Syllabus for
MA (Performing Arts - Bharatanatyam)
Academic Year  (2024)

Theory 

Practicals

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.

Vision

‘Integrity through aesthetic performance’

Mission 

To inspire and mentor the birth and sustained growth of performance artists who, through cultural ethos, will embody respect, humility and discipline.

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:

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.

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

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.

·  

·         To provide a better understanding of the field.

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

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)

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

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

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

2.       Bharatanatyam                                             -              Dr. Sunil Kothari

3.       Bharata Natyam                                           -              Lakshmi Viswanathan

2.       Bharatanatyam                                             -              Dr. Sunil Kothari

3.       Bharata Natyam                                           -              Lakshmi Viswanathan

CIA 2 - Mid semester Examination

CIA 3 - Written Assignment

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

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

BhagavathaMela,Kuchipudi, Koodiyattam, NangyarKoothu,Ottamthullal,Yakshagana

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

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

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

1.       An Introduction to Music Opera         -     Smt SAK Durga

2.       Rasamanjari                              -    Dr Pappu Venugopal Rao

3.       Dance and Painting                   -    Dr Kapila Vatsyayan

2.       Rasamanjari                              -    Dr Pappu Venugopal Rao

3.       Dance and Painting                   -    Dr Kapila Vatsyayan

CIA 2 - Mid Semester Examination

CIA 3 - Assignment

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

Temple based repertoire, inclusion progression of speed.

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

Uthrangam - Ethukattai pallavi - charana swaram and sahithyam 

Ashtapadi – importance of Abhinaya

Structure, Importance of nritta and Abhinaya, notations.

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.

Tala patterns of mallari

Jathi , Thattimettu, Chittaiswarams, Charanams

Nattuvangam for the mentioned abhinaya item

Nattuvangam for nritta and abhinaya part of the keerthanam

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

To draw inspiration from different physical activities.

To develop good physical and mental stability

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

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

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

Dancer’s Heritage                                       -   Ivor Guest

Dancer’s Heritage                                       -   Ivor Guest

Course Description

The class will be designing a thematic or a dance drama production to be presented.

Alarippu /Kouthuvam/Thodayamangalam/Mallari

Jathiswaram

Shabdam

Keerthanam

Varnam

Padam/Jawali/Ashtapati

Thillana

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.

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.

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)

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

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

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

Vidyeswara Samhita

Rudra Samhita

Uma Samhita

Kailasa Samhita

Vayavi Samhita

Pratama Ansh

Dvitiya Ansh

Tritiya Ansh

Chaturtha Ansh

Pancha Ansh

Shadansh

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

Sangita Ratnakara - Adyar Series

Nrttaratnavali - Dr Pappu Venugopal Rao

Hastalakshana Deepika 

Balaramabharatha

Shiva Purana

Vishnu Purana

Sangita Ratnakara - Adyar Series

Nrttaratnavali - Dr Pappu Venugopal Rao

Hastalakshana Deepika

CIA 2 - Mid Semester Examination

CIA 3 - Assignment

An understanding of various dance forms.

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

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

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

2.       Dances of India                                  -              Ragini Devi

2.       Dances of India                                  -              Ragini Devi

CIA 2 - Mid Semester Examination

CIA 3 - Assignment

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

Analysing the study intended and suitable title.

Aim and Objective

Scope and Limitation

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

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

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

Movement and Mimesis - Mandakranta bose

Sangita ratnakara - Sarngadeva

nrttaratnavali - Dr Pappu Venugopal Rao

Movement and Mimesis - Mandakranta bose

Sangita ratnakara - Sarngadeva

nrttaratnavali - Dr Pappu Venugopal Rao

Job done and learning outcome – 20 marks

Regularity – 10 marks

Final thesis presentation – 70 marks

To make the students skilled perfomer

An insight into mythology

Tradition of Dance being practised currently

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

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

Thillana – korvai patterns including panchajathis and meiyadavus with limited abhinayas.

Keertanai in praise of God, generally Bhakti oriented. Abhinaya oriented

Class Notes

An understanding of various dance forms.

Bharathanatyam,Kathakali,Kuchipudi,Manipuri,Odissi,Sattriya,Mohiniattam  and Kathak

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

2.       Dances of India                                  -              Ragini Devi

2.       Dances of India                                  -              Ragini Devi

·         Deeper understanding and skill development.

·         Management of stamina.

Producing a Thematic or a dance drama production as a group.

(Script Writing , Selection of Music, Designing Costumes, Makeup, Props, Nattuvangam and Choreography)