About Gandharva Mahavidyalaya

Akhil Bharatiya Gandharva Mahavidyalaya is an institution established in 1939 to popularize Indian classical music and dance. The Mahavidyalaya (school) came into being to perpetuate the memory of Pandit Vishnu Digambar Paluskar, the great reviver of Hindustani classical music, and to keep up the ideals set down by him. The first Gandharva Mahavidyalaya was established by him on 5 May 1901 at Lahore. The institution was relocated to Mumbai after 1947 and has subsequently established its administrative office at Miraj, Sangli District, Maharashtra

History                                                              

Gandharva Mahavidyalaya, New Delhi was established in 1939 by Pandit Vinay Chandra Maudgalya, disciple of Pandit Vinayakrao Patwardhan, an exponent from Gwalior Gharana. Today it is the oldest music school in Delhi and is headed by his son and a noted Hindustani classical singer, Pandit Madhup Mudgal.[1]

Courses

The institution imparts theoretical and practical training in the following branches of music and dance -

(1) Hindustani Music: Vocal

(2) Hindustani Music Instrumental: Sitar, Bansuri (Lateral bamboo flute), Tabla, Harmonium and Violin

(3) Indian Classical Dance: Kathak, Bharatanatyam and Odissi

The courses of study followed by the Mahavidyalaya are those approved by the Akhil Bharatiya Gandharva Mahavidyalaya Mandal (ABGMV Mandal).It has nearly 1200 affiliated institutions and 800 Exam Centers across India. In 2007, the number of students enrolled exceeded 100,000

Swanand Kala Prasarak Kendra is affiliated to Akhil Bharatiya Gandharva Mahavidyalaya Mandal. The students appear for ABGMM exams which are held in November/April

Kathak – Syllabus

 FIRST YEAR : PRARAMBHIK 

 TOTAL MARKS: 50     PRACTICAL:   40      THEORY:   10

 THEORY

 DEFINE:   Laya,   Vilanbit Laya,   Madhya Laya,   Drut Laya,   Matra,    Sam,    Taal,  Khali   and   Vibhaag

 PRACTICAL

1.  Introduction of Teentaal

 

2.  Tatkaar / footwork in Teentaal  - Thah (slow speed)   And    Dugun (double speed)

 

3.  Ability to recite & perform 10 simple Todas  and   4 Chakradaar Todas and two tihais in Teentaal

 

4.  Recite Teentaal Theka  on  hands

 

5.  Recite Thah, Dugun and Chaugun of Teentaal  Theka on hands

 SECOND YEAR : Praveshika Pratham 

Total Marks:  75                   Theory:   15 Marks            Practical:  60 Marks    

 Theory:

 

To know all the theory of Prarambhik besides this years theory.

 

1.    Define Laya (Vilambit, Madhya, Drut), Sama, Matra, Taali, Khaali, Gat-Nikas, Gat-Palta, Tatkar, Toda, Thaat, Salaami / Rang Manch Pranaam, Baant and Tukda.

2.    Identify the symbols of Taal notations.

3.    Information and thekas of Dadra and Kerawa Taal.

4.    Names of five Kathak Guru of current time.

5.    Names & usages of 10 Asanyukta hasta Mudras as per Abhinay Darpan. Given bellow:

  Patatka, Tri-Pataka, Ardha Pataka, Kartarimukh, Mayur, Ardhachandra, Araal, Shukatunda, Mushthi, Shikhar.

 Practical:

 In Teental perform:

One Rangmanch Pranam,   Two Thaat,  One Simple Aamad,

   Six simple Todas,  Two Chakradar Todas, Two Paran

 

* Three Gat-Nikas – simple, Matki, and Bansuri.

 

* Tatkar: Thah, Dugun, Chaugun and at least 4 variations of Baant.

 

* Recitation of:

1.    Teental Theka and its Thah, Dugun and Chaugun

2.    Ability to recite all the Todas on hand with Theka.

3.    Ability to recite Theka of Dadra and Keharwa Taal.

 

  • Ability to perform  one dance in Dadra or Keharwa taal.

Students should know the meaning of words of the song.

 THIRD YEAR : Praveshika Purna

 Total Marks:  125         Minimum Passing Marks: 44       

 Theory:   50 Marks      Minimum Passing marks for theory: 16

Practical:  75 Marks     Minimum Passing Marks for Practical: 28

Theory:

 1.     Brief history of Kathak dance. (Atleast 10 to 15 sentences)

 2.     Define:  Aamad, Toda, Tukda, Tatkar, Paran, Chakradar, Kavit, Tihai,

       Anga,  Pratyanga,  Upanga, Gat-Bhav, Hasta-Mudra

 3.    A. Define Folk Dance. Names of any five Indian folk dances.

B. Names of all seven Indian classical dance styles and their states.

4.    Asanyukta-hasta-mudra: Definition and usages of :

 Pataka,  Tri-pataka,  Ardha-pataka,   Kartari-mukha,   Mayura,

 Ardha-chandra,   Araala,   Shukatunda,   Mushthi,  Shikhara,

 Kapittha,  Kataka-mukha,   Suchi,   Chandrakala,   Padmakosha,

 

Sarpasheersha, Mruga-sheersha, Simhamukha, Kaangula, Alapadma,

 

Chatur, Bhramar, Hansasya, Hans-pakshya, Sandausha, Mukula,

 

Tamrachuda, Vyaghra, Trishul.

 

5.    Life story of a renowned Kathak dancer.

 

6.    Names of well-known Tabla player who accompany Kathak at present.

 

 

7.    Compulsory Question: Ability to write the notations of:

1.    In Teentaal:

                 One Tihai,

                 One simple Aamad,

                 One paranjudi Aamad,

                 One Toda,

                 One Paran  and

                 One Kavit

    

 

2.     In Zhaptaal:

                      Thah, dugun of Theka and Tihai.

                      One Toda

                      One Aamad,

                      One Paran

 

 

3.    Write notations of Thekas of Dadra and Keharwa Taal

---------------------------------------            -------------------------------------

 

 

 

Praveshika-Purna – Practical:

 

In Teentaal/Tritaal:

Two Thaat,  .  One ParanjudiAamad,        One Rangamanch Pranam,

 Four simple Todas

(Different than 1st year Todas, each toda should be made of atleast 3 awartans)),

  Two Paran,    Four Chakradaar Paran,     One Kavit.    One Chakradar Tihai

 

   In Tatkar

1.    Adhi, Barabar, Dugun, Chaugun, Athgun ending with Tihai.

2.    Tatkar Baant ending with proper tihai in Teentaal.

 

Gat-Nikas: Mor-Mukut, Ghunghat,  Bansuri.

 

Gat-Bhav:Panihari: 

Story line:

Radha goes to the river bank to fetch water. Krishna comes, breaks her pot, Radha is annoyed,Krishna laughs etc.

 

       Ability to show all Hasta-Mudras used in Gat-Bhav

 

       Ability to recite all the Todas and Bol on hands.

 

 In Zhaptaal:

One Thaat,     One Aamad,     One Tihai,    Two Todas,    One Chakradaar Toda,         One Paran

 

FOURTH YEAR : Madhyama  Pratham 

 

Total Marks:  200                  Minimum Passing Marks: 70       

            

Theory:   75 Marks               Minimum Passing marks for theory: 22

 

Practical:  125 Marks           Minimum Passing Marks for Practical: 48

 

Theory:

 

6.    All the theory covered up to Praveshika Purna

7.    Define and explain Kataaksha, Primalu, Nartan Bhedas – Nritta, Nrutya and Natya.

8.    Define Tandav and Lasya.

9.    Four types of neck movements according to Abhinaya Darpan.

10. Eight types of eye movements according to Abhinaya Darpan.

11. Define and differentiate “Folk dance” and “Modern Dance” (Uday Shankar style).

12. Life story of: Bindadin Maharaj, Kalka Prasadji, Harihar Prasadji & Hanuman Parsadjiji.

13. Specialty of Jaipur and Lucknow Gharana.

14. Definition and uses of the following Asanyukta Hasta Mudras:

1) Sarpasheersha 2) Mruga-sheersha  3) Simha-Mukha

4) Kangula             5) Alapadma             6) Chatura                

            7) Bhramara  8)Hansasya                          9)Hansa-paksha

            10) Sandausha        11) Mukula                            12) Tamrachuda

            13) Vyagraha            14) Trishula

15. Sanyukta Hasta Mudra:

1) Anjali                                 2) Kapota                   3) Karkata                 

4) Swastik                              5) Dola                       6) Pushpaputa        

7) Utsanga                            8) Shivalinga            9) Katakawardhan

            10) Kartari-swastik   11) Shakata              12) Shankha

16. Write notations of:

All the Todas, Chakradars, Parans, Kavit & Tihai in Teentaal, Zhaptaal and Ektaal.

Madhyama  Pratham – Practical:

 

In Teentaal/Tritaal:

 

Specialization in Teentaal (16 matras)

Guru Vandana

3 Thaat, 2 Aamad, 5 Chakradaar Todas (each of minimum 4 Aawartan)

5 Paran, 3 Chakradaar Paran, 2 Kavit Paran, 3 simple Tihai, 3 Chakradaar Tihai

Present Tatkaar – Aadhi (half), Baraabar (equal), Dugun(double), Tigun(triple speed) and Chaugun( 4th speed). Also present Baant / Chalan in Tatkar.

 

 

Zhaptaal (10 Matras):

 

3 Tihai, 1 Thaat, 1 Aamad, 1 Salami, 5 simple Todas, 2 Paran, 2 Chakradaar paran, 2 Kavit.

 

 

Ektaal (12 Matras):

 

1 Thaat, 1 Aamad, 4 simple Todas, 2 Paran, 2 Chakradaar Paran, 2 Kavit, 2 Tihai.

Tatkar – Thaah, Dugun, Chaugun

 

 

Abhinaya:

 

One Thumri set in Teentaal.

A poem/ bhajan written by any one of Meera Bai, Kabeer, Tulsidaas or Surdaas, set in Dadra or Keharwa.

 

 

Gat Nikas:

 

Specialization in Gat Nikas.

Zhumar, Kalai, Andaz (Rukhsar), Chapka

 

Gat Bhav:

 

Pani-hari, Makhan Chori, Radha-Krishna Holi.

 

FIFTH YEAR : Madhyama  Purna 

 

Total Marks:  250                  Minimum Passing Marks: 90       

            

Theory:   100 Marks             Minimum Passing marks for theory: 35

 

Practical:  150 Marks           Minimum Passing Marks for Practical: 53

 

Grades

Pass Class    IIIrd Grade                  IInd Grade                 Ist Grade       Distinction 

60+30=90       90 to 124       125 to 149                 150 to 200    201 & above

 

Theory:

 

1.    History of Kathak Dance. Knowledge of Temple tradition and Darbaar / Court tradition of Kathak dance.

 

2.    Detailed knowledge of Jaipur, Lucknow and Banaras Gharana (Repertoire)

 

3. Definition and usages of nine types of eyebrow movements as per ‘Abhinaya Darpan’.

 

4.    Definition and types of Tandav and Lasya.

 

5.    Ability to write Aadhi(1/2), Pauni(3/4), Kuwadi(1.1/4), Aadi(1.1/2 also known as Dedhi), Barabar(equal), Biadi(1.3/4 known as Paune do) laya of Teental.

 

6 (a). Define and elaborate ‘Abhinaya’.

   (b). Define and elaborate 4 types of Abhinaya, namely

1)    Aangik

2)    Wachik

3)    Aaharya

4)    Satwik

 

7. Write definition and usages of the following Sanyukta Hasta Mudras: Chakra, Samputa, Pash, Keelaka, Matsya, Koorma, Warah, Garud, Nagbandh, Khatwa and Bheruda.

 

8. Life story of the following Kathak maestros and their contribution to Kathak:

(a)  Pandit Achchan Maharaj

(b)  Pandit Shambhu Maharaj

(c)  Pandit Lachchu Maharaj

(d)  Pandit Narayan Prasad

(e)  Pandit Jaylaal

 

9. Ability to write the notations of all the todas in Teental, Rupak and Dhamar.

 

 

 

Madhyama Purna:  Practical:

 

1.     Advance presentation of Teental (different than the one presented in Madhyama Pratham).

 

2.     In Rupak taal (7 beats): One That, one Aamad, two Tihai, three Paran, one Chakradar Paran, four Todas, one Kavit Paran; Thah and Dugun of Tatkar.

 

3.     3. In Dhamar Taal (14 beats): One That, one Aamad, two Tihai, four Paran, two Chakradar Paran, two Kavit Paran; Thah and Dugun of Tatkar.

 

4.     Ability to recite all the Bols in Teental, Rupak and Dhamar .

 

5.     Gat-nikas advance presentation- simple Gat, Bansuri, Matki, Ghoonghat, Kalai, Rukhsar, Chhed-Chad and Anchal.

 

6.     Besides all the Gat-Bhav learned in the previous years, perform ‘Kaliya-daman’.

 

7.     An expression item / to perform Bhav on any ‘Pad’ or Thumri.

 

SIXTH YEAR : Visharad Pratham 

 

Total Marks:  400                  Minimum Passing Marks: 140       

            

Theory:   150 Marks             Minimum Passing marks for theory: 52

 

Practical:  250 Marks           Minimum Passing Marks for Practical: 88

 

Theory – Two question papers of 75 marks each; minimum passing marks: 26 in each paper.

 

 

Theory:

           

Paper I           Total Marks: 75             Minimum passing:       26                                                       

  1. Evolution of ‘Natya’ as per ‘Bharat’. Purpose and application of ‘Natya’.

 

  1. Definition of Nav-Ras.

 

  1. Four types of Nayak Bhed – Dheeroddhatta, Dhirodaatta, Dheer-lalit and Dheer-Prashant.

 

  1. Knowledge of four Niyikas from Ashta-Nayikas, namely – Abhisarika, Khandita, Vipralabddha & Proshit-Patika.

 

  1. Knowledge of Matsya, Kurma, Warah, and Narsimha Avatar from Dashawtar; the stories and Mudras of these Avatars.

 

  1. Definition and knowledge of the 10 Pran of Taal.

 

  1. Information of Bharatnatyam, Manipuri and Kathakali dance styles, their traditional costumes, jewellary and accompanying instruments.

 

  1. Write notations of Aamad, Bedum Tihai, Farmaishi Paran, Chakradar Paran, Tipalli and Kavit in each of the following Taals: Teental, Zhaptal and Dhamar.

 

9. Essays:

    A.  Importance of Guru-Shishya Parampara(tradition).

 

    B.  Merits of a good disciples and his duties towards his Guru.

 

 

 

 

 Visharad Pratham:

 

Theory: Paper II:        Total Marks: 75        Minimum passing: 26

 

1.Evolution of Ras; definitions of Sthayi Bhav, Bhav, Vibhav, Anubhav and 

Vyabhichari  Bhav.

 

 

2.Knowledge of the following words or concepts traditionally used in Kathak:

   A. Tipalli,        B.Kavit,          C. Farmaishi Paran,       D.Kamali Paran,

   E. Bedum Tihai,      F. Tribhang,   G. Sudhang,    H.Lang-dant,

   I. Anulom-Pratilom,       J.Bhramari,

    K. Nyas-Vinyas.

 

 

 

3.Definitions of the following types of Indian Classical vocal compositions used in Kathak:

A. Asthapadi,    B.Dhrupad,   C.Thumri,  D.Chaturang,  E.Tirwat,   F.Tarana,       G. Chaiti,      H. Kajari         and       I.Hori.

 

 

 

4.Nawab Wajid Ali Shah’s and Raigadh Maharaj Chakradhar Sinha’s contribution to Kathak.

 

 

 

5.Write notations of Aamad, Tihai, Toda, Chakradar Paran and Kavit in the following Taal:

Raas Taal (13 Matra), Dhamaar (14 Matra), Gajazhampa(15) &

Pancham Sawari (15 Matra).

 

6.Life Stories of Nataraj Gopi Krishna, Sitara Devi, Pandit Durgalal and Guru Sundarlal Gangani.

 

 

7.Essay writing:

    1. Raas and Kathak
    2. Relevance and importance of Thumari in Kathak.

 

 

 

  8. Merits and demerits of a Dancer .

 

 

 

 

 

 

 

 

Visharad Pratham : Practical

 

Total Marks: 250                   Manch-Pradarshan – 50,     Practical: 200                      Minimum: 88

 

  1. Saraswati  Vandana

 

  1. Besides Teentaal, advance presentation of Zhapataal.

 

 

  1. Ability to present That, Aamad, two Todas, one Paran and one Kavit in the following Taals: with Thah, dugun of Theka in Tatkar.

Gajazhampa or Choti/Pancham Sawari (15 matras),

Dhamaar Taal (14)

Raas Taal (13)

 

  1. Gat-nikas: Aanchal, Naav, a variety of Ghoonghat.

Gat-Bhav: Besides all the gat-bhav of previous years and Droupadi Cheer-haran.

 

  1. Thumri or Bhajan (Bhav Presentation)

 

  1. One Tarana or Tirwat in any Taal.

 

 

  1. Ability to recite all the compositions in all the Taal.

 

  1. Ability to perform one composition of Lucknow, Jaipur and Banaras Gharana.

 

 

  1. Ability to present Abhisarika, Khandita and Vipralabdha Nayika either through Gat-Bhav, Thumri or Pad.

 

10. Tatkar Ladi (other than learnt in the previous years )in Teental or Dhamar.

 

 

SEVENTH YEAR: Visharad Purna 

 

Total Marks:  400                  Minimum Passing Marks: 140       

            

Theory:   150 Marks             Minimum Passing marks for theory: 52

 

Practical:  250 Marks           Minimum Passing Marks for Practical: 88

 

Theory – Two question papers of 75 marks each; minimum passing marks: 26 in each paper.

 

 

Theory:

 Paper I:  Total Marks: 75        Minimum passing:    26    

 

  1. Knowledge about acient events/incidences which were related to dance.

 

  1. Knowledge of verious Granthas written during the “ Madhya – Yuga” period.

 

  1. Detail knowledge of Navrasas.

 

  1. Detail knowledge of NAYIKA BHED.

 

a.    As per Dharma Bheda – Swakiya , Parkiya, Samanya.

b.    As per Age – Mugdha, Madhya, Pragalbha/ Proudha.

c.    As per nature/character : Uttama, Madhyamaa, Adhama.

d.    As per physic/Jati: Padmini, Chitrini, Shamkhini and Hastini

e.    As per situation – All the Ashta-Nayikas

 

  1. Knowledge about other dance styles - Oddissi, Kuchipudi and Manipuri :

a.    their presntation format,

b.    musical and percussion instruments used, and

c.    their constumes and jewellary.

 

  1. Evolution of Laya and Tal and it’s importance in Kathak

 

  1. Comparitive study of Asanyukta and Sanyukta Hasta Mudras as per Natya- Shastra and Abhinay-Darpan.

 

  1. Ability to write the notations of Aamad, Tihai, Toda, Paran in

a.    Chhoti Sawari (15 matra)

b.    Shikhar Taal (17 matra)

 

  1. Knowledge of Ramayan, Mahabharat, Bhagwat Puran and Geet-Govind.

 Visharad Purna : Theory

 

 

 Paper II  : Total Marks: 75        Minimum passing:  26

 

  1. Ability to show the Hasta-mudras of following characters as per Abhinay Darpan.

a.    Gods and Goddeses: Brahma, Vishnu, Saraswati, Parvati, Lakshmi, Indra, Agni, Yama, Warun and Wayu.

b.    Dashaawtar Mudras of: Matsya, Kurma, Waraah, Narsimha, Waman, Parshuram, Ram, Balram, Krishna and Kalanki.

 

  1. References of dance in Ancient Literature.

 

  1. Life Stories of :

a.    Guru Sundar Prasad,

b.    Guru Mohanrao Kalyanpurkar, 

c.    Maharaj Krishna Kumar &

d.    Pandit Birju Maharaj

 

  1. Definition and implementation of Lok-dharmi and Natya-Dharmi in Dance.

 

  1. Essay : Popularity of Indian dance in foreign countries.

 

  1. Essay :New techniques like : modern theaters, lights, stage settings, sound effects, cyclirama, back projections etc. used in presenting dance today.

 

  1. Importance and position of Kavittas and Thumari in Kathak.

 

  1. Connection of vocal - instrmental music, drawing-painting and  scupting with Dance.

 

  1. Ability to write notations of Aamad, Toda, Paran, Chakradar Toda, Farmaishi Paran, Parmelu in

a.    Matta-Taal (18 matra)

b.    Raas Taal  (13 matra)

 

 

 

 

Visharad Purna : Practical

 

Total Marks: 250                 Manch-Pradarshan – 50,     Practical: 200        Minimum: 88

 

 

  1. Vishnu wandana – (with knowledge of Raag, Taal and meaning of the words)

 

  1. Advance preparation in

a.    Chhoti Sawari (15 matra)

b.    Shikhar Taal (17 matra)

c.    Matta-Taal (18 matra)

d.    Raas-Taal (13 matra)

 

  1. Ability to perform Teetaal, Shaptaal and Rupak on simple theka without support of padhant.

 

  1. Ability to create short dance choreography on short stories.

 

  1. Ability to present  Baant, Ladi, Chalans with Vistar(expansion/more variations) in Tatakar.

 

  1. Command over previous year’s Gat-Bhav with additional  two Gat-bhav on

a.    Kanchan-mrug till the sequence of Seeta-haran,

b.    Kans-Vadh (Killing of Kans)

 

  1. Ability ot perform  various Sanchari bhav on Thumari and any Pada while sitting.

 

  1. Ability to recite every rythmic composition of every taal that you are performing.

 

  1. Presentation of any two (with information of Raag, taal and meaning of words)

a.    Tirwat,

b.    Tarana,

c.    Ashta-padi

d.    Chaturang,

e.    Stuti

 

  1.  Ability to express all the Niv-rasas only thru facial expressions while sitting.

 

  1.  Presentation of a composition based on any story of Dashaawtar.

 

  1. Ability to move, eyebrows and neck (bhrukuti and greeva) as per Teentaal nagama.

 

  1. Ability to sing or play on Harmonium/keyboard  Nagama of Teentaal.

 

  1.  Ability to improvise and perform immediately on any story given by the examiner at the time of practical exam.

 

  1.  Abhinay/Bhav presentation on Ashta-Nayikas.