CBSE Class 12 Sample Paper 2025 Solution for Bharatnatyam

Central Board of Secondary Education

SAMPLE PAPER
Class 12
2025

Solutions

DANCE (BHARATANATYAM) CODE-057
MARKING SCHEME
CLASS XII (2024-25)

One Theory Paper – 2 hrs Total Marks – 30

S.No. SECTION-A Marks

1. c. 1
2. b. 1
3. a. 1
4. c. 1
5. c. 1
6. a. 1
7. c. 1
8. d. 1
SECTION-B

9. The Sapta talas are Dhruva, Matya, RUpaka, Jhampa, Triputa, Ata and 2
Eka The angas of dhruva talam are Laghu dhrutam Laghu Laghu When
we put chatusra jati in the laghu we get We get 4+ 2+3+4=14 aksharas
and 56 matras The bol will be Thakadhimi taka thakadhimi thakadhimi
(OR)
Araimandi is the half sitting position typical to Bharatanatyam e.g
THattadavu Muzhumandi is the full sitting postureused inbharatantyam
e.g mandi adavu Korvai is a combination of adavus that is performed
with swaras or music. Eg Jatiswaram and thillana Karvai is the gap or
pause that is used in between a jati or korvai e.g thei dith dith thei (TK)
thei thei dith dith thei(TK) thei thei thie dith dith thei

10. Allarippu, Jatiswaram, Shabhdham, Varnam, Padam, Keertanam, 2
Ashtapadi, Shlokam THillana out of which all items other than allaripu
and jatiswaram
(OR)
The angas are the major body parts 6 Head, head, chest, sides, legs,
waist and bottom Pratyangas andre the minor body parts-6 Shoulder,
arms, stomach, thighs, knee Upangas are 12 in number and are
thesubsidiary body parts Eyebrows, eyelids, eye balls, cheeks, nose,
gumd, lower lip, teeth, tongue, chin, and face

11. The Pancha jaatis with their matras are:- 1. Tishra jaati - Ta Ki Ta 3 2
matras 2. Chatushra jaati - Ta Kadhi Mi 4 matras 3. Khanda jaati - Ta
Ka Ta Ki Ta 5 matras 4. Mishra jaati - Ta Ki Ta Ta Ka Dhi Mi 7 matras
5. Sankeerna jaati- Ta Ka Ta Ki Ta Ta Ka Dhi Mi 9 matras
(OR)
In Carnatic tala system 7 talams are used / called “Sapta talam” They
are 1. Dhruva talam - 1011 2. Mathya talam - 101 3. Rupaka talam - 01
4. Thampa talam - 1u0 5. Triputa talam - 100 6. Ata talam - 1100 7. Eka
talam - 1

12. Stylised Abhinaya can be done with the help of gestures is called 2
Lokdharmi.
(OR)
“Bha” stands for Bhava in the word “Bharatanatyam”.

13. Rukmani Devi Arundale was a reformer who was a Bharatanatyam 2
exponent. She established Kalakshetra I Chennai. She Reformed the
songs and items by taking compositions from Sanskrit Literature,
Tanjore quartet etc. She redesigned the Bharatanatyam costume and
the temple jewellery. She choreogrpaed and presented 14 dance
dramas including the Ramayana, Dasavatara . She also presented the
Kuravanji. She made Bharatantyam into a respectable art form. Tanjore
quartet were 4 brothers who lived in Tanjore . Their nameswere
Ponniah, Chinnaih Sivanandam and Vadivelu. They were great
musicians and composers. They set the padhati or system of the
Margam in the pattern of Nritta, Nritya and Abhinaya. They set the
adavu system. They gave many compositions for the Bharatanatyam
Repetoire like Jatiswarams, Kavitvams, Varnams, Keertanamd and
Thillanas.
(OR)
The instruments which are played as an accompaniment to the
Bharatanatyam dance is an indispensible part of this art. They ar e
Stringed instruments: Veena, Violin Wind Instruments: flute Percussion
instruments : Mridangam, Tavil Bronze instrument: Talam for
Nattuvangam
SECTION-C

14. Abhinaya – “abhi” (towards), and “naya” (to carry), or to carry the 6
spectator towards the meaning. - communicating to the audience. There
are four types of Abhinaya: Angika, Vachika, Aharya and Satvika Aharya
Abhinaya: - expression through costume and appearance, i -
Rangabhusa – the make-up and costumes, ornaments of the Patra, the
dancer-actor, and Nepathya, the stage props and 5 decor - The
costumes and physical decorations of the actors include use of specific

colours, hair-styles as well as dress code for particular characters.-
decoration of the stage theatre includes lights and accessories - very
prominent in kathakali : different dress and makeup for different
characters. Sattvika Abhinaya: - Pure or real expression/emotion -
Involuntary – that which cannot be fabricated - expression from within,
including feelings and emotions. -most difficult to master. -often confused
with facial expressions that belong to angika Abhinaya. -Mental
message, emotion or image communicated to the spectators through
eyes - authentic individual experiences to capture the attention of the
audience - subtle feelings experienced by the dancer (horripilation,
perspiration or tears etc). -externally projected by Angika and Vachika
abhinaya. - Psycho-Physical representation There are eight Sattvika
Abhinayas 1. Stambha means Motionless or numbness because of a
shock 2. Swedha -perspiration 3. Romancha -Horripilation 4. Ashru -
tears 5. Vepathu- Shivering/trembling 6. Pralaya - fainting 7. Vaivarnya -
change of skin complexion 8.Swarabhaga - change in the voice tone OR
“Sthaanakam chaayataalidham prenkhanapreritaani cha Pratyaalidham
swastikam cha motitam samasoochikaa Paarshwesoochiti cha dasha
mandalaaniritaaneeha” Mandala: standing posture. Sthanaka: Standing
upright with feet close together, toes pointing forward Ayata: feet spread
wide with toes pointing away from each other and heels no more than
three finger widths apart, sitting in Ardhamandalam

15. Tandava : uddhata (vigorous), the - Nrtta performed by Shiva - a pure 6
Nrtta with no element of Abhinaya, - vigorous type of dance, -
performed in various Talas to invigorating music - brisk and aggressive
movements - Veera and Bhayanaka Rasas. - Dance of the warriors
performed only by men. - Embellished with 108 karanas and 32
angharas – the composite part of the dance - pictorial depiction of the
five principle manifestation of eternal energy – Creation, Preservation,
Illusion, Destruction and Salvation. Lasya : Lalita (delicate) movements
- Taught by Shiva to Parvati - performed by Goddess Parvati -
Sukumara (Lasya) as Parvati’s dance - feminine dance style, - filled
with grace and beauty - arouses Srngara Rasa with its delicate and
graceful movements - soft in movements and shringarik in expressions
OR Traditional Bharathanatyam costume:  similar to that of a Tamil
Hindu bride  tailor-made sari that consists of a cloth specially stitched
in 5 pleats that falls in the front from the waist  Pallu (Thallaippu) in
the front makes the costume very rich and colorful.  Small children
may have a blouse with a small pleat in the front  The top portion is
called Davani.  skirt costumes are very comfortable and very easy to
wear.  There are two commonly used styles in Bharatanatyam
Costumes for women: the Skirt (Saree) Style or the Pyjama Style. 

made of silk sarees with gold zari embroidery design  pleats in these
costumes open in the arai mandi (half sitting) and muzhu mandi (full
sitting) positions Jewelry:  Jimmiki and mattal(earring with upward
extension)  Netti -chutti/netti patti (forehead single ornament or triple
line)  Chandran (moon shaped hair ornament)  Suryan (sun shaped
hair ornament))  Nath-bulakku (nose ring and pin)  Mutthu maalai
(long pearl necklace)  Adigai (choker)  Odiyanam (waist band)  2
Vanki (arm bands)  Valaiyil (bangles)  shalangai (musical anklet with
metallic bells)  Kunjalam (end ornament of braid) Traditional
Kuchipudi costume: - Dhoti or pajama style of costume with a long pleat
in the centre with a border and a back katcham and also a side small
fan - Cross pleats are used for both Bharathanatyam and Kuchipudi. -
best suited for male dancers - The katcham at the back differentiates
between Kuchipudi and Bharathanatyam costumes - A long braid -
Symbolic elements embedded in the hair similar to Bharatanatyam -
Jewellery also similar to Bharatanatyam but often stone embedded
rather than temple jewellery Traditional Kathakali costume: - most
elaborate costuming - head dresses, - face masks - vividly painted
faces - Face masks and head gear to accentuate inner nature of
characters - Garment colors have a code of silent communication -
Similar symbolism followed in costume colours worn by the various
characters - Pachcha characters usually wear a jacket in purple, blue or
yellow - Chevundu taadi (red-beards) wear a red jacket - Vella taadi
(white-beards) wear a white jacket. - scarfs which hang on either side
indicate the stature of the character by number and ornamentation -
lower half of the costume of Kathakali dancer is common to all
characters - actors proportions are enlarged by using heavily pleated
skirts with a single overlaying cloth - Beneath this awe-inspiring make-
up huge headgear and spectacular costume is a most pliable, lithe, slim
and well-trained body. - male characters wear dark full-sleeved jackets
with coloured or white bulging long skirts - female characters wear their
hair in a knot on the top of the forehead - ornamented scarf acta as a
veil - red jackets - white sari covering the lower half of the body.-
necklace, bracelets, bangles, gilt breast-plates and bunches of tiny bells
strung round the ankles. - eyes of all the characters are reddened by of
mild irritant of a flower to give prominence to the eyes - unearthly and
fantastic appearance making the characters larger than life

CBSE STUDY MATERIAL

CBSE Board

INFORMATION CLASS STUDY MATERIAL

1 Time Table 09 Sample Paper
10 Sample Paper
2 Result
11 Sample Paper
3 Syllabus 12 Sample Paper

OTHER RESOURCES
09 Question Paper
Maps of India, Maps of World
Writing Skill Formats 10 Question Paper
Periodic Table 11 Question Paper
12 Question Paper
Class 9 Notes
Class 10 Notes
NCERT Book
Class 11 Notes
Class 12 Notes NCERT Solutions

ENTRANCE EXAMS

JEE Main CLAT CUET UG
JEE Advanced NEET UG Fashion & Design