SCHEME & SYLLABI. For Under Graduate Programme. In BHARATHANATYAM-MODEL-III (w.e.f Admissions)

Transcription

1 SCHEME & SYLLABI For Under Graduate Programme In BHARATHANATYAM-MODEL-III (w.e.f Admissions) St Teresa s College [Autonomous] Ernakulum Curriculum and Syllabi 2015 admission onwards: Page 1

2 Board of Studies in Bharathanatyam (UG) Sl.No. Name Official Address 1.Smt.K R Radhamani (Chairman) Associate Professor Head of the Dept of Bharathanatyam St.Teresa s College, Ernakulam 2.Smt.Kalakshethra Vilasini Retd. Professor R L V Music & Fine ArtsCollege, Tripunithura Chilampoli, Gandhi Nagar, Kadavanthra, Ernakulam 3. Dr. C P. Unnikrishnan Lakshmi Vilas R.Madhavan Nair Road Cohin Sri.C.P Madhavan Nampoothiri HOD, Dept.of Bharathanatyam, R L V College of Music & Fine Arts Tripunithura 5. Smt.P A Vanajakumari Dept. of Bharathanatyam, Associate Professor St.Teresas College, Ernakulam 6. Sri.Suresh Kumar C K Dept. Of Bharathanatyam Associate Professor St.Teresas College, Ernakulam 7. Smt.Anjana S Mohanan Dept. Of Bharathanatyam RLV College of Music & Fine arts, Tripunithura Curriculum and Syllabi 2015 admission onwards: Page 2

3 Foreword Acknowledgement CONTENTS 1. Preamble 2. Graduate Attributes 3. Objectives of the Programme 4. Course Structure of Bachelor Programme in Bhatrathanatyam Scheme of Courses Detailed Distribution of Courses for Bachelor Programme in Bhatrathanatyam Details of Course Code Details of Core, Choice-based Core, Project, Complementary,Open course Scheme of Core Course Scheme of Complementary Course Project 5. Examinations a) Sessional Assessment b) Final Assessment c) Pattern of Questions d) Project Evaluation e) Computation Of CCPA 7. Syllabai a) Syllabai - Coré Courses b) Syllabi Choice Based Core Course c) Syllabi Complementary Course c) Syllabi - Open Course Curriculum and Syllabi 2015 admission onwards: Page 3

4 ACKNOWLEDGEMENT I acknowledge that without the valuable help, guidance and cooperation 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 coordinating 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, Assosiate 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 Board of Studies (UG) in Bharathanatyam. Curriculum and Syllabi 2015 admission onwards: Page 4

5 CURRICULUM 1. Preamble: Curriculum is the statement of what we want our students to learn through our academic programmes and of the ways and means we adopt to facilitate the learning process Curriculum Design of General Three-Year General Undergraduate Degree Programmes Design of curriculum for any programme tries to answer the following questions (Tylor 1949) What educational purpose should the programme seek to attain? What educational experiences can be provided that are likely to attain these purposes? How can these educational experiences be effectively organized? How can we determine whether these purposes are being attained? The educational purposes a general higher education programme seeks to attain are Programme Outcomes also called Graduate Attributes. 2. Programme Outcomes The traits of graduates of general undergraduate degree programmes including transferable skills are expressed as Programme Outcomes. While Programme Outcomes of graduates of professional programmes have been stated by the respective Professional Societies and Accreditation Agencies no such set of attributes have been stated by any agency in India. However, many of the desirable Programme Outcomes are alluded to in different policy documents of Kerala Higher Education Council. Programme Outcomes are the broad statements of what the students should be able to do at the time of graduation. St. Teresa s College has chosen its Programme Outcomes in the spirit of Future Work Skills 2020, Trends in Global Higher Education (UNESCO 2009) and American Association of Higher Education (AAHE), and Kerala HEC as follows: Curriculum and Syllabi 2015 admission onwards: Page 5

6 1. The department of Bharathanatyam enables the students a better understanding of the culture and heritage of our country. 2. Develops the dancing as well as musical skills in students. 3. The students are exposed to a wider area of arts and culture of the world. 3. Stages of Curriculum Design The four questions that need to be answered to design the curriculum of a general higher education program are addressed through the following stages keeping NAAC framework in consideration Vision and Mission of the Department offering the program in alignment with Vision and Mission of the Institute Identification of the context of program Distribution of Credits Identification of the courses to meet the stated Graduate Attributes (Program Outcomes) Defining the assessment process 3.1 Vision and Mission of the Department Offering the Programme: VISION To train students in Bharathanatyam to attain proficiency in both performance and teaching career. To enable the students to surpass the conventional approach and introduce innovations in the field of dance. To train the students to peruse in academics as well as performances that enables them to lead a better status and livelihood. Curriculum and Syllabi 2015 admission onwards: Page 6

7 MISSION To offer courses in Bharathanatyam which will enable the students to have a better understanding of the traditional as well as the modern approaches to dance and various art forms. It not only helps to improve the student s physical state but also influence the mental, emotional as well as the spiritual well being. To create potential researchers who can enrich the nation with their innovations on and off stage. To encourage women to make a positive impact on society through synergies within and outside the student community across the college/region/national boundaries. 3.2Context of General Undergraduate Programmes 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. 3.3 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 education in 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 Curriculum and Syllabi 2015 admission onwards: Page 7

8 and complimenting the Programme Outcomes. 1 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 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 and a 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. 1 The conceptual meanings and implications of the terms continuity, sequence, and integration, have been discussed in detail by Ralph W. Tyler. Though done in the context of school syllabus, Tyler s enunciation of fundamentals is equally or more relevant to higher education too. See, Tyler, R.W, Basic Principles of Curriculum, University of Chicago Press, Chicago, 1949, pp Curriculum and Syllabi 2015 admission onwards: Page 8

9 Faculty members who have contributed to the curriculum and syllabus in Bharathanatyam are 1. Smt. Devi Chandana Associate Professor, Dept. Of Bharathanatyam St. Teresa s College, Ernakulam 2. Smt. Ria V R Associate Professor, Dept. Of Bharathanatyam St. Teresa s College, Ernakulam Choice-based Credit and Semester System B.A. (Bharathanatyam) Programme Model III Detailed Distribution of Courses Se me ster Course Code Course Type Title of the Course Hours /Week Cre dit Marks Sesse fin nal al T otal I II English-Common Course- I BH1BP01B Core Practical-1 Basics of Bharathanatyam BH1BP02B Core Practical-2 Usage of Various Gestures BH1BT01B Core-Theory-1 Introduction to Dance & Carnatic Music BH1CP01B Complementery- Abhinaya Sangeetham-- Practical-1 Varishakal BH1CP02B Complementery- Mohiniyattam--Basics in Practical-2 Mohiniyattam English Common Course BH2BP03B Core Practical-3 Introductory Items in Curriculum and Syllabi 2015 admission onwards: Page 9

10 III I V Bharathanatyam Recital BH2BP04B Core Practical-4 Usage of Various Gestures BH2BT02B Core-Theory-2 Origin of Natya BH2CP03B Complementery- Abhinaya Sangeetham-- Practical-3 Alankaram & Geetham BH2CP04B Complementery- Practical-4 Mohiniyattam-- Cholkettu BH3BP05B Core Practical-5 Shabdham, Keerthanam BH3BP06B Core Practical-6 Padam, Swarajathi BH3BT03B Core-Theory-3 Evolution of Bharathanatyam Legends in Dance and BH3BT04B Core-Theory-4 accompaniments used in South Indian classical dances. BH3CP05B Complementery- Abhinaya Sangeetham-- Practica-5 Swarajathi BH3CP06B Complementery- Mohiniyattam- Practical-6 Jethiswaram, Padam BH4BP07B Core Practical-7 Varnam, Jethiswaram BH4BP08B Core Practical-8 Thillana, Padam BH4BT05B Core-Theory-5 Study of Indian Classical Dances BH4BT06B Core-Theory-6 Core-Bharathanatyam BH4CP07B Complementery- Abhinaya Sangeetham-- Practical-7 Thana Varnam BH4CP08B Complementery- Practical-8 Mohiniyattam- Varnam Curriculum and Syllabi 2015 admission onwards: Page 10

11 V BH5BP09B Core Practical-9 Alarippu, Varnam BH5BP10B Core Practical-10 Ashtapadi, Keerthanam BH5BP11B Core Practical-11 Kshetranja Padam, Javali BH5BP12B Core Practical-12 Nattuvangam BH5BT07B Core-Theory-7 Understanding Folk and Ritual Traditions BH5DP01B Open Course-1 Bharathanatyam Tradion BH6BP13B Core Practica-13l Thillana, Keerthanam, Slokam BH6BP14B Core Practical-14 Nattuvangam VI BH6BP15B Core Practical-15 Make up & Costumes BH6BT08B Core-Theory-8 Lakshana Grandhas in Dance BH6BP16B Choice Based Course-1 BH6BPR1B Coursework/ Project work Curriculum and Syllabi 2015 admission onwards: Page 11

12 Scheme of Course: Courses No. Credits Common Courses 2 8 Core Courses Practical-15 Theory-8 Project 1 3 Choice Based Core 1 3 Complementary 8 16 Courses I & II Open Courses 1 3 Total 36 87(Core) 16(Complementary) 3(Open Course) 8(Common) Grand Total Scheme of Distribution of Instructional hours for Core Courses Semester Model:3 Theory Practical Project Semester-I 4 10 Semester-II 4 10 Semester-III 9 10 Semester-IV 9 10 Semester-V Semester-VI Curriculum and Syllabi 2015 admission onwards: Page 12

13 List of Complementary Courses 1. Abhinaya Sangeetham- Practical 2. Mohiniyattam - Practical OPEN COURSES 1. Bharathanatyam Appreciation 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 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. Curriculum and Syllabi 2015 admission onwards: Page 13

14 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: Attendance- 5 marks Assignment- 5 marks 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: 90% - 100% - 5marks 85% - 89% - 4 marks 80% - 84%- 3 marks 75% - 79% - 2 marks III. Assignment/Seminar/Viva 1 st to 5 th semesters - Assignment/Seminar 6 th semester Seminar only IV. Test Paper Average mark of two sessional examinations shall be taken. Curriculum and Syllabi 2015 admission onwards: Page 14

15 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 There will be a compulsory 30 minutes practical examination for each paper[ core and complementary] and the total marks is 80. Curriculum and Syllabi 2015 admission onwards: Page 15

16 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. Sessional Evaluation: 20 marks Component Marks Punctuality 4 Source of Data / 8 Data collection Scheme/Organization of Report 4 Group involvement 4 Total 20 Curriculum and Syllabi 2015 admission onwards: Page 16

17 2.Final Evaluation of Project: 50 marks Component Marks Relevance of the Topic 5 Review 3 Statement of Objectives 5 Methodology 10 Presentation of Facts / Figures / Diagrams etc. 10 Quality of Analysis/Use of Statistical Tools 5 Findings& Recommendations 10 References 2 Total Viva Voce on Project: 30 marks a) COMPUTATION OF CCPA 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 A - Excellent B - Very Good 8 Curriculum and Syllabi 2015 admission onwards: Page 17

18 60-69 C - Good D - Satisfactory 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= TotalCreditPoints (TCP) TotalCredits(TC) 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 Above 9 SCPA Grade A+ - Outstanding Above 8, but below or equal to 9 Above 7, but below or equal to 8 Above 6, but below or equal to 7 Above 5, but below or equal to 6 Above 4, but below or equal to 5 A Excellent B -Very Good C Good D Satisfactory E Adequate 4 or below F Failure Curriculum and Syllabi 2015 admission onwards: Page 18

19 Cumulative Credit Point Average for the programme is calculated as follows: CCPA = (TCP) 1 +(TCP) 2 + (TCP) 6 TC 1 + TC 2 +.+TC 6 Where TCP1.., TCP6 are the Total Credit Points in each semester and TC1.., TC6 are the Total Credits in each semester Note: A separate minimum of 30% marks each for Sessionals and Finals (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. Pattern of Questions Questions shall be set to assess knowledge acquired, standard application of knowledge, application of knowledge in new situations, critical evaluation of knowledge and the ability to synthesise knowledge. The question setter shall ensure that questions covering all skills are set. He/she shall also submit a detailed scheme of evaluation along with the question paper. A question paper shall be a judicious mix of short answer type, short essay type/problem solving type and long essay type questions. Different types of questions shall be given different weights to quantify their range. For all Semesters: 1. Examination has duration of 3 hours of theory and 30 minutes of practical. 2. Each question paper has four parts A, B, C and D 3. Part A contains 6 define type questions for which the candidate has to answer all the questions. Each question carries 1 mark. 4. Part B contains ten short answer type questions spanning the entire syllabus and the candidates have to answer seven questions. Each question carries the 2 marks. 5. Part C contains eight short essay questions and the candidates have to answer five questions. Each question carries 6 marks. Curriculum and Syllabi 2015 admission onwards: Page 19

20 6. Part D contains four essay type questions and the candidates have to answer two questions. Each question carries 15 marks. Eligibility for Certificates The student who scores a separate minimum of grade D for all the courses and scores a minimum CGPA (Cumulative Grade Point Average) of 2 or an overall grade of C+ and above is eligible for the award of the certificate of the programme. Final Grade Card The final grade card issued at the end of the final semester shall be based on CGPA of the core courses and complementary courses of the entire programme. The CGPA should contain the awarded GRADE LETTER and the corresponding GRADE POINT in two decimal places. PROJECT All students must do a project. It can be done individually or as a group. However, the viva voce examination on this project will be conducted individually. The projects are to be identified during the V semester of the programme with the help of the supervising teacher. The report of the project is to be submitted to the department for valuation by the examiners appointed by the University. TOPIC SELECTION: The first step of the project work is to choose a suitable topic for study. This choice will be entirely personal from the area of interest or career prospects of students. The study can be anything related to Bharathanatyam or any other dance form, institutions, or on legendary gurus, any stalwarts in the field of dance. Curriculum and Syllabi 2015 admission onwards: Page 20

21 PROJECT WORK AND EXPERIENTIAL LEARNING: Project Work is the best way to practise what you have learnt. It enables the student to work more on their interested subjects and explore new ideas. It ensures the student to peruse their vocational skills along with their academic excellence. PROJECT GUIDELINES: 1. Project should be done individually. 2. The student should be, to the extent possible, diverse in composition with different capabilities (weak, strong, creative, analytical etc.) and different orientation (liberal, conservative etc.) to enable cross learning. 3. Divide the project up into a series of smaller steps or parts. Put the parts of the project into a time sequence (literature survey, acquiring a sampling frame, data, analysis etc.) 4. The project topic should be on dance/ related issues / theoretical / case study type in the field of dance or any other art form. 5. Project topic should be identified in the V semester and the project work should be completed by the end of the VI semester. 6. Project work should be done under the supervision and guidance of teachers. 7. A copy of the project report in English (printed or typed) should be submitted by the student/ team on or before 31 March of the year concerned. 8. The valuation of the project will be done at two stages: a. Internal evaluation (supervising teachers will assess the project and award grades) b. External evaluation (The team will comprise of an external examiner appointed by the University and the HOD of the institution concerned or his nominee) c. A Viva voce related to the project work will also be conducted by the external evaluation team. All candidates should undergo the Viva voce test individually. d. Grades will be awarded to candidates combining the internal grade, team grade and Viva voce grade. Curriculum and Syllabi 2015 admission onwards: Page 21

22 9. Length of the project report - 20 to 35 pages. The report may be organized in 3 chapters(minimum).the use of simple statistical tools in data analysis may be encouraged. 10. Project evaluation and the Viva voce should be conducted immediately after the completion of the regular classes /written examination. 11. The chairman of the VI semester exam should form and coordinate the evaluation teams and their work. 12. The project external evaluation should be completed before the commencement of the centralized valuation. 13. External Examiners will be appointed by the University from the list of VI semester Board of Examiners in consultation with the Chairperson of the Board. PROJECT EVALUATION Internal External Component Weight Component Weight Punctuality 1 Relevance of the Topic 1 Use of Data 1 Statement of Objectives 1 Scheme/Organization of 2 Methodology 1 Report Group Involvement 1 Presentation of Facts / Figures / 2 Diagrams etc. TOTAL 5 Quality of Analysis/Use of 2 Statistical Tools Findings & Recommendations 2 References 1 TOTAL 10 A MODEL PROJECT DESIGN The project work can be designed by considering the following elements. 1. Selection of a Topic 2. Pilot Survey a trial run of questionnaire / interviews Curriculum and Syllabi 2015 admission onwards: Page 22

23 3. Significance of the Study 4. Review of Literature 5. Formulation of Research Questions / Issues 6. Research Objectives (Minimum 2) 7. Coverage (Universe / Sample & period of study) 8. Data source (Primary/Secondary) 9. Methods of Analysis i.e., Tools and Techniques 10. Limitations of the study 11. Chapter outline 12. Result Chapter(s) 13. Conclusion STRUCTURE OF THE REPORT The report should be organized in the following sequence: i) Title page ii) iii) iv) Name of the candidate, Name and designation of the supervising teacher Declaration of the student and certificate of the supervising teacher Acknowledgements v) List of tables, List of figures, table of contents vi) Introduction vii) Significance of the study viii) Related works, if any ix) Objectives, methodology and data sources x) Chapter scheme xi) Main text, summary conclusions and recommendations xii) Bibliography Curriculum and Syllabi 2015 admission onwards: Page 23

24 Course Template Name of the Course: BA Bharathanatyam Duration: 3 years Total Lecture Hours: 2700 hours Aim of the course: To train students both in professional and vocational level. Develops both dancing and singing abilities of a student. Course Overview and Context: The Bharathanayam course offers an overall development of the students specially women, making them stronger in all state of well being and also enables them to excel both in their academic as well as professional career. Syllabus Content: Bharathanatyam [Theory and Practical] Mohiniyattam Abhinaya sangeetham Open Course Choice Based Courses Competencies of the course: The student develops both the dancing as well as the singing abilities. It enhances them to excel in their performance and teaching career. Also include special classes for makeup and jewellery designing. Learning Resources: Academic books, other reference texts, research papers, Scholar in residence programmes, Seminars, Workshops, Study tours, Library, CDs, DVDs.. etc. References : Library, Books, Internet, E-Journals, Social media [YouTube, Wikipedia, and other informative sites]. Curriculum and Syllabi 2015 admission onwards: Page 24

25 SYLLABI BA BHARATHANATYAM Model III SYLLABI-SEMESTER 1 CORE COURSE I - PRACTICAL 1 BASICS OF BHARATHANATYAM Body exercises to develop dancer s body.-(36 Hrs) All Adavus [3 kalams]-(36hrs) CORE COURSE II-PRACTICAL 2 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 Curriculum and Syllabi 2015 admission onwards: Page 25

26 Name of the Course: Introduction to dance and Carnatic music. 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. 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. Curriculum and Syllabi 2015 admission onwards: Page 26

27 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. 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. Curriculum and Syllabi 2015 admission onwards: Page 27

28 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] Curriculum and Syllabi 2015 admission onwards: Page 28

29 BLUE PRINT OF THE QUESTION PAPER - 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 Unit II Unit III Unit IV MODEL QUESTION BA DEGREE (C.B.C.S.S) EXAMINATION. B.A BHARATHANATYAM FIRST SEMESTER CORE COURSE INTRODUCTION TO DANCE AND CARNATIC MUSIC. Time :3hrs Maximum marks-80 FILL IN THE BLANKS. [ANSWER ALL, EACH CARRY 1 MARK] 1. The Author Of Abhinayadarpanam Is Is The Combination Of Bhava, Raga And Tala Took The 4 Vedas To Codify The Natyaveda. 4. There Are ----Number Of Shiro Bhedas [Head Gestures] Asamyutha Hastas Are -----In Number. 6.In Dhyanasloka We Evoke Lord Curriculum and Syllabi 2015 admission onwards: Page 29

30 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] Curriculum and Syllabi 2015 admission onwards: Page 30

31 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 ABHINAYASANGEETHAM - VARISHAKAL Sarali varishakal-(18 Hrs) Madhyasthayi varishakal.-(18 Hrs) Janda varishakal-(18 Hrs) COMPLIMENTARY COURSE-II PRACTICAL 2 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 INTRODUCTORY ITEMS IN BHARATHANATYAM RECITAL Alarippu [ Tisram] (24 Hrs) Jathiswaram Ragam-Vasantha, Thalam-Roopakam-(24 Hrs) Curriculum and Syllabi 2015 admission onwards: Page 31

32 Ganapathi sthuthi / Thodayam- ( 24 Hrs) CORE COURSE V- PRACTICAL 4 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. Duration: One Semester Total Lecture Hours: 72 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. Course Overview and Context: 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. Curriculum and Syllabi 2015 admission onwards: Page 32

33 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. Competencies of the course: 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. Learning Resources References 1. BHARATHAMUNI S NATYASASTRA. 2. ABHINAYADARPANAM 3. BHARATHANATYAM [SONAL MANSINGH] Curriculum and Syllabi 2015 admission onwards: Page 33

34 Additional Readings 1. Natyasastra [Aditya Rangacharya] 2. Bharathanatyam [Ashish Mohan Khokhar] 3. Kalamandalam [ history] BLUE PRINT OF THE QUESTION PAPER - Origin of Natya. Units Hours 1 marks 2 marks 6 marks 15 marks Total 6/6 7/10 5/8 2/4 80 Unit I Unit II Unit III Unit IV MODEL QUESTION BA DEGREE (C.B.C.S.S) EXAMINATION B.A BHARATANATYAM SECOND SEMESTER CORE COURSE 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 The Largest Playhouse Is Curriculum and Syllabi 2015 admission onwards: Page 34

35 3. The Commentry On Natyasastra By Abhinava Gupta Is Sammisra Adavus Comes In Dance. 5. How Many Angaharas In Natyasastra 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. Curriculum and Syllabi 2015 admission onwards: Page 35

36 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 ABHINAYASANGEETHAM-ALANKARAM & GEETHAM Sapthatala Alankaras-( 18 Hrs) Geetham [Any 3 ]-(18 Hrs) Practical items- (18 Hrs) COMPLIMENTARY COURSE-IV PRACTICAL 4 MOHINIYATTOM-CHOLKETTU Cholkettu 1-(54 Hrs) SYLLABI- SEMESTER 3 CORE COURSE VII- PRACTICAL 5 SABDHAM, KEERTHANAM Sabdham Venu Ganane- Ragamalika, Thgalam-Misra Chappu (45 Hrs) Keerthanam - Any one (45Hrs) CORE COURSE VIII- PRACTICAL 6 PADAM, SWARAJATHI Curriculum and Syllabi 2015 admission onwards: Page 36

37 Padam - Thayyale- Ragam Kalyani- Thalam-Aadi-(45Hrs) Swarajathi- Ragam- Bilahari, Thalam-Aadi-(45 Hrs) CORE COURSE IX- THEORY 3 Name of the Course: Evolution of Bharathanatyam. Duration: One Semester Total Lecture Hours: 72 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]. Course Overview and Context: 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) Curriculum and Syllabi 2015 admission onwards: Page 37

38 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 5 th and 6 th chapter of Natyasastra in dcetail. The rasa, bhava, vibhava, anubhava and vybhacharibhavas. The relation between rasa and bhava. Various theories on emotions. Competencies of the course: 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. Curriculum and Syllabi 2015 admission onwards: Page 38

39 Learning Resources References 1. BHARATHAMUNI S NATYASASTRA. 2. ABHINAYADARPANAM 3. BHARATHANATYAM [SONAL MANSINGH] Additional Readings 1. Natyasastra [Aditya Rangacharya] 2. Bharathanatyam [Ashish Mohan Khokhar] 3. Chilapadikaram [ sahitya academy] BLUE PRINT- Evolution of Bharathanatyam. Units Hours 1 marks 2 marks 6 marks 15 marks Total 6/6 7/10 5/8 2/4 80 Unit I Unit II Unit III Unit IV Curriculum and Syllabi 2015 admission onwards: Page 39

40 MODEL QUESTION BA DEGREE (C.B.C.S.S) EXAMINATION B.A BHARATANATYAM THIRD SEMESTER CORE COURSE EVOLUTION OF BHARATHANATYAM. Time: 3 hours Max marks: 80 PART A FILL IN THE BLANKS.[ EACH CARRY 1 MARK] took up the initiative role in abolishing the devadasi tradition. 2. The different styles in bharathanatyam is called 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 DEFINE THE FOLLOWING. [ANSWER ANY 7 NOT EXCEEDING A PAGE] 7. Sangam period 8. Sadir nrittam 9. Rasarajan 10.Navarasa with sloka 11. Aimperumkavyam 12.Rasanishpatti of Bharatha 13.Banis in bharathanatyam 14.Nityasumangali 15The four types of Nayakas. 16.Vybhachari bhavas [7X2=14 MARKS] Curriculum and Syllabi 2015 admission onwards: Page 40

41 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 WRITE ESSAYS ON.[ANY 2 NOT EXCEEDING FIVE PAGES] 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. Duration: One Semester Curriculum and Syllabi 2015 admission onwards: Page 41

42 Total Lecture Hours: 72 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. Course Overview and Context: 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) Curriculum and Syllabi 2015 admission onwards: Page 42

43 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. Module IV- Various patterns in Rhythm. (18 hrs) Define Jathi, theermanam and korvai. The various pattern formations and its creative aspects. 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. (18 hrs) Competencies of the course: 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 Curriculum and Syllabi 2015 admission onwards: Page 43

44 1. BHARATHAMUNI S NATYASASTRA. 2. CHILAPPADIKARAM 3. BHARATHANATYAM [SONAL MANSINGH] Additional Readings 4. Natyasastra [Aditya Rangacharya] 5. Bharathanatyam [Ashish Mohan Khokhar] BLUE PRINT OF THE QUESTION PAPER Units Hours 1 marks 2 marks 6 marks 15 marks Total 6/6 7/10 5/8 2/4 80 Unit I Unit II Unit III Unit IV BA DEGREE (C.B.C.S.S) EXAMINATION B.A BHARATANATYAM THIRD SEMESTER CORE COURSE LEGENDS IN DANCE AND ACCOMPANIMENTS USED IN SOUTH INDIAN CLASSICAL DANCES. Time: 3 hours Max marks: 80 PART A FILL IN THE BLANKS.[ EACH CARRY 1 MARK] was called as Garbhasreeman before his birth. 2. The famous lullaby omana thingal kidavo was written by The Guruguha mudra is used by the musician The wind instrument used in bharathanatyam recital is Curriculum and Syllabi 2015 admission onwards: Page 44

45 5. The sringed instruments are classified as vadya instument is used for the conduction of Bharathanatyam. PART B DEFINE THE FOLLOWING. [ANSWER ANY 8 NOT EXCEEDING A PAGE] 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 WRITE SHORT ESSAYS ON. [ ANY 5 NOT EXCEEDING 2 PAGES] 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] Curriculum and Syllabi 2015 admission onwards: Page 45

46 PART D WRITE ESSAYS ON.[ANY 2 NOT EXCEEDING FIVE PAGES] 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 ABHINAYASANGEETHAM- SWARAJATHI Swarajathi -1-(27 Hrs) Practical items-(27 Hrs) COMPLIMENTARY COURSE-VI PRACTICAL 6 MOHINIYATTOM- JATHISWARAM & PADAM Jathiswaram-1-(27 Hrs) Padam-1-27 Hrs) SYLLABI -SEMESTER 4 CORE COURSE XI- PRACTICAL 7 VARNAM,JATHISWARAM Varnam-1- Swamiye Vara Sholledee - Ragam Poorvi Kalyani, Thalam- Aadi(45Hrs ) Jathiswaram-1-Ragam Kalyani, Thalam- Roopakam(45 Hrs) Curriculum and Syllabi 2015 admission onwards: Page 46

47 CORE COURSE XII- PRACTICAL 8 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. Duration: One Semester Total Lecture Hours: 108 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 paintuings and sculptures on ancient India. Course Overview and Context: 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) Curriculum and Syllabi 2015 admission onwards: Page 47

48 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 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) 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. References 1. BHARATHAMUNI S NATYASASTRA. Curriculum and Syllabi 2015 admission onwards: Page 48

49 2. INCREDIBLE INDIA [SONAL MANSINGH] Additional Readings 1. Bharathanatyam [Ashish Mohan Khokhar] 2. Karana prakaranam [Padma subramanyam] 3. Major temple sculptures BLUE PRINT OF QUESTION PAPER Units Hours 1 marks 2 marks 6 marks 15 marks Total 6/6 7/10 5/8 2/4 80 Unit I Unit II Unit III Unit IV BA DEGREE (C.B.C.S.S) EXAMINATION. B.A BHARATANATYAM FOURTH SEMESTER CORE COURSE STUDY OF INDIAN CLASSICAL DANCES. Curriculum and Syllabi 2015 admission onwards: Page 49