World is nothing other than sound and rhythm. If you worship sound and rhythm, you know more and more about the reality of the world.

Pandit Divyang Vakil (known as Guruji, or “respected teacher”) is a tabla and rhythm guru renowned for his teaching excellence. In his expansive teaching career of over 40 years, he has produced innumerable music professionals. After performing for many years with stalwarts of Indian classical music and dance, he gave up his performing career to dedicate himself to his teaching and spiritual commitments. urrently Guruji Pandit Divyang Vakil is conducting extensive rhythm training for Kathak dancers across the globe.

Guruji Teaching Tabla

Guruji Teaching Taalvidya to Kathak Dancers

Composer Category Traditional Tabla Composition

Composer Category Contemporary Dance Composition

GURU

Guruji Pandit Vakil is not only a mentor but also a sincere well-wisher of his students. With his knowledge of music, and kinship with philosophy and spirituality, he teaches not only the practical aspects of tabla, but also the spiritual aspects of the art. He fully immerses himself in the process of teaching, understanding each of his students on a personal level as he guides them in their musical journey. No compromise is permitted when it comes to the musical progression and advancement of the student. Balancing the traditional guru-shishya parampara with the modern society, he has developed his own teaching pedagogy for today’s student of rhythm and has expanded beyond tabla to teach the depths and secrets of rhythm to performers of other percussion instruments.

Currently Guruji is conducting extensive rhythm training for Kathak dancers across the globe. His Taalvidya programs for kathak dancers aim at providing a deeper Understanding of the rhythmic patterns around which the artform revolves, giving an insight into the fundamental structure of the art which opens up many new possibilities for an artist to explore.

He draws on his formal training from great maestros of not one, but three gharanas: the late Pandit Sudhirkumar Saxena (Ajrada Gharana), the late Ustad Latif Ahmed Khan (Delhi Gharana) and the late Ustad Allarakha (Punjab Gharana) in his teaching, in addition to teaching own modern rendition of classical tabla and Indian rhythm concepts.

Tabla and Rhythm Instruction in INDIA

Guruji Pandit Divyang Vakil began his teaching career in his hometown of Ahmedabad, Gujarat, India; where he founded Rhythm Riders Music Institute. Over the years, Rhythm Riders has provided tabla and rhythm training to a countless number of students and music professionals, many of whom now also teach tabla around the world. At present, Rhythm Riders provides intensive instruction to a selected group of budding tabla artists, who are deeply committed to the practice of the art. Dedicated students of all ages, nationalities, and backgrounds wishing to further their training in tabla and/or understanding of rhythm are accepted on a case by case scenario. For more information on music training in India with Pandit Divyang Vakil and Rhythm Riders, Contact us

Tabla and Rhythm Instruction in US

Since the late 1990’s, senior students and professionally performing artists of Guruji Pandit Divyang Vakil have been carrying on the classical art of tabla in eastern United States with his guidance through the Taalim School of Indian Music (Link the new website URL). With 8 locations across five states, the Taalim School has been providing quality instruction to hundreds of students, and has reached thousands more through workshops and performances. All Taalim teachers have learnt how to teach tabla in Guruji’s unique tabla pedagogy. Guruji teaches private classes and conducts regular workshops for tabla students, percussionists, and music lovers under the auspices of the Taalim School across the United States. For information on classes and workshops with Taalim School and Guruji in the US, Contact us here

Taalvidya for Kathak Dancers

Guruji Pandit Divyang Vakil has been conducting extensive rhythm training for Kathak dancers across the globe and introduced the ‘Taalvidya’ program for Kathak Dancers. The Taalvidya training aims at providing a deeper Understanding of the rhythmic patterns around which the artform revolves, giving an insight into the fundamental structure of the art which opens up many new possibilities for an artist to explore. Currently, over 150 kathak dancers belonging to all age groups and experience levels are being trained by him through exclusively designed and meticulously conceptualised courses, classes and workshops. Learn more about the ongoing Taalvidya courses and events.

Tabla compositions

Traditional Kathak

Contemporary

Pradhanica

THE COMPOSER

A prolific rhythm expert, Guruji Pandit Divyang Vakil’s work as a composer extends well beyond tabla. As a tabla composer, he has given shape to a contemporary form of classical tabla playing though his body of work that numbers in the tens of thousands of compositions. His work flows with the sound of modern music, while retaining the classical essence and richness of the tabla tradition. As a rhythm composer, he has created works for a variety of instruments including African djembe, Korean janggu, drumkit, zen tambour, dholak, and more.

He has worked on several music and dance projects as a composer, including a collaboration with Kerala martial art form of Kalaripayattu. His latest work in the field of contemporary compositions for dance is for the collaborative stage production Pradhanica (meaning a female leader) – a kathak dance and world drums ensemble, where he composed music for Indian rhythms for the djembe, cajon, and tabla particularly exploring the possibilities of expressing emotions through rhythm.

As a rhythm innovator, Guruji’s work not only includes composition, but revitalization and invention. Recognising his inputs and extensive work in modernizing classical tabla playing, some eminent Korean percussionists requested a similar conceptualisation for the janggu – creating new rhythm structures to expand the repertoire for the instrument, all while respecting the traditional modes of playing. Experiments have included modifying the actual drum to create new sounds, increasing its vocabulary.