Narmada College of Fine Arts, Music & Design

Affiliated to Raja Mansingh Tomar Music & Arts University, Gwalior

Bachelor of Performing Arts (Bharatnatyam) | 4 Years

The BPA Dance program is a four-year journey into the world of Indian classical, folk, and modern dance traditions. Students explore the history, theory, and practice of Bharatanatyam, Kathak, Odissi, Kathakali, Manipuri, Sattriya, and more, while also engaging with folk theatre, ballet, and contemporary dance forms. Alongside textual studies from the Natyashastra and Abhinayadarpana, the program emphasizes practical training, stage performance, and choreography, guided by live orchestra and traditional techniques. By the final year, students are equipped with both scholarly knowledge and professional performance skills—preparing them for careers as performers, teachers, choreographers, or researchers in dance.

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BPA Bharatnatyam Curriculum

Theory I

 

History & Development of Indian Dance

Evolution of Bharatanatyam & Devadasi Tradition

Adavus and Bharatanatyam Repertoire (Margam

South Indian Folk Dances: Kolannalu, Karagattam, Koli, Veeragaase, Kolkali

Study of Koodiyattam

Contributions of Rukmini Devi Arundale & E. Krishna Iyer

 

Textual Tradition

Origin of Natya (Natyotpatti) from Abhinayadarpana

Concepts: Adavu, Jathi, Korvai, Avartana, Laya

Introduction to Abhinaya – Angika & Vachika

Shlokas of Pushpanjali & Patra Lakshana

Asamyuta Hastas, Shiro Bheda & their Viniyogas

Carnatic Tala system – Sapta Talas with Jathis

Notation of Adavus

 

Practical

 

Demonstration & Viva

Tala of Adavus in 3 speeds

Sapta Tala with Jathis

 

Textual Demonstration

Asamyuta Hasta Viniyogas (Abhinayadarpana)

Shiro Bheda & its Viniyogas

 

 

Theory

 

History & Development of Indian Dance

Evolution of Kathak & Odissi

Aharya (Costumes & Ornaments) in Bharatanatyam

Instruments used in Bharatanatyam

North Indian Folk Dances: Garba, Karma, Bhangra, Ghoomar, Kalbelia

Study of Chhau Dance

Contributions of Uday Shankar & Balasaraswati

 

Textual Tradition

Overview of Natyasastra (Chapters, Dharmi, Vritti, Pravritti)

Abhinaya: Aharya & Sattvika

Shlokas of Natyakrama & Rangadhidevata Stuti

Samyuta Hastas, Drishti Bhedas & their Viniyogas (Abhinayadarpana)

Sahityam & meaning of Shabdam

Notation of Alarippu & Jathiswaram

 

Practical

 

Demonstration & Viva

Demonstration of Taalas of learned items

 

Textual Demonstration

Samyuta Hasta Viniyogas (Abhinayadarpana)

Drishti Bhedas & their Viniyogas

 

 

Theory

 

History & Development of Indian Dance

Evolution of Kathakali & Mohiniattam

Banis of Bharatanatyam & Role of Dance Institutions

History of Folk Theatre & Yakshagana

Contributions of Rabindranath Tagore & the Tanjore Brothers

 

Textual Tradition

Tandava & Lasya; Natanabhedas (Nritta, Nritya, Natya)

Karanas, Angaharas & Rechaka

Tala Dasha Pranas; Greevabheda & its Viniyogas (Abhinayadarpana)

Sahityam & Meaning of Padam and Keertanam

Notation of Thillana

 

Practical

 

Demonstration & Viva

Performance of Padam, Keertanam & Thillana

Taalas of learned items

Greevabheda and its Viniyogas (Abhinayadarpana)

 

Stage Performance

Solo stage performance with live orchestra

 

 

Theory

 

History & Development of Indian Dance

Evolution of Manipuri & Sattriya Dance

Introduction to Ballet; Contribution of Anna Pavlova

Modern Dance & Contribution of Chandralekha

Contributions of Maharaja Swati Thirunal & Balasaraswati

 

Textual Tradition

Overview of Rasa & Bhava

Nayaka–Nayika Bhedas & Ashta Nayika Avasthas

Deva Hastas & Padabhedas (Abhinayadarpana)

Sahityam & Meaning of Varnam and Ashtapadi

Notation of Varnam

 

Practical

 

Demonstration & Viva

Performance of Varnam & Ashtapadi

Taalas of learned items

Deva Hastas & Padabhedas (Abhinayadarpana)

 

Stage Performance

Solo stage performance with live orchestra

 

Choreography

Independent choreography of one item