Dance

Prakar

Teentaal and its understanding

2 Tihayi

Chakri

Hastak

Mudra

Tatkars

Nritya, Kathak Nritya

Taal

Laya and its types

Theka

Maatra

Aavartan

Vibhaag

Sum, Taali, Khaali

Thaah Barabar

Sem 102:

Practical

Thaat – 1

Salami – 1

Aamad - 1

Saada toda – 5

Dadra Taal – 1 Song

Keherwa – 1 Song

Thaah, Dugun & Chaugun of Teentaal, Jhaptaal, Dadra, Keherwa

Definitions of terms: Thaat, Salami, Aamad, Toda

Discussion on music & its two leading systems in India

Hindustani Classical – North Indian Music and Carnatic Classical – South Indian Music

Dadra Taal – 1 SongKnowledge of recording Tatkar, Taal, Theka, Toda in Bhatkhande or Digambar system of notation

Basic information Teentaal, Jhaptaal, Dadra & Keherwa

2 Thaat

1 Salami

1 Amad

Sada Toda – 5

Chakradar Toda – 1

Gat-Bhav – 2

Tihai – 2

Folk dance in Dadra & Keherwa

Definitions of terms: Nritya, Naat, Nratya, Tandav, Lasya, Ang, Pratyang, Padhat, Gat-Bhav, Mudra and Chakkardar Toda

Basic knowledge of Dhwani and Naad

Sem 202:

Practical

Jhaptaal

2 Tatkars

1 Thaat

1 Salami

1 Amad

Sada Toda – 5

Tihai - 2

Theka, Thaah, Dugun, Chaugun & Tihai in Ektaal & Sooltaal

Definitions of terms: Basic knowledge of Vishnu Digambar & Bhatkhande notation systems

Swarlipi/ Notation of Tode, Tihaai, etc

History of Kathak – Nritya in brief

Brief biography of Maharaj Bindadeen & Kalika Prasad

Ektaal : Thaat – 2, Salami – 1, Amad – 1, Tatkar-1, Todas – 4, 2 Tihais

Barabar, Dugun, Tigun, Chaugun, Tihai –Theka of Teevra Taal, Chartaal, Sooltaal, Dhamar Taal

Define : Paran, Chakkardar Paran, Mushti, Pataka, Tripataka, Mukutkaran, Rechak, Angahar, Upang & Palta

History of Jaipur and Lucknow gharanas of dance

Biography of Achhan Maharaj and Jiyalal ji

Bhatkhande and Vishnu Digambar systems of Taal Notation

Sem 302:

Practical

Performance in Jhaptaal : 2 Tatkaar with hastaks & Paltas, 1 Chakkardar, Toda, 2 difficult Todas and 2 Tihais

Sootaal : 2 Tatkar, 2 Todas

2 Ghoonghat Gat – Bhaav in Teentaal

2 Folk dances

Origin of sound, Kampan, Andolan, Peculiarities of Naad, Naad – sthaan, Swar, Chal and Achal Swar, Shuddha and Vikrit Swar, Saptak (Mandra, Madhya & Taar)

Familiarity to Teevra, Ada Chartaal, Chartaal, Dhamar taal

Place of Dance in Indian Music

Tabla & Mridang (Pakhawaj)

1 Talangi, 1 Nrityangi, 1 Kavitangi, 1 Mishrangi, Toda each in Teentaal must be practiced.

Demonstration of varieties of Ghoonghat

Theka basic, double, triple, quadruple, Tihai of Roopaka, Deepchandi, Dhumaali, Pancham Swari & Ada Chartaal

Swar Malika each in Raag Yaman, Bilawal and Bhairavi

Define : Mudra, Nikas, Sthanak, Ada, Ghumariya, Anchit, Kunchit, Raas, Bhaav, Anubhav, Bhaangi-Bhed, Preparation, Acting, Pindi, Pramalu, Stuti, Vichhipti, Hastak, Kasak, Masak, Kataksh, Naaz, Andaz

Detailed information on Bhatkhande and Vishnu Digambar systems

Introductory and comparative study of Kathak of various styles of Indian Classical dances such as, Kathak, Manipuri, Kathakali and Bharat-Natyam

Samyukt and Asamyukta Mudrayen, Significance of emotion in dance, Study of themes underlying prevalent Gat-Bhaav

Advantage of dancing, Characteristics of modern dances

Sem 402:

Practical

Dhamar Taal : Tatkaar – 4, Thaat – 2, Salami – 1, Amad – 1, Todas – 5, Tihai – 2, Parans – 2, Chakkradar Paran – 1

Aad, quintupple (5times) speeds both by foot-work and clap marking through Tatkar in Teentaal

2 Tatkar & Tihai in Tevra, Chartaal, Ada Chartaal

2 Folk dances

Elementary practices in playing on Tabla

Capacity to record notation of all Taals, Thekas Tatkars & Bols, etc prescribed in the previous and this year, in various rhythmic speeds in both systems – Vishnu Digambar and Bhatkhande Taal – notation systems.

Knowledge of 10 Pran of Taal

Define : Varn, Aroh, Avroh, Alankar, Thaat, Raag, Suravart (Swarmalika), Layakari, distinction between Laya and Layakari

Introductory knowledge and capacity to Sing Simple Songs in Raag – Yaman, Bilawal and Bhairavi

Detailed knowledge of Roopaka, Deepchandi, Dhumaali, Pancham Swari & Ada Chartaal

Brief introduction to the personality and comparative study of sance styles of any two noted Kathak dancers of modern times

Practice of writing essays concerning music and dance.

Capacity to dance in Teen Taal for 25mins and Dhamaar Taal for 15mins without repeating bols

Demonstrating emotional dances on sung Bhajans and Thumrees

Definition and commentary on the following: Urap, Purap, Tirap, Kasak, Masak, Kataksh, Ghoongat, Urmai, Surmai, Laang-daant, Jati Paran, Gat Nikas, Gat Toda, Gat Bhaav, Griva Bhed, Dam-bedam and Gati Bhed

Study the following topics: Traditional Costumes, Requirements of a Successful Dance Performance, Selection of Ghungroos, Merits and Demerits of a Dancer, Detailed Study of Navras and their use in dance, Make-up, Drishti Bhed and Knowledge of Dishas in Dance

Detailed and comparative study of Lucknow, Jaipur and Banaras Gharanas

Sem 502:

Practical

Practice in dancing in Kathak style :

a. Tandav
b. Lasya Anga

The above for Makhan Chori, Cheer Haran, Kalya Daman and Govardhan Dharan

Capacity to present any two regional folk dances such as Garwa, Raas, Koli, Bhangra, etc.

Practice of playing Lehra in the taals prescribed hitherto

Nayak-Nayika Bhed

Study of Biographies of Maharaj Thakur Prasad, Mahrash Ishwari Prasad, Shankar Nambudaripaad and Rukmani Arundel

Lipi in Lakshmi, Brahma Taal, Jat, Addha and Jhumra

Sem 503

Practical

The following to be done in Rupak, Dhumali, Chaar Taal, Deepchandi and Pancham Savari: 2 thaat, 1 Amad, 4 Todas, 1 Chakradaar Toda, 1 Chakradaar Paran, 2 Paran, 3 Tihai and 3 Tatkar

Clap marked and footwork demonstration in basic, double, triple, quadruple and aar speeds in Lakshmi Taal, Bramha Taal, Jat, Addha and Jhumara Taals

Practice of playing tabla of hitherto taals on Tabla

Ability to sing one swar malika in the following raags: Khaaj, Kafi, Tilaang and Bihaag

Detailed study of the raags Khamaj, Kafi, Tilang and Bihaag

Familarity in singing styles of Dhrupad, Dhamaar, Khayaal, Tappa, Thumri and Bhajan

Introductory knowledge of Indian Classical Dance styles like: Odissi, Kuchipudi etc.

Dance on any 3 of the following Taals: Arjun, Ganesh, Saraswati, Rudra, Sawari (both varieties of 15 & 16 beats)

Practice of demonstrating Gat-Bhawa in any 5 of the following themes:- Marich-Vadha, Madan – Dahan, Draupadi Cheerharan, Bhilani Bhakti, Panghat ki chhechhar, Lakshman-Shakti, Tripurasur-Vadha, Vaman Avatar, Ahilya Uddhar, Sati Anusuiya, Chhalipa Daman

Detailed history of Kathak style of dancing, its characteristics, limb movements and technique in various periods. Complete study of the masters of this Art in each period and their technique of dancing.

Purpose and history of the art of stage-making including lighting arrangment and discussion on the need of stage and lights.

Significance of costumes in dance, critical analysis of interaction costumes and cosmetics.

Characteristics of folk dance and its various forms, features of similarity and dissimilarity between Kathak and Folk dances, need for folk dance and its basic elements.

Introductory knowledge of the Bharatnatyam, Manipuri, Odyssey, Kuchipudi and Kathakali schools of dancing and their comparitive study vis-a-vis the Kathak style of dancing.

Comments on Kutap or orchestra and principles underlying its composition. Need and significance of orchestra in Kathak dance.

Comparison and contrast between dance and acting their individual characteristics and significance.

Full familarity with western dance, study of various Karans and Rechak employed therein, points of similarity and dissimilarity between western dances and Kathak style of dancing, principles of composition of Ballet dance, individual views on the question of superiority of the Ballet over the Kathak style of dancing (or vice versa)

Full familiarity with modern dance, its costumes and orchestra, Significance of modern dance in Society, Peculiarities of and need for modern dance in these times.

Essays on topics allied with dance, such as(a) Dancing and life, (b) Dance and literature, (c) Dance and the nation, (d) Place of education in Dance, (e) Dance and exercise and (f) Future of Kathak Dance.

Sem 603 & 604:

Practical

Capacity to present suitable movements of eyes, eye-brows, neck, waist, hands and feet etc.

Ability to perform dance in Kathak style on themes provided during examination. Drawing distinction through actual dance performance between the styles of Lucknow and Jaipur Gharanas

Practice in playing some Bols, Tora, Tukra, Paran etc. Of Tabla and Pakhawaj.

Practice of singing one Swarmalika or Chhota Khayal each in Raag Peelu, Jhinjhoti, Gara, Basant and Bahar. Practice of demonstration emotions of Bhawa (Hela) through singing any two of the following varieties of songs:- Hori, Chaiti, Kajari, Ghazal Tarana and Bhajan

Detailed study of the various schools (Gharana) of Kathak style of dancing. Study of the life and styles of the past and present masters of dance and the peculiar features of these styles.

Definitions with examples of the following:- Agartal, Alirh, uthan, Aanchit, Kunchit, Kunchit Bhramari, Paad Vinyas, Samput, Meelit, Drishti, Prakampit Greeva, Parvahit Shir, Ekpaad, Bhramari, Nritya ke Sapt Padartha, Vyuhakriya, Ashtgati, Anulom, Vilom, Pratilom: Kripa and Hela

Detailed study of Nayak and Nayika Bhed

Principles of limb-movements of the head, eyes, eyebrows, lips and other limbs, feelings resulting from these movements and their use in the Kathak style of dancing.

Definition of notation. Ability to record notation of the Thekas and Bols of the all taals prescribed from the first to sixth years in various rhythmic speeds. Thoughts on and suggestions for evolving a distinct and useful notation system for dance

Detailed study of each school of Kathak style, recording of Bols of each school in notation, separately distinguishing features of the Bols of each school. Knowledge of various rhythmic speeds

Recording notation of Naghma or Lahra in all Taals precribed from the first to the sixth years

Full familiarity of the Karnataka Taal system. Comparative study of the Hindustani and Karnataka Taal systems, recording in Karnataka-Taal notation system Taals of the northern region

Detailed study of the varieties of Gat and Paran and points of similiarity and dissimilarity among them. Ability to record in notation, at least one example of each them.

Essays on topics allied with dance, such as (a) Folk dance (b) Dance and its relation with rhythm or tempo (c) spiritual value of dance (d) Ennobling of character through dance (e) Place of mathematics in dance

Knowledge of and distinction among Sadharan Chakkardar, Damadar and Bedam, Kamali Chakkardar, Farmaishi Chakkardar, Nrityangi, Talangi, Kavitangi, Sangitangi and Mishrangi Todey.

Full familiarity with Raags : Peelu, Jhinjhoti, Ghara, Basant and Bahar

Complete and comparative study of the singing styles of Hori, Chaiti, Kajri, Ghazal, Tarana, Thumri and Bhajan etc

Beginning students of Bharatanatyam also learn folk dances.

The teacher will take the Dance and the song according to the age and understanding of kids.

Courses of 18 months with 3 semesters of 6 months each. (1,2&3)

Oral theory

Q1- Asamayukta hasta ,according to the Abhinaya Darpanam

Q2-pada Bheda from Natya shastra

Q3-Shiro Bheda ,according to the Abhinaya Darpanam

Q4-Madal Bheda ,according to the Abhinaya Darpanam

Q5-7 classical dance style with reference to the place of origin

Q6- Name of the guru and the school the student follow

Q7-Meaning of the term Bharatanatyam

Practical

Q1-Namaskriya shloka

Q2-Vyayaam: exercise corresponding to Adavus

Q3-Adavus:7 at least in each 4 steps in 3 speeds

1. Tatta Adavu : Tai ya tai

2. Natta Adavu : Tai yum tat taa

3.Metta Adavu : Tai tai taam

4. Tatta kuditta matta Adavu : Tai tai taa haa

5. Trimanam Adavus (small) : Gi na tom

6. kuditta Metta Adavu : Tai Kat (hat) tai hi

7. Vishru Adavu : Taa tai tai taa

Semester 1 : (6 Months)

Oral theory

Asamayukta hasta according to Abhinaya darpanam

It means single hand gestures.

There are 28 single-hand gestures.

They are taken from Abhinaya Darpanam Book written by Nandikeshvara.

This hasta has to learn in shloka form and hand gestures in pratical

Pada Bheda from Natha shastra

This are leg positions

They are 5 in number

Taken from Natya Shastra book by Bharata Muni

This pada Bheda has to learn in shloka form and with the leg position in pratical part

Practical

Namaskriya Shlokas.

In shloka

Meaning of the shloka

Vyanama ( Exercise)

Exercises corresponding to the Adavus

Exercise stretching.

Stretching of the complete body.

It has to be done before and after the Class

Adavus:

Demonstration of steps in the below mentioned group in all (3 speeds )

Tatta Adavu : Tai ya tai

Natta Adavu : Tai yum tat taa

Semester 2 : (6 Months)

Oral theory

Shiro Bheda , according to the Abhinaya Darpanam

It means head movement

They are 9 in numbers

They are taken from Abhinaya Darpanam Book written by Nandikeshvara

Shiro Bheda ,has to be learn in shloka form and head movement in pratical part

Madal Bheda ,according to Abhinaya Darpanam

They are standing position

They are 10 in numbers

They are taken from Abhinaya Darpanam book written by Nandikeshvara

Madal Bheda has to learn in shloka form and standing position for partical part

Practical

Adavus

Demonstration of steps in the below mentioned group in all (3 speeds)

Metta Adavu : Tai tai taam

Tatta Kuditta Metta Adavu : Tat tai taa haa

Trimanam Adavu : Gi na tom

Semester 3 : (6 Months)

Oral theory

7 classical dance styles with reference to the place of Origin.

Name of the guru and the school the students follow

Meaning of the term Bharatanatyam

Practical

Adavus

Demonstration of steps in the below mentioned group in all (3 speeds)

Kuditta Metta Adavu : Tai kat (hat) Tai hi

Vishru Adavu : Taa tai tai taa

Q2. viniyog shlokas of pataka,tripataka,Anjali and kopata

Q2. viniyog shlokas of pataka,tripataka,Anjali and kopata

Q3. Drishti Bheda ,according to AbhinayaDarpanam

Q4. Griva Bheda , according to Abhinaya Darpanam

Q5. Sthanaka Bheda ,according to Abhinaya Darpanam

Q6. Hasta Parcharafrom Natya Shastra

Q7. Reciting chaturshra Jaati and Tishra jaati in 3 speeds

Q8.Explain: Adavus,Laya (tri kala), Nritta ,Nritya and Natya

Note : Revision of the earlier course is compulsory and can be examined.

Practical

Adavu (Advance level) : clear demonstration of minimum 3steps in the below mentioned group in all 3speeds

Shikhara Adavu : Tai tai (tam-) taa haa dhit tai (tam-) taa-

Sarikal Adavu : Tai hat Tai hi

Trimanam Adavu(Big) : Tari Kita tom

Mandi Adavu : Tat Tai tam

Peri Adavu : Tai hat tai hi

Tatti metta Adavu : Ta Ka di mi

Semester 1 : (6 Months)

Oral theory

Samayukta hasta,according to the Abhinaya Darpanam

It means double hand gestures

There are 23 double hand gestures

Viniyog shlokas

Asamayukta hasta mudras

Pataka hasta viniyog

One of the biggest viniyog

Pataka viniyog have to learn in shloka form with word to word meaning and hand movements are in practical

Drishti Bheda ,according to Abhinaya Darpanam

It means eye movements

They are 8 in numbers

Practical

Adavus ( Advance level )

Clear demonstration of minimum 3 steps In below mentioned group in all 3 speeds

Shikhara Adavu : Tai tai (tam-) taa haa dhit tai (tam-) taa-

Sarikal Adavu : Tai hat tai hi

Semester 2 : (6 Months)

Oral theory

Viniyog shlokas

Asamayukta hasta viniyogaha

Tripataka

Have to learn in shloka form with word to word meaning and hand movements are in practical

Samayukta hasta viniyogaha

Anjali

Kapota

Have to learn in shloka form with word to word meaning and hand movements are in practical

Griva Bheda, according to Abhinaya Darpanam

It means head movements

Sthanaka Bheda,according to Abhinaya Darpanam

It means simple standing position

They are 6 in numbers

Each sthanaka position with the explanation with practical

Practical

Adavus ( Advance level )

Tirmanam Adavu (Big) : Tari kita tom

Mandi Adavu : Tai tai tam

Semester 3 : (6 Months)

Oral theory

Hasta prachara from Natya Shastra

It means palm movements

They are 5 in number

This palm movements are used for Abhinaya ( expression)

Reciting all in 3speeds

Explaining the following in short

Chatushra Jaati ( Ta Ka dhi mi)

Tishra jaaati ( Ta ki ta)

Explain Adavus

Laya ( tri kala)

Nritta

Nritya

Natya

Practical

Adavus ( Advance level )

Demonstration of each step in the below-mentioned group in all (3speeds)

Peri Adavu : Tai hai tai hi

Tatti metta Adavu : Ta Ka di mi

Korvai

Jaati

Tirmanam

Basic information of the classical styles of India with special reference to :

Place of origin

Style of dance ( solo or group)

Salient features

Style of dance ( Hindustani or Karnatic )

Viniyog shloka

Asamayukta hasta viniyogaha

Ardhapataka hasta viniyog

Samayukta hasta viniyogaha

Karkata hasta viniyog

Practical

Allaripu – Tishra Elam or chaturshra ekam

Presentation of the term

Identification of the raga and tala

Identifying Shiro , Drishti, Mandala and Griva

Semester 2 : (6 Months)

Oral theory

Adavu

Adavu means basic steps or basic unit of particular rhythmic movements

Mandal Bheda

Mandala Bheda are of 10 standing position

Sthanaka Bheda

Sthanaka Bheda are of 6 kinds according to the placing of feet

Chaari Bheda

Walk of human beings (with music) in different meters with Thala

Bhramari

Bhramari are movements of the body in whirling manner.

Bhramari is described in various flights ( in a dance )

Utplavana

It means different types of jumps (leaps)

Basic information about Bharatanatyam

Meaning of the term

Place of origin

Important features of the technique

Viniyog shloka

Asamayukta hasta viniyogaha

Kartarimukha hasta viniyog

Mayura hasta viniyog

Samayukta hasta viniyogaha

Swastika hasta viniyog

Practical

Pushpanjali or kautuvam

Presentation of the term

Identification of the raga and tala in item is composed to

Ganesh kautuvam

Semester 3 : (6 Months)

Oral theory

Short note on : Abhinaya Darpanam

Natyakarma

Paatrapraana

Paatra (Nartaki) Lakshana

Sabhaa Lakshana

Reciting all in 3speeds

Explaining the following in short

Chatushra Jaati ( Ta Ka dhi mi)

Tishra jaaati ( Ta ki ta)

Definition

Tala

Matra

Laya

Aavartana

Anga / vibhaaga

Sama

Usi / offbeat

Viniyog shloka

Asamayukta hasta viniyogaha

Ardhachandra hasta viniyog

Samayukta hasta viniyogaha

Dola hasta viniyog

Pushpaputa hasta viniyog

Practical

Presentation of a tirmanam in Aadi or Rupaka tala ( should also be able to say shollus with hastakriya of the tala)

Note : Revision of the earlier course is compulsory and can be examined

The Bhagavata tradition

Devadasi

Development of the style

Prominent Individuals and Institutions that contribute to the development of style

Theory (Oral)

Presentation of chaturshra and Tishra jaati in combination with different talas Eg:-Aadi tala using Tishra and chaturshra

Shloka and viniyog

Asamayukta hasta viniyogaha

Araala hasta viniyog

Samayukta hasta viniyogaha

Utsanga hasta viniyog

Note : Inclusion of earlier course is compulsory and can be a part of examination

Practical

Allaripu – Mishra chapu tala

Semester 2 : (6 Months)

Theory (Written)

Definition of the term : Abhinaya

Aangika

Vaachika

Aharyabhinaya

Sattvikabhinaya

Explain

Tandava

Lasya

Anga, pratyanga and upanga

Theory (Oral)

Asamayukta hasta viniyogaha

Shukathundaka hasta viniyog

Mushti hasta viniyog

Samayukta hasta viniyogaha

Katakavardhana hasta viniyog

Kartakiswastika hasta viniyog

Practical

Jatiswaram

Semester 3 : (6 Months)

Theory (Written)

Life histories and contributions of prominent personalities like

Tanjore quartet

Rukmini Devi

Bala Saraswati

Anga / vibhaaga

Sama

Usi/offbeat

Theory (Oral)

Asamayukta hasta viniyogaha

Shikhara hasta viniyog

TSamayukta hasta viniyogaha

Shakata hasta viniyog

Practical

Shabdam or kritanam or Ganesh kautuvam

Pioneers in the field and their contribution

Present-day famous artists

The Devadasi tradition

Give information on Devadasi system

Evidence

It’s reach

Influences on Devadasi

The story of Shyama

Classified of Devadasi

Attempts for the improvement of the Devadasi

Conclusion

Theory (Oral)

Demonstration of the shloka and viniyog

Asamayukta hasta viniyogaha

Kapitta hasta viniyog

Katakaamukha hasta viniyog

Soochi hasta viniyog

Chandrakala hasta viniyog

Padmakosha hasta viniyog

Sarpashirsha hasta viniyog

Samayukta hasta viniyogaha

Shakata hasta viniyog

Shanka hasta viniyog

Chakra hasta viniyog

Samputa hasta viniyog

Practical

Tillana

Presentation of the item

Identification of the poem raga and tala of the item

Ability to sing the item

Reciting the korvais (Adavus)

Semester 2 : (6 Months)

Theory (Written)

Knowledge about the following folk dance of India

Name and place of origin / region

Aaharya

Mode / technique of presentation

Ability to write talas (Aadi, Rupaka, Ekta) with Anga-s ( laghu , Dhurutum and Anudhrutam )

Theory (Oral)

Presentation of Khanda , Mishra and Sankeerna Jaati in combination with different talas

Demonstration of the shloka and viniyog

Asamayukta hasta viniyogaha

Mrughasheersha hasta viniyog

Simhamukha hasta viniyog

Kaanguala hasta viniyog

Alapadma hasta viniyog

Chatura hasta viniyog

Bhramara hasta viniyog

Samayukta hasta vinyogaha

Paasha hasta viniyog

Kilaka hasta viniyog

Matrya hasta viniyog

Kurma hasta viniyog

Varaha hasta viniyog

Practical

Tillana

Semester 3 : (6 Months)

Theory (Written)

Knowledge of the stories and myths relating to

Ganesha

Krishna

Shiva

Devi

Rama

The difference between folk, classical and Bollywood (cinema) dance

Theory (Oral)

Asamayukta hasta viniyogaha

Hansasya hasta viniyog

Hansapaksha hasta viniyog

Sandamsham hasta viniyog

Mukula hasta viniyog

Tamrachuda hasta viniyog

Trishula hasta viniyog

Samayukta hasta viniyogaha

Garuda hasta viniyog

Nagabandha hasta viniyog

Khatwa hasta viniyog

Bherunda hasta viniyog

Practical

Kirtanam based on the theme of shiva , murugan ,Devi or Krishna.

Presentation of the item

Identification of the raga and tala of the item

The composer of the lyrics

Knowledge of the theme/story done in the item

Repertoire

Music and musical instruments

Aaharya ( costume and jewellery)

Concept of Ashtanaayikaa based on the Avasthaabheda

Vasakasajja

Virahotkantihaa

Svaadhinapatikaa

Kalahaantaritaa

Khanditaa

Vipralabdhaa

Proshitbhartrukaa

Abhisarikaa

Definition of Rasas and explanation of 9 rasas ( Navrasas)

Theory paper 2

Practical

Notation of items learnt ( Allaripu)

Semester 2 : (6 Months)

Theory (Paper1)

Definition and explanation of the 10 Praana-s of taalas (Dashapraana)

Complete information on Abhinaya Darpanam ( author,content,etc)

Story of the origin of Natya and its significance

Theory (Paper 2)

Practical

Notation of items learnt ( jatiswaram)

Semester 3 : (6 Months)

Theory (Paper 1)

Shorts notes on

Naatyadharmi and lokadharmi ( Desi and maargi styles)

Four vrittis- Bhaarati , saatvati, Aarabhati and kaisaki

Taandava and Laasya

Short essay on western ballets and modern Dance

Practical

Theory paper 2

Naayika and Naayak bhada :

Types of Naayak according to 4 Bhedas of shringaara rasa: Identification of the raga

Anukula

Dakshina

Dhrishta

Shatha

Character types :

Dheera-lalita

Dheerodaatta

Dheeroddhata

Dheera-prashanta

Note : Revision of the earlier course is compulsory and can be examined

Technique

Nritta content

Abhinayan Content

Music

Costume

Knowledge of the dance drama style

Bhaagavat mela Naatakam

Kudiyaattam

Yakshgaanam

Theory paper 2

Complete notation of the item learnt in a systematic way.

Practical

Varnam (completion of the varnam ,learnt earlier)

Presentation of the item

Identification of the poet ,raga ,& tala of the item

Knowledge of the Rasa & Bhaava s that feature in the item

Explanation/ Meaning of the verses/ lines used.

Ability to sing the item

Reciting Tirmaanam -s

Semester 2 : (6 Months)

Theory (Paper1)

Concept of Sthaayi & sanchaari/ Vaybhichaari Bhaava- s

Concept of Bhaava , vibhaava (Aalambana &Uddipana ) & Anubhava

Theory (Paper 2)

A study of Rang - Manch

As mentioned in the Natyashastra

As required for a present day dance recital in terms of décor, lighting & acoustic

A brief note on the development of the art of dance from the times of Natya shashtra to the present times.

Practical

Jaavali / shringara padam & one bhakti Padam ( in any Indian language)

Presentation of the item

Identification of the poet Raga & tala of the item

Knowledge of the theme/ story done in the item

Explanation/ Meaning of the verses / lines used

Analysis of the Nayika & the type of Bhakti ( Ability to sing the item )

Semester 3 : (6 Months)

Theory (Paper 1)

Knowledge about the following great poets & composers (Any six)

Jayadeva

Meerabai

Kshetrayya

Swati Thirunal

Tanjavur sarfoji Maharaaj

Paapnaasam Sivam

Arunachala kavirayar

Ganam Krishna Iyer

Tanjore Quartet

Gopal Krishna Bhaarati

Oothukadu venkata Subbayyar

Dharampuri subbaram Iyer

Purandaradaasa

Theory paper 2

Knowledge about the mythological characters like Shiva/ Nataraja, krishna, Rama , Devi in her various forms & stories related to them portrayed in Indian classical Dance such as :

Santa Tandava

Symbolism of Nataraja swarupa

Leelas of Krishna

Jayatu moksha

Raavana Mardana

Draupadi Vastra Harana

Rama Vanavasa

Dashavatar

Note : Revision of the earlier course is compulsory and can be examined