Class 9 · ArtsNCERT 2026 Revised Syllabus
Chapter 10: Components of Dance (0907AR10)
Madhurima
Covers the core components of dance — alignment, rhythm and tempo, nritta and nritya, the abhinayas, and journaling performances.
Chapter code: 0907ar10 · Book: Madhurima · Class 9 Arts
Find complete NCERT solutions for Class 9 Arts, Madhurima Chapter 10. Every question has a clear, step-by-step answer for chapter code 0907AR10.
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Activity 10.1 -- Explore Geometry Through Your Body(1 questions)
1
While holding the Sauṣhṭhava pose with hands on the waist and feet joined, observe: are you leaning slightly forward or backward?
Ans.
In the correct Sauṣhṭhava pose, body weight rests evenly on both feet with no forward or backward lean. The ears, shoulders, and waist stay aligned along one vertical central meridian line, keeping the torso upright, balanced, and relaxed.
Revisiting Rhythm (Tāla) and Tempo (Laya) -- Let us explore(1 questions)
1
Create a dance movement in your regional dance style using the concepts of tāla and laya.
Ans.
Sample: A movement set to a 7-beat cycle in medium laya -- beginning with a still sthāna (stance), moving into flowing Chārī footwork, and ending with a swift Bhramarī (spin), with the tempo gradually rising towards the finish.
Activity 10.3 -- Combine and Connect to Create a Flow in Dance(1 questions)
1
Try creating a dance movement that flows like a river -- ebbing, flowing, and overflowing with ripples and whirlpools.
Ans.
Sample: Begin with slow, gentle arm-waves to depict ebbing, build into continuous flowing Chārī steps across the floor, and close with a quick Bhramarī spin and a curved Rekhā pose to depict the river's whirlpool and overflow.
Vāchika Abhinaya -- Let us explore(1 questions)
1
Try out the stance shown in Fig. 10.11 (the Boat Man in Seraikela Chhau). What expression do you think the dancer must have carried behind the mask?
Ans.
The stance depicts a boatman rowing with visible effort. Behind the fixed mask, the dancer likely held an expression of concentration, physical strain, and quiet determination, since Chhau conveys emotion entirely through body posture rather than the face.
Āhārya Abhinaya -- Let us explore(1 questions)
1
Recreate a tiger dance (inspired by Pulikali) with your own interpretation.
Ans.
Sample: Use crouched, prowling steps with claw-like hand gestures, striped body paint, and sudden pouncing jumps to depict a tiger stalking and attacking its prey, capturing Pulikali's ferocious movement quality.
Activity 10.4 -- Journalling a Live Dance Performance(1 questions)
1
Journal Entry (model answer covering all the prompts asked)
Ans.
• Dance form/music watched: A live Bharatanatyam recital accompanied by Carnatic vocal and mridangam music.
• Song, rhythm, and tempo: The Adi Tala composition was thoroughly enjoyable, moving from a slow, meditative opening to a fast, energetic closing jati.
• Āngika elements used: Precise adavus (footwork), sculpturesque aramandi postures, and expressive hastas such as pataka and alapadma.
• Most enjoyable part and emotion: The abhinaya segment depicting Yashoda's love for Krishna was most moving, evoking vatsalya (parental) rasa through the dancer's eyes and hand gestures.
• Costume, props, and region: The traditional pleated silk costume, temple jewellery, and ankle bells (ghungroos) reflected Tamil Nadu's textile and temple-dance heritage.
Dance in Cinema -- Discussion Circle(1 questions)
1
Do you have any favourite dance forms from films with Indian dance at its roots?
Ans.
Sample: The Kathak sequence in Devdas is a favourite. Its intricate tatkar (footwork) and graceful chakkars (spins) showcase the classical form's elegance while heightening the film's emotional storytelling.
Activity 10.5 -- Journal Entry of Cinematic Dance(1 questions)
1
Pick a dance sequence from a film and correlate the performance to an Indian dance form.
Ans.
Sample: The Ghoomar sequence in Padmavat correlates to Rajasthan's folk Ghoomar. The flared ghagras twirling in a circular group formation match the original folk dance's celebration of womanhood performed during festivals and weddings.
Exercises(5 questions)
1
Which of these are not essential for proper body alignment -- (i) Sauṣhṭhava (ii) Vāchika (iii) Rūpa (iv) Rekhā?
Ans.
Vāchika is not essential for body alignment. Sauṣhṭhava (poised posture), Rūpa (expressive disposition), and Rekhā (clear body lines) directly shape alignment, while Vāchika concerns verbal, not physical, expression.
2
Explain any one of these: (i) Nṛitta and Nṛitya. (ii) Rhythm (tāla) and Tempo (laya). (iii) Sauṣhṭhava.
Ans.
• (i) Nṛtta and Nṛtya: Nṛtta is pure, non-narrative dance expressing only joy through rhythmic movement, with no story. Nṛtya blends nṛtta with abhinaya (expressive communication) to narrate a story or meaning, making the dance both beautiful and meaningful.
• (ii) Rhythm (Tāla) and Tempo (Laya): Tāla is the rhythmic cycle of beats (commonly 3, 4, 5, 7, or 9) that structures a dance. Laya is the speed of these beats -- slow, medium, or fast. Together, tāla and laya shape a dance's movement quality.
• (iii) Sauṣhṭhava: Sauṣhṭhava is the poised, balanced stance of a dancer, achieved by standing upright with weight evenly distributed, torso lifted, and ears, shoulders, and waist aligned -- the foundation for all technique and injury-free movement.
3
Identify the abhinaya represented in Figures 10.29–10.32 and fill in the blanks.
Ans.
• Fig. 10.29 -- Purulia Chhau costume — Āhārya Abhinaya (elaborate mask and costume create the character)
• Fig. 10.30 -- Yakṣhagāna — Vāchika Abhinaya (the Bhāgavata's live sung narration drives the enactment)
• Fig. 10.31 -- Expression in Mohiniyattam — Sāttvika Abhinaya (inner emotion projected through the face and eyes)
• Fig. 10.32 -- Krishna in Sattriya dance — Āngika Abhinaya (the story of Krishna enacted through body movement and gesture)
4
Fill in the blanks with the name of a legend in the dance forms: (i) Kathak — (ii) Sattriya — (iii) Purulia Chhau — (iv) Pulikaḻi — (v) Kathakali — (vi) Mohiniyattam — (vii) Bharatanatyam — (viii) Odissi — (ix) Manipuri —
Ans.
• Kathak — Pandit Birju Maharaj (Padma Vibhushan)
• Sattriya — Jatin Goswami (Padma Bhushan)
• Purulia Chhau — Gambhir Singh Mura (Padma Shri)
• Pulikali — Chathunni Asan
• Kathakali — Kalamandalam Gopi (Padma Bhushan)
• Mohiniyattam — Kanak Rele (Padma Bhushan)
• Bharatanatyam — Saroja Vaidyanathan (Padma Bhushan)
• Odissi — Kelucharan Mohapatra (Padma Vibhushan)
• Manipuri — Bipin Singh
5
Journal: Present your observations based on the following: (i) The performance watched. (ii) The cinema dance sequence. (a) Explore your understanding of all the dance elements you have learnt in this chapter in the above two dances. (b) Reflect on your choice of cinema dance sequence. (c) Analyse it based on all elements learnt in this chapter — body movements, language, costume, emotional context, rhythm, and tempo.
Ans.
• (i) Live performance -- Bharatanatyam recital: Body movements (Āngika) were precise adavus and sculptural poses; language (Vāchika) was Carnatic sahitya sung live; costume (Āhārya) was traditional silk and temple jewellery; the emotional context (Sāttvika) conveyed devotion; rhythm followed Adi Tala in rising laya.
• (ii) Cinema -- Ghoomar sequence, Padmavat: Body movements were circular Ghoomar twirls; language was folk Rajasthani lyrics and dhol beats; costume was flared ghagra-choli with mirror-work; the emotional context was festive joy and community celebration; rhythm was in a lively, accelerating folk tāla.