75-year-old Nadoja Pindipapanahalli Munivenkatappa, a Padma awardee, began his journey with the thamate at the age of 16, and has dedicated his life to protecting and promoting the legacy of the hand drum for 60 years.
In the quiet village of Pindipapanahalli in Karnataka’s Chikkaballapur district, the rhythmic beats of the thamate have echoed for decades, symbolizing the stories of culture, resilience and identity. These beats, crafted by the skilled hands of Nadoja Pindipapanahalli Munivenkatappa, 75, have not only preserved a fading folk tradition but also brought a deeply rooted art form into limelight. Known widely as the ‘Father of Thamate’, Munivenkatappa has dedicated his life to protecting and promoting the legacy of his hand drum for the past 60 years.
The Padma awardee began his journey with the thamate at the age of 16, under the tutelage of his father, Papanna.
Over the decades, he became a pivotal figure in preserving and promoting this traditional percussion instrument, which holds deep roots in the Old Mysuru region. The instrument is a hand drum made of goat hide stretched over a circular frame bound with an iron ring. Traditionally, it is played by certain communities during funerals, village festivals and announcements.
“Initially, I did not like the thamate. I grew up watching my father and my brother play the instrument. But I never had a liking for it. But after my father’s death, I had to inherit the family culture. That’s how my journey began,” says Munivenkatappa.
Munivenkatappa’s big break came unexpectedly in the 1970s. It was during a temple fair in Devaramallur village in Sidlaghatta taluk, a performance by the young artist caught the attention of HL Nage Gowda, a renowned Kannada folklorist. Impressed by his performance, Gowda took Muniventakappa under his wing, introducing him to larger audiences across Karnataka .
“That moment changed everything. It wasn’t just about playing the thamate anymore – it was about representing my community and sharing our art with the world,” said Munivenkatappa.
Following his first break, Munivenkatappa became the poster boy of folk art. From performing in cultural festivals to folk exhibitions and state events, the audience were all ears to his thamate beats.
While his journey has been inspiring, it hasn’t been without challenges. Munivenkatappa, had to deal with the social stigma surrounding thamate players, often linked to lower-caste communities. “This has been a constant battle in my life. There were times when people wouldn’t even let us play in certain spaces,” he recalls.
Additionally, his life has also been marred by financial struggles. Folk artists like him often earn modest incomes, relying on sporadic performances to make ends meet.
In fact, he has also taken his thamate to countries like Japan and USA. “It was an exhilarating experience to play the thamate in rich countries like Japan and America. But despite all economic strength, the people there still groove to my ordinary thamate. Therefore, I see music as a tool that treats everyone equally,” he says.
Over the years, he has also mentored dozens of students in an effort to preserve folk art amid the domination of modern music.
In 2016, acknowledging his contributions, the Karnataka state government allotted a Bangalore Development Authority (BDA) site to Munivenkatappa under the G-category (persons in public life) in Kempegowda Layout. However, due to financial constraints, he was unable to pay the required Rs 5 lakh for registration within the stipulated three-year period, managing to pay only Rs 26,000. Consequently in January 2023, BDA cancelled the site allotment.
Despite social and financial setbacks, Munivenkatappa still has his hands around the instrument only to keep the folk art alive. “Even now, I get invites from cultural programmes or other events. I grace the event only to honour their request. However, on popular demand, I perform sometimes. But I can only perform for just five minutes and if there is a stage. I am too old now and I can’t engage the audience long enough. However, I ensure that my students carry forward the legacy without fail,” he says.
“It is also important for the government to support artists like us. If they support them we can nurture more such folk talents,” he adds.
source/content: indianexpress.com (headline edited)