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The Voice in the Drum
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This chapter describes Muharram Ali's conversations with a dhol player named Hashim about the drumming rituals as well as the drummers and the drum patterns in Karachi. Hashim also talked about how he and the other dhol players would take turns beating the four tarzs: savārī, mātam, kalmah, and dhīmā. Ali raised for discussion the Bharatpur group's idea about the kalmah pattern. According to Hashim, those on procession get enjoyment (mazah) out of Muharram drumming in general and that such drumming alerts those in the area to what is going on. Ali also made notes and comments on Census of India report (1961) on Muharram in Delhi, Lucknow and Hyderabad. Finally, he acknowledged that the verbal meanings of the drum patterns were cloaked in clouds of subjectivity and hazy memory.
Title: The Voice in the Drum
Description:
This chapter describes Muharram Ali's conversations with a dhol player named Hashim about the drumming rituals as well as the drummers and the drum patterns in Karachi.
Hashim also talked about how he and the other dhol players would take turns beating the four tarzs: savārī, mātam, kalmah, and dhīmā.
Ali raised for discussion the Bharatpur group's idea about the kalmah pattern.
According to Hashim, those on procession get enjoyment (mazah) out of Muharram drumming in general and that such drumming alerts those in the area to what is going on.
Ali also made notes and comments on Census of India report (1961) on Muharram in Delhi, Lucknow and Hyderabad.
Finally, he acknowledged that the verbal meanings of the drum patterns were cloaked in clouds of subjectivity and hazy memory.
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