UPMSP Intermediate Dance study plan

Define and write from memory the nine rasas with their presiding deity, colour and matching sthayi bhava, without looking at notes.

Distinguish sthayi bhava, vyabhichari bhava and sattvika bhava, and give one dance-based example of each.

Recite the theka of Teental in single and double laya with correct tali and khali hand positions, and write it in notation with matra numbers and bols.

Demonstrate twelve asamyuta hastas (pataka, tripataka, ardhapataka, kartarimukha, mayura, ardhachandra, shikhara, kapitta, katakamukha, suchi, chandrakala, padmakosha) and state one practical use of each.

Trace the line from Natyashastra through Abhinaya Darpana and Sangita Ratnakara, listing author, approximate period and one contribution of each text.

Explain the four types of abhinaya (angika, vachika, aharya, sattvika) and match each to a concrete moment in a piece you perform.

Separate nritta, nritya and natya with definitions and one example each, and state how they interleave in a margam-style presentation.

Compare the origin stories and regional roots of Kathak, Bharatanatyam and Kathakali in five points or fewer per form.

Compare the Lucknow, Jaipur and Banaras gharanas of Kathak on at least five parameters: stance, tatkar, chakkars, costume, and two leading exponents each.

Notate Jhaptal (10 matra), Rupak (7 matra), Dadra (6 matra) and Kaharba (8 matra) with matra numbers, bols, and tali/khali marked clearly.

Perform tatkar from a single-matra cycle up to chaugun laya while keeping the hand tal on the correct matras.

Define vilambit, madhya and drut laya and explain barabar, dugun, tigun and chaugun layakari with a worked matra count for one cycle.

Learn and notate one bandish and one tukda in Teental, marking the sam, the entry point and the tihai.

Define bandish, tukda, gat, padam and tihai in one precise sentence each, with the structural feature that separates them.

Solve twenty matra-counting problems covering dugun and tigun conversions in Jhaptal and Teental.

Revise the rasa-bhava and abhinaya material from weeks 1-2 and produce short answers without notes.

Perform one complete tukda with correct theka, sam placement and a clean tihai, then correct the timing faults found on playback.

Break a padam stanza into word-by-word meanings and plan sanchari bhava for at least two lines without repeating the obvious literal gesture.

State the accepted structure of a Kathak gat (nikas, chal, palat, gat-bhava) and demonstrate the nikas and palat.

Rehearse stage geometry: entry from stage right, diagonal use, eye contact with the audience, and a controlled exit bow.

Perform four lines of a padam with full abhinaya, using at least three different sanchari bhava ideas across the lines.

Match each of the four abhinaya types to a specific moment of your own padam performance and write the justification.

Prepare and answer aloud twenty viva questions on hastas, mudras and their applications, keeping answers under forty seconds each.

Rehearse the whole item with recorded music and no mirror, checking that the footwork stays on the sam.

Revise all history notes into a one-page gharana and treatise recall sheet and recite it from memory.

Run the full performance in costume with entry, tukda, gat, padam, tihai and exit, timing it end to end.

Record a ten-question mock viva with a friend asking the questions, and answer without notes.

List your five weakest facts from the week-4 test and test yourself on them twice.

Complete a full mock paper across all five domains under exam time, then mark it and re-learn every wrong answer.

Perform the final item once for a live or recorded audience and note the single biggest presentation weakness.

Recite all tala notations, the rasa table and the gharana comparison sheet from memory in one sitting.

Rehearse the viva answers on repertoire terms and stage presentation until each is fluent.