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CUET Performing Arts Syllabus 2022, Download PDF Free!

By BYJU'S Exam Prep

Updated on: September 11th, 2023

 
NTA has released the CUET Performing Arts syllabus for 2022. It can be seen on the Common University Entrance Test’s official website. This page also includes a PDF of the CUET 2022 Performing Arts Syllabus. Candidates simply need to scroll down and click the link provided below. CUET 2022 is a single entrance exam that allows students to apply to a variety of CUET-affiliated universities.  The CUET 2022 performing arts exam is divided into three components. Dance is in Section A, Drama-Theatre is in Section B, and Music is in Section C. Candidates will have the option of selecting any section they like.

CUET Performing Arts Syllabus 2022

The CUET Performing Arts Syllabus is split into 3 broad units of topic categories. Throughout the paper, each of these three sections has a number of sub-sections that are approximately equal in importance. In order for a student to properly appreciate and apply these topics, they must be carefully studied. Candidates must be completely familiar with the topics and syllabus that may be addressed in the CUET exam. The units are also linked together. Performing arts that are performed for an audience include music, dance, and theatre. Visual arts, on the other hand, require the use of paint, canvas, or other materials to create physical or static art objects. For a better understanding of the exam pattern, candidates can look over the CUET Exam Pattern.

CUET Performing Arts Syllabus PDF

Download the official CUET Performing Arts syllabus to help you prepare. The CUET Performing Arts Syllabus PDF can be downloaded from cuet.samarth.ac.in. However, this may appear to be a challenging process. Aside from that, the official CUET Performing Arts syllabus PDF can be downloaded at the link provided below.

CUET Performing Arts Syllabus Download PDF

CUET Performing Arts Syllabus Unit-wise

Each of the three divisions is divided into sub-components as shown in the table below. It is also vital to be familiar with all of the topics presented in the section in order to completely comprehend the exam. The following are some key elements from Section II of the CUET Syllabus of Performing Arts:

CUET Performing Arts Syllabus

Section A: DANCE

A1: Kathak

1. A brief history of other dance styles of India. 

2. A Basic understanding of the term ABHINAYA and definition of its four aspects: Angika, Vatika, acharya, and satvika. 

3. Acquaintance of the three Gharana of Kathak dance (Lucknow, Jaipur, Banaras) 

4. Rasa: definition and explanation of nine rasas. 

5. Knowledge of the following terms: (short note) sangeet, tal, laya, Angara, bhramari, lokadharmi, natyadharmi, rasa, and bhava. 

6. Knowledge of the technical terminology of the dance form. 

a) Definition of the following: 

i) Vandana 

ii) Tihaayi 

iii) Aamad 

iv) Toda/Tukraa 

v) Paran 

vi) Chakardar Toda /Tukraa and Paran 

vii) Gatnikas 

viii) Gatbhaav 

b) Knowledge of Theka of Dadra, Kaharwa, Roopak, Jhap Taal, Teen Taal 

c) Definition of Tali, Khali, Sam, Tihaayi. 

d) Ability to notate a Tukraa/Toda and Paran. Acquaintance with the traditional costumes and makeup.

A2: Bharatanatyam Dance

1. Acquaintance with the life history of the chief exponents and contributors of the past Dance form. (Rukmini

Devi Arundale, Bala Saraswati, Meenakshi Sundaram Pillai, Tanjorequartette)

2. Acquaintance with the contents of the Abhinaya Darpana. (The chapters and the aspects of dance dealt within them).

3. Knowledge of the following terms:

(i) Nritta, Nritya, Natya (Sanskrit slokas from the Abhinaya Darpana and basic definition) Tandava (7 tandavas with detailed stories) Lasya, Lokadharmi, Natyadharmi (Definitions with example)

(ii) Sthana, Chari, Mandala, Bhrarmari, Utplavana (Slokas and meaning from Abhinaya Darpana) 

(iii) Abhinaya (Angika, Vachika, Satvika, Acharya-slokas from the Abhinaya Darpana along with the meaning)

(iv)Sangeeta, Tala, Laya (Definition of the term, seven teams, three ways)

(v) Rasa (names of the nine races and their English meanings)

4. Knowledge of the technical terminology of the particular Dance form (anyone to be studied by the Dance style offered)-

(a) Definitions of the following: araimandi, muzhumandi, kuttanam, korvai, karvai,adavu, shollu, aradhi, theerumanam, jati, jaati, gati, avartana, yati, taalanga, thattukazhi, nattuvangam, arangetram)

5. Acquaintance with the traditional costumes makes up the Dance style opted.

A3: Kuchipudi Dance

1. A brief history and acquaintance with some traditional dance forms of the region, other than the one offered for study.

2. Acquaintance with the life history of the chief exponents of the dance form, past, and present.

3. Knowledge of the following terms:

(i) Nritta, Nritya, Natya, Tandava, Lasya, Lokadharmi, Natyadharmi

(ii) Chaturvidha Abhinaya (Angika, Vachika, Satyika, Acharya) with special reference to Mukhaja Abhinaya.

(iii) Sanchari Bhava, Sattvika Bhava

4. Types of compositions and formats used in Kuchipudi Definitions of the following:

(a) Rangapuja, Shabnam, Ashthapadi, Kalaapam, (Bhaama Kalaapam, Golla Kalaapam)

A4: Odissi Dance

1. Elementary knowledge about the three styles of Chhau: Mayurbhanj, Seraikella, and Purulia.

2. Brief notes on the lives and contributions of the three Gurus: Guru Pankaj Charan Das, Guru Kelucharan

Mohapatra, and Guru Deba Prasad Das.

3. Elementary introduction to the texts; Natya Shastra, Abhinaya Darpana, and Abhinaya Chandrika: 

a) Identification of the author (approximate date) 

b) Basic overview of the broad areas covered in the context of each text. 

c) Myths regarding the origin of dance according to each text.

4. A Basic understanding of the term ABHINAYA and definition of its four aspects: Angika, Vatika, Acharya, and sattvik.

5. Rasa: Definition and a short explanation of the ninerasas.

6. Short notes on

a) The Acharya of Odissi.

b) The music accompaniment of Odissi.

7. A brief explanation of the following terms: (Unit IV Class XI)

a) Nritta, Nritya and Natya

b) Matra, Laya, Taal, Avartana, Vibhaga (Anga)

c) Tandava and Lasya 

d) Natyadharmi and Lokdharmi

8. Write some names of Folk Dances of Odisha

A5: Manipuri Dance

1. Acquaintance with the life history of chief exponents past and present of the dance form.

2. Acquaintance with the contents of Abhinaya Darpana.

3. Knowledge of the following terms:

(a) Nritta, Nritya, and Natya. Tandava, Lasya, Loka Dharmi, NatyaDharmi.

(b) Abhinaya: Angika, Vachika, Aharya andSatvika.

(c) Sangeet: TalaLaya.

(d) Rasa: Sthayi Bhava, SanchariBhava.

4. Knowledge of technical terms of the style:

(a) Chali, Bhangi, Longlei, Uplei

(b) Different kinds of Choloms: Kartal Cholom, Khubak Isei Cholom, PungCholom.

(c) Sankirtan. Different Talas, Rajmel, Menkup,Tanchap.

(d) Different kinds of Raas.

5. Acquaintance with the traditional costumes, and make-up for the dance style offered.

(a) Potloi and its different components for Radha and Gopis

(b) Krishna’scostume.

(c) Typical traditional makeup for Manipuri classical dances with an emphasis on Vaishnava Tilak.

A6: Kathakali Dance

1. Acquaintance with the life history of the great masters of the dance form of both past and present.

2. Acquaintance with the contents of the Hastha Lakshana Deepika and Natyasasthra.

3. Knowledge of the following terms:

(i) Nritta, Nritya, Natya, Tandava, Lasya, Lokadharmi, Natyadharmi.

(ii) Anga, Upanga,Prathyanga

(iii) Abhinaya (Angika, Vachika, Satvika, Aharaya) with special reference to Hasta-Abhinaya, Mukhaja-Abhinaya and Netra-Abhinaya.

(iv) Sangeeta, Tala, Laya

(v) Rasa, Rasadhrishti, Sthaayibhava, Sthaayidrishti, Sancharibhava, Bhaava, Vibhaava,

Anubhaava, and Sathvika Bhaava,

4. Knowledge of the Technical Terminology of the Art forms.

(a) Mutiyettu, Theyyam, Kootiyaattam, Ramanattam, Krishnattam, Ottanthullal, and Kalarippayattu

(b) Hastas – Samyutha, Asamyuta, Mishra, Nanartha from Hastalakshanadipika.

Section B: DRAMA-THEATRE

Unit I: Modern And Contemporary Indian Theater

Survey of major modern and contemporary styles and works in Hindi/English: Rabindranath Tagore, Bhartendu Harishchandra Vijay Tendulkar, Mohan Rakesh, Dharmveer Bharti, Badal Sarkar, Shankar Shesh, Girish Karnad, Chandrashekhar Kambar.

Review of Indian theatre organizations NSD, Sangeet Natak Academy, Zonal Cultural Centres 

Practitioners of modern Indian Theatre

Unit II: Modern And Western Theater

Survey of major contemporary styles and works in English or English translation: Chekov, Ibsen, Strindberg, Shaw, O’Neill, Ionesco, Beckett, Pinter, Stoppard.

Unit III: Theatre Production – Management And Performance

Readings on Theatre management and marketing

Unit IV: Survey Of Acting Theory And Practice

Reading Stanislavsky, Strasberg

Unit V: Survey Of Acting Theory And Practice

Readings on play production

Unit VI: Theatre Production

History of theatre architecture.

Readings on production design-color theory, sets, costumes, lighting

Unit VII: Developing And Documenting The Research Project

Examples of research projects in different aspects of theater. 

Choosing the scope of the individual project · Using media and sources for the project.

Section C: MUSIC

C1: Hindustani Melodic

Units 1: 

Brief study of the following: Gram, Murchhana, Varna, Alankar, Alap, Tana. 

Brief study of the following: Gamak, Meend, Kan, Khatka, Murki, krintan, Zamzama, Ghaseet, Sut. 

Unit 2: 

Study the following: Classification of Ragas. 

Ancient, Medieval, and Modern.

Historical development of the Time Theory of Ragas 

Unit 3: 

Detail study of the following: 

1. Sangeet Ratnakar 

2. Sangeet Parijat 

Life Sketch and Contribution of Inayat Khan, Mushtaq Ali Khan, Alauddin Khan, Abdul Halim Zafar 

Unit 4: 

Description of Prescribed Talas along with Tala Notation with that, Dugun, Tigun, and Chaugun: Jhaptala Rupak Tilwada Dhamar

Study of various parts and tuning of the Instrument opted for. 

Unit 5: 

Critical study of prescribed Ragas along with recognizing Ragas from phrases of Swaras and elaborating them. 

Raag description, Raag Recognition Bhairav Bageshri Shuddha Sarang Malkauns

C1: Hindustani Vocal

Units 1: 

Brief study of Alankar, Varna, Kan, Meend, Khatka, Murki, Gamak. 

Brief study of the following Sadra, Dadra, Gram, Murchhana, Alap, Tana. 

Unit 2: 

Study of the following: Classification of Ragas- Ancient, Medieval, and Modern 

Historical development of the Time Theory of Ragas 

Unit 3: 

Detail study of the following: 

I. Sangeet Ratnakar 

II. Sangeet Parijat

Life sketch and contribution of Abdul Karim Khan, Faiyaz Khan, Bade Ghulam Ali Khan, Krishna Rao Shankar Pandit 

Unit 4: 

Description of Prescribed Talas along with Tala Notation with That, Dugun, Tigun, and Chaugun: Jhaptala Rupak Tilwada Dhamar 

Study of various parts and tuning of Tanpura 

Unit 5: 

Critical study of prescribed Ragas along with recognizing Ragas from phrases of swaras and elaborating them 

Writing in Notation the Compositions of Prescribed Ragas. Bhairav Bageshri Shuddha Sarang Malkauns.

C2: Carnatic Music (Melodic Instrumental)

Units 1: History and Theory of Indian Music. 

An outline of knowledge of the following Lakshana Granthas: Sangita Saramrita Sangita Sampradaya Pradarsini, Svaramelakalanidhi, and Ragavibhodha, Brihaddesi. 

Short life sketch and contributions of the following: Annamacharya, Swati Tirunal, Kshetrajna, Maha Vaidyanatha Iyer, Patnam Subramanya Iyer, Ramnad

Srinivasa Iyengar Mysore Doraiswamy Iyengar, Dwaram Venkataswamy, Naidu Karaikkudi Brothers, Mysore Vasudevachar

Brief study of the musical form, Kriti, Tiruppugazh, Padam, Javali, and Tillana.

Detailed study of the Manodharma Sangita

Definition and explanation of the following: Janaka, Janya system of Ragas, Bhashanga, Upanga, Varja, Vakra Ragas, Gamakas, Arudi, Eduppu, Jati, Prabandham, Grama, Murchchana, Jaati, and Vishesha Prayogas.

Description of the ragas prescribed

Candidates should be able to write in notation the Kriti/kirtan in the ragas prescribed.

The candidate should be able to describe the construction of the instrument opted for along with the basic techniques of playing

The candidate should have an outline knowledge of the classification of instruments in general and a brief history of the instrument opted for

C2: Carnatic Music (Vocal)

An Outline Knowledge of the following Lakshana Grantha has Sangita Saramrita, Sangita Sampradaya Pradarsini, Svaramela Kala Nidhi, Raga Vibodha, Brihaddesi. 

Short life sketch and contributions of the following: Annamacharya, Kshetrajna, Swati Tirunal, Gopalakrishna Bharati, Maha Vaidyanatha Iyer, Patanam Subramanya Aiyar. Ramnad Srinivasa Iyenger, Mysore Vasudevachar. 

A study of musical forms: – Kriti, Padam, Javali, Tillana, Tiruppugazh, Ragamalika. 

Detailed study of Manodharma Sangita. 

Definition and explanation of the following:- Janaka-Janya ragas, Bhashanga, Upanga, Varja, Vakra ragas, Gamakas, Arudi, Eduppu, Prabandham, Grama, Murchana, Jaati 

Lakshanas of the ragas prescribed in practical activity 

Candidates should be able to write in the notation of the Kriti/kirtana in the prescribed ragas. 

Brief description of concert instruments, their construction, and their techniques of playing. 

Classification of Musical Instruments in general.

C3: Rabindra Sangeet

Rabindra Sangeet: 

a) Knowledge of the Akar Matrik Notation System. 

b) Life Sketch of Rabindranath Tagore (covering Music Composition), Other Types of Music 

(i) Life-Sketch with their Musical contribution of the following: 

a) Atul Prasad Sen

b) Kaji Nazrul Islam

c) Girish Chandra Ghosh

(ii) History of any one of the following:

a) Regional folk song (Bhatiali, Baul, Jhumur, Bhawaiya).

b) Kirtan.

C4: Percussion

Units 1: 

Hindustani Percussion · Short notes on the following: Uthan, Peskhar, Chakradar, and Baant 

Comparative study of the following:- 

(a) Chautala-Ektala 

(b) Jhaptala-Sultana 

(c) Teentala-Tilwada 

Unit 2: 

Layakari and its varieties · Brief description of Gharanas of Tabla or Pakhawaj 

Unit 3: 

History of Tabla or Pakhawaj 

Brief history of Medieval and Modern period of Hindustani Music, especially in the field of percussion instruments. 

Unit 4: 

Biographies of Pandit Kishan Maharaj, Ustad Karamatullah Khan, and Ustad Zakir Hussain 

Silent features of style and biography of Raja Chhatrapati Singh, Guru Purushotam Das, and Pandit Pagal Das. 

Unit 5: 

Writing notation of the prescribed Talas and compositions · Recognition of Talas from a given portion of the Texas and compositions. 

Prescribe Talas: Teentala or Adi Tala, Rupak or Tevra.

C4: Percussion Instrumental (Mridangam)

An outline of knowledge of following Lakshana Granthas with special reference to Tala and percussion in Chaturdandi Prakashika, Sangita Ratnakara, Ragavibhodha, Svaramela Kalanidhi. 

Short life sketch and contributions of the following luminaries: Needamangalam Meenakshi Sundaram Pillai, Tanjore Vaidyanatha Iyer, Palghat Mani Iyer, Umaiyalpuram Kodanda Ramaiyer, Pudukkottai Swaminatha Pillai, Palani Subramania Pillai, Vilvadri Iyer. 

Study of the musical forms, Pallavi, Sollukattu, Tillana, Padam, and Javali 

Definition and explanation of the following: Padagarbham, Arudi, Eduppu, Gati-bheda, Anuloma, Pratiloma, Tisram, Trikalam, Theka, 108 Talas, Shadangas, Tiruppugazh Talas, Tala Vadya ensemble.

The candidates should have an outline knowledge of the classification of Percussion instruments in general and a brief history of the instrument opted for

Technical Terms: Vilamba, Madhya, Druta, Atitam, Anagatam, Pharan, Kalapramanam, Ghumki, Konnakkol, Choru, Varu, Toppi

The candidate should possess knowledge of the fundamental structure, technique, and playing of other percussion instruments like Morsing, Tabla, Chenda, Edakka, and Gettu Vadyam.

CUET Performing Arts Preparation Tips

Candidates should review the CUET Performing Arts preparation tips listed below in order to strengthen and succeed in both their preparation and the actual exam. The most important CUET Preparation tips for Performing Arts are listed here.

  • Examine the exam syllabus in detail, breaking it down into sections and thoroughly analyzing it to understand. This will assist you in more effectively planning your preparation.

  • Examine the terminology and jargon used in the performing arts. In the CUET 2022, they might even be a question type.

  • Make a Preparation Schedule, then finalize and stick to it. You must first create a study plan before you begin studying for the exam. Candidates should plan ahead of time and devote sufficient time to each subject.

  • Passing the CUET 2022 Performing Arts exam does require a significant amount of practice. As a result, practice is essential.

  • Kindly practice, but only under the guidance of someone who knows what they’re doing and in the appropriate direction. To pass the CUET Performing Arts exam, you’ll need a lot of practice. Candidates can practice by taking the CUET Mock Test.

  • Candidates must complete as many CUET previous year’s question papers and sample papers as feasible. A student’s exam day score will soar as a result of this.

CUET Performing Arts Books

Studying for the CUET Performing Arts exam can be tough, irregular, and inconsistent if a student does not use the correct set of CUET books. As a result, it’s essential to select the best books for your subject and stick to a suitable study plan.

  • NCERT Book for Class XII: Fine Arts (An Introduction to Indian Art)

  • Any other book recommended by a reputable SME or your teachers at school

CUET

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