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BSEB Matric Dance study materials
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BSEB Matric Dance practice questions

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Question 1Fundamentals and Definitions of Dance

In the academic study of dance, which description best defines dance as an art form?

  1. Rhythmic sound produced by musical instruments and recited syllables
  2. Spontaneous body movements that occur without any intention or structure
  3. Any physical exercise that a performer carries out in order to improve stamina and muscle strength
  4. Deliberately selected and organized human movement performed in space and time Correct answer.

Explanation

Dance as an art form is separated from ordinary or utilitarian movement by intention and organization: the body is deliberately shaped in space, time and energy to create an aesthetic or expressive experience. Fitness training, random motion and purely instrumental sound all lack this deliberate aesthetic structuring of human movement.

Question 2Fundamentals and Definitions of Dance

Which set lists the five elements of dance commonly remembered by the acronym BASTE?

  1. Body, action, sound, theme, emotion
  2. Body, action, space, time, energy Correct answer.
  3. Body, accompaniment, style, tempo, expression
  4. Balance, alignment, strength, timing, endurance

Explanation

The five-element framework used in dance analysis is body, action, space, time and energy, remembered as BASTE. Body is the instrument of the dancer, action is the movement performed, space is the area used, time covers rhythm and duration, and energy describes the quality of force applied.

Question 3Fundamentals and Definitions of Dance

In Indian classical dance theory, pure rhythmic movement performed without narrative or emotional content is called:

  1. Natya
  2. Nritya
  3. Nritta Correct answer.
  4. Abhinaya

Explanation

Nritta is pure rhythmic movement in which the dancer executes patterns of steps, gestures and poses for their own beauty, without conveying a story, character or emotion. Expressive dance that carries bhava and rasa is nritya, while the dramatic element with plot and characterization is natya.

Question 4Fundamentals and Definitions of Dance

Which option correctly pairs each of the four types of abhinaya with its medium?

  1. Angika – costume and make-up, Vachika – mood, Aharya – speech, Sattvika – body
  2. Angika – body, Vachika – speech, Aharya – costume, Sattvika – mood Correct answer.
  3. Angika – speech, Vachika – body, Aharya – mood, Sattvika – costume
  4. Angika – mood, Vachika – costume, Aharya – body, Sattvika – speech

Explanation

Angika abhinaya works through gestures and body movement, vachika through speech and song, aharya through costume, make-up and stage setting, and sattvika through inner emotional states and their involuntary physical signs. These four together form the complete expressive apparatus of the classical performer.

Question 5Fundamentals and Definitions of Dance

In Indian dance theory, the vigorous, forceful aspect of dance associated with Shiva is called ______, while the gentle, graceful aspect associated with Parvati is called ______.

  1. Chari; Karana
  2. Lasya; Tandava
  3. Nritta; Nritya
  4. Tandava; Lasya Correct answer.

Explanation

Tandava is the vigorous, forceful dance linked with Shiva, marked by powerful stamping and strong lines, while lasya is its tender, graceful counterpart associated with Parvati. The pair describes two complementary moods of movement rather than technical units of choreography.

Question 6Fundamentals and Definitions of Dance

In Indian music and dance, which statement correctly distinguishes laya from tala?

  1. Laya is the hand gesture used, while tala is the facial expression
  2. Laya is the repeating cycle of beats, while tala is the speed at which the dancer performs
  3. Laya is the melody of the song, while tala is the style of costume
  4. Laya is tempo or speed, while tala is the metrical cycle of beats Correct answer.

Explanation

Laya is the tempo, the relative speed at which a rhythmic passage is rendered, and it may be slow, medium or fast. Tala is the metrical cycle itself, a fixed framework of beats such as teentaal within which the dancer's footwork and the drummer's patterns are set.

Question 7Fundamentals and Definitions of Dance

In Bharatanatyam and other classical forms, hand gestures are classified as asamyukta and samyukta hastas. Which statement is correct?

  1. Asamyukta hastas are gestures of the feet, while samyukta hastas are gestures of the eyes
  2. Asamyukta hastas are made with a single hand, while samyukta hastas combine both hands Correct answer.
  3. Asamyukta hastas belong only to folk dance, while samyukta hastas belong only to classical dance
  4. Asamyukta hastas use both hands together, while samyukta hastas use one hand

Explanation

Asamyukta hastas are gestures formed with one hand alone, while samyukta hastas are formed with both hands joined together, as codified in texts such as the Abhinaya Darpana. Pataka and tripataka are familiar examples of single-hand gestures, and the two classes together make up the classical gesture vocabulary.

Question 8Fundamentals and Definitions of Dance

The tribhanga posture, used in Odissi and other classical styles, is best described as:

  1. A symmetrical stance in which the feet are turned out and the knees are deeply bent, forming a square shape
  2. A standing pose in which the body bends at the neck, waist and knee Correct answer.
  3. A seated position with both legs folded and the torso held perfectly upright
  4. A jump in which both feet leave the ground at the same moment

Explanation

Tribhanga literally means three bends: a standing pose in which the body curves at the neck, the waist and the knee, producing a flowing S-shaped line. It is a signature posture of Odissi, where the square, symmetrical chauk stance also plays a central role.

Question 9Fundamentals and Definitions of Dance

In classical rasa theory, each rasa is sustained by a permanent emotion (sthayi bhava). Which emotion is the sthayi bhava of shringara rasa?

  1. Hasa, laughter
  2. Krodha, anger
  3. Shoka, grief
  4. Rati, delight in love Correct answer.

Explanation

Rasa theory holds that a dominant permanent emotion, the sthayi bhava, is developed and generalized until it becomes an aesthetic flavour. Shringara, the rasa of love and beauty, rests on rati, delight in love, just as hasya rests on laughter and karuna on grief.

Question 10Fundamentals and Definitions of Dance

Which folk dance form of Bihar is associated with the writer Bhikari Thakur and expresses the pain of separation felt by those whose men migrate for work?

  1. Jat-Jatin
  2. Bidesia Correct answer.
  3. Domkach
  4. Jhijhiya

Explanation

Bidesia is a folk dance-theatre form of the Bhojpur region, created by Bhikari Thakur. Its songs and scenes dwell on the sorrow of women separated from husbands who migrate to cities, and the form also raises social questions such as caste, dowry and drunkenness.

Question 11Fundamentals and Definitions of Dance

The Natya Shastra, the foundational treatise on Indian dance, music and drama, is attributed to which author?

  1. Bharata Muni Correct answer.
  2. Kalidasa
  3. Nandikeshvara
  4. Abhinavagupta

Explanation

Bharata Muni is traditionally credited with composing the Natya Shastra, the Sanskrit treatise that systematises dance, music and dramatic representation. Abhinavagupta wrote a well-known commentary on it, Kalidasa was a poet-dramatist, and Nandikeshvara authored the Abhinaya Darpana.

Question 12Fundamentals and Definitions of Dance

In Indian dance terminology, the term 'mudra' most directly refers to which of the following?

  1. A verse sung by the dancer during performance
  2. A sequence of footwork in Kathak
  3. A rhythmic cycle played on percussion
  4. A codified hand gesture used to convey meaning Correct answer.

Explanation

Mudra, or hasta, denotes a codified hand gesture through which dancers express ideas, objects and emotions. Rhythmic cycles are called tala, footwork sequences carry terms such as tatkar, and sung verses belong to vachika abhinaya.

Question 13Fundamentals and Definitions of Dance

How many dance forms are currently recognised as classical by the Sangeet Natak Akademi of India?

  1. Eight Correct answer.
  2. Six
  3. Ten
  4. Four

Explanation

The Sangeet Natak Akademi recognises eight classical dance forms: Bharatanatyam, Kathak, Kathakali, Kuchipudi, Manipuri, Mohiniyattam, Odissi and Sattriya. This number is a standard fact in Indian dance studies.

Question 14Fundamentals and Definitions of Dance

Which pairing of a classical dance form with its state of origin is correct?

  1. Kuchipudi - Karnataka
  2. Kathakali - Tamil Nadu
  3. Sattriya - Odisha
  4. Mohiniyattam - Kerala Correct answer.

Explanation

Mohiniyattam developed in Kerala and is characterised by gentle lasya movements. Kathakali belongs to Kerala, Sattriya to Assam, and Kuchipudi to Andhra Pradesh, so the other pairings are incorrect.

Question 15Fundamentals and Definitions of Dance

In the Natya Shastra's framework, 'natyadharmi' denotes which mode of presentation?

  1. The spontaneous dance of villagers at a harvest festival
  2. A purely instrumental interlude within a performance
  3. A stylised, convention-governed mode used in classical theatre Correct answer.
  4. The realistic, everyday behaviour of ordinary people

Explanation

Natyadharmi is the stylised, codified mode of theatrical representation that follows the conventions of the stage. Its counterpart, lokadharmi, adopts the realistic manner of ordinary life, so the remaining descriptions do not fit.

Question 16Fundamentals and Definitions of Dance

In Bharatanatyam, the basic rhythmic unit that is repeated and combined to build a dance sequence is known as:

  1. Alarippu
  2. Padam
  3. Adavu Correct answer.
  4. Varnam

Explanation

Adavus are the fundamental units of Bharatanatyam movement, each combining stance, footwork and hand gestures to a rhythmic pattern. Alarippu, varnam and padam are items in the Bharatanatyam repertoire, not basic movement units.

Question 17Fundamentals and Definitions of Dance

Which folk dance of Bihar is traditionally performed to invoke rain?

  1. Jhijhian Correct answer.
  2. Jat-Jatin
  3. Domkach
  4. Sohar

Explanation

Jhijhian is a Bihar folk dance performed by women to pray for rain, often during dry spells. Sohar celebrates childbirth, Domkach is associated with wedding festivities, and Jat-Jatin portrays domestic themes.

Question 18Fundamentals and Definitions of Dance

In Indian aesthetic theory, the set of nine rasas is collectively called:

  1. Sapta swara
  2. Ashta siddhi
  3. Navarasa Correct answer.
  4. Pancha bhuta

Explanation

The nine rasas - shringara, hasya, karuna, raudra, veera, bhayanaka, bibhatsa, adbhuta and shanta - are collectively termed navarasa. The other options name unrelated sets from music and cosmology.

Question 19Fundamentals and Definitions of Dance

In the Natya Shastra, a 'karana' is best described as:

  1. A melodic mode assigned to a rasa
  2. A cycle of beats in a rhythmic pattern
  3. A single hand gesture used in storytelling
  4. A combined pose-and-movement unit Correct answer.

Explanation

Karanas are the basic units of movement described in the Natya Shastra, each coordinating a stance, limb position and transition; 108 are traditionally listed. Hand gestures are hastas, melodic modes are ragas, and beat cycles are talas.

Question 20Fundamentals and Definitions of Dance

Among the four types of abhinaya, 'sattvika abhinaya' is chiefly concerned with:

  1. Inner emotional states conveyed through subtle bodily signs Correct answer.
  2. Hand gestures and postures
  3. Speech, song and recitation
  4. Costume, makeup and stage properties

Explanation

Sattvika abhinaya communicates inner feeling through subtle physical responses such as trembling, tears and changes in complexion, rather than through external props or words. Costume belongs to aharya, speech to vachika, and gestures to angika abhinaya.

Question 21Fundamentals and Definitions of Dance

In Indian dance theory, what does the term 'abhinaya' most directly denote?

  1. The warm-up sequence performed before a dance recital begins
  2. The arrangement of musicians and singers around the performer
  3. The expressive communication of emotion and meaning to the audience Correct answer.
  4. The rhythmic footwork that produces audible beats on the floor

Explanation

Abhinaya is formed from the prefix abhi, meaning 'towards', and the root ni, meaning 'to lead', so it refers to leading the viewer towards aesthetic experience. It is the communicative aspect of dance and is carried out through angika, vachika, aharya and sattvika modes. Its purpose is to reveal bhava and evoke rasa in the spectator.

Question 22Fundamentals and Definitions of Dance

In the traditional Indian arts, the term 'sangeet' refers to which combination?

  1. Vocal music, instrumental music and dance Correct answer.
  2. Poetry, painting and sculpture
  3. Rhythm, melody and harmony
  4. Drama, architecture and costume design

Explanation

Sangeet is a composite term traditionally understood as geet, vadya and nritya, that is, vocal music, instrumental music and dance. Treatises such as the Sangeet Ratnakara treat these three as interlinked performing arts. The term therefore does not mean music alone in the narrow modern sense.

Question 23Fundamentals and Definitions of Dance

Which folk dance of the Mithila region of Bihar portrays a woman's longing for her husband through gentle, expressive movements?

  1. Jat-Jatin Correct answer.
  2. Domkach
  3. Paika
  4. Sohar

Explanation

Jat-Jatin is a well-known folk dance of the Mithila region, performed mainly by women, and it dramatises the wife's longing for her absent husband along with domestic themes. Sohar is associated with childbirth songs, Domkach with wedding festivities, and Paika with martial movements. The gentle, narrative style of Jat-Jatin makes it distinct from these forms.

Question 24Fundamentals and Definitions of Dance

Within the classical triad nritta, nritya and natya, which term denotes expressive dance that uses gestures and facial expression to convey bhava and rasa?

  1. Nritya Correct answer.
  2. Natya
  3. Tala
  4. Nritta

Explanation

Nritya is the expressive mode of dance in which rhythmic movement is joined with abhinaya, including hasta gestures and facial expression, to communicate mood and meaning. Nritta is abstract rhythmic movement without narrative intent, natya is dramatic representation, and tala is the metrical cycle. The triad therefore distinguishes pure rhythm, expressive dance and drama.

Question 25Fundamentals and Definitions of Dance

In the Indian tala system, what does 'avartana' mean?

  1. A single beat within a cycle
  2. The speed or tempo of a performance
  3. One complete cycle of a tala Correct answer.
  4. A hand gesture used by the conductor

Explanation

Avartana denotes one full round or cycle of a tala, made up of its angas and matras. A single beat is a matra, while laya refers to tempo or speed. Understanding avartana is essential because rhythmic phrases and dance sequences are often measured in complete cycles.

Question 26Fundamentals and Definitions of Dance

In Indian aesthetic theory, 'bhava' is best described as which of the following?

  1. The hand gesture used to indicate a visible object
  2. The costume, jewellery and makeup worn by a dancer
  3. The emotional state that becomes rasa when savoured Correct answer.
  4. The rhythmic pattern played by the percussionist

Explanation

Bhava refers to an emotional state or feeling, and in rasa theory a sustained emotion, the sthayi bhava, is developed and savoured until it becomes rasa. Transient emotions, called vyabhicari bhavas, support this development. Bhava is therefore an inner emotional condition rather than an external stage element.

Question 27Fundamentals and Definitions of Dance

The treatise Abhinaya Darpanam, which codifies hasta mudras, eye movements and postures, is traditionally attributed to which author?

  1. Abhinavagupta
  2. Sharngadeva
  3. Nandikeshvara Correct answer.
  4. Bharata

Explanation

Abhinaya Darpanam is traditionally ascribed to Nandikeshvara and is a key text for codified hand gestures, eye exercises and postural details used in classical dance. Bharata is associated with the Natya Shastra, Sharngadeva with the Sangeet Ratnakara, and Abhinavagupta with the commentary Abhinavabharati. These attributions help distinguish the major treatises in dance theory.

Question 28Fundamentals and Definitions of Dance

Which author is credited with the medieval treatise Sangeet Ratnakara, which discusses dance, music and drama?

  1. Sharngadeva Correct answer.
  2. Jayadeva
  3. Bharata
  4. Nandikeshvara

Explanation

The Sangeet Ratnakara is attributed to Sharngadeva, a thirteenth-century scholar whose work contains chapters on dance and dramatic performance as well as music. Nandikeshvara is linked to the Abhinaya Darpanam, Bharata to the Natya Shastra, and Jayadeva to the Gita Govinda. The text is therefore important for the integrated study of the performing arts.

Question 29Fundamentals and Definitions of Dance

Seraikella Chhau, a dance form associated with the erstwhile Seraikella princely state in the Chhotanagpur region, is characterised by which feature?

  1. Masked dancers performing vigorous, mock-combat movements Correct answer.
  2. Dancers singing long narrative ballads without instruments
  3. Dancers performing only seated hand gestures
  4. Dancers balancing water pots on their heads

Explanation

Seraikella Chhau is one of the recognised Chhau styles and is distinguished by the use of elaborate masks together with vigorous, martial-derived movement. Its themes draw on mythology and nature, and the mask hides facial expression, so the body communicates the character. This feature distinguishes it from folk forms based mainly on song or balance.

Question 30Fundamentals and Definitions of Dance

In the Bharatanatyam margam, what is the main function of a varnam?

  1. A central item combining rhythmic passages with expressive text Correct answer.
  2. A pure rhythmic sequence of adavus performed without expression
  3. A costume worn by the dancer during the opening item
  4. A closing benedictory verse sung without any dance

Explanation

A varnam is usually the central and most elaborate item in a Bharatanatyam margam, alternating pure rhythmic passages with expressive abhinaya based on its sahitya. It allows the dancer to develop both technical precision and emotional interpretation. The alarippu, by contrast, is an invocatory rhythmic item, and the mangalam is a concluding benediction.

Question 31Indian Classical Dance Forms

The treatise Natya Shastra, which sets out the theory of Indian dance, drama and music, is traditionally attributed to which author?

  1. Abhinavagupta
  2. Kalidasa
  3. Nandikeshvara
  4. Bharata Muni Correct answer.

Explanation

The Natya Shastra is traditionally ascribed to Bharata Muni and is the oldest surviving compendium of Indian performance theory, covering rasa, abhinaya and the classification of dance into nritta, nritya and natya. Later writers commented on it rather than authoring it, so the attribution to Bharata is the standard answer in the classical dance syllabus.

Question 32Indian Classical Dance Forms

Sattriya, the classical dance form nurtured in the Vaishnava monasteries of Srimanta Sankardeva, belongs to which state?

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

Explanation

Sattriya developed in the sattras, the Vaishnava monasteries of Assam, and takes its name from them. It grew out of the devotional plays and dance-dramas introduced by Srimanta Sankardeva and Madhavadeva in the sixteenth century, and it was formally recognised as a classical dance form much later.

Question 33Indian Classical Dance Forms

The classical dance form built on the devadasi and sadir tradition of the great temple towns of Chidambaram and Thanjavur belongs to which state?

  1. Andhra Pradesh
  2. Kerala
  3. Karnataka
  4. Tamil Nadu Correct answer.

Explanation

Bharatanatyam is the classical dance of Tamil Nadu and descends from the sadir or dasiattam performed by devadasis in temples such as Chidambaram and Thanjavur. Its modern concert form was shaped in the twentieth century and it is today the most widely performed of the eight recognised classical styles.

Question 34Indian Classical Dance Forms

In Bharatanatyam, what is the formal solo debut performance of a trained dancer, usually presented after the guru's approval, called?

  1. Tillana
  2. Alarippu
  3. Varnam
  4. Arangetram Correct answer.

Explanation

The arangetram is the formal first solo performance, literally the 'ascending of the stage', and it marks the dancer's graduation from training to the concert platform. It normally presents the full margam, so the items listed in the other options are pieces performed within it rather than the debut itself.

Question 35Indian Classical Dance Forms

The solo dance-drama Bhama Kalapam, which depicts Satyabhama's longing for Krishna and is traditionally traced to Siddhendra Yogi, belongs to which classical form?

  1. Kuchipudi Correct answer.
  2. Mohiniyattam
  3. Kathakali
  4. Odissi

Explanation

Bhama Kalapam is the best-known work of the Kuchipudi repertoire, a solo dance-drama on the theme of Satyabhama's jealousy and longing for Krishna. It was traditionally performed by male artists of the Kuchipudi village in Andhra Pradesh taking the female role, and it remains a test of abhinaya for any Kuchipudi dancer.

Question 36Indian Classical Dance Forms

A dancer deflects the head, the torso and the hips to create three gentle curves, a stance seen in the temple sculpture of Odisha. This posture belongs to which classical dance form?

  1. Bharatanatyam
  2. Manipuri
  3. Kathak
  4. Odissi Correct answer.

Explanation

The tribhangi, or three-bend posture, is the signature stance of Odissi and is derived from the carvings of Odisha's temples, where figures are shown with the body deflected at neck, waist and knee. Odissi also uses the related chauka stance, a squared position associated with Jagannath worship, and the two together define its sculptural quality.

Question 37Indian Classical Dance Forms

A critic writes that a performer's costume, headgear and stage make-up carry meaning in their own right. Under the fourfold scheme of abhinaya, which category does this belong to?

  1. Vachika
  2. Angika
  3. Sattvika
  4. Aharya Correct answer.

Explanation

Aharya abhinaya is expression through the external, visible means of performance: costume, ornaments, make-up, headgear and stage setting. The four categories work together, with angika covering the body and gestures, vachika covering song and speech, and sattvika covering the inner emotional states that the audience reads.

Question 38Indian Classical Dance Forms

In which year did the Sangeet Natak Akademi accord classical status to Sattriya dance?

  1. 2000 Correct answer.
  2. 1952
  3. 1970
  4. 1990

Explanation

Sattriya was recognised as a classical dance form by the Sangeet Natak Akademi in 2000, which raised the count of recognised classical dances to eight. Until then it was practised mainly within the sattras of Assam as a devotional ritual performance by monks, and recognition brought it to the concert stage.

Question 39Indian Classical Dance Forms

Which Kerala classical form uses a thick white rice-paste ridge along the jawline, called the chutti, together with a large rounded crown and red-and-green face make-up?

  1. Koodiyattam
  2. Ottamthullal
  3. Mohiniyattam
  4. Kathakali Correct answer.

Explanation

The chutti is the raised rice-paste ridge built up along the jaw and chin of a Kathakali actor, and it is combined with an elaborate crown, a painted face whose colour code signals the character's nature, and a wide skirt. The whole make-up scheme is an example of aharya abhinaya and takes hours to apply before an all-night open-air performance.

Question 40Indian Classical Dance Forms

A dancer performs a fast sequence of pure rhythmic footwork and hand gestures without trying to convey a story or an emotion. In the Natya Shastra classification, this item is best described as:

  1. Nritta Correct answer.
  2. Natya
  3. Nritya
  4. Abhinaya

Explanation

Nritta is pure, abstract dance: rhythmic movement of the body and feet that delights the eye but carries no meaning and evokes no rasa. When the same movements are joined to expression and convey a mood or a story they become nritya, and when the element of dialogue and plot dominates, the performance is natya.

Question 41Indian Classical Dance Forms

How many dance forms does the Sangeet Natak Akademi currently recognise with classical status in India?

  1. Seven
  2. Six
  3. Nine
  4. Eight Correct answer.

Explanation

The Akademi's classical list numbers eight: Bharatanatyam, Kathak, Kuchipudi, Odissi, Kathakali, Mohiniyattam, Manipuri and Sattriya. Sattriya was the most recent addition, recognised in 2000, which brought the tally from seven to eight.

Question 42Indian Classical Dance Forms

In the gesture vocabulary described by the Abhinaya Darpana and shared by Bharatanatyam and Odissi, hand gestures made with both hands used together are termed:

  1. Sattvika hasta
  2. Vachika hasta
  3. Samyuta hasta Correct answer.
  4. Asamyuta hasta

Explanation

Hastas are divided into asamyuta, performed with one hand, and samyuta, performed with both hands joined together. The pairs of terms sattvika and vachika belong to the four abhinaya categories, not to the hand-gesture classification.

Question 43Indian Classical Dance Forms

Mohiniyattam, with its soft lasya movements and white-and-gold kasavu costume, is the classical dance form of which state?

  1. Karnataka
  2. Kerala Correct answer.
  3. Odisha
  4. Andhra Pradesh

Explanation

Mohiniyattam developed in Kerala and takes its name from Mohini, the enchantress of the churning-of-the-ocean myth. Its lasya-dominated idiom, the side bun and the white-and-gold costume are all markers of that Kerala identity.

Question 44Indian Classical Dance Forms

Kathak developed distinct regional schools known as gharanas. Which set names three of the best-known Kathak gharanas?

  1. Chidambaram, Tanjore and Pandanallur
  2. Lucknow, Jaipur and Banaras Correct answer.
  3. Tihai, Tukda and Paran
  4. Kalamandalam, Vazhenkada and Payyanur

Explanation

The principal Kathak gharanas are Lucknow, Jaipur, Banaras and Raigarh, each with its own emphasis on footwork, packaging of tukdas or expressive abhinaya. The first set names Bharatanatyam centres, the second Kathakali training centres, and the third technical terms rather than schools.

Question 45Indian Classical Dance Forms

In Odissi, the symmetrical stance in which the knees are turned out and the body is held as a square, used for the opening invocatory items, is called:

  1. Chauka Correct answer.
  2. Muzhumandi
  3. Aramandi
  4. Tribhangi

Explanation

Chauka literally means square, and this evenly balanced stance, associated with the Jagannath temple tradition, opens an Odissi performance. Tribhangi is the contrasting three-bend pose, while aramandi and muzhumandi are Bharatanatyam's half-sitting and full-sitting positions.

Question 46Indian Classical Dance Forms

A Kuchipudi performer balances on the rim of a brass plate while dancing, often carrying a pot on the head; this well-known item is called:

  1. Jatiswaram
  2. Tarangam Correct answer.
  3. Cholkettu
  4. Shabdam

Explanation

Tarangam is the plate dance of Kuchipudi, traditionally performed to songs of Narayana Teertha while the dancer keeps rhythm on the plate's edge. Jatiswaram, shabdam and cholkettu belong to the Bharatanatyam and Mohiniyattam repertoires rather than to this Kuchipudi specialty.

Question 47Indian Classical Dance Forms

In the Manipuri tradition, the vigorous drum-dance in which men play the pung while singing and moving acrobatically is known as:

  1. Lai Haraoba
  2. Pung Cholom Correct answer.
  3. Ras Leela
  4. Thang-Ta

Explanation

Pung Cholom belongs to Manipur's Sankirtana tradition, where the drummer-dancers combine intricate rhythm with leaps and spins. Ras Leela is the circular devotional dance around Krishna, Lai Haraoba a ritual festival of the Meitei, and Thang-Ta a martial art.

Question 48Indian Classical Dance Forms

In the Bharatanatyam margam, which item is the longest and most demanding, alternating pure dance with improvised expression on one theme?

  1. Alarippu
  2. Tillana
  3. Mangalam
  4. Varnam Correct answer.

Explanation

The varnam is the centrepiece of the margam, weaving nritta passages together with elaborated abhinaya on a single line of text, and it tests the dancer's stamina and imagination. Alarippu opens the recital, tillana closes the rhythmic portion, and mangalam is the benedictory verse.

Question 49Indian Classical Dance Forms

In Indian rasa theory, the lasting dominant emotion that is elaborated and finally tasted as rasa is called the:

  1. Vibhava
  2. Vyabhichari bhava
  3. Sattvika bhava
  4. Sthayi bhava Correct answer.

Explanation

Sthayi bhava is the persistent emotional state, such as love or grief, which the other elements feed until it ripens into rasa in the spectator. Vyabhichari bhavas are the passing moods, sattvika bhavas the involuntary physical signs, and vibhavas the determinants that arouse the emotion in the first place.

Question 50Indian Classical Dance Forms

Which Odishan tradition, in which young boys dress as women and perform acrobatic devotional dance before Jagannath, is a key precursor of modern Odissi?

  1. Bandha Nrutya
  2. Dalkhai
  3. Mahari
  4. Gotipua Correct answer.

Explanation

Gotipua akhadas trained boys to dance in female costume from about the sixteenth century, and modern Odissi drew its acrobatic bandha and some repertoire from them. Mahari is the older tradition of female temple dancers, Dalkhai a folk form of western Odisha, and bandha nrutya the acrobatic element itself rather than a separate tradition.