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Folk Songs and Folk Instruments by Langa and Manganiar and Mewati Jogi and Bhopa
| Content Provider | Internet Archive: Cultural Resources of India |
|---|---|
| Spatial Coverage | 1984-04-13 |
| Description | लोक वाद्य - पुंगी और कमायचा ; दोहा - सोडा थारे चढवाने घोडलो रै ; गीत - म्हारा केसरियौ हजारी गुल रो फूल रै ; गीत - थारी अवलुडी रै मै करा रै ; गीत - लेता जाइजो रै दिलडो देता जाइलो म्हारी संगी नंणद बाई ; लोक वाद्य - कमायचा ; गीत - म्हारो केसरियौ हजारी गुल रो फूलFolk Instrument Morchang : The player’s left hand holds the ring part of the frame against their mouth while the fingers of the right hand pluck the hook-like bend at the tip of the ‘tongue.’ Using their mouth as a resonator and blower, the player enhances the sound produced by the ‘tongue’ to produce elegant, beautiful, complex musical tones. Usually found in the desert. Sometimes multiple people accompany each other on the Morchang. The Langa musician caste uses the Morchang to accompany singing or the playing of the Sarangi or the Satara.Folk Instrument Kamaicha : Sometimes an extra set of four sympathetic strings, jhara, runs under the main strings. Unlike other bowed instruments, the arrangement of the strings permits the bow to play upon the sympathetic strings as well as the main ones. The bow helps emphasize the rhythm of the instrument during play. The Kamaicha can be found with the Manganiar musician caste in the Jaisalmer, Barmer, and Jalore districts.Folk Instrument Bhapang : The player tightly pins the bhapang between their left elbow and body. Using the stick, one hand tightens and relaxes the tension on the gut string. The other hand strikes the string with a finger or a plectrum. Intricate rhythmic patterns can be produced, but the sound the Bhapang emits lacks any real tone. Because of this, and the vital importance of the membrane in producing sound, the Bhapang is sometimes classified as a membranophone. The Jogis of Alwar and Bharatpur, also known as the Bharathari Jogis, are the main users of the Bhapang. It accompanies the singing of bhajan, ballads, and epics.Folk Instrument Murli or Murla or Murali (Tanki) : Similar to the Pungi, but more developed. The body, which has a resonating belly and an extended neck, can be made from a gourd or a hollowed out piece of wood. Fixed with wax to the belly are two parallel wooden pipes with finger holes. Placed in each pipe is a single beating reed, made of bamboo, cane, or kangor sticks. One tube works as a drone, while the other is used for playing. Unlike the Pungi, both pipes are not necessarily left open. Players apply wax to constrict the openings and achieve the desired pitch. The murli has a musical range extending over several octaves, allowing players to create a broad range of ragas, far more than the satara can. Murli players use the circular breathing technique known as naksasi. Only used during instrumental pieces, mainly for folk tunes. Occasionally, two murli players accompany each other, in which case one of the drone pipes is closed. The surinda often accompanies the Murli. The chief users of the Murli are the Langa and Manganiar musician castes of the regions of Jodhpur, Jaisalmer, and Barmer.Folk Instrument Ravanhattha: The two main strings are tuned to sa-sa or sa-pa. 3-16 sympathetic strings run under the main strings. They are tuned to the suddh scale. Musicians play the main hair string (jutting out at an angle) with a touch from the underside of the first knuckles of their fingers. The player holds it at a roughly sixty-degree angle, with the belly of the Ravanhattha resting against their chest. Rubbing beraja (resin) on the main string and bow creates sound. In Western Rajasthan, Bhopas (priests) of Pabuji (a pastoral hero) play the Ravanhattha while singing the ballad of Pabuji’s life. Some belong to the Nayaks, a professional musician caste. Non-professional Bhils of Barmer also play this instrument. |
| Access Restriction | Open |
| Rights License | http://creativecommons.org/licenses/by-nc/4.0/ |
| Subject Keyword | Folk Music |
| Content Type | Audio |
