GURU - SHISHYA PARAMPARA

The term ‘guru’ is interpreted variously from a spiritual guru to a mentor of reality show. The original Sanskrit term has seeped and spread in societies all over the world. The etymological meaning of this word is as, ‘gu’ means darkness and ‘ru’ means the one who pushes it away. In other words, guru is the one who dispels the darkness of ignorance and enlightens the disciple.

In ancient India, the disciples used to stay at guru’s place for several years to seek knowledge. In their growing age, the guru was also responsible to guide them in the way of life. In that sense the guru was more than a teacher who truly had a significant role in shaping the young disciples.

The Sandipani Ashram at Ujjain has displayed beautiful paintings illustrating the sixty-four art forms and fourteen streams of knowledge that the disciples learnt in the ashram. Thus, the education included academics as well as training in various arts in the ashram. Later, when the guru-kul system slowly diminished, the academics and art forms were taught separately. Art was no more a part of formal education. Thus, there were teachers (shikshak) who taught academic and gurus who imparted training in various art forms.

Among the various arts, Indian classical music and dance have sustained the ancient Indian tradition with all respects till today. The mode of teaching still lays emphasis on oral tradition, in which the students learn and assimilate the lessons orally and mentally, before noting down. The ‘guru-shishya parampara’ is also in continuance. The gurus who impart training in this field, not only teach them the art forms but also introduce the ancient Indian culture including literature, aesthetics, shastra and much more. Without the awareness of these the students will be learning only the technique without its meaning and context. In today’s times, this knowledge of our ancient culture is not given by anyone else, not even in schools. In that respect the gurus in classical dance field also shape the disciples and connect them to their roots.

In recent years, classical dance is also a part of academics in universities. In order to follow the university format, the practical and theoretical syllabus is divided among various teachers/professors. Thus, the shishya acquires knowledge from various gurus. This is in contrast with the concept of ‘ganda-bandhan’, where the guru tied the auspicious thread on the shishya’s wrist. This indicated that the shishya is under the tutelage of a traditional guru, and that the shishya cannot go to any other guru to seek knowledge in that art form. The latter idea is in practice even today without any ritual of ‘ganda-bandhan’. This doesn’t mean that the guru doesn’t allow the shishya to learn from anyone else just because the shishya is under his or her tutelage but, the shishya should learn and assimilate what the guru has to offer. Once that is done then the shishya can acquire more knowledge from other guru or gurus. There are many examples in the history of Kathak where legendary gurus have sent their shishyas to learn from other gurus.

The same procedure applies even today. The students learning under their respective gurus have to first assimilate the style taught by the guru and then can learn from other sources by seeking permission from guru. The practice of workshops is very common in contemporary times and gurus/teachers encourage their disciples to learn from the senior gurus.

Though the physical aspect of guru-shishya parampara has been changing over the years, the bond between guru and shishya remains intact at its core. The tradition continues to sustain with times because it allows it to change with time and doesn’t remain rigid like a ritual.

Even today the role of guru is to dispel darkness of ignorance and enlighten the disciples. Like a tree the guru allows the shishyas to branch out differently and yet nourishes them by connecting to its roots.

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