NCERT Textbook: Inner Dynamics of Dance | Arts (Kriti) Class 8 - New NCERT PDF Download

 Page 1


?????? ? ??????? ?? ??? ? ? ??????? ?? ??? ? ???? ? 
    ? ??????? ?? ??? ? ????? ? ??????? ?? ??? ? ????? ? ??
Kavya? na bhavena vina, na bhavena vina rasa? | 
Na bhavena vina n?tya?, na bhavena na bhavena vina jagat || 8
Poetry cannot exist without emotion,  
nor can aesthetic essence (rasa) arise without it.  
Dance cannot exist without emotion — 
indeed, the world itself cannot exist without emotion.
? Shloka no. 8 from Sangita Damodara  
by Pandit Shubhankara
ch10_DANCE.indd   104 ch10_DANCE.indd   104 19-06-2025   16:28:09 19-06-2025   16:28:09
Page 2


?????? ? ??????? ?? ??? ? ? ??????? ?? ??? ? ???? ? 
    ? ??????? ?? ??? ? ????? ? ??????? ?? ??? ? ????? ? ??
Kavya? na bhavena vina, na bhavena vina rasa? | 
Na bhavena vina n?tya?, na bhavena na bhavena vina jagat || 8
Poetry cannot exist without emotion,  
nor can aesthetic essence (rasa) arise without it.  
Dance cannot exist without emotion — 
indeed, the world itself cannot exist without emotion.
? Shloka no. 8 from Sangita Damodara  
by Pandit Shubhankara
ch10_DANCE.indd   104 ch10_DANCE.indd   104 19-06-2025   16:28:09 19-06-2025   16:28:09
Note to the Teachers 
Please provide a spacious hall for students to move 
and dance. The space must have ample ventilation 
and adequate lights. Guide the students according to 
their ability to adapt the principles provided below. 
Help them to form groups and work as a team.
Pedagogy Principles
1. Help students understand the importance of a 
relaxed body for dance and the importance of 
breath.
2. Understand the concept of a still point and 
movement emerging and ??nishing in still point.
3. Learn about the cultural diversity of India 
through its major traditional and various folk 
dance forms.
4. Use of hand gestures as a communicative device.
 
5. Expression of emotions — comfort level in 
expressing emotions. Encourage students to 
express both positive and negative emotions to 
foster emotional well-being.
6. Learning concepts of inclusivity and gender 
sensitisation by role-playing in traditional dances.
7. Understanding contemporary Indian dance and  
its role in popular culture. Exploring creativity 
with movements.
8. Learning and researching notable Indian dance 
personalities.
9. Understand the importance of teamwork and 
collaborative e??ort in dancing.
10. Holistic appreciation of dance and movement, 
and embracing the importance of nature.
The Curricular Goals and Competencies are  
given on next page.
ch10_DANCE.indd   105 ch10_DANCE.indd   105 19-06-2025   16:28:09 19-06-2025   16:28:09
Page 3


?????? ? ??????? ?? ??? ? ? ??????? ?? ??? ? ???? ? 
    ? ??????? ?? ??? ? ????? ? ??????? ?? ??? ? ????? ? ??
Kavya? na bhavena vina, na bhavena vina rasa? | 
Na bhavena vina n?tya?, na bhavena na bhavena vina jagat || 8
Poetry cannot exist without emotion,  
nor can aesthetic essence (rasa) arise without it.  
Dance cannot exist without emotion — 
indeed, the world itself cannot exist without emotion.
? Shloka no. 8 from Sangita Damodara  
by Pandit Shubhankara
ch10_DANCE.indd   104 ch10_DANCE.indd   104 19-06-2025   16:28:09 19-06-2025   16:28:09
Note to the Teachers 
Please provide a spacious hall for students to move 
and dance. The space must have ample ventilation 
and adequate lights. Guide the students according to 
their ability to adapt the principles provided below. 
Help them to form groups and work as a team.
Pedagogy Principles
1. Help students understand the importance of a 
relaxed body for dance and the importance of 
breath.
2. Understand the concept of a still point and 
movement emerging and ??nishing in still point.
3. Learn about the cultural diversity of India 
through its major traditional and various folk 
dance forms.
4. Use of hand gestures as a communicative device.
 
5. Expression of emotions — comfort level in 
expressing emotions. Encourage students to 
express both positive and negative emotions to 
foster emotional well-being.
6. Learning concepts of inclusivity and gender 
sensitisation by role-playing in traditional dances.
7. Understanding contemporary Indian dance and  
its role in popular culture. Exploring creativity 
with movements.
8. Learning and researching notable Indian dance 
personalities.
9. Understand the importance of teamwork and 
collaborative e??ort in dancing.
10. Holistic appreciation of dance and movement, 
and embracing the importance of nature.
The Curricular Goals and Competencies are  
given on next page.
ch10_DANCE.indd   105 ch10_DANCE.indd   105 19-06-2025   16:28:09 19-06-2025   16:28:09
CG-1 Develops openness to explore and express   
themselves through various Art forms.
C-1.1 Expresses con??dently their personal and 
everyday life experiences through a variety of 
Dance and Movement activities.
C-1.2 Demonstrates ??exibility in the process 
of collaboratively developing Dance and 
Movement practices.
CG-2 Applies their imagination and creativity to 
explore alternative ideas through the Arts.
C-2.1 Creates and performs Dance and Movement 
sequences that challenge stereotypes observed 
in their surroundings (such as gender roles).
C-2.2 Connects elements of Dance and Movement, 
mudras, gestures, and postures with personal 
experiences, emotions, and imaginations.
CG-3 Understands and applies artistic elements, 
processes, and techniques.
C-3.1 Demonstrates stage etiquette, care for stage 
equipment, props, and costumes; and makes 
informed choice while using Dance and 
Movement techniques.
C-3.2 Reworks ideas and expressions used in Dance 
and Movement from the stage of planning 
to ??nal performance, and reviews the entire 
process.
CG- 4 Acquaints themselves with a range of aesthetic 
sensibilities in regional arts and cultural 
practices.
C-4.1 Demonstrates familiarity with various local, 
and regional forms of Dance and Movement.
C-4.2 Describes the life and work of a few local 
dancers and movement artists in their region 
and across India.
ch10_DANCE.indd   106 ch10_DANCE.indd   106 19-06-2025   16:28:10 19-06-2025   16:28:10
Page 4


?????? ? ??????? ?? ??? ? ? ??????? ?? ??? ? ???? ? 
    ? ??????? ?? ??? ? ????? ? ??????? ?? ??? ? ????? ? ??
Kavya? na bhavena vina, na bhavena vina rasa? | 
Na bhavena vina n?tya?, na bhavena na bhavena vina jagat || 8
Poetry cannot exist without emotion,  
nor can aesthetic essence (rasa) arise without it.  
Dance cannot exist without emotion — 
indeed, the world itself cannot exist without emotion.
? Shloka no. 8 from Sangita Damodara  
by Pandit Shubhankara
ch10_DANCE.indd   104 ch10_DANCE.indd   104 19-06-2025   16:28:09 19-06-2025   16:28:09
Note to the Teachers 
Please provide a spacious hall for students to move 
and dance. The space must have ample ventilation 
and adequate lights. Guide the students according to 
their ability to adapt the principles provided below. 
Help them to form groups and work as a team.
Pedagogy Principles
1. Help students understand the importance of a 
relaxed body for dance and the importance of 
breath.
2. Understand the concept of a still point and 
movement emerging and ??nishing in still point.
3. Learn about the cultural diversity of India 
through its major traditional and various folk 
dance forms.
4. Use of hand gestures as a communicative device.
 
5. Expression of emotions — comfort level in 
expressing emotions. Encourage students to 
express both positive and negative emotions to 
foster emotional well-being.
6. Learning concepts of inclusivity and gender 
sensitisation by role-playing in traditional dances.
7. Understanding contemporary Indian dance and  
its role in popular culture. Exploring creativity 
with movements.
8. Learning and researching notable Indian dance 
personalities.
9. Understand the importance of teamwork and 
collaborative e??ort in dancing.
10. Holistic appreciation of dance and movement, 
and embracing the importance of nature.
The Curricular Goals and Competencies are  
given on next page.
ch10_DANCE.indd   105 ch10_DANCE.indd   105 19-06-2025   16:28:09 19-06-2025   16:28:09
CG-1 Develops openness to explore and express   
themselves through various Art forms.
C-1.1 Expresses con??dently their personal and 
everyday life experiences through a variety of 
Dance and Movement activities.
C-1.2 Demonstrates ??exibility in the process 
of collaboratively developing Dance and 
Movement practices.
CG-2 Applies their imagination and creativity to 
explore alternative ideas through the Arts.
C-2.1 Creates and performs Dance and Movement 
sequences that challenge stereotypes observed 
in their surroundings (such as gender roles).
C-2.2 Connects elements of Dance and Movement, 
mudras, gestures, and postures with personal 
experiences, emotions, and imaginations.
CG-3 Understands and applies artistic elements, 
processes, and techniques.
C-3.1 Demonstrates stage etiquette, care for stage 
equipment, props, and costumes; and makes 
informed choice while using Dance and 
Movement techniques.
C-3.2 Reworks ideas and expressions used in Dance 
and Movement from the stage of planning 
to ??nal performance, and reviews the entire 
process.
CG- 4 Acquaints themselves with a range of aesthetic 
sensibilities in regional arts and cultural 
practices.
C-4.1 Demonstrates familiarity with various local, 
and regional forms of Dance and Movement.
C-4.2 Describes the life and work of a few local 
dancers and movement artists in their region 
and across India.
ch10_DANCE.indd   106 ch10_DANCE.indd   106 19-06-2025   16:28:10 19-06-2025   16:28:10
10
INNER DYNAMICS 
OF DANCE
Breath in Dance
According to yogic philosophy, 
the word ‘prana’ refers to the 
vital breath of life. The ??ow 
of breath that occurs during 
inhalation and exhalation is known as pranayama.
Dance is also fuelled by this life force, prana. 
Dance movements begin with the equipoise, 
i.e., a relaxed spine. Breathing helps to relax 
the body, especially the spine, which enables the 
body to move with maximum agility and stability. 
Breathing forms the link between two seamless dance 
movements.
Breath plays a signi??cant role in physical dance 
movements and also while conveying emotions. 
In dance, the body stretches, bends and expands 
better with an inhale, just like in yoga asanas. 
When it contracts, it does so with an exhale. 
While holding a static posture, relaxing through 
the breath and focusing on elongating the spine 
help to balance and hold the position for longer.
Exhale Inhale 
ch10_DANCE.indd   107 ch10_DANCE.indd   107 27-06-2025   17:34:07 27-06-2025   17:34:07
Page 5


?????? ? ??????? ?? ??? ? ? ??????? ?? ??? ? ???? ? 
    ? ??????? ?? ??? ? ????? ? ??????? ?? ??? ? ????? ? ??
Kavya? na bhavena vina, na bhavena vina rasa? | 
Na bhavena vina n?tya?, na bhavena na bhavena vina jagat || 8
Poetry cannot exist without emotion,  
nor can aesthetic essence (rasa) arise without it.  
Dance cannot exist without emotion — 
indeed, the world itself cannot exist without emotion.
? Shloka no. 8 from Sangita Damodara  
by Pandit Shubhankara
ch10_DANCE.indd   104 ch10_DANCE.indd   104 19-06-2025   16:28:09 19-06-2025   16:28:09
Note to the Teachers 
Please provide a spacious hall for students to move 
and dance. The space must have ample ventilation 
and adequate lights. Guide the students according to 
their ability to adapt the principles provided below. 
Help them to form groups and work as a team.
Pedagogy Principles
1. Help students understand the importance of a 
relaxed body for dance and the importance of 
breath.
2. Understand the concept of a still point and 
movement emerging and ??nishing in still point.
3. Learn about the cultural diversity of India 
through its major traditional and various folk 
dance forms.
4. Use of hand gestures as a communicative device.
 
5. Expression of emotions — comfort level in 
expressing emotions. Encourage students to 
express both positive and negative emotions to 
foster emotional well-being.
6. Learning concepts of inclusivity and gender 
sensitisation by role-playing in traditional dances.
7. Understanding contemporary Indian dance and  
its role in popular culture. Exploring creativity 
with movements.
8. Learning and researching notable Indian dance 
personalities.
9. Understand the importance of teamwork and 
collaborative e??ort in dancing.
10. Holistic appreciation of dance and movement, 
and embracing the importance of nature.
The Curricular Goals and Competencies are  
given on next page.
ch10_DANCE.indd   105 ch10_DANCE.indd   105 19-06-2025   16:28:09 19-06-2025   16:28:09
CG-1 Develops openness to explore and express   
themselves through various Art forms.
C-1.1 Expresses con??dently their personal and 
everyday life experiences through a variety of 
Dance and Movement activities.
C-1.2 Demonstrates ??exibility in the process 
of collaboratively developing Dance and 
Movement practices.
CG-2 Applies their imagination and creativity to 
explore alternative ideas through the Arts.
C-2.1 Creates and performs Dance and Movement 
sequences that challenge stereotypes observed 
in their surroundings (such as gender roles).
C-2.2 Connects elements of Dance and Movement, 
mudras, gestures, and postures with personal 
experiences, emotions, and imaginations.
CG-3 Understands and applies artistic elements, 
processes, and techniques.
C-3.1 Demonstrates stage etiquette, care for stage 
equipment, props, and costumes; and makes 
informed choice while using Dance and 
Movement techniques.
C-3.2 Reworks ideas and expressions used in Dance 
and Movement from the stage of planning 
to ??nal performance, and reviews the entire 
process.
CG- 4 Acquaints themselves with a range of aesthetic 
sensibilities in regional arts and cultural 
practices.
C-4.1 Demonstrates familiarity with various local, 
and regional forms of Dance and Movement.
C-4.2 Describes the life and work of a few local 
dancers and movement artists in their region 
and across India.
ch10_DANCE.indd   106 ch10_DANCE.indd   106 19-06-2025   16:28:10 19-06-2025   16:28:10
10
INNER DYNAMICS 
OF DANCE
Breath in Dance
According to yogic philosophy, 
the word ‘prana’ refers to the 
vital breath of life. The ??ow 
of breath that occurs during 
inhalation and exhalation is known as pranayama.
Dance is also fuelled by this life force, prana. 
Dance movements begin with the equipoise, 
i.e., a relaxed spine. Breathing helps to relax 
the body, especially the spine, which enables the 
body to move with maximum agility and stability. 
Breathing forms the link between two seamless dance 
movements.
Breath plays a signi??cant role in physical dance 
movements and also while conveying emotions. 
In dance, the body stretches, bends and expands 
better with an inhale, just like in yoga asanas. 
When it contracts, it does so with an exhale. 
While holding a static posture, relaxing through 
the breath and focusing on elongating the spine 
help to balance and hold the position for longer.
Exhale Inhale 
ch10_DANCE.indd   107 ch10_DANCE.indd   107 27-06-2025   17:34:07 27-06-2025   17:34:07
108  | KRITI
ACTIVITY 10.1: BREATHING IN STILLNESS AND MOTION
Similar poses in dance and yoga 
 ? Divide yourselves into four groups. 
 ? Each group will hold a dance posture 
practised in earlier classes. Observe the 
??ow of breath through the movement of 
your spine. 
 ? Then, work out a movement with 
expansion of the body — for instance, 
arms outstretched, body bending, 
elongated movements of the feet while 
observe how breathing in helps the body. 
 ? Next, shift into another movement 
where there is body contraction, 
such as crouching the body in fear or  
nervousness, and breathe out while 
doing it.
 ? Finish it with another static posture with 
a relaxed breath.
 ? Once each group ??nishes presenting 
their movement pattern, discuss how 
breathing worked for both stillness and 
movements.
ch10_DANCE.indd   108 ch10_DANCE.indd   108 19-06-2025   16:28:13 19-06-2025   16:28:13