PERFORMING ARTS OF NEW
ENGLAND (PANE)
Director: Darshana Jani
Teacher: Keshree Tobaran
First Edition: September 1, 2007
Shrewsbury/Hopkinton
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INDEX
Message
History of Indian Classical Dances
Kathak
Bharat Natyam
Odissi
Overview to 4 year program
Prarambh
Pravesh
Parichaya
Pravin
Nritya Pragna Award
Rules and Regulations
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4
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17
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MESSAGE
Dear Parents,
We welcome your child to the PANE dance class.
We will put every effort to deliver Indian heritage to
your children. The duration of this course is 4-5 years
during which time a systematic approach to dance
will be developed. Dance is not only about rhythm,
coordination and synchronization nor is it narration
and mythology. The essence of dance is its energy
that is born out of feelings – joy, anger, jealousy,
mischief, competition, curiosity, and fantasy. Dance
is a comprehensive study of human values and
knowledge. Through dance, children will learn
music, science, mathematics, environmental science,
and a total discipline with body and mind.
Dance is a Sadhana -dedicated efforts. We expect
your utmost commitment in assisting your child
through every class.
Thank You,
PANE
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HISTORY OF INDIAN CLASSICAL DANCES
What is Kathak
KATHAK is the classical dance of Northern India. Its name derives from the
Sanskrit word kathaka, storyteller. Long before Kathak was recognized as a
classical dance form, these storytelling kathakas were integral players in the
Indian oral tradition. They transmitted knowledge of religious epics and
mythology - such as the MAHABHARATA and the RAMAYANA — by a
combination of music, dance, acting and narration Bhakti — devotion —
was the principal emotion that the kathakas tried to evoke in their audience.
The main characteristics of this dance include:
1. Strong footwork called "tatkars" which is very rhythmic in nature.
2. Dancers wearing more than 100 anklet bells called "ghoongroos".
3. Fast spins and turns called "chakras"
4. Graceful movements
5. Expressive motions (achieved by unique facial expression and eye
movements)
6. Very flexible upper body movements
Above characteristics makes Kathak very popular and appealing even to
those people who do not know about the Indian classical dances. Like any
other classical dance from India, Kathak also has two major dimensions.
"Abhinaya" is the expressional aspect of dance and "Nritya" consists of pure
dance.
Modern Kathak descends from two great eighteenth-century Kathak dancers,
ThaKur Prasad of Lucknow and Janaki Prasad of Jaipur. Two of the
major Kathak styles are named after the geographical locus of the homes
(ghar) of these great guru's: the Lucknow gharana and the Jaipur
gharana- Each generation of Kathak dancers identifies himself/herself as
"from the house of his/her guru."Lucknow Gharana" evolved during the
rein of King Wajid Shah gives emphasis on expressions and grace of the
dancer. "Jaipur Gharana" on the other hand gives emphasis on intricate
footwork. "Benars Gharana" explores expressional and story telling aspects
of the dance.The work of the Maharaj family of dancers (Acchan Maharaj,
Shambhu Maharaj, Lachhu Maharaj and one of the greatest current dancers
still alive today, Birju Maharaj) has been extremely successful in spreading
the popularity of Kathak.
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What is Bharat Natyam
Bharatnatyam is a popular dance form from South India; comes from a land
of ancient Hindu culture & traditions. The Puranas give us the meaning of
Bha-ra-tha as a combination of Bhava (Expression), Raga (Melody) and
Thala (Rythym).
Bhartanatyam has three elements:
Nritta : This pertains to pure dance.No abhinaya is done only body
movements are performed to rhythm.Eg.Jatiswaram,Alarippu etc.
Nrithya : This consists of both nritta and expression.That is rythmic
movements as well as movements with abhinaya are
done.Eg.Varnam,Shabdam etc.
Natya : This consists of the dramatic element where the dancer herself
becomes the character as in dance dramas like the Ramayana etc.
The difference between nrithya and natya lies in that in nrithya the dancer
acts as the character. In the same item she may act as two characters
simultaneously. In natya she becomes the character by wearing the costume
and jewelry pertaining to the character.
The rhythmic body movements along with hand gestures are called
Adavus.A combination of adavus is called a Korvai.A korvai ususally ends
with a theermanam.A theermanam is the kitathakadharikitatom or the
tadhinginathom adavu performed in multiples of three.
This great dance form was handed down to us by the dance teachers called
"Nattuwanars" and was performed in the temples of South India by the
Devadasis or dancers dedicated to Gods. The technique has evolved over the
centuries to become one of the most comprehensive dance forms in the
world, combining Nrita or pure dance, Nritya or interpretative dance and
Abhinaya of the highest order. Bharatanatya can be performed as a Solo
dance and dance dramas also. It is believed that gods and goddesses pleaded
Lord Brahma, the Creator of the Universe, to create a veda for the common
man to understand. In keeping with this request Lord Brahma created the
fifth veda, Natyaveda, which is an essence of the four vedas. He took pathya
(words) from the Rigveda, abhinaya (gestures) from the Yajurveda, geet
(music and chant) from the Samaveda and rasa (sentiment and emotions)
from the Atharvaveda to form the Natyaveda. After creating the Natyaveda,
Lord Brahma gave the same to sage Bharata to popularise the veda on earth.
Following the instructions of the lord, sage Bharata wrote the Natyashastra,
the Science of Dramaturgy, a great comprehensive work on the science and
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technique of Indian drama, dance and music. It is believed that the dance
form Bharatnatyam may have got its name from the great sage. There is also
another story which says that Godess Parvathi taught this dance form to
Uma, daughter of Banasura, a demon. Thus the divine dance form
Bharatanatyam was introduced to mankind.
In Indian mythology, Lord Shiva is considered as the supreme lord of dance.
This divine art form is performed by Lord Shiva & his wife Goddess
Parvathi. The Dance performed by Lord Shiva is known as Tandava, which
depicts his violent nature as the destructor of the universe. The tandava
performed with joy is called Ananda Tandava and performed in a violent
mood is called Rudra Tandava. Tandava has vigourous, brisk movements.
The dance performed by Goddess Parvathi is known as Lasya, in which the
movements are gentle, graceful and sometimes erotic. Some scholars call
Lasya as the feminine version of Tandava.
The art form has definitely gone through lot of changes over the years. In
olden days it was performed mostly by female artists. They were called
Devadasis, who would perform in the temples. These devadasis were
accomplished artists who would sing, dance, play many instruments. They
were well versed in Sanskrit & other languages which helped them to
interprete compositions which they would perform. But this tradition came
to an end as the devadasis lost their position in society.
The next well-documented period of dance history is far more recent. In the
first half of the 19th century the dance tradition was revitalized and defined
anew through the contributions of four talented brothers (known today as the
Tanjore Quartet): Chinniah, Sivanandam, Ponniah and Vadivelu. By
coordinating their diverse talents, the four managed to organize all the basic
dance movements of pure dance into a progressive series of lessons [adavu
chapters]. Each adavu (basic unit of motion) was taught in systematic order
and then combined with others to produce choreographed sequences based
upon the rhythmic contour of a musical composition. In addition, the
brothers composed new music specifically for the dance, and introduced a
different sequence of items which integrated the various aspects of dance
and music into a carefully coordinated, aesthetically sound progression. This
infusion of creative energy marks the early 19th century as one of the most
innovative periods in the history of Indian dance.
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What is Odissi
Odissi traces its origins to the ritual dances performed in the temples of
ancient northern India. Today the name Odissi refers to the dance style of
the state of Orissa in eastern India.
Like other Indian classical dance forms, Odissi has two major facets:
 Nritta or non-representational dance, in which ornamental patterns are
created using body movements in space and time
 Abhinaya, or stylized mime in which symbolic hand gestures and facial
expressions are used to interpret a story or theme.
Odissi dance is not punditic like Bharat Natyam or intricate like Kathak. In
all its movements attempt is always made to bring out an elaborate grace &
charm. Odissi is full of sclupturesque poses known as Bhangis. The
technique includes repeated use of the tribhangi, or thrice deflected posture,
in which the body is bent in three places, approximating the shape of a helix.
This feminine pose is most approved with three bends in the body, the first
cause by the crossing of the legs, the second by a curvature at the waist and
third by an inclination to the head to one side, generally to the left. This is
esteemed the most amatory and graceful, and dancing girls are often
represented with these or similar bends. This posture and the characteristic
shifting of the torso from side to side, make Odissi a difficult style to
execute.
The theme of Odissi dance is deeply rooted in religion. The divine love tales
of Radha and the cowherd God Krishna are favourite themes for
interpretation, and a typical recital of Odissi will contain at least one or two
ashtapadis (poem of eight couplets) from Jayadeva's Gita Govindam, which
describes in exquisite Sanskrit poetry the complex relationship between
Radha and her Lord. In all the items the music is sweet & melodious, pure &
classical. Each of its composition is intended to be performed in specific
Talas & Ragas as noted by the composers and authors of the texts. Madala
(Pakhaja of Odissi style), Ginni, a pair of cymbals and a flute provide the
accompaniment. Sometimes, the voiline is added to the ensemble in the
place of flute
The verses of the Sanskrit play Geet Govinda by Jayadevthatare used to
depict the love and devotion to God, are the most popular pieces for an
abhinaya. Songs written by poets, Banamali, Upendra Bhanja, Baladeva
Rath, Gopala and other Oriya poets are also sang. The pure raagas and
tradional taalas give the perfect musical backdrop thew the vigorous
Pallavis, Botu Nritya. While the dance begins with Mangalacharan and
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Bhoomi pranam, or worship of Mother Earth on whose bosom the dancer
strikes her feet, a recital culminates with the Moksha. Moksha is the Divine
Union of the soul with the divine, which is the ultimate aim of any classical
Indian artform.The most graceful feature of Odissi dance is the soft circular
movement of the hand, head and torso, depicting the roundness of the
Konark wheel or Sri Jagannath Deva's eyes.
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OVERVIEW TO 4 YEAR PROGRAM
The purpose of our school is to teach basics of Kathak/Bhartnatyam/Odissi
dance forms for all those interested in learning Indian classical dance. The
curriculum has been designed, keeping in mind the requirements of students
in America, which has been gathered over the years. The student will begin
the training learning the fundamentals of classical dance techniques and
body postures. After completion of the second year, the student will be
asked to advance in the style of interest, Kathak or BN for additional 2 yrs to
get the degree.
The four year curriculum covers:
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Learning basic steps
Learning various styles
Learning basic of Indian music and accompanying instruments
Learning about epics and historic personalities
Learning choreography and performing on the stage
Learning about other dance styles and exploring opportunities in creating
fusion with classical forms.
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First Year (Prarambh)
Total Points: 50 (Practical 40 points, Theory 10points), passing points: 20
Bharat Natyam (Theory and practical)
Namaskar
The training begins with the learning of a prayer and a Namaskar. This
salutation is done before and after every dance session, be it a recital or a
class.
Pushpãnjali
Offering of flowers. The dancer pays her obeisance to the Ashtadikpãlas,
that is, the Guardians of the eight directions, the Guru and the audience.
Alãrippu
Invocatory piece where in the dancer pays her obeisance to the Gods, the
Guru and the assembly of the onlookers. Hence it is a short piece with
simple poses and movements in an equally simple tune and rhythm. It is a
piece of 3-5 minutes duration and is preceded by a shloka or a verse.
Kathak (Theory and practical)
Theory
Definition of Laya, Vilambit Laya, Madhya Laya, Druta Laya, Matra (beat),
Sum, Tali and Khali and Taal “Teentaal”
Practical
* Five Tatkaars in Taal Teentaal and double speed of it.
* Ten Todas and four Chakradhar Toda’s in Tal Teentaal
* Any two modern dances
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Second Year (Pravesh)
Total Points: 75 (Practical 60 points, Theory 15
ponits), passing points: 25
Bharat Natyam (Theory and practical)
Jatiswaram
Jatiswaram is a more difficult item of pure dance (nritta) which has the
rhythmic syllables and the patterns set in a particular Raaga and Taala.
Shabdam
Shabdam is a piece in which the deity/God or the king are praised for their
deeds, glory, generosity and qualities.
For the first time words of sahitya and the abhinaya or gestural expression is
introduced.
Kathak (Theory and practical)
Theory
Knowledge and definition of following terms such as Laya (slow, medium
and fast), Sum, Matra, Tali, Khali, Gatnikas, Tatkar, Toda, Gatpatta, Thaat,
Salami (Rangmanch Pranam), Baat and Tukada
To understand the sign of Taals
Brief history of Kathak Nritya (dance)
Practical
* Dance presentation in Taal Teentaal:
One Salami, One Amad, Six Todas (New), Two Chakradhar Todas, Four
Gatnikas (Normal, Matki, Bansuri and ghungat)
* Tattkar – double and four times the speed
* Clap-marked vocal demonstration of all Todas learned
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* Palte/Baat in Taal Teentaal
* Clap-marked vocal demonstration of Taal Dadra and Taal Kherwa
Odissi (Theory and practical)
Introduction to characteristic foot contacts and positions of Odissi
*Kunchita, and Anchita
*Samapada
*Tribhanga
*Chauka; *Khandi and Arasas
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Third Year (Parichaya)
The artist will select either Bharat Natyam or
Kathak.
Total Points: 125 (Practical 75 points, Theory 50
points), passing points: 50
Bharat Natyam (Theory and practical)
Varnam
Varnam is nearly 45 minutes to one hour long item and creates an
impression of beauty, grandeur and profundity while depicting the changing
moods of love for the hero who is a God.
Two kinds of VarnamsTaana Varanam is mainly intended for musical practice. Much of it is in
middle or fast tempo.
PadaVarnam is sung in slow tempo.
Padams
Padams are abhinaya items, usually love lyrics and are rendered in a slower
tempo.
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Kathak (Theory and practical)
Theory
* Detailed knowledge of history of Kathak
* Definition with example of the following: Amad, Toda, Tukada, Tatkar,
Paran, Chakradhar, Kavit, Tehai, Ang, Pratyang, Upang, Gat-bhav, Hasta
Mudra (hand gestures)
Nine Sir Sanchalan (head movements) according to Abhinaya Darpan
* Definition of folk dance, their dress codes and costumes, instruments
needed for those folk dances like garba, bhangra, ghumar etc.
* Definition and uses of one hand gestures. Asayukta – Pataka, Tripataka,
Ardhapataka, Kartari Mukha, Mayur, Ardha Chandra, Aral, Shukatunda,
Mushti, Shikhar, Kapitya, Katkamukha, Suchi, Chandrakala, Padmakosh
* Biography of any renowned Kathak dancer
* Name of present Tabla player who plays with Kathak dancers
* To write with Taal and Signs: one Tehai in Taal Teentaal, one Plain Amad,
one Paran Judi Amad, one Toda, one Paran, one Kavit, * Jhapataal – double,
one Tehai, one Toda, one plain Amad, and one plain Paran
* To write dadra and keherwa with its Taal notations
Practical
* Teentaal – That, one Amad, one Salami, four different Todas, two Paran,
four Chakradhar Todas, one Chakradhar Paran, two Kavit
Should be able to do Padhant of all bols on hands
* Able to show all the hand gestures in dance
* Jhaptal: One That, one Amad, one Tehai, oen Toda, one Chakradhar Toda,
one Paran
Gatnikas – plain, Matki, Flue, Mor-Mukut, Ghunghat
* Gat Bhaav – breaking of Matki
* One Folk dance
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Fourth Year (Pravin)
The artist will study either Bharat Natyam or
Kathak.
Total Points: 200 (Practical 125 points, Theory 75
points), passing points: 70 (for theory 75, for
practical 50)
Bharat Natyam (Theory and practical)
Javalis
Javalis are also love lyrics based on shringara rasa like padams but they are
shorter and executed in faster tempo. They have a touch of folk music.
Kirtanams
Kirtanams are compositions which are in praise of God which begin with
pure dance steps performed on rhythmic syllables (shollus) followed by
abhinaya on the sahitya (lyrics) of the song. They are executed in madhyam
kaala , that is in a medium tempo.
Tillana
Tillana is a nritta item comprising of beautiful and graceful pure dance steps
along with a number of alluringly sculpturesque poses and varied patterns of
movements.
Mangalam
The performance closes either with abhinaya or a shloka or a verse
according to the tradition. The dancer does the Namaskar and pays her
gratitude to the audience, Guru, musicians, Earth and God. She prays for
everybody's well being and success at the end of her performance.
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A bharatnatyam recital lasts for about two and half to three hours and hence
the main purpose of Mangalam is to show that even after the strenuous
dance, she is as fresh as she was in the beginning
Kathak (Theory and practical)
Theory
* All definitions done in previous years
* Definition of Kathaksh, Primul, types of Nartan, Nrit & Natya, definition
of Nritya (dance), Lasya (Female) & Tandava (shaker)
* Types of neck (garden) –
* Type of Drushti –
* Differentiate between folk dance and ancient dance
Biography of Kathak Dancers
* Brief history and importance of Jaipur and Lucknow gharanas of dance.
* Definition and uses of hand gestures (A sanyukta mudra) Sarpashish,
Shinhamukha, Kangul, Alapadma, Chatur, Bhramar, Hanspaksha, Sandesh,
Mukul, Tamrachuda, Trishul
Sahyukta Hasta – 2 hand gestures Anjali, Kapot, Karkat, Swastik, Dola,
Pushpakut, Utsang, Shivling, Katkavardhan, KartariSwastik, Shakut,
Shankha
* Complete knowledge of Teentaal, Jhaptaal and Eaktaal
Practical
* Teentaal – Guru Vandana, three That, two Amad, five Chakradhar Toda
not less than four Avartan, five Paran, three Chakradhar Paran, two Kavit,
three simple Toda, three Chakradhar Tehai, Palte
Jhaptaal – three Tehai, one That, one Amad, one Salami, five simple Toda,
two Paran, two Chakradhar Paran, two Kavit
* Aektaal – one That, one Amad, four Toda, two Paran, two Chakradhar
Paran, two Kavit, two Tehai, Tattkar – single, double and four times
* Expression – Thumri in taal Teentaal, Bhajan in Dadra or Keherva on
Meera,
* Gatbhav – Makhanchori, Holi
* Gatnikas – Kalai
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NRITYA PRAGNA AWARD
After completion of all Prarambh, Pravesh, Parichaya and Pravin
components of either Kathak or Bharat Natyam, the student will be ready for
the solo recital where she will perform for 2 hr on the stage. The degree of
Nritya Pragna will be awarded. The recital of each program is very different
from each other so 1 yr advanced preparation is required which may include
solo classes, preparation of costumes and jewelry.
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RULES AND REGULATIONS
1. Admission to the classes is open from September-October &
January-February.
2. Punctuality and regularity to class must be maintained by students.
Punctual attendance is expected in every class. Continual tardiness
and absences will result in the removal from class.
3. Dance students must attend the class in comfortable clothes only.
4. Students are not allowed to enter into any other arrangement for
training in Dance outside the PANE except with the written
permission of the Director.
5. Without the written permission of the Director, students are not
allowed to accept any engagements to appear in public either on
amateur or professional stage or in any programme.
6. Permission for public performances will be accorded only where such
performances are expected to participate in all activities of the PANE.
7. A high standard of cleanliness, smartness and courtesy is expected
from the students.
8. Students are not allowed to invite visitors or friends or relatives to any
of the classes, lectures or rehearsals, without prior permission of the
Director.
9. Students should have all the required materials as directed.
10.Class examinations are held during May-June and NovemberDecember sessions.
11.Those students who have ghungroo are required to wear them to every
class, and must arrive early to put them on.
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PERFORMING ARTS OF NEW ENGLAND
45 GREENWOOD ROAD, HOPKINTON, MA 01748
REGISTRATION
• All students must register on or before the first day of the new
session. There is a $10 registration fee. The tuition is paid on
monthly basis before the class begins.
• Any checks written on accounts with insufficient funds will be
charged an additional $25 processing fee.
***Tuition is non-refundable (no exceptions) ***
TUITION FEE SCHEDULE
No. classes/week for one
student
Base rate One Classical class
per week
Drop-in
Each class Each
month
$15
$60
$20
$80
FAMILY DISCOUNT: A family discount of 50% off of the first class
(not including the $10 registration fee) is applicable to the second
immediate family member taking a class within the same session.
Exceptional discounts will be based upon director’s discretion.
MISSED CLASSES
Students may make-up a missed class by attending a class of the same
level at any of the two PANE locations. Students should inform the
teacher about make up classes at other locations.
REQUIRED SUPPORT MATERIALS
All students are required to purchase:
1. PANE Relevant Music-CD/Tape: $5
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