Founded by musician Anugrah Lakshmanan, a disciple of Vidushi Jayashree Aravind, Minna Minni is a platform dedicated to exploring classical Carnatic music through innovative and varied perspectives. Anugrah's vision is to make the art form accessible to all, including those without prior exposure to classical music. To achieve this, he integrates snippets of diverse musical styles and genres, creating an entry point for new listeners while staying true to the essence of Carnatic music.

Primarily an online initiative, Minna Minni recently made its mark in the physical space with the debut of the Minnamini Mélange Fest. This three-day festival, held from 15 - 17 November at Medai, offered an eclectic mix of performances and presentations that celebrated the vibrancy of Indian arts and culture.

The festival broke traditional molds, delivering a thoughtfully curated experience that included an immersive theatrical program. By presenting events in a 'jumbled sequence'—a creative choice designed to build suspense—the festival kept its audience engaged and intrigued. A standout addition was a humorous yet informative video on concert etiquette, ensuring even newcomers felt at ease.

The festival opened with an inspiring session led by veteran dancer and guru Leela Samson. Through her book on Rukmini Devi Arundale, she shared personal anecdotes and reflections on her days at Kalakshetra, bringing alive the legacy of the doyen of Indian classical dance. Moderated skillfully by dancer Harinee Jeevitha, this talk was both nostalgic and enriching.

The evening also featured a soulful performance by Hindustani vocalist Prashant Kadam Vajralli, accompanied by Vighnesh Bhagavath and Shridhar Gaonkar. Prashant's renditions, combined with the impeccable accompaniment, left the audience captivated.

Adding a playful twist to the lineup, Shobha Viswanath presented an interactive storytelling session titled Monkey Business. She humorously narrated the tale of Hatamaan, a wandering yogi seeking the secret of flight. His journey to Tibet, where an old monk challenges him with a mantra to chant without thinking of monkeys, had the audience in splits while subtly imparting wisdom.

The second day’s first program featured Ronak Ramachandran on the Veena, accompanied by Sarvesh Karthick on the mridangam. Special mention must be made of sound engineer Sriram Ravi, who ensured a smooth acoustic experience. The sound was never harsh, and the resonant strum of the Veena strings filled the air beautifully. Ronak began with Kamalamanohari and Rasali before moving on to Reetigaula. The selection was well-suited to the intimate, chamber-concert-like setting. Sarvesh’s mridangam accompaniment was a standout. The tonal clarity and balance of both sides of the mridangam significantly elevated the concert experience.

The next program was a Bharatanatyam recital by K.P. Rakesh. He began with Kaithala niraikani, a Thiruppugazh on Lord Ganesha in Naatai, featuring an opening sollukettu composed by Parur Ananthalakshmi. The choreography for the line Mathala Vayiranai Uthami Pudalvanai...was particularly striking. He then presented a unique Javali in Kharaharapriya — Oh my lovely lalana — featuring a delightful mix of English and Telugu lyrics. The English lines received hearty laughter from the audience who were hearing it for the first time. Rakesh concluded with a Thillana in Surutti by Oothukadu Venkata Kavi, which featured his own choreography. It was captivating.

The final event of the evening was a lecture-demonstration by Sumitra Vasudevan on 'Dynamics of notation and melody in Carnatic music'. She began by defining notation as the visual representation of melody and emphasized that melody is far more than just notes. She highlighted the importance of kaala alavu (time) in melody and explained how notations serve different purposes.

She also explored historical references, such as the Sangita Ratnakara, Chaturdandi Prakashika, and Raga Vibodha, which document notations from various eras. She concluded with a thought-provoking question: “Do we need notations, and if so, to what extent?”

The third day commenced with A Mridangam Story by Praveen Sparsh and G. Lawrence, captivating the audience with insights into the instrument’s essence. Praveen eloquently explained the mridangam’s basics, its make and mechanism. Calling the mridangam "a warm and friendly companion," he emphasized its adaptability across genres, stating, “Genres were created by humans.” Demonstrating this versatility, he presented a gripping track from Unreserved, showcasing the mridangam’s ability to blend seamlessly—from the streets of Chennai to Africa and Los Angeles.

The session gained further depth with G. Lawrence, a fifth-generation mridangam maker, who skillfully demonstrated the art of tuning and engaged the audience by answering their questions.

Followed next was Shrinaagi Venkatesh’s Bharatanatyam presentation with the Sringaralahari being the highlight. She was accompanied by Diya Nayar (nattuvangam), Navaneetha Krishnan (vocal), Ashwin Subramanian (mridangam) and N.M. Brahmadathan (violin). The evening concluded with Amritha Murali’s recent concert.

Supported by the adept Madan Mohan on violin and NC Bharadwaj on mridangam, the recital was an immersive experience. The performance commenced with Tyagaraja’s Yuktamugadu in Shri ragam, highlighted by brisk kalpana swarams. This was followed by Muthuswami Dikshitar’s Sree mathrubhootham in Kannada, where both Amritha and Madan offered a concise alapana and engaging swaram exchanges.

The central piece, Shyama Shastri's Sari evvaramma in Bhairavi, stood out with an elaborate raga exploration, vibrant niraval at Shyamakrishna paripalini, swaram dialogues, culminating in a tani avartanam by Bharadwaj. A ragamalika virutham transitioned into Angai kodumalar, while the Yamunakalyani abhang Sundarate dhyana and a serene mangalam in Suratti provided a fitting conclusion. The concert resonated with devotion, technical brilliance, and emotive depth. 

The Minnamini Mélange Fest successfully demonstrated that classical music and arts can be both approachable and deeply engaging. Through thoughtful programming and an inclusive approach, Minna Minni has set the stage for a fresh wave of appreciation for Carnatic music and Indian arts among diverse audiences.

                                                                                                                         - Asmita Padmanabhan & Jagyaseni Chatterjee