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    January 16th, 2018adminBusiness & Economy, Records, All, World Opinion
    Over 1,000 pumps were used to form the words ‘Coimbatore Pump City’ by pumpset manufacturers in the city on Thursday as part of Coimbatore Vizha. | Photo Credit: HANDOUT_E_MAIL

    Over 1,000 pumps were used to form the words ‘Coimbatore Pump City’ by pumpset manufacturers in the city on Thursday as part of Coimbatore Vizha. | Photo Credit: HANDOUT_E_MAIL

    About 100 people worked for nearly eight hours to form the words “Coimbatore Pump City” with pumps on Thursday at VOC Grounds here.

    According to Kanishka Arumugam, director of Ekki Pumps and Deccan Pumps, about 10 pump manufacturers, including leading brands and smaller players, supplied pumps for the formation. These include agriculture, domestic, and industrial pumps.

    “Coimbatore is making pumps for more than 50 years now and the next generation needs to focus on innovation. The objective of the programme is to showcase that Coimbatore is a leading manufacturer and supplier of pumpsets. In the recent years, the range of pumpsets made here is also widening,” he said.

    “The brand made in Coimbatore for pumps should become popular,” he added.

    S. Prasanna Krishna, Young Indians (Yi) chair, Coimbatore, said the city had over 200 pumpset manufacturers and only Rajkot and Ahmedabad were the other major pumpset making hubs in the country. The global market size for pumps was estimated to be 45 billion $ and India’s market size was ₹ 10,000 crore. The manufacturers here catered to over 40 % of the country’s demand.

    “A couple of leading multi-national brands also have presence in Coimbatore. We should aspire more for the next decade and become a pioneer city to manufacture advanced pumping systems,” Mr. Arumugam added.

    source: / The Hindu / Home> News> Cities> Coimbatore / by Special Correspondent / Coimbatore – January 12th, 2018

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    CHENNAI: TAMIL NADU: 02/01/2018: Lawn at ICF Rail Museum in Chennai on Tuesday. Photo: V. Ganesan. | Photo Credit: V_GANESAN

    CHENNAI: TAMIL NADU: 02/01/2018: Lawn at ICF Rail Museum in Chennai on Tuesday. Photo: V. Ganesan. | Photo Credit: V_GANESAN

    If you are looking for a space to organise a long-overdue get-together during the Pongal holidays, here is an option for you.

    Recently, a 14/10mt amphitheatre with a seating capacity of 150 to 200 persons, was inaugurated at the Regional Rail Museum, Chennai.

    This is one of four facilities on the premises of the Museum that are open to the public to conduct events for a few. The other three facilities — two lawns, each of which has the capacity to accommodate 75 to 100 persons, and a roofed enclosure.

    It is four months since the Regional Rail Museum has opened up its premises for events by members of the public.

    According to a Museum official, this initiative is aimed at increasing the footfall at the museum during weekdays.

    “The response to the new measure has been good. Since, around 20 get-togethers have been held. Many of these get-togethers have had to do with families and friends. Recently, a school and a women’s association organised get-togethers. The Museum also allows corporates to organise their events at these facilities,” says the official. Outside caterers and use of audio systems are allowed. Consumption of alcohol and smoking on the premises are strictly prohibited.

    Chairs and wheelchairs will be provided, if sought.

    A few months ago, the museum increased the number of rest-rooms, which include specially-designed ones for senior citizens and the differently-abled.

    The Museum’s closing time has been extended from 6 p.m to 10 p.m. on weekends. Regional Rail Museum, Chennai is located on the premises of Integral Coach Factory on New Avadi Road near Villivakkam. Those interested in booking any of the venues, may call V. Venkataraman, the Museum guide, on his mobile at 98418 68402.

    Photos: V. Ganesan

    source: / The Hindu / Home> News> Cities> Chennai / by L. Kanthimathi / January 12th, 2018

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    SPB praises violinist L. Vaidyanathan

    Singer S.P. Balasubrahmanyam was conferred the Lifetime Achievement award by Nandi Fine Arts and KAPRI, in association with the Bharatiya Vidya Bhavan at an event titled ‘Violin maestro Kalaimamani L. Vaidyanathan – 75 – a celebration of his life and music’.

    Addressing the audience, Mr. Balasubrahmanyam said that though he was not properly trained in Carnatic music, he had been singing for over 50 years and considered it to be a great blessing. “I am not a learned singer, but I learnt so much by travelling along with eminent people,” he said.

    He said he had sung over 40,000 songs till date, but he was more concerned about the songs that pleased the audience than mere numbers.

    The singer shared his memories of violin maestro L. Vaidyanathan and spoke in detail about his humility and spiritual inclination.

    Earlier, speaking at the event, L. Ganesan, BJP leader and Rajya Sabha MP, said: “In most countries, music is just a form of entertainment, but in India, it is closely entwined with devotion too.”

    Singer Vani Jayaram, musician V. Rajkumar Bharathi and other eminent personalities took part in the event.

    s0urce: / The Hindu / Home> News> Cities> Chennai / by Staff Reporter / Chennai – January 13th, 2018

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    January 13th, 2018adminBusiness & Economy, Nature, Records, All

    At Kuttapalayam, located about 100 km from Coimbatore, is a research foundation that focuses on in situ conservation and breeding of native breed of cattle (Kangayam cattle).

    At an event held here on Sunday at K’ sirs, the Seenapathy Kangayam Cattle Research Foundation (SKCRF), which is involved in the work at Tirupur district for several decades now, launched an updated website of its activities (, released brochures, and sought more support from the public to improve infrastructure and awareness on the Kangayam cattle. The website was hosted in 2009.

    A release said that the school organises Pongal festival annually and this year was a platform to create better awareness on Kangayam cattle.

    The foundation also has a resource and research centre for conservation of Kangayam cattle and Korangadu, a Silvi pasture grazing system in the western districts of the State.

    “An awareness for the protection of indigenous breeds of cattle has been created because of the jallikattu protest last year by the people and students of Tamil Nadu. I would like to thank them all on behalf of the cattle grazers,” says Karthikeya Sivasenapathy, managing trustee of the foundation.

    Protection of indigenous varieties of cattle is now becoming prevalent in India because of last year’s protest. The public have understood the need to conserve the native cattle breeds, said R. Radhakrishan, MP.

    source: / The Hindu / Home> News> Cities> Coimbatore / b A. Kishore / Coimbatore – January 08th, 2018

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    Pattukkottai Prabhakar

    Pattukkottai Prabhakar

    The Hindu Lit for Life is going to have an exclusive Tamil lit fest for the first time this year. It could not have come at a more appropriate time as 2018 marks the completion of the centenary of the Tamil short story. The event will honour senior writer Indira Parthasarathy with a lifetime achievement award and five short story writers with awards and cash prizes.

    “Though we have been giving space to all languages in our annual literary festival, this year we have decided to have an exclusive event for Tamil because The Hindu (Tamil) completes five years and the paper is located in Chennai,” said Nirmala Lakshman, director and curator of The Hindu Lit for Life.

    The prelude

    The short story ‘Kulathankarai Arasmaram’, by freedom fighter V.V.S. Iyer, published in 1917, was a trendsetter in Tamil fiction. The narrator of this story — which captures the plight of a victim of child marriage, Rukmini — is, quite exceptionally, a Peepal tree. Rukmini’s husband, who had reluctantly considered marrying another girl under pressure from his parents, becomes a sannyasin when Rukmini dies. After ‘Kulathankarai Arasmaram’, there was no stopping the Tamil short story, which reached great heights in the hands of subsequent writers.

    Lakshman said that in previous editions of the The Hindu Lit for Life, Tamil literature has jostled for space with literature in other languages, especially English. “This year’s event will showcase every facet of Tamil short stories,” she said.

    To be inaugurated by noted theatre personality Na. Muthusamy on January 7 at Sir Mutha Venkatasubba Rao Concert Hall in the Lady Andal School premises in Chetpet, the one-day festival will be a prelude to the-three day Lit for Life celebrations. The Tamil festival will have discussions on regional literature, Dalit writings, politics of Tamil short stories, films based on them, impact of world literature on Tamil short stories, feminist writings and short stories in popular magazines.

    Getting integrated

    To add to the attraction, there will be screenings of films based on Tamil short stories directed by late Balumahendra. They were serialised for television as Kathaineram in the early 1990s.

    Noted film director and National Film Award winner Vetrimaaran will initiate a debate on the subject.

    Indira Parthasarathy will be given the lifetime achievement award. He will also honour the other awardees.

    “Parthasarathy will be conferred the award in The Hindu Lit for Life to stress the importance of Tamil language,” said Lakshman. “We are giving the award during the main festival as it is the first time we are conferring the lifetime achievement award on a Tamil writer and we want to honour him within a wider literary context. The other awards are for specific categories. This is also a way of integrating the Tamil festival into the larger one,” said Lakshman.

    Some of the speakers at the Tamil Lit Fest include Prapanchan, Imayam, Pattukkottai Prabakar, A Vennila, Chandra, Azhagiya Periyavan, Kalanthai Peermohamed and film directors Suseenthiran and Sasi.

    source: / The Hindu / Home> Lit for life> Tamil Lit Fest  / by B. Kolappan / January 07th, 2018

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    A French Reunion island team interacting with students at Cauvery College of Engineering and Technology at Perur near Tiruchi on Sunday.... | Photo Credit: HANDOUT

    A French Reunion island team interacting with students at Cauvery College of Engineering and Technology at Perur near Tiruchi on Sunday…. | Photo Credit: HANDOUT

    Out of the 8.5 lakh population in the island, 3 lakh people are Tamils

    It was a trip Bernard Goulamoussen (50), a French citizen of Tamil origin settled in Reunion Island, had been longing for since his childhood.

    Eagerness writ large on his face, Goulamoussen tells how he was able to see traces of his roots wherever he went during his current trip in Tamil Nadu.

    For, he had no idea to which part his ancestors who had migrated more than 200 years ago belonged.

    Goulamoussen was among a group of 10 such visitors to Tamil Nadu from Reunion Island, a French overseas territory in the Indian Ocean, who have come to the State to understand their forefathers’ culture, tradition, civilisation, ancient history, educational system, rituals and practices.

    After visiting several parts of the State including Chennai, Madurai, Dindigul and Thanjavur, they landed in Tiruchi on Sunday to explore its cultural heritage.

    Led by Yogacharya Nilamegame, a native of Puducherry who had settled in Reunion Island about 30 years ago, they visited Cauvery College of Engineering and Technology at Perur near here and interacted with the students to understand the Indian educational system.

    Like Goulamoussen, most of the group members also have no knowledge of their mother tongue Tamil.

    But, they still practice Tamil culture reflecting in the way they dress and religious practices.

    “We do not know where our forefathers lived in Tamil Nadu. We feel ecstatic to be in the land of our origin. We may have forgotten Tamil. But we have not given up our tradition yet,” says Goulamoussen, a temple priest, in French.

    Out of 8.5 lakh population of Reunion Island, 3 lakh people were Tamils. Except one-third among them, the rest had poor knowledge about their roots in Tamil Nadu.

    “But then, it is because of our deep understanding of festivals of Tamils and religious practices that we regularly recite Devaram and Thiruvasagam in temples,” said Nilamegame, who has penned a book on rituals of Tamils in Tamil and French.

    After the interaction, N. Nallusamy, former Minister and Chairman of Cauvery College of Engineering and Technology felt that the State government should set up an exclusive Department to teach Tamil language to the diaspora, particularly in Reunion Island, Cambodia, Vietnam, and Myanmar.

    source: / The Hindu / Home> News> Cities> Tiruchirapalli / by C. Jaisankar / Tiruchi – January 08th, 2018

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    A tongue-in-cheek, two-part piece that traces the genealogy and features of a unique species

    Tamil Nadu erupted in the early 20th century into what can only be called a revolution, the Dravidian revolution, which transformed the texture of Tamil society.  It was ‘Periyar’ E.V. Ramasami Naicker, who changed the classist nature of public life in Tamil land. Within a generation, Tamil Nadu was transformed; with people from various castes taking control of politics and society; the ‘Periyar’ effect.

    In this avalanche of change, Brahmins who were at the top of the social food chain became the singular targets of the new revolutionary correctives. But in a small corner of the beleaguered Brahmin world of  Tamil Nadu existed two art forms — Carnatic music and Bharatanatyam — which became a new sanctuary for the Tamil Brahmin, very specifically, the Mylapore Brahmin, unmistakable as the ‘Mama’ of Mylapore, Madras’s most famous temple-suburb.

    In the winter of 1927, a historic session of the Indian National Congress was held in Madras, presided over by Dr. M.A. Ansari, at which, on the motion of Pandit Jawaharlal Nehru, Purna Swaraj or Independence was accepted as the objective of the Congress.

    The session was also historic for the music community in Madras because of the series of music and dance performances organised alongside. The very next year, Madras Music Academy was established for the “further advancement” of Carnatic music and to conduct music conferences and performances. And December became the chosen month, the one month in the year that Madras calls ‘cold’ and when the monkey caps come out.

    Madras emerged as the ‘classical music place’ to be in within the first half of the 20th century, and a number of music-saturated Brahmins homed in on the city. In bygone centuries, Carnatic music was spread around the towns and villages of Thanjavur and Tirunelveli but it was now concentrated in cosmopolitan Madras. Here the art form was reorganised, systematised and intellectualised. Madras became the Mecca of Carnatic music.

    By the 1980s, people from across India were heading to Madras every December. There were over 15 sabhas and leading musicians performed in almost all of them.

    Through this period, the government was filled with leaders who took forward the anti-Brahmin legacy. But that did not matter when it came to celebrating the December festival.

    Chief ministers and governors inaugurated sessions of Carnatic music and acknowledged its great aesthetic strength. Rationalist leaders and atheists didn’t blink an eye when speaking at events, though Carnatic music was lyrically religious. Carnatic music and Bharatanatyam became examples of the cultural refinement of the Tamils, and musicians and dancers were celebrated as cultural ambassadors.

    Enter, the hero

    Paradoxically, a state that insisted on social equality came to be known nationally and internationally for two art forms practised, promoted and patronised only by the cultural elite.

    From this rather serious sociological narrative emerges one person, a charismatic and entertaining embodiment of a societal overhaul. With his sheer presence he bestows upon Carnatic music its antiquity, at the same time containing it within his own identity.

    He is today an ignored social animal, but when the sounds of the tambura waft through the humid Marina breeze, his face lights up, shoulders broaden, the space becomes his to own, he is on home turf, a turf he understands better than any curator, one on which he has watched so many masterful innings. The players and audiences look up to him, as he gives to the art as much as he receives, or so he believes.

    Our hero is the Brahmin man, the chief patron of Carnatic music in ChennaiBut he is not just any Brahmin man; this person is special, the hard core ‘Carnatic-ite’. We call him the Mylapore Mama. He has lived for centuries, probably saw Tyagaraja sing on the streets of Thanjavur, discussed the nuances of ragas with Konerirajapuram Vaidyanatha Bhagavathar, and bemoaned the death of Vina Dhanammal in the early 20th century. He is the typical Brahmin but wait, he is much more.

    The essence of Todi

    He proclaims, “I have music in my blood. After all, I grew up drinking Cauvery water.” Most of these Mamas seem to have had ancestors who lived around Thanjavur. He walks around Chennai the way his great-grandfather would have ambled on the banks of the Cauvery. He is great friends with the maestros, usually addresses them by first name, and even teaches them a thing or two about singing.

    His essence is Kamboji, Kalyani, Todi and Kedaragoula. Within his mind exists the collective wisdom of the last 150 years of music.

    He is, therefore, someone who has lived with Carnatic music from its times as a triangular (Brahmin, isaivellalar and devadasi) social preoccupation to its present singular Brahmin obsession.

    He has seen all the changes of the 20th century and discussed its pros and cons, probably sniggered at them, and held on to what he believes are the core values of Carnatic music. Don’t think he is antiquated. He is not; he will surprise you with the most bizarre acknowledgement of a musician you thought was awful. You cannot slot him, he will deceive you, be careful. His greatest function has been as Carnatic connoisseur, the person who shapes the music and the musician, or so he believes. He will stroll into concerts, discussions and lectures and find his way out, all the time exuding an air of great superiority.

    Metaphor for music

    Why Mylapore? Because Mylapore is not just a Brahmin-dominated location in Madras (sorry Chennai); it is a metaphor. A metaphor that conjures up images of a man with a tuft, betel nut in mouth, bare-chested, clothed in a veshti. But these images themselves are metaphors, circles within circles. All Mamas don’t dress this way, but they retain the qualities that these images imply: traditionalism, comfort, belief, knowledge and control.

    The Mylapore Mama has great command over the Queen’s language, though with a strong Sanskrit accent. He reads The Hindu over a cup of filter coffee, has strong opinions about everything, and, of course, can reel out the names of ragas, talas, compositions and — to the amazement of all — render snatches of several ragas. It is sometimes difficult to understand him as the words escape arrogantly from the corner of his mouth, the one-liners are cryptic, the words loaded and the sarcasm natural. Today, Mama may live in San Diego, Melbourne, Singapore, London, Delhi or Johannesburg but he is after all from Thanjavur.

    Usually addressed as Shankar Mama, Sundaram Mama, Ramamurthy Mama or Krishnan Mama, these men are the custodians of Carnatic music.

    Bearing that great responsibility, they operate differently with different people, and it is this that I find most fascinating. As in any field, there are always musicians at different levels of acumen and status; all of them build relationships with the Mamas.

    Now put the Mama and Chennai’s music season together and we have a potent combination. The Margazhi Season is the Olympics of Carnatic music. The Brahmin music world assembles from around the globe to witness the show and Mylapore Mama is the mascot. It is his time to rule, dictate, pontificate, control and deliver a verdict.

    A careful structure

    The music season itself is structured in an interesting fashion. The organisation, the concert timing, the duration and venue influence artists and audiences, and together determine the artist’s status within the establishment.

    As a general rule, mornings are devoted to lec-dems or concerts by super-senior musicians. Super-seniority is not equivalent to super-speciality; it only indicates the average age of the artist. Yes, there are also some greats, but the majority fall into the purely geriatric category. Over the years, this has changed a bit with younger artists also performing in the morning. The mid-day concerts are by novices and first-timers. After 1:00 pm is for artists a little more mature, which means they have performed at the mid-day level at least a few times before. These last till 5 p.m. roughly, with entry free for all.

    The evening concerts are, of course, for the ones who have made it, the stars, the popular artists, to listen to whom people are willing to spend money. These hierarchies have been in play for decades and every musician hopes and prays to move from mid-day to evening concert. This is the equivalent of the Bollywood box-office dream.

    These timings are also referred to in terms of the artists’ seniority: junior, sub-senior and senior, and each category is called a ‘slot’. Everyone — and I mean everyone — wants to know your slot and based on that decides your status in the Carnatic world.

    (To be continued…)

    The writer is a rebel, whether against cultural conventions or injustice or just bad tea.

    source: / The Hindu / Home> Society / by T.M. Krishna / January 06th, 2018

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    January 6th, 2018adminRecords, All, Sports, World Opinion
    Erode Collector S. Prabhakar (centre) felicitating P. Iniyan for winning the World Youth Chess Olympiad.Special Arrangement

    Erode Collector S. Prabhakar (centre) felicitating P. Iniyan for winning the World Youth Chess Olympiad.Special Arrangement

    P. Iniyan (14) from Erode has won gold medal at the World Youth Chess Olympiad held at Ahmedabad from December 11 to 18. He also helped the Indian Green Team win silver medal in the Olympiad.

    Indian Green team was the top seed of the event, which saw the participation of 30 teams, with a whopping rating average of 2,503.

    India had fielded three teams, two from the National Sub-Junior Championship last year and one from a special selection of best players of the country. The tournament was of nine rounds Swiss format. Aryan Chopra, Praggnanandhaa, Nihal Sarin, Iniyan and Vaishali comprised the Indian Team .

    Indian Green team’s Iniyan and Nihal Sarin bagged individual gold medals for their respective board. Iniyan scored 7.5 points from eight rounds with an excellent scoring percentage of 93.8 % and proved to be a rock on the fourth board.

    At the same time he helped the team secure a silver medal. Nihal Sarin scored 5.5 points out of 7 and got gold in 3rd board.

    Iniyan is to participate in the 34th International Bollinger 2017 to be held in Germany from December 26 to 30 and the Montebelluna Elite Open 2018 to be held in Italy from January 2 to 7, 2018.

    Olirum Erodu Foundation that has been funding him for all the games sponsored Rs. 1.75 lakh to Iniyan for the recently held tournaments. District Collector S. Prabhakar felicitated Iniyan on Tuesday.

    source: / The Hindu / Home> National> Tamil Nadu / by Staff Reporter / Erode – December 21st, 2017

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    Sruti Magazine’s contributions hailed

    The 400th edition of Sruti, a magazine devoted to Indian classical music, dance and theatre, was launched in the city on Thursday.

    Chairman of Indusind Bank and vice-president, The Music Academy, R. Seshasayee, who released the volume, said Sruti was much more than a news magazine.

    In the way it dealt with issues, it spared no one, not even the venerable Music Academy. Its contribution, he said, has been phenomenal not just to rasikas but also to artistes.

    Chairman of Sanmar Group and Sruti Foundation, N. Sankar, said he was proud to support the publications — Madras Musings and Sruti. He recalled that even way back in the 1960s, people wanted to move to Chennai to be in touch with Carnatic music. Even today, the city attracts many NRIs, who change their careers, and Sanmar and other organisations benefit, he said.

    Sruti Editor-in-Chief V. Ramnarayan said he was overwhelmed by the goodwill shown to the magazine.

    Bharathanatyam exponent and guru V.P. Dhananjayan said art journalism had taken a different dimension with Sruti.

    ‘Chitravina’ N. Ravikiran said the magazine was a pillar of strength to classical arts and had inspired several persons to start music and dance magazines.

    source: / The Hindu / Home> News> Cities> Chennai / by Special Correspondent / Chennai – January 05t, 2017

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    Twin-musicians Sahana and Shruti’s latest work, ‘The Celnatic Experience’, highlights cross-genre influences in world music

    They were born six minutes apart. But that doesn’t stop Sahana and Shruti from completing each other’s sentences.

    These musician-twins have just released a novel music project, titled The Celnatic Experience, which seeks to celebrate the 225-year legacy of Muthuswami Dikshitar and the East India company. The project, which includes a coffee table book, a children’s book and a CD that are available for purchase online, is an extension of their recent thesis in the Berklee College of Music.

    Competitive start

    “We started learning Carnatic music when we were just six and growing up in Muscat,” recalls Sahana. The thrust came from their father, Kumar, an ardent follower of Carnatic music. Soon, the family moved lock, stock and barrel to Chennai to strengthen their musical base under the tutelage of Bombay Jayashree. “It was initially very difficult to cope here because the scene was quite competitive,” says Shruti.

    The two knew that music was their future. After a bachelor’s degree in Electronic Media from MOP Vaishnav College, they packed their bags to Valencia (Spain), to train in the prestigious Berklee College of Music. That sowed the seeds for their present endeavour. “Even before enrolling there, we were supposed to submit a topic that we’d take up for our final thesis, and we chose ‘Nottuswarams’, something close to our heart.”

    Blast from the past

    They’d learnt Nottuswarams during their initial training years. “That time, we’d learnt only two,” they recall, “But we later discovered that there were 36 of them. We were also fascinated by their origins – about how Muthuswami Dikshitar had composed them in the 17th century deriving influences from British bands playing Irish music.”

    The connections between the Shankarabharanam ragam back home and compositions from across the world got them very interested. “Did you know that the Dikshitar composition — ‘Santatam Pahima’ — resembles the British National anthem,” asks an excited Shruti.


    These interesting similarities – from musicians separated by thousands of kilometres, in an age when cellphones and Internet were unheard of sparked off the idea in them: to highlight cross genre influences between world music. “The effort was also to take Carnatic music beyond borders and expose children from across the globe to it, just like how children here learn Western music,” says Sahana.

    Thus came ‘Celnatic,’ a word coined by them. They even performed the ‘Nottuswarams’ back in Spain, which met with resounding applause. “We gave a little introduction in Spanish, so that people could follow. But audiences loved the music. They wanted to buy it, though the CD wasn’t even ready then,” say the twins, who’re currently learning Carnatic music under AS Murali.

    Meeting the Maestro

    This Season, the twins have hit Chennai with a two-fold purpose: to frequent kutcheris and promote their latest work.

    The biggest achievement, according to them, was getting the blessing of music maestro Ilaiyaraaja for their latest work. “It was such a blessing. We presented the compositions to him and he, in turn, took us a tour to the studio. He even taught us a pallavi, set in Hindolam ragam. We were awestruck that he took time off to spend interacting with us.”

    The twins, who’re currently working on putting together a Hindi folk single that will promote a music festival scheduled for later this year, are interested in singing for films. “We would also like to compose and come up with some independent music,” says Sahana.

    source: / The Hindu / Home> Entertainment> Music . by Srinivasa Ramanujam  / January 02nd, 2018

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