Signature and Name of Invigilator

1. (Signature)

(Name)

2. (Signature)

(Name)

PAPER - III

DANCETime : 2½ hours] [Maximum Marks : 150

Number of Pages in this Booklet : 32 Number of Questions in this Booklet : 75

Instructions for the Candidates1. Write your roll number in the space provided on the top of

this page.2. This paper consists of seventy five multiple-choice type of

questions.3. At the commencement of examination, the question booklet

will be given to you. In the first 5 minutes, you are requestedto open the booklet and compulsorily examine it as below :(i) To have access to the Question Booklet, tear off the

paper seal on the edge of this cover page. Do not accepta booklet without sticker-seal and do not accept an openbooklet.

(ii) Tally the number of pages and number of questions inthe booklet with the information printed on the coverpage. Faulty booklets due to pages/questions missingor duplicate or not in serial order or any otherdiscrepancy should be got replaced immediately by acorrect booklet from the invigilator within the periodof 5 minutes. Afterwards, neither the Question Bookletwill be replaced nor any extra time will be given.

(iii) After this verification is over, the Test Booklet Numbershould be entered on the OMR Sheet and the OMR SheetNumber should be entered on this Test Booklet.

4. Each item has four alternative responses marked (1), (2), (3)and (4). You have to darken the circle as indicated below onthe correct response against each item.

Example : where (3) is the correct response.

5. Your responses to the items are to be indicated in the OMRSheet given inside the Booklet only. If you mark yourresponse at any place other than in the circle in the OMRSheet, it will not be evaluated.

6. Read instructions given inside carefully.7. Rough Work is to be done in the end of this booklet.8. If you write your Name, Roll Number, Phone Number or

put any mark on any part of the OMR Sheet, except for thespace allotted for the relevant entries, which may discloseyour identity, or use abusive language or employ any otherunfair means, such as change of response by scratching orusing white fluid, you will render yourself liable todisqualification.

9. You have to return the original OMR Sheet to the invigilatorsat the end of the examination compulsorily and must notcarry it with you outside the Examination Hall. You arehowever, allowed to carry original question booklet andduplicate copy of OMR Sheet on conclusion of examination.

10. Use only Blue/Black Ball point pen.11. Use of any calculator or log table etc., is prohibited.12. There are no negative marks for incorrect answers.13. In case of any discrepancy in the English and Hindi versions,

English version will be taken as final.

¬⁄UˡÊÊÁÕ¸ÿÙ¢ ∑§ Á‹∞ ÁŸŒ¸‡Ê1. ß‚ ¬ÎDU ∑§ ™§¬⁄U ÁŸÿà SÕÊŸ ¬⁄U •¬ŸÊ ⁄UÙ‹U Ÿê’⁄U Á‹Áπ∞–2. ß‚ ¬˝‡Ÿ-¬òÊ ◊¢ ¬ø„ûÊ⁄U ’„ÈÁfl∑§À¬Ëÿ ¬˝‡Ÿ „Ò¥–3. ¬⁄UˡÊÊ ¬˝Ê⁄êU÷ „ÙŸ ¬⁄U, ¬˝‡Ÿ-¬ÈÁSÃ∑§Ê •Ê¬∑§Ù Œ ŒË ¡ÊÿªË– ¬„‹U ¬UÊ°ø Á◊Ÿ≈U

•Ê¬∑§Ù ¬˝‡Ÿ-¬ÈÁSÃ∑§Ê πÙ‹Ÿ ÃÕÊ ©‚∑§Ë ÁŸêŸÁ‹Áπà ¡Ê°ø ∑§ Á‹∞ ÁŒÿ¡Êÿ¢ª, Á¡‚∑§Ë ¡Ê°ø •Ê¬∑§Ù •fl‡ÿ ∑§⁄UŸË „Ò —(i) ¬˝‡Ÿ-¬ÈÁSÃ∑§Ê πÙ‹Ÿ ∑§ Á‹∞ ¬ÈÁSÃ∑§Ê ¬⁄U ‹ªË ∑§Êª¡ ∑§Ë ‚Ë‹ ∑§Ê

»§Ê«∏ ‹¢U– πÈ‹Ë „È߸ ÿÊ Á’ŸÊ S≈UË∑§⁄U-‚Ë‹U ∑§Ë ¬ÈÁSÃ∑§Ê SflË∑§Ê⁄U Ÿ ∑§⁄¢U–(ii) ∑§fl⁄U ¬ÎDU ¬⁄U ¿U¬ ÁŸŒ¸‡ÊÊŸÈ‚Ê⁄U ¬˝‡Ÿ-¬ÈÁSÃ∑§Ê ∑§ ¬ÎDU ÃÕÊ ¬˝‡ŸÙ¢ ∑§Ë

‚¢ÅÿÊ ∑§Ù •ë¿UË Ã⁄U„ øÒ∑§ ∑§⁄U ‹¢U Á∑§ ÿ ¬Í⁄U „Ò¢U– ŒÙ·¬Íáʸ ¬ÈÁSÃ∑§ÊÁ¡Ÿ◊¢ ¬ÎDU/¬˝‡Ÿ ∑§◊ „Ù¢ ÿÊ ŒÈ’Ê⁄UÊ •Ê ªÿ „Ù¢ ÿÊ ‚ËÁ⁄Uÿ‹U ◊¢ Ÿ „Ù¢•ÕʸØ Á∑§‚Ë ÷Ë ¬˝∑§Ê⁄U ∑§Ë òÊÈÁ≈U¬Íáʸ ¬ÈÁSÃ∑§Ê SflË∑§Ê⁄U Ÿ ∑§⁄¢U ÃÕÊ©‚Ë ‚◊ÿ ©‚ ‹Uı≈UÊ∑§⁄U ©‚∑§ SÕÊŸ ¬⁄U ŒÍ‚⁄UË ‚„Ë ¬˝‡Ÿ-¬ÈÁSÃ∑§Ê ‹‹¢– U ß‚∑§ Á‹∞ •Ê¬∑§Ù ¬Ê°ø Á◊Ÿ≈U ÁŒÿ ¡Êÿ¢ª– ©‚∑§ ’ÊŒ Ÿ Ãٕʬ∑§Ë ¬˝‡Ÿ-¬ÈÁSÃ∑§Ê flʬ‚ ‹Ë ¡ÊÿªË •ı⁄U Ÿ „Ë •Ê¬∑§Ù •ÁÃÁ⁄UQ§‚◊ÿ ÁŒÿÊ ¡ÊÿªÊ–

(iii) ß‚ ¡Ê°ø ∑§ ’ÊŒ ¬˝‡Ÿ-¬ÈÁSÃ∑§Ê ∑§Ê Ÿ¥’⁄U OMR ¬òÊ∑§ ¬⁄U •¢Á∑§Ã ∑§⁄¢U•Uı⁄U OMR ¬òÊ∑§ ∑§Ê Ÿ¥’⁄U ß‚ ¬˝‡Ÿ-¬ÈÁSÃ∑§Ê ¬⁄U •¢Á∑§Ã ∑§⁄U Œ¢–

4. ¬˝àÿ∑§ ¬˝‡Ÿ ∑§ Á‹∞ øÊ⁄U ©ûÊ⁄U Áfl∑§À¬ (1), (2), (3) ÃÕÊ (4) ÁŒÿ ªÿ „Ò¢–•Ê¬∑§Ù ‚„Ë ©ûÊ⁄U ∑§ flÎûÊ ∑§Ù ¬Ÿ ‚ ÷⁄U∑§⁄U ∑§Ê‹Ê ∑§⁄UŸÊ „Ò ¡Ò‚Ê Á∑§ ŸËøÁŒπÊÿÊ ªÿÊ „Ò–©ŒÊ„⁄UáÊ — ¡’Á∑§ (3) ‚„Ë ©ûÊ⁄U „Ò–

5. ¬˝‡ŸÊ¥ ∑§ ©ûÊ⁄U ∑§fl‹ ¬˝‡Ÿ ¬ÈÁSÃ∑§Ê ∑§ •ãŒ⁄U ÁŒÿ ªÿ OMRU ¬òÊ∑§ ¬⁄U „Ë•¥Á∑§Ã ∑§⁄UŸ „Ò¥– ÿÁŒ •Ê¬ OMRU ¬òÊ∑§ ¬⁄U ÁŒÿ ªÿ flÎûÊ ∑§ •‹ÊflÊ Á∑§‚Ë•ãÿ SÕÊŸ ¬⁄U ©ûÊ⁄U ÁøqÊ¢Á∑§Ã ∑§⁄Uà „Ò¥, ÃÙ ©‚∑§Ê ◊ÍÀUÿÊ¢∑§Ÿ Ÿ„Ë¢ „٪ʖ

6. •ãŒ⁄U ÁŒÿ ªÿ ÁŸŒ¸‡ÊÙ¢ ∑§Ù äÿÊŸ¬Ífl¸∑§ ¬…∏¢U–7. ∑§ìÊÊ ∑§Ê◊ (Rough Work) ß‚ ¬ÈÁSÃ∑§Ê ∑§ •ÁãÃ◊ ¬ÎDU ¬⁄U ∑§⁄¢U–8. ÿÁŒ •Ê¬ OMR ¬òÊ∑§ ¬⁄U ÁŸÿà SÕÊŸ ∑§ •‹ÊflÊ •¬ŸÊ ŸÊ◊, ⁄UÊ‹ Ÿê’⁄U,

»§ÊŸ Ÿê’⁄U ÿÊ ∑§Ê߸ ÷Ë ∞‚Ê Áøq Á¡‚‚ •Ê¬∑§Ë ¬„øÊŸ „Ê ‚∑§, •¥Á∑§Ã ∑§⁄UÄҥ •ÕflÊ •÷Œ˝ ÷Ê·Ê ∑§Ê ¬˝ÿʪ ∑§⁄Uà „Ò¥, ÿÊ ∑§Ê߸ •ãÿ •ŸÈÁøà ‚ÊœŸ ∑§Ê¬˝ÿʪ ∑§⁄Uà „Ò¥, ¡Ò‚ Á∑§ •¥Á∑§Ã Á∑§ÿ ªÿ ©ûÊ⁄U ∑§Ê Á◊≈UÊŸÊ ÿÊ ‚»§Œ SÿÊ„Ë ‚’Œ‹ŸÊ ÃÊ ¬⁄UˡÊÊ ∑§ Á‹ÿ •ÿÊÇÿ ÉÊÊÁ·Ã Á∑§ÿ ¡Ê ‚∑§Ã „Ò¥–

9. •Ê¬∑§Ù ¬⁄UˡÊÊ ‚◊Ê# „ÙŸ §¬⁄U ◊Í‹ OMR ¬òÊ∑§ ÁŸ⁄UˡÊ∑§ ◊„ÙŒÿ ∑§Ù ‹Uı≈UÊŸÊ•Êfl‡ÿ∑§ „Ò •ı⁄U ¬⁄UˡÊÊ ‚◊ÊÁ# ∑§ ’ÊŒ ©‚ •¬Ÿ ‚ÊÕ ¬⁄UˡÊÊ ÷flŸ ‚ ’Ê„⁄UŸ ‹∑§⁄U ¡Êÿ¢– „Ê‹Ê¥Á∑§ •Ê¬ ¬⁄UˡÊÊ ‚◊ÊÁ# ¬⁄U ◊Í‹ ¬˝‡Ÿ-¬ÈÁSÃ∑§Ê ÃÕÊ OMR¬òÊ∑§ ∑§Ë «ÈUå‹Ë∑§≈U ¬˝Áà •¬Ÿ ‚ÊÕ ‹ ¡Ê ‚∑§Ã „Ò¥–

10. ∑§fl‹ ŸË‹/∑§Ê‹ ’Ê‹U åflÊßZ≈U ¬Ÿ ∑§Ê „Ë ¬˝ÿʪ ∑§⁄¢U–11. Á∑§‚Ë ÷Ë ¬˝∑§Ê⁄U ∑§Ê ‚¢ªáÊ∑§ (∑Ò§‹∑ȧ‹≈U⁄U) UÿÊ ‹Êª ≈U’‹ •ÊÁŒ ∑§Ê

¬˝ÿÙª flÁ¡¸Ã „Ò–12. ª‹Ã ©ûÊ⁄UÊ¥ ∑§ Á‹∞ ∑§Ê߸ Ÿ∑§Ê⁄UÊà◊∑§ •¥∑§ Ÿ„Ë¥ „Ò¥–13. ÿÁŒ •¥ª˝¡Ë ÿÊ Á„¥ŒË Áflfl⁄UáÊ ◊¥ ∑§Ê߸ Áfl‚¥ªÁà „Ê, ÃÊ •¥ª˝¡Ë Áflfl⁄UáÊ •¥ÁÃ◊

◊ÊŸÊ ¡Ê∞ªÊ–

N 1 76 5

1 P.T.O.N-06517 !N-06517-PAPER-III!

Roll No. (In words)

Roll No.

(In figures as per admission card)

OMR Sheet No. : .......................................................... (To be filled by the Candidate)

0

2N-06517 !N-06517-PAPER-III! Paper-III

DANCE

PAPER - III

Note : This paper contains seventy five (75) objective type questions of two (2) marks each. Allquestions are compulsory.

1. Assertion (A) : Hoza Giri from Tripura, Lausha warrior from Manipur, Wah Buddhist fromTripura, Veer Bhushri from Assam all are spectacular dance forms ofNorth-East.

Reason (R) : The people of North-East are warriors.

Code :

(1) (A) is true and (R) is false. (2) Both (A) and (R) are true.

(3) Both (A) and (R) are false. (4) (A) is false and (R) is true.

2. Subbudu was :

(1) Guru (2) Vocalist (3) Choreographer (4) Critic

3. Identify the correct Chronological order.

(a) Dasha Roopak (b) Natya Darpana

(c) Bharat Kosha (d) Nritya Ratna Kosha

Code :

(1) (a), (b), (c), (d) (2) (b), (c), (a), (d)

(3) (c), (a), (b), (d) (4) (d), (c), (b), (a)

4. Match List - I with List - II :

List - I List - II

(a) Aloka Kanungo (i) Chhau

(b) K. Kunhiraman Nair (ii) Odissi

(c) Sharodi Saikia (iii) Kathakali

(d) Sadashiva Pradhan (iv) Sattriya

Code :

(a) (b) (c) (d)

(1) (iii) (i) (iv) (ii)

(2) (iv) (iii) (ii) (i)

(3) (ii) (i) (iii) (iv)

(4) (ii) (iii) (iv) (i)

3 Paper-IIIN-06517 !N-06517-PAPER-III!

ŸÎàÿ

¬˝‡Ÿ¬òÊ - III

ÁŸŒ¸‡Ê — ß‚ ¬˝‡Ÿ¬òÊ ◊¥ ¬ø„ûÊ⁄U (75) ’„È-Áfl∑§À¬UËÿ ¬˝‡Ÿ „Ò¥– ¬˝àÿ∑§ ¬˝‡Ÿ ∑§ ŒÙ (2) •¢∑§ „Ò¥– ‚÷Ë ¬˝‡Ÿ •ÁŸflÊÿ¸U „Ò¥–

1. •Á÷∑§ÕŸ (A) : ÁòʬÈ⁄UÊ ‚ „Ê¡Ê ÁªÁ⁄U, ◊ÁáʬÈ⁄U ‚ ‹ÊÒ‚Ê flÊÁ⁄U•⁄U, ÁòʬÈ⁄UÊ ‚ flÊ„ ’ÈÁhS≈U, •‚◊ ‚ flË⁄U ÷͇Ê⁄UË, ÿ‚÷Ë ¬ÍflʸûÊ⁄U ˇÊòÊ ∑§ ©À‹πŸËÿ ŸÎàÿ ∑§ ¬˝∑§Ê⁄U „Ò¥–

Ã∑¸§ (R) : ¬ÍflʸûÊ⁄U ∑§ ‹Êª ÿÊhÊ „Êà „Ò¥–∑ͧ≈U —

(1) (A) ‚„Ë „Ò •ÊÒ⁄U (R) ª‹Ã „Ò– (2) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ‚„Ë „Ò¥–(3) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ª‹Ã „Ò¥– (4) (A) ª‹Ã „Ò •ÊÒ⁄U (R) ‚„Ë „Ò–

2. ‚Èé’È«∏Í Õ —(1) ªÈL§ (2) ªÊÿ∑§ (3) ∑§Ê⁄U˕ʪ˝Ê»§⁄U (4) ‚◊ˡÊ∑§

3. ‚„Ë ∑˝§◊ ∑§Ê øÈÁŸÿ–(a) Œ‡ÊM§¬∑§ (b) ŸÊ≈˜Uÿ Œ¬¸áÊ(c) ÷⁄UÃ∑§Ê‡Ê (d) ŸÎàÿ⁄UàŸ∑§Ê‡Ê∑ͧ≈U —(1) (a), (b), (c), (d) (2) (b), (c), (a), (d)

(3) (c), (a), (b), (d) (4) (d), (c), (b), (a)

4. ‚ÍøË - I ∑§Ê ‚ÍøË - II ‚ ‚È◊Á‹Ã ∑§ËÁ¡∞ —‚ÍøË - I ‚ÍøË - II

(a) •Ê‹Ê∑§Ê ∑§ÊŸÈãªÊ (i) ¿UÊ™§(b) ∑§. ∑ȧã„Ë⁄UÊ◊Ÿ ŸÊÿ⁄U (ii) •Ê«∏Ë‚Ë(c) ‡Ê⁄UÊŒË ‚Ò∑§Ë•Ê (iii) ∑§Õ∑§‹Ë(d) ‚ŒÊÁ‡Êfl ¬˝œÊŸ (iv) ‚ûÊ⁄UËÿÊ∑ͧ≈U —

(a) (b) (c) (d)

(1) (iii) (i) (iv) (ii)

(2) (iv) (iii) (ii) (i)

(3) (ii) (i) (iii) (iv)

(4) (ii) (iii) (iv) (i)

4N-06517 !N-06517-PAPER-III! Paper-III

5. Pick the odd one out :

(1) Konark (2) Brihadiswara (3) Chidambaram (4) Kedarnath

6. Assertion (A) : As per Abhinaya Darpana, theatre was a model of the cosmos where thedirections were demarked and the centre was called “Brahma Mandala”.

Reason (R) : The actors and directions of traditional dance followed the Sanskrit texts.

Code :

(1) Both (A) and (R) are false. (2) (A) is true and (R) is false.

(3) Both (A) and (R) are true. (4) (A) is false (R) is true.

7. ‘Dalang’ is :

(1) a shadow puppet (2) a character of Ram Kein

(3) a puppeteer (4) a flute player

8. Put in the correct sequence with respect to age :

(1) Uday Shankar, Astad Debu, Chandralekha, Daksha Sheth

(2) Chandralekha, Uday Shankar, Astad Debu, Daksha Sheth

(3) Uday Shankar, Daksha Sheth, Chandralekha, Astad Debu

(4) Uday Shankar, Chandralekha, Astad Debu, Daksha Sheth

9. Match List - I with List - II :

List - I List - II

(a) Kartik Kumar (i) Contemporary dance

(b) Hridaynath Mangeshkar (ii) Sitar

(c) Lokendrajit Singh (iii) Acting

(d) Manoj Joshi (iv) Sugam Sangit

Code :

(a) (b) (c) (d)

(1) (ii) (iv) (i) (iii)

(2) (iii) (iv) (ii) (i)

(3) (i) (iv) (iii) (ii)

(4) (iv) (iii) (i) (ii)

5 Paper-IIIN-06517 !N-06517-PAPER-III!

5. Áfl·◊ ∑§Ê øÈÁŸ∞ —(1) ∑§ÊáÊÊ∑¸§ (2) ’΄ŒËE⁄U (3) ÁøŒê’⁄U◊˜ (4) ∑§ŒÊ⁄UŸÊÕ

6. •Á÷∑§ÕŸ (A) : •Á÷Ÿÿ Œ¬¸áÊ ∑§ •ŸÈ‚Ê⁄U ⁄¥Uª◊¥ø ’˝rÊÊá«U ∑§Ê ∞∑§ ¬˝ÁÃ◊ÊŸ ÕÊ Á¡‚◊¥ ÁŸŒ¸‡Ê ‚Ë◊Ê¥Á∑§Ã Á∑§ÿ ªÿÕ ÃÕÊ ∑§ãŒ˝ ’˝rÊ◊¥«U‹ ∑§„Ê ¡ÊÃÊ ÕÊ–

Ã∑¸§ (R) : ¬Ê⁄Uê¬Á⁄U∑§ ŸÎàÿ ∑§ •Á÷ŸÃÊ ÃÕÊ ÁŸŒ¸‡Ê∑§ ‚¥S∑Χà ª˝¥ÕÊ¥ ∑§Ê •ŸÈ‚⁄UáÊ ∑§⁄Uà Ֆ∑ͧ≈U —

(1) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ª‹Ã „Ò¥– (2) (A) ‚„Ë „Ò •ÊÒ⁄U (R) ª‹Ã „Ò–(3) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ‚„Ë „Ò¥– (4) (A) ª‹Ã „Ò •ÊÒ⁄U (R) ‚„Ë „Ò–

7. “ŒÊ‹Ê¥ª” „Ò —(1) ∞∑§ ¿UÊÿÊ ∑§∆U¬ÈÃ‹Ë (2) ⁄UÊ◊Á∑§Ÿ ∑§Ê ∞∑§ ¬ÊòÊ(3) ∞∑§ ∑§∆U¬ÈÃ‹Ë ŸøÊŸflÊ‹Ê (4) ∞∑§ ’Ê°‚È⁄UË flÊŒ∑§

8. ©◊˝ ∑§ Á„‚Ê’ ‚ ‚„Ë ∑˝§◊ ∑§Ë ¬„øÊŸ ∑§ËÁ¡ÿ —(1) ©Œÿ‡Ê¥∑§⁄U, •SÃÊŒ «U’È, øãŒ˝‹πÊ, ŒˇÊÊ ‡Ê∆U(2) øãŒ˝‹πÊ, ©Œÿ‡Ê¥∑§⁄U, •SÃÊŒ «U’È, ŒˇÊÊ ‡Ê∆U(3) ©Œÿ‡Ê¥∑§⁄U, ŒˇÊÊ ‡Ê∆U, øãŒ˝‹πÊ, •SÃÊŒ «U’È(4) ©Œÿ‡Ê¥∑§⁄U, øãŒ˝‹πÊ, •SÃÊŒ «U’È, ŒˇÊÊ ‡Ê∆U

9. ‚ÍøË - I ∑§Ê ‚ÍøË - II ‚ ‚È◊Á‹Ã ∑§ËÁ¡∞ —‚ÍøË - I ‚ÍøË - II

(a) ∑§ÊÁø∑§ ∑ȧ◊Ê⁄U (i) ∑§Êã≈Uê¬⁄U⁄UË ŸÎàÿ(b) ÁNŒ˜ÿŸÊÕ ◊¥ª‡Ê∑§⁄U (ii) Á‚ÃÊ⁄U(c) ‹Ê∑§ãŒ˝¡Ëà ‚Ë¥ÉÊ (iii) •Á÷Ÿÿ(d) ◊ŸÊ¡ ¡Ê·Ë (iv) ‚Ȫ◊ ‚¥ªËÃ∑ͧ≈U —

(a) (b) (c) (d)

(1) (ii) (iv) (i) (iii)

(2) (iii) (iv) (ii) (i)

(3) (i) (iv) (iii) (ii)

(4) (iv) (iii) (i) (ii)

6N-06517 !N-06517-PAPER-III! Paper-III

10. Pick the odd one out :

The dance styles of Andhra Pradesh are :

(1) Kuchipudi (2) Vilasini Natyam

(3) Bhama Kalapam (4) Bharata Natyam

11. Assertion (A) : “Rati” the nature of pleasure exists in all.

Reason (R) : The behaviour of young generates Erotic sentiment.

Code :

(1) Both (A) and (R) are true. (2) Both (A) and (R) are false.

(3) (A) is true and (R) is false. (4) (A) is false and (R) is true.

12. The cholom of Manipur is :

(1) A stance in dance (2) A gait in dance

(3) A drum and cymbal dance (4) A space for dance

13. As per Natyashastra Shloka, put in the correct sequence.

(1) Kaisiki, Àrabhati, BhÂrati, SÂttavatÍ

(2) BhÂrati, SÂttavatÍ, Kaisiki, ÀrabhatÍ

(3) Àrabhati, Kaisiki, BhÂrati, SÂttavatÍ

(4) BhÂrati, Kaisiki, SÂttavatÍ, ÀrabhatÍ

14. Match List - I with List - II :

List - I List - II

(a) Marius Petipa (i) Cindrella

(b) George Balanchine (ii) The dying Swan

(c) Anna Pavlova (iii) Agon

(d) Margot Fonteyn (iv) The Sleeping Beauty

Code :

(a) (b) (c) (d)

(1) (iv) (ii) (i) (iii)

(2) (ii) (iii) (iv) (i)

(3) (iii) (iv) (i) (ii)

(4) (iv) (ii) (iii) (i)

7 Paper-IIIN-06517 !N-06517-PAPER-III!

10. Áfl·◊ ∑§Ê ÁøÁqà ∑§⁄¥U —•Ê¥œ˝ ¬˝Œ‡Ê ∑§Ë ŸÎàÿ ‡ÊÒ‹Ë „Ò —(1) ∑ͧÁø¬Í«UË (2) Áfl‹ÊÁ‚ŸË ŸÊ≈K◊˜(3) ÷Ê◊Ê ∑§‹Ê¬◊ (4) ÷⁄Uà ŸÊ≈K◊˜

11. •Á÷∑§ÕŸ (A) : oÎ¥ªÊÁ⁄U∑§ •ÊŸãŒ ∑§Ë ¬˝∑ΧÁà ““⁄UÁÔ” ‚’◊¥ Áfll◊ÊŸ ⁄U„ÃË „Ò–Ã∑¸§ (R) : ÿÈflÊ ¬Ë…∏Ë ∑§ •Êø⁄UáÊ ‚ ∑§Ê◊Êgˬ∑§ ÷ÊflŸÊ∞¥ ©à¬ãŸ „ÊÃË „Ò¥–∑ͧ≈U —

(1) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ‚„Ë „Ò¥– (2) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ª‹Ã „Ò¥–(3) (A) ‚„Ë „Ò •ÊÒ⁄U (R) ª‹Ã „Ò– (4) (A) ª‹Ã „Ò •ÊÒ⁄U (R) ‚„Ë „Ò–

12. ◊ÁáʬÈ⁄U ◊¥ øÊ‹Ê◊ „Ò —(1) ŸÎàÿ ◊¥ ∞∑§ •flÁSÕÁà (2) ŸÎàÿ ◊¥ ∞∑§ øÊ‹(3) ∞∑§ …UÊ‹ •ÊÒ⁄U ¤ÊÊ°¤Ê ŸÎàÿ (4) ŸÎàÿ ∑§ Á‹∞ ∞∑§ SÕÊŸ

13. ŸÊ≈K‡ÊÊSòÊ ∑§ ‡‹Ê∑§ ∑§ •ŸÈ‚Ê⁄U ©Áøà ∑˝§◊ ∑§Ê øÈŸÊfl ∑§⁄¥U–(1) ∑Ò§Á‚∑§Ë, •Ê⁄U÷≈UË, ÷Ê⁄UÃË, ‚ÊûÊflÃË(2) ÷Ê⁄UÃË, ‚ÊûÊflÃË, ∑Ò§Á‚∑§Ë, •Ê⁄U÷≈UË(3) •Ê⁄U÷≈UË, ∑Ò§Á‚∑§Ë, ÷Ê⁄UÃË, ‚ÊûÊflÃË(4) ÷Ê⁄UÃË, ∑Ò§Á‚∑§Ë, ‚ÊûÊflÃË, •Ê⁄U÷≈UË

14. ‚ÍøË - I ∑§Ê ‚ÍøË - II ‚ ‚È◊‹Ëà ∑§ËÁ¡∞ —‚ÍøË - I ‚ÍøË - II

(a) ◊ÊÁ⁄Uÿ‚ ¬ÃË¬Ê (i) ‚Ëã«˛U‹Ê(b) íÿÊ¡¸ ’‹Ÿ‡ÊËŸ (ii) Œ «UÊÿË¥ª SflÊŸ(c) •ŸÊ ¬Êfl‹ÊflÊ (iii) •ªÊŸ(d) ◊ʪʸ≈U »§Êã≈UÿŸ (iv) Œ S‹ËÁ¬¥ª éÿÈ≈UË∑ͧ≈U —

(a) (b) (c) (d)

(1) (iv) (ii) (i) (iii)

(2) (ii) (iii) (iv) (i)

(3) (iii) (iv) (i) (ii)

(4) (iv) (ii) (iii) (i)

8N-06517 !N-06517-PAPER-III! Paper-III

15. Pick the odd one out :

(1) Tom-Karam (2) Vaittari (3) Melakku (4) Kalaasam

16. Assertion (A) : Kathak has evolved over the years out of the narratives traditions of NorthIndia like Akhyan, Ballads, Pandavani-s, Harikatha, Kathakalakshepamand such.

Reason (R) : Kathak has history of both temple and court connections with male andfemale performers.

Code :

(1) Both (A) and (R) are false. (2) Both (A) and (R) are true.

(3) (A) is true and (R) is false. (4) (A) is false and (R) is true.

17. The ‘Oja’ in Ojapali is :

(1) A Flag (2) A Leader (3) A Villian (4) A song

18. Put it in the correct sequence of Ornaments from head to toe.

(1) Talaisaman, Mukkuti, Udiyanam, Gajje

(2) Talaisaman, Udiyanam, Mukkuti, Gajje

(3) Gajje, Mukkuti, Udiyanam, Talaisaman

(4) Udiyanam, Gajje, Talaisaman, Mukkuti

19. Match List - I with List - II :

List - I List - II

(a) Kathakali (i) Kuraippu

(b) Bharata Natyam (ii) Nadaka

(c) Kuchipudi (iii) Gadi

(d) Odissi (iv) Iratti

Code :

(a) (b) (c) (d)

(1) (ii) (iv) (iii) (i)

(2) (iii) (i) (iv) (ii)

(3) (iv) (ii) (i) (iii)

(4) (iv) (i) (ii) (iii)

20. Pick the odd one out :

(1) Anita Ratnam - Seven Graces (2) Astad Deboo - Circle of Feelings

(3) Madhu Nataraj - Sharira (4) Aditi Mangaldas - Timeless

9 Paper-IIIN-06517 !N-06517-PAPER-III!

15. Áfl·◊ ∑§Ê ÁøÁqà ∑§⁄U¥ —(1) ÃÊ◊˜∑§Ê⁄U◊ (2) flÊÿûÊÊ⁄UË (3) ◊‹ÊÄ∑ȧ (4) ∑§‹Ê‚◊

16. •Á÷∑§ÕŸ (A) : ∑§Õ∑§ ∑§Ê Áfl∑§Ê‚ •Ÿ∑§ fl·ÊZ ‚ ©ûÊ⁄U ÷Ê⁄Uà ∑§Ë •ÊÅÿÊŸÊà◊∑§ ¬⁄Uê¬⁄UÊ•Ê¥ ÿÕÊ •ÊÅÿÊŸ, ªÊÕÊ,¬¥«UflÊáÊË, „Á⁄U∑§ÕÊ, ∑§ÕÊ∑§‹ÊˇÊ¬◊ •ÊÁŒ ‚ „È•Ê „Ò–

Ã∑¸§ (R) : ∑§Õ∑§ ∑§Ê ßÁÄʂ ◊¥ÁŒ⁄UÊ¥ ÃÕÊ ⁄UÊ¡Œ⁄U’Ê⁄UÊ¥ ‚ ¡È«∏ ⁄U„Ÿ ∑§Ê ⁄U„Ê „Ò Á¡‚◊¥ ¬ÈL§· ∞fl¥ ◊Á„‹Ê∑§‹Ê∑§Ê⁄U •¬ŸË ∑§‹Ê ∑§Ê ¬˝Œ‡Ê¸Ÿ ∑§⁄Uà „Ò¥–

∑ͧ≈U —

(1) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ª‹Ã „Ò¥– (2) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ‚„Ë „Ò¥–(3) (A) ‚„Ë „Ò •ÊÒ⁄U (R) ª‹Ã „Ò– (4) (A) ª‹Ã „Ò •ÊÒ⁄U (R) ‚„Ë „Ò–

17. •Ê¡Ê¬‹Ë ◊¥ •Ê¡Ê „Ò —(1) ∞∑§ ¤Ê¥«UÊ (2) ∞∑§ ŸÃÊ (3) ∞∑§ π‹ŸÊÿ∑§ (4) ∞∑§ ªËÃ

18. Á‚⁄U ‚ ¬Ê°fl Ã∑§ ∑§ ÁŸêŸÁ‹Áπà •Ê÷Í·áÊÊ¥ ∑§ ‚„Ë ∑˝§◊ ∑§Ë ¬„øÊŸ ∑§ËÁ¡ÿ–(1) Ë҂Ê◊Ÿ, ◊ÈÄ∑ȧ≈UË, ©«∏ËÿÊáÊ◊˜, ªí¡Ò(2) Ë҂Ê◊Ÿ, ©«∏ËÿÊáÊ◊˜, ◊ÈÄ∑ȧ≈UË, ªí¡Ò(3) ªí¡Ò, ◊ÈÄ∑ȧ≈UË, ©«∏ËÿÊáÊ◊˜, Ë҂Ê◊Ÿ(4) ©«∏ËÿÊáÊ◊˜, ªí¡Ò, Ë҂Ê◊Ÿ, ◊ÈÄ∑ȧ≈UË

19. ‚ÍøË - I ∑§Ê ‚ÍøË ‚ÍøË - II ‚ ‚È◊Á‹Ã ∑§ËÁ¡∞ —‚ÍøË - I ‚ÍøË - II

(a) ∑§Õ∑§›Ë (i) ∑ȧ⁄ÒUå¬È(b) ÷⁄Uà ŸÊ≈K◊ (ii) Ÿ«U∑§Ê(c) ∑ȧÁø¬È«UË (iii) ª«UË(d) •ÊÁ«U‚Ë (iv) ß⁄U^Ë∑ͧ≈U —

(a) (b) (c) (d)

(1) (ii) (iv) (iii) (i)

(2) (iii) (i) (iv) (ii)

(3) (iv) (ii) (i) (iii)

(4) (iv) (i) (ii) (iii)

20. Áfl·◊ ∑§Ê ÁøÁqà ∑§⁄¥U —(1) •ŸËÃÊ ⁄UàŸ◊ - ‚flŸ˜ ª˝Á‚‚˜ (2) •SÃÊŒ «U’È - ‚∑¸§‹ •ÊÚ$»§ $»§ËÁ‹¥ª˜‚˜(3) ◊œÈ Ÿ≈˜U⁄UÊ¡ - ‡Ê⁄UË⁄U (4) •ÁŒÃË ◊¥ª‹ŒÊ‚ - ≈UÊÿ˜◊˜‹‚

10N-06517 !N-06517-PAPER-III! Paper-III

21. Assertion (A) : Astad Deboo was awarded by SNA in 1995 for Modern dance in India.

Reason (R) : Astad has worked with classical dance and theatre mainly Bharatanatyamand Kathakali for his creative works.

Code :

(1) (A) is true and (R) false. (2) (A) is false and (R) is true.

(3) Both (A) and (R) are false. (4) Both (A) and (R) are true.

22. Kangra Paintings are from :

(1) Himachal Pradesh (2) Jammu

(3) Rajasthan (4) Nathdwara

23. Identify the correct sequence of folk ornaments from Top to Bottom.

(1) Hamel, Bor, Nagmori, Kardhoni (2) Bor, Hamel, Nagmori, Kardhoni

(3) Nagmori, Hamel, Bor, Kardhoni (4) Hamel, Kardhoni, Nagmori, Bor

24. Match List - I with List - II :

List - I List - II

(a) Rasagangadhara (i) Damodara

(b) Sangita Darpana (ii) Mammata

(c) Kavyaprakasha (iii) Rupa Goswami

(d) Bhaktirasamrita Sindhu (iv) Jagannatha Panditaraja

Code :

(a) (b) (c) (d)

(1) (ii) (i) (iv) (iii)

(2) (iv) (iii) (ii) (i)

(3) (iii) (i) (iv) (ii)

(4) (iv) (i) (ii) (iii)

25. Pick the odd one out :

(1) Thumri (2) Dadra (3) Gazal (4) Jhaptal

11 Paper-IIIN-06517 !N-06517-PAPER-III!

21. •Á÷∑§ÕŸ (A) : •SÃÊŒ «U’Í ∑§Ê ÷Ê⁄Uà ∑§ •ÊœÈÁŸ∑§ ŸÎàÿ ∑§ Á‹ÿ fl·¸ 1995 ◊¥ ‚¥ªËà ŸÊ≈U∑§ •∑§ÊŒ◊Ë ¬È⁄US∑§Ê⁄UÁŒÿÊ ªÿÊ–

Ã∑¸§ (R) : •SÃÊŒ Ÿ •¬Ÿ ‚ΡŸÊà◊∑§ ∑§ÊÿÊZ ∑§ Á‹ÿ ‡ÊÊSòÊËÿ ŸÎàÿ •ÊÒ⁄U ⁄¥Uª◊¥ø ◊¥ ◊ÈÅÿ M§¬ ‚ ÷⁄UßÊ≈K◊•ÊÒ⁄U ∑§Õ∑§‹Ë ∑§Ê ©¬ÿʪ Á∑§ÿÊ „Ò–

∑ͧ≈U —

(1) (A) ‚„Ë „Ò •ÊÒ⁄U (R) ª‹Ã „Ò– (2) (A) ª‹Ã „Ò •ÊÒ⁄U (R) ‚„Ë „Ò–

(3) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ª‹Ã „Ò¥– (4) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ‚„Ë „Ò¥–

22. ∑§Ê¥ª⁄UÊ ¬Áã≈¥Uª˜‚ ÿ„Ê° ‚ „Ò¥ —

(1) Á„◊Êø‹ ¬˝Œ‡Ê (2) ¡ê◊Í

(3) ⁄UÊ¡SÕÊŸ (4) ŸÊÕmÊ⁄UÊ

23. ‹Ê∑§ •Ê÷Í·áÊÊ¥ ∑§Ê ™§¬⁄U ‚ ŸËø ∑§Ë •Ê⁄U ‚„Ë ∑˝§◊ ◊¥ Á‹Áπ∞–

(1) „◊‹, ’Ê⁄U, ŸÊª◊Ê⁄UË, ∑§⁄UœÊŸË (2) ’Ê⁄U, „◊‹, ŸÊª◊Ê⁄UË, ∑§⁄UœÊŸË

(3) ŸÊª◊Ê⁄UË, „◊‹, ’Ê⁄U, ∑§⁄UœÊŸË (4) „◊‹, ∑§⁄UœÊŸË, ŸÊª◊Ê⁄UË, ’Ê⁄U

24. ‚ÍøË - I ∑§Ê ‚ÍøË - II ‚ ‚È◊Á‹Ã ∑§ËÁ¡∞ —

‚ÍøË - I ‚ÍøË - II

(a) ⁄U‚ª¥ªÊœ⁄U (i) ŒÊ◊ÊŒ⁄U

(b) ‚¥ªËà Œ¬¸áÊ (ii) ◊ê◊≈U

(c) ∑§Ê√ÿ¬˝∑§Ê‡Ê (iii) M§¬ ªÊSflÊ◊Ë

(d) ÷ÁÄà ⁄U‚Ê◊Îà Á‚ãœÈ (iv) ¡ªãŸÊÕ ¬¥Á«UÃ⁄UÊ¡

∑ͧ≈U —

(a) (b) (c) (d)

(1) (ii) (i) (iv) (iii)

(2) (iv) (iii) (ii) (i)

(3) (iii) (i) (iv) (ii)

(4) (iv) (i) (ii) (iii)

25. Áfl·◊ ∑§Ê øÈÁŸ∞ —

(1) ∆ÈU◊⁄UË (2) ŒÊŒ⁄UÊ (3) ª$¡‹ (4) ¤Ê¬ÃÊ‹

12N-06517 !N-06517-PAPER-III! Paper-III

26. Assertion (A) : The criteria, the parameters, the references, the directions for what constitutes“new” and “contemporary ”in the realm of classical dance is a sensitivearea and there can be no easy formulae and solution.

Reason (R) : Despite the lack of scholarship and theoretical discourse, a dialogue hasbegun among the practitioners and those who observe the dance scene,which has helped new direction in Indian dance grow.

Code :

(1) (A) is false and (R) is true. (2) (A) is true and (R) is false.

(3) Both (A) and (R) are false. (4) Both (A) and (R) are true.

27. The Jakkini dance was performed in the Court of :

(1) Chola Kings (2) Nayaka Kings (3) Kakatiya Kings (4) Mourya Kings

28. Identify the correct sequence of folk ornaments from Bottom to Top.

(1) Bajuband, Pata, Karnaphul, Pairi

(2) Pata, Bajuband, Karnaphul, Pairi

(3) Pairi, Pata, Bajuband, Karnaphul

(4) Karnaphul, Pata, Pairi, Bajuband

29. Match List - I with List - II :

List - I List - II

(a) Dancing on my Grave (i) Julie Kavangh

(b) Ballet and Modern Dance (ii) Gelsey Kirkland

(c) Nureyev-The Life (iii) Mohan Khokar

(d) His Dance His Life (iv) Jack Anderson

Code :

(a) (b) (c) (d)

(1) (ii) (iv) (i) (iii)

(2) (iv) (i) (iii) (ii)

(3) (iii) (ii) (iv) (i)

(4) (i) (iv) (ii) (iii)

30. Pick the odd one out :

(1) Nat Pwe (2) Nibhat Kin (3) Marionette (4) Hat-boi

13 Paper-IIIN-06517 !N-06517-PAPER-III!

26. •Á÷∑§ÕŸ (A) : ß‚ ÁŸÁ◊ûÊ Á∑§ ‡ÊÊSòÊËÿ ŸÎàÿ ∑§ ˇÊòÊ ◊¥ ““ŸflËŸ”” •ÊÒ⁄U ““‚◊∑§Ê‹ËŸ”” ∑§Ë ‚¥ôÊÊ ¬˝ŒÊŸ ∑§⁄UŸ „ÃÈÄÿÊ ∑§‚ÊÒ≈UË, ◊ÊŸŒ¥«U, ‚¥Œ÷¸ ÃÕÊ ÁŒ‡ÊÊ ÁŸœÊ¸Á⁄Uà Á∑§ÿ „Ò¥, ∞∑§ ‚¥flŒŸ‡ÊË‹ ˇÊòÊ „Ò •ÊÒ⁄U ß‚∑§Ê∑§Ê߸ ‚⁄U‹ ‚ÍòÊ •ÊÒ⁄U ‚◊ʜʟ Ÿ„Ë¥ „Ê ‚∑§ÃÊ–

Ã∑¸§ (R) : ÁflmÃÊ ÃÕÊ ‚ÒhÊÁãÃ∑§ ¬˝’¥œ ∑§ •÷Êfl ∑§ ’Êfl¡ÍŒ ŸÎàÿ ¬˝SÃÊÃÊ•Ê¥ ∞fl¥ ŸÎàÿ Œ‡Ê¸∑§Ê¥ ∑§ ’Ëø ∞∑§‚¥flÊŒ •Ê⁄¥U÷ „Ê øÍ∑§Ê „Ò Á¡‚‚ ÷Ê⁄UÃËÿ ŸÎàÿ ∑§‹Ê ◊¥ ŸÿË ÁŒ‡ÊÊ ∑§ Áfl∑§Ê‚ ◊¥ ◊ŒŒ Á◊‹Ë „Ò–

∑ͧ≈U —

(1) (A) ª‹Ã „Ò •ÊÒ⁄U (R) ‚„Ë „Ò– (2) (A) ‚„Ë „Ò •ÊÒ⁄U (R) ª‹Ã „Ò–(3) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ª‹Ã „Ò¥– (4) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ‚„Ë „Ò¥–

27. ¡ÁÄ∑§ŸË ŸÎàÿ Á∑§‚∑§ Œ⁄U’Ê⁄U ◊¥ ¬˝SÃÈà Á∑§ÿÊ ªÿÊ ÕÊ?(1) øÊ› ⁄UÊ¡Ê (2) ŸÊÿ∑§ ⁄UÊ¡Ê (3) ∑§Ê∑§ÃËÿ ⁄UÊ¡Ê (4) ◊ÊÒÿ¸ ⁄UÊ¡Ê

28. ŸËø ‚ ™§¬⁄U ∑§Ë •Ê⁄U ‹Ê∑§ •Ê÷Í·áÊÊ¥ ∑§Ê ‚„Ë ∑˝§◊ Á‹Áπ∞–(1) ’Ê¡Í’¥Œ, ¬Ê≈UÊ, ∑§áʸ»Í§‹, ¬Ò⁄UË(2) ¬Ê≈UÊ, ’Ê¡Í’¥Œ, ∑§áʸ»Í§‹, ¬Ò⁄UË(3) ¬Ò⁄UË, ¬Ê≈UÊ, ’Ê¡Í’¥Œ, ∑§áʸ»Í§‹(4) ∑§áʸ»Í§‹, ¬Ê≈UÊ, ¬Ò⁄UË, ’Ê¡Í’¥Œ

29. ‚ÍøË - I ∑§Ê ‚ÍøË - II ‚ ‚È◊Á‹Ã ∑§ËÁ¡∞ —‚ÍøË - I ‚ÍøË - II

(a) «UÊÁã‚¥ª •ÊÚŸ ◊Êÿ ª˝fl (i) ¡Í‹Ë ∑§ÊflÊŸª(b) ’‹ ∞ã«U ◊Ê«UŸ¸ «UÊã‚ (ii) ¡‹‚ ∑§∑¸§‹Êã«U(c) ãÿÍÁ⁄Uÿfl-Œ ‹Êß$»§ (iii) ◊Ê„Ÿ πÊ∑§⁄U(d) Á„‚ «UÊã‚ Á„‚ ‹Êß$»§ (iv) ¡ÊÚ∑§ •ã«U⁄˜U‚Ÿ∑ͧ≈U —

(a) (b) (c) (d)

(1) (ii) (iv) (i) (iii)

(2) (iv) (i) (iii) (ii)

(3) (iii) (ii) (iv) (i)

(4) (i) (iv) (ii) (iii)

30. Áfl·◊ ∑§Ê øÈÁŸÿ —(1) ŸÊ≈U åfl (2) ŸË÷≈U ∑§ËŸ (3) ◊⁄UË•ÊŸ≈U (4) „Ã’Ê߸

14N-06517 !N-06517-PAPER-III! Paper-III

31. Assertion (A) : The dance referred to as modern dance is comparative new comer but theirshort history is an extraordinarily eventful one.

Reason (R) : Sociopolitical concerns, major historical events and the development of otherart forms contributed to the continued development of modern dance.

Code :

(1) Both (A) and (R) are false. (2) Both (A) and (R) are true.

(3) (A) is true and (R) is false. (4) (A) is false and (R) is true.

32. The Curse of Durvasa was Choreographed by :

(1) Mallika Sarabhai (2) Chandralekha

(3) Mrinalini Sarabhai (4) Daksha Seth

33. Identify the correct sequence of University establishment.

(a) Rabindra Bharati University

(b) Visva Bharati

(c) M.S. University Baroda

(d) Indira Kala Sangeet Vishwavidyalaya

Code :

(1) (a), (c), (b), (d) (2) (d), (b), (a), (c)

(3) (b), (a), (c), (d) (4) (b), (c), (d), (a)

34. Match the items in List - I with List - II :

List - I List - II

(a) Silambu (i) Nagaland

(b) Teyyam (ii) Karnataka

(c) Yakshgan (iii) Kerala

(d) Jeliyong (iv) Tamil Nadu

Code :

(a) (b) (c) (d)

(1) (iv) (iii) (ii) (i)

(2) (i) (ii) (iii) (iv)

(3) (iv) (iii) (i) (ii)

(4) (ii) (iv) (i) (iii)

15 Paper-IIIN-06517 !N-06517-PAPER-III!

31. •Á÷∑§ÕŸ (A) : •ÊœÈÁŸ∑§ ŸÎàÿ ∑§ M§¬ ◊¥ ©ÁÀ‹Áπà ŸÎàÿ ÃÈ‹ŸÊà◊∑§ M§¬ ‚ Ÿfl •Êª¥ÃÈ∑§ „Ò, ‹Á∑§Ÿ ß‚∑§Ê‚¥ÁˇÊåà ßÁÄʂ •‚ÊœÊ⁄UáÊ M§¬ ‚ ◊„ûfl¬Íáʸ „Ò–

Ã∑¸§ (R) : ‚Ê◊ÊÁ¡∑§-⁄UÊ¡ŸËÁÃ∑§ ‚⁄UÊ∑§Ê⁄UÊ¥, ¬˝◊Èπ ∞ÁÄÊÁ‚∑§ ÉÊ≈UŸÊ•Ê¥ ÃÕÊ ∑§‹Ê ∑§ •ãÿ M§¬Ê¥ ∑§ Áfl∑§Ê‚Ÿ •ÊœÈÁŸ∑§ ŸÎàÿ ∑§ ‚Ãà Áfl∑§Ê‚ ◊¥ ÿʪŒÊŸ ÁŒÿÊ „Ò–

∑ͧ≈U —

(1) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ª‹Ã „Ò¥– (2) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ‚„Ë „Ò¥–(3) (A) ‚„Ë „Ò •ÊÒ⁄U (R) ª‹Ã „Ò– (4) (A) ª‹Ã „Ò •ÊÒ⁄U (R) ‚„Ë „Ò–

32. Œ ∑§‚¸ •ÊÚ»§ ŒÈflʸ‚Ê ∑§Ë ⁄UøŸÊ ßã„Ê¥Ÿ ∑§Ë ÕË —(1) ◊ÁÀ‹∑§Ê ‚Ê⁄UÊ÷Êß (2) øãŒ˝‹πÊ(3) ◊ÎáÊÊÁ‹ŸË ‚Ê⁄UÊ÷Êß (4) ŒˇÊÊ ‚∆U

33. ÁŸêŸÁ‹Áπà Áfl‡flÁfllÊ‹ÿÊ¥ ∑§Ë SÕʬŸÊ ∑§ ‚„Ë ∑˝§◊ ∑§Ê ÁøÁqà ∑§ËÁ¡ÿ–(a) ⁄UflËãŒ˝ ÷Ê⁄UÃË ÿÍÁŸflÁ‚¸≈UË(b) Áfl‡fl ÷Ê⁄UÃË(c) ∞◊.∞‚. ÿÍÁŸflÁ‚¸≈UË ’«∏ÊÒŒÊ(d) ßÁãŒ⁄UÊ ∑§‹Ê ‚¥ªËà Áfl‡flÁfllÊ‹ÿ∑ͧ≈U —(1) (a), (c), (b), (d) (2) (d), (b), (a), (c)

(3) (b), (a), (c), (d) (4) (b), (c), (d), (a)

34. ‚ÍøË - I ∑§Ê ‚ÍøË - II ‚ ‚È◊Á‹Ã ∑§ËÁ¡∞ —‚ÍøË - I ‚ÍøË - II

(a) Á‚‹ê’È (i) ŸÊªÊ‹Ò¥«U(b) ÃÒƒÿ◊ (ii) ∑§ŸÊ¸≈U∑§(c) ÿˇÊªÊŸ (iii) ∑§⁄U‹(d) ¡Á‹ÿÊ¥ª (iv) ÃÁ◊‹ŸÊ«ÈU∑ͧ≈U —

(a) (b) (c) (d)

(1) (iv) (iii) (ii) (i)

(2) (i) (ii) (iii) (iv)

(3) (iv) (iii) (i) (ii)

(4) (ii) (iv) (i) (iii)

16N-06517 !N-06517-PAPER-III! Paper-III

35. Pick the odd one out :

(1) Nautanki - Uttar Pradesh (2) Gondhala - Maharashtra

(3) Bhavai - Gujarat (4) Sankirtan - Karnataka

36. Assertion (A) : It is possible to identify an extensive circuit of the music, dance, paintingand sculpture inspired by the Krishna or Shiva myth, the myth of archetypalsnake and the mothergoddess.

Reason (R) : Tribal music and dance are an integral part of collective life and reflectstheir mundane and sacred worlds.

Code :

(1) (A) is true and (R) is false. (2) (A) is false and (R) is true.

(3) Both (A) and (R) are false. (4) Both (A) and (R) are true.

37. Which folk Dance from North India is similar to Gotipua ?

(1) Kinnouri (2) Shrikhand (3) Bachanagama (4) Nati

38. Identify the correct sequence.

(a) Smaranam (b) Padasevanam

(c) Sakhyam (d) Archanam

Code :

(1) (a), (b), (c), (d) (2) (a), (b), (d), (c)

(3) (b), (d), (a), (c) (4) (d), (a), (c), (b)

39. Match List - I with List - II :

List - I List - II

(a) Bhas (i) Karpoor Manjari

(b) Vishakhadutt (ii) Ratnavali

(c) Harshvardhan (iii) Mudra Rakshas

(d) Rajashekhar (iv) Pratima

Code :

(a) (b) (c) (d)

(1) (iv) (iii) (ii) (i)

(2) (i) (ii) (iii) (iv)

(3) (iv) (ii) (iii) (i)

(4) (ii) (iii) (i) (iv)

17 Paper-IIIN-06517 !N-06517-PAPER-III!

35. Áfl·◊ ∑§Ê øÈÁŸÿ —(1) ŸÊÒ≈¥U∑§Ë - ©ûÊ⁄U¬˝Œ‡Ê (2) ªÊ¥œ‹ - ◊„Ê⁄UÊc≈˛U(3) ÷fl߸ -ªÈ¡⁄UÊà (4) ‚¥∑§ËøŸ - ∑§ŸÊ¸≈U∑§

36. •Á÷∑§ÕŸ (A) : ∑ΧcáÊ •ÕflÊ Á‡Êfl ∑§ Á◊Õ∑§, •Êl ‚¬¸ •ÊÒ⁄U ◊ÊÃÎŒflË ∑§ Á◊Õ∑§ mÊ⁄UÊ •Á÷¬˝Á⁄Uà ‚¥ªËÃ, ŸÎàÿÁøòÊ∑§‹Ê ÃÕÊ SÕʬàÿ ∑§‹Ê ∑§Ë √ÿʬŸ ¬Á⁄UÁœ ∑§Ë ¬„øÊŸ ∑§Ë ¡Ê ‚∑§ÃË „Ò–

Ã∑¸§ (R) : ¡Ÿ¡ÊÃËÿ ‚¥ªËà •ÊÒ⁄U ŸÎàÿ ‚Ê◊ÍÁ„∑§ ¡ËflŸ ∑§Ê ∞∑§ •Á÷㟠÷ʪ „Ò¥ ÃÕÊ ÿ„ ©Ÿ∑§ ‹ÊÒÁ∑§∑§ ∞fl¥œÊÁ◊¸∑§ ¡ËflŸ ∑§Ê ¬Á⁄U‹ÁˇÊà ∑§⁄UÃÊ „Ò–

∑ͧ≈U —

(1) (A) ‚„Ë „Ò •ÊÒ⁄U (R) ª‹Ã „Ò– (2) (A) ª‹Ã „Ò •ÊÒ⁄U (R) ‚„Ë „Ò–(3) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ª‹Ã „Ò¥– (4) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ‚„Ë „Ò¥–

37. ©ûÊ⁄U ÷Ê⁄Uà ∑§ ∑§ÊÒŸ-‚ ‹Ê∑§ ŸÎàÿ •ÊÒ⁄U ªÊÁ≈U¬È•Ê ◊¥ ‚◊ÊŸÃÊ „Ò?(1) Á∑§ãŸÊÒ⁄UË (2) üÊËπ¥«U (3) ’øŸª◊Ê (4) ŸÊ≈UË

38. ‚„Ë ∑˝§◊ ∑§Ê Áøqà ∑§ËÁ¡∞ —(a) S◊⁄UáÊ◊˜ (b) ¬ÊŒ‚flŸ◊˜(c) ‚Åÿ◊˜ (d) •ø¸Ÿ◊˜∑ͧ≈U —(1) (a), (b), (c), (d) (2) (a), (b), (d), (c)

(3) (b), (d), (a), (c) (4) (d), (a), (c), (b)

39. ‚ÍøË - I ∑§Ê ‚ÍøË - II ‚ ‚È◊Á‹Ã ∑§ËÁ¡∞ —‚ÍøË - I ‚ÍøË - II

(a) ÷Ê‚ (i) ∑§¬Í¸⁄U ◊Ü¡⁄UË(b) Áfl‡ÊÊπŒûÊ (ii) ⁄UàŸÊfl‹Ë(c) „·¸flœ¸Ÿ (iii) ◊ÈŒ˝Ê ⁄UÊˇÊ‚(d) ⁄UÊ¡‡Êπ⁄U (iv) ¬˝ÁÃ◊Ê∑ͧ≈U —

(a) (b) (c) (d)

(1) (iv) (iii) (ii) (i)

(2) (i) (ii) (iii) (iv)

(3) (iv) (ii) (iii) (i)

(4) (ii) (iii) (i) (iv)

18N-06517 !N-06517-PAPER-III! Paper-III

40. Pick the odd one out :

(1) Adhomukha (2) Alolita (3) Parivahita (4) Pralokita

41. Assertion (A) : A tribal or folk dance can have an effective transition into a classical dance.

Reason (R) : The urban contemporary cultures have rejected the folk and classicalframeworks as rigid.

Code :

(1) (A) is true and (R) is false. (2) (A) is false and (R) is true.

(3) Both (A) and (R) are true. (4) Both (A) and (R) are false.

42. Pick the odd one out :

(1) Mukhantar - Narendra Sharma (2) Ghost - Sachin Shankar

(3) Nupi Lan - Charu Sija (4) Antim Adhyay - Uttara Asha Coorlawala

43. Identify the correct chronological sequence.

(a) Govindaraja Pillai (b) Mahalingam Pillai

(c) Panchapakesha Nattuvanar (d) Kuppiah Pillai

Code :

(1) (b), (d), (c), (a) (2) (a), (c), (d), (b)

(3) (d), (b), (c), (a) (4) (c), (d), (a), (b)

44. Match the List - I with List - II :

List - I List - II

(a) Sattvika (i) Vritti

(b) Arbhati (ii) Abhinaya

(c) Samyukta (iii) Padabheda

(d) Bandhana (iv) Hasta

Code :

(a) (b) (c) (d)

(1) (ii) (i) (iv) (iii)

(2) (i) (iv) (iii) (ii)

(3) (iii) (i) (ii) (iv)

(4) (iv) (i) (iii) (ii)

19 Paper-IIIN-06517 !N-06517-PAPER-III!

40. Áfl·◊ ∑§Ê øÈÁŸÿ —(1) •œÊ◊Èπ (2) •Ê‹ÊÁ‹Ã (3) ¬Á⁄UflÊÁ„à (4) ¬˝‹ÊÁ∑§Ã

41. •Á÷∑§ÕŸ (A) : Á∑§‚Ë ¡Ÿ¡ÊÃËÿ •ÕflÊ ‹Ê∑§ ŸÎàÿ ∑§Ê Á∑§‚Ë ‡ÊÊSòÊËÿ ŸÎàÿ ◊¥ ¬˝÷ÊflË ‚¥∑˝§◊áÊ „Ê ‚∑§ÃÊ „Ò–Ã∑¸§ (R) : ‡Ê„⁄UË ‚◊∑§Ê‹ËŸ ‚¥S∑ΧÁÃÿÊ¥ Ÿ ‹Ê∑§ ÃÕÊ ‡ÊÊSòÊËÿ ‚¥⁄UøŸÊflÊ‹Ë ∑§‹Ê ⁄UøŸÊ ∑§Ê ‚Åà ∑§„∑§⁄U

•SflË∑Χà ∑§⁄U ÁŒÿÊ „Ò–∑ͧ≈U —

(1) (A) ‚„Ë „Ò •ÊÒ⁄U (R) ª‹Ã „Ò– (2) (A) ª‹Ã „Ò •ÊÒ⁄U (R) ‚„Ë „Ò–(3) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ‚„Ë „Ò¥– (4) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ª‹Ã „Ò¥–

42. Áfl·◊ ∑§Ê øÈÁŸÿ —(1) ◊ÈπÊãÃ⁄U - Ÿ⁄UãŒ˝ ‡Ê◊ʸ (2) ÉÊÊS≈U - ‚ÁøŸ ‡Ê¥∑§⁄U(3) ŸÈÁ¬ ‹Ÿ - øÊM§ Á‚¡Ê (4) •¥ÁÃ◊ •äÿÊÿ - ©ûÊ⁄UÊ •Ê‡ÊÊ ∑ȧ‹Ê¸flÊ‹Ê

43. ‚„Ë ∑§Ê‹∑˝§◊ÊŸÈ‚Ê⁄U ∑˝§◊’h ∑§ËÁ¡∞–(a) ªÊÁflãŒ⁄UÊ¡ Á¬˚›Ò (b) ◊„ÊÁ‹¥ª◊ Á¬˚›Ò(c) ¬¥ø¬Ê∑§‡Ê Ÿ^‰flŸÊ⁄U (d) ∑ȧå¬ÒƒÿÊ Á¬˚›Ò∑ͧ≈U —(1) (b), (d), (c), (a) (2) (a), (c), (d), (b)

(3) (d), (b), (c), (a) (4) (c), (d), (a), (b)

44. ‚ÍøË - I ∑§Ê ‚ÍøË - II ‚ ‚È◊Á‹Ã ∑§ËÁ¡∞ —‚ÍøË - I ‚ÍøË - II

(a) ‚ÊÁàfl∑§ (i) flÎÁûÊ(b) •Ê⁄U÷≈UË (ii) •Á÷Ÿÿ(c) ‚¥ÿÈÄà (iii) ¬ÊŒ÷Œ(d) ’¥œŸ (iv) „SÃ∑ͧ≈U —

(a) (b) (c) (d)

(1) (ii) (i) (iv) (iii)

(2) (i) (iv) (iii) (ii)

(3) (iii) (i) (ii) (iv)

(4) (iv) (i) (iii) (ii)

20N-06517 !N-06517-PAPER-III! Paper-III

45. Pick the odd one out :

(1) Kuncha (2) Kachuli (3) Khaon (4) Vanki

46. Assertion (A) : The miniature painting illustrate stories from puranas and folk tales.

Reason (R) : Only stories from the Bhagavata Purana are to be given a visual form inminiature painting.

Code :

(1) (A) is true and (R) is false. (2) (A) is false and (R) is true.

(3) Both (A) and (R) are true. (4) Both (A) and (R) are false.

47. Avinash Pasricha is a :

(1) Choreographer (2) Dancer (3) Light Designer (4) Photographer

48. Identify the correct sequence of the dance works.

(1) The Three Cornered Hat, Radha, Agon, Appalachian Spring

(2) Radha, The Three Cornered Hat, Appalachian Spring, Agon

(3) Appalachian Spring, Agon, Radha, The Three Cornered Hat

(4) Agon, Appalachian Spring, Radha, The Three Cornered Hat

49. Match List - I with List - II :

List - I List - II

(a) Arjuna (i) Ulupi

(b) Shakuni (ii) Dushasana

(c) Dronacharya (iii) Abhimanyu

(d) Dhritarastra (iv) Aswathama

Code :

(a) (b) (c) (d)

(1) (iii) (i) (iv) (ii)

(2) (iv) (ii) (iii) (i)

(3) (ii) (i) (iii) (iv)

(4) (i) (iii) (ii) (iv)

50. Pick the odd one out :

(1) Bhagawat Mela (2) Gollakalapam (3) Kuravanji (4) Ramleela

21 Paper-IIIN-06517 !N-06517-PAPER-III!

45. Áfl·◊ ∑§Ê øÈÁŸÿ —(1) ∑È¥§øÊ (2) ∑§øÈ‹Ë (3) πÊŸ (4) fl¥∑§Ë

46. •Á÷∑§ÕŸ (A) : Á◊ÁŸ∞ø⁄U ¬¥Á≈¥Uª˜‚ ¬È⁄UÊáÊÊ¥ ÃÕÊ ‹Ê∑§ ∑§ÕÊ•Ê¥ ∑§Ê ÁøÁòÊà ∑§⁄Uà „¥Ò–Ã∑¸§ (R) : ∑§fl‹ ÷ʪflà ¬È⁄UÊáÊ ∑§Ë ∑§„ÊÁŸÿÊ¥ ∑§Ê Á◊ŸË∞ø⁄U ¬¥Á≈¥Uª ◊¥ ŒÎ‡ÿ M§¬ ¬˝ŒÊŸ Á∑§ÿÊ ¡ÊÃÊ „Ò–∑ͧ≈U —

(1) (A) ‚„Ë „Ò •ÊÒ⁄U (R) ª‹Ã „Ò– (2) (A) ª‹Ã „Ò •ÊÒ⁄U (R) ‚„Ë „Ò–(3) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ‚„Ë „Ò¥– (4) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ª‹Ã „Ò¥–

47. •ÁflŸÊ‡Ê ¬ÁS⁄UøÊ „Ò¥ —(1) ŸÎàÿ ⁄UøŸÊ∑§Ê⁄U (2) ŸÃ¸∑§ (3) ¬˝∑§Ê‡Ê ⁄UøŸÊ∑§Ê⁄U (4) »§Ê≈Uʪ˝Ê»§⁄U

48. ŸÎàÿ ⁄UøŸÊ•Ê¥ ∑§ ‚„Ë ∑˝§◊ ∑§Ê ÁøÁqà ∑§ËÁ¡ÿ–(1) Œ Õ˝Ë ∑§Ê⁄UŸÊ«¸U „≈U, ⁄UÊœÊ, ∞ªŸ, •¬‹ÁøÿŸ S¬˝Ë¥ª(2) ⁄UÊœÊ, Œ Õ˝Ë ∑§Ê⁄UŸÊ«¸U „≈U, •¬‹ÁøÿŸ S¬˝Ë¥ª, ∞ªŸ(3) •¬‹ÁøÿŸ S¬˝Ë¥ª, ∞ªŸ, ⁄UÊœÊ, Œ Õ˝Ë ∑§Ê⁄UŸÊ«¸U „≈U(4) ∞ªŸ, •¬‹ÁøÿŸ S¬˝Ë¥ª, ⁄UÊœÊ, Œ Õ˝Ë ∑§Ê⁄UŸÊ«¸U „≈U

49. ‚ÍøË - I ∑§Ê ‚ÍøË - II ‚ ‚ÈÁ◊‹ÊŸ ∑§ËÁ¡∞ —‚ÍøË - I ‚ÍøË - II

(a) •¡¸ÈŸ (i) ©‹È¬Ë(b) ‡Ê∑ȧÁŸ (ii) ŒÈ‡ÊÊ‚Ÿ(c) Œ˝ÊáÊÊøÊÿ¸ (iii) •Á÷◊ãÿÈ(d) œÎÃ⁄UÊc≈˛U (iv) •EàÕÊ◊Ê∑ͧ≈U —

(a) (b) (c) (d)

(1) (iii) (i) (iv) (ii)

(2) (iv) (ii) (iii) (i)

(3) (ii) (i) (iii) (iv)

(4) (i) (iii) (ii) (iv)

50. Áfl·◊ ∑§Ê øÈÁŸÿ —(1) ÷ªflà ◊‹Ê (2) ªÊÀ‹Ê∑§‹Ê¬◊ (3) ∑ȧ⁄fl¥¡Ë (4) ⁄UÊ◊‹Ë‹Ê

22N-06517 !N-06517-PAPER-III! Paper-III

51. Assertion (A) : The four pravrittis as explained in the Natyashastra are very rigid andrestrictive and do not encompass the geographical panorama of India.

Reason (R) : The practitioners and choreographers do not consider the Pravrittis asimportant.

Code :

(1) Both (A) and (R) are false. (2) (A) is true and (R) is false.

(3) Both (A) and (R) are true. (4) (A) is false and (R) is true.

52. The Chario’t Festival matches with :

(1) Chandanyatra (2) Jhulanyatra (3) Rathayatra (4) Krishnayatra

53. Identify the correct sequence of costume worn in Manipuri Raslila from top to bottom.

(1) Kumin, Poshwan, Thabakyeth, Koktumbi

(2) Poshwan, Thabakyeth, Koktumbi, Kumin

(3) Thabakyeth, Koktumbi, Kumin, Poshwan

(4) Koktumbi, Thabakyeth, Poshwan, Kumin

54. Match List - I with List - II :

List - I List - II

(a) Tippani (i) Chattisgarh

(b) Karma (ii) Bengal

(c) Panthi (iii) Gujarat

(d) Santhali (iv) Jharkhand

Code :

(a) (b) (c) (d)

(1) (iv) (ii) (i) (iii)

(2) (iii) (iv) (i) (ii)

(3) (ii) (i) (iii) (iv)

(4) (i) (iii) (ii) (iv)

55. Pick the odd one out :

(1) Upli (2) Utplawan (3) Palta (4) Eddakka

23 Paper-IIIN-06517 !N-06517-PAPER-III!

51. •Á÷∑§ÕŸ (A) : ŸÊ≈˜Uÿ‡ÊÊSòÊ ◊¥ flÁáʸà øÊ⁄U ¬˝flÎÁûÊÿÊ° •àÿãà •Ÿêÿ ∞fl¥ ¬˝ÁÃ’¥œ∑§ „Ò¥ •ÊÒ⁄U ߟ◊¥ ÷Ê⁄Uà ∑§ ÷ÊÒªÊÁ‹∑§¬Á⁄UŒÎ‡ÿ ‡ÊÊÁ◊‹ Ÿ„Ë¥ „Ò–

Ã∑¸§ (R) : ŸÃ¸∑§ ∞fl¥ ∑§ÊÁ⁄UÿÊʪ˝Ê»§⁄U ¬˝flÎÁûÊ ∑§Ê ◊„ûfl¬Íáʸ Ÿ„Ë¥ ◊ʟÖ

∑ͧ≈U —

(1) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ª‹Ã „Ò¥– (2) (A) ‚„Ë „Ò •ÊÒ⁄U (R) ª‹Ã „Ò–

(3) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ‚„Ë „Ò¥– (4) (A) ª‹Ã „Ò •ÊÒ⁄U (R) ‚„Ë „Ò–

52. øÒÁ⁄U•≈U »§ÁS≈Ufl‹ Á∑§‚‚ ‚È◊Á‹Ã „Ò?

(1) ø㌟ÿÊòÊÊ (2) ¤ÊÍ‹ŸÿÊòÊÊ (3) ⁄UÕÿÊòÊÊ (4) ∑ΧcáÊÿÊòÊÊ

53. ◊ÁáʬÈ⁄UË ⁄UÊ‚‹Ë‹Ê ◊¥ Á‚⁄U ‚ ¬Ê°fl Ã∑§ ∑§Ë fl‡Ê÷Í·Ê ∑§ ‚„Ë ∑˝§◊ ∑§Ê ÁøÁqà ∑§ËÁ¡ÿ–

(1) ∑ȧÁ◊Ÿ, ¬Ê‡ÊflÊŸ, ÕÊflÊ∑˜§ÿÃ, ∑§Ê∑§ÃÈê’Ë

(2) ¬Ê‡ÊflÊŸ, ÕÊflÊ∑˜§ÿÃ, ∑§Ê∑§ÃÈê’Ë, ∑ȧÁ◊Ÿ

(3) ÕÊflÊ∑˜§ÿÃ, ∑§Ê∑§ÃÈê’Ë, ∑ȧÁ◊Ÿ, ¬Ê‡ÊflÊŸ

(4) ∑§Ê∑§ÃÈê’Ë, ÕÊflÊ∑˜§ÿÃ, ¬Ê‡ÊflÊŸ, ∑ȧÁ◊Ÿ

54. ‚ÍøË - I ∑§Ê ‚ÍøË - II ‚ ‚È◊Á‹Ã ∑§ËÁ¡ÿ —

‚ÍøË - I ‚ÍøË - II

(a) Á≈Uå¬áÊË (i) ¿UûÊË‚ª…∏

(b) ∑§◊ʸ (ii) ’¥ªÊ‹

(c) ¬¥ÕË (iii) ªÈ¡⁄UÊÃ

(d) ‚¥ÃÊ‹Ë (iv) ¤ÊÊ⁄Uπ¥«U

∑ͧ≈U —

(a) (b) (c) (d)

(1) (iv) (ii) (i) (iii)

(2) (iii) (iv) (i) (ii)

(3) (ii) (i) (iii) (iv)

(4) (i) (iii) (ii) (iv)

55. Áfl·◊ ∑§Ê øÈÁŸÿ —

(1) ©¬‹Ë (2) ©àå‹flŸ (3) ¬À≈UÊ (4) ß«UÄ∑§Ê

24N-06517 !N-06517-PAPER-III! Paper-III

56. Assertion (A) : Vaishnavism spread in Kumaon and left a deep impression on the folkdances of the region.

Reason (R) : The ‘Pandava Nrittya’ is most popular and well known, performed fromDussehra to Diwali at Garhwal.

Code :

(1) (A) is true and (R) is false. (2) (R) is true and (A) is false.

(3) (R) is true and (A) is also true. (4) Both (A) and (R) is false.

57. ‘Singhchham’ is famous folk form of __________.

(1) Kashmir (2) Punjab (3) Sikkim (4) Chattisgarh

58. Identify the correct sequence of the Purvaranga of the Natyashastra.

(1) Ashrita, Ashravana, Arambha, Avatarana

(2) Ashravana, Avatarana, Ashrita, Arambha

(3) Arambha, Ashrita, Avatarana, Ashravana

(4) Avatarana, Arambha, Ashravana, Ashrita

59. Match List - I with List - II :

List - I List - II

(a) parikhanda (i) Nautch

(b) chakkar (ii) Sword and Shield

(c) elatalam (iii) Kettle drum

(d) dhamsa (iv) Cymbals

Code :

(a) (b) (c) (d)

(1) (iv) (iii) (ii) (i)

(2) (iii) (ii) (i) (iv)

(3) (ii) (i) (iv) (iii)

(4) (i) (iv) (iii) (ii)

60. Pick the odd one out :

(1) Tirwat (2) Tarana (3) Tatkar (4) Tillana

25 Paper-IIIN-06517 !N-06517-PAPER-III!

56. •Á÷∑§ÕŸ (A) : flÒcáÊfl œ◊¸ ∑§Ê ∑ȧ◊Ê¥™§ ◊¥ ¬˝‚Ê⁄U „È•Ê ÃÕÊ ß‚Ÿ ß‚ ˇÊòÊ ∑§ ‹Ê∑§ ŸÎàÿ ¬⁄U ™§¬⁄UË ª„⁄UË ¿Uʬ¿UÊ«∏Ë–

Ã∑¸§ (R) : ¬Ê¥«Ufl ŸÎàÿ ‚flʸÁœ∑§ ‹Ê∑§ ŸÎàÿ ÃÕÊ ¡ÊŸÊ-◊ÊŸÊ ŸÎàÿ „Ò Á¡‚∑§Ê ¬˝Œ‡Ê¸Ÿ ª…∏flÊ‹ ◊¥ Œ‡Ê„⁄UÊ ‚ÁŒflÊ‹Ë Ã∑§ Á∑§ÿÊ ¡ÊÃÊ „Ò–

∑ͧ≈U —

(1) (A) ‚„Ë „Ò •ÊÒ⁄U (R) ª‹Ã „Ò– (2) (R) ‚„Ë „Ò •ÊÒ⁄U (A) ª‹Ã „Ò–(3) (R) •ÊÒ⁄U (A) ŒÊŸÊ¥ ‚„Ë „Ò¥– (4) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ª‹Ã „Ò¥–

57. “Á‚¥„¿UÊ◊” Á∑§‚ ⁄UÊíÿ ∑§Ê ¬˝Á‚h ‹Ê∑§ ŸÎàÿ „Ò?(1) ∑§‡◊Ë⁄U (2) ¬¥¡Ê’ (3) Á‚ÁÄ∑§◊ (4) ¿UûÊË‚ª…∏

58. ŸÊ≈K‡ÊÊSòÊ ∑§ ¬Ífl¸⁄¥Uª ∑§ ‚„Ë ∑˝§◊ ∑§Ê ÁøÁqà ∑§ËÁ¡ÿ–(1) •ÊÁüÊÃ, •ÊüÊÊfláÊ, •Ê⁄Uê÷, •flÃ⁄UáÊ(2) •ÊüÊÊfláÊ, •flÃ⁄UáÊ, •ÊÁüÊÃ, •Ê⁄Uê÷(3) •Ê⁄Uê÷, •ÊÁüÊÃ, •flÃ⁄UáÊ, •ÊüÊÊfláÊ(4) •flÃ⁄UáÊ, •Ê⁄Uê÷, •ÊüÊÊfláÊ, •ÊÁüÊÃ

59. ‚ÍøË - I ∑§Ê ‚ÍøË - II ‚ ‚È◊Á‹Ã ∑§ËÁ¡∞ —‚ÍøË - I ‚ÍøË - II

(a) ¬Á⁄Uπ¥«U (i) ŸÊÚø(b) øÄ∑§⁄U (ii) ËflÊ⁄U •ÊÒ⁄U …UÊ‹(c) ∞‹ÊË◊ (iii) ø◊¸ flÊl (∑§≈U‹ «˛U◊)(d) œ◊‚Ê (iv) ¤ÊÊ°¤Ê∑ͧ≈U —

(a) (b) (c) (d)

(1) (iv) (iii) (ii) (i)

(2) (iii) (ii) (i) (iv)

(3) (ii) (i) (iv) (iii)

(4) (i) (iv) (iii) (ii)

60. Áfl·◊ ∑§Ê øÈÁŸÿ —(1) ÁÃ⁄Ufl≈U (2) Ã⁄UÊŸÊ (3) ÃÃ∑§Ê⁄U (4) ÁÃÀ‹ŸÊ

26N-06517 !N-06517-PAPER-III! Paper-III

61. Assertion (A) : The ever-enduring cycle of creation, continuance, and dissolution stemsfrom the Dance of Shiva and survives because of it.

Reason (R) : Interpreted metaphysically, the Dance of Shiva is not a random or anoccasional affair; it is an eternal phenomenon.

Code :

(1) Both (A) and (R) are true. (2) Both (A) and (R) are false.

(3) (A) is true and (R) is false. (4) (A) is false and (R) is true.

62. Theyyam is also known as :

(1) KaliyÂttam (2) Mudiyettu (3) Tottam (4) Tiyattiattam

63. Select the correct sequence according to order : (from up to down)

(1) Nasika, Kapol, Bhro, Chibuka

(2) Bhro, Chibuka, Nasika, Kapol

(3) Kapol, Chibuka, Bhro, Nasika

(4) Kapol, Bhro, Nasika, Chibuka

64. Match List - I with List - II :

List - I List - II

(a) Nataka (i) Natyagruha

(b) Chaturasra (ii) Hasta-Karana

(c) Stambha (iii) Rupaka

(d) Vyavartita (iv) Sattvika

Code :

(a) (b) (c) (d)

(1) (i) (ii) (iii) (iv)

(2) (iii) (i) (iv) (ii)

(3) (ii) (iv) (i) (iii)

(4) (iv) (iii) (ii) (i)

65. Pick the odd one out :

(1) Sambalpuri (2) Prahlad Nataka (3) Daal Khai (4) Odissi

27 Paper-IIIN-06517 !N-06517-PAPER-III!

61. •Á÷∑§ÕŸ (A) : ‚ΡŸ, •flÁSÕÁà ÃÕÊ ‚◊ʬŸ ∑§Ê •Ÿfl⁄Uà ø∑˝§ Á‡Êfl ∑§ ŸÎàÿ ‚ ©à¬ãŸ „È•Ê „Ò¥ •ÊÒ⁄U ß‚Ë ∑§Ê⁄UáÊÿ„ •Ê¡ Ã∑§ Áfll◊ÊŸ „Ò–

Ã∑¸§ (R) : ß‚∑§Ë ÃÊÁûfl∑§ √ÿÊÅÿÊ ÿ„ „Ò Á∑§ Á‡Êfl ∑§Ê ŸÎàÿ ∞∑§ ÁŸSŒ˜Œ‡ÿ •ÕflÊ •ÁŸÿà ÉÊ≈UŸÊ Ÿ„Ë¥ „Ò,ÿ„ ∞∑§ ‡Êʇflà ÉÊ≈UŸÊ „Ò–

∑ͧ≈U —

(1) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ‚„Ë „Ò¥– (2) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ª‹Ã „Ò¥–(3) (A) ‚„Ë „Ò •ÊÒ⁄U (R) ª‹Ã „Ò– (4) (A) ª‹Ã „Ò •ÊÒ⁄U (R) ‚„Ë „Ò–

62. Ãÿ◊˜ ∑§Ê ß‚ ŸÊ◊ ‚ ÷Ë ¡ÊŸÊ ¡ÊÃÊ „Ò —(1) ∑§Á›ÿÊ^◊˜ (2) ◊ÈÁ«Uÿ^‰ (3) ÃÊ̂ ◊ (4) ÃËÿÁÕÊ^◊˜

63. ‚„Ë ∑˝§◊ ∑§Ê øÿŸ ∑§ËÁ¡∞ — (™§¬⁄U ‚ ŸËø Ã∑§)(1) ŸÊÁ‚∑§Ê, ∑§¬Ê‹, ÷˝Í, Áø’È∑˜§(2) ÷˝Í, Áø’È∑˜§, ŸÊÁ‚∑§Ê, ∑§¬Ê‹(3) ∑§¬Ê‹, Áø’È∑˜§, ÷˝Í, ŸÊÁ‚∑§Ê(4) ∑§¬Ê‹, ÷˝Í, ŸÊÁ‚∑§Ê, Áø’È∑˜§

64. ‚ÍøË - I ∑§Ê ‚ÍøË - II ‚ ‚È◊Á‹Ã ∑§ËÁ¡ÿ —‚ÍøË - I ‚ÍøË - II

(a) ŸÊ≈U∑§ (i) ŸÊ≈˜UÿªÎ„(b) øÃÈ⁄U‚˝ (ii) „Sà ∑§⁄UáÊ(c) SÃê÷ (iii) M§¬∑§(d) √ÿÊflÁøà (iv) ‚ÊÁûfl∑§∑ͧ≈U —

(a) (b) (c) (d)

(1) (i) (ii) (iii) (iv)

(2) (iii) (i) (iv) (ii)

(3) (ii) (iv) (i) (iii)

(4) (iv) (iii) (ii) (i)

65. Áfl·◊ ∑§Ê øÈÁŸ∞ —(1) ‚ê’‹¬È⁄UË (2) ¬˝„˜‹ÊŒ ŸÊ≈U∑§ (3) …UÊ‹ πÊ߸ (4) •ÊÁ«U‚Ë

28N-06517 !N-06517-PAPER-III! Paper-III

66. Assertion (A) : Each Bani of Bharata Natyam has its distinct style and beauty indigenousto it.

Reason (R) : In the structure of Bharata Natyam the individual styles of a guru add novalid growth to the development of the style.

Code :

(1) (A) is false and (R) is true. (2) (A) is true and (R) is false.

(3) Both (A) and (R) are true. (4) Both (A) and (R) are false.

67. ‘Kalashram’ is established by :

(1) Pdt. Biraju Maharaj (2) Sitara Devi

(3) Pratima Bedi (4) Rohini Bhate

68. Select the correct sequence of appearance of the following Characters :

(1) Jatayu, Marich, Shravan, Shurpanakha

(2) Shravan, Marich, Jatayu, Shurpanakha

(3) Shurpanakha, Jatayu, Marich, Shravan

(4) Shravan, Shurpanakha, Marich, Jatayu

69. Match List - I with List - II :

List - I List - II

(a) Gat bhava (i) Odissi

(b) Bandhan Nritta (ii) Mohini Attam

(c) Radha Nartan (iii) Kathak

(d) Krishna Kavyam (iv) Manipuri

Code :

(a) (b) (c) (d)

(1) (i) (ii) (iii) (iv)

(2) (iii) (i) (iv) (ii)

(3) (iv) (iii) (ii) (i)

(4) (ii) (iii) (i) (iv)

70. Pick the odd one out :

(1) Sachin Sankar (2) Daksha Seth

(3) Navtej Singh (4) Trinath Maharana

29 Paper-IIIN-06517 !N-06517-PAPER-III!

66. •Á÷∑§ÕŸ (A) : ÷⁄Uà ŸÊ≈˜Uÿ◊ ∑§Ë ¬˝àÿ∑§ ’ÊŸË ∑§Ë •¬ŸË Áfl‡Ê· ‡ÊÒ‹Ë •ÊÒ⁄U ‚ÊÒ¥Œÿ¸ „Ò ¡Ê ß‚◊¥ •ãÃÁŸ¸Á„à „Ò–Ã∑¸§ (R) : ÷⁄Uà ŸÊ≈K◊ ∑§Ë ‚¥⁄UøŸÊ ◊¥ Á∑§‚Ë ªÈL§ ∑§Ë √ÿÁÄêà ‡ÊÒÁ‹ÿÊ¥ ∑§Ê ‡ÊÒ‹Ë ∑§ ◊Êãÿ Áfl∑§Ê‚ ◊¥ ∑§Ê߸

ÿʪŒÊŸ Ÿ„Ë¥ „Ò–∑ͧ≈U —

(1) (A) ª‹Ã „Ò •ÊÒ⁄U (R) ‚„Ë „Ò– (2) (A) ‚„Ë „Ò •ÊÒ⁄U (R) ª‹Ã „Ò–(3) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ‚„Ë „Ò¥– (4) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ª‹Ã „Ò¥–

67. “∑§‹ÊüÊ◊” Á∑§Ÿ∑§ mÊ⁄UÊ SÕÊÁ¬Ã Á∑§ÿÊ ªÿÊ „Ò?(1) ¬¥Á«Uà Á’⁄U¡Í ◊„Ê⁄UÊ¡ (2) Á‚ÃÊ⁄UÊ ŒflË(3) ¬˝ÁÃ◊Ê ’ŒË (4) ⁄UÊÁ„áÊË ÷Ê≈U

68. ‚„Ë ∑˝§◊ ∑§Ê øÿŸ ∑§ËÁ¡∞ —(1) ¡≈UÊÿÈ, ◊Ê⁄UËø, üÊfláÊ, ‚ͬ¸ŸπÊ(2) üÊfláÊ, ◊Ê⁄UËø, ¡≈UÊÿÈ, ‚ͬ¸ŸπÊ(3) ‚ͬ¸ŸπÊ, ¡≈UÊÿÈ, ◊Ê⁄UËø, üÊfláÊ(4) üÊfláÊ, ‚ͬ¸ŸπÊ, ◊Ê⁄UËø, ¡≈UÊÿÈ

69. ‚ÍøË - I ∑§Ê ‚ÍøË - II ‚ ‚È◊Á‹Ã ∑§ËÁ¡∞ —‚ÍøË - I ‚ÍøË - II

(a) ªÃ ÷Êfl (i) •ÊÁ«U‚Ë(b) ’¥œŸ ŸÎà (ii) ◊ÊÁ„ŸË •^◊(c) ⁄UÊœÊ ŸÃ¸Ÿ (iii) ∑§Õ∑§(d) ∑ΧcáÊ ∑§Ê√ÿ◊ (iv) ◊ÁáʬÈ⁄UË∑ͧ≈U —

(a) (b) (c) (d)

(1) (i) (ii) (iii) (iv)

(2) (iii) (i) (iv) (ii)

(3) (iv) (iii) (ii) (i)

(4) (ii) (iii) (i) (iv)

70. Áfl·◊ ∑§Ê øÈÁŸÿ —(1) ‚ÁøŸ ‡Ê¥∑§⁄U (2) ŒˇÊ ‚∆U(3) Ÿflá Á‚¥„ (4) ÁòÊŸÊÕ ◊„Ê⁄UÊáÊÊ

30N-06517 !N-06517-PAPER-III! Paper-III

71. Assertion (A) : All types of dances and dramas, whether ancient or modern, use the conceptsof vritti and dharmi in their productions.

Reason (R) : The Natyashastra and other ancient texts are followed by all dramatistsand dancers, all over the World.

Code :

(1) (A) is true and (R) is false. (2) Both (A) and (R) are false.

(3) (A) is false and (R) is true. (4) Both (A) and (R) are true.

72. ‘Kolattam’ is an Art form of :

(1) Kerala (2) Tamil Nadu

(3) Andhra Pradesh (4) Uttar Pradesh

73. Which one of the following is in correct sequence ?

(1) Koormavatar, Varahavatar, Narsimhavatar, Matsyavatar

(2) Matsyavatar, Varahavatar, Narsimhavatar, Koormavatar

(3) Matsyavatar, Koormavatar, Varahavatar, Narsimhavatar

(4) Narsimhavatar, Koormavatar, Matsyavatar, Varahavatar

74. Match List - I with List - II :

List - I List - II

(a) Orchesographie (i) The Sun King

(b) Louis XIV (ii) La Sylphide

(c) Royal Danish Ballet (iii) Arbeau

(d) Marie Taglioni (iv) The Whims of Cupid

Code :

(a) (b) (c) (d)

(1) (iii) (i) (iv) (ii)

(2) (iii) (ii) (i) (iv)

(3) (ii) (iv) (iii) (i)

(4) (i) (iii) (iv) (ii)

75. Pick the odd one out :

(1) Dheer Lalit (2) Dheer Prashant (3) Dheerodatta (4) Dheer Kishore

- o 0 o -

31 Paper-IIIN-06517 !N-06517-PAPER-III!

71. •Á÷∑§ÕŸ (A) : ¬˝ÊøËŸ „Ê •ÕflÊ •ÊœÈÁŸ∑§, ‚÷Ë ¬˝∑§Ê⁄U ∑§ ŸÎàÿ ∞fl¥ ŸÊ≈U∑§Ê¥ ◊¥ ©Ÿ∑§Ë ¬˝SÃÈÁà ∑§ ‚◊ÿ flÎÁûÊ ÃÕÊœ◊˸ •flœÊ⁄UáÊÊ•Ê¥ ∑§Ê ©¬ÿʪ Á∑§ÿÊ ¡ÊÃÊ „Ò–

Ã∑¸§ (R) : ‚¥‚Ê⁄U ÷⁄U ◊¥ ‚÷Ë ŸÊ≈U∑§∑§Ê⁄U ÃÕÊ ŸÃ¸∑§ ŸÊ≈K‡ÊÊSòÊ ∞fl¥ •ãÿ ¬˝ÊøËŸ ª˝¥ÕÊ¥ ∑§Ê •ŸÈ‚⁄UáÊ ∑§⁄Uà „Ò¥–∑ͧ≈U —

(1) (A) ‚„Ë „Ò •ÊÒ⁄U (R) ª‹Ã „Ò– (2) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ª‹Ã „Ò¥–(3) (A) ª‹Ã „Ò •ÊÒ⁄U (R) ‚„Ë „Ò– (4) (A) •ÊÒ⁄U (R) ŒÊŸÊ¥ ‚„Ë „Ò¥–

72. ∑§Ê‹Ê^◊ Á∑§‚∑§Ê ŸÎàÿ ∑§‹Ê M§¬ „Ò?(1) ∑§⁄U‹ (2) ÃÁ◊‹ ŸÊ«ÈU(3) •Ê¥œ˝ ¬˝Œ‡Ê (4) ©ûÊ⁄U ¬˝Œ‡Ê

73. ‚„Ë ∑˝§◊ ∑§Ê øÿŸ ∑§ËÁ¡∞ —(1) ∑ȧ◊ʸflÃÊ⁄U, fl⁄UÊ„ÊflÃÊ⁄U, Ÿ⁄UÁ‚¥„ÊflÃÊ⁄U, ◊àSÿÊflÃÊ⁄U,(2) ◊àSÿÊflÃÊ⁄U, fl⁄UÊ„ÊflÃÊ⁄U, Ÿ⁄UÁ‚¥„ÊflÃÊ⁄U, ∑ȧ◊ʸflÃÊ⁄U,U(3) ◊àSÿÊflÃÊ⁄, ∑ȧ◊ʸflÃÊ⁄U, fl⁄UÊ„ÊflÃÊ⁄U, Ÿ⁄UÁ‚¥„ÊflÃÊ⁄U,(4) Ÿ⁄UÁ‚¥„ÊflÃÊ⁄U, ∑ȧ◊ʸflÃÊ⁄U, ◊àSÿÊflÃÊ⁄U, fl⁄UÊ„ÊflÃÊ⁄U,

74. ‚ÍøË - I ∑§Ê ‚ÍøË - II ‚ ‚È◊‹Ëà ∑§ËÁ¡∞ —‚ÍøË - I ‚ÍøË - II

(a) •Ê⁄Uø˂ʪ˝Ê»§Ë (i) Œ ‚Ÿ Á∑¥§ª(b) ‹Èß‚ XIV (ii) ‹Ê ‚ËÀ»§Ë«∏(c) ⁄UÊÿ‹ «UŸË‡Ê ’‹ (iii) •Ê⁄UéÿÈ(d) ◊Ê⁄UË ≈UÊÇ‹Ë•ÊŸË (iv) Œ √„Ëê‚ •ÊÚ»§ ÄÿȬ˫U∑ͧ≈U —

(a) (b) (c) (d)

(1) (iii) (i) (iv) (ii)

(2) (iii) (ii) (i) (iv)

(3) (ii) (iv) (iii) (i)

(4) (i) (iii) (iv) (ii)

75. Áfl·◊ ∑§Ê øÈÁŸÿ —(1) œË⁄U ‹Á‹Ã (2) œË⁄U ¬˝‡ÊÊãà (3) œË⁄UÊŒÊûÊ (4) œË⁄U Á∑§‡ÊÊ⁄U

- o 0 o -

32N-06517 !N-06517-PAPER-III! Paper-III

Space For Rough Work