Singh 1

Harvey Singh

10126320

Inst 101f

01/07/2023

The article is about the indigenous or Indian knowledge systems within the guru-

shishya parampara, or master-disciple institution, in tabla (percussion) communities in North

America and India. The author draws on their fieldwork experiences in tabla communities in

various regions to examine the anthropological and musical journey into the world of tabla.

The chapter focuses on embodiment, dreaming, and experience as a basis for understanding

the other. It reflects on how this experience challenged traditional anthropological beliefs and

models of fieldwork and ethnographic writing. The paper builds upon anthropological models

of lived experience that emphasize the importance of everyday experiences and the

acquisition of performative knowledge in cultural reproduction and transformation.

The article’s main thesis argument is that the author’s experience as a tabla player in

the context of the guru-disciple relationship offers insightful information on the

anthropological understanding of the lived experience and cultural transmission. The author

contends that to either preserve or change their artistic lives and traditions, and people must

have daily experiences, especially those that include the acquisition of performative

knowledge. Given that our relationships with other people are predominantly mediated

through bodily interactions, the author considers it important as it highlights the crucial role

of the body in forming lived experiences. Additionally, it strongly emphasizes the importance

of embodiment and lived experience in understanding cultural traditions. It makes the case

that any theory of lived experience must consider the bodily component of our relationships

with others since people live their lives via their bodies. The embodied quality of
 Singh 2

ethnographic texts should be reflected in their inclusion of anthropological, individual,

cultural, political, and perhaps even spiritual knowledge.

Four Major Arguments Made the Article

To begin with, the apprenticeship method questions established anthropological

assumptions. Nuttall states, “It questions the basic assumptions about how we do what we do,

the doing of anthropology (Nuttall 324).” Adopting the apprenticeship approach to studying

the doing of anthropology leads to a reconceptualization of the fieldwork process itself. By

questioning the basic assumptions about how anthropology is done, such as how

anthropologists learn and work within postcolonial fields, this approach opens up new

possibilities for understanding cultural lives and traditions. This argument is significant

because it encourages anthropologists to consider the embodied experiences of themselves

and the people they study, recognizing the importance of lived experience in knowledge

production. Second, there is also the argument that the guru-disciple relationship as a unique

form of learning. Nuttall states that Today in India, there seems to be a trend toward having a

guru, or numerous gurus, who mentor people in all facets of life, whether it be in a

profession, an art form, a spiritual endeavour, or anything else (Nuttall 324). The statement

suggests a cultural shift, where people increasingly value mentorship, guidance, and

knowledge from gurus in various fields, not limited to spiritual or religious aspects of life. As

such, it highlights the value of constant contact between the student and the master and the

process of adopting the teacher’s wisdom, mannerisms, and outlook on life. This argument is

important because it clarifies the unique dynamics of information transmission and the close

relationship between the guru and the student.

Third, there is the argument about the role of masters in the Tabla community. The

article strongly emphasizes the tabla masters’ contributions to the development of the art. It

talks about renowned masters who helped revive the tabla as a solo instrument and spread its
 Singh 3

fame around the globe, including Ustad Allah Rakha Khan, Ustad Zakir Hussain, and others

(Nuttall 326). The writers emphasize the value of studying under these masters and the

dedication needed to master the intricate rhythmic structure of the tabla. Fourth, there is also

the argument on methodological implications for anthropology. The article casts doubt on the

conventional anthropological portrayal of others and highlights the value of embodied

contextually dependent anthropological practices. In a statement by Nuttall, “Re-evaluating

the meaning of ethnographic experience and knowledge production must begin with our

assumptions about the relationship of the fieldworker self and the subsequent textual other

(Nuttall 330).” By challenging our assumptions about the relationship between the

fieldworker self and the textual other, we can aim for a more nuanced and reflexive approach

to ethnographic research. This re-evaluation can help promote greater awareness, sensitivity,

and accountability in producing knowledge about other cultures and communities. It

necessitates reconsidering how the fieldworker self and the textual representation of the other

relate to one another. The apprenticeship approach challenges the subject-object divide,

which calls for anthropologists to actively interact with and learn from different cultural

selves. The author makes a case for anthropology’s knowledge-production process to be more

experiential and participative.

Two Major Concepts to Help Explain Its Significance

The first concept is that of linguistic flows, and this idea emphasizes how language is

dynamic and related across many international contexts. The textbook examines how cultural,

social, and political variables affect languages, dialects, and linguistic practices (Alim et al.

36). This idea offers a paradigm for comprehending the complexity and flexibility of

communication, particularly in multicultural contexts. The article advocates for an embodied

understanding of the other that prioritizes connecting with people on a deeper level than just

verbal communication. Anthropologists can better understand various cultures by overcoming

 Singh 4

linguistic barriers and embracing embodied experiences. This is consistent with linguistic

flows since it acknowledges that communication includes non-verbal clues such as body

language, gestures, bodily expressions, and spoken words.

Another one is the concept of youth identities. The concept sheds light on the

significance of young people’s perspectives and experiences in shaping cultural dynamics

and social change (Alim et al. 89). “Global Linguistic Flows” explores how hip-hop cultures,

often driven by young people, challenge dominant discourses and redefine notions of identity

and belonging. The article acknowledges the value of experience and embodiment in

understanding the other. It emphasizes the importance of subjective experiences and

individual narratives in anthropological study by focusing on dreaming. Dreams can offer

insight into people’s inner worlds, desires, anxieties, and cultural connotations. Goals help

young people express their ambitions, aspirations, and challenges in the framework of their

identities as youth, which helps us comprehend their lived realities more sophisticatedly.

One Way To Understand The Significance Of Hip-Hop, World Drums, And Classical

Indian Drum As Cross-Cultural Texts

One approach is to investigate the idea of apprenticeship in tabla communities,

particularly within the guru-shishya tradition. The significance of hip-hop, world drumming,

and classical Indian drums as cross-cultural texts can be understood using this

anthropological method founded on lived experience and embodied knowledge. Researchers

who use an apprenticeship methodology can fully immerse in the cultural setting, learn from

experts, and gain personal performative understanding. This method emphasizes the close-

knit relationship between the guru and disciple, enabling a greater comprehension of cultural

customs, music, and traditions. Researchers can obtain insight into the connection of self and

others through apprenticeship by experiencing the cultural embeddedness in their bodies,

 Singh 5

transcending geographical barriers. The intricacies and transformational impact of cross-

cultural musical forms like hip-hop and traditional Indian drumming can be better understood

with this concept of embodied experience.