The Syllabus in Depth: A Guru’s Guide to the Bharatanatyam Diploma Course
Author: Gayatri Deka
Table of Contents
- The Map of Your Artistic Pilgrimage
- The Practical Core: A Detailed Look at the Margam
- Alarippu (The Blossoming)
- Jatiswaram (The Melody of Steps)
- Shabdam (The First Word)
- Varnam (The Masterpiece)
- Padam & Jaavali (The Soulful Narratives)
- Thillana (The Joyful Finale)
- The Language of Expression: Mastering Hasta Mudras and the Art of Abhinaya
- The Alphabet of the Hands: Hasta Mudras and their Viniyoga
- The Spectrum of Emotion: Understanding Rasa and Bhava
- The Four Pillars of Expression
- The Theoretical Foundation: Key Concepts from the Shastras
- The Natyashastra: The Encyclopaedia of Our Art
- The Abhinaya Darpana: The Mirror of Gesture
- The Rhythmic Soul: Understanding the Structure of Taalam
- The Science of Indian Rhythm
- Learning the Language of Sollukattu
- A Window to a Wider World: A Comparative Study of Indian Classical Dance
- The Syllabus for All: In-Person and Online Learning
- A Curriculum for Life
A diploma in Bharatanatyam is like a map for a grand pilgrimage. It is a meticulously charted path, refined over generations, that guides a student from the foothills of basic technique to the soaring peaks of artistic mastery. When a student or their parents ask me about our Bharatanatyam diploma course, their most important questions are often about the journey itself: What exactly will I learn? How is the course structured? What knowledge will I possess at the end of this journey?
These are the right questions to ask. A true diploma is not an arbitrary collection of dance routines; it is a deep, holistic, and systematic curriculum designed to create a well-rounded and knowledgeable artist. As a guru, it is my duty and my joy to be the keeper of this map. I have travelled this path myself as a disciple and now have the honour of guiding others through it.
In this detailed guide, I want to unveil the syllabus of a university-recognised diploma course in Bharatanatyam. I will walk you through the practical repertoire, the theoretical foundations, and the rhythmic complexities you will master, so you can fully appreciate the profound and transformative education that awaits you.
The Practical Core: A Detailed Look at the Margam
The practical heart of our syllabus is the margam, a Sanskrit word meaning “the path”. This is the traditional sequence of a solo Bharatanatyam recital, a series of dance items arranged in a specific order to ensure a complete and balanced artistic experience. Learning the margam is the practical core of the diploma.
Alarippu (The Blossoming)
This is one of the very first pieces a student learns. It is a short, invocatory item of pure dance (Nritta). The movements are simple but precise, involving the eyes, neck, and shoulders, gradually moving through the whole body. I teach my students that the Alarippu is like a flower bud slowly blossoming, a salutation to God, the guru, and the audience, and a way to prepare and awaken the body for the dance to come.
Jatiswaram (The Melody of Steps)
Following the Alarippu, the Jatiswaram introduces a beautiful interplay between melody (swara) and rhythm (jati). It is another pure dance piece, but more complex, weaving intricate sequences of adavus (basic steps) together in harmony with the musical notes. It builds stamina, sharpens the student’s sense of rhythm, and introduces the joy of pure, abstract movement.
Shabdam (The First Word)
The Shabdam marks a pivotal moment in a dancer’s journey. It is the first item in the margam to introduce expressive dance (Abhinaya). The movements are set to simple poetic verses, usually in praise of a deity. Here, for the first time, the student learns to use facial expressions and gestures to interpret the meaning of the words, taking their first steps as a storyteller.
Varnam (The Masterpiece)
The Varnam is the magnificent centrepiece of the margam and the most complex item a student will master during their diploma. It is a long and demanding composition that is the ultimate test of a dancer’s command over every aspect of the art. It alternates between intricate, fast-paced pure dance sequences and deeply emotive, expressive passages. To master a Varnam is to demonstrate true artistry, stamina, and the ability to seamlessly transition between abstract rhythm and profound storytelling.
Padam & Jaavali (The Soulful Narratives)
Where the Varnam is grand and epic, the Padam is intimate and lyrical. These are purely expressive pieces that require immense emotional maturity. They explore the subtle nuances of love, longing, and devotion. As a guru, I find this is where a student truly learns to act, to delve deep into the psychology of a character and convey their innermost feelings through subtle glances and gestures.
Thillana (The Joyful Finale)
The recital concludes with the Thillana, a vibrant and joyous pure dance piece. Its hallmarks are fast-paced rhythms, energetic movements, and beautiful, sculpturesque poses. It is a celebration of the art form, a burst of creative energy that leaves both the dancer and the audience exhilarated.
The Language of Expression: Mastering Hasta Mudras and the Art of Abhinaya
Running parallel to the learning of the margam is the deep study of the language of expression itself.
The Alphabet of the Hands: Hasta Mudras and their Viniyoga
The syllabus includes a meticulous study of the Hasta Mudras – the symbolic hand gestures that form the vocabulary of our storytelling. Students learn the full alphabet of 28 Asamyukta Hastas (single-hand gestures) and 24 Samyukta Hastas (double-hand gestures). Crucially, they also learn their viniyoga (application), understanding how a single gesture can have dozens of different meanings depending on the context.
The Spectrum of Emotion: Understanding Rasa and Bhava
A diploma student delves into the theory of aesthetics. They learn about the nine primary sentiments, or Navarasas (love, humour, sorrow, anger, etc.). They are trained to portray the bhava (the emotion of the character) with such authenticity that it evokes the corresponding rasa (the aesthetic flavour) in the audience.
The Four Pillars of Expression
The curriculum is built on the four pillars of Abhinaya as described in the ancient texts: Angika (expression through the body), Vachika (expression through the interpreted song), Aharya (expression through costume and adornment), and Sattvika (the expression of genuine, internal emotion).
The Theoretical Foundation: Key Concepts from the Shastras
A diploma in Bharatanatyam is an academic qualification. This means a student must become a scholar of the art, not just a practitioner. The theory (Shastra) component of our syllabus is therefore robust and essential.
The Natyashastra of Bharata Muni
Students are introduced to the Natyashastra, the foundational encyclopaedia of all Indian performing arts. We study its key concepts, understanding the divine origin of dance, the principles of stagecraft, and the theories of movement and emotion that govern our art form to this day.
The Abhinaya Darpana of Nandikesvara
If the Natyashastra is the encyclopaedia, the Abhinaya Darpana (“The Mirror of Gesture”) is the practical handbook for the dancer. The syllabus requires a detailed study of this text, which meticulously codifies the hand gestures, head movements, eye glances, and body postures that we use.
The Rhythmic Soul: Understanding the Structure of Taalam
Bharatanatyam is inseparable from its rhythm. A significant portion of the diploma syllabus is dedicated to mastering the science of Taalam.
The Science of Indian Rhythm
Students learn that Taalam is not just a simple beat, but a sophisticated system of rhythmic cycles, with complex mathematical structures. They learn to identify and understand the various talas used in the Carnatic music system that accompanies our dance.
Learning the Language of Sollukattu
To internalise these rhythms, students are taught to recite the corresponding rhythmic syllables, or sollukattu (e.g., ta ka dhi mi, ta ka tha ri ki ta thom). This practice of vocally reciting the rhythms is crucial for achieving the precision and clarity required in the footwork.
A Window to a Wider World: A Comparative Study of Indian Classical Dance
To truly appreciate the unique beauty of Bharatanatyam, it is important to understand its place within the magnificent family of Indian classical dances. Our diploma curriculum therefore, includes an introduction to other forms, such as Kathak, Odissi, Kuchipudi, and Mohiniyattam. Students learn to identify their distinct costumes, postures, music, and historical contexts, which deepens their understanding and appreciation of what makes Bharatanatyam so unique.
The Syllabus for All: In-Person and Online Learning
This entire rich and detailed syllabus is the foundation of our bharatanatyam diploma course delhi at my school in Dwarka. For my students pursuing their diploma in Bharatanatyam distance education, the curriculum is exactly the same. The theory is taught through detailed notes and live discussions, while the practicals are taught through interactive, real-time classes. Our online bharatanatyam diploma ensures that no matter where you are in the world, you can embark on this same authentic and comprehensive path to mastery.
A Curriculum for Life
As you can see, the syllabus of a diploma in Bharatanatyam is a profound and holistic curriculum. It is a journey that encompasses history, philosophy, music, mathematics, and deep emotional exploration. It is designed not just to create a proficient dancer, but to nurture a well-rounded, knowledgeable, and sensitive artist. This is not merely a course of study for a few years; it is an education that imparts a language, a discipline, and a sense of grace that will enrich you for a lifetime.
Frequently Asked Questions about the Bharatanatyam Diploma Syllabus
1. The blog describes the margam as the practical core. Is it necessary for a student to learn all the items in this specific order?
Yes, the order of the margam is deeply significant and pedagogically brilliant. It is a path designed to build a dancer’s abilities progressively. We begin with pure dance like the Alarippu to awaken the body, then introduce melody in the Jatiswaram, then bring in the first hints of expression with the Shabdam. This systematic progression ensures that by the time a student reaches the complex Varnam, they have built the necessary physical stamina and emotional vocabulary. To learn them out of order would be like trying to write poetry without first learning the alphabet and grammar.
2. What is the fundamental difference between ‘Nritta’ (like in a Jatiswaram) and ‘Abhinaya’ (like in a Padam)?
This is the beautiful duality of Bharatanatyam. Nritta is pure, abstract dance. It is rhythmic, intricate, and focuses on the beauty of form, movement, and the joy of rhythm itself, without telling a specific story. A Jatiswaram is a perfect example. Abhinaya, on the other hand, is the art of expressive dance and storytelling. It uses facial expressions, hand gestures, and body language to convey the emotions and narratives of a poetic piece. A Padam is a prime example of pure abhinaya. A complete dancer must master both.
3. You mentioned the Varnam is the ‘masterpiece’ of the repertoire. What makes it so challenging and central to the diploma syllabus?
The Varnam is the ultimate test because it demands the seamless integration of all aspects of the art form at the highest level. It is a long and complex piece that requires immense physical stamina for its intricate Nritta passages, but it also demands profound emotional maturity and acting skill for its detailed Abhinaya sections. Mastering a Varnam shows that a dancer has moved beyond just executing steps and can now weave together the technical and the emotional into a single, captivating narrative.
4. How deeply does a diploma student need to study ancient texts like the Natyashastra? Is reading the original text required?
A student is not expected to read the entire ancient Sanskrit text. Rather, the syllabus for the diploma in Bharatanatyam focuses on studying the key concepts, principles, and classifications from these texts as they apply to a performer. We use scholarly translations and interpretations to teach the theory of Rasa, the classifications of gestures, and the historical and philosophical context. The goal is for the student to become a knowledgeable artist who understands the ‘why’ behind their art, not necessarily a Sanskrit scholar.
5. How does a student in a diploma course in bharatanatyam practically learn the complex Taalam system?
We approach it systematically. The learning is both practical and theoretical. Students begin by learning to mark the rhythmic cycles, or talas, with specific hand claps and gestures. Simultaneously, they learn to recite the corresponding rhythmic syllables, known as sollukattu. This vocal percussion is then mapped onto the footwork, training the body and mind to work in perfect unison. It is a process that builds from simple rhythms to incredibly complex mathematical patterns over the years.
6. The syllabus mentions learning Hasta Mudras and their viniyoga. What does ‘viniyoga’ mean?
Viniyoga is a crucial concept which means “application” or “usage.” It is not enough to simply learn the shape of a hand gesture (mudra). The viniyoga teaches us the various contexts in which that single gesture can be used to convey a multitude of meanings. For example, the same mudra can signify a bee, a teardrop, or a specific deity, all depending on its placement, movement, and the expressive intent behind it.
7. Why does the syllabus include a comparative study of other classical dances? Does a student have to learn them?
No, a student in a Bharatanatyam diploma does not learn to perform Kathak or Odissi. The purpose of the comparative study module is to broaden the student’s artistic horizons. By learning the basic history, key postures, and unique characteristics of other classical forms, a student gains a much deeper appreciation of what makes Bharatanatyam distinct. It helps them understand our art form’s unique place within the magnificent family of Indian classical dance.
8. Is the syllabus for the online bharatanatyam diploma identical to the one taught in your Delhi school?
Yes, it is absolutely identical. This is a point of great importance for us. Whether a student is learning in my studio in Delhi or through our diploma in bharatanatyam distance education programme, they are on the same path to the same university-recognised qualification. The curriculum, the repertoire, the theoretical depth, and the standard of excellence we expect are exactly the same.
9. Is there any flexibility within the syllabus, or must every student learn the exact same choreographies?
This is an excellent question that touches upon the concept of lineage, or bani. While the structure of the margam and the types of items learned (a Varnam, a Padam, etc.) are standard across the syllabus, the specific choreographies for those items are unique to the guru’s school and artistic tradition. So, while all diploma students will master a Varnam, the one they learn from me will be different from the one taught in another school, reflecting the creative heritage of my own gurus.
10. Beyond the technical and theoretical items in the syllabus, what is the most important skill a student learns through this curriculum?
The most important skill, and the one that truly defines an artist, is synthesis. It is the ability to seamlessly integrate all the different elements you have learned – the precise technique, the complex rhythm, the deep emotional expression, and the intellectual understanding of the story – into a single, unified, and heartfelt performance. The syllabus gives you all the ingredients; learning to combine them to create a masterpiece is the true art.