Class 11 KTPI Performing Arts NCERT Solutions 2026-27

Concept used. Performing arts are art forms in which expression is communicated to an viewers through a performer. The expression may use voice, body movement, gesture, sound objects, musical instruments, costume and stage action.

1. Performing arts include music, dance and theatre. The textbook also notes that Vatsyayana placed vocal music, instrumental music, dance and theatre among the first four arts.
2. These arts are called performing arts because they become complete only when a performer presents them before others.
3. The performer uses voice, rhythm, expression, body movement and sound to communicate feeling and meaning.
4. Music gives structure to many performing arts. It provides melody, rhythm, tempo and mood.
5. In theatre and dance, music supports entry, movement, emotion, scene change and dramatic effect.
6. Folk music, folk dance and folk theatre show how common people use performance during festivals, daily life and community gatherings.

Performing arts are music, dance and theatre forms presented by a performer before an viewers. Music supports them by giving melody, rhythm, mood and emotional force.

Concept used. Samagana is the singing of selected Rgvedic hymns that were compiled in the Samaveda and set to svara and chanda. In the Vedic period, the chapter explains two streams of music: Margi and Deshi.

1. The Rgvedic hymns were called Rcas.
2. Selected Rcas were arranged in the Samaveda.
3. When these hymns were sung with notes and rhythmic metres, the practice was called Samagana.
4. The three Vedic svaras used in Samagana were Udatta, Anudatta and Svarita.
5. The two streams of music were Margi or Gandharva Sanggita and Deshi Sanggita.
6. Margi was practised for salvation, while Deshi later developed into classical, semi-classical and folk forms.

Samagana is the singing of Samaveda hymns with svara and rhythm. The two music streams of the Vedic era were Margi and Deshi.

Concept used. A short note should identify the text, its author or tradition where known, and its importance for Indian music, dance or drama.

1. Natyashashtra: This text is ascribed to Bharata. It is one of the most important early works on drama, music and dance.
2. It has 36 chapters, and chapters 28 to 33 deal with music. It discusses shruti, grama, jati, murchana, giti, alangkara and rasa.
3. It also gives the first available classification of Indian instruments and explains how drama educates and entertains people.
4. Brhaddeshi: This musicological work is associated with the development of Deshi music and the idea of raga in Indian music.
5. It is important because it helps us understand the move from older systems of jati and grama towards regional melodic forms.
6. Sanggita Ratnakara: This important medieval musicological text was written by Sharanggadeva.
7. It describes music as a composite art made of gita, vadya and nrtya. It also discusses Marga-sanggita, Deshi-sanggita, instruments and rhythm.

Natyashashtra is the early treatise on drama, dance and music; Brhaddeshi is important for Deshi music and raga ideas; Sanggita Ratnakara is Sharanggadeva's medieval text on gita, vadya and nrtya.

Concept used. The chapter says that Indian classical music developed as two distinct traditions during the medieval period: Hindustani music and Carnatic music.

1. There are two main forms of classical music in India.
2. Hindustani music developed mainly in northern, eastern and western India.
3. It absorbed regional changes and also responded to Persian and Islamic cultural influence after the end of the twelfth century.
4. It includes forms and styles linked with artists such as Amir Khusro, Mian Tansen, Swami Haridas, Baiju Bavra and others.
5. Carnatic music developed in southern India and the Deccan region.
6. The chapter notes that the southern classical tradition preserved a strong link with temples and maintained continuity of style.
7. The two traditions differ in language, singing style, svarasthanas, tala patterns and melodic structure.

India has two broad classical music forms: Hindustani music of the northern, eastern and western regions, and Carnatic music of southern India.

Concept used. These are basic technical terms used in Indian music. They help explain pitch, melody, rhythm, measure and older systems of musical organisation.

1. Shruti means the smallest audible pitch difference recognised in music.
2. Raga is a melodic form. It uses selected notes and has a particular mood or character.
3. Svara means a musical note. The seven basic svaras are Sa, Re, Ga, Ma, Pa, Dha and Ni.
4. Laya means tempo or speed. It controls how fast or slow the music moves.
5. Tala is the rhythmic cycle used to organise beats.
6. Matra is a beat or unit inside a tala cycle.
7. Murchana is an ordered progression or shift of notes within the old grama system.
8. Jati is an older melodic category that later helped in the development of raga.
9. Grama is an ancient scale system or note arrangement used in early Indian music theory.

These terms explain the pitch, note, melodic and rhythmic pattern of Indian music. Together they describe how Indian music is organised and performed.

Concept used. The chapter gives the classification of Indian instruments from the Natyashastra tradition. There are four types: Tat, Sushira, Avanadha and Ghana.

1. Tat instruments are string instruments. Sound is produced through vibrating strings.
2. Examples include vina, sitar and other stringed instruments used in Indian music.
3. Sushira instruments are wind instruments. Sound comes from air passing through a hollow space.
4. Examples include flute, shehnai and similar wind instruments.
5. Avanadha instruments are covered or percussion instruments. Sound comes from a stretched membrane being struck.
6. Examples include tabla, mrdangga and different drums.
7. Ghana instruments are solid instruments made of materials such as metal, brass or wood.
8. Examples include cymbals, manjira and bells.

There are four types of instruments: Tat, Sushira, Avanadha and Ghana. They are string, wind, percussion or covered, and solid instruments.

Concept used. A short note on modern music scholars should mention their common contribution: they helped document Indian music, organise conferences, establish institutions and bring music into formal education.

1. Pandit Vishnu Narayan Bhatkhande was a major figure in the modern study and documentation of Hindustani music.
2. He worked to systematise musical knowledge and helped create a notation system that students could learn from books and institutions.
3. His work supported music conferences and music education beyond the older guru-shishya setting.
4. Pandit Vishnu Digambar Paluskar was another important reformer of Indian music education.
5. He helped make music respectable as a formal discipline and promoted organised teaching through institutions.
6. The chapter says both worked for the upliftment of music and musicians by organising conferences, establishing music institutions and writing books.

Bhatkhande and Paluskar worked for the upliftment of Indian music by documenting it, building notation systems, writing books, organising music conferences and supporting formal music institutions.

Concept used. This is an observation report. The answer should show what was watched, where it was performed and how style, characters, customs, make-up and props worked together.

1. Title and details: Write the name of the performance, place, date, language and group or artists.
2. Style: Mention whether it was folk theatre, dance-drama, street theatre or stage theatre. Describe music, narration and pace.
3. Characters: List the main characters and their roles in the story.
4. Customs: Note rituals, greeting style, songs, community references and festival links.
5. Make-up: Describe face colours, masks, hair, costume, jewellery and symbolic marks.
6. Props: Mention items such as sticks, musical instruments, curtains, masks, weapons, lamps or hand-held objects.
7. Observation: End with what the performance taught about local culture and community life.

A good report should record the performance details and then describe style, characters, customs, make-up, props and cultural meaning in separate paragraphs.

Concept used. Recreating a regional theatre performance means adapting a folk or regional form for classroom presentation while respecting its style. Students must plan script, roles, music, costume, props and rehearsal.

1. Choose a form such as Jatra, Nautanki, Bhavai, Bhand Pather, Swang, Raslila, Yakshagana or Tamasha.
2. Select a short story or social theme that can be performed in five to ten minutes.
3. Assign roles: narrator, main characters, singers, musicians, costume team, prop team and stage manager.
4. Study the form's style. For example, Nautanki uses a strong narrator, music and dramatic dialogue.
5. Keep costumes simple but meaningful. Use scarves, crowns, masks, sticks or symbolic colours.
6. Add music, claps, rhythm or chorus where the form needs it.
7. Rehearse entry, dialogue, scene change and final group bow.
8. After performance, discuss what was learned about regional culture.

Students can recreate a regional theatre form by choosing a short story, assigning roles, using simple props and costumes, adding music or narration, rehearsing, and presenting the style respectfully.

Concept used. In Indian performing arts, dance and music are closely linked. Dance uses rhythm, melody, song, gesture, expression and body movement to present feeling, story and community experience.

1. Music gives dance its rhythm through tala and matra.
2. Music gives dance its speed through laya.
3. Melody and song help a dancer express mood, emotion and story.
4. Instruments guide movement, entry, pause and dramatic change.
5. In classical dance, music supports bhava, raga, tala and natyam.
6. In folk and tribal dance, music often makes the dance participative. The singer, dancer and viewers may all share the rhythm.
7. In theatre and dance-drama, music connects scenes and strengthens character expression.

Dance gives visible form to Indian music. It uses rhythm, melody, song and instruments to express emotion, story, ritual, celebration and community identity.

Concept used. The chapter explains living dance traditions through tribal dance, folk dance, classical dance and modern or creative dance.

1. Tribal dance is performed by tribal or primitive groups close to nature. It is often connected with ritual, community and the natural world.
2. Examples include Santhal dances, Theyyam of Kerala, Kalbelia of Rajasthan, and fire dances of Rajasthan and Gujarat.
3. Folk dance grew with settled agricultural life. It is linked with harvest, marriage, childbirth, seasons, festivals and community celebration.
4. Examples include Bihu, Dandiya Raas, Garba, Bhangra and Chari.
5. Classical dance is a refined dance form shaped by trained artists, teachers, grammar and tradition.
6. The major classical dances listed are Bharatanatyam, Kathak, Kathakali, Manipuri, Odissi, Kuchipudi, Mohiniattam and Sattriya.
7. Modern dance includes creative and innovative styles developed by trained dancers who use classical and folk aesthetics in new ways.
8. Uday Shankar, Chitralekha and Narendra Sharma are examples of creative modern dance contributors mentioned in the chapter.

The main dance forms are tribal, folk, classical and modern dance. They differ by community base, occasion, training, grammar and creative purpose.

Concept used. This is a research-based activity. The answer should connect Rouf with other folk music and dance traditions of Jammu and Kashmir.

1. Rouf is a popular traditional music and dance of Kashmir. The chapter says it is performed by groups of women facing each other, especially on festive occasions such as Eid and Ramzan.
2. Bhand Pather is a folk theatre form of Kashmir. It combines dance, music and drama with satire, wit and parody.
3. Hafiza dance is associated with Kashmiri music and is often linked with Sufi or festive settings.
4. Dumhal is performed by the Wattal community and is known for colourful dress and group movement.
5. Kud is a popular Dogra folk dance of the Jammu region, generally linked with celebration and community gathering.
6. Chakri is a traditional folk music form of Kashmir, often sung with instruments such as harmonium, rabab and tumbaknari.
7. The answer may be presented as a table with columns for name, region, performers, occasion and special feature.

Other Jammu and Kashmir forms include Bhand Pather, Hafiza, Dumhal, Kud and Chakri. They show music, dance, satire, devotion, festival and community life in the region.

Concept used. This is an oral narration task. Students must describe a traditional folk or classical theatre form they have seen or studied, then share the experience clearly in class.

1. Start with the name of the form, such as Jatra, Kutiyattam, Nautanki, Bhavai or Bhand Pather.
2. Mention where and when you saw it. If you have not seen it live, state that you watched a recorded performance under teacher guidance.
3. Introduce the story or theme in two or three lines.
4. Describe the performers, costumes, make-up, music, language and stage arrangement.
5. Explain one special feature of the form. For Jatra, mention travelling performance and strong song-dialogue style. For Kutiyattam, mention its link with Sanskrit theatre and Kerala tradition.
6. End with your personal response: what you liked, what felt different and what the performance taught about Indian culture.

The narration should name the theatre form, describe the performance experience, explain its style and share a personal observation with the class.

Concept used. This is a project task on cultural diversity. The answer should explain how to collect folk dance and song examples state-wise, organise pictures and write observations about India.

1. Make a table with columns for State, folk dance, folk song or music, occasion, costume and source of picture.
2. Collect one dance and one song from each State. Use school library, state culture portals, teacher guidance, museums, field visits or trusted videos.
3. Save pictures in a digital folder or paste printed pictures in a file.
4. Write captions under each picture. Mention the region, performers, costume and occasion.
5. Add examples such as Bihu from Assam, Garba from Gujarat, Bhangra from Punjab, Chhau from Odisha or Jharkhand, Lavani from Maharashtra, Rouf from Jammu and Kashmir, and Kalbelia from Rajasthan.
6. In your observation, write that Indian people are diverse in language, dress, rhythm, instruments and festivals.
7. Also write that the forms show unity because music, dance and community celebration are found across India.
8. Share the folder on NROER if the school provides access and teacher approval.

The project should collect one folk dance and one song from each State, organise pictures with captions, and conclude that Indian culture shows both great diversity and shared community spirit.