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The traditional form of transmission, the gurukulam, was the setting for the guru- shishya relationship. The relationship to the guru is frequently described as one of service; the dancer's goal was to be dedicated to a temple or to a royal court. physical relationship with the divine, her body 46 RASA IN practice: drama. unbroken marriage troubled spiky maintain lay smash into goal your intensity back. Skit on guru shishya relationship, White county illinois marriage records. The guru-shishya tradition,lineage, or parampara, denotes a succession of teachers and disciples in traditional Indian culture and religions Common characteristics of the guru-shishya relationship . history skit group - hinduism and buddhism Goal. Uploaded by. nieotyagi. Executive Functions. Uploaded by. nieotyagi.
The guru-shishya relationship is based on trust, with the guru having more influence than a parent. Unfortunately, many teachers call themselves gurus without fulfilling the responsibilities of this role, thereby doing irreparable disservice to sincere students. In the ideal of learning dance or other performing arts within an institutional framework, the student can presumably rely on the consistency of teachers who will offer regular instruction at fixed timings in a professional manner, i.
In this institutional ideal, pedagogy is taken seriously and the fundamentals of the art have been structured into a curriculum so that there are no gaps or imbalances in the basics of learning technique, philosophy, language and history in so far as these will enable the student to become a better artist.
A master teacher can share his or her art with many more students and thereby increase the odds that it lives on. Students learning in an institution of arts need not be restrained by the bonds of the guru-shishya tradition. Rather, they have the right and personal responsibility to seek the best training available and move on to other teachers if they are ready for a more advanced level of instruction or simply wish to explore other dimensions of the art form. The above advantages of learning within an institution of training in the traditional performing arts of Indiawhether we call it academy, kendra or vidyalaya, does not frankly sound much like the actual practice in the majority of institutions that come to mind.
In fact, most of the risks of a dysfunctional guru-shishya system seem to be perpetuated in many art institutions without enough of "pluses". When a teacher in an institution indulges in irregular and inconsistent teaching as though the student had 24 hours a day and many years with him to eventually learn; when a teacher exerts paternalistic control over the students' loyalty without in return helping and guiding them in their career path in the arts; when the teacher jealously withholds the kind of training that would develop the student into a performing artist in favour of family members or exploits students financially or otherwise, then we have the combination of the negative possibilities of both methods of learning.
This model is perhaps what gives supporters of traditional arts a fear for the future of performing arts taught in institutions. Certainly no method of training can guarantee production of a great artist, yet a plethora of artists of the highest calibre and individuality have been trained in Western classical dance and music with combinations of group instructions by dedicated teachers in institutions and schools in conjunction with master classes by visiting artists, private instructions by master teachers in the level and aspect of art appropriate for the young artist, and education in related arts and subjects to evolve a well rounded individual, finally trained in form with personal depth in content.
There is little question that the Indian classical dancer or musician must have direct instruction as part of his or her training to develop and improvise and create within the tradition, but this is not antithetical to combining this personal training with the advantages of many minds and technologies available within an institutional framework.
Even a cassette player makes it possible to hear the nuances of music of the guru repeatedly even with the teacher far away, invaluable to dancers and musicians for rehearsal, review and even learning some aspects that might have been missed and forgotten in the original training time. Technological tools do not replace teachers, but are a rich source of additional input in the process.
A student should have an enhanced learning experience if technique and theory, music, literature, history, related visual arts, language are available as adjunct courses. This is a possibility in a model institution for the arts, as the knowledge and experience of a faculty would logically add up to more than any individual teacher, no matter how great.
There are models for both institutional and guru-shishya parampara combining to create new models for learning the traditional arts of India.
Guru Purnima Celebrated in MPVM
These models are not necessarily definitive examples, but simply point out the directions of alternatives. Starting from a point closest to the guru-shishya end of the continuum, consider the example of Odissi dance since Indian independence.
Odissi became both recognized and respectable for girls of any strata of society to learn, yet many traditional teachers gave years of one-to-one training to a handful of talented disciples only to see them give up their careers before they'd even started, because of marriage.
Guru Kelucharan Mahapatra had the confidence and perhaps the foresight to take the risk of sharing his teaching over a huge number of students who were free to use or misuse his teaching without the usual situational control of the guru over his students. Yet out of the hundreds of disciples who came and went, he was satisfied that he produced perhaps fifty or more quite competent performing artists, and of these five to ten that he felt happy to have represent his art anywhere in the world.
Maharshi Patanjali Vidya Mandir - Guru Purnima Celebrated in MPVM
It was a very modern concept to put the onus on the student to practice and maintain his art. In the process, he also developed a pedagogy of teaching and movement analysis to facilitate learning that was efficient for teaching group classes in concentrated time frames.
While it still takes years for an artist to be trained and is difficult to predict whether one has the intangible qualities to excel as an artist, Kelu Babu's methods have gone beyond the student teacher parameters to include a few of the advantages of institutional learning with positive results.
Sushmita Kanungo and former Principal Shri U. Rajpal Singh and his wife were also present to grace the occasion simultaneously. Guru Vandana was harmoniously presented by a group of students. A speech was delivered by Shambhavi and Aryan. They laid focus on the sanctity of Guru and Shishya relationship. The students discussed about the dreams and vision of the founder President.
They represented the leaves of the tree as teachers and fruits as its students who are flourishing under the guidance of their teachers.
The roots of the tree are spreading the vision and ideals of the founder President. Thereafter a melodious and mesmerizing bhajan was sung by Shrikant Chaubey which made everyone spellbound in the hall. Krishna Gupta in her address welcomed everyone present there.
She praised the students for their effort and commitment. She spoke on the significance of Guru in our lives. It is Guru who dispels the darkness of our minds.
She told the students to be grateful to their teachers.
This gratitude will help them to achieve the goal of life.