The World Music Institute, the University of Chicago International

GOPI YANTRA

The gopi yantra (or gopi jantra) is found in India, particularly in the Bengal area (mainly West Bengal). It can be described as a single-string Indian harp. This instrument also goes by the name of the gopichand and may sometimes be called a tootoonee.

The instrument can be classified as a chordophone. However, it also uses a membrane as a sound resonator in its bottom part which is the drum. Accordingly, sometimes it is classified as a membranophone.

Construction and characteristics of the instrument

The gopi yantra has been referred to as a pulling drum, because under the membrane or skin, in the center, is interlocked the single string which is plucked and this string transfers its oscillations to the skin. This skin or head of the drum where pierced is done in such a way that the string is attached to a small piece of wood or metal for reinforcement and to prevent it from passing all the way through the skin. The string travels through the hollow drum housing so as to come out at the other end of the drum opening. The drum housing or shell can either be a gourd or coconut shell or a ceramic, brass or other metal container, or a hollowed wood container. Even cans may be used. The taught membrane at the bottom will be some animal skill (plastic may be used but is usually too elastic). Sometimes no membrane is used because the shell or container as a whole acts as its own resonator without the need for a separate membrane.

There are two pliable bamboo pieces pried apart which form the sides of the instrument, and these when pressed are used for creating variable tension in the string and consequently variation in sound. These forked bamboo stems are fixed to the resonator on the outside of the shell or drum. The two bamboo stems are joined at the top (and may actually constitute one piece of split bamboo joined at the node). This top piece will have inserted into it (from the side) a tuning peg where the string is joined and for tightening the string, which can be a steel wire string.

By inserting pressure with the left hand along the two bamboo stems (mostly in their middle area), the tension of the string and membrane is varied, so that a glissando effect is created after plucking the string with the right hand. The result is a distinctive sound because of the bending of the pitch which gives a swinging rhythmic pattern. The tighter the squeeze, the lower the note gets. The instrument can be played with a plectrum, but the finger can also be used to pluck the string.

The construction of a gopi yantra can vary in several respects. The overall length may be as small as 30 cm or as long as 100 cm. However, 50 to 80 cm is the norm. The diameter of the resonator can also vary from 10 cm to up to 20 cm.

gopichand (ektar)

Figure 1 (above)

Various styles of gopi yantra with membrane on the head (ie at the bottom of the instrument) of the resonator housing

Figure 2 (above)

Various styles of gopi yantra using different forms of resonators

There are commonly three sizes: soprano, tenor and bass. Generally, the smallest size gives the highest pitch. The soprano can be up to 50 cm long with a width (diameter) of 12 cm. The tenor starts at typically 65cm long and can have a width of 15cm. The bass can be around 80cm long with a width of 18cm. Really, however, there are no definitive guidelines.

The kind of sound produced by these instruments is a tone of changing pitch more so in a lower range and is quite characteristic of Indian music. Its ascending form can be suggested by 'bu-ump' spoken with rising inflection. Which note the string in the gopi yantra is tuned to depends a lot upon the type of string and the pitch it can attain. Relative to Sa in the Indian musical scale, it would be Sa (C) that is the first choice. When Sa is not an option, go for Pa (G). If that is impractical go for Ma (F). If that still does not work, then any other note of the scale (Re, Ga, Dha, Ni) is workable, but obviously not the best choice. In any case, the instrument is used for rhythmic purposes (not melodic) and so its sound is used as a drone in an ensemble of instruments.

Socio-cultural place in the musical tradition of Bengal

The gopi yantra is a popular folk instrument of West Bengal. It is much used by the wandering minstrels of that region known as the Baul. They are religious friars and use it for accompanying their spiritual songs, dances and begging chants. Fundamentally, the type of music of the Baul is folk music sung in a particular devotional style. The philosophy of the Bauls was a source of inspiration for the great Bengali poet Rabindranath Tagore who established the reputation of the Baul as the ‘soul of Bengal’.

The Baul assert that truth is not found in temples, mosques or churches or through worship of deities. Truth is in each human being. All humans deserve respect and embody the divine. The word ‘baul’ is from the Sanskrit word that implies ‘crazy’ or ‘anxious’ and the Arabic word meaning ‘friend of God’. The word refers to a person who is ‘mad’ with devotion or love for the Divine. Today, Bauls live in small ashrams (places of religious retreat) in communities who offer assistance, protection and support.

Almost all the Baul instruments are made by the musicians themselves. They use simple instruments which represent the way of life of the musicians. The instruments are made from natural materials. Also, they need to be light and easy to handle, given the mendicant or renunciate nature of the Baul as they travel or perform in exchange for alms. The gopi yantra weights very little, being in the range of a couple of kilograms or more.

An ensemble of Baul instruments might typically be picked from the sarinda (folk fiddle), dotara (two-string mandolin), ektara (one-string drone), duggi (drum), khamak (drum with one or two strings attached to the head and protruding from the base where they are pulled and held by a brass bell) or gopi yantra (one-string lute). Having one string on the gopi yantra is a type of Baul symbol, signifying the unity of humanity with God. The ghungur (garland of bells tied around the ankle) or nupur (metal tube with moving ball-bearings in the centre) are used in conjunction with the gopi yantra or khamak. The kartal (wood clappers) or mandira (small bell-shaped cymbals) are used as adjunct idiophones by Baul singers. A group of Baul musicians may include both males and females.

The video production Anandalahari: Waves of Joy directed by Deben Bhattacharya and produced by Seabourne Enterprises (Film Productions) Ltd in 1973 is a documentary that features festivals and gathering of Baul minstrels in West Bengal.