion in front of the performer, in the other, the performer sits on the floor with the khol on the lap while the third is the standing posture. The khol is played with both the hands. The drumming technique is similar to tabla but the bols are different such as ta, deta, dhoia, jhan, ghini, tit, tini, naka and guru.

Other materials such as fiberglass and brass have also been used to make this instrument. The ISKCON devotees believe that khol came along with Lord Chaitanya Mahaprabhu around the mid-1400.

Legend says that Radha, Vishakha and Tungavidya played khol at rasa lila. Gaudiya Vaishnavites believe that the khol is the avatar of Lord Krishna’s flute. A reason why it is worshipped in some Vaishnavite temples in Bengal. The drummer chants mantras to the khol before every kirtan performance.Kirtan is popular in Bengal. There are many kinds of kirtan such as Pala Kirtan, Syama Sangit, Nama Kirtan and Lila Kirtan. The most ancient in Bengal being the Pala Kirtan. Usually performed with khol and jhal as the main accompaniments, Syama Sangit is the kirtan performed by the the worshippers of Sakti. Namasankirtan is the recitation of the names gods.

Khol is the main accompanying instrument for bhajan and kirtan at ISKCON and in Gaudiya Vaishnava societies. The Bengali kirtans by medieval poets such as Gyanadas Chandidas and Govindadasa were performed with khol. The instrument also accompanies the Gaudiya Nritya.

Khol is an intergral part of the Assamese Vaishnavite culture and are used in bhaona, gayan-bayan, prasanga-kirtan, borgeet, apart from folk music such as deh-bisar geet, thiyo-naam and borage geet. Saint-scholar Sankaradeva adapted and evolved gayan-bayan by using musical instruments khol and tal. According to Assamese Vaishavites, playing khol is regarded as a holy activity and it is also considered to be one of the most important traditional percussion instruments.

The writers are eminent violinists

http://www.thehindu.com/entertainment/music/on-the-khol-trail/article21212672.ece

TAKKAI

RESONANCE MUSIC

Linked to Ramayana

Dr. M. Lalitha and M. Nandini

NOVEMBER 02, 2017

A 17th century version of the epic is named after the Takkai

Coimbatore (Kovai) is a favourite place since it is close to Anaikatti, where we used to visit Sri Dayananda Saraswati at his serene ashram.

Once during a visit to Kongu Nadu, we heard the Takkai Pattu, where stories from the Puranas were sung to the rhythm of the takkai.

The Takkai Ramayanam composed by Emperuman Kaviraayar around 1600 AD was so named because the Ramayana was rendered to the accompaniment of the instrument. In fact the verses are set to the pace of takkai.

Emperuman Kaviraayar composed 3250 songs divided into 6 Kandas. This work is classified under the folk songs that is sung to the rhythm of takkai, which is performed at night in the villages. There was also a custom of reciting the Takkai Ramayanam in the Kalakshepa style. From ancient times, the takkai has been performed at all auspicious functions in Kongu Nadu. It was popular in the region till the end of the 17th century.

Udukkai family

Takkai, also referred to as Tala Isai Karuvi, is an Avanaddha vadya, a membranophone with two faces that comes under the family of Udukkai. It is a bit larger than Udukkai but smaller than Davandai.

Another difference is that the Udukkai is played with the right hand, whereas the takkai is played with a bamboo stick. There are 7 to 11 holes and there are leather straps or rope that is used to join the two faces that are covered with leather. This instrument is about 1 foot long. The pitch of the instrument may be altered by squeezing the rope, which is tied in the narrow middle of the instrument that is held by the left hand of the performer. Takkai could be made of wood or bronze.

It is played at the Srirangam temple during Pagal Pathu (day time for 10 days) and Ra Pathu (night for 10 days), which are celebrated in Margazhi.

Ranjitkumar, temple musician, at Srirangam says, “During Pagal Pathu when the Lord goes to Arjuna Mandapam, different nadais are played on the takkai according to the movement of the procession. Similarly, during Ra Pathu, when the procession moves to the Ayiram Kal Mandam.”

In Srirangam, the takkai has a special position in Araiyar Sevai during two festivals.

Dr. Rama Kausalya, says, “During the Kausika Ekadesi the Arayars perform Tirunedunthandagam to the accompaniment of this instrument and again, during Vaikunta Ekadesi, when the Arayars recite Divya Prabhandam... It is a tradition to play a suddha maddalam, davalai and takkai alternately during the recitation of Prabhandams.”

It is learnt that in the old texts there is a mention of takkai as being one of the accompanying instruments of Villupattu. In Ilango Adigal’s Silapadikaram, there is a reference to the takkai under the category of Agappuramuzhavu along with Tannumai and Tagunicham.

Tirumurai too mentions the instrument as does Appar in his Tiruthandagam, Karaikal Ammaiyar in Tiruvalangadu Mootha Tirupadigam (included in the 11th Tirumani) and Arunagirinathar in the Tirupughazh.

It is also mentioned in Kanda Puranam, Tiruvilayadal Puranam and Kamba Ramayanam.

The writers are well-known Carnatic musicians

http://www.thehindu.com/entertainment/music/instrument-takkais-ramayana-connect/article19967888.ece

Mizhavu

RESONANCE MUSIC

Serpent as the storyteller

Dr. M. Lalitha and M. Nandini

Oct 12, 2017

Mizhavu is the main accompaniment for the Chakyar

Watching Chakyar Koothu at the Ernakulathappan Temple in Ernakulam was a treat. The major instruments that accompanied the performance of this traditional art form were mizhavu and ilatalam. The presiding deity here is Lord Siva, who is in Gaurisankara form. The Lingam in the sanctum sanctorum is swayambu (worshipped by Arjuna as Kirthamurty).

Chakyar Koothu is performed as a solo narrative act and the performer wears a distinct headgear resembling the snake’s hood to signify that the story is being told by Anantha, the thousand-headed serpent. Koothambalam is the place where it is performed.

After the mizhavu player performs Mizhavanakkal to announce the performance, the Chakyar recites the story based on ‘Champu Prabandha,’ which is a combination of prose and poetry.

While members of the Chakyar community are the traditional performers of this art form, the Ambalavasi Nambiars are the mizhavu players.

Mizhavu is said to be one of the largest percussion instruments belonging to this region. Apart from Chakyar Koothu, it is the main accompanying instrument in Koodiyattom and Nangiyar Koothu. References to Koodiyattom and Chakyar Koothu are found in ancient Sangam literature and also in the epigraphs belonging to the Pallava, Chera and Chola periods.

Mizhavu or mizhav is a large pot with its mouth tightly covered with hide. Earlier, it was made of clay, but now bronze or copper is used as these give it more resonance.

The shell of the instrument is made first after which the neck and the upper body are fixed as separate portions. A hole is made in the side of the body in order to get a proper tone. The principles of temple architecture and iconography are followed while making the mizhavu.

Upanayanam

Since it is considered a sacred instrument, the newly made ones are initiated into the world of music through a ritual called upanayanam along with the chanting of slokas. This is because Koodiyattam is considered Chakshush Yagnaand mizhavu is its main accompanying instrument.

The mizhuvu is kept on a peetam with kolam with grains and darbha grass spread over it. After praying to Lord Ganapati, consecration with holy water is done. Rituals like Nandi and Bhuta Visodhana are performed before invoking Lord Nandikeswara to come and reside in it.

The top of the mizhavu is covered with pattu vastram after which homa is performed followed by the performance of the eight samskara rituals. Then the instrument is adorned with the sacred thread. Puja is done, naivedya offered followed by arati. . After this ceremony, the main priest initiates the playing and the mizhavu artiste covers the mouth of the instrument with the skin and ties it tightly with cotton strings and then begins playing.

At the Mridanga Saileswari temple in Muzhakunnu, Kannur district there is the Mizhavu Bhagavathy — goddess in the shape of mizhavu.

The Ambalavasi Nambiar community perform inside the Koothambalams, a place inside Hindu temples specifically designed for these arts. Mizhavu is played only with hands; sticks are not used. The palm and fingers of both the hands are used for playing this instrument. The mizhavu artiste uses the full hand technique for drumming. The half metallic beats are typical of this instrument. In the past, different beats were played, but now only eight exist, including the Chempata, Atanta, Eka and Triputa.

Considered a deva vadyam meant only for religious performances, it is not put down on the ground and is kept in a cage of wooden slats.

Mizhavu has been traditionally played by male percussionists and the instrument is regarded as a Brahmacharya. For Koodiyattam, mizhavu, kuzhitalam, kurumkuzhal, edakka and sanku are the traditional accompanying instruments. The mizhavu complements the movements of the actor.

Today, there are no restrictions and anyone can play the instrument, which is also performed solo or is featured in the mizhavu thyaambaka, where it is played by a group of performers. It is also played along with Idakkya in the mizhavu melam.

The writers are well known Carnatic musicians

http://www.thehindu.com/entertainment/music/mizhavu-is-a-sacred-instrument-that-accompanies-chakyar-koothu-performances/article19845862.ece

Nandurni

RESONANCE MUSIC

Notes of nandurni and colours of kalam

M. LalithaM. Nandini

SEPTEMBER 21, 2017 16:30 IST

UPDATED: 

A string instrument of Kerala, it is played at Bhagavathy temples

Recently, we were in Kerala, our favourite place, for a concert. Not only does it have discerning audience, but it is also our grandparents’ home state. And like Tamil Nadu, it has a rich musical heritage and unique instruments. The two-stringed nandurni or nanduni is one such instrument.

The nandurni is usually played during Kalamezhuthu Pattu and Kalam Pattu (kalam means, a drawing, and pattu, a song), as part of the rituals at the Mannarkad Bhagavathy temple. Kalamezhuthu is the art of drawing large pictures on the floor using natural coloured powders. The other varieties of Kalam Pattu are Bhagavathy Pattu, Ayyappan Pattu, Vettekkorumakan Pattu and Kalam Sarppam Pattu. Nanduni Pattu (also known as Tottam Pattu) is sung as part of the dance ritual — Karika Thullal, and describes the killing of Darika by Goddess Bhadrakali.

Divine offering

The nandurni comes under the category of tata vadyas or chorophones and is played in all Bhagavathy temples. At the Mannarkad Bhagavathy temple, Thirumandhankunnu temple and in Tharavadus, it is played by artistes from the Kurup community, while the Mannan community (who also perform the Bhagavathy Pattu) play this instrument at Kavus. There is a song, which says that Nanduni is the goddess of Kurumba and should be placed in the divine lap.

Nandurni has a rectangular hollow body, which is primarily made from the wood of the jackfruit tree. About five feet long and six inches wide, it has a projecting tail. Two strings pass over its body through the bridge and are tied to an iron hook at the top end. This is tightened to the two pegs at the bottom. The strings are usually made of palm fibre or sisal.

Of the two strings, the thicker one is used as drone and the thinner is used to produce different notes by pressing the strings on the frets, which are tuned to ‘sa’ and ‘pa’.

It also has a 14-inch resonator, on which the frets, numbering 3 to 5 are fixed.

The strings are strummed by a plectrum made from buffalo horn. It is usually placed on the lap and held in a vertical position, with the pegs on top. The left fingers press the frets, as the artiste strums with the right hand. Nandurni is used both as sruti and laya vadya during the Kalam Pattu.

At the ancient Sree Veerasthanam Viruttanam Bhagavathy Temple situated along the borders of Thrissur and Palakkad, the Kalamezhuthu Pattu is one of the important offerings to Devi.

It starts with the traditional Koorayidal ceremony and is followed by the Kalam Pattu. The pictures of Devi and Veerabhadran are drawn daily and is performed in different stages. The first stage involves the Kalamezhuthu, or the drawing of the deity’s picture, followed by the Kalam Pattu, where songs related to the deity are rendered to the accompaniment of nandurni.

This is followed by the Kalam Thullal, after which the kalam is erased.

The Kurups believe that the nandurni instrument is a form of Siva and Sakthi, where Bhadrakali resides in the middle and the two strings are Anna and Alamba.

The writers are well known Carnatic musicians

http://www.thehindu.com/entertainment/music/music-in-bhagvathy-temples/article19728291.ece

Kudukka Vina

RESONANCE HISTORY & CULTURE

Under the spotlight

M LALITHA AND NANDINI

AUGUST 24, 2017 16:48 IST

UPDATED: AUGUST 24, 2017 16:50 IST

Kudukka veena, originally played only in temples, has shifted to the concert stage

We had just finished performance at PN Sivaramakrishnan Sri Tirumeni Guruji’s 400-year-old Siva temple in Chippleri near Punjapadam, Palakkad. Then it was our turn to listen to an instrument, a rare on at that.

Made from two coconut shells and played with a stick, its sound and appearance were unique. The single-stringed Kudukka veena is an ancient instrument of Kerala.

Half a coconut shell, which is the resonator, is placed on the left shoulder and kept in position by a cloth belt called kacha. The shell is covered by fine leather at the centre of which is a small hole. At the lower end is the full shell (kudukka). A wooden rod, called the korada/perada, passes diametrically through the eye of the kudukka and a string is attached to it. This is tied onto the Korada which is inserted through the hole in the leather. Sometimes both shells are painted and decorated.

String matters

Regarding the strings, sometimes those of the Vina Tala Kambi or guitar are used. According to Thrikkampuram Sri Jayandevan Marar, son of the late Thrikkampuram Krishnankutty Marar, kudukka veena is more than 300 years old.

This instrument is played by strumming the string using the eerkkili, which is the thin rod from the coconut palm leaf. Sometimes the thin stem of a peacock feather is is also used.

The different notes are produced by adjusting the tension of the string. The tension is varied through pressure on the lower shell.

It is a difficult instrument to play, and requires practice. Notes cannot be sustained on it for long. One practises this instrument before learning to play the edakka. Like the ‘pulimutti’ for chenda and ‘sravanappalaka’ for maddalam, kudukka veena is basically a simulator of edakka.

Rakesh Kammath, who plays the kudukka veena, says, “This instrument used to accompany sopana singing during pujas in temples.” Sopana Sangeetham is sung, traditionally by men belonging to the Ambalavasi community, by the side of the holy steps (sopanam) leading to the sanctum sanctorum of a shrine. It is generally performed when the neivedyam is offered to the deity.

The last master

Apparently, the kudukka veena was later replaced by the edakka. Both the instruments can produce melody/swarams along with rhythm/talam.

The legendary Thrikkampuram Krishnankutty Marar was one of the last masters of this instrument, and some of his disciples play this instrument.

Jayandevan Marar said, “It was my father who brought this instrument back to the forefront.” His predecessors, who could play on this rare instrument were Vadakkedath Appu Marar (Krishnankutty Marar’s guru) and Thazhathedath Govinda Marar. By presenting kudukka veena recitals, accompanied by violin and mridangam, during the 1990s, he introduced this instrument to the concert stage. Sometimes the edakka is added as an accompaniment. Currently, some artistes use a pickup to amplify its sound.

Kudukka veena is no longer used in temples but is played at performances and social events. Some of its performers include Uramana Rajan Marar, Kavil Sundaram Marar, Rakesh Kammath, Kottaram Sangeet Marar and Kavil Unnikrishnan.

Writers honoured

Violinists M. Lalitha and M. Nandini were honoured recently with the Chennai Awards for 2017 by the Chennai 2000 Plus Trust in association with the Department of Museum and Archaeology, Government of Tamil Nadu. The award was presented in recognition of their services to the cause of Carnatic music.

The writers are well-known Carnatic musicians.

http://www.thehindu.com/society/history-and-culture/how-a-temple-musical-instrument-has-moved-to-concert-stage/article19552989.ece

Bari Mani

Chimes played during nagarasankirtanam

On a Purattasi Saturday afternoon, as we were rendering the kriti ‘O, Rangasayee’ the immortal composition of Saint Tyagaraja on Lord Ranganatha, we were immersed in the beauty of the kriti and its beautiful phrase in the charanam – ‘Bhooloka Vaikuntam.’ Our thoughts raced back to the Ranganathar temple at Srirangam, which inspired Tyagaraja to compose such a masterpiece in raga Khambodi.

The shrine, which is regarded the foremost in the eight self-manifested shrines of Lord Vishnu, houses many rare musical instruments that are used while performing the temple rituals.

One such is the Bari Mani bell, which belongs to the category of idiophones or metallic variety that comes under the group of hand percussion instruments.

It is said that Bari Mani is a favourite of Lord Siva and Goddess Kali and that the people belonging to the Nazhimanikarar community used to sing songs on the Lord during their nagarasankirtanam and the performers who wield the bells/mani will receive paddy inside these bells, the quantity of which equals the quantity of the Nazhi and hence these performers are called Nazhimanikarar. The instrument with such legendary aspect is now used only at the Srirangam temple. After the Artha jama puja, the Barimani, Bari Maddhalam and talam performers perform and go around the Chithirai veedhi adjoining the temple to announce the devotees that the day’s rituals have ended. This is known as Bari valam. Bari Mani, which is carried on the shoulder like the ‘kavadi,’ is an open-mouthed bell made up of brass attached to a long block of teak wood on either side. It is fastened to the wooden log in such a way that when the performers walk with them on their shoulders it automatically reverberates and produces a pleasant tone and in order to get the nadam its mouth is slightly narrowed down. This practice has been in vogue for many years though in between it became a rare phenomenon due to the increase in the number of devotees and space constraint where the performers found it difficult to walk all the way. But now this practice has been revived, thanks to the efforts of the TVS Group.

(The writers are classical violinists and researchers.)

http://www.thehindu.com/features/friday-review/history-and-culture/chimes-played-during-nagarasankirtanam/article8223223.ece

Tuntuna

http://www.thehindu.com/entertainment/music/on-the-tuntuna-trail/article19316630.ece

The single-stringed instrument is an integral part of Maharashtra’s folk culture

During a trip to Mumbai for a concert, we visited our cousin in Thane. There we witnessed a procession of the deity Amba Devi, where Gondhalis dressed in red, wearing a head gear decorated with shells (some had peacock feathers), danced to the accompaniment of drums and a one-stringed folk instrument called tuntuna.

Usually found in rural parts of the country among the Bhil, Kukna, Gondhal and Warli communities, the tuntuna is also used for devotional music, ballards and lavanis. Known as tuntina or tuntuni and chohokhode, it comes under two categories: Tata vadyas or chordophones of the plucked variety and sruti vadyas or stringed drone instrument, as it sounds the key note or the main tonic note.

The Gondhalis, who are professional musicians, play this instrument. They seek alms by singing and dancing in honour of their deities, Renuka and Bhavani to the accompaniment of the drum, cymbals and tuntuna. The instrument is also played by gypsies.

Single note drone

The tuntuna is further classified under the single note drones that produces only one note, which is the adhara shadja or the tonic note. The string is usually tuned to the main key of the performer or sometimes to a higher octave (tonic/shadja).

The tuntuna has a hollow wooden or metal cylinder and a parchment covers the lower part of this instrument. A stick fixed to the cylinder has a tuning peg at the top. A metal string is tied to a small stick, which passes through a copper coin and a hole in the centre of the parchment and this is fastened to the tuning peg. Peacock feathers are used to decorate the top of the stick sometimes.

Tuntuna is an integral part of the folk theatre form of Maharashtra called Tamasha, which combines music and dance. Dolki and manjeera are the other instruments used. The tuntuna players (also known as the tuntunawala) sing the refrain or chorus after the main singer, like in the ballad form powada, which is an older form of narrative singing. The powada was performed by the Gondhalis. The tuntunawala holds the instrument in his right hand and plucks the string with the nail of his index finger.

The instrument is played in honour of Devi Bhavani and at marriages. On this occasion, five Gondhali men dance after praying to the deity and her beloved Siva. Then they perform an invocation to Khandoba and other gods, after which, stories from the Ramayana and other mythologies are narrated with singing and dancing. The performance ends in the early hours of the morning.

Tuntuna, cymbals and sambal are also a part of the Gondhal, a religious practice that is also an important folk art form of Maharashtra.

Among the different global musical cultures, there are similar instruments such as the Cung of East Africa, Tushuenkin of China and Bau of Vietnam, which are known as monochords.

The writers are well known Carnatic musicians

Pambai

Pambai

Dr M Lalitha and M Nandini

Pambai, a pair of drums, is an integral part of folk ensembles and temple festivals.

The inspiration for this week’s column came from the festival at our father’s native place Madurai. We offered prayers to our Kuladeivam and witnessed the temple festival, where they played the twin drums. Fascinated by its sound we decided to know more about the instrument.

The instrument is known as Pambai/Pampai, which is a pair of drums cylindrical in shape. Also known as Pamba, this instrument with four faces, conjoined and kept one on top of the other, comes under the category of the Avanaddha Vadyas. In the pair, the longer one having a deeper tone is known as the Periya (big) Kottu while the smaller one, the Siriya (small) Kottu.

Different materials are used to make this instrument. The Periya Kottu is made of maram or wood and is also referred to as the Veeru Vanam while the Siriya Kottu is made of Vengalam or brass and is also known as the Vengala Pambai. In some simpler varieties, both the instruments are made of wood. Both the heads are covered with goat skin, attached to a wooden ring with holes through which pass cords joining both faces.

Periya kottu is around 18 inches in length while Siriya Kottu is around 15 inches. As the performers tie this instrument to their waist, they feel comfortable playing them in a standing position. It is also sometimes played in a sitting posture.

The Pambai is played with a stick and sometimes with both stick and hand. Set to a fixed pitch, slow, fast and complex rhythm patterns are produced.

Pambai is used in village temple festivals, as part of an ensemble of folk instruments and as an accompaniment for karagam, poi kal kudhirai, mayilattam and kavadi performances. It is an important instrument used during the thiruvizha in Madurai Thalaiyari Gurunathan temple and Ayyanarpuram for Goddess Angala Parameswari. It is one of the important instruments played during the Panguni Uthiram festival in Palani, held during the month of March. The Pambalas community of southern Andhra Pradesh are said to be the experts in playing this instrument.

Mention about this instrument has been made in the Sangam literature, where the sound of the Pambai is compared to that of the hound dogs.

In the book titled ‘Alaya Vazhipaatil Isai Karuvigal’ by Kausalya R., there is an interesting story associated with the instrument. It is mentioned that during the reign of King Tirumalai Nayakar, an artist called Andi was playing this instrument on the path frequented by the king; hanging it upside down from a tree .

When the king asked Andi why he was playing the instrument in a peculiar way, he replied that there was no place to dry the skin of Pampai. The king pointed towards a rock, now known as Andi Parai, for the purpose.

This instrument is on the verge of extinction. Measures need to be taken to save this musical tradition.

http://www.thehindu.com/features/friday-review/music/Double-impact/article15472362.ece