Search

Browse items

–

Current results range from 1962 to 1984

View distribution
  • University of California, Los Angeles. Ethnomusicology Archive✕[remove]138

Search Constraints

You searched for: Subject Chordophones ✖Remove constraint Subject: Chordophones Repository University of California, Los Angeles. Ethnomusicology Archive ✖Remove constraint Repository: University of California, Los Angeles. Ethnomusicology Archive
Start Over

138 Catalog Results

Number of results to display per page
View results as:
List Created with Sketch. List View List Gallery Created with Sketch. Gallery View Gallery

Search Results

Babu Sherbande, Nila Sewlinga Vaghmare, and Ratna Shanka Vaghmare, Miraj (India), 1963

Description:
Musician and teacher Babu Sherbande plays manjira (small bronze finger cymbals) for a song sung by his student, Nila Sewlinga Vaghmare. She plays a cawandga, a variable tension monochord whose string is attached to a wooden handle, and stretched and loosened by the left hand, while being plucked with the right-hand fingers. Bronze bells (ghanti) are attached to the bronze holder for the strap that is attached to the wooden cylindrical body, whose upper edge is rimmed in bronze, and whose bottom is covered by a thin leather membrane, through which the end of the string passes and is tied. Bronze jingles are attached to the wooden handle. Nila Vaghmare’s daughter, Ratna Shankar Vaghmare, sings along and plays a tuṇtuṇe, a plucked monochord with a horsehead peg and a wooden cylindrical resonator. The cawandga and tuṇtuṇe were made in the shop of Abdul Karim Ismail Saheb, sitar makers of Miraj.
Date:
December 19, 1963
Resource Type:
still image
Photographer:
Jairazbhoy, Nazir Ali, 1927-2009
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Babu Sherbande, Nila Sewlinga Vaghmare, and Ratna Shanka Vaghmare, Miraj (India), 1963

Cawanda at the shop of Abdul Karim Ismail Saheb, Miraj (India), 1963

Description:
Cawandga, a variable tension monochord whose string is attached to a wooden handle, and stretched and loosened by the left hand, while being plucked with the right-hand fingers. Three bronze bells ghanti are attached to the bronze holder for the strap attached to the wooden cylindrical body, whose bottom is tightly covered by a thin leather membrane, through which the end of the string passes and is tied. Three bronze jingles are attached to the wooden handle. The instrument is said to have originated in the skull of the evil king Kartavirya Arjun, after he was beheaded by Lord Parasurama, son of Goddess Renuka/Yellamma. Devotees play the instrument in honor of Goddess Renuka-Yellamma and Lord Parasurama. The cawandga was made at the shop of Abdul Karim Ismail Saheb, sitar Makers of Miraj.
Date:
December 19, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Cawanda at the shop of Abdul Karim Ismail Saheb, Miraj (India), 1963

Cawanda at the shop of Abdul Karim Ismail Saheb, Miraj (India), 1963

Description:
Cawandga view from underside, a variable tension monochord whose string (not shown) is attached to a wooden handle, and stored within the wooden “drum.” The string is stretched and loosened by the left hand, while being plucked with the right-hand fingers. Three bronze bells ghanti are attached to a serpentine bronze wire hanging on two bronze rings attached to the wooden resonator, to which a leather carrying strap is attached to the wooden resonator. The bottom of the resonator is tightly covered by a thin leather membrane, through the center of which the end of the string passes, where it is knotted and tied to a small piece of raw cotton padding to prevent the membrane from tearing. A stitched piece of printed textile with a decorative tassel at its corner loosely covers the wooden body. The cawandga was made at the shop of Abdul Karim Ismail Saheb, sitar Makers of Miraj. .
Date:
December 19, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Cawanda at the shop of Abdul Karim Ismail Saheb, Miraj (India), 1963

Congregational singers at a Christmas Eve hymn singing, Kottagūdem (India), 1963

Description:
Congregational singers at Christmas Eve hymn singing Telugu Christmas songs: to Mariamma (Mary), and Jesus; a lullaby; a rama; and a “village" song. Musicians play rectangular clappers (left), a ḍholak or mṛdaṅgam (center), and harmonium (right). A large kalam decorates the floor.
Date:
December 24, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Congregational singers at a Christmas Eve hymn singing, Kottagūdem (India), 1963

Durgā-pūjā Mahotsav festival - Qawwālī party, Yacoob Rajabally (also known as Yacoob Qawwal), Dhobi Talao (Mumbai, India), 1963

Description:
Guest artist Yacoob Rajabally (also known as Yacoob Qawwal and Yacoob Premragi), Nazir Ali Jairazbhoy's maternal uncle, sings qawwālī and plays harmonium, with clarinet and tablā musicians, and two singers, after a Durgā-pūjā festival ceremony as entertainment. He sang romantic Urdu verses "Rukh se parda hata de" and "Ab meri bat bhi koi mama ke hosh ki nahin." Recording session with 4 microphones. A sign on one microphone reads "Kalpana Sound." The festival was held at the Cross Maidan garden in Dhobi Talao neighborhood.
Date:
October 24, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Durgā-pūjā Mahotsav festival - Qawwālī party, Yacoob Rajabally (also known as Yacoob Qawwal), Dhobi Talao (Mumbai, India), 1963

Gīgīpada singers Ramachandra Ramappa Dhavale, Yerappa Basavappa Sutagaji and Basappa Gagappa Talwar, Bailhongal (India), 1984

Description:
Gīgīpada (Gigipada, Gīgī Pada) singers of the Holeya community (left to right): Yerappa Basavappa Sutagaji, of Kalma Galli (voice and taal or jhāñjh); Ramachandra Ramappa Dhavale, of Tigadi Galli (voice and daf); and Basappa Gagappa Talwar, of Talwar Galli (voice and tuṇtuṇe). Gigipada singers performed Kannada songs, created by Hulkund Basappa, Purandara Dasa, and Hosur Somappa, at festivals. They sang mystical songs, auspicious songs, and modern songs on sanitation and cleanliness of body and mind.
Date:
February 21, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Gīgīpada singers Ramachandra Ramappa Dhavale, Yerappa Basavappa Sutagaji and Basappa Gagappa Talwar, Bailhongal (India), 1984

Gīgīpada singers Yerappa Basavappa Sutagaji, Ramachandra Ramappa Dhavale and Basappa Gagappa Talwar, Bailhongal (India), 1984

Description:
Gīgīpada (Gigipada, Gīgī Pada) singers of the Holeya community (left to right): Yerappa Basavappa Sutagaji, of Kalma Galli (voice and taal or jhāñjh cymbals); Ramachandra Ramappa Dhavale, of Tigadi Galli (voice and daf); and Basappa Gagappa Talwar, of Talwar Galli (voice and tuṇtuṇe). Gigipada singers performed Kannada songs, created by Hulkund Basappa, Purandara Dasa, and Hosur Somappa, at festivals. They sang mystical songs, auspicious songs, and modern songs on sanitation and cleanliness of body and mind.
Date:
February 21, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Gīgīpada singers Yerappa Basavappa Sutagaji, Ramachandra Ramappa Dhavale and Basappa Gagappa Talwar, Bailhongal (India), 1984

Gīgīpada singers Yerappa Basavappa Sutagaji, Ramachandra Ramappa Dhavale and Basappa Gagappa Talwar, Bailhongal (India), 1984

Description:
Gīgīpada (Gigipada, Gīgī Pada) singers of the Holeya community (left to right): Yerappa Basavappa Sutagaji, of Kalma Galli (voice and taal or jhāñjh cymbals); Ramachandra Ramappa Dhavale, of Tigadi Galli (voice and daf); and Basappa Gagappa Talwar, of Talwar Galli (voice and tuṇtuṇe), and an unidentified man. Gigipada singers performed Kannada songs, created by Hulkund Basappa, Purandara Dasa, and Hosur Somappa, at festivals. They sang mystical songs, auspicious songs, and modern songs on sanitation and cleanliness of body and mind.
Date:
February 21, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Gīgīpada singers Yerappa Basavappa Sutagaji, Ramachandra Ramappa Dhavale and Basappa Gagappa Talwar, Bailhongal (India), 1984

Gīgīpada singers Yerappa Basavappa Sutagaji, Ramachandra Ramappa Dhavale and Basappa Gagappa Talwar, Bailhongal (India), 1984

Description:
Two men prepare makeup backstage for a Kannada drama performance of the folk tale about Lord Krishna, his two wives, and the magical pārijāt tree. Beside them are trunks for costumes and props and an imitation taṃbūrā, possibly for Narada to carry.
Date:
February 21, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Gīgīpada singers Yerappa Basavappa Sutagaji, Ramachandra Ramappa Dhavale and Basappa Gagappa Talwar, Bailhongal (India), 1984

Gondhal and Jāgran ceremony - Mānik Bāī, dancer, with Bhagvan Renake, Pune (India), 1984

Description:
Jāgran (Vāghyā Muralī)--Inauguration of the Archives and Research Centre for Ethnomusicology. Behind the mandhab, Mānik Bāī plays ghaṭī, with three musicians -- one with a tuṇtuṇe, Bhagvan Renake with a dimdi, and one with a jālra -- during a Jāgran (Hindu ritual): Vāghyā Muralī Jāgran – Marathi devotional ritual music to Hindu deity Khaṇḍobā Goddess Amba. A flame and objects are on the left.
Date:
February 8, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Gondhal and Jāgran ceremony - Mānik Bāī, dancer, with Bhagvan Renake, Pune (India), 1984

Gondhal and Jāgran ceremony - Mānik Bāī, dancer, with Bhagvan Renake, Pune (India), 1984

Description:
Jāgran (Vāghyā Muralī)--Inauguration of the Archives and Research Centre for Ethnomusicology. Behind the mandhab, Mānik Bāī plays ghaṭī, with three musicians -- one with a tuṇtuṇe, Bhagvan Renake with a dimdi, and one with a jālra -- during a Jāgran (Hindu ritual): Vāghyā Muralī Jāgran – Marathi devotional ritual music to Hindu deity Khaṇḍobā Goddess Amba.
Date:
February 8, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Gondhal and Jāgran ceremony - Mānik Bāī, dancer, with Bhagvan Renake, Pune (India), 1984

Gondhal and Jāgran ceremony - Mānik Bāī with a musician, Pune (India), 1984

Description:
Jāgran (Vāghyā Muralī)--Inauguration of the Archives and Research Centre for Ethnomusicology. Behind the mandhab, Mānik Bāī gestures and holds a tuṇtuṇe, and a musician sings and plays jālra, during a Jāgran (Hindu ritual): Vāghyā Muralī Jāgran – Marathi devotional ritual music to Hindu deity Khaṇḍobā Goddess Amba. A flame and objects are on the left.
Date:
February 8, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Gondhal and Jāgran ceremony - Mānik Bāī with a musician, Pune (India), 1984

Gondhal and Jāgran ceremony - Mānik Bāī with Bhagvan Renake, Pune (India), 1984

Description:
Jāgran (Vāghyā Muralī)--Inauguration of the Archives and Research Centre for Ethnomusicology. Mānik Bāī plays ghaṭī, with three musicians -- one with a tuṇtuṇe, Bhagvan Renake with a dimdi, and one with a jālra -- during a Jāgran (Hindu ritual): Vāghyā Muralī Jāgran – Marathi devotional ritual music to Hindu deity Khaṇḍobā Goddess Amba. The mandhab is visible in the right foreground.
Date:
February 8, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Gondhal and Jāgran ceremony - Mānik Bāī with Bhagvan Renake, Pune (India), 1984

Gondhal and Jāgran ceremony, Pune (India), 1984

Description:
Gondhal ceremony--Inauguration of the Archives and Research Centre for Ethnomusicology. Three musicians perform a Jāgran (Hindu ritual): Vāghyā Muralī Jāgran – Marathi devotional ritual music to Hindu deity Khaṇḍobā Goddess Amba. Standing behind a mandhab, musicians (left to right): R. H. Garuda, singing (sambal), Bhagvan Renake, (jālra), and Jagannath Tite, singing (tuṇtuṇe). A flame, incense and objects are on the right.
Date:
February 8, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Gondhal and Jāgran ceremony, Pune (India), 1984

Gondhal and Jāgran ceremony, Pune (India), 1984, Pune (India), 1984

Description:
Gondhal ceremony--Inauguration of the Archives and Research Centre for Ethnomusicology. Devotional ritual music to Hindu Goddess Amba. Standing behind a mandhab, vocal ensemble musicians with instruments (left to right): Jagannath Tite (tuṇtuṇe), Bhagvan Renake (jālra), and R. H. Garuda (sambal). A flame, incense and objects are on the left.
Date:
February 8, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Gondhal and Jāgran ceremony, Pune (India), 1984, Pune (India), 1984

Gondhal and Jāgran ceremony, Pune (India), 1984, Pune (India), 1984

Description:
Gondhal ceremony--Inauguration of the Archives and Research Centre for Ethnomusicology. Three musicians perform a Jāgran (Hindu ritual): Vāghyā Muralī Jāgran – Marathi devotional ritual music to Hindu deity Khaṇḍobā and Goddess Amba. Standing behind a mandhab, musicians (left to right): Jagannath Tite (tuṇtuṇe), Bhagvan Renake (jālra), and R. H. Garuda (sambal). A flame, incense and objects are on the left.
Date:
February 8, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Gondhal and Jāgran ceremony, Pune (India), 1984, Pune (India), 1984

Gondhal and Jāgran ceremony, Pune (India), 1984, Pune (India), 1984

Description:
Gondhal ceremony--Inauguration of the Archives and Research Centre for Ethnomusicology. Three musicians perform a Marathi devotional ritual music to Hindu Goddess Amba. Standing behind a mandhab, vocal ensemble musicians with instruments (left to right): Jagannath Tite (tuṇtuṇe), Bhagvan Renake (jālra), and R. H. Garuda (sambal).
Date:
February 8, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Gondhal and Jāgran ceremony, Pune (India), 1984, Pune (India), 1984

Gondhal and Jāgran ceremony, Pune (India), 1984, Pune (India), 1984

Description:
Gondhal ceremony--Inauguration the Archives and Research Centre for Ethnomusicology. Three musicians perform Marathi devotional ritual music to Hindu Goddess Amba. Standing behind a mandhab, vocal ensemble musicians with instruments (left to right): Jagannath Tite (tuṇtuṇe), Bhagvan Renake (jālra), and R. H. Garuda (sambal).
Date:
February 8, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Gondhal and Jāgran ceremony, Pune (India), 1984, Pune (India), 1984

Gondhal and Jāgran ceremony, Pune (India), 1984, Pune (India), 1984

Description:
Gondhal ceremony--Inauguration of the Archives and Research Centre for Ethnomusicology. Three musicians perform Marathi devotional ritual music to Hindu Goddess Amba. Standing behind a mandhab, vocal ensemble musicians with instruments (left to right): Jagannath Tite (tuṇtuṇe), Bhagvan Renake (Jālra), and R. H. Garuda (sambal).
Date:
February 8, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Gondhal and Jāgran ceremony, Pune (India), 1984, Pune (India), 1984

Gondhal and Jāgran ceremony, Pune (India), 1984, Pune (India), 1984

Description:
Gondhal ceremony--Inauguration of the Archives and Research Centre for Ethnomusicology. Three musicians perform Marathi devotional ritual music to Hindu Goddess Amba. Standing behind a mandhab, vocal ensemble musicians with instruments (left to right): Jagannath Tite (tuṇtuṇe), and R. H. Garuda (sambal). Bhagvan Renake holds a stick above a flame.
Date:
February 8, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Gondhal and Jāgran ceremony, Pune (India), 1984, Pune (India), 1984

Instrument maker applying paint on a taṃbūrā at the shop of Abdul Karim Ismail saheb and Sons, Miraj (India), 1963

Description:
Abdul Karim Ismail Sahib applying paint on the indented celluloid strip in the making of a sitar or taṃbūrā. This is the second stage of the scrimshaw process in which scratches are filled with pigment. Black coal dust is used for black color. The location is the verandah of the workshop of Abdul Karim Ismail Saheb.
Date:
December 19, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Instrument maker applying paint on a taṃbūrā at the shop of Abdul Karim Ismail saheb and Sons, Miraj (India), 1963

Instrument maker decorating an instrument at Abdul Karim Ismail Saheb and Sons, Miraj (India), 1963

Description:
Indenting decorative celluloid strips in the making of a sitar or taṃbūrā. This is the first stage of the scrimshaw process in which scratches are made, to be filled with pigment in the next stage. Framed photos of ancestors, relatives, and ustāds hang from the top of the verandah wall at the workshop of Abdul Karim Ismail Saheb and Sons.
Date:
December 19, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Instrument maker decorating an instrument at Abdul Karim Ismail Saheb and Sons, Miraj (India), 1963

Instrument maker scraping painting on a taṃbūrā at the shop of Abdul Karim Ismail saheb and Sons, Miraj (India), 1963

Description:
Abdul Karim Ismail Saheb cutting indentations into decorative celluloid strips in the making of a sitar or taṃbūrā. This is the first stage of the scrimshaw process in which scratches are made in the decorative strips, to be filled with pigment in the next stage. The location is the verandah of the workshop of Abdul Karim Ismail Saheb.
Date:
December 19, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Instrument maker scraping painting on a taṃbūrā at the shop of Abdul Karim Ismail saheb and Sons, Miraj (India), 1963

Instrument maker sculpting leaves on a gourd for a taṃbūrā at the shop of Abdul Karim Ismail saheb and Sons, Miraj (India), 1963

Description:
Abdul Karim Ismail Saheb carving of leaves on the gourd of sitar or taṃbūrā. Grape leaves, tendrils, and grape bunches are carved into wooden panels glued to tumba gourd of taṃbūrā or sitar. The location is the verandah of the workshop of Abdul Karim Ismail Saheb.
Date:
December 19, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Instrument maker sculpting leaves on a gourd for a taṃbūrā at the shop of Abdul Karim Ismail saheb and Sons, Miraj (India), 1963

Ishvaramma Pocānā (sitārā and andil), and Satyammā, Jangmolu (dimkī), Hyderabad (India), 1963

Description:
Wandering musicians, Ishvaramma Pocānā playing a sitārā and andil (like tāla), and Satyammā (Jangmolu caste) playing dimkī, are seated on a curb with a baby and a young girl. They are singing a katha (story) of Harishchandra Maharaj in Telugu. The sitārā is a 3- stringed lute, the andil is a donut-shaped, hollow metal ring with pellets inside, held on the thumb and struck against the body of the sitārā, and the dimkī is a skin-covered pot drum with a rear opening. Male pedestrians stop to watch.
Date:
December 22, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Ishvaramma Pocānā (sitārā and andil), and Satyammā, Jangmolu (dimkī), Hyderabad (India), 1963

Ishvaramma Pocānā (sitārā and andil), and Satyammā, Jangmolu (dimkī), Hyderabad (India), 1963

Description:
Wandering musicians, Ishvaramma Pocānā playing sitārā, and Satyammā (Jangmolu caste) playing a dimkī, seated on a curb with a young girl standing between them. The sitārā is a 3- stringed lute, the andil is a donut-shaped, hollow metal ring with pellets inside, held on the thumb and struck against the body of the sitārā, and the dimkī is a skin-covered pot drum with a rear opening. Male pedestrians stop to watch.
Date:
December 22, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Ishvaramma Pocānā (sitārā and andil), and Satyammā, Jangmolu (dimkī), Hyderabad (India), 1963

Madhukar Barve teaching students to play musical instruments, Mumbai (India), 1963

Description:
“Music class in progress Barve’s school.” Madhukar Barve, son of Manahar Barve (Manahar Barve Sangeet Vidyalay), teaches a group of three violinists, two sitarists, one vertical flutist, one tablā player, and one harmonium player. Two small children sit in the center of the circle. At Manahar Barve Sangeet Vidyalaya music school.
Date:
October 10, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Madhukar Barve teaching students to play musical instruments, Mumbai (India), 1963

Madhukar Barve teaching students to play musical instruments, Mumbai (India), 1963

Description:
“Music class in progress Barve’s school.” Madhukar Barve, son of Manahar Barve, teaches a group of three violinists, two sitarists, one vertical flutist, one tablā player, and one harmonium player. Two small children sit in the center of the circle. At Manahar Barve Sangeet Vidyalaya music school.
Date:
October 10, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Madhukar Barve teaching students to play musical instruments, Mumbai (India), 1963

Maharashtrian instruments: ektara, dimdi, dipri / kartāl, and jhāñjh, Miraj (India), 1963

Description:
On the porch in front of the shop of Abdul Karim Ismail Saheb, Maharashtrian instruments used to accompany songs such as Marathi abhang and bhakti git, and Hindi bhajan: ektara (two-string drone lute), dimdi (small frame membranophone); dipri/kartāl (wooden clappers), and jhāñjh (small hand cymbals).
Date:
December 19, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Maharashtrian instruments: ektara, dimdi, dipri / kartāl, and jhāñjh, Miraj (India), 1963

Mannān Velayudhan playing a naṇduni at the home of Chummar Choondal, Chettupuzha (India), 1984

Description:
Peru Mannān Velayudhan on the verandah of the home of the folklorist Chummar Choondal. He sings with his naṇduni, a two-string chordophone made of jackfruit wood. The instrument is conceived as the body of the Goddess. The upper notched bridge arayanam (“that which stops the sound”) and five raised frets are integral to the same thick piece of wood as the rest of the instrument. The scroll is called muti (head), two pegs are called cevi (ears), muti (face), karuttu (head), vayaru (stomach), the sides are called ara (buttocks) and the adjustable lower bridge is called pitham (throne). He plucks the twisted string with a plectrum called vayana. His left thumb is stabilized by a red plastic strap attached to the neck of the naṇduni. A blue plastic strap is attached to the raised fingerboard to mark a playing position. His Mannan izhārā variable tension double-headed hourglass membranophone is beside him. The Mannan people are an Ādivāsī indigenous community scheduled tribe (ST) living in the Idukki District of Kerala. A. A. Bake photographed a Mannan naṇduni player in 1938: Album III: 93, 94, 95, 96. But a Bake Tefi recording could not be identified. Perhaps A. A. Bake made a cylinder recording in 1936.
Date:
April 3, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Mannān Velayudhan playing a naṇduni at the home of Chummar Choondal, Chettupuzha (India), 1984

Mannān Velayudhan shows the two pieces that compose his naṇduni, at the home of Chummar Choondal, Chettupuzha (India), 1984

Description:
Mannān Velayudhan with his naṇduni, a two-string chordophone made of jackfruit wood. The location is the verandah of the home of the folklorist Chummar Choondal. Velayudhan shows that the naṇduni chordophone is made from two pieces fitted together. The instrument is conceived as the body of the Goddess. The upper notched bridge arayanam (“that which stops the sound”) and five raised frets are integral to the same thick piece of wood as the rest of the instrument. The scroll is called muti (head), two pegs are called cevi (ears), muti (face), karuttu (head), vayaru (stomach), the sides are called ara (buttocks) and the adjustable lower bridge pitham (throne). The Mannan people are an Ādivāsī indigenous community scheduled tribe (ST) living in the Idukki District in Kerala.
Date:
April 3, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Mannān Velayudhan shows the two pieces that compose his naṇduni, at the home of Chummar Choondal, Chettupuzha (India), 1984

Mannān Velayudhan shows the two pieces that compose his naṇduni, at the home of Chummar Choondal, Chettupuzha (India), 1984

Description:
Mannān Velayudhan with his naṇduni, a two-string chordophone made of jackfruit wood. The location is the verandah of the home of the folklorist Chummar Choondal. Velayudhan shows that the naṇduni chordophone is made from two pieces fitted together. The instrument is conceived as the body of the Goddess. The upper notched bridge arayanam (“that which stops the sound”) and five raised frets are integral to the same thick piece of wood as the rest of the instrument. The scroll is called muti (head), two pegs are called cevi (ears), muti (face), karuttu (head), vayaru (stomach), the sides are called ara (buttocks) and the adjustable lower bridge pitham (throne). The Mannan people are an Ādivāsī indigenous community scheduled tribe (ST) living in the Idukki District in Kerala.
Date:
April 3, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Mannān Velayudhan shows the two pieces that compose his naṇduni, at the home of Chummar Choondal, Chettupuzha (India), 1984

Mannān Velayudhan singing as he plays a naṇduni at the home of Chummar Choondal, Chettupuzha (India), 1984

Description:
Peru Mannān Velayudhan sings with his naṇduni, a two-string chordophone made of jackfruit wood. The location is the verandah of the home of the folklorist Chummar Choondal. His left thumb is stabilized by a red plastic strap attached to the neck of the naṇduni. A blue plastic strap attached to the raised fingerboard marks a playing position. He plucks the twisted string with a plectrum called vayana (sounder). The instrument is conceived as the body of the Goddess. The upper notched bridge arayanam (“that which stops the sound”) and five raised frets are integral to the same thick piece of wood as the rest of the instrument. The scroll is called muti (head), two pegs are called cevi (ears), muti (face), karuttu’ (head), vayaru (stomach), the sides are called ara (buttocks) and the adjustable lower bridge pitham (throne). Velayudhan’s Mannan izhārā variable tension double-headed hourglass membranophone is beside him. The Mannan people are an Ādivāsī indigenous community scheduled tribe (ST) living in the Idukki District of Kerala. A. A. Bake photographed a Mannan naṇduni player in 1938: Album III: 93, 94, 95, 96. But a Bake Tefi recording could not be identified. Perhaps A. A. Bake made a cylinder recording in 1936.
Date:
April 3, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Mannān Velayudhan singing as he plays a naṇduni at the home of Chummar Choondal, Chettupuzha (India), 1984

Mayūrī vīṇā, in the possession of R. S. Mayekar, Mumbai (India), 1963

Description:
Mayūrī vīṇā. L 76", H: 49”. Harp with tube resonator. It is named for the peacock (mayur) and peacock feathers are attached to the neck and bow. The strings are perpendicular to the sounding board. Two tumba resonators of gourd or wood are attached to the tube resonator.
Date:
November 12, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Mayūrī vīṇā, in the possession of R. S. Mayekar, Mumbai (India), 1963

Museum display of a nagāṙā-type drum, Pune (?) (India), 1984

Description:
View of a nagāṙā type drum (naqqāra, naqareh, nagada) possibly in the Raja Dinkar Kelkar Museum in Pune. This is an open display of a membranophone with a laced head of skin, conical shape and clay body, sitting on a hindoni balancing ring made of rattan. Rings are attached to side for carrying the instrument. The drum is installed on a stone pedestal. A Kodak 1000 film box is on pedestal, perhaps the film used for the photo. Musical instruments visible behind glass doors include aerophones and chordophones.
Date:
1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Museum display of a nagāṙā-type drum, Pune (?) (India), 1984

Museum display of a nagāṙā-type drum, Pune (India), 1984

Description:
View of a nagāṙā type drum (naqqāra, naqareh, nagada) possibly in the Raja Dinkar Kelkar Museum in Pune. This is an open display of a membranophone with a laced head of skin, conical shape and clay body, sitting on a hindoni balancing ring made of rattan. Rings are attached to side for carrying the instrument. The drum is installed on a stone pedestal. A Kodak 1000 film box is on the pedestal, perhaps the film used for the photo. Musical instruments visible behind the glass doors include aerophones and chordophones.
Date:
1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Museum display of a nagāṙā-type drum, Pune (India), 1984

Ona Villu Kottu - demonstration performance of Ona Villu Kottu at the Casino Hotel, Thrissur (India), 1984

Description:
Demonstration performance of Ona Villu Kottu (Onam Bow Play) at the Casino Hotel. the Ona Villu Kottu is performed annually the Onam festival for Kummāṭṭī (Kummatti) Kali, the “Grass Dance” in which masked actors wear leaves of the kummāṭṭī gourd plant. Villu played by six Nair boys for four masked dancers, without the kummāṭṭī leaves. Group manager: Mr. V. P. Paul, Sahitya Akademi.
Date:
April 2, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Ona Villu Kottu - demonstration performance of Ona Villu Kottu at the Casino Hotel, Thrissur (India), 1984

Sarasvatī vīṇā, Tanjore style, possession of R. S. Mayekar, Mumbai (India), 1963

Description:
Sarasvatī vīṇā Tanjore. L 52”. Named for Saraswati, the Goddess of Knowledge and the Arts. It is carved from a single piece of wood. It has twenty-one bronze fret bars (mettu) attached to the fingerboard (danda) in a beeswax mounting. Five strings are attached. It is highly decorated with white inlays. It does not appear to have a sound hole (nada randhra) in the soundboard. An extra resonator (sarrokai) is attached beneath the face of the dragon (yali).
Date:
November 12, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Sarasvatī vīṇā, Tanjore style, possession of R. S. Mayekar, Mumbai (India), 1963

Sarasvatī vīṇā, Tanjore style, possession of R. S. Mayekar, Mumbai (India), 1963

Description:
Sarasvatī vīṇā Tanjore. L: 52. Named for Saraswati, the Goddess of Knowledge and the Arts. Bronze frets (mettu) are attached in a beeswax mounting. Five strings are attached. It is highly decorated with white inlays. It does not appear to have a sound hole (nada randhra).
Date:
November 12, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Sarasvatī vīṇā, Tanjore style, possession of R. S. Mayekar, Mumbai (India), 1963

Sarpam Thullal Pulluvan Serpent Ritual - L. S. Rajagopalan holds the vayannam of a Pulluvan kudam, Peramangalam (India), 1984

Description:
View of the smooth wooden vayanam (plectrum) for the Pulluvan kudam instrument, held by scholar L. S. Rajagopalan, who is shining his flashlight on the plectrum. At a Sarpam Thullal Pulluvan Serpent Ritual which was held at a Sarpa Kaavu (snake grove) in a private home in Peramangalam village.
Date:
April 2, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Sarpam Thullal Pulluvan Serpent Ritual - L. S. Rajagopalan holds the vayannam of a Pulluvan kudam, Peramangalam (India), 1984

Sarpam Thullal Pulluvan Serpent Ritual - O. K. Raman demonstrates a Pulluvan kudam *clay "pot"), Peramangalam (India), 1984

Description:
O. K. Raman, a musician with a Pulluvan kudam (clay “pot”) variable tension chordophone, demonstrates his instrument for the researchers during a pause in a Sarpa Thullal serpent ritual. O. K. Raman sits in a playing position on the pounded earth floor of the ritual area, with both legs bent to the right, holding the kudam’s twisted playing string taut with his right knee and left calf. The string is made of twisted nylon or plastic twine. His right hand holds the smooth wooden plectrum vayanam with which he will pluck the string near its midpoint. His left index finger presses the playing string near its end, perhaps in preparation for plucking the string to modify and ornament its sound, which creates a distinctive “brum brum” sound. He will lean against his left upper arm rhythmically, thereby pushing against the pot, which stretches the string, thus raising its pitch about a third, creating a rising and falling ostinato-like repeated rhythmic pattern. The Sarpam Thullal Pulluvan Serpent Ritual was held at a Sarpa Kaavu (snake grove) in a private home in Peramangalam village. For playing in natural ritual context, with singers and a second Pulluvān kudam player, see the video referenced below, which records O. K. Raman and the second Pulluvan kudam player performing heterophonic melodies in seven-beat cycles emphasized by large hand cymbals played by Pulluvati women. These Pulluvati women also sing a separate heterophonic melody with lyrics, called sarpam pattu (serpent song), or sarpam stuti (serpent praise song). The patterns modulating to six-beat cycles at 2:46, until 7:32, when seven beat cycles resume briefly, followed by duple meter patterns, and silence at 8:00, when the Pulluvan vīṇā player bows and chants to the two trancing women, asking them to pronounce the oracle, to which they reply in the affirmative. They stand quickly at 8:27 and run off to the snake kaavu (grove) followed by men, children, and women, while the Pulluvan kudam players resume duple meter patterns. Silence resumes at 9:16, and the post-trance women are carried back in the arms of men at 9:20. Sarpam Thullal (Dance of Snakes), is a mystical ritual of Kerala performed by a community called “Pullava,” and is performed to appease snake gods and bring prosperity to a family. The songs are called “Pulluvan Pāṭṭu.”
Date:
April 2, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Sarpam Thullal Pulluvan Serpent Ritual - O. K. Raman demonstrates a Pulluvan kudam *clay "pot"), Peramangalam (India), 1984

Sarpam Thullal Pulluvan Serpent Ritual - O. K. Raman demonstrates a Pulluvan kudam *clay "pot"), Peramangalam (India), 1984

Description:
O. K. Raman, a musician holding a Pulluvan kudam (clay “pot”) variable tension chordophone player during a pause in a Sarpa Thullal serpent ritual. To expose the open mouth (vaya) of his kudam, Raman holds a pink-and-white twisted plastic twine handle (kaluttuvalli) attached to the plastic twine tightening the cow skin head of the kudam. Scholar L. S. Rajagopalan holds a flashlight shining into the kudam’s open mouth. The Pulluvān kudam has a thicker wall than comparable household vessels. Scrimshaw designs encircle the kudam mouth. O. K. Raman sits in a playing position on the pounded earth floor of the ritual area, with both legs bent to the right, holding the kudam’s twisted plastic twine playing string (illampu) taut, with his left calf pressing the wooden board (mumbilapatti) to which the string is attached, via a bamboo tube (kutattin kuzhal) that slides over the end of the wooden board, which his right knee presses. The Sarpam Thullal Pulluvan Serpent Ritual was held at a Sarpa Kaavu (snake grove) in a private home in Peramangalam village.
Date:
April 2, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Sarpam Thullal Pulluvan Serpent Ritual - O. K. Raman demonstrates a Pulluvan kudam *clay "pot"), Peramangalam (India), 1984

Sarpam Thullal Pulluvan Serpent Ritual - O. K. Raman demonstrates a Pulluvan kudam *clay "pot"), Peramangalam (India), 1984

Description:
O. K. Raman, a musician holding a Pulluvan kudam (“pot”) variable tension chordophone player during a Sarpa Thullal serpent ritual. He is seated on the pounded earthen floor with both legs bent to his right side. The large clay pot rests on his left thigh. A twisted plastic cord stretches between the leather lacing around the pot and the end of a two foot long wooden board (mumbilapatti) and bamboo tube (kutattin kuzhal) held tightly under his left shin. His right hand and his left arm support the pot, varying the tension on the string to create semi-melodic indefinite pitches. The Sarpam Thullal Pulluvan Serpent Ritual was held at a Sarpa Kaavu (snake grove) in a private home in Peramangalam village.
Date:
April 2, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Sarpam Thullal Pulluvan Serpent Ritual - O. K. Raman demonstrates a Pulluvan kudam *clay "pot"), Peramangalam (India), 1984

Sarpam Thullal Pulluvan Serpent Ritual - O. K. Raman demonstrates a Pulluvan vīṇā kunju, Peramangalam (India), 1984

Description:
During a break in the annual household Sarpam Thullal Pulluvan Serpent Ritual held at a Sarpa Kaavu (snake grove) in a private home in Peramangalam village, O. K. Raman, the Sarpa Thullal serpent ritual musician, demonstrates a Pulluva vīṇā kunju bowed chordophone. An udumbu (uṭumpu ) monitor lizard skin covers the vīṇā kunju wooden body. >Sarpam Thullal (Dance of Snakes), is a mystical ritual of Kerala performed by a community called “Pullava,” and is performed to appease snake gods and bring prosperity to a family. The songs are called “Pulluvan Pāṭṭu.”
Date:
April 2, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Sarpam Thullal Pulluvan Serpent Ritual - O. K. Raman demonstrates a Pulluvan vīṇā kunju, Peramangalam (India), 1984

Sarpam Thullal Pulluvan Serpent Ritual - O. K. Raman holding a Pulluvan vīṇā kunju, Peramangalam (India), 1984

Description:
O. K. Raman, a seated musician holding a vīṇā kunju (or "Pulluvan vīṇā") at the Sarpa Thullal serpent ritual. This instrument is a bowed lute chordophone and the photo offers a side and rear view of the instrument and the bow vinakol. This instrument “sings” songs and “speaks” the oracle’s question and answers, until the serpent deity is satisfied. The bow, about two feet long, is made of areca nut palm wood. Its single string is made of the medicinal chittamrithu vine (Tinospora cordifolia), attached to peg sankiri. The frog is made of silver. Cords radiate from the center of the wooden body’s back, to stretch the udumbu (uṭumpu) monitor lizard skin over the face of the body. The event is the annual household Sarpam Thullal Pulluvan Serpent Ritual held at a Sarpa Kaavu (snake grove) in a private home in Peramangalam village.
Date:
April 2, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Sarpam Thullal Pulluvan Serpent Ritual - O. K. Raman holding a Pulluvan vīṇā kunju, Peramangalam (India), 1984

Sarpam Thullal Pulluvan Serpent Ritual - O. K. Raman holding a Pulluvan vīṇā kunju, Peramangalam (India), 1984

Description:
O. K. Raman, a seated musician holding a vīṇā kunju (or "Pulluvan vīṇā") at the Sarpa Thullal serpent ritual. This instrument is a bowed lute chordophone; the photo offers a rear view of the instrument and bow. This instrument “sings” songs and “speaks” the oracle’s question and answers, until the serpent deity is satisfied. The bow, about two feet long, is made of areca nut palm wood. String is made of medicinal vine chittamrithu (Tinospora cordifolia). The head (kutuma) contains colophane gum rosin arpusu. Cords radiate from the center of the wooden body’s back, to stretch the udumbu (uṭumpu) monitor lizard skin over the face of the body. At an annual household Sarpam Thullal Pulluvan Serpent Ritual held at a Sarpa Kaavu (snake grove) in a private home in Peramangalam village.
Date:
April 2, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Sarpam Thullal Pulluvan Serpent Ritual - O. K. Raman holding a Pulluvan vīṇā kunju, Peramangalam (India), 1984

Sarpam Thullal Pulluvan Serpent Ritual - O. K. Raman sings and plays a vayannam of a Pulluvan kudam, Peramangalam (India), 1984

Description:
O. K. Raman, a musician with a Pulluvan kudam (“pot”) variable tension chordophone, sings and plays the instrument during a Sarpa Thullal serpent ritual. He is seated on the pounded earthen floor with both legs bent to his right side. The large clay pot rests on his left thigh. His left-hand fingers pluck a twisted nylon cord, stretched between the leather lacing around the pot, and tied to the end of a wooden stick and bamboo tube held tightly under his left leg. His right hand holds a smooth wooden vayana (“sounder” plectrum) with which he plucks the string, alternately pushing and releasing the pot with his upper body and left elbow, causing the string to tighten and loosen. The hands of another musician, playing a Pulluvān vīṇā (also called a vīṇā kunju “small string instrument”, or a naga vīṇā “serpent instrument”) are visible in the lower right corner of the frame. This instrument “sings” songs and “speaks” the oracle’s question and answers, until the serpent deity is satisfied. At a Sarpam Thullal Pulluvan Serpent Ritual which was held at a Sarpa Kaavu (snake grove) in a private home in Peramangalam village. The researchers, Nazir Ali Jairazbhoy and Amy Catlin-Jairazbhoy, visited another Pulluvan in his home in 1991 to conduct further research, after Nazir Ali Jairazbhoy presented what he called a “non-paper” at SEM in 1987: “The Vīṇā Kunju and Pulluvan Kudam in Kerala Ritual” (forthcoming) by Nazir Ali Jairazbhoy.
Date:
April 2, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Sarpam Thullal Pulluvan Serpent Ritual - O. K. Raman sings and plays a vayannam of a Pulluvan kudam, Peramangalam (India), 1984

S. B. Jadav, B. R. Jadav, D. G. Kadam, and S. K. Khadke, Miraj (India), 1963

Description:
S. B. Jadav plays a tuṇtuṇe (a plucked monochord) with a carved wooden horse head peg and a painted wooden cylinder resonator; B. R. Jadav plays manjira (small bronze hand cymbals); D. G. Kadam holds a daf (a shallow membranophone) with metal tuning pegs; and S. K. Khadke plays a ḍholki (a small cylindrical membranophone). The location is the shop of Abdul Karim Ismail Saheb.
Date:
December 19, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
S. B. Jadav, B. R. Jadav, D. G. Kadam, and S. K. Khadke, Miraj (India), 1963

S. K. Khadke, Babu Sherbande, and D. G. Kadam, Miraj (India), 1963

Description:
A group of musicians perform Marathi folk songs, Krishna bhajan. S. K. Khadke plays ḍholki (a small cylindrical membranophone). Singer Babu Sherbande plays a daf (a shallow membranophone with metal tuning pegs). D. G. Kadam plays a tuṇtuṇe (a plucked monochord with a carved wooden horsehead peg and a wooden cylinder resonator, painted like the national flag of India: horizontal stripes in three colors, saffron, white, and green, with charkha spinning wheel in the center). The location is the shop of Abdul Karim Ismail Saheb.
Date:
December 19, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
S. K. Khadke, Babu Sherbande, and D. G. Kadam, Miraj (India), 1963

S. K. Khadke, Babu Sherbande, and D. G. Kadam, Miraj (India), 1963

Description:
A group of musicians perform Marathi folk songs, Krishna bhajan. S. K. Khadke plays ḍholki (a small cylindrical membranophone). Singer Babu Sherbande plays a daf (a shallow membranophone with metal tuning pegs). D. G. Kadam plays a tuṇtuṇe (a plucked monochord with a carved wooden horsehead peg and a wooden cylinder resonator, painted like the national flag of India: horizontal stripes in three colors, saffron, white, and green, with charkha spinning wheel in the center). The location is the shop of Abdul Karim Ismail Saheb.
Date:
December 19, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
S. K. Khadke, Babu Sherbande, and D. G. Kadam, Miraj (India), 1963

Sodi burra, instrument of the Yerukala (?) people, Hyderabad (India), 1963

Description:
Sodi burra, a 1-string stick zither with a resonator, a fortune telling instrument. The danda (neck) is of bamboo, the tuning peg is of wood, the string is attached to a nail, and the resonator is of dried pumpkin gourd. Instrument of the Yerukala (Parigamuggula Erukula) people (?). Possession of the Tribal Cultural Research and Training Institute.
Date:
December 21, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Sodi burra, instrument of the Yerukala (?) people, Hyderabad (India), 1963