MA(DANCE) Semester Subject Code Subject

Total Page:16

File Type:pdf, Size:1020Kb

MA(DANCE) Semester Subject Code Subject MA(DANCE) Semester Subject Code Subject Sem-I PAPER – I HISTORICAL & THEORETICAL ASPECTS OF INDIAN CLASSICAL DANCE (KATHAK) – I (THEORY) Sem-I PAPER – II PRACTICAL COMPOSITION & ESSAY–I Sem-I PAPER – III PRACTICAL STAGE PERFORMANCE–I Sem-I PAPER – IV PRACTICAL APPROACH OF KATHAK TERMINOLOGY (VIVA–VOCE)–I Sem-III PAPER – I HISTORICAL & THEORETICAL ASPECTS OF INDIAN CLASSICAL DANCE (KATHAK) (THEORY)–III Sem-III PAPER – II CLASSICAL DANCE KATHAK THEORY& COMPOSITION–I Sem-III PAPER – III CLASSICAL DANCE KATHAK: STAGE PERFORMANCE–III Sem-III PAPER – IV PRACTICAL APPROACH OF KATHAK TERMINOLOGY–III LESSON PLAN MA(DANCE) SEMESTER-I HISTORICAL & THEORETICAL ASPECTS OF INDIAN CLASSICAL DANCE (KATHAK) Topic Notes/Resources/ Strategies Time Knowledge of basic technical terms Stuti Uthan, Thaat, Salami, Amad, Paran, 1 week Chakardar Paran, Farmaishi Paran, Pakshi Paran, Parmelu, Tehai. Detailed study of Tandava and Lasya Books Recommended 1 week Kathak : Sunil Kothari Bharatiya Sanskriti mein kathak Parampara : Mandavi Singh Study of Abinaya Darpan Granth in Books Recommended 1 week the context of Dance. Bharatiya Nritya Kala : Keshav Chander Verma. Dance in Thumri : Projesh Banerji Detailed study of Rasa and its Books Recommended 1 week relavance in dance Dances of Asia : Kiets Sakakibera Kathak Darpan : T.R.Azad Knowledge of Asanyukta and Books Recommended 1 week Sanyukta Hast Mudras with special Kathak Nritya Shiksha– Part–I & Part–II reference to Abhinaye Darpan. : Puru Dadhich Contribution of Uday Shankar in the Books Recommended 1 week field of dance. Abhinaya Darpan aur Geet –Gobind : Dr. Laxmi Narayan Garg. Critical and Comparative study of Kathak 1 week following classical dances Bharatnatyam Odissi Study of Folk Dances of Punjab with Books Recommended 1 week their style, Costumes and Music Abhinaya Darpan : Dr. Aarohi Walia Relevance of Indian Classical Sarangi 1 week Instruments in Dance Sitar Flute Tabla Pakhawaj Harmonium Place of dance in modern education Books Recommended 1 week Bhartiye Sangeet Vadya : Lal Mani Mishra LESSON PLAN MA(DANCE) SEMESTER-III HISTORICAL & THEORETICAL ASPECTS OF INDIAN CLASSICAL DANCE (KATHAK) Topic Notes/Resources/ Strategies Time Origin, development and revival of Books Recommended 1 week Kathak. Kathak : Sunil Kothari Study of Abhinaya and its Books Recommended 1 week BHEDHAS. Kathak : Sunil Kothari Bharatiya Sanskriti mein kathak Parampara : Mandavi Singh Study of Lok Natya with special Books Recommended 1 week reference to Dance –Nautanki, Bharatiya Nritya Kala : Keshav Yakshagana, Chhau, Swang, Bhavai. Chander Verma. Dance in Thumri : Projesh Banerji Study of Lok Natya with special Books Recommended 1 week reference to Dance –Nautanki, Dances of Asia : Kiets Sakakibera Yakshagana, Chhau, Swang, Bhavai. Kathak Darpan : T.R.Azad Detailed study of Kuchipudi and Books Recommended 1 week Mohiniattam. Kathak Nritya Shiksha– Part–I & Part–II : Puru Dadhich Bharamari, Sthanak and Utpalavan Books Recommended 1 week Bhedas according to Abhinaya Abhinaya Darpan aur Geet –Gobind Darpan. : Dr. Laxmi Narayan Garg. Origin and development of Books Recommended 1 week Ghungroos with its use, function and Dance in Thumri : Projesh Banerji importance in Kathak. Dances of Asia : Kiets Sakakibera Contribution of the following Books Recommended 1 week exponents/Gurus of Kathak :– a Guru Abhinaya Darpan : Dr. Aarohi Walia Shambhu Maharaj Ji b Guru Narayan Bhartiye Sangeet Vadya : Lal Mani Prasad Ji c Guru Sunder Prasad Ji e Mishra Guru Bindadin Maharaj Ji Folk Dances of Haryana with their Books Recommended 1 week style, costumes and music. Abhinaya Darpan : Dr. Aarohi Walia Relation of dance with Books Recommended 1 week Drama/Theatre Bhartiye Sangeet Vadya : Lal Mani Mishra LESSON PLAN MA(DANCE) SEMESTER-III CLASSICAL DANCE KATHAK: THEORY & COMPOSITION – I Topic Notes/Resources/ Strategies Time Relation between Raas leela and Raas Books Recommended: 1 week Nritya Kathak : Sunil Kothari Detailed Study of Nayak– Nayika Bhedas Books Recommended 1 week in Dance Bharatiya Sanskriti mein kathak Parampara : Mandavi Singh Detailed Study of Poorva Rang and Pindi Books Recommended 1 week Bandh. Bharatiya Nritya Kala : Keshav Chander Verma. Contribution of Indian dance toward Books Recommended 1 week world culture. Kathak Darpan : T.R.Azad Impact of Indian mythology on Indian Books Recommended 1 week Dance. Nritya Abhigyan : Shobha Koser Teen Taal, Raas Taal and Shikhar Taal. Books Recommended 1 week Etihasik Paripeksh Mein Kathak Nritya : Maya Tak Writing of Layakaries 3/4, 6/5 , 7/8 , 5/3 Books Recommended 1 week and 5/7 in Teen Taal , Raas Taal , and Kathak : Shikha Khare Shikhar Taal. Comparative Study of Tals with other Books Recommended 1 week Tals of Similar matras Bhartiye Sangeet Vadya : Lal Mani Mishra Teen Taal : One Uthan, Two Thaats, Two Books Recommended 1 week Tehais(Damdar and Bedam), One Amad, Kathak Kalpdrum : Dr. Chetna Jyotshi Two Tukras, Two toras, Two Bhartiye Sangeet Vadya : Lal Mani Chakkaradar Toras, One Simple Paran, Mishra One Chakkardar Paran, One Pharmaishi Chakkaradar Paran, One Kavit, One Parmelu, and One Tiserjati Paran. Raas Taal : One Uthan, One Thaat, One Books Recommended 1 week Tehai One Amad, One Tora, One Paran, Kathak Kalpdrum : Dr. Chetna Jyotshi One Chakkardar Paran, One Kavit, and One Ganesh Paran. Shikhar Taal :One Uthan, One Amad, Books Recommended 1 week One Thaat, One Tora, One Paran, One Nritya Abhigyan : Shobha Koser Chakkaradar Paran, One Kavit and One Tipalli. Bol Banavat : Composition of any dance Books Recommended 1 week bols given in the following Taals: Raas Kathak Kalpdrum : Dr. Chetna Jyotshi Taal, Teen Taal , Shikhar Taal. .
Recommended publications
  • Meaning of Shivataandava Stotra
    meaning of shivataaNDava stotra ¡£¢ ¤¦¥¨§ © § §§ (' ¢ § ¥¨§ § § !§#"$§¤&% §)" *+§,§.-/ matted hair-thick as forest-water-flow-consecrated-areaD +1 :9 ;£< < A B0 ¥0§# %2§§#§4365 §)7 38* § §>=(?* §@=(?+§ C in the throat-stuck-hanging-snake-lofty-garland ON 9 E E E E E §+§ §GF§ §GF§ §GFHI§JLKM §%2§ §PF§RQ§TS § DD damat-damat-damat-damat-having sound-drum-thisDDZY B0 9 < ¡ ¡ U U V § Q§ §6© F ©WFH%2§ *+§LX * § § %2§ %2§>C did-fierce-Tandava-may he shower-on us-Siva- auspiciousness With his neck, consecrated by the flow of water flowing from the thick forest-like locks of hair, and on the neck, where the lofty snake is hanging garland, and the Damaru drum making the sound of Damat Damat Damat Damat, Lord Siva did the auspi- cious dance of Tandava and may He shower prosperity on us all. WB W' 9 ; ; A ¢ §[ § ,§ ¤&§§ ¤&§RJLK§ §]\OJWQ§_^ ` § - matted hair-a well-agitation-moving-celestialD river ¢+b ¢ %2§§ c¦` dQ aX §# §§ §[ § X Q§fegJ - agitating-waves-rows-glorified-head N N B¨ h §+¥0§ §.eg¥¨§ §.e/¥¨§ § iSjH§ § ck "$§jlm" %2§ v DD Dhagat dhagat dhagat-flaming-forehead-flatDuD area-fire +p 9 n U X Q§ §6§.o ¤ Q Q§q¦ "$§¤¦q4rs§#© I§t§ baby-moon-crest jewel-love-every moment-for me I have a very deep interest in Lord Siva, whose head is glo- rified by the rows of moving waves of the celestial river Ganga, ag- itating in the deep well of his hair-locks, and who has the brilliant fire flam- ing on the surface of his forehead, and who has the crescent moon as a jewel on his head.
    [Show full text]
  • Ksg:Newspaper Crux 7Th January, 2021
    KSG:NEWSPAPER CRUX 7TH JANUARY, 2021 NEWSPAPER HIGHLIGHTS NATIONAL CENTRE FOR SEISMOLOGY(NCS) Karnataka Chief Minister B.S. 1.NCS has started a geophysical survey over the Delhi Yediyurappa laid the region for accurate assessment of seismic hazards, foundation stone for the ‘New following tremors last year. Anubhava Mantapa’ in 2.Measuremnets are being conducted across three major Basavakalyan, the place where seismic sources:Mahendragarh-Dehradun Fault, Sohna 12th century poet philosopher Fault and Mathura Fault. Basaveshwara lived for most of 3.NCS, under Ministry of Earth Science, is the nodal his life. agency for monitoring of earthquake activity in the country. A committee would be constituted under Minister of CONFLICT OVER NILE State for Home G. Kishan Reddy 1.Ethiopia, Sudan and Egypt have recently agreed to to find an appropriate solution resume negotiations to resolve their decade-long complex to the issues related to dispute over the Grand Renaissance Dam hydropower language, culture and project in the Horn of Africa. conservation of land in the 2.Horn of Africa is the easternmost extension of Union Territory of Ladakh, the African land and includes the region that is home to Home Ministry said in a the countries of Djibouti, Eritrea, Ethiopia, and statement. Somalia, whose cultures have been linked throughout their long history. Avian flu has been reported at 3.The Nile, Africa’s longest river, has been at the center of 12 epicentres in four States — a decade-long complex dispute involving several countries Rajasthan, Madhya Pradesh, that are dependent on the river’s waters. Himachal Pradesh and Kerala.
    [Show full text]
  • Guide to 275 SIVA STHALAMS Glorified by Thevaram Hymns (Pathigams) of Nayanmars
    Guide to 275 SIVA STHALAMS Glorified by Thevaram Hymns (Pathigams) of Nayanmars -****- by Tamarapu Sampath Kumaran About the Author: Mr T Sampath Kumaran is a freelance writer. He regularly contributes articles on Management, Business, Ancient Temples and Temple Architecture to many leading Dailies and Magazines. His articles for the young is very popular in “The Young World section” of THE HINDU. He was associated in the production of two Documentary films on Nava Tirupathi Temples, and Tirukkurungudi Temple in Tamilnadu. His book on “The Path of Ramanuja”, and “The Guide to 108 Divya Desams” in book form on the CD, has been well received in the religious circle. Preface: Tirth Yatras or pilgrimages have been an integral part of Hinduism. Pilgrimages are considered quite important by the ritualistic followers of Sanathana dharma. There are a few centers of sacredness, which are held at high esteem by the ardent devotees who dream to travel and worship God in these holy places. All these holy sites have some mythological significance attached to them. When people go to a temple, they say they go for Darsan – of the image of the presiding deity. The pinnacle act of Hindu worship is to stand in the presence of the deity and to look upon the image so as to see and be seen by the deity and to gain the blessings. There are thousands of Siva sthalams- pilgrimage sites - renowned for their divine images. And it is for the Darsan of these divine images as well the pilgrimage places themselves - which are believed to be the natural places where Gods have dwelled - the pilgrimage is made.
    [Show full text]
  • Indian Dance Drama Tradition
    Imperial Journal of Interdisciplinary Research (IJIR) Vol-3, Issue-4, 2017 (Special Issue), ISSN: 2454-1362, http://www.onlinejournal.in Proceedings of 5th International Conference on Recent Trends in Science Technology, Management and Society Indian Dance Drama Tradition Dr. Geetha B V Post-Doctoral research fellow, Women Studies Department, Kuvempu University, Shankarghatta, Shimoga. Abstract: In the cultures of the Indian subcontinent, for its large, elaborate make up and costumes. The drama and ritual have been integral parts of a elaborate costumes of Kathakalli become the most single whole from earliest recorded history. The recognized icon of Kerala. The themes of the first evidences of ritual dance drama performances Kathakali are religious in nature. The typically occur in the rock painting of Mirzapur, Bhimbetka, deal with the Mahabarat, the Ramayana and the and in other sites, which are various dated 20,000- ancient Scriptures known as the puranas. 5000 bce. The ancient remains of Mohenjo-Daro Kuchipudi dance drama traditions hails from and the Harappa (2500-2000 bce) are more Andhrapradesh. BhamaKalapam is the most definitive. Here archeological remains clearly popular Dance-Drama in Kuchipudi repertoire point to the prevalence of ritual performance ascribed to Siddhendra Yogi. The story revolves involving populace and patrons. The Mohenjo – round the quarrel between satyabhama and Daro seals, bronze fegurines, and images of priest Krishna. and broken torsos are all clear indications of dance In this paper I am dealing with Yakshagana dance as ritual. The aspects of vedic ritual tradition drama tradition. I would like to discuss this art closest to dance and drama was a rigorous system form’s present scenario.
    [Show full text]
  • International Research Journal of Management Sociology & Humanities
    International Research Journal of Management Sociology & Humanities ISSN 2277 – 9809 (online) ISSN 2348 - 9359 (Print) An Internationally Indexed Peer Reviewed & Refereed Journal Shri Param Hans Education & Research Foundation Trust www.IRJMSH.com www.SPHERT.org Published by iSaRa Solutions IRJMSH Vol 5 Issue 6 [Year 2014] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) GENESIS OF MANIPURI DANCE: APERSPECTIVE Pukhrambam Lilabati Devi Guest Lecturer in the Department of Dance, Manipur University. Email:[email protected] Contact: 08974543711 Abstract: The current study attempted to trace the development of the Manipuri Dance from a historical perspective. The origin of Manipuri Dance which is interwoven by various social and cultural values can be traced back to early period of history which again had linked to mythology of excellent metaphysical stories. Further, the paper also discusses on the role of artists. It is to be noted that when artists only in accordance with their benefactors and for earning income only in business motives, it is an unruly act of defaming the innate values of the art. Just to reap the rightmost fruits of any art, the artist has the responsibility of obeying the required qualities of being a true artist. An artist has to know the inner beauty that only refined persons can feel of the particular art and for dance it is the first and foremost task of any dancer. With the understanding of the underlying intrinsic value of the art, an artist then can begin to learn vibrant facets of the art by keeping in touch with the teachers who can impart them the in-depth education of the particular art.
    [Show full text]
  • The Tradition of Kuchipudi Dance-Dramas1
    The Tradition of Kuchipudi Dance-dramas1 Sunil Kothari The Historical Background Of the many branches of learning which flourished in Andhra from very early ti.mes not the least noteworthy is the tradition of the Natyashastra, embracing the tw1n arts of music and dance. The Natyashastra mentions the Andhra region m connection with a particular style of dance in the context of the Vritti-s. Bharata refers to Kaishiki Vrittt: a delicate and graceful movement in the dance of this reg1on .2 A particular raga by the name of Andhri was the contribution of this region to the music of India. The dance traditions in Andhra can be traced to various sources. The ancient temples, the Buddhist ruins excavated at Nagarjunakonda, Amaravati, Ghantasala, Jagayyapet and Bhattiprole indicate a flourishing dance tradition in Andhra. Of these the Amaravati stupa relics are the most ancient dating back to the second century B.C.3 They reveal the great choreographic possibilities of group and composite dances called pind1bandha-s, mentioned by Bharata and on which Abhinavagupta gives a detailed commentary in Abhinava Bharat1: 4 The history of dance, divided into two periods for the sake of convenience on account of the continuity of the Sanskrit and the later development of the vernacular regional languages, admits of two broad limits : from the second century B.C. to the ninth century A.D. and from the tenth century A.D. to the eighteenth century A.D. The latter period coincides with the growth of various regional styles and with the development of the tradition of Kuchipudi dance­ dramas.
    [Show full text]
  • I. SANCHI STUPA 1. Sanchistupa Is Located in Madhya Pradesh. 2. One of the Most Ancient and Famous Buddhist Monuments in India. 3
    I. SANCHI STUPA 1. Sanchistupa is located in Madhya Pradesh. 2. One of the most ancient and famous Buddhist monuments in India. 3. The stupa has several chambers which contain the relics of Buddha. 4. The Sanchistupa was constructed by Emperor Ashoka in 3 rd century BC during Mauryan Age. 5. It is hemispheric structure made up of bricks, consist of circular terrace. 6. The Stupa is surrounded by four gateways that represent various scenes from the life of Lord Buddha and Jataka tales. II. INDUS VALLEY CIVILIZATION 1. The cities flourished in the valley of the river Indus. hence, it was called The Indus Valley Civilization.It was discovered in the year 1921. 2. InitiallyIndus Valley Civilization was known as Harappan Civilization. 3. Harappa and Mohenjo-daro are two major sites of this civilization. 4. Mohenjo-Daro means Mount of the Dead in Sindhi. 5. Special features: Town planning, Use of baked bricks, Roads and drainage, planned houses, Granaries. 6. Important artifacts Harappa (Pakistan) - Mother Goddess figure, Dancing girl, Male Torso. Mohenjo-daro (Pakistan)-The Great Bath, Granary, Sculpture of bearded priest, Pashupati seal made of Steatite III. KANHA NATIONAL PARK 1. Kanha National Park or Kanha Reserve Tiger. It is situated in Mandla and Balaghat district of Madhya Pradesh. 2. Kanha National Park was created in June 1955 and was made the Kanha Tiger reserve in 1973. 3. It is the first tiger reserve to officially introduce a mascot named “Bhoorsingh” the Barasingha. 4. The swamp deer or Barasingha of Kanha National Park is known as‘the jewel of Kanha’.
    [Show full text]
  • Editors Seek the Blessings of Mahasaraswathi
    OM GAM GANAPATHAYE NAMAH I MAHASARASWATHYAI NAMAH Editors seek the blessings of MahaSaraswathi Kamala Shankar (Editor-in-Chief) Laxmikant Joshi Chitra Padmanabhan Madhu Ramesh Padma Chari Arjun I Shankar Srikali Varanasi Haranath Gnana Varsha Narasimhan II Thanks to the Authors Adarsh Ravikumar Omsri Bharat Akshay Ravikumar Prerana Gundu Ashwin Mohan Priyanka Saha Anand Kanakam Pranav Raja Arvind Chari Pratap Prasad Aravind Rajagopalan Pavan Kumar Jonnalagadda Ashneel K Reddy Rohit Ramachandran Chandrashekhar Suresh Rohan Jonnalagadda Divya Lambah Samika S Kikkeri Divya Santhanam Shreesha Suresha Dr. Dharwar Achar Srinivasan Venkatachari Girish Kowligi Srinivas Pyda Gokul Kowligi Sahana Kribakaran Gopi Krishna Sruti Bharat Guruganesh Kotta Sumedh Goutam Vedanthi Harsha Koneru Srinath Nandakumar Hamsa Ramesha Sanjana Srinivas HCCC Y&E Balajyothi class S Srinivasan Kapil Gururangan Saurabh Karmarkar Karthik Gururangan Sneha Koneru Komal Sharma Sadhika Malladi Katyayini Satya Srivishnu Goutam Vedanthi Kaushik Amancherla Saransh Gupta Medha Raman Varsha Narasimhan Mahadeva Iyer Vaishnavi Jonnalagadda M L Swamy Vyleen Maheshwari Reddy Mahith Amancherla Varun Mahadevan Nikky Cherukuthota Vaishnavi Kashyap Narasimham Garudadri III Contents Forword VI Preface VIII Chairman’s Message X President’s Message XI Significance of Maha Kumbhabhishekam XII Acharya Bharadwaja 1 Acharya Kapil 3 Adi Shankara 6 Aryabhatta 9 Bhadrachala Ramadas 11 Bhaskaracharya 13 Bheeshma 15 Brahmagupta Bhillamalacarya 17 Chanakya 19 Charaka 21 Dhruva 25 Draupadi 27 Gargi
    [Show full text]
  • Men in Dance with Special Emphasis on Kuchipudi, a South Indian
    Men in Dance with Special Emphasis on Kuchipudi, a South Indian Classical Dance Tradition Presented at International Word Congress of Dance Research By Rajesh Chavali (MA Kuchipudi) Introduction India is a country of diverse languages, religions, cultures and castes, all assimilated seamlessly with great integrity. We must acknowledge this is not a political decision but rather a course of evolution and history. A historic perspective of ancient India with several invasions and rulers of India that didn’t belong to that land influenced a lot of what we see in todays’ India. As we can imagine and nothing out of ordinary, India has seen several intrinsic and extrinsic influences including socioeconomic condition, political influences, power struggle, hierarchy in the caste system, acceptance of the roles of man and woman in the social ecosystem, development and adoption of a variety of religions and philosophical schools of thoughts. For the scope of the current paper at this congress, I’ll focus briefly on these influences and how Indian dances evolved over time and will present more detailed discussion of origin of Kuchipudi, a south Indian classical dance form as a male tradition in Indian classical dance history to its current state. Extrinsic and Intrinsic Influences on Developing India over the Years India, as a country, has undergone several political invasions, major influencers being Mughal and British invasions. The existing cultural dances of India (classical or other non-classical forms or non-classical forms of those times that later attained classical status) in parts of the country were heavily influenced by these invasions while the relatively untouched or inaccessible parts of India, such as northeast part of India largely retained their identity.
    [Show full text]
  • Shiva Nataraja: a Study in Myth, Iconography, and the Meaning of a Sacred Symbol
    Shiva Nataraja: A Study in Myth, Iconography, and the Meaning of a Sacred Symbol Richard Stromer, Ph.D. O you the creator, you the destroyer, you who sustain and make an end, Who in sunlight dance among the birds and the children at play, Who at midnight dance among the corpses in the burning grounds, You, Shiva, you dark and terrible Bhairava, You Suchness and Illusion, the Void and All Things, You are the lord of life, and therefore I have brought you flowers; You are the lord of death, and therefore I have brought you my heart— This heart that is now your burning ground. Ignorance there and self shall be consumed with fire. That you may dance, Bhairava, among the ashes. That you may dance, Lord Shiva, in a place of flowers, And I dance with you. (Huxley, 167) The image of the Hindu divinity Shiva dancing within a giant ring of fire is among the most beloved and awe-inspiring symbols of the Hindu conception of the nature of the cosmos. Indeed, at the heart of this powerful sacred image, we find a symbolic distillation of the essence of Hindu spiritual consciousness. In the introduction to his massive text on contemporary Hinduism, entitled Dancing with Siva, Satguru Sivaya Subramuniyaswami observes that “the Cosmic Dance describes the Hindu view of existence,” and that for Hindus “Dancing with Siva is everything we do, everything we think and say and feel, from our seeming birth to our so-called death. It is God and man forever engaged in sacred movement” (xviii).
    [Show full text]
  • Yakshagana Natakwala Fakir Abstract the Present Paper Deals With
    Yakshagana Natakwala Fakir Abstract The present paper deals with Yakshagana, a folk form of South India. The research is historical, exploratory and aesthetic in nature. It finds out the different significances of the idioms of the art form. Keywords: Yakshagana, Folk, Natyasastra, Theatre Introduction Yakshagana, like Kutiyattam and Kathakali, follows the Natyasastra tradition by evolving a theatrical technique which is harmonious balance among the four types of abhinaya (enacting): the Vacika, with the recitative sung verse and pure prose passages; the angika, having a well formulated system of stylized gaits(gatis)classified according to character or animal, bird or human situation and mood,and patterns and clusters of movement which are set to seven material circles of the talas; the aharya, with its elaborate and intricate costuming headgear and make up conventions; and the sattvika which sets the internal mood pervading the moral and the ethical tone of the dramatic piece. It has the element of Tandava and Lasya and follow the conventions of Natyadharmi in exits and entries and in the establishment of locale through its several choreographical patterns and floor designs. Theatre Street Journal Vol.2, No.1 27 March 2018 ISSN 2456-754X Page 68 After one has examined these structural and stylized features, there is little that is left in the Yakshaganaa which can be considered as pure folk, in the sense that it can be taken as untutored, unlearned and spontaneous. Kapila Vatsayan: Traditional Indian Theatre Multiple Stream. Significance of the form Yakshagana is a uniquely traditional form of dance theatre of the state of Karnataka, with a formidable classical background.
    [Show full text]
  • M.A. Dance Guru Nanak Dev University Amritsar
    FACULTY OF VISUAL ARTS & PERFORMING ARTS SYLLABUS FOR M.A. DANCE (SEMESTER: I – IV) Session: 2014-15 GURU NANAK DEV UNIVERSITY AMRITSAR Note: (i) Copy rights are reserved. Nobody is allowed to print it in any form. Defaulters will be prosecuted. (ii) Subject to change in the syllabi at any time. Please visit the University website time to time. 1 M.A. DANCE (SEMESTER SYSTEM) SEMESTER – I: PAPER – I: HISTORICAL & THEORETICAL Time: 3 Hrs Max Marks: 100 ASPECTS OF INDIAN CLASSICAL DANCE (KATHAK) – I (THEORY) PAPER – II: PRACTICAL COMPOSITION & ESSAY–I Time: 3 Hrs Max Marks: 100 PAPER – III: PRACTICAL STAGE PERFORMANCE–I Time: 40 Minutes Max Marks: 100 PAPER – IV: PRACTICAL APPROACH OF KATHAK Time: 40 Minutes Max Marks:–100 TERMINOLOGY (VIVA–VOCE)–I 2 M.A. DANCE (SEMESTER – I) PAPER – I: HISTORICAL & THEORETICAL ASPECTS OF INDIAN CLASSICAL DANCE (KATHAK) (THEORY) – I Time: 3 Hrs Max Marks: 100 Note: 1. The Paper setter will set 8 questions. 2. The students will be required to attempt five questions. 3. While sending the syllabus to the paper setter in theory the syllabus prescribed for Practical paper should also be sent 4. All questions carry equal Marks. 1. Knowledge of basic technical terms:– Stuti Uthan, Thaat, Salami, Amad, Paran, Chakardar Paran, Farmaishi Paran, Pakshi Paran, Parmelu, Tehai. 2. Detailed study of Tandava and Lasya 3. Study of Abinaya Darpan Granth in the context of Dance. 4. Detailed study of Rasa and its relavance in dance. 5. Knowledge of Asanyukta and Sanyukta Hast Mudras with special reference to Abhinaye Darpan. 6. Contribution of Uday Shankar in the field of dance.
    [Show full text]