Dance

Sem 201:

Practical

• 2 Tatkar with Hastak
• 2 Thaat
• 1 Salami
• 1 Amad
• Sada Toda – 5
• Chakradar Toda – 1
• Gat-Bhav – 2
• Tihai – 2
• Folk dance in Dadra & Keherwa



Theory

• 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



Theory

• 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

Sem 301:

Practical:

• Performance in Teentaal: 2 Tatkar with Hastak
  2 New Thaat, 1 Amad, 1 Salami, 5 Todas, 1 Paran, 1 Chakkardar Paran
  Performance of Tatkar by foot in Vilambit Barabar, Dugun, Tigun, Chaugun, Tihai
• 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



Theory – Definition of terms:

• 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



Theory

• 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)

Sem 401:

Practical:

• Full preparation of performance in Teentaal, Ektaal & Jhaptaal (15 minutes) without repeating Bols
• 1 Talangi, 1 Nrityangi, 1 Kavitangi, 1 Mishrangi, Toda each in Teentaal must be practiced.
• Demonstration of varieties of Ghoonghat
• Demonstration of varieties of Gat – Bhaav of Banshi & Panghat
• Theka basic, double, triple, quadruple, Tihai of Roopaka, Deepchandi, Dhumaali, Pancham Swari & Ada Chartaal
• Swar Malika each in Raag Yaman, Bilawal and Bhairavi



Theory

• 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



Theory

• 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.

Sem 501:

Practical:

• Ability to present the ten Karans through actual dance demonstration
• Capacity to dance in Teen Taal for 25mins and Dhamaar Taal for 15mins without repeating bols
• Demonstrating emotional dances on sung Bhajans and Thumrees



Theory

• 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



Theory

• 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



Theory

• 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.

Sem 601 & 602:

Practical:

• Special proficiency in dance – performance in all Taals precribed hitherto. Notable dexerity in Angchari Mandal & Hast Mudras
• 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



Theory

• 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



Theory

• 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