Kathak is a classical dance form that originated in North India. Our organization specialize in Indian classical dance education, including Kathak. These institutions offer grade exams to evaluate a student's proficiency in the dance form, including technical skills, musical interpretation, and understanding of rhythm.
Kathak
Pre Grade
PRACTICAL
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Tatkar in Barabar
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Tatkar in Dugun
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Tatkar in chaugunZayas
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Eight Movements Combined with Tatkar
Grade - 2
PRACTICAL
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Gata: a) Two Nikas b) One Matki C) One Mukat with Chal d) One Bansi
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Practice is Padhant all the Tukdas learnt
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Simple Tihais
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That
Theory
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Study of the terms : a) Sangeet, b) Anga, Upanga, Pratyanga
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Definition of the terms: Tal, Tatkar, Lahra, Sam, Khali, Bhari (Tali)
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Tandava, Lasya
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Knowledge of Yhapthal, Ektal
Grade - 1
PRACTICAL
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Hand Movements combined with Tatkar
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Salami ( Rang, MarehKaTukada )
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Two Simple Amads
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Eight Preliminary Thukadas
Theory
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Meaning and definition of paran, Chakradar, Natwari, Paramelu, Thai Salami, Amad, Tukda, Gat, Gat – bhithai
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Angika, Nasika, Agaiya, Satrika
Grade - 3
PRACTICAL
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BasicTatkar in more speed uptoAthgun
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TwoVarities of more speed Amads
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Tukadas a) Six sada b) Two Chakradar
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Gata- a) Twomore Nikas b) Ghunghat C) One Ched – Chad gat
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One or two Simple Tihais
Theory
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NamsKriya
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Head Movements
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Eye Glances
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Neck Movements
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AsamyuthaHastha
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SamyuthaHastha
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Mudra, Tal
Grade - 4
PRACTICAL
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Tatkar in barabar and dugun layas
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Salami (rang manch ka tukada)
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Two amads
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Four simple tukadas
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Two gat nikas and matki
Theory
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Lord nataraya stories
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Natya sastra
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Sabha lakshana
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Laya,sangeet,natya
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Nirtta,nritya
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Gungurus,chakkars
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Dance drama
Grade - 5
PRACTICAL
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One advanced tatkar
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One traditional parana prefixed amad
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Advanced that
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Three varities of amad
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Four sada and two chakradar tukdas
Theory
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Natvar krishna,makhan chari lila,kaliya daman lila
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Indian classical dances
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Eye Glances
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Brief sketch of:
adchan maharaj,pt.sundan prasad -
History of Indian dance
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Themes of ramayana,mahabaratha and bhagavata purana
Grade - 6
PRACTICAL
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Gats- two nikas
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Two simple gat bhavas,preferably holi and gobardhan
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Tihais
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Practice in padhant
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Performance of chakkar with ease and speed
Theory
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Elements of katha in kathak
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Brief sketch of
a)pt.thakur prasad
b)bindadeen
c)knowledge of following talas kaharva,dadra,roopak,dhamar,sool,tal,teura,chautas -
Ability to write in notation all the talas and bols,learnt
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Gita govinda,govandan leela,draubati cheerharan
Grade - 7
PRACTICAL
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Tatkar in barabar,dugur and chaugan layas
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Salami(rang manch ka tukada)
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Two amads
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Four simple tukdas
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Two simple paran and one chakradar paran
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Gat nikas
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Padhant of all bols learnt
Theory
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Study of nava rasa,ashta nayika rasa according to,bhawa,vibhawa,anubhawa and sanchani bhawa
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Usage of asamyutha and samyutha hastha
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Folk dances of India:bhangara,griddha,bihu,santhal,dhamal(hariyana)ghootmar(rajasthan)ras,karba
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Patra lakshana good and bad qualities of patra
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Brief knowledge of tala north indian and south indian
Grade - 8
PRACTICAL
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Practice of the tatkar set to teen taal and yhap taal in slower tempo,in its double (dugun)and four times(chougun)tempos
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Techniques and compositions of the following vandanaa,thaat,aamad,fast aamad,tukda,toda,thaayi,gatnikas,gatbhar,parhant of tukra/todas,with hasha kriyaa
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Improvise in nritta and abhinaya
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Parhant(recitation of bols)to the basic theka of all compositions learnt
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Thumari
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Talas for non detailed study sooltal,kaharwa,deepchandi(thaka and tatkas)
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Subsidiary tabla/vocal music
Theory
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Transformation and contimuty of traditions kathak in darbar(lucknow,jaipur,raigarth)after independence institutions patronage performing techniques
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Concert platform in the 20 th century A.D.
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write in notations all the items learnt in practical course
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Compositional patterns-prabandha and dhrupad
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Life sketeches of
a)sunder prasad
b)biryu maharaj
c)gobi krishna -
Traditional folk lore theatre
a)yakshagana b)bhavai c)tamsha d)nautanki -
Tala dasa prana in detail
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Short notes of
hava-bhava farmaishi takda -
Nayak and nayaki bheda
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Bhakti movement and its impact on kathak-with special reference to surdasa,tulsidas and merabai