N. Guruprasad unveils ONE G, a wooden makeover of the clay ghatam

Chennai’s Carnatic music ecosystem is set to welcome a fresh idea that stays rooted in tradition while nudging it forward. Percussionist **N. Guruprasad** has developed **ONE G (One Ghatam)**—an innovation that gives the iconic **clay ghatam** a **wooden makeover**. The instrument has been **patented** with support from **Vignesh Ishwar** and the **Sumanasa Foundation**, founded by vocalist and public intellectual **T.M. Krishna**.

The launch is scheduled for **19 August** at **Bharatiya Vidya Bhavan, Chennai**, creating a timely moment for rasikas and musicians to engage with a new chapter in Indian percussion craftsmanship.

A familiar instrument, thoughtfully reimagined The ghatam—traditionally a clay pot played with the palms and fingers—has long been admired for its earthy resonance and dynamic rhythmic range. In concerts, it often serves as a bridge between melody and rhythm, adding both colour and texture to the performance.

Guruprasad’s **ONE G** concept signals a careful reimagining: it does not seek to replace the ghatam’s heritage, but to **expand the possibilities** available to performers and makers. By moving from clay to **wood**, the innovation draws attention to material exploration in Indian classical instruments—an approach that has historically helped arts evolve while preserving their identity.

While the ghatam is deeply associated with the sound world of South Indian classical music, experiments in design can also support new contexts—such as varied acoustics, longer touring schedules, or collaborative formats where durability and consistency may matter as much as tonal character.

Backed by a patent and a supportive ecosystem A notable feature of the ONE G story is that it has been **patented**, underscoring an effort to formally recognise and protect the innovation. In a creative field where many improvements are passed along informally, a patent can help ensure that the maker’s work is documented and credited.

The project received support from **Vignesh Ishwar** and the **Sumanasa Foundation**, founded by **T.M. Krishna**. Such partnerships reflect a broader trend in India’s cultural space: artists and arts organisations increasingly work together to encourage experimentation, mentorship, and the development of new tools that serve performance.

This kind of ecosystem support matters because innovations in classical music are not only about concerts—they often involve design iterations, prototyping, craft skills, and sustained engagement with both musicians and audiences. When foundations and patrons back ideas that are grounded and respectful, it becomes easier for creative practitioners to take measured risks.

Chennai launch: opening a conversation in Carnatic music The scheduled launch on **19 August** at **Bharatiya Vidya Bhavan, Chennai** positions ONE G in a city that has consistently shaped Carnatic music’s modern journey. Chennai’s institutions and audiences have a longstanding reputation for listening closely—celebrating continuity, while also making space for meaningful change.

A new instrument variant, even when inspired by a classic form, often encourages a wider conversation: How might it be used in kutcheris? What repertoire or rhythmic patterns could best showcase it? How will accompanists and sound engineers respond? Such questions are part of a healthy, living tradition.

For students and young performers, innovations like ONE G can also be inspiring—showing that craftsmanship and creativity are not separate tracks. The making of music can include not only practice and performance, but also **design thinking**, material research, and collaboration.

**Why it matters:** ONE G highlights how Indian classical arts can innovate without losing their roots—bringing together musicians, craft, and institutional support to expand creative possibilities for the next generation.