In this sub-Approach spread over two sessions Jay Parkhe takes the mentee through two other techniques using terms from totally different subject, speciality, Music, Poetry.
In 1st Part we discussed,
universal emotions, what they look like, and why we’re biologically hardwired to express them this way:
In this part, we discuss with the Mentee:
Hindustani Classical Music: Different Kinds of Ragas
Rāga (Sanskrit: राग), comes from a Sanskrit word for “the act of colouring or dyeing”, or simply a “colour, hue, tint, dye”. The term also connotes an emotional state referring to a “feeling, affection, desire, interest, joy or delight”, particularly related to passion, love, or sympathy for a subject or something. In the context of ancient Indian music, the term refers to a harmonious note, melody, formula, building block of music available to a musician to construct a state of experience in the audience.
From a Mentor’s perspective these are important when I am using the ESTM sub technique as it is enriched by these emotions and testing their stability in the Mentee.
- Feeling 2. Affection 3. Desire, 4. Interest 5. Joy 6. Delight Relating to
A. Passion – I call it Pass-I-On or Pass-It-On.
C. Sympathy / Empathy
In ancient Indian Music Raga refers to
i. Harmonious Notes
iv. Building block of music
to construct a state of Experience for the audience.
I do not test each of them but once I have gathered and understood the Mentee’s interest, Passion, aptitude for one or more of the above I test them on the Musical level which is creating Harmony, Melody, Formula and Building Blocks of Success and their ability to do so.
This is not an easy exercise and the tough parts are : Feeling, Affection, Passion and Love. Some mentees mask their Delight, Joy, Sympathy, Empathy while the Real Pseudo Mentees who are out to play spoilsport and waste the mentors’ and their own time and efforts get exposed and usually quit or asked to quit by the mentor.
Music is a very powerful communication medium and it helps us find balance and calm, peace within us. Music begins to live on us and in the same way, Jay tests his mentees on what really ‘LIves on them, what makes them tick or untick or cool off” . This is a difficult exercise and Jay carefully chooses his mentees and whom to put to this test without announcing.
The third and final sub-set of this technique of S.T.E.M. is not from Music but another art form – Acting and it is called Rasa. It is said that Bharata Muni enunciated the eight Rasas in the Nātyasāstra, an ancient Sanskrit text of dramatic theory and other performance arts, written between 200 BC and 200 AD.
- In the Indian performing arts, a rasa is a sentiment or emotion evoked in each member of the audience by the art. The Natya (Acting) Shastra mentions six rasa in one section, but in the dedicated section on rasa it states and discusses eight primary rasa.
1Raudram rasa of the destructive fury of goddess Durga in Bharatanatyam
Related to love, eros (Śṛngāra, शृङ्गार)
Humorous, comic (Hāsya, हास्य)
Pathetic, disgust (Bībhatsa, बीभत्स)
Fury, anger (Raudra, रौद्र)
Compassion, sympathy (Kāruṇya, कारुण्य)
Heroic (Vīra, वीर)
Terrible, horrifying (Bhayānaka, भयानक)
Marvellous, amazing (Adbhuta, अद्भुत)
As an Accomplished mentor Jay Parkhe Tests the ABLE Mentees thru this E.S.T.M. Test and try out 2 o 3 of these parallels as Emotional stability tests. No mentee is ever ready to pass thru all 9 neiher is any mentor capable of conducting all without a sense of emotion, sadness at putting the mentee thru a grueling test, Scolding, presurising, autocratically, dominating which sometimes cracks the Best of mentees too.
As I have said before, these are not tests of Go, No Go nature -although they give a deep insight into the minds of the mentees and helps the mentor to specifically focus on the important ones.