In a world of veenas, sarangis, sitar and cellos, the simplicity of this portable instrument prevails. Purists may criticise the single-stringed fiddle for being a ‘less evolved’ instrument. But the legendary Egyptian mystic Dhu-n-Nun Al Masri believed that the sole purpose of music is to elevate the spirit, where even a tattered minstrel in the African wilderness can make the heart prostrate to the divine with his soul-stirring strains.
The romance of the single-stringed fiddle may stir up childhood memories of a lone hawker playing popular film hits on his instrument, made of bamboo.
Spiritual message
The single-stringed fiddle also has a spiritual message. The single string representing Adhvaita, the non-duality of the Supreme from which emanates the whole universe, like the seven notes emerging from the one single string. It has been a companion of poets, saints, bards and minstrels in different parts of the world. Meera and her legendary plucked ‘ektara’; or the the Bauls of Bengal are some examples.
Most of the single-stringed fiddle belong to the ‘spike fiddle’ category due to their shape. Many are played solo, while most accompany singing or are a part of a larger orchestra. In India, the oldest known single-stringed fiddle is said to be the Ravanhattha , attributed to Ravana. Rajasthani folk musicians play a refined version of it with a main gut or nylo-gut string and several resonating strings. The Vicharti Jaati gypsies and Vaaghris of Kathiawad and Gujarat along with other indigenous communities play instruments with a coconut shell resonator and bamboo neck with a thin metal string. The sound is high-pitched, but sweet.
Other notable indigenous fiddles are the Baana of the Bardic Pardhan Gonds of Madhya Pradesh and the Pulluvan Veena of Kerala.
Africa has several enchanting versions. The mystical Ugandan Ndingidi and the Kenyan Orutu of the Luo tribe, both have a hypnotic tone. In the West, the Gonje of Ghana’s Dagomba people, with its large coconut or gourd shell resonator and a short neck and horsehair string played with a D-shaped bow, is fascinating. Played during weddings, childbirths or funerals, the Gonje like its West African counterparts is often accompanied by other local instruments such as rattles or drums. The Goge of Nigeria has similar features. The raw, heart-wrenching tone is not stereotypically melodious, but reflects the deepest antardhwani of the people of the land.
In the Arab World, the ruggedness of the desert resounds in the Bedouin Rababah, which has a single horsehair string, large bow, a rectangular animal hide belly and a short neck. The earthy Egyptian version is more like the Ravanhattha, while the large Moroccan Berber Rebab has a huge circular belly and an ethereal tone.
While China boasts of the large Erhu and the smaller Jinghu with shrill, sweet tones, the European Gusle found mainly in the Balkans has a deep tone true to the melancholia of the laments and war tales that it accompanies. Last but not the least, the Native American Apache Fiddle, is a cylindrical cornstalk bowed instrument with indigenous designs. Chesley Goseyun Wilson of Arizona is considered its most famous player and maker.
The writer, a multi-linguist, is an international performer and composer
