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  (2022)

 
1 Semester - 2022 - 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-II Core Courses 4 4 100
MPA152 MUSIC LEVEL - I Core Courses 3 3 100
MPA153 NATTUVANGAM Core Courses 3 3 100
2 Semester - 2022 - Batch
Course Code
Course
Type
Hours Per
Week
Credits
Marks
MPA231 BHARATHANATYAM LEVEL - II - 4 4 100
MPA232 RESEARCH METHODOLOGY - 3 3 100
MPA251 BHARATHANATYAM LEVEL - II - 4 4 100
MPA252 MUSIC LEVEL - II - 3 3 100
MPA253 NATTUVANGAM LEVEL-II - 3 3 100
MPA254 MAKE UP AND COSTUME DESIGN - 3 3 100
3 Semester - 2021 - Batch
Course Code
Course
Type
Hours Per
Week
Credits
Marks
MPA331 BHARATHANATYAM LEVEL - III Core Courses 4 4 100
MPA332 CHOREOGRAPHY Core Courses 4 3 100
MPA351 BHARATHANATYAM LEVEL - III Core Courses 4 4 100
MPA352 NATTUVANGAM LEVEL - III Core Courses 3 3 100
MPA353 CHOREOGRAPHY Core Courses 2 2 100
MPA381 INTERNSHIP Core Courses 4 4 100
4 Semester - 2021 - Batch
Course Code
Course
Type
Hours Per
Week
Credits
Marks
MPA431 BHARATHANATYAM LEVEL - IV - 4 4 100
MPA432 CLASSICAL AND FOLK DANCE FORMS - 4 2 100
MPA433 DISSERTATION - 4 3 100
MPA451 BHARATHANATYAM LEVEL - IV - 4 4 100
MPA452 CLASSICAL AND FOLK DANCE FORMS - 4 2 100
MPA453 CREATIVE PRODUCTION - 2 2 100
MPA454 BHARATHANATYAM CONCERT - 4 4 100
    

    

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.

Programme Outcome/Programme Learning Goals/Programme Learning Outcome:

PO1: A advanced and systematic or coherent understanding of the academic field of Bharatanatyam, its different learning areas and applications, and its linkages with related disciplinary areas/subjects.

PO2: Be well versed in the various theoretical concepts with an outline study of musical treatises in Sanskrit and Tamil from ancient to modern times.

PO3: Be able to present and perform Indian Classical Bharatanatyam with a good repertoire of compositions.

PO4: Skills in areas related to one?s specialisation area within the disciplinary and current and emerging developments in the field of Music and Fine Arts.

PO5: The students will be able to engage in noteworthy, self-governing, and original research in Bharatanatyam.

PO6: The skill-based courses support the student to develop entrepreneurship in the field of Performing Arts.

PO7: The student acquired significant knowledge to clear the competitive examinations

Assesment Pattern

CIA I - 20 Marks

Mid Semester - 50 Marks

COIA III - 20 Marks

End Semester Examination - 100 Marks

Examination And Assesments

Theory 

Practicals

MPA131 - BHARATHANATYAM LEVEL - I (2022 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

CO1: Demonstrate understanding of the social and artistic movements that have shaped dance as we know it today.

CO2: Develop the ability to apply discipline-specific skills to the creation of performance.

CO3: Analyze, and interpret texts and performances

CO4: 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 (2022 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

CO1: Establish the concept of aesthetics and define aesthetics.

CO2: aesthetics and define the place aesthetics holds in our lives

CO3: the common and different points between art philosophy and aesthetics.

CO4: 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 (2022 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

CO1: Ability to read and understand Sanskrit texts

CO2: Ability to understand the shlokas and recognize the values and ideas of the concept of Sanskrit language

CO3: 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-II (2022 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

CO1: Demonstrate an understanding of dance techniques

CO2: Develop knowledge of movement structure and musicality in relation to dance

CO3: age in the field of dance as performers, teachers, choreographers, managers, crew, or PhD students

CO4: 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 (2022 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

CO1: Comprehend aspects of music theory and practice

CO2: Demonstrate the understanding and use of performance as a means for engaging communities, creating cultural awareness

CO3: Create, analyze, and synthesize Indian classical music

CO4: 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 (2022 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

CO1: Demonstrate a fundamental proficiency in Nattuvangam skills

CO2: Identify, analyze and work conceptually with the elements and organizational patterns of the beats and their interaction

CO3: Play the Nattuvangam with sufficient performance techniques and skills

CO4: 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 (2022 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

CO1: Practice of the textual analysis of texts in Sanskrit to be applied in performing arts.

CO2: Demonstrate the technical proficiency and artistic expressiveness

CO3: Understand the use of space, line, placement, and musicality of Bharatanatyam dance

CO4: Learn how to identify a performance in a cultural, historical, or theoretical context

CO5: 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 (2022 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

CO1: Develop understanding of the basic framework of research process.

CO2: Develop an understanding of various research designs and techniques.

CO3: Apply suitable statistical methods to research studies

CO4: Identify and discuss the issues and concepts salient to the research process

CO5: 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 (2022 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

CO1: Demonstrate an understanding of dance techniques

CO2: Develop knowledge of movement structure and musicality in relation to dance

CO3: 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 (2022 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

CO1: Comprehend advanced aspects of music theory and practice

CO2: Demonstrate advanced understanding and use of performance as a means for engaging communities, creating cultural awareness

CO3: Create Indian classical music using innovative techniques

CO4: 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 (2022 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

CO1: Demonstrate a proficiency in Nattuwangam skills

CO2: Identify, analyze and work conceptually with the elements and organizational patterns of the beats and their interaction towards compositions

CO3: Play the Nattuwangam with sufficient performance techniques and skills

CO4: 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 (2022 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

CO1: Demonstrate knowledge of the historical development of costume

CO2: Analyze the essential techniques for costume designing

CO3: Apply the practical skill in drafting pattern for selected Indian dance costume design

CO4: Demonstrate a developing ability to apply make-up as appropriate to the needs of the character

CO5: 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

 

 

 

Project Submission 

 

MPA331 - BHARATHANATYAM LEVEL - III (2021 Batch)

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

Course Objectives/Course Description

 

·  

·         To provide a better understanding of the field.

To understand the aesthetics, mythology, aspects and create a sense of wholesome experience.

 

 

Course Outcome

CO1: Promote an understanding of the processes of change and development of dance through mythological

CO2: Evaluate interpretations and multiple narratives of epics with relation to dance.

CO3: Articulate factual and contextual knowledge of specific aesthetic aspects

Unit-1
Teaching Hours:10
Epics of Ramayana
 

Introduction to epics, gentral story line, highlighting certain episodes from Ramayana (birth of rama and his 3 brothers, kaikeyi asking for two boons, rama’s, sita, lakshmana’s exile in forest, ravana abducting sita, rama verge against ravana and rescuing sita, rama’s coronation) mahabharatha (game of dice, pandava’s loosing their kingdom, exile to forest ,krishna coming to their rescue, pandava and gourava war, gita upadesham)

Unit-2
Teaching Hours:15
Epic Mahabharatha
 

Mahabharatha (game of dice, pandava’sloosing their kingdom, exile to forest ,krishna coming to their rescue, pandava and gourava war, gitaupadesham)

Unit-3
Teaching Hours:25
Sangitaratnakara
 

Origin of Dance, Hastas, Siras, Vaksa, Kati, Pada, Parsva, bhuchari, Akasachari, Vrtti, Navarasa

Unit-4
Teaching Hours:10
Notations and structures
 

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

Text Books And Reference Books:

1.       Indian Classical Dance                                -              Kapila Vatsyayan

2.       Bharatanatyam                                             -              Dr. Sunil Kothari

3.       Bharata Natyam                                           -              Lakshmi Viswanathan

Essential Reading / Recommended Reading

 Indian Classical Dance                                -              Kapila Vatsyayan

2.       Bharatanatyam                                             -              Dr. Sunil Kothari

3.       Bharata Natyam                                           -              Lakshmi Viswanathan

Evaluation Pattern

CIA 1- Written Assignment

CIA 2 - Mid semester Examination

CIA 3 - Written Assignment

 

MPA332 - CHOREOGRAPHY (2021 Batch)

Total Teaching Hours for Semester:60
No of Lecture Hours/Week:4
Max Marks:100
Credits:3

Course Objectives/Course Description

 

  • To draw inspiration from different physical activities.
  • To develop good physical and mental stability

Course Outcome

CO1: Promote an understanding of the processes of change and development of dance through opera, dance drama tradition and sculptures.

CO2: Evaluate interpretations and multiple narratives of paintings with relation to dance.

CO3: Articulate factual and contextual knowledge of specific aesthetic aspects

Unit-1
Teaching Hours:10
Introduction to Dance Operas/ Operas in Music
 

Kuravanji (Kumbesa, Kannapar, Sarabhoji), Ramanatakam, NandanarCharitram, NaukaCharitram, Prahlada Bhakti Vijayam, Krishna LeelaTarangini, PallakiSevaPrabandas

Unit-2
Teaching Hours:10
Dance Drama Tradition
 

BhagavathaMela,Kuchipudi, Koodiyattam, NangyarKoothu,Ottamthullal,Yakshagana

Unit-3
Teaching Hours:15
Temple Relief and Sculptures
 

Chidambaram,Brahadeeswara, Tiruvannamalai, Darasuram, Sarangapani (Kumbakonam), Hoysala, Halabeedu, Hampi (Vijayanagar),  Ramappa temple (Warangal) and Gujarat shrines

Unit-4
Teaching Hours:15
Painting (Cave & Murals, Miniatures)
 

Ajanta, Ellora, Cittanavasal, Batu Caves, Temple paintings, Ragamala paintings, cloth and paper paintings of Rajasthan and Mughal style, Kalamkari style

Unit-5
Teaching Hours:10
Composers and Compositions
 

Devarnamas (Purandaradasa, Vyasaraya, Kanakadasa),Vacanas (AkkaMahadevi)Soordas, Tulsidas, Meera, Abhangs (Naamdev, Tukaram, Jannabai), Kshetrayya, Sarangapani, MudduNatesapadams, JayadevasAshtapadi, Pasurams, Thevaram, SadasivaBrahmendraKirtanas

Text Books And Reference Books:

1.       An Introduction to Music Opera         -     Smt SAK Durga

2.       Rasamanjari                              -    Dr Pappu Venugopal Rao

3.       Dance and Painting                   -    Dr Kapila Vatsyayan

 

Essential Reading / Recommended Reading

1.       An Introduction to Music Opera         -     Smt SAK Durga

2.       Rasamanjari                              -    Dr Pappu Venugopal Rao

3.       Dance and Painting                   -    Dr Kapila Vatsyayan

Evaluation Pattern

CIA 1- Assignment

CIA 2 - Mid Semester Examination

CIA 3 - Assignment

MPA351 - BHARATHANATYAM LEVEL - III (2021 Batch)

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

Course Objectives/Course Description

 

To understand aesthetics, mythology, aspects and create a sense of wholesome experience as a dancer

Course Outcome

CO1: Demonstrate an understanding of dance techniques

CO2: Develop knowledge of movement structure and musicality in relation to dance

CO3: dance as performers, teachers, choreographers, managers, crew, or PhD students

CO4: Demonstrate a sense of style, finesse, quality, attention to detail, clarity of movement, and artistic performing ability

Unit-1
Teaching Hours:15
Mallari
 

Temple based repertoire, inclusion progression of speed.

Unit-2
Teaching Hours:25
Varnam
 

Varnam - Nattakurinji - Purvangam - pallavi- thirkala jathi - anupallavi - jathis - chittaiswaram and sahithyam 

Uthrangam - Ethukattai pallavi - charana swaram and sahithyam 

Unit-3
Teaching Hours:10
Ashtapadi
 

Ashtapadi – importance of Abhinaya

Unit-4
Teaching Hours:10
Keertanam
 

Structure, Importance of nritta and Abhinaya, notations.

Text Books And Reference Books:

Bharathnatyam - Dr Sunil Kothari

Essential Reading / Recommended Reading

Bharathnatyam - Dr Sunil Kothari

Evaluation Pattern

End Semester Practical Examination

MPA352 - NATTUVANGAM LEVEL - III (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

CO1: Demonstrate a proficiency in Nattuvangam skills

CO2: Identify, analyze and work conceptually with the elements and organizational patterns of the beats and their interaction towards compositions

CO3: Play the Nattuvangam with sufficient performance techniques and skills

CO4: Recite, understand and classify the syllables to be used with the Nattuvangam with compositions

Unit-1
Teaching Hours:5
Mallari
 

Tala patterns of mallari

Unit-2
Teaching Hours:15
Varnam
 

Jathi , Thattimettu, Chittaiswarams, Charanams

Unit-3
Teaching Hours:5
Ashtapadi
 

Nattuvangam for the mentioned abhinaya item

Unit-4
Teaching Hours:10
Keerthanam
 

Nattuvangam for nritta and abhinaya part of the keerthanam

Unit-5
Teaching Hours:10
Abhinaya Item
 

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

End Semester Examination - 100 Marks

MPA353 - CHOREOGRAPHY (2021 Batch)

Total Teaching Hours for Semester:45
No of Lecture Hours/Week:2
Max Marks:100
Credits:2

Course Objectives/Course Description

 

To draw inspiration from different physical activities.

To develop good physical and mental stability

Course Outcome

CO1: Identify and demonstrate a working knowledge of the artistic process from conceptualisation, to completion and reflection.

CO2: Recognise and discuss compositional elements

CO3: Compose a work of art through the medium of movement to be performed, and be able to articulate their journey through the process of creation.

Unit-1
Teaching Hours:15
Kalaripayattu & Yogic Postures
 

Movements include both the martial & combative techniques. Yogic postures and other that can be incorporated in dance choreography

Unit-2
Teaching Hours:15
Neo Classical
 

Modern Dance, Floor movements, Approach to fusion dance, Strengthening and Core exercises

Unit-3
Teaching Hours:15
Contemporary
 

Warm up- systemized warm up-both general and movement specific, targeting joints and specific muscle groups

Text Books And Reference Books:

The Choreography Art                              -    Peggy Vapraagh and Peter Brinsora 

Dancer’s Heritage                                       -   Ivor Guest

Essential Reading / Recommended Reading

The Choreography Art                              -    Peggy Vapraagh and Peter Brinsora 

Dancer’s Heritage                                       -   Ivor Guest

Evaluation Pattern

End Semester Practical Examination

MPA381 - INTERNSHIP (2021 Batch)

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

Course Objectives/Course Description

 

MA Performing Arts students have to undertake an internship of not less than 26 working days in any performing arts or fine arts institution or any other approved by the programme coordinator.

Following are the objectives of the internship:

·       To enable students to get exposure to the field of interest

·       To give an opportunity for the students to get a practical experience in their field of interest.

·       To strengthen the curriculum based on the internship feedback wherever relevant

·       To help students choose their career through practical experience.

Course Outcome

CO1: To enable students to get exposure to the field of interest

CO2: To give an opportunity for the students to get a practical experience in their field of interest.

CO3: To strengthen the curriculum based on the internship feedback wherever relevant

CO4: To help students choose their career through practical experience.

Unit-1
Teaching Hours:50
Description
 

The internship is to be undertaken after the completion of the fourth semester. The internship is a mandatory requirement for the completion of the Master in Bharathanatyam course. The students will have to give an internship proposal with the following details: organization where the student proposes to do the internship, reasons for the choice, nature of the internship, period of internship, relevant permission letters, name of the mentor in the organization and their contact details with which Christ University could communicate matters related to internship. Typed proposals will have to be given at least a month before the end of the second semester.

The HOD will assign faculty members from the department as guides at least two weeks before the end of the second semester. The students will have to be in touch with the guides during the internship period either through personal meeting, over the phone or through emails.

At the place of internship, the students are advised to be in constant touch with their mentors. At the end of the required period of internship, the candidates will submit a report in not less than 1500 words. The reports should be submitted within the first month after the commencement of the third semester.

Apart from a photocopy of the letter from the organization stating the successful completion of the internship, the report shall have the following parts –

·       Introduction to the place of internship

·       Reasons for the choice of the place and kind of internship

·       Nature of internship

·       Objectives of the internship

·       Tasks undertaken

·       Learning outcome

·       Suggestions, if any

·       Conclusion

A photocopy of the portfolio, if available may be given along with the report. However, the original output, if available, should be presented during the internship report presentation.

Unit-2
Teaching Hours:10
Format
 

The report shall be in the following format:

Font size – 12

Font – Times New Roman (line spacing 1.5)

Name, register no, course name, date of submission (on the left-hand top corner of the page)

 

Title of the report – ‘Report of internship undertaken at ……….… from ………… (dd/mm/yy) to …………….’ (At the center of the page)

Text Books And Reference Books:

Internship - Field work

Essential Reading / Recommended Reading

Internship - Field work

Evaluation Pattern

Report – 75 (job done and learning outcome – 40, regularity – 15, language – 10, adherence to format – 10)

Report presentation – 25 (clarity – 10, effectiveness – 10, impression -5)

MPA431 - BHARATHANATYAM LEVEL - IV (2021 Batch)

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

Course Objectives/Course Description

 

Learning traditons of dance through various texts, important episodes of Shiva and Vishnu puranas and concepts of tala notations.

To make skilled performers

An insight into mythology

Course Outcome

CO1: Demonstrate an understanding of dance techniques

CO2: Develop knowledge of movement structure and musicality in relation to dance

CO3: Professionally engage in the field of dance as performers, teachers, choreographers, managers, crew, or PhD students

CO4: Demonstrate a sense of style, finesse, quality, attention to detail, clarity of movement, and artistic performing ability

Unit-1
Teaching Hours:15
Textual traditions of Dance - Narthaka Nirnaya
 

 

Anga – Siras, Hasta, kati, Vaksa, Parsva, Pada and Upangas

 

 

Unit-2
Teaching Hours:15
Study of Shiva Purana
 

Vidyeswara Samhita

Rudra Samhita

Uma Samhita

Kailasa Samhita

Vayavi Samhita

 

Unit-3
Teaching Hours:15
Study of Vishnu Purana
 

Pratama Ansh

Dvitiya Ansh

Tritiya Ansh

Chaturtha Ansh

Pancha Ansh

Shadansh

Unit-4
Teaching Hours:15
Notations and Structures
 

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

Text Books And Reference Books:

Indian Classical Dance - Kapila Vatsyayan

Sangita Ratnakara - Adyar Series

Nrttaratnavali - Dr Pappu Venugopal Rao

Hastalakshana Deepika 

Balaramabharatha

Shiva Purana

Vishnu Purana

Essential Reading / Recommended Reading

Indian Classical Dance - Kapila Vatsyayan

Sangita Ratnakara - Adyar Series

Nrttaratnavali - Dr Pappu Venugopal Rao

Hastalakshana Deepika

Evaluation Pattern

CIA 1 - Assignment

CIA 2 - Mid Semester Examination

CIA 3 - Assignment

MPA432 - CLASSICAL AND FOLK DANCE FORMS (2021 Batch)

Total Teaching Hours for Semester:60
No of Lecture Hours/Week:4
Max Marks:100
Credits:2

Course Objectives/Course Description

 

An understanding of various dance forms.

 

Course Outcome

CO1: Develop theoretical understanding on other forms of dances and basic style differences with their unique features.

CO2: Adapt rhythms and musical genres to specific dance styles in order to understand the context between creativity, movement

CO3: Learn about history, origin, and precise styling for different classical and folk-dance styles in order to enhance the understanding

CO4: Use basic improvisational skills in order to promote creative practical problem solving

Unit-1
Teaching Hours:15
Distinction between Classical, folk and tribal forms
 

Structure, music, instruments, costumes, make up, region, occasions, style, and origin.

Unit-2
Teaching Hours:25
Folk Dances of India
 

Folk dance of Tamilnadu, Kerala, Karnataka, Andrapradesh, Maharashtra,Punjab

Unit-3
Teaching Hours:20
Classical Dances of India
 

Bharathanatyam, Mohiniattam, Kathakali, kuchipudi, Odissi, Manipuri, Kathak, Sattriya

Text Books And Reference Books:

1.     The Folk Dances of India                   -              Projesh Banerjee

2.       Dances of India                                  -              Ragini Devi

Essential Reading / Recommended Reading

1.     The Folk Dances of India                   -              Projesh Banerjee

2.       Dances of India                                  -              Ragini Devi

Evaluation Pattern

CIA 1- Assignment

CIA 2 - Mid Semester Examination

CIA 3 - Assignment

MPA433 - DISSERTATION (2021 Batch)

Total Teaching Hours for Semester:60
No of Lecture Hours/Week:4
Max Marks:100
Credits:3

Course Objectives/Course Description

 

Research Oriented, understanding of research problem, drawing inferences, Analyse and interpret to draw conclusion

Course Outcome

CO1: The student will be trained to conduct research, write articles and papers. Moulding of research aptitude in students.

Unit-1
Teaching Hours:15
Title of the study (Discussion )
 

Analysing the study intended and suitable title.

Aim and Objective

Scope and Limitation

Unit-2
Teaching Hours:15
Review of Literature
 

Work done in that area by other scholars, going to Proquest and other online sources apart from Physical Library. Discussion about critical reporting aspect.

Unit-3
Teaching Hours:15
Discussion and Research Component
 

Sample phenomenon, Usefulness of Questionnaire in the study. Interpretation of result

Unit-4
Teaching Hours:15
Result and Conclusion
 

Conclusion drawn from the study and APA style of formatting of Dissertation

Text Books And Reference Books:

Anatomy of Body

Movement and Mimesis - Mandakranta bose

Sangita ratnakara - Sarngadeva

nrttaratnavali - Dr Pappu Venugopal Rao

Essential Reading / Recommended Reading

Anatomy of Body

Movement and Mimesis - Mandakranta bose

Sangita ratnakara - Sarngadeva

nrttaratnavali - Dr Pappu Venugopal Rao

Evaluation Pattern

Job done and learning outcome – 20 marks

Regularity – 10 marks

Final thesis presentation – 70 marks

MPA451 - BHARATHANATYAM LEVEL - IV (2021 Batch)

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

Course Objectives/Course Description

 

To make the students skilled perfomer

An insight into mythology

Tradition of Dance being practised currently

Course Outcome

CO1: Demonstrate an understanding of dance techniques

CO2: Develop knowledge of movement structure and musicality in relation to dance

CO3: Professionally engage in the field of dance as performers, teachers, choreographers, managers, crew, or PhD students

CO4: Demonstrate a sense of style, finesse, quality, attention to detail, clarity of movement, and artistic performing ability

Unit-1
Teaching Hours:25
Swarajathi
 

Swarajathi - complete Nritta item - thrikalajathi- pallavi-anupallavi - jathis - chittaiswaram - ethukattai charanam - charana swarams

Unit-2
Teaching Hours:10
Padam
 

Padam – systemized approach to Abhinaya with different interpretations for the lyrics, slow paced songs focusing on shringara rasa.

Unit-3
Teaching Hours:10
Thillana