��� Prayag Sangeet Samiti – Kathak Junior Diploma (1st Year) Syllabus
��� Total Marks: 150
Practical: 100 marks
Theory: 50 marks
��� Practical Syllabus (100 Marks)
Tatkaar (Footwork):
Execution of four basic Tatkaars (footwork patterns) accompanied by Hastak (hand movements).
Dance Compositions:
Performance of two short dance pieces set to:
Dadra Taal (6 beats)
Kaharwa Taal (8 beats)
Rhythmic Demonstrations:
Clap-marked vocal recitation (padhant) of Thekas (basic rhythmic cycles) in:
Teen Taal (16 beats)
Jhap Taal (10 beats)
Dadra Taal (6 beats)
Kaharwa Taal (8 beats)
Demonstrations should be performed in both basic (single) and double speeds.
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Tatkaar and Tora Recitations:
Clap-marked vocal recitation of Tatkaar and simple Toras (short rhythmic compositions) in basic and double speeds.
��� Theory Syllabus (50 Marks)
Definitions and Concepts:
Understanding and definitions of the following terms:
Nritya
Kathak Nritya
Tatkaar
Thaat
Salami
Aamad
Tora
Taal
Laya (including Vilambit, Madhya, Drut)
Matra
Aavartan
Vibhag
Theka
Sam
Taali (Bhari)
Khali (Phank
Thah
Dugun
Chaugun
Tihai
Hastak
Overview of Indian Music Systems:
Basic knowledge of the two principal systems of Indian music:
Hindustani (North Indian)
Carnatic (South Indian)
Notation Systems:
Familiarity with recording Tatkaar, Taal Thekas, and Toras using either the Bhatkhande or Vishnu Digambar notation systems.
Taal Familiarity:
Comprehensive understanding of the structure and characteristics of:
Teen Taal
Jhap Taal
Dadra Taal
Kaharwa Taal
��� Prayag Sangeet Samiti – Kathak Junior Diploma (2nd Year) Syllabus
��� Total Marks: 150
Practical: 100 marks
Theory: 50 marks
��� Practical Syllabus (100 Marks)
Tatkaar (Footwork):
Four complex Tatkaars with Hastak (hand movements).
Dance Compositions:
Two Thaats (stylized poses).
One Salami (salutation).
One Aamad (entry piece).
Five intricate Toras (rhythmic compositions).
One Chakradar Tora (a Tora repeated thrice to conclude on the 'Sam').
Two simple Gat Bhavs (expressive storytelling pieces).
Two well-executed Tihais in Teentaal (16 beats).
Jhaptal (10 beats) Compositions:
Two Tatkaars.
One Thaat.
One Aamad.
Five simple Toras.
Two Tihais.
Folk Dances:
Performance of folk dances set to Dadra (6 beats) and Kaharwa (8 beats) Taals.
Rhythmic Demonstrations
Clap-marked vocal recitation (padhant) of Thekas (basic rhythmic cycles) in:
Ektaal (12 beats)
Sooltaal (10 beats)
Demonstrations should be performed in basic (single), double, and quadruple speeds.
Tatkaar and Tora Recitations:
Clap-marked vocal recitation of Tatkaar and Toras in basic, double, and quadruple speeds.
��� Theory Syllabus (50 Marks)
Definitions and Concepts:
Understanding and definitions of the following terms:
Nritya
Naat
Nritta
Tandava
Lasya
Anga
Pratyanga
Parhant
Gat Bhav
Mudra
Chakradar Tora
Overview of Indian Music Systems:
Basic knowledge of the two principal systems of Indian music:
Hindustani (North Indian)
Carnatic (South Indian)
Notation Systems:
Familiarity with recording Tatkaar, Taal Thekas, and Toras using either the Bhatkhande or Vishnu Digambar notation systems.
Taal Familiarity:
Comprehensive understanding of the structure and characteristics of:
Teentaal (16 beats)
Jhaptal (10 beats)
Dadra Taal (6 beats)
Kaharwa Taal (8 beats)
Ektaal (12 beats)
Sooltaal (10 beats)
��� Prayag Sangeet Samiti – Kathak Junior Diploma (3rd Year) Syllabus
��� Practical (100 Marks)
1. Teentaal (16 beats)
2 complex Tatkar compositions (with hand movements)
2 new Thaats (stylized poses)
1 Aamad and 1 Salami
5 complex Tora compositions
1 Paran and 1 Chakkardar Paran (with spins)
Tatkar in different tempos (Vilambit, Madhya, Drut - slow, medium, fast) and recitation with hand claps
2. Jhaptal (10 beats)
2 new Tatkar compositions (with palta and hand movements)
1 Chakkardar Tora
2 complex Toras and 2 Tihais
3. Ektal (12 beats)
2 Thaats, 1 Salami, 1 Aamad
4 Tatkars with hand movements
4 Toras and 2 Tihais
4. Sooltal (10 beats)
2 Tatkars and 2 Toras
5. 2 Gat Bhav compositions (with expressions) in Teentaal – "Ghoonghat" theme
6. Recitation and footwork practice (Tatkar) of:
Teevra, Chautal, Sooltal, Dhamar in different layas (slow, double, quadruple) using hand claps and footwork
7. 2 Folk Dance compositions
��� Theory (50 Marks)
1. Technical Terms
Paran, Chakkardar Paran, Mushti, Pataka, Tripataka, Mukutkaran, Rechak, Angahar, Upang, Palta
2. Sound and Naad (Musical Vibration)
Origin of sound, vibration, movement
Characteristics of Naad, sound-producing points in body
Types of notes (swaras): Shuddha, Vikrit, Achal, Chal
Octaves: Lower (Mandra), Middle (Madhya), Higher (Taar)
3. History of Gharanas (Schools)
Brief history of Lucknow and Jaipur Gharanas
4. Biographies of Renowned Artists
Achhan Maharaj
Jai Lal Maharaj
5. Notation Systems
Bhatkhande and Vishnu Digambar notation systems
6. Knowledge of Taals
Teevra, Chautal, Aada Chautal, Dhamar
7. Place of Dance in Indian Music
8. Introduction to Tabla and Pakhawaj instruments
4th Year Kathak Syllabus (Senior Diploma – Year 4) from Prayag Sangeet Samiti
��� Practical Examination (100 Marks)
Performance in Teentaal, Ektal, and Jhaptal:
Demonstrate the ability to perform uninterrupted for at least 15 minutes in each of these talas without repeating any compositions.
In Teentaal, practice and perform one composition each of Talangi (pure rhythm), Nrityangi (expressive dance), Kavitangi (poetic composition), and Mishrangi (mixed composition).
Showcase the concepts of 'Atit' (delayed entry) and 'Anagat' (anticipated entry) through Toras in Teentaal.
Gat Bhav in Teentaal:
Perform expressive dance pieces depicting themes like "Ghoonghat" (veil), "Bansi" (flute), and "Pan Ghat" (water fetching).
Dhamar Tala (14 beats):
Execute 4 Tatkars (footwork patterns) with hand movements (Hastak), 2 Thaats (stylized poses), 1 Salami (salutation), 1 Aamad (entry piece), 5 Toras (rhythmic compositions), 2 Tihais (rhythmic phrases repeated thrice), 2 Parans (compositions with Pakhawaj syllables), and 1 Chakkardar Paran (a Paran with spins).
Laya (Tempo) Variations:
Demonstrate knowledge of various tempo patterns.
In Teentaal, perform Tatkars in fivefold speed (Panchgun) and cross rhythms (Aad Laya) using both footwork and hand claps.
Practice in Other Talas:
In Teevra, Chautal, and Aada Chautal, perform 2 Tatkars and 2 Tihais in each.
Folk Dance:
Perform any 2 folk dance compositions.
Recitation and Footwork:
Recite and perform Thekas (basic rhythmic patterns) in Rupak, Deepchandi, Dhumali, Pancham Sawari, and Aada Chautal in various tempos (single, double, triple, and quadruple) using hand claps and footwork.
Swaramalika Practice:
Practice singing Swaramalikas (melodic compositions) in Ragas Yaman, Bilawal, and Bhairavi.
Basic Tabla Playing:
Beginner-level practice of Tabla playing.
��� Theory Examination (50 Marks)
Terminology:
Understand and explain terms such as Mudra, Nikas, Sthanka, Ada, Ghoomariya, Anchit, Kunchit, Rasa, Bhava, Anubhava, Bhanga-Bheda, Taiyari, Abhinaya, Pindi, Primalu, Stuti, Vikshipta, Hastak, Kasak, Masak, Kataksha, Naaz, and Andaz.
Taal Notation Systems:
Comprehensive knowledge of Bhatkhande and Vishnu Digambar notation systems and their comparison.
Classical Dance Forms:
Introductory study and comparative analysis of Indian classical dance forms: Kathak, Kathakali, Manipuri, and Bharatanatyam.
Additional Topics:
Detailed understanding of single and combined hand gestures (Asamyukta and Samyukta Mudras), the significance of expressions (Bhava) in dance, study of popular Gat Bhavs (expressive pieces), benefits of dance, and characteristics of contemporary dance.
Taal Notation Writing:
Ability to write Thekas, Tatkars, and compositions of all previously learned talas, including Rupak, Deepchandi, Dhumali, Pancham Sawari, and Aada Chautal, in both Bhatkhande and Vishnu Digambar notation systems across various tempos.
Musical Concepts:
Explanation of terms like Varn, Aroha-Avroha (ascending and descending scales), Alankar (ornamentation), Thaat (parent scale), Raga, Suravart (melodic patterns), Swaramalika, Laya (tempo), and types of Laya.
Raga Knowledge:
Detailed study and ability to sing simple compositions in Ragas Yaman, Bilawal, and Bhairavi.
Taal Knowledge:
In-depth understanding of Rupak, Deepchandi, Aada Chautal, Dhumali, and Pancham Sawari talas.
Eminent Kathak Dancers:
Study and comparative analysis of the styles of any two renowned contemporary Kathak dancers.
Essay Writing:
Ability to write essays on topics related to music and dance.
5th Year Kathak Syllabus (Senior Diploma – Year 5) from Prayag Sangeet Samiti
��� Practical Examination (100 Marks)
Presentation of 10 Karanas:
Demonstrate the ability to perform 10 Karanas (classical dance movements) practically.
Extended Performances:
Perform uninterrupted for 25 minutes in Teentaal and 15 minutes in Dhamar, without repeating any compositions.
Practice dancing with expressions (Bhava) on Bhajans and Thumris.
New Narratives and Dance Forms:
Practice and perform new storylines such as:
Makhan Chori (Butter Theft)
Kaliya Daman (Subduing Kaliya)
Chir Haran (Draupadi's Disrobing)
Govardhan Dharan (Lifting Govardhan Hill)
Practice Tandava (vigorous dance) and Lasya (graceful dance) aspects in Kathak style.
Folk Dances:
Perform any two regional folk dances such as Garba, Raas, Koli, Chapeli, Bhangra, etc.
Lehra (Melodic Cycle) Practice:
Practice playing Lehra (melodic accompaniment) in the talas prescribed in the syllabus so far.
Compositions in Various Talas:
In Rupak, Dhumali, Chautal, Deepchandi, and Pancham Sawari talas, perform:
Two Thaats
One Aamad
Four Toras
One Chakkardar Tora and Chakkardar Paran
Two simple Parans
Three Tihais
Tatkar and its variations (Palta)
Advanced Tala Practice:
In Lakshmi Taal, Brahma Taal, Jat, Addha, and Jhumra talas, practice reciting and performing in various layas (tempos):
Single (Thah)
Double (Dugun)
Triple (Tigun)
Quadruple (Chaugun)
Cross rhythms (Aadalaya)
Tabla Practice:
Practice playing the thekas (basic rhythmic patterns) of all talas learned so far on the Tabla.
Swaramalika Singing:
Demonstrate the ability to sing Swaramalikas (melodic compositions) in the following ragas:
Khamaj
Kafi
Tilang
Bihag
��� Theory Examination (50 Marks)
Definitions and Explanations:
Understand and explain the following terms:
Urup, Purap, Tirap
Kasak, Masak, Kataksha
Ghoonghat, Urmai, Surmai
Laag-Daat, Jati Paran, Pakshi Paran, Bol Paran
Gat Nikas, Gat Tora, Gat Bhava
Greema Bheda, Dam-Bedam, Gati Bheda
Study Topics:
Traditional costumes and attire.
Requirements for a successful dance performance.
Selection of Ghungroos (ankle bells).
Qualities and shortcomings of a dancer.
Comprehensive explanation of the nine Rasas (emotions) and their application in dance.
Make-up (Vesha Sajja), eye movements (Drishti Bheda), and understanding of directions in dance.
Gharana Studies:
Comparative and detailed study of the Lucknow, Jaipur, and Banaras Gharanas (schools) of Kathak.
Nayak-Nayika Bheda:
Knowledge of the classifications of male and female protagonists in dance narratives.
Biographies:
Study the lives and contributions of the following artists:
Maharaj Thakur Prasad
Maharaj Ishwari Prasad
Shankar Namboodiripad
Rukmini Arundale
Tala Knowledge and Notation:
Comprehensive understanding of Lakshmi Taal, Brahma Taal, Jat, Addha, and Jhumra talas.
Ability to write their thekas in various layas using notation.
Raga Knowledge:
Detailed study of the following ragas:
Kafi
Khamaj
Tilang
Bihag
Vocal Music Styles:
In-depth understanding of the following vocal music styles:
Dhrupad
Dhamar
Khyal
Tappa
Thumri
Bhajan
Introduction to Lesser-Known Classical Dance Forms:
Basic knowledge of Indian classical dance styles such as Odissi and Kuchipudi.
6th Year Kathak Syllabus (Sangeet Prabhakar – Year 6) from Prayag Sangeet Samiti,
��� Practical Examination (200 Marks)
Comprehensive Performance:
Demonstrate proficiency in all previously learned talas, showcasing refined movements (Angachari Mandal) and hand gestures (Hastamudras).
Advanced Talas:
Perform in any three of the following talas: Arjun Taal, Ganesh Taal, Saraswati Taal, Rudra Taal, and Savaari Taal (both 15 and 16 beats).
Body Movement Coordination:
Exhibit precise control over eyes, neck, waist, feet, and hands, ensuring synchronized movements.
Expressive Narratives:
Perform expressive pieces (Gat Bhav) on themes such as:
Makhan Chori (Butter Theft)
Kaliya Daman (Subduing Kaliya)
Draupadi Chirharan (Draupadi's Disrobing)
Govardhan Dharan (Lifting Govardhan Hill)
Bhakti of Bhilni (Devotion of the Tribal Woman)
Lakshman Shakti (Lakshman's Power)
Tripurasura Vadh (Slaying of Tripurasura)
Vamana Avatar (Dwarf Incarnation)
Ahilya Uddhar (Liberation of Ahilya)
Sati Anusuya (Chaste Anusuya)
Gharana Styles:
Demonstrate and distinguish between the Jaipur and Lucknow gharana styles through performance.
Rhythmic Instruments:
Practice and perform compositions (Tora, Tukra, Paran) using Tabla and Pakhawaj syllables.
Vocal Practice:
Sing Swaramalikas or short Khayals in Ragas such as Pilu, Jhinjhoti, Gara, Basant, and Bahar.
Expressive Singing:
Perform expressive pieces (Bhav) while singing in two of the following styles: Hori, Chaiti, Kajri, Ghazal, Tarana, or Bhajan.
��� Theory Examination
Paper I: Kathak History and Aesthetics (50 Marks)
Historical Development:
Study the evolution of Kathak across different eras, including contributions of prominent gurus and their styles.
Stagecraft:
Understand the purpose and history of stage design, lighting, and their significance in dance performances.
Costume and Makeup:
Analyze the necessity of costumes and makeup in dance, exploring their interrelation and impact.
Folk Dances:
Examine various forms of folk dances, their characteristics, and the similarities and differences with Kathak.
Classical Dance Forms:
Compare Kathak with other classical dance forms like Bharatanatyam, Manipuri, Odissi, Kuchipudi, and Kathakali.
Musical Ensemble:
Explore the concept of Kutap or Vrindavan (musical ensemble), its structure, and importance in Kathak.
Dance and Acting:
Differentiate between dance and acting, highlighting their unique features and significance.
Western Dance:
Gain an overview of Western dance forms, their techniques, and compare them with Kathak, focusing on ballet.
Modern Dance:
Understand modern dance, its attire, stagecraft, societal role, and distinctive features.
Essays:
Write essays on topics like:
Dance and Life
Dance and Literature
Dance and Nation
Place of Dance in Education
Dance and Exercise
Future of Kathak Dance
Paper II: Technical and Theoretical Concepts (50 Marks)
Gharana Studies:
Conduct an in-depth study of Kathak gharanas, their past and present exponents, styles, and specialties.
Terminology:
Define and exemplify terms such as Agratal, Alidha, Uthan, Anchit, Kunchit, Kunchit-Bhramari, Pad-Vinyas, Samput, Milita, Drishti, Prakampit Griva, Paravahit Shir, Ekapad, Bhramari Nritya ke Sapt Padarth, Vyuh Kriya, Ashtagati, Vilom, Anulom, Kriya, and Hela.
Character Analysis:
Study the classifications of Nayak (hero) and Nayika (heroine) in dance narratives.
Anatomical Movements:
Understand the principles of movements involving head, eyes, eyebrows, lips, etc., and their expressive significance in Kathak.
Notation Systems:
Define notation; transcribe thekas and compositions from all talas learned up to the 6th year in various layas.
Discuss the development of a suitable notation system for dance.
Gharana Compositions:
Gain comprehensive knowledge of compositions from different gharanas, their similarities, differences, and unique features.
Lehra Notation:
Write lehra (melodic accompaniment) for all talas studied from the first to the sixth year.
Carnatic Tala System:
Introduce the Carnatic tala system, compare it with the Hindustani system, and transcribe northern talas into Carnatic notation.
Gat and Paran Variations:
Study various types of Gat and Paran, their similarities, differences, and provide examples with notation.
Essays:
Write essays on topics like:
Folk Dance
Relationship between Dance, Tala, and Laya
Spiritual Significance of Dance
Character Building through Dance
Mathematical Aspects in Dance
Rhythmic Patterns:
Understand and differentiate between various rhythmic patterns like Chakkardar, Kamali Chakkardar, Farmaishi Chakkardar, Nrityangi, Talangi, Kavitangi, Sangeetangi, and Mishrangi.
Raga Studies:
Gain comprehensive knowledge of Ragas Pilu, Jhinjhoti, Gara, Basant, and Bahar.
Vocal Styles:
Study and compare vocal styles such as Hori, Chaiti, Kajri, Ghazal, Tarana, Thumri, and Bhajan.