The Lord Ramachandra always served as a source of inspiration for poets for his ideal and desirable characters. We have innumerable compositions composed over the ages on the ‘martyavatara’ (the Lord who has taken the form of a human). Among all these compositions, the compositions or poems on his crowning ceremony ‘pattabhisheka’ deserve a special mention. It is said that reading or even listening to the ‘pattabhisheka’ sarga, available in the Yuddha Kanda, the sixth book of Srimad Valmiki Ramayana confers auspiciousness.
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Mylai Karthikeyan is a young, up and coming Nadaswara Vidwan hailing from Mylapore, Chennai. In his early 20s he has garnered a lot of appreciation from both Rasikas and organisers. He is keen on continuing with the tradition of the Mangalavadyam at standards set by earlier stalwarts who had a great following of Rasikas.

Natyam is striving for self-awareness, exploring and reveling in the latent emotions, for life is all about losing and finding oneself again and again, only to lose it all someday….
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Each episode of Vande Sangeetham by Vidwan Vijay Siva on You Tube covers a certain aspect of Carnatic music. It is not very technical nor does it go much into theory. But the information is useful for a lay listener who likes to hear good music and would like to know some information which would make it more interesting for him such as the Raga, who composed a particular Kriti and where it was done, and something about the story or philosophy contained in the lyrics.
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Consumption of art has undergone a metamorphosis in recent times, especially after COVID-19 pandemic led to the new normal. Read More

Layam is a common term in the field of Music and Dance. In one word, it can be described as tempo. Tempo refers to speed. All the movements which happen within a particular time frame in a proper rhythm is Layam. It is periodical in nature. It is the natural and inherent tempo
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Jayakrishnan Unni shares his interest in music and art.

A Glimpse into a Living Veena Bani. The uniqueness of our tradition, the Karaikudi Veena Bani, is that it has thrived over three centuries, eleven generations, and carried itself beyond the borders of India.
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I was doing some story telling through them that was online. But when I am doing it offline, we have always had groups like 30-40 kids and they call it as story time. They sit in a circle and I would basically expose them to concepts like swaras, arohanam, avarohanam, and ragam particularly.
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We record with a sense of loss the passing away of Vidwan B. Krishnamoorthy recently. He was not only a scholar in music, but also Sanskrit, philosophy, Vedantha etc. Born in a musically oriented family in Padarakudi near Karaikudi, when he moved to Chennai, he joined the Central College of Music in 1950 and had the opportunity to learn under some of the veterans like Musiri Subramanya Iyer, T. Brinda, Thiruppampuram Swaminatha Pillai etc. Later as a teacher in the college he was very popular among the students; he retired as the principal of the Music College at Madurai. He was a font of knowledge on music, a specialist in Tala and Tillanas. He was one of those unsung greats. His demise is a great loss to the Carnatic music world.

S. Chandramouli shares his multifaceted journy in music.

Although the Karaikudi Bani has spanned three centuries, our world of sound (‘nadam’) remains in its prime beauty. The art of ensuring the continuity of the tradition is a daunting task if we don’t continually breathe fresh into its survival.
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Interactive sessions also help children interact with classical dance and music in non-traditional formats. Read More