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How the Indian Violin Came to Be

“No other instrument is so powerful as the violin” - T.K. Jayarama Iyer (1965) 

The violin has a unique place in music, juxtaposed between Western classical and Indian classical music. Yet, it brings people together. This essay deals with its migration through colonial rule in South Asia, and its unexpected but organic crowning within its music traditions. On surveying the past stringed instruments of the region, we find a significant foundation laid down by Ravanahaththa (also known as Ravanastrom) that might have prompted Indian musicians to play the violin so differently than their counterparts in Europe. With British consolidations of power spreading, we find that our own South Asian kingdoms encouraged violin-playing in their courts so that they could posit themselves as modern and influential rulers. And eventually, we see how violin traditions were tied altogether with a ribbon by the Brahmin bourgeoise class. The cross- cultural involvement of violin in a global perspective is enlightening and vast, having been covered by scholars ranging from Heron-Allen, E. (1885); Day, C. (1891); Schofield, K.B. (2000); Bakhle, J. (2005) to recent works like that of Choudhary, S. D. (2010), Venkatesh, P. (2021) and Priya Kumari, J.T. (2023). These works have guided what one can call the historical-musicological and ethnomusicological aspects of the history of violin. 

Through my interviews with artists like Kamalbir Singh ji, Vijay Venkat ji and Deepa Shakthi ji I learned of the oral histories passed down from their masters to them, as is Indian tradition. They echoed the fact that the European violin came to India during the British colonization. But they were quick to point out the nuances, that earlier and organic versions of violin-like instruments existed throughout South Asia. Despite the widely reported three stories of violin's introduction (or reintroduction) into the region through the colonizers, it has not been concluded that the British colonizers brought the violin due to the presence of conflicting and different research by scholars that point to Portuguese, Irish and Ancient Indian sources as well.  

“In no subject of research, perhaps, has the Antiquary so many difficulties to contend with as in the consideration of the “Ancestry of the Violin,” and the study of the precursors of instruments of music played with a bow.” - Heron, Allen, E. (1885) 

Of the many ancient native instruments of India, the Sarangi is an ancient relative of the European violin which is both highly expressive and extremely difficult to play. This instrument can be credited for igniting performing artist, Kamalbir's interest in learning the violin. He kindly demonstrated how the violin is played sitting cross-legged with the instrument pointing to the ground and the scroll resting firmly on the ankle of the right foot. This allows the left hand to slide freely up and down the neck, without the need for the instrument to be supported by hand or chin in contrast to the European style. Moreover, he told me that powerful projection is not needed, and the tuning is done in fifths, so violinists often tune down a tone to create a more mellow sound and match the vocal instrument, the voice so well as to illustrate the timbre of a voice. 

Many stringed instruments from the Middle Ages must have influenced the violin. Yet, it was a sleeper hit in the realm of classical music until the 11th century. The instrument thrived in folk settings, often referred to as a "fiddle". Different forms that originated independently were found across the globe, from Europe to the Middle East. One such in South Asia was the ravanahaththa pointed out by Vijay Venkat ji. The veena and sarangi are indigenous to the Indian subcontinent and bear close resemblance to violin, as these instruments do not possess frets. Since ravanahaththa is seen as an ancestor to the sarangi, it accounts for a relevant highlight in the history of violin too. It would be hard to say where South Asian musicians picked up the technique of violin playing without taking ravanahaththa and sarangi into consideration. By putting them into the context of violin's history, we can understand how seamlessly musicians picked up the European violin and made it their own. 

The ravanahaththa, as the name might suggest, is linked to Ravana – the main antagonist of the epic legend ‘Ramayana.' This instrument had its birth and life in Sri Lanka, but it has been suggested from mythological accounts that Lord Hanuman took the violin from him and brought it to Rajasthan, where it still survives amongst street musicians. We could posit that the Ravanahaththa experienced a ‘cancel culture' within the classical music scene owing to its ties to the antagonist but we do not have sources on that. It was mentioned as “the oriental precursor of the occidental fiddle.” in the seminal book by Heron-Allen (1885). It is one of the most comprehensive books on the topic. He suggested that the ravanahaththa must have been one of the first violin-like instruments indeed that paved the way for future violins and their variations. This is something that Choudhary (2010) also picks up and asserts.  

Despite plenty of criticism from various musicians and scholars of South Asia and the West, the technique of sliding notes and playing position on the ground persisted amongst old and upcoming artists. South Asia's culture inculcated religious and spiritually inclined societies, and the music is the natural outcome of such a culture that is rooted in the spiritual realization of a people. Hence, the inspiration came from religion and spirituality mainly that we can call devotional or worship music today. These places of worship, whether a temple or mosque, have maintained strict policies about going in barefoot and sitting on the floor. Additionally, the modifications and techniques suited the players in expressing the microtonal and ornamental (gamaka) nature of Indian classical music. In an over-simplified manner, within the system, it is hard to say when a note begins or ends which allows for the expressive depth of ragas (meend) (Day, 1891). The practice of playing the violin while seated on the ground, with the instrument resting on the ankle, is another adaptation. This position, as discussed by Cottrell (2023), facilitates the use of both hands in a manner that supports the intricate finger movements required for gamakas. Western musicians and scholars have often criticized these techniques for deviating from the traditional Western methods of playing the violin. However, as Bakhle (2005) and Venkatesh (2021) point out, such criticisms often stem from a lack of understanding of the cultural and musical contexts in which these techniques evolved. 

By the 1800s, many violin musicians like Balaswami Dikshitar, Varahappayyar, Vadivelu, and Krishna Bhagavatar were flourishing under the patronage of various kingdoms. The Maratha kingdom of Thanjavur is the best documented for the same, under Serfoji II (Priya Kumari, 2023). He invited foreign musicians and dancers to perform at his palace, thereby facilitating a cross-cultural dialogue through music. I came across incidents in this historical research where learning of something Western was encouraged by traditional Indians. There must have been a purpose and reason for it. 

By supporting violin playing, Indian rulers enhanced their cultural capital, gaining prestige and demonstrated their sophistication. Cottrell (2023) notes that musical instruments often carry cultural significance, and the adoption of the violin by Indian courts symbolized a fusion of Western and Indian cultural elements. This must have helped Indian rulers to be on the bargaining table and hold on to power if they could before the complete consolidation of British power. Through Bakhle (2005) we see how the promotion of Indian classical music, including the violin, was tied to the broader nationalist movement. By integrating Western instruments into Indian music, princely states contributed to the creation of a unique cultural identity. 

The violin had been embraced and transformed, becoming a symbol of intercultural synthesis, and occupying a spotlight on music compositions, especially Karnatic music by the 20th century. Conceptualized as a colonial instrument, it was seen as the modernizer of Carnatic music and the preserver of Carnatic music's authenticity, a paradox. One might think that it brought Westernization with it. But it resulted in Indian classical music being defined in opposition to Western classical music (Weidman, 2006). This in turn, became a race to define what is Indian classical and develop it distinctly so. As more sophistication and classicism spread, it became known as the Indian violin and the bourgeoise defined Indian classical music while the nationalist movement was developing. 

Cultural appropriation, often viewed negatively, was a common occurrence between interacting cultures especially during colonial times. Interestingly, literature reveals that the subordinate groups engaged in more appropriation than the dominant ones. This process involves adopting traits from another culture, leading to the creation or enhancement of local equivalents that resonate with native sensibilities. In music, this means borrowing and permanently integrating the best practices from another culture to enrich the existing musical system (Young, J.O., 2010). 

Historical records indicate that British colonial rule significantly influenced the appropriation of Western musical elements by its colonies. This appropriation was predominantly carried out by the elite within the subordinate cultures for their own purposes. The Indian Upper-Castes become prime examples of it. In the 20th century, they held the perception that rhythmic complexities were associated with lower castes. So, they set out on the quest to define Indian music as classical music, aligning it with Western ideologies. This reclassification aimed to distinguish it from the common folk music of the natives. They implemented this in many ways, including the marginalization of various artists who did not fit their idea of ‘classicism.' The focus shifted from rhythmic intricacies to melodic aspects, seen as embodying the divine nature of music. 

I am no expert, but in the course of history art, culture, and politics come together in subtle ways and lead to the culture we see today. If culture is a consensual, interconnected system of beliefs and values then it was no accident that the violin became the embodiment of Indian classical music during a time when British colonization was overtaking the subcontinent. There are social contexts that enable the power of someone to negotiate the rules and narrate stories.  

Written by Rakshika Kaur Bansal for South Asian Arts-uk 

Bibliography 

Bakhle, J. 2005. Two men and music: nationalism in the making of an Indian classical tradition. New York; Oxford University Press. ISBN: 9780195166101 

Choudhary, S.Dhar (2010). The Origin and Evolution of Violin as a Musical Instrument and Its Contribution to the Progressive Flow of Indian Classical Music: In search of the historical roots of violin. Ramakrisna Vedanta Math. ISBN 978-9380568065. 

Cottrell, S. (2023). Shaping Sound and Society: The Cultural Study of Musical Instruments. Routledge. ISBN 978-1000928969 

Day, C.R. (Charles R. 1891. The music and musical instruments of southern India and the Deccan. London: Novello, Ewer & co. [etc.].  

Haigh, C. (n.d.) “The Indian Violin.” Fiddling Around the World. Available at: https://www.fiddlingaround.co.uk/india/. 

Edward Heron-Allen 2013. Violin-Making: A Historical and Practical Guide. Dover Publications. ISBN: 9780486317717 

Pamela Moro, P.A.M. 2018. Violins: Local Meanings, Globalized Sounds. Taylor & Francis. ISBN: 9780429887192 

Priya Kumari, J.T. (2023). “Cultural Appropriation of Western Musical Elements into South Indian Classical Music A Critical Appraisal of the Dispensation of Serfoji II,” Pranav Journal of Fine Arts, 1(4), pp. 515–520. 

The Island. "Sri Lankan revives Ravana's musical instrument". The Island: Sri Lanka print. 9 March 2008. 

Venkatesh, P. 2021. Forging a More Perfect Union: A Journey from Exoticism to Intercultural Synthesis of Indian and Western Art Music through Works for Violin. eScholarship, University of California. 

Weidman, A.J. 2006. Singing the classical, voicing the modern: the postcolonial politics of music in South India. Durham, N.C.; Duke University Press. ISBN: 9780822388050 

James O. Young 2008. Cultural Appropriation and the Arts. Wiley. ISBN: 9780470693360 

 
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