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From student to teacher, how ISTD examinations have been part of their success
Following a three year research project commissioned by Akademi, the ISTD’s South Asian Dance Faculty was set up in 1999 to include graded examinations in Kathak and Bharatanatyam with the first set of examinations taking place in 2001. Now, under the energetic Chairmanship of Sujata Banerjee, the Faculty continues enthusiastically with its mission to expand the pursuit of examinations, provide top quality teacher and examiner training, and increase the knowledge of safe and thorough South Asian dance practice worldwide.
Today, teachers of Bharatanatyam and Kathak all over the UK, in parts of Europe, as well as in the USA and Canada, are putting forward their students for the ISTD examinations. What makes these accredited examinations special enough to draw worldwide attention? See what those who have personally embarked on the ISTD journey have to say in response to that question. Several students who have gone through the ISTD’s graded examinations, possibly the vocational levels too, and have gone on further to take up teaching roles have shared their experiences with us.
Nina Rajarani, MBE
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Shivani Sethia, disciple of Gauri Sharma |
At the age of seven years, when I started learning Kathak from our neighbourhood teacher, I did not think that it would become such an important part of my being. Having been brought up in India, it was not unusual to learn some sort of Indian classical dancing, and so I also became a student of one. Many years later, the training still continues, through learning and teaching. Two years ago, I started teaching Kathak at the Encee Academy in London where, apart from learning the art form, the students gain an insight into the Indian culture too. Kathak, like any other classical art form, is taught with a certain routine and structure. While teaching in this country, one has to keep in mind the psychology of the students here, and so as a teacher I try and create a fun environment as they learn the technique. The journey from training to teaching is a natural one, however, the structure that is provided through following the ISTD’s Kathak syllabus has ensured that this journey has been a focused one.
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Bhakti Raval, disciple of Nina Rajarani MBE |
Bharatanatyam is a dance form that I have been engaging with for many years, yet today I am still unfolding the intricacies of this dance form. At the age of 14, I joined Srishti’s dance school. Entering a new community of dancers who shared my passion for the dance form was exhilarating and felt like a breath of fresh air. It was here I began a whole new journey with the ISTD.
My guru, Nina Rajarani, had already encouraged the majority of her students to undergo the ISTD examinations for a number of years; these ISTD exams were considered a norm in her school’s curriculum and the students’ ladder to progress. I'd never thought there could be a way in which my progress as a Bharatanatyam student could be accounted for, so naturally this was welcome news to me. For a student to achieve in this examination system, they have to fully understand, both practically and theoretically, the ‘ins and outs’ of what they are learning. There are no shortcuts. It didn’t take me long to realise what the ISTD’s South Asian Dance Faculty is striving for; the Faculty’s determination combined with my passion for dance has made it possible for me to qualify as a dancer without any room for ignorance.
The thoroughness of the training that the ISTD’s Bharatanatyam syllabus enforces has made me a wholesome dancer and I take pride in knowing that when I am imparting this knowledge to others, it is not half-baked. My guru’s utmost aim is that the art form for which she has dedicated her whole life, doesn’t suffer dilution in generations to come. When her students are provided with the training that this path prescribes, there is no risk of that happening.
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Sonam Shah, disciple of Sujata Banerjee |
I have been learning Kathak for nine years, working my way through Grades 1 to 6, and I have started to assist in teaching Grade 1 and 2 students.
ISTD Kathak examinations have provided me with a strong foundation from which to develop as a dancer. The syllabus covers a good range, from warm-ups to Laya and Tala (tempo and rhythm), performance and theory, whilst allowing the freedom to choose which individual pieces to perform. I also feel that the progression between each grade is of an appropriate standard and I particularly enjoyed the Grade 6 exam in which we were able to dance accompanied by sitar and tabla.
I feel privileged to be assisting in teaching Kathak, as I remember always wanting to learn to dance. Teaching is challenging and fun, and it has contributed to developing many important skills such as leadership and confidence. Ultimately, it is very rewarding to see an improvement in the students’ abilities when you have helped them. The ISTD Kathak syllabus has been an integral tool in this journey and I feel that the South Asian dance community has benefited greatly with this credible examination system.
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Trishna Kumari, disciple of Gauri Sharma |
I have been passionate about Kathak from an early age and it is this passion that has led me to being a student of Gauri Sharma Tripati for the last 10 years. During this time, my dedication and commitment has led me to performing at many prestigious events. I pride myself on my patience and attention to detail and I believe that this has helped me to develop my teaching skills, whereby I have, over the last three years taught and brought students up to Grade 2 examination level at ENCEE Academy (London).
Furthermore, as a British Asian, I feel I am in a position to make a connection with my peers (Asian and non-Asian) in order to promote Kathak dance – a style which I passionately believe needs further advancing. Although this may be tough, I approach this as an exciting challenge by educating students about the culture and roots and keeping them enthused about this unique ancient art form. Having the ISTD’s Kathak syllabus as the driving force behind the teaching, this has enabled my teacher to provide training of a disciplined and structured manner which in turn, has informed my teaching methods in the same way.
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Jahnavi Harrison, disciple of Nina Rajarani MBE |
I studied Bharatanatyam from age four, continuing for about eight years before taking some time out for a while. I returned to dance aged 17, feeling a bit too old to start again but yearning to experience the joy of movement once more. I longed to hear the hard clack of the tattukazhi; to stretch my limbs into those old familiar shapes and stamp my feet in complex rhythms.
I returned to dance classes with a new teacher, Nina Rajarani, at Srishti's dance school. Here students had already been taking the ISTD exams for several years, and it was an accepted part of the learning process. I was duly entered into the Grade 3 exam, and after a few months of hurried practise and painful hours in adavu class, found myself standing before an examiner performing Bharatanatyam. It was a little surreal. I'd studied Ballet as a child too, taking the ISTD exams each year, and I'd often thought of what it would be like if there was some kind of exam to qualify what I'd learnt in my Bharatanatyam classes.
Measuring, structuring and qualifying learning is very important as a student, and I think the way the ISTD exams encourage and facilitate this is vital. Even though one could say it's a small part of the exam experience, just receiving a definitive grade (hopefully good!) after each exam is a great motivation to work hard and really strive for excellence. Though it would be wonderful if all dance students felt this way without external incentives, I think these days anything that motivates and inspires should be capitalised upon.
I completed Grade 6 a few years ago and reflecting on the experience, I would conclude that it's been very valuable. The requirements of the exams encouraged me to approach my study of dance holistically - so not just thinking about learning a piece, or some steps, but examining those things in context - asking questions like ‘Why?’ and ‘How?’ and exploring the theory that underpins the practical technique.
Assigning specific adavus and repertoire items to specific grades gave me a clear system of advancement that I can now consider implementing as a budding teacher. Emphasis on understanding of the body and safe dance practice has enhanced my experience greatly. I've also enjoyed the sense of community that comes with taking part in the ISTD system. Meeting other students at ISTD events and coming into contact with the variety of examiners has been enlivening and inspiring, giving me a broad perspective on the UK dance world.
Looking forward to passing on the knowledge I've gained, the most important thing the ISTD exams have given me is confidence. The clear structure and discipline of going through the ISTD experience has given me a solid foundation upon which to build my own dance identity, whether it be as a teacher, performer or student.
Today we can stand proud of the South Asian dance community’s achievement in facilitating the creation of such young, budding dance enthusiasts. It is hoped that through the continued growth in the number of dance teachers gaining confidence to put forward their students for ISTD’s Kathak and Bharatanatyam examinations, we will continue to come across many more such success stories.
Nina Rajarani MBE |
