Video summary

Rajasthan Computer Anudeshak Bharti 2026 | Art and Culture वाद्ययंत्र Part 5 | Art & Culture Classes

Main summary

Key takeaways

Educational

Main ideas / lessons conveyed

  • The instructor teaches a category of musical instruments called “Avanad / Avanand Vadya”—i.e., instruments made with wood/metal and covered/coated with skin or leather.
  • He repeatedly emphasizes a study method:
    • Write each point one-by-one and maintain notes
    • Collect resources (screenshots / PDFs)
    • Ask doubts immediately
  • Instruments are explained using a consistent framework:
    • Material/Construction
    • How the instrument is played (struck/handed/right-left usage)
    • Where/when it is used (auspicious occasions, festivals like Holi, and by specific communities/castes)
    • Associated names/alternative names and notable people

Methodology / instruction-style points

Note-taking & learning approach

  • “Keep writing each thing one by one.”
  • “Make notes along with it.”
  • “Understand each thing well.”
  • If there is doubt: “ask immediately.”
  • “If notes have been made, keep adding things to them.”
  • Take screenshots of key tricks/notes.
  • Ensure a PDF is available.

Memory trick for “Avanad”

  • He uses a mnemonic/word-based trick to memorize key concepts related to “Avanad” (subtitles are garbled in the source text).

PDF / resource navigation

  1. Open the application
  2. Go to “Free PDF”
  3. Select State → Rajasthan
  4. Open the BSTC marathon folder
  5. Find the required PDFs inside (BSTC-related content)

Concepts and instrument-by-instrument points

1) Avanad / Avanand Vadya (category definition)

Avanad instruments are:

  • Made of metal or wood
  • Covered/coated with skin/hide/leather (on one or both parts)

Examples mentioned:

  • Pakhawaj
  • Dholak
  • Dhol
  • Mridang
  • Tasha / Taaśa / Taasa (variants mentioned due to subtitle differences)

2) Instruments listed as Avanad (extensive name list)

The instructor places many drums/instruments under the Avanad category, including (names partially garbled in subtitles), such as:

  • Dhol, Dhak, Dholak, Damru, Daf, Madal, Mridang/Mardang, Pakhawaj
  • Others with similar/variant spellings: Naubat, Nagada, Chang, Khanjari, Tasa/Tamasa/Tamk/Tamak, Ghera, etc.

3) Dhol (drum) – usage and build

  • Used on auspicious occasions
  • Wooden body (initially mentioned)
  • Goat skin/leather coated/attached on both outer parts
  • Structure concept:
    • Mentions a thin sheet / metal-like folded structure
    • Includes a peg/hook/links
    • Ropes/chains/strings tie components

4) Difference between Dhol and Dholak (as taught)

  • Dholak is played differently:
    • Subtitles state: dholak is played by striking with sticks (as per instructor’s line)
  • The instructor emphasizes that one instrument version differs from another, correcting confusion between Dhol and Dholak.

5) Material change mentioned (Akbar reference)

  • Earlier drums were made of wood
  • After Akbar’s time, drums began being made of metal
  • Presented as a music-related shift during Akbar’s era

6) Dholak / related construction details

Key construction points:

  • Outer skins/leather on two sides
  • A thick raised middle portion
  • Middle portion made by hollowing out wood (teak/mango/neem-type wood referenced)
  • Skin/leather coated on the sides
  • Associated terms/groups mentioned: Sasi / Nagarchi / Dholi (subtitle garbling)

7) Pakhawaj / Mridang – origins, naming, and award info

  • Linked to Rajasthan’s art & culture (noted as less commonly seen)
  • Rawal Bhavai caste mentioned as using it
  • Name equivalence stated:
    • Pakhawaj is also called Mridang
  • Notable person:
    • Pandit Purushottam Das ji mentioned as the main artist
    • Said to have received Padma Shri

About “Padma Shri” (as explained):

  • One of India’s highest civilian awards
  • Mnemonic/order given:
    1. Bharat Ratna
    2. Padma Vibhushan
    3. Padma Bhushan
    4. Padma Shri (presented as 4th)

8) “Deru / Deru-like” instrument (Damru comparison)

  • Deru described as similar to Damru but bigger
  • Played with right-hand side emphasis
    • “B left and D right” concept mentioned
  • Context: used/played when folk deities’ shadows arrive (subtitles mention Gogaji/Bheruji/Mataji)

9) Damru – identity and structure

Damru is presented as:

  • The musical instrument of Lord Shiva
  • Also described as Adi-vadya / original instrument concept

Construction (as taught):

  • Stones tied using ropes
  • Sound produced when it strikes the skin-wrapped parts
  • Repeated sound described like “tung/tung”

Usage context:

  • Folk traditions referenced (Bagrawat Gurjars / Gurjar Bhopas mentioned in relation to another drum in subtitles)

10) “Dak / Dhak / Dhak/Bagrawat Gurjar Bhopa drum” (foot/leg play)

  • A drum (likely Dhak) taught as:
    • Used by Bagrawat Gurjars / Gurjar Bhopas while singing Bagrawat stories
    • Played by placing it on the feet
  • Construction concept mentioned:
    • Two parts/splints with holes
    • Leather on top

11) Jantar vadya (rare usage)

  • Says Jantar Vadya is an instrument under the Shiva–Parvati concept
  • Emphasized as rare, used by specific folk performers/castes

12) Chang – Holi usage (and Shekhawati)

  • Used on Holi
  • Used in Shekhawati region
  • Build/shape described:
    • A round plate on one side with leather
    • Other side empty
    • Played by holding/positioning so it resonates
  • Subtitles show left/right play descriptions appearing for a related instrument, loosely tied to the “Chang-like/frame” idea

13) Kalbelia tribe Tapli-like instrument

  • Associated with the Kalbelia tribe
  • Taught as played (subtitle confusion about “square vs round”; instructor reportedly corrects “square” at one point)
  • Performer names mentioned:
    • Poonam Jat
    • Piyush Tapli-wale
    • (both stated as playing the Tapli)

14) Madal – types and regional fame

  • Instructor says there are two types of Madal:
    • Bhils’ drums
    • Rawals’ drums (attributed to the Rawal community)
  • Mentions:
    • Molela is famous in Rajsamand
  • Additional subtitle-inconsistent references include clay/treatment and a gem-stone-related concept

15) Pabuji’s Mate / Pabuji’s Mata / “Maat” instrument

  • Pabuji’s Mate:
    • Made from inverted clay pots
    • Covered with skin
    • Sound produced when played/struck
  • Another line:
    • Played during recitation of Pabuji’s Pavadas
  • Mentions “Maat” musical instrument used for Pavadas

Overall conclusion of the session

  • The instructor concludes:
    • “Five classes of Vadyantra have been completed” (current + previous lessons grouped)
    • These instruments are connected to a Shiva–Parvati related understanding (many explained with mythic/folk associations)
    • Students are encouraged to come tomorrow with the next instrument topic (mentions Ghan as the next category)

Speakers / sources featured (identified)

  • Main speaker/instructor: Kesar (referred to as “Computer Instructor Kesar Theory batch”)
  • Named individuals and references:
    • Pandit Purushottam Das ji
    • Akbar (historical reference about wood vs metal)
    • Lord Shiva
    • Parvati ji
    • Rahimdas ji (used in a prayer metaphor)
    • Bheruji, Gogaji, Mataji (folk deities referenced)
    • Pabuji (folk deity; Pavadas and Pabuji’s Mate)
    • Sawan (Monday of Sawan) (worship time context)
    • Piyush Bhai, Gaurav Bhai (briefly mentioned)
    • Poonam Jat, Piyush Tapli-wale (mentioned for Tapli)
  • Host/closer name at end: Pankaj Bishnoi

Original video