Open Akhil Bharatiya Gandharva Mahavidyalaya Mandal
Open Akhil Bharatiya Gandharva Mahavidyalaya Mandal
Open Akhil Bharatiya Gandharva Mahavidyalaya Mandal
Kathak – Syllabus
Level- 1: PRARAMBHIK
GRADES:
MINIMUM PASSING: 17 THIRD: 17 TO 20 SECOND: 21 TO 29
THEORY
DEFINE: Laya, Vilanbit Laya, Madhya Laya, Drut Laya, Matra, Sam, Taal, Khali
and Vibhaag
PRACTICAL
1. Introduction of Teentaal
2. Tatkaar / footwork in Teentaal - Thah (slow speed) And Dugun (double speed)
3. Ability to recite & perform 10 simple Todas and 4 Chakradaar Todas and two tihais in
Teentaal
Grades
Pass Class IIIrd Grade IInd Grade IstGrade Distinction
25 25 to 37 38 to 44 45 to 50 51 & above
Theory:
1. Define Laya (Vilambit, Madhya, Drut), Sama, Matra, Taali, Khaali, Gat-Nikas, Gat-Palta,
Tatkar, Toda, Thaat, Salaami / Rang Manch Pranaam, Baant and Tukda.
2. Identify the symbols of Taal notations.
3. Information and thekas of Dadra and Kerawa Taal.
4. Names of five Kathak Guru of current time.
5. Names & usages of 10 Asanyukta hasta Mudras as per Abhinay Darpan. Given bellow:
Patatka, Tri-Pataka, Ardha Pataka, Kartarimukh, Mayur, Ardhachandra, Araal, Shukatunda,
Mushthi, Shikhar.
Practical:
* In Teental perform:
One Rangmanch Pranam, Two Thaat, One Simple Aamad,
Six simple Todas, Two Chakradar Todas, Two Paran
* Recitation of:
1. Teental Theka and its Thah, Dugun and Chaugun
2. Ability to recite all the Todas on hand with Theka.
3. Ability to recite Theka of Dadra and Keharwa Taal.
Grades
Minimum IIIrd Grade IInd Grade Ist Grade Distinction
28+16=44 44 to 62 63 to 74 75 to 90 91 & above
Theory:
2. In Zhaptaal:
Thah, dugun of Theka and Tihai.
One Toda
One Aamad,
Praveshika-Purna – Practical:
In Teentaal/Tritaal:
Two Thaat, . One ParanjudiAamad, One Rangamanch Pranam,
Four simple Todas
(Different than 1st year Todas, each toda should be made of atleast 3 awartans)),
Two Paran, Four Chakradaar Paran, One Kavit. One Chakradar Tihai
In Tatkar
1. Adhi, Barabar, Dugun, Chaugun, Athgun ending with Tihai.
2. Tatkar Baant ending with proper tihai in Teentaal.
Gat-Bhav:Panihari:
Story line:
Radha goes to the river bank to fetch water. Krishna comes, breaks her pot, Radha is
annoyed,Krishna laughs etc.
In Zhaptaal:
One Thaat, One Aamad, One Tihai, Two Todas, One Chakradaar Toda, One
Paran
Grades
Pass Class IIIrd Grade IInd Grade Ist Grade Distinction
48+22=70 70 to 99 100 to 119 120 to 159 160 & above
Theory:
In Teentaal/Tritaal:
Abhinaya:
Gat Bhav:
Grades
Pass Class IIIrd Grade IInd Grade Ist Grade Distinction
60+30=90 90 to 124 125 to 149 150 to 200 201 & above
Theory:
1. History of Kathak Dance. Knowledge of Temple tradition and Darbaar / Court tradition of
Kathak dance.
3. Definition and usages of nine types of eyebrow movements as per ‘Abhinaya Darpan’.
7. Write definition and usages of the following Sanyukta Hasta Mudras: Chakra, Samputa,
Pash, Keelaka, Matsya, Koorma, Warah, Garud, Nagbandh, Khatwa and Bheruda.
8. Life story of the following Kathak maestros and their contribution to Kathak:
(a) Pandit Achchan Maharaj
(b) Pandit Shambhu Maharaj
(c) Pandit Lachchu Maharaj
(d) Pandit Narayan Prasad
(e) Pandit Jaylaal
9. Ability to write the notations of all the todas in Teental, Rupak and Dhamar.
2. In Rupak taal (7 beats): One That, one Aamad, two Tihai, three Paran, one Chakradar
Paran, four Todas, one Kavit Paran; Thah and Dugun of Tatkar.
3. 3. In Dhamar Taal (14 beats): One That, one Aamad, two Tihai, four Paran, two
Chakradar Paran, two Kavit Paran; Thah and Dugun of Tatkar.
6. Besides all the Gat-Bhav learned in the previous years, perform ‘Kaliya-daman’.
--------------------------- ----------------------------------------------
Theory – Two question papers of 75 marks each; minimum passing marks: 26 in each paper.
Theory:
2. Definition of Nav-Ras.
5. Knowledge of Matsya, Kurma, Warah, and Narsimha Avatar from Dashawtar; the
stories and Mudras of these Avatars.
8. Write notations of Aamad, Bedum Tihai, Farmaishi Paran, Chakradar Paran, Tipalli and
Kavit in each of the following Taals: Teental, Zhaptal and Dhamar.
9. Essays:
A. Importance of Guru-Shishya Parampara(tradition).
3.Definitions of the following types of Indian Classical vocal compositions used in Kathak:
A. Asthapadi, B.Dhrupad, C.Thumri, D.Chaturang, E.Tirwat, F.Tarana, G.
Chaiti, H. Kajari and I.Hori.
4.Nawab Wajid Ali Shah’s and Raigadh Maharaj Chakradhar Sinha’s contribution to Kathak.
5.Write notations of Aamad, Tihai, Toda, Chakradar Paran and Kavit in the following Taal:
Raas Taal (13 Matra), Dhamaar (14 Matra), Gajazhampa(15) &
Pancham Sawari (15 Matra).
6.Life Stories of Nataraj Gopi Krishna, Sitara Devi, Pandit Durgalal and Guru Sundarlal
Gangani.
1. Saraswati Vandana
3. Ability to present That, Aamad, two Todas, one Paran and one Kavit in the following
Taals: with Thah, dugun of Theka in Tatkar.
Gajazhampa or Choti/Pancham Sawari (15 matras),
Dhamaar Taal (14)
Raas Taal (13)
9. Ability to present Abhisarika, Khandita and Vipralabdha Nayika either through Gat-
Bhav, Thumri or Pad.
10. Tatkar Ladi (other than learnt in the previous years )in Teental or Dhamar.
Theory – Two question papers of 75 marks each; minimum passing marks: 26 in each paper.
Theory:
Paper I: Total Marks: 75 Minimum passing: 26
7. Comparitive study of Asanyukta and Sanyukta Hasta Mudras as per Natya- Shastra
and Abhinay-Darpan.
3. Life Stories of :
a. Guru Sundar Prasad,
b. Guru Mohanrao Kalyanpurkar,
c. Maharaj Krishna Kumar &
d. Pandit Birju Maharaj
6. Essay :New techniques like : modern theaters, lights, stage settings, sound effects,
cyclirama, back projections etc. used in presenting dance today.
9. Ability to write notations of Aamad, Toda, Paran, Chakradar Toda, Farmaishi Paran,
Parmelu in
a. Matta-Taal (18 matra)
b. Raas Taal (13 matra)
1. Vishnu wandana – (with knowledge of Raag, Taal and meaning of the words)
2. Advance preparation in
a. Chhoti Sawari (15 matra)
b. Shikhar Taal (17 matra)
c. Matta-Taal (18 matra)
d. Raas-Taal (13 matra)
3. Ability to perform Teetaal, Shaptaal and Rupak on simple theka without support of
padhant.
7. Ability ot perform various Sanchari bhav on Thumari and any Pada while sitting.
8. Ability to recite every rythmic composition of every taal that you are performing.
9. Presentation of any two (with information of Raag, taal and meaning of words)
a. Tirwat,
b. Tarana,
c. Ashta-padi
d. Chaturang,
e. Stuti
10. Ability to express all the Niv-rasas only thru facial expressions while sitting.
12. Ability to move, eyebrows and neck (bhrukuti and greeva) as per Teentaal nagama.
14. Ability to improvise and perform immediately on any story given by the examiner at the
time of practical exam.