Tarpa - Organ of innocent culture

 "Folk music is the original melody of man; it is the musical mirror of the world." - Friedrich Nietzsche. 

 Music is as old as mankind itself. It transcends all geographical, religious, caste, language barriers and probably is the single common factor which binds and unites the entire earth. It comes in thousands of ways, styles, sounds, variants, hues depending on its place of origin. Most music, especially the classical one, results from planned and sustained teaching, coaching, study, practice, etc. It may take decades to master such music and the accompanying instruments. But another genre of music comes spontaneously, handed over from person to person, from generation to generation, with no formal training or coaching. That is folk music. It is rustic, it is colorful, it is vibrant. So are the instruments.  

The voices of the tribal community, of their aspirations, joys, and sorrows, find their expression in the country's soulful and rustic folk music and dance. Unlike the rigorous process of teaching, learning, and performance of classical music, folk art is ubiquitous in the daily routines of individuals, in events right from birth till death, and associated with festivals and seasons. Folk Art is typical of unknown authorship and is transmitted orally from generation to generation.  

Aside from society craftsmanship, there is a workmanship that is generally polished by the individuals of the rustic and innate populace, known as court workmanship. These crafts of India are basic yet charming. They tell us about the extravagance of the cultural legacy.  

The makers of folk art are typically trained within a popular tradition rather than in the fine art tradition of the culture.   Today, we are highlighting a famous work of art found in most households in the form of wall art & other knick-knacks, Warli.   Warli art is just as simple as the Warli tribe themselves. Drawing inspiration from nature, their art depicts scenes from daily life. Geometric patterns adorn this art form that is painted using rice flour on a colorful & vibrant base.  The relationship between nature, nurture & the self is a well-known social theory. Musical instruments are an extension of people's capabilities to produce melody & harmony with the voice, just as the practice of writing is an extension of speaking.   

Tarpa is the instrument seen in all the Warli paintings at the center. The melody of the instrument brings the community together. The energetic sound of these instruments and costumes that relate to nature are familiar today through folk art programs and Warli painting.  Tarpa playing is an integral activity of the Warli cultural formation. The values expressed & modes of practice within these social events are consistent with broader patterns of social life. Tarpa is a Tribal musical instrument used by the Warli tribe in their festive dances. It is a wind instrument made from a dried-out gourd, leaves, and bamboo. It is as ancient and unique as the tribe itself, both in tune & the land they come from.   

Tarpa dance is a part of the rich culture of the warli tribe. Tribal society is festive. Dance has a prominent place in this society. In the nature-worshipping tribal community, Holi, Baras, harvest & several others, Tarpa dance is contracted on every occasion. After listening to the melody of Tarpa among the tribals who are tired of working all day, the mood of the atmosphere uplifts, and dance commences. The rhythm is maintained till midnight. This group dance is performed in a round arena with dancers' hands entwined with another, the rhythm leading the circular dance pattern. Men and women stand side by side and wrap their arms around each other's waists. Ghol Kathi and Tarpa are playing in the middle of the circle.  The Tarpa player plays the instrument with great force and performs different tunes for different types of dances. There are many tribal dances, But Tarpa is more famous than the others.  

To preserve the tribal culture, a new age of harpists needs to be formed. The older generation of harpists is now aging. This legacy must be maintained. However, it is feared that the new generation of artists will lose their strong voice as there isn't the readiness to play.  Tarpakar Bhiklya Ladkya Dhinda, aged about 84 years, belongs to the Warli Adivasi tribe. He has been playing Tarpa since the age of 14.