Dance Theory: Technique, Terminology and Repertoire
Dance theory: technique, terminology and repertoire
This domain tests whether you can name, define, and place dance concepts accurately, and whether you can connect technique to repertoire. PSEB Class 12 Dance theory questions commonly ask for definitions, distinctions, and examples from Indian classical and Punjabi folk traditions.
Core rules and concepts
- Nritta is pure rhythmic movement with no deliberate emotional narrative; Nritya is expressive dance that carries bhava and rasa; Natya is dramatic representation, including character and situation.
- Abhinaya has four channels: Angika (body), Vachika (speech/song), Aharya (costume, make-up, stage), and Sattvika (inner emotional state).
- Tala terms: matra (beat unit), sam (first beat of the cycle), tali (clap), khali (empty beat), avartan (full cycle).
- Punjabi repertoire: Bhangra is a vigorous male harvest dance with dhol and boliyan; Giddha is a women’s circle dance with clapping and boliyan; Jhumar is slower and lyrical; Sammi uses clapping and circular movement; Luddi is a victory dance; Kikli is a paired spinning dance.
Worked example
Question: “A dancer begins with sharp, rhythmic footwork and no story, then performs a song about separation with facial expression.” Reasoning: the first section is Nritta because it is rhythmic and decorative, not narrative. The second is Nritya because rhythm is joined to bhava. If the dancer also played a character and enacted a scene, it would move toward Natya. A strong answer names the category, gives the reason, and cites one repertoire example.
Traps
Do not use “Nritta” and “Nritya” as synonyms. Do not call every Punjabi folk dance “Bhangra.” Keep Giddha and Bhangra distinct in formation, participants, and typical context. Do not describe Aharya as emotion; it is costume and staging. In tala answers, do not confuse sam with any clap. Always attach a term to an example.