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BSEH SS Dance Kathak study materials
BSEH SS Dance Kathak study resources

BSEH SS Dance Kathak practice questions

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Question 1Origin, history and evolution of Kathak

In the traditional account preserved in Kathak lineages, which sage is credited with transmitting the art of dance from the gods to mortals?

  1. Valmiki
  2. Bharata Correct answer.
  3. Narada
  4. Vashishtha

Explanation

Kathak's traditional origin narrative links the dance to Bharata, the sage associated with the Natyashastra, who is said to have received and codified the art of dance. Lineages often invoke this lineage to place Kathak within the classical performing tradition rather than outside it.

Question 2Origin, history and evolution of Kathak

Which classical treatise is most often cited as the theoretical foundation underlying Kathak's movement vocabulary and expressional theory?

  1. Natyashastra Sangraha
  2. Sangita Ratnakara
  3. Abhinaya Darpana
  4. Natyashastra Correct answer.

Explanation

The Natyashastra is the foundational Sanskrit text covering dance, drama, and music theory, and Kathak's theory of abhinaya and movement draws on it. Other texts also discuss dance, but the Natyashastra is the canonical reference for the classical tradition as a whole.

Question 3Origin, history and evolution of Kathak

The word 'kathaka' in the term Kathak refers most directly to which activity?

  1. Sculpting
  2. Singing
  3. Counting
  4. Storytelling Correct answer.

Explanation

Kathak derives from 'kathaka', meaning a storyteller or reciter, connected to the Sanskrit root for story. This is why the tradition is strongly associated with narrative recitation and expressive storytelling in its historical development.

Question 4Origin, history and evolution of Kathak

Which term describes the storytelling reciters whose practice is widely regarded as an ancestor of Kathak performance?

  1. Pandit
  2. Maharaj
  3. Kathakar Correct answer.
  4. Ustad

Explanation

The kathakar were reciters who narrated and enacted stories, often with gesture and music, and their practice is a commonly cited antecedent of Kathak. The other terms are honorific titles used for teachers and performers, not for the reciter tradition.

Question 5Origin, history and evolution of Kathak

Kathak developed historically in which broad region of the Indian subcontinent?

  1. The north, especially the Gangetic plain Correct answer.
  2. The far south, around Thanjavur
  3. The Deccan plateau
  4. The eastern coast, around Puri

Explanation

Kathak is the classical dance form of northern India, with its historical centres in the Gangetic plain including Lucknow, Banaras, and Jaipur. The other regions are associated with different classical dance traditions.

Question 6Origin, history and evolution of Kathak

Which pair correctly names the two most frequently cited gharana traditions of Kathak?

  1. Jaipur and Lucknow Correct answer.
  2. Gwalior and Agra
  3. Ajrada and Farrukhabad
  4. Banaras and Kirana

Explanation

The Jaipur and Lucknow gharanas are the two most widely recognised Kathak lineages, distinguished by their emphases on pure rhythm versus expressional grace. The other pairs belong to Hindustani vocal and percussion gharanas.

Question 7Origin, history and evolution of Kathak

Which instrument is most closely associated with the rhythmic accompaniment of Kathak?

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

Explanation

Kathak is traditionally accompanied by the tabla, and much of its footwork and bol recitation is built around tabla patterns. The pakhawaj is used in other traditions such as Odissi and dhrupad, while the mridangam and chenda belong to southern percussion practices.

Question 8Origin, history and evolution of Kathak

In Kathak, the term 'tatkar' refers to which element of technique?

  1. Hand gesture
  2. Body sway
  3. Facial expression
  4. Footwork Correct answer.

Explanation

Tatkar is the term for the footwork patterns that form a core technical component of Kathak, often performed in varying tempi. It is distinct from the hand gestures and facial expression that belong to expressive and gestural aspects of the form.

Question 9Origin, history and evolution of Kathak

Which of the following best describes the role of the 'kathakar' in early Kathak practice?

  1. A priest who performed temple rituals
  2. A reciter who narrated stories with gesture and music Correct answer.
  3. A court musician who accompanied the ruler
  4. A sculptor who carved temple friezes

Explanation

The kathakar were reciters who narrated stories, often using gesture and music to enact them, which is the root of Kathak's storytelling character. The other roles describe different professions that are not the source of the dance's name and identity.

Question 10Origin, history and evolution of Kathak

How did the bhakti movement most significantly influence Kathak's development?

  1. It banned storytelling in dance
  2. It replaced rhythm with pure mime
  3. It encouraged narrative and devotional themes, especially Radha-Krishna Correct answer.
  4. It introduced southern temple rituals

Explanation

The bhakti movement shaped Kathak by fostering devotional storytelling, particularly around Radha and Krishna, which enriched its expressional repertoire. This devotional emphasis is why the form combines rhythmic virtuosity with narrative and emotional content.

Question 11Origin, history and evolution of Kathak

Which statement best characterises the difference between the Jaipur and Lucknow gharanas?

  1. Jaipur is a tabla gharana, while Lucknow is a vocal gharana
  2. Jaipur emphasises rhythmic and footwork virtuosity, while Lucknow emphasises expressional grace and narrative Correct answer.
  3. Jaipur uses only southern ragas, while Lucknow uses only northern ragas
  4. Jaipur is purely mime-based, while Lucknow is purely rhythmic

Explanation

The Jaipur gharana is known for its strong emphasis on pure dance, footwork, and rhythmic complexity, while the Lucknow gharana is celebrated for expressive abhinaya and narrative grace. Both are Kathak lineages, not separate art forms or unrelated musical traditions.

Question 12Origin, history and evolution of Kathak

The Mughal period is generally understood to have affected Kathak in which way?

  1. It replaced Kathak's narrative content with pure acrobatics
  2. It caused the form to disappear entirely
  3. It shifted the form toward courtly entertainment and refined rhythmic display Correct answer.
  4. It introduced the use of the mridangam as the main drum

Explanation

During the Mughal era, Kathak moved into court settings, where patrons valued refined rhythmic display and technical virtuosity, shaping the form's later development. This courtly context coexisted with devotional traditions rather than eliminating them.

Question 13Origin, history and evolution of Kathak

Which term refers to the pure, abstract dance component of Kathak as distinguished from expressional storytelling?

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

Explanation

Nritta denotes pure, abstract dance concerned with rhythm and movement rather than meaning, while nritya combines rhythm with expression and natya concerns dramatic representation. Abhinaya is the expressive aspect itself rather than the category of pure dance.

Question 14Origin, history and evolution of Kathak

The term 'gharana' as used in Kathak most nearly means which of the following?

  1. A single performance item
  2. A school or lineage transmitting a distinctive style Correct answer.
  3. A type of costume
  4. A rhythmic cycle

Explanation

Gharana refers to a school or lineage that transmits a distinctive stylistic approach, often through family and teacher-disciple succession. It does not denote an individual item, a costume, or a rhythmic cycle.

Question 15Origin, history and evolution of Kathak

Which of the following best explains why Kathak's history is often described as having both temple and court phases?

  1. It began in courts and only later entered temples
  2. It developed in devotional contexts and later flourished under court patronage, with both strands shaping the form Correct answer.
  3. It was performed exclusively by rulers
  4. It was never associated with religious settings

Explanation

Kathak's development is commonly described as moving through devotional and narrative contexts and later flourishing under court patronage, with both strands contributing to its present form. The two phases are complementary rather than mutually exclusive.

Question 16Origin, history and evolution of Kathak

In Kathak terminology, 'toda' most closely refers to which kind of composition?

  1. A devotional song text
  2. A rhythmic composition of bols Correct answer.
  3. A type of facial expression
  4. A costume ornament

Explanation

A toda is a rhythmic composition built from bols, often used in pure dance sequences. It is not an expressive facial technique, a song text, or a costume element.

Question 17Origin, history and evolution of Kathak

Which feature most distinguishes Kathak's use of spins (chakkars) from a simple turn?

  1. The spin is used only in expressional pieces
  2. The spin is performed only while seated
  3. The spin is integrated with rhythmic footwork and often culminates on a precise beat Correct answer.
  4. The spin replaces all footwork

Explanation

Chakkars in Kathak are integrated with rhythmic footwork and are typically timed to culminate on a specific beat, demonstrating control and rhythmic precision. They are not a replacement for footwork and are not confined to seated or purely expressional contexts.

Question 18Origin, history and evolution of Kathak

Which statement best explains the significance of the Lucknow gharana's association with the court of Wajid Ali Shah?

  1. It moved Kathak's centre to southern India
  2. It fostered refinement of expressional and theatrical elements in Kathak Correct answer.
  3. It replaced the tabla with the pakhawaj
  4. It abolished the role of rhythm in Kathak

Explanation

The Lucknow court under Wajid Ali Shah is associated with the refinement of Kathak's expressional and theatrical dimensions, including narrative and abhinaya. Rhythm remained central, and the form's centre did not shift to southern India.

Question 19Origin, history and evolution of Kathak

Which of the following correctly pairs a Kathak term with its meaning?

  1. Bol: a facial expression
  2. Tala: a type of costume
  3. Abhinaya: pure abstract dance
  4. Gat: a stylised walk or movement sequence Correct answer.

Explanation

Gat refers to a stylised walk or movement sequence, often depicting a character or scene. Tala is a rhythmic cycle, bol is a rhythmic syllable, and abhinaya is expressive enactment, so the other pairings are incorrect.

Question 20Origin, history and evolution of Kathak

Which of the following best describes the role of the 'padhant' in Kathak performance?

  1. Playing the tabla
  2. Adjusting the dancer's costume
  3. Recitation of rhythmic bols before or during their execution Correct answer.
  4. Silent mime of a story

Explanation

Padhant is the recitation of rhythmic bols, often performed by the dancer or accompanist to state a composition before or alongside its execution. It is a vocal rhythmic declaration, not mime, instrumental playing, or costume work.

Question 21Origin, history and evolution of Kathak

Which of the following best explains why Kathak's history resists a single linear narrative?

  1. It was performed only by one family
  2. It was created in a single court at one moment
  3. It drew on devotional, courtly, and regional influences that developed unevenly across north India Correct answer.
  4. It has no documented regional variation

Explanation

Kathak developed through multiple overlapping influences, including devotional movements, court patronage, and regional practices across north India, so its history is better understood as a convergence than a single line. This is why different gharanas preserve distinct emphases.

Question 22Origin, history and evolution of Kathak

Which of the following most accurately distinguishes the historical emphasis of the Banaras strand of Kathak from the Lucknow strand?

  1. Banaras uses only southern talas, while Lucknow uses only northern talas
  2. Banaras is a vocal gharana, while Lucknow is a percussion gharana
  3. Banaras is often associated with strong rhythmic and technical emphasis, while Lucknow is associated with expressive refinement Correct answer.
  4. Banaras is purely mime-based, while Lucknow is purely rhythmic

Explanation

The Banaras strand is often noted for technical and rhythmic strength, while the Lucknow strand is associated with expressive refinement and courtly polish. Both remain Kathak traditions and share the same broad technical vocabulary.

Question 23Origin, history and evolution of Kathak

Which of the following best accounts for the persistence of Kathak through periods of declining court patronage?

  1. Prohibition of public performance
  2. Preservation only in written notation
  3. Reliance on a single royal patron
  4. Transmission through teacher-disciple lineages and adaptation to new performance contexts Correct answer.

Explanation

Kathak persisted largely through guru-shishya transmission and adaptation to changing performance contexts, including public and institutional settings. Written notation was not the primary means of preservation, and dependence on a single patron would have made the tradition fragile.

Question 24Origin, history and evolution of Kathak

Which of the following statements about the relationship between Kathak and Hindustani music is most accurate?

  1. Kathak shares Hindustani raga and tala frameworks and is accompanied by Hindustani musicians Correct answer.
  2. Kathak is accompanied only by percussion
  3. Kathak uses Carnatic ragas exclusively
  4. Kathak has no relationship to tala systems

Explanation

Kathak is embedded in the Hindustani music tradition, sharing its raga and tala frameworks and typically performed with Hindustani vocal and instrumental accompaniment. It is not a Carnatic form and does not lack tala structure.

Question 25Origin, history and evolution of Kathak

Which of the following best explains the significance of the nritta-nritya-natya triad in analysing Kathak's evolution?

  1. It describes three separate dance forms that replaced one another
  2. It refers to three historical periods of patronage
  3. It refers to three percussion instruments
  4. It provides a framework for distinguishing abstract technique, expressive dance, and dramatic representation within the form Correct answer.

Explanation

The triad of nritta, nritya, and natya offers an analytical framework for separating pure technique, expressive dance, and dramatic representation, all of which coexist in Kathak. It does not describe successive forms, instruments, or patronage periods.

Question 26Origin, history and evolution of Kathak

In the traditional account of Kathak's origins, the performing storytellers known as kathakars are most closely associated with which practice?

  1. Playing percussion to accompany temple vocal music
  2. Performing devotional dance exclusively inside Sufi shrines
  3. Reciting and enacting episodes from the epics and Puranas Correct answer.
  4. Cultivating abstract rhythmic syllables without narrative content

Explanation

The word Kathak derives from katha, a story, and the kathakar was a narrator-performer who recited and enacted mythological and epic episodes, often with gesture and music. This storytelling function is the root from which the dance tradition is traced.

Question 27Origin, history and evolution of Kathak

The word 'Kathak' is derived from which Sanskrit term?

  1. Kavya, meaning poetry
  2. Kriya, meaning action
  3. Kala, meaning art
  4. Katha, meaning story Correct answer.

Explanation

Kathak traces its name to the Sanskrit katha, meaning story, reflecting the tradition's origin in narrative recitation by the kathakars. The other terms relate to art, action, and poetry generally and are not the etymological source of the dance's name.

Question 28Origin, history and evolution of Kathak

Which development most directly transformed Kathak from a temple-centred storytelling practice into a courtly performing art?

  1. The shift of patronage to regional courts and princely households in northern India Correct answer.
  2. The founding of the Jaipur gharana in the twentieth century
  3. The introduction of the harmonium to Kathak accompaniment
  4. The codification of the Natyashastra in the classical period

Explanation

As patronage moved from temples to the courts of north Indian rulers, Kathak absorbed courtly aesthetics, refined technique, and new compositional forms, becoming a solo concert art. This patronage shift, rather than any single text or instrument, is the central driver of that transformation.

Question 29Origin, history and evolution of Kathak

In accounts of Kathak's lineage structure, what does the term 'gharana' primarily denote?

  1. A school or lineage transmitting a distinctive style through teacher-to-student succession Correct answer.
  2. A fixed repertoire of compositions authorised by a ruler
  3. A ritual calendar of temple performances
  4. A type of rhythmic cycle used in pure dance

Explanation

A gharana is a stylistic school or lineage in which a characteristic approach is passed down through successive teachers and disciples, usually within a family or an adopted teaching line. It is identified by stylistic identity and transmission rather than by official authorisation or ritual schedule.

Question 30Origin, history and evolution of Kathak

Which statement best explains why the standard account of Kathak as a continuous tradition from ancient temple ritual to modern concert stage is treated cautiously by historians?

  1. Because Kathak has no documented connection to narrative recitation of any kind
  2. Because the gharanas were all founded in the same year by a single teacher
  3. Because written notation of Kathak compositions was standardised before the Mughal period
  4. Because the surviving evidence shows discontinuity, regional variation, and reinvention alongside real continuities Correct answer.

Explanation

Historical evidence points to real continuities in narrative and rhythmic practice, but also to breaks, regional divergence, and deliberate revival and reconstruction in the modern period. A cautious account therefore treats the tradition as layered and partly reinvented rather than as an unbroken chain.

Question 31Gharanas of Kathak (Lucknow, Jaipur, Banaras and others)

Which Kathak gharana is most closely associated with the development of the tarana as a distinct item in the repertoire?

  1. Lucknow gharana Correct answer.
  2. Jaipur gharana
  3. Raigarh gharana
  4. Banaras gharana

Explanation

The Lucknow gharana, shaped by Bindadin Maharaj and his lineage, is credited with refining the tarana as a concert item alongside thumri and bhava-oriented abhinaya. Jaipur and Banaras traditions also perform taranas, but the Lucknow lineage is the one historically identified with its elaboration as a solo presentation form.

Question 32Gharanas of Kathak (Lucknow, Jaipur, Banaras and others)

The Jaipur gharana of Kathak is especially renowned for which quality?

  1. Exclusive use of the pakhawaj in place of the tabla
  2. Emphasis on thumri-based bhava and expressive mime
  3. Use of Sufi qawwali texts as the main repertoire
  4. Strong nritta with intricate layakari and powerful footwork Correct answer.

Explanation

The Jaipur gharana is identified with a robust, athletic nritta tradition, precise footwork, and elaborate layakari, often performed at fast tempos. Expressive thumri work is more strongly associated with Lucknow and Banaras, which is why the Jaipur identity rests on rhythmic and technical strength.

Question 33Gharanas of Kathak (Lucknow, Jaipur, Banaras and others)

Which pair of brothers is traditionally credited with shaping the Lucknow gharana's Kathak style?

  1. Achchan Maharaj and Shambhu Maharaj
  2. Kalka Prasad and Bindadin Maharaj Correct answer.
  3. Jai Lal and Sunder Prasad
  4. Durga Lal and Kundan Lal

Explanation

Kalka Prasad and his brother Bindadin Maharaj are the central figures in the formation of the Lucknow gharana, and their compositions remain widely performed. Later artists such as Achchan Maharaj and Shambhu Maharaj belong to the same lineage but represent subsequent generations.

Question 34Gharanas of Kathak (Lucknow, Jaipur, Banaras and others)

The Banaras gharana of Kathak is particularly noted for which feature of its presentation?

  1. Extensive use of abhinaya on Radha-Krishna themes with a distinctive local flavour Correct answer.
  2. Exclusive reliance on dhrupad-based nritta
  3. Absence of any tihai or paran in the repertoire
  4. Performance only in the temple courtyards of Varanasi

Explanation

The Banaras gharana developed a recognisable style that blends strong nritta with expressive pieces, often carrying a local Banarasi character in its bhava and repertoire. It is not defined by exclusivity of venue or by the absence of rhythmic compositions.

Question 35Gharanas of Kathak (Lucknow, Jaipur, Banaras and others)

In Kathak terminology, a gharana most accurately refers to which of the following?

  1. A single composition performed at the end of a recital
  2. A fixed syllabus of examination items
  3. A regional percussion instrument used for accompaniment
  4. A lineage-based style transmitted through a family or guru-shishya tradition Correct answer.

Explanation

A gharana denotes a school or lineage in which a distinct stylistic identity is passed down through teaching lineages, usually within families or through guru-shishya parampara. It is not a syllabus, a single item, or an instrument, though each gharana may favour particular items and accompanying practices.

Question 36Gharanas of Kathak (Lucknow, Jaipur, Banaras and others)

The expression 'nritta, nritya and natya' is used in Kathak discussions to distinguish which three aspects?

  1. Pure rhythmic movement, expressive dance, and dramatic representation Correct answer.
  2. Three accompanying instruments
  3. Three seating positions for the audience
  4. Three tempos of performance

Explanation

Nritta denotes abstract rhythmic movement without emotional narrative, nritya combines movement with expressive meaning, and natya refers to dramatic representation. Gharanas differ in how much weight they give to each, which is why the triad is used to characterise stylistic identities.

Question 37Gharanas of Kathak (Lucknow, Jaipur, Banaras and others)

Which gharana is traditionally linked with the court of Nawab Wajid Ali Shah of Awadh?

  1. Lucknow gharana Correct answer.
  2. Banaras gharana
  3. Raigarh gharana
  4. Jaipur gharana

Explanation

Wajid Ali Shah's court at Lucknow was a major centre of Kathak patronage, and the Lucknow gharana's emphasis on bhava, thumri and refined presentation grew in that environment. The Jaipur, Banaras and Raigarh traditions have different centres of patronage.

Question 38Gharanas of Kathak (Lucknow, Jaipur, Banaras and others)

A dancer performing a gat in which the character lifts a heavy object and walks with effort is drawing on which category of Kathak composition?

  1. Chakradhar toda
  2. Gat bhao Correct answer.
  3. Tarana
  4. Amad

Explanation

Gat bhao is the expressive, mimetic category in which a dancer enacts a situation or character, often drawn from everyday or mythological imagery. Tarana is a syllable-based vocal and dance item, toda is a rhythmic composition, and amad is an entry piece, so none of them fits the described mimetic enactment.

Question 39Gharanas of Kathak (Lucknow, Jaipur, Banaras and others)

A Kathak soloist wants to display the Jaipur gharana's characteristic strength in layakari within a teental framework. Which choice best serves that aim?

  1. A slow thumri with elaborate facial abhinaya
  2. A series of tihais and parans executed at multiple laya levels with clear footwork Correct answer.
  3. A bhajan sung in a devotional gathering
  4. A gat bhao depicting a woman filling water at a well

Explanation

Layakari is the manipulation of rhythmic density and tempo relationships, and the Jaipur gharana is known for displaying it through tihais, parans and precise footwork. Expressive thumri, bhajan singing and mimetic gat bhao belong to other aspects of the repertoire and do not demonstrate layakari.

Question 40Gharanas of Kathak (Lucknow, Jaipur, Banaras and others)

In Kathak, a paran is best described as which of the following?

  1. A devotional song in praise of Krishna
  2. A composition of rhythmic syllables that may be recited and then danced, often with a distinctive cadence Correct answer.
  3. A slow, sustained melodic alap
  4. A costume worn during the performance

Explanation

A paran is a rhythmic composition of bols that is recited and then realised in dance, and different gharanas have recognisable paran styles. It is distinct from vocal devotional forms and from melodic alap, which belong to other traditions or to the opening of a raga presentation.

Question 41Gharanas of Kathak (Lucknow, Jaipur, Banaras and others)

Which statement best captures a commonly drawn contrast between the Lucknow and Jaipur gharanas?

  1. Lucknow uses only the pakhawaj, while Jaipur uses only the tabla
  2. Lucknow favours bhava-rich, thumri-centred expression, while Jaipur favours vigorous nritta and rhythmic complexity Correct answer.
  3. Lucknow avoids all rhythmic compositions, while Jaipur avoids all expressive pieces
  4. Lucknow performs only in temples, while Jaipur performs only in courts

Explanation

The standard contrast places Lucknow's identity in expressive, bhava-oriented work with thumri and graceful movement, and Jaipur's in forceful nritta with intricate layakari. The other options overstate differences into absolute rules that do not hold for either tradition.

Question 42Gharanas of Kathak (Lucknow, Jaipur, Banaras and others)

A student recites a set of bols and then performs exactly the same bols in dance with matching footwork. This practice is best described as which of the following?

  1. Alap followed by dhrupad
  2. Padhant followed by nritta realisation of the bols Correct answer.
  3. Thumri followed by tarana
  4. Abhinaya followed by bhajan

Explanation

Padhant is the vocal recitation of rhythmic bols, and in Kathak it is commonly followed by the dancer executing those same bols in movement. This pairing is a hallmark of Kathak presentation and differs from vocal or melodic sequences such as alap or thumri.

Question 43Gharanas of Kathak (Lucknow, Jaipur, Banaras and others)

The term 'amad' in Kathak refers to which of the following?

  1. An entry composition, often in a sixteen-beat cycle, through which the dancer enters the performance Correct answer.
  2. A concluding fast composition
  3. A type of facial expression used in gat bhao
  4. A percussion instrument used in the Lucknow gharana

Explanation

Amad means arrival and denotes an entry composition, frequently set in teental, used to begin a nritta sequence with a characteristic rhythmic gait. It is not a closing piece, an abhinaya technique, or an instrument.

Question 44Gharanas of Kathak (Lucknow, Jaipur, Banaras and others)

Which of the following best explains why gharanas sometimes share repertoire items while still sounding distinct?

  1. Because all gharanas use identical bols and tempos
  2. Because the same item may be rendered with different emphasis on laya, ang, and interpretative detail Correct answer.
  3. Because gharanas are defined only by the costumes worn
  4. Because the audience decides which gharana a performance belongs to

Explanation

Items such as toda, paran and gat appear across gharanas, but each tradition treats laya, body usage, and interpretative emphasis differently, producing recognisable identities. Shared repertoire therefore does not imply identical presentation, and audience perception is not what defines a gharana.

Question 45Gharanas of Kathak (Lucknow, Jaipur, Banaras and others)

In Kathak, the term 'ang' as used when comparing gharanas most nearly means which of the following?

  1. The distinctive manner or stylistic limb of presentation Correct answer.
  2. The number of beats in a cycle
  3. The length of a performance
  4. The pitch of the accompanying singer

Explanation

Ang refers to the characteristic manner or stylistic dimension of a tradition, so one speaks of the Lucknow ang or Jaipur ang in terms of movement quality and emphasis. It is not a metric count, a pitch, or a duration.

Question 46Gharanas of Kathak (Lucknow, Jaipur, Banaras and others)

A dancer wishes to end a nritta passage with a rhythmic figure in which the bols are played three times and conclude together on the sam. Which device is being used?

  1. Gat nikas
  2. Tihai Correct answer.
  3. Salami
  4. Amad

Explanation

A tihai is a rhythmic figure repeated three times so that the final phrase lands on sam, producing a satisfying resolution. Amad is an entry composition, gat nikas is a mimetic walk, and salami is a salutation, so none of these describes the repeated concluding figure.

Question 47Gharanas of Kathak (Lucknow, Jaipur, Banaras and others)

Which gharana of Kathak is associated with the royal court of Raigarh in present-day Chhattisgarh?

  1. Lucknow gharana
  2. Jaipur gharana
  3. Banaras gharana
  4. Raigarh gharana Correct answer.

Explanation

The Raigarh gharana takes its name from the princely state of Raigarh, where its style developed under court patronage. The other three gharanas are identified with Lucknow, Jaipur and Varanasi respectively, so their names do not match the described location.

Question 48Gharanas of Kathak (Lucknow, Jaipur, Banaras and others)

A dancer performs a piece in which rhythmic bols are rendered on the feet while the face remains neutral and no story is conveyed. Which category does this belong to?

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

Explanation

Nritta is abstract rhythmic movement without emotional or narrative content, so neutral expression and footwork-driven bols place the passage in this category. Nritya and natya involve expressive or dramatic meaning, and abhinaya is the expressive enactment itself.

Question 49Gharanas of Kathak (Lucknow, Jaipur, Banaras and others)

Which of the following statements about the Banaras gharana's relationship to the Lucknow gharana is most accurate?

  1. It rejects all expressive items and performs only nritta
  2. It is a direct copy of the Lucknow gharana with no differences
  3. It originated outside the Indian subcontinent
  4. It shares some repertoire and expressive orientation while developing its own local stylistic identity Correct answer.

Explanation

The Banaras gharana shares expressive repertoire and some orientation with Lucknow but has developed its own recognisable manner and local character. Describing it as a mere copy, as purely nritta-based, or as foreign misrepresents its documented history and style.

Question 50Gharanas of Kathak (Lucknow, Jaipur, Banaras and others)

In comparing gharana interpretations of the same thumri text, which element would most reliably reveal a Lucknow-trained sensibility?

  1. Recitation of extended parans before the thumri
  2. Predominance of fast chakkars with forceful footwork
  3. Emphasis on nuanced facial expression and graceful, understated movement Correct answer.
  4. Use of only rhythmic bols with no expressive content

Explanation

The Lucknow gharana is associated with refined bhava, subtle facial expression and graceful movement in expressive items such as thumri. Forceful spins, paran recitation and purely rhythmic treatment belong to other emphases and would not signal the Lucknow approach to a thumri.