Adana, as a name, does not suggest tracing back to a region, or an individual etc. However in Hindi the verb ‘Adana’ means to create obstructions /obstacles! If the term is taken to allude to the difficult of the raga, then may be some etymological propriety! The raga has an extensive framework but it flowers into its own only in the upper half of the middle octave and the higher octave. Secondly, its internal tempo is from fast to faster! It may be that these features do create difficulties in presenting or exploring it at length. In fact, the inherent tempo is so important in Adana that if one tries to elaborate it in slow tempo, the raga loses its very identity! It certainly demands quick warming up from artists, whether the rendering is vocal or instrumental. Adana has Dhrupad, Dhamar, and chota khayal and tarana compositions in abundance and it is safe to conclude that it is an ‘old’ raga. As is to be expected from such a raga, it is bright and aggressive in mood. Very often, it has been pressed into service in theatre-music to announce a hero’s resolve, his firm oath or a fierce declaration to annihilate the opponent etc. and it has proved an effective musical choice! The raga is rendered at late night hours and it does not enjoy specific seasonal associations.