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FOUNDATION (1-2 years)

  • Teentaal tatkar and hand exercises on lehra.
  • Introduction to Teentaal and emphasis on this taal.
  • Introduction to Dadra and Keherwa taals and dance items.
  • Introduction to Jhaptaal thekas and tatkar (year 2).
  • Structure and parts of a taal, marking tatkar over the taal.
  • Padhant/recitation.
  • Chakkars: 5-step, 3-step, and 1-step.
  • 5 speeds of tatkar and variations.
  • 3 basic speeds of taal.
  • Minimum of 10 mudras.
  • Hand clap recitation in different speeds.
  • Compositions: Thaat, Amad, Salami, Tora, Tihai, Paran.
  • 1 song and 1 performance
  • Padhant of all covered taals.
  • Notation of compositions in Teentaal using Bhatkande and Vishnu Digamber systems of Taal notation.


  • 2-3 new songs per year.
  • More complex tatkars in Teentaal with emphasis on hastak.
  • Complex compositions in Teentaal, including Thaat, Salami, Amad, difficult Toras, Chakkardar Toras, Gat Nikas.
  • Jhaptaal sequence with compositions in Vilambit, Madhya, and Drut laya.
  • Introduction to Ektaal and Sooltaal.
  • Ektaal sequence with compositions in Vilambit and Madhya laya.
  • Commonalities between Sooltaal and Jhaptaal.
  • Tigun tatkar.
  • Ghunghat gat bhav.
  • Introduction to Tevra, Choutaal, Sooltaal, and Dhamar thekas and tatkars.
  • Introduction to Ada Choutaal.
  • Deepening of Kathak vocabulary.
  • Regular review of Bhatkande and Vishnu Digamber systems of Taal notation.
  • Introduction to the vocabulary structure and notes in Indian classical music.


  • 3-4 new songs per year.
  • Advancement in Teentaal with Taalangi, Mishrangi, Kavitangi, Nrityangi toras.
  • New variety of Gat Bhav.
  • Dhamaar sequence.
  • Panchgun Tatkar.
  • Tatkar in Tevra, Choutaal, Ada Choutaal.
  • Introduction to complex taals: Pancham Sawari, Deepchandi, Dhumali, Roopak.
  • Introduction to music and Ragas: Yaman, Bilawal, Bhairavi.
  • Deepening of music vocabulary.
  • Further deepening of Kathak vocabulary.

ADVANCED (7-8 years)

  • 4-5 new songs per year.
  • New complex Gat Bhav.
  • Sequence in complex taals such as Pancham Sawari.
  • Introduction to taals: Lakshmi, Bhrama, Jay, Addha, and Jhumara.
  • Swarmalik of at least one raag.
  • Training in basic Hindustani Classical vocals.

SENIOR (9-10 years)

  • 4-5 new songs per year.
  • Proficiency in all taals.
  • New Gat Bhav.
  • Swarmalikas of various raags.


What gharana does Kathak Kala Academy specialize in?

Lucknow Gharana. 

Anvita Sharma has had the majority of her training from Guru Rachana Upadhyay. Her guru has a Nipun/masters in Kathak and has trained exclusively in the Lucknow Gharana. Her second Guru Smt. Durga Arya is also trained in Lucknow Gharana, as a direct disciple of late Pt. Birju Maharaji

What if I miss a class, does my credit roll over to the next class? 

Our classes run more like a school rather than a drop-in dance studio. Once you start in a group, it will be your “batch,” like a cohort, so you progress together as a group. Every class builds on the previous week’s content. So what is taught in the first class will be relevant for the second class. And this goes for all Kathak schools and classical dances because it’s a classical art form, training takes years. The longer you learn, the more you’ll advance in your technique. Fees do not roll over, if you miss a class, you’re responsible to learn the material you missed, using the shared class videos or by contacting me for help.  

How do I make up the material if I miss a class? Can I do a make up session?

Regular attendance is important, but yes not always possible. So any new choreography is recorded and will be sent to your class WhatsApp group within 24 hours. For beginner classes, a slower choreography breakdown video is usually recorded to help students with their practice at home, or for those who missed the class so they can catch up. Students who missed class are expected to review the videos and try to pick up the steps they missed and be ready for the next class. Then in the next class, we fine-tune the choreography 

You can also schedule a virtual zoom meeting with me to clarify anything you don’t understand. 

If you would like to take another class as a make up, you can attend a class in any of the 4 locations, keeping in mind every class learns different songs and compositions based on their level. If you decide to attend a different class as a make up, please ask which options are best based on your level.

What if I’m missing an entire month of classes due to travel, sickness or other reasons?

If you have paid for the month, but are missing 4 consecutive classes, we can schedule a complimentary virtual private to review what you missed. You’ll still need to keep up with the class videos, but the online bridge session will be to clear any doubts, and make sure you have everything you need to get up to speed 

What if I feel the class I’m in is too slow for me?

Talk to me! Regardless, if we think a class is moving too slow for one student, we’ll move them to a more advanced class, but everyone starts as a beginner. 

How many classes per week?

Classes are held once a week for an hour, once a week. Generally most students take one class per week, but if you there want to take two classes because different things are taught in each class, there’s an additional charge. The second class is 40% off. 

Do you have school shows or any other performances? 

Yes, we have an annual school recital every fall, and many other performance opportunities in the community throughout the year. 

Do you offer testing or a diploma program?

Yes currently we offer a testing through Prayag Sangeet Samiti in Allahabad, India. We have been affiliated with them since 2016, exams are not required, but highly encouraged as they help you gain a deeper understanding of Kathak. You can browse the website to learn more about them.  

Prayag Sangeet Samiti 

Does testing require any additional fees? How do we study?

All students will test Praveshika with me in class within the first year of learning. There is no fee for testing in class, but this test is to ensure everyone has an understanding of the foundation, movements and theory in Kathak. Adults can skip taking Praveshika exams with Prayag Sangeet Samiti if they have passed in class, so they can skip to the Junior Diploma level 1 exam. All other students need to take Praveshika with the institution. Exam content will be covered during class, whether you’re taking the exam or not, so everyone will still learn the same material. As you move to higher level exams in your 3rd or 4th year of testing, more individual research will be required, but you will still be guided and prepared in class regardless. 

Is diploma testing required for all students?

No, it is optional, but highly encouraged 

Are there any other fees or costs besides the class tuition we should be aware of?

Yes, there is a $30 one time enrollment fee when you first register. If you leave the school and come back after several months, the registration fee is $15, it will depend on whether you are still logged in as a student in our records. This registration fee may be waived if you enroll during the an open enrollment period which is usually 2 weeks before a new class begins. Feel free to inquire if there are any promotions waiving the registration fee if you're unsure.

Once you pass the the ghungroo test, you will need to purchase a set of ghungroo (bells). Depending on your age and height, we start with 25-50 bells on each foot, and the cost is  $25-50 for a pair. After a few years you can upgrade to a larger set as your tatkar becomes stronger.

Our costumes are one of the most competitive in the area, at under $90 per costume. Students generally purchase one costume per year, or every other year, depending on what their class agrees on.

Recital fees are $25-$50 per year, to help cover the cost of photography, video and musicians. This is also very competitive compared to most other classical dance schools. 

Costume jewelry is a one time purchase, but you can wear the jewelry you already own and don’t necessarily need to purchase the recommended kundan jewelry unless you’re serious and learning long-term. 

I’m excited to perform, what jewelry, etc do I need to gather?

Here is our Kathak costume checklist:

-Kathak belt (or alternative)

-Kathak costume with Chunni, pleated

-Kundan Jewelry set with tikka (artificial)

-Artificial white flowers/gajra



-Bells (ghungroo)

-Medium size Red dot simple bindi 

-Red marker for alta design on hands, or alta

-Clear nail polish to stick Tikka to forehead

-Diaper pins (these do not damage/rip the material like safety pins can)

-Safety pins

-Black eyeliner 


-Bobby pins

-Hair Clip

-Extra rubber bands

-Hair brush

For first time performers, if you have any questions or don’t have some of these items, please reach our so we can guide you on where to find them.

What if I want to take 2 classes per week is there a discount?

If you would like to attend 2 classes per week, you're welcome to join another class at a similar level. The second class is 40% off

Student Resources


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

Explanation of Ta doogun chogun and aatgun tatkar

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

Additional terms and definitions

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.

Praveshika Foundation Exam Outline

Foundation exam questions for 1st year students

There will be a practical carrying 70 marks and oral test of 30 marks


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. 1 dance in Dadra or Keherwa taal – a few lines in taal

C. Demonstrate teentaal tatkar in thaa and dogoon and 2 palta

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


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

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

C. 10 Single hand gestures


Biography for Praveshika Exam

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

Pt Kalka Prasad (1841-1913) was the younger brother of Maharaj Bindadin. He was the Kathak maestro who created the Banaras Gharana Kathak
dance, and Thumri songs. He was the father of Jagannath Prasad (Achhan Maharaj), Baijnath Prasad (Lachhu Maharaj) and Shambunath Prasad (Shambu Maharaj). He was an expert in singing and abhinaya (expressing emotions) in Thumri songs. He was also skilled in exhibiting the tenderness in Shringar Rasa and an expert in “laykari” as a master of rhythm and had mastery of tabla and Pakhawaj.

His brother Bindadin Maharaj was a court dancer who originated the Lucknow Gharana.

Level 1 Exam Syllabus

Junior Diploma 1st year: There will be a practical exam carrying 100 marks and a theory paper of 50 marks


1. Four easy tatkars with hastak

2. Two modern short dances in Dadra and Keherwa

3. Practice of clap-marked vocal demonstrations of the Thekas
in Teen Taal, Jhap Taal, Dadra and Keherwa Taals in basic and
double speeds

4. Clap-marked vocal demonstration of Tatkaar and Toras in basic and double speeds

5. Tatkar in Thaa, Doogun, Chogun

6. 1 Thaat, 1 Salami, 1 Amad

7. 5 Simple toras

8. 2 Tihais




1. Knowledge and definition of the following terms:

Nritya, Kathak Nritya,
Tatkaar, Thaat, Salami, Aamad, Tora, Taal, Laya, Kinds of laya
(slow, medium, fast), matra, aavartan, vibhag, theka, sum, taali: bhari, khali (phank), thah, doogun, chaugun, tihai, hastak

2. Discussion on music and its two leading systems in

3. Knowledge of recording tatkaar, taal thekas and toras in Bhatkande or Vishnu Digambar system of Taal notation

4. Full familiarity of Teentaal, Jhaptaal, Dadra and Keherwa taal

Junior Diploma Exam Syllabus (Level 2)

Junior Diploma 2nd year: There will be a practical exam carrying 100 marks and a theory paper of 50 marks. First year's syllabus is also included.



1. Four difficult tatkars with hastak, 2 thaats, 1 salami, 1 amad, 5 difficult toras, 1 chakkardaar tora, 2 easy gat-nikas, 2 good tihais in teentaal

2. Two tatkars, 1 Thaat, 1 Amad, 5 simple toras, 2 Tihais in Jhaptaal

 3. Folk Dances in Dadra and Kaharwa Taals

 4. Clap-marked vocal demonstration of thekas of Ektaal and Sool Taal in basic, double and quadruple speeds

5. Clap-marked vocal demonstration of Tatkaar and Toras in basic (slow), double and double speeds



1. Knowledge and definition of the following terms:

Nritya, Nritta, Natya, Tandava, Lasya, Anga, Pratyanga, Parhant, Gat-Bhav, Mudra and Chakkardaar tora

2. Basic knowledge of Dhwani and Naad

3. Knowledge of two prevalent music notations of North Indian music namely Bhatkande or Vishnu Digambar system of Taal notation

4. Knowledge of recording taal, tatkaar, taal thekas and toras in Bhatkande or Vishnu

Digambar system of Taal notation

5. Brief history of Kathak Nritya

6. Brief biography of Maharaj Bindadeen and Kalika Prasad

Level 3 Exam Syllabus

Senior Diploma:
THIRD YEAR There will be a practical exam carrying 100 marks and a theory paper of 50 marks. Inclusive of the syllabus from previous years


1.   Performance in Teental of 2 difficult Tatkar with Hastak, 2 new  difficult Thaat, 1 Amad, 1 Salami, 5 difficult Toras, 1 Paran and 1 Chakkardar Paran.  Performance of Tatkar by foot in thaa, dugun, tigun and chogun and practice of its clap-marked vocal demonstration.

2.    Performance in Jhaptal of 2 new Tatkars palta with Hastaks, 1 Chakkardar Tora, 2 difficult Toras and two Tihais

3.     Performance in Ektaal of 2 Thaat, 1 Salami, 1 Amad, 4 Tatkars with hastaks, 4 Toras and two Tihais

4.    Two Tatkars and two Toras in Sooltal.

5.    2 Ghoonghat Gat in Teentaal

6.    Clap marked vocal demonstration of the Thekas in Tevra Tal, Chautaal, Sooltaal and Dhamar tal in the basic, double and quadruple speeds and performance of foot Tatkars in these Tals in all the aforesaid three speeds.

7.    Two specially noted folk dances.


(***Dum means pause, Bedum means no pause)

1. Paran, Chakkardar Paran, Mushti, Pataka, Tripatak,
Mukutkaran, Reechak, Angahar, Upang & Palta

2. The origin of Dhwani ki Uttapatti, Origin of sound Kampan, Andolan, specialties of Nada (or Naad), Nada-Sthan Swar, Chal and Achal Swar, Shuddha (full tone) and Vikrita Swara (distorted note), Saptak, (Mandra Madhya and Taar)

3.      Brief history of the Lucknow and Jaipur Gharanas of dance

4.      Discuss in brief the life history of Achhan Maharaj and Jiyalalji (Jai lal ji)

5.     Knowledge of Bhatkhande and Vishnu Digambar systems of Taal lipi.

6.      Introduction of Tevra, Chaar Taal, Aara Chaartal and Dhaamar Tal.

7.     The place that dance holds in INDIAN MUSIC

8.     Introduction of TABLA & MRIDANG (Pakhawaj

Senior Diploma Exam Syllabus (Level 4)

Senior Diploma:
4th Year There will be a practical exam carrying 100 marks and a theory paper of 50 marks. Inclusive of the syllabus from previous years



1. Full preparation of dance performance in Teental, Ektal and Jhaptal. Ability to dance for at least 15 minutes in each of the taals without repeating Bols. One Talangi, One Nrityangi, One Kavitangi and One Mishrangi Tora each in Teental must be practiced. 

2. Demonstration of Ateet and Anaghat through Toras and Teental.

3.  Demonstration of varities of Ghunghat(Dupatta) and Gat-Bhava of Banshi (flute) and Panghat (river bank).

4. Dhamaar: Four Tatkars with Hastak, 2 Thaat, One Salami, 1 Amaad, 5 Toras, Two Tihais, 2 Parans and One Chakkardar Paran in Taal Dhamaar.


5. Knowledge of various rhythmic speeds. Demonstration of quintuple (5 times) and Aar speeds both by foot-work and clap marking through Tatkar in Teental.


6. Tevra:Two Tatkars and two Tihais

7. Chautaal: Two Tatkars and two Tihais

8. Ada Chautaal: Two Tatkars and two Tihais

9. Clap –marked and foot-work demonstration of the Thekas in all the Taals prescribed in previous years besides Roopaka, Deepchandi, Dhumali, Pancham Sawari & Aara Chautaal in the basic, double, triple and quadruple speeds.

10. Any two folk dances.

11. Practice of singing one Swar Malika each in Yaman, Bilawal and Bhairavi Raagas.

12. Elementary practice in playing on the Tabla.


1. Full knowledge of the following definable terms : Mudra, Nikas, Sthanak, Ada, Ghumariya, Anchit, Kunchit, Rasa, Bhava, Anubhav, Bhangi-Bhed, Preparation, Acting, Pndi, Pramalu, Stuti, Vichhipti, Hastak, Kasak,
Masak, Kataksh, Naaz, Andaz.

2. Detailed and comparative study with full knowledge of the Bhatkhande and Vishnu Digambar systems of Taal notations.

3. Introductory and comparative study of the various styles of Indian Classical dances such as Kathak, Manipuri, Kathakali and Bhart-Natyam.

4. Complete knowledge of the following topic: Samyukt and Asamyukta Mudrayen, Significance of emotion in dance, Study of the themes underlying prevalent Gata-Bhava, Advantage of dancing, Characteristics of modern dances.

5 Capacity to record notation of all Taals, Thekas Tatkars & Bols etc, prescribed in the previous and this year, in various rhythmic speeds in both systems – Vishnu Digambar and Bhatkande Taal-notation systems. 

6. Knowledge of ten Prans of Taals.


7. Commentary on Varna, Aaroha, Avaroha, Alankar, Thaat, Raga, Suravart (swarmalika), Layakari, distinction between Laya and Layakari.

8. Detailed introductory knowledge and capacity to sing simple songs in Ragas: Yaman, Bilawal and Bhairavi.

9. Full introductory knowledge of Roopaka, Aara Chartal, Deepchandi, Dhumali and Pancham Swari.


11. Brief introduction to the personality and comparative study of dance styles of any two noted Kathak dancers of modern times.

Practice of writing essays concerning music and dance


Level 5 Exam Syllabus



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



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


Prabhakar Diploma Exam Syllabus (Level 6/Bachelor Equivalent)

6th Year Syllabus




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


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.

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