Class 9 · ArtsNCERT 2026 Revised Syllabus
Chapter 11: Dance as Visual Storytelling (0907AR11)
Madhurima
Shows how angika, vachika, aharya and sattvika abhinaya tell stories through movement, music, costume and expression.
Chapter code: 0907ar11 · Book: Madhurima · Class 9 Arts
Find complete NCERT solutions for Class 9 Arts, Madhurima Chapter 11. Every question has a clear, step-by-step answer for chapter code 0907AR11.
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Āngika Abhinaya -- Activity 11.1: Strike a Sculpturesque Pose(1 questions)
1
Identify a few poses with hand gestures from the sixth-century Dancing Shiva sculpture at Badami and try them out. What does this activity show about Āngika?
Ans.
The sculpture's 18 hands allow 81 possible pose combinations, showing that Āngika abhinaya -- using sthāna, Chārī, and hastas -- can recreate a single sculptural image as a living, moving sequence of dance.
Vāchika Abhinaya -- Activity 11.2: Experience Dance Through Sound, Song, and Silence(1 questions)
1
What is the difference in experience between dancing to instrumental music, dancing to lyrical music, and dancing to one's own singing?
Ans.
Instrumental music (e.g., Tārpā, Rāut Nāchā) lets movement follow pure rhythm freely; lyrical music (e.g., Bihu, Ghoomar) ties movement to word meaning; dancing to one's own singing demands simultaneous vocal and physical control, deepening the performer's connection to the piece.
Discussion Circle -- It's Time to Contemplate!(3 questions)
1
Share and compare your experiences of dancing to instrumental music and lyrical music.
Ans.
Sample: Dancing to instrumental music felt more spontaneous and rhythm-led, while dancing to lyrical music felt more expressive, since the words guided the mood, gestures, and emotional colour of each movement.
2
Did you feel you were communicating through your dance? What emotions did you convey?
Ans.
Sample: Yes -- the movements communicated joy and energy during the fast passages, and calm, reflective emotion during the slower, lyrical sections, showing how tempo and music shape the feeling conveyed.
3
How did you feel while singing and dancing simultaneously? Compare it to when you dance without singing.
Ans.
Sample: Singing while dancing required greater breath control and coordination, making the performance feel more personal and immersive, whereas dancing without singing allowed fuller focus on precision of movement.
Āhārya Abhinaya -- Activity 11.3: Spot the Āhārya and Identify the Dance(1 questions)
1
In Figures 11.9–11.16, identify the dance form based on the costume, make-up, and accessories, from the list: Lavani (Maharashtra), Cheraw (Mizoram), Kullu Nāṭī (Himachal Pradesh), Baiga (Madhya Pradesh), Pūjā Kunitā (Karnataka), Siddi Dhamal (Gujarat), Bastar (Chattisgarh), and Phāg (Haryana).
Ans.
Use the following dance forms, which are given in no particular order in the textbook, and identify the correct name under each figure by comparing costume, make-up and accessories:
• Lavani (Maharashtra) — Nauvari (nine-yard) saree, twirling ghagra-style drape, bold jewellery, dancer performing with vigorous hip and eye movements
• Cheraw (Mizoram) — Bamboo poles held and clapped horizontally at ankle height as dancers step in and out in coloured Mizo attire
• Kullu Nāṭī (Himachal Pradesh) — Women in black woollen dresses with bright embroidered borders, headscarves, and white handkerchiefs, dancing in a line/semicircle
• Baiga (Madhya Pradesh) — Tribal dancers in simple cloth wraps, beads, and feather or leaf headgear, performing with drums (mandar/dhol)
• Pūjā Kunitā (Karnataka) — Elaborate tall peacock-feather or decorated headgear balanced on the head while carrying/beating a large drum
• Siddi Dhamal (Gujarat) — African-origin Siddi community dancers in bright costumes, energetic drumming (mugarman/musindo) and vigorous jumps
• Bastar (Chattisgarh) — Gond tribal dancers in dark costumes with silver ornaments, cowrie-shell decoration, and tall feathered headdresses
• Phāg (Haryana) — Festive Holi-season dance with colourful turbans/odhnis, dhol accompaniment, and playful group formationsNote: Since Figs. 11.9–11.16 are intentionally left unlabelled in the textbook for student observation, match each photograph to the description above by comparing headgear, costume colour, and props, then write the dance's name in the blank provided in your book.
Exercises(5 questions)
1
Describe and show how you can use these elements in your Āngika Abhinaya -- choose any two: (i) Chārī/gati (ii) Utplavana and Bhramarī (iii) Hastas.
Ans.
• (i) Chārī/Gati: Chārī refers to stylised leg movements and gati to the manner of walking/gait. They can be used to depict a character's identity -- for example, a slow, dignified gati for a king or a light, swift Chārī for a messenger.
• (ii) Utplavana and Bhramarī: Utplavana (jumps) and Bhramarī (spins) add dynamism and can depict action or emotion -- a sudden utplavana can show alarm or excitement, while a Bhramarī can convey joy, dizziness, or a whirling natural element like wind.
• (iii) Hastas: Hastas are hand gestures used to depict objects, actions, or emotions with precision -- for instance, the alapadma hasta can represent a blooming flower, while pataka can depict a flag, wave, or forbidding gesture.
2
Which of the Vāchika Abhinaya elements have you explored? Describe how each helped you communicate your idea and thoughts.
Ans.
Sample: I explored rhythmic syllables (dha, ta, ka, dhin) and lyrical song. The syllables sharpened footwork timing and energy, while the song's words guided facial expression and hand gestures, helping communicate the narrative's meaning clearly to the audience.
3
In which Indian dance forms do the dancers simultaneously sing and dance, solo or in group? Give three examples and mention the states they belong to.
Ans.
• Odissi -- the Mahrs of the Shree Jagannatha Temple traditionally sang as they danced (Odisha).
• Temple dance tradition of the Somnath Temple, where dancers sang while performing ritual dance (Gujarat).
• Temple dance tradition of the Brihadeeswara Temple, where dancers' voices resonated within the sanctum while dancing (Tamil Nadu).
4
Explain the elements of Āhārya Abhinaya in two dance forms you have learnt in class. Can you connect any of the Āhārya elements with what you have learnt in Visual Arts?
Ans.
Kathakali uses elaborate, colour-coded face make-up and towering costumes to denote character types (green for the noble, red-black for the villainous). Purulia Chhau uses ornate painted masks and vivid costumes to portray gods and demons. Both connect to Visual Arts through their use of colour symbolism, form, and composition to build visual meaning.
5
Do you think appropriate costume enhances the movement or the Āngika of any dance form?
Ans.
Yes. An appropriate costume highlights body lines and movement -- for example, a flared skirt accentuates a spin's circular sweep, while fitted attire sharpens the visibility of precise footwork, making the Āngika more striking and legible to the audience.