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

Giselle and La Sylphide are Romantic ballets.. The Romantic era in ballet, which flourished in the early to mid-19th century, emphasized themes of love, nature, and the supernatural.
Giselle' is one of the most famous Romantic ballets, telling the tragic story of a peasant girl who dies of a broken heart and joins the ranks of the supernatural Wilis.
'La Sylphide' is another quintessential Romantic ballet, depicting the tale of a young Scotsman who falls in love with a sylph (a forest fairy). 'Clytemnestra, 'A Folk Tale,' and 'The Green Table' do not belong to the Romantic ballet repertoire.

In Bhasa's plays, the description of the Hallisaka dance can be found in 'Balacharita' and 'Pancharatra.' 'Balacharita' deals with the early life of Lord Krishna, where the Hallisaka dance is depicted. 'Pancharatra is another play that includes the description of this dance form.
'Urubhangam' and 'Dutaghatotkach' do not contain references to the Hallisaka dance. Bhasa, an ancient Indian playwright, included various cultural and artistic elements in his works, providing a glimpse into the classical traditions of his time.

Kathakali, a classical dance-drama from Kerala, uses various traditional musical instruments, with Elatalam (small cymbals) and Maddalam (a barrel-shaped drum) being prominent.
Elatalam provides rhythmic accompaniment, while Maddalam sets the dramatic tone and pace for the performance, Ghatam, a clay pot used in Carnatic music, and Talam, a generic term for cymbals or clapping, are not specifically associated with Kathakali.
The instrumental ensemble in Kathakali is integral to creating the unique soundscape that complements the elaborate dance movements and expressive storytelling.

Anand Tandava (iii) Portrays all manifold responsibilities of the Lord, Kodukotti (i) Performed after the burning of Tripura, Pandarangam (iv) Performed on the battlefield, and Kapali (ii) Danced with a skull in his hand. These descriptions correspond to the different dances of Shiva, each representing various aspects of his divine responsibilities and actions.
Anand Tandava reflects the joyous dance of creation and maintenance of the universe. Kodukotti Tandava celebrates Shiva's victory over the demon Tripurasura. Pandarangam signifies his fierce dance on the battlefield, while Kapali depicts his ascetic form carrying a skull.

Batu Nritya (iii) Batuka Bhairava, Suknanni Ojapali (i) Manasa, Laiching Jagoi (ii) Umang Lai, and Seraikella Chhau (iv) Shiva-Kali. Batu Nritya is performed in honor of Batuka Bhairava, an aspect of Shiva. Suknanni Ojapali is associated with the worship of Manasa, the snake goddess.
Laiching Jagoi is a ritual dance performed for Umang Lai, the forest deities of Manipur. Seraikella Chhau, a form of masked dance from Jharkhand, often depicts stories related to Shiva and Kali.
These dances are deeply rooted in the regional religious and cultural traditions, reflecting the diversity of Indian classical and folk dance forms.

Madhavi Mudgal - Gandharva -Mahavidyalaya, (ii) Anand Shankar Jayant Shankarananda Kalakshetra, (iii) Bharat Sharma - Bhoomika Creative Dance Centre, (iv) Aditi Mangaldas - Drishtikone Dance Foundation.
These matches are accurate based on the founders and their respective dance institutes. Gandharva Mahavidyalaya is known for promoting Indian classical music and dance, and Madhavi Mudgal is a renowned Odissi dancer.
Anand Shankar Jayant is a famous Kuchipudi and Bharatanatyam dancer associated with Shankarananda Kalakshetra. Bharat Sharma is known for his work with Bhoomika Creative Dance Centre, which promotes contemporary dance.
Aditi Mangaldas is a leading Kathak dancer who established the Drishtikone Dance Foundation.

Ileana Citaristi Italy, Ramli Ibrahim - Malaysia, Sharon Lowen USA, Kimiko Yanagida Japan. These Odissi dancers are from various countries, contributing significantly to the global appreciation of Odissi dance. Ileana Citaristi, an Italian-born dancer, has been awarded for her contributions to Odissi.
Ramli Ibrahim from Malaysia is known for his performances and efforts to promote Odissi in his country. Sharon Lowen, an American, has trained extensively in Odissi and other Indian dance forms.
Kimiko Yanagida from Japan has also made significant contributions to the Odissi dance form.

Vidyapati - The poet cuckoo of Maithili, Bengali Vaishnava Poet, Govindadas Kshetraya - Telugu poet, Srimanta Shankara Deva - Borgeet Poet.
Vidyapati, a celebrated poet in Maithili literature, is known for his devotional and love poetry. Govindadas was a prominent Bengali Vaishnava poet known for his lyrical compositions. Kshetraya was a Telugu poet famous for his padams, devotional and romantic compositions.
Srimanta Sankardeva was an Assamese saintscholar who composed Borgeet, a form of devotional songs.

The correct sequence from North to South of traditional dance artists is Maibi (Manipur), Bai (Maharashtra), Mahari (Odisha), and Svadasi (Tamil Nadu). Maibi refers to traditional priestess dancers in Manipur, associated with the Lai Haraoba festival.
Bai denotes traditional folk dancers from Maharashtra. Mahari were temple dancers in Odisha dedicated to Lord Jagannath. Svadasi refers to temple dancers in Tamil Nadu who performed Bharatanatyam.

Sama, (c) Alokita, (a) Sachi, (b) Pralokita, (d) Nimilita. According to the Abhinaya Darpana, these are the types of glances (Drishtibheda) used in classical Indian dance: Sama (steady gaze), Alokita (wide open eyes), Sachi (side glance), Pralokita (moving eyes), and Nimilita (halfclosed eyes).
These glances are crucial in conveying emotions and expressions in dance, each serving a specific purpose in the narrative and emotive aspects of the performance.