DRUMS OF THE WORLD
Himalaya
Drum Nepal
Tamang damphu drum - Trommel Nepal
"As has already been mentioned, the damphu is the most important musical instrument of the Tamangs. This completely spherical instrument somewhat resembles a tambourine. It is basically an accompanying instrument and its sound is baritone. The damphu is generally of two types: (a) regular damphu, and (b) bird-shaped damphu. A regular damphu generally comes with a small bamboo stick to keep rhythm, while in a bird-shaped damphu, an extra wooden bird carved with exceptional craftsmanship, is attached. The wooden bird in a bird-shaped damphu is so adjusted that when the damphu is played upon the bird seems to dance to the rhythm of its tune. The damphu is made out of the soft dermis of goat-skin. Thirty two small wooden pieces are used to augment the tension of the membrane. On the outer portion of the instrument the epidermis of the skin, along with the cuticles, is clearly visible along its circumference. The damphu is quite simple to be played. It expresses simple rhythms like the cataśra (4/4 beat). The second and third strikes are made with four fingers of the right hand in a straight fashion. On the other hand, both the suspension and intensity of the first strike are comparatively higher. A long stick is used to generate the sound. The instrument is struck near its periphery while playing. The end of the periphery is a constant motionless node, and hence there is always a chance of special secondary notes being generated. Damphu is marked by the absence of khiran, and hence cannot be categorized as a loaded membrane. On striking a damphu the leather membrane vibrates, alternately compressing and releasing air. In this way the constant vibration generates a deep-toned sound. Songs sung along with a damphu are called ‘ohai’. During an ohai performance group dances, known as ‘damphu dance’, are performed. Although the damphu is not played in religious dance performances like the bakpa, jungba or choi, yet it must be said that the social life of the Tamang ethnic people are tuned to the deep tones of the damphu."
excerpt from: Dutta, Krishnendu (2014) A Glimpse of Tamang Musical Instruments. Journal of International Academic Research for Multidisciplinary Impact Factor 1.393, ISSN: 2320-5083, Volume 2, Issue 7
Bibliography:
Adhikari, Biraj. Sikkim: The Wounds of History. Pub Biraj Adhikari
Arha, R.S. Singh, Latika. (2008) Glimpses of Sikkim. Jaipur, India: ABD Publishers
Bhargava, Gopal. (2008) Encyclopedia of Art and Culture in India (Sikkim & U.T.)India: Isha Books
Dutta, Krishnendu (2014) A Glimpse of Tamang Musical Instruments. Journal of International Academic Research for Multidisciplinary Impact Factor 1.393, ISSN: 2320-5083, Volume 2, Issue 7
Edgar, J. Ware. (2005) Sikhim and the Thibetan Frontier. Varanasi: Pilgrims Publishing
Ghosh, Mandira. (2004) Folk Music of the Himalayas. Gurgaon, India: Shubhi Publications
Levin, Theodore. Where Rivers and Mountains Sing – Sound, Music, And Nomadism in Tuva and Beyond. Bloomington and Indianapolis: Indiana University Press
Raatan, T. (2008) Encyclopedia of North-East India (In 3 Vols) (Sikkim, Nagaland, Tripura) (Vol 3). Delhi: Kalpaz Publications
Tamang – Peoples of Sikkim (Series). Pilgrims Publishing.
"As has already been mentioned, the damphu is the most important musical instrument of the Tamangs. This completely spherical instrument somewhat resembles a tambourine. It is basically an accompanying instrument and its sound is baritone. The damphu is generally of two types: (a) regular damphu, and (b) bird-shaped damphu. A regular damphu generally comes with a small bamboo stick to keep rhythm, while in a bird-shaped damphu, an extra wooden bird carved with exceptional craftsmanship, is attached. The wooden bird in a bird-shaped damphu is so adjusted that when the damphu is played upon the bird seems to dance to the rhythm of its tune. The damphu is made out of the soft dermis of goat-skin. Thirty two small wooden pieces are used to augment the tension of the membrane. On the outer portion of the instrument the epidermis of the skin, along with the cuticles, is clearly visible along its circumference. The damphu is quite simple to be played. It expresses simple rhythms like the cataśra (4/4 beat). The second and third strikes are made with four fingers of the right hand in a straight fashion. On the other hand, both the suspension and intensity of the first strike are comparatively higher. A long stick is used to generate the sound. The instrument is struck near its periphery while playing. The end of the periphery is a constant motionless node, and hence there is always a chance of special secondary notes being generated. Damphu is marked by the absence of khiran, and hence cannot be categorized as a loaded membrane. On striking a damphu the leather membrane vibrates, alternately compressing and releasing air. In this way the constant vibration generates a deep-toned sound. Songs sung along with a damphu are called ‘ohai’. During an ohai performance group dances, known as ‘damphu dance’, are performed. Although the damphu is not played in religious dance performances like the bakpa, jungba or choi, yet it must be said that the social life of the Tamang ethnic people are tuned to the deep tones of the damphu."
excerpt from: Dutta, Krishnendu (2014) A Glimpse of Tamang Musical Instruments. Journal of International Academic Research for Multidisciplinary Impact Factor 1.393, ISSN: 2320-5083, Volume 2, Issue 7
Bibliography:
Adhikari, Biraj. Sikkim: The Wounds of History. Pub Biraj Adhikari
Arha, R.S. Singh, Latika. (2008) Glimpses of Sikkim. Jaipur, India: ABD Publishers
Bhargava, Gopal. (2008) Encyclopedia of Art and Culture in India (Sikkim & U.T.)India: Isha Books
Dutta, Krishnendu (2014) A Glimpse of Tamang Musical Instruments. Journal of International Academic Research for Multidisciplinary Impact Factor 1.393, ISSN: 2320-5083, Volume 2, Issue 7
Edgar, J. Ware. (2005) Sikhim and the Thibetan Frontier. Varanasi: Pilgrims Publishing
Ghosh, Mandira. (2004) Folk Music of the Himalayas. Gurgaon, India: Shubhi Publications
Levin, Theodore. Where Rivers and Mountains Sing – Sound, Music, And Nomadism in Tuva and Beyond. Bloomington and Indianapolis: Indiana University Press
Raatan, T. (2008) Encyclopedia of North-East India (In 3 Vols) (Sikkim, Nagaland, Tripura) (Vol 3). Delhi: Kalpaz Publications
Tamang – Peoples of Sikkim (Series). Pilgrims Publishing.