Rhythm fills my world

Fingers dancing on the apertures of the double edged drum producing power packed intricate and stylised rhythmic patterns that resonate in the heart, shoulders erect and stance majestic Mandapaka Nagalakshmi elicits appreciative nods and spontaneous applause even as she exudes feminine power and charm as one of the few women percussionists in the country.

Carving a special niche in an essentially male domain this ‘A’ grade mridangam artiste of the All India Radio and lecturer at the government college of music and dance at Vizianagaram, has given more than 2000 concerts since her maiden stage performance in 1978 both as accompanist and solo artist at Prestigious festivals and concerts in India and abroad.

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Mandapaka Nagalakshmi is at ease playing the mridangam and feels that women undergo great suffering as they are unable to reach their full potential as artistes to make a mark in this competitive field

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Born into a family of musicians, Nagalakshmi’s interest in the world of Carnatic music began as a young child listening to rehearsals of her mother Vimala Krishnamurthy and sister Dr Mandapaka Sarada both professional Carnatic vocal and light music singers.

The beats of the mridangam fascinated her and led her on to the road less travelled. “I was under the spell of the mridangam practising on tables, pots, doors and any hard surface that I could lay my hands on.

The rhythm from the beats radiated energy and held a special charm for me,” she recalls. Noticing her unwavering interest her musician parents ensured that she received training under Gurus Nemani Somayajulu and Mullapudi Sreeramamurthy and later Karaikudi R Mani in Chennai.

Her grandfather Vaduguru Neelakanta Sastry was a renowned vocalist and mridangam player and her love for percussion may have been an inherited trait feels Nagalakshmi.

Having lost her father early, Nagalakshmi says her older sister Sarada took on the responsibility of the family and proved to be her mentor and guide, nurturing her talent and encouraging her to further hone her skill. Her first stage concert was one where she accompanied her sister, who is also a Professor in Music at the Andhra University.

Another sister Chandramani is a vocalist and Veena player of repute. Nagalakshmi completed her MA in music attending classes in the evening while the entire day was devoted to practising the Mridangam.

The youngest in the family she gets immense support from her mother, sisters and railway officer brother who help her at every step. She opted to remain single because she did not want to be in a situation of conflict where she would be torn between personal responsibilities and professional requirements.

“I have seen many women undergo great suffering as they were unable to reach their full potential as artistes to make a mark in this competitive field. I was very clear that music was my life and made a conscious choice,” she says.

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She opted to remain single because she did not want to be in a situation of conflict where she would be torn between personal responsibilities and professional requirements.

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Being a professional percussionist requires a lot of strength and endurance as shoulder and neck pain are but a natural corollary of rigorous practice.

One has to endure these for the greater pleasure that the rhythm and beats add to the beauty of any concert whether it is an accompaniment or a solo performance Nagalakshmi feels.

Accompanying artistes require great concentration as one does not know what they would be singing and have to plan swarakalpanas following the manodharma while on stage.

Innovation in Thaniyavartanam is a challenge that enhances the feel and quality of a performance and brings out the greatness of the accompanist according to her.

As a woman artiste in a man’s world she has never faced discrimination nor was she viewed through the gender lens. “To be fair I have been treated as any other professional artiste both by colleagues and rasikas.

However, I have to acknowledge that there are more politics and machinations in the field of music than in the field of real politics. Jealousies, rivalries and insecurities are part of the package and I have learnt to take them in my stride,” she truthfully admits.

The talented mridangam artiste has been the recipient of many awards from the beginning of her career where she has won gold and silver medals in music competitions.

Her list of achievements is long including the Talamani award given by Sur Singar Samsad Mumbai, best accompanist award by the Krishna Gana Sabha Chennai and felicitations from several cultural organisations in the Telugu states.

She was conferred with the Bharat Gaurav award by the Indian friendship society, Glory of India award from Thailand, Best citizen of India award by International Publishing house, Delhi and will soon be receiving an honorary doctorate from the Jerusalem Global University, Chennai.

Awards are certainly encouraging she says but her unforgettable moments are definitely the appreciation showered on her by many luminaries of Carnatic music.

At a concert in Tuni eminent Mridangam Vidwan Kolanka Venkata Raju, who was moved by her performance presented her with an electronic tambura that he used.

In 1990 the legendary D K Pattammal, who was present at a Vizag concert where she accompanied her sister, told her that her playing was Shuddham (pure) and that she had a bright future.

Yet another memory that she cherishes is that of a concert at Arasavalli in 2013 where she accompanied the musical genius Dr Mangalampalli Balamuralikrishna.

Showing his appreciation by raising his eyebrows and playing the taalam, the ebullient musician showered her with praise and blessings.

Although she enjoys teaching at the music college, Nagalakshmi is aware that a career in Carnatic music is fraught with difficulties.

“There are only six government music colleges with very limited posts and no scope for recruitment or expansion.

The remuneration that one receives for concerts is low, while investment is high as a professional artiste needs to own at least twenty mridangams to gear up to the challenges in the field.

For every small repair we have to send the mridangam to Chennai, the only place that has this expertise,” she laments speaking of the understandable lack of enthusiasm among the present generation.

As an artiste however she looks at the brighter side of things and endeavours to make every beat more powerful and resonant. The rhythm that fills her world steers her towards perfection, one beat at a time.