UPSC Static Quiz – Art and Culture : 25 March 2025

UPSC Static Quiz – Art and Culture : 25 March 2025 We will post 5 questions daily on static topics mentioned in the UPSC civil services preliminary examination syllabus. Each week will focus on a specific topic from the syllabus, such as History of India and Indian National Movement, Indian and World Geography, and more.We are excited to bring you our daily UPSC Static Quiz, designed to help you prepare for the UPSC Civil Services Preliminary Examination. Each day, we will post 5 questions on static topics mentioned in the UPSC syllabus. This week, we are focusing on Indian and World Geography.

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• Question 1 of 5 1. Question Consider the following statements regarding Kathak. The kathaks were originally a caste of story-tellers in temples of north India. Kathak began evolving into a distinct mode of dance in the fifteenth and sixteenth centuries with the spread of the bhakti movement. Under the patronage of Wajid Ali Shah, the last Nawab of Awadh, Kathak acquired its present features and developed into a form of dance with a distinctive style. How many of the above statements is/are correct? (a) Only one (b) Only two (c) All three (d) None Correct Solution: b) Statement 3 is incorrect. The term kathak is derived from katha, a word used in Sanskrit and other languages for The *kathaks *were originally a caste of story-tellers in temples of north India. Kathak began evolving into a distinct mode of dance in the fifteenth and sixteenth centuries with the spread of the bhakti movement. The legends of Radha-Krishna were enacted in folk plays called rasa lila, which combined folk dance with the basic gestures of the kathak story-tellers. Under the Mughal emperors and their nobles, Kathak was performed in the court, where it acquired its present features and developed into a form of dance with a distinctive style. Under the patronage of Wajid Ali Shah, the last Nawab of Awadh, it grew into a major art Incorrect Solution: b) Statement 3 is incorrect. The term kathak is derived from katha, a word used in Sanskrit and other languages for The *kathaks *were originally a caste of story-tellers in temples of north India. Kathak began evolving into a distinct mode of dance in the fifteenth and sixteenth centuries with the spread of the bhakti movement. The legends of Radha-Krishna were enacted in folk plays called rasa lila, which combined folk dance with the basic gestures of the kathak story-tellers. Under the Mughal emperors and their nobles, Kathak was performed in the court, where it acquired its present features and developed into a form of dance with a distinctive style. Under the patronage of Wajid Ali Shah, the last Nawab of Awadh, it grew into a major art

#### 1. Question

Consider the following statements regarding Kathak.

• The kathaks were originally a caste of story-tellers in temples of north India.

• Kathak began evolving into a distinct mode of dance in the fifteenth and sixteenth centuries with the spread of the bhakti movement.

• Under the patronage of Wajid Ali Shah, the last Nawab of Awadh, Kathak acquired its present features and developed into a form of dance with a distinctive style.

How many of the above statements is/are correct?

• (a) Only one

• (b) Only two

• (c) All three

Solution: b)

Statement 3 is incorrect.

• The term kathak is derived from katha, a word used in Sanskrit and other languages for

• The *kathaks *were originally a caste of story-tellers in temples of north India.

• Kathak began evolving into a distinct mode of dance in the fifteenth and sixteenth centuries with the spread of the bhakti movement.

• The legends of Radha-Krishna were enacted in folk plays called rasa lila, which combined folk dance with the basic gestures of the kathak story-tellers.

• Under the Mughal emperors and their nobles, Kathak was performed in the court, where it acquired its present features and developed into a form of dance with a distinctive style.

• Under the patronage of Wajid Ali Shah, the last Nawab of Awadh, it grew into a major art

Solution: b)

Statement 3 is incorrect.

• The term kathak is derived from katha, a word used in Sanskrit and other languages for

• The *kathaks *were originally a caste of story-tellers in temples of north India.

• Kathak began evolving into a distinct mode of dance in the fifteenth and sixteenth centuries with the spread of the bhakti movement.

• The legends of Radha-Krishna were enacted in folk plays called rasa lila, which combined folk dance with the basic gestures of the kathak story-tellers.

• Under the Mughal emperors and their nobles, Kathak was performed in the court, where it acquired its present features and developed into a form of dance with a distinctive style.

• Under the patronage of Wajid Ali Shah, the last Nawab of Awadh, it grew into a major art

• Question 2 of 5 2. Question Consider the following statements regarding Kuchipudi dance form. It derives its name from a village in south India. The dance form gained prominence under the patronage of the Vijayanagar and Golconda rulers. Siddhendra Yogi is associated with the formalization of the system. It was historically performed only by female brahmins. How many of the above statements is/are correct? a) Only one b) Only two c) Only three d) All four Correct Solution: c) Statement 4 is incorrect. Originally performed by group of actors going from village to village, known as Kusselavas, Kuchipudi derives its name from the Andhra village of Kusselavapuri or Kuchelapuram. In 17th century, Siddhendra Yogi formalized and systematized the tradition. He authored ‘Bhama Kalapam’ and many other plays. With the advent of Vaishnavism, the dance form became a monopoly of the male Brahmins and began to be performed at temples. Stories of Bhagavat purana became a central theme of the recitals, and the dancers came to be known as Bhagavathalus. The dance form gained prominence under the patronage of the Vijayanagar and Golconda rulers. However, it remained confined to villages and remained obscure till the advent of the twentieth century, when Balasaraswati and Ragini Devi revived this dance form. Lakshminarayan Shastry, in the early 20th century, brought in new practices such as solo recitals and female participation. Incorrect Solution: c) Statement 4 is incorrect. Originally performed by group of actors going from village to village, known as Kusselavas, Kuchipudi derives its name from the Andhra village of Kusselavapuri or Kuchelapuram. In 17th century, Siddhendra Yogi formalized and systematized the tradition. He authored ‘Bhama Kalapam’ and many other plays. With the advent of Vaishnavism, the dance form became a monopoly of the male Brahmins and began to be performed at temples. Stories of Bhagavat purana became a central theme of the recitals, and the dancers came to be known as Bhagavathalus. The dance form gained prominence under the patronage of the Vijayanagar and Golconda rulers. However, it remained confined to villages and remained obscure till the advent of the twentieth century, when Balasaraswati and Ragini Devi revived this dance form. Lakshminarayan Shastry, in the early 20th century, brought in new practices such as solo recitals and female participation.

#### 2. Question

Consider the following statements regarding Kuchipudi dance form.

• It derives its name from a village in south India.

• The dance form gained prominence under the patronage of the Vijayanagar and Golconda rulers.

• Siddhendra Yogi is associated with the formalization of the system.

• It was historically performed only by female brahmins.

How many of the above statements is/are correct?

• a) Only one

• b) Only two

• c) Only three

• d) All four

Solution: c)

Statement 4 is incorrect.

Originally performed by group of actors going from village to village, known as Kusselavas, Kuchipudi derives its name from the Andhra village of Kusselavapuri or Kuchelapuram. In 17th century, Siddhendra Yogi formalized and systematized the tradition. He authored ‘Bhama Kalapam’ and many other plays. With the advent of Vaishnavism, the dance form became a monopoly of the male Brahmins and began to be performed at temples. Stories of Bhagavat purana became a central theme of the recitals, and the dancers came to be known as Bhagavathalus.

The dance form gained prominence under the patronage of the Vijayanagar and Golconda rulers. However, it remained confined to villages and remained obscure till the advent of the twentieth century, when Balasaraswati and Ragini Devi revived this dance form. Lakshminarayan Shastry, in the early 20th century, brought in new practices such as solo recitals and female participation.

Solution: c)

Statement 4 is incorrect.

• Question 3 of 5 3. Question Dhamsa, dhol and chamak are associated with which of the following dance forms of India? a) Chhau b) Dumhal c) Rasleela d) Bideshiya Correct Solution: a) Accompanied by the huge dhamsa drums and two energetic dhol players who provoke and encourage the dancers, the Chhau dancer makes lightning body movements known as chamak. Chhau dance is a tradition from eastern India that enacts episodes from epics including the Mahabharata and Ramayana, local folklore and abstract themes. Chhau is taught to male dancers from families of traditional artists or from local communities. The dance is performed at night in an open space to traditional and folk melodies, played on the reed pipes mohuri and shehnai. Chhau is a style performed exclusively by men from the tribal belts of India — home to the tribal groups of Bhulya, Santhals, Mundas, Hos and Oraons. The masks they use vary depending on the style of Chhau practised — Seraikella Chhau or Purulia Chhau. In the third form of Chhau, Mayurbhanj Chhau, masks are not worn. Incorrect Solution: a) Accompanied by the huge dhamsa drums and two energetic dhol players who provoke and encourage the dancers, the Chhau dancer makes lightning body movements known as chamak. Chhau dance is a tradition from eastern India that enacts episodes from epics including the Mahabharata and Ramayana, local folklore and abstract themes. Chhau is taught to male dancers from families of traditional artists or from local communities. The dance is performed at night in an open space to traditional and folk melodies, played on the reed pipes mohuri and shehnai. Chhau is a style performed exclusively by men from the tribal belts of India — home to the tribal groups of Bhulya, Santhals, Mundas, Hos and Oraons. The masks they use vary depending on the style of Chhau practised — Seraikella Chhau or Purulia Chhau. In the third form of Chhau, Mayurbhanj Chhau, masks are not worn.

#### 3. Question

Dhamsa, dhol and chamak are associated with which of the following dance forms of India?

• c) Rasleela

• d) Bideshiya

Solution: a)

Accompanied by the huge dhamsa drums and two energetic dhol players who provoke and encourage the dancers, the Chhau dancer makes lightning body movements known as chamak. Chhau dance is a tradition from eastern India that enacts episodes from epics including the Mahabharata and Ramayana, local folklore and abstract themes.

Chhau is taught to male dancers from families of traditional artists or from local communities. The dance is performed at night in an open space to traditional and folk melodies, played on the reed pipes mohuri and shehnai.

Chhau is a style performed exclusively by men from the tribal belts of India — home to the tribal groups of Bhulya, Santhals, Mundas, Hos and Oraons. The masks they use vary depending on the style of Chhau practised — Seraikella Chhau or Purulia Chhau. In the third form of Chhau, Mayurbhanj Chhau, masks are not worn.

Solution: a)

• Question 4 of 5 4. Question Consider the following statements regarding Sangeet Ratnakara, a seminal text on music. It was written by Matanga. It claimed that there is only one fundamental raga. It discusses both North Indian and Dravidian styles of music. How many of the above statements is/are correct? a) Only one b) Only two c) All three d) None Correct Solution: a) Only Statement 3 is correct. Sarangadeva, a 13th century musicologist who wrote the classic text on music, the Sangeet The Sangeet Ratnakara defined about 264 ragas including some from the North Indian and the Dravidian repertoires. Its greatest contribution was to identify and describe the various ‘microtones’ and classify them into different categories. Later, some medieval texts on musicology focused on particular themes, for example, Brihaddeshi written in the 9th century by Matanga focused on the definition of the word ‘raga’. Incorrect Solution: a) Only Statement 3 is correct. Sarangadeva, a 13th century musicologist who wrote the classic text on music, the Sangeet The Sangeet Ratnakara defined about 264 ragas including some from the North Indian and the Dravidian repertoires. Its greatest contribution was to identify and describe the various ‘microtones’ and classify them into different categories. Later, some medieval texts on musicology focused on particular themes, for example, Brihaddeshi written in the 9th century by Matanga focused on the definition of the word ‘raga’.

#### 4. Question

Consider the following statements regarding Sangeet Ratnakara, a seminal text on music.

• It was written by Matanga.

• It claimed that there is only one fundamental raga.

• It discusses both North Indian and Dravidian styles of music.

How many of the above statements is/are correct?

• a) Only one

• b) Only two

• c) All three

Solution: a)

Only Statement 3 is correct.

• Sarangadeva, a 13th century musicologist who wrote the classic text on music, the Sangeet

• The Sangeet Ratnakara defined about 264 ragas including some from the North Indian and the Dravidian repertoires. Its greatest contribution was to identify and describe the various ‘microtones’ and classify them into different categories. Later, some medieval texts on musicology focused on particular themes, for example, Brihaddeshi written in the 9th century by Matanga focused on the definition of the word ‘raga’.

Solution: a)

Only Statement 3 is correct.

• Sarangadeva, a 13th century musicologist who wrote the classic text on music, the Sangeet

• Question 5 of 5 5. Question Consider the following statements. Dhrupad starts with Alap, which is sung without words. Dhrupad includes the use of Sanskrit syllables. The tempo of music in Dhrupad remains constant. How many of the above statements is/are incorrect? a) Only one b) Only two c) All three d) None Correct Solution: a) Statement 3 is incorrect. Dhrupad is essentially a poetic form that is incorporated into an extended presentation style that is marked by precise and overt elaboration of a Dhrupad starts with Alap which is sung without The tempo rises gradually, and it is the major part of the performance. The alap evokes a mood in the audience that coincides with the mood of the raga that is chosen. It is pure music without distraction of words. Dhrupad includes use of sanskrit syllables and is of temple Dhrupad compositions usually have 4 to 5 stanzas and are performed by a duo. Generally two male vocalists perform Dhrupad style of performances. Tanpura and Pakhawaj usually accompany them. Incorrect Solution: a) Statement 3 is incorrect. Dhrupad is essentially a poetic form that is incorporated into an extended presentation style that is marked by precise and overt elaboration of a Dhrupad starts with Alap which is sung without The tempo rises gradually, and it is the major part of the performance. The alap evokes a mood in the audience that coincides with the mood of the raga that is chosen. It is pure music without distraction of words. Dhrupad includes use of sanskrit syllables and is of temple Dhrupad compositions usually have 4 to 5 stanzas and are performed by a duo. Generally two male vocalists perform Dhrupad style of performances. Tanpura and Pakhawaj usually accompany them.

#### 5. Question

Consider the following statements.

• Dhrupad starts with Alap, which is sung without words.

• Dhrupad includes the use of Sanskrit syllables.

• The tempo of music in Dhrupad remains constant.

How many of the above statements is/are incorrect?

• a) Only one

• b) Only two

• c) All three

Solution: a)

Statement 3 is incorrect.

• Dhrupad is essentially a poetic form that is incorporated into an extended presentation style that is marked by precise and overt elaboration of a

• Dhrupad starts with Alap which is sung without The tempo rises gradually, and it is the major part of the performance. The alap evokes a mood in the audience that coincides with the mood of the raga that is chosen. It is pure music without distraction of words.

• Dhrupad includes use of sanskrit syllables and is of temple Dhrupad compositions usually have 4 to 5 stanzas and are performed by a duo. Generally two male vocalists perform Dhrupad style of performances. Tanpura and Pakhawaj usually accompany them.

Solution: a)

Statement 3 is incorrect.

• Dhrupad is essentially a poetic form that is incorporated into an extended presentation style that is marked by precise and overt elaboration of a

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