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CHSE Odisha Vocational Odissi Dance study materials
CHSE Odisha Vocational Odissi Dance study resources

CHSE Odisha Vocational Odissi Dance practice questions

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Question 1History and Evolution of Odissi Dance

The dance form now called Odissi developed in which Indian state, where its temple tradition is centred?

  1. Tamil Nadu
  2. Kerala
  3. Manipur
  4. Odisha Correct answer.

Explanation

Odissi takes its name from Odisha, the eastern state whose temples, especially the Jagannath temple at Puri and the Sun temple at Konark, preserve the sculpture and ritual context of the form. Its regional identity is inseparable from this state's coastal temple culture.

Question 2History and Evolution of Odissi Dance

Odissi is conventionally classified as belonging to which broad category of Indian dance?

  1. Classical dance Correct answer.
  2. Folk dance
  3. Ballroom dance
  4. Martial dance

Explanation

Odissi is recognised among India's classical dance forms because it follows codified technique, a textual aesthetic framework, and a repertoire rooted in temple and court tradition. Folk and martial traditions are separate categories with different transmission patterns.

Question 3History and Evolution of Odissi Dance

The archaeological site whose dance sculptures are most cited as evidence of the ancient Odissi tradition is the temple at:

  1. Konark Correct answer.
  2. Khajuraho
  3. Ellora
  4. Hampi

Explanation

The Sun temple at Konark in Odisha carries extensive dance and music reliefs that scholars and practitioners use to argue for a long-standing regional dance tradition. Its location within Odisha makes it central to Odissi's own historical narrative.

Question 4History and Evolution of Odissi Dance

In Odissi, the term 'Mahari' refers to:

  1. A male solo performer of the court tradition
  2. A style of ankle-bell used by dancers
  3. A temple dancer dedicated to the service of the deity Correct answer.
  4. A percussion instrument used in the repertoire

Explanation

Maharis were women dedicated to temple service, particularly at the Jagannath temple in Puri, whose ritual dance is regarded as an ancestral source of Odissi. Their devotional dancing is distinguished from the later court-based tradition.

Question 5History and Evolution of Odissi Dance

The 'Gotipua' tradition in Odisha is best described as:

  1. A genre of Odia devotional poetry
  2. Boys dressed as girls performing dance, which influenced Odissi Correct answer.
  3. A form of stick-fighting performed at festivals
  4. A guild of temple sculptors

Explanation

Gotipua akhadas trained young boys to dance in female costume, and their acrobatic bandha techniques and repertoire fed into the shaping of modern Odissi. The tradition survives in Odisha alongside the classical form.

Question 6History and Evolution of Odissi Dance

The basic standing posture in Odissi, in which weight is shifted and the body is deflected into a characteristic curve, is called:

  1. Sama
  2. Araimandi
  3. Tribhangi Correct answer.
  4. Chowka

Explanation

Tribhangi means 'three bends' and describes the deflection at neck, torso and knee that gives Odissi its sinuous silhouette. It is one of the two defining stances of the form.

Question 7History and Evolution of Odissi Dance

The square, equal-weight stance of Odissi, associated with the deity Jagannath, is known as:

  1. Bhramari
  2. Tribhangi
  3. Chowka Correct answer.
  4. Mandala

Explanation

Chowka means 'square' and involves knees turned out with the weight evenly distributed, evoking the frontal, symmetrical iconography of Jagannath. It contrasts with the asymmetric tribhangi stance.

Question 8History and Evolution of Odissi Dance

Which text is the principal Sanskrit treatise on dramaturgy and dance cited as an aesthetic authority for Odissi's expressive repertoire?

  1. Gita Govinda
  2. Natya Shastra Correct answer.
  3. Abhinaya Darpana
  4. Sangeeta Ratnakara

Explanation

The Natya Shastra, attributed to Bharata, is the foundational compendium of Indian dramatic theory, including rasa and the categories of gesture. Odissi's theoretical vocabulary draws on it, though other texts are also used in practice.

Question 9History and Evolution of Odissi Dance

The Odia devotional poem by Jayadeva that supplies a central text for Odissi abhinaya is the:

  1. Ramcharitmanas
  2. Meghaduta
  3. Gita Govinda Correct answer.
  4. Geeta Rahasya

Explanation

Jayadeva's Gita Govinda, composed in the twelfth century, is closely tied to the Jagannath temple and provides the ashtapadi verses often interpreted in Odissi. Its Radha-Krishna themes are standard material for expressive dance.

Question 10History and Evolution of Odissi Dance

The term 'abhinaya' in Odissi most directly refers to:

  1. Pure rhythmic footwork without meaning
  2. The expressive means of conveying narrative and emotion Correct answer.
  3. The tuning system of the mardala
  4. The costume and headgear of the dancer

Explanation

Abhinaya covers the four expressive modes of gesture, words, costume and emotional states through which a dancer communicates meaning. It is distinguished from pure rhythmic movement, which carries no narrative content.

Question 11History and Evolution of Odissi Dance

In Odissi's technical vocabulary, 'nritta' designates:

  1. Abstract rhythmic movement without narrative meaning Correct answer.
  2. The invocation offered before a performance
  3. Expressive dance interpreting a song text
  4. A solo of mime with hand gestures

Explanation

Nritta is pure dance, where the interest lies in rhythm, stance and pattern rather than storytelling. Expressive interpretation of text is nrittya, a different category in the classical taxonomy.

Question 12History and Evolution of Odissi Dance

The traditional percussion instrument that leads the rhythmic accompaniment in Odissi is the:

  1. Ghatam
  2. Mardala Correct answer.
  3. Tabla
  4. Dholak

Explanation

The mardala is the two-faced barrel drum indigenous to Odisha and central to Odissi's rhythmic structure. Its playing is governed by a distinct tradition of bols and tala patterns.

Question 13History and Evolution of Odissi Dance

The opening item of a traditional Odissi repertoire, comprising salutations and a prayerful invocation, is called:

  1. Moksha
  2. Abhinaya
  3. Mangalacharan Correct answer.
  4. Pallavi

Explanation

Mangalacharan begins the performance with salutations to the deity, the guru and the audience, establishing a devotional frame. It includes a flower-offering sequence before the main items.

Question 14History and Evolution of Odissi Dance

In the Odissi repertoire, 'Pallavi' is primarily devoted to:

  1. A rhythmic duel between dancer and drummer
  2. Mimed interpretation of a Sanskrit verse
  3. Pure dance elaborating a melodic line Correct answer.
  4. The concluding liberation piece

Explanation

Pallavi is an abstract pure-dance item in which the melodic line is elaborated through movement, allowing the dancer to develop grace and rhythmic variation. It carries no narrative or mimetic content.

Question 15History and Evolution of Odissi Dance

The concluding item of the Odissi repertoire, whose name signifies liberation and which ends in a fast, climactic rhythmic passage, is:

  1. Moksha Correct answer.
  2. Batu
  3. Sthayi
  4. Pallavi

Explanation

Moksha means liberation and closes the performance with accelerating rhythmic patterns that resolve the programme. It typically uses pure dance rather than narrative interpretation.

Question 16History and Evolution of Odissi Dance

The 'Batu Nritya' of Odissi is distinctive because its movements and salutations are traditionally associated with:

  1. The worship of Ganesha
  2. The worship of Shiva Correct answer.
  3. The Radha-Krishna theme
  4. The praise of the Odia king

Explanation

Batu Nritya is a pure-dance item whose salutation and stance are linked to Shaiva worship, and it is often described as having descended from the Gotipua repertoire. Its rhythmic structure is technically demanding.

Question 17History and Evolution of Odissi Dance

A dancer performing an Odissi abhinaya item on an ashtapadi of the Gita Govinda is most likely enacting:

  1. A battle scene from the Mahabharata
  2. A description of temple architecture
  3. The longing of Radha for Krishna Correct answer.
  4. The praise of a patron king

Explanation

Ashtapadis are lyrical verses whose dominant theme is the emotional relationship of Radha and Krishna, which the dancer interprets through gesture and expression. This makes them the standard vehicle for sattvika abhinaya in Odissi.

Question 18History and Evolution of Odissi Dance

The twentieth-century movement that re-established Odissi as a classical form by drawing on Mahari and Gotipua sources is generally described as:

  1. The revival of Odissi Correct answer.
  2. The Bhakti movement
  3. The Bengal Renaissance
  4. The Kathak renaissance

Explanation

From the mid-twentieth century, dancers, scholars and institutions systematised Odissi by studying surviving Mahari and Gotipua practice and codifying a repertoire. This process is conventionally called the revival.

Question 19History and Evolution of Odissi Dance

Institutionally, the academy established in Bhubaneswar for the study and promotion of Odissi is known as:

  1. National School of Drama
  2. Sangeet Natak Akademi
  3. Kalakshetra
  4. Odissi Research Centre Correct answer.

Explanation

The Odissi Research Centre in Bhubaneswar was set up to document, standardise and promote the form, and it played a documented role in the revival. It is distinct from national bodies headquartered elsewhere.

Question 20History and Evolution of Odissi Dance

A teacher choreographs a new Odissi item using only abstract rhythmic patterns with no song text and no mimetic interpretation. Which category of the classical taxonomy does this item belong to?

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

Explanation

Because the item is purely rhythmic and carries no text-driven meaning, it falls under nritta. Nrittya would require expressive interpretation of a text, and natya would involve dramatic representation.

Question 21History and Evolution of Odissi Dance

A scholar argues that Odissi's sculptural evidence at Konark should be treated cautiously as proof of an unbroken dance lineage. Which reasoning best supports that caution?

  1. Odissi has no connection to Odisha's temple culture
  2. Konark was built after the modern revival had begun
  3. Temple reliefs depict poses that need not correspond to a continuous living practice Correct answer.
  4. Sculpture in Odisha never depicts human figures

Explanation

Sculptural poses are static representations and cannot by themselves demonstrate continuity of a living performance tradition; continuity must be argued from textual, ritual and transmitted practice. This is why historians treat reliefs as suggestive rather than conclusive evidence.

Question 22History and Evolution of Odissi Dance

How does the Mahari tradition differ from the Gotipua tradition in its social and ritual setting?

  1. Maharis were dedicated temple women, while Gotipuas were boys trained in akhadas for public performance Correct answer.
  2. Maharis performed only in royal courts, while Gotipuas danced only inside temples
  3. Maharis practised only pure rhythm, while Gotipuas practised only mime
  4. Maharis were male priests, while Gotipuas were female temple servants

Explanation

Maharis were women dedicated to temple service and danced as part of ritual worship, whereas Gotipua troupes consisted of boys trained in village akhadas who performed publicly in female costume. The two institutions therefore differed in gender, dedication and performance context.

Question 23History and Evolution of Odissi Dance

Why is the chowka stance especially associated with the Jagannath tradition in Odissi?

  1. It derives from the martial training of the Gotipuas
  2. It was invented by the percussionists of the mardala
  3. It is the only stance permitted in the Pallavi item
  4. Its squared, frontal symmetry echoes the iconic form of the deity Correct answer.

Explanation

Chowka's even weight distribution and frontal orientation mirror the symmetrical, iconic presentation of Jagannath, which links the stance to the devotional context of Puri. The association is iconographic and theological rather than merely technical.

Question 24History and Evolution of Odissi Dance

In reconstructing the Odissi repertoire, revival choreographers had to reconcile diverse sources. Which combination best represents those sources?

  1. Persian court etiquette and Hindustani khayal
  2. Court dance of Tamil Nadu and Kerala's martial arts
  3. Western ballet technique and Odia folk song alone
  4. Temple Mahari practice, Gotipua training and textual traditions such as the Gita Govinda Correct answer.

Explanation

The revival drew on surviving Mahari ritual dance, Gotipua technique and the region's devotional and aesthetic texts, blending them into a codified classical repertoire. Other regional or foreign traditions were not the basis of this reconstruction.

Question 25Basic Techniques and Terminology of Odissi

In Odissi, what does the term 'Chowk' refer to?

  1. A square, grounded stance with knees turned outward Correct answer.
  2. A hand gesture showing a lotus flower
  3. A fast spinning movement performed in the air
  4. A seated singing posture used by percussionists

Explanation

Chowk is the fundamental squared stance of Odissi in which the feet point outward, the knees bend and open to the sides, and the weight stays low and grounded. It represents the male principle and is used in invocatory and Shiva-oriented sequences.

Question 26Basic Techniques and Terminology of Odissi

Which stance in Odissi represents the feminine principle and takes the form of a triple bend?

  1. Mandal
  2. Chowk
  3. Tribhangi Correct answer.
  4. Bhramari

Explanation

Tribhangi means 'three bends' and bends the body at the neck, the waist and the knee, giving the soft, curved silhouette associated with the feminine principle. It is the counterpart to the squared Chowk stance.

Question 27Basic Techniques and Terminology of Odissi

The basic unit of rhythmic time in Odissi, counted as a single beat within a cycle, is called:

  1. Matra Correct answer.
  2. Laya
  3. Tala
  4. Bol

Explanation

A Matra is one beat, the smallest counted unit of a rhythmic cycle. Several matras together make up a tala, while laya describes the speed at which those beats are rendered.

Question 28Basic Techniques and Terminology of Odissi

In the Odissi repertoire, 'Mangalacharan' is best described as:

  1. A pure rhythmic footwork finale
  2. A concluding piece of fast spins
  3. A mime piece narrating a single episode
  4. An invocatory opening piece offering salutations Correct answer.

Explanation

Mangalacharan opens a traditional Odissi performance with prayers and salutations to the deity, the guru and the audience. It usually includes the Bhumi Pranam and ends with a rhythmic sequence before the next item begins.

Question 29Basic Techniques and Terminology of Odissi

What does the term 'Abhinaya' cover in Odissi practice?

  1. Only the rhythmic footwork patterns
  2. The art of expressive communication through the body and face Correct answer.
  3. The tuning of the percussion instrument
  4. The geometric floor patterns of group dance

Explanation

Abhinaya is the expressive dimension of dance, conveying meaning and emotion through gesture, eye movement, facial expression and bodily attitude. It is distinguished from pure rhythmic or abstract movement.

Question 30Basic Techniques and Terminology of Odissi

Which term names the pure, abstract dance in Odissi that follows rhythm without telling a story?

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

Explanation

Nritta is abstract, non-narrative dance in which the body moves to rhythm without conveying a specific meaning. Nritya, by contrast, carries expressive content, and Natya refers to dramatic representation.

Question 31Basic Techniques and Terminology of Odissi

The closing item of a traditional Odissi performance, often ending in fast spins and a release into stillness, is called:

  1. Pallavi
  2. Sthayi
  3. Batu
  4. Moksha Correct answer.

Explanation

Moksha means liberation and closes the Odissi repertoire, typically building speed and ending in a still, released pose. It symbolises the soul's release from worldly attachment.

Question 32Basic Techniques and Terminology of Odissi

In Odissi, the term 'Bhumi Pranam' refers to:

  1. Salutation to the earth before dancing Correct answer.
  2. A spinning turn on one foot
  3. The tuning note of the singer
  4. A hand gesture for offering flowers

Explanation

Bhumi Pranam is the salutation to the earth, performed at the start of a performance to seek forgiveness for striking the ground with the feet. It is a mark of humility and respect within Mangalacharan.

Question 33Basic Techniques and Terminology of Odissi

A dancer performs a sequence where the feet strike the ground in a squared stance while the hands hold a specific gesture, and the whole sequence is counted to a cycle of eight beats. Which pairing is being described?

  1. Chowk stance with an eight-beat cycle Correct answer.
  2. Tribhangi stance with a seven-beat cycle
  3. Bhramari spin with a six-beat cycle
  4. Mandal formation with a five-beat cycle

Explanation

The squared stance is Chowk, and an eight-beat cycle is the common Kalpana or similar eight-matra tala used in Odissi. The description therefore combines Chowk with an eight-beat count rather than a triple bend or a spin.

Question 34Basic Techniques and Terminology of Odissi

During a Pallavi, the dancer begins at a slow tempo and gradually increases speed while keeping the same rhythmic cycle. This progression is best described as:

  1. A change of tala from one cycle to another
  2. A change of raga during the piece
  3. A progression of laya within a fixed tala Correct answer.
  4. A switch from Nritta to Natya

Explanation

Laya is the speed of rendering beats, and Pallavi commonly moves from vilambit to faster laya while the underlying tala stays the same. Changing the cycle itself would be a change of tala, which is not what is described.

Question 35Basic Techniques and Terminology of Odissi

A student holds the palm flat with fingers together and the thumb extended, used in Odissi to denote a flat surface or to touch the ground. Which hand gesture is this?

  1. Alapadma
  2. Pataka Correct answer.
  3. Suchimukha
  4. Kartarimukha

Explanation

Pataka is the flat, extended palm with fingers held together, used for showing a surface, a blessing, or contact with the ground. Alapadma is the open lotus hand, and Suchimukha is a pointed, needle-like gesture.

Question 36Basic Techniques and Terminology of Odissi

In a piece where the dancer depicts a woman looking into a mirror, adjusting her hair and then applying kohl, which category of Abhinaya is chiefly at work?

  1. Aharya, through the costume itself
  2. Angika, through bodily gesture Correct answer.
  3. Sattvika, through involuntary emotion
  4. Vachika, through spoken words

Explanation

Angika Abhinaya uses bodily movement, hand gestures and facial expression to enact an action such as mirror-gazing. The costume and the voice are not doing the depicting here, and Sattvika concerns inner emotional states rather than the enacted action.

Question 37Basic Techniques and Terminology of Odissi

Which of the following correctly pairs an Odissi repertoire item with its typical character?

  1. Moksha: concluding piece of liberation Correct answer.
  2. Batu: expressive song of separation
  3. Pallavi: rhythmic opening salutation
  4. Mangalacharan: pure abstract footwork finale

Explanation

Moksha, meaning liberation, is the concluding item and is built to end the recital with a sense of release. Batu is a rhythmic piece, Pallavi is a melodic expansion, and Mangalacharan is the opening invocation.

Question 38Basic Techniques and Terminology of Odissi

A dancer's footwork accelerates while the drummer maintains the same number of beats per cycle. What has changed?

  1. The matra
  2. The laya Correct answer.
  3. The tala
  4. The raga

Explanation

Since the number of beats per cycle is unchanged, the tala and the matra remain the same. What changes is the speed of execution, which is laya.

Question 39Basic Techniques and Terminology of Odissi

The term 'Tihai' in Odissi rhythmic practice denotes:

  1. A seated prayer before the recital
  2. A gesture for holding a conch shell
  3. A phrase repeated three times to land on a cycle point Correct answer.
  4. A slow introductory melodic phrase

Explanation

A Tihai is a rhythmic phrase played three times so that its final stroke falls on a chosen point of the cycle, often the first beat. It is a device of rhythmic calculation rather than melody or gesture.

Question 40Basic Techniques and Terminology of Odissi

Which statement about the relationship between Chowk and Tribhangi in Odissi is most accurate?

  1. Chowk is curved and Tribhangi is squared
  2. Both are seated positions used only in Abhinaya
  3. Both are performed only while spinning
  4. Chowk is squared and Tribhangi is a triple bend Correct answer.

Explanation

Chowk is the squared, outward-turned stance, while Tribhangi bends the body at three points to create a curved line. They are complementary standing positions, not seated or spinning ones.

Question 41Basic Techniques and Terminology of Odissi

In Odissi, 'Bhramari' refers to:

  1. A slow walking entrance
  2. A type of drum stroke
  3. A hand gesture for a bee
  4. A spinning movement Correct answer.

Explanation

Bhramari is the family of spins and turns in Odissi, performed on the spot or while travelling. It is a movement category, not a hand gesture or a drum syllable.

Question 42Basic Techniques and Terminology of Odissi

A dancer wants to show the number eight in a rhythmic sequence using the standard Odissi count. Which term names the number of beats in that cycle?

  1. Tala Correct answer.
  2. Matra
  3. Laya
  4. Avartana

Explanation

The number of beats in a cycle defines the tala, so an eight-beat cycle is described by its tala. Matra is a single beat, Avartana is one full round of the cycle, and Laya is speed.

Question 43Basic Techniques and Terminology of Odissi

Which of these best explains why Mangalacharan includes both a prayer and a rhythmic sequence?

  1. It exists to display the dancer's costume
  2. It replaces the need for a percussionist
  3. It is performed only after the Pallavi
  4. It combines devotional invocation with Nritta to bless and prepare the stage Correct answer.

Explanation

Mangalacharan begins with salutations and prayer, then closes with a rhythmic Nritta passage that purifies and prepares the performance space. The combination of devotion and rhythm is its defining feature.

Question 44Basic Techniques and Terminology of Odissi

A dancer uses the gesture in which the index finger is extended and the remaining fingers are folded, to indicate pointing or a needle. This gesture is:

  1. Alapadma
  2. Suchimukha Correct answer.
  3. Mushti
  4. Pataka

Explanation

Suchimukha, meaning needle-faced, extends the index finger while the other fingers are folded, and is used for pointing or indicating something fine. Pataka is a flat palm, Alapadma an open lotus, and Mushti a closed fist.

Question 45Basic Techniques and Terminology of Odissi

In Odissi, the term 'Sthayi' most commonly denotes:

  1. A salutation to the guru
  2. A melodic refrain or stable section of a composition Correct answer.
  3. A rhythmic footwork pattern
  4. A spinning turn

Explanation

Sthayi refers to the stable, recurring section of a musical composition, often a refrain returned to after variations. It is a musical structural term rather than a movement or a ritual greeting.

Question 46Basic Techniques and Terminology of Odissi

A choreographer builds a rhythmic passage in which a phrase is played three times so that the final beat lands exactly on the first matra of the cycle. This device is:

  1. A Tihai Correct answer.
  2. A Bhramari
  3. A Pallavi
  4. An Avartana

Explanation

A Tihai is precisely a phrase repeated three times to land on a chosen point such as the sam, the first beat. An Avartana is one full round of the cycle, a Pallavi is a whole item, and Bhramari is a spin.

Question 47Basic Techniques and Terminology of Odissi

Which statement correctly distinguishes Nritta from Nritya in Odissi?

  1. Nritta conveys emotion while Nritya is purely rhythmic
  2. Nritta is purely rhythmic while Nritya conveys meaning Correct answer.
  3. Both are identical and used interchangeably
  4. Nritta is vocal while Nritya is instrumental

Explanation

Nritta is abstract movement following rhythm alone, whereas Nritya adds expressive content and meaning through gesture and expression. The two are distinct categories, not synonyms, and neither refers to vocal or instrumental music.

Question 48Basic Techniques and Terminology of Odissi

A dancer wishes to depict a bee hovering near a flower using only hand gestures and gaze. Which combination is most appropriate?

  1. Suchimukha with a directed gaze and a small hovering motion Correct answer.
  2. Pataka with a downward glance
  3. Mushti with a stamping foot
  4. Bhramari with a full spin

Explanation

Suchimukha, the needle gesture, suits fine or pointed subjects such as a bee, and pairing it with a directed gaze and a small hovering motion completes the depiction. Pataka is too broad, Mushti too closed, and a full spin does not suggest hovering.

Question 49Basic Techniques and Terminology of Odissi

Why is the Mangalacharan traditionally placed first, and Moksha last, in an Odissi recital?

  1. Because Moksha requires the stage to be blessed afterwards
  2. Because the recital moves from invocation and grounding to release and liberation Correct answer.
  3. Because Mangalacharan is the shortest item in the repertoire
  4. Because the fastest items are always placed at the beginning

Explanation

The traditional order moves from salutation and grounding in Mangalacharan to the culminating sense of liberation in Moksha. The sequence is symbolic and dramaturgical rather than based on item length or speed alone.

Question 50Basic Techniques and Terminology of Odissi

In Odissi, which term names the basic standing position in which the feet are turned out and placed apart with the knees bent outward, forming a squared, symmetrical stance?

  1. Abhanga
  2. Atibhanga
  3. Chowk Correct answer.
  4. Tribhangi

Explanation

Chowk is the squared, symmetrical stance in which the feet are turned out, the knees bend outward and the weight is evenly distributed, evoking a sculpture-like frontal form. The other three terms name deflection-based postures built around a bend at the neck, waist or knee rather than a squared stance, so they cannot describe this position.