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Class 7: Unit - 4: Notes of the Nadaswaram by Aparna Karthikeyan (Only For Reading & Discussion)

 Notes of the Nadaswaram by Aparna Karthikeyan (Summary Only For Reading)

This text is from an article on the nadaswaram makers of Narasingapettai. It talks about the traditional craft of making the nadaswaram, a double reed wind instrument central to South Indian Carnatic music. It is an ancient instrument that dates to the 13th century. This text gives us a glimpse of the lives of craftsperson Selvaraj and his extended family in Tamil Nadu, who have been handcrafting these instruments for several decades. It shows the process of making a nadaswaram, the everyday challenges of the craftspersons, such as finding appropriate wood and financial hardships, and the lack of recognition they receive compared to the musicians who play the instrument.

Making a nadaswaram requires great skill and precision. At present, there are only four families that make the nadaswaram by hand in Narasingapettai. Many legendary musicians have performed with these instruments and have gone on to win awards and earn money. However, the makers of these instruments are largely unrecognised. Selvaraj is a fourth generation nadaswaram maker. He talks about his father Ranganathan Achari who came up with new nadaswaram where all the seven swaras spoke. The art of making nadaswaram became a vocation for most people in the village thanks to the pioneering effort of Ranganathan Achari.

The text also focusses on the difficulties encountered by nadaswaram makers every day. They have to use aacha maram wood that must be between seventy-five to hundred years old. Transporting such aged goods is also challenging. Adding to this, the craft does not bring in huge profits. Sakthivel, Selvaraj’s uncle also voices his frustration that the government does not support their trade.

 There’s also the problem with passing on the tradition of nadaswaram making to the future generations. Satish Selvaraj’s son initially wanted to drive a tourist van, but his family influenced him towards taking on the family business. However, he will continue to run his other business as he possibly does not see a bright future in nadaswaram making. While Sakthivel’ son Senthikumar has put in several modern touches around the house like a generator and a motorised lathe, Sakthivel hopes that his academically inclined son, Sabari will modernise the process even further.

But it will take more than willing labourers and motorised lathes to keep this craft going. Selvaraj says how government officials suggested them to obtain a Geographical Indication tag or the GI tag, which is like a trademark, but he is unsure of how a GI designation would benefit their business.

This text highlights the process of nadaswaram making and the challenges faced by the craftspersons. It also shows the uncertain future of this craft as the younger generation is reluctant to continue the tradition. Despite all these circumstances the nadaswaram makers keep working on creating these instruments. This shows that they do this out of love for this craft, out of passion for the art of music, and to honour their family tradition. *In March 2022, the Narasingapettai Nadaswaram was awarded the Geographical Indication tag. 

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