KASA
. Katha Affiliated Study Abroad
Initiative. Meaning a touchstone in Sanskrit,
Katha's Study Abroad initiative strives to push
the boundaries of what we perceive as knowledge
and lifelong learning. By itself KA means to question.
And SA stands for wisdom, meditation.
Designed
as interconnected pathways for exploration, introspection
and self-discovery, the main objective of KASA
is to help students from universities abroad understand
and appreciate other cultures, knowledge bases,
aspirations and attitudes through the development
of specific skillsets. Story, storytelling, translation,
education, culture, philosophy, religion, and
aesthetics, are the tools we use. In association
with various universities, colleges and groups,
this extremely creative process helps students
learn to analyze, critique, debate, voice their
ideas and opinions, and feel the joy of having
made something new. KATHA offers international
students, programmes in India , that provide flexibility
of study at a preferred pace and level.
At
present Katha offers courses only at the Basic
(lecture time: 24 hours) level. Intermediate and
Advanced level courses may be offered at a later
stage. Some courses with students of other courses
are encouraged for greater culturelinking opportunities.
Each of these courses start with an Orientation
Week to help students adapt themselves to their
new surroundings in India . They are specially
designed for each group of students. So do write
to us. Let's together make the excitement happen.
KASA
offers a semester of work for graduate and under-graduate
students studying in universities within and outside
India . It offers specific and special courses
as well as hands-on training in -
•
Translation-related areas such as fiction editing,
story workshops and translation from Hindi/Tamil/Bangla
to English.
•
teaching at the primary and middle school level,
using innovative and story-related skills and
tools.
The
KASA Faculty
In
this programme the student is in constant contact
with various faculty members from the Katha team.
The programme also invites academics, writers,
translators, activists, film and theatre people,
statesmen and eminent professionals who have much
more than just theory to share with their students.
the
katha year
Katha
offers two modules for foreign students during
the academic year 2004-05. They are -
KV
Katha Vasant. (Spring Term) January 15 - April
15. 1. Educating the Imagination . 2 . KNIT Courses.
KA
Katha Atish. (Summer Term) May 15 - August 15.
Special summer course, over a two month period
each year. Students could choose a May 15 - July
15 term or a June 15 - August 15 term.
The
Katha Heart Institute offers special Be an Activist
courses. 15-30 May. w Storytellers Unlimited courses
in storytelling - SUN 1 body language, facial
expression for storytellers . SUN 2 voice dynamics.
Performance spaces and opportunities.
Katha
Theatre Group Training in Theatre and Performance
sessions.
Katha
National Institute of Translation : The art and
craft of translation; media and translation .
fiction editing. At Ahmedabad.
Duration
Basic
Certification Course: The month long
programme is usually an intense 24 hour lecture
series. The other workshops and short courses
offered by the Katha Centre can also be undertaken
for one month. Some special interest lectures
are also offered under this programme. As required,
some of these courses could include travel within
India .
Intermediate
Certification Course : The three-month
programme on the other hand can be more leisurely
or as intense as the student wants. It gives an
opportunity for the student to explore the subject
of her choice with various resource persons and
experts, visit museums and other sites of cultural
interest, attend concerts and dance and theatre
performances. Courses offered to international
students are normally of three-month duration,
or in the Summer term of a two-month duration.
Advanced
Certification Course : The year-long
programme offers international students, a chance
to undertake an in-depth study of the chosen subjects
at the advanced level, or research, or even a
combination of the six subjects offered, at a
chosen level of study.
Educating
the Imagination
Course
code : EI Duration: 3 months
Participants
: Education students, teachers, and
professionals working in the non-formal education
areas.
This
course specifically explores the role of story
and theatre in pedagogy, and asks pedagogical
questions through the story. The form of the story
is pursued through mediums such as theatre, puppetry,
and oral traditions. What roles do stories play
in our lives? What is the role of the story in
pedagogy? What difference does it make to tell
a story differently? And how does a "different"
story make a difference in our understanding of,
and set us in a different relationship with the
world around us? With specific reference to theatre
and theatre in pedagogy, which mediums are especially
conducive to telling and listening to a "different"
story? Could one approach, questions concerning
the philosophy of education through the form of
the story? These are some of the questions asked
in this course. Educating the Imagination aims
at developing skills and techniques that can be
utilized in the classroom or elsewhere to impart
education through integrating the principles of
philosophy, storytelling, theatre, dance, puppetry,
yoga and meditation to create an informal and
intelligent space of interaction for all age groups.
For
over ten years, Katha has striven to enhance creative
pedagogy in the classroom using the story in its
myriad forms. Over the years we have known how
story enables dynamic transformations of frozen
spaces. In understanding the deep story, the student
has to constantly analyze, i.e. translate in his
or her mind, the character, the setting, plot
and the subtle nuances that go to make the fabric
called life. During the process, the participants
move through the text and the issues at an experiential
level through intense discussions and situations
invested with the personal. The emotional knots
lodged firmly in their bodies and manifested as
dogmas and beliefs are kneaded through this and
the physical work/exercises. Katha sees story
and its extensions into film, theatre, storytelling,
advertisements/newspapers and other media stories,
etc., as the tools that enrich our search for
meaning. As opposed to the formal education processes
where one absorbs and executes only through the
mind, this we see as true mind and heart education.
Course
Subjects: Within the frame of this course, apart
from the compulsory student-volunteer-teacher
training at Katha Khazana, as second part of this
course, Katha offers six inter-related subjects,
of which the students can choose any three. The
subjects for selection by the students are interestingly
inter-related in many ways. Therefore, often these
subjects are delivered in conjunction with the
other.
Students
can choose any three of the six following courses
-
EI-1
Theatre In Education : India 's theatre traditions
go back more than 2000 years. Today's theatre
specialists combine western and Indian techniques
to bring excitement to the stage. And when we
look at theatre in education, the tools available
are myriad - starting with simple fun games that
can break the culture of silence in a mixed ability,
mixed family background classroom. Katha has identified
exciting theatre academics and actors who will
train students and help them bring classrooms
to life using Indian theatre techniques.
EI-2
Dance In Education : Like a dancer a teacher is
a solo performer. She too strives to keep her
students eyes riveted on her and brook no distractions.
She too is constantly building up what we call
Rasa, that empathetic interactive space that builds
true knowledge, learning. She also performs in
the class room, using the physical space to enhance
the mindscapes that she and the students together
create- what we see as lifelong learning. The
skills and techniques of the classical Indian
dancer, honed by over 2000 years of theory is
what this course offers.
EI-3
Puppetry In Education : Puppetry is said to have
originated in India . Its patron is the world's
only dancing god, Shiva, and his wife, Parvati.
The puppeteer is called a sutradhar in most puppet-traditions
of India . This course will introduce students
to the art of making and using puppets - and the
blend of tradition and modernity for today's teachers.
EI-4
Story In Education : Katha literally means, "story"
in most Indian languages. In India , the story
holds a very special place - it is the fun way
in which all of us learn our morals, our values.
The fast globalizing economy has moved away from
story to technology, and humanities, the tool
for transformation, both of the individual and
of society, has lost out. This subject puts story
at centerstage again.
EI-5
Philosophy Of Education : India 's a land of philosophers.
The Vedas, ancient treatises have been seen as
treasure houses of knowledge that are still relevant
and seen as a rich vastly secret area of ideas
and the imagination. Out of this more than 3000
year old knowledge, have come the more recent
theories and ways of looking at learning and building
creativity and imagination in children. This course
offers an introduction to the works of four philosophers
who have spoken on education: Swami Vivekananda,
Sri Aurobindo, Gijubai Badeka and J Krishnamurthy.
And an overview of Katha's philosophy and work.
EI-6
Yoga And Meditations : This course on Yoga and
Meditation, for the discipline of body and mind
will help the teacher manage her/his own stress,
as well as help students get the best out of life.
Experienced teachers. A lifetime learning experience
is assured!
EI-7
Hands On Training : The 100 hour Katha Khazana
teaching sessions are for interactive teaching
and provide the student with an insight into existing
methods of teaching. Students are offered possibilities
of utilizing and experimenting with unorthodox
methods of teaching within the classroom space.
The cultural and functional space within a classroom,
and outside, would perhaps be very different from
spaces that the students are used to in their
home country. This itself is to be treated as
an advantage and an excellent opportunity for
experimentation and development of alternate skills
to classroom teaching.
hl
Hindi Language : Learning a language presents
an excellent insight into any culture. The expressions,
body language, idioms, humour and the inter-relation
of kin-ships, all confer a deeper understanding
of culture. India has around 21 official languages
and about 300 different dialects. Hindi however,
is widely spoken in most parts of the country.
The language programme intends to equip the students
with an understanding of colloquial Hindi, both
spoken and written. The course is compulsory for
students opting for Educating the Imagination.
Katha
Khoj o r the Culture Dip activities in Katha start
with the Orientation Week. The O-week activities
help familiarize students with their surroundings,
provide an easy and comfortable atmosphere, and
dispel any doubts or problems, the students face
on arrival. Additionally as part of the culture
dip, a range of enjoyable cultural activities
are organized for the students that includes getting
to know India , Delhi and the people and programmes
at Katha.
EVALUATION:
Academic credits are based on the idea of "study
weeks" and are calculated on a 4-point scale.
More details of the evaluation process can be
found in Appendix II.
APPENDIX I: Educating the Imagination - Curricula
and Syllabi
EI-1 THEATRE IN EDUCATION: The course is open
to students who are interested in the application
of theatre in social activism or educational fields.
It offers a range of dynamic and challenging settings,
from theatre in prisons to theatre in rural settings.
Students get a chance to develop their own practical
work and skills, and apply these to projects of
their choice.
Syllabus:
• Acting I -- 3 hrs. Introduction
to the craft of acting beginning with exercises
and culminating in applying the experience from
those exercises to a scene from a play. Exploration
of increasing self-awareness.
• Acting II -- 3 hrs. Deepens understanding
of and proficiency at the craft of acting through
designated exercises, scene work, observations,
and discussion; includes work in the use of objective
and physical action on a personal level.
• Creative Drama -- 3 hrs. Prepares
students to guide children and young adults in
creative drama. Study of the art of spontaneous
drama as it relates to education and development
of young people cognitively and creatively.
• Creative Drama Practicum -- 3 hrs.
Experience in learning to adapt materials for
spontaneous drama and experiment with techniques
of guidance in an actual classroom situation under
supervision of classroom teacher and instructor
of the course.
• Theatre in Education -- 3 hrs. Application
of theatre performance and improvisation techniques
to the teaching of a specific curricular topic
intended for young audiences.
• Movement for the Actor -- 3 hrs.
Designed to encourage relaxation, limberness,
and strength. Exploration of ways in which movement
and sensory work can trigger and influence character
work and emotional connection.
• Vocal Production for the Actor --
2 hrs. Using relaxation and breathing techniques.
Students release tension and old habits to discover
organic, natural, and personal vocal response.
• Speech for the Actor -- 2 hrs. Introduction
to Phonetics.
• Acting III -- 2 hrs. Focus on individual
instrumental problems while enforcing craft skills
on challenging texts.
• Movement and Voice Studio -- 1 hr.
Continuation of movement/voice training through
application of a focused physical or vocal methodology.
Readings :
• The Intimate Enemy , Ashis
Nandy, Oxford University Press, New Delhi
• The Inner World, Sudhir
Kakar, Oxford University Press, New Delhi
• A Question of Silence?, Mary
E. John & Janaki Nair (ed), Kali for Women,
New Delhi
• Performative Circumstances from
the Avant Garde to Ramlila, Richard Schechner,
Seagull Books, Calcutta
• Village, Caste, Gender and Method,
M.N. Srinivas, Oxford University Press, New
Delhi
• Exploring the Language of Drama,
Jonathan Culpeper, Mick Short and Peter Verdonk
(ed), Routledge, London
• Sites of Desire Economies of
Pleasure, Lenore Manderson and Margaret Jolly
(ed), University of Chicago Press , Chicago
• Theatre India , a bi-annual
publication of the National School of Drama, Rajinder
Nath (ed), New Delhi
• Dramatic Moments, Nemai
Ghosh, Seagull Books, Calcutta
EI-2 DANCE IN EDUCATION: India 's diversity is
very much evident in its dance styles. It is the
home of the Saptapadis, the seven classical dance
styles - the Kathak, the Manipuri, the Bharatanatyam,
the Kucchipudi, the Mohiniattam, the Odissi and
the Kathakali. They all evolved out of Bharata's
Natyashastra , the 2 nd century BC dance
treatise. The title stands for Principles of Dramaturgy
and as it suggests, ancient Indian theatre was
an amalgamation of all the performing arts and
an actor had to be an expert in dance and music
also.
Teaching too is a performance, and a mastery
of facial and body language will enable the teacher
to take the students on a journey of imagination
and understanding, be it any subject. The course
programme includes classes from some of India
's best known dancers who will train students
in the use and expression of hands, feet, body
and the face in education, storytelling and teaching.
Syllabus :
• Pure Dance: Basic movements of hands
and feet and the elements of rhythm and speed.
• Interpretative Dance: Conveying
the meaning of the song and the underlying emotion
through systematic gestures and facial expressions.
• The Nine Rasas:
•
Shringara rasa |
•
Vira rasa |
•
Hasya rasa |
•
Adbhuta rasa |
•
Karuna rasa |
•
Shanta rasa |
•
Raudra rasa |
•
Bibhatasa rasa |
•
Bhayanaka rasa |
|
Readings
:
•
Indian Classical Dance by Kapila Vatsyayana,
Ministry of Information and Broadcasting, Government
of India , New Delhi
•
World History of Dance , Curt Sachs,
Norton Publishers, New York
•
Classical Dance in Literature and the Arts
by Kapila Vatsyayana, Sangeet Natak Akademi,
New Delhi
•
Chandraekha: Woman, Dance, Resistance ,
Rustom Bharucha, Indus, New Delhi
•
Swinging Syllables: The Aesthetics of Kathak
Dance , SS Kumar, Sangeet Natak Akademi,
New Delhi
•
Mohiniattam: The Lyrical Dance by Kanak
Rele, Nalanda Publishers, New Delhi
•
Dancing Bharatanatyam -The Basic Dance Units
of the Art , Mohan Khokhar, Bharatiya Vidya
Bhavan, Mumbai
Also
includes attending dance performances, festivals,
etc.
Evaluation
:
•
Written Assignments
•
A fair grasp of basic dance movements
•
Practicals and field application
EI-3 PUPPETRY IN EDUCATION: This course is a
complete introduction to puppetry as an aid to
education. It gives ideas on using puppets in
the classroom to stimulate learning and gain an
understanding of literature, social studies, multicultural
issues and interpersonal relations, the focus
being using puppets for expressing feelings, and
developing characters and improving story telling
techniques.
Syllabus:
This is a comprehensive course covering basic
hand puppet construction and manipulation. It
includes an exploration of puppet design and movement,
construction of puppets/masks. Contemporary and
traditional forms of puppetry from other countries
will also be explained through films and audio-visuals.
Readings :
• The Art of the Puppet,
Baird Bil, The Macmillan Company. Collier-Macmillan
Canada
• Backstage at Bunraku: A Look
Behind the Scenes at Japan 's Traditional Puppet
Theatre, B.C. Adachi, Weatherfield , New
York
• Inside the Drama-House : Rama
Stories and Shadow Puppets in South India, Blackburn
, Stuart H
• The Shadow Puppets of India
.: Darpana Academy of Performing Arts , Ahmedabad
• Creative Drama and Puppetry
in Education . National Book Trust, New Delhi
• Puppetry in Education, Meher
Contractor, Mumbai
• In Search of Aesthetics in the
Puppet Theatre, Michael Mecshke, London
Duration: 24 hours (12 sessions of 2 hours each)
Evaluation:
• Two puppets will be made by each
student
• Field application and practical
as assigned by course coordinator
EI-4 STORY IN EDUCATION: Katha means "story"
in most Indian languages and it still remains
the chief medium through which to learn about
our history, mythology, culture and values. For
the interns, the focus is on the role of story
in pedagogy and posing pedagogical questions through
the medium of the story. The roles of stories
in our lives. The difference in telling stories
differently. And how the story makes a difference
in the understanding of, and sets us in a different
relationship with, the world around us. Also explored
are the questions concerning the philosophy of
education through the medium of the story.
Also explored in the course are - the validity
of the imagined as the real in the story, connect
with the ground reality of her/his social context
and understanding fiction for better living and
teaching.
Syllabus :
Teaching through the content of the story: Plotting,
Characterisation and Purpose Theme and Time Frame
Structures of Understanding and Expression The
techniques of storytelling
Enacting Life: Body language Voice Modulation
Communication and Silence
Readings :
• Shadow Lines by Amitava
Ghosh, Harper Collins, Delhi ; Articles on Amitava
Ghosh's rejection of the Commonwealth prize
• Essay on Commonwealth Literature
by Salman Rushdie; Hobson-Jobson from Imaginary
Homelands by Saman Rushdie
• Wordsmiths , published
by Katha, New Delhi
• The Complete Katha Prize Stories
Series, The Katha Classics Series
and the Katha Trailblazers Series; especially,
Zero Sum Game and supplemental readings from the
YuvaKatha Series , Vols I-IV, published
by Katha, New Delhi, 2000. Prakashini's Children
from Katha Prize Stories, Vol 6 , Katha
Delhi
Duration: 24 hours (12 sessions of 2 hours each)
Evaluation: Written assignments
EI-5 PHILOSOPHY OF EDUCATION: India being virtually
known as a land of philosophers, the vedas, ancient
treatises have been treasure houses of knowledge
that is still relevant. Out of these have developed
more recent theories and ways of looking at learning
and building creativity and imagination in students.
The purpose of this course is to inculcate rationality
in thinking, self-discipline and commitment and
seeing education as a lifelong fun-filled process.
Combining education of the mind and the education
of the body. A holistic sustainable education
that enhances the joy of reading, bringing stories
to centre stage and instill in us a sense of purpose
and values, excellence, leadership and citizenship.
Syllabus:
The course will be primarily based on the teachings
of Swami Vivekananda, Sri Aurobindo, J. Krishnamurthy,
Gijubhai Bhadekar and an overview of Katha's philosophy
and work.
Readings :
• Gems from Sri Aurobindo Series
, Lotus Press , USA
• Essays on Gita, Sri Aurobindo,
Lotus Press , USA
• Krishnamurthy on Education and
the Significance of Life, J. Krishnamurthy,
Harper Collins , USA
• Krishnamurthy on Education,
J. Krishnamurthy, Krishnamurthy Foundation
of India
• Essence of Vedanta, Swami
Vivekananda, Ramakrishna-Vivekananda Centre of
New York
• Letter of Swami Vivekananda,
Ramakrishna-Vivekananda Centre of New York
• A Flame of Learning: Krishnamurthy
with Teachers, Mirananda Publishers, USA
• The Executive Director's Reports,
Katha, New Delhi
Duration:
24 hours (12 sessions of 2 hours each)
Evaluation:
• Written assignments
• Practicals as assigned by Course
Coordinator
APPENDIX III YOGA AND MEDITATION: The course
gives a complete introduction to yoga and meditation.
The objective is to work towards the discipline
of the body and the mind to manage stress levels
and to enable students to get the best out of
their lives. The emphasis is on controlling the
mind in the first stage and then progressing to
the second stage to gain control of the body.
Gradually the learner feels an increase in concentration.
The course also emphasizes breathing exercises.
Syllabus:
Asanas under Yoga are for body control
and Pranayama is the first stage of
concentration, which in turn leads to Dhyana
, meditation. Samadhi is the ultimate
stage of perfect meditation.
The
following asanas are recommended:
•
Vajrasana |
•
Supt Vajrasana |
•
Ardh Chakrasana |
•
Madookasana |
•
Ardh Matsyasana |
•
Trikonasana |
•
Paschimottanasana |
•
Gomukhasana |
•
Uttanpadasana |
•
Pawanmuktasana |
•
Halasana |
•
Sarvangasana |
•
Karnasana |
•
Salabhasana |
•
Naukasana |
•
Bhujangasana |
•
Dhanurasana |
•
Chakrasana |
•
Shirshasana |
•
Relaxation |
•
Breathing |
•
Pranayama |
Readings
:
Light
on Yoga by B.K.S. Iyangar and Light
on Pranayama by B.K.S. Iyangar
Duration:
24 hours (12 sessions of 2 hours each)
Evaluation:
Performance based
EI-7 Hands
on training: This course is an excellent
opportunity for the interns to try alternate methods
of teaching, focussing on imaginative thought,
a thirst for knowledge and intelligent comparative
analysis. The main aim of hands-on training is
to utilize and experiment with unorthodox methods
of teaching within the classroom space. The students
are also encouraged to apply the principles of
theatre, story telling and control over the body
and the mind in educating the imagination.
Syllabus:
• Observations,
notes and assignments prepared while studying
the courses - Yoga and Meditation, Story in Education,
Puppetry in Education and Discover India , are
used by the students as classroom modules or methodology
tools.
• Students
are required to conduct classroom teaching sessions
at Katha Khazana, Katha's field project centre
at Govindpuri, New Delhi
• Besides
various interactive sessions at Katha Khazana,
students would have an opportunity for such sessions
with other nonprofit volunteer organisations working
with underprivileged children and women.
Duration:
This would be
spread over the three-month period.
Evaluation:
• Written
assignments and field trip report
• A
documentation in the form of a film/audio recording.
Hl Hindi Language:
Learning a language proves a better way to bridge
cultural differences than any other activity,
and presents an excellent insight into any culture.
The expressions used, the body language, the idioms,
the humour, and the inter-relation of kinships
all confer a deeper understanding of the culture.
In providing a complete cultural experience, KATHA
intends to equip the student with an understanding
of colloquial Hindi, both spoken and written.
The teaching of Hindi is based on Katha's Adult
Literacy Programme, KALP that was designed by
Geeta Dharmarajan in 1991 . Beginning with flash
cards with only images of objects which have a
common term in both Hindi and English and moving
to cards with images and lettering in both Hindi
and English, to cards with the images but lettering
only in Hindi, the programme moves the students
to recognition of alphabets and phonetics through
the strength of associations. Active viewing of
films, TV serials, advertisements, and intensive
conversations, are an integral part of the programme
and facilitate the learning of the language in
a fun filled manner.
Syllabus:
• Basic material
from Katha's Adult Literacy Programme (KALP)
• Tamasha!
published by Katha in Hindi
• Katha
Vachak Series - Abridged easy to read versions
of classics by India 's master storytellers
• Hindi T.V.
programmes - News channels like Aaj Tak , Star
news, Game shows like Kamzor Kadi Kaun
• Hindi Cinema
- Guide, Bandini, Shri 420, Mother India, Lagaan
• Hindi play
performances - Vijay Tendulkar's Panchhi Aise
Aate Hain and Sharad Joshi's Andhon ka Haathi
• Hindi alphabet
books
• Hindi advertisements
in newspapers and magazines
• Hindi songs
• Conversations/Interactions
with colleagues in Hindi
Duration:
24
hours (12 sessions of 2 hours each)
Evaluation:
•
Ability to learn a fair number of everyday words
during the course period
•
Initiative
•
Curiosity
•
Written assignments
•
Effort and time spent on task assigned
KATHA
KHOJ or the Culture Dip:
The activities in Katha start with the Orientation
week. O-week is compulsory for all students. The
activities planned for the student during the O-week
are aimed to familiarize students with their surroundings,
provide an easy and comfortable atmosphere, and
dispel any doubts or problems the students face
on arrival. A range of enjoyable cultural activities
are organized for the students that includes getting
to know India, Delhi and the Katha people as well
as the programme. O-week also gives students a headstart
into adjusting to their surroundings and overcome
the culture shock. For those opting to work in education
and education-related areas, an introduction to
Katha Khazana is also made during this week and
the voluntary-teaching plan is discussed. Hindi
language lessons for relevant students, considered
very important for understanding not just Katha
Khazana School students but also one major component
of the multifaceted Indian culture, start immediately
on arrival in India during O-week. Yoga and Meditation
also start during the O-week.
Besides the specified compulsory syllabus Katha
offers, through this course, co-curricular activities,
which students are encouraged to participate in.
These include:
• Attendance at seminars, music and
dance recitals/concerts, talks, poetry sessions,
readings, plays, movies and lecture demonstrations
• Visits to museums and galleries
• City-walks, nature-walks and history-walks
• Workshops with traditional artists
• Working with activist organizations
• Street theatre or road shows
• Cultural events
and festivals etc
APPENDIX
II: Credits, letter grades and Grade
point conversions
A study week is
calculated as "40 hours of student work,"
roughly parallel to a 40-hour working week. Study
weeks may be awarded for a lecture series, a "book
exam," independent research, or other combinations
of 40 hours of student input. Study week allocation
for a course would include, in addition to class
contact time, a reasonable estimate of time for
books read, papers written, or any other required
out-of-class activity. For example, a course with
24 hours of contact lectures, and evaluation by
a student paper, may allow 16 hours for the writing
of the paper. This would total 40 hours, or one
study week of credit. A study week would seldom
represent 40 "contact hours" only, with
no outside work allowance. In converting study
week credits to American, 1.5 to 2 study weeks
may reasonably be considered the equivalent of
an American three-hour (semester) course.
Grading
On the basis of
the performance of the student in various tests,
assignments, term papers, fieldwork, and other
parameters including creativity, commitment, passion
and participation, the Course Coordinator will
assign a letter grade for the Course on a four
point scale: A=Excellent; B=Good; C=Satisfactory;
D=Pass. An I would indicate an Incomplete course
and an F would indicate Failed. For each of these
grades A+ or A - could also be given.
Grade
Point Average
For purposes of
arriving at the grade point average for the term,
the following equivalences between grade points
and letter grades is adopted.
Sample Sheet for Assignments and Evaluation:
•
I Daily Journal: 20%
Each student is required to maintain a daily
journal/diary. Like a working scrapbook, this
journal should list all activities undertaken
during the day and highlight, skills and techniques
mentioned and learnt, questions asked and answered,
issues raised, all notes and impressions. The
students are encouraged to paste news clippings
or draw in the journal, and make it into a functional
daily logbook. It is important to update this
journal regularly as it forms the basis for the
student's monthly and final reports.
• II Monthly and Final Reports: 20%
An evaluation of the journal would be closely
followed by a presentation made to the relevant
faculty member, course coordinator or department.
Based on the journal entries, each student will
be required to make a report on A4 size paper,
in 12 pt, single-space, on any focused aspects
of the selected subjects undertaken by the student.
The report should be handed in, on the first Monday
every month. The Final report is a summation of
the entire information gathered during the course.
• III Written Assignment: 40%
The student will submit two written assignments,
of 2500 words each, and two of 5000 words each.
Deadlines and topics need to be discussed with
faculty members and Course Coordinator.
• IV Presentation: 20%
The student will be required to make a complete
presentation, of a written report and an independent
interactive workshop. The workshop will be designed
and delivered by the student to an identified
audience, like Katha Khazana students. Arrangements
for these workshops are to be discussed with the
Course Coordinator.
Assessment for Applied Theatre:
Students are required to keep a critical logbook
of their work. There is an assessment essay which
will be in the form of an evaluation of practice.
3,000 words.
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