UGC-NET (NTA) Exam, Performing Arts, January-2025

Isadora Duncan is widely regarded as the mother of modern dance in the West. She rejected rigid ballet forms, favoring natural, expressive movement inspired by ancient Greek art, nature, and personal emotion. Her philosophy laid the foundation for modern dance by prioritizing freedom, individuality, and emotional authenticity over strict technique.

In Maharashtra, the local variation of Danda Ras is called Tipri. This folk dance involves performers rhythmically striking decorated sticks as they move in circular formations, similar to the better-known Dandiya Ras of Gujarat.
Tipri is performed during festive occasions and community celebrations, combining energetic movements with vibrant music. Its interactive style fosters unity and joy among participants, making it a culturally significant tradition in Maharashtrian folk arts.

The Bolshoi Ballet, based in Moscow, Russia, is among the world's most renowned ballet companies. Established in the 18th century, it is celebrated for its grand productions, technically demanding choreography, and powerful dramatic expression.
The Bolshoi has influenced ballet globally, setting standards of excellence and inspiring countless dancers and choreographers.

George Balanchine (Jeorge Balanchine) is considered the father of modern ballet in America. Co-founder of the New York City Ballet, Balanchine transformed ballet by blending classical technique with contemporary movement, introducing plotless ballets, and emphasizing musicality.
His innovative style and teaching shaped American ballet into a distinct art form recognized worldwide.

Astad Deboo, an acclaimed Indian choreographer, is known for integrating Western modern dance techniques with Indian classical dance forms. Hе blended styles such as Kathak and Kathakali with contemporary movements to create a unique dance vocabulary.
His pioneering approach expanded the horizons of Indian dance on international stages and bridged cultural traditions through innovative choreography.

According to the Abhinayadarpana, the proper order of Tripataka hasta-viniyoga is Makute → Vrksabhave → Vajre → Vasave → Kapole.

• Makute (C): Represents a crown or diadem, symbolizing royalty or divinity.
• Vrksabhave (A): Indicates a tree, depicting nature within dance narratives.
• Vajre (B): Denotes the thunderbolt (Vajra), signifying power and strength.
• Vasave (D): Refers to Indra (Vasava), the king of gods associated with the Vajra.
• Kapole (E): Means on the cheek, used for tender or graceful expressions in abhinaya.

This sequence follows the specific sloka order in the Abhinayadarpana, moving from regal symbolism to natural imagery, divine association, and expressive facial placement.
Hence, correct order is C, A, B, D, E.

The proper order of elements from Natyashastra chapters is:

• Origin of Drama (C): Explains how drama was created by the gods for entertainment and instruction.
• Preliminaries of a play (B): Details the rituals and preparations before staging.
• Gestures of minor limbs (D): Describes hand, head, and facial gestures.
• Cari movements (E): Covers foot and leg movements.
• Mandala movements (A): Discusses full-body positions and stances.

This sequence follows the natural progression from the genesis of drama to performance techniques.
Hence, correct order is C, B, D, E, A.

The proper sequence of Angaharas in the sloka is Sthirahasta → Apaviddha → Aksiptaka→ Aparajita → Bhramara.

• Sthirahasta (C): Begins with a firm-hand or steady base, providing structural stability for subsequent movements.
• Apaviddha (D): A casting or flicking away action, suggesting release or redirection of energy.
• Aksiptaka (B): A projecting or launching gesture, conveying outward extension or dynamic thrust.
• Aparajita (A): Represents the "unconquered" or victorious action, a triumphant movement indicating dominance or success.
• Bhramara (E): The final bee-like circling gesture, adding fluid embellishment and closing flourish.

This order reflects the classical progression of Angaharas, moving from a stable base to dynamic actions, victorious expression, and finally an ornamental whirling finish.

The Ardhapataka hasta viniyoga usages follow:
D. Pallava: Represents tender leaves or buds.
B. Phalaka: Used for boards or panels.
A. Krakaca: Depicts a saw.
C. Dhwaja: Indicates a flag.
E. Gopura: Represents a temple tower.
This order reflects the sequence provided in Abhinayadarpana for Ardhapataka applications. Hence, correct order is D, B, A, C, Е.

The chronological order of these poets is:
D. Jayadeva (12th century): Composer of Gita Govinda, a seminal Sanskrit lyrical work.
B. Annamacharya (15th century): Renowned saint-composer devoted to Lord Venkateswara.
C. Kshetrayya (17th century): Telugu poet known for padams expressing shringara rasa.
A. Thyagaraja (18th-19th century): One of the Trinity of Carnatic music.
E. Mysore Vasudevacharya (19th-20th century): Carnatic composer and scholar.
This sequence follows the historical timeline of their lifespans and contributions. Hence, correct order is D, B, C, A, E.