A window into the world of South Indian female Percussionists in Kerala

Karin Bindu and Retnasree Iyer

Introduction

Audio 1. Ganesh Tāl (Aggarwal 1994, 62), played by Karin Bindu on Tablas (October 2023). Tāli on 1,5,9,13,15.

The musical landscape of Kerala is strikingly diverse, encompassing kshetram vadyam (temple music), tribal and folk traditions, ritual and performance accompaniment, semi-classical, Carnatic classical, and some Hindustani Music. However, this spectrum remains largely male-dominated. Women tend to participate more visibly in the last four categories, often as singers, dancers, cymbal players or veena players. Yet, many see their careers curtailed by marriage and motherhood. Exceptionally, my interview partners Retnasree Iyer, a tabla maestra, and her friend Sandhya S. Prabhu, a mrdangam player, have achieved professional success and recognition as percussionists in the classical music scene of South India. They are well known not only in Kerala but across several Indian states for their performances. 

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Image 1. Retnasree Iyer, tabla solo in 2012.

This article is based on a Zoom interview I conducted with Retnasree Iyer in September 2023, along with a phone interview she conducted with Sandhya S. Prabhu. These conversations explored their performance challenges, musical backgrounds, and gendered experiences as female percussionists in a male-dominated field. Inspired by Elliott and Culhane’s (2017) A Different Kind of Ethnography, Retnasree and I sought innovative approaches to co-creating and sharing knowledge. We incorporated video material, YouTube links (see Online Resources after References), and our recorded Zoom conversation. I had sent prepared questions to Retnasree in advance, which she then asked Sandhya S. Prabhu in a phone-to-phone interview format.

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Image 2. Sandhya S. Prabhu, Sree Bavaneeswara Temple, 2021. (Photo: Mookambika Janmashtami)

As tabla artist Retnasree Iyer primarily engages with North Indian classical music, which is rare in South India. She also participates in fusion projects that blend North Indian and South Indian classical and semi-classical styles (see Online Resource 3).

Building upon the historical context of regional and religious distinctions in Indian classical music, it is essential to consider how 20th-century social changes, especially urbanization and institutionalization, reshaped the educational landscape for musicians across India. These developments significantly influenced how musical traditions were preserved, adapted, and transmitted to the next generations, particularly through the Gharana system and public educational institutions.

Manuel (1996, 122) highlights the differences between North Indian (Hindustani) and South Indian (Carnatic) music, particularly as they relate to the religious affiliations of musicians. While the division between Hindustani and Carnatic music dates to the 13th century, Hindustani music has increasingly been performed by Muslim musicians. Manuel attributes the dominance of Muslim classical musicians in northern India at the beginning of the 20th century to the historical conversion of many low-caste Hindus to Islam, seeking social mobility. Both Hindu and Muslim musicians interpreted Hindustani music as an expression of their respective religious and cultural identities. In contrast, Brahmins have historically dominated the classical music tradition in southern India due to their longstanding economic, political, and religious ties to regional rulers and temples.

By the early 20th century, musical activities across India had shifted from royal courts to emerging urban centers such as Mumbai, Delhi, Kolkata, and Chennai. The growing urban middle class became the new patrons of music. Gharanas schools of Hindustani music in the North continued to preserve distinct styles reflecting the performance traditions of individual gurus and their disciples (śiṣyas) (Farell 1997, 122). The traditional Gurukula teaching method was gradually integrated into the Western-style educational system throughout India.

During my fieldwork beginning in 2004, I spent several months at Kerala Kalamandalam, a deemed-to-be University for Art & Culture. There, I studied the mizhavu, a copper drum used to accompany Sanskrit drama performances, under the guidance of K. Eswaranunni (Bindu 2013, 255–261). At this institution, I observed a hybrid educational approach that blended traditional and modern methods. Despite a global trend of declining respect for educators, I found that at Kerala Kalamandalam, gurus and teachers were still regarded with reverence, often seen as divine authorities.

Musical training

Against this backdrop of evolving educational practices, the experiences of individual musicians offer rich insight into how training, mentorship, and gender intersect contemporary music practice. In the following section, we focus on Retnasree Iyer and Sandhya S. Prabhu, whose stories illuminate the challenges and adaptations required for women in the male-dominated world of Indian percussion.

In Video 1, Retnasree discusses her musical training, her experience with notation systems, her career, and the challenges she has faced along the way. While Sandhya S. Prabhu trained in Mridangam for nearly two decades under two local gurus, the scarcity of tabla gurus in South India led Retnasree to study under various teachers across different Indian regions. Her musical education began at school, where she learned both Western and Indian notation systems, and later continued her tabla studies at music colleges.

Video 1. Discussion between Karin Bindu and Retnasree Iyer (excerpt)

Zoom Interview by Karin Bindu with Tabla Artist Retnasree Iyer,
13.09.2023

Transcript Video 1

Legend:
R: Retnasree Iyer
S: Sandya S. Prabhu, interviewed by Retnasree Iyer
K: Karin Bindu

Have you received music lessons during your school time (regular or after school)?

S: Yes
R: Yes, little bit. I have learned a bit piano and vocal music also. Basic lesson, like alamkaras(?), like that. In my 15th age.
K: And which kind of notation was used? Did you learn western notation or Indian notation?
R: Western notation. In Piano it was western notation only. In vocal music I have learned basic songs, Hindustani songs and Carnatic basic. But in my beginning, I only learned Carnatic basics, not Hindustani. Recently I have learned some other styles of Hindustani
music also.
K: Nice, that sounds good. And what about modern music songs? Have there been any tuitions about modern music songs at school?
R: In school time no, not modern. Completely traditional music only. Nowadays we are also doing modern style fusions at programs. In the last 60 years that fusion music got more important here. By mixing with western music also. Nowadays many programs happen in this way only – fusion kind of music programs. Traditional programs are less.
K: I see. And are they also played for cinema, something like that, Bollywood, films, or is it more in a concert style?
R: Yes. In your question you ask “a mixture of these”.

If yes, have the music lessons been about Indian Classical Music, Temple Music,
Modern Music, or a mixture of these?

R: Definitely, we are fusing with this temple arts also. With Kathakali I have played Tabla, with Chenda I have played, yes, in my youtube video also, mix with Chenda, you can see.
K: Very nice.
R: For variety we can mix all this. And here for this Kathakali and Carnatic Music and Hindustani Music they are doing Jugalbandhis [Online Resource 3] also. So, it´s sort of mixing different kinds of music.
K: Nice, new developments.
R: Yes, new developments. We want lots of varieties now, not only traditions.
K: Something new.
R: Yes, something new they are searching.
S: Only mrdangam

Have you studied in a music institution in India or abroad? (Such as Music College,
Music University)

R: Yes, I made my diploma in a governmental music college. And after that I went to Kollapur University (?) to complete my masters in Tabla.
K: So, how many years have you joined the college?
R: In Hyerabad it was three years and in Kollapur also three years. Yes. But in between I have completed my Vishara (?) in Tabla in Mumbai, Agarbathi. It´s a private university also.
S: No

If yes, have you been the only female instrumentalist in your class? How many pupils
have been in your class, how many girls and how many boys?

R: Yes, in my time there was only one, just me. In my time and in my diploma time also. Seven or eight boys were there in the diploma course and in my class also. And I was the only female in my class. Yes.
K: Very brave.

How would you describe your actual career level?

R: Actually, to develop the career I struggled a lot. I got lots of struggles, because we get more experience with different types of music, different types of musicians. For all these it takes a long time. We want to travel a lot, and nowadays struggles are there to get a good career. But I am satisfied with my career now. In the present condition I can play with any kind of music, I am very confident to play with any kind of music, even Hindustani different streams, Kathak dance, and with different instruments, vocals. And with Carnatic also I am playing, that music also I can play. And so, everywhere I got idea of tala function. So, with any tala I can play, I am confident to play. So, I am satisfied, that is my career actually. I can deal with all kinds of music and all kinds of tala also.
K: And do you have any higher levels you want to reach? Do you want to peak up your level?
R: Yes, yes. Daily we are learning something new. And now I am doing research also. So,
definitely I am thinking to get more and to make it more perfect.
S: Career is ok. I am not getting much chances.

In modern Kerala, there are generally three pathways to learning music: through formal schooling, at music institutions, or under the guidance of a private teacher (guru) or through a combination of all three. During compulsory schooling in Kerala, students of all genders receive instruction in various aspects of South Indian Carnatic classical music, including instrumental performance, vocal repertoire, and accompaniment for semiclassical orchestras. They are also exposed to a broad spectrum of performing arts, including folk forms and Bollywood dance. These traditions are widely celebrated in large-scale annual school and youth festivals.

Since the 1960s, the Kerala State Youth Festivals have been held in schools and colleges as part of a "mass education project" (Guillebaud 2011, 57–59). Student performance groups compete against one another and are evaluated by panels composed of artists, scholars, and representatives of governmental institutions.

Personally, I had the opportunity to take a few music lessons in tabla and mridangam from different gurus in 1991 and 1992. Although I practiced these instruments in Austria as a part-time musician alongside other work, I never reached a professional level. I now use tabla and mridangam primarily in fusion projects combining jazz and world music. During my PhD research project (Bindu 2013), I joined the Mizhavu Department at Kerala Kalamandalam in 2005 and 2006, studying as the only female pupil of K. Eswaranunni. He had also taught his daughter to play the mizhavu to accompany his solo koothu performances and had no problem to teach me among his male pupils.

Traditionally, the mizhavu has been regarded as a sacred temple drum, played exclusively by men from certain castes. This historical context contributes to its relative obscurity in the West. I deeply respect the cultural and ritual roots of the instrument and therefore only perform it in lecture-demonstrations, accompanied by my former classmate K. Sajith Vijayan.

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Image 3. Karin Bindu in 2024.

Audio 2. Jhap Tāl, Karin Bindu. Tāli on 1,2,8. Kāli on 6.

My audio recordings are intended both as rhythmic devotions to deities and as structural elements within this article. The first audio example, Ganesh Tāl, serves as a devotional offering to the primary deities associated with musical practice in India: Ganapati, Shiva, and Sarasvati. I am personally devoted to Lakshmi as well, which is why I included a separate rhythm dedicated to her.

In line with this devotional structure, Ganesh Tāl functions as an opening prayer; Jhāp Tāl (audio example 2) is dedicated to my tabla gurus; and Deepchandi Tāl (audio example 5) serves as the rhythmic conclusion to our contribution.

As seen in the first transcription of the North Indian Ganesh Tāl (Aggarwal 1994, 62), percussion notations for instruments such as tabla, mridangam, and others in India are traditionally written using mnemonic syllables (bols), which inherently indicate the playing techniques for both the right and left hands. Percussionists memorize all rhythms (tālas) using this system of syllables. In the transcription, I have also indicated the placement of tālī and khālī: tālī refers to an audible hand gesture (kriyā), while khālī denotes a silent hand movement. These gestures help divide a rhythm (tāla) into smaller sections, known as aṅgas.

The method of marking these divisions in notation differs between the Hindustani and Carnatic music traditions. A key development in modern Indian music notation occurred in the early 20th century. In 1904, Subbarama Dikshitar published Sangīta Sampradāya Pradarśini, a seminal work that combined Indian solfège syllables with elements of Western musical notation. Following the decision of a government-appointed commission, this book was intended to serve as the foundational model for standardizing music notation across India.

Discrimination

While training opportunities have expanded over time, women in Indian music—especially percussionists—have faced longstanding structural and cultural barriers. To better understand current conditions, we must revisit the historical trajectories of female musicians, whose roles were deeply affected by colonial legislation and post-independence cultural shifts.

In this brief historical overview, I aim to shed light on the roots of discrimination and the career challenges faced by female musicians in South India. For several centuries, women artists served as singers and dancers in temples, known as Devadasis (Chakraborthy 2000). However, the Devadasi system began to decline with increasing colonial and reformist pressures. The Devadasi Act of 1929 prohibited the dedication of women to temples for artistic service. According to Menon (1999, 48), many Devadasis transitioned to music to continue their art within private settings, such as domestic ceremonies and marriages.

Following the passage of the Madras Prevention of Dedication Act in 1947, many older Devadasis gave up dance and pursued careers as musicians, entering a professional sphere that was increasingly male dominated. This shift led to new forms of competition and marginalization.

In the 1930s, the emergence of Sabha culture, a system of cultural organizations funded through corporate sponsorships and private donations, marked a turning point (Menon 1999, 91). This new institutional framework fostered a strong relationship between culture and the state. Gradually, Brahmin women began to assume new roles as performers and “carriers of culture.” Their visibility and success were often made possible by the patronage of their husbands, gurus, families, music institutions, wealthy merchants, and managers, all of whom played a part in legitimizing their careers.

Menon (1999, 102–103) identified persistent taboos within the domain of “classical” music-making in South India. For a long time, Manodharma Sangita, which includes improvisation and spontaneous composition, was considered a male preserve, while female Carnatic vocalists and instrumentalists were generally confined to Kalpita Sangita, which involves pre-composed pieces set to established melodic and rhythmic frameworks.

Following the 1930s, women began to break these boundaries and took up performance on traditionally male-dominated instruments such as the nagaswaram, tavil (see Online Resource 10), flute, violin, and mridangam. However, due to the reluctance of male musicians to perform alongside them many female artists formed their own all-women ensembles.

Further significant developments unfolded in the early 20th century with the arrival of recording technologies. The Gramophone and Typewriter Ltd. played a pivotal role in the nascent gramophone industry. Its managers sought to repackage and sell “India’s music” to Indian consumers, often by recording artists without fully understanding the cultural and musical contexts of their traditions. As Farrell (1997) observed, “the twin media of photography and recorded sound turned Indian music and musicians into saleable commodities.” What was marketed as “Indian music” became part of global mass media, a trend further institutionalized by the establishment of All India Radio (Farrell 1997, 141).

These technological shifts also introduced new forms of gender-based discrimination. Menon (1999, 104) notes that many male musicians refused to perform alongside women, claiming it would “dilute standards.” Sankaran (2023, 77) identifies additional biases: male musicians often avoided performing with women from Devadasi backgrounds, accepted lower fees for accompanying female artists, and feared that women’s physical presence or “sex appeal” would overshadow their own musical improvisation.

These historical inequalities have left a lasting imprint on the present-day experiences of female musicians.

Audio 3. Lakshmi Tāl (Aggarwal 1994,81), played by Karin Bindu on tablas (October 2023). Tāli on 1,2,3,5,6,7,9,10,11,12,13,14,15,16,17. Kāli on 4,8,18.

In Video 2, Retnasree Iyer reflects on her personal experiences with gender-based discrimination, concert opportunities, and the critical role of family support in her career. She identifies several reasons for the discrimination faced by female musicians in India. One key issue is the logistical and financial challenge of arranging separate accommodations for women during concert tours, which often results in higher costs and reduced invitations. Another barrier is social exclusion from male-dominated professional networks—the so-called “friends’ zone”—where important decisions and collaborations are frequently negotiated informally.

Retnasree also described the tendency of some male colleagues to disregard female musicians entirely, refusing to recognize them as equals within the same professional tier. Additionally, she noted that jealousy can play a significant role. A woman performing percussion often draws greater attention from the audience, which may be perceived as threatening to male egos. In some instances, Retnasree reported that male organizers or co-performers assumed she received funding as a PhD student and therefore declined to pay her performance fees.

A further layer of discrimination is rooted in religious and cultural norms. Many concerts in India take place within or near temple premises, where women  ̶  especially during menstruation  ̶  are often restricted from entering or performing. These traditional taboos continue to limit access and opportunities for female musicians.

Sandhya S. Prabhu added further insights into the multitude of struggles women face when attempting to advance their careers as professional musicians, underscoring the persistence of gender-based obstacles in the field.

Video 2. Discussion between Karin Bindu and Retnasree Iyer (excerpt)

Zoom Interview by Karin Bindu with Tabla Artist Retnasree Iyer,
13.09.2023

Transcript Video 2

Legend:
R: Retnasree Iyer
S: Sandya S. Prabhu, Interviewed by Retnasree Iyer
K: Karin Bindu

In which ways are female Instrumentalists supported to perform on stages?

K: Are there some supporting agencies for women? Agencies, or companies or
associations?
R: Nothing here, nothing, nothing.
K: So, no associations or special Sabhas focused…
R: No, no. Not like that, yes.
S: By female groups and audience support.
Is there a difference between the support for women´s performances on temple
attached stages or on ordinary stages?
K: Is it for example easier for you to get performances on stages near temples or at
concerts?
R: At temples we are also getting performances.
K: Are there restrictions for women to play in temples?
R: No restrictions like that. In some temples they don’t allow inside. And another problem in period time we can´t enter temples. That´s a problem. But nowadays most of the stages are
outside the main temples. So, nowadays it´s no problem there.
S: There is no difference. Temples get more attention from the audience and in music Sabhas too.

The payment for a concert – is it equal to the payment of male Instrumentalists?

K: Is there a difference in the payment in temples?
R: Less.
K: Yah, there will be less.
R: It is not in every time, in certain times only. In the festival time there will be payment. Temple festival. But if ritualistic functions will be there, payment will be. For example, this
Durga Puja, Navaratri, like that, there will be no fund. For festivals they will collect money from people.
K: And if you play a concert, is the payment equal to the payment of males or would they take more?
R: If I am a very good percussionist, then I will get the same payment. The female percussionist, if we are on the same level of playing we will get the same payment.
K: That´s good.
R: There is no struggle.
S: Not equal.

How does your family scope with your musical activities?

K: Are they always supportive or did they have doubts?
R: They are not giving any restrictions. They don´t know about this Tabla seriously. They are not giving restrictions. I am going my own way, just like that. Restrictions no.
K: Is it rare? There might be other families….
R: Other families yes, but my family is little bit interested in music. They know the efforts; they are not giving restrictions. But they don´t know what I am doing seriously in this, but
they are giving permission.
K: That´s important. I can imagine other families would be afraid….
R: Other families, definitely, they don´t allow to travel at nighttime, they don´t allow to cooperate with the gents. In my village I often practice in the nighttime also. But it will be
difficult with other families. Commonly in India.
K: I also noticed that many times…
R: Because in many families they don’t give much freedom for women.
K: And also they want them to get married after their collages and not to travel for music, I guess.
R: Yes, yes yes…….another thought is, it’s difficult to live with this profession. We don’t get much money in this profession, that is also another struggle.
K: Of course. I mean you have the advantage that you can live at home, so maybe you don’t have to pay rent. But if you live on your own and you have to pay rent and pay everything
yourself it would be difficult with music.
R: Yes, yes. Because income will be fractalated. In some months there will be income, and in some months, there will be no income. So, that is also a struggle.
K: So that is why many are teaching. Many people are teaching and have their steady
income and so….
R: Nowadays my another struggle is I am doing PhD, so other artists are seeing me in another level. So, they don’t call me for programs. They are thinking I am getting sci-funds
from university, but I am not getting any sci-fund. And here PhD candidates are very less for music. And they are thinking in that way also. So, they will avoid for programs. Very few
people will call for programs.
K: Aha, strange.
S: My family supports me.

Other female percussionists in Kerala

Despite these ongoing challenges, several pioneering female artists have pushed back against restrictive norms, carving out spaces for themselves and others. The emergence of all-female ensembles and collaborative projects underscores a growing sense of solidarity and agency among women musicians, as seen in the work of ghattam virtuoso Sukhanya Ramgopal and her colleagues.

In 1995 Sukhanya Ramgopal founded a female Carnatic music ensemble (see Online Resource 7). Her initiative was a direct response to the chauvinism and marginalization she faced in gaining recognition as a female Ghatam player (Nair 2021). Ramgopal's unwavering dedication to her art and her advocacy for gender equity in music have made her an inspirational figure for female musicians in Kerala.

In her article, Malini Nair (2021) highlights the power of collectivism among female percussionists in asserting their voices and building solidarity. One notable example she cites emerged during the COVID-19 pandemic: a collaborative performance featuring rhythmic intonations of Subramania Bharati’s poetry, arranged through konnakol, a vocal percussion technique, by Ramgopal, S. Chandrashekar, Charu Hariharan, and Radha Kannan. Among these artists, Charu Hariharan (see Online Resource 4), based in Trivandrum, has established herself as a specialist in konnakol in addition to her expertise in mridangam and her work on fusion projects with international percussion traditions. Online Resource 4 features a striking example of her rhythmic elaboration on Misra Chap, a seven-beat cycle, played on the mridangam.

Audio 4. Sarasvati Tāl (Aggarwal 1994,73), played by Karin Bindu on Tablas (October 2023). Tāli on 1,5,7,11,15.

Discussion

This multimedia article aims to highlight the contributions of women to Kerala’s rich musical landscape, incorporating video examples sourced from the global web and original audio recordings by Karin Bindu. In many ways, the article itself serves as a form of composition and a co-creative method of knowledge production. Terms such as “Carnatic Classical Music” must be understood as constructs shaped by neocolonial and ethnocentric frameworks, closely tied to the economic development of India’s expanding music industry since the 1930s. While the nuanced meanings of original terminology for regional music styles could easily fill multiple volumes, for the purposes of accessibility and clarity, this article has adopted commonly used terms that are broadly recognizable to readers.

The brief historical overview offered here illustrates how structural changes in early 20^th century India—most notably the prohibition of the Devadasi tradition—led to significant shifts in the status of female performers. The institutionalization of music education profoundly transformed interpersonal relationships: between gurus and disciples, musicians and patrons, males and females, caste groups, and religious institutions and the state. In this evolving context, Kerala’s celebrated Youth Festivals serve a dual function: nurturing artistic talent through competitive platforms while simultaneously helping to reconfigure social hierarchies, distancing artistic recognition from traditional caste and gender identities.

Guillebaud (2011) emphasizes the emergence of well-educated, semi-professional musicians from lower castes, inclusive of all genders. Enabled by social media and digital technologies, these artists now have the means to present themselves as cultural ambassadors and producers, thus transcending geographic limitations and village-based barriers. All online resources cited in this article exemplify how contemporary artists manage platforms like YouTube and other social media to disseminate their music and build audiences.

Despite the new avenues of visibility, recent developments have also introduced fresh layers of discrimination, particularly for female percussionists. In many musical settings, women are still positioned hierarchically below lead performers, often facing structural and social disadvantages. To succeed, they require not only exceptional talent and discipline but also strong familial support, effective networks, and considerable personal resilience.

Retnasree Iyer, a professional and widely respected tabla artist based in Kerala, is one of the rare exceptions. Her instrument, the tabla, is associated with North Indian Hindustani music and is infrequently featured in South Indian concert settings. Having studied tabla for over 25 years, Retnasree is now also involved in experimental research on innovative materials for tabla production. In our Zoom interview conducted in September, she outlined a range of challenges limiting the participation of women in percussion: family-imposed restrictions, power imbalances, male egotism, the added cost of separate accommodations when traveling with male ensembles, perceived distractions caused by women on stage, and doubts about their artistic credibility.

Her colleague and friend, mridangam artist Sandhya S. Prabhu, echoed with these concerns. She noted that female percussionists receive fewer performance opportunities, are often underpaid in comparison to their male counterparts, and are seldom afforded equal recognition. Furthermore, the lack of visible female role models and limited access to historical narratives about women in music contribute to the marginalization of female percussionists. Recently, however, regional Indian newspapers have begun to publish more stories about female drummers—their struggles for recognition, their entry into traditionally male-dominated performance spaces, and their creative strategies for making their voices heard.

The online resources shared throughout this article showcase the exceptional skill, passion, and perseverance of women percussionists. Their enthusiasm and love for music are evident across various platforms and musical forms. Retnasree Iyer encourages aspiring female drummers to step forward boldly and devote themselves wholeheartedly to their instruments.

Video 3. Retnasree Iyer, tablas, with sitar Artist Ustad Rafique Khan, Saheb Vaikom, 2022.

Audio 5. Deepchandi Tāl (Aggarwal 1994,57), played by Karin Bindu on Tablas (October 2023). Tāli on 1,4, 11. Kāli on 8. “Na” optional instead of a pause.

References

Aggarwal, Vikas.1994. How to play Tabla and Bongo-Congo with Pictures. Delhi: Creative Publications

Bindu, Karin. 2013. Percussion Art Forms. Aspekte der Produktion und Kommunikation südindischer Talas im Kutiyattam, Wien/München: LIT Verlag.

Chakraborthy, Kakolee. 2000. Women as Devadasis. Origin and Growth of the Devadasi Profession. New Delhi: Deep&Deep Publications.

Manuel, Peter L.1996. ‘Music, the Media, and Communal Relations in North India, Past and Present.’ in Contesting the Nation: Religion, Community, and the Politics of Democracy in India, edited by David Ludden, 119–139. Philadelphia: University of Pennsylvania Press.

Nair, Malini. 2021. ‘Long unsung and marginalized, Indian women percussionists are finally making themselves heard.’ Scroll.in, published 1 Dec 2021.https://scroll.in/magazine/1011699/long-unsung-and-marginalised-indian-women-percussionists-are-finally-making-themselves-heard

Elliott, Denielle and Dara Culhane. 2017. A Different Kind of Ethnography: Imaginative Practices and Creative Methodologies. Toronto: University of Toronto Press.

Farrell, Gerry. 1997. Indian Music and the West. New York: Oxford University Press.

Gopal, Shreejayanthi. 2004. Mridangam. An Indian Classical Percussion Drum.Delhi: B.R. Rhythms.

Guillebaud, Christine. 2011. ‘Music and Politics in Kerala: Hindu Nationalists Versus Marxists.’ In The Cultural Entrenchment of Hindutva. Local Mediations and Forms of Convergence, edited by Daniela Berti, Nicolas Jaoul & Pralay Kanungo, 29–63. New Delhi: Routledge.

Menon, Indira. 1999. The Madras Quartet. Women in Karnatak Music. New Delhi: Roli Books.

Sankaran, T. 2023. The Life of Music in South India. Edited by Matthew Harp Allen and Daniel Neumann. Connecticut: Wesleyan University Press.

Venu, G. 1989. Production of a Play in Kūṭyaṭṭam. Documentation of Kūṭyaṭṭam Series No. 1. Irinjalakuda, Kerala: Natanakairali.

Online Resources

1. kayda, Retnasree Tabla: Part 03 Sitar Concert at Kathakali Club Vaikom by Ustad Rafique Khan Saheb_2022. https://www.youtube.com/watch?v=FFmU9Ny8CpI

2. vinayasings: Bhagavathi Temple – 6 Jan 2022 with Sandhya S. Prabhu (Mrdangam). https://www.youtube.com/playlist?list=PLv9Hmos5-LUD9Wrey6n5SvPJkyukq5RIw

3. kayda, Retnasree Tabla: Mrudangam and Tabla Jugalbandi (women artists) with Retnasree Iyer and Sandhya S. Prabhu. https://www.youtube.com/watch?v=g46OWTUTUdg

4. Beings of Rhythm: Groove with Mridangam. Misra Chapu (7 beats). By Charu Hariharan. https://www.youtube.com/watch?v=0q4_eiSTFSY

5. Welcome Kerala Magazine: Kutiyattam/Koodiyattam – Soorppanakhangam. Kalamandalam Artists (Actor Rama Chakyar, Mizhavu: K. Eswaranunni), 2016. https://www.youtube.com/watch?v=GmcdZ8Ff6rI

6. World Around Me: Varnamudra Kudumbasree Ladies Singari Melam With Amazing Dance! MUST SEE!!! 2016. https://www.youtube.com/watch?v=rbUGklAgmsA

7. Beings of Rhythm: When the Maestro plays, you clap! Sawal Jawab with Vid. Sukkanya Ramgopal, 2019. https://www.youtube.com/watch?v=tkYIL0Z9LjU

8. Anuradha Pal: Vatapi Ganapathim. Anuradha Pal’s Stree Shakti all girls band. Raag Hamsadhawani #music, 2013. https://www.youtube.com/watch?v=TT20uKLTPco

9. Kripal Panicker: #sopanasangeetham #ashasuresh #devotional, 2023. https://www.youtube.com/watch?v=7M6fkL7qm40

10. Lalitha Maneesha: Sri Raghukula Keerthana, Hamsadhwani ragam by thavil/dolu Lalitha Maneesha and nadaswaram by Mastanbi, 2021. https://www.youtube.com/watch?v=A7LYu3oiG48

CONTENTS

1. Preface / Elina Seye & Nina Öhman
2. No future? Female Instrumentalists in the Austrian Jazz Scene / Magdalena Fürnkranz
3. When the Singer Hires the Musicologist: Chaabi Habibi, an Action Research lead by Female Moroccan Musicians in Belgium / Hélène Sechehaye & Laïla Amezian
4. A window into the World of South Indian Female Percussionists in Kerala / Karin Bindu & Retnasree Iyer
5. Becoming “Women of the Future”: Malian-Finnish Conversations about Being Musicians and Women / Marjo Smolander, Sinimuso & Elina Seye