Challenges of differently abled musicians

What challenges do physically impaired Carnatic performers face? Four musicians shared their thoughts.

Doyen violinist Sangita Kalanidhi M. Chandrasekaran, blind from age 2, has travelled the world over and performed alongside the most revered Carnatic musicians.  “My mother and Guru, Charubala Mohan, insisted I was no different from others.” Charubala created innovative pedagogy, such as sticking paper on the violin’s finger board to feel swarasthanas, even as she persevered to make all aspects of life accessible for him and others. “Her request for concessionary train fares for the handicapped was implemented a year after she wrote to then railway minister Lal Bahadur Shastri”, Chandrasekaran says.  

This article appeared in The Hindu dated November 28th, 2025.

Mridangist Erode Nagaraj, senior student of Umayalpuram Sivaraman, cannot walk, and his arms, though appearing normal, are much weaker, with limited range of movement. Stricken by polio at 2, he went from being bodily lifted to crawling long distances for years, until he could purchase a customized wheelchair. “Looking normal while seated on stage means being misunderstood,” he says. He requires much more physical exertion to produce syllables than normally commensurate with the sound.

Born blind in a family without musical antecedents, N.S. Kamakshi learned vocal and violin (from Parur M.S. Anantharaman, Sethalapati Balu and Suguna Varadachari) focusing on vocal eventually. Her father and brothers helped her internalise critical aspects such as pronunciations and word splits during practice. A regular performer, picking up on co-artistes’ cues on when, for example, they might stress rhythmic syllables, can be tricky.

Famed ghatam exponent Suresh Vaidyanathan’s right leg is much weaker and shorter than the left, due to polio, making getting to and from venues and stages exhausting. While certain aids will reduce bodily strain, he elects not to use them to avoid hassles for others on stage. “I don’t want anyone to wait even one extra moment for me.” Suresh travels alone to concerts regularly world over, holding his own.

Family is the crucial reason all these artistes have pursued and achieved, and it is an ongoing lynchpin. Chandrasekaran is escorted by his children or students and his daughter G. Bharathi performs frequently with him. Suresh’s family ensured he could eventually walk. Kamakshi’s family provided all tools and support for music and academics; she lives with her brothers, including morsing artiste Nerkunam Manikandan and kanjira exponent Nerkunam Sankar, one of whom always escorts and performs alongside her. Nagaraj’s mother lives with him and he has siblings nearby too.

These four artistes have transcended just by being active performers – most differently abled musicians languish unknown, unheard and unseen, getting few opportunities if at all. Festivals dedicated to the differently abled are not the answer – they desire and require incorporation with the abled musician community.  There appear to be many challenges, however. When Chandrasekaran got more applause, for example, co-artistes were unhappy, say Bharathi and her brother Murali. Suresh mentions how he was desired for tours abroad but dropped because co-artistes thought he would not be able to physically assist them and/or require assistance himself. Nagaraj’s choosing to play at more accessible venues led to less offers altogether.

Differently abled artistes miss out on subsidiary aspects such as the unsaid but very real expectation that performing artistes acknowledge VIPs, fellow artistes and regular rasikas. Few take the trouble to come up and speak to Kamakshi. Nagaraj, because of requiring a wheelchair, has to necessarily exit only through specific pathways in the rear of sabhas. “By the time I make it out, most attendees have left.” Beyond causing misunderstanding, this means lost networking and performance opportunities. Even music critics can balk at how objective reviews of a disabled person might be perceived.

The artistes desire no musical allowances, but the community can be practically empathetic to physical impairments. Nagaraj fondly recalls vocalist Vasudha Ravi’s father who would himself scope out venues and request Nagaraj only for accessible locations. Kamakshi credits some of her co-artistes for playing in an intuitive manner not requiring visual cues. Things as basic as offering simple assistance to the mobility impaired and remembering to speak to the blind can go a long way.

A double-blind system at competitions (where neither competitor nor judge can see each other) would enhance objectivity for everyone. With age-restricted competitions often gateways to entry at elite sabhas, a case-by-case age leeway for the disabled can be considered since impairments themselves take time to acquit to.

Common sense and forethought can improve accessibility. Nagaraj suggests that committees serving the differently abled include differently abled individuals. Why does getting to elevators frequently require steps? Staircase steps are often high and uneven with unstable railings. Braille signs are rare. Handicapped accessible toilets are few. Wheelchair ramps are uncommon and often poorly designed: many ramps do not have enough turning radius to change direction unaided; passageways abutting ramps are often cavernous recesses used as miscellaneous storage. Nagaraj recollects one ramp where the surfacing was installed in reverse – a life-threatening situation where wheelchairs would accelerate while descending and experience severe friction ascending. Suresh mentions abled co-artistes in wheelchairs at the airport explaining advantages of wheelchairs to him as he walked. Because abled individuals tip wheelchair attendants, the genuinely disabled, entitled for free assistance, are also asked to pay.

Despite constant challenges from involuntary impairments and unamenable environments, these musicians display admirable joie-de-vivre and no rancour. Nagaraj amusedly recollects a sabha secretary telling him he was paying him Rs. 80 instead of Rs. 75 for coming in a customized tri-cycle! Bharathi opines that in today’s scenario, unless families are well-heeled enough to pay for opportunities, disabled musicians stand little chance of being successful performers. In fact, it is teaching that keeps Kamakshi and Nagaraj (who travels to the USA regularly) financially solvent.

Note: Speaking to each of these individuals left me utterly humbled and contemplative – what they have surmounted and the incredibly positive way they did/do so is awe-inspiring. I am sincerely thankful to everyone of these artistes for being candid. Additionally, I am most grateful to Smt. Chandrasekaran, Sri. and Smt. Chandrasekaran’s daughter Smt. Bharathi, son Sri. Murali, son-in-law Sri. Gopalakrishnan and Ms. Kamakshi’s brother Nerkunam Dr. Sankar for crucial inputs and facilitation.