Pratima Sinha, Ishita Ghosh, Ashok Kumar Mandal

DOI: https://doi.org/10.5281/zenodo.23837260

The traditional music of the Chhotanagpur area in the state of Jharkhand represents the confluence of culture, community and nature. This paper investigates the traditional tribal musical instruments of Santhal, Munda, Oraon and Ho communities and its cultural, social and religious aspects. The research specifically examines Banam which is one of the most significantly emotional and culturally connected musical instrument of Jharkhand from the context of its construction materials, ways of playing and usage during rituals, festivals, agriculture and other folk performance. This paper is also documented to provide a summary and classification of the diverse musical instruments whose melody and beats echo in the tribal lands of Jharkhand. The study follows an ethnographic and cultural methodology which includes field research, informal communication with artisans, interaction with musicians and investigation of native folk performances. It emphasizes on the use of available local natural materials in construction of instruments like bamboo, wood, leather and gourds which enhance the quality of acoustics of these instruments. It also points out on the degrading impacts on the tradition of tribal music through globalization, urbanization and lack of knowledge transmission to younger generations. Conclusively, musical instruments of Chhotanagpur are living emblems of tribal identity and cultural integrity which are needed to be preserved and documented so that the intangible cultural heritage of Jharkhand can be protected in future.

Indigenous Instruments, Banam, Tribal Music, Cultural Heritage

The indigenous musical instruments of Jharkhand represent far more than tools for producing sound; they embody the living cultural memory, collective identity, and traditional knowledge systems of the communities that have nurtured them for generations. The present study explored the diverse soundscape of the Chhotanagpur region through an examination of 14 its traditional musical instruments, their construction techniques, performance contexts, acoustic characteristics, and socio-cultural significance. The findings reveal that these instruments are deeply interwoven with the everyday lives, rituals, festivals, agricultural practices, and spiritual beliefs of the tribal and rural communities of Jharkhand. The investigation highlighted the remarkable diversity of indigenous instruments, including stringed, percussion, and wind instruments, each reflecting the ecological resources, craftsmanship, and artistic sensibilities of the region. Instruments such as the Banam, Kendri, Tuila, Mandar, Nagara, and Bansuri are not merely musical devices but cultural artifacts that preserve stories, emotions, and historical experiences. Their unique tonal qualities and performance traditions demonstrate a sophisticated understanding of acoustics developed through centuries of empirical knowledge. The study further revealed that the musical traditions of Jharkhand function as powerful mediums of social cohesion and cultural continuity. Community gatherings, seasonal festivals, marriage ceremonies, and religious observances continue to provide spaces where these instruments sustain their relevance and meaning. However, the research also identified significant challenges to their survival. Rapid urbanization, changing lifestyles, commercialization of entertainment, migration, and the declining interest of younger generations have contributed to the gradual erosion of traditional musical practices. Many master instrument makers and performers possess invaluable knowledge that remains undocumented and is at risk of being lost. Scientific acoustic analysis and systematic documentation emerge as essential tools for preserving this rich heritage. By integrating ethnomusicological approaches with modern acoustic measurements, digital archiving, and mathematical modeling, it becomes possible to record, analyze, and disseminate knowledge about these instruments in ways that support both cultural preservation and scholarly advancement. Such interdisciplinary efforts can also inspire innovations in instrument design, music education, and cultural tourism while ensuring that traditional knowledge remains respected and community-centered. Ultimately, the living soundscapes of the Chhotanagpur region remind us that music is not only an artistic expression but also a repository of identity, history, and human connection. Preserving the indigenous musical instruments of Jharkhand is therefore not merely a cultural obligation but a commitment to safeguarding an irreplaceable part of humanity’s intangible 15 heritage. Future research should continue to explore the acoustic properties, performance practices, and evolving cultural roles of these instruments while actively involving local communities in preservation initiatives. Through sustained documentation, education, and cultural engagement, the voices of these instruments can continue to resonate across generations, ensuring that the vibrant musical heritage of Jharkhand remains alive and meaningful in the contemporary world.

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Pratima Sinha, Ishita Ghosh, Ashok Kumar Mandal (2026). The Living Soundscapes of the Chhotanagpur: A Comprehensive Study of Indigenous Musical Instruments in Jharkhand. International Journal of Engineering and Techniques, 12(5), 431–446. ISSN: 2395-1303. DOI: https://doi.org/10.5281/zenodo.23837260