Vide Item No 89 R Revised syllabus of Foundation I and Foundation II Dance_1 Syllabus Mumbai University by munotes
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17/05/2022
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1
Note: - This is the Five Year integrate d Degree Course BFA/PA Bachelor of Fine
Arts/Performing Arts in Dance.
The First two years are Foundation - I and Foundation -II which function
according to the Annual Pattern.
FOUNDATION I [DANCE ]
BHARATA NATYAM
PRACTICAL
Syllabus of Practical -I Nritta 125 marks
1. Basic Exercises of Bharata Natyam
2. Adavus in three speeds.
a. Tatta Adavu – 5 Variations
b. Naatta Adavu - 6 variations
c. Kuditta Mettu – 6 Variations
d. Tat tai ta ha Adavu – 3 Variations
e. Visharu Adavu - 3 Varia tions
f. Sarikkal Adavu - 2 Variations
g. Mandi Adavu - 2 Variations
h. Small Teermaanam Adavu - 4 Variations
i. Big Teermaanam Adavu - 4 Variations
3. Alaarippu in Tishra Jaati
a. Recitation and Performance of Alaarippu in Jaati Shollus
b. Recitation and Performance of Alaarippu in Adavu Shollus
c. Recitation and Performance in Alaarippu Shollus
4. Shlokas of Abhinayadarpanam
a. Namskriyaa
b. Rangaadi devataastuti
c. Naatyakrama
d. Definition Shlokas of Asamyuta Hastas
e. Definition Shlokas of Shirobheda, Drishtibheda, Greevaabheda.
5. Journal
a. Notation of the following Adavus in Chaturashra Jaati
using:
i. Adavu and Jaati Shollus in Taalam (three speeds).
ii. Dance Movements.
Tatta Adavu
Naatta Adavu
Kuditta Mettu Adavu
Tat tai ta ha Adavu
Visharu Adavu
Murukku Adavu
Sarikkal Adavu
Mandi Adavu
Taandudal Adavu
Yetta Adavu
Tattimettu Adavu
Small Teermaanam Adavu
Big Teermaanam Adavu
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The division of Marks for Practical -I Nritta is as follows: -
Nritta - 125 marks
a. Angashuddha - 25 marks
b. Layashudda - 25 marks
c. Rendering of Adavus - 25 ma rks
d. Test of knowledge of technical terms
and performance of the same: - 25 marks
e. Journal - 25 marks
Syllabus of Practical II Nritya 125 Marks
1. Basic Exercises of eyes, eyelids, eyebrows, lips, cheeks.
2. Introduction to Ashta Rasas
a. Shringaara Rasa
b. Haasya Rasa
c. Karuna Rasa
d. Raudra Rasa
e. Veera Rasa
f. Bhayaanaka Rasa
g. Beebhatsa Rasa
h. Adbhuta Rasa
The division of Marks for Practical -II Nritya is as follows: -
Nritya 125 marks
a. Performance of the Ashta Rasas - 75 marks
b. Meaning of the Choreography - 25 marks
c. Recitation and performance
of the Abhinayadarpanam shlokas - 25 marks
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Syllabus of Practical III Music and Taalas 50 Marks
1. Basic Introduction to Carnatic Music
a. Singing of Sarali Varishai
b. Singing of Jantai Varishai
c. Singing of Melsthaayi Varishai
d. Singing of Dhaatu Varishai
e. Alankaarams
2. Basic Introduction to Taalas of Carnatic Music
a. Sulaadi Sapta Taalas
b. Pancha Jaatis
c. 35 Taalas
d. Alaarippu Recitation with Taalam in Alaarippu, Adavu and Jaathi Shollus
e. Adavus recitation in Aadi Taalam in 3 Speeds
The division of Marks f or Practical III Music and Taalas is as follows: -
Music and Taalas 50 marks
a. Singing - 25 marks
b. Knowledge and recitation of talas - 25 marks
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4
FOUNDATION - I [DANCE]
BHARATA NATYAM
THEORY
Syllabus
Paper I: An Introduction to Traditional Indian Cul ture 100 Marks
1. Concept of Culture and Civilization
2. Ancient Indian Culture and its evolution.
3. Indus Valley Civilization.
4. Dance in Vedic Age - A Brief Introduction.
5. Division in Ved as.
6. Aryanization of South India.
7. Civilization of India as described in the great epics.
8. Pre Mauryan India.
9. Buddhism and Jainism – the status of dance during the period. Legends of dancers.
10. Inclusion of dance in drama.
11. Historical evidence of natya.
12. Evidence in the Gupta Age and its Literature – Brief Introduction.
Page 9
5
Syllabus
Paper II: Sanskrit 100 Marks
A) General:
i. Varnamala ( Alphabets )
ii. Diacritical Marks and Transliteration
iii. Ten Subhashitas (verses) with translation
iv. Conversational Sanskri t
B) Grammar:
i. Words declination – Masculine and neuter gender words ending in ‘a’
ii. Verbs - Present Tense Singular Forms of Parasmaipada from First group of
Verbs
iii. Svarasandhi
C) General :
i. Ten Subhashitas (verses) with translation
ii. Conversational Sanskrit
iii. Revision of Transliteration
D) Advanced Grammar:
i. Words declination Feminine words ending in ‘ā’
ii. Words declination Pronouns - asmad, yushmad, tad
iii. Verbs - Present Tense all Forms of Parasmaipada from First group of
Verbs
iv. Gunasandhi and Vyanjanasandhi
Page 10
6
Syllabus
Paper III: Epics 100 Marks
A) Ramayana :
i. Outline of Story
ii. Selected Episodes
iii. Character Sketches of prominent characters
B) Mahabharata :
i. Outline of Story
ii. Selected Episodes
iii. Character Sketches of prominent characters
C) Puranas:
i. Concept of Incarnation
ii. Ten incarnations of Vishnu
D) Shilappad ikaram:
i. Outline of Story
ii. Selected Episodes
iii. Character Sketches of prominent characters
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FOUNDATION - I [DANCE]
BHARATA NATYAM
THEORY
Syllabus
Paper – IV Communication Skills in English 100 Marks
I: Sentence Structure
II: Tense and Composition
III: One Word -Substitution
IV: Figures of Speech
V: Vocabulary - Word Power
VI: Study of Selected Amar Chitra Katha
VII: Essay Writing
VIII: (Physical and Mental) Hygiene
IX: Speech Delivery
X: Introduction to Communication Skills
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FOUNDATION I [DANCE]
MOHINI ATTAM
PRACTICAL S
Syllabus of Practical -I Nritta 125 marks
1. Basic Exercises of Mohini Attam and Kathakali
2. Adavus in three speeds.
a Level A (Shira and Greeva) - 2 variations ( Sarpita, Lolita)
b. Level B (Vaksha and Parshva) - 2 variations ( Suchi )
c. Level C ( Kati) -2 variations ( Rechita Nikuttita, Katisama)
d. LevelD ( Uru and Janu) -2 variations (Gridhravalinaka,Urdhvajanu, Baddha)
e. Level E ( Pada) - 2variations (Tala Vilasita, Vyamsita, Atikranta)
f. Level F (Manibandha and Kurpara) -(Parshava Lola, Adhastala lola) Small Teermaanam
& Big Teermaanam Adavus.
g. Three Jatis of Chollakettu
Kathakali
a. Shari and Kummi
3. Shlokas of Abhinayadarpanam, Hastalakshana Deepika and Balarama Bharatam
a. Namskriyaa
b. Rangaadidevataastuti
c. Naatyakrama
d. Definition Shlokas of Samyuta and Asamyuta Hastas
e. Defini tion Shlokas of Shirobheda, Drishtibheda, Greevaabheda and Padabhedas.
4. Journal
a. Drawing of the 24 hasta -s from Hastha Lakshana Deepika
b. Writing of 24 hasta mudra shloka -s in sanskrit diacritical marks and its definition in
english.
c. Theory of Kinetics (Volution and Revolution)
d. Notation of the following Adavus in Chatushra Jaati
using:
i. Adavu and Jaati Shollus in Taalam.
ii. Dance Movements.
Lolita Adavu
Suchi Adavu
Rechita Nikuttita Adavu
Gridhravalinaka Adavu
Adhastalalola & ParshvalolaAdavu
Small Teermaana m Adavu
Big Teermaanam Adavu
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The division of Marks f or Practical I Nritta is as follows: -
Practical -I Nritta 125 marks
1. Angashuddha - 25 marks
2. Laya shuddha - 25 marks
3. Rendering of Adavus - 25 marks
4. Test of knowledge of technical term and - 25 marks
Performance of the same.
5. Journal - 25 marks
Syllabus of Practical -II Nritya 125 marks
1. Basic Exercises of eyes, eyelids, eyebrows, lips, cheeks.
2. Introduction to Ashta Rasas
a. Shringaara Rasa
b. Haasya Rasa
c. Karuna Rasa
d. Raudra Rasa
e. Veera Rasa
f. Bhayaanaka Rasa
g. Beebhatsa Ra sa
h. Adbhuta Rasa
3. Introduction to Padam - (sthayi and pallavi)
4. Introduction to Padartha
5. Pallavi of a Padam
6. Shloka s from Hatalakshan a deepika
and Balarama Bharata .
The division of Marks f or Practical II Nritya is as follows: -
Practical -II Nritya 125 marks
1. Performance of the item - 75 marks
2. Meaning and content of the item . - 25 marks
3. Recitation a nd performance of
the Hastalakshan a Deepika shlokas - 25 marks
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10
Syllabus of Practical -III Music and Taalas 50 marks
1. Basic Introduction to Carnatic Music
a. Singing of Sarali Varishai
b. Singing of Jantai Varishai
c. Singing of Melsthaayi Varishai
d. Singing of Dhaatu Varishai
e. Alankaarams
2. Basic Introduction to Taalas of Carnatic Music and Sopanam Music
a. SulaadiSaptaTaalas
b. Pancha Jaatis
c. 35 Taalas
The division of Marks f or Practical -III Music and Taalas is as follows: -
Practical -III Music and Taalas 50 marks
1. Singing - 25 Marks
2. Knowledge and recitation
of the taalas - 25 Marks
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11
FOUNDATION - I [DANCE]
MOHINI ATTAM
THEORY
Syllabus
Paper I: An Introduction to Traditional Indian Cul ture 100 Marks
1. Concept of Culture and Civilization
2. Ancient Indian Culture and its evolution.
3. Indus Valley Civilization.
4. Dance in Vedic Age - A Brief Introduction.
5. Division in Ved as.
6. Aryanization of South India.
7. Civilization of India as described in the great epics.
8. Pre Mauryan India.
9. Buddhism and Jainism – the status of dance during the period. Legends of
dancers.
10. Inclusion of dance in drama.
11. Historical evidence of natya.
12. Evidence in the Gupta Age and its Literature – Brief Introduction.
Page 16
12
Syllabus
Paper II: Sanskrit 100 Marks
A) General:
i. Varnamala ( Alphabets )
ii. Diacritical Marks and Transliteration
iii. Ten Subhashitas (verses) with translation
iv. Conversational Sanskri t
B) Grammar:
i. Words declination – Masculine and neuter gender words ending in ‘a’
ii. Verbs - Present Tense Singular Forms of Parasmaipada from First group of
Verbs
iii. Svarasandhi
C) General :
i. Ten Subhashitas (verses) with translation
ii. Conversational Sanskrit
iii. Revision of Transliteration
D) Advanced Grammar:
i. Words declination Feminine words ending in ‘ā’
ii. Words declination Pronouns - asmad, yushmad, tad
iii. Verbs - Present Tense all Forms of Parasmaipada from First group of
Verbs
iv. Gunasandhi and Vyanjanasandhi
Page 17
13
Syllabus
Paper III: Epics 100 Marks
A) Ramayana :
i. Outline of Story
ii. Selected Episodes
iii. Character Sketches of prominent characters
B) Mahabharata :
i. Outline of Story
ii. Selected Episodes
iii. Character Sketches of prominent characters
C) Puranas:
iii. Concept of Incarnation
iv. Ten incarnations of Vishnu
D) Shilappad ikaram:
i. Outline of Story
ii. Selected Episodes
iii. Character Sketches of prominent characters
Page 18
14
Syllabus
Paper – IV Communication Skills in English 100 Marks
I: Sentence Structure
II: Tense and Composition
III: One Word -Substitution
IV: Figures of Speech
V: Vocabulary - Word Power
VI: Study of Selected Amar Chitra Katha
VII: Essay Writing
VIII: (Physical and Mental) Hygiene
IX: Speech Delivery
X: Introduction to Communication Skills
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15
FOUNDATION -II [DANCE]
BHARATA N ATYAM
PRACTICAL S
Syllabus of Practical -I Nritta 125 Marks
Practi cal 1 - Nritta
1. Basic Exercises of Bharata Natyam
2. Revision of old items
3. Adavus
a. Naatta Adavu - 10 variations
b. Kuditta Mettu Adavu – 12 Variations
c. Tat tai taa haa Adavu – 8 Variations
d. Visharu Adavu - 17 Variations
e. Sarikkal Adavu - 11 Variations
f. Mandi Adavu - 10 Va riations
g. Taandudal Adavu - 5 Variations
h. Yetta Adavu - 6 Variations
i. Kutta Naata Adavu - 6 Variations
j. Korvai Adavu - 8 Variations
k. Peri Adavu - 2 Variations
l. Kutta Adavu - 2 Variations
m. Murukku Adavu - 2 Variations
n. Tatti Mettu Adavu - 5 Variations
o. Nadai Adavu - 2 Variations
p. Pakka Adavu - 4 Variations
q. Small Teermaanam Adavu - 4 Variations
r. Big Teermaanam Adavu - 4 Variations
4. Performance of the above Adavus in Pancha Jaatis and Trikaala in Jaati Shollus
5. A traditional Jatisvaram
a. Recitation and Performance in Jaat i Shollus.
b. Recitation and Performance in Adavu Shollus.
c. Technical Analysis of Jatisvaram
6. Revision of Abhinayadarpanam Shlokas
7. Journal
a. Notation of the following Adavus in Tishra Jaati, Mishra Jaati, Khanda Jaati and Sankeerna
Jaati using:
i. Adavu and Jaati S hollus in Taalam (three speeds).
ii. Dance Movements.
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Naatta Adavu
Kuddita Mettu Adavu
Tat tai taa haa Adavu
Mandi Adavu
Yetta Adavu
Murukku Adavu
Taandudal Adavu
Small Teermaanam
Big Teermaanam
The division of Marks for Practical -I Nritta is as follows: -
Practical -I Nritta 125 Marks
a. Angashudda - 25 Marks
b. Layashudda - 25 Marks
c. Rendering of Adavus in Pancha -jati - 25 Marks
d. Knowledge of technical term and
Performance of the same. - 25 Marks
e. Journal. - 25 Marks
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Syllabus of Practical II Nritya 125 Marks
1. Basic Exercises of eyes, eyelids, eyebrows, lips, cheeks.
2. Introduction to Ashta Rasas in detail.
a. Shringaara Rasa
b. Haasya Rasa
c. Karuna Rasa
d. Raudra Rasa
e. Veera Rasa
f. Bhayaanaka Rasa
g. Beebhatsa Rasa
h. Adbhuta Rasa
3. Technical A nalysis of Ashta Rasas
4. A traditional Shabdam
5. Technical Analysis of the Shabdam
6. A traditional Shlokam
7. Technical Analysis of the Shlokam
8. Shlokas of Abhinayadarpanam
a. Definition Shlokas of Samyuta Hastas
b. Abhinaya Shlokas (Four Abhinayas)
c. Nritta Hasta
d. Paada Bh edas
e. Mandala Bheda
f. Sthaanaka Bheda
g. Utplavana Bheda
h. Bhramari Bheda
i. Chaari Bheda
j. Gati Bheda
The division of Marks for Practical II Nritya is as follows: -
Nritya - 125 Marks
a. Performance of the items - 75 Marks
b. Meaning and content of the items - 25 Marks
c. Recitation and performance of the
Abhinayadarpanam shlokas. - 25 Marks
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Syllabus of Practical III Music and Taalas 50 Marks
1. Revision of old items
2. Any one Geetam
3. Singing of Jatisvaram
4. Singing of Shabdam
5. 35 Taalas in three speeds
6. Recitati on of Adavus in Pancha Jaatis and Trikaalam in Jaati Shollus
7. Chaapu Taalam recitation only 1 Speed holding Taalam
8. Recitation of Teermaanams in 3 Speeds holding Eka Taalam
9. Calculation and Recitation of Teermaanams in Aadi Taalam
10. Recitation of the Jatisva ram - Jati and Korvais.
The division of Marks f or Practical III Music and Taalas is as follows: -
Practical III Music and Taalas 50 Marks
a) Singing - 25 Marks
b) Knowledge and recitation of talas . - 25 Marks
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FOUNDATION -II [DANCE]
BHARATA N ATYAM
THEORY
Syllabus
Paper -I Origin an d History of Bharata Natyam 100 Marks
Prevalence of Dance in the Southern Region as a highly cultivated art in the
Shilappadikaram period – Tanjore as centre of cla ssical dance in the 11th century during
Rajaraja Chol a’s reign – Subsequent development, growth and decline due to inter nal feuds
and wars in subsequent centuries -Decline during the early British period – Renaissance in the
18th century. The Tanjore Quarte tte who systematised and choreographed Bharata Natyam in
its present form -Degeneration of the Devadasi system in the 19th Century and its ultimate
abolition in the temp le and ostracism from the society in the first quarter of the 20th century -
Renaissance and revitalisation in the 1930 - emergence of dance and name “Bharata Natyam ”
and its growth , popularity among the intelligent sia of today.
Syllabus
Paper -II Sanskrit 100 Marks
A study of selected Sanskrit Shlokas from the Natyashastra and Abhinayadarpana and
introduction to selected Literary Sanskrit work.
Syllabus
Paper -III Fundamental Technique a nd Content in Bharata Natyam 100 Marks
a) An introduction to the 4 abhinayas and their components as specified in Natyashastra.
b) Hastas (Gestures) : Asamyuta, Samyuta, Nritta. The comparative study o f the hastas
as enumerated in Natyashastra, Abhinayadarpana and Bharatarnava. (Shlokas to be
learnt only from Abhinayadarpana of Nandikeshvara.) .
c) Sthanakas (the stance) : Their varieties and uses : -
A study of Mandalas, Charis, Bh ramaris, Gatis, Ut plavanas as given in Natyashastra
and Abhinayadarpana.
d) Eye, Neck, Head movements. Their varieties and uses : -
Includes study of eyebrows and drishtis. (Shlokas to be learnt only from
Abhinayadarpana)
e) Adavu and classification : depiction of Adavu by drawings.
f) Repertoire of Bharata Natyam.
g) Spiritual background of Bharata Natyam.
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Syllabus
Paper -IV Contemp orary Scene in Indian Dance 100 Marks
a) An Introduction to the Seven Classical Dance Styles :
i) Bharata Natyam
ii) Kathakali
iii) Mani puri
iv) Kathak
v) Mohini Attam
vi) Kuchipudi
vii) Odissi
b) A brief study of the leading dance institutes in India.
c) Life sketches and contributions of the leading dance personalities of the 20th Century.
d) A brief study of the important Sanskrit texts relevant for the study of classical
dancing.
Syllabus: -
Paper – V Communication Skills in English 100 Marks
I: Impromptu Speech
II: Summary Writing
III: Comprehension and Vocabula ry
IV: Basic Official Correspondence
V: Dialogue Writing
VI: Scene Writing and Presentation
VII: Introduction to Selected Epic Characters
VIII: Speech Training
IX: Grammar
Page 25
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FOUNDATION -II [DANCE]
MOHINI ATTAM
PRACTICALS
Syllabus of Practical -I Nritta 125 Marks
1. Basic Exercises of Mohini Attam
2. Revision of old items
3. Adavus
a Level A (Shira and Greeva) - 2 variations ( Sarpita, Lolita)
b. Level B ( Vaksha and Parshva) - 2 variations ( Suchi )
c. Level C ( Kati) -2 variations ( Rechita Nikuttita, Katisama)
d.LevelD ( Uru and Janu) -2 variations (G ridhravalinaka, Urdhva Jaanu , Baddha)
e. Level E ( Pada) - 2 variations (Tala Vilasita, Vyamsita, Atikranta
f. Level F (Manibandha and Kurpara) - (Parshava Lola Adhastala lola) Small
Teermaanam & Big Teermanam
4. Performance of the above Adavus in Pancha Jaatis and Trikaala in Jaati Shollus
5. Performance of Chollakettu
a. Recitation and Performance in Jaati Shollus.
b. Recitation and Performance in Adavu Shollus.
Technical Analysis of Chollakettu
a. Adavus in Trikala and Pancha Jati
b. Chollukettu.
c. Shari.
d. Kummi
e. Complete Todayam.
6. Revision of Hasta Lakshana Deepika and Balaram a Bharata
7. Journal
a. Notation of the following Adavus in TishraJaati, Mishra Jaati, Khanda Jaati
And Sankeerna Jaati Using:
i. Adavu and Jaati Shollus in Taalam (three speeds).
ii. Dance Movements.
Lolita Adavu
Suchi Adavu
Rechita Nikuttita Adavu
Gridhravalinaka Adavu
Adhastalalola & ParshvalolaAdavu
Small Teermaanam Adavu
Big Teermaanam Adavu
Write adavus in 3 speeds
Sketch in tisra, misra, khanda and Sankeer na jatis.
Page 26
22
The division of Marks for Practical -I Nritta is as follows: -
Practical -I Nritta 125 Marks
a. Angashudda - 25 Marks
b. Layashudda - 25 Marks
c. Rendering of Adavus in Pancha -jati - 25 Marks
d. Knowledge of technical term and
Performance of the same. - 25 Marks
e. Journal. - 25 Marks
Syllabus of Practical II Nritya
1. Basic Exercises of eyes, eyelids, eyebrows, lips, cheeks.
2. Introduction to Ashta Rasas in detail.
a. Shringaara Rasa
b. Haasya Rasa
c. Karuna Rasa
d. Raudra Rasa
e. Veera Rasa
f. Bhayaanaka Rasa
g. Beebhatsa Rasa
h. Adbhuta Rasa
i. Complete the padam
j. Shlokam
3. Technical Analysis of Ashta Rasas
4. A traditional Padam
5. Technical Analysis of the Padam
6. A traditional Shlokam
7. Technical Analysis of the Shlokam
8. Shlokas of Hastalakshana Deepika and Balarama Bharatam
a. Definition Shlokas of Samyuta and Asamyuta Hastas
b. Viniyoga Shlokas of Samyuta and Asamyuta Hastas ( First 12)
c. Vaksha a Bhedas
d. Parshava Bhedas
e. Kati Bheda
f. Bhujamula Bheda
g. Manibandha Bheda
The division of Marks for Practical II Nritya is as follows: -
Practical II Nritya 125 Marks
a. Performance of the items - 75 Marks
b. Meaning and content of the items - 25 Marks
c. Recitation and performance of the
Hastalakshana Deepika and
Balarama Bharatam shlokas. - 25 Marks
Page 27
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Syllabus of Practical III Music and Taalas
1. Revision of old items
2. Any one Geetam
3. Singing of Chollakettu
4. Singing of Padam
5. 35 Taalas in three speeds
6. Recitation of Jati and Korvais
7. Revision of Sopanam Taalas
8. Learning of Kalashams in Sopanam Taalas
The division of Marks f or Practical III Music and Taalas is as follows: -
Practical III Music and Taalas 50 Marks
a) Singing - 25 Marks
b) Knowledge and recitation of talas . - 25 Marks
Page 28
24
FOUNDATION -II [DANCE]
MOHI NI ATTAM
THEORY
Syllabus
Paper -I Origin and History and Development of 100 Marks
Kerala Dance Tradition.
a) Earliest origins in the Pre -Aryan primitive Dravidian era in the various ritualistic cults -
Dominance of ‘mant ravadis’and ‘magic’.
The beginning of Dance in ritualistic movements as adjuncts to temple worship.
Abhinaya as accompaniment to vedic chants - the origins of “natya” as given in the
Natyashastra. Dance in Buddhist Maurya and Gupta era – Dance as a highly cultivated
art in the south in the Shilapadikaram er a – Aryanisation of the South.
b) The various Bhagvati cult ritual dances -Mutiettu, Bhagavati Pattu, Tiyattu, Pani,
Kali-atta-Teyyam.
c) Chakkyar Kootu -Prabandham Kuttu, Kudiyattam and Pathakam.
d) Socio -religious dances -Yatrakali, Sastrak ali. Sa nghakali, Ezhamattukali.
e) Mohini Attam in 16th Century.
f) Operas and Folk plays Kamasanatakam, Meen akshi nattakam, Parijatanatakam.
g) Krishnattam in middle of 17th Century.
h) Ramanattam in the later half of the 17th century -Forerunner of Kathakali.
i) Kathakali in the end of the 17th Century and Beginning of 18th Century.
Syllabus
Paper -II Sanskrit 100 Marks
A study of selected Sanskrit Shlokas from the Natyashastra and Abhinayadarpana
and introduction to selected Literary Sanskrit work.
Syllabus
Paper -III Technique of Kathakali and Mohini Attam 100 Marks
a) The training of a Kathakali artiste and meaning and content of Kathakali.
b) The four abhinaya s – a general survey of their respective importance.
c) Angikabhinaya -24 basic hastas based on Hastalakshana Dipeeka. Pure dance
movements -their technique in both Kathakali and Mohini Attam.
d) Sattvikabhinaya, Rasabhinaya or delineation of moods, Nayan abhinaya in Kathakali
and Mohini Attam.
e) Theories of Volution and Revolution – their place in Kathakali and Mohini Attam.
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Syllabus
Paper -IV Contemp orary Scene in Indian Dance 100 Marks
a) An Introduction to the Seven Classical Dance Styles :
i) Bharata Natyam
ii) Kathakali
iii) Mani puri
iv) Kathak
v) Mohini Attam
vi) Kuchipudi
vii) Odissi
b) A brief study of the leading dance institutes in India.
c) Life sketches and contributions of the leading dance personalities of the 20th Century.
d) A brief study of the important Sanskrit texts relevant for the study of classical
dancing.
Syllabus
Paper – V Communication Skills in English
I: Impromptu Speech
II: Summary Writing
III: Comprehension and Vocabulary
IV: Basic Official Correspondence
V: Dialogue Writing
VI: Scene Writing and Presentation
VII: Introduction to Selected Epic Characters
VIII: Speech Training
IX: Grammar