Jagadeesh Kurthkoti set the tone with an uthan on the tabla.
| Photo Credit: Special Arrangement
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
