getting to the heart of hinduism - rm · pdf filegetting to the heart of hinduism: ... please...

Part 3: How to teach about Hinduism,

Getting to the Heart of Hinduism:

A Comprehensive Guide for RE Teachers

14 pages from the 80 page original INSET Guide Specially produced for Hertfordshire Primary Teachers for a

Conference on 7th October 2009

P a r t 3 : H o w t o Teach about Hinduism

Broad Guidelines Teaching Ideas Pupils Worksheets

For free advice and information on temples visits, guest speakers and INSET, please do contact:

ISKCON Educational Services, Bhaktivedanta Manor, Hilfield Lane, Aldenham, Watford, Herts., WD25 8EZ, U.K.

tel: +44 (0)1923 – 859578 fax/tel: +44 (0)1923 – 851005

e-mail: [email protected] Web-site: http://www.ies.iskcon.com/

http://www.ies.iskcon.com/

Part 3: Ho to teach about Hinduism, Broad Guidelines wSection 3

Teaching about Hinduism

The following are general guidelines on teaching about the tradition. • When teaching Hinduism, do not neglect to explore the inner life, the predominant

world-view and its attendant values. Focusing merely on external features may help portray the tradition as strange - even primitive and superstitious. Try, therefore, to consistently cross-relate practices to key concepts and core values.

• Consequently, when reciting stories at primary level, examine the values they

portray. In presenting exotic and unfamiliar practices, begin by exploring accessible concepts, such as people, belonging, sharing, the family, celebrating together, etc.

• When discussing concepts (especially in Years 5 and 6), begin with the notion of the

self before moving onto perceptions of God. Without students grasping the idea of an eternal self, its hard for them to relate meaningfully to a Supreme Self.

• Explore the idea of God in three places; everywhere, within out hearts, and outside of ourselves and this world. This can be most meaningful in an experiential approach, and is highly relevant to environmental issues.

• Do not confine Hinduism to India (with its often stereotyped images). As with other

religions, Hinduism has practitioners world-wide. • Nevertheless, Indian art, music, dance, crafts etc. are attractive features of the

tradition and contribute towards exciting learning. Make good use of the sights, sounds, smells and tastes! (At least until more recently, the link between Hindu religion and culture has been almost inseparable).

• Differentiate between (1) traditional beliefs and values, and (2) modern practices.

They are often quite different, especially with issues of emigration and acculturation. • Take into account the many types of Hindus - liberally use words like ‘some’, ‘many’

or ‘most’, e.g. “Many Hindus are fully vegetarian”. • Beware of using violent stories without understanding the concepts behind them.

They can easily be misunderstood. Select stories which affirm values you are seeking to instil in your age groups.

• Beware of using terms that might cause offence. For example, instead of “the gods”,

we advise you to use the word ‘deities’ (since it is inclusive of God, gods and goddesses and therefore accommodates the breadth of Hindu belief). Do not speak of ‘idols’, with all its connotations, but of ‘images’, ‘sacred images’ or ‘sacred statues’. Be careful also of how you use the word “mythology”. Some Hindus believe many of their stories to be true (albeit on a different level of reality).

• Additionally, be careful how you discuss the ideas of self and reincarnation. Hindus

do not believe that ‘they have a soul’ but that they are the soul, and possess a mind and body. Beware of misleading statements such as, “Hindus believe they have a soul which may come back in the next life as another person or even an animal”

Part 3: How to teach about Hinduism, Broad Guidelines Section 3 • Try to present Hinduism through the eyes of Hindus, as well as from the Western

viewpoint. Allow the tradition to speak for itself. For example, mention Hindus’ own version of their history (which could well lead to an interesting discussion on the nature of time)

• Beware of dismissing or pre-judging certain issues without trying to understand the

concepts and intentions behind them, e.g. caste, the “sacred” cow and arranged marriage. Beware of stereotyped portraits of these subjects. Focusing on the downside may eclipse any inherent value. Keep in mind that many social problems are caused by misapplication of principles, not necessarily by the principles themselves

• Keep in mind the many other generalised and popular misconceptions about Hinduism;

for more information, please refer to ‘The Heart of Hinduism’ teachers’ book. • Do not entirely equate “caste” with the system of four varnas and four ashrams. They

are not the same, though there is naturally some connection. • Make links and draw comparisons with other religions but beware of losing the

identity and integrity of each. Avoid building inappropriate bridges (e.g. we do not recommend that teachers refer to the trimurti as ‘the Hindu trinity’)

• Invite Hindu people to your school and arrange trips to temples. These lend life to

Hinduism as cannot be found in books alone. • Let learning be fun, for student and teacher alike! Further notes:

Part 3: How to teach about Hinduism, Teaching Ideas / Teacher Guides

Section 3 Section 3

Primary Teaching Idea 2 The following learning experiences are designed to help pupil’s explore Hindu (and other) notions of the self, and of ‘the real me’. It is highly relevant to SMSCD, and to other key curriculum areas such as inclusion.

(a) The Pointing Game Sit the students down. Announce that we are going play a game pointing to different parts of ourselves: we are going to do it quite fast and with either hand (both where possible) to make it more fun. Ask pupils to point, say, to their left foot. You can point closely to your own left foot encouraging them to follow you. Give them a second or two to do so. Then say: “Point to your right knee!” You point to your right knee, then…….”Point to your right thigh!”……”Point to your right wrist!”…..”Point to your nose!” etc. Eventually, after pointing to some 10 to 20 anatomical parts, say “Point to your self!”. Closely observe pupil reactions. This exercise can be comical and revealing with pupils performing all kinds of unusual movements & gestures. Ask them why they reacted as they did, and their experiences. Ask why they are unclear on such a basic fact! This allows them to start thinking about their own identity. You can now go on to explain the Hindu idea (and others, if you want) behind this; i.e. Hindu teachings say that the body is distinct from the self (atman) which resides within the body. That self is the source of consciousness and resides in the area of the heart (Not exactly in the heart; in the same way that a magnetic field might be in the area of your room but it is not bound by the room.)

(b) The Eating Game

Sit the pupils down preferably in an Indian cross-legged meditative posture. If you want, do some preliminary breathing exercises to aid relaxation and concentration (see Teaching Idea 5). Now give each student a biscuit (or, if you have none, do this as an imaginary exercise!). Ask pupils to slowly take a bite on the biscuit. As they do so, prompt them to consider when does the biscuit “become them”. In the beginning, there are 2 distinct objects, namely: (1) “a biscuit” and (2) “me”. At what point does the biscuit cease to be a biscuit and become “me”? Is it when the portion of the biscuit enters the mouth? When it slips down the gullet? When it is fully dissolved by the digestive juices or when the nutrients enter the bloodstream? With this exercise they might see that the biscuit is always external. In fact the whole body is itself external to the conscious self. The same goes for the mind, as can be evident though meditation and similar exercises.


Section 3

Section 3 Primary Teaching Idea 3

Creating a Display/Shrine

You can make displays for the classroom, corridor, foyer or elsewhere. They are particularly useful for special projects/days or multicultural events. They are a creative activity for your pupils, and can be linked to a relevant scheme of work. They also help inform others about the work of the RE department, and stimulate interest in the subject. You might want to create a shrine or altar as a display, or part of a display. In India it is common to see small shrines erected anywhere, on car dashboards, in shops or on the street. There is not much difference between a display and a shrine. A display could include other items not normally found on a shrine; for example, shrine in the centre surrounded by other artefacts. Building a shrine might be more relevant if you have Hindu pupils but is also valuable for non-Hindus. Although they will not give the shrine the same reverence a Hindu, they can at least learn to honour the fact that it is important to others. In making a display there is a huge range of items you can use, including practically anything from India! In creating a shrine or altar, some items are more appropriate, as we have listed herein. You might want to add others, and examples of students’ work. Props: a) For a Shrine

− Cloth or prayer shawl (traditionally red) − Murtis − Pictures of the deities (see the “Photo-cards”) − A small Shiva-linga − Conch shell − Divas/candles − Flowers, real or artificial − An arati tray (usually to the left side of the shrine) − Hindu Scripture e.g. Bhagavad-Gita & bookstand − Misc. brass/wooden/clay statues e.g. elephant, peacock, cow etc. − Incense in a holder − Peacock feathers/fan


Section 3 b) For a Display

− Indian fabrics/saris/prayer shawls − Books on Hinduism − Flower garlands, real or artificial − Packets of Incense − Musical instruments e.g. manjira or karatels. − Indian cooking implements/food (especially sweets!) − Divali cards − A Hindu calendar − Bindi & kumkum − Henna − Dolls/puppets − Jewellery − Indian craftwear − Prayer beads/neck beads − Rakhis

Do consider putting drapes or posters behind the display. You can also add live features (at certain times), such as:

• Playing background music (as included on the Heart of Hinduism “Audio CD”) • Burning incense • Light “divas” (see “Teaching Idea” 9) • Adding a bowl of traditional sweets (see “Teaching Idea 11”)

You might sometimes sit in front of the shrine, maybe cross legged on the floor) e.g. when teaching about worship or discussing meditation (see “Teaching Idea 4”). The shrine can be effective for parents’ evenings and for school inspections. If you have previously visited a Hindu temple, you can surround the shrine with pictures and accounts of the trip.


S Section 3 Teaching Idea 5 ection 3

Primary Teaching Idea 5

Dressing Up

(including Tilak, Bindi, Face-Painting & Mendhi)

We have specifically recommended in our Heart of Hinduism ‘Schemes of Work’ (Unit 1.3) that pupils dress up as main Hindu deities. Ideas for this specific exercise are listed below, followed by more general ideas for dressing up. (a) Dressing Up as the Main Hindu deities There are many options here. You might choose the Trimurti or the three main focusses of worship (which correspond to the three main traditions). We particularly recommend selecting the Trimurti plus their respective consorts (partners). In this way, you can discuss the Trimurti and the three main focusses of worship. (This exercise is useful for Year 6 students, as a preparation for work in secondary school; for example, it introduces then to the three main traditions within Hinduism). You may need some helpers for this exercise; most useful would be a couple of Hindu ladies, who can help in putting on saris. It’s a great way to getting parents or other Hindu ladies constructively involved. Here we give guidelines for six deities (the Trimurti and their wives). It’s not necessary to focus on them all, but the information is here if need it. If you highlight less deities, or choose some not included here, then amend the lesson as necessary. Select six pupils, three boys and three girls. Allocate other children to them, so that the class is divided into six groups. Provide pictures of the six deities, using the photo-cards (you’ll need to find a picture of Sarasvati – easily done on the internet - as she is not included in our primary selection). Provide the necessary clothes and props.


Section 3 Teaching Idea 5

Deity Props required

Shiva Trident, crescent moon (you can make this), snakes (preferable not real), small drum, imitation tiger/leopard skin, black wig (or a girl with long black hair), flower garland.

Brahma Red dhoti (robe), four arms (use another student!), scripture (e.g. Bhagavad-Gita), meditation beads, crown, flower garland, masks (four heads, please!).

Vishnu Yellow robe, flower garland, four arms (forewarned is forearmed!), lotus, conch, club and discus (these four symbols can be made out of cardboard; a CD makes a great discuss).

Shakti If Durga, then red saree, ten arms (uh, uh!), loads of bangles, bindi, weapons such as spears, swords, etc., Otherwise, select another form of Shakti , such as Parvati.

Saravati White saree (preferably with a blue border), flower garland, bindi, vina (could be made from cardboard), four arms, meditation beads.

Lakshmi Pink saree, jewellery, crown, flower garland, four arms (again!), bindi, gold coins (children can manufacture, but possibly avoid them printing any notes!).

Once dressed, then pair the pupils up and have them stand together. Show the Trimurti. Explain how Brahma is not generally worshipped (tell the story if you wish, and have the time). Introduce the respective wives. Then explain the three main communities, who worship Vishnu, Shiva and Shakti respectively (note: although this last group focuses on Shakti, worship often includes the other two goddesses as well; hence, only Brahma is excluded from the group .) Introduce tilak (refer to notes at end, and to page 132 of Teachers’ Book) Show: - Vaishnava tilak (U- or V-shape)

- Shaiva tilak (three horizontal lines) - Red dot on the forehead (bindi or chandlo); used by Shaktas and others.

Then, introduce the bindi, and give some out (you can purchase these inexpensively). Explore other items of dress; e.g. the saree, the dhoti (robe), nose-rings, ankle-bells, the chaddar (shawl), flower garlands (see the section below for more details).


Section 3 Teaching Idea 5 (b) “Dressing Up” (i) General guidelines There are many aspects of dress & costume. We have listed a few here in order to generate ideas for teaching. These guidelines were originally written for Key Stage 3, so you will have to amend them for primary level.

• The importance of the way we dress. What does it mean to us. How much time, effort & money do we put into it?

• Individual identity & group/sub-group identity

• Dress as an expression of the self (or ideas of self).

• The usefulness and practicality of uniforms. Forms of identification, badges etc.

• Ask, “Is dress determined by religious beliefs, functionality, climate, availability of raw materials, what the famous wear etc.

• Can we judge a man/woman by what he/she is wearing?

• In the UK do people still discriminate on the basis of dress?

• Dress & costume for special occasions. Regional variety of dress.

• The significance of colours.

• Do beliefs & philosophical concepts affect the way we dress? (ii) Dress in Hinduism - Points you can discuss in the classroom. Dress is a very important part of Hindu life. For those seeking ‘moksha’, bodily necessities are minimised, and dress is very basic. Some sadhus wear nothing at all! For other Hindus dress might be a joyful expression of life and their faith. Dress, however bright, should be dignified and traditionally not too revealing. Dress is usually bright, predominated by whites, oranges & yellows. Saffron is the colour of holy people, especially celibates and those preparing to depart the world. White is often the colour for widows, red for brides. Black is not the colour of mourning although it is becoming common at Hindu funerals in the UK. There are regional varieties in dress e.g. in South India there is a group of worshippers who do indeed wear black. Traditionally one could tell a Hindu’s position in society (their varna and ashram) by their mode of dress. Followers of Mahatma Gandhi wore “Khadi”, home-spun cloth, as an expression of their political beliefs. Although it is not necessary to dress in a certain way to be a Hindu, it helps. Hindu culture means dressing, eating, celebrating in a manner that automatically cultivates noble virtues and high ideals. Deities are famous for their dress e.g. Shiva wears a leopard or tiger skin, has matted hair, and carries a trident. Krishna wears a bright yellow “dhoti”, carries a flute and sports a peacock feather in his hair. Lakshmi wears a pink sari, whereas Radha likes blue. The West has imported some aspects of Indian dress e.g. pyjamas.


Section 3 Teaching Idea 5 (iii) Dressing Up - Classroom Activities

This is a guaranteed favourite with students. Do get help from Hindu parents if you can. This is an ideal activity for breaking down barriers, and promoting inclusion. Occasionally some students are too shy or express objections because or their own faith, and these wishes need to be respected. We have included herein a section (at the end) on how to put on a sari. The following garments are recommended:

• Saris for the girls. (We strongly advise you to avoid flammable materials. Traditional cotton or silk are the safest) • Punjabi suits • Dhotis for the boys/men (or the ‘lungi’, similar to the sarong). • Woollen shawls (India exhibits extreme temperatures, both hot and cold.) • Prayer shawls • Flower garlands (real or artificial). • Bindi; both kum-kum and the stick-on variety. • Bangles, if indeed you can get them! • Ankle bells and other jewellery. • Tilak • Turbans!

Face Paints.

These are similar to red kum-kum but are of from different colours. They are very popular with the girls. They are generally applied in dots and flowers about the eyes. A teacher or student (with a little artistic skill) can easily apply them. Mendhi

Hand painting uses a paste made from henna. It takes some time to prepare the traditional way but ready-made Henna paste is available in tubes. It is ready to apply and you can follow patterns or even use stencils, both of which can be found in UK “Indian shops”. Notes in Tilak

Tilak is usually made from clay from sacred spots in India, or (for Shaivas and Shaktas especially) from a sacred ash called ‘vibhuti’. The shape and colour of the tilak denotes the particular denomination to which the wearer belongs. Vaishnavas (worshippers of Vishnu) usually have a ‘U’ or ‘V’ shape, whereas Shaivites (worshippers of Shiva) decorate their foreheads with three horizontal lines. Shaktas (who worship the goddess) often simply sport a red bindi (dot0 between the eyebrows. Other parts of the body may also be decorated to sanctify and protect the body and mind. For Vaishnavas, tilak is applied to twelve parts of the body. We apply tilak by placing a few drops of water (often sacred water) in the palm of the left hand and, holding the clay in the right hand, mix a paste while reciting sacred mantras. We then apply the paste to the different parts of the body. Mantras are also recited while applying the tilak, done after each bathing (usually two or three times a day). Some tilak is processed, often with the addition of a scent, and comes in a bar.


Section 3 Putting on a Sari

Saris range from two to ten metres in length, and are commonly about 6 metres long. In this article, we show two styles, along with some variations. The instructions in point 1 are common to both styles. You may then proceed to point 2 or point 3 depending on your choice of style. 1. Initial Steps.

Tuck the upper, inner edge of the sari into the petticoat at the right front hip with the left hand. Tuck the upper border around the waist into the petticoat string-band. If you are simply putting the sari for a demonstration, then there is no need for a petticoat. You can put the sari over a skirt or even trousers; use the waistband for tucking in. Alternatively, you can tie a small knot using the corner of the sari and a small bunch of material from the upper hem. The knot should be at the right front hip. Make sure you start at the waist with the plain end of the sari, not the ornate end-piece. If the sari is hemmed, make sure the lower hem is on the inside so that it is concealed. Pleat 1-3 metres (depending on the length of the sari) of the cloth leaving about 2 metres free to drape around the body. You can adjust the number of pleats later, if and as the need arises. Tuck the pleats into the waistband, the final pleat being towards the body. 2. Northern Style.

Pass the remaining cloth round the left hip and drape it over the right shoulder from the back. Tuck the left corner (end of the upper hem) of the end-piece into the waistband at the left back hip. Take the cloth draping the back and shoulder and pull it over the head to form a veil. 3. Nivi Style

Pass the remaining cloth around the left back to the right hip. Pleat the end-piece, so it is approximately 6 inches wide. Drape the end-piece over the front left shoulder so it hangs down the back. Further options carrying on from Nivi style:

a) With veil (not shown in the diagram). Take the pleats at the shoulder and place the sari over the head draping the end piece over the right shoulder. You can leave this hanging or hold it with your hand.

b) Tamil style (last 2 diagrams). Take the left corner of the end-piece and wrap it around the waist from the right front side. Tuck it in the waistband at the left hip.


Section 3 Primary Teaching Idea 6

Meditation Exercises 1. Sit pupils on the floor. Ask them to sit cross-legged, preferably in the lotus position. They should sit upright with their back straight and head level. Placing their thumbs and first fingers together, they place their wrists on their knees. Then by half-closing the eyes and looking towards the tip of the nose they will be in a “meditation pose”.

2. Ask them to breathe in, slowly and quietly….and then out. Do the same again: “Breathe in slowly, concentrating on the breath…..hold it for a few seconds …. and gently breathe out, empty out the lungs and pull in the abdomen as if trying to make the navel touch the backbone.” Repeat again: “Let the abdomen out and then breathe in slowly again, filling the lungs….hold it or a few seconds….and gently out through the nostrils…” Repeat a few more times, as you desire.

3. Ask the pupils to give feedback on how they felt doing this exercise.

4. Discuss the effects of breathing on our minds and conversely how thoughts and emotions effect our respiration (and maybe other aspects of our bodies). Most pupils experience a calming effect. Discuss other environmental factors that calm and relax, or otherwise alter our state of mind. Do pupils have special places they go to or rituals they perform which help them unwind? Are there other practices and aspects of lifestyle in Hinduism that focus, control or otherwise affect the mind.

5. For pupils who have disruptive behaviour, you can make this into a game: whenever you say “Meditation” - at any time in the lesson - they must repeat the exercise, getting into the meditation pose as quickly as possible. This can be fun and a convenient way to regain pupils’ attention, especially when they are becoming “hyper”.

6. You might mention that Hindus sometimes use mantras and sound to aid meditation. Perhaps incorporate this exercise into other activities. Play music or mantras from the Audio CD as they relax. Ask for feedback. Discuss the effect of such sounds (or sounds & music in general) on the mind. What moods are induced? What images come to mind?

7. Indian philosophers have long argued that the next body is formed by the quality of mind’s functions in this life. When the pupil’s are relaxed, casually ask a question: “Have they heard about the man who had a habit of eating lemons?” Be descriptive: he would cut the juicy lemons in quarters and suck the juice. Then ask the pupils if they have saliva coming in their mouths! Is it real? Were the lemons real? If this effect can be achieved in a few seconds, then what is the long term effect of negative thoughts? Is it not possible, therefore, that the body is formed according to a person’s mental state of mind at death? (See in the Bhagavad-Gita Chapter 8, verses 5 & 6). Hindu practices include methods of controlling the mind, such as meditation. To demonstrate difficulty in controlling the mind, ask students to think of nothing. Take feedback. Try before and after the relaxation exercises or in various other situations. Does music help rid the mind of worries or unwanted thoughts? Can mantras help? You might also explore how all creativity takes place in the mind and through effort becomes manifest outwardly? Therefore is not “mind over matter” a reality?

Part 4: Hindu Resources Books: Sample Stories

Bundle of Sticks

A Story from ‘Vedic Stories from Ancient India’

This story is example of one that can be effectively used to explore values, specificially inter-dependence, co-operation and team work.

An old brahmin priest lived in a holy place, an ashram, with his seven disciples. They worshipped there some very old and famous deities of Radha and Krishna. Many people would come to see these deities and make donations for their worship.

The guru, however, was growing weak due to old age. He knew it was time to soon leave his body, but did not feel confident to hand over to his disciples the entire service of these deities.

One day a pilgrim donated a large ruby to the deities. "I think it should be sold for money," one disciple declared. "No, no!" another cried. "Radha should wear it." Yet another gave his opinion, "It would be far better if we cut it into

many small rubies. Then we could make a beautiful necklace for Her." The disagreement among the disciples carried on for so long that the

brahmin felt that the deities would never get Their ruby. But, he did not interfere. He wanted his students to learn how to manage the ashram themselves. After a while he said, "That's enough. Now each of you go to the woods. Bring back one stick, no more than an inch thick."

The seven disciples stopped their quarrelling and set out to obey their

guru's order.

Part 4: Hindu Resources Books: Sample Stories

When they returned, the old brahmin took their sticks. He tied them all firmly together with a couple of lengths of rope. He then asked, "Which one of you can break this bundle?"

The seven young men each tried in turn, but even the strongest failed. "It's not possible," they exclaimed.

Watch," their guru said, cutting the rope with a knife. Taking each stick on its own, he very easily snapped it in two. "I am getting very old. Soon I will die. You are like a bundle of sticks. If you try to help each other, cooperate and work together, you will be strong and serve me well. But if you become divided and fight, you will become weak like these separate sticks.

And then, who will care for our Radha and Krishna deities?" Realising their folly, the seven disciples agreed to set the ruby in a gold ring. That ring, they decided, was to decorate one of Krishna's fingers.

getting to the heart of hinduism - rm · pdf filegetting to the heart of hinduism: ... please...

Documents