Origin and Evolution of Ānăddhă vādyă

  

The word Ānăddhă finds its roots in the Sanskrit term Năddhă. This word, Năddhă, emerges from the combination of the Sanskrit root Năhă with the suffix ktă (năhă + ktă = Năddhă). The root Năhă conveys meanings such as tying, covering, wearing, or holding. Thus, the word Năddhă signifies something that is tied around, covered, or worn. When the prefix Ā is added to Năddhă (ā + năddhă = Ānăddhă), the meaning extends to encompass the idea of being tied around or covered from all directions, front, and everywhere. This term, Ānăddhă, also appears as Ăvănăddhă, where the prefix Ăvă emphasizes expansion or widening. Instruments of this type, crafted from leather, are also referred to as cărmăjă.

In the realm of music, the Ānăddhă or percussion instruments pose a challenge when it comes to immediately switching between tones. For instance, if the dāinā of a khōlă-vādyă is tuned to the Mudurā Dhaivăt note, it cannot be easily adjusted to the Ŗṣăbhă tone of Tārā. In such cases, musicians often prefer to use two khol-vādyăs, with one tuned to Mudurā Dhaivăt and the other to Tārā Ŗṣăbhă. The Ghăṇă class of instruments, made from metal, and the Ānăddhă percussion instruments, crafted from leather, are both integral to the expression of rhythm (Tālă). These instruments allow for rhythmic expression through the application of movement or the division of time, enabling musicians to produce varied sounds based on their intent while playing. Consequently, Ānăddhă and Ghăṇă instruments are classified as Tālă-vādyă.

A fascinating narrative from the thirty-fourth chapter of Bharatamuni's Nāțyăśāstră delves into the origin of the Tri-puṣkără, regarded as the most advanced among percussion instruments. According to the tale, during the rainy season, Sage Swati visited a pond (puṣkără in Sanskrit) for his daily morning prayers. As he reached the pond's edge, rain began to fall from the cloudy sky, accompanied by gusts of wind. The wind carried the raindrops onto the lotus leaves, creating a melodious and rhythmic sound, a gentle 'pot pot'. This sound captivated the sage, who recognized its unique quality. He observed how the raindrops produced different sounds depending on whether they struck large, medium, or small lotus petals. Returning to his Āśrămă, the sage meditated on these sounds and sought to replicate them. With the divine assistance of Viśbăkărmā, the celestial architect, Sage Swati crafted a musical instrument from clay, which he named the mridaṃgăm or Puṣkără. This instrument, imbued with the essence of the sounds that had so enchanted the sage, became a profound symbol of musical innovation and spiritual insight.

Before the emergence of the Puṣkără (or Tri-puṣkără) instruments, there was a tradition of using other percussion instruments such as Dundubhi, Păṇăv, Dărdără, and others. The Dundubhi Vādyă holds a significant place in ancient texts, as it is mentioned in three different sections of the Rigveda. Additionally, there are verses dedicated to the Dundubhi Ăbhimăntrăṇă in the Ăthărvă Veda. This powerful instrument, with its deep and resonant sound, was used for various purposes including signaling, sending messages, and even intimidating enemies. The loud, hoarse, and fierce sound of the Dundubhi was meant to evoke fear and command attention.

In contrast, the Ḍămbăru Vādyă is a mystical and spiritual instrument, used primarily in spiritual rituals and practices. The sound produced by the Ḍămbăru is subtle and delicate, yet it has the unique quality of being easily heard and deeply felt. The short, rhythmic beats of the Ḍămbăru encourage introspection, contemplation, and concentration, making it a powerful tool for spiritual growth and meditation. Instruments like the Ḍămbăru are therefore deeply connected to the path of spiritual development, guiding practitioners towards deeper awareness and understanding.

However, for the common people, there was a need for an instrument that could serve as a source of entertainment, while also offering a range of musical expressions. This need perhaps inspired Sage Swati to invent the Puṣkără-Vādyă, an instrument that allows the musician to explore a wide variety of sounds and tones from a single place, creating a versatile and captivating experience for both the player and the audience.

In the 34th Chapter of Bharatamuni's Nāțyăśāstră, a verse alludes to these ancient instruments:

Devānānaṃ dunduviaṃ dŗ(bhirdŗ)ṣțvā murăjăaṃstătaḥ .

Āliṅgăm(ṅgyăŚcō)rdhbăkaṃ cai(kăŚcai)v tăthaivāṅgikămē(ē)v că .. 10 ..

The Puṣkără Vādyă, also known as Tri-puṣkără Vādyă, is a sophisticated combination of three types of percussion instruments. These are known as Āṅkikă, Āliṅgă, and Urdhăkă. The term Āṅkă refers to the lap, indicating that the Āṅkikă instrument is played while resting in the lap. Āliṅgă signifies an instrument that is played while being embraced or hugged, and Urdhăkă refers to an instrument that is played with an upward motion.

In a broader sense, the Āṅkikă instrument is played horizontally or parallel to the ground, while the Āliṅgă and Urdhăkă instruments are positioned or played perpendicular to the ground. The Āṅkikă Vādyă is a two-faced instrument resembling the shape of the fruit Śilikhā or Hartaki, and it is played horizontally. On the other hand, the Āliṅgă and Urdhăkă Vādyăs are single-faced instruments, shaped like a barley seed and a cow's tail, respectively, and are also played parallel to the ground.

When playing these instruments, the Āṅkikă should be placed in the center, directly in front of the musician, with the Urdhăkă positioned to the upper right and the Āliṅgă to the left. This arrangement allows the musician to produce a rich and harmonious blend of sounds, creating a dynamic and immersive musical experience that resonates with both the physical and spiritual realms.

The Tri-puṣkără Vādyă was born from the visionary mind of Sage Swati, who crafted this instrument based on the ancient Dundubhi percussion. As mentioned earlier, the Dundubhi is a percussion instrument rooted in the Vedic period, known for its powerful, thunderous sound that echoed the roaring of clouds. It was used in moments of war, victory, worship, and other devotional practices, symbolizing strength and divine power. Among the hundred Ānăddhă instruments detailed in Bharatamuni's Nāțyăśāstră, the Tri-puṣkără stands apart, uniquely equipped with a system of notes, alphabets, strokes, and refined techniques. In contrast, the other instruments lacked the ability to match specific tones or produce diverse sounds with distinct impacts. The Tri-puṣkără was one of the most advanced and enduring instruments of its time, capable of continuous play without losing its rhythm or resonance.

Among the other Ānăddhă instruments, the Ḍămbăru holds a special place. It is revered as a powerful tool in tăntră-siddhi, the practice of achieving spiritual perfection through tantra. The Ḍămbăru is believed to be a mantra-helper, an instrument that aids in invoking the divine through sacred chants and rituals. In ancient times, instruments made from cărmăjă (leather) were deeply intertwined with tantra, as leather, derived from the skin of dead animals, was seen as a conduit for spiritual energy. The fibers, or Tăntu, within the leather were thought to carry the essence of the deceased, making leather-covered instruments ideal for tantric practices.

The Ḍămbăru is traditionally crafted with two faces, each measuring eight fingers in length, with a thin, tribăllī-shaped midsection. The instrument, covered with leather, produces a distinct sound, with letters such as "ḍă-ghă" or "kă-khă-ră-ță" resonating from its depths. When viewed simply, the Ḍămbăru resembles two cones, like those used to pour oils, joined from opposite directions to create its unique shape.

This instrument is particularly significant in Śaivite spiritual practices, where it is often associated with the deity Sădāśivă. Many depictions of Sădāśivă feature the god holding a Ḍămbăru, symbolizing the connection between sound, creation, and the divine. Even today, in our social fabric, the Ḍămbăru holds a mysterious and spiritual aura, especially when played by practitioners of the Śaivă path, particularly those of the Ăghoră Panth. In the solitude of crematoriums or deserted places, these ascetics privately play the Ḍămbăru, producing the rhythmic sounds of "Ḍăghă-Ḍăghă - Kăkhă-Răță - Kăkhă-Răță." The common people, upon hearing this mystical rhythm, often sense a miraculous, magical presence. The sound of the Ḍămbăru in such an environment elevates the energy of human consciousness, guiding it to a higher, more profound level of awareness.

The instrument known as Dundubhi, or Dēvă-Dundubhi, crafted by the mystical hands of Ḍămbăru, holds a revered place in our spiritual heritage. Often referred to as Bhūmi Dundubhi, this name draws from its deep connection to the earth, as the instrument was originally conceived from the very soil (Bhūmi) beneath our feet. Its form is imposing and grand, resonating with the depth and power of the earth itself. The 13th-century text, Săṃgītă-rătnākără by Sarangadeva, makes mention of a Dundubhi constructed from the wood of ancient mango trees. Such a Dundubhi, large and formidable, required the strength of Zink metal to fortify its shell. The face of this shell, bound with leather ropes made from animal hides, produces a sound that echoes like the strike of thunder, a sound that seems to breathe life into the very air. The front, made from hardened leather, is struck in a manner that evokes the force and precision of a warrior’s blow. This particular incarnation of Ḍăbā's Dundubhi has found its place in our Nāmăghără, where its resonant voice continues to echo through the sacred space, filling it with an ancient and profound energy.

Beyond the Dundubhi, our scriptures speak of a myriad of other musical instruments, each with its own unique character and spiritual significance. In our study, we strive to understand the nature of these instruments as they exist today by examining the Dundubhi, Ḍămbăru, and Tri-puṣkără—each a reflection of a different era and ethos.

The Dundubhi, with its roots in Vedic tradition, and the Tri-puṣkără, emerging from the Natyashastra era, are more than mere instruments; they are vessels of divine sound. Their origins in times when the Sanskrit language held sway infuse them with a spiritual gravitas that transcends time. These instruments, too, were part of the early divisions of language, when Pāli and Prākŗtă were coming into prominence. As the language evolved, so too did the instruments, with the Tri-puṣkără becoming an integral part of this linguistic and cultural shift. The evolution of language, from the measured syllables of Sanskrit, where Hrăsbă (short) and Dīrghă (long) mātrā (metre) were precisely calculated, to the more fluid and phonetic rhythms of native languages influenced the very sound and construction of these instruments. The division of language not only brought simplicity to the sound of syllables but also shaped the way these instruments were crafted and played. The songs composed, and their practices were deeply intertwined with the climate, atmosphere, and practical needs of the time, leading to the introduction and adaptation of these instruments in ways that reflected the ever-changing world around them.

The Tri-puṣkără, crafted by the sage Maharishi Swati, stands as the pinnacle of percussion instruments from that era. This instrument is revered for its unparalleled ability to encapsulate the essence of all percussion instruments of its time. In the subsequent periods, the Tri-puṣkără was divided into distinct forms, with particular emphasis placed on two aspects: the positioning of the instrument during play and its overall shape.

As previously mentioned, the Tri-puṣkără is a harmonious blend of three distinct instruments: Āṅkikă, Āliṅgă, and Urdhăkă. The Āṅkikă Vādyă is an instrument played parallel to the ground, symbolizing a deep connection to the earth's plane, while the Āliṅgă and Urdhăkă instruments are played vertically, perpendicular to the earth, channeling energies that reach upwards toward the heavens. These two types—horizontal and vertical—represent the balance between the earthly and the divine, a duality that is reflected in the nature of the music they produce.

The horizontal Āṅkikă instrument resembles the fruit of the Śilikhā or Hartaki tree, with two distinct faces known as Dāinā and Bāyā. The player, embodying the duality of existence, strikes the Dāinā with the right hand and the Bāyā with the left, creating a rhythmic interplay between the two sides. This dual-faced instrument mirrors the balance of forces, with each side complementing the other in perfect harmony.

On the other hand, the vertical Āliṅgă and Urdhăkă instruments are positioned directly in front of the player, requiring a different kind of engagement. The Āliṅgă, shaped like the grain of paddy or wheat, is held to the right, while the Urdhăkă, which resembles the form of a cow's tail, is held to the left. Each of these vertical instruments has a single face, representing a singular focus or intention. The player uses the right hand to play the Āliṅgă and the left hand for the Urdhăkă, weaving together sounds that rise and fall; creating a tapestry of rhythm that is both grounded and ascending.

This intricate design of the Tri-puṣkără, with its blend of horizontal and vertical elements, not only showcases the ingenuity of its creator but also reflects the profound spiritual symbolism that underlies its structure. It is more than just an instrument; it is a bridge between the earthly and the divine, a conduit through which the player can connect with the mysteries of the cosmos.

 

Let us now delve into the profound system of playing percussion instruments, a practice that is as ancient as it is spiritual. Traditionally, it is observed that hands and fingers are the primary tools used to play these unruly instruments, channeling the energy of the body into the rhythm of the sound. However, there are also instruments that require a different approach, where the player strikes the leather surface with a long stick, creating a resonant and commanding sound that echoes through the space.

When it comes to the Āṅkikă instruments, the hands and fingers play a crucial role. These instruments are typically played with both hands, though in certain cases, like the Dhōlă, it is customary to use the left hand predominantly. This method of playing creates a distinct rhythm and tone, connecting the player with the ancient traditions of music. On the other hand, the Āliṅgă and Urdhăkă instruments, which are played vertically, offer a different experience. These instruments can be played either by hand or with the aid of sticks, allowing for a variety of sounds and rhythms to emerge, each with its own spiritual significance.

The origins of these instruments are steeped in history and mythology. Although the Ānăddhă instrument has been mentioned since the Vedic period, it is Bharatamuni who traces the lineage of the Puṣkără instrument in the Nāțyăśāstră, identifying it as the root of all Ānăddhă instruments. The Puṣkără instrument, with its all-encompassing nature, draws upon the essence of the Mŗdăṃgă, Păṇăvă, Dărdără, and Dundubhi to create something entirely new, yet deeply connected to its predecessors. The horizontal Āṅkikă components of this Puṣkără instrument include examples such as the Mŗdăṃgă, khōlă, Pākhōvājă, Dhōlă, Mādălă, and Ḍămbăru, each with its own unique character and sound. Similarly, the vertical Āliṅgă and Urdhăkă components are represented by instruments like the Ḑăbā, Năgāră, Tăbălā, and Dundubhi, which carry forward the tradition in their own distinctive way.

As time passed, the division between Mārgă (classical) and Dēśī (folk) music led to a transformation in the use of percussion instruments. The classic Mārgă instruments, once reserved for sacred and classical music, began to find their place in the vibrant world of indigenous music, adapting to the needs and tastes of the people. The ancient Ḍămbăru, once a singular instrument, split and evolved into various forms, each one carrying a piece of its original essence. This evolution gave birth to new percussion instruments such as the Mŗdăṃgă, Pățăhă, Huḍukkā, Ḑăkkā, and Mārdălă, all of which fall under the category of Ăvănăddhă Tālă Vādyă—percussion instruments that continue to resonate with the rhythms of both the past and present.

In this way, the instruments have not only survived but thrived, their sounds echoing across centuries, connecting the present with the ancient traditions that first gave them life. These instruments are not just tools for creating music; they are vessels of spiritual expression, carrying the wisdom and mysteries of the ages within their sounds.

The Mādălă echoes through the sacred halls of the Nățăkācălă during the recitations of the Kālikāpurāṇă, its rhythm weaving through the verses, infusing the air with an ancient energy. The Ḍămbăru, with its haunting resonance, fills the crematorium field, where the boundaries between life and death blur, and the sound becomes a bridge to the other world. In the serene Nāmăghără, the khōlă plays, its beats a call to the divine, inviting the gods to descend and bless the devotees. Meanwhile, in the remote village of Hungfi, nestled within Nagaland's Mon district, hollow wooden drums are played to carry messages from the deceased, their hollow sounds resonating with the echoes of souls that have passed on. And in the heat of battle, the Dundubhi thunders, its powerful roar urging warriors onward, its sound a symbol of strength and courage.

The spiritual landscape of Sanatana Hinduism is vast and complex, encompassing five primary sects—Saura, Shaiva, Shakta, Hanumantiya or Vaishnava, and Ganapatya. Each sect holds its own unique practices and beliefs, yet all are threads in the rich tapestry of Hindu tradition. Alongside these ancient paths, the teachings of Shakyamuni Buddha have also woven themselves into the cultural fabric of India. Buddhism, with its emphasis on compassion and enlightenment, has exerted a gentle yet profound influence on the spiritual traditions of the land.

It is also worth noting the presence of Jainism, founded by Maharishi Mahavira, a contemporary of Shakyamuni. Though Jainism's strict customs and ascetic practices may not have penetrated deeply into the broader cultural traditions, its impact is nonetheless significant. Jainism, with its emphasis on non-violence and self-discipline, offers a different perspective, one that adds to the spiritual diversity of the subcontinent. These various traditions—Hinduism, Buddhism, and Jainism—each contribute to the spiritual and cultural richness of India, creating a mosaic of beliefs and practices that continue to shape the lives of millions.