Professional Documents
Culture Documents
B - A - Bharathanatyam
B - A - Bharathanatyam
For
Under Graduate Programme
In
BHARATHANATYAM-MODEL-III
(w.e.f. 2015-16 Admissions)
CONTENTS
Foreword
Acknowledgement
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
Project
5. Examinations
a) Sessional Assessment
b) Final Assessment
c) Pattern of Questions
d) Project Evaluation
e) Computation Of CCPA
7. Syllabai
ACKNOWLEDGEMENT
K.R RADHAMANI
Chairman
Board of Studies (UG) in Bharathanatyam.
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.
1.1. 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 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
VISION
To train students in Bharathanatyam to attain proficiency in both
performance and teaching career.
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.
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.
COURSES
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. 84-86
Se Marks
Course Type
Hours Cre
me Course Code Title of the Course Sesse fin T
/Week dit
ster nal al otal
Bharathanatyam Recital
Usage of Various Gestures-
BH2BP04B Core –Practical-4 5 4 20 80 100
2
BH2BT02B Core-Theory-2 Origin of Natya 4 4 20 80 100
Complementery- Abhinaya Sangeetham--
BH2CP03B 3 2 20 80 100
Practical-3 Alankaram & Geetham
Complementery-
BH2CP04B Mohiniyattam-- Cholkettu 3 2 20 80 100
Practical-4
BH3BP05B Core –Practical-5 Shabdham, Keerthanam 5 4 20 80 100
BH3BP06B Core –Practical-6 Padam, Swarajathi 5 4 20 80 100
III
Evolution of
BH3BT03B Core-Theory-3 5 4 20 80 100
Bharathanatyam
Legends in Dance and
accompaniments used in
BH3BT04B Core-Theory-4 4 4 20 80 100
South Indian classical
dances.
Complementery- Abhinaya Sangeetham--
BH3CP05B 3 2 20 80 100
Practica-5 Swarajathi
Complementery- Mohiniyattam-
BH3CP06B 3 2 20 80 100
Practical-6 Jethiswaram, Padam
BH4BP07B Core –Practical-7 Varnam , Jethiswaram 5 4 20 80 100
BH4BP08B Core –Practical-8 Thillana, Padam 5 4 20 80 100
Study of Indian Classical
BH4BT05B Core-Theory-5 5 4 20 80 100
Dances
I Core-Bharathanatyam
BH4BT06B Core-Theory-6 4 4 20 80 100
V
Complementery- Abhinaya Sangeetham--
BH4CP07B 3 2 20 80 100
Practical-7 Thana Varnam
Complementery-
BH4CP08B Mohiniyattam- Varnam 3 2 20 80 100
Practical-8
Scheme of Course:
Complementary 8 16
Courses I & II
Open Courses 1 3
Total 36 87(Core)
16(Complementary)
3(Open Course)
8(Common)
Grand Total 36 120
Semester Model:3
Theory Practical Project
Semester-I 4 10
Semester-II 4 10
Semester-III 9 10
Semester-IV 9 10
Semester-V 4 17 1
Semester-VI 5 20 1
OPEN COURSES
1. Bharathanatyam Appreciation
Basic Steps
Kauthvam-1
Mudras- Samyutha& Asamyutha
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.
a) SESSIONAL ASSESSMENT
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.
III. Assignment/Seminar/Viva
1st to 5th semesters - Assignment/Seminar
6th semester – Seminar only
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.
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.
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.
Component Marks
Punctuality 4
Source of Data / 8
Data collection
Scheme/Organization of Report 4
Group involvement 4
Total 20
Component Marks
5
Relevance of the Topic
Review 3
Statement of Objectives 5
Methodology 10
Presentation of Facts / Figures / Diagrams
10
etc.
Quality of Analysis/Use of Statistical
5
Tools
Findings& Recommendations 10
References 2
Total 50
a) COMPUTATION OF CCPA
Grade and Grade Point is given to each course based on the percentage of marks
obtained as follows:
60-69 C - Good 7
50-59 D - Satisfactory 6
40-49 E - Adequate 5
Below 40 F - Failure 4
Note: Decimal are to be rounded to the next whole number
SCPA Grade
Above 9 A+ - Outstanding
Above 8, but below or equal to 9 A – Excellent
Above 7, but below or equal to 8 B -Very Good
Above 6, but below or equal to 7 C – Good
Above 5, but below or equal to 6 D – Satisfactory
Above 4, but below or equal to 5 E – Adequate
4 or below F – Failure
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
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.
6. Part D contains four essay type questions and the candidates have to answer two
questions. Each question carries 15 marks.
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.
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:
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.
a. Internal evaluation (supervising teachers will assess the project and award grades)
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.
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
1. Selection of a Topic
4. Review of Literature
13. Conclusion
i) Title page
ii) Name of the candidate, Name and designation of the supervising teacher
iv) Acknowledgements
vi) Introduction
x) Chapter scheme
xii) Bibliography
Course Template
Duration: 3 years
Learning Resources: Academic books, other reference texts, research papers, Scholar in
residence programmes, Seminars, Workshops, Study tours, Library, CDs, DVDs.. etc.
SYLLABI
BA BHARATHANATYAM
Model III
SYLLABI-SEMESTER 1
The first chapter of Bharathamuni’s Natyasastra. The origin of drama and its dharma, to
complete the purushartha in life.
Learning Resources
References
1. BHARATHAMUNI’S NATYASASTRA.
2. ABHINAYADARPANAM
3. INTRODUCTION TO SOUTH INDIAN MUSIC
4. HASTHALAKSHANADEEPIKA
Additional Readings
Unit II 2 3 2 1 35
18
Unit III 1 2 2 1 32
18
Unit IV 1 2 2 1 32
18
MODEL QUESTION
Time :3hrs
Maximum marks-80
PART B
DEFINE THE FOLLOWING. [ ANSWER ANY 7 NOT EXCEEDIND A PAGE]
[7X2=14 MARKS]
PART C
WRITE SHORT ESSAYS ON. [ANY 5 NOT EXCEEDING2 PAGES]
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]
SYLLABI- SEMESTER- 2
Natyasastra [ chapter 2 to 6]
Mandapa vidhi, Ranga pooja, Thandavalakshanam, Poorvarangavidhanam,
Rasavikalpa.
Abhinayadarpanam text
Viniyoga of Samyutha hastas.
Pada bheda , Mandala bheda and Bhramari bheda.
Nritta hastas, Dasaavathara hastas , Baandhava hastas.
The usages of double hand gestures. The movements of leg, standing postures, leeps, jumps
and other hand gestures.
Major dance institutions of India. The exponents’ incharge of these institutions and
their gurukula pattern of teaching and its merits.
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.
C2. To ensure the movements of gestures and its usages of hand and leg.
Learning Resources
References
1. BHARATHAMUNI’S NATYASASTRA.
2. ABHINAYADARPANAM
3. BHARATHANATYAM [SONAL MANSINGH]
Additional Readings
3. Kalamandalam [ history]
Unit II 2 3 2 1 35
18
Unit III 1 2 2 1 32
18
Unit IV 1 2 2 1 32
18
MODEL QUESTION
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.
SYLLABI- SEMESTER 3
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.
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.
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.
The 5th and 6th chapter of Natyasastra in dcetail. The rasa, bhava , vibhava, anubhava and
vybhacharibhavas. The relation between rasa and bhava. Various theories on emotions.
C1. Enable the students to understand the evolution of dance from the Devadasi tradition.
C2. To grab an awareness about the heroes and heroines and their characteristics.
Learning Resources
References
1. BHARATHAMUNI’S NATYASASTRA.
2. ABHINAYADARPANAM
3. BHARATHANATYAM [SONAL MANSINGH]
Additional Readings
Unit II 2 3 2 1 35
18
Unit III 1 2 2 1 32
18
Unit IV 1 2 2 1 32
18
MODEL QUESTION
PART A
FILL IN THE BLANKS.[ EACH CARRY 1 MARK]
1. -------took up the initiative role in abolishing the devadasi tradition.
2. The different styles in bharathanatyam is called-----.
3. Devadasis were called the------------as they were devoted to the lords.
4. The static emotions are --- in numbers as in Natyasastra.
5. The Veteran Guru In The Pandanalloor Bani Is………
6.The Golden Age Of Devadasis Were During The-------Reign.
PART B
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]
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]
Name of the Course: Legends in dance and accompaniments used in South Indian
Classical Dances.
Duration: One Semester
The life history of musical trinities and other vaggeyakaras who contributed to the
world of dance and literature. Major kritis used for dance.
Classification of instruments.
Wind , string, percussion, and other instruments
The classification of instruments. The wind, string , percussion and solid instruments. The
miscellaneous instruments and its varities.
(18 hrs)
The duties of orchestra in a dance recital. The role of mrudangist and nattuvanar in
Bharathanatyam dance recital.
(18 hrs)
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)
C1. Enable the students to understand the evolution of dance from thye Devadasi tradition.
Learning Resources
References
1. BHARATHAMUNI’S NATYASASTRA.
2. CHILAPPADIKARAM
3. BHARATHANATYAM [SONAL MANSINGH]
Additional Readings
Unit II 2 3 2 1 35
18
Unit III 1 2 2 1 32
18
Unit IV 1 2 2 1 32
18
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
[5X6=30 MARKS]
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]
SYLLABI -SEMESTER 4
Bharathanatyam
Mohiniyattom
Kuchipudi
Kathakali
Kathak
Odissi
Manipuri
Sattariya
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.
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.
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.
Unit II 2 3 2 1 35
18
Unit III 1 2 2 1 32
18
Unit IV 1 2 2 1 32
18
MODEL QUESTION- 1
MARKS :80
TIME: 3 HOURS
FILL IN THE BLANKS. [ ANSWER ALL ,EACH CARRY 1 MARK]
1. Bharathanatyam recital is termed as--------.
2. The aharya of Manipuri dance is called-------.
3. The acrobatic dance with drums performed by men is called-------.
4. The -------was acclaimed by the sangeetha nataka academy as one of the eight
principalclassical dances of India.
5. The different styles in kathak is called as-------- as in hindusthani music.
6. --------is the precussor of kathakali.
PART B
DEFINE THE FOLLOWING. [ANSWER ANY 7 NOT EXCEEDING A PAGE]
7. Maharis and Gotipuas
8. Kharanas in Kathak.
9. Sadir and Chinnamelam
10. The three bhangas in sculpture
11. The paintings of Ajantha and Ellora
12. Aharya in Kathakali
13. Movements in Odissi
14. Sattariya dance
15. Orchestra in mohiniyattam
16. Kalakshetra
[7x2= 14 marks]
PART C
WRITE SHORT ESSAYS ON. [ ANY 5 NOT EXCEEDING 2 PAGES]
17. Explain the repetoire of Odissi dance form.
18. The evelution of kathakali from Ramanattam to present day form.
PART D
WRITE ESSAYS ON.[ANY 2 NOT EXCEEDING FIVE PAGES]
25. The major classical dances of South India.
26. Contributions made by Rukmini devi in the field of Bharathantaym.
27. The difference between Bharathanatyam and Mohiniyattam repetoire .
28. The role played by sculpture and paintings in understanding the art and literature of
ancient India.
[2X15=30 MARKS]
Bhakthi Traditions
Both in South and North India
The compositions for dance and the other kritis commonly used for dance recital.
The major vaggeyakaras in literature and their contribution to the field of dance.
C4. The great composers in dance and their contributions in the field of arts and literature.
Learning Resources
References
Additional Readings
Unit II 2 3 2 1 35
18
Unit III 1 2 2 1 32
18
Unit IV 1 2 2 1 32
18
MODEL QUESTION
TIME: 3 HOURS
FILL IN THE BLANKS. [ ANSWER ALL ,EACH CARRY 1 MARK]
1. The poet who belonged to the shaiva streem of worship were called...............
2. --------------was the father of Sankeerthanam
3. -----------was the only female among the alwars
PART D
SYLLABI- SEMESTER 5
The folk and ritual dances of our country. Comparission of ckassical dances and folk dances.
The triabal dances and the instruments used .
Dasaroopakam (Natyasatra)
Evolution of world theatre
From early Renaissance to modern times
The evolution of theatre. The Dasaropakam from Natyasastra. The changes in theatre from
renaissance to modern times. Major theories and movements.
How does the costumes and make up help the understanding of folk and tribal dances and
their importance .
Unit II 2 3 2 1 35
18
Unit III 1 2 2 1 32
18
Unit IV 1 2 2 1 32
18
MODEL QUESTION
TIME: 3 HOURS
FILL IN THE BLANKS. [ ANSWER ALL ,EACH CARRY 1 MARK]
1. The climax or the last phase in a drama is called ----- among the pancha sandhi.
2. The oldest Sanskrit theatre is-----.
3. ---------is the percussion instrument used for the Punjabi Bhangra.
[Marks5X6=30MARKS]
PART D
25. Explain the ritualistic importance of koodiyattom , the classical theatre of Kerala.
26. Major theories introduced in the world theatre and its reflection on the stage
from Renaissance to Modern times.
27. Prepare an essay on the culture and ritualistic traditions of Tamil Nadu.
28.The epic Chilappadikaram is the source of all the folk arts of Tamil Nadu. Do you
agree?
SYLLABI-SEMESTER 6
Natyasastra
Abhinayadarpanam
Hasthalakshanadeepika
The folk and ritual dances of our country. Comparission of classical dances and folk dances.
The triabal dances and the instruments used .
Sangeetha Ratnakaram
Concept of Tauratrikam
Major awards and recognitions in dance and the role of Sangeetha Nataka Academy in the
field of arts.
The dance dramas and contemporary styles in Bharathanatyam . Various modern dance
productions in India and abroad.
Learning Resources
References
1. NATYASASTRA
2. ABHINAYASANGEETHAM [LEELA PANICKER]
3. HASTHALAKSHANADEEPIKA
4. SANGEETHA RATNAKARAM
5. SOUTH INDIAN MUSIC
Additional Readings
1. Dasaroopakam [ Dhananjayan]
Unit II 2 3 2 1 35
18
Unit III 1 2 2 1 32
18
Unit IV 1 2 2 1 32
18
MODEL QUESTION
PART C
25. Which are the dance forms that follow the Hasthalakshanadeepika as the prime
text?
26. Appreciate the major differences between Natyasastra and Abhinayadarpanam,
though the later one was the commemtary on the first.
27. Name the few active exponents in Bharathanatyam and their experiments in the
respective field. Do you think modernism spoils the purity of the art form?
28. Appreciate Natyasastra as the prime text to most of the art forms of the country.