i) Introducing age-appropriate Arts awareness and learning for every class (AAAAL)

ii) Using of Arts as a segue (AAAS) into all subject learnings- language, history, geography, biology etc

1. Material must be age appropriate with the focus on the first age group on local. So instead of being prescriptive, ideas must be offered like the reflection of elements of nature around them (so songs and dances about the earth, sky etc), the environment and geographical forms around them (rivers, mountains, plains etc), shapes and patterns that they see - circle and square, straight line and curved lines in dance movements, animals and their movements. Local teachers will find local songs, dances, images etc to illustrate these points (It can be suggested how to go about it, but one pattern being suitable to all is far-fetched).

2. So the child can in the second phase move to the region and be made aware of the two ideas of culture - Culture with the big 'C' and culture with the small 'c'. Culture with a big C- represents that part of culture which is most visible. Some visible forms of culture include dance and music, festivals, holidays, art, popular culture, literature, and food. When learning about a new culture, the big C cultural elements would be discovered first; they are the most overt forms of culture. When you spell culture with a small c- it reflects the routine aspects of life, such as the things people know, believe, and do within a culture scape. It includes styles of communication, conceptions of time, and notions of beauty, goodness, and rightness. Normally the child at this stage is aware of the world around him and so a regional spread is a good idea. At this point, ideas of classical, folk, tribal, rural, urban can be introduced.

3. In the third stage, as we continue with the Local to global trajectory, the student can be introduced to learning an art of his/her choice - like classical music, dance, etc. This is a bit tricky since all schools and locations may not have that access to these more complex forms. Here we need to consider what is our agenda with the arts? Are we for instance trying to teach the student any of the eight classical dance forms? This is a troublesome thought by itself and will dilute the quality of excellence and complexity that Indian arts, particularly its dances are known for. So, to go back to the question of the agenda- I ask again, is it practice, appreciation or a "creative attitude" that we desire in our children? And to push with argument, I ask the second question, towards what end? To create a 'rasika', a 'kadardaan', a 'kalakar' (practitioner) or a 'srijnatmak' or creative being? Iwould like to take a moment here, to clarify what I see as the difference between a 'rasika' and a 'kadardaan'. A 'rasika' is deeply appreciative of the artistic experience, while a 'kadardaan' recognizes that if we were to be more child centric, the right question to ask is what is it that they desire? Here we have a lead contained in the thought that is behind the NEP - Joyful learning. So noting that reduced the quotient of joy should pollute the planning.

4. At the third stage it may benefit the child to be exposed to global arts. This is a suggestion that keeps the ideal of cultural intelligence in mind. Cultural intelligence is about tolerance, respect and understanding of another's culture. This is in keeping with India's ancient wisdom principle- "Vasudhaiv Kutumbakam". Here given the fact that it is hard to access good example of international cultures maybe we could look at being somewhat prescriptive and expose the students to a pre-planned arc of knowledge, using ideas like percussions from around the world, etc, that will not require them to navigate unfamiliar languages. We should look also of going beyond western centric arts.

5. Every effort must be made to get the teaching staff oriented to this brilliant idea. At present, most teachers are oriented towards a STEM dominant, rote learning inclined, marks-oriented form of teaching. They all need to be brought back on to the same page from where the NEP starts in its idealism and vision for incorporating the arts. Without the teachers this is a non-starter project, so we need to invest in training the trainers as urgently as we need to invest in the teaching material and the syllabus.

6. It is true that many artistes may find employment with the new demands that the NEP will create urgently, but not always is a good artiste a good teacher. So we need to think of ways of reverse bridging, how to get the artistes, oriented to the needs of formal school and educational pedagogy. This may require 'special short term training modules' for the artistes so that they can move from the individuality that sense of self ('swa' which gives us 'swara', 'swabhiman', etc) which the artiste requires to pursue an artistic career, and sacrifice it when taking on a school teacher's responsibility.