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Kathak Certificate Course

Our Kathak Certificate Course offers a practical introduction to this classical dance. Master the basics with hands-on training in the essentials of Kathak, from rhythm and expressions to postures and movements.

Schedule

Starts 12th August

Attend offline (Bay Area, San Francisco) or online (Google Meet)

About Kathak

Kathak is a classical dance form from Northern India known for its intricate and fast footwork, graceful movements, and expressive storytelling. Originating from ancient Hindu temples and later influenced by Mughal courts, Kathak seamlessly blends traditional music and rhythmic patterns to convey powerful narratives.

With its roots in storytelling, Kathak often depicts tales from Indian epics like the Mahabharata and Ramayana. Dancers use a combination of hand gestures, facial expressions, and spins to bring stories to life. Today, Kathak continues to evolve, inspiring dancers worldwide with its rich history and vibrant expressions.

Meet your Dance Guru

Anjali kakkadp holds a Ph.D. in Kathak from Akhil Bharatiya Gandharva Mahavidyalaya Mandal. She has been passionately sharing her love for Kathak with students and audiences alike. Her dance journey reflects a deep commitment to preserving and promoting the rich traditions of this classical art form.

With a dynamic storytelling prowess in her dance, Anjali’s teaching style emphasizes technique, expression, and the spiritual essence of dance, inspiring students to connect with their inner artistry. Taking her Indian roots to the US, she wishes to pass on the timeless traditions of Kathak, nurturing a vibrant community of dancers who celebrate cultural diversity.

Grace in motion
Grace in motion

Class Highlights

Learn the basics of Kathak from an experienced and trained instructor

Two days a week (Mondays and Fridays) 06.30 to 07.30 PM PST

Participate in recitals every 3 months and get certified by Aligned Spirit

Welcoming people of all ages into our enthusiastic and friendly community

KATHAK SYLLABUS

Learn Classical Dance with Anjali kakkadp

Let the magic of Kathak classical dance fill your life with rhythm, expression, and joy. Get in touch, and learn kathak!

THEORY

Laya, Vilanbit Laya, Madhya Laya, Drut Laya, Matra, Sam, Taal, Khali and Vibhaag

PRACTICAL

  1. Introduction of Teentaal
  2. Tatkaar / footwork in Teentaal - Thah (slow speed) And Dugun (double speed)
  3. Ability to recite & perform 10 simple Todas and 4 Chakradaar Todas and two tihais in Teentaal
  4. Recite Teentaal Theka on hands
  5. Recite Thah, Dugun and Chaugun of Teentaal Theka on hands

THEORY

To know all the theory of Prarambhik besides this years theory.

  1. Define Laya (Vilambit, Madhya, Drut), Sama, Matra, Taali, Khaali, Gat-Nikas, Gat-Palta, Tatkar, Toda, Thaat, Salaami / Rang Manch Pranaam, Baant and Tukda.
  2. Identify the symbols of Taal notations.
  3. Information and thekas of Dadra and Kerawa Taal.
  4. Names of five Kathak Guru of current time.
  5. Names & usages of 10 Asanyukta hasta Mudras as per Abhinay Darpan. Given below:
    Patatka, Tri-Pataka, Ardha Pataka, Kartarimukh, Mayur, Ardhachandra, Araal, Shukatunda, Mushthi, Shikhar.

PRACTICAL

  1. In Teental perform: One Rangmanch Pranam, Two Thaat, One Simple Aamad, Six simple Todas, Two Chakradar Todas, Two Paran
  2. Three Gat-Nikas – simple, Matki, and Bansuri.
  3. Tatkar: Thah, Dugun, Chaugun and at least 4 variations of Baant.
  4. Recitation of Teental Theka and its Thah, Dugun and Chaugun.
  5. Ability to recite Theka of Dadra and Keharwa Taal.
  6. Ability to perform one dance in Dadra or Keharwa taal.

THEORY

To know all the theory of Prarambhik besides this years theory.

  1. Brief history of Kathak dance. (Atleast 10 to 15 sentences)
  2. Define: Aamad, Toda, Tukda, Tatkar, Paran, Chakradar, Kavit, Tihai, Anga, Pratyanga, Upanga, Gat-Bhav, Hasta-Mudra
  3. Define Folk Dance. Names of any five Indian folk dances.
  4. Names of all seven Indian classical dance styles and their states.
  5. Asanyukta-hasta-mudra: Definition and usages of:
    Pataka, Tri-pataka, Ardha-pataka, Kartari-mukha, Mayura, Ardha-chandra, Araala, Shukatunda, Mushthi, Shikhara, Kapittha, Kataka-mukha, Suchi, Chandrakala, Padmakosha, Sarpasheersha, Mruga-sheersha, Simhamukha, Kaangula, Alapadma, Chatur, Bhramar, Hansasya, Hans-pakshya, Sandausha, Mukula, Tamrachuda, Vyaghra, Trishul.
  6. Life story of a renowned Kathak dancer.
  7. Names of well-known Tabla player who accompany Kathak at present.
  8. Compulsory Question: Ability to write the notations of:
    • In Teentaal: One Tihai, One simple Aamad, One paranjudi Aamad, One Toda, One Paran and One Kavit
    • In Zhaptaal: Thah, dugun of Theka and Tihai. One Toda One Aamad, One Paran
  9. Write notations of Thekas of Dadra and Keharwa Taal

PRACTICAL

  1. In Teental/Tritaal: Two Thaat, One Paranjudi Aamad, One Rangamanch Pranam, Four simple Todas (Different than 1st year Todas, each toda should be made of atleast 3 awartans), Two Paran, Four Chakradaar Paran, One Kavit. One Chakradar Tihai
  2. In Tatkar
    • Adhi, Barabar, Dugun, Chaugun, Athgun ending with Tihai.
    • Tatkar Baant ending with proper tihai in Teentaal.
  3. Gat-Nikas: Mor-Mukut, Ghunghat, Bansuri.
  4. Gat-Bhav: Panihari
    Story line: Radha goes to the river bank to fetch water. Krishna comes, breaks her pot, Radha is annoyed,Krishna laughs etc.
    • Ability to show all Hasta-Mudras used in Gat-Bhav
    • Ability to recite all the Todas and Bol on hands.
  5. In Zhaptaal: One Thaat, One Aamad, One Tihai, Two Todas, One Chakradaar Toda, One Paran

THEORY

  1. All the theory covered up to Praveshika Purna
  2. Define and explain Kataaksha, Primalu, Nartan Bhedas – Nritta, Nrutya and Natya.
  3. Define Tandav and Lasya.
  4. Four types of neck movements according to Abhinaya Darpan.
  5. Eight types of eye movements according to Abhinaya Darpan.
  6. Define and differentiate “Folk dance” and “Modern Dance” (Uday Shankar style).
  7. Life story of: Bindadin Maharaj, Kalka Prasadji, Harihar Prasadji & Hanuman Parsadjiji.
  8. Specialty of Jaipur and Lucknow Gharana.
  9. Definition and uses of the following Asanyukta Hasta Mudras:
    Sarpasheersha, Mruga-sheersha, Simha-Mukha, Kangula, Alapadma, Chatura, Bhramara, Hansasya, Hansa-paksha, Sandausha, Mukula, Tamrachuda, Vyagraha, Trishula.
  10. Sanyukta Hasta Mudra:
    Anjali, Kapota, Karkata, Swastik, Dola, Pushpaputa, Utsanga, Shivalinga, Katakawardhan, Kartari-swastik, Shakata, Shankha
  11. Write notations of:
    All the Todas, Chakradars, Parans, Kavit & Tihai in Teentaal, Zhaptaal and Ektaal.

PRACTICAL

  1. In Teental/Tritaal
    • Specialization in Teentaal (16 matras)
    • Guru Vandana
    • 3 Thaat, 2 Aamad, 5 Chakradaar Todas (each of minimum 4 Aawartan)
    • 5 Paran, 3 Chakradaar Paran, 2 Kavit Paran, 3 simple Tihai, 3 Chakradaar Tihai
    • Present Tatkaar – Aadhi (half), Baraabar (equal), Dugun(double), Tigun(triple speed) and Chaugun( 4th speed). Also present Baant / Chalan in Tatkar.
  2. In Zhaptaal (10 Matras):
    • 3 Tihai, 1 Thaat, 1 Aamad, 1 Salami, 5 simple Todas, 2 Paran, 2 Chakradaar paran, 2 Kavit.
  3. In Ektaal (12 Matras):
    • 1 Thaat, 1 Aamad, 4 simple Todas, 2 Paran, 2 Chakradaar Paran, 2 Kavit, 2 Tihai.
    • Tatkar – Thaah, Dugun, Chaugun
  4. Abhinaya:
    • One Thumri set in Teentaal.
    • A poem/ bhajan written by any one of Meera Bai, Kabeer, Tulsidaas or Surdaas, set in Dadra or Keharwa.
  5. Gat Nikas:
    • Specialization in Gat Nikas.
    • Zhumar, Kalai, Andaz (Rukhsar), Chapka
  6. Gat Bhav:
    • Pani-hari, Makhan Chori, Radha-Krishna Holi.

THEORY

  1. History of Kathak Dance. Knowledge of Temple tradition and Darbaar / Court tradition of Kathak dance.
  2. Detailed knowledge of Jaipur, Lucknow and Banaras Gharana (Repertoire)
  3. Definition and usages of nine types of eyebrow movements as per ‘Abhinaya Darpan’.
  4. Definition and types of Tandav and Lasya.
  5. Ability to write Aadhi(1/2), Pauni(3/4), Kuwadi(1.1/4), Aadi(1.1/2 also known as Dedhi), Barabar(equal), Biadi(1.3/4 known as Paune do) laya of Teental.
  6. Define and elaborate ‘Abhinaya’. Define and elaborate 4 types of Abhinaya, namely Aangik, Wachik, Aaharya and Satwik.
  7. Write definition and usages of the following Sanyukta Hasta Mudras: Chakra, Samputa, Pash, Keelaka, Matsya, Koorma, Warah, Garud, Nagbandh, Khatwa and Bheruda.
  8. Life story of the following Kathak maestros and their contribution to Kathak:
    • Pandit Achchan Maharaj
    • Pandit Shambhu Maharaj
    • Pandit Lachchu Maharaj
    • Pandit Narayan Prasad
    • Pandit Jaylaal
  9. Ability to write the notations of all the todas in Teental, Rupak and Dhamar.

PRACTICAL

  1. Advance presentation of Teental (different than the one presented in Madhyama Pratham).
  2. In Rupak taal (7 beats): One That, one Aamad, two Tihai, three Paran, one Chakradar Paran, four Todas, one Kavit Paran; Thah and Dugun of Tatkar.
  3. In Dhamar Taal (14 beats): One That, one Aamad, two Tihai, four Paran, two Chakradar Paran, two Kavit Paran; Thah and Dugun of Tatkar.
  4. Ability to recite all the Bols in Teental, Rupak and Dhamar .
  5. Gat-nikas advance presentation- simple Gat, Bansuri, Matki, Ghoonghat, Kalai, Rukhsar, Chhed-Chad and Anchal.
  6. Besides all the Gat-Bhav learned in the previous years, perform ‘Kaliya-daman’.
  7. An expression item / to perform Bhav on any ‘Pad’ or Thumri.

THEORY (PAPER 1)

  1. Evolution of ‘Natya’ as per ‘Bharat’. Purpose and application of ‘Natya’.
  2. Definition of Nav-Ras.
  3. Four types of Nayak Bhed – Dheeroddhatta, Dhirodaatta, Dheer-lalit and Dheer-Prashant.
  4. Knowledge of four Niyikas from Ashta-Nayikas, namely – Abhisarika, Khandita, Vipralabddha & Proshit-Patika.
  5. Knowledge of Matsya, Kurma, Warah, and Narsimha Avatar from Dashawtar; the stories and Mudras of these Avatars.
  6. Definition and knowledge of the 10 Pran of Taal.
  7. Information of Bharatnatyam, Manipuri and Kathakali dance styles, their traditional costumes, jewellary and accompanying instruments.
  8. Write notations of Aamad, Bedum Tihai, Farmaishi Paran, Chakradar Paran, Tipalli and Kavit in each of the following Taals: Teental, Zhaptal and Dhamar.
  9. Ability to write the notations of all the todas in Teental, Rupak and Dhamar.
  10. Essays on Importance of Guru-Shishya Parampara(tradition) and Merits of a good disciples and his duties towards his Guru.

THEORY (PAPER 2)

  1. Evolution of Ras; definitions of Sthayi Bhav, Bhav, Vibhav, Anubhav and Vyabhichari Bhav.
  2. Knowledge of the following words or concepts traditionally used in Kathak:
    Tipalli, Kavit, Farmaishi Paran, Kamali Paran, Bedum Tihai, Tribhang, Sudhang, Lang-dant, Anulom-Pratilom, Bhramari, Nyas-Vinyas.
  3. Definitions of the following types of Indian Classical vocal compositions used in Kathak:
    Asthapadi, Dhrupad, Thumri, Chaturang, Tirwat, Tarana, Chaiti, Kajari and Hori.
  4. Nawab Wajid Ali Shah’s and Raigadh Maharaj Chakradhar Sinha’s contribution to Kathak.
  5. Write notations of Aamad, Tihai, Toda, Chakradar Paran and Kavit in the following Taal: Raas Taal (13 Matra), Dhamaar (14 Matra), Gajazhampa(15) & Pancham Sawari (15 Matra).
  6. Life Stories of Nataraj Gopi Krishna, Sitara Devi, Pandit Durgalal and Guru Sundarlal Gangani.
  7. Essay writing: Raas and Kathak and Relevance and importance of Thumari in Kathak.
  8. Ability to write the notations of all the todas in Teental, Rupak and Dhamar.
  9. Merits and demerits of a Dancer .

PRACTICAL

  1. Saraswati Vandana
  2. Besides Teentaal, advance presentation of Zhapataal.
  3. Ability to present That, Aamad, two Todas, one Paran and one Kavit in the following Taals: with Thah, dugun of Theka in Tatkar.
    • Gajazhampa or Choti/Pancham Sawari (15 matras),
    • Dhamaar Taal (14)
    • Raas Taal (13)
  4. Gat-nikas: Aanchal, Naav, a variety of Ghoonghat.
  5. Thumri or Bhajan (Bhav Presentation)
  6. One Tarana or Tirwat in any Taal.
  7. Ability to recite all the compositions in all the Taal.
  8. Ability to perform one composition of Lucknow, Jaipur and Banaras Gharana.
  9. Ability to present Abhisarika, Khandita and Vipralabdha Nayika either through Gat-Bhav, Thumri or Pad.
  10. Tatkar Ladi (other than learnt in the previous years )in Teental or Dhamar.

THEORY (PAPER 1)

  1. Knowledge about acient events/incidences which were related to dance.
  2. Knowledge of verious Granthas written during the “ Madhya – Yuga” period.
  3. Detail knowledge of Navrasas.
  4. Detail knowledge of NAYIKA BHED.
    • As per Dharma Bheda – Swakiya , Parkiya, Samanya.
    • As per Age – Mugdha, Madhya, Pragalbha/ Proudha.
    • As per nature/character : Uttama, Madhyamaa, Adhama.
    • As per physic/Jati: Padmini, Chitrini, Shamkhini and Hastini
    • As per situation – All the Ashta-Nayikas
  5. Knowledge about other dance styles - Oddissi, Kuchipudi and Manipuri :
    • their presntation format,
    • musical and percussion instruments used, and
    • their constumes and jewellary.
  6. Evolution of Laya and Tal and it’s importance in Kathak
  7. Comparitive study of Asanyukta and Sanyukta Hasta Mudras as per Natya- Shastra and Abhinay-Darpan.
  8. Write notations of Aamad, Bedum Tihai, Farmaishi Paran, Chakradar Paran, Tipalli and Kavit in each of the following Taals: Teental, Zhaptal and Dhamar.
  9. Ability to write the notations of Aamad, Tihai, Toda, Paran in Chhoti Sawari (15 matra) and Shikhar Taal (17 matra)
  10. Knowledge of Ramayan, Mahabharat, Bhagwat Puran and Geet-Govind.

THEORY (PAPER 2)

  1. Ability to show the Hasta-mudras of following characters as per Abhinay Darpan.
  2. Gods and Goddeses: Brahma, Vishnu, Saraswati, Parvati, Lakshmi, Indra, Agni, Yama, Warun and Wayu.
  3. Dashaawtar Mudras of: Matsya, Kurma, Waraah, Narsimha, Waman, Parshuram, Ram, Balram, Krishna and Kalanki.
  4. References of dance in Ancient Literature.
  5. Life Stories of :
    • Guru Sundar Prasad,
    • Guru Mohanrao Kalyanpurkar,
    • Maharaj Krishna Kumar &
    • Pandit Birju Maharaj
  6. Definition and implementation of Lok-dharmi and Natya-Dharmi in Dance.
  7. Essay : Popularity of Indian dance in foreign countries.
  8. Essay :New techniques like : modern theaters, lights, stage settings, sound effects, cyclirama, back projections etc. used in presenting dance today.
  9. Importance and position of Kavittas and Thumari in Kathak.
  10. Connection of vocal - instrmental music, drawing-painting and scupting with Dance.
  11. Ability to write notations of Aamad, Toda, Paran, Chakradar Toda, Farmaishi Paran, Parmelu in Matta-Taal (18 matra) and Raas Taal (13 matra)

PRACTICAL

  1. Vishnu wandana – (with knowledge of Raag, Taal and meaning of the words)
  2. Advance preparation in
    • Chhoti Sawari (15 matra)
    • Shikhar Taal (17 matra)
    • Matta-Taal (18 matra)
    • Raas-Taal (13 matra)
  3. Ability to perform Teetaal, Shaptaal and Rupak on simple theka without support of padhant.
  4. Ability to create short dance choreography on short stories.
  5. Ability to present Baant, Ladi, Chalans with Vistar(expansion/more variations) in Tatakar.
  6. Command over previous year’s Gat-Bhav with additional two Gat-bhav on
    • Kanchan-mrug till the sequence of Seeta-haran,
    • Kans-Vadh (Killing of Kans)
  7. Ability ot perform various Sanchari bhav on Thumari and any Pada while sitting.
  8. Ability to recite every rythmic composition of every taal that you are performing.
  9. Presentation of any two (with information of Raag, taal and meaning of words)
    • Tirwat
    • Tarana
    • Ashta-padi
    • Chaturang
    • Stuti
  10. Ability to express all the Niv-rasas only thru facial expressions while sitting.
  11. Presentation of a composition based on any story of Dashaawtar.
  12. Ability to move, eyebrows and neck (bhrukuti and greeva) as per Teentaal nagama.
  13. Ability to sing or play on Harmonium/keyboard Nagama of Teentaal.
  14. Ability to improvise and perform immediately on any story given by the examiner at the time of practical exam.
  15. Abhinay/Bhav presentation on Ashta-Nayikas.
CONTACT ME

Timeless elegance transcending generations, Kathak dance enchantment for every age

Whether you're a beginner or have some dance experience, Kathak classes are tailored to suit all levels. Led by Anjali KP, she offers a supportive and nurturing environment to help you master this art form.