RABAB, SARANGI, SARINDA AND RELATED
THE TRIBAL ARTS
CROSS CULTUAL HERITAGE
Text and Pictures courtesy
All Rights Reserved
The common characteristic of these types of lutes is the fact that the body and the neck form a joint sound box.
is covered with skin, their neck locked by a thin wooden to permit playing.
Home of the rabab are
South Asia, Afghanistan, Yemen and North Africa.
Under the name of Rebec, it also existed in Europe for a short period of time.
Quanbus, a rabab from Yemen
Rabab from Marocco
The RABAS from Afganistan, Pakistan and India are club-shaped like the instruments mentioned above, however they clearly show identical indentations on each side.
Indentations, extensions, incisions or belt are characteristic for this type of lutes in India and the Himalayan region.
The neck of the Afghan rabab contains additional pegs for the aliquot strings.
Rabab from Afghanistan, offering extensions between neck and body as well as additional pegs in the neck area.
The Rabab from Nepal and adjacent areas is called
There is a wide variety of bodies, likely related to local ethnical peculiarities.
The peg box is particulary remarkable because, in contrast to the already mentioned instruments it shows an opening to the rear.
The Chikara is a bowed lute.
I’s morphology is comparable to that of the rabab, altough this instrument has a neck open to the rear.
This offers the advantage of easily attaching all strings to the pegs, in contrast to the Afghan rabab where it’s difficult to attach the strings.
According to the same principle, the saranghi is built.
However, this instruments looks more squared.
Sarangi, the neck open to the rear is clearly visible..
Sarangi, small old instrument.
The peg box is shaped like an open mouth.
shows the same principle of bisetion, too.
However, one part is not covered by wood but remains open.
With the Sarinda these two parts constitute the body to which a massive neck is attached.
If figures are mounted to the Sarinda they are most easily seen from the side.
Sarinda from Afghanistan.
characteristically this instrument shows a peg box open to the rear.
Sarinda from Nepal and Orissa
The Dhodro Banam
The body is bisected, the lower part covered by skin, the upper part remains open.
This instrument appears to be more slim, however, the open part does not show the crescent form. Verier Elwin made this lute of the Santal popular in the mid 20th century.
it is called Santal lute.
However, it has to be kept in mind that various Adivasi and other population groups in India and Nepal play these instruments, too.
The dhodro banam is perceived in an anthropomorpous manner, ideally as a human figure shown with arms, legs, breasts and everything else.
Dhodro Banam in ideal presentation as a fully formed human body.
To shape the head the pegbox was left open the rear to show the upper part of a human body in a plastic way the opening was turned to the rear.
The deptiction on the box of the Banam seems to be an extremely important element for the players and their audience because it often constitutes one third of the instrument.
This clearly depicts the mighty structure.
One side of the head shows the hair knot which can be attached to the back of the head.
still have another type of lute,
not related to the Sarinda at all.
It’s held similar to the violin and not like a cello as the Dhodro Banam is held.
Again one tries to give this type a human structure.
With the Dhodro Banam the neck is used like a neck
while the neck of the Huka Banam has to be kept between the legs.
THE TECHNICAL POSSIBILITIES OF THESE LUTES WITH THEIR VARIATIONS CONSTITUTE THE
FOR THE CREATION OF A WIDE RANGE OF DIFFERETLY DESIGNED INSTRUMENTS BY LOCAL ETHNICAL GROUPS.