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UPMSP Intermediate Dance study materials
UPMSP Intermediate Dance study resources

UPMSP Intermediate Dance practice questions

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Question 1Theory of Indian classical dance (concepts, terminology, aesthetics/rasa-bhava)

In Indian classical dance theory, which category refers to pure rhythmic movement executed without deliberate emotional narrative?

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

Explanation

Nritta denotes abstract rhythmic movement that foregrounds tala, laya, and physical technique rather than narrative meaning. Nritya adds expressive communication, while natya is the dramatic dimension of performance.

Question 2Theory of Indian classical dance (concepts, terminology, aesthetics/rasa-bhava)

How many rasas are conventionally enumerated in the navarasa scheme of classical Indian aesthetics?

  1. Ten
  2. Nine Correct answer.
  3. Eight
  4. Seven

Explanation

The term navarasa literally means nine rasas, and the standard list includes shringara, hasya, karuna, raudra, veera, bhayanaka, bibhatsa, adbhuta, and shanta. The number nine is therefore fixed in this scheme.

Question 3Theory of Indian classical dance (concepts, terminology, aesthetics/rasa-bhava)

The foundational Sanskrit treatise that systematically presents rasa theory for drama and dance is traditionally attributed to which author?

  1. Bharata Correct answer.
  2. Nandikeshvara
  3. Sharngadeva
  4. Abhinavagupta

Explanation

The Natyashastra is traditionally attributed to Bharata and is the foundational text for rasa theory in drama and dance. Abhinavagupta is known for his commentary, while Nandikeshvara and Sharngadeva are associated with other treatises.

Question 4Theory of Indian classical dance (concepts, terminology, aesthetics/rasa-bhava)

Which term denotes the durable, dominant emotion that, when fully developed through performance, matures into a rasa?

  1. Sthayi bhava Correct answer.
  2. Vibhava
  3. Anubhava
  4. Sanchari bhava

Explanation

Sthayi bhava is the permanent or dominant emotional state that is developed and sustained in a performance. When it is fully evoked through the appropriate determinants and expressions, it matures into rasa.

Question 5Theory of Indian classical dance (concepts, terminology, aesthetics/rasa-bhava)

In rasa theory, which element is the determinant or cause that awakens a particular emotion in the spectator?

  1. Vibhava Correct answer.
  2. Sthayi bhava
  3. Sanchari bhava
  4. Anubhava

Explanation

Vibhava is the determinant, such as a character, situation, or object, that triggers the emotional response. It provides the cause through which the durable emotion and ultimately rasa are evoked.

Question 6Theory of Indian classical dance (concepts, terminology, aesthetics/rasa-bhava)

Which element consists of the visible bodily and vocal expressions through which an inner emotion is conveyed to the audience?

  1. Sattvika bhava
  2. Vibhava
  3. Anubhava Correct answer.
  4. Vyabhichari bhava

Explanation

Anubhava refers to the outward consequents of emotion, such as facial expression, gesture, and vocal change, through which the audience perceives the inner state. It is distinguished from the cause of the emotion and from transient moods.

Question 7Theory of Indian classical dance (concepts, terminology, aesthetics/rasa-bhava)

Transient emotions such as jealousy, fatigue, or joy that arise and subside during a performance, helping to enrich the dominant sentiment, are called what?

  1. Sthayi bhava
  2. Vibhava
  3. Sattvika bhava
  4. Sanchari bhava Correct answer.

Explanation

Sanchari bhava, also called vyabhichari bhava, refers to transient emotions that move across the performance and support the dominant emotion. They do not replace the sthayi bhava but enrich its development toward rasa.

Question 8Theory of Indian classical dance (concepts, terminology, aesthetics/rasa-bhava)

According to the rasa-sutra of the Natyashastra, rasa is manifested through the combined operation of which set of factors?

  1. Nritta, nritya, and natya
  2. Tala, laya, and mudra
  3. Vibhava, anubhava, and sattvika bhava only
  4. Vibhava, anubhava, and vyabhichari bhava Correct answer.

Explanation

The rasa-sutra states that rasa is produced from the conjunction of vibhava, anubhava, and vyabhichari bhava. Vibhava provides the determinant, anubhava the expressive consequents, and vyabhichari the transient emotions that enrich the dominant state.

Question 9Theory of Indian classical dance (concepts, terminology, aesthetics/rasa-bhava)

Which pair is most closely associated with Abhinavagupta's contribution to rasa theory?

  1. Abhinavabharati and sadharanikarana Correct answer.
  2. Natyashastra and navarasa
  3. Sangita Ratnakara and tala
  4. Abhinayadarpana and sattvika bhava

Explanation

Abhinavagupta wrote the Abhinavabharati, a major commentary on the Natyashastra, and developed the idea of sadharanikarana, the universalization of aesthetic experience. These contributions shaped later rasa theory in dance and drama.

Question 10Theory of Indian classical dance (concepts, terminology, aesthetics/rasa-bhava)

Which of the following is classified as a sattvika bhava, an involuntary bodily response in classical Indian performance theory?

  1. Anubhava (consequent expression)
  2. Vibhava (determinant)
  3. Sanchari (transient emotion)
  4. Sveda (perspiration) Correct answer.

Explanation

Sattvika bhavas are involuntary bodily responses such as perspiration, trembling, tears, and horripilation. Sveda, meaning perspiration, belongs to this group, while the other options name separate categories of rasa theory.

Question 11Theory of Indian classical dance (concepts, terminology, aesthetics/rasa-bhava)

Within the classical triad of nritta, nritya and natya, which term denotes dance that communicates bhava and rasa through expressive, meaningful movement?

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

Explanation

Nritya is the expressive mode of dance, in which meaningful gesture, posture and facial expression combine to convey bhava and evoke rasa in the spectator. It is distinguished from nritta, which is abstract rhythmic movement, and from natya, which is dramatic representation with plot and characters.

Question 12Theory of Indian classical dance (concepts, terminology, aesthetics/rasa-bhava)

In the hasta vocabulary of classical dance, an asamyuta hasta is performed using which of the following?

  1. A single hand alone Correct answer.
  2. The eyes and eyebrows alone
  3. The feet in a fixed stance
  4. Both hands used together

Explanation

Hastas are of two kinds: asamyuta hastas, formed with one hand alone, and samyuta hastas, formed by joining both hands. Abhinaya Darpanam codifies these gestures as a systematic vocabulary for expressing objects, actions and ideas in dance.

Question 13Theory of Indian classical dance (concepts, terminology, aesthetics/rasa-bhava)

The vigorous, forceful style of dance traditionally attributed to Shiva and commonly contrasted with the graceful lasya is known as which of the following?

  1. Sthana
  2. Tandava Correct answer.
  3. Chari
  4. Recaka

Explanation

Tandava is the powerful, energetic dance associated with Shiva, while lasya is the soft, graceful style associated with Parvati. The pair is used in dance theory to describe the complementary masculine and feminine dimensions of movement.

Question 14Theory of Indian classical dance (concepts, terminology, aesthetics/rasa-bhava)

Classical Indian performance theory divides abhinaya into four categories. Which set names those four categories correctly?

  1. Vibhava, anubhava, bhava and rasa
  2. Angika, vachika, aharya and sattvika Correct answer.
  3. Angika, nritta, nritya and natya
  4. Sthayi, sanchari, sattvika and vyabhichari

Explanation

Abhinaya, the art of carrying an idea or emotion to the audience, is analysed in four channels: angika (body), vachika (speech and song), aharya (costume and decor) and sattvika (involuntary emotional states). Together they form the complete means of performance communication.

Question 15Theory of Indian classical dance (concepts, terminology, aesthetics/rasa-bhava)

A dancer chooses a peacock-feather crown, character-specific jewellery and suitable stage makeup for a Krishna piece. This preparation belongs primarily to which abhinaya?

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

Explanation

Aharya abhinaya covers everything external that supports the character: costume, ornaments, makeup, stage properties and scenic arrangement. Angika concerns bodily movement, vachika concerns speech and song, and sattvika concerns involuntary emotional responses such as trembling or tears.

Question 16Theory of Indian classical dance (concepts, terminology, aesthetics/rasa-bhava)

In tala terminology, the three standard speeds known as vilambita, madhya and druta are collectively described by which term?

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

Explanation

Laya is the tempo or pace of performance and is conventionally of three kinds: vilambita (slow), madhya (medium) and druta (fast). Matra is a single beat unit, avartana is one complete cycle of a tala, and jati classifies rhythmic patterns.

Question 17Theory of Indian classical dance (concepts, terminology, aesthetics/rasa-bhava)

A treatise separates a pan-Indian, text-based classical performance tradition from regional and popular performance styles. Which pair of terms names these two respectively?

  1. Nritta and nritya
  2. Lasya and tandava
  3. Marga and desi Correct answer.
  4. Sattvika and aharya

Explanation

Marga denotes the classical, shastra-governed path regarded as authoritative and pan-Indian, while desi denotes regional traditions that developed in particular localities. The distinction underlies later discussions of how classical dance relates to folk and regional forms.

Question 18Theory of Indian classical dance (concepts, terminology, aesthetics/rasa-bhava)

Which rasa, understood as serenity or peace and accepted as the ninth rasa in later tradition, completes the navarasa?

  1. Karuna
  2. Shanta Correct answer.
  3. Adbhuta
  4. Bibhatsa

Explanation

The Natyashastra's core scheme enumerates eight rasas, and later aesthetic tradition accepts shanta, the rasa of tranquillity and peace, as the ninth. Shanta is thus the addition that turns the eightfold scheme into the navarasa.

Question 19Theory of Indian classical dance (concepts, terminology, aesthetics/rasa-bhava)

In Natyashastra terminology, an angahara is best described as which of the following?

  1. A fixed sequence of karanas performed together Correct answer.
  2. A single static pose held by the dancer
  3. A rhythmic cycle of a set number of beats
  4. A hand gesture used to depict an object

Explanation

A karana is a basic unit of coordinated dance movement, and an angahara is a linked sequence of such karanas performed as one continuous passage. The Natyashastra describes 108 karanas and groups them into angaharas, making the pair central to its movement analysis.

Question 20Theory of Indian classical dance (concepts, terminology, aesthetics/rasa-bhava)

According to the traditional rasa–deity correspondence of the Natyashastra, which pairing is correct?

  1. Karuna - Indra
  2. Raudra - Brahma
  3. Veera - Varuna
  4. Shringara - Vishnu Correct answer.

Explanation

The Natyashastra assigns presiding deities to the rasas: shringara to Vishnu, veera to Indra, karuna to Rudra, raudra to Yama, bhayanaka to Kala, bibhatsa to Shiva, adbhuta to Brahma and hasya to the pramathas. Correct knowledge of these pairings is a standard requirement in dance theory.

Question 21Theory of Indian classical dance (concepts, terminology, aesthetics/rasa-bhava)

In classical Indian dance, a hasta formed by using both hands together is classified as which type of gesture?

  1. Samyuta hasta Correct answer.
  2. Asamyuta hasta
  3. Nritta hasta
  4. Viniyoga hasta

Explanation

Samyuta hastas are two-handed gestures, while asamyuta hastas are performed with a single hand. Viniyoga refers to the application or usage of a gesture rather than a separate hasta class. Nritta hasta is not a standard category in this classification.

Question 22Theory of Indian classical dance (concepts, terminology, aesthetics/rasa-bhava)

Which abhinaya category governs recitation, song and regulated verbal expression in classical Indian performance?

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

Explanation

Vachika abhinaya concerns vocal and verbal expression, including recitation, song and delivery of text. Angika works through bodily movement, aharya through costume and decor, and sattvika through involuntary emotional responses.

Question 23Theory of Indian classical dance (concepts, terminology, aesthetics/rasa-bhava)

Which rasa is the aesthetic sentiment of wonder and astonishment, typically evoked by the extraordinary or the divine?

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

Explanation

Adbhuta rasa is the sentiment of wonder, astonishment and marvel at the extraordinary. Its dominant emotional source is vismaya, and it is often linked with divine or miraculous manifestations.

Question 24Theory of Indian classical dance (concepts, terminology, aesthetics/rasa-bhava)

Which rasa is correctly paired with the sthayi bhava that gives rise to it?

  1. Hasya - hasa Correct answer.
  2. Raudra - shoka
  3. Karuna - hasa
  4. Bibhatsa - vismaya

Explanation

Hasya rasa arises from hasa, the dominant emotion of mirth or laughter. Karuna is nourished by shoka, raudra by krodha, and bibhatsa by jugupsa, so the other pairings reverse or mismatch the traditional correspondences.

Question 25Theory of Indian classical dance (concepts, terminology, aesthetics/rasa-bhava)

In Natyashastra dance terminology, what is a karana?

  1. A coordinated movement unit Correct answer.
  2. A two-handed salutation gesture
  3. A transient facial expression
  4. A complete rhythmic cycle

Explanation

A karana is a basic coordinated unit of dance movement, combining postures and limb movements into a defined action. A sequence of karanas forms an angahara, while a complete rhythmic cycle is an avartana.

Question 26Theory of Indian classical dance (concepts, terminology, aesthetics/rasa-bhava)

In tala theory, which term denotes one complete cycle of a rhythmic pattern?

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

Explanation

Avartana is the completion of one full cycle of a rhythmic pattern in tala. Matra is a single beat unit, laya is tempo, and jati is a classificatory category associated with tala.

Question 27Theory of Indian classical dance (concepts, terminology, aesthetics/rasa-bhava)

In classical Indian dance-drama, which term denotes the female protagonist whose emotional states are depicted by the performer?

  1. Sakhi
  2. Vidushaka
  3. Nayika Correct answer.
  4. Nayaka

Explanation

Nayika is the female protagonist or heroine whose moods and situations are portrayed in dance-drama. Nayaka is the male hero, sakhi is a female friend or confidante, and vidushaka is a comic companion figure.

Question 28Theory of Indian classical dance (concepts, terminology, aesthetics/rasa-bhava)

Which term names the aesthetic relishing or tasting of rasa by a receptive spectator?

  1. Bhava-sandhi
  2. Sattvika-vyabhichari
  3. Rasa-bhanga
  4. Rasasvadana Correct answer.

Explanation

Rasasvadana denotes the tasting or relishing of rasa, experienced by a prepared spectator known as a sahridaya. Bhava-sandhi refers to a junction or transition of emotional states, while rasa-bhanga suggests a rupture or obstruction of rasa.

Question 29Theory of Indian classical dance (concepts, terminology, aesthetics/rasa-bhava)

Which vritti, or performance style, is correctly described by its characteristic quality?

  1. Arabhati - graceful and delicate
  2. Bharati - purely rhythmic footwork
  3. Sattvati - forceful and energetic
  4. Kaisiki - graceful and delicate Correct answer.

Explanation

Kaisiki vritti is the graceful, delicate and lyrical style, often associated with feminine charm and refined movement. Arabhati is forceful and energetic, Sattvati is elevated and grand, and Bharati is primarily verbal.

Question 30Theory of Indian classical dance (concepts, terminology, aesthetics/rasa-bhava)

The characteristic threefold bend of the body used in Odissi, involving the neck, torso and knees, is called which of the following?

  1. Araimandi
  2. Tribhanga Correct answer.
  3. Muzhumandi
  4. Samapada

Explanation

Tribhanga means a threefold bend and is a signature Odissi posture involving bends at the neck, torso and knees. Araimandi and muzhumandi are Bharatanatyam sitting positions, while samapada is a straight, even stance.

Question 31Theory of Indian classical dance (concepts, terminology, aesthetics/rasa-bhava)

The Natyashastra, the foundational Sanskrit treatise on drama, dance and rasa, is traditionally attributed to which author?

  1. Bharata Correct answer.
  2. Nandikeshvara
  3. Abhinavagupta
  4. Jayadeva

Explanation

The Natyashastra is traditionally ascribed to the sage Bharata, who is presented as the recipient of this performing-arts knowledge. It sets out dance units, abhinaya, rasa theory and theatrical conventions that later texts comment upon.

Question 32Theory of Indian classical dance (concepts, terminology, aesthetics/rasa-bhava)

In the theoretical vocabulary of classical dance, what term names the set of nine rasas?

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

Explanation

Navarasa literally means nine rasas: shringara, hasya, karuna, raudra, vira, bhayanaka, bibhatsa, adbhuta and shanta. The term is used to describe the complete set of aesthetic sentiments in classical performance.

Question 33Theory of Indian classical dance (concepts, terminology, aesthetics/rasa-bhava)

In rasa theory, which term denotes the transient emotions such as jealousy, anxiety and delight that arise and pass during a performance?

  1. Sthayi bhava
  2. Vibhava
  3. Sattvika bhava
  4. Sanchari bhava Correct answer.

Explanation

Sanchari bhava, also called vyabhichari bhava, refers to the complementary emotions that appear briefly and then give way to another mood. They support the dominant sthayi bhava rather than replacing it.

Question 34Theory of Indian classical dance (concepts, terminology, aesthetics/rasa-bhava)

In Sanskrit dramaturgy, the term lokadharmi refers to which of the following?

  1. the musical accompaniment used for entrance scenes
  2. the stylized convention that transforms ordinary movement into dance
  3. the ritual worship performed before a traditional performance
  4. realistic conduct and everyday behaviour represented on stage Correct answer.

Explanation

Lokadharmi denotes the world of ordinary, realistic behaviour and speech as represented in performance. It is contrasted with natyadharmi, the stylized theatrical convention through which movement, speech and emotion are shaped into art.

Question 35Theory of Indian classical dance (concepts, terminology, aesthetics/rasa-bhava)

Which term denotes a turning or pirouette movement executed on one foot in classical Indian dance?

  1. Sthana
  2. Chari
  3. Bhramari Correct answer.
  4. Utplavana

Explanation

Bhramari is the category of turning movements in which the dancer rotates the body, often on one foot. Utplavana denotes leaps, chari denotes foot movements, and sthana denotes a standing posture.

Question 36Theory of Indian classical dance (concepts, terminology, aesthetics/rasa-bhava)

Which rasa is evoked by the disgusting, the grotesque or the repellent?

  1. Bhayanaka
  2. Raudra
  3. Karuna
  4. Bibhatsa Correct answer.

Explanation

Bibhatsa rasa is the sentiment of disgust or revulsion, and its sthayi bhava is jugupsa. It is distinct from karuna, which is sorrow; bhayanaka, which is fear; and raudra, which is anger.

Question 37Theory of Indian classical dance (concepts, terminology, aesthetics/rasa-bhava)

In Natyashastra dance terminology, which term denotes a basic standing posture from which movement begins?

  1. Sthana Correct answer.
  2. Chari
  3. Gati
  4. Karana

Explanation

Sthana refers to a codified standing position that provides the stable base for dance movement. Chari concerns foot movements, karana is a combined unit of dance, and gati is a gait or manner of moving.

Question 38Theory of Indian classical dance (concepts, terminology, aesthetics/rasa-bhava)

In rasa theory, which term denotes the outward reactions, such as glances, gestures and tears, through which an inner emotion is expressed?

  1. Sthayi
  2. Vibhava
  3. Sanchari
  4. Anubhava Correct answer.

Explanation

Anubhava means the consequents or outward manifestations by which a bhava is inferred, including voluntary gestures and involuntary signs. Vibhava provides the cause, sthayi is the permanent emotion, and sanchari is a transient emotion.

Question 39Theory of Indian classical dance (concepts, terminology, aesthetics/rasa-bhava)

The Abhinavabharati, an influential commentary on the Natyashastra that shaped later rasa theory, was written by which philosopher?

  1. Nandikeshvara
  2. Bharata
  3. Abhinavagupta Correct answer.
  4. Jayadeva

Explanation

Abhinavagupta, the Kashmir Shaiva philosopher, wrote the Abhinavabharati commentary on the Natyashastra. His analysis of rasa, aesthetic relish and universalization became central to later Indian aesthetics.

Question 40Theory of Indian classical dance (concepts, terminology, aesthetics/rasa-bhava)

In Abhinavagupta's aesthetics, the process by which a personal emotion is universalized so that a spectator can relish it as rasa is called what?

  1. Sattvika abhinaya
  2. Vibhava
  3. Sadharanikarana Correct answer.
  4. Rasabhasa

Explanation

Sadharanikarana is the universalization of emotion that removes its private, practical character and makes it fit for aesthetic relish. Abhinavagupta uses this idea to explain how rasa is experienced by a receptive spectator.

Question 41History and schools/gharanas of Indian dance traditions

The Natyashastra, the earliest surviving Indian compendium on dance, drama and music, is traditionally ascribed to which author?

  1. Nandikeshvara
  2. Sarangadeva
  3. Abhinavagupta
  4. Bharata Correct answer.

Explanation

The Natyashastra is attributed to Bharata, often called Bharata Muni, and its treatment of tandava, lasya, angika abhinaya and rasa underlies every classical dance syllabus. The other names belong to later authors with separate works: Nandikeshvara's Abhinaya Darpana, Sarangadeva's Sangita Ratnakara, and Abhinavagupta's commentary Abhinavabharati.

Question 42History and schools/gharanas of Indian dance traditions

Which dance form, nurtured in the Vaishnava satras of Assam under Srimanta Sankardeva, was recognised as a classical dance by the Sangeet Natak Akademi in 2000?

  1. Chhau
  2. Bhortal
  3. Sattriya Correct answer.
  4. Ojapali

Explanation

Sattriya grew out of the Ankiya Naat and bhaona performances cultivated in the Assam satras, and the Sangeet Natak Akademi granted it classical status in 2000, making it the eighth of the recognised classical forms. Chhau is a masked dance tradition of Odisha, Jharkhand and West Bengal, while Ojapali and Bhortal are Assamese regional forms without classical recognition.

Question 43History and schools/gharanas of Indian dance traditions

In Indian dance literature the names Lucknow, Jaipur, Banaras and Raigarh designate which of the following?

  1. The gharanas of Kathak Correct answer.
  2. The ritual items of the Kuchipudi repertoire
  3. The vesham make-up types of Kathakali
  4. The four abhinaya categories described in the Abhinaya Darpana

Explanation

These four names are the principal Kathak gharanas, each with its own style of tode, tukde, tatkar and bhava, and each linked to a court or family lineage. Abhinaya categories are angika, vachika, aharya and sattvika; Kuchipudi has items such as Bhama Kalapam; Kathakali make-up types include pacha, kathi, thadi and minukku.

Question 44History and schools/gharanas of Indian dance traditions

In the Bharatanatyam margam codified by the Tanjore Quartet in the nineteenth century, which item opens a traditional recital?

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

Explanation

The Tanjore Quartet arranged the margam so that the recital begins with the alarippu, a short pure-nritta invocatory piece that tunes the dancer's body before the longer items. The varnam is the central and most elaborate number, the padam carries expressive abhinaya, and the tillana closes the nritta portion near the end.

Question 45History and schools/gharanas of Indian dance traditions

The Kuchipudi dance-drama Bhama Kalapam, portraying Satyabhama's longing for Krishna, is traditionally attributed to which teacher?

  1. Kottarakkara Thampuran
  2. Vempati Chinna Satyam
  3. Raja Chakradhar Singh
  4. Siddhendra Yogi Correct answer.

Explanation

Siddhendra Yogi is credited with Bhama Kalapam, the signature Kuchipudi dance-drama that became the model for the Bhagavathulu repertoire of the Kuchipudi village. Vempati Chinna Satyam was a twentieth-century master who reshaped the solo format, Kottarakkara Thampuran is linked to Ramanattam in Kerala, and Chakradhar Singh patronised the Raigarh gharana of Kathak.

Question 46History and schools/gharanas of Indian dance traditions

Kathakali systematises its hand gestures in a Kerala text that enumerates twenty-four basic mudras. Which text is it?

  1. Hastalakshanadipika Correct answer.
  2. Natyashastra
  3. Gita Govinda
  4. Abhinaya Darpana

Explanation

The Hastalakshanadipika is the Kerala treatise from which Kathakali draws its twenty-four basic mudras, and every gesture in a Kathakali role is traced back to this lexicon. The Natyashastra and the Abhinaya Darpana describe hastas in a broader Sanskritic framework, while the Gita Govinda is Jayadeva's devotional poem used as a source of lyrics, not of mudra codification.

Question 47History and schools/gharanas of Indian dance traditions

Which Odissi stance, a square position with knees turned out and the weight spread evenly, is identified with the image of Lord Jagannath?

  1. Chowk Correct answer.
  2. Araimandi
  3. Mandala
  4. Tribhangi

Explanation

The chowk is the squared, symmetrical stance of Odissi that echoes the block-like form of the Jagannath image at Puri. Tribhangi is the contrasting three-bend posture, araimandi belongs to the Bharatanatyam vocabulary of a half-sitting position, and mandala in the Natyashastra denotes a group of combined karanas.

Question 48History and schools/gharanas of Indian dance traditions

The Raigarh gharana of Kathak took shape in the early twentieth century under the patronage of which ruler?

  1. Ishwari Prasad
  2. Wajid Ali Shah
  3. Chakradhar Singh Correct answer.
  4. Sawai Pratap Singh

Explanation

Raja Chakradhar Singh of Raigarh was himself a composer and tabla player, and his court attracted Kathak and music masters whose interaction produced the Raigarh gharana. Wajid Ali Shah patronised Kathak and thumri at Lucknow, Ishwari Prasad is remembered as a founder figure of the Lucknow gharana, and Sawai Pratap Singh was a Jaipur ruler associated with music patronage.

Question 49History and schools/gharanas of Indian dance traditions

The Natyashastra enumerates eight rasas. Which author is credited with establishing shanta as the ninth rasa in Indian aesthetic theory?

  1. Bharata
  2. Jayadeva
  3. Abhinavagupta Correct answer.
  4. Nandikeshvara

Explanation

Abhinavagupta, in his tenth-century commentary Abhinavabharati, argued that shanta is the master rasa and thereby established the scheme of nine rasas that later dance and music theory adopted. Bharata's text lists eight rasas, Nandikeshvara wrote on abhinaya in the Abhinaya Darpana, and Jayadeva composed the Gita Govinda.

Question 50History and schools/gharanas of Indian dance traditions

Nata Sankirtana, Ras Leela and Pung Cholom are constituent elements of which classical dance tradition?

  1. Sattriya
  2. Manipuri Correct answer.
  3. Mohiniyattam
  4. Kathakali

Explanation

Manipuri dance grew from Lai Haraoba ritual and from Vaishnava Ras Leela, with Nata Sankirtana as its devotional core and Pung Cholom as the drum dance performed by men. Mohiniyattam and Kathakali belong to Kerala, while Sattriya developed in the Assamese satras, so none of those three carries this trio of names.