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everal percussion instruments such as the dhol used to exist during the Indus Valley Civilisation. Dhol is depicted in earliest ancient Indian sculptural arts as one of the chief percussion instruments for ancient Indian music along with tabla.[citation needed] Ain-i-Akbari, describes the use of Dhol in the orchestra of the Mughal emperor Akbar the Great. The Indo-Aryan word "dhol" appears in print around 1800 in the treatise Sangitasara. Regional forms and traditions The Punjab region Sufi dhol player Pappu Saeen, from Pakistan The Punjabi dhol is used in the Punjab region of Pakistan and northern India. In Pakistan, the dhol is predominantly played in the Panjab region; however, it is also used throughout the country ranging from as far south as Karachi and as far north as Khyber Pakhtunkhwa. In India it is found in the states of Punjab, Himachal Pradesh, Haryana, and Delhi. The beats of dhol have been an element in the ceremonie s of the great Sufi mystics and their followers. The patterns of dhol have been developed to catalyze the mind of the devotee who is seeking spiritual trance. Traditionally the Punjabi dhol has been the domain of men.[citation needed] Assam Men playing Assamese dhol during Bihu, Assam, India In Assam, the dhol is widely used in Rongali Bihu (Bohag Bihu), the Assamese new year celebrations in the month of April. Celebrated in mid-April every year (usually on 14 or 13 April according to Assamese traditional calendar), the dhol is an important and a quintessential instrument used in Bihu dance. The origin of the Dhol in Assam dates back to at least the 14th century where it was referred in Assamese Buranjis as being played by the indigenous people. This shows that the origin of Dhol in Assam was much older than the rest of India, and the name was probably due to sanskritisation. The people of the Valley reckon that the beats of the dhol are enchanting for people even at a long distance . Played by using a bamboo stick with bare hands, the Assamese dhol is made up of wooden barrel with the ends covered primarily with animal hide (unlike the rest of the Indian subcontinent, where it could be a synthetic skin as well), that can either be stretched or loosened by tightening the interwoven straps. The dhol player is termed as Dhulia and the expert in dhol is termed as Ojah (Assamese : ???). The dhol also has an aspect of symbolism in Assamese culture, and one considers it to be a "devo badyo" (Assamese: ??? ?????) or an instrument of god believed to be brought to Earth by the Pandavas. Goa Dhol (which is always accompanied by tasha, cymbals, etc.) is an important part of Goan shigmo celebrations. It also is an important part of Goan temple music; the temple dhol was traditionally played by a specific caste. Gujarat Dhol of Adivasi people of Gujarat, India The dhol was used by Gujaratis during celebrations such as Navaratri to accompany garba. Garba are the fo lk songs which describe the grace of the divine mother. It is one of the important musical instruments in Gujarat. Maharashtra In Maharashtra, dhol is a primary instrument used in Ganesh festivals. In the city of Pune, locals come together to form dhol pathaks (troupes). Pune supposedly has the largest number dhols in India. In the city of Nagpur, there are many troupes, play dhol in festivals and other occasions. Here dhol is referred to as 'Sandhal'. Dhol is made up of two stretched membranes tied by strong string. One side of dhol is played by wooden stick called "tiparu", on that side black coloured ink paste stick in the centre. This membrane is called the "dhum". In technical language it is called base. Another side of dhol is called "thapi" or "chati". In technical language it is called as tremer, this side of membrane is only played by palm. Boll of the dhol is "Taa","Dhin" and "Dha". "Taa&quo t; for the "Thapi" side."Dhin" for the "Dhum" side and "Dha" for the Both side play togeth