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Assam Higher Secondary Sattriya Dance study materials
Assam Higher Secondary Sattriya Dance study resources

Assam Higher Secondary Sattriya Dance practice questions

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Question 1Theory and historical background of Sattriya dance

Sattriya dance is recognised as one of India's classical dance forms. Which institution's recognition in 2000 is usually cited as the formal acceptance of Sattriya as a classical dance?

  1. Indira Gandhi National Centre for the Arts
  2. Lalit Kala Akademi
  3. Sahitya Akademi
  4. Sangeet Natak Akademi Correct answer.

Explanation

The Sangeet Natak Akademi, India's national academy for music, dance and drama, formally recognised Sattriya as a classical dance form in 2000. The other three bodies deal with fine arts, literature, and arts research respectively, and none of them confers classical-dance status. This recognition is the standard reference point for Sattriya's modern classical identity.

Question 2Theory and historical background of Sattriya dance

Sattriya dance developed within the sattras of Assam. What is a sattra?

  1. A village fair held during the Bihu festival
  2. A guild of drum makers who supply khols to temples
  3. A monastic Vaishnava institution founded in the tradition of Srimanta Sankaradeva Correct answer.
  4. A royal court theatre maintained by the Ahom kings

Explanation

Sattras are monastic Vaishnava institutions established in Assam following the teachings of Srimanta Sankaradeva, and they are the primary custodians of Sattriya dance. Dancers were traditionally trained and performed within these establishments. The other options describe unrelated institutions or events.

Question 3Theory and historical background of Sattriya dance

Which Vaishnava saint-reformer is regarded as the founder of the Sattriya tradition in Assam?

  1. Nimbarka
  2. Chaitanya Mahaprabhu
  3. Basavanna
  4. Srimanta Sankaradeva Correct answer.

Explanation

Srimanta Sankaradeva (15th–16th century) founded the Assamese Vaishnava movement and created the sattras, the dramatic works and the ritual music-dance that underlie Sattriya. His disciple Madhavadeva continued and expanded the tradition. The other figures belong to different devotional movements and regions.

Question 4Theory and historical background of Sattriya dance

The two main streams of Sattriya performance are traditionally described as:

  1. Lasya and Chhau
  2. Nritya and Abhinaya
  3. Gayan-Bayan and Nritta Correct answer.
  4. Matri and Tandava

Explanation

Sattriya is conventionally divided into the Gayan-Bayan stream, the devotional music-and-drumming ensemble performed by men, and the Nritta stream, the pure dance repertoire including Ojapali-derived items. These two streams are the standard classification used in Sattriya scholarship. The other pairs mix categories from other traditions or other levels of description.

Question 5Theory and historical background of Sattriya dance

In the Sattriya repertoire, the term 'Chali' refers to:

  1. The opening prayer to the guru
  2. A stylised gaited dance sequence performed in a group Correct answer.
  3. A solo abhinaya piece based on a devotional song
  4. The concluding rhythmic drum solo

Explanation

Chali is a stylised, processional-style dance sequence performed by a group of dancers, and several ChalIs are named after the sattra or the context in which they developed. It is characterised by controlled footwork and coordinated group movement. The other options describe different items in the repertoire.

Question 6Theory and historical background of Sattriya dance

Which percussion instrument is central to Sattriya dance accompaniment?

  1. Mridangam
  2. Tabla
  3. Khol Correct answer.
  4. Pakhawaj

Explanation

The khol is the two-headed barrel drum of the Assamese Vaishnava tradition and is the principal percussion instrument for Sattriya. It is played together with cymbals (taal) in the Gayan-Bayan ensemble. The other drums belong to different regional traditions.

Question 7Theory and historical background of Sattriya dance

The cymbal pair used to mark the rhythmic cycle in Sattriya performance is called:

  1. Khol
  2. Taal Correct answer.
  3. Ghungur
  4. Doba

Explanation

In the Sattriya ensemble the cymbals are called taal and they articulate the rhythmic cycle alongside the khol. The term also denotes the metrical cycle itself in the broader Indian musical sense. The other options name a drum, a type of drumstroke, and ankle bells.

Question 8Theory and historical background of Sattriya dance

The dance-dramas written by Sankaradeva, which form an important source for Sattriya abhinaya, are known as:

  1. Jatra
  2. Borgeet
  3. Ankiya Bhaona Correct answer.
  4. Kirtan Ghar

Explanation

Ankiya Bhaona are the one-act devotional plays composed by Sankaradeva and his followers, performed in the sattras and a key source of Sattriya's expressive vocabulary. Borgeet are the devotional songs and the Kirtan Ghar is the prayer hall. Jatra is a different popular theatre form.

Question 9Theory and historical background of Sattriya dance

Borgeet, used in Sattriya performance, are best described as:

  1. Folk songs of the Bihu festival
  2. Devotional songs composed in the Assamese Vaishnava tradition Correct answer.
  3. Percussion syllables recited by drummers
  4. Sanskrit hymns from the Natyashastra

Explanation

Borgeet are devotional songs composed by Sankaradeva and Madhavadeva in the Assamese Vaishnava tradition, sung in a distinctive raga-based style. They provide the textual and melodic basis for much Sattriya abhinaya. They are not percussion syllables, Sanskrit hymns, or Bihu folk songs.

Question 10Theory and historical background of Sattriya dance

The language in which many Sattriya song-texts are composed, blending Assamese with Maithili and other elements, is called:

  1. Brajavali Correct answer.
  2. Pali
  3. Sadhu Bhasha
  4. Kamrupi

Explanation

Brajavali is the literary language used in much Assamese Vaishnava devotional literature, including many song-texts used in Sattriya. It mixes Assamese with Maithili and Braj elements. Kamrupi is a regional Assamese dialect, Sadhu Bhasha is a Bengali literary register, and Pali is a Buddhist canonical language.

Question 11Theory and historical background of Sattriya dance

The 'Ojapali' connection in Sattriya is significant because:

  1. Ojapali is the name of the Sattriya costume style
  2. Ojapali is a rhythmic cycle unique to the khol
  3. Sattriya's nritta stream absorbed elements of the Ojapali performance tradition Correct answer.
  4. Ojapali refers to the guru-disciple initiation rite in sattras

Explanation

Ojapali is an older Assamese performance tradition combining narration, dance and drumming, and Sattriya's nritta stream is generally understood to have absorbed elements of it. Scholars point to shared movement and rhythmic features. The other options misidentify what Ojapali is.

Question 12Theory and historical background of Sattriya dance

The prayer hall of a sattra, where devotional performance takes place, is known as the:

  1. Mandapa
  2. Kirtan Ghar
  3. Rang Ghar
  4. Namghar Correct answer.

Explanation

The namghar is the prayer hall of the Assamese Vaishnava sattras and villages, where congregational singing and dance performance occur. It is central to Sattriya's ritual context. The Rang Ghar is an Ahom royal pavilion, and mandapa is a generic term for a pillared hall.

Question 13Theory and historical background of Sattriya dance

Sattriya's traditional performance space within the sattra is characterised by:

  1. Performance in open fields during harvest
  2. Performance in a proscenium theatre with painted backdrops
  3. Performance in a royal court before a king
  4. Performance in the namghar before a devotional congregation Correct answer.

Explanation

Sattriya developed as ritual performance within the namghar, offered before a devotional congregation rather than as commercial entertainment. This context shaped its restrained, devotional character. Proscenium staging and court performance are later or unrelated contexts.

Question 14Theory and historical background of Sattriya dance

The term 'Matri' in Sattriya performance refers to:

  1. The costume worn by female dancers
  2. A category of rhythmic compositions played on the khol Correct answer.
  3. The expressive facial abhinaya of a solo dancer
  4. The opening invocatory prayer

Explanation

Matri are a category of rhythmic compositions in the Sattriya percussion repertoire, played on the khol and associated with specific patterns. They are part of the Gayan-Bayan tradition. The other options describe abhinaya, costume, or invocation.

Question 15Theory and historical background of Sattriya dance

Which of the following best describes the historical role of women in Sattriya before the twentieth century?

  1. Performance was largely restricted to male monks within the sattras Correct answer.
  2. Women performed only during the Bihu festival
  3. Women performed freely in public temples throughout Assam
  4. Women were the sole performers of the Gayan-Bayan ensemble

Explanation

Historically Sattriya was performed largely by male celibate monks within the sattras, and women's participation in public performance expanded mainly in the twentieth century. This is why the entry of women into Sattriya is treated as a modern development. The other options misstate the historical record.

Question 16Theory and historical background of Sattriya dance

The Ahom rulers' relationship with the sattras is best characterised as:

  1. A mix of patronage and periodic political tension Correct answer.
  2. Direct control of all dance training
  3. Unbroken hostility with no support for the sattras
  4. Complete indifference with no interaction

Explanation

Ahom rulers both patronised sattras and at times clashed with them over political and religious authority, so the relationship was neither purely hostile nor purely supportive. This mixed relationship shaped the institutional history of Sattriya. The other options oversimplify it.

Question 17Theory and historical background of Sattriya dance

The Sattriya repertoire includes items known as 'Sutradhari' and 'Gopi'. These are best understood as:

  1. Rhythmic cycles of the khol
  2. Percussion instruments used in the ensemble
  3. Role-types drawn from the Ankiya Bhaona dramatic tradition Correct answer.
  4. Types of ankle bells

Explanation

Sutradhari and Gopi are role-types from the Ankiya Bhaona plays that were absorbed into Sattriya's expressive repertoire. The Sutradhari is the narrator-conductor figure and the Gopis are the cowherd women of the Krishna legend. They are characters, not instruments or rhythmic cycles.

Question 18Theory and historical background of Sattriya dance

Which statement best explains why Sattriya is classified as a classical rather than a folk form?

  1. It is performed only in cities
  2. It is performed only by trained monks
  3. It uses only Sanskrit texts
  4. It has a codified repertoire, a textual and theoretical basis, and an institutional transmission lineage Correct answer.

Explanation

Classical status in Indian dance generally rests on a codified repertoire, a theoretical and textual foundation, and institutional transmission, all of which Sattriya possesses through the sattras and the Natyashastra-derived tradition. Urban performance, language, or the identity of performers are not the criteria. This is why the Sangeet Natak Akademi recognition was grounded in those features.

Question 19Theory and historical background of Sattriya dance

Madhavadeva's contribution to the Sattriya tradition is usually described as:

  1. Introducing the proscenium stage to Assam
  2. Abolishing the sattra system
  3. Consolidating and expanding the dramatic and devotional repertoire begun by Sankaradeva Correct answer.
  4. Founding the Odissi tradition

Explanation

Madhavadeva, Sankaradeva's principal disciple, consolidated and expanded the devotional and dramatic repertoire, including plays and songs that remain central to Sattriya. He did not introduce proscenium staging, found Odissi, or abolish the sattras. His work is a key link in the tradition's transmission.

Question 20Theory and historical background of Sattriya dance

The term 'Nritta' in Sattriya refers to:

  1. Pure dance movement without expressive narrative content Correct answer.
  2. Expressive storytelling through gesture
  3. Percussion accompaniment
  4. Devotional singing

Explanation

Nritta denotes pure dance, movement organised for rhythmic and visual effect without narrative abhinaya. In Sattriya it is one of the two main streams and includes items such as the Chali. Expressive storytelling is nritya or abhinaya, and singing and percussion are separate components.

Question 21Theory and historical background of Sattriya dance

A candidate studying Sattriya's textual basis would correctly associate it with which classical treatise?

  1. Natyashastra Correct answer.
  2. Natyashastra's commentary Abhinavabharati
  3. Sangita Ratnakara
  4. Abhinaya Darpana

Explanation

Sattriya, like other classical Indian dance forms, draws on the Natyashastra's framework of dance, gesture and rasa. The Abhinaya Darpana is a later text more closely associated with Bharatanatyam, and the Sangita Ratnakara is primarily a musicological treatise. The Abhinavabharati is a commentary, not the foundational treatise itself.

Question 22Theory and historical background of Sattriya dance

The 'Gayan-Bayan' ensemble in Sattriya consists of:

  1. Dancers and actors performing together
  2. Singers (gayan) and drummers (bayan) performing together Correct answer.
  3. Flute and string players
  4. Cymbal players alone

Explanation

Gayan-Bayan pairs the singers with the drummers in a devotional music ensemble that is one of Sattriya's two main streams. The term combines gayan (singer) and bayan (drummer). It does not refer to dancers, cymbal players alone, or melodic instruments.

Question 23Theory and historical background of Sattriya dance

Which statement correctly describes the relationship between Sattriya and the rasa theory of Indian aesthetics?

  1. Sattriya aims to evoke devotional rasa, with bhakti as its dominant emotional register Correct answer.
  2. Sattriya treats rasa as a purely rhythmic concept
  3. Sattriya evokes only the heroic rasa
  4. Sattriya rejects rasa theory as inapplicable to regional forms

Explanation

Sattriya is devotional in character and aims at evoking bhakti as its dominant rasa, while still drawing on the broader rasa framework of Indian aesthetics. It does not reject rasa theory, restrict itself to the heroic rasa, or treat rasa as purely rhythmic. This devotional orientation distinguishes its aesthetic aim.

Question 24Theory and historical background of Sattriya dance

The modern revival and public dissemination of Sattriya is associated with:

  1. Twentieth-century performers and institutions bringing it from sattras to public stages Correct answer.
  2. The Ahom kings of the seventeenth century
  3. The British colonial administration
  4. Sankaradeva's original compositions alone

Explanation

Sattriya moved from exclusive sattra performance to public stages largely through twentieth-century performers, teachers and institutions, a process that also led to its classical recognition. The Ahom kings, Sankaradeva, and the colonial administration belong to earlier or unrelated contexts. This modern dissemination is central to Sattriya's contemporary profile.

Question 25Theory and historical background of Sattriya dance

Which of the following correctly pairs a Sattriya item with its function?

  1. Matri - devotional song
  2. Chali - group processional dance sequence Correct answer.
  3. Taal - ankle bells
  4. Borgeet - percussion composition

Explanation

Chali is a group processional dance sequence, so this pairing is correct. Borgeet are devotional songs rather than percussion compositions, matri are rhythmic compositions rather than songs, and taal are cymbals rather than ankle bells. Correct pairing questions require matching each term to its actual function.

Question 26Theory and historical background of Sattriya dance

Sattriya dance originated in which Indian state, and is therefore counted among that region's principal contributions to India's classical dance heritage?

  1. Assam Correct answer.
  2. Odisha
  3. Kerala
  4. Manipur

Explanation

Sattriya developed in the Vaishnava sattras of Assam and was recognised as a classical dance form by the Sangeet Natak Akademi in 2000. Its entire vocabulary, repertoire and institutional base are rooted in Assamese sattra culture, so Assam is the only defensible answer.

Question 27Theory and historical background of Sattriya dance

Sattriya was formally accorded classical dance status by the Sangeet Natak Akademi in which year?

  1. 1972
  2. 1958
  3. 2000 Correct answer.
  4. 2015

Explanation

The Sangeet Natak Akademi recognised Sattriya as a classical dance form in 2000, making it the most recently admitted member of India's classical dance list. This recognition followed decades of revival work that carried the form from sattra ritual settings onto the public stage.

Question 28Theory and historical background of Sattriya dance

In the sattra tradition, the dance item performed by two male dancers portraying Krishna and Radha, which became a celebrated marker of Sattriya's expressive repertoire, is known as:

  1. Chali
  2. Gopi Prabesh Correct answer.
  3. Jhumura
  4. Sutradhari Nach

Explanation

Gopi Prabesh is the item in which two dancers embody Krishna and Radha, and it is closely associated with the mati akhara training of the sattras. Its devotional pairing of the two figures gives it a distinct place in the Sattriya repertoire rather than being a pure rhythmic piece.

Question 29Theory and historical background of Sattriya dance

A researcher argues that Sattriya's rhythmic system is closer to the broader Assamese performing arts than to the Carnatic-based systems of southern India. Which feature of Sattriya best supports this argument?

  1. Its reliance on the Carnatic raga scheme for all melodic accompaniment
  2. Its use of the khol and taals whose cycles are counted in the Assamese/Ojapali manner Correct answer.
  3. Its performance exclusively to recorded music rather than live percussion
  4. Its strict exclusion of any sung text from the dance item

Explanation

Sattriya rhythm is organised around the khol drum and cymbal patterns, with cycles conceived in a manner shared with Assamese devotional and Ojapali traditions. This local rhythmic framework, rather than the southern Carnatic system, is what distinguishes its metric thinking.

Question 30Theory and historical background of Sattriya dance

Which statement most accurately explains why the sattra institution was decisive in shaping Sattriya's distinctive style rather than merely preserving it?

  1. The sattras imported performers from other regions, which explains the form's mixed vocabulary
  2. The sattras provided a regulated devotional setting in which a fixed repertoire, training discipline and ritual context co-developed Correct answer.
  3. The sattras functioned as monasteries where dance was performed only for royal entertainment
  4. The sattras discouraged dance and it survived only through village folk traditions

Explanation

Sattriya grew inside a regulated monastic environment where devotional performance, formal training and a codified repertoire developed together under Vaishnava discipline. That setting produced the form's characteristic restraint, its fixed items and its transmission through the sattra training system rather than through court patronage alone.

Question 31Basic technique: mati akhara, ora, and body positions

In Sattriya dance training, what does the term 'mati akhara' most directly refer to?

  1. A codified set of ground-based body-training exercises Correct answer.
  2. A seated vocal exercise for khol players
  3. A rhythmic pattern played only on the taal
  4. A costume item worn at the waist

Explanation

Mati akhara literally links 'mati' (earth/ground) with 'akhara' (training arena or exercise set), and in Sattriya practice it names the codified ground exercises that build strength, flexibility and body awareness before formal dance items are attempted. These exercises condition the legs, hips and spine for the low, grounded stance characteristic of the form. They are preparatory training, not performance repertoire.

Question 32Basic technique: mati akhara, ora, and body positions

Why does Sattriya mati akhara training emphasise lying and seated positions on the floor before standing work?

  1. To imitate the reclining posture of temple sculpture
  2. To build controlled mobility of the hips, spine and legs without bearing full body weight Correct answer.
  3. To allow the dancer to memorise the taal cycles while resting
  4. To prepare the dancer for singing while supine

Explanation

Ground work removes the load of standing so the dancer can open the hip joints, mobilise the spine and strengthen the legs through their full range with control. This foundation then carries over into the low, pliable stance needed for Sattriya's characteristic bends. The purpose is anatomical preparation, not rest or iconographic imitation.

Question 33Basic technique: mati akhara, ora, and body positions

In Sattriya terminology, 'ora' refers to which element of practice?

  1. A type of ankle bell fastening
  2. A hand gesture for offering
  3. A melodic mode used in borgeet
  4. A descending sequence of footwork patterns Correct answer.

Explanation

'Ora' denotes a defined sequence or series of footwork and body movements practised as a unit, often moving in a set direction with a repeated rhythmic structure. Dancers learn oras as building blocks that are later combined into larger choreographic items. It is a movement construct, not a melodic or decorative one.

Question 34Basic technique: mati akhara, ora, and body positions

A teacher asks a student to repeat an ora several times, each time starting from a different point of the floor. What is the main training benefit of this instruction?

  1. It reduces the need for ankle bells
  2. It converts the ora into a pure abhinaya item
  3. It develops spatial orientation and consistent body alignment while travelling Correct answer.
  4. It changes the taal cycle used for the sequence

Explanation

Repeating the same movement sequence from different starting points forces the dancer to maintain alignment, balance and directional awareness while moving through space. This builds the spatial control needed when oras are arranged into stage patterns. The rhythm and expressive category of the item remain unchanged.

Question 35Basic technique: mati akhara, ora, and body positions

The characteristic Sattriya stance in which the knees are bent and the body is held low and grounded is best described as which kind of position?

  1. A jumping position taken only in the air
  2. A grounded half-sitting position supporting stability Correct answer.
  3. A standing position with straight, locked knees
  4. A fully seated cross-legged position

Explanation

Sattriya's basic stance keeps the knees bent so the torso sinks and the weight settles into the ground, giving the form its characteristic low centre of gravity. This half-sitting position supports balance during footwork and allows quick shifts of weight. It is a standing position, not a seated or airborne one.

Question 36Basic technique: mati akhara, ora, and body positions

In the Sattriya stance sometimes described as the 'diamond' or vajra position, how are the feet and legs arranged?

  1. Heels close together, knees bent and turned out, weight grounded Correct answer.
  2. Feet apart with the body weight on the outer edges
  3. One leg lifted and crossed in front of the other
  4. Heels together with toes turned sharply outward and knees wide

Explanation

The vajra-like stance keeps the heels near each other while the knees bend and open outward, so the lower body forms a stable, diamond-shaped base. The weight stays grounded and centred, ready for footwork. This differs from wide-footed or one-legged positions.

Question 37Basic technique: mati akhara, ora, and body positions

During a Sattriya footwork sequence, a dancer repeatedly strikes the ground with the flat foot and then with the heel. Which aspect of technique is being trained?

  1. Karanas of the upper body
  2. Vocal pitch control
  3. Facial abhinaya
  4. Padabheda, the differentiated use of the feet Correct answer.

Explanation

Deliberate variation between flat-foot and heel contacts trains padabheda, the differentiated placement and striking of the feet that gives Sattriya footwork its clarity and audible rhythm. Each contact must be clean and controlled so the ankle bells speak precisely. It is a lower-limb skill, not an expressive or vocal one.

Question 38Basic technique: mati akhara, ora, and body positions

What is the primary purpose of practising mati akhara before learning an ora?

  1. To learn the costume-changing sequence
  2. To condition the body so the ora can be executed with control and correct alignment Correct answer.
  3. To decide which taal the ora will use
  4. To memorise the song text accompanying the ora

Explanation

Mati akhara builds the strength, flexibility and body awareness that an ora demands, so the sequence can be performed without strain or misalignment. Conditioning first reduces the risk of injury and improves the quality of the movement. Repertoire details such as song text or taal choice are separate matters.

Question 39Basic technique: mati akhara, ora, and body positions

A dancer performing an ora keeps the torso upright while the hips sink into a bent-knee stance. Which principle does this illustrate?

  1. The torso must lean forward to counterbalance the hips
  2. The upper body stays lifted while the lower body remains grounded Correct answer.
  3. The spine should curve sideways during every step
  4. The knees should straighten as the hips sink

Explanation

Sattriya technique separates the work of the lower and upper body: the legs bend and ground the dancer while the torso stays lifted and poised. This keeps the chest open and the line of the body clear. Leaning or collapsing the spine would break that alignment.

Question 40Basic technique: mati akhara, ora, and body positions

Which description best matches the Sattriya position in which the body is turned to an oblique angle with one foot placed forward?

  1. An oblique stance with the body angled and one foot leading Correct answer.
  2. A seated position with legs extended
  3. A frontal stance with both feet parallel
  4. A back-facing stance with the heels raised

Explanation

Sattriya uses oblique body positions in which the torso is angled rather than squarely frontal, with one foot placed ahead of the other. This creates a dynamic line and allows the dancer to move in a chosen direction. It is a standing, angled position rather than a frontal or seated one.

Question 41Basic technique: mati akhara, ora, and body positions

In Sattriya, the term 'chali' in relation to body movement most often describes which quality?

  1. A slow, gliding walk with controlled weight transfer Correct answer.
  2. A rapid spin on one foot
  3. A brisk, springing gait used in vigorous sequences
  4. A stationary pose held without movement

Explanation

Chali denotes a smooth, gliding style of walking in which the weight is transferred carefully from one foot to the other, giving the movement a flowing quality. It contrasts with brisk or springing gaits. The emphasis is on control and continuity rather than speed or stillness.

Question 42Basic technique: mati akhara, ora, and body positions

A student's ankle bells sound uneven during an ora. Which technical correction is most appropriate?

  1. Increase the speed of the whole sequence
  2. Remove the ankle bells for the remainder of the class
  3. Check that each foot contact is clean and the weight is fully placed Correct answer.
  4. Change the taal to a slower cycle

Explanation

Uneven bell sound usually indicates unclear or partial foot contacts, so the remedy is to make each strike definite and to place the weight fully before moving on. Clean contacts produce even, articulate sound. Altering tempo, bells or taal does not correct the underlying footwork.

Question 43Basic technique: mati akhara, ora, and body positions

Which of these is a recognised benefit of regular mati akhara practice for a Sattriya dancer?

  1. Increased vocal range for borgeet singing
  2. Greater skill in playing the khol
  3. Improved hip and hamstring flexibility for low stances Correct answer.
  4. Faster memorisation of song lyrics

Explanation

Ground exercises systematically open the hips and lengthen the hamstrings, which allows the dancer to hold the low, bent-knee stances of Sattriya with ease. These are musculoskeletal benefits of physical training. Vocal and instrumental skills are developed through separate musical practice.

Question 44Basic technique: mati akhara, ora, and body positions

When an ora is performed, the dancer's movements are coordinated with a rhythmic cycle. Which term names that rhythmic cycle?

  1. Mudra
  2. Taal Correct answer.
  3. Borgeet
  4. Raga

Explanation

Taal is the rhythmic cycle that governs the timing of footwork and body movement in Sattriya, and each ora is set to one. Dancers count the beats of the taal to place their steps precisely. Raga, borgeet and mudra refer to melody, song and gesture respectively.

Question 45Basic technique: mati akhara, ora, and body positions

A dancer holds a low stance with the feet apart and the weight evenly distributed, then shifts the weight onto one leg to prepare a turn. Which element of basic technique is being demonstrated?

  1. A change of costume
  2. Expressive storytelling through the eyes
  3. Weight transfer as the basis of movement Correct answer.
  4. A change of melodic mode

Explanation

Shifting the weight from an even stance onto one leg is the fundamental mechanism by which Sattriya movement is initiated, allowing the free leg to step or turn. Controlled weight transfer keeps the low stance stable during transitions. It is a mechanical principle rather than an expressive or musical one.

Question 46Basic technique: mati akhara, ora, and body positions

Which statement about the relationship between mati akhara and ora is most accurate?

  1. They are identical practices with different names
  2. Mati akhara conditions the body, while ora applies that conditioning to set movement sequences Correct answer.
  3. Ora is performed only by musicians and mati akhara only by dancers
  4. Mati akhara is a performance item and ora is a warm-up

Explanation

Mati akhara is preparatory conditioning, and ora is the application of that trained body to codified sequences of footwork and movement. One prepares, the other performs. They are related but distinct stages of training.

Question 47Basic technique: mati akhara, ora, and body positions

In Sattriya, the term 'bhangi' is used to describe which aspect of movement?

  1. A percussive syllable recited by the drummer
  2. A straight, rigid posture held without deviation
  3. A type of devotional song
  4. A bending or deflection of the body creating a curved line Correct answer.

Explanation

Bhangi refers to the graceful bend or deflection of the body that produces Sattriya's characteristic curved lines, especially in the torso, neck and limbs. These controlled bends give the form its sculptural quality. Rigid straightness, drum syllables and song genres are described by other terms.

Question 48Basic technique: mati akhara, ora, and body positions

A dancer practising an ora notices that the shoulders rise and the neck stiffens whenever the knees bend deeply. What is the most likely technical cause?

  1. The dancer is using the wrong taal
  2. The dancer is holding tension instead of relaxing the upper body Correct answer.
  3. The dancer's ankle bells are too tight
  4. The dancer has memorised the sequence incorrectly

Explanation

When a dancer grips with the upper body to compensate for the effort of a deep knee bend, the shoulders lift and the neck stiffens. The correction is to release that tension and let the legs carry the work while the torso stays relaxed and lifted. Rhythm, bells and memory do not produce this pattern.

Question 49Basic technique: mati akhara, ora, and body positions

Which of the following best describes a 'half-sitting' (ardha-mandali-like) position in Sattriya technique?

  1. Bending the knees deeply so the hips lower while the torso stays upright Correct answer.
  2. Sitting on the floor with the legs folded
  3. Leaning the torso forward until it is parallel to the floor
  4. Standing on the toes with the heels fully raised

Explanation

In a half-sitting position the knees bend deeply and the hips descend, but the torso remains upright so the dancer stays balanced and ready to move. This is a standing position with a low centre of gravity. It is not a floor seat, a toe balance or a forward fold.

Question 50Basic technique: mati akhara, ora, and body positions

During mati akhara, a dancer performs a supine leg-raise sequence slowly, exhaling on each lift. What is the main purpose of controlling the breath in this way?

  1. To support controlled movement and prevent straining Correct answer.
  2. To synchronise the exercise with a taal cycle
  3. To improve the pitch of the accompanying song
  4. To signal the musician to change rhythm

Explanation

Coordinating breath with slow, controlled movement supports the abdominal muscles, prevents breath-holding and strain, and keeps the exercise safe and effective. Breath control in conditioning is about movement quality. It is not a rhythmic signal or a vocal exercise.