The Guru-Shishya Parampara and Kathak

A review of pedagogic changes in Kathak

गुरु बिन कौन बतावे बाट, बड़ा विकट यम घाट…

---Sant Kabir

The relation of Guru-Shishya in Indian Pedagogy goes beyond the teacher-student equation. This holds true right from the ancient gurukul system to current virtual classrooms and is truer in the sphere of fine arts. India has a centuries-long tradition of classical dance forms. The journey and development of Indian classical dance forms are different from the western art-forms is majorly owing to the Guru-shishya-parampara.

In fact, the Guru-shishya tradition has had a mixed influence on today’s form of Kathak.

The dance tradition and teaching has always flourished outside the classroom which has given it the freedom to evolve and bloom and is yet equally guarded by the framework of Guru-shishya relation. This has allowed it freedom of creative expression in a manner that disciples and performers can emote and communicate traditional themes as well as translate contemporary issues into the vocabulary that they have been trained in. This is because the tradition has seen a number of transformations from Vedic period till today and every period turns a new page of this relation with a strong foothold in the foundations laid in the past.

The ancient period had a limited source of knowledge and exposure and hence the disciples were totally dependent on the Guru for everything. This is not to say that there was a lack in knowledge, but the means to spread and communicate knowledge were limited. The oldest form of Guru-shishya tradition, seen right from Upanishadas is the Gurukul system. After the Upanayana or the thread ceremony, the disciples lived with the Guru for some years learning various subjects and skills. Alongside education, the students also helped with daily chores in the Ashrama. Although Guru did not charge a stipulated fee, the shishya was expected to offer the appropriate Guru-dakshina.

The further developed format of the independent Gurukuls were the ancient universities like Takshashila, Nalanda where they retained the Guru-shishya tradition but also had independent departments and acharyas for other subjects. Their facilities expanded to accommodate libraries, theatres, assembly halls, etc.

The ancient Guru-shishya tradition in Indian classical dance is found in different formal and informal structures. Many disciples were training under the acharyas of the Natyashastra tradition. Dance was also taught at the universities. Apart from this, many dancers in the patronage of temples were also training many students for their troop. Many a time, dancers at the royal courts would also train the daughters of the royal families.

In the later period, many courts in North India granted special auspice to Kathak. There were some prudent rulers like Maharaja Mansingh, Raja Chhatrasal, but also Kathak was fortunate to have the patronage of Kings who were artists themselves. Raja Chakradhar Singh and Nawab Wajid Ali Shah sheltered the Kathak dancers and gurus. They invited many gurus to their Natyashaala in order to train the dancers in their performing troop. Maharaja Chakradhar arranged the authentic Kathak training by Jaylal Maharaj for the underprivileged dancers of Raigarh and led to many great dancers of Raigarh gharana.

The various acharyas appointed at various royal courts, strived hard to flourish the dance form and independent style. Their efforts gave way to the formation of different gharana’s of Kathak. Lucknow, Jaipur, Banaras, Raigarh are such gharanas that thrived in their respective royal patronage. These gharanas and with their independent style and teaching tradition is the evident form of Guru-shishya tradition.

The gurukul tradition enabled the disciple to learn the nuances of the dance style as well as to get an insight into the life of a Dancer. Practically witnessing the lifestyle, the daily routine, riyaz of one’s role model was extremely motivating for the aspirants. Along with the dance training, the disciples were also taught allied subjects like singing, percussion, or other instruments, literature, etc.

The post-independence period saw the revival and institutionalization of all the classical dance forms and Kathak was no exception. Classical dance was added as a subject in the schools. Many renowned universities started offering under-graduate and post-graduate degrees in Kathak. 

Padita Kumudini Lakhiya:
Picture courtesy: Kadamb Facebook page

Renowned senior artists were appointed by the cultural ministry to harness these departments of Kathak. Kathak Kendra in New Delhi, Indira Sangeet Kala Vishwavidyalaya, Lalit Kala Kendra are a few names to enlist here. Nevertheless, these departments always had an influence of the particular Guru and gharana.

Apart from this, many renowned institutions like Akhil Bharatiya Gandharva Mahavidyalaya commenced their courses and have been received well. By the period of the seventies and eighties, with the tireless efforts of stalwarts like Pandita Rohini Bhate, Guru Kumudini Lakhiya, Kathak was propagated to the common households.

This phase saw the stigma around classical dance vanishing and many students from the middle-class background taking up Kathak as a dignified art form. This was the beginning of a new era in Kathak.

Researchers in Classical Dance pedagogy call it an Adapted Gurukul system’ which is the amalgamation of both Gurukul and Institutional training. (See: Stacey Prickett: Pedagogic Shifts in South Asian Dance Training in India and Britain). 

In this system, the Guru is affiliated with an institution and trains their students for the various coursed of the institution. However, the course and the syllabus are only a framework whereas the dance training is imparted traditionally, in accordance with the capacity and devotion of the student. Hence, the practical training surpasses the prescribed syllabus. The tradition of Kathak in this phase retained the foundation of Guru-shishya system, even while transforming into institutional forms. This system is prevalent in metros like Mumbai, Pune, Ahmedabad, Kolkata, and many current maestros that have flourished in this period, and in this adaptive gurukul system.

This adaptive gurukul system has further transformed into  Academies and Kathak-classes.

Kathak is witnessing never-before popularity in the recent past. It is studied and performed with equal dedication and is also looked upon differently. Kathak is no more a mere classical dance style but is regarded as a life-skill in the development of a student.

Dedicated and honest dancer-teachers strived to take Kathak to its roots in urban and semi-urban areas with an increasing number of students enrolling to learn Kathak. This is yet another turn in the Guru-shishya tradition. While the number of individuals interested in learning Kathak is increasing, there arises a challenge to retain the quality and authenticity of the classical dance form. Another challenge is the fact that students are turning towards Kathak for various different reasons and not necessarily as a career. For some, it is a hobby or an added life-skill, or sometimes, some may join Kathak training to aid the training of other dance style or art form. And similarly, even professional Kathak dancers take up other forms of arts such as painting, literature study to aid their practice and expand their perspectives. This has paved the way for a holistic understanding of theory, practice, and new ideas in the overall perception of the arts; when one artist attempts to understand a new form of art.

One more switch in the attitude towards dance is that classical dance has evolved from a spectacle or a mode of entertainment and education to people wishing to learn and experience the joys of art. The number of rasika’s of classical dance is equated by and sometimes exceeded by the people who want to learn this in order to enjoy this. Classical dance is more participational than presentational.

In this current scenario, the academies or classes provide institutional disciplined training at the primary level. However, along with the common training, the selected talented students are separately motivated to take up dance more seriously and professionally. When the students cross this hobby-level to enter the advance level, the academy functions like a Gurukul and the Guru tries to implement the major aspects of Guru-shishya tradition including rigorous daily Riyaz, personal training, devotion on part of the student, allied training like tabla, vocal etc.

Thus, the new form of an adaptive Gurukul follows the format of institutionalized learnings for the formative years. This involves following a prescribed syllabus that creates a sound foundation and understanding of dance in the first few years. This is followed by a traditional guru-shishya system of training at the advanced training levels.

The above discussed are the ideal pedagogy models which are subject to human flaws and limitations.

Guruvarya Dr. Manjiri Deo

Reviewing the journey of Guru-shishya tradition, we can put forth the merits and demerits of Gurukul system, the institutional system and adaptive gurukul system in the following manner:

Gurukul	Institutional	Adaptive Gurukul
The disciple is mentored as per his capacity and inclination. He can pursue as per his or her own speed.	Every student needs to complete the prescribed syllabus in the given time which may give way to mediocrity. Additionally, the syllabus is designed keeping in mind the average capacity student. The exceptional students may not benefit from this syllabus.	Even if the syllabus is common for everyone, the training of the same is customized as per the capacity and speed of the student.
Since the training solely depends on the Guru hence the personal weaknesses and interests may hamper the training.	The students are by rule trained for the prescribed syllabus. Even the Gurus may not be the same throughout the training.	This system has also a major role of Guru hence is culpable to be hampered by the personal interests of Guru.
The personal relation of Guru and Shishya. Focus is on upbringing the disciple as a good dancer.	Focus is on the completion of syllabus	Focus on the syllabus exists in this format too. The group training has limitations of individual growth.
If the Guru himself is a successful performing artist, the disciples are trained performance-oriented. However, celebrity gurus can rarely prioritize and devote time for teaching.	Emphasis on the syllabus is more than the performance aspect. Many such aspects are given importance that are never used in actual performance.	The examination format may not allow to work on the performance aspects. However, today many gurus are trying to give separate training to those students who want to be performing artists in future, or after they finish their degree, they are motivated to work on performance skills.
Not much emphasis given on theoretical learning.	The theory is systematically included in the syllabus.	Emphasis on theoretical learning is subjective to the Guru’s approach. However, the examination format requires studying theory.
Infrastructure facilities are usually not available.	Number of infrastructure facilities are available like library, auditorium, instruments, recording facility etc.	Infrastructure facilities are not available.
Restrictions on learning other styles or under any other Gurus even in a workshop format.	No such restrictions.	Restrictions depend on the Guru.
Disciple can’t work independently without Guru’s permission. Many senior artists of the earlier generation started their independent work quite late due to this reason.	The student is independent to work in the field after completion of the course.	The disciples do need permission to work independently, however, they have the course completion.
Guru helps and guides regarding the professional performance opportunities.	Students don’t get professional experience.	Exposure of participating in performances with the Guru. Also, remarkable teaching experiencing while assisting at the academy.

The current lock-down period due to Corona pandemic has turned a new chapter in the Guru-shishya tradition. Online Video Conferencing has facilitated the personal training or limited batch training which was previously not possible in ana academy due to limited time slots. At the same time, short workshops and crash-courses are mushrooming. This makes classical dance equivalent to a ‘ready-to-eat item’ that is ordered off a menu as per one’s convenience. It takes away the essence of dedication and Riyaz that one needs to commit to before undertaking such an art-form. Social media is filled with ‘material’ that we always searched for. It has endowed us with a great quantity of easily available content that one can borrow but it does not help in generating any quality within the dancers most of the time, if one may say so. Only time will decide the future of classical dance teaching.

 

Guru-shishya Tradition is the soul of classical dance pedagogy and it will be absurd to state that the tradition that existed before, has vanished now. Guru-shishya tradition incarnates in a new form in every age. As long as the Guru imbibes a strong desire to guide their disciples to heights beyond their own reach, and wherever the disciples have the readiness to submit themselves, the Guru-shishya parampara remains alive. The devoted disciples, in turn, become devoted Gurus and carry forward this tradition in any format or any model of learning, may it be the Gurukul, or a university or an online platform.

 

Every model discussed before has its own set of benefits and flaws. The student should hence adopt more than one model instead of sticking to a single format. The disciples receiving training under the traditional system also should consider the additional university course. At the same time, the renowned institutions like Akhil Bhartiya Gandharva Mahavidyalaya Mandala should incorporate an internship or training under a senior Guru in the traditional method, as part of their post-graduation course. In the third adaptive Gurukul system, the Guru should always strive to balance the benefits of both the Gurukul and institutional system.

 

Even if the need to retain Guru-shishya tradition is indisputable, one must however fine-tune some fundamental presumptions in this relation in order to adapt them to modern times. The unquestionable submission towards Guru should not mean that asking questions and doubts is a sin. Instead of blindly worshipping our style demeaning others, the guru must guide the disciple to develop an insightful faith in the tradition with complete awareness of its strong points and flaws in comparison with other Indian classical styles as well as other global dance styles. As the renowned art historian Kersenboom quotes:  

“Tradition cannot be defined conclusively in terms of ‘the same’ or ‘change’; tradition is different from stasis and different from change; it changes and does not change at the same time.”