Repositioning Tradition: Women and the Ghatam on the Carnatic Music Stage

陶罐鼓是由泥土烧制而成的一种民间打击乐器，广泛运用在印度南部音乐中。长久以来，陶罐鼓被认为是男性专属的乐器，因为演奏乐器时需要较大的力气才能使乐器正确发声，女性通常被认为不具备这一能力。然而，苏坎雅·拉格帕姆开始改变这一情况，她成为了第一个著名的女性陶罐鼓演奏家。与此同时，拉个帕姆建立了一个全女性的乐团，名为斯特·塔·塔朗，这个乐团的成员包括维纳琴、小提琴、木里丹加鼓和口弦演奏家。拉格帕姆的变革不仅将陶罐鼓提升到舞台的中央地位，也改变了女性打击乐器演奏家在南印度音乐中的地位。本论文有两个主要研究目标，第一个是探究苏坎雅·拉个帕姆成为第一个女性陶罐鼓演奏家的经历，以及成立一个全女性演奏乐团的过程和引起的反响。第二个目的是讨论印度南部音乐发生的变化，以及这些变化发生的原因和影响。这个问题着重讨论导致印度传统音乐性别不平衡的社会-文化原因，和南印度音乐中女性音乐家的历史地位变化。The ghatam is an old folk and classical percussion instrument made of clay that is widely used in South Indian music. It has always been considered an instrument of the male domain because making a sound on the surface of the pot requires strength and special skill, which female musicians are seen as not possessing. However, Sukanya Ramgopal has begun to change this situation by becoming the first high-profile female ghatam artist and establishing an all-female ensemble called Stree Taal Tarang, which comprises of female musicians on the veena, violin, mridangam, and morching. Ramgopal’s reforms have not only elevated the ghatam to a center-stage instrument, but have also changed the position of the female instrumentalist on the stage of South Indian classical music. The research of this thesis has two main goals. The first is to examine the process of how Sukkanya Rampogal became the first celebrated female ghatam artist and went on to establish Stree Taal Tarang, an all female musician ensemble. The second aim of this thesis is to discuss the reasons of these changes happened. This question centers on the social-cultural factors that resulted in the gender imbalances found in the world of Indian classical music and the historical relationship between female musicians in Carnatic music.Zhang, Xiao.Thesis M.Phil. Chinese University of Hong Kong 2017.Includes bibliographical references (leaves ).Abstracts also in Chinese.Title from PDF title page (viewed on …).Detailed summary in vernacular field only