The Evolution of Tabla Playing: From Classical Traditions to Contemporary Adaptations in Indian Music

LOKOGANDHAR ISSN : 2582-2705

Indigenous Art & Culture

Dr. Soumen Chakraborty, Department of Music, Ramsaday College, Amta, Howrah, WB, India

Abstract:

In this paper, an attempt has been made to highlight all traditional music particularly emphasizing ‘Tabla’. Afterwards, the transformation of Indian Traditional Music towards modern music in different forms concerning the demand and suitability of the societies of various countries according to their respective culture has been illustrated lucidly in detail. Various examples have been stated accordingly.

Finally, the opportunity of traditional and modern music has been cited in this paper.

Introduction:

‘Tabla’ is an important percussion instrument in Indian Music. With the progress of human civilization, gradually the application of its rhythm beats in different forms has come into existence. The Tabla is known as an accompanying instrument. It plays an essential role with the vocalist, instrumental player and the dancers. A good Tabla accompaniment enhances the beauty of musical presentation. The tabla is considered to be an important solo instrument as well.

The paper is presented in two parts. Part one deals with the traditional aspect of Tabla Playing and part two deals with the modern aspect of Tabla playing in different forms.

Traditions of Tabla:

The origin of Tabla and its use has several conflicting theories. A lot of authors have very nicely described their opinions on ‘Tabla’ through different books. Some authors have stated that Tabla may be the transformed form of an ancient percussion instrument, ‘Sambal’. Some writers have given their opinion that the tabla’ is the modern form of the ‘Dardur’ (an ancient traditional instrument). Some writer says that the Tabla has originated from an Arabic instrument called “Tabol”. Most writers assert that the Tabla was discovered by Amir Khusro during the region of Allauddin Khilji in the 13^th century. It was produced by dividing Mridang or Pakhawaz (an ancient percussion instrument) into two parts and later popularised by Ustad Sidhar Khan, founder of Delhi gharana.

Gharana is very important part for music world. Gharana is very necessary to describe about the tradition of Tabla. Based on different gharanas, different type of compositions of tabla have been generated by the founding artist, his descendants and disciples. In tabla playing, six principal gharanas are recognized. These are known by the following names: Delhi gharana, Lucknow gharana, Farukhabad gharana, Banaras gharana, Ajrada gharana and Punjab gharana. The following gharana information have been compiled and presented below.

Delhi Gharana:

Ustad Sidhar Khan was the founder of Delhi Gharana. Other gharanas evolved from this gharana. Dr. Prasanta Kumar Bandyopadhyay has presented his opinion on Delhi Gharana through his book, ‘‘Tablar Sahaj Path (2nd Part)’’ in the very clear way [1]. He has described that in this gharana, the 1st and 2nd finger is generally used. In this gharana, Peshkar, Keyada, Rela, Tukra etc. are very important. Compositions like Teteye, Tereketeye, Ghenateteye etc. are mostly used in this gharana.

Lucknow Gharana:

Lucknow gharana has been generated from the Delhi gharana. Ustad Moudu Khan and Ustad Baksu Khan were the founder of the gharana. Dr Dilip Ranjan Barthakur has commented on his opinion in his book, ‘Sangeet Bigyane Tabla’’ in a lucid manner [2]. He has mentioned that based on the style of dance composition and some compositions of Pakhawaj, the gharana has been formed. In this gharana, all fingers are generally used. Rela, Tukra, Paran, Gat etc. are very important. Compositions like Dhagiteteye, Kredheteteye, Ghentaran, Kran etc. are mostly used in this gharana.

Farukhabad Gharana:

Ustad Vilayat Ali Khan was the founder of Farukhabad gharana. Dr. Dilip Ranjan Barthakur has described his opinion in his book, ‘Sangeet Bigyane Tabla’’ in the clear way ^[3]. He has mentioned that in this gharana, Keyda, Rela, Gat, Paran etc. are very important. Compositions like Dhirdhir, Gherenago, Kerenako, Ghran, Kran etc. are mostly used in this gharana.

Banaras Gharana:

Banaras gharana evolved from the Lucknow gharana. Pandit Ram Sahay Mishra was the founder of this gharana. Dr Dilip Ranjan Barthakur has described his opinion in his book, ‘Sangeet Bigyane Tabla’’ in clear way ^[4]. He has mentioned that in this gharana, Uthan, Gat, Paran, Chakradar, Tukra etc. are very important. Compositions like Dhumakita, Takita, Kran, Ghran etc. are mostly used in this gharana.

Ajrada Gharana:

Ajrada gharana was developed from Delhi gharana and it was popularised by Kollu Khan and Meru Khan. In this gharana, the use of the left hand is very prominent. Dr Prasanta Kumar Bandyopadhyay has presented his opinion on Delhi Gharana through his book, ‘‘Tablar Sahaj Path (2nd Part)’’ in a very clear way ^[5]. He has described that in this gharana Gat-Keyda, Keyda-Peshkar etc. are very important. Compositions like Dha, Dhinak, Dhidhinak etc. are mostly used in this gharana.

Punjab Gharana:

Most of the bols of this gharana have been developed from the bols of Pakhawaj. Dr. Dilip Ranjan Barthakur has described his opinion in his book, ‘Sangeet Bigyane Tabla’’ in clear way ^[6]. He has mentioned that Punjab gharana is famous for Rela, Gat, Chakradar, Paran etc. Ustad Fakir Baksha is the developer of this gharana. In this gharana, compositions like Dhata, Tereketeye, Dhar, Nar etc. are very important.

Traditional aspect and modern aspects of Tabla playing in different forms:

Traditional aspects:

The outcome of Presentations:

It had been performed by Ustad Ahmedjan Thirakwa as Tabla Solo in Teentaal on1936 and from this solo performance the composition like “Ghena Dhagina Dhatereketeye Dhagina Dhatereketeye Dhagina” had been expressed clearly in the traditional way.
It had been performed by Ustad Allara Khan as Tabla Accompaniment on 1967 at Monterey Pop in Drut Teentaal including Sawal Jabab with Pandit Ravi Shankar and from this performance, the traditional accompaniment was presented nicely.
It was performed by Ustad Latif Ahmed Khan as a Tabla Solo in 1975 in Mehfili in Delhi based on Teentaal and from this solo performance compositions like “Dhate Dhagi Nadha Tereketeye Dhate Dhago, Dha Teteye Dha Teteye Dha Dha etc. had been expressed clearly through the presentation in traditional way.
It was performed very smoothly by Pandit Swapan Chowdhury as Tabla Solo in 2005 at Sangeet Piyasi, Calcutta in Teentaal and from this solo performance compositions like “Tak Dhene Tak Tak Dhene Tak Dhene Tak” had been expressed clearly in the traditional way.
It was performed very nicely by Ustad Zakir Hussain as Tabla Solo in 2011 at Ramakrishna Mission, Kolkata in Teentaal and from this solo performance, many traditional compositions like “Dhateteye Dhateteye Dhadha Teteye, Dhatedhagi Nadha Tereketeye, Dhatereke Dheteteye Ghetreke Dheteteye, Tak Dhene Tak Tak Dhene Tak” etc. had been expressed clearly in traditional way.

Modern aspects:

The outcome of Presentations:

It had been performed very nicely by Pandit Samta Prasad in the film ‘Basant Bahar’ as Background Music and from this performance, the background atmosphere had been expressed based on different compositions of his tabla playing.
It was performed by Ustad Zakir Hussain in different way in 2014 at Schlossfestspielen Ludwigsburg with different patterns of vocal styles including different Western instruments and from this performance, the new pattern of Tabla playing was expressed clearly in a modern way.
It had been performed by Bikram Ghosh as an improvised performance on Tabla and Drums in the INK conference on 2015 and from this performance the different patterns of vocal form on composition (bolbani), Tabla playing and sawaljabab also had been expressed clearly in modern way.
It was presented very clearly by Ustad Zakir Hussain with Taufiq Qureshi as a Duet Performance on Tabla and Djembein Bangalore on 2016 and from this performance compositions like “Dha Tereketeyetako tere-keteye Dha Tereketeyetako tereketey Dhinaghene” had been expressed nicely through the Indian and western instruments, Tabla and Djembe.
It was performed by Satyajit Talwalkar as Fusion Music (amazing Jamming) in a completely different improvised way with Niladri Kumar on Tabla, Zitar, Drums, specially, Beat Boxing at Palava Tarang on 2016 and from this performance, the different pattern of an amazing performance of Tabla playing had been expressed clearly in a modern way.

Conclusion:

Initially, Indian traditional music particularly focusing on Tabla by presenting different compositions have been highlighted. Finally, Tabla Playing performances in the modern form have been shown by renowned Tabla Players.

References:

Dr. Prasanta Kumar Bandyopadhya, Tablar Sahaj Path (2^nd part), Supriti Bandapadhya, Kolkata, Page: 167 & 170.
Dr. Dilip Ranjan Barthakur, Sangeet Bigyane Tabla, Sri Rajendra Mohon Sharma & Dr. Rabindra Mohon sharma, Guwahati, Assam, page: 79-80.
Dr. Dilip Ranjan Barthakur, Sangeet Bigyane Tabla, Sri Rajendra Mohon Sharma & Dr. Rabindra Mohon sharma, Guwahati, Assam, page: 81-83.
Dr. Dilip Ranjan Barthakur, Sangeet Bigyane Tabla, Sri Rajendra Mohon Sharma & Dr. Rabindra Mohon sharma, Guwahati, Assam, page: 84-87.
Dr. Prasanta Kumar Bandyopadhya, Tablar Sahaj Path (2^nd part), Supriti Bandapadhya, Kolkata, Page: 169-170.
Dr. Dilip Ranjan Barthakur, Sangeet Bigyane Tabla, Sri Rajendra Mohon Sharma & Dr. Rabindra Mohon sharma, Guwahati, Assam, page: 88-89.

Email id: soum2008.2008@gmail.com, Mobile: 9903371423

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