CBSE Senior Secondary Syllabus 2027 Dance

FOR CBSE SENIOR SECONDARY SYLLABUS EXAM PREPARATION

CBSE Senior Secondary
Syllabus 2027
Question Paper
EXAM YEAR TYPE DETAILS

CBSE Senior Secondary Syllabus 2027 Question Paper Dance

Notes · Sample Papers · Previous Year Papers · Mock Tests

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DANCE
Subject Code: 056 to 061
(2026-27)
Classes XI-XII (2026-27)
(2025-26)

The objective of the theory and practical course in Indian Classical Dance,
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Indian Traditional Dance, Drama or Theatre forms is to acquaint the students
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with the literary and historical background of the Indian performing arts in
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general, arid dance drama form offered in particular. It is presumed that the
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students offering these subjects will have had preliminary training in the
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particular form, either within the school system or in informal education. The
Central Board of Secondary Education being an All-India Organization has
its schools all over the country. In order to meet the requirements of the
schools, various forms or regional styles have been included in the syllabus.
The schools may OFFER ANY ONE OF THE STYLES. Since the syllabi are
closely linked with the culture, it is desirable that the teachers also make
themselves familiar with the aspects of Indian Cultural History; classical and

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medieval period of its literature.

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Any one style from the following may be offered by the students:
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INDIAN CLASSICAL DANCE
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(a) Kathak ag
(b) Bharatnatyam

(c) Kuchipudi

(d) Odissi

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(e) Manipuri
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(A) KATHAK DANCE
(CODE NO. 056)
CLASS–XI (2026-27)
(2025-26)

Total Marks: 100
Theory Marks:30
Time: 2 Hours
1. A brief history of Indian dance.

2. Acquaintance with the themes of Ramayana, Mahabharataa,
Bhagvata Purana and Gita Govinda in context of Kathak.
Acquaintance with other myths and legends pertinent to the dance
drama or gat bhaav like Kalia daman, Govardhan lila, Panghatlila,
Draupadi cheer haran, Makhan chori, Marich vadh, Bhasmasur vadh,
Madan dahan, etc.

3. A brief history of Kathak dance.
Reference from ancient text (vedic, puranic, epics and other
scriptures). evolution of Kathak dance in Pracheen kal/Mandir kal
(kathavachak and Rasdhar tradition, etc.) Madhya kal/ Darbarkal,
Adhunik kal covering British and post independent era till the present
time.
4. Acquaintance with its repertoire.
Rang pravesh / invocation, compositions (Bandish) from traditional
technical dance part of kathak. Literary contents - abhinay, bhajans,
thumri, dadra, ghazals, dhrupad, kavit, etc. Rhythmic musical
composition like Tarana, Tirvat, Chaturang, etc.

5. Distinctive aspects of Kathak (using of ghungrus, chakkars, upaj,
costume, etc.

6. Ability to write notation of teental and jhaptal (thah, dugun,chaugun).

7. Definition and short explanation: Nritta, Nritya, Natya, Tandava, Lasya,
Anga, Upanga, Pratyanga.

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CLASS–XI

Practical Paper Marks:70

1. Practice of basic standing position and various patterns of Tatkar.

2. Practice of exercise of different parts of the human body particularly anga,
pratyanga, upanga.

3. Practice of exercise of ten different movements {hastak} chakkars in

teen taal in thah, dugun, chaudganlaya.

4. Prahant of teentaal, jhap taal with hast kriya in thah, dugun, chaugun.

5. Practice of tatkar set to teental in a slower tempo (thah laya) and in

its double(dugun) and four times (chaugun).

6. The student should know the following compositions:
(a) Thaat 1
(b) Aamad 2
(c) Fast Aamad (tez aamad) 2
(d) Vandana 1
(e) Tukra/Toda 4
(f) Natwari ka tukra 4
(g) Gatnikaas 3
(h) Gatbhaav 1
(i) Paran 4
(j) Tihaayi 4
(k) Ladi/laya Baant 2
(l) Parhant of tukda /toda with hasta kriya 2

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(A)KATHAK DANCE
(CODE NO.056)
(2026-27)
CLASS–XII (2026-27)
(2025-26)
Total Marks: 100
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Theory
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Marks:30
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Time-2 Hours
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A brief history with other classical dance styles of India.
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Basic understanding of the term ABHINAYA and definition of its
four aspects: angika, vachika, aharya, satvika.

3. Aquitance of the three gharanas of kathak dance (Lucknow,
Jaipur,Banaras)

4. Rasa: definition and explanation of nine rasas.

5.
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Knowledge of the following terms: (short note) sangeet, tal, laya,

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angahara, bhramari, lokadharmi, natyadharmi, rasa and bhava.
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6. Knowledge of the technical terminology of the dance form.
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a) Definition of the following:
i) Vandana
ii) Tihaayi
iii) Aamad
iv) Toda/Tukraa
v) Paran
vi) Chakardar Toda / Tukraa and Paran
vii) Gatnikas
viii) Gatbhaav
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b) Knowledge of Theka of Dadra, Kaharwa, Roopak.
c) Definition of Tali, Khali, Sam, Tihaayi.
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CLASS–XII

Practical Marks:70

1. Practice of the tatkar set to teen taal and jhap taal in slower tempo, in
its double(dugun) and four times (chougun) tempos.

2. Student should know all the techniques and compositions of the
following:

(i) Vandanaa 1
(ii) Thaat 1

(iii) Aamad 2
(iv) Fast aamad 2
(v) Tukda, Toda 1
(vi) Tihaayi 4
(vii) Gatnikas 3
(viii) Gatbhav 1
(ix) Parhant of tukra/todaa, with hasta- kriyaa 1

NOTE: The students should be taught some of these in jhap taal and
dhamar tal.

3. Ability to improvise in nritta and abhinaya.

4. Parhant (recitation of bols) to the basic theka of all compositions learnt.

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DANCE (KATHAK)

PRACTICAL GUIDELINES TO THE EXAMINERS
FOR EVALUATION OF KATHAK PRACTICALS
CLASS–XII

Practical Marks:70

Time: At the discretion of the examiner.

General Instructions:

There are four important aspects of Kathak which need careful
assessment. They are:
(a) Angashudhi, which means that movements of limbs and torso should not
only begraceful and aesthetic butal so in accordance with the style of the
Kathak dance.
(b) Laya, i.e., the steadiness of tempo and command over rhythmic structure
in any passage of dance.
(c) Bhaav-Paksh, i.e., the capability to express through mime in which face
plays a dominant role.
(d) Tatkaar, i.e., neatness in executing complicated footwork.

Distribution of marks and other instructions

The total marks of 70 may be divided as indicated below:

1. For the Angashuddhi 20 marks may be allotted, for laya and Bhaav-
paksh each may be allotted 15 marks, and footwork (Tatkaar) 10
marks. The remaining 10 marks may be equally divided for repertoire
and Parhant.
2. Each examinee should perform for about 15 minutes and in all the
three layas, i.e., vilambit, madhya and drut. In Vilambit Laya he/she
may perform Thaat, Aamed, Ganesh Paran, fast Aamad, Tihai and
Tatkaar; in Madhya Laya; Tukra/Todaa, Paran, Abhinaya of a Thumri/
Bhajan; and in Drut Laya; Gatnikaas and Gat-Bhaav.
3. As said above five marks may be allotted for the richness of the
repertoire. The examinee is required to perform at least one item from
each of the intra forms mentioned in the syllabus, i.e., Vandanaa,
Ganesh Paran, Thaat, Aamad, fast Aamad, Parmelu, Tihaayi, Gat-
nikaas and Gat-bhaav.

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4. The examinee should be asked to do the Parhant of a tukraa/toraa and
then performiton Thekaa. While doing Parhanthe / she should also
indicate the taal by doing hasta-kriyaa. This will give the idea of his/her
command over the taal. As indicated above five marks may be allotted
for the manner in which Parhant is done.
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5. The examinee may be asked to play the thekaa of Teentaalor Jhaptalon
Table.
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6.
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The examinee may be asked to abhinaya on a line or two from any
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athumri orbhajan and elaborate it with sanchaari passages.

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(B) BHARATANATYAM DANCE
(CODE NO.057)
(2026-27)
CLASS–XI (2025-26)

Total Marks: 100
Theory Marks:30

Time-2 Hours

1. A brief history of Indian Dance.

2. Acquaintance with the themes of RAMAYANA-names of all Kandas,
(Sita swayamvaram, Rama vanagamanam, Surpanakha prasangam,
Sita haranam, Choodamani pradanam). BHAGAVATA PURANA -
names of all Skandas (Sadhana Skanda Dashavatar, Purushartha
Skanda - Daksha, Dhruva, Sthiti Skanda - The story of Manu and the
description of the world, Vasan Skanda - Prahlada and Nirodha
Skanda - Birth and life of Krishna). GITA GOVINDA - (Samoda
Damodaram - Lalita lavangalata, Haririha, Aklesha Keshava - Rase
harim iha, Mugdha Madhusudana - hari hari hatadarataya Vilakshya
Lakshmipatih- yahi madhava Chatura Chaturbhuja - priye charushile:
Sanjeevani ashtapadi). Acquaintance with other myths and legends
pertinent to the Dance form, The Cosmic dance of Siva and
significance of Nataraja, The story of Mahishasura Mardini, The legend
of Ganesha.

3. A history of Bharatanatyam: Mythological reference from the
Natyotpatti in the Abhinaya Darpanam, evolution of the different
schools of Bharatanatyam - Tanjavur, Pandanallur and Vazhuvur,
contribution of the Tanjore quartet and the present repertoire structure
of the dance form.

4. Acquaintance with its repertoire and literary contents: Definition of the
musical terms used in dance Pushpanjali, Mallari, Kautuvam, Alaripu,
Jatiswaram, Shabdam, Varnam, Keertanam, Padam, Ashtapadi, Javali
and Thillana.

5. Distinctive aspects of Bharatanatyam: Costume and jewelry, Language
and music style, Technical aspects of performance, Basic posture.

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CLASS–XI (PRACTICAL)

Practical Marks:70

1. Practice of basic standing and sitting positions: Pada and
mandalabhedas.

2. Practice of stretching, rotation and flexing of different parts of the
body-head, neck, shoulders, arms, waist, hips, knees, ankles,
feet.

3. Practice of different movement of the head, eyes and neck: Shiro,
Drishti and Greevabheda.

4. Adavus in Trikala:
(i) Tattu adavus 8
(ii) Nattu adavus 8
(iii) Ta tei tei ta adavus 4
(iv) Kudittu mettu adavus 4
(v) Tei ya teiyi standing adavus 2
(vi) Tat tei ta ha adavus 4
(vii) Tat tei Tarn adavus 4
(viii) Kattu adavu and allied utplavanaadavus 4
(ix) Tadhinginatom
(x) Kitatakatarikitatom
(xi) Mandiadavu 2
(xii) Sarukkai adavu 2
(xiii) Simple Korvais (knitting together of adavus in sequence with an
aradhi orfinish) in Adi talam for 1-2avartana
(xiv) Simple forward and backward gaits in Tisra and Chatusra (count of 3
and4)
(xv) Alarippu-Tisra EkaTalam
(xvi) Tala-Adi talam and Rupaka talam with hastakriya and ability to
repeat the adavu syllabi in Trikala in the appropriate talam.

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(B)BHARATNATYAM DANCE
(CODE NO.057)
(2026-27)
CLASS–XII (2026-27)
(2025-26)

Total Marks: 100
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Marks:30
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Time-2 Hours
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Acquaintance
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oflthe past of the Dance form. (Rukmini Devi Arundale, Balasraswati,
agMeenakshi Sundaram Pillai, Tanjorequartette)
2. Acquaintance with the contents of the Abhinaya Darpana. (The
chapters and the aspects of dance dealt with in them).

3. Knowledge of the following terms:

(i) Nritta, Nritya, Natya (Sanskrit slokas from the Abinaya Darpana and
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basic definition) Tandava (7 tandavas with detailed stories) Lasya,
Lokadharmi, Natyadharmi (Definitions with example)
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(ii) Sthana, Chari, Mandala, Bharmari, Utplavana (Slokas and
meaning from Abinaya Darpana)
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(iii) Abhinaya (Angika, Vachika, Satvika, Aharya-slokas from the
Abinaya Darpana along with the meaning)
(iv) Sangeeta, Tala, Laya (Definition of the term, seven talams, three
layams)
(v) Rasa (names of the nine rasas and their English meanings)

4. Knowledge of the technical terminology of the particular Dance form
(any one to be studied in accordance with the Dance styleoffered)-

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(a) Definitions of the following: araimandi, muzhumandi, kuttanam,
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korvai, karvai, adavu, shollu, aradhi, theerumanam, jati, jaati, gati,

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avartana, yati, taalanga, thattukazhi, nattuvangam, arangetram)

s Acquaintance with the traditional costumes, makeupgofl the Dance
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CLASS–XII

Practical Marks: 30

1. Revision of all the adavus in classXI

2. Jatiswaram in Rupakataal

3. Padam on Krishna or Keertanam on Shiva/Krishna/Vinayaka/Rama

4. Tillana in Adi taalam
5. Ability to repeat the adavu* syllables in Rupaka and
Triputa Talas, knowledge of the Sapta talas with hasta
kriya (taalanga andsign)

6. Hasta-Viniyoga of 14 Asamyuta (upto Chandrakala hasta)
and 12 Samyuta, Hastas (Upto Chakra hasta) and all,
Deva Hastas (all Abhinaya Darpanam).

7. Knowledge of the Pada, Bhedas, Mandalas, Bhramaris
and Utpalvanas occurring in the items learnt (Abhinaya
Darpanam).

8. Basic knowledge of Carnatic Music-format of the raga
system-the 72 melakarta ragams and the music of the
items learnt.

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(C)KUCHIPUDI DANCE
(CODE NO. 058)
(2026-27)
CLASS–XI (2026-27)
(2025-26)
Total Marks: 100
Theory Marks:30

Time-2 Hours

1. A history of the Kuchipudi Dance.
2. Distinctive features of Kuchipudi- Structure and Format.
3. Repertoire and literary content of Kuchipudi.

CLASS–XI

Practical Marks:70

1. Practice of basic standing, sitting positions.

2. Practice of exercise of different parts of the human body particularly
head, neck, shoulders, arms, chest, waist, hips, thighs, knees,
shanks, ankles, feet.

3. Practice of different movements of the eyes, hands and face.

4. Practice of the following adugus in Trikala:
(i) Mandikoppu
(ii) VontiAdugu
(iii) Venuka Naatu
(iv) Prakka Naatu
(v) Kettera Naatu
(vi) Chuttu Naatu
(vii) Prakka Kuppi Naatu

5. Teermanams in five Jaatis Note: Ability to recite Teermanam with Tala.

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(C)KUCHIPUDI DANCE
(CODE NO.058)
(2026-27)
CLASS–XII (2026-27)
(2025-26)

Theory Total Marks: 100
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Marks:30
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1. A brief history and acquaintance with some traditional dance forms of
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the region, other than the one offered for study.
Acquaintance with life history of the chief exponents of the dance
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3. Knowledge of the following terms:
(i) Nritta, Nritya, Natya, Tandava, Lasya, Lokadharmi, Natyadharmi
(ii) Chaturvidha Abhinaya (Angika, Vachika, Satyika, Aharya)
with special reference to Mukhaja Abhinaya.
(iii) Sanchari Bhava, Sattvika Bhava

4. Types of compositions and formats used in
Kuchipudi
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5. Definitions of the following:
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(a) Rangapuja, Shabdam, Ashthapadi, Kalaapam, (Bhaama
Kalaapam, GollaKalaapam).
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CLASS–XII

Practical Marks:70

1. One Sabdam preferably from Dashavatara or Prahlada
Pattabhi shekha, Shabdam.
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One Swarapallavi, one padam.
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6. Recitation of an Aditala Jathi along with Teermanam.

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(D)ODISSI DANCE
(CODE NO. 059)
CLASS–XI (2026-27)
(2025-26)

Theory Total Marks: 100
Time-2 Hours Marks:30

1. A brief history of Indian dance.

2. Short notes on myths related to: Kaliya Daman, Dashavatar, Vastra
haran, the concept of Nataraja, Draupadi Cheer haran, Neuni
Chura (Makhan Chor).

3. Definition of the terms:

a) Nritta, Nritya and Natya

b) Matra, Laya, Taal, Avartana, Vibhaga (Anga)

c) Tandava and Lasya

d) Natyadharmi and Lokdharmi

e) Devadasi and Mahari

4. Brief explanation of the five segments of the basic repertoire of Odissi:

a) Mangalacharan,

b) Batu or Sthayi,

c) Pallavi,

d) Abhinaya,

e) Moksha/ or any Tandav Dance,

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CLASS–XI

Practical Marks:70

1. Ability to demonstrate the elementary steps: Ten steps each in
Chauk and Tribhanga position set to Ektali in three speeds of
Ekgun, Dugun and Chaugun.

2. Learning of one Arasas in chaturasra Jaati is ability to recite
the Sthayi Ukuta of the Arasa by showing the matras by
hands.

3. Learning of Mangalacharan:
a) Demonstration of the item
b) Recitation with hands of the ukutas of the item
c) Naming the raga and tala the item is composed to
d) Identification of the hastasused
e) Identification and demonstration of the various components of
the item:
*Mancha Pravesha,
* Pushpanjali
* BhumiPranam
* IshtaDeva
* Vandana and Trikhandi/ Sabha Pranam
f) Explanation/meaning of the slôka in the Ishta Deva Vandanaa

4. Asamyuta Mudra from the Abhinaya Darpana.

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(D) ODISSI DANCE
(CODE NO. 059)
(2026-27)
CLASS–XII (2026-27)
(2025-26)

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Theory Total Marks: 100
Time-2 Hours
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Marks:30
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1. Elementary knowledge about the three styles of Chhau: Mayurbhanj,

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2. aBrief notes on the lives and contribution of the three Gurus: Guru
Pankaj CharanDas, Guru Kelucharan Mohapatra and Guru Deba
Prasad Das.

3. Elementary introduction to the texts; Natya Shastra, Abhinaya
Darpana, and Abhinaya Chandrika: a) Identification of the author
(approximate date) b) Basic overview of the broad areas covered
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in the context of each text. c) Myths regarding the origin of dance
according to eachtext.
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Basic understanding of the term ABHINAYA and definition of its

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four aspects:angika, vachika, aharya and sattvik.

5. Rasa: Definition and short explanation of the ninerasas.

6. Short notes on:

a) The Aharya of Odissi.

b) The music accompaniment of Odissi.
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a b) Matra, Laya, Taal, Avartana, Vibhaga(Anga)

c) Tandava and Lasya d) Natyadharmi andLokdharmi

8. Write some names of Folk Dances of Odisha

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CLASS–XII

Practical Marks:70

1. Learning and practice of one Pallavi:
a) Definition of the term Pallavi. b) Demonstration of the item.
c) Recitation of the ukutas of the item with hands.
d) Identification of the Raga, Taal and the Choreographer of the item.
e) Identification of the hastas and the bhangis used in the item.

2. Ability to show different Paad bhedas and bramaris.

3. Practice of Patak Hasta Mudra Viniyog acc to Abhinaya Darpan.

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(E) MANIPURI DANCE
(CODE No. 060)
(2026-27)
CLASS–XI (2026-27)
(2025-26)

Total Marks: 100
Theory Marks:30
Time-2 Hours

1. Brief history of Indian Dance and Traditional Dance/Drama.

2. Acquaintance with themes of the puranas

* From Ramayana: - Lanka dahan by Hanuman, Seeta Haran,

* From Shrimad Bhagavat:- Makhan Chori, Udukal Leela (when
Yashoda tiesup Krishna to the pounding block), Kaliya
Daman.
* From Gita Govinda:- Dashavatar, any suitable poem.
* From local legend: - Nongpok Ningthou and Panthoibi

3. History of Manipuri Dance

a) Prayer dances of early times beyond recorded history. Dance
was always a necessary part of worship. Lai Haraoba.

b) Beginning of compositions based on Hindu Gods as
people started worshipping Vishnu in 15thcentury.

c) Birth of Ras Leela and Sankirtana in 18th century during
the reign of Maharaja Bhagyachandra leading to
cultural chain reaction.

d) Birth of Goshtha Leela during the reign of Maharaja Chandrakirti.

4. Acquaintance with its repertoire and literary contents. Edited
versions of Rasleelas, Krishna Abhisar, Radha Abhisar. Krishna
Nartan, Radha Nartan,Punglon Jagoi, - Dashavatar, Shreeta Kamala
Kucha Mandala, Lalita Lavanga Lata, Chandana Charchita,
Rajanijanitaguru, Pung Cholom and Kartal Cholom.

5. Distinctive aspects of Manipuri dance.
The style is rich both in Lasya and Tandava modes.
*Footwork in Manipuri.
*Sarvanga Abhinaya.

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CLASS–XI

Practical Marks:70

1. Practice of basic postures movements and footwork in Tanchap Tala.
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Practice of hand
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3. Chali

4.
a Acquaintance with Matras and Talas of Manipur Pung in Talas
Tanchap, Menkup

5. Lai Haraoba both Lasya and Tandava (Khamba Thoibi). Thougal
Jagoi, MaibiJagoi – Lai Ikouba and LaichingJagoi.

6. Folk dances: Thabal Chongbi, Keetlam and Chaplam.

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(E) MANIPURI DANCE
(CODE No. 060)
CLASS–XII (2026-27)
(2025-26)
Theory Total Marks: 100
Time-2 Hours Marks:30

1. Acquaintance with life history of chief exponents past and present of
the dance form.

2. Acquaintance with the contents of Abhinaya Darpana.

3. Knowledge of the following terms:

(a) Nritta, Nritya and Natya. Tandava, Lasya, Loka Dharmi, Natya
Dharmi.
(b) Abhinaya: Angika, Vachika, Aharya and Satvika.
(c) Sangeet: TalaLaya.
(d) Rasa: Sthayi Bhava, Sanchari Bhava.

4. Knowledge of technical terms of the style:
(a) Chali, Bhangi, Longlei,Uplei
(b) Different kinds of Choloms: Kartal Cholom, Khubak Isei
Cholom, PungCholom.
(c) Sankirtan. Different Talas, Rajmel, Menkup,Tanchap.
(d) Different kinds of Raas.

5. Acquaintance with the traditional costumes, make up for the dance style
offered.

(a) Potloi and its different components for Radha and Gopis
(b) Krishna’s costume.
(c) Typical traditional make up for Manipuri classical dances with
emphasison Vaishnava Tilak.

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CLASS–XII

Practical Marks:70

1. Basic stance and movements of both Pung and Kartal Choloms
(whichever isapplicable). Practical demonstration of Choloms in
Rajmel, Menkup and Tanchap.

2. Bhangi Pareng Achouba and Goshtha Bhangi Pareng. Punglon
Jagoi and IseiJagoi.

3. Khurumba Bhangi Pareng, Krishna Abhisar, Radha Abhisar
Krishna Nartan, Radha Nartan, Advanced Cholom in Char Tal

Knowledge of the background of the following:

a) Nata Sankirtan and Ariba Pala. Lai Haraoba, Maharaas, Vasant
Raas, Kunja Raas, Nitya Raas and Diva Raas, Goshtha
Leela, Udukhal Leela.

b) Biographies of great Jagoi Gurus: Guru Amubi Singh, Guru Atomba
Singh and Guru Amudon Sharma.

c) Stories of Nongpok Ningthou and Panthoibi, Khamba and Thoibi.

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(F) KATHAKALI DANCE
(CODE NO. 061)
(2026-27)
CLASS–XI (2026-27)
(2025-26)

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Time-2 Hours Marks:30
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A brief history of Indian Classical Dance and Indian Traditional Dance-
Drama.

2. Acquaintance with the themes of Ramayana, Mahabharataa and
Bhagavata Purana.

3. History of the Kathakali (Origin Development).

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Acquaintance with its repertoire and literary content – Aattakathas, its
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language and influence of Sopana Sangeetha.
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5.
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Distinctive aspects of Kathakali.
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Slokas from Hasthalakshanadeepika describing about the 24
basic hand gestures.

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Page 22 of 25

CLASS–XI

Practical Marks:70

1. Tozhutu Kumpital (Namaskara Panchakam) – Traditional salutation.

2. Chattam (Different types ofleaps)

3. Meyyarappu (Basic body exercises)

4. Kannu Saadhakam and Mukha Saadhakam (Exercise of eyes
and facial muscles)

5. Kaal Saadhakam (Basic foot works)
a) Kaal Saadhakam
b) Irrativattam
c) Kutthukaal
d) Parinthukaal
e) Dheevattam

6. Seven types of Chuzhippu (Syncronised movements of eye, hand, body in
different postures.

7. Twenty - four types of basic hand gestures

8. Thodayam

9. Recite basic thaalams of Kathakal

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(F)KATHAKALI DANCE
(CODE NO.061)
(2026-27)
CLASS–XII (2026-27)
(2025-26)

Total Marks: 100
Theory Marks:30
Time-2 Hours
1. Acquaintance with the life history of the great masters of the dance form
of both pastand present.

2. Acquaintance with the contents of the Hastha Lakshana Deepika
and Natyasasthra.

3. Knowledge of the following terms:
(i) Nritta, Nritya, Natya, Tandava, Lasya, Lokadharmi, Natyadharmi.
(ii) Anga, Upanga, Prathyanga
(iii) Abhinaya (Angika, Vachika, Satvika, Aharaya) with special
reference toHasta-Abhinaya, Mukhaja-Abhinaya andNetra-
Abhinaya.
(iv) Sangeeta, Tala,Laya
(v) Rasa, Rasadhrishti, Sthaayibhava, Sthaayidrishti,
Sancharibhava,Bhaava, Vibhaava, Anubhaava and
SathvikaBhaava,

4. Knowledge of the Technical Terminology of the Artforms.
(a) Mutiyettu, Theyyam, Kootiyaattam, Ramanattam,Krishnattam,
Ottanthullal, and Kalarippayattu
(b) Hastas – Samyutha, Asamyuta, Mishra,
Nanartha fromHastalakshanadipika.
(c) Kaal SadhakamIrativatam.
(d) Kalassam, Ashtakalasam, Ilakiyattam,Cholliyattam
(e) Keli, Arangu Keli (Shuddha Maddalam), Todayam, Purappadu,
Melapada,and Dhanaasi
(f) Chutti, Pachchha, Kathi, Thaadi, Kari,Minukku
(g) Rasa, Rasadhrishti, Sthaayibhava, Sthaayidrishti, Sancharibhava,
Manodharma, Cholliyaattam and Ilakiyaattam
(h) Ability to write in notation talas learnt underpracticals.

5. Acquaintance with the traditional costumes and makeup of the
Dance style opted.

6. Knowledge of Kathakali music both vocal and percussion.

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CLASS–XII

Practical Marks: 70

1. Purppadu
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Different kalaasams
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a) Vattamvechu
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d) Thonkaaram
e) Idakkalaasam
f) Eduthukalaasam
g) Naalaaratti
h) Sthreevesha Kalaasam
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5. Thiranokku – Idamattil
6. Eight types of Ilakiyaattam
7. Padams of the character from the Kathakali plays
a) Male
i) Subhadraharanam – Sree Krishna – “Kim
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ii) Dakshayaagam – Shiva – “Kuvalayavilochane”

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a ii) Dakshayaagam – Sathi – “LokaadhipaKaantha”

8. Recite various kalaasams with rhythm.

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