Kathak

Praveshika Pratham- Kathak Nritya (Dance)

Total:-75 Marks, Minimum:- 26 Marks, Practical:- 60 Marks, Theory:- 15 Marks

Instruction

Instruction: - Revision of all the topics of Prarambhik.

Practical

• To demonstrate double hand gestures –Samyukta Hastmudras as per Abhinaya Darpan- Number of double hand gestures as per Abhinaya Darpan is 23.
• Teentaal- Rangmanch Pranam 1, Thath (poses)-2, sada aamad 1, todas 6, chakradar todas-2, paran 2, Gat nikas- sidhi gat, Matuki gat, bansuri gat
• Barabar (single), Dugun (Double), Chaugun (Four times) Tatkar with Tihai
• Demonstration of all compositions through Padhant.
• Presentation of Teentaal Tabla Bol- Theka in Thah, Dugun, Chaugun with demonstration of Taali-clapping of the hands. (Padhant)
• 4 Paltas of Tatkaar in Teental.
• Abhinay Geet- Action Song in either Keharwa or Dadra Taal wordings of which should be learnt by heart, memorized.

Theory- Theoretical (Oral)

• Definition of below mentioned words. Laya, (barabar, dugun, chaugun), Sam, Matra,Taali, Khali, Gat nikas, Tatkar, Toda, Gat Palta, Bant
• Detailed information about Japtal- Bol of Table, numbers of matras- beats, sum, tali, khali, khand etc.
• Five names of Kathal Kala Gurus who are imparting dance training currently.

Mark sheet/Score sheet

Instruction:-

• Examination time:- 20 Minutes
• It is mandatory to dance along with of Tabla and Lehra

1. Thath- 5 marks
2. Tatkar-10 marks
3. Todas-10 marks
4. Gat nikas-10 marks
5. Padhant-5 marks
6. Mudras-10 marks
7. TPresentation/Impact/influence/impression- 5 marks
8. Theory oral-15 marks

Total-75 Marks

Madhyama Pratham-Kathak Nritya (Dance)

Total Marks:- 200, Minimum Marks:-70, Practical:-125 Marks, Minimum:-44 Marks, Theory (written) :-75 Marks, Minimum- 26 Marks

Instruction

Revision of all last years’ syllabus.

Practical

• Excellence- distinguished performance and presentation in Teental
  (a)Guru Vandna (b)3- thath (of 3 various poses), 2 amad (1 simple- sada amad +1 paranjudi amad) 3 chakradar todas of minimum 3 aavartan (cycles) each,3 paran ( 1 of them should be of Tisra jati), 3 chakradar paran,2 kavit, 3 ginti ki tihayia ( tihayia by counting) tatkar in Teental- aadhi (half), barabar (single), tigun (three times), dugun (double),chogun (four times), adhgun (eight times) and development-extension of bant or chalan. Exceptionality-uniqueness of gat nikas in Teental-Zumar (a stringed ornament with a ghoongharoo at the end,generally worn in the parting of hair), kalai(wrist),3 styles-methods of carrying Matuki, gatbhav- makhan chori, abhinay (Expressins and dance)-1 bhajan or any devotional song.
• Ektal
• Training of singing of a bandish – composition (only composition) in any Raga in Madhyalaya

Theory- Theoretical (Oral)

1. Revision of all the terms of Prarambhik to Praveshika Purna.
2. Head movements-Shiro bhed (9 types) as per Abhinaya Darpan.
3. Brief information about Bharatnatyam, Kuchipudi and Mohiniattam based on their costumes and musical instruments accompanying them.
4. Life Sketches of- Pt. Kalika Prasad and Pt. Bindadin Maharaj, Pt. Harihar Prasad and Pt. Hanuman Prasad, and Acharya Sukhdev Maharaj.
5. Brief history of Kathak Nritya-dance. (10 to 15 sentences)
6. Distinctiveness of Jaypur and Lucknow Gharanas.
7. Explanation of term Mudra and characteristics and uses of Asamyukta hastmudrs single hand gestures. (28 in number)
8. Introduction of Teental, Japtal and Ektal with notations of all the compositions of the syllabus inPt. Paluskar and Pt. Bhatkhande notation method/style.
9. Description of Gatbhav prasang- incidents.
10. Character sketch of Sant Poet Surdas and Meera.

Mark sheet/Score sheet

Instruction:-

• Examination time:- 35 Minutes
• It is mandatory to dance along with of Tabla and Lehra

1. Vandna-5 Marks
2. Thath-5 Marks
3. Tatkar-10 Marks
4. Chakradar tode / Tode-5 Marks
5. Paran-5 marks
6. Chakradar Paran-5 Marks
7. Kavit-5 Marks
8. Gat nikas-10 Marks
9. Gat bhav -10 Marks
10. Tihai-5 Marks
11. Padhant-10 Marks
12. Dance in Japtal-10 Marks
13. Dance in Ektal-10 Marks
14. Bhajan-10 Marks
15. Mudra-05 Marks
16. Overall impression-15 Mark

Total-125 Marks

Madhyama Purna-Kathak Nritya (Dance)

Total Marks:- 200, Minimum Marks:-70, Practical:-125 Marks, Minimum:-44 Marks, Theory (written) :-75 Marks, Minimum- 26 Marks

Instruction

Revision of all last years’ syllabus. Students are expected to learn all the notations in Pandit Paluskar and Pandit Bhatkhande notation method.

Practical

1. Shree Shiv Vandana ( Aangikam Bhuvanam Yasya....) or Shree Krishna Vandana

2. Teentaal with special preparation of following dance items

a) 1 Uthan

b) 1 thath

c) 1 amad

d) 1 parmellu

e) 1 natavari tora

f) 1 farmaishy chakradar (first ‘dha’ on first ‘sam’ second ‘dha’ on second sum and third ‘dha’ on third sam)

g) 1 ganesh paran

h) 1 Ladi of tatkar (for ex. ‘Takit takit dhin’ or any such sort of)

3. TRoopak Taal

a) 1 thath

b) 1 sada (simple) amad

c) 4 sade (simple)tore

d) 2 chakradar tore

e) 2 tihayis

f) 1 kavit

g) Tatkar- single,double, four times ending with tihayi

h) Expansion of any chalan

4. Chautaal

a) 2 thath

b) 2 paranjudi amad

c) 4 todras

d) 2 chakradar toras

e) 2 parans

f) 2 chakradar paran

g) 1kavit

h) 3 tihayis

i) Tatkar-single, double, three times, four times ending with tihayi

j) Expansion of any one chalan

5. Padhant of all the taught and learnt compositions- toras of all the Taals

6. Specialities in Gat Nikas- Rukhsar, Chhedchhad, anchal

7. Gatbhav- Kaliyadaman,

8. Expressive danced performance and presentation on Hori

9. Singing of any composition-bandish in any raga (only singing)

10. Basic knowledge of playing primary bols on Tabla

11. Efficiency of playing lahera of predefined taals of syllabus.

Theory- Theoretical (Oral)

1. Detailed information about Banaras, Jaypur and Lucknow Gharana (including succession of generations)
2. Eyebrow movement and uses of them as per Natya Shastra
3. Eye movements with their uses as per Abhinaya Darpana
4. Definition and types of Lasya and Tandava
5. Do as directed
6. Clear definition of Abhinaya and information and uses of Angika, Vachika, Aharya and Satvika abhinaya
7. Characterisitics and uses of Joint Handgestures as per Abhinaya Darpan. (23 in number)
8. Life sketches and contribution
9. Description of Gatbhav prasang- incidents.
10. Character sketch of Sant Poet Surdas and Meera.

Mark sheet/Score sheet

Instruction:-

• Examination time:- 35 Minutes
• It is mandatory to dance along with of Tabla and Lehra

1. Vandna-5 Marks
2. Uthan & Thath-5 Marks
3. Amad -5 marks
4. Ganesh paran-5 marks
5. Natavari tora-5 marks
6. Chakradar Paran-5 Marks
7. Paran-5 marks
8. Farmaishi Chakradar toda/paran-5 Marks
9. Paramellu-5 marks
10. Gat nikas-8 Marks
11. Gat bhav -8 Marks
12. Ladi or bant in Tatkar-13 Marks
13. Nrutta in Chautal-8 marks
14. Nrutta in Roopak- 15 marks
15. Padhant-10 Marks
16. Hori Bhav Nritya-13 marks
17. Presentation-10 marks

Total-125 Marks

Madhyama Pratham-Kathak Nritya (Dance)

Total Marks:- 200, Minimum Marks:-70, Practical:-125 Marks, Minimum:-44 Marks, Theory (written) :-75 Marks, Minimum- 26 Marks

Instruction

Revision of all last years’ syllabus.

Practical

• Excellence- distinguished performance and presentation in Teental
  (a)Guru Vandna (b)3- thath (of 3 various poses), 2 amad (1 simple- sada amad +1 paranjudi amad) 3 chakradar todas of minimum 3 aavartan (cycles) each,3 paran ( 1 of them should be of Tisra jati), 3 chakradar paran,2 kavit, 3 ginti ki tihayia ( tihayia by counting) tatkar in Teental- aadhi (half), barabar (single), tigun (three times), dugun (double),chogun (four times), adhgun (eight times) and development-extension of bant or chalan. Exceptionality-uniqueness of gat nikas in Teental-Zumar (a stringed ornament with a ghoongharoo at the end,generally worn in the parting of hair), kalai(wrist),3 styles-methods of carrying Matuki, gatbhav- makhan chori, abhinay (Expressins and dance)-1 bhajan or any devotional song.
• Ektal
• Training of singing of a bandish – composition (only composition) in any Raga in Madhyalaya

Theory- Theoretical (Oral)

1. Revision of all the terms of Prarambhik to Praveshika Purna.
2. Head movements-Shiro bhed (9 types) as per Abhinaya Darpan.
3. Brief information about Bharatnatyam, Kuchipudi and Mohiniattam based on their costumes and musical instruments accompanying them.
4. Life Sketches of- Pt. Kalika Prasad and Pt. Bindadin Maharaj, Pt. Harihar Prasad and Pt. Hanuman Prasad, and Acharya Sukhdev Maharaj.
5. Brief history of Kathak Nritya-dance. (10 to 15 sentences)
6. Distinctiveness of Jaypur and Lucknow Gharanas.
7. Explanation of term Mudra and characteristics and uses of Asamyukta hastmudrs single hand gestures. (28 in number)
8. Introduction of Teental, Japtal and Ektal with notations of all the compositions of the syllabus inPt. Paluskar and Pt. Bhatkhande notation method/style.
9. Description of Gatbhav prasang- incidents.
10. Character sketch of Sant Poet Surdas and Meera.

Mark sheet/Score sheet

Instruction:-

• Examination time:- 35 Minutes
• It is mandatory to dance along with of Tabla and Lehra

1. Vandna-5 Marks
2. Thath-5 Marks
3. Tatkar-10 Marks
4. Chakradar tode / Tode-5 Marks
5. Paran-5 marks
6. Chakradar Paran-5 Marks
7. Kavit-5 Marks
8. Gat nikas-10 Marks
9. Gat bhav -10 Marks
10. Tihai-5 Marks
11. Padhant-10 Marks
12. Dance in Japtal-10 Marks
13. Dance in Ektal-10 Marks
14. Bhajan-10 Marks
15. Mudra-05 Marks
16. Overall impression-15 Mark

Total-125 Marks

Visharad Pratham-Kathak Nritya (Dance)

Total Marks:- 500, Minimum Marks:-200, Practical:-300 Marks (oral 200+ Mancha pradarshana (Stage Performance)-100), Minimum:-120 Marks, Theory (written) :-200 (100+100) Marks, Minimum- 80 (40+40) Marks

Instruction

Revision of all last years’ syllabus. Students are expected to learn all the notations in Pandit Paluskar and Pandit Bhatkhande notation method.

Practical

1. Sarswati vandana or Durga stuti
2. Besides Teental special-extra preparation in Dhamartal as directed below
3. Gajampa or Pancham savari taal
4. All the compositions as per sequence in kathak stage performance in vilambit, Madhya and drut laya including layakari
5. Gatnikas- types of aanchal(end of sari or dupatta) , naav (boat), ghoonghat (veil)
6. Gatbhav-Draupadi Vastraharan
7. Performance on Thumari ( knowledge of Rag, Taal and wordings essential)
8. One Tarana, one Trivat in any taal
9. Padhant of the learnt and taught bols
10. Dance performance on any two Saint Poets’ poem or bhajan with introductions of the same (saint poet or poetess except learnt in earlier)
11. Practice of singing any Vimbalit Khyal and one Drupad in any raag.
12. Efficiency of playing lahera of predefined taals of syllabus.
13. Basic knowledge of playing primary bols on Tabla
14. Stage performance-Rangmanch in front of invited guests

Theory

Question Paper-1

1. Origin of Natya, Uses of Natya and objectives of Natya as per Bharata.
2. Definitions of Nava Rasa (nine emotions)
3. Four Types of Nayaka (hero- male character)-Dheerodatt, Dheerlalita, Dheeroddhat and Dheerprashant
4. Definition and types of following Nayikas (heroines- female characters)
a)Abhisarika
b)Khandita
c)Vipralabdha
d)Proshitpatika

5. Stories of Matsya, Varah, Kurma and Narsimha incarnations with their Mudras-hand gestures in Dashavtaar.
6. Definitions of ten Pranas of Taal
7. Information about Manipuri, Kathakali and Odisi dance styles with description of their costumes, accompanying musical instruments etc.
8. Notation of amad, bedum tihayi, farmaishi paran and chakradar paran, tipalli and kavit in Teental, Japtal, Dhamar, Gajjampa (15) and Panchamsavar (15).
9. ‘Patra Laxana’ (qualities-characteristics of the character) as per Abhinaya darpan.
10. Character sketch of Sant Poet Surdas and Meera.

Theory

Question Paper-2

1. Accomplishment-outcome of Rasa and definitions of Sthayi bhava, Vibhava, anubhava, vyabhichari bhava etc.
2. Definition of following terms.
   Tipali, kavit, farmaishi paran kamali paran, bedam tihayi,tribhang, sudhang, lag-dant, anulom, prtilom, bhramari, nyaas-vinyaa.
3. Definitions and brief information of below mentioned types of songs generally used in Kathak dance performances.
   Astapadi, drupad, thumari, chaturang, trivet, tarana, chaiti, kajari, hori
4. Contribution of Nawab Vajidali Shah and Maharaj Chakradharsingh of Raygadh in Kathak.
5. Importance of Guru-shishya Parampara (mentor-disciple tradition), qualities of a student-disciple and his/her duties towards the teacher- Guru.
6. Life sketches and contribution in the field of arts.
   Pandit Gopikrushna, Kathak Samragni Sitaradevi, Pandit. Durgalal, Pandit Kundanlal Gangani, Pandit Vinayakrao Ptvardhan, Pandit Aumkarnath Thakur, Pandit Pannalal Ghosh, U. Allarakah, U. Alu Akbar Kha, Amir Khusara, Goapal Nayak, Pandit Ramnarayan, Pandit Ramsahayji, Saint Purandardas, Kavi (poet) Jaydev
7. Essay writing (minimum 400 words)
8. Detailed information about A. B. Gandharva Mahavidhyalaya Mandal, Mumbai based on year of establishment, founder, work pre independence and post independence work, vision of work introduced by Pandit Paluskar, expansion of work, distinguished features of syllabus, other programs and plans of Mandal.
9. ‘Patra Laxana’ (qualities-characteristics of the character) as per Abhinaya darpan.
10. Character sketch of Sant Poet Surdas and Meera.

Mark sheet/Score sheet - practical

Instruction:-

• Examination time:- 50 Minutes
• It is mandatory to dance along with of Tabla and Lehra

1. Teental with specialities-20 marks
2. Vandana, thath, amad, tode, paran, kavit in Gajampa/Chhoti Savari/Dhamar taal-60 Marks
3. Gat nikas in teental-20 Marks
4. Gatbhav in teental-20 Marks
5. Ladi/ chalan in Teental or Dhamar-10 marks
6. Single and double of table-theke bol-10 marks
7. Padhant-10 Marks
8. Nayikabhav-10 Marks
9. Thumari-10 Marks
10. Tarana or trivet-10 Marks
11. Dance performance on bhajan or any poem by a saint poet/poetess-10 Marks
12. Upaj-improvisation-10 Marks

Total-200 Marks

Stage performance/rangmanch/manch pradarshan-30 minutes

1. Taal-laya-30 Marks
2. Abhinaya-30 marks
3. Costumes-20 marks
4. Method of stage performance presentation -20 marks

Visharad Dwitiya-Kathak Nritya (Dance)

Total Marks:- 500, Minimum Marks:-200, Practical:-300 Marks (oral 200+ Mancha pradarshana (Stage Performance)-100), Minimum:-120 Marks, Theory (written) :-200 (100+100) Marks, Minimum- 80 (40+40) Marks

Instruction

Students are expected to learn all the notations in Pandit Bhatkhande notation method.

Practical

1. Vishnuvandana ( with information about raag, taal and wordings)
2. Extra preparation in Mattal (18), Raastal (13) including laya and layakari.
3. Bant, ladi, expansion of chalan etc in various tals of the syllabus.
4. Gatbhav- Kanchan mriga (upto Seetaharan) and Goverdhan dharan (it is mandatory to dance with storytelling)
5. To dance on simple ‘theke’ (tabla bol)of Teental, Jatal and roopak.
6. Expansion of various sancharibhava in sitting position on the wordings of thumari or stanza of pada.
7. Any two from Trivet, tarana, chaturang, astapadi, stuti etc. (information about raag, taal and wordings)
8. Efficiency and capability to show all the nine rasa with the facial expression in sitting position.
9. Performance on any composition related to Dashavtar with information about rag, tal and wordings of the composition.
10. Movements of eyebrows, neck movements etc in teentaal.
11. Capability of playing or singing Lahera of teental.
12. Dance performance on Vasaksajja and Khandita nayika and dheerlalit and dheerprashant nayak.
13. Singing of one tarana, one dhamar, only bandish-composition. (there can be two different ragas)
14. Practice of playing lahera of taals of the syllabus.
15. Knowledge of playing tabla bols of the taals of the syllabus.
16. Manchapradarshan in presence of invited guests.

Theory

Question Paper-1

Part-1

1. Notations of Jatis
2. Notations of all table bols of taals included in syllabus in kuadi and biadi.
3. To create and form notation based on given bols.
4. Detailed study of Pandit Bhatkhande method keeping virtues and vices (positive-negatives) of the same.
5. Notation of Amad, tihayi, toda, paran etc. In chhoti savar (15) shikhar (17), matttal (18), rastaal (13).
6. Notation in various layakaris of theke bol (tabla bols) of Teental, Ektaal and Chautal.
7. Capability of notations of all the dance compositions-rachana.

Part-2

1. Clarification and elaborated information of concept of Navarasa.
2. Detailed information of nayika bheda-types of nayikas.
   a)As per age-thought:-Mugdha, Madhya, praudha
   b)As per nature:-uttama, madhyama, adhama
   c)As per jati:-padmini, chitrini, shankhini, hastini
   d)As per condition from eight nayikas:- kalahantirata, vasaksajja, virahotkanthita, swadhinpatika
   
3. Brief information about the changes and experiments that are found in modern time in kathak dance performance. (couple-pair dance, group dance, structures in dance, dance drama)
4. Origin and importance of laya and taal in kathak dance.
5. Comparative study of hand gestures-mudras in Natya shastra and abhinaya darpan.
6. Brief introduction of conceptualization of Jati and various types of jatis.
7. Relationship between the dance compositions of kathak and rag-taal.

Question Paper-2

Part-1

1. Brief information about any two from karan, anghar, chari, mandal.
2. Brief information about nruthastas-hand position in dance as per Natyashastra.
3. Definition and form of uses of Lokadharmi and Natyadharmi in dance.
4. Definition and uses of vritti and pravritti as per Natryashastra.
5. Place of kavit and thumari in kathak.
6. Hand gestures of following characters as per Abhinaya darpan.
   Brahma, Vishnu, sarswati, parvati, laxmi, indra, yama, varuna, agni, vayu and related to dashavtar (matsya, kurma, vara, nrusinha, vaman, parashuram, ram, balaram, krushna, kalki)
7. Life sketches and contribution in the field of arts.
   Guru Mohanrao Kalyanpurkar, Maharah Krishnakumar, Pandit Biraju Maharaj, Madam Menka, Surashri Kesarbai Kerkar, Sushri Girijadevi, U. Abdul Karik Kha, Pandit Bhaskarbua Bakhle, U Rahimat Kha, Thakur Jaydevsinha, Pandit Lalmani Mishra, Pandit. D. K. Datar, Pandit, Ambadas Angle, U. Ahmedjan Thirkava, Muthhuswami Dixitar, Kelucharan Mahapatra, Matangmuni.

Part-2

1. Information about ancient events related to dance.
2. Information about diddle age books.
3. Brief information about the Ramayan, the Mahabharat, the Bhagvat Purana andv Geet Govind.
4. Popularity of Indian Dances in foreign countries (abroad).
5. Brief information about new technology developed in dance in modern time.
6. References of dance in theological- Pauranik literature.
7. Essay writing on following topics.
   a)Importance of dance education in the society b)Film music and dance c)Importance of laya in life d)Social need of dance/music training e)Learning, teaching and commercialization of art of music/dance
8. Historical and social contribution of ‘Gandharva Mahavidyalaya’ education tradition-pranalika introduced by Pandit Paluskar.

Mark sheet/Score sheet - practical

Instruction:-

• Examination time:- 60 Minutes
• It is mandatory to dance along with of Tabla and Lehra

1. Vandana-10 Marks
2. Dance on simple ‘theke’ (tabla bol)of Teental, Jatal and roopak- 20 marks
3. Gat nikas -20 Marks
4. Gatbhav -20 Marks
5. Extra preparation in Chhoti savari/ Shikhar/ Matt/Raastal-20 marks
6. Bant, Ladi/ chalan in Teental-10 marks
7. Movements of eyebrows, neck movements with laya in teentaal-5 marks
8. Padhant with preparation-10 Marks
9. Nayika bhava-10 Marks
10. Thumari in sitting position-20 Mark
11. chaturang, astapadi, stuti-20 Mark
12. Dashavtar-10 Marks
13. Navarast by facial expression-10 Marks
14. Upaj- improvisation-10 Marks
15. Playing and singing nagma-lahera-5 marks

Total-200 Marks

Stage performance/rangmanch/manch pradarshan-35 minutes

1. Laya-Taal-30 Marks
2. Abhinaya-30 marks
3. Costumes-20 marks
4. Method of stage performance presentation -20 marks

Total-200 Marks

Visharad Tritiya-Kathak Nritya (Dance)

Total Marks:- 500, Minimum Marks:-200, Practical:-300 Marks (oral 200+ Mancha pradarshana (Stage Performance)-100), Minimum:-120 Marks, Theory (written) :-200 (100+100) Marks, Minimum- 80 (40+40) Marks

Instruction

Students are expected to learn all the notations in Pandit Bhatkhande notation method.

Practical

1. Dance choreography on short stories.
2. To perform immediately on the subject given by examiner.
3. Shree Ram Vandana (with the help of Shloka)
4. Shikhar (17) and Astamangal (11) with special preparation
5. Preparation of all the tals covered in the syllabus up to this year.
6. Dance performance on any composition related to navarasa. ( related to minimum 3 rasas)
7. Any two performances from dadra, kajari, chaiti, hori or zula. (with introduction of rag, taal and poem wordings)
8. Gatbhav, pad or thumari related to kalahantarita, virahotkanthita, swadhinpatia, vipralabdha nayika.
9. Information about practical presentation of five karans described in Natyasastra with special reference to kathak dance-prasarpit, talapuspaput, janit, udhvarjanu, shakatasya
10. Dance performance on any two modern poets. ( knowledge of raag, taal and wordings mandatory)
11. Practise of singing thumari, dadra and bhajan in any raga. practice of singing bandish only.
12. Practice of playing laheras of all the taals of the syllabus.
13. Knowledge of playing theke-tabla bols.
14. Manch pradarshan-stage performance in presence of invited guests.

Theory

Question Paper-1

Part-1

1. Notations of all the compositions of taals included in the syllabus of the year.
2. Notation of theka bols-tabla bols in various layakaris.
3. Clarification of concept of tihayi and notations of various types of tihayias. (tihayi of counting, breathless-bedum tihayi, chakradar tihayi, faramaishi tihayi etc.)
4. Notation of any kavit or chhand related to navaras or nayika bheda.
5. Composing and notation of any bandish based on bols given to work on.
6. Elaborated study of gundoshatmak merits-demerits of Pandit Paluskar method.

Part-2

1. Brief information about yatibhedas.
2. Planning of nrityasarnchana to to prastutikaran –presentation based on kathanak-story, patra-character, vishbhusha-costume, rangsajja- stage decoration,vadhyavrunda-accompanists and prakash niyojan- lights.
3. Information of following ancient parts of kathak. Urap, tira, sulap, sanch, jamanka, pohopajuri, urmai, ughatat, ghooran, mooran.
4. Brief information of sapta- seven gatibheda- types of gatis.
5. Comparative study of ancient and modern kathak performance and presentation.
6. Information related to solah shingar.

Question Paper-2

Part-1

1. Brief information of any two of sthanak, rechak, pindibandh and bhramari.
2. Clarification of definition of word ‘Taal’,story of origin of taal and interrelationship between taal and chhand and based on these information descriptive and critical study of laya, chhand, taal, theka and layakari.
3. Concept of ‘Bhava’ in kathak dance as per Natyashastra.
4. Critical study of couple-pair dance, group dance, structures in dance-choreography and dance drama with example.
5. Evaluative study of vastukram-sequence of presentation in kathak dance.
6. Kathak and semiclassical music.
   
7. Life sketches and contribution in the field of arts.
   Pandita Rohini Bhate, Pandita Damayanti Joshi, Pandita Roshankumari, U. Amir Kha, Pandit. D. V. Paluskar, Shreemati Mogubai Kurdikar, U Bundu Kha, Su Shree N. Rajam, Pandi Kudausinh, Pandit Nanasahen Panse, Pandit Kishan Maharaj, Rammatya, Vyakantmakhi.

Part-2

1. Knowledge about various types of stages described in Natyashastra.
2. Importance of food, life style and exercise for a dancer.
3. Elaborated information about dhwani sanyojan- sound, prakash sajja- light, nepathya-back stage, cyclorama and slides etc.
4. Audio visual and prasar- prachar (spread and propagate) medium of music in modern time. (starting from 1857 up to present day)
5. Relationship of singing, musical instruments playing, painting, sculpture and literature to dance.
6. Capacity to write essay. (in minimum 500 words) a)Kathak dance and society b)Spiritual (religious) background of Indian dance c)Dance and exercise or concept of health d)Art of dance;- a tool for samaj prabodhan-social awaking. e)Role of accompanists (musical instruments) in kathak dance f)Elaborated information about life and works of Pandit Vishnu Digambar Paluskar (based on Pandit Paluskar Charitra authored by Prof. B R. Devadhar) and language, evaluation and social study of the same.
7. Historical and social contribution of ‘Gandharva Mahavidyalaya’ education tradition-pranalika introduced by Pandit Paluskar.

Mark sheet/Score sheet - practical

Instruction:-

• Examination time:- 60 Minutes
• It is mandatory to dance along with of Tabla and Lehra

1. RamVandana-5 Marks
2. Shikhar, Astamangal taal with extra preparation-20 Marks
3. Preparation in any other taal of the syllabus up to this year. -20 Marks
4. Padhant -10 Marks
5. Tatkar Bant/chalan-10 Marks
6. Abhinay on semiclassical composition-15 Marks
7. Dance choreography on short stories-15 Marks
8. Five Karan presentation-5 Marks
9. Nayika presentation-20 Marks
10. Navaras Presentaiton-25 Marks
11. Dance performance on modern poets-20 Marks
12. Singing and playing of Lahera-5 Marks
13. Singing of thumari-dadra/hori-kajari-5 marks
14. Upaj- improvisation-given by examiner-25 marks

Overall impression-10 Marks

Total-200 Marks

Stage performance/rangmanch/manch pradarshan-35 minutes

1. Swara-laya-30 Marks
2. Abhinaya-30 marks
3. Costumes-20 marks
4. Method of stage performance presentation -20 marks

Total- 100 marks

Visharad Dwitiya-Kathak Nritya (Dance)

Total Marks:- 500, Minimum Marks:-200, Practical:-300 Marks (oral 200+ Mancha pradarshana (Stage Performance)-100), Minimum:-120 Marks, Theory (written) :-200 (100+100) Marks, Minimum- 80 (40+40) Marks

Instruction

Students are expected to learn all the notations in Pandit Bhatkhande notation method.

Practical

1. Vishnuvandana ( with information about raag, taal and wordings)
2. Extra preparation in Mattal (18), Raastal (13) including laya and layakari.
3. Bant, ladi, expansion of chalan etc in various tals of the syllabus.
4. Gatbhav- Kanchan mriga (upto Seetaharan) and Goverdhan dharan (it is mandatory to dance with storytelling)
5. To dance on simple ‘theke’ (tabla bol)of Teental, Jatal and roopak.
6. Expansion of various sancharibhava in sitting position on the wordings of thumari or stanza of pada.
7. Any two from Trivet, tarana, chaturang, astapadi, stuti etc. (information about raag, taal and wordings)
8. Efficiency and capability to show all the nine rasa with the facial expression in sitting position.
9. Performance on any composition related to Dashavtar with information about rag, tal and wordings of the composition.
10. Movements of eyebrows, neck movements etc in teentaal.
11. Capability of playing or singing Lahera of teental.
12. Dance performance on Vasaksajja and Khandita nayika and dheerlalit and dheerprashant nayak.
13. Singing of one tarana, one dhamar, only bandish-composition. (there can be two different ragas)
14. Practice of playing lahera of taals of the syllabus.
15. Knowledge of playing tabla bols of the taals of the syllabus.
16. Manchapradarshan in presence of invited guests.

Theory

Question Paper-1

Part-1

1. Notations of Jatis
2. Notations of all table bols of taals included in syllabus in kuadi and biadi.
3. To create and form notation based on given bols.
4. Detailed study of Pandit Bhatkhande method keeping virtues and vices (positive-negatives) of the same.
5. Notation of Amad, tihayi, toda, paran etc. In chhoti savar (15) shikhar (17), matttal (18), rastaal (13).
6. Notation in various layakaris of theke bol (tabla bols) of Teental, Ektaal and Chautal.
7. Capability of notations of all the dance compositions-rachana.

Part-2

1. Clarification and elaborated information of concept of Navarasa.
2. Detailed information of nayika bheda-types of nayikas.
   a)As per age-thought:-Mugdha, Madhya, praudha
   b)As per nature:-uttama, madhyama, adhama
   c)As per jati:-padmini, chitrini, shankhini, hastini
   d)As per condition from eight nayikas:- kalahantirata, vasaksajja, virahotkanthita, swadhinpatika
   
3. Brief information about the changes and experiments that are found in modern time in kathak dance performance. (couple-pair dance, group dance, structures in dance, dance drama)
4. Origin and importance of laya and taal in kathak dance.
5. Comparative study of hand gestures-mudras in Natya shastra and abhinaya darpan.
6. Brief introduction of conceptualization of Jati and various types of jatis.
7. Relationship between the dance compositions of kathak and rag-taal.

Question Paper-2

Part-1

1. Brief information about any two from karan, anghar, chari, mandal.
2. Brief information about nruthastas-hand position in dance as per Natyashastra.
3. Definition and form of uses of Lokadharmi and Natyadharmi in dance.
4. Definition and uses of vritti and pravritti as per Natryashastra.
5. Place of kavit and thumari in kathak.
6. Hand gestures of following characters as per Abhinaya darpan.
   Brahma, Vishnu, sarswati, parvati, laxmi, indra, yama, varuna, agni, vayu and related to dashavtar (matsya, kurma, vara, nrusinha, vaman, parashuram, ram, balaram, krushna, kalki)
7. Life sketches and contribution in the field of arts.
   Guru Mohanrao Kalyanpurkar, Maharah Krishnakumar, Pandit Biraju Maharaj, Madam Menka, Surashri Kesarbai Kerkar, Sushri Girijadevi, U. Abdul Karik Kha, Pandit Bhaskarbua Bakhle, U Rahimat Kha, Thakur Jaydevsinha, Pandit Lalmani Mishra, Pandit. D. K. Datar, Pandit, Ambadas Angle, U. Ahmedjan Thirkava, Muthhuswami Dixitar, Kelucharan Mahapatra, Matangmuni.

Part-2

1. Information about ancient events related to dance.
2. Information about diddle age books.
3. Brief information about the Ramayan, the Mahabharat, the Bhagvat Purana andv Geet Govind.
4. Popularity of Indian Dances in foreign countries (abroad).
5. Brief information about new technology developed in dance in modern time.
6. References of dance in theological- Pauranik literature.
7. Essay writing on following topics.
   a)Importance of dance education in the society b)Film music and dance c)Importance of laya in life d)Social need of dance/music training e)Learning, teaching and commercialization of art of music/dance
8. Historical and social contribution of ‘Gandharva Mahavidyalaya’ education tradition-pranalika introduced by Pandit Paluskar.

Mark sheet/Score sheet - practical

Instruction:-

• Examination time:- 60 Minutes
• It is mandatory to dance along with of Tabla and Lehra

1. Vandana-10 Marks
2. Dance on simple ‘theke’ (tabla bol)of Teental, Jatal and roopak- 20 marks
3. Gat nikas -20 Marks
4. Gatbhav -20 Marks
5. Extra preparation in Chhoti savari/ Shikhar/ Matt/Raastal-20 marks
6. Bant, Ladi/ chalan in Teental-10 marks
7. Movements of eyebrows, neck movements with laya in teentaal-5 marks
8. Padhant with preparation-10 Marks
9. Nayika bhava-10 Marks
10. Thumari in sitting position-20 Mark
11. chaturang, astapadi, stuti-20 Mark
12. Dashavtar-10 Marks
13. Navarast by facial expression-10 Marks
14. Upaj- improvisation-10 Marks
15. Playing and singing nagma-lahera-5 marks

Total-200 Marks

Stage performance/rangmanch/manch pradarshan-35 minutes

1. Laya-Taal-30 Marks
2. Abhinaya-30 marks
3. Costumes-20 marks
4. Method of stage performance presentation -20 marks

Total-200 Marks

Alankar Pratham-Kathak Nritya (Dance)

Total Marks:- 600, Minimum Marks:-270, Practical:-400 Marks (oral 200+ Mancha pradarshana (Stage Performance)-200), Minimum:-180 Marks, Theory (written) :-200 (100+100) Marks, Minimum- 90 (45+45) Marks

Instruction

Students are expected to learn all the notations in Pandit Bhatkhande notation method.

Practical

1. Krishna vandana, shiv vandana or ganesh vandna. The composition of vandna should be in shloka, in taal or alap.
2. Except choice of your own distinguished presentation in raas, astamangal, basant or laxmi taal.
3. Ability to create new parans on the spot.
4. Preparation for the following items. a) Gatabhav or pad on nayakbheda- types of nayaka and thumari or pada on nayikabheda-types of nayikas b) To present various sanchari bhava on the same stanza.
5. To present a composition which is based on any rasa.
6. To present a gatabhava or dance drama based on a modern story.
7. To present an astapadi or a tarana
8. Expansion of chalan, ladi and layakari in tatkar.
9. Various tihayia based on various jatis in any other taal than teental.
10. Presentation of dumdar padhant.
11. To compose a tihayi with the help of mukhada-phrase given by the examiner.
12. Critical evaluation of words and expressions of the dance composition performed though abhinaya.
13. Practical performance and presentation of any five karanas described in Natyasashtra with special reference to kathak- valitoru, uromandal, bhramarak, vrushikarechit, ardhswastik
14. Practise of singing one bada khyal, one madhalaya/drut khayal and one drupad (only bandish) in any raga.
15. Practice of playing laheras of all the taals of the syllabus.
16. Knowledge of playing theke-tabla bols.
17. Manch pradarshan-stage performance in presence of invited guests.

Theory

Question Paper-1

Part-1

1. Notations of all the compositions of all taals included in the syllabus of the year.
2. Notation of expansion of any chalan or ladi.
3. Notation of various tihayias in various jatis in any other taal than teental.
4. Composition and notation of a tihayi based on mukhda-bols given.
5. Composition and notation of bandish based on group of words- phrases given.
6. Notation of Japtaal in Adhi-half (1/2), pauni (3/4), kuadi (1.1/4), aad (1.1/2).
7. Notation of single, double and four times and thath, amad, tihayi, tode, paran, chakkardar paran, kavit etc in Raastal (13), Laxmi (18), Vasant (9) and Astamangal (22).

Part-2

1. Elaborated study of bhramari and charis related to kathak dance.
2. Critical evaluation of any kathak dancer’s dance presentation-performance.
3. Elaborated study of rechak bhedas- various types of rechaka as per Natyashstra.
4. Influence of modern- present day technology on kathak dance presentations.
5. Knowledge of creative compositional-constructive specialities and variations in different gharanas in kathak dance.
6. Discussion about importance of accompanists (musical instruments players), their roles in kathak dance with apt examples.

Question Paper-2

Part-1

1. Root word of ‘Nritya’ word (mool dhatu), its origin and development.
2. Principles of aestheticism-aesthetics (saundaryashastriya Siddhant) of kathak dance style a)Laya-taal b)Swar- raag c)Kavyashabd d)Lalitya e)Expression of sausthav (symmetry-beauty-suppleness) f)Aakrutibandh
3. Critical explanation of instruments tat, sushir, avanaghda and ghan, generally used in various dance styles, and uses of them with examples.
4. Influence of modern technology on kathak dance.
5. Distinguished characteristics of kathak abhinaya vidhan-regulations-manner of abhinaya.
6. Kathak dance and literature.
7. Brief information of Bharatiya kavyashastra (Indian Poetics), based on various authors of poetics and their principles- (Kavyashastrakars-Bharat, Abhinvagupta, Rudrat, Udbhatt, Mammat, Anandvardhan, Vishvanath, Jagannath, Rajshekhar, Dandi, Vaman, Hemachandra etc.)
8. Life sketches and contribution to the field of Art:-
   Pt. Tirathram Azad, Dr. Puru Dadhich, Su. Shree. Maya Rao, Su. Shree. Kumudini Lakhiya, Pt. Kumar Gandharv, Balgandharva, Pt. Ravishankar, U. Bismillah Khan, Pt. V.G.Jog, Pt. Kanthe Maharaj, Pt. Chaturlal, Tyagraj.

Part-2

1. References of dance in Vaidik Literature
2. References of dance in archaeology.
3. Progressive study of religious background of kathak.
4. Knowledge of Nautanki, Tamasha (Lavani dance), dance drama, ballet and Rasmandali.
5. Analysis of references of dance in pauranik-mythological literature.
6. Detailed study about changes in kathak dance in present time.
7. Detailed study of basic elements/components of critical evaluative writing in music/dance.
8. Research method and writing method for research articles and research prabandh-dissertation.
9. Essay writing a)Kathak and navarasa b)Kathak and nayikabheda-types of Nayikas c)Importance of character of Shree Krishna in kathak dance d)Indian and Western art of dance-dance style e)Classical dance and folk dance

Alankar Purna-Kathak Nritya (Dance)

Total Marks:- 600, Minimum Marks:-270, Practical:-400 Marks (oral 200+ Mancha pradarshana (Stage Performance)-200), Minimum:-180 Marks, Theory (written) :-200 (100+100) Marks, Minimum- 90 (45+45) Marks

Instruction

Students are expected to learn all the notations in Pandit Bhatkhande notation method.

Practical

1. Ganesh stuti. Durga stuti and Ram Stuti or stuti or vandna of any other deity.
2. Illustrious presentation in Ganesh, Rudra, “Arjun or Astamangal except any taal of your own choice.
3. Expressive dance-bhav nritya on Drupad or Astapadi.
4. Expertise in Gatbhav- Draupadi Cheerharan, Jatayu moxa or any other incident from Raamayan with the permission of the examiner.
5. Depiction of expression with dance on any thumari offered by examiner, besides any famous one chosen by you.
6. Gatbhav or pad based on rasas.
7. Distinguishably rightful performance of nayika bheda.
8. Your own independent composition.
9. Padhant in all the talas with the help of hand movements-clapping of hands and with playing of theke-tabla bols.
10. Present any composition with singing by self.
11. Only study of sining of any one tarana, one dhamar, one thumari-dadra or kajari/chaiti. (singing of only bandish)
12. Practise of playing of Laheras of all the talas decided in the syllabus.
13. Practise of playing tabla-theke bols.
14. Manch pradarshan-stage performance in presence of invited guests.

Theory

Question Paper-1

Part-1

1. Notations of all the compositions of all taals included in the syllabus of the year.
2. Notation of Amad, kamali chakkardar paran, faramaishi paran, tihayi (of minimum two aavartan-cycle of taal),tistra jaati and mishra jaati paran or chakkardar paran and kavit etc in any taal.
3. Notation of teentaal, Japtaal, roopak, dhamar, raas and shikhar in pauni (1.1/2), aad(1.3/4), biaad(3/4), and 4/5 and 5/4.
4. Notation of Amad, tihayi (two aavartan- cycles), tode, paran, chakkardar paran, faramaishi paran, kavit etc. Ganesh taal (21 matras), Rudra taal (11 matras), arjun taal (24 matras)
5. To compose a bandish and notate on the phrase given on the spot.

Part-2

1. Technical knowledge of modern stage performance like- formation- composition-structure-music composition, dance direction- costumes- stage decoration, backdrops, light and sound etc.
2. Definitions of following as per Natyashstra- 6 Adhar bheda (lip movements), 5 types of vakshstal-(place of chest-breast)-,5 types of kamar- waist, tasks or roles of feet.
3. Relationship of bhava and rasa and use of bhav, vibhav, anubhav and stvik bhav in dance.
4. Analysis of dance with special reference to any two compositions of saint poet Surdas.
5. Comparative study of all three gharanas of kathak (lucknow, jaypur, banaras)
6. Elaborated study of importance of padhant in kathak dance.
7. Explanation of construction of any two karans defining them.

Question Paper-2

Part-1

1. Origin and existence of Natya shastra on the earth.
2. Detailed definition of following words
3. Dance proceedings as per Abhinaya darpan.
4. Critical study of hastkaranas as per Natya shstra.
5. Critical information about nrityadhyay- dance chapters in Sangeet Ratnakar.
6. Critical information about Bharatbhashya.
7. Life sketches and contribution in the field of Art.
   Bade Ramdasji, Pt. Bhimsen Joshi, U. Bade Gulamali Kha, Rasulnbai, Shrimati Hirabai Badodekar, Govindrao Timbe, Pt. Jagannathbua Purohit, Pt. Shankrao Vyas, U. Allouddin Kha, Pt. Gajananbua Joshi, M.S. Subbalaxmi, Pro. B. R. Devdhar, Pt. Anokhelal Mishra.

Part-2

1. History of ancient tradition of dance in temples.
2. Knowledge of of nata, nartak, tauryatrikam and introduction of following natajatiya-types of nata.
   Shilaleen, Shailuk, Krushaswin, charan, magadh, bharat, kushilav
3. Form, origin and development of word ‘thumari’.
4. Critical study of vyakhankars- orators of Natyashstra.
5. Principal musical instruments-taalvadhya (percussion) in folk dance.
6. Interdisciplinary relationship between music-singing-vocal and instrumental with dance.
7. Research methodology and writing method for research article and thesis.
8. Style of language of musical/dance criticism and various forms of dance criticism- writing of book, periodical writing, reporting of a musical concert, interview of an artist, region wise new/old information, writing in news papers and magazine, musical criticism on All India Radio and Television in modern period.
9. Essay writing. (minimum-500 words) a)Speciality of Laya, taal and layakari in kathak dance. b)Various forms of constumes in kathak dance. c)Kathak and other dance styles. d)Influence of Muslim-mogul civilization on kathak dance style. e)Importance of ghoonghroo in kathak dance.