PSEB Class 12 Dance key terms

Pure rhythmic movement of the body without narrative meaning, performed to a rhythmic cycle. It emphasises footwork, posture and timing rather than expression, and usually opens or closes a dance item.

Expressive dance that combines rhythmic movement with mood and meaning. The dancer uses gestures, facial expression and body language to convey a theme, often a story from mythology or poetry.

Drama in the broad sense: a complete theatrical presentation combining dance, music, speech and costume. Classical treatises treat natya as the umbrella art within which dance and acting are taught.

An ancient Sanskrit treatise on performance arts attributed to Bharata, covering dance, music, drama, aesthetics and stagecraft. It is the foundational text cited for concepts such as rasa, abhinaya and the classification of gestures.

The art of conveying meaning to the audience. It is traditionally described in four modes: gestures of the body, expression of the face, words of the song, and costume or outward presentation.

A codified hand gesture used to denote objects, actions or ideas. Each gesture has a fixed shape of the fingers, and the same gesture may carry different meanings depending on context.

A hand position in classical dance. Hand gestures are grouped as single-hand and combined-hand positions, and they form the basic vocabulary through which the dancer expresses objects and actions.

The aesthetic flavour or emotional relish that a performance produces in a receptive audience. Theory lists several rasas, such as love, laughter, sorrow, anger and heroism, each arising from a dominant mood.

A mood or emotional state portrayed by the performer. Bhavas are the feelings the dancer evokes, and when fully realised and enjoyed by the audience they are said to ripen into rasa.

A rhythmic cycle in music and dance, measured by beats and divided into sections. The dancer's footwork and the percussion accompaniment are aligned to the cycle, and deviation is noticed immediately.

Tempo or speed in rhythm. It may be slow, medium or fast, and a skilled dancer can move between these speeds while keeping the underlying cycle intact.

A single beat or unit of a rhythmic cycle. Counting matras aloud or mentally is a standard rehearsal method for keeping the dancer and musicians together.

A basic unit of rhythmic footwork and body movement, taught in graded sequences. Each adavu has a fixed pattern of steps, bends and hand positions, and combinations are built from these units.

A half-sitting position in which the knees are bent and turned outward, keeping the back erect. It is a fundamental stance for many rhythmic sequences and strengthens the legs and lower back.

A full-sitting position with the knees bent fully outward and the seat lowered close to the heels. It appears in specific sequences and demands considerable flexibility, balance and control.

A pattern of flat-footed stamps in which the whole sole meets the floor, producing a clear, even sound. It is often used to establish the basic rhythm at the start of practice.

The string of small bells tied around the dancer's ankles. The bells sound with each foot contact, reinforcing the rhythm, and their evenness and secure fastening are checked before performance.

The opening salutation with which a dance item begins. The dancer bows and joins the hands to honour the teacher, the audience and the divine, and it also marks respect at the close of a class.

An invocatory piece performed at the beginning of a programme, offering prayer or salutation. It is usually expressive in character and sets a calm, devotional tone before rhythmic items.

A rhythmic composition that concludes a programme, built largely from pure dance syllables and lively footwork. Short expressive passages may appear, but the emphasis is on speed and rhythmic precision.

A rhythmic pattern of syllables recited aloud, such as those used to accompany footwork. Jatis are also counted as rhythmic structures, and a dancer may be asked to recite one during viva.

The spoken syllables that represent rhythmic patterns, recited to teach and accompany dance sequences. Learning a sollukattu correctly is often the first step before performing the matching footwork.

An expressive composition in which the lyrics carry the main interest. The dancer interprets a line or phrase through gesture and facial expression, often exploring a single emotional situation at length.

A long central composition that combines rhythmic passages with expressive ones. It is considered demanding because the dancer must sustain both technical precision and emotional interpretation across its sections.

A structured musical composition with sections such as pallavi, anupallavi and charanam. Dance items are often set to kritis, and the dancer's interpretation follows the order of these musical sections.

The opening section of a musical composition, presenting the main melodic and lyrical idea. In dance it is often the first line the dancer interprets, and it may be repeated with variations.

In the oral examination, candidates are commonly asked to show selected hand gestures on request and state their uses. Accuracy of finger position and clarity of the stated meaning both count.

A hand movement used by performers and teachers to mark beats of a rhythmic cycle. Claps, waves and finger counts indicate different positions within the cycle and help the dancer stay aligned.

A major body part in the classification of movement. The head, hands, chest, waist and feet are treated as principal angas, while smaller parts such as the eyes and eyebrows are classed as subsidiary.

Movement of the neck, classified into named positions such as bending, turning and moving side to side. Neck movements support facial expression and are practised separately to keep them smooth and controlled.

The direction and focus of the eyes. Glancing, looking straight ahead and shifting the gaze are codified, and correct eye focus is essential because the audience reads much of the meaning from the face.

The area of performance and the directions within it, such as front, back, left and right from the dancer's viewpoint. Entering, exiting and facing are planned so the audience sees the movement clearly.

The dress, ornaments, hair styling and facial makeup worn for performance. They are chosen to suit the item and tradition, and must allow free movement while remaining secure during fast footwork.

Preparatory exercise that raises body temperature and prepares joints and muscles before dancing. A typical routine includes neck, shoulder, spine, knee and ankle mobility, followed by simple rhythmic steps.

Practices that reduce the risk of strain and overuse, such as correct alignment, gradual progression, adequate rest and stopping when pain occurs. Knees, ankles and lower back need particular attention.

The traditional teacher-to-student lineage in which knowledge passes through direct instruction and long apprenticeship. Candidates are often asked about it because it explains how repertoire and technique are preserved.

Writing down a rhythmic sequence using counts, syllables and descriptions of steps and hand positions. It allows a student to revise accurately and helps in preparing for the practical and viva.

Revision for the oral test, covering definitions of terms, names of compositions, rhythmic counts and the ability to demonstrate gestures or recite syllables on request. Clear, brief answers are preferred.