DANCE (CODE NO.

056 TO 061)

2020-21

The objective of the theory and practical course in Indian Classical Dance, Indian
Traditional Dance, Drama or Theatre forms is to acquaint the students with the literary
and historical background of the Indian performing arts in general, arid dance drama
form offered in particular. It is presumed that the students offering these subjects will
have had preliminary training in the particular form, either within the school system or in
informal education. The Central Board of Secondary Education being an All India
Organization has its schools all over the country. In order to meet the requirements of
the schools, various forms or regional styles have been included in the syllabus. The
schools may OFFER ANY ONE OF THE STYLES. Since the syllabi are closely linked
with the culture, it is desirable that the teachers also make themselves familiar with the
aspects of Indian Cultural History; classical and medieval period of itsliterature.

Any one style from the following may be offered by the students:

INDIAN CLASSICAL DANCE

(a) Kathak

(b) Bharatnatyam

(c) Kuchipudi

(d) Odissi

(e) Manipuri

(f) Kathakali
 (A) KATHAK DANCE (CODE NO. 056)
CLASS–XI(2020-21)

Total Marks: 100

Theory Marks:30
Time: 2 Hours
30 Periods
1. A brief history of Indiandance.
2. Acquaintance with the themes of Ramayana,Mahabharataa, Bhagvata Purana
and Gita Govinda in context of Kathak. Acquaintance with other myths and
legends pertinent to the dance drama or gat bhaav like Kalia daman, Govardhan
lila, Panghatlila, Draupadi cheer haran, Makhan chori, Marich vadh, Bhasmasur
vadh, Madan dahan,etc.
3. A brief history of Kathakdance.
(a) Reference from ancient text (vedic, puranic, epics and other scriptures).
evolution of Kathak dance in Pracheen kal/Mandir kal (kathavachak and Rasdhar
tradition, etc.) Madhya kal/ Darbarkal, Adhunik kal covering British and post
independent era till the presenttime.

4. Acquaintance with itsrepertoire.

Rang pravesh / invocation, compositions (Bandish) from traditional technical

dance part of kathak. Literary contents - abhinay, bhajans, thumri, dadra, ghazals,
dhrupad, kavit, etc. Rhythmic musical composition like Tarana, Tirvat,
Chaturang,etc.

5. Distinctive aspects of Kathak (using of ghungrus, chakkars, upaj, costume,etc.

6. Ability to write notation of teental and jhaptal (thah, dugun,chaugun).

7. Definition and short explanation: Nritta, Nritya, Natya, Tandava, Lasya, Anga,
Upanga,Pratyanga.
 CLASS–XI

PracticalPaper Marks:70

100 Periods

1. Practice of basic standing position and various patterns ofTatkar.

2. Practice of exercise of different parts of the human body particularly anga, pratyanga,
upanga.
3. Practice of exercise of ten different movement {hastak} chakkars in teen taal in thah,

dugun, chaudganlaya.

4. Prahant of teentaal, jhap taal with hast kriya in thah, dugun,chaugun.

5. Practice of tatkar set to teental in a slower tempo (thah laya) and in its double

(dugun) and four times(chaugun).

6. The student should know the following compositions:

(a) Thaat 1

(b) Aamad 2

(c) Fast Aamad (tez aamad) 2

(d) Vandana 1

(e) Tukra/Toda 4

(f) Natwari ka tukra 4

(g) Gatnikaas 3

(h) Gatbhaav 1

(i) Paran 4

(j) Tihaayi 4

(k) Ladi/laya Baant 2

(l) Parhant of tukda /toda with hasta kriya 2

 (A) KATHAK DANCE (CODE NO. 056)
CLASS–XII(2020-21)

Total Marks: 100

Theory Marks:30

Time-2 Hours

1. A brief history with other classical dance styles ofIndia.

2. Basic understanding of the term ABHINAYA and definition of its four aspects:
angika, vachika, aharya,satvika.

3. Aquitance of the three gharanas of kathak dance (Lucknow, Jaipur,Banaras)

4. Rasa: definition and explanation of ninerasas.

5. Knowledge of the following terms: (short note) sangeet, tal, laya, angahara,
bhramari, lokadharmi, natyadharmi, rasa andbhava.

6. Knowledge of the technical terminology of the danceform.

a) Definition of the following:
i) Vandana
ii) Tihaayi
iii) Aamad
iv) Toda/Tukraa
v) Paran
vi) Chakardar Toda /Tukraa andParan
vii) Gatnikas
viii) Gatbhaav
b) Knowledge of Theka of Dadra, Kaharwa,Roopak.
c) Definition of Tali, Khali, Sam, Tihaayi.
d) Ability to notate a Tukraa/Toda andParan.

7. Acquaintance with the traditional costumes and makeup.

 CLASS–XII

Practical Marks:70

30 Periods

1. Practice of the tatkar set to teen taal and jhap taal in slower tempo, in its double
(dugun) and four times (chougun)tempos.
2. Student should know all the techniques and compositions of thefollowing:

(i) Vandanaa 1

(ii) Thaat 1

(iii) Aamad 2

(iv) Fast aamad 2

(v) Tukda, Toda 1

(vi) Tihaayi 4

(vii) Gatnikas 3

(viii) Gatbhav 1

(ix) Parhant of tukra/todaa, with hasta- kriyaa 1

NOTE: The students should be taught some of these in jhap taal and dhamar tal.

3. Ability to improvise in nritta andabhinaya.

4. Parhant (recitation of bols) to the basic theka of all compositionslearnt.

 DANCE (KATHAK)

PRACTICAL GUIDELINES TO THE EXAMINERS

FOR EVALUATION OF KATHAK PRACTICALS
CLASS–XII

Practical Marks:70

Time: At the discretion of the examiner.

General Instructions:

There are four important aspects of Kathak which need careful assessment. They
are:

(a) Angashudhi, which means that movements of limbs and torso should not only be
gracefulandaestheticbutalsoinaccordancewiththestyleoftheKathakdance.

(b) Laya, i.e., the steadiness of tempo and command over rhythmic structure in any
passage ofdance.

(c) Bhaav-Paksh, i.e., the capability to express through mime in which face plays a
dominantrole.

(d) Tatkaar, i.e., neatness in executing complicatedfootwork.

Distribution of marks and other instructions

The total marks of 70 may be divided as indicated below:

1. For the Angashuddhi 20 marks may be allotted, for laya and Bhaav-paksh each
may be allotted 15 marks, and footwork (Tatkaar) 10 marks. The remaining 10
marks may be equally divided for repertoire andParhant.

2. Each examinee should perform for about 15 minutes and in all the three layas,
i.e., vilambit, madhya and drut. In Vilambit Laya he/she may perform Thaat,
Aamed, Ganesh Paran, fast Aamad, Tihai and Tatkaar; in Madhya Laya;
Tukra/Todaa, Paran, Abhinaya of a Thumri/Bhajan; and in Drut Laya; Gatnikaas
andGat-Bhaav.

3. As said above five marks may be allotted for the richness of the repertoire. The
examinee is required to perform atleast one item from each of the intraforms
mentioned in the syllabus, i.e., Vandanaa, Ganesh Paran, Thaat, Aamad, fast
Aamad, Parmelu, Tihaayi, Gat-nikaas andGat-bhaav.

4. The examinee should be asked to do the Parhant of a tukraa/toraa and then

performitonThekaa.WhiledoingParhanthe/sheshouldalsoindicatethetaal
 by doing hasta-kriyaa. This will give the idea of his/her command over the taal.
As indicated above five marks may be allotted for the manner in which Parhant is
done.

5. TheexamineemaybeaskedtoplaythethekaaofTeentaalorJhaptalonTable.

6. The examinee may be asked to abhinaya on a line or two from any thumri or
bhajan and elaborate it with sanchaaripassages.
 (B) BHARATANATYAM DANCE (CODE NO.057)
CLASS–XI (2020-21)

Total Marks: 100

Theory Marks:30

Time-2 Hours
30 Period
1. A brief history of IndianDance.

2. Acquaintance with the themes of RAMAYANA-names of all Kandas, (Sita

swayamvaram, Rama vanagamanam, Surpanakha prasangam, Sita haranam,
Choodamani pradanam).BHAGAVATA PURANA - names of all Skandas
(Sadhana Skanda Dashavatar, Purushartha Skanda - Daksha, Dhruva, Sthiti
Skanda - The story of Manu and the description of the world, Vasan Skanda -
Prahlada and Nirodha Skanda - Birth and life of Krishna). GITA GOVINDA -
(Samoda Damodaram - Lalita lavangalata, Haririha, Aklesha Keshava - Rase
harim iha, Mugdha Madhusudana - hari hari hatadarataya Vilakshya Lakshmipatih
- yahi madhava Chatura Chaturbhuja - priye charushile: Sanjeevani ashtapadi).
Acquaintance with other myths and legends pertinent to the Dance form, The
Cosmic dance of Siva and significance of Nataraja, The story of Mahishasura
Mardini, The legend ofGanesha.

3. A history of Bharatanatyam: Mythological reference from the Natyotpatti in the

Abhinaya Darpanam, evolution of the different schools of Bharatanatyam -
Tanjavur, Pandanallur and Vazhuvur, contribution of the Tanjore quartet and the
present repertoire structure of the danceform.

4. Acquaintance with its repertoire and literary contents: Definition of the musical
terms used in dancePushpanjali, Mallari, Kautuvam, Alaripu, Jatiswaram,
Shabdam, Varnam, Keertanam, Padam, Ashtapadi, Javali and Thillana.

5. Distinctive aspects of Bharatanatyam: Costume and jewelry, Language and music

style, Technical aspects of performance, Basicposture.
 CLASS–XI (PRACTICAL)

Practical Marks:70

100 Periods

1. Practice of basic standing and sitting positions: Pada and mandalabhedas.

2. Practice of stretching, rotation and flexing of different parts of the body-head,

neck, shoulders, arms, waist, hips, knees, ankles,feet.

3. Practice of different movement of the head, eyes and neck: Shiro, Drishti and
Greevabheda.

4. Adavus in Trikala:

(i) Tattu adavus 8

(ii) Nattu adavus 8

(iii) Ta tei tei ta adavus 4

(iv) Kudittu mettu adavus 4

(v) Tei ya teiyi standing adavus 2

(vi) Tat tei ta ha adavus 4

(vii) Tat tei Tarn adavus 4

(viii) Kattu adavu and allied utplavanaadavus 4

(ix) Tadhinginatom

(x) Kitatakatarikitatom

(xi) Mandiadavu 2

(xii) Sarukkai adavu 2

(xiii) Simple Korvais (knitting together of adavus in sequence with an aradhi or

finish) in Adi talam for 1-2avartana

(xiv) Simple forward and backward gaits in Tisra and Chatusra (count of 3 and4)

(xv) Alarippu-Tisra EkaTalam

(xvi) Tala-Adi talam and Rupaka talam with hastakriya and ability to repeat the
adavu syllabi in Trikala in the appropriatetalam.
 (C) BHARATNATYAM DANCE (CODE NO.057)
CLASS–XII (2020-21)

Total Marks: 100

Theory Marks:30

Time-2 Hours

1. Acquaintance with life history of the chief exponents and contributors of the past
of the Dance form. (Rukmini Devi Arundale, Balasraswati, Meenakshi Sundaram
Pillai, Tanjorequartette)

2. Acquaintance with the contents of the Abhinaya Darpana. (The chapters and the
aspects of dance dealt withinthem).

3. Knowledge of the followingterms:

(i) Nritta, Nritya, Natya (Sanskrit slokas from the Abinaya Darpana and basic
definition) Tandava (7 tandavas with detailed stories) Lasya, Lokadharmi,
Natyadharmi (Definitions withexample)

(ii) Sthana, Chari, Mandala, Bharmari, Utplavana (Slokas and meaning from
AbinayaDarpana)
(iii) Abhinaya (Angika, Vachika, Satvika, Aharya-slokas from the Abinaya
Darpana along with the meaning)
(iv) Sangeeta, Tala, Laya (Definition of the term, seven talams, threelayams)
(v) Rasa (names of the nine rasas and their Englishmeanings)
4. Knowledge of the technical terminology of the particular Dance form (any one to
be studied in accordance with the Dance styleoffered)-
(a) Definitions of the following: araimandi, muzhumandi, kuttanam, korvai, karvai,
adavu, shollu, aradhi, theerumanam, jati, jaati, gati, avartana, yati, taalanga,
thattukazhi, nattuvangam,arangetram)

5. Acquaintance with the traditional costumes, make up of the Dance styleopted.

 CLASS–XII

Practical Marks: 30

1. Revision of all the adavus in classXI

2. Jatiswaram in Rupakataal

3. Padam on Krishna or Keertanam onShiva/Krishna/Vinayaka/Rama

4. Tillana in Adi taalam

5. Ability to repeat the adavu* syllables in Rupaka and Triputa Talas,
knowledge of the Sapta talas with hasta kriya (taalanga andsign)

6. Hasta-Viniyoga of 14 Asamyuta (upto Chandrakala hasta) and 12

Samyuta, Hastas (Upto Chakra hasta) and all, Deva Hastas (all
AbhinayaDarpanam).

7. Knowledge of the Pada, Bhedas, Mandalas, Bhramaris and

Utpalvanas occurring in the items learnt (AbhinayaDarpanam).

8. Basic knowledge of Carnatic Music-format of the raga system-the

72 melakarta ragams and the music of the itemslearnt.
 (C)KUCHIPUDI DANCE (CODE NO. 058) CLASS–

XI (2020-21)

Total Marks: 100

Theory Marks:30

Time-2 Hours

30 Periods
1. A history of the KuchipudiDance.
2. Distinctive features of Kuchipudi- Structure andFormat.
3. Repertoire and literary content ofKuchipudi.

CLASS–XI

Practical Marks:70

100 Periods

1. Practice of basic standing, sittingpositions.

2. Practice of exercise of different parts of the human body particularly head, neck,
shoulders, arms, chest, waist, hips, thighs, knees, shanks, ankles,feet.
3. Practice of different movements of the eyes, hands andface.
4. Practice of the following adugus inTrikala:
(i) Mandikoppu
(ii) VontiAdugu
(iii) VenukaNaatu
(iv) PrakkaNaatu
(v) KetteraNaatu
(vi) ChuttuNaatu
(vii) Prakka KuppiNaatu

5. Teermanams in five Jaatis Note: Ability to recite Teermanam withTala.

 (C) KUCHIPUDI DANCE (CODE NO. 058)
CLASS–XII(2020-21)

Total Marks: 100

Theory Marks:30

Time-2 Hours

70 Periods
1. A brief history and acquaintance with some traditional dance forms of the region,
other than the one offered forstudy.
2. Acquaintance with life history of the chief exponents of the dance form, past and
present.
3. Knowledge of the followingterms:
(i) Nritta, Nritya, Natya, Tandava, Lasya, Lokadharmi,Natyadharmi
(ii) Chaturvidha Abhinaya (Angika, Vachika, Satyika, Aharya) with special
reference to Mukhaja Abhinaya.
(iii) Sanchari Bhava, Sattvika Bhava
4. Types of compositions and formats used in Kuchipudi
Definitions of thefollowing:
(a) Rangapuja, Shabdam,Ashthapadi, Kalaapam, (Bhaama Kalaapam,
GollaKalaapam).
 CLASS–XII

Practical Marks:70

100 Periods

1. One Sabdam preferably from Dashavatara or Prahlada Pattabhishekha,

Shabdam.

2. One Swarapallavi, one padam.

3. One Kshetrayya padam, oneAsthapadi

4. One Tarangam. 5. An extract from BhaamaKalaapam.

6. 1. Recitation of an Aditala Jathi along withTeermanam.

 (D) ODISSI DANCE (CODE NO. 059)
CLASS–XI(2020-21)

Total Marks: 100

Theory Marks:30

Time-2 Hours

30 Periods
1. A brief history of Indiandance.

2. Short notes on myths related to: Kaliya Daman, Dashavatar, Vastra haran, the
concept of Nataraja, Draupadi Cheer haran, Neuni Chura (MakhanChor).

3. Definition of theterms:

a) Nritta, Nritya andNatya

b) Matra, Laya, Taal, Avartana, Vibhaga(Anga)

c) Tandava andLasya

d) Natyadharmi andLokdharmi

e) Devadasi andMahari

4. Brief explanation of the five segments of the basic repertoire ofOdissi:

a) Mangalacharan,

b) Batu orSthayi,

c) Pallavi,

d) Abhinaya,

e) Moksha/ or any TandavDance,

 CLASS–XI

Practical Marks:70

100 Periods

1. Ability to demonstrate the elementary steps: Ten steps each in Chauk and
Tribhanga position set to Ektali in three speeds ofEkgun, Dugun and Chaugun.
2. Learning of one Arasas in chaturasra Jaati is abilty to recite the Sthayi Ukuta of
the Arasa by showing the matras by hands.
3. Learning ofMangalacharan:
a) Demonstration of theitem
b) Recitation with hands of the ukutas of theitem
c) Naming the raga and tala the item is composedto
d) Identification of the hastasused
e) Identification and demonstration of the various components of theitem:
*Mancha Pravesha,
* Pushpanjali
* BhumiPranam
* IshtaDeva
* Vandana and Trikhandi/SabhaPranam
f) Explanation/meaning of the slôka in the Ishta DevaVandanaa

4. Asamyuta Mudra from the AbhinayaDarpana.

 (D) ODISSI DANCE (CODE NO. 059)
CLASS–XII(2020-21)

Total Marks: 100

Theory Marks:30

Time-2 Hours

30 Periods

1. Elementary knowledge about the three styles of Chhau: Mayurbhanj, Seraikella

andPurulia.

2. Brief notes on the lives and contribution of the three Gurus: Guru Pankaj Charan
Das, Guru Kelucharan Mohapatra and Guru Deba PrasadDas.

3. Elementary introduction to the texts; Natya Shastra, Abhinaya Darpana, and

Abhinaya Chandrika: a) Identification of the author (approximate date) b) Basic
overview of the broad areas covered in the context of each text. c) Myths
regarding the origin of dance according to eachtext.

4. Basic understanding of the term ABHINAYA and definition of its four aspects:
angika, vachika, aharya andsattvik.

5. Rasa: Definition and short explanation of the ninerasas.

6. Short noteson:

a) The Aharya ofOdissi.

b) The music accompaniment ofOdissi.

7. Brief explnation of the following terms: (Unit IV ClassXI)

a) Nritta, Nritya andNatya

b) Matra, Laya, Taal, Avartana, Vibhaga(Anga)

c) Tandava and Lasya d) Natyadharmi andLokdharmi

8. Write some names of Folk Dances ofOdisha

 CLASS–XII

Practical Marks:70

100 Periods
1. Learning and practice of onePallavi:
a) Definition of the term Pallavi. b) Demonstration of theitem.
c) Recitation of the ukutas of the item withhands.
d) Identification of the Raga, Taal and the Choreographer of theitem.
e) Identification of the hastas and the bhangis used in theitem.

2. Ability to show different Paad bhedas andbramaris.

3. Practice of Patak Hasta Mudra Viniyog acc to AbhinayaDarpan.

 (E) MANIPURI DANCE (CODE No. 060)
CLASS–XI(2020-21)

Total Marks: 100

Theory Marks:30

Time-2 Hours
30 Periods

1. Brief history of Indian Dance and TraditionalDance/Drama.

2. Acquaintance with themes of thepuranas

* From Ramayana: - Lanka dahan by Hanuman, Seeta Haran,

* From Shrimad Bhagavat:- Makhan Chori, Udukal Leela (when Yashoda ties
up Krishna to the pounding block), KaliyaDaman.

* From Gita Govinda:- Dashavatar, any suitablepoem.

* From local legend: - Nongpok Ningthou andPanthoibi

3. History of ManipuriDance

a) Prayer dances of early times beyond recorded history. Dance was always
a necessary part of worship. LaiHaraoba.

b) Beginning of compositions based on Hindu Gods as people started

worshipping Vishnu in 15thcentury.

c) Birth of Ras Leela and Sankirtana in 18th century during the reign of
Maharaja Bhagyachandra leading to cultural chainreaction.

d) Birth of Goshtha Leela during the reign of MaharajaChandrakirti.

4. Acquaintance with its repertoire and literary contents. Edited versions of Ras
leelas, Krishna Abhisar, Radha Abhisar. Krishna Nartan, Radha Nartan,,
Punglon Jagoi, - Dashavatar, Shreeta Kamala Kucha Mandala, Lalita Lavanga
Lata, Chandana Charchita, Rajanijanitaguru, Pung Cholom and Kartal Cholom.
5. Distinctive aspects of Manipuridance.

The style is rich both in Lasya and Tandava modes.

*Footwork in Manipuri.

*Sarvanga Abhinaya.
 CLASS–XI

Practical Marks:70

100 Periods

1. Practice of basic postures movements and footwork in TanchapTala.

2. Practice of hand movements specially flexibility of wrists, Chali, Champra Okpi

and KhujengLeibi.

3. Chali for both feminine and masculine, including ChaliAreibi.

4. Acquaintance with Matras and Talas of Manipur Pung in Talas Tanchap,

Menkup,l.

5. Lai Haraoba both Lasya and Tandava (Khamba Thoibi). Thougal Jagoi, Maibi
Jagoi – Lai Ikouba and LaichingJagoi.

6. Folk dances: Thabal Chongbi, Keetlam andChaplam.

 (E) MANIPURI DANCE (CODE No. 060)

CLASS–XII(2020-21)

Total Marks: 100

Theory Marks:30

Time-2 Hours

30 Periods

1. Acquaintance with life history of chief exponents past and present of the dance
form.

2. Acquaintance with the contents of AbhinayaDarpana.

3. Knowledge of the followingterms:

(a) Nritta, Nritya and Natya. Tandava, Lasya, Loka Dharmi, NatyaDharmi.
(b) Abhinaya: Angika, Vachika, Aharya andSatvika.
(c) Sangeet: TalaLaya.
(d) Rasa: Sthayi Bhava, SanchariBhava.

4. Knowledge of technical terms of thestyle:

(a) Chali, Bhangi, Longlei,Uplei
(b) Different kinds of Choloms: Kartal Cholom, Khubak Isei Cholom, Pung
Cholom.
(c) Sankirtan. Different Talas, Rajmel, Menkup,Tanchap.
(d) Different kinds ofRaas.
5. Acquaintance with the traditional costumes, make up for the dancestyle offered.

(a) Potloi and its different components for Radha andGopis

(b) Krishna’scostume.
(c) Typical traditional make up for Manipuri classical dances with emphasis
on Vaishnava Tilak.
 CLASS–XII

Practical Marks:70

100 Periods
1. Basic stance and movements of both Pung and Kartal Choloms (whichever is
applicable). Practical demonstration of Choloms in Rajmel, Menkup and
Tanchap.

2. Bhangi Pareng Achouba and Goshtha Bhangi Pareng. Punglon Jagoi and Isei
Jagoi.

3. Khurumba Bhangi Pareng, Krishna Abhisar, Radha Abhisar Krishna Nartan,

Radha Nartan, Advanced Cholom in Char Tal .

Knowledge of the background of the following:

a) Nata Sankirtan and Ariba Pala. Lai Haraoba, Maharaas, Vasant Raas, Kunja
Raas, Nitya Raas and Diva Raas, Goshtha Leela, UdukhalLeela.

b) Biographies of great Jagoi Gurus: Guru Amubi Singh, Guru Atomba Singh and
Guru Amudon Sharma.

c) Stories of Nongpok Ningthou and Panthoibi, Khamba andThoibi.

 (F) KATHAKALI DANCE (CODE NO. 061)
CLASS–XI(2020-21)

Total Marks: 100

Theory Marks:30

Time-2 Hours

30 Periods

1. A brief history of Indian Classical Dance and Indian TraditionalDance-Drama.

2. Acquaintance with the themes of Ramayana, Mahabharataa, and Bhagavata

Purana.

3. History of the Kathakali (OriginDevelopment).

4. Acquaintance with its repertoire and literary content – Aattakathas, its language
and influence of SopanaSangeetha.

5. Distinctive aspects ofKathakali.

6. Slokas from Hasthalakshanadeepika describing about the 24 basic hand

gestures.
 CLASS–XI

Practical Marks:70

100 Periods

1. Tozhutu Kumpital (Namaskara Panchakam) – Traditionalsalutation.

2. Chattam (Different types ofleaps)

3. Meyyarappu (Basic body exercises)

4. Kannu Saadhakam and Mukha Saadhakam (Exercise of eyes and facial

muscles)

5. Kaal Saadhakam (Basic footworks)

a) KaalSaadhakam
b) Irrativattam
c) Kutthukaal
d) Parinthukaal
e) Dheevattam

6. Seven types of Chuzhippu (Syncronised movements of eye, hand, body in

differentpostures.

7. Twenty - four types of basic handgestures

8. Thodayam

9. Recite basic thaalams ofKathakali

 (F) KATHAKALI DANCE (CODE NO. 061)
CLASS–XII(2020-21)

Total Marks: 100

Theory Marks:30

Time-2 Hours

30 Periods

1.Acquaintance with the life history of the great masters of the dance form of both past

andpresent.

2. Acquaintance with the contents of the Hastha Lakshana Deepika andNatyasasthra.

3. Knowledge of the followingterms:

(i) Nritta, Nritya, Natya, Tandava, Lasya, Lokadharmi,Natyadharmi.

(ii) Anga, Upanga,Prathyanga
(iii) Abhinaya (Angika, Vachika, Satvika, Aharaya) with special reference to
Hasta-Abhinaya, Mukhaja-Abhinaya andNetra-Abhinaya.
(iv) Sangeeta, Tala,Laya
(v) Rasa, Rasadhrishti, Sthaayibhava, Sthaayidrishti, Sancharibhava,
Bhaava, Vibhaava, Anubhaava and SathvikaBhaava,

4. Knowledge of the Technical Terminology of the Artforms.

(a) Mutiyettu, Theyyam, Kootiyaattam, Ramanattam,Krishnattam,

Ottanthullal, and Kalarippayattu
(b) Hastas – Samyutha, Asamyuta, Mishra, Nanartha from
Hastalakshanadipika.
(c) Kaal SadhakamIrativatam.
(d) Kalassam, Ashtakalasam, Ilakiyattam,Cholliyattam
(e) Keli, Arangu Keli (Shuddha Maddalam), Todayam, Purappadu, Melapada,
andDhanaasi
(f) Chutti, Pachchha, Kathi, Thaadi, Kari,Minukku
(g) Rasa, Rasadhrishti, Sthaayibhava, Sthaayidrishti, Sancharibhava,
Manodharma,Cholliyaattam and Ilakiyaattam
(h) Ability to write in notation talas learnt underpracticals.

5. Acquaintance with the traditional costumes and makeup of the Dance style
opted.

6. Knowledge of Kathakali music both vocal andpercussion.

 CLASS–XII

Practical Marks: 70

100 Periods
1. Purppadu

2. Pakuthipurappadu

3. Different kalaasams in different thaalams

a) Vattamvechu Kalaasam

b) Iratti c) Atakkam

d) Thonkaaram

e) Idakkalaasam

f) Eduthukalaasam

g) Naalaaratti

h) Sthreevesha Kalaasam

i) Saaree Dance

j) Kummi

4. Theru kootikkettal

5. Thiranokku – Idamattil

6. Eight types of Ilakiyaattam

7. Padams of the character from the Kathakali plays

a) Male
i) Subhadraharanam – Sree Krishna – “Kim BhoSukham”
ii) Dakshayaagam – Shiva – “Kuvalayavilochane”

b) Female
i) Uttaraswayamvaram – Uttara – “Veera SodaraSumathe”
ii) Dakshayaagam – Sathi – “LokaadhipaKaantha”

8. Recite various kalaasams with rhythm.