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CUET UG Performing Arts Syllabus 2025: All the students appearing for the CUET UG Performing Arts exam 2025 must be looking for the detailed Performing Arts Syllabus. So this is to inform them all that the National Testing Agency has uploaded the detailed syllabus to its official website. Students can also check and download the complete CUET Performing Arts Syllabus 2025 by simply clicking on the direct link shared in the article below. Students must note that some topics have been removed this year to make the syllabus more focused. The revised CUET syllabus includes both the updated topics and those that were excluded. For more updates regarding the CUET UG Performing Arts Syllabus 2025, students must go through the complete article below.
CUET UG 2025 Performing Arts syllabus
The CUET UG 2025 Performing Arts syllabus covers key areas like music, dance, drama, and theatre. It helps students understand different art forms, their history, and techniques. The syllabus includes both theory and practical parts, allowing students to explore their creative skills and improve their performance abilities. By studying this syllabus, students can develop a deeper understanding of cultural and artistic expressions.
CUET UG 2025 Performing Arts syllabus also helps improve confidence and presentation skills. As the CUET UG 2025 exams are scheduled from May 8 to June 1, 2025, in CBT mode, following the syllabus carefully will help students prepare better and perform well in the exam. This will also open up opportunities in the field of performing arts in the future.
CUET UG Performing Arts Exam Pattern 2025
Before starting the preparations for the upcoming CUET UG Performing Arts exam, students must make sure to carefully review the detailed CUET UG Exam pattern so that there is no confusion afterward. The exam tests knowledge of music, dance, theatre, and related arts. The paper follows a set marking scheme where correct answers score marks and wrong answers may have negative markings. Understanding the pattern helps students prepare better and improve their chances of scoring well. Students can also check the section, number of questions, and the types of questions asked in the CUET UG Performing Arts exam in the table below:
| CUET UG Performing Arts Exam Pattern 2025 | ||
| Sections | Number of Questions | Types of Questions |
| Section IA (Language) | 50 questions, out of which only 40 are to be answered | Reading Comprehension based on different types of passages–Factual, Literary, and Narrative, (Literary Aptitude and Vocabulary) |
| Section IB | ||
| Section II (Domain Subject) | 35/40 Questions to be attempted out of 45/50 |
|
| Section III (General Test) | 60 questions, out of which only 50 are to be answered |
|
CUET UG Performing Arts Detailed Syllabus 2025
The CUET UG Performing Arts syllabus covers topics like music, dance, and theatre. It includes theory, practical skills, and the history of performing arts. Students will learn about different art forms, their cultural importance, and performance techniques. The syllabus helps students develop creativity and a deeper understanding of the arts. To prepare well, students should focus on both theoretical and practical aspects. Students can check the detailed syllabus in the table below to understand all the important topics.
| CUET UG Performing Arts Detailed Syllabus 2025 | ||
| Divisions | Sub-Divisions | Detailed Syllabus |
| Section A | ||
| DANCE | A1: Kathak | Brief history of other dance styles in India, Acquaintance of Gharana of Kathak dance, Rasa, Knowledge of the relevant terms, Technical terminology of the dance form. |
| A2: Bharatanatyam Dance | History of the chief contributors of the past Dance form, Traditional costumes, make-up, and the Dance style opted. | |
| A3: Kuchipudi Dance | Traditional dance forms of the region, Chief exponents of the dance form, Formats used in Kuchipudi | |
| A4: Odissi Dance | Three styles of Chhau, Lives and contributions of the three Gurus, Natya Shastra, Abhinaya Darpana, and Abhinaya Chandrika, ABHINAYA, Rasa | |
| A5: Manipuri Dance | Past and present exponents of the dance form, Contents of Abhinaya Darpana. | |
| A6: Kathakali Dance | Life history of masters of the dance form, Hastha Lakshana Deepika and Natyasasthra. | |
| Section B | ||
| DRAMA-THEATRE | Modern And Contemporary Indian Theater | Modern and contemporary styles and works in Hindi/English |
| Modern And Western Theater | Survey of major contemporary styles and works in English or English translation | |
| Theatre Production – Management And Performance | Readings on Theatre management and marketing | |
| Survey Of Acting Theory And Practice | Reading Stanislavsky, Strasberg, and Readings on play production | |
| Theatre Production | History of theatre architecture, and Readings on production design-colour theory. | |
| Developing And Documenting The Research Project | Research projects in different aspects of theater. | |
| Section C | ||
| MUSIC | C1: Hindustani Melodic | Brief study of Gram, Murchhana, Varna, Alankar, Alap, Tana, Gamak, Meend, Kan, Khatka, Murki, krintan, Zamzama, Ghaseet, Sut, Classification of Ragas, Development of the Time Theory of Ragas, Detail study of Sangeet Ratnakar and Sangeet Parijat, and Life Sketch and Contribution of Abdul Halim Zafa, Inayat Khan, Mushtaq Ali Khan, Alauddin Khan |
| C1: Hindustani Vocal | Detailed study and life sketches of some of the masters of this field. | |
| C2: Carnatic Music (Melodic Instrumental) | Detailed study and life sketches of some of the masters of this field. | |
| C2: Carnatic Music (Vocal) | Contributions of Kshetrajna, Annamacharya, Gopalakrishna Bharati, Swati Tirunal, Maha Vaidyanatha Iyer, Patanam Subramanya Aiyar. Study of musical forms and Manodharma Sangita. Definition of Prabandham, Janaka-Janya ragas, Upanga, Bhashanga Varja, Vakra ragas, Gamakas, Arudi, Eduppu. | |
| C3: Rabindra Sangeet | Knowledge of the Akar Matrik Notation System, and Life Sketch of Rabindranath Tagore, Girish Chandra Ghosh, Kaji Nazrul Islam and Atul Prasad Sen | |
| C4: Percussion | Hindustani Percussion and notes on Chakradar, Uthan, Peskhar, and Baant | |
| C4: Percussion Instrumental (Mridangam) | Granthas with reference to Tala and percussion in Sangita Ratnakara, Chaturdandi Prakashika and Ragavibhodha, Svaramela Kalanidhi. | |
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