Spotlight
Pocket guidebook to Carnatic music The ghatam

The ghatam is a
most unusual instrument, a solid one, without a membrane. A percussion
instrument used as an upa-pakkavadyam in Carnatic music concerts, it hardly
looks its part as a member of a classical ensemble, because it is quite simply
a hollow clay pot, unadorned by any other parts. It is however constructed
specifically to be played as a musical instrument, of uniform thickness, to
appropriate dimensions calculated to produce a particular resonance.
Two types of ghatams are in vogue. Made of clay alone, the Madras ghatam is
light, and well suited to fast playing, while the Manamadurai ghatam, more
common today, is mixed with shards of brass, producing a deeper tone. The
ghatam has a pre-determined sruti which changes with the size and shape of the
pot.
The ghatam is played by striking, stroking or tapping it with fingers, both
palms, the bases and sides of the palms and knuckles. The ghatam vidwan closes
the mouth of the ghatam with his palm to produce a bass sound, sometimes rests
it against his stomach, actually modulating its sound by adjusting the distance
between its opening and his belly. Dramatically throwing up the ghatam in the
air was often the high point of a tani avartanam until a few decades ago. This
exciting custom has almost gone out of fashion with the increasing
sophistication of the cutcheri of today.
Polagam Chidambara Iyer of the 19th century is said to the first concert ghatam
vidwan in Carnatic music. Among the earliest ghatam vidwans to achieve any fame
were the Mysore court musicians Rangarao and Samarao.
It was Palani
Krishna Iyer who developed the art of ghatam-playing by creating patterns and
phrases most suited to the instrument. He was the architect of solid techniques
to play these patterns. Umayalapuram Kothandarama Iyer was another ghatam
maestro to develop his own nuanced individual style, even tending to overshadow
the mridangam in his solos. This was a clear breach of protocol, because the
mridangam is the undoubted lead percussion instrument. The ghatam has to play a
supporting role, with the ghatam vidwan moulding his style and creativity to
follow the leader.
Hailing from an illustrious family of percussionists, and a disciple of his
father Harinhara Iyer, T.H. Vinayakram is perhaps the most famous ghatam player
in the history of Carnatic music. He can produce a whole range of sounds from
the ghatam and captivate audiences with exciting rhythms, often playing solos
in complex talas. The names of E.M. Subramaniam and the late T.V. Vasan
come readily to mind in any discussion of ghatam maestros of recent vintage.
Posted by Sruti Magazine , August 21, 2012