13. Dance: Expression Through Movement · Class 6 Arts
Practise 10 short and long answer questions on 13. Dance: Expression Through Movement from 13. Dance: Expression Through Movement. Try writing your own answer first, then tap the question to compare it with the model answer and read the explanation behind it.
It notes that characters may sometimes be performed by a single dancer irrespective of gender.
This observation appears at the beginning of the chapter.
It notes that men often played women characters in many traditional dance performances.
This is stated in the source.
The chapter describes the Bhakti movement as beginning around the sixth or seventh century and linking to the development of regional classical dance forms.
The chapter gives this historical context.
It explains that during the Bhakti period, dancers became part of puja rituals inside temples. This also connects the practical activity with the learning focus described in the textbook.
This detail is included in the chapter’s historical discussion.
The chapter names the Devadasis and mentions their service in temples in southern India. This also connects the practical activity with the learning focus described in the textbook.
These references appear in the chapter text.
It mentions the Maharis of Odisha in connection with temple service and dance traditions.
The source explicitly refers to the Maharis of Odisha.
It helps students understand how dance performance practices and roles were shaped in different traditions. This also connects the practical activity with the learning focus described in the textbook.
The chapter invites exploration of roles and the reasons behind clothing choices and visualisation.
A performer can use movement, expression and costume to represent a character. The chapter’s example shows that character roles were not always tied to the performer’s gender.
The answer applies the chapter’s observation about role performance.
It shows that dance has been connected with devotional movements, temple rituals and changing performance practices. This also connects the practical activity with the learning focus described in the textbook.
These links are described in the chapter.
The chapter gives examples of performers portraying characters irrespective of their own gender. These examples show that performance roles can cross such assumptions.
This follows the chapter’s opening observation.