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

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. 

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

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. 

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.

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

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

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

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

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.

Indian aesthetician's concept on art

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

The combination of Vibhava,Anubhava,Sthayi Bhava and Vyabhicharibhava

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

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

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.

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.

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.

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

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

Transliteration scheme of vernacular languages. 

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

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

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. 

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

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

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

Three degree of speeds in Mayamalavagowlai

Study of musical forms with swara and sahitya

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

To understand meaning of sahitya and to render the song

Practical portion of the dance will be taught

Carnatic Music Composers - Triveni Foundations

Carnatic Music Composers - Triveni Foundations

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.

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

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.

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

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

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

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

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

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. 

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.

Identification and defining of Research problem

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

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. 

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.

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

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

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

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

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.

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.

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

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

To improvise on Bhakti element and ritualistic practice of Ugabhoga tradition

To improvise on Bhakti element and ritualistic practice of Ugabhoga tradition

To improvise on Bhakti element and ritualistic practice of Ugabhoga tradition

To improvise on Bhakti element and ritualistic practice of Ugabhoga tradition

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.

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

Adi Tala jatiswaram, jathi, adavus for swara patterns

Make up for classical, folk and contemporary dance forms.

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

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

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

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.

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.