HeyJaredN.C. Srinivasaraghavan
- Indexed articles, last 90 days
- 4
- Latest publication
- Aug 26, 2026
- Outlet visibility, for thehindu.com
- Top 5K sites
- Earliest in this view
- Jul 15, 2026
Latest articles
Harinie Jeevitha maps the vastness of the sky through Bharatanatyam (opens the original)
Read excerpt
Dancer Harinie Jeevitha’s first major independent production, Varadarajam Upasmahe, was creative and deeply researched, with a clearly defined theme that offered several avenues for exploration. This time, she took on a more challenging subject with ‘Akasa’. Unlike the other Pancha Bhootas, Akasha is inherently abstract, associated in Indian philosophy with sound, expansiveness and the inner space of the heart. Translating such an intangible idea into movement calls for a different kind of chore
Bharatanatyam artiste Shweta Prachande navigates the many facets of water in âApahâ (opens the original)
Read excerpt
Waterâs fluidity and capacity to transform, taking the shape of its surroundings, offer rich possibilities for dance. Yet, moving beyond familiar Puranic narratives of water as a life-giving or purifying force to more abstract ideas requires conceptual clarity from the dancer as well as an attentive audience. Shweta Prachandeâs Bharatanatyam performance, themed on Apah (water), engaged with these possibilities by exploring water beyond its more familiar associations. Shweta, who performed on
N. Guruprasad gives the clay ghatam a wooden makeover (opens the original)
Read excerpt
The ghatam, one of the oldest percussion instruments in the Carnatic tradition, is a clay pot capable of producing a remarkable range of sounds through strokes delivered across its surface. Despite its musical richness, the traditional instrument has inherent limitations. Made from fired clay, traditional ghatams can weigh as much as 10–12 kg and are fragile. Each piece is crafted to a specific pitch that, while allowing minor adjustments, cannot be tuned across multiple srutis. To address these
Aditya Madhavanâs concert traversed Dikshitarâs Pancha Bhuta landscape (opens the original)
Read excerpt
Among the many thematic groupings in Muthuswami Dikshitarâs repertoire, the Pancha Bhuta Linga kritis occupy a distinctive place. Dedicated to the five Shiva temples, representing the primordial elements â earth, water, fire, air and ether â these compositions weave together temple legends, philosophy and musical expression. As T.K. Govinda Rao observes in the book Compositions of Muddusvami Dikshitar, each kriti draws upon the sthala puranam of its respective kshetra, portraying the eleme
Publishing over time
Last 90 days. Choose a month to open its work.
Recurring subjects
Named in the text we hold. One piece can cover several.
Audience
Top 5K sites
For thehindu.com, the outlet · Measured Aug 1, 2026
Website popularity band, not a count of readers or article views.
About this data
Counts cover the work we have indexed. Tone needs enough text and a confident classification. Excerpts and episode notes are not full articles or transcripts.
Identity or attribution wrong? Suggest a correction.