In Media : SPANDAN Festival of Performing Art 2016

SPANDAN festival of performing Arts 2016 found a few mentions in the media and online world. A few more good articles are expected. I shall keep updating this post.

On the day of “Facilitating the Living legends” along with Nartanam, THE HINDU, listed in the happenings dairy

2016-05-19_03-15-12

Distinguished dance critic, Smt Manjari Sinha covered SPANDAN in her weekly column World Dance Day, in STATESMAN on May 12, 2016

Statesman covers SPANDAN Fest of performing Arts

STATESMAN regular online version

STATESMAN epaper version

The May calendar on Narthaki mentions SPANDAN

BuzzInTown lists WORLD DANCE EVENING of MAY 26

Blog of PRIYALASYA has the invites

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THE HINDU – Friday Review on dance by Leela ji features Sreeni’s photos

Celebrated dance critique Mrs Leela Venkataraman’s weekly review on dance performances in the capital, titled WINDS OF EXCHANGE was embellished with Sreeni’s two photographs – that of Kathak and Ballet confluence – Fragments of dreams, and the other is of the FLAMENCO performance by the troupe from SPAIN as part of the festival, CONNECTIONS by Indo-French choreographer Rukmini Chatterjee.

The HIndu Friday Review March 28, 2014 2

Rukmini chatterjee;s fragments of Dreams

Rukmini chatterjee;s fragments of Dreams

Fragrments of Dreams - Rukmini chatterjee's Concept, Sanjukta Sinha's soulful execution with Anuj and Fernando

SPANDAN featured in the THE HINDU this friday – ‘Everything thrown in the mix’ by Mrs Leela Venkataraman

Cross-genre performances and a discussion on classical dance’s new contexts marked World Dance Day

World Dance Day, little known till just a few years ago, has today assumed a prominent presence with celebrations across the board featuring cross-cultural dance events. Natya Vriksha’s annual Young Dancers’ Festival for this occasion had its open-house seminar built round the theme of “What is classical anymore?” with Dr. Kapila Vatsyayan chairing the session and summing up with her keynote address. Rajiv Chandran in his introduction referred to the challenges in India’s classical arts, evolving for years in a cyclical society, now confronted with a linearity where the scramble for change and being different have cut into the in-depth approach required in these art forms.

Dancer-teacher Jamuna Krishnan talked of how Bharatanatyam had been preserved for years — with the firm realisation that one cannot play with the grammar of the form. The itemised approach today with the margam inertia has forgotten that the prana of the dance has to be kept intact. Manipuri guru Singhajit Singh bemoaned the exhibitionistic nature of performance art, which was losing the meditative strength of forms like Nata Sankirtan, the very soul of classical Manipuri. Geeta Chandran, founder president of Natya Vriksha, wondered if in a climate where the economics of dance are skewed, she could in all fairness ask even her really talented students to take up dance as a fulltime career. The intelligent and articulate young dancers Anvesha Mahanta (Sattriya dancer, disciple of Ghanakant Bora), Sneha Chakradhar (disciple of Geeta Chandran) and Swati Sinha (disciple of Kathak guru Rajendra Gangani), very briefly voiced the challenges of making their respective classical dance forms relevant to the compulsions of the present, rather than what constituted classical dance. Kapila Vatsyayan in her brief address referring to the dialectics between performers and audience in a changing spatial-cultural context, maintained that the ultimate decision remained with the dancer not to make compromises with the classical dance form and to aim at “transcending the body through the body” — reaching out for the formless through the form. Varied responses from the audience made for a lively session. That the grammar and rigour of classical dance and the body as instrument were only means to an end — beyond the individual and market concerns — needed to be understood.

Kalamandalam Sangeeth Chakyar’s Koodiyattam excerpt showing Ravana, from “Torana Yuddham”, was an eye-opener in the Nirvahanam sequence, where Ravana reminisces on his encounter with Shiva and his lifting of Mount Kailash, with a frightened Parvati, setting aside her jealousy of Ganga lodged in Shiva’s locks, running to Shiva for protection — bringing to a happy end the misunderstanding between the divine couple. Parvati’s suspicious queries about tiny strands of hair, of a pair of eyes, of eyebrows, of breasts, are sought to be explained away by Shiva as a swarm of bees, as darting fish, as waves in water, and as a pair of chakravaka birds, respectively. Brilliant in the alternate roles of Shiva and Parvati in the narrative, Sangeeth Chakyar’s abhinaya prowess, heightened by the bhav-packed resonance of the mizhavu with the percussionists seated behind him, made for a rare treat. The promising artiste was greeted with standing applause at the finish.

Swati Sinha’s Kathak, after a vibrant Durga stuti showing “Ashtabhujadharini Ambai”’ and “Vrindavasini”, proceeded to a fine Dhamar presentation, where authoritative precision kept pace with grace. The crazy movement of the bols ‘tithigata gadigina dha’ in the paran, the bedam tihai, and later the Holi gat in drut laya with a kavit were all gems of virtuosity with sensuous appeal. In “Aaj rakho mori laaj Keshav”, introduced as Guru Rajendra Gangani’s poetry, in which the Draupadi vastrapaharan episode became a metaphor for the assault on women today, the dancer was convincing. But the unimaginative music needs to evolve.

At the Azad Bhavan, Shovana Narayan’s Asavari celebrated World Dance Day with her students in an Ashta Nayika presentation visualised with vasakasajja set to seven matras, virahotkanthita in nine matras, swaadheenapatika in 10 matras, kalahantarita in 11, khandita in 12, vipralabdha in 13and proshitapatika in 16 matras. The interpretative passages were generously interspersed with nritta sequences, performed with joy and clean profile by the disciples. The music, more in the ghazal freewheeling mode, had mishra ragas. The abhinaya of the students needs to evolve. For instance, the khandita in “Kaheko mere ghar aye ho” in Sohini needed more anger along with the anguish.

Rushing across from Azad Bhavan to the India Habitat Centre, one caught the last half hour of Shallu Jindal’s high-profile Kuchipudi performance for a packed auditorium. Shallu’s nritta in the tarangam, woven into the finale of the tarana in Natabhairavi composed by the late Ravi Shankar, was sufficient proof of a finished dancer, the rhythmic combinations in the plate dance spelt out with clarity and accuracy. She is emerging as one of the prime disciples of the Reddys. Aditi Shelva, with her Hindustani training, sang the tarana with melodious control. Pranab Joshi on tabla, Annadorai on violin, Javed Khan on sitar and Bhasker Rao on mridangam, with Kaushalya Reddy’s nattuvangam, combined well.

Cross-cultural celebration

Symbolising the World Dance Day spirit in all its cross-cultural bonhomie was “Spandan” at India Habitat Centre, visualised by R. Sreenivasan, co-founder of Career Launcher. Starting with “Dance Through My Lens”, an interaction with photographer Avinash Pasricha, the evening presented an entertaining blend of dances. Along with Swami Dayanand Saraswati’s “Bho Shambho” in Revati presented in Bharatanatyam with the sculptured majesty of frozen stances, Nicolina Nicoleski from Croatia also presented with grace a ballet “Lakme” based on music by French composer Leodibes. A disciple of Mayurbhanj Chhau guru Janmejay Sai Babu, Columbian Carolina Prada’s “Nataraj” was a clean winner. With its demanding balance in one-legged stances, including the Nagabandha freeze, movement rendered at a very slow pace, the performance saw the dancer highlight with crystal clarity the opposing tranquil and tandav manifestations of the deity — one benign and the other evil-destroying. The same dancer later presented a Columbian folk dance “Cumbia” with a partner, the frilled swirling skirt creating entertaining geometry, followed by a sword play of coffee planters, a dandia-cum-fencing piece danced with sticks. Nitisha Nanda first presented an Odissi rendition based on Ravana’s Shiva Stotram (the music in a chanted recitation in strong metre) done with clean technique and expressional enthusiasm, but with a tendency for foot contact fractionally faster than what the music warranted. She later went on to present superb belly dancing! A disciple of Meher Mallik, Nitisha, undoubtedly gifted, must take care to preserve the sanctity of the two very different movement forms in their own respective spheres. Paola Santa Cruz presented Flamenco ‘Salon’ with plaintive sadness and lively Tan, concluding with Buleria with a group, providing a glimpse of the exuberant participation, with syncopated hand clapping. Quincy Kendell Charles from Trinidad and Tobago, now under the training of Prerana Shrimali, the Kathak dancer-teacher, gave an immaculate presentation of Dhamar, the 14-matra cycle both in footwork patterns and bandishes very competently rendered. With a packed Stein auditorium, the cosmopolitan audience encouraging every move, the evening was a great success.

The HINDU article quotes Sreeni – Engaging quieter students for greater participation – June 20, 2012

Lively classrooms filled with boisterous students make for some very buzzing teaching sessions. But lost among the ‘full of beans’ students are some quieter learners. They may be punctual and diligent, paying attention and completing their work on time, but they never raise their hand for an answer. Ask them a question and they will most likely clam up, becoming reluctant to speak.

There may not be any disciplinary issues, but the ‘withdrawal from communication’ bothers many a teacher hankering for complete class participation! Alternatively, there is the frustrating element of how to gauge knowledge and understanding of the quieter lot. Not to mention the worries of how the reticent will fare in the workplace tomorrow.

Engaging young minds - Indus world school

Engaging is a primary need for learning and development

Research proves that educators subconsciously harbour negative expectations of the ostensible ‘wallflowers’. They are habitually perceived as less intelligent, less capable, less interested and less enthusiastic than their more vocal counterparts. Inadequate oral responses automatically reflect on low achievement, lack of preparation and even resistance to learning. Teachers also tend to concentrate on more verbal students and ignore the seemingly quiet ones.

Some well-meaning teachers do try to cultivate speaking skills in unusually quiet students, but being ill-equipped, end up doing more harm than good. For instance, the obvious solution to ‘get them talking’ is to give quiet students more opportunities to speak. But forcing oral performance by asking direct questions, verbal testing or marks for participation are indeed counter-productive. The pressure can be exhausting, making them quieter or even interfering with their learning! So, the monumental question is should educators challenge quiet students or are they better left alone?

Drawing them out of their shell

Mrs. Meenal Arora, Executive Director, Shemrock and Shemford Group of Schools cautions, “Ignoring the fact that a child is quiet and withdrawn can have adverse impact on the holistic development. This ignorance can also have serious repercussions on the affective, cognitive and psychomotor development.”

What is imperative is to assess why some students choose to remain quiet and withdrawn. The reasons can range from shy and introverted nature to poor communication skills to low self-esteem to fears or apprehensions of even peer discrimination. Students may not understand the subject matter, dread that their answer might be wrong, struggle with communication or simply not want to communicate.

Skilled observation coupled with private conversation can help educators pinpoint the worries and assess whether the quiet student needs professional help. Keep in mind that forcefully trying to change an introverted personality can create hostility. Further, understand that silence is not always a problem. It can be a personal learning style that should be respected. Some students actually prefer to use the productive space to carefully listen, reflect, process and introspect in a way that fosters learning.

Teachers can help quiet students develop a public voice by cultivating a warm, relaxed, supportive and colloquial classroom environment. Allow students to get to know each other with permissive, unrestricted communication without letting it get out of hand. “In order to help such students, an environment with a sense of security and respect should be developed in the classroom. There is a high tendency to miss out such students amidst the highly verbose student crowd. A successful teacher should be able to look for such quiet students and give them the extra care and attention with a very friendly approach”, suggests Amritha V, Faculty in Soft Skills, Corporate & Industrial Relations, Amrita Vishwa Vidyapeetham University, Kerala.

Encourage the withdrawn ones to become more active participants through drama, role-playing or simply reading aloud. Form small groups or panels of two to five students as they may be reluctant to speak individually. Let them speak from their seat when needed, as opposed to standing in front of the whole class! Mind group dynamics where overbearing, verbose students may intimidate others into silence.

Mr. Rajiv Seth, Registrar, Teri University advises, “Very often it is just an initial stimulus which is required on the educator’s part, to draw the ‘quiet’ student into the learning process.

This can come through gauging the areas of strength of the ‘quiet’ student and then structuring a presentation related to the topic on hand, around those areas.”

Ask open-ended questions that persuade quiet students to contemplate or hypothesise aloud as a means to exchange ideas and construct knowledge. Seek participation but sans any threat or pressure to demonstrate their learning/ achievement or penalising lack of involvement.

Hitachi executives with IWSB students in a classroom discussion

Hitachi executives with IWSB students in a classroom discussion

Mr. R. Sreenivasan, Director, Indus World School of Business adds, “If the learning environment is collaborative and exploratory, rather than directive, in due course of time the positive reinforcements from the process will make an individual open up. The facilitator in the process will have a significant role to play in creating experiences that could be transformational. These processes will give positive feedback that makes an individual realise his or her self worth and gain confidence.”

Never criticise, confront or attempt to grade their performance. But do provide positive reinforcement by valuing and appreciating any verbal contributions. As Mrs. Arora continues, “Provide them with an environment wherein they will feel free to step forward and express themselves in the best possible way. Motivate them to take initiative to participate in group activities. Also, appreciate their efforts so that they feel good about themselves and make such efforts in the future as well.”

Use technology to engage this segment like email, online discussion boards, blogs, wikis or social media and build their confidence. As writer Susan Cain observes in her book, Quiet: the Power of Introverts, “They’ll gain confidence by tweeting their ideas and seeing them recognised by their peers. That confidence will spill over into their ‘real world’ interactions, I predict.

Once they’ve savoured the pleasure of participating in a discussion and seeing their ideas validated, they’ll be hungry for more!”

Finally, “Evaluation should be based upon what a student knows, not how much a student talks.

After all, a student who is listening is more likely to be learning than a student who is talking”, comments Professor of Communications, James McCroskey. Mr. Seth adds, “What is more important is to make all the students ‘intellectually participative’ rather than ‘vociferously participative’!”

Payal Chanania

faqs@cnkonline.com

In Media – SPIC MACAY 27th National Convention, NITK, Surathkal : My humble contribution

It has indeed been a honor and privilege to contribute to the cause of the movement of SPIC MACAY, through my passion for Photography. Capturing all performing arts and activities during the convention has been of value in propagating the cause of SPIC MACAY. While the convention was underway, every evening, photographs taken there, flew into the media offices! Even after the convention, there have been many an article, feature and review in media wherein my photographs accompanied.

I am trying to put these things together here… Thanks to Tiwariji and Manoj, NITK student volunteer for media, who were tailgating the media to publish. My sincere thanks to Leela ji and Manjari ji for carrying my photos to accompany their reviews; also kind of them for sending across the links to and copies of the articles.

FOR READING ANY ARTICLE, CLICK ON THE RESPECTIVE PHOTOGRAPH…You will go to the larger versions or to the article directly that is easily readable…thanks
For my daily reportages that I did from the venue, kindly go to SREENI on SPIC MACAY Stage. You will be able to go through every day reportage by choosing the respective day of the convention, from the series of articles there.

The Hindu – Leela ji’s Friday Review in Delhi, e-paper and other editions

My photo of Sugreeva appears with the article here
My photo of Sugreeva appears with the article here

 
 

[the photo has been labelled wrongly in The Hindu edition – The character shown in the picture is Sugreeva and not Bali, and the performer is not Margi Madhu. Madhu was Bali]

Here is the photo from my series…

Sugreeva trying to enlist Rama and Lakshmana for his cause : Bali Vadham
Sugreeva trying to enlist Rama and Lakshmana for his cause : Bali Vadham

 
 

Jansatta – Manjari ji’s article in Delhi

Guru T N Krishnan's inaugural concert
Guru T N Krishnan’s inaugural concert

 
 

Here is the photo from my series…

Guru T N Krishnan's inaugural concert
Guru T N Krishnan’s inaugural concert

 
 

The Statesman – Manjari ji’s article in Delhi

My photo of Padmashri Shri Chittani Ramachandra Hegde..Yakshagana with article
My photo of Padmashri Shri Chittani Ramachandra Hegde..Yakshagana with article

 
 

Here is the photo from my series…

Padmashri Shri Chittani Ramachandra Hegde..at 79, still going strong
Padmashri Shri Chittani Ramachandra Hegde..at 79, still going strong

 
 

The Times of India – Mangalore and Bangalore

Though Times of India published a longish column with two of my photographs, I wish I had written the column too… Look at the headlines “Musical Extravaganza” and “Six Music groups enthralled”, while we had six of the most prominent and celebrated exponents of the Indian Classical forms of the nation performing! It is insensitive, ignorant and of course hilarious for those who are serious about the purpose and the vision! In the era of paid reportage, this is the standards so called ‘national newspaper’ dishes out!

Yet, we all should be happy that the news appeared in one of the most followed ‘colorful’ newspapers… It is another story to figure out how many read this article in this ‘colorful’ daily!

NITK sways to nightlong musical extravaganza?!
NITK sways to nightlong musical extravaganza?!

 
 
and here are the photos that appeared in the above articles. Click on the photos to see the larger versions on FLICKR
 

Pt Rajan Mishra and Sajan Mishra setting the pace for the overnight
Pt Rajan Mishra and Sajan Mishra setting the pace for the overnight

 
 

Friends from pakistan giving final touches to their work in the intensives
Friends from Pakistan giving final touches to their work in the intensives

 
 

The Times of India 31st May

Guru Margi Madhu as Bali in Bali Vadham, Koodiyattam!
Guru Margi Madhu as Bali in Bali Vadham, Koodiyattam

 
 
and here is the photos that appeared in the above articles. Click on the photo to see the larger versions on FLICKR
 

Guru Margi Madhu as Bali in Bali Vadham, Koodiyattam
Guru Margi Madhu as Bali in Bali Vadham, Koodiyattam

 
 

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The Deccan Herald, Indian Express and Udayavani

SPIC MACAY 27th national convention coverages in the three newspapers
SPIC MACAY 27th national convention coverages in the three newspapers

 
 
The Deccan herald covered reasonably well about the convention, still if you go through the text, you feel, as a participant you would have produced a much better reportage. Scribes do only superficial work. Rush to the venue, catch hold a few and ask some random questions and make a ‘pulao’ of it in half-an-hour! After all they all are doing their ‘job’! Why do not the newspapers really ask the participants to write about?

Even after mentioning clearly in the text that went along with the photographs, about the details there in, they publish in a way that can add ‘sensation’! In India Express, instead of “Students (from Pakistan and India) of Guru Dhananjayans performing Bharatanatyam during the intensive presentations” it appears “Pakistani artists performing Bharatanatyam during ……”.

And the article in Indian Express should have spoken about Gandhi Smriti that facilitated charkha spinning!

The Udayavani

Pt. Rajan and Sajan Mishra and the Bharatanatyam intensive presentation
Pt. Rajan and Sajan Mishra and the Bharatanatyam intensive presentation

 
 

Here are my photographs that you can see in the aforesaid newspapers –

Discussion time at Hatha yoga session; Yoga starts at 4am!! It is magical
Discussion time at Hatha yoga session; Yoga starts at 4am!! It is magical

 
 

Gandhi Smriti facilitated the students to learn Charkha Spinning and creating yarn
Gandhi Smriti facilitated the students to learn Charkha Spinning and creating yarn

 
 

Students (from Pakistan and India) of Guru Dhananjayans performing Bharatanatyam during the intensive presentations
Students (from Pakistan and India) of Guru Dhananjayans performing Bharatanatyam during the intensive presentations

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Indian Express and Prajavani

The guru sishya duo - Madhavi ji with Arushi Mudgal performing
The guru sishya duo – Madhavi ji with Arushi Mudgal performing

 
 
The photograph is here…
 

The guru sishya duo - Madhavi ji with Arushi Mudgal performing
The guru sishya duo – Madhavi ji with Arushi Mudgal performing

 
 
 

The puppetry intensive performance practice
In prajavani – The puppetry intensive performance practice

 
 

The photograph is here…
 

The puppetry intensive performance practice
The puppetry intensive performance practice

 
 
 
I also gather that in may cities and towns, we have used the photos and reports to keep the media abreast of the happenings in SPIC MACAY national convention. I will be delighted and obliged if you could send across links or reports that have appeared in your city or state with my photographs.

Kindly feel free to use any photo from the SPIC MACAY stream (link given under) to use it in your city – for media, SPIC MACAY publications and collateral..

I hope you enjoyed the journey as much as I did, bringing to you….the live action
 
Thousands of captures of SPIC MACAY conventions, see on my Flickr collections
Like my Facebook – Photo and Visual Arts Page

The Hindu – quotes from my write up on Emotional Intelligence

 

Emotional intelligence - The Hindu Column
Emotional intelligence – The Hindu Column

 

I posted the answered detailed questionnaire, a couple of posts ago. Here is the link to the article / questionnaire

CORE STANDARDS OF TEACHING, The HINDU column, April 18, 2012 – Sreeni’s quotes appear

As I shared in one of my earlier posts, Teaching – Vision, rationale and personal standards , was my response to a questionnaire sent by THE HINDU for one their articles.

Here is the link to the published one, article online, in The HINDU opportunities page. This article was written by Payal Chanania, of cnkonline, after interviewing a few educationists.

I am including the text version here..

———————–
All teaching is designed towards preparing students for success in such a way that they emerge as responsible and grounded adults of tomorrow. Teachers are the guideposts that show them the way for achieving high-quality paths ahead. But attaining such meaningful development requires educators to hold themselves up to certain definitive standards. This comprises of the basic philosophy underlying their teaching and governing their conduct in the classroom.

What standards do you expect of yourself?

The personal vision or critical rationale that a teacher is committed to achieving is quite difficult to define. The challenge lies in carefully reflecting on and conceiving what you are really committed to (and how).

Most teachers echo that they see themselves as more of facilitators. Mr. Rajiv Sethi (Retd.), PhD Registrar and Professor of Finance, TERI University voices the sentiment, “The first thing I look at is to move away from the traditional role of a teacher – which was to ‘teach’, and move into a slot where I as a teacher, ‘facilitates’ learning.”

Ms. Joy Puvana, Faculty, Business Communication, TalentSprint expands, “The role of a teacher doesn’t consist primarily of lecturing about a specific subject to students who sit in rows at desks, dutifully listening and recording what they hear, but, rather, offer every student a rich, rewarding, and unique learning experience!”

This will prompt a true love for learning in the hearts and minds of the students. But encouraging active learning requires the educator to be equally passionate and committed to the subject, as it proportionately influences student motivation. Students will then be willing to push themselves, explore new dimensions and seek new possibilities. Promoting critical thinking and problem-solving is considered imperative as well.

Helping students identify and explore their passions so as to find what they truly love doing is next on the list. In the words of Mr. R. Srinivasan, Co-Founder, CL Educate Ltd. and Director – Indus World School of Business, “It is all about enabling an individual to set goals for oneself and chasing them. Once that happens, everything else will fall in place!”

Imparting true understanding of the subject is an important teaching standard. Prof. R. Dheenadayalu, Dean (ICT), Saveetha Engineering College, says, “My personal vision is that every student understands the topic clearly and should be able to apply that when he encounters a problem.” Even Mr. Ishan Gupta, Founder and CEO, Edukart.com agrees, “We aspire to make our participants understand the concepts of the subject and also imbibe experiential learning.” Mr. Sethi especially mentions, “I should be able to connect new knowledge to today’s context, so as to be able to pass-on a better understanding to the students.
I must be able to foster cross-disciplinary learning, so that the students can understand the nuances of every aspect of a problem and can then approach the problem in a holistic manner.”

Teachers also wish to build an engaging and joyful classroom atmosphere as it helps students truly understand and learn. Accordingly, they should draw on their expertise and aspire to make their subject matter as meaningful as possible.

Developing good ethics and values is considered important as well. This calls on teachers to highlight the importance of hard work, perseverance, honesty, integrity, courage in the face of adversity and so on as the ultimate path leading to true success.

The importance of fostering a collaborative, interactive and supportive environment is not overlooked either.

Incorporating a variety of instructional strategies deserves a special mention as it enables teachers to easily adapt to diverse learning styles of the students.
“Although there is no ‘right’ method for teaching a particular lesson, but a teacher should be efficient enough to choose the right instructional method depending upon concept, context, topic and needs of learner”, so says Mrs. Meenal Arora, Executive Director, Shemrock & Shemford Group of Schools.

Putting the standards to work

To achieve these teaching standards, educators have to model the expectations. Mr. Srinivasan explains, “I create experiences in the learning environment that enables learners to realise and comprehend the concepts through experiential learning, more than the theoretical lectures of the concepts.
So, for me, learning is bottom-up.”

Even for Ms. Puvana, “Constructivism approach to teaching is best – activities that encourage students to construct pieces of learning by themselves.” Mr. Sethi feels, “By moving away from just classroom lectures, to much more of classroom discussions and assignments which stimulate critical thinking. By moving away from rote learning to learning from role-plays where one gets a chance to explore one’s own knowledge, what one lacks, and what needs to be learnt to be able to meet the challenges ahead.” Believing in the students’ abilities while providing due support and encouragement is also important. When it comes to evaluating whether one has really accomplished the standards, Ms. Puvana offers, “I would like to evaluate my success not only by the student’s scores, but also by their progress in their lives and careers!”

For Mrs. Arora, “The result of a teacher’s efforts is visible in the accomplishment of her students. If a child has understood and inculcated the subject and values being taught by the teacher, she would surely demonstrate a positive change in thinking and behaviour.”

To sum up, teachers play a very strong influence in students’ lives. But the core effectiveness of the teaching community does not rest only in their knowledge of the subject but also encompasses the overall standards, characteristics and behaviour when they actually teach!

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