Be it racy pop tunes of Lebanese diva Najwa Karam, swingy folk odes of rustic Bedouins or dreamy Turkish serenades, the Darbuka has been the faithful backbone for all. Ideally one of the world’s most exciting drums, as simple as it looks, the Arabo-Turkish Darbuka is sweet, complex, cheery and is sure to elevate the spirit with incredibly catchy and thrilling rhythms.
Falling in the category of ‘Goblet Drums’ considering their goblet-like structure, the Darbuka is played in a similar manner to the Iranian Tombak, Kashmiri Tombak Naer and the Moroccan Taarija, by placing it on the thigh with the top perpendicular to the ground.
Known to be an ancient instrument, now rapidly gaining popularity in India and in the West, the Darbuka, sometimes called ‘Tablah’ ‘Derbekki’, ‘Doumbek’ and ‘Darbukkah’ probably dates back to Babylonia and Sumer. The word is said to be derived from the Arabic root ‘daraba’ or ‘to strike’, considering that membranophones are struck to produces a tone. The drum is spread across the Middle East, parts of Africa and Europe, Central Asia and Turkey.
Sharper tones
Basically made with clay, ceramic, or sometimes even metal for modern versions, the top, originally made of goatskin, has been replaced with synthetic materials such as fiberglass to provide sharper, louder tones. Many prominent masters still prefer goatskin and clay versions to achieve a vaster canvas for improvisation.
A larger bass version of the drum is called Duhulla, very popular throughout the region. Hasan Abdel Magid of Egypt is one of the finest living Darbuka makers known, particularly for the authentic clay and goatskin variety. The name is synonymously associated with the instrument. Like ‘Steinway pianos’ or ‘Sadanand Tablas,’ a ‘Hasan Abdel Magid’ would refer to a Darbuka of the highest quality.
In the Middle East, ceramic and fiberglass versions are used extensively. In Turkey, clay and goatskin along with tinier fiberglass and metal ones are popular.
While Egypt is said to be the haven for Darbukas, its neighbor, the Maghreb (Tunisia, Algeria and Morocco), especially Tunisia boasts of its smaller, clay and goatskin folk versions.
The top is often larger than the narrow, thin neck and is shorter in length. This version is often played vertically and the rhythms vary sharply from the Middle Eastern counterparts. They are simpler, more vigorous, heart-thumping and with lesser improvisational frills.
Deft fingers are needed to create intricate and exciting rhythms within a fixed framework. While the base is played in the centre of the drum with the cupped palm, fingertips of both hands work magic in creating intricate rolls, accents and improvisations. While most players place the drum on their left thigh and play base with the right hand, there are some who are comfortable with the converse. Syllables like ‘Dum’ (base), ‘Tek’ (sharp tone) and ‘Ka’ (second sharp tone) form the basis of the repertoire.
Rhythms like Maqsoum, Baladi, Ayyoub, the Ottoman Chiftetelli, Karatshi to name a few, besides forming an incredible framework for solos, accompany classical, folk, pop as well as tribal music along with folk dances such as Raqs Sharqi, Berber dances and even Romani Gypsy music in Turkey. Many of the rhythms are said to emulate the camel’s gait while some, the movement of dancers.
The historical performances of giants like such as Umm Kulthum, Warda JazairiaJazairiyyah, Muslum Gurses, Fairuz to name a few, have had the Darbuka accompanying in humble and loyal comradery.
In solos, musicians go wild by improvising with both hands as another drum (darbuka or daf) provides the basic rhythmic outline.
Famous living masters of the darbuka include Hossam Ramzy of Egypt, Misirli Ahmet of Turkey, Faisal Zedan of Lebanon and even female Israeli singing icon Sarit Haddad who is a cultural bridge between Arab and Jews.
The writer, a multi-linguistic, is an international performer and composer