Mashak

The mashak (also known as mushak baja, masak, mishek, meshek, moshug, moshaq, moshuq, mashak bin, bin baji) is a type of bagpipe found in Northern India, Uttarakhand, Sudurpaschim Province (especially Baitadi and Darchula district) of Nepal and parts of Pakistan and Afghanistan.[1][2] The pipe was associated with weddings and festive occasions.[3] In India it is historically found in Kumaon and Garhwal in Uttarakhand, Rajasthan and Uttar Pradesh.[4] This bagpipe uses single reeds,[5] and can be played either as a drone or as a melody instrument.[6]

For places in Iran, see Mashak, Iran.

Etymology

The etymology of the term mashak stems from its common use in India, referring to a skin bag used for carrying water. This skin bag shares a similar function to the air bag of the bag pipes.[7]

Relation with the Scottish Highland pipes

Some academics dispute any indigenous origins of the mashak; researcher Ander Burton Alter wrote in 2000 that the pipes today played in Kumaon are Scottish Highland bagpipes with one bass and two tenor drones, with no local manufacturer or evidence of existence prior to British rule in 1814.[8] Organologist Anthony Baines, however, described an intermediary development stage wherein Indian musicians imitated the Highland pipe by tying "an extra pipe or two" into their mashak.[9] Similarly, the New Grove Dictionary of Musical Instruments (1984) describes the traditional mashak as becoming rare as it is displaced by the Scottish pipes.[10]

Bagpipes in Uttarakhand

The bagpipe is an essential part of music and culture of Garhwal and Kumaon. [11][12]

Cultural significance

In the central Himalayan region of Uttarakhand in Northern India the masak baja or masakbeen is an important part of rural wedding ceremonies. The masak baja is played to process with the groom's on their way to and from the bride's village.[13] The masak is accompanied by two pipers and drummers. The masak and its accompanying instruments send a clear message across the audible area that a wedding is taking place. The masakbeen is also used in Choliya or Chaliya dance of Kumaon and Sudurpaschim province of Nepal.

Discography

See also

References
  1. Day, CR (13 February 1894). "Notes on Indian Music". Proceedings of the Royal Musical Association. Twentieth Session, 1893–94. London: Novello, Ewer, & Co. pp. 64–.
  2. Alter, Andrew (1 October 1997). "Garhwali Bagpipes: Syncretic Processes in a North Indian Regional Musical Tradition". Asian Music. 29 (1): 1–16. doi:10.2307/834409. JSTOR 834409.
  3. Himal Associates (1993). Himāl. Himal Associates. p. 24. Retrieved 23 April 2011.
  4. Andrew Alter. Garhwali & Kumaoni Bagpipes: Syncretic Processes in a North Indian Regional Musical Tradition. Asian Music, Vol. 29, No. 1 (Autumn, 1997 - Winter, 1998), pp. 1-16. Published by: University of Texas Press, link at JSTOR.
  5. Geneviève Dournon (May 2000). Handbook for the collection of traditional music and musical instruments. Unesco. p. 23. ISBN 978-92-3-103304-9. Retrieved 23 April 2011.
  6. Sibyl Marcuse (April 1975). A survey of musical instruments. Harper & Row. ISBN 978-0-06-012776-3. Retrieved 24 April 2011.
  7. Alter, Andrew (1 October 1997). "Garhwali Bagpipes: Syncretic Processes in a North Indian Regional Musical Tradition". Asian Music. 29 (1): 1–16. doi:10.2307/834409. JSTOR 834409.
  8. Alter, Andrew Burton. 2000. Dancing the Gods: Power and Meaning in the Music of Garhwal, North India. Monash University, Victoria, Australia.
  9. Anthony Baines (1979). Bagpipes. Pitt Rivers Museum. p. 56. Retrieved 23 April 2011.
  10. Stanley Sadie (1984). The New Grove dictionary of musical instruments. Macmillan Press. ISBN 978-0-943818-05-4. Retrieved 23 April 2011.
  11. Chari, Mridula. "A reminder for the Scots: India has a thriving bagpipe tradition too". Scroll.in. Retrieved 8 August 2022.
  12. Fiol, Stefan (11 September 2017). Recasting Folk in the Himalayas: Indian Music, Media, and Social Mobility. University of Illinois Press. ISBN 978-0-252-09978-6.
  13. Alter, Andrew (1 October 1997). "Garhwali Bagpipes: Syncretic Processes in a North Indian Regional Musical Tradition". Asian Music. 29 (1): 1–16. doi:10.2307/834409. JSTOR 834409.
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