HSNC University Mumbai

(2022-2024)

Ordinances and Regulations

With Respect to

Choice Based Credit System

(CBCS)
For the Programmes Under

The Faculty of Humanities

For the Course
Master of Performing Arts (M. P. A.)
MPA in Hindustani Instrumental Music [Taal (Tablaa) Vaadya]
MPA in Kathak Dance, Bharatnatyam Dance & Odissi Dance

Curriculum – Three Years Undergraduate Programme

Semester-I to Semester -IV
2022-2024
 HSNC UNIVERSITY, MUMBAI

BOARD OF STUDIES IN PERFORMING ARTS

a) Name of Chairperson/Co-Chairperson/Coordinator: -

a. Chairperson: Prof. (Dr.) Rajeev Indramani Jha, (Research Methodology in Performing

Arts, Aesthetics, Kathak Dance, Bharatnatyam Dance, Cultural Heritage Education &
Indian Knowledge Systems) Professor, Bombay Teachers’ Training College, HSNC
University [email protected] [email protected] 9967503945

b. Co-Chairperson: Dr. Krittika Mondal, (Odissi Dance, Drama & Theatre Studies)
Assistant Professor & Coordinator, School of Performing Arts, and Chellaram School of
Yoga & Wellness, HSNC University, Mumbai. [email protected],
[email protected] 8369658074

b) Two to five teachers each having minimum five years teaching experience amongst the full time
teachers of the Departments, in the relevant subject.
a. Dr. Manisha Tyagi, (Kathak Dance, Cultural Education & Yoga) Assistant Professor,
Bombay Teachers’ Training College, HSNC University – [email protected]
9820391617
b. Dr. Amit Nandu, (Co-curricular Activities) (Secretary) - Associate Professor, H.R.
College of Commerce & Economics, HSNC University [email protected]
9820661887
c. Dr. Mayuresh Joshi, (Tablaa, Classical & Light Vocals, Music Editor) Assistant
Professor, Department of Life Sciences, K C College, HSNC University
[email protected] 99676 39400
d. Dr. Vruttant Manwatkar, (Instrumental Music) Assistant Professor & I/C Head,
Department of Political Science, K C College, HSNC University,
[email protected] 8860167736

2 | Page
c) One Professor / Associate Professor from other Universities or professor / Associate Professor from
colleges managed by Parent Body; nominated by Parent Body;-
a. Dr. Radha Kumar, (Ancient Indian Culture, Sitar & Bharatnatyam Dance) Associate
Professor, Faculty Advisor Dept. of Inter-Religious Studies, Faculty Coordinator, Indian
Knowledge Systems, St. Xavier's College, Mumbai [email protected] 9820246337

d) Four external experts from Industry / Research / eminent scholar in the field relevant to the subject
nominated by the Parent Body;
a. Dr. Sanvi Jethwani, (Bharatnatyam & Folk Dances) Director, Lay school of Performing
arts, Nanded [email protected] 9975025270
b. Ms. Archana Rajeev Jha, (Hindustani Vocal Music) Director, Gopi Krishna Academy of
ACE (Art, Culture & Education), Kalyan [email protected] 7506059915
c. Dr. Nandkishore Kapote, (Kathak Dance) Director, Dr. D. Y. Patil School of Liberal Arts,
and Dean, Faculty of Liberal Arts, Pimpri, Pune [email protected] 9371099911
d. Ms. Paullomi Bishwanath Mukherjee, (Kathak Dance) Former Visiting Faculty in
Performing Arts (Kathak), Bharata College of Fine Arts and Culture (Affiliated to KKSU,
Ramtek) [email protected] [email protected] 9821583004 &
022 – 35521700
e. Dr. Sweekar Sunil Katti, (Sitar) Assistant Professor, Department of Music, University of
Mumbai [email protected] 9920956221
f. Mr. Shreepad Ramesh Parkhe, (Tablaa & Soft Skills) CEO, Pacific Training and
Consulting Services [email protected] 9594658386
g. Mr. Bhushan P. Parchure, (Instrumental Music – Tabla) Faculty as a Tabla Professor with
IIT Mumbai [email protected] 9819919675
h. Mr. Surendra Wankhede, (Drama & Theatre Studies) Founder and President of
Ashvaghosha Kala Academy, Nagpur and Secretary of Bahujan Rangbhoomi, Nagpur
[email protected] 98502 05020

e) Top rankers of the Final Year Graduate and Final Year Post Graduate examination of previous year of
the concerned subject as invitee members for discussions on framing or revision of syllabus of that
subject or group of subjects for one year.
a. Ms. Azmin Vania, (Drama & Theatre) Co-curricular and Creativity Coordinator (6-11)
Bombay International School, [email protected] 9619065846

3 | Page
4 | Page
 Section D
Performing Arts
Part 1 - Preamble
Performing Arts are the epitome of human civilisation and culture. These arts are the
yardsticks to determine the advancement of human progress, expression and
communication. India is particularly rich with a variety of performing arts. These
forms of music, dance and drama fall into various genres of classical, folk and tribal.
The classical art forms are the highest achievement in performing arts. These were
first codified in form of a treatise known as Naatyshaashtra, about 2000 years ago.
Thus, there has been an uninterrupted oral and textual tradition in our country in the
education of performing arts. However, in the modern times, many of these art forms
are on the verge of being lost due to factors that are unique and contextual. Hence,
there is a need to re-connect with the traditional art forms and educate the younger
generation in these art forms to keep alive the great cultural heritage of our country.

The School of Performing Arts aims to accomplish this task by providing various
programmes: a three-year Bachelor Degree in Performing Arts (B.P.A.), a two-year
Master Degree in Performing Arts (M.P.A.), a Doctorate (PhD) in Performing Arts as
well as Certificate, Diploma, and Post-Diploma Programmes. In addition, the School
of Performing Arts envisages providing Faculty Development Programmes and
online courses on SWAYAM platform in the near future. These programmes will help
in not only developing performing artists but also professionals in the service of
performing arts in different capacities.

The M.P.A program is started with an aim to make the students employable and
impart industry-oriented training.

1. Course Objectives: The main objectives of the course are:

● To think analytically, creatively and critically in composing of classical music
and dance intra forms.
● To apply their knowledge and skills to be employed and excel in Performing
Arts professional careers and/or to continue their education in Performing Arts
and/or related post graduate programs.
● To be capable of managing complex Performing Arts projects with
consideration of various factors.
● To work effectively as a part of a team to achieve a common stated goal.
5 | Page
● To adhere to the highest standards of ethics, including relevant industry and
organizational codes of conduct.
● To communicate effectively with a range of audiences both technical and
non-technical.
● To develop an aptitude to engage in continuing educational and professional
development.

The syllabi are aimed to achieve the above-mentioned objectives. Students will
also be trained in communication skills, teaching, and research in performing
arts, and will be sent to work in industry as interns.

2. Process adopted for curriculum designing:

The members of Board of Studies under the guidance and leadership of the
Chairperson and external experts was constituted to frame the syllabi of core
courses of classical music and dance. Multiple meetings with them were held.
After discussion with them, personally, via mail, via messages, the changes in
the syllabus were introduced. This consisted of theory and practical
components. Elective courses and Project / Internship Work were also designed
to provide interdisciplinary and field experiences to students.

3. Salient features , how it has been made more relevant:

Performing arts involve theoretical and practical components. The practical
aspect in core courses (the performing arts of choice) naturally has been given
double the weightage, both in terms of credits and credit hours involved in
comparison to theory. Keeping in tune with UGC norms, provision for
interdisciplinary elective courses, internship and research project work has
been made. The total credits for a three-year PG programme has been kept as
96 credits (24 credits per semester). Each course has four units throughout the
programme with 100 marks. Internal (formative assessment) and external
(summative assessment) examination is in the ratio of 40:60.
The current course is designed to enhance the knowledge and skill of the
subject. While designing of the syllabus care has been taken to balance the
fundamental techniques of performing arts with complementary knowledge
and skills through elective and ability enhancement courses.
The course would give the students option to develop skills in areas which
have direct relevance to employability in the associated fields of performing
arts such as performing artist, art teacher/educator, researcher, art critic, music
and dance therapist.
6 | Page
4. Learning Outcomes:

The curriculum is designed to educate the learner about traditional knowledge

and techniques of the Performing Arts. The course would help students to
apply their understanding of concepts to summarize, analyse, and inculcate
problem solving approach in the newer developments and innovations in the
future. The curriculum design and the teaching and the evaluation patterns
would help students to develop skills and competencies to build a progressive
and successful career in the field of Performing Arts.

5. Input from stakeholders :

There are modifications suggested by the internal and external experts to make
the syllabus holistic and relevant to the traditional Performing Arts as well as
in the context and unique demands of a metropolitan/cosmopolitan city like
Mumbai, in the syllabi provided by UGC, University of Mumbai, Indira Kala
Sangit Vishwavidyalaya, Raja Mansingh Tomar Vishwavidyalaya, M. S.
University of Baroda, University of Delhi, SNDTWU, Bharati Vidyapeth of
Pune, University of Pune, and others.

7 | Page
 Part I

R. **** : The Definitions Of The Key Terms Used In The Choice Based Credit System
and Grading System Introduced From The Academic Year 2021-2022 Are As Under:

Outline of the Choice Based Credit System as outlined by the University Grants
Commission:

1. Core Course: A course, which should compulsorily be studied by a candidate as

a core requirement is termed as a Core course.

2. Elective Course: Generally, a course which can be chosen from a pool of courses
and which may be very specific or specialized or advanced or supportive to the
discipline/subject of study or which provides an extended scope or which enables
exposure to some other discipline/subject/domain or nurtures the candidate’s
proficiency/skill is called an Elective Course.

1. Discipline Specific Elective (DSE) Course: Elective courses may be offered by

the main discipline/subject of study is referred to as Discipline Specific Elective.
The University/Institute may also offer discipline related Elective courses of
interdisciplinary nature (to be offered by main discipline/subject of study).

2. Dissertation/Project: An elective course designed to acquire Special/advanced

knowledge, such as supplement study/support study to project work, and a
candidate studies such a course on his own with advisory support by a
teacher/faculty member is called dissertation/project. A Project / Dissertation
work would be of 6 credits. A Project / Dissertation work may be given in place
of a discipline-specific elective paper.

3. Generic Elective (GE) Course: An elective course chosen generally from an

unrelated discipline/subject, to seek exposure is called a Generic Elective.
P.S.: A core course offered in a discipline/subject may be treated as an elective by
another discipline/subject and vice versa and such electives may also be referred
to as Generic Elective.

3. Ability Enhancement Courses (AEC): The Ability Enhancement (AE)

Courses may be of two kinds: Ability Enhancement Compulsory Courses (AECC)
and Skill Enhancement Courses (SEC). “AECC” courses are the courses based
upon the content that leads to Knowledge enhancement;
SEC courses are value-based and/or skill-based and are aimed at providing hands-on-
training, competencies, skills, etc.

4. Choice Based Credit System (CBCS)

CBCS allows students to choose inter-disciplinary, intra-disciplinary courses,
skill-oriented papers (even from other disciplines according to their learning needs,
interests and aptitude) and more flexibility for students.

5. Honours Program
To enhance employability and entrepreneurship abilities among the learners,
8 | Page
 through aligning Inter-Disciplinary / Intra Disciplinary courses with Degree Program.
Honours Program will have 40 additional credits to be undertaken by the learner
across three years essentially in Inter / Intra Disciplinary course.
A learner who joins Regular Undergraduate Program will have to opt for the
Honours Program in the first year of the Program. However, the credits for honours,
though divided across three years can be completed within three years to become
eligible for award of honours Degree.

6. Program:
A Program is a set of course that are linked together in an academically meaningful
way and generally ends with the award of a Degree Certificate depending on the
level of knowledge attained and the total duration of the study.

7. Course:
A ‘course’ is essentially a constituent of a ‘program’ and may be conceived of as a
composite of several learning topics taken from a certain knowledge domain, at a
certain level. All the learning topics included in a course must necessarily have
academic coherence, i.e. there must be a common thread linking the various
components of a course. Several linked courses considered together are in practice, a
‘program’.

8. Bridge Course:
Bridge course is visualized as Pre-semester preparation by the learner before the
commencement of regular lectures. For each semester the topics, whose
knowledge is considered as essential for effective and seamless learning of topics of
the Semester, will be specified. The Bridge Course can be conducted in online mode.
Online content can be created for the Bridge Course Topics.

9. Module and Unit:

A course which is generally an independent entity having its own separate identity is
also often referred to as a ‘Module’ in today’s parlance, especially when we refer to a
‘modular curricular structure’. A module may be studied in conjunction with other
learning modules or studied independently. A topic within a course is treated as a
Unit.

10. Self-Learning:
20% of the topics will be marked for Self-Learning. Topics for Self-Learning
are to be learned independently by the student, in a time-bound manner, using online
and offline resources including online lectures, videos, library, discussion forums,
fieldwork, internships etc.
Evaluative sessions (physical/online), equivalent to the credit allocation of the
Self Learning topics, shall be conducted, preferably, every week for each course.
Learners are to be evaluated in real-time during evaluative sessions. The purpose of
evaluative sessions is to assess the level of the students’ learning achieved in the
topics earmarked for Self-Learning.
The teacher’s role in these evaluative sessions will be that of a Moderator and
Mentor, who will guide and navigate the discussions in the sessions, and offer
concluding remarks, with proper reasoning on the aspects which may have been
missed by the students, in the course of the Self- Learning process.
The modes to evaluate self-learning can be a combination of the various methods
9 | Page
 such as written reports, handouts with gaps and MCQs, objective tests, case studies
and Peer learning. Groups can be formed to present self-learning topics to peer
groups, followed by Question and Answer sessions and open discussion. The
marking scheme for Self Learning will be defined under Examination and Teaching.
The topics stipulated for self-learning can be increased or reduced as per the
recommendations of the Board of Studies and Academic Council from time to time.
All decisions regarding evaluation need to be taken and communicated to the
stakeholders preferably before the commencement of a semester. Some exceptions
may be made in exigencies, like the current situation arising from the lockdown, but
such ad hoc decisions are to be kept to the minimum possible.

11. Credit Point:

Credit Point refers to the ‘Workload’ of a learner and is an index of the number of
learning hours deemed for a certain segment of learning. These learning hours may
include a variety of learning activities like reading, reflecting, discussing, attending
lectures/counselling sessions, watching especially prepared videos, writing
assignments, preparing for examinations, etc. Credits assigned for a single course
always pay attention to how many hours it would take for a learner to complete a
single course successfully.

12. Credit Completion and Credit Accumulation:

Credit completion or Credit acquisition shall be considered to take place after the
learner has successfully cleared all the evaluation criteria concerning a single course.
Learner level of performance above the minimum prescribed level (viz. grades/marks
obtained) has no bearing on the number of credits collected or acquired. A learner
keeps on adding more and more credits as he completes successfully more and more
courses. Thus the learner ‘accumulates’ course wise credits.

13. Credit Bank:

A Credit Bank in simple terms refers to stored and dynamically updated information
regarding the number of Credits obtained by any given learner along with details
regarding the course/s for which Credit has been given, the course-level, nature, etc.
Also, all the information regarding the number of Credits transferred to different
programs or credit exemptions given may be stored with the individual’s history.

14. Credit Transfer:

(Performance transfer) When a learner completes a program, he/she is allowed to
transfer his/her past performance to another academic program having some
common courses and Performance transfer is said to have taken place.

15. Course Exemption:

Occasionally, when two academic programs offered by a single university or by more
than one university, may have some common or equivalent course-content, the
learner who has already completed one of these academic programs is allowed to
skip these ‘equivalent’ courses while registering for the new program. The Learner is
‘exempted’ from ‘relearning’ the common or equivalent content area and from
re-appearing for the concerned examinations. It is thus taken for granted that the
learner has already collected in the past the credits corresponding to the exempted
courses.

10 | Page
 Part II
Note: The Ordinances and Regulations given below apply to Under Graduate Programmes
of the University.

O*****
The minimum duration of the Post Graduate Programme will be of 2 years in the Semester pattern
i.e. from Sem. I to Sem. IV.

The degree will be awarded to a learner who completes 96 credits of the programme in a period of
2 to 4 years from the year of enrolment to semester IV.

If a learner does not earn 96 credits in 8 semesters from the year of enrolment to semester I, he/she
may at his/her option transfer his/her performance in the existing/new program after establishing an
equivalence between old and new syllabus. Such a performance transfer will be decided by the
Board of Studies / Ad-hoc Board / Ad hoc Committee of the concerned subject. The admission to
the program will be governed by the existing rules

O***** The fees for the transfer of credits or performance will be based on the number of
credits that a learner has to complete for the award of the degree.

R **** Credits earned at one institution for one or more courses under a given program will be
accepted under another program either by the same institution or another institution either through
Direct Performance Transfer or Course exemption.

O *****
ELIGIBILITY CONDITIONS FOR B. P. A. (MUSIC AND DANCE) PROGRAMME

Candidates must fulfill following eligibility Conditions:

O. ________Candidates seeking admission to the M. P. A. Two Years (Four Semesters)

programme should have qualified the B. P. A. (in the relevant subject or performing arts) or
any equivalent examination, are eligible for admission to the programme
OR
One who has passed the final year exam of degree of any discipline and trained for minimum
five to seven years by a recognized Guru or possessing equivalent Diploma in Performing
Arts from any recognized University / Institute.
OR
Any graduate with the concerned Performing Arts Subject as one of the subjects at degree
level.
AND
Must score 50% in both Theory and Practical at Presentation and Viva Voce Entrance
(Audition) Test.
AND
Should be physically fit to perform the concerned subject of performing arts.
(The students should produce Medical Fitness Certificate at the time of admission.)

11 | Page
O. ________ Candidate has to undergo a Theory & Practical Presentation and Viva Voce
Entrance (Audition) Test in the concerned Performing Art Subject before a University
recognized panel of eminent experts/scholars from the field of Performing Arts. The candidate
has to pass the test with at least 50% marks.

The decision of the University recognized panel of eminent experts/scholars from the field of
Performing Arts constituted for the Theory & Practical Presentation and Viva Voce Entrance
(Audition) Test would be final and binding.

The panel may recommend / suggest a Bridge Course of the University to be undertaken by the
candidate before taking admission in the M. P. A. programme, after evaluating the performance of
the candidate in the Theory & Practical Presentation and Viva Voce Entrance (Audition) Test.

O. ________ The course is not for beginners. The candidate is expected to have the requisite
graduation level training in the Subject of Performing Arts for which s/he is applying.

O. _______ The students should produce Medical Fitness Certificate at the time of admission.

The following additional supporting documentary evidences may be furnished by the

candidate, if applicable (i.e. NOT Mandatory):
1. Previous training / qualifications in concerned Performing Art (of minimum 5 to 7 years
or an equivalent Diploma possessed by the candidate from institutions such as Indira Kala
Sangit Vishwavidyalaya, Khairagarh; Bhatkhande Sangit Vidyapith (Deemed to be University),
Lucknow; Akhil Bharatiya Gandharva Mahavidyalaya Mandal, Mumbai; Prayag Sangit Samiti,
Allahabad; Pracheen Kala Kendra, Chandigarh.
2. Guru’s Letter of Recommendation based on the previous training undergone in the concerned
performing art, under the said Guru’s guidance.
3. Any other relevant Award / Competition / Doordarshan / Performance credentials
(certification) in the concerned Performing Art.

ADMISSION PROCEDURE:

O.___________ Admission shall be made on merit on the basis of the marks obtained in the
Presentation and Viva Voce (Audition) Test as per University rules.

O .________ The M. P. A. Degree shall be taken by Theory, Practical, Internship and

Dissertation.

O. ________ The duration of the full time course shall be of two years.

O. _________ The following are the Groups from which ANY ONE Core Performing Art
Subject is to be selected by the candidate for pursuing M. P. A. Programme of the University and
the SAME PERFORMING ART SUBJECT should be pursued throughout the Two Years of
M. P. A. (Semesters 1 to 4):

12 | Page
 FIVE GROUPS OF PERFORMING ARTS
COMPULSORY CORE COURSES
SUBJECTS & SYLLABUS
GROUP – I: Theory
KATHAK DANCE Practical – A
Practical – B
GROUP – II: Theory
BHARATNATYAM DANCE Practical – A
Practical – B
GROUP – III: Theory
ODISSI DANCE Practical – A
Practical – B
GROUP – IV: Theory
HINDUSTANI MUSIC: Practical – A
INSTRUMENTAL – TAAL VAADYA (TABLAA) Practical – B
GROUP – V:
HINDUSTANI MUSIC:
(SELECT ANY ONE):
VOCAL MUSIC
GROUP – VI:
INSTRUMENTAL MUSIC – SWAR VAADYA Yet to be introduced in due course of time.
(SELECT ANY ONE:
VIOLIN / SITAR / SAROD / FLUTE /
HARMONIUM)
GROUP - VII:
DRAMA AND THEATER STUDIES

R**** THE SCHEME OF TEACHING AND EXAMINATION IN PERFORMING ARTS:

The Scheme of Teaching and Examination shall be divided into the following components:

1. For All Theory Courses: (04 Credits – 100 Marks)

A. Internal Assessment – 40% 40 marks

B. External Assessment (SEMESTER END EXAMINATION) – 60% 60 marks

2. For Practical Courses in all Performing Arts Subjects (Only 100% Semester End Exam)
(04 Credits - 100 Marks)
3. For Teaching Internship Project (4 weeks, 60 Hours) - Semester 3 – (04 Credits - 100
Marks)
4. For Dissertation – Semester 4 – (08 Credits - 200 Marks)

13 | Page
The details of the above components are as follows:

1. FOR ALL THEORY COURSES: (04 CREDITS – 100 MARKS)

A. Internal Assessment – 40% 40 marks

The performance of the learners shall be evaluated in two components: Internal Assessment
with 40% marks by way of continuous evaluation and by Semester End Examination with 60%
marks by conducting the theory examination.

Internal Assessment: ‐ It is defined as the assessment of the learners based on continuous

evaluation as envisaged in the credit-based system by way of participation of learners in various
academic and correlated activities in the given semester of the programme.

Sr. Particulars Marks

No.
1 ONE assignment based on curriculum (to be assessed by the teacher 20 Marks
Concerned
2 Self-Learning Evaluation (SLE): 20 Marks
Please Note:
For Core Courses (Theory) in Performing Arts:
Kathak Dance, Instrumental (Taal Vaadya) Music – Tablaa and Odissi Dance
– Notation is prescribed as the Self-Learning Evaluation component.

● Project and Assignment:

Project or Assignment, which can in the following forms
● Case Studies
● Videos
● Blogs
● Research paper (Presented in Seminar/Conference)
● Field Visit Report
● Presentations related to the subject (Moot Court, Youth Parliament, etc.)
● Internships (Exposition of theory into practice)
● Open Book Test
● Any other innovative methods

● Self-Learning Evaluation
● 20% of the topics of the curriculum are learned by the student through self-learning using
online/offline academic resource specified in the curriculum. Hence 20% of the lectures
shall be allocated for evaluation of students on self-learning topics.
● The identified topics in the syllabus shall be learnt independently by the students in a
time-bound manner preferably from online resources. Evaluative sessions shall be
conducted by the teachers and will carry 10 Marks.
● Club the self-learning topics into 3-4 groups of topics only for evaluation.

14 | Page
 ● Prescribe time duration (in days) for completion of each group of the topic and earmark
self-learning evaluation lectures in the timetable. Hence each group of the topic can be
assigned 3 regular lectures for this evaluation for the entire class.
● Three Sub Topics:
Each evaluative session shall carry 3 Marks (3 x 3 Units = 9 Marks). Students who
participate in all evaluative sessions shall be awarded 1 additional Mark.
● Four Sub Topics:
Each evaluative session shall carry 2.5 Marks (2.5 x 4 Units = 10 Marks).
● Evaluation of self-learning topics can commence in regular lectures assigned for self-
learning evaluation in the timetable
● All students will actively participate in the presentation of each of the sub-topics.
● SUGGESTIVE Methods for Evaluation of Self-learning topics IN LECTURES:
⮚ Seminars/presentation (PPT or poster), followed by Q&A
⮚ Objective questions /Quiz / Framing of MCQ questions.
⮚ Debates
⮚ Group discussion
⮚ You-Tube videos (Marks shall be based on the quality and viewership)
⮚ Improvisation of videos
⮚ Role Play followed by question-answers
⮚ Viva Voce
⮚ Any other innovative method
● Student can be evaluated based on the quality of presentation, quality of Q & A, the framing of
the quiz, conduct of quiz, performance in debate etc.
● Teachers can frame other methods of evaluation also provided that the method, duly approved
by the college examination committee, is notified to the students at least 7 days before the
commencement of the evaluation session and is forwarded for information and necessary action
at least 3 days before the commencement of the evaluation session.

The marks of the internal assessment should not be disclosed to the students till the results of
the corresponding semester is declared by the University.

B. External Assessment (Semester End Examination) – 60% 60 Marks

SEMESTER END EXAMINATION: ‐ It is defined as the examination of the learners

based on performance in the semester-end theory / written examinations.

1. Duration – These examinations shall be of 2 hours duration.

2. Question Paper Pattern: ‐
i. All four questions shall be compulsory and carry equal marks (15 marks each).
ii. There shall be two internal choices, each of 15 marks, from each unit (A or B). Attempt
any one (A or B) from each question. The student has to attempt any one out of the two
questions belonging to the same unit. For example: Q1 - A for 15 Marks or Q1 – B for 15
Marks.
iii. The 15 mark question may be sub‐divided into two sub-questions (8 + 7 = 15) or three
sub‐questions (5 + 5 + 5 = 15), should be numbered as (a, b, c) and the allocation of
marks should be indicated against the sub-questions. The marks will depend on the
weightage of the topic.

15 | Page
2. FOR PRACTICAL COURSES IN ALL PERFORMING ARTS SUBJECTS (ONLY 100%
SEMESTER END EXAM) (04 CREDITS - 100 MARKS)

Sr. Particulars Marks

No.
For Practical Core Courses in all Performing Arts:
“Presentation and Viva Voce” (All Semesters)
Part A 25 Marks
Part B 25 Marks
Part C 25 Marks
Part D 25 Marks
1 Note: 100
1. Individual Practical Exam for minimum Time Duration as follows:
Semesters 1 & 2 45 minutes
Semesters 3 & 4 45 minutes
2. Two Examiners (One Internal Examiner – A HSNCU Faculty and One
External Examiner) appointed by HSNCU shall assess the Presentation and
Viva Voce and the average marks shall be awarded to the student.
For Practical Elective Courses in all Performing Arts:
“Specialization” (All Semesters) (if two parts or four parts – equal weightages)
Part A 50 Marks
Part B 50 Marks
Note:
2 100
1. Individual Practical Exam for minimum Time Duration as follows:
Semesters 3 & 4 45 minutes
2. Two Examiners (One Internal Examiner – A HSNCU Faculty and One
External Examiner) appointed by HSNCU shall assess the Presentation and
Viva Voce and the average marks shall be awarded to the student.
For Practical Core Courses in all Performing Arts:
“Stage Performance – I to IV” (All Semesters):
Note:
1. Individual Stage Performance for Time Duration: minimum 45 to 60
3 100
minutes
2. Two Examiners (One Internal Examiner – A HSNCU Faculty and One
External Examiner) appointed by HSNCU shall assess the Stage Performance
– I & II, and the average marks shall be awarded to the student.

3. FOR TEACHING INTERNSHIP PROJECT

(4 WEEKS, 60 HOURS) - SEMESTER 3 – (04 CREDITS - 100 MARKS):

1. Internship will be in Semester 5 for four weeks & 60 hours. It would be of four credits &
100 marks.
2. After the internship, the students will be expected to submit a reflective daily report of their
experiences.

16 | Page
 3. Internship in organizations and institutions working in performing arts education / training at
elementary/secondary/diploma levels of education as well as in teacher education
institutions will be organized during the programme.
4. Internship can be in the following types of suggested sites/fields/institutions engaged in
performing arts education / training of the concerned Core Courses of the student:
a. Schools, Junior Colleges and Colleges.
b. International/national/state institution involved in performing arts education / training.
c. In-service training institutions for performing arts teachers.
d. Schools / Special institutions engaged in Special Education through performing arts
e. Institutions engaged in Music and Dance Therapy
f. Performing Arts Academies
g. Renowned / Registered / Recognised Gurus of Performing Arts

4. FOR DISSERTATION – SEMESTER 4 –

(08 CREDITS - 200 MARKS):

1. The dissertation shall be of 08 credits and shall carry 200 marks.

2. This would be a research study on a topic of performing arts and its education.
3. Research study will begin in Semester III and the Report will be completed and submitted in
Semester IV.
4. Each student shall work under guidance of a recognized teacher for his/ her dissertation.
5. Title (with Proposal) of the dissertation should be submitted to the University for Approval
at the beginning of the third semester of the course.
6. The dissertation shall be on a topic of performing arts and its education approved by the
scrutiny committee consisting of members of the Board of Studies in Performing Arts as
well as two additional members who are recognized teachers.
7. If a topic suggested by any student is not approved he/she will be at liberty to suggest
another provided that in all such cases the topic has to be approved by the committee.
8. The dissertation when submitted shall be accompanied by a certificate signed by the guiding
teacher referred to in point 4, stating that the same is the candidate’s own work and is
worthy of examination.
9. Two copies of the Dissertation (with soft copy in a Pen drive) shall be submitted by the
student to the Head of the institution where he/she is registered.
10. Two copies of Dissertation (with soft copy in a Pen drive) submission should be on or before
15th March (or the date announced by the Director, BOEE) to the Institution. If 15th March
(or the date announced by the Director, BOEE) is a holiday then the dissertation could be
submitted on the next working day.
11. Last Date for sending the dissertation to the examination section will be 22nd March (or the
date announced by the Director, BOEE – a date later than by a week) of the fourth semester.
12. Each dissertation shall be examined by an External Referee appointed specifically for the
purpose, by the Board of Examinations on the recommendations of the Board of Studies in
Performing Arts.
13. Viva-voce examination on the dissertation will be held jointly by the external and Internal
Examiners and the marks for the dissertation will be awarded jointly by the External and
Internal Examiners on the basis of the dissertation and viva-voce performance.

17 | Page
 Board of Studies in Performing Arts
School of Performing Arts (SOPA)

HSNC University, Mumbai

Credit Structure for two-years Master of Performing Arts (MPA) Programme

(According to NEP 2020 Curriculum Framework)
i. MPA IN KATHAK DANCE
ii. MPA IN BHARATNATYAM DANCE
iii. MPA IN ODISSI DANCE
iv. MPA IN TABLAA
Batch - 1: 2023-25

Semester I
Semester Course Type Course Codes Course Name Credits
Major 1. History & Development - 7 4
(8 + 4) MPA101A i. KATHAK DANCE
MPA102A ii. BHARATNATYAM DANCE
MPA103A iii. ODISSI DANCE
MPA104A iv. TABLAA
2. Practical Course – 7A Presentation & Viva Voce 4
MPA105A i. KATHAK DANCE
MPA106A ii. BHARATNATYAM DANCE
MPA107A iii. ODISSI DANCE
MPA108A iv. TABLAA
3. Practical Course – 7B Stage Performance 4
I MPA109A i. KATHAK DANCE
MPA110A ii. BHARATNATYAM DANCE
MPA111A iii. ODISSI DANCE
MPA112A iv. TABLAA
DSE / Core MPA113A 1. Art Management and Cultural Tourism 4
Elective 2. Ancient and Medieval Indian Treatises of Music,
(Select any Dance & Dramaturgy (Formative Assessment)
One) MPA114A (Writing Two Papers each of 50 marks: 02 Papers *
50 Marks = Paper writing 20 marks + Presentation -
10 Marks + Publication - 20 Marks)
Minor Research Methodology in Performing Arts – I 4
MPA115A
TOTAL 20

18 | Page
 MPA (KATHAK DANCE) SEMESTER – I

Major Course: MPA101A History & Development – 1 (KATHAK DANCE) (4 Credits)

Unit - 1 History and Development of Indian Dance

1.1 The Lucknow Gharana (Style, Technique, Lineage)
1.2 Madame Menaka, Ramgopal and Uday Shankar; Collaborators and students: The Hanova
sisters (Gertrude & Magda), Tara Chaudhri and Anna Pavlova; Contribution of Raja
Chakradhar Singh and Nawab Wajid Ali Shah to Kathak
1.3 Institutional Kathak Dance Education System: Salient Features of National Education
Policy, 2020 (School and Higher Education)

Unit - 2 Technique and Terminology

2.1 Taal: Definition, Origin, 10 Elements of Taal (Praana): Kaal, Maarga, Kriyaa, Graha,
Jaati, Kalaa, Laya, Yati and Prastaar
2.2 Kavitta-Chhand (Poetic Verses) in Kathak: Concept, Classification, Variation in Text and
Transformations, New Experiments
2.3 Traditional Dance Dramas: Ram Leela, Raas Leela and Kathak, Nautanki and Nakkaali

Unit - 3 Study of Classical Texts

3.1 An overview of the Content of Natyashastra alongwith its Author and Period.
3.2 NS 1st Chapter - The Origin of Drama and Chapter 2 – Characteristics of the Playhouse
3.3 NS Chapter 5 – Procedure for the Preliminary Items and NS Chapter 8 – Procedure of the
Ancillary Limbs

Unit - 4 Notation in Pt. Bhatkhande System and Choreographic Principles:

4.1 Taal Teentaal (16 matras), Taal Jhaptaal (10 Matras) Taal Basant (9 matras), Taal Rudra
(11 matras) - All intra forms from the practical courses.
4.2 Laya Prastaar in Teentaal (16 matras) and Jhaptaal (10 matras): Ekgun, Dugun, Tigun,
Chaugun; Aadhee 1/Aadi or Dyodhi 1 ½ or 3/2 or 4/6, Biyaadi 1 ¾ or 7/4, Sawa Do Guni or
Kuaadi 2 ¼ or 9/42, Pauni ¾, Sawai 1 ¼ or 5/4
4.3 Gat Bhaav (as per Practical Syllabus) - Story / Plot – in Solo and Group Formats: Subject
Matter in Brief, Stage Arrangement, Background Music, Selection of Characters, Costume –
19 | Page
 Makeup - Jewelry, Taal & Laya, Rasa & Bhaav

Self-Learning topics (Unit wise)

Unit Topics
1c SWAYAM: NEP 2020
4 Taal Basant & Taal Rudra.(9 & 11 matras)
Introduction and theka in ekgun, dugun, tigun & chaugun.
Study of all intra forms in the practical courses.

References:
1. Abhinaya Darpan – Dr Puru Dadheech
2. Ang Kavya – Pt. Birju Maharaj
2. Bharata – The Natyshastra – Kapila Vatsyayan
3. Celebration of Life Indian Folk Dances – Jiwan Pani
4. Folk Dances of India – The Publications Divisions, Ministry of Information and Broadcasting,
GoI
5. Handbook of Classical Dance Terminology – Dr. Kanak Rele (Editor)
6. India’s Kathak Dance – Past, Present Future – Reginald Massey
7. Indian Classical Dance – Kapila Vatsyayan
8. Indian Classical Dance – Tradition in Transition – Leela Venkataraman & Avinash Pasricha
9. Indian Classical Dance in Literature and the Arts – Kapila Vatsyayan
10. Joy of Classical Dances of India – Leela Samson
11. Kathak Dance Education – Contemporary Systems, Problems and Suggestions – Dr Rajeev
Indramani Jha
12. Kathak Darpan - – Tirthram ‘Aazad’
13. Kathak Gyaaneshwari – Tirthram ‘Aazad’
14. Kathak Indian Classical Dance Art – Sunil Kothari
15. Kathak Nritya – L. N. Garg
16. Kathak Nritya mein Kavitta Chhand – Dr. Manjiri Deo
17. Kathak Nritya Parampara mein Guru Lacchu Maharaj – Mandvi Singh
18. Kathak Nritya Parichay – Harishchandra Shreevastav
19. Kathak Nritya Shiksha Part – I – Dr. Puru Dadheech
20. Kathak Nritya Shiksha Part – II – Dr Puru Dadheech
21. Kathak Praveshika – Tirthram ‘Aazad’
20 | Page
22. Kathak se pahchaan – Dr. Manjiri Deo
23. Kathak Shaashtra Darshan Part – I – Akhil Bharatiya Gandharva Mahavidyalaya Mandal
24. Kathak Shaashtra Darshan Part – II – Akhil Bharatiya Gandharva Mahavidyalaya Mandal
25. Kathak Shringaar – Tirthram ‘Aazad’
26. Magazine ‘Sangeet Kala Vihaar’ – (Akhil Bharatiya Gandharva Mahavidyalaya Mandal)
27. Magazine ‘Sangeet’ – (Sangeet Karyalaya Hathras)
28. Naatyshaashtra kaa Sangeet Vivechan – Dr. Puru Daheech
29. Nandikesvara’s Abhinay Darpanam - Dr. Manmohan Ghosh
30. Natyashastra – Babulal Shukla Shastrai (All Volumes)
31. The Sacred Dance of India – Mrinalini Sarabhai

21 | Page
 MPA (KATHAK DANCE) SEMESTER – I
Major Course: MPA105A
2. Practical Course – 2A Presentation & Viva Voce (KATHAK DANCE) (4 Credits)
A. Revision of BPA portion (including Teentaal and Jhaptaal in particular)

B. Taal Basant (9 matras):

1 Uthan,3 Thaats,1 Saadi Amad,1 Natvari toda,1Chakkardar toda,1 Saadi paran,1
farmaishi chakkardar paran,1Kavitt paran,Tatkar & Baant.
C. Taal Rudra (11 matras):
1 Thaat,1 Saadi Amad,2 Saade tode,1 Saadi paran,1 chakkardar paran,1 Kavitta(Shiva
paran),Tatkar.
D. Gat Nikas: Mayur, Chilman
Gat Bhava: Draupadi Vastra Haran; Ram ki Shakti Pooja
Thumri or Gat Bhava on any one Nayak Bheda.
Any Abhinaya presentation on the works of the Ashtachaap saint-poets.
Objectives of Evaluation:
Content, Competence, Creativity, Confidence

Major Course: MPA109A

3. Practical Course – 2B Stage Performance - (KATHAK DANCE) (4 Credits)

1. Complete solo performance of any one or two Taals of Semester 1 with Abhinaya piece
(traditional repertoire) to be performed on stage by the student in front of the audience for
45 mins.
2. Any self composed creative composition of Nrittang, Nritya, Abhinaya, and/or Special
Items.
3. Demonstration and illustration of theoretical aspects of the course in practical form.
4. No recordings allowed.
5. Objectives of Evaluation: Content, Competence, Creativity, Confidence

22 | Page
 MPA (BHARATANATYAM) SEMESTER – I
Major Course: MPA102A

Theoretical Foundation of Bharatanatyam - 1

(Total Lectures: 60)

Unit - 1 Evolution of Dance & Introduction to Bharata’s Natyashastra:

1.1 Natya Uttpati (Evolution)
1.2 Tandav & Lasya, Rasabhav Concept & Acting 4 types
1.3 Vrutti, Pravrutti, Natya Prakar (Dasha Rupak)

Unit - 2 Abhinaya Darpanam:

2.1 Introduction to Abinay Darpanam
2.2 Importance in the context of Bharatanatyam
2.3 Explanation of major Shlokas used in Bharatanatyam

Unit - 3 Introduction to Sanskrit Text:

3.1 Sangeet Ratnakar
3.2 Nritta Ratnavali
3.3 Sangeet Saramitra

Unit - 4 Poetry in Bharatanatyam:

4.1 An outlook to major compositions used in Bharatanatyam
4.2 Introduction to major poets/composers in Bharatanatyam
4.3 Different types of Padam, Varnam

Self-Learning topics (Unit wise)

Unit Topics

3 Introduction to Sanskrit Text:

3.1 Sangeet Ratnakar
3.2 Nritta Ratnavali
3.3 Sangeet Saramitra

Reference Books:
(Alphabetically)
1. Abhinaya Dharpanam of Nandikeshwara – Dr. Apparao
2. Approach to Bharatanatyam – Dr. S. Bagyalakshmi
3. The Ntyasastra: ascribed to Bharatamuni – Manish Granthalaya
4. Bharatanatyam – An in depth study - Mrs. Saroja Vaidyanathan
5. Bharatanatyam – Dr. Sunil Kothari
6. Bharatanatyam – The Heritage – Lakshami Vishwanathan
7. Bharatha kalai kotppadu - Dr. Padma Subramanium
8. Devadasi System in Medieval Tamil nadu – Dr. K. Sadasivan
9. Dictonary of theatre terms, concepts and analysis – Patrice Pavis, Christine Shant

23 | Page
10. Indian Classical Dance - Dr. Kapila Vatsayan
11. Lagu Bharartham – Dr. R. Kowsalya
12. Lagu Bharatham – Dr. Sudharani Ragupathy
13. Mathura Margam – Madurai E. Krishnan
14. Musical Instrument of India – B.C. Deva
15. Nandikesvara’s Abhinay Darpanam - Dr. Manmohan Ghosh
16. Natya Sastra – Adhiya Rengacharya
17. Nritya Geethamalal – Raji Narayan
18. Nritya Sumangali – Saskia C. Karsenboom
19. Rasa Bhava Darshan – D.N. Malhotra
20. Rasa Theory - Bhat
21. Sangeetha Saram – R.V. Krishnan
22. South Indian Music – Prof. Sambamoorthy
23. Studies in Nayaka Nayika Bheda – Rakesh Gupta
24. Tandava Lakshanam – Dr. V. Narayanswami Naidu

25. Understanding Bharatanatyam – Mirnalini Sarabhai

Major Course: MPA106A

Bharatanatyam Presentation and Viva Voce – 1A (Total Lectures: 120)

A. Revision of BPA portion

B. Bhedas, Basic Exercise and all adavus in three kalas

C. Nattuvangam on Alaripu (Khanda/Mishra/Sankirna)

D. Ability to recite the sollukettu & Natuvangam of all items learnt

Major Course: MPA110A

Bharatanatyam Stage Performance – I – IB (Total Lectures: 120)

Complete solo of Pushpanjali in any two raga and Sankirna Allaripu

Both to be performed on stage by the student in front of the audience for 45
mins

24 | Page
 MPA (ODISSI DANCE) SEMESTER – I

Major Course: MPA103A

History & Development of Odissi – 1 (Total Lectures: 60)

Unit - 1 History of Odissi

1.1 A brief overview of the history of the dance with respect to the
socio-political, religious and cultural movements in Odisha that
informed it.
1.2 The origin of dance and the Odissi style as per ancient and medieval
texts (including but not limited to NatyaSastra, Abhinaya Darpan,
Abhinaya Chandrika, Manasollasa and Nartananirnaya)
1.3 The allied performance forms that have shaped Odissi- Mahari,
Gotipua, Bandha Nrutya, Shabda Nrutya, Chhau, Jatra, Pala, Sakhi
Nata, Prahlad Nataka,

Unit - 2 The Body and Style

2.1 The anatomy- the parts, limbs, joints and other physical features that
are modulated for dance; the axes and balance; the body parts used in
Odissi and their coordination
2.2 The role of the body in dance as a ritual performance- ideas of
devotion and offering, spiritual and physical symbolism, as an
individual, the concept of the square and the circle in rituals and how
it applies to dance
2.3 The role of the body in group dance as a stage performance, as a
celebration, as a social process, in contemporary spaces

Unit - 3 Performance and Presentation

3.1 Brief overview of the Odissi repertoire-
Different elements and their history and developments; the evolving
names and purpose of the components; the proscenium repertoire vs.
the ritual repertoire (also with reference to Mahari and Gotipua)
3.2 Aharya-
Costume, Jewellery, Make-up and accessories of Odissi; Traditional
get-up and the changes till the contemporary set costume; studying
various experiments done in costume (like male impersonation by
female dancers, early evolution of saris, stitched costume, Ramli
Ibrahim’s “odhni controversy”) using contemporary examples as
much as possible.

25 | Page
 3:3 Studying the contribution of notable performers- Sanjukta Panigrahi,
Sonal Mansingh, Kumkum Mohanty, Kumkum Lal, Minati Mishra,
Indrani Rahman and more

Unit - 4 Odissi Rhythm and Music

4.1 Basics of Taal writing in Odissi and Taal Dashaprana
4.2 Saptataal system and Odia taals (including but not limited to Ektaali,
Triputa, Jhampa, Joti, Khemta, Aaditaal, Adataali)
4.3 Writing the notations of a Pallavi in Triputa taal
4.4 Identifying and discussing the various parts like maana, arasa, padi,
pohapata, chhanda-kriya and so on in a Pallavi set in Triputa taal

Self-Learning topics (Unit wise)

Unit Topics
3 3.1 The Odissi repertoire-
http://ccrtindia.gov.in/odissi.php,
https://merl.reading.ac.uk/wp-content/uploads/sites/20/2020/11/Odissi_Dance_-_Tea
cher_Resource.pdf, Odissi Dance- Dr. D. N. Patnaik
4 4.1 Basics of Taal writing in Odissi and Taal Dashaprana
(https://archive.org/stream/AEAratiRaoEvolutionOfTalaDasaPranaConceptInVijaya
nagaraTexts0177/AE-AratiRao-Evolution-of-Tala-Dasa-Prana-concept-in-%20Vijay
anagara-Texts-0177_djvu.txt)
4.3 Writing the notations of a Pallavi in Triputa taal

Major Course: MPA107A

Odissi Presentation and Viva Voce – 1A (Total Lectures: 120)

Revision of Steppings in Chauka and Tribhangi, Batu/ Sthayi, Mangalacharan

A.
and Odia abhinaya
Learning a pallavi like Behag, Saveri or Aravi; its recitation, identifying the
B. different parts, identifying the padabhedas and bhangis used, and being able to
play the manjira with it.
Understanding and analysing the theme of a pallavi by isolating the various
C. elements (body movements, hand gestures, postures)- the root/influenece of the
composition and comparison with allied dance forms

26 | Page
 Recitation of the Saptataal system and Odia taals in different speeds (ekgun,
D.
dugun, chaugun)

Major Course: MPA111A

Odissi Stage Performance (Total Lectures: 120)

● Demonstration of the repertoire of at least 40 minutes including the

Pallavi learnt during the semester
● The student should be able to explain the items before performing them
and include information such as the taal and raag on which the items are
based, the elaboration of the type of items, the special hastas and
bodywork used (if any) and the names of the choreographers and
composers.

27 | Page
 MPA (HINDUSTANI MUSIC:
INSTRUMENTAL – TAAL VAADYA (TABLAA))
SEMESTER – I

Major Course: MPA104A

Theoretical Foundation of Hindustani Music: Hindustani Music Instrumental –

Taal Vaadya – 1 (Tablaa)

(Total Lectures: 60)

Unit - 1 Development of Indian Percussion

1.1 Taal Paddhati – Hindustani and Carnatic Taal systems
1.2 Experimentation in Tablaa – Recent developments
1.3 Qualities of good Tablaa player
1.4 Legendary musicians: Dagar Bandhu (Dhrupad), Pt. Kudoun Singh, Ust. Vilayat
Khan, Ust. Amir Khan, Ust, Wajid Hussain, Ust. Amjad Ali Khan, Vidushi Mogubai
Kurdikar

Unit - 2 Technique and Terminology related to Tablaa

2.1 Concepts and methods of Riyaz – dos and don’ts of Riyaz.
2.2 Chhand, Stuti Paran, Kuaad, Biaad, Farasbandi, Anaghat, Sum, Ateet rachana
2.3 Jugalbandi / Taal Vadya Kacheri - Thoughts and principles of presentation

Unit - 3 A Study of Taal and related terms

3.1 Prachin Taal: Shikhar Taal (17 beats), Surfakta (10 beats), Lakshmi (18 beats)
3.2 Taal and Rhytham in Western music – a comparative study
3.3 Concept of ________ in Carnatic system

Unit - 4 Notation in Pt. Bhatkhande System:

4.1 Write notations of laya – different types of Layakari using Bhatkhande system
4.2 Write notations (Bhatkhande) for Kaayda in Aad – biaad – kuaad (concept and 1
kaayda each)
4.3 Write any one Carnatic taal using notation

Self-Learning topics (Unit wise)

Unit Topics

4.1 Write notations of laya – different types of Layakari using Bhatkhande system

4.2 Write notations (Bhatkhande) for Kaayda in Aad – biaad – kuaad (concept and 1
kaayda each)

28 | Page
 Reference Books:
(Alphabetically)
1. Tablaa - Arvind Mulgaonkar
2. Taal Vaibhav
3. Taal Prakash
4. Tablaa
5. Taal Martand
6. तबला शास्त्र: मधक
ु र गणेश गोडबोले
7. ताल परिचय भाग 1: पंडित गिरीश चंद्र श्रीवास्तव
8. ताल कोष:: पंडित गिरीश चंद्र श्रीवास्तव
9. ताल सर्वांग: पंडित विद्या नाथ सिंह
10. https://www.youtube.com/channel/UCGJiHl0c3TYybU-BgipaiAA
11. https://www.youtube.com/channel/UChqlVaU7uJ5XW1VL5DGXT3A

11. Taal Prakash by Bhagvat Sharan Sharma.

12. Pakhawaj aur Tablaa ke Gharane avam paramparayein Dr Aban Mistry

13. Apraachalit Kayade aur Gatein – Pt. Satyanarayan Vasishtha

14. Kayada Aur Peshkar - Pt. Satyanarayan Vasishtha

29 | Page
 Major Course: MPA108A

Hindustani Music: Instrumental – Taal Vaadya (Tablaa) Presentation and Viva Voce – 1A
(Total Lectures: 120)

1. Revision of BPA portion

2. Play Surfakta – single, double

3. Play Shikhar Taal single - double with Lehra and Taali

4. Play Lakshmi single - double with Lehra and Taali

Major Course: MPA112A

Hindustani Music: Instrumental – Taal Vaadya (Tablaa) Stage Performance – I – IB

(Total Lectures: 120)

Complete solo of any prachalit Taal– to be performed on stage by the student

in front of the audience for 45 mins

30 | Page
 SEMESTER – I
DSE / Core Elective (Select any One):
MPA113A
Art Management and Cultural Tourism (4 Credits)

Unit - 1: Art Management

a. What is Art Management: Overview, Scope, Past-Present-Future; Elements of Management:
HR, PR, Funds, Publicity
b. Managing Dance and Music: organizations, performers, producers, audiences and other
stakeholders
c. Case Studies: studying successful managers, organizations and artists

Unit - 2: Performing Art Manager

a. Understanding the Performing Arts and Managerial approaches
b. Developing the Art: helping the growth of artists and organizations:
i. Finding the Gem (how to sell and popularize art and artists)
ii. Leading the Change: Leadership skills to become good Performing Arts Managers
c. Managing Art through Virtual Platforms:
i. Home-Studios: Artists can themselves organize and manage with limited resources (basic
set-up required with good spotlight, background and sound system)
ii. Virtual Fests: Many organizers arrange for pre-recorded home-videos that can be telecast
at a later time as part of a festival (thereby reducing issues of lag, coordination and poor
network)
iii. Live Streaming Studios: Many new spaces have emerged where artists can rent studio
spaces designed like black boxes with high-speed internet for live-streams, light and
sound systems and even a technician to help.

Unit - 3: Cultural Tourism

a. Concept of Tourism: Nature, Characteristics, Scope, Domestic and International, Historical and
Economic Perspectives, Push and Pull Factors
b. Fundamentals of Indian Culture, Indian culture through the Ages
c. Culture and tourism relationship with special reference to India,

31 | Page
 i. Indian Architecture: i. Hindu Architecture: ii. Buddhist Architecture: iii. Medieval
Architecture: iv. Modern/Art Deco: Gothic Architecture
i.Indian Museums; Kathak Deodi, Lucknow
ii.UNESCO Heritage Sites and Monuments of India
iii.Art and Craft Villages of India

Unit - 4: Efforts of GoI and Domestic Fairs and Festivals

a. Dances and Music of India: Classical Dances and Music of India
b. Cultural Zones, CCRT, SNA and IGNCA by GoI and their role in promotion of Arts and
Culture
c. Major Fairs and festivals of India and their significance for tourism:
i. Holi, Dussehra, Diwali, Baisakhi, Pongal, Bihu,
ii. Desert festival (Jaisalmer, Surajkund Craft fair), International Trade Fair (New Delhi)
iii. Music and Dance Festivals: Khajuraho, Konark, Tansen, Swami Haridas, Kal Ke
Kalakaar, Sarrachandrika, Mamallapuram, Hampi, Taj, Natyanjali, Nishagandhi,
Chaturprahar, Kakinada Beach, Jaisalmer Desert Festival, Hornbill Festival, Pushkar, Goa
Carnival, Losar Festival, Rann Festival

Self-Learning topics (Unit wise)

Unit Topics
1.3 Case Studies- studying successful managers, organisations and artists
2.3 Developing the Art- helping the growth of artists and organisations
3.3 Culture and tourism relationship with special reference to India, Indian Architecture
4.1 Dances and Music of India: Classical Dances and Music of India
4.2 Cultural Zones, CCRT, SNA and IGNCA by GoI and their role in promotion of Arts
and Culture
4.3 Major Fairs and festivals of India and their significance for tourism

. Online Resources
1. Swayam Link:(BHC-011) Basics of Event Management-
https://onlinecourses.swayam2.ac.in/nou20_ge01/preview
2. SWAYAM:

32 | Page
 Business Planning & Project Management-
https://onlinecourses.swayam2.ac.in/cec20_mg07/preview
Brand Management- https://onlinecourses.swayam2.ac.in/imb20-mg03/preview

Reference Books:
1. Arjun Appadurai, The Social Life of Things: Commodities in Culture (pb). Cambridge Univ.
Press, 1988.
2. Basham A.L., The Wonder that was India, Sidgwick & Jackson
3. Basham, A.L., A Cultural History of India. Oxford University Press, USA
4. http://ficci.in/spdocument/20820/Creative-arts-in-India_LR.PDF
5. https://managementandthearts.com/5e/introduction-to-arts-management/ (sample syllabus of
the book Management and the Arts)
6. Manoj Dixit, Tourism products. New Royal Book Co., Lucknow.
7. Norman Douglas. Ed., Special Interest Tourism, John Wiley & Sons, Australia.
8. Philip Kotler, Standing Room Only: Strategies for Marketing the Performing Arts by
9. Robinet Jacob, Indian Tourism Products, Abhijeet Publications, Delhi.
10. Stephen Ball, Encyclopedia of Tourism Resources in India, Butterworth –Heinemann.
11. William J. Byrnes, Management and the Arts, 5th edition, Focal Press, Taylor & Francis Group,
NY and London, 2015.

33 | Page
 SEMESTER – I
DSE / Core Elective (Select any One):
MPA114A
Ancient and Medieval Indian Treatises of Music, Dance & Dramaturgy
(Formative Assessment)
(4 Credits)

● Submit requisite Analytical Essays on relevant topics from Ancient and Medieval Indian
Treatises of Music, Dance & Dramaturgy with guidance and approval of the approved PG
Teacher of the University, each in about 1000 words and present it in 15 minutes.
● Demonstration could be incorporated for relevant topics and the time could be extended by 10
minutes for the same.
● Writing Two Papers each of 50 marks: 02 Papers * 50 Marks = Paper writing 20 marks +
Presentation - 10 Marks + Publication - 20 Marks
● Essays with presentations:
02 Analytical Essays with Presentation * 50 Marks (with Publication)
● Plagiarism Check of less than 20 % Certificate should be attached along with submission.
● Publication of essays in ISSN / UGC Care listed Journals / ISBN chapters in (edited) books is
recommended.

34 | Page
 SEMESTER – I
Minor Course:
MPA115A Research Methodology in Performing Arts – 1 (4 Credits)

Unit - 1: Introduction to Research

a. Meaning, Characteristics, Scope and Importance of Research in Performing Arts
b. Steps of Scientific Research Methodology
c. Classification of Research

Unit - 2: Initiating Research

a. Literature Review: Research Studies in Performing Arts – India and Abroad
b. Academic Writing in Research studies
c. Paradigms of Research

Unit - 3: Quantitative (Non-Experimental) Research Methods

a. Survey
b. Correlational
c. Causal Comparative

Unit - 4: Research Writing Skills

a. Plagiarism and Ethics in Research
b. Writing a Research Proposal and Writing a Research Report
c. Evaluating a Research Study (i.e. Criteria of good Research Study)

Self-Learning topics (Unit wise)

Unit Topics
2.1 Literature Review: Research Studies in Performing Arts – India and Abroad
2.2 Academic Writing in Research studies
4.2 Writing a Research Proposal
4.3 Writing a Research Report (Dissertation)

35 | Page
Online Resources
1. Review of Related Literature: https://youtu.be/2bIiuurb6bE and
https://www.youtube.com/watch?v=2bIiuurb6bE&t=714s
2. Sampling Techniques https://www.youtube.com/watch?v=LbqTQnPgqlM
3. Tools of Research: https://www.youtube.com/watch?v=pLcDQrcezRk
4. Experimental Research https://youtu.be/_OOKwHKBKek
5. Quantitative Data Analysis
https://research-methodology.net/research-methods/dataanalysis/quantitative-data-analysis
/
6. Research Design
https://www.intechopen.com/books/cyberspace/research-design-and-methodology

Reference Books:
1. Best, J. W. and Kahn, J . (1997) Research in Education. (7 th ed.) New Delhi: Prentice
-Hall of India Ltd.
2. Bryman, A. (1988) Quantity and Quality in Social Science Research. London: Routledge
3. Chaudhary, Subhadra (Ed.), Problems and Areas of Research in Music, Ajmer: Krishna
Brothers, First ed., 1988.
4. Creswell, J.W (1994) Research Design. London: Sage Publications.
5. Diener, E. and Crandall, R. (1978) Ethics in Social and Behavioural Research. Chicago:
University of Chicago Press.
6. Haroon, Mohammed, Research Methodology for Music, Delhi: Indian Bibliographies
Bureau, First ed., 1996.
7. Koul, Lokesh, Methodology of Educational Research, New Delhi: Vikas Publishing House
Pvt. Ltd., Second Rev. ed., 1984.
8. Mehta, R. C., (Ed.), Music Research – Perspectives and Prospects – Reference Indian
Music, Baroda: Indian Musicological Society, First ed., 1994.
9. Pandya, S. (2010) Educational Research. New Delhi : APH Publishing Corporation.
10. Sharma, Dr. Manorama, Sangeet avam Shodh Pravidhi, Chandigarh: Harayana Sahitya
Academy, First ed., 1990.

36 | Page
 Board of Studies in Performing Arts
School of Performing Arts (SOPA)

HSNC University, Mumbai

Credit Structure for two-years Master of Performing Arts (MPA) Programme
(According to NEP 2020 Curriculum Framework)
i. MPA IN KATHAK DANCE
ii. MPA IN BHARATNATYAM DANCE
iii. MPA IN ODISSI DANCE
iv. MPA IN TABLAA
Batch - 1: 2023-25

Semester II

Semester Course Type Course Codes Course Name Credits

Major 1. History & Development – 8 4
(8 + 4) MPA201A i. KATHAK DANCE
MPA202A ii. BHARATNATYAM DANCE
MPA203A iii. ODISSI DANCE
MPA204A iv. TABLAA
2. Practical Course – 8A Presentation & Viva Voce 4
MPA205A i. KATHAK DANCE
MPA206A ii. BHARATNATYAM DANCE
MPA207A iii. ODISSI DANCE
MPA208A iv. TABLAA
3. Practical Course – 8B Stage Performance 4
MPA209A i. KATHAK DANCE
II MPA210A ii. BHARATNATYAM DANCE
MPA211A iii. ODISSI DANCE
MPA212A iv. TABLAA
DSE / Core MPA213A 1. Performing Arts Therapy and Art Criticism 4
Elective 2. Global Comparative Study of Performing Arts
(Select any (Formative Assessment) (Writing Two Papers each of
One) MPA214A 50 marks: 02 Papers * 50 Marks = Paper writing 20
marks + Presentation - 10 Marks + Publication - 20
Marks)
INTERNSHIP / MPA215A Internship (4 Weeks) 4
APPRENTICE- (Teaching / Assisting / Performing in recognized School /
SHIP College / University / Centre of Performing Arts / Guru /
(Formative Kendra of relevant Performing Arts - approved by BoS)
Assessment)
TOTAL 20

37 | Page
 MPA (KATHAK DANCE) SEMESTER – II
Major Course: MPA201A
History & Development – 8 (KATHAK DANCE)
(4 Credits)
Unit - 1 Title: History and Development of Indian Dance.
1.1 The Jaipur Gharana (Style, Technique, Lineage)
1.2 History of Modern Dance in America & Europe; Ruth St. Denis, Ted Shawn and the Indian
influence; Modern Dance influencers - Martha Graham, Merce Cunningham. (Technique,
Impact & Legacy)
1.3 Institutional Kathak Dance Education System: Based on Traditional Systems such as Kathak
Kendra - Delhi, Lucknow and Jaipur.

Unit - 2 Title: Technique and Terminology.

2.1 Taal Systems: North India (Hindustani Sangeet) and South India (Carnatic Sangeet)
2.2 Taal Vocabulary - Laya Prastaar: Jarab, Kramlaya, Uthaan, Peshkaar, Kaiyadaa, Paltaa, Gat,
Relaa, Raun, Laggi, Ladi, Baant, Chaalaa, Chakkardaar - Damdaar & Bedam, Farmaishi,
Kamaali Paran, Navahakka, Dupalli-Tipalli-Chaupalli, Lom-Vilom, Jaati Paran, Pakshi Paran,
Farad / Aikkad, Padaar
2.3 Thumri in Kathak

Unit - 3 Title: Study of Classical Texts

3.1 NS: Tandava Lakshana (Chapter 4); Concept and Types of Taandava and Laasya Nritya
3.2 Guna-Dosha Vichechan (Nrityaachaarya, Female Dancer, student) (with special reference
Chapter 32 of Natyashastra)
3.3 NS: Hastaabhinaya (Chapter 9) and Shariraabhinaya (Chapter 10)

Unit - 4 Notation in Pt. Bhatkhande System:

4.1 Taal Rupak (7 Matras) and Taal Ektaal/Choutaal (12 matras) - All intra-forms, Taal Choti
Sawaari (15 matras)-All Intra-forms in the practical course and Taal Shikhar (17 matras)-All
intra-forms in the practical course
4.2 Laya Prastaar in Rupak (7 matras) and Ektaal/Choutaal (12 Matras): Ekgun, Dugun, Tigun,
Chaugun; Aadhee 1/Aadi or Dyodhi 1 ½ or 3/2 or 4/6, Biyaadi 1 ¾ or 7/4, Sawa Do Guni or
Kuaadi 2 ¼ or 9/42, Pauni ¾, Sawai 1 ¼ or 5/4
4.3 Gat Bhaav (as per Practical Syllabus) - Story / Plot – in Solo and Group Formats: Subject
Matter in Brief, Stage Arrangement, Background Music, Selection of Characters, Costume –
Makeup - Jewelry, Taal & Laya, Rasa & Bhaav

Self-Learning topics (Unit wise)

Unit Topics
4.1 Taal Rupak (7 Matras) and Taal Ektaal/Choutaal (12 matras) - All intra-forms, Taal
Choti Sawaari (15 matras)-All Intra-forms in the practical course and Taal Shikhar
(17 matras)-All intra-forms in the practical course

38 | Page
 4.2 Laya Prastaar in Rupak (7 matras) and Ektaal/Choutaal (12 Matras): Ekgun,
Dugun, Tigun, Chaugun; Aadhee 1/Aadi or Dyodhi 1 ½ or 3/2 or 4/6, Biyaadi 1 ¾
or 7/4, Sawa Do Guni or Kuaadi 2 ¼ or 9/42, Pauni ¾, Sawai 1 ¼ or 5/4
4.3 Gat Bhaav (as per Practical Syllabus) - Story / Plot – in Solo and Group Formats:
Subject Matter in Brief, Stage Arrangement, Background Music, Selection of
Characters, Costume – Makeup - Jewelry, Taal & Laya, Rasa & Bhaav

References:
1. Abhinaya Darpan – Dr Puru Dadheech
2. Ang Kavya – Pt. Birju Maharaj
2. Bharata – The Natyshastra – Kapila Vatsyayan
3. Celebration of Life Indian Folk Dances – Jiwan Pani
4. Folk Dances of India – The Publications Divisions, Ministry of Information and Broadcasting,
GoI
5. Handbook of Classical Dance Terminology – Dr. Kanak Rele (Editor)
6. India’s Kathak Dance – Past, Present Future – Reginald Massey
7. Indian Classical Dance – Kapila Vatsyayan
8. Indian Classical Dance – Tradition in Transition – Leela Venkataraman & Avinash Pasricha
9. Indian Classical Dance in Literature and the Arts – Kapila Vatsyayan
10. Joy of Classical Dances of India – Leela Samson
11. Kathak Dance Education – Contemporary Systems, Problems and Suggestions – Dr Rajeev
Indramani Jha
12. Kathak Darpan - – Tirthram ‘Aazad’
13. Kathak Gyaaneshwari – Tirthram ‘Aazad’
14. Kathak Indian Classical Dance Art – Sunil Kothari
15. Kathak Nritya – L. N. Garg
16. Kathak Nritya mein Kavitta Chhand – Dr. Manjiri Deo
17. Kathak Nritya Parampara mein Guru Lacchu Maharaj – Mandvi Singh
18. Kathak Nritya Parichay – Harishchandra Shreevastav
19. Kathak Nritya Shiksha Part – I – Dr. Puru Dadheech
20. Kathak Nritya Shiksha Part – II – Dr Puru Dadheech
21. Kathak Praveshika – Tirthram ‘Aazad’
22. Kathak se pahchaan – Dr. Manjiri Deo
23. Kathak Shaashtra Darshan Part – I – Akhil Bharatiya Gandharva Mahavidyalaya Mandal

39 | Page
24. Kathak Shaashtra Darshan Part – II – Akhil Bharatiya Gandharva Mahavidyalaya Mandal
25. Kathak Shringaar – Tirthram ‘Aazad’
26. Magazine ‘Sangeet Kala Vihaar’ – (Akhil Bharatiya Gandharva Mahavidyalaya Mandal)
27. Magazine ‘Sangeet’ – (Sangeet Karyalaya Hathras)
28. Naatyshaashtra kaa Sangeet Vivechan – Dr. Puru Daheech
29. Nandikesvara’s Abhinay Darpanam - Dr. Manmohan Ghosh
30. Natyashastra – Babulal Shukla Shastrai (All Volumes)
31. The Sacred Dance of India – Mrinalini Sarabhai

40 | Page
 MPA (KATHAK DANCE) SEMESTER – II

Major Course: MPA205A

Practical Course – 8A Presentation & Viva Voce (KATHAK DANCE) (4 Credits)

A. Revision of Semester 1 portion (including Taal Ektaal/Choutaal and Rupak in particular)

B. Taal Choti Sawaari (15 matras):

1 Thaat,1 paranjudi amad,1 sada toda,1 kamali chakkardar paran,1 kavitt,1 jati paran,tatkar.

C. Taal Shikhar (17 matras):

1 Uthan,1 Thaat,1 saadi amad,2 saade todas,1 chakkardar paran,1 tipalli,tatkar & ladi.

D. Gat Nikas: Jhoomar ki gat, Chedchad ki gat

Gat bhava: Kevat Prasang. Keechak Vadha
Gazal, Chaturang
Objectives of Evaluation:
Content, Competence, Creativity, Confidence

Major Course: MPA209A

Practical Course – 8B Stage Performance - (KATHAK DANCE) (4 Credits)

1. Complete solo performance of any one or two Taals of Semester 2 with Abhinaya piece
(traditional repertoire) to be performed on stage by the student in front of the audience
for 45 mins.
2. Any self composed creative composition of Nrittang, Nritya, Abhinaya, and/or Special
Items.
3. Demonstration and illustration of theoretical aspects of the course in practical form.
4. No recordings allowed.
5. Objectives of Evaluation: Content, Competence, Creativity, Confidence

41 | Page
 MPA (BHARATANATYAM) SEMESTER – II

Major Course: MPA202A

Theoretical Foundation of Bharatanatyam - 2 (Total Lectures: 60)

Unit - 1 Contribution of Tanjore Dynaysty:

Role of following dynasties
1.1 Cholas
1.2 Nayak
1.3 Maratha

Unit - 2 Important notes on Tamil & Sanskrit Plays:

2.1 History of various dance drama tradition in India
2.2 Shilapadiram
2.3 Malavikagnimitra

Unit - 3 Contribution of different personalities:

3.1 Uday Shankar
3.2 Ravindranath Tagore
3.3 Rukmini Devi

Unit - 4 Choreography in Bharatanatyam:

4.1 Choreographic features of Margam Composition
4.2 Use of classical based choreography in Films
4.3 Bharatanatyam related creative choreographies in modern times

Self-Learning topics (Unit wise)

Unit Topics

3 Contribution of different personalities:

3.1 Uday Shankar
3.2 Ravindranath Tagore
3.3 Rukmini Dev

Reference Books:

1. Bharatanatyam yesterday, today, tomorrow – MR Dinesh

2. Approach to Bharatanatyam – Dr. S. Bagyalakshmi
3. Bharatanatya Sastram – Sri Rama Desilan
4. Bharatanatyam – An in depth study - Mrs. Saroja Vaidyanathan
5. Bharatanatyam – Dr. Sunil Kothari
6. Bharatanatyam – The Heritage – Lakshami Vishwanathan
7. Bharatha kalai kotppadu - Dr. Padma Subramanium

42 | Page
8. Devadasi System in Medieval Tamil nadu – Dr. K. Sadasivan
9. History of Music – Prof. Sambamoorthy
10. Indian Classical Dance - Dr. Kapila Vatsayan
11. Lagu Bharartham – Dr. R. Kowsalya
12. Lagu Bharatham – Dr. Sudharani Ragupathy
13. Mathura Margam – Madurai E. Krishnan
14. Musical Instrument of India – B.C. Deva
15. Nandikesvara’s Abhinay Darpanam - Dr. Manmohan Ghosh
16. Natya Sastra – Adhiya Rengacharya
17. Nritya Geethamalal – Raji Narayan
18. Nritya Sumangali – Saskia C. Karsenboom
19. Rasa Bhava Darshan – D.N. Malhotra
20. Rasa Theory - Bhat
21. Sangeetha Saram – R.V. Krishnan
22. South Indian Music – Prof. Sambamoorthy
23. Studies in Nayaka Nayika Bheda – Rakesh Gupta

24. Understanding Bharatanatyam – Mirnalini Sarabhai

Major Course: MPA206A

Bharatanatyam Presentation and Viva Voce – 1A (Total Lectures: 120)

A. Revision of Semester 1 portion

B. Demonstration of Hastas – Devta, Dashvtara, Bandhava, Navgraha Hastas

C. Reciting Jatiswaram in any two Taal, Singing Ability And Full Knowledge About
The Composition is Necessary

D. Ability to recite the sollukettu & Natuvangam of all items learnt

Major Course: MPA210A

Bharatanatyam Stage Performance – I – IB (Total Lectures: 120)

Complete solo of any Thillana and Bhakti Padam or traditional vatsalya padam
to be performed on stage by the student in front of the audience for 45 mins

43 | Page
 MPA (ODISSI DANCE) SEMESTER – II
Major Course: MPA203A
History & Development of Odissi – 2A (Total Lectures: 60)

Unit - 1 History of Odissi

1.1 Reconstruction of Odissi in the early 1950s--
In-depth analysis of the reconstruction; the underlying
socio-political need; the available styles and influences of
Odra-Nrtya; the movements of Classicisation of other dances;
institutions involved and State intervention
1.2 Understanding the Classical--
What is understood by the term ‘Classical’; evidence from
scriptures and living traditions; role of culture, politics,
socio-economic factors; what is/is not Classical; development of
the canon; role of Sangeet Natak Akademi; critical look at the
classification of dance- need, socio-political factors, the effect on
allied forms
1.3 The Guru-Shishya parampara–
Modes of training then and now; role of the guru; who were the
main gurus?, their styles; who were their main
students/successors; the questions of gender, age and caste,
especially within the Mahari-Gotipua-Odissi continuum

Unit - 2 The Body and Style

2.1 Body-Mind in Odissi
How has the religious element influenced Odissi in the style?; the
connection of the body and mind in this practice- traditional and
contemporary; supporting practises like yoga, meditation,
breathing; the idea of submission to God; strict practice and
absence/presence of codes of body purity
2.2 Role of exercises in shaping the Odissi body-
How particular exercises, movements, steppings etc. inform the
formation of the dancer’s body; yoga and Odissi; the acrobatic
training of the gotipuas and erstwhile Odissi dancers and how
that shapes contemporary Odissi
2.3 Training in Odissi--
The role of training in the creation of an Odissi dancer; the style
as largely mimetic; different modes of training- gurukul,
workshops, classes/institutions; self-taught; the scope of
self-exploration in training and post-training; existing pedagogy
(in-person/virtual/workshops)

44 | Page
Unit - 3 Performance and Presentation
3.1 Basics of Performance Studies--
Definition; Birth and development of the field; Is/As
Performance; concepts of performance and performativity,
performance in everyday life, ritual, play, stage; The Western
ideas vis-a-vis the Indian idea of Performance Studies
3.2 Approaching Performance Studies as a Performer-
How to write (about) performances?; Techniques like
Labanotation (introduction), thick description (Geertz), scriptural
references, drawings, sketches; the ephemeral nature of a
performance and the permanence of a description
3.3 Studying the contribution of notable performers- Madhavi
Mudgal, Ileana Citaristi, Sharon Lowen, Protima Bedi,
Priyambada Mohanty Hejmadi, Geeta Mahalik and more

Unit - 4 Odissi Rhythm and Music

4.1 Detailed understanding of Odia music-- history, development,
movement toward Classicisation
4.2 The basics of accompanying instruments like mardala, flute, gini
and veena (with special focus on mardala’s components, bols and
creation of rhythm as used in Odissi)
4.3 Composing arasas or short pieces in the lesser-used taals of Odissi
dance
4.4 Writing notations of Abhinaya and understanding the various parts

Self-Learning topics (Unit wise)

Unit Topics
4 4.1 Detailed understanding of Odia music-- history, development, differences
with Classical, movement toward Classicisation
https://en.wikipedia.org/wiki/Odissi_music
http://magazines.odisha.gov.in/Orissareview/2014/Dec/engpdf/44-47.pdf
https://www.worldwidejournals.com/global-journal-for-research-analysis-GJRA/rec
ent_issues_pdf/2017/December/December_2017_1512566023__70.pdf
https://www.amarpatnaik.in/special-mention/demand-for-conferring-classical-status-
to-odissi-music
https://odishatv.in/odisha-news/odisha-to-request-centre-to-accord-classical-status-to
-odissi-music-473929
4.3 Composing arasas or short pieces in the lesser-used taals of Odissi dance
45 | Page
 4.4 Writing notations of Abhinaya and understanding the various parts

Major Course: MPA207A

Odissi Presentation and Viva Voce – 2A (Total Lectures: 120)

Types of walks and gaits (chaali, gatibhed) according to texts and those used in
A.
Odissi; using them in small pieces to showcase
B. Ashtapadi with Khandita or Swadheenpatika Nayika
C. Choreographing at least 2 of the arasas done in rhythm class
Being able to recite (with taal) a complete Pallavi (preferably the one done last
D.
semester)

Major Course: MPA211A

Odissi Stage Performance -- 2B (Total Lectures: 120)

● Demonstration of the repertoire of at least 40 minutes including the

Ashtapadi learnt during the semester
● The student should be able to explain the items before performing them
and include information such as the taal and raag on which the items are
based, the elaboration of the type of items, the special hastas and
bodywork used (if any) and the names of the choreographers and
composers.

46 | Page
 MPA (HINDUSTANI MUSIC:
INSTRUMENTAL – TAAL VAADYA (TABLAA))
SEMESTER – II

Major Course: MPA204A

Theoretical Foundation of Hindustani Music: Hindustani Music Instrumental –

Taal Vaadya – 2 (Tablaa)

(Total Lectures: 60)

Unit - 1 Title: Development of Indian Percussion

1.1 Tablaa – Pakhawaj – Mridumgam: origin and usage – in depth study
1.2 Comprehensive study (origin to as on date) of Delhi and Lucknow gharanas
1.3 History of accompaniment in Vocal music – Dhrupad to modern day music

Unit - 2 Title: Technique and Terminology related to Tablaa

2.1 Instrumental development of Tablaa (Dhama – Tablaa – Jodi – Structural modifications)
2.2 Nikas paddhati and its comparison with specific reference to Dhir – dhir, Dhin Taga, Tak –
Dhin – Tak, Tita. Advantages – limitations of different nikas systems

Unit - 3 Title: A Study of Taal and related terms

3.1 Prachin Taal: Ganesh Taal (21 beats), Ashta Mangal, Chandra Taal
3.2 Chilla, Nauhakka, Sawal – Jawab, Jaati, Ank, Sanket, Bol
3.3 Vrutta and its usage in Tablaa

Unit - 4 Notation in Pt. Bhatkhande System:

4.1 Write any 2 Taals in Bhatkhande and Paluskar – dugun / tigun / chougun
4.2 Write Tripalli and Choupalli in Rupak - Teentaal, Jhaptaal
4.3 Write Farmaishee chakradhar in Ektaal, Dhamaar

Self-Learning topics (Unit wise)

Unit Topics

4.1 Write any 2 Taals in Bhatkhande and Paluskar – dugun / tigun / chougun

4.2 Write Tripalli and Choupalli in Rupak - Teentaal, Jhaptaal

4.3 Write Farmaishee chakradhar in Ektaal, Dhamaar

47 | Page
 Reference Books:

1. Tablaa - Arvind Mulgaonkar

2. Taal Vaibhav
3. Taal Prakash
4. Tablaa
5. Taal Martand
6. तबला शास्त्र: मधक
ु र गणेश गोडबोले
7. ताल परिचय भाग 1: पंडित गिरीश चंद्र श्रीवास्तव
8. ताल कोष:: पंडित गिरीश चंद्र श्रीवास्तव
9. ताल सर्वांग: पंडित विद्या नाथ सिंह
10. https://www.youtube.com/channel/UCGJiHl0c3TYybU-BgipaiAA
11. https://www.youtube.com/channel/UChqlVaU7uJ5XW1VL5DGXT3A

11. Taal Prakash by Bhagvat Sharan Sharma.

12. Pakhawaj aur Tablaa ke Gharane avam paramparayein Dr Aban Mistry

13. Apraachalit Kayade aur Gatein – Pt. Satyanarayan Vasishtha

14. Kayada Aur Peshkar - Pt. Satyanarayan Vasishtha

48 | Page
 Presentation & Viva Voce
Major Course: MPA208A

Hindustani Music: Instrumental – Taal Vaadya (Tablaa) Presentation and Viva Voce – 2A
(Total Lectures: 120)

1. Revision of Semester I
Play Solo: Any solo (10 mins): Dhamar or Surfakta or Matt taal- 1 or 2 Kaydas,
1 rela, tukda, chakradhaar and Tihai (2 or 3)

2. Accompany - Vocal: Panjabi, Jhoomra - Vilambit and Drut / Ati drut Bandish
(with appropriate taal) - 20 mins

3. Accompany – Instrument - Complete performance for min 10 mins

4. Synthesized performance for 10 mins in any of the following: 1. Vocal - tablaa -

Kathak 2. Instrument - tablaa - dance (Kathak)

Stage Performance
Major Course: MPA212A

Hindustani Music: Instrumental – Taal Vaadya (Tablaa) Stage Performance – II – 2B

(Total Lectures: 120)

- Complete solo of any aprachalit Taal– to be performed on stage by the

student in front of the audience for 45 mins (15 / 9 / 11 beats any one)

49 | Page
 SEMESTER – II
DSE / Core Elective (Select any One):
MPA2131A Performing Arts Therapy and Art Criticism (4 Credits)

Unit - 1: Dance Therapy

1.1 Dance Movement Therapy: DMT in India and abroad; Present and Future
1.2 a. Movement, Self and Healing: Practicing DMT on Self to understand effects and
implications;
b. Props and therapy: using props, group therapy, mixing other modules.
1.3 DMT for severe cases: dealing with major trauma or medical conditions and a methodical
approach for healing

Unit - 2: Music Therapy

2.1 a. Singing and Hearing music: Using Music to heal, both as active and passive participants
b. Different music, differing meanings: Variations in music styles and whether they affect
therapy differently
2.2 Using Voice, Instruments, Ragas and Recordings: close studying of different elements of
music and how they affect therapy
2.3 Psychology and Physiology: How music affects both; Music for everyday Wellness; Assessing
the need for therapy: Understanding the need of the patient and using different methods of Music
Therapy

Unit - 3: Art Criticism

3.1 Critics and Criticism: How to appreciate performing art, and basis of critical theory
3.2 Criticism and Development: Performance Art Criticism in India and Western world, role of
criticism in informing, documenting and improving the arts
3.3 a. Critic in the audience: what is the role of a critic vis-a-vis the audience
b. Critical study of a Performance: using basic methods to critically analyze a performance

Unit - 4: Career of a Critic

4.1 a. Role of Critics: Study eminent performing art critics and their contribution to furthering the art
b. Can Art be criticized: discussing artist perspectives and necessity of art critics?
4.2 What is a Performance?: Performing the Everyday, Performing on Stage, Critical Evaluations
4.3 The Artist as/with a Critic: Studying oeuvres to understand criticism as a progressive force.
Either performers can study their own work or closely follow an artist’s work.

50 | Page
 Self-Learning topics (Unit wise)

Unit Topics
1.1 DMT in India and abroad
1.2-a Movement, Self and Healing: Practicing DMT on Self to understand effects and
implications
2.1-b Different music, differing meanings: Variations in music styles and whether they
affect therapy differently
2.3 Music for everyday Wellness
3.3-b Critical study of a Performance- using basic methods to critically analyze a performance

4.1-a Can Art be Criticized- discussing artist perspectives and necessity of art critics?

Online Resources
1. Online courses (MOOC): https://www.mooc-list.com/course/how-music-can-change-your-
life-coursera
2. http://udel.edu/~agibson/ARTH667-F99.htm
3. https://static1.squarespace.com/static/5146f36de4b0b35e942dc1e6/t/5352b33ce4b0c64d5e
6d59d1/1397928764183/Example-Syllabus-Benny-Simon.pdf
4. https://tiss.edu/uploads/files/Prospectus_-DDMT_-18-19_-_Final.pdf
5. https://online.berklee.edu/courses/music-therapy-techniques-for-wellness
6. https://www.umbra.org/wp-content/uploads/2018/04/Umbra-ARPY-350-Art-Therapy-Fall-
18.pdf
\
Reference Books:
1. Benjamin, Walter. Illuminations
2. Kothari, Dr. Sunil (edited by), New Directions in Indian Dance, Mumbai: Marg Publications,
Vol. 55 No. 2, December 2003.
3. Kothari, Sunil. New Directions in Indian Dance
4. Lavender, L. (1996). Dancers talking dance. Human Kinetics.
5. Mehta, R. C. (Ed.), Psychology of Music, Baroda: Indian Musicological Society, First ed.,
December 1980.
6. Payne, Helen (ed.) Dance Movement Therapy: Theory and Practice
7. Pope, Alexander. An Essay on Criticism
8. Prem Kumari, V., Experiments in Music Teaching, New Delhi: Radha Publications, First ed.,
1995.
9. Rao, H. P. Krishna, The Psychology of Music, Delhi: Indological Book House, 1986.
10. Sharma, Dr. Manorama, Special Education: Music Therapy, New Delhi: APH Publishing
Corporation, 1996.
11. Vatsyayan, Kapila. Bharata, the Natyasastra

51 | Page
 SEMESTER – II
DSE / Core Elective (Select any One):
MPA214A
Global Comparative Study of Performing Arts
(Formative Assessment)
(4 Credits)

● Submit requisite Analytical Essays on relevant topics from Global Comparative Study of
Performing Arts with guidance and approval of the approved PG Teacher of the University,
each in about 1000 words and present it in 15 minutes.
● Demonstration could be incorporated for relevant topics and the time could be extended by
10 minutes for the same.
● Writing Two Papers each of 50 marks: 02 Papers * 50 Marks = Paper writing 20 marks +
Presentation - 10 Marks + Publication - 20 Marks
● Essays with presentations:
02 Analytical Essays with Presentation * 50 Marks (with Publication)
● Plagiarism Check of less than 20 % Certificate should be attached along with submission.
● Publication of essays in ISSN / UGC Care listed Journals / ISBN chapters in (edited) books
is recommended.

52 | Page
 SEMESTER – II
INTERNSHIP / APPRENTICE- SHIP
(Formative Assessment)

MPA215A Internship

(4 Weeks - 120 Credits - 30 hours/week)

(Teaching / Assisting / Performing in recognized School / College / University

/ Centre of Performing Arts / Guru / Kendra of relevant Performing Arts -
approved by BoS)

53 | Page
 Board of Studies in Performing Arts
School of Performing Arts (SOPA)

HSNC University, Mumbai

Credit Structure for two-years Master of Performing Arts (MPA) Programme
(According to NEP 2020 Curriculum Framework)
i. MPA IN KATHAK DANCE
ii. MPA IN BHARATNATYAM DANCE
iii. MPA IN ODISSI DANCE
iv. MPA IN TABLAA
Batch - 1: 2023-25

Semester III
Semester Course Type Course Codes Course Name Credits
Major 1. History & Development – 9 4
(8 + 4) MPA301A i. KATHAK DANCE
MPA302A ii. BHARATNATYAM DANCE
MPA303A iii. ODISSI DANCE
MPA304A iv. TABLAA
2. Practical Course – 9A Presentation & Viva Voce 4
MPA305A i. KATHAK DANCE
MPA306A ii. BHARATNATYAM DANCE
MPA307A iii. ODISSI DANCE
MPA308A iv. TABLAA
3. Practical Course – 9B Stage Performance 4
MPA309A i. KATHAK DANCE
III MPA310A ii. BHARATNATYAM DANCE
MPA311A iii. ODISSI DANCE
MPA312A iv. TABLAA
Minor MPA313A Research Methodology in Performing Arts – II 4
Seminar / MPA314A 1. Project: Academic Writing in Performing Arts 4
Research (Interdisciplinary / Multidisciplinary Study of
Project Performing Arts with efforts towards Publication)
(Select any one) (Writing Two Papers each of 50 marks: 02 Papers *
(Formative 50 Marks = Paper writing 20 marks + Presentation
Assessment) - 10 Marks + Publication - 20 Marks)
MPA315A 2. Project: Digital Tools in Performing Arts (Audio /
Video / Assessment / Presentation / Quiz / LMS etc)
(04 Topics / Presentations of 20 - 30 minutes each)
TOTAL 20

54 | Page
 MPA (KATHAK DANCE) SEMESTER – III

MPA301A History & Development – 9 (KATHAK DANCE) (4 Credits)

Unit - 1 History and Development of Indian Dance

1.1 The Lahore Gharana of Kathak; The Raigarh Gharana & the Benaras Gharana (Style,
Technique, Lineage)
1.2 The rise of the Nautch; The anti-nautch movement in India, Devdasi System of South
India: its influence and decline
1.3 Institutional Kathak Dance Education System: Based on School and University Systems
such as Indira Kala Sangit Vishwavidyalaya, M. S. University Baroda, Bhatkhande
Sanskriti Vishwavidyalaya, Lucknow; School and Higher Secondary Board of
Maharashtra, U. P., Rajasthan, Madhya Pradesh, etc.

Unit - 2 Technique and Terminology

2.1 Definitions: Ughatata, Urmayi, Urap, Sulap, Tirap, Jamankaa, Stuti, Poha Paajuri,
Laag-Daat, Dhilaanga, Shudh Mudra, Tharr, Sudhang, Tribhang, Ghumariyaa,
Chankraman, Chelaanchala, Chhand, Saran, Haava-Bhaava / Shariraja Alankaar (with
Helaa), Sapta Avayava, Anulom-Pratilom, Nyaas-Vinyaas
2.2 Naayaka Bhedas: Saatvika Guna, Bhedas: Swabhaava, Dharma, Avasthaa
2.3 Naaayikaa Bhedas: Dharma, Aayu, Jaati, Prakriti, Avasthaa

Unit - 3 Study of Classical Texts-

3.1 NS: Rasa and Bhaav (Chapter 6 and 7); Rasa Principle amd Rasa Nishpatti Principles
(Bhatt Lollata, Bhatt Shankuka, Bhatt Naayaka, Abhinav Gupta)
3.2 NS: Pravritti – Dharmee (Chapter 14)
3.3 The Vishnudharmottara Purana (Khanda 3): Nrittasutra, Chitrasutra, Pratima Lakshana

Unit - 4 Notation in Pt. Bhatkhande System:

4.1 Taal Dhamar (14 matras) - All intra forms, Taal Matta (18 matras) - All intra forms in
practical courses, Taal Ashtamangal (22 matras) - All intra forms in practical courses.
4.2 Laya Prastaar in Dhamar (14 matras): Ekgun, Dugun, Tigun, Chaugun; Aadhee 1/Aadi or
Dyodhi 1 ½ or 3/2 or 4/6, Biyaadi 1 ¾ or 7/4, Sawa Do Guni or Kuaadi 2 ¼ or 9/42, Pauni
¾, Sawai 1 ¼ or 5/4
4.3 Gat Bhaav (as per Practical Syllabus) - Story / Plot – in Solo and Group Formats: Subject
Matter in Brief, Stage Arrangement, Background Music, Selection of Characters, Costume
– Makeup - Jewelry, Taal & Laya, Rasa & Bhaav

Self-Learning topics (Unit

wise)

Unit Topics
4.1 Taal Ektaal (12 matras) - All intra forms, Taal Matta (18 matras) - All intra forms
in practical courses, Taal Ashtamangal (22 matras) - All intra forms in practical
courses.

55 | Page
 4.2 Laya Prastaar in Dhamar (14 matras) Ekgun, dugun, tigun, chaugun, aadhee,
Paunee, dyodhi or aadi.
4.3 Gat Bhaav (as per Practical Syllabus) - Story / Plot – in Solo and Group Formats:
Subject Matter in Brief, Stage Arrangement, Background Music, Selection of
Characters, Costume – Makeup - Jewelry, Taal & Laya, Rasa & Bhaav

References:
1. Abhinaya Darpan – Dr Puru Dadheech
2. Ang Kavya – Pt. Birju Maharaj
2. Bharata – The Natyshastra – Kapila Vatsyayan
3. Celebration of Life Indian Folk Dances – Jiwan Pani
4. Folk Dances of India – The Publications Divisions, Ministry of Information and
Broadcasting, GoI
5. Handbook of Classical Dance Terminology – Dr. Kanak Rele (Editor)
6. India’s Kathak Dance – Past, Present Future – Reginald Massey
7. Indian Classical Dance – Kapila Vatsyayan
8. Indian Classical Dance – Tradition in Transition – Leela Venkataraman & Avinash
Pasricha
9. Indian Classical Dance in Literature and the Arts – Kapila Vatsyayan
10. Joy of Classical Dances of India – Leela Samson
11. Kathak Dance Education – Contemporary Systems, Problems and Suggestions – Dr
Rajeev Indramani Jha
12. Kathak Darpan - – Tirthram ‘Aazad’
13. Kathak Gyaaneshwari – Tirthram ‘Aazad’
14. Kathak Indian Classical Dance Art – Sunil Kothari
15. Kathak Nritya – L. N. Garg
16. Kathak Nritya mein Kavitta Chhand – Dr. Manjiri Deo
17. Kathak Nritya Parampara mein Guru Lacchu Maharaj – Mandvi Singh
18. Kathak Nritya Parichay – Harishchandra Shreevastav
19. Kathak Nritya Shiksha Part – I – Dr. Puru Dadheech
20. Kathak Nritya Shiksha Part – II – Dr Puru Dadheech
21. Kathak Praveshika – Tirthram ‘Aazad’
22. Kathak se pahchaan – Dr. Manjiri Deo
23. Kathak Shaashtra Darshan Part – I – Akhil Bharatiya Gandharva Mahavidyalaya Mandal
24. Kathak Shaashtra Darshan Part – II – Akhil Bharatiya Gandharva Mahavidyalaya Mandal
25. Kathak Shringaar – Tirthram ‘Aazad’

56 | Page
26. Magazine ‘Sangeet Kala Vihaar’ – (Akhil Bharatiya Gandharva Mahavidyalaya Mandal)
27. Magazine ‘Sangeet’ – (Sangeet Karyalaya Hathras)
28. Naatyshaashtra kaa Sangeet Vivechan – Dr. Puru Daheech
29. Nandikesvara’s Abhinay Darpanam - Dr. Manmohan Ghosh
30. Natyashastra – Babulal Shukla Shastrai (All Volumes)
31. The Sacred Dance of India – Mrinalini Sarabhai

57 | Page
 MPA (KATHAK DANCE) SEMESTER – III
Major Course: MPA305A

2. Practical Course – 9A Presentation & Viva Voce (KATHAK DANCE) (4 Credits)

A. Revision of Semester 1 & 2 portion (including Dhamar Taal in particular)

B. Taal Matta (18 matras):

1 Thaat,1Saadi amad,1 Namaskar ka tukda,1 chakkardar toda,1 paramelu, Tishra
jati paran,1 farmaishi paran,tatkar

C. Taal Ashtamangal (22 matras):

1 peshkar,1 thaat,1 paranjudi amad,1 sada toda,2 chakkardar tode, 1 chakkardar
paran,1 kavitt,1 bedum tihai & tatkar

D. Gat Nikas: Peshvaz Gat, Naav ki gat.

Gat bhava: Geeta Upadesha. Jataayu Moksha
Abhinaya on chaupai, doha, savaiyya. Trivat
Objectives of Evaluation:
Content, Competence, Creativity, Confidence

Major Course: MPA309A

3. Practical Course – 9B Stage Performance - (KATHAK DANCE) (4 Credits)

1. Complete solo performance of any one or two Taals of Semester 2 with Abhinaya piece
(traditional repertoire) to be performed on stage by the student in front of the audience
for 45 mins.
2. Any self composed creative composition of Nrittang, Nritya, Abhinaya, and/or Special
Items.
3. Demonstration and illustration of theoretical aspects of the course in practical form.
4. No recordings allowed.
5. Objectives of Evaluation: Content, Competence, Creativity, Confidence

58 | Page
 MPA (BHARATNATYAM DANCE) SEMESTER – III
Major Course: MPA302A Theoretical Foundation of (Total Lectures: 60)

Unit - 1 Title: Aesthetics in Dance:

1.1 Bharata’s Rasa Theory
1.2 Abhinav Gupta & Bhoj & its Exposition in Dance
1.3 Aesthetics of traditional Bharatanatyam & Gharana

Unit - 2 Title: Bhava Theory:

2.1 Pada-artha & Vakya Artha
2.2 Sanchari
2.3 Types of Vyabhichari Bhava

Unit - 3 Title: Concept of Natya:

3.1 Natya According to Bharata
3.2 Drisya Kavya Origin of Natya as Panchamveda & Its Importance
3.3 Study of Nayaka & Nayika & Its Classification

Unit - 4 Bharatanatyam Dance and its relation with other aspects:

4.1 Bharatanatyam its philosophical & Spiritual aspects
4.2 Interrelationship of dance & other arts
4.3 Mythological stories in Bharatanatyam

Self-Learning topics (Unit wise)

Unit Topics

4 Bharatanatyam Dance and its relation with other aspects

4.1 Bharatanatyam its philosophical & Spiritual aspects

4.2 Interrelationship of dance & other arts
4.3 Mythological stories in Bharatanatyam

Reference Books:

1. Approach to Bharatanatyam – Dr. S. Bagyalakshmi

2. The Ntyasastra: ascribed to Bharatamuni – Manish Granthalaya
3. Natyashastra of Bharatamuni with the commentary Abhinavbharati Vol.1 Bharatamuni,
Abhinav Gupta Acharya, R S Nagar.
4. Bharatanatyam – An in depth study - Mrs. Saroja Vaidyanathan
5. Introduction to Bharata’s Natyashastra – Adya Rangacharya
6. Bharatanatyam – The Heritage – Lakshami Vishwanathan
7. Indian Classical Dance – Kapija Vatsyayan
8. Devadasi System in Medieval Tamil nadu – Dr. K. Sadasivan
9. Dictionary of theatre terms, concepts and analysis – Patrice Pavis, Christine Shant

59 | Page
10. Indian Classical Dance - Dr. Kapila Vatsayan
11. Lagu Bharartham – Dr. R. Kowsalya
12. Lagu Bharatham – Dr. Sudharani Ragupathy
13. Mathura Margam – Madurai E. Krishnan
14. Musical Instrument of India – B.C. Deva
15. Nandikesvara’s Abhinay Darpanam - Dr. Manmohan Ghosh
16. Natya Sastra – Adhiya Rengacharya
17. Nritya Geethamalal – Raji Narayan
18. Nritya Sumangali – Saskia C. Karsenboom
19. Rasa Bhava Darshan – D.N. Malhotra
20. Rasa Theory - Bhat
21. Studies in Nayaka Nayika Bheda – Rakesh Gupta

22. Understanding Bharatanatyam – Mirnalini Sarabhai

Major Course: MPA306A

Bharatanatyam Presentation and Viva Voce – 1A (Total Lectures: 120)

A. Revision of Semester 2 portion

B. Demonstrating Navrasa with suitable Slokas and using any Composition

C. Demonstration of all jatis on hands with different talas

D. Ability to recite the sollukettu & Natuvangam of all items learnt

Major Course: MPA309A

Bharatanatyam Stage Performance – I – IB (Total Lectures: 120)

Complete solo of any Keertanam of own choreography

to be performed on stage by the student in front of the audience for 45 mins

60 | Page
 MPA (ODISSI DANCE) SEMESTER – III
Major Course: MPA303A

History & Development of Odissi – 3A (Total Lectures: 60)

Unit - 1 Development of Odissi

1.1 The poetry in Odissi
The literary movement in Odisha and the birth of the kinds of
poems used in Odissi; the peculiarity of the medieval Bhakti
poems and their spread through dance (Gotipua and Mahari);
different kinds of poems in detail (including stuti, janana,
chhanda, champu, GeetaGovinda) and how they have been
portrayed in Odissi; contemporary attempts to reinvent different
kinds of poetry (chhanda, modern, mahari songs)
1.2 Major contributors to the tradition-
1.3 The gendered space-
The stereotypical understanding of male gurus vis-a-vis female
dancers in Odissi; the visibility and contribution of male dancers;
the female dancer in the reconstruction and national
identification of Odissi; the position of the dancer as compared to
the teacher and it implications

Unit - 2 The Body and Style

2.1 The body of the deity
The body of the dancer as miming the dance of the Gods; change
of movements and posture while performing dance of Shiva,
Krishna, Tantra/Shakti and more; studying the influence of
religious practises in the use of hand movements, gestures,
footwork and choreography
2.2 The Tandava-Lasya dichotomy and dialogue
The origins of the terms and their accepted meanings today; Is it
possible to alienate the two? Understanding the dialogue between
the two styles, especially in Odissi; analysing pieces/items that
engage in this dialogue
2.3 The feminine body in Odissi-
The legacy of Odissi- from the female devotee to the
impersonated female to the middle-class woman; the effect of
this history on the understanding of Lasya; the use of enhanced
femininity by some schools to reiterate the female body; other
schools do not showcase it much; analysing the space of the
female body in Odissi dance vis-a-vis the male dancer; studying
the inequality and whether it is caused by style or society

61 | Page
Unit - 3 Performance and Presentation
3.1 Rasaesthetics-
The study of Rasa- concepts, origin, analysis; understanding
bhava and the Indian technique of emoting it as compared to a
few popular Western/Asian methods; Study of Aesthetics,
especially in a performance- role of the spectator, importance of
context and location, the concepts of darshan, abhinaya, male
gaze, spectatorship
3.2 Understanding choreography- Analysis and Process
Reading texts that analyse choreography- dealing with concepts
such as frame, representation, style, vocabulary, syntax, motif,
mirroring, shadowing and their colloquial references, if any;
comparing the choreography of Western Classical with Indian
Classical dance; understanding the process of choreography-
ideation, development, execution, practice, finalising and
improvisation
3.3 Studying the contribution of notable performers- Daksha
Mashruwala, Jhelum Paranjape, Debi Basu, Sharmila Basu,
Sujata Mohapatra, Minu Haque and more

Unit - 4 Odissi Rhythm and Music

4.1 Investigating the role of Arasas in Odissi as a unique element;
studying different types of maanas; Composing arasas or short
pieces in the lesser-used taals of Odissi dance
4.2 Writing Gatibhed Pallavi and identifying the chhanda-kriya,
shifts in taal/jaati
4.3 Understanding the role of Raag in Odissi dance- Raag-
Definition- Purpose or function of Raags in Classical music
4.4 Effect of the Raag on the choreography and rasa of the dance or
the dancer- Raag-based compositions v/s Folk tunes in practice
of Odissi dance

Self-Learning topics (Unit wise)

Unit Topics
1 1.1 The poetry in Odissi
https://epgp.inflibnet.ac.in/Home/ViewSubject?catid=451 (P05→M10,11)

62 | Page
4 4.2 Writing Gatibhed Pallavi and identifying the chhanda-kriya, shifts in
taal/jaati
4.3 Understanding the role of Raag in Odissi dance- Raag- Definition-
Purpose or function of Raags in Classical music
https://nios.ac.in/media/documents/Hindustani_Music_242/hindustanimusictheo
rybook1/HMB1Ch2.pdf
https://nios.ac.in/media/documents/Carnatic_Music_243/carnaticmusicbook1/ch
2.pdf
http://magazines.odisha.gov.in/Orissareview/august-2007/engpdf/Page108-111.
pdf
https://www.sahapedia.org/sites/default/files/2019-03/The%20Tradition%20of
%20Odissi%20Music%20-%20Jiwan%20Pani.pdf

63 | Page
 Major Course: MPA307A

Odissi Presentation and Viva Voce – 3A (Total Lectures: 120)

A. Learning basic music editing skills for using in performance

Learning Gatibhed pallavi, its recitation, identifying the variations in rhythm,
B.
identifying the padabhedas and bhangis used
Learning Ardhaneshwar to explore the feminine and masculine depiction of
C.
characters and usage of body movements
F. Being able to play the manjira with the items learnt

Major Course: MPA310A

Odissi Stage Performance - 3B (Total Lectures: 120)

● Demonstration of the repertoire of at least 50 minutes including the

Pallavi learnt during the semester
● The student should be able to explain the items before performing them
and include information such as the taal and raag on which the items are
based, the elaboration of the type of items, the special hastas and
bodywork used (if any) and the names of the choreographers and
composers.

64 | Page
 MPA (HINDUSTANI MUSIC:
INSTRUMENTAL – TAAL VAADYA (TABLAA))
SEMESTER – III

Major Course: MPA304A

Theoretical Foundation of Hindustani Music: Hindustani Music Instrumental –

Taal Vaadya – 3 (Tablaa)
(Total Lectures: 60)

Unit - 1 Development of Indian Percussion

1.1 Tablaa and its global contemporary instruments
1.2 Comprehensive study of Farrukhabad and Punjab Gharanas
1.3 Legendary musicians: Vidushi Subbalaxmi, Pt. Omkarnath Thakur, Pt. Nanasaheb Panse,
Pt. Anokhelal, Ust. Nijamuddin Khan, Pt. Vishwamohan Bhatt, Pt. Gyan Prakash Ghosh, Pt.
Nikhil Banerjee

Unit - 2 Technique and Terminology related to Tablaa

2.1 Making of Tablaa – a craftsman’s perspecive
2.2 Rela gat, Manjhdhaar, Types of Tihai Gat, Farad gat, Gend Uchhal, Dudhaari, tridhaari gat,
Chhand Gat
2.3 Tabla Accompaniment - Thoughts and principles of presentation (Vocal / instrument /
dance)

Unit - 3 A Study of Taal and related terms

3.1 Taal: Teen taal, Matt taal, Sawari
3.2 Depiction of Taal in Dholki, Dholak
3.3 Concept of __________ in Carnatic

Unit - 4 Notation in Pt. Bhatkhande System:

4.1 Write notations of different types of Gats as detailed in 2.2
4.2 Write notations for any 1 Carnatic Taal theka and bol

Self-Learning topics (Unit wise)

Unit Topics

4.1 Write notations of different types of Gats as detailed in 2.2

4.2 Write notations for any 1 Carnatic Taal theka and bol

65 | Page
 Reference Books:

1. Tablaa - Arvind Mulgaonkar

2. Taal Vaibhav
3. Taal Prakash
4. Tablaa
5. Taal Martand
6. तबला शास्त्र: मधक
ु र गणेश गोडबोले
7. ताल परिचय भाग 1: पंडित गिरीश चंद्र श्रीवास्तव
8. ताल कोष:: पंडित गिरीश चंद्र श्रीवास्तव
9. ताल सर्वांग: पंडित विद्या नाथ सिंह
10. https://www.youtube.com/channel/UCGJiHl0c3TYybU-BgipaiAA
11. https://www.youtube.com/channel/UChqlVaU7uJ5XW1VL5DGXT3A

11. Taal Prakash by Bhagvat Sharan Sharma.

12. Pakhawaj aur Tablaa ke Gharane avam paramparayein Dr Aban Mistry

13. Apraachalit Kayade aur Gatein – Pt. Satyanarayan Vasishtha

14. Kayada Aur Peshkar - Pt. Satyanarayan Vasishtha

66 | Page
 Major Course: MPA308A

Hindustani Music: Instrumental – Taal Vaadya (Tablaa) Presentation and Viva Voce – 3A
(Total Lectures: 120)

A Revision of Semester 2

B Identifying the Raga and theka – viambit and Madhya laya

C Accompany Kathak dance performance

D Accompany any instrument on Tablaa

Major Course: MPA312A

Hindustani Music: Instrumental – Taal Vaadya (Tablaa) Stage Performance – I – 3B

(Total Lectures: 120)

· Complete solo of any prachalit Taal– to be performed on stage by the student

in front of the audience for 45 mins

67 | Page
 SEMESTER – III
Minor Course:
MPA313A Research Methodology in Performing Arts – 2 (4 Credits)

68 | Page
 SEMESTER – III
Seminar

MPA314A Project: Academic Writing in Performing Arts

(Interdisciplinary / Multidisciplinary Study of Performing Arts with efforts towards
Publication)
(Formative Assessment)
(4 Credits)

● Submit requisite Analytical Essays on relevant topics from Interdisciplinary /

Multidisciplinary Study of Performing Arts with efforts towards Publication with guidance
and approval of the approved PG Teacher of the University, each in about 1000 words and
present it in 15 minutes.
● Demonstration could be incorporated for relevant topics and the time could be extended by
10 minutes for the same.
● Writing Two Papers each of 50 marks: 02 Papers * 50 Marks = Paper writing 20 marks +
Presentation - 10 Marks + Publication - 20 Marks
● Essays with presentations:
02 Analytical Essays with Presentation * 50 Marks (with Publication)
● Plagiarism Check of less than 20 % Certificate should be attached along with submission.
● Publication of essays in ISSN / UGC Care listed Journals / ISBN chapters in (edited) books
is recommended.

69 | Page
MPA315A Project: Digital Tools in Performing Arts
(Audio / Video / Assessment / Presentation / Quiz / LMS etc)
(04 Topics / Presentations of 20 - 30 minutes each)

1. Submit any 4 assignments of the creation and use of Audio / Video / Assessment /
Presentation / Quiz / LMS (in 4 quadrants) with approval of the approved PG Teacher of
the University.
2. Marks could be allotted as 25 Marks * 4 Assignments or LMS (25 Marks * 4
Quadrants).

70 | Page
 Board of Studies in Performing Arts
School of Performing Arts (SOPA)

HSNC University, Mumbai

Credit Structure for two-years Master of Performing Arts (MPA) Programme
(According to NEP 2020 Curriculum Framework)
i. MPA IN KATHAK DANCE
ii. MPA IN BHARATNATYAM DANCE
iii. MPA IN ODISSI DANCE
iv. MPA IN TABLAA
Batch - 1: 2023-25

Semester IV

Semester Course Type Course Codes Course Name Credits

Major 1. History & Development – 10 4
(8 + 4) MPA401A i. KATHAK DANCE
MPA402A ii. BHARATNATYAM DANCE
MPA403A iii. ODISSI DANCE
MPA404A iv. TABLAA
2. Practical Course – 10A Presentation & Viva Voce 4
MPA405A i. KATHAK DANCE
MPA406A ii. BHARATNATYAM DANCE
MPA407A iii. ODISSI DANCE
MPA408A iv. TABLAA
IV
3. Practical Course – 10B Stage Performance 4
MPA409A i. KATHAK DANCE
MPA410A ii. BHARATNATYAM DANCE
MPA411A iii. ODISSI DANCE
MPA412A iv. TABLAA
Seminar / 8
Research
Project MPA413A Research Dissertation
(Formative
Assessment)
TOTAL 20

71 | Page
 MPA (KATHAK DANCE) SEMESTER – IV
Major Course: MPA401A History & Development – 10 (KATHAK DANCE)
(4 Credits)
Unit - 1 Title: History and Development of Indian Dance

1.1 Kathak in post Independent India; Globalization of Kathak: An Overview.

1.2 Present day Kathak (Teaching Methodology, Technique, Repertoire, Costume, Performance
Space, Challenges etc.)
1.3 Institutional Kathak Dance Education System: Based on Eclectic Systems such as
ABGMM, Mumbai, Prayag Sangeet Samiti, Prayagraj, Pracheen Kala Kendra, Chandigarh,
and Certificate and Diplomas offered by Universities.

Unit - 2 Title: Technique and Terminology

2.1 Definitions: Ayatnaja Alankaar, Swabhaavika Alankaar, Vyuha Kriyaa, Sapta Padharath,
Sapta Maal, Solaha Anaga, Soalaha Singaar
2.2 Kathak Dance Style in reference to its:
i. Bhaav-Soundarya:Seven Bhaav-Pradarshan Vidhis (Nayana Bhaav, Bol Bhaav, Artha
Bhaav, Sabhaa Bhaav, Nritya Bhaav, Gat Artha Bhaav, Anga Bhaav)
ii. Nrittanga: Tatkaar, Hastaka, Bhramari, Taal-Prabandh
2.3 Equipment for Dance Performance: Stage Arrangement/Set-up, Stage Decoration,
Scenery / Visual Decoration, Sound & Lighting Arrangement, Costume, Make-up,
Background Music

Unit - 3 Title: Study of Classical Texts -

3.1 Nritya Saahitya: Ancient, Medieval
3.2 Detailed overview of Abhinaya Darpanam
3.3 An overview of the following Granths with reference to Dance:
a. Sangeet Ratnakara by Sharangdeva (Nrityaadhyaaya): Anga, Pratyanga, Upangas &
Nrittakaranas; Sthanaas (postures) and Rasas (9 sentiments)
b. Abhinavagupta’s Abhinavabharati
c. Dhannajaya’s Dasarupaka

Unit - 4 Notation in Pt. Bhatkhande System:

4.1 Taal Raas (13 matras) - All intra forms, Taal Arjun (24 matras) - All intra forms in practical
courses, Taal Brahma (28 matras) - All intra forms in practical courses.
4.2 Laya Prastaar in any of Practical Course Taals of MPA: Ekgun, Dugun, Tigun, Chaugun;
Aadhee 1/Aadi or Dyodhi 1 ½ or 3/2 or 4/6, Biyaadi 1 ¾ or 7/4, Sawa Do Guni or Kuaadi 2
¼ or 9/42, Pauni ¾, Sawai 1 ¼ or 5/4
4.3 Gat Bhaav (as per Practical Syllabus) - Story / Plot – in Solo and Group Formats: Subject
Matter in Brief, Stage Arrangement, Background Music, Selection of Characters, Costume
– Makeup - Jewelry, Taal & Laya, Rasa & Bhaav

Self-Learning topics (Unit

wise)

(Mention sub-units)

72 | Page
 Unit Topics
4.1 Taal Arjun (24 matras): Introduction and theka in ekgun,dugun,tigun,and
chaugun.Study of all intra forms in the practical courses.
Taal Brahma (28 matras): Introduction and theka in ekgun,dugun,tigun and
chaugun. Study of all intra forms in the practical courses.
4.2 Gat Bhaav (as per Practical Syllabus) - Story / Plot – in Solo and Group Formats:
Subject Matter in Brief, Stage Arrangement, Background Music, Selection of
Characters, Costume – Makeup - Jewelry, Taal & Laya, Rasa & Bhaav

References:
1. Abhinaya Darpan – Dr Puru Dadheech
2. Ang Kavya – Pt. Birju Maharaj
2. Bharata – The Natyshastra – Kapila Vatsyayan
3. Celebration of Life Indian Folk Dances – Jiwan Pani
4. Folk Dances of India – The Publications Divisions, Ministry of Information and
Broadcasting, GoI
5. Handbook of Classical Dance Terminology – Dr. Kanak Rele (Editor)
6. India’s Kathak Dance – Past, Present Future – Reginald Massey
7. Indian Classical Dance – Kapila Vatsyayan
8. Indian Classical Dance – Tradition in Transition – Leela Venkataraman & Avinash
Pasricha
9. Indian Classical Dance in Literature and the Arts – Kapila Vatsyayan
10. Joy of Classical Dances of India – Leela Samson
11. Kathak Dance Education – Contemporary Systems, Problems and Suggestions – Dr
Rajeev Indramani Jha
12. Kathak Darpan - – Tirthram ‘Aazad’
13. Kathak Gyaaneshwari – Tirthram ‘Aazad’
14. Kathak Indian Classical Dance Art – Sunil Kothari
15. Kathak Nritya – L. N. Garg
16. Kathak Nritya mein Kavitta Chhand – Dr. Manjiri Deo
17. Kathak Nritya Parampara mein Guru Lacchu Maharaj – Mandvi Singh
18. Kathak Nritya Parichay – Harishchandra Shreevastav
19. Kathak Nritya Shiksha Part – I – Dr. Puru Dadheech
20. Kathak Nritya Shiksha Part – II – Dr Puru Dadheech
21. Kathak Praveshika – Tirthram ‘Aazad’
22. Kathak se pahchaan – Dr. Manjiri Deo
23. Kathak Shaashtra Darshan Part – I – Akhil Bharatiya Gandharva Mahavidyalaya Mandal
73 | Page
24. Kathak Shaashtra Darshan Part – II – Akhil Bharatiya Gandharva Mahavidyalaya Mandal
25. Kathak Shringaar – Tirthram ‘Aazad’
26. Magazine ‘Sangeet Kala Vihaar’ – (Akhil Bharatiya Gandharva Mahavidyalaya Mandal)
27. Magazine ‘Sangeet’ – (Sangeet Karyalaya Hathras)
28. Naatyshaashtra kaa Sangeet Vivechan – Dr. Puru Daheech
29. Nandikesvara’s Abhinay Darpanam - Dr. Manmohan Ghosh
30. Natyashastra – Babulal Shukla Shastrai (All Volumes)
31. The Sacred Dance of India – Mrinalini Sarabhai

74 | Page
 MPA (KATHAK DANCE) SEMESTER – IV
Major Course: MPA405A
2. Practical Course – 10A Presentation & Viva Voce (KATHAK DANCE) (4 Credits)

A. Revision of Semester 1, 2 & 3 portion (including Raas Taal in particular)

B. Taal Arjun (24 matras): 2 thaats (purush sthanak & stree sthanak), 1 saadi amad, 1 sada
tukda,1 saadi paran,1 ekhathi paran, chakkardar parans, dumdar tihais, tatkar.

C. Taal Brahma (28 matras):1Uthan,1 Thaat,1 saadi paran,mishra jaati

paran,paramelu,Kavitt paran,Baant & Tatkar.

D. Gat Nikas: Gajgamini; Talwaar

Gat bhava: Leelas from the Bhagawat Purana (Dasham Skanda), Shiva Puraana (Daksha
Yagya)
Ashtapadi (any one) Niratat dhang by Pt. Bindadin Maharaj or any nayika from Jayadev's
Gita Govinda
Objectives of Evaluation:
Content, Competence, Creativity, Confidence

Major Course: MPA409A

3. Practical Course – 10B Stage Performance - (KATHAK DANCE) (4 Credits)

1. Complete solo performance of any one or two Taals of Semester 2 with Abhinaya piece
(traditional repertoire) to be performed on stage by the student in front of the audience
for 45 mins.
2. Any self composed creative composition of Nrittang, Nritya, Abhinaya, and/or Special
Items.
3. Demonstration and illustration of theoretical aspects of the course in practical form.
4. No recordings allowed.
5. Objectives of Evaluation: Content, Competence, Creativity, Confidence

75 | Page
 MPA (BHARATNATYAM DANCE) SEMESTER – IV
Major Course- MPA402A Theoretical Foundation of Bharatnatyam Dance
(Total Lectures: 60)

Unit - 1 Title: Theory of Dance Music:

1.1 Dance Music & Kacheri difference in approaches and execution
1.2 Raga Classification & Characteristics
1.3 Selection of Raag & theme of Composition in Dance

Unit - 2 Title: Guru Shishya parampara:

2.1 History of Guru Shishya parampara in India
2.2 Its importance in modern educational system
2.3 Attributes of teacher & student in Guru shishya parampara

Unit - 3 Title: Teaching Methodology of dance:

3.1 Basic Principles of teaching – its modification and application in relation with dance
3.2 Different levels of dance training (School level, hobby, private classes, university course)
their specific aims and objects
3.3 Morals of Dance profession

Unit - 4 Writing on dance:

4.1 Criticism
4.2 Newspaper article
4.3 Biography

Self-Learning topics (Unit wise)

(Mention sub-units)
Unit Topics

4 Writing on dance:

4.1 Criticism
4.2 Newspaper article
4.3 Biography

Reference Books:
(Alphabetically)
1. Fundamentals of Indian Music & Dance – Suresh Chandra Banarji
2. South Indian Music – Padma Bhushan Prof. P. Sambamurthy
3. Abhinayasangitam - Bhagyalakxhmi
4. Ragas in Indian Classical Music Volume- 1 – Anupam Mahajan
5. Compositions for Bharatanatyam: a soulful worship of the Devine – Anjani Arunkumar
6. Acoustical perspective on raga-rasa theory – Suvamalata rao
7. Bharat mein Guru shishya Parampara ki mashal – Swami Vivekananda
8. Guru Shishya Parampara: The master disciple tradition in classical Indian dance &
music – Kapila Vatsyayan

76 | Page
9. Indian Classical Dance - Dr. Kapila Vatsayan
11. Education in Ancient India – A. S. Altekar
12. Lagu Bharatham – Dr. Sudharani Ragupathy
13. Teaching Aptitude & Teaching Attitude – S R Gupta’s
14. Musical Instrument of India – B.C. Deva
15. Dance as Education – Peter Brinson
16. Dance Education : A Redefinition Susan R Koff
17. Nritya Geethamalal – Raji Narayan
18. Nritya Sumangali – Saskia C. Karsenboom

19. South Indian Music – Prof. Sambamoorthy

77 | Page
 Major Course: MPA405A

Bharatanatyam Presentation and Viva Voce – 1A

(Total Lectures: 120)

A. Revision of Semester 3 portion

B. Demonstration of Hastas – Devta, Dashvtara, Bandhava, Navgraha Hastas

C. Reciting Jatiswaram in any two Taal, Singing Ability And Full Knowledge About
The Composition Is Necessary

D. Ability to recite the sollukettu & Natuvangam of all items learnt

Major Course: MPA410A

Bharatanatyam Stage Performance– I – IB

(Total Lectures: 120)

Complete solo of any Thillana / Bhakti Padam to be performed on stage by the

student in front of the audience for 45 mins

78 | Page
 MPA (ODISSI DANCE) SEMESTER – IV

Major Course: MPA403A History & Development of Odissi – 4A (Total Lectures: 60)

Unit - 1 Development of Odissi

1.1 The current Odissi style-
Studying and comparing the current Odissi style with the older
form/repertoire, especially affected by the re-emergence of the
Gotipua and Mahari dance traditions; changes or evolutions in
the repertoire, costume, training; the contemporary (secular)
space of performance and its implication; (if applicable) the
dancer as a virtual performer; the dynamics of group
performance
1.2 Spread of Odissi in contemporary times-
Propagation in post-independence East India (by zamindar and
troupe gurus); spread outside India- in Bengal, Delhi, Mumbai
etc.- gradual spread to all parts; notable troupes, teachers, gurus,
festivals that have played a part
1.3 Contemporary Odissi-
The fusion of Odissi with more modern or contemporary styles;
the context, interpretation and reception of such dance
presentations; studying notable dancers who have learnt Odissi
along with other performing traditions and their presentation
styles- what are the changes in body movements?; reading and
discussing about the future of Odissi vis-a-vis current
developments and upcoming works.

Unit - 2 The Body and Style

2.1 The male figure in Odissi
Understanding the body in Odissi while enacting male figures-
change in body movements, emphasis and restrictions of certain
flexions, nayakabhinaya, various roles- lover, narrator, hero,
villain
2.2 The abhinaya in Odissi-
The uniqueness of Odissi in enactment of abhinayas; importance
of this element due to Mahari heritage; how does it translate to
contemporary stage as compared to ritual spaces; difference
between Darshan and Abhinaya and questioning the “male gaze”
(Coorlawala); analysing specific rasas (like shringara, roudra,
veera, shanta) that are predominantly used in Odissi
2.3 Synchronicity and Structure- studying the dynamics of
synchronicity in group presentations with examples of notable

79 | Page
 contemporary troupes; increased importance of synchronicity in
group presentations; the role of freeze-frames in Odissi

Unit - 3 Performance and Presentation

3.1 Performing in a space-
The interaction of the performance and the space- what are the
elements needed to create a performance space (stage or
otherwise); the role of visual aids, props, decor, lighting;
important tools for the dancer- spacing, placement,
group-coordination, covering of space and interacting with it;
contemporary digital aids, manual and technical props to enhance
the performance
3.2 The critic’s point of view-
Appreciation of Odissi Abhinayas; body movements and politics
of representation; using theories of Gender Studies, Performance
Studies, Religious Studies and such others to analyse
performances and presentations.
3.3 Studying the contribution of notable performers- Masaka Ono,
Ramli Ibrahim, Aruna Mohanty, Madhumita Raut, Ranjana
Gauhar, Ratikant Mohapatra and more

Unit - 4 Odissi Rhythm and Music

4.1 Contribution of musicians in composing Odissi dance music-
Adiguru Singhari Shyamasundar Kar, Pt. Raghunath Panigrahi, Pt.
Balakrushna Das, Pt. Bhubaneswar Mishra, Guru Gopal Chandra
Panda, Guru Kelucharan Mohapatra, Guru Banamali Maharana,
Guru Ramhari Das, Madhup Mudgal and others
4.2 Composition of new music-
The process of composing new music for dance; factors to be
considered like taal, raag, theme etc.; collaboration of dancers and
musicians; steps of ideation, draft, compositions, choreography,
finalising and production [can use practice or analyse examples to
supplement the study]
4.3 Writing notation of the janana/stuti/abhinaya being learnt in the
semester.
4.4 Understanding janana and its importance using Salabeg’s poetry

Self-Learning topics (Unit wise)

Unit Topics

80 | Page
 1 1.3 Contemporary Odissi- The fusion of Odissi with more modern or
contemporary styles; the context, interpretation and reception of such dance
presentations; studying notable dancers who have learnt Odissi along with other
performing traditions and their presentation styles- what are the changes in body
movements?; reading and discussing about the future of Odissi vis-a-vis current
developments and upcoming works.
https://www.sahapedia.org/brief-history-odissi-dance
https://youtu.be/RbVw_z6eHv0
https://epgp.inflibnet.ac.in/Home/ViewSubject?catid=a41YM1FyMwEh+TtvYCzzC
w== (P05→ M34)
4 4.3 Writing notation of the janana/stuti/abhinaya being learnt in the semester.
4.4 Understanding janana and its importance using Salabeg’s poetry
http://magazines.odisha.gov.in/Orissareview/2014/Jun/engpdf/141-145.pdf
http://magazines.odisha.gov.in/Orissareview/2015/Oct/engpdf/1-2.pdf
https://www.sahapedia.org/rath-yatra-gotipua-and-salabega-connection

Major Course: MPA407A Odissi Presentation and Viva Voce – 4A (Total Lectures:
120)

Demonstration of Nayaka bhedas according to emotion and character with

A.
examples
Janana/Stuti/Abhinaya with male protagonist- explanation, performance,
B. isolation of bhavas (& corresponding rasas) for explanation, bhangis, mudras
and playing with manjira
Learning abhinaya Brajaku Chor to understand the depiction of ages in
C.
movements and expressions
G. Learning to play the manjira with the items learnt

Major Course: MPA411A Odissi Stage Performance - 4B (Total Lectures: 120)

● Demonstration of the repertoire of at least 50 minutes including the

Abhinaya learnt during the semester
● The student should be able to explain the items before performing them
and include information such as the taal and raag on which the items are
based, the elaboration of the type of items, the special hastas and
bodywork used (if any) and the names of the choreographers and
composers.

81 | Page
82 | Page
 MPA (HINDUSTANI MUSIC:
INSTRUMENTAL – TAAL VAADYA (TABLAA))
SEMESTER – IV

Major Course: MPA404A Theoretical Foundation of Hindustani Music: Hindustani

Music Instrumental – Taal Vaadya – 4 (Tablaa) (Total Lectures: 60)

Unit - 1 Title: Development of Indian Percussion

1.1 Latest trends in Tablaa making
1.2 Comprehensive study (origin to as on date) of Ajarada and Benares Gharana
1.3 Future of Tablaa – thoughts and persectives

Unit - 2 Title: Technique and Terminology related to Tablaa

2.1 Use of Tablaa in Folk music / Semi classical music / Light music
2.2 Tablaa education – past / present and future

Unit - 3 Title: A Study of Taal and related terms

3.1 Forms of jugalbandi and joint performance
3.2 Jod Kaayda, Ajod kaayda, Gat Kaayda, Kaayda – rela, Laggi ang kaayada, baant

Unit - 4 Notation in Pt. Bhatkhande System:

4.1 Write Peshkar, Kaayda and rela Choutaal
4.2 Write tukade, tihai, chakradhar Jhaptaal
4.3 Write Kaayda, Rela, Tukda and Tihai in Rudra and Shikhar

Self-Learning topics (Unit wise)

(Mention sub-units)

Unit Topics

Write Peshkar, Kaayda and rela Choutaal

4.1

Write tukade, tihai, chakradhar Jhaptaal

4.2

Write Kaayda, Rela, Tukda and Tihai in Rudra and Shikhar

4.3

Reference Books:
83 | Page
1. Tablaa - Arvind Mulgaonkar
2. Taal Vaibhav
3. Taal Prakash
4. Tablaa
5. Taal Martand
6. तबला शास्त्र: मधक
ु र गणेश गोडबोले
7. ताल परिचय भाग 1: पंडित गिरीश चंद्र श्रीवास्तव
8. ताल कोष:: पंडित गिरीश चंद्र श्रीवास्तव
9. ताल सर्वांग: पंडित विद्या नाथ सिंह
10. https://www.youtube.com/channel/UCGJiHl0c3TYybU-BgipaiAA
11. https://www.youtube.com/channel/UChqlVaU7uJ5XW1VL5DGXT3A

11. Taal Prakash by Bhagvat Sharan Sharma.

12. Pakhawaj aur Tablaa ke Gharane avam paramparayein Dr Aban Mistry

13. Apraachalit Kayade aur Gatein – Pt. Satyanarayan Vasishtha

14. Kayada Aur Peshkar - Pt. Satyanarayan Vasishtha

84 | Page
 Major Course: MPA408A-

Hindustani Music: Instrumental – Taal Vaadya (Tablaa) Presentation and Viva Voce – 4A
(Total Lectures: 120)

A
Revision of Semester 3

Play Solo: Any solo (10 mins): Jaitaal or Matt or Sawari - 1 or 2 Kaydas, 1 rela,
tukda, chakradhaar and Tihal (2 or 3)

B
Accompany - Vocal: Jhoomra, Ada choutaal - Vilambit and Drut Bandish (with
appropriate taal) - 20 mins

C
Accompany - Intrument - Complete performance for min 10 mins

D
Synthesized performance for 10 mins jugalbandi / taal vadya kacheri with
Carnatic instrument

Major Course: MPA412A

Hindustani Music: Instrumental – Taal Vaadya (Tablaa) Stage Performance – IV – 4B

(Total Lectures: 120)

- Complete solo of any aprachalit Taal– to be performed on stage by the

student in front of the audience for 45 mins (15 maatra / 9 maatra / 11 beats
any one)

85 | Page
 SEMESTER – IV

MPA413A Dissertation

86 | Page