Tha. Dhi. Thom. Nam. Variations of these basic strokes create the entrancing percussive sounds of the mridangam, an ancient Carnatic percussion instrument that York professor Trichy Sankaran is a master of, casting a spell over his audience at his Faculty Concert Series event, Rhythms of India.
Celebrating his 44 years at York, Trichy Sankaran performed at the Tribute Communities Recital Hall on October 1, ushering in a new generation of music that fuses eastern music with western sensibilities.
In 1971, professor Sankaran founded the Indian music studies for York’s music department, a significant achievement that preserves the traditions and techniques of Carnatic history and music, the main style of classical music in southern India. In an era of Euro-disco and glam rock, the program would reign as a vital beat. At age five, Sankaran began playing the mridangam and studied under the hand of mridangam maestro Sri Palani Subramania Pillai. He would continue to extend these lessons and discipline to his daughter, York alumna, Suba Sankaran.
Suba, along with her Juno-nominated band Autorickshaw, performed with professor Sankaran at the Rhythms of India concert.
“It always is a thrill to share the stage with my father. He has such an amazing balance of heart and brain in his music, and it’s always oozing with soul. I strive for that in my music-making as well; composing and arranging music that is personal, challenging, and yet still accessible,” says Suba.
Sankaran has a long, established career, winning several awards including the highest honour in Carnatic music, the Sangeetha Kalanidhi award in 2011. He performed across the world and was even recognized by the Ontario Confederation of University Faculty Associations for teaching excellence. Perhaps his biggest achievement is extending his talent and knowledge to the world, combining eastern and western pedagogical practices.
Of this fusion, Suba says, [su_quote]I’ve been straddling east and west all my life.[/su_quote] “When it comes to pursuing this idea of musical fusion, I try to make sure that I am sensitive to the traditions I’m borrowing from, and that the fusion is sensible, not just grabbing the surface level aspects of that style of music.”
Inspiring his daughter, Sankaran exponentially expands the possibilities of the Tha, Dhi, Thom, and Nam hand strokes, while never out-staging the brilliance of his roots. The Sankarans are marching to the beat of their own drum, and we are beholden to experience it.
Nirris Nagendrarajah, Contributor
Featured illustration by Sareen Qureshi
