Teaching System in Music & Dance – 4. Bharatanatyam in universities

‘It is now seen that education is incomplete unless, by teaching the things of the heart besides those of the head, it leads to spiritual growth as well as to intellectual progress and physical fitness.’

- Noel v. Hail.

Every system is good if there is honesty towards the students, devotion for the profession, willingness to adapt new thoughts and to teach openly. Today, universities appoint teachers possessing a doctoral degree, qualified as per the rules of University Grant Commission; instead of their practical understanding and approach to the dance forms. Therefore, most of the teachers are not good artistes and incapable to demonstrate the technical intricacies of practical aspects. In most of the universities, situation is even pathetic. Years old syllabus only has been taught by the tired and bored teachers, same old and limited compositions that teacher has learnt from his Guru in the syllabus, are repeated every year and even in more worst manner. Due to lack of the deep knowledge in practical aspects of the dance form, they are unable to choreograph new compositions. Situation in universities and colleges is not satisfactory, because of over workload, large number of students, responsibility to finish syllabus; and of course, government policies. It is been observed that most of the university teachers become stagnant after few years of service and stop their practice, creation and self-development. They are satisfied with their job, promotion in job and increments in the salary only matters to them. What type of betterment and output could be expected from such teachers? If a teacher is not self motivated, innovative, devoted to his art, what ideal and example is he going to present before his students? Performing arts are life that grows, changes and develops continuously. The teachers should also grow and develop themselves continuously along with their students.

In Gurukul, each disciple gets personal attention but in universities; the attention is focused on group teaching, where mental level of each student varies. These students need extra attention. The aim should be to bring out the real talent of the students. Syllabus of the course should be revised regularly and should not be too heavy. Therefore, the quality of teaching and students would be improved. Theory and practical portion of the syllabus should be in a balanced ratio and should be taught as per the schedule. Teachers should discuss their problems in the meeting with Board of Studies.

Now, Bharatanatyam has acquired a universal identity. Besides Indians, a large number of foreigners also are learning this ancient dance form. The responsibility of a teacher has increased; it has extended up to international level. The teachers should be well informed that all of our traditional art forms are deeply rooted to Indian philosophy, Hindu mythology and human psychology. Our traditional arts have certain values and should be kept intact; and should not be tempered with its original structure without knowledge of the logic that lies behind.

In universities, the teachers are responsible for their students as well their employer. Students devote their precious four to five years to their teachers in good faith, so it is teachers’ moral duty to guide and train them honestly. They should not only motivate and encourage the students, but also should try to provide them stage for performance for the growth and development of the both. They should not be partial to their own sons, daughters or other family members in the class. They should treat all their students alike.

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Teaching System in Music & Dance – 3. Institutional System

Today, many universities/government institutions have separate department of Bharatanatyam. Where, any candidate who fulfills the eligibility criteria and qualifies the admission/aptitude test may take admission. Universities have proper syllabus for theory and practical both approved by a Board of Studies, consisting of Vice Chancellor, Dean of the Faculty, Head of the department, Teachers & subject experts and is taught according to the timetable. Classrooms are fully equipped with teachers, accompanists, accompaniment instruments; plenty of reference books in library, required electronic gadgets are available for the students. Theory and practical examinations of the Students are conducted after the end of each session/semester, and the students have to pass both the examinations. On completion of the course, the students are awarded with the degree/diploma and are eligible to pursue their career in the respected field.

At the end of 19^th century, in 1886, Maharaja Sayaji Rao Gaikwad of Baroda established the first music school, lately known as Baroda state Music School, under the guidance of renowned vocalist and Veena player Ustad Maula Bux to avail music education for anyone for its development and propagation. Pt. V.D. Paluskar opened Gandharva Sangeet Mahavidyalaya, Lahore in 1901and Gandharva Sangeet Mahavidyalaya, Bombay in 1906. Pt. V.N. Bhatkhande opened Madhav Sangeet Mahavidyalaya, Gwalior in 1918 and Marris College of Hindustani Music, Lucknow (lately known as Bhatkhande Music College and Presently, Bhatkhande Music Institute) in 1926.

Prayag Sangeet Samiti, Allahabad was established in 1926 and Indira Kala Sangeet Vishwavidyalaya, the first university in Asia exclusively for fine arts at Khairagarh was established in 1956. Afterwards, Faculties of Performing Arts and Depts. of Music / Dance were opened in many universities and in some of the universities Music / Dance is included as a subject in the faculty of Arts. Names of such universities are mentioned here – Kashi Hindu Vishwavidyalaya (lately known as Banaras Hindu University), Varanasi, Madras University, Madras, Rabindra Bharati Vishwavidyalaya, Calcutta, Rajasthan University, Jaipur, Bombay University, Bombay, M.S. University, Baroda, Delhi University, Delhi, Udaipur University, Udaipur, Kurukshetra Univesity, Kurukshetra, Pondicherry University, Pondicherry, Vishwa Bharati, Shantiniketan, Banasthali Vidyapeeth, Tonk, Andhra University, Waltair, H.P. UniversityH, Shimla, Assam University, Silchar, Mysore University, Mysore, Ranchi University, Ranchi, P.S. Telugu University, Hyderabad, Allahabad University, Allahabad, Amaravati University, Amaravati, Karnataka University, Dharwad, Tamil University, Tanjore, Mahatma Gandhi Kashi Vidyapeeth, Varanasi, Maharani Lakshmi Bai Girls’ College, Bhopal, Bharathi Dasan University, Thiruchchirapalli, etc.

When established, great masters and artistes were appointed as teachers, heads of these departments, deans of such faculties and even vice chancellors of the universities of fine arts were great masters in performing arts. These institutions/universities appoint qualified teachers as per the rules of University Grant Commission. State Government, Central Government and University Grant Commission provide grants to the universities for purchasing of books, equipments, furniture, building etc; and for meeting various expenditures.

Many private and professional institutions are working as exclusive centres for training of Bharatanatyam. The professional Gurus/Artistes establish such institutions. Private institutions are doing much better in comparison, because the professionals establish them. They understand the basic and essential requirements of a dance student, a dance teacher and a successful dance institution also. They also realize the basic needs for the particular dance form. These institutions appoint professional artistes and teachers for conducting classes. They follow the traditional method of teaching with the help of modern gadgets. These institutions train the disciples traditionally in a professional manner. Besides regular course, these institutions teach techniques of stage performance, event management, use of modern equipments, make-up, handling and conducting orchestra etc. Some institutions are affiliated to universities/examination bodies. Along with their own courses, they teach theory and practical syllabus of the university, conduct examinations and give degree/diploma from the universities/examination bodies. Besides, these institutions provide stage to their disciples for giving exposure to them. Quality and output of these institutions are excellent. These institutions receive grants and funds from the government to meet their expenditures. Few of such professional institutions are mentioned here – Saraswati Gana Nilayam, Chennai, Kalakshetra, Chennai, Kalamandalam, Calcutta, Uday Shankar Indian Culture Centre, Calcutta, Ganesa Natyalaya, New Delhi, Darpana Academy, Ahmedabad, Bharathachoodamany Academy of Fine Arts, Chennai, Kalasamarpana Foundation, Chennai, Bharata Kalanjali, Chennai, Natya Vriksha, New Delhi, Nrityashree, Chennai, Kala Pradarshini, Chennai, Abhinaya Sudha, Chennai, Natyapriya, Chennai, Venkatesh Natya Mandir, Chennai, Vasundhara Performing Arts Trust, Mysore, Kalaikaveri, Tiruchchirapalli, Kalapadma Bharatanatyam Dance Academy, Bhopal, Nalanda Dance Research Centre, Bombay, Rangashree, Bombay, Kala Parichaya, Bombay, Sri Ram Bharatiya Kala Kendra, New Delhi, Abhinaya, New Delhi, Sangeet Bharati, New Delhi, etc.

Many other private institutions are also imparting training in Bharatanatyam. These institutions are affiliated centre of a university/examination body. These institutions teach theory and practical both according to the syllabus of the university/examination body only. These institutions appoints upcoming artistes or a fresher as teachers. There output is average, because of the emphasis on completion of the syllabus only. Few of such institutions are mentioned here – Kala Kendra of Music & Dance, Vidyanagar, Sangeet Mahavidyalaya, Rajkot, Jivan Bharati sangeet Vidyalaya, Surat, Kathakali Nritya Mahavidyalaya, Nadia, Pt. Omkar Nath Thakur Sangeet Mahavidyalaya, Patna, Surangan, Patna, Ravindra Sangeet Mahavidyalaya, Gwalior, Deodhar’s School of Indian Music, Bombay, Sangeet Mahavidyalaya, Bombay, Natya – Vihar Kala Kendram, Chennai, Nav Sadhana Kala Kendra, Varanasi, Nrithyathi, Bhilai etc.

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