{"id":1184,"date":"2026-08-11T09:40:07","date_gmt":"2026-08-11T04:10:07","guid":{"rendered":"https:\/\/www.nadyoga.org\/blog\/?p=1184"},"modified":"2026-08-11T09:40:10","modified_gmt":"2026-08-11T04:10:10","slug":"mridangam-carnatic-music-history-sound-rhythm","status":"publish","type":"post","link":"https:\/\/www.nadyoga.org\/blog\/mridangam-carnatic-music-history-sound-rhythm\/","title":{"rendered":"Mridanga: The Rhythmic Heart of South Indian Classical Music"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">In Indian music, sound is never limited to melody. Rhythm has its own language, its own movement, and its own ability to shape the experience of a musical performance. Few instruments express this idea as beautifully as the <strong>Mridanga<\/strong>, the traditional barrel-shaped percussion instrument that forms the rhythmic foundation of South Indian classical music.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Known more commonly as the <strong>Mridangam<\/strong>, this two-sided drum is closely associated with the <strong>Carnatic music<\/strong> tradition of South India. Its two playing surfaces produce contrasting tones, allowing a skilled percussionist to create intricate rhythmic patterns, subtle accents, deep bass tones, and remarkably precise strokes using the hands and fingers.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Yet the Mridangam is more than a percussion instrument accompanying a singer or instrumentalist. Its relationship with rhythm reflects a much deeper Indian understanding of time, movement, breath, and awareness. In traditional music, rhythm is not simply something counted in the background. It becomes a living structure through which the musician and listener experience the unfolding of sound.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For anyone exploring <strong><a href=\"https:\/\/www.nadyoga.org\/blog\/nada-yoga-benefits-and-techniques\/\" data-type=\"post\" data-id=\"30\">Nada Yoga<\/a><\/strong>, Indian classical music, or traditional sound practices, the Mridangam offers a fascinating perspective. It shows us that the experience of sound is shaped not only by frequency and melody but also by rhythm, repetition, silence, and the precise movement of the body.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">What Is the Mridangam?<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The <strong>Mridangam<\/strong> is a double-headed percussion instrument traditionally used in Carnatic music. It has a hollow, barrel-shaped body with a drumhead on each end. The two sides are tuned differently, creating a range of contrasting sounds that can be combined to produce complex rhythmic compositions.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The name is traditionally connected with the Sanskrit word <strong>m\u1e5bda<\/strong>, meaning clay or earth, and <strong>a\u1e45ga<\/strong>, meaning body or limb. Historical descriptions and interpretations of the name vary, but the word reflects the instrument&#8217;s long association with Indian musical traditions.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The Mridangam is usually played horizontally across the musician&#8217;s lap. Unlike many drums that are struck primarily with the palms, the Mridangam allows the performer to use different parts of the fingers, hands, and palms to create distinct sounds.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A single instrument can therefore produce an extraordinary vocabulary of tones.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">These include:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Deep bass sounds<\/li>\n\n\n\n<li>Resonant open tones<\/li>\n\n\n\n<li>Sharp rhythmic strokes<\/li>\n\n\n\n<li>Muted sounds<\/li>\n\n\n\n<li>Complex combinations of finger strokes<\/li>\n\n\n\n<li>Rapid rhythmic patterns<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">The result is an instrument capable of functioning simultaneously as a timekeeper, melodic-rhythmic instrument, and expressive voice within an ensemble.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">The Historical Place of the Mridangam<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The history of the Mridangam is connected to India&#8217;s long-standing traditions of percussion and rhythmic music.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ancient Indian texts describe several types of drums and percussion instruments, including instruments associated with theatre, ritual, dance, and musical performance. The <strong>N\u0101\u1e6dya\u015b\u0101stra<\/strong>, traditionally attributed to Bharata Muni, discusses a wide range of musical instruments and places percussion within the broader structure of Indian performing arts.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The modern Mridangam developed over many centuries as South Indian musical traditions evolved.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Its importance grew alongside the development of Carnatic music, eventually becoming one of the central instruments of the classical ensemble.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Today, the Mridangam is most strongly associated with performances featuring:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Carnatic vocal music<\/li>\n\n\n\n<li>Veena<\/li>\n\n\n\n<li>Violin<\/li>\n\n\n\n<li>Flute<\/li>\n\n\n\n<li>Classical dance<\/li>\n\n\n\n<li>Devotional music<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">Its role is not simply to keep time. The percussionist responds to the vocalist or instrumentalist, follows the structure of the composition, and creates rhythmic conversations within the performance.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">The Two Sides of the Mridangam<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">One of the most distinctive characteristics of the Mridangam is its two different drumheads.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The larger side generally produces deeper tones, while the smaller side produces higher-pitched sounds.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The performer uses different combinations of strokes on these surfaces to create an extensive range of sounds.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">The Bass Side<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">The larger drumhead produces deeper, fuller tones that provide weight and resonance.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">These sounds give the rhythmic structure a strong foundation and can create a feeling of depth within the performance.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">The Treble Side<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">The smaller drumhead produces sharper and more defined sounds.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">These strokes allow the percussionist to articulate fast rhythmic patterns with remarkable clarity.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The interaction between the two sides gives the Mridangam its characteristic tonal variety.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">How the Mridangam Produces Different Sounds<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The sound of the Mridangam depends on much more than simply hitting a drumhead.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Its construction, tension, materials, and playing technique all contribute to its acoustic character.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The musician can change the quality of a sound by changing:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Which part of the drumhead is struck.<\/li>\n\n\n\n<li>Which finger or part of the hand is used.<\/li>\n\n\n\n<li>How much force is applied.<\/li>\n\n\n\n<li>Whether the stroke is open or muted.<\/li>\n\n\n\n<li>The position of the hand.<\/li>\n\n\n\n<li>The timing and combination of successive strokes.<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">This gives the instrument an unusually detailed rhythmic vocabulary.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For a trained percussionist, the hands become a form of language.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">The Science of Mridangam Sound<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">From an acoustic perspective, the Mridangam demonstrates how physical structure shapes musical sound.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">When the drumhead is struck, it vibrates and creates pressure variations in the surrounding air. These vibrations travel as sound waves and are perceived by the human auditory system.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">But the sound is more complex than a simple vibration at one frequency.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The instrument produces a combination of:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Fundamental tones<\/li>\n\n\n\n<li>Harmonic components<\/li>\n\n\n\n<li>Resonance from the drum body<\/li>\n\n\n\n<li>Vibrations from the drumheads<\/li>\n\n\n\n<li>Transient sounds created by the initial stroke<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">The particular construction of the Mridangam allows certain tones to become remarkably clear and stable for a percussion instrument.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This acoustic complexity is one reason the instrument can produce both powerful rhythmic accents and surprisingly musical tones.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Rhythm as a Language<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">One of the most fascinating aspects of Carnatic percussion is that rhythm itself can be learned as a language.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Mridangam players learn traditional syllables known as <strong>solkattu<\/strong>, a system of spoken rhythmic syllables used to represent percussion patterns.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Instead of beginning with the physical instrument, a student can first learn a rhythm through the voice.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The rhythm is spoken, repeated, understood, and eventually transferred to the hands.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This creates a close relationship between:<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Voice \u2192 Rhythm \u2192 Movement \u2192 Sound<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The practice demonstrates an important principle found throughout Indian music. Sound does not begin with an instrument. It begins with awareness, breath, and the ability to organise time.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Tala and the Structure of Time<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">To understand the Mridangam, it is also necessary to understand <strong>Tala<\/strong>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Tala refers to the rhythmic framework used in Indian classical music. Rather than simply counting beats in a linear fashion, Carnatic music uses sophisticated rhythmic cycles that provide structure for compositions and improvisation.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The Mridangam helps performers remain connected to this cycle while also interacting creatively with it.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A percussionist may emphasise certain beats, create subdivisions, introduce rhythmic variations, or respond to the melodic performer while always maintaining awareness of the larger cycle.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This makes the Mridangam an instrument of both discipline and creativity.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The musician must know exactly where they are within the rhythmic cycle, even when the patterns become highly complex.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">The Mridangam and Carnatic Music<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Within Carnatic music, the Mridangam occupies a central role.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A typical concert may involve a vocalist or instrumentalist supported by melodic instruments and percussion. Throughout the performance, the Mridangam helps establish and develop the rhythmic character of the music.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Its role can change depending on the moment.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">During a composition, it may provide a structured rhythmic accompaniment. During improvisational sections, the percussionist can respond to the melodic artist. Later in the performance, the percussionist may receive a dedicated section for rhythmic improvisation.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This relationship creates something closer to a musical conversation than simple accompaniment.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The percussionist listens continuously.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The melodic artist listens back.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The rhythm responds to melody, and melody responds to rhythm.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Why Listening Is So Important for a Mridangam Player<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The technical skill required to play the Mridangam is considerable, but technique alone does not make a great percussionist.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Listening is equally important.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A Mridangam player must simultaneously hear:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>The vocalist or instrumentalist.<\/li>\n\n\n\n<li>The rhythmic cycle.<\/li>\n\n\n\n<li>The tonal centre.<\/li>\n\n\n\n<li>The phrasing of the composition.<\/li>\n\n\n\n<li>The other instruments.<\/li>\n\n\n\n<li>The quality of their own strokes.<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">This is a sophisticated form of active listening.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In this sense, the Mridangam shares an important connection with <strong>Nada Yoga<\/strong>. Both encourage the practitioner to become increasingly sensitive to sound rather than simply producing it.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Mridangam and Nada Yoga<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Nada Yoga traditionally explores sound as a pathway to concentration and inner awareness. While the Mridangam belongs primarily to the musical and rhythmic traditions of South India, its practice can naturally complement this approach through focused listening, repetition, breath, and awareness.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Playing a rhythmic pattern requires complete presence.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A small lapse in attention can disrupt the entire cycle.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For this reason, rhythmic practice can become a form of concentration. The practitioner learns to remain aware of every stroke while simultaneously holding the larger rhythmic structure in the mind.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This relationship between sound and awareness is one of the reasons Indian musical traditions have historically been closely connected with spiritual practice.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">The Mridangam in Sound Healing Practices<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The Mridangam is not traditionally a sound healing instrument in the same sense as singing bowls or tuning forks. Its primary role is musical, particularly within Carnatic music and South Indian performance traditions.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, rhythm itself can play an important role in contemplative and wellness practices.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Steady rhythmic patterns can provide an anchor for attention, while repeated percussion can create a strong sense of movement and structure within a group practice.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In contemporary <strong>sound healing traditions<\/strong>, percussion may be used alongside other instruments during meditation, movement, chanting, or group sound experiences.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The distinction is important. The Mridangam&#8217;s value in these settings comes from its rhythmic and acoustic qualities rather than from claims that particular drum frequencies can heal specific organs or diseases.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Rhythm, Breath, and the Human Body<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Rhythm has an interesting relationship with the way we experience our own bodies.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">We naturally perceive rhythm through processes such as:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Breathing.<\/li>\n\n\n\n<li>Walking.<\/li>\n\n\n\n<li>Heartbeat.<\/li>\n\n\n\n<li>Speech.<\/li>\n\n\n\n<li>Movement.<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">When listening to a repeated rhythmic pattern, attention can begin to organise itself around that pattern.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This is one reason rhythm is so central to chanting, dance, music, and group movement across cultures.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In Indian traditions, the relationship between rhythm and breath becomes particularly visible in practices that combine <strong>mantra, music, yoga, and meditation<\/strong>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A rhythmic pattern can provide a stable structure within which awareness becomes more focused.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Learning Through Repetition<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The training of a Mridangam player requires years of disciplined practice.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Students repeatedly practise individual strokes before combining them into increasingly complex patterns. Spoken syllables, hand movements, rhythmic cycles, and musical compositions gradually become integrated.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This process teaches an important lesson about traditional Indian music.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Mastery does not come from constantly learning something new.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">It comes from returning to the same fundamental practice again and again, each time with greater sensitivity.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The repetition may appear simple from the outside, but the student&#8217;s relationship with the sound continues to change.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The same rhythm heard after ten years of practice is not experienced in the same way it was on the first day.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">The Mridangam in Contemporary Sound Practice<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The modern interest in traditional instruments has brought many Indian percussion instruments into new environments.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Today, people encounter rhythmic instruments in:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Yoga and meditation spaces.<\/li>\n\n\n\n<li>Indian classical music workshops.<\/li>\n\n\n\n<li>Mantra and chanting sessions.<\/li>\n\n\n\n<li>Cultural programmes.<\/li>\n\n\n\n<li>Movement practices.<\/li>\n\n\n\n<li>Sound-based group experiences.<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">The Mridangam remains firmly rooted in Carnatic music, but its broader lesson about rhythm and listening continues to resonate with contemporary practitioners.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For students exploring <strong><a href=\"https:\/\/www.nadyoga.org\/sound-healing-teacher-training-rishikesh-india\/\">sound healing in Rishikesh<\/a><\/strong>, studying traditional Indian instruments can also provide a broader understanding of how different cultures have approached sound, rhythm, resonance, and conscious listening.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A Sound Healing Course in Rishikesh may introduce practitioners to instruments from several traditions, while a deeper Sound Healing Teacher Training in Rishikesh can explore how sound, breath, attention, and musical awareness can be brought together responsibly in practice.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Mridangam and the Indian Musical Tradition<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The Mridangam represents something fundamental about Indian music: sound is inseparable from discipline.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A rhythmic cycle may be incredibly complex, yet the musician must remain grounded within it.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A performance may become highly improvisational, yet the underlying structure never disappears.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A single stroke may last only a moment, yet it exists within a much larger pattern.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This relationship between the individual sound and the larger cycle is one of the most beautiful ideas found in Indian music.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The same principle can be found in many other areas of Indian philosophy. The individual exists within something larger, while each individual expression remains meaningful in its own right.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Frequently Asked Questions<\/h2>\n\n\n\n<h3 class=\"wp-block-heading\">What is a Mridangam?<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">The Mridangam is a traditional double-headed percussion instrument central to Carnatic classical music. It produces a wide range of tones through different hand and finger techniques.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Is Mridangam the same as a tabla?<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">No. Both are important Indian percussion instruments, but they belong to different musical traditions. The tabla is strongly associated with Hindustani classical music, while the Mridangam is the principal percussion instrument of Carnatic music.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">What is the Mridangam used for?<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">The Mridangam is primarily used to accompany Carnatic vocal and instrumental music. It provides rhythmic structure, interacts with the melodic performer, and can also be featured in dedicated percussion improvisations.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Is the Mridangam used for sound healing?<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">The Mridangam is primarily a classical percussion instrument rather than a traditional sound healing instrument. Its rhythmic qualities may be incorporated into contemporary sound-based practices, but claims of specific healing effects should be distinguished from established musical and acoustic principles.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">What is Nada Yoga?<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Nada Yoga<\/strong> is a yogic approach that uses sound and listening as pathways for concentration, meditation, and inner awareness. Traditional practice explores both external sound and subtler forms of inner listening.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Final Thoughts<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The Mridangam reminds us that sound is not only about pitch. It is also about time, movement, repetition, silence, and relationship.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A single rhythmic stroke has little meaning by itself. Place it within a cycle, however, and it becomes part of something much larger. The percussionist learns to hear that larger structure while remaining completely present with every movement of the hands.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This is what makes the Mridangam such a remarkable instrument. It carries centuries of South Indian musical knowledge while continuing to evolve through every musician who learns to play it.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For those exploring Indian classical music, Nada Yoga, or the wider world of sound healing traditions, the Mridangam offers a valuable reminder: sometimes the deepest experience of sound comes from learning how to listen to rhythm, not simply how to hear a note.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">And perhaps that is the real lesson of the instrument. Every sound has its place, every silence has its purpose, and every moment of rhythm becomes meaningful when we are fully present to it.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>In Indian music, sound is never limited to melody. Rhythm has its own language, its own movement, and its own [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":1185,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[1],"tags":[],"class_list":["post-1184","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Mridangam: History, Sound, Rhythm &amp; Carnatic Music<\/title>\n<meta name=\"description\" content=\"Explore the Mridangam, the rhythmic heart of Carnatic music, its history, construction, and role in Indian sound traditions.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.nadyoga.org\/blog\/mridangam-carnatic-music-history-sound-rhythm\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Mridangam: History, Sound, Rhythm &amp; Carnatic Music\" \/>\n<meta property=\"og:description\" content=\"Explore the Mridangam, the rhythmic heart of Carnatic music, its history, construction, and role in Indian sound traditions.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.nadyoga.org\/blog\/mridangam-carnatic-music-history-sound-rhythm\/\" \/>\n<meta property=\"og:site_name\" content=\"YOGMAY\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/nadyoga.org\" \/>\n<meta property=\"article:published_time\" content=\"2026-08-11T04:10:07+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-08-11T04:10:10+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.nadyoga.org\/blog\/wp-content\/uploads\/2026\/08\/ChatGPT-Image-Aug-11-2026-09_39_21-AM-1024x683.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1024\" \/>\n\t<meta property=\"og:image:height\" content=\"683\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"Nada Yoga School\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@nadayogaschool\" \/>\n<meta name=\"twitter:site\" content=\"@nadayogaschool\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Nada Yoga School\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"11 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.nadyoga.org\\\/blog\\\/mridangam-carnatic-music-history-sound-rhythm\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.nadyoga.org\\\/blog\\\/mridangam-carnatic-music-history-sound-rhythm\\\/\"},\"author\":{\"name\":\"Nada Yoga School\",\"@id\":\"https:\\\/\\\/www.nadyoga.org\\\/blog\\\/#\\\/schema\\\/person\\\/0470b8c603bf9bbfb226d514702a430e\"},\"headline\":\"Mridanga: The Rhythmic Heart of South Indian Classical Music\",\"datePublished\":\"2026-08-11T04:10:07+00:00\",\"dateModified\":\"2026-08-11T04:10:10+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.nadyoga.org\\\/blog\\\/mridangam-carnatic-music-history-sound-rhythm\\\/\"},\"wordCount\":2418,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/www.nadyoga.org\\\/blog\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/www.nadyoga.org\\\/blog\\\/mridangam-carnatic-music-history-sound-rhythm\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.nadyoga.org\\\/blog\\\/wp-content\\\/uploads\\\/2026\\\/08\\\/ChatGPT-Image-Aug-11-2026-09_39_21-AM.png\",\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/www.nadyoga.org\\\/blog\\\/mridangam-carnatic-music-history-sound-rhythm\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.nadyoga.org\\\/blog\\\/mridangam-carnatic-music-history-sound-rhythm\\\/\",\"url\":\"https:\\\/\\\/www.nadyoga.org\\\/blog\\\/mridangam-carnatic-music-history-sound-rhythm\\\/\",\"name\":\"Mridangam: History, Sound, Rhythm & Carnatic Music\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.nadyoga.org\\\/blog\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/www.nadyoga.org\\\/blog\\\/mridangam-carnatic-music-history-sound-rhythm\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/www.nadyoga.org\\\/blog\\\/mridangam-carnatic-music-history-sound-rhythm\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.nadyoga.org\\\/blog\\\/wp-content\\\/uploads\\\/2026\\\/08\\\/ChatGPT-Image-Aug-11-2026-09_39_21-AM.png\",\"datePublished\":\"2026-08-11T04:10:07+00:00\",\"dateModified\":\"2026-08-11T04:10:10+00:00\",\"description\":\"Explore the Mridangam, the rhythmic heart of Carnatic music, its history, construction, and role in Indian sound traditions.\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/www.nadyoga.org\\\/blog\\\/mridangam-carnatic-music-history-sound-rhythm\\\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/www.nadyoga.org\\\/blog\\\/mridangam-carnatic-music-history-sound-rhythm\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/www.nadyoga.org\\\/blog\\\/mridangam-carnatic-music-history-sound-rhythm\\\/#primaryimage\",\"url\":\"https:\\\/\\\/www.nadyoga.org\\\/blog\\\/wp-content\\\/uploads\\\/2026\\\/08\\\/ChatGPT-Image-Aug-11-2026-09_39_21-AM.png\",\"contentUrl\":\"https:\\\/\\\/www.nadyoga.org\\\/blog\\\/wp-content\\\/uploads\\\/2026\\\/08\\\/ChatGPT-Image-Aug-11-2026-09_39_21-AM.png\",\"width\":1536,\"height\":1024,\"caption\":\"mridangam\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/www.nadyoga.org\\\/blog\\\/mridangam-carnatic-music-history-sound-rhythm\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/www.nadyoga.org\\\/blog\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Mridanga: The Rhythmic Heart of South Indian Classical Music\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/www.nadyoga.org\\\/blog\\\/#website\",\"url\":\"https:\\\/\\\/www.nadyoga.org\\\/blog\\\/\",\"name\":\"YOGMAY - A Blog by Nada Yoga School\",\"description\":\"A blog by Nada Yoga School\",\"publisher\":{\"@id\":\"https:\\\/\\\/www.nadyoga.org\\\/blog\\\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/www.nadyoga.org\\\/blog\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\\\/\\\/www.nadyoga.org\\\/blog\\\/#organization\",\"name\":\"Nada Yoga School\",\"url\":\"https:\\\/\\\/www.nadyoga.org\\\/blog\\\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/www.nadyoga.org\\\/blog\\\/#\\\/schema\\\/logo\\\/image\\\/\",\"url\":\"https:\\\/\\\/www.nadyoga.org\\\/blog\\\/wp-content\\\/uploads\\\/2023\\\/09\\\/nada-yoga-school-logo.png.webp\",\"contentUrl\":\"https:\\\/\\\/www.nadyoga.org\\\/blog\\\/wp-content\\\/uploads\\\/2023\\\/09\\\/nada-yoga-school-logo.png.webp\",\"width\":465,\"height\":100,\"caption\":\"Nada Yoga School\"},\"image\":{\"@id\":\"https:\\\/\\\/www.nadyoga.org\\\/blog\\\/#\\\/schema\\\/logo\\\/image\\\/\"},\"sameAs\":[\"https:\\\/\\\/www.facebook.com\\\/nadyoga.org\",\"https:\\\/\\\/x.com\\\/nadayogaschool\",\"https:\\\/\\\/www.instagram.com\\\/nadayogaschool\"]},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/www.nadyoga.org\\\/blog\\\/#\\\/schema\\\/person\\\/0470b8c603bf9bbfb226d514702a430e\",\"name\":\"Nada Yoga School\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/www.nadyoga.org\\\/blog\\\/wp-content\\\/litespeed\\\/avatar\\\/3c3407f6ad435f43440b7f77ed752f47.jpg?ver=1786515448\",\"url\":\"https:\\\/\\\/www.nadyoga.org\\\/blog\\\/wp-content\\\/litespeed\\\/avatar\\\/3c3407f6ad435f43440b7f77ed752f47.jpg?ver=1786515448\",\"contentUrl\":\"https:\\\/\\\/www.nadyoga.org\\\/blog\\\/wp-content\\\/litespeed\\\/avatar\\\/3c3407f6ad435f43440b7f77ed752f47.jpg?ver=1786515448\",\"caption\":\"Nada Yoga School\"},\"sameAs\":[\"https:\\\/\\\/nadyoga.org\\\/blog\",\"https:\\\/\\\/www.instagram.com\\\/nadayogaschool\"],\"url\":\"https:\\\/\\\/www.nadyoga.org\\\/blog\\\/author\\\/nadayogaschool\\\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Mridangam: History, Sound, Rhythm & Carnatic Music","description":"Explore the Mridangam, the rhythmic heart of Carnatic music, its history, construction, and role in Indian sound traditions.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.nadyoga.org\/blog\/mridangam-carnatic-music-history-sound-rhythm\/","og_locale":"en_US","og_type":"article","og_title":"Mridangam: History, Sound, Rhythm & Carnatic Music","og_description":"Explore the Mridangam, the rhythmic heart of Carnatic music, its history, construction, and role in Indian sound traditions.","og_url":"https:\/\/www.nadyoga.org\/blog\/mridangam-carnatic-music-history-sound-rhythm\/","og_site_name":"YOGMAY","article_publisher":"https:\/\/www.facebook.com\/nadyoga.org","article_published_time":"2026-08-11T04:10:07+00:00","article_modified_time":"2026-08-11T04:10:10+00:00","og_image":[{"width":1024,"height":683,"url":"https:\/\/www.nadyoga.org\/blog\/wp-content\/uploads\/2026\/08\/ChatGPT-Image-Aug-11-2026-09_39_21-AM-1024x683.png","type":"image\/png"}],"author":"Nada Yoga School","twitter_card":"summary_large_image","twitter_creator":"@nadayogaschool","twitter_site":"@nadayogaschool","twitter_misc":{"Written by":"Nada Yoga School","Est. reading time":"11 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.nadyoga.org\/blog\/mridangam-carnatic-music-history-sound-rhythm\/#article","isPartOf":{"@id":"https:\/\/www.nadyoga.org\/blog\/mridangam-carnatic-music-history-sound-rhythm\/"},"author":{"name":"Nada Yoga School","@id":"https:\/\/www.nadyoga.org\/blog\/#\/schema\/person\/0470b8c603bf9bbfb226d514702a430e"},"headline":"Mridanga: The Rhythmic Heart of South Indian Classical Music","datePublished":"2026-08-11T04:10:07+00:00","dateModified":"2026-08-11T04:10:10+00:00","mainEntityOfPage":{"@id":"https:\/\/www.nadyoga.org\/blog\/mridangam-carnatic-music-history-sound-rhythm\/"},"wordCount":2418,"commentCount":0,"publisher":{"@id":"https:\/\/www.nadyoga.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.nadyoga.org\/blog\/mridangam-carnatic-music-history-sound-rhythm\/#primaryimage"},"thumbnailUrl":"https:\/\/www.nadyoga.org\/blog\/wp-content\/uploads\/2026\/08\/ChatGPT-Image-Aug-11-2026-09_39_21-AM.png","inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/www.nadyoga.org\/blog\/mridangam-carnatic-music-history-sound-rhythm\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/www.nadyoga.org\/blog\/mridangam-carnatic-music-history-sound-rhythm\/","url":"https:\/\/www.nadyoga.org\/blog\/mridangam-carnatic-music-history-sound-rhythm\/","name":"Mridangam: History, Sound, Rhythm & Carnatic Music","isPartOf":{"@id":"https:\/\/www.nadyoga.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.nadyoga.org\/blog\/mridangam-carnatic-music-history-sound-rhythm\/#primaryimage"},"image":{"@id":"https:\/\/www.nadyoga.org\/blog\/mridangam-carnatic-music-history-sound-rhythm\/#primaryimage"},"thumbnailUrl":"https:\/\/www.nadyoga.org\/blog\/wp-content\/uploads\/2026\/08\/ChatGPT-Image-Aug-11-2026-09_39_21-AM.png","datePublished":"2026-08-11T04:10:07+00:00","dateModified":"2026-08-11T04:10:10+00:00","description":"Explore the Mridangam, the rhythmic heart of Carnatic music, its history, construction, and role in Indian sound traditions.","breadcrumb":{"@id":"https:\/\/www.nadyoga.org\/blog\/mridangam-carnatic-music-history-sound-rhythm\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.nadyoga.org\/blog\/mridangam-carnatic-music-history-sound-rhythm\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.nadyoga.org\/blog\/mridangam-carnatic-music-history-sound-rhythm\/#primaryimage","url":"https:\/\/www.nadyoga.org\/blog\/wp-content\/uploads\/2026\/08\/ChatGPT-Image-Aug-11-2026-09_39_21-AM.png","contentUrl":"https:\/\/www.nadyoga.org\/blog\/wp-content\/uploads\/2026\/08\/ChatGPT-Image-Aug-11-2026-09_39_21-AM.png","width":1536,"height":1024,"caption":"mridangam"},{"@type":"BreadcrumbList","@id":"https:\/\/www.nadyoga.org\/blog\/mridangam-carnatic-music-history-sound-rhythm\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.nadyoga.org\/blog\/"},{"@type":"ListItem","position":2,"name":"Mridanga: The Rhythmic Heart of South Indian Classical Music"}]},{"@type":"WebSite","@id":"https:\/\/www.nadyoga.org\/blog\/#website","url":"https:\/\/www.nadyoga.org\/blog\/","name":"YOGMAY - A Blog by Nada Yoga School","description":"A blog by Nada Yoga School","publisher":{"@id":"https:\/\/www.nadyoga.org\/blog\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.nadyoga.org\/blog\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/www.nadyoga.org\/blog\/#organization","name":"Nada Yoga School","url":"https:\/\/www.nadyoga.org\/blog\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.nadyoga.org\/blog\/#\/schema\/logo\/image\/","url":"https:\/\/www.nadyoga.org\/blog\/wp-content\/uploads\/2023\/09\/nada-yoga-school-logo.png.webp","contentUrl":"https:\/\/www.nadyoga.org\/blog\/wp-content\/uploads\/2023\/09\/nada-yoga-school-logo.png.webp","width":465,"height":100,"caption":"Nada Yoga School"},"image":{"@id":"https:\/\/www.nadyoga.org\/blog\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/nadyoga.org","https:\/\/x.com\/nadayogaschool","https:\/\/www.instagram.com\/nadayogaschool"]},{"@type":"Person","@id":"https:\/\/www.nadyoga.org\/blog\/#\/schema\/person\/0470b8c603bf9bbfb226d514702a430e","name":"Nada Yoga School","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.nadyoga.org\/blog\/wp-content\/litespeed\/avatar\/3c3407f6ad435f43440b7f77ed752f47.jpg?ver=1786515448","url":"https:\/\/www.nadyoga.org\/blog\/wp-content\/litespeed\/avatar\/3c3407f6ad435f43440b7f77ed752f47.jpg?ver=1786515448","contentUrl":"https:\/\/www.nadyoga.org\/blog\/wp-content\/litespeed\/avatar\/3c3407f6ad435f43440b7f77ed752f47.jpg?ver=1786515448","caption":"Nada Yoga School"},"sameAs":["https:\/\/nadyoga.org\/blog","https:\/\/www.instagram.com\/nadayogaschool"],"url":"https:\/\/www.nadyoga.org\/blog\/author\/nadayogaschool\/"}]}},"jetpack-related-posts":[],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/www.nadyoga.org\/blog\/wp-content\/uploads\/2026\/08\/ChatGPT-Image-Aug-11-2026-09_39_21-AM.png","_links":{"self":[{"href":"https:\/\/www.nadyoga.org\/blog\/wp-json\/wp\/v2\/posts\/1184","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.nadyoga.org\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.nadyoga.org\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.nadyoga.org\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.nadyoga.org\/blog\/wp-json\/wp\/v2\/comments?post=1184"}],"version-history":[{"count":1,"href":"https:\/\/www.nadyoga.org\/blog\/wp-json\/wp\/v2\/posts\/1184\/revisions"}],"predecessor-version":[{"id":1186,"href":"https:\/\/www.nadyoga.org\/blog\/wp-json\/wp\/v2\/posts\/1184\/revisions\/1186"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.nadyoga.org\/blog\/wp-json\/wp\/v2\/media\/1185"}],"wp:attachment":[{"href":"https:\/\/www.nadyoga.org\/blog\/wp-json\/wp\/v2\/media?parent=1184"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.nadyoga.org\/blog\/wp-json\/wp\/v2\/categories?post=1184"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.nadyoga.org\/blog\/wp-json\/wp\/v2\/tags?post=1184"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}