SRIRAM RAVISHANKAR
( jalam), air( vayu), fire( agni) and space( akasha), the ghatam is considered to be one of the most humble, eco-friendly, portable, and unique instrument in the family of south Indian percussions. Known as Noot in Kashmir and Mudki in Rajasthan, the ghatam was mainly a folk instrument in the olden days. In south India, it became a highly sophisticated instrument which was raised to concerts status. Apart from being played at traditional concert platforms, the ghatam has off lately also gained a lot of prominence status in Rock music, Jazz, Jugalbandhis, Fusion, Ensembles and a host of other such unique programmes.
On how it is made,“ ghatam is different from ordinary mud pots, with its mouth being narrow. Its size differs according to the pitch or shruthi. The ones of lower pitch will be of bigger size and the ones of higher pitch will be smaller. It has three portions- the mouth, a slanting portion from the mouth, and the round shaped bottom. A special type of baked clay is used for the preparation of this instrument. With that, copper, iron, or brasses fillings are mixed along with some other powders which are known to traditional makers only. Altogether, the pot is made and allowed to dry so as to strengthen itself. Each pot is checked for any kind of air bubble so that the pot isn’ t prone to easy damage once dried. Symbolic of the five elements of nature, the basic material is mud which represents the holy earth. Mud is mixed with water, and then baked in fire adding the third element. The air inside the belly of the ghatam encompasses space or akasha that reverberates creating the musical sound,” Udupa explained.“ There are various ways of playing it, in North India, the instrument is placed on a small round block with the mouth facing upwards and played on the sides by right hand and on the mouth by left hand. Rings and bangles are also used to create various sounds. But in South India, it is placed on the lap, its mouth facing the stomach, played with a gush of air with the help of belly. We play it with fingers, wrists and even nails. It is the only instrument whose position is changed while playing. Sometimes to delight the audience, the instrument is thrown up and caught which is suitable in rhythm, mainly during laya vinyasas( Solos),” he concluded.
Udupa’ s artistic journey culminated in the curation of his brain child“ Udupa Foundation”, an initiative to promote music, performing arts, and culture amongst different sections of audiences. Having a stellar advisory board consisting artists like Ustad Amjad Ali Khan, Vid. Sukanya Ramgopal, Vid. RK Padmanabhan, Vid. TM Krishna, Vid. Bombay Jayashree to name a few, the foundation is firmly bound to take the world of Indian classical art forms to as many audiences as possible. Deriving inspiration from his father Vid. Ullur Nagendra Udupa who believed in imparting knowledge to all those who are keen to learn it irrespective of their financial or cultural backgrounds, the foundation aims to drive a movement that will bring together art, artistes, and art connoisseurs on a unique journey of art and music. The foundation seeks to advance a concept of world art through creative collaborations to bring the best of various musical traditions that are present within all of us. To make this interface as inclusive as possible, Udupa Foundation aims to reach out through a range of platforms and activities such as teaching, supporting, promoting, disseminating and healing through art forms.
Pihoto Courtesy: Anjoe Jacob
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