Ghumat
Ghumot ( konkani , in Devanagari -Schrift घुमट in Kannada -Schrift ಘುಮೋಟ), also ghumot, gumot, gumatt , is a mainly by the Christian Konkani -Sprechern in the Western Indian state of Goa and the Siddis in the eastern Indian state of Karnataka played boiler drum whose Body consists of a clay pot covered with skin on one side. The membrane is hit with the right hand, a small opening at the bottom can be covered with the left hand to influence the sound. In Andhra Pradesh and Telangana , a similar drum played in rural areas is called gummati . The membrane of the ghumat is tied to the opening with a cord , the membrane of the gummati is tied against the bottom of the pot with cords.
Design
The thick-walled, unglazed clay pot of the ghumat in Goa is slightly wider in the middle beyond the spherical shape and resembles a giant pumpkin in shape and size . Opposite a large opening on a narrow neck at the top is a small opening with a short neck on the underside. Only the upper opening is covered with the fine skin of a monitor . This membrane retains its position by means of a tape wrapped around the edge several times. With some drums it can also be tied to the underside with cords knotted on the skin. The ghumat in Karnataka, on the other hand, consists of an elongated, cup-shaped body in which the membrane is also fixed solely by the string ring. In contrast to this, the membrane of the gummati in Andhra Pradesh and Telangana is drawn over a metal ring that protrudes over the edge of the opening and is tightened with cords against the underside of the pot.
In contrast to the pair of kettle drums tabla and the equally widespread double-cone drums of the pakhawaj , mridangam or maddale types , no voice paste is applied to the eardrum. If necessary, the pitch can be lowered by moistening the membrane or raised by heating the pot over the fire.
Style of play
When the musician is standing, the drum with the membrane hangs on the right side at chest height on a string around his neck, he hits the skin with his right hand. With the fingers of the left hand he can produce intermediate blows on the underside of the pot and with the heel of his hand partially cover the lower opening to change the sound. The seated player fixes the upright instrument between his knees and hits the skin with both hands.
Goa
The clay drum is a typical element in the folk music of Goa Catholics in urban and rural areas. Their melodies and uncomplicated bars refer to the influence of the Portuguese immigrants. The ghumat is not used for other music in Goa , mostly it plays together with the small Goan tube drum samel , which is beaten with sticks .
The ghumat is mainly used to accompany dances. One of them is Dekhni , a popular women's dance in which the performers tell the life story of a temple girl ( Devadasi ) in songs , whose job it is to perform as a dancer at religious festivals in temples and at private wedding celebrations.
Goff is a cheerful folk dance of the rural male population of Goa, which is performed during the week-long Shigmo festival according to the Indian calendar in the month of Phalguna (February 20 to March 21). The colorful festival of Christians in Goa is the counterpart to the Hindu spring festival Holi . Each dancer holds a rope in one hand that hangs from the ceiling in the middle of the group. With their turning movements, the dancers wind their ropes up and down again in a spiral to form a single bundle. They are accompanied by the drums ghumat, samel or by melody instruments.
The "lamp dance", also performed on the occasion of the Shigmo festival, is named after the brass candlesticks that the dancers balance on their heads while moving slowly and with concentration. The instrumental accompaniment consists of ghumat, samel, cymbals and a harmonium .
At the Mando Music Festival, men and women dance according to a tradition that originated in the 19th century to often sweet European melodies, which are performed by a violin orchestra and carefully rhythmized by a ghumat .
Karnataka
Goa Catholics who emigrated from the 16th century brought the ghumat to Karnataka, where it is still played by the Christian minority. In addition, the ghumat in Karnataka is an instrument used by the Siddis, who descended from black African slaves. They maintain certain cultural traditions of their African regions of origin, which are mainly expressed in folk music with songs and drums and in ballroom dances. Popular folk songs, namely Balo, Leva and Bandugia , are about the pride and religious sentiments of the community. The Siddis are Hindus, Christians or Muslims.
distribution
The ghumat is one of the membranophones , as its sound vibrations mainly emanate from the beaten animal skin. In addition to the folk and religious Indian music to the idiophones projected clay pots without membrane as the South Indian ghatam played. The mizhavu , which is only used in religious music in Kerala and whose body consists of a copper sheet soldered together and a tiny membrane, represents a transitional stage between the two types of sound production . The panchamukha vadya ( Sanskrit "five-face instrument") is a rare South Indian instrument made from a vertical clay pot with five openings covered by an animal skin, which accordingly produces five different tones .
Similar percussion instruments are called gagri ( gagra ) and pabuji ki mate in Rajasthan , kudamuzha in Tamil Nadu and noot in Kashmir and Sindh . In Hindi , clay pots (also used musically) are generally called matka or matki .
A special further development of the skin-covered clay pot in South India is called tantipanai . A metal wire leads inwards from the center of the membrane and leaves the pot on one side, where some rattles are attached to the wire and it ends at a movable tuning wood protruding outwards. The piece of wood is bumped and the vibration is passed on indirectly to the membrane for reinforcement. The tantipanai creates a transition from the clay drums to the plucked drums ( ektara ).
Web links
- Gumott - A Traditional Musical Instrument. Youtube video (introduction)
- On Goa's traditional drum, the gumot: Seby Pereira from Nuvem. Youtube video
- The mando ... and the ghumot. Zomobo (video of a violin orchestra playing European melodies with ghumat at the Mando festival)
Individual evidence
- ↑ flickr.com Photo of a ghumat , the membrane of which is braced with the underside
- ↑ Sadanand Naimpalli: Theory and Practice of Tabla . Popular Prakashan, Mumbai 2005, p. 18
- ↑ Gummati. Europeana Collections (photo of a gummati from Hyderabad before 1963)
- ↑ goa-world.com ( page no longer available , search in web archives ) Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. Photo from the Sao Joao festival in Gaounsavado: heating a ghumat to increase the tone
- ↑ Susana Sardo: Goa. In: Alison Arnold (Ed.): The Garland Encyclopedia of World Music. Vol. 5: South Asia. The Indian Subcontinent. Garland, New York 2000, pp. 735-741, ISBN 978-0824049461
- ↑ Dekhni . ( Memento of the original from February 14, 2012 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. India Travelite
- ↑ Goff Dance, Goa. Indian Net Zone
- ^ Lamp Dance, Goa. Indian Net Zone
- ↑ Mando Festival. Government of Goa
- ↑ Shihan de Silva Jayasuriya: Crossing Boundaries: Africans in South Asia. In: Africa Spectrum, Vol. 43, No. 3, 2008, pp. 429-438, here p. 432; also: Shihan de Silva Jayasuriya: The Slave Route: African Migrants as cultural brokers in South Asia. Dhivehi Bavana
- ^ Pot-drum. In: Late Pandit Nikhil Ghosh (Ed.): The Oxford Encyclopaedia of the Music of India. Saṅgīt Mahābhāratī. Vol. 3 (P – Z) Oxford University Press, New Delhi 2011, p. 820
- ↑ Thanti Panai (Tantipanai). chandrakantha.com
- ↑ James Blades: Percussion Instruments and their History. 5th edition. Kahn & Averill, London 2005, p. 144, ISBN 978-0933224612
