PRARAMBHIK

BHARATA NATYAM DANCE

Total Marks: 50

Minimum Passing Marks: 18

 

Theory (Oral):

1.    Asamyuta hastaas from A.D (not including viniyogas)

2.    Paadabheda – (Uthghatita, sama etc. give according to N.S)

3.    Shirobheda (A. D)

4.    Mandala bhedas from A. D (with their Tamil terminology like Aramandi, Murumandi, etc.)

5.    Knowing the names of the four major classical dance styles: Bharata Natyam, Kathak, Manipuri, Kathakali, and sister styles – Odissi, Mohiniattam, Kuchipudi with reference to the place of origin

6.    Name of the Guru and the school the student follows

7.    Meaning of the term Bharata Natyam (Bhava+Raga+Tala)

Note: A.D – Abhinaya Darpan, N.S – Natya Shastra

 

Practical:

1.    Namaskriya

2.    Vyaayaam: Exercises corresponding to the Adavu-s

3.    Adavu – Elementary steps

Demonstration of four steps each in the below mentioned groups of all three speeds:

1)    Tatta Adavu:                                Tai ya tai

2)    Natta Adavu:                               Tai yum tat taa

3)    Metta Adavu:                               Tai tai taam

4)    Tatta Kuditta Metta Adavu:       Tat tai taa haa

5)    Tirmaanam Adavu:                    Gin na tom

6)    Kuditta Metta Adavu:                 Tai kat (hat) tai hi

7)    Vishru Adavu:                            Taa tai tai taa


PRAVESHIKAA PRATHAM

BHARATA NATYAM DANCE

Total marks: 75

Minimum passing marks: 60

 

Theory (Oral): 15

Theory (Oral – With demonstration wherever required):

1.    Samyuta Hastas (According to A.D)

2.    Viniyoga Shlokas of two Asamyuta and two Samyuta Hasta Mudraas viz. Pataaka, Tripataaka, Anjali and Kapota (A.D)

3.    Drishti Bhedas (A.D)

4.    Grivaa Bhedas (A.D)

5.    Sthaanaka (A.D)

6.    Hasta Prachaara (N.S)

7.    Reciting Chatushra Jaati (ta ka di mi) and Tishra Jaati (ta kit ta) in three speeds

8.    Explaining the following in short:            

·         Adavu and Laya (Trikaalam)

·         Nritta, Nritya and Natya

Note:   Revision of the earlier course is compulsory and can be examined

A.D – Abhinaya Darpan, N.S – Natya Shastra

 

Practical:

Adavu (Advanced Level):

Clear demonstration of minimum three steps in the below mentioned groups in all three speeds:

1.    Shikhara Adavu:                  Tai tai (tam-) taa haa dhit tai (tam-) taa –

2.    Sarikkal Adavu:                    Tai kat tai hi

3.    Tiramaanam Adavu:                        Tari kita tom

4.    Mandi Adavu:                       Tat tai taa

5.    Peri Adavu:                           Tai hat tai hi

6.    Tatti Metta Adavu:                Ta ka di mi


PRAVESHIKA DWITIYA VARSHA (PURNA)

BHARATA NATYAM DANCE

Total Marks: 125, Minimum Passing Marks: 44

Practical: 75, Minimum Passing Marks: 26

Theory (written): 50, Minimum Passing Marks: 18

 

Theory (Written):

1.    Give definition of: Adavu, Korvai, Jati and Tirmaanam

2.    Basic information of the classical styles of India with special reference to:

·         Place of origin

·         Style of dance (solo/group)

·         Salient features

·         Style of music (Hindustani or Carnatic)

3.    Definitions:

·         Adavu

·         Mandala and Sthaanaka

·         Chaari

·         Bhramari

·         Utplavana

4.    Basic information about Bharata Natyam

·         Meaning of the term

·         Place of origin

·         Important features of the technique

5.    Short notes on

Naatyakrama, Paatrapraana, Paatra (Nartaki) Lakshana, Sabhaa Lakshana (A.D)

6.    Definitions:

·         Tala

·         Matra

·         Laya

·         Aavartana

·         Anga/Vibhaaga

·         Sam

·         Usi/Offbeat

Note:   Revision of the earlier course is compulsory and can be examined

A.D – Abhinaya Darpan, N.S – Natya Shastra

 

Practical:

1.    Alaripu – Tishra Ekam or Chatushra Ekam

a.    Presentation of the item

b.    Identification of the raga and tala

c.    Identifying Shira, Drishti, Mandala and Griva

2.    Pushpanjali or Kautukam

a.    Presentation of the item

b.    Identification of the raga and tala the item is composed to

3.    Presentation of a Tirmaanam in Aadi or Rupak tala

 

Theory (Oral – with demonstration whenever required):

1.    Demonstration of usage of Asamyuta and Samyuta Hastas (four of each Ardhapataaka, Kartarimukha, Mayura, Ardhachandra, Karkata, Swastika, Dola and Pushpaputa)

2.    Ability to recite Chatushra, Tishra and Mishra Jati in three speeds

 

 

 


MADHYAMAA PRATHAM

BHARATNATYAM DANCE

Total Marks: 200, Minimum Passing Marks: 70

Practical Marks: 125, Minimum Passing Marks: 44

Theory (Written): 75, Minimum Passing Marks: 26

 

Theory (Written):

1.    Detailed knowledge of Bharata Natyam dance:

·         Brief history of the tradition

·         Development of the style

·         Prominent individuals and institutions that contribute to the development of the style

·         Gharaana or ‘schools’ and their individuality

2.    Abhinaya:

·         Definition of the term

·         Definition of four aspects of Abhinaya

a)    Aangika

b)    Vaachika

c)    Aahaarya

d)    Saatvika

3.    Definition

·         Tandav and Laasya

·         Anga, Pratyanga and Upaanga

4.    Life histories and contributions of prominent personalities like:

·         Tanjore quartet

·         Rukmini Devi Arundale

·         Baalasaraswati

·         Kamalaa Laxman

Note: Inclusion of the earlier course is compulsory and can be a part of examination.

A.D – Abhinaya Darpan, N.S – Natya Shastra

 

Practical:

1.    Alaripu – Mishra Chapu:

·         Presentation of the item

·         Identification of the raga and taala of the item

·         Ability to recite the item keeping taala with Hastakriya

2.    Jatiswaram:

·         Presentation of the item

·         Identification of the raga and taala the item is composed to

·         Ability to sing the item

·         Reciting the Korvai Advaus showing taala Hastakriya

3.    Shabdam or Kirtanam on Ganesh:

·         Presentation of the item

·         Identification of the raga and taala the item is composed to

·         Knowledge of the theme/story done in the item/word meaning

·         Ability to sing the item (basic level)

 

Theory (Oral – with demonstration wherever required):

1.    Presentation of Chatushra and Tishra Jaati in combination with different Talas E.g. Aadi taala using Tishra and Chatushra

2.    Demonstration of the shloka and viniyogas of the Asamyuta Hastas from A.D (10 Hastas)


MADHYAMAA DWITIYA VARSHA (PURNA)

BHARATA NATYAM DANCE

Total Marks: 250, Minimum Passing Marks: 88

Practical: 150, Minimum Passing Marks: 53

Theory (Written): 100, Minimum Passing Marks: 35

 

Theory (Written):

1.    History of Bharata Natyam dance in term of:

·         Period of revival from Daasiattam to Bharata Natyam

·         Pioneers in the field and their contributions

·         Present day famous artistes

2.    The Devadasi tradition

3.    Knowledge about the following folk dances of India:

Santhal, Lambadi, Garba, Bhangra, Lavani, Kummi, Bihu, Korathi in terms of:

·         Name and place of origin/region

·         Aahaarya

·         Mode/technique of presentation

4.    Ability to write taalas (Aadi, Rupaka, Eka) with Anga-s (Laghu, Drut and Anudruta)

E.g. Chatushra Jati Rupaka

0,                     1

12,                   1234

(Taka,             Takadimi)

5.    Knowledge of the stories and myths relating to Ganesh, Krishna, Shiva, Devi and Rama

6.    The difference between folk, classical and ‘Bollywood’ (cinema) dance

Note: Inclusion of the earlier course is compulsory and can be a part of examination.

A.D – Abhinaya Darpan, N.S – Natya Shastra

 

Practical:

1.    Tillana:

·         Presentation of the item

·         Identification of the poet, raga and taala of the item

·         Ability to sing the item

·         Reciting the korvai-s (Adavu-s)

2.    Keertanam based on theme of either Shiva, Murugan, Devi or Krishna:

·         Presentation of the item

·         Identification of the raga and taala of the item

·         The composer of the lyrics

·         Knowledge of the theme/story done in the item

Theory (Oral – with demonstration wherever required):

1.    Demonstration of the shloka and viniyogas of the Samyuta Hastas from A.D (20 Hastas)

2.    Presentation of Khanda, Misra and Sankeerna jaatis in combination with different taalas. E.g. Aadi taala using Khanda, Misra and Sankeerna

3.    Reciting Khanda and Sankeerna Jaati-s in Trikaalams

4.    Reciting Tillana korvai-s with Taala-Hastakriya


VISHAARAD PRATHAM VARSHA

BHARATA NATYAM DANCE

Total Marks: 400, Minimum Passing Marks: 180

Practical: 250 (Viva 200 + Demo 50), Minimum Passing Marks: 128

Theory (Written): 150, Minimum Passing Marks: 52 (26 marks in each paper)

 

Theory Paper I

1.    Technical knowledge of Bharata Natyam dance:

·         Features of the technique

·         Repertoire

·         Music and musical instruments

·         Aahaarya (costume and jewellery)

2.    Concept of Ashtanaayikaa based on the Avasthaabheda:

·         Vaasakasajja

·         Virahotkantihaa

·         Svaadhinapatikaa

·         Kalahaantaritaa

·         Khanditaa

·         Vipralabdhaa

·         Proshitbhartrukaa

·         Abhisaarikaa

3.    Definition of Rasa and explanation of the nine Rasa-s (Navarasa-s)

4.    Definition and explanation of the 10 Praana-s of tala (Dashapraana)

5.    Complete information on A.D (its author, contents, etc.)

6.    Story of the origin of Natya and its significance

7.    Short Notes on:

·         Naatyadharmi and Lokadharmi (Desi and Maargi styles)

·         Four Vrittis – Bhaarati, Saatvati, Aarabhati, and Kaisiki

·         Taandava and Laasya

8.    Short essay on Western Ballet and Modern Dance

 

Theory Paper II

1.    Notation of the items learnt (Alaripu, Jatiswaram)

2.    Naayika and Naayak bheda:

a.    Types of Naayak according to:

·         Four bhedas of shringaar rasa: Anukula, Dakshina, Dhrishta and Shatha

·         Character types: Dheera-lalita, Dheerodaatta, Dheeroddhata, and Dheera-Prashaanta

b.    Types of Naayikaa according to:

·         Social status: Sviyaa, Parakiyaa, and Saamaanyaa

·         Age: Mugdhaa, Madhyamaa, and Pragalbhaa

·         Character/Temperament: Uttamaa, Madhyamaa and Adhamaa

3.    Carnatic taala system – (175 taalas): Sapta taalas with their names and their variants along with Anga, Matra-s, Jaati, etc.

4.    Information on Karana-s and Angahaara-s (N.S)

5.    Major differences between the taala systems: Carnatic and Hindustani with reference to terms like:

·         Shollu

·         Jaati-bheda

·         Hasta Kriya

·         Gati-bheda

·         Tirmaanam

·         Griha (Ateeta, Anagata)

 

Note: Inclusion of the earlier course is compulsory and can be a part of examination.

A.D – Abhinaya Darpan, N.S – Natya Shastra

 

Practical:

1.    Todayamangalam/Mallari/Pushpanjali

·         Presentation of the item

·         Identification of the raga and taala the item is composed to

·         The composer of the lyrics

·         Knowledge of the theme/story done in the item

·         Special features of the item

2.    Jatiswaram other than Rupak tala

3.    Varnam (Aadi tala) first half (up to chitta swara sahitya)

·         Presentation of the item

·         Identification of the raga and tala of the item

·         Knowledge of the theme/story done in the item

·         Ability to sing the item

4.    Padam – Vaatsalya:

·         Presentation of the item

·         Identification of the poet, raga and tala of the item

·         Knowledge of the theme/story done in the item

·         Explanation/meaning if the verses/lines used

·         Analysis of the Bhaava-s used in the song

·         Ability to sing the item

5.    Dashaavataar Hasta and Devata Hasta from A.D

6.    Natuvangam – the basic rendition of the song and playing Adavu-s on Tattakali

·         Manch Pradarshan: Demonstration

Performance of any items as per choice (20-30 minutes)


VISHAARAD DWITIYA VARSHA (PURNA)

BHARATNATYAM DANCE

Total Marks: 400, Minimum Passing Marks: 180

Practical: 250 (Viva 200 + Demo 50), Minimum Passing Marks: 128

Theory (Written): 150, Minimum Passing Marks: 52 (26 marks in each paper)

 

Theory Paper I

1.    Comparative study of the main classical dance styles in terms of:

·         Repertoire

·         Technique

·         Nritta content

·         Abhinaya content

·         Music

·         Costume

2.    Knowledge of the dance-drama styles:

·         Bhaagvat Mela Naatakam

·         Kudiyaattam

·         Yakshagaanam

3.    Concept of Sthaayi and Sanchaari/Vyabhichaari Bhaava-s

4.    Concept of Bhaava, Vibhaava (Aalambana and Uddipana) and Anubhava

5.    Knowledge about the following great poets and composers (Any six):

·         Jayadeva

·         Meerabai

·         Kshetrayya

·         Swati Thirunal

·         Tanjavur Sarfoji Maharaaj

·         Paapnaasam Sivam

·         Arunachala Kavirayar

·         Ganam Krishna Iyer

·         Tanjore Quartet

·         Gopaal Krishna Bhaarati

·         Oothukadu Venkata Subbier

·         Dharmapuri Subbaram Iyer

·         Purandaradaasa

 

Theory Paper II

1.    Complete notation of the items learnt in a systematic way

2.    A study of Rang-Manch

·         As mentioned in N.S

·         As required for a present day dance recital in terms of décor, lighting and acoustics

3.    A brief note on the development of the art of dance from the times of Natya Shastra to the present time.

4.    Knowledge about the mythological characters like Shiva/Nataraja, Krishna, Rama, Devi in her various forms and stories to them portrayed in Indian classical dance such as:

·         Sapta Tandava

·         Symbolism of Nataraja Swarupa

·         Leelas of Krishna

·         Jatayu Moksha

·         Raavana Mardana

·         Draupadi Vastra Harana

·         Rama Vanavasa

·         Dashaavatar

Note: Inclusion of the earlier course is compulsory and can be a part of examination.

A.D – Abhinaya Darpan, N.S – Natya Shastra

 

Practical:

1.    Varnam (completion of the Varnam, learnt earlier):

·         Presentation of the item

·         Identification of the poet, raga, and tala of the item

·         Knowledge of the Rasa and Bhaava-s that feature in the item

·         Explanation/meaning of the verses/lines used

·         Ability to sing the item

·         Reciting Tirmaanam-s

2.    Jaavali/Shringara Padam and one Bhakti Padam (in any Indian language):

·         Presentation of the item

·         Identification of the poet, raga, and tala of the item

·         Knowledge of the theme/story done in the item

·         Explanation/meaning of the verses/lines used

·         Analysis of the Naayika and the type of Bhakti

·         Ability to sing the item

 

Theory (Oral – with demonstration wherever required):

1.    Viniyogas of Shir, Griva, Drishti

2.    Natuvangam using Tattakali of all the items learnt up to Vishaarad Dwitiya Varsha (Purna) level

3.    Presentation of a line of a composition given on the spot (Both Abhinaya and Nritta)

·         Manch Pradarshan: Demonstration

Performance of any item as per choice (20-30 minutes)

ALANKAR PRATHAM

BHARAT NATYAM DANCE

Total Marks: 500, Minimum Passing Marks: 225

Practical: 300 (Viva 200 + Demo 100), Minimum Passing Marks: 155

Theory (Written): 200, Minimum Passing Marks: 70 (35 marks in each paper)

 

Theory Paper I

1.    Bharata’s rasa theory

2.    Other Indian aestheticians like Abhinav Gupta and Bhoja

3.    Exposition of Rasa/Bhaava in dance, the concept of ‘Sanchaari’

4.    Hinduism: Its various philosophical and spiritual aspects

5.    Concepts from western aesthetics: Its pioneers (Socrates, Plato, Aristotle)

6.    Comparative study of Indian, South-East Asian and western concepts related to beauty and art

 

Theory Paper II

1.    Understanding what it is:

·         Natya Shastra and its relation to present day dance traditions, author of N.S, its period and contents

2.    Relation of Shaastra and Parampara

3.     A.D and its importance in the context of Bharat Natyam

4.    Nrittaratnaavali and Sangitasaramrita – The Sanskrit texts and its relevance to Bharat Natyam

5.    The contribution of Chola, Naayak and Marathaa – The Tanjore dynasties to the upliftment of art – dance and music in the south

6.    A brief note on the ancient Tamil and Sanskrit plays like Shilapadikaram, Tirutavai, Shakuntal, Malavikagnimitra, Rutusamharam, etc.

 

Note: Inclusion of the earlier course is compulsory and can be a part of examination.

A.D – Abhinaya Darpan, N.S – Natya Shastra

 

Practical:

1.    Varnam in the Ata taala or Rupaka

2.    Ashtapadi

3.    Tillana in a taala other than in a taala already learnt

4.    Choreography and presentation of:

1)    A Tirmaanam

2)    Two Korvais of a given line of Tillana or Jatiswaram (time allotted – One hour)

 

Theory (Oral):

1.    Natuvaangam (Cymbals) – Alaaripu, Jatiswaram (For the performance of another student)

2.    Answering questions on the overall performance

·         Manch Pradarshan: Demonstration

Performance of any item as per choice (30 minutes)


ALANKAR DWITIYA VARSHA (PURNA)

BHARAT NATYAM DANCE

Total Marks: 500, Minimum Passing Marks: 225

Practical: 300 (Viva 200 + Demo 100), Minimum Passing Marks: 155

Theory (Written): 200, Minimum Passing Marks: 70 (35 marks in each paper)

Theory Paper I

1.    The meaning and history of the term ‘Choreography’ and its parallel concept – “Bandha” found in N.S

2.    “Choreography” in the modern context, its application, its past, present and future

3.    Contribution of Udaya Shankar, Rabindranath Tagore and Rukminidevi

4.    Choreography in the context of solo Bharat Natyam – concept of Bharat Natyam Maargam

5.    Choreographic special features of Maargam compositions – Alaaripu, Jatiswaram, Shabdam, Varnam, Padam, Jaavali, Tilaana, Shloka

6.    Information on Bharat Natyam related creative choreography in modern times:

Bharatnrityam – Dr. Padma Subramanyam

Navanritya – Chandralekha

Nritya Ganga – Dr. Sucheta Chapekar

7.    History of Uparupakas, the various forms of dance-dramas and their traditions from various parts of India

 

Theory Paper II

1.    Guru-shishya paramparaa – Its meaning, ancient form and basic principles (Difference between Guru, Adhyaapak and Shikshak)

2.    Importance of guru-shishya relation in the modern educational system

3.    Attributes of an ideal dance teacher

4.    Attributes of an ideal dance student

5.    Basic principles of teaching whole-part-whole, from known to unknown, the concept of dance

6.    Different levels of dance training and their aims and objects like:

·         School level i.e. in the school

·         Hobby classes

·         Private training from potential performers

·         University courses

7.    Dance training for personality development

8.    Dance as a profession – performer, teacher and its morals

Note: Inclusion of the earlier course is compulsory and can be a part of examination.

A.D – Abhinaya Darpan, N.S – Natya Shastra

 

Practical: (Time allotted – 45 minutes)

1.    One rare Nritya composition (20/30 minutes) like Swarajati or Raagamaalika

2.    Daru – New composition having single theme with Nritta and Abhinaya

3.    Shloka/Viruttam – Abhinaya composition without taala

 

Theory (oral)

1.    Choreography and presentation of any given Padam (Time allotted for choreography – one hour, for performance – max 10 mins)

2.    Natuvaangam for Tillana, Varnam (part) performed by another student

3.    Answering questions on performance as a whole

·         Manch pradarshan: Demonstration

Performance of any item as per choice (30 mins)