INTRODUCTION
The
ubiquity of tabla in the Indian Subcontinent is without
dispute. Its variety of tonal colours gives it a flexibility
seldom matched by other percussion instruments. The
complexity of its construction accounts for its versatility.
This complexity reaches such a degree that only trained
craftsmen can create a tabla. I will attempt to describe
the technique of tablamaking and, to a lesser extent,
the men involved in this craft. Most of the terms
in this article will be in the dialect of Hyderabadi,
which is a vernacular form of Urdu. Other terms may
also be included. Tabla is the preferred instrument
for the, entire Indo-Pakistan Subcontinent. It is
used in classical as well as light folk and dance
music. Only in the South Indian classical system (Carnatic
Sangit) is its use discouraged. Tabla consists of
a small wooden drum called sidda (tabla, dayan, or
dahina) and a larger metal one called dagga (banya).
The sidda is played with the fingers and palm of the
right hand, while the dagga is played with fingers,
palm and wrist of the left hand. The pair of tabla
is positioned on two toroidal bundles called chutta,
consisting of plant fiber wrapped in cloth. The creation
of tabla is such a refined art that a single individual
never handles all aspects of its fabrication; rather,
four separate industries have evolved. These are 1)
Fashioning of the wood; 2) fashioning of the metal;
3) preparation of shai massala; and 4) final assembly.
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THE
CRAFTSMEN
The
main craftsmen fall into the last category and are
known as tablawalas. The majority of tablawalas in
the Hyderabad area are Muslim and, invariably, they
occupy a lower segment of society. Not only do all
tablawalas occupy the same segment of society, but
also one tablawala even stated that the majority of
the craftsmen in the area are related either by blood
or marriage. Tablawalas work in shops known as tabladukhans,
which are always very small and crowded, allowing
only the minimum space necessary for work. The shops
tend to be clustered together, so it is not unusual
to see three or four such dukhans on the same block.
As a matter of general interest, it may be added that
this is not just a characteristic of tablawalas but
also applies to all Indian crafts, such as goldsmiths,
silversmiths, saree sellers, etc. The tablawalas of
Hyderabad deal in four types of drums: tabla, dholak,
dholki (nal), and maddal (small size pakhawaj.). Let
us now take a look at a typical tablawala: Abdul Rehaman,
age 55, was born in Hyderabad into the Suni sect of
Muslims. His father was a skilled player of tabla
as well as a craftsman, but he died while Abdul was
still quite small and the task of training him fell
to his father's older brother, who was also skilled
in the craft of tablamaking. At the age of ten, therefore,
Abdul began his apprenticeship, which lasted five
years. He married at the age of 30.Today Abdul owns
his own shop. He has two daughters and one son. The
son is also skilled in the craft of tablamaking and
will eventually take over the business.
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MAKING
OF TABLA
It
has already been mentioned that tablamaking involves
several different industries. Each industry is handled
by a different class of people with different skills.
The first step in making the sidda is fabrication
of the wooden shell. This shell is known as lakadi
and its fabrication is done by people whose sole job
is woodcrafting. Any wood may be used for tabla siddas;
however, only a few kinds are known to make good ones.
These are teak, rosewood and, occasionally, jackwood.
The primary characteristics, which make these woods
good, are resistance to insects and the extreme weight
of the wood. It stands to reason that the manufacture
of good shells is going to be restricted to the areas
which have an abundance of good wood, but if a lower
quality of wood must be used, then the basic criteria
for its selection and the method of fabrication remain
the same.Physical Dimensions - The wood must have
a diameter and length sufficient to make a drum. The
tabla lakadi must have a diameter of approximately
6" to 8", with a length of not less than
10" to 12".Cracks - Another important aspect
to consider in determining the acceptability of the
wood is whether or not it has any cracks. Cracks invariably
will occur in the direction of the grain and may be
caused while the tree is alive or after the tree has
been hewn. Either case lowers the wood's acceptability.Insects
- Insects are another important consideration. This
is especially important in determining the life of
tablas made of inferior quality woods, such as mango
(Aam). Parasitic insects can reduce a musical instrument
to dust within a few years in the warm Indian climate.
Knot Holes - The presence of knotholes in the wood
is also of major importance because there is a tendency
for knotholes to crack, or even disintegrate, during
the seasoning process. In addition, filling these
large holes always presents problems. Weight - The
weight is probably the most important aspect of the
wood in determining the tonal quality of the drum.
A light piece of wood will produce a thin sound, while
a heavy piece of wood will produce a deep, melodious
sound. The reason for this strong effect of the wood's
weight is simple. It is not merely the head (Puri),
which vibrates, but the entire body as well. This
phenomenon may be easily demonstrated by comparing
the sound of a tabla which can vibrate freely in the
cushioned chutta with the sound of one which is resting
on a stone floor. Once the wood has been selected
it is roughly chiseled into the desired shape and
is placed on a lathe. The lathe completes the job
of shaping the wood and, also, carves the grooves
which are a characteristic decoration of all Indian
drums.The lakadi is then removed and the process of
hollowing begins. It is hollowed out by using simple
gouges and chisels. Sometimes (although rarely) a
machine is used to complete the boring process. A
large portion at the bottom of the drum is left intact
so that the weight of the wood is as great as possible
(fig. 1).
Figure
1. Cross-section of the wooden shell
The
wood is now ready for seasoning, which simply involves
placing the wood in a cool, dry place for a period
of up to two years. The purpose o seasoning is to
allow the wood to dry out. This drying process must
be done as slowly as possible or cracks will develop.
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THE
METAL SHELL
The
second industry involved in the making of tabla is
the manufacture of metallic shells for making daggas.
(There are exceptions to the metallic shells. In the
area of West Bengal, for instance, they are made from
fired clay. Antique daggas were fashioned from wood.)
This is actually a side business of the brass-smith,
whose main products are plates and vessels. The metals
used in the construction of dagga shells are copper,
brass, steel, and rarely, aluminum. The preferred
metal by far is brass. The construction begins when
a disc of brass is cut so that it has a diameter of
roughly 8". This is then beaten into the shape
of a bowl (fig. 2).
Figure
2. Sections of the shell
Next,
a rectangular piece of brass is cut and joined together
so that a cylinder with a diameter of approximately
10" is formed. The two ends are joined by crimping,
then the process of rounding it off by beating it
with a mallet begins. Once it has been rounded enough
it is joined to the bowl-shaped bottom, thus: two
slits are cut every half inch around the bowl so that
it may be crimped and welded together by applying
a mixture containing a metallic powder called dag,
then heating the whole to a red heat. The rim must
then be formed by taking a strong iron ring of about
9" in diameter and folding the brass rim over
it. Now is the time for the final shaping to be done.
It is in this stage that the raised disk at the bottom
is made (fig. 2). It is also in this stage that the
entire shell is rotated and beaten all over so that
the entire surface is dented (fig. 3). The result
is a shell which has a fish-scale-like surface.
Figure
3. Hammering the shell
The
shell is now put on a lathe and polished until all
the dents are gone, then plated with chrome (fig.
4). The dagga shell is now complete.
Figure
4. Polishing the shell
SHAI
MASSALA
The
black spot on the Indian drum is the most important
component in determining its tonal colour. This black
spot, known as shai (shahi, gaab, or ank) contains
a commercially available black powder known as shai
massala (literally, ink powder, or ink mixture). It
is acknowledged in the Hyderabad area that the superior
quality massala comes from Bhavnagar in the State
of Gujarat. Unfortunately, the exact manner of its
preparation is cloaked in secrecy, the knowledge being
transmitted from father to son for generations. It
can safely be said, however, that it is a mixture
of metallic dust (probably iron), soot and various
plant extracts.
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FINAL
ASSEMBLY
We
are now brought to the last and most important phase.
This final stage is done by the craftsmen whose sole
job is the fabrication of the tabla: the tablawalas.
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