Kathak Dance Nritya Bhaskar Final Syllabus In English
Kathak Nirtya
Exam Marks
Total Marks-400
Theory-100
Practical-125
First Paper-100
Second Paper-100
Stage performance – 75
Theory
First Paper
(1). Critical study of Indian classical dances, their characteristics.
(2) Detailed study of granth related to classical dances of pracheen ,madhyakalin and aadhunik yog, biographies of prominent dancers of these yog.
(3).Detailed study of origin and development of stage in pracheen , madhyakalin and aadhunik yog and need of stage.
(4) Stage lighting, its origin and its history, inter-relationship of dance with stage, relation of stage lighting with dance, in pracheen , madhyakalin and aadhunik times, development of stage lighting from time to time.
(5).-
- Place and importance of dress in dances, relationship between dress and bhav.
- Study and change of costumes, costumes in pracheen , madhyakalin and aadhunik yog .
(6). Comparison between dance, drama and dance-origin of drama, relation of dance, drama and dance with human life.
(7) Historical background and detailed study of Lasya and Tandav, their different types and their impact on human life.
(8). Detailed comparative study of lok dances of India and their importance in the life of the people.
(9).Mutual relation between singing and instrumental music and their relation with dance.
(10). Place and importance of musical instruments in dance.
(11). Origin and development of Ghugrus, function and use of Ghugrus in dance.
- Detailed and critical study of Bele, Aapera, raasleela etc.
- Relationship between Ras and Bhav, their effect on human life.
(12).-
- Relationship of dance with painting, sculpture and other fine arts.
- Study of paintings and sculptures made in Ajanta and Ellora caves in the context of Indian classical dances.
(13). Definition and various aspects of acting, place of acting in dance.
(14) Names of western dances, their characteristics, life history of their accomplished dancers.
(15) Place of instrumental group in western dances, importance of taal,lay and bhav of emotions.
(16).-
- Detailed and critical study of various aspects of Bharat Natyam style.
- Place of Ras and Bhav in Bharat Natyam.
- Stage lighting, orchestra and costumes for Bharat Natyam.
(17).-
- Detailed study of Manipuri dance style.
- Its historical background, style, ras, bhav, mudra, costumes, stage lighting etc.
(18). Comparative study of Manipuri and Kathak dance styles.
(19).-
- Detailed study of Kathakali dance form, historical background, ras, bhav, mudra, stage performance, costumes, instruments etc.
- Comparative study of Kathakali and Kathak dance styles.
(20).-
- Study of origin and development of  Modern dances and their various aspects.
- Place of Ras and Bhav in aadhunik dances.
- Study of background music, its need and importance in Modern dances.
Second Paper
(1). Definition and interpretation of the following- Lay, Palta, Aamad, Gat, Bhav, Anubhav, Thaat, Toda, Tukda, Aavriti, Matra, Taal, Ada, Paran, Tatkar, Thaat, Ghumaria, Salami kavit, Paran, Nikas , Tihai, Sam, Tali, Khali, Samay, Marag, Kirya, Ang, Yati, Prastar, Vibhag, Grah, Kala, Jati, Anumol, Pratilom, Agrtaal Kuttan, Dristi, Utpalvan Bhramari, Uthan, Appang, Ekpad, Kinkini, Kunchit, Chakra, Bhramari, Chanchal, Chalan- Chari, Griwa, Sulp, Mohit, Rang , Srap, Srapyaan, Urmai, Unchit, Apkanth, Chakraman, Urap, Tirap, Shudvmuda, Laag, Chalan, Firan, Shobha, Pindi, Kasak, Sarcasm, Gat Bhav, Toda, Mukhvilas etc.
(2).Mudras used in the detailed study of Indian dance and their use in various dances, their relation with Ras, Bhav. Definition of Mandal, its various aspects and their use in different dances, their relation with Ras Bhav.
(3). Definition of Mandal, its different aspects and its importance in different dances, relation of Mandal with Ras and Bhav.
(4).Definition of Chari, its various aspects and its importance in various dances and its relation with Ras Bhav.
(5). Life introduction contribution of famous artists of Kathak dance style and characteristics of their dance style.
(6).Difference between Nayak and Nayika and difference between them.
(7).Origin of Raas dance, its history, knowledge of costumes, colors, stage lighting, musical instruments, ras, expressions in relation to Kathak dance.
(8). Definition of taallipi and knowledge of writing all Tukda, Paran, Toda, Chakkaradar Paran etc. in taallipi.
(9).Definition of Layakari, different Layakari like Thah, Dugun Tigun, Chaugun, Panchgun, Chhagun, Satgun, Aathgun and others like 3/2,2/3, 6/4, 4/7, 7/4, 5/ Knowledge of 2 and 2/5.
(10) Knowledge of writing Nagam in all prescribed and preceding taals.
(11).Knowledge of writing all the prescribed and preceding Taals in Laykari.
(12) Tukda, Toda, Paran, Chakradar Paran, and earlier theka prescribed in the syllabus.
(13). Origin of thumri, its characteristics and place of thumri in Kathak dance.
(14). Detailed study of Carnatic taal paddhati, its different aspects, comparison between northern and Karnataka taal paddhati, knowledge of writing Karnataka taal paddhati.
(15). Essay-
- Relationship between Nirtya, Taal and Lay.
- Importance of exercise for effective dancing.
- Effect of dance as madhyam of expression of bhav.
- Scientific aspects of dance.
- Place of lay in dance.
- Dance and other lalit kala.
- Classical and lok dances.
- Influence of western dances on Indian dances.
- Role of dance in education.
- Need of dance in life.
- Dance is the greatest of all lalit kala.
- Decline of the arts in general and dance in particular in the 15th and 17th centuries.
- Future and ideals of dance in India.
- Film and stage.
Practical
(1). Practical demonstration of all hand gestures used in Lasya and Tandav dance.
(2). Practical performance of acting and its types.
(3).Performance of Gharanas of Kathak dance form, including their characteristics.
(4). Ability of all taals studied so far.
(5). Ability to present the following correctly – Aamad, Gat Bhav, Anubhav, Thaat, Toda, Tukda, Paran, Tatkar, Ghumriya, Salami, Palta, Kavitt, Nikas, Tihai, Pramelu’s Toda, Badhaiya Ka Paran , Chakradar Paran, Farmaishi Chakradar Paran, Kuwad, Biad, Kamali’s Paran, Navhakka Paran, Shiva Paran, Krishna Paran, Durga Paran, Vishnu Paran, Saraswati Paran, Ganesh Paran, Natwari Tode, Sangeet Tode, Badal Paran, Bijli Paran etc.
(6).Skillful performance of different types of Tihai in different lay of different taals.
(7). Practical demonstration of the differences between the Nayak and the Nayika.
(8). Ability to perform Thumri dance on any of the following five raags –
- Khamaj
- Peelu
- Jhijhoti
- Mand
- Bhairavi
- Desh
- Tilak Kamod
- Pahadi
- Kafi
- Tilang.
(9). Ability to perform Mandal, Chari, Karan, Anghar with Ras and Bhav.
(10). Ability to perform Practical demonstrations of Ang Pratyag and various Upaang.
(11). Ability to perform Practically all taals in Thah, Dugun, Tigun, Chaugun, Panchgun, Chhagun, Satgun, Aathgun, Aad, Kuad Biaad. Presentation of laykari with and without tabla – 2/3. 3/2, 4/74/5, 5/4, 3/4, 4/3 5/3 3/5
(12). Ability to play Nagma on any instrument.
(13). Padhant ki Pravinata.
(14). Ability to display various ras and bhav.
(15). Ability to present palta in different taals with different types of tatkar and different laykari.
(16). Ability to perform dance on any of the following six stories – Daghichi Tap, Danveer Karan, Shankar Vivah, Buddha Tap, Rukmani Haran, Parvati Tap, Uttara – Abhimanyu, Ram Sita milan in Pushpa Vatika etc.
(17). Ability to give practical performance of any one of the following dances – Kathakali, Manipuri or Bharat Natyam.
(18). Ability to present at least 5 types of lok dances from different regions of India.
(19).Working knowledge of any two of the following-
- Aadhunik Nirtya
- Tagore Style
- Uday Shankar Style
- Ras Nirtya.
(20). Ability to dance with proficiency in the following different Taals – Chautaal, Tritaal, Ek Taal, Jhumra, Aad char taal, Gajjhampa, Jat, Basant.
(21). Ability to perform dance in the following taals in the context of Tatkar, Theka, Vibhag, Matra, Tali, Khali- Lakshmi (18 matras), Savari (15 matras), Arjun (24 matras)(26 matras), Ganesha ( 21) matras)).
Note- The syllabus of previous years will be combined.
Stage performance
(1).The candidate should Taal for 30 minutes in any of the taals prescribed in the syllabus for Tatkar, Thaat, Aamad, Salami Paran, Chakradar Paran, Paran, Tistrajati Paran, Mishrajati Paran, Parmelu Paran, Shiv Paran, Ganesh Paran, Sawali Paran, Stage performance with repartee, kavit and thumri etc.
