Kathak Praveen 7th Year Syllabus In English
Kathak
Theory
First Paper
(1). Detailed and critical knowledge of all technical terms used in dance.
(2). Detailed knowledge of differences between dance and innovation, components of Kathak dance, Thaat Lakshan, Dancers, Jati Zero, Bhav Rang, Ishtpad, Gatibhav, Tarana, makeup of form and beauty etc.
(3). Various definitions of Kathak dance, synonyms for the word Kathak and their meanings, chronological history of Kathak dance, its styles, characteristics, expressions, costumes, make-up etc. Critical study.
(4).Introduction to Lok dances of Punjab and Haryana, Rajasthan, Gujarat, Maharashtra, Uttar Pradesh, Bengal, Orissa and Bihar, study of their various costumes, art-skills and taal management.
(5).Explanation of some Pracheen parts of dance like Urmai, Sulap, Urap, Tirap, Shuddha Mudra, Laag, Daat, Ghilang, Tharr, Jamanaka, Stuti, Pramilu, Puhupunjari etc.
(6).Complete study of distinctions between nayak-nayika, Swakiya, Parakiya, general etc.
(7).Introduction to single dance, couple dance, group dance etc., their important points and knowledge of the rules of presenting them etc.
(8).Study of the place of Gat, Bhav, Kavittra, Thumri etc. in Kathak dance, rules of their presentation and things to be kept in mind while presenting them.
(9).Aaroh Ang, Avaroh Ang, Chanchal Gati, Pravah Gati, Khand Gati, Bhramar Gati, Gaman,Aagaman ,Krida , Chakra, types of Chakra (chakra, opposite chakra, semi-chakra), Bhav Mudra , Anukaran Mudra etc study of currency
(10).Importance of ghungroos in dance, how many ghungroos should be there, rules for knotting and tying ghungroos, daily practice and performance of ghungroos, stage arrangement, lighting, Dhwani propagation equipment etc.
(11).Complete practice of creating new beautiful and difficult Tukda, Todo etc. related to Kathak dance and writing in taallipi.
(12).Complete study of differences between Chatustra, Tistra, Mishra, Khand and Sankin jati, relation of different taals with jati, comparison of Carnatak taal paddhati and Indian taal paddhati etc.
(13).History of theater creation, different forms of theater creation and their usefulness and need of theater in the kaal from the beginning to the aaadhunik kaal. Prakash’s relation with dance and theatre. Different arrangements, requirements and utilities of lighting for dance and theater in the kaal from the beginning to the present.
(14).Need and importance of costumes in dance, traditional relation of costumes and bhav, various changes in costumes from the beginning to the present kaal and critical view on their justification. Various suggestions regarding costumes and make-up.
(15).A detailed and comparative study of drama, dance and dance, the origin of drama. Relation of drama, dance and dance with life and their utility in life.
(16).Gross, subtle and comparative overview of different types of dances prevalent in the kaal from the beginning to the present.
(17).Detailed study of Tandav and Lasya dances, their different differences, different natures of both of them and historical and creative importance of both these dances.
(18).Place and importance of Kutap in dance. Principles of Kutap composition. Need of Kutap in dance and various suggestions on it.
(19).Explanation of background music, its importance, its relation with dance and its place in different dances.
(20).Explanation of aadhunik nirtya, their different postures. Detailed information about stage, costumes, lighting, kutap etc. aadhunik nirtya. Place of Ras and Bhav in aadhunik nirtya. Place of aadhunik nirtya in society. Chronological history of aadhunik nirtya and introduction of its masters.
(21).Full ability to write articles on subjects related to dance science.
Practical
(1).Special preparation of all practical subjects prescribed for 1st to 6th year. Complete ability to dance with new, difficult and beautiful yukat Tukda, Aamad, Toda Paran, Chakkardar Paran, Kavitr, Chand, Gat, Gatbhav etc. in all the taals prescribed in them.
(2). Special preparation in pad operation, full practice of displaying different laykari by foot action. Head, Eye, Eyelid, Pupils, Bhramari Nasima, Kalol, Lips, Teeth, Mouth, Chibun, Cervix, Hasta, Ur, Parshav, Stomach, Waist, Thigh, Paw etc. to operate body parts, ang and pratyang beautifully special practice.
(3).Complete practice of reciting (padhant) by clapping tali on hands of the dance bol, Todo Paran, etc. before dancing.
(14). Complete preparation of Kathak dance performance with all the dance related activities in any of the following 12 Taals – Teevra, Basant (9 matras), Sooltaal, Kumbh or Chandramayi Taal (8 matras), Chartaal , Jaymangal or Mandika Taal (13 matras), Dhamar, Chandrakla or Aadpaksha (15 matras), Teentaal, Shikhar or Chudamani (17 matras), Jagdamba or Triveni (19 matras), Kaushik Taal (18 matras). Ability to dance in other taals out of the above 12 taals as suggested by the examiner.
(15).Complete preparation for the performance of all dance related activities and Toda and Paran in each Taal prescribed in the syllabus, such as – Thaat, Aamad, Salami, Todo, Tukda, Paran, Gatbhav, Anubhav, Tatkar, Ghumaria, Palta, Kavitr, Padhant, Nikas , Tihai, Pramilu’s toda, Badhaiya ‘s paran, Farmaishi Chakkardar Paran, Aadi-Kuadi Lay’s Paran, Chakkardar Nauhakka, Shiv Paran, Ganesh Paran etc.
(16).Use of mudra used separately in Tandav and Lasya dances and demonstration of their different differences.
(17).Display of different Bhav of Nayak and Nayika.
(18). Demonstration of different distinctions of Mandal, Chari, Karan, Anghar etc. and practice of showing Ras and Bhav related to them.
(19).The practice of starting the dance with the praise of one of Gua and Saraswati.
(20).Full ability to perform dance based on any of the following ten narrators – Marich Vadh, Madan Dahan, Draupadi Chari Haran, Bhilni Bhakti, Laxman Shakti, Tripurasura Vadh, Vaman Avatar, Ahilya Uddhar, Shakuntala Dushyant Charitra, Vishwamitra Maneka’s story, Darshan of Sita and Ram in Pushpavatika, Story of Krishna Sudama, Story of Nal Damayanti, Gangavataran, Bhasmasur Vadh, Amrit Manthan, Holi Leela, Gopi Virah, Matki Dance, Veil Dance, Tampering of Panghat, Kali Tandav, Govardhan Dance, Murli Dance .
(21).Memorize at least five kavitra and recite them when asked by the examiner.
(22).Practice of showing bhav by singing Thumri, Bhajan or Hori in any of the following four raags –
- Khamaj
- Kafi
- Desh
- Bhairavi
- Pilu
- Tilak Kamod
- Tilang
- Jhinjhoti.
(23). Knowledge of any one of the following dance styles and practice of performing it through dance – Manipuri dance, Odissi dance.
(24). Knowledge and practice of performing one lok dance of any four of the following states – Punjab and Haryana, Rajasthan, Gujarat, Maharashtra, Uttar Pradesh, Bengal, Odisha, Bihar.
(25).Complete practice of recitation and clapping all the taal prescribed in the syllabus directly and in various difficult laykari and also demonstrating them through dance.
(26). Recitation by clapping and dancing of different types and different matra of tihai in all prescribed taals.
(27).To perform various Tatkar while performing various laykaris in all prescribed taals. There should also be different levels and degrees of Tatkar.
(28).Practice of playing on the tabla the theka of all the fixed taals and some of the bol tied in them.
(29).Practice of playing Nagma (lehara) in different raags on any instrument as per your wish in all prescribed taals.
