Kashi Damru traced Indian music’s spiritual heartbeat through rhythm

On the Carnatic kutcheri medai, the kanjira is referred to as an upa pakkavadyam (secondary supporting instrument). Over the years, however, this modest frame drum has moved beyond its traditional role, finding a place in percussion ensembles and cross-genre collaborations. Its practitioners are increasingly rediscovering the instrument’s versatility, experimenting the sonic possibilities. This spirit of exploration was evident at Kashi Damaru, a Hindustani music-based percussion presentation conceived by Jagadeesh Kurthkoti. It was performed as part of the Samatva Sambhrama Music Festival, organised by kanjira artiste Guruprasanna, at Bengaluru’s Chowdiah Memorial Hall.

Kashi Damru, the name evoked the drum’s association with the Shiv Nagari (Kashi), was conceived around the concepts of veda, naada, bhava, swara, laya and tala. The ensemble, led by Kurthkoti, wove intricate rhythmic patterns. The presentation also featured konnakol, the Carnatic art of vocalising rhythmic syllables, by Somashekhar Jois, with the spoken patterns subsequently played on the instruments.

The enselmble of vocalists and percussionists kept the audience spellbound
| Photo Credit:
Special Arrangement

The first segment, ‘Veda Nadaatmaka Yajna’, opened with a recitation of the Maheshwara Sutra in raag Bairagi Bhairav by Somashekhar Jois and vocalist Ganesh Desai. Kurthukoti set the tone with an uthan on the tabla, followed by Vinod Shyam Anoor on the damaru. Ganesh then rendered the shloka Karpuragauram Karunavataram, while also providing lehra accompaniment on the samvadini and sounding the customary conch. The rhythmic journey gathered momentum with a finely structured passage, executed with admirably by Kurthukoti and Manish Tamboskar on the tabla and pakhawaj. The vedic verses, invoking the five faces of ‘Panchamukha Rudra’ — Sadyojata, Vamadeva, Aghora, Tryambaka and Tatpurusha — were articulated as vocal incantations by incorporating the ‘chand kavit ‘ of natya by Sri Suryakiran and Sri Sanke. Simultaneously, Kurthukoti and Tamboskar came up with an impressive rendition of majestic compositions such as Mahamrityunjay Paran, Damaru Paran and Gat Chakradhar — thereby, creating an electrically-charged atmosphere. The improvisations on raag Bairagi by Deepak Paramashivan on the sarangi and Niranjan Hegde on the flute, in this segment, were noteworthy. Vocalist, Ramesh Kulkarni also rendered a riveting Shiva stuti — ‘Ganga taranga ramaniya jataakalapam’.

Kurthukoti opened the second segment ‘Naadopasana’ — a veritable musical worship —with a solo uthan on the tabla for a composition in raag Bahar: ‘Deem deem dam damaru baaje’ in Teen taal sung by vocalists Ganesh and Ramesh Kulkarni. In this phase, there was a tani avartanam during which chatushra jati Teen taal was played by all the percussionists — Kurthukoti (tabla), Tamboskar (pakhawaj), Shyam Anoor (mridangam), Somashekhar (konnakol) and Gopi Shravan Tirumale (chanda and morching) — creating rhythmic patterns, which were a blend of syncopation and micro-timing.

The third segment started with a stately rendition of Parvathi Vallabha ashtaka, ‘Namo Bhootanatham’ — a composition by Adi Shankaracharya in raga Shree by Ramesh and Ganesh. This segment, in tisra jati Teen taal, concluded with a tani avartanam that was rounded off with a grand chakradhar ending in tisra jati.  hese advanced variations, in which intricate mathematical calculations and strategically placed gaps were employed to achieve the final resolution on the sam, were negotiated with finesse by the percussionists and articulated with clarity and speed in Somashekhar’s konnakol.

The fourth segment commenced with the rendition of  ‘Rudrashtaka’ composition by Tulsidas in raag Madhukauns by Ganesh and Ramesh. This was set to khanda jati and was followed by another vibrant tani avarthanamthat culminated in chakradhar.

The final segment took off on a majestic note with Sadashiva stotra in raag Darbari Kanada, commencing with a prefatory, intricate nom-tom tarana pattern before the stotra.  The grand finale was the ‘Kashi damaru paran chakradhar‘ executed with elan by the percussionists.

The performance underscored the spiritual moorings of Indian music and its deep links with ancient literature,