MUSICAL INSTRUMENTS OF ANKIYA BHAONA

Arup Saikia

(arupsaikia07@gmail.com)

Musical instruments are the basis of music. The music gains motion for
the instrument. Otherwise, music would have remained in the abstract sense. The human being never intentionally created musical instruments initially. It was created automatically or out of emotion. The limbs of humans are the first musical instruments in the world. The emotional outburst or impulse is abruptly expressed by clapping, jumping, or slapping on one’s own or another’s body. The devotees can concentrate while prayer is set to devotional music or the ringing bell in temples.

In nomadic or savage periods, the branches and barks of trees, the skulls and horns of animals, stones, and sticks of bamboo were utilised as musical instruments. As civilisation starts, the musical appliances of folk culture are the first man-made musical instruments. The manufacturing materials depend on geographical location, available natural resources, social culture, etc. Like culture, music or instruments are also developed from a nascent stage and are constantly changing. So the structure and nature of the musical instruments never remain intact.

There are two types of musical instruments mainly used in Ankiya Bhaona. The first one is a membranophone instrument—the Mridanga or Khol (Drum).It is a two sided drum bound by strips of leather. It is the main instrument used in Bhaona.Sankari music can’t survive without Khol.

KHOL: The “khol” was introduced in the form of a “Mridanga’’ for “Nam-kirtan”. This instrument was treated as a religious instrument in many parts of eastern India, including the Bengal region. However, there is no information about when or who first made the Khol. The sound of a khol is not different from that of Mridanga. The wooden khol is introduced for durability. Mahapurush Sankardeva formally first played khol in 1468 during the performance of the Chihna Yatra. It was made of clay by the tribal (Kachari) artists. The two round sides are made of leather. The iron powder was plastered on both ends with glue and rice. Originally, flour and water were used on these circular portions. This circular portion is called “Gaap/Ghun.” The right side is “Dayan,” and the left is “Baya.”  The drum is “Dima.” The circular, twisted knitting on the side is “Molowa.” The strips are “Boroti’’. The drum instrument, which resembles Khol, is mentioned in the Natya Shastra. Both sides of the khol have different sounds. The right side produces a high-pitched metallic sound, and the left produces a lower bass sound.

MRIDANGA: Mythologically, Mridanga was played by Lord Nandi, a companion of Lord Shiva. Mridanga has existed since the pre-Sankari period in Assam. Like khol, it’s made of clay or wood. The meaning of “Mrit” in Sanskrit is clay, and “Anga” means limb or part. So it is believed to have been made of clay at the beginning. But nowadays, it is mostly made of jackfruit wood. Both ends are made from animal skin, like khol. Both sides are joined by a hollow wooden drum with strips of animal skin.

TAAL: The idiophonic “taal” (cymb) is a round brass metal plate with a hole in the middle to put thread to hold. Two plates are struck with each other by both hands to produce sound. There are different kinds of “Taal,” from bigger to smaller ones. These are Bor// Bhortaal, Khuti taal, Pati taal,Bihu taal, Manjira taal, Ramtaal etc. The biggest variety of taal is Bhor taal. The origin of this taal is from the Buddhist monasteries of Southeast and North Asian countries. We have gotten it from Bhutiya, or Bhutan; therefore, the name is Bhortal. This is played with “Doba” of Namghar on special auspicious occasions.

The Khuti taal is very small and thick. It is mostly used in Ojapali and seldom used in Bhaona. The Pati taal is a medium-sized taal. It is often played in Sankari dance and music. The Manjira (Juri) taal is like a bowl; it is very rarely used in Bhaona. It is mostly used in Hindustani devotional music.

NAGARA: It’s a hide-covered pair of drums played by sticks. The bottom part is half spherical. The materials may be anything—wood, metal, etc. The Nagara is another version of “Dunduvi” available in Assam. It is less used in Bhaona but mostly played in “Naam Prasang” or “Naam.” One variety of naam with Nagara in Assam is popularly called “Nagara Naam.” The music of Nagara is better matched with Khol to produce symphonies.

KAMHA / KAHA: This is a dish-like instrument made of brass or metal. It produces big sounds while playing with Bhortal, Doba, Nagara, etc. The daytime Naam Prasang of night Bhaona ends with a symphony  of music played by the above-mentioned instruments. It is generally called “Dabani.”.

DOBA: The biggest instrument in Ankiya Bhaona. It is actually a big membranophone drum erected on a stand near the entrance to Namghar. It is a product of indigenous Assamese.

CONCH (SANGKHA): This is an instrument of the wind category, a trumpet of seashell. Religiously, it has been used since older days. Conch blowing became a ritual in Hindu temples. During the entry of God or to show any incarnated form on Bhaona, conch is blown. As spirituality and tradition are considered, conch is a very pious and dignified instrument.

FLUTE: Another prominent woodwind instrument is the flute. It’s not the original instrument of Bhaona but was later added. It is a product of Thailand. The flute is widely used in Borgeet, besides Bhaona.

Another wind instrument, Kali or Chahnai, was once popular in Ankiya Bhaona. The “Kali blower” is a common designation in Satra. Nowadays, the Kali has become obsolete.

SARENGDAR: Another diminishing winged instrument is Sarengdar. It was popular among the people of Goalpara, Darrang, North Kachar, Kamrupa, etc. During his stay in Kochi, Sankardeva used this tribal instrument with little modification.

With the change of time, the music of the drama also has to be changed. It is not compulsory that indigenous musical instruments be used for everything. The instruments, “Sarengdar,” were originally not a product of Assam. Have Assam people heard the name of Robab?” (Obsolete winged instrument). Sankardeva had hired this musical instrument from outside, which is flourishing Assamese music a lot.

KEYBOARD: The use of the keyboard is the latest addition to the variety of musical instruments. Fusion of classical or traditional music by keyboard may look absurd. But it is a demand for time. Keyboards produce ready-made musical tunes very easily. Moreover, it holds the scale of the tune. So the role of the keyboard can’t be denied. As lighting has become digital from manually lighted lanterns, nowadays everything has to be world class. Taking proper fusion with new musical trends will help to develop our culture. The base of Ankiya music is membrophonic “Khol” and idiophonic “Taal.” It should remain permanently as the pedestal of Ankiya Bhaona music.

(Arup Saikia is a cultural enthusiast, Bhaona artiste, noted writer and alumnus of the University of Delhi.)