UGC-NET (NTA) Exam, Performing Arts, August- 2024

According to the Sabha-Rachna Shloka described in Abhinaya Darpana, the seat of the president of the audience should face East.
This direction is considered auspicious and symbolically significant in many traditional Indian settings, aligning with the general Vastu principles that dictate the flow of energy and the positioning of key figures in a gathering.

The book 'Sweating Saris-Indian Dance as Transactional labor' that focuses on the history of Indian dance in the US from 1880 to present has been authored by Priya Srinivasan.
This work explores the dynamics of dance as a form of cultural and economic exchange and highlights the contributions and experiences of Indian dancers in the American cultural landscape.

'Thumak Chalat Ramachandra' is a famous line from a poem by Tųlsidas. This line is from his devotional poetry, which is highly revered and often recited within the context of North Indian devotion and performance, showcasing the playful and tender childhood of Lord Rama.

The author of the book 'Apsaras in Indian Dance' is Projesh Banerjee. This book delves into the representation and significance of apsaras, celestial nymphs, in traditional Indian dance forms, exploring their mythological origins and their roles in dance aesthetics and narratives.

The full form of N.C.P.A. is National Centre for Performing Arts. Located in Mumbai, India, the NCPA is a premier institution dedicated to the promotion and preservation of India's diverse performing arts traditions, providing a platform for performances, education, and research.

Lord Siva as Nataraja in sculptural iconography was developed during the reign of the Cholas. This South Indian dynasty was known for its patronage of the arts, and the Nataraja iconography, depicting Shiva as the cosmic dancer, is one of the most enduring symbols of this period's artistic achievements

Nimilita and Anuvritta are bhedas of Drishti, which refers to the eye movements in classical Indian dance. These specific bhedas help convey subtle expressions and emotions, enhancing the communicative aspect of dance through controlled and meaningful glances or looks.

Padams were the forte of the composer Kshetrayya. He is renowned for his compositions, primarily padams, which are lyrical songs in Telugu that express devotion and love, often used in the performance of Bharatanatyam and Kuchipudi dance forms, depicting deep emotional content and spiritual themes.

Tarangam is an important part of the classical dance form Kuchipudi. This segment of a Kuchipudi performance is known for its complexity and the skill required, often involving dancing on the edges of a brass plate and balancing a pot of water on the head, demonstrating the dancer's agility and grace.

The chapter of Sangeet Ratnakara that pertains to dance is Saptam. This ancient Indian treatise on music and dance outlines various aspects of musical theory, performance, and dance forms, with the Saptam chapter specifically dedicated to detailed Giscussions on dance, its forms, and its aesthetics.