NCERT Textbook: Dance and Sculpture | Arts (kriti) Class 7 - New NCERT PDF Download

 Page 1


?????? ??? ?? ??????????????? ????????? ??? ? ?? ???
?
?? ???? ??? ?????
vina tu n?ityashastre?a chitrasutram 
sudurvidam
— Vishnudharmottara Purana
Without the knowledge of dance 
(n?ityashastra) the principles of 
sculpture (shilpashatra) are very difficult 
to understand. 
Page 2


?????? ??? ?? ??????????????? ????????? ??? ? ?? ???
?
?? ???? ??? ?????
vina tu n?ityashastre?a chitrasutram 
sudurvidam
— Vishnudharmottara Purana
Without the knowledge of dance 
(n?ityashastra) the principles of 
sculpture (shilpashatra) are very difficult 
to understand. 
Note to the Teachers 
Teachers may provide a spacious hall with sufficient 
space for children to move and dance. The space 
should have ample ventilation and adequate lights. 
Guide the children according to their ability to adopt 
the given principles. Help them to form groups and 
work as a team.
Pedagogical Principles
1. Help children understand body movements 
in relation to geometrical shapes to try out 
comfortable and challenging postures.
2. Interrelationship of arts with sculpture, 
particularly with body and geometrical shapes.
3. Understanding some basic units of dance with 
a focus on feet movement and rhythm, and 
exploring mathematical permutations and 
combinations of talas.
4. Introduction to jumps and pirouettes in dance, 
and making them comfortable to practice 
various jumps. This will be physically beneficial 
for the children.
5. Expression of emotions — encourage children 
to express their emotions, both positive and 
negative to foster emotional well-being.
6. Using hand gestures as a communication 
medium.
7. Learn about dance forms of India including, 
classical and traditional forms, thereby 
understanding the cultural diversity of India.
8. Gender sensitisation with learning and 
understanding role-play irrespective of gender, 
especially in the case of traditional dances.
9. Introduction to contemporary Indian dance 
and use of dance in popular culture. Exploring 
creativity with movements.
10. Learning and researching notable Indian 
dance personalities.
11. Importance of teamwork and collaborative 
effort in producing dance.
12. Holistic appreciation of dance and movement 
with due importance to nature.
THE CURRICULAR GOALS AND COMPETENCIES ARE 
GIVEN BELOW
CG-1: Develops openness to explore and express 
themselves through various art forms.
C-1.1: Confidently expresses their personal and 
everyday life experiences through a variety of dance 
and movement activities.
Page 3


?????? ??? ?? ??????????????? ????????? ??? ? ?? ???
?
?? ???? ??? ?????
vina tu n?ityashastre?a chitrasutram 
sudurvidam
— Vishnudharmottara Purana
Without the knowledge of dance 
(n?ityashastra) the principles of 
sculpture (shilpashatra) are very difficult 
to understand. 
Note to the Teachers 
Teachers may provide a spacious hall with sufficient 
space for children to move and dance. The space 
should have ample ventilation and adequate lights. 
Guide the children according to their ability to adopt 
the given principles. Help them to form groups and 
work as a team.
Pedagogical Principles
1. Help children understand body movements 
in relation to geometrical shapes to try out 
comfortable and challenging postures.
2. Interrelationship of arts with sculpture, 
particularly with body and geometrical shapes.
3. Understanding some basic units of dance with 
a focus on feet movement and rhythm, and 
exploring mathematical permutations and 
combinations of talas.
4. Introduction to jumps and pirouettes in dance, 
and making them comfortable to practice 
various jumps. This will be physically beneficial 
for the children.
5. Expression of emotions — encourage children 
to express their emotions, both positive and 
negative to foster emotional well-being.
6. Using hand gestures as a communication 
medium.
7. Learn about dance forms of India including, 
classical and traditional forms, thereby 
understanding the cultural diversity of India.
8. Gender sensitisation with learning and 
understanding role-play irrespective of gender, 
especially in the case of traditional dances.
9. Introduction to contemporary Indian dance 
and use of dance in popular culture. Exploring 
creativity with movements.
10. Learning and researching notable Indian 
dance personalities.
11. Importance of teamwork and collaborative 
effort in producing dance.
12. Holistic appreciation of dance and movement 
with due importance to nature.
THE CURRICULAR GOALS AND COMPETENCIES ARE 
GIVEN BELOW
CG-1: Develops openness to explore and express 
themselves through various art forms.
C-1.1: Confidently expresses their personal and 
everyday life experiences through a variety of dance 
and movement activities.
C-1.2: Demonstrates flexibility 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 final 
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 the India.
Page 4


?????? ??? ?? ??????????????? ????????? ??? ? ?? ???
?
?? ???? ??? ?????
vina tu n?ityashastre?a chitrasutram 
sudurvidam
— Vishnudharmottara Purana
Without the knowledge of dance 
(n?ityashastra) the principles of 
sculpture (shilpashatra) are very difficult 
to understand. 
Note to the Teachers 
Teachers may provide a spacious hall with sufficient 
space for children to move and dance. The space 
should have ample ventilation and adequate lights. 
Guide the children according to their ability to adopt 
the given principles. Help them to form groups and 
work as a team.
Pedagogical Principles
1. Help children understand body movements 
in relation to geometrical shapes to try out 
comfortable and challenging postures.
2. Interrelationship of arts with sculpture, 
particularly with body and geometrical shapes.
3. Understanding some basic units of dance with 
a focus on feet movement and rhythm, and 
exploring mathematical permutations and 
combinations of talas.
4. Introduction to jumps and pirouettes in dance, 
and making them comfortable to practice 
various jumps. This will be physically beneficial 
for the children.
5. Expression of emotions — encourage children 
to express their emotions, both positive and 
negative to foster emotional well-being.
6. Using hand gestures as a communication 
medium.
7. Learn about dance forms of India including, 
classical and traditional forms, thereby 
understanding the cultural diversity of India.
8. Gender sensitisation with learning and 
understanding role-play irrespective of gender, 
especially in the case of traditional dances.
9. Introduction to contemporary Indian dance 
and use of dance in popular culture. Exploring 
creativity with movements.
10. Learning and researching notable Indian 
dance personalities.
11. Importance of teamwork and collaborative 
effort in producing dance.
12. Holistic appreciation of dance and movement 
with due importance to nature.
THE CURRICULAR GOALS AND COMPETENCIES ARE 
GIVEN BELOW
CG-1: Develops openness to explore and express 
themselves through various art forms.
C-1.1: Confidently expresses their personal and 
everyday life experiences through a variety of dance 
and movement activities.
C-1.2: Demonstrates flexibility 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 final 
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 the India.
10
DANCE AND 
SCULPTURE
Dancing Shiva carvings at Ellora caves, Maharashtra 
Dancing Body in Sculptures
The Vishnudharmottara Purana emphasises the interrelation and  
interdependence between various art forms.  
Dated around 400 to 600 CE, the end of the Gupta 
period, is also known as the golden age of Indian arts. 
It understands the importance of spatial concepts of 
the performing body.
In this text, a discussion occurs between King 
Vajra and Markandeya on painting and drama 
in a memorable verse. It states the manifold  
interrelationship of performing and visual art.
Sage Markandeya instructs, “One who does 
not know the laws of painting (chitra) can never 
understand the laws of image-making (shilpa); and, 
it is difficult to understand the laws of painting 
(chitra) without any knowledge of the technique of 
dancing (nrtya) ...”.
The precision of geometrical shapes in dance 
and sculptures was probably worked out due to this 
interdisciplinary understanding.
Page 5


?????? ??? ?? ??????????????? ????????? ??? ? ?? ???
?
?? ???? ??? ?????
vina tu n?ityashastre?a chitrasutram 
sudurvidam
— Vishnudharmottara Purana
Without the knowledge of dance 
(n?ityashastra) the principles of 
sculpture (shilpashatra) are very difficult 
to understand. 
Note to the Teachers 
Teachers may provide a spacious hall with sufficient 
space for children to move and dance. The space 
should have ample ventilation and adequate lights. 
Guide the children according to their ability to adopt 
the given principles. Help them to form groups and 
work as a team.
Pedagogical Principles
1. Help children understand body movements 
in relation to geometrical shapes to try out 
comfortable and challenging postures.
2. Interrelationship of arts with sculpture, 
particularly with body and geometrical shapes.
3. Understanding some basic units of dance with 
a focus on feet movement and rhythm, and 
exploring mathematical permutations and 
combinations of talas.
4. Introduction to jumps and pirouettes in dance, 
and making them comfortable to practice 
various jumps. This will be physically beneficial 
for the children.
5. Expression of emotions — encourage children 
to express their emotions, both positive and 
negative to foster emotional well-being.
6. Using hand gestures as a communication 
medium.
7. Learn about dance forms of India including, 
classical and traditional forms, thereby 
understanding the cultural diversity of India.
8. Gender sensitisation with learning and 
understanding role-play irrespective of gender, 
especially in the case of traditional dances.
9. Introduction to contemporary Indian dance 
and use of dance in popular culture. Exploring 
creativity with movements.
10. Learning and researching notable Indian 
dance personalities.
11. Importance of teamwork and collaborative 
effort in producing dance.
12. Holistic appreciation of dance and movement 
with due importance to nature.
THE CURRICULAR GOALS AND COMPETENCIES ARE 
GIVEN BELOW
CG-1: Develops openness to explore and express 
themselves through various art forms.
C-1.1: Confidently expresses their personal and 
everyday life experiences through a variety of dance 
and movement activities.
C-1.2: Demonstrates flexibility 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 final 
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 the India.
10
DANCE AND 
SCULPTURE
Dancing Shiva carvings at Ellora caves, Maharashtra 
Dancing Body in Sculptures
The Vishnudharmottara Purana emphasises the interrelation and  
interdependence between various art forms.  
Dated around 400 to 600 CE, the end of the Gupta 
period, is also known as the golden age of Indian arts. 
It understands the importance of spatial concepts of 
the performing body.
In this text, a discussion occurs between King 
Vajra and Markandeya on painting and drama 
in a memorable verse. It states the manifold  
interrelationship of performing and visual art.
Sage Markandeya instructs, “One who does 
not know the laws of painting (chitra) can never 
understand the laws of image-making (shilpa); and, 
it is difficult to understand the laws of painting 
(chitra) without any knowledge of the technique of 
dancing (nrtya) ...”.
The precision of geometrical shapes in dance 
and sculptures was probably worked out due to this 
interdisciplinary understanding.
110  | KRITI
Arms and Angles
Earlier you have used your arms in different ways, 
moved in circles, made half circles and diagonals. Now , 
observe how your arms create various geometrical 
angles when it is used in dance. 
Geometrical shapes in dance
Dance and mathematics often intertwine with 
geometrical shapes, playing a key role in creating 
balanced and visually appealing movements.
When observing postures in dance, you can 
identify various geometrical shapes and angles 
formed by the body, such as triangles, circles and lines.
You have been learning your dance movements 
with the usage of different body parts.
Small body parts, medium body parts and big 
body parts which are mentioned in dance texts.
You are familiar with identifying shapes created 
by upper body bends or torsos.
body postures in upper torso 
Samabhang Dwibhang Abhang Tribhang Atibhang
Note to the Teacher: Connecting these actions to the 
lessons in geometry would help the child understand 
the concepts of lines and angles in an enjoyable way. 
The geometry teacher could also be involved in 
planning this.