N. Guruprasad reimagines the ghatam with a new wooden instrument

Chennai’s Carnatic music community is set to witness a thoughtful new chapter in percussion innovation with N. Guruprasad’s latest creation: a wooden version of the ghatam. The instrument—named **ONE G (One Ghatam)**—brings a fresh material approach to an art form that has long celebrated the earthy resonance of clay.

According to the available details, the innovation has been **patented** with support from **Vignesh Ishwar** and the **Sumanasa Foundation**, founded by Carnatic vocalist **T.M. Krishna**. ONE G will be **launched on 19 August** at **Bharatiya Vidya Bhavan, Chennai**.

A familiar form, a new material The ghatam is one of South India’s most recognisable rhythm instruments—simple in appearance, striking in sound, and deeply expressive in performance. Traditionally made from clay, it has travelled from temple and folk settings to the classical concert stage, where it is valued for both its tonal range and the physical artistry of playing.

ONE G signals a careful rethink of this tradition, not by replacing it, but by adding another option to the percussion palette. A wooden ghatam can invite musicians to explore how material influences tone, projection, sustain and balance within an ensemble. For listeners, it offers an opportunity to experience a familiar rhythmic voice with a potentially different texture—while staying anchored to the ghatam’s core identity as a vessel percussion instrument.

This kind of innovation also reflects a broader trend across Indian classical arts: respecting lineage while creating room for new craftsmanship, new acoustics, and new performance possibilities.

Support for invention and craft What stands out in this development is the structured backing behind it. The patenting of ONE G, with support from Vignesh Ishwar and the Sumanasa Foundation, points to an ecosystem that values **documentation, intellectual property, and responsible recognition for creative work**.

In the arts, especially in classical and folk traditions, many innovations remain informal and undocumented. A patent-backed approach—when applied thoughtfully—can help creators protect their work, encourage further research, and build sustainable pathways for instrument-making and distribution.

The Sumanasa Foundation’s involvement also underlines the role cultural institutions can play in enabling experimentation. By supporting new ideas within classical frameworks, such organisations help ensure that tradition remains a living practice rather than a museum piece.

Chennai launch and the road ahead The launch event on **19 August** at **Bharatiya Vidya Bhavan, Chennai** is likely to draw attention from performers, students, instrument makers and rasikas interested in how ONE G sounds and feels in performance contexts.

Chennai, with its deep Carnatic roots and its continuing spirit of artistic enquiry, is an apt venue for introducing a new instrument variant. The city’s audiences are known for close listening and informed feedback—exactly the kind of engagement that helps innovations mature.

For emerging musicians, instruments like ONE G can open up new avenues of learning: from technique adjustments to ensemble blending and stage acoustics. For instrument makers, it can spark conversations about materials, durability, portability and consistency—practical dimensions that matter in touring and long-term use.

**Why it matters:** Innovations like ONE G highlight how India’s classical arts can evolve through careful craft, supportive institutions and respect for tradition—creating fresh opportunities for musicians, makers and audiences alike.