Pedagogical traditions in Classical Bharatha Natyam

Subashini Pathmanathan

In classical tradition guru (the teacher) Shishya (student) relationship is sacred. The guru is looked upon as a mentor for the student, not only in the dancing career but also in general life. It is best for a student to study the art under one and the same guru throughout.

In olden days the disciples irrespective of their family background used to stay with their guru at the guru's residence.

During his or her stay with the guru, the Shishya was supposed to serve the guru and get vigorous training in the art form. The traditional Gurus' resident students were referred to as Gurukula students.

Years of practice

They spent maximum time with the guru and acquired thorough knowledge and vigorous practical training under the same Guru for many years. This type of traditional training is called as guru shishya parampara (generation).

Students spent maximum time with teachers

The students who learnt the art under such methodology would devote themselves, wholly to the art form and become involved with the art fully. In shishya parampara tradition the Shishyas would become fully dedicated, and devoted to the art form.

The ancient thesis laid down certain qualities for the Guru. This was called Gurulakshanam. Such Gurulakshanam was not only necessary for the olden Gurus of this divine art form but also needed for the present generation Gurus.

A Guru must posses a thorough knowledge of all aspects of the art form including theory, and practice.

In case of necessity the Guru must dance and demonstrate to the students. Guru must posses certain good qualities such as patience, discipline, peaceful mind, charm, politeness, and kindness, caring towards the students.

Treating alike

And treat all the students alike, irrespective of their family background. Meanwhile the teacher must maintain firm discipline while taking the lessons.

There are ancient Shastras or these laid down guidelines for a dance guru. Those techniques were known as thanthras, there are altogether five.

One is matcha thanthra, it means that the Guru must impart the art in a very perfect manner, and leave it to the students to improve it on their own, just as how the fish hatches its eggs by glancing them.

Kurma Thanthra, means that the guru trains the student and by his thoughts he induces the students to develop the art as how the tortoise lays its eggs on the earth, and let them hatch there, through its willpower while the tortoise is in the water.

Bharmara Thanthra, the guru keeps a continuous watch on the Shishya, which provides an opportunity for the Shishya to develop and acquire high standard in the art. Next is Marjara Thanthra, the guru keeps on watching the shishya until the shishya acquires full knowledge and efficiency in the art just as how the cat protects its kittens until they reach the stage of self-sufficiency.

Following traditions

Last is Markata Thanthra, which means that like the monkey which always carries its baby wherever it goes. Similarly the Shishyas also must go with the Guru wherever he goes. All these Thanthras are based on the Guru's manotharmam.

Shishyas also must possess certain qualities, such as general intelligence, enthusiasm, self motivation, self interest, ability to work hard, struggle to come up, cooperate with the Guru, self determination, pay obedience to the Guru, pay devotion and dedication to the art.

Through this, the students could be divided into four divisions, one is uttama, means superior, matima means mediocre, adhana below average, adhamadhana means inferior.

But unfortunately today the mentality of the students and the teachers are totally changed. The students and the teachers are alike seeking publicity, through media. Teaching dance has become totally commercialized.