Our Dance classes follow the standard Odissi syllabus as mentioned below. The classes are designed for a holistic development of the student where the student learns not only the performing art but also the theory behind it. We also cover Yoga, breathing and Therapeutic aspect of classical dance.

Akhil Bharatiya Gandharva Mahavidyalaya Mandal (ABGMVM), Vishnu Digambar Paluskar Sangeet Academy: These institutions works for the promotion and propagation of Indian Classical Music and Dances. with There has nearly 1200 affiliated institutions and nearly 800 Exam Centres all over the country from Assam to deep South Kerala and more than One Lakh students take examinations every year from Prarambhik (Beginners level) to Sangeet Acharya (Ph.D. level).

Students at iGurukul required to write a journal on their Odissi Journey every year and also attend at least one dance workshop per year.

iGurukul Odissi First Year

  • Introduction to Classical Dance
  • Origin of Dance
  • Preliminary knowledge on Odissi Dance
  • Bhumi Pranam
  • Guru Pranam
  • Silent Exercises
  • Rhythmic Exercises
  • Basic Bhangis of Odissi
  • Asyamjukta Hasta
  • Padastiti (Basic)
  • Chowka Stepping 1 – 5
  • Tribhangi Stepping 1 – 5
  • Tala, Matra and Laya
  • Identification of five fingers with different exercises
  • Name of six angas according to Abhinaya Darpana with different exercisest
  • Practice of Tali (Clapping) to recognize speed
  • Small dance peace with a Sanskrti Shloka

iGurukul Odissi Second Year

  • 10 steps each in chauk and tribhang set to Ek Taali in three speeds (Vilambit, Madhyam & Druta)  & Recitation with hands of the sthayi ukuta to which the steps are composed.
  • Odissi Item: Mangala Charan (Components, Recitation, Raga, Tala, Composer, Ukuta’s, Hasta, Pada’s, Mudra’s)
  • Basic introduction to the main classical dance styles: Bharatnatyam, Kathak, Manipuri, Kathakali, Mohiniattam and Kuchipudi with referance to place of origin.
  • Detail about Tala, Matra Laya
  • PadaStiti/Pada Bheda All
  • Odissi Beli’s – Kali Charan Pattnaik
  • Anga Prtayang & Upanga
  • Samyukta hastas from the abhinaya Darpana (not including viniyogas)

iGurukul Odissi Third Year

  • Odissi Item: Stayee (Recitation, Raga, Tala, Composer, Ukuta’s, Hasta, Pada’s, Mudra’s)
  • Shirobheda from Abhinaya Darpana.
  • Drishtibheda from Abhinaya Darpana
  • Grivabhedas from Abhinaya Darpana
  • Tala – Ek Taali, Rupak & Tripatta
  • Odissi Terms
    • Taandava & Laasya
    • Nritta, Nritya & Naatya
    • Bani, Ukuta, Khandi, Gadi & Arasa
  • Knowledge of different components of Odissi dance
    • Mangla charan
    • Stayee/Battu
    • Pallavi
    • Abhinaya
    • Mokshya
  • Name of three main Guru namely
    • Guru Pankaj Charan Das
    • Guru Kelu Charan Mohapatra
    • Guru Deva Prasad Das
  • Demonstration and identification of the following Bhangis
    • Alasa
    • Darpana
    • Abhimana
    • Nibedana
    • Mardala
    •  Parswa Mardala

iGurukul Odissi Fourth Year

  • Odissi Item: Abhinaya (Recitaiton, Raga, Tala, Composer, Ukuta’s, Hasta, Pada’s, Mudra’s, Meaning of Verses)
  • Knowledge of Abhinaya (Angika, Vachika, Ahaarya, Satwika)
  • Elementary knowledge of the main classical dance styles – Odissi, Bharata natyam, Kathak, Manipuri, Kathakali, Mohiniattam, Kuchipudi and Sattriya with special refernce to
    • place of origin
    • Aharya
    •  Music and musical instruments
    • Stylistic features
    • Technique and repertoire
  •  Definition of the terms
    • Avartana/Avarta
    • Talli
    • Khaali
    • Sam
    • Vibhanga/Anga
    • Jati
    • Mudra
  • Tala – Jhampa & Jati
  • Demonstration and identification of the following Bhangis
    • Akunchana
    • Nikunchan
    • Sukachanchu
    • Biraja
    • Potala
    • Shivakara
  • Elementary Introduction to the texts: Abhinaya Darpana, Abhinaya Chandrika and Natya Shastra
    • Identification of author and approximate date
    • Myths regarding the origins of dance according to each text
  • Viniyoga: Pataka
  • Odissi Item: Pallavi (Recitation, Raga, Tala, Composer, Ukuta’s, Hasta, Pada’s, Mudra’s)

iGurukul Odissi Fifth Year

  • Odissi Item: Ashtapadi (Recitation, Raga, Tala, Composer, Ukuta’s, Hasta, Pada’s, Mudra’s, Meaning of the verses)
  • Odissi Item: Mokshya (Recitation, Raga, Tala, Composer, Ukuta’s, Hasta, Pada’s, Mudra’s)
  • Detailed Knowledge of Odissi Dance
    a)      A brief History of the tradition and development of the style
    b)      Basic stylistic features and technique
    c)      Repertoire
    d)      Musical instruments
    e)      Ahaarya (costume and jewllery)
  • Odissi Bhangi’s
    a)      Aratrikaa
    b)      Kshiptaa
    c)       Kunjarbaktraa
    d)      Chaturmukhaa
    e)      Sharakshepa
    f)       Shrutikulaa
  • Arasa : Odissi Talas – Ek Tali and Tripata
    a) Demonstration of the item
    b) Recitation with hands of the stayee ukutas and Arasa’s
  • Viniyoga:  Tripataka, Ardha Pataka, Kartari Mukha, Mayura

iGurukul Odissi Sixth Year

  • Odissi Item: Ashtapadi #2 (Recitation, Raga, Tala, Composer, Ukuta’s, Hasta, Pada’s, Mudra’s, Meaning of the verses)
  • Odissi Item: Pallavi #2 (Recitation, Raga, Tala, Composer, Ukuta’s, Hasta, Pada’s, Mudra’s)
  • Brief History of Mahari and Gotipua
  • Mudra from Abhinaya Chandrika
  • Viniyoga: Ardha Chandra – Shikhara
  • Odissi Bhangis
    a)      Gopaana
    b)      Nandyavartaa
    c)       Tarangaa
    d)      Padavalayaa
    e)      Meshayuddha
    f)       Pranataa
    g)      Archakaa
  • Notation of Taal – Ek Taali, Tripatta, Khemta, Rupak, Jhampa, Jati
  • Knowledge of Layakari’s Ek guna Dui guna char guna
  • Lord Jagannath and Odissi Dance
  • Definition of more terms
    • Maana
    • Jhula
    •  Pohapata
    •  Padi

iGurukul Odissi Preparation for Solo Debut Odissi Dance Performance

  • Learning Harder/longer Pallav
  • More on Abhinaya Bhava, Rasa
  • Learning master pieces like Dash Avatar, Nava Rasa, Devi
  • Teaching Classes
  • Preparation for Solo Debut Odissi Performance
  • Preparing for Visharad /Kala Bhushan

 

Paluskar (Vishnu Digambar Paluskar Sangeet Academy) (As per 2016)

Sangeet Kala Sanskar Pratham

Practical Demonstration of Silent Exercise 10
Demonstration of Rhythmic Exercise 6
Demonstration of Basic Odissi Bhangis
Padastiti -  Foot Positions – Sama, Kumbha, Dhanu, Prushta Dhanu
Demonstrate Asymjukta Hasta – All
Sanskrit Shloka or Short Abhinaya
Theory Basic Knowledge of Odissi Dance (Place of Origin & Style of dance)
Guru – Little knowledge about Guru
Classical dances of India and it’s place of Origin

Sangeet Kala Sanskar Antim

 

Practical Demonstration of 5 steps each in chauk and tribhang set to Ek Taali in three speeds (Ekgun, dugun and chaugun)
Recitation with hands of the sthayi ukuta to which the steps are composed.
Odissi Bhangi’s – 6
Padastiti – Foot Positions – 8
Odissi Beli’s
Small Abhinaya
Theory Defintion of Tala, Matra, Laya
Odissi Beli’s
Anga Pratyanga Upanga (As per AD)

Sangeet Kala Praveshika Pratham

Practical Demonstrate Chowka & Tribhangi stepping 1-10
Shira Bheda
Drushti Bheda
Greeva Bheda
Samyukta Hasta
Mangala Charan: It’s five components, Raaga, Taala & Recitation of Ukuta.
 
Theory Detailed History of Odissi Dance
Talas: Ek, Rupak & Tripata
Knowledge of Arasa Khandi Gadi

Sangeet Kala Praveshika Antim

Practical Batu/Sthai
a. Demonstration of the item
b. Identification of hastas, Padabhedas and bhangis used
c. Recitation with hands of the ukutas of the item
d. Raga and tala
Abhinaya
a. Demonstration of the item
b.Name of the Poet
c. Raga and tala
d. Meaning of the verses
e. Recitaiton of the ukutas and
 
verses of the item verbally and by hand
Bhangis – Akunchana, Nikunchan, Sukachanchu, Biraja, Potala, Shivakara
 
Theory Elementary knowledge of the main classical dance styles – Odissi, Bharata natyam, Kathak, Manipuri, Kathakali, Mohiniattam, Kuchipudi and Sattriya with special refernce to
a) place of origin
b) Aharya
c) Music and musical instruments
d) Stylistic features
e) Technique and repertoire
Notation of Stayee
Definition of more terms
a) Matra
b) Laya
c) Tala
d) Avartana/Avarta
e) Talli
f) Khaali
g) Tandav
h) Lasya
i) Mudra

Sangeet Kala Madhyam Pratham

Practical Pallavi
a) Demonstration of the item
b) Identification of the Raga and Tala
c) Recitation with hands of the ukutas of the item
Ashtapadi
a)     
Demonstration of the item
b)     
Identification of the Raga and Tala
c)      
Meaning of the verses used
d)     
Explanation of the Bhavas used in rendition of the item demonstrated
f)       Recitaiton of the ukutas and 
verses of the item verbally and by hand
Arasa : Odissi Talas – Ek Tali and Tripata
a) Demonstration of the item
b) Recitation with hands of the stayee ukutas and Arasa’s
Odissi Bhangi’s
a)     
Aratrikaa
b)     
Kshiptaa
c)      
Kunjarbaktraa
d)     
Chaturmukhaa
e)     
Sharakshepa
f)       Shrutikulaa
 
Theory Elementary Introduction to the texts: Abhinaya Darpana, Abhinaya Chandrika and Natya Shastra
a)     
Identification of author and approximate date
c)       Myths regarding the origins of dance according to each text
Notation of Pallavi
Definition of more terms
a) Nritta
b) Natya
c) Nritya
d) Sam
e) Anga (Vibhaga)
Detailed Knowledge of Odissi Dance
a)     
A brief History of the tradition and development of the style
b)     
Basic stylistic features and technique
c)     
Repertoire
d)     
Musical instruments
e)      Ahaarya (costume and jewllery)
Odissi Arasa – Ek Tali and Tripata

Sangeet Kala Madhyam Antim

Practical Additional Pallavi (#2)
a) Demonstration of the item
b) Identification of the Raga and Tala
c) Recitation with hands of the ukutas of the item
Additional Ashtapadi (#2)
a)     
Demonstration of the item
b)     
Identification of the Raga and Tala
c)      
Meaning of the verses used
d)     
Explanation of the Bhavas used in rendition of the item demonstrated
f)       Recitaiton of the ukutas and 
verses of the item verbally and by hand
Mokshya
Demonstration Odissi Bhangis
a)     
Gopaana
b)     
Nandyavartaa
c)      
Tarangaa
d)     
Padavalayaa
e)     
Meshayuddha
f)      
Pranataa
g)      Archakaa
Demonstration of Mudra from Abhinaya Chandrika
Viniyoga from Abhinaya Darpan – Pataka to Shikhara
 
Theory Brief History of Mahari and Gotipua
Notation of Pallavi
Knowledge of Abhinaya (Angika, Vachika, Ahaarya, Satwika)
Notation of Taal – Ek Taali, Tripatta, Khemta, Rupak, Jhampa, Jati
Knowledge of Layakari’s Ek guna Dui guna char guna
Definition of more terms
a)     
Stayee Ukuta (Dharana)
b)     
Bani
c)      
Ukuta
d)     
Khandi
e)     
Gadi
f)      
Maana
g)     
Jhula
h)     
Pohapata
i)       
Padi

ABGMV (As per 2015)

Sangeet Parichaya

Theory

1)      Introduction to Dance

a)      Meaning of Dance

b)      Aims and Objects of Dance

c)       Name of the God who created dance

2)      Preliminary knowledge on Odissi Dance

a)      Which place it belongs to

b)      Nature of dance, whether it belongs to classical or folk style

3)      Name of your Guru

4)      Identification of five fingers with different exercises

5)      Name of six angas according to Abhinaya Darpana with different exercises

Practical

1)      Bhumi Pranam

2)      Demonstration of simple exercises (10 nos)

3)      Demonstration of step in same pada (5 nos)

4)      Identification of Chauka and Tribhanga

5)      Practice of Tali (Clapping) to recognize speed

6)      Animal movements like: Peacock, Deer, Snake, Elephant, Birds, Frog

Prarambhik

Theory

1)      Basic introduction to the main classical dance styles: Bharatnatyam, Kathak, Manipuri, Kathakali, Mohiniattam and Kuchipudi with referance to place of origin.

2)      Ability to define

a)      Matra

b)      Laya

c)       Tala

3)      Ability to demonstrate the Asanjukta hastas (singe hand gestures) from the Abhinaya Darpan (not including Viniyoga)

Practical

1)      Elementary Steps

a)      Demonstration of 10 steps each in chauk and tribhang set to Ek Taali in three speeds (Ekgun, dugun and chaugun)

b)      Recitation with hands of the sthayi ukuta to which the steps are composed.

2)      Padabheda

a)      Demonstration and ability to identify the basic foot positions:

Sama, Kumbha, Dhanu and Maha

b)      Demonstration ‘Sama bhanga’, “Abhanga”, “Tribhanga”, “Atibhanga” & “Chauka”

Praveshika Pratham

Theory:

1)      Odiya Saying (Uthaa Bathhaa Thiyaa Chaali, Budaa,  Bhasaa, Bhaunri, Paali, Odissi nata re atha Beli)

a)      Meaning of the saying

b)      Definition of the term ‘Beli’

c)       Identificaiton of each of the eight Belis( Uthaa, Baithaa, Thiyaa, Chaali, Budaa, Bhasaa, Bhauri, Paali) with pracitcal examples for each.

2)       Hastas – Ability to demonstrate and identify the samyukta hastas from the abhinaya Darpana (not including viniyogas)

3)      Demonstration in sequential order and ability to identify  each (not including viniyogas)

a)      Shirobheda from Abhinaya Darpana.

b)      Drishtibheda from Abhinaya Darpana

c)       Grivabhedas from Abhinaya Darpana

4)      Definitions

a)      Taandava & Laasya

b)      Nritta, Nritya & Naatya

c)       Khandi & Arasa

5)      Myths related to Lord Ganesh

a)      Why the elephant head

b)      why ekadanta

6)      Knowledge of different components of Odissi dance

a)      Mangla charan

b)      Stayee/Battu

c)       Pallavi

d)      Abhinaya

e)      Mokshya

7)      Name of three main Guru namely

a)      Guru Pankaj Charan Das

b)      Guru Kelu Charan Mohapatra

c)       Guru Deva Prasad Das

Practical

1)      Knowledge of  Odissi Tala and Arasa in each Talas

a)      Ek Taali – 4 Matras

b)      Rupak – 6 Matras

c)       Trputa -  7 matras

d)      Jhampa – 10 Matras

2)      Arasas in Odissi Talas: Ektali (4 Matras) and Rupak Tala (6 Matras)

a)      Demonstration

b)      Recitation

c)       Recitation with hands of the above Talas of the dharanas (sthayi ukutas)

d)      Recitation with hands of each of the ukutas (bols) of the Arasas learnt

3)      Mangalacharan (Two Mangalacharan of Two deities)

a)      Demonstration of the item

b)      Recitation with hands of the ukutas of the item.

c)       Naming the raga and tala the item is composed.

d)      Identification of the hastas used.

e)      Identification and demonstration of the various components of the item

i)        Mancha Pravesha with Pushpanjali

ii)       Bhumi Pranam

iii)     Ishta Deva Vandana

iv)     Sabha Pranam

f)       Explanation/meaning of the shloka in the Ishta Deva Vanndana

4)      Bhangis

a)      Definition of the term ‘Bhangi’

b)      Demonstration and identification of the following Bhangis

i)        Alasa

ii)       Darpana

iii)     Abhimana

iv)     Nibedana

v)      Mardala

vi)     Parswa Mardala

vii)   Nikunchita

Praveshika Purna

Theory

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, Bharata natyam, Kathak, Manipuri, Kathakali, Mohiniattam, Kuchipudi and Sattriya with special refernce to

a)      place of origin

b)      Aharya

c)       Music and musical instruments

d)      Stylistic features

e)      Technique and repertoire

3)      Definition of the terms

a)      Matra

b)      Laya

c)       Tala

d)      Avartana/Avarta

e)      Talli

f)       Khaali

g)      Sam

h)      Vibhanga

4)      Recitation of the Sthayi Ukutas (Dharanas) of Batu/Sthai

5)      Knowledge of Jhampa (10 Matras) and Triputa (7 Matras) with Jati, Matra and Bhaga.

Practical:

1)      Batu/Sthai

a)      Demonstration of the item

b)      Identification of hastas, Padabhedas and bhangis used

c)       Recitation with hands of the ukutas of the item

d)      Identification of the raga and tala the item composed to

2)      Pallavi

a)      Pallavi in any of the tala learnt

b)      Demonstration of the item

c)       Knowing the name of the raga and tala the item is composed to

d)      Recitation with hands of the bols of the item

e)      Identification of the hastas and Bhangis used

3)      Simple Abhinaya on any Odiya Song

a)      Name of the author

b)      Namng of the raga and tala of the item

c)       Meaning of the verses used

d)      Identification of the hastas used

e)      Recitaiton of the ukutas and  verses of the item verbally and by hand

4)      Demonstration and identification of the following Bhangis

a)      Aratrikaa

b)      Kshiptaa

c)       Kunjarbaktraa

d)      Chaturmukhaa

e)      Sharakshepa

f)       Shrutikulaa

g)      Shukachanchu

h)      Biraaja

i)        Potalaa

j)        Shivakaraa

Madhyama Pratham

Theory:

1)      Notation of the Pallavi learnt

2)      Lives and writings of Oriya poets

a)      Kabi Surya Baladeba Rath

b)      Banamaali Das

c)      Gopal Krushna Pattanaik

3)      Detailed Knowledge of Odissi Dance

a)      A brief History of the tradition and development of the style

b)      Basic stylistic features and technique

c)      Repertoire

d)      Musical instruments

e)      Ahaarya (costume and jewllery)

4)      Definition of the terms relating to Tala

a)      Stayee 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 Sattvik

6)      Definition and explanation of Bhava and Rasa

7)      Talas: Tala lip of : Rupaka (6 Matras), Khemta (6 Matras), Astatala (8 Matras), Jhampa (10 Matras), Jatitala (14 Matras), Adtali (14 Matras), Aditala (16 Matras)

a)      Number of Matras

b)      Vibhaaga Structure

c)       Notation symbols (X,0,2,3)

Practical:

1)      Additional Pallavi in taal other than learnt earlier

a)      Demonstration of the item

b)      Identification of the hastas and bhangis use

c)       Recitation with hands of the ukutas of the item

d)      Name of the raga, tala, composer and choreographer of the item

2)      Ashtapadi any one from the Sri Gita Govinda

a)      Demonstration of the item

b)      Identification of the hastas and bhangis use

c)       Meaning of the verses used

d)      Explanation of the Bhavas used in rendition of the item demonstrated

e)      Identification of the hastas used

f)       Recitaiton of the ukutas and  verses of the item verbally and by hand

3)      Hastas

a)      Demonstration and abilit to identify the hastas used in Odissi from the AC and the Oral tradition

b)      Demonstration of the viniyogas with shlokas of the asamyukta hastas from the Abhinaya Darpana up to Shikhara Hasta.

4)      Knowledge of other Odissi Talas Ektali (4 Matras), Khemta (6 Matras), Rupaka (6 Matras), Jhampa (10 Matras), Recitation with hands of each of the sthayi ukutas (dharanas) of the talas mentioned above.

5)      Introoduction of swaras in Odissi Music through the following Ragas

a)      Sankarabharana

b)

6)      Demonstration and identification of the following Bhangis

a)      Gopaana

b)      Nandyavartaa

c)      Tarangaa

d)      Padavalayaa

e)      Meshayuddha

f)      Pranataa

g)      Archakaa

Madhyama Purna

Theory

1)      The contemporary history of Odissi dance

a)      The revival phase (from mid 20th century to the present day)

b)      Life history and contributions: Guru Pankajcharan Das, Guru Kelucharan Mohaptra and Guru Deb Prasad Das

2)      The Mahari and Gotipua traditions

3)      Notation of Dashavatar, Moksha and Pallavi demonstrated in the practical course

4)      Tala lipi/ Notation in dugun, tingun and chaugun of the sthayi ukuta (dharanas) of the Odissi talas along with its Jati Anga and Bibhaga

a)      Khemta (6 Matras)

b)      Jati (14 Matras)

c)       Adi (16 Matras)

d)      Adatali (14 Matras = 4:3:4:3)

5)      Elementary knowledge of the three styles of Chhau

a)      Mayurbhanj

b)      Seraikella

c)      Purulia

6)      Myths relating to each of the Dashavataras

7)      The concept of Nayika with reference to

a)      Dharmabheda

b)      Age

c)       Character/Temperament

d)      Awasthabheda

Practical

1)      One additional Pallavi other than two learnt earlier

a)      An ashtapafi fnDemonstration of the item

b)      Identification of the hastas and bhangis use

c)       Recitation with hands of the ukutas of the item

d)      Name of the raga, tala, composer and choreographer of the item

2)      Gita Abhinaya with Sthayi and Sanchaari Bhaavas

a)      An ashtapadi from the Gita Govinda prtraying

i)        Nayika

3)      Dashavatar

4)      A champu in termss of Demonstration of the item

a)      Demonstration of the item

b)      Identification of the hastas and bhangis use

c)       Meaning of the verses used

d)      Explanation of the Bhavas used in rendition of the item demonstrated

e)      Identification of the raga, tala and poet of the song

f)       Type of Nayika potrayed

g)      Recitaiton of the ukutas and  verses of the item verbally and by hand

5)      Mokshya

a)      Demonstration of the item

b)      Identification of the hastas and bhangis use

c)       Identification of ragas and Talas

d)      Recitaiton of the ukutas and  verses of the item verbally and by hand

6)      Hastas

a)      Demonstration and abilit to identify the hastas used in Odissi from the AC and the Oral tradition

b)      Demonstration of the viniyogas with shlokas of the asamyukta hastas from the Abhinaya Darpana up for the rest of the Mudhras

7)      Rendering of the swar alankaras of the five ragas prescribed.