Many Indian mythological tales delve into the origin of sound. While some say Goddess Saraswati’s veena made the first sound after the universe was created, others believe it was Lord Shiv’s damru that did so at the cusp of creation. In a collaboration between MATI Art Foundation and Crafts Museum, ‘Vadya’ (on till February 28 at the National Crafts Museum) brings together a range of folk, Adivasi and classical Indian musical instruments from all over India and stories like these.
Taking a cue from Bharata Muni’s Natya Sastra, the exhibition, with categories such as Carnatic, Hindustani, and folk and Adivasi genres, is split in four parts – stringed, wind, percussion and solid instruments.
“The exhibition portrays the cosmic significance of music and musical instruments in Indian mythology. It showcases its intimate relationship with our worldview,” says Nidhi, deputy director of National Crafts Museum & Hastkala Academy and curator of the exhibition.
Social traditions
Among some of the rare musical instruments on display are the Tuhila, Kinnari, Panchmukhi Baja, Buang, Decca and Ghasiya Baja. These instruments come from Jharkhand, West Bengal, Chhattisgarh, Andhra Pradesh, and Odisha, each representing different folk and Adivasi traditions. While some of these instruments, along with their music styles, are extinct, a few are already on the verge of dwindling into oblivion. Nidhi believes that it is imperative that they be preserved. “The significance of music and its instruments is all pervasive -- it is a timeless tradition. In its eternal journey, it absorbs new elements, gives rise to new forms and carries forward the old element with it. Preserving old things is human nature,” she says.
Former Maulana Azad Chair Professor, National Museum, AK Dass believes music and musical instruments are part and parcel of sacred tradition. “Music is played in temples at the time of prayer, and at the time of rites and rituals. They are regularly played by musicians at the appropriate time. In social functions such as marriage and birth rituals, fairs and festivals -- such as Bihu, Navaratra, Bisakhi, and Pongal -- playing of musical instruments is a must. In situations like these, it is more for enjoyment than devotion. There are people who profess music as a social tradition in India,” he says.
For example, the instrument Benum has been preserved as an art object rather than a musical instrument. As one enters the exhibition premises, one can see a cluster of Benums hanging from above in a circle. Against a massive backdrop in blue hues of Goddess Sarawati’s silhouette, it almost looks celestial. Assistant curator Gaurav Kumar points out that they are played by the Santhal tribes during harvests or rituals, but they do not have strings anymore.
Going extinct
Over the past six years, Siddhartha Tagore, Founder of MATI, says he has collected over 200 such instruments, many of which are already extinct, and some on the verge of it. “Even the tribal groups have stopped protecting their instruments. They are leaving their villages for better job opportunities and lifestyles. Somewhere in the hustle, they are leaving behind their folk art which is unique to them. I was in Ranchi and there were people trying to preserve Santhali by teaching the language on a government grant, but there was no initiative for their music,” he says.
A large chunk of the instruments on display are from the Adivasi areas of Chhattisgarh, West Bengal and Jharkhand. Tagore traversed the nooks and corners of these states to collect the instruments. “Sometimes they weren’t ready to part with the instruments, but eventually they would give it up,” he says.
The exhibition attempts to bridge the gap between the old and the new. Kumar points out that the ancient or classical folk music styles are lost on the current generation. “In the hyper-technological era, it’s easy to flow with what is new. But we tend to overlook our cultural base. Many of these instruments are still being used, but they listen to it mixed with digitally produced sounds. Many don’t know these instruments are still used by the Adivasi groups. We want to create an awareness of its existence, we want people to remember,” he says.