Vanamala Centre for Art and Culture, as part of Bharatiya Samskruti Darshana series, celebrated the twenty seventh series as the 250th birth centenary of the revered composer Sri Muttuswamy Dikshitar on 22nd March 2026, Sunday at Suchitra Cinema and Cultural Academy, Bengaluru. The event, Guruguha Jnanamrita, curated by Dr. Meera Rajaram Pranesh, became even more meaningful as it coincided with Dikshitar’s janma tithi.
The event was presided by eminent musicians Karnataka Kalashree Vidwan M.Vasudeva Rao and Sangeeta Kalaratna Dr.M, Suryaprasad M as chief guests, whose warmth and encouragement enriched the gathering. The programme opened on a serene and uplifting note with a soulful shloka rendered by the master of the ceremony, Vid. Nagashree Narayan, beautifully invoking the spirit of the great composer. This was followed by a poised introduction of the guests by Vid. Pavani Bharadwaj and the traditional lighting of the lamp by the founders and the guests. The morning began with a vibrant presentation of the nottuswaras composed by Deekshitar-“Shakti Sahita Ganapathim” and “Ramajanardhana” by the young children of Vanamala’s Chinnari group.
Dr. Meera Rajaram Pranesh then addressed the gathering with a lucid and engaging introduction with pictures celebrating the legacy of the genius composer Sri Muttuswamy Dikshitar. She eloquently shared that the intention of the programme was not merely to present familiar compositions, but to celebrate Dikshitar’s vast and nuanced musical legacy through diverse forms, including rare ragas drawn from the Sangita Sampradaya Pradarshini thereby guiding the audience into the rich world of Dikshitar’s music.
The concert segment unfolded featuring a rich array of compositions presented by different teams of musicians from the Vanamala Center, ably supported by senior artists Vid. B K Raghu on Violin, Ganakalashree Vid.Renuka Prasad on the mridangam and Ganakalashree Vid. ASN Swamy on Khanjira. It began with the stately chowkakala varna “Rupamu Joochi” in Todi, setting a dignified tone for the event. This was followed by the radiant “Sooryamurte” in Saurashtra (Mishra Eka), a fitting tribute to Lord Surya, the presiding deity of the day. The serene “Neelotpalamba” in Narayanagowla and the meditative “Kamalambam Bhajare” in Anandabhairavi brought a deep sense of devotion, while “Sri Parvathi” in Bhowli and “Jambupathe” in Yamunakalyani continued the spiritual flow. A graceful ragamalika, “Madhavo Mam Pahi,” describing the Dashavatara of Lord Vishnu added colour and variety, and the rare “Sri Dakshinamurthy” in Phenadyuti stood out for its quiet depth. The lively daru “Nee Sati” in Sriranjani and the intense “Kalabhairavam” in Bhairavam brought in striking contrasts in mood and energy. The Manipravala composition “Sree Venkatesham” in Karnataka Kapi and the elegant “Narmada Kaveri” in Namadeshi further reflected Dikshitar’s versatility. “Gunijanadi” in the rare raga Gujjari, was presented with its distinctive graha swara feature, an exclusive contribution of Dikshitar to preserving traditions. The concert concluded with the majestic “Meenakshi Memudam” in Gamakakriya, a deeply moving piece associated with the composer’s final moments, leaving listeners in a quiet, reflective mood. Throughout the programme, Dr. Meera’s brief and insightful explanations along with the befitting pictures before each piece helped the audience connect more deeply with the music, making the experience both engaging and meaningful.
The chief guests, in their remarks, appreciated the sincere efforts of Vanamala Centre for Art and Culture in its efforts to preserve these beautiful compositions with care and authenticity. Adding to the significance of the day was the unveiling of Shashwatee Kala Vedike, an organisation that promises to nurture and sustain artistic traditions, an inspiring initiative by Smt. Geetha Kumaraswamy, whose deep passion for classical music has encouraged her to embark on this journey. The event concluded on a note of gratitude with a warm vote of thanks by Dr. Karthik Ganesh, followed by Prasada. While the audience expressed their deep appreciation and happiness, for the Vanamala family, this celebration was more than an event, it was a heartfelt nada namana, a sincere musical offering to Sri Muttuswamy Dikshitar, one that will remain cherished and etched in memory for years to come.
Vanamala Center for Art and Culture, as part of Bharatiya Samskriti Darshana – 27, will commemorate the 250th birth anniversary of Śrī Muthuswamy Dīkshitar on Sunday, 22 March 2026, at 9:45 AM, at Suchitra Cinema and Cultural Academy.
The celebration will feature a special presentation titled “Guruguha Jnanamrita”, a musical offering comprising the rendering of select kṛtis of Dīkshitar. The event is open to all.
“A civilization is not built merely on material achievements but on the continuity of its culture.”-Dr.S.Radhakrishnan
Indian classical music through different ages has largely evolved through oral transmission shaped by patronage, lineage, and place which has shaped its culture. In the process of this evolution, many compositions have disappeared due to oral transmission, loss of manuscripts, or changing performance practices. However, music centered as the heart of the society remembers what history forgets;and reviving these compositions through reconstruction gives it voice.
Reviving musical compositions lost to time through research, visuals, and immersive storytelling lies at the heart of the Vanamala Center for Art and Culture®, an organisation headed by Dr. Meera Rajaram Pranesh. Guided by a commitment to preservation and dissemination, this initiative seeks to gently bring forgotten musical memories into the present.
This exploration reflects the reconstruction of some of the forgotten vignettes from the courts of the Mysuru kingdom of the 17th and 18th centuries, including works attributed to Chikkadevaraja Wodeyar, Kantheerava Narasaraja Wodeyar, Rani Cheluvamba, and Kalale Nanjaraja, which represent a subset of the extensive research carried out as part of her doctoral work on the patronage of the Mysuru courts, later published as the book Musical Composers during the Wodeyar Dynasty (1638–1947 A.D.). Mysuru court fostered composers, vaggeyakaras, and instrumental traditions that blended devotion, aesthetics, and intellectual rigour. However, with shifting political landscapes and the gradual decline of princely patronage, many of these compositions receded into obscurity. This study outlines the steps undertaken to reconstruct some of these works under Dr. Meera’s guidance and make them accessible to contemporary audiences through curated releases on the YouTube channel of the Vanamala Center for Art and Culture®.
Śri Geeta Gōpālam of Chikkadevarāja Wodeyar
The 17th-century Mysuru Wodeyar courts were vibrant cultural spaces where music, philosophy, and the arts flourished together. Among their enduring legacies was Śrī Gīta Gōpālam by Chikkadevaraja Wodeyar, a remarkable work that reflects the rare meeting of kingship and creativity. Composed in simple Kannada as a geya rūpaka (vernacular operatic form), it presents Lord Krishna as the hero and the gopīs as heroines, making devotional philosophy accessible to all. Apart from being presented in the royal courts, the work is said to have been also preserved within the temple traditions of Melkote Cheluvanarayana Swamy, thereby living on as both art and worship, as a magnum-opus which was lost slowly in the annals of time. Drawing from the Daśama Skandha of the Śrīmad Bhāgavata, the prabandha explores the bond between jīvātma and paramātma through the motif of saptapadi. Across 85 songs, it weaves ideas of śaraṇāgati and mokṣa, expressing bhakti-śṛṅgāra as a yearning for liberation. It also reflects the devotional currents of its time, including the shift toward Śrīvaiṣṇava thought and the influence of the Bhakti movement. As a sampradāya pada, it presents the ideals of Viśiṣṭādvaita, including compositions on Ramanujacharya, blending devotion, philosophy, and royal patronage into a single musical form. One such composition, Sōgasuvē Gēgalige from the Pūrvabhāga Saptapadī, mentioned in the raga Kambodhi, was carefully reconstructed, capturing the voice of a gopī longing for Krishna. Notated and set to tune with a devotional focus, it was later brought into the visual realm through dance. The choreography drew inspiration from Tirumalārya’s Chikkadevarāya Saptapadi, a contemporary text documenting the dance practices of the period, with movement and costume thoughtfully adapted to reflect the historical narrative. This composition describes the style of dance in the court of Chikkadēvarāya. The dancer also brought out her emotions as described in the Śṛṅgārabhava dashapadi from Chikkadevaraja Saptapadi.
Koravanji Katle of Kantirava Narasaraja Wodeyar II
Among the larger reconstructions is a work that offers a rare window into an early form of Yakshagana, and perhaps stands as the composer’s most expansive creation. Multilingual in spirit, it moves across Kannada, Prakrit, Telugu, and Tamil, reflecting the fluid cultural exchanges of the time. Set in a range of ragas including Malavi, Abheri, Kambhoji, and Ghantarava, the composition incorporates forms such as dvipadas and darus. As part of the reconstruction, a composition from the Andhra Koravanji in the raga Malavi was revisited from the original manuscripts, carefully adapting to the raga-lakshana as understood in the seventeenth century. Raga Malavi today is seen as a janya of Harikambhoji while in the 17th century the raga belonged to Malavagowla, and hence, the composition has been tuned within the same dimension. The work was brought into the visual realm through a stylised presentation, with artists appearing in Koravanji costume to evoke its theatrical origins. Throughout the process, particular care was taken to retain instrumental authenticity, ensuring that the reconstruction remained faithful to the historical context.
Rani Cheluvambe is remembered as a remarkable figure of the Mysuru court, she was the daughter of Kalale Kantaiah and one of the aṣṭa-mahiṣīs of Krishnaraja Wodeyar I, and is known as one of the earliest known women composers in the region’s musical history. Her creative legacy is both rich and diverse, including works such as Varanandi Kalyāṇa Saṅgatya, Maṅgalārati Padas, the Veṅkaṭācala Māhātmya Lāli (a cycle of 203 songs), and the Alamelu Maṅgamma lullabies (35 songs). Notably, her lullaby compositions are classified under the Viprakīrṇa Prabandha tradition, revealing a sophisticated blending of devotion, literature and musical form within the courtly-cultural milieu of Mysuru. As part of the reconstruction, a composition from the Alamelu Manga Lali Padas, from the original manuscripts, conceived as an ode to Goddess Alamelu Manga was selected for presentation. Set in raga Kambodhi and mishra chapu tala, the piece follows a choupadi structure, with the pallavi opening gently with “jo-jo.” Each succeeding choupadi alternates its cadence between “lali” and “jo-jo,” creating a soothing, lullaby-like flow.
Gīta Gangādhara, a musical opera attributed to Kalale Nanjaraja, survives today only in faint traces of memory and manuscript. A relatively lesser-known Sanskrit aṣṭapadi, the work was carefully reconstructed with the research core team examining and decoding the manuscript, translating and transliterating it to Kannada and English, publication of the book, travelling to Kalale, the composer’s land that once nurtured the composition, seeking details not only in texts but in local memory and oral recollection.
From this one of the compositions was tuned to raga Vasantha and shaped anew. The final stage of the reconstruction brought the work into the visual realm through dance, where music, movement, and history converged. In being heard and seen again, Gīta Gangādhara moves beyond archival recovery, re-entering the present as a living work carrying with it the echoes of the world in which it was first imagined.
In this ongoing journey, looking to the past is not an act of nostalgia, but a way of understanding how music has grown and taken shape over time. As the noted 20th-century musicologist Carl Dahlhaus reminds us,“The historical understanding of music is not a luxury but a necessity.” The study of the past is therefore critical as the evolution of music has to be positioned in context of previous studies and not in isolation. Reconstruction, in this sense, becomes a way of caring for what we have inherited, which cannot be seen not merely as an academic exercise but also an act of cultural continuity to revive forgotten ideas when approached with care and critical judgement ensuring that they can be preserved for future generations. In this context, bringing objectivity to the study of the past while allowing for meaningful interpretation lies at the heart of the research undertaken at the Vanamala Center for Art and Culture® .
Vanamala Center for Art and Culture is completing thirty years of its dedicated service to the promotion and propagation of Indian art and culture. To mark this significant academic and cultural milestone, the Centre is undertaking a series of commemorative initiatives, including the publication of a special scholarly journal scheduled for release in June.
The proposed journal aims to present research-based and reflective writings that engage with diverse dimensions of Indian art, culture, aesthetics, pedagogy, and allied interdisciplinary perspectives. In this context, we extend a formal invitation to you to contribute a research article to this commemorative volume.
“An instrument is not merely played—it is lived.” — Mysore T. Chowdiah
Vanamala Centre for Art and Culture concluded the four-week Chinnari Sangeeta–3: Explore Indian Instruments workshop with a vibrant valedictory event at Kalakompound on November 28th, 2025. The evening witnessed a warm gathering of enthusiastic audiences, parents of the young participants, guest artistes who performed for the concerts, and special guests for the evening—Dr. Vid. Sowmya Sanak and Vid. Ganakalashree A.S.N. Swamy.
Throughout the month of November, the centre celebrated sound, creativity, and the living tradition of Indian musical instruments. The sessions were immersive and joyful, deepening the children’s engagement with music and inspiring them with fresh curiosity and confidence.
The evening opened with emcee Vid. Nagashree Narayan, who set a lively tone for the programme. The children rendered the Mysuru State Anthem Kayo Sri Gowri, learnt during their earlier Chinnari Sangeeta sessions, followed by a brief Konakkol recitation taught by Kum. Gowri Sanath as part of the workshop.
The first concert of the evening featured a captivating Jaltarang recital by
Vid. Sugnan Dani – Jaltarang,
Vid. Shashank Rangaraju – Tabla, ably supported on Manjari by Vid. Vandana and on Tanpura by Vid. Shwetha.
For many in the audience, this was their first experience of a live Jaltarang performance. The artistes enthralled listeners with traditional Hindustani compositions and familiar bhajans, highlighting the melodic delicacy and rhythmic charm of the instrument.
The second concert showcased Karnatak music by a dynamic veena-venu-violin trio:
Vidushi Aishwarya Manikarnike – Veena,
Vid. Raghu Simha – Flute,
Vid. Krishna Kashyap – Violin, supported by Vid. Praveen — on Mridanga and Vid. Karthik Pranav – Morching.
Their presentation kept both adults and children fully engaged—opening with the familiar Abhogi varna, followed by a crisp exploration of Raga Mohana through alapana, kriti, neraval, swara prastara, and tani avartana. The segment concluded with the evergreen Nottuswara “Shyāmale Mīnākshi,” which was especially well received.
A highlight of the event was the way the children listened with focus and genuine enjoyment. Their ability to appreciate each instrument being played truly reflected the core vision of the workshop—to nurture awareness, curiosity, and sensitivity towards Indian musical traditions.
Dr. Meera addressed the gathering, elaborating on the intent and benefits of designing such a workshop for young learners, and thanked all the guest artists who were part of the workshop :
Vid. Deepti Murthy, for guiding the children in crafting their own khanjira, giving them a hands-on experience that they will cherish.
Vid. Satyaveera, for his engaging demonstration of wind and string instruments, helping the children see and hear the beauty behind each instrument.
Vid. Sampagodu Vighnaraja, for introducing the unique Sumukha veena and leaving everyone spellbound with its sound and craftsmanship.
Ganakalashree Vid. Anoor Ananthakrishna Sharma (Shivu Sir) and his team, for a vibrant presentation of percussion instruments and for bringing rhythm alive .
Vid. Pavani Bharadwaj introduced the chief guests, after which Amogh shared his experiences as a participant of the workshop.
Dr. Sowmya Sanak spoke on the importance of nurturing culture and tradition in children. She also taught them a short konakkol phrase, which the children enthusiastically repeated. Vid. Swamy emphasised discipline, mindful usage of technology, and the value of cultivating creativity from a young age.
Participation certificates were then distributed to the children, marking their month-long journey of musical exploration. The evening concluded with a heartfelt vote of thanks by Dr. Ragini Sanath.
The workshop and its valedictory celebration together left behind a warm sense of accomplishment, joy, and collective learning—serving as a gentle reminder of why sharing our cultural heritage with the next generation is not only meaningful but essential.
Vanamala Center for Art and Culture organised the third edition of Chinnari Sangeeta—a workshop designed to help children explore the rich world of Indian musical instruments. The workshop saw enthusiastic participation from kids, young adults, and adults, all eager to understand the many dimensions of our musical heritage.
Each week featured a new set of instruments and experts who interacted with the children, offering hands-on experiences and demonstrations that sparked curiosity and joy.
Week 1 opened with Dr. Meera ma’am introducing the children to various instruments through engaging visuals. Gowri Sanath getting all to recite Konakkol to incite interest in this beautiful art form. Vid. Deepthi inspired creativity by teaching the children to make their own Khanjira, which they proudly carried home.
Week 2 helped the children explore a range of string and wind instruments, with Dr. Meera ma’am guiding them through visuals and demonstrations that deepened their understanding of sound and structure. Vid. Satyaveera demonstrated instruments such as the flute, bansuri, and harmonium, keeping the children actively engaged through lively questions and answers.
Week 3 introduced the children to percussion and traditional wind instruments through Dr. Meera ma’am’s detailed visual presentation. Unique instruments like the rana kahale and kombu were showcased, allowing the children to experience their characteristic sounds. The session was further elevated by the presence of Vid. Sampagodu Vighnaraja, who mesmerised everyone with his Sumukha Veena, an instrument he has personally crafted. The audience was spellbound by its resonance and the dexterity with which he played it.
Week 4 marked the grand finale of the workshop. Ganakalashree Vid. Anoor Ananthakrishna Sharma—fondly known as Shivu Sir—introduced the children to a vibrant array of laya vadya. It was an unforgettable experience to witness the wide range of percussion instruments and understand their roles across different musical genres. A short yet captivating tani avartanam held everyone’s attention and showcased the magic of rhythm and mastery.
The workshop was wonderfully received by all participants. It offered an immersive and inspiring learning experience, leaving many children motivated to pursue and explore the musical instruments that resonated with them the most.
Glimpses from the special thematic musical concert "Navaratriya Trishaktiyaru" - a beautiful concept exploring the deeper meanings of Navaratri was conceived by Dr Meera Rajaram Pranesh and was presented along with her students- Dr.Shivashankari, Dr.Ragini Sanath and Vid. Bhagawathi Nagendra on 29th of September 2025 at Kalakompound under the aegis of arogya seva in association with Shyamalakrishna sangita sabha. The lecture demonstration introduced the concept of Navaratri and emphasised the importance of worship of either the Navadurga or the Trishakti-s — Mahā Lakṣmī, Mahā Sarasvatī, and Mahā Pārvatī. Each of their significance was explored through insights from Puranas and ancient texts and through musical compositions of different composers as Sri Muttuswamy Deeksitar, Sri Muttaiah Bhagawathar, Sri Jayachamaraja Wodeyar who have explored each of these dimensions through the compositions. The team was ably supported on violin by Vid.Krishna Kashyap on the violin and Vid.Phaneendra Bhaskar on the mridangam. The programme is available to be viewed on the Vanamala centre youtube channel under the below playlist :
Dr. Meera Rajaram Pranesh delivered the keynote address at the 29th International Symposium on Frontiers of Research and Music (FRSM-2-25) on 13 November 2025 in Mysuru. She spoke on the theme “Research in Music – Its Application and Propagation.”
Addressing an engaged audience, Dr. Meera highlighted how music—as a vibrant performing arts tradition—must be approached through both practical experience via performances and theoretical understanding through musicology.
She then elaborated on the significant role played by the Vanamala Centre for Art and Culture in nurturing and disseminating research in music. At Vanamala, research is carried out through multiple layers and tools including field visits, study circles, book readings, publishing initiatives, performances, lectures and demonstrations, and the creation of audio–video documentaries, all with the active participation of her research team.
Dr. Meera emphasized the value of each of these learning avenues and underscored that research should not conclude with the attainment of a doctoral degree; rather, it should truly begin from that point onward.
The lecture was very well received, drawing thoughtful questions and appreciative feedback for the depth and quality of the work being carried out, and the team involvement in carrying out the research.
01/11/2025 10 - 11 am *15 mins of visual presentation by Dr. Meera Rajaram Pranesh - Knowing various kinds of Indian Musical Instruments and its sounds through interesting stories - part 1 *15 mins - learn konnakkol (presenting jathis orally) *30 mins - participants making their own instrument under the guidance of Vid. Deepthi (materials will be provided by the organization)
08/11/2025 10 - 11 am *20 mins of visual presentation by Dr. Meera Rajaram Pranesh - Knowing various kinds of Indian Musical Instruments and its sounds through interesting stories - part 2 *30 mins - demonstration on playing various kinds of Indian Musical instruments (wind and string) by Vid. Satyaveera *10 mins - interactive session
15/11/2025 10 - 11 am *20 mins of visual presentation by Dr. Meera Rajaram Pranesh - Knowing various kinds of Indian Musical Instruments and its sounds through interesting stories - part 3 *30 mins - demonstration on playing the slide guitar and sumukha veena by Vid. Sampagodu Vighnaraja *10 mins - interactive session
22/11/2025 10 - 11 am *20 mins of visual presentation by Dr. Meera Rajaram Pranesh - Knowing various kinds of Indian Musical Instruments and its sounds through interesting stories - part 4 *30 mins - demonstration on playing various kinds of Indian Musical instruments (percussion) by Vid. Anoor Ananthakrishna Sharma (Shivu Sir) *10 mins - interactive session
29/11/2025 4.30 pm - High tea Program starts at 5 pm *Invocation - Kayou Sri Gowri - by the participants *Jalatarang Hindustani concert - 30 mins *Veena-Venu-Violin trio Carnatic Concert - 30 mins *Konnakkol presentation by the participants *Stage program and distribution of certificates to all the participants.
