Signature and Name of Invigilator OMR Sheet No. : ...... 1. (Signature) (To be filled by the Candidate) (Name) Roll No. 2. (Signature) (In figures as per admission card) (Name) Roll No. J 6515 PAPER - III (In words) Time : 2½ hours] DANCE [Maximum Marks : 150 Number of Pages in this Booklet : 32 Number of Questions in this Booklet : 75 Instructions for the Candidates ÂÚUèÿææçÍüØô¢ ·ð¤ çÜ° çÙÎðüàæ 1. Write your roll number in the space provided on the top of 1. §â ÂëDU ·ð¤ ª¤ÂÚU çÙØÌ SÍæÙ ÂÚU ¥ÂÙæ ÚUôÜU ÙÕÚU çÜç¹°Ð this page. 2. This paper consists of seventy five multiple-choice type of 2. §â ÂýàÙ-Âæ ×𢠿ãæÚU Õãéçß·¤ËÂèØ ÂýàÙ ãñ´Ð questions. 3. ÂÚUèÿææ ÂýæÚUÖ ãôÙð ÂÚU, ÂýàÙ-ÂéçSÌ·¤æ ¥æ·¤ô Îð Îè ÁæØð»èÐ ÂãÜðU ÂUæ¡¿ ç×ÙÅU 3. At the commencement of examination, the question booklet ¥æ·¤ô ÂýàÙ-ÂéçSÌ·¤æ ¹ôÜÙð ÌÍæ ©â·¤è çÙÙçÜç¹Ì Áæ¡¿ ·ð¤ çÜ° çÎØð will be given to you. In the first 5 minutes, you are requested ÁæØð¢»ð, çÁâ·¤è Áæ¡¿ ¥æ·¤ô ¥ßàØ ·¤ÚUÙè ãñ Ñ to open the booklet and compulsorily examine it as below : (i) ÂýàÙ-ÂéçSÌ·¤æ ¹ôÜÙð ·ð¤ çÜ° ÂéçSÌ·¤æ ÂÚU Ü»è ·¤æ»Á ·¤è âèÜ ·¤æð (i) To have access to the Question Booklet, tear off the paper seal on the edge of this cover page. Do not accept ȤæǸ Üð¢UÐ ¹éÜè ãé§ü Øæ çÕÙæ SÅUè·¤ÚU-âèÜU ·¤è ÂéçSÌ·¤æ Sßè·¤æÚU Ù ·¤Úð¢UÐ a booklet without sticker-seal and do not accept an open (ii) ·¤ßÚU ÂëDU ÂÚU ÀUÂð çÙÎðüàææÙéâæÚU ÂýàÙ-ÂéçSÌ·¤æ ·ð¤ ÂëDU ÌÍæ ÂýàÙô¢ ·¤è booklet. â¢Øæ ·¤ô ¥ÀUè ÌÚUã ¿ñ·¤ ·¤ÚU Üð¢U ç·¤ Øð ÂêÚðU ãñ¢UÐ ÎôáÂêæü ÂéçSÌ·¤æ (ii) Tally the number of pages and number of questions in çÁÙ×ð¢ ÂëDU/ÂýàÙ ·¤× ãô¢ Øæ ÎéÕæÚUæ ¥æ »Øð ãô¢ Øæ âèçÚUØÜU ×ð¢ Ù ãô¢ the booklet with the information printed on the cover ¥ÍæüÌ ç·¤âè Öè Âý·¤æÚU ·¤è æéçÅUÂêæü ÂéçSÌ·¤æ Sßè·¤æÚU Ù ·¤Úð¢U ÌÍæ page. Faulty booklets due to pages/questions missing or duplicate or not in serial order or any other ©âè â×Ø ©âð ÜUõÅUæ·¤ÚU ©â·ð¤ SÍæÙ ÂÚU ÎêâÚUè âãè ÂýàÙ-ÂéçSÌ·¤æ Üð discrepancy should be got replaced immediately by a Üð¢Ð U §â·ð¤ çÜ° ¥æ·¤ô Âæ¡¿ ç×ÙÅU çÎØð ÁæØð¢»ðÐ ©â·ð¤ ÕæÎ Ù Ìô correct booklet from the invigilator within the period ¥æ·¤è ÂýàÙ-ÂéçSÌ·¤æ ßæÂâ Üè ÁæØð»è ¥õÚU Ù ãè ¥æ·¤ô ¥çÌçÚUQ¤ of 5 minutes. Afterwards, neither the Question Booklet â×Ø çÎØæ ÁæØð»æÐ will be replaced nor any extra time will be given. (iii) §â Áæ¡¿ ·ð¤ ÕæÎ ÂýàÙ-ÂéçSÌ·¤æ ·¤æ Ù´ÕÚU OMR Âæ·¤ ÂÚU ¥¢ç·¤Ì ·¤Úð¢U (iii) After this verification is over, the Test Booklet Number ¥UõÚU OMR Âæ·¤ ·¤æ Ù´ÕÚU §â ÂýàÙ-ÂéçSÌ·¤æ ÂÚU ¥¢ç·¤Ì ·¤ÚU Îð¢Ð should be entered on the OMR Sheet and the OMR Sheet Number should be entered on this Test Booklet. 4. ÂýØð·¤ ÂýàÙ ·ð¤ çÜ° ¿æÚU ©æÚU çß·¤Ë (1), (2), (3) ÌÍæ (4) çÎØð »Øð ãñ¢Ð 4. Each item has four alternative responses marked (1), (2), (3) ¥æ·¤ô âãè ©æÚU ·ð¤ ßëæ ·¤ô ÂðÙ âð ÖÚU·¤ÚU ·¤æÜæ ·¤ÚUÙæ ãñ Áñâæ ç·¤ Ùè¿ð and (4). You have to darken the circle as indicated below on çιæØæ »Øæ ãñÐ the correct response against each item. ©ÎæãÚUæ Ñ ÁÕç·¤ (3) âãè ©æÚU ãñÐ Example : where (3) is the correct response. 5. ÂýàÙæ𴠷𤠩æÚU ·ð¤ßÜ ÂýàÙ ÂéçSÌ·¤æ ·ð¤ ¥ÎÚU çÎØð »Øð OMRU Âæ·¤ ÂÚU ãè 5. Your responses to the items are to be indicated in the OMR ¥´ç·¤Ì ·¤ÚUÙð ãñ´Ð ØçÎ ¥æ OMRU Âæ·¤ ÂÚU çÎØð »Øð ßëæ ·ð¤ ¥Üæßæ ç·¤âè Sheet given inside the Booklet only. If you mark your response at any place other than in the circle in the OMR ¥Ø SÍæÙ ÂÚU ©æÚU ç¿ãæ¢ç·¤Ì ·¤ÚUÌð ãñ´, Ìô ©â·¤æ ×êËUØ梷¤Ù Ùãè¢ ãô»æÐ Sheet, it will not be evaluated. 6. ¥ÎÚU çÎØð »Øð çÙÎðüàæô¢ ·¤ô ØæÙÂêßü·¤ Âɸð¢UÐ 6. Read instructions given inside carefully. 7. ·¤ææ ·¤æ× (Rough Work) §â ÂéçSÌ·¤æ ·ð¤ ¥çÌ× ÂëDU ÂÚU ·¤Úð¢UÐ 7. Rough Work is to be done in the end of this booklet. 8. ØçÎ ¥æ OMR Âæ·¤ ÂÚU çÙØÌ SÍæÙ ·ð¤ ¥Üæßæ ¥ÂÙæ Ùæ×, ÚUæðÜ ÙÕÚU, 8. If you write your Name, Roll Number, Phone Number or ȤæðÙ ÙÕÚU Øæ ·¤æð§ü Öè °ðâæ ç¿q çÁââð ¥æ·¤è Âã¿æÙ ãæð â·ð¤, ¥´ç·¤Ì ·¤ÚUÌð put any mark on any part of the OMR Sheet, except for the space allotted for the relevant entries, which may disclose ãñ´ ¥Íßæ ¥ÖÎý Öæáæ ·¤æ ÂýØæð» ·¤ÚUÌð ãñ´, Øæ ·¤æð§ü ¥Ø ¥Ùéç¿Ì âæÏÙ ·¤æ your identity, or use abusive language or employ any other ÂýØæð» ·¤ÚUÌð ãñ´, Áñâð ç·¤ ¥´ç·¤Ì ç·¤Øð »Øð ©æÚU ·¤æð ç×ÅUæÙæ Øæ âÈð¤Î SØæãè âð unfair means, such as change of response by scratching or ÕÎÜÙæ Ìæð ÂÚUèÿææ ·ð¤ çÜØð ¥ØæðØ ææðçáÌ ç·¤Øð Áæ â·¤Ìð ãñ´Ð using white fluid, you will render yourself liable to 9. ¥æ·¤ô ÂÚUèÿææ â×æ# ãôÙð ¤ÂÚU ×êÜ OMR Âæ·¤ çÙÚUèÿæ·¤ ×ãôÎØ ·¤ô ÜUõÅUæÙæ disqualification. ¥æßàØ·¤ ãñ ¥õÚU ÂÚUèÿææ â×æç# ·ð¤ ÕæÎ ©âð ¥ÂÙð âæÍ ÂÚUèÿææ ÖßÙ âð ÕæãÚU 9. You have to return the original OMR Sheet to the invigilators Ù Üð·¤ÚU ÁæØð¢Ð ãæÜæ´ç·¤ ¥æ ÂÚUèÿææ â×æç# ÂÚU ×êÜ ÂýàÙ-ÂéçSÌ·¤æ ÌÍæ OMR at the end of the examination compulsorily and must not carry it with you outside the Examination Hall. You are Âæ·¤ ·¤è ÇéUÜè·ð¤ÅU ÂýçÌ ¥ÂÙð âæÍ Üð Áæ â·¤Ìð ãñ´Ð however, allowed to carry original question booklet and 10. ·ð¤ßÜ ÙèÜð/·¤æÜð ÕæÜU ßæ§ZÅU ÂðÙ ·¤æ ãè §SÌð×æÜ ·¤Úð¢UÐ duplicate copy of OMR Sheet on conclusion of examination. 11. ç·¤âè Öè Âý·¤æÚU ·¤æ ⢻淤 (·ñ¤Ü·é¤ÜðÅUÚU) UØæ Üæ» ÅðUÕÜ ¥æçÎ ·¤æ 10. Use only Blue/Black Ball point pen. ÂýØô» ßçÁüÌ ãñÐ 11. Use of any calculator or log table etc., is prohibited. 12. »ÜÌ ©æÚUæð´ ·ð¤ çÜ° ·¤æð§ü Ù·¤æÚUæ×·¤ ¥´·¤ Ùãè´ ãñ´Ð 12. There are no negative marks for incorrect answers. 13. In case of any discrepancy in the English and Hindi versions, 13. ØçÎ ¥´»ýðÁè Øæ çã´Îè çßßÚUæ ×ð´ ·¤æð§ü çßâ´»çÌ ãæð, Ìæð ¥´»ýðÁè çßßÚUæ ¥´çÌ× English version will be taken as final. ×æÙæ Áæ°»æÐ
J-6515 !J-6715-PAPER-III! 1 P.T.O. DANCE PAPER - III
Note : This paper contains seventy five (75) objective type questions of two (2) marks each. All questions are compulsory.
1. Match the List - I with List - II : List - I List - II (a) Nritta (i) Muscular Dance (b) Tandava (ii) Communication (c) Lasya (iii) Abstract (d) Abhinaya (iv) Feminine Codes : (a) (b) (c) (d) (1) (i) (ii) (iii) (iv) (2) (iii) (i) (iv) (ii) (3) (iv) (ii) (i) (iii) (4) (ii) (i) (iii) (iv)
2. Write in the correct sequence : (1) Tiraschina, Sundari, Parivartita, Prakampita (2) Prakampita, Tiraschina, Parivartita, Sundari (3) Sundari, Tiraschina, Parivartita, Prakampita (4) Tiraschina, Sundari, Prakampita, Parivartita,
3. Pick the odd one out : (1) Shira (2) Adhara (3) Bhru (4) Drasti
4. Which is the training manual followed by dancers ? (1) Natyashastra (2) Sangitratnakara (3) Abhinaya Darpanam (4) Nrittaratnabali
J-6515 !J-6715-PAPER-III! 2 Paper-III ÙëØ ÂýàÙÂæ - III
çÙÎðüàæ Ñ §â ÂýàÙÂæ ×ð´ ¿ãæÚU (75) Õãé-çß·¤ËÂUèØ ÂýàÙ ãñ´Ð ÂýØð·¤ ÂýàÙ ·ð¤ Îô (2) ¥¢·¤ ãñ´Ð âÖè ÂýàÙ ¥çÙßæØüU ãñ´Ð
1. âê¿è - I ·¤æ âê¿è - II âð ç×ÜæÙ ·¤Úð´U : âê¿è - I âê¿è - II (a) Ùëæ (i) ÂðàæèØ ÙëØ (b) Ìæ´ÇUß (ii) â´ßæÎ (c) ÜæSØ (iii) ¥×êÌü (d) ¥çÖÙØ (iv) ÙæÚUè âéÜÖ ·ê¤ÅU : (a) (b) (c) (d) (1) (i) (ii) (iii) (iv) (2) (iii) (i) (iv) (ii) (3) (iv) (ii) (i) (iii) (4) (ii) (i) (iii) (iv)
2. âãè ·ý¤× ×ð´ çܹð´ Ñ (1) ÌèÚpèÙæ, âé´ÎÚUè, ÂçÚUßÌèüÌæ, Âý·´¤çÂÌæ (2) Âý·´¤çÂÌæ, ÌèÚpèÙæ, ÂçÚUßÌèüÌæ, âé´ÎÚUè (3) âê´ÎÚUè, ÌèÚpèÙæ, ÂçÚUßÌèüÌæ, Âý·¤´çÂÌæ (4) ÌèÚpèÙæ, âé´ÎÚUè, Âý·´¤çÂÌæ, ÂçÚUßÌèüÌæ
3. âãè ·ý¤× ×ð´ çܹð´ Ñ (1) çâÚU (2) ¥ÏÚU (3) Öýê (4) ÎëçcÅU
4. ÙëØ·¤æÚUæð´ mæÚUæ ·¤æñÙ âæ Âýçàæÿææ ×ñØé¥Ü ¥ÂÙæØæ »Øæ? (1) ÙæÅ÷UØàææSæ (2) â´»èÌ ÚÙæ·¤æÚU (3) ¥çÖÙØ ÎÂüæ (4) ÙëæÚÙæßÜè
J-6515 !J-6715-PAPER-III! 3 Paper-III 5. Assertion (A) : A Dance historian searches for links between art, society and religion. Reason (R) : It is the duty of the historian to establish and find the highly developed Indian traditions. (1) Both (A) and (R) true (2) Both (A) and (R) false (3) (A) true (R) false (4) (A) false (R) true
6. Match the List - I with List - II : List - I List - II (a) Ramachandra-Gunachandra (i) Sangitopanishadasarodhara (b) Someswar (ii) Manasollasa (c) Parsvadeva (iii) Natyadarpana (d) Sudhakalash (iv) Sangitasamayasara Codes : (a) (b) (c) (d) (1) (iii) (ii) (iv) (i) (2) (ii) (i) (iv) (iii) (3) (i) (iii) (ii) (iv) (4) (iv) (iii) (ii) (i)
7. Write in the correct sequence : (1) Abhisarika, Vasakasajja, Vipralabdha, Khandita (2) Khandita, Vipralabdha, Vasakasajja, Abhisarika (3) Abhisarika, Khandita, Vasakasajja, Vipralabdha (4) Vasakasajja, Khandita, Abhisarika, Vipralabdha
8. Pick the odd one out : (1) Uttama (2) Madyama (3) Samanya (4) Adhama
9. The Vritti is : (1) The style of action (2) The style of costume design (3) The style of theatre (4) The style of movement
J-6515 !J-6715-PAPER-III! 4 Paper-III 5. ¥çÖ·¤ÍÙ (A) : °·¤ ÙëØ §çÌãæâ·¤æÚU ·¤Üæ, â×æÁ ÌÍæ Ï×ü ·ð¤ Õè¿ oë´¹Üæ ·¤è ÌÜæàæ ·¤ÚUÌæ ãñÐ Ì·ü¤ (R) : Øã §çÌãæâ·¤æÚUæð´ ·¤æ ÎæçØß ãñ ç·¤ ßð ©¿-SÌÚUèØ çß·¤çâÌ ÖæÚUÌèØ ÂÚ´UÂÚUæ¥æð´ ·¤æð SÍæçÂÌ ·¤Úð´UÐ (1) (A) ÌÍæ (R) ÎæðÙæð´ âãè ãñÐ (2) (A) ÌÍæ (R) ÎæðÙæð´ »ÜÌ ãñÐ (3) (A) âãè (R) »ÜÌ ãñÐ (4) (A) »ÜÌ (R) âãè ãñÐ
6. âê¿è - I ·ð¤ âæÍ âê¿è - II ·¤æ ç×ÜæÙ ·¤Úð´U : âê¿è - I âê¿è - II (a) ÚUæ׿´Îý-»éæ¿´Îý (i) â´»èÌæðÂçÙáÎâÚUæðÏæÚUæ (b) âæð×ðàßÚU (ii) ×æÙâæðËÜæâ (c) ÂæàæüßÎðß (iii) ÙæÅ÷UØÎÂüæ (d) âéÏæ·¤Üàæ (iv) â´»èÌâ×ØâæÚU ·ê¤ÅU : (a) (b) (c) (d) (1) (iii) (ii) (iv) (i) (2) (ii) (i) (iv) (iii) (3) (i) (iii) (ii) (iv) (4) (iv) (iii) (ii) (i)
7. âãè ·ý¤× ×ð´ çܹð´ Ñ (1) ¥çÖâæçÚU·¤æ, ßæâ·¤æâÁæ, çßÂýÜÏæ, ¹´çÇUÌæ (2) ¹´çÇUÌæ, çßÂýÜÏæ, ßæâ·¤æâÁæ, ¥çÖâæçÚU·¤æ (3) ¥çÖâæçÚU·¤æ, ¹´çÇUÌæ, ßæâ·¤æâÁæ, çßÂýÜÏæ (4) ßæâ·¤âÁæ, ¹´çÇUÌæ, ¥çÖâæçÚU·¤æ, çßÂýÜÏæ
8. çßá× ·¤æ ¿ØÙ ·¤Úð´U Ñ (1) ©æ×æ (2) ×Ø×æ (3) âæ×æØ (4) ¥Ï×æ
9. ßëçæ ·¤ãÌð ãñ´ Ñ (1) ÙëØç·ý¤Øæ àæñÜè (2) ßðàæ-Öêáæ àæñÜè (3) ÙæÅ÷UØ-àæñÜè (4) »çÌ àæñÜè
J-6515 !J-6715-PAPER-III! 5 Paper-III 10. Assertion (A) : It seems Sarangadeva placed a very high aesthetic value of the expressive power of body movement. Reason (R) : There was a lot of exchange in those times with Indian and western dance philosophers. (1) Both (A) and (R) true (2) Both (A) and (R) false (3) (A) true (R) false (4) (A) false (R) true
11. Match the List - I with List - II : List - I List - II (a) Karna (i) Mace (b) Bhima (ii) Gandiva (c) Arjun (iii) Kavacha - Kundala (d) Yudhisthir (iv) Dharmaraj Codes : (a) (b) (c) (d) (1) (i) (iv) (ii) (iii) (2) (i) (iii) (ii) (iv) (3) (iii) (i) (iv) (ii) (4) (iii) (i) (ii) (iv)
12. Write in the correct sequence : (1) Simhamukha, Mayura, Kapitha, Arala (2) Kapitha, Simhamukha, Arala, Mayura (3) Arala, Simhamukha, Mayura, Kapitha (4) Mayura, Arala, Kapitha, Simhamukha
13. Pick the odd one out : (1) Hanuman (2) Jambuvana (3) Angada (4) Jatayu
14. Who is very famous for dance photography ? (1) Raghu Rai (2) Ketu Seth (3) Avinash Pasricha (4) Suresh Bharadwaj
J-6515 !J-6715-PAPER-III! 6 Paper-III 10. ¥çÖ·¤ÍÙ (A) : °ðâæ ÁæÙ ÂǸÌæ ãñ ç·¤ âæÚ´U»Îðß Ùð àæÚUèÚU ·¤è »çÌ ·¤è ¥çÖÃØçÌ ·¤æð ©¿ âæñ´ÎØü-àææSæèØ ×ãß çÎØæ ãñÐ Ì·ü¤ (R) : ©â â×Ø ÖæÚUÌèØ ÌÍæ Âçà¿×è ÎæàæüçÙ·¤æð´ ·ð¤ Õè¿ ·¤æÈ¤è ¥æÎæÙ-ÂýÎæÙ ãé¥æ ÍæÐ (1) (A) ÌÍæ (R) ÎæðÙæð´ âãè ãñÐ (2) (A) ÌÍæ (R) ÎæðÙæð´ »ÜÌ ãñÐ (3) (A) âãè (R) »ÜÌ ãñÐ (4) (A) »ÜÌ (R) âãè ãñÐ
11. âê¿è - I ·ð¤ âæÍ âê¿è - II ·¤æ ç×ÜæÙ ·¤Úð´U : âê¿è - I âê¿è - II (a) ·¤æü (i) »Îæ (b) Öè× (ii) »æ´ÇUèß (c) ¥ÁéüÙ (iii) ·¤ß¿-·é´¤ÇUÜ (d) ØéçÏçcÆUÚU (iv) Ï×üÚUæÁ ·ê¤ÅU Ñ (a) (b) (c) (d) (1) (i) (iv) (ii) (iii) (2) (i) (iii) (ii) (iv) (3) (iii) (i) (iv) (ii) (4) (iii) (i) (ii) (iv)
12. âãè ·ý¤× ×ð´ çܹð´ Ñ (1) çâ´ã×é¹, ×ØêÚU, ·¤çÂÍ, ¥ÚUæÜ (2) ·¤çÂÍ, çâ´ã×é¹, ¥ÚUæÜ, ×ØêÚU (3) ¥ÚUæÜ, çâ´ã×é¹, ×ØêÚU, ·¤çÂÍ (4) ×ØêÚU, ¥ÚUæÜ, ·¤çÂÍ, çâ´ã×é¹
13. çßá× ·¤æ ¿ØÙ ·¤Úð´U Ñ (1) ãÙé×æÙ (2) ÁÕêßæÙ (3) ¥´»Î (4) ÁÅUæØê
14. ÙëØ - ȤæðÅUæð»ýæÈ¤è ·ð¤ çÜ° ·¤æñÙ ×àæãêÚU ãñ? (1) ÚUæé ÚUæØ (2) ·ð¤Ìé âðÆU (3) ¥çßÙæàæ ÂâÚUè¿æ (4) âéÚðUàæ ÖæÚUmæÁ
J-6515 !J-6715-PAPER-III! 7 Paper-III 15. Assertion (A) : None of the Sanskrit Dramaturgy texts focus exclusively upon angika abhinaya as the Abhinaya Darpan. Reason (R) : Nandikeswar was an acrobatic dancer. (1) Both (A) and (R) true (2) Both (A) and (R) false (3) (A) true (R) false (4) (A) false (R) true
16. Match the List - I with List - II : List - I List - II (a) Valmiki (i) Arthashastra (b) Vyas (ii) Purana (c) Harivamsa (iii) Ramayana (d) Chanakya (iv) Mahabharata Codes : (a) (b) (c) (d) (1) (iii) (iv) (ii) (i) (2) (i) (iv) (iii) (ii) (3) (ii) (iv) (iii) (i) (4) (iii) (ii) (iv) (i)
17. Write in the correct sequence : (1) Bhima, Sahadeva, Arjuna, Yudhisthir (2) Yudhisthir, Bhima, Arjuna, Sahadeva (3) Arjuna, Bhima, Yudhisthira, Sahadeva (4) Sahadeva, Arjun, Yudhisthir, Bhima
18. Pick the odd one out : (1) Lavani (2) Legong (3) Lakhon (4) Leiki
19. Which Vritti came from Rig Veda : (1) Satvati (2) Bharati (3) Kaishiki (4) Arabhati
J-6515 !J-6715-PAPER-III! 8 Paper-III 15. ¥çÖ·¤ÍÙ (A) : §Ù×ð´ âð ç·¤âè Öè â´S·ë¤Ì ÙæÅ÷UØàææSæ Ùð ¥´ç»·¤æ ¥çÖÙØ ÂÚU ¥ÂÙð ·¤æð ·ð¤´çÎýÌ Ùãè´ ç·¤Øæ ãñ çÁÌÙæ ç·¤ ¥çÖÙØ ÎÂüæ ÙðÐ ·¤æÚUæ (R) : Ù´çηð¤àßÚU °·¤ ·¤ÜæÕæÁ ÙëØ·¤æÚU ãñÐ (1) (A) ÌÍæ (R) ÎæðÙæð´ âãè ãñ´Ð (2) (A) ÌÍæ(R) ÎæðÙæð´ »ÜÌ ã´ñÐ (3) (A) âãè ÌÍæ (R) »ÜÌ ãñÐ (4) (A) »ÜÌ ÌÍæ (R) âãè ãñÐ
16. âê¿è - I ·¤æð âê¿è - II ·ð¤ âæÍ âé×ðçÜÌ ·¤Úð´U Ñ âê¿è - I âê¿è - II (a) ßæË×èç·¤ (i) ¥ÍüàææSæ (b) ÃØæâ (ii) ÂéÚUææ (c) ãçÚUß´àæ (iii) ÚUæ×æØæ (d) ¿ææØ (iv) ×ãæÖæÚUÌ ·ê¤ÅU Ñ (a) (b) (c) (d) (1) (iii) (iv) (ii) (i) (2) (i) (iv) (iii) (ii) (3) (ii) (iv) (iii) (i) (4) (iii) (ii) (iv) (i)
17. âãè ·ý¤× ×ð´ çܹð´ Ñ (1) Öè×, âãÎðß, ¥ÁéüÙ, ØéçÏçcÆUÚU (2) ØéçÏçcÆUÚU, Öè×, ¥ÁüéÙ, âãÎðß (3) ¥ÁéüÙ, Öè×, ØéçÏçcÆUÚU, âãÎðß (4) âãÎðß, ¥ÁéüÙ, ØéçÏçcÆUÚU, Öè×
18. çßá× ·¤æð ¿éçÙ° Ñ (1) Üæßæè (2) Üð»æð´» (3) Üæ¹æðÙ (4) Ü𧷤è
19. ç·¤â ßëæè ·¤æ â´Õ´Ï «¤ßðÎ âð ãñ? (1) âæßÌè (2) ÖæÚUÌè (3) ·ñ¤çàæ·¤è (4) ¥æÚUÖÅUè
J-6515 !J-6715-PAPER-III! 9 Paper-III 20. Assertion (A) : Behind each of the classical forms in the constantly growing list of the classical dances of India, is a story of appropriation and restructuring where Indian aesthetics and western performative models were clubbed together. Reason (R) : New time, new space, new audience, new requirements decontextualized and re-contextualized performances. (1) Both (A) and (R) true (2) Both (A) and (R) false (3) (A) true (R) false (4) (A) false (R) true
21. Match the List - I with List - II : List - I List - II (a) Moksha (i) 6 beats (b) Abhisara (ii) Footwork (c) Tatkar (iii) The last item (d) Dadra (iv) To meet the lover Codes : (a) (b) (c) (d) (1) (iii) (iv) (i) (ii) (2) (iv) (i) (iii) (ii) (3) (iii) (iv) (ii) (i) (4) (ii) (iv) (i) (iii)
22. Write in the correct sequence : (1) Michael Fokine, Marius Petipa, Filipo Taglioni, Charles Didelot (2) Marius Petipa, Michael Fokine, Charles Didelot, Filipo Taglioni (3) Filipo Taglioni, Charles Didelot, Marius Petipa, Michael Fokine (4) Charles Didelot, Filipo Taglioni, Marius Petipa, Michael Fokine
23. Who among these have not produced Chandalika ? (1) Vyjayantimala Bali (2) Maya Rao (3) Mrinalini Sarabhai (4) Mamtashankar
J-6515 !J-6715-PAPER-III! 10 Paper-III 20. ¥çÖ·¤ÍÙ (A) : ÖæÚUÌ ·ð¤ àææSæèØ ÙëØ ·¤è çÙÚUÌÚU ÕɸÌè âê¿è ·ð¤ ÂýØð·¤ àææSæèØ M¤Â ·ð¤ ÂèÀðU ¥ÂÙæÙð ¥æñÚU ÂéÙâZÚU¿Ùæ ·¤è °·¤ ·¤ãæÙè ãñ çÁâ×ð´ ÖæÚUÌèØ âæñ´ÎØü ÕæðÏ ¥æñÚU Âçà¿×è ÂýÎàæüÙæ×·¤ ×æòÇUÜ ·¤æð ç×ÜæØæ ÁæÌæ ãñÐ ·¤æÚUæ (R) : ÙØæ â×Ø, ÙØæ SÍæÙ, ÙØð Îàæü·¤, Ù§ü ¥Âðÿææ°´ ÂçÚUçSÍçÌ ¥â´»Ì ¥æñÚU ÂéÙÑÂçÚUçSÍçÌ â´»Ì ÂýØæð»Ð (1) (A) ¥æñÚU (R) ÎæðÙæð´ âãè ãñ´Ð (2) (A) ¥æñÚU (R) ÎæðÙæð´ »ÜÌ ãñ´Ð (3) (A) âãè ãñ, (R) »ÜÌ ãñÐ (4) (A) »ÜÌ ãñ (R) âãè ãñÐ
21. âê¿è - I ·¤æð âê¿è - II âð âé×ðçÜÌ ·¤Úð´U Ñ âê¿è - I âê¿è - II (a) ×æðÿæ (i) 6 ×æææ (b) ¥çÖâæÚU (ii) ÂÎ â´¿æÜÙ (c) ÌÌ·¤æÚU (iii) ¥çÌ× ·ë¤çÌ (d) ÎæÎÚUæ (iv) çÂýØÌ× âð ç×ÜÙð ÁæÙæ ·ê¤ÅU Ñ (a) (b) (c) (d) (1) (iii) (iv) (i) (ii) (2) (iv) (i) (iii) (ii) (3) (iii) (iv) (ii) (i) (4) (ii) (iv) (i) (iii)
22. âãè ·ý¤× ×ð´ çܹð´ Ñ (1) ×槷¤Ü Ȥæðç·´¤», ×æçÚUØâ ÂðçÌÂæ, çȤçÜÂæð ÌçÜØæÙè, ¿æËâü çÇUÇðUÜæð (2) ×æçÚUØâ ÂðçÌÂæ, ×槷¤Ü Ȥæðç·¤´», ¿æËâü çÇÇðUÜæð, çȤçÜÂæð ÌçÜØæÙè (3) çȤçÜÂæð ÌçÜØæÙè, ¿æËâü çÇUÇðUÜæð, ×æçÚUØâ ÂðçÌÂæ, ×槷¤Ü Ȥæðç·´¤» (4) ¿æËâü çÇÇðUÜæð, çȤçÜÂæð ÌçÜØæÙè, ×æçÚUØâ ÂðçÌÂæ, ×槷¤Ü Ȥæðç·´¤»
23. §Ù×ð´ âð ç·¤âÙð ¿ÇUæçÜ·¤æ ·¤æ çÙ×æüæ Ùãè´ ç·¤Øæ ãñ? (1) ÕñÁØ´Ìè×æÜæ ÕæÜè (2) ×æØæ ÚUæß (3) ×ëææçÜÙèU âæÚUæÖæ§ü (4) ××Ìæàæ´·¤ÚU
J-6515 !J-6715-PAPER-III! 11 Paper-III 24. Kunkyu is an opera from : (1) Japan (2) Java (3) China (4) Malaysia
25. Assertion (A) : Asian Societies are hearing the western message of change in traditional dances. Reason (R) : Television has spread the ideas of ballet, tap, modern and post - modern dance for all to adapt or absorb. (1) Both (A) and (R) true (2) Both (A) and (R) false (3) (A) true (R) false (4) (A) false (R) true
26. Match the list - I with List - II : List - I List - II (a) Primitive Mysteries (i) Mary Wigman (b) Witch Dance (ii) Helen Tamaris (c) Negro Spirituals (iii) Charles Weidman (d) Color Harmony (iv) Martha Graham Codes : (a) (b) (c) (d) (1) (iv) (i) (iii) (ii) (2) (i) (ii) (iv) (iii) (3) (ii) (i) (iv) (iii) (4) (iv) (i) (ii) (iii)
27. Write in the correct sequence : (1) Mudi, Theppu, Mashi, Chutti (2) Mashi, Theppu, Mudi, Chutti (3) Theppu, Chutti, Mashi, Mudi (4) Chutti, Mashi, Mudi, Theppu
28. Pick the odd one out : (1) Shakuntala (2) Mrichhakatikam (3) Malvikagnimitram (4) Meghdootam
J-6515 !J-6715-PAPER-III! 12 Paper-III 24. ·é¤Øé ¥æðÂðÚUæ ãñ Ñ (1) ÁæÂæÙ (2) Áæßæ (3) ¿èÙ (4) ×ÜðçàæØæ
25. ¥çÖ·¤ÍÙ (A) : °çàæØæ§ü â×æÁ ÂÚUÂÚUæ»Ì ÙëØæð´ ×ð´ ÂçÚUßÌüÙ ·¤æ Âçà¿×è â´Îðàæ âéÙ ÚUãæ ãñÐ ·¤æÚUæ (R) : ÅðUçÜçßÁÙ Ùð ßñÜð, ÅðUÂ, ¥æÏéçÙ·¤ ¥æñÚU ¥çÌ-¥æÏéçÙ·¤ ÙëØ ·ð¤ çß¿æÚUæð´ ·¤æ ÂýâæÚU ç·¤Øæ ãñ Ìæç·¤ âÕæð´ ·ð¤ mæÚUæ §âð ¥Ùé·ê¤çÜÌ ¥æñÚU ¥æ×âæÌ ç·¤Øæ Áæ â·ð´¤Ð (1) (A) ¥æñÚU (R) ÎæðÙæð´ âãè ãñ´Ð (2) (A) ¥æñÚU (R) ÎæðÙæð´ »ÜÌ ãñ´Ð (3) (A) âãè ãñ (R) »ÜÌ ãñÐ (4) (A) »ÜÌ ãñ (R) âãè ãñÐ
26. âê¿è - I ·¤æ âê¿è - II âð ç×ÜæÙ ·¤Úð´U Ñ âê¿è - I âê¿è - II (a) çÂýç×çÅUß ç×SÅUÚUè$Á (i) ×ðÚUè çß»×ðÙ (b) çß¿ ÇUæ´â (ii) ãðÜðÙ Ìæ×æçÚUâ (c) Ùè»ýæð çSÂý¿é¥Ëâ (iii) ¿æËâü ßèÇU×ðÙ (d) ·¤ÜÚU ãæÚU×Ùè (iv) ×æÍæü »ýæã× ·ê¤ÅU Ñ (a) (b) (c) (d) (1) (iv) (i) (iii) (ii) (2) (i) (ii) (iv) (iii) (3) (ii) (i) (iv) (iii) (4) (iv) (i) (ii) (iii)
27. âãè ·ý¤× ×ð´ çܹð´ Ñ (1) ×éǸè, ÍðÂé, ×æçàæ, ¿éçÅ÷ÅU (2) ×æçàæ, ÍðÂé, ×éçǸ, ¿éçÅ÷ÅU (3) ÍðÂé, ¿éçÅ÷UÅU, ×æçàæ, ×éçǸ (4) ¿éçÅ÷ÅU, ×æçàæ, ×éçǸ, ÍðÂé
28. çßá× ·¤æð ¿éçÙ° Ñ (1) àæ·é¤ÌÜæ (2) ×ëÀU·¤çÅU·¤× (3) ×æÜçß·¤æçÙç×æ×÷ (4) ×ðæÎêÌ×÷
J-6515 !J-6715-PAPER-III! 13 Paper-III 29. Who is the founder of SPIC MACAY ? (1) Kedar Misra (2) Kiran Seth (3) Reginald Massey (4) G. M. Sharma
30. Assertion (A) : Contemporary Indian Dance is guided by the notion of change. Reason (R) : The dancers and teachers want to innovate, re-conceptualise and choreograph new dance items. (1) Both (A) and (R) true (2) Both (A) and (R) false (3) (A) true (R) false (4) (A) false (R) true
31. Gamelan is : (1) Orchestra (2) Character (3) Theme (4) Mask
32. Assertion (A) : A dance form does not re-localize itself by blending with other forms and practices. Reason (R) : It is the inability of a choreographer and the dance work to belong either to the other community or to India. (1) Both (A) and (R) true (2) Both (A) and (R) false (3) (A) true (R) false (4) (A) false (R) true
33. Match the List - I with List - II : List - I List - II (a) Khon (i) Java (b) Moro Moro (ii) Vietnam (c) Bedhaya (iii) Thailand (d) Hat Boi (iv) Phillipines Codes : (a) (b) (c) (d) (1) (iii) (iv) (ii) (i) (2) (iii) (iv) (i) (ii) (3) (iv) (i) (iii) (ii) (4) (iv) (ii) (iii) (i)
J-6515 !J-6715-PAPER-III! 14 Paper-III 29. çS·¤ ×ñ·ð¤ ·ð¤ â´SÍæ·¤ ·¤æñÙ ãñ? (1) ·ð¤ÎæÚU ç×æ (2) ç·¤ÚUÙ âðÆU (3) ÚðUç»ÙæËÇU ×Sâè (4) Áè.°×. àæ×æü
30. ¥çÖ·¤ÍÙ (A) : â×·¤æÜèÙ ÖæÚUÌèØ ÙëØ ÂçÚUßÌüÙ ·ð¤ çß¿æÚU âð çÙÎðüçàæÌ ãæðÌæ ãñÐ ·¤æÚUæ (R) : ÙëØ·¤æÚU ¥æñÚU çàæÿæ·¤ Ùßæ¿æÚU ÂéÙâZ·¤ËÂÙæ ¥æñÚU Ù§ü ÙëØ ·ë¤çÌØæ´ ·¤æðçÚUØæð»ýæȤ ·¤ÚUÙæ ¿æãÌð ãñ´Ð (1) (A) ¥æñÚU (R) ÎæðÙæð´ âãè ãñ´Ð (2) (A) ¥æñÚU (R) ÎæðÙæð´ »ÜÌ ãñ´Ð (3) (A) âãè ãñ (R) »ÜÌ ãñÐ (4) (A) »ÜÌ ãñ (R) âãè ãñÐ
31. »ð×ÜæÙ Øæ ãñ? (1) ¥æòÚU·ð¤SÅþUæ (2) Âææ (3) ·¤ÍæÙ·¤ (4) ×é¹æñÅUæ
32. ¥çÖ·¤ÍÙ (A) : ÙëØ ·¤æ Âý·¤æÚU ¥Ø M¤Âæð´ ¥æñÚU Âý·¤æÚUæð´ ·ð¤ âæÍ ç×Ü·¤ÚU ¥ÂÙð ¥æ·¤æð´ ÂéÙÑ SÍæÙèØ Ùãè´ ÕÙæÌæ ãñÐ ·¤æÚUæ (R) : ç·¤âè ¥Ø â×éÎæØ Øæ ÖæÚUÌ âð â´Õ´çÏÌ ãæðÙæ ·¤æðçÚUØæð»ýæȤÚU ¥æñÚU ÙëØ ·ë¤çÌ ·¤è ¥ÿæ×Ìæ ãñÐ (1) (A) ¥æñÚU (R) ÎæðÙæð´ âãè ãñ´Ð (2) (A) ¥æñÚU (R) ÎæðÙæð´ »ÜÌ ãñ´Ð (3) (A) âãè ãñ (R) »ÜÌ ãñÐ (4) (A) »ÜÌ ãñ (R) âãè ãñÐ
33. âê¿è - I ·¤æ âê¿è - II âð ç×ÜæÙ ·¤Úð´U Ñ âê¿è - I âê¿è - II (a) ¹æðÙ (i) Áæßæ (b) ×æðÚUæð ×æðÚUæð (ii) çßØÌÙæ× (c) ÕðÏæØæ (iii) Íæ§Üñ´ÇU (d) ãÌ Õæð§ü (iv) çȤÜèÂè´â ·ê¤ÅU Ñ (a) (b) (c) (d) (1) (iii) (iv) (ii) (i) (2) (iii) (iv) (i) (ii) (3) (iv) (i) (iii) (ii) (4) (iv) (ii) (iii) (i)
J-6515 !J-6715-PAPER-III! 15 Paper-III 34. Write in the correct sequence : (1) Dasya, Sakhya, Vatsalya, Madhura (2) Madhura, Sakhya, Dasya, Vatsalya (3) Sakhya, Vatsalya, Madhura, Dasya (4) Vatsalya, Sakhya, Madhura, Dasya
35. Pick the odd one out : (1) The Nautch (2) Swan Lake (3) Kalpana (4) Clytemnestra
36. Tanztheatre is a term from : (1) America (2) England (3) Germany (4) Spain
37. Assertion (A) : Indian Classical Dance Forms do not operate on a static tradition but as a dynamic force. Reason (R) : The choreographers and performers feel free to experiment and mix various forms as part of new creative process. (1) Both (A) and (R) true (2) Both (A) and (R) false (3) (A) true (R) false (4) (A) false (R) true
38. Match the List - I with List - II : List - I List - II (a) Sangita Sharma (i) Chandralekha (b) Padmini Chettur (ii) Narendra Sharma (c) Ranjavati Sircar (iii) Kumudini Lakhia (d) Daksha Seth (iv) Manjusree Chaki Sircar Codes : (a) (b) (c) (d) (1) (i) (ii) (iii) (iv) (2) (ii) (i) (iii) (iv) (3) (ii) (iii) (iv) (i) (4) (ii) (i) (iv) (iii)
J-6515 !J-6715-PAPER-III! 16 Paper-III 34. âãè ·ý¤× ×ð´ çܹð´ Ñ (1) ÎæSØ, âæØ, ßæâËØ, ×ÏéÚU (2) ×ÏéÚU, âæØ, ÎæSØ, ßæâËØ (3) âæØ, ßæâËØ, ×ÏéÚU, ÎæSØ (4) ßæâËØ, âæØ, ×ÏéÚU, ÎæSØ
35. çßá× ·¤æ ¿ØÙ ·¤Úð´U Ñ (1) Î Ùæ¿ (2) SßæÙ Üð·¤ (3) ·¤ËÂÙæ (4) ÜæØÅðU×èÙðSÅþUæ
36. ÅUÁçÍØðÅUÚU ÂÎ ·¤ãæ¡ âð ãñ? (1) ¥×çÚU·¤æ (2) §´ÜñÇU (3) Á×üÙè (4) SÂñÙ
37. ¥çÖ·¤ÍÙ (A) : ÖæÚUÌèØ àææSæèØ ÙëØ SÍñçÌ·¤ ÂÚUÂÚUæ ÂÚU Ùãè´ ÕçË·¤ »Øæ×·¤ àæçÌ ÂÚU â´¿æçÜÌ ãæðÌð ãñ´Ð ·¤æÚUæ (R) : ·¤æðçÚUØæð»ýæȤÚU ¥æñÚU ÙëØ·¤æÚU Ù° âëÁÙæ×·¤ Âýç·ý¤Øæ ·ð¤ Öæ» ·ð¤ M¤Â ÂýØæð» ·¤ÚUÙð ¥æñÚU çßçÖÙ M¤Âæð´ ·¤æð ç×çæÌ ·¤ÚUÙð ·ð¤ çÜ° SßÌ´æ ×ãâêâ ·¤ÚUÌð ãñ´Ð (1) (A) ¥æñÚU (R) ÎæðÙæð´ âãè ãñ´Ð (2) (A) ¥æñÚU (R) ÎæðÙæð´ »ÜÌ ãñ´Ð (3) (A) âãè ãñ (R) »ÜÌ ãñÐ (4) (A) »ÜÌ ãñ (R) âãè ãñÐ
38. âê¿è - I ·¤æ âê¿è - II âð ç×ÜæÙ ·¤ÚðU´ Ñ âê¿è - I âê¿è - II (a) â´»èÌæ àæ×æü (i) ¿ÎýÜð¹æ (b) ÂçÎ÷×Ùè ¿ðÌéÚU (ii) ÙÚðUÎý àæ×æü (c) Ú´UÁßÌè âÚU·¤æÚU (iii) ·é¤×éçÎÙè Üç¹¥æ (d) Îÿææ âðÆU (iv) ×´Áéæè ¿æ·¤è âÚU·¤æÚU ·ê¤ÅU Ñ (a) (b) (c) (d) (1) (i) (ii) (iii) (iv) (2) (ii) (i) (iii) (iv) (3) (ii) (iii) (iv) (i) (4) (ii) (i) (iv) (iii)
J-6515 !J-6715-PAPER-III! 17 Paper-III 39. Write in the correct sequence : (1) Kelucharan Mahaptra, Sanjukta Panigrahi, Ratikanta Mahapatra, Pankajcharan Das (2) Sanjukta Panigrahi, Kelucharan Mahapatra, Pankajcharan Das, Ratikanta Mahapatra (3) Pankajcharan Das, Kelucharan Mahapatra, Sanjukta Panigrahi, Ratikanta Mahapatra (4) Ratikanta Mahapatra, Pankajcharan Das, Kelucharan Mahapatra, Sanjukta Panigrahi
40. Which of the following Ballet does not have Stravinsky Music : (1) Firebird (2) Petrushka (3) Rite of Spring (4) The Nutcracker
41. Which Rasa is not part of Satvati Vritti ? (1) Vir (2) Adbhuta (3) Raudra (4) Karuna
42. Assertion (A) : Between 1915 - 1919 there were at least 500 professional dancing teachers in Madras and many Devadasis. Reason (R) : The British resident of Madras provided and greatly encouraged the teaching and performance of dance. (1) Both (A) and (R) true (2) Both (A) and (R) false (3) (A) true (R) false (4) (A) false (R) true
43. Match the List - I with List - II : List - I List - II (a) Annual Art Festival (i) Rasika Ranjana Sabha (b) Annual Music and Dance Festival (ii) Music Academy (c) Dance Festival (iii) Kalakshetra (d) Isai Natya Nataka Vizha (iv) Narada Gana Sabha Codes : (a) (b) (c) (d) (1) (iii) (i) (iv) (ii) (2) (iii) (i) (ii) (iv) (3) (i) (iii) (ii) (iv) (4) (iv) (i) (ii) (iii)
J-6515 !J-6715-PAPER-III! 18 Paper-III 39. âãè ·ý¤× ×ð´ çܹð´ Ñ (1) ·ð¤Üé¿ÚUæ ×ãæÂææ, â´ÁéÌæ Âæçæ»ýãè, ÚUçÌ·¤æÌæ ×ãæÂææ, ´·¤Á¿ÚUæ Îæâ (2) â´ÁéÌæ Âæçæ»ýãè, ·ð¤Üé¿ÚUæ ×ãæÂææ, ´·¤Á¿ÚUæ Îæâ, ÚUçÌ·¤æÌæ ×æãæÂææ (3) ´·¤Á¿ÚUæ Îæâ, ·ð¤Üé¿ÚUæ ×ãæÂææ, â´ÁéÌæ Âæçæ»ýãè, ÚUçÌ·¤æÌæ ×ãæÂææ (4) ÚUçÌ·¤æÌæ ×ãæÂææ, ´·¤Á¿ÚUæ Îæâ, ·ð¤Üé¿ÚUæ ×ãæÂææ, â´ÁéÌæ Âæçæ»ýãè
40. ç·¤â ÕñÜð ×ð´ SÅþUæçß´S·¤è â´»èÌ Ùãè´ ãæðÌæ? (1) ȤæØÚUÕÇüU (2) ÂðÅþäUàæ·¤æ (3) ÚUæ§ÅU ¥æòȤ çSÂý´» (4) ÙÅU·ý𤷤ÚU
41. ·¤æñÙ âæ ÚUâ âÌßÌè ßëçæ ·¤æ Öæ» Ùãè´ ãñ? (1) ßèÚU (2) ¥Î÷ÖéÌ (3) ÚæñÎý (4) ·¤L¤æ
42. ¥çÖ·¤ÍÙ (A) : ßáü 1915 - 1919 ·ð¤ Õè¿ ×Îýæâ ×ð´ ·¤× âð ·¤× 500 ÂðàæðßÚU ÙëØ çàæÿæ·¤ ¥æñÚU ¥Ùð·¤ ÎðßÎæçâØæ´ Íè´Ð ·¤æÚUæ (R) : ×Îýæâ ·ð¤ çÕýÅUèàæ ÚðUçâÇð´UÅU Ùð ÙëØ çàæÿææ ¥æñÚU ÂýØæð» ·¤æð ÂýæðâæçãÌ ç·¤ØæÐ (1) (A) ¥æñÚU (R) ÎæðÙæð´ âãè ãñ´Ð (2) (A) ¥æñÚU (R) ÎæðÙæð´ »ÜÌ ãñ´Ð (3) (A) âãè ãñ (R) »ÜÌ ãñÐ (4) (A) »ÜÌ ãñ (R) âãè ãñÐ
43. âê¿è - I ·¤æ âê¿è - II âð ç×ÜæÙ ·¤Úð´U Ñ âê¿è - I âê¿è - II (a) ßæçáü·¤ ¥æÅüU Èð¤çSÅUßÜ (i) ÚUçâ·¤æ Ú´UÁÙ âÖæ (b) ßæçáü·¤ ØêçÁ·¤ °ÇU ÇUæâ Èð¤çSÅUßÜ (ii) Øêç$Á·¤ °·ð¤ÇU×è (c) ÇUæâ Èð¤çSÅUßÜ (iii) ·¤Üæ·¤ ÿæðæ (d) §üâæ§ü ÙæÅ÷UØ ÙæÅU·¤ çß$Áæ (iv) ÙæÚUÎ »æ âÖæ ·ê¤ÅU Ñ (a) (b) (c) (d) (1) (iii) (i) (iv) (ii) (2) (iii) (i) (ii) (iv) (3) (i) (iii) (ii) (iv) (4) (iv) (i) (ii) (iii)
J-6515 !J-6715-PAPER-III! 19 Paper-III 44. Write in the correct sequence : (1) Vadana, Griva, Udara, Kati (2) Griva, Udara, Kati, Vadana (3) Udara, Griva, Vadana, Kati (4) Kati, Udara, Vadana, Griva
45. Pick the odd one out : (1) Krishnajanma (2) Jhulanyatra (3) Jalakheli (4) Krishnastami
46. How many Vyabhichari Bhavas are there ? (1) 30 (2) 47 (3) 33 (4) 08
47. Assertion (A) : Like his predecessors Udayshankar and Ramgopal turned the attention of the main stream dance viewers to Indian forms. Reason (R) : Beauty of both Udayshankar and Ramgopal attracted Europian audiences to their performances. (1) Both (A) and (R) true (2) Both (A) and (R) false (3) (A) true (R) false (4) (A) false (R) true
48. Match the List - I with List - II : List - I List - II (a) Sashadhar Acharya (i) Astad Daboo (b) Asish Khokar (ii) Dance Critic (c) Rhythm Divine (iii) Seraikella Chhau (d) Manjari Sinha (iv) Attendance Codes : (a) (b) (c) (d) (1) (iii) (iv) (i) (ii) (2) (iii) (iv) (ii) (i) (3) (i) (iv) (iii) (ii) (4) (iv) (iii) (i) (ii)
J-6515 !J-6715-PAPER-III! 20 Paper-III 44. âãè ·ý¤× ×ð´ çܹð´ Ñ (1) ßÎÙ, »ýèßæ, ©ÎÚU, ·¤çÅU (2) »ýèßæ, ©ÎÚU, ·¤çÅU, ßÎÙ (3) ©ÎÚU, »ýèßæ, ßÎÙ, ·¤çÅU (4) ·¤çÅU, ©ÎÚU, ßÎÙ, »ýèßæ
45. çßá× ·¤æð ¿éçÙ° Ñ (1) ·ë¤cæÁ× (2) ÛæêÜÙØæææ (3) ÁܹðçÜ (4) ·ë¤cææcÅU×è
46. ç·¤ÌÙð ÃØçÖ¿æÚUè Öæß ãæðÌð ãñ´? (1) 30 (2) 47 (3) 33 (4) 08
47. ¥çÖ·¤ÍÙ (A) : ¥ÂÙð ÂêßüßçÌüØæð´ ·¤è ÌÚUã ©ÎØàæ´·¤ÚU ¥æñÚU ÚUæ×»æðÂæÜ Ùð ×éØÏæÚUæ Îàæü·¤æð´ ·¤æ ØæÙ ÖæÚUÌèØ M¤Âæð´ ·¤è ¥æðÚU ×æðǸæÐ ·¤æÚUæ (R) : ©ÎØàæ´·¤ÚU ¥æñÚU ÚUæ×»æðÂæÜ ·¤è âéÎÚUÌæ Ùð ØêÚUæð ·ð¤ Îàæü·¤æð´ ·¤æ ØæÙ ¥ÂÙè ¥æðÚU ¥æ·¤çáüÌ ç·¤ØæÐ (1) (A) ¥æñÚU (R) ÎæðÙæð´ âãè ãñ´Ð (2) (A) ¥æñÚU (R) ÎæðÙæð´ »ÜÌ ãñ´Ð (3) (A) âãè ãñ (R) »ÜÌ ãñÐ (4) (A) »ÜÌ ãñ (R) âãè ãñÐ
48. âê¿è - I ·¤æ âê¿è - II âð ç×ÜæÙ ·¤ÚðU´ Ñ âê¿è - I âê¿è - II (a) âàæÏÚU ¥æ¿æØü (i) ¥SÌæÎ ÎÕæð (b) ¥æàæèá ¹æð·¤ÚU (ii) ÙëØ ¥æÜæð¿·¤ (c) çÚUÎ× çÇUßæ§Ù (iii) âÚUæØ·ð¤Üæ ÀUª¤ (d) ×´ÁÚUè çâãæ (iv) ¥ÅðUÙÇUæâ ·ê¤ÅU Ñ (a) (b) (c) (d) (1) (iii) (iv) (i) (ii) (2) (iii) (iv) (ii) (i) (3) (i) (iv) (iii) (ii) (4) (iv) (iii) (i) (ii)
J-6515 !J-6715-PAPER-III! 21 Paper-III 49. Write in the correct sequence : (1) Shabdam, Varnam, Alaripu, Jatiswaram (2) Varnam, Shabdam, Jatiswaram, Alaripu (3) Jatiswaram, Alaripu, Shabdam, Varnam (4) Alaripu, Jatiswaram, Shabdam, Varnam
50. Pick the odd one out : (1) Tanjavur (2) Pandanallur (3) Vazhuvur (4) Banaras
51. According to Bharata, who should perform the worship of the stage ? (1) Natyacharya (2) Vidushaka (3) Nartaka (4) Sutradhara
52. Assertion (A) : Natya Mandapas hosted theatres that were part of religious rituals. Reason (R) : The Sanskrit plays were directly based on religious objectives. (1) Both (A) and (R) true (2) Both (A) and (R) false (3) (A) true (R) false (4) (A) false (R) true
53. In Kashmiri Folk Dance, a boy taking a female role is : (1) Dumhal (2) Hikat (3) Rouf (4) Bacha - Nagma
54. Match the List - I with List - II : List - I List - II (a) Rasa Dance (i) Spring Season (b) Jhulan Jatra (ii) Dandiya (c) Lahoor (iii) Navaratri (d) Garba (iv) Rainy Season Codes : (a) (b) (c) (d) (1) (iv) (ii) (i) (iii) (2) (i) (ii) (iii) (iv) (3) (ii) (iv) (iii) (i) (4) (ii) (iv) (i) (iii)
J-6515 !J-6715-PAPER-III! 22 Paper-III 49. âãè ·ý¤× ×ð´ çܹð´ Ñ (1) àæÎ×, ßæü×, ¥ÜæçÚUÂé, ÁæçÌSßÚU× (2) ßæü×, àæÎ×, ÁæçÌSßÚU×, ¥ÜæçÚUÂé (3) ÁæçÌSßÚU×, ¥ÜæçÚUÂé, àæÎ×, ßæü× (4) ¥ÜæçÚUÂé, ÁæçÌSßÚU×, àæÎ×, ßæü×
50. çßá× ·¤æ ¿éÙæß ·¤ÚðU´ Ñ (1) Ì´ÁæßéÚU (2) ´ÇUæÙæËÜéÚU (3) ßæÛæéßéÚU (4) ÕÙæÚUâ
51. ÖæÚUÌ ·ð¤ ¥ÙéâæÚU Ú´U»×´¿ ·¤è ÂêÁæ ç·¤âð ·¤ÚUÙè ¿æçã°? (1) ÙæÅ÷UØ¿æØü (2) çßÎêá·¤ (3) ÙÌü·¤ (4) âêæÏæÚU
52. ¥çÖ·¤ÍÙ (A) : ÙæÅ÷UØ ×´ÇUÂæ´ð Ùð ÙæÅU·¤æð´ ·¤æ ¥æØæðÁÙ ç·¤Øæ Áæð Ïæç×ü·¤ ¥ÙécÆUæÙæð´ ÂÚU ¥æÏæçÚUÌ ÍæÐ Ì·ü¤ (R) : â´S·ë¤Ì ÙæÅU·¤æð´ ·¤æ âèÏæ â´Õ´Ï Ïæç×ü·¤ çßáØæð´ ÂÚU ¥æÏæçÚUÌ ÍæÐ (1) (A) ¥æñÚU (R) ÎæðÙæð´ âãè ãñ´Ð (2) (A) ¥æñÚU (R) ÎæðÙæð´ »ÜÌ ãñ´Ð (3) (A) âãè ãñ (R) »ÜÌ ãñÐ (4) (A) »ÜÌ ãñ (R) âãè ãñÐ
53. ·¤à×èÚUè Üæð·¤ ÙëØ ×ð´ °·¤ ÜǸ·¤æ ×çãÜæ ·¤è Öêç×·¤æ ×ð´ ãñ Ñ (1) Ïé×ãÜ (2) çã·¤Ì (3) ÚUæñȤ (4) Õ¿æ-Ù»×æ
54. âê¿è - I ·ð¤ âæÍ âê¿è - II ·¤æ ç×ÜæÙ ·¤Úð´U Ñ âê¿è - I âê¿è - II (a) ÚUæâ ÙëØ (i) ßâ´Ì-«¤Ìé (b) ÛæéÜÙ Áæææ (ii) ÇUUæ´çÇUØæ (c) ÜæãêÚU (iii) ÙßÚUæçæ (d) »ÚUÕæ (iv) ßáæü «¤Ìé ·ê¤ÅU Ñ (a) (b) (c) (d) (1) (iv) (ii) (i) (iii) (2) (i) (ii) (iii) (iv) (3) (ii) (iv) (iii) (i) (4) (ii) (iv) (i) (iii)
J-6515 !J-6715-PAPER-III! 23 Paper-III 55. Ramli Ibraham is a contemporary dancer of : (1) Kuchipudi (2) Odissi (3) Bharatnatyam (4) Sattrya
56. Pick the odd one out : (1) Gauriamma (2) Balasaraswati (3) Saranayaki (4) Kamala Lakshman
57. Recaka is not the movement of : (1) Neck (2) Hand (3) Waist (4) Shoulder
58. The American Dancer who danced as Radha is : (1) Isadora Duncan (2) Ruth St. Denis (3) Maud Allan (4) Louis Fuller
59. Match the List - I with List - II : List - I List - II (a) Harivamsa Purana (i) Tamil epic (b) Sangitratnakara (ii) Shubhankar (c) Shilappadikaram (iii) Sarangadeva (d) Hastamuktavali (iv) Hallisaka Codes : (a) (b) (c) (d) (1) (i) (iii) (ii) (iv) (2) (iv) (i) (iii) (ii) (3) (iv) (iii) (i) (ii) (4) (iv) (iii) (ii) (i)
60. Which of the following is not related to Kathakali ? (1) Kaliattam (2) Kutiattam (3) Astapadiattam (4) Mudiyettu
J-6515 !J-6715-PAPER-III! 24 Paper-III 55. ÚUæ×Üè §Õýæã× °·¤ â×·¤æÜèÙ ÙÌü·¤ ãñ Ñ
(1) ·é¤¿è-ÂéÇUè (2) ¥æðçÇUâè (3) ÖÚUÌÙæÅ÷UØ× (4) âæØæ
56. çßá× ·¤æ ¿ØÙ ·¤Úð´U Ñ
(1) »æñÚUè¥×æ (2) ÕæÜæâÚUSßÌè
(3) âÚUÙæØ·¤è (4) ·¤×Üæ Üÿ×æ
57. ÚðU¿·¤ ãÜÙ¿ÜÙ Ùãè´ ãñ Ñ
(1) »ýèßæ (2) ãæÍ (3) ·¤×ÚU (4) ·´¤Ïæ
58. ¥×ðçÚU·¤Ù ÙëØæ´»Ùæ çÁâÙð ÚUæÏæ ·ð¤ M¤Â ×ð´ ÙëØ ç·¤Øæ Ñ
(1) §âæÇUæðÚUæ ÇU´·¤Ù (2) M¤Í âð´ÅU ÇUðçÙâ (3) ×æñÎé ¥ÜæÙ (4) Üê§â Èé¤ÜÚU
59. âê¿è - I ·¤æ âê¿è - II ·ð¤ âæÍ ç×ÜæÙ ·¤Úð´U Ñ
âê¿è - I âê¿è - II
(a) ãÚUèßæ×âæ ÂéÚUææ (i) Ìç×Ü ×ãæ·¤æÃØ
(b) â´»èÌÚUÙæ·¤ÚU (ii) àæéÖæ´·¤ÚU
(c) àæèÜæÂÎè·ý¤×æ (iii) âæÚ´U» Îðß
(d) ãSÌ×éÌæßÜè (iv) ãËÜèâæ·¤ ·ê¤ÅU Ñ (a) (b) (c) (d) (1) (i) (iii) (ii) (iv) (2) (iv) (i) (iii) (ii) (3) (iv) (iii) (i) (ii) (4) (iv) (iii) (ii) (i)
60. çÙÙçÜç¹Ì ×ð´ â𠷤ͷ¤Üè âð ·¤æñÙ â´Õh Ùãè´ ãñ?
(1) ·¤Üè¥Å÷UÅU× (2) ·é¤Å÷UÅUè¥Å÷UÅU× (3) ¥cÅUæÂÎè¥Å÷UÅU× (4) ×éÎ÷ÎèØðæé
J-6515 !J-6715-PAPER-III! 25 Paper-III 61. Pick the odd one out : (1) Labanotation (2) Kurt Joosse (3) Ruth St. Denis (4) Lucinda Childs
62. Who of the following is not a dance critic ? (1) Leela Venkataraman (2) V.R. Devika (3) Sunil Kothari (4) Manjari Sinha
63. Which is not correctly matched ? (1) Dangi - Spiral movements. (2) Tushimig - unmarried girls (3) Koli Cha Natch - men and women (4) Dandiya Ras - clap
64. Match the List - I with List - II : List - I List - II (a) Nattuvanar (i) Kathak (b) Tora - Tukra (ii) Odissi (c) Chali (iii) Bharatnatyam (d) Batu (iv) Manipuri Codes : (a) (b) (c) (d) (1) (iii) (i) (iv) (ii) (2) (iii) (i) (ii) (iv) (3) (iii) (iv) (i) (ii) (4) (iv) (i) (ii) (iii)
65. Dance performances under The Horizon Series is an initiative of : (1) Indian Council for Cultural Relations (2) Indian Center for Arts (3) Indian Mime Academy (4) Indian Theatre Center
J-6515 !J-6715-PAPER-III! 26 Paper-III 61. çßá× ·¤æ ¿ØÙ ·¤Úð´U Ñ (1) ÜðÕæÙæðÅðUàæÙ (2) ·¤ÅüU Áæðâð (3) M¤Í âð´ÅU ÇðUçÙâ (4) Üêçàæ´ÇUæ ç¿ËÇ÷Uâ
62. çÙÙçÜç¹Ì ×ð´ âð ÙëØ-â×èÿæ·¤ ·¤æñÙ Ùãè´ ãñ? (1) ÜèÜæ ßð´·¤ÅUÚU×æ (2) ßè.¥æÚU. Îðçß·¤æ (3) âéçÙÜ ·¤æðÆUæÚUè (4) ×´ÁÚUè çâãæ
63. ·¤æñÙ âãè É´U» âð ç×ÜæÙ Ùãè´ ãñ? (1) ÇUæ´»è-SÂæ§ÚUÜ »çÌ (2) Ìéàæèç×»-¥çßßæçãÌ ØéßÌè (3) ·¤æðÜè ¿æ Ùæ¿ - Sæè ¥æñÚU ÂéL¤á (4) ÇU´æçÇUØæ ÚUæâ-ÌæÜè
64. âê¿è - I ·ð¤ âæÍ âê¿è - II ·¤æ ç×ÜæÙ ·¤Úð´U Ñ âê¿è - I âê¿è - II (a) ÙæéßæÙæÚU (i) ·¤Í·¤ (b) ÌæðǸæ-ÅéU·¤ÚUæ (ii) ¥æðçÇUâè (c) ¿æÜè (iii) ÖÚUÌÙæÅ÷UØ× (d) ÕÌé (iv) ×çæÂéÚUè ·ê¤ÅU Ñ (a) (b) (c) (d) (1) (iii) (i) (iv) (ii) (2) (iii) (i) (ii) (iv) (3) (iii) (iv) (i) (ii) (4) (iv) (i) (ii) (iii)
65. ÒÒãæðÚUæ§ÁÙ-çâÚUèÁÓÓ ·ð¤ ¥´Ì»üÌ ÙæÅ÷UØ-ÂýØæ𻠷𤠥æÚ´UÖ·¤Ìæü ãñ´ Ñ (1) §´çÇUØÙ ·¤æ©´çâÜ È¤æòÚU ·¤Ë¿ÚUÜ-çÚUÜðàæâ (2) §´çÇUØÙ âð´ÅUÚU ȤæòÚU ¥æÅü÷Uâ (3) §´çÇUØÙ ×æ§× °·ð¤ÇU×è (4) §´çÇUØÙ çÍ°ÅUÚU âð´ÅUÚU
J-6515 !J-6715-PAPER-III! 27 Paper-III 66. Pick the odd one out :
(1) Ishwariprasad (2) Ganeshilal (3) Abul Fazal (4) Bhanuji
67. Recently in Germany during the Prime Ministers visit a specially choreographed Dance was part of the opening event. It had :
(1) Kalaripayattu (2) Classical Dance+Yoga+Kalari
(3) Acrobatics (4) Bharatnatyam+Kathak
68. Match the List - I with List - II :
List - I List - II
(a) Shauthava (i) Posture
(b) Chari (ii) Grace of Posture
(c) Sthana (iii) Group formations
(d) Pindibandha (iv) Walk
Codes :
(a) (b) (c) (d)
(1) (ii) (iv) (i) (iii)
(2) (ii) (iv) (iii) (i)
(3) (i) (iii) (ii) (iv)
(4) (iv) (ii) (i) (iii)
69. Butoh is from :
(1) Poland (2) United Kingdom (3) China (4) Japan
70. Denishawn was an institution of :
(1) Ruth and Ted (2) Martha and Erick
(3) Doris and Charles (4) Katherine and Pearl
J-6515 !J-6715-PAPER-III! 28 Paper-III 66. çßá× ·¤æð ¿éçÙ° Ñ
(1) §üàßÚUèÂýâæÎ (2) »æðàæèÜæÜ (3) ¥ÕéÜ È¤ÁÜ (4) ÖæÙéÁè
67. ãæÜ ãè ×ð´ ÂýÏæÙ×´æè ·ð¤ Á×üÙè Øæææ ·ð¤ ÎæñÚUæÙ ßãæ¡ â×æÚUæð㠷𤠥æÚ´UÖ ×ð´ °·¤ çßàæðá ·¤æðçÚUØæð»ýæȤ ç·¤Øæ ãé¥æ ÙëØ ÂýSÌéÌ ç·¤Øæ »ØæÐ ßã Íæ Ñ
(1) ·¤ÜÚUèÂæØÌé (2) àææSæèØ ÙëØ+Øæð»+·¤ÜÚUè
(3) ·¤ÜæÕæÁè (4) ÖÚUÌÙæÅ÷UØ×+·¤Í·¤
68. âê¿è - I ·¤æ âê¿è - II âð ç×ÜæÙ ·¤Úð´U Ñ
âê¿è - I âê¿è - II
(a) âæñcÆUß (i) Ö´ç»×æ
(b) ¿æÚUè (ii) Ö´»è×æ ·¤æ âæñ´ÎØü
(c) SÍæÙ·¤ (iii) â×êã çÙcÂæÎÙ
(d) ç´ÇUèÕ´Ï (iv) ¿æÜ ·ê¤ÅU Ñ (a) (b) (c) (d) (1) (ii) (iv) (i) (iii) (2) (ii) (iv) (iii) (i) (3) (i) (iii) (ii) (iv) (4) (iv) (ii) (i) (iii)
69. ÒÕéÅUæðãÓ ãñ Ñ
(1) ÂæðÜñ´ÇU (2) ØêÙæ§ÅðUÇU ç·´¤»ÇU× (3) ¿èÙ (4) ÁæÂæÙ
70. ÎðçÙàææòÙ °·¤ â´SÍæ Íè Ñ
(1) M¤Í °´ÇU ÅðUÇU (2) ×æÍæü °´ÇU °çÚU·¤
(3) ÇæðÚUèàæ °´ÇU ¿æËâü (4) ·ð¤ÍÚUèÙ °´ÇU ÂÜü
J-6515 !J-6715-PAPER-III! 29 Paper-III 71. Match the List - I with List - II : List - I List - II (a) Bala (i) Tanjore Court (b) Chinnaiya (ii) Kathakali (c) Hastalakshana Dipika (iii) Santiniketan (d) Navakumar Singh (iv) Satyajit Ray Codes : (a) (b) (c) (d) (1) (iii) (ii) (i) (iv) (2) (iv) (iii) (ii) (i) (3) (iv) (i) (ii) (iii) (4) (iv) (i) (iii) (ii)
72. IGNITE is : (1) A Dance Company (2) A Contemporary Dance Festival (3) A Light Company (4) An Auditorium
73. Pick the odd one out : (1) Rasia (2) Lambali (3) Kollattam (4) Rasa
74. The Art of Making Dances is a book by : (1) Doris Humphrey (2) Zohral Segal (3) Rabindranath Tagore (4) Pina Bausch
75. Match the List - I with List - II : List - I List - II (a) Music (i) Kept by feet (b) Meaning (ii) Expressed by eyes (c) Emotions (iii) Singing (d) Rhythm (iv) Expressed by hands Codes : (a) (b) (c) (d) (1) (iii) (i) (iv) (ii) (2) (i) (ii) (iii) (iv) (3) (iii) (ii) (iv) (i) (4) (iii) (iv) (ii) (i)
- o 0 o -
J-6515 !J-6715-PAPER-III! 30 Paper-III 71. âê¿è - I ·ð¤ âæÍ âê¿è - II ·¤æ ç×ÜæÙ ·¤Úð´U Ñ âê¿è - I âê¿è - II (a) ÕæÜæ (i) Ì´ÁæðÚU ÎÚUÕæÚU (b) ç¿Ù§Øæ (ii) ·¤Í·¤Üè (c) ãSÌÜÿææ Îèç·¤æ (iii) àææ´çÌçÙ·ð¤ÌÙ (d) Ùß·é¤×æÚU çâ´ã (iv) âØÁèÌ ÚðU ·ê¤ÅU Ñ (a) (b) (c) (d) (1) (iii) (ii) (i) (iv) (2) (iv) (iii) (ii) (i) (3) (iv) (i) (ii) (iii) (4) (iv) (i) (iii) (ii)
72. ¥æ§ü.Áè.°Ù.¥æ§ü.ÅUè.§ü. (§Ùæ§üÅU) ãñ Ñ (1) °·¤ ÙëØ ·´¤ÂÙè (2) °·¤ â×·¤æÜèÙ ÙëØ ×ãæðâß (3) °·¤ Üæ§ÅU ·´¤ÂÙè (4) °·¤ ¥æòçÇUÅUæðçÚUØ×
73. çßá× ·¤æ ¿ØÙ ·¤Úð´U Ñ (1) ÚUçâØæ (2) ÜÕæÌè (3) ·¤æðËÜÅ÷ÅU× (4) ÚUæâ
74. ÒÒÎ ¥æÅüU ¥æòȤ ×ðç·´¤» ÇUæ´âÓÓ ·ð¤ Üð¹·¤ ãñ´ Ñ (1) ÇUæðÚUèâ ãȤÚðU (2) ÁæðãÚUæ âã»Ü (3) ÚUßèÎýÙæÍ ÅñU»æðÚU (4) ÂèÙæ Õ檤à¿
75. âê¿è - I ·ð¤ âæÍ âê¿è - II ·¤æ ç×ÜæÙ ·¤Úð´U Ñ âê¿è - I âê¿è - II (a) â´»èÌ (i) ÂÎ-â´¿æÚU (b) ¥Íü (ii) ¥æ¡¹æ´ð mæÚUæ ¥çÖÃØçÌ (c) Öæß (iii) »æØÙ (d) ÌæÜ (iv) ãæÍæð´ mæÚUæ ¥çÖÃØçÌ ·ê¤ÅU Ñ (a) (b) (c) (d) (1) (iii) (i) (iv) (ii) (2) (i) (ii) (iii) (iv) (3) (iii) (ii) (iv) (i) (4) (iii) (iv) (ii) (i)
- o 0 o -
J-6515 !J-6715-PAPER-III! 31 Paper-III Space For Rough Work
J-6515 !J-6715-PAPER-III! 32 Paper-III