• Manmohan Dogra explores the intricacies of Tabla repertoire sharing his musical journey in an interesting conversation with author Dr Priyaankaa Mathur.

Though born into a family with a business background, Manmohan Dogra grew up surrounded by music at home. His mother, Renu Dogra, often sang devotional bhajans, filling the atmosphere with melody and rhythm that left a lasting impression on him. A god-gifted child, his passion towards the beats began with tapping rhythms on tables and anything, long before he knew what a tabla really was. His school-teacher saw the spark in him and gifted him his first tabla. He initially played in school competitions, eventually drawing him deeper into the world of Rhythm, which later became his calling.

Manmohan explores the intricacies of Tabla repertoire sharing his musical journey in an interesting conversation with Dr Priyaankaa Mathur.

Manmohan’s real journey into the world of Tabla began at an early age, when he came under the guidance of Pt. Vijay Shankar Mishra, a musicologist and master of the Banaras tradition, whose wisdom and teaching opened up the true depths of tabla that have become the foundation of his growth till this day. To bring more dimension to his tabla repertoire Manmohan also began learning vocals under Pt. Dr. Prabhakar Kashyap and then began his journey of exploring Rhythm across genres.

As he grew he immersed himself in music and got inspired by the brilliance of the Tabla Maestro, Ustad Zakir Hussain, who became his guiding light, as he is who showcased not only an extraordinary command over the instrument, but an ability to hold the attention of the audience. Ustadji’s stage presence, the way he communicated through rhythm, and his deep respect for every Gharana left all his listeners in awe and Manmohan was no exception. 

He hoped that if he could carry even a fraction of that magic in his own performances, he would be blessed. While his thirst to explore the nuances of Rhythm made him discover tabla maestros of various Gharanas namely Pt. Sanju Sahay, Pt. Kumar Bose, Pt. Anindo Chatterjee, and Pt. Yogesh Samsi. (not flowing) That made a lasting mark on his learning, inspiring his growth in different ways, enriching his development as a student of the tabla.

Manmohan tells, “From the very beginning, my Guruji showed me the unique way the Banaras Gharana places the hand on the tabla—something so simple yet so profound. In Banaras baaj, every stroke has a certain weight, a certain identity. A single dha or tirkit should immediately reveal that it comes from Banaras, without the need for explanation. This is something my Guru has drilled into me, and it’s what I always try to carry in my playing. While Banaras Gharana is my foundation, my Guruji opened doors to the nuances of other gharanas, allowing me to see the larger picture of tabla as an art. 

He also taught me that while in most gharanas “dha” is produced by striking on the “chaanti” (edge of the tabla) and simultaneously striking on the base drum. The exponents of Banaras gharana use this “dha” only while playing “relas” and “baants”. For playing “dha” occurring in loud and resonant compositions like tukdas and parans, they strike and the meeting point of “lau” and “syahi”. Phrases like “tette” and “tirakitta” are played by striking on the tabla with all 5 fingers, while the tradition of reciting rare compositions and indicating its taali-khaali structure by hand gestures also has its origins in this baaj.”

Manmohan’s reflections reveal not just technical mastery but a deep reverence for tradition. His understanding of the Banaras baaj goes beyond technique—it embodies a philosophy where every stroke carries emotional and cultural depth. The way he describes the placement of the hand or the character of each bol demonstrates a performer’s mindfulness rooted in centuries-old pedagogy. In his words, the tabla transforms from a percussion instrument into a language of identity. Listening to him, one senses how discipline, lineage, and introspection merge seamlessly in his art.

Manmohan’s lessons have gone far beyond technique. He knows how to respect the stage, how to honour the music, how to hold himself in the presence of other musicians. These are things one can’t learn from books or videos—they can only be absorbed from a teacher who embodies them. I observed that it is through such values that the true essence of a Gharana is preserved—not merely through sound and technique, but through the transmission of discipline, humility, and spirit from Guru to Shishya.

Manmohan earned his M.A in Music from Delhi University and believes in sharing his knowledge of Traditional repertoire with students of Tabla. He deep dives into the repertoire of the Banaras Baaj stating differences with other gharanas in playing Qaida, Peshkar, Tukra and Paran forms, tells “ I have mainly learnt the Banaras baaj, or Banaras Gharana. 

In this tradition, we usually start a tabla solo with “Uthan”. The word Uthan means to get up or to get started, while its purpose is to draw the attention of the listeners from the very first go. Tabla players of the Purab (East) gharanas begin their solo recitals with this composition. To a master’s ear, the Uthan is also an indicator of the capability of the tabla player. One of its chief characteristics is that it is not a fixed composition—it is usually composed on the spot by the player. The Uthan is full of laya and layakaris like Aadh, Kuadh and Biyadh, and the bols used are open, resonant ones.”

He adds, “Coming to “Qaida”, the word literally means etiquette or the right way of doing things. The Qaida is bound by certain rules that govern its construction and unfolding and are very important for students of tabla for perfecting their clarity, articulation, and command over rhythm, which is why most gurus begin teaching with them. A Qaida is expanded through paltas, which must strictly use the syllables of the main Qaida structure, and it always ends in a tihai. Qaidas are of prime importance in solo recitals but are also very useful in accompaniment.”

Expanding on other Gharanas he tells, how they differentiate and begin with a “Peshkar” and says, “The word Peshkar has a Persian origin which means to present. It refers to a Qaida-like composition that can be expanded through Paltas and ends in a Tihai. However, there are several differences between a Qaida and a Peshkar. For instance, unlike Qaida, the Peshkar is not played in barabar, dugun, tigun, and chaugun layas successively. Usually, barabar or madhya laya are considered ideal for playing Peshkar, because the beauty of the composition—its unsteady gait—finds its true expression only in the slower tempo. A characteristic feature of the Peshkar is the phrase dhin–kridheen dha. Irrespective of the taal in which it is composed, this phrase is always present.”

He further draws light on the Parans and Tukras tells, “Paran” is originally a composition from the Pakhawaj repertoire, but over time it has become an integral part of the tabla repertoire as well. Parans are also performed by Kathak dancers. Since they are based on the syllables of the Pakhawaj, they are loud, energetic, and resonant. Structurally, Parans are similar to Tukras, but they are generally longer, and often some of their phrases are repeated. Like other forms, Parans also end in a Tihai. Common bols and phrases used in Parans include dhage tette, dhette dhette, dhumkitta, and others. While a “Tukra” is similar to a bandish composed of open, resonant syllables of the tabla, it is shorter than a Paran, and it always ends with a tihai. Unlike Gats, Tukras do not have open (bhari) and closed (khali) parts, and they are not presented in various layas. 

Instead, a Tukra is played only once, from start to finish, and chaugun laya is considered ideal for presenting it. So, while different Gharanas may follow different traditions, in the Banaras style, the journey of a tabla solo often begins with Uthan, then moves into Peshkar, Qaida, Tukra, and Paran. Each of these has its own rules, beauty, and purpose.

I hope that by sharing these explanations, readers are able to understand not just the definitions, but also the depth and thought that go into these compositions. My wish is that people see tabla not only as an instrument of rhythm, but also as a language with its own poetry. If even one reader feels curious to listen more deeply or to learn something new from this, then I feel happy that the tradition is being shared in the right spirit.”

Sharing his knowledge on Tabla techniques and the art of expression he further tells, “Different Gharanas of tabla each have their own unique character, techniques, and ways of expressing rhythm. I have learned to appreciate these differences deeply through my training with my Guru ji. What I have learned from Guru ji is that each Gharana is not just a set of compositions or strokes—it is a whole philosophy of rhythm, a language that speaks differently depending on the context, the mood, and the artist you are accompanying. Understanding these subtle differences has taught me to approach tabla not just as an instrument, but as a medium of expression, where technique, sensitivity, and creativity come together, and where every performance is an opportunity to communicate and connect with both the art and the audience.”

He further elaborates on various Gharanas and their techniques, “In the Delhi Gharana, the focus is on clarity, precision, and clean articulation of each stroke, with controlled finger work that produces crisp, defined tones. The Ajrada Gharana emphasizes intricate finger techniques and complex rhythmic patterns, often exploring unusual tempos and mathematical variations, which challenges the player’s creativity and mastery over rhythm. In the Lucknow Gharana, the style is more lyrical and expressive, with open strokes and subtle nuances, reflecting its close connection to Kathak dance, where sensitivity to the dancer’s movements and expression is essential. The Banaras Gharana, which I primarily follow, is powerful, resonant, and energetic; it places great emphasis on projection and rich tonal quality, especially in solos and dance accompaniment, with compositions like parans, tukras, and gats that allow both expression and virtuosity. The Farukhabad Gharana blends elements of clarity and resonance, providing balance between technical precision and expressive flexibility, while the Punjab Gharana is robust and bold, favouring loud, open strokes and energetic phrasing that captures attention immediately.”

Manmohan’s deep understanding of multiple Gharanas demonstrates technical mastery along with the capacity to bridge tradition and contemporary practice. By articulating the distinct character, philosophy, and expression of each Gharana, he reveals how tabla is more than an instrument—it is a language of rhythm capable of conveying emotion, context, and cultural heritage. Such insight allows him to innovate while remaining rooted in tradition, creating performances that resonate with diverse audiences. 

For the UK’s arts scene, his knowledge and ability to translate classical forms into collaborative and cross-cultural projects enriches the cultural dialogue, offering both educational and artistic value. It is this combination of heritage, virtuosity, and openness to experimentation that positions Manmohan as a significant contributor to contemporary music both nationally and internationally.

Manmohan moved to Edinburgh Napier University in United Kingdom, to pursue his master's in music business in UK, where he explored several fusion opportunities, which is indeed a very interesting combination.

He says, “I have always thought of myself as a student before anything else. Even though my foundation lies in the Banaras Gharana, my Guru ji encouraged me to explore the language of other Gharanas as well, and that curiosity became a part of me. Over time, I also felt drawn toward fusion—toward finding new ways of placing tabla in conversation with other sounds. That curiosity is what eventually brought me to the UK.”

Manmohan’s Journey in the United Kingdom has been full of exploration while he brings classical music to the global stage, especially through fusion concerts that bring together the Indian classical dance form Kathak and the Jazz music. Kathak which is one of the greatest classical Indian art forms, comes with its own language of bols—unique rhythmic syllables that dancers and percussionists both use. Having been fortunate to rehearse with his elder sister the renowned Kathak Exponent Era Dogra, it gave him a deep sense  of how intense and challenging it is to accompany a kathak dancer, which requires full concentration, discipline, and also sensitivity, and helped him while he started on his creative journey to create a new language of Rhythm.

His recent Collaborations with Kathak Dancer Richa Srivastava  and Jazz  Drummer Siemi Di at the Camden Town  at the South Asian Heritage Month Celebrations in  August 2025, showcased his excellence in tabla accompaniment. He complemented the dancer by  replying to the sounds of her foot work embellished with ghungroo sounds, as he created tabla bols like dig dig, tram, and jhijhikit, alongside replicating to her expressions on tabla, thus creating a new percussion language. His performance not only showcased his control of the Rhythm but also his understanding towards the subtle nuances of the dance form.

It is commendable that he has been able to take on that challenge, to learn, and even to start creating new bols that are not usually played on tabla. What makes this journey so exciting is how those classical traditions can be re-imagined in new settings.  As a tabla player, he has learnt to adapt and learn the other art forms to truly support the artist he is accompanying, whether it’s a singer, dancer, or instrumentalist. He has been able to think in terms of their mood, their expression, and their way of presenting. It’s a big responsibility, but also a great opportunity because when the audience connects with what he is doing, one realizes there is no harm in going beyond boundaries. In fact, as a tabla player, one must know not just what to present, but also when and how to present it.”

Manmohan demonstrated his artistry and sheer confidence to explore beyond boundaries incorporating his creative skills while experimenting with Jazz Drummer Siemi Di, wherein he worked on structuring teental—a cycle of 16 beats in a way that he could connect with jazz music, as the jazz drummers can recognize the 4/4 counts, and count on it, while they don’t have bols unlike the Indian percussion. 

He tells, “I bring the bols from Kathak and Tabla, while they bring their counting and swing. Slowly, we start to understand each other’s language. That’s where the dialogue begins. The process has been fascinating. As he is learning our compositions, and at the same time we are learning from his perspective. It takes time to really understand each other’s approach, but once that connection happens, it opens up so many new possibilities. Infact, this whole idea came from Richa Srivastava ji, who suggested including a jazz drummer in our project. That’s how I started working with Seimy Di, who’s a brilliant jazz drummer. Working with both Seimy Di on drums and with Richa didi has been such a rich experience. It’s not just about creating fusion for the sake of it—it’s about real exchange of knowledge and creativity. We are sharing traditions, learning each other’s rhythms, and finding new languages together. For me, this is the joy of being a musician: to keep learning, to keep growing, and to create something that can speak to both tradition and the present moment.”

Manmohan’s work in Kathak-Jazz fusion is a dynamic contribution to the UK’s cultural landscape. By reimagining traditional Indian classical forms in dialogue with global music practices, he preserves heritage while making it relevant and accessible to diverse audiences. His performances foster cross-cultural understanding, innovation, and creativity, enriching the UK’s vibrant arts scene and offering both educational and artistic value.

In another scintillating performance Manmohan collaborated with the British Sitarist Dave Beards at Edinburgh Fringe  Festival in August 2025. He showcased  the advanced techniques of Tabla when he played Qaidas, Relas, Tukdas and Chakradhaars, creating a sonic tapestry with his electrifying finger movements, the wazan (depth).He interacted with every stroke on sitar creating a rhythmic dialogue on his tabla, while maintaining the tonal quality of his instrument till the end, showcasing his discipline mastered over the years under his guru’s guidance. In this concert, Manmohan presented some traditional Kathak compositions—pieces that are intricate, demanding, and require the melody to be held with immense precision. Dave rose to the challenge beautifully. His playing didn’t just support Manmohan; it elevated the whole performance, bringing a kind of shine and polish that only true collaboration can create. The performance took the audience to a meditative state, while he received an overwhelming response from the audience, as he unfolded artistic depth and innovation throughout the recital. He tells, “The applause, the blessings, the warmth—they stay with me even now. Some listeners even asked about my future projects, which remind me why I chose this path: because music is not just performance—it’s connection, a dialogue with the audience that fills me with gratitude every single time.”

Manmohan talks about his collaboration with Dave, “I first met Dave during my student days at Edinburgh Napier University, and I remember being genuinely surprised—almost amazed—that an Englishman had such a deep and long-standing interest in Indian classical music. He had been learning for over 20 years, and not only that, but he was also skilled in both the sitar and the sarod and thus from the very beginning, I could sense his dedication and love for the art. 

He further added, “It was at the Edinburgh Fringe, in 2024, that Dave accompanied me on the harmonium. The way he played, with such patience and sensitivity, left a lasting impression on me and that entire setting has found a permanent home in my heart. Since then, we’ve performed together many times, most recently at the 2025 Fringe. 

What I admire most about him is his attitude towards accompaniment. He listens, he adapts, and he respects the music in a way that feels rare and precious. I feel blessed to share the stage with him, and I look forward to the journeys we’ve planned together, wishing him nothing but greater heights in his own path.”  

This collaboration demonstrates a profound dialogue within Indian classical music on a global stage, highlighting mutual respect, improvisation, and cultural depth. At a festival of such scale, Manmohan’s performances underscore how Indian classical traditions can be celebrated, preserved, and innovatively presented abroad, enriching the UK’s cultural ecosystem. His work exemplifies the role of a cultural ambassador, bridging continents and inspiring appreciation for the depth and versatility of tabla and Indian classical music.

Manmohan gives a glimpse into his future collaborations, “I am working closely with Kathak exponent Richa Srivastava, and also have an exciting project lined up in Edinburgh towards the end of October 2025 with flamenco artist Brandon Walker. He is planning a world tour and has invited me to be part of it. I will be the only Indian classical artist on stage, which is both an honour and a responsibility. Unlike in Hindustani tradition, where improvisation is central, here the compositions are tightly structured, leaving very little space to wander. 

Precision is everything, and I have to fit my playing neatly within their framework. For me, this is a completely new discipline. One of the compositions we are working on moves through three-time cycles—four beats, then seven, then twelve. It is complex and incredibly creative, but also a challenge that excites me. 

In addition, I have also been given the wonderful opportunity to perform with the legendary Baluji Srivastava. These collaborations are keeping me inspired and help me grow as a performer.”

Playing the tabla is not just about mastering compositions but about developing a true sense of rhythm that can travel across traditions. Fusion is not about overpowering or replacing one form with another; it is about blending them respectfully and finding a shared voice. If Manmohan can approach it with openness, the challenge becomes the joy, and when it works, the result is always something beautiful!

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