Making of Mridangam-A dying craft: V. Jwala Narasimha Rao

Making of Mridangam-A dying craft

V. Jwala Narasimha Rao

Published in AP Times on 24^th July 1996

MRIDANGAM is a much needed percussion instrument in the south. The making of it needs along with the craft, a thorough knowledge of Sruti and Laya. With only a couple of competent Mridangam instrument makers having a musical ear in the state, the handicraft is losing its makers, according to a study conducted by Andhra Pradesh Handicrafts Development Corporation. B. Parvatala Rao, based on his documentation of the craft strongly feels, that Mridangam making now is certainly A LANGUISHING CRAFT. THIS ANCIENT ART IS UNDER THE THREAT OF BEING ISOLATED TO SINK WITHOUT A TRACE. Dasari Rama Mohan Rao, an artisan from Tenali says, even giving training to youngsters would not provide an answer by itself, unless, some confidence is created in the trainees, that, by pursuing the craft they will be able to make out a living. The documentation report prepared by Parvatala Rao dealt in detail about the origin, evolution, and various stages in making Mridangam and also the reasons for its languishing.

APHDC with the financial assistance of Government of India, through the development commissioner (handicrafts) has undertaken documentation of old, rate and languishing handicrafts of the state. Mridangam was identified as one such handicraft, the others being Telia Rumal of Chirala, leather puppetry, making of veena, Cherial scroll paintings and the tribal Dokra castings.

‘Almost all the existing main musical instruments can be traced to various devices of primitive man, who tried to make musical sounds different from his own voice and Mridangam was one of them’ says Parvatala Rao. A piece of original hide which struck on the cavity of a tree produced the sound of a thud, when struck with sticks by the primitive man and that was the origin of this type of an instrument. Mridangam is described as the most highly developed and the most ancient of all percussion instruments and used in south as an accompaniment to the vocal and instrumental performances.

Mridangam meaning ‘mud paste’ and ‘Body part’ is made by using mud paste. It is also known as Murajam, Ankyamu, Alingyamu and Urdhwakamu. It is described as an instrument capable of generating Madhura Dhwani or sweet sounds.

It is cylindrical in shape and one and half to two feet in length. Skin caps placed on the openings or faces on both sides are stretched light and are fastened to leather hoops held tight by interlaced leather braces which pass along the length of the Mridangam. Round blocks of wood are inserted between the braces and the wall. By adjusting them the pitch of the instrument can be altered to the desired level.

A mixture of flour and water is applied on the middle of the left side to lower the tone of the desired pitch. This kind of plaster adds to the resonance and gives a full, bass sound. The centre of the right face has a permanent coating of black substance made of boiled rice manganese dust iron fillings and other substances. It is this black layer that gives the Mridangam its characteristic tone and facilitates turning in a particular pitch of the player’s choice. The best wood for making Mridangam is Panasa or jack wood. When it is not available the alternates are vegisa, red sandal, vepa, gangaravi etc. Leather of Sheep/goat (fore part of the body) is applied as a central sheet on the right face. Leather of a calf is applied on it. All these hides are to be circular in spare with at least a diameter of 10 inches each. The other materials used are leather strap of 214 yards in length and half-an-inch width, eight laces of leather from the hide of young buffalo or ox of 2 yards length each and 3/10 inches width dross iron, grease, paste of boiled floor and wooden plant. The instruments or tools used are lacing awl, knife, pliers, half inch edged small chisel and fine, soft surfaced round stone or metal of one to one and half inches diameter.

The making of the craft is very lengthy beginning with preparation of the body by turning the jack-wood into shape to suit varying lengths fixing the leather cap, preparing the leather strap, making of left face, making of three perforations, lacing, making 32 slits and so on.

Rao says, the making of Mridangam is very difficult and requires not only intricate skill in fixing caps and weaving laces but also in setting the kerine that controls the sound, for which the musical knowledge of Sruti and Laya is needed which can be attained only out of practice.

The artisans are engaged in this craft at Vizianagaram, Vijayawada, Tenali, Hyderabad and Rajahmundry with varied characteristics. The artisans of Jaggaiahpet are diversified and are making dholaks which is said to be less intricate, more paying and has good market. Want of patronage after the disappearance of Rajas and Zamindars, uncertainty to sell the pieces made by them without a prior order, difficulty in procuring quality wood in required blocks coupled with finding of working capital are some of the problems, according to Nimmala Soma lingam and his son, noted Mridangam makers and repairers in Vizianagaram. But Dasari Rama Mohan Rao pointed out how the rates of leather went up by 300% or more in the last few years. Another problem, the artisans are facing is the procurement of hid of a just killed animal, a cow or calf but not that of a dead animal, as killing of cows is more or less considered as a clandestine affair.

Parvatala Rao suggests that the Mridangam makers are to be encouraged to diversify their products and can be engaged in making dholaks, Tablas, dakkies, and other percussion instruments, which do not need intricate handling. It is also suggested of making of ‘toy Mridangam’ like the Bobbili toy Veenas which can be sold faster and can be used as mementos. Training centres may be established with improved tools and machines like a lathe machine for using to turn the wood to make the Mridangam shell. And also adequate publicity needs to be given of the craft.

(To become part of the forth coming book "Languishing Handicrafts of AP" by Late Bhandaru Parvatala Rao as an Executive Summary on "Mridangam Making")