The decrepit board hardly reflects the treasure that is inside the old building. A whole range of musical instruments — most of which would be unknown to the layman — are on view, in glass cases and on tables. Welcome to the Development Centre of Musical Instruments, only one of its kind in Asia. Located on Anna Salai but away from the din of the main artery, the institution needs a shot in the arm to revive it and restore to it the glory that it deserves as the only institution of its kind in Asia.
The 61-year old wing of the Central Government, founded by the legendary Prof. Sambamoorthy and declared open by Dr. Rajendra Prasad, was housed at Raja Annamalai Manram. After being shifted around, the institute found a permanent place in the prime location thanks to Tadepalli Lokanatha Sarma, who was director and bought the place. Research, training and development went on in full swing to preserve ancient instruments and make new replicas based on texts and sculptures.
Makara yazh, Matsya yazh and Sengottu yazh to which Tamil literary works have extensive references are on display. “Prof. Sambamoorthy took care to study instruments and recreate them,” explains S. Gopal, whose association with the centre spans many decades. He has shaped several instruments and handles them with ease.
Does he know music? “No,” he smiles. “My father was working here and I learnt by watching him make instruments,” he says. Right now, he is engaged in recreating the Rebab of North Africa. “Wood in required size is procured and I decide the measurements based on texts and complete the instrument,” he explains. He proudly shows a veena that he has fashioned out of bamboo.
Handy miniatures
The visitors’ book at the Centre has signatures and comments of celebrities and heads of state. “Artistes and dignitaries visiting Chennai would come here and look at the instruments that cannot be found anywhere else. Panchamukha tambura, conical veena, conical sitar, Narayana veena and santoor are a few of the rare instruments. In contrast to the huge Rudraveena is the miniature rudraveena taken for exhibitions. Gopal has created a miniature Makara yazh, which is taken to schools to educate the children on the rich musical heritage of the country. The collection shows serpent shaped wind instruments from which the nagaswaram evolved.
The much-thumbed musical catalogue, to which Gopal often refers, speaks of the nose flute. The instrument was played by the primitive people of the Pacific. The end-blown flute is played by the people of Borneo. “I make instruments for which material is available here,” says Gopal. He shows the tall harpa, which he has modelled on the picture. Of Swedish origin, it was popular in Estonia until the 20th century.
Fixing the instrument round his head, Gopal strikes the Suryaprabai, which was played at temple festivals in the morning.
The centre, which had 60 members of staff, now is run with a few, Gopal being the mainstay. Training has stopped and so has interaction with allied disciplines such as dance and sculpture. “We still take the instruments for exhibitions across India, although manpower is short,” says Gopal, the only link to the pioneering work of Prof. Sambamoorthi.
Dr. Padma Subrahmanyam remembers her visits to the centre, when it was located inside Raja Annamalai Manram. “Prof. Sambamoorthi did phenomenal work,” she says. The musicologist recreated at least 100 instruments, information about which he sourced from text books and sculptures. Reviving a ritual called Pushpanjali at a Siva temple near Tindivanam, he arranged to have 100 instruments played. Dance and music are among the 16-upachara worship offered to the deity. “Prof. Sambamoorthi had dance and music actually presented and I was part of the group,” she recalls.
Travelling back 15 years, Padma recalls that Tadepalli Lokanada Sarma traced a boulder in Kudumiyan Malai, on which swara notations are etched, a rare phenomenon. He had the notations copied and Kannan played them on the veena. The recording was handed over to the Central Government. “We have no idea where it is now,” she says.
That raises the question: what is an institution like this doing under the Centre’s Ministry of Textiles? “It was originally under Handicrafts,” informs Padma. Equally inappropriate. One would associate it with the Department of Culture. And it came as a surprise when this writer learnt that the centre might be shifted to Bangalore. What instead should be done is revive research, training and other activities to restore vibrancy to the centre, which is the only link to a slice of Tamil history and the rich music heritage of the Tamils.
Lecture
Miniatures of the musical instruments will be exhibited at an event organised by Dr. Padma as part of the series for the Natya students of SASTRA University, in association with BIFAC. Prof. Seshadri will present a lecture on Tamil music and instruments, after which, S. Gopal will share his knowledge with the audience. The venue for the all-are-welcome event is Subrahmanyam Hall, Old No. 5, Fourth Main Road, Gandhi Nagar, Adyar, April 1, 6.15 p.m.
