Kathak Dance Nritya Bhaskar Part 1 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). Types of pracheen and aadhunik dances and their detailed study
(2). Detailed study of the technical terms of classical dances.
(3). Critical study of dances of pracheen, madhyakalin and aadhunik yog.
(4). Comparative study of Indian dance and western dance style and influence of western dances on Indian dances.
(5). Principles of pracheen and aadhunik dance compositions, their characteristics and types of compositions.
(6). Detailed knowledge of the following- Thaat, Lakshan, Nritang, Jati Shoonya, Bhav Rang, Ishta Pad, Gati Tarana etc.
(7). Detailed study of pracheen granth related to Indian classical dances.
(8).Origin, development and characteristics of different Gharanas in the field of Kathak Natwari dance form.
(9). The place of Ras Bhav, Sthai Sanchari Bhav Anubhav etc. in the performance of various dances.
(10). Knowledge of Lok dances of eastern and southern India and their characteristics.
(11). Knowledge and description of the following-Bhumichari, Akashchari, Bhumi Mandal, Akash Mandal, Vishnumal, Jiv Bhal, Gunamaal, Yugamaal, Tattva Maal, Ritu Maal.
(12). Niti Path , Nirtya AnkanVidhan, definition of Hasatpad.
(13). Knowledge of the following-
- Bhanvi, Manvi, Gaj-Gamini, Turangani, Hasini, Mrigi, Khanjariti.
- Bhav Path, Nain Path, Bol Bhav, Bhav Mudra, Anukaran Mudra, Artha Bhav, Nritya Bhav, Gat Artha Bhav, Sambhav.
(14). The place of Gat Bhav, Thumri and Kavit etc. in Kathak dance style.
(15). Definition and description of the following-
- Aarohi ang, Avarohi sang, Chanchal gati, Prabhav gati, Khand gati bhramari gati, Gaman Aagaman kriya.
- Chakra, Viparit Chakra, Arddha chakra.
(16). Ability to write essays related to Indian classical and lok dances.
Second Paper
(1). Progressive development of Indian dance in pracheen, madhyakalin and aadhunik yog.
(2). History of Indian and Western swarlipi paddhati.
(3). Unjointed and joint hand gestures and their uses.
(4).Practice of writing swar lipi in Bhatkhande and Vishnu Digambara paddhati.
(5).Knowledge of writing Taals in Thah, Dugun, Tigun, Chaugun, Aad, Kuad, Biad laykari.
(6).Origin of Taal and relation of Taal and Lay with dance
(7). Definition of Saal and Taal, Atal, Satal, Shabdtal, Mooktaal etc. used in classical Sugam and lok dances
(8).Principles and practices of solo dance, duet dance, group dance.
(9). History of different dance styles, their comparison and characteristics.
(10).Ability to record Paran, Chakradwar Paran, Farmaishi Paran etc.
(11). Ability to lipibaddha the Paran and Chakkaradar Paran of different Jati.
(12). Essay: –
- Nirtya and Ras
- Classification of Dances
- Contribution of music schools in the development of Indian classical dances
- Regional lok Dances of India
- Artistic and Spiritual Aspects of Indian Classical Dances
- Nirtya and Dhram
- Nirtya and Sahitya.
Practical
(1). Practice of performing various laykari by tali on hands.
(2) Ability to play Nagma on any musical instrument in the taals prescribed in the syllabus.
(3).Ability to perform dance on the following stories.
- Vaman Avatar, Sati Anasuya, Kanas Vadh, Shakuntala and Dushyant, Holi-Leela, Krishna-Sudama, Krishna Kubja Milan, Gopi Virah, Makhan Chori Dance.
(4).Ability to perform either Manipuri or Bharat Natyam style.
(5). Ability to perform in North India, Madhya India and Western India.
(6). Working knowledge of the following-
- Aadhunik Bhartiya Nirtya
- Raas Nirtya
(7) Demonstration of different types of laykari and Aamad, Paran, Chakravar Paran, Kavit Chand, Gat, Gat Bhav etc.
(8) Ability to give Nagma with tabla and tabla.
(9). Dance on Toda, Tukda, Paran, Chakradar Paran etc. and ability to dance on the bol recited by another person.
(10). Ability to perform rhythms withTali and Khali. 3/2, 2/3, 3/4, 4/6 5/4, 4/5 7/44/7.
(11).Performance of dance with skill on Tatkar, Thaat, Aamd, Salami, Paran, Mishra Jati Paran, Tistrajati Paran, Chakradar Paran, Farmaishi Paran, Kavit etc. with following taals. Ability of Chatustra Jati Paran, Trital, Sooltal, Dhamar Kumbh, Basant, Shikhar, Aada Chautal, Ashtamangal (22 matra).
(12). In the following taal only Tatkar, Theak, Matra, Vibhag, Taliman Khali etc. Madan (12 matra), Ada Panna (15 matra), Chudamani (17 matra), Raas (13 matra)
(13). Practice of Padhant.
Note: Syllabus of previous years will be same.
Stage performance
(1). The candidate will have to perform Tatkar, Palta Thaat, Aam, Salami, Tukda Paran, Farmaishi Paran, Tistra Jati Paran, Mishrajati Paran, Pramlu Paran, Kavit etc. in the prescribed rhythms for 30 minutes. Dumri or Tarana is essential.
