Tag: carnatic

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.

Fighterization of food

One of the topics that I’d introduced on my blog not so long ago was “fighterization“. The funda was basically about how professions that are inherently stud are “fighterzied” so that a larger number of people can participate in it, and a larger number of people can be served. In the original post, I had written about how strategy consulting has completely changed based on fighterization.

After that, I pointed out about how processes are set – my hypothesis being that the “process” is something that some stud would have followed, and which some people liked because of which it became a process. And more recently, I wrote about the fighterization of Carnatic music, which is an exception to the general rule. Classical music has not been fighterized so as to enable more people to participate, or to serve a larger market. It has naturally evolved this way.

And even more recently, I had talked about how “stud instructions” (which are looser, and more ‘principles based’) are inherently different from “fighter instructions” (which are basically a set of rules). Ravi, in a comment on Mohit‘s google reader shared items, said it’s like rule-based versus principles-based regulation.

Today I was reading this Vir Sanghvi piece on Lucknowi cuisine, which among other things talks about the fact that it is pulao that is made in Lucknow, and now biryani; and about the general declining standards at the Taj Lucknow. However, the part that caught my eye, which has resulted in this post with an ultra-long introduction was this statement:

The secret of good Lucknowi cooking, he said, is not the recipe. It is the hand. A chef has to know when to add what and depending on the water, the quality of the meat etc, it’s never exactly the same process. A great chef will have the confidence to improvise and to extract the maximum flavour from the ingredients.

This basically states that high-end cooking is basically a stud process. That the top chefs are studs, and can adapt their cooking and methods and styles to the ingredients and the atmosphere in order to churn out the best possible product.You might notice that most good cooks are this way. There is some bit of randomness or flexibility in the process that allows them to give out a superior product. And a possible reason why they may not be willing to give out their recipes even if they are not worried about their copyright is that the process of cooking is a stud process, and is hence not easily explained.

Publishing recipes is the attempt at fighterization of cooking. Each step is laid down in stone. Each ingredient needs to be exactly measured (apart from salt which is usually “to taste”). Each part of the process needs to be followed properly in the correct order. And if you do everything perfectly,  you will get the perfect standardized product.

Confession time. I’ve been in Gurgaon for 8 months and have yet to go to Old Delhi to eat (maybe I should make amends this saturday. if you want to join me, or in fact lead me, leave a comment). The only choley-bhature that I’ve had has been at Haldiram’s. And however well they attempt to make it, all they can churn out is the standardized “perfect” product. The “magic” that is supposed to be there in the food of Old Delhi is nowhere to be seen.

Taking an example close to home, my mother’s cooking can be broadly classified into two. One is the stuff that she has learnt from watching her mother and sisters cook. And she is great at making all of these – Bisibelebhath and masala dosa being her trademark dishes (most guests usually ask her to make one of these whenever we invite them home for a meal). She has learnt to make these things by watching. By trying and erring. And putting her personal touch to it. And she makes them really well.

On the other hand, there are these things that she makes by looking at recipes published in Women’s Era. Usually she messes them up. When she doesn’t, it’s standardized fare. She has learnt to cook them by a fighter process. Though I must mention that the closer the “special dish” is to traditional Kannadiga cooking (which she specializes in), the better it turns out.

Another example close to home. My own cooking. Certain things I’ve learnt to make by watching my mother cook. Certain other things I’ve learnt from this cookbook that my parents wrote for me before I went to England four years ago. And the quality of the stuff that I make, the taste in either case, etc. is markedly different.

So much about food. Coming to work, my day job involves fighterization too. Stock trading is supposed to be a stud process. And by trying to implement algorithmic trading, my company is trying to fighterize it. The company is not willing to take any half-measures in fighterization, so it is recruiting the ultimate fighter of ’em all – the computer – and teaching it to trade.

Preliminary reading on studs and fighters theory:

Studs and Fighters

Extending the studs and fighters theory

Lazy post: Search Phrases: March 2009

I think I’ll make this a monthly feature: collecting the whackiest search terms that people use to land up on my blog, and posting them here. I had published one such list for February. Here goes the list for March:

  • describe my job
  • apprentics for carpenter in gurgaon
  • can north indians survive in the south
  • carnatic music pakistan
  • dry fish market in orisa & madrass contact numbers
  • examples of bastardization in a sentence
  • how can death be postponed by chanting mantras?
  • kodhi is a cheap guy
  • savitabhabhi.com competition
  • verb phrases of the behavior of atticus
  • what are some other versions of dashavatar -film -songs -jobs -dvd -movie

Disco Raaga – Taana – Pallavi

This is one of those posts that I’ve been intending to post for over a couple of months, but each time I think about this, I don’t happen to be in front of a computer, and even if I do, I don’t feel like writing about it. So here I am – finally blogging this. As I write this, I’m listening to the Ledzep Live Album The Song Remains the Same. This post is about this album, and other related stuff.

As you might have figured out from the title of this post, one thing I’ve noticed about this album is about the approximate Carnatic format that the songs in this take on. It may not be in the strict order that Carnatic music prescribes, but these songs are roughly there. I’m currently listening to Dazed and Confused, and after the first few lines of the Pallavi were sung, Page has now gone off into an extended Aalapana of whichever Raaga this song is set in.

Periodically, they return to the song, and play a few more lines. Now, Plant is doing his bit by improvising with a few lines of his own. Jones and Bonham are dutifully doing their background stuff – Bonham will get his footage later in the album – for Moby Dick features a full-blown Tani Avartanam. It ends the same way Tani Avartanams in Carnatic concerts do – with the main line of the Pallavi being sung at the end of it. I know I might be force-fitting some Carnatic concepts into this album; nevertheless, all these improvements make for extremely interesting listening.

A few days after I had first noticed this, Udupa told me that a large number of concerts in the 70s were like this – the musicians would simply jam on stage in the middle of the songs. Created music on the spot. Spontaneous stuff. Unfortunately, Udupa continued, the trend changed a few years back when less informed audiences started demanding that more songs be crammed into the three hour concert, thus reducing the scope for such improvisations.

The best thing about Carnatic concerts is that each one is unique. You might look at two concerts – played by the same set of musicians and with the same line-up of krithis, but there is a very good chance that the two are markedly different. This is because Indian Classical music, in its concerts, encourages the musician to innovate, to play whatever comes to his mind at that point of time – while adhering to the fairly strict rules. It is this element of innovation that makes each concert special, and an experience in itself.

Western Classical music differs in this regard – especially in the orchestra form – since the large size of the troupe leaves little scope for innovation and the musicians are literally forced to play it by the book. In that context, it seems like it was genres such as rock which brought in the spontaneity and innovation into western music.

Nowadays, bands don’t tour as much as they used to a couple of decades ago, which means that whenever they visit a city (which is once in a few years), the fans in the city will want to hear as many songs as possible. And that kills innovation. It is not the bands’ fault – they are simply responding to the market. And I don’t know what it could be that could get them back to their RTP days.

Here is one of my retirement plans. For each song that I like, describe a Carnatic Raaga into which it can approximately fit into. Tinker around with the stanzas, to create a Pallavi-Anupallavi-Charana format. Try to make the raagas as rigid as possible – Vakra scales will be preferred. And then put RTP. Use some Western instruments too – for example, I definitely want the Bass guitar to be a regular feature in Carnatic concerts. I think the result is likely to be phenomenal.

It’s been a few years since I picked up the violin. I plan to do it sometime. And implement what I’ve described here. Hopefully I’ll do a good job. In the meantime, if there are any bands out there which want to implement this concept, they can feel free and do it – I promise I won’t sue them later for IPR.