Vamsi Maganti (11) listened carefully to the singer next to him, closing his eyes to feel the gentle rhythm of her voice as he tapped softly on his drum, blending the two sounds together, April 13. Dressed in traditional clothing, he sat on the floor of the Sri Lakshmi Venkateshwara Temple, intently listening to every slight tonal shift of the song. Acting as an accompanist to the performer, Maganti’s fingers bounced lightly against the instrument, a combination of practiced muscle memory and harmonious impromptu.
Maganti discovered this particular type of drumming at 6 years old, entranced during his first listen by the skillful movement of the player’s hand.
“It’s a South Indian classical percussion instrument called a Mridangam,” Maganti said. “I first saw my dad watching a video of a professional artist and watching him move his fingers really quickly just made me want to do the same thing as well. I then asked my parents if I could learn.”
Little did Maganti know, this first encounter would spark a lifetime of passion. From then on, he devoted himself to learning each mechanism and musical nuance of the Mridangam.
“It’s a double-headed instrument with the wooden barrel in between,” Maganti said. “The right side is made from goat skin, cow skin and charcoal and the left side is made from buffalo skin. Since I’m right handed, the left side acts as a bass for me. I don’t use my fingers for that, rather I just hit it with my palm. The right side is where there are different tones and to get a certain tone, there’s different finger placements. You need to have dexterity with your fingers on the right side to make specific sounds and also play alongside your left hand in a consistent rhythm.”
Typically used to accompany a singer or group of dancers, the Mridangam is a holy instrument in the Hindu religion and is mostly used for festivals and auspicious occasions. Playing it takes practice, as one has to perform many unique placement techniques in a singular song.
“I’ve been learning a variety of rhythmic patterns,” he said. “It’s mostly muscle memory, learning these specific patterns and applying them to [performances]. For practice, we study how professionals accompany certain singers. We try to replicate what they’re playing in our own styles.”
Improvisation is also necessary for this particular type of drumming, Maganti said.
“When I accompany a song, I first have to follow its certain rhythm,” he said. “But there are particular nuances to each song you play, and I have to pick up whatever the singer gives me. I have to do that on the spot because even if we do practice with them, they’re not going to sing the exact same thing and I’m never going to play the exact thing again either. The more you play, the more experience you get with having to improv.”
Maganti still remembered the first time he played alongside a singer, looking back on how he’s improved throughout the years.
“My first performance was with a singer because my teacher had contacted them, saying ‘Give this kid a shot,’” Maganti said. “I had just started playing, so it was a completely new thing and I would get caught off guard a lot of times. But, then, with experience, I’ve improved my anticipation of what the singer might give me because I’ve observed different people [perform] in different ways.”
Since then, Maganti has performed in countless festivals, including classical Indian celebrations such as Ama Navami, Dussehra, Shivarathri, Ugadi, and more. Throughout all these events, he said, the most essential aspect of playing the Mridangam is listening and observing people intently. According to Maganti, the most exciting part is being able to keep up with the performer and predict their next move.
“You have to listen to other people play a lot,” he said. “That’s the most important thing. You need to be able to observe and adapt to what the main artist gives you. Being able to instantly react to what the [performer] is doing provides a sense of thrill for me and it’s exciting for the audience too.”
Maganti said he thrives on the creative freedom that his performances provide him, more so with the vocalists than the dancers.
“I mostly do vocal performances since a lot of it is improvised and on the spot,” Maganti said. “I prefer those ones because I have more freedom to play what I want. For dancers, I have to follow their footwork and there’s a more [rigid] structure that I can’t really go outside of. ”
Amongst all of the things he enjoys about the Mridangam, Maganti said the connections he has built through playing the drum has had the largest impact on him.
“I have some really good memories from drumming,” Maganti said. “I’ve met a lot of new people, like other players and other teachers, who have taught me so much. I’ve even had the chance to meet professionals and create connections with them, asking them for advice on how to play better. My family is not a musical family, but me being the first musician has brought a new form of entertainment for them. They’ve even started to research music and watch other people play, showing it to me. [Drumming] has brought me closer to them and my culture.”
In July, Maganti will go on to show off his drumming, amongst other musical experts, for his most significant performance yet: an Arangetram, the official ceremony that will turn him from a student to a professional Mridangam player.
Above all else, the Mridangam has always provided him a sense of relaxation and emotional fulfillment.
“I would say it’s a way for me to escape from social pressure and just focus on playing,” Maganti said. “It feels like I’m achieving something whenever I discover something new or try something and it works out. Honestly, it just makes me feel happy.”
