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Assam ASSEB HS Skill Assamese Folk Music and Dance study materials
Assam ASSEB HS Skill Assamese Folk Music and Dance study resources

Assam ASSEB HS Skill Assamese Folk Music and Dance practice questions

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Question 1Assamese Folk Music: Genres, Repertoire and Contexts

In Assamese folk culture, which genre is traditionally sung by boatmen while rowing along rivers such as the Brahmaputra?

  1. Bhatiali Correct answer.
  2. Tokari geet
  3. Bihu geet
  4. Kamrupi lokgeet

Explanation

Bhatiali is the river-song genre associated with boatmen, whose rhythm follows the stroke of the oar. It is tied to the riverine life of Assam and is distinct from the seasonal Bihu songs and the devotional Tokari songs.

Question 2Assamese Folk Music: Genres, Repertoire and Contexts

The Husori songs of Assam are most closely associated with which context?

  1. Monsoon harvest prayers in the field
  2. Springtime Bihu visits to households Correct answer.
  3. Wedding night lullabies
  4. Funeral lamentations

Explanation

Husori is performed by groups of men who visit households during Bohag Bihu, singing and dancing in courtyards. The songs carry blessings and good wishes for the household, which distinguishes them from laments or lullabies.

Question 3Assamese Folk Music: Genres, Repertoire and Contexts

Which Assamese folk song genre is traditionally sung by women during the Bihu season while describing love, separation and domestic life?

  1. Bihu geet Correct answer.
  2. Ojapali
  3. Nisukoni geet
  4. Borgeet

Explanation

Bihu geet are the festive songs of the Bihu season, sung by both men and women and often dealing with love, longing and everyday life. Their association with the Bihu dance and dhol rhythm defines the genre.

Question 4Assamese Folk Music: Genres, Repertoire and Contexts

The Tokari geet of Assam takes its name from which element of its performance?

  1. The circular dance formation
  2. The single-stringed plucked instrument used by the singer Correct answer.
  3. The bamboo flute used as accompaniment
  4. The particular raga in which it is set

Explanation

Tokari geet are named after the tokari, a single-stringed plucked instrument played by the singer as accompaniment. The genre is largely devotional and philosophical in content.

Question 5Assamese Folk Music: Genres, Repertoire and Contexts

Ojapali, a major narrative performance tradition of Assam, is best described as which kind of presentation?

  1. A purely instrumental orchestra without singing
  2. A solo women's lullaby
  3. A wedding blessing sung only by the bride's family
  4. A group narrative performance with the Oja as lead singer and instruments like the dhol and taal Correct answer.

Explanation

Ojapali is a narrative performance in which the Oja leads a group, combining sung narration, rhythm and instruments such as the dhol and taal. It is used to tell mythological and folk stories, sometimes with dramatic enactment.

Question 6Assamese Folk Music: Genres, Repertoire and Contexts

Which of the following is the characteristic devotional song form of the Vaishnava Sattras of Assam, composed by Srimanta Sankardeva and Madhavdeva?

  1. Borgeet Correct answer.
  2. Bhatiali
  3. Husori
  4. Bihu geet

Explanation

Borgeet are the classical devotional songs of the Vaishnava tradition, composed by Sankardeva and Madhavdeva and sung in the Sattras. They are set in specific ragas and talas and are distinct from seasonal folk song genres.

Question 7Assamese Folk Music: Genres, Repertoire and Contexts

The Kamrupi lokgeet tradition is associated with which region of Assam?

  1. The Karbi Anglong hills
  2. The Sadiya frontier in the far east
  3. The undivided Kamrup region of western Assam Correct answer.
  4. The Barak Valley in the south

Explanation

Kamrupi lokgeet belong to the Kamrup region of western Assam and reflect its dialect and rural life. They are distinguished from other regional folk song styles by language, melody and subject matter.

Question 8Assamese Folk Music: Genres, Repertoire and Contexts

Which folk song genre of Assam is traditionally sung as a lullaby to soothe a child?

  1. Ojapali
  2. Nisukoni geet Correct answer.
  3. Bhatiali
  4. Husori

Explanation

Nisukoni geet are lullabies sung by caregivers to soothe children, often with simple melodies and affectionate imagery. The genre is domestic and intimate rather than festive or narrative.

Question 9Assamese Folk Music: Genres, Repertoire and Contexts

In the Bihu dance, which instrument typically provides the central rhythmic pulse around which dancers move?

  1. The sarod
  2. The violin
  3. The dhol Correct answer.
  4. The sitar

Explanation

The dhol provides the driving rhythm of Bihu dance, and dancers coordinate their steps and hip movements to its beats. Other instruments such as the pepa and taal accompany, but the dhol anchors the rhythm.

Question 10Assamese Folk Music: Genres, Repertoire and Contexts

The pepa, an instrument closely identified with Bihu music, is made from which material?

  1. Bell metal
  2. Buffalo horn Correct answer.
  3. Bamboo
  4. Cane and gourd

Explanation

The pepa is a wind instrument traditionally made from buffalo horn, fitted with a bamboo or reed mouthpiece. Its distinctive sound is strongly associated with Bihu performances.

Question 11Assamese Folk Music: Genres, Repertoire and Contexts

A researcher hears a group of men singing philosophical and devotional verses while one of them plays a single-stringed instrument and moves in a circle. Which genre does this most likely represent?

  1. Bhatiali
  2. Husori
  3. Tokari geet Correct answer.
  4. Bihu geet

Explanation

Tokari geet feature a singer accompanying himself on the single-stringed tokari and delivering devotional or reflective verses. The solo, contemplative character distinguishes it from group festive or work songs.

Question 12Assamese Folk Music: Genres, Repertoire and Contexts

Which feature most clearly distinguishes Borgeet from Bihu geet?

  1. Borgeet are always sung in the Kamrupi dialect, while Bihu geet are in standard Assamese
  2. Borgeet are devotional Sattra compositions in ragas and talas, while Bihu geet are seasonal festive songs Correct answer.
  3. Borgeet are sung only by women, while Bihu geet are sung only by men
  4. Borgeet use only percussion, while Bihu geet use only strings

Explanation

Borgeet are sacred compositions of the Vaishnava Sattra tradition, set in prescribed ragas and talas and sung with devotion. Bihu geet belong to the seasonal festival repertoire and are closely tied to dance and the dhol.

Question 13Assamese Folk Music: Genres, Repertoire and Contexts

The Husori performance traditionally begins with which act?

  1. A group offering of songs and blessings at the household, often seeking permission to enter the courtyard Correct answer.
  2. A silent dance without any singing
  3. A recitation of genealogies
  4. A solo lament by the leader

Explanation

Husori troupes approach a household, seek permission, and then sing and dance in the courtyard, offering blessings. The interaction with the household is central to the form's social function during Bohag Bihu.

Question 14Assamese Folk Music: Genres, Repertoire and Contexts

Which of these Assamese folk genres is primarily narrative rather than lyrical in character?

  1. Bihu geet
  2. Ojapali Correct answer.
  3. Nisukoni geet
  4. Husori

Explanation

Ojapali is built around extended narration of mythological and folk stories, delivered by the Oja with musical accompaniment. The other genres listed are shorter lyrical or festive songs rather than sustained narrative performance.

Question 15Assamese Folk Music: Genres, Repertoire and Contexts

A singer performs a slow, plaintive song describing the loneliness of a boatman on the Brahmaputra, with rhythm imitating oar strokes. Which genre is being performed?

  1. Borgeet
  2. Husori
  3. Bhatiali Correct answer.
  4. Nisukoni geet

Explanation

Bhatiali songs express the life and emotions of boatmen, and their rhythm often mirrors rowing. The riverine imagery and slow, plaintive tone are hallmarks of the genre.

Question 16Assamese Folk Music: Genres, Repertoire and Contexts

Which instrument pair is most characteristic of Ojapali accompaniment?

  1. Pepa and gogona
  2. Sitar and tabla
  3. Violin and harmonium
  4. Dhol and taal Correct answer.

Explanation

Ojapali performance is driven by the dhol and taal, which support the Oja's sung narration and rhythmic movement. These instruments are integral to the form's dramatic storytelling.

Question 17Assamese Folk Music: Genres, Repertoire and Contexts

The gogona, used in Bihu music, is best classified as which type of instrument?

  1. A jaw harp made of bamboo Correct answer.
  2. A large barrel drum
  3. A bowed string instrument
  4. A metal trumpet

Explanation

The gogona is a bamboo jaw harp played by plucking a vibrating tongue held in the mouth, producing a distinctive twanging sound. It is strongly associated with Bihu dance music.

Question 18Assamese Folk Music: Genres, Repertoire and Contexts

Which statement best captures the social function of Bihu geet within Assamese village life?

  1. They mark the agricultural and seasonal cycle and allow young people to express courtship and community feeling Correct answer.
  2. They are sung only at funerals
  3. They are performed exclusively by wandering ascetics
  4. They serve only religious rituals inside Sattras

Explanation

Bihu geet are tied to the agricultural calendar and the Bihu festivals, and they provide a socially sanctioned space for courtship, humour and community bonding. Their seasonal and communal role is central to the genre.

Question 19Assamese Folk Music: Genres, Repertoire and Contexts

In the classification of Assamese folk songs, which genre is explicitly linked to a specific occupation?

  1. Husori
  2. Nisukoni geet
  3. Borgeet
  4. Bhatiali Correct answer.

Explanation

Bhatiali is defined by the occupation of boatmen and reflects their working life on the rivers. The other genres are linked to festivals, childcare or devotion rather than to a specific occupation.

Question 20Assamese Folk Music: Genres, Repertoire and Contexts

Which of the following correctly pairs an Assamese folk genre with its typical performer group?

  1. Bhatiali - Sattra monks at prayer
  2. Borgeet - children at play
  3. Nisukoni geet - boatmen on the Brahmaputra
  4. Husori - groups of men visiting homes during Bohag Bihu Correct answer.

Explanation

Husori is performed by troupes of men who go from house to house during Bohag Bihu, singing and dancing. The other pairings mismatch the genre with an unrelated performer group.

Question 21Assamese Folk Music: Genres, Repertoire and Contexts

A performance features a lead singer narrating episodes from the Ramayana with rhythmic drum accompaniment and occasional dramatic movement. This performance most likely belongs to which tradition?

  1. Nisukoni geet
  2. Ojapali Correct answer.
  3. Bhatiali
  4. Bihu geet

Explanation

Ojapali is a narrative performance tradition in which the Oja recounts epic and mythological stories with drum and cymbal accompaniment. The narrative scope and dramatic delivery set it apart from lyrical folk songs.

Question 22Assamese Folk Music: Genres, Repertoire and Contexts

Which statement about the relationship between Bihu dance and Bihu geet is most accurate?

  1. Bihu geet are sung without any connection to dance
  2. Bihu geet are only performed after the dance season ends
  3. Bihu dance uses no musical instruments
  4. Bihu dance and Bihu geet are closely coordinated, with song rhythms shaping the dancers' movements Correct answer.

Explanation

Bihu song and dance are interdependent: the rhythm and phrasing of the songs, along with the dhol, guide the dancers' steps and gestures. This coordination is a defining feature of the Bihu performance complex.

Question 23Assamese Folk Music: Genres, Repertoire and Contexts

Which of these genres would be least appropriate to describe as a Sattra devotional composition?

  1. Kirtan ghosha
  2. Bhatiali Correct answer.
  3. Borgeet
  4. Borgeet composed by Madhavdeva

Explanation

Bhatiali are secular river work songs of boatmen and have no place in Sattra devotional repertoire. Borgeet and Kirtan ghosha, by contrast, are core Vaishnava devotional forms of the Sattras.

Question 24Assamese Folk Music: Genres, Repertoire and Contexts

A folklorist argues that Assamese folk song genres can be classified by function rather than by region. Which grouping best supports this functional classification?

  1. Ojapali and Bhatiali grouped by identical instrumentation
  2. Bhatiali, Nisukoni geet and Husori grouped by district of origin
  3. Bhatiali (work), Nisukoni geet (childcare) and Borgeet (devotion) grouped by social function Correct answer.
  4. Bihu geet and Borgeet grouped by identical raga structure

Explanation

Functional classification groups songs by the human activity they serve, such as work, childcare or worship. Bhatiali, Nisukoni geet and Borgeet each serve a clearly different social function, making them a coherent functional set.

Question 25Assamese Folk Music: Genres, Repertoire and Contexts

Which pairing of an Assamese folk genre with its central theme is correct?

  1. Borgeet - comic courtship in the Bihu field
  2. Husori - mourning the dead
  3. Bhatiali - the riverine life and longing of boatmen Correct answer.
  4. Nisukoni geet - heroic warfare

Explanation

Bhatiali centres on the river, the boatman's labour and the emotions of separation and longing. The other pairings attach themes to genres that do not carry them.

Question 26Assamese Folk Music: Genres, Repertoire and Contexts

In Ojapali, the performance is traditionally divided between the lead singer and a group of performers who enact the narrative. What is the lead singer called?

  1. Oja Correct answer.
  2. Daina
  3. Pali
  4. Bairagi

Explanation

Ojapali takes its name from the oja, the lead singer who narrates and directs the performance, while the accompanying chorus of performers is known as the pali. The oja carries the main narrative line and sets the pace for the group.

Question 27Assamese Folk Music: Genres, Repertoire and Contexts

Which of these is a well-known Bihu geet theme tied to the Bohag Bihu season?

  1. Welcoming the new year and the arrival of spring Correct answer.
  2. Describing a fisherman's night catch on a beel
  3. Mourning the departure of a husband to war
  4. Reciting genealogies of royal families

Explanation

Bohag Bihu marks the Assamese new year and the onset of spring, and Bihu geet celebrate renewal, courtship and agricultural beginnings. The songs are festive and seasonal rather than elegiac or genealogical.

Question 28Assamese Folk Music: Genres, Repertoire and Contexts

The Tokari geet takes its name from the tokari, which is best described as which kind of object?

  1. A single-stringed plucked instrument Correct answer.
  2. A bamboo flute
  3. A clay water pot
  4. A pair of wooden clappers

Explanation

The tokari is a simple single-stringed plucked instrument, and Tokari geet are songs sung to its accompaniment, often by wandering singers with a reflective or devotional tone. The genre's name is directly derived from the instrument.

Question 29Assamese Folk Music: Genres, Repertoire and Contexts

Which Assamese folk song genre is traditionally associated with the Mising community and often sung in call-and-response style during festive gatherings?

  1. Oi Nitom Correct answer.
  2. Husori
  3. Goalparia lokgeet
  4. Borgeet

Explanation

Oi Nitom is a song tradition of the Mising community, sung in group settings with a responsive, celebratory character. Borgeet is a Sattra devotional form, Husori is a Bihu-season carol, and Goalparia lokgeet belongs to the Goalpara region.

Question 30Assamese Folk Music: Genres, Repertoire and Contexts

A performer sings a Husori song at the gate of a household during Bohag Bihu and receives rice, money or vegetables in return. What does this exchange most clearly illustrate?

  1. The commercial recording industry's influence on folk genres
  2. A reciprocal ritual economy linking performance to household blessing Correct answer.
  3. The dominance of Sattra institutions over village music
  4. The decline of Bihu dance in rural areas

Explanation

Husori is performed door to door as a blessing, and the household's offering completes a reciprocal relationship between performers and community. The gift is not a market price but part of a ritual exchange that affirms social ties and auspiciousness.

Question 31Assamese Folk Music: Genres, Repertoire and Contexts

Which feature best distinguishes the Goalparia lokgeet tradition from Bihu geet?

  1. It is performed exclusively with the dhol and pepa
  2. It is sung only by Sattra monks during prayer
  3. It consists only of Sanskrit verses
  4. It draws on the regional musical colour of the Goalpara area, including influences from neighbouring regions Correct answer.

Explanation

Goalparia lokgeet reflects the distinctive regional idiom of the Goalpara district, shaped by its proximity to Bengal and other neighbouring areas. Bihu geet, by contrast, are tied to the agricultural calendar and the Bihu festival cycle.

Question 32Assamese Folk Music: Genres, Repertoire and Contexts

In the Kamrupi lokgeet repertoire, which subject matter is most commonly found?

  1. Love, separation and everyday village life Correct answer.
  2. Technical descriptions of weaving looms
  3. Hymns to the sun god in Vedic Sanskrit
  4. Praise of Mughal emperors

Explanation

Kamrupi lokgeet are lyrical folk songs of the Kamrup region dealing with love, longing, marriage and daily rural experience. Their idiom is vernacular and emotional rather than courtly or liturgical.

Question 33Assamese Folk Music: Genres, Repertoire and Contexts

A scholar wants to classify Assamese folk songs by the community that performs them. Which grouping is correct?

  1. Goalparia lokgeet and Borgeet as occupational songs
  2. Borgeet and Oi Nitom as Sattra devotional forms
  3. Bihu geet and Husori as seasonal agricultural festival songs Correct answer.
  4. Ojapali and Tokari geet as Mising community songs

Explanation

Bihu geet and Husori both belong to the Bihu festival cycle tied to the agricultural calendar, making them seasonal festival songs. The other groupings wrongly merge distinct communities or functions.

Question 34Assamese Folk Music: Genres, Repertoire and Contexts

Which instrument is most closely associated with the accompaniment of Borgeet in Sattra performance?

  1. Gogona and pepa
  2. Dotara and sarinda
  3. Khol and taal Correct answer.
  4. Dhol and cymbal

Explanation

Borgeet are traditionally accompanied by the khol, a barrel drum, and taal, small cymbals, which mark the devotional rhythm. The gogona and pepa are Bihu instruments, while the dotara and sarinda belong to other folk contexts.

Question 35Assamese Folk Music: Genres, Repertoire and Contexts

A singer performs a long narrative song recounting the deeds of a legendary hero, shifting between speech-like recitation and melody, with a drum marking section changes. Which genre does this best illustrate?

  1. Oi Nitom
  2. Ojapali Correct answer.
  3. Bi-hu naam
  4. Borgeet

Explanation

Ojapali is a narrative performance form in which the oja recounts epic and mythological episodes, moving between recited and sung delivery with percussion cues. Its storytelling structure distinguishes it from lyrical or devotional song genres.

Question 36Assamese Folk Music: Genres, Repertoire and Contexts

Which statement best explains why many Assamese folk song genres are named after an object or instrument rather than a theme?

  1. Because Assamese has no words for abstract themes
  2. Because folk genres were officially named by colonial administrators
  3. Because the accompanying object often defines the performance context and is a ready identifier for singers and audiences Correct answer.
  4. Because all such songs are sung without any instruments

Explanation

Genres such as Tokari geet take their name from the instrument that structures the performance, giving singers and listeners a practical label tied to the sound world. Naming by object reflects how performance practice, not abstract taxonomy, organises folk repertoire.

Question 37Assamese Folk Music: Genres, Repertoire and Contexts

During a Bohag Bihu performance, a group sings humorous and teasing couplets while dancers move in a circle. Which term correctly describes these festive sung couplets?

  1. Borgeet
  2. Bi-hu naam Correct answer.
  3. Bhatiali
  4. Barpeta geet

Explanation

Bi-hu naam are the traditional festive couplets sung during Bihu, often humorous, teasing or romantic, and they accompany the dance. Borgeet are devotional, Bhatiali are boatmen's songs, and Barpeta geet belong to a different regional devotional context.

Question 38Assamese Folk Music: Genres, Repertoire and Contexts

A researcher compares two genres: one is transmitted through formal initiation in Sattra institutions, the other through informal participation in village festivals. Which pair fits this contrast?

  1. Ojapali and Borgeet
  2. Borgeet and Oi Nitom
  3. Borgeet and Bihu geet Correct answer.
  4. Tokari geet and Ojapali

Explanation

Borgeet are taught and performed within the institutional framework of the Sattras, with disciplined training in melody and rhythm. Bihu geet are learned informally through participation in seasonal village festivities, making the pair a clear contrast in transmission.

Question 39Assamese Folk Music: Genres, Repertoire and Contexts

Which pairing of an Assamese folk genre with its characteristic performance setting is most accurate?

  1. Bhatiali - sung by boatmen while rowing on rivers Correct answer.
  2. Husori - sung by monks inside the namghar
  3. Ojapali - sung by women during weaving
  4. Borgeet - sung by farmers transplanting paddy

Explanation

Bhatiali songs are associated with boatmen and reflect the rhythm and mood of river travel. The other pairings assign genres to settings that do not match their documented performance contexts.

Question 40Assamese Folk Music: Genres, Repertoire and Contexts

A festival organiser wants to present a programme illustrating the devotional, the narrative and the occupational strands of Assamese folk song in that order. Which sequence is most appropriate?

  1. Ojapali, Bhatiali, Borgeet
  2. Borgeet, Ojapali, Bhatiali Correct answer.
  3. Bhatiali, Borgeet, Ojapali
  4. Bihu geet, Borgeet, Ojapali

Explanation

Borgeet represent the devotional strand, Ojapali the narrative performance tradition, and Bhatiali the occupational songs of boatmen. This sequence matches the requested order of devotional, narrative and occupational.

Question 41Assamese Folk Dance: Genres, Repertoire and Contexts

বিহু নৃত্যত ব্যৱহৃত হাতী-পদক্ষেপৰ সৈতে মিলা শাৰীৰিক ভংগীমা কি?

  1. কঁকালত দুয়োখন হাত ৰাখি লাহে লাহে ঘূৰা
  2. দুয়োখন হাত আগত মিলাই হাতীৰ শুঁৰৰ দৰে লৰচৰ কৰা Correct answer.
  3. মূৰ তল কৰি দুয়োখন হাত পিছফালে লৈ যোৱা
  4. একেটা ভৰিৰে জঁপিয়াই ঘূৰি নাচা

Explanation

বিহু নৃত্যত হাতী-পদক্ষেপত নৰ্তকসকলে দুয়োখন হাত আগলৈ মিলাই শুঁৰৰ দৰে লৰচৰ কৰি হাতীৰ চলন অনুকৰণ কৰে। এই ভংগীমা জীৱ-জন্তুৰ অনুকৰণমূলক নৃত্য-পৰম্পৰাৰ অংশ।

Question 42Assamese Folk Dance: Genres, Repertoire and Contexts

বগোজানৰ বিহু নৃত্যত নাৰী নৰ্তকসকলে সাধাৰণতে কি বাদ্যৰ তালত মূল ভৰি-চালনা কৰে?

  1. দোতৰা
  2. ঢোল আৰু পেঁপা Correct answer.
  3. চাৰেৰে বজোৱা বাঁহী
  4. একতৰা

Explanation

বগোজানৰ বিহু নৃত্যত ঢোল আৰু পেঁপাৰ তাল-লয়ৰ ওপৰত নৰ্তকসকলে ভৰিৰ চালনা কৰে। এই দুয়োটা বাদ্য বিহুৰ পৰম্পৰাগত সংগীত-সংগতৰ মূল কেন্দ্ৰ।

Question 43Assamese Folk Dance: Genres, Repertoire and Contexts

সত্ৰীয়া নৃত্যত 'মাটি আখৰা' শব্দটোৱে কি সূচায়?

  1. মাটিৰ চোতালত পতা বিহু আখৰা
  2. মাটিৰ বাদ্য বজাই কৰা নৃত্য
  3. মাটিৰে নিৰ্মিত মুখা পৰিধান কৰা নৃত্য
  4. ভৰিৰ ভংগীমা আৰু ভূমি-স্পৰ্শৰ ওপৰত আধাৰিত আখৰা Correct answer.

Explanation

সত্ৰীয়া নৃত্যৰ প্ৰশিক্ষণত 'মাটি আখৰা'ই ভৰিৰ স্থিতি, ভূমি-স্পৰ্শ আৰু শৰীৰৰ ভংগীমাৰ অভ্যাসক বুজায়। ই নৃত্যশিল্পীৰ ভৰিৰ নিয়ন্ত্ৰণ আৰু ভংগীৰ মূল ভেটি গঢ়ে।

Question 44Assamese Folk Dance: Genres, Repertoire and Contexts

সত্ৰীয়া নৃত্যত 'ওজাপালি'ৰ ভূমিকা কি?

  1. নৃত্যৰ শেষত বঁটা বিতৰণ কৰা
  2. মঞ্চ সজোৱাৰ দায়িত্ব লোৱা
  3. নৰ্তকসকলৰ মাজত একক প্ৰতিযোগিতা পতা
  4. গায়ন-বায়নৰ দলে ছন্দ আৰু কথাৰে নৃত্যৰ সংগত কৰা Correct answer.

Explanation

সত্ৰীয়া পৰম্পৰাত ওজাপালিয়ে গায়ন-বায়নৰ দল হিচাপে খোলৰ তাল আৰু কথাৰে নৃত্যৰ সংগত কৰে। ই নৃত্যৰ লয় আৰু ভাৱ দুয়োটা ধৰি ৰখাত সহায় কৰে।

Question 45Assamese Folk Dance: Genres, Repertoire and Contexts

দেওধনী নৃত্যৰ পৰিৱেশনত সাধাৰণতে কোনে অংশ লয়?

  1. কেৱল পুৰুষ নৰ্তকে এককভাৱে নাচে
  2. মুখা পিন্ধা ভাওনাই একক নৃত্য কৰে
  3. দুজন নৰ্তকে যুঁজৰ ভংগীত নাচে
  4. নাৰী নৰ্তকসকলে বৃত্তত ঘূৰি নাচে Correct answer.

Explanation

দেওধনী নৃত্যত নাৰী নৰ্তকসকলে শাৰী শাৰীকৈ বা বৃত্তত ঘূৰি সমূহীয়া ভংগীত নাচে। এই নৃত্য নাৰী-কেন্দ্ৰিক সমূহীয়া লোক-নৃত্যৰ উদাহৰণ।

Question 46Assamese Folk Dance: Genres, Repertoire and Contexts

বিহু নৃত্যৰ 'থাপনা' বা 'থাপ' শব্দটোৱে কি সূচায়?

  1. নৰ্তকৰ পোছাকৰ এক অংশ
  2. নৃত্যৰ আৰম্ভণিতে গোৱা নাম
  3. ভৰিৰে মাটিত তাল দি কৰা এক নিৰ্দিষ্ট পদক্ষেপ Correct answer.
  4. ঢোলৰ এটা বিশেষ বাদন-শৈলী

Explanation

বিহু নৃত্যৰ পৰিভাষাত 'থাপ' বা 'থাপনা'ই ভৰিৰে মাটিত তাল দি কৰা নিৰ্দিষ্ট পদক্ষেপ বুজায়। এই পদক্ষেপে নৃত্যৰ ছন্দ আৰু লয়ৰ মূল গাঁথনি গঢ়ে।

Question 47Assamese Folk Dance: Genres, Repertoire and Contexts

বিহু নৃত্যত 'মুঠিয়া' শব্দটোৱে কি বুজায়?

  1. নৃত্যৰ শেষত কৰা প্ৰণাম
  2. বিহুৰ গীতৰ এটা প্ৰকাৰ
  3. ঢোলবাদকৰ এটা শ্ৰেণী
  4. দুয়োখন মুঠি বন্ধ কৰি কৰা হাতৰ চালনা Correct answer.

Explanation

বিহু নৃত্যত মুঠি বন্ধ কৰি হাত দুখন সন্মুখলৈ আৰু ওপৰলৈ লৈ যোৱা চালনাক 'মুঠিয়া' বুলি কোৱা হয়। ই নৃত্যৰ হাতৰ অভিব্যক্তিৰ এক স্বকীয় উপাদান।

Question 48Assamese Folk Dance: Genres, Repertoire and Contexts

সত্ৰীয়া নৃত্যত 'খোল' বাদ্যৰ ভূমিকা কি?

  1. নাট্যগৃহৰ পোহৰ নিয়ন্ত্ৰণ কৰা
  2. কেৱল নৃত্যৰ আৰম্ভণিতে বজোৱা
  3. নৃত্যৰ তাল আৰু লয় নিৰ্ধাৰণ কৰি সংগত কৰা Correct answer.
  4. নৰ্তকৰ পোছাক সলনি কৰাৰ সংকেত দিয়া

Explanation

সত্ৰীয়া নৃত্যত খোলে তাল আৰু লয় নিৰ্ধাৰণ কৰি নৰ্তকৰ ভৰি-চালনা আৰু ভংগীক নিয়ন্ত্ৰণ কৰে। সেয়ে খোল সত্ৰীয়া নৃত্যৰ অপৰিহাৰ্য সংগত-বাদ্য।

Question 49Assamese Folk Dance: Genres, Repertoire and Contexts

বিহু নৃত্যৰ তিনি প্ৰধান ভাগৰ ভিতৰত 'বৈহাগ বিহু'ত সাধাৰণতে কেনে ভংগী প্ৰধান?

  1. কেৱল ধ্যানমগ্ন স্থিৰ ভংগী
  2. ধীৰ আৰু শোকপূৰ্ণ ভংগী
  3. উদ্যমী আৰু দ্ৰুত লয়ৰ ভংগী Correct answer.
  4. কেৱল মুখা পিন্ধা ভংগী

Explanation

বৈহাগ বিহু বা ব’হাগ বিহু নৱবৰ্ষৰ উলাহ-উদ্যমৰ সৈতে জড়িত, সেয়ে ইয়াৰ নৃত্যৰ ভংগী দ্ৰুত আৰু উদ্যমী। কাতি বিহুত তুলনামূলকভাৱে ধীৰ ভংগী দেখা যায়।

Question 50Assamese Folk Dance: Genres, Repertoire and Contexts

কাতি বিহুৰ নৃত্যৰ ভংগী বৈহাগ বিহুতকৈ কেনে হয়?

  1. অধিক দ্ৰুত আৰু জঁপিয়াই নচা
  2. তুলনামূলকভাৱে ধীৰ আৰু সংযত Correct answer.
  3. মুখা পিন্ধি কৰা ভংগী
  4. কেৱল পুৰুষে কৰা যুঁজৰ ভংগী

Explanation

কাতি বিহু আহিন-কাতি মাহত পতা হয় আৰু ইয়াৰ নৃত্যৰ ভংগী তুলনামূলকভাৱে ধীৰ, সংযত আৰু ভক্তিভাৱপূৰ্ণ। বৈহাগ বিহুৰ উলাহ-উদ্যমৰ সৈতে ইয়াৰ পাৰ্থক্য স্পষ্ট।