Push and Pull Teaching

I’m writing this in the context of the Right to Education Act coming into force this year. The reason I use a musical example upfront is that music is the only thing I’ve tried to learn formally in recent times. While I use the example to illustrate the problem with the traditional Indian learning system, I refer to more basic and general education in this post. 

So about a month back I decided I need to add to my education in Carnatic and Western Classical Music and decided to learn Hindustani Classical. I decided it was time to learn a new instrument (so far I’d been trained only in playing the violin) and after some facebook queries, found a teacher who lived close by. After a lecture in how he teaches to take forward a “parampara” and not for money, and that he expects extreme devotion from students, and that he likes to begin classes for a new student only on a Monday, classes began in right earnest.

Classes soon hit a roadblock, though. As the more perceptive of you here might be aware, I have (I don’t want to use the word “suffer”) ADHD (Attention Deficit and Hyperactivity Disorder), thanks to which my attention span is grossly lower than that of the normal human being. Weeks together of simply going up and down the (Bilawal) scale soon got to me and I lost interest in practicing. Soon I realized I had started to look for excuses to bunk classes. I decided to cut my losses and decided to discontinue class.

Before I discontinued class, however, I  thought long and hard about telling my teacher about my ADHD, and that his methods of teaching weren’t working out for me. I wanted to tell him about the Suzuki method which my Western Classical teacher had adopted a year ago, which kept me interested in the music without relaxation of rigour. The Suzuki Method had worked fantastically well for me. Each class I would learn a new (simple) song – for example, I started my Western Classical learning by learning to play Twinkle Twinkle Little Star.

There are times when I think that I should have given my sitar teacher a fairer chance and explained to him about the Suzuki method and adopt something like it for the Sitar. However, from my knowledge of him based on my intereaction with him for a month or so, it didn’t seem like it would work, and I ended up (regretfully) quitting without giving him a chance to push the education on me.

The thing with traditional Indian learning is that it is fundamentally “pull”. The onus is on the student to convince the teacher to take him on as a student, and then to extract knowledge and wisdom from the teacher. In the traditional Indian context, it is absolutely okay for the guru to be aloof and disinterested, for it is not his duty to teach – it is the student’s duty to extract knowledge from the teacher. In fact my friend and colleague Nitin Pai informs me that according to the Upanishads, it is the duty of the teacher to reject a student the first three times he “applies”, and accept a student only after he has sucked up considerably.

While there might have been good reasons for such teaching practices back in the Vedic and Puranic ages (for example, the caste system forbid considerable sections of the population from learning the scriptures), these practices are wholly unsuited for the modern age where the focus is on increasing the reach of education and and ensuring that more people have access to education.

With the onus being on universal education and on getting every child to learn, we need to get rid of the “Acharya Devo Bhava” (teacher is god) paradigm and instead shift to a framework  of professional teachers where it is the teacher’s duty to reach out to the student. We need to get to a paradigm where the students can demand that the teacher reach out to them and teach them, and where students don’t need to suck up to the teacher.

The “acharya devo bhava” concept might have served us well in the pre-writing age and ensured that our most important scriptures were transmitted down to an era where they could be written down. This paradigm, however, is not scalable, and definitely not suited to a situation where the objective is to provide education to everybody.

Flawed though it may be, the Right to Education Act is a good step by the Union Government to ensure greater learning among kids and to maximize our chances of making good of the demographic dividend. The measure, however, will be dead on arrival unless the mindset of teaching and learning is changed.

Fixed and variable scales

One major point of difference I’ve noticed between Indian and Western classical music is about the starting point of scales. Western music has a fixed starting frequency, and all instruments and voices are supposed to be tuned to that. Every guitar is tuned identically, and I’m talking about absolute frequencies of various strings here. Similarly with other instruments.

Indian classical music on the other hand doesn’t bother as much about absolute freuqencies. The frequency of the base Sa doesn’t matter at all, it’s only the relative frequencies of various notes that matter and as long as those are perfect the music will be good. This allows greater flexibility to artistes, especially vocalists and allows them to find their own range rather than having to conform to set standards.

Related to this is the individualist nature of Indian music (you usually have one lead performer here, accompanied by two or three others) and the orchestra nature of Western classical. When the “band” is small, it is not so much of a big deal to retune instruments to match each other and because of this it is not so much of a problem to coordinate. When you are part of an orchestra, however, it is important to have a standard and have everyone conform to that, rather than have a large number of musicians retune for every performance.

What I wonder, however, is which came first – synchronized tuning or the orchestra.