The simmering feud between sitar virtuoso Rishabh Rikhiram Sharma and Anoushka Shankar has reached a crescendo, with the Pandit Ravi Shankar Music Institute delivering a knockout blow to Sharma’s controversial claim. Asserting himself as Panditji’s ultimate shishya during a public function, Sharma ignited backlash that prompted this authoritative intervention.
The institute’s statement paints a clear picture: brief instructional sessions do not equate to formal discipleship in the guru-shishya parampara. No guruswadhyaay, no ritualistic announcements in the presence of a pandit—nothing of the sort transpired. On that fateful 2012 concert date, a frail Pandit Ravi Shankar merely offered a polite introduction, praising Sharma’s potential without bestowing the mantle of shishya.
Delving deeper, the response highlights Sharma’s actual mentorship under Parimal Sadaphal, distancing him from direct, prolonged tutelage under the sitar legend. Panditji’s authentic final disciples? Nishad Gadgil and Dr. Scott Eiseman, following the early starters Shubhendra Rao and Anoushka Shankar.
Sharma, celebrated for his fusion hit ‘Shiv Kailashon Ke Vaasi’ that marries tradition with contemporary flair, now grapples with damaged credibility. This saga reveals the rigid protocols guarding Hindustani classical legacies, where words carry eternal weight. Anoushka’s initial dismissal gains institutional backing, potentially reshaping narratives around Panditji’s enduring influence. Music lovers ponder: can innovation thrive without historical accuracy?