Bharatanatyam Prarambhik – First Year

Beginners or children :

The early stages of training involve the learning of basic steps, called adavus, and the movements of the dance. The exercises condition the body for the unique postures of Bharatanatyam. They also develop the student’s sense of rhythm. students learn eye movements, which are done in synchronisation with body movements in the dance. At this stage, students also learn the names of hand gestures called hastas, which are an important feature of Bharatanatyam. They comprise the descriptive language of the dance. Students also learn about the history of Bharatnatyam, the musical instruments used, famous gurus and other related topics.

Beginning students of Bharatanatyam also learn folk dances.

• The teacher will take the Dance and the song according to the age and understanding of kids.
• Courses of 18 months with 3 semesters of 6 months each. (1,2&3)

Oral theory

• Q1- Asamayukta hasta ,according to the Abhinaya Darpanam
• Q2-pada Bheda from Natya shastra
• Q3-Shiro Bheda ,according to the Abhinaya Darpanam
• Q4-Madal Bheda ,according to the Abhinaya Darpanam
• Q5-7 classical dance style with reference to the place of origin
• Q6- Name of the guru and the school the student follow
• Q7-Meaning of the term Bharatanatyam

Practical

• Q1-Namaskriya shloka
• Q2-Vyayaam: exercise corresponding to Adavus
• Q3-Adavus:7 at least in each 4 steps in 3 speeds
• Tatta Adavu : Tai ya tai
• Natta Adavu : Tai yum tat taa
• Metta Adavu : Tai tai taam
• Tatta kuditta matta Adavu : Tai tai taa haa
• Trimanam Adavus (small) : Gi na tom
• kuditta Metta Adavu : Tai Kat (hat) tai hi
• Vishru Adavu : Taa tai tai taa

Semester 1: (6 Months)

Oral theory

Asamayukta hasta according to Abhinaya darpanam

• It means single hand gestures.
• There are 28 single-hand gestures.
• They are taken from Abhinaya Darpanam Book written by Nandikeshvara.
• This hasta has to learn in shloka form and hand gestures in pratical

Pada Bheda from Natha shastra

• This are leg positions
• They are 5 in number
• Taken from Natya Shastra book by Bharata Muni
• This pada Bheda has to learn in shloka form and with the leg position in pratical part

Practical

Namaskriya Shlokas.

• In shloka
• Meaning of the shloka

Vyanama ( Exercise)

• Exercises corresponding to the Adavus
• Exercise stretching.
• Stretching of the complete body.
• It has to be done before and after the Class

Adavus :

• Demonstration of steps in the below mentioned group in all (3 speeds )
• Tatta Adavu : Tai ya tai
• Natta Adavu : Tai yum tat taa

Semester 2 : (6 Months)

Oral theory

Shiro Bheda , according to the Abhinaya Darpanam

• It means head movement
• They are 9 in numbers
• They are taken from Abhinaya Darpanam Book written by Nandikeshvara
• Shiro Bheda ,has to be learn in shloka form and head movement in pratical part

Madal Bheda ,according to Abhinaya Darpanam

• They are standing position
• They are 10 in numbers
• They are taken from Abhinaya Darpanam book written by Nandikeshvara
• Madal Bheda has to learn in shloka form and standing position for partical part

Practical

Adavus

• Demonstration of steps in the below mentioned group in all (3 speeds)
• Metta Adavu : Tai tai taam
• Tatta Kuditta Metta Adavu : Tat tai taa haa
• Trimanam Adavu : Gi na tom

Semester 3: (6 Months)

Oral theory

7 classical dance styles with reference to the place of Origin.

Name of the guru and the school the students follow

Meaning of the term Bharatanatyam

Practical

Adavus ( Advance level )

• Demonstration of each steps in the below mentioned group in all (3speeds)
• Kuditta Metta Adavu : Tai kat (hat) Tai hi
• Vishru Adavu : Taa tai tai taa

Bharatanatyam Prarambhik – Second Year

Oral theory

• Q1. samayukta hasta, according to Abhinaya Darpanam
• Q2. viniyog shlokas of pataka, tripataka, Anjali and kopata
• Q3. Drishti Bheda, according to AbhinayaDarpanam
• Q4. Griva Bheda, according to Abhinaya Darpanam
• Q5. Sthanaka Bheda, according to Abhinaya Darpanam
• Q6. Hasta Parcharafrom Natya Shastra
• Q7. Reciting chaturshra Jaati and Tishra jaati in 3 speeds
• Q8. Explain : Adavus, Laya (tri kala), Nritta, Nritya and Natya

Note : Revision of the earlier course is compulsory and can be examined.

Practical

Adavu (Advance level) : clear demonstration of minimum 3steps in the below mentioned group in all 3speeds

• Shikhara Adavu : Tai tai (tam-) taa haa dhit tai (tam-) taa-
• Sarikal Adavu : Tai hat Tai hi
• Trimanam Adavu(Big) : Tari Kita tom
• Mandi Adavu : Tat Tai tam
• Peri Adavu : Tai hat tai hi
• Tatti metta Adavu : Ta Ka di mi

Semester 1 : (6 Months)

Oral theory

Samayukta hasta, according to the Abhinaya Darpanam

• It means double hand gestures
• There are 23 double hand gestures

Viniyog shlokas

Asamayukta hasta mudras

• Pataka hasta viniyog
• One of the biggest viniyog
• Pataka viniyog have to learn in shloka form with word to word meaning and hand movements are in practical

Drishti Bheda, according to Abhinaya Darpanam

• It means eye movements
• They are 8 in numbers

Practical

Adavus ( Advance level )

Clear demonstration of minimum 3 steps In below mentioned group in all 3 speeds

• Shikhara Adavu : Tai tai (tam-) taa haa dhit tai (tam-) taa-
• Sarikal Adavu : Tai hat tai hi

Semester 2 : (6 Months)

Oral theory

Viniyog shlokas

Asamayukta hasta viniyogaha

• Tripataka
• Have to learn in shloka form with word to word meaning and hand movements are in practical

Samayukta hasta viniyogaha

• Anjali
• Kapota
• Have to learn in shloka form with word to word meaning and hand movements are in practical

Griva Bheda, according to Abhinaya Darpanam

It means head movements

Sthanaka Bheda,according to Abhinaya Darpanam

• It means simple standing position
• They are 6 in numbers
• Each sthanaka position with the explanation with practical

Practical

Adavus ( Advance level )

• Tirmanam Adavu (Big) : Tari kita tom
• Mandi Adavu : Tai tai tam

Semester 3: (6 Months)

Oral theory

Hasta prachara from Natya Shastra

• It means palm movements
• They are 5 in number
• his palm movements are used for Abhinaya ( expression)

Reciting all in 3speeds

Explaining the following in short

• Chatushra Jaati ( Ta Ka dhi mi)
• Tishra jaaati ( Ta ki ta)

Explain Adavus

• Laya ( tri kala)
• Nritta
• Nritya
• Natya

Practical

Adavus ( Advance level )

Demonstration of each step in the below-mentioned group in all (3speeds)

• Peri Adavu : Tai hai tai hi
• Tatti metta Adavu : Ta Ka di mi

Bharatanatyam Praveshika Dwitiya Varsha (Purna) – Third Year

Semester 1 : (6 Months)

Oral theory

Give definition of each

• Adavus
• Korvai
• Jaati
• Tirmanam

Basic information of the classical styles of India with special reference to :

• Place of origin
• Style of dance ( solo or group)
• Salient features
• Style of dance ( Hindustani or Karnatic )

Viniyog shloka

Asamayukta hasta viniyogaha

• Ardhapataka hasta viniyog

Samayukta hasta viniyogaha

• Karkata hasta viniyog

Practical

Allaripu – Tishra Elam or chaturshra ekam

• Presentation of the term
• Identification of the raga and tala

Identifying Shiro , Drishti, Mandala and Griva

Semester 2 : (6 Months)

Oral theory

Adavu

• Adavu means basic steps or basic unit of particular rhythmic movements

Mandal Bheda

• Mandala Bheda are of 10 standing position

Sthanaka Bheda,

• Sthanaka Bheda are of 6 kinds according to the placing of feet

Chaari Bheda

• Walk of human beings (with music) in different meters with Thala

Bhramari

• Bhramari are movements of the body in whirling manner.
• Bhramari is described in various flights ( in a dance )

Utplavana

• It means different types of jumps ( leaps)

Basic information about Bharatanatyam

• Meaning of the term
• Place of origin
• Important features of the technique

Viniyog shloka

Asamayukta hasta viniyogaha

• Kartarimukha hasta viniyog
• Mayura hasta viniyog

Samayukta hasta viniyogaha

• Swastika hasta viniyog

Practical

Pushpanjali or kautuvam

• Presentation of the term
• Identification of the raga and tala in item is composed to

Ganesh kautuvam

Semester 3 : (6 Months)

Oral theory

Short note on : Abhinaya Darpanam

• Natyakarma
• Paatrapraana
• Paatra (Nartaki) Lakshana
• Sabhaa Lakshana

Definition

• Tala
• Matra
• Laya
• Aavartana
• Anga / vibhaagaSama
• Usi / offbeat

Viniyog shloka

Asamayukta hasta viniyogaha

• Ardhachandra hasta viniyog

Samayukta hasta viniyogaha

• Dola hasta viniyog
• Pushpaputa hasta viniyog

Practical

Presentation of a tirmanam in Aadi or Rupaka tala ( should also be able to say shollus with hastakriya of the tala)

Note : Revision of the earlier course is compulsory and can be examined.

Bharatanatyam Madhyama Pratham – Fourth Year

Semester 1 : (6 Months)

Theory (Written)

Detailed knowledge of Bharatanatyam dance

• A brief history of the tradition
• The Bhagavata tradition
• Devadasi
• Development of the style
• Prominent Individuals and Institutions that contribute to the development of style

Theory (Oral)

Presentation of chaturshra and Tishra jaati in combination with different talas Eg :- Aadi tala using Tishra and chaturshra

Shloka and viniyog

Asamayukta hasta viniyogaha

• Araala hasta viniyog

Samayukta hasta viniyogaha

• Utsanga hasta viniyog

Note : Inclusion of earlier course is compulsory and can be a part of examination

Practical

Allaripu – Mishra chapu tala

Semester 2 : (6 Months)

Theory (Written)

Definition of the term : Abhinaya

• Aangika
• Vaachika
• Aharyabhinaya
• Sattvikabhinaya

Explain

• Tandava
• Lasya
• Anga, pratyanga and upanga

Theory (Oral)

Asamayukta hasta viniyogaha

• Shukathundaka hasta viniyog
• Mushti hasta viniyog

Samayukta hasta viniyogaha

• Katakavardhana hasta viniyog

Kartakiswastika hasta viniyog

Practical

Jatiswaram

Semester 3 : (6 Months)

Theory (Written)

Life histories and contributions of prominent personalities like

• Tanjore quartet
• Rukmini Devi
• Bala Saraswati
• Anga / vibhaaga
• Sama
• Usi / offbeat

Theory (Oral)

Asamayukta hasta viniyogaha

Shikhara hasta viniyog

Samayukta hasta viniyogaha

• Shakata hasta viniyog

Practical

Shabdam or kritanam or Ganesh kautuvam

Bharatanatyam Madhyama Dwitiya Varsha – Fifth Year

Semester 1 : (6 Months)

Theory (Written)

History of Bharatanatyam Dance in terms of

• Periods of revival from Dasi Attam to Bharatanatyam
• Pioneers in the field and their contribution
• Present-day famous artists
• The Devadasi tradition

Give information on Devadasi system

• Evidence
• It’s reach
• Influences on Devadasi
• The story of Shyama
• Classified of Devadasi
• Attempts for the improvement of the Devadasi
• Conclusion

Theory (Oral)

Demonstration of the shloka and viniyog

Asamayukta hasta viniyogaha

• Kapitta hasta viniyog
• Katakaamukha hasta viniyog
• Soochi hasta viniyog
• Chandrakala hasta viniyog
• Padmakosha hasta viniyog
• Sarpashirsha hasta viniyog

Samayukta hasta viniyogaha

• Shakata hasta viniyog
• Shanka hasta viniyog
• Chakra hasta viniyog
• Samputa hasta viniyog

Practical

Tillana

• Presentation of the item
• Identification of the poem raga and tala of the item
• Ability to sing the item
• Reciting the korvais (Adavus)

Semester 2 : (6 Months)

Theory (Written)

Knowledge about the following folk dance of India

• Name and place of origin / region
• Aaharya
• Mode / technique of presentation
• Ability to write talas (Aadi, Rupaka, Ekta) with Anga-s ( laghu, Dhurutum and Anudhrutam )

Theory (Oral)

Presentation of Khanda, Mishra and Sankeerna Jaati in combination with different talas

Demonstration of the shloka and viniyog

Asamayukta hasta viniyogaha

• Mrughasheersha hasta viniyog
• Simhamukha hasta viniyog
• Kaanguala hasta viniyog
• Alapadma hasta viniyog
• Chatura hasta viniyog
• Bhramara hasta viniyog

Samayukta hasta vinyogaha

• Paasha hasta viniyog
• Kilaka hasta viniyog
• Matrya hasta viniyog
• Kurma hasta viniyog
• Varaha hasta viniyog

Practical

• Tillana

Semester 3 : (6 Months)

• Theory (Written)

Knowledge of the stories and myths relating to

• Ganesha
• Krishna
• Shiva
• Devi
• Rama

The difference between folk, classical and Bollywood (cinema) dance

Theory (Oral)

Asamayukta hasta viniyogaha

• Hansasya hasta viniyog
• Hansapaksha hasta viniyog
• Sandamsham hasta viniyog
• Mukula hasta viniyog
• Tamrachuda hasta viniyog
• Trishula hasta viniyog

Samayukta hasta viniyogaha

• Garuda hasta viniyog
• Nagabandha hasta viniyog
• Khatwa hasta viniyog
• Bherunda hasta viniyog

Practical

Kirtanam based on the theme of shiva, murugan ,Devi or Krishna.

Presentation of the item

• Identification of the raga and tala of the item
• The composer of the lyrics
• Knowledge of the theme/story done in the item

Bharatanatyam Visharad Pratham Varsha – Sixth Year

Semester 1 : (6 Months)

Theory (Paper 1)

Technical knowledge of Bharatanatyam dance :

• Features of the technique
• Repertoire
• Music and musical instruments
• Aaharya ( costume and jewellery)

Concept of Ashtanaayikaa based on the Avasthaabheda

• Vasakasajja
• Virahotkantihaa
• Svaadhinapatikaa
• Kalahaantaritaa
• Khanditaa
• Vipralabdhaa
• Proshitbhartrukaa
• Abhisarikaa
• Definition of Rasas and explanation of 9 rasas ( Navrasas)

Theory paper 2

Practical

Notation of items learnt ( Allaripu)

Semester 2 : (6 Months)

Theory (Paper1)

Definition and explanation of the 10 Praana-s of taalas (Dashapraana)

Complete information on Abhinaya Darpanam ( author, content, etc)

Story of the origin of Natya and its significance

Theory (Paper 2)

Practical

Notation of items learnt ( jatiswaram)

Semester 3 : (6 Months)

• Theory (Paper 1)

Shorts notes on

• Four vrittis- Bhaarati, saatvati, Aarabhati and kaisaki
• Taandava and Laasya

Short essay on western ballets and modern Dance

Practical

Theory paper 2

Naayika and Naayak bhada:

Types of Naayak according to 4 Bhedas of shringaara rasa: Identification of the raga

• Anukula
• Dakshina
• Dhrishta
• Shatha

Character types :

• Dheera-lalita
• Dheeroddhata
• Dheera-prashanta

Note : Revision of the earlier course is compulsory and can be examined

Bharatanatyam Visharad Dwitiya Varsha Purna – Seventh Year

Theory (Paper 1)

Comparative study of the main classical dance styles in terms of

• Repertoire
• Technique
• Nritta content
• Abhinayan Content
• Music
• Costume

Knowledge of the dance drama style

• Bhaagavat mela Naatakam
• Kudiyaattam
• Yakshgaanam

Theory paper 2

Complete notation of the item learnt in a systematic way.

Practical

Varnam (completion of the varnam, learnt earlier)

• Presentation of the item
• Identification of the poet, raga, & tala of the item
• Knowledge of the Rasa & Bhaava s that feature in the item
• Explanation / Meaning of the verses/ lines used.
• Ability to sing the item
• Reciting Tirmaanam – s

Semester 2 : (6 Months)

Theory (Paper1)

Concept of Sthaayi & sanchaari/ Vaybhichaari Bhaava – s

Concept of Bhaava, vibhaava (Aalambana & Uddipana ) & Anubhava

Theory (Paper 2)

A study of Rang – Manch

• As mentioned in the Natyashastra
• As required for a present day dance recital in terms of décor, lighting & acoustic

A brief note on the development of the art of dance from the times of Natya shashtra to the present times

Practical

Jaavali / shringara padam & one bhakti Padam ( in any Indian language)

• Presentation of the item
• Identification of the poet Raga & tala of the item
• Knowledge of the theme/ story done in the item
• Explanation/ Meaning of the verses / lines used

Analysis of the Nayika & the type of Bhakti ( Ability to sing the item )

Semester 3 : (6 Months)

• Knowledge about the following great poets & composers (Any six)
• Jayadeva
• Meerabai
• Kshetrayya
• Swati Thirunal
• Tanjavur sarfoji Maharaaj
• Paapnaasam Sivam
• Arunachala kavirayar
• Ganam Krishna Iyer
• Tanjore Quartet
• Gopal Krishna Bhaarati
• Oothukadu venkata Subbayyar
• Dharampuri subbaram Iyer
• Purandaradaasa

Theory paper 2

Knowledge about the mythological characters like Shiva/ Nataraja, krishna, Rama , Devi in her various forms & stories related to them portrayed in Indian classical Dance such as :

• Santa Tandava
• Symbolism of Nataraja swarupa
• Leelas of Krishna
• Jayatu moksha
• Raavana Mardana
• Draupadi Vastra Harana
• Rama Vanavasa
• Dashavatar

Note : Revision of the earlier course is compulsory and can be examined

• Db, E, G and Bb major
• C#, E, G and Bb harmonic and melodic minor
• Chromatic scales in similar motion starting on any note
• Chromatic scales with hands a minor third apart starting on Bb and Db
• Major pentatonic scale starting on E and Db (straight and swung rhythm)
• Blues scale starting on C# and G# (straight and swung rhythm)
• Triad of Db, E, G and Bb major, C#, E, G and Bb minor in all inversions
• Chords of C#°7, E°7, G°7, Bb°7, Dbadd9, Eadd9, Gadd9, Bbadd9, C#m7(b5), Em7(b5), Gm7(b5), Bbm7(b5) in root position only
• Perfect, imperfect and plagal cadence in Bb major and G minor
• 8- 10 peices from syllabus / lesson book
• Q & A session / Counselling
• Presentation/ Assessments