Narmada College of Fine Arts, Music & Design

Affiliated to Raja Mansingh Tomar Music & Arts University, Gwalior

Bachelor of Performing Arts (Kathak) | 4 Years

This four-year degree program offers a comprehensive journey into the world of Kathak โ€“ blending tradition, technique, and creativity. Students study the history and evolution of Indian classical dance, gharana styles, rhythmic structures, abhinaya (expression), and allied dance forms. Alongside theory, the program emphasizes rigorous practical training in taals, bandishes, vandanas, and expressive compositions. With exposure to stagecraft, choreography, and performance, graduates emerge as skilled dancers ready for professional performance, teaching, or further research in the performing arts.

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BPA Kathak Curriculum

The first-year program builds strong foundations in Kathak through theory, practice, and performance.

 

Theory

Study of technical terms: Tatkaar, Hastak, Thaat, Taal, Theka, Matra, Sam, Taali, Khaali, Vibhaag.

Introduction to Kathak dance style.

Detailed study of Tandava & Lasya, types of Natya, Gati Nikas, Gat Bhav.

History of Indian dance (ancient to medieval period).

Life and contribution of legendary Kathak maestros: Pt. Bindadin Maharaj, Pt. Kalka Prasad, Pt. Achchan Maharaj, Pt. Lachhu Maharaj, Pt. Shambhu Maharaj & Pt. Birju Maharaj.

Study of Abhinaya Darpan by Acharya Nandikeshwar โ€“ Asamyukta Hastas (1โ€“16), Greeva Bheda.

Introduction to folk dances of India.

 

Practical

Three Taal compositions: Pad Sanchalan, Hastak, Thaat, Aamad, Toda, Paran, Tihai, Kavitt.

Tatkaar in different layas (single, double, quadruple).

Performance of Vandana (Ganesh or Guru).

Folk dance presentation.

Gat Nikas (Mukut, Murli, Matki) & Gat Bhav (e.g., Panhiharin).

Practical demonstration of Asamyukta Hastas, Greeva & Shiro Bheda.

Recitation & notation of Teentaal, Dadra, Keharwa (Thaah, Dugun, Chaugun).

 

 

The second-year program deepens the understanding of Kathak with emphasis on theory, rhythm, and expressive performance.

 

Theory

Introduction to Bharatanatyam and Kuchipudi dance styles.

History of Indian dance from the medieval to the modern period.

Study of Abhinaya Darpan by Acharya Nandikeshwar:

Asamyukta Hastas (17โ€“28) with verses & usage.

Samyukta Hastas (1โ€“16) with illustrations & applications.

Drishti Bheda (eye movements), Gati Bheda (movements), and character traits.

Technical terms: Aamad, Salami, Toda, Tukda, Paran, Kavitt, Chakradhar Paran.

Study of Jaipur & Lucknow Gharana styles and key gurus (Pt. Sukhdev Maharaj, Pt. Janki Prasad).

Life and contributions of Kathak maestros: Pt. Kartik Ram, Pt. Kalyan Das, Pt. Phirtu Das, Pt. Ramlal, Pt. Barmanlal.

Structure and sequence of Kathak performance.

Importance of rhythm in Kathak; study of Taal notation (Teentaal, Ektaal, Chautaal, etc.) in single, double, triple, and quadruple speeds.

 

Practical

Shiv Vandana performance.

Compositions in Ektaal or Chautaal: Thaat, Uthaan, Aamad, Toda, Paran, Chakradhar compositions.

Tatkaar practice in different layas (single, double, triple, quadruple).

Gat Nikas (Ghunghat, Bindiya) & Gat Bhav (Holi).

Practical demonstration of Drishti Bheda and Gati Bheda.

Folk dance presentation.

Recitation and performance of all learned bols and taals.

 

 

The third-year program emphasizes in-depth study of Kathakโ€™s traditions, gharanas, and expressive aspects, alongside advanced rhythmic practice.

 

Theory

History and development of Kathak; detailed study of Tandava and Lasya.

Jaipur Gharana style and lineage โ€“ contributions of Pt. Sunder Prasad, Pt. Narayan Prasad, Pt. Kundanlal Gangani, Pt. Jaylal, Pt. Gauri Bhankar, Pt. Sunderlal.

Introduction to Ballet and its characteristics.

Study from classical texts:

Natyashastra โ€“ Bhruฬ„kuti Bheda (eyebrow movements), Bhava & Rasa theory, Nayak Bheda (types of heroes).

Abhinaya Darpan โ€“ Asamyukta Hastas (16โ€“23), Samyukta Hastas, Chari and Bhramari Bheda.

Importance of Guru Vandana & Bhoomi Pranam in Kathak.

Significance of the Bhav Paksha (expressive aspect) in Kathak.

Rhythmic studies: Teentaal, Jhaptal, and Dhamar (notation in single, double, triple, and quadruple speeds).

Role of dance in modern society; tradition and innovation in Kathak.

 

Practical

Advanced practice in Teentaal โ€“ compositions, Tihai, Ladi & Chalan within Tatkaar.

Vandanas (Saraswati Vandana, Guru Vandana) with abhinaya.

Gat Nikas (Bindiya, Chhoot/Thaat) and Gat Bhav (Makhan Leela).

Demonstration of Bhruฬ„kuti Bheda (eyebrow expressions) from Natyashastra.

Performances in Jhaptal & Dhamar: Thaat, Aamad, Tode, Paran, Chakradhar Paran, Kavitt, Tihai, Tatkaar (single, double, triple, quadruple).

Recitation and performance of all learned bols, bandishes, and talas.

 

 

The final year focuses on advanced Kathak training, gharana traditions, classical texts, and stage presentation, preparing students for professional performance and research.

 

Theory

Banaras Gharana style & lineage โ€“ contributions of Pt. Sukhdev Maharaj, Pt. Janki Prasad, Vidushi Sitara Devi, Pt. Gopikrishna, Pt. Krishnakumar.

Detailed study of Kathakali, Mohiniyattam, and Sattriya dance styles.

Lokdharmi, Natyadharmi, and Purvarang traditions.

History and impact of the Devadasi system on Indian dance.

Ashta Nayika (eight heroines) and their significance.

The Dash Pranas (ten essentials) of Taal.

Sixteen Shringar (ornaments & adornments) and their role in Kathak.

Abhinaya Darpan: Dashavatara Hastas (hand gestures for ten incarnations).

Natyashastra: 108 Karanas (detailed study of first 25).

Study of Raslila and its importance in Indian dance.

Contributions of Nawab Wajid Ali Shah and Raja Chakradhar Singh to Kathak.

Elements of dance-drama: storyline, characters, stage design, costumes, makeup, music, rhythm, and rasa.

Stagecraft: instruments, costumes, light & sound.

Natyashastra: Sthanaka Bheda (standing postures) and Karnas.

 

Practical

Advanced performance in Teentaal โ€“ Tode, Paran, and high-level compositions.

Gat Nikas (Rukhsar, Ghunghat) and Gat Bhav (Kaliya Daman, Govardhan Puja).

Vandanas (Ram Stuti, Krishna Vandana) with expressive abhinaya.

Practical demonstration of Dashavatara Hastas.

Mastery in Pancham Sawari (15 beats) & Gaj Jhampa (15 beats) โ€“ recitation & performance in various layas.

Revision and presentation of all learned bandishes, bol patterns, and taals.