N. Guruprasad’s ONE G brings a wooden makeover to the ghatam

A familiar sight on the Carnatic concert stage, the ghatam has long been celebrated for its earthy resonance and expressive rhythm. Traditionally made from clay, the instrument’s tonal character is closely tied to its material—an identity that musicians and audiences alike associate with a distinct, warm timbre.

Now, percussionist **N. Guruprasad** is offering a fresh perspective on this classical mainstay. His innovation, called **ONE G (One Ghatam)**, reimagines the ghatam in **wood**, signalling a thoughtful blend of tradition and experimentation within India’s performing arts.

A new chapter for a familiar instrument ONE G is positioned not as a replacement for the clay ghatam, but as an additional voice in the percussion palette. By exploring wood as a medium, the project underlines an important idea in Indian classical music: while form and grammar remain rooted, there is always room for craftsmanship-led innovation.

Instrument-making in India has often evolved quietly—through small refinements, new materials, and the patient work of artists who understand both performance and design. In that lineage, ONE G stands out as an artist-driven initiative to expand how the ghatam may be built and experienced.

The innovation has been **patented**, reflecting a structured approach to protecting and formalising the idea. This is also encouraging for independent creators in the arts, who increasingly seek ways to document, safeguard, and scale their work without losing its cultural context.

Support, collaboration, and a Chennai launch According to the available details, the patenting of ONE G was completed with support from **Vignesh Ishwar** and the **Sumanasa Foundation**, founded by noted vocalist **T.M. Krishna**. Such collaboration highlights the ecosystem around Indian classical arts—where performers, patrons, and institutions can come together to nurture new work.

The official launch is scheduled for **19 August** at **Bharatiya Vidya Bhavan, Chennai**, a venue associated with cultural programming and arts engagement. Chennai’s role here is fitting: as a key centre for Carnatic music, the city has long provided a platform for both established traditions and new ideas to be tested in front of discerning audiences.

While full technical specifications of the instrument have not been shared in the brief, the very act of presenting a wooden ghatam in a formal setting suggests confidence that it can hold its own in performance contexts—whether in solo passages, rhythmic exchanges, or ensemble accompaniment.

Tradition, innovation, and the opportunities ahead Experiments like ONE G can open up constructive conversations about sound, sustainability, accessibility, and design in musical instruments—without reducing heritage to novelty. For students and emerging artistes, such innovations can also be educational, offering a chance to understand how material choices influence tone and technique.

Importantly, this moment reflects a broader, positive trend in India’s creative economy: artists are increasingly thinking like innovators—documenting processes, collaborating across networks, and building new cultural products that remain respectful of classical foundations.

**Why it matters:** ONE G shows how Indian classical music can stay rooted while welcoming new craft-led ideas, strengthening the ecosystem for artistes, makers, and institutions—and keeping tradition vibrant through thoughtful experimentation.