CHOICE BASED CREDIT SYSTEM (CBCS)

Course Structure
B. A. in Performing Arts

Semester –I

Course No Type Title

Credit
101 Core(Common) Introduction to Performing Arts 6
102 Core (Common) Basics of Performing Arts-I 6

103 AECC-1 Communicative English 2

104 AECC-2 MIL/Alt English 2

105 Elective: Generic Media Studies and Performing Arts 6

105 Elective: Generic Gender Studies 6
105 Elective: Generic Performing Arts [Folk] 6
22

Semester – II
Course No Type Title
Credit
201 Core (Common) Basics of Performing Arts-II 6
202 Core (Common) Basics of Performing Arts-III 6

203 AECC-3 Environmental Studies 2

204 Generic Elective Women’s Issues in India 6

204 Generic Elective Positive Psychology 6
204 Generic Elective Culture, Performing Arts and Cultural Tourism 6

20

1
 Semester – III

Course No Type Title

Credit
301 Core (Dance) Introduction to Dance-I 6
301 Core (Theatre Art) Theatre Techniques -I 6
301 Core (Vocal Music) Theory of Indian Music -I 6

302 Core (Dance) Indian Traditional Dances and Tala System 6

302 Core (Theatre Art) Basics of Theatre Forms of India 6
302 Core (Vocal Music) Theory of Indian Music-II 6

303 Core (Dance) Sattriya Dance Styles-I 6

303 Core (Theatre Art) Theatre Techniques -II 6
303 Core (Vocal Music) Practical-I 6

304 SEC Event Management (Theory) 2

305 Generic Elective Understanding Cinema 6

305 Generic Elective Introduction to Assamese Culture 6
26

Semester – IV

Course No Type Title

Credit

401 Core (Dance) Introduction to Dance-II 6

401 Core (Theatre Art) Modern Indian Theatre and
Study of Theatre Architecture 6
401 Core (Vocal Music) Theory of Indian Music-III 6

402 Core (Dance) Traditional Dance Forms in Assam 6

402 Core (Theatre Art) Theatre Designing Advanced-I 6
402 Core (Vocal Music) Theory of Indian Music-IV 6

403 Core (Dance) Sattriya Dance Styles-II 6

403 Core (Theatre Art) Theatre Designing Advanced-II 6
403 Core (Vocal Music) Practical-II 6

404 SEC Event Management (Practical) 2

405 Generic Elective Cultural Tourism and Travel Management 6
405 Generic Elective Introduction to the Culture of
North-East India 6

26

2
 Semester – V

CourseNo Type Title

Credit
501 501Core(Dance) Introduction to Dance-III 6
501 501Core(Theatre Art) Introduction to Western Drama 6
501 501Core(Vocal Music) Theory of Indian Music-V 6

502 502Core(Dance) Sattriya Dance Styles-III 6

502 502Core(Theatre Art) Theatre Designing Advanced-III 6
502 502Core(Vocal Music) Practical-III 6

503 503DSE Musical Instrument in Performing Arts(Khol) 6

503 503DSE Musical Instrument in Performing Arts(Tabla) 6
503 503DSE Bharatnatyam-I 6

504 504DSE Kathak-I 6

504 504DSE Origin and Development of Assamese Music 6

24

Semester – VI

Course No Type Title

Credit
601 601 Core(Dance) Sattriya Dance Types 6
601 601 Core(Theatre Art) Assamese Drama 6
601 601 Core(Vocal Music) Theory of Indian Music-VI 6

602 602 Core(Dance) Sattriya Dance Styles-IV 6

602 602 Core(Theatre Art) Students’ Production 6
602 602 Core(Vocal Music) Practical-IV 6

603 603 DSE Musical Instrument in Performing Arts(Khol) 6

603 603 DSE Musical Instrument in Performing Arts(Tabla) 6
603 603 DSE Bharatnatyam-II 6

604 604 DSE Concept of Folk Music 6

604 604 DSE Kathak-II 6
24

3
 CORE COURSES
Course No- C-101
(Credit: 6)
Introduction to Performing Arts

COMMON TO ALL MAJORS

Marks: (Theory= 80, Internal= 20)

Distribution of Credit: 5 Lectures + 1 Tutorial

This course will introduce the students with the basics of performing arts, its meaning, varied
forms, their importance and relevance. It will also introduce the students with the basic
principles in aesthetics and major trendsetters in the field in Assam.

Unit-I: [Lectures: 8, Marks:16]

i. The Meaning of Art and its Significance.

ii. Classification of Art: Fine Arts, Visual Arts, Plastic Arts, Performance Arts, Applied
Arts, etc.
iii. Performing Arts as a discipline of Studies: its importance and relevance.[

Unit-II: [Lectures: 8, Marks:16]

a. Performance Tradition in India:
i. Brief Introduction to Tribal and Folk Art forms,
ii. Guru Sishya Parampara

b. Brief history of Dance, Theatre and Music in Assam

Unit-III: [Lectures: 8, Marks:16]

A brief Introduction to Indian Treatises:
i. Natyashastra ii. Srihastamuktavali, iii. Sangeet Ratnakara,.

Unit-IV: [Lectures: 8, Marks:16]

The meaning of Aesthetics
i.Concept of beauty
ii.The beauty of Nature and its sense perception

Unit-V: [Lectures: 10, Marks:20]

The Trend Setters of Performance Tradition in Assam:
i. Sankardeva
ii. Madhavdeva
iii. Bhupen Hazarika

4
Reference Books:
1. Sattriya Nritya Geet Badya Hatputhi-- Dr. Jagannath Mahanta, Ghy, 2013, Bhabani
Offset Pvt. Ltd.
2. Sattriya Nritya Aru Sattriya Taal--Edit. Moheswar Neog, Ghy, 2004,
Prakashan Parishad
3. Aadhunik Natya Kala --Jogen Chetia
4. Raag Sangeet-- Birendra Kumar Phukan, Ghy, 1990, Kalyani Phukan
5. Taal Prodip--Keshav Changkakati, Ghy, 1981, Parvati Prakashan
6. The Bedford introduction to Drama--Lee D. Jacobus
7. Hindustani Vocal Music -- Jayashree Thatte Bhat, Shakti Malik Abhinav
Publications, 2009
8. Natyasastra (Translation) --Asom Natya Sanmilan
9. Sri Sri Sankaradeva-- Maheswar Neog
10. Madhavadeva: His Life Art and Thought --Dr. Karabi Deka Hazarika

5
 Course No- C-102

COMMON TO ALL MAJORS

Basics of Performing Arts-I

(Credit: 6)
Marks: (Theory= 50, Practical=30, Internal=20)
Distribution of Credit: 3 Lectures + Practical 2 + 1 Tutorial

This course will introduce the students with the origin and development of dance, drama and
music, with basic practice in the field of dance.

Unit-I:
The Origin and Development of Dance [Lectures: 08; Marks: 15]
a. Natyashastra
b. Origin and development in Different Periods.
c. Basic Concepts: Sam, Matra, Hasta, Bibhag, Laya, Tal, Tali, Khali, Ga-man, Sanchar,
Avartan, Tihai, Tukra, Theka, Tatkar, Mati-akhara, Adavu, Sangit.

Unit-II: Origin of Drama, Different elements of Drama, Different types of Drama

[Lectures: 10; Marks: 20]

Unit-III: Evolution of Sangeet: Hindustani Sangeet, Karnataki Sangeet, different types of

Sangeet (Marga and Deshi Sangeet), Sattriya Sangeet. [Lectures: 08; Marks: 15]

Practical [Practical classes: 30; Marks 30]

Mati-akhara, Krisna Nritya, Hasta, Abhinaya of Guru Bhatima, Adavu, Tatkar, Tin Tal etc.

Reference Books:
1. Sattriya Nritya: Aitihya Abhas - Edit. Dr. Pradipjyoti Mahanta, Ghy, 2002,
Prakashan Parishad
2. Natyasastra - Bharata
(Translation in Assamese) Edited by Asom Natya Sanmilan
3. Sattriya Nrityar Rupdarshan - Karuna Bora, Jorhat, 2006, Grantha
Sanskriti
4. Ujani Asomar Lokanritya - Edited by Dr. Karabi Deka Hazarika, 2011,
Assamese Dept. D.U.
5. Sattriya Nritya Geet Badya Hatputhi Dr. Jagannath Mahanta, Ghy, 2013,
Bhabani Offset Pvt. Ltd.
6. Sattriya Nritya Aru Sattriya Taal - Edit. Moheswar Neog, Ghy, 2004,
Prakashan Parishad
7. Theory of Drama- A. Nicoll, Kolkata.
8. Sangeet Jyoti Visharad - Rukheshwar Baruah

6
 Course No- GE- 105
Media Studies and Performing Arts
(Credit: 6)
Marks: (Theory=80, Internal= 20)
Distribution of Credit: 5 Lectures + 1 Tutorial

The objective of this course is to introduce the students with the basics of media studies. The
media is intricately related to performing arts in many ways and this course will throw light on
the role of media in cultures, the ways of documentation, the importance of reporting and
advertising and so on.

Unit-I: [Lectures: 10; Marks: 20]

Introduction to Media;
Concepts of mass society and mass culture;
‘Folk’ and ‘modern industrial’ societies;
Role of media artwork in world cultures

Unit-II: [Lectures: 10; Marks: 20]

Role and Importance of Media in Performing Arts; Equipments of documentation

Unit-III: [Lectures: 05; Marks: 16]

Importance of Advertisements and Reporting; Anchoring

Unit-IV: [Lectures: 12; Marks: 24]

Use of multi-media in Graphic Designing, recording, editing and production

Reference Books:
1. Baran and Davis- Mass Communication Theory
2. Fiske- Introduction to Communication Studies
3. Infante, Rance and Womack- Building Communication Theory
4. Berger- Media Analysis Techniques

7
 Course No-GE-105
Gender Studies
(Credit: 6)
Marks: (Theory=80, Internal= 20)
Distribution of Credit: 5 Lectures + 1 Tutorial

The Course seeks to introduce the students to gender studies with emphasis on concepts, evolving
perspectives, theoretical paradigms on feminism and women’s empowerment. The underlying
feature of the course will be a questioning of the dominant thinking where gender concerns have
got subordinated.

Unit-I: Gender: Concept, Gender Sociology, differences between

Gender & Sex. [Lectures: 10; Marks: 20]

Unit-II: Gender & Power: Understanding power, relationship between Gender

& power, female powerlessness. [Lectures: 10; Marks: 20]

Unit-III: Gender Theories: Feminism (Liberal, Radical & Socialist)

[Lectures: 08; Marks: 16]

Unit-IV: Women’s Development: Empowerment Gender and Culture

[Lectures: 12; Marks: 24]

Reference Books:
1. Saikia, Jyoti Prasad: Gender and Issues, Concept Publishing House, New Delhi,
2014.
2. Saikia, Jyoti Prasad: ‘Samajik Lingar Samajtattwa, Vidya Bhaban, Jorhat, 2020
3. Saikia, Jyoti Prasad: Kalila H : Rendering Gender Supriya Publication, New Delhi,
2014

8
 Course No-GE-105
Performing Arts (Folk)
(Credit: 6)
Marks: (Theory=80, Internal= 20)
Distribution of Credit: 5 Lectures + 1 Tutorial
Unit I:
a. Concept of ‘Art’
b. Defination of ‘Folk’
c. Classification of Arts
[Lectures: 10 Marks: 20]
Unit II: Various types of Performing Arts
a. Recitation
b. Singing
c. Dancing
d. Acting
[Lectures:15 Marks: 30]

Unit III: Traditional Folk Theatre

a. Khuliya Bhouria
b. Putala Nāc
c. Kushan Gan
d. Bharigaan
e. Ojapali
[Lectures: 15 Marks: 30]

9
 Course No- C-201
COMMON TO ALL MAJORS

Basics of Performing Arts-II

(Credit: 6)
Marks: (Theory= 50, Practical=30, Internal=20)
Distribution of Credit: 3 Lectures + Practical 2 + 1 Tutorial

This course aims at introducing the students with some basic concepts in varied fields of
performing arts with practice in the field of drama.

Unit-I:
Basic Concept of Dance: [Lectures: 10; Marks: 10]
Differences between Nritta, Nritya, Natya.

Unit-II: Acting: Concept, Definition, Elements, Basic Performance Skills, Physical Preparation,
Vocal Exercise, Exercise focus on breathing, Humming, Pitch, Volume, etc.
[Lectures: 10; Marks: 25]
Unit-III: Basic Concepts of Sangeet: Dhwani, Nada, Shruti, Swara, Suddha, Vikrit Swara,
Komal Swara, Tibra Swara, Arohan, Avarohan, Alankar, Saptak, 10 Thatas, Raga, Sthayi,
Antara, Pakad.
[Lectures: 08; Marks: 15]

Practical [Practical classes: 30; Marks 30]

Practical on selected Assamese dramas & improvisations according to syllabus

Reference Books:
1. Sattriya Nritya: Aitihya Abhas - Edit. Dr. Pradipjyoti Mahanta, Ghy, 2002,
Prakashan Parishad
2. Natyasastra - Bharata
(Translation in Assamese) Edited by Asom Natya Sanmilan
3. Sattriya Nrityar Rupdarshan - Karuna Bora, Jorhat, 2006, Grantha
Sanskriti
4. Ujani Asomar Lokanritya - Edited by Dr. Karabi Deka Hazarika, 2011,
Assamese Dept. D.U.
5. Sattriya Nritya Geet Badya Hatputhi Dr. Jagannath Mahanta, Ghy, 2013,
Bhabani Offset Pvt. Ltd.
6. Sattriya Nritya Aru Sattriya Taal - Edit. Moheswar Neog, Ghy, 2004,
Prakashan Parishad
7. Theory of Drama- A. Nicoll, Kolkata.
8. Sangeet Jyoti Visharad - Rukheshwar Baruah

10
 Course No- C-202

COMMON TO ALL MAJORS

Basics of Performing Arts-III

(Credit: 6)
Marks: (Theory= 50, Practical=30, Internal=20)
Distribution of Credit: 3 Lectures + Practical 2 + 1 Tutorial

This course intends to acquaint the students with some of the key-concepts in varied fields of
performing arts with especial focus on musical practice.

Unit-I:
Ideas of Folk Dance and Classical Dance. [Lectures: 08; Marks: 15]

Unit-II: Different aspects of Acting: Angika (Gestures), Vacika (Words), Svatika

(Representation of Sattva), Aharjya (Costumes and décor).
[Lectures: 08; Marks: 15]
Unit-III: Different types of Singing Forms of Hindustani Music
Khayal, Dhrupad, Dhamar, Tarana, Lakshan Geet, Bhajan, Gazal, Thumri, Dadra and
Tappa, Chaturanga, Chaiti
[Lectures: 10; Marks: 20]

Practical [Practical classes: 30; Marks 30]

i. Practice of Seven Suddha Swara, five Vikrit Swara and 40 Alankars
ii. Practice of Ten Thatas
iii. Drut Khayal of the following Ragas
a. Bilawal, b. Bhupali, c. Yaman.

iv. Lakshan Geet, Chatruranga, Tarana

v. Practice of national Anthem
a. “Jana-Gana-Mana”- National Anthem
b. Vande Mataram
c. “O Mor aponar Des”, with notation.

Reference Books:
1. Sattriya Nritya: Aitihya Abhas - Edit. Dr. Pradipjyoti Mahanta, Ghy, 2002,
Prakashan Parishad
2. Natyasastra - Bharata
(Translation in Assamese) Edited by Asom Natya Sanmilan
3. Sattriya Nrityar Rupdarshan - Karuna Bora, Jorhat, 2006, Grantha
Sanskriti
4. Ujani Asomar Lokanritya - Edited by Dr. Karabi Deka Hazarika, 2011,
Assamese Dept. D.U.
5. Sattriya Nritya Geet Badya Hatputhi Dr. Jagannath Mahanta, Ghy, 2013,
11
 Bhabani Offset Pvt. Ltd.
6. Sattriya Nritya Aru Sattriya Taal - Edit. Moheswar Neog, Ghy, 2004,
Prakashan Parishad
7. Theory of Drama- A. Nicoll, Kolkata.
8. Sangeet Jyoti Visharad - Rukheshwar Baruah

12
 Course No- GE-204
Women’s Issues in India
(Credit: 6)
Marks: (Theory=80, Internal= 20)
Distribution of Credit: 5 Lectures + 1 Tutorial

The Courseaddresses the key issues relating to women’s empowerment and status in India.
Starting from the pre-Independence period, it seeks to provide an overview of political, religious
and social context where women’s issues have got highlighted. In this context, it also addresses
the challenges facing the women’s movement in India.

Unit-I: Women in pre-independence & post-independence periods, Current Debates on

Women’s issues [Lectures: 10; Marks: 20]

Unit-II: Women and Development: Empowerment approach, Developmental Approach.

. [Lectures: 10; Marks: 20]

Unit-III: Women and Societal Problems: Reproductive Health, HIV & Domestic Violence
[Lectures: 08; Marks: 16]

Unit-IV: Women’s Movements: Prospects & Challenges. [Lectures: 12; Marks: 24]

Reference Books:

a. Nivedita Menon- Gender & Polities in India. Oxford University Press, London, 1999.
b. Renti Sharma- Political Change & Status of Women, University Book House Pvt. Ltd, Jaipur
2000.
c. Geraldin Forber- Women in Modern India, Cambridge University Press, Cambridge, 1998.
d. Rehan Chadially (ed)- Women in Indian Society, New Delhi, 1986.
e. Patricia Caplan- Class & Genders in India, Tavistock Publication, London 1985.
f. KumKum Roy- Women in Indian Societies, Manohar Publication, New Delhi,
2001.
g. Saikia J, Gender: Themes and Issues, Concept Publishing House, New Delhi

13
 Course No- GE-204
Positive Psychology
(Credit: 6)
Marks: (Theory=80, Internal= 20)
Distribution of Credit: 5 Lectures + 1 Tutorial

This course intends to familiarize the students with knowledge on the concepts and perspectives
in Positive psychology. It also focuses on acquiring skills through applied positive psychology.

Unit-I: Basics of Positive psychology: [Lectures: 08; Marks: 16]

Humanistic psychology and meaning of positive psychology; Scope and aim of positive
psychology and its relevance in Indian context.

Unit-II: Understanding Strengths: [Lectures: 08; Marks: 16]

Positive Psychology at Individual level, group level and social level; Renewing Strength and
Virtue; Positive Psychology and Mental Health

Unit-III: Emotion and Self-Based Approaches to Positive psychology:

[Lectures: 08; Marks: 16]
Subjective wellbeing, Science of Happiness and life Satisfaction, Resilience in Development,
The Concept of Flow, Positive Affectivity, Positive Emotions, Social Construction of Self
Esteem.

Unit-IV: Cognitive and Interpersonal focused Approaches to Positive psychology:

[Lectures: 08; Marks: 16]
Cognitive-focused Approach: Creativity, wellbeing- Mindfulness, Optimism, Hope Theory, Self-
Efficacy, Problem Solving Appraisal and Psychological Adjustments, Setting Goals for Life and
Happiness and The Role of Personal Control in Adaptive Functioning. Interpersonal
Approaches: Relationship connection, Compassion, Psychology of Forgiveness, Gratitude, Love,
Empathy and Altruism, Moral and Sources of Moral Motivation, Mediation and Positive
Psychology.

Unit-V: Positive Youth Development [Lectures: 08; Marks: 16]

Positive Youth Development- Perspectives and practices, The Psychology of Hope, Optimism,
Wellbeing and Resilience, Productive processes, promotion and community development.
Positive Ethics for meaningfulness in life.

Reference Books:
1. Positive Psychology: The Science of Happiness and Human Strength --Alan Carr, Brunner
Routledge, 2004
2. The Science of Optimism and Hope: Research Essays in Honor of Martin E. P. Seligman--
Gillham, J.E. (Ed). Radnor, PA: Templeton Foundation Press, 2000
3. Character strengths and virtues: A Handbook and classification --Peterson, C. & Seligman, M.
E. P., Washington, D.C.: American Psychological Association, 2004

14
5. Positive psychology -The Scientific Practical Exploration of Human strengths --Snyder and
Shane .J. Lopez , Sage publications, New Delhi, 2007
7. Handbook of Positive Psychology --Snyder, C. R., & Lopez, S. J. (Eds.), New
York: Oxford University Press, 2002

15
 GE Paper 204
Programme: B. A. in Performing Arts
Title: Culture, Performing Arts and Cultural Tourism
Total Credit: 06
In-Sem Exam: 20
End-SemExam: 80
Distribution of Credit: 5 Lectures + 1 Tutorial

Unit 1
Origin of Culture, Meaning and significance of ‘culture’
[Class 08 Marks 16]
Unit II
Performing Arts as a discipline of Studies: its importance and relevance.
Folk Tradition of Performing Arts with special reference to Assam.
[Class 10 Marks 20]
Unit III
Role of Importance of Media in Performing Arts
Necessity and Equipments of Documentation.

[Class 08 Marks 20]

Unit IV
Meaning of ‘Cultural Tourism’
Cultural tourism in Assam and NE India.
Classification of Cultural Tourism
(Green, Village, Health, River Religious Tourism)

[Class 12 Marks 24]

Essential reading:
1. Asamor Snakriti -Dr. Lila gogoi, pub. Banalata, Dibrugarh

2. Uttar Purbanchalara Paribeshya kala - Dr. Nabin Chandra Sarmah, pub. Banalata
Dibrugarh.

3. Asamor Luka Snakriti -Dr. Nilam Prava Bordoloi, pub. Bani Mandir.
4. Historical Tourism in North East India -Dr. Madhumita Das
Sanjay sen, Mahaveer publication
5. Asamor Porjyatan: Pratibahan aru Hambhabona – Dr. Luhit Saikia, pub. Purbanchal Publication,
Guwahati
Cultural Heritage Of Assam -edited by Sarit k.chaudhari, Mini Bhattachayya Thakur
6. Sanskriti Adhyan - ed. Ruplekha Borbora Das

16
 Course No. C-301 (Dance)
Introduction to Dance-I
(Credit: 6)
Marks: (Theory= 80, Internal=20)
Distribution of Credit: 5 Lectures + 1 Tutorial
The objective of this course is to acquaint the students with the origin and development of
Sattriya dance and also with some of the basic ideas involved with its practice.

Unit-I: [Lectures: 06; Marks: 10]

A study of the Ramayana, the Mahabharata and the Bhagavata Purana
a. Knowledge of Slokas with meaning (selected)
b. Literary works of Sankaradeva

Unit-II: [Lectures: 06; Marks: 10]

Origin and development of Sattriya Dance
i. Place of origin
ii. Costume
iii. Music and Musical instrument
Unit-III: [Lectures: 12; Marks: 25]

1. Abhinaya and its parts.

2. Importance of Abhinaya in classical Dance.
3. Lokadharmai and Natyadharmi abhinaya
Unit-IV: [Lectures: 08; Marks: 15]

Basic Knowledge of Hasta and its Definition

i. Samyukta Hasta
ii. Asamyukta Hasta
iii. Nrittya Hasta
iv. Uses of Hastas (gesture) in dance
Unit-V: [Lectures: 10; Marks: 20]

Dhemali (Purbaranga)

Traditional songs used in Jhumurah and Nadubhangi Dance (with notations)

Reference Books:
1. Sattriya Nritya Geet badyar Hatputhi -Dr. Jagannath Mahanta
2. Sattriya Nrityar Rupdarshan -Karuna Bora
3. Sattriya Nrityar Duti Maula Hasta Aru Pad -Dr. Jagannath Mahanta
4. Nrityakala Prasanga Aru Sattriya Nritya -Dr. Mallika Kandali, Ghy, 2007,
Published by Kaushik Thakur
5. Nritya Kala Darpan -Ramkrishna Talukdar, Ghy, 2005,

6. Abhinaya Darpan by Nandikeshwar -Edit. Pradip Chaliha, Ghy, 1997,

Asom Prakashan Parishad

17
 Core: B.A. in Performing Arts
Course No. C-301 (Theatre Art)
Theatre Techniques- I
(Credit: 6)
Full Marks: 100 (End Semester Marks= 80, In Semester Marks =20)
Total Lectures =84

Course Objective:

This course is designed to make students familiar with basics of theatre techniques like –
i) Basics of acting skill
ii) Basic knowledge on Stage Geography and Stage balance
iii) Basic Theatre designing like: Set, Light, Costumes, Sound, Music, Make-Up and Property
etc.
The course is intended to introduce students to a creative theatrical way of thinking. It also provides a
foundation for the other more detailed and specialized course in Theatre studies.

Outline: 1. The actor and the play:

1.1 Importance of Script
1.2 The role of Observation, Imagination and Concentration
1.3 Action and Reaction, various types of action and reaction
1.4 Role/ Character Analysis
1.5 Character Building
1.6 Improvisation
1.7 Facial Expression, Body Movement
1.8 Actor’s Relationship with other Artists.
[Lectures: 44; Marks: 40]
2. Stage Geography and Stage Balance
2.1 Stage geography with focus on Technical terms pertaining to Stage
2.2 Stage Balance (Symmetric, Asymmetric and Aesthetic Balance) , Level, Stage
Charging etc.
2.3 Eight Body Position
[Lectures: 20; Marks: 20]

3. Basic Theatre Designing

3.1 Purpose of Stage Setting, Types of Stage Setting
3.2 Introduction to Lighting
3.3 Role of Music and Sound
3.4. Role of Makeup in a Play production
3.5 Types of Makeup: Straight Makeup, Character Makeup, Sculpture Makeup,
Mosaic Makeup
3.6 Makeup in relation with Costumes, Lighting and Settings

[Lectures: 20; Marks: 20]

Suggested Readings:
1. Prayogik Natya Kala - Suraj Drama Production works, Jorhat
2. Natak Aru Asomiya Natak - Dr. Sailen Bharali, Bani Prakash Pvt. Ltd.
3. Aadhunik Natya Kala - Jogen Chetia
4. The Bedford Introduction to Drama - Lee D. Jacobus
5. Natyahasmi - Dr. Jyoti Prashad Saikia
6. Bak Silpa: Abriti aru Sanglap - Bhupen Chakraborty
18
7. An Actor Prepares - Stanislavsky
8. Abhinaya Kalar Darshan - Goutam Sarmah

19
 Course No. C-301 (Vocal Music)

Theory of Indian Music-I

(Credit: 6)
Marks: (Theory= 80, Internal=20)
Distribution of Credit: 5 Lectures + 1 Tutorial

This course intends to introduce the students with basic musical concepts starting from Swara to
the elements of staff-notations.
Unit- I: Study of the following musical terms : [Lectures : 10 ; Marks : 20]
Nada, Swara, Shruti, Raga, Mela ( Thata), Alankar, Tana, Gamak, Sthaya, Kaku,
Margi-Deshi, Ragalap-Rupkalap, Vadi, Samvadi, Anuvadi, Vivadi, Tala, Laya,
Avirbhav, Tirobhav, Parmelpraveshak Raga, Sandhiprakash Raga, Vaggeyakara,
Kalawant.

Unit -II: Knowledge of Indian Musical Instruments: [Lectures: 08; Marks : 15]
Avanaddha Vadya, Tata Vadya, Sushir vadya, Ghana Vadya

Unit -III: Concept of Tala: [Lectures: 08; Marks:15]

Tala, Laya, Matra, Vibhag, Sam, Tali, Khali, Theka, Avartan, Bol,etc.

Unit -IV: Rudiments of staff Notation, Harmony, Melody, Polyphony.

[Lectures: 08; Marks:15]
Unit-V: Theoretical knowledge of prescribed ragas: Bhairav, Bhupali, Yaman, Durga
[Lectures: 08; Marks:15]

Reference Books:

Bharatiya Sangit Sadhak - Dr. Dilip Ranjan Borthakur, Mrs. Nilima Borthakur.
Raag Sangeet - Birendra Kumar Phukan
Kramik Pushtak Malika (Part II, III) -V N Bhatkhande
Sangeet Sahayika - Debabrat Dutta, Devi Dutta
Hindustani Vocal Music - Jayashri Thatte Bhat
Historical Study of Indian Music -Swami Prajnananda

20
 Course No C- 302 (Dance)
Indian Traditional Dances and Tala System
(Credit: 6)
Marks: (Theory=80, Internal= 20)
Distribution of Credit: 5 Lectures + 1 Tutorial

With focus on the traditional dance forms of India, this course aims at projecting the taal system
and the basic aesthetical concepts related to it.

Unit-I: Historical background of Indian Classical dance. [Lectures: 10; Marks: 20]
Kathak, Odissi, Manipuri, Bharatnatyam, Kuchipudi, Mohiniattam, Kathakali
i. Place of Origin
ii. Costume
iii. Stylistic feature
iv. Techniques and repertoire
v. Music and musical instrument

Unit-II: Traditional Dances of India [Lectures: 08; Marks: 15]

Chau, Lai harauba, Bhawai, Nautanki, Bhagavat-Mela-Natakam, Kuruvanji, Kalbelia,
Ghoomar, Wangala, Cheraw dance, Bardocham dance, Singhi Chham

Unit-III: Ten pranas of Taal System [Lectures:08, Marks: 15]

Introduction of North Indian Taal System

Unit-IV: Rasa [Lectures: 08; Marks: 15]

i. Definition and explanation of the nine Rasa

ii. Importance of nine Rasa (sentiments) in Dance

Unit-V: Knowledge of following terms [Lectures: 08; Marks: 15]

Dristi Bheda, Siru Bheda, Gat Nikash, Ramdani, Chali Nāc, Palta, Ga-man, Ghat,
Allaripu, Gopi Provesor Nāc, Chakradhar Tukda, Sloka, Gharana, Salami.

Reference Books:
1. Sattriya Nritya Geet badyar Hatputhi -Dr. Jagannath Mahanta
2. Sattriya Nrityar Rupdarshan -Karuna Bora
3. Sattriya Nrityar Duti Maula Hasta Aru Pad -Dr. Jagannath Mahanta
4. Nrityakala Prasanga Aru Sattriya Nritya -Dr. Mallika Kandali, Ghy, 2007,
Published by Kaushik Thakur
5. Nritya Kala Darpan -Ramkrishna Talukdar, Ghy, 2005,

6. Abhinaya Darpan by Nandikeshwar -Edit. Pradip Chaliha, Ghy, 1997,

Asom Prakashan

21
 Core: B.A. in Performing Arts
Course No -C-302 (Theatre Art)
Basics of Theatre Forms of India
(Credit: 6)
Full Marks: 100 (End Semester Marks= 80, In Semester Marks =20)
Total Lectures= 84

Course Objectives:

With a view to make students familiar with the Indian theatre, this course concentrates on Classical and
Medieval folk/regional theatre forms of India with especial focus on Assamese folk and traditional
theatrical forms. The course helps the students to understand the essence of Indian theatre along with its
development in a historical overview.

Outline: 1. Introduction to Classical Indian Theatre: [Lectures: 35; Marks: 35]

1.1 Origin of Indian theatre
1.2 Natya Shasthra chapters on Abhinaya
1.3 Concept of Bhava and Rasa
1.4 Introduction to Sanskrit theatre
1.5 Sanskrit play writers – Bhasa--Kalidasa – Shudraka – Bhavabhuti
1.6 Dasha Roopakas & Upa Roopakas
a) Nataka b) Prakarana c) Prahasana d) Natika e) Upa Roopakas

2. Introduction to Medieval/Regional Indian Theatre:[Lectures: 24; Marks: 25]

2.1 Jatra, Nautanki, Yakshagana, Tamasha, Kuriattam, Chow, Ramleela.
2.2 Parsi Theatre, Marathi Theatre, Bangali Theatre, etc.

3. Folk & Traditional Theatre forms of Assam: [Lectures: 25; Marks: 20]
3.1 Putala Nāc, Ojapali, Dhulia Bhaowna, Khulia Bhaowna etc.
3.2 Ankia Bhaona

COURSE CONTENTS AND ITINERARY

1. Introduction to Classical Indian Theatre:

1.1Origin of Indian theatre

1.1.1 Chattopadhy, Malyaban 2013, A Historical Study of Indian Theatre-Communication in the
Light of Natyasastra, University of Calcutta, Pp 1 - 12 .
1.1.2 Jain, Nemichandra 1992, Indian theatre, New Delhi, National School of Drama,
Pp- 1-24

1.2 Natya Shasthra chapters on Abhinaya

1.2.1 Shastri Nityananda,1991 Bharatmuni Natyashastra, Guwahati, Assam Natya Sanmilan
press, Chapter-6, Pp- 109 to 182

1.3 Concept of Bhava and Rasa

22
 1.3.1 Shastri Nityananda, 1991, Bharatmuni Natyashastra, Guwahati, Assam Natya Sanmilan
press, Chapter-6, Pp- 109 to 182 (Rasabikalpa),

1.3.2 Barua Stya Prasad, 2001, Natak Aru Abhinaya Prasanga, Guwahati, Press-Banalata,
Chapter-4, Rasatatwa, Pp- 14-20.

1.4 Introduction to Sanskrit theatre

1.4.1 Bhagwati, Kamakhya Charan 1979, Sanskrit Natya Sahitya, Guwahati-1,New book stall,
Chapter-1, Pp- 1-23.

1.4.2 Sarmah, Thaneswar 2012, Sanskrit Sahityar Itibritta, Panbazar, Guwahati-1, Chandra
Prakash, Pp- 167-171

1.5 Sanskrit play writers – Bhasa--Kalidasa – Shudraka – Bhavabhuti

1.5.1 Bhagawati, Kamakhya Charan 1979, Sanskrit Natya Sahitya, Guwahati-1, New book stall,
Chapter-2, Bhasa, Pp- 28-36.

Chapter-3, Kalidasa, Pp -37-59

Chapter-4, Shudraka, Pp- 60-88

Chapter-5, Bhavabhuti, Pp1-88-152

1.5.2 Sarmah, Thaneswar 2012, Sanskrit Sahityar Itibritta, Panbazar, Guwahati-1, Chandra
Prakash, Pp- 172-237

1.6 Dasha Roopakas & Upa Roopakas

a) Nataka b) Prakarana c) Prahasana d) Natika e) Upa Roopakas
1.6.1 Bhagawati, Kamakhya Charan 2000, Sanskrit Natya Sahitya, New Market, Dibrugarh
Chapter-1, Pp- 3-7.
1.6.2 Borua, Satya Prasad 2001, Natak Aru Abhinaya Prasanga, Guwahati-1, Banalata,
Chapter-5, Pp- 21-26

2. Introduction to Medieval/Regional Indian Theatre:[Lectures: 24; Marks: 25]

2.1 Jatra, Nautanki, Yakshagana, Tamasha, Kuriattam, Chow, Ramleela.

2.1.1 Prakash, H.S. Shiva 2007, Traditional Theatres, New Delhi-110002, press- wisdom tree,
Chapter-2, (Regional Theatre), Jatra: Pp- 61-65, Nautanki:Pp- 76-78, Yakshagana:Pp- 93-
102, Ramleela: Pp- 31-38, Tamasha, Kuriattam, Chow

3. Folk & Traditional Theatre forms of Assam: [Lectures: 25; Marks: 20]

3.1 Putala Nach, Ojapali, Dhulia Bhaowna, Khulia Bhaowna etc.

3.1.1 Bharali, Sailen 2012, Asamiya Lokanatya Parampora, Panbazar, Guwahati-1, Chandra
Prakash, Chapter-5, Pp- 27-64

3.1 Ankia Bhaona

3.2.1 Mahanta, Pona 2004, Natakar Katha, PanBazar, Guwahati, Banalata, Pp-51-87
3.2.2 Bharali, Sailen 2012, Asamiya Lokanatya Parampora, Panbazar, Guwahati-1,Chandra
Prakash, Chapter-5, Pp- 65-73
23
 Core Paper-302 (Vocal Music)
Theory of Indian Music-II
(Credit: 6)

Marks: (Theory=80, Internal=20)

Distribution of Credit: 5 Lectures + 1 Tutorial

This course brings the students to the field of the history of Indian Music with focus on eminent
contributors like Pt. V. N. Bhatkhande andPt. V.D Paluskar.

Unit-I History of Indian Music:[Lectures : 10 ; Marks :20]

The Ancient Period, the Medieval Period and the Modern Period

Unit-IIContribution of the following: [Lectures: 05; Marks :10]

Bharat, Matang, Abhinavgupt, Sharang Dev.

Unit-III Life and contribution of the following: [Lectures : 10; Marks :20]

(a) Pt. V. N. Bhatkhande –His works and Notation System

(b) Pt. V.D Paluskar - His works and Notation System.

Unit-IV Concepts of Maseetkhani and Vilambit Gat, Razakhani & Drut Gat, Krintan, Zamzama,
Ghaseet, Jor Alap, Gitkiri, Meend, Sut, Kan [Lectures : 08; Marks :15]

Unit-V Theoretical knowledge of prescribed ragas: Alhaiya Bilawal, Vrindavani Sarang, Kafi,
Jaunpuri [Lectures : 08 ; Marks :15]

Reference Books:

Bharatiya Sangit Sadhak - Dr. Dilip Ranjan Borthakur, Mrs. Nilima Borthakur.
Raag Sangeet - Birendra Kumar Phukan
Kramik Pushtak Malika(Part II,III) -V N Bhatkhande
Sangeet Sahayika - Debabrat Dutta, Devi Dutta
Hindustani Vocal Music - Jayashri Thatte Bhat
Historical Study of Indian Music -Swami Prajnananda

24
 Course No. C-303 (Dance)
Dance Styles-I
(Credit: 6)
Marks: (Practical= 80, Internal=20)
Distribution of Credit: 5 Practical + 1 Tutorial
Total Practical Classes 50
Performance and Viva-voce

Unit-I:

1. Jhumura Nāc – Ramdani, Geet, Mela

2. Nadubhangi Nāc – Ramdani, Geet
3. Chali ( two types of Hajawaliya) – Ramdani, Geet

Unit-II:

1. First Sloka of Kirtan ghosa

2. Samyukta, Asamykta and Nritta Hasta

(According to Sri Hastamuktavali and Traditional)

25
 Core: B.A. in Performing Arts
Course No -C-303 (Theatre Art)
Theatre Techniques --II
(Credit: 6)

Full Marks: 100 (End Semester Marks= 80, In Semester Marks =20)
Total Practical classes=84

Course Objectives:
This practical course envisages highlighting the application of the basic acting skills and theatre
designing.It will help the students to enhance their practical skills on voice and speech, improvisation and
property making etc.

Outline: 1. The use of Voice, Voice Projection, Breathing exercises, Pronunciation and Pitch and
volume (Pauses – Emphasis – Intonations – Tongue twisting exercises)

1.1 Recitation of selected poems

1.2 Storytelling
1.3 Practice of passages from selected plays.[classes: 25; Marks: 25]

2. Basic Designing
2.1 Basic skills of technical drawing and Sketching
2.2 Mask making
2.3 poster designing
2.4 Preparation of hands property. [classes: 25; Marks: 25]

3. Improvisation/production of scene-work or a play (10-15min)[classes: 34; Marks: 30]

Suggested Readings:

1. Bak Silpa: Abriti aru Sanglap - Bhupen Chakraborty

2. An Actor Prepares - Stanislavsky
3. Natyahasmi - Dr. Jyotiprashad Saikia
4. Abhinaya Kalar Darshan - Goutam Sarmah
5. Prayogik Natya Kala - Suraj Drama Production works, Jorhat

26
 Core Paper-303 (Vocal Music)
Practical-I
(Credit: 6)
Marks: (Practical=80, Internal=20)
Distribution of Credit: 5 Practical + 1 Tutorial
Total Practical classes=50

Performance and viva - voce

1. Practice of 30 Alankaras
2. Practice of 10 Thatas
3. D Sargam Geet, Drut Khyal and Lakshan Geet of the following Ragas including the
Vilambit Kahyal of any three of the following –Bilawal, Yaman, Bhairav, Bhopali,
Vrindabani Sarang
4. Practice of Tala :
Teental, Ektal, Chautal, Jhaaptal

Reference Books :

Sangeet Jyoti Visharad - Rukheshwar Baruah

Bharatiya Sangeet Sadhak - Dr. Dilip Ranjan Borthakur, Nilima Borthakur
Bharat k Sangeetkar Indian Musicians – Dr. Laxmi Narayan Garg
Hindustani Vocal Music - Jayashree Thatte Bhatt

27
 SKILL ENHANCEMENT COURSES
Course No 304
Event Management (Theory)
(Credit: 2)
Marks: (Theory=40, Internal= 10)
Distribution of Credit: 1 Lectures + 1 Tutorial
This course will introduce the students with the theoretical part of event management.

Unit-I:
A. Management: Meaning, Objectives, Principles of Management (Planning, Organizing,
Directing and Controlling, POSDCORB Theory)
B. Introduction to Event Management: Meaning, Definitions, Types of events.
C. An overview of the Event Management industry: Event Management as an industry,
Event Management as a career. [ Lectures: 08, Marks: 15]

Unit-II:
A. Event Research and Planning: Meaning and Importance.
B. Event Marketing and Advertising: Meaning and Importance.
C. Fundraising and Sponsorship: Nature, Purpose and Meaning.
D. Team Management in Events: Meaning and Importance.
Unit-III: [Lectures: 08, Marks: 15]
A. Basic Event Budgeting: Meaning and Importance.
B. Budget, break-even point, cash flow analysis.
C. Profit & loss statement, balance sheet.
D. Panic payments, financial control system. [ Lectures: 05, Marks: 10]

Reference books:
1. Management --Stephen P. Robbins & Mary Coulter,Prentice Hall of India.
2. Successful Event Management --Anton Shone & Bryn Parry
3. Business Organisation & Management-- Tulsian PC
4. Principles of Management-- Prasad L.M.

28
 Bachelor of Performing Arts
3rd Semester
Course No. GE 305
Introduction to Assamese Culture
Marks: (Theory= 50, Practical 30 Internal=20)
Distribution of Credit: 3 Lectures + Practical 2 + 1 Tutorial

Unit-I : [Class: 10] [Marks: 20]

a) Definition of Culture
b) An Introduction of Assamese Culture
c) Elements of Assamese Culture

Unit-II:
[Class: 08] [Marks: 15]

a) Background of the Assamese Culture

b) People of Assam: Tribes and races

Unit-III:
[Class: 08] [Marks: 15]

a) Religious beliefs of the authentic groups of Assam

b) Folk Culture of Assam: Fares and festivals, folk songs & folk dances.

Unit-IV:
[Marks: 30]
PROJECT
Field Study on Food, Dress, Ornaments, Arts and Crafts , Festivals and various life styles of Ethnic
Groups of Assam

Internal Assessment
[Marks: 20]

Reference Books:
1. Asomor Sanskriti - Lilia Gogoi
2. Asomiyaloka Sanskriti aabha - Dr. Nobin Sharma
3. Cultural Heritage of Assam - Maheswar Neog
4. Asomor loka Sanskriti - Berinci Kr. Baruah
5. Asomor loka Poribashya kala - Nobin Sharma
6. Ojoni Asomor Lokanritya - Dr. Karabi Deka Hazarika

29
 Course No- GE-305
Understanding Cinema
(Credit: 6)
Marks: (Theory=80, Internal= 20)
Distribution of Credit: 5 Lectures + 1 Tutorial

This course aims at acquainting the students with the various styles and schools of cinema
throughout the world.

Unit-I: Technical aspects of film: Cinematography, editing, etc.[Lectures: 08; Marks: 16]

Unit-II: History of cinema from 1920-40:[Lectures: 08; Marks: 16]

Early narrative cinema (D. W. Griffith’s Birth of a Nation), Soviet cinema (Sergei Eisenstein’s
Battleship Potemkin), Indian (pre-Independence) cinema from Dadasaheb Phalke’s films and the
development of the studio system in India.

Unit-III:History of cinema from 1940-80:[Lectures: 08; Marks: 16]

Parallel cinema movement (Satyajit Ray’s Pather Panchali), French New Wave Cinema (Jean-
Luc Godard’s Breathless), Kurosawa’s Seven Samurai along with a discussion of his films, their
impact on Hollywood westerns and on Sholay, Classical narrative technique (Hitchcock’s Rear
Window)

Unit-IV: History of cinema from 1980s to present day:[Lectures: 08; Marks: 16]
Star system, Hindi formula film (Manmohan Desai’s Amar Akbar Anthony), Indian parallel
cinema movement, Independent film-making in Hollywood’ (Quentin Tarantino’s Pulp Fiction)
Unit-V: Regional Indian cinema, Assamese Cinema since Jyotiprasad [Lectures: 08; Marks:
16]

Reference Books:
1. Movies and Method’ 2 Volumes-- Ed. Bill Nichols, University of California Press 1976
2. Chitra Bani: A Book on Film Appreciation --Gaston Roberge
3. Image, Sound and Story The art of telling in Film-- Cherry Potter, Seeker & Warburg; 1990
4. The Ways of Film Studies --Gaston Roberge; Ajanta Publications; 1992
5. A Short History of the Movies --Gerald Mart, The University of Chicago Press 1981
6. Indian Film --Erik Bamouw & S. Krishnaswamy; Oxford University Press, 1980
7. Asomiya Cinemar Itihas---Arunlochan Das, Guwahati.

30
 Course No -C-401 (Sattriya Dance)
Introduction to Dance-II
(Credit: 6)

Marks: (Theory= 80, Internal= 20)

Distribution of Credit: 5 Lectures + 1 Tutorial

This course highlights the dance-techniques discussed in the famous Indian treatises like the
Natyashastra and the techniques of Chali dances.

Unit-I: [Lectures: 10; Marks: 20]

A general introduction to the techniques of the dance based on the Natyashastra, Sangeet
Ratnakar and Abhinaya Darpana.

i. Rasa and its classification

ii. Angahar, Karan, Charis, Mandal
iii. Bhabas and its classification
iv. Drishti, Griva and Shirobheda
v. Padasthan, Gati
Unit-II: [Lectures: 10; Marks: 20]

Definitions of Bhangi nāc, Sabda Abhinaya, Rajaghariya Chali, Dhemali, Bahar Nāc,etc.

Unit-III: [Lectures: 20; Marks: 40]

i. Madhavadeva and his composition, Namghosa, Jhumura, Dance Numbers.

ii. Detailed study of Chali Dance (Notation based on practical syllabus)
iii. Ankiya-git/Bargits used in chali dances

Reference Books:
1. Sattriya Nritya Geet badyar Hatputhi -Dr. Jagannath Mahanta
2. Sattriya Nrityar Rupdarshan -Karuna Bora
3. Sattriya Nrityar Duti Maula Hasta Aru Pad -Dr. Jagannath Mahanta
4. Nrityakala Prasanga Aru Sattriya Nritya -Dr. Mallika Kandali, Ghy, 2007,
Published by Kaushik Thakur
5. Nritya Kala Darpan -Ramkrishna Talukdar, Ghy, 2005,

6. Abhinaya Darpan by Nandikeshwar -Edit. Pradip Chaliha, Ghy, 1997,

Asom Prakashan

31
 Course No C-401 (Theatre Art)
Modern Indian Theatre and Study of Theatre Architecture
(Credit: 6)
Marks: (Theory= 80, Internal=20)
Distribution of Credit: 5 Lectures + 1 Tutorial

The course aims at introducing the students with the stalwarts of modern Indian theatre and some of the
modern theatrical varieties.

Unit-I: Modern Indian Theatre [Lectures: 20; Marks: 40]

i. Modern Indian Theatre: Background.
ii. Some of the trendsetter Dramatists of Modern Indian Theatre (Girish Karnard, Habib Tanvir,
Bijay Tendulkar, Mohan Rakesh, Badal Sarkar, Dharambir Bharathi, Sambhu Mitra, Manoj
Mitra, etc) [with especial focus onconcepts like Realistic and Non-Realistic Drama, Third
Theatre, Street Theatre, etc.]

Unit-II: Study of Theatre Architecture: [Lectures: 20; Marks: 40]

i. Greek Roman
ii. Globe Black fraise
iii. Proscenium – From Arena to Proscenium
iv. Introduction to different Major Theatres and Auditoriums in the world
v. Intimate Theatre – Environmental Theatres and the like

Reference Books:
1. Sanskrit Natya Sahitya - Kamakhya Charan Bhagawati
2. Bharata The Natya shastra - Kapila Vatsayan
3. Sanskrit Sahityar Etibita - Dr. Thanaswar Sharma
4. Indian Theatre - Nemichandra Jain
5. Contemporary Theatre of India – an overview - Chaman Ahuja
6. Asomar Loka Nat - Dr. Nobin Ch. Sharma
7. An Actor’s prepares - Stanislavsky

32
 Course No -C-401 (Vocal Music)
Theory of Indian Music-III
(Credit: 6)
Marks: (Theory= 80, Internal= 20)
Distribution of Credit: 5 Lectures + 1 Tutorial

This course projects the Karnatak music tradition along with introduction of some of the key
musical concepts. Besides, some of the major Western Classical musicians have also been
introduced.

Unit-I Concepts of Grama, Moorcchana, Jati Gayan, Gandharava Gana, Nibaddha – Anibaddha
gana, Prabandha, Alap, Alapti, Tala-Dasapranas.[Lectures: 10; Marks:20]

Unit-II Life and contribution of Karnatak Musicians Trinity-Tyhagaraja, Muthuswamy

Dikshitar, Shyama Sastri [Lectures: 10; Marks:15]

Unit-IV Musical forms of Karnatak Music: Kriti, Pallavi, Tillana, Varnam, Padam,
Javali. Comparison of Hindustani musical forms with their Karnatak counterparts.
[Lectures: 08; Marks:15]

Unit-III Life and contribution of Western Musicians - Bach, Beethoven, Mozart.

[Lectures: 08; Marks:15]

Unit-V Theoretical knowledge of prescribed ragas: Des, Bageshri, Bhimpalasi, Khamaj

[Lectures: 15 ; Marks :15]

Reference Books:

Hindustani Sangeet Paddhati - V N Bhatkhande

Kramik Pushtak Malika (I,II) - V N Bhatkhande
Swarangini - Dr. Prabha Atre
Raag Sangeet - Birendra Kumar Phukan

33
 Course No -C-402 (Sattriya Dance)
Traditional and Folk Dance Forms of Assam
(Credit: 6)
Marks: (Theory= 50, Practical=30, Internal= 20)
Distribution of Credit: 3 Lectures + Practical 2 + 1 Tutorial

This course aims at discussion of the various traditional dance forms of the entire North-east and
their practice as well.

Unit-I: [Lectures: 10; Marks: 20]

Historical Background of Dance of Assam

Traditional Dance forms of Assam

Devadasi, Ojapali, Dhuliya-Bhawna, Putala Nāc, (Puppet Show)

Unit-II: Folk Dances of North-East India: [Lecturess: 08; Marks: 15]

Haidang, Bohua, Bordai-Sikhla, Bagurumba, Kherai, Ranachandi, Barat, Jhomoir,
Bihu, Gabharu Bihu, Deodhoni, Gumrag, Kula Burhi Nach, Hojagiri, Ka-Mucungtri, Rati
Bihu, Kushan Nritya, Deuci Nritya, Leceri.

Unit-III: Knowledge of the following terms: [Lectures: 08; Marks: 15]

Vadya, Tandav, Lasya, Kharm, Siphung, Dhool, Gagana, Madal, Dotara, Pepa,
Badung-Duppa, Mridang, Negera, Kah etc.

Practical [Practical Classes: 30; Marks: 30]

Folk dances of North-East India

Traditional dances of Assam

Reference Books:
1. Sattriya Nritya Geet badyar Hatputhi -Dr. Jagannath Mahanta
2. Sattriya Nrityar Rupdarshan -Karuna Bora
3. Sattriya Nrityar Duti Maula Hasta Aru Pad -Dr. Jagannath Mahanta
4. Nrityakala Prasanga Aru Sattriya Nritya -Dr. Mallika Kandali, Ghy, 2007,
Published by Kaushik Thakur
5. Janasanskritir Rup Varna -ed. Dr. Jyoti Prasad Saikia
Mrs. Ruplekha Das Borbora

34
 Course No C- 402 (Theatre Art)
(Credit: 6)
Theatre Designing Advanced-I
Marks: (Theory= 80, Internal=20)
Distribution of Credit: 5 Lectures + 1 Tutorial
This course will highlight the elements and principles of Theatre Designing with especial discussions of
the exponents like Stanislavsky, Grotwsky and Michel Chekhov.

Unit-I: Elements and principles of Theatre Designing

[Lectures: 08, Marks: 15]

Unit-II: Introduction to some trendsetter Directors and their Method Acting

[Lectures: 15, Marks: 30]
i. Stanislavsky, ii. Grotwsky, iii. Michel Chekhov

Unit-III: Play Analysis from director’s/ Actor’s point of view [Lectures: 12, Marks: 25]
(Style of theatre, directing, acting, lighting, setting, make-up, casting, press publicity, rehearsal,
marketing, audience participation etc)

Unit-IV: Production process [Lectures:07, Marks: 10]

Reference Books:
1. Sanskrit Natya Sahitya - Kamakhya Charan Bhagawati
2. Bharata The Natya shastra - Kapila Vatsayan
3. Sanskrit Sahityar Etibita - Dr. Thanaswar Sharma
4. Indian Theatre - Nemichandra Jain
5. Contemporary Theatre of India – an overview - Chaman Ahuja
6. Asomar Loka Nat - Dr. Nobin Ch. Sharma
7. An Actor’s prepares - Stanislavsky
8. Towards a poor Theatre - Groloviski
9. Indian Method of Acting - Prashana, NSD Publication.

35
 Course No -C-402(Vocal Music)
Theory of Indian Music-IV
(Credit: 6)
Marks: (Theory= 80, Internal= 20)
Distribution of Credit: 5 Lectures + 1 Tutorial

Starting with the Vedic Music, its features and varieties, this course highlights the life and
contributions of some of the major exponents of Indian Classical Music.

Unit-I Vedic Music: [Lectures : 08 ; Marks :15]

i) Sama and stobhaksharas, the notes of Vedic music, Gramgeya
gana, Aranyageya gana, Poorvarchicka, Uttararchicka, Udatta, Anudatta, Swarita,
Vedic and Loukik scales, Panchvidha & Saptavidha sama, Vedic instruments
ii) Musical references in Ramayana, Mahabharata and Puranas (Harivansh &
Vayu Puranas)

Unit- II Works of the following: Ahobal, Ramamatya, Somnath, Lochan, Bhavbhatt,

Vyankatmakhi (his 72 thatas). [Lectures: 08; Marks:15]

Unit-III Importance of Time Theory of the ragas. [Lectures: 05 ; Marks : 10]

Unit-IV Life and contribution of the Eminent Music Personalities:

[Lectures:10 ; Marks : 20]

1. Jaidev 2. Amir Khusro 3.Raja Mansingh Tomar 4. Tansen

5. Sadarang-Adarang 6.Allaudin Khan 7.Mushtaq Ali Khan 8.Ravi
Shankar

Unit:V Theoretical knowledge of prescribed ragas:Ramkali, Deshkar, Hameer

[Lectures: 10; Marks :20]
Reference Books:

1. Hindustani Sangeet Paddhati - V N Bhatkhande

2. Raag adarshan - Dr. Manikbua Thakurdas
3. Swarangini - Dr. Prabha Atre
4. Raag Sangeet - Birendra Kumar Phukan

36
 Course No -C-403 (Sattriya Dance)
Sattriya Dance Styles-II
(Credit: 6)
Marks: (Practical= 80, Internal= 20)
Total Practical classes= 50
Distribution of Credit: 5 Practical + 1 Tutorial

Performance and viva-voce

Unit-I: 1. Chali (Bor Ramdami, Soru Ramdani)
2. Ek tal (geetor Nāc) “Agumai Tohari Tanaya Jodumoni”
3. Pori tal “Dekhatore hari gopini Mela”

Unit-II: 1. Gopi Pravesar Nāc (Two Types)

2. Gokhai Pravesar nāc

37
 Course No -C-403 (Theatre Art)
Theatre Designing Advanced-II
(Credit: 6)

Marks: (Practical= 80, Internal= 20)

Total Practical classes= 50
Distribution of Credit: 5 Practical + 1 Tutorial

The objective of this course is to acquaint the students with basic theatrical exercises. Particular
emphasis has been laid on the practice of method acting. The students will have to prepare at least five
major characters based on method acting from different patterns of plays (chosen by the concerned
expert) to develop their practical skills. For it, is better to guide them by different Theatre Directors so
that the students may get the experience of different ways.

Unit-I

i. Works on basic performance skills

ii. Exercises on various physical, vocal and mental exercises
iii. Method acting
iv. Basic text and speech analysis including Vocal exercises
v. Scene work and rehearsals of realistic texts.

38
 Course No -C-403 (Vocal Music)
Practical-II
(Credit: 6)
Marks: (Practical=80, Internal= 20)
Total Practical Classes= 50
Distribution of Credit: 5 Practical + 1 Tutorial

Performance and viva-voce:

Prescribed Ragas:

Des, Bageshri, Bhimpalasi, Khamaj, Bihag, Ramkali, Deshkar, Hameer

i. Drut khayal in all the above mentioned Ragas.

ii. Vilambit khayal in any three above mentioned Ragas
iii. Dhrupad/ Dhamar in any one above mentioned Raga.
iv. Knowledge of Roopak Tala, Tilwada Tala, Sooltal, Teevra tala

Reference Books:

1. Hindustani Sangeet Paddhati - V N Bhatkhande

2. Raag adarshan - Dr. Manikbua Thakurdas
3. Swarangini - Dr. Prabha Atre
4. Raag Sangeet - Birendra Kumar Phukan
5. Kramik Pushtak Malika (I,II) - V N Bhatkhande

39
 Course No 404
Event Management (Practical)
(Credit: 2)
Marks: (Practical=40, Internal=10)
Distribution of Credit:2 Practical + 1 Tutorial

This course will involve the students in practically managing one event organised in the Centre
or the Department.

Course No- GE-405

Cultural Tourism and Travel Management
(Credit: 6)
Marks: (Theory=80, Internal= 20)
Distribution of Credit: 5 Lectures + 1 Tutorial

This course is designed to familiarize the students with the concept of cultural tourism and travel
management that have acquired extreme importance in the present-day context.

Unit-I: Tourism: definition, meaning, nature and scope [Lectures: 08; Marks: 16]

Unit-II: Tourism Infrastructure: types, forms and significance [Lectures: 08; Marks: 16]

Unit-III: Cultural Tourism in Assam and North-East India [Lectures: 08; Marks: 16]

Unit-IV: Tourism Policy, planning and development [Lectures: 08; Marks: 16]

Unit-V: Travel Management: Prospects in Assam and the North-East [Lectures: 08; Marks: 16]

Reference Books:
1. Tourism Education: Principles, Theories and Practices--Shashi Prabha Sharma, Kanishka
Publishers, 2006
2. Travel and Tourism Management --Prasad Vara & Sundari VBT, Excel Books, 2015
3. Assam; Its Heritage and Culture, Kalpaz Publications, 2005

40
 Course No -GE-405
Introduction to the Culture of North-East India
(Credit: 6)
Marks: (Theory=50, Project=30, Internal= 20)
Distribution of Credit: 3 Lectures + Project 2 + 1 Tutorial

With a view to make the students accustomed to the various aspects of the culture of the greater
North-East India, this course has included a project work besides the theory part.

Unit-I:
Introduction to North-East Culture (Land, People & Social System)

[Lectures: 08; Marks: 15]

Unit-II:
Folk dance, folk festival and folk beliefs of North-East India.
[Lectures: 08; Marks: 15]

Unit-III:

Society and Economy of North-East India; Culture of North-East India unity and
Diversity.
[Lectures: 10; Marks: 20]

Unit-IV:
Project [Marks: 30]
[Five Lectures for Introdcution and assignment of Project]

Reference Books:
1. Cultural Heritage of Assam - Maheswar Neog
2. Indian Classical Dance - Kapila Vatshyan
3. Madhavdeva: Sahitya Kala Aru
Darshan - Karabi Deka Hazarika
4. An Introduction to cultural studies - Pramod Kr. Nayar.
5. Assam Society Culture History - Subhash Barman (Edit)
6. Sanskriti Sanchayan - Suryakanta Hazarika (Edit)
7. Asamiya Manuhar Itihas - Nagen Saikia
8. Tribel Folk songs of Upper Assam - Bijan Dutta
Musical Aspects
9. Jyoti Prasad Rachanvali - Dr. Hiren Gohain (Ed.)
10. Jyoti Prasad : Progya’ on Praveb - Jyoti Pd. Saikia, Assam

41
 Course No C- 501 (Sattriya Dance)

Introduction to Dance-III
(Credit:6)

Marks: (Theory=80, Internal= 20)

Total lectures = 84

Course Objective: The objective of this course is to discuss the contributions of major
figures in the field of Sattriya dance. Besides, focuses on Ankiya plays, its elements, different
Tala System, its relation to talas and detailed study of different layakaris.

Unit-I: [Lectures: 20; Marks:20]

a. Life and contributions: Madhavadeva, Badala Padma Ata and Gopal Ata,

b. Contemporary Sattriya Gurus: Maniram Dutta Barbayan Muktiyar, Narahari Burha Bhakat,
Pushpa Bhuyan, Rakheswar Saikia Barbayan, Paramananda Barbayan, Gopiram Barbayan,
Jatin Goswami, Ghanakanta Barbayan, Indira P.P.Bora.
c. Sattriya Dance Critics: Maheswar Neog

Unit-II: Study of Ankiya Nat: [Lectures: 34; Marks:25]

I. Plot
II. Character
III. Sutradhar
IV. Technique
V. Song
VI. Language
VII. Abhinaya
VIII. Sentiments and Emotion
IX. Preliminaries
X. Costumes andmask

Unit-III: [Lectures: 15; Marks:15]

Ability to write all talas used in Dance; Detailed study of different layakaris, viz
duguna, triguna, cauguna, adi, kudi, biyadi and its application.
42
 Unit-IV: [Lectures: 15; Marks:20]

A brief study of Tala system: i. South Indian (Carnataki) Tal System.

ii. North Indian (Hindustani) Tal system.

Learner’s Outcome:
After completion of the course, the learner shall be in a state not only be able to
understand, appreciate and value the rich Indian culture, but will also bring moral and
spiritual qualities in their life. It would provide them with a good knowledge of different
exponent in the field of Sattriya dance and Ankiya Bhaona and thereby enabling them to go
through the oldest Indian Tala system both theoretically and practically.

Reference Books:

1. Chaliha, Pradip. ed. Abhinaya Darpan by Nandikeshwar. Ghy, 1997.

2. Deka, Hazarika. Madhabadeva his life, art and thought, Bani Mandir, Dibrugarh: 1 st
ed. 2006.
3. Goswami, Narayan Chandra. Sattriya Sanskriti Charnarekha. Lawyer’s books stall,
Ghy: 1984.
4. Hazarika, Bhaben. Keshaba Keli. Barnamala Prakashan, Jorhat. 1 st ed.2021.
5. Kandali, Mallika. Nrityakala Prasanga Aru Sattriya Nritya. Ghy,2007.
6. Kandali, Mallika. Sattriya: The Traditional Dance of Assam. Publication Board of
Assam.
7. Mahanta, Jagannath. Sattriya Nritya Geet-Badyar-Hatputhi. Bhabani offset, pvt.
Ghy- 26. 2012.
8. Neog, Maheswar. Sankaradeva and His times: Early History of the Vaisnava Faith
and Movement in Assam, Lawyer’s Book stall, Ghy: 1998.
9. Sharma, Sunaram. Badala Padma Atta kotha Charit. Anubhab Prakashan, Titabar. 1 st
ed.2019.

43
 Course No-C-501 (Theatre Art)
Introduction to Western Drama
(Credit: 6)
Marks: (Theory= 80, Internal=20)
Total Lectures=80

Objectives:
With focus on different theatrical practices of Western Theatre, this course will introduce the students
principally with the major dramatic scenario.

Unit-I: Introduction to Western Drama (Ancient) [Lectures:16, Marks:

20]
i. Origin and development of Greek Drama
ii. Roman Plays

Unit-II: A Brief Introduction to Western Drama (Medieval Period) [Lectures:20, Marks:

20]
i. Medieval Drama (Morality play)
ii. Elizabethan Drama
iii. Jacobean Drama
iv. Restoration Drama

Unit-III: Modern Drama [Lectures:22, Marks:

20]
i) New Movements in the Twentieth century
ii) Realism and Expressionism
iii) Symbolic Drama
iv) Epic Theatre
v) Absurd Drama

Unit- IV: Contribution of some eminent Dramatists [Lecture:22, Marks: 20]

i. Shakespeare- Macbeth/ Midsummer Night’s Dream
ii. Henrik Ibsen- Ghosts /A Doll’s House
iii. Tennessee Williams- The Glass Menagerie

Learner’s Outcome:
Through this course students will able to acquire the knowledge of overall development of Western
Theatre and Drama, which enhance their overall perception on development of western theatre
chronologically highlighting modern movements in world context.

Reference Books:

1. Barua, Satyaprashad. Natak Aru Abhinaya Prasanga. Third Publication, Granthapith,

1983.
2. Bharali, Sailen. Natak aru Asamiya Natak. Third Edition, Bani Prakash Private Limited,
Augusta, 2003.

3. Chetia, Jogen. Adunik Natya Kala. First publication, published by the author, 1993.
4. Chetia, Jogen. Naatakar Rup-Riti Aru Manchayan. First Publication, published by
Tilottama Chetia, 2003.

44
5. Jacobus, Lee A. The Bedford Introduction to Drama. Fifth Edition, A Bedford Book, St.
Martin Press, 1989.
6. Mahanta, Pona. Natakar Katha. First edition, Banalata, February 2004.
7. Nicoll, Allardyce. The Theory of Drama. Reprint, Georgea Harrap & Company Ltd.,
October 1937

8. Sarma, Basanta Kr. Greek Tregedi Aru Sophocles. First Banalata Edition, Banalata, 2002.

45
 Course No C- 501 (Vocal Music)
Theory of Indian Music-V
(Credit:6)
Marks: (Theory= 80, Internal= 20)
Total lectures = 84
Objectives:
This course highlights the traditions of Dhrupad and Khayal and their overall contribution in
keeping the Classical tradition vibrant and alive. Besides, the course also aims to familiarize the
students, as has been done in other theory papers also, with a few of the major ragas in the
Indian vocal tradition.

Unit- I Historical Study of Hindustani Music: [Lectures:35; Marks:35]

i) Origin of Gharana and its perspectives.

ii) Prominent Gharanas of Dhrupad (Dagar, Betia, Darbhanga) and Khayal (Agra,
Patiala, Kirana, Gwalior, Lucknow) and their significant features regarding
techniques.
iii) Importance of Gharana and Guru Shishya Parampara

Unit-II

Study of Hindustani musical forms: Dhrupad, Dhamar, Khayal, Thumri, Tappa, Tarana,
Chaturang, Trivat.[Lectures:25; Marks:25]

Unit-III

Theoretical knowledge of prescribed ragas:Gaudsarang, PooriyaDhanashri, Kedar, Kamod,

Chayanat, Todi, Multani, Patdeep, Jaijaiwanti, Malkauns[Lectures:24; Marks:20]

Expected Students' outcome:

After completion of the course the students shall be in a position to understand the various
aspects of Gharana in Hindustani Music, various singing forms, along with the theoretical
knowledge of some of the important Ragas in Hindustani Music.

Reference Books:

1. Baruah, Rukheshwar, “ Sangeet Jyoti Visharad”, Published by Rukheswar Baruah, 2009

2. Bhatt, Jayashree Thatte, “Hindustani Vocal Music”,Abhinav Publication, 2009
3. Dutta, Devi, Dutta, Debabrata, “ SangeetSahayika”,BritiPrakashani, 1975
4. Phukan, Birendra Kumar, “ Raag Sangeet”,Chandraprakash, 1990.
5. Thakur Das, Dr.Manik Bua, “ Raag Darshan”,GurjarPrakashan, 2013.

46
 Course No -C-502 (Sattriya Dance)
Sattriya Dance Styles-III
(Credit: 6)
Marks: (Practical= 80, Internal= 20)
Total Practical classes= 84

Course Objective: This course intends to provide in-depth knowledge o f the different dance
numbers, abhinaya, foot works and its elements. The Practical Note Book shall cover all
theoritical aspects of the contents with both descriptive, anaytical and represntative.

Unit-I:[Lectures – 24] 20

Chali – a. Kalākatiya

b. Saru Ramdani,
c. Geetar Nāc (ek tal / pori tal), Melanāc

Unit–II [Lectures-26] 20

1. Baharnāc –Ramdani

1. Fundamental steps and various movements on different talas, viz. Raja Pravesh, Veer
Pravesh, Rishi Muni Pravesh, YudhaNāc.(cutakala tala, paritala, yati tala,kharmana
tala, ek tala).
Unit –III [Lectures -10] 20

a. Raja Ghariya Chali Ramdani – I

Unit-IV: [Lectures-25] 20

1. Sabda Abhinaya (Nandi Sloka): Ram Vijaya, Parijat Haran, Kaliya Daman, Rukmini
Haran,Chordhara
2. Kaliya Daman (Bhangi nāc),Abhinaya

Practical Note Book cum Classroom presentation: 20

[The Practical Note Book (PNB) shall have to prepare by the students on various topics
included in the Course No. C-502. The Course teachers shall guide the students in preparing
the PNB and that shall be internal assessment for this Course]

47
Learner’s Outcome:
After completion of the course, the learner shall be in a state not only be able to
understand, appreciate and value the rich Indian culture, but will also bring moral and
spiritual qualities in their life. It would provide them with a good knowledge of different
dance numbers in the field of Sattriya dance and thereby enabling them to go through the
oldest Indian Tala system both theoretically and practically.

Reference Book:

1. Medhi, Kaliram. Ankavali. Lawyers Book stal. Ghy-1.1990.

2. Neog, Maheswar. ed. Sattriya Nritya aru Sattriya Nrityar Tal. Publication Board of
Assam. 1973.

48
 Course No C- 502 (Theatre Art)
Theatre Designing Advanced-III
(Credit: 6)
Marks: (Practical= 80, Internal= 20)
Total practical classes = 80

Objectives:
This course attempts at practical application of the ideas in theatre designing.

Unit-I [Lectures:30, Marks: 30]

Developing the skills of Theatre Designing like light, set, costume, music etc.

Unit-II [Lectures: 40, Marks: 40]

Design scene work

Unit-III [Lectures: 10, Marks: 10]

Introduction to Indian Aesthetics, architecture

Learner’s Outcome:
Through this course students will able to acquire the knowledge of various aspects of the theatre
Designing/ Scenography and the role of various elements (Like light, Set, Costumes, Make-Up and so on)
towards construction of a theatrical language practically.

Reference Book:

1. Ankur, Debendra Raj. Rangamancha Ka Soundaryashastra. First Edition, National

School of Drama, 2006.

2. Bentley, Eric ( Edt.). The Theory of the modern Stage. Penguin Modern Classics version,
Penguin Books, 2008.
3. Dasgupta, G.N. Guide to Stage Lighting. Annapurna Dasgupta, 1986

4. Matley. Designing and making stage Costumes. First published ,Elizabeth Montgomery,
1964

5. Prasanna. Indian method in Acting. First publication, National School of Drama, New
Delhi, 2013.
6. Saikia, Anil. Sangeet aru Natakat Sangeet. Natyapith Prakashan, 2001.

7. Sarmah, S. B. Ranga- Sthapatya—Kush Tipponia. Second edition National School of

Drama, 2012
49
 Course No -C-502 (Vocal Music)
Practical-III
(Credit: 6)
Marks: (Practical=80, Internal= 20)
Total Practical Class 30
Objectives:
This paper aims to familiarize students with the practical performance of some of the Ragas of
North Indian Raga music in some very important Talas.

Unit-I Vilambit Khayal of the following Ragas: 30

Pooriya Dhanashri, Kedar, Todi, Jaijaiwanti, Malkauns

Unit-II: Drut Khayal of the following Ragas 15

Gaudsarang, Pooriya Dhanashri, Kedar, Kamod, Chayanat, Todi, Multani, Patdeep,
Jaijaiwanti, Malkauns.
Unit-III: 20
i. Practice in Talas—Sooltal, Teevratal, Dhamar, Ektal, Jhaptal, Ada-Chautal
ii. Dhrupad /Dhamar composition
iii. Presentation of one semi classical /devotional or light composition.
Unit IV: Dhrupad, Dhamar and semi classical singing forms 15

Expected Students' outcome:

After completion of this course students shall be in a position to sing Khayal (Vilambit and Drut)
in some of the important Ragas, Dhrupad, Dhamar, Thumri along with the practice of some Talas
in various Layakaris.

Reference Books:

1. Baruah, Rukheshwar, “ Sangeet Jyoti Visharad”, Published by Rukheswar Baruah, 2009

2. Bhatkhande. V.N., “ Kramik Pushtak Malika, Published by V.N. Bhatkhande, 2016
3. Bhatt, Jayashree Thatte, “Hindustani Vocal Music”,Abhinav Publication, 2019
4. Dutta, Devi, Dutta, Debabrata, “ SangeetSahayika”,BritiPrakashani, 1975
5. Phukan, Birendra Kumar, “ Raag Sangeet”,Chandraprakash,1990
6. Thakur Das, Dr.Manik Bua, “ Raag Darshan”,GurjarPrakashan, 2013

50
 DISCIPLINE SPECIFIC ELECTIVE COURSES

Course No DSE-503
Musical Instrument in Performing Arts (Khol)
(Credit: 6)

Marks: (Theory=40, Practical= 40, Internal= 20)

Total Lectures including Practical = 84

Course Objective: This course will give a brief introduction of the major instrument of Sattriya
Music, Khol.

Unit-I: Historical background of Indian musical Instruments

1. Pre-Historic
2. Vedic
3. Medieval
4. Modern [Lectures: 15; Marks:10]

Unit-II:
a. Introduction of instruments used in Indian Music
Tabla, Mridangam, Pakhawaj, Dhol, Nal, Dafli, Sitar, Sahnai, Pung, Khol,Tanpura,
Violin, Veena, Sarod, Sarangi, Santoor, Bahi, Harmonium., Ghatam,Manjira,
Bhortal

b. Khol: Introduction, its Origin and Structure, Applications.

[Lectures: 15; Marks: 10]

Unit-III:
i. Definition: Tal, Tali, Khali, Sam, Bivag, Matra, Theka, Sapar, Ga-man,Joroni,
Bahoni

ii. Notation of Tal according to Bhatkhande system: Boha Sahini, Pori Tala, Suta
Tala, Rupak Tala, Ek Tala, Jhumura Nāc, Soru Bisam Tala, Sutkala Tala, Joti
Tala
[Lectures: 14; Marks: 20]

Practical [Practical Classes: 40; Marks:40]

Unit-I: Parts of the Khol and their structure 10

Unit-II: The basic bols: Ten Hasta Sadhanbol 10

51
 Unit-III: Baha Cāhini: The Art and Proficiency 10

Unit-IV: 10

i. Ek tala, Pari Tala, Rupak Tala of Ga-man, Ghat, Chuk: The Art andProficiency
ii. Saru Bisham Tala, Sut kala Tala, JotiTala
iii. Prasangiya Dhemali, Jhumura Nāc-Ramdani

Learner’s Outcome:
After completion of the course, the learner shall be in a state not only be able to
understand, appreciate and value the rich Indian culture, but will also bring moral
and spiritual qualities in their life . It would provide them with a good knowledge
in the field of Sattriya music and thereby enabling them to learn about the only
traditional percussion instrument of Assam Khol .The students will be benefit with
both theoretically and practically.

Reference Books:
1. Barthakur, Dilip Ranjan. Khol Vigyan. Chandra Prakasan, Guwahati-2004.
2. Borah, Karuna. Sattriya Nrityar Rup Darshan. Gharntha Sanskrti, Tarajan, Jorhat,
2006.
3. Changkakati, Keshav. Taal Pradip. Parvati Prakashan.Guwahati-1981.
4. Dowarah, Dharmashwar. Asomor Badya Jantra. Prakhan
Parishad,
5. Neog, Maheswar. ed. Sattriya Nritya Aru Sattriya Nritya Tal. Asom Prakasan
Parishada, 2nd ed., 2003.
6. Saikia, Debojit. BadyaAvigyan.Kustava Prakashan, Dibrugarh, 2nd ed.2013.

52
 Course No DSE 503
Musical Instruments in Performing Arts (Tabla)
(Credit: 6)
Marks: (Theory=40, Practical= 40, Internal= 20)
Total Lectures including practical = 84

This course will introduce the students with the theory as well as practical of one of the major
instruments in performing arts, the Tabla.

Theory
Unit -I: A detailed study of the origin of Tabla [Lectures: 5; Marks: 6]

Unit-II: Parts of Tabla and the art of finger movement in playing Tabla
Position of sitting, name of fingers and placement [Lectures:5; Marks :10]

Unit-III: Definition of the following terms: [Lectures: 15; Marks: 14]

Taal, Matra, Bibhag, Sam, Khali, Tali, Theka, Avartan, Laya and its Prakars, Tihai,
Damdar, Bedam, Quaida, Bister, Tukda , MukhdaEkgun, Dudun, Tigun, Chowgun

Unit-IV: Ability to write notation (Bhatkhande Notation System) of Prescribed Talas: Dadra,
Kaharwa, Tintaal, Jhaptal [Lectures:15 ; Marks : 10]

Practical
[Practical: 44; Marks: 40]
Unit-I. Ability to play the basic bols including Mishrabani.Ten Hasta SadhanBols.

Unit -II. a) Simple Tihais of Tintal and Jhaptal; b) Prakar of Dadra Tal and Kaharva Tal

Unit-III. Ability to play two simple Quaida with Ekgun, Dugun, Chowgun, Bistar and Tihai in
Teental

Unit-IV. i. A general knowledge of Padhant (reciting) of various Bols and Talas.

iii. Knowledge of various parts of Tabla.
iv. Ability to play Thekas of Dadra, Kaharva and Teental in Ekgun and DugunLaya.

Expected Students' outcome:

After completion of the course students shall be in a position where they shall have some basic
theoretical knowledge on various aspects of Tabla along with some basic practical knowledge of
the same.

Reference Books:

1. Borthakur, Dr.Dilip Ranjan,“ Tabla Vigyan”, Chandraprakash, 1975

2. Phukan, Birendra Kumar, “ Raag Sangeet”,Chandraprakash, 1990
3. Mishra, Arup Kumar, “Notes on Tabla”(Part I-IV),ESKEBE Publications, 2015
4. Bordoloi, Prabin, “ TalaMonikut”,Chandraprakash, 1983

53
 Course No DSE-503
Bharatnatyam-I
(Credit: 6)
Marks: (Theory=40, Practical= 40, Internal= 20)
Total Lectures including Practical = 84

Course Objective: The course intends to familiarize students with the theory as well as
practice of one of the major classical dance forms in India, the Bharatnatyam.

Unit – I: [Lectures: 10; Marks: 10]

a. Features of ClassicalDance
b. History of Bharatnatyam
c. Study of Asamyutta &Samyuttahastas
Unit – II: [Lectures: 10; Marks: 10]

a. Gharanas of Bharatnatyam
b. Techniques of Bharatnatyam
c. Music and Musical Instruments of Bharatnatyam
Unit – III: [Lectures: 8; Marks: 10]

a. Status of Guru inBharatnatyam

b. The Attires of Bharatnatyam
c. Guru Shisya Parampara in context of Bharatnatyam.
Unit- IV: [Lectures: 12; Marks: 10]

a. Short note–
Tala, Laya, Matra, Adavu, Hasta, Alarippu
Tattaadavu, Natta adavu,
Shutruadavu, Pakkaadavu, Pushpanjali
b. Notation-
Tattaadavu, Natta adavu, Pakkaadavu, Shutruadavu, Alarippu etc

Practical: [Practical Classes: 44; Marks: 40]

Unit – I: 10

a. Exercises of Bharatnatyam
b. Tattaadavu
c. Nattaadavu

54
 d. Pakkaadavu
e. Shutruadavu
Unit- II: 10

a. Asamyuttahastas
b. Samyuttahastas
Unit- III: 10

a. Pushpanjali
b. Alarippu
Unit – IV 10

a. Kauthvam

b. Ability to conduct Nattuvangam of all the items learnt in syllabus

c. Practical presentation

EXPECTED LEARNER OUTCOME

After completion of the course, the learner shall be in a state not only be able to
understand, appreciate and value the rich Indian culture, but will also bring moral and
spiritual qualities in their life. It would provide them with a good knowledge of Indian
classical dance, thereby enabling them to go through the oldest Indian classical dance
‘Bharatnatyam’ both theoretically and practically.

Reference Books:

1. Devi, Ragini. (2002).Dance Dialects of India. Delhi: Motilal Banarsidass Publishers

PrivateLimited.
2. Massey, Reginald.(2004).India’s Dances: Their History, Technique and Repertoire,
New Delhi, AbhinavPublications.
3. Mehta, Usha (2011). Legacy of Classical Dances in India, New Delhi: Cyber Tech
Publications
4. Mehta, Usha (2011). Dances of South India. New Delhi: Cyber TechPublications.
5. Banerji, Projesh. (2009). Basic Concepts of Indian Dance. Delhi: Chaukhambha
Orientalia
6. Vatsyayan, Kapila (2015). Indian Classical Dance, New Delhi, PublicationDivision.
7. Raghavan, V, (2004), Splendours of Indian Dance (Forms-Theory-Practice), Chennai,
Dr. V. Raghavan Centre for PerformingArts.
8. Bhagyalekshmy, S (1992), Approach to Bharatnatyam, Trivandrum, CBH
Publications.
9. Ramachandrasekhar, P. (2017). Dance Gestures Mirror of Expression. Chennai, Giri
Trading Agency Pvt.Ltd.
55
 Course No DSE-504
Kathak-I
(Credit: 6)
Marks: (Theory=40, Practical= 40, Internal= 20)
Total Lectures including Practical = 84

Course Objective: The course intends to familiarize Students with the theory as well as
practice of one of the major classical dance forms in India, the Kathak.

Theory

Unit – I: [Lectures: 12; Marks: 10]

a) Origin of Indian dance and its historical background

b) History of Kathak and detailed study of the Gharanas
c) Asamyutta and Samyutta mudra based on Abhinayadarpana
Unit – II: [Lectures: 12; Marks: 10]

a) Sequence of a Kathak Recital

b) Importance of Ghungroos and their necessity in dance
c) General knowledge of accompanying instruments with Kathak
Unit – III: [Lectures: 12; Marks: 10]

a) The tradition of Guru-Shisya Parampara

b) Costumes of Kathak Dance
c) Relation between vocal and instrumental music and dance
Unit-IV: [Lectures: 12; Marks: 10]

a) Laya, Tala, Matra, Bibhag, Sam, Tali, Khali, Theka, Avartan, Tatkar, Amad, Tukda,
Chakradhartukda, Tihai, Paran, Chakradharparan
b) Knowledge of Hindustani Talas – Teental, Jhaptal, Dhammar, Ektal,Chautal,
Keherwa, Dadra, Roopak,Sooltal

Practical: [Practical Classes: 46; Marks: 40]

Unit – I: Marks: 20

Teental:

1) Vandana
2) Tatkar, in Ekgun, Dugun and Chaugun
3) Thaat
4) Amad
5) Paran Judi Amad
56
 6) Tihai
7) Tukra + Chakradhar tukra
8) Paran + Chakradhar paran
9) Kavit
Unit- II: Marks: 10

Jhaptal:

1) Thaat
2) Amad
3) Tihai
4) Tukra, Paran, Chakradhar( Tukra + Paran)
Marks: 10
Unit- III:

Dhammartal:

1) Thaat
2) Amad
3) Tihai
4) Tukra, Paran, Chakradhar (Tukra +Paran)

EXPECTED LEARNER OUTCOME

After completion of the course, the learner shall be in a state not only be able to
understand, appreciate and value the rich Indian culture, but will also bring moral and spiritual
qualities in their life. It would provide them with a good knowledge of Indian classical dance,
thereby enabling them to go through the popular Indian classical dance ‘Kathak’ both
theoretically and practically.

Reference Books:

1. Garg, Lakshmi Narayan. (2016). Kathak Nritya, Anubhav Publishing House.

2. Gupta, Bharti. (2004). Kathak Sagar, RadhaPublication
3. Sood, Sobha Koser.(2010).AnExpositionofClassicalDanceofIndiawithSpecialReference to
‘Kathak’,Chandigarh, AbhishekPublication.
4. Ramachandrasekhar, P. (2017). Dance Gestures Mirror of Expression. Chennai, Giri
Trading Agency Pvt.Ltd.
5. Bordoloi, Charu. Nartan Kala Manjari. Guwahti. EskebeePublication.

57
6. Srivastava, Ranjana.(2008).Kathaka The Tradition:FusionandDiffusion.NewDelhi:D.K.
Printworld (P)Ltd.

7. Kothari,Sunil.(1989).Kathak Indian Classical DanceArt.NewDelhi:Abhinav Publication.

8. Massey, Reginald.(2004).India’s Dances: Their History, Technique and Repertoire, New

Delhi, Abhinav Publications.

58
 Course No DSE- 504 (Vocal Music)
Origin and Development of Assamese Music
(Credit:6)
Marks: (Theory=40, Practical= 40, Internal= 20)
Total Lectures including practical = 84
Objectives:
This course will introduce students with the theory as well as practice of Assamese music with
special focus on the origin and development.

Theory

Unit I: Background of Assamese Music [Lectures: 22; Marks: 30]

Various phases of development of Assamese music: Ancient Period, Medieval
Period, Modern Period
Unit II: Contribution of following personalities towards Assamese music:
Sankaradeva, Lakshmiram Baruah, Jyoti Prasad Agarwala. [Lectures: 14; Marks: 10]

Practical

Unit -I. Borgeet – (Raag- Bhatiyali, Dhanashree) [Lectures: 13; Marks:20]

Unit -II. Songs of Laksmiram Baruah and Jyoti Prasad Agarwala, Bishnu Prasad Rabha, Parboti
Prasad Baruah [Lectures: 13; Marks: 20]

Expected Students' outcome:

After completion of the course students shall be in a position to understand the background of
Assamese music and contribution of some of the great personalities in Assamese music. They
shall also be in a position to sing some of the Assamese singing forms.

Reference Books:

1. Dutta, Dr. Birendra Nath, “Asamiya Sangeetor Oitijya”, Asom Sahitya Sabha, 1998
2. Baruah, Prahlad Kumar, “Jyoti Monisha”, Banalata, 1993.
3. Goswami, K.D (ed), “Borgeet”, Assamese Department, Dibrugarh University,
4. Bora, Jayanta Kumar, “Sahitya Pranidhi”,Banalata, Dibrugarh, 2014

59
 Course No -C-601 (Sattriya Dance)

Sattriya Dance Types (Credit: 6)

Marks: (Theory= 80, Internal= 20)

Total Lectures= 84

Course Objective: This course highlights the Sattriya Ojapali Tradition, different techniques
referred in the Natyashastra and Abhinaya Darpana, Costume and Musical instruments and
finally on writing notations.

Unit-I: [Lectures: 14; Marks:20]

Detailed study of Sattriya Ojapali

Unit-II: [Lectures: 35; Marks:25]

Techniques of dance according to Natyashastra and Abhinaya Darpana

I. Vritti and Pravritti

II. Classification of Nayaka and Nayika
III. Realization of Rasa

Unit-III: [Lectures: 20; Marks:15]

i. Costume and Make-up used in Sattriya dance/ Ekahajya Present Senerio

ii. Instruments used in Sattriya dance:
a. Khol, Mridanga, Doba, Negera, Sarinda,
b. Bahi(flute),Kali
c. Tal: Bar tal, Bhurtal. Khutital. Pati tal,Kah.

Unit-IV: [Lectures: 15; Marks: 20]

Notation based on practical syllabus (602)

Learner’s Outcome:
After completion of the course, the learner shall be in a state to understand,
appreciate and value the rich Indian culture and will bring moral and spiritual qualities in
their life. It would provide them with detail knowledge of Sattriya Ojapali, a good
60
 knowledge in techniques of dance as on Natyashastra and Abhinayadarpana and thereby
enabling them to go through the costumes, and instrumental uses in the dance form with
both theoretically and practically.

Reference Books:

1. Bhattacharya, Harichandra. Asomiya NatyaSahityar Jilingani. Lawyers Book Stal. 3rd

ed. 1988.
2. Borah, Karuna. Sattriya Nrityar Rup Darshan. Gharntha Sanskrti, Tarajan,
Jorhat, 2006.
3. Chaliha. Pradip. ed. Abhinaya Darpan by Nandikeshwar. Asom Prakashan. Ghy,
1997.
4. Kandali, Mallika. NrityakalaPrasanga Aru Sattriya Nritya. Published by Kaushik
Thakur Ghy, 2007.
5. Mahanta, Jagannath. Sattriya Nritya GeetbadyarHatputhi. Bhabani offset, pvt.
Ghy- 26. 2012.
6. Neog, Maheswar.ed.SattriyaNrityaAruSattriyaNrityaTal.AsomprakasanParishada, 1st.
ed.,1973.
7. Neog, Maheswar. Sattriya Nritya aru Sattriya Nrityor Tal. AsomPrakashanParisad.
1st ed. 2002.
8. Sarmah, Nabin Chandra. Asomor Pariveshya kala Ojapali. Ghy.1996.
9. Sastri, Biswanarayan. ed. Sahitya Darpan by Biwanath Kaviraj. Saraighat
Prakashan. Ghy. 1999.
10. Sastri, Viswanarayan. ed. Bharatmuni Natyashastra.(Assamese)
11. Sharma, Satyandra Nath. Asomiya Sahityar Samikhyatmok Itibritta. Arunudoi Press.
5th ed. 1991.
12. Vatsyayan, Kapila. ed. (Eng.) Bharat’s. Natyashastra. Sahitya Academy. New Delhi,
200

61
 Course No- C-601 (Theatre Art)
Assamese Drama
(Credit: 6)

Marks: (Theory= 80, Internal= 20)

Total Classes= 84

Objectives:
The course specially focus on the development of Assamese Dramatic tradition since the beginning of the
first written tradition of Assamese Drama up to the modern period highlighting some significant plays
and playwrights.

Unit-I: [Lectures:15; Marks:15]

Beginning of Assamese Drama: The Neo-Vaishnavite period to the Colonial period.

Unit-II: [Lectures:15; Marks:15]

Assamese Drama during the post-Independence period.

Unit-III: Study of Assamese Drama- I: [Lectures:24; Marks:25]

Lakshminath Bezbaroa: Joymati Konwari
Padmanath Gohain Barua: Gaoburha
Jyoti Prasad Agarwalla: Sonit Konwari

Unit-IV: Study of Assamese Drama-II: [Lectures:30; Marks:25]

Phani Sarma: Siraj
Arun Sarma: Ahaar/Aditeer Atmakatha
Munin Bhuyan: Jarou-rowa Parja

Learner’s Outcome:
Through this course students will able to acquire the knowledge of the development of Assamese
Dramatic tradition along with the contribution of some trendsetter plays and playwrights.

Reference Books:

1. Bhattacharya, Harichchandra. Asomya natya Sahityar Jiligoni. 4th Publication,

Lawyer’s Book Stall, 1995.

62
2. Barua, Satyaprashad. Natak Aru Abhinaya Prasanga. Third Publication, Granthapith,
1983.
3. Bharali, Sailen. Natak aru Asamiya Natak. Third Edition, Bani Prakash Private
Limited, Augusta, 2003.

4. Chetia, jogen. Adunik Natya Kala. First publication, published by the author, 1993.

5. Chetia, Jogen. Naatakar Rup-Riti Aru Manchayan. First Publication, published by

Tilottama Chetia, 2003.

6. Hazarika, Atulchandra. Mancha-Lekha. Second Publication, Lawyer’s Book Stall,

1995.
7. Mahanta, Pona. Natakar Katha. First edition, Banalata, February 2004.

8. Sarmah, Satyendranath. Asomiya Natya-Sahitya. Reprint version, Saumar Prokash,

2003.

63
 Course No- C-601 (Vocal Music)
Theory of Indian Music-VI
(Credit: 6)

Marks: (Theory= 80, Internal= 20)

Total Lectures= 84

Objectives: With special focus on the basic concepts in musicology in the first unit, this course
further attempts to familiarize the students with the traditional as well as modern forms of
Assamese music.

Unit : I Concept of Indian Musicology : [ Lectures : 30 ; Marks : 25]

Definition and Scope of Musicology
Aims of Music Education

Unit : II Folk Music of Assam: Knowledge of Tokari Geet, DehBisaror Geet, Diha Naam, Ainaam,
Bihu, Goalparia Lokageet, Kamrupia Lokageet, etc. [Lectures: 15 ; Marks : 20]

Unit III Concept of Sattriya Music: Bargeet and their style of performance
[Lectures: 18; Marks: 20]

Unit : IV Assamese Music: Major exponents and different forms[Lectures : 21 ; Marks : 15]

(Ojapali)

Expected Students' outcome:

After completion of the course students shall be in a position to understand the concept of
Musicology. They shall also be in a position to understand the differences between various
musical froms of Assam.

Reference Books:

1. Basant, “Sangeet Bisharad”, Sangeet Kryalay Hathras, 2017

2. Bhuyan, Dr. Sarada, “ AsomiyaGeetiSahityarRuprekha”, Asom Sahitya Sabha, 2011
3. Dutta, Birendra Nath, “Asomiya Sangitar Oitijya”, Asom Sahitya Sabha, 1998.
4. Nag, Goutam(ed), “Introduction to Music and Musicology”, Rabindra Bharati University,
Kolkata, 2008

64
 Course No -C-602 (Sattriya Dance)
Sattriya Dance Styles-IV
(Credit:6)
Marks: (Practical= 80, Internal= 20)
Total Practical classes= 84

Course Objective: This course intends to provide in-depth knowledge of the different dance
numbers of Sattriya dance of both male and female style and basic knowledge of Sattriya
Ojapali. The Practical Note Book shall cover all theoretical aspects of the contents with both
descriptive, analysis and representation.

Unit-I: [Lectures: 30; Marks: 20]

Rajaghariya Chali (Ramdani – 2)

(Geet-Mishra/BrahmaTal)

Unit-II: [Lectures: 15; Marks: 20]

Sutradhari (Pravesh, Rag, Ghat, Slok, Bhatima)
Unit-III: [Lectures: 15; Marks: 20]

Bahar (Ramdani,Geet) [Lectures: 24 ; Marks: 20]

Unit-IV:
Sattriya Ojapali (Basic knowledge)
Raga, Sloka, and Geet

Practical Note Book:

[The Practical Note Book (PNB) shall have to be prepare by the students on the various
topics included in the Course No. C-602. The Course teachers shall guide the students in
preparing the PNB and that shall be internal assessment for this Course]
Learner’s Outcome:
After completion of the course, the learner shall be in a state to understand,
appreciate and value the rich Indian culture and will bring moral and spiritual qualities in
their life. It would provide them with good practical knowledge on both male and female
dance style in the field of Sattriya dance, and Sattriya Ojapali, thereby enabling them to go
through the forms with both theoretically and practically.

Reference Book:
1. Neog, Maheswar. Sattriya Nritya Aru Sattriya Nrityor Tal. Asom Prakashan Parisad.
1st ed.1973.

2. Borthakur ,Dilip Ranjan, Khol Vigyan , Chandra Prakash , 2008

65
 Course No C-602 (Theatre Art)
Students’ Production
(Credit: 6)

Marks: (Practical= 80, Internal= 20)

Total Practical classes: 84

Objectives:
This course will examine the student’s ability in producing a scene work exclusively on their own, starting
from the writing of the script to the final production. Emphasis will be given to implementation of the
production process throughout the

Scene work on design and acting [Lectures:84; Marks:80]

Learner’s Outcome:

The Course will provide the platform to the students to implement all their theoretical knowledge, they
have learned in their earlier semester and develop their creative skill of theatre construction.

66
 Course No -C-602 (Vocal Music)
Practical-IV
(Credit:6)
Marks: (Practical=80, Internal= 20)
Total Practical Classes= 84
Objective:
This paper aims to familiarize students with the practical performances of some of the Ragas of
North Indian Raga music along with the performances of some Bargeets.

Unit : I Performance of the Ragas of previous semesters (with both Vilambit and
[Lectures: 25; Marks:20]

Chota Khayals) in Ektal, Trital, Jhaptal and Tilwara

Unit-II Presentation of any one Raga following Alaap, Bol Alaap, Bol Taan, AakarTaan,
Layakari [Lectures: 20; Marks:20]

Unit-III Presentation of Bargeet [Lectures: 20; Marks:20]

Unit : IV One Thumri/ Dadra and Bhajan based on any Raga [Lectures: 19; Marks:20]

Expected Students' outcome:

After completion of the course students shall be in a position where they shall have the basic idea on
various aspects which are required for a stage performance on Indian classical music, semi classical
music and Bargeet.

67
 Course No: DSE-603
Musical Instrument in Performing Arts (Khol)
(Credit: 6)

Marks: (Theory=40, Practical= 40, Internal= 20)

Total Lectures including Practical = 84

Objectives: This course will highlight the major instrument of Sattriya music, its elements,
performance style, alone with the folk instruments of North-east, life and contributions of
some figures

Unit-I: [Lectures: 5; Marks:10]

Study of different Dhemali of Khol

Unit-II: Folk Instruments of North-East: [Lectures: 10; Marks: 10]

Dhol, Pepa, Tala, Bahi, Gagana, Taka, Tukari, Hutuli, Negara, Kham, Dagar, Madal,
Khol, Bhur Tal, Chrinda, Cherja, AjokTapong, Dhup Tong, Pati Dhol,etc

Unit-III:a. Life and Contribution: Sankardeva, Madhadeva, BadalaPadama Ata

b. Life and Contribution of Some Contemporary Sattriya Gurus: Narahari Burha
Bhakat, Moniram Dutta Barbayan Muktiyar, Bapuram Bayan, Rasheswar Saikia
Barbayan, Gopiram Bargayan Burha Bhakat , Ghanakanta Barbayan
[Lectures: 20; Marks: 20]

Unit-IV:
Ability to write notation [Lectures: 10; Marks: 10]
Saru Bisham tala, Mathjyoti tala, Rakta Tala, Dumani tala, Brahma Tala, Rajaghariya
Chali, Nadu Bhangi, Na-Dhemali, Borpatiya Dhemali, Dharam Jyoti Tala, Kharman
Tala

Practical [Practical classes: 49; Marks: 40]

Unit-I: 10
Any two Dhemalis

Unit-II: 10
Saru Bisham Tala, Mathjyoti, Rakta Tala, Dumani Tala, Brahma Tala,
Unit –III :
Rajaghariya Chali, Nadu-bhangi, Chali Nāc, Krishna Nritya10

Unit-IV: 10
Ability to accompany with Dance and Bargeet

Internal assessment: Sessional exam, Classroom presentation 20

Learner’s Outcome:

68
 After completion of the course, the learner shall be in a state not only be able to
understand, appreciate and value the rich Indian culture, but will also bring moral
and spiritual qualities in their life. It would provide them with a good knowledge in
the field of Sattriya music and thereby enabling them to learn about the only
traditional percussion instrument of Assam Khol. The students will be benefit with
both theoretically and practically.

Reference Books:
1. Barthakur, Dilip Ranjan. Khol Vigyan. Chandra prakasan, Guwahati-2004.
2. Borah, Karuna. SattriyaNrityar Rup Darshan. GharnthaSanskrti, Tarajan, Jorhat,
2006.
3. Hazarika, Bhaben. Keshaba Keli. Barnamala Parakasan, Jorhat, 1 st ed.,2021
4. Karabi Deka Hazarika, Madhabdeva Sahitya kala Aru Darshan.Pub. Barnalata,
Dibrugarh-1991
5. Mahanta, Pradipjyoti. Sattriya Nritya: Aitihya Abhas. Asom Prakasan Parisada, 1st ed.
Ghy-72002.

6. Neog, Maheswar. ed. Sattriya Nritya Aru Sattriya Nritya Tal.

Asom Prakasan Parishada, 2nd ed.,2003.

7. Saikia, Debojit. BadyaAvigyan. KustavaPrakashan, Dibrugarh, 2nd ed.2013.

8. Sarmah,Sunaram. Badula padma Atar Katha Charit. Anubhav Parkasan, Titabar,
1sted., 2019.
9. Sarmah, Nabin Chandra. Mahapurush Srimanta Sankaradeva. Banalata, Guwahati-
11st ed., 2014

69
 Course No -DSE-603

Musical Instrument in Performing Arts (Tabla)

(Credit: 6)
Marks: (Theory=40, Practical= 40, Internal= 20)
Total Lectures including Practical = 84
Objective:
This course will introduce students with the theory as well as practice of one of the major
instruments in performing arts, the Tabla.

Theory

Unit I: Tabla Swatantravadan or Lahara (Solo); detailed study of different Gharanas and Baj of
Tabla [Lectures: 5; Marks: 10]

Unit II: 1. Sangat (Accompaniment) with Vocal Music, Tantra Vadya and Nritya

2. Tuning of Tabla [Lectures: 10; Marks: 10]

Unit III: 1. Comparative study of Pt. V.N.Bhatkhande and Vishnu Digambar Palushkar notation
system [Lectures: 5; Marks: 10]

2. Ability to write in notation of prescribed Tala: Teental, Jhaptal, Ektaal, Choutal, Dhamar,
Rupak and Khemta

Unit IV: 1. Definitions of Layakari, Paran, Rela, Peskar, Chakradhar, Gat, Laggi; 2. Life Sketches
of legendary Tabla players in India [Lectures: 10; Marks: 10]

Practical [Practical classes:54; Marks: 40]

Unit I: 1. Basic knowledge of Sangat and Tuning of Tabla

2. Prakar of Rupak Tal and Khemtatal

Unit II:

1. Teental: Quaidausing the bol “DhatiDhage’’ or “KreDhe’’, Bister, Tihai,Tukda, Chakradhar,

Gat, Rela, Peshkar; 2. Jhaptal : Simple Quaida, Bisters, Tehai and Tukda; 3. Ektal: Simple Quaida,
Bister, and Tihai, Tukda

Unit III: 1. Choutal and Dhamar: Paran and Tihai

2. Simple Laggi of Dadra and Kaharwa Tal

Unit IV: 1. Tala knowledge: Choutal, Dhamar, Rupak, Khemta

70
 2. Padhant (reciting) of all the Talas and Bols.

Expected Students' outcome:

After completion of the course students shall be in a position where they shall have some basic
theoretical and practical knowledge on Tabla.

Reference Books:

1. Borthakur, Dr.Dilip Ranjan, “ Tabla Vigyan”, Chandra Prakashan,Panbazar, Guwahati,

1975
2. Roy, Indubhushan,“ Tabla Vigyan”,Bharati Prakashini, Kolkata, 2001

71
 Course No DSE-603
Bharatnatyam-II
(Credit: 6)
Marks: (Theory=40, Practical= 40, Internal= 20)
Total Lectures including Practical = 84

Course Objective: The course intends to familiarize students with the theory as well as
practice of one of the major classical dance forms in India, the Bharatnatyam.

Unit – I: [Lectures: 10; Marks: 10]

a. Origin and Evolution of Bharatnatyam

b. General Introduction to main Classical dance forms of India
c. Description of Mridangam
Unit – II: [Lectures: 10; Marks: 10]

a. Abhinaya: its parts

b. Nataraja: its description
c. The essentiality and benefits of practicing dance
Unit – III: [Lectures: 8; Marks: 10]

a. Knowledge of Nritta, Nritya and Natya

b. Knowledge of ShaptaTala
c. Knowledge of Jaati
d. Knowledge of South Indian TalaSystem
Unit – IV: [Lectures: 12; Marks: 10]

a. Short note:
Shiro bheda, Drishti bheda, Greevabheda, Devata hasta.
b. Notation:
Sarikkaladavu, Etta adavu, Kuditthumeethuadavu, Mandi adavu,
tahata jhum tari adavu, Tirmanamadavu, Jathiswaram, Shabdam

c. Life Sketch: Rukmini Devi Arudale, Tanjore Quartet, Balasaraswati, Saroja

Vaidyanathan, Geeta Chandra, Shovana Narayan.

Practical: [Practical Classes: 44; Marks: 40]

72
 Unit- I: Marks: 10

a. Exercises
b. Ettaadavu
c. Kuditthumetthuadavu
d. Mandiadavu
e. Tahata jhum tariadavu
f. Tirmanamadavus
Unit- II: 10

a. Shirobheda
b. Drishtibheda
c. Greevabheda
d. Devatahasta
Unit – III: 10

a. Jathiswaram
b. Shabdam
Unit –IV 10

A. Ability to conduct Nattuvangam of all the items learnt in syllabus

B. Practical presentation

EXPECTED LEARNER’S OUTCOME

After completion of the course, the learner shall be in a state not only be able to
understand, appreciate and value the rich Indian culture, but will also bring moral and
spiritual qualities in their life. It would provide them with a good knowledge of Indian
classical dance, thereby enabling them to go through the oldest Indian classical dance
‘Bharatnatyam’ both theoretically and practically.

Reference Books:
1. Devi, Ragini. (2002).Dance Dialects of India. Delhi: Motilal Banarsi
dass Publishers Private Limited.

2. Massey,Reginald.(2004).India’sDances:TheirHistory,TechniqueandRepertoire,New
Delhi, AbhinavPublications.

3. Mehta, Usha (2011). Legacy of Classical Dances In India, New Delhi: Cyber Tech
Publications
73
4. Mehta, Usha ( 2011). Dances of South India. New Delhi: Cyber TechPublications.
5. Banerji, Projesh. (2009). Basic Concepts of Indian Dance. Delhi. Chaukhambha
Orientalia
6. Vatsyayan, Kapila (2015). Indian Classical Dance, New Delhi, PublicationDivision.
7. Raghavan, V, (2004), Splendours of Indian Dance (Forms-Theory-Practice), Chennai,
Dr. V. Raghavan Centre for PerformingArts.
8. Bhagyalekshmy, S (1992), Approach to Bharatnatyam, Trivandrum, CBH
Publications.

9. Ramachandrasekhar, P. (2017). Dance Gestures Mirror of Expression. Chennai, Giri

Trading Agency Pvt.Ltd.

74
 Course No -DSE-604
Concept of Folk Music
(Credit: 6)
Marks: (Theory=40, Practical= 40, Internal= 20)
Total Lectures including Practical = 84

Objective:

This course will introduce students with the theory as well as practice with specific focus on the
Folk music of Assam.

Theory

Unit I: Meaning of Folk Music

1. Classification of Folk Music [Lectures : 22 ; Marks : 10]
2. Nature and characteristics of Folk Music

Unit II: Subject matter and performing style of various folk songs of Assam: [Lectures : 22 ; Marks : 20]
Bihunam, Biyanam, Tokari Geet, Goalporia Lokageet, Kamrupi Lokageet

Unit III: Various instruments used in folk songs of Assam :

Dhol, Penpa, Gogona, Tokari [Lectures : 14 ; Marks :
10]

Practical

Unit I: Various folk songs of Assam: [ Lectures : 26 ; Marks : 30]

Bihunam, Biyanam, Ainam, Dhainam, Goalporia Lokageet, Kamrupi Lokageet, Jhumur Geet

Unit II: Dhol, Gagana, Penpa, Tokari (10)

Expected Students' outcome:

After completion of the course students shall be in a position to understand the meaning of Folk
Music with reference to the various folk music prevalent in Assam. Students shall also get some
practical knowledge on some of the Folk music of Assam.

Reference Books:

1. Bhuyan, Dr. Sarala, “Asomiya Geeti Sahityar Ruprekha”, Asom Sahitya Sabha, 2011
2. Biswas, Hemanga, “Lokageet Samiksha: Asam O Banga”
3. Dutta, Dr. Birendra Nath, “ Asomiya Sangeetor Oitijya”,Asom Sahitya Sabha, 1998
4. Sharma, Phani,” Asomiya Loka Sahitya”, Student’s Stores, Guwahati,

75
 Course No DSE-604
Kathak-II
(Credit: 6)
Marks: (Theory=40, Practical= 40, Internal= 20)
Total Lectures including Practical = 84

Course Objective: The course intends to familiarize the students with the theory as well as
practice of one of the major classical dance forms in India, the Kathak.

Theory

Unit – I: [Lectures: 10; Marks: 10]

a) Development of Kathak Dance during The Mughal period, The Hindu period
and The Modern period.
b) Movements of different body parts:
neck movement, eye movement, head movement.
c) Description of Tabla with diagram.

Unit – II: [Lectures: 10; Marks: 10]

a) Introduction to main classical dance form of India.

b) The Tandav and the Lasya.
c) Study of Lokdharmi and Natyadharmi.
Unit – III: [Lectures: 8; Marks: 10]

a) Explanation of Abhinaya with its four parts.

b) Constituents of Dance: Nritta, Nritya and Natya.
c) Study of the following terms: Vrittis, Pravrittis, Charis, Pada-bhedas, Gati-bhedas etc.
Unit – IV: [Lectures: 12; Marks: 10]

a) Short notes- Gatnikas, Kavit, Salami, Parmelu, Paran, Palta, Kasak, Masak, Katash,
Natwari.
b) Life sketch- Bindadin Maharaj, Kalika Prasad, Uday Shankar, Birju Maharaj, Pt.
Rajendra Gangani.

76
 Practical: [Practical Classes: 44; Marks: 40]

Unit- I:
10

Teental + Jhaptal

1) Advanced Tatkar and their palta(teental)

2) Parad Jodi Amad(Jhaptal)
3) Parmelu(teental)
Unit- II
10

1) Gatnikas
2) Gatbhawa(Panghat kilila)
(Holi)
(Makhanchori)
Unit – III:
10

Ektaal

1) That
2) Amad
3) Tukra
4) Parmelu
5) Chakradhar tukra&Paran
6) Tihai
Unit - IV:
10
Bhajan/ Thumri.

EXPECTED LEARNER OUTCOME

After completion of the course, the learner shall be in a state not only be able to
understand, appreciate and value the rich Indian culture, but will also bring moral and spiritual
qualities in their life. It would provide them with a good knowledge of Indian classical dance,
thereby enabling them to go through the popular Indian classical dance ‘Kathak’ both
theoretically and practically.

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Reference Books:

1. Garg, Lakshmi Narayan. (2016). Kathak Nritya, Anubhav PublishingHouse.

2. Gupta, Bharti. (2004). Kathak Sagar, Radha Publication
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‘Kathak’, Chandigarh, Abhishek Publication.
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Trading Agency Pvt. Ltd.
5. Bordoloi, Charu. Nartan Kala Manjari. Guwahti. Eskebee Publication.
6. Srivastava, Ranjana.(2008).KathakaTheTradition:FusionandDiffusion.NewDelhi:D.K.
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7. Kothari, Sunil.(1989). KathakIndianClassicalDanceArt.NewDelhi:AbhinavPublication.

8. Massey, Reginald. (2004). India’s Dances: Their History, Technique and Repertoire, New
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9. Borthakur, D.R. (1983). Tabla Vigyan. Guwahati. Chandra Prakash.

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