Odissi Syllabus — 9 Years
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Prarambhik 
**Practical Examination Only**  
**Total Marks:** 50  
**Minimum Pass Marks:** 18  

#### Theory (15 Marks)
1. **Introduction to the main classical dance styles:**  
   Basic introduction to the main classical styles—Manipuri, Kathakali, Odissi, Bharatanatyam, Kathak, Mohiniattam, and Kuchipudi—with reference to place of origin.

2. **Ability to define:**  
   - Matra  
   - Laya  
   - Tala  

3. **Ability to demonstrate the asamyukta hastas (single-hand gestures) from the Abhinaya Darpana** (not including Viniyogas).

#### Practical (35 Marks)
1. **Elementary Steps:**  
   a) Demonstration of 10 steps each in *chauka* and *tribhanga* set to *Ek Taali* in three speeds (*Ekgun*, *Dugun*, and *Cha ugun*).  
   b) Recitation with hands of the *sthayi ukta* to which the steps are composed.

2. **Padastithi:**  
   Demonstration and ability to identify the basic foot positions:  
   - Sama  
   - Kumbha  
   - Dhana  
   - Maha  

**Prarambhik: Total Marks 50, Time: 10 min. for each candidate**

| Category | Marks |
|----------|-------|
| **Practical:** | |
| Elementary Steps in Chauka | 10 |
| Elementary Steps in Tribhanga | 10 |
| Recitation of Sthayi Ukta (Ektal) | 5 |
| Padastithi or Bheda | 5 |
| **Subtotal (Practical)** | **30** |
| **Theory:** | |
| Asamyukta Hasta from Abhinaya Darpana (AD) | 5 |
| Naming the Origin of Each Style | 5 |
| Definition of Matra, Laya, and Tala | 5 |
| **Subtotal (Theory)** | **15** |
| **General Impression** | 5 |
| **Grand Total** | **50** |

----------------------------
Praveshika Pratham 
**Total Marks:** 75 (Practical: 60; Theory: 15)  
**Minimum Pass Marks:** 26  
*(Theory to be taken as viva along with the practical examination)*  

#### Theory (15 Marks)
1. **Oriya Saying:**  
   *Uthaa Baithaa Thiyaa Chaali, Budaa Bhasaa Bhaunri Paali, Odissi nata re atha Beli*  
   a) Meaning of the saying.  
   b) Definition of the term "Beli".  
   c) Identification of each of the eight Belis (Uthaa, Baithaa, Thiyaa, Chaali, Budaa, Bhasaa, Bhaunri, Paali) with practical examples for each.

2. **Hastas:**  
   Ability to demonstrate and identify the *samyukta hastas* from the *Abhinaya Darpana* (not including viniyogas).

3. **Shirobheda, Drishtibheda and Gripbhedas from Abhinaya Darpana:**  
   Demonstration in sequential order and ability to identify each (not including viniyogas).

4. **Definitions:**  
   a) *Tandava* and *Lasya*  
   b) *Nrtta*, *Nritya* and *Natya*  
   c) *Anga*, *Pratyanga* and *Upanga*

5. **Myths related to Lord Ganesha:**  
   a) Why the elephant head  
   b) Why Ekdanta  
   *(Revision of earlier course is compulsory and can be examined.)*

#### Practical (60 Marks)
1. **Arasas in Odissi talas:** *Ektali* (4 matras) and *Triputa* (7 matras).  
   a) Demonstration of one arasa in each tala.  

*(Page 151)*

----------------------

*(Continuation of Practical Section; Total Marks: 75; Time: 15 min. for each candidate)*

#### Practical (Continued)
1. **Arasas (Continued):**  
   b) Recitation with hands of each of the *dharanas* (sthayi ukutas) of the talas mentioned above.  
   c) Recitation with hands of each of the *ukutas* (bols) of the Arasas learnt.

2. **Mangalacharan:**  
   a) Demonstration with hands of the *ukutas* of the item.  
   b) Recitation with hands and tala the item is composed to.  
   c) Naming the *raga* and *tala* used.  
   d) Identification of the *hastas* used.  
   e) Identification and demonstration of the various components of the item:  
      - *Manchala Pravesha*  
      - *Pushpanjali*  
      - *Bhumi Pranam*  
      - *Ishta Deva Vandana*  
      - *Trikhandi/Sabha Pranam*  
   f) Explanation/meaning of the *Sloka* in the *Ishta Deva Vandana*.

3. **Bhangis:**  
   a) Definition of the term 'bhangi'.  
   b) Demonstration and identification of the following bhangis:  
      *Samabhanga*, *Abhanga*, *Chauka*, *Tribhanga*, *Atibhanga*.

#### Marks Distribution
| Category | Marks |
|----------|-------|
| **Practical:** | |
| Arasa Demo. & Recite (Ektal/Triputa) | 10 |
| Mangalacharan (Demo/Tala/Raga; Hasta/Meaning/Components) | 20 |
| Bhangis | 5 |
| Shirobheda, Grivabheda and Drishtibheda | 5 |
| **Subtotal (Practical)** | **40** |
| **Theory:** | |
| Samyukta Hasta from Abhinaya Darpana (AD) | 5 |
| Belis | 5 |
| Definitions (Tandava/Nrta/Natya/Anga/Pratyanga/Upanga; Lasya/Nritya) | 10 |
| Ganesha Myths | 5 |
| **Subtotal (Theory)** | **25** |
| **Grand Total** | **75** |

*(Page 152)*
------------------
Praveshika Dwitiya Varsha (Purna) 
**Total Marks:** 125 (Practical: 75; Theory: 50)  
**Minimum Pass Marks:** 44 (Practical: 26; Theory: 18)  
*(From this year onward the Theory examination will be a written paper)*  

#### Theory (50 Marks)
1. **Elementary introduction to the texts: Abhinaya Darpana, Abhinaya Chandrika and Natya Shastra.**  
   a) Identification of author and (approximate) date.  
   b) Basic overview of the broad areas covered in the contents of each text.  
   c) Myths regarding the origins of dance according to each text.

2. **Elementary knowledge of the main classical dance styles:**  
   Odissi, Bharatanatyam, Kathak, Manipuri, Kathakali, Mohiniattam and Kuchipudi with special reference to:  
   a) Place of origin.  
   b) Aharya.  
   c) Music and musical instruments.  
   d) Stylistic features, technique and repertoire.

3. **Notation of the Sthayi Uktas (Dharanas), Arasas, Mangalacharana and Batu/Sthai.**

4. **Definition of the terms:**  
   - Matra  
   - Laya  
   - Tala  
   - Avaratna/Avarta  
   - Taali  
   - Khaai  
   - Sam (Gurghar)  
   - Vibhaga (Anga)

#### Practical (75 Marks)
1. **Batu/Sthai:**  
   a) Demonstration of the item.  
   b) Identification of the hastas, padabhedas and bhangis used.  
   c) Identification with hands of the uktas of the item.  
   d) Recitation with hands raga and tala the item composed to.  
   *(Note: Likely "Recitation with hands of the raga and tala the item is composed to.")*

2. **Pallavi in Ektali:**  
   a) Definition of the term "Pallavi".

*(Page 153)*  
*(Header note: Alasa, Darpana, Abhimanana and Nivedana – possibly referring to specific items or invocations in the syllabus context.)*

----------------

### Praveshika Purna: Odissi Dance (Practical Continued)
*(Total Marks: 75; Time: 20 min. for each candidate)*

#### Practical (Continued)
*(Note: This completes the Practical section for Praveshika Dwitiya Varsha (Purna). References to "item" likely pertain to Batu/Sthai or Pallavi as outlined in the prior page.)*

1. **Batu/Sthai (Continued):**  
   b) Demonstration of the raga and tala the item is composed to.  
   c) Identification of the hands of the *bols* of the item.  
   d) Recitation with hands of the *bols* and bhangis used.  
   e) Identification of the hastas and bhangis used.

2. **Pallavi in Ektali (Continued):**  
   *(From prior page: Definition of the term "Pallavi".)*  
   b) Demonstration of the item.  
   c) Identification with hands of the *bols* of the item.  
   d) Recitation with hands and tala of the item.  
   e) Identification of the hastas and bhangis used.

3. **An Odissi Song by Any Poet:**  
   a) Demonstration of the item.  
   b) Name of the author.  
   c) Naming of the *raga* and *tala* of the item.  
   d) Meaning of the verses used.  
   e) Identification of the hastas used in the verses of the item verbally.  
   f) Recitation of the *uktas* and verses of the item verbally and by hand.

4. **Demonstration and Identification of the Following Bhangis:**  
   - *Mardala*  
   - *Paarshva Mardala*  
   - *Akunchanana*  
   - *Nikunchanana*  
   - *Shukachanchu*  
   - *Biraja*  
   - *Patala*  
   - *Shivakara*

#### Marks Distribution
| Category | Marks |
|----------|-------|
| **Batu/Sthai:**<br>Demo/Recitation/Hasta/Bhangi/Pada Bheda | 20 |
| **Pallavi:**<br>Demo/Raga/Tala/Recitation/Hasta/Bhangi | 20 |
| **Abhinaya:**<br>Demo/Poet/Raga/Tala/Meaning/Hastas/Recitation | 20 |
| **Bhangi** | 10 |
| **General Impression** | 5 |
| **Grand Total** | **75** |

*(Page 154)*

----------------
Madhyama Pratham 
**Total Marks:** 200 (Practical: 125; Theory: 75)  
**Minimum Pass Marks:** Total: 44 (Practical: 44; Theory: 26)  
*(Theory examination is a written paper)*  

#### Theory (75 Marks)
1. **Notation of the Pallavi learnt in Triputa tala.**

2. **Lives and writings of Oriya poets:**  
   (a) Jayadeva  
   (b) Baladeva Rath  
   (c) Banamali  
   (d) Upendra Bhanja  
   (e) Gopala Krishna

3. **Detailed knowledge of Odissi dance:**  
   a) A brief history of the tradition and development of the style (1st/2nd century BC to the 1950s).  
   b) Basic stylistic features and technique.  
   c) Repertoire.  
   d) Musical instruments.  
   e) Aharya (costume and jewellery).

4. **Definition of the terms relating to tala:**  
   a) Sthayi Ukuta (Dharana)  
   b) Bani  
   c) Ukuta  
   d) Khandi  
   e) Gadi  
   f) Maana  
   g) Jhula  
   h) Pohapata  
   i) Padi.

5. **Abhinaya:**  
   a) Definition of the term.  
   b) Definition of the four aspects: *angika*, *vachika*, *aharya* and *sattvika*.

*(Page 155)*

-----------------

**Total Marks:** 200 (Practical: 125; Theory: 75)  
**Minimum Pass Marks:** Total: 44 (Practical: 44; Theory: 26)  
*(Theory examination is a written paper)*  

#### Theory (Continued)
6. **Odissi Talas:**  
   Notation of the *sthayi ukuta* or *esh tala*:  
   - *Khemta* (6 matras)  
   - *Jhampa* (10 matras)  
   - *Rupaka* (6 matras)  
   - *Ashtatala* (8 matras)  
   - *Aditala* (16 matras)  
   - *Jati* (14 matras)  
   - *Adtali* (14 matras)  
   - *Aditala* (16 matras)  

   With:  
   - Number of matras  
   - *Vibhaga* structure (X, O, 2, 3)  
   - Notation symbols (X, O, 2, 3)  

   *(Revision of earlier course is compulsory and can be examined)*

#### Practical (125 Marks)
1. **Pallavi in Triputa Tala (3:2:2):**  
   a) Demonstration of the item.  
   b) Identification of the hastas and bhangis used.  
   c) Recitation with hands of the uktas of the item.  
   d) Name of the *raga*, *tala*, composer and choreographer of the item.

2. **Ashtapadi from the Gita Govinda** (either *Lalita Lavangalata* or *Chandan Charchita*):  
   a) Demonstration of the item.  
   b) Identification of the *raga* and *tala* used in the item.  
   c) Meaning of the verses used in the item.  
   d) Explanation of the *bhavas* used.  
   e) Identification of the hastas used.  
   f) Recitation of the *uktas* and verses of the item verbally and by hand.

3. **Abhinaya to an Odissi Song of Any Poet:**  
   a) Demonstration of the item.  
   b) Basic knowledge regarding the item (poet, *raga*, *tala*).  
   c) Meaning of the verses used.  
   d) Explanation of the *bhavas* used in the rendition of the item demonstrated.

*(Page 156)*

-------------------------

*(Total Marks: 125; Time: 35 min. for each candidate)*

#### Practical (Continued)
*(Note: This completes the Practical section for Madhyama Pratham. References to "item" pertain to Ashtapadi or Odissi Song as outlined in the prior page.)*

2. **Ashtapadi from the Gita Govinda (Continued):**  
   e) Identification of the hastas used.  
   f) Recitation of the *uktas* and verses of the item verbally and by hand.

3. **Abhinaya to an Odissi Song of Any Poet (Continued):**  
   *(From prior page: Demonstration, basic knowledge (poet, raga, tala), meaning of verses, explanation of bhavas used.)*

4. **Hastas:**  
   a) Demonstration and ability to identify the hastas used in Odissi from the *Abhinaya Chandrika* and the Oral tradition.  
   b) Demonstration of the *viniyogas* with shlokas of the *samyukta hastas* from the *Abhinaya Darpana* up to *Shikhara Hasta*.

5. **Demonstration and Identification of the Following Bhangis:**  
   - *Aratrika*  
   - *Kshipita*  
   - *Kunjarabaktra*  
   - *Chaturmukha*  
   - *Sharakshepa*  
   - *Shrutikula*

6. **Knowledge of Other Odissi Talas:** *Khemta* (6 matras), *Rupaka* (6 matras), *Ashtatalu* (8 matras), *Jhampa* (10 matras), *Adtali* (14 matras) and *Aditala* (16 matras).  
   - Recitation with hands of each of the *sthayi uktas* (dharanas) of the talas mentioned above.

#### Marks Distribution
| Category | Marks |
|----------|-------|
| **Pallavi in Triputa Tala:**<br>Demo/Hasta/Bhangi/Recitation/Raga/Tala | 25 |
| **Ashtapadi:**<br>Demo/Raga/Tala/Meaning/Bhavas/Recitation | 25 |
| **Odissi Song:**<br>Demo/Poet/Raga/Tala/Meaning/Bhavas/Hastas/Recitation | 25 |
| **Hastas:**<br>From Abhinaya Chandrika + Oral Tradition<br>Viniyogas up to Shikhara from Abhinaya Darpana | 20 |
| **Bhangis** | 10 |
| **Odissi Talas** | 15 |
| **General Impression** | 5 |
| **Grand Total** | **125** |

*(Page 157)*

-------------------
Madhyama Dwitiya Varsha (Purna) 
**Total Marks:** 250 (Practical: 150; Theory: 100)  
**Minimum Pass Marks:** Total: 88 (Practical: 53; Theory: 35)  
*(Theory examination is a written paper)*  

#### Theory (100 Marks)
1. **The contemporary history of Odissi dance:**  
   a) The revival phase (from mid-20th Century to the present day).  
   b) Life history and contributions of Guru Pankajcharan Das, Guru Kelucharan Mohapatra and Guru Deb Prasad Das.

2. **The Mahari and Gotipua traditions and Pallavi demonstrated in the practical course.**

3. **Notation of Dashavatara, Moksha and Pallavi.**

4. **Tala Lipi / Notation in dugun, tigun and chaugun of the sthoyi ukuta (dharanas) of the Odissi talas:**  
   *Ektali*, *Rupaka*, *Triputa*, *Jhampa* and *Jatitala*.

5. **Elementary knowledge of the three styles of Chhau:**  
   *Mayurbhanj*, *Seraikella* and *Purulia*.

6. **Myths relating to each of the Dashavatara.**  
   *(Revision of earlier course is compulsory and can be examined)*

#### Practical (150 Marks)
1. **One Additional Pallavi:**  
   a) Demonstration of the item.  
   b) Identification of the hastas and bhangis used.  
   c) Recitation with hands of the uktas of the item.  
   d) Identification of the *raga*, *tala*, composer and choreographer.

2. **Gitabhinaya with Sthayi and Sanchari Bhavas:**  
   a) An *ashtapadi* from the *Gita Govinda* portraying a *Nayika*.  
   b) *Dashavatara*.  
   c) A *Champu*.  

   In terms of:  
   • Demonstration of the item.

*(Page 158)*

----------------
### Madhyama Purna: Odissi Dance (Practical Continued)
*(Total Marks: 150; Time: 40 min. for each candidate)*

#### Practical (Continued)
*(Note: This completes the Practical section for Madhyama Dwitiya Varsha (Purna). References to "item" pertain to Gitabhinaya options or Moksha as outlined in the prior page.)*

2. **Gitabhinaya with Sthayi and Sanchari Bhavas (Continued):**  
   In terms of:  
   • Meaning of the verses used.  
   • Explanation of *bhavas* used in the rendition of the item demonstrated.  
   • Identification of the *hastas* used.  
   • Recitation of the *uktas* and verses of the item verbally and by hand.  
   • Identification of the *raga*, *tala* and poet.  
   • Type of the *nayika* portrayed.

3. **Moksha:**  
   a) Demonstration of the item.  
   b) Identification of the *hastas* and *bhangis* used.  
   c) Identification of the *raga* and *tala*.  
   d) Recitation with hands of the *uktas* of the item.

4. **Hastas:**  
   a) Demonstration of the *viniyogas* and their *shlokas* of the rest of the *asamyukta hastas* from the *Abhinaya Darpana* (from *Kapittha Hasta* onwards).  
   b) Comparison of *hastas* from the *Abhinaya Darpana* and the *Abhinaya Chandrika*.

5. **Demonstration and Identification of the Following Bhangis:**  
   - *Gopanaa*  
   - *Nandyavartaa*  
   - *Tarangaa*  
   - *Goshpadakaanga*  
   - *Neshayudda*  
   - *Pranataa*  
   - *Archakaa*

#### Marks Distribution
| Category | Marks |
|----------|-------|
| **Pallavi:**<br>Demo/Hasta/Bhangi/Recitation/Raga/Tala/Composer/Choreographer | 25 |
| **Abhinaya:**<br>Demo/Poet/Raga/Tala etc. | 25 |
| **Sthayi/Sanchari etc.:**<br>Ashtapadi/Dashavataar/Champu | 20 |
| **Moksha:**<br>Demo/Recitation/Viniyoga/Raga/Tala etc. | 20 |
| **Hastas:**<br>Viniyoga/Asamyukta Hasta/Comparison AC & AD | 20 |
| **Bhangis** | 10 |
| **General Impression** | 10 |
| **Grand Total** | **150** |

*(Page 159)*

---------------------
Visharad Pratham 
**Total Marks:** 400 (Practical: 250; Theory: 150)  
**Practical Marks:** 250 (Viva: 200; Dem II: 75 each)  
**Theory Marks:** 150 (Paper I and II: 75 each)  
**Minimum Pass Marks:** Total 180 (Practical: 128; Theory: 52)  
*(26 in each paper)*  

#### Theory Paper I (75 Marks)
1. **Concept of ashtanayika according to vastubheda:**  
   a) Swadheenapatika  
   b) Vasakasajjika  
   c) Virahotkanthita  
   d) Abhisarika  
   e) Vipralabdha  
   f) Khandita  
   g) Kalahantarita  
   h) Proshitapatika  

2. **Definition and explanation of the terms:**  
   a) Lokadharmi and Natyadharmi; Desi and Margi  
   b) The four vrittis: Bharati, Satvati, Arabhati and Kaishiki  
   c) Karana, Matrika and Angahara.

3. **Reference to Odissi dance in various Oriya treatises:**  
   *Abhinaya Darpana Prakash*, *Sangeet Kalpalata*, *Natya Manorama*, *Sangeet Narayan* and *Sangeet Muktawali*.

4. **The Jagannath cult and Odissi dance:**  
   a) The myth and Odissi dance.  
   b) The myth related to the creation of the image of the deity.  
   c) Rituals of the Maharis in the Jagannath Temple.

5. **Krishna legends related to the Odissi repertoire:**  
   a) Raas  
   b) Vastra harana  
   c) Kaliya damana  
   d) Govardhan Leela  
   e) Draupadi vastra daan.

*(Page 160)*

-----------------

*(Total Marks: 400; Practical: 250 (Viva: 200; Dem II: 75 each); Theory: 150 (Paper I: 75; Paper II: 75))*  
**Minimum Pass Marks:** Total 180 (Practical: 128; Theory: 52 (26 in each paper))*  

#### Theory Paper II (75 Marks)
1. **Dashaprana:**  
   Definition and explanation of the ten *pranas* of tala.

2. **Understanding of the Saptatala system:**  
   *Dhruva*, *Mathya*, *Rupaka*, *Jhampa*, *Triputa*, *Atta* and *Ek*;  
   and the *jatis*: *Tisra*, *Chatusra*, *Khanda*, *Mishra*, *Sankirna*.

3. **Notation:**  
   The *Pallavi* in *Jhampa tala* (10 matras) from the practical course.

4. **Odissi Mardala:**  
   a) Its construction and *bani*.  
   b) Its historical references.

5. **Allied art forms of Orissa:**  
   *Pala*, *Raas Lila*, *Shabda Nritya* and *Prahlad Nataka*.  
   *(Revision of the earlier course is compulsory and can be examined.)*

#### Practical: Viva (50 Minutes)
1. **Bhavabhinaya of one additional Nayika and one Dheera-lalita Nayak:**  
   a) Demonstration of the item.  
   b) Naming of the *raga* and *tala* of the item.  
   c) Vocal rendition of the song with *tala* shown by hand.  
   d) Explanation/Meaning of the verses used.  
   e) Analysis of the *bhavas* used.  
   f) Positioning of the rendered *ashtapadis* in the *Gita Govinda*.  
   g) Identification of the *hastas* used.

2. **An Additional Champu:**  
   a) Demonstration of the item.  
   b) Basic information regarding the *champu* poetic form.  
   c) Basic information regarding the item (poet, *raga* and *tala*).  
   d) Vocal rendition of the song with *tala* shown by hand.

*(Page 161)*

------------

*(Total Marks: 250; Time: 50 min. for Viva & 30 min. for performance in front of audience (Manch Pradarshan))*  

#### Practical: Viva (Continued)
*(Note: This completes the Viva section for Visharad Pratham. References to "item" pertain to Bhavabhinaya or Additional Champu as outlined in the prior page.)*

1. **Bhavabhinaya of one additional Nayika and one Dheera-lalita Nayak (Continued):**  
   e) Explanation/Meaning of the verses used.  
   f) Analysis of the *bhavas* used.  
   g) Identification of the *hastas* used.

2. **An Additional Champu (Continued):**  
   *(From prior page: Demonstration, basic information on champu poetic form, basic info on item (poet, raga, tala), vocal rendition with tala shown by hand.)*

3. **One Pallavi in Jhampa Tala (10 matras):**  
   a) Demonstration of the item.  
   b) Naming the *raga* and *tala* of the item.  
   c) Recitation of the *bols* with the *tala* shown by hand.  
   d) Identification of the *hastas* and *bhangis* used.

4. **Padabhedas, Mandalabhedas, Sthanakabhedas, and Utplavana-bhedas, Bharamarilakshana, Charibhedas, and Gatibhedas from Abhinaya Darpana.**

#### Practical: Demonstration (20-30 Minutes)
Performance of any items of your choice.

#### Marks Distribution
| Category | Marks |
|----------|-------|
| **Performance in Front of Audience (Manch Pradarshan)** | **50** |
| **Pallavi in Jhampa Tala:**<br>Demo/Tala/Raga/Recitation/Hasta etc. | **30** |
| **Abhinaya:**<br>Demo/Bhava/Meaning/Poetic form/Hasta etc. | |
| - Ashtapadi (Nayika) | **30** |
| - Champu (Nayak) | **30** |
| **Vocal Rendition of Pallavi & Abhinaya Pieces** | **20** |
| **Pada/Mandala/Sthanaka/Utplavana/Bharma/Chari & Gatibheda from A.D.** | **30** |
| **General Impression** | **30** |
| **Grand Total** | **250** |

*(Page 162)*

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Visharad Dwitiya Varsha (Purna) 
**Total Marks:** 400 (Practical: 250; Theory: 150)  
**Practical Marks:** 250 (Viva: 200; Demonstration: 50)  
**Theory Marks:** 150 (Paper I and Paper II: 75 each)  
**Minimum Pass Marks:** Total: 180 [Practical: 128; Theory: 52 (26 in each paper)]  

#### Theory Paper I (75 Marks)
1. **Rasa:**  
   Definition and explanation of nine *rasas*.

2. **Concept of Bhava:**  
   a) *Sthayi* and *Vyabhichari/Sanchari Bhavas*.  
   b) *Vibhava* (Alambhana and Uddipana) and *Anubhava*.

3. **Nayak and Nayika Bhedas:**  
   a) **Types of Nayak according to:**  
      • The four *bhedas* of the *shringara rasa*: *anukula*, *dakshina*, *dhrishta* and *shatha*.  
      • Character types: *dhira-lalita*, *dhira-prashanta*, *dhirodata* and *dhorodatta*.  

   b) **Types of Nayika according to:**  
      • *Dharma-bheda*: *svakiya*, *parakiya* and *samanya*.  
      • Age: *mugdha*, *madhya* and *pragalbha*.  
      • Character/Temperament: *uttama*, *madhyama* and *adhama*.  

   c) *Nayak Lakshana* and *Nayika Alankara*.

#### Theory Paper II (75 Marks)
1. **Gita Govinda:**  
   a) Structure of the poem: cantos and *ashtapadis*.  
   b) Short notes on plot development and thematic content.  
   c) Conceptualisation of the three main characters:  
      Krishna, Radha and her *Sakhi*.  
   d) Analysis of the verses in terms of the philosophical-allegorical theme.

*(Page 163)*

----------------------

*(Total Marks: 400; Practical: 250 (Viva: 200; Demonstration: 50); Theory: 150 (Paper I: 75; Paper II: 75))*  
**Minimum Pass Marks:** Total: 180 [Practical: 128; Theory: 52 (26 in each paper)]  

#### Theory (Continued)
*(Revision of the earlier course is compulsory and can be examined)*

2. **Shiva Myths Related to Dance:**  
   a) *Saptatandava*  
   b) The analysis of the symbolism of the iconography of the *Nataraja* image.  
   c) *Urdhva Tandava*  
   d) *Gangavatarana*  
   e) *Nilakantha*  
   f) *Madanadaham*  
   g) *Ardhanarishvara*.

3. **Knowledge of the Dance Dramas:**  
   a) *Kudiyattam*  
   b) *Bhagavata Mela Natakam*  
   c) *Yakshagana*.

4. **Comparative Studies of the Main Classical Dance Styles in Terms of:**  
   a) Repertoire  
   b) *Nritta* technique  
   c) *Nritya* content  
   d) Music content  
   e) Costume.

#### Practical: Viva (60 Minutes)
1. **Bhavabhinaya of Two Additional Nayikas:**  
   a) Demonstration of the item.  
   b) Identification of the *raga* and *tala* the item is composed to.  
   c) Vocal rendition of the song with *tala* shown by hand.  
   d) Explanation/Meaning of the verses used.  
   e) Analysis of the verses in terms of the philosophic allegorical themes in the poem.  
   f) Analysis of the *bhavas* used in the rendition of the item.  
   g) Positioning of the rendered *ashtapadis* in the *Gita Govinda*.  
   h) Identification of the *hastas* used.

2. **Abhinaya of a Janana:**  
   a) Demonstration of the item.  
   b) Basic information regarding the term *janana*.

*(Page 164)*

----------------

### Visharad Purna: Odissi Dance (Practical Continued)
*(Total Marks: 250; Time: 60 min. for Viva & 30 min. for performance in front of audience (Manch Pradarshan))*  

#### Practical: Viva (Continued)
*(Note: This completes the Viva section for Visharad Dwitiya Varsha (Purna). References to "item" pertain to Abhinaya of a Janana as outlined in the prior page.)*

2. **Abhinaya of a Janana (Continued):**  
   c) Basic information regarding the item (poet, *raga* and *tala*).  
   d) Vocal rendition of the song with *tala* shown by hand.  
   e) Explanation/Meaning of the verses used.  
   f) Analysis of the *bhavas* used in the rendition of the item.  
   g) Identification of the *hastas* used.

3. **Demonstration and Explanation of the Four Nayak and Eight Nayika Avasthas through Short Abhinaya Sequences.**

4. **Composition and Execution of:**  
   a) Short *nritta* sequences and *ukta* in different talas.  
   b) Short *abhinaya* sequences to given verses or themes/ideas.  
   c) Ability to play the *manjira* while reciting the *uktas*.

5. **Thirty-Six Padabhedas as Expounded by Guru Kelucharan Mohapatra.**

#### Practical: Demonstration (20-30 Minutes)
Performance of any items of your choice.

#### Marks Distribution
| Category | Marks |
|----------|-------|
| **Performance/Demonstration in Front of Audience (Manch Pradarshan)** | **50** |
| **Abhinaya:**<br>Demo. Explanation of Bhavas & Meaning, Allegory, Poetic Content, Raga, Tala, Hastas etc. | |
| - Two Nayikas | **30** |
| - Janana | **30** |
| **Nayak-Nayika Avasthas:**<br>Ability to Portray through Short Sequences | **30** |
| **Ability to Compose and Play Manjira with Recitation:** | |
| - Abhinaya | **10** |
| - Nrtta | **10** |
| - Manjira Playing | **10** |
| **Pada-Bhedas of Guru Kelucharan Mohapatra** | **30** |
| **General Impression** | **20** |
| **Grand Total** | **250** |

*(Page 165)*
-------------------
Alankara Pratham 
Composition/Tala Application | **30** |\n| **Abhinaya of Geeta Govinda & Analysis** | **30** |\n| **Abhinaya of Chhanda & Vocal Rendering** | **30** |\n| **Comparison of Kishore Chandranan Champu & Geeta Govinda** | **25** |\n| **Shabda Svara Patha** | **25** |\n| **Ability on Composition of Dance with Sanchari** | **40** |\n| **General Impression** | **20** |\n| **Grand Total** | **300** |\n\n*(Page 167)*\n------------------------"'>**Total Marks:** 500 (Practical: 300; Theory: 200)  
**Practical Marks:** 300 (Viva: 200; Demonstration: 100)  
**Theory Marks:** 200 (Paper I and Paper II: 100 each)  
**Minimum Pass Marks:** 225 (Total)  
*(Practical: 155; Theory: 70 (35 in each paper))*  

#### Theory Paper I (100 Marks)
1. **A study of ranga-manch:**  
   a) As outlined in the *Natyashastra*.  
   b) From the viewpoint of a classical dance performance on the modern stage in terms of decor, lighting, acoustic etc.

2. **Detailed study of Abhinavagupta's *Abhinava Bharati* (a tika on the *Natyashastra*)** with reference to the sixth chapter (*Rasadhyaya*).

3. **Appraisal of the works of Bharata Muni, Nandikeswar, Sharangadeva, Vishwanath Kaviraj and Dhananjaya in relation to dance:**  
   a) Analysis of the relevance of these works to the main classical dance styles at a pan-Indian level.  
   b) Analysis of the relevance of these works to the technique of Odissi dance.

#### Theory Paper II (100 Marks)
1. **An in-depth study of the *Gita Govinda* and *Kishore Chandranan Champu*:**  
   - Genre structure and development.  
   - Plot (structure and development).  
   - Structure (literary structure and metric structure).  
   - Language (imagery, simile, metaphor, rhyme, alliteration, wordplay etc.).  
   - Elementary knowledge of the *ragas* mentioned.

2. **A study of the stylistic features, technique and repertoire of**  
   Guru Kelucharan Mohapatra, Guru Pankajcharan Das and Guru Deb Prasad Das.

*(Page 166)*

---------------------

*(Total Marks: 300; Time: 90 min. for Viva & 30 min. for performance in front of audience (Manch Pradarshan))*  

#### Theory (Continued)
3. **The iconography and symbolism behind the gods and goddesses:**  
   Brahma, Vishnu (including Krishna), Shiva; and goddesses: Saraswati, Lakshmi, Parvati, Durga, Kali.

4. **Study of the human body in its anatomical structure related to dance.**  
   • Dance as therapy.  

   *(Revision of the earlier course is compulsory and can be examined)*

#### Practical: Viva (90 Minutes)
1. **Ability to compose a Pallavi** highlighting its structural elements and its application in at least two *ragas*.

2. **Analysis and in-depth abhinaya** of any two *ashtapadis*, in relation to the metaphysical allegory of the Krishna legend.

3. **Comparison and application** of the *Kishore Chandranan champu* and the *Gita Govinda*.

4. **Abhinaya of two chhandas.**

5. **Shabda Svara Patha** and its application in Odissi performance.

#### Practical: Demonstration (30 Minutes)
Performance of any items of your choice.

#### Marks Distribution
| Category | Marks |
|----------|-------|
| **Performance in Front of Audience (Manch Pradarshan)** | **100** |
| **Knowledge of Pallavi:**<br>Composition/Tala Application | **30** |
| **Abhinaya of Geeta Govinda & Analysis** | **30** |
| **Abhinaya of Chhanda & Vocal Rendering** | **30** |
| **Comparison of Kishore Chandranan Champu & Geeta Govinda** | **25** |
| **Shabda Svara Patha** | **25** |
| **Ability on Composition of Dance with Sanchari** | **40** |
| **General Impression** | **20** |
| **Grand Total** | **300** |

*(Page 167)*
------------------------
Alankara Dwitiya Varsha (Purna) 
**Total Marks:** 500 (Practical: 300; Theory: 200)  
**Practical Marks:** 300 (Viva: 200; Demonstration: 100)  
**Theory Marks:** 200 (Paper I and Paper II: 100 each)  
**Minimum Pass Marks:** 225 (Total)  
*(Practical: 155; Theory: 70 (35 in each paper))*  

#### Theory Paper I (100 Marks)
1. **Social, political, cultural and philosophical aspects** that have moulded Odissi dance from the time of Kharavela.

2. **The composite Indian art tradition:**  
   a) The essential principles of the Indian aesthetics.  
   b) The interrelatedness of various Indian art forms and their connection with dance.

3. **Study of ancient Sanskrit drama in terms of stage conventions:**  
   • Analysis of Kalidas' *Abhigyan Shakuntalam* in terms of *nayak-nayika bheda*, *rasa*, and *bhava-vibhava-anubhava* through different situations.

4. **A comparative study of:**  
   a) The development of modern dance in the west from the classical ballet tradition.  
   b) Current trends in the development of modern dance in India as well as within the classical traditions.

#### Theory Paper II (100 Marks)
1. **Odissi music:**  
   a) A study of the musical traditions found in various texts of Orissa.  
   b) Musical forms and compositional structures from Orissa: *chhanda*, *pala*, *janana*, *ghanta mardala* etc.

*(Page 168)*

----------------------

*(Total Marks: 500; Practical: 300 (Viva: 200; Demonstration: 100); Theory: 200 (Paper I: 100; Paper II: 100))*  
**Minimum Pass Marks:** 225 (Total) [Practical: 155; Theory: 70 (35 in each paper)]  

#### Theory (Continued)
2. **General survey of sculptures relevant to the iconographical representations** of Odissi dance in the caves and temples of Orissa, and an understanding of *shilpa shastra* and *bandha*.

3. **An elementary study of the major festivals of Orissa** in reference to dance.

4. **Understanding and comparison of the three tala systems (Odissi, Karnataka and Hindustani):**  
   a) **Basic information** regarding each tala system and its unique technical features.  
   b) **Comparison of concepts and technical terms relating to tala:**  
      - *Sam/Grihaghara*  
      - *Matra/Akshara*  
      - *Vibhaga/Anga*  
      - *Mana/Muktaya/Thaai*  
      - *Khali*  
      - *Tali/Kriya*  
      - *Gati/Chhanda/Layakari*  
      - *Gadi/Rela*  
      - *Avaratana/Avarala*  
      - *Arasa/Tora/Tirana*  
      - *Laya/Kalam*  

   c) **Comparison of the common talas** from the systems in terms of *vibhaga* structure: 6 matras, 7 matras, 8 matras, 10 matras, 12 matras, and 14 matras.  

   *(Revision of the earlier course is compulsory and can be examined)*

#### Practical: Viva (90 Minutes)
1. **Abhinaya renderings of two poems of Upendra Bhanja:**  
   a) Demonstration of the item.  
   b) Naming the *raga* and *tala* of the item.

*(Page 169)*

-------------------

### Alankara Purna: Odissi Dance (Practical Continued)
*(Total Marks: 300; Time: 90 min. for Viva & 30 min. for performance in front of audience (Manch Pradarshan))*  

#### Practical: Viva (Continued)
*(Note: This completes the Viva section for Alankara Dwitiya Varsha (Purna). References to "item" pertain to Abhinaya renderings of Upendra Bhanja poems as outlined in the prior page.)*

1. **Abhinaya Renderings of Two Poems of Upendra Bhanja (Continued):**  
   c) Vocal rendition of the song with *tala* shown by hand.  
   d) Explanation/Meaning of the verses used.  
   e) Analysis of the verses in terms of the philosophic allegorical themes in the poem.  
   f) Analysis of the *bhavas* used in the rendition of the item.

2. **The ability to compose Sabhinaya Nritya with Sanchari passages.**

3. **Ability to express Navarasas.**

4. **Two Mangalacharans** invoking two different deities, keeping in mind their iconographical representation.

5. **Knowledge of different elements of choreography and ability to express the given theme in dance.**

#### Practical: Demonstration (30 Minutes)
Performance of any items of your choice.

#### Marks Distribution
| Category | Marks |
|----------|-------|
| **Demonstration/Performance in Front of Audience (Manch Pradarshan)** | **100** |
| **Rendering of Abhinaya of Upendra Bhanja** | **40** |
| **Ability to Compose Sabhinaya with Sanchari** | **40** |
| **Ability to Depict Nava-Rasa** | **40** |
| **Ability to Compose Mangala Charan with Iconographical Representation** | **40** |
| **Identify Elements of Choreography and Compose to Given Themes** | **40** |
| **Grand Total** | **300** |

*(Page 170)*

-----------------------------