DANCE
PAPER – II
Note : This paper contains hundred (100) objective type questions of two (2) marks each. All questions are compulsory.
Read the following paragraph and answer question numbers 1 to 5 :
“Whether Bharata was a historical person or whether the author gave himself the name Bharata is a question more difficult to answer. If the work is organic whole reflecting a single vision it would follow that the writer was a historical person who by volition made no attempt to reveal his personal identity because he believed that he represented and shared a school of thought. He was investigating a field; he was developing a theory within a larger history of discourse and laying out the broad parameters, rather than stating an individual or personal position.
Logically, the mode of presentation is one of a dialogue between Bharata and Sages. It is the inquiry into the nature of drama that unfolds the origin, theory and technique of drama and theatre with all its components of speech, word, body-language, gesture, costuming, decor and the inner states or temperaments. Judging from the above it would be reasonable to assume that
whoever Bharata was, he did belong to a community of artists, actors, dancers, poets, musicians, who shared a world-view – a mythology, was conversant with a textual tradition of the Vedas and was acquainted with and adept in actual performance and practice. How else would one understand a text couched in a language of mythology with repeated references to Vedic texts and
rituals or ‘Yagna’ as also to performance rites, ‘Puja-s’ ?”
– Dr. Kapila Vatsyayan
Bharata – The , Natyasastra
1. Pick the odd one out :
Bharata belonged to a community of :
(1) artists
(2) actors
(3) dancers
(4) acrobats
2. The mode of presentation is one of a dialogue between :
(1) Bharata and Tandu
(2) Bharata and Sages
(3) Bharata and Narada
(4) Bharata and Kohala
3. Assertion (A) : Bharata believed that he represented and shared a school of thought.
Reason (R) : He was developing a theory within a larger history of discourse.
Code :
(1) (A) true, (R) false
(2) (A) false, (R) true
(3) (A) and (R) both false
(4) (A) and (R) both true
4. Bharata was a historical person because :
(1) he gave himself the name.
(2) the work reflected a single vision.
(3) the text has references to Vedic texts.
(4) he was acquainted with an actual performance.
5. Match the List – I with List – II :
6. Assertion (A) : The phenomenon of folk-art tradition is a social organisation which belongs to specific communities.
Reason (R) : The folk-art forms like Bhavai or Ramlila do not have the tradition of Guru-Shisya parampara.
Code :
(1) (A) is false, (R) is true.
(2) (A) is true, (R) is false.
(3) Both (A) and (R) are true.
(4) Both (A) and (R) are false.
7. Match the List – I with List – II :
8. Which is the correct sequence of the ornaments in order of wearing from Top to Bottom ?
(1) Bahichudi, Kapa, Puspachuda, Tayita
(2) Kapa, Tayita, Puspachuda, Bahichudi
(3) Puspachuda, Kapa, Tayita, Bahichudi
(4) Tayita, Puspachuda, Kapa, Bahichudi
9. Pick the odd one out :
(1) Pallavi
(2) Chali
(3) Jatiswaram
(4) Vaddanamu
10. ‘Jugalbandi’ is a presentation of :
(1) Sawal – Jawab
(2) Tatkar
(3) Abhinaya
(4) Gatbhava
11. Assertion (A) : Kathakali can only be performed to the traditional attakathas with mythological characters.
Reason (R) : Kathakali has a rigid structural form with no possibility for elaboration and self-expression.
Code :
(1) Both (A) and (R) are true.
(2) Both (A) and (R) are false.
(3) (A) is true and (R) false.
(4) (A) is false and (R) true.
12. Match the List – I with List – II :
13. Identify the correct sequence according to seniority of age :
(1) Padma Subramaniam, Rukmini Devi Arundale, Balasaraswati, Malavika Sarukkai
(2) Balasaraswati, Rukmini Devi Arundale, Padma Subramaniam, Malavika Sarukkai
(3) Malavika Sarukkai, Balasaraswati, Padma Subramaniam, Rukmini Devi Arundale
(4) Rukmini Devi Arundale, Malavika Sarukkai, Balasaraswati, Padma Subramaniam
14. Pick the odd one out :
(1) Chenda
(2) Edakka
(3) Chengila
(4) Primalu
15. In Odissi, ‘Chala’ is a movement of :
(1) Feet
(2) Head
(3) Torso
(4) Wrist
16. Assertion (A) : ‘Geeta Govinda’ has a profound influence on all the poets of Orissa.
Reason (R) : ‘Astapadi’ was acted out and sung as an accompaniment to dance by the Maharis inside the Jagannath Temple.
Code :
(1) (A) true and (R) false
(2) (R) true and (A) false
(3) Both (A) and (R) are true
(4) Both (A) and (R) are false
17. Match the List – I with List – II :
18. Arrange the correct sequence of Folk dances from North to South :
(a) Rasleela
(b) Bhagoria
(c) Hafiza
(d) Mathuri
Code :
(1) (a), (c), (b), (d)
(2) (d), (c), (a), (b)
(3) (c), (a), (b), (d)
(4) (b), (a), (c), (d)
19. The ‘Padma Vibhusan’ Awardee Kathak Maestro is :
(1) Rammohan Maharaj
(2) Birju Maharaj
(3) Deepak Maharaj
(4) Acchhan Maharaj
20. Pick the odd one out :
(1) Thumari
(2) Radha Nartan
(3) Javali
(4) Kumin
21. Assertion (A) : In Manipuri dance, the total body articulations follow the basic motif of 8, which is embedded in the hierarchy of the race and is highlighted in every step of the dance arrangement.
Reason (R) : The age old symbol of ‘the snake biting its own tail’ called the Pakhangba is manifested in all movements and the curve of 8 has become the foundation of the technique of the dance form.
Code :
(1) (A) true, (R) false
(2) (A) false, (R) true
(3) (A) and (R) both true
(4) (A) and (R) both false
22. Match the List – I with List – II :
23. Arrange the correct sequence of Folk instruments from South to North.
(a) Lezim
(b) Nadaswaram
(c) Ravanhattha
(d) Rabab
Code :
(1) (a), (b), (c), (d)
(2) (b), (a), (c), (d)
(3) (d), (c), (a), (b)
(4) (c), (d), (a), (b)
24. The famous and reputed Kuchipudi institution in Chennai was founded by :
(1) Ravi Vempati
(2) Vempati Chinna Satyam
(3) Vedantam Satyanarayan
(4) Anuradha Jonalagadda
25. Assertion (A) : India is a singing and dancing nation where no event – social, religious or national – is complete without music and dance.
Reason (R) : The love for dance is seen on temple walls, musical compositions and in the eye of camera.
Code :
(1) (A) false, (R) true
(2) (A) true, (R) false
(3) (A) and (R) both false
(4) (A) and (R) both true
26. Put in correct sequence according to development in Western Ballet :
(a) Classical Ballet
(b) Court Ballet
(c) Romantic Ballet
(d) Modern Ballet
Code :
(1) (a), (b), (c), (d)
(2) (b), (c), (a), (d)
(3) (b), (a), (c), (d)
(4) (c), (a), (d), (b)
27. Pick the odd one out :
(1) Changu
(2) Mala
(3) Ramtali
(4) Ghuduki
28. The most developed form of dance drama of Karnataka is :
(1) Yakshagana
(2) Kamsale
(3) Kargam
(4) Teyyam
29. Assertion (A) : Originally Folk forms like Dollu Kunitha, Tepattam and Ottam Thullal were meant to be performed by male dancers only.
Reason (R) : The division of dances to be performed by men and women was not transgressed in traditional society.
Code :
(1) Both (A) and (R) are true
(2) (A) is false and (R) is true
(3) Both (A) and (R) are false
(4) (A) is true and (R) is false
30. Match the List – I with List – II :
31. Match the List – I with List – II :
32. Indicate the correct sequence for dances from East to West :
(1) Cheraw, Kandyan dance, Butoh, Wayang
(2) Kandyan dance, Butoh, Wayang, Cheraw
(3) Wayang, Cheraw, Kandyan dance, Butoh
(4) Butoh, Wayang, Cheraw, Kandyan dance
33. Pick the odd one out of string puppets theatre :
(1) Katputli
(2) Putala naach
(3) Choliyattam
(4) Kalasutri Bahulia
34. ‘Ramgarh’ is famous for :
(1) Natyashala
(2) Karan
(3) Sthanak
(4) Temple
35. Assertion (A) : “Dance and the Camera” festival of New York remains the longest running dance film festival.
Reason (R) : All Indians of America love going to see this festival.
Code :
(1) (A) true, (R) false
(2) (A) and (R) both false
(3) (A) false, (R) true
(4) (A) and (R) both true
36. Match the List – I with List – II :
37. Pick the odd one out :
(1) Jhumur
(2) Baul
(3) Nachhni
(4) Giddha
38. Tamasha Folk Theatre is similar to :
(1) Prahasana
(2) Nataka
(3) Ramlila
(4) Nautanki
39. Assertion (A) : Mohini Attam, a couple of centuries ago was considered a misfit on Kerala culture.
Reason (R) : Mohini Attam only modified the technique of Kathakali and Bharatanatyam and made it into a popular, light hearted technique.
Code :
(1) (A) is false, (R) true
(2) Both (A) and (R) are true
(3) Both (A) and (R) are false
(4) (A) is true, (R) is false
40. Match the List – I with List – II :
41. Pick the odd one out :
(1) Chhou
(2) Teyyam
(3) Tamasha
(4) Mohiniattam
42. Aarya Koothu is another name for :
(1) Theru koothu
(2) Veethi Bhagavatam
(3) Bhagavata Mela Natakam
(4) Tiranokku
43. Assertion (A) : Contemporary Artists and Companies working in the fields of classical ballet, modern ballet, jazz, show dance or other popular dances are doing Contemporary Dance.
Reason (R) : Different terms like modern dance, post-modern dance, ‘new’ dance, experimental dance, dance improvisation as well as other terms in different languages are used for Contemporary Dance.
Code :
(1) (A) false, (R) true
(2) (A) true, (R) false
(3) (A) and (R) both false
(4) (A) and (R) both true
44. Match the List – I with List – II :
45. Pick the odd one out :
(1) Noh
(2) Bon Odori
(3) Dragon Dance
(4) Kabuki
46. Gaba is bamboo dance from :
(1) Burma
(2) Sri Lanka
(3) Malaysia
(4) Java
47. Assertion (A) : Gender is not a particularly important issue in the art of dance in India today.
Reason (R) : Dance as a total activity that is, as a product of purpose, design, choreography, training and staging, showed a division of labour by gender from its earliest history till about 18th Century in India.
Code :
(1) (A) and (R) both false
(2) (A) false, (R) true
(3) (A) and (R) both true
(4) (A) true, (R) false
48. Match the List – I with List – II :
49. Pick the odd one out :
(1) Tutu
(2) Bare feet
(3) Corset
(4) Pointe
50. Fawn Tian is :
(1) Peacock dance
(2) Candle dance
(3) Fan dance
(4) Plate dance
51. Assertion (A) : Bedhaya, the court dance of Java, is a skillful dance by men and women performed traditionally on drum beats.
Reason (R) : Bedhaya is aimed at entertaining the king and his subjects and often includes comedical movements.
Code :
(1) (A) true, (R) false
(2) (A) false, (R) true
(3) (A) and (R) true
(4) (A) and (R) false
52. Match the List – I with List – II :
53. Arrange the correct sequence according to Historical facts :
(a) Bharatnatyam
(b) Ban in temple
(c) Legal battle
(d) Dasi Attam
Code :
(1) (d), (c), (b), (a)
(2) (a), (b), (c), (d)
(3) (d), (c), (a), (b)
(4) (b), (d), (c), (a)
54. Pick the odd one out :
(1) Beethoven
(2) Tchaikovsky
(3) John Cage
(4) Rudolf Nureyev
55. Assertion (A) : Post-modern dance included the use of everyday movements as suitable in performance art and promoted fresh system of dance composition.
Reason (R) : The philosophical movement, post-modernism, is mostly a result against the philosophical supposition and principles of the modern period of Western history.
Code :
(1) (A) false, (R) true
(2) (A) true, (R) false
(3) (A) and (R) both false
(4) (A) and (R) both true
56. Match the List – I with List – II :
57. Arrange the correct sequence of choreography of Kumudini Lakhia from the earliest :
(a) Atah-kim
(b) Sama Samvedan
(c) Dhabkar
(d) The coat
Code :
(1) (a), (b), (c), (d)
(2) (c), (a), (d), (b)
(3) (d), (a), (b), (c)
(4) (c), (d), (a), (b)
58. Pick the odd one out of the choreographic works of Aditi Mangaldas :
(1) Footprints on Water
(2) Now Is
(3) Textures of Silence and Rhythms of sound
(4) Chhaya Purush
59. In Ballet de la Nuit, Louis XIV portrayed :
(1) The Rising Sun
(2) The Setting Sun
(3) The Rising Moon
(4) The Setting Moon
60. Assertion (A) : If we were to discuss dance teaching practices in India, no statement will hold true in respect to past and present teaching practices for all forms.
Reason (R) : It is not at all necessary for dancers to learn music, language and stage craft.
Code :
(1) (A) and (R) both true
(2) (A) false, (R) true
(3) (A) true, (R) false
(4) (A) and (R) both false
61. Assertion (A) : The spirit that lies behind Burmese drama is evoked by the music, the visual impact of the character type presented in elaborate classical dance costume and the stylization of the dance appropriate to that character.
Reason (R) : The pattern of Burmese drama arises from the original theatrical impulse and continued theatrical taste of Burma : dance, song and clowning sometimes have more seniority than drama.
Code :
(1) (A) true, (R) false
(2) (A) false, (R) true
(3) (A) and (R) both true
(4) (A) and (R) both false
62. Match the List – I with List – II :
63. Pick the odd one out :
(1) Cinderella
(2) Von Rothbart
(3) Princess Odette
(4) Prince Siegfried
64. Assertion (A) : Arjuna who comes in the disguise as Bruhannala was much valued as dancer.
Reason (R) : The dance of a trans-gender was special for the society.
Code :
(1) (A) and (R) both true
(2) (A) and (R) both false
(3) (A) false, (R) true
(4) (A) true, (R) false
65. Match the List – I with List – II :
66. Arrange the correct sequence according to seniority from old to young :
(a) Shantivardhan
(b) Bharat Sharma
(c) Mayuri Upadhya
(d) Manjushri Chaki Sarkar
Code :
(1) (a), (d), (b), (c)
(2) (b), (a), (c), (d)
(3) (d), (a), (b), (c)
(4) (c), (d), (a), (b)
67. Pick the odd one out of choreographers for films :
(1) Vazhuvoor Ramaiyya Pillai
(2) Birju Maharaj
(3) Kanak Rele
(4) Kumudini Lakhia
68. The most popular Dance Choreographer of Bollywood is :
(1) Rajendra Gangani
(2) Kiran Segal
(3) Prabhudeva
(4) Mamta Shankar
69. Assertion (A) : Dance therapy can help in building a new consciousness of the power of movement by cultivating a rebirth of body and mind.
Reason (R) : Dance re-emerges as a unique process of therapy, education, psycho-social rehabilitation – specially for those who are most often silent.
Code :
(1) (A) false, (R) true
(2) (A) true, (R) false
(3) (A) and (R) both true
(4) (A) and (R) both false
70. Match the List – I with List – II :
71. Pick the odd one out :
(1) The other Festival – Prakriti Foundation
(2) Nartanam – Anita Ratnam
(3) Unchartered Seas – Aditi Mangaldas
(4) The Pickle Factory – Vikram Iyenger
72. The name of the awardee of “Kalidas Samman” is __________ .
(1) Raja Radha Reddy
(2) S. Hari Kumar
(3) Geeta Chandran
(4) Urmila Satyanarayan
73. Assertion (A) : For Bharata, dance was part of dramaturgy and to be employed as an ornamental overlay upon drama.
Reason (R) : According to legend, it was Shiva himself who prescribed the addition of dance to the preliminaries of a dramatic performance in order to add beauty to it.
Code :
(1) (A) true, (R) false
(2) (A) false, (R) true
(3) (A) and (R) both false
(4) (A) and (R) both true
74. Match the List – I with List – II :
75. Pick the odd one out :
(1) Improvisation
(2) Freedom
(3) Identity
(4) Fixed Repertoire
76. Identify the name of the Dance Production which is choreographed by Udayshankar :
(1) Tomar Matir Kanya
(2) Kon Nutaner Dak
(3) Labour and Machinery
(4) Sarpagati
77. Assertion (A) : According to Abhinaya Darpan “Where the hand flows the eye follows, where the eyes go the mind follows, where the mind goes emotion follows and where the emotion goes Rasa is produced”.
Reason (R) : Nandikeshwara’s emphasis remains on the movement of the body.
Code :
(1) (A) and (R) both false
(2) (A) and (R) both true
(3) (A) true, (R) false
(4) (A) false, (R) true
78. The Name of the Festival which is held at Bengal __________.
(1) Konark Festival
(2) Udayshankar Festival
(3) Taj Mahotsav
(4) Kal Ke Kalakar
79. Assertion (A) : The spiritual importance of representing divine beings through dance, drama and music is attested by the wide spread performances of Jayadeva’s Gita Govinda.
Reason (R) : Astapadis of Geeta Govinda, when danced evoke erotic feelings.
Code :
(1) (A) false, (R) true
(2) (A) and (R) both true
(3) (A) true, (R) false
(4) (A) and (R) both false
80. Match the List – I with List – II :
81. Pick the odd one out :
(1) Roudra
(2) Veera
(3) Samputa
(4) Bhayanaka
82. This Double Hand gesture is used to denote a demon and found to be used in playing his role :
(1) Sakata hasta
(2) Chakrahasta
(3) Pasahasta
(4) Khatva hasta
83. Match the List – I with List – II :
84. Arrange the correct sequence of chapters of the Natyashashtra :
(a) Poorvarangavidhan
(b) Tandava Lakshan
(c) Ras
(d) Bhav
Code :
(1) (b), (a), (c), (d)
(2) (c), (d), (a), (b)
(3) (d), (c), (a), (b)
(4) (c), (a), (b), (d)
85. Pick the odd one out :
(1) Sthanaka
(2) Astapadi
(3) Padachalana
(4) Bhangi
86. When the face is turned to a side, the head is called :
(1) Parivahit
(2) Paravritt
(3) Utkshipt
(4) Prakampita
87. Pick the odd one out :
(1) Jatila
(2) Vishakha
(3) Champaklata
(4) Suchitra
88. Arrange the correct sequence according to chronology from earliest times :
(a) Abhinayadarpana
(b) Bhavaprakashan
(c) Natyapradip
(d) Abhinavabharati
Code :
(1) (d), (b), (a), (c)
(2) (a), (b), (c), (d)
(3) (d), (c), (b), (a)
(4) (a), (c), (d), (b)
89. Pick the odd one out :
(1) Jatayu
(2) Shoorpanakha
(3) Panchali
(4) Marich
90. ‘Bharati’ is a :
(1) Pravritti
(2) Sanchari
(3) Vritti
(4) Dharmi
91. Assertion (A) : Ramayana and Mahabharata are much danced in all dance styles of India.
Reason (R) : Through dance, the stories, their relevance and sensibility gets a visual life.
Code :
(1) (A) and (R) both true
(2) (A) and (R) both false
(3) (A) true, (R) false
(4) (A) false, (R) true
92. Match the List – I with List – II :
93. When the Dhrishti is neither raised nor lowered as if motionless is called :
(1) Sama
(2) Sachi
(3) Avalokita
(4) Pralokita
94. Match the List – I with List – II :
95. The “Rupaka” which has many acts is :
(1) Samavkar
(2) Bhan
(3) Vithi
(4) Vyayoga
Read the following paragraph and answer question numbers 96 to 100 :
“India’s cultural history shows a disparity between dancing and other major performing arts, such as music and acting. From the beginning, Indian music and drama have been performed both by male and female performers. From textual and visual records of music and classical theatre, we learn there were both male and female performers of vocal and instrumental music and also actors could be either male or female. But the case was different in dancing : although men are not forbidden to dance, the dance texts – dating from the earliest days till the eighteenth century – show only women as the actual dancers. The aesthetic reason is not hard to find. The discourse on dancing recognized from the beginning that it was an art of the body, a dynamic system of capturing the beauty of motion and of representing ideas and experience. Because it was an art that had to be inscribed upon the human body, it could not remain untouched by gender identities. In both abstract and representational form of dancing, gender values such as feminine, grace and masculine vigor was assigned to movements and expressions.”
– Dr. Mandakranta Bose
(Ownership of Indian Classical Dancing)
96. Match the List – I with List – II :
97. Assertion (A) : India’s cultural history shows a disparity between dancing and other major performing arts, such as music and acting.
Reason (R) : The textual and visual records of performing arts hardly give importance to dance.
Code :
(1) (A) and (R) both false
(2) (A) and (R) both true
(3) (A) true, (R) false
(4) (A) false, (R) true
98. The dance texts – dating from the earliest days till 18th century – show :
(1) only women as musicians
(2) only men as actors
(3) only women as actual dancers
(4) only women as singers
99. Dance is a dynamic system of capturing the beauty of :
(1) Body
(2) Aesthetics
(3) Experience
(4) Motion
100. Pick the odd one out :
(1) Gender identities
(2) Abstract dancing
(3) Representational dancing
(4) Art of body
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