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Madhusūdana Sarasvatī (c.1540–1640) was an Indian philosopher in the Advaita Vedānta tradition. He was the disciple of viSveSvara sarasvatI and mAdhava sarasvatI, and is the most celebrated name in the annals of the great dvaita-advaita debate. His Advaitasiddhi is a classic work, and most Advaita teachers maintain that all the logical issues raised by the dvaita school of AnandatIrtha have been sufficiently answered by Madhusūdana.

Birth and Education[link]

Madhusūdana was born in Bengal, and originally called Kamalanayana. He was educated in the Navya-Nyāya tradition, but became an Advaita sannyāsin, and moved to Varanasi in order to study Advaita.

Journey from Dvaita to Advaita[link]

According to a story, MadhusUdana SarasvatI is said to have really gone to Navadvipa to meet Chaitanya, the great devotee of Krishna. But the MahAprabhu was no longer staying in NavadvIpa. So MadhusUdana turned his attention to studying Nyaya in the flourishing Navya Nyaya school. He studied works of Udayana such as the laxaNAvalI, the tattva-chintAmaNi of Gangesha and its commentaries. Soon MadhusUdana was recognized as a foremost scholar in Nyaya. He was also said to have been influenced by the wave of bhakti sweeping across Bengal due to Chaitanya. One story mentions that MadhusUdana had, at that time, accepted the bheda-vAda, the doctrine of difference. The realism of Nyaya seemed to provide a logical basis to bheda. He soon became keen on "disproving" advaita using all his skills in logic. But at the time, since he had not done an in-depth study of Advaita with the intention of learning the details of Advaita Vedanta in order to disprove them, he proceeded to the sacred city of Varanasi. There, he studied Vedanta under RAma-tIrtha. But as MadhusUdana studied Advaita more and more, he became convinced of the veracity of Advaita. He later confessed to his Guru, Rama-tIrtha, that he had originally come to study Advaita in order to refute it and whether there was there any prAyashchitta for him. RAma tIrtha is said to have asked MadhusUdana to accept sannyAsa as the prAyashchitta.

Regardless of whether these stories are true or not, it is true that a reading of the advaita-siddhi shows that MadhusUdana was enormously skilled in dealing with logic and dialectics. Note also that the naiyAyika, who is a realist to the core, is as much an opponent of the advaitin in debates as other realists such as the dvaitins. MadhusUdana was more interested in defending advaita and tackling the exegetical (interpretation of Vedanta) aspects.

Works[link]

Madhusūdana wrote a number of works, all involving the defence and exposition of Advaita Vedānta, of which the largest and most respected is the Advaitasiddhi, which opposes the Dvaita Vedānta positions and arguments in Vyāsatīrtha's work Nyāyāmŗta. Madhusūdana also wrote at least nine other works, of which five were commentaries (on the Bhagavadgīta, part of the Bhāgavatapurāņa, and others). He wrote the ISvarapratipatti-prakASa, vedAntakalpalatikA, sArasangraha on sarvajnAtman's samkshepa-SArIraka, and the justly famous siddhAntabindu on SankarAcArya's daSaSlokI.

A total of twenty-one books have been ascribed to Madhusūdana. Of them, nineteen books are undoubtedly his, but the authorship of the remaining two is doubtful. Twelve of his books are on philosophy, the rest are poems, plays and miscellaneous themes. The philosophical books include commentaries.

List of Works[link]

• Advaita-siddhi [1][2]
• Advaita-manjari
• Advaita-ratna-raksana
• Atma-bodha-tika
• Ananda-madakini
• Prasthanabheda [3]
• Bhagavad-gita-gudhartha-dipika[4]
• Vedanta-kalpa-latika [5][6]
• Sastra-siddhanta-lesa-tika
• Samksepa-sariraka-sara-samgraha
• Siddhanta-tatva-bindu[7]
• Pramahamsa-priya [8]
• Veda-stuti-tika
• Asta-vikriti-vivarana
• Rajanam-prtibodha
• Isvara-pratipatti-prakasa[9]
• Bhagavata-bhakti-rasayana
• Bhagavata-purana-prathamasloka-vakhya
• Krishna-kutuhala-nataka
• Bhakti-samanya-nirupana
• Sandilya-sutra-tika
• Hari-lila-vakhya

Quotes on Madhusudana Saraswati[link]

Madhusūdana was so accomplished in Navya Nyaya (New logic) techniques that the following verse is quoted about him when he visited Navadvipa, the center for learning in Nyaya Shastra,

Meaning: When MadhusUdana, the master of speech, came to navadvIpa, MathurAnAtha tarkavAgIsha (who was the foremost navya naiyAyika during those times) trembled (with fear) and GadAdhara (another logician of great repute) became afraid.

A few words about the authors. MadhusUdana sarasvatI is a towering giant among advaitins. An oft quoted verse regarding him is,

Meaning: (Only) the Goddess of Learning, Sarasvati knows the limits of (knowledge of) Madhusūdana Sarasvati. And Madhusūdana Sarasvati knows the limits of (knowledge of) Goddess Sarasvati.

Follower of Bhakti Yoga[link]

Madhusūdana sarasvatI was a great devotee of Lord krishna. Just like Appayya Dikshita, who integrated Sivadvaita into advaita vedanta, madhusūdana bridged the sAtvata school of Pancaratra Vaishnavism and Advaita Vedanta philosophy. It is also interesting to note that madhusUdana boldly differs from Adi Sankara in some of his interpretations of the Brahma Sutras and the gItA, although he salutes Adi Sankara and Suresvara in the most reverential terms. Tradition also recounts that viTThaleSa, the son of vallabhacharya of the Suddhadvaita school, studied under madhusūdana sarasvatI, who thus forms a crucial link between Advaita Vedanta and many vaishNava sects in the north.

Relation with Akbar[link]

Madhusūdana Sarasvatī gained as a patron the Emperor Akbar, and was a friend of the poet Tulsīdās. He led many symposia attended by both Hindu sādhus and Muslim mullāhs. It is said that on Akbar's suggestion, madhusUdana initiated large numbers of sannyasins from kshatriya and vaishya communities to the dasanami orders, in order to form a group of martially trained ascetics to protect the people. This most probably reflects historical fact. Armed nAga sannyAsin warriors, tracing their origins to madhusūdana sarasvatI, and affiliated with the daSanAmI akhADas, were a component of almost every Rajput army in Northern India, till fairly recent times.

Sources and further reading[link]

• Karl H. Potter, "Madhusūdana Sarasvatī" (in Robert L. Arrington [ed.]. A Companion to the Philosophers. Oxford: Blackwell, 2001. ISBN 0-631-22967-1)
• Sarvepalli Radhakrishnan, et al. [edd], History of Philosophy Eastern and Western: Volume One (George Allen & Unwin, 1952)

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Manoj Das
Born	(1934-02-27) February 27, 1934 (age 78) Shankari, Balasore, Orissa, India
Residence	Pondicherry, Tamil Nadu
Nationality	Indian
Occupation	Bilingual Writer , philosopher, spiritual think tank , Editor and internationally reputed ex-student leader
Spouse	Married
Children	no
Parents	Madhu Sudana Das
Website
worldofmanojdas.in

This article's tone or style may not reflect the encyclopedic tone used on Wikipedia. Specific concerns may be found on the talk page. See Wikipedia's guide to writing better articles for suggestions. (August 2010)

Manoj Das (Oriya: ମନୋଜ ଦାସ) (born 1934) is an Indian award-winning author who writes in Oriya and English.

Manoj Das, a prolific author, is India's foremost short story writers. He writes both in Oriya and English, and is a Professor of English at the Sri Aurobindo International University, Pondicherry.

Manoj Das was born in a small coastal village named Shankari in Balasore district, Orissa State. Since 1963, he has been an ashramite at Sri Aurobindo Ashram, Pondicherry. He is presently concentrating on writing novels.

Manoj Das is perhaps the foremost bilingual Oriya writer and a master of dramatic expression both in his English and Oriya short stories and novels. He says that, 'Characters follow the theme of a story, and the words are merely added by author to represent the thoughts of the character'. That is the precise reason why Das's characters in fiction are from so many varied backgrounds, and display many different dimensions of human nature. He is a philosopher, a thinker-writer whose works can be defined as a quest for finding the eternal truth in everyday situations.^[1]

Among the other important positions that Das has held are, Member, General Council, Sahitya Akademi, New Delhi 1998-2002, and Author-consultant, Ministry of Education, Government of Singapore, 1983-85.

He edited a cultural magazine, The Heritage, published from Chennai in the 1980s. The magazine is no more in circulation.^[2]

Views[link]

Das has been compared to Vishnu Sharma, in modern Oriya literature for his magnificent style^[3][4] and efficient use of words^{[citation needed]} and for the fact that, he is one of the best story-tellers in India at present times.^[5][6]

The narration of story of Manoj Das is uncomparable to any Indian contemporary writers. The words will make you laughing /crying and readers forget that they are going through the books. The descriptions are such that you can see the cinema rather than just read. "Samudra Kulara Eka Grama" depicts the actual picture of a typical indian village which may not be possible to justify without Manoj Das.

Awards[link]

• Sahitya Akademi Award, 1972:
• Orissa Sahitya Academy Award, 1965 and 1982;
• Sarala Award, 1981;
• Vishuba Award, 1986;
• Sahitya Bharati Award, 1995;
• Saraswathi Samman, 2000;
• Padma Shri, 2001.
• KENDRA SAHITYA AKADEMI FELLOWSHIP, 2007

Selected works[link]

Novels

• Amruta Phala, 1996 (Saraswathi Samman);
• Aakashra Isara, 1997;
• Tandralokara Prahari, 2000;
• Prabhanjana;
• Godhulira Bagha;
• Kanaka-Upatyaka ra Kahani.

Short Story

• Sesa Basantara Chithi, 1966;
• Manoj Dasanka Katha O Kahani, 1971;
• Dhumabha Diganta O Anyana Kahani, 1971;
• The Crocodile's Lady: A Collection of Stories, 1975;
• Manojpanchabinsati, 1977;
• The Submerged Valley and Other Stories, 1986;
• Cyclones, 1987;
• A Tiger at Twilight, 1991;
• Farewell to a Ghost: Short Stories and a Novelette, 1994;
• Legend of the Golden Valley, 1996;
• Samudra Kulara Ek Grama (Balya Smruti), 1996
• Aaranyaka;
• Bhinna Manisha O Anyana Kahani;
• Abupurusha O Anyana Kahani;
• Laxmi Ra Abhisar;
• Abolkara Kahani;
• Aranya Ullash
• Chasing the Rainbow : growing up in an Indian village, 2004.

Travelogue

• Kete Diganta (Part - I);
• Kete Diganta (Part - II);
• Antaranga Bharat (Part - I) (My Little India);
• Antaranga Bharat (Part - II);
• Duradurantara;
• Adura Bidesh - 2004.

Poetry

• Tuma Gaan O Anyanya Kabita, 1992.
• Kabita Utkala.

History & Culture

• Bharatara Aytihya: Sateka Prashnara Uttara,1999;
• Manoj Das Paribesita Upakatha Satak (Tales Told by Mystics), 2002;
• Mahakalara Prahelika O Anyana Jigyansa, 2006.

Commentary[link]

Once world famous fiction writer Graham Green said, I have read the stories of Manoj Das with great pleasure. He will certainly take a place on my shelves besides the stories of Narayan. I imagine Orissa is far from Malgudi, but there is the same quality in his stories with perhaps an added mystery.^{[citation needed]}

Blog[link]

All the non-Oriya readers and admirers of Manoj Das’s writing can read some of his works on varied issues and topics from this blog-post.

Notes[link]

1. ^ quoted from the public domain "Manoj Das - Oriya Writer: The South Asian Literary Recordings Project" Library of Congress, New Delhi Office
2. ^ "The Heritage Story" http://www.collaboration.org/centers/goldenchain/Magazine/Vol1No1/cover%20story.html#ManojDasAnswers
3. ^ narrate a story without losing the Indian charm and ethos Mohapatra, Tusar N. (26 January 2007) "Manoj Das Chasing the Rainbow" Aurora Mirabilis
4. ^ blends realism and fantasy in the most artistic way Mishra, Ganeswar "The Short Story" Government of Orissa website
5. ^ He could be the best storyteller after R. K Narayan,' Narang said. Mohapatra, Tusar N. (26 January 2007) "Manoj Das Chasing the Rainbow" Aurora Mirabilis
6. ^ a group of powerful storywriters has emerged ... This group includes ... Manoj Das Mishra, Ganeswar "The Short Story" Government of Orissa website

External links[link]

• Official Website:worldofmanojdas.in
• Tandraalokara Prahari
• Amrutaphala
• A Short Meeting with Mr. Manoj Das
• Chasing the Rainbow

References[link]

• "Manoj Das - Oriya Writer: The South Asian Literary Recordings Project" Library of Congress, New Delhi Office;
• Raja, P. (1993) Many worlds of Manok [sic] Das B.R. Pub. Corp, New Delhi, ISBN 81-7018-761-3 ;

This article has multiple issues. Please help improve it or discuss these issues on the talk page. It needs additional citations for verification. Tagged since July 2008. Its tone or style may not reflect the formal tone used on Wikipedia. Tagged since December 2007.

Michael Madhusudan Dutt
Michael Madhusudan Dutt
Born	(1824-01-25)25 January 1824 Sagordari village, Jessore, British India
Died	29 June 1873(1873-06-29) (aged 49) Calcutta, British India
Occupation	Writer
Nationality	British Indian
Ethnicity	Bengali
Genres	Poet, playwright
Subjects	Literature
Literary movement	Bengal Renaissance
Spouse(s)	Rebecca Mactavys Henrietta Sophia White (m. 1856–1873)
Children	Napoleon Sharmistha

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Michael Madhusudan Dutt, or Michael Madhusudan Dutta, (Bengali: মাইকেল মধুসূদন দত্ত ( Maikel Modhushudôn Dôtto (help·info)) 25 January 1824 – 29 June 1873) was Indian Bengali poet and dramatist, the first great poet of modern Bengali literature.^[1] Datta was a dynamic, erratic personality and an original genius of a high order. He was educated at the Hindu College, Calcutta, the cultural home of the Western-educated Bengali middle class. In 1843 he became a Christian. He was born in Sagordari, on the bank of Kopotaksho [কপোতাক্ষ] River, a village in Keshobpur Upozila, Jessore District, East Bengal (now in Bangladesh). His father was Rajnarayan Dutt, an eminent lawyer, and his mother was Jahnabi Devi. He was a pioneer of Bengali drama. His famous work Meghnad Bodh Kavya, is a tragic epic. It consists of nine cantos and is exceptional in Bengali literature both in terms of style and content. He also wrote poems about the sorrows and afflictions of love as spoken by women.

From an early age, Dutt aspired to be an Englishman in form and manner. Born to a Hindu landed-gentry family, he converted to Christianity as a young man, to the ire of his family, and adopted the first name Michael. In later life he regretted his attraction to England and the Occident. He wrote ardently of his homeland in his poems and sonnets from this period.

His early compositions were in English, but they were unsuccessful and he turned, reluctantly at first, to Bengali. His principal works, written mostly between 1858 and 1862, include prose drama, long narrative poems, and lyrics. His first play, Sarmistha (1858), based on an episode of the ancient Sanskrit epic, the Mahābhārata, was well received. His poetical works are Tilottamasambhab (1860), a narrative poem on the story of Sunda and Upasunda; Meghnadbadh (1861), his most important composition, an epic on the Rāmāyaṇa theme; Brajangana (1861), a cycle of lyrics on the Rādhā-Kṛṣṇa theme; and Birangana (1862), a set of 21 epistolary poems on the model of Ovid’s Heroides.

Dutt is widely considered to be one of the greatest poets in Bengali literature and the father of the Bengali sonnet. He pioneered what came to be called amitrakshar chhanda (blank verse). Dutt died in Kolkata, India on 29 June 1873.^[2] Datta experimented ceaselessly with diction and verse forms, and it was he who introduced amitraksar (a form of blank verse with run-on lines and varied caesuras), the Bengali sonnet—both Petrarchan and Shakespearean—and many original lyric stanzas.

Early life and education[link]

His childhood education started in a village named Shekpura, at an old mosque, where he went to learn Persian. He was an exceptionally talented student. Since his childhood, Dutt was recognized by his teachers and professors as being a precocious child with a gift of literary expression. He was very imaginative. Early exposure to English education and European literature at home and in Kolkata inspired him to emulate the English in taste, manners and intellect. An early influence was his teacher, Capt. D.L.Richardson at Hindu College. Dutt adopted his support of Thomas Babington Macaulay without realizing it.

He dreamt of achieving great fame if he went abroad. His adolescence, coupled with the spirit of intellectual enquiry, convinced him that he was born on the wrong side of the planet, and that conservative Hindu society in early nineteenth-century Bengal (and by extension Indian society) had not yet developed the spirit of rationalistic enquiry and appreciation of greater intellectualism to appreciate him. He believed that the "free thinking" and post-Enlightenment West would be more receptive to his creative genius. He composed his early works—poetry and drama—almost entirely in English. His early works: plays including Sormistha and Ratnavali; translations such as Neel Durpan; and poems, including Captive Ladie, which was written about the mother of his close friend Sri Bhudev Mukhopadhyay, indicate a high level of intellectual sophistication.^[3][4][5]

In His Own Words[link]

Madhusudan embraced Christianity at the church of Fort William in spite of the objections of his parents and relatives on February 9, 1843. Later, he escaped to Madras to avoid persecution. He describes the day as:

On the eve of his departure to England:

(Translated from the original Bengali by the poet.)

Later life[link]

Influences[link]

Dutt was particularly inspired by both the life and work of the English Romantic poet Lord Byron. Dutt was a spirited bohemian and Romantic. Dutt's heroic epic was Meghnadh Badh Kabya, although his journey to publication and recognition was far from smooth. However, with its publication, the Indian poet distinguished himself as a serious composer of an entirely new genre of heroic poetry, that was Homeric and Dantesque in technique and style, and yet so fundamentally Indian in theme. To cite the poet himself: "I awoke one morning and found myself famous." Nevertheless, it took a few years for this epic to win recognition all over the country.

Linguistic abilities[link]

Madhusudan was a gifted linguist and polyglot. Besides achieving fluency in Indian languages including Bengali, Sanskrit and Tamil, he was well versed in the European classical languages of Greek and Latin. He became fluent in Italian and French.^{[citation needed]}

Work with the sonnet[link]

He dedicated his first sonnet to his friend Rajnarayan Basu, which he accompanied with a letter: "What say you to this, my good friend? In my humble opinion, if cultivated by men of genius, our sonnet in time would rival the Italian."^{[cite this quote]}

When Dutt later stayed in Versailles, the sixth centenary of the Italian poet Dante Alighieri was being celebrated all over Europe. He composed a poem in honor of the poet, translated it into French and Italian, and sent it to the king of Italy. Victor Emmanuel II, then monarch, liked the poem and wrote to Dutt, saying, "It will be a ring which will connect the Orient with the Occident."^{[cite this quote]}

Work in blank verse[link]

Sharmistha (spelt as Sermista in English) was Dutt's first attempt at blank verse in Bengali literature. Kaliprasanna Singha organised a felicitation ceremony to Madhusudan to mark the introduction of blank verse in Bengali poetry.

Praising Dutt's blank verse, Sir Ashutosh Mukherjee, observed: "As long as the Bengali race and Bengali literature would exist, the sweet lyre of Madhusudan would never cease playing."^{[cite this quote]} He added: "Ordinarily, reading of poetry causes a soporific effect, but the intoxicating vigour of Madhusudan's poems makes even a sick man sit up on his bed."^{[cite this quote]}

In his The Autobiography of an Unknown Indian, Nirad C. Chaudhuri has remarked that during his childhood days in Kishoreganj, a common standard for testing guests' erudition in the Bengali language during family gatherings was to require them to recite the poetry of Dutt, without an accent.

In France[link]

The street where M Dutt used to live in Versailles, France

12 Rue Des Chantiers, 78000 Versailles, France - the apartment building where M. Dutt dwelled (photo taken on July 2011)

At the time of his trip to Versailles during the 1860s, Dutt was suffering poverty. His Indian friends had encouraged him to go to Europe for recognition, but they began to ignore him after his departure. He was used to a lavish lifestyle and his hostility to native tradition put off erstwhile supporters. Perhaps his choice of a lavish lifestyle, coupled with a big ego that was openly hostile to native tradition, was partly to blame for his financial ruin. Except for a very few well-wishers, he had to remain satisfied with many fair-weather friends. It may be argued, not without some obvious irony that during those days, his life oscillated, as it were, between the Scylla of stark poverty and the Charybdis of innumerable loans. He was head over heels in debt. As he was not in a position to clear off his debts, he was very often threatened by imprisonment. Dutt was able to return home only due to the munificent generosity of Ishwar Chandra Vidyasagar. For this, Dutt was to regard Vidyasagar as Dayar Sagar (meaning the ocean of kindness) for as long as he lived. Madhusudan had cut off all connections with his parents, relatives and at times even with his closest friends, who more often than not were wont to regard him as an iconoclast and an outcast. It was during the course of his sojourn in Europe that Dutt realized his true identity.

He wrote to his friend Gour Bysack from France:

Marriage and family[link]

Dutt had refused to enter into an arranged marriage which his father had decided for him. He had no respect for that tradition and wanted to break free from the confines of caste-based endogamous marriage. At this time, he converted to Christianity. His knowledge of the European tradition convinced him of the superiority of marriages made by mutual consent (or love marriages).

Dutt married twice. While living in Madras, he married Rebecca Mactavys, of English descent. They had four children together. He wrote to Gour in December 1855:

Dutt returned from Madras to Calcutta in February 1856, after his father's death. There he married Henrietta Sophia White, who was also ethnic English. His second marriage lasted until the end of his life. They had a son Napoleon and daughter Sharmistha.

The tennis player Leander Paes is the son of his great-granddaughter.

Death[link]

Tomb of Michael Madhusudan Dutt

	Recitation Of Madhusudan Dutta's Samadhi In Bengali A 33 second sample recitation of poetry Samadhi
Problems listening to this file? See media help.

Dutt died in Calcutta General Hospital on 27 June 1873, three days after the death of Henrietta. Just three days prior to his death, he recited a passage from Shakespeare's Macbeth to his 'friend Gour, expressing his deepest conviction of life:^{[citation needed]}

(Macbeth)

Gour responded with a passage from Longfellow^{[citation needed]}

Legacy and honors[link]

Dutt was largely ignored for 15 years after his death.^[7] The belated tribute was a tomb erected at his gravesite.

His epitaph, a verse of his own, reads:

Bankim Chandra Chatterjee described Dutt by the following:

Tagore wrote:

and

Ishwar Chandra Vidyasagar said:

In the words of Sri Aurobindo:

Major works[link]

• Tilottama, 1860
• Meghnad Bodh Kavya (Ballad of Meghnadh's demise), 1861
• Birangana
• Sharmishtha
• Ekei Ki Bole Sovyota (Is this is called a civilization)
• Buro Shalikher Ghare Rown
• Ratnavali
• Rizia, the sultana of Inde.
• The Captive Lady
• Visions of the Past
• sonnets and other poems

Further reading[link]

• Ghulam Murshid, Lured by Hope, trans. Gopa Majumdar, Oxford Univ Press, (2003) ISBN 0-19-565362-9 – Gopa Majumdar's translation of Ashar Chalane Bhuli
• Clinton Seely (2004). xvi, 238 pp. $29.95 (cloth).. The Journal of Asian Studies, 63, pp 830–831 doi:10.1017/S002191180400213X
• [http://www.parabaas.com/bookstore/bookpage/murshid_heart.html "Review": Heart of a Rebel Poet - Letters of Michael Madhusudan Dutt, Ed. Ghulam Murshid, Parabaas

References[link]

External links[link]

Wikimedia Commons has media related to: Michael Madhusudan Dutt

• Hindu School, Kolkata - Web Site

The Bombay sisters, C. Saroja and C. Lalitha, are a Carnatic music singing duo.^[1]

Early life[link]

Bombay Sisters were Keralites born in Bombay. They have been trained by H. A. S. Mani, Musiri Subramania Iyer and T. K. Govinda Rao.^[2][3]

Career[link]

Part of the trend of duo singing in Carnatic music, which started in the 1950s, with performers like Radha Jayalakshmi, and Brinda Mukta,^[4] they have been singing since 1963 when they started with light classical music, subsequently progressing to classical music; they sing in multiple languages including Sanskrit, Kannada, Telugu, Tamil, Malayalam, Hindi and Marathi. They have sung for almost all leading cassette companies , meeting records of sales. ^{[5] [6]}

Awards[link]

• Isai Peraringar Award, 2006; awarded by the Tamil Isai Sangam^[7]
• Kalaimamani for contributions to Carnatic music.^[8]
• First women to be conferred the status of Asthana Vidushi by the Kanchi matha.^[9]
• Sangitha Kalanidhi Award for the year 2010 from the Madras Music Academy.^[10]

References[link]

External links[link]

• [http://archives.chennaionline.com/musicseason99/profile/bombaysisters.html Profile at ChennaiOnline.com

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