I am just now in Eugene, Oregon for another month looking to play or perform with some other indian music performers/lovers.
For those of you who dont know what a mridanga is (not to be confused with the south indian mridangam) it is a double headed barrel shaped drum whose body is made from clay (mrid means clay and anga means parts or limbs). Through vedic musical history, there have been many versions of mridanga. This one found its current peculiarities in Bengal during the time of Sri Caitanya (a revolutionary avatar/saint of Bengal who was famous for Krsna Bhakti Kirtan). It's musical theory is developed around the theistic roots of Vedic thought, which culminates in Bhakti.
I have been living in India since '99 off and on studying Mridanga classically under my Guruji - Bablu Das Mahashay of Swarup Ganj, Nadia, West Bengal. I actually began playing when I was a very young boy as I was raised in the Krsna movement in USA. But I finally made it to begin studying properly in '99. I have performed and recorded with Krsna Das, Jai Uttal and many others without very big names.
I love this instrument and the immensely developed traditional culture of spiritual music theory which was compiled for it. The sampradayas (lineages) which I am studying in are known as Manoharshay and Garanhati. The former serves as the foundation for the latter and introduces all of the conventional tals (das pahira, tin, kaharwa, dadra, lofa, ek, kemta, das kushi, rupak/teora, jaap etc). The latter (garaanhati) brings us into drupad and many tals which start from 64 matras in length and go upto 196 matras/counts.
So if any of you would like to jam out or record or ?? write me
Bhima-Karma
For those of you who dont know what a mridanga is (not to be confused with the south indian mridangam) it is a double headed barrel shaped drum whose body is made from clay (mrid means clay and anga means parts or limbs). Through vedic musical history, there have been many versions of mridanga. This one found its current peculiarities in Bengal during the time of Sri Caitanya (a revolutionary avatar/saint of Bengal who was famous for Krsna Bhakti Kirtan). It's musical theory is developed around the theistic roots of Vedic thought, which culminates in Bhakti.
I have been living in India since '99 off and on studying Mridanga classically under my Guruji - Bablu Das Mahashay of Swarup Ganj, Nadia, West Bengal. I actually began playing when I was a very young boy as I was raised in the Krsna movement in USA. But I finally made it to begin studying properly in '99. I have performed and recorded with Krsna Das, Jai Uttal and many others without very big names.
I love this instrument and the immensely developed traditional culture of spiritual music theory which was compiled for it. The sampradayas (lineages) which I am studying in are known as Manoharshay and Garanhati. The former serves as the foundation for the latter and introduces all of the conventional tals (das pahira, tin, kaharwa, dadra, lofa, ek, kemta, das kushi, rupak/teora, jaap etc). The latter (garaanhati) brings us into drupad and many tals which start from 64 matras in length and go upto 196 matras/counts.
So if any of you would like to jam out or record or ?? write me
Bhima-Karma
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