Review Margazhi Matram Series December 2025

Margazhi Matram is a brainchild of Ranjini Kaushik, Curator and Founder of SciArtsRUs, USA. This inclusive festival presented its 6th edition in 2025 in association with Bharatiya Vidya Bhavan and seamlessly integrated artists with disabilities, cross-culture artists, people of Indian origin with main-stream artists to make music accessible to those with hearing impairment and language barriers. Margazhi Matram, true to its name, showcased 30 curated thematic concerts this season. Themes ranged from 'Science meets Arts' - symmetry, patterns, physics and chemistry in music to collaboration between cross-culture artists from Mexico and Carnatic musicians in Chennai to duo collaborative performances between differently-abled artists and inter-disciplinary themes of design and music. This year Margazhi Matram was taken to other sabhas in an effort to have the differently-abled artists present a few concerts in Margazhi, a big milestone in the journey of the artists. In over 4000 concerts during season, Margazhi Matram stands-out year after year for its unique take on Margazhi concerts, themes and performers and has steadily racked up a loyal following with packed house for many concerts at Bharatiya Vidya Bhavan mini hall.

Saptavarna Sangeetham: Rainbow of Music by Swarathmika Srikanth

The theme for this concert was conceived as a way to integrate performing and visual arts in a way that focuses on inter-disciplinary interpretation. Seven colours, seven swaras, and seven chakras. She painted the canvas colorfully with the combo of lucid explanation of this theme along with vibrant, meditative sangeetham with apt selection of ragas and kritis. The sapta swaras are tied to the sapta chakras in our body, She associated Sadjam with red colour, Mooladhara chakra (adrenalin gland). For Sadjam, she presented beautifully the magnum opus of Tyagaraja's pancharatna kriti Jagadananda karaka in Nata. Rishabam is orange colour, connected with Svadhisthana chakra and joyful emotions. She chose Kanada raga, rendered melodiously.  Papanasam Sivan’s kriti Kantimati annai nee gati. She then connected Gandharam with Manipura chakra (pancreas) which is associated with inner fire and inner strength. Her rendition of Tyagaraja krithi E Ramuni nammithino in Vakulabharanam was soulful and the somber mood of this raga unfolded beautifully. For the Anahata chakra that is seated in the thymus gland, a raga with the use of prolonged 'ma' was chosen since it is said to calm the heart. The Syama Sastry kriti Akhilandeswari in the raga Kapi was impressive. The piece de resistance of the evening was the brilliant alapana of Pantuvarali which she has chosen for Ajna chakra  (pituitary gland). Shankari ika chaala nammithini of Mysore Vasudevachar was presented well. She connected Sahasrara chakra, with swara 'ni', which renders a meditative state, an apt choice of Sindhubhairavi was made. After an emotive rendition of Karunai deivame, she concluded this thematic concert with Karpagame kriti in  Madhyamavati. Able support given by Sreelakshmi Bhat (violin), Ramsmaran (mridangam) & Sai Mukund (khanjira).

Rasamum Rasaayanamum  by R Suryaprakash

There is artistry in chemistry and chemistry in art. With this as a preamble, he narrated the similarities between music and chemistry. Ragas like Begada, Anandabhairavi, Pratapavarali and Gamakakriya have the common sanchara 'pdps', but they give diametrically rasa and bhava. Same like H2S, H2O, H2O2 and H2SO4. Replacing one note/molecule gives a totally different property. Cause and effect which is common to science and music. With so much raga rasam, he presented well the following kritis: Anudinamunu in Begada, O Jagadamba in Anandabhairavi, Vinanasakoni in Prathapavarali and Meenakshi Me Mudam dehi in Gamakakriya. He showcased zig zag, the similarity of music and chemistry, with plotting of raga graphs with note position in arohanam-avarohanam on X axis and 12 swarastanas on Y axis which look similar to frequency, bonding or even crystalline structure of certain compounds. He presented ragas like Nalinakanthi and Devamanohari which have vakrathuvam in arohanam-avarohanam. A tri-raga RTP (on the theme of art and science) in Vasantha, Bhairavi and Vasanthabhairavi was the highlight of this thematic concert with the pallavi lines: samagana sangitamum - vignana sindanaiyum , inaindal perinbame - music that has origins in Sama Veda if combined with scientific thought process gives ultimate satisfaction and happiness. The ragamalika swaras were sung in rasikapriya (indicative of satisfaction of rasikas) and Srothaswini/Udayaravichandrika (indicative of the evolution of old into new retaining some characteristics, the essence of science). Next he rendered his own ragamalika composition. Devargal arul seyda ragangale, which establishes connection between raga names and a popular composition in the respective ragas showcasing the difference of elements in the periodic table by nomenclature. He concluded with the song Santhi Nilava Vendum in Thilang raga. A composition that advocates for world peace. The ultimate objective of chemistry should be the same - nuclear energy to be used for peaceful purposes.

 Arumugam: Hexagon Power of six - by N S Kamakshi

Kamakshi serves as an inspiration to all artists that artistic growth cannot be limited by visual impairment and took on the challenge of a thematic pallavi. Hexagon power of six, which was rendered as a dwi nadai pallavi. This thematic concept highlighted the recurring usage of the number six in multiple different forms.The piece was set to raga Lalitha. The RTP was commenced with a raga elaboration of Lalitha. She brilliantly executed her alapana, which incorporated many detailed fast phrases as well as many melodic phrases of the raga. Next, Kamakshi began her exploration of Lalitha through tanam, a rhythmic form of expressing a raga using the syllables “a”, “nam”, and “tam,” and variations of these syllables. She first started with her rhythmic improvisations in the lower region of the raga, then elaborated around higher Gandharam, which resulted in a very expressive climax. This culminated in the characteristic ending of the tanam. The pallavi line was set to lyrics on Lord Muruga: Sharavanane Murugane Guhane Ninai Ni Mal Marugane. This deity was chosen because Muruga is associated with the number six in many ways, such as his six faces, his six mothers, and importantly his six houses called the Arupadai Veedu. She started with neraval in the slow speed, then moved on to the fast speed, while still showing control over the raga and the rhythmic structure of the line. Transitioning, She started singing slow speed kalpana swarams to the pallavi line. She finished these swaras with various mathematical patterns of the number six. Kamakshi chose different ragas with six notes each to develop the kalpana swarams in the ragas she chose include Mandari, Sriranjani, Chandrajyothi, Malayamarutham, Hamsanandi, Shuddha Seemantini. She ended with a final swara in Lalitha and a mathematical pattern that was repeated three times before coming back to the original line. Extrordinary support by R. Rahul on violin, B. Gururaghavendra on mridangm and Sainath on ghatam.

Devi Mahimai Project of Empower

Vocalist Kanmoni Sasi from Kerala and vocalist and violinist Akshaya Parthasathy from Chennai have grown with Margazhi Matram and have been performing every year on this platform. This year Ranjini asked if they could collaborate on a vocal duo to showcase their strengths despite Kanmoni’s physical disability and Akshaya’s visual impairment. “Devi Mahimai- Project Empower” started off briskly with Kalyani raga varnam Vanjakshi of Poochi Srinivasa Iyengar, followed by alapana of  Hindola raga. They chose GNB's kriti Saama gaana, salalita guna jaale amba.Impressive kalpana swarams by the duo.

Next they rendered the beautiful Devagandhari raga kriti Sree Tulasamma. In this kriti Tyagaraja describes Tulasi (Maha Lakshmi) with Lord Maha Vishnu. The main piece was 58th melakarta Hemavati, considered to be a feminine raga. An elaborate alapana by the duo bringing out the nuances, beautiful gamakas and haunting melody. Muthuswami Dikshitar's famous kriti Sree Kantimatimon Kantimati Amman in Nellai Appar temple in Tirunelveli was taken up. Manodharma swaras were neat and sweet. They concluded the concert with ragamalika kriti -Sree cakraraja Simhasaneshvari and a GNB's tillana in Hamsanandi raga.

They were well supported by Delhi Sridhar on violin, Guru Raghavendra on mridangam and  Sainath on ghatam. Akshaya has previously collaborated on a violin duo and this concert showcased her vocal prowess. Kanmoni, who is also an avid foot painter, with Akshaya showed a pandantharum agnostic collaboration is not only possible but can be immensely inspiring as well.

Kaanbadum Ketpadum Kannada

An inclusive concert featuring Dhanya Rudrapatnam, along with Renganathan and Lakshmi Narayanan, presented as a thematic multilingual concert with a special focus on Kannada compositions. The concert opened brightly with a ragamalika in Nata, Valachi, and Sama, set to khanda Chapu tala. Invoking Goddess Saraswati, the vocalist delivered Kodu Bega Divya Mati in Vasantha, preceded by a refreshing raga alapana. The violinist responded beautifully, which was then lead into a brisk swaraprasthara by Dhanya. Innu Daya barade, an emotion and bhakti soaked rendition was presented before the main item. The centerpiece was a popular Kalyani raga rendition of Kallu Sakkare Kolliro. A neatly developed alapana with aesthetic nuances was expertly echoed by the violinist. The neraval and swaraprasthara featured ear-catching mathematical patterns, complemented by a lilting tani avarthanam from the mridangam artist. The concert concluded with yet another popular composition Jagadoddharana in raga Kapi, Adi tala. The pakkavadyam artists displayed remarkable talent beyond their abilities, proving highly inspirational. This concert was a true treat for rasikas. Renganathan and Lakshmi Narayanan, both visually impaired brothers from Srirangam made their first live debut with Margazhi Matram this year.

Cymatic Carnatic: See the Sound of Music

This concert was presented by the talented 16 year old vocalist Rishabh Kaushik from the USA who leveraged the science of visualising sound, cymatics, integrated with his Carnatic concert along with sign language interpretation and abhinaya as an immersive and inclusive storytelling tool. He was ably accompanied by  Madan Mohan on the violin, H.S. Sudhindhra on mridangam and Nerkunam Manikandan on morsing. This concert piloted technology assisted concert experience to include rasikas who are hearing impaired and those with language barriers to enjoy classical music.

For the first time in Margazhi a multi-sensorial concert was presented to an overflowing hall. Rishabh started the concert paying obeisance to Lord Ganesa with the bright Sree Vigna Rajam Bhaje by Oothukadu Venkata Kavi in Gambeeranata. The pace of the composition along with kalpana swarams brought out intricate patterns on the cymatic plate while also simultaneously allowing the audience to read the lyrics and meaning on the monitor immerse themselves through Deva who effortlessly signed the lyrical meaning via Indian sign language and Ranganayaki who emoted gracefully with abhinaya. 

The main piece for the evening was Tyagaraja’s Koluvamare gada in Todi. An elaborate and unhurried alapana by Rishabh was followed by nuanced alapana by Madan Mohan on the violin. Rishabh chose Tambura jekoni for exploring neraval while the kalpana swarams. embraced arithmetic articulation and an elegant dialogue between Madan Mohan on violin with tonal clarity. The tani was a treat to watch with H.S. Sudhindhra on mridangam and Nerkunam Manikandan on morsing weaving energetic patterns. Rishabh concluded the concert with Rayare Guru Rayare in Hamsanandi and soulful rendition of misra Sivaranjani tilanna.

Misra Samanva- Power of Seven

Vidwan Karaikkal Jaishankar gave an interesting and informative talk on his theme “Power of Seven" extensively quoting from Adiyarkku Nallar's commentary on the ancient Tamil epic literature  Silappadikaram, Samagana scale derived from Sama Veda and Bharata's Natya Sastra.

In the musical theory in ‘Vattappalai’ of Silappadikaram, the technical arrangement of the seven notes in a circular, geometric pattern to illustrate their relationships, pitch, and progression, forming the basis of the ancient Tamil musical scale are written. Tula rasi is Sadjam,Vrischika is Suddha Rishabam, Dhanur is Chatusruti Rishabham, Makara is Sadharana Gandharam, Kumbam is Antara Gandharam, Meenam is Suddha Madhyamam, Mesham is Prati Madhyamam, Rishabham is Panchamam, Mithunam is Suddha Dhaivatham,  Karkadagam is Chatshurti Dhaivatham,  Simmam is Kaisiki Nishadham, Kanni is Kakali Nishadam.

In the Vattappalai, the first raga is Sempalai which is equivalent Harikambhoji raga. He rendered the Tyagaraja kriti Rama nannu brovara with neraval and swarakalpana. Next he mentioned about sapta rishis, seven continents and the iconic deity sapthagirivasan Malayappa Swami and after a brief, beautiful alapana of Lathangi raga, presented Papanasam Sivan's kriti Venkataramama.

Next he explained the meaning of Tyagaraja's Chittaranjani raga kriti Nada tanumanisham in which Siva is depicted as delighting in the art of the seven notes Sa-Ri-Ga-Ma-Pa-Dha-Ni, the source of music. These notes are said to emerge from his five faces (Pancha Vaktra): Sadyojaata, Aghora, Tatpurusha, Eeshaana, and Vaamadeva. Next he touched upon our tala system. The meaning of the word  misram (seven)  in Sanskrit is mixing. Hence it is a combination of 3 & 4 - tisram and chatusram.

The highlight of the concert is the delectable alapana of  Kakyani raga and swaraprastaram for the famous Dikshitar kriti Bhajarere chitta. He selected either a raga or tala or a song all connected with the number seven in this thematic concert. Jaishankar concluded with the 7th ‘Tirumurai’ song of Sundaramoorthy Nayanar, Pittha pirai soodi perumane arulaala set in Surati raga. Jaishankar’s renditions and interpretation of the 'Power of Seven' showed the power of musical abilities.

Amar Chitra Katha Kutchery

Two budding artists, Nanditha Kannan and Shakti Muralidaran along with young talents - C.S. Chinmayi on the violin, Srihari Raman (Malaysia) on the mridangam and Krishna Prasannan (USA) on the ghatam - presented an impressive and wonderfully curated thematic concert. The Amar Chitra Katha Kutchery series of storytelling was conceived by Ranjini Kaushik in an effort to make our epics and fables relatable to artists and children and also to people of non-Indian origin through music. Nanditha and Shakthi chose stories from the Ramayana from Amar Chitra Katha for the first series. Compositions of various composers pan India, celebrating the glory and  grace of Lord Rama through inspiring tales of his courage and compassion were presented passionately. After setting the context, the team started the concert with four verses in the Bala Khandam from the Valmiki Ramayana, followed by the apt and beautiful composition of Tyagaraja, Rama Bhakti Samrajyam, in the raga Suddha Bangala.This was followed by a quick Ananda Bhairavi raga.

Ramanukku Mannan Mudi followed the alapana, which told the story of Parasurama’s fury and acceptance. Sree Rama Padama was the next piece, in which was narrated the famous Ahalya-shapavimochana story. The audience was kept engaged throughout the concert with a lively power point presentation which accompanied the artists’ research, replete with images of comics and snippets from the Amar Chitra Katha.

The main piece of the concert was the grand Shri Raghuvara Aprameya, the colossal Kambhoji kriti of Tyagaraja. The neraval and swara section, presented marvelously by the team, was followed by a fantastic laya vinyasam. The highlight of the presentation was the singing of Hanuman Chalisa, a fitting closure to a concert celebrating Lord Rama. The audience sang along with the team, and the atmosphere was vibrant and joyous as the team concluded the concert.

 Nava Carnataka Vaibhavam- Neo Carnatic soundscapes

In an inclusive concert series a unique concept in veena - mridangam duet was presented by the musical couple Y.G.Srilatha Nikshith and  Puttur Nikshith. Laya or rhythm and melody or raga are two inseparable faces of music.  A melodic instrument is rhythmic too and one can equally perceive the melody through a rhythmic instrument. This was demonstrated in this unique veena-mridangam duet concert portraying the various dimensions of instruments, engaging in  interesting  dialogues between the melodic veena and the rhythmic mridangam keeping the audience fully engaged. Concert began with  varnam Amma anandadayini of M. Balamuralikrishna in Gambhira Nata, a composition with a rare blend of lyrical eloquence with  devotional obeisance to the divine mother.

Presentation of mallari in concerts is a great revival of the ancient traditions. It is hardly heard in concerts in recent times, particularly on other instruments like mridangam. The artists did well to present a lovely Mallari in Gambhiranata.

Tyagaraja’s, Enthamuddo in Bindumalini had a scintillating conversation during swaraprastharam. The highlight - Endaro mahanubhavulu  illustrated  the concept  of duet in a an impressive way, with conventional tani avartanam meticulously woven between the charanams of the composition, keeping aesthetics at its best. A lilting Sai bhajan in Revati on Lord Siva, which seamlessly merged with Sri Dayananda Saraswati's evergreen Bho shambho  was an  icing on the cake. Audience soon joined in chorus to chant Sivaya Siva namah om.  It is heartening to see  such enriching ideas blossom among the present generation artists. Nerkunam S.Shankar on khanjira and Nerkunam Manikandan on morsing gave a wonderful support.

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