Three years ago, I and Dakshayani were quite frustrated this time of the year. Very enthusiastically, we had appointed 3 teachers under Baithak Foundation to teach at our three partner schools. This was a very concrete step to take Indian Classical Music to kids from underprivileged backgrounds.
Through lot of ground work in the communities across Pune, sadly, we learnt that Honey Singh was the only ‘classical’ singer our next generations had heard of along with an ‘old lady’ called Lata Mangeshkar.
What can be done to introduce our kids to our rich heritage? We always wondered.
“Shall we appoint teachers to teach music in the schools?” Was the first idea that came to our mind.
Since funding was not a constraint at that point, we started interview processes and also started creating a curriculum which could be taught in the schools. Our enthusiasm took a serious blow when we got to know the teaching skills of practicing young musicians.
“We will train them” we were determined.
After the recruitment, with initial training, we let the teachers go into the classrooms. The model was devised in such a way that all the grades would have two music classes every week in which we would talk about how music originated, types of instruments, some basic concepts like Swar, Taal, Lay, Raag etc. Initially both I and Dakshayani would attend the classes to give feedback to teachers and course-correct. We would often conduct informal meetings as well as well curated trainings for these teachers.
Teachers often complained of discipline issues in the class rooms. One of the major complaint they had was lack of respect.
“When I take classes at my home, the collector’s son comes and learns from me. He touches my feet every time he comes. These kids do not even know basic manners.” Said one of them, oldest by experience and age.
We would also have meetings with the school staff and would request their intervention in the classes so that they went on smoothly.
In spite of all this, just within three months, we saw resignation from the first teacher floating in our inbox.
“I know your intentions are good; but these kids can never learn our music because they don’t know how to respect.” Said the same teacher whose relationship with kids had almost become hostile by then.
We accepted the resignation and thought of finding a replacement. Before we could do that, came the second resignation. The program at third school was halted because of multiple issues, incompetency of the teacher being prime one.
In short, our program had miserably failed. It was same feeling a start-up founder would have when his product backfires even though there is plenty of seed funding.
It was very easy for us to conclude that these kids really do not deserve this kind of music and why force-feed them? This has been the common notion about Indian Classical Music anyways. Many musicians had told us this theory of how this music is meant for the rich- economically and socially.
In spite of all this, both of us had a feeling that we were doing something wrongly. Instead of blaming it all on the kids, let us carefully examine the flaws in what we were doing.
The very first mistake that we realised was, we forced this music on kids. They had never heard it, never experienced it. So the first correction, we thought our program needed, was eliminating ‘compulsory’ aspect and making the program sign-up based.
The second grave mistake that we were doing was teaching in classroom an art form which was highly experiential. Can we make them experience the art form rather than teaching it in a classroom?
Baithak@Classes program was an outcome of these two learnings. We decided, for first two years, let us just do concerts in the schools for which kids can sign up if they wish to. No one is forced to attend.
Out of the three schools we were working with, we rolled out @Classes program in two schools. We created nice poster for the first concert and put them in the respective schools.
As the principal of one school says, “I thought, hardly ten students will sign up. Within one hour, I had fifty sign ups with me. I was surprised.”
The concert was very well appreciated. We got similar but more engaged audience for all next concerts.
“We liked Kathak. How can we learn it though?” Getting such questions from students became very common.
Due to increasing demand from the students, @Classes program was further evolved to include workshops in it.
After two years of concerts and workshops, Baithak, school and students – all felt thinned for deeper engagement. Everyone thought that we needed regular Art Clubs in school.
This is how The Taalim Project was born. We designed a fellowship program where fellowship was awarded to a musician who would teach a batch of 10-20 kids once a week.
Acclaimed dancer and Guru, Arundhati Patwardhan joined us as our first fellow and took the bunch of 15 boys and girls under her wings.
After teaching these kids for couple of months, Arundhati Tai once proposed – “Can we arrange a small performance of these kids in our institute’s annual event?”
That moment was truly priceless for all of us!
Dakshayani was standing in the stage wing of Tilak Smarak Mandir, where Kalavardhini’s annual event was going to happen. Kalavardhini Team was kind enough to give a slot for Arundhati Tai’s students to perform a Vandana.
The fifteen boys and girls were excited as well as confused; probably it was the very first time they were inside an auditorium; that too with a few hundred connoisseurs waiting to watch their performance. They were all dressed in a particular manner, to which they were not used to.
The students were nervous, under extreme pressure, in a different air altogether. To everyone’s surprise, without anyone telling them, each of the kids touched Arundhati Tai’s feet before they began their performance!
The same bunch of kids, which could have been easily labelled as ‘manner-less’ reached a stage where they felt like respecting their teacher. Can respected ever be demanded? Or it has to be earned like Arundhati Tai did through her unmatched commitment towards her kids?
The kind of ecosystem and patronage in which our music flourished ensured that this respect was always paid; either genuinely our out of force and fear. Now, the situation is very different. The respect must be earned. The process of touching the hearts of young ones and gaining their ‘true’ respect is very beautiful and worth all the efforts involved.
To know more about Baithak Foundation’s work, visit : www.baithak.org
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