CHRIST (Deemed to University), Bangalore

DEPARTMENT OF PERFORMING ARTS, THEATRE STUDIES AND MUSIC

School of Arts and Humanities

Syllabus for
Master of Arts (Performing Arts - Bharatanatyam)
Academic Year  (2021)

 
1 Semester - 2021 - Batch
Course Code
Course
Type
Hours Per
Week
Credits
Marks
MPA131 BHARATHANATYAM LEVEL - I Core Courses 4 4 100
MPA132 INDIAN AESTHETICS Core Courses 3 3 100
MPA133 SANSKRIT Core Courses 3 3 100
MPA151 BHARATHANATYAM LEVEL - I Core Courses 4 4 100
MPA152 MUSIC LEVEL - I Core Courses 3 3 100
MPA153 NATTUVANGAM Core Courses 3 3 100
2 Semester - 2021 - Batch
Course Code
Course
Type
Hours Per
Week
Credits
Marks
MPA231 BHARATHANATYAM LEVEL - II Core Courses 4 4 100
MPA232 RESEARCH METHODOLOGY Core Courses 3 3 100
MPA251 BHARATHANATYAM LEVEL - II Core Courses 4 4 100
MPA252 MUSIC LEVEL - II Core Courses 3 3 100
MPA253 NATTUVANGAM LEVEL-II Core Courses 3 3 100
MPA254 MAKE UP AND COSTUME DESIGN Core Courses 3 3 100
    

    

Department Overview:

The Department of Performing Arts, established in 2010, initially started as a branch of the Department of Media Studies with one coordinator and two faculty members, and a mere strength of 20 students. In August 2012, it was declared as an independent department and since then, it has flourished and grown to an overall strength of 75 students, 3 permanent and 2 guest faculty members. Our very first batch graduated in the year 2013 and we aim to instill the same values in our future batches through our departmental vision and mission. 

Mission Statement:

Vision

  

Introduction to Program:

The Masters in Performing Arts is envisioned for students who have a strong base of dance and are looking for avenues beyond a performing career. The program hopes to give a structured intervention at the PG level of related aspects like writing, music, Nattuvangam, Choreography and so on. The primary aim of the program is not just to help the students hone their skills of dance exclusively but also gain knowledge about the various other aspects which will help them gain an integrated sense of the art form as a whole. Thus, Bharatanatyam being the core paper, each semester will also have, alongside, papers on Carnatic music, nattuvangam, make up, choreography and so on. 

Program Objective:

·      To address a spectrum of art concerns. 

·      To give a deeper understanding of Bharathanatyam

·      To stimulate a composite sense of art. 

·      To foster a blend of practical and theoretical understanding and practice in the arts.

·      To enable identification and growth opportunities in chosen field.

Assesment Pattern

CIA

20 Marks

MSE

50 Marks

CIAII

20 Marks

ESE

100 Marks

Individual Assignment

Written Exam

Section A: 5x10=50

Group

Assignment

Written Exam

Section A: 5x10=50

Examination And Assesments

CIA

20 Marks

MSE

50 Marks

CIAII

20 Marks

ESE

100 Marks

Individual Assignment

Written Exam

Section A: 5x10=50

Group

Assignment

Written Exam

Section A: 5x10=50

MPA131 - BHARATHANATYAM LEVEL - I (2021 Batch)

Total Teaching Hours for Semester:60
No of Lecture Hours/Week:4
Max Marks:100
Credits:4

Course Objectives/Course Description

 
 

Course offers an insight into evolution and growth in theatre, dance, music and difference between classical and folk-art forms. Emphasizes also laid on various aspects of Bharatanatyam in detail apart from the movements of limbs of the body. Study of characterization and notation essential for understanding practical lessons. Importance is given to the biographies of legends in the field of dance.

Course Outcome

By the end of the course the learner will be able to;

· Demonstrate understanding of the social and artistic movements that have shaped dance as we know it today. 

· Develop the ability to apply discipline-specific skills to the creation of performance. 

· Analyze, and interpret texts and performances. 

· Demonstrate knowledge dance history and literature and draw connections between dance practices and social contexts

Unit-1
Teaching Hours:5
Performative traditions
 

Origin and tradition of Bharathanatyam over the century, analysing the changes over time and understanding the difference between classical and folk arts. 

Unit-2
Teaching Hours:10
Abhinaya, Nritta, Nritya, Naatya, Dharmi and Vritti
 

Introduction and explanations of 4 kinds of Abhinaya (Angika, Vachika, Aharya and Sathvika Abhinaya), detailed study on Nritta (pure dance), Nritya (related to facial expressions and emotions),naatya (the thematic performance), descriptive study of natty dharma, lokha dharma in classical dance and in dramas, evolutions of vrittis (satvathi, arabati, kaishiki and sathvathi) as in dasarupaka. 

Unit-3
Teaching Hours:10
Hasta bhedas | Pada, Greeva, Shiro, Drishti
 

Asamyutha hasthas and Samyutha hasthas, Viniyogas with their meaning in detail, pada bhedas are of 4 kinds and their variations of each of them, greeva the neck movements and their usages, shiro basic head movements and their viniyogas, different types of eye movements and their usages in dance.

Unit-4
Teaching Hours:10
Lakshanas of Nayaki, Nayaka, Dhooti, Dhoota, Sakhi, Sakha
 

A systematic approach to the ashtavidha nayikas and their lakshanas. Similar approach to   nayikas with their bhava lakshana. Classification of heroes in dance and drama according to their behavior (guna lakshanas), ubha nayakas and their bhava lakshanas, character study on dhoota, dhoti, sakhi and sakha according to their relationship with the hero’s and the heroines.

 

Unit-5
Teaching Hours:5
Notations and structures of items learnt in the syllabus
 

Tala structure, definition and concept of notations, importance of notation, notating the items learnt in syllabus.

Unit-6
Teaching Hours:15
Detailed study of the Natyashastra and Abhinaya Darpan
 

Learning the contents related to theatre and dance in natyashastra and Abhinaya Darpana

Unit-7
Teaching Hours:5
Biographies of Mylapore Gouri Amma, E.Krishna Iyer, Rukmini Devi Arundale, Balasaraswathi, Meenakshisundaram Pillai , Vallathol, Uday Shankar, Rabindranath Tagore
 

Life history, their lineage, their works, institutions and contributions in the field of Dance. 

Text Books And Reference Books:

1.     Lawler, Lillian B., et al. “World History of the Dance.” The Classical Weekly, vol. 31, no. 22, 1938, p. 218., doi:10.2307/4340303.

2.     “Dance, George.” Benezit Dictionary of Artists, 2011, 

3.     Venkataraman, L., & Pasricha, A. (2002). Indian classical dance: tradition in transition. New Delhi: Roli Books.

4.     Minesh, M. R. (1988). Bharatanatyam: yesterday, today, tomorrow. New Delhi: Sujata Dinesh6

5.     Viswanathan, L., & Krishnaswamy, U. (1991). Bharatanatyam: the Tamil heritage. Madras: Lakshmi Viswanathan

6.     Garga, L. (2001). Bharatanāṭyam. Hātharasa: Saṅgīta Kāryālaya.

7.     Hellgren, T. M. (2011). Bharatanatyam: tracing a transnational tale.

8.     Vatsyayan, K. (2005). Traditional Indian theatre: multiple streams. New Delhi: National Book Trust, India.

9.     Biswas, D. (2009). Classical dances of India. Jaipur, India: ABD 

10.  P. (1963). A history of Indian music. Calcutta: Ramakrishna Vedanta Math,NrtyaVinoda of Manasollasa

Essential Reading / Recommended Reading

1.     Lawler, Lillian B., et al. “World History of the Dance.” The Classical Weekly, vol. 31, no. 22, 1938, p. 218., doi:10.2307/4340303.

2.     “Dance, George.” Benezit Dictionary of Artists, 2011, 

3.     Venkataraman, L., & Pasricha, A. (2002). Indian classical dance: tradition in transition. New Delhi: Roli Books.

4.     Minesh, M. R. (1988). Bharatanatyam: yesterday, today, tomorrow. New Delhi: Sujata Dinesh6

5.     Viswanathan, L., & Krishnaswamy, U. (1991). Bharatanatyam: the Tamil heritage. Madras: Lakshmi Viswanathan

6.     Garga, L. (2001). Bharatanāṭyam. Hātharasa: Saṅgīta Kāryālaya.

7.     Hellgren, T. M. (2011). Bharatanatyam: tracing a transnational tale.

8.     Vatsyayan, K. (2005). Traditional Indian theatre: multiple streams. New Delhi: National Book Trust, India.

9.     Biswas, D. (2009). Classical dances of India. Jaipur, India: ABD 

10.  P. (1963). A history of Indian music. Calcutta: Ramakrishna Vedanta Math ,NrtyaVinoda of Manasollasa

Evaluation Pattern

Assessment Outline

Course Code

Course Title

Assessment Details

Semester I

MPA131

Bharathanatyam Level - 1

CIA

20 Marks

MSE

50 Marks

CIAII

20 Marks

ESE

100 Marks

Individual Assignment

Written Exam

Section A: 5x10=50

Group

Assignment

Written Exam

Section A: 5x10=50

MPA132 - INDIAN AESTHETICS (2021 Batch)

Total Teaching Hours for Semester:45
No of Lecture Hours/Week:3
Max Marks:100
Credits:3

Course Objectives/Course Description

 

An elaborate description of Indian aesthetics in relation to Bharatanatyam, rasa and bhava and their varied combinations. They learn evolution of art and beauty at various stages according to tradition.

Course Outcome

By the end of the course the learner will be able to;

·       Establish the concept of aesthetics and define aesthetics.

·       Bridge a connection between Indian aesthetics and define the place aesthetics holds in our lives

·       Distinguish the common and different points between art philosophy and aesthetics.

Explain the relationship between art and aesthetics

Unit-1
Teaching Hours:5
Nature and purpose of Art
 

Aestheticism in nature and art

Unit-2
Teaching Hours:5
Theories of art by Indian aestheticians (Dhwani Siddhantha by Anandawardhanacharya)
 

Indian aesthetician's concept on art

Unit-3
Teaching Hours:8
Concept of Rasa and Bhava
 

Essential elements of rasa, what is rasa, its origin from various dimensions, Navarasas and their divisions. Bhava, vibhava, anubhava, sanchari bhava and their combinations at different situations

Unit-4
Teaching Hours:10
Rasa nishpatti
 

The combination of Vibhava,Anubhava,Sthayi Bhava and Vyabhicharibhava

Unit-5
Teaching Hours:10
Bhaagavatham
 

Promotion of Bhakthi  , Integrating themes from the Advaita, Philosophy of Adi Shankara,Vishishtadvaita of Ramanujacharaya and Dvaita of Madhvacharya.

Unit-6
Teaching Hours:7
Art and beauty
 

Evolution of Art and beauty at different stages. Definitions of art and beauty according to Tolstoy, Words worth, Haveln, Shelly, Aristotle, Bharathamuni and Nandikeshwara. 

Text Books And Reference Books:

 

1.     Osborne, H. (1979). Theory of beauty: an introduction to aesthetics. Ann Arbor, MI: University Microfilms International.

2.     Fischer, E. (1970). The necessity of art: a Marxist approach. Harmondsworth, England: Penguin Books.

3.     Read, H., & Gompertz, W. (2017). The meaning of art. London: Faber & Faber.

 

4.     Nandi, S. (1962). An enquiry into the nature and function of art. Calcutta: University of Calcutta.

Essential Reading / Recommended Reading

 

1.     Osborne, H. (1979). Theory of beauty: an introduction to aesthetics. Ann Arbor, MI: University Microfilms International.

2.     Fischer, E. (1970). The necessity of art: a Marxist approach. Harmondsworth, England: Penguin Books.

3.     Read, H., & Gompertz, W. (2017). The meaning of art. London: Faber & Faber.

 

4.     Nandi, S. (1962). An enquiry into the nature and function of art. Calcutta: University of Calcutta.

Evaluation Pattern

Assessment Outline

Course Code

Course Title

Assessment Details

Semester I

MPA132

Indian Aesthetics

CIA

20 Marks

MSE

50 Marks

CIAII

20 Marks

ESE

50 Marks

Individual Assignment

Written Exam

Section A: 5x10=50

Group

Assignment

Written Exam

Section A: 5x10=50

 

MPA133 - SANSKRIT (2021 Batch)

Total Teaching Hours for Semester:45
No of Lecture Hours/Week:3
Max Marks:100
Credits:3

Course Objectives/Course Description

 

The main objective of the course is to make the students understand the importance of Sanskrit language. To practice the language to read and understand the shlokas on their own and frame the sentences themselves, develop their writing skills.

Course Outcome

By the end of the course the learner will be able to;

·      Ability to read and understand Sanskrit texts

·      Ability to understand the shlokas and recognize the values and ideas of the concept of Sanskrit language

Practice of the textual analysis of texts in Sanskrit to be applied in performing arts. 

Unit-1
Teaching Hours:10
Basics of the language - Reading and writing skills
 

Learning the alphabets with the right pronunciations, applications in the verses. 

Unit-2
Teaching Hours:10
Grammar
 

Understanding of basic grammar concepts in Sanskrit with specific reference to dance.

Unit-3
Teaching Hours:15
Literary texts -Abhinaya Darpan, Geetha Govindam
 

Comparison of the composer method structuring the language in a composition

Unit-4
Teaching Hours:10
Diacritical marks
 

Transliteration scheme of vernacular languages. 

Text Books And Reference Books:
  1. SamskruthaBhashaDeepika-I, publication from Surasarswathisabha
  2. SamskruthaVyakaranaprabha by SathishHegde

Sanskrit Grammar Transalation from English to Sanskrit by M.R.Kale

Essential Reading / Recommended Reading
  1. SamskruthaBhashaDeepika-I, publication from Surasarswathisabha
  2. SamskruthaVyakaranaprabha by SathishHegde

Sanskrit Grammar Transalation from English to Sanskrit by M.R.Kale

Evaluation Pattern

Assessment Outline

Course Code

Course Title

Assessment Details

Semester I

MPA 133

Sanskrit

CIA

20 Marks

MSE

50 Marks

CIAII

20 Marks

ESE

50 Marks

Individual Assignment

Written Exam

Section A: 5x10=50

Group

Assignment

Written Exam

Section A: 5x10=50

 

MPA151 - BHARATHANATYAM LEVEL - I (2021 Batch)

Total Teaching Hours for Semester:60
No of Lecture Hours/Week:4
Max Marks:100
Credits:4

Course Objectives/Course Description

 

Course offers an insight into practical aspects of Bharathantyam. Emphasizes also laid on various aspects of Bharatanatyam in detail apart from the movements of limbs of the body. Study of characterization and notation essential for understanding practical lessons. Importance is given to the Nritta and Abhinaya based items. 

Course Outcome

By the end of the course the learner will be able to;

·      Demonstrate an understanding of dance techniques

·      Develop knowledge of movement structure and musicality in relation to dance

·      Professionally engage in the field of dance as performers, teachers, choreographers, managers, crew, or PhD students

Demonstrate a sense of style, finesse, quality, attention to detail, clarity of movement, and artistic performing ability

Unit-1
Teaching Hours:15
Alarippu
 

Alarippu a traditional opening number that can be performed in any one of the pancha jathi talas.

Unit-2
Teaching Hours:15
Kauthwam
 

Kauthwam is a combination of Nritta and nrittam fitted in any one the sapta talas mostly in eka tala.

Unit-3
Teaching Hours:15
Jathiswaram
 

Jathiswaram- this has only pure Nritta devoid of Abhinaya, this piece opens with the rhythmic mridanga syllables followed by music notations.

Unit-4
Teaching Hours:15
Shabdam
 

Shabdam – introduction to fully fledged expression with direct and simple ideas with few Nritta passage in between. 

Text Books And Reference Books:

PRACTICAL

Essential Reading / Recommended Reading

PRACTICAL

Evaluation Pattern

Assessment Outline

Course Code

Course Title

Assessment Details

Semester I

MPA 151

Bharathanatyam Level - 1

CIA

20 Marks

MSE

50 Marks

CIAII

20 Marks

ESE

100 Marks

 

 

 

Performing Items taught in class 

 

MPA152 - MUSIC LEVEL - I (2021 Batch)

Total Teaching Hours for Semester:45
No of Lecture Hours/Week:3
Max Marks:100
Credits:3

Course Objectives/Course Description

 
 

Here they learn the technical terms and concepts of Carnatic music. They further learn to enjoy the melody and rhythm content in various forms of music. Learning biographies of Vidwans, Vidhushis, Pandiths, and composers enhances deeper understanding of the subject.

Course Outcome

 

By the end of the course the learner will be able to;

·      Comprehend aspects of music theory and practice

·      Demonstrate the understanding and use of performance as a means for engaging communities, creating cultural awareness

·      Create, analyze, and synthesize Indian classical music

·      Demonstrate application of pedagogy and instructional methods of Indian classical music education

Unit-1
Teaching Hours:15
All varisais | Saptatalaalankaras.
 

Three degree of speeds in Mayamalavagowlai

Unit-2
Teaching Hours:10
Geetham (Sreegananatha) | Swarajathi (Bilahari).
 

Study of musical forms with swara and sahitya

Unit-3
Teaching Hours:5
Jathiswaram
 

Learn the music forms to know the jati patterns in swara phrases

Unit-4
Teaching Hours:10
nam (Pankajakshi) | Tanavarnam (mohanam)
 

To understand meaning of sahitya and to render the song

Unit-5
Teaching Hours:5
Shabdam|Kauthwam
 

Practical portion of the dance will be taught

Text Books And Reference Books:
  1. Indian Music series - By Dr.S.V.Leela, The Bharathi Gana Nilayam
  2. Splendor of South Indian Music - P.T.Chelladurai
  3. South Indian Music - By Prof.B.Sambamurthy
  4. Dictionary of South Indian Music and Musicians - By Prof.B.Sambamurthy

Carnatic Music Composers - Triveni Foundations

Essential Reading / Recommended Reading
  1. Indian Music series - By Dr.S.V.Leela, The Bharathi Gana Nilayam
  2. Splendor of South Indian Music - P.T.Chelladurai
  3. South Indian Music - By Prof.B.Sambamurthy
  4. Dictionary of South Indian Music and Musicians - By Prof.B.Sambamurthy

Carnatic Music Composers - Triveni Foundations

Evaluation Pattern

Assessment Outline

Course Code

Course Title

Assessment Details

Semester I

MPA152

Carnatic Music Level - 1

CIA

20 Marks

MSE

50 Marks

CIAII

20 Marks

ESE

50 Marks

 

 

 

Individual Performance 

 

MPA153 - NATTUVANGAM (2021 Batch)

Total Teaching Hours for Semester:45
No of Lecture Hours/Week:3
Max Marks:100
Credits:3

Course Objectives/Course Description

 

Introduction to basic tala patterns using Cymbals (Nattuvangam). Cymbals are used according to varied sound patterns and adavu structures. Speed variations in ascending and descending orders enhances the understanding of rhythm.

Course Outcome

By the end of the course the learner will be able to;

·      Demonstrate a fundamental proficiency in Nattuvangam skills

·      Identify, analyze and work conceptually with the elements and organizational patterns of the beats and their interaction

·      Play the Nattuvangam with sufficient performance techniques and skills

 

·      Recite, understand and classify the syllables to be used with the Nattuvangam

Unit-1
Teaching Hours:5
Understanding basic tala concept
 

Sarvalagu in three speeds ascending and descending order, variation in speeds. All Adavus in sarvalagu

Unit-2
Teaching Hours:10
Concept of Five Jathis
 

Chathusram,Thisram,Khandam,Misram and Sankeernam  -  Thattimettu pattern in three speeds.

Unit-3
Teaching Hours:10
Basic Adavus and Thatakaaras
 

Thattadavu,Nattadavu,Paravaladavu,Kuthithumettadavu,Pakkadavu,Thattheitha ha adavu and Theermanaadavus. 

Unit-4
Teaching Hours:10
Tala Practice for Nritta items
 

Thisraalarippu – Reciting sollukattu and wielding cymbals simultaneously .Jathiswaram – While singing wielding the cymbals according to swara patterns and adavukorvais.   

Unit-5
Teaching Hours:10
Tala practice for Nrtya and Abhinaya items
 

Kauthuvam and Shabdam  – While singing the song, playing of cymbals according to the dance movements . Varnam – Playing the cympals for the thrikalajathi, jathis, Thattimettu for sahithyam, adavus for swara patterns and arudhis.                                                          

Text Books And Reference Books:

PRACTICALS

Essential Reading / Recommended Reading

PRACTICALS

Evaluation Pattern

Assessment Outline

Course Code

Course Title

Assessment Details

Semester I

PEP 153

Nattuvangam Level - 1

CIA

20 Marks

MSE

50 Marks

CIAII

20 Marks

ESE

100 Marks

 

 

 

Individual Performance 

 

MPA231 - BHARATHANATYAM LEVEL - II (2021 Batch)

Total Teaching Hours for Semester:60
No of Lecture Hours/Week:4
Max Marks:100
Credits:4

Course Objectives/Course Description

 

Evolution of art forms according to our history, their growth and decline at various periods in history. Detail study of dance numbers with reference to talas and notations.

Course Outcome

 

By the end of the course the learner will be able to;

·      Understand and have practical experience of creating opportunities to develop dance skills.

·      Demonstrate the technical proficiency and artistic expressiveness

·      Understand the use of space, line, placement, and musicality of Bharatanatyam dance

·      Learn how to identify a performance in a cultural, historical, or theoretical context

Demonstrate increased movement skills, concentration and physical control in performing movement for artistic expression. 

Unit-1
Teaching Hours:10
History of Bharatanatyam - Devadasis, Dynasties, Development of Margam
 

Indus valley civilization, Mohenjo-Daro and Harappa civilization with special reference to evolution of art forms. Origin, life history, contribution and decline of devadasis system in India. Indian rulers and their contribution to fine arts before the British period. Renaissance in Indian art form and their development, Tanjore quartet’s contributions for the formation of Bharathanatyam repertoire. 

Unit-2
Teaching Hours:10
Chaturvidhabhinaya
 

Abhinaya and their classifications (angika, vachika, sathvika and aharya Abhinaya) for dance and theatre.

Unit-3
Teaching Hours:5
Classification of nayikas and nayakas
 

Classification of nayaka and nayikas is according to the situations and circumstances, Portrayal of emotions, sentiments arising out of different situations. 

Unit-4
Teaching Hours:10
Notations and structures of the items learnt in syllabus
 

Tala structure, definition and concept of notations, importance of notation, notating the items learnt in syllabus.

Unit-5
Teaching Hours:25
Nrttaratnavali
 

Introduction to Dance, Anga and Upangas, and other Desi forms

Text Books And Reference Books:

1.     Lawler, Lillian B., et al. “World History of the Dance.” The Classical Weekly, vol. 31, no. 22, 1938, p. 218., doi:10.2307/4340303.

2.     “Dance, George.” Benezit Dictionary of Artists, 2011, 

3.     Venkataraman, L., & Pasricha, A. (2002). Indian classical dance: tradition in transition. New Delhi: Roli Books.

4.     Minesh, M. R. (1988). Bharatanatyam: yesterday, today, tomorrow. New Delhi: Sujata Dinesh6

5.     Viswanathan, L., & Krishnaswamy, U. (1991). Bharatanatyam: the Tamil heritage. Madras: Lakshmi Viswanathan

6.     Garga, L. (2001). Bharatanāṭyam. Hātharasa: Saṅgīta Kāryālaya.

7.     Hellgren, T. M. (2011). Bharatanatyam: tracing a transnational tale.

8.     Vatsyayan, K. (2005). Traditional Indian theatre: multiple streams. New Delhi: National Book Trust, India.

9.     Biswas, D. (2009). Classical dances of India. Jaipur, India: ABD 

 

10.  P. (1963). A history of Indian music. Calcutta: Ramakrishna Vedanta Math

Essential Reading / Recommended Reading

1.     Lawler, Lillian B., et al. “World History of the Dance.” The Classical Weekly, vol. 31, no. 22, 1938, p. 218., doi:10.2307/4340303.

2.     “Dance, George.” Benezit Dictionary of Artists, 2011, 

3.     Venkataraman, L., & Pasricha, A. (2002). Indian classical dance: tradition in transition. New Delhi: Roli Books.

4.     Minesh, M. R. (1988). Bharatanatyam: yesterday, today, tomorrow. New Delhi: Sujata Dinesh6

5.     Viswanathan, L., & Krishnaswamy, U. (1991). Bharatanatyam: the Tamil heritage. Madras: Lakshmi Viswanathan

6.     Garga, L. (2001). Bharatanāṭyam. Hātharasa: Saṅgīta Kāryālaya.

7.     Hellgren, T. M. (2011). Bharatanatyam: tracing a transnational tale.

8.     Vatsyayan, K. (2005). Traditional Indian theatre: multiple streams. New Delhi: National Book Trust, India.

9.     Biswas, D. (2009). Classical dances of India. Jaipur, India: ABD 

 

10.  P. (1963). A history of Indian music. Calcutta: Ramakrishna Vedanta Math

Evaluation Pattern

Assessment Outline

Course Code

Course Title

Assessment Details

Semester I

MPA231

Bharathanatyam Level - II

CIA

20 Marks

MSE

50 Marks

CIAII

20 Marks

ESE

100Marks

Individual Assignment

Written Exam

Section A: 5x10=50

Group

Assignment

Written Exam

Section A: 10x5=50

Section B:

5X10=50

 

 

MPA232 - RESEARCH METHODOLOGY (2021 Batch)

Total Teaching Hours for Semester:45
No of Lecture Hours/Week:3
Max Marks:100
Credits:3

Course Objectives/Course Description

 

This course is designed to provide an introduction to research skills relevant to postgraduate students to understand research methodology and to complete the dissertation towards the end of the 4th semester. The units focus on research practices, research tools and dissertation preparation. More specifically, this course will introduce the students to various research approaches and methodologies relevant for the field of performing arts. 

Course Outcome

By the end of the course the learner will be able to:

·      Develop understanding of the basic framework of research process.

·      Develop an understanding of various research designs and techniques.

·      Apply suitable statistical methods to research studies

·      Identify and discuss the issues and concepts salient to the research process

Read, comprehend, and explain research articles in their academic discipline.

Unit-1
Teaching Hours:6
Introduction to Research Methodology
 

Meaning of Research, Objectives of Research, and Motivations in Research, Research Approaches, and Significance of Research, Research Methods, Research Process, and Criteria of Good Research.

Unit-2
Teaching Hours:6
Defining the Research Problem
 

Identification and defining of Research problem

Unit-3
Teaching Hours:7
Research Questions and Hypothesis
 

Variables, characteristics of good Hypothesis. Research question, Basis for hypotheses.

Unit-4
Teaching Hours:6
Research design
 

Meaning, Need, Features of Good Design, Concepts, Types. Basic principles of research designs, various methods of Research. Survey, Philosophical, Historical, Experimental, Comparative, Case Studies etc. 

Unit-5
Teaching Hours:6
Tools for Data Collection
 

Collections of Primary Data, Collection of Data through questionnaire and Schedules, other Observation Interview Methods, Collection of Secondary Data, Selection of appropriate method for data collection, Case Study, Techniques of developing research tools, viz. Questionnaire and rating scales etc. Reliability and validity of Research tools.

Unit-6
Teaching Hours:8
Sampling
 

Probability and Non Probability sampling- types and criteria for selection.

Unit-7
Teaching Hours:6
Research Methods
 

Data analysis, Findings, Conclusion, References (APA format)

Text Books And Reference Books:

1.     Somekh, Bridget and Cathy Lewin. Eds. Research Methods in Social Sciences. New Delhi: Sage/Vistaar, 2005.

2.     Auslander, Philip. Theory for Performance Studies: A Student’s Guide. London/Newyork: Routledge, 2008.

3.     Griffin, Gabriele. ed. Research Methods for English Studies. Edinburgh: Edinburgh University Press, 2005.

4.     Mckee, Alan. Textual Analysis: A Beginners Guide Sage, 2003

5.     Reissman, Catherine K. Narrative analysis Sage, c1993

 

6.     Ruane, Janet M. Essentials of Research Methods: A Guide to Social Science Research. Blackwell, 2004

Essential Reading / Recommended Reading

1.     Somekh, Bridget and Cathy Lewin. Eds. Research Methods in Social Sciences. New Delhi: Sage/Vistaar, 2005.

2.     Auslander, Philip. Theory for Performance Studies: A Student’s Guide. London/Newyork: Routledge, 2008.

3.     Griffin, Gabriele. ed. Research Methods for English Studies. Edinburgh: Edinburgh University Press, 2005.

4.     Mckee, Alan. Textual Analysis: A Beginners Guide Sage, 2003

5.     Reissman, Catherine K. Narrative analysis Sage, c1993

 

6.     Ruane, Janet M. Essentials of Research Methods: A Guide to Social Science Research. Blackwell, 2004

Evaluation Pattern

Assessment Outline

 

Course Code 

 

Course Title

 

Assessment Details 

MPA 232

Research Methodology

CIA I

20 Marks 

Individual assignment on research area, research focus and writing an effective research title

CIA II

 50 Marks

Individual assignment on aim, objectives and methodology

CIAIII

20 Marks 

Group assignment on data collection, findings and conclusion 

ESE 

50 Marks

Individual assignment on review report of selected research articles

MPA251 - BHARATHANATYAM LEVEL - II (2021 Batch)

Total Teaching Hours for Semester:60
No of Lecture Hours/Week:4
Max Marks:100
Credits:4

Course Objectives/Course Description

 

Evolution of art forms according to our history, their growth and decline at various periods in history. Detail study of dance numbers with reference to talas and notations.

Course Outcome

By the end of the course the learner will be able to;

·      Demonstrate an understanding of dance techniques

·      Develop knowledge of movement structure and musicality in relation to dance

Professionally engage in the field of dance as performers, teachers, choreographers, managers, crew, or PhD students

Unit-1
Teaching Hours:25
Varnam
 

Padavarnam – its angaas, jathis, swarakorvais, direct meaning and elaborate meaning of the lyrics, highlighting the basic rasa, practical application of calculations involved in the tala structure.

Unit-2
Teaching Hours:15
Keertanam
 

Keerthanam – importance laid down on Nritta and Nritya aspect with more emphasize on bhava and rasa.

Unit-3
Teaching Hours:20
Javali
 

Javali – highlighting the lighter mood of the verses, moving at a fast tempo, purging emotions of nayaka or nayaki in particular situations.

Text Books And Reference Books:

PRACTICALS

Essential Reading / Recommended Reading

PRACTICALS

Evaluation Pattern

Assessment Outline

Course Code

Course Title

Assessment Details

Semester I

MPA251

Bharathanatyam Level - II

CIA

20 Marks

MSE

50 Marks

CIAII

20 Marks

ESE

100 Marks

 

 

 

Individual Performance

 

MPA252 - MUSIC LEVEL - II (2021 Batch)

Total Teaching Hours for Semester:45
No of Lecture Hours/Week:3
Max Marks:100
Credits:3

Course Objectives/Course Description

 
 

The paper aims to explore the various forms and types of Kalpitha Sangeetham.

Course Outcome

By the end of the course the learner will be able to;

·      Comprehend advanced aspects of music theory and practice

·      Demonstrate advanced understanding and use of performance as a means for engaging communities, creating cultural awareness

·      Create Indian classical music using innovative techniques

Application of pedagogy and instructional methods of Indian classical music techniques

Unit-1
Teaching Hours:15
Padavarnam, Keerthanam,Jawali and Thillana.
 

To improvise on Bhakti element and ritualistic practice of Ugabhoga tradition

Unit-2
Teaching Hours:10
Keerthanam
 

To improvise on Bhakti element and ritualistic practice of Ugabhoga tradition

Unit-3
Teaching Hours:10
Jawali
 

To improvise on Bhakti element and ritualistic practice of Ugabhoga tradition

Unit-4
Teaching Hours:10
Thillana
 

To improvise on Bhakti element and ritualistic practice of Ugabhoga tradition

Text Books And Reference Books:

 

Recommended References

 

1.      Lawler, Lillian B., et al. “World History of the Dance.” The Classical Weekly, vol. 31, no. 22, 1938, p. 218., doi:10.2307/4340303.

2.     “Dance, George.” Benezit Dictionary of Artists, 2011, 

3.     Venkataraman, L., & Pasricha, A. (2002). Indian classical dance: tradition in transition. New Delhi: Roli Books.

4.     Minesh, M. R. (1988). Bharatanatyam: yesterday, today, tomorrow. New Delhi: Sujata Dinesh6

5.     Viswanathan, L., & Krishnaswamy, U. (1991). Bharatanatyam: the Tamil heritage. Madras: Lakshmi Viswanathan

6.     Garga, L. (2001). Bharatanāṭyam. Hātharasa: Saṅgīta Kāryālaya.

7.     Hellgren, T. M. (2011). Bharatanatyam: tracing a transnational tale.

8.     Vatsyayan, K. (2005). Traditional Indian theatre: multiple streams. New Delhi: National Book Trust, India.

9.     Biswas, D. (2009). Classical dances of India. Jaipur, India: ABD 

10.  P. (1963). A history of Indian music. Calcutta: Ramakrishna Vedanta Math

Essential Reading / Recommended Reading

 

Recommended References

 

1.      Lawler, Lillian B., et al. “World History of the Dance.” The Classical Weekly, vol. 31, no. 22, 1938, p. 218., doi:10.2307/4340303.

2.     “Dance, George.” Benezit Dictionary of Artists, 2011, 

3.     Venkataraman, L., & Pasricha, A. (2002). Indian classical dance: tradition in transition. New Delhi: Roli Books.

4.     Minesh, M. R. (1988). Bharatanatyam: yesterday, today, tomorrow. New Delhi: Sujata Dinesh6

5.     Viswanathan, L., & Krishnaswamy, U. (1991). Bharatanatyam: the Tamil heritage. Madras: Lakshmi Viswanathan

6.     Garga, L. (2001). Bharatanāṭyam. Hātharasa: Saṅgīta Kāryālaya.

7.     Hellgren, T. M. (2011). Bharatanatyam: tracing a transnational tale.

8.     Vatsyayan, K. (2005). Traditional Indian theatre: multiple streams. New Delhi: National Book Trust, India.

9.     Biswas, D. (2009). Classical dances of India. Jaipur, India: ABD 

10.  P. (1963). A history of Indian music. Calcutta: Ramakrishna Vedanta Math

Evaluation Pattern

Assessment Outline

Course Code

Course Title

Assessment Details

Semester I

MPA 252

Carnatic Music Level - II

CIA

20 Marks

MSE

50 Marks

CIAII

20 Marks

ESE

50 Marks

 

 

 

Individual Performance

MPA253 - NATTUVANGAM LEVEL-II (2021 Batch)

Total Teaching Hours for Semester:45
No of Lecture Hours/Week:3
Max Marks:100
Credits:3

Course Objectives/Course Description

 

Introduction to basic tala patterns using Cymbals (Nattuvangam). Cymbals are used according to varied sound patterns and adavu structures. Speed variations in ascending and descending orders enhances the understanding of rhythm.

Course Outcome

By the end of the course the learner will be able to;

·      Demonstrate a proficiency in Nattuwangam skills

·      Identify, analyze and work conceptually with the elements and organizational patterns of the beats and their interaction towards compositions

·      Play the Nattuwangam with sufficient performance techniques and skills

 

·      Recite, understand and classify the syllables to be used with the Nattuwangam with compositions.

Unit-1
Teaching Hours:10
Alarippu
 

Tisra Alarippu in the cycle of three beats, all speeds inclusive

Unit-2
Teaching Hours:15
Jatiswaram
 

Adi Tala jatiswaram, jathi, adavus for swara patterns

Unit-3
Teaching Hours:15
Thillana
 

Mei Adavus, Thattimettu for sahithyam, adavus for swara patterns and arudhis.

Unit-4
Teaching Hours:5
Tala Practice for Abhinaya items
 

To sing and do nattuvangam for abhinaya items like Javali, Padam and Ashtapadi

Text Books And Reference Books:

PRACTICALS

Essential Reading / Recommended Reading

PRACTICALS

Evaluation Pattern

Assessment Outline

Course Code

Course Title

Assessment Details

Semester I

MPA 253

Nattuvangam Level - II

CIA

20 Marks

MSE

50 Marks

CIAII

20 Marks

ESE

50 Marks

 

 

 

Individual Performance

 

MPA254 - MAKE UP AND COSTUME DESIGN (2021 Batch)

Total Teaching Hours for Semester:45
No of Lecture Hours/Week:3
Max Marks:100
Credits:3

Course Objectives/Course Description

 
 

Introduction to basic make-up techniques with reference to specific characters. Costume design for Indian performance tradition.

Course Outcome

By the end of the course the learner will be able to;

·      Demonstrate knowledge of the historical development of costume

·      Analyze the essential techniques for costume designing

·      Apply the practical skill in drafting pattern for selected Indian dance costume design

·      Demonstrate a developing ability to apply make-up as appropriate to the needs of the character

Develop a portfolio of costume designs for a chosen play/character

Unit-1
Teaching Hours:8
Basic make up techniques
 

Make up for classical, folk and contemporary dance forms.

Unit-2
Teaching Hours:7
Make up for specific characters
 

Head dress and make up for mythological, historical and social characters. 

Unit-3
Teaching Hours:10
Costumes of Indian performance traditions
 

Designing costumes for various Indian traditional dance forms (male and female)  

Unit-4
Teaching Hours:20
Designing costumes and accessories
 

Designing costumes according to the story, characters, solo dance sequence and folk theatre.

Text Books And Reference Books:

1.     Kumar, R., & Muscat, C. (2006). Costumes and textiles of royal India. Woodbridge: Antique Collectors Club.

2.     Costume asiatic. (1805). London: Edward Orme.

3.     Goswamy, B. N., & Jain, R. (2002). Indian costumes II: patkas: a costume accessory in the collection of the Calico Museum of Textiles. Ahmedabad, India: Calico Museum of Textiles, Sarabhai Foundation

4.     Sahāya, S. (1975). Indian costume, coiffure, and ornament. New Delhi: Munshiram Manoharlal .

Ambrose, K., & Gopal, R. (1984). Classical dances and costumes of India. New York: St. Martins Press.

Essential Reading / Recommended Reading

1.     Kumar, R., & Muscat, C. (2006). Costumes and textiles of royal India. Woodbridge: Antique Collectors Club.

2.     Costume asiatic. (1805). London: Edward Orme.

3.     Goswamy, B. N., & Jain, R. (2002). Indian costumes II: patkas: a costume accessory in the collection of the Calico Museum of Textiles. Ahmedabad, India: Calico Museum of Textiles, Sarabhai Foundation

4.     Sahāya, S. (1975). Indian costume, coiffure, and ornament. New Delhi: Munshiram Manoharlal .

Ambrose, K., & Gopal, R. (1984). Classical dances and costumes of India. New York: St. Martins Press.

Evaluation Pattern

Assessment Outline

Course Code

Course Title

Assessment Details

Semester I

MPA 254

Make up and Costume Design 

CIA

20 Marks

MSE

50 Marks

CIAII

20 Marks

ESE

50 Marks

 

 

 

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