Ravi Shankar Centre Disputes Rishabh Rikhiram’s Claim of Being ‘Last Disciple’

The Ravi Shankar Centre has officially challenged the assertion made by sitarist Rishabh Rikhiram Sharma, who has claimed to be the last disciple of the esteemed musician Ravi Shankar. The Centre released a statement on February 27, clarifying that while Rishabh’s musical abilities are acknowledged, his connection to Ravi Shankar does not meet the traditional criteria for disciple status in the Indian classical music context.

No Formal Initiation Recorded

According to the Centre, Rishabh’s relationship with Ravi Shankar lacked a formal initiation process, known as Ganda-Bandhan, which is a traditional ritual that typically marks the entry of a student under a guru.

The Centre referenced a January 2012 incident, which Rishabh’s representatives often highlight, depicting it merely as an informal ceremony at the request of Rishabh’s father. This event allegedly did not include the customary elements such as rituals, a priest, ceremonial thread, or broader witnesses.

Clarification on Public Introduction

The statement also referred to a public acknowledgment during a concert, where Ravi Shankar introduced Rishabh to the audience without designating him as a disciple. The maestro reportedly mentioned that he had recently welcomed a new, promising student and offered him a few lessons. The official position indicates that the term “disciple” was never utilized in this introduction.

Continued Teaching and Artistic Legacy

Furthermore, the Centre pointed out that following Ravi Shankar’s departure from India in March 2012 due to health concerns, there was no continued structured teaching. This aligns with sentiments expressed by Anoushka Shankar, the renowned sitarist and daughter of Ravi Shankar, who emphasized that the title of disciple carries significant weight in the realm of Indian classical music, typically earned through years of dedicated training rather than a limited number of lessons.

Discussion on Guru-Shishya Relationship

The ongoing dispute has ignited a wider dialogue in musical circles regarding the defining characteristics of a genuine guru-shishya relationship, moving beyond narratives shaped by social media and fleeting

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