Elli Miller Maboungou: “Sometimes, drums speak for themselves”
The percussionist and composer on his Congolese and Jewish American heritage, and navigating the financial instability of an artistic career
How did you get to know about Jodhpur RIFF?

I have met the festival director, Divya Bhatia, many times. The first time he saw me play was at Réunion Island — which is right next to Mauritius — in the Indian Ocean. I was playing with a band called Afrotronix at a music festival. Divya came over to talk to us after the show. We also met in Canada at the Mundial Montréal. It is a showcase where musicians get to perform before industry professionals. There, he said he would like to bring me to Jodhpur for RIFF. I could not believe it at first but he assured me that he was serious, and I would get to play for an audience in India at the beautiful Mehrangarh Fort.
This is your first time in India. How has the experience been for you?
Well, I have been to Asia before. I have visited South Korea and China. But as far as India is concerned, this is my first time. I had a beautiful experience. I did not feel lost. The vibe is very similar to when I have travelled across Africa. I mean, the people, the markets, all the food, and the hospitality.
Tell us about the cultural significance of the drums you have brought along to play.
The drums that I was using are called ngoma drums. The word ‘ngoma’ is from the Kikongo language, one of the many languages spoken in the Congo. Just like India, and several countries in Africa, the people are multilingual. Ngoma drums have an important role to play in traditional ceremonies, and special occasions such as the birth of a child. They bring people together because of their social and cultural significance. They are used in celebrations and healing rituals, which seem incomplete without music and dance.
I learnt to play these drums from my mother, who is a dancer. She is from the Congo, and my dad is from the United States. As a child, I used to go for my mother’s dance classes. That is where I picked up my love for drumming. I am proud to call her my teacher. Since I live in Canada and not in the Congo, I do not get to play with Congolese musicians every day. I have to play by myself, so I combine traditional Congolese rhythms with other kinds of music.
What kind of influence did your father’s Jewish heritage have on your music?
A lot of the Jewish boys that I know grew up being overprotected by their moms, so they left home when they grew up to be more independent. My dad did not teach me a lot about Judaism. As he is growing older, he is getting more interested in religion (laughs). I have been to Israel and Palestine on a tour some years ago. I have played at concerts there.
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In the current political scenario, where musicians are being called out for associating with Israel and urged to stand in solidarity with Palestine, do you feel compelled to state your position in a public way? Or do you prefer to keep silent, and stick to drumming?
I prefer to stick to drumming. Sometimes, the drums speak for themselves.
How do they speak to you?
Drums are important in so many ancient cultures. I have a spiritual connection with them. If I am not feeling good on a particular day, all I have to do is sit with my drums and play. They give me the energy that I need. When I am low, they pull me out of that dark mood. This stuff is difficult to talk about but you can experience it and feel it for yourself. These traditional rhythms carry the blessings of our ancestors, who had figured out what drums can do so many centuries ago. Their power is felt across cultures. People listen to them, and just start dancing. Usually, Congolese people tie drums around their waists. They play, sing and dance. I had three different drums; it was not possible to tie them around me.
At Jodhpur RIFF, you collaborated with musicians from Rajasthan on stage. What did that feel like?
At first, I thought it would be challenging because we come from different backgrounds and did not have a lot of time to rehearse. But we connected with each other’s music. The fact that we did not share a common language or training did not matter. Music brought us closer. There are a lot of similarities between Indian music and African music. The Rajasthani musicians are masters. It was an honour to have this nice exchange with them.
What projects are you currently working on?
I have been mixing ngoma drums with electronic music. It has been fun.
Are you a full-time musician or do you take on other work to support yourself?
That is a great question, brother! (laughs) Music is what I do full-time. Financially, it is not very good. But mentally, it is so good! I am a simple person with simple needs. I have a roof over my head. I have food to eat. I can feed my family. And I sleep peacefully.
How do you feel about being a music teacher in a school? Kids would love you not only because drums are considered cool but also because you have a warm personality.
Thank you for that compliment. You are right. I was a music teacher for two years. I am 34 years old now. I taught in a school when I was in my twenties. It has been a long time but I loved working with children. Getting their attention was the hardest part but watching them learn and enjoy was deeply satisfying. I stopped teaching because I was touring a lot. They needed someone who could show up regularly at the school according to their schedule.
When do we see you next in India?
Being here has been enriching for me, professionally and personally. I am here not only to perform but also to build relationships. It would be an honour to come back to India.
Chintan Girish Modi is a Mumbai-based journalist who writes about books, art and culture. He can be reached @chintanwriting on Instagram and X.