UGC-NET (NTA) Exam, Performing Arts, December – 2023

Alternate sequences of nritta and nritya, and Abhinaya is rendered on a song, sung in couplets or verses. Varnam is one of the most important components of the Bharatanatyam repertoire, combining pure dance (nritta) and expressive dance (nritya) to depict emotions and tell a story.
It is typically lengthy and complex, providing a platform for the dancer to showcase their technical prowess and expressive skills. The abhinaya portion is performed to songs with deep emotional content, often involving intricate hand gestures and facial expressions.
Varnam is not an invocatory dance, which is typically the Alarippu, nor is it the shortest dance, as it is usually one of the longest and most demanding pieces.

Thumri is derived from 'thumka', stamping of foot, and Thumri, singing and dancing are traced to the courts of Wajid Ali Shah. Thumri is a semi-classical Indian music genre known for its expressive and romantic nature.
The term 'thumka' refers to a stamping foot movement, highlighting its dance aspect. Thumri became highly popular in the 19th century, particularly in the court of Nawab Wajid Ali Shah of Awadh, who was a great patron of the arts. It is characterized by its lyrical content, often focusing on themes of love and devotion.
The other statements regarding nonsensical words and primary hastas are incorrect as Thumri lyrics are meaningful and the primary focus is on the emotive rendition of the song.

In Sangitratnakara, a classical Sanskrit text on music and dance, different types of 'nayika' (heroine) are described. Mugdha refers to a very young and shy heroine, often new to love and romance. Pragalbha describes a confident and experienced heroine who is aware of her charm and beauty.
Madhya does not mean over mature; it typically refers to a heroine who is in the prime of her youth, balanced and mature. Atipragalbha refers to an excessively bold and forward heroine, not necessarily youthful.
These descriptions highlight the nuanced characterizations in classical Indian literature and performance arts.

Khandam (5 matras) and Mishram (7 matras). Jatis in Indian classical music and dance refer to rhythmic patterns or measures. Khandam, consisting of 5 beats (matras), and Mishram, consisting of 7 beats, are specific jatis used in various compositions.
Tishram (3 matras), Sankirnam (9 matras), and Chaturasram (4 matras) are other jatis with different beat counts. Understanding these rhythmic structures is crucial for performers in maintaining the rhythm and timing of their movements or music.

Eka, Rupaka, and Jhampa. These belong to the Sapta Tala system in Carnatic music, which comprises seven principal talas or rhythmic cycles. Eka Tala has a simple structure with one laghu.
Rupaka Tala consists of one drutam and one laghu, and Jhampa Tala has a structure including one laghu, one anudrutam, and one drutam.
Guru and Laghu are not talas but components of talas. The Sapta Tala system is fundamental in Carnatic music, providing the rhythmic framework for compositions and performances.

Thadi, Pacha, and Minukku are associated with Kathakali. These are different types of character makeup (vesham) used in Kathakali, a classical dance-drama from Kerala. Thadi (beard) vesham includes red beard (Chuvanna Thadi) for evil characters, white beard (Vella Thadi) for Hanuman, and black beard (Karutha Thadi) for hunters.
Pacha (green) vesham is used for noble characters like heroes and gods, characterized by a green facial makeup. Minukku (glossy) vesham is for gentle and refined characters, such as female roles and sages, and features a light, natural makeup.
Bindi and Laichandan are not specific to Kathakali. Bindi is a forehead decoration worn in various Indian traditions, and Laichandan is not relevant here.

Chodaganga Deva and Kapilendra Deva were kings of Odisha who patronized dance. Chodaganga Deva, the founder of the Eastern Ganga dynasty, is known for his contributions to art and culture, including dance. Kapilendra Deva, a prominent ruler of the Gajapati dynasty, also supported the arts and patronized dance and music.
Mukundadev Deva and Bhanu Deva were also rulers of Odisha, but their association with the patronage of dance is not as well documented. The patronage of dance by these kings helped in the flourishing of classical dance forms like Odissi in Odisha.

Dhabkar and The Coat are choreographed by Kumudini Lakhia. Kumudini Lakhia is a renowned Kathak dancer and choreographer known for her innovative and contemporary approach to traditional Kathak. 'Dhabkar' and 'The Coat' are among her notable works that explore new dimensions in Kathak while retaining its classical essence.
'Unchartered Sea', 'Sarpagati', and 'Train' are not her choreographed works. Lakhia's contributions have significantly influenced modern Kathak and have brought a fresh perspective to the classical dance form.

There are five divisions of Shringara Rasa in Vaishnava Shastras, and Sutradhari Nach is found in Assam. Shringara Rasa, the aesthetic sentiment of love, is elaborated in Vaishnava Shastras with five divisions, including Sambhoga (union) and Vipralambha (separation).
Sutradhari Nach, a traditional dance-drama form, is part of Assam's rich cultural heritage. Gopi Chandraboli is not the primary sakhi in Maharas of Manipuri; Lalita and Vishakha are more prominent sakhis. The Nabagraha Hastas, or hand gestures related to the nine planets, are not described in Sangit Ratnakara but are part of other texts.

Modern Dance is a form of Western theatrical dancing that has developed almost entirely outside the ballet tradition, and Modern Dance is a point of view that stresses artistic individualism and encourages dancers to develop personal choreographic style.
Modern dance emerged as a reaction against the rigid techniques and conventions of classical ballet, emphasizing freedom of movement and expression.
It encourages dancers to explore personal and innovative choreographic styles, making it a diverse and evolving art form. The statements that modern dance was born in the courts of Europe and seen as a diversion of the aristocracy, or that it is simply a matter of chronology with a rigid technical system, are incorrect.
Modern dance values creativity and individual expression over traditional norms and rigid structures.