(This text is part of "Malaram and Bhagirat Govaria" cd's booklet, reference JHCD081 that can be ordered here)

Although found nowadays almost all around the globe, the origins of the Jew’s harp still remain obscure. Lost in the dusty twist and turns of human’s history, its roots and development can only be partly brought to light through four fields of study : ethnology, organology, etymology and musicology. Taking into account that there are little chances of its emergence in several areas at the same time, the history of the Jew’s harp is similar to a complex branching driven by a plethora of ethnic minorities and their distinctive way of integration. Moreover, in many instances, mythology and mysticism add themselves to it and definitely cloud the issue. The morćang is no exception to the rule.

                Rajasthan is geographically the largest state in India. Bordered westwards by the Pakistani provinces of Sindh and Multan, Barmer and Jaisalmer districts have complex historical and cultural connections with their neighbour. Fortunately, cultural boundaries are not as tightly closed as the administrative ones and this allowed a musical continuity to freely establish itself  from Sindh to Rajasthan over centuries. This is relevant today through some similar musical instruments (morćang, sarangi, narh), through the emergence of hybrid musical styles (Kuchchh kafi is a combination of Sufi poetry and indian raga), through the content of some epics (the Pabuji epic recalls a trip through the Sindhi city of Umarkot) and through the roots of the musicians themselves (Langa from Rajasthan are professional performers originating from Sindh).

                Thus the organological study of the morćang suggests the geographical migration of a know-how with Central Asia as its birth-place and ending in the Carnatic area for this side of it. Traditional morćang from Barmer, Jaisalmer and Gujarat districts presents a typical back outgrowth of the strip. The shape, the slimness of the frame, the smithy processes and the iron as base material strengthen us in the idea of an immediate legacy from the Pakistani tradition.  The evolution of the fundamental into the lower tones, imposing therefore bigger size instruments, is explained by the adaptation to the local repertoire.

                Etymologically considered as “the peacock instrument”, morćang sometimes carries a sumptuous pearl-twisted tail Jula, handcraft of the Momblem community of the Sindh in the Derasa village. Some modern moulded instruments even show an entire peacock body. Although Rajasthani performers take pleasure in saying that, through their instrument, is revealed the true peacock’s voice, an in-depth linguistic investigation suggests both the root signification of the word and its shift into “peacock instrument”. Morćang splits up in the Sanskrit word mor (or muh) which means “mouth”, and ćang a Persian term for “harp”, thus creating the “mouth harp” expression used by numerous other traditions (Norway, Finland, The Netherlands, Spain, Kirghizia). Mora, homonym of the previous Sanskrit muh which signifies “peacock” may explain this altered meaning, as the peacock is a highly-considered mythical bird in Rajasthan.

                The legend says that there was once a wealthy and influent Maharaja. As he could satisfy all his children’s needs, he considered they should not  have to do anything by themselves.  So was the nature of things then. Nevertheless, one of his daughters retorted that Shiva had given  her two legs, two arms and two hands and that she was to take part in each and every life’s event.  When the time came for her to get married, he condemned his daughter to share her remaining existence with a peacock as her spouse.  She remained happy despite a difficult life and  accepted the destiny Shiva had chosen for her.  Then, one day, the bird met his death, as he was caught in a strong hail storm. The young girl was for sure miserable but once again accepted this tragic fate.  In order to reward the true love of the young woman for him, Shiva brought the peacock back to life in the guise of a maharaja, Rajamordaj.

                Morćang is traditionally played by the Langa, the second largest professional musician cast after the Manganiar. In spite of related origins, these two groups have their own repertoire and their own instruments. Even before being musicians, their main function is to recall, through their songs, the genealogy of their patrons, jajman.  Considering that percussions are instruments assigned to lower cast as the Dholi, the Langa found in the morćang an elegant substitute where rhythm and melody gently mix together. Their specific playing techniques are based on an ancient melodic repertoire on top of which entrancing throat rhythms have been added. They are split into two groups, Sarangiya Langa and Surnaiya Langa, which are distinct by their social rank and their instruments.  Originating from Pakistan, they are considered as the Manganiar of the Sindh. This filiation is visible through their music whose colours are definitely Sufi. Manganiar and Langa have been jointly on tour, getting people to learn about their music, throughout India for some years now and recently on international stages. This recent perspective for the musicians alters ineluctably their musical approach. Manganiar and Langa styles melt now together to provide subtle ornamented melodies on top of a rhythm symphony. Now also in Manganiar’s hands, the morćang has become a pure rhythmical instrument, reinforcing the complex rhythms present in their own musical tradition.  The morćang style developed by the best carriers of the Rajasthani music which has now won the public favour may toll the bell of the Langa style.