Upcoming Events
Vignesh Ishwar Navaratri Concert
September 24, 2017
Past Events
Sri Kunnakkudi Balamurali Krishna Concert
June 4, 2017
Vignesh Ishwar Navaratri Concert
September 24, 2017
Sri Kunnakkudi Balamurali Krishna Concert
June 4, 2017
Course objectives:
Understanding of the simple lyrical moods provides a good environment and interest in the recitation of composition.
The melodic, simple compositions in rhythm-based measurements provide a new look to the learner.
The introduction of manodharma aspects of compositions provides scope for creativity.
The several moods presented in the varied programming of Carnatic music are presented.
Knowledge of singing the written notation.
Knowing the importance of Tyagaraja’s most popular compositions (Ghanaraga Pancharatnas).
Learning outcomes:
Identify the melodies (ragas) previously learned.
Utilize the practical and theoretical knowledge and integration of both.
Gain knowledge of proper utilization of lyrical and musical concepts in their deliverance.
Have a thorough understanding of elements of Carnatic music expected of the candidate in their performance.
Render popular compositions & other simple compositions (Pancharatnakirtana and other simple kritis) along with creative ability (manodharma aspects –Raga alapana & swarakalpana).
Course objectives:
The course contains fundamental exercises that provide good basics for beginners.
Understanding of simple lyrical moods provides a good environment and interest in the recitation of composition.
The melodic, simple compositions in rhythm-based measurements provide a new look to the learner.
The rendering of different types of musical compositions to evaluate the richest wealth of Carnatic music.
The varied programming of Carnatic music is presented which consists of several moods.
Knowledge of singing the written notation.
Learning outcomes:
Identify the melodies (ragas) already learned.
Utilize the practical and theoretical knowledge and integration of both.
Gain knowledge of proper utilization of lyrical and musical concepts in their deliverance.
Have a thorough understanding of elements of Carnatic music expected of the candidate in their performance.
Render different types of compositions of various composers.
Course objectives:
Definition of technical terms and vocabulary which have practical applications to convey the importance and relevance of Carnatic music.
Introduction of different melodic treatises (raga lakshanas).
Knowledge of different musical instruments.
Knowledge of basic structures of melodic rhythms (talas).
The study of different types of musical compositions to evaluate the richest wealth of Carnatic music.
Ability of writing notation.
The greatness of different composers.
Learning outcomes:
Understand the vocabulary and terminology of musicology and explain them.
Identify the melody & rhythm (Ragas and Talas) of the compositions.
Recognize the variety of compositions according to their structure.
Communicate the difference in the characteristics of ragas.
Understand the essentiality of all these theoretical aspects that are put to practical use.
Course objectives:
Detailed Knowledge of the parental melodies (Ghana ragas). (Nataragam, Goularagam, Arabhiragam, Varaliragam and Sri ragam)
Detailed analysis of each composition (kirtana) in relation with the lyrics (sahitya).
Detailed analysis of different lyrical (swara) patterns related with melodic musical pauses (laya) in each composition (Kirtana).
Lyrical sequence in the five compositions
Learning outcomes:
Render all the five compositions during the group singing for Tyagaraja Jayanthi and Vardhanti.
Understand the lyrical beauty of the compositions.
Gain knowledge of different swara structures related to rhythm.
Acquire detailed knowledge of the five Ghana ragas.
Extract the great devotion, character, ideology and expertise of Tyagaraja.
Course objectives:
Detailed knowledge of different musical compositions, which are in vogue.
Brief knowledge of different languages.
An idea on the Hindu philosophy.
Introducing varieties of rhythms (talas).
Knowledge of the various styles (mudras) used in the compositions.
Understanding the styles of different composers who enriched our music with their variety of compositions.
Learning outcomes:
Understand the philosophy in music.
Identify the similarities and differences in the musical compositions.
Identify different styles of different composers.
Gain little knowledge of different languages.
Analyze various moods of composers.
Understand how different composers worshipped various deities in different styles.
Course objectives:
Study of the characteristic features of various ragas in detail.
Various stages involved in musical elaboration (raga alapana).
Knowledge about different improvisations (tanas).
Introduction of unique compositions (neraval).
Creative ability related to musical notes (swarakalpana).
Learning outcomes:
Present various musical elaborations (raga alapanas) in a traditional style.
Present a simple improvisation (tana) for a few melodies (ragas).
Render simple songs (pallavis) in three speeds.
Render unique compositions (neraval) in two speeds.
Render musical creative compositions (swarakalpana) in two speeds for few compositions.
Write notations of compositions with proper knowledge of the music grammar.
Course objectives:
Study of musical prosody in Carnatic music.
Knowledge of the 22 micro-tones (22 sruthies).
Construction and utilization of musical instruments with diagrams, used in our music.
An elaborate study of improvisation of Music (manodharma).
Information regarding seats of music.
Ability of writing notation in different time measures.
Understanding the greatness of musical legends of yester years by studying their life histories.
Study and execution of melody & improvisation of songs (Ragam tanam pallavi)
Knowledge of folk music.
Study of the merits and demerits of the vocalists.
Learning outcomes:
Understand the characteristics and importance of micortonic intervals (sruthies) in Carnatic music.
Communicate the contributions of various musicians, composers who glorified Carnatic music with their performances.
Explain the prominence of improvisation of music.
Differentiate musical instruments.
Understand the role played by different places in promoting our music.
Write notations of compositions with proper knowledge of the music grammar.
Get an idea on the folk music, its relationship with classical music.
Course objectives:
Study of some important aspects of rhythmic variations (Tala).
Detailed knowledge of the 72 parent melodies (ragas) (72 melakartha scheme).
Knowledge of ornamentation of musical notes (Gamakas).
The study of different types of musical compositions to evaluate the richest wealth of Carnatic music.
Ability of writing notation in different time measures.
The extensive account of music and the pioneering attempts made by composers in bringing Carnatic music to the fore.
Knowledge of the thirteen characteristics of musical melodies (Raga).
Learning outcomes:
Understand the characteristics and importance of ornamentation of musical notes (gamakas) in Carnatic music.
Communicate the contributions of different composers who glorified Carnatic music.
Recognize the variety of compositions according to their structure.
Differentiate allied melodies (ragas) according to their notes from the study of 72 orignal melodic schema (melakarthas).
Understand the essentiality of all these theoretical aspects that are put to practical use.
Analyse different compositions from the point of view of rhythmic structures from the study of various rhythmic stages (taladasapranas).
Understand the characteristics of melodies (raga) by the study of Raga Trayodasa lakshanas.
Course objectives:
This course is designed to help the student experience the joy of discovery with a clear, untainted mind.
To develop an analytical approach in the students.
Exposure to a new concept and revelation of the same through research.
Correct application of subject matter.
Develop the capacity to focus on relevant areas.
Prepare for further research at a later stage.
Learning outcomes:
Develop an analytical approach
A new concept is absorbed by the student independently.
Different perspectives arise giving way to objectivity.
Develop application skills.
Confidently pursue higher research.
Develop the capacity to read extensively and yet nurture focus of mind.
Course objectives:
Relevance and importance of Modal shift of Tonic.
Knowledge of the grammar of music.
Knowledge of the different brand names (mudras) of different composers.
Importance of writing notation.
Detailed study of Tala.
Comparative study of Carnatic, Hindustani, Western music.
Analytical study of different musical forms.
Introduction of Tyagaraja’s musical dramas.
Knowledge of different instruments.
Study of contributions of Legends in music.
Comparative study of the compositional styles (Bani) of Musical Trinity.
Learning outcomes:
Execute Modal shift of tonic to some ragas.
Write notations to some compositions.
Differentiate the musical forms.
Differentiate musical instruments from different characteristics like sound, shape, material used etc.
Identify the peculiarities of different music styles.
Analyze Tyagaraja’s style, devotion, erudite from the study of his Operas.
Understand in detailed the history of the Tala concept.
Know the valuable contributions of legends in the development of this art.
Explain the special features in the compositions of Musical Trinity.
Course objectives:
Shaping the students into good performers.
Teaching different presentation, performing techniques.
Knowledge to perform along with accompanying instruments.
Ability to perform different items.
Technique of designing a concert.
Improving the confidence of students in a live performance.
Learning outcomes:
Know the importance of live performance in Carnatic music.
Perform along with the support of accompanying instruments.
Improve their creative abilities.
How to design a concert.
Perform different items as part of a concert.
Know the aspect of time management in the concert.
Course objectives:
Detailed knowledge of the characteristics of ragas in their compositions.
Study of flow of raga, the compositional format and the treatment.
Study of various laya patterns involved in their compositions.
Knowledege regarding their peculiarity and vividness in thekritis.
Study of special features like madhyamakalasahityas, yati patterns and other patterns in Dikshitar compositions.
Study of special features like vilomachaputala, swarasahityas and others in Syama Sastry compositions.
Study of philosophical, devotional values in their compositions.
Study of group krithis of Dikshitar or Syama Sastry.
Special study of three swarajatis of Syama Sastry.
Learning outcomes:
Understand the compositional styles of Dikshitar and SyamaSastry.
Render the kritis of Dikshitar and SyamaSastry in specific ragas with a detailed knowledge of the ragas.
Render three swarajatis of SyamaSastry.
Identify the yati patterns in Dikshitarkritis.
Present the specified group kritis.
Analyze and approach the composers in their kriti building.
Communicate the importance of laya in their compositions.
Understand the importance of vilambalaya.
Compare the study of music and theoretical applications viewed from the musical Trinity.
Course objectives:
Detailed study of Carnatic music since Vedic time with different landmarks and features.
Knowledge of different Seats of music.
Study of various stages in the vina.
Information regarding the music before the Musical Trinity period.
Importance of acoustics and music halls.
Knowledge of the different stages involved in the development of music concerts.
Elaborate study of the Melakartha scheme.
Study of characteristics of some prescribed ragas.
Learning outcomes:
Understand the history of Carnatic music right from its origin
Know about the veena instrument with all the stages involved in its development.
Gain knowledge regarding the importance of acoustics and music halls.
Present different ragas with their characteristics.
Understand the concerts of different periods.
Explain the 72 melakartha scheme with all its technicalities.
Course objectives:
Detailed knowledge of the characteristics of ragas in Tyagaraja compositions.
Study of flow of raga and its construction.
Study of various laya patterns involved in compositions.
Knowledege regarding the peculiarity and simplicity that are adored in his compositions.
Study of desadi and madhyaditalas.
Study of philosophical, devotional, moral values in his compositions.
Study of group krithis and their theme and constructing pattern.
Study of rare ragas used in his compositions.
Learning outcomes:
Understand the philosophy of Tyagaraja.
Render a number of kritis of Tyagaraja in specific ragas with a detailed knowledge of the ragas and its melodic content.
Render all the five Ghana raga pancharatnas.
Identify the simple style of Tyagaraja which has greater significance in the history of Carnatic music.
Render group krithis of Tyagaraja (student’s choice).
Communicate the importance of rhythmic propriety in his compositions.
Course objectives:
Clear pictures of the allied ragas with their specific characteristics and specialties.
Study of the dissonant notes and the ragas involving them through various exercises.
Learning of compositions in allied and vivadi ragas.
Observation of the way in which the composers applied dissonance (vivaditva).
Observance of particular care in the rendition of dissonant characteristic notes.
Knowledge of different ragas used in ragamalika compositions.
Study of characteristic features of ragamalikas in different languages.
Study of varnams to attain perfection in different aspects of Carnatic music.
Learning outcomes:
Differentiate the allied ragas with a systematic knowledge.
Illustrate the characteristic features of vivadiragas.
Render the compositions in each pair of allied ragas.
Improve their performing standards in presenting vivadi compositions.
Attain knowledge of the ragas and compositions in notation format.
Show skill in performing various ragas by highlighting the individualistic nature of the ragas.
Present different varnams in different speeds.
Course objectives:
Study of the aspects of raga alapana, neraval and swarakalpana in brief.
Application of elaborating the ragalapana and its characteristics.
The different stages involved in the improvisation of raga.
Technique of elaborating niraval and the subsequent methods involved.
Study compositions of different time measures (Vilamba, Madhya, drutha)
Knowledge of applying swarakalpana in two speeds.
Application of laya patterns that are required for kalpanaswara.
Detailed knowledge of different musical compositions which are in vogue.
Brief knowledge of songs in Tamil, Telugu,Kannada, Malayalam and in Hindi, Hindustani and Marathi
Learning outcomes:
Improve their creative skills.
Understand the characteristic features of ragas.
Grasp many laya techniques for application in kalpanaswaras.
Present swarakalpanas that suit different grahas (Samagraha, vishamagraha).
Elaborate on the lyrics according to the characteristics of raga and tala.
Present a concert involving all the manodharma aspects
Demonstrate the compositions of different time measures.
Study the lyrical beauty and musical depth of different compositions.
Analyze the flow of raga and the meaning and devotional involvement there upon.
Course objectives:
Study of the three aspects ragam, tanam and pallavi in an elaborated way.
Application of different stages involved in the improvisation of raga (melody).
Study of different types of tanams and knowledge of application in the rendition.
Learning of the different rhythmic variations (nadais) in the execution of Pallavis.
Glossary of technical terms related to the Pallavi format.
Technique of lyrical elaboration (niraval) and solfa improvisation (swarakalpana) involving various calculations of laya (tala cycles).
Knowledge of writing notation for various Pallavis in different time measures.
Learning outcomes:
Improve his/her creative skills, as this is exclusively a creative course.
Illustrate the different technical terms used in this course.
Understand the characteristic features of ragas and talas in the prescribed syllabus in detail.
Grasp many laya techniques in the application of other branches of Pallavi.
Demonstrate the concept of “tana” and its execution and performing techniques.
Present solfa singing (swarakalpana) to different placements (Eduppu or Grahas)
Develop the ability to do calculation of different time measures for a Pallavi in an acknowledged way.
Acquire knowledge of creating ragamalikas in a systematic way.
Possess the technique of executing a Pallavi in different talas.
Course objectives:
Study of Musical Treatises.
Knowledge of ornamentation of musical notes (Gamakas).
Knowledge of the characteristics of some prescribed ragas.
Introducing folk music, its detailed study.
Understand the aesthetics of Raga.
Introduction of Grama-Murchana-Jati concept.
Detailed knowledge of the 22 micro-tones (22 sruthies).
Learning outcomes:
Know the importance of different Musical treatises (Lakshanagrandhas) and Lakshanakaras) with their role in developing this art to the level of a science.
Understand the concept of 22 sruthis and their importance in Carnatic music.
Explain the relationship of raga and rasa.
Understand the history of Folk music.
Present different ragas with all their characteristics (lakshanas).
Understand the concept of Grama-Murchana-Jati and its importance.
Differentiate the gamakas according to their features.
COURSE OBJECTIVES:
The study will give a broad idea of different aspects of nature and their presentation in Dance.
It provides a better understanding about the rhythm patterns of the Dance.
It enables a student to understand the relation between the natural behavior and the action.
It provides an idea of how the body movements of different Animals and Birds play a role While Dancing.
It provides a scope for observation of happenings around the artist.
This course is designed to introduce and create a sense of rhythm based on sound and symbols.
To provide an understanding that expression is part of Human Nature.
It reveals that Dance is evolved from our primitive culture and life style.
LEARNING OUTCOMES:
Understand the concepts of nature and Dancing.
Understand the dance movements of a peacock, slithering of a Snake, neck movement of a Pigeon, horse’s gallop, etc.
The various hand gestures used with single hand, their presentation, their meaning and usages in regular life, (to invite, say stop flying, etc).
The various movements of nature like waterfall, movement of a tree, the movements of flames, blow of wind, etc., are learned in a gracious manner.
COURSE OBJECTIVES:
The study of the spiritual background of Indian Dance
To understand the divinity of Indian Dance
To appraise the custom of dancing in Temples
Make believe that Dance is Eternal.
Dance creates stimulation from within towards the joy of spirituality.
Will help the student to define the differences between the various dance forms like Rasaleela ,Garbha, kollattam and so on.
LEARNING OUTCOMES:
The dance is essentially spiritual and Philosophical.
The Dance is transcended by the divine spirit.
Dance is a medium to convey the message of the sages and savior of humanity.
Through dance many epics and the manifestations of God were conveyed to the common public and a feeling of spirituality is evoked among the spectators.
This inculcates discipline among dance learners.
It provides a tremendous psychological courage.
When once the learner experiences the divine intervention and peace they typically would like to continue the study of Indian Dance.
COURSE OBJECTIVES:
The study will give a broad idea of the different performing arts of India.
It provides a better understanding of the origin and development of the Dance
It enables a student to understand the Socio –Cultural background and the then existing glorious traditions
Student can list how the body movements and gestures played a role as a mode of communication
A student can define the creative ability of the early man.
This course is designed to introduce and create a sense of aesthetic pleasures and learn to appreciate the art. It allows a student to study about various concepts of Dance. There are many styles in Indian Dance. A Dance student will understand perfectly the collaboration of all the styles and also understand the body-mind connection. It provides a comprehensive view of the art form and develops the core skills in Dance and makes the student a professional dancer.
LEARNING OUTCOMES:
Understand the difference between the folk Dance and the Classical Dance.
Understand the Rhythm Patterns
The various hand gestures used with single hand, their presentation, their meaning and usages, the science behind and everything related to hand gestures.
The student will appreciate the art
The student will feel the positive energy that flows within the body when they are studying the Dance
The student will understand the socio, economical, anthropological, geological cultural backgrounds that were existing in India.
It will throw a light on the then existing life style of fairs and festivals.
It helps to define how dance played a role as a mode of communication and mass communication too.
A student learns to imitate the different gaits and style of other living beings around him. It encourages a student to study further and to have a better understanding.
COURSE OBJECTIVES:
The study will give a broad idea of different foot work patterns of Kuchipudi style of Dance.
It provides a better understanding of the rhythm patterns of the Dance .
It enables a student to understand the systematic way of presenting the dance.
It provides an idea of how the body movements and hand gestures play a role as a mode of communication
It provides a scope to analyze the creative expression of Dance.
This course is designed to introduce and create a sense of rhythm, entire system of gesticulation, and nothing short of demanding dancing talent in actors/ dancer perceivers.
To provide an understanding that Physical expression is part of Human Nature.
LEARNING OUTCOMES:
Understand the technique of Dancing.
Understand the Rhythm Patterns
The various hand gestures used with single hand, their presentation, their meaning and usages, the science behind them and everything related to hand gestures.
Can appreciate that the limbs of the body are classified as the major limbs, minor limbs and so on.
Dance creates an unlimited scope for the artistic use of body.
It allows you to understand the socio, economical, anthropological, geological cultural backgrounds that existed in India.
It will throw a light on the then existing life style of fairs and festivals.
It helps to understand how dance played a role as a mode of communication and mass communication too.
It encourages a student to study further and to have a better understanding.
COURSE OBJECTIVES:
The study of Treatises on Indian Dance will help the students to understand the elements of Dance
The study of Physical expression will enable the student to perform in a better way.
The study of Vachikabhinaya will help the student to understand the techniques of dialogue that is verbal expression.
Aharyabhinaya is the expression through external elements like costumes, make-up and Scenery will add beauty to the Dancer and to the performance.
To match the poses the hand gestures and other bodily movement to perfection.
The student will understand the differences between the various dance treatises.
LEARNING OUTCOMES:
Natya Sastra has key principles for physical expression that are exercises from head to foot.
The bodily movements prescribed for each limb are based on high kinetic principles.
The other expressions are verbal, which include the dialogues and songs. The voice modulation and its control play a major role in this form of communication.
The Aharyabhinaya, the expression through external elements, includes facial make-up, colors, crowns, jewelry and costumes for each character.
The Satvikabhinaya is perhaps most important, yet the most difficult mode of expression.
Once the learner studies and practices the textual theory in the treatises they can appreciate the Indian Dance accepting the fact that Art has no boundaries and it is universal.
A student can further make a comparative study between both the Treatises.
COURSE OBJECTIVES:
Make the student aware of Carnatic Music
Various topics like Different ragas, its origin, its usage are explained in this program.
Students get to know about the ragas that are exclusively used in Yakshaganas and Kalapas are explained.
Prose components like Kandam, Kandardham, Churnika, Dwipada, Daruvu, Ata veladi (these are different varieties of songs) etc are explained along with the singing pattern.
Literature and rhythm are the two sides of the music coin. Hence the student should know the rhythm patterns. So SaptaTalas along with five Jaathis (different time patterns) are explained with proper examples.
Difference between Drta (fast), Madhya(medium)and Vilamba(slow) are explained along with the three speeds in which the rhythm flows in the song.
LEARNING OUTCOMES:
This course enhances the knowledge about Carnatic music to a great extent.
To some extent student can understand and choose various ragas in their choreography.
Students can choreograph their own solo dance pieces like keerthana, jathiswaram, padavarnam, thillana by which they can showcase their command over rhythm.
COURSE OBJECTIVES:
To establish that Dance is the best medicine for good health and unique treatment in healing physical and mental ailments.
It enables a student to understand the internal bliss that a dancer enjoys while dancing.
Dance movements are an excellent physical exercise, which gives the same result as yoga.
Hand gestures in dance has a miracle power in healing arthritis .
Music is an integral part of Dance. Dance music acts like a soothing factor to the mind and nerves.
Dance is worship. By learning or performing dance one gets the bliss and enlighten.
LEARNING OUTCOMES:
Understand how dance can play a therapeutic role.
Understand the mind and body relation
The various bodily movements give good exercise to limbs and helps in growth among children.
Psychological aspects like correlation, adjustment, coordination are developed.
Students can improve their health and also can help others in healing arthritis pain by teaching gestures and few leg movements.
COURSE OBJECTIVES:
Make aware of the Kuchipudi Dance Tradition
The story behind the name of a remote village becoming the title for a classical dance form
Transition of KuchipudiNatyamela (drama tradition) into Kuchipudi Nattuvamela (solo system) tradition
Students will understand the contribution of traditional Gurus (teachers) in the development of Kuchipudi Dance.
This course enables the students to understand the life history of the FATHER OF KUCHIPUDI DANCE – SIDDHENDRA YOGI and his contribution.
It offers the student to have insight about the traditional families which the village belongs to, their contribution, the gift of this agraharam(village) by Abdul Hasan Taneesha (Muslim King belongs to 14th century)
It also mentions different families that are migrated from kuchipudi to various places
The vivid knowledge of these Gurus in the field of Vedas, Sastras( science), Yoga, Manthra (magical) Sastra etc.
LEARNING OUTCOMES:
This course enhances the knowledge about this great dance art form to great extent.
To some extent student will have the physical, social and historical aspects about the state Andhra Pradesh.
Students will get a complete picture about the Kuchipudi drama tradition.
Students can analyze the Evolution of Sanskrit dramas to solo repertoire of today’s Kuchipudi Dance.
Students can judge the development and the contribution of the Gurus in development process.
COURSE OBJECTIVES:
To impart practical knowledge in Kuchipudi dance repertoire.
To make students perform more challenging aspects in Kuchipudi dance such as Padavaranam Tyagarajapancharatnakeertana, thillanaetc which will also provide a good command over the Nrtta (pure dance patterns) aspects in Kuchipudi Dance
To create awareness in the students about the portrayal of different characters according to the nature of the role, and the difference between royal, Rakshasa , divine characters
While learning these dance items student will be given exposure to portraying different characters in Natyadharmi (According to NatyaSastra) and also differentiate the distinguished characters between LokaDharmi and NatyaDharmi.
This course creates awareness in the student about the Bhava, Vibhava and Anubhavas and also the various difficult practical aspects in producing rasa.
LEARNING OUTCOMES:
Perform solo dance items.
Improvise their talent in Abhinaya
Understand the technique of communication through bhava and how well to connect with audience.
Portray male & female characters according to the nature of the character.
Connect to the audience in their performance after completing this program
Differentiate the singing patterns of various songs and Jatis.
COURSE OBJECTIVES:
To create a clear awareness and familiarize students with various theatre and art forms in Kuchipudi dance tradition
Understanding the difference between Kalapas&Yakshaganas
Characters description and their portrayal in Natyashastra
Provides an overview of music components that comes in Yakshagana&Kalapas.
This course is a gateway to Indian culture, tradition and science
LEARNING OUTCOMES:
Acquire knowledge and describe the culture, tradition & customs of India.
Narrate stories from epics and mythological stories of India.
Explain and differentiate between the more ancient forms of drama in India and the modern day drama.
Trace the evolution of dramas from Sanskrit plays to solo dance traditions.
Course Objectives:
To introduce the three treatises – Natyasastra, Abhinaya Darpanam and Nrtta Ratnavali
To familiarize students with various body gestures and apply the same in choreography
To Analyze and differentiate between the various gestures mentioned in these three treatises
Categorize different dance forms to better understand the transition of Natya into Nrtya
Learn about stage designing aspects, selection of costume, jewelryvand make up
Learning Outcomes:
Upon the completion of this course student will:
Compare various topics mentioned in the three dance treatises and practice them accordingly
Differentiate between the NATYA SASTRA, NRTTA RATNAVALI& ABHINAYA DARPANA.
Apply the knowledge in the treatises to enhance one’s own dance and choreographyskills thereby make their dance presentation more authentic and classical.
Course Objectives:
Learning Outcomes:
Course Objectives:
Learning Outcomes:
Course Objectives:
Learning Outcomes:
Course Objectives:
Learning Outcome:
Course Objectives:
Learning outcomes:
Course Objectives:
Learning Outcomes:
Course Objectives:
Learning Outcomes:
Course Objectives:
Learning Outcomes:
Course Objectives:
Learning Outcomes:
Course Objectives:
Learning Outcomes:
Course Objectives:
This course is designed to present the underlying oneness in the seeming diversity in Indian Classical Dance forms. The objectives of this course are as follows:
Discuss the origin of each dance form
Recognize the conditions that influenced them
Experience (by learning the basics) the technique of each dance form
Distinguish with an objective view the psyche of each dance form
Use the dance forms as a fulcrum to grasp the socio-cultural history of the states and of India as a country.
Learning Outcomes:
Appreciate the thread of continuity in the dance forms
Recognize the cultural background of each form
Infer the social and historical dynamics of the state that are reflected in the dance form.
Experience and analyze the physical and psychic components of each dance form.
Revel in the commonality and universality that form the core of each dance form.