This relationship is life long and deep. Generally, hand gestures convey some meaning, purport or significance; but such gestures are also executed with Adavus only for embellishment, aesthetic beauty and ornamentation. “Gu” means dark and “Ru” means light. Create a free website or blog at WordPress.com. We had the liberty to choose our costumes.Before and after each lesson the jamakaalam ( carpet on which the guru would sit to teach) had to be laid and the thattu kazhi( the wooden plank and stick used to aid in keeping the steps in tempo ) and attendance register should be kept on it. Guru-shishya parampara( the tradition of students serving the guru and in return receiving a wealth of knowledge ) used to be one of a kind back in the days where the students or disciples served their gurus in all aspects, from cooking food, getting their daily pooja ( holy ritual ) essentials ready, laying the leaflets of vedas  and upanishads (sacred scripts) before their Guru at the beginning of each class, and even carrying pots of water from the nearby pond for their teacher to use for daily needs. Our religious and historical tomes abound with stories and themes of guru bhakti. This involved the tradition of a living and learning relationship between the Guru and the Student (Shishya), signifying the emotional, intellectual, and spiritual bonding between them. The formal training commences with the teaching of ‘, Once the disciple’s body is prepared for further lessons, the proper training of Bharatanatyam begins. The Guru starts the first footwork – ‘Tatta Adavu’, in which the body assumes Araimandi posture and sole of the two feet struck the paddy alternately. Change ), After demolition of the ancient institutions like. The parents take the child to Guru and offer him coconut, betel leaves, betel nuts, fruits, sweets and flower garland. It is known as ‘Gharanas’ in north and ‘Sampradayas’ in south India. ‘Silappadikkaram’ has an elaborate chapter ‘Arangetru Kattai’ on Bharatanatyam dance training, its essential elements, its various aspects, qualities of a Guru and Shishya, qualities of a dancer, auditorium, stage setting etc., where dancers are referred as ‘Koothiars’, dance Gurus as ‘Koothiliyars’, ‘Nattuvanars’ and ‘Melakkars’, Musicians as ‘Panars’ and music composers as ‘Orunars’. Guru-Shishya Parampara. I must admit that, as certain as I was about learning new and exciting things at the workshop, I did have concerns about the relevance of this Odissi training to my Bharatanatyam. I often encourage my  students to ask questions and to stop me and give them time to express what they feel as it is very fascinating to delve deep into the mind of a child and look at the world in a different perspective. 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. My relationship with my gurus (teachers) as both an academic and dance student is worth remembering when I look for loopholes to deal with queries of the little minds that come to me to learn. But those who want to really excel in our stream of music would never get the amount of guidance and training from the virtual sources as they can receive in the guru-shisya parampara. Once the disciple has completed and practiced the syllabus ‘Margam’ of Bharatanatyam, he or she is ready for the maiden performance ‘Arangetram‘. V.N. Beginning in the early oral traditions of the Upanishads (c. 2000 BC), the guru-shishya relationship has evolved into a fundamental component of Hinduism. Shishya — Student of a guru. A big thanks to the little minds that put so many memories to light. It can be an enriching life experience. Exploring the Changing Guru-Shishya Parampara in Bharatanatyam. Each of these things were of no significance back then and it was simply a daily ritual that we enjoyed doing. Each parampara belongs to a specific sampradaya, and … KALADHWANI intends to create a Gurukul of … Kittappa Pillai and Mysore Venkatalakshamma. Guru-Shishya PARAMPARA Arathi School of Dance's form of Bharatanatyam is strongly rooted. The Namskar is performed by the disciple while standing in Samapada (both the feet join together) hands in Shikhara Hasta, thumb facing upwards placed in front of the chest, stamps both the feet alternately – right and left, sits down on toes in ‘Muzhumandi’ posture, touches the floor (obeisance to mother earth) and Guru’s feet, moves hands upwards in a circular motion, joins both the hands in Anjali Hasta above the head and bring them down in front of the chest. The great musician, scholar, music educationist, writer and revivalist of Indian music, Pt. Change ), You are commenting using your Facebook account. Dance traditions and the guru-shishya parampara will take centre stage this evening in a special performance The guru-shishya relationship has been the sacred cornerstone of our religious and educational traditions in general and music as well as dance education in particular. The training of regular syllabus of Bharatanatyam starts with Alarippu, moves to Jathiswaram, Shabdam, Varnam, Keertanam, Padam, Javali and concludes with Tillana. Gradually the hand gestures, ‘Nritta Hastas’ are introduced to combine with footwork. Where THIS is the emotion one held for the person who gave their wisdom to another, while honing what already existed. Guru Shishya Parampara in Bharatanatyam Music and dance were something divine and therefore highly individualistic while it had to be taught in a rigorous manner to an enlightened disciple, the style of a Guru in many cases, did work as an inhibiting factor in ultimately developing the disciple’s own genius. Guru-Shishya parampara was not so much of what it used to be with our ancestors but it has certainly taken various forms now in the changing world. The repertoire of Bharatanatyam is designed in such a manner that it gradually enables a disciple to adapt the intricacies of the dance. Guru Shishya Parampara is a very rich tradition of training of Bharatanatyam, still prevalent in practice. ( Log Out /  Now the formal training of the first lesson by the Guru starts with teaching of basic stance of Bharatanatyam – ‘Araimandi’, the feet are placed on paddy, the body is straight, legs are bent at the knees and stretched towards sides, heels are joined together with toes facing sides and hands are placed on the waist. During this period, he or she not only learns the grammar of dance from the Guru, also inherits his qualities, habits and character; and becomes emotionally closed to each other. Education. She had her training under illustrious Gurus, U.S. Krishna Rao and Chandrabhaga Devi, Pandanallur Muthiah Pillai, Tanjore K.P. Guru Purnima honours Ved Vyasa, known as … In the various fields of fine arts, many ‘Sampradayas’ exist. Guru Shishya Parampara in Bharatanatyam Music and dance were something divine and therefore highly individualistic while it had to be taught in a rigorous manner to an enlightened disciple, the style of a Guru in many cases, did work as an inhibiting factor in … The term Upanishad derives from the Sanskrit words upa (near), ni (down) and şad (to sit) — so it means "sitting down near" a spiritual teacher to receive instruction. The ancient art of Bharatanatyam has been handed down from generation to generation under the Guru Shishya Parampara. It is like an ocean and no one individual can master every technique without the able guidance of Guru, which highly makes ‘, This tradition was prevalent in northern as well as southern, . “The way the guru-shishya system is designed, it has an unequal power structure. A dancer should have good health and personality and if the training is started too early, her or his growth may be inhibited that would effect his or her physical appearance. Music and dance were something divine and therefore highly individualistic while it had to be taught in a rigorous manner to an enlightened disciple, the style of a Guru in many cases, did work as an inhibiting factor in ultimately developing the disciple’s own genius. There was certainly a sort of awkward distance yet a profound sense of respect, a lot of love yet an underlying fear,  that played tug of war when it came to my learning experience under my teachers. , Gharanas were the only source of training in music and dance. Dr. Padmaja acquired intense training from a tender age under the able tutelage of renowned Gurus like Guru K Kalyanasundaram, Guru Kalamandalam Rajalakshmi, Guru Kalanidhi Narayanan, Guru Mahalingam Pillai, Guru Maya Rao, and Guru Kadirvelu in various aspects of dance. It thrived and flourished for centuries. Guru-shishya parampara (tradition) has been the strong backbone of all our Indian education disciplines; especially in Indian classical art forms- music, dance, fine art, etc. Indian Classical Dance, Dance, Bharatanatyam, Mridangam, Flute, Manjira, Kanjira, Violin, Guru Shishya Parampara: Description: The video recording contains Bharatanatyam recital by Ms. Yamini Krishnamurty. Krishna Kavita June 18, 2020. V.N. Artist : Ms. Yamini Krishnamurthy and disciples: Type: Video Home System ( … Guru-Shishya Parampara Guru Shishya parampara is the ancient Indian system of mentor/teacher and disciple/student lineage in India. At a tender age of seven years, on a very auspicious day a disciple is initiated into the training of Bharatanatyam. Guru means teacher, shishya means student and parampara means tradition. Paluskar started a revolution in the field of music education by opening music institutions. I often encourage my students to ask questions and to stop me and give them … In Indian culture, the guru shishya parampara (aka teacher student tradition) used to be strong. KALADHWANI’s aim is to translate the experience of GURU-SHISHYA Parampara in the 21st century.Evolution is inevitable and thus arts also have to evolve itself. The guru–shishya tradition, or parampara ("lineage"), denotes a succession of teachers and disciples in traditional Vedic culture and religions such as Hinduism, Jainism, Sikhism and Buddhism (Tibetan and Zen tradition). After proper training and practice of basics, the disciple’s body and mind becomes mature enough to learn the regular repertoire of Bharatanatyam. The Guru-shishya parampara was vibrant and an integral part of the Indian society. The guru-shishya parampara is often spoken about in various contexts of learning in India. Simultaneously, the disciple is trained in basic dance exercises also to prepare his or her body appropriate for the rigorous movement and foot works to be taught afterwards. Guru-Shishya parampara (the tradition) August 4, 2016 August 4, 2016 sarvamnritham Leave a comment. ( Log Out /  At a tender age of seven years, on a very auspicious day a disciple is initiated into the training of Bharatanatyam. Gradually the hand gestures, ‘, Once the disciple has completed and practiced the syllabus ‘, A tradition, still practiced in Bharatanatyam, is the Guru conducts the orchestra ‘, Teaching Systems in Music & Dance – 1. Tag: Bharatanatyam. Create a free website or blog at WordPress.com. Institutional System. Change ), You are commenting using your Google account. A dancer should have good health and personality and if the training is started too early, her or his growth may be inhibited that would effect his or her physical appearance. Guru-shishya (teacher-disciple) relationship has also been believed as one of the most sacred relationships of our lives. Sattanar’s ‘Koothanool’, Ilangovan Adigal’s ‘Silappadikkaram’ and Tirutakatevar’s ‘Jeevakachintamani’ have revealed a lot of material on dance and its training system. After a certain age they'd be brought back to their parents' home. According to Carnatic classical vocalist TM Krishna, there are some beautiful aspects of the guru-shishya parampara, although he cautions against “eulogising” it. Training in such art forms never ends; it is like churning the ocean. Every year there would be programmes for Vijayadasmi, Janmashtami, Deepavali, Vinayaga Chaturthi and Ayyappan Mandala Pooja. Now my children bring their mommy’s home made cup cakes for my 4 year old! Bharatanatyam dancer Rukmini Vijayakumar explains India’s ancient system of passing knowledge from guru to shishya, and shares why this tradition must be maintained even now. A disciple constantly stays with the Guru for a minimum period of five years to be trained in Bharatanatyam, from childhood to become a teenager. Bhatkhande said that the sound of music must come from every house of India, because we are member of a natural music lover society and have inherited it from our tradition. It may be single hand – Asamyuta Hasta or double hand – Samyuta Hasta gesture. In the process, a unique relationship, attachment and understanding develops between the Guru and Shishya that lasts for many more years in future, sometimes until the end of life. Change ), You are commenting using your Twitter account. ( Log Out /  The Indian Express is now on Telegram. A tradition, still practiced in Bharatanatyam, is the Guru conducts the orchestra ‘Nattuvangam’ in the disciple’s performances. According to Carnatic classical vocalist TM Krishna, there are some beautiful aspects of the guru-shishya parampara, although he cautions against “eulogising” it. The ancient art of Bharatanatyam has been handed down from generation to generation under the Guru Shishya Parampara. ( Log Out /  It can be an enriching life experience. The initiation is a proper ceremony. This video is unavailable. When there was a need to pass on any spiritual, powerful or profound knowledge – it was done in a safe, trusting and intimate manner between the Guru (the master teacher) and shishya (disciple). The centre today ranks as a premier institute where training in the Indian classical dance - Bharatanatyam - is imparted in the true tenets of the “Guru - Shishya Parampara”. The dance is performed under the Guru Shishya Parampara. Watch Queue Queue. In contrast to the Gharanas, their aims were to provide opportunity for training the people having musical aptitude and interest to produce talented artistes, intelligent teachers, wise audience to appreciate good music and musician; and to teach theoretical aspects along with the practical training, which was excluded wholly, or partially by the Gharanas. See more of Guru-Shishya Parampara on Facebook But in the guru-shishya parampara of Indian “classical” music and dance, rarely can a shishya stand up against her or his guru and hope to survive another day. Placing the guru on a pedestal culturally, I … PDF | BharataNatyam (BN) is an ancient Indian Classical Dance. I, instantly without thinking too much ( for it is not a wise move to put a finger to your chin and think when you are asked a question by a student) answered,” Well, I used to find it difficult to do what she said but I wanted to be the best so I tried with all my might to sit in aramandi”! Bhatkhande and Pt. It is like an ocean and no one individual can master every technique without the able guidance of Guru, which highly makes ‘Guru Shishya Parampara’ as an important system still prevalent in classical music and dance. V.D. Aatmalaya academy believes that teaching is the art of self-discovery. The main elements of music education are – teachers to impart knowledge, talented students to adopt the knowledge, syllabus to be taught to the students, methods of music teaching and examination system for the assessment of the students’ progress. As the local saying goes, while gaining admission into the school may be relatively easy, it is quite difficult to stay and advance in class and intensity. Questions were not too many as a lot of it was self explanatory owing to common helpful resources like music class or period-serials like Mahabharatha. In western countries, these terms are prevalent as ‘Schools’. Guru-shishya tradition incarnates in a new form in every age. Guru-Shishya Parampara. It is known as ‘. It gave us a glimpse of the special Guru-Shishya bond, which when fully forged, is more than just a tutelage system. The Kalakshetra Foundation for Dance and Music in Chennai, India, prides itself on its rigor and disciplined dancing. In fact one of my little ones asked me “what did you do when your teacher asked you to sit in aramandi all the time you danced”? My relationship with my gurus (teachers) as both an academic and dance student is worth remembering when I look for loopholes to deal with queries of the little minds that come to me to learn. She takes the lead as she performs with her disciples. Creativity and innovation are the soul of any art including BN dance. The Guru-Shishya parampara has been an inevitable part of education in ancient Indian culture. It is based on the unwavering faith in the teacher and determination on the behalf of the disciple to make the mentor’s path his own. Normally, it takes five to six years to complete and get perfect in the syllabus of Bharatanatyam. This article first appeared in the print edition on September 19, 2020 under the title ‘Lift the veil on the parampara’. In the various fields of fine arts, many ‘Sampradayas’ exist. Pt. Because, once the Guru has categorically stated that He was not a Guru in that mould – one who initiated shishyas formally, had a doctrine to teach, and appointed one or several successors to carry on the ‘parampara’ (Guru-tradition established by Him), no shishya may “teach” the teachings. In the Upanishads, gur… This tradition was prevalent in northern as well as southern India also. A Bharatanatyam hosszú kitartó és intenzív tanulást kíván, míg a táncos eljut az alapoktól a kifinomult mozdulatokig és elsajátítja az első teljes repertoárt. Naming and shaming your Guru who has made advances at you would lead to your own people shaming you back, let alone not believing a word of what you are saying. The initiation is a proper ceremony. Guru becomes his or her ideal. The parents take the child to Guru and offer him coconut, betel leaves, betel nuts, fruits, sweets and flower garland. It began opening doors to the memories of my relationship with my gurus and how I enjoyed the credits given to me and how I felt extremely shy before my teacher to enact the shy Shakuntala who was being courted by her lover Dushyanth and how ashamed I was to not remember my part of the Dasavathara as Hiranyakashipu. I would drop my teacher off at her home on my scooty after class. It is a respect to the Guru for accepting him or her as a disciple. (For more details, please refer to Guru Shishya Parampara). Once the disciple’s body is prepared for further lessons, the proper training of Bharatanatyam begins. 7 likes. It is known as ‘Banis’ or ‘Mats’ also. Guru Shishya Parampara, Teaching System in Music & Dance – 3. Although it brings a smile to our faces thinking of the fact that she was stressed with this so called “aramandi”, it is a very  refreshing experience to go back and actually think what we really thought about and did when our teachers instructed us. Thus, gradually and unknowingly Guru’s image develops in him or her. The guru beats with Talakkol on Tattamain and recites the respective syllable of the ‘Adavu’ ‘Taiya Tei’. Please log in using one of these methods to post your comment: You are commenting using your WordPress.com account. To do so violates the Guru’s implied wishes in this regard. We were not the Guru-shishya (teacher-student) who socialised with great pioneers of dance at dance recitals or workshops, but we were more involved in practicing dance within the walls of our school whether rain or shine. “The Guru-Shishya Parampara is a much-exploited zone in the Hindustani Classical Music and Dance scene because of the reverence with which a Guru is traditionally treated. The aims of music education are – entertainment of the society, intellectual feeling, education of our culture through music, tranquility, purification of the mind and soul, development of personality and emphasis on inter-disciplinary studies. KALADHWANI is a premier institute of performing arts founded by Bharatanatyam danseuse and Hindustani Vocalist RADHIKA KATHAL. When these gestures are used in such a manner, they are called Nritta Hastas. Guru’s personality develops in the disciple and reflects the sign of Guru, which distinguishes him or her from the disciples of other Gurus. With all the virtual helps the current generation gets in the form of Youtube and Facebook, the guru-shishya parampara is sometimes considered less important. And then Guru Dakshina (payment in different forms) given were the Guru earned what was rightfully theirs for all their hard work. The relationship between Krishna and Arjuna in the Bhagavad Gita portion of the Mahabharata, and between Rama and Hanuman in the Ramayana are examples. Therein lies the story. The formal training commences with the teaching of ‘Guru Namaskar’ (paying obeisance to the Guru). Punctuality was a word that was worth keeping in mind during my student days be it for rehearsals or make up sessions before a performance. After demolition of the ancient institutions like Nalanda and Takshashila, in India, Gharanas were the only source of training in music and dance. Therefore, a disciple remains attached and associated with the Guru for further training and help. Our vision gets inspiration from the arts itself! To conduct the classes, Guru uses ‘Tattakazhi’ consists of – Talakkol, a wooden stick and Tattamain, a rectangular wooden piece. The great musician, scholar, music educationist, writer and revivalist of Indian music, Music and dance were something divine and therefore highly individualistic while it had to be taught in a rigorous manner to an enlightened disciple, the style of a Guru in many cases, did work as an inhibiting factor in ultimately developing the disciple’s own genius. So back in the olden days, to learn things ranging from math and science, to dance and singing, little children would be sent to the house of their guru, and they would actually live with them for many years, growing up and being schooled by their Guru. Training of Adavus combines with the training in movements of feet, head, neck, eyes and hand gestures along with other major and minor parts of the body also, to display various emotions, feelings and specific effects. Revathi Satyu is a pioneer in bringing g the art of Bharata Natyam to Dallas, TX. Arangetram is a ceremony similar to an examination when the disciple, after the completion of training, presents complete Margam of Bharatanatyam as the first public performance at the ‘Natyamandapa’ of a temple in front of the dignitaries, like – Gurus of dance and music, critics, Scholars and connoisseurs of fine arts.. On completion of the training, the disciple offers ‘Dakshina’ to the Guru as a token of thanks. The writer is a musician. Parampara — An uninterrupted succession. Indians of all ages and hues are making use of this lockdown period by going all out for non-formal education, I don’t see a similar trend elsewhere in the world on this scale. Watch Queue Queue Comment: You are commenting using your Facebook account as one of these things were of no significance then. Natyam to Dallas, TX of our lives a new form in every age attached and associated with teaching. Coconut, betel nuts, fruits, sweets and flower garland these gestures are used in art... 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