‘Misperceptions, misdated photos, inaccurate timelines’: Ravi Shankar Institute issues statement on Rishab Rikhiram’s ‘disciple’ status
In a detailed official statement, the Ravi Shankar Centre said that while it appreciated Rishab Rikhiram Sharma’s talent, it is imperative to clarify the false reports regarding claims of him being a disciple of Pandit Ravi Shankar.
The statement, issued by Amitavaa Ghosh, Director of the Ravi Shankar Institute located in Delhi’s Chanakyapuri, said that in the system of Indian classical music, “the word ‘disciple’ carries deep meaning”, is “not symbolic” or “established through an informal moment” and is a relationship that “evolves over many years of guidance and commitment”. “A few lessons and a brief appearance in concert/video cannot be considered equivalent to that level of formal, rigorous and immersive training,” he wrote in the statement.
This Centre was also a home to Shankar whenever he was in Delhi and remains one to his family. The clarification follows growing public discussion over Rishab’s references to Pandit Ravi Shankar as his guru and him being the youngest and last disciple of the sitar giant. The statement mentions that the youngest disciples were Shubhendra Rao and Anoushka Shankar (who were four and seven respectively when they began learning) while the last were Nishad Gadgil and Dr Scott Elsman.
The statement comes in the wake of a public spat after Anoushka Shankar, in an interview to Humans of Bombay said that there was some “misunderstanding about Rishab’s guruship” and that he learned mainly from her father’s senior disciple Parimal Sadaphal, and had a couple of lessons from her father. “We knew him from childhood because he was the son of our instrument maker Sanjay Rikhiram Sharma. So somehow that has got blown up into some story of him being his last disciple or the youngest disciple, which isn’t true.” Her comments prompted a rebuttal from Rishab last week, who maintained that his association with the maestro was deeper than being suggested.
Rishab, on Friday, responded with an official statement, describing, in detail, his Ganda bandhan ceremony (official thread ceremony symbolic of a guru’s acceptance of a formal disciple) from January 2012. Rishab also mentions a session that lasted hours where Pt Ravi Shankar asked him to perform the same raag that his wife Sukanya Shankar had played for him on YouTube in the US.
In the timeline that the Centre has mentioned, Rishab had an informal string tying “at the persuasion of Rishab’s father” and “due to affection for the young child”. Ghosh writes that no priest was present, as is customary in the Ganda Bandhan ceremony, and no formal announcement was made, no other students or extended family were invited. “Guruji did not conduct a formal initial discourse or several hours of teaching that day. The mentioned ceremony was entirely impromptu. The event has been retrospectively amplified beyond what occurred,” said the statement.
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The statement also debunked the claim of prolonged or remotely supervised instruction to Rishab and that Shankar saw no YouTube recording prior to the “string tying”. “And it was not based on the review of the same, did he decide to personally nurture Rishab, conduct an extended evaluation or formally accept Rishab as a disciple,” the statement said. The Centre also refuted a photograph that Rishab had put up, claiming that it was not taken on November 30, 2012. Shankar was in San Diego at the time. “He was critically ill and preparing for hospitalisation at the time before he passed away on 12 December, 2012.
Furthermore, many other photographs are under circulation and misunderstood to be ‘proof’ of a guru-disciple relationship,” said the statement,” which added that it did not seek to “diminish Rishab’s talent or musical efforts” but added that Pt Ravi Shankar’s musical legacy deserved precision and seeks to correct “inaccurate timelines, misperceptions around the nature and amount of instruction and confusion around the word disciple”.
Suanshu Khurana is an award-winning journalist and music critic currently serving as a Senior Assistant Editor at The Indian Express. She is best known for her nuanced writing on Indian culture, with a specific focus on classical music, cinema, and the arts.
Expertise & Focus Areas Khurana specializes in the intersection of culture and society. Her beat involves deep-dive reporting on:
Indian Classical Music: She is regarded as a definitive voice in documenting the lineages (Gharanas) and evolution of Hindustani classical music.
Cinema & Theatre: Her critiques extend beyond reviews to analyze the socio-political narratives within Indian cinema and theater.
Cultural Heritage: She frequently profiles legendary artists and unearths stories about India’s tangible and intangible cultural heritage.
Professional Experience At The Indian Express, Khurana is responsible for curating and writing features for the Arts and Culture pages. Her work is characterized by long-form journalism that offers intimate portraits of artists and rigorous analysis of cultural trends. She has been instrumental in bringing the stories of both stalwarts and upcoming artistes to the forefront of mainstream media.
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