Religion and Decision Making

When my dear friend narrated the story of his 6-year marriage, I heard him without judging his marriage or the two people in it. Sorry, there are three people in it, and she came in 4.5 years ago, and is now both fulcrum and tug-of-war of the marriage like the Somaskanda murthy. Since I have been single all my life, I neither have the experience nor wisdom of Naradha to give away any free advice or play the role of a counsellor. All I could do was remember him in my prayers and call upon the unknown and unseen force for some intervention, solution and solace. Isn't that the approach to life taught by our elders?

Next morning, I went into my prayer room and stood in front of the pantheon of Hindu gods asking them for help. And as I starred at the pictures frames of Shiva and Parvathi, Vishnu and Mahalakshmi, Ganesh and Karthik, and other incarnations I was reminded of their life stories, which looked like a prelude of many of our lives.

A lazy and chauvinistic uncle (protector) who is in a reclining pose with one of his wives eternally seated by his legs and massaging them, a freak father (destroyer) who is in the company of pot headed followers, while showcasing his hotheaded side when he beheads his first son Ganesh. 

Another four headed uncle (creator) who gives away blank cheques (boons) and then runs for his life. This isn't it, all three of them constantly engage in fights with their wives and curse them to be reborn and atone for their sins before letting them back in. Is it an Ozzy Osbourne family?

 

When you see their next generation you able to agree with the proverb that the apple doesn't fall too far from the tree. The first son takes to emotional bingeing and becomes a poster child for obesity. The second one embroiled in sibling rivalry develops inferiority complex, and flees home before he is found on top of a hill. Eventually when he grows up he follows his father and uncle footsteps engaging in bigamy, while his elder brother remains single may be was affected by his parents marriage? Doesn't this look strikingly similar to children from wealthy and celebrity families, whose parents are trapped in failed marriages?

If this is not a dramatic enough, the reclining uncle engages in a cross dressing act and hotheaded father falls in love with his beauty, while their respective wives are still committed to their spouses and their so called functional marriages. What a debauchery!

Sadly, their incarnations on Earth haven't been any different or better. Born as Rama, the King of Ayodhya, the reclining dude deserted his wife and two children. As Parashurama, he killed his own mother at the behest of his father. Aren't these horrible examples to seek inspiration from?

Despite hearing only one side of the story, I failed to find for words of hope and wisdom to comfort my friend. And as I exited the prayer room, I realized the pantheon of gods to whom I have been religiously praying all these years are good examples of dysfunctional families, tales of bigamy and debauchery, kids and nothing but stories women trapped in domestic violence and bad marriages, etc. and nothing more. 

While religion may have other interpretations to judging their actions, often backed by karma theory, I was definitely convinced not to ask my friend to look towards religion or scriptures for wisdom or decision making. Rolling a die and decision based on the outcome seemed far more logical than asking the question what would Shiva or Vishnu do in this context? Or using them as a inspirational characters who can only provide a sense of false hope.

Rediscovery of Sowkhyam

I had heard his father's last concert in Chennai performed for Brahma Gana Sabha during Chithirai maasam festival at the Music Academy in 1992. Nalinakanthi Mathim in Ragamalika followed by Vilayada Idhu Nerama, Bho Shambo, Misra Sivaranjai thillana were sung at the concert, which after his demise have become the most abused thukkadas among upcoming musicians. This is also the case with many of the gems popularized by MS Subbulakshmi, Madurai Mani Iyer, DK Pattammal, KV Narayanaswami which are used by musicians to establish their equations with rasikas, who are patiently waiting for a reincarnation of these masters.

When Maharajapuram Ramachandran, son of Sangita Kalandhi Maharajapuram Santhanam took the stage this morning at The Music Academy there was no need for him to confine himself to the shadows of his father or render his masterpieces as a way to connect with admirers of his father's music. Instead, Ramachandran focused on showcasing the quality of his music and specially the extended Mandara Sthayi sancharam during Naataikurunji, Lalitha, and Kalyani raga exposition, which is rarely done by musicians today. 

Ramachandran sings at a very comfortable pitch that neither strains his throat nor the listener's ear drums. His saariram travels between the lower and upper octaves without getting caught at the vestibules, despite his sariram. And specially when he travels into the lower octave (keezh Pa and Dha) it is both a soul searching and stirring experience for his audience. 

Adding to his deep and crystal clear voice is the diction, which makes his music look like the fresh flower Brahma Kamal that blooms once in 14 years. Ramachandran has taken over 20 years to evolve his music making the wait worthwhile for his father's longing rasikas.

More musicians should practice and adhere to the sampradaya of Mandarasthayi sancharam during their aalapana and use this as a way to engage with the audience rather than prematurely climax in the Thara sthayi or use the cheap imitation technique of rolling out popular numbers from yesteryears.

Music has the power to end your reincarnation as much as it has the power to make you identify a reincarnation. Our Carnatic Music is a kalpakavriksham, so be wise in making the right wish and choice. 

Soul Stirring to Soul Searching

While some people dearly miss hearing Sudha Raghunathan, TM Krishna, Bombay Jayshree and Vijay Siva this season, I miss listening to Parasala Ponnammal and Late R.K.Srikantan and Kalpagam Swaminathan who even at their ripe age strictly adhered to classicism and performed with so much energy and passion. The only performing artist in this league are Vidushi. Neela Ramgopal and R. Vedavalli, while the later has called off her concerts this season, the former, a sought after teacher is performing only at a few places.   

At Raga Sudha, Neela Maami began the concert with Ritigowlai varnam followed by a sedate Rave Himagiri swarajathi in Thodi and then moved on to sing Devi Thava Pada in Sahana, a rare krithi of Thyagaraja on Devi. Ashwin Anand, a veena artist who played before Neela mami was among the blessed ones to enjoy her exquisite Vachaspathi (Pahi Jaga Janani - Swathi Thirunaal). Nereval at Mohanadaragaatri will ring in my ears for years to come and may be this rendition will stay in AIR archives for another century like the Chennai rain record from 1918.

While missing the  senior brigade in action, I anxiously went in search of youngsters and discovered a fresh crop: Vignesh Ishwar, Venkat Nagarajan, KP Nandini, NJ Nandini, Ashwath Narayanan, DB Ashwin, Akshay Padmanabhan, etc. in whose hands Carnatic music seems to rest safe, at least for now. One other reason for me to hear the new shoots is also because they are devoid of gimmicks, which is often transmutation of arrogance and complacence.

Vignesh's manodharmam in exploring Mukhari at the Music Academy, KP Nandhini's adherence to grammar of an accompanist despite being a vocalist, while playing for Ashwath Narayanan at Mylapore Fine Arts, and Venkat Nagarajan's guru bakthi that came to light when he went bare feet on the street to get an auto for his guru are all litmus test of a kind that exposes the character of the crop.

The morning slots in Music Academy and a few other sabhas also offer a chance for both rasikas and musicians to rediscover and reconnect with each other through music. And that is how I discovered Vidushi. Seetha Narayanan's unhurried and soulful rendition of Charukesi, Devagandhari and Kalyani that brought sowkhyam to both music and listeners just like her Guru Sangita Kalanidhi Dr. S. Ramanathan.

Only Carnatic music has the capability to stir your soul and also make you search your soul. As much as music transforms in the hands of a musician it also transforms the character of the musician. The transformed artist could take on the establishments for the right reasons like TM Krishna, realize their purpose as a responsible teacher and some may even take up a musical instrument to better express their inner call. As a listener, please put aside our prejudice, bias, political leanings and get out there and listen more. And don't be surprised if you get transformed in the process. If you do, pass on the credit to Carnatic Music.

Is it Call of Music or Simply Sangita Kalanidhi?

I drew up a list of duos from the past and present in the Carnatic field and the recognitions received by them. The list made me ask a few basic questions: Is it lucrative to sing as a duo? Do vocalist command more respect and stand to gain more than instrumentalist? What does the Music Academy statistics say about the success of duos and in particular violinist?

1. Alathoor Brothers

2. Radha Jayalakshmi

3. Bombay Sisters

4. Rudrapatnam Brothers

5. Priya Sisters

6. Hyderabad Sisters

7. Hyderabad Brothers

8. Mambalam Sisters

9. Sattur Sisters

10. Malladi Brothers

11. Rajani & Gayathri

12. Carnatica Brothers

13. Trichur Brothers

14. Akkarai Sisters

Surpassingly, only two from the above list of vocalists made it to the lobby of The Music Academy that too after a gap of 45 years. That gives rise to a logical question, should people perform in pair or separately to win the title? Further, analysis shows that vocalists have a higher probability (42/89) of winning the title, only 10 out of 89 have gone to violinists. 

Is it the case of akkaraikku ikkarai pacchai or it driven my economics and statistics? Leaving statistics aside, we see that Ranjani & Gayathri, Akkarai Sisters who began their journey as successful violinist have transformed themselves into popular vocalists. And more recently, solo violinists, Amritha Murali and KP Nandhini have turned into vocalist. 

Let's not forget that Violin Maestro Lalgudi Jayaraman had a fall out with the Music Academy over his Sangita Kalanidhi and was finally cajoled with a Life Time Acchievement Award towards the end of his life. And we've also heard numerous stories of vocalist staging a walk out over the title.Yes, the Sangita Kalanidhi title does create a lot of heart burn among musicians.

Well, Akkarai Sisters rakthiful interpretation of Chalanaatai followed by Yedhaya Gathi seem to give a hint. Nevertheless, Sangita Kalanidhi statistics also confirms that the only sisters to receive Sangita Kalanidhi among instrumentalists are Sikkil Sisters. May be that explains the wapsi trend among violinist.

Is it a true calling to switch rolls or is to win SK? Only the duos can answer.

Trichur Brothers: Soothing and Soulful

Amidst some artists cancelling their Markazhi performances there is an ongoing debate if other performing artists are insensitive to the feelings and sufferings of the public caused due to the recent floods. Looking at the shear number of elders and youngster turning up for the duo's concert, I confirmed there was no relief material that was getting distributed and it was the healing power of music that got them to show up. 

But before I go into details why their music is a drug for some, I would like to ask an open question on their baani. The duo are students of Sangita Kala Acharya PS Narayanaswami like Ranjani Gayathri and many others, but I fail to trace a unique characteristic that best describe PSN baani across all his students. For example: GNB baani is attributed for manodharmam, brigas, fast paced delivery, etc. and this can be seen across MLV, Trichur Ramachandra, Sudha, and Sangeetha. So, what distinctly describes PSN baani? What should I spot across PSN's students?

The young Trichur Brothers, Sri Krishna and Ramkumar appeared tame like the Ganges at ugamasthan (point of origin) as they began the concert with a varnam in Begada. The next item, Rave Himagiri, a swarajathi of Shyama Sastri in Todi rendered with utmost devotion brought upon the same peace from watching Ganges trickle down the peaks of Gangotri.

But shortly with the change in the landscape, the duo revealed their wild side. Their brisk rendition of Siva Siva Yena in Pantuvarali weaving a beautiful pattern of kalpanaswarams transported me to the banks of Rudraprayag, where the two rivers Alakananda and Bagirathi from the peaks of Kedarnath and Badrinath come together. At the point of confluence both rivers give each other their due freedom and when one turns wild the other holds by morphin into a bank and the same quality was spotted among the pair.

Soon arrived Sahana like a gentle breeze on a summer afternoon, which failed to cool down the temperature. Despite taking refuge under a composition of Swathi Thirunaal, Jaya Jaya Rama, the brothers failed to evoke the mood, but quickly connected back with the audience through Garudagamana in Nagaswarali that came with delectable chittaswarams. 

Like humans encroaching upon river banks and flood plains, Sabhas have started to infringe upon artist creativity by trying to restrict performances to under 2hrs. The eldest of the two, Sri Krishna politely asked the organizer if he could take up some extra time before he delved into the contours of Charukesi. The violinist, Mullaivaasal Chandramouli failed to give a fitting response to the brothers by confining himself to the known boundaries of Charukesi. The moment of high came when the famous Vidwan Late TR Subramaniam's pallavi - Maragatha Manimaya Vilasitha Ramayya, Maravatha Guna set Misra Jampai Tisra Gathi was meticulously rendered in various ragams. 

Like the subdued Ganges at Har Ki Pauri in Haridwar, the duo concluded their concert with Varugalaamo, a Gopalakrishna Barathi's composition without taking away the healing properties of Maanji. Haan ji, now we know why elders and youth throng Trichur Brothers concerts. Isn't this the secret of PSN baani?

Interestingly, the artists refrained from using the words Pulayanaai and Parayanai and went with simple substitutes in the Maanji krithi. May be they worried after witnessing what had happened to Anirudh and Simbu recently? Ghatam vidwan DV Venkatasubramaniam was seen idle on the stage during the  130 minutes. Any payment issue or is protesting against intolerance in India?

Sub-Prime, but Scholarly

I don't pay for Carnatic music performances as much as I refrain from hearing prime slot concerts because I believe best music comes free and in sub-prime slots too. This came true this afternoon as I sat back and heard Dr. R. Ganesh, a foremost torch bearer of Sangita Kalanidhi Maharajapuram Santhanam baani.

Ganesh began the post lunch concert with an invocation to Ganesha, Sri Mahaganapathe in Abhogi composed by NS Chidambaram and also added a few rounds of kalapana swaras to warm up his throat, which also pumped in some caffeine to the audience.

When Ganesh rendered Pariyaachakama in Vanaspati, a melakarta and not a unrefined Palm oil, he reminded us of his guru, who not only popularized this krithi, but also had mastered the knack of tying down people with his effortless rendition. Ganesh seemed to have imbibed this aspect from his guru along with the timeless composition.

In the pallavi of the song, Pariyaachakama Ramaa, Padigurilo Pogadinadi, Thyagaraja asks Rama if he seemed like a droll of the shire as he sings praise of Rama at the Town square? Should we take Ganesh's rendition as message to the Music Academy for keeping this proven vidwan in the 1.30 pm slot? Is Ganesh a droll of the shire, why this treatment Music Academy? But this didn't seem to bother Ganesh or affect his music. 

This was the second Thodi I heard after Sunil Gargyan's version 90 mins ago in the same auditorium. But Ganesh's version was equally refreshing and projected his manodharmam, which is why Carnatic music will always stand the test of time irrespective of the venue, paid or unpaid concert or musician. Ganesh's rendition of Sri Krishnan Bhajamaanasa was evocative and responsible. He diligently handled the song bringing out the beauty of the saahityam and raga bhavam. 

Realizing the need for another fast number at this hour, Ganesh rolled out Kantajoodumi in Vachaspati, another melakarta (64), with a delectable nereval at Allanaadu Sowmithri followed by a volley of fast paced kalpanaswarams aptly accentuated by Peravalli Jayabhaskar on Mridhangam and SP Anantha Padmanbha on Violin. 

For those who stayed awake and attentive, he gave us a glimpse of Siva's dance by rendering Kanasabai Thirunatanam in Surutti by Gopalakrishna Barathi. Ganesh then went on to expand Kambodhi in a scholarly way, which to me possesses an anesthetic quality. Though his Thanam was clinical, it was crisp and effective. 

Just as I was thinking of how the Murmurthis never sang for name, fame, or money, Dr. Ganesh aptly presented a beautiful pallavi:

Thyagaraja Manohari Guruguha Janani

Shyamakrishna Sahodari

And followed it with swara exercise in tri kalam, he also aesthetically interspersed the pallavi phrases Thyagaraja Manohari, Guruguha Janani and Shyamakrishna Sahodari

with swaras in ragamalika. Ganesh concluded the concert with the Misra Sivaranjani Thillana paying obeisance to Kanchi Paramacharyal popularized by his guru.

Ganesh possess all qualities of a scholarly musician including pleasing voice, pedigree, proficiency, humility, and perseverance. His singing is responsible and truly reflects the Maharajapuram baani. So What if he doesn't have a full-house or a prime slot? Let's remember that Carnatic music nurtures the soul of both performer and listener irrespective of the venue and prime slot. 

Leaving you with a question to ponder like the last time. Why do male musicians wear vibuthi stripes resembling a zebra crossing when their performance slots don't fall right after Tri-kala sandhyavandhanam? Is vibuthi stripe like what make-up and lipstick are for women? 

Goodbye Sudha, Welcome Sangeetha!

Many years ago the famous Carnatic music critic Subuddu was asked whose music would he would listen to if he were ever stranded in an Island. His candid answer to the question was Smt. Sudha Ragunathan. Though I'm not comparing myself with Subuddu, but if I were asked a similar question tweaking to today's situation ( For ex: Nov 23, 2015 traffic snarl) without a wink I would say Sangeetha Swaminathan. 

I have never heard Sangeetha live, but listening to her music on my iPad, Desi Radio app, I felt she came across as a sincere performer with depth, maturity and more importantly she had brilliantly internalized her guru's style, Smt. Sudha Raghunathan. And for those of you who are missing Sudha's concerts this Markazhi, cancelled due to medical issues, you can definitely bank on Sangeetha to fill that void. Sangeetha sounds like Sudha's replica from 20 years ago, when the entire MLV school of music was left on her shoulders to be carried forward.

Finally, I heard Sangeetha live at Charsur's Arts Foundation, where she deftly and diligently handled 4 of 72 melakartas bringing out unheard compositions and educating listeners. As I was getting ready for her concert, a septuagenarian and mother of a popular musician dissuaded me from going there. Her line of defense was that concerts focusing only on the 72 melakartas can be a tedious listening experience. Nevertheless, I made it!

From the go would not be the right usage for a Carnatic music concert, so let's say from the strum of the tanpura shruthi, Sangeetha breath was brimming with music. She began the evening with a Chelini Kori varnam in Gowlai (melakarta # ) that set the mood and also raised the expectations of audience. She beautifully presented Gaanamutham, a composition of Kotieshwara Iyer in Salagam (melakarta #37 ). It would not be a exaggeration if I said Sangeetha's music is Gaananutham. 

Taking up rarely heard melakarta ragas for enunciation is not easy task for the artist since they will have to strike balance between educating and entertaining listeners. Sangeetha sketched a beautiful outline of Devakriya raga aka Suddha Saveri before taking up the rarely heard Sandhya Devim Saavithri, a composition of Dikshithar. The long and not so easily pronounceable Sanskrit phrases in the song set to Devakriya raga made the nereval exercise at Guptatara marga as difficult as the ascend to K2. This ascend not only needs skill, maturity but also blessings of the lord of the mountain, namely, the composer. Sangeetha's music seems to have that in abundance.

While listeners were mentally gasping, Sangeetha took up Thavar Izhaipadhu Yen Iyalpandro in Ragavardhini (melakarta #32) with humility and sincerity. Kalpanaswarams at Devar Sirai Meeta was captivating and proved her musical lineage. 

Just as I was thinking how could a concert be complete without Thyagaraja's composition, Sangeetha sketched a crisp Bilhari followed by Intakann aanandamemi o Rama making us feel Intakaan aanandamemi o Sangeetha! 

With cricket matches and Carnatic concerts shrinking to shorter formats, musicians and players rarely get opportunity to exhibit their talent and showmanship. Despite having only 45 minutes at her disposal, Sangeetha essayed Dharmavathi (melakarta # 59) displaying length and breadth of the raga and without repetition of the phrases during execution of Thanam and Pallavi. 

The Pallavi - Krishnam Mukundam Bhagavantham Hridi Bhajami, Brindavana Sthambam Sukumaaram was both presented in Darmavathi and Maand, which was followed up with kalpanaswarams in Dharmavathi, Sahana, Nagaswarali, Maand showcasing the mastery of her parampara in manodharma sangeetham. 

While I left the concert humming Sangeetha's concluding Hamir Kalyani thillana, I was asking myself, why do the current crop of musicians like Sudha, Sanjay, TM Krishna, etc. despite having successful students don't use them as vocal support? Is the usage vocal supports considered demeaning to the stature of the musician? Are vocal supports categorized alongside hearing aids, reading glasses, and walking sticks? But didn't seem to be the case with Sudha, who accompanied her guru for many years before becoming a torch bearer of MLV baani. Or is it simply because their bloated egos and insecurity that still prefer thaniavarthanam? It takes a lot of thinking and magnanimity to write a will and appoint their torch bearers just as it takes a lot of honesty to comes to terms with what one doesn't know. So, don't refrain from finding out what you don't know from attending series like the ongoing one on Melakarta.

All said and done, Sangeetha should not be seen as substitute for Sudha, but as an able torch bearer for the GNB, MLV and Sudha parampara. Despite her vidwat, Sangeetha hasn't been duly recognized with awards or titles by the Sabhas that mushroom by the dozen every Markazhi in the city. But that doesn't to have any bearing on her music. Is it because she is a resident of California and not part of these frogs that fight and croak in Mylapore wells? If Subuddu was around, he would have definitely said, "Good bye Sudha, Welcome Sangeetha!"

A Master In the Make

I haven't heard Saketharaman in over two years, but that hasn't impacted his singing. Like clouds that are capable of filling the lakes of Chennai and his music has potent capability to fill the auditorium with rasikas and breach their hearts. Unfortunately, I was late for his concert themed Navarasam at 2015 Markazhi Maha Utsavam. 

As I got off the car, I heard a familiar nasal voice essaying Saranga with bakthi and bhava. By the time I settled in my seat, Saketharaman forayed into the Saranga raga krithi, Neevaadanegana. His powerful voice and briga loaded singing reminds me of two doyens, GN Balasubramaniam and Tanjore S. Kalyanaraman. Both stalwarts employed appropriate brigas without going over board, and bringing out the bhava in the lyrics and rasa in the raga doing full justice to composer. 


His rendition of Yeppadi manam of Arunachala Kavirayar effusing of karunarasam made audience sway their heads is proof of what his music can do listeners. The maturity with which he handled the charana saahityam "Karumbu muritaarpole" showed his maturity to bring together the artha bhava and raga bhava. Shortly, the little master brought out the ananda rasam through the Mohana raga krithi, Narayana Divya Namam transporting listeners to Vaikuntam. He concluded the evening with an appropriate Virutham Saayam Kaaley followed by a Devarnama, Yadavaraya in Chenchu Kamboji that reminded me of the impeccable rendition by Late Smt. M.L.Vasanthakumari. 

There was a time when senior vidwans like Umayalpuram Sivaraman and Mannargudi Easwaran accompanied youngsters to encourage the budding talent. But now Saketharaman has duly earned the status of having stalwarts accompany him. And today, his manodharmam and rendition style closely resembles that of GNB and Tanjore S. Kalyanaraman.


If only Saketharaman can work on two output qualities, namely, avoid nasal singing and leave the swaying to rasikas (artist swaying from the mike produce a jarring effect from uneven sound output), his concerts are sure to be devagaanam and audience will follow him like his tanpura from venue to venue.

A Future Star Sings at 11.45 am

Ananya Ashok made an impressive start at The Music Academy with the varnam in Thodi, Era Naapai set to Adi tala. If her sruthi aligned voice with ensemble was put to test in the first song, her manodharmam was subject to litmus test during the enunciation of Kedaragowalai. Her paatanthram dazzled like Kohinoor in the Kedaragowalai krithi Venugana Loluni of Thyagaraja. Neraval at Vikasitha Pankaja Vadanalu was handled without distorting the beauty of saahityam and raga lakshana. 

Shortly, she began Shyama Sastri's Maanji raga Krithi Brovavamma Thamasamela and my pulse dropped to 56 bpm; it was so sedate and effusing with bakthi. With rendition of Mysore Vasudevachariyar's Paripaahimam in Subhapantuvarali along with delectable chittaswaram in appropriate kaalapramanam my pulse jumped back to 61 bpm.

The main raga Poorvikalyani was sung in an unhurried and unambiguous way displaying both her understanding of the raga and sense of aesthetics. Soon followed Muthuswami Dikshithar's Meenakshi Memudham that flowed like nectar forcing people to rush back from the canteen to the auditorium. 

I was bereft of words upon hearing Vaaztha vaayum virutham in lilting Jonpuri that was followed by Aandavan Darisanamey composed by Muthiah Bagavathar. The concert concluded with a thillana in Chenchruti. Accompanists, Turucherai Kaushik on mridangam and Nagercoil Anand on the violin added beauty to concert, while duly earning their credits. 

Ananya is blessed with a mellifluous voice that effortlessly traverses between upper (Thara sthayi P) and lower octaves (Mandara sthayi M). Though Music Academy has slotted Ananya at 11.45 am, we will soon find her music and voice graduating her to evening slots and taking her to places. Ananya's next concert is at Barathiya Vidya Bhavan on Tue, Dec 22, 2015 at 14:00hrs.

For more details read a short interview of Ananya - http://srutimag.blogspot.com/2014/02/ananya-ashok.html

What I learnt from organizing and participating in flood relief work

Everybody except the political class is being moved by the fury of the recent Chennai floods is an open secret. Individuals from Bangalore, Kerala, Andhra and other organizations are sending supplies in trucks and vans, while those far away are participating by sending in money. Sadly, some of these supplies were hijacked and rebranded by ruling party cadres, while some were lost in supply chain leakages. Though people's intention to donate materials is commendable, distribution without wastage, misappropriation, and pilferage is key. 

Here are some visible wastage and broken links that I've identified in the supply chain.

1. Uncoordinated supply and people trying to do things on their own is creating a big wastage. In the last three days I have seen half a dozen meals being delivered to the same location that end up being discarded thereby creating civic issues. 

2. Lack of requirements mapping for households affected by flood vs. people living in relief camps and prioritizing needs. For ex: groceries being distributed in flooded homes.

3. Sharing requirements on Whatspp, Facebook and Twitter often turns out to be a hoax. For ex: 100 units of blood requirement at Children's Hospital in Egmore and need of a doctor to treat 100 sick children in Sidapet when verified turned out fake messages. 

4. Difficulty in managing crowds and distributing relief material. For ex: My colleague and a bunch of volunteers had a harrowing time trying to distribute blankets. The same people tend to come back in the queue to help themselves with another blanket. Finally, shortage of materials also create unhappiness, jealousy and skirmishes among the community.

5. Lastly, a broken supply chain adds to the problem creating wastage of aid materials. While people donate to organizations, lack of volunteers at the receiving end to sort, map the needs and requirements, deploy and distribute material fails to solve the need and the intention behind the donation. 

6. Also, people at the receiving end tend to be greedy and want to lay their hands on anything and everything being distributed. Don't be surprised if I tell you that I had to chase a few men from the queue when we distributed sanitary pads and diapers. 

How can we ensure better distribution of relief materials without wastage and creating civic issues?

1. Area wise analysis of needs and allocation to organizations or group of individuals to supply and dispense them as opposed to random collection and distribution.

2. Ensure sustained relief operation as opposed to one time effort by mapping the entire life cycle of relief materials: food, clothing, health, sanitation (while at camps), education supplies, health, sanitation, garbage collection etc. (when they move back into their homes) and prioritize.

3. Proper balancing of both supply (sort, pack, and deploy materials) and demand (distribution) arm with equal number of volunteers.

4. Door-to-door distribution as opposed to asking them to queue up at a place thereby reducing duplication and wastage.

5. Ascertain hygienic conditions (toilets, garbage bins), recycling and collection of waste at the point of distribution.

6. Involve members from the local community and put up your organization branding to ensure that political parties don't score a free goal.

7. Finally, all volunteers must be given preventive medicines (a course of antibiotics) and vaccinations against common water borne and communicable diseases.

If you have donated or planning to donate money or material, please think about these issues and ask organizations questions on sustainability, hygienic conditions, distribution plans and proofs. If you can volunteer, nothing like it.

Let your contributions and benefits be longstanding and not like the Chennai rain causing deluge and ending up in the salty ocean.