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

Correct matching is:

• Ruth St Denis → Radha (III): She created Radha (1906), one of her earliest works, inspired by Indian spirituality and oriental themes.

• Loie Fuller → Serpentine Dance (I): Famous for her use of fabric and stage lighting, her Serpentine Dance became iconic in modern dance history.

• Martha Graham → Lamentation (II): In this 1930 work, Graham performed wrapped in stretch fabric, embodying grief itself.

• Isadora Duncan → Orpheus (IV): Deeply influenced by Greek mythology, she choreographed Orpheus as part of her lyrical free-dance style.

Thus, the correct sequence is: A–III, B–I, C–II, D–IV

Correct matching is:

• A. Merce Cunningham → I. He considered movement itself as meaning, with no need for narrative, making dance an abstract art.
• B. Trisha Brown → III. She rejected emotive/narrative structures, focusing on pure mechanics of dance and gravity-defying postures.
• C. Twyla Tharp → II. Known for fusing ballet and modern dance with social forms like jazz, tap, and pop.
• D. Alwin Nikolais → IV. Used abstract movement combined with light, costume, and sound to create a total theatrical experience.

Hence, Correct sequence: A-I, B-III, C-II, D-IV

Let us carefully match each choreographer with the correct work:

• A. Michel Fokine → IV. Petrouchka: Michel Fokine, one of the most important choreographers of the Ballets Russes, created Petrouchka (1911), with music by Stravinsky.
• B. Serge Diaghileff → I. Giselle: Diaghilev was not a choreographer but the impresario of the Ballets Russes. Since the other options are clearly tied to choreographers, by elimination the only available match is Giselle (though originally a Romantic ballet of 1841, not Diaghilev's creation).
• C. George Balanchine → II. The Prodigal Son: Balanchine's famous early work with the Ballets Russes was The Prodigal Son (1929), with music by Sergei Prokofiev.
• D. Leonide Massine → III. The 3 Cornered Hat: Massine choreographed The ThreeCornered Hat (1919), with music by Manuel de Falla and designs by Picasso.

Hence, correct Matching: A-IV, B-I, C-II, D-III

The Natyashastra in Chapter 4 (Tandava Lakshana) gives the 108 Karanas in a fixed order. Among the given ones:

• Viskambha (E) - Karana no. 102
• Udghattita (C) - Karana no. 103
• Lolita (A) - Karana no. 105
• Sakatasya (B) - Karana no. 107
• Gangavatarana (D) - Karana no. 108

Thus, the sequence goes: E, C, A, B, D.

According to the Natyashastra, the Sanchari Bhavas follow a fixed sequence in their enumeration. From the given list, the order is as follows:

• Mada (A): Refers to intoxication or a state of pride and arrogance.
• Aalasyam (C): Represents laziness, indolence, or lethargy.
• Dainya (B): Signifies helplessness, dejection, or depression.
• Smriti (D): Stands for recollection or remembrance.
  Vrida (E): Indicates shame or modesty.

Therefore, the correct sequential arrangement is A, C, B, D, E.

In Indian classical dance, the concept of bhanga refers to the body's stance and its deviation from the central plumb line (straight vertical axis). The sequence moves from the most balanced/ neutral to the most deviated posture:

• Sama Bhanga (B): The neutral and balanced stance with no deviation.
• Abhanga (C): A slight deviation or bend of the body to one side.
• Tribhanga (D): The three bends of the body - at the neck, waist, and knee - creating an S-shaped posture.
• Ati Bhanga (A): The extreme form of deviation, with exaggerated bends.

Thus, in order of increasing deviation from the plumb line, the sequence is B, C, D, A.

Geographical order from South → North, it comes out as:
B. Swati Tirunal (Travancore, Kerala - extreme South)
D. Serfoji (Thanjavur, Tamil Nadu - South India)
E. Hasan Tanishah (Golconda, Hyderabad, Telangana - Deccan)
A. Raja Chakradhar Singh (Raigarh, Chhattisgarh - Central India)
C. Wajid Ali Shah (Lucknow, Uttar Pradesh - North India) Hence, correct order: B → D → E → AC This exact sequence is not present in the given options. So, the correct conclusion: None of the given options.

The Odissi dance repertoire follows a wellestablished traditional sequence, moving from invocatory items to pure dance, then abhinaya, and finally culminating in spiritual liberation.

• Mangalacharana (B): The opening invocatory item, offering prayers and seeking blessings of the deity, guru, and audience.
• Batu Nritya (D): A pure dance (nritta) number showcasing intricate footwork and sculpturesque poses, without abhinaya.
• Pallavi (C): A pure dance composition that begins with slow graceful movements and builds up to complex rhythmic patterns, highlighting raga and tala.
• Moksha (A): The concluding item, symbolizing spiritual release, danced with joy and freedom.

Thus, the correct sequence is: B, D, C, А.

The correct chronological order of the composers is:

A. Vidyapati (c. 1352-1448) - Early Maithili poet of the Bhakti era.
D. Srimanta Shankaradeva (1449-1568) - Saint-scholar of Assam and founder of the Neo-Vaishnavite movement.
C. Meerabai (1498–1546) - Devotional poetess and Krishna bhakta from Rajasthan.
B. Vanamalidasa (1700–1765) - Later Bhakti composer from the Vaishnava tradition. Thus, the sequence is A, D, C, В.

According to the Abhinaya Darpana, the sequence of Gati Bheda (gaits) is as follows:
• Hansi (C) - gait of a goose/swan.
• Mayuri (A) - gait of a peacock.
• Mrigi (B) - gait of a deer.
• Gajalila (E) - gait of an elephant.
• Turangini (D) - gait of a horse.
Thus, the correct order is C, A, B, E, D.