Here are some terms that will help you understand Kathak a bit better. 

• Pranam- literally means bowing forward but signifies a respectful salutation, as we respect the soul inside everyone 
• Most common mudras: Pataka and Arala
• Laya means speed 
• 3 Layas: Vilambit (slow), Madhya (medium), Drut (fast)
• 5 step turn bols: Tigda dig dig thei 
• 3 step turn bols: Tat tat thei
• The tabla music bols in teentaal are are dha dhin dhin dha, dha dhin dhin dha, dha tin tin ta, ta dhin dhin dha. It has 16 beats
• The Kathak bols are Ta thei thei tat, 8 beats
• Bol means syllable. For example, the 5 step turn has 5 bols 
• Properties of Teentaal:
  Teentaal has 16 beats, 4 parts (vibhags), 3 taalis and 1 Khali. Please review handout from Day 1
• Tora- a composition of Natwari bols (basic Kathak syllables) which start on sum, and after 1 or more cycles, end on sum. Generally done in medium speed                          
• Natwari bols- bols made for Kathak, emcompassing ta thei thei tat, aa thei thei tat, tigda dig dig thei and kran dha. Scholars say, when Lord Krishna emerged from the river after defeating the serpant snake, he was dancing on his the serpant’s head. The sounds from his feet were ta thei thei tat aa thei thei tat, known as natwari bols. 
• Padhant: in Hindustani classical music, it is the hand-clap recitation of rhythmic syllables known as bols during a performance

Parts of taal notation: 

• Sum- 1st beat of any taal. The most pronounced beat, in Kathak this is when the dancer strikes a pose
• Taali- denoted by a 2 or 3 in teentaal, it is the clap
• Khali- the empty beat with no clap is denoted by a zero (0). During padhant it is a wave
• Avartan- one full cycle of any taal from Sum to Sum

All students must be able to do this sequence before wearing ghungroo. 

Ta laya can also be spelled as thaa le.

Laya means speed and thaa means slow. We also call it Ekgun

Gun means to multiply

Ekgun In this speed you execute one cycle of Tatkar in a16 beat cycle, so 8 steps (ta thei thei tat, aa thei thei tat) into 16 beats like you do before executing a composition.

Doogun is double speed or two times the original. In this speed you do 16 steps, so you’re on beat with the Taal, like how we practice footwork first in the beginning of class.  We’re doing two cycles of Tatkar in 16 beats, so it matches the taal

Chogun is 4x the original speed. And the speed you do for cycles of tatkar so you are taking two steps for every one beat. 

Original 8 beats x 4= 32

So to fit 32 into 16, you’re doing two steps per beat. 16×2 = 32. 

Aatgun is 8x the original speed. 

8×8 = 64. You’re doing 4 steps per beat so 4 x 16 = 64

Similarly, you can do solagun, which is 16x the original speed, and you will do 16 cycles of tatkar, one for every matra

Below are some more terms you may come across in your Kathak journey:

• Footwork patterns:

In Kathak, "laddi” and "palte" both refer to sequences of footwork, but there are differences in how they are used and the complexity of the movements:

Laddi- A sequence of footwork or a rhythmic pattern. It involves intricate footwork sequences that are performed to create complex rhythms and patterns in the dance. Laddis are typically longer and more complex than paltes.

Palte are also a series of footwork patterns, but usually shorter and less complex than a laddi. Paltes are often used as variations or embellishments within a dance piece, adding texture and interest to the performance.

Foundation exam questions for 1st year students

Praveshika exam:

Practical 

A. Dance and demonstrate: 1 thaat, 1 tora, 1 salami in teentaal, with clapped
mark vocal demonstration (padhant), then present the dance. (Salami and Thaat in Vilambit Laya, Tora in Madya laya)

B. Dadra or Keherwa taal – Demonstrate how to do footwork in both taals

C. Dance and demonstrate teentaal tatkar in thagun, dogoon, chogun and aatgun and 4 palta 

D. Demonstrate Dadra, Keherwa and Teentaal theka in thagun, dogoon, chogun and aatgun laya (clap marked vocal demonstration only)



Oral 

A. Definitions of: Tatkar, Salami, Thaat, Tora, Taali, Khaali, Sum, Matra, Vibhag, Avartan, taal, jaati

B. Biography of one Maharaj Bindadin and Maharaj Kalka Prasad (5-6 lines)

C. 10 Single hand gestures/mudras

           

Biography of one famous Kathak dancer (5-6 lines)

Maharaj Bindadin is most respected name in the field of Kathak Dance. He was the eldest son of Maharaj Durga Prasadji of Lucknow. His full name was Vrindavan Prasad. He was born in 1838 A.D. and died in 1918 AD. He started his dance training at the age of 9 years 

For four years he had practiced only four Bols of Tatkar - Tig da dig dig up to 12 hours daily. He was known to compose new Parans very easily and quickly. His demonstration of Bhava was also most attractive. He was also capable to perform some surprising dance items, as-dancing on Gulal (Coloured dust) and making a picture, dance on nails, sword or Batashas (a soft sugar made thing ) etc. Maharaj Bindadin-was a "Vaggeyakar" (Composer of the words as well as tunes of a song) of high quality. It is said that he had composed about 1500 Thumaris and popularised the presentation of Bhava on it, which is considered as his most important contribution to Kathak dance. Many of these Thumari's are still used by dancers and singers. Famous singers of his time like Gouharjan, Johra Bai and others had taken training of Thumari from him.

Maharaj Bindadin was a great devotee of Lord Krishna.

Among the Muslim atmosphere of Lucknow and surrounded by prostitutes he firmly passed his pious Hindu life and was always attempting for the progress of Kathak dance with his younger brother Maharaj Kalka Prasad. Pair of Kalka-Bindadeen was as famous in the field of Kathak as the pair of Ram-Laxman. King of Nepal, Nawab of Bhopal and many other dignitaries of that time had honoured him by giving him ample wealth. He was also a noble teacher, who gave training in dance with liberality. Most of the credit goes to him for giving shape to Kathak dance in whatever form it is seen today.

Maharaj Kalka Prasad (1841-1910) was the younger brother of Maharaj Bindadeen. He was also a dancer of great name and fame like his elder brother and was known to have a very attractive personality. Apart from dance, he had also mastered playing Tabla and Pakhawaj. He was known for his abhinaya, creation of Thumris and was a master of rhythm (laykari). He used to give accompaniment to the dance of Maharaj Bindadeen, without him the dance of Maharaj Bindadeen was said to be incomplete. He had high patronisation of Nawab of Rampur. He was highly obstinate and whenever he used to decide to do anything, he completed it. It is said that once in a mood of obstinancy he decided to teach dance to a lady, named Biggan Bee, who was overweight, of dark complexion and had spots of small pox. But due to his training when she used to dance all her defects seemed to vanish. He died in 1910 A.D. in Lucknow. he had Three sons- Achchhan Maharaj, Lachhu Maharaj and Shambhu Maharaj. 

1) 10 easy steps and movements of Kathak-  tatkar ki palte

2) Steps on Keherwa and Dadra taals-  Knowledge of the taals and how to do footwork.

3) 1 provincial folk dance - garba, bhangra, ghoomar etc

4) Knowledge of Taal - definition and parts of the taal

5) Oral questions on a functional topic - be familiar with topics like laya, taal, tatkar, chakkars, mudras, history and styles

6) Knowledge and steps on Teentaal - Knowledge of the taals and how to do footwork with hastaks

7) Simple Salami in Teentaal - padhant and choreo for 1 salami

8) Performance on Dadra or KeherwaTaal - minimum 2  min

9) Padhant, or hand clapped recitation of theka and tatkar in Teentaal, Dadra and Keherwa in Ta, doogun

Junior Diploma 1st year: There will be a practical exam carrying 100 marks. Practical- 75, Theory - 25

Theory (Oral)

1) Explain Laya and Doogun Laya

2) Definitions of  i) Sam ii) Khali iii) Taal iv) Taali v) Avartan vi) Laya vii) Lasya viii) Tandav 

3) Short Questions next week

i)  In which gharana have you learned Kathak? 

ii) Who is the founder of the Gharana? 

iii) In which place is Kathak the native dance form?

iv) How many classical dance forms are there in India, and what are they?

v) Are instruments used during kathak dance? Don’t forget ghungroo

vi) Name two eminent Kathak dancers.

4) Padhant, or hand clapped recitation theka of taals Teentaal, Dadra and Keherwa in Ta, doogun, chogun 

Practical

1) Two performances in Teentaal 

2) In Teentaal be able to dance and do padhant of: 1 Thaat, 1 Pranami/Salami, 1 Amad, 4 Tora, 2 tihai

3) Footwork on Tisra, Chatusra and Khand Jaatis

4) One Provincial folk dance

NOTE-COURSES FROM PREVIOUS YEARS INCLUDED

Full Marks -150 / Theory- 50/ Practical-100

Theory

1) Definitions: Nritta, Nritya, Natya, Gat, Hastak, Avartan, Palta, Paran.

2) Be able to write Tatkar in Ta, Doogun and Chogun laya in Bhatkande notation

3) What is the meaning of the word Gharana? From where did it originate?

4) How many Gharanas are there in Kathak dance and what are they?

5) What is the use of ghungroo in kathak dance?

6) Life Sketch of Shambu Maharaj and Achhan Maharaj - Biography

7) Be able to write Dadra, Keherwa, Jhaptal, Teentaal in ta and doogun laya in Bhatkande Notation

8) Be able to write Teentaal Amad, Tora and Tihai, in Bhatkande Notation

Practical

1) Steps on laya and Chhand - Laddi

2) Dance performance- 1 Teentaal Amad, 5 complex Tora, 1 Kavitt, 1 Damdar tihai, 1 Bedum tihai, 2 Gat, 4 types of tatkar tatkar- tdca with padhant

3) Tatkar and padhant of Jhaptaal in ta, doogun, chogun. 1 thaat, 1 amad, 2 tora, 1 tihai.

4) Dance on any bhajan

5) Recite all thekas in ta doogun, chogun on hands (padhant)

6) Footwork on Tisra and Chatusra and Khand Jaatis

Last year's syllabus will be included in this term

Full Marks 150/Theory- 50/Practical-100

Theory 

1) Extensive history of Kathak dance (15 or more sentences)

2) Define: Amad, Tora, Tukda, Tatkar, Paran, Chakradar, Kavitta, Tihai, Anga, Pratyanga, Upanga, Gat-Bhav, Asamyukta Hasta-Mudra in detail, Gat Bhav vs Gat Nikas

3) Identify the symbols of Taal notations, know how to write compositions in Bhatkande notation.

4) Define: Dhwani, Kampan, Andolan, Naad, Chal and Achal Swar, Shuddha (full tone) and Vikrita Swara (distorted note), Saptak (Mandra Madhya and Taar) 

5) Be able to write Jhaptaal compositions in Bhatkande Notation

Practical

1) In Teentaal perform: 1 Rangmanch Pranam, 2 difficult Thaat, 1 Amad, 5 difficult tora, 2 Chakradar Toras, 2 Paran, 2  tihai with padhant. 1 Gat nikas

2) In Jhaptaal perform:  In Jhaptaal perform: 2 Tatkar or palta with Hastaks, 2 complex Thaat, 1 Chakkardar Tora, 2 difficult Toras and 2 Tihais, 1 Kavit,  2 Paran with padhant. 

3) Ektaal- Be able to demonstrate tatkar and theka in ta, doogun and chogun, 1 thaat, 1 amad, 2 tora, 2 tihai with padhant

4) 4 type of Neck Movement and 8 type of head movement

5) Ability to perform one dance in Dadra or Keherwa taal

6) Gat Bhav- Panihari/Matki Phour 

7) Recitation of theka and tatkar in Taal Tevra, Choutaal and Sooltaal- ta doogun and chogun

8) Footwork on 5 Jaatis

Last year's syllabus will be included in this term

Full Marks -150 / Theory- 50/ Practical-100

Theory

1) Define: Ada, Rasa, Bhava, Parmelu, Stuti, Kasak Masak, Kataksh, Layakari, Sthanak, Ghumariya, Anchit, Kunchit, Anubhav, Andaz

2) Discuss Indian Classical Dance and explain the concepts of Nritta, Nritya, and Natya. Include the four types of Abhinaya and the fundamental concepts of Tandava and Lasya

3) Write about the costumes used in Kathak and discuss the characteristics of the different gharanas

4) Detailed and comparative study with full knowledge of the Bhatkhande and Vishnu Digamber systems of taal notations

5) Should able to write Teentaal, Jhaptaal and Ektaal compositions in Bhatkande Notation

6) Understanding of all 4 gharanas

7) Understanding of 32 Asamyukta mudras

8) Capacity to write notation of Taal Tevra, Deepchandi, Choutaal. Be able to write theka in Bhatkande or Vishnu Digamber notation system

Practical

1) Full Teentaal sequence on lehra: 2 Thaat, 1 Paran juri Aamad, 1 Rangamanch Pranam, 4 difficult Toras (different, at least 3 avartans), 2 Paran, 4 Chakradaar Paran, 1 Kavit, 1 Chakradar Tihai, all with padhant and on lehra. 

2) Kramlaya-  Ekgun, Dugun, Tigun, Chaugun, Panchgun, Chhaigun, Sutgun, Aatgun ending with Solagun and Tihai 

3) Difficult Laddi in Teentaal

4) In Ektaal:  2 Tatkar in ta doogun, chogun, finishing with a tihai, 1 Paran Juri Amad, 2 toras, 2  chakkardar tora, 2 Paran, 2 Tihais, 1 Kavitta with padhant

5) In Jhaptaal: 2 Chakradaar Paran, 1 laddi

6) In Dhammar theka and tatkar Ta, Doogun and Chogun

7) Movement of the body (with taal), movement of eyes, eyebrows and demonstration of asanyukta mudras

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

6) 2 Gat-Bhav: Govardan Leela and Hori

Last year's syllabus will be included in this term

Practical:

1.     Ability to present the ten Karans through actual dance demonstration

2.Capacity to dance in Teen Taal for 25 minutes and Dhamaar Taal for 15 minutes without repeating bols

3.     Demonstrating emotional dances on sung Bhajans and Thumrees

4.     Practice in dancing in Kathak style:

a)     Tandav

b)    Lasya Anga

c)     The above for Makhan Chori, Cheer Haran, Kalya Daman and Govardhan Dharan

5.    Capacity to present any two regional folk dances such as Garba, Raas, Koli, Bhangra, etc.

6.     Practice of playing Lehra in the taals prescribed hitherto

7)     The following to be done in Rupak, Dhumali, Chaar Taal, Deepchandi and Pancham Savari:

a)     2 thaat

b)    1 Amad

c)     4 Todas

d)    1 Chakradaar Toda

e)     1 Chakradaar Paran

f)      2 Paran

g)    3 Tihai

h)    3 Tatkar 

8.     Clap marked and footwork demonstration in basic, double, triple, quadruple and aar speeds in Lakshmi Taal, Bramha Taal, Jat, Addha and Jhumara Taals

9.     Practice of playing tabla of hitherto taals on Tabla

10.   Ability to sing one swarmalika in the following raags: Khaaj, Kafi, Tilaang and Bihaag

Theory

1.     Definition and commentary on the following:

a)     Urap

b)    Purap

c)     Tirap

d)    Kasak

e)     Masak

f)      Kataksh

g)    Ghoongat

h)    Urmai

i)      Surmai

j)       Laang-daant

k)    Jati Paran

l)      Gat Nikas

m)  Gat Toda

n)    Gat Bhaav

o)     Griva Bhed

p)    Dam-bedam

q)    Gati Bhed

2.     Study the following topics:

a)     Traditional Costumes

b)    Selection of Ghungroos

c)     Merits and Demerits of a Dancer

d)    Requirements of a Successful Dance Performance

e)     Make-up

f)      Drishti Bhed

g)    Knowledge of Dishas in Dance

h)    Detailed Study of Navras and their use in dance

3.     Detailed and comparative study of Lucknow, Jaipur and Banaras Gharanas

4.     Nayak-Nayika Bhed

5.     Study of Biographies of

a)     Maharaj Thakur Prasad

b)    Mahrash Ishwari Prasad

c)     Shankar Nambudaripaad

d)    Rukmani Arundel

6.     Lipi in Lakshmi, Brahma Taal, Jat, Addha and Jhumra

7.     Detailed study of the raags Khamaj, Kafi, Tilang and Bihaag

8.     Familarity in singing styles of Dhrupad, Dhamaar, Khayaal, Tappa, Thumri and Bhajan

9.     Introductory knowledge of Indian Classical Dance styles like: Odissi, Kuchipudi, etc

6th Year Syllabus

Practical

1.     Special proficiency in dance – performance in all Taals precribed hitherto. Notable dexerity in Angchari Mandal & Hast Mudras

 2.    Dance on any 3 of the following Taals: Arjun, Ganesh, Saraswati, Rudra, Sawari (both varieties of 15 & 16 beats)

3.     Practice of demonstrating Gat-Bhawa in any 5 of the following themes:-

Marich-Vadha, Madan – Dahan, Draupadi Cheerharan, Bhilani Bhakti, Panghat ki chhechhar, Lakshman-Shakti, Tripurasur-Vadha, Vaman Avatar, Ahilya Uddhar, Sati Anusuiya, Chhalipa Daman

4.     Capacity to present suitable movements of eyes, eye-brows, neck, waist, hands and feet etc.

5.    Ability to perform dance in Kathak style on themes provided during examination. Drawing distinction through actual dance performance between the styles of Lucknow and Jaipur Gharanas 

6.     Practice in playing some Bols, Tora, Tukra, Paran etc of Tabla and Pakhawaj.

7.     Practice of singing one Swarmalika or Chhota Khayal each in Raag Peelu, Jhinjhoti, Gara, Basant and Bahar. Practice of demonstration emotions of Bhawa (Hela) through singing any two of the following varieties of songs:- Hori, Chaiti, Kajari, Ghazal Tarana and Bhajan

Theory

1.     Detailed history of Kathak style of dancing, its characteristics, limb movements and technique in various periods. Complete study of the masters of this Art in each period and their technique of dancing.

2.     Purpose and history of the art of stage-making including lighting arrangement and discussion on the need of stage and lights.

3.     Significance of costumes in dance, critical analysis of interaction costumes and cosmetics. 

4.     Characteristics of folk dance and its various forms, features of similarity and dissimilarity between Kathak and Folk dances, need for folk dance and its basic elements.

5.     Introductory knowledge of the Bharatnatyam, Manipuri, Odyssey, Kuchipudi and Kathakali schools of dancing and their comparitive study vis-a-vis the Kathak style of dancing.

6.     Comments on Kutap or orchestra and principles underlying its composition. Need and significance of orchestra in Kathak dance.

7.     Comparison and contrast between dance and acting their individual characteristics and significance.

8.     Full familarity with western dance, study of various Karans and Rechak employed therein, points of similarity and dissimilarity between western dances and Kathak style of dancing, principles of composition of Ballet dance, individual views on the question of superiority of the Ballet over the Kathak style of dancing (or vice versa)

9.     Full familiarity with modern dance, its costumes and orchestra, Significance of modern dance in Society, Peculiarities of and need for modern dance in these times.

10.   Essays on topics allied with dance, such as (a) Dancing and life, (b) Dance and literature, (c) Dance and the nation, (d) Place of education in Dance, (e) Dance and exercise and (f) Future of Kathak Dance.

11.
 Detailed study of the various schools (Gharana) of Kathak style of dancing. Study of the life and styles of the past and present masters of dance and the peculiar features of these styles.

12.  Definitions with examples of the following:- Agartal, Alirh, uthan, Aanchit, Kunchit, Kunchit Bhramari, Paad Vinyas, Samput, Meelit, Drishti, Prakampit Greeva, Parvahit Shir, Ekpaad, Bhramari, Nritya ke Sapt Padartha, Vyuhakriya, Ashtgati, Anulom, Vilom, Pratilom: Kripa and Hela

13.  Detailed study of Nayak and Nayika Bhed

14.  Principles of limb-movements of the head, eyes, eyebrows, lips and other limbs, feelings resulting from these movements and their use in the Kathak style of dancing.

15.  Definition of notation. Ability to record notation of the Thekas and Bols of the all taals prescribed from the first to sixth years in various rhythmic speeds. Thoughts on and suggestions for evolving a distinct and useful notation system for dance

16.  Detailed study of each school of Kathak style, recording of Bols of each school in notation, separately distinguishing features of the Bols of each school. Knowledge of various rhythmic speeds

17.  Recording notation of Nagma or Lahra in all Taals precribed from the first to the sixth years

18.  Full familiarity of the Karnataka Taal system. Comparative study of the Hindustani and Karnataka Taal systems, recording in Karnataka-Taal notation system Taals of the northern region

19.  Detailed study of the varieties of Gat and Paran and points of similiarity and dissimilarity among them. Ability to record in notation, at least one example of each them.

20.  Essays on topics allied with dance, such as (a) Folk dance (b) Dance and its relation with rhythm or tempo (c) spiritual value of dance (d) Ennobling of character through dance (e) Place of mathematics in dance

21.   Knowledge of and distinction among Sadharan Chakkardar, Damadar and Bedam, Kamali Chakkardar, Farmaishi Chakkardar, Nrityangi, Talangi, Kavitangi, Sangitangi and Mishrangi Todey.

22.  Full familiarity with Raags: Peelu, Jhinjhoti, Ghara, Basant and Bahar

23.  Complete and comparative study of the singing styles of Hori, Chaiti, Kajri, Ghazal, Tarana, Thumri and Bhajan, etc