curriculum for bachelor’s programme in ......• enable students to have knowledge on musical...

Bachelors programme in Bharathanatyam, St.Teresa’s College (Autonomous)Ernakulam

Curriculum and Syllabi 2015 admission onwards:

ST. TERESA’S COLLEGE, ERNAKULAM

(AUTONOMOUS) Affiliated to Mahatma Gandhi University

CURRICULUM FOR BACHELOR’S PROGRAMME IN

BHARATHANAYAM

Under Choice Based Credit & Semester System (2015 Admissions Onwards)



ST. TERESA’S COLLEGE (AUTONOMOUS), ERNAKULAM DEPARTMENT OF BHARAHANATYAM

BOARD OF STUDIES IN BHARATANATYAM • Smt.K R Radhamani (Chairman), Associate Professor, Head of the Department of

Bharathanatyam, St. Teresa’sCollege (Autonomous),Ernakulam

• Smt.Kalakshetra Vilasini, Rtd.Professor, RLV Music and Fine arts

College,Tripunithura, Ernakulam

• Dr. C.P Unnikrishnan, Lakshmi Vilas, R Madhavan Nair Road, Ernakulam

• Sri. C.P Madhavan Namboothiri, HOD of the Department of Bharatanatyam, RLV

Music and Fine arts College, Tripunithura, Ernakulam

• Smt. P.A Vanajakumari, Associate Professor, Department of Bharatanatyam,St.

Teresa’s College (Autonomous),Ernakulam

• Sri. Suresh Kumar C.K, Associate Professor, Department of Bharatanatyam,St.

Teresa’s College (Autonomous),Ernakulam

• Smt.Anjana S Mohanan, Department of Bharatanatyam, RLV Music and Fine arts

College, Tripunithura, Ernakulam



ACKNOWLEDGEMENT

I acknowledge that without the valuable help, guidance

and co-operation we have received from various quarters, we would not have

been able to function smoothly.

The Board of Studies in Bharathanatyam proceeded with the

idea of developing students in the field of dance both vocationally and

professionally of St Teresa’s college as per the terms of reference and

guidelines given by the UGC, Mahatma Gandhi University and Kerala State

Higher Education Council.

I am greatly indebted to the members of the Board of Studies

who, from the very beginning, did a marvellous work in co-ordinating all

activities leading to successful culmination of the restructuring process.

Apart from members of the board of studies, the contributions of Smt.Devi

Chandana and Smt.Ria V R, Assistant Professors Department of

Bharathanatyam, St.Teresa’s College were invaluable in designing this

syllabus. I express my gratitude to all those who gave valuable suggestions

and whole-hearted co-operation in making this restructuring a memorable

intellectual exercise.

K.R RADHAMANI Chairman



Foreword

The Higher Education environment is changing rapidly in India and particularly so in the year 2014-15, when the Government of Kerala decided to give autonomy to13 educational institutions in the state with the aim of improving quality. Quality in Higher education has been a matter of high concern and priority in India especially after the National Policy on Education 1986 has very categorically questioned the impact of education and suggested many measures for bringing innovative practices in education. The autonomous status asks for more responsibility and increased accountability to frame a curriculum keeping in mind the ever changing academic environment and the plethora of demands placed by the diversity of students who have a high literacy level when it comes to choosing their course. Keeping in mind that the purpose of Higher Education is the development of the people, society and environment, special care has been taken by the IQAC team at St. Teresa’s College to give the necessary Orientation and to conduct Workshops related to curricula and scientific syllabus design as part of the Faculty Development Programme. Curriculum relates to the total experience of the student and it should contain knowledge that is essentially valid. The Graduate and Post Graduate Departments have worked diligently to frame curricula and develop programmes that foster analytical ability and critical thinking and enable the students to acquire the skills required by employers. The pedagogy adopted within the context of curriculum is to facilitate valid transmission of knowledge and proper evaluation of the same. The Courses designed at the Graduate and Post Graduate Levels have defined the competencies to enable effective teaching/learning of all the modules of the courses, both Core (compulsory) and designate (elective). The blueprint of the External assessment of every course guarantees that all modules are taught and furthers integrity. The details of the course curriculum and structure are set in accordance with the course specifications of the affiliating university. With sincere gratitude I acknowledge the efforts of Dr. N. J. Rao and Dr. RajanGurukkal who extended to us their academic expertise, astute guidance and unstinting support. I also thank Dr. Achuthshankar S. Nair for his timely guidance. I specially thank all the faculty members and the IQAC coordinator Dr. Beena Job for their diligence, commitment and exceptional contribution towards this endeavor. Dr. Sr. Celine E



CONTENTS

SL. NO. ITEMS PAGE NOS.

1. Preamble 6

2. Graduate Attributes 7

3. Objectives of the Bachelor’s Programme in

Bharathanatyam

8

4. Structure of Bachelor’s Programme in Bharathanatyam 9

5. Distribution of Courses & Credits 14

6 Courses 10

7 Choice Based Core Courses 12

8 Open Course 12

9 Scheme of Courses 10

10 Course Coding 13

11 Examination 17

12 Internal Assessment 17

13 External Assessment 18

14 Pattern of Questions 18

15 Project Evaluation 19

16 Computation of CCPA 19

17 Syllabi for Core Courses 21

18 Syllabi for Choice Based Core Courses 62

19 Syllabus for Open Course 62



CURRICULUM

PREAMBLE The Department of Bharatanatyam strives to give students education and training in

bharatanatyam and other dance by preparing them for entry into the professions, and to offer

professional-quality. The department aim for “an uncompromising commitment to

excellence” in the discipline of Bharathanatyam.

Bharathanatyam is one of the most cherished and the most popular of classical Indian dance-

forms, not only within the country but also outside it. It is considered the epitome of Indian

cultural expression. The board of studies in Bharatanatyam has designed the curriculum to

establish foundations for creative and intellectual development and cultivate multiple

approaches to dance and a career in it.

The revision of Bharatanatyam syllabus incorporates current academicals developments in

Bharatanatyam studies to be more relevant to the current global academic development in the

subject and it’s Practical. The board of studies has designed the syllabus by adding basic and

vast knowledge in the field of Bharatanatyam and develop a multifaceted physicality through

training in dance techniques. It also aims to provide an opportunity to better the dancer in

students through constant engagement and also through workshops conducted by

professionals. By that students will be prepared to enter the professional world of the

performing arts.



Graduate Attributes

On completion of the BA Programme, students should be able to demonstrate the graduate

attributes listed below.

• Develop the skill and understanding of Bharatanatyam, at the same time as building a

sound technique, by developing the physical ability to communicate through

movement in an expressive and artistic way.

• To impart practical skills in Bharatanatyam as it is manifest today in its traditional

form, complemented byappropriate background knowledge and understanding of the

art.

• To develop an awareness and appreciation of Bharatanatyam in the context of a wider

danceworld.

• Flair, vitality and skill, fully appropriate style, incisively-focussed dancing, precision

in the technique of the genre, consistent, highly developed musicality, confident and

accurate responses to questions asked.

• Technical accuracy with correct placement to the best of their physical facility.

• Appropriate use of limbs showing an understanding of the purpose or significance of

each movement or sequence of movements.

• A sense of line and well-co-ordinated movements.

• An assured performance showing the different qualities of movement required by

each section of the examination structure.

• Musicality and rhythmic awareness.



Objectives of the Programme

By the end of each semester the students are able to achieve the following objectives set for the BA Programme. First Semester

• Enable the students to understand basic of Bharathanatyam. • To ensure the movements of gestures and its usages. • Provide basic understanding of theories in Bharathanatyam and music. • To provide an introduction to Mohiniyattam and its mudras.

Second Semester

• Enable the students to understand the text Natyasastra. • To ensure the movements of gestures and its usages of hand and leg. • Provide basic understanding of major schools in Bharathanatyam. • To provide an introduction to nattuva tradition and styles in dance.

Third Semester

• Enable the students to understand the evolution of dance from the Devadasi tradition.

• To grab an awareness about the heroes and heroines and their characteristics. • Provide understanding of gurus and legends in Bharathanatyam. • To provide an introduction to aesthetics in dance and drama.

Fourth Semester

• Enable the students to understand the Bhakthi movements in India. • To get an awareness of the two streams of worship. • The major dance compositions. • The great composers in dance and their contributions in the field of arts and

literature. Fifth Semester

• Enable the students to understand folk dances and ritual traditions of India. • Comparison of classical dances and folk dances. The tribal dances and the

instruments used.



• The changes in theatre from renaissance to modern times. • Costume and Make up used in Folk dances.

• Enable students to have knowledge on Musical Texts – Sangeetha Ratnakara and the concept of Tauratrikam.

• Major awards and recognition in dance. • Dance dramas and contemporary styles in Bharathanatyam. • Enable the students to think beyond the conventional rules in performing arts.

COURSE STRUCTURE

The Bachelor programme in Bharathanatyam covers 35 courses and a project in sixth

semester all together earning 120 credits. Course is the most significant constituent of an

Academic Programme. It is a well-designed instruction package for imparting educationin a

subject matter with a view to achieving the competencies targeted under the Programme

Outcomes. Every Course is so designed with insights of ‘continuity’, ‘sequence’, and

‘integration’, appropriate for a spontaneous facilitation of effective learning and realisation of

the avowed goals i.e., the learning outcomes supplementing and complimenting the

Programme Outcomes.A Course consists of a series of carefully programmed lessons in a

given subject and their instructional strategies, which impart the knowledge and skill

postulated as learning outcome. Most Courses have lecture method as the main component

supplemented by the interactive session, practical, library consultation, and field-work.

Every Course is to be consisting of a statement of the overall objectives at the outset. It

should contain an overview of the content and context situating the knowledge content of the

Course. This should lead to the syllabus content showing specific lessons.. Following this the

Sixth Semester

The Department of Bharathanatyam offers a Bachelor of Arts degree (B.A), and a Master of

Arts (MA) degree in Bharathanatyam. The BA degree is for students who expect to use

dance as a professional career in their life. The MA degree is for students who wish to

pursue higher studies with dance as the Centre point of their career.



assessment pattern consisting of the particulars viz., the internal, final, attendance policy,

assignment regulations, tests, sample questions and answers has to be provided.

The UG programme in Bharathanatyam includes: (a) common courses, (b) core courses, (c)

complementary courses (d) open course and (e) a project. No course shall carry more than 4

credits. The students can select any choice based course offered by the department which

offers the core courses, depending on the availability of teachers and infrastructural facilities

in the institution. Open course shall be offered in any subject and the students shall have the

option to do courses offered by other departments.

COURSES

The restructured programme should contain 15 core courses of practical and 8 theory papers,

including one choice based course from the frontier area of the course anda project, eight

complementary courses from the relevant subjects for complementing the core of the study,

and an open course. There are two common courses which is the part of the programme. All

students have to start the project in the sixth semester.

Faculty members who have contributed to the curriculum and syllabus in

Bharathanatyam are

1. Smt. Devi Chandana

Assistant Professor, Dept. Of Bharathanatyam

St. Teresa’s College, Ernakulam

2. Smt. Ria V.R

Assistant Professor, Dept. Of Bharathanatyam

St. Teresa’s College, Ernakulam

Scheme of Course:

Courses No. Credits

Common Courses 2 8

Core Courses 23-

Practical-15

Theory-8

87



Project 1 3

Choice Based Core 1 3

Complementary

Courses I & II

8 16

Open Courses 1 3

Total 36 87(Core)

16(Complementary)

3(Open Course)

8(Common)

Grand Total 36 120

Scheme of Distribution of Instructional hours for Core Courses

Semester Model:3

Theory Practical Project Choice

Based

course

Semester-I 1 2

Semester-II 1 2

Semester-III 2 2

Semester-IV 2 2

Semester-V 1 3

Semester-VI 1 3 1 1(P)

List of Complementary Courses

1. Abhinaya Sangeetham- Practical

2. Mohiniyattam - Practical



OPEN COURSES

1. Bharathanatyam Appreciation(practical)

Basic Steps

Kauthvam-1

Mudras- Samyutha& Asamyutha

CORE - CHOICE BASED COURSES

• 1.Thalam- PRACTICAL

3 degree chollus in 35 talas

Aadi, Roopakam, Misra Chappu & KhantaChappu-4 Speed

Pancha Jaathi Tha thi ki ta thom in Various Talas

• 2.Music-PRACTICAL

Thana Varnam-1( Chathurasram & Thisra Gathi)

Keerthanam-1

PROJECT

All students have to start the project at the end of the FIFTH semester which will be completed in the SIXTH semester. There will be one teacher in charge of the entire class. One teacher in the department will supervise a group of five or six students in the project work. Students should identify their topics in consultation with the supervising teacher. Each department has the freedom to select the area of the project. Credit must be given to original contributions, so students should take care not to copy from other projects. The project report must have a minimum of 25 pages. There must be a bibliography at the end and prescribed methodology of research must be followed while writing the project report. The last date published for submitting the project is to be adhered to.



Course Coding: Every course in the programme is coded according to the following criteria.

1. The first two letters stand for the name of the discipline ie. BH.

2. One digit after BH indicates the semester.

3. Letter A indicates Common Courses (which includes English and Languages), B Core

Courses, C Complementary Courses and D Open Course.

4. Letter P indicates Practical, and letter T indicates Theory

5. Two digits indicate the number of the course.i.eBH1BP01B (Bharathanatyam, 1st

semester, core course, practical, and course number 01, Bachelor’s Programme).



Scheme- Core Course The following table shows the structure of the programme which indicates course code, course title, instructional hours and credits. .

Detailed Distribution of Courses

Se

me

ster

Course Code Course Type

Title of the Course

Hours

/Week

Cre

dit

Marks

Sesse

nal

fin

al

T

otal

I

EN1A01B Common course-

1 English-Common Course- I 5 4 20 80 100

BH1BP01B Core –Practical-1 Basics of Bharathanatyam 5 4 20 80 100

BH1BP02B Core –Practical-2 Usage of Various Gestures-

1 5 4 20 80 100

BH1BT01B Core-Theory-1 Introduction to Dance &

Carnatic Music 4 4 20 80 100

BH1CP01B Complementery-

Practical-1

Abhinaya Sangeetham--

Varishakal 3 2 20 80 100


Practical-2

Mohiniyattam--Basics in

Mohiniyattam. 3 2 20 80 100

II

English – Common Course-

2 5 4 20 80 100

BH2BP03B Core –Practical-3 Introductory Items in

Bharathanatyam Recital 5 4 20 80 100

BH2BP04B Core –Practical-4 Usage of Various Gestures-

2 5 4 20 80 100

BH2BT02B Core-Theory-2 Origin of Natya 4 4 20 80 100




Practical-3


Alankaram & Geetham 3 2 20 80 100


Practical-4 Mohiniyattam-- Cholkettu 3 2 20 80 100

III

BH3BP05B Core –Practical-5 Shabdham, Keerthanam 5 4 20 80 100

BH3BP06B Core –Practical-6 Padam, Swarajathi 5 4 20 80 100

BH3BT03B Core-Theory-3 Evolution of

Bharathanatyam 5 4 20 80 100

BH3BT04B Core-Theory-4

Legends in Dance and

accompaniments used in

South Indian classical

dances.

4 4 20 80 100


Practica-5


Swarajathi 3 2 20 80 100


Practical-6

Mohiniyattam-

Jethiswaram, Padam 3 2 20 80 100

I

V

BH4BP07B Core –Practical-7 Varnam , Jethiswaram 5 4 20 80 100

BH4BP08B Core –Practical-8 Thillana, Padam 5 4 20 80 100

BH4BT05B Core-Theory-5 Study of Indian Classical

Dances 5 4 20 80 100

BH4BT06B Core-Theory-6 Core-Bharathanatyam

4 4 20 80 100


Practical-7


Thana Varnam 3 2 20 80 100


Practical-8 Mohiniyattam- Varnam 3 2 20 80 100

V

BH5BP09B Core –Practical-9 Alarippu, Varnam 5 4 20 80 100

BH5BP10B Core –Practical-10 Ashtapadi,

Keerthanam 4 3 20 80 100

BH5BP11B Core –Practical-11 Kshetranja Padam, 4 3 20 80 100



Javali

BH5BP12B Core –Practical-12 Nattuvangam-1 4 3 20 80 100

BH5BT07B Core-Theory-7 Understanding Folk

and Ritual Traditions 4 4 20 80 100

BH5DP01B Open Course-1 Bharathanatyam

Tradion 4 3 20 80 100

VI

BH6BP13B Core –Practica-13l Thillana ,

Keerthanam, Slokam 5 4 20 80 100

BH6BP14B Core –Practical-14 Nattuvangam-2 5 3 20 80 100

BH6BP15B Core –Practical-15

Make up &

Costumes

5 3 20 80 100

BH6BT08B Core-Theory-8 Lakshana Grandhas

in Dance 5 4 20 80 100

BH6BP16B Choice Based

Course

1.Thalam- Prascical 5 3 20 80 100 2.Music-Practical

BH6BPR1B Coursework/ Project

work 3



Examinations

The evaluation of each course shall contain two parts – Sessional Assessment and Final

Assessment. The Sessional and Final Assessments shall be made using a Mark- based

Grading system based on a 7-point scale. Overall Sessional: Final ratio will be maintained as

20:80.

a) SESSIONAL ASSESSMENT

The Sessional evaluation is to be done by continuous assessment of the following

components. The components of the evaluation for theory and their marks are as below.

I. Distribution of sessional marks:

Ø Attendance- 5 marks

Ø Assignment- 5 marks

Ø Test paper- 10 marks

Total -20marks

II. Attendance Evaluation

A student should have a minimum of 75% attendance. Those who do not have the

minimum requirement for attendance will not be allowed to appear for the Final

Examinations.

Marks for attendance:

Ø 90% - 100% - 5marks

Ø 85% - 89% - 4 marks



Ø 80% - 84%- 3 marks

Ø 75% - 79% - 2 marks

III. Assignment/Seminar/Viva

• 1st to 5th semesters - Assignment/Seminar

• 6th semester – Seminar only

IV. Test Paper

• Average mark of two sessional examinations shall be taken.

b) FINAL ASSESSMENT

The final examination of all semesters shall be conducted by the institution on the close of

each semester. For reappearance/ improvement, students may appear along with the next

batch.

c) Pattern of Questions

The pattern of questions for common courses, core course, open course and elective

course courses are listed below.

1. The duration of examination is 3 hours.

2. Each question paper has four parts A, B, C & D.

3. Part A contains 6 questions of 1 mark each all of which the candidate has to

answer.

4. Part B contains 10 short answer type questions spanning the entire syllabus and the

candidate has to answer 7 questions. Each question carries 2 marks.

5. Part C contains 8 problem type questions / short essays spanning the entire

syllabus and the candidate has to answer 5 questions. Each question carries 6

marks. But, for open courses, Part C contains short essay type questions only.



6. Part D contains 4 essay type questions spanning the entire syllabus and the

candidate has to answer 2 questions. Each question carries 15 marks.

7. The total marks for course is 80.

8. There will be a compulsory 30 minutes practical examination for each paper[ core

and complementary] and the total marks is 80.

d) Project Evaluation

All students have to begin working on the project in the FIFTH semester and must submit it

in the SIXTH semester. The ratio of Sessional to Final component of the project is 1:4. The

mark distribution for assessment of the various components is shown below.

1. Internal Evaluation: 40 marks

1. External Evaluation of Dissertation: 60 marks

COMPUTATION OF CCPA

Component Marks Punctuality 10 Analysis of Data 5 Group involvement 5 Internal Viva 20

Component

Marks

Relevance of topic 10 Methodology 5 Statement of Objectives 5 Presentation of facts and figures

10

Quality of Analysis 10 Viva Voce 20



Grade and Grade Point is given to each course based on the percentage of marks obtained as follows:

Percentage of Marks

Grade Grade Point

90 and above A+ - Outstanding 10 80-89 A - Excellent 9 70-79 B - Very Good 8 60-69 C - Good 7 50-59 D - Satisfactory 6 40-49 E - Adequate 5

Below 40 F - Failure 4 Note: Decimal are to be rounded to the next whole number

CREDIT POINT AND CREDIT POINT AVERAGE

Credit Point (CP) of a course is calculated using the formula CP = C x GP, where C = Credit for the course; GP = Grade point

Semester Credit Point Average (SCPA) is calculated as

SCPA= !"#$%&'()*#+"*,#- (!"#)

!"#$%&'()*#+(!")

where TCP = Total Credit Point; TC = Total Credit Grades for the different semesters / programme are given based on the corresponding SCPA on a 7-point scale as shown below:

SCPA Grade Above 9 A+ - Outstanding Above 8, but below or equal to 9 A - Excellent Above 7, but below or equal to 8 B -Very Good Above 6, but below or equal to 7 C - Good Above 5, but below or equal to 6 D - Satisfactory Above 4, but below or equal to 5 E - Adequate 4 or below F - Failure

Cumulative Credit Point Average for the programme is calculated as follows:

CCPA =!"# ! ! !"# !……… ! !"# !

!"!! !"!! ….!!"!

Where TCP1…….., TCP6are the Total Credit Points in each semester and TC1…….., TC6are the Total Credits in each semester



Note: A separate minimum of 30% marks each for InternalsandExternals (for both theory and practical) and an aggregate minimum of 40 % is required for the pass of a course. For pass in a programme, a separate minimum of Grade E is required for all the individual courses. If a candidate secures F Grade for any one of the courses offered in a Semester/Programme only F grade will be awarded for that Semester/Programme until he/she improves this to E grade or above within the permitted period. Candidate who secures E grade and above will be eligible for higher studies.

SYLLABI

BA BHARATHANATYAM

Model III

SYLLABI FOR COURSES



SYLLABI-SEMESTER 1

CORE COURSE I - PRACTICAL 1

Course code- BH1BP01B Course Title-BASICS OF BHARATHANATYAM

• Body exercises to develop dancer’s body.-(36 Hrs)

• All Adavus [3 kalams]-(36Hrs)

CORE COURSE II-PRACTICAL 2

Course code- BH1BP02B Course Title -USAGE OF VARIOUS GESTURES-1

• Mudras [ samyutha and asamyutha hastas]-(18Hrs)

• Viniyoga of Asamyutha hastas.-(18 Hrs)

• Shiro bheda, Drusti bheda,Greeva bheda-(18 Hrs)

• Patraprana, Narthaki lakshanam.-(18 Hrs)

CORE COURSE III -THEORY 1

Name of the Course: Introduction to dance and Carnatic music.

Course Code- BH1BT01B

Duration: One Semester

Total Lecture Hours: 72

Aim of the course: This course is designed give an introduction to the basics of

bharathanatyam and carnatic music.

Course Overview and Context:

To give an idea about the evolution and duties of dance. The introduction to basic theories in

dance.

Module I – Evolution of Dance (18 hrs)



• Origin of Drama [ Natyashastra –

chapter 1]

• Dharma of dance.

• Dharmi, Vrutti and Pravritti

The first chapter of Bharathamuni’s Natyasastra. The origin of drama and its dharma, to

complete the purushartha in life.

Module II – Abhinayadarpanam (18 hrs)

• Euology of dance [ Abhinayadarpanam]

• Origin of the text Abhinayadarpa

The commentary on Natyasastra by Nandikeswara. The origin of the text Abhinayadarpanam.

Single hand gestures and its usages.

Module IV – The basics of Mohiniyattam and Carnatic Music(18 hrs)

• Basics in Mohiniyattam. [adavus, leg positions and basic postures]

• Mudras in Hasthalakshanadeepika.

• Contribution of Kerala Kalamandalam to the field of arts.

• Melakartha ragas and the table representation.

• The 35 tala scheme.

Basic knowledge of Mohiniyattam and Carnatic music. Mudras in Mohiniyattam.

Melakartha raga table and 35 tala scheme. The contribution of Kerala Kalamandalam to the

field of arts.

Module III – Introduction to Gestures.(18 hrs)

• Qualities of a dancer and Dancing bells.

• Angas ,Upangas and Pratyangas.

• Drustibheda, Shirobheda and Greevabheda

• Asamyutha hastas.

The qualities of a dancer. Usages of eyes, head and neck movements.



Competencies of the course:

C1. Enable the students to understand basic of Bharathanatyam.

C2. To ensure the movements of gestures and its usages.

C3. Provide basic understanding of theories in Bharathanatyam and music.

C4. To provide an introduction to Mohiniyattam and its mudras.



Learning Resources

References

1. BHARATHAMUNI’S NATYASASTRA.

2. ABHINAYADARPANAM

3. INTRODUCTION TO SOUTH INDIAN MUSIC

4. HASTHALAKSHANADEEPIKA

Additional Readings

1. Bharathanatyam .[ Sonal Mansingh]

2. Natyasastra [Aditya Rangacharya]

3. Abhinayasangeetham [Leela Panicker]

BLUE PRINT OF THE QUESTION PAPER

Course code- BH1BT01B

Course Title- Introduction to dance and Carnatic music.

Units Hours 1 marks

6/6

2 marks

7/10

6 marks

5/8

15 marks

2/4

Total

80

Unit I 18 2

3 2 1 35

Unit II 18 2 3 2 1 35

Unit III 18 1 2 2 1 32

Unit IV 18 1 2 2 1 32



MODEL QUESTION

BA DEGREE (C.B.C.S.S) EXAMINATION.

B.A BHARATHANATYAM – FIRST SEMESTER

BH1BT01B –INTRODUCTION TO DANCE AND CARNATIC MUSIC.

Time :3hrs Maximum marks-80

FILL IN THE BLANKS. [ANSWERALL, EACH CARRY 1 MARK]

1.The Author Of Abhinayadarpanam Is --------

2.------Is The Combination Of Bhava, Raga And Tala.

3.-----Took The 4 Vedas To Codify The Natyaveda.

4.There Are ----Number Of Shiro Bhedas [Head Gestures].

6. 5.Asamyutha Hastas Are -----In Number.

6.In Dhyanasloka We Evoke Lord-----.

PART B

DEFINE THE FOLLOWING. [ ANSWER ANY 7 NOT EXCEEDIND A PAGE]

7. .Explain Nadanabheda With Examples.

8.The Movements Of Eyes[Drishti Bhedas].

9.Ballet Form Of Dance.

10.Which Are The Angas ,Upangas And Prathyangas.

11.Samyutha Hastas With Sloka.

12.Rangadevatha Sthuthi.

13.Dhyanaslokam And Its Meaning.

14.Costumes In Belly Dance.

15.Mudras In Mohiniyattom.

16.Different Types Of Nritta [ Sloka And Examples]



[7X2=14 MARKS]

PART C

WRITE SHORT ESSAYS ON. [ANY 5 NOT EXCEEDING2 PAGES]

17.The Saptha Talas and their Denotation.

18.Major Western Dances and Its Evolution.

19.The Qualification and Disqualification of a Dancer as in Abhinayadarpanam.

20.The Mythological Origin of the text Abhinayadarpanam.

21.The Melakartha Raga Scheme.

22.North Indian and South Indian Dances.

23.Adavus in Mohiniyattom and their Classification.

24.Classical dances of Kerala.

[5X6=30 MARKS]

PART D

WRITE ESSAYS ON. [ANSWER ANY 2 NOT EXCEEDING 5 PAGES]

25.What do you know about The Tala System and its derivations.

26.Explain in detail the Evolution Of Drama[Natyotpathi].

27.Major Texts on Dance that you know .

28.Melakartha Raga Table and its relevance in Carnatic Music.

[2X15=30 MARKS]

COMPLIMENTARY COURSE-I PRACTICAL 1

Course code- BH1CP01B ABHINAYASANGEETHAM - VARISHAKAL

• Sarali varishakal-(18 Hrs)

• Madhyasthayi varishakal.-(18 Hrs)

• Janda varishakal-(18 Hrs)



COMPLIMENTARY COURSE-II PRACTICAL 2

Course code- BH1CP02B MOHINIYATTOM- BASICS IN MOHINIYATTAM

• Adavus in Mohiniyattom [ tha ganam, ja ganam, dha ganam , sammishram]-(27

Hrs)

• Mudras in Mohiniyattom.-(27hrs)

SYLLABI-SEMESTER- 2

CORE COURSE IV- PRACTICAL 3

BH2BP03B -INTRODUCTORY ITEMS IN BHARATHANATYAM RECITAL

• Alarippu [ Tisram] –(24 Hrs)

• Jathiswaram – Ragam-Vasantha, Thalam-Roopakam-(24 Hrs)

• Ganapathi sthuthi / Thodayam- ( 24 Hrs)

CORE COURSE V- PRACTICAL 4

BH2BP04B- USAGE OF VARIOUS GESTURES-2

• Viniyoga of Samyutha hasthas.-(36 Hrs)

• Nritta hasthas in dance [ Abhinayasdarpanam]-(36 Hrs)

CORE COURSE VI- THEORY 2


Name of the Course: Origin of Natya.



Aim of the course: This course is designed give the students the advance study of dance

theories. The major dance styles and dance institutions of India. Nattuvanar tradition and

Histrionics in acting.




To give an idea about the later chapters of Natyasastra[2-6]. The introduction to various

dance styles and schools in Bharathanatyam.

Module I – Natyasastra (18 hrs)

• Natyasastra [ chapter 2 to 6]

• Mandapa vidhi, Ranga pooja, Thandavalakshanam, Poorvarangavidhanam,

Rasavikalpa.

Bharathamuni’s Natyasastra [ chapter 2 -6]. The construction of stage, preliminaries on stage,

thandavalakshanam, rangapooja and theory on emotions .

Module II – Abhinayadarpanam(18 hrs)

• Abhinayadarpanam text

• Viniyoga of Samyutha hastas.

• Pada bheda , Mandala bheda and Bhramari bheda.

• Nritta hastas, Dasaavathara hastas , Baandhava hastas.

The usages of double hand gestures. The movements of leg,standing postures, leeps, jumps

and other hand gestures.

Module III – Major institutions in India.(18 hrs)

• Major dance institutions in India.

• Kalakshetra

• Kalamandalam

• Darpana

• Nrithyodaya

Major dance institutions of India. The exponents’ incharge of these institutions and

their gurukula pattern of teaching and its merits.

Module IV-The Nattuva tradition and styles in dance.(18 hrs)

• Histrionics in acting.

• Nattuvanar tradition.

• Major dance styles in Bharathanatyam.



The major gurus and exponents in dance and various styles in Bharathanatyam. The four

types of acting and its detailed study.


C1. Enable the students to understand the text Natyasastra.

C2. To ensure the movements of gestures and its usages of hand and leg.

C3. Provide basic understanding of major schools in Bharathanatyam.

C4. To provide an introduction to nattuva tradition and styles in dance.


BH2BT02B - Origin of Natya.

Learning Resources

References


2. ABHINAYADARPANAM

3. BHARATHANATYAM [SONAL MANSINGH]

Additional Readings


2. Bharathanatyam [Ashish Mohan Khokhar]

3. Kalamandalam [ history]

Units Hours 1 marks

6/6

2 marks

7/10

6 marks

5/8

15 marks

2/4

Total

80

Unit I 18 2

3 2 1 35

Unit II 18 2 3 2 1 35

Unit III 18 1 2 2 1 32

Unit IV 18 1 2 2 1 32



MODEL QUESTION

BA DEGREE (C.B.C.S.S) EXAMINATION

B.A BHARATANATYAM – SECOND SEMESTER

BH2BT02B –ORIGIN OF NATYA.

Time: 3 hours Max marks: 80

PART A

FILL IN THE BLANKS.[ EACH CARRY 1 MARK]

1. The Green Room Is Called-----.

2. The Largest Playhouse Is------.

3. The Commentry On Natyasastra By Abhinava Gupta Is -------.

4. Sammisra Adavus Comes In ------- Dance.

5. How Many Angaharas In Natyasastra-----.

6. ------- Translated Hasthalakshanadeepika In Malayalam.

[6 X1=6 MARKS]

PART B

DEFINE THE FOLLOWING. [ANSWER ANY 7 NOT EXCEEDING A PAGE]

7. Dharmi And Its Varieties.

8. Pindi Bhedas In Natyasastra

9. Chapters Of Natyasastra And Name The First Four.

10. Janaka Ragas And Janya Ragas

11. Viniyoga Of Any 2 Asamyutha Hastas

12. Tandava And Lasya.

13. Nadana Bhedas With Examples.

14. Vrittis In Natyasastra.

15. Chaturvidha Abhinaya.



16. Pushpanjali And Its Relevance In Dance. [7X2=14 MARKS]

PART C

WRITE SHORT ESSAYS ON. [ ANY FOUR NOT EXCEEDING 2 PAGES]

17. Introductory Benecdiction In Dance Recitals.

18. Functions Of Sthayi Bhavas In Details.

19. Origin Of Natya.

20. Items In Mohiniyattom Recital.

21. Mandapa Vidhi In Natyasastra.

22. Abhinava Gupta ‘S Abhinavabharathi.

23. Bharathanatyam Repetoire.

24. Explain The Ashtanayikas.

[5X6=30 MARKS]

PART D

WRITE ESSAYS ON.[ANY 2 NOT EXCEEDING FIVE PAGES]

25. Brief Note On The First 6 Chapters Of Natyasastra.

26. Compare Natyasastra And Abhinavabharathi.

27. Functions Of Rasa And Their Corresponding Dieties.

28. Explain Tandava And The 108 Karanas , 32 Angaharas In Detail.

[2X15=30 MARKS]

COMPLIMENTARY COURSE-III PRACTICAL 3

BH2CP03B -ABHINAYASANGEETHAM-ALANKARAM & GEETHAM

• Sapthatala Alankaras-( 18 Hrs)

• Geetham [Any 3 ]-(18 Hrs)

• Practical items- (18 Hrs)

COMPLIMENTARY COURSE-IV PRACTICAL 4

BH2CP04B -MOHINIYATTOM-CHOLKETTU

• Cholkettu– 1-(54 Hrs)



SYLLABI- SEMESTER 3

CORE COURSE VII- PRACTICAL 5

BH3BP05B -SABDHAM, KEERTHANAM

• Sabdham – Venu Ganane- Ragamalika, Thgalam-Misra Chappu –(45 Hrs)

• Keerthanam - Any one – (45Hrs)

CORE COURSE VIII- PRACTICAL 6

BH3BP06B -PADAM, SWARAJATHI

• Padam - Thayyale- Ragam Kalyani- Thalam-Aadi-(45Hrs)

• Swarajathi- Ragam- Bilahari, Thalam-Aadi-(45 Hrs)

CORE COURSE IX- THEORY 3

Course code- BH3BT03B Name of the Course: Evolution of Bharathanatyam .



Aim of the course. This course is designed give the students the evolution dance . The major

dance exponents and gurus of Bharathanatyam. Detailed study on emotions[RASA theory].


This course is designed give the students about the history evolution of Bharathanatyam. The

knowledge of various heroines and their nature. The first literary work on dance –

Chilappadikaram and its artistic importance. The gurus and exponents in the field of

Bharathanatyam and their reformations in the respected areas .Detailed study on rasa and

bhava with respect to Natyasastra.

Module I – Devadasi tradition(18 hrs)

• Devadasi Tradition

• Rise and fall before and after independence

• Devadasis of different places



The detailed study of the evolution of Bharatanatyam from the Devadasis to present day. The

Devadasi tradition before and after Indian independence. The devadasis in various places and

their contribution to the field on art.

Module II – Chilappadikaram and the heroes & heroines in dance.(18 hrs)

• Ashtanayikas and nayakas

• Chilapathikaram and its importance in dance and literature

• Recital form(Bharathanatyam)

The different types of heros and heroines. The importance of the epic Chilapadikaram in

dance and literature. Bharathanatyam recital form and the arrangements of items.

Module III – Gurus and stalwarts.(18 hrs)

• Early gurus and starlwarts in various dances.

• Pandanallore Meenakshi Sundaram pillai, Vazhavoor Ramaiyyah pillai and other

gurus

• Balasaraswathi,E. Krishna Iyye ,Rukmini devi , Padma Subramanyam etc

The early gurus and stalwarts’ who paved way for the growth of Bharathanatyam

dance. Also the contribution of legends like Rukmini devi, E.Krishaniyyer, Padma

Subramanyam….and others in dance.

Module IV-The theories on emotions.(18 hrs)

• Natyasastra VI and VII chapters

• Rasa- corresponding deity

• Bhava

• Vibhava,Anubhava,Vyabhichari



The 5th and 6th chapter of Natyasastra in dcetail. The rasa, bhava , vibhava, anubhava and

vybhacharibhavas. The relation between rasa and bhava. Various theories on emotions.


C1. Enable the students to understand the evolution of dance from the Devadasi tradition.

C2. To grab an awareness about the heroes and heroines and their characteristics.

C3. Provide understanding of gurus and legends in Bharathanatyam.

C4. To provide an introduction to aesthetics in dance and drama.

BLUE PRINT- BH3BT03B- Evolution of Bharathanatyam .

Learning Resources

References


2. ABHINAYADARPANAM


Additional Readings



3. Chilapadikaram [ sahitya academy]

Units Hours 1 marks

6/6

2 marks

7/10

6 marks

5/8

15 marks

2/4

Total

80

Unit I 18 2

3 2 1 35

Unit II 18 2 3 2 1 35

Unit III 18 1 2 2 1 32



MODEL QUESTION


B.A BHARATANATYAM – THIRD SEMESTER

BH3BT03B –EVOLUTION OF BHARATHANATYAM.


PART A


1. -------took up the initiative role in abolishing the devadasi tradition.

2. The different styles in bharathanatyam is called-----.

3. Devadasis were called the------------as they were devoted to the lords.

4. The static emotions are --- in numbers as in Natyasastra.

5. The Veteran Guru In The Pandanalloor Bani Is………

6.The Golden Age Of Devadasis Were During The-------Reign.

PART B


7. Sangam period

8. Sadir nrittam

9. Rasarajan

10.Navarasa with sloka

11. Aimperumkavyam

12.Rasanishpatti of Bharatha

13.Banis in bharathanatyam

14.Nityasumangali

Unit IV 18 1 2 2 1 32



15The four types of Nayakas.

16.Vybhachari bhavas

[7X2=14 MARKS]

PART C

WRITE SHORT ESSAYS ON. [ ANY 5 NOT EXCEEDING 2 PAGES]

17.Explain the Ashatanayikas citing examples.

18. The Bharathanatyam recital form.

19.The different banis and the gurus who contributed to the field of Bharathanatyam.

20. The golden age of the devadasis and mention any few of them and their contributions.

21.Explain in detail the difference4 between vi bhava, anubhava and sanchari bhava.

22. Chilappadikaram and its importance in the study of dance.

23.Devadasis of different courts in various parts of the country.

24. Balasaraswathi is known as the “queen of abhinaya”. Explain incidents from her life to

prove the statement.

[5x6=30 marks]

PART D


25. The role played by E.Krishna Iyyer and Rukmini Devi in the revival of the wonderful

Bharathantyam dance form .

26. The 11 koothus in chilapadikaram paved way for many other dance forms . Do you aree

and why?

27.The contribution of early gurus and legends in shaping the bharathanatyam dance form.

Name atleast five of them and their life.

28.The role of navarasa in dance explaining the corresponding diety and colour of each of

them .

[2x15=30 marks]

CORE COURSE X- THEORY 4




Name of the Course: Legends in dance and accompaniments used in South Indian

Classical Dances.



Aim of the course. This course is designed to enable the students to get the knowledge of not

only dance but music, the legends in musical field, instruments and its classifications.


This module is designed in such a way to enable the student to get awareness in music and

instruments.

Module I – Legends in Music(18 hrs)

• Musical Trinities-(15 Hrs)

• Life history of legends [Kshetranjna, Jayadeva, Swathi Thirunal ,Irayimman

Thampi,etc]- (15Hrs)

The life history of musical trinities and other vaggeyakaras who contributed to the

world of dance and literature. Major kritis used for dance.

Module II – Instruments in dance

• Classification of instruments.

• Wind , string, percussion, and other instruments

The classification of instruments. The wind, string , percussion and solid instruments. The

miscellaneous instruments and its varities.

(18 hrs)



• The various pattern formations and its creative aspects.

(18 hrs)


C1. Enable the students to understand the evolution of dance from thye Devadasi tradition.

C2. To grab an awareness on the heroes and heroines .

C3. Provide understanding of gurus and legends in bharathanatyam.

C4. To provide an introduction to aesthetics in dance and drama.

Learning Resources

References

Module III –Role of orchestra in dance recital.

• Importance of orchestra in Dance recital.

The role of nattuvanar, mrudangist and other orchestra team in a recital

The duties of orchestra in a dance recital. The role of mrudangist and nattuvanar in

Bharathanatyam dance recital.

(18 hrs)

Module IV- Various patterns in Rhythm.

• Define Jathi, theermanam and korvai.

The variations of different types of jathi, theermanam , korvai etc. The different formats of

setting a jathi and korvai in reference to the tala scheme. Notation of the items learned.




2. CHILAPPADIKARAM


Additional Readings




BH3BT04B- Legends in Dance and accompaniments used in South Indian

classical dances.


B.A BHARATANATYAM – THIRD SEMESTER

BH3BT04B –LEGENDS IN DANCE AND ACCOMPANIMENTS USED IN SOUTH

INDIAN CLASSICAL DANCES .


PART A


1. ---------- was called as Garbhasreeman before his birth.

2. The famous lullaby” omana thingal kidavo” was written by------.

Units Hours 1 marks

6/6

2 marks

7/10

6 marks

5/8

15 marks

2/4

Total

80

Unit I 18 2

3 2 1 35

Unit II 18 2 3 2 1 35

Unit III 18 1 2 2 1 32

Unit IV 18 1 2 2 1 32



3. The “Guruguha” mudra is used by the musician----------.

4. The wind instrument used in bharathanatyam recital is---- ----.

5. The sringed instruments are classified as ------vadya.

6. -------instument is used for the conduction of Bharathanatyam.

PART B


1. Jathi and Gathi

2. The 4 classification of instruments

3. Geetha govindam

4. The accompaniments in mohiniyattam

5. Kshetrayya

6. Deva vadya –Edakka

7. Pancharathna kritis by tyagaraja [specify the raga and tala]

8. Kshetrakala vadya

9. Nattuvangam in dance.

10. Miscellaneous instruments [7x2=14 Marks]

PART C


11. Explain in detail the structure of the text Geethe Govindam.

12. Navarathnamalika kriti by Syama Sasthri.

13. The instrument classification with examples in each division.

14. Qualities of a nattuvanar in the Bharathanatyam recital.

15. Qualities of a mrudangam artist on stage for a dance recital.

16. The deities who influenced the musical trinities in their compositions.

17. Theermanam and its features

18. The life history of the musical trinities.



[5X6=30 MARKS]

PART D


19. Bharathanatyam performance is incomplete without the harmony of accompaniments

. Do you agree and Why?

20. Mention any five Vaggeyakaras and their compositions commonly used for

Bharathanatyam performance.

21. “No one equals the creative compositions of the musical trinities.” Pick incidents

from their life to explain the statement.

22. Orchestra plays an important role in all dance and musical performances. Prove the

statement in your point of view.

[2X15=30 MARKS]

COMPLIMENTARY COURSE-V PRACTICAL 5

BH3CP05B -ABHINAYASANGEETHAM- SWARAJATHI

• Swarajathi -1-(27 Hrs)

• Practical items-(27 Hrs)

COMPLIMENTARY COURSE-VI PRACTICAL 6

BH3CP06B -MOHINIYATTOM- JATHISWARAM & PADAM

• Jathiswaram-1-(27 Hrs)

• Padam-1- 27 Hrs)

SYLLABI -SEMESTER 4

CORE COURSE XI- PRACTICAL 7

BH4BP07B -VARNAM ,JATHISWARAM



• Varnam-1- Swamiye Vara Sholledee - Ragam Poorvi Kalyani, Thalam- Aadi(45Hrs )

• Jathiswaram-1-Ragam Kalyani, Thalam- Roopakam(45 Hrs)

CORE COURSE XII- PRACTICAL 8

BH4BP08B -THILLANA, PADAM

• Thillana-1-Ragam – Canada, Thalam-Roopakam(45 Hrs)

• Padam-1- (45 Hrs)

CORE COURSE XIII- THEORY 5


Name of the Course: Study of Indian Classical Dance.



Aim of the course. This course is designed to enable the student to appreciate other classical

dance forms of the country. The evolution, repertoire and major gurus in the respective dance

forms. The paintings and sculptures on ancient India.


This module is designed in such a way as to enlighten other dances, sculptures and paintings

of the country.

Module I – Eight Classical dances of India.(18 hrs) Indian classical dances (8 principles

forms)

• Bharathanatyam

• Mohiniyattom

• Kuchipudi

• Kathakali

• Kathak

• Odissi

• Manipuri

• Sattariya



Module II – Pre forms and the repertoire(18 hrs)

• Pre forms and evolution and other dance forms of different rergions.

• Recital forms of different dances

The pre forms of the classical dances and the recital form of the classical dances. The

evolution of each dance form and its precussor.

Module III – Exponents (18 hrs)

• Exponents in each Indian dance forms and their contributions

• Kathak

• Oddissi

• Manipuri

• Sattariya

The sculpture and paintings of India. The 108 karanas and the major temples of India having

the karanas . Dancing idol of Nataraja and its relevance in dance.

• Kathakali

• Mohiniyattam

• Bharathanatyam

• Kuchipudi

The early gurus and stalwarts’ who paved way for the growth for the development of

each dance form and the reformations made by each of them in their respective field.

• Aesthetics in paintings and sculpture of ancient India

• Major temples and karanas

• Paintings

• Importance of the dancing idol –Nataraja

Module IV-Paintings and Sculptures.(18 hrs)



References


2. INCREDIBLE INDIA [SONAL MANSINGH]

Additional Readings


2. Karana prakaranam [Padma subramanyam]

3. Major temple sculptures

BLUE PRINT OF QUESTION PAPER

BH4BT05B- Study of Indian Classical Dance.

Units Hours 1 marks

6/6

2 marks

7/10

6 marks

5/8

15 marks

2/4

Total

80

Unit I 18 2

3 2 1 35

Unit II 18 2 3 2 1 35

Unit III 18 1 2 2 1 32

Unit IV 18 1 2 2 1 32




B.A BHARATANATYAM – FOURTH SEMESTER

BH4BT05B –STUDY OF INDIAN CLASSICAL DANCES.

MODEL QUESTION- 1 MARKS: 80

TIME: 3 HOURS

FILL IN THE BLANKS. [ ANSWER ALL ,EACH CARRY 1 MARK]

1. Bharathanatyam recital is termed as--------.

2. The aharya of Manipuri dance is called-------.

3. The acrobatic dance with drums performed by men is called-------.

4. The -------was acclaimed by the sangeetha nataka academy as one of the eight

principalclassical dances of India.

5. The different styles in kathak is called as-------- as in hindusthani music.

6. --------is the precussor of kathakali.

PART B


7. Maharis and Gotipuas

8. Kharanas in Kathak.

9. Sadir and Chinnamelam

10. The three bhangas in sculpture

11. The paintings of Ajantha and Ellora

12. Aharya in Kathakali

13. Movements in Odissi

14. Sattariya dance

15. Orchestra in mohiniyattam



16. Kalakshetra

[7x2= 14 marks]

PART C


17. Explain the repetoire of Odissi dance form.

18. The evelution of kathakali from Ramanattam to present day form.

19. Reformations made by Vallathol in the field of mohiniyattam.

20. Contributions made by the gurus in the field of kathak dance form.

21. The growth of Kuchipudi dance form .

22. The two major variations in Manipuri dance.

23. The Bharathanrittam and a small life history of the exponent who introduced it .

24. Resemblences between tharana and thillana in various forms of classical dances.

[ 5x 6= 30 marks]

PART D


25. The major classical dances of South India.

26. Contributions made by Rukmini devi in the field of Bharathantaym.

27. The difference between Bharathanatyam and Mohiniyattam repetoire .

28. The role played by sculpture and paintings in understanding the art and literature of

ancient India.

[2X15=30 MARKS]

CORE COURSE XIV- THEORY 6


Name of the Course: Religious influence in arts and literature.





Aim of the course. This course is designed to enable the student to grab the knowledge of

major religious movements in India.


This module is designed in such a way as to highlight the main streams of worship that

influenced the art and literature of ancient India

Module I –Bhakthi tradition.(18 hrs)

• Bhakthi Traditions

• Both in South and North India

The bhakthi movement in all over India.

Module II – Vaishnavism and Shaivism(18 hrs)

• Vaishnavism and shaivism

• Alwars and Nayanars

The two major steam of worship. The 12 alwars and nayanars.

The compositions for dance and the other kritis commonly used for dance recital.

Module IV-Vaggeyakaras.(18 hrs)

• Swathi thirunal, Kshetrajna,Jayadeva,Bhrathiyar, Tanjore quartette

The major vaggeyakaras in literature and their contribution to the field of dance.


C1. Enable the students to understand the Bhakthi movements in India.

C2. To get an awareness of the two streams of worship.

Module III – Dance compositions(18 hrs)

• Major kritis in dance

• Often used copmpositions for dance .

• Major dance compositions



C3.The major dance compositions.

C4. The great composers in dance and their contributions in the field of arts and literature.

Learning Resources

References

1. INCREDIBLE INDIA [SONAL MANSINGH]

2. NATYASASTRA

3. SANGEETHA RATNAKARA

4. GITHA GOVINDAM

3.Bharathanatyam[ Sonal mansingh]

BLUE PRINT

BH4BT06B- Religious influence in arts and literature.

Additional Readings


2. South Indian music [ Full text]

Units Hours 1 marks

6/6

2 marks

7/10

6 marks

5/8

15 marks

2/4

Total

80

Unit I 18 2

3 2 1 35

Unit II 18 2 3 2 1 35

Unit III 18 1 2 2 1 32

Unit IV 18 1 2 2 1 32



MODEL QUESTION


B.A BHARATANATYAM – FOURTH SEMESTER

BH4BT06B –RELIGIOUS INFLUENCE IN ARTS AND LITERATURE

MARKS :80

TIME: 3 HOURS


1. The poet who belonged to the shaiva streem of worship were called...............

2. --------------was the father of Sankeerthanam

3. -----------was the only female among the alwars

4. Jayadeva’s masterpiece on lord Krishna was----------

5. The traditional margam in Bharathanatyam was designed by the--------

6. There are –--- sargams in Jayadevas Ashtapadi

(Marks-6x1=6)

PART B.


7. Bhakthi tradition

8. Tanjai nalvars

9. Padams in Dance

10. Alwars

11. Shaivism



12. Geetha Govindam

13. Vaishnavam

14. Bharathiyar krithis

15. The story of Nandanaar

16. Invocatory items in Dance

(Marks 7x2=14)

PART C


17. The contribution of Tanjore brothers in the field of Bharathanatryam

18. The major kritis by Swathi Thirunal which is often used in the Bharathanatyam

Recital

19. Vaggeyakaras play an essential part in shaping the tradition and culture of India

20. Sublimity of Bharathanatyam

21. Defference between padam and keerthanam in the Bharathanatyam Recital

22. The nayanars and their contribution in Bhakthi movements.

23. The nayanars and their contribution to the bhakthi movement and literature.

24. Write a small life history on Annamacharya.

[5X6=30MARKS]

PART D


25. Explain in detail the Bharathanatyam recital form citing the Items and its meaning in

detail

26. Write the life history of any four literary figures and their masterpiece often used in

dance

27. “Bhatham dance form would have been incomplete without the Tanjore Quartette”.

Do you agree and why?

28. The Bhakthi ntradition paved way for the literary reformation all over the country.

Explain.

[2x15=30 MARKS]



SYLLABI-SEMESTER 5

CORE COURSE XV- PRACTICAL 9

BH5BP09B -ALARIPPU ,VARNAM

• Alarippu - Chathurasram-(45 Hrs)

• Varnam-1- Roopamu-Ragam-Thodi, Thalam-Aadi-(45 Hrs)

CORE COURSE XVI- PRACTICAL 10

BH5BP10B -ASHTAPADII ,KEERTHANAM

• Ashtapadi-1(36 Hrs)

• Keerthanam-1-(36hrs)

CORE COURSE XVII- PRACTICAL 11

BH5BP11B -KSHETRAJNA PADAM, JAVALI

• Kshetrajna padam-1(36 Hrs)

• Javali-1(36 Hrs)

CORE COURSE XVIII- PRACTICAL 12

BH5BP12B -NATTUVANGAM-1

COMPLIMENTARY COURSE-VII PRACTICAL

BH4CP07B -ABHINAYASANGEETHAM- THANA VARNAM

• Varnam-1(Thana Varnam)-(27 Hrs)

• Practical items- (27 Hrs)

COMPLIMENTARY COURSE-VIII PRACTICAL

BH4CP08B -MOHINIYATTOM-VARNAM

• Varnam- Manasime- Ragam- Sankarabharanam, Thalam-Aadi

• Padam



• Nattuvangam- Alarippu, Jethiswarm,Sabdam with song-(72 Hrs)

CORE COURSE XIV- THEORY 7

Name of the Course: Understanding Folk and Ritual traditions




Aim of the course.

To appreciate the folk and ritual traditions of our country. To ensure knowledge about the

changes in theatre from the renaissance till modern times.


This module is designed in such a way highlight the different forms of our country. The

theories in theatre and its growth. The importance of aharya in folk dances and the

importance of music in folk dances.



Module I – Folk and Ritual dances(18 hrs)

• Folk dances and ritual dances of india

• Comparission of classical dances to folk dances

• Tribal dances

• Music and instruments used in folk arts

The folk and ritual dances of our country. Comparission of ckassical dances and folk dances.

The triabal dances and the instruments used .

• Dasaroopakam (Natyasatra)

• Evolution of world theatre

• From early Renaissance to modern times

Module II – Theatre(18 hrs)

• Folk dances of Tamil nadu

• Costumes and make up(aharya)used in folk dances

The evolution of theatre. The Dasaropakam from Natyasastra. The changes in theatre from

renaissance to modern times. Major theories and movements.

Module III – Costumes in folk forms.(18 hrs)

• Folk dances of Tamil nadu

• Costumes and make up(aharya)used in folk dances



How does the costumes and make up help the understanding of folk and tribal dances and

their importance .

Module IV-Role of music.(18 hrs)

• The importance of music in folk forms

• Evolution of abhinayasangeetham in dance

BLUE PRINT - BH5BT07B- Understanding Folk and Ritual traditions

MODEL QUESTION


B.A BHARATANATYAM – FIFTH SEMESTER

CORE COURSE –UNDERSTANDING FOLK AND RITUAL TRADITIONS

MARKS :80

TIME: 3 HOURS


1. Theclimax orthe last phase in a drama is called ----- among the pancha sandhi.

2. The oldest Sanskrit theatre is-----.

3. ---------is the percussion instrument used for the Punjabi Bhangra.

Units Hours 1 marks

6/6

2 marks

7/10

6 marks

5/8

15 marks

2/4

Total

80

Unit I 18 2

3 2 1 35

Unit II 18 2 3 2 1 35

Unit III 18 1 2 2 1 32

Unit IV 18 1 2 2 1 32



4. The puppet dance of Tamil Nadu is -----.

5. The traditional margam in Bharathanatyam was designed by the--------.

6. --------is the ritual dance of Malabar with elaborate make up and costumes.

(Marks-6x1=6)

PART B.


7. Epic theatre

8. Karagattam

9. Tribal dance s of Kerala

10. Method acting

11. Features of prakaranam

12. Porattu natakam

13. Music in folk dances.

14. Bhanam

15. Aharya in mayilattam

16. Abhinayasangeetham

(Marks 7x2=14)

PART C


17..Kummi is a folk dance common in both Kerala and Tamil Nadu. Explain.

18. The modernism introduced by Samuel Becket in theatre.

19. Explain Dasaroopakam in detail citing examples for each one.

20. Music is the backbone to all dance forms and the choice of ragas add its flavour .

Do you agree and why?

21. Explain Silambattam as a martial dance form.

22.Poikal kuthirai attam and thge traditional accompaniments that add to its flavour.

23. What do you mean by Pancha sandhi in dramaturgy?

24. The role played by the KPAC in reviving the Kerala theatre.

[Marks5X6=30MARKS]

PART D




25. Explain the ritualistic importance of koodiyattom , the classical theatre of Kerala.

26. Major theories introduced in the world theatre and its reflection on the stage

from Renaissance to Modern times.

27. Prepare an essay on the culture and ritualistic traditions of Tamil Nadu.

28.The epic Chilappadikaram is the source of all the folk arts of Tamil Nadu. Do you

agree?

SYLLABI-SEMESTER 6

CORE COURSE XX- PRACTICAL 13

BH6BP13B -THILLANA, KEERTHANAM, SLOKAM

• Thillana-1 –Ragam –Kappi, Thalam- Aadi- (40 Hrs)

• Keerthanam-1- (25 Hrs)

• Slokam-1- (25 Hrs)

CORE COURSE XXI- PRACTICAL 14

BH6BP14B -NATTUVANGAM-2

• Nattvangam - Varnam ,Thillana with Song-(90 Hrs)

CORE COURSE XXII- PRACTICAL 15

BH6BP15B -MAKE UP AND COSTUMES

• Make up and costume-(90 Hrs)



CORE COURSE XXIII- THEORY 8

Name of the Course:Lakshanagrandhas




Aim of the course.

To attain knowledge on the various dance texts and its relevance in arts. Awards and

recognitions in the field of arts .


This module is designed in such away as to enable the students to think beyond the

conventional rules in performing arts.

Module I – Texts in dance(22 hrs)

• Natyasastra

• Abhinayadarpanam

• Hasthalakshanadeepika

The folk and ritual dances of our country. Comparission of classical dances and folk dances.

The triabal dances and the instruments used .

Module II – Musical texts(23 hrs)

• Sangeetha Ratnakaram

• Concept of Tauratrikam

The Sangeetha ratnakaram and the concept of Tauratrikam in dance.

Module III – Awards and Recognitions(22 hrs)

• Major awards and recognitions in dance.



Major awards and recognitions in dance and the role of Sangeetha Nataka Academy in the

field of arts.

Module IV-Innovations.(23 hrs)

• Modern innovations in dance.

• Dance dramas and other dance productions by legends.

The dance dramas and contemporary styles in Bharathanatyam . Various modern dance

productions in India and abroad.

Learning Resources

References

1. NATYASASTRA

2. ABHINAYASANGEETHAM [LEELA PANICKER]

3. HASTHALAKSHANADEEPIKA

4. SANGEETHA RATNAKARAM

5. SOUTH INDIAN MUSIC

Additional Readings

1. Dasaroopakam [ Dhananjayan]

2. SNA journals and sites.

BLUE PRINT- BH6BT08B -Lakshanagrandhas

Units Hours 1 marks

6/6

2 marks

7/10

6 marks

5/8

15 marks

2/4

Total

80

Unit I 18 2

3 2 1 35

Unit II 18 2 3 2 1 35



MODEL QUESTION


B.A BHARATANATYAM – SIXTH SEMESTER

CORE COURSE –LAKSHANAGRANDHAS IN DANCE

PART-ATIME: 3 HOURS MARKS :80

FILL IN THE BLANKS. [ANSWER ALL, EACH CARRIES 1 MARK]

1. Abhinayadarpanam was codified to deafeat the dancing demon -----.

2. The dance chapter in Sangeetha Ratnakara is called the-------.

3. Natyasastra is also known as the-------.

4. The sangeethe nataka acdemy was established during the year----.

5. ------is the theory of Bharatha on the emotions.

6. -------was the first dance drama composed by Rukmini devi.

PART B.


7. Concept of Tauratrikam

8. Navarasas and the colours

9. Padma awards

10. What is recaka?

11. SNA and its functions

12. Vrutti in Natyasastra

13. Hasthalakshanadeepika

14. Dance gestures in darpanam text

15. Contemporary style in bharathanatyam

16. Origin of drama

[7x2= 14 marks]

Unit III 18 1 2 2 1 32

Unit IV 18 1 2 2 1 32



PART C


17. Major dance productions by Kalakshetra.

18. The sthyi bhava and its relevance in dance

19. The structure of the text Sangeetha Ratnakaram.

20. The role of hastha mudras and viniyogas in dance and their importance.

21. Explain the modern innovations made by the exponents in the field of

Bharathanatyam.

22. The major awards and recognitions in dance.

23. The Dhananjayans made an international participation through his dance

productions. Explain the life history of them.

24. Any classical arts depend on a particular text and follow the strict rules. Do you

think that delays the growth of an art form?

[5x6=30 marks]

PART D


25. Which are the dance forms that follow the Hasthalakshanadeepika as the prime

text?

26. Appreciate the major differences between Natyasastra and Abhinayadarpanam,

though the later one was the commemtary on the first.

27. Name the few active exponents in Bharathanatyam and their experiments in the

respective field. Do you think modernism spoils the purity of the art form?

28. Appreciate Natyasastra as the prime text to most of the art forms of the country.



SCHEME OF CHOICE BASED COURSE

(Course code- BH6BP16B)

• 1.BASICS OF TALAM- PRACTICAL

3 degree chollus in35 talas

Aadi, Roopakam, Misra Chappu & KhantaChappu-4 Speed

Pancha Jaathi Tha thi ki ta thom in Various Taalaas

• 2.AN ADVANCED STUDY IN CARNATIC MUSIC-PRACTICAL

Thana Varnam-1(Chathurasram& Thisra Gathi)

Keerthanam-1

SCHEME OF OPEN COURSE- Bharathanatyam Appreciation

(Course code- BH5DP01B)

• Basic Steps

• Kauthvam-1

• Mudras- Samyutha& Asamyutha

curriculum for bachelor’s programme in ......• enable students to have knowledge on musical...

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