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PSEB Class 12 Dance study materials
PSEB Class 12 Dance study resources

PSEB Class 12 Dance practice questions

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Question 1Dance theory (technique, terminology and repertoire)

In Indian classical dance terminology, what does the word 'abhinaya' refer to?

  1. The act of expressive communication through the body and face Correct answer.
  2. The seated posture used while playing the tabla
  3. The rhythmic footwork pattern of a pure dance sequence
  4. The curtain used at the start of a dance drama

Explanation

Abhinaya is the expressive dimension of dance, the means by which a performer communicates meaning and emotion to the audience. Classical treatises describe four channels of abhinaya: bodily movement, facial expression, gesture and verbal song. Pure rhythmic footwork belongs to nritta, not abhinaya.

Question 2Dance theory (technique, terminology and repertoire)

Which term names the pure, abstract rhythmic dance that carries no narrative meaning?

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

Explanation

Nritta is the purely rhythmic, decorative aspect of dance, where the beauty lies in movement and timing rather than in storytelling. Nritya combines rhythm with expressive meaning, and natya is the broader dramatic art. Lasya describes a graceful, delicate quality of movement rather than a structural category.

Question 3Dance theory (technique, terminology and repertoire)

A dancer holds a single hand gesture with the fingers together and the palm facing forward. In the hasta vocabulary this basic position is called:

  1. Pataka Correct answer.
  2. Tripataka
  3. Suchi
  4. Alapadma

Explanation

Pataka is the flat, open palm with fingers held together and extended, the first of the single-hand gestures in the classical lists. It is the base position from which several other gestures are formed. Alapadma has the fingers separated and curved, Suchi has the index finger extended, and Tripataka has the ring finger bent.

Question 4Dance theory (technique, terminology and repertoire)

What does the term 'tala' denote in a dance performance?

  1. The cyclic metrical framework of rhythm Correct answer.
  2. The sequence of hand gestures in a story
  3. The melodic mode of the accompanying song
  4. The costume style worn by the dancer

Explanation

Tala is the metrical cycle that organises rhythm, counted in beats and divided into sections. Dancers and percussionists synchronise their patterns to the same tala. Melodic mode is raga, costume is aharya, and gesture sequences belong to the expressive repertoire.

Question 5Dance theory (technique, terminology and repertoire)

In Bharatanatyam, the opening item that presents pure dance syllables and salutations is known as:

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

Explanation

Alarippu is the invocatory opening piece, built from rhythmic syllables and simple movements that warm up the body and offer salutation. It contains no elaborate narrative. Varnam is the central expressive item, padam is a short abhinaya piece, and tillana is a rhythmic finale.

Question 6Dance theory (technique, terminology and repertoire)

The nine emotional states that a dancer evokes in the audience are collectively called:

  1. Saptaswara
  2. Navarasa Correct answer.
  3. Chaturvidha
  4. Ashtanayika

Explanation

Navarasa means the nine rasas, the aesthetic sentiments such as shringara, karuna and veera that a performance is meant to awaken. Rasa is the relished emotional flavour produced in the spectator, distinct from the character's own feeling. The other options name musical notes, heroine types and fourfold classifications.

Question 7Dance theory (technique, terminology and repertoire)

Which statement best describes the role of 'aharya abhinaya'?

  1. It communicates through the sung lyrics of the musician
  2. It communicates through costume, make-up and ornaments Correct answer.
  3. It communicates through the movement of the limbs
  4. It communicates through the rhythm of the percussion

Explanation

Aharya abhinaya is expression through external adornment: costume, jewellery, make-up and stage properties. It supports characterisation and mood rather than conveying meaning through movement. Limb movement belongs to angika, song to vachika, and inner feeling to sattvika.

Question 8Dance theory (technique, terminology and repertoire)

In Kathak, the brisk, rhythmic footwork accompanied by spoken syllables is known as:

  1. Tatkar Correct answer.
  2. Bhava
  3. Aamad
  4. Gat

Explanation

Tatkar is the precise heel-and-toe footwork that produces clear rhythmic sound, often recited with bols. It is a hallmark of Kathak nritta. Gat is a stylised walk expressing a character, bhava is emotional expression, and aamad is a specific entrance composition.

Question 9Dance theory (technique, terminology and repertoire)

A dancer performing a varnam must move between pure rhythmic passages and expressive passages. Which of the four abhinaya channels is chiefly engaged when the dancer's eyes and facial expression convey the heroine's longing?

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

Explanation

Angika abhinaya covers expression through the body, and classical practice treats the face and eyes as part of the bodily instrument. Facial expression conveying longing is therefore angika expression, supported by inner feeling. Vachika is vocal, aharya is costume, and sattvika concerns the inner emotional state itself.

Question 10Dance theory (technique, terminology and repertoire)

A percussionist marks a tala of eight beats divided as four plus four, with the first beat of each half accented. How is this structure best described?

  1. A cyclic tala with two equal angas Correct answer.
  2. A non-cyclic pattern with no accents
  3. A single unbroken anga of eight beats
  4. A tala of three unequal angas

Explanation

The tala is cyclic and divided into two sections of four beats each, so it has two equal angas, the first beat of each being accented. The accent on the opening beat marks the sam, and the accent at the midpoint marks the start of the second section. Unequal divisions would produce a different tala structure.

Question 11Dance theory (technique, terminology and repertoire)

A dancer wants to indicate a bird in flight using a single hand gesture. Which hasta is conventionally employed for a bird?

  1. Kartarimukha
  2. Mushti
  3. Pataka
  4. Hamsasya Correct answer.

Explanation

Hamsasya, the swan-beak gesture, is conventionally used to depict a bird, among other meanings such as a drop of water or a pearl. Pataka is a flat palm used for many things including clouds and a river. Kartarimukha is a scissors-like gesture, and mushti is a closed fist.

Question 12Dance theory (technique, terminology and repertoire)

In the expressive repertoire, a short lyrical piece in which the dancer portrays a single emotional moment of a character is called:

  1. Padam Correct answer.
  2. Jatiswaram
  3. Alarippu
  4. Mallari

Explanation

Padam is a short, lyrical expressive composition in which the dancer explores a single emotional situation, often of a heroine. It is dominated by abhinaya rather than pure rhythm. Jatiswaram is rhythmic, alarippu is invocatory, and mallari is a temple procession piece.

Question 13Dance theory (technique, terminology and repertoire)

A dancer depicts a character who feels grief, and the audience experiences a sorrowful aesthetic sentiment. Which pair correctly matches the sthayi bhava and the resulting rasa?

  1. Shoka and Karuna Correct answer.
  2. Veera and Adbhuta
  3. Hasya and Shoka
  4. Raudra and Bhaya

Explanation

Each rasa arises from a corresponding durable emotion, its sthayi bhava. Grief, shoka, produces the compassionate sentiment karuna. The other pairs mismatch an emotion with an unrelated sentiment, which breaks the classical correspondence between bhava and rasa.

Question 14Dance theory (technique, terminology and repertoire)

Which of these is a characteristic feature that distinguishes Odissi from Bharatanatyam in posture and movement?

  1. Use of heavy stamping with iron ankle bells
  2. Use of only seated movements throughout the performance
  3. Use of straight rigid legs with no torso deflection
  4. Use of the tribhangi stance with deflection at neck, waist and knee Correct answer.

Explanation

Odissi is known for the tribhangi posture, a threefold bend at neck, waist and knee that gives the body an S-shaped deflection. Bharatanatyam tends towards a more grounded, straight-backed aramandi stance. The other options describe features that belong to neither style as stated.

Question 15Dance theory (technique, terminology and repertoire)

In Kathak, the composition in which the dancer enters the stage with a rhythmic sequence of graceful movements before settling into the beat is called:

  1. Toda
  2. Aamad Correct answer.
  3. Tukra
  4. Paran

Explanation

Aamad, meaning arrival, is the entrance composition in which the dancer moves into the performance space and joins the rhythmic cycle. Toda and tukra are short rhythmic compositions, and paran is a composition set to drum syllables. Only aamad marks the entrance.

Question 16Dance theory (technique, terminology and repertoire)

A dancer raises both hands with palms joined above the head to depict a mountain peak. Which hasta is being used?

  1. Kapota
  2. Hamsapaksha
  3. Anjali
  4. Shikhara Correct answer.

Explanation

Shikhara, the spire gesture, is formed by joining the palms and is used to indicate a mountain peak or a lingam. Anjali is a respectful salutation with joined palms at the chest. Kapota is a pigeon-like cupped gesture and hamsapaksha a swan-wing gesture.

Question 17Dance theory (technique, terminology and repertoire)

Which statement correctly pairs a Mohiniyattam characteristic with its effect on the performance?

  1. Its masked characters emphasise dramatic dialogue
  2. Its seated posture emphasises hand gestures alone
  3. Its gentle side-to-side swaying lends a soft, lasya-dominant quality Correct answer.
  4. Its sharp stamping produces a vigorous tandava quality

Explanation

Mohiniyattam is celebrated for graceful side-to-side swaying movements and soft, rounded gestures, giving it a predominantly lasya, or delicate, character. Tandava vigour, seated posture and masked drama are not its defining features. The pairing of movement quality with aesthetic effect is what the question tests.

Question 18Dance theory (technique, terminology and repertoire)

A student counts a tala of seven beats grouped as three plus four. Which statement about the sam and the midpoint accent is correct?

  1. The sam falls on beat one and the second section begins on beat four Correct answer.
  2. The sam falls on beat seven and the second section begins on beat three
  3. The sam falls on beat four and the second section begins on beat one
  4. The sam falls on beat two and the second section begins on beat five

Explanation

The sam is the first beat of the cycle, so it falls on beat one. With a first section of three beats, the second section begins on the fourth beat, which receives the internal accent. The remaining beats complete the cycle before the sam returns.

Question 19Dance theory (technique, terminology and repertoire)

Which element of a Bharatanatyam margam is designed to combine nritta and nritya and is often the longest item?

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

Explanation

Varnam is the central and usually longest item of the margam, alternating pure rhythmic passages with expressive sahitya to develop a theme. Alarippu is short and invocatory, shabdam is brief and expressive, and tillana is a rhythmic finale. The varnam uniquely demands both technical and expressive mastery.

Question 20Dance theory (technique, terminology and repertoire)

A choreographer wants a passage that is purely rhythmic, with recited syllables and no narrative content. Which combination best fits the intention?

  1. Aharya with costume changes
  2. Natya with dialogue
  3. Nritya with padam lyrics
  4. Nritta with sollukattu recitation Correct answer.

Explanation

Nritta is abstract rhythm, and sollukattu are the rhythmic syllables recited to accompany it. Together they produce a passage without narrative meaning, exactly as intended. Nritya and natya both carry meaning, and aharya concerns adornment rather than rhythm.

Question 21Dance theory (technique, terminology and repertoire)

In the classification of nayika, the heroine who waits through the night for an absent lover and suffers from separation is best described as:

  1. Abhisarika
  2. Khandita
  3. Virahini Correct answer.
  4. Swadhinapatika

Explanation

Virahini is the heroine afflicted by viraha, the pain of separation from an absent beloved. Abhisarika boldly travels to meet her lover, swadhinapatika has a devoted lover under her control, and khandita is angered by a lover's betrayal. The distinguishing element is the experience of separation.

Question 22Dance theory (technique, terminology and repertoire)

A dancer performs a jathi that repeats a rhythmic phrase three times and then concludes with a cadence resolving on the sam. What is the concluding cadence called?

  1. Tihai Correct answer.
  2. Mukhayya
  3. Korvai
  4. Jati

Explanation

A tihai is a rhythmic phrase repeated three times so that its final beat lands on the sam, producing a satisfying resolution. Korvai is a longer structured rhythmic sequence, jati is a rhythmic pattern class, and mukhayya is an opening composition. The threefold repetition resolving on sam is the defining marker of tihai.

Question 23Dance theory (technique, terminology and repertoire)

Which pairing of a dance style with its region and signature feature is correct?

  1. Manipuri with Tamil Nadu and its temple processions
  2. Kathakali with Odisha and its soft lasya swaying
  3. Kuchipudi with Kerala and its masked ritual drama
  4. Sattriya with Assam and its monastic vaishnava repertoire Correct answer.

Explanation

Sattriya developed in the vaishnava monasteries, the sattras, of Assam, and its repertoire reflects that devotional context. The other pairings attach each style to the wrong region and an unrelated feature. Correctly matching style, region and characteristic is the basis of this question.

Question 24Dance theory (technique, terminology and repertoire)

A performer depicts a cloud, then a river, then a roof, all with the same flat open palm. What does this demonstrate about hasta usage?

  1. A single hasta can carry many meanings according to context Correct answer.
  2. Each hasta has exactly one fixed meaning in all contexts
  3. Hasta gestures are decorative and carry no meaning
  4. Hasta meanings are determined only by the accompanying tala

Explanation

In classical practice a single hasta such as pataka serves many meanings, and the intended one is fixed by context, the accompanying song and the dancer's overall portrayal. This polysemy is a core principle of gesture vocabulary. Fixing one meaning per gesture, or denying meaning altogether, misrepresents the system.

Question 25Dance theory (technique, terminology and repertoire)

A dancer wants to intensify karuna rasa in a padam. Which choice most directly serves this aim within the abhinaya framework?

  1. Fast tatkar footwork with loud bells
  2. A rapid change of colourful costume
  3. A brisk tillana-like rhythmic finale
  4. Sustained eye expression and slow sattvika facial change Correct answer.

Explanation

Karuna depends on sustained, subtle expressive work: the eyes, facial expression and inner emotional state must build slowly to move the audience. Fast footwork, costume changes and brisk rhythm belong to nritta and spectacle, which heighten energy rather than sorrow. The choice that engages sattvika and angika expression is the one that serves karuna.

Question 26Dance theory (technique, terminology and repertoire)

In Bharatanatyam, the term 'nritta' refers to which aspect of performance?

  1. Costume and stage decoration
  2. Vocal accompaniment for the dancer
  3. Pure rhythmic movement without expressive meaning Correct answer.
  4. Expressive storytelling through gestures

Explanation

Nritta denotes abstract, purely rhythmic dance movement that emphasises footwork, posture and timing rather than narrative or emotion. It is distinguished from nritya, which conveys meaning and feeling.

Question 27Dance theory (technique, terminology and repertoire)

A dancer holds the palm flat with fingers together and uses it to show a blade of grass, a stream and a wall in three different lines of a song. This best illustrates which principle of hasta use?

  1. A single gesture can carry several meanings according to context Correct answer.
  2. Each hasta has one fixed meaning that never changes
  3. Hand gestures are decorative and carry no meaning
  4. Only two-handed gestures can convey objects

Explanation

Hastas are polysemous: the same hand shape serves many objects and ideas, and the meaning is fixed by the context of the song, the gaze and the body. This contextual flexibility is central to abhinaya.

Question 28Dance theory (technique, terminology and repertoire)

Which term names the basic standing posture in Bharatanatyam in which the knees are bent outward and the weight is settled low?

  1. Utplavana
  2. Aramandi Correct answer.
  3. Chaturashra
  4. Saushtava

Explanation

Aramandi is the half-sitting position with turned-out knees that grounds the Bharatanatyam dancer and supports the characteristic lines of the form. Saushtava refers to graceful body alignment, utplavana to jumps, and chaturashra to a four-beat rhythmic cycle.

Question 29Dance theory (technique, terminology and repertoire)

In Kathak, the term 'tatkar' specifically designates which element?

  1. The expressive mime section
  2. The opening salutation to the guru
  3. The spinning turn sequence
  4. The basic rhythmic footwork pattern Correct answer.

Explanation

Tatkar is the foundational Kathak footwork in which the dancer strikes the floor in patterned rhythms, often in teental. It is the rhythmic backbone on which compositions are built.

Question 30Dance theory (technique, terminology and repertoire)

Which rasa is evoked when a dancer portrays a heroic character displaying courage in battle?

  1. Bibhatsa
  2. Adbhuta
  3. Hasya
  4. Vira Correct answer.

Explanation

Vira rasa is the sentiment of heroism, valour and courage, and it is the appropriate rasa for a heroic warrior portrayal. Hasya is comic, bibhatsa is disgust, and adbhuta is wonder.

Question 31Dance theory (technique, terminology and repertoire)

A dancer wishes to depict a bee hovering near a flower using a single hand. Which hasta is conventionally used for a bee or similar small flying insect?

  1. Mayura
  2. Arala Correct answer.
  3. Kartarimukha
  4. Shikhara

Explanation

Arala, with the fingers curved and spread, is used for small fluttering objects such as bees and wasps. Mayura depicts the peacock, kartarimukha a scissors or separation, and shikhara a peak or bow.

Question 32Dance theory (technique, terminology and repertoire)

Which of these is a well-known repertoire item of Mohiniyattam in which the dancer performs a slow, graceful solo expressing a devotional theme?

  1. Cholkettu Correct answer.
  2. Jathi
  3. Alarippu
  4. Tirmanam

Explanation

Cholkettu is a characteristic Mohiniyattam item combining rhythmic syllables and graceful movement, often opening a performance. Alarippu is a Bharatanatyam invocatory piece, tirmanam is a rhythmic cadence, and jathi is a rhythmic phrase.

Question 33Dance theory (technique, terminology and repertoire)

A dancer performs a passage of pure rhythm with no story, then a passage that narrates a story through gesture. Which pair of terms correctly names these two passages?

  1. Natya and nritta
  2. Nritta and nritya Correct answer.
  3. Nritta and natya
  4. Nritya and nritta

Explanation

Nritta is the purely rhythmic abstract passage, while nritya is expressive dance that conveys meaning and narrative. Natya refers broadly to dramatic representation including speech and character.

Question 34Dance theory (technique, terminology and repertoire)

In the Bharatanatyam margam, which item is a pure nritta composition that opens the performance and is often set to a simple rhythmic cycle?

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

Explanation

Alarippu is an invocatory pure-nritta item that warms up the body and establishes the rhythmic cycle. Padam and javali are expressive pieces, and varnam combines nritta and nritya at length.

Question 35Dance theory (technique, terminology and repertoire)

A dancer marks a rhythmic cycle in which the first beat is accented and the cycle is divided into three equal groups of four. Which tala is being described?

  1. Khanda chapu tala
  2. Adi tala Correct answer.
  3. Rupaka tala
  4. Misra chapu tala

Explanation

Adi tala has eight beats arranged as four plus four, but when described as three groups of four the reference is to the twelve-beat structure of the three-kalai form of adi tala. Among the listed options, adi tala is the standard cycle anchored on a clear accented first beat in fours.

Question 36Dance theory (technique, terminology and repertoire)

Which statement best distinguishes the use of 'gat bhao' in Kathak from 'tukra'?

  1. Gat bhao is a costume style, while tukra is a hand gesture
  2. Gat bhao is expressive mime of a scene, while tukra is a short rhythmic composition Correct answer.
  3. Gat bhao is a pure rhythmic composition, while tukra is expressive mime
  4. Gat bhao is a vocal form, while tukra is a footwork pattern

Explanation

Gat bhao is the mimetic, narrative aspect of Kathak in which the dancer enacts a scene or character, often with walks and gestures. Tukra is a brief, tightly structured rhythmic composition ending on a cadence.

Question 37Dance theory (technique, terminology and repertoire)

A dancer portrays a woman who is angry with her beloved and speaks sharp words to him. Which nayika classification fits her?

  1. Khandita Correct answer.
  2. Abhisarika
  3. Vasakasajja
  4. Proshitabhartrika

Explanation

Khandita is the offended heroine who confronts her beloved with anger after discovering his infidelity. Abhisarika travels to meet her lover, vasakasajja awaits him in a decorated chamber, and proshitabhartrika is separated from a travelling husband.

Question 38Dance theory (technique, terminology and repertoire)

Which feature most clearly marks Odissi's characteristic 'tribhangi' stance?

  1. A straight vertical spine with feet together
  2. A deep squat with both arms raised
  3. A seated position with crossed legs
  4. A three-fold bend at the neck, waist and knee Correct answer.

Explanation

Tribhangi means three bends, produced at the neck, the waist and the knee, giving Odissi its sinuous sculptural line. This deflection of the body is a defining feature of the style.

Question 39Dance theory (technique, terminology and repertoire)

A dancer performs a rhythmic phrase that is repeated three times and then resolved with a cadence landing on the sam. What is this concluding cadence most commonly called?

  1. Alarippu
  2. Tirmanam Correct answer.
  3. Shabdam
  4. Padam

Explanation

A tirmanam is a rhythmic cadence or sequence of sollukattu that resolves decisively on the sam. It is used to conclude nritta passages and to punctuate the margam.

Question 40Dance theory (technique, terminology and repertoire)

Which pairing of dance style with its region and a signature feature is correct?

  1. Sattriya with Assam and its monastery-based devotional tradition Correct answer.
  2. Kuchipudi with Odisha and its tribhangi stance
  3. Kathak with Kerala and its lasya sway
  4. Mohiniyattam with Tamil Nadu and its fast rhythmic footwork

Explanation

Sattriya developed in the Vaishnava monasteries of Assam and retains a devotional, community-based character. The other pairings misassign the region or the feature.

Question 41Dance theory (technique, terminology and repertoire)

A dancer uses the same flat open palm to show a cloud, a river and a roof in successive lines of a padam. What does this demonstrate about hasta viniyoga?

  1. Meaning depends on context, gaze and the accompanying lyric Correct answer.
  2. Only the face conveys meaning in abhinaya
  3. Each hasta must be replaced for every new object
  4. Hand gestures cannot depict inanimate objects

Explanation

Hasta viniyoga is the disciplined application of gestures, where the same hand shape gains different meanings from the lyric, the dancer's gaze, body orientation and timing. Context, not the gesture alone, determines meaning.

Question 42Dance theory (technique, terminology and repertoire)

A dancer performs a varnam in which rhythmic passages alternate with expressive passages that develop a single emotional theme. Which description best captures the structure of this item?

  1. It is purely rhythmic with no expressive content
  2. It combines nritta and nritya and is the longest item of the margam Correct answer.
  3. It is a short closing piece of pure mime
  4. It is a vocal exercise without dance

Explanation

Varnam is the central, most extended margam item, weaving together pure rhythmic passages and expressive narrative sections on a single theme. It demands both technical command and sustained abhinaya.

Question 43Dance theory (technique, terminology and repertoire)

A dancer wants to intensify karuna rasa in a padam. Within the abhinaya frame, which choice most directly serves this aim?

  1. Sustained eye expression and slow, weighted gestures conveying grief Correct answer.
  2. Rapid footwork and sharp rhythmic accents
  3. Bright smiling facial expressions
  4. Comic gestures of mockery

Explanation

Karuna rasa is the sentiment of compassion and grief, and it is built through sustained facial expression, especially the eyes, and slow, weighted movement. Speed and brightness work against the intended mood.

Question 44Dance theory (technique, terminology and repertoire)

In Bharatanatyam, which statement correctly describes the difference between 'nritta hasta' and 'nritya hasta' use?

  1. Nritta hastas convey explicit meaning, while nritya hastas are decorative
  2. Both are used only in mime
  3. Nritta hastas are largely decorative and rhythmic, while nritya hastas convey explicit meaning Correct answer.
  4. Both are used only in pure rhythm

Explanation

In nritta, hand gestures function largely as ornamental extensions of rhythmic movement, while in nritya they become communicative signs that carry meaning. The same hand shape can appear in both, but its function differs.

Question 45Dance theory (technique, terminology and repertoire)

Which of these best explains why the 'sam' is important to a dancer performing a rhythmic composition?

  1. It is the final beat of the cycle that is left unaccented
  2. It is a beat that may be placed anywhere at will
  3. It is the first beat of the cycle on which phrases resolve and return Correct answer.
  4. It is a beat reserved for the singer alone

Explanation

Sam is the first beat of the tala cycle and the point of resolution to which rhythmic phrases return. Dancers design cadences to land on sam, giving the composition its sense of arrival.

Question 46Dance theory (technique, terminology and repertoire)

A dancer depicts a character who has just received joyful news and the audience feels delight. Which pair of terms correctly links the performer's emotional state with the audience's aesthetic experience?

  1. Mudra and bhava
  2. Abhinaya and mudra
  3. Bhava and rasa Correct answer.
  4. Rasa and bhava

Explanation

Bhava is the emotional state expressed or felt by the performer, while rasa is the aesthetic sentiment relished by the audience. The dancer's bhava awakens rasa in the spectator.

Question 47Dance theory (technique, terminology and repertoire)

Which statement best distinguishes 'lasya' from 'tandava' in classical Indian dance?

  1. Lasya denotes vigorous movement, while tandava denotes graceful movement
  2. Lasya denotes graceful, soft movement, while tandava denotes vigorous, forceful movement Correct answer.
  3. Lasya is a costume style, while tandava is a musical mode
  4. Lasya is a hand gesture, while tandava is a rhythmic cycle

Explanation

Lasya is associated with softness, grace and feminine fluidity, while tandava is associated with vigour, strength and forceful movement. The two are complementary qualities rather than fixed gender categories.

Question 48Dance theory (technique, terminology and repertoire)

In the context of abhinaya, which of the four categories governs the deliberate use of costume, makeup and ornament to support character?

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

Explanation

Aharya abhinaya covers external presentation, including costume, makeup, ornaments and stage setting, all chosen to support the character and mood. Angika concerns body movement, vachika speech and song, and sattvika inner emotional states.

Question 49Dance theory (technique, terminology and repertoire)

A dancer performs a jathi in which a rhythmic phrase is rendered three times and then concluded by a cadence resolving on the sam, while the percussionist shadows the syllables. Which concept does the threefold repetition most directly illustrate?

  1. The practice of abandoning the tala during nritta
  2. The rule that cadences must fall off the beat
  3. The convention of repeating a rhythmic phrase before resolving it on sam Correct answer.
  4. The requirement that every phrase be performed only once

Explanation

Rhythmic phrases are commonly stated, repeated and then resolved with a cadence on sam, building tension and release. This threefold pattern is a standard structural convention in nritta.

Question 50Dance theory (technique, terminology and repertoire)

A choreographer wants a passage of pure rhythm with recited syllables and no narrative content. Which combination of elements should be chosen?

  1. Sollukattu recitation with nritta movement Correct answer.
  2. Varnam with alternating expressive lines
  3. Mangalam with devotional verse
  4. Padam lyrics with abhinaya

Explanation

Pure rhythmic passages are built on sollukattu, the recited rhythmic syllables, set to nritta movement without narrative meaning. Expressive items such as padam and varnam introduce abhinaya and lyric.