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GNDU QUESTION PAPERS 2023
BA/BSc 6
th
SEMESTER
INDIAN CLASSICAL DANCE
Time Allowed: 3 Hours Maximum Marks: 50
Note: Aempt Five quesons in all, selecng at least One queson from each secon. The
Fih queson may be aempted from any secon. All quesons carry equal marks.
SECTION-A
1. Explain about the style, costume and music of Kuchipudi.
2. Write detailed note on Abhinaya.
SECTION-B
3. Explain Guru Shishya Parampara.
4. The role of thumri in Kathak.
SECTION-C
5. What do you know about Western Dances?
6. Explain Nayaka Bhedas.
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SECTION-D
7. Give detailed knowledge of Folk dances of Haryana.
8. Write notaon of one Tora one Paran in Pancham Swari.
GNDU ANSWER PAPERS 2023
BA/BSc 6
th
SEMESTER
INDIAN CLASSICAL DANCE
Time Allowed: 3 Hours Maximum Marks: 50
Note: Aempt Five quesons in all, selecng at least One queson from each secon. The
Fih queson may be aempted from any secon. All quesons carry equal marks.
SECTION-A
1. Explain about the style, costume and music of Kuchipudi.
Ans: Style of Kuchipudi
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The style of Kuchipudi is lively, graceful, and dramatic. Unlike some classical dances that
focus mainly on rhythm or pure movement, Kuchipudi combines dance with acting, making
it almost like a dance-drama. In fact, traditionally it was performed as a full theatrical
presentation called Yakshagana or dance drama, where characters from mythology were
enacted on stage.
Key features of Kuchipudi style
1. Graceful and flowing movements
Kuchipudi dancers move lightly and smoothly, as if floating. The steps are rhythmic but
softer compared to Bharatanatyam. There is a natural swing in the body that makes the
dance look elegant and lively.
2. Combination of Nritta, Nritya, and Natya
Like all Indian classical dances, Kuchipudi includes three elements:
• Nritta – pure dance movements and footwork
• Nritya – expressive dance with emotions
• Natya – dramatic storytelling
Kuchipudi is especially famous for its Natya (dramatic) aspect, where the dancer becomes a
character—like Krishna, Satyabhama, or Shiva—and tells a story through gestures and
expressions.
3. Expressive facial expressions (Abhinaya)
The dancer’s face plays a major role. Through eyes, eyebrows, smile, and expressions, the
dancer shows emotions such as love, devotion, anger, or joy. This emotional storytelling
makes Kuchipudi very engaging to watch.
4. Tarangam – dancing on a brass plate
One of the most unique features of Kuchipudi is the Tarangam performance. Here the
dancer stands and dances on the rim of a brass plate while balancing a pot of water on the
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head. This shows amazing balance, control, and devotion. It symbolizes spiritual
concentration and skill.
5. Character-based performance
Traditionally, male Brahmin performers enacted female roles too. Even today, Kuchipudi
often presents mythological characters like:
• Krishna
• Radha
• Satyabhama
• Shiva
• Parvati
So, the style is both devotional and theatrical.
Costume of Kuchipudi
The costume of Kuchipudi is colorful, traditional, and designed to enhance movement and
expression. It is similar to Bharatanatyam but slightly lighter and more flowing, matching
Kuchipudi’s graceful style.
Female costume
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A female Kuchipudi dancer usually wears:
• A stitched sari costume with pleats in the front that open beautifully during leg
movements
• A tight blouse for comfort and elegance
• A decorative waistband to highlight posture
• A long braid decorated with flowers and ornaments
The colors are bright—red, green, orange, or blue—so that expressions and movements are
clearly visible on stage.
Male costume
Male dancers traditionally wear:
• A dhoti (angavastram style) tied in a special dance manner
• A bare or lightly covered upper body
• Ornaments on arms and neck
This gives a heroic and classical appearance suitable for mythological roles.
Jewelry and ornaments
Kuchipudi dancers wear temple-style jewelry, including:
• Head ornament (rakodi and chandra-surya)
• Earrings
• Necklace and long chain
• Armlets and bangles
• Waist belt
These ornaments reflect divine beauty and connect the dancer to temple traditions.
Makeup
Stage makeup is important so expressions are visible from far away:
• Bold eye lining to highlight eye movements
• Red lips and facial highlights
• Decorative forehead designs
Overall, the costume makes the dancer look like a divine character from mythology,
enhancing storytelling.
Music of Kuchipudi
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Music in Kuchipudi is deeply connected to Carnatic classical music of South India. The dance
and music work together to create emotion and rhythm.
Main features of Kuchipudi music
1. Carnatic classical base
The songs are based on Carnatic ragas and talas. This gives the dance a devotional and
classical character.
2. Lyrics in Telugu and Sanskrit
Most Kuchipudi compositions are in Telugu because the dance originated in Andhra
Pradesh. Many devotional poems describe stories of Krishna, Vishnu, Shiva, or other gods.
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3. Expressive singing
The singer plays a very important role. The singer’s voice conveys emotion—love, devotion,
longing—which the dancer expresses through movement and face.
4. Musical instruments
Typical Kuchipudi orchestra includes:
• Mridangam – main percussion instrument
• Violin – melody support
• Flute – soft expressive sound
• Tambura – background drone
• Nattuvangam (cymbals) – rhythm cues for dancer
The rhythm from the mridangam and nattuvangam guides the dancer’s steps.
5. Dance-drama music structure
In traditional Kuchipudi dramas, music also includes:
• Entry songs for characters
• Dialogue-like singing
• Emotional verses
• Rhythmic dance passages
So music is not just background—it drives the story.
Conclusion
Kuchipudi is a beautiful blend of graceful style, colorful costume, and devotional music. Its
style is lively and expressive, combining dance with drama and storytelling. The costume
transforms the dancer into a divine character, while the Carnatic music provides emotional
depth and rhythm. Unique elements like Tarangam (dancing on a brass plate) make
Kuchipudi especially fascinating.
Because of this harmony of movement, expression, attire, and music, Kuchipudi is not just a
dance—it is a living storytelling tradition that connects audiences with Indian mythology,
devotion, and artistic beauty.
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2. Write detailed note on Abhinaya.
Ans: Meaning of Abhinaya
The word Abhinaya comes from Sanskrit: abhi (towards) and naya (to lead). So, Abhinaya
literally means “leading the audience towards” the experience of emotion (bhava) and
sentiment (rasa). In simple terms, it is how a dancer makes the audience feel the story—not
just see it.
Imagine a dancer portraying Radha waiting for Krishna. Without Abhinaya, it would just be
movement. With Abhinaya, the dancer’s eyes, gestures, voice, costume, and inner feeling all
combine to make the audience feel Radha’s longing.
The Four Types of Abhinaya (from Natya Shastra)
1. Angika Abhinaya (Expression through the Body)
• This involves movements of the body—major limbs (head, hands, feet), minor limbs
(shoulders, thighs, knees), and subtle parts (eyes, eyebrows, lips).
• Hand gestures (mudras) play a huge role here.
• Example: A dancer raising the eyebrows and using a hand gesture to show surprise.
Analogy: Think of Angika as the dancer’s physical language—the grammar of movement.
2. Vachika Abhinaya (Expression through Speech or Voice)
• This refers to the use of spoken words, songs, or recitation.
• In dance dramas, dialogues or verses are delivered to enhance storytelling.
• Example: In Kathakali, performers use chants and vocal expressions to support the
dance.
Analogy: Vachika is the voice that gives sound to emotions.
3. Aharya Abhinaya (Expression through Costume and Makeup)
• This includes costumes, ornaments, scenery, and stage design.
• The external appearance helps the audience identify the character—whether it is a
king, a deity, or a common person.
• Example: In Bharatanatyam, the dancer’s jewelry and silk costume symbolize divine
beauty.
Analogy: Aharya is like the painter’s colors—it sets the visual mood.
4. Sattvika Abhinaya (Expression through Inner Feelings)
• This is the most subtle and powerful form. It comes from genuine inner emotion.
• Expressions like tears, trembling, or a serene smile cannot be faked—they must arise
naturally from the dancer’s immersion in the character.
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• Example: When a dancer truly feels devotion while portraying Meera singing to
Krishna, the audience experiences that emotion deeply.
Analogy: Sattvika is the soul of Abhinaya—it is what makes the performance authentic.
Importance of Abhinaya
1. Storytelling: Abhinaya transforms dance into narrative, allowing myths, legends, and
emotions to be conveyed.
2. Emotional Connection: It bridges the dancer and the audience, making art a shared
experience.
3. Spiritual Depth: In devotional dances, Abhinaya becomes a form of prayer, leading
both performer and audience towards transcendence.
4. Cultural Continuity: Abhinaya preserves traditional stories and values, passing them
through generations.
Examples in Dance Forms
• Bharatanatyam: Known for its detailed facial expressions and mudras, especially in
padams (expressive songs).
• Kathak: Uses Abhinaya in storytelling sequences, often narrating episodes from
epics.
• Odissi: Combines graceful body movements with subtle facial expressions.
• Kathakali: Relies heavily on Aharya (costume, makeup) and Angika (bold gestures).
Conclusion
Abhinaya is the heartbeat of Indian classical dance. It is not just about movement but about
expression, emotion, and connection. Through Angika, Vachika, Aharya, and Sattvika, a
dancer leads the audience into the world of rasa—joy, sorrow, devotion, love, and heroism.
SECTION-B
3. Explain Guru Shishya Parampara.
Ans: The Meaning Behind Guru–Shishya Parampara
In ancient India, education was not only about books or exams. It was about shaping a
person’s character, discipline, and understanding of life. The Guru was not just a subject
teacher; he or she was a guide, mentor, philosopher, and sometimes even a spiritual parent.
The Shishya was not merely a learner but a devoted follower who respected and trusted the
Guru completely.
The relationship between Guru and Shishya was built on three main pillars:
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• Shraddha (faith and respect)
• Seva (service and dedication)
• Sadhana (practice and discipline)
This means the student learned not only through listening but also through serving the
Guru, practicing regularly, and living according to the Guru’s teachings.
How Education Happened in Guru–Shishya Tradition
In earlier times, students lived in the Guru’s home or Gurukul. This system was called the
Gurukul system. Education was not separated from daily life. Students helped in household
work, collected firewood, cared for animals, and learned humility and responsibility. Along
with this, they studied subjects such as:
• Vedas and scriptures
• Music and dance
• Martial arts
• Philosophy
• Mathematics and astronomy
• Medicine and crafts
The Guru taught according to each student’s ability and interest. There was no fixed syllabus
or classroom period. Learning happened through conversation, observation, storytelling,
and repeated practice.
Guru–Shishya Parampara in Indian Music and Arts
One of the strongest examples of Guru–Shishya Parampara can be seen in Indian classical
music and dance traditions.
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In music or dance, technique alone is not enough. The Guru passes on subtle expressions,
emotions (bhava), style (gharana), and personal interpretation. These cannot be learned
from books. They are absorbed through years of close training called riyaz (practice).
For example, a tabla or vocal student may stay with the Guru for many years, learning slowly
and deeply. The Guru may teach only a few students in a lifetime, ensuring the tradition
remains pure and authentic.
The Sacred Bond Between Guru and Shishya
The Guru–Shishya relationship was considered sacred, almost spiritual. The Guru was
respected like God. A famous Sanskrit saying expresses this idea:
“Guru Brahma, Guru Vishnu, Guru Devo Maheshwara…”
Meaning: The Guru is the creator, preserver, and transformer of knowledge.
Students showed respect through obedience, humility, and service. In return, the Guru gave
knowledge freely without expecting money. Instead of fees, students offered Guru
Dakshina—a token of gratitude—after completing their education. This could be anything
from a simple gift to a promise of service.
Examples from Indian Tradition
Many famous stories in Indian culture show Guru–Shishya Parampara:
• Dronacharya and Arjuna in the Mahabharata
• Krishna and Sandipani
• Chanakya and Chandragupta Maurya
• Tansen and Swami Haridas in music
These stories highlight devotion, discipline, and deep respect between teacher and student.
Difference from Modern Education
Today, education is mostly classroom-based and exam-oriented. Teachers handle many
students, and interaction is limited. Knowledge is often theoretical.
In contrast, Guru–Shishya Parampara was:
• Personal and lifelong
• Practical and experience-based
• Character-focused
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• Rooted in tradition
• Emotionally connected
However, the modern world still preserves this tradition in fields like classical music, yoga,
spiritual learning, and some art forms.
Importance of Guru–Shishya Parampara Today
Even in modern times, this tradition remains valuable because it teaches:
• Respect for teachers
• Patience and discipline
• Deep learning rather than superficial study
• Moral and cultural values
• Personal mentorship
Many great Indian musicians, dancers, and spiritual leaders still follow this system. Students
may attend formal schools but also train under a Guru for advanced mastery.
Conclusion
Guru–Shishya Parampara is not just an old method of teaching—it is a living cultural
heritage of India. It represents a beautiful relationship where knowledge flows from heart to
heart, not just mind to mind. The Guru shapes the student’s skills, character, and vision of
life, while the Shishya offers dedication, trust, and gratitude.
4. The role of thumri in Kathak.
Ans: What is Thumri?
Thumri is a semi-classical vocal form of North Indian music. Unlike the strict discipline of
Khayal or Dhrupad, Thumri emphasizes emotion, expression, and lyrical beauty. Its themes
often revolve around love, longing, devotion, and playful interactions—especially stories of
Krishna and Radha.
• Language: Usually sung in Braj Bhasha, Awadhi, or Hindi.
• Mood: Romantic, devotional, and expressive.
• Style: Flexible, allowing improvisation and emotional depth.
Kathak and Its Expressive Side
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Kathak is one of the eight classical dance forms of India. While it is famous for its fast
footwork, spins (chakkars), and rhythmic precision, it also has a deeply expressive side
called Abhinaya.
• Through Abhinaya, Kathak dancers narrate stories, depict emotions, and connect
with the audience.
• This is where Thumri plays a crucial role—it provides the lyrical and musical base for
Abhinaya.
Role of Thumri in Kathak
1. Medium of Expression (Abhinaya)
• Kathak dancers use Thumri songs to portray emotions like love, separation,
devotion, or playfulness.
• Example: A Thumri about Radha waiting for Krishna allows the dancer to show
longing through gestures, facial expressions, and delicate movements.
2. Narrative Power
• Thumri lyrics often tell short stories or emotional episodes.
• Kathak dancers interpret these stories through mime, gestures (mudras), and
expressions, making the narrative come alive.
3. Flexibility and Improvisation
• Thumri’s free-flowing style matches Kathak’s improvisational nature.
• Dancers can stretch a line, repeat a phrase, or emphasize a word to highlight
emotions, just as singers improvise in Thumri.
4. Connection with Rasas (Emotions)
• Thumri is rich in shringara rasa (romantic emotion) and bhakti rasa (devotion).
• Kathak dancers use these rasas to create moods that resonate deeply with
audiences.
5. Bridging Classical and Folk Traditions
• Thumri, being semi-classical, brings a lighter, more accessible flavor to Kathak.
• It allows Kathak performances to connect with wider audiences while retaining
classical depth.
Examples of Thumri in Kathak
• “Kaun Gali Gayo Shyam” – A Thumri where Radha asks which street Krishna has
gone to. The dancer portrays Radha’s curiosity and longing.
• “Baju Band Khul Khul Jaye” – A playful Thumri where the dancer depicts Radha’s
ornaments loosening as she plays with Krishna.
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• “Nahin Aaye Shyam” – A Thumri of separation, showing Radha’s sorrow when
Krishna does not arrive.
Each of these songs becomes a canvas for the dancer’s Abhinaya.
Importance of Thumri in Kathak
1. Emotional Depth: Without Thumri, Kathak would lean heavily on rhythm and
technique. Thumri adds soul and emotion.
2. Storytelling: It provides lyrical content for dancers to narrate mythological and
romantic tales.
3. Audience Connection: Thumri’s accessible language and themes make Kathak
relatable to audiences.
4. Balance: It balances Kathak’s technical brilliance with expressive beauty.
Conclusion
Thumri is the soul of Abhinaya in Kathak. While Kathak dazzles with rhythm and footwork,
Thumri allows it to breathe with emotion, story, and devotion. Together, they create
performances that are not just technically impressive but emotionally moving.
SECTION-C
5. What do you know about Western Dances?
Ans: What are Western Dances?
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Western dances are dance forms that originated in Western countries and focus on
expression, rhythm, and body movement to music. Unlike many traditional Indian dances
that tell mythological or religious stories, Western dances often express emotions, social
interaction, or entertainment. They can be performed solo, in pairs, or in groups.
In simple words, Western dance is about moving the body creatively with music in a
structured or freestyle way.
Main Types of Western Dances
Western dance is a very large category, but we can understand it better by looking at its
main types.
1. Ballet
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Ballet is one of the oldest and most graceful Western dance forms. It began in Italy and
France during the Renaissance period. Ballet dancers perform on their toes (called “pointe”)
and use smooth, controlled movements. The dance looks very elegant and disciplined.
Ballet usually tells a story through dance, music, and expressions. Famous ballets include
Swan Lake and The Nutcracker. Ballet training also forms the foundation for many modern
dance styles.
2. Ballroom Dance
Ballroom dance refers to partner dances performed by couples in a formal style. These
dances were popular in royal courts and social gatherings in Europe. Examples include
Waltz, Tango, Foxtrot, and Quickstep.
Ballroom dance focuses on coordination between partners, posture, and smooth movement
across the floor. It is both a social dance and a competitive sport today.
3. Jazz Dance
Jazz dance developed in the United States and is energetic, rhythmic, and expressive. It is
often seen in musical theatre and stage shows. Jazz dance includes kicks, jumps, turns, and
stylish body movements.
This dance form is strongly connected to jazz music and African-American culture. It allows
dancers to show personality and attitude.
4. Hip-Hop
Hip-hop dance started in American street culture in the 1970s. It is very popular among
youth worldwide. Hip-hop includes styles like breaking (breakdance), popping, and locking.
This dance is free, powerful, and expressive. Dancers often perform in groups or battles,
showing creativity and individuality. Hip-hop is widely seen in music videos and
competitions.
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5. Contemporary Dance
Contemporary dance is a modern Western dance form that combines ballet, jazz, and
modern dance techniques. It focuses on emotional expression and freedom of movement.
Unlike classical ballet, contemporary dancers often dance barefoot and use floor
movements, lifts, and flowing gestures. It is expressive and artistic, often reflecting human
feelings and life themes.
6. Latin Dances
Latin dances come from Latin America and include Salsa, Cha-Cha, Rumba, and Samba.
These dances are lively, rhythmic, and full of energy.
Latin dance involves quick footwork, hip movements, and strong connection between
partners. They are popular in social dancing and competitions.
Features of Western Dances
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Western dances share some common characteristics:
• Music-based movement: Movements match rhythm and tempo of music
• Body expression: Emotions and feelings shown through body language
• Technique and training: Many styles require formal practice
• Creativity: Some forms allow freestyle and improvisation
• Performance and entertainment: Often performed on stage or socially
Importance of Western Dance
Western dance is not only entertainment but also beneficial in many ways:
• Improves physical fitness and flexibility
• Develops rhythm and coordination
• Builds confidence and self-expression
• Encourages teamwork (especially partner/group dances)
• Provides career opportunities in performance and choreography
Today, Western dance is taught in schools, academies, and studios worldwide, including
India. Many students learn it for fitness, hobby, or professional purposes.
Western Dance vs Indian Dance (Simple Difference)
• Indian classical dance: religious, storytelling, symbolic gestures
• Western dance: social, expressive, rhythmic movement
• Indian dance: fixed tradition and rules
• Western dance: mix of structured and freestyle styles
Both are beautiful in their own ways and reflect their cultures.
Conclusion
Western dances are a colorful and dynamic collection of dance styles that developed in
Western countries but are now loved globally. From the elegance of ballet to the energy of
hip-hop and the passion of Latin dance, each form has its own history, technique, and
beauty. Western dance allows people to express emotions, connect with music, and
communicate without words. It promotes fitness, creativity, and cultural exchange.
6. Explain Nayaka Bhedas.
Ans: Meaning of Nayaka Bhedas
The word Nayaka means “hero” or “male lover.” Bheda means “classification” or “division.”
So, Nayaka Bhedas are the different categories of male characters based on their behavior,
emotions, and relationship with the heroine (nayika).
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This classification comes from ancient Sanskrit texts like the Natya Shastra and later works
on aesthetics (Alankara Shastra). Just as Nayika Bhedas describe types of heroines, Nayaka
Bhedas describe the heroes.
The Four Main Types of Nayakas
1. Dhirodatta Nayaka (The Noble Hero)
• Nature: Calm, dignified, and composed.
• Qualities: Courage, patience, generosity, and self-control.
• Behavior: He does not get easily disturbed by emotions. His love is steady and
respectful.
• Example: Lord Rama in the Ramayana—always noble, righteous, and devoted.
Analogy: Think of him as the ideal gentleman—strong yet gentle, admired for his dignity.
2. Dhiralalita Nayaka (The Graceful Hero)
• Nature: Playful, charming, and romantic.
• Qualities: Skilled in arts, music, and poetry. He enjoys beauty and leisure.
• Behavior: He expresses love through sweet words, gifts, and artistic gestures.
• Example: Krishna in his youthful form—playing the flute, dancing with the gopis, full
of charm.
Analogy: He is the artist-lover, winning hearts with creativity and sweetness.
3. Dhiraprasanta Nayaka (The Calm Hero)
• Nature: Peaceful, forgiving, and wise.
• Qualities: Detached, philosophical, and compassionate.
• Behavior: He does not get angry or jealous. His love is serene and spiritual.
• Example: Buddha-like figures or sages who show love through compassion rather
than passion.
Analogy: He is the calm river—steady, soothing, and full of wisdom.
4. Dhiradhira Nayaka (The Mixed Hero)
• Nature: A blend of nobility and passion.
• Qualities: Sometimes calm and dignified, sometimes intense and emotional.
• Behavior: He may show anger or jealousy but also deep love and devotion.
• Example: Arjuna in the Mahabharata—brave and noble, yet emotional and
passionate in love.
Analogy: He is the stormy sky—sometimes serene, sometimes thunderous, but always
captivating.
Importance of Nayaka Bhedas in Dance and Drama
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1. Characterization: Helps dancers portray male characters with authenticity.
2. Emotional Variety: Each Nayaka type brings different shades of love and emotion.
3. Storytelling: Makes mythological and romantic stories richer and more relatable.
4. Balance with Nayika Bhedas: Just as heroines are classified, heroes too have
categories, creating harmony in narratives.
Application in Kathak and Other Dance Forms
• In Kathak, when a dancer enacts Krishna, he may be shown as a Dhiralalita Nayaka
(playful lover) in Raas Leela, or as a Dhirodatta Nayaka (noble hero) when guiding
Arjuna in the Bhagavad Gita.
• In Bharatanatyam, Lord Shiva may be portrayed as a Dhirodatta Nayaka, embodying
dignity and calmness.
• In Kathakali, heroes are depicted with elaborate costumes and expressions, clearly
showing their Nayaka type.
Conclusion
Nayaka Bhedas are a beautiful way of understanding the male hero in Indian aesthetics.
• The Dhirodatta Nayaka is noble and dignified.
• The Dhiralalita Nayaka is charming and playful.
• The Dhiraprasanta Nayaka is calm and forgiving.
• The Dhiradhira Nayaka is a mix of nobility and passion.
Together, they show the richness of human emotions and relationships. For dancers and
storytellers, these classifications are like a palette of colors—each Nayaka type adds a
different shade to the performance, making art more expressive and relatable.
SECTION-D
7. Give detailed knowledge of Folk dances of Haryana.
Ans: The Spirit of Haryana’s Folk Dances
Haryana is mainly an agricultural state. Life here revolves around farming, seasons, cattle,
and community celebrations. People work hard in fields, so festivals and weddings become
special occasions for relaxation and joy. During such moments, dance naturally becomes a
way to express happiness.
Most folk dances of Haryana have these common features:
• Performed in groups, especially by women
• Simple rhythmic steps (no complex classical technique)
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• Accompanied by folk songs and traditional instruments
• Based on daily life, festivals, and social customs
• Colorful traditional costumes
Now let’s learn about the major folk dances one by one.
Major Folk Dances of Haryana
1. Phag Dance (Dance of Spring and Holi)
Phag dance is the most famous folk dance of Haryana. The word Phag comes from
Phalguna, the Hindu month when Holi is celebrated. So this dance represents the joy of
spring and the festival of colors.
It is usually performed by women in villages. They form a circle or semicircle and move
rhythmically while singing Holi songs. Their expressions show excitement, teasing, and
playful emotions associated with Holi.
Main features:
• Performed during Holi season
• Women wear colorful ghagra, choli, and odhani
• Gentle clapping and graceful hand movements
• Songs about love, spring, and Krishna
Phag dance reflects how deeply Holi is connected with rural life in Haryana.
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2. Dhamal Dance (Dance of Farmers’ Joy)
Dhamal is a powerful and energetic dance performed mainly by men. It is associated with
harvest celebrations, especially after a good crop. Imagine farmers finishing months of hard
work and celebrating success—this is the spirit of Dhamal.
Men dance in a circle with strong foot stamping and vigorous movements. The dance often
includes loud singing and rhythmic drum beats.
Main features:
• Performed by men
• Linked with harvest festivals
• Strong and energetic movements
• Accompanied by dhol and nagara
• Symbol of bravery and strength
Dhamal shows the hardworking and courageous nature of Haryanvi farmers.
3. Khoria Dance (Wedding Dance of Women)
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Khoria is a traditional wedding dance performed by women when the groom’s procession
(baraat) leaves the bride’s house. It is a fun and emotional moment, and women express
their feelings through this dance.
Women sing humorous and sometimes teasing songs about marriage, relationships, and
family life. The dance movements are graceful and expressive rather than fast.
Main features:
• Performed during weddings
• Only women participate
• Songs about marriage and relationships
• Soft, expressive movements
• Reflects women’s emotions and humor
Khoria dance shows the social and emotional side of rural Haryanvi life.
4. Loor Dance (Dance of Young Girls)
Loor dance is performed by unmarried girls during the festival of Holi and the month of
Phalguna. It symbolizes youth, beauty, and dreams of future married life.
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Girls dance in groups, sing songs about love, friendship, and marriage, and express their
hopes and excitement about adulthood.
Main features:
• Performed by young unmarried girls
• Associated with Holi season
• Themes of youth and marriage dreams
• Light and graceful movements
Loor dance beautifully reflects the innocence and aspirations of village girls.
5. Ghoomar (Adopted but Popular in Haryana)
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Though Ghoomar originally belongs to Rajasthan, it is also widely performed in Haryana,
especially in western districts. Women dance in circles while spinning their long skirts
(ghagras), creating beautiful visual patterns.
Main features:
• Circular movements and spinning
• Graceful hand gestures
• Bright traditional attire
• Performed in festivals and weddings
Ghoomar represents elegance and feminine grace in Haryanvi culture.
Music and Costumes in Haryana Folk Dances
Music plays a central role in these dances. Traditional instruments include:
• Dhol
• Nagara
• Been
• Harmonium
• Manjira
Costumes are equally important. Women usually wear:
• Ghagra (long skirt)
• Choli (blouse)
• Odhani (veil)
• Heavy silver jewelry
Men wear:
• Dhoti or kurta
• Turban (pagri)
• Waistcoat
These costumes add color and identity to each dance.
Cultural Importance of Haryana Folk Dances
Folk dances of Haryana are not just entertainment. They serve many social and cultural
purposes:
• Preserve traditions and customs
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• Strengthen community bonds
• Express emotions and stories
• Celebrate festivals and life events
• Pass culture to next generation
Even today, these dances are performed in village fairs, school programs, cultural festivals,
and national events, keeping the heritage alive.
Conclusion
Folk dances of Haryana are simple yet deeply meaningful. They arise from everyday rural
life—farming, seasons, festivals, weddings, and relationships. Whether it is the joyful Phag
of spring, the energetic Dhamal of harvest, the emotional Khoria of weddings, or the
youthful Loor of young girls, each dance tells a story of the people and culture of Haryana.
8. Write notaon of one Tora one Paran in Pancham Swari.
Ans: Introduction to Pancham Swari
• Pancham Swari is a 15-beat taal (rhythmic cycle) used in Hindustani classical music
and dance.
• It is divided into 4 vibhags (sections):
o 4 beats + 4 beats + 4 beats + 3 beats = 15 beats.
• The theka (basic pattern) is usually played on tabla or pakhawaj and provides the
rhythmic foundation for compositions like tora and paran.
What is a Tora?
• A Tora is a rhythmic composition in tabla or pakhawaj, often played in dance (like
Kathak).
• It is usually bol-based (syllables of the drum) and has a playful, decorative character.
• Toras are often used in Kathak performances to showcase rhythmic creativity and
improvisation.
Example Notation of a Tora in Pancham Swari:
Code
Dha Dha | Tita Kita Dha | Dha Ge Na | Dha Dha Dha
• This fits into the 15-beat cycle.
• The dancer or musician often ends on the sam (first beat of the cycle), creating a
satisfying resolution.
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What is a Paran?
• A Paran is a powerful composition, often derived from pakhawaj tradition.
• It uses bols like dha, dhin, ta, ka, ghe, na in a forceful manner.
• Parans are more majestic and serious compared to toras, often used in Dhrupad and
Kathak to show strength and grandeur.
Example Notation of a Paran in Pancham Swari:
Dha - Dha | Ta Kita Dha | Ghe Na Dha | Dha Dha Dha
• Notice the heavier bols like ghe and dha, giving it a strong, resonant feel.
• Like the tora, it resolves beautifully on the sam.
Dugun, Tigun, and Chaugun in Pancham Swari
These terms describe how the same composition can be played at different speeds relative
to the basic tempo.
1. Dugun (Double Speed):
o Each beat is divided into two parts.
o The tora/paran is played twice as fast.
o Example: “Dha Dha” becomes “Dha Dha Dha Dha” in the same time span.
2. Tigun (Triple Speed):
o Each beat is divided into three parts.
o The composition is played three times faster.
o Example: “Dha Dha” becomes “Dha Dha Dha Dha Dha Dha.”
3. Chaugun (Quadruple Speed):
o Each beat is divided into four parts.
o The composition is played four times faster.
o Example: “Dha Dha” becomes “Dha Dha Dha Dha Dha Dha Dha Dha.”
Effect: These variations showcase the performer’s mastery of rhythm. Dugun adds energy,
tigun adds complexity, and chaugun creates a dazzling climax.
Role in Kathak and Music
• In Kathak, toras and parans are danced with footwork matching the tabla bols.
• The dancer often improvises, playing with dugun, tigun, and chaugun to thrill the
audience.
• In pakhawaj and tabla solos, these compositions highlight rhythmic creativity and
technical skill.
Conclusion
• Pancham Swari is a 15-beat taal, rich and complex.
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• A Tora in Pancham Swari is playful and decorative, while a Paran is powerful and
majestic.
• Through dugun, tigun, and chaugun, these compositions come alive at different
speeds, showcasing artistry and rhythm.
• Together, they form the backbone of Kathak and classical percussion, blending
discipline with creativity.
In short, Tora and Paran in Pancham Swari are not just rhythmic patterns—they are living
expressions of joy, power, and mastery, turning rhythm into art.
“This paper has been carefully prepared for educaonal purposes. If you noce any
mistakes or have suggesons, feel free to share your feedback.”
