Continuous Internal Assessment (CIA): Topics and criteria as outlined per Syllabi and Course Plans. Criteria that make up each evaluation rubric are used to assess all students from an equal standpoint. As per the Ethics in Assessment policy outlined for the School of Arts and Humanities outlined in this document, such criteria are only approved after being checked for validity, reliability, transparency, alignment, fairness, and social relevance.

Centralised Examinations: Based on content covered throughout the given course up until the time of examination. All centralised examinations are in written form, and hence only apply to theory courses within the programme. Within CHRIST (Deemed to be University), the Centre for Examinations governs all centralised assessments, hence any of these are conducted according to their processes as outlined in the student handbook. 

Practical End-semester Examinations: Requires the student to actively demonstrate their mastery of practice-based abilities, such as performance, conducting, pedagogy, or aural mechanics. The criteria for these examinations have been outlined within the course plans and adhere to the same Ethics in Assessment policy of the School of Arts and Humanities. Such examinations are conducted within the Department of Performing Arts by the relevant, specialised faculty members.

The Department of Performing Arts was established in 2010 with the vision of providing ?Integrity through Aesthetic performance?. Its mission is to inspire and mentor the birth and sustained growth of artists who, through cultural ethos, will embody respect, humanity and discipline. The primary aim of the programme is not to make students experts in one art form or the other, but introduce them to the possibilities with art and to help them get an integrated sense of art. The department has more than 150 students who are guided by 5 permanent and 2 guest faculty members. The first batch graduated in the year 2013. At present, the department offers three undergraduate and one postgraduate programmes

Vision

Toraiseperformancetoalevelofprofessionalismwhichwillbegloballyrecognizedandfoster integrity through aesthetic performance.

Mission

Tomentorthebirthandsustainedgrowthofperformanceartistsbyfacilitatingthedevelopmentof their potential and skills through a cultural ethos that embodies respect, humility and discipline.

The Bachelors in Performing Arts is envisioned for students who have a flair for dance, music and theatre and are looking for structured intervention at the UG level. The programme hopes to give a strong platform for our students to develop a passion for the arts, sharpen their artistic skills and broaden their theoretical base. While the focus will be predominantly within the parameters of dance, music and theatre, other art forms would act as subsidiaries under this three-dimensional approach.

The primary aim of the programme is not to make students experts in one art form or the other, but introduce them to the possibilities with art and to help them get an integrated sense of art. It is desirable that every student continues to work under an artist/group in one art form or the other outside curriculum, towards long term development,

The Creative Media double degree involves the application of Performing Arts (Indian Dance, Music and Theatre) and Media skills to create portfolios of digital content. Students will create a portfolio featuring their digital content creation skills such as content for social media, advertisements, short film and television shows.

Students who have secured 75% marks and above in the first six semesters are eligible to qualify for a 4-year degree (Honours) in Creative Media through the creation of a research documentary, or if recommended by faculty may pursue an Honours in Performance.

Programme Outcome/Programme Learning Goals/Programme Learning Outcome:

PO2: Critical Thinking: ? Recognize the social structures underlying our society ? Identify the implications of the same in our existence ? Analyse and engage with their social surroundings, problematize and raise questions based on academic inquiry ? Take informed actions

PO3: Effective Communication: ? Communicate effectively based on the context within which one is operating ? Develop soft skills ? Operate effectively in multicultural spaces

PO4: Social Interaction: ? Function as a collaborating member/leader in teams in multidisciplinary settings ? Demonstration of interpersonal intelligence or skills

PO5: Effective Citizenship: ? Act with an informed awareness of issues ? Engage in initiatives that encourage equity and growth for all

PO6: Ethics: ? Recognize and respect different value systems including one?s own ? Follow the norms of academic integrity ? Take cognizance of the moral implications of our decisions

PO7: Environment and Sustainability: ? Demonstrate awareness of local, regional, national, and global needs ? Engage with their socio-cultural contexts along with environmental needs and concerns

PO8: elf-directed and Life-long Learning: ? Engage in lifelong learning ? Work on career enhancement and adapt to changing professional and societal needs

Programme Specific Outcome:

PSO2: Emotional Self-Regulation: Demonstrate empathy by listening for cohesion.

PS03: Communication Skills: Demonstrate creative thinking by storytelling with expression.

PSO4: Co-Creation: Demonstrate interpretation using Performing Arts analysis and stage presence.

PSO5: Entrepreneurship: Demonstrate leadership through project management and multitasking.

PSO6: Research Skills: Demonstrate philosophical inquiry using critical thought and research methodology.

PSO7: Cultural Competency: Demonstrate contextualization of sociocultural history and ritual celebration.

Course Description and Course Objectives:

 This course introduces the basic concepts and principles of creative media. Students will explore various media forms including photography, video, audio, and graphic design. Through lectures, discussions, and hands-on projects, students will develop fundamental media creation and production skills.

• Historical overview of creative media
• Evolution of media forms and technology                                         

• Historical overview of creative media
• Evolution of media forms and technology                                         

• Historical overview of creative media
• Evolution of media forms and technology                                         

• Introduction to photography principles
•  Composition and lighting
• Exposure and aperture
• Introduction to software 

• Introduction to photography principles
•  Composition and lighting
• Exposure and aperture
• Introduction to software 

• Introduction to photography principles
•  Composition and lighting
• Exposure and aperture
• Introduction to software 

• Introduction to video production principles
• Storyboarding and scripting
• Cinematography and lighting

• Introduction to video production principles
• Storyboarding and scripting
• Cinematography and lighting

• Introduction to video production principles
• Storyboarding and scripting
• Cinematography and lighting

Belavadi, V. (2008). Video production. Oxford University Press.

May, M., & Warr, S. (2011). Teaching Creative Arts & Media 14+. Open University Press.

Gatcum, C. (2016). The beginner’s photography guide (2nd edition, fully revised & updated). Dorling Kindersley Limited.

Compesi, R. J., & Gomez, J. S. (2018). Introduction to video production: Studio, field, and beyond (Second edition). Routledge, Taylor & Francis Group.

CIA I: Submission (20 marks)

MSE: Centralised written exam (50 marks)

CIA III: Submission (30 marks)

ESE: Submission + Viva (30+20 marks)

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

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

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

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• 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

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• 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

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

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

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

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

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

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

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• 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

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

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

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

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

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

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

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• 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

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• 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

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

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

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

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• 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

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• 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

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• 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

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• 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 

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 Why We Travel-Pico Iyer 

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 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

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

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

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