|
Dances - Kathak
PRATHAMA (First
Year)
PRACTICAL
M.M.-200
1.
TRITAL
(a)
Tatkar
(Basic
steps)
in
Barabar,
Dugun
and
Chaugun
Layas.
(b)
Atleast
eight
simple
varieties
of
the
Tatkar.
(c)
Basic
hand
movements
combined
with
Tatkar.
(d)
Rang
Manch-ka-Tukda
(Salami).
(e)
Two
varieties
"Ta
Thei
Tat'
Amada
(आमद)
(f)
Five
example
of
Tihais.
(g)
Atleast
fifteen
preliminary
Tukdas.
(h)
Practice
of
performing
Chakra
(i)
Practice
of
Padhant.
(j)
Three simple Nikas
Gats with
Chal and
Gats of
Bansuri, Mukut
and
Gagar,
mataki
with
Chals,
Ghoonghat,
Ched
Chad
Note
:-
There
shall
be
no
Theory
paper
in
Prathma
(First
Year)
Kathak
Dance.
KATHAK
DANCE
PRATHAMA (Second
Year)
PRACTICAL
M.M.-200
1.
TRITAL
(a)
Athgun
of
the
basic
Tatkar
with
speed
(b)
One
Variety
of
Tatkar
and
atleast
ten
variations
(Paltas).
(c)
Four
variations
'Ta
Thei
Tat
Thei'
Amada
(आमद)
(d)
A
simple
That.
(e)
Four
variations
'Ta
Thei
Tat'
Amada
(आमद)
(f)
Ten
Tukadas
(Sada)
and
Four
Tukdas
(Chakradar).
(g)
Practice
of
Performing
Chakkar
with
more
speed.
(h)
Three
more Gats
of Nikas,
Goonghat and
Gat Bhavas of
'Ched Chaad'.
(i)
Five
more
Tihais
2.
JHAPTAL
(a)
Tatkar
in
Barabar,
Dugun
and
Chaugun
Layas
(b)
Five
Tihais
(c)
Two
'Ta
Thei
Tat'
Amads.
(d)
Two
'Ta
Thei
Tat
Thei'
Amads.
(e)
Rang
Manch
ka
Tukda
(Salami).
(f)
Four
simple
Tukdas
and
two
Chakkardar
Tukdas.
(g)
Practice
of
Padhant.
KATHAK
DANCE PRATHAMA
THEORY
M.M.-100
1
Chassical dance
forms of
India: their
names and
Province to
which they belong.
2
A
Simple
knowledge
of
the
Kathak
Dance.
3
Definition
and
knowledge
of
the
term
Tatkar.
4
General
Difinitions
of
the
following
terms:-
Sangeet (संगीत),
Natya
(नाट्य
)
Nritta (नृत्त), Nritya (नृत्य),
Laya (लय), Taal (ताल),
Matra (मात्रा),
Sam (सम), Khali (खाली),
Tali (
ताली). Theka (ठेका).
Avartan (आवर्तन),
Palta(पलटा),
Thah (ठाह), Barabar (बराबर),
Dugun (दुगुन),
Chaugun (चौगुन),
Padhant (पढ़ंत),
Gat (गत),
Chal (चाल)
Bant (बॉट).
5
Four
neck
movements
as
given
in
Abhinaya
Darpan.
6
The following single hand
mudras as
given in
Abhinaya Darpan:-
Pataka (पताका)
Tripataka (
त्रिपातका),
Aradhapataka (अर्धपताका).
Ardhachandra (अर्द्धचंदा),
Arala (अराल),
Kartarimukh (कर्तरीमुख),
Mayur (मयूर),
Kapittha (कपित्था),
Katakamukh (कटकामुख),
Soochi (सूची).
Chandrakala (चन्द्रकला),
Shukatunda (शुकतुण्ड),
Mushti (मुष्टि), Shikhara
(शिखर).
7
Six
Angas,
Six
Pratyangas
and
their
various
Upangas.
8
Qualities
of
Ghungroos.
9
Essential
qualities
of
a
patra
as
given
in
Abhinaya
Darpan.
10
Basic
knowledge
of
the
Thekas
of
the
following
Talas:
Dadra,
Kaharwa, Roopak,
and Ektal.
11
Brief
life sketches
of Thakur
Prasad, Maharaj
Bindadeen and
Kalka Prasad.
12
Ability
to
write
in
notation
all
the
Talas
and
Bols
learnt.
KATHAK DANCE
MADHYAMA
PART- I
PRACTICAL
M.M. 200
1.
TRITAL
(a)
One
advance
Tatkar
with
atleast
ten
paltas.
(b)
A
traditional
Paran
Prefixed
Amad.
(c)
Thata
(Advance
with
Kasak
and
Masak).
(d)
Five
variations
of
"Ta
Thei
Tat
Thei'
Amadas.
(e)
Four
simple
Parans
and
two
Chakradar
Tukdas.
(f)
Four
simple
Parans
and
two
Chakradar
Parans.
(g)
Performance
of
Chakradar
with
ease
and
speed.
(h)
Six
Gats
of
Bhava
and
Nikas.
(Two
Nikas
and
four
Bhava).
(i)
Five
more
advance
Tihais.
2.
JHAPTAL
(a)
Simple Thata.
(b)
A
Paran
Perfixed
Amad.
(c)
Four
simple
Tukdas.
(d)
Two
Chakradar
Tukdas.
(e)
Two
Parans.
(f)
One Chakradar
Paran.
3.
DHAMAR
(a)
Tatkar
in
Barabar
Dugun
and
Chaugun
Layas.
(b)
Rang
Manch
Ka
Tukda.
(c)
Four
simple
Tukdas
(d)
Two
simple
Paran
and
one
Chakradar
Paran.
(e)
Two
Amads
KATHAK DANCE MADHYAMA
PART- I
THEORY
M.M.-100
Revision
of
the
Previous
Course.
1
Origin
of
Dance
according
to
Natya
Shastra
of
Bharat
Muni.
2
Nine
head gestures,
eight eye
glances, according
to Abhinaya
Darpan.
3
The
following
single
hand
mudras
as
given
in
Abhinaya
Darpan:-
Padmakosh,
Sarpaseersh, Mrigasheersh. Singhmukh, Kangul, Alapadma, Chatur, Bhramar,
Hansasya, Hanspaksha, Mukul, Sandansh,
Tamrachood and
Trishool.
4
Definitions
of
the
followings:-
Thata Amad
Salami
Rangmanch-ka-Tukda, Tukda,
Paran, Chakradar Tihai,
Athgun and
Laya-Bant.
5
Knowledge
of
the
following:-
Tandava, Lasya,
Andaz, Natawari, Parmelu, Vilambit Laya, Madhya Laya, Drut Laya, Nagma
(लहरा)
and Kavitta.
6
Basic
knowledge
of
the
following
Talas:-
Adachautaal, Sooltaal,
and Tivra.
7
Life
sketches of
the following:-
Achhachan
Maharaj,
Shambhoo
Maharaj
and
Lachchu
Maharaj.
KATHAK DANCE MADHYAMA
PART- II
PRACTICAL
Max.Marks:
200
Revision Of
The Previous
Course
1.
Tritaal
:
a.
One
advance
Tatkar
with
atleast
ten
Paltas.
b.
A
traditional
Paran
and
prefixed
Amad.
c.
Advance
Thata
with
Kasak
and
Masak.
d.
Four
variations
of
Amads.
[Taa
—
Thei
—
Tatt
—
Thei]
e.
Four
simple
and
four
Chakkardar
Tukdas.
f.
Four
simple
and
four
Chakkardar
Parans.
g.
Performance
of
Chakkardar
with
ease
and
speed.
h.
Two
advance
Gats
of
Naikas
and
Gat
Bhava
of
Panghat.
i.
Five
more
advance
Tihais.
2.
Ashtmangal (11
Matras
)
a.
Tatkar
in
Barabar,
Dugun
and
Chaugun
Laya.
b.
Rangmanch
[Salami
Tukda]
c.
Two
Amads
[Taa
—
Thei
—
Tatt
—
Thei]
d.
Four
simple
and
two
Chakkardar
Tukdas.
e.
Two
simple
and
two
Chakkardar
Parans.
f.
Four
Tihais.
3.
Ektaal
:
a.
Tatkar
in
Barabar,
Dugun
and
Chaugun
Laya.
b.
Rangmanch
[Salami
Tukda]
c.
Two
Amads
[Taa
—
Thei
—
Tatt
—
Thei]
d.
A
traditional
Paran
and
prefixed
Amad.
e.
Four
simple
and
two
Chakkardar
Tukdas.
f.
Two
simple
and
two
Chakkardar
Paran.
g.
Four
Tihais.
h.
Padhant
of
all
the
Bols
learnt.
KATHAK DANCE MADHYAMA
PART- II
THEORY
Max. Marks: 100
Revision
of
the
Previous
Course
1.
Origin
of
Dance
according
to
Natya
Shastra
of
Bharat
Muni.
2.
Nine
Head Gestures, Eight Eye Glances, Seven Eyebrow Gestures - According
To Abhinaya
Darpan
3.
The
Following
Single
Hand
and
Combine
Hand
Mudras
Given
in
the
|
Abhinay Darpan:
|
|
|
a.
Vyaghra
|
b.
Ardhsuchi
|
c.
Kattak
|
d.
Palli
|
|
e.
Anjali
|
f.
Kapoth
|
g.
Karkat
|
h.
Swastik
|
|
I. Dola
|
j. Pushpput
|
k. Utsang
|
l. Shivling
|
m.
Katkavardhan n.
Shankh
o.
Pash
4.
Definition
Of
The
Following:
|
a.
Paran
Judi
Amad
|
b.
Damdar
Tihai
|
c. Bedamdar Tihai
|
|
d.
Chakkardar
Tihai
g.
Lari
|
e.
Pramelu
h.
Laya
|
f.
Gat
|
|
5. Knowledge Of The
Following:
|
|
a.
Kavitta
|
b.
Shlok
|
c.
Haav
|
d.
Bhaav
|
|
e.
Ada
i.
Bhramri
|
f.
Kataksh
j.
Gharana
|
g.
Kasak
|
h.
Masak
|
|
|
|
|
|
6.
Basic
Knowledge
Of
The
Following
Talas:
a.Roopak
[7
Matras]
b.Shikhar
[17 Matras]
c.Deepchandi [14
Matras]
7.
Life
Sketch
Of
The
Following:
a.Birju
Maharaj
b.Sitara Devi
c.Narayan
Prasad
KATHAK DANCE
VISHARAD
PART
I
PRACTICAL
M.M.-200
(a)
One
advance
Tatkar
variety
with
atleast
ten
variations.
(b)
Thata
(c)
One Chatusrajati
Amad.
(d)
One Tisrajati
Amad.
(e)
Two
Parameļu
Tukdas.
(f)
Two
Natawari
Tukdas.
(g)
Four
Parans
(Two
Sada
and
two
Chakradar).
(h)
Tatkar
in
Tigun
and
Chaugun
Layas
and
increase
in
speed
of
Tatkar.
(i)
Two
advance Gats of Nikas and simple Holi and Govardhan Leela
Gats.
2.
DHAMAR
(a)
One Amad.
(b)
Four
Tukdas.
(c)
Two
simple
Paran.
(d)
Two
Chakradar
Paran.
(e)
Four
Tihais.
3.
CHAUTAL
(a)
Tatkar
in
Barbar,
Dugun
and
Chaugun
Layas.
(b)
Rang
Manch
Ka
Tukda.
(c)
Two
Amads.
(d)
Four
simple
Tukdas.
(e)
Two
simple
and
one
Chakradar
Paran.
(f)
Four
Tihais.
(g)
Padhant
of
all
the
Bols
learnt.
KATHAK DANCE VISHARAD
PART- I
THEORY
M.M.-100
Revision
of
the
Previous
Course.
1
Mudras
denoting
the
Dieties
(देवहस्त)
according
to
Abhinaya
Darpan.
2.
Mudras denoting castes
(जातिहस्त)
as given
in Abhinaya
Darpan.
3.
Explanation
of
Abhinaya
and
its
four
parts.
4
Elementary knowledge of the
Nine Rasas and their application in
dance.
5
The
following
combined
hand
mudras:-
Anjali,
Kapoth, Karkat,
Swastik, Dola,
Pushpaput, Utsanga,
Shivalinga,
Katakavardhan, Kartari,
Swastik, Shakat,
Shankh and
Chakra
Hastas.
6
Knowledge
of
the
following
terms:-
Aadi
Laya, Kuadi
Laya, Biadi
Laya, Kasak,
Haav-Bhava, Mukh Bhava, Gat
Nikas and
Chhand.
7
Basic
knowledge of the following Talas.
Deepchandi, Jhoomra,
Sawari,
Matta,
Ashtamangal.
8.
Life
sketches of
the following:-
Pt.
Jayalal,
Sunder Prasad,
Madam
Menaka,
Narayan
Prasad.
9
Ability
to write
in
notation
all
the
Talas
and
Bols
learnt.
KATHAK DANCE
VISHARAD
PART- II
PRACTICAL
M.M.-200
1.
TRITAL
(a)
Ability
to
improvise
extempore
varieties
in
Tatkar
with
speed.
(b)
Performance
of
Chakkars
with
speed
and
accuracy.
(c)
Advanced
Thata.
(d)
One
Amad
Chatusrajati.
(e)
One
Amad
Tisrajati.
(f)
One
Paran
Misrajati.
(g)
Two
Paramelu
Tukdas.
(h)
Two
Natawari
Tukdas.
(i)
One Chakradar
Paran.
(j)
One
Sada
Paran.
(k)
Revision
of
Nikas
Gats
and
Makhan
Chori
and
Kaliya
Daman
Gats.
(l)
Tihais
in
complicated
Layas.
2.
CHAUTAL
(a)
One Amad.
(b)
Three
Parans.
3.
Four
Tukdas,
Three
Parans,
Two
Chakradar
&
Tihais
in
any
one
of the
following Talas:
(a)
Ashtamangal
(11
Matras)
(b)
Sawari (15
Matras)
(c)
Shikhar
(17
Matras)
KATHAK DANCE VISHARAD
PART
II
THEORY
M.M. 100
Revision
of
the
Previous
Course:
1.
A
knowledge of
the origin
of Dance
according to
Indian and
Western concepts.
2.
Ten
Pranas of
Taal in
general with
a detailed study
of Graha,
Jati and
Yati.
3.
The
following combined (Sanyukta) hand as given in Abhinaya Darpan: Samput,
Pash, Keelak, Mathasya, Koorma, Varaha, Garuda, Nagbandah, Khatva and
Bherunda with their uses.
4.
Analytical study.of
the following
main dance
forms:- Kathak,
Kathakali,
Bharata
Natyam,
Manipuri,
Odissi,
Kuchchipudi.
5.
An
elementary knowledge of Asht Nayikas (Eight Nayikas) and four
Nayaks as given in Natya Shastra.
6.
Definitions
of
the
following
terms:-
Mudra,
Sawa Laya,
Paun Laya,
Zarab (in
Tattkar), Kram
Laya, Bhava, Nikas,
Bol Jati, Nritya Hasta, Kataksha.
7.
Critical
analysis
of
different
Gharanas
of
Kathak
Dance.
8.
Critcal
analysis of
the Lucknow
Gharana from
Ishwari Prasad
to the present generation.
9.
A
detailed
study
of
Laya
and
its
application.
10.
Basic
knowledge
of
the
following
Talas:-
Lakshmi, Brahma,
Vishnu and
Rudra.
KATHAK
DANCE
NIPUN PART I
PRACTICAL
M.M.
200
TRITAL
i
Ganesh Paran.
ii
Two
Amads
(advanced
type).
iii
Ta
Thei
Tat
Thei
Variety
(eight
Tukdas).
(iv)
Three
Permelu
Tukdas
(Sada
and
Chakradar).
(v)
Ten
Natavari
Tukdas
(Sada
and
Chakradar)
(vi)
Pakhawaj
Paran-Four
Sada
and
two
Chakradar.
(vii)
Jatis with
Bols:-
(a)
Chatasra.
(b)
Tisra
(c).
Khanda.
(d)
Misra.
(e)
Sankirna.
TATKAR
(a)
Kramlaya
(Thah,
Dugun,
Tigun,
Chaugun,
Panchgun,
Chhegun,
Satagun, Athagun).
(b)
Zarab-(simple).
(c)
Bol
Jati
and
Laya
Jati.
(d)
Advanced
Bant
of
sada
Tatkar.
(e)
Tihais
of
different
varieties.
Gats
I
Gat
Nikas
advance.
Gats
II:
Gat Bhava:-
(i)
Elaborate Goverdhan.
(ii)
Elaborate Holi
(iii)
Kaliya
Daman.
Attention
should
be
paid
to
the
accuracy
in
Chals.
(x)
Abhinaya in two Thumris and
two Bhajans (ability to sing while
performing is expected). Correct use of the eyes i.e. Nigah or
Drishti as applied to Abhinaya in Kathak Dance.
(xi)
Ability
to
perform
elaborately
on
the
following
Talas:
(i)
Jhaptal
(ii)
Dhamar
(iii)
Chautal
(iv)
Ashtamangal
(v)
Pancham
Sawari
(15 Matras).
(xii)
General
knowledge
of
the
following
Talas
with
simple
Tukdas
Tihais
etc. and
ability to
perform with
elaboration (any
one of
them).
(i)
Shikhar
(ii)
Matta
(iii)
Brahma
(iv)
Rudra.
(xiii)
Playing
on
Tabla
the
following
prevalent
Talas
in
Thah,
Dugun
and Chougun:-
(i)
Trital
(ii)
Dadra
(iii)
Rupak
(iv)
Kaharwa
(v)
Sooltal.
Note:
The student
is expected
to perform
Chakkar and
Tatkar with
speed and perfection.
Attention should
be paid
to the
neat performance of Anga and
also to
the correct
use of
the eyes
i.e. Nigah
or Drishti
as practised
in
Abhinaya
of
Kathak
Dance.
Importance
should
be
given to
correct expressions
in the
performance of
Gats and
Abhinaya.
Padhant:Ability
to
recite
the
Bols
giving
Tal
during
the
performance
as
in
a
traditional
Kathak
recital.
Ability
to
perform
all
the
bols
on
simple
Theka and Nagma
(लहरा).
Nayika:
Ability to
display the
eight Nayikas
as given
in Natyashastra.
A knowledge
of
the
main
nine
Rasas
in
general
and
the
ability
to demonstrate
them.
KATHAK
DANCE
NIPUN
PART- I THEORY
Paper
I
M.M.-100
Revision
of
the
theory
course
of
the
Previous
Year.
1.
A
general
knowledge
of the
history
of
Indian
Music.
2
The
evolution of dance in India from the earliest time to the Mughal
period.
3
A brief
study of the Rasa theory as explained in Sanskrit literature. Prominent
authors, their
period and
their individual
contribution etc. if any.
4
A
general knowledge of the folk dance forms prevalent in Uttar
Pradesh.
5
A
comprative
study
of
the
Tala
system
of
North
and
South
India.
6
The
description and study of the various form of the stage (Ranghshala) as
explained by Bharat Muni in Natya shastra.
7
A
general
study
of
the
western
concept
of
dance.
8
A
study of
the following
Nayikas according
to their
different stages, Sub-
divisions: Mugdha, Madhya and Praudha.
9
Detailed
knowledge
of
Jatis
and
Yatis
with
illustrations
10
Life
sketch
of
the
following
exponents
of
the
Dance:-
(i)
Bindadin
Maharaj
(ii)
Shambhoo
Maharaj
(iii)
Lachhoo
Maharaj
(iv)
Narain
Prasad
(v)
Sunder
Prasad
PAPER-II
An
Essay
on
any
topic
of
Dance
of
general
interest.
M.M.-100
KATHAK
DANCE
NIPUN
PART
II
PRACTICAL
M.M.-200
TRITAL
1.
Advance
Amads.
2
Eight
additional
Ta
Thai
Tat
Thei,
variety,
Tukdas.
3
Advance
Natavari
Tukdas,
Sada
and
Chakradar.
4
Three
Paramelu
Tukdas,
Sada
and
Chakradar.
5
I).
Two
Pakhawaj
Parans
ii).Two
varieties
of
Badhaiya
Parans. iii).Two
Farmaishi Parans. iv).Two
Kamali Parans.
6
Kavitts
and
Chhand.
7
Few
more
Parans
in
Jati,
8
Tatkar:-
(a)
Kramlaya (Naugun,
Dasgun, Gyarahgun,
Barahgun, Terahgun,
Chaudahgun, Pandrahgun
and
Solahgun).
(b)
Zarab
(Advance)
(c)
Bol
Jati
and
Laya
Jati
(Advance)
(d)
Advance
varieties
of
Layabant.
(e)
Elaborate
Tihais
in
different
Layas.
9.
Gat:
1.
Advance
Gat
Nikas
2.
Gat Bhava:-
(i)
Makhanchori (Elaborated)
(ii)
Madan Dahan
(iii)
Ahilya
Uddhar
10.
Attention
should
be
paid
to
the
accuracy
of
Chals.
11.
Abhinaya
on
two
more
Thumris,
Bhajan
and
one
Gazal.
12.
Ability
to
perform
(elaborately)
on
the
following
Talas:
(1)
Rupak
(2)
Sool
Tal
(3)
Ada
Chautal
(4)
Gajajhmpa
(5)
Shikhar.
13
General knowledge
of
following
Talas
with
simple
Tukdas.
Tihais
etc.
and
ability to
perform with
elaborations, any
two of
the following:
(1)
Lakshmi
(2)
Ganesh
(3)
Vishnu
(4)
Basant
(5)
Mani
(6)
Chitra.
14
Ability
to play
on Tabla
the following
prevalent Talas with
Thah, Dugun, Chougun etc.
(1) Ektal
(2) Jhaptal
(3) Dhamar
(4) Ada
Chautal (5)
Deepchandi (6)
Panjabi.
15
Padhant:
Ability
to
recite
the
bols
giving
Taal
during
the
performance
as in
a traditional Kathak dance
recital and
to independently dance
on Theka or Nagma
(लहरा).
16
Nayikas: Swakeeya Parkeeya, Samanya, Mugdha, Madhya and Praudha with possible
sub-division etc.
KATHAK
DANCE
NIPUN
PART II THEORY
PAPER I
M.M.-100
Revision
of
the
theory
portion
of
the
previous
years.
1.
A comprehensive study of
the origin
and evolution
of Dance
in India from the
Mughal period to Modern times.
2
A
general
study
of
the
Rasa
theory
as
expounded
in
Hindi
Literature.
3
Knowledge
of
origin
and
evolution
of
Ballet.
4
Knowledge of
origin and
evolution their
subdivisions:
Swakeeya, Parkeeya and
Samanya.
5
The
contribution of Guru
Deva Ravindra
Nath Tagore,
Poet Vallathol Narain
Menon, Madame Menaka
in the
renaissance of Indian
Dance.
6
Knowledge
of
the
following
terms:-
Dhwani, Auchitta,
Natya Dharmi, Lok Dharmi, Nautanki, Natak,
Naqqali,
Sootradhar,
Nati,
Anghar,
Karana,
Opera,
Dance
Drama,
Rasa Poorvaranga.
7
Life
sketches giving
special reference to the
literary contributions
of Bharata, Nandikeshwar, Dhananjaya and Abhinavagupta in Dance.
8
Life
sketch
and
contribution
of
the
following
exponents
of
Dance:-
1.
Pandit
Jailal
2.
Achhachan Maharaj
3.
Udai Shankar
9
Aesthetical
aspect
of
Kathak
Dance.
PAPER II
An
essay
on
any
topic
of
dance
of
general
interest.
M.M.-100
KATHAK
DANCE
NIPUN
PART III
Note:
There shall be no theory papers. Only
practical examination in
two
parts shall
be conducted.
PRACTICAL
M.M.-400
A.
STAGE
PERFORMANCE
M.M-200
Demonstration
and
Questionnaire
of
the
following:
1
Abhinaya in Thumri, Bhajan or Dadra, Gazal, Nayika Bhed and Gat-
Bhav.
2
Talas
prescribed: Trital,
Jhaptal, Ektal,
Ada-Chautal, Roopak,
Ashta Mangal, Laxmi-Tal,
Matta-Tal and Shikhar.
3.
Display
Kram
Laya
from
Thah
to
Solahgun
4.
Natawari
Parmelu,
Kavitta-Chhand-Jati-yati.
5.
Ability
to
perform
Chakkars
(Bhramaris)
and
Tihaiyan.
6.
Compositions
on
themes
from
Mahabharat
and
Ramayana.
VIVA
VOCE
M.M.
200
Practical
examination
based
on
the
following
topics:
1
Abhinaya
on
a
given
Theme.
2
Pecock
dance
in
Kathak
Style.
3
Different
Chals
as
depicted
in
Kathak
Style.
4
Gat
Bhav
and
Gat
Nikas.
5
Tatkar
with
ease
and
speed
in
different
layas.
6
Ability
to
compose
Tihais
on
spot.
7
General
questions
on
existing
Gharanas
of
Khathak
Dance.
8
Nine
Rasa
-
Their
application
in
Dance.
|
Dances