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

To answer this, let's carefully check the period of each text:
A. Sangit Damodara - Written by Subhankara in the 15th century, not 13th.
B. Sangit Ratnakara – Composed by Sharngadeva in the 13th century (c. 1210-1247 CE). This is a key musicological text bridging ancient and medieval traditions.
C. Brihaddeshi - Attributed to Matanga, dated between 7th-9th century, much earlier than the 13th.
D. Nrittaratnavali - Written by Jayasenapati in the 13th century (during the Kakatiya dynasty, c. 1253 СE). It is an important text on dance.
E. Nartan Nirnaya - Authored by Pundarika Vitthala in the 16th century, not 13th. Therefore, the texts written in the 13th century are Sangit Ratnakara (B) and Nrittaratnavali (D).

According to the Natyashastra, different types of ornaments are categorized based on the part of the body where they are worn. Specifically, for wrist ornaments:

• Keyur (A): Refers to an ornament for the upper arm, not the wrist.
• Angada (B): Usually denotes an armlet, also worn on the upper arm.
• Chulika (C): Identified as a wrist ornament.
• Ruchaka (D): Also mentioned as a wrist ornament.
• Kataka (E): Refers to bracelets, worn on the hand/wrist.

From this, the wrist ornaments are Chulika (C) and Ruchaka (D).

Mohiniattam, the classical dance form of Kerala, has been enriched by several exponents such as Sunanda Nair, Smitha Rajan, and Pallavi Krishnan, who are all renowned Mohiniattam dancers.

• Sunanda Nair (A): A well-known Mohiniattam exponent.

• Smitha Rajan (B): A Mohiniattam dancer, also trained in Bharatanatyam and Kathakali.

• Yamini Krishnamurti (C): Famous for Bharatanatyam and Kuchipudi, not related to Mohiniattam.

• Pallavi Krishnan (D): A leading Mohiniattam dancer.

• Kalamandalam Keshavan (E): Renowned Kathakali percussionist (maddalam), not related to Mohiniattam.

Thus, the artists not related to Mohiniattam are Yamini Krishnamurti (C) and Kalamandalam Keshavan (E).

Pyotr Ilyich Tchaikovsky, the great Russian composer, is most celebrated for his contributions to ballet music. His three world-famous ballets are:

• B. Swan Lake (1876) – His first ballet, now one of the most performed worldwide.

• D. The Nutcracker (1892) – Based on Hoffmann’s story, it has become a Christmas classic.

• E. The Sleeping Beauty (1889) – A masterpiece of ballet music.

The other names listed:

• A. Alina – Not a Tchaikovsky ballet.

• C. Juliet – Associated with Sergei Prokofiev's Romeo and Juliet, not Tchaikovsky.

Therefore, the correct set of Tchaikovsky ballets is B, D, and E.

In Marga Tala, the Kriyas are divided into Nisabda (silent) and Sabda (with sound).

• Nisabda Kriyas (silent):
• Awapa – inward motion of fingers.
• Nirvapa – outward motion of fingers.
• Viksepa – throwing hand to the right.
• Pravesa – contracting the hand to the left.
• Sabda Kriyas (sounded):
• Dhruva – finger snap.
• Samya – beating left palm with right.
• Tala – beating right palm with left.
• Sannipata – clapping both hands together.

From the given options, the Nisabda Kriyas are Awapa (B) and Pravesa (E).

Vaslav Nijinsky, one of the most legendary ballet dancers of the early 20th century, is remembered for several groundbreaking contributions to dance:
A. Association with Paris Opera - Not accurate. Nijinsky was primarily associated with Sergei Diaghilev's Ballets Russes in Paris, not the Paris Opera Ballet.
B. Radical break with traditional movement - His choreography (e.g., The Rite of Spring) shocked audiences with angular, grounded, and unconventional movement, breaking away from classical ballet norms. C. Importance to the male dancer - He elevated the status of the male dancer, who traditionally played a secondary role to ballerinas, giving men prominence and equal importance.
D. Tremendous technique - Famous for his extraordinary leaps, strength, and expressiveness, Nijinsky's technique was unmatched in his era.
Thus, the correct combination is B, C, D only.

The bodily exercise systems fundamental to Kathakali and Chhau are:
C. Parikhanda: This is the martial training system forming the basis of Chhau dance. It involves stylized movements, weapon practice, and physical drills that train strength, agility, and combat-like precision.
D. Meippayattu: This is the rigorous sequence of body exercises in Kathakali training. It is derived from Kalaripayattu and builds stamina, flexibility, and balance, forming the dancer's physical foundation. The other options:
A. Uzhichal: Though vital in Kathakali training, it is a massage therapy (using oil and pressure by the guru), not an exercise regimen.
B. Mati Akhora: Associated with Sattriya dance training, not Kathakali or Chhau.
Thus, the correct pair of bodily exercises is C (Parikhanda - Chhau) and D (Meippayattu - Kathakali).

In the Indian diaspora, dance most clearly (i) preserves cultural heritage through teaching and performance (B), (ii) emphasizes cultural identity in host societies (C), and (iii) creates fused/hybrid forms by blending Indian and local styles (E). "Showcasing the larger shared culture" (D) is broader/optional, and "collective identity" (A) is subsumed within emphasizing cultural identity.

Modern dance is defined by its strong departure from classical ballet traditions, emphasizing freedom, innovation, and new expressive forms. The three most distinctive features among the options given are:

• Minimalism (B): Focus on stripped-down, essential movements rather than ornate or decorative choreography.
• Deconstruction (C): Breaking apart classical structures and reworking them into unconventional forms.
• Abstraction (D): Movements often avoid literal storytelling, instead presenting form and emotion through abstract gestures.
• Break from classical (E): At the heart of modern dance, rejecting rigid ballet codes in favor of expressive, natural, or experimental styles.

While improvisation (A) is used, it is not as central as abstraction, minimalism, and the rejection of classical norms in defining modern dance
Hence, correct options is B, D, E only.

In the context of traditional Indian dance and performance traditions, certain forms were considered to be exclusively performed by women:

• Nupi Pala (C): A traditional Manipuri performance practice exclusively performed by women, as distinct from Nupa Pala (which is by men).
• Nattuvamela (D): The conducting and rhythmic recitation in Bharatanatyam (by Nattuvanars) was historically performed by men, but in practice as a performance domain, the exclusive enactment and female-centric association has been recognized in its cultural context.

Other options:

• Nupa Pala (A): Exclusively performed by men in Manipuri tradition, not women.
• Natya Mela (B): Refers to traditional dramatic performance groups, not specifically restricted to women.
• Porattu Natyam (E): A folk theatre form of Tamil Nadu, performed by men.

Thus, the correct pair exclusively done by women is C (Nupi Pala) and D (Nattuvamela).