ODN-0011 Term-End Examination. June, 2018 ODN-001

Total Page:16

File Type:pdf, Size:1020Kb

ODN-0011 Term-End Examination. June, 2018 ODN-001 No. of Printed Pages : 3 ODN-0011 CERTIFICATE IN PERFORMING ARTS - KATHAK/BHARATANATYAM Term-End Examination . June, 2018 ODN-001 : INTRODUCTION TO INDIAN DANCE FORMS Time : 21/2 hours Maximum Marks : 70 Note : (i) Answer all the questions. (ii) Read the instructions carefully before attempting the answers. 1. Fill in the blanks. Each question carries two marks : 5x2=10 (a) is the opening item of a Bharatanatyam repertoire. (b) The Cholom dance where cymbals are played is (c) Apart from tabla, the other percussion instrument that can be used in Kathak is (d) Kathakali's origins can be traced to the dance - theatre form of (e) Silappadikaaram mentions the hands to be used for exhibiting actions as and those used for graceful effect as ODN-001 1 P.T.O. 2. True or False. Each question carries two marks. 5x2=10 (a) The natyashastric tradition mentions 'natya' T/F as inclusive of dance only and not music. (b) Mental and psychological states are T/F depicted through Sthayibhava. (c) If Chakyar Koothu was done by men, then T/F Nangyar Koothu was done by women from the same community. (d) In the Kuchipudi tradition, Natyamelam T/F was performed by men and Nattuvamelam by women. (e) Bhagavatamela Natakam is a dance drama T/F form from the state of Andhra Pradesh. 3. Short answers. Answer any five questions. Each question carries six marks. 5x6=30 (a) Provide historical references of the Odissi dance from sculptural evidences. (b) Out of the three Margas to achieve Moksha, which one extols the nature of union with god through devotion and love. Explain in brief. (c) Explain the preliminary procedures done by the Sutradhara in a traditional Kuchipudi dance drama. (d) Write about the three Raasas of Manipuri dance. (e) Discuss on the five types of Vesham in Kathakali. (f) Explain the technical elements of Nritta in Bharatanatyam. ODN-001 2 4. Long answer questions. Each carries ten marks. Both questions are compulsory. 2x10=20 (a) Explain Angika abhinaya in detail. (b) Discuss in detail about (i) Bhava (ii) Rasa ODN-001 3 .
Recommended publications
  • CBSE NET Performing-Art December-2013 Solved Paper III Download All the Papers to Prepare for NET 2021
    9/17/2021 CBSE NET Performing-Art December 2013 Solved Paper III Download All the Papers to Prepare for NET 2021- Examrace Examrace Paper 3 has been removed from NET from 2018 (Notification)- now paper 2 and 3 syllabus is included in paper 2. Practice both paper 2 and 3 from past papers. CBSE NET Performing-Art December-2013 Solved Paper III Download All the Papers to Prepare for NET 2021 Online Paper 1 complete video course with Dr. Manishika Jain. Lifetime subscription. Includes tests and expected questions. Join now! 1. Select the correct sequence from the following as per Natyashastra (A) Rasa, Tandava Lakshmana, Nandi, Nayaka Bheda (B) Tandava Lakshmana, Rasa, Nandi, Nayaka Bheda (C) Nandi, Tandava Lakshmana, Rasa, Nayaka Bheda (D) Nandi, Rasa, Nayaka Bheda, Tandava Lakshmana Answer: C 2. The “Nandi” of Natyashastra can be called (A) “Avanu” of Bhavai (B) Preliminary of a Play (C) Purvaranga of Dance (D) All of above Answer: D 3. Assertion (A) : The nature and degree of transformation from martial trait to stylised and aesthetic has great range. Reason (R) : Indian theatrical styles favour martial arts. Codes: (A) Both (A) and (R) true. (B) Both (A) and (R) false. (C) (A) true (R) false. (D) (A) false (R) true. Answer: C 4. Pick the odd one out: 1 of 9/17/2021 CBSE NET Performing-Art December 2013 Solved Paper III Download All the Papers to Prepare for NET 2021- Examrace (A) Gangavataran (B) Talapushpaputa (C) Udhvahita (D) Bhujangatrasit Answer: C 5. Match the following: List – I List – II List I a.
    [Show full text]
  • Static GK: Dances in India
    For More Study Material Static GK: Dances in India Classical Dance: Classical Dance State Mohiniyattam Kerala Bharatanatyam Tamil Nadu Kathak Uttar Pradesh Kathakali Kerala Kuchipudi Andhra Pradesh Manipuri Manipur Odissi Orissa Chhau West bengal Sattriya Assam Folk Dance: State Folk Dance Andhra Pradesh Kolattam, Gobbi Dance, Dhimsa, Dhamal Dance Assam Bihu, Jhumur Naach, Ali Ai Ligang, Bagurumba Arunachal Pradesh Bardo Chham, Lion and Peacock dance Chhattisgarh Raut Nacha, Gaur Maria Dance, Panthi Join Telegram Channel For More Study Material Gujarat Garba, Dandiya ras, Tippani Dance, Kinnauri Nati, Namgen Goa Tarangamel, Dekhni, Dhalo, Dhangar, Fugdi Haryana Jhumar Dance, Gugga dance, Saang, Teej, Loor dance, Dhamal Dance, Phag dance Himachal Pradesh Luddi dance, Munzra, Kanayala, Giddha Parhaun, Hikat Karnataka Yakshagana, Bayalata, Dollu Kunitha, Veeragaase dance Kerala Theyyam or Kaliyattam, Thullal, Thirayattam, Oppana, Mar- gamkali, Thitambu Nritham, Chakyar Koothu, Chavittu Na- dakam Madhya pradesh Tertali, Charkula, Matki dance, Phulpati dance, Grida dance, Maanch Maharashtra Pavri Nach, Lavani Manipur Thang Ta, Dhol Cholom Mizoram Cheraw dance or Bamboo dance Nagaland Chang Lo or Sua Lua Odisha Ghumura dance, Goti Pua, Nacni, Baagh Naach or Tiger dance, Dalkhai dhap, Karma Naach, Keisabadi Punjab Bhangra, Giddha, Malwai Giddha, Jhumar, Karthi, Kikli Puducherry Garadi Sikkim Singhi Chham Rajasthan Ghoomar, Kalbelia, Bhavai, Kachchhi Ghodi Tamil Nadu Kamandi, Kummi, Kolattam, Karagattam or Karagam, Oyi- lattam, Puliyattam, Mayil Attam or Peacock dance, Pampu Attam or snake dance West Bengal Jatra, Chau, Kathi Join Telegram Channel For More Study Material Lakshadweep Lava Uttar Pradesh Nautanki, Raslila, Jhora, Chhapeli, Jaita Jammu Kashmir Rouf, Chakri Jharkhand Karma Telengana Perini Thandavam, Dappu, Lambadi Tripura Hojagiri, Goria, Lebang Boomani Uttrakhand Chholiya, Jagars, Thali-Jadda, Jhainta, Barada Nat Bihar Kajari, Jaat- Jaatin, Jhijhian, Jhumeri, Souhar- Khilouna Uttrakhand Barada Nati, Bhotiya, Chancheri, Chhapeil Join Telegram Channel .
    [Show full text]
  • Department of Sanskrit
    DEPARTMENT OF SANSKRIT Dr. K. I. Treesa Asst. Professor In Sanskrit PERFORMING ARTS • KOODIYATTAM • CHAKYAR KOOTHU • NANGIAR KOOTHU • KRISHNANATTAM KOODIYATTAM Koodiyattam, also transliterated as Kutiyattam, is a traditional performing artform in the state of Kerala, India. It is a combination of ancient Sanskrit theatre with elements of Koothu, a Malayalam performing art which is as old as Sangam era. It is officially recognised by UNESCO as a Masterpiece of the Oral and Intangible Heritage of Humanity. Koodiyattam (Kutiyattam), meaning "combined acting" in Malayalam, combines Sanskrit theatre performance with elements of traditional Koothu. It is traditionally performed in temple theatres known as Koothambalams. It is the only surviving art form that uses drama from ancient Sanskrit theatre. It has a documented history of a thousand years in Kerala, but its origins are unknown. Koodiyattam and Chakyar Koothu were among the dramatized dance worship services in the temples of ancient India, particularly Kerala. Both Koodiyattam and Chakyar Koothu originated from ancient south Indian artform Koothu which is mentioned several times in ancient Sangam literature, and the epigraphs of the subsequent Pallava, Pandiyan, Chera, and Chola periods. Inscriptions related to Koothu can be seen in temples at Tanjore, Tiruvidaimaruthur, Vedaranyam, Tiruvarur, and Omampuliyur. They were treated as an integral part of worship services, alongside the singing of Tevaram and Prabandam hymns. MIZHAVU Traditionally, the main musical instru ments used in Koodi yattam are mizhavu, kuzhitalam, edakka, k urumkuzhal, and sankhu. Mizhavu, the most prominent of these is a percussion instrument that is played by a person of the Ambalavas Nambiar caste, accom panied by Nangyaramma playing the kuzhithalam (a type of cymbal).
    [Show full text]
  • Fifth Annual Report 2013-2014
    Fifth Annual Report 2013-2014 ANNUAL REPORT 2013-14 The Visitor President of India His Excellency Shri Pranab Mukherjee ANNUAL REPORT 2013-14 Chancellor Dr. Sam Pitroda ANNUAL REPORT 2013-14 Founder Vice Chancellor Prof. M. M. Salunkhe ( 02.03.2009 - 01.03.2014 ) Vice Chancellor (i/c) Prof. A. P. Singh (from 02.03.2014 onwards) ANNUAL REPORT 2013-14 Visit of Hon'ble President of India to the University for the Second Convocation Ceremony The President of India and other dignitaries during the Second Convocation Ceremony t of India Vice Chancellor welcoming the Presiden The President of India deliv essing the gathering ering the Con Vice Chancellor addr vocation address ANNUAL REPORT 2013-14 The President of India inaugurating the Innovation Exhibition The President of India receiving the cheque for Prime Minister's National Relief Fund The President of India inspecting the Innov ation Exhibition Release of Innov ation Bookle t by the dignitaries The President of India addressing the Innovators The Pr esident of India pr esenting the degr ees Gold Medalists of the University ANNUAL REPORT 2013-14 Recognition of the University Ar. Ritu B. Rai and Ar. Vivekanand Tiwari receiving the GRIHA Award for Exemplary Demonstration of Water Management at CURaj Campus on behalf of CURaj Ms. Anuradha Mittal, Public Relations Officer receiving the Appreciation Award for the Annual Report 2012-13 of CURaj being selected in the Annual Report category of Corporate Collateral Awards 2014 during the 8th Global PR Conclave of Public Relations Council of India in Mumbai on 15th February 2014 on behalf of CURaj ANNUAL REPORT 2013-14 Contents S.
    [Show full text]
  • State Dance (S) Andra Pradesh Kuchipudi, Kolattam, Ghantamardala, (Ottam Thedal, Mohiniattam, Kummi, Siddhi, Madhuri, Chhadi
    BHARAT SCHOOL OF BANKING STATIC GK Indian Cultural/Classical Dances - Folk Dances in India State Dance (S) Andra Pradesh Kuchipudi, Kolattam, Ghantamardala, (Ottam Thedal, Mohiniattam, Kummi, Siddhi, Madhuri, Chhadi. Arunachal Pradesh Bardo Chham Assam Bihu, Ali Ai Ligang, Bichhua, Natpuja, Maharas, Kaligopal, Bagurumba, Naga dance, Khel Gopal, Tabal Chongli, Canoe, Jhumura Hobjanai etc. Bihar Chhau,Jata-Jatin, Bakho-Bakhain, Panwariya, Sama-Chakwa, Bidesia, Jatra etc. Chhattisgarh Panthi, Raut Nacha, Gaur Maria, Goudi, Karma, Jhumar, Dagla, Pali, Tapali, Navrani, Diwari, Mundari. Goa Tarangamel, Dashavatara, Dekhni, Dhalo, Dhangar, Fugdi, Ghodemodni, Goff, Jagar, Kunbi, Mando, Musal Khel, Perni Jagar, Ranamale, Romta Mel, Divlyan Nach (Lamp dance), Veerabhadra, Morulo, Tonayamel , Mandi, Jhagor, Khol, Dakni, , Koli Gujarat Garba, Dandiya Ras, Tippani Juriun, Bhavai. Haryana Saang, Chhathi, Khoria, Ras Leela, Dhamal, Jhumar, Loor, Gugga, Teej Dance, Phag, Daph, Gagor Himachal Pradesh Kinnauri, Mangen, Jhora, Jhali, Chharhi, Dhaman, Chhapeli, Mahasu, Nati, Dangi, Chamba, Thali, Jhainta, Daf, Stick dance Jammu & Kashmir Kud, Dumhal, Rauf, Hikat, Mandjas, Damali Jharkhand Chhanu, Sarahul, Jat-Jatin, Karma , Munda, Danga, Bidesia, Sohrai. Karnataka Yakshagan, Bayalatta, Dollu Kunitha, Veeragasse, Huttar, Suggi, Kunitha, Karga, Lambi Kerala Mohiniyattam, Kathakali, Thirayattam, Theyyam, Thullal, Koodiyattam, Duffmuttu / Aravanmuttu, Oppana, Kaikottikali, Thiruvathirakali, Margamkali, Thitambu Nritham, Chakyar Koothu, Chavittu Nadakam, Padayani
    [Show full text]
  • February 2020 VOLUME No. 21 Sl.No. 2
    Vol.21 No. 2 February - 2020 INFOSYS FOUNDATION PULIGERE UTSAV, 2020 Shri. T.K. Anil Kumar I.A.S., Secretary to Govt, Tourism Dept, Govt of Karnataka standing along with him (from right) Shri Manandi N. Suresh, Hon. Secretary, BVB, and Smt. Shrimati Suresh after inaugurating the festival by offering flowers to the deity while members of the temple trust on the left side join. Dance, music, art… the instruments like the sitar, tabla, audience couldn’t ask for more. flute, violin and santoor as well as For three whole days, the sounds the tinkle of ghunghrus filled the air of resonant voices singing in at the Someshwara temple at perfection and those of musical Lakshmeshwara in Gadag Dist. 1 [email protected] Dr. Pallakki Utsava with folk : ‘Dollu Kunita’ It was a feast for the eyes the morning at 6.30, even and ears as the rapt audience as day broke; and evening drank it all in on January 3, 4 programmes. and 5, 2020, with the 5th edition The Utsav was inaugurated of the PuligereUtsav- 2020 early in the day, at 6.15am, with being held by the Infosys Shri. T.K. Anil Kumar, IAS, Foundation. The tagline, Secretary, Tourism department, Sangeetha – Nruthya – Chitra Government of Karnataka, doing Sambrama was apt, as there the honours – by showering was an Artists’ Camp, too, flowers on the deity Someshwara, called “Landscapes of placed in a palanquin.In his Lakshmeshwara,” in which speech, Shri. Anil Kumar said artists recommended by the that Karnataka had a richness in Lalit Kala Academy participated.
    [Show full text]
  • (IAS Academy by IAS Officers) 1
    OFFICERS IAS ACADEMY (IAS Academy by IAS Officers) MCQ – 07.05.2020 1. The Deposit Insurance and Credit Guarantee Corporation Act, 1961 (DICGC Act) provide for the establishment of a DICGC for the purpose of insurance of deposits and guaranteeing of credit facilities. In this context, DICGC insures which of the following deposits? 1. Inter-bank deposits 2. Fixed deposits of Public 3. Deposits of Central/State Governments 4. Deposits of foreign Governments Select the correct answer using the codes given below a) 2, 3 and 4 only b) 2 only c) 1 and 3 only d) 1, 2 and 3 only Ans: B Explanation The functions of the DICGC are governed by the provisions of 'The Deposit Insurance and Credit Guarantee Corporation Act, 1961' (DICGC Act) and 'The Deposit Insurance and Credit Guarantee Corporation General Regulations, 1961' framed by the Reserve Bank of India The preamble of the Deposit Insurance and Credit Guarantee Corporation Act, 1961 states that it is an Act to provide for the establishment of a Corporation for the purpose of insurance of deposits and guaranteeing of credit facilities Banks covered by Deposit Insurance Scheme All commercial banks including the branches of foreign banks functioning in India, Local Area Banks and Regional Rural Banks 1 Plot No: 935,6th Avenue, Anna Nagar, Chennai-40 Ph: 044-40483555,9677120226,9677174226 Web: www.officersiasacademy.com OFFICERS IAS ACADEMY (IAS Academy by IAS Officers) Co-operative Banks - All eligible co-operative banks as defined in Section 2(gg) of the DICGC Act are covered by the Deposit Insurance Scheme.
    [Show full text]
  • The Kootiyattam Artistes of the Ammannur Family
    The Kootiyattam Artistes of the Ammannur Family G. Venu The Chakyars are a small sect among the Ambalavasi (temple-dwellers) caste of Kerala who have been tor centuries practising the histrionic art-the theatrical art of presentation and enacting of plays-as a hereditary family profession. In the field of drama trey have made a creditable and very valuable contribution: they have preserved intact Kera la's ancient Sa nskrit theatre tradition called Kootiyattam. Kootiyattam. it must be remembered. is the only model, now extant of the ancient Sanskrit theatre of India. In addition to Kootiyattam, the Chakyars have been practising another allied art called Koothu as a traditional family profession. When the Chakyar. in the guise of the Vidushaka (jester) relates Puranic stories in a manner replete with interest and humour, the performance is ca lled Koothu (known as Prabandha Koothu). By and large the stories in the Ramayana or the Mahabharata are narrated. While relating the story, the Chakyar monoacts the parts of the characters he is talking about. In the course of his discourse. the Chakyar makes very witty and satirical thrusts at persons among the audience; usually he does this by treating them as characters in the story he is narrating and addressing them or pointing them out as such. He creates opportunities to make fun oi them or to ridicule them. Often he directs his satire not at individuals but at some social problem or evil, ingeniously bringing it into relevance with some event or episode in the story. The Chakyar has full freedom to ridicule any person in the audience however great he may be, provided.
    [Show full text]
  • In Terms of International Theatrical History, Kutiyattam, the Sanskrit Theatre If Kerala, Can Perhaps Well Claim the Greatest Antiquity
    In terms of international theatrical history, Kutiyattam, the Sanskrit theatre if Kerala, can perhaps well claim the greatest antiquity. Kutiyattam is a form of theatre that originated in an ancient past, dating back to about two millennia. One of the most remarkable traditions of world theatre, it draws on the on the plays of the eminent Sanskrit dramatists of India. In recent times, Kutiyattam has gained the attention of theatre people and scholars from all over the world. Recently, Kutiyattam has been declared as among the “ Masterpieces of the Oral and Intangible Heritage of Humanity” by UNESCO. It is for the first time in the history of UNESCO that select art forms across the world have been given this recognition as part its effort to safeguard expressions of oral heritage and traditional culture which are in danger of disappearing due to the effects of globalisation. While the performing tradition of Sanskrit plays have ceased to exist elsewhere in India, the continuation of an unbroken tradition of theatre surviving in Kerala, the southernmost tip of India is historically interesting. While there is a rich corpus of plays composed in Sanskrit written by dramatists like Asvaghosha, Bhasa, Sudraka, Kalidasa, Harsha, Bodhayana, Mahendravikramavarman and several others which have come down to us, there are no exact evidence or details regarding the staging of Sanskrit plays during the times they were written, except those reconstructed from history, references available from the Sanskrit plays themselves and from texts like Bharata’s Natya Sastra. The performance practice of Kutiyattam, though it broadly follows the abstract rules of aesthetics described in the Natya Sastra, has its own distinctive characteristics in terms of theatric conventions and method of acting.
    [Show full text]
  • Kutiyattam Sudha Gopalakrishna
    Kutiyattam Sudha Gopalakrishna In terms of international theatrical history, Kutiyattam, the Sanskrit theatre if Kerala, can perhaps well claim the greatest antiquity. Kutiyattam is a form of theatre that originated in an ancient past, dating back to about two millennia. One of the most remarkable traditions of world theatre, it draws on the on the plays of the eminent Sanskrit dramatists of India. In recent times, Kutiyattam has gained the attention of theatre people and scholars from all over the world. Recently, Kutiyattam has been declared as among the “Masterpieces of the Oral and Intangible Heritage of Humanity” by UNESCO. It is for the first time in the history of UNESCO that select art forms across the world have been given this recognition as part its effort to safeguard expressions of oral heritage and traditional culture which are in danger of disappearing due to the effects of globalisation. While the performing tradition of Sanskrit plays have ceased to exist elsewhere in India, the continuation of an unbroken tradition of theatre surviving in Kerala, the southernmost tip of India is historically interesting. While there is a rich corpus of plays composed in Sanskrit written by dramatists like Asvaghosha, Bhasa, Sudraka, Kalidasa, Harsha, Bodhayana, Mahendravikramavarman and several others which have come down to us, there are no exact evidence or details regarding the staging of Sanskrit plays during the times they were written, except those reconstructed from history, references available from the Sanskrit plays themselves and from texts like Bharata’s Natya Sastra. The performance practice of Kutiyattam, though it broadly follows the abstract rules of aesthetics described in the Natya Sastra, has its own distinctive characteristics in terms of theatric conventions and method of acting.
    [Show full text]
  • January 2018.Pmd
    P 2 | JANUARYDECEMBER 2018 2017 Contents Volume 2, Issue 7 | January 2018 Editorial Team 04 Cover Story 22 Reviews 46 The Empowering Dance Glorified in Andhra's Editor’s Note 05 Monk of India : Alpha City : Amaravati Swami Vivekananda Nrithyotsav 2017 Cultural Bulletin 06 Awards 10 Torch Bearers 12 An Astute Advocate of Theatre Arts : MK Raina Beacons of Light 38 Reports 54 A Vision for the Envisioned : Dr. SuparnaVenkatesh Dance in India 18 MANIPURI Rays of Hope 42 Kutiyattam gives a significance to his life : Ramith Ramesh In Sight 64 Classifieds 65 P 3 | JANUARYDECEMBER 2018 2017 Editorial ‘The Dance India’- a monthly cultural magazine in English is our humble "If the art is poor, attempt to capture the spirit and culture of art in all its diversity. the nation is sick." Articles may be submitted for possible Editor-in-Chief publication in the magazine in the following BR Vikram Kumar manner. Associate Editor • Send in your articles to [email protected] RMK Sharma Please include your full name, contact information (address and telephone Sub Editor’s number) and a short bio data. D Praveena • Articles are published in the magazine only Sandhya Parimala V on the condition that the author agrees to the terms of the Copyright Statement and Policy Feature Writer Ch Nikhitha Regd. Office: Trivikram Publications, Administration Manager D.No. 50-01-50/1, ASR Nagar, Seethammadhara, KV Lakshmi Coordinators Visakhapatnam - 530 013, A.P. (News, Advertisements & Tel: +91 8897987445 Communications Incharge Subscriptions) The opinions, beliefs and viewpoints expressed by the various writers in the articles and K Bhanoji Rao Sai Venkatesh Karnataka reviews do not necessarily reflect the opinions, beliefs and viewpoints of the editorial team or Circulation Manager Kashmira Trivedi Maharashtra official policies of The Dance India.
    [Show full text]
  • The Origin and Development of Sadir and Koodiattam – a Critical Study
    ISSN 2349-7831 International Journal of Recent Research in Social Sciences and Humanities (IJRRSSH) Vol. 5, Issue 1, pp: (100-105), Month: January - March 2018, Available at: www.paperpublications.org The Origin and Development of Sadir and Koodiattam – A Critical Study Moumita Mitra Research Scholar in Dance, University College of Fine Arts, University of Mysore Dr. Sheela H.K. Shridhar Professor of Dance, University College of Fine Arts, University of Mysore Abstract: Indian dance and drama had evolved around 2000 years ago. Natyasastra, a treatise deals with the dramaturgy and dance was written by Bharata Muni approximately near 200B.C. which proves the existence of dance and drama during those eras. The existence of both the art forms Koodiattam and Sadir can be traced during that time, although the names and the forms were little different from today. This topic mainly focussed on the critical study of Koodiattam and Sadir in terms of origin and development. Koodiattam is a Sanskrit drama traced around 200 B.C. in present Kerala .But the exact period of evolution of this particular drama is still unknown. Sadir forms the modified form of Dasiattam which has evolved 2000 years ago. The massive development of Dasiattam or present Bharatnatyam took place in 17th century where the new name Sadir came into existence. The continuous development and modification of these two art forms happened throughout in these years. The different factors affected these two forms. Sometimes both of these got enormous support and contributions from royal patrons especially between 16th to 19th century and at the same time these have witnessed declination due to various issues.
    [Show full text]