B.

ED PRACTICE QUESTIONS

-Himangi Mathur

Q1) Meaning and concept of drama and art.

Ans) ‘Drama’ is an Ancient Greek word meaning ‘act’ or ‘deed’. The Ancient Greek
philosopher Aristotle used this term in a very influential treatise called the Poetics. In this text,
Aristotle classified different forms of poetry according to basic features he thought could be
commonly recognised in their composition. He used the term ‘drama’ to describe poetic
compositions that were ‘acted’ in front of audiences in a theatron.

While Aristotle offered drama as a general term to describe forms of poetry that were ‘acted’, he
identified different types of composition within this category, including comedy and tragedy. He
regarded comedy as a form of drama because it represented acts that made audiences laugh and
he considered tragedy a form of drama because it represented acts that made audiences feel pity
or fear. The Roman theorist Horace introduced another view of these poetic forms when he
suggested that their purpose was to either delight or instruct. Although various definitions and
developments in drama must be considered in addition to Aristotle’s original assessment of
dramas, many of the terms of classification he introduced are still used or debated today.

Examples: Greek Comedy, Greek Tragedy

Art refers to anything that is made by someone who is considered to be an artist; however the
meaning of art continues to be debated. The definition of art has evolved over time and varies
based on context; anything can be made into art, and the term continues to evolve.

The nature of art has been described by philosopher Richard Wollheim as "one of the most
elusive of the traditional problems of human culture".

It has also been defined as a vehicle for the expression or communication of emotions and ideas,
a means for exploring and appreciating formal elements for their own sake, and as mimesis or
representation.

Art, at its simplest, is a form of communication. It means whatever it is intended to mean by the
artist herself, and this meaning is shaped by the materials, techniques, and forms of the art, as
well as the ideas and feelings it engenders in the viewer.

Anything can in fact be art, and the term continues to evolve.

Q2) Trace the develpoment of Art and Drama in India.

Ans) DEVELOPMENT OF INDIAN DRAMA

Indian theatre has an unbroken history of over two thousand years. Almost contemporaneous
with Aristotle's poetics, ancient India produced an encyclopaedic manual on theatre called
Natyashastra ascribed to Bharata, which became the basis Indian performances genres for
centuries to come.

The first millennium was also characterized by the great harvest of Sanskrit drama by pre-
eminent play-wrights like Bhasa, Kalidasa, Shudraka, Vishakadatta, Bhavabhuti and Harsha.
This body of works compares in its range and power with the dramatic output of other rich
theatre traditions of the world ancient Greek theatre and Elizabethan theatre. The glory of ancient
Sanskrit drama ended with the first millennium. The medieval period witnessed the emergence of
regional language literatures in which did not produce dramatic works comparable to ancient
classics. However, folk and ritualistic theatres flourished throughout this period. Some
innovations happened in religious drama, thanks to socio-religious reform Bhakti Movements,
which engulfed the subcontinent during the medieval era.

Against the background of this rich tradition, Indian drama was reborn during British colonial
interregnum in 18th and 19th centuries.

There was corresponding unprecedented development in theatre: the rise of urban entertainment
theatre. This arose in order to provide entertainment to the increasing population of big cities
consequent upon industrialization. The new urban theatre is popularly known as Parsi theatre.
There were also adaptations of Western classics like Shakespeare and Lessing. Unlike traditional
folk and tribal theatre Parsi theatre was acted out in interior spaces, now called proscenium
theatre. Geared to amuse urban middle and working classes this theatre produces a pot pouri of
melodrama, humour, romance and social criticism. Having developed in newly emerging big
cities like Kolkata, Delhi, Mubai and Chennai form late 19th century, this form of professional
theatre performed by professional groups, sometimes travelling, was the only source of mass
entertainment before the emergence of cinema.

This paved the way for literary drama and amateur theatre. Literary drama was the output of
great Indian language writers in different parts of India. The most famous of such playwrights
was Rabindranath Tagore, who enriched the genre of drama as much as he enriched poetry and
fiction. There were Tagore's counterparts of Tagore in other languages also.

After independence,Sangeet Natak Akademi (Music and Performing Arts Akademi) was set up
to further performing arts including theatre. This institution has been conferring awards annually
on talented artists who have enriched different aspects of theatre

Another important development in post-Independence theatre was the emergence of drama

school theatre following the establishment of National School of Drama, an autonomous
institution funded by state, in Delhi. Alongside NSD, other drama schools and repertories have
emerged from all over the country. After his tenure ended in NSD, BV Karanth set up two drama
schools and repertories, The first, Ranga Mandal, was set up in Bhopal, Madhya Pradesh.
Funded by Madhya Pradesh state government, it was very vibrant during 80's.

THE DEVELOPMENT OF INDIAN ART

A Historical Overview

The Indus Valley Civilization with its well planned towns did not leave any record of
monumental sculpture, but what it did have was fabulous miniature sculptures in stone, metal
and terracotta. With the emergence of new religions, Buddhism and Jainism, there was an
efflorescence in art and architecture: rock cut caves, stupas and elaborately carved doorways.

The Mauryans in the North were superseded by the Sungas during 200-75 B.C. and the great
stone stupas of Barhut and Sanchi with intricate carving in high relief are two important
creations of that age.

During the Kushana period around 1-500 AD a separate school of sculpture flourished in
Gandhara, situated in Kabul Valley along with the Mathura school.

The later Gupta period (300-600 A.D) has been called the classical or the golden age of Indian
Art. In the later periods, a contemporary style of art was developed by the Chalukya and
Rashtrakutas incorporating art in the architecture of temples and this influence continued through
the Pallava and Chola dynasties until 800-1300 AD.

Khajuraho in Bundelkand was a great centre of art under the Chandela kings during 950-1200
AD. The Pala Sena kings ruled over Bengal and Bihar and the Pallavas followed by the Cholas
dominated much of Southern India. The Pratihara and the Rajput Clans controlled Western India.
Each of the periods contributed in creating the rubric of ‘Indian Art’.

Two Millennia of Paintings

The earliest phase recorded was between the 1st and 7th century AD in the form of the frescoes
painted in the Buddhist cave temples at Ajanta in Western Deccan. Not only did the tradition of
wall painting continue well into the 19th century, but the early miniaturist drew their form and
style from the wall paintings.

The next phase in the history of miniature paintings began in the Mughal courts. Before his
ascendance to the throne, Akbar, the founder of the Great Mughal Empire in India (1556-1605
A.D) had received training in painting from the celebrated Persian painter Mir Sayyad Ali and
Abd-As-Samad.

Deccan Flowering:

The second half of the 16th century saw the flowering of Deccan painting in the Sultanates of
Ahmednagar, Bijapur and Golconda, who maintained a highly lyrical style born out of the fusion
of Persian, Turkish and South Indian Hindu elements.

Rajput Painting School

A number of Rajput princes were in command of the Mughal armies in the Deccan during the
17th century. Many of these princes came from Rajasthan, bringing along with them the essential
trappings of the Mughal court including their painters. The beginning of the Rajasthan School of
painting are contemporaneous with those of the Mughal School developing a style of Hindu
devotional Bhakti movement and romantic subjects such as Gita Govinda, Balagopala Sthuti.

Pahari Miniatures

As in the Rajasthan School, a number of sub-styles developed in Pahari painting.Guler paintings

of the second half of the 18th century are prized for their exquisite brushwork and lyrical talents.
The most prolific school was Kangra under Raja Sansar Chand and the fine paintings continued
to be produced until the first quarter of the 19th century.

Raga Paintings

Raga paintings have given to the art world some of its masterpieces. Ragas as a theme have been
widely followed in miniature paintings by artists of all sects, schools and periods – Pre-Mughal
and post-Mughal. The painters of ragamala have followed the texts of Narada, Haribhallabha,
Hanuman and Meshkaran for their artistic modalities of ragas, but their art innovations are quite
different from the texts.

Stone Sculpture

The development of sculptural arts has grown through centuries from the Indus valley
civilization in the third millennium (2300-2250 BC). Beautiful objects in bronze, stone and
terracotta dating from that time have been excavated across the sub continent.

Casting Metals

Among the arts which figures prominently in the rich treasury of Indian culture was that of
casting images in metal, which has a long and glorious history. An outstanding statue of dancing
girl was found in Mohenjodaro is about 4500 years old and is from the Indus Valley Civilization.
Casting in bronze culminated in the remarkable images of the Pallavas and later of the Chola
dynasties in Southern India.

Wood Carvings

The recorded history of woodcarvings began in Kerala from 1214 AD with the figures and
friezes carved on the ceilings of the central shrine and prostration halls of the temple such as
Mahadeva temple at Katinamkulam in Kerala.
Q3) Describe various methods of Visual Arts like Panting, Block Printing, collage, clay
modelling, paper cutting and folding etc is important why?

Ans) Visual arts, not only provide pleasure and creative inspiration, but they also help foster
dialogue and bring important issues to the public eye.

A) Art can have amazing power to foster collaboration between different societies. For example,
cooperation between artists from conflicting peoples or touring art shows that bring real-world
issues to distant populations are essential to raising levels of understanding between cultures. For
example, famous Colombian artist Fernando Botero's paintings have depicted reported abuse in
the Abu Ghraib prison during the recent Iraq War, bringing more attention to the plight of the
Iraqi people. Art is powerful in its simplicity; it can convey ideas across classes and cultures due
to its lack of reliance on language or written language.

B) Art can be a powerful way to bring communities together. Creation of community art helps
citizens to work together to create shared visions of their ideals, values and hopes for the future.
Teams can work together to create murals that celebrate the area's history or achievements, with
help from a muralist.

C) It is an important way to document our collective present so that future generations may have
greater understanding of our ways of thinking, values and more. For example, Taiwan initiated
the Community Construction Movement in 1995. This long-term project aims to invigorate local
communities by establishing 25 museums that focus on Taiwan’s indigenous groups. Art is a
deceptively simple way to access cultures that might otherwise be forgotten.

D) Also it has long been a tool of protest and an inciter of social change. For example, popular
street artist Banksy has tirelessly plastered his images in many of the world's major cities in an
effort to draw attention to environmental issues and poverty. It also has the capacity to heal, as
therapeutic art is now commonly used to alleviate psychological trauma.

Q4,7,12) Identify different performing art forms and artists.

Ans) The different types of performing arts are :

Theater : Girish Krnad, Feroz Khan, Mahesh Dattani, Vijay Tendulkar, Zohra Sehgal, Raul
Julia, Sam Waterson

Dance : Raja and Radha Reddy, Birju Maharaj, Mikhail Baryshnikov, Vaslav Nijinsky, Rudolf
Nureyev

Music : Lata Mangeshkar, Mukesh, Mohammad Rafi, Beethoven, Bob Marley

Acting : Dev Anand, Sharmila Tagore, Dilip Kumar, Kate Winslet, Will Smith

Magic : B.M. Sorcar, P.C. Sorcar, Harare

Circus acts : Gemini circus, Apollo Circus, Kamala Circus, Metro Circus

Performing arts involve using facial expressions, voice, and body language to communicate a
creative fabrication. Most forms of performing arts are done in front of a live audience, with the
exception of some film and television acting and video musical productions.

Q5,8) How is experimentation with visual arts useful for developing creativity. Explain

Ans) Creative art activities can help children in all areas of development. Child care providers
should plan creative activities with the child’s overall development in mind. Here are some ways
that art activities can support young children's development.

Physical Development

When child care providers offer art activities, they are supporting children's large and small
muscle development, as well as their eye-hand coordination. Using crayons, markers, and
paintbrushes helps children practice the fine motor control they will need for writing later on.

Social Development

When children work together in the art area, they learn to share, to interact with others, to be
responsible for cleanup, and to put materials away. These are positive and important changes for
social learning.

Cognitive Development

Young children can learn the names of colors and shapes through creative art activities. They
find out what happens when they mix two primary colors together and get a secondary color.
Sending older children outside to carefully examine a tree, feel its bark, and study the shape and
color of its leaves, and then asking them to draw or paint trees helps them develop observational
skills needed for science.

Emotional Development

Through creative art, children may be able to represent experiences that they cannot verbalize.
They may draw pictures out of proportion, exaggerating things that are important to them. When
we value children’s creativity, we help them feel valued as people, raising their self-esteem.

Imagination and Experimentation

Children’s active imaginations can take form through art. For example, Gene wonders what will
happen if he uses three paintbrushes at one time. He asks his teacher to help him tie a rubber
band around three paintbrushes. Through active experimentation, he invents a new way to paint.
Although tying three paintbrushes together may not be earthshaking, Gene is learning skills that
could help him invent something new, like a car that runs on solar power or a cure for cancer,
when he grows up.

Q6,9,10,15) Why is knowledge of Indian Craft Traditions important and what is its relevance in
education?

Ans) Since arts experiences offer other modes and ways of experiencing and learning, children
will have opportunities to think and feel as they explore, problem solve, express, interpret, and
evaluate the process and the results. To watch a child completely engaged in an arts experience is
to recognize that the brain is on, driven by the aesthetic and emotional imperative to make
meaning, to say something, to represent what matters.

Education in the arts is essential to students’ intellectual, social, physical, and emotional growth
and well-being. Experiences in the arts – in dance, drama, music, and visual arts – play a
valuable role in helping students to achieve their potential as learners and to participate fully in
their community and in society as a whole. The arts provide a natural vehicle through which
students can explore and express themselves and through which they can discover and interpret
the world around them. Participation in the arts contributes in important ways to students’ lives
and learning – it involves intense engagement, development of motivation and confidence, and
the use of creative and dynamic ways of thinking and knowing. It is well documented that the
intellectual and emotional development of children is enhanced through study of the arts.
Through the study of dance, drama, music, and visual arts, students develop the ability to think
creatively and critically. The arts nourish and stimulate the imagination, and provide students
with an expanded range of tools, techniques, and skills to help them gain insights into the world
around them and to represent their understandings in various ways. Study of the arts also
provides opportunities for differentiation of both instruction and learning environments.

Participation in the arts and learning about the arts can also broaden students’ horizons in various
ways. Through study of the arts, students learn about some of the diverse artistic practices, both
traditional and contemporary, of a variety of cultures. They learn that they are part of a living
and changing culture. They also learn to appreciate the similarities and differences among the
various forms of artistic expression of people around the world. The arts offer students unique
opportunities to engage in imaginative and innovative thought and action and to develop the
ability to communicate and represent their thoughts, feelings, and ideas in numerous ways.

Through interacting with various works of dance, drama, music, and visual arts, including
multimedia art works, students deepen their awareness and appreciation of diverse perspectives.
They can empathize with the characters in a dance work, a drama, a song, or a visual art work,
and can imagine what it would be like to be in the same situation as these people. They can
identify common values, both aesthetic and human, in various works of art, and in doing so,
increase their understanding of others. The arts can also encourage students to be responsible and
critically literate members of society and citizens of the world. Students can learn to approach
issues and present ideas and points of view in new ways and to challenge perceptions, while
engaging their audience. They can explore and create original “artistic texts” in kinesthetic,
visual, spatial, aural, and dramatic ways with attention to both conceptual and aesthetic
considerations. Use of current and emerging technologies (e.g., video, multimedia) is integrated
in the four disciplines as means of recording, enhancing, communicating, and reinterpreting
ideas.

The arts are a way of knowing that provides ways of perceiving, interpreting, organizing, and
questioning various aspects of our world through exploration and experimentation. Artistic
expression involves clarifying and restructuring personal ideas and experiences. The arts enable
individuals and groups to create ideas and images that reflect, communicate, and change their
views of the world. An important part of arts literacy is the development of an understanding of
the nature of the arts, which includes an understanding of what artists, musicians, actors, and
dancers do as individuals and as a community, how ideas are generated in the various arts, and
what benefits are associated with these activities. The arts themselves can be regarded as “texts”
or commentaries that reflect, record, celebrate, and pass on to future generations the personal and
collective stories, values, innovations, and traditions that make us unique. Students may
contribute their vision, abilities, and creative energies to the extensive arts and culture sector of
Canada, and thus help define, renew, and shape our sense of personal and national identity. The
arts broaden young minds and exalt our spirits; they help us understand what it is that makes us
human by validating our commonalities and celebrating our differences.

Students will learn to link the study of the arts with the study of a variety of subjects and topics
such as history, geography, language, culture, and human interaction. They gain an appreciation
of the great importance of the arts as sources of enjoyment and as means of communication in
cultures around the world. They also learn to understand that the arts have long served as
important media for recording and communicating ideas and feelings. Students will learn that all
the arts not only reflect historical and cultural values, but can also be interpreted differently
depending on the experiences of the viewer and the perspective presented by the art work.
Artistic “texts” (e.g., modern dance, sculptures, shadow plays, songs) carry meaning and require
analysis, interpretation, and understanding of their context (for example, how and why the work
is created and viewed).

Learning through the arts fosters integration of a student’s sensory, cognitive, emotional, and
motor capacities. For example, hands-on materials and activities can challenge students to move
from the concrete to the abstract, and students can develop ideas while working through the
stages of the creative process. The arts can be enjoyable and fulfilling, but they are also
intellectually rigorous disciplines involving the use of complex symbols (e.g., choreography,
gesture, icons, musical notation) to communicate meaning and understanding. Many of these
symbols are rooted in a particular social, historical, and cultural context and therefore may have
meanings that are different from what one knows from one’s own culture and time.

All of the arts disciplines are distinct, each with its own body of knowledge, and with its own
concepts, forms, styles, conventions, techniques, and modes of inquiry, but these disciplines are
also linked in various ways and they enrich and are enriched by each other and by other subjects.
The world of communication has been affected by the arts in many significant ways, such as the
use of body language, music, visuals, and voice in the media. It is important, therefore, that
students see and understand the arts in their wider context – as endeavours with important ideas
for people – and that they learn to connect their knowledge of the arts to the world beyond the
school. In making links between the arts and other areas of the curriculum, students will learn to
see how the arts can increase understanding or can give them alternative modes of expression for
their ideas. For example, students can use dance to explore feeling and movement in the study of
a science topic such as the stages of a natural disaster; through drama, they can explore the point
of view of characters whose voice is not heard in a story; they can use their understanding of the
power of music to create mood and a sense of time and place in a historical film; or they can use
the power of imagery in art work or popular media to influence the viewer.

In producing their own works, students communicate their insights while developing artistic
skills and aesthetic judgement. Since artistic activities are closely connected to play and human
interaction, students experience a sense of wonder and joy when engaged in the arts, which can
motivate them to participate more fully in cultural life and in other educational opportunities.
Participation in arts activities helps students develop their ability to listen and observe, and
enables them to become more self-aware and self-confident. It encourages them to take risks, to
solve problems in creative ways, and to draw on their resourcefulness to build on new ideas. It
encourages them to develop a personal voice. Fostering a love of the arts in students, even if they
do not intend to be professional artists, will enrich their future experience as audience members.
As well, study of the arts expands the ways in which students can express their ideas, feelings,
beliefs, and values, as well as their understanding of those of others. It encourages innovative
thinking, spontaneity, intuition, divergent thinking, and improvisation. Such learning is vital for
communication, understanding, and intellectual and emotional growth. It is also necessary for
critically analysing and selecting information in an age when a plethora of information is
available instantaneously. The knowledge and skills developed in the study of the arts can
therefore be applied in many other endeavours.

Q11) What all visual art and crafts can be used to enhance artistic and asthetic sensibility among
learners to enable them to respond to the beauty of different art forms?
Ans) Teachers should be aware that dance, drama, music, and the visual arts are separate
disciplines, each with its own body of knowledge, artistic “language” or symbols, and modes of
investigation. They each have a history and heritage, and they have structures in which ideas and
experiences may be developed. Each discipline therefore provides unique opportunities through
which students can develop their ability to communicate and to interpret meaning – for example,
through visual, auditory, or kinesthetic forms or symbols. The arts can have a powerful influence
on the way we think and communicate, and students can benefit from opportunities to interpret
meaning and develop their communication skills in a variety of expressive forms in the arts.

Dance

The dance curriculum is intended to help students to develop an understanding and appreciation
of dance, as well as the ability to create works using the elements and the choreographic forms of
the discipline. Through exploring dance and movement, students will develop an understanding
of the art form, themselves, and others, and will learn about the lives of people in different times,
places, and cultures. They will develop practical artistic skills, critical analysis skills, and a
variety of communication skills.

Dance is expressive movement with purpose and form. All dance communication is transmitted
through movement – that is, through the body movements and gestures of the dancer. A dancer
is, therefore, both the performer and the instrument through which dance is expressed. It is not
recommended that students at the elementary level be given instruction in formal dance
techniques (e.g., ballet, Graham, Límon techniques). Instead, students will develop their own
movement vocabularies that they will use to create dance pieces that communicate their feelings,
ideas, and understandings. This approach to dance, as outlined in this curriculum, is based on
dance pedagogies (e.g., Laban), and focuses on the use of movement and the elements of dance
instead of rote repetition of dance steps.

In all grades, students will draw upon a variety of sources – such as literature, media texts,
images, historical and current events, and topics and themes from across the curriculum,
particularly the other arts – in order to create dance pieces in which they communicate their
interpretation of personal ideas and feelings, social justice issues, themes, situations, and the
motives of various characters. Dance is a physical and non-verbal medium for learning about the
self and the world; it offers the opportunity to participate in learning in kinesthetic, cognitive,
and imaginative ways. It is important that movement skills be developed within students’
ongoing dance explorations and creations, rather than be focused on isolated, repetitive
exercises.

As students engage in creating and responding to dance works, they will develop their awareness
of aesthetic issues and explore various ways a dance piece can be interpreted. The meaning each
person derives from a work of art is different and is based on the connections the observer makes
between the dance and personal experience, the dance and other works of art, or the dance and
the world. Students should also reflect on the meaning they communicate through their own
dance. They will also learn to use technology both for observing performances by accomplished
artists (e.g., DVDs, videos) and in creating their own presentations (e.g., lighting, musical
recordings, projected images). The dance program should provide opportunities for students to
view and be exposed to a variety of dance performances and works by local, multicultural, and
professional Canadian artists both within and outside the school. Emphasis should be placed on
understanding that dance is continually evolving and that innovations develop alongside or out of
traditional forms or practices.

The Dance strand has three overall expectations, one for each of Creating and Presenting;
Reflecting, Responding, and Analysing; and Exploring Forms and Cultural Contexts.

Drama

The drama curriculum is intended to help students to develop an understanding and appreciation
of drama, as well as the ability to create works using the forms, concepts, elements, and
conventions of the discipline. Through exploring drama, students will develop an understanding
of the art form, themselves, and others, and will learn about the lives of people in different times,
places, and cultures. As they work in role in a context, they will come to understand particular
situations, texts, ideas, and stories. In addition to role playing, students will use their growing
understanding of drama forms, conventions, and elements to develop process drama with others,
explore issues through improvisation, or develop or interpret scenes. It is not recommended that
students at the elementary level be given instruction in formal drama or theatre techniques (e.g.,
memorizing scripts or interpreting mannerisms of a specific character using the Stanislavski
method). Instead, students will expand their thinking, solve problems, and develop their ability to
express ideas and feelings through aspects of the art form such as contextual or process drama
and role play. Students should explore dramatic situations episodically and should assume
different roles using various drama conventions. They will also develop practical artistic skills,
critical analysis skills, and a variety of communication skills that will enable them to clarify and
articulate their own point of view.

Drama provides many opportunities for students to practise communicating with different
audiences for a variety of purposes, through moving, speaking and writing in role. Role playing
is a key component of the drama curriculum. Pretending to be someone else involves an act of
the imagination that is of central importance in the development of the ability to understand
others. As students “live through” experiences of others in imagined situations, they learn to
understand a variety of points of view and motives and to empathize with others. This
exploration of the “as if” in roles and worlds will help students deepen their understanding of
humanity and issues of equity and social justice. Students will also learn to use language
effectively to communicate a character’s emotional state and point of view.

In all grades, students will draw upon a variety of sources – such as literature, personal stories
and experiences, historical and current events, and topics and themes from across the curriculum
– to create a meaningful context for their drama explorations. Students can also draw on previous
instruction and prior experience with other art forms – including visual arts, writing, dance, and
music – to enhance and extend their drama work. As students engage in creating and critiquing
works of drama, they will develop their awareness of aesthetic issues, not only in drama but in
the arts generally, and will learn about ways in which the arts are interconnected. They will also
learn to use a variety of existing and emerging technologies both for observing performances by
accomplished artists (e.g., DVDs, videos) and in creating their own presentations (e.g., lighting,
projections, musical recordings). In the higher grades, students will also use various technologies
for research. The drama program should provide opportunities for students to view and be
exposed to a variety of drama performances/media and works by local, multicultural, and
professional Canadian artists both within and outside the school.

The Drama strand has three overall expectations, one for each of Creating and Presenting;
Reflecting, Responding, and Analysing; and Exploring Forms and Cultural Contexts.

Music

The music curriculum is intended to help students develop an understanding and appreciation of
music, as well as the ability to create and perform it, so that they will be able to find in music a
lifelong source of enjoyment and personal satisfaction. Emphasis should be placed on
encouraging students to become active participants in composing music, exploring ideas through
music, responding to music, and performing.

An interesting and challenging program in music not only develops practical artistic skills but
also enables students to sharpen their ability to reason, to think critically, and to explore their
emotional responses to the music. Students develop musical literacy through singing, playing,
moving, performing, creating, and listening actively. It is therefore essential that a balanced
music program be offered – one that includes listening and responding, performing, interpreting,
and creating and that may appeal to a wide variety of students. Children learn to love music
when they have opportunities to experience it in the context of a rich and varied curriculum.

As students engage in creating and performing music, they will learn to generate and focus their
thoughts in a musical form; explore and experiment with instruments, found or environmental
sounds, and compositional forms and techniques that are appropriate for their developmental
stage; revise and refine their work; and present and share their composition or performance with
others. Through creating and performing, students will experience the joy of making music,
create compositions that express and communicate their ideas and feelings, learn to identify and
solve problems, and apply their knowledge of the elements of music both independently and in
cooperation with others.

Students will learn to use the critical analysis process to respond to, analyse, and interpret music
they experience or hear. As they express their initial thoughts, feelings, and ideas about music,
analyse the musical choices that are made, and explore the context in which music was created,
they will build the knowledge and language they need to communicate about music as well as
through music. Students will further their understanding of the music of various cultures by
studying a wide range of music and musicians from different time periods and cultures, including
Aboriginal, local, national, and global societies.

The Music strand has three overall expectations, one for each of Creating and Performing;
Reflecting, Responding, and Analysing; and Exploring Forms and Cultural Contexts.

Visual Arts

The visual arts include a broad range of forms, genres, and styles that include the traditional arts
of drawing, painting, sculpting, printmaking, architecture, and photography, as well as
commercial art, traditional and fine crafts, industrial design, performance art, and electronic and
media arts. The visual arts curriculum is intended to help students develop their creativity, as
well as the ability to communicate their understanding of the world around them through visual
arts. In learning to express themselves in visual ways, students will sharpen their powers of
observation, imagination, and invention. In developing the ability to respond to, analyse, and
describe works of art, they will learn to interpret art works and to communicate their
understanding of the meaning and intentions they see in the works. The development of visual
literacy skills and knowledge will therefore prepare students to investigate and understand
images, media, and art works, and will equip them to interpret the complex contemporary visual
world.

The visual arts curriculum is rooted in the experience of art making. Visual arts provide ways of
describing, exploring, and responding, and can be used to express ideas, experiences, and
feelings. In order to make visual art works, students need to acquire a range of skills and some
specific knowledge. It is essential for students to be engaged in meaningful, open-ended art-
making activities that enable them to express personal feelings, experiences, and ideas and
develop the skills to use art tools, materials, and techniques that are appropriate for the grade.
When students become familiar with the possibilities and limitations of a variety of tools,
materials, and techniques and can demonstrate control of these resources, they will be expected
to apply their knowledge and skills in making artistic choices in their own work.

The works of art to which students are exposed should represent various topics, themes, and
styles (e.g., representational or realistic, stylized, Impressionist, abstract works) and different
historical periods, including contemporary art by living artists, and should also include
conceptual and fine art, traditional art, and artefacts. Teachers are expected to use a range of
high-quality art reproductions so that students have high-quality materials to observe and learn
from. It should be noted that the art works cited in the curriculum are only examples and are not
meant to limit teachers’ choices. The works selected for study should include the works of both
men and women and should reflect the cultural diversity of Canada and the world, including the
contributions of First Nation, Métis, and Inuit artists. Through experiencing a wide variety of art
works, students will also learn to understand and appreciate the range and significance of artistic
expression. Wherever appropriate, the study of the visual arts should be linked to the other arts
disciplines and other subject areas.

The Visual Arts strand has three overall expectations, one for each of Creating and Presenting;
Reflecting, Responding, and Analysing; and Exploring Forms and Cultural Contexts.

Media Arts and Multimedia Technology

Although media arts does not represent a separate strand, the arts curriculum must take it into
account. There has been a global transformation of culture, as new and emerging media forms
have blurred the boundaries between the arts, leading to the creation of new art forms and new
ways of looking at the arts.

A new aesthetic sensibility has arisen from the technological revolution, allowing young people
to view the world through multiple modalities. Multisensory and cross-disciplinary approaches
are challenging fixed forms and categories as means for interpreting human experience.
Traditional definitions of the arts do not sufficiently take these forces into account.

New technologies are increasingly being used in teaching, learning, and creating in the arts.
These technologies are contributing to the emergence of new art forms. Moreover, the use of
multimedia technology also gives students opportunities to develop collaborative skills, since
creating a multimedia project in the arts often involves a number of learners. Such collaborative
and interactive activities foster holistic learning, the integration of skills and knowledge, and the
development of transferable skills. Students also need to develop the ability to think critically
when creating and viewing print and electronic media so that they are aware of the effect of
media on their perceptions and experience of the world.

Q14,18) Name few indian festivals and their artistic significance

Ans) Makar Sankranti : This a major harvest festival celebrated when the glorious Sun God
begins ascendancy into the Northern Hemisphere. i.e. in mid-January when the sun moves into
the Tropic of Capricorn (known as Makar in Hindi). It is probably one of the few Hindu festivals
that is always celebrated on the same date, January 14, each year. It is celebrated across the
country in myriad cultural forms with great devotion, fervour and gaiety.Apart from being a
harvest time festival, it also ushers in an auspicious period — in fact it is the end of a month in
which any auspicious functions are not held.

To mark the sun’s journey into the Northern Hemisphere, people in the state of Tamil Nadu in
south India celebrate “Pongal” at this very time of Makar Sankranti. Pongal is a four day long
harvest festival of thanksgiving to nature.
Significance: The festival of Makar Sankranti is associated with much cultural significance.The
Puranas say that on this day the Sun visits the house of his son Shani, who is the Swami of
Makar Rashi. This day symbolizes the healthy relationship of father and son. It is the son who
has the responsibility to carry forward his father’s dream and the continuity of the family.

It is also said that, on this day ended the terror of the `Asuras’ by finishing them off and burying
their heads under MountMandara. So this occasion also represents the end of negativities and
beginning of an era of righteous living.

Vasant Panchami, the fifth day of spring, is celebrated by propitiating Goddess Saraswati. As
she symbolizes the constant flow of wisdom, she also represents the full blossoming of multi-
hued Nature, kindling the light of inspiration and hope.

Significance : It is believed that on this day Goddess Saraswati was born. She is always shown
clad in white, the colour of purity. The tulsi mala or rosary made of tulsi beads represents
perseverance and consistency in `Sadhana’ or `Bhakti.

The Vedas held in her hand signify knowledge and wisdom which form the basis of the 64 art
forms. She holds a pen in one hand, the power to manifest truth through words. “Gyanyog” or
the path of wisdom is the force to dispel ignorance.

The colour yellow is of special importance during Vasant Panchami as it signifies the coming of
spring, after a long, arduous winter, and is also the colour of the energy-giving sun: the mustard
fields in bloom are a bright yellow, exuding the warmth of spring. Fittingly, the radiance is
associated with knowledge, symbolized by Goddess Saraswati.

Mahashivratri : Mahashivratri or Shiva Jayanti is a festival imbibed with deep spiritual

meaning and celebrated on the thirteenth night of the waning moon of Phalgun as per the Hindu
Calendar.

Significance : Shiva symbolizes the universally worshipped form of God, the Eternal light. Shiva
who is “Kalyankari”, is the “Benefactor of all souls.” Mahashivratri is, therefore, the memorial
of the divine incarnation and divine acts of the incorporeal God. Shiva is the Supreme Father, He
who performs the triple role of creation, sustenance and destruction. This divine trinity is
symbolized as Brahma, Vishnu, Mahesh in Hindu theology.

Holi : Holi is an abundant celebration of joy, goodness and the season of spring, celebrated on
Phalgun Poornirna (full moon) as the birthday of Manu, the start of ‘Samvat’ (first day in the
Hindu Calendar). Holi is observed a fortnight after Mahashivratri which falls a day before
‘amavasya’, the darkest night of the month. Spiritually it signifies light prevailing over darkness,
fear and ignorance.

Holi is associated with the smearing of colours and the Holika bonfire, in which dry sticks and
cow dung are put to fire and corn seeds burnt to the point of losing their power to germinate. The
fire represents burning away of what is old and worn out. The Holi festivities have a central
message — let bygones be bygones, bury old hatchets, and start anew in the spirit of spring.

Significance : The scriptures throw light on the origin of Holi. The story of Prahlad in Vishnu
Puran projects the triumph of good ever evil.

Prahlad is devoted to Lord Vishnu while his father king Hiranyakshyap, is an atheist engaged in
religious persecution. To distract his son from the path of devotion, the father resorts to ruthless
methods, but fails. Finally, the evil king takes the help of his sister Holika who was blessed by
Lord Brahma not to be consumed by fire. She enters a bonfire with Prahlad in her lap and for
misusing the boon, Holika gets burnt to ashes and Prahlad comes out unscathed : The unrelenting
king tries then to kill his son’s mentor Lord Vishnu who emerges from a pillar as half-man, half-
lion (Lord Narsimha) and destroys the king. The people of the Kingdom celebrate the death of
the evil king and coronation of Prahlad by playing with colours, and the celebration has come to
be known as Holi. Colours are thrown on each other to symbolize decorating self and others with
the divine colours of universal peace, love, purity, amity and brotherhood.

Good Friday & Easter : Good Friday commemorates the sufferings and death of Jesus Christ. It
was the day he was nailed to the cross. So what was “good” about that fateful Friday? According
to the Bible, “Christ died that He might bring us to God.” And from the cross He prayed for the
enemies who had crucified Him, saying, “Father forgive them for they know not what they do.”
The Messiah suffered, died, and rose again on the third day. Since then, his followers have been
preaching the message of repentance and forgiveness.

Significance : Easter is a reminder of the loving spirit of Christ who stood for sacrifice, love,
prayer, selfless service and devotion. Easter marks the end of Lent, a forty-day period of fasting,
prayer and penance.

Ramnavami : The festival of Ram Navami marks the birthday celebrations of the Hindu God
Rama, the seventh incarnation, of Lord Vishnu. According to the Hindu Calendar, it falls on the
9’h (navami) day of the Chaitra month in the spring season. Celebrations of Ram Navami start
on Gudi Padwa, the first day of Chaitra, and continue for nine days.

Significance : Rama is a symbol of sacrifice, a model of brotherhood, an ideal administrator, a

warrior unparalleled. The term ‘Ram Rajya’ stands for the most exalted concept of a welfare
state. Rama was not only Divine but he was invested with the highest values of an enriched
tradition started by Raghu. The essence of Rama is therefore the essence of excellence in every
pursuit. It has been said of Rama’s reign in Ayodhya ” … it was such that no suffering of mental,
bodily or physical nature afflicts its citizens. There is no animus and everyone is conscious of his
duty. There is no poverty, no untimely death, no want. The forests are lush and the ecosystem
healthy.” Rama, as “Maryada Purush” the ideal human being of Vishnu’s incarnate, is a great
role model whose popularity transcends bordess and cultures.”
Baisakhi : Baisakhi is a harvest festival and marks the ripening of the Rabi harvest especially in
the Punjab. Baisakhi is also inextricably linked with the Sikh tradition. It was on the auspicious
day of Baisakhi in 1699 that the Tenth Guru of Sikhs Guru Gobind Singh, founded the Khalsa
Panth or the Order of Pure Ones and gave a unique identity to Sikhas. On that day the Guru
administered “amrit” or nectar to his first batch of five disciples making them Singhs, a martial
community. By doing so, he eliminated the differences of high and low and established that all
human beings were equal.

Baisakhi is a time to resurrect the ancient contract of man with nature – a time for renewal and
fresh hope which the traditional New Year brings in.

Summer and Monsoon Time Festivals : Hot summer months are followed by Monsoons, as
new life is created after a parched summer. The Monsoon brings relief not only to people but
also brings many religious celebrations. Shravan, Guru Purnima, Janmashtmi, the birth
anniversary of Prophet Muhammed and Navroz are some of the festivals in this period.

Guru Purnima : The full moon day of Ashadh is observed as a sacred day in memory of the
great sage Vyasa. The Indian tradition sees God in the Guru, as someone who can lead us from
spiritual darkness to divine light.

Significance : On this day all spiritual aspirants and devotees worship Vyasa in honour of his
divine personage. This day is of significance to the farmers as it heralds the setting in of the
much-needed rains. It is a good time too begin your spiritual -Sadhana” or lessons. The period of
(chaturmas’ (four months) begins from this day.

Shravan, Raksha Bandhan, Narial Purnima : Raksha Bandhan is celebrated during the bright
fortnight in the month of Shravan. The Bhavishya Purana referes to a battle between the deities
and demons. The king of the deities, Indra, was feeling depressed, when his wife Sachi took a
thread, charged it with sacred verses for protection and tied it on Indra’s hand. Through the
strength of this thread, India conquered his enemies. Over time, the manner of celebration
underwent modifications. Raksha Bandhan is a sacred festival for sisters and brothers. In
Mumbai, the fisherfolk celebrate Narial Purnima on this day, where coconuts are thrown into the
sea to propitiate the sea God, Varuna.

Janmashtmi : Also known as Gokulashtami, this is a Hindu festival celebrating the birth of
Lord Krishna, an awatar of Vishnu. It is observed on the eighth day (ashtmi) of the dark half or
Krishna Paksha of the month of Bhadrapad. Significance : The birthday of Hinduism’s favourite.
Lord Krishna is very special as the Hindus consider him their leader, hero, protector,
philosopher, teacher and friend all rolled into one.

Song and dance and fasting mark the celebration of this festive occasion. In the state of
Maharashtra people enact the God’s childhood attempts to steal butter and curd from earthen
pots beyond his reach. A similar pot is hung high above the ground and groups of young people
form human pyramids to try and reach and break it.

Ganesh Chaturthi : This festival is celebrated on the fourth day of the waxing moon in the
month of Bhadrapad. The festival last for 10 days, ending on Anant Chaturdashi, the fourteenth
day of the waxing moon period.

Significance : The son of Shiva and Parvati, Ganesh is the Lord of wisdom and success. The
elephant’s trunk has the strength to uproot a tree as well as the finesse to pick up a needle. Hence
Ganesh’s trunk symbolizes the fact that the wise person has both immense strength and fine
discrimination. Ganesh has large ears – a wise person hears all. He has four hands. In one hand,
he holds a lotus, the symbol of enlightenment. In the other a hatchet – the old Karma gets cut
when enlightenment comes. The third hand holds “laddus” – sweetmeats which are the rewards
of a wise life. Ganesh is never seen eating the laddus – a wise man never partakes of the rewards
of his deeds. He is not attached to them. The fourth hand is shown blessing people. Ganesh has
only one tusk, the other broken one symbolising that the wise is beyond duality. He is shown
sitting with one foot on the ground and the other resting above on his knee – the wise person is of
this earth, yet not entirely of the earth.

Navrathri & Dussehra : Navratri means nine nights, during which the nine forms of
Shakti/Devi are worshipped. The tenth day is referred to as Vijaydashmi or Dussehra. The
beginning of autumn (as is spring) is an important junction of climatic and solar influence and is
taken as an opportunity to worship the Divine Mother.

Significance : On Dussehra day, Ram killed the great demon Rawana and hence is a celebration
of good over evil. Large effigies of Ravana are set on fire and in burning these effigies people
symbolically burn the evil within and follow the path of truth and goodness.

Winter Time Festivals :

Diwali : The aestheticaliy appealing Diwali illumination dates back to many millennia when the
jubilant citizens of Ayodhya welcomed Rama back after exile.

Significance : Lord Rama went into exile for 14 long years and when he finally returned, the
citizens of Ayodhya celebrated the joyful reunion by illuminating their homes.

Ayodhya is likened to our hearts, and Rama, the supreme object of our love and devotion. Due to
misconceptions we too have exiled the Lord from our hearts. Just as Ayodhya became a ghost
town, when Rama departed from our hearts we were filled with anxiety, depression, stress and
our lives were empty and sad. We however, are often slow to realise and recognise the cause of
our problems. Diwali signifies return of Rama to Ayodhya. Our celebration of Diwali will
remain incomplete if we only light lamps – how can we welcome the Lord back into our heart
and experience the essence of Diwali?

While lighting the earthen lamps we must light our hearts with divine wisdom and love. The
festival of lights symbolizes the lighting up of our inner cousciousness towards realisations of the
Divinity that lies dormant within our hearts.

Christmas : Christmas is a festival celebrated on December 25′ all over the world to
commemorate the birth of Jesus Christ. It is a secular holiday throughout the world.

Significance : The basic message of Christmas is that God, the Almighty Creator of the Universe,
has come into this world in the human form for the salvation of the world. Christ was born in a
world characterized by ignorance, greed, hatred and superstition. He brought about a
transformation and a new era dawned. He was born in a stable to humble and poor parents. This
implies that spiritual awakening will come to one who is humble and poor.

Eid-ul-fitr : Eid-ul-fitr marks the end of the holy month of fasting, Ramadan. `Eid’ is an Arabic
word meaning “festivity”, and “Fite means breaking the fast. The festival celebrates the
conclusion of the month-long days of dawn-to-sunset fasting during the entire month of
Ramadan.

Significance : Fasting during the month teaches people to stay away from worldly desires and
focus entirely on the Lord and thank him for his blessings. The communal aspects of the fast
express the basic values of the Muslim Community – empathy for the poor, charity, worship,
steadfastness, patience, etc. Fasting is also believed by some scholars to extol fundamental
distinctions, lauding the power of the spiritual realm while acknowledging the subordination of
the physical realm.

Q16,17) Diffrentiate between Education in Arts and Arts in Education, Natyashastra, archetypal
characters and Rasas.

Ans) Art education is the process of learning about different types of artistic expression,
including different media and formats for artwork and different movements and styles
throughout art history. It is commonly taught to students of many age ranges and can be a focus
of learning during secondary education such as at a college or university. This type of education
is usually taught by art teachers and can include practical understanding, such as how to use
different tools to create artwork, or an understanding of how to appreciate artwork. These classes
will usually focus on basic types of artistic creation, such as drawing, painting, and sculpture,
though specialized classes in subjects such as pottery, digital art, and mixed media can also be
found.

Many art education classes will usually be split between practical knowledge and theoretical
knowledge, teaching both how to create artwork and an appreciation for the work others create.
An art teacher will often be an experienced artist with a background both in different types of
artistic creation and teaching pedagogies. While a specialized art class in a subject such as art
history could focus primarily on learning through lecture and reading, most classes will allow
students to create their own artwork and view the work of others, both students and masters, to
better understand artistic expression.

Arts in education is an expanding field of educational research and practice informed by

investigations into learning through arts experiences. In this context, the arts can include
Performing arts education (dance, drama, music), literature and poetry, storytelling, Visual arts
education in film, craft, design, digital arts, media and photography.[1] It is distinguished from
art education by being not so much about teaching art, but focused on:

how to improve learning through the arts

how to transfer learning in and through the arts to other disciplines

discovering and creating understanding of human behavior, thinking, potential, and learning
especially through the close observation of works of art and various forms of involvement in arts
experiences

Arts integrated learning is a way to teach artistic skills in conjunction with academic material.
This approach to education values the process and experiential learning as much as creation of
art object or performance oriented learning.

Natyashastra, in full Bharata Natyashastra, also called Natyasastra, detailed treatise and
handbook on dramatic art that deals with all aspects of classical Sanskrit theatre. It is believed to
have been written by the mythic Brahman sage and priest Bharata (1st century bce–3rd century
ce).

Its many chapters contain detailed treatments of all the diverse arts that are embodied in the
classical Indian concept of the drama, including dance, music, poetics, and general aesthetics. Its
primary importance lies in its justification of Indian drama as a vehicle of religious
enlightenment.

Bharata classifies the Rasa under eight categories (ashtarasa) and gives the corresponding
Bhava which gives rise to the rasa. These are known as Sthayi Bhava or pervading stable
emotion. They are rati(love), hasa(mirth), shoka(grief), krodha(anger), utsaha(heroism),
bhaya(fear), jugupsa(disgust), and vismaya(wonder).4 The corresponding eight Rasa are
sringara(amorous), hasya(humorous), karuna(pathetic), raudra(furious), vira(valorous),
bhayanaka(horrific), bibhatsa(repugnant), and adbhuta(wondrous).5 There are three types of
Bhava, namely, Sthayi (eight types), Vyabhichari (thirty three), and Satvika (eight), totaling to
forty-nine. The Satvika bhava are the physical manifestation of intense emotion. They are
sthamba(petrification), sveda(perspiration), romancha(horripilation), svarabheda(voice change),
vepathu(trembling), vaivarnya(facial colour change), asru(weeping), and pralaya(fainting). It is
an amazing analysis of human emotions put in a nutshell !

Vibhava is the cause (karana), the main stimulating cause being termed as alambana vibhava (the
determinant), and, the environmental factors that are additional causes termed as uddipana
vibhava (excitant). Anubhava is the consequent physical reaction through action, word and facial
expression that follows (anu), as the impact of the vibhava. The thirty-three vyabhichari bhava
(also referred to as sanchari bhava in some editions), are transitory, fleeting emotions based on
psychological states of the mind. Several such emotions follow one after the other, one replacing
the other, strengthening the sthayi bhava at each stage, till finally the sthayibhava is established
and there is 'Rasanubhava'. "Just as in music a procession of notes in certain combinations
reveals a characteristic melodic whole or raga, similarly it seems that the representation of
bhavas reveals rasa as an aesthetic whole."

For instance, in the play Abhijnanashakuntalam, Kalidasa uses King Dushyanta's coming to the
hermitage to pay respects to the sage, as the alambana vibhava. The girls' talk, the bee, their
attire, the flower garden and such others become the uddipana vibhava. On Dushyanta's entry,
fleeting emotions like confusion, wonder, fear, curiosity, bashfulness and such others seem to fill
the minds of all the characters present. The blossoming of love between Shakuntala and
Dushyanta is gradually established through the reactions of both of them to the conversation of
the sakhis with the King. If the 'patra' enacting as Shakuntala is able to show the Satvika bhava
of horripilation (romancha) or vepathu (trembling) out of the new experience of love which is
strange to an ashramite and Dushyanta is able to portray sthambha (petrification) on seeing her
beauty and romancha on knowing her lineage, then the rati sthayi bhava gets established in the
mind of the people who can experience the sringara rasa.

Bharata says that Bhava and Rasa are mutually dependent. The performer or producer, be it an
actor, dancer, singer, instrumentalist, or stage craftsmen, should be conscious of the sthayi bhava
and the rasa that they are striving to establish. This will help them realize their 'siddhi' through
'Rasotpatti'.