Class 9 · ArtsNCERT 2026 Revised Syllabus
Chapter 13: Dance Choreography (0907AR13)
Madhurima
Explains how visual patterns in nature inspire choreography, movement vocabulary, and composing a dance sequence.
Chapter code: 0907ar13 · Book: Madhurima · Class 9 Arts
Find complete NCERT solutions for Class 9 Arts, Madhurima Chapter 13. Every question has a clear, step-by-step answer for chapter code 0907AR13.
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Let us Explore(1 questions)
Q
Folk dance movement patterns often resemble patterns from daily life, nature, and the cosmos. What patterns from nature can you take inspiration from for your choreographies?
Ans.
Waves of the ocean, swaying tree branches, flight paths of birds, blooming flowers, spiralling winds and galaxies offer inspiration for flowing, circular and rhythmic choreographic movement patterns.
Exercises(10 questions)
1
Identify any visual patterns you see around you in your daily life. Connect them with signature movements of any regional dance forms. Make a table of the visual patterns and connected dance forms.
Ans.
• Circular formation — Bhangra (Punjab)
• Pyramid / human tower — Naga community dance, Hornbill festival
• Zigzag / wave-like motion — Bagurumba Butterfly dance (Assam)
• Symmetrical straight rows — Karagam (Tamil Nadu)
2
Mention any three dance forms where you see similar visual pattern as in Fig. 13.13 (Milky Way Galaxy).
Ans.
Kathak, with its spinning chakkars, Sufi whirling dance, and Manipuri Ras Lila all create spiralling, rotating patterns that resemble the swirling arms of the galaxy shown in Fig. 13.13.
3
Draw your choreography mapping with directions of either: (i) stage settings with musicians, sets, and props; or (ii) placement and movements of dancers.
Ans.
This is a practical, drawing-based task to be completed in the dance journal. Use the stage-direction diagram (Fig. 13.9/13.10) to mark musician position, props and dancer movement paths with directional arrows.Note: Practical/drawing question -- to be hand-drawn by the student in their own journal; a written answer cannot substitute for the required diagram.
4
Journal your reflections. Analyse your choreography in your dance journal. Explain your chosen theme, the choreographic patterns, and reason for choosing various dance elements for the choreography.
Ans.
State the theme chosen (e.g., seasons, festivals), describe the formations and movement vocabulary used, and justify each choice of tools such as repetition, unison, or contrast in relation to the theme.Note: Reflective/personal question -- answer should be based on the student's own Activity 13.2 choreography.
5
You have learnt about Rekhā, or creating beautiful lines. In which dance forms could you identify the geometrical shapes?
Ans.
Bharatanatyam displays triangles and diagonals through its Aramandi posture and hand gestures; Odissi shows curved tribhanga lines; Kathak displays straight vertical lines and circular spins.
6
'Where there is a body, there is dance. Dance begins not with perfection, but with sensitivity to the mover.' Discuss the concept of body inclusivity in dance as per your understanding.
Ans.
Dance welcomes every body, regardless of shape, age, or ability. Sensitivity to the mover, not physical perfection, defines dance, allowing differently-abled dancers to express themselves meaningfully.
7
'A sculpture captures movement in stillness and dance captures stillness even in movement.' Discuss this statement with your understanding of both Indian and Southeast Asian dances.
Ans.
Temple sculptures freeze dynamic dance poses permanently in stone, while dancers in Odissi, Khmer, or Balinese forms hold sculpturesque static poses mid-movement, showing the deep link between sculpture and dance.
8
Put together a movement phrase or a dance sequence with all the elements of dance that you have learnt. Think of your body alignment, breath, shapes, footwork including jumps and spins, and arm movements with hand gestures. Add appropriate rhythmic syllables, keeping in mind rhythm and tempo.
Ans.
This is a practical performance task. Compose and rehearse a movement phrase demonstrating alignment, breath control, footwork, spins and hand gestures set to rhythmic syllables, then perform it in class.Note: Practical performance question -- assessed through live demonstration, not a written response.
9
Present a group dance with any form that you have explored in class, being mindful about collaboration and coordination.
Ans.
This is a practical group performance task requiring rehearsed presentation of a chosen dance form with attention to synchronisation, spacing and teamwork among all group members.Note: Practical performance question -- assessed through live group demonstration.
10
Create a thematic presentation. Be mindful of the various abhinayas that you are using. Think about the choreography pattern you are going to use.
Ans.
This is a practical task. Select a theme, plan the use of Āngika, Vāchika, Āhārya and Sāttvika abhinaya, and design a choreography pattern (formation, spacing, repetition) before presenting it in class.Note: Practical performance question -- assessed through live demonstration.
Activities — How to Do(4 questions)
1
Activity 13.1 (plan a choreography): on the marked stage diagrams, plot dancer positions and formations for your chosen number of dancers (on paper or physically). What should the plan show?
Ans.
Take the marked stage diagram; for your dancer count, plot each formation (lines, circles, diagonals) and arrows for transitions. Test it physically in space — adjust spacing till shapes read clearly from the front.
2
Activity 13.2 (creating your choreography): each lead choreographer builds a solo, then expands it for the group using formations, spacing, timing and the four abhinayas; present solo then group versions. What should you compare?
Ans.
Choreograph the solo phrase first (any theme: nature, festival, contemporary). Expand with formations, spacing, timing, interaction plus abhinayas (gesture, rhythm-speech, props, emotion). Present solo then group and compare how meaning shifts.
3
Activity 13.3 (reflections): review the Activity 13.2 choreography through self, peer and expert feedback, recorded in your dance journal. What should each review answer?
Ans.
Self: did the concept reach viewers; what worked? Peer: collect classmates’ observations and discuss. Expert (teacher/invitee): note verdicts on clarity, creativity, effectiveness. File all three in the journal with action points.
4
Activity 13.4 (well-being discussion circle): discuss the year’s dance journey — creating, sharing, collaborating — and close by naming your silver lining. How should the circle run?
Ans.
Go round sharing experiences of creating, sharing and collaborating across the concepts learnt. End with each member’s silver lining — one positive thing discovered about self, group and the creative process.