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100+ Free BSEH SS Dance Kathak Practice Questions

Board of School Education Haryana (BSEH) Senior Secondary Dance (Class 12 — Dance / Kathak theory track, subject code 700) practice questions are available now; exam metadata is being verified.

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2026 Statistics

Key Facts: BSEH SS Dance Kathak Exam

Code 700

BSEH Senior Secondary Dance subject code

BSEH Class 12 Dance syllabus PDF

30 + 50 + 20

Theory + Practical + Internal Assessment marks (total 100)

BSEH Class 12 Dance examination pattern

2h 30m

Approximate theory paper duration (confirm current QPD)

BSEH Class 12 Dance question-paper design

33%

Common Senior Secondary subject pass floor for BSEH electives

BSEH Senior Secondary notification practice

English MCQ adaptation

This free local bank is not the official Senior Secondary paper format or practical exam

OpenExamPrep practice policy

BSEH Senior Secondary Dance (code 700) is a Class 12 public-exam subject: Theory 30 + Practical 50 + IA 20 = 100 marks, with ~2h30m theory — not a pure MCQ board paper. This free 2026 bank is an English MCQ study adaptation for Kathak theory, taal, folk forms, and terminology.

Sample BSEH SS Dance Kathak Practice Questions

Try these sample questions to test your BSEH SS Dance Kathak exam readiness. Each question includes a detailed explanation. Start the interactive quiz above for the full 100+ question experience with AI tutoring.

1In Kathak taal theory, which beat is called sam?
A.The first (and most important) beat of the taal cycle
B.Any empty beat marked only by a wave
C.The last beat of every vibhag only
D.A beat played only on the left hand drum skin
Explanation: Sam is the first beat of an aavartan and the point of rhythmic resolution toward which compositions typically resolve.
2Tali in a taal structure primarily indicates:
A.Only silent empty waves
B.Costume colour rules
C.Stage lighting cues
D.Emphasized clap beats of the cycle
Explanation: Tali marks the clapped/emphasized divisions of a taal; students clap on tali matras while reciting.
3Khali in a taal is best described as:
A.A permanent stop of all rhythm
B.A type of costume jewellery
C.An unstressed/empty division often shown with a wave of the hand
D.The first beat of every cycle
Explanation: Khali is the empty or unstressed vibhag/beat, conventionally indicated by a hand wave rather than a clap.
4What is an aavartan?
A.A folk dance of Haryana only
B.One complete cycle of a taal from sam back to the next sam
C.A double-speed foot stamp only
D.A type of forehead ornament
Explanation: An aavartan is one full cycle of the taal; counting aavartans is basic padhant and composition practice.
5Vandana in a Kathak presentation is primarily:
A.An invocatory/prayer piece opening the performance
B.A final exit bow with no music
C.Only a tabla solo without dance
D.A folk stick-fight form of Punjab
Explanation: Vandana is the opening salutation/invocation to the divine, guru, or theme before main technical items.
6The word aamad in Kathak literally relates to the idea of:
A.Exit from the stage only
B.A silent mime with no rhythm
C.Only Western ballet port de bras
D.Arrival or entry of the dancer into the pure-dance section
Explanation: Aamad (from Persian-influenced court vocabulary) marks the dancer’s formal entry composition after thaat/vandana in many sequences.
7A tihai is a rhythmic device in which a phrase is:
A.Repeated twice and never touches sam
B.Used only for costume change timing
C.Repeated three times and typically ends on sam
D.Played only once and ends on khali only
Explanation: Tihai means a thrice-repeated bol phrase designed to land on sam—the classic resolving figure in Kathak and tabla.
8Laya in dance and music theory refers to:
A.The name of a Punjab folk drum only
B.The tempo or speed of the rhythmic flow
C.Only the colour of the costume
D.Only facial makeup base
Explanation: Laya is tempo/pace—commonly vilambit (slow), madhya (medium), and drut (fast).
9Compared with a tukra, a toda in Kathak theory is generally understood as:
A.A longer/more developed rhythmic composition that commonly ends in a tihai
B.A type of ankle bell metal only
C.A permanent stage curtain
D.A nayika classification by jati
Explanation: Tukra is a shorter rhythmic piece; toda is a fuller rhythmic composition, typically closing with a tihai.
10Paran in Kathak is characteristically a composition that:
A.Is only a slow pure abhinaya thumri with no bols
B.Is only a folk wedding song of Haryana
C.Is a type of head jewellery
D.Uses powerful tabla/pakhawaj-style bols and often ends with a tihai
Explanation: Paran is a forceful nritta composition employing bold drum bols (often pakhawaj-flavoured) and commonly resolving in a tihai.

About the BSEH SS Dance Kathak Practice Questions

Verified exam format metadata for Board of School Education Haryana (BSEH) Senior Secondary Dance (Class 12 — Dance / Kathak theory track, subject code 700) is pending. The practice questions above remain available while official exam length, timing, passing score, fee, and administrator details are reviewed.