By Vaishnavi Pillay

 

The legacy of traditional Indian art forms has thrived for centuries, knowledge passed down and nurtured by the Guru-Shishya Parampara. However, in today’s time of diverse priorities, young artists often find it difficult to pursue these arts with the same intensity and focus after reaching a certain age or after completing their Arangetram or Rangapravesha, the first solo performance of an Indian classical dancer. ‘The Hitavada’ spoke to Indian classical dance Gurus of the city to gather their perspectives on the challenges faced by their disciples and the ways they are adapting to ensure the continuity of this art form. “Arangetram symbolises the readiness of the disciple to perform independently, it is a milestone but not the end.

 

I always encourage students to maintain a bond with the art form and with the Guru, continue learning even after Arangetram,” said Srimathy Madhkholkar, Bharatnatyam Guru and Principal of Kalasrjan, Bharatiya Vidya Bhavan Nagpur Kendra. Guru Madhkholkar recalled the traditional approach and said, “Earlier, there was an unwritten rule that a student would take up stage only after Arangetram. Today, students often perform within one or two years of starting dance, to become familiar with the live music, stage presence, and basic performance etiquette.” Contd on page 2Guru Kishor Hampiholi acknowledged the challenges of pursuing dance as a career. “A career in dance is not easy. Those who want to learn classical dance need to be sure about their commitment. Many students today lack patience and perseverance required for classical forms, they want quick fame,” he observed. Today, challenges such as academic commitments, career priorities, and geographical relocations often hinder young artists from maintaining consistent training. A P Nivedita, a Kuchipudi Guru, observed that even though many continue to learn online, the number of students pursuing Kuchipudi as a performance art has been steadily declining. “During our time, there was more time to dedicate to such pursuits. Now, students are busy with tuition classes from a young age and find it difficult to balance academics and dance, especially by Class X,” she noted. Peer influence also plays a role in why some students discontinue. “If their peers are into western dance forms, many kids feel hesitant to continue classical arts,” noted Guru Nivedita.

 

In this digital era, the traditional bond with the art and with Guru has adapted to modern constraints by embracing online teaching. “As other aspects of life have evolved, so has the way we connect with our students. Initially, I was apprehensive about online classes, but I realised one-on-one sessions work better than group sessions. I record gestures in slow motion for clarity,” said Guru Nivedita. She added that even those settled abroad seek guidance for performances or learning advanced techniques. However, online teaching comes with its own set of challenges. Guru Ratnam Janardanan pointed out that dance is an experiential art. The subtle nuances of abhinaya (expressions) and footwork require close observation, which is difficult to achieve online. “I advise my students who relocate to enroll in a dance class in their city, but learning of an art should not stop,” asserted Guru Janardanan. Many dancers who complete their Arangetram express a desire to pursue dance professionally, but opportunities remain scarce. “Cultural quota positions in the Government sector are rarely announced, and vacancies are limited. Many dancers end up teaching in schools, but these jobs do not fully support their artistic aspirations,” said Pooja Hirwade, a Bharatnatyam dancer who also trains students in the city.

 

Hirwade added that dancers from financially stable backgrounds often have the privilege to experiment, opening their dance schools or exploring opportunities but others take up jobs in other fields, sidelining their dance career. Guru Hampiholi pointed out the growing global demand for Indian classical art. “Indian art forms are highly valued in foreign countries. Young artists must focus on honing their skills, staying true to tradition, while finding ways to be unique,” he advised. The story of young artists today is of adapting age-old traditions to modern realities while preserving the sanctity of the classical art form and Guru-Shishya relationship. As Srimathy Madhkholkar aptly sums up, “The Guru is always there, not just as a teacher but as a custodian of the disciple’s artistic legacy.”