Cuc-ukul
GRADE 5
THIS OUTLINE SYLLABUS IS TO
BE TAUGHT FOLLOWING A STUDY THE SYLLABUS
SPECIFICATIONS OF
Technical Skills
1. Laya and Täla
1.1. Ability to perform
teentäl nritta compositions in madhya/drut laya on !hékä (ref: Kathak
specification) as per ISTD guidelines
1.2. Ability to demonstrate teentäl
thékä in baräbar, dugun, tigun and chaugun laya through
parhant and tatkär with confidence
1.3. Ability to demonstrate laya jäti
compositions and bol jäti tihäis through parhant
1.4. Ability to do parhant of jhaptäl
compositions with rhythmic accuracy and correct
pronunciation of bols
1.5. Introduction to dhamär täla: thékä in baräbar, dugun and chaugun laya through parhant
and tatkär
2. Movement Vocabulary
2.1. Double chakkar
2.2. Knowledge and execution of 'ornamental hand movements' and 'finishing positions' (ref:
AK)
3. Abhinaya
3.1. Ability to demonstrate {abdärth, väkyärth, sanchäri and sthäyi bhäva
3.2. Exploration of two rasas appropriate to the age group Performance
4. Nritta
4.1. Jhaptäl: one/two thä!, one ämad, four toräs (including two chakkardär), four tihäis, a lari,
two parans (including one chakkardär)
4.2. One taränä or sargam in jhaptäl
4.3. Teentäl : Thät, vilambit ämad, sangeet kä tukrä, 2 additional tihais, one farmaishi torä /
tukrä /paran, two chakkardär parans, parmelu, 2 additional tishrajati (laya jäti) compositions, 3
tihais in boljati and sawäl jawäb
5. Nritya
5.1. A thumri or ghazal
5.2. An elaborate gat bhäva based on a mythologicalstory/concept
5.3. An elaborate kavitt
6. Creative Exercise
dynamics of rhythmic compositions as requested by the
6.1. Ability to change movement
examiner
using {abdärth and väkyärth as requestedby the examiner
6.2. Abilty to express narrative
, Ancillary skills and File
Safe Dance Practice, Theory
7. Safe Dance Practice with manual to learn the
from the ISTD Shop the Safe Dance Practice DVD
Please purchase the syllabus.
examined in this section of
exercises that will be 1
Guru"ul :.stu ioS
8. Theory
8.1. Knowledge of
musical terms in Kathak: thumri, taränä, bhajan, ghazal and hori
8.2. Knowledge of
other Indian classical dance genres; their origins and names of eminent
dance personalities
8.3. Knowledge of the
creation of the Natya Sastra and an outline of its contents
9. Ancillary Skills
Basic ability to sing musical
compositions with täla such as a bhajan, sargam or taränä.
10. File (A4 Ring Binder, clearly named
in large on the front and spine of the binder) in
following order:
10.1. The sequence of the presentation
10.2. A record of all nritta and nritya compositions learnt for this grade Full notation of nritta
compositions in Bhätkhandé täla lipi
10.3. A written record (personally) of all theory, including principles of warm-up, cool-down
and concept of core stability and notes from the all the sections
10.4. A critical review (100 words) of a Kathak performance attended by the candidate and
dance related supporting material to show overall involvement
The Grade 5 examination consists of:
• Presentation of the file
• Submission on paper, of the complete dance sequence to be presented at the examination
• Prepared dance sequence, with recorded music of no more than fifteen minutes' duration
with a balance of nritta and nritya aspects of Kathak (approximately5-7 minutesto be devoted
one
to nritya) using the following as a guideline -Jhaptäl: one/two thä!, one ämad, two tihäis,
parmelu,
torä, one chakkardär torä, one paran and one lari. Teentäl: a chakkardär paran,
farmaishi, Kavitt and thumri/ ghazal
questions generated from the
• Individual response to simple questions testing theory, and
performance
requested by the examiner.The examiner can
• Further individual demonstration of dance if
full if it is edited in the performance. Music
request the candidate to demonstrate the item in
available by the teacher Three candidates are normally
of learnt compositions should be kept
examined simultaneously
2
Gurukul
GRADE 5 (TABLE OF CONTENT)
l) Prepared Sequence
Jhaptaal
Vilambit Laya
1) Barabar, Dugun, Chaugun and Bedum Tihai
2) Thaat
3) Do Dishanyon Ki Amad
Drut laya
4) Natwari Ka Tukda
5) Sada Tukda
6) Bedum Tihai
7) Chakkardar Tukda
8) Paran
9) Ladi
Teentaal
Madhya Laya
1) Parmelu
2) Farmaishi Paran
Drut Lava
3) Sangeet Ka Tukda ( Drut laya)
4) Ginti Ki Tihai
5) Makhan Chori Kavit
Thumri (Sab ban Than Aayi )
Notation of all Nritta compositions
III) Extras Notation
Teentaal Extras
1. Thaat
2. Aalingan ki Amad
3. Tishra Jati Parmelu
4. Laya Jati Tihai
5. Tishra Jati Tukda
6. Bol Jati Tihai 1
7. Bol Jati Tihai 2
8. Bol Jati Tihai 3
9. Chakkardar Tihai
IO. Ginti Ki Tihai
II. Farmaishi Paran
3
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12. Chakkardar Paran
13. Sawal Jawab
14. Gat Bhav —Makhan Chori
Jhaptaal Extras
1. Bol Jati Tihai (Tarana)
2. Parmelu (Tarana)
3. Dumdar Tihai (Tarana)
4. Dumdar Tihai (Tarana)
5. Chakkardar Paran
Panchjati (Rhythmic Phrases) —Laya Jati and Bol Jati
V) Dhamar —Barabar, Dugun, Chaugun, Teentaal - Tigun
VI) Nritya Compositions and Meaning
Thumri —Sab Ban Than Aayi, Bhajan —Ram Bhajan.
Vll) Additional —
Darbari Tarana in Jhaptaal
Ram Bhajan
Theory
1. Knowledge of musical terms in Kathak: thumri, taränä, bhajan, ghazal and
hori.
names of
2. Knowledge of other Indian classical dance genres; their origins and
eminent dance personalities
of its contents
3. Knowledge of the creation of the Natya Sastra and an outline
4. Definitions/ Terminology of Compositions in Kathak
5. Ornamental Hand Movement According to Anga Kavya
Down Exercises
DO Safe Dance Practice —Principles of Warm up and Cool
X) Core Stability Exercise
words)
Critical Analysis of a Kathak Performance (100
Certificates/ Achievements.
Dance related supporting material -
