Kathak Praveen 8th Year Syllabus In English
Kathak
Theory
First Paper
(1).Detailed critical and comparative study of all the technical terms related to dance science prescribed in the syllabus of first to seventh years.
(2).Mutual comparison and critical study of dance from Pracheen, Mughal and Rajput kaal to Aadhunik kaal.
(3).Detailed study of the merits and demerits of dancer, dancer etc., eight virtuous qualities of a hero, expressions of Tandav and Lasya, importance of Sahitya in dance, relation of dance with the stories of Puran etc.
(4).Origin and history of Bharat Natyam Kathakali, Manipuri, Odissi etc. dances, their styles, characteristics, expressions, costumes, make-up etc. Critical and comparative study. Comparative and critical knowledge of the above dances from Kathak dance
(5).Introduction to lok dances of Jammu Kashmir, Himachal Pradesh, Nag Pradesh, Madhya Pradesh, Kerala, Tamil Nadu, Andhra Pradesh and study of their different costumes, art skills and taal management etc.
(6).Detailed knowledge of the duties of dancing on the stage, organization of dancers in group dance, secrets that make dance effective, psychological study of the effects of dance on the audience and artistic changes in contemporary dance etc.
(7).Detailed study of distinctions of joint, unjointed, Vaishnav, Sampad, Vaishak, Mandal, Aalidh, Pratylidh, Shir, Geeta, Ur, Parshva, Jathar, Kati, Jangha, Drishti, Bhramari, Utpalvan etc.
(8).Complete knowledge of nine Ras. Explanation and method of displaying ras and things to be noted at the time of delivery. Ras is an important part of dance, explain it.
(9).Differences between Bhumichari, Akashchari, Bhumi Mandal, Aakash Mandal etc. Vishnu Kaal, Jiva Kaal, Guna Kaal, Yug Kaal, Tatva Kaal, Ritu Kaal etc., seven substances of creation, policy lessons, marking lessons, dance marking rules, interpretation of Hastpad etc., in dance Detailed study of directions, importance of Vyuh Kriya etc.
(10).Description of Mainvi, Manvi, Gajagamini, Turangini, Hansni, Mrigi and Khanjariti etc. Detailed study of Bhava Path, Nayan Path, Bolbhava, Arthabhava, Roopbhava, Nrityabhava, Gat Arthabhava and Angabhava etc.
(11).A complete study of the origin, gradual history and development of Indian classical dances.
(12).Study of texts that throw light on dances prevalent in pracheen, madhyam and aadhunik times and full introduction of dance teachers of these times and their contribution in dance.
(13).Study of various types of famous lok dances prevalent in different regions of India, their relation with human life and their competitions in life.
(14).Interrelationship of singing, playing and dancing. Place and importance of singing and playing in dance.
(15).Subtle study of ballet, opera, rasleela, abhinaya etc., their characteristics and their comparison with other dances, knowledge of their relation with ras and bhav etc.
(16).Relation of dance with other Lalit kala like sculpture, painting etc. Information related to dance from sculpture arts like Ajanta, Ellora etc., their usefulness in dance and explanation of the importance of dance from them.
(17).Detailed and comparative study of Ras and Bhav, their mutual relation, their importance in dance and their utility. Relationship of Ras and Bhav with life. Relation of different ras with different colors and deities etc.
(18).History and elements of western dance. Brief introduction to dances of different places of western countries. Place and forms of Orcherta in Western and Indian dances. Rhythms and movements of western dance. Place and importance of ras and bhav in western dance. Brief introduction of the main dancers of western countries.
(19).Full ability to write articles on subjects related to dance science.
Second Paper-
(1).In addition to the detailed explanation of all the technical terms related to dance prescribed in paragraph one of the first question paper given in the syllabus of the seventh year, detailed explanation of the following technical terms, their explanation and their comparative and Critical knowledge – Thap, Ghumaria, Aral, Alpdam, Alidh, Kuttan, Atplavan, Upkanth, Uthan, Appang, Kinkini, Bhramari, Utplavan Bhramari, Samvad Bhramari, Kunchit, Kunchit Bhramari, Chakra Bhramari, Anuvrut Drishti, Aalokit Drishti, Avlokit Drishti, Pralokit Drishti, Milit Drishti, Sam Drishti,Sachi Drishti, Chakraman, Chalanchal,Chalanchari, Triyastra, Dhru, Dhammil, Padri, Pani, Pad, Vinyas, Pratyang, Prapad, Mohit, Rang, Sara, Sarpayan, Samput, Tirschiv Griva, Parivartit Griva, Prakampit Griva, Sundari Griva, Urmai, Sulp, Urap, Tirap, Guddha Mudra , Dhillag, Tharr, Jamanaka, Stuti, Pramilu, Puhup, Pujari, Gati, Chalan, Phiran, Shema, Pindi etc.
(2).Detailed knowledge of all dance related mudra and their use in different dances, relation of different mudra with ras and bhav.
(3).Explanation of the word ‘Mandal’, detailed, critical and experimental knowledge of its distinctions. Place and uses of Mandal in various dances. Relationship of Mandal with Ras and Bhav.
(4).Explanation of the word ‘Chari’. Detailed critical and experimental knowledge of its distinctions. Place of Chari in various dances and its utility. Relationship with Chari with Ras and Bhav.
(5).Explanation of the word ‘Karan’, detailed, critical and experimental knowledge of differences in it. Importance of Karan and its usefulness in various dances. Relation of Karan with Ras and Bhav.
(6).Explanation of the word ‘anghar’. Detailed, critical and practical knowledge of its distinctions. Importance of Anghar and its utility in various dances. Its relationship with Ras and Bhav.
(7).Principles of operation of body parts and appendages like head, eyes, nostrils, palms, eyebrows, nostrils, cheeks, lips, teeth, mouth, cheek, neck, abdomen, flank, stomach, waist, thigh, paw etc. Relation of Ras and Bhav with its different types.
(8).Origin and development of each Gharanas of Kathak dance, detailed knowledge of Bols of each Gharanas, their characteristics and related criticisms and explanations.
(9).To explain the method of development of bol and toda of dance and the method of demonstrating the steps of Aad, Kuad, Biad etc. by conducting.
(10).Explanation of the word ‘lipi’ and its importance in dance, detailed knowledge of writing all the bol related to dance correctly and clearly. Suggestions on making an ideal lipi paddhati related to dance.
(11).Knowledge of lehra (nagams) in all the taals prescribed in the syllabus and in different raags and the knowledge of writing and playing them.
(12).Complete introduction to the raags of the following thumri ang with brief vocal detail and knowledge of writing any four songs out of these – Pahadi, Asa, Mand, Jangla, Savani, Sorath, Gara and Bihari.
(13).Complete knowledge of Carnatak taal paddhati, detailed study of its taals, its different distinctions, forms and information on how to write them, comparison of Carnatak taals with North Indian taals.
(14).Separate explanation of solo dance and group dance, different features, requirements and importance of both of them.
(15).Knowledge of Pingal Shastra. Detailed knowledge of Chhanda and Laykari and their importance in dance. Knowledge of Ruppadi, Vishampadi and Mishrapadi Taals.
(16).Vrindavan’s place and contribution in the development of Kathak dance.
(17).Detailed knowledge of the correct and shudha style of Kathak dance. Current status of Kathak dance and its future.
(18).Full ability to write articles on dance related topics.
Practical
(1).Special preparation of all practical courses prescribed for 1st to 6th year. Complete ability to dance with new, difficult and beautiful laykari yukat tukda, Aamad, Toda Paran Chakkardar Paran, Kavitra, Chand, Gat, Gatbhav etc. in all the taals prescribed in them.
(2).Complete preparation in post operation. Special practice of displaying different lay by foot action. Head, eyes, eyelids, pupils, browbones, nostrils, cheekbones, lips, teeth, mouth, chin, neck, hand, abdomen, pelvis, thigh, paw etc. special practice.
(3).Before dancing, full practice of recitation (padhant) by clapping hands to dance ‘s bol, Toda, Paran, etc.
(4).Complete preparation of complete Kathak dance performance with all dance related activities in any of the following 12 Taals – Rupak, Jhapatal, Ektal, Aada Chartal, Pancham Sawari (15 Matra), Hemvati or Mallatal (21) Matra), Ashta Mangal Tal (22 Matra), Magadha Tal (23 Matras), Kalanidhi Tal (25 Matras), Pashupati Tal (26 Matras), Kusumakar Tal (27 Matras), Dhruva Tal (29 Matras).
(5).There should be complete preparation of all the activities and things related to dance prescribed in Article 5 of the question-oriented practical examination in the seventh year syllabus. Paran of Biadi and Mahakuadi locks etc., Kamali Chakkardar Paran, Krishna Paran, Durga Paran, Vishnu Paran, Saraswati Paran, Overview Paran, Kali Paran, Gaj Paran, Paran composed on Navrats and seasons, Raskhani Paran, Shatranji Paran, Ras Paran , Maharas Paran, Bivali Paran, Lanka Vijay Paran, Dev Stuti, Saraswati Stuti etc.
(6).Ability to dance with complete preparation, ras and Bhav in other taals also covered by the examinee.
(7).Proper performance of all dance related postures.
(8).The practice of starting the dance with the praise of either Ganesha or Shankar.
(9).Full practice of displaying the various ras and their bhav.
(10).Demonstration of different types of dance related acting.
(11). Practically showing the differences between different gharanas of Kathak dance and the characteristics of each.
(12).Full ability to perform dance based on any of the following ten themes – Marich Vadh, Madan Dahan, Bhilni Bhakti, Laxman Shakti, Sulochana Meghnad Charit, Radha-Krishna Story, Aniruddha-Usha Story, Ganesh Birth, Shankar Vivah, Bhishma Pledge, Story of Danveer Karan, Dadhichi Tap, Dhanush Yagy, Yudhishthira Banvas, Narad Moh, Hanuman Janam, Bali Vadh, Kanas Vadh, Nishad Bhakti, Rukmini Haran, Subhadra Haran, Parvati Tap, Savitri-Satyawan Katha.
(13). Practice of showing bhav by singing Thumri, Bhajan or Hori in any of the following four ragas. Pahari Asa, Mand, Jangla, Sawni, Sorath, Gara and Bihari.
(14).Practice of any one of the following four dance styles – Bharata Natyam, Manipuri dance, Kathakali, Odissi dance.
(15).Preparation for any one of the following four types of dances – Ras dance,Aadhunik dance, Shantiniketan dance, Uday Shankar dance.
(16).Knowledge and practice of performing one lok dance of any four of the following states – Jammu Kashmir, Himachal Pradesh, Nag Pradesh, Madhya Bharat, Kerala, Madras, Andhra Pradesh, Mensur.
(17). Complete practice of reciting all the taals prescribed in the syllabus while clapping directly and in various difficult rhythms and demonstrating them through dance.
(18).Practice of recitation and dancing by clapping different types and different matra of Tihai in all prescribed taals.
(19).There should also be complete practice of doing Tatkar in different laykari in all the prescribed Taals and different Palta and Darje of Tatkar.
(20).Practice of playing lehra (nagma) in different raags on any instrument as per their wish in all prescribed taals.
Stage performance
(1).In stage performance the following five taals the candidate should take at least half an hour in any two taals as per his/her choice with complete preparation You will have to demonstrate your entire dance art. After that, one has to dance with complete preparation for maximum 20 minutes in three Taals – Basant Taal (9 Matras), Kumbh or Chandramani Taal (11 Matras), Jaimangal or Masthika Taal (13 Matras), Aada Chartal (14 Matras) ), fifth ride (15 volumes).
(2).The examiner will have the right that if he wishes, he can end the dance of the examinee even before the scheduled time.
At the time of stage performance, spectators can also be present in the examination hall to watch the dance.
