This scholarly exploration examines the enduring cultural phenomenon of tevaram, the sacred Tamil hymnody in praise of Siva, attributed to revered saints Appar, Sundarar, and Sambandar. Preserved among Hindu South Africans since the arrival of predominantly village-based indentured laborers between 1860-1911, this musical tradition showcases a unique communal, group-oriented performance style distinct from the prevalent classical paradigm in India. The departure from Indian conventions prompts a nuanced exploration of the diasporic capacity to sustain an antiquated singing mode over time, primarily reliant on oral transmission. Fidelity to tevaram within the South African community raises considerations about temporal dynamics and forced alterations impacting oral memory, challenging assumptions about authenticity in diasporic musical practices. This study delves into the intricate dynamics of cultural preservation, questioning whether the South African diaspora acts as a repository for tevaram, recognized as the oldest surviving songs in India outside the recited Sama Vedas. The divergence from induced alterations in India introduces a multifaceted layer of complexity. Adding to this texture is the revival of tevaram songs in the 1960s in South Africa, coinciding with a local printing that included the first and last verses—an epochal juncture in the transmission of this venerable musical tradition. Utilizing recordings from both India and South Africa, the study vividly demonstrates divergences in tevaram performance based on the same skeletal melodies, shedding light on the dynamic evolution of tevaram within distinct cultural contexts.

This cultural analysis delves into the intersection of cinema and spirituality, specifically focusing on three songs from the 1965 Tamil film "Tiruvilaiyadal." Directed by A.P. Nagarajan and scored by K.V. Mahadevan, the film has garnered acclaim for its nuanced portrayal of divine interventions. The primary aim of this study is to explore the intricate expressions of Hindu ideology within these songs. An exhaustive analysis dissects elements such as lyrics, musical compositions, character delineations, original singers, South Indian Karnatak music nuances, and visual representations, scrutinizing their alignment with fundamental Hindu philosophical principles. A.P. Nagarajan adapted three narratives from the seventh-century epic "Tiruvilaiyadal Puranam," revolving around characters like Banapathirar, a devotional singer, Hemanatha Bhagavathar, a classical musician, and Lord Śiva, appearing as a firewood vendor. The songs seamlessly interweave with the storyline, elevating the cinematic narrative through exceptional musicality. This scholarly pursuit selectively examines songs based on thematic relevance, subjecting each to rigorous analysis to decipher lyrical nuances, musical intricacies, and cinematic context. The study conscientiously contextualizes the manifestation of Hindu ideology within the broader cultural and historical milieu of the film. Through this comprehensive analysis of select songs from "Thiruvilaiyadal," the research aims to contribute insights into cinema's potential as a powerful conduit for articulating and disseminating Hindu philosophical tenets. Employing a multidimensional analytical approach, the study unravels intricate threads binding the cinematic narrative to the rich tapestry of Hindu spirituality.

Upholding a person's memory following their passing is an important custom practiced cross-culturally. This rings true to the anxiety felt after the untimely death of world-renowned Bharatanatyam dancer Smt. T Balasaraswati (1918-1984). This prompted concerns about the future of Bala’s art form and legacy in the United States, which she thoughtfully nurtured for 20 years. Bala’s exposure to teaching in a Western academic environment garnered her a dedicated following of American students, many of whom continue to perform and teach Bala’s style of dance to this day. Bala’s decision to train American students exhibits the kind of agency one has over the construction of their artistic legacy, filtering what is culturally and artistically relevant, while also negotiating external forces like geographic, religious, and cultural differences. Through primary resources, theories on legacy building and agency, and interviews with Bala’s American students, this presentation examines how Bala’s legacy is manifested and preserved and the contribution she has made to the construction and celebration of Indian performing arts and identity in the United States. This presentation argues that the mobilization of Bala's artistic legacy can take on several forms, whether tangible or intangible, conscious or unconscious, and/or formal or informal. How much agency does a person have in the casting of one’s legacy? What kinds of ethnomusicological implications arise when an artistic legacy is transplanted outside of its traditional, socio-cultural context? In what ways is their legacy preserved and enacted for future generations?

Sopana Sangeetham, originating in Kerala, India, emerges as a crucial aspect of the spiritual purification and preparation of temple spaces, providing insight into the dynamics of cross-caste movements and their influence on the Hindu relationship with the divine world through music. This musical tradition, deeply rooted in temples, represents an intimate offering to deities worshipped on a given day. The performance, primarily conducted by castes like Marar, Poduval, Nedungadi, includes the exclusionary practice of private concerts for Gods and Goddesses, offering a unique lens for ethnomusicology. As the sacred musical event unfolds beside the temple's sacred stairway, it challenges traditional norms, showcasing a shift in social dynamics. Notably, the involvement of castes once excluded from such practices becomes a commentary on the transformative power dynamics at a cosmic level. This phenomenon has profound implications for ethnomusicology, as it reflects how cross-caste movements reshape the Hindu relationship with the divine world through music. Lyrical inspirations from Jaydeva's Gita Govindam or Ashtapadis, coupled with the distinct ragas like Puraneera, Indalam, Kanakurunji, Sreekanti, Ghantharam, and Samantha Malahari, offer a rich cultural tapestry. The inclusion of private concerts by previously excluded castes becomes not only a sonic cleansing of the temple space but also a profound commentary on societal shifts, emphasizing that social changes can rewrite power differentials even at a cosmic level.