Since the advent of human civilization, arts have been an integral part of every culture. Creative disciplines such as dance, music and artistry have always been celebrated in different forms. The history taught in school textbooks includes a major section dedicated to the cultural history of any particular period. Each era was noted to be characterized by their unique dance forms, artistic techniques and musical variety. Indian classical music is one such distinguished form of music that has evolved over the years since its origin in the Vedic era. During the medieval period, it was divided into Hindustani or North Indian music and Carnatic or South Indian music. This period also marked the birth of a new instrument in Hindustani classical music, the Pakhawaj. It is a barrel shaped, two headed drum which is a very ancient percussion instrument in the musical history of India. This instrument holds major historical and cultural significance.
ORIGIN AND HISTORY OF PAKHAWAJ
The word Pakhawaj is of Prakrit origin and its Sanskrit equivalent is the word paksvadya. This word is made from two distinct words i.e. paks that means a side, and vadya that translates to a musical instrument. However, an alternate folk etymology states that the word pakhawaj originates from a Persian phrase “pakh awaz” that refers to a soft or mild sound. Pakh also means the area of the upper limb from the underarms to the elbow. The ancestor instrument of pakhawaj is the mridanga. Therefore, a mridanga which is required to make a strong movement of Pakh, in order to produce awaz or sound was referred to as pakhawaj according to this belief.
Mridangists around the 14th century experimented with the materials used in mridanga construction. They replaced the original clay or mud with wood which led to the birth of pakhawaj. However, there exists a highly intriguing religious and mythological history of the origin of pakhawaj. According to a popular belief, the Pakhawaj was created by Lord Brahma. A legend states that on defeating the demon Tripurasura, Lord Shiva started to perform an ecstatic dance devoid of any laya or rhythm. This made the entire earth descend towards the Rasaatal or abyss, which is one of the lowest areas of the universe. Hence, to prevent this catastrophe, Lord Brahma created the Pakhawaj out of the body parts of the deceased demon and taught Lord Ganesha, the son of Lord Shiva, to play this majestic instrument. It would provide the gleefully intoxicating beats to which Lord Shiva could dance. The rhythmic dance of Lord Shiva then decreased the trembling of the Earth and prevented a massive destruction.
Besides, there are also multiple mentions of this instrument in Hindu religious texts like Ramayana and Mahabharata. This further reinforces its origin from a religious background. In the ancient civilizations such as Mohenjodaro, paintings and cave sculptures depicted the Pakhawaj or mridanga being played. It achieved a prominent court status during the rule of the Mughals and heavily impacted North Indian classical music. Thus, giving this form of music a distinctive beauty and providing a new life of melodies to both compositions and poetry. The Bhakti Yug, which was a devotional spiritual movement of the medieval period in India, witnessed several poets that glorified pakhawaj in their writings. In Punjab, it has been played since the era of their fifth guru- Guru Arjun Singh. However, this instrument seems to have been forgotten by the turning pages of history and the ever evolving trends in music.
Regardless, the music world always holds Pakhawaj in great regard and it never lost its importance there. Hindustani classical music has different classical and semi classical styles such as Dhrupad Gayaki, Dhamar, Var or Chantt to name a few, where the role of pakhawaj is irreplaceable. Thus looking at the history and origin of pakhawaj, it is observed that this instrument is not as widely recognized like its successor the tabla or other well known instruments. The crowd with negligible correlation to music may never know about the pakhawaj but it holds a vast importance to the patrons of classical music in India.
CONSTRUCTION AND WORKING OF THE INSTRUMENT
The Pakhawaj is a very thoughtfully designed instrument. The construction is largely attributed to the naturally available local plant and animal resources. It is hollowed out of a block of wood. Pakhawaj is a barrel shaped drum having two heads with the left head bearing an asymmetric convexity. The drum has a barley shape or yavakriti which is one of the shapes included in the Natya Shastra. The Natya Shastra is a Sanskrit dissertation on the performing arts attributed to sage or muni Bharata. The wood used for construction is of sheesham, khair, red sandalwood, vijaysar etc which are some of the commonly available sources of wood native to Northern India. The length of the instrument varies from two to two and a half feet.
The circumference of the bulge is about ninety centimetres. The right face has a circumference of sixteen to twenty centimetres whereas the left face is about twenty five centimetres. The circumference of the two faces is variable and is always kept in accordance with the size of the Pakhawaj. The right face is smaller than the left and it emits the higher pitch. The pitch of the left face is about half to one third of the right face.The parchment called pudi is prepared from two membranes, the inner complete ring and outer reinforcing peripheral rim. The high quality, treated skin of a goat is used to prepare the pudi. The specific structural zones on the membrane face or pudi are known as Chanti and Maidan. Chanti is the outer rim of the drumhead often associated with a sharp ringing resonance whereas maidan is the open space of the membrane between the Chanti and the Syahi or the black spot.
The two faces of pakhawaj are held by gajra or braids and connected by leather straps. These straps are sixteen in number and called baddhi or the braces. The leather used for baddhi is derived from a buffalo. There are eight tuning blocks between the braces. For tuning purposes, the blocks are pushed with a hammer to the left or the right. It is done for raising or lowering the pitch as desired. This demonstrates that there has been an evident use of analytical fundamentals to decide the working of the instrument, in order to deliver a varied range of harmonious tones and pitches. On the right face of the Pakhawaj, a black spot or Syahi, which is a circular paste, is applied along with the pudi. This paste is made from a precise mixture of boiled rice or wheat starch, iron filings and gum, which is carefully applied in concentric layers and polished with a smooth stone. But on the left face, no Syahi is applied. Instead, a temporary paste of wheat or barley flour along with water is applied at the time of the concert, which is carefully scrapped off just after the performance. This is done for lowering the pitch to half or one third as that of the right side. The artists, from their experience, judge the amount of paste required to be applied on the left side before they enter the stage.
The application of this dough also gives depth and resonance to the tone, which leaves a regal, sober impression on the listeners.The flexibility in adjusting the pitch and tone makes the instrument capable of being used extensively by the artist as per the requirement. Such a use of the dough for percussion instruments is an ancient tradition which is a very remarkable characteristic of Indian drums. While playing, the player sits with their legs crossed and places the pakhawaj horizontally on the lap or the ground. The palms and fingers are involved in playing this instrument. Overall, it can be said that the Pakhawaj stands as a testament to the craftsmanship and artistry of the Indian instrument makers. This skill is passed down to the instrument makers of the successive generations and it keeps the legacy of the Pakhawaj alive.
CONTRIBUTION TO THE MUSICAL ARTS
A musical instrument not only provides melodious tunes to enjoy but it also renders phenomenal contributions to the world of music. The Pakhawaj has contributed significantly to enrich the Hindustani classical music. This instrument was predominant in the Dhrupad tradition or musical style of the Hindustani Classical Music. The genre Dhrupad is often performed in the temples and during religious ceremonies since it is regarded as a very meditative and spiritual form of music. It is used as a percussive accompaniment in this style of music including vocal, veena or the bass sitar known as surbahar. The Pakhawaj offers deep and resonant tones that are believed to invoke a sense of devotion and reverence, making this instrument an essential component of the Dhrupad musical experience.
The cultural significance of this instrument spans across centuries. This instrument contributed to the Dhamar Gayaki, a style of vocal performance, along with the instruments like Rabab, Sursingar and Surbahar during the late 18th century. The several Gurbani Kirtans, devotional offerings at Gurudwara, usually employed the Dhrupad style of music extensively where the role of Pakhawaj was worth mentioning. This was due to its ability to provide proper bass, rhythm and intricate cycles of tall or beat. In the 19th century, the Tabla gained greater popularity, however the renditions of pakhawaj could never be completely played through Tabla. The notes of the tabla can be played on the pakhawaj but the vice versa was not achievable. It was also a mainstay of the devotional style of music known as the Haveli Sangeet. Hindustani Classical Music consists of various gharanas or stylistic lineages that may include different techniques of playing a particular instrument. The primary gharanas of the Pakhawaj include the Kudau Singh Gharana, Nana Saheb Panse Gharana, Mathura Gharana and the Nathdwara Gharana, each characterized by their unique repertoires, aesthetic approaches and fingering styles. Thus, this instrument is capable of producing many ranges of melodies all of which were widely celebrated in the North Indian musical world.
In addition to this, it also plays an immense role in delivering suitable harmonies for the Indian classical dance forms. The Pakhawaj is used in the Odissi and Kathak dance forms where it provides rhythmic foundations. The drum has the potential to produce a varied range of sounds that nicely accompany the complex footwork and intricate movements of these dance forms. Thus the contributions of this instrument is widespread across various creative disciplines of the Indian artistic community. It is regarded as the symbol of tradition and heritage, representing the continuity of Indian Classical Music across ages.
The Pakhawaj also has a massive relevance in the contemporary world of music. Although it is rooted in ancient Indian classical music, the versatility of this drum makes it ideal to be employed in fusion ensembles, where it is combined with other Indian and Western instruments. It helps in exploring newer rhythmic possibilities and pushing the boundaries of classical music. This instrument has been featured in many film scores and world music projects, that is discovering the potential of pakhawaj and bringing its ancient beats to novel audiences across the globe. It can be said to have a colossal cultural significance across timelines and amounts to an important evolving chapter in the musical history of India.
RENOWNED AND DEVOTED PAKHAWAJ INSTRUMENT PLAYERS
There are many incredibly talented creatives who have shown exceptional skill and perseverance in the field of playing the Pakhawaj. Some of these great pakhavajies of current times include Purushottam Das (Nathdwara), Ayodhya Prasad (Rampur), Pagaldas (Ayodhya), Raja Chhatrapati Singh (Bijana), Lala Keval Kishan (Indore) and Totaram Sharma (Mathura) to mention a few among the celebrated names. Another honourable mention in the Pakhawaj instrumenatalists of contemporary times is Nishaant Singh, a performer from the Lala Keval Kishan Gharana-Bengal Parampara and a torchbearer of the instrument among his peers. He is an extremely versatile pakhawaj artist who is affiliated with the Cine Musicians Association and The Music Composers Association in India. A globally popular figure, he is the sole pakhawaj player in the country who is familiar with the compositions of Swami Vivekananda.
The unwavering devotion of all the passionate Pakhawaj players to the musical realm of India is an outstanding example of keeping the rich artistic legacy of the country alive. The instrumentalists are known to have a deep respect for their instrument and their craft which can be sensed from their stage presence and performance intensity. They seem to foster a deep connection to their art and its vivid richness. Some sources cite that there are numerous incidences in the history of Pakhawaj which are beyond the understanding of the common man and rational approach. The explanation of such instances lies either with the Pakhawaj player or with the Lord himself. Such cases are living examples of deep rooted reverence and devotion of the artists to their music.
An example of this includes a renowned pakhawaj player Kudau Singh Maharaj throwing the Pakhawaj in the air while playing and producing a thaap sound on it. A thaap sound is a foundational, powerful open hand slap stroke played mainly on the left side of the drum. Being able to produce a thaap while the instrument was in the air is a phenomena beyond our understanding. Another example is Kudau Singh Maharaj controlling a mad elephant by playing Pakhawaj. All these occurrences can be attributed to extreme devotion towards the musical art. However, the real reason stays incomprehensible.
CONCLUSION
Mankind cannot thrive without art and literature. As much as the community needs scientific advances, it also requires creative disciplines to sustain human life. Music and dance have always been an integral part of the vibrant cultural history of India, despite the growing stigmas and taboos related to it in the modern times. The rich legacy of Indian classical music and dance still runs in the blood of the families with an artistic ancestry. The modern patrons of these disciplines also keep the legacy alive with their passionate efforts. Indian Classical Music shall always be celebrated and passed down to the next generations with the same enthusiasm, through its beautiful instruments, legendary melodies and the exceptionally devoted artists. Hindustani Classical Music will likewise keep the lively history of the Pakhawaj alive. This instrument is a strong pillar of the North Indian Classical Music and has elevated the musical quality to the next level ever since its introduction in music. The Pakhawaj has stood as a symbol of culture and heritage and will forever be an inseparable part of the musical history of India.
By: Harshita Dubey
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