Percussion is one of the finest musical art in any ethnic group whatsoever. Indian music has a fine tradition of the tabla beats, mastered and challenging to emulate, but many a time tabla wizards like Zakir Hussain have performed alongside international percussionists, as has Sivamani, India’s percussionist of standing. The beats that emanate are in themselves finely tuned rhythms.

Who can forget that concert at dawn in NCPA’s Tata Theatre,  a fitting tribute to Ustad Alla Rakha on his first death anniversary? As the first rays of the rising sun emerged outside, a 100 tabla players led by the late Ustad’s sons – Zakir Hussain and Taufique Qureshi – ushered daybreak with soft, gentle beats rising to a full crescendo as the sun must have glowed in all its morning radiance.

Percussion has always fascinated me. I reveled watching The Gene Krupa Story with Sal Mineo playing the young drummer. Much later a cousin made me listen to a record of the legendary drummer. When Herbie Hancock performed at the Rang Bhavan in Mumbai, the invitee concert was a little more than half full. The same Hancock on a return concert drew a full house. The drummers of our armed forces bring goose bumps on ceremonial events.

I once watched an Australian film call Boot Dance or something like that. Where a group of young men spend their evenings in a workshop dancing with home spun percussion – empty tin drums, chains, steel rods, lids…anything that made a noise and could resonate rhythmically. I don’t remember what my fellow reviewers or audiences thought, as for me, I couldn’t have been happier.

When I received an invitation for a concert of rhythmic dances by an Israeli group called Tararam, I was curious. When I mentioned it to a friend, he smiled and said how much more can they dance on Havanagela! I wasn’t deterred, although I hadn’t had much exposure to Israeli culture. My guests and I were mesmerized.

The Tararam Original Israeli Rhythm Group performed an energetic, yet artistic set of dances with conventional drums, as well as on any hollow piece which they could sound off on such as drum barrels, lids, etc. Their bodies too were used rhythmically as instruments of percussion as well as to turn breath taking somersaults and cartwheels. All in perfect sync and precision.  The energy on stage with all the drumming, spinning through the air and stomping out a rhythm held one breathless for a good hour or so.  They had the audience participate, and yes the ultimate finish was their rendition of Dhoom Machale.

Formed in 1996, the Tararam artistes are versatile in their abilities, including actors, singers, capoiera acrobats and tap dancers, all of who drum and do body percussion. Tararam has also started a tradition of children’s musicals. The first show was in 2004, and was called Tararam Kids in the Surprise Yard. They returned three years later, with Tararam Kids – Saving the World. The current show Tararam Kids – Power of Wishes, was released in 2011.

With India’s legacy of percussion not just in concert halls but in folk music too, it would be breath taking if anyone who brings together Tararam with our home grown percussionists.