Manipuri Nritya Bhaskar Part 1 Syllabus In English Pracheen Kala Kendra

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Manipuri Nritya Bhaskar Part 1 Syllabus In English

Manipuri Nritya

Exam marks

Total Marks: 400

Theory– 200

First Paper-100

Second Paper-100

Stage performance-125



First Paper

(1). Detailed study of  related to Manipuri dance

(2). Essay-

(3). History of lok dance. Comparative study of classical and lok dance and knowledge of lok dances of Manipuri hill region.

(4). Influence of Indian dances from Aadi kaal to Aadhunik kaal.

(5). Comparative study of Hindustani and western dance styles and the impact of western dances on Indian dances.

(6).Place and importance of Guru in dance.

(7). Origin of lay and its ten Pran.

(8) Influence of Manipuri dance on Rabindra dance.

(9).Relationship of Shri Krishna, Shriradha and Vrindadevi with Manipuri dance.

(10).Detailed information regarding the dance-oriented festivals organized in Manipuri state from the beginning to the end of the year.

(11). Which Manipuri dance was performed by the king of Manipur under Vaishnavism, what was the result of it. information about this topic.

(12). Knowledge of Manipuri dance from Pracheen kaal to Aadhunik kaal.

(13). Knowledge of origin, development and characteristics of different gharanas of Manipuri dance.

(14) Place of Ras and Bhav in Manipuri dance.

(15). Knowledge of all the technical terms related to Manipuri dance.

(16). Detailed knowledge of operation of different parts of the body and their importance in dance.

(17). Knowledge of religious and cultural history of Manipur.

(18).Comparative study of classical, lok and ethnic dances of Manipur region including their distinctive features.

(19).Detailed knowledge of its different types by telling the origin of Raas dance.

Second Paper

(1). Place of Lai Haroba in Manipuri jati festival.

(2). Comparative study of lok dance by categorizing lok dances according to geographical location.

(3).Which part of which chapter of Shri Gita is performed in Manipuri Chali dance?

(4) Study of pracheen and aadhunik granth of Manipuri dance.

(5) The place of mythological and lok stories of Manipuri dance and song composition.

(6). Ras and nayak – nayika in Manipuri Vaishnava literature.

(7). Definition – Prabandha, Khootlan, Pungchalan, Jagoi, Matobai Leela, Dhamel Thamalchomba.

(8). Practice of writing all the taals prescribed in the syllabus in different laykari.

(9).Detailed study of Dakshin Taal paddhati and its comparison with Manipuri Taal paddhati.

(10).Detailed study and knowledge of playback singing of Manipuri dance, its need and importance.

(11). Knowledge of various aspects of Vipralabdha.

(12).Knowledge of different types of the following Raas dances like Maharaas, Kunjraas, Banstraas and Nityaraas along with their shlok, songs and bol.

(13). Knowledge of all the mudra used in Manipuri dance and relation of these mudra with ras and bhav.

(14).Detailed study of distinction between nayak and nayika and importance of these distinctions in Manipuri dance

(15). Importance of Taal in Classical Sugam and lok dance of Manipuri State

(16). Detailed value of the principles of composing group dances.


(1).Krishna dance, Radha dance practical knowledge.

(2 ).Practical knowledge of Nritya Raas, Gopa Raas.

(3).Complete display of Ras and Bhav.

(4). Practical knowledge of Kuwai dance.

(5).Comparative demonstration of how deity stories are depicted in Bharat Natyam and Manipuri dance styles.

(6) Manipuri dance on Rupak Kanta and Rupak Taal.

(7).Performance of any one dance style

            A: Kathak

            B: Orissa

            C: Bharatnatyam

            D: Kathakali

(8). Practical knowledge of Manipuri Holi dance.

(9). Ability to perform taal and dance bol by showing tali and khali under the syllabus.

(10). Practice of harmonizing the taals of the syllabus with other students on the pung (khol).

(11). Detailed study of lok dances of Manipuri and its hill tribes.

(12). Ability to show difference between Tandav and Lasya.

(13). Ability to dance on the following compositions by Shri Rabindranath Tagore- Dak Ghar, Chandalika, Taseredesh, Chitrangada, Gitanjali, Bhanu Singh- Padavali.

(14). Ability to perform the Laiharova dance proficiently.

(15). Ability to dance Dashavatara described in Gita Govinda.

(16). Ability to perform various parts of Bhangiparag and Raas dances Practically.

Stage performance

(1) Skilled dance performance of 45 minutes is essential.

Note- The syllabus of previous years will be combined