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GNDU QUESTION PAPERS 2024
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. Give detailed informaon on Kuchipudi with style, costume and music.
2. How many types of abhinay are there?
SECTION-B
3. Explain Gueu-Shishya of Parampara.
4. Relaon of Thumri with Kathak dance.
SECTION-C
5. What is Western dance style?
6. Explain Nayak Bhedas.
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SECTION-D
7. Explain any two folk dances of Haryana.
8. Write one chakardar paran in Pancham Swari.
GNDU ANSWER PAPERS 2024
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. Give detailed informaon on Kuchipudi with style, costume and music.
Ans: Origin and Nature of Kuchipudi
Kuchipudi began around the 17th century and is traditionally linked to a saint-poet named
Siddhendra Yogi, who is believed to have formalized the dance-drama tradition. Initially, it
was performed by male Brahmin dancers who traveled from village to village presenting
religious plays called Yakshagana-style dance dramas. Over time, women also became
performers, and today Kuchipudi is widely practiced across India and the world.
The themes of Kuchipudi mostly come from Hindu mythology, especially stories of Krishna,
Rama, and Shiva. The dance celebrates devotion (bhakti), love, and divine playfulness.
Style of Kuchipudi Dance
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The style of Kuchipudi is graceful yet lively. It combines soft, flowing movements with quick
rhythmic footwork, making it both elegant and energetic.
Dance-Drama Character
One unique feature is that Kuchipudi is not just a dance but a theatrical performance.
Dancers often portray characters and enact scenes. Traditionally, they even spoke dialogues
or sang parts themselves, unlike other classical dances where musicians perform separately.
Expressive Abhinaya (Acting)
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Kuchipudi dancers use expressive facial expressions and gestures (mudras) to show
emotions such as joy, devotion, anger, or love. For example, when portraying Krishna
teasing Radha, the dancer uses playful eye movements and smiles to bring the story alive.
Graceful Body Movements
The body posture in Kuchipudi is more rounded and fluid compared to the geometric
sharpness of Bharatanatyam. The torso bends gently, and movements flow like waves,
giving the dance a natural charm.
Fast Footwork and Rhythm
Despite its grace, Kuchipudi has lively footwork. Dancers wear ankle bells (ghungroo), and
their rhythmic stamping matches the beats of the music.
Famous Tarangam Performance
A very special feature of Kuchipudi is the Tarangam—a spectacular sequence where the
dancer performs on the rim of a brass plate while balancing a pot of water on the head. This
demonstrates control, rhythm, and devotion simultaneously, often symbolizing spiritual
balance.
Costume and Appearance
The costume of Kuchipudi is colorful, traditional, and designed to enhance movement and
storytelling.
Female Costume
The female dancer wears a silk sari stitched into a dance costume similar to Bharatanatyam
but lighter and more flowing. Key elements include:
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• Bright silk fabric with gold borders
• Pleated fan-like cloth in front (opens during leg movements)
• Fitted blouse and waist belt
• Decorative headpiece and braid ornaments
The colors are usually vibrant—red, green, orange, or blue—symbolizing joy and devotion.
Male Costume
Male dancers traditionally wear:
• Dhoti tied in a special dance style
• Angavastram (cloth over shoulder)
• Jewelry such as armlets and necklaces
When portraying mythological characters like Krishna, costumes may include crowns or
special ornaments.
Jewelry and Makeup
Kuchipudi dancers wear temple jewelry, including:
• Necklace and long chain
• Earrings
• Waist belt
• Armlets and bangles
Makeup is applied to highlight facial expressions so the audience can clearly see emotions
from a distance. Eyes are outlined boldly, and eyebrows are emphasized to enhance
expression.
Music in Kuchipudi
Music is the soul of Kuchipudi. It follows the Carnatic classical music tradition of South
India. The music guides the dancer’s movements and mood.
Carnatic Ragas and Talas
Songs are composed in specific ragas (melodies) and talas (rhythmic cycles). Each raga
creates a different emotional atmosphere—devotion, romance, heroism, or sorrow.
Singing and Narration
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Traditionally, Kuchipudi performances include a singer who narrates the story while the
dancer interprets it through movement. Sometimes dancers themselves sing or recite
dialogues, keeping the dramatic tradition alive.
Musical Instruments
Common instruments used in Kuchipudi include:
• Mridangam – main percussion instrument
• Violin – melody support
• Veena or flute – classical accompaniment
• Cymbals – rhythm marking
The combination creates a lively and devotional musical environment.
Themes and Emotional Content
Kuchipudi performances often depict episodes such as:
• Krishna’s childhood pranks
• Devotion of Satyabhama
• Stories of Rama
• Shiva’s cosmic dance
These stories allow dancers to express both spiritual devotion and human emotions,
making Kuchipudi relatable and meaningful.
Unique Features of Kuchipudi
To summarize its distinctive identity:
• Blend of dance and drama
• Graceful yet energetic movement
• Strong facial expression and acting
• Tarangam brass-plate dance
• Carnatic musical base
• Mythological storytelling
Conclusion
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Kuchipudi is not just a dance—it is a living tradition that combines movement, music,
acting, costume, and devotion into a complete artistic experience. Its graceful style, colorful
costumes, and melodious Carnatic music make it one of India’s most charming classical
dances. Watching a Kuchipudi performance feels like seeing a mythological story come alive
through rhythm and expression.
2. How many types of abhinay are there?
Ans: The Four Types of Abhinaya
1. Angika Abhinaya (Expression through the Body)
• This is the use of physical movements to communicate.
• It includes gestures of the hands (mudras), movements of the head, eyes, neck, and
facial expressions.
• Larger body movements—like walking, turning, or dancing—also fall under Angika.
• Example: In Bharatanatyam, when a dancer uses hand gestures to show a flower or a
bird, that is Angika Abhinaya.
Why it matters: The body becomes a language. Even without words, the audience can
understand the story through gestures and posture.
2. Vachika Abhinaya (Expression through Speech)
• This is the use of spoken words, dialogue, or singing.
• In dance, it often appears in the form of recitation of verses, songs, or rhythmic
syllables (bols).
• In drama, it includes tone of voice, pronunciation, and modulation.
• Example: In Kathakali, actors recite verses from epics, while in Kathak, dancers recite
rhythmic syllables before performing them.
Why it matters: Voice adds depth to performance. It conveys emotions like anger, joy, or
devotion more directly.
3. Aharya Abhinaya (Expression through Costume and Appearance)
• This refers to external elements like costumes, ornaments, makeup, and stage
design.
• The choice of dress and colors helps define the character—whether divine, royal, or
ordinary.
• Example: In Kathakali, elaborate makeup and headgear immediately tell the
audience whether the character is a hero, villain, or god.
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Why it matters: Visual presentation enhances storytelling. It sets the mood and helps the
audience identify characters instantly.
4. Sattvika Abhinaya (Expression through Inner Feelings)
• This is the most subtle and powerful form of abhinaya.
• It refers to the genuine emotional expression that comes from within the performer.
• It includes involuntary signs like tears, blushing, trembling, or changes in facial
expression that reflect true inner states.
• Example: When a dancer portraying Radha truly feels the pain of separation from
Krishna, the audience sees it in her eyes and body language.
Why it matters: Sattvika Abhinaya connects the performer’s soul with the audience’s heart.
It makes the performance authentic and moving.
How They Work Together
These four types are not separate—they blend seamlessly in performance.
• A dancer uses Angika (gestures) to show a lotus.
• She uses Vachika (song or recitation) to describe its beauty.
• Her Aharya (costume and ornaments) enhances the scene.
• Finally, her Sattvika (inner emotion) makes the audience feel the devotion or love
behind the act.
Together, they create a complete artistic experience, guiding the audience towards the
intended rasa (emotion).
My Own View
In my perspective, abhinaya is like a bridge between performer and audience. Each type is
a tool:
• The body is the canvas (Angika).
• The voice is the brush (Vachika).
• Costume is the color (Aharya).
• Emotion is the soul (Sattvika).
Without one, the picture feels incomplete. But when all four come together, the
performance becomes magical—it doesn’t just entertain, it transforms.
Conclusion
There are four types of abhinaya: Angika, Vachika, Aharya, and Sattvika. Each plays a
unique role in expression, and together they form the foundation of Indian classical dance
and drama.
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SECTION-B
3. Explain Gueu-Shishya of Parampara.
Ans: Guru–Shishya Parampara: The Sacred Teacher–Student Tradition
The Guru–Shishya Parampara is one of the oldest and most respected educational
traditions of India. The words themselves tell us the meaning:
• Guru = Teacher or spiritual guide
• Shishya = Student or disciple
• Parampara = Tradition passed from one generation to another
So, Guru–Shishya Parampara means the tradition of knowledge being passed directly from
teacher to student across generations.
But this is not just ordinary teaching. It is a deep, personal, and lifelong bond between a
guru and a disciple, based on trust, respect, and devotion.
Origin and Historical Background
The Guru–Shishya tradition began in ancient India, especially during the Vedic period
(around 1500 BCE onward). At that time, there were no schools or universities like today.
Students lived in the home of the guru, called a Gurukul.
There, they learned not only subjects like philosophy, scriptures, music, and warfare—but
also discipline, values, and character.
For example:
• Princes learned archery and warfare from sages.
• Students learned the Vedas by listening and memorizing.
• Artists learned music or dance through observation and practice.
Knowledge was transmitted orally, from the guru’s lips to the student’s ears—this is why
the personal relationship was so important.
Life in the Gurukul: Learning Beyond Books
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Imagine a young student leaving home to live in the forest hermitage of a guru. The student
would:
• Wake early before sunrise
• Perform daily chores
• Practice meditation or study
• Serve the guru respectfully
• Learn through discussion and practice
Education was not only intellectual—it was holistic: body, mind, and spirit.
The student learned humility and discipline by serving the guru, while the guru treated the
student like family.
The Bond Between Guru and Shishya
The heart of Guru–Shishya Parampara is the sacred relationship between teacher and
student.
This relationship was based on:
• Respect – The student respected the guru deeply
• Trust – The guru guided with care and wisdom
• Dedication – The student practiced sincerely
• Love – The bond was like parent and child
The guru did not only teach knowledge but also shaped the student’s character and life
path.
In return, the student showed gratitude and loyalty, sometimes for life.
Guru–Shishya Parampara in Arts and Culture
One of the most visible examples of Guru–Shishya tradition today is in Indian classical music
and dance.
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A music or dance student often trains under one guru for many years. The learning process
includes:
• Observing the guru closely
• Repeating patterns endlessly
• Absorbing style and emotion
• Performing with permission of the guru
The student does not just learn technique—they inherit the lineage (gharana) of the guru.
Guru–Shishya in Spiritual and Philosophical Traditions
In Indian spirituality, the guru is seen as a guide to truth and self-realization.
Many spiritual traditions emphasize that knowledge of the self cannot be learned from
books alone—it requires guidance from a realized teacher.
Famous examples include:
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• Krishna and Arjuna (Bhagavad Gita)
• Ramakrishna and Vivekananda
• Adi Shankaracharya and his disciples
Here, the guru helps remove ignorance and leads the disciple toward wisdom.
How It Differs from Modern Education
Modern education usually involves:
• Large classrooms
• Fixed syllabus
• Exams and grades
• Formal distance between teacher and student
Guru–Shishya Parampara, in contrast, emphasizes:
• Personal mentorship
• Individual learning pace
• Character development
• Spiritual or artistic depth
It is less about information and more about transformation.
Key Features of Guru–Shishya Parampara
Let’s summarize its main characteristics in simple points:
1. Direct transmission of knowledge
Learning happens face-to-face from guru to student.
2. Long-term relationship
The bond often lasts many years or a lifetime.
3. Holistic education
Focus on character, discipline, and values—not only subjects.
4. Respect and devotion
The student approaches learning with humility.
5. Oral and practical learning
Observation, repetition, and practice are central.
6. Lineage and continuity
Knowledge passes across generations.
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Importance in Indian Culture
The Guru–Shishya tradition is deeply respected in India. Even today:
• Teachers are honored on Guru Purnima
• Artists credit their gurus publicly
• Spiritual seekers seek a guru
• Classical arts still follow this model
It preserves traditions that might otherwise disappear.
Relevance Today
Even in modern times, the essence of Guru–Shishya Parampara remains valuable:
• Mentorship in education and careers
• Apprenticeship learning models
• Coaching in sports and arts
• Spiritual guidance
Whenever learning happens through close personal guidance, the spirit of Guru–Shishya
lives on.
Conclusion
The Guru–Shishya Parampara is far more than a teaching method—it is a sacred
relationship rooted in respect, devotion, and lifelong learning. It represents a time when
education was not just about gaining knowledge but about shaping character, wisdom, and
purpose.
Through this tradition, India preserved its music, philosophy, spirituality, and cultural
heritage across thousands of years. Even today, whenever a teacher guides a student with
care and a student learns with humility, the timeless spirit of Guru–Shishya Parampara
continues to live.
4. Relaon of Thumri with Kathak dance.
Ans: What is Thumri?
• Thumri is a semi-classical vocal genre of North Indian music.
• It originated in the 19th century, especially in the courts of Nawab Wajid Ali Shah of
Lucknow.
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• Unlike the strict classical forms like Dhrupad or Khayal, Thumri is lighter, more
expressive, and focuses on emotion (bhava) rather than technical complexity.
• Themes often revolve around love, longing, devotion, and playful exchanges,
especially stories of Radha and Krishna.
• Its beauty lies in its expressive lyrics and the freedom it gives the singer to explore
emotions.
What is Kathak?
• Kathak is one of the eight classical dance forms of India.
• It evolved from storytelling traditions (katha vachak) where dancers narrated stories
from epics like the Ramayana and Mahabharata.
• Kathak is known for:
o Intricate footwork (tatkar)
o Graceful spins (chakkars)
o Expressive storytelling (abhinaya)
• Over time, Kathak absorbed influences from Mughal courts, blending Hindu
devotional themes with Persian aesthetics.
How Thumri and Kathak Connect
1. Thumri as the Musical Base for Kathak
• Thumri became the preferred musical accompaniment for Kathak performances in
the 19th century.
• Its lyrical and emotional nature perfectly matched Kathak’s expressive storytelling.
• Dancers used Thumri songs to portray episodes of love, separation, and devotion,
especially the nayika-bhava (different moods of the heroine).
2. Expression through Abhinaya
• Kathak dancers use Angika Abhinaya (gestures) and Sattvika Abhinaya (inner
emotions) to bring Thumri lyrics to life.
• For example, if a Thumri describes Radha waiting for Krishna, the dancer uses facial
expressions, hand gestures, and body language to show longing and devotion.
3. Court Tradition of Lucknow
• In Nawab Wajid Ali Shah’s court, Kathak and Thumri flourished together.
• Thumri provided the emotional songs, while Kathak dancers enacted them with
grace and subtlety.
• This created a rich cultural blend of music and dance, which still defines the Lucknow
gharana of Kathak.
4. Themes of Love and Devotion
• Both Thumri and Kathak often revolve around Krishna-Radha stories.
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• Thumri provides the poetic lyrics, while Kathak interprets them visually.
• Together, they create a complete artistic experience—music for the ears, dance for
the eyes, and emotion for the heart.
Example of Integration
Imagine a Thumri line: “Kaun gali gayo Shyam” (Which street has Shyam gone to?).
• The singer expresses Radha’s longing through melody.
• The Kathak dancer enacts Radha searching for Krishna, using delicate hand gestures
to show streets, eyes scanning for him, and facial expressions of yearning.
• The audience feels both the music and the dance as one unified expression.
Why This Relationship is Important
1. Cultural Fusion: It shows how music and dance evolved together in India’s courts
and temples.
2. Emotional Depth: Thumri’s lyrical beauty enhances Kathak’s storytelling.
3. Artistic Completeness: Together, they create a multi-sensory experience—sound,
movement, and emotion.
4. Preservation of Tradition: Even today, Kathak dancers often choose Thumri
compositions for abhinaya segments, keeping the tradition alive.
Conclusion
The relation of Thumri with Kathak dance is like that of poetry with drama. Thumri provides
the words and emotions, while Kathak gives them movement and life. Originating in the
courts of Lucknow, this partnership has continued for centuries, making performances
deeply expressive and culturally rich.
SECTION-C
5. What is Western dance style?
Ans: What does “Western dance” really mean?
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Imagine the world as a big cultural map. Just as India has classical dances like
Bharatanatyam and Kathak, the Western world (Europe and America) developed its own
dance traditions. These dances grew from Western music such as classical orchestral music,
jazz, rock, pop, and hip-hop. Over time, they spread across the world and became popular
globally, including in India.
So, Western dance style simply means dance forms that come from Western countries and
are performed to Western music.
Main characteristics of Western dance
Western dances may look very different from each other, but they share some common
features:
1. Freedom of movement
Western dances often allow more freedom and individuality. Dancers can express emotions,
creativity, and personal style.
2. Musical variety
They are performed to many types of music—classical, jazz, pop, electronic, or hip-hop.
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3. Technique and training
Some styles (like ballet) require strict training and posture, while others (like hip-hop)
encourage natural body movement.
4. Social and stage purpose
Some Western dances are social (ballroom, salsa), while others are theatrical (ballet,
contemporary).
Major types of Western dance styles
Ballet
Ballet is one of the oldest and most disciplined Western dance forms. It began in Italy and
France about 500 years ago. Ballet dancers perform graceful, controlled movements with
straight posture, pointed toes, and elegant turns. Many other Western dance styles
developed from ballet technique.
Key idea: Grace, balance, beauty.
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Jazz dance
Jazz dance originated in America and is closely connected to jazz music. It is energetic,
rhythmic, and expressive. Jazz movements include kicks, turns, jumps, and stylized gestures.
It is commonly seen in stage shows and musicals.
Key idea: Energy, rhythm, performance.
Hip-hop
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Hip-hop dance developed in American street culture in the 1970s. It includes breaking,
popping, locking, and freestyle movements. Unlike ballet, hip-hop encourages individuality
and creativity. Dancers often perform in groups or battles.
Key idea: Street style, attitude, freedom.
Contemporary dance
Contemporary dance is a modern Western style that combines ballet, jazz, and expressive
movement. It focuses on emotions and storytelling. Movements may be fluid, abstract, or
dramatic.
Key idea: Expression, emotion, creativity.
Ballroom dance
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Ballroom dance is a partner dance style performed socially or competitively. Examples
include waltz, tango, and foxtrot. It is elegant and coordinated, with partners moving
together smoothly.
Key idea: Partnership, elegance, social dance.
Western dance vs Indian dance
Understanding Western dance becomes easier when we compare it with Indian dance
traditions:
• Indian classical dances often follow mythological stories and fixed gestures.
• Western dances focus more on music rhythm and body movement.
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• Indian dances use hand mudras and facial expressions.
• Western dances emphasize footwork, spins, jumps, and body lines.
• Costumes differ: Indian classical costumes are traditional; Western dance costumes
vary from tutus to streetwear.
This does not mean one is better—both represent their cultures beautifully.
Importance of Western dance today
Western dance has become global. Today:
• It is taught in schools and academies worldwide.
• Bollywood and Indian stage shows use Western styles.
• Fitness programs include jazz and hip-hop.
• Social media and music videos popularize Western dance.
For students, learning Western dance helps improve:
• Physical fitness
• Confidence
• Rhythm and coordination
• Creativity
• Cultural awareness
Conclusion
Western dance style is not just one dance—it is a rich collection of dance traditions from
Western culture. From the graceful elegance of ballet to the energetic freedom of hip-hop,
Western dances show how movement can express music, emotion, and identity. Today,
Western dance has become a universal language that connects people across cultures. For
students and performers, it offers both artistic expression and physical joy, making it one of
the most popular dance traditions in the modern world.
6. Explain Nayak Bhedas.
Ans: Meaning of Nayak
A Nayak is not just any male character—he is the central figure whose actions, emotions,
and qualities drive the narrative. He is often depicted as youthful, intelligent, courteous, and
capable of evoking rasa (emotions) in the audience.
Types of Nayak Bheda
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According to classical texts, Nayaks are broadly classified into three categories based on
their relationship with the heroine:
1. Uttama Nayak (The Ideal Husband)
• Also called Pati Nayak.
• He is faithful, devoted, and loyal to his wife.
• He never thinks of any other woman and embodies virtues like honesty, stability,
and compassion.
• Example: Lord Rama is often considered the perfect Uttama Nayak.
Qualities:
• Truthful, disciplined, and protective.
• Represents the ideal of monogamous devotion.
2. Madhyama Nayak (The Flawed Lover)
• Also called Upapati Nayak.
• He is affectionate but has a wavering mind.
• He may be attracted to other women, though he still maintains some loyalty to his
partner.
• Example: Arjuna from the Mahabharata, who loved Draupadi but also married other
women.
Qualities:
• Charming and romantic, but inconsistent.
• Creates dramatic tension in stories because of his divided attention.
3. Adhama Nayak (The Selfish Man)
• Also called Vaishika Nayak.
• He is unfaithful, arrogant, and often indulges in pleasures without caring for loyalty.
• He may spend money to win women or boast about his conquests.
• Example: Characters like Ravana or certain kings in classical tales.
Qualities:
• Proud, materialistic, and careless about relationships.
• Represents the negative side of masculinity in literature and dance.
Further Classifications
Beyond these three, Nayaks are also described according to their moods and behavior:
• Anukool Nayak: Always kind and supportive to his Nayika.
• Dakshina Nayak: Polite and respectful in his interactions.
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• Drishta Nayak: Bold and sometimes shameless in expressing desire.
• Shatha Nayak: Deceptive, hiding his true feelings or actions.
These subtle classifications help dancers and poets portray different shades of male
characters, making performances more realistic and emotionally rich.
Importance in Dance and Literature
1. In Dance:
o Kathak and Bharatanatyam often depict episodes of Radha and Krishna.
Krishna is shown as a playful Madhyama Nayak, while Rama is portrayed as
the Uttama Nayak.
o The dancer uses abhinaya (expression) to highlight the Nayak’s qualities—
whether faithful, playful, or arrogant.
2. In Literature:
o Sanskrit poetry and dramas use Nayak Bheda to shape the hero’s role in
evoking rasa.
o For example, a Uttama Nayak evokes shanta rasa (peace), while a Madhyama
Nayak may evoke shringara rasa (romance).
3. In Society:
o These classifications reflect ideals and warnings about male behavior.
o They show what qualities were admired and what flaws were criticized in
traditional Indian culture.
My Own View
I see Nayak Bheda as a mirror of human nature. Just like in real life, men can be loyal,
wavering, or selfish. By classifying them, Indian aesthetics gave performers a framework to
explore these shades on stage. It’s fascinating that these categories are not just about
morality—they are about creating emotional depth. A faithful Rama inspires respect, a
playful Krishna brings joy, and a selfish Ravana creates tension. Together, they make
storytelling complete.
Conclusion
Nayak Bheda is the classification of male protagonists in Indian classical aesthetics. The
three main types are Uttama (faithful), Madhyama (wavering), and Adhama (selfish), with
further subtypes based on mood and behavior. This system enriches dance, drama, and
literature by giving performers and writers a clear way to portray different shades of
masculinity.
SECTION-D
7. Explain any two folk dances of Haryana.
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Ans: 1. Phag Dance (Phag Nritya)
Phag Dance is one of the most cheerful and colorful folk dances of Haryana. The word
“Phag” comes from “Phalguna”, the Hindu month that falls around February–March. This is
the time of spring and the festival of Holi, when nature blooms and people celebrate the
end of winter.
Occasion and Meaning
Phag dance is mainly performed by women during the Holi season. It expresses joy,
friendship, and the playful spirit of spring. In villages, women gather in courtyards or open
fields, singing traditional Phag songs and dancing together.
The songs often describe:
• Arrival of spring
• Beauty of nature
• Love and teasing between friends
• Stories of Radha and Krishna
So the dance becomes a lively celebration of both nature and human emotions.
Dance Style and Movements
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The movements of Phag dance are gentle, graceful, and rhythmic. Women usually dance in a
circular formation, clapping hands and moving steps in harmony with the song.
Common features:
• Slow to medium tempo
• Hand clapping and coordinated steps
• Slight bending and turning movements
• Smiling expressions and playful gestures
Unlike classical dances, Phag is simple and natural. It looks like everyday movements turned
into rhythmic art, which makes it easy to perform and joyful to watch.
Costume and Appearance
Women wear traditional Haryanvi attire:
• Bright ghagra (long skirt)
• Choli or kurti
• Odhni (veil) covering the head
• Heavy silver ornaments
The colorful clothes and jewelry enhance the festive mood of Holi and spring.
Cultural Importance
Phag dance shows how deeply Haryana’s culture is connected to seasons and agriculture.
After months of winter and hard work, spring brings relaxation and celebration. The dance
strengthens:
• Female friendship and unity
• Community bonding
• Cultural continuity
Thus, Phag is not just entertainment—it is a joyful expression of rural women’s life.
2. Dhamal Dance
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Dhamal Dance is another famous folk dance of Haryana, but unlike Phag, it is energetic and
masculine. It is mainly performed by men and is associated with harvest celebrations and
heroic spirit.
Occasion and Meaning
Dhamal dance is traditionally performed during:
• Harvest season
• Festivals like Holi
• Weddings and fairs
• Victory or joyful gatherings
It represents the strength, courage, and enthusiasm of Haryanvi farmers. After successful
crops and hard agricultural labor, men celebrate with powerful dance movements and loud
rhythms.
Dance Style and Movements
Dhamal is lively, vigorous, and full of energy. Men dance in groups, often in open fields or
village squares.
Main features:
• Fast rhythmic steps
• Jumping and stamping movements
• Shoulder and chest expansion
• Circular or semi-circular formations
• Loud cheering and shouting
The dance expresses pride and celebration, almost like a warrior’s victory dance.
Music and Instruments
The heartbeat of Dhamal dance is its strong music. Traditional instruments include:
• Dhol (drum)
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• Nagara
• Tasha
• Hand clapping
The heavy drumbeats create excitement and encourage dancers to move more
energetically. Sometimes dancers sing heroic or festive songs while dancing.
Costume and Appearance
Men usually wear:
• White or colorful dhoti or kurta
• Turban (pagri)
• Waist cloth (angochha)
• Sometimes sticks or scarves
The simple rural attire reflects Haryana’s agricultural lifestyle.
Cultural Importance
Dhamal dance symbolizes:
• Agricultural success
• Masculine strength
• Collective pride
• Rural celebration
It reflects the hardworking yet joyful nature of Haryana’s farming communities.
Comparison of Phag and Dhamal
To understand better, here is a simple comparison:
Feature
Phag Dance
Dhamal Dance
Performed by
Women
Men
Occasion
Holi & spring
Harvest & festivals
Style
Graceful & gentle
Energetic & powerful
Formation
Circular
Group / open
Music
Songs & clapping
Drums & loud beats
Emotion
Joy & playfulness
Pride & celebration
Both dances together show the complete rural life of Haryana—women’s grace and men’s
strength.
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Conclusion
The folk dances of Haryana beautifully reflect the state’s agricultural roots, seasonal cycles,
and community values. Phag Dance captures the delicate joy of spring and women’s
togetherness, while Dhamal Dance expresses the power, pride, and celebration of
hardworking farmers.
These dances are not merely performances on stage; they are living traditions passed from
one generation to another. They bring people together, preserve cultural identity, and keep
the spirit of rural Haryana alive.
8. Write one chakardar paran in Pancham Swari.
Ans: Understanding Pancham Swari Taal
• Structure: Pancham Swari is a 15-beat cycle (matra) in Hindustani classical music.
• Division (vibhag): The 15 beats are divided into 5 sections of 3 beats each.
• Sam (first beat): The most important beat, where compositions resolve.
• Khali (empty beat): On the 8th beat, marked by a wave instead of a clap.
Theka (basic pattern):
Dha Dha | Din Ta | Tin Tin | Ta Ta | Dha Ge Na
This is the rhythmic skeleton on which compositions like parans, tukras, and tihais are built.
What is a Paran?
• A paran is a powerful composition in tabla, often using bols from the pakhawaj
tradition.
• It is longer and more elaborate than a tukra, filled with bols like Dha, Dhin, Ta, Kat,
Gadi.
• Parans are energetic and often used in Dhrupad and Dhamar styles.
What is a Chakardar Paran?
• A chakardar paran is a paran that is repeated three times and ends exactly on the
sam.
• The word chakardar comes from “chakra” (circle), meaning the composition goes
around three times before resolving.
• It creates excitement and grandeur in performance.
Example of a Chakardar Paran in Pancham Swari
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Here’s a simple yet effective composition:
Chakardar Paran
Dha Dha - Kat Ta | Gadi Gadi - Dha Dha | Kat Ta Dha Dha - | Dhin Ta Kat Ta Dha
Now, to make it chakardar, we repeat this paran three times in succession, carefully
calculating so that the final bol lands on the sam (first beat of the cycle).
Full Chakardar Paran
Dha Dha Kat Ta Gadi Gadi Dha Dha Kat Ta Dha Dha Dhin Ta Kat Ta Dha |
Dha Dha Kat Ta Gadi Gadi Dha Dha Kat Ta Dha Dha Dhin Ta Kat Ta Dha |
Dha Dha Kat Ta Gadi Gadi Dha Dha Kat Ta Dha Dha Dhin Ta Kat Ta Dha ||
• Each cycle flows across the 15 beats.
• After three repetitions, the final “Dha” lands perfectly on the sam, giving a powerful
conclusion.
Why Chakardar Parans Are Special
1. Energy: The repetition builds intensity, keeping the audience engaged.
2. Precision: It requires careful calculation to land on the sam after three rounds.
3. Tradition: Chakardar parans are a hallmark of pakhawaj and tabla playing in Dhrupad
and Kathak traditions.
4. Performance Impact: Ending with a chakardar paran gives a sense of completeness
and grandeur.
My Own View
I see a chakardar paran as a crescendo in rhythm. It starts with strength, builds through
repetition, and finally explodes into resolution at the sam. In Pancham Swari, with its
unusual 15-beat cycle, the challenge is even greater—but that’s what makes it exciting. It’s
like running three laps around a track and finishing exactly at the starting line, with perfect
timing.
Conclusion
A chakardar paran in Pancham Swari is a rhythmic masterpiece. By repeating a paran three
times and resolving on the sam, the tabla player showcases both creativity and precision. It
adds grandeur to the performance and highlights the unique flavor of Pancham Swari’s 15-
beat cycle.
“This paper has been carefully prepared for educaonal purposes. If you noce any
mistakes or have suggesons, feel free to share your feedback.”
