Syllabus for
BA (Performing Arts, Psychology/Honours)
Academic Year  (2024)

This immersive course comprehensively introduces students to the captivating realms of dance, music, and theatre. Students will embark on a journey to explore the intricate tapestry of these art forms, recognizing their intertwined beauty and profound influence on human expression. Through a dynamic combination of theoretical exploration and hands-on involvement, students will develop a deeper comprehension of these performing arts' historical, cultural, and artistic significance. Moreover, they will gain a profound understanding of the interconnectedness and creative expressions found within these three disciplines. By means of experiential learning, students will delve into the fundamental principles of rhythms, melody, and dramatic storytelling.

Upon completing this course, students will have established a strong foundation in dance, music, and theatre. This solid groundwork will empower them to confidently and intelligently engage with these disciplines, whether as performers, enthusiasts, or informed audience members.

·        The Origin of Dance as per the Natya Sastra of Bharatha Muni

Natya

·         Nritta

·         Nritya

·         Adavu

·         Korvai

·         Jathi

·         Sollukettu

·         Nattuvangam

·         Tandava

·         Lasya

Definitions and the understanding of the terms in brief.

·         AsamyuthaHastas – Single Hand Gestures – From Pataka to Trishula

·         SamyuthaHastas – Double Hand Gestures – From Anjali to Avahita

·         Structure of Adi Taala and Rupaka Tala

·         Tala notations for the Adavus

·         

  Bharatanatyam

·         Kathak

·         Kathakali

·         Kuchipudi

·         Manipuri

·         Mohiniattam

·         Odissi

·         Sattriya

Introduction to the eight classical dance forms in terms of origin, history, technique, repertoire, costume and make up and accompaniments.

·        The Origin of Dance as per the Natya Sastra of Bharatha Muni

Natya

·         Nritta

·         Nritya

·         Adavu

·         Korvai

·         Jathi

·         Sollukettu

·         Nattuvangam

·         Tandava

·         Lasya

Definitions and the understanding of the terms in brief.

·         AsamyuthaHastas – Single Hand Gestures – From Pataka to Trishula

·         SamyuthaHastas – Double Hand Gestures – From Anjali to Avahita

·         Structure of Adi Taala and Rupaka Tala

·         Tala notations for the Adavus

·         

  Bharatanatyam

·         Kathak

·         Kathakali

·         Kuchipudi

·         Manipuri

·         Mohiniattam

·         Odissi

·         Sattriya

Introduction to the eight classical dance forms in terms of origin, history, technique, repertoire, costume and make up and accompaniments.

·         SwaravaliVarisai

·         JantaiVarisai

·         HechusthyaiVarisai

·         DhatuVarisai

·         Sapta tala alankaras.

The above mentioned preliminary lessons done in Mayamalavagoula raga, set to adi tala.

·         Nada

·         Swara

·         Swarasthana

·         Shruthi

·         Arohana, Avarohana

·         Sthayi

·         Kala

·         Akshara Kala

·         Avartha

·         Prakriti Swara

·         Vikriti Swara

·         Shadangas

·         Dhatu, Matu

·         Poorvanga, Uttaranga

The detailed explanation of each term with types and examples.

The names of the seven talas, angas, symbols, akshara kalas and jathis.

·         Mayamalavagowlai

·         Malahari

Arohana, avarohana of the raga, its essential features, raga sancharas and famous compositions in the raga.

Study of Musical form and Biography of Purandaradasa.

Geetham, Jathiswaram,Swarajathi, Varnam, Keerthana, Krithi, Keerthana, Padam Javali, Thillana

Classification of instruments like Thadha, Avanatha, Sushira and Gana vadyas.

Explanation and examples of each category.

·         SwaravaliVarisai

·         JantaiVarisai

·         HechusthyaiVarisai

·         DhatuVarisai

·         Sapta tala alankaras.

The above mentioned preliminary lessons done in Mayamalavagoula raga, set to adi tala.

·         Nada

·         Swara

·         Swarasthana

·         Shruthi

·         Arohana, Avarohana

·         Sthayi

·         Kala

·         Akshara Kala

·         Avartha

·         Prakriti Swara

·         Vikriti Swara

·         Shadangas

·         Dhatu, Matu

·         Poorvanga, Uttaranga

The detailed explanation of each term with types and examples.

The names of the seven talas, angas, symbols, akshara kalas and jathis.

·         Mayamalavagowlai

·         Malahari

Arohana, avarohana of the raga, its essential features, raga sancharas and famous compositions in the raga.

Study of Musical form and Biography of Purandaradasa.

Geetham, Jathiswaram,Swarajathi, Varnam, Keerthana, Krithi, Keerthana, Padam Javali, Thillana

Classification of instruments like Thadha, Avanatha, Sushira and Gana vadyas.

Explanation and examples of each category.

The unit "Understanding Art – Meaning and Importance" is an introductory unit designed to explore the diverse dimensions of art and its significance in human societies. This unit aims to provide students with a comprehensive understanding of various art forms, their historical contexts, and the significance of art in cultural, social, and personal contexts. By examining a range of artistic expressions, students will develop critical thinking skills, aesthetic appreciation, and the ability to articulate the meaning and importance of art.

This unit will explore the rich interplay between art and performance, examining how they shape and reflect our society. Through lectures, stimulating discussions, and hands-on activities, students will develop a critical understanding of contemporary culture's visual and performative aspects. Furthermore, the students will explore and examine the power of images, symbols, and embodied expressions and unravel the profound connections between visual and performative practices.

The unit "Understanding Art – Meaning and Importance" is an introductory unit designed to explore the diverse dimensions of art and its significance in human societies. This unit aims to provide students with a comprehensive understanding of various art forms, their historical contexts, and the significance of art in cultural, social, and personal contexts. By examining a range of artistic expressions, students will develop critical thinking skills, aesthetic appreciation, and the ability to articulate the meaning and importance of art.

This unit will explore the rich interplay between art and performance, examining how they shape and reflect our society. Through lectures, stimulating discussions, and hands-on activities, students will develop a critical understanding of contemporary culture's visual and performative aspects. Furthermore, the students will explore and examine the power of images, symbols, and embodied expressions and unravel the profound connections between visual and performative practices.

 Devi, R. (2002). Dance dialects of India. Delhi: MotilalBanarsidass.

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

Eshwar, J. (2010). Bharatanatyam: how to-. Delhi: B.R. Rhythms.

Sahai, K. (2003). The story of a dance.Indialog Publications.

Rao, K., & Devi, C. (1993). A panorama of Indian dances. Delhi: Sri Satguru Publications.

Soneji, D. (2012). Bharatanatyam: a reader. New Delhi: Oxford India Paperbacks.

Khokar, A. (2003). Bharatanatyam.Rupa.

Music:

Sambamoorthy, P. (1966). South Indian music. Madras: Indian Music Pub. House.

Rao, B. D. (1995). Carnatic music composers: a collection of biographical essays. Hyderabad: Triveni Foundation.

Sambamoorthy, P. (1958). South Indian music. Madras: Indian Music Pub. House.

S., P. I. (1982).Gānāmruthabōdhini: sangeethabalapadam. Mylapore, Madras: GanamruthaPrachuram.

Theatre:

Carlson, M. A. (2003). Performance: a critical introduction (2nd ed.). Routledge.

Sachant, P. J. (Ed.). (n.d.). Introduction to Art: Design, Context and Meaning. University of North Georgia Press.

Dance:

 Devi, R. (2002). Dance dialects of India. Delhi: MotilalBanarsidass.

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

Eshwar, J. (2010). Bharatanatyam: how to-. Delhi: B.R. Rhythms.

Sahai, K. (2003). The story of a dance.Indialog Publications.

Rao, K., & Devi, C. (1993). A panorama of Indian dances. Delhi: Sri Satguru Publications.

Soneji, D. (2012). Bharatanatyam: a reader. New Delhi: Oxford India Paperbacks.

Khokar, A. (2003). Bharatanatyam.Rupa.

Music:

Sambamoorthy, P. (1966). South Indian music. Madras: Indian Music Pub. House.

Rao, B. D. (1995). Carnatic music composers: a collection of biographical essays. Hyderabad: Triveni Foundation.

Sambamoorthy, P. (1958). South Indian music. Madras: Indian Music Pub. House.

S., P. I. (1982).Gānāmruthabōdhini: sangeethabalapadam. Mylapore, Madras: GanamruthaPrachuram.

Theatre: 

Avasthī, S. (2008).Performance tradition in India. New Delhi: National Book Trust, India.

Jaina, N. (2007). From the wings: notes on Indian theatre. New Delhi: National School of Drama.

• Mode of Assessment: Performance Presentation
• Assessment Description: Performance as a class in the Darpan Theatre Festival involving aspects of dance, music and theatre.

CIA II

• Mode of Assessment: Mid-Semester Examinations
• Assessment Description: Written Examination of 50 marks conducted by the University

CIA III

• Mode of Assessment: Performance Presentation
• Assessment Description: Performance in Swaranjali

This introductory course will explore the fundamentals of acting and delves into key techniques such as character development, improvisation, voice projection, and body language. Through practical exercises and theoretical discussions, students will develop their acting skills, gain confidence, and learn to engage audiences with authentic and compelling performances.

Tattadavu

Naatadavu

Paravaladavu

Kudhittamettuadavu

Pakkadavu

Tattadavu

Naatadavu

Paravaladavu

Kudhittamettuadavu

Pakkadavu

Sarala Varisa

Janti Varisa

Tarasthayi Varisa

Dhatu Varisa

Sapta tala Alankaras

Sarala Varisa

Janti Varisa

Tarasthayi Varisa

Dhatu Varisa

Sapta tala Alankaras

The Introduction to Acting unit is designed to provide students with a comprehensive foundation in acting. Students will develop a fundamental understanding of acting techniques, and principles through theoretical exploration and practical exercises. This unit will cover characterization, vocal and physical expression, improvisation, interaction with co-actor and stage presence. Students will engage in various activities, including scene work, monologues, and ensemble exercises, to enhance their creative instincts and foster collaboration. By the end of this unit, students will have acquired essential skills and knowledge to embark on their journey as actors with confidence and proficiency.

The Introduction to Acting unit is designed to provide students with a comprehensive foundation in acting. Students will develop a fundamental understanding of acting techniques, and principles through theoretical exploration and practical exercises. This unit will cover characterization, vocal and physical expression, improvisation, interaction with co-actor and stage presence. Students will engage in various activities, including scene work, monologues, and ensemble exercises, to enhance their creative instincts and foster collaboration. By the end of this unit, students will have acquired essential skills and knowledge to embark on their journey as actors with confidence and proficiency.

Stanislavski, K. (1989). An Actor Prepares. Taylor & Francis Group.

Eshwar,J.(2010).Bharatanatyam:howto-.Delhi:B.R.Rhythms.

Adler, S. (2000). The Art of Acting. Applause

Khokar,A.(2003).Bharatanatyam.Rupa.

Assessment Details: Performance Presentation

Acting Presentation on the selected text 

• To expose learners to a variety of texts to interact with
• To help learners classify ideologies and be able to express the same
• To expose learners to visual texts and its reading formulas
• To help learners develop a taste to appreciate works of literature through the organization of language
• To help develop critical thinking
• To help learners appreciate literature and the language nuances that enhances its literary values

• To help learners understand the relationship between the world around them and the text/literature
• To help learners negotiate with content and infer meaning contextually
• To help learners understand logical sequencing of content and process information

·         To help improve their communication skills for larger academic purposes and vocational purposes

·         To enable learners to learn the contextual use of words and the generic meaning

·         To enable learners to listen to audio content and infer contextual meaning

·         To enable learners to be able to speak for various purposes and occasions using context specific language and expressions

·         To enable learners to develop the ability to write for various purposes using suitable and precise language.

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

• 1. The Happy Prince- Oscar Wilde
• 2. Sonnet 18- William Shakespeare

Common errors- subject-verb agreement, punctuation, tense errors  Just a minute talk, cubing

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Sentence fragments, dangling modifiers, faulty parallelism,

 Why We Travel-Pico Iyer 

Note taking

Thinking Like a Mountain  By Aldo Leopold

Note taking

Thinking Like a Mountain  By Aldo Leopold

Note taking

Thinking Like a Mountain  By Aldo Leopold

Note taking

Thinking Like a Mountain  By Aldo Leopold

Note taking

Thinking Like a Mountain  By Aldo Leopold

Note taking

Thinking Like a Mountain  By Aldo Leopold

Note taking

Thinking Like a Mountain  By Aldo Leopold

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Thinking Like a Mountain  By Aldo Leopold

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Thinking Like a Mountain  By Aldo Leopold

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Thinking Like a Mountain  By Aldo Leopold

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Thinking Like a Mountain  By Aldo Leopold

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Thinking Like a Mountain  By Aldo Leopold

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Thinking Like a Mountain  By Aldo Leopold

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Thinking Like a Mountain  By Aldo Leopold

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Thinking Like a Mountain  By Aldo Leopold

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Thinking Like a Mountain  By Aldo Leopold

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Thinking Like a Mountain  By Aldo Leopold

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Thinking Like a Mountain  By Aldo Leopold

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Thinking Like a Mountain  By Aldo Leopold

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Thinking Like a Mountain  By Aldo Leopold

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Thinking Like a Mountain  By Aldo Leopold

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Thinking Like a Mountain  By Aldo Leopold

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Thinking Like a Mountain  By Aldo Leopold

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Thinking Like a Mountain  By Aldo Leopold

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Thinking Like a Mountain  By Aldo Leopold

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Thinking Like a Mountain  By Aldo Leopold

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Thinking Like a Mountain  By Aldo Leopold

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Thinking Like a Mountain  By Aldo Leopold

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Thinking Like a Mountain  By Aldo Leopold

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Thinking Like a Mountain  By Aldo Leopold

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Thinking Like a Mountain  By Aldo Leopold

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Thinking Like a Mountain  By Aldo Leopold

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Thinking Like a Mountain  By Aldo Leopold

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Thinking Like a Mountain  By Aldo Leopold

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Thinking Like a Mountain  By Aldo Leopold

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Thinking Like a Mountain  By Aldo Leopold

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Thinking Like a Mountain  By Aldo Leopold

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Thinking Like a Mountain  By Aldo Leopold

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Thinking Like a Mountain  By Aldo Leopold

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Thinking Like a Mountain  By Aldo Leopold

Note taking

Thinking Like a Mountain  By Aldo Leopold

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