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

Kudiyattam → Krishnattam → Ramanattam → Kathakali. Kudiyattam is the oldest (Sanskrit theatre with a millennia-old lineage). In the early modern era, temple-centred Krishnattam arose at the Guruvayur court focusing on Krishna's episodes;
Ramanattam developed next, composing Ramayana episodes in the local language for broader audiences; finally, Kathakali crystallized as a refined, codified dance-drama inheriting and systematizing elements of Ramanattam (costume, makeup, codified abhinaya, music).
Hence, correct order is A, B, C, D.

In the Abhinayadarpana, the Pataka hastaviniyoga (usages of the Pataka hand gesture) is presented in the order Varivahe → Vastunisedhane → Kuchasthale → Turange → Sayane.
B. Varivahe: Represents flowing water or movement, often used to depict streams, rivers, or the act of carrying something.
D. Vastunisedhane: Signifies denial or prohibition, expressing refusal or rejection through a flat, firm gesture.
E. Kuchasthale: Indicates the chest or bosom, a body-referential usage for self-reference or modesty.
C. Turange: Depicts a horse, representing animals or riding scenes within dance narratives.
A. Sayane: Conveys lying down or resting, symbolizing repose, sleep, or relaxation.
This sequence progresses from naturalistic elements and expressive meanings to body placement, object representation, and finally postural depiction-showing the versatile narrative applications of the Pat ka hasta in classical Indian dance.
Hence, correct order is B, D, E, C, А.

The Abhinayadarpana enumerates ten Gati Bhedas (types of gaits), among which the ones in the options are:
A. Hamsi: The gait of a goose or swan, symbolizing grace and fluidity.
B. Mrigi: The gait of a deer, evoking lightness and alertness.
D. Manavi: The gait of a human, representing natural, everyday movement.
Options like Lolitha and Vegini are not part of the gati bhedas-they belong to other movement classifications (e.g., chari bhedas).
These three gaits reflect the text's focus on imitating nature and human behavior to enhance expressiveness in performance.
Hence, correct options is A, B and D only.

In the Yaksagana tradition (especially in its literary/musico-poetic framework), Daruvu (A) denotes stylized song sections, Padyam (B) are metrical verses delivered in sung/recited form, and Dwipada (D) is a couplet-based prosodic form used for narration/dialogue. These are integral textual-musical vehicles that drive episodes and character exposition on stage.
Hence, correct options is A, B and D only.

Temple dancing women ceremonially dedicated to deities were known regionally as Maharis (E) in Odisha and Kalavantins/Kalavantulu (D) in parts of the Telugu regions; both terms denote women ritually attached to temple service through dance-music. In several North-Indian contexts, Bhagtans (A) functions as a term for devotional women performers associated with shrines/ ritual singing, aligning with the idea of women dedicated to temple performance traditions.
Hence, correct options is A, D and E only.

Sancharibhavas are the transitory emotional states listed in dramaturgical texts like the Natyashastra and elaborated in the Abhinayadarpana. Among the options:
A. Chapalata (Restlessness): Recognized as a fleeting emotional state. C. Trasa (Fear or Fright): A classical Sancharibhava expressing sudden fear.
E. Vitarka (Deliberation or Doubt): Represents the mind's vacillation or uncertainty. Bhujangi (B) and Swara (D) are not classified as Sancharibhavas.
Hence, correct options is A, C and E only.

Kinesthetic learning in dance is primarily concerned with body movement and body awareness.
C. Body movement: Kinesthetic learning emphasizes learning through physical action, refining skills by experiencing movement.
D. Body awareness: Dancers develop spatial orientation, balance, and control through heightened awareness of their body's positioning.
Visual or auditory cues and tactile feedback can support learning but are not the primary focus. Hence, correct options is C and D only.

The correct related combination is: Kolam Tullal (B), Masked Dance (D), and Kerala (E).
• Kolam Tullal (B): A ritual folk dance form performed in temples and households of Kerala, traditionally enacted to please deities and ensure prosperity.
• Masked Dance (D): Kolam Tullal is performed with elaborate masks (kolams) crafted from the spathes of areca nut trees, making it a distinct masked dance tradition.
• Kerala (E): The geographic origin and cultural context of Kolam Tullal, embedding it firmly within Kerala's ritualistic performance heritage.
The other items are unrelated in this context:
A. Veedhi Natakam: A street theatre form from Andhra Pradesh, not linked to Kerala's Kolam Tullal.
C. Tholubommalu: A shadow puppetry tradition of Andhra Pradesh, distinct from Kerala's Tholpavakoothu.
Hence, correct options is B, D and E only.

The related combination is:
A. Assam: The Indian state where Sattriya originated.
C. Sattriya Dance: One of the eight classical dance forms of India.
D. Sri Shankardev: The 15th-16th century saintscholar credited with creating and propagating Sattriya as a devotional art form.
Tamil Nadu and Madhya Pradesh are unrelated to this specific combination.
Hence, correct options is A, C and D only.

The Daksinatya (southern) local usages in the context of the Natyashastra include:
C. Mahendro: A term associated with southern adaptations of movement or terminology.
D. Malayah: Denotes a regional southern reference within performance contexts.
E. Sahyo: Another southern local usage reflecting the adaptation of classical terminology to regional practice.
These terms are identified as part of the Daksinatya tradition rather than the broader pan-Indian classifications like Sthirahasta or Udghattitha. Hence, correct options is C, Dand E only.