CBSE Class 12 Sample Paper 2025 Solution for Odissi

Central Board of Secondary Education

SAMPLE PAPER
Class 12
2025

Solutions

DANCE (ODISSI)
CODE-059
MARKING SCHEME
CLASS XII (2024-25)

One Theory Paper – 2 hrs Total Marks – 30

S.No. SECTION-A Marks
1. 3. 1
2. 2. 1
3. 1. 1
4. 4. 1
5. 2. 1
6. 3. 1
7. 1. 1
8. 3. 1
SECTION-B

9. Natyadharmi is a way of presenting movements by using stylized 2
gestures, techniques, and symbolism. It is a stylized way of presentation
mainly in Indian classical dance and drama.

Kela keluni, Ghuda Nacha, Paika Nacha, Patua Nacha, Patra Saura
Nacha, Daskathiya, Rangabati, Danda Nacha (any Four)

10. A Taal is a combination of specific beats which measures the musical 2
time of a composition by clapping or playing with musical instruments.

The dance which is performed by Goddess Parvati is known as Lasya .
In lasya dance, the movements are gentle, lyrical, soft, and graceful.

11. The musical instruments played in Chhau dance are Nagada, Turi, 2
Mahuri, Chadchadi, Venu, Dhol.

Nritya means expressive dance, which includes facial expressions. The
body movements of the dance are use as a language to portray the
moods, ideas and stories.

12. The peculiar mental, emotional, and physical condition of enjoyment is 2
known as Rasa. Sentiments and moods give rise to aesthetic feeling to
the person.

Anyone Taal e.g.
Roopak Taal (6 matra, vibhag 2, chhand 2+4 )

1 2
Dhei Kadatak I
3 4 5 6
Dhei kadatak Tin Da I

13. Abhinaya Chandrika Text was written by Maheshwar Mahapatra in 2
Sanskrit language in 17th century. It is one of the earliest text which
describes treatise of Odissi dance.

Devadasi, Mahari, Nartaki were the ancient temple dancers and the
Gotipua were the medieval boy dancers of Odisha.

SECTION-C

14. Odissi Aharya is unique among other classical dances of India. Odisha 6
woven sarees are worn in dhoti style or it is worn as stitched costumes.
Silver or white metal ornaments are worn in different parts of the body.
Balaya and tayita are worn in hand. Mudi is worn on fingers. Bengapatiya
is tied on the waist. Hara and mala is worn around the neck. Kaapa or
Kundal is worn on the ears. Mathamani or ketakibharana is worn on the
forehead. The hair is parted on the middle into two sides to make a
hairbun, and it is adorn with Pushpachuda . Tahiya or Tiara is worn on
the top of the head. Matha Kanta is worn on the back side of the hair

bun. Feet and fingers are decorated with Alata. Nupur and Ghunguru are
worn on both legs.

15. Guru kelucharan Mahapatra was born on 8th January in the year 1926 in 6
Raghurajpur village at Puri. He belongs to the family of painters. As a
young boy, he was fascinated by many of the folk performances of his
region such as the local ‘raas-leela’, ‘Jatra’ parties, and ’Gotipua’
traditions. He played the Mridangam, Pakhwaj and Tabla which
contributed to his understanding of musical composition in the years to
come. He also was skilled in the art of ‘Pattachitra’ a traditional style of
painting on palm leaves. His early performance life began with him
performing Gotipua. Later in his life he used his knowledge of Gotipua
and Mahari dance to restructure his style of Odissi. He was one of the
founding members of Jayantika. His style was heavily influenced by his
training as a percussionist and hence his dance reflects this in the form
of intricate footwork. He received a number of awards for his contribution
to Odissi Dance – Sangeet Natak Academy Award, Padma Shri Award,
Padma Bhushan, Padma Vibhushan etc.
Some of his popular choreographies are Pallavis such as Shankara
Varnam, Mohana, Bihari, and Arabhi and Champus, Ardhanariswar etc.
Guru Kelucharan Mohapatra passed away on 7th of April, 2004 in
Bhubaneswar.

 Angika Abhinaya denotes the movement of Anga or body like
head, hand, waist, face etc. There are three types of Angika
Abhinaya, they are:-S hariraj, Mukhaj, and Chestakrit.
 In Vachhika Abhinaya the expression is carried out through sound
like music, dialogues, speech, Ukuta, bols, lyrics, etc.
 Aharaya Abhinaya is related with costumes, makeup, ornaments,
etc. The decoration of the body is through the character been
played in drama or in dance.
 Sattvika Abhinaya is related with sattvika bhav or inner emotions
of the body. Sattvika is the mental message, emotion, or image
communicated with the audience through the performer’s own
inner emotions.

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