How an Art Teacher Should Teach: Detailed and Point-

wise
1. Importance of Child-Centric Education:

o Focus on the individual needs and learning styles of each child.

o Encourage creativity and expression in a safe and supportive environment.

o Allow freedom in artistic choices, fostering a love for learning and

exploration.

o Adapt teaching methods to suit the developmental stages and abilities of

each child.

2. Finding Hidden Talent:

o Observe each child’s unique skills and interests during various art activities.

o Provide opportunities for different forms of art (painting, sculpture, drawing,

etc.) to help uncover latent talents.

o Offer constructive feedback that encourages improvement and builds

confidence.

o Create a space where children feel free to experiment and discover their
artistic strengths.

3. Guiding in the Child’s Life:

o Serve as a mentor and guide in the child’s personal and emotional growth
through art.

o Foster a positive environment that nurtures the child’s self-esteem and self-
expression.

o Provide advice and encouragement on how art can be used as a tool for
personal development and problem-solving.

4. Understanding Uniqueness:

o Recognize and celebrate the individuality of each child’s artistic expression.

o Avoid comparing students to one another; instead, focus on personal growth

and improvement.

o Respect the diversity of cultural backgrounds, perspectives, and creative

approaches.

5. Understanding the Child’s Emotions:

 o Develop emotional intelligence by recognizing and responding to the
emotional state of students.

o Use art to help children express their feelings, whether they are joyful,
anxious, or sad.

o Encourage open discussions about emotions, showing how art can be a

healthy outlet for expression.

o Offer comfort and encouragement when necessary, ensuring emotional well-

being through creative work.

6. The Importance of Art in Education and Day-to-Day Life:

o Art enhances cognitive development, improving problem-solving and critical

thinking skills.

o Integrating art into education nurtures creativity, which is essential in all areas
of life, including sciences and humanities.

o Art encourages observational skills and helps children understand the world
around them.

o Art improves fine motor skills and hand-eye coordination.

o In daily life, art helps children express their thoughts, cope with emotions,
and understand diverse perspectives.

7. Building Character:

o Art teaches perseverance, especially when working on long-term projects.

o Encourages a sense of pride and accomplishment as children finish their

creative pieces.

o Through art, children learn to appreciate their own abilities and the
importance of hard work.

o Art helps to foster qualities like patience, discipline, and respect for others’
work.

8. Group Study:

o Art can be used as a medium for group projects, teaching collaboration, and
teamwork.

o Group study encourages peer learning, where students can share ideas and
techniques.

o It fosters a sense of community and belonging among students.

 o Working together in groups helps students develop communication and
interpersonal skills.

9. Teaching Patience:

o Art teaches children to be patient with themselves and their work.

o The process of creating art, especially detailed projects, can take time,
teaching the value of delayed gratification.

o Teachers should emphasize that mistakes are part of the learning process and
encourage students to persist.

10. Bringing Out Hidden Talent:

 Teachers should offer diverse artistic experiences to help uncover different strengths.

 Recognizing a child’s potential and encouraging them to push their boundaries helps
them realize their hidden talents.

 Providing positive reinforcement when a child excels in a particular technique or

medium encourages further exploration of their abilities.

11. Encouraging the Child:

 Recognize and praise even small achievements to motivate children to continue

exploring their creativity.

 Encourage children to take risks in their work, fostering a growth mindset.

 Show enthusiasm for the child's efforts, helping them feel proud of their work.

12. Art and Emotions:

 Art provides a means for children to express emotions they may not be able to
verbalize.

 Teachers can guide students to explore the emotional impact of colors, shapes, and
forms in their artwork.

 Understanding how art reflects emotions allows children to better manage and
express their feelings.

 Emphasizing the emotional aspect of art helps children connect with their work on a
deeper level.

13. Art, Morals, and Character Building:

 Art can be a medium to explore moral themes such as empathy, respect, and
integrity.
  Teachers can use art to introduce concepts of justice, equality, and kindness, allowing
children to express and discuss these ideas visually.

 Art lessons can foster reflection on moral dilemmas, teaching children to think
critically about right and wrong.

 By incorporating moral values into art education, teachers help build character and
ethical awareness in students.

In summary, an art teacher should nurture a child’s creativity, encourage self-expression, and
provide guidance in emotional and moral development. By focusing on the unique abilities
and potential of each child, the teacher not only helps them develop artistic skills but also
builds character, enhances emotional intelligence, and contributes to their overall growth.

What is Memory?
Memory refers to the cognitive process that allows individuals to store, retrieve, and retain
information over time. It is essential for learning, decision-making, and the ability to
function effectively in daily life. Memory can be thought of as the brain's "storehouse,"
where information is encoded, stored, and later retrieved when needed.

Parts of Memory:

1. Sensory Memory:

o The first stage of memory.

o It involves the immediate, initial recording of sensory information.

o Information is stored for a very brief period (milliseconds to a few seconds).

o It includes visual (iconic memory), auditory (echoic memory), and other

sensory types.

o Example: The image of a face or the sound of a ringing bell you briefly
remember after it happens.

2. Short-Term Memory (STM) or Working Memory:

o Temporarily holds information for immediate use.

o Information in STM is stored for a limited duration (up to 30 seconds) and has
limited capacity (7±2 items).

o It is involved in tasks such as reasoning, comprehension, and problem-solving.

o Working memory is a type of short-term memory used actively for processing

and manipulation of information.

o Example: Remembering a phone number long enough to dial it.

 3. Long-Term Memory (LTM):

o This is the stage where information is stored for long periods (from hours to a
lifetime).

o Long-term memory has a seemingly unlimited capacity.

o It is divided into explicit (declarative) and implicit (non-declarative) memory.

a. Explicit (Declarative) Memory:

o Involves conscious recall of facts and events.

o Semantic Memory: Deals with general knowledge and facts (e.g., names,
dates, concepts).

o Episodic Memory: Relates to personal experiences and events (e.g., your first
day at school).

b. Implicit (Non-Declarative) Memory:

o Involves unconscious recall.

o Includes procedural memory (memory for skills and actions), such as riding a
bike or playing an instrument.

o Includes conditioning (e.g., Pavlovian responses or learned fears).

4. Encoding:

o The process of transforming sensory input into a form that can be stored in
memory.

o Involves attention, perception, and rehearsal.

o Example: Repeating a phone number to memorize it.

5. Storage:

o The process of maintaining encoded information in memory over time.

o Stored information is organized in a way that allows for future retrieval.

o Example: Storing facts or experiences for future use.

6. Retrieval:

o The process of accessing and recalling stored information when needed.

o Retrieval can be intentional (e.g., trying to recall someone's name) or

automatic (e.g., remembering how to ride a bike).
 o It involves recognition (identifying learned information) or recall (reproducing
information without a prompt).

In summary, memory involves multiple stages and components, from sensory input to
encoding, storage, and retrieval, allowing us to retain and use information in our daily lives.

The Story Behind the Natyashastra:

The Natyashastra is an ancient Sanskrit text on performing arts, written by the sage Bharata
Muni. It is considered the foundational treatise on theatre, dance, and music in Indian
tradition. According to legend, Bharata Muni was instructed by the sage Brahma (the
creator god) to create the Natyashastra as a way to blend the divine, emotional, and cultural
aspects of life. Brahma had a vision to teach the world the arts of acting and drama, which
would help bring together the physical, emotional, and spiritual experiences of human
beings.

The story goes that the Brahma created a beautiful dance-drama (Natya) that would unite
the world of humans and gods. He then shared this knowledge with Bharata, who compiled
it into the Natyashastra, which later became a crucial text for the development of classical
Indian theatre.

Parts of the Natyashastra:

The Natyashastra consists of 36 chapters and covers various aspects of theatre, dance, and
music. It is divided into several sections:

1. Sutra 1-36: These sections provide a complete guide to the performance arts,
including acting techniques, gestures, body movements, rhythm, emotion,
stagecraft, and makeup.

2. Theories on Drama and Dance: It explains the elements of a drama (rasa, bhava,
etc.) and how these contribute to creating emotional experiences.

3. Detailed Descriptions of Acting Techniques: This section provides in-depth

information about the different kinds of acting, including gestures, speech, and
emotional expressions.

4. Stagecraft: This includes the layout of the stage, properties used in a performance,
and the role of music, costumes, and makeup.

5. Music and Instruments: Detailed descriptions of instruments and their role in drama
performances, particularly the importance of music in evoking emotions.
 6. Rasa and Bhava: The text explores rasa (the aesthetic experience of emotions) and
bhava (the emotional states) that actors and dancers must evoke to communicate
with the audience.

Bases of Natyashastra:

The Natyashastra is built upon several fundamental concepts that form the foundation for
creating and performing traditional Indian drama and dance. These bases are crucial in
understanding the structure and philosophy of performance as prescribed by the ancient
text.

1. Rangbhoomi (The Stage):

o Rangbhoomi refers to the physical space where performances take place. In

ancient times, it was often an open stage, which was later structured with
specific areas for the performance and audience.

o The stage plays a vital role in setting the environment for the performance,
and various elements such as props, lighting, and space are used creatively to
enhance the dramatic effect.

o The Rangbhoomi is where the actors interact with the audience and where
emotions, movements, and expressions come alive.

2. Natya (Drama):

o Natya is the actual theatrical performance, combining acting, music, dance,

and emotion. It involves storytelling and aims to provide both aesthetic and
emotional experiences for the audience.

o Natya is divided into various genres such as tragedy, comedy, or mixed forms,
each evoking different emotional responses in the audience.

o It involves the use of bhavas (emotional states) and rasas (aesthetic

experiences) to engage the audience on a deep emotional level.

3. Story (Katha):

o The story is the core of any dramatic performance in the Natyashastra. It

includes the plot, characters, and the sequence of events that unfold during
the play or performance.

o The story in Natya usually follows traditional mythological, historical, or folk

themes. The way the story is presented, with the help of gestures, dialogues,
music, and dance, plays a significant role in conveying emotions and ideas.
 o Katha serves as the backbone of the drama, allowing for a structured
progression of events that leads to the resolution of conflicts.

4. Neypathya (Backdrop/Setting):

o Neypathya refers to the backstage elements or the setting that supports the
performance, such as the decor, scenery, and props.

o It includes the environmental and visual aspects that help create the
atmosphere and provide context for the performance.

o The Neypathya works behind the scenes to enhance the visual experience
without being directly visible to the audience but playing a crucial role in the
overall aesthetic.

5. Navras (Nine Emotions or Rasas):

o Navras (also known as the Nine Rasas) are the nine primary emotions or
moods that are conveyed through a performance. These emotions form the
emotional core of a Natya and guide the actor in expressing various feelings
to the audience.

o Each Rasa is associated with specific facial expressions, gestures, and tones of
voice, all of which help to communicate the intended emotion.

Explanation of Navras (Nine Emotions):

The Navras are fundamental to the aesthetic experience in Indian classical arts. They
represent different emotional states and are used to evoke specific feelings in the audience.
The nine rasas are:

1. Shringar (Love, Beauty):

o Represents love, beauty, romance, and the feeling of attraction between

lovers.

o It is associated with feelings of joy, desire, and passion.

o Visual Expression: Soft eyes, gentle smile, graceful movement.

o Example: A romantic scene or a depiction of divine love.

2. Hasya (Humor, Laughter):

o Represents humor, laughter, and joy.

o This rasa aims to lighten the mood, evoking a sense of fun and amusement.

o Visual Expression: Laughter, cheerful expressions, playful gestures.

 o Example: Comedic scenes or playful interactions.

3. Karuna (Pathos, Compassion):

o Represents sorrow, compassion, and grief.

o It is associated with emotions like sadness, pity, and empathy.

o Visual Expression: Tears, a sorrowful expression, drooping posture.

o Example: A tragic moment or a character experiencing loss.

4. Raudra (Anger):

o Represents anger, wrath, and fury.

o It conveys intense feelings of frustration, rage, and conflict.

o Visual Expression: Frowning, clenched fists, intense gaze.

o Example: A character in a fit of rage or a warrior preparing for battle.

5. Veer (Heroism, Courage):

o Represents valor, heroism, and bravery.

o This rasa embodies courage in the face of adversity and the determination to
overcome challenges.

o Visual Expression: Proud posture, firm gaze, bold gestures.

o Example: A hero or heroine fighting for a cause or displaying bravery.

6. Bhayanaka (Fear):

o Represents fear, dread, and anxiety.

o It involves the sense of danger or helplessness, and is portrayed through

anxiety or the anticipation of harm.

o Visual Expression: Wide eyes, trembling hands, anxious posture.

o Example: A character facing a life-threatening situation or dealing with terror.

7. Bibhatsa (Disgust):

o Represents disgust, revulsion, and aversion.

o It conveys emotions like loathing, contempt, or nausea.

o Visual Expression: Wrinkled nose, scowling face, shaking head.

o Example: A scene involving unpleasant sights, such as foul smells or horrific

actions.
 8. Adbhuta (Amazement, Wonder):

o Represents wonder, awe, and surprise.

o It evokes feelings of curiosity, astonishment, and delight.

o Visual Expression: Wide eyes, open mouth, raised eyebrows.

o Example: A magical or miraculous event, something that amazes or astounds

the character.

9. Shanta (Peace, Tranquility):

o Represents peace, calmness, and serenity.

o This rasa reflects inner tranquility, meditation, and divine contentment.

o Visual Expression: Calm face, slow and controlled movements, relaxed

posture.

o Example: A peaceful moment of reflection or a divine presence.

Flowchart of Navras:

Navras (Nine Emotions)

--------------------------------------------

| | | | | | | | | |

Shringar Hasya Karuna Raudra Veer Bhayanaka Bibhatsa Adbhuta Shanta

(Love) (Humor) (Sorrow) (Anger) (Heroism) (Fear) (Disgust) (Amazement) (Peace)

Conclusion:

The Natyashastra emphasizes the use of these nine rasas to create a deeply emotional and
immersive experience for the audience. Each rasa serves as a tool for the actor to
communicate a range of emotions, ensuring that the performance resonates with the
audience on a psychological and emotional level. By using a combination of gestures, facial
expressions, and voice modulation, actors bring these emotions to life, making the drama or
dance more impactful and engaging.
Pandit Vishnu Digambar Puskar:
Pandit Vishnu Digambar Puskar was a renowned Indian classical musician, highly respected
for his contribution to the world of Indian classical music. His name is closely associated with
the development of Hindustani Classical Music, especially in the Khayal tradition, and his
work played a key role in preserving and advancing classical music in India.

Early Life and Background:

 Pandit Vishnu Digambar Puskar was born in Pushkar, Rajasthan, and his early
exposure to music came from his family, which had a strong tradition of music.

 He studied under various gurus, developing his expertise in Dhrupad and Khayal
music.

 He was influenced by and a disciple of the legendary classical musicians of his time,
gaining profound knowledge and skill in vocal music.

Contribution to Classical Music:

 Vishnu Digambar Puskar was a prominent figure in the tradition of Khyal, which is
one of the main forms of Hindustani classical vocal music. He was instrumental in
popularizing and shaping the structure of Khayal singing.

 He was known for his improvisational techniques, his deep understanding of ragas,
and his ability to bring emotion into the music.

 His taals (rhythmic patterns) and ragas became a hallmark of his performances, and
he passed on his knowledge through students who furthered his legacy.

Notable Achievements:

 He was known for his vast repertoire of ragas and was celebrated for his vocal
techniques that combined technical mastery with emotional expression.

 He was a master in the Dhrupad tradition and had a unique style of singing that
emphasized both technical precision and spiritual depth.

Most Important Award in the Field of Classical Music: Sangeet Natak Akademi Award

The Sangeet Natak Akademi Award is one of the most prestigious awards in the field of
Indian classical music, theater, and dance. It is an honor conferred by the Sangeet Natak
Akademi, which is the national academy of music, dance, and drama in India, established by
the Government of India.

Sangeet Natak Akademi Award:

 This award is one of the highest honors for artists in the field of classical music,
theater, and dance.

 Pandit Vishnu Digambar Puskar was a recipient of the Sangeet Natak Akademi
Award, which recognized his lifetime achievements in the realm of classical music.

 The award is given annually to artists who have made significant contributions to
their respective fields.

Importance of the Sangeet Natak Akademi Award:

 The Sangeet Natak Akademi Award acknowledges an artist's excellence and

significant contribution to Indian classical music or performing arts.

 It is a highly coveted recognition that has helped elevate the status of classical
musicians, actors, and dancers in India.

Other Key Awards:

 Padma Bhushan and Padma Shri are other prominent national awards that recognize
extraordinary contributions to the arts and music in India, with Pandit Vishnu
Digambar Puskar being a recipient of these awards as well.

Summary:

Pandit Vishnu Digambar Puskar was a celebrated figure in the world of Hindustani Classical
Music, particularly in the Khyal tradition. He is renowned for his mastery of ragas and taals,
his exceptional vocal techniques, and his influence on the classical music community. The
Sangeet Natak Akademi Award, one of the highest recognitions in the field, was among the
key awards bestowed upon him for his exceptional contribution to Indian classical music.

What is Acting?
Acting is the art of performing or portraying a character or role in a dramatic performance,
typically in theater, film, television, or other forms of media. It involves the use of physical
movement, speech, facial expressions, and body language to convey emotions, thoughts,
and intentions of a character to an audience. Acting requires an actor to immerse
themselves into the personality of the character, often drawing on their own experiences,
imagination, and emotional depth to make the character feel real and relatable.
Acting in Relation to Vachik Abhinaya, Angik Abhinaya, Satvik Abhinaya, and Aharya
Abhinaya:

In classical Indian dance and theater, especially in the context of Natyashastra, acting is
categorized into four distinct forms of expression. These forms are central to the
communication of emotions, stories, and characters through performance. They are
described as:

1. Vachik Abhinaya (Verbal Expression)

 Definition: Vachik Abhinaya refers to the use of speech, dialogue, and narration as a
means of conveying emotions, stories, and thoughts during a performance.

 Relation to Acting:

o It involves the spoken word and is used by actors or dancers to communicate

with the audience.

o In theater, poetry, dialogue delivery, and intonation of speech are key

aspects of Vachik Abhinaya.

o In classical dance, the mood or emotion is conveyed through specific words

and verbal recitation that accompanies the dance.

 Examples:

o In drama or theater, it includes monologues or dialogue exchanges between

characters.

o In Indian classical dance forms like Kathak, Bharatanatyam, or Odissi, actors

or dancers use song lyrics or spoken verses.

2. Angik Abhinaya (Physical Expression)

 Definition: Angik Abhinaya refers to the use of body movements, gestures, and
postures to express emotions and convey meaning in a performance.

 Relation to Acting:

o It involves physical movement of the body—such as facial expressions, hand

gestures (mudras), and body posture—to convey meaning without the use of
words.

o It is essential in dance and theater for expressing a character’s emotions or

narrative without relying on speech.
 o The actor’s movement and position on stage help communicate different
aspects of the character's state of mind.

 Examples:

o In Bharatanatyam or Kathak, hand gestures and body posture are key forms
of Angik Abhinaya.

o In theater, an actor may portray a character's internal conflict or feelings

through physical movements, such as pacing or standing in certain postures.

3. Satvik Abhinaya (Psychic or Emotional Expression)

 Definition: Satvik Abhinaya is the expression of emotions or moods through facial

expressions, body language, and eyes.

 Relation to Acting:

o It refers to the internal emotions of a character that are expressed outwardly

through facial expressions and eye movements.

o This form of expression is deeply connected to the inner state of the

performer, making it an essential aspect of portraying authentic emotion.

o It is often considered the most intense and pure form of expression in

classical acting because it focuses on the subtlety of feelings.

 Examples:

o In Indian classical dance, Satvik Abhinaya involves the expression of

emotions like love, anger, sorrow, or joy through facial movements like eye
rolling, raised eyebrows, and smiling.

o In theater, Satvik Abhinaya is seen when an actor conveys deep emotions

through small, subtle changes in their eyes or expression, without saying a
word.

4. Aharya Abhinaya (External/Costume Expression)

 Definition: Aharya Abhinaya involves the use of costumes, makeup, and props to
enhance the character’s appearance and express their identity in the performance.

 Relation to Acting:

o This is the external aspect of acting, where an actor's appearance plays a

crucial role in the portrayal of the character.
 o It includes costumes, makeup, and stage props that help bring out the
physical traits and personality of the character.

o Aharya Abhinaya serves as a visual cue for the audience, helping them to
immediately understand the nature, status, and emotion of the character.

 Examples:

o In classical dance, costumes are intricately designed to represent the

character’s role (e.g., a goddess, a king, etc.), and makeup is used to
emphasize the emotion being portrayed.

o In theater, the costume and makeup of a character may be exaggerated to

reflect traits such as a villain's dark appearance or a heroine's radiant, bright
appearance.

Summary of the Four Forms of Abhinaya:

Type of
Definition Relation to Acting Example
Abhinaya

Vachik Verbal or speech-based Use of dialogue, song Poetry recitation, theater

Abhinaya expression. lyrics, or spoken verses. dialogue

Body movement,
Angik Physical movement- Hand gestures (mudras) in
gestures, posture to
Abhinaya based expression. dance, physical acting
convey emotion.

Facial expressions of
Satvik Emotional or psychic Facial expressions, eyes,
sorrow or joy in
Abhinaya expression. and internal emotions.
dance/theater

External appearance or
Aharya Costumes, makeup, and Costumes and makeup in
costume-based
Abhinaya props to signify character. theater and dance
expression.

Conclusion:

The four types of Abhinaya (Vachik, Angik, Satvik, and Aharya) provide the foundation for
classical acting in Indian theater and dance. Each type focuses on a different aspect of
performance, combining speech, body movement, emotional expression, and external
appearance to create a holistic portrayal of a character. These elements are essential for
conveying complex emotions and stories to an audience.