BA Bharathanatyam PDF

Bachelors programme in Bharathanatyam, St.
Teresa’s College (Autonomous)Ernakulam
SCHEME & SYLLABI
For
Under Graduate Programme
In
BHARATHANATYAM-MODEL-III
(w.e.f. 2015-16 Admissions)
St Teresa’s College [Autonomous]

Ernakulum
Curriculum and Syllabi 2015 admission onwards: Page 1

Bachelors programme in Bharathanatyam, St.Teresa’s College (Autonomous)Ernakulam
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 Chilampoli, Gandhi Nagar,

Retd. Professor Kadavanthra, Ernakulam
R L V Music & Fine ArtsCollege,
Tripunithura
3. Dr. C P. Unnikrishnan Lakshmi Vilas

R.Madhavan Nair Road
Cohin-682016
4. 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

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
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

ACKNOWLEDGEMENT
I acknowledge that without the valuable help, guidance and co-

operation 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 co-
ordinating 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
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 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:

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.

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

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. 84-86

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 Marks
Course Type
Hours Cre
me Course Code Title of the Course Sesse fin T
/Week dit
ster nal al otal
English-Common Course- I 5 4 20 80 100

BH1BP01B Core –Practical-1 Basics of Bharathanatyam 5 4 20 80 100
Usage of Various Gestures-
BH1BP02B Core –Practical-2 5 4 20 80 100
1
Introduction to Dance &
I BH1BT01B Core-Theory-1 4 4 20 80 100
Carnatic Music
Complementery- Abhinaya Sangeetham--
BH1CP01B 3 2 20 80 100
Practical-1 Varishakal
Complementery- Mohiniyattam--Basics in
BH1CP02B 3 2 20 80 100
Practical-2 Mohiniyattam.
English – Common Course-
5 4 20 80 100
II 2
BH2BP03B Core –Practical-3 Introductory Items in 5 4 20 80 100

Bharathanatyam Recital
Usage of Various Gestures-
2
BH2BT02B Core-Theory-2 Origin of Natya 4 4 20 80 100
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
South Indian classical
dances.
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
Dances
I Core-Bharathanatyam
V
BH4CP07B 3 2 20 80 100
Practical-7 Thana Varnam
Complementery-
BH4CP08B Mohiniyattam- Varnam 3 2 20 80 100
Practical-8

BH5BP09B Core –Practical-9 Alarippu, Varnam 5 4 20 80 100

Ashtapadi,
Keerthanam
Kshetranja Padam,
Javali
V BH5BP12B Core –Practical-12 Nattuvangam-1 4 3 20 80 100
Understanding Folk
and Ritual Traditions
Bharathanatyam
BH5DP01B Open Course-1 4 3 20 80 100
Tradion
Thillana ,
BH6BP13B Core –Practica-13l 5 4 20 80 100
Keerthanam, Slokam
BH6BP14B Core –Practical-14 Nattuvangam-2 5 3 20 80 100
BH6BP15B Core –Practical-15 Make up & 5 3 20 80 100

Costumes
VI
Lakshana Grandhas
in Dance
Choice Based
BH6BP16B 5 3 20 80 100
Course-1
Coursework/ Project
BH6BPR1B 3
work

Scheme of Course:
Courses No. Credits

Common Courses 2 8
Core Courses 23- 87
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 36 120
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 4 17 1
Semester-VI 5 20 1

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.

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
 1st to 5th semesters - Assignment/Seminar
 6th semester – Seminar only
IV. Test Paper

 Average mark of two sessional examinations shall be taken.

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 80.
8. There will be a compulsory 30 minutes practical examination for each paper[

core and complementary] and the total marks is 80.

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

2.Final Evaluation of Project: 50 marks
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
3. 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 Grade Grade

Marks Point
90 and above A+ - Outstanding 10
80-89 A - Excellent 9
70-79 B - Very Good 8

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
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
𝑇𝑜𝑡𝑎𝑙𝐶𝑟𝑒𝑑𝑖𝑡𝑃𝑜𝑖𝑛𝑡𝑠 (𝑇𝐶𝑃)
SCPA= 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
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

Cumulative Credit Point Average for the programme is calculated as follows:

(𝑇𝐶𝑃)1 +(𝑇𝐶𝑃)2 ……… + (𝑇𝐶𝑃)6
CCPA = 𝑇𝐶1 + 𝑇𝐶2 + ….+𝑇𝐶6
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.

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.

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.

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

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) Name of the candidate, Name and designation of the supervising teacher
iii) Declaration of the student and certificate of the supervising teacher
iv) 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

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].

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

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.

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.

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]

BLUE PRINT OF THE QUESTION PAPER

- Introduction to dance and Carnatic music.
Units Hours 1 marks 2 marks 6 marks 15 marks Total

6/6 7/10 5/8 2/4 80
Unit I 18 2 3 2 1 35
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
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 --------

2. ------Is The Combination Of Bhava, Raga And Tala.
3. -----Took The 4 Vedas To Codify The Natyaveda.
4. There Are ----Number Of Shiro Bhedas [Head Gestures].
6. 5. Asamyutha Hastas Are -----In Number.
6 .In Dhyanasloka We Evoke Lord-----.

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]

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)

 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.

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.
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.

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.
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
2. ABHINAYADARPANAM
3. BHARATHANATYAM [SONAL MANSINGH]

Additional Readings
2. Bharathanatyam [Ashish Mohan Khokhar]
3. Kalamandalam [ history]

- Origin of Natya.

6/6 7/10 5/8 2/4 80
Unit I 18 2 3 2 1 35
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
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-----.
2. The Largest Playhouse Is------.

3. The Commentry On Natyasastra By Abhinava Gupta Is -------.

4. Sammisra Adavus Comes In ------- Dance.
5. How Many Angaharas In Natyasastra-----.
6. ------- 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.

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

 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 .
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].
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)

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 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.
C3. Provide understanding of gurus and legends in Bharathanatyam.
C4. To provide an introduction to aesthetics in dance and drama.

Learning Resources
References
2. ABHINAYADARPANAM
Additional Readings
3. Chilapadikaram [ sahitya academy]
BLUE PRINT- Evolution of Bharathanatyam .

6/6 7/10 5/8 2/4 80
Unit I 18 2 3 2 1 35
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

B.A BHARATANATYAM – THIRD SEMESTER
CORE COURSE –EVOLUTION OF BHARATHANATYAM.
PART A
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
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
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.


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.

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)

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.
(18 hrs)
Module IV- Various patterns in Rhythm.
 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)
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

2. CHILAPPADIKARAM
Additional Readings

6/6 7/10 5/8 2/4 80
Unit I 18 2 3 2 1 35
Unit II 2 3 2 1 35
18
Unit III 1 2 2 1 32
18
Unit IV 1 2 2 1 32
18

B.A BHARATANATYAM – THIRD SEMESTER
CORE COURSE –LEGENDS IN DANCE AND ACCOMPANIMENTS USED IN
SOUTH INDIAN CLASSICAL DANCES .
PART A
1. ---------- was called as Garbhasreeman before his birth.
2. The famous lullaby” omana thingal kidavo” was written by------.
3. The “Guruguha” mudra is used by the musician----------.
4. The wind instrument used in bharathanatyam recital is---- ----.

5. The sringed instruments are classified as ------vadya.

6. -------instument is used for the conduction of Bharathanatyam.
PART B
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

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]

PART D
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)

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.
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.
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)

 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

2. INCREDIBLE INDIA [SONAL MANSINGH]

Additional Readings
2. Karana prakaranam [Padma subramanyam]
3. Major temple sculptures
BLUE PRINT OF QUESTION PAPER

6/6 7/10 5/8 2/4 80
Unit I 18 2 3 2 1 35
Unit II 2 3 2 1 35
18
Unit III 1 2 2 1 32
18
Unit IV 1 2 2 1 32
18

B.A BHARATANATYAM – FOURTH SEMESTER
CORE COURSE –STUDY OF INDIAN CLASSICAL DANCES.

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
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
17. Explain the repetoire of Odissi dance form.
18. The evelution of kathakali from Ramanattam to present day form.

19. Reformations made by Vallathol in the field of mohiniyattam.

20. Contributions made by the gurus in the field of kathak dance form.
21. The growth of Kuchipudi dance form .
22. The two major variations in Manipuri dance.
23. The Bharathanrittam and a small life history of the exponent who introduced it .
24. Resemblences between tharana and thillana in various forms of classical dances.
[ 5x 6= 30 marks]
PART D
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]
CORE COURSE XIV- THEORY 6
Name of the Course: Religious influence in arts and literature.

Aim of the course. This course is designed to enable the student to grab the knowledge of
major religious movements in India.
This module is designed in such a way as to highlight the main streams of worship that
influenced the art and literature of ancient India
Module I –Bhakthi tradition.(18 hrs)
 Bhakthi Traditions
 Both in South and North India

The bhakthi movement in all over India.
Module II – Vaishnavism and Shaivism(18 hrs)
 Vaishnavism and shaivism

 Alwars and Nayanars
The two major steam of worship. The 12 alwars and nayanars.
Module III – Dance compositions(18 hrs)
 Major kritis in dance

 Often used copmpositions for dance .
 Major dance compositions
The compositions for dance and the other kritis commonly used for dance recital.
Module IV-Vaggeyakaras.(18 hrs)
 Swathi thirunal, Kshetrajna,Jayadeva,Bhrathiyar, Tanjore quartette
The major vaggeyakaras in literature and their contribution to the field of dance.
C1. Enable the students to understand the Bhakthi movements in India.
C2. To get an awareness of the two streams of worship.
C3.The major dance compositions.
C4. The great composers in dance and their contributions in the field of arts and literature.
Learning Resources
References
1. INCREDIBLE INDIA [SONAL MANSINGH]

2. NATYASASTRA
3. SANGEETHA RATNAKARA
4. GITHA GOVINDAM

Additional Readings
2. South Indian music [ Full text]
3.Bharathanatyam[ Sonal mansingh]

6/6 7/10 5/8 2/4 80
Unit I 18 2 3 2 1 35
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

B.A BHARATANATYAM – FOURTH SEMESTER
CORE COURSE –RELIGIOUS INFLUENCE IN ARTS AND LITERATURE
MARKS :80
TIME: 3 HOURS
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

4. Jayadeva’s masterpiece on lord Krishna was----------

5. The traditional margam in Bharathanatyam was designed by the--------
6. There are –--- sargams in Jayadevas Ashtapadi
(Marks-6x1=6)
PART B.

7. Bhakthi tradition
8. Tanjai nalvars
9. Padams in Dance
10. Alwars
11. Shaivism
12. Geetha Govindam
13. Vaishnavam
14. Bharathiyar krithis
15. The story of Nandanaar
16. Invocatory items in Dance
(Marks 7x2=14)
PART C
17. The contribution of Tanjore brothers in the field of Bharathanatryam
18. The major kritis by Swathi Thirunal which is often used in the Bharathanatyam
Recital
19. Vaggeyakaras play an essential part in shaping the tradition and culture of India
20. Sublimity of Bharathanatyam
21. Defference between padam and keerthanam in the Bharathanatyam Recital
22. The nayanars and their contribution in Bhakthi movements.
23. The nayanars and their contribution to the bhakthi movement and literature.
24. Write a small life history on Annamacharya.
[5X6=30MARKS]
PART D


25. Explain in detail the Bharathanatyam recital form citing the Items and its meaning in
detail
26. Write the life history of any four literary figures and their masterpiece often used in
dance
27. “Bhatham dance form would have been incomplete without the Tanjore Quartette”.
Do you agree and why?
28. The Bhakthi ntradition paved way for the literary reformation all over the country.
Explain.
[2x15=30 MARKS]
COMPLIMENTARY COURSE-VII PRACTICAL

ABHINAYASANGEETHAM- THANA VARNAM
 Varnam-1(Thana Varnam)-(27 Hrs)
 Practical items- (27 Hrs)
COMPLIMENTARY COURSE-VIII PRACTICAL

MOHINIYATTOM-VARNAM
 Varnam- Manasime- Ragam- Sankarabharanam, Thalam-Aadi
 Padam
SYLLABI- SEMESTER 5
CORE COURSE XV- PRACTICAL 9

ALARIPPU ,VARNAM
 Alarippu - Chathurasram-(45 Hrs)
 Varnam-1- Roopamu-Ragam-Thodi, Thalam-Aadi-(45 Hrs)

CORE COURSE XVI- PRACTICAL 10

ASHTAPADII ,KEERTHANAM
 Ashtapadi-1(36 Hrs)
 Keerthanam-1-(36hrs)
CORE COURSE XVII- PRACTICAL 11

KSHETRAJNA PADAM, JAVALI
 Kshetrajna padam-1(36 Hrs)
 Javali-1(36 Hrs)
CORE COURSE XVIII- PRACTICAL 12

NATTUVANGAM-1
 Nattuvangam- Alarippu, Jethiswarm,Sabdam with song-(72 Hrs)
CORE COURSE XIV- THEORY 7
Name of the Course: Understanding Folk mand Ritual traditions

Aim of the course.

To appreciate the folk and ritual traditions of our country. To ensure knowledge about the
changes in theatre from the renaissance till modern times.
This module is designed in such a way highlight the different forms of our country. The
theories in theatre and its growth. The importance of aharya in folk dances and the
importance of music in folk dances.

Module I – Folk and Ritual dances(18 hrs)
 Folk dances and ritual dances of india

 Comparission of classical dances to folk dances
 Tribal dances
 Music and instruments used in folk arts
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
Module II – Theatre(18 hrs)
 Folk dances of Tamil nadu

 Costumes and make up(aharya)used in folk dances
The evolution of theatre. The Dasaropakam from Natyasastra. The changes in theatre from
renaissance to modern times. Major theories and movements.
Module III – Costumes in folk forms.(18 hrs)
 Folk dances of Tamil nadu

 Costumes and make up(aharya)used in folk dances

How does the costumes and make up help the understanding of folk and tribal dances and
their importance .
Module IV-Role of music.(18 hrs)
 The importance of music in folk forms

 Evolution of abhinayasangeetham in dance

6/6 7/10 5/8 2/4 80
Unit I 18 2 3 2 1 35
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
BA DEGREE (C.B.C. S.S) EXAMINATION.

B.A BHARATANATYAM – FIFTH SEMESTER
CORE COURSE –UNDERSTANDING FOLK AND RITUAL TRADITIONS
MARKS :80
TIME: 3 HOURS
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.

4. The puppet dance of Tamil Nadu is -----.

5. The traditional margam in Bharathanatyam was designed by the--------.
6. --------is the ritual dance of Malabar with elaborate make up and costumes.
(Marks-6x1=6)
PART B.

7. Epic theatre
8. Karagattam
9. Tribal dance s of Kerala
10. Method acting
11. Features of prakaranam
12. Porattu natakam
13. Music in folk dances.
14. Bhanam
15. Aharya in mayilattam
16. Abhinayasangeetham
(Marks 7x2=14)
PART C
17..Kummi is a folk dance common in both Kerala and Tamil Nadu. Explain.
18. The modernism introduced by Samuel Becket in theatre.
19. Explain Dasaroopakam in detail citing examples for each one.
20. Music is the backbone to all dance forms and the choice of ragas add its flavour .
Do you agree and why?
21. Explain Silambattam as a martial dance form.
22.Poikal kuthirai attam and thge traditional accompaniments that add to its flavour.
23. What do you mean by Pancha sandhi in dramaturgy?
24. The role played by the KPAC in reviving the Kerala theatre.
[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
CORE COURSE XX- PRACTICAL 13

THILLANA, KEERTHANAM, SLOKAM
 Thillana-1 –Ragam –Kappi, Thalam- Aadi- (40 Hrs)
 Keerthanam-1- (25 Hrs)
 Slokam-1- (25 Hrs)
CORE COURSE XXI- PRACTICAL 14

NATTUVANGAM-2
 Nattvangam - Varnam ,Thillana with Song-(90 Hrs)
CORE COURSE XXII- PRACTICAL 15

AHARYA IN BHARATHANATYAM
 Make up and costume-(90 Hrs)
CORE COURSE XXIII- THEORY 8
Name of the Course: Lakshanagrandhas


Aim of the course.

To attain knowledge on the various dance texts and its relevance in arts. Awards and
recognitions in the field of arts .
This module is designed in such away as to enable the students to think beyond the
conventional rules in performing arts.
Module I – Texts in dance(22 hrs)
 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 .
Module II – Musical texts(23 hrs)
 Sangeetha Ratnakaram
 Concept of Tauratrikam
The Sangeetha ratnakaram and the concept of Tauratrikam in dance.
Module III – Awards and Recognitions(22 hrs)
 Major awards and recognitions in dance.
Major awards and recognitions in dance and the role of Sangeetha Nataka Academy in the
field of arts.
Module IV-Innovations.(23 hrs)
 Modern innovations in dance.

 Dance dramas and other dance productions by legends.
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]
2. SNA journals and sites.

6/6 7/10 5/8 2/4 80
Unit I 18 2 3 2 1 35
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

B.A BHARATANATYAM – SIXTH SEMESTER
CORE COURSE –LAKSHANAGRANDHAS IN DANCE
MARKS :80
PART-A TIME: 3 HOURS
1. Abhinayadarpanam was codified to deafeat the dancing demon -----.

2. The dance chapter in Sangeetha Ratnakara is called the-------.
3. Natyasastra is also known as the-------.
4. The sangeethe nataka acdemy was established during the year----.
5. ------is the theory of Bharatha on the emotions.
6. -------was the first dance drama composed by Rukmini devi.
PART B.
7. Concept of Tauratrikam
8. Navarasas and the colours
9. Padma awards
10. What is recaka?
11. SNA and its functions
12. Vrutti in Natyasastra
13. Hasthalakshanadeepika
14. Dance gestures in darpanam text
15. Contemporary style in bharathanatyam
16. Origin of drama
[7x2= 14 marks]
PART C


17. Major dance productions by Kalakshetra.
18. The sthyi bhava and its relevance in dance
19. The structure of the text Sangeetha Ratnakaram.
20. The role of hastha mudras and viniyogas in dance and their importance.
21. Explain the modern innovations made by the exponents in the field of
Bharathanatyam.
22. The major awards and recognitions in dance.
23. The Dhananjayans made an international participation through his dance
productions. Explain the life history of them.
24. Any classical arts depend on a particular text and follow the strict rules. Do you
think that delays the growth of an art form?
[5x6=30 marks]
PART D
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.
CHOICE BASED COURSE

 1.BASICS OF TALAM- PRACTICAL
3 degree chollus in35 talas
Aadi, Roopakam, Misra Chappu & KhantaChappu-4 Speed
Pancha Jaathi Tha thi ki ta thom in Various Taalaas
 2.AN ADVANCED STUDY IN CARNATIC MUSIC-PRACTICAL

Thana Varnam-1(Chathurasram & Thisra Gathi)

Keerthanam-1
OPEN COURSE- Bharathanatyam Appreciation

 Basic Steps
 Kauthvam-1
 Mudras- Samyutha& Asamyutha

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Bachelors programme in Bharathanatyam, St.

Teresa’s College (Autonomous)Ernakulam

SCHEME & SYLLABI

St Teresa’s College [Autonomous]

Curriculum and Syllabi 2015 admission onwards: Page 1

Board of Studies in Bharathanatyam (UG)

Sl.No. Name Official Address

1.Smt.K R Radhamani (Chairman) Associate Professor

2.Smt.Kalakshethra Vilasini Chilampoli, Gandhi Nagar,

3. Dr. C P. Unnikrishnan Lakshmi Vilas

4. Sri.C.P Madhavan Nampoothiri HOD, Dept.of Bharathanatyam,

5. Smt.P A Vanajakumari Dept. of Bharathanatyam,

6. Sri.Suresh Kumar C K Dept. Of Bharathanatyam

7. Smt.Anjana S Mohanan Dept. Of Bharathanatyam

Curriculum and Syllabi 2015 admission onwards: Page 2

Scheme of Core Course

Scheme of Complementary Course

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

I acknowledge that without the valuable help, guidance and co-

The Board of Studies in Bharathanatyam proceeded with the idea of

I am greatly indebted to the members of the Board of

Curriculum and Syllabi 2015 admission onwards: Page 4

The traits of graduates of general undergraduate degree programmes including

Curriculum and Syllabi 2015 admission onwards: Page 5

1. The department of Bharathanatyam enables the students a better understanding of the

3. Stages of Curriculum Design

3.1 Vision and Mission of the Department Offering the Programme:

 To enable the students to surpass the conventional approach and introduce

 To train the students to peruse in academics as well as performances that

Curriculum and Syllabi 2015 admission onwards: Page 6

 To create potential researchers who can enrich the nation with

 To encourage women to make a positive impact on society

3.2Context of General Undergraduate Programmes

3.3 COURSE STRUCTURE

The Bachelor programme in Bharathanatyam covers 35 courses and a project in sixth

Curriculum and Syllabi 2015 admission onwards: Page 7

and complimenting the Programme Outcomes.1 A Course consists of a series of carefully

The UG programme in Bharathanatyam includes: (a) common courses, (b) core

The restructured programme should contain 15 core courses of practical and 8

Curriculum and Syllabi 2015 admission onwards: Page 8

Faculty members who have contributed to the curriculum and syllabus in

1. Smt. Devi Chandana

B.A. (Bharathanatyam) Programme – Model – III

Detailed Distribution of Courses

English-Common Course- I 5 4 20 80 100

Curriculum and Syllabi 2015 admission onwards: Page 9

Curriculum and Syllabi 2015 admission onwards: Page 10

BH5BP09B Core –Practical-9 Alarippu, Varnam 5 4 20 80 100

BH6BP15B Core –Practical-15 Make up & 5 3 20 80 100

Curriculum and Syllabi 2015 admission onwards: Page 11

Courses No. Credits

Scheme of Distribution of Instructional hours for Core Courses

Curriculum and Syllabi 2015 admission onwards: Page 12

List of Complementary Courses

1. Abhinaya Sangeetham- Practical

CORE - CHOICE BASED COURSES

Curriculum and Syllabi 2015 admission onwards: Page 13

The Sessional evaluation is to be done by continuous assessment of the following

I. Distribution of sessional marks: