Indian Hand Drumming on the Global Stage: an Interview with Dr
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Indian Hand Drumming on the Global Stage: An Interview with Dr. Rohan Krishnamurthy By Craig Woodson r. Rohan Krishnamurthy is a master drumming workshop in Cleveland in 2006. my passions, and Kalamazoo College, in of the mridangam, a double- Since I had briefly studied the mridangam my hometown of Kalamazoo, was a perfect headed, pitched hand drum that and was aware of its complexity, and knew the place to pursue them. Thanks to the support dates back over 2,000 years in the value of the instrument’s music for classroom of my professors, I was able to pursue an DCarnatic tradition of South India. Described teachers, I invited him to visit as guest artist interdisciplinary thesis that explored the as a “musical ambassador” and “pride of India” at one of my teacher workshops. Based in acoustics of my drum tuning system. by The Times of India, and “international San Francisco, Rohan focuses on preserving mridangam player” by USA Today, Rohan the Indian rhythmic tradition and adapting CW: You are an expert at playing the has performed hundreds of concerts it to contemporary global contexts. I had the mridangam. First, tell us about that internationally since the age of nine and has pleasure to talk to him about his unique story instrument. What does it look like, what are become distinguished as a soloist, composer, and ideas on performance, education, and the basic techniques, and what is its history? and collaborator in a multitude of music and entrepreneurship. RK: The mridangam is one of the oldest, most dance ensembles. Rohan recently shared stages complex, and versatile drums in the world. It with legendary Indian musicians such as M. CW: When I met you in 2006, you were is a double-sided, barrel-shaped hand drum Balamuralikrishna and L. Subramaniam, and pursuing a double major at Kalamazoo that is played with the fingers and palms. The collaborated with such award-winning artists College in music and chemistry. How did you drumheads are entirely natural and consist as Glen Velez, Jamey Haddad, and Anoushka come to have this dual interest? of multiple layers of cow, goat, and buffalo Shankar. He also had the “Rohan” concerto RK: I’ve had a passion for the arts and leathers. written for him by eminent percussionist and sciences since elementary school, and I Thevalanthalai or tonal side of the composer Dr. Payton MacDonald. Scored for pursued several science research projects instrument consists of three layers of leather mridangam and Western percussion ensemble, in high school. I started learning Indian with a circular loading in the middle. This the piece was recently premiered on both coasts classical music when I was eight and started loading, or karani, is made of 20 to 30 layers at Juilliard and the San Francisco Conservatory performing at nine, so music was always of an iron oxide and starch mixture. It’s this of Music. a big part of my life, too. A double major ingenious construction that allows us to I met Rohan at my Roots of Rhythm world was an excellent way to continue both of create resonant pitches on the mridangam. Thethoppi or bass head of the mridangam is wetted in performance and uses a dough or, more recently, synthetic loading to achieve a low bass tone. Using the tonal and bass ends of the drum separately or together, there are over a dozen unique pitched, semi- pitched, and unpitched sounds available on the mridangam. It’s like a hand-drumset with such a rich sound palette. The predecessor to the tabla, it has a history of over 2,000 years and is one of Photo by Julie Michelle Sparenberg Michelle Julie by Photo the most popular and sacred drums of India. It employs the advanced split-finger technique, which utilizes every finger like an independent drumstick. Coupled with the mathematically intricate and lightning- fast compositions and improvisations of Indian classical music, the mridangam truly represents one of the great rhythmic traditions, and a limitless source of rhythmic and compositional ideas for all styles of PERCUSSIVE NOTES 30 NOVEMBER 2016 Kalamazoo College gave you a choice of going into chemistry or music for your graduate work. Why did you choose music? RK: As I was completing college, it became apparent that it would be very hard to pursue both music and chemistry at a professional level. By that point, my musical career was going very well and in many exciting new directions. I realized early on that I would be embarking on an international and inter-cultural artistic journey given my background and trajectory, and, and I wanted to learn as much as I could about the music of diverse world cultures— Photo by Emily Sevin Emily by Photo performance, history, theory, and cultural contexts. In an effort to diversify my knowledge, I ended up at Eastman for my doctoral studies in musicology and ethnomusicology. I was lucky to have studied so many musical traditions while I was there, including many styles of Western art West Coast premiere of the "Rohan Concerto" at the San Francisco Conservatory of Music. Bay Area music, pop, jazz, Indonesian gamelan, and visual artist Rasika Apte (far right) creates a real-time painting of the piece in the background. Zimbabwean mbira, all the while improving and expanding my skills in Carnatic music. music. absence of a mridangam teacher within hundreds of miles of Kalamazoo, my CW: You have sought to preserve the tradition CW: How did you become interested in this Indian musical studies could have easily of mridangam performance as it exists in instrument? Who influenced you to begin this come to an end. Damodaran, however, India, and you have also branched out to study? suggested that we continue lessons over the perform in other musical ensembles. You RK: Having grown up in Kalamazoo, it’s speakerphone! This was before Skype and have also composed music. What are some very unlikely for someone to become a Google Hangout, so lessons were entirely of your motivations in seeking new musical professional musician specializing in Indian audio-based with no video! Luckily, by expressions within this ancient tradition? classical music, but that’s exactly what that time, I had already learned the basic RK: As a second-generation Indian-American, happened! My whole family is musical, techniques on the mridangam and the I have always had to balance expressions although no one had the opportunity to konnakol vocal percussion that goes along and expectations of both cultures, in music pursue music as a profession. I benefited with it. Damodaran would recite the lessons and otherwise. Cross-musical and cross- from my parents’ huge Indian music and I would recite them back and play genre performance and composition are collection, and we used to frequently attend them on my mridangam. This was an early a powerful way to bridge cultures and concerts in Detroit and Chicago. My mom is example of long-distance music education, people through music, and to appreciate a trained Indian classical singer, and my dad and it worked remarkably well thanks to the similarities and differences of the had a lifelong passion for the mridangam the dedication of my guru and unwavering world’s great musical traditions. I’ve had the but never had the chance to study it when support of my family. I learned over the honor to work on new collaborations with he grew up in India. We were extremely speakerphone from Damodaran for over a orchestras, jazz ensembles, and amazing lucky to have Damodaran Srinivasan, a year. musicians from around the World. Recently, graduate student from India, in Kalamazoo In 1996, I had the chance to meet the I received a grant from the San Francisco in the early ’90s. He received training in the mridangam legend Guruvayur Dorai when Arts Commission to compose a new, three- mridangam when he grew up in India. My he came for a concert in Michigan. I met movement work for solo mridangam that is dad bought a custom-made mridangam him backstage before the show and things inspired by the changing rhythmscapes of from India and started learning from just clicked. He asked me if I wanted to sit San Francisco. I’ll be premiering the work Damodaran. Although he stopped lessons with him on stage for the concert, and I said next April at the San Francisco Community after a few months, the circumstances were sure, not really knowing what to expect. Music Center, and also starting a new Hand perfect for me to begin learning. One day The concert lasted nearly five hours, and I Drumming and Indian Rhythm Institute when I was eight, I asked my parents if I think he was impressed that I could sit and there with support from the grant. The Bay could start learning the mridangam, and the observe him and the ensemble for that long. Area was the original home of Indian art in rest is history! I’m forever thankful for my He said he’d be happy to teach me the next America, so many influential movements family’s love and support, without which my time I came to India. It was an opportunity sprung from the creative community here. It life story could have ended up very different. of a lifetime, so my family and I made it to continues to have such an amazing diversity Chennai, India, where he’s based, the next of artistic communities, and an especially CW: You had an interesting experience learning summer. I continued learning from him multifaceted South Asian arts scene. It’s how to play the mridangam when your first during annual visits to India, as well as inspiring to see how the next generation of teacher moved away.