MeraPahad Community Of Uttarakhand Lovers

         Dhol an Important Musical Instrument of Garhwali Folk Dramas

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -160
                  गढ़वाली लोक नाटकों के वाद्य यंत्र
                             
                     Bhishma Kukreti (लोक साहित्य शोधार्थी)

              Dhol or Drum is an important musical instrument used in Garhwali folk dramas. Dhol is used with Damau or Nagada in various religious, marriage, social, social gathering occasions. There is manuscript about the knowledge of Dhol sound called Dhol Sagar. The language of Dhol Sagar is mixed that is main is Braj mixed with a few words of Garhwali.
  Dhol was introduced to India in 15th century. Dhol is perhaps west Asian origin. Aine-e Akbari mentions first time about Dhol. That means Dhol was introduced in Garhwal around sixteenth century. Initially Dhol players were called from plains of Garhwal, Bijnor, Haridwar, and Saharanpur. Later on Dhol playing tradition was held by family profession.  The Dhol-Damau player is called Auji or Das. Auji is in fact the name of Lord Shiva. Parvati calls Shiva as Auji.
 Dhol is double sided drum. The drum is made of copper and sides are made by goat skin. Dhol is played by one side by wooden stick and other side by hand.

Copyright@ Bhishma Kukreti 29/5/2014
Contact ID -bckukreti@gmail.com
Characteristics of Garhwali Folk Drama, Community Dramas; Folk Theater/Rituals and Traditional to be continued in next chapter
                 References
1-Bharat Natyashastra
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
12- Bhishma Kukreti, 2007, Garhwali Lok Swangun ma rasa ar Bhav , Chithipatri
13-Manorama Sharma, Tribal Melodies of Himachal Pradesh: Gaddi Folk Music
14- Anoop Chandola, 1977, Folk Drumming in Himalaya: A Linguistic Approach to Music 
15- Jugal Kishor Petshali, 2002, Uttaranchal ke Lok Vadya
16- Jason Busniewski, Bagpiping in the Indian Himalaya
17- Ian Woodfield, 2000, Music of the Raj
18-Stefen Fiol, 2008, Constructing Regionalism: Discourses of Spirituality and Cultural Poverty in Music of Uttarakhand, North India
19- Andrew Alter, Mountainous Sound Spaces-Listening to History and Music in the Uttarakhand Himalayas   
 XX
Dhol an Important Musical Instrument  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Dhol an Important Musical Instrument  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Dhol an Important Musical Instrument in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia;  Dhol an Important Musical Instrument in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia;  Dhol an Important Musical Instrument in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Dhol an Important Musical Instrument in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia;  Dhol an Important Musical Instrument  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Dhol an Important Musical Instrument in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia

Dholak a Membrophonic Musical Instrument used in Garhwali Folk Dramas

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -162
                  गढ़वाली लोक नाटकों के वाद्य यंत्र
                             
                     Bhishma Kukreti (Folk Literature Research Scholar)
   Dholak is usually used by professional class as Badi, Jagri in Garhwali folk Dramas as Jagri use Dholak in Hantya Ghadela (religious ritual).
            Dholak is two headed hand drum. Dholak has traditional cotton rope lacing, screw –turnbuckle tensioning or both combined in steel case ring for tuning or pegs inside the laces. The shell is made by cheap wood as Mango etc and membrane is made by goat leather. The drum is played by both hand either hung on shoulder, or kept on lap of player or kept on the ground.
 

Copyright@ Bhishma Kukreti 31/5/2014
Contact ID -bckukreti@gmail.com
Characteristics of Garhwali Folk Drama, Community Dramas; Folk Theater/Rituals and Traditional to be continued in next chapter
                 References
1-Bharat Natyashastra
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
12- Bhishma Kukreti, 2007, Garhwali Lok Swangun ma rasa ar Bhav , Chithipatri
13-Manorama Sharma, Tribal Melodies of Himachal Pradesh: Gaddi Folk Music
14- Anoop Chandola, 1977, Folk Drumming in Himalaya: A Linguistic Approach to Music 
15- Jugal Kishor Petshali, 2002, Uttaranchal ke Lok Vadya
16- Jason Busniewski, Bagpiping in the Indian Himalaya
17- Ian Woodfield, 2000, Music of the Raj
18-Stefen Fiol, 2008, Constructing Regionalism: Discourses of Spirituality and Cultural Poverty in Music of Uttarakhand, North India
19- Andrew Alter, Mountainous Sound Spaces-Listening to History and Music in the Uttarakhand Himalayas   
 XX
Dholak a Membrophonic Musical Instrument in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays;  Dholak a Membrophonic Musical Instrument in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Dholak a Membrophonic Musical Instrument in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Dholak a Membrophonic Musical Instrument  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Dholak a Membrophonic Musical Instrument in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia;  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia;  Dholak a Membrophonic Musical Instrument  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia

Bheri or Dundubi a Membrane /Membranophonus Folk Musical Instrument of Garhwali Folk Dramas

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -164 
                  गढ़वाली लोक नाटकों के वाद्य यंत्र
                             
                     Bhishma Kukreti (Folk Literature Research Scholar)

           Dhol Sagar a philosophical manuscript describes Bheri or Dundubi as musical instrument. Mahabharat also describes Bheri as musical instrument. Bhri or Dundubi is a different type of Nakkara. Usually Bheri or Dundubi is made of bronze or brass and looks as Tabla. The height of Dundubi or Bheri is 2 ½ feet to 3 feet. The face is made of leather and is played by sticks and in some places only by hand.

Copyright@ Bhishma Kukreti 3/6/2014
Contact ID -bckukreti@gmail.com
Characteristics of Garhwali Folk Drama, Community Dramas; Folk Theater/Rituals and Traditional to be continued in next chapter
                 References
1-Bharat Natyashastra
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
12- Bhishma Kukreti, 2007, Garhwali Lok Swangun ma rasa ar Bhav , Chithipatri
13-Manorama Sharma, Tribal Melodies of Himachal Pradesh: Gaddi Folk Music
14- Anoop Chandola, 1977, Folk Drumming in Himalaya: A Linguistic Approach to Music 
15- Jugal Kishor Petshali, 2002, Uttaranchal ke Lok Vadya
16- Jason Busniewski, Bagpiping in the Indian Himalaya
17- Ian Woodfield, 2000, Music of the Raj
18-Stefen Fiol, 2008, Constructing Regionalism: Discourses of Spirituality and Cultural Poverty in Music of Uttarakhand, North India
19- Andrew Alter, Mountainous Sound Spaces-Listening to History and Music in the Uttarakhand Himalayas   
 XX
Bheri or Dundubi a Membrane Folk Musical Instrument of Garhwali Folk Dramas from Garhwal; Bheri or Dundubi a Membrane Folk Musical Instrument of Garhwali Folk Dramas from Haridwar Garhwal; Bheri or Dundubi a Membrane Folk Musical Instrument of Garhwali Folk Dramas from Dehradun Garhwal; Bheri or Dundubi a Membrane Folk Musical Instrument of Garhwali Folk Dramas from Uttarkashi Garhwal; Bheri or Dundubi a Membrane Folk Musical Instrument of Garhwali Folk Dramas from Tehri Garhwal; Bheri or Dundubi a Membrane Folk Musical Instrument of Garhwali Folk Dramas from Chamoli Garhwal; Bheri or Dundubi a Membrane Folk Musical Instrument of Garhwali Folk Dramas from Rudraprayag Garhwal;

 


 

      Kanse ki Thali/Thakul or Bronze Plate a Musical Instrument used in Garhwali Folk Dramas

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -169 
                  गढ़वाली लोक नाटकों के वाद्य यंत्र
                             
                     Bhishma Kukreti (Folk Literature Research Scholar)

          In many religious ritual dramas, deep bronze plate or Kanse ki Thali is used as musical instrument in Mid- Himalaya region. The ‘Thali’ is played by two or one stick.  Most of the time, Thali is played with Damru together. The player keeps Thali on a wood container (Pathao) while playing Thali.


Copyright@ Bhishma Kukreti 9/6/2014
Contact ID -bckukreti@gmail.com
Characteristics of Garhwali Folk Drama, Community Dramas; Folk Theater/Rituals and Traditional to be continued in next chapter
                 References
1-Bharat Natyashastra
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
12- Bhishma Kukreti, 2007, Garhwali Lok Swangun ma rasa ar Bhav , Chithipatri
13-Manorama Sharma, Tribal Melodies of Himachal Pradesh: Gaddi Folk Music
14- Anoop Chandola, 1977, Folk Drumming in Himalaya: A Linguistic Approach to Music 
15- Jugal Kishor Petshali, 2002, Uttaranchal ke Lok Vadya
16- Jason Busniewski, Bagpiping in the Indian Himalaya
17- Ian Woodfield, 2000, Music of the Raj
18-Stefen Fiol, 2008, Constructing Regionalism: Discourses of Spirituality and Cultural Poverty in Music of Uttarakhand, North India
19- Andrew Alter, Mountainous Sound Spaces-Listening to History and Music in the Uttarakhand Himalayas   
 XX
Kanse ki Thali/Thakul or Bronze Plate a Musical Instrument used in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Kanse ki Thali/Thakul or Bronze Plate a Musical Instrument used  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Kanse ki Thali/Thakul or Bronze Plate a Musical Instrument used in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Kanse ki Thali/Thakul or Bronze Plate a Musical Instrument used  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Kanse ki Thali/Thakul or Bronze Plate a Musical Instrument used in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Kanse ki Thali/Thakul or Bronze Plate a Musical Instrument used in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia;  Kanse ki Thali/Thakul or Bronze Plate a Musical Instrument used  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Kanse ki Thali/Thakul or Bronze Plate a Musical Instrument used in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia

Ghungar, Ghugroo, Ghanghru: Musical Instrument used in Garhwali Folk Dramas
 
Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -168 
                  गढ़वाली लोक नाटकों के वाद्य यंत्र
                             
                     Bhishma Kukreti (Folk Literature Research Scholar)

               Ghughru, Ghungaroo, Ghungar is one of many metal bells strung together. Ghungru are tied on ankle with anklet. There may be 10 small bells to 100-200 bells in many Ghungru or Ghungar.
         As far as Garhwali folk dramas are concerned, usually professional class Badi-ban used to dance with Ghungru. 

 
Copyright@ Bhishma Kukreti 8/6/2014
Contact ID -bckukreti@gmail.com
Characteristics of Garhwali Folk Drama, Community Dramas; Folk Theater/Rituals and Traditional to be continued in next chapter
                 References
1-Bharat Natyashastra
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
12- Bhishma Kukreti, 2007, Garhwali Lok Swangun ma rasa ar Bhav , Chithipatri
13-Manorama Sharma, Tribal Melodies of Himachal Pradesh: Gaddi Folk Music
14- Anoop Chandola, 1977, Folk Drumming in Himalaya: A Linguistic Approach to Music 
15- Jugal Kishor Petshali, 2002, Uttaranchal ke Lok Vadya
16- Jason Busniewski, Bagpiping in the Indian Himalaya
17- Ian Woodfield, 2000, Music of the Raj
18-Stefen Fiol, 2008, Constructing Regionalism: Discourses of Spirituality and Cultural Poverty in Music of Uttarakhand, North India
19- Andrew Alter, Mountainous Sound Spaces-Listening to History and Music in the Uttarakhand Himalayas   
 XX
Ghungar, Ghugroo, Ghanghru: Musical Instrument used in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Ghungar, Ghugroo, Ghanghru: Musical Instrument used  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Ghungar, Ghugroo, Ghanghru: Musical Instrument used in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia;  Ghungar, Ghugroo, Ghanghru: Musical Instrument used in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Ghungar, Ghugroo, Ghanghru: Musical Instrument used in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Ghungar, Ghugroo, Ghanghru: Musical Instrument used in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia;  Ghungar, Ghugroo, Ghanghru: Musical Instrument used  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Ghungar, Ghugroo, Ghanghru: Musical Instrument used in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia