NCERT introduces classical arts to schools

For the first time, India’s schoolchildren are getting a structured introduction to the country’s rich traditions of classical music, dance, and theatre through NCERT’s new Arts Education textbooks — Bansuri (Classes 3–5) and Kriti (Classes 6–8). The curriculum aligns with the National Education Policy 2020’s vision of rooting learning in the Indian ethos while keeping it joyful and experiential. Leading this initiative is Dr. Sandhya Purecha, Chairperson of the Sangeet Natak Akademi, a distinguished Bharatanatyam exponent, and head of the NCERT art textbook development team. In this conversation, she explains the vision, philosophy, challenges, and hopes behind the project.

Importance of integrating the arts into mainstream education – how did this vision take shape within NCERT?

The arts are not an “extra” activity — they are an essential part of human expression and learning. In India, music, drama, dance and visual art have always been intertwined with daily life, rituals, and festivals. Yet, our school system treated them as optional hobbies. The NEP 2020 gave us a mandate to change that.

NCERT formed committees of experts, artists, and educators. We debated, researched, and tested approaches for over a year. What finally emerged is a curriculum that respects tradition but is also playful and accessible. This is why Bansuri and Kriti are not heavy textbooks, but activity-driven guides full of songs, gestures, stories, and visuals.

Could you walk us through how the curriculum grows from Class 3 to Class 8?

Yes, In the early years, through Bansuri, children are simply introduced to rhythm, melody, and movement in a playful way. They might clap to a beat, sing a folk lullaby, or learn how a hand gesture can mean “flower.”

By the time they reach Class 8 with Kriti, they are ready for slightly deeper concepts. They encounter swar, laya, ragas, and basic mudras. They also experiment with composing short group performances that combine theatre, music, dance and visual art. There is a natural progression, almost like a river widening as it flows, giving full freedom for innovation and creativity.

Classical arts are often seen as “difficult” or “elitist.” How did you make sure students don’t feel intimidated?

That was one of our biggest concerns. We deliberately avoided technical overload. For instance, instead of teaching a student to sing a full raga, we introduce them to the idea that a raga has a mood — like happiness or longing — and demonstrate with a short phrase.

Similarly, in dance, instead of expecting them to learn a long Bharatanatyam item, we give them two or three hasta with pictures and invite them to try them in a school skit. This way, children get a taste without pressure. We want joy, not anxiety.

The textbooks cite ancient treatises like the Natyashastra and Abhinaya Darpanam. How did you translate these Sanskrit texts for young learners?

Those texts are the foundation of Indian performing arts, but they are written in classical Sanskrit, so yes, translation was key. We picked simple, relatable aspects. For example, Abhinaya Darpanam lists 24 single-hand hastas. We chose a few that children would enjoy, like “Pataka” (flag), “Hamsasya” (swan’s beak), and explained their meanings with drawings.

From the Natyashastra, we drew on the idea of rasa — emotion. Instead of a long discourse, we asked children to enact a happy face, a sad face, or an angry face. They immediately understood. It’s amazing how timeless these concepts are when you present them in the right way.

What role do the digital elements — QR codes, videos, audios — play in this curriculum?

They are absolutely vital. Imagine a student in a remote village — their school may not have a tabla player or a Kathak teacher. But with one QR scan, they can hear a tabla beat or see a dancer perform tatkar (footwork). It brings the lesson alive.

We have carefully curated these clips, keeping them short and engaging. They act like windows into the real performance world. Students can listen, watch, repeat, and explore at their own pace.

How do you see teachers adapting to this? Many may not have formal arts training.

Teachers are our true heroes here. The textbooks are designed so that even a teacher without arts training can guide activities. Instructions are step-by-step, with diagrams and stories. In workshops, we have seen teachers themselves enjoy learning mudras and clapping rhythms!

Also, because the books are multilingual, a teacher can connect lessons to their own culture. For example, a Marathi teacher might add an abhang, while a Bengali teacher might bring in a Rabindra Sangeet. That flexibility is encouraged.

What has been the response so far from schools, parents, and students?

Overwhelmingly positive. Parents have told me that their children now come home and show them a mudra or sing a folk song. Teachers say that even shy students open up during arts periods because they enjoy expression.

Interestingly, even parents and teachers of senior classes are browsing these books. They say, “We never had this in our time!” That makes me very happy. Arts should be for everyone, not only specialists.

You mentioned group performances as part of assessment. Could you give an example of what that might look like?

Certainly. A Class 4 group might choose a story from the Panchatantra. Some students narrate, some act with abhinaya, some use mudras, while others sing a background song or play a rhythm with claps or simple instruments.

The idea is collaborative creation. They are graded on effort, imagination, and teamwork. No one is judged on technical perfection. This nurtures confidence, cooperation, and creativity — qualities that go beyond the classroom.

Beyond skills, what values do you hope these arts textbooks will instill in students?

Arts cultivate sensitivity, discipline, and respect. When you learn a mudra, you are also learning patience. When you sing in a group, you learn to listen to others. When you explore a raga, you touch an emotional depth.

Most importantly, students will see that our culture is not old-fashioned but vibrant and meaningful. They will realise that the lullaby their grandmother sings or the folk dance of their village has a place in the same continuum as Bharatanatyam or Carnatic music. That sense of rootedness is priceless.

Looking to the future, how do you hope Bansuri and Kriti will shape the next generation?

My dream is that every Indian child, no matter where they are from, grows up with a basic vocabulary of our arts. Whether they become engineers, doctors, farmers, or artists, they will carry this cultural literacy with them.

In the long run, I hope this will create a society that values art not as luxury, but as necessity. If even one child, inspired by these books, decides to pursue the arts seriously, that will be wonderful. But even if not, the exposure itself will enrich their lives.

Dr. Sandhya Purecha’s vision is clear, India’s heritage is not meant to sit in museums, but to live in classrooms, playgrounds, and everyday life. Through Bansuri and Kriti, NCERT has taken a bold step to ensure that generations of children will not only read about their cultural traditions but sing them, dance them, and experience them firsthand. Additionally Indian values like spirituality, social responsibility , Ahimsa, Karma, respect to nature, elders, etc are also a part of the over all development.

Sandip Soparrkar holds a doctorate in world mythology folklore from Pacific University USA, an honorary doctorate in performing arts from the National American University, He is a World Book Record holder, a well-known Ballroom dancer and a Bollywood choreographer who has been honored with three National Excellence awards, one National Achievement Award and Dada Saheb Phalke award by the Government of India. He can be contacted on sandipsoparrkar06@gmail.com