CBSE Class 9 Syllabus 2027 Art Education

FOR CBSE CLASS 9 SYLLABUS EXAM PREPARATION

CBSE Class 9 Syllabus
2027
Question Paper
EXAM YEAR TYPE DETAILS

CBSE Class 9 Syllabus 2027 Question Paper Art Education

Notes · Sample Papers · Previous Year Papers · Mock Tests

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ART EDUCATION a
CLASS IX (2026-27)

The NCF-SE 2023 broadly classifies the Arts into Visual and Performing Arts (Music,
Theatre, and Dance & Movement). It involves innovative and imaginative ways of
expression in different forms using a variety of materials and media.
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NEP 2020 helps students to utilize various aspects and forms of art and culture as the
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basis for learning concepts across subjects. A part of the thrust on experiential
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learning, art-integrated education, embedded in classroom transactions, not only
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creates joyful learning but also helps in imbibing the Indian ethos through the

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knowledge of Indian art and culture.
Art in School Education addresses the Goals and Competencies for every student to
find diverse ways of persisting and solving problems. We not only create an artwork,
but also enjoy the experience of viewing and responding to many forms of cultural
expression. When they create artwork together and work collaboratively, they
recognize one another’s strengths and develop deeper connections with the world
around them. Such a process nurtures empathy, appreciation, cooperation, and trust,

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all of which are fundamental for developing social and human values, such as ahimsa,

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love, compassion, friendship, and peaceful co-existence. As a common language, the

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Arts bring people together and lead them to develop acceptance, understanding, and
mutual respect
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Art classes involve three important g
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the Arts, and appreciating all forms of artistic expression down the ages. This
immersive experience of producing art improves cognition, leaving a positive and long-
lasting impact on the development of aesthetic sensibilities, expression, imagination,
observation, crafting skills, creativity, and students’ overall confidence in their own
abilities.
Aims
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Through Art students should be able to connect with their culture and appreciate the
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diversity of artistic expressions. For an effective Art Education programme, schools

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must aim to achieve:
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b. Imagination and creativity: Acquiring and applying creative thinking and
artistic capacities through experimentation and sustained practice in the
Arts is at the heart of Art Education.
c. Empathy and sensitivity: Meaningful experience in the Arts has great
potential to nurture empathy and sensitivity towards the expressions of
others.

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d. Understanding of connections with other disciplines: The Arts teaches
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appreciation of beauty in nature and the observation of details and patterns.
This approach to the understanding of disciplines makes for aesthetic
experiences in themselves.
e. Sense of belonging: Through artistic engagement, students will find
connections to their own culture and traditions, as well as learn an
appreciation for India’s multicultural diversity and knowledge of
contemporary artists and art practices.
f. Development of Aesthetic Sensibilities: Students should be able to
describe the characteristics of things they find beautiful, do subjective
interpretations, assess the aesthetic qualities of artwork based on the
commonly accepted criteria in the Arts and expand their ‘tastes’ by
participating in art processes.

Approach to learning different Arts Forms for Practice and Theory
Arts Education emphasizes the process over the product. The NCF-SE 2023 mentions
three processes that are integral to the Arts:

• Thinking Processes refer to a wide range of cognitive activities in the Arts. It
includes generating ideas, understanding the elements of art, inquiring into artistic
processes, interpreting artwork, and connecting the Arts with other knowledge and
experiences.

• Making Processes relate to the execution and production of work, utilizing the
active engagement of mind and body to express ideas and emotions. This involves
using a variety of creative tools, instruments, materials and techniques.

• Appreciation Processes include exposure to and awareness of diverse art
forms and cultural practices. This process involves responding to artworks,
discussing, describing and assessing aesthetic experiences; considering their
social and historical contexts, and developing multiple perspectives along with
respect for diverse opinions.

Visual Arts
• Visual Arts learning builds upon the student’s knowledge of the elements of
art and the principles of design. Through regular practice in creating
compositions and other artworks, fundamental concepts, such as
perspective, proportion, balance, focus, rhythm and harmony guide students
in effectively expressing their ideas and expressions.
• An introduction to art history and basic theories, such as Ṣaḍāṅga described
in ancient treatises like the Citrasūtra, helps students to appreciate the
aesthetically rich and continuous heritage of the Indian art traditions.
• Exploration and experimentation with materials, tools and techniques also
create opportunities for interdisciplinary linkages.

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Music
• Music education includes singing diverse compositions across classical, folk,
tribal and contemporary genres, enabling students to experience the
richness of India’s musical traditions. Students will explore ragas, rhythm
patterns and instruments, study the historical evolution of music and its
theoretical treatises, and understand how Indian music has gained global
recognition through renowned musicians.
Theatre
• Theatre builds on the basic aspects of voice, body language and expression,
along with costume, make-up and other backstage elements learned in
earlier stages.
• In practice, students explore the basics of direction, lighting and sound, and
how these elements shape a scene’s emotion and meaning. They
experiment with abstract representation, where a single object or gesture can
symbolise a broader idea. Through theoretical study, students will learn how
theatre developed from the pre-Nāṭyaśāstra period to modern theatre, which
uses design, technology, and realistic storytelling techniques. This
integration of practice and theory enables learners to think both as artists and
storytellers - understanding how every elements, such as light, sound and
movement, can express an idea and create an experience that connects
people across time.
Dance and Movement
• Dance and movement will be learnt through the application of concepts
rooted in texts. Teachers are encouraged to ground instruction in regional
dance practices, while also introducing students to dance forms from other
regions. Various dance practices, major and other traditions will be learnt
with emphasis on stylised body movements, emotional expression and the
creative use of hand gestures. They are also introduced to analyse and
journal the historical development of dance, taking cultural and geographical
contexts into account. The interrelation between dance and other art forms
is emphasised, and students are encouraged to integrate interdisciplinary
concepts in their creative explorations.

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Themes/ Concepts and Learning
(Suggestive Instructional Hours)

History of Arts (Common Chapter for all four Arts forms) (30 hours)

Chapter Outlines/Key Concepts Learning Outcomes

• Students will be able to: Interact m
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Common History chapter bringing
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together all art forms with peers, teachers, family
• Time period covers the prehistoric
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members, and artists in their
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period to the late 11th century CE. community to know more about

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• Tangible and intangible cultural
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Arts practices CG-1, C-1.2.
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heritage
• Storytelling traditions from across
• Create artwork, i.e., inspired by the
ideas and processes from art history
India CG-1, C-1.2.
• Chronology of important milestones • Identify and discuss the evolution of
across all art forms materials, processes & techniques
• Ancient texts and literary sources used in various art forms
that have guided Indian Arts CG- 3, C- 3.2.
Traditions
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• Trace the historical development
• Geographical, socio-cultural and
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of visual arts, theatre, music and
political influences on art practices
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• Art from around the world that
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CG-4, C- 4.1.
shows parallel development and
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cross- cultural influences practices, and art traditions
• Continuity of historical art traditions mentioned in ancient Indian texts
and connections with present and treatises. CG-4, C- 4.1.
times • Discuss and correlate the
geographic, social and cultural
linkages across art forms that
share a common time period.
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CG-4, C- 4.1.
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• Explain why they find an artwork or

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performance relevant to their
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interests, experience, and present

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social context. CG-4, C- 4.2.
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Visual Arts
Chapter Outlines/Key Concepts Learning Outcomes
Visual Arts Fundamentals (4 hours / 5 periods)
1.1 Introductory discussion Prior Students will be able to:
knowledge, and learning and • Journal their interests, observations
experiences in visual arts and experiences through visuals
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experiences. and notes
1.2 Visual Journal CG-1, C-1.1.
• Journaling through drawing and • Practice basic Visual Arts
collage processes regularly (e.g., Student
• Journalling related to other art spends 10 – 15 minutes every day
forms. to create drawing from observation)
1.3 Elements of Visual Arts CG-2, C-2.1.
1.4 Principles of Visual Design
1.5 Sketching basics
Exploration of Materials and Methods (7.5 hours/ 9 periods)
2.1 Introduction to common Students will be able to:
materials, mediums and tools in • Demonstrate familiarity with the use
Visual Arts and maintenance of materials and
2.2 Proper use, maintenance, and tools used in Visual Arts
storage of materials and tools CG-3, C-3.1.
2.3 Explore sculptural and hand- • Practice colour exercises using a
crafting traditions in India. variety of materials and mediums
• Gather information & write about CG-3, C-3.1.
one Indian handcrafting tradition • Apply perspective techniques to
• Create a three-dimensional show spatial depth in their artwork
artwork using its technique, CG-3, C-3.1.
e.g., relief in clay, bamboo crafts, • Create a three-dimensional artwork
fabric toys, papier-mâché, jute or using a hand-crafting technique from
fibre crafts, etc. any part of India e.g., relief in clay,
2.4 Colour Theory Exercises bamboo crafts, fabric toys, papier-
• Colour wheel in different mâché, jute or fibre crafts, etc.
mediums CG-3, C-3.2.
• Colour tints, shades and tones
• Complementary and Analogous
colours
2.5 Perspective
• Linear perspective
• Aerial perspective
• Create an artwork using linear
and aeria perspective
Creative Composition (5 hours/ 6 periods)

3.1 Introduction to Composition Students will be able to:
• Realistic and Abstract • Create multiple iterations in process
representations of developing their ideas and making
• Compositional Layout artworks
• Importance of iterations CG-3, C-3.1.
3.2 Create a 2D Composition (two • Compare multiple iterations of one’s

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options) artwork to explain how the
• Create a four-part graphic story or arrangement of visual elements
comic strip (in colour) conveys different meanings and
• Thematic painting or collage emotions
(choice of genres and themes can CG-2, C-2.2.
vary, such as still life, portrait,
landscape, people in indoor or
outdoor settings, imaginary
composition)
Visual Arts Branches (1.6 hours/ 2 periods)
4.1 Brief introduction to the different Students will be able to:
branches of Visual Arts: • Expresses their interests in various
• Painting Visual Arts branches and makes
• Sculpture inquiries about visual artists
• Printmaking CG-1, C-1.1.
• Applied Art and Design
disciplines Heritage crafts

Music

Chapter Outlines/Key Concepts Learning Outcomes
Music, Me and Us (5.8 hours/7 periods)

1.1 Active Listening (10 minutes in Students will be able to:
every class across both grades) • Describe a musical composition
• Listen to a selection of music using general vocabulary of Music
across various vidhaas or genres CG-3, C-3.2.
• Discuss the key identifying • Describe how music is an integral
features of the vidhaa or genre. part of personal and collective
1.2 Music and personal expression expression. CG-1, C-1.1; CG-2, C-
Activity: Create a personal playlist 2.1.
of songs that are in your memory • Describe the emotions expressed or
and connect them to the mood evoked through music. CG-2, C-2.1.
and concept of navarasa. • Describe the thematic content and
1.3 Exploration of themes in folk emotions expressed in folk music.
music Create and sing a piece of music that
• Examine the lyrics of folk songs to expresses a family history, tradition,
learn more about a region. or practice. CG-2, C-2.1.
• Examine the various themes
described in folk music. Activity:
Create a piece of music or lyric
that expresses a family history,
tradition, or practice.
• Journal the process of writing the

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lyrics and setting them to music. a
Activity: Maintain a journal or log
that records ideas, observations
from listening and creation
activities.
The Science of Music (5 hours/6 periods)
2.1 Connections between Physics Students will be able to:
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and Music Revisit how concepts • Describe and demonstrate how
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of physics are fundamental to sound is produced and manipulated.

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music. Reference to ancient CG-1, C-1.1; CG-2, C-2.1.
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• Describe the role of the three main
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Activity: Experiment with varying subsystems involved in voice
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the length of a string to production. CG-1, C-1.1; CG-2, C-2.1.
manipulate frequency. • Recognize ways to care for one’s
2.2 Connections between Biology voice and demonstrate vocal warm-
and Music ups. CG-1, C-1.1; CG-2, C-2.1.
• Introduce the anatomy and • Study how rhythmic patterns are
physiology of the human vocal created from various syllables. CG-1,
system. C-1.1; CG-2, C-2.1.
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• Activity: Breathing exercises and • Demonstrate the concept of LCM in
vocal warm-ups.
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tala. CG-2, C-2.1; CG-3, C-3.1.
2.3 Connections between Music and
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• Introduce how concepts of
pattern-making and Lowest
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Common Multiple (LCM) are
applied in Music.
Activity: Recite konnakol patterns
demonstrating LCM.
Ragas and Talas (9 hours/ 10.8 periods)
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3.1 Revisiting Basic Elements and Students will be able to:
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• Identify and demonstrate the 12 note
Swarasthanas of Indian Classical
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positions. CG-1, C-1.1; CG-3, C-3.1.
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• Describe the concepts of raga

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and sampoorna)
classification system with examples.
CG-3, C-3.1.
• Basic definition of thaat and • Sings the notes of one raga each
melakarta systems from Hindustani and Carnatic Music.
Activity: Identify the number of Sings at least two compositions in a
notes in a raga. raga of Carnatic and/or Hindustani
3.3 Hindustani raag — alhaiya bilaval, Music. CG-3, C-3.1
carnatic raga, and • Explain and demonstrate two talas
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shankarabharanam. each of Hindustani and Carnatic
3.4 Two compositions each in Music. CG-3, C-3.1.
Hindustani and Carnatic Music • Compare a composition before and
3.5 Hindustani taal — teentaal, after setting it to taal. CG-2, C-2.1, C-
jhaptaal 2.2; CG-3, C-3.1, C-3.2
Carnatic taals — aadi, rupaka
Activity: Write a piece of music as
per the taal cycle.
Reflect on the process of writing a
lyric and setting it to a taal.
Collaborations and Impact of Indian Music on other types of Music around
the World (5 hours/ 6 periods)
4.1 Music and migration Students will be able to:
• Introduction to how migration • Discuss how migration has
influences music influenced world and Indian music.
• Examples of music styles that CG-4, C-4.1.
have resulted from migration • Describe the various ways in which
(e.g., Chutney, UK Bhangra, etc.) musical instruments can be
Activity: Building a memory box of categorized CG-2, C-2.1.
songs as an archive of family or • Identify and group musical
community memory. instruments into similar families. CG-
4.2 Families of musical instrument 2, C-2.1.
with similar features across the
world
• Lute family and Flute family
Activity: Examine the similarities
and differences between related
instruments in terms of their
structure and sound.

Theatre

Chapter Outlines/Key Concepts Learning Outcomes
Create your theatre company, Vision logo team, Research in theatre
(5 hours/ 6 periods)
1.1 Creating a theatre company: Students will be able to:
• Team building and collaboration • Discuss the ideas and processes that
• Vision of the Theatre Team: interest them in Dramatic Arts. CG-1,
Creative thinking behind the C-1.1.
name and logo, and defining • Explore the potential of theatre for a
purpose and goals social purpose. Demonstrates
1.2 Research in Theatre empathy and sensitivity in interacting
with people. CG-1, C-1.2
• Individual or Group Research
• Interact with peers, teachers, family
Activity: Students choose a topic

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that interests them in the members and artists in their
Dramatic Arts. They engage with community to know more about the
concepts and tools related to scope of the Dramatic Arts, e.g.,
researching Dramatic Arts in enquire about access and locations
society. of auditoriums, performers, types of
• Conduct interviews with theatre plays, theatre groups, festivals, etc.
personnel. CG- 1, C-1.2
• Conduct surveys and field Visits
• Visits art galleries and watch
different performances (such as
melas, activity or cultural centres,
auditoriums, museums, etc.
• Studies selected literature and
apply it to the research topic.
Lighting and sound, Basic concepts of design, Lights and sound equipment,
Background music and sound effects (3.20 hours/ 4 periods)
2.1 Introduction to importance of light Students will be able to:
and sound in theatre • Identify differences in approaches
• Lighting equipment, such as Par- and techniques of scene work at each
can, profile, fresnal lens, patch step of the process, e.g., explain how
panel, dimmer, etc. Sound the arrangement of various elements
equipment like microphones, convey different meanings and
amplifiers and speakers emotions. CG-2, C-2.1.
• Their functional roles in • Experiment with themes and ways of
performance environments. presentation during large
Basic concepts of design: collaborative projects targeted
Explore how lighting and sound towards creating drama. CG-2, C-2.2
(stage lighting, background music • Understand and applies concepts of
and sound effects) influence light, lenses, electricity and sound in
mood, meaning, and emotional theatre. Able to blend the science
tone within a scene. concepts to enhance the creative output
on stage. CG-3, C-3.1
Direction and Acting, Basic techniques and responsibilities of a director,
Schools of acting, Facilitating workshops (6 hours/ 7 periods)
3.1 Introduction to styles, techniques, Students will be able to:
and values related to direction: • Experiment with themes and projects
• Visualising a scene and its targeted towards large collaborative
techniques projects targeted towards creating
• Styles and approaches to drama. CG-2, C-2.1
direction • Experiment with rehearsal
• Schools of acting in Indian and techniques and run-throughs. CG-2,
Western traditions C-2.1
• Facilitating workshops • Explore one’s own abilities in

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• Leadership, collaboration, and a as an individual and in
performance
taking responsibility in the groups. CG-2, C-2.2
production process • Demonstrate familiarity with the
proper use and maintenance of
costumes, props, stage equipment
used for drama CG-3, C-3.1
• Experiment with theatre games, skill
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building activities and rehearsal
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techniques CG-3, C-3.1
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Stage aesthetics Colours and Symbolism in theatre (2.30 hours/ 3 periods)
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4.1 Symbolism: Exploring various Students will be able to:
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icons,
through scene-building activities.
abstract representation
on stage. Builds simple metaphors
4.2 Colours and meaning building: and symbol for story concepts. CG-4,
Activities include colour theories C-4.1
in Natyashastra, the impact of • Consider multiple viewpoints and
colours on stage (sets, props, interpretations while responding to
and costumes and their effects) diverse forms of Indian dramatic arts
4.3 Art appreciation: Read different
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and cultures presents non-

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literatures beyond drama, poetry judgemental and contextual views
and short stories. Observe
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various types of drama from
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classical, folk, modern to build
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and techniques of scene work at each
4.4 Connect with other art forms: Visit step of process e.g., explains how the
art galleries, museums, arrangement of various elements
auditoriums to watch different convey different meanings and
performances, interview artists emotions. CG-2, C-2.1
from different disciplines, group
discussion, etc., to enhance
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perspective and approach
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towards art.

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Dance and Movement

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Components of Dance (4 hours/ 5 periods)
1.1 Body Geometry: Concepts of Students will be able to:
saushthava, rekha and roopa • Describe and demonstrate body
1.2 Revisiting rhythms and tempos alignment (saushtava) while
1.3 Introduction to the four abhinayas performing dance movements. CG-3,
1.4 Dance in Cinema Activity: Watch C-3.1
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a dance sequence from a film • Apply basic elements, such as
and write an entry it footwork, hand gestures, rhythm,
1.5 Dance Project Activity: Watch a tempo and mood in dance
dance performance, and write an sequences. CG-2, C-2.1
entry analyzing your • Describe the classifications of dance
observations of the performance (nṛtta and nṛtya), as well as four
abhinayas and their application. CG-
3, C-3.1
• Identify the dance form and correlates
(nṛtta and nṛtya), abhinayas, rasa,
and rhythm in the performances. CG-
4, C-4.2
• Examines the four abhinayas through
the work of important personalities
across diverse art forms. CG-4, C-4.1
Dance as Visual Storytelling (4 hours/ 5 periods)

2.1 Abhinaya in various dance Students will be able to:
traditions • Discuss and compare the different
2.2 Performing abhinaya Activity: types of abhinaya, and incorporate
Create performative situations or these into the creative practice. CG-3,
phrases applying the different C-3.2
abhinayas. • Perform movement sequences with
different kinds of music and narration,
and compare the experiences. CG-2,
C-2.2
Cultural Connections through Dance (7.30 hours/ 9 periods)
3.1 Indian dance cultures Activity: Students will be able to:
Learn and perform the local and • Interact with art professionals and find
regional dance forms. what interests them in Dance. CG-1,
3.2 Career journeys of artists Activity: C-1.2
Carry out a podcast and interview • Create a dance sequence inspired by
a performer, or visit a related the elements of diverse Indian and
institution. global dance forms. CG-3, C-3.1, C-
3.3 Comparative analysis project on 3.2
dance stories in India and
Southeast Asia Create and
perform a short dance
performance combining element
of the Southeast Asian dance
forms, and discuss its similarities
and differences

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Dance: A Journey from Concept to Creation (5 hours/ 6 periods)

4.1 Choreography — rhythm and Students will be able to:
tempo, distance and space • Contribute ideas and reflect the
• Create and perform a short collaborative process of dance
choreography incorporating choreographies. CG-2, C-2.2
concepts of space, direction, • Creatively use space and directions in
rhythm, and abhinaya. solo and group choreographies. CG-
4.2 Discuss the physical, mental and 3, C-3.1
emotional well- being through
movement

Pedagogy or Instructional Methods
Arts Education not only develops skills and craft of making and performance,
but develops broader arts appreciation and creative thinking capacities. Thus,
art classes foster peer learning, encourage students to express themselves
freely, exchange ideas, explore techniques in their work, and develop an
appreciation of the diversity of art and aesthetics in India and the world.

Experiential Learning
The NCF-SE 2023 emphasises that art must be learnt through performing or making
of artwork or performances. Rather than relying merely on explanation,
theoretical concepts are learnt through activities, and students must be
encouraged to apply them in their artistic expression. Students may be asked to
demonstrate their creations and discuss their learning and reflections in groups.
Encouraged to reflect on their experiences through regular journaling.

Collaboration
Learning is encouraged through group activities and discussions with peers.
Classroom discussions of concepts, artworks and performances, and student
work allow them to gain exposure to a variety of perspectives and aesthetics,
and to learn to appreciate and accommodate diverse perspectives.

Interdisciplinarity
Activities have been designed by keeping in mind the meaningful connections
of techniques, skills, materials across art forms and other disciplines. These
activities promote learners’ understanding of the linkages between the visual
and performing arts, as well as other disciplines, such as Languages, Social
Sciences, Sciences and Physical Education.

Emphasis on Local Culture and Resources
Teachers are encouraged to make use of local resources and local cultures in
their teaching. Activities may be modified based on available resources, space

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and infrastructure. While it is expected that studentsa gain exposure to art and
culture from across India and the world, it is essential that they are first made
familiar with the art and traditions of their region. Workshops with local artists
may provide exposure to new experiences and professions within the arts.

Effective Use of Teaching Learning Materials
Teachers are encouraged to show students relevant artworks and digital
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material, such as videos, photographs and audio recordings, and conduct
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classroom discussions and allow time for reflection. Visits to museums, heritage
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sites, performances, melas, etc., help students learn through exposure to art
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accessible in their regions.
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Inclusivity
Teachers must encourage the participation of and collaboration among all
students, regardless of gender, ability, or social background. Students with
disabilities must be given equal opportunities and access to participate in all
art activities and discussions. Teachers could modify activities to make them
inclusive for all students in a class and should focus on what students with
disabilities can do independently or with some guidance to empower them.

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Visual Arts
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Discussions
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• Large group discussions while introducing new concepts
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• Small group discussions for brainstorming and project work
• Individual conversations while making an artwork
• Practical activities
• Exercises for core skills
• Regular sketching and journaling
• Theme-based projects that focus on making, completing and presenting artwork
• Beyond the textbook: Alternatives and adaptations of textbook activities that can
achieve competencies
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• Exposure visits or workshops
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a The five aspects in Music training incorporates:
• Listening: Introduces the learner to the different forms of music, styles of rendition,
and skills of musicians. Provides exposure to live Music programmes or concerts
through multiple media platforms.
• Responding: Imbibing different styles of singing, understanding the emotional content,
copying, and also creating simultaneously is an essential tenet.
• Creating: Tunes, lyrics and rendering in varied styles by combining vocal and
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instrumental Music is an important aspect. This collaboration has created many styles
of compositions.
• Presentation Skills: The setting of a stage, rapport with the audience, technical
settings and adjustments are essential.
• Understanding the linkages of music to dance, drama, language, and also the tangible
objects like heritage monuments, drawings and paintings.
Theatre
Group Activities
• Teamwork and leadership skills in planning
• Creative outputs and goals to be presented
Individual work
• Exercises for core skills
• Self-analysis and focus on individual interests
• Presentations of project works and opinions
• Exploratory activities of individual possibilities
Class Activities
• Visits to performances, meeting the cast and crew backstage
• Workshops with experienced technicians and artists
• In-class work and spontaneous project presentations
• Out of class work — meeting people, interviews, surveys
Dance and Movement
Threefold Aspect of Dance Education:
1. Seekhya (Learning or Training Methods)
• Textbook instructions are to be followed by the teacher, and theory will be taught from
the textbook. Thus, the written material could be taught by any art teacher.
• Lessons modules to be provided with videos on DTLM.
• The basic pedagogy will focus on imparting the basics movements aided by concepts
from dance treatises.
• Students may be encouraged to apply concepts with their imagination and creativity.
For example, hand gestures can be explored with the learner building their vocabulary
and language using the concept of hand gestures as a tool of communication.
• Attending workshops and lecture demonstrations will also be a component of the
pedagogy.
2. Dekhya (Watching, Observing)
• The students will be encouraged to attend performances by maestros, and established
exponents of Indian and global dance forms.
• Observe ritual and community dances that are part of the local culture of the region.
3. Parkhya (Contemplation, Discussion, Writing)
• Students are encouraged to research, journal and foster writing on dance.
Self-review of their dance and movement, and speaking on their personal experiences
through dance will be a part of the pedagogy.

For more Question Papers, Sample Papers, Notes & Syllabus visit Page 14 of 17

Art Education
Class IX (2026-27)
Theory
Time allowed: 2:00 hours Maximum Marks: 40
S. No. Themes/ Concepts Marks
A. History of Arts 20 Marks
B. 1. Visual Arts 4 Marks
2. Music 4 Marks
3. Theatre 4 Marks
4. Dance 4 Marks
C. Analytical note on an unseen image from the 4 Marks
viewpoint of all art forms.(Integrated)

Practical
Visual Arts
Time allowed: 3 hours Maximum Marks: 60
A. External Assessment 40 Marks
1. Composition layout 10 Marks
2. Handling of colour 10 Marks
3. Colour value/ hatching- cross hatching 5 Marks
4. Overall 5 Marks
5. Viva 10 Marks

B. Internal Assessment 20 Marks
• School event (Participation of student 5 Marks
throughout the academic session)
• Project report 5 Marks
• Formative assessment (Average of Two
best throughout the academic session) 10 Marks

Music

Time allowed: 10 minutes per student Maximum Marks: 60
A. External Assessment 40 Marks
1. Presentation of the choice Raga of the 10 Marks
candidate.
2. Presentation of a composition in a classical/ 5 Marks
tribal/ folk/ contemporary gene etc.
3. Tala on presentation on hand demonstrating 5 Marks
beats and matras and their relation with
mathematical calculations.

For more Question Papers, Sample Papers, Notes & Syllabus visit Page 15 of 17

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4. Overall performance a 10 Marks
5. Viva choice 10 Marks
(Related to the knowledge of Rags, Talas,
Forms or genre/ instruments in terms of sound
and their structure.

B. Internal Assessment 20 Marks
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• School event (Participation of student 5 Marks
m
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throughout the academic session)

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• Project report 5 Marks
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• Formative assessment (Average of Two
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best throughout the academic session) 10 Marks
a
Theatre

Time allowed: 10 minutes per student Maximum Marks: 60
A. External Assessment 40 Marks
1. Technique (voice, body language, expression) 10 Marks

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2. Concept/ idea/ story 5 Marks

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3. Confidence and creativity 5 Marks

s e
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4. Application of concept learnt from the book 10 Marks
5. Viva
ag 10 Marks

B. Internal Assessment 20 Marks
• School event (Participation of student 5 Marks
throughout the academic session)
• Project report 5 Marks
•
m
Formative assessment (Average of Two

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10 Marks
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best throughout the academic session)

m .co Dance
s em
s e g la
g la a Maximum Marks: 60
a Time allowed: 10 minutes per student
A. External Assessment 40 Marks
1. Presentation of Abhinaya 10 Marks
2. Application of basic dance elements 5 Marks
(Hand Movements, Body Movement, Foot
Movement.)
Based on the classical beats

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3. Performance of different rhythm and tempos. 5 Marks

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ag For more Question Papers, Sample Papers, Notes & Syllabus visit Page 16 of 17

4. Presentation of any classical/ tribal/ folk/ 10 Marks
contemporary gene etc.
5. Viva 10 Marks
(Related to the knowledge of hand movement,
Pad Sanchalan, Abhinaya in different types of
dance)

B. Internal Assessment 20 Marks
• School event (Participation of student 5 Marks
throughout the academic session)
• Project report 5 Marks
• Formative assessment (Average of Two
best throughout the academic session) 10 Marks

Note: The Theory paper will carry 40 marks and the Practical paper will carry 60
marks. The Practical marks will be calculated as the average of all four sections, i.e.,
Visual Arts, Music, Theatre, and Dance.

For more Question Papers, Sample Papers, Notes & Syllabus visit Page 17 of 17