Dotara: Examining Cultural Migration across Time and Space

By : Utpola Borah, Hans F Utter

Page No: 185-205

Abstract 
Musical instruments are important repositories of heritage depending upon tangible materials, available in each environment, the instrument’s role in each culture, and the living/intangible traditions of cultural transmission. In Assam, the dotara is central to the Zikir songs of Sufi Saint Hazrat Shah Miran or Ajan Fakir, multiple regional folk genres, and Dehbisaror geet (philosophical/mystical songs) prevalent in upper and lower Assam. The prominence of the dotara throughout Central Asia and into the former Ottoman Empire and Andalusia indicates that this instrument was transported or shared along the ancient Silk Road. However, in terms of the instrument construction and playing techniques, the Kyrgis komuz or dumbora bears the most salient symmetry with the Assamese dotara, including tuning, use of the plectrum, and functions within its cultural milieu. Assam was important to Silk Road from ancient times (200-300 BCE) and most likely silk came to India from China. The Brahmaputra River served as the main artery between China and the west to India. Cultural interchange between Assam and China is strongly supported by Hiuen Tsang’s discussion of a Chinese song that became popular in Assam as early at 636 CE. Historical evidence for the dotara’s development will be examined, and comparisons between performance styles and organology. The role of the kingdoms of Assam as a bridge between India and China is not generally known, but potentially this will become a rich vein for future research.

Authors :
Utpola Borah : Ethnomusicologist, Cultural Archivist and Indian Classical Vocalist, Ohio, USA
Hans F Utter :  Ethnomusicologist, Cultural Archivist, Musician and Producer, Ohio, USA
 

DOI: https://doi.org/10.32381/SEAR.2023.48.13