KRITI – I

Textbook for Arts

Grade 6

Name: ________________________

Section: ______________________

School: _______________________
0680 – Kriti–I
ISBN 978-93-5292-951-1
Textbook for Arts Grade 6

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Foreword
The National Education Policy (NEP) 2020 envisages an education system that is
rooted in Indian ethos and its civilisational accomplishments in all domains of
human endeavour and knowledge while simultaneously preparing the students
to constructively engage with the prospects and challenges of the twenty-first
century. The basis for this aspirational vision has been well laid out by the National
Curriculum Framework for School Education (NCF-SE) 2023 across curricular
areas at all stages. Having nurtured the students’ inherent abilities (touching upon
all the five planes of human existence, the panchkoshas), in the Foundational and
the Preparatory Stages it has paved the way for the progression of their learning,
further at the Middle Stage. Thus, the Middle Stage acts as a bridge between the
Preparatory and the Secondary Stages, spanning three years from Grade VI to
Grade VIII.
At the Middle Stage, the NCF-SE 2023 aims to equip students with the skills
that are needed to grow, as they advance in their lives. It endeavours to enhance
their analytical, descriptive and narrative capabilities, and to prepare them for
the challenges and opportunities that await them. A diverse curriculum, covering
nine subjects, namely three languages — out of which at least two languages
native to India, Science, Mathematics, Social Sciences, Art Education, Physical
Education, Yoga and Well-being, and Vocational Education will promote their
holistic development.
Such a transformative learning culture requires certain essential conditions.
One of them is to have appropriate and interactive textbooks in different
curricular areas which will play a central role in mediating between content and
pedagogy — a role that will strike a judicious balance between direct instruction and
opportunities for exploration and inquiry. Among the other conditions — classroom
arrangement, technology integration and teacher preparation are crucial to
establish conceptual connections both within and across curricular areas. The
National Council of Educational Research and Training (NCERT), on its part, is
 iv

committed for providing students with such high-quality textbooks. The various
Curricular Area Groups (CAGs), which have been constituted for this purpose,
comprising notable subject-experts, pedagogues, artists and practising teachers as
their members, have made all possible efforts to develop such textbooks. Kriti–I, the
textbook of Arts for Grade VI is one of these.
The contents of Kriti–I encompass the art forms of Visual Arts, Dance, Theatre
and Music. This textbook is for the learners to explore their creativity as well as
express and explore themselves. Kriti–I has infused in its contents, visuals and
other components, the rich Indian Knowledge Systems, India’s artistic and cultural
heritage, values — all deeply rooted in Bharat. Inclusivity of all genders and students
with special abilities is inherent to arts giving equal opportunity to all students.
Making optimum use of the technology integration, QR codes have been embedded
throughout, as additional learning resources.
For all practical purposes, Kriti–I has, to my mind, succeeded in its curricular
goals — to foster natural curiosity among students through a proper selection of theme
and content, and develop among them the core competencies at this stage as envisaged
in the NCF-SE for creativity, exploration and experiences of different art forms. The
sections and chapters are intelligently designed to accommodate all students in
various activities, bringing out their creativity and expression. Each activity suggested
here will take the students to a journey to discover more such learning resources,
be it their natural surroundings, day-to-day chores or human interventions. Besides,
the role of parents and teachers will also be invaluable in guiding and encouraging
students to do so. With this, I express my gratitude to all those who have been involved
in the development of this textbook and hope that it will meet the expectations of
all stakeholders. At the same time, I also invite suggestions and feedback from all its
users for further improvement in the coming years.

Dinesh Prasad Saklani

Director
July 2024 National Council of Educational
New Delhi Research and Training
About the Book
Kriti–I is the textbook which will take you to the world of art, exploring and
discovering the vast, and exciting universe of visual and performing arts, aiming
to ignite creativity, enhance appreciation for different art forms, and develop the
artistic skills of students. Designed for Grade VI, this book has a variety of artistic
disciplines, included in visual arts, music, dance and theatre.
Based on the spirit of National Education Policy (NEP) 2020 and on curricular
goals, competencies and learning outcomes laid out in the National Curriculum
Framework for School Education (NCF-SE) 2023 for Arts Education, Kriti–I is a book
for creation in different art forms. It has numerous engaging hands-on activities and
inspiring projects that will help in understanding and appreciating the role of art in
life and the world around us. Students will also learn about famous artists and their
works, explore different techniques and styles, and even create on their own. Each
of the activity will give a unique experience to the learners!
Apart from the activities and information given in this book, there are more such
activities and creative ideas given in digital form, that can be accessed by scanning the
QR code in the beginning of the textbook and every chapter as well as where ever the
need has been felt. The beauty of art is that it can connect to people of varied interests
and tastes. Each one can find their unique connection to the arts. In our country, there
has been a long history of heritage, culture and tradition where all art forms were
practiced.
“The Arts are about human aesthetic sensibility. Aesthetic sensibility refers
to our ability to perceive beauty, arrive at considered judgements regarding the
good and beautiful, and strive towards a sense of refinement in the art-making
process. Art is a personal form of understanding beauty, shape, symmetry, pattern
and movement blended in expression to evoke feelings. Artistic work covers both
conceptual and procedural knowledge, and deals with the ‘embodied’ sensory and
emotional experiences of human beings.” (NCF-SE, page 294). Thus, the core idea
behind creating this book has been to make sure learners enjoy the entire process
 vi

of exploration into the world of different art forms. The fact that it should nowhere
become stressful for the child to learn or try something new has been kept in mind
while developing the textbook. As each learner finds their connection to the art
form in their own way, it would be fruitful if the teachers also actively participate
in activities to support the learner into this journey of arts, rather than forcing
information.
Kriti–I has four sections, which are represented by specific colours, throughout
the book;
YeLLow for Visual Arts
BLue for Music
PINK for Dance and Movements
PurPLe for Theatre
Each of the above section is uniquely designed to create an enjoyable experience.
The ‘Visual Arts’ section is designed to empower students in visualising and
expressing their ideas, and emotions from everyday experiences and observations
around them. The activities in this unit introduce them to fundamental skills of
two-dimensional and three-dimensional techniques and explore different media
and material in the Visual Arts. Across all chapters, students are introduced to a
range of materials, surfaces and techniques that have been used in last hundreds
of years, whereas, there are plenty of occasions where they are left to explore and
discover them on their own.
The first three chapters give importance to sharpening each student’s
observation through a variety of drawing exercises. Through engaging activities —
techniques for making natural colours, colour mixing, and creating tints and shades
are introduced. The processes involved in creating their own seals, portraits, paper
crafts and flipbooks would spark many new inquiries and experiences for each
student.
This unit also includes a preliminary glimpse of Indian artists and art traditions,
which must be extended beyond the examples mentioned in the book. Students must
explore, celebrate and study about the various art practices, traditions and artists
they find in their own region or state. The knowledge gained from such exposure
would enhance their aesthetic sensibilities, creative imagination and their critical
thinking skills in all the work they do.
In the section of ‘Music’ in this textbook there is a wealth to explore the
knowledge, giving opportunities to the students to experience many concepts during
this journey of discovery. While some elements may feel familiar and comforting,
some ideas can be entirely new.
This textbook intends to fascinate everyone with the treasure of various types
of music that is scattered across regions in our country, where multiple art forms are
being practiced by people. Music holds a very significant place in our lives. Music
is a part of all the celebrations throughout the year, whether it is national festivals,
social gatherings, religious festivals or songs sung, and instruments played for dance
during a ceremony, harvest or any other season. Music connects everyone in their
beliefs, practices, rituals, etc., in day-to-day life.
Everyone loves singing songs and dancing to music. Apart from this textbook, in
this endeavour to learn music, grandparents, parents, and community members are
wonderful resources — to enhance the musical experience making it more vibrant
and dynamic. The lyrics and rhythm of music, sound of instruments, physical
movements, gestures accompanying the songs, the dance steps on the music played,
will enhance gross and fine motor movements. The joy of music will lead students
to a stress-free environment. The soul of music incorporates listening to lullabies,
humming of grandmothers, farmers singing in the field, buzzing of the birds and
bees or rain pattering on a window. Let us embark this journey of exploration
together to find the jewels scattered all around the country in music.
The unit of ‘Dance’ has been designed to give the learner further glimpse of the
varied form of dance forms of India. Furthering the knowledge of folk dance forms
of India, this section will introduce the students to traditional forms like Chhau and
Yakshagana. The section also gently leads them to try the basics of the classical dances
and becoming familiar with some technical terms. The chapters also introduce the
emotive content in performance with the Navarasa, while allowing the children
to get comfortable with their emotions and express them. Hand gestures are also
introduced with an idea of it being a repository for sign language. Moreover, the

vii
 viii

unit focuses on the gender neutrality of dance by portraying dance forms with such
features. It incorporates cross-curricular aspects and encourages them to find out
more information on their own.
The ‘Theatre’ section has been structured to cover a wide range of theatrical
disciplines. Each chapter aims to develop the creative skills, enhance artistic
expression and deepen the appreciation for arts. Understanding and expressing
emotions is not just fundamental to art forms but is also crucial in building the right
emotional balance in the learner. The chapters also introduce technical elements
of make-up, costume design, stage, script writing and puppetry in a practical
activity-based process, that will enable each child to explore their potential and find
an area of interest that they can excel in. A chapter on the traditional company
theatres of India is sure to fascinate the children in the way it worked in the last few
decades.
The ‘Theatre’ section is designed to provide a well-rounded approach to theatre,
encouraging students to explore, create and express better. Through engaging
lessons and hands-on activities, they are sure to gain valuable skills and a deeper
appreciation for the diverse world of theatre.
The last chapter of Kriti–I is on the integration of all art forms with panchtatvas
being the theme of the activities suggested so that students get an experience of
inter-disciplinary approach within the art forms. In the end of the book, the section
on assessment provides a template for recording assessment of all art forms as well
as a common rubric which can be used for reporting.
Structure of the Arts Class
It would be ideal if the classroom is free of any obstruction allowing the child to
move around freely for dance, and theatre or sit down in the way they want to
make a painting that they have imagined. This element of ‘freeness and openness’
in the physical environment subconsciously translates to ‘freeness and openness
in thinking’. The art room should be well-equipped and visually enriching with
informative display material. There will have to be a lot of interaction between the
teacher and learner as well as among the peer.
The Class Timetable
In order to keep a balanced progression of learning all the four art forms together
through the academic year, five periods per week for arts may be allotted. They can
either be separate periods of 40 minutes each or block periods of two 40 minutes
periods combined.

Jyotsna Tiwari
Member-Convenor, CAG Arts,
Academic Coordinator, Professor and Head,
Department of Education in Arts and Aesthetics
National Council of Educational
Research and Training

ix
National Syllabus and Teaching Learning
Material Committee (NSTC)

1. M. C. Pant, Chancellor, National Institute of Educational Planning and

Administration (NIEPA) (Chairperson)
2. Manjul Bhargava, Professor, Princeton University (Co-Chairperson)
3. Sudha Murty, Acclaimed Writer and Educationist
4. Bibek Debroy, Chairperson, Economic Advisory Council – Prime Minister
(EAC – PM)
5. Shekhar Mande, Former DG, CSIR, Distinguished Professor, Savitribai Phule
Pune University, Pune
6. Sujatha Ramdorai, Professor, University of British Columbia, Canada
7. Shankar Mahadevan, Music Maestro, Mumbai
8. U. Vimal Kumar, Director, Prakash Padukone Badminton Academy, Bengaluru
9. Michel Danino, Visiting Professor, IIT – Gandhinagar
10. Surina Rajan, IAS (Retd.), Haryana, Former DG, HPA
11. Chamu Krishna Shastri, Chairperson, Bhartiya Bhasha Samiti, Ministry of
Education
12. Sanjeev Sanyal, Member, Economic Advisory Council – Prime Minister
(EAC – PM)
13. M. D. Srinivas, Chairperson, Centre for Policy Studies, Chennai
14. Gajanan Londhe, Head, NSTC Programme Office
15. Rabin Chhetri, Director, SCERT, Sikkim
16. Pratyusha Kumar Mandal, Professor, Department of Education in Social
Science, NCERT, New Delhi
17. Dinesh Kumar, Professor and Head, Planning and Monitoring Division, NCERT,
New Delhi
18. Kirti Kapur, Professor, Department of Education in Languages, NCERT, New
Delhi
19. Ranjana Arora, Professor and Head, Department of Curriculum Studies and
Development, NCERT, New Delhi (Member-Secretary)

xi
Textbook Development Team

Chairperson
Shankar Mahadevan, Music Maestro, Mumbai
Contributors
Aradhana Gupta, Artist and Mentor — National Mission for Mentoring, NCTE, GoI
Bidisha Hazra, Assistant Professor, Music, Regional Institute of Education, Ajmer
Bindu Subramaniam, Co-founder and CEO, Subramaniam Academy of Performing Arts
(SaPa), Bengaluru
Chinthu Sachi, Music Educator, Sunaad, Bengaluru
Deepa Sridhar, Director, Shankar Mahadevan Academy
Madhusudhanan, PV, Assistant Professor, Art Education, NCERT, New Delhi
Malavika Rajnarayan, Visual Artist and Educator, Visiting Faculty, Azim Premji
University, Bhopal
Priyadarshini Ghosh, Artistic Director, Priyadarshini Arts, Kolkata
Rajashree SR, Member, NSTC Programme Office
Sharbari Banerjee, Assistant Professor, Department of Education in Arts and Aesthetics,
NCERT, New Delhi
Siddhi Gupta, Faculty, Srishti Manipal Institute of Art, Design and Technology,
Bengaluru
Sridhar Ranganathan, Founder and CEO, Shankar Mahadevan Academy, Bengaluru
Sudhanva AK, Assistant Professor, Reva University, Bengaluru
Vidushi Jyoti Bhat, Bharatnatyam Instructor, Purnaparamati, Bengaluru
Reviewers
Anurag Behar, Member, National Curriculum Framework Oversight Committee
Anutosh Deb, TGT, Arts (Retd.), Kendriya Vidyalaya, Guwahati
Govindraju Bharadwaza, Director, School of Performing and Visual Arts, IGNOU,
New Delhi
Manjul Bhargava, Professor and Co-Chairperson, NSTC
Rimsy Khanna, Assistant Professor, College of Arts, Delhi University, New Delhi
Member Coordinator
Jyotsna Tiwari, Professor and Head, Department of Education in Arts and Aesthetics,
NCERT, New Delhi

xiii
Acknowledgements
The National Council of Educational Research and Training (NCERT) acknowledges
the guidance and support of esteemed Chairperson and Members of the National
Curriculum Frameworks Oversight Committee, Chairperson and Members of
Curricular Area Group (CAG): Arts and also of other concerned CAGs for their
guidelines on cross-cutting themes in developing this textbook.
The NCERT acknowledges the support of senior faculty members of NCERT —
Suniti Sanwal, Professor and Head, Department of Elementary Education; Indrani
Bhaduri, Professor and Head, Educational Survey Division; Vinay Singh, Professor
and Head, Department of Education of Groups with Special Needs; and Milli Roy,
Professor and Head, Department of Gender Studies for reviewing the cross-cutting
themes such as, integration of gender, inclusion, assessment, etc., in this textbook.
We are grateful to the following individuals and institutions for allowing us
to use their resources in the form of written materials, illustrations, photographs
and audio-video material — Sangeet Natak Academi; Kala Utsav Archives, NCERT;
Centre for Cultural Resources and Training; Indian Council of Cultural Relations;
Institutions from Bengaluru — Vyoma Artspace and Studio Theatre, Abhinaya
Taranga Nataka Shaale, Subramaniam Academy of Performing Arts (SaPa), Shankar
Mahadevan Music Academy; Sunaad; Surabhi Theatre, Hyderabad; National Gallery
of Modern Art, New Delhi; National Crafts Museum and Hastakala Academy; Azim
Premji Foundation; Children’s Little Theatre, Kolkata; Ek Tara; The Metropolitan
Museum of Art (The Crosby Brown Collection of Musical Instruments), New York;
‘Back to School’ project 2023–24 of European Union Delegation in India by Delhi
Street Art; Indian Music Experience, Bengaluru; Sridhar Ranganathan, CEO and
Co-founder, Shankar Mahadevan Academy; Vani Hemmige; Anusha Chellappa and
Kshitij Kashyap from SaPa; Aloka Kanungo; Arpita Venkatesh; Sanjana Ghosh;
Debanjali Bandhopadhyay; Anupama Hoskere (Padma Shri Awardee); Dhaatu
Puppet Theatre, Bengaluru; and Shathavadhani R. Ganesh (renowned scholar).
 The NCERT appreciates the efforts of Ambi Subramanium, Violin Exponent,
Composer, Educator and Co-founder of Subramanium Academy of Performing
Arts; Jayanti Kumaresh, Veena Exponent, Researcher and Educator; Vidushi Tara
Kini, Advisor Shankar Mahadevan Academy, Expert in Curriculum Development,
Music Education and Communication of Indian heritage; Shivangi Purohit, Dance
Teacher, Kendriya Vidyalaya, Sector 2, R. K. Puram, New Delhi. We are grateful to the
Principal, Modern School, Barakhambha Road, New Delhi for giving permission to
use the works of students and photographs of students working.
The Council acknowledges the efforts of Ilma Nasir, Editor (contractual),
Publication Division, NCERT, for editing this textbook. The efforts and hard work of
Pawan Kumar Barriar, In charge, DTP Cell and Poonam, DTP Operator (contractual),
Publication Division, NCERT are appreciated for giving this document its final shape.
The Council expresses gratitude to Aastha Sharma, Editorial Assistant (contractual);
L. Guite, Somiwon A. Shishak and Adiba Tasneem, Proof Readers (contractual),
Publication Division, NCERT.

xv
 Constitution of India
Part IV A (Article 51 A)

Fundamental Duties
It shall be the duty of every citizen of India —
(a) to abide by the Constitution and respect its ideals and institutions, the
National Flag and the National Anthem;
(b) to cherish and follow the noble ideals which inspired our national struggle
for freedom;
(c) to uphold and protect the sovereignty, unity and integrity of India;
(d) to defend the country and render national service when called upon to
do so;
(e) to promote harmony and the spirit of common brotherhood amongst all
the people of India transcending religious, linguistic and regional or
sectional diversities; to renounce practices derogatory to the dignity of
women;
(f) to value and preserve the rich heritage of our composite culture;
(g) to protect and improve the natural environment including forests, lakes,
rivers, wildlife and to have compassion for living creatures;
(h) to develop the scientific temper, humanism and the spirit of inquiry and
reform;
(i) to safeguard public property and to abjure violence;
(j) to strive towards excellence in all spheres of individual and collective
activity so that the nation constantly rises to higher levels of endeavour
and achievement;
*(k) who is a parent or guardian, to provide opportunities for education to
his child or, as the case may be, ward between the age of six and
fourteen years.

Note: The Article 51A containing Fundamental Duties was inserted by the Constitution
(42nd Amendment) Act, 1976 (with effect from 3 January 1977).
*(k) was inserted by the Constitution (86th Amendment) Act, 2002 (with effect from
1 April 2010).
Dear Students

You are holding ‘Kriti–I’, textbook of Arts, for Grade VI, full of fun and activities. An urge for
Kriti–I or creation is within you all and you have been creative in these years of your early life,
now you are entering into another phase of your schooling where there is much more to explore
and experiment. The book will make you more sensitive towards your surroundings, environment,
people and society.
As you have experienced in the previous classes, there are so many art forms and you always
enjoyed creating — doing or watching or listening or dancing, playing instruments, scribbling, drawing,
painting, making models with clay, paper, and of course, singing, mimicking, drama, animation, etc.
You love them in your day to day life, in school, at home or while travelling. You observe so many
things around you that make you think — how people work, changes that happens with nature in
different seasons, animals make sounds, birds fly, leaves rustle, flowers have so many colours and
textures, bees buzz, colourful butterflies go around in the garden, daily chores are conducted in
your home, trains chuck, planes fly and so forth and so on. These are the fascinating phenomenons
that inspire us to create and express ourselves. They make us wonder — how, why, when and what!
The land of Bharat has witness thousands of years of human civilisation and evolution. Art
is all around us and gives joy, whether we are creating or experiencing and at the same time
makes lives beautiful. All of you have an artist within you, which is eager to come out and create
something. To be creative, to make a work of art, make movements, you have to be a good observer,
have good imagination and visualisation.
Kriti–I has four art forms full of fun and joy through which you will explore and learn these
art forms — create something new daily with your friends, teachers and family.
Prayer Before you Start Art Class
Usually, artists recite this before starting their performances. You can also
recite this loudly with action before starting every art class —
आकं भवु नं यसय,वाचिकं सवर् वाङ्मयम।्
आहाययं िन्द्र ताराचि, तं वन्िदे साचत्वकं चिवम॥्
Aangikam bhuvanam yasya,
Vaachikam sarva vangmayam.
Aaharyam chandra taradi
Tam vande saattvikam Shivam.
Meaning
Where the physical body is the universe,
speech or song is the essence of all sounds,
ornamentation is the Moon and the stars.
I bow down to that supreme divinity.
It brings together all the four art forms you are learning —
Angika: Physical performance with movement, action and expression.
Vaachika: Speech, dialogue, songs and lyrics.
Aahaarya: Costumes, jewellery, sculpture and painting.
Saatvika: The deepest emotional spiritual experience for the artiste and
audience.
This is an example of the verse written in Sanskrit by Nandikeshwara
in Abhinaya Darpana around a thousand years ago. You can also refer to the
videos by scanning the QR code.
Contents
Foreword..................................................................................................................................... iii
About the Book .......................................................................................................................... v
Dear Students ....................................................................................................................... xvii

Visual Arts
1. Objects and Still Life ...................................................................................................... 3
2. Changing the Typical Picture .................................................................................... 10
3. Portraying People ......................................................................................................... 20
4. Paper Crafts .................................................................................................................... 25
5. Seals to Prints ................................................................................................................ 29

Music
6. Music and your Emotions. ......................................................................................... 36
7. Musical Instruments .................................................................................................... 47
8. Taal or Talam and Raga or Ragam in Indian Music ............................................ 53
9. Melodies of Diversity ................................................................................................... 61
10. Songwriting .................................................................................................................... 70
11. Music and Society ......................................................................................................... 74
 xx

Dance
12. My Body in Motion ....................................................................................................... 79
13. Breaking Barriers with Dance................................................................................... 91
14. Harmony in Motion ..................................................................................................... 97
15. Dances of Our Land .................................................................................................. 104

Theatre
16. Emotions Unveiled! ................................................................................................... 114
17. Let’s Design .................................................................................................................. 127
18. In the Company of Theatre ..................................................................................... 141
19. Stories of Shadows and Strings — Puppetry ....................................................... 145
20. The Grand Finale ....................................................................................................... 154

21. Integration of All Art Forms ................................................................................... 157

22. Assessment .................................................................................................................. 161
VISUAL ARTS

“रूपभेदः प्रमाणानि
भावलावण्य्योजिम।्
सादृश्ययं वनणणिकाभगयं
इनि नित्यं षडयंगकम् ।।”
Rūpabhedāḥ pramāṇāni
bhāvalāvaṇyayojanam
Sādṛśyaṃ varṇikābhaṅgaṃ iti
chitraṃ ṣhaḍaṅgakam

Meaning
The six limbs of art are:
• Knowledge of appearance,
• Proportion,
• Emotions,
• Aesthetics,
• Similarity,
• Skillful use of tools and
colours.
Source: Vishnudharmottara Purana
Note to the Teachers Pedagogy
1. Encourage students to express their own ideas,
imaginations, emotions and curiosities, and
Classroom and Resources allow their originality and innocence to reflect in
1. Adequate space for students to sit comfortably their work.
and work. 2. Prioritise activities that allow students to explore,
2. Sufficient light and ventilation in the classroom. investigate, experiment and have dialogue in
3. Option of sitting outdoors if the weather is suitable. the classroom.
4. Provision of art materials, tools and basic 3. Include outdoor activities, field trips to museums,
stationery. CBCS, art galleries, art studios as well as local
5. Space for safely storing materials, as well as parks, gardens, markets, festivals, and fairs where
students’ artwork in an organised way. students get opportunities to observe the life and
6. Display boards for showcasing and sharing work, culture around them.
which can be changed regularly. 4. Invite local artists and craftspeople for interactive
7. Facilities for taking students on field trips, visits sessions, workshops for hands-on experience.
to museums or conducting art workshops in the 5. Inculcate simple habits of cleaning up after
school premises. working, putting back materials that have been
8. Projector, computer, speakers and other such used and maintain art materials with care.
facilities for showing relevant images, videos and 6. Students should participate in taking decisions in
other art resources. selecting and displaying artworks.
7. Avoid drawing on the board or in notebooks to
show students how something is drawn.
8. While reading, students underline the elements
of Art — line, shape, form, colour, value, texture
and space.
9. Activities under the heading ‘Continue’ are
extensions of the exercises and can be done at
home or at school.
 Chapter 1
Objects and Still Life
Welcome to the first chapter where
your visuals in art will narrate a story
through the world of objects and still
life. You will learn to add life to the
still objects.
How?
• By learning how to connect with
them.
• By building a story around them.
• By observing the compositional
arrangement.
• By observing how the light falls
on them creating shades and
shadows.
• Even if they appear seperate
from one point, how do they A student’s painting showing
overlap from another point variety of objects
of view.
Each drawing will deepen understand how to create forms by
your observation and you will adding depth to the objects, making
start depicting objects in your it look three-dimensional.
surroundings as you perceive them. You will also find exciting
Each activity will sharpen activities like creating flipbooks. So
your skills of shape recognition get ready to ignite your creativity
Still life (two-dimensional). You will and nurture your artistic talents.
Kriti–I | Grade 6 4

Activity 1: Explore if they can identify the object

from this drawing.
Objects from 2. You can draw different parts of
Surroundings the object. For instance, while
drawing a water bottle, draw
Look around you and observe the
each part (cap, container and
various objects. What material is
so on) separately. Notice the
each object made of? Pause and think
difference in proportions.
about why they are of a particular
3. Try and draw the same object
shape. Is there a reason behind their
from three different angles.
shape and form? Also, observe the
Change your position or move
space around these objects. Move
the object around. You can
around and observe the objects from
place the object on the floor or
different angles. After spending
even hang it. After you finish
some time observing, select two or
your three drawings, share
three objects you would like to draw.
them with your classmates.
Which of the three angles do
Activity 2: Draw Objects they find the most interesting?
in Different Ways
Riddle
Every person draws differently. This
Who am I?
makes their expressions unique.
Wherever you go, I follow
Here are some ideas you can try:
I have no face or form
1. You can draw an object using
You can see me
one continuous line. This means,
But cannot touch me.
you cannot pick up your pencil
Who am I?
Students drawing objects from the paper while drawing
in different ways the object. Ask your classmates Answer of the Riddle:
Shadow
 Continue: Draw objects of different Activity 3: Light and
materials found at home. Find
objects made of wood, metal, clay,
Shade
plastic, cloth, etc. Place them where Place different objects in front of you.
there is some light. Create an outline • Observe their shapes, shades,
drawing and try to map the dark shadows and how the light falls
and light areas. Notice the colour on each of them.
and shape of shadows, and include • What is the shape of their
these in your drawing. shadows?
• On which side of the objects do
you see their shadow?
Use a pencil and try a few
experiments. Vary the pressure as
you create rhythmic strokes in any
direction. Are you able to create
light and dark tones?
After you have practiced this on
a separate paper or drawing book,
draw the objects in front of you.
Within the outline of the objects,
create pencil strokes from light
to medium to dark tones. Also,
observe the shadows and show it in
your drawing.

Student’s artwork showing light and shade

Visual Arts 5
Kriti–I | Grade 6 6

DO YOU KNOW Activity 4: Through the

Amrita Sher-Gil is an Eyes of an Artist
important modern Indian
woman artist. She was Artists have a practice of studying
born in 1913. Her mother objects. They arrange them in a
was from Hungary and group to create drawings, paintings,
her father was from
sculptures and photographs. Such
India. She studied art in
Paris. When she was 21 artworks are called still life. In a still
years old, she returned life, a lot of thought is given to the
to India. She travelled choice of objects and how they are
around the smaller towns arranged.
and villages with her Flowers, plants, vegetables, fruits,
canvases, oil paints
and brushes. Her
food items, clothing, tools and other
paintings have household objects are also included
rich earthy in a still life arrangement.
colours. She was Why do you think it is called a
deeply affected by still life? If an object doesn’t have
observing the life
life, would it be a still life?
and conditions of
common Indian Still life painting by Amrita Sher-Gil Still life artworks depict things
people, and that are ‘still’ and do not move. In
created paintings the process of making the artwork,
based on these Discuss and talk about the objects, the objects get a new ‘life’. Look at
themes. arrangement, light, shade and still lifes made by well-known artists
shadows seen in this painting. and discuss them in your class.
 Activity 5: Create your
own Still Life
Make groups of four to five and
sit in a circle. In the centre of the
circle, place two to three objects. Try
and put objects made of different
materials like a bottle, fruit, metal
compass, wooden ruler, piece of
fabric or anything that interests
you. Discuss in your group different
ways the objects can be placed and
arranged. The objects can touch
each other or you can scatter them
around. Make sure everyone in the
circle can see the arrangement of
objects clearly.
Observe and draw the objects to
create your own still life.

Visual Arts 7
Kriti–I | Grade 6 8

Activity 6: Drawing Continue: Observe and draw objects

that are a part of buildings — doors,
Furniture windows, pipes, taps, shutters, fans
What are the different types of and lights.
furniture you see in school and at
home? Observe and draw any two
or three furniture objects. Compare
your drawings with the actual
objects. Compare the straight lines,
angles and shapes you drew with
straight lines, angles and shapes in
the object.
Edit your drawings so that it
conveys dimension and depth
around the object. This is called
perspective. It gives us a feeling of
three-dimensional space as though
we are seeing it in front of us.
In small groups, look at your
peer’s work and analyse whose
work has perspective. Identify the
lines, shapes and forms that are
helping in showing the perspective.
Activity 7: Make a
Step 2 Step 7
Flipbook
Wouldn’t it be fun if you could make
your objects move in your drawings?
You can do this by making a flipbook.
Follow the instructions below: Step 3
Step 1

Step 4 Step 3 – 6: Now, it’s time to add

movement to your object! On the
second last page of the flipbook,
trace the first drawing with a pencil.
Change the position of the object
very slightly. Repeat this step till you
Step 5 have drawn on all pages, each with
Step 1: Cut an A4 sheet into eight a slight change.
equal pieces and make a pile. Staple Step 7: Flip the pages of your
the pieces together from the shorter flipbook quickly. You will see your
side. Your book is ready! object moving.
Step 2: On the last page of the You can increase the number
flipbook, choose an object and draw Step 6 of pages in the flipbook to have
it close to the right edge. Draw with more movement!
a pencil and add other details if you
like. When you are happy with your
drawing, outline it with a marker.

Visual Arts 9
Chapter 2
Changing the Typical
Picture
This chapter will immerse you in
the wonders of nature. You will step
outdoors to discover many beautiful
shapes, forms, colours, patterns and
textures in other life forms. You will
learn to record these details through
drawing and painting activities.
You will also learn the
fascinating process of making
your own natural colours, along
with techniques of creating
colour tints and shades.
This chapter will inspire
you to think creatively
and change the way you
see the world.
 Activity 1: Nature Walk rough, bumpy, grainy or of
some other texture?
How do you feel when you are 3. Find a spot where there are
surrounded by trees, plants, hills, some plants and trees. Gently
streams, sea and sand? Spend two touch the plant and feel the
to three minutes imagining that you texture of its leaves, stems,
are surrounded by nature. What all barks, flowers, seed pods and
do you see? How do different things anything else that you see. Try
feel when you touch them? What do to draw those textures or note
you feel under your feet? How far
it through words.
can you see? Is anything moving?
4. Closely observe the shapes
What do you hear?
of leaves, and the lines and
Make small groups of four
patterns you see. Draw three
to five students and share your
leaves which have different
imaginations with one another.
shapes, lines and patterns.
Take your drawing book and a
pencil, and step outdoors to explore Make a note of their colours.
your surroundings. 5. Closely observe any animals,
1. Look up at the sky and feel its birds or insects. Are they sitting,
vastness. Make a note of the sleeping, standing or moving?
colours you see or the form of Try to draw their form.
the clouds. Gather in a group, and share your
2. Look at the ground. Observe the drawings and observations.
colour of the soil, the different
kinds of stones, pebbles and Continue: Start a visual journal and
small rocks. Touch and feel make drawings every day of the
their texture. Are they smooth, different things you see.

Visual Arts 11
Kriti–I | Grade 6 12

Activity 2: Field Trip

Visit a museum, artist studio or any place
where artists work. Note down your
observations based on these questions:
1. What kind of visual artworks do you see?
2. What are the materials used in making
the artwork?
3. Who are the artists? What tools and
techniques do they use?
4. How is the space arranged for making or
displaying artwork?
5. What new ideas or experiences did
you get?
Draw from your own experience or you
can use these images as reference.
 Activity 3: Make Write a list of some fruits,
vegetables, leaves and roots in
Natural Colours your food, which give colour
Have you ever wondered where when you crush or cook them.
colours come from? How are they
made? What did artists use before 1.
we had colour pencils, crayons
and paints in ready-made boxes? 2.
Think of the food you eat.
When dal is cooked at home, what 3.
is added to make it more yellow?
Turmeric! What do you call it 4.
at home in your language?
Now, think of other food that 5.
you have eaten. Some of their
colour stain your fingers, your
tongue and even your clothes if
you spill.
Similarly, flowers can also be
used to extract colour.
Apart from plants, colours
can also be made from soil,
stones and mineral deposits.
These processes have been used
by people to prepare colours for
various artistic purposes.

Visual Arts 13
Kriti–I | Grade 6 14

Let’s learn to make our own natural colours Activity 4: Make an

Artwork with Natural
Colours
Step 1: Source some materials from
the Earth or plants.
Step 2: Discuss the process of
preparing colour with your
teacher and peers, and
prepare your colours together.
Step 1: Source raw materials from soil, minerals, vegetables, flowers,
fruit, roots, charcoal, etc. (See the images of black charcoal and a blue
Step 3: Plan and experiment with
lapis lazuli stone.) different colour combinations
Step 2: The sourced pigments are finely powdered and filtered to remove from the colours you have
impurities. prepared.
Step 3: A binder is added to the powder in the correct proportion. This Step 4: Think about a colour which
helps the colour stick to the surface they are painted on. Gum arabic (sap
can be used in your artwork.
from the bark of a babul tree), oils, milk, egg white and egg yolk are some
natural binders. Step 5: Create your artwork using
Step 4: The prepared colour is applied to the artwork. the natural colours.
After everyone has completed
their artwork, have a classroom
display of the artwork. Label your
artwork with a title and details of
the material you have used.
You can also display and share
some of your preparatory sketches
or experiments that show the
process of your work. Discuss the
process and colours that are seen in
everyone’s artwork.
 Activity 5: Creating
Colour Tints and Shades
Do colours also change like
our moods?
Have you observed how your moods
change throughout the day? Spend
five minutes recollecting your
moods and talking about them:
1. What is your mood when you
go home after school?
2. What is your mood at dinner
time? Collage with waste fabric
3. What is your mood before going
to bed?
Have you observed the colours
4. What is your mood when you
of your clothes fade over time due
wake up in the morning?
to sunlight and repeated washing?
5. What is your mood now?
They change from bright to dull or
Moods and feelings last for dark to light.
some time and gradually change. In art, these variations in
They might feel strong and intense, colour are called tints and shades.
or mild. We create colour tints by adding
Colours are like that too. We can white to any colour. We create
make them vibrant, intense, dark, colour shades by adding black to
pale, light, mild … and so on. any colour.
Think of how colours change in Colour + White = Colour Tints
the sky during a sunrise or sunset. Colour + Black = Colour Shades

Visual Arts 15
Kriti–I | Grade 6 16

Let’s practice! Extension — Mapping Tints

Material: Plain paper to draw and and Shades
colour (water colours, poster colours Use the colour tints and shades you
or powder colours) — black, white, have created as a reference. Find
and two or three other colours. pictures of artworks from a museum
Alternative: Take colour pages from website or illustrated books that
old newspapers or magazines, and also have the same colour tints and
find the different shades and tints of shades in the pictures. Observe how
colours to create a paper mosaic. the tints or shades are enhancing
the moods and emotions of the
Nature’s Palette artwork. Repeat this exercise with
Have you ever marvelled at the four to five different colours, and
variety of colours in nature? their tints and shades. Note down a
Step outside and look for three short description of the moods and
leaves that are of three different emotions you have experienced
shades or colours. with the colour tints and shades.
Creating colour tints Try mixing various colours to get
and shades the closest shade you see.
 Activity 6: Surfaces
and Material Used
by Artists
You have learnt that colours can
be made from nature. Before the
invention of paper, artists used to
paint on natural surfaces like rocks,
walls of caves, mud plaster, palm
leaves, wood and cloth.
They also used terracotta, stone,
animal bone, leather, wood, metal
and fibre to craft a variety of three-
dimensional objects and sculptures.
They invented special tools and
developed techniques for working
with each material and surface.
If you did not have paper, which
surfaces and materials would you
choose for your artwork? Carry out
your own experiments and make
your artwork.
Look at the examples in the
page below. You can learn about
the variety of materials and
surfaces that artists have used since
pre-historic time.

Visual Arts 17
 Rock Fresco Leaf Wall, Cloth
Surface Surface Surface Floor Surface
Surface
Earth Colours Earth and Natural Colours Rice Flour, Natural
Mineral Colours Earth Colours Dyes

Bhimbetka Ajanta Caves Dry Palm Leaf Kolam Kalamkari

 Activity 7: My
Inspirations from
Nature
Now, you know that artists observe
their environment closely and
capture the finer details. Each
artist has their own imagination
and makes their own choices in
the material, tools and techniques
they use. This is what makes their
work unique.
Like an artist, you can also use
your own imagination. You can
choose material and tools that
are suitable for your own ideas.
Nature is your inspiration and you
are the creator. Include your own
experiences and observations.
It doesn’t have to be a mountain
or a river, or the sun. You decide
what represents nature for you. It
could be something much closer
from your immediate surroundings.
Remember, the picture should be
through your eyes!

Visual Arts 19
CHAPTER 3
Portraying People
In this chapter, you will explore the
different ways in which people are
portrayed, draw your own friends
by closely observing their physical
features. You will then collaborate In another exciting activity,
to compose a group portrait you will examine various roles of
using everyone’s drawings. people and the reasons behind their
Study artworks from clothing choices and visualise the
history that depict people in roles you would take on in future
many different ways. while creating an artwork.
 Activity 1: Make and ears. Pay attention to
the space between the eyes,
Portraits the distance between the
Have you ever wondered why we all hairline and eyebrow, and
look different even though our faces the length of the ears.
have the same parts — eyes, eyebrows, Step 3: Once you have your drawing
nose, mouth, ears and hair? ready, think about the
Observe the faces of your colours you want to use for
classmates. Can you identify how the portrait.
their face is different from yours? Step 4: Complete your portrait and
Are their eyes smaller or is their share it with your peers.
forehead bigger? Do they wear Discuss the similarities and
spectacles? How do they comb differences in the facial
their hair? features.
Split up into pairs for this activity Step 5: Cut out your portraits along
and draw a portrait of your partner their edge.
on an A4 sheet of paper. Step 6: Prepare a large surface by
Your portraits do not have to be joining many sheets of paper
picture perfect. You can add your or any other material.
own flavour to them. Step 7: Gather all the portraits and
Step 1: Make the shape of the face. Is decide an arrangement for
it a circle, oval or egg-shaped? a group portrait of the
Or, is it a rounded rectancle? whole class.
Step 2: Draw other features of Step 8: Paste each portrait in a
their face. Observe the decided arrangement. Your
shape and size of the eyes, class portrait is ready!
nose, eyebrows, lips, chin

Visual Arts 21
Kriti–I | Grade 6 22

Activity 2: Through the

Eyes of the Artists
Portraits are one way of depicting
people. In portraits, the focus is on the
face, head, neck and shoulders of a
person, but it might include other parts
of the body also. Artists have depicted
people in many other ways.
Look at the images of the Buddha
from different periods. Compare the
styles, facial features, and discuss the
Buddha represented in
different time periods similarities and differences in their
and styles characteristics.
Bodhisattva Buddha

Kushan Period Gupta Period Kushan Period Gupta Period Thanka style
Gandhar style Ajanta style Mathura style Sarnath style
100 BCE – 400 CE 500 CE 300 CE 500 CE
Activity 3: I Want to be …
What role would you like to play in other
people’s life when you grow up?
Would you like to help people fix their
bulbs? Or would you like to ensure that
people remain fit?
Draw yourself performing these roles.
It’s okay if you don’t know what roles you
may want. You can freely imagine yourself
in more than one role.
Draw three to five roles from the many
choices you can think of.
Look at the drawings made by everyone
in the class. Do you see anything typical
in these drawings? Or anything that is
unusual? Which drawings do you find
interesting and why?

23
Kriti–I | Grade 6 24

Activity 4: Clothes and Like you observe your natural

environment, observe people more
Roles closely. Notice that each of us is
How do you identify if someone unique in the way we look and how
is a painter or farmer? Do we all we dress.
imagine the farmer in the same Observe and draw any three
way or is there a difference? What people in different roles around
are the similarities and differences? you. Imagine other roles they
Let’s find out! may have.
Draw a picture of a farmer the Now, look at the drawings made
way you think of them. Look at all by your classmates. Who are the
the drawings made in your class. different people you see in the
What is the gender of the farmer? drawing? Have people of all genders
How tall or short are they? What is been depicted in different roles?
the farmer wearing? Compare these drawings with
that of the farmer. Did anything
Discuss and Talk About — change in the way you worked out
1. How did you take these your ideas?
decisions for your drawings? Continue: Observe people around
2. Did you find farmers of all you in your family and
genders? neighbourhood. Pay attention to
3. Where all have you seen what they wear. Draw one picture
pictures of farmers? in the role you see them in. Draw
4. If they changed their clothes, another picture of them in the same
would they stop being a farmer? clothes you see, but acting out a very
What musical instruments can you different role. Make it uncommon
see in the given picture? and inspiring!
CHAPTER 4
Paper Crafts
In this chapter, you will have the
chance to discover paper as a
fascinating artistic medium. You
will explore various techniques like
folding, cutting and weaving. Along
the way, you will also learn about
Indian art traditions such as Sanjhi
paper cuts. You will find many
creative ways to experiment with
this versatile material.
 26

Activity 1: Paper told her a legend about making

paper cranes. Sadako began making
Folding 1000 paper cranes with the hope
The art of folding paper is known of living and extending her life.
as origami. It is an art form that She died shortly after making 644
originated in Japan and has spread cranes. But she herself has become a
across the world. legend across the world. Even today,
You might have already learnt to people from all over the world
make a few things by folding paper. make paper cranes and send it to
Do you know the story of Sadako the Children’s Peace Monument in
and the Thousand Paper Cranes? Japan. Paper cranes have become a
Sadako was a young 11 year old symbol of peace.
Japanese girl, who developed an You can make many different
incurable disease from the ill-effects things by folding paper. Learn from
of the atomic bombing of Hiroshima your teacher, parents and friends on
in 1945. While she was undergoing how to make a variety of things by
treatment in the hospital, her friend folding paper.

Instructions to make a paper crane

 Activity 2: Paper Cutting
Sanjhi is a traditional art form
that is practiced in Mathura and
its surrounding regions in Uttar
Pradesh. It is believed that this art
was originally used as a stencil for
rangoli. Nowadays, these stencils
are made of paper and are very
intricately cut out in a variety of
designs and images.
You can plan your own pictures
and designs, and create simple
stencils. You can even use these
Sanjhi paper cut paper cuts to create lanterns and
other decorations.
Here are some ideas. Experiment
on your own and share new ideas DO YOU KNOW
with each other in your class.
The paper, cloth or plastic decorations
hung on strings during festivals and
Remember to follow all occasions are called buntings. They are
safety precautions often very colourful, and can be made
while handling scissors even more decorative by cutting out
and sharp tools for various shapes and patterns!
paper cutting!

Visual Arts 27
Kriti–I | Grade 6 28

Activity 3: Paper Weaving

Paper is a magical material. It can change forms easily as you saw
in the previous activity. With a few cuts and folds, it can morph
into organisms and objects.
Let’s experiment with another method of crafting paper
weaving. If you look at any cloth around you closely, you will be
able to see that it is made of tightly criss-crossed threads. This
criss-cross is also called warp and weft. Let’s try and do this with
paper. Look at the pictures and try to weave your own mat.

Continue: Explore other media like natural fibres, cotton, wool,

bamboo, jute, palm, discarded strips of fabric for weaving, etc.
CHAPTER 5
Seals to Prints
In this chapter, you will learn about
the design, purpose and artistic
qualities of seals. Taking inspiration You will also be able to connect this
from the examples of seals through process with the textile tradition of
history, you will design your own ajrakh block printing. Using your
seals and experiment them with a own seals like blocks, you can even
variety of materials for crafting. In make interesting patterns to create
this process, you will also be testing your own prints on paper, fabric and
your seals on both paper and fabric. other surfaces.
Kriti–I | Grade 6 30

Activity 1: Let’s Look Seals can have a picture symbol

or text. They gives us clues about
at Seals the lives, routines, social positions
Have you ever seen your teacher, and beliefs of individuals, societies,
school principal or anyone in your kingdoms, institutions and
school using seals and rubber stamps? organisations.
Take the help of your teacher to Look at the seals and observe
find any paper or document with a the images and symbols you see.
seal. Discuss these questions: Compare them and discuss what
1. What is the image or text on the symbols could be conveying.
the seal? Notice that all these seals have
2. What does the seal convey? a picture symbol along with some
3. What are seals used for? written text in different scripts.

Seals from various periods of history

 Activity 2: Field Trip Activity 3: Make your
Visit the local post office and meet own Seal
the post-master, or any other postal Now that you are familiar with the
official who can show you the seals features and purposes of a seal,
and stamps that are used in the would you like to try making your
postal services. Find out and make own seal?
notes of the following: You will first have to start with its
1. The material used in the stamp design. Take a paper and pencil, and
seal. jot down some ideas and preparatory
2. The postal service logo or sketches.
symbol.
3. Other information that is Step 1 — Test with found objects
provided in the seal. • Prepare some clay or dough.
• Gather some small objects like
Continue: Have a conversation buttons, bottle caps, sticks,
with the older members in your leaves, coins, etc.
family, and ask them for documents • Make your clay surface flat and
or postage envelopes which have damp.
seals stamped on them. Observe the • Press the objects you have
details of the seal, and make notes collected on the clay and see
or sketches of the symbols and texts the impressions they make.
that you find. • Analyse which objects create
Experiment: Take any coin. Place a clearer impressions and why.
paper over it and using a pencil, create
markings of lines over the surface till
the image of the coin is visible.

Visual Arts 31
Kriti–I | Grade 6 32

Step 2 — Design your seal • Think of alternatives that are

• Create your personal symbol. easily available in school. For
This can be a simple picture that example, pieces of cardboard,
represents you — a face, leaf, clay, jute rope, sponge, rubber, etc.
flower, fruit, object, animal, • Flatten the surface of the
letter, icon, etc. It should convey material you will work with.
some recognisable qualities Remember that a seal’s
you already have or values that impression will be clear if all
are important to you. portions of its design are even.
• Keep your design simple. • Select tools that you can use
safely for cutting, carving and
Step 3 — Make your seal
shaping your design.
• Recollect the seals you have
• If you find that your design is
seen and the materials that are
difficult to carve, simplify it
An example of original logo used for creating them.
and complete your design.

Students’ experiment with making seals and printing them

 Step 4 — Test your seal rubber stamps you are familiar
• Choose the material and surface with, and the seals you have made.
for stamping your seal. If your This is a carved wooden block.
seal is rounded and not flat, Notice the portions where the
you can press it on a wet clay pattern is raised. This block has been
or dough as you did in the first carefully carved by an artist who
test with objects. specialises in wood carving. Do you
• If your seal is flat, try applying have carpenters and wood carvers
paint or ink, and stamping it on in your surroundings?
any paper. Meet them and show this picture,
• Based on the result, you can make ask them how such a piece is carved.
changes and improvements to Inquire about the tools used and
you seal design till you achieve how much time it would take to
the desired effect. handcarve this. This wooden block
is used for printing on textiles.
These textiles are called hand block
Activity 4: Printing printed textiles.
Look at the picture of a handblock
Now, you have a seal which can be printer and carefully place the
used repeatedly! A rubber stamp inked block on cloth. The same
pad has ink soaked in it. When we block is used repeatedly to create a
press the rubber seal into the stamp continuous pattern. He is making a
pad, it gets coated with ink which special textile called Ajrakh, which
gets printed on paper by pressing. is practiced in Kutchh, Gujarat.
The same process can be seen Do you think you can create a
across many different traditional pattern with your seal? You can even
processes of printing. Let’s look at create another seal that is suitable
the process of hand block printing, for a continuous pattern. Make a
because it is quite similar to the few designs and try them.
Visual Arts 33
MUSIC

“गीतं, वाद्ं तथा नृत्‍ं

त्र्‍ं सगं ीतमच्ु ्‍ते ।”
Geetam vadyam tatha nrityam
Trayam sangeet muchhyatey

Meaning
The characteristics of a song,
musical instruments and
dance complement each
other as they are deeply
interconnected art forms.
Hence, they are all under the
umbrella of Sangeet.
Source: Sangeet Ratnakar,
Sloka 21 Swargatadhyay
 This music curriculum desires that you and the students
Note to the Teachers thoroughly enjoy the journey of making music. We aim to
instill a lifelong love for music amongst them, fostering a
Music holds the remarkable ability to evoke empathy, deep appreciation that will grow beyond the classroom.
promote collaboration and facilitate self-expression.
This book aims to motivate students to appreciate music Resources for the Classroom
and learn basic skills. It will be interesting to introduce 1. The classroom should be a place where the music
specific songs and activities from the book which will learning is fun and comfortable. Both students and
encourage our students to participate enthusiastically teachers should be able to sit comfortably and sing
and enjoy the process rather than solely focusing on together. Sitting on the floor is the best arrangement
specific outcomes, especially in the initial stages. for music classes. It helps the children to learn about
1. Practising at home helps to build skills like singing, good posture and proper breathing, similar to the
playing of instrument, listening, creating, etc. It exercises done in yoga. Teachers can also change
encourage students to do the same spontaneously. the seating in different styles and designs based on
2. Consider taking students to live musical the theme of the song. This makes the class more
performances for exposure. interesting and creative, and helps students to foster
3. Invite a musician to your school. Encourage children improvisation skills.
to ask questions and interact with the artist. 2. Computer with internet connection, provision of
4. Learners love to sing songs that they hear at downloading app for tanpura and speakers for
home, during religious and cultural celebrations. playing audio resources.
Encourage children to sing those songs in classroom 3. Provision of material to make simple instruments
that they learnt at home. in class.
5. There are many opportunities to experience different 4. Provision of microphone and sound system for
genres of music in everyday life. In between classes, performances in school.
instead of ringing a school bell, consider playing a 5. Provision of simple instruments such as
melody which will attract the attention of students. harmonium, dholak, manjira, shakers, tambourine,
6. There are many activities given in this section. You mouth organ, electronic tanpura and tabla.
may add these activities for variations. 6. A map of India will be useful to show the students
7. Most songs and activities in the book include an the locations of the states from where different
audio or video resource that can be accessed by compositions in various languages originate and
scanning the QR code provided in the textbook. are practiced regularly.
 Chapter 6
Music and your
Emotions
Objective: Listening to musical
pieces to understand how they
influence the moods and emotions, Kuttanadan Punjayile , Thithai Thaka
and learning to express your Theithei Thom
thoughts and feelings through Kochupenne Kuyilale, Thiti Thara Thei
musical elements. Thom
Note to the Teachers
Kottu Venam Kuzhal Venam, Kurava
The Malayalam song given
here is an example to Activity 1: Listen to Venam
(O … Thithithara Thithithai Thithai
let students understand
that music can convey this Song Thaka Thei Thom) × 4
emotions through melody Varavel Kanaaru Venam Kodi
and rhythm, even if the Language: Malayalam
Thoranangal Venam
lyrics are in a language Kuttanadan Punjayile
that students may not
Vijayashree Laali Tharayi Varunnu
Kochu Penne Kuyilale Njangal
understand. You can play
a song in a language that is Kottu Venam Kuzhal Venam, Kurava (O … Thithithara Thithithai Thithai
unfamiliar to the students, Venam Thaka Thei Thom) × 4
to illustrate this point. Karutha Chiraku Vachu Thithai Thaka
Thei Thei Thom
Arayanna Kilipole Thitithara Thei Thom
Karutha Chiraku Vechor Arayanna
Kilipole
Kuthichu Kuthichu Payum Kuthira Pole
(O … Thithithara Thithithai Thithai
Thaka Thei Thei Thom) × 4
 • What feelings do you
Activity 2: Music and Write any jingle or song in the
associate with the song Our Memories following boxes which you can recall.
that was played?
• Do you have a song Music has the power to influence our A festival song ...
that brings back fond thoughts and emotions. Listening
memories? Sing the and creating music can bring us joy.
song.
• Even if you don’t
remember the words A song can trigger memories of past
can you hum the events and the people who were part
melody?
of them. This is known as music
evoked memory!

Sing the Tracks

Listen to the different types of music
played along the advertisements,
and make a playlist in this book or
on your computer.

Ask your parents and grandparents

about their favourite song from
their childhood. What memories do
they associate these songs with?

Music 37
Kriti–I | Grade 6 38

Activity 3: Listen
and Feel
We are surrounded by various
types of music from dawn till dusk.
Consider, your feelings when you
hear different types of musical
sounds. Recall the sounds of the
shehnai, nadhaswaram, dhol, damru,
edaikka or a melodious song — what
do you feel while listening to these Violin
melodies? Do they make you happy,
All the musical pieces here were
inspire you to dance, instil a sense
played using the same instrument,
of peace that you want to enjoy in
a violin.
silence or compel you to sing along?
Similar to how your voice can
These feelings that come to life
convey various emotions and
while hearing these melodious
dynamics — happiness, sadness,
sounds are called emotions. Emotion
loudness, and softness — an
is a natural trait inherent in all
instrument has the capacity to
humans. Let us experience the same
evoke diverse emotions through
by listening to some instrumental
different sounds.
music! What did you feel while
You heard the sound of a violin.
listening to the musical pieces?
Now, try to listen to other musical
Write down your emotions.
instruments popularly played in our
1. country. Like the flute, sitar, shehnai,
tabla, etc., and try to understand how
2.
different sounds and tunes evoke
3. diverse emotions.
Activity 4: Drawing
Music
Each piece of music tells a story as
we have been discussing till now.
Now, let us try this; listen to a piece
of music and represent it through
your own art. You may draw and
colour, using colour pencils, pens
or paint. Give your drawing a
caption or title.

Music 39
Kriti–I | Grade 6 40

Clap Stomp Tap Click Hum Whistle

Scene 1
I’m bubbling with excitement for our school’s
Activity 5: Express your upcoming field trip to a safari! Standing in
my room, surrounded by the soft chirping
Note to the Teachers
The class can be divided Emotions Through Music of birds outside, I sift through my wardrobe.
into groups and each I try on various outfits until I discover the
group can be given a Can you use your body to express perfect one. “Yes! This is the one!” I exclaim
theme or a topic from any emotion through music without happily, feeling ready to explore the wild.
any curricular area. The words? Scene 2
group has to musically When you are angry, what do you After a long bus journey, we arrived at our
express their ideas do? When you are happy, what do destination. As we prepare to board the
through beats and safari jeep, a gentle breeze sweeps through,
you do? When you are sad, what do
melody. They can also causing the leaves to whisper and dance. The
use the concepts of pitch you do?
trees sway gracefully.
and dynamics variation You can use your voice or body
explained in the next percussion (claps, stomp, snap, Scene 3
page under Activity 6. Use breath) to express these emotions. As we delve deeper into the forest, we
the narration suggested encounter a myriad of creatures and plants.
or learners can come up The forest pulsates with life, echoing with the
with their own scenario. sounds of insects, chirping of birds and calls
of animals.
DO YOU KNOW Extended Activity The Swara Song
Animals have emotions Narrate a regional folk story or stories Watch the video and sing the ‘Swara
like us. Have you observed from the Jataka tales and Panchatantra. Song’. This song is set to ragam
that many birds and Intersperse the narration with musical shankarabharanam or raga bilawal.
animals use sounds to elements or songs that will help bring Pay attention to the variations in
communicate with each
the story alive! pitch while singing the song. Use
other? Birds use chirps to
communicate. The Ganges your hands to keep the rhythm.
river dolphin, the national Activity 6: Learn about
Musical Elements
aquatic animal of India, is
blind, and uses a mixture
of clicks and whistles to
share messages. Male Pitch and Dynamics
humpback whales are also Have you ever noticed how you use
Nakkara
famous for their long and different pitches and volume when
intricate songs. Have you
observed animals show
you are happy, angry or sad? Pitch and
their feelings through dynamics are used to communicate
sounds? Share some emotions. Pitch tells us how high or
examples. low the note is and dynamics tells us
how loud or soft a piece of music is.

Rhythm
Rhythm is everywhere. Have you Ghumat
ever listened to your heart beats?
Note how your walking rhythm
is different from that of your
grandparents? In music, rhythm is The two instruments have different
the pattern which has symmetrical pitches. nakkara has a loud volume
beats, played with a song. while ghumat has a deep resonance.

Music 41
Kriti–I | Grade 6 42

DO YOU KNOW Let us know the names of all the swaras sung in Carnatic
and Hindustani music. There are 12 notes in total.
Amongst the seven swaras
only five have variations. Hindustani Music Carnatic Music
Since, S and P do not have
variations, hence called Sa — Sadaj Sa — Shadjam
achal swaras. The rest of Re — Rishabh Ri — Rishabham
the swaras R, G, M, D, N are
Komal Rishabh, Shuddha Rishabham,
called chala swaras, as they
Shuddha Rishabh Chatusruti Rishabham
have two variations each.
Ga — Gandhar Ga — Gandharam
Komal Gandhar, Sadharana Gandharam,
Shuddha Gandhar Antara Gandharam
The pronunciation of Ma — Madhyam Ma — Madhyamam
notes in Hindustani and Shuddha Madhyam, Shuddha Madhyamam,
Carnatic music. Teevra Madhyam Prati Madhyamam
Hindustani Carnatic Pa — Pancham Pa — Panchamam
S Sa Sa Dha — Dhaivat Da — Daivatam
R Re Ri Komal Dhaivat, Shuddha Daivatam,
Shuddha Dhaivat Chatusruti Daivatam
G Ga Ga
Ni — Nishad Ni — Nishadham
M Ma Ma
Komal Nishad, Kaisiki Nishadham,
P Pa Pa Shuddha Nishad Kakali Nishadham
D Dha Da
N Nee Nee Film songs, bhajan, regional songs, Indian music has many genres
folk music, melodic instrumental music including classical music such as
While writing the notes, we are all created with musical notes — S, Hindustani and Carnatic, as well as
will write as S, R, G, M, P, R, G, M, P, D, N. All compositions or genres such as folk, semi classical,
D, N. songs are created with these notes. devotional, patriotic and film music.
DO YOU KNOW Activity 7: Vocal 4. SR
Smt M.S. Subbulakshmi Warmups SRG
is one of the most
Vocal Warmups SRGM
famous and inspirational
Carnatic singers of all The pattern of notes below is known SRGMP
times. She was the first as alankar or sargam.
musician to receive SRGMPD
the Bharat Ratna
Alankar means ornamentation
from the Government or decoration. Just like jewellery SRGMPDN
of India. Apart from is designed with gold and different SRGMPDNṠ
Carnatic music, arrangements of precious stones, the
she also sang many seven notes in music are arranged
bhajans and sanskrit
shlokas. Amongst them,
in patterns to create a melody that ṠN
is pleasing and aesthetic. All music
‘Hari Tum Haro’ and ṠND
‘Vaishnava Janato’ has to be pleasing to the ears, i.e.,
were Gandhiji’s sruti madhur. ṠNDP
favourite
bhajans. She ṠNDPM
1. SR RG GM MP PD DN NṠ
is known for ṠNDPMG
her originality, ṠN ND DP PM MG GR RS
simplicity and ṠNDPMGR
purity of music.
She sang with 2. SRG RGM GMP MPD PDN DNṠ ṠNDPMGRS
her magical
ṠND NDP DPM PMG MGR GRS
voice 5. SG RM GP MD PN DS
which was
filled with 3. SRGM RGMP GMPD MPDN PDNṠ SD NP DM PG MR GS
devotion.
ṠNDP NDPM DPMG PMGR MGRS
6. SM RP GD MN PS
SP NM DG PR MS
Music 43
Kriti–I | Grade 6 44

DO YOU KNOW Activity 8: Medley Let’s Learn to Sing a Medley

Bharat Ratna awardee
Learn the medley or a few songs
A medley is a mix, or combination
Lata Mangeshkar was in it. The class can be divided into
of different songs or tunes played
one of India’s greatest groups with each group presenting
together as one piece of music. Let
playback singer in the one piece of the medley. This medley
world of Indian cinema. us have fun.
is a string of celebratory songs from
She has recorded songs in 1. Identify the mood that each
different parts of India. Move, sway
over 36 Indian languages song tries to convey. Even if you
and keep the rhythm when singing
and also in a few foreign don’t know the language, do the
languages. Her melodious these fun songs!
musical elements help convey a
voice spanned over
three octaves. She sang certain emotion?
the patriotic song ‘Aye 2. What does the rhythm in each
Mere Watan Ke of these pieces convey?
Logon’ and 3. Identify the musical elements
dedicated it in each of the songs.
to the Indian
soldiers who
lost their
lives in
the
war of
1962.

A song can be sung with the accompaniment

of thavil, pungi, chimta, guitar, etc. Learn to sing any medley with karaoke
 Activity 9: Let’s Play Note to the Teachers
Games on Dynamics, • Every student has a difference in their
tone, texture and style of speaking
Melody and Rhythm and singing. By doing this activity the
class will be able to understand, and
These games are designed to help identify the voice textures, style and
students to achieve the objectives dynamics of their peers.
given. Teachers are encouraged to • Let the students also identify various
think and design their own games voice textures and dynamics in the
voices of families, or any person in the
that reflect the local music cultures. society. This will develop sensitivity
towards identifying various sounds
Activity I: Identifying the Voice and their sources.
(tone, texture, style). • Play any song on different
One student should be blind instruments, and ask them to identify
the instrument based on its sound
folded and other student can sing
and texture.
a song that is known or taught in
the class. The blind folded student
should be able to identify the student Activity II: Identifying the song
who sang it. based on the melody.
Select any student to hum a
song that is known or taught in the
class. By listening to the tune other
children in the class should be able
to identify the song.

Music 45
Kriti–I | Grade 6 46

Note to the Teachers Note to the Teachers

Such activities activate interest and • This game is to enhance the sense
confidence while presenting in a play of rhythm (speed, cycle, patterns)
way method. amongst the students.
• Teachers can design their own
Activity III: Rhythm Game: patterns and groups, and play any
rhythm game among the students.
Students in groups of 3, 4, 5, 7, 9
in numbers can pronounce their
names as below. Make you own game which should
Group of three students will be
have elements of swar and taal,
given names Ta, Ki, Ta and the group
vocal warm-ups, medley and
name should be ‘Tishra’.
Group of four students will be any composition.
given names Dh, Ge, Naa, Tee and the
group name should be ‘Chaturashra’. Group of nine students will be
Group of five students will be given names Ta, Ka, Di, Mi, Ta, Ka,
given names Ta, Ka, Ta, Ki, Ta and Ta, Ki, Ta and the group name should
the group name should be ‘Khanda’. be ‘Sankeerna’.
Group of seven students will be
given names Ti, Ti, Naa, Dhee, Naa,
Dhee, Naa and the group name
should be ‘Mishra’.
 Chapter 7
Musical Instruments
Objective: Understanding the relevance
of instruments in a musical piece and
exploring instrument families.
Instruments are used to create Activity Discuss with
a layered and rich sound of notes the class
and rhythm.
Sing this song How has using body
with any musical parts helped you to
Activity 1: Role of instrument that is sing the song? Did
Instruments in a available in your
classroom.
you enjoy it?

Musical Piece Or, use body parts

to clap, stamp,
Listen to the song ‘Shyamale etc., to sing
Meenakshi’. Now, try singing it by the song with
yourself. rhythm.

“Every musician is Now, sing with an How does an

Lyrics: Shyamale Meenakshi audio track. The instrument affect
a storyteller, using Composer: Muthuswami Dikshitar accompanying the experience of a
instruments are musical piece?
melodies and rhythms Shyamale Meenakshi
a violin and a
to narrate the tales Sundareshvara Sakshi mridangam.
Shankari Guruguha
of the heart.” Samudbhave Shiveva Now, sing with What was your
an audio track experience singing
Paamara Mochani
— Pandit Ravishankar, on a new set of with a different set
Pankaja Lochani instruments — a of instruments?
Bharat Ratna,
Padmaasana Vaani Hari piano and drums. Did you have a
Sitar exponent
Lakshmi Vinute Shaambhavi preference and why?
Shyamale Meenakshi
Kriti–I | Grade 6 48

Activity 2: Listening and Instruments are further classified

based on how they are played. Refer
Responding to the picture given in the next page
Listen to a story being told to understand the classification of
DO YOU KNOW accompanied by an instrument. musical instruments.
Explain how the instrument Apart from the ones mentioned in
Ustad Bismillah Khan
enhances the depth of the the table, name two instruments that
is one of the greatest
shehnai players of storytelling. are used for rhythm?
India who is a recepient 1.
of Bharat Ratna. The
woodwind instrument, 2.
shehnai, which was used
mostly in folk music Can you name two instruments that
earlier, became popular are used for melody?
Saraswati veena
in Hindustani classical
music due to the efforts 1.
of this great musician. He Try to listen to a story while 2.
was considered a symbol
playing this instrument and record
of religious harmony.
He was invited to your emotions. Can you name two melody
perform at the instruments that are played by
Red Fort on 15 Activity 3: Instrument plucking strings?
August 1947, the
day India got Families 1.
independence. 2.
The two important components
of music are melody and tempo. Can you name two rhythm instruments
Based on these, instruments are that are made with metal?
classified as:
• Melody instruments 1.
• Rhythm instruments 2.
 RHYTHM MELODY
Played with Played with
palms and finger nails VEENA
fingers
TABLA Played with a
PERCUSSION STRING bow
(Avanaddha) (Tata)
VIOLIN
Played with Played by
sticks and being struck
DHOL hammers

SOME SANTOOR

MUSICAL
INSTRUMENTS Without reeds
Flute
Mouth-blown
Metal
MORSING With reeds
SHEHNAI

Clay Bellow-operated

GHATAM SOLID WIND

HARMONIUM
(Ghana) (Sushira) Natural
Wood

KHARTAL SHANKH

Music 49
Kriti–I | Grade 6 50

Scan the QR Code and Match it with the Instrument Name

QR Code Instrument QR Code Instrument

1. a. 2. b.

Sitar Santoor

3. c. 4. d.

Harmonium Tanpura

5. e. 6. f.

Violin Shehnai

7. g. 8. h.

Tabla Sarod

9. i. 10. j.

Flute Pakhawaj

Answers: 1-e, 2-d, 3-a, 4-b, 5-c, 6-h, 7-j, 8-i, 9-g, 10-f
 Activity 4: Make your • Fill the bowls with varying
amounts of water. You could
own Instrument fill the first bowl with one cup
Jaltarang is an interesting instrument of water, the second one with
that consists of a set of glass, metal three-fourths cup, the third
or clay bowls each having varying bowl with one-half cup, and the
levels of water. The artist strikes the fourth bowl with one-fourth cup
rim of each bowl with a wooden stick of water.
and produces music. It is a melody • Your very own jaltarang is ready
and a rhythm instrument. We can for use.
categorise it as a wind instrument • Gently strike the rim of every
because the air present above the bowl with the pencil or stick, and
water level in each bowl vibrates make your own music. Observe
to produce sound. This is also a how the pitch is different when
percussive instrument because the you strike different bowls.
sound is produced by striking a
membrane or a surface, which is the
rim of the bowls.
Let us make a jaltarang with the
bowls that are available in your
kitchen.

You will need

Five sturdy bowls, a can of water,
and two pencils or wooden sticks.
Now, let us —
• Arrange the bowls on a table in a
single row.

Music 51
Kriti–I | Grade 6 52

Activity 5: Listen and

Learn
Watch a visual and auditory
introduction to instruments from India
curated by Indian Music Experience
Museum, Bengaluru. Which one of
these instruments do you like and
why? Take note of the different ways
Note to the Teachers instruments can be classified.
The school can
invite local artists
for a workshop and
Activity 6: Let’s Make a
demonstration. Project About
Encourage the children
to interact with the • Music and science.
artist to find out how • Life sketch of any local musician
they learnt from their and their contirbution.
teachers. What type of
life they lead and any Magical World of Musical
other experience the
artists are willing to Instruments
share. Also encourage Instruments create a rich musical
students to learn specific experience. Instruments can be
musical instrument classified based on their utility and the
and their basic playing
techniques (as per material with which they are created.
the availability of Listen to the songs that you enjoy.
the teacher). Identify the instruments used and Pandit Ravishankar
(Bharat Ratna Awardee)
classify them in different categories.
 Chapter 8
Taal or Talam and Raga or
Ragam in Indian Music

Taal in Hindustani Dadra Taal

Classical Music Matra: 6 Tali: on 1 matra
Vibhag : 2 Khali: on 4 matra
Keharva Taal
Taal signs X 0

Objective: Matra: 8 Tali: on 1 matra Matra 1 2 3 4 5 6

Vibhag : 2 Khali: on 5 matra
Understand the concept
Bols Dha Dhin Na Dha Tu Na
of raga and rhythm in Taal signs X 0
North and South Indian
Matra 1 2 3 4 5 6 7 8
classical music.
Bols Dha Ge Na Ti Na Ka Dhin Na

Teen Taal

Matra: 16 Tali: on 1, 5, 13 matra

Vibhag: 4 Khali: on 9 matra
DO YOU KNOW Taal signs X 2 0 3
In Hindustani music’s tala Matra 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
system, the first matra is
called sam. Bols dha dhin dhin dha dha dhin dhin dha dha tin tin ta ta dhin dhin dha
Kriti–I | Grade 6 54

DO YOU KNOW Talam in Carnatic Music Dhrutam — This is a clap followed

In Carnatic music, talam is used by the wave of the hand. It has two
Mridangam maestro beats. It is represented as O.
Sangeetha Kalanidhi to keep the beat. Each talam has
a fixed number of beats and is
and Padma Bhushan Anudhrutam — This is just a clap. It
awardee, Palghat Mani repeated. This is known as talam
Iyer, gave his first
has one beat and is represented as U
cycle or avartanam. The parts of a
and it is less used in comparison to
performance when he talam are known as angams. The
was 10 years old. He the above two.
three angams are:
trained under Thanjavur Let us see how the laghu and
Sri Vaidyanatha Iyer. dhrutam are presented in the form
Mani Iyer introduced Laghu — This is a clap followed by
counting of fingers. It can be 3, 4, 5, of tala.
the concept of actively
supporting the 7 or 9 beats. It is represented as |
musical phrases on
Rupaka Talam — This talam has
followed by the number of beats (as
the mridangam rather one dhrutam followed by one laghu.
subscript).
than merely providing The chaturashra jaati rupaka talam
rhythmic support. He
When the laghu has three beats,
therefore, is a cycle of six beats (4 +
accompanied many we call it tishra jaati.
2). It is represented as O |4.
leading artistes of his When the laghu has four beats,
time. His fans also we call it chaturashra jaati. Adi Talam — This talam has one
enjoyed his thani When the laghu has five beats, laghu followed by two dhrutams. It
avartanams (solos).
we call it hhanda jaati. is a cycle of eight beats (4 + 2 + 2). It
Many of his students
became popular When the laghu has seven beats, is represented as |4 O O.
performers. we call it mishra jaati.
When the laghu has nine beats,
we call it sankeerna jaati.
Interesting Terms Ragas in Indian Music Notation Scheme
Carnatic Hindustani There are two different styles of When writing the notes in the higher
Music Term Music Term classical music in India — Carnatic octave (taar saptak), the notes are
Ragam Raga or South Indian classical music, and represented by a dot on top like
Hindustani or North Indian classical this, Ṡ. The notes in the lower octave
Arohanam Aroha
music. The swaras in each style (mandra saptak) are represented by
Avarohanam Avaroha have been explained to you in the a dot below like this, Ṇ. The notes in
Gamakam Gamak earlier pages. Carnatic music uses the middle octave (madhya saptak)
Layam Laya instruments like the veena, violin, are represented by just the swara
flute, nadaswaram, mridangam, like this, S.
ghatam, kanjira and morsing. The
compositions are usually in Sanskrit, Jaatis of Raga
Telugu, Kannada, Malayalam and Let us know another interesting
Tamil language. Hindustani music terminology used for a specific set of
uses instruments like the tanpura, notes in ragas. If a raga has five notes
sitar, sarod, sarangi, santoor, tabla, it is known as audav jaati. If a raga
and pakhawaj. Songs are composed has six notes it is known as shadav
usually in Hindi, Sanskrit, and Jaati. If a raga has seven notes it is
Brijbhasha. known as sampoorna jaati.
Watch videos to understand
about raga and tala.
Raga is based on a scale. Every
scale has notes (swaras) in ascending
(arohana) and descending (avarohana)
order. Imagine a staircase made
of swaras! The notes in the scale
change according to the raga.

Music 55
Kriti–I | Grade 6 56

Activity 1: Raga Bhoop and lyrics (if any). Compositions in

Indian classical music are typically
The raga bhoop has the following called bandish in hindustani classical
notes: music and kritis in carnatic classical
Aroha/Arohana: S R G P D Ṡ music.
Avaroha/Avarohana: Ṡ D P G R S
The raga hamsadhwani has the Activity 2: Learn a
following notes:
Swaramalika in Raga
Aroha/Arohana: S R G P N Ṡ
Avaroha/Avarohana: Ṡ N P G R S Bilawal
If you decorate a scale by A composition sung in a sargam
using gamakas (ornamentations), (swaras) is called a swarmalika. The
repeating certain notes, and playing swarmalika can be composed using
special phrases, it can become a different ragas. Listen to the
raga. Each raga is ornamented with swaramalika in raga bilawal, set to
important notes and special phrases. teentaal.
Raga in Sanskrit means Swaramalika
something that colours the mind. Raga: Bilawal
Every raga evokes certain emotional Tala: Teentaal Aroha: S R G M P D N Ṡ
responses in the mind. This is called Composer: Traditional Avaroha: Ṡ N D P M G R S
rasa. Sthayi
Watch the video on raga and rasa 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
to understand more about ragas and S P M G R G R S S R S Ṇ Ḍ Ṇ S -
their moods! S G R M G P M G G M P M G R S -
In Indian classical music,
composition refers to the structured Antara
arrangement of musical elements P Ṡ N D P M P D N - Ṡ - Ṙ Ṙ Ṡ Ṡ
such as melody (raga), rhythm (tala), Ṡ Ṙ Ġ Ṙ Ṡ N D P Ṡ N D P M G R S
Interesting Term Activity 3: Learn a Raga Yaman
Chhota Khayal — Kanha Bansuri
The predominant Bandish in Raga Yaman
mood of Raga Yaman is Sthayi
shringar or love. There Watch this video to learn a bandish
Aaj Bajaaii Kanha Bansuri
are many popular film in Raga Yaman.
Moha Layi Sagari Brija Naari Pyari
songs composed in this The aroha or ascending notes in
raga! Try and find some raga yaman are, N R G M D N Ṡ.
popular songs based Antara
on this raga. Learn and
The avaroha or descending notes in Brindavana Ki Kunja Galina Mei
sing them. raga yaman are, Ṡ N D P M G R S. Sanga Brikhabhaana Dulaari Pyari
Note that the M is higher than the
regular M that you have sung before.
This small shift in one note alters the
mood of the song!
The song describes Lord Krishna
playing the flute and the gopikas of
Vrindavan dancing to its melody.

Teen Taal
Sthayi Taal - Teentaal Antara
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
X 2 0 3 X 2 0 3
P ′
PM GR SṆ Ḍ Ṇ R GM′ P M′ - P -Ṡ Ṡ Ṡ Ṡ Ṡ -
Aa ja Ba ja ii Ka nha Ban - su - Brin -da - va na ki -
P - R R G - P PM′ G
R S Ṇ R GM′ P M′ - ND N Ṙ N ND P - - M′- DN Ṡ Ṡ Ṡ Ṡ -
ri - - - - - Aa ja Ba
ja ii Ka nha Ban - su - Kun ja Ga li na mei - - Brin da - va na ki -
P - R R G P M′ D P - M′ M′ G - PM′ GR - ND N Ṙ N ND P - - M′ D M′ DN ṘN N ND
ri - - - - Mo ha la yi - Sa ga ri - Bri ja - kun ja Ga li na mei - - San ga Li ye - - Bri kha
R G R S - S P - R R RG PR P PM′
Naa - ri Pya - ri bha - na Du la- ri Aa ja

Music 57
Kriti–I | Grade 6 58

DO YOU KNOW Learn a Bandish on Guru in

Raga Yaman (Kramik Pustak
Pandit Vishnu Narayan
Bhatkhande developed Maalika — Part I)
the notation system in Sthayi
Hindustani classical Guru Bin Kaise Gun Gaaye, Guru
music. He was a lawyer
by profession, and had
Naa Maaney To Gun Naahi Aaye
great memory and Guniyan Mey Vey Guni Kahavey
intellect. He toured the Antara
whole country to meet Maaney To Rijhavey Sabko Charan
musicians and collect *s denotes the extension of a word.
Gahe Saadikan Ke Jab Aavey *- denotes the extension of a swara in the
compositions from them.
Achapal Taal Sur Hindustani music notation system.
Inspite of many harships,
he collected many Taal – Teentaal
different compositions
and documented
them in Kramik
Pustak Maalika (six
parts) according to Sthayi Antara
the notation, he Dha dhin dhin dha Dha dhin dhin dha Dha tin tin taa Ta dhin dhin dha P - P M′ G - R -
developed.
P P N D P D P - Maa - ne - To - Ri -
Gu ru bi na Kai - Se -
G P Ṡ D
Ṡ Ṡ Ṡ Ṡ Ṡ Ṡ Ġ Ṙ Ṡ Ṙ Ṡ -
M′ R M′ M′ P - - - P N D P - M′ G R Jha - vey ba- Sa ko - Ch r n Ga hey - Saa -
Gu na gaa - Ye - - - Gu ru naa maa - ne to -
N D Ṡ N Ṡ N M′ P P G P - G R S S
G R GM′P R S R S - S S R R G M′ M′ -
Gu n naa hee Aa - ye - Gu nee ya n mey - vey - di - ka na
- Ke Ja b Aa - ve - A ch pa l
P P - N M′ D P - SR GG PD NṠ ND PM′ GR SS
Gu ni - ka Ha - ve - Ta - - la - - - sur
 Kamalajaadala
The Trinity of Activity 4: Learn
Arohanam: S R2 G3 M2 P D2 N3 Ṡ
a Geetam in Ragam
Ragam: Kalyani
Carnatic Music Tala: Triputa Avarohanam: Ṡ N3 D2 P M2 G3 R2 S
Tyagaraja, Muthuswami
Kalyani
Composer: Purandaradasa
Dikshitar and Shyama Ṡ Ṡ Ṡ N D N Ṡ
Shastri are known as the Ka ma la jaa da la
trinity of carnatic music. Listen to the audio to learn the
N D P D P M P
They are considered the swaras (notes) and the sahitya Vi ma la Su na ya na
pioneer composers of (lyrics) of the geetam in Ragam G M P P D D N
carnatic music. Tyagaraja’s
mudra (signature word) was
Kalyani. A geetam is a composition Ka ri va ra da Ka ru

Tyagaraja, Muthuswami in carnatic classical music, in praise D P M P G R S

naam bu dhe
Dikshitar’s was Guruguha of a God or a Goddess. This geetam
Ḍ Ṇ Ḍ G R G ,
and Shyama Shastri’s was is composed in the ragam kalyani Ka ru na Sha ra dhe
Shyama Krishna. Tyagaraja’s
and is set to triputa tala. Triputa M P , M G R S
songs were mostly in praise
of Lord Rama. Muthuswami tala is a seven beat rhythmic cycle Ka ma laa

Dikshitar was a scholar in divided as 3+2+2. The notes in R , , S , S ,

kaan ta
Sanskrit, and sang kritis in kalyani are the same as the notes in
praise of all deities. Shyama G M P M P D P
shankarabharanam, except for M. Ke shi Na ra kaa
Shastri composed scholarly
compositions on Goddess The M in kalyani is higher. N D P D P M P
su ra Vi bhe da na
Kamakshi.
Lyrics G M P P D D N
Va ra da Ve laa
Kamala Jaadala
D P M P G R S
Vimala Sunayana pu ra Su ro tta ma
Karivarada Karunaambudhe Ḍ Ṇ Ḍ G R G ,
Karuna Sharade Kamalaakaanta Ka ru na Sha ra dhe
Keshi Narakaasura Vibhedana M P , M G R S
Ka ma laa
Varada Velaapura Surottama
R , , S , S ,
Karuna Sharadhe Kamalaakaanta kaan ta

This song is about Lord Vishnu This song describes his

who is the protector of the universe. compassion and glory.
Music 59
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Singing Techniques Here are some vocal warm-ups in 4. Ṡ N D P M G R S

Ragam Kalyani. Listen to them S , , , S , , ,
Gamakas are special and practise. G R S Ṇ Ḍ P. Ḍ Ṇ
decorations that S Ṇ S R G M P M
musicians use to make 1. Ṡ N D P M G R S G R S Ṇ Ḍ Ṇ S Ṇ
their music sound more S , , , S , , , S Ṇ S R G M P M
beautiful and expressive.
G R S Ṇ S R G M G R S Ṇ S S Ṇ S
The pitch of the note is
S R G M P D N Ṡ S Ṇ S R G M P M
modulated by oscillating
or gliding to the next note. G R S Ṇ S R G M
2. Ṡ N D P M G R S S R G M P D N Ṡ
S , , , S , , ,
G R S Ṇ S S Ṇ S
S Ṇ S R G M P M
G R S Ṇ S R G M
S R G M P D N Ṡ

3. Ṡ N D P M G R S
S , , , S , , ,
G R S Ṇ Ḍ Ṇ S Ṇ
S Ṇ S R G M P M
G R S Ṇ S S Ṇ S
S Ṇ S R G M P M
G R S Ṇ S R G M
S R G M P D N Ṡ
 Chapter 9
Melodies of Diversity
Exploring India’s Musical Tapestry

Objective: Listening and learning

songs from various genres of Indian
music.

Learn a Manipuri Song

Ha Urit Napanghi
Language: Manipuri

Ha Urit Napangbi, Namana Kouwi

Tadabi
Napana Kouwi Khumdabi
Ya hoi hoi Ya hoi Hoi Ya Ya Tahoi hoi
Note to the Teachers Urit ngangbi khunu Chaijon
We have suggested a Napangi Phouka Ayamba
few songs from different Ya hoi hoi Ya hoi Hoi Ya Ya Tahoi hoi
regions of India. We
request the teachers to
teach at least five songs
Meaning
from this list. You can also The bird, Urit, did not hear the
teach regional songs that mother’s call or the father’s call. Clap
you think the children will your hands and call the bird. The a dove who has a belly and flies high.
enjoy learning.
red coloured bird, Urit, is similar to Clap your hands and call the bird.
Kriti–I | Grade 6 62

Learn a Boat Song from Kerala Kuttanadan Punchayile

Learn a Vanchipattu. Vanchipattu is Language: Malayalam
associated with the traditional boat Kuttanadan Punjayile
races, particularly the famous snake Kochu Penne Kuyilale
boat races that take place in the Kottu Venam Kuzhal Venam, Kurava Venam
backwaters of Kerala. These boat races Kuttanadan Punjayile, Thithai Thaka Theithei
are an integral part of the cultural Thom
festivities in the state. They are Kochupenne Kuyilale, Thiti Thara Thei Thom
accompanied by lively and rhythmic Kottu Venam Kuzhal Venam, Kurava Venam
boat songs. (O ... Thithithara Thithithai Thithai Thaka
Thei Thom) × 4
Varavel Kanaaru Venam Kodi Thoranangal
Venam
Vijayashree Laali Tharayi Varunnu Njangal
(O ... Thithithara Thithithai Thithai Thaka
Thei Thom) × 4
Karutha Chiraku Vachu Thithai Thaka Thei Thei
Thom
Arayanna Kilipole Thitithara Thei Thom
Karutha Chiraku Vechor Arayanna Kilipole
Kuthichu Kuthichu Payum Kuthira Pole
(O ... Thithithara Thithithai Thithai Thaka
Thei Thei Thom) × 4

Meaning: The song depicts the beauty of the

Kuttanad region in Kerala, and it expresses
a desire to sing and enjoy the natural
Kerala snake boat race surroundings.
DO YOU KNOW In the North East, Assam has Monor Koronire
Melodies Like Ei Maatire Hooror Paaporire Aaji
An outstanding musician Hukumaar Thaapona Hojuwa
was born in Sadiya, Moro Mote
Hundor Hudinor
Assam in the year 1926 Let us Learn the song.
whose name was Bhupen Noton Drishtikona Nomuwa
Language: Assamese
Hazarika. He was a
playback singer, lyricist, Ei Maatire Moro Mote Meaning: The singer expresses affection
musician, poet, actor, Maatike Sumilo for the earth and discusses finding joy
artist, editor, filmmaker Ei Maatite Jibon Sobi on it, rather than in the colours of the
and educationist sky or the pearls of the ocean.
widely known as Sudha
Aanki Aanki Mosilo
The singer feels all aspects of nature
Kontho. He used music
as an ‘instrument of Door Aakahar Rohon like sunlight or forests, etc., are on the
social change’ Kiyono Laage Laage earth and are extremely valuable.
and composed Haagor Tolir Maanik
inspiring songs. Kiyono Laage Laage Let’s Go to the Land of Gujarat
He is a recipient Aaanha Aaanha in the West and Learn the
of many national
awards including
Maatir Bukut Monor Maaloti Butolon Song, Potana J Dariya Ma
the Bharat Language: Gujarati
Ratna, Dadasaheb
Phalke Award and Potana J Dariya Ma
Sangeet Natak Potani J Doobki Thi
Akademi. Jaat Nu Amul Moti Lo
Evo Kon Che Khalasi
Mane Kahi Do Ne
Ena Thaam Ne Thekana
Mane Dai Do Ne
Evo Kon Chhe Khalasi
Mane Kahi Do Ne
Goti Lo, Tame Goti Lo Goti Lo
Music 63
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Meaning: The song metaphorically Learn a Garba from Gujarat

describes life as a journey through the Garba is the name of a traditional form
sea. The boat man symbolises someone of music and a folk dance which is
who provides direction and purpose, often performed during the festival
while the pearls represent valuable of Navaratri. Traditional rhythm
moments or treasures gained through instruments such as dhol, tabla, dholak,
these experiences. and melodic instruments such as the
harmonium and the flute are played
with this form. Body percussion such as
clapping, stomping and tapping with the
dandiya sticks add more rhythmic layers.
The melodic patterns evoke a sense of joy
and celebration. The dancer is singing
about her love for Lord Krishna (Kanuda).

Taari Baanki Re
Taari Baanki Re Paghaldi Nu
Fumtu Re Mane, Ghamtu Re Aato
Kaunchure Kanooda Tane Amtu
Taari Pagnu Re Pagarkhu Cham
Fumtu Re Mane, Gamtu Re Aato
Kaunchure Kanooda Tane Amtu
Fumtu Re Mane, Gamtu Re Aato
Kaunchure Kanooda Tane Amtu
Taari Baanki Re Paghaldi Nu
Fumtu Re Mane, Gamtu Re Aato
Kaunchure Kanooda Tane Amtu
 Let us Learn a Tamil Song Kannada Song
Athinthom Cheluvayya
Athinthom Thinthium Thomdana Cheluvayya Cheluvo Thani Thandnana
Thinthaadhi Thinthom Chinmaaya Rupe Kolanna Kole
Thakathinthom Thinthium Cheluvayya Cheluvo Tani Tandana
Thomdana Thinthaadhi Thinthom Chinmaaya Rupe Kolanna Kole
Aadaatha Javaathu Manam Aadidum Atha Nodu Itha Nodu
Bommi Chitradurga Kote Nodu
Thavil Aandavanai Thaalaatum Isai Keladi Hathi Nodu Nanna Tavoorna
Bommi
En Paatu Vandhalea Manam Cheluvayya Cheluvo Thani Thandnana
Thullidum Bommi Chinmaaya Rupe Kolanna Kole
Avan Paatu Illaadha Idam Yengadi Cheluvayya Cheluvo Tani Tandana
Bommi Chinmaaya Rupe Kolanna Kole
Mukannan Muthaaga Thandha Paatu
Padichen Meaning: This is a joyful folk song
Paatilea Palakodi Nenja Naanum celebrating the beauty of Karnataka.
Pudichen The song invites you to dance and see
the beauty of things around including
Athinthom Thinthium Thomdana the magnificent Chitradurga fort in
Thinthaadhi Thinthom Karnataka.
Thakathinthom Thinthium
Thomdana Thinthaadhi Thinthom While learning about the different
types of songs indigenous to each
Meaning: This song explores the joy region in our country, you must have
Chenda
of singing. The song has rhythmic realised the relevance of the title of
elements which make it catchy. this chapter ‘Melodies of Diversity’.

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Kriti–I | Grade 6 66

O Jind Mahe Bajare Kshatriya Kulavatsana

Language: Punjabi Language: Marathi
O Jind Mahi Bajare ... Kshatriya Kulavatansa
O Jind Mahi Bajare Kumlaiyan Sinhasanadeeshwar
Ve Teriyan Laadaliyan ... Shrimant Chhatrapati Shivaji Maharaj Ki Jai
Chimta
Ve Teriyan Laadaliyan Parjaiyan Are Aale Re Aale Re (Aale Aale Re)
Ke Baaji Pher Kade ... Aar Marathe Aale Re (Aar Marathe Aale Re)
Ke Baaji Pher Kade Na Aiyan Shaan Rajanchi Gheun (Shaan Rajanchi
Gheun)
(Umma ... Umma ... Umaa ... Umma ... Aaata Rani Nighale Re (Jay Bhavaani)
Umma ... Umma ... Umm) × 2
Aar Tufaan Petal (Tufaan Petal)
Ke Ek Pal Behi Jaana Aan Ganim Khetal (Ganim Khetal)
Ke Ek Pal Behi Jaana Mere Makhna Tar Yekach Naav He
Ve Tere Baaju Oye Aamchya Shivabanch Ghetla (Aamchya
Ve Tere Baaju Veda Sakhna Shivabanch Ghetla)
Ke Ek Pal Behi Jaana ... Shwasat Raja R Dhyasat Raja
Pungi
Ke Ek Pal Behi Jaana Mere Kol ... Ghavat Raja R Bhavat Raja
(Umma ... Umma ... Umaa ... Umma ... Jagnyat Raja R Maranyat Raja
Umma ... Umma ... Umm) × 2 He ... Shivba RR ...

Meaning: This song expresses love, Meaning: These lyrics pay homage to
and yearning for the return of loved Chhatrapati Shivaji Maharaj, praising his
ones and the cherished moments lineage, valour and achievements. They
spent together. express reverence, and admiration for his
leadership and courage.
DO YOU KNOW Devotional Path to the Divine Shabad
Indian music has
Children must have seen people Nanak Chinta Mat Karo,
drawn greatly from the worshiping and singing different Chinta Tis Hi Hay!
traditions and practices types of devotional compositions. Jal Meh Jant Upaaiyan,
of the society. Bhakti Let us learn some of them. Tina Bhi Rozi Dey!
or devotion, stands out Nanak Chinta Mat Karo,
as the primary motif Kirtan Chinta Tis Hi Hay!
in Indian musical
Sung by Bharat Ratna Bhimsen Joshi Othei Hatt Na Challaee,
expressions. Kirtan,
shabad, hymns and Language: Marathi Na Ko Kirs Karey!
qawwali exemplify Je Kaa Ranjale Tyaasi Hone Jo Sauda Mool Na Hovaee,
this devotional aspect
Aapuley Na Ko Laye Na Dey!
of music. Jeea Ka Aahar Jeea,
Tochi Sadhu Odey Khaawaa Dev
Tethechi Janava Khana Eho Karey!
Tukamane Saangu Kiti Tochi Vich Upaye Saayera,
Bhagvantyacha Moorti Tina Bhi Saar Karey!
Nanak Chinta Mat Karo,
Meaning: This composition by Chinta Tis Hi Hey!
Saint Tukaram is performed as an Meaning: Shabad is a song that is sung
abhang kirtan. The song conveys the in gurudwaras. The song advises against
message, “Recognise a true human worrying excessively because everything
being as one who deeply feels, is ultimately determined by a divine will.
and empathises with the distress God has created plants and creatures in
and pain of others. God resides in water. He provides sustenance to them
the hearts of such compassionate as well. Guru Nanak asks his disciples to
individuals.” stop worrying and have faith. Be it the
river or the oceans, the creatures who
live in it are able to survive, as they live in
accordance with the laws of nature. The
Almighty takes care of all creatures.
Music 67
Kriti–I | Grade 6 68

Hymns — Sung in Churches Learn a Sufi Song

Mo Mina Ma
Give me oil in my lamp, keep me
Language: Persian
burning
Give me oil in my lamp, I pray Mo Mina Ma Dudh Leke Ema Yake
Give me oil in my lamp, keep me Jismisha Ma Dudh Lekin Ja Yake
burning Jamaa Guftam Jaan Ha Ye Shaan
Keep me burning till the end of day
Come on and sing Hosana sing Meaning: Listen and learn a sufi
Hosana sing Hosana song. ‘The Faithful are One Soul’ is a
To the King of kings poem from the Masnavi, a collection
of anecdotes and stories inspired by
Meaning: This song is a Christian the Quran and written in Persian
hymn. It asks to keep one’s faith and by Jalal ud-Din Muhammad Balkhi,
devotion to the almighty. It praises also known as Rumi. The poem
and worships Jesus Christ as the
king of kings.
 ‘The Faithful are One Soul’ speaks regional music, devotional music,
of the one divinity within all of us. etc. We realise learning songs from
When we remove the barriers of our various regions is not only fun but
bodily covering, we realise that the also helps us understand the local
life force driving each of us, the soul, culture and tradition of different
is the same. states in our country. Pick different
types of song and learn them.
Forms of Indian Music Present it in the class, assembly or
So, we had fun learning many types your friends and family.
of Indian music — classical music,

Music 69
 Chapter 10 Activity 1: Try
Songwriting it Yourself!
Objective: Building your own unique Write descriptively
style to express your thoughts and ideas about a tree.
to your audience through lyric writing.
Watch a video to understand what
songwriting is all about.

Descriptive writing
Descriptive writing means describing
an object, place, experience or thing
in detail to create a clear picture in
the mind of the reader. Activity 2: Write a Song
1. Describe in depth the details of based on Familiar or
the object of your song to help Popular Melody
your listeners picture it easily.
2. Use all your senses — describe Watch the video to understand how
how it looks, smells, feels, and to write lyrics for existing melodies.
so on. Let us take the example of Twinkle
3. Use your imagination to describe Twinkle Little Star. We have all
Songwriting Tip (in detail) something unfamiliar. heard this song multiple times. It is
Think of writing as 4. Share your writing to get better at interesting to know that this melody is
collaboration, not it; open yourself to feedback. This similar to Baa Baa Black Sheep and the
competition, and try is an important part of the process. popular alphabet song, A B C D. Make
to be constructive and
positive while leaving
5. Read other people’s writing as well your own song to this popular melody.
feedback for others. to learn different perspectives. Watch this video for a few
Watch the video to learn how to examples of the lyrics to Twinkle
write descriptively. Twinkle Little Star.
 Listen to this popular Indian song Activity 4: Listen to
(nottuswaram) Shyamale Meenakshi.
Go on and write your own words for
the Rhyme in the Solar
this popular song. System Song
The Solar System Song
Activity 3: Write a Song Verse 1
based on Unfamiliar or I’m Mercury, the smallest,
Uncommon Melody I’m closest to the Sun
Nottuswaram or I take eighty-eight days
Listen to the melody in the audio to complete my yearly run.
Nottuswara is a term
used in carnatic music and write your own lyrics to it.
to refer to a set of You can also listen nottuswaram I’m Venus, the hottest,
compositions created and write your own lyrics to it. I’m very, very bright
by the renowned
composer Muthuswami Learn to Rhyme I look like a star
Dikshitar. The word when you look at me in the night.
Rhyming is a very important part of a
nottuswaram comes
song or a poem. One reason is because
from the combination of I’m Earth, your home,
the English word ‘note’ rhymes help our ears understand
the only place with life,
and the Tamil word where the line changes. Rhymes also
I have water, air, and food
‘swaram’ (which means help highlight the idea that our song
note). Most of these to keep you all alive.
is trying to convey. People tend to
compositions are based
listen carefully when words rhyme.
on western melodies. Chorus
Dikshitar composed 39 Examples (The planets, the planets,
nottuswarams in total. cat, bat, mat revolve around the Sun
love, above Don’t forget the solar system
hand, understand Once this song is done.) × 2
Watch the video to learn to rhyme.

Music 71
Kriti–I | Grade 6 72

Indian music has many Verse 2 Verse 3

genres including classical I’m Mars, I’m red, Uranus, the coldest,
music such as Hindustani I’m smaller than the earth I’m tipped onto my side;
and carnatic as well genres My moons are like potatoes, Thirteen rings surround me
such as folk, semi classical,
They’re deimos and phobos. But they’re very hard to find.
devotional, patriotic and
film music. Learning songs
from various genres is not I’m Jupiter, the largest, I’m Neptune, I’m blue,
only fun but also helps I have a reddish spot; I’m farthest from the Sun;
you understand the local Sixty-three moons surround me, When you stand on me it feels
culture and tradition! Which really is a lot. Like a cloud and that is fun.
Pick a few genres, learn a
song from each genre and
present it as a class to your I’m Saturn, I’m sparkly, Bridge
friends and family! My rings are made of ice; We know our rocky planets,
I can float on water They are the first four;
As I’m very, very light. After that the gas giants and
Then many more.
Chorus Pluto is a dwarf,
(The planets, the planets, He wants to join them all;
Revolve around the Sun But the problem is that he is
Don’t forget the solar system So so so so small.
Once this song is done.) × 2
Chorus
(The planets, the planets,
Revolve around the Sun
Don’t forget the solar system
Once this song is done.) × 2
 Activity 5: Fill in the
REMEMBER
A rhyme scheme is the
Next Possible Verse
pattern of rhyming at the with the Rhyme Scheme
end of lines in a section of
a song or poem. The sky was dark in the morning,
For example, let’s say that The sun didn’t shine as bright.
a poem’s first and third The day is set for mourning,
lines rhyme and we label
them A, and the second
I miss the warmth of the light.
and fourth lines rhyme
and we label them B.
Then, the rhyme scheme
will be ABAB.

Creation
Many people like to learn and sing
existing songs but some others also
like to create their own songs. If you
like to express your emotions through
writing, consider writing your own
lyrics and setting it to an original tune.

Music 73
Chapter 11
Music and Society
Objective: Listening to stereotypes
in the lyrics of songs and attempting
to create alternatives.
Music can be used for social
messaging. During the freedom on how it celebrates India’s
struggle, our leaders used music to diversity.
unite people against the British. • Analyse how the composition
makes the song feel majestic.
Activity 1: Music that • Discuss the emotion that the
Unites! song evokes both through its
words and music.
Our national anthem is a reflection
of the diversity that is India! Activity 2: Our Roots
Nobel Laureate Rabindranath
Tagore was the first Indian and You must have heard about the
non-European who broke the ancient texts, the Vedas and the
stereotype and won the Nobel Upanishads. They inspire us to be
Prize in Literature, 1913. The kind, truthful and loving, even when
national anthem was composed in we are different from each other.
sanskritised Bangla. It highlights Watch and learn to sing
India’s vast and diverse geographical this inspirational verse from
landscapes. the Kathopanishad, which was
• Understand the lyrics and the also a favourite verse of Swami
meaning of the song and reflect Vivekananda.
 Extended Activity
Uthishtha Jaagrata Activity 4: Stereotypes
Uthishtha Jaagrata
What stereotype do these
Praapya Varaan Nibodhata, Music can also be used to create
songs reinforce?
Kshurasya Dhaara Nishita stereotypes. Stereotypes refer to
Gudiya Raani Bitiya
Raani Pariyon Ki Nagari
Duratyayaa, Durgam Pathastat preconceived ideas or generalisation
Se Ek Din Kavayo Vadanti based on culture, race, colour, gender
Raajakunvar Ji Aaenge or other factors. But you can change it!
Mahalon Mein Le Jaaenge Listen and Respond Listen to the following song and
Now, listen to this song. What feeling if you are not familiar with the
Translation: My princess
does it evoke? language, read the translation:
doll, one day your prince
charming will come Babua Ki Murgi
and he’ll take you to his Activity 3: Be the Babua Ki Murgi Bole Na
palace.
Yashomati Maiya Se Bole
Change! Babua Ka Murga Kukadoo Koo
Babua Ki Murgi Rooth Gayi
Nandlala Listen and learn this song, and think Naa Maanoo Mai Naa Maanoo
Radha Kyon Gori Main
Kyon Kala
about how you can be a superhero Babua Ka Murgaa Kyu Akade?
and bring about positive change. Uske Sir Par Kalgi Hai
Translation: Nandala Jiske Sir Par Taaj Nahi
asked Yashodha, why am “Arise! Awake! and Vo Bechaari Murgi Hai
I dark and why is Radha
fair?
Stop not until the
Translation
Can you recall a song in goal is reached.” Babua’s hen stays quiet,
your native language that While Babua’s rooster goes
reinforces a stereotype? — Swami Vivekananda
cock-a-doodle-doo!
Write down the original
lyrics and share how you Babua’s hen is upset,
would alter them. Saying, “I won't agree!”
Why does Babua’s rooster strut
around?

Music 75
Kriti–I | Grade 6 76

Because he wears a fancy plume, Music helps us to bring people

Unlike the poor hen, with no crown! together but it can also create
One way you can change the stereotypes. Find a song that uplifts
above song is: you. Learn and teach it to your
Babua Ki Murgi Kyon Khush Hai, friend. Consider creating a book
Kyon Khush Hai? Kyonki Anda Deti with songs that motivate you.
Hai, Deti Hai!
Translation: Why is Babua’s hen
happy? Because she gives eggs!
DANCE

“यताे हसत तताे दृष्टिः;

यताे दृष्ट: तताे मनिः
यताे मन: तताे भावाे;
यताे भाव: तताे रसिः॥”
Yatho hastah thatho drishtih;
Yatho drishtih thatho manah
Yatho manah thatho bhavo;
Yatho bhavah thatho rasah

Meaning
Where the hand goes, the eyes
follow;
Where the eyes go the mind is
directed there;
Where there is a concentrated
mind, emotion arises;
when emotion arises rasa
permeates.
Note to the Teachers 3. Introduction to the varied dance forms of India,
both classical and other traditional forms.
4. Emotions and expressing emotions — encourage
Provide students an empty hall with adequate lighting the children to explore and express their emotion.
and ventilation. The hall should be large enough to It can be an important tool for emotional catharsis.
facilitate movement. Guide the students to form groups 5. Hand gestures, a way of expression — importance
and work as a team. of sign language and awareness of inclusivity.
6. Gender sensitisation and breaking barriers of
Pedagogy Principles gender identity.
1. Help children with awareness of body parts and 7. Importance of cooperation and collaboration when
how they move in respect to the joints. building on a theme or idea with movement.
2. Importance of breath while moving the 8. Cultural diversity of India.
body — inhale while extending and exhale while 9. Being familiar with notable Indian dancers.
contracting — physical wellness through dance 10. Holistic appreciation of dance and movement.
and movement.
Chapter 12
My Body in Motion
What were you all doing before
moving in the dance class?
• Talking with your friends?
nd
• Playing number games using Ha
Wrist
your fingers?

r arm
• Reading a book?

e
Lo w
Head

• Singing by yourself ? Elbow

rm
... what else can you do?

ra
pe
Neck

Up
Shoulder
Whatever actions you were doing

rm
ra
might have involved some small or

pe
Up
Torso
big movements.

Lo we r arm
In this world, all living beings
move in their own style. Everyone
Hip
has their own positions, postures, Ha
nd

gestures and movements.

Movement means change in Thigh Thigh

position, place or posture. For

example, performing exercise, Knee
playing with the pet, riding bicycle
or any other action which involves

Calf
Calf
your body.
Ankle
ot Fo
o
Fo t

Body parts
Kriti–I | Grade 6 80

Activity 1: Routine Body Movements

Observe yourself. What different types of activities you
perform at home and at school. Everyday we carry out
various movements.
Now, it’s time to recall all the activities of your routine and
demonstrate it in the class, using all your body parts.

Dance 81
Kriti–I | Grade 6 82

Dance Forms — Place of Origin

Different Shapes and Postures
In our country, there are eight forms of classical dance which use all kinds of
different bents of the body called Bhangas. They are—

Dance Form: Kathakali Dance Form: Odissi Dance Form: Dance Form: Kathak
Place of Origin: Kerala Place of Origin: Odisha Bharatanatyam Place of Origin: Northern
Posture: Sama Bhanga Posture: Tribhang Place of Origin: Tamil Nadu India
Posture: Dwibhang Posture: Sama Bhanga
Dance Forms — Place of Origin
Different Shapes and Postures

Dance Form: Mohiniyattam Dance Form: Sattriya Dance Form: Kuchipudi Dance Form: Manipuri
Place of Origin: Kerala Place of Origin: Assam Place of Origin: Andra Place of Origin: Manipur
Posture: Atibhang Posture: Abhang Pradesh and Telangana Posture: Abhang
Posture: The male dancer
is in Samabhanga and
the female dancer is in
Tribhanga

Dance 83
Kriti–I | Grade 6 84

In the Indian classical dance Activity 2:

traditions, the middle vertical line
of the body is important.
Incorporating Spinal
Bents and Steps
It’s your turn to exhibit your
favourite postures with the name
like tribhanga, dwibhanga and so on.
You can start your posture with
Sama Bhanga and do spinals bents
with the awareness of your breath.
When expanding or stretching
Samabhanga the body breathe in, and while
Abhanga
contracting or bending the body
breathe out.
Explore everyday tasks
Dwibhanga incorporating these steps and spinal
bents.
Now, observe the various spinal
bents that you performed in every
task.
Atibhanga With these tasks you have to add
simple basic steps like 1-2, 1-2 or
Tribhanga 1-2-3-4.
Different shapes and postures Recall different routine tasks and
put them in a series with combination
Yes … these are the postures which
of steps based on either your own
you might have observed in dances.
experience or observing others.
Examples For instance, stand straight
and do four beat steps like tap
– toe – tap – tap. Move right leg to the
right and show tap – heal – tap – heal
in a rhythmic way.
(You can play an instrumental
music for this activity or use sargam
or swara learnt in music class.)
Discuss with your friends about
Getting ready for school how different spinal bents, beats
and movement (tha ka dhi mi or tha
thin thinna) can be combined and A swaying tree
performed in a group.
Make a team of four or five.
Each team will decide how to
arrange various spinal bents and
postures in a movement series. Try
using basic steps you had learned
and repeat the movement phrase
Picking up your backpack
while enacting the action.

Examples
1. Pick up a heavy bag. A river flowing
2. The tall trees swaying.
3. The gentle breeze or strong This activity is going to give
winds. some basic ideas for your upcoming
4. Playing in the rain. dances and movements.
Sitting down to study

Dance 85
Kriti–I | Grade 6 86

Shringara Hasya Bhayanaka Veebhatsa Shanta Adbhuta Karuna Raudra Veera

Enactment: Abhinaya Note down these expressions

Let us explore another element of and try to identify their names.
dance that is an expression, bhava. For example, worry, fear, surprise,
Expressions or bhavas are your joy, guilt, anger, humor, sorrow and
own feelings, seen on your face or disgust.
are the feelings of others as seen by As you assemble in the dance
you. They are known as navarasas class, have a discussion together on
(shringara or beauty), hasya (humour), expressions seen earlier on each
karuna (greif and compassion), veera other’s faces and make a note of
(bravery), raudra (anger), bhayanaka the same.
(fearful), veebhatsa (disgust), adbhuta How many expressions can
(wonder), shanta (calm). you identify? Can you connect the
expressions to the navarasas?
Wow! Have you done such an
Activity 3: Practice of activity before?
Different Facial Expression Can you express your feelings with
facial expressions and your body?
Look at your friends, teachers and
How did you feel expressing
parents … everyone has at least some
different feelings?
expression on their face. Isn’t it?
Activity 4: Practice Hastamudras
According to Natyashastra, written by Bharatamuni, the hastamudras or
hand gestures are used both to embellish the dance but more importantly for
abhinaya, narrating stories with special gestures of dance. Some hand gestures
given below are taken from a famous book on dance called Abhinaya Darpana.
Asamyukta Hastamudras — Single Hand Gestures

Pataka Tripataka Ardhapataka Kartarimukha Mayura Ardhachandra Arala

Sukhatunda Mushti Shikhara Kapitha Katakamukha Suchi Chandrakala

Padmakosha Sarpasirsha Mrigasirsha Simhamukham Kangula Allapadma Chatura

Bhramara Hamsasya Hamsapaksha Samdamsha Mukula Tamrachuda Trishula

Dance 87
Kriti–I | Grade 6 88

Samyukta Hastamudras — Joint Hand Gestures

Anjali Kapota Karkata Swastika Dola Puspaputa

Utsanga Shivlinga Katakavardana Kartariswastika Shakata Shanka

Chakra Samputa Pasha Keelaka Matsya Kurma

Varaha Garuda Nagabandha Khatwa Berunda Avahitta

 Some Hastamudras Names and Usages in Dance
Try out conversations
using hand gestures
1. Pataka: Boon, stop, going 6. Suchi: Pointing others,
by looking at the
adjacent hastamudras with both handspataka — one, no, call, horn from
claps and cutting to deny. both hands, keeping on
1. Let us try sentences
with our hand chin and remembering.
gestures from the 2. Tripataka: Above head 7. Sarpashirsha: Snake
list given.
2. Make groups and
king or deva, applying tilak and hold something.
discuss with each and spreading both hands
other. up for tree.
3. Shukatunda: Weapon, 8. Hamsapaksha: Invite,
lightning, shooting an arrow a girl and telling secret in
Examples and headgear. other’s ears.
I am going home.
9. Aalapadma: Asking
4. Shikhara: Questioning,
why, blooming flower,
drink water, to hold stick
with both hands, pot and
Where are you going?
and shivalinga.
the sun.

5. Katakamukha: Plucking
flowers, eating, holding 10. Trishula: Weapon,
You drink water.
garland, speaking, tying trishula, three and apply
flower with both hands and horizontal tika on forehead.
holding manjira for bhajan.
The Indian Sign Language has gestures which are similar to hastamudras.
Now, try out some hastamudras or hand gesture yourself with your
imagination.

Dance 89
Kriti–I | Grade 6 90

Activity 5: Dance to Activity 6: Sequencing a

a Song Dance of a Song
Using the various body bents, steps • Each group chooses two lines of
and hand gestures which you have a song which they have learnt
learnt, create a small dance phrase in the music class.
for the lines of your chosen song. • Discuss within the group and
Did you have fun with this activity? arrange the steps and actions
to the given portion of the song.
Note to the Teachers • Joining dance phrases together
Make a group of 4 – 5 students to conduct to make a complete dance is
this activity and play a song or any other called choreography.
song learnt in music class.
By merging one group with
another, show your choreography
by puting the entire song together.
 Chapter 13
Breaking Barriers
with Dance
In dance, characters are sometimes
performed by a single dancer
irrespective of their gender. In many enacted the stories in praise of the
traditional performances of dance, Lord Shiva’s tandava to enhance
men often play the women characters. moral values of the people.
The concept of bhakti movements
Bhakti movement was easy for the common people to
Bhakti movement, starting around understand.
sixth or seventh century AD Students learning Gotipua dance
influenced the development of
regional classical dance forms which
expand the roots of our present day
classical dances.
In the bhakti period, dancers
became part of the pooja rituals
inside the temple. The Devadasis
and Tevadichhis of Southern India
and the Maharis of Odisha directly
served the deity inside the temple.
The 64 rituals are performed
through ritualistic dance in
the Sattaras of Assam and the
The Gotipua dance Bhagavatars in the South. The
Kathakars of the North sang and
Kriti–I | Grade 6 92

Examples
The Gotipua Dance
Watch a video (Youtube) of the
Gotipua dance which originated in
Odisha.
The Maharis performed this
inside the temple in praise of
Lord Jagannatha and the Gotipuas
where the young boys danced for
the public.
Here, the young boys dress up as
girls and perform dances combined Lavani (predominantly female form) from
The Ardhanareeshwara Maharashtra
with acrobatic movements.

The Ardhanareeshwara Dance

In the painting, you can see Lord
Shiva and Goddess Parvathi on a
single face with dance make-up.

Activity 1: Watch Videos

of Unique Loka Nritya
Watch the videos of different loka
nrityas which are performed with
unique postures, gestures, ways of
Purulia Chhau from West Bengal originally
walking, steps, costumes and music. performed only by males
 Yakshagana from Karnataka by removing the gender constraints
in modern times.
It’s important to note that in
dance, these stances and gaits are not
strictly limited by gender. Dancers
often blend elements from various
styles to create their own unique
expression, breaking traditional
gender norms.
Now, you have come to a stage
where you have to learn steps of the
dance forms in your region.

Activity 2: Stepping for

Loka Nritya
Let us practice the tried out steps
Now, you can try the steps of both with the required bents, in vigorous
Lavni and Chhau. or gentle movements.
The dances like Mohiniyattam Lavni and bhangra, both dance
(earlier performed only by women), forms can be practiced by girls and
Kathakali and Yakshagana (earlier boys.
performed by only men) have Explore the arm and hand
undergone a drastic transformation gestures used in these dances.

Dance 93
Kriti–I | Grade 6 94

Activity 3: Project Work

Jogati Manjamma is a path breaking personality who has
influenced the development of the Jogati Dance in Karnataka by
breaking the barriers of gender identity. Find out more about
her and present a project work with her pictures.
Frame of the project — inspiring story from childhood (if any),
learning experiences, achievements and associations.
 Dance, Shapes and Tala Triangle, circle, square, rectangle,
Mathematics and dance complement etc., can be formed by using your
each other. hands, arms and legs.
We can demonstrate geometrical Discuss in the class and try out
shapes through dance. Dancing some geometrical movements.
involves geometrical postures and
movements in mathematical rhythm.
We can use different geometrical
patterns for formations in a
choreography. Rhythm and beat are
simply arithmatical patterns.
Rectangular shape Try these out in the next activity.

Activity 4: Dance and

Geometrical Shapes
How many different geometrical
shapes can be performed in a dance?

Triangular shape Dancers showing different shapes

Dance 95
Kriti–I | Grade 6 96

Activity 5: Rhythmic
Geometry
Now, combine all the elements of
the previous activity (arms , hands,
legs) and examine the different
geometrical shapes while adding
another element of rhythm.
Talas are different permutations
and combinations of rhythmic units.
Make groups and try different
arithmetic rythm combinations to
create various geometrical patterns
or formations.

Examples
2 beats + 2 beats = 4 beats
2 beats + 3 beats = 5 beats
2 beats + 4 beats = 6 beats
3 beats + 3 beats = 6 beats
3 beats + 4 beats = 7 beats

Go through such movements

and discuss in the class, how such
movements relate to the said action.
Chapter 14
Harmony in Motion
India boasts of a rich tapestry of
traditional dances, each deeply
rooted in the country’s diverse
cultural heritage. These dances Activity 1: Our
are not merely an expression of Traditional Dance
movement, but also convey stories,
emotions and spirituality. Choose any traditional dance of your
A traditional dance may be region and the song related to it.
shastriya nritya or loka nritya. The Dance in a rhythm with
variety of dance in our culture instruments used in your region.
spreads different fragrances which
are unique in nature.
We have numerous instruments,
properties, costumes, languages and
cultural beliefs that are performed
by several groups of people. Such
traditional dances uplift our nation
and reinforce societal and moral
integrity.
Now, it is your responsibility
to preserve and protect our rich
cultural heritage of dance. Bihu
 Kriti–I | Grade 6 98

Example 1: Bihu of Assam uses an Activity 2: Making of

instrument called dhol and a unique
wind instrument made of buffalo
Dance Jewellery and
horn called pepa. Props
Discuss with your respective groups
Example 2: Sidi Dhamal dance is
about costumes required for the
from Gujarat. It uses big drums as
dance. Try to make it yourself using
instrument during performance.
Sidi Dhamal dance from Gujarat cardboard, colour paper, decorative
Are you ready to perform?
ribbons, etc.
Just wait for a moment. Have you
Example: Dance jewellery like
discussed what props (if any like
necklace, head dress, Hanuman face
pots, sticks, rings …) will you use in
mask and queen’s crown.
your dance?
Do you have an idea of the
costumes used in a particular dance
which you are going to perform?
All dances in India are rooted in
Earrings Necklace
our cultural heritage. Not only does
the dance consists of movement,
rhythm, music but also includes
costume, prop, make-up and stage
position.

Ghungroo

Headgear
Activity 3: Draw a Jewellery or Prop of
Your Choice

Try to make them by using paper, cardboard, fabric, etc.

Dance 99
Kriti–I | Grade 6 100

Activity 4: Knowledge Dance Drama (Natya)

of Performance Space We are not only aware of the word
‘dance’ but also ‘drama’.
Discuss the following in the class: Will it work if we combine both
• Placing the required props on dance and drama together?
the stage without distracting Dance drama or natya is a form
the performance. of creative expression where the
• Designing costumes which feel participants use dance as a means
Dancing with a net comfortable (lifting hands and to tell a story or convey a message
legs, jumping, flipping, etc.) to using steps, body and hastamudras
dance in. enacting often to songs and music.
• Entry and exit from the stage
through two sides. (Refer stage
structure in theatre section.)

Different dance forms have

different props and stage decorations.
Musicians sitting for Hope every element of dance is clear
a programme to all.
Till now, you have worked in
small groups. Going forward, you
will be working as a collective group
consisting of all the members of class.
Now, you are going to explore a new
thing!
 Dance drama requires — Collaboration among Performers
coordination, expression and
collaboration among performers.
Coordination

Dance drama brings a narrative

through the art of movement and
acting in tandem. Dance dramas
can be inspired by various themes,
Expression cultures or historical events,
providing a rich and diverse
platform for artistic exploration.

Dance 101
Kriti–I | Grade 6 102

Activity 5: Sharing a Think …

Story of Nature Discuss …
Search and discuss a story related to Write …
nature or environment, or freedom
movement which convey a moral For a selected story or a poem, try to
value to the society. write a script and share ideas with each
other to create a natya.
Examples While writing the script, think
Stories related to— of dialogues with hastamudras,
• Avoiding plastic use. characters, costumes, props and stage
• Saving waterbodies. requirements.
• Excessive use of mobile phone. In this activity, you are giving lives
• Organic farming. to all characters of the story.
• Equality in education. Practice hastamudras, hand and body
movements for natya performance.
Note: Choose a story from English or Compile elements of rhythm, steps,
any other language textbook. movements, hastamudras, postures
Choose and share an appropriate into the poem and practice.
story in the class which you can Also, identify dance with the rhythmic
relate with your surrounding patterns using bols or collukettus (for
situation and region. example, tha ka dhi mi) and sargams
Script is a written document (often learnt in music class) which are
containing dialogues, songs, action, incorporated in natya.
and direction for performance or Practice facial expressions which is
presentation of dance drama, natya. a key element in natya. All of you have
In dance, dialogue is mostly through to work collaboratively for a systematic
hastamudras though words can also outcome of your natya.
be used.
 Activity 6: In this stage of choreography,
we need to look into the props,
Choreography and costumes, jewellery, stage decoration
Performing Natya and so on.
Practice with the props,
Come together and choreograph a
beforehand while performing so
natya which comprises dialogues,
that you can handle them
rhythmic music, dance beats and
comfortably.
movements by working as a team.
Once the choreography is done,
it’s time to practice.
Practice! Practice! Practice!
The key element of success is
practice …
After practice of natya, now it’s
time to rehearse on the stage.
Well done!
Perform your natya in front of
your class or a large audience.

Dance 103
Chapter 15
Dances of Our Land
Let’s start our dance journey! Get
ready to put on your dancing bells
and dive into the world of dance!

Dances of Our Land: Exploring Activity 1: Exploring

Local Rhythms and Movements Regional Dances
This chapter is all about discovering List out the names of different
the great dance forms that make our regional dances in your region.
country colourful and lively. Discuss it with your friends, parents
Let’s take a closer look at the and teachers.
dance forms that are present in your Choose any regional dance and
surrounding. conduct a field trip to visit the local
In this activity, you are going artists. You can also watch their videos.
to discover the dances that belong If possible, conduct a small
to your region. From the rich workshop with them, and find out
traditional loka nrityas to the the ideas and purpose behind the
energetic beats of local celebrations, local dance form.
these dances are deeply rooted in Try to learn the postures, gestures
our society. and the graceful movements of
Get ready to discover the dance the same.
forms that exhibit the spirit of your In this way, you can have an
region, and make the dance floor exciting journey of your own
come alive with rhythm and joy! regional dance forms.
 Observe the splendid swirls, C. Accompainments
beautiful twists, magnificient • Traditional folk music.
movements, graceful steps, colourful • Instruments like dhol (drum),
costumes and cathartic emotions tabla and dandia sticks.
of the dance which is a bundle of D. Costumes
positive energy. • Chaniya cholis (gagra) for women.
Garba dance from Gujarat
• Kediyu-kafni (a type of dhoti
Examples and kurta) for men.
The method of recording
observations of the dance form
Exploring Other Dance Forms
during a field trip. Here, you are going to explore the
local dance forms of other regions
Garba Dance from Gujarat of our country.
Tabla A. Introduction In this dance journey, instead of
Thisdanceformisperformedduring learning a single local dance form,
the festival of Navaratri wherein you will also be exploring other
Goddess Durga is worshipped. dance forms.
This dance is a celebration of
culture and tradition along with Activity 2: Exploring
the exhibition of community spirit other Dance Forms
and togetherness.
Dhol Watch videos of other regional
B. Characteristics of Dance dance forms.
• Vibrant and energetic Come on … sit together and have
movements. a fruitful discussion regarding dance
• Rhythmic clapping. of other regions.
• Circular patterns created by
dancers moving in concentric
Dandia sticks
circles.
Dance 105
Kriti–I | Grade 6 106

States Name of Accompainments Costumes Occassion List down the states of

the Dance of Dance our country with their
Kerala Thiruvathira Graceful rhythmic Simple Kerela On occasion of
respective dance forms.
Kali: performed dance with claps style costume Thruvathira, Some of the states have
by women. accompained by a of Mundu and Shivratri, Onam been shown here as an
folk song. Vesthi, with and some other illustration.
traditional festivals. You can arrange the
Kerela
information of different
ornaments.
dance forms of various
Odisha Saila: performed Dhol (barrel-shaped Colorful sarees On occasion of regions in a tabular form.
by tribal drum), nagara and dhotis, Chaitra Parva Amazing! Well done. Let’s
community. (kettle drum) and tribal jewellery festival in the
flute. beads, shells beginning of
move to the next level of
and metal agricultural our dance journey.
ornaments. season.
Kashmir Rouf: performed Tumbaknari (a Kashmiri attire Performed
by women in a small kettle drum), pheran (loose, during Eid,
group. rabab (a stringed long robe) Baisakhi and
instrument) and with colourful Navroz, as well
harmonium. embroidered as weddings,
dress, jewels: harvest
earrings, celebrations
neckless and and other social
bangles. gatherings.
Comparison of Regional Dance Forms
In your dance journey, you may have come across many local
dance forms. Going to the higher level, compare and contrast the
local dance forms of your region with that of the other regions.

States Name of the Dance Accompainments Costumes Occassion of Dance

Dance 107
Kriti–I | Grade 6 108

Activity 3: Comparison of Regional Dance Forms

Suppose you belong to Rajasthan and choose the local Kalbelia dance
form. Now, compare this with another local dance called Nongkrem
dance of Meghalaya.
Create a Comparative Chart as shown below —
Dance Form Kalbelia Nongkrem

State Rajasthan Meghalaya

Costume Women wear upper body cloth (angrakhi), Women wear traditional costumes while men are
head cloth (odhani) and lower body parts often adorned with vibrant colours holding swords
(lehenga) embroidered with small mirrors. and white yak hair whisk.
Purpose Associated with rituals, often depicting Celebrated during autumn to please the powerful
mythological stories. Special dances are Goddess for plentiful harvest and prosperity of people.
performed during Holi.
Performers Dance by women and song by men. Both men and women.
Accompainments Accompanied by traditional folk music and Accompanied by traditional music including the drum
woodwind instruments pungi, percussion and wind instrument tangmuri.
instruments dufli, been and khanjira.
 Dance Form

State

Costume

Purpose

Performers

Accompainments

Dance 109
Kriti–I | Grade 6 110

Activity 4: Project on pictures. Choose a folk song (related

to dance) and make a note of it.
Regional Dance Form Paste the handmade craft models
Do you remember Activity 1, where a of jewels belonging to a particular
field trip was conducted for studying dance form.
the local dance forms? Finally, present your project in
Prepare a project on a local dance front of all teachers and friends.
form by drawing or pasting related
Activity 5: Notes on Renowned Dancers
Write a brief note on renowned modern Indian dancers of
your choice. Write creatively and paste pictures. Along this
activity, try to imitate the moves, postures and gestures of
the renowned dancer.

Dance 111
THEATRE

“एतद्रसेषु भावेषु
सव्वकर्वक्रियासु च ।
सववोपदेशजननं
नाट्यरेतद्भक्वषयक्त ।।” ।। 113 ।।
Etadraseșu bhāveşu
Sarvakarmakriyāsu ca|
Sarvopadeśajananam
Nātyametad-bhaviṣyati||

Meaning
Drama will be educative
to all, through the actions,
situations and emotions
arising out of it.

Source: Natyashastra, Chapter I

Theatre for Middle Stage theatre and inspire their own artistic aspirations would
go a long way in theatre education.

Creative, Positive and Joyful Understand Individual Learning Styles

In a subject like theatre, which is about stories, Recognise and accommodate diverse learning styles
expression and imagination, there will be no wrong within your class. Some students may thrive with
answer. Encouraging students to think out of the hands-on activities, while others may prefer written
box, experiment with ideas and express themselves or visual learning. Provide an option for the child to
in unique ways would be an ideal environment. A choose their mode of communication (written or oral)
classroom that feels safe for a child to share their ideas and keep the focus on the conceptual understanding.
freely, without being mocked at or laughed at is what This takes away the stress from the child’s mind to
will make a theatre class fruitful. Building this mindset allow free thinking and creativity.
in teachers as well as among the children to encourage
mutual respect and support among classmates is a Emphasise Collaboration
great way to foster holistic learning. Theatre is a collaborative art form. Build in teamwork
and communication skills by incorporating group
Connect Theatre to Real World Skills activities, ensemble performances, and collaborative
projects. This not only builds team skills, but also
As the children begin to understand more about the world
enhances individual character and aptitude.
around them, facing situations and handling emotions
that are more complicated than before, theatre becomes
Circle Time
even more relevant. Emphasising the skills gained through
theatre becomes crucial. Emotional skills like empathy A practice to be followed by the teacher in every class.
gender and handling failure along with life skills such The last 10 minutes of the period are allotted to this circle
as public speaking, problem-solving and teamwork help time. All children, along with the teacher sit together, for
students recognise the practical applications of theatre, what seems like an informal reflection of thoughts and
beyond being an actor or a director. opinions. Children open up freely when they know there
are no expectations, no marks or grades attached. This
can be a source of crucial information that no test or
Attend Performances exam can provide. But this is informal only for the child.
Encouraging students to watch live performances or The teachers are required to take notes for themselves,
bring guest artists and expose them to professional that can be applied in their next lesson plans.
 Chapter 16
Emotions Unveiled!

SCENE 1
Understanding Emotions Example 1
As we start our first theatre class,
Default Position
write one word to describe how you
School trip is announced
are feeling.
and you are excited to
tell your mother. You
are walking on the road,
We will now explore, experiment it starts raining. You
and play with emotions! Sounds like started running.
fun? Let us now get on the HOT SEAT.

Instructions: The default position

is — heads down. Eyes closed. Pay
attention. Since you cannot see well,
you miss a step and fall
You will hear a story. Listen to it into the drain …
carefully. Start imagining. Be fully Now … LOOK!
involved in the story. The story
Concepts introduced suddenly stops and you will hear the Advanced: Story continues after the
• Emotions in life, word — ‘LOOK’. You have to look up first reaction. They FREEZE in the last
emotions in drama quickly and react to that situation in reaction and continue to listen … and
• Indian and western the story where it stopped. react at LOOK. Many twists and turns
views
can be brought into the story, asking
• Mask making Basic: Simple situation that ends in for a reaction at every twist in the tale!
a dramatic reaction.
 Example 2 Extended: Children volunteer to
create stories of their own and narrate
Default Position with ‘POSITION’, ‘FREEZE’ and ‘LOOK’,
while the other children react.
You are the princess, who is riding a
horse in the forest. When you hear a
familiar voice, you turn back. That face
looks very familiar.

You try really hard to recall … and recall. It is

the person in the ancestral photo which is
500 years old.
Now … LOOK!

Freeze
You then try to escape from this person.
But he is following you. You go faster … It is Circle Time!
that person trips on a rock and something • Make a list of all the emotions we
falls out of the pocket. The toy you were experienced today.
playing with yesterday! LOOK! • What do you think was the most
complicated emotion? Why?
• Is there a feeling or emotion you can’t
Freeze name? Can you describe it?
‘How did my toy from yesterday reach him? Oh
wait … I lost it in the bushes outside the palace.’
You know, there are some situations
Cousin who was playing with you must have stolen when you can feel two emotions, at
it. You take courage and pull the coat to reveal his the same time. For example, you are
true face. It is your naughty cousin! LOOK! playing with your friends and you

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lose the game because one of them worked on it for years! How many
cheated. What are the two emotions? do you think they must have listed?
sad (for losing the game) and angry 50? 100? More? Actually, it is … NINE!
(a friend cheated). Just nine? How? What about the
What emotions would you feel others? Who are these people?
when you see a puppy getting After years of study, observation
drenched in the rain, but you cannot and analysis, the ancient rishis of
go out to help because you have a our country classified emotions into
cold and it is raining heavily. the concept of ‘Navarasa’. Can you
and believe that all the emotions that we
have discussed, can be categorised
We all go through such under these nine rasas?
combination of emotions. Sometimes This is primarily done on the basis
it could be three emotions too! But of two fundamental elements — rasa
that is fine, as long as you know what and bhava.
emotions you are experiencing. Since
you can now not only identify your Bhava
emotions but can also name them; Dominant state of mind.
it is very important to look within Based on perception, thoughts and
yourself in different situations and attitudes, it does not change easily.
identify what you are going through.
All of us go through many leads to
emotions every day. People have
been thinking about emotions for Rasa
many centuries. We, by just playing The emotional essence.
a game, could list out so many names The resulting experience that is felt in a
of emotions. Imagine how many situation, feeling or sentiment.
they must have listed after having
 Have you noticed this — in a The great rishis of India, had
situation, what you feel is different thought of this in their work on
from what your friend feels. The emotions and the human mind.
reason is the difference in bhava Based on their study, they classified
in both of you. Because you had a the rasas (our experience) into
different bhava (different attitude navarasas (nine rasas).
or thought) it gave rise to a different
rasa (feeling that was experienced).

Examples
1. You are watching a match of your
favourite sport with your friend.
Your team wins. You are thrilled. Sringara Hasya Veera
Your friend is happy but not very Beauty, love Humour, Heroic,
excited because his favourite happy courage
player did not score well.
2. You are having lunch with your
friend. A bully in class comes
and makes fun of the both of
you, laughs and goes away. You Bhayanaka Karuna Bhibhatsa
get irritated, but put it away Fear, scary Sympathy, sad Disgust, ugly
and say ‘who cares’. You notice
that your friend is crying in a
corner, feeling very hurt.
In both these cases, though
the situations are the same, what
emotion and experience rise (rasa) Raudra Adbhuta Shanta
Anger, rage Wonder, Peace,
depends on what basic attitude or surprise blissful
thoughts you have (bhava).
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Now, you can fit all the emotions that we have Alternatively, nine boxes can be drawn on the floor
discussed, into one of these nine rasas! Try doing it. instead of a circle.
This concept of rasa, is a very small part of the
Navarasa Game big work on performing arts. It has everything
Play this fun game to get familiar with the navarasas. from the most basic idea of how to read a story
Draw the navarasas in a circle in the centre of the to the possibility of attaining moksha through the
room. All children go around the circle when the arts! It speaks about everything including make-up,
music is played. The music stops and the rasa that costume, lights, music, dance, rehearsals, discipline,
is nearest to the child should be expressed. The safety and responsibility of the arts towards the
learner who will not able to perform, will go out of audience. This great work on the performing arts
the circle. Music is played again and so it goes on. is called Natyashastra, written by Bharata Muni.
An interesting story of how it all began, called Natyotpatti (birth of performing art)

1 Brahma, the God of 2 3 He created a unique

all Devas, noticed Brahma then picks book Natya Veda. He
that the Devas had become dialogue from gives it to the Devas hoping
very demotivated and Rigveda, movement from they will like it and use it.
lazy. They wasted time doing Yajurveda, music from
nothing. Samaveda and emotions
from Atharvaveda. 4 But the Devas don’t
understand anything
in Natyaveda. They are very
confused.

This story tells us that the

Natyashastra is a book on the
6 Bharata Muni performing arts that includes
then writes the the knowledge extracted
Natyashastra. He gets his from all the four Vedas and
5 So, Brahma calls an
100 children together to
apply the Natyashastra and
more! It is also called the
fifth Veda! This story of
intelligent Rishi — presents a performance. Natyotpatti is how the actual
Bharata Muni and asks him book of Natyashastra begins.
to simplify the Natyaveda
so that everyone
7 The Devas are If you have read this story,
it means you have started
thrilled looking
understands this. at the performing arts. reading the Natyashastra
They shower praises and itself! We shall continue
appreciation and adapt it in learning more about it in
their lives. the forthcoming classes.

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Scene 2: Exploring Let us try to explore the same

navarasas through voice and body
Emotions
Natyashastra

More than
language!
We have so far learnt about facial Now, let us play the same game
2500
yrs old expressions. You have understood of Hot Seat. But this time, when you
It has how every part of your face hear ‘LOOK’ you should use your
6000 contributes towards showing what voice and body language to react to
verses
you are feeling inside. But why only the situation. Sounds fun?
36 chapters!
the face? Haven’t we learnt that Instructions: The default position
there are two other important is, heads down, eyes closed, pay
aspects which help us in attention.
communication? They are — voice Listen to the story carefully. Be
and body language. fully involved in the story. The story

Example Make simple drawings for another rasa.

Name of the rasa
Raudra — Anger or Rage
Face Body Face Body
All combined All combined
Expression Language Expression Language
 suddenly stops and you will hear the in performance were looked at, in
word — ‘LOOK’. You have to look up other countries.
quickly and react to that situation
with voice and action.
Basic: Simple situation that ends in
a dramatic reaction.
Advanced: Story continues after
the first reaction. They FREEZE in
the last reaction and continue to
listen … and react at LOOK. Many
twists and turns can be done in the
story, asking for a reaction at every
twist in the tale!
Extended: Children volunteer to
create stories of their own and
narrate with ‘POSITION’, ‘FREEZE’,
and ‘LOOK’, while the other
children react. It is Circle Time!
It is wonderful to see how you are • Make a list of emotions we
not only able to identify the emotion experienced today.
• Was it easier when you added
in the situation but also express to voice and action? Or were facial
communicate it using your face, body expressions easier?
and voice. Like we were wondering • Is there a feeling you can’t name?
how people must have looked at Can you enact it with voice, action
and analysed emotions centuries or expression?
• Observe the emotion you feel
ago and explored navarasa in India.
repeatedly in one day.
We will now look at how emotions

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The oldest known origin of later, (around fourth century BCE)

performing arts outside of India, the stories began to see changes
is the Greek Theatre, around fifth where there were happy endings and
century BCE. enjoyment in the story. This was the
Dionysus, the God of beginning of comedy. The origin of
entertainment, was responsible to the word comedy, similar to tragedy,
maintain a good crop harvest of is from the Greek terms — ‘Komos’
grapes — main agricultural produce (enjoy) and ‘Odia’ (song). Comedy
in Greece. Back then, the people dramas have a happy ending. These
Map not to scale of Greece used to celebrate the include elements of humans, animals
Artist representation
Dionysian festival to please their and Gods in their plays. They also
God. During this, they used to sing included dance sequences and a
hymns in praise of Dionysus and dialogue directly with the audience
the chorus was called Dithyramb. or the playwright.
As a part of the ritual, a goat was Observe this picture of a Greek
sacrificed while the songs were sung. theatre performance. What do you
Songs sung during the goat notice? All three actors are wearing
sacrifice ritual (ode) led to the term masks.
‘Tragodia’ (Trag — Odia), which
means the ‘Song of the Goats’, which
Dionysus — Greek God of led to the term, tragedy.
entertainment Stories and performances based
on this were the first plays. They were
all tragic plays. They were serious and
An ode is a type of lyric had a sad ending with the protagonist
(the main character) of the play either
poetry for glorifying being punished or dead.
an event or person. More and more such stories were
being performed and many years A Greek play in action
 Masks were an important part
of Greek theatre. This is also linked
to the reason why they preferred
tragedy.
Tragedy is actually serious and
sad. Did the Greeks like to be sad
and cry all the time? No. It helped
them to release their suppressed
emotions and pain. This is called
catharsis. You will learn more about
it in higher grades. Masks helped in
relating to the character and not the
person acting. It is Circle Time!
You must have seen these masks 1. Share an example of how you
many times, right? But what do you observed the idea of bhava and rasa
think they represent? You can guess to understand a situation.
from what we have studied. 2. Try connecting the Navarasas (from
ancient India) and tragedy-comedy
(from ancient Greece).
• What rasas can be included
under tragedy and comedy?
• Are there more emotions that
cannot be classified under these?
3. Make a list of all the emotions that you
had gone through in a day. Give each
one the equivalent name of the rasa.
Tragedy and Comedy 4. When you read a storybook, mark
every emotional moment with the
So the next time you see these masks,
name that has been discussed.
you know the story behind it.

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Activity — Masks and • Add extra features creatively

with colour paper and glue.
Emotions • To make the cardboard
Let us explore the emotions through according to the shape of the
masks. But masks cover the face and face, make sure you bend it, cut
face is the way to show emotions. out an angle and then paste it.
How can masks show emotions? • Make two holes near the ear
Masks are emotions and characters area of the mask to tie a thread
that you can wear and act! or elastic.
Though there are numerous types
of masks, we will explore two of them.
Be careful while using scissors
and glue, use them under the
Half mask
supervision of your teacher!

Cardboard Masks (half): Fold paper in half Cut on the line with
(Cardboard, scissors, glue and and draw the outline scissors
colours).
• Draw the layout of the face,
make sure you get the symmetry Use the edge of the
right. A simple way to achieve table to slightly bend
the cardboard
a symmetrical design is to fold
the paper (see pictures).
• Mark the eyes and nose, this
way both sides will come Decorate your
mask with
symmetrical, add different
Full mask colours, shells,
shapes and designs to bring out feathers or
the eyes, nose and ears, or any anything you
other feature as desired. want
 Paper Masks (full): (old newspaper, • Burst the balloon and cut the
one balloon, glue, scissors, colours). paper to define the shape.
• Tear pieces of paper (newspaper • Paint the mask according to
or regular paper), wet it in the characters, use different
water and apply it smoothly on colours to bring out different
the surface of the balloon. emotions and expressions.
• Cover half of the balloon as in There are different purposes
picture. The paper must overlap that a mask serves. The use of
on the edges. Reapply layers of masks in performing arts is diverse
wet paper to bring the different and spans across various cultures
contours of the face. and theatrical traditions. Whether
• Allow it to completely dry, this conveying characters, cultural
process of applying a wet layer symbols or deeper meanings, masks
of paper, waiting for it to dry, are a powerful and versatile tool
reapplying layers and getting in the world of performance. India
the desired shape might take has more than 50 types of classical
around three days. masks.

Pieces of wet paper on a balloon. After dries fully, burst the Cut outlines to define shape Decorate it with colours and
5–6 layers. Last layer with glue balloon to remove it (take the help of an adult) any other material

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Group Activity Here are some examples —

• Make groups of 3–4
students. Show Emotions Show Culture
• Pick a rasa from the
navarasa.
• Identify designs from
your local culture.
• Create a mask in that
rasa (emotion) with
your local cultural Purulia Chhau Chaam
design. Joy Anger (West Bengal) (Laddakh)
Note: You can choose to
make —
• Cardboard full mask.
• Paper mask with a
balloon.
Examples
Culture: It has tribal
design and warli art from
Maharastra.
Emotion: Eyebrow and
eye design show an angry
emotion (Raudra).
 Chapter 17
Let’s Design
Stage Technicals 1
In the realm of design,
makeup weaves a tale, • Make-up
Brush strokes on faces, • Costume design
emotions set to unveil. • Stage layout
Costumes, a canvas for Your face is the first thing
characters to shine, that people notice about you. So,
for an actor, to look convincing on
On the stage, design harmonises,
stage, the first thing that has to be
a visual symphony divine.
considered is make-up.

Make-up
Have you noticed actors have colours
SCENE 3: Theatre on their face? Some look good, some
Concepts introduced Production look scary and some look funny.
• Make-up and costume This is what make-up can do! It is all
design In any successful performance, we planned as per the roles they play
• Stage see the actors perform and get the in the drama performance that they
• Script writing appreciation. But for the actors’ are a part of. Everyone performing
performance to have full impact on on stage needs to put on make-up,
the audience, the effort and work of all irrespective of the gender, age,
these departments are very crucial. We community, etc.
are now going to explore the basics If you ask, but why? Why is
of the following departments — make-up necessary? We don’t wear
Kriti–I | Grade 6 128

make-up in our everyday life. Why is 5. Historical and Theatrical

it necessary for stage? Styles: Depending on the play’s
Here is your answer — setting or genre, make-up can
1. Visibility and Projection: be essential for capturing the
Make-up enhances facial features, styles. It allows actors to fit into
ensuring that expressions and specific time periods, cultures
emotions are projected to the or fantasy worlds envisioned by
audience, even from a distance. the director.
2. Character Transformation: In essence, make-up for stage
Make-up room, also called Make-up is a powerful tool actors is not just about ‘looking good’
green room, should be bright, for transforming actors into or aesthetics. It is a practical and
well-lit and airy artistic necessity, as it contributes
characters. It allows performers
to look old, younger or adopt significantly to the success of a
specific features necessary for theatrical performance. It enables
the role, enhancing the overall actors to communicate effectively
authenticity of the performance. with the audience, enhances
3. Highlighting Facial their portrayal of characters and
Expressions: Make-up helps contributes to the overall visual
emphasise key features such impact of the production.
as eyes and mouth, so that Depending on the play and role,
subtle nuances are visible to the there are different types of make-up.
audience. • Straight make-up: Simple,
4. Harmony with Stage Lighting: basic highlight of features.
Stage lights can be intense and • Character make-up: Elements
may distort natural skin tones. of age, profession, personality
Make-up is applied to create a and situation are shown.
balance, preventing actors from • Special effects: Adding wounds,
appearing washed out or overly scars or additional features like
dark under the stage lights. horns.
Identify and write • Fantasy or abstract make-up: during a village festival is different
the type of make-up Creating unique, unfamiliar from your night clothes. Right?
based on the characters with unusual colours. Similarly, an actor wears
description above • Mime or pattern make-up: different clothes to portray different
A bold, striking face characters. It helps the audience to
covers that is usually recognise and relate to the character.
neutral. While there are so many kinds
Face is the first thing of clothes and options to choose
that people notice. The from, how does one even start
next most important to decide what works for the
thing, is the clothes character? Here are some points to
and accessories. A start off — costumes are designed
person’s character is according to the following categories:
defined by the kind • Gender: Clothes are different
of clothes they wear. for men and women.
So, invariably for • Age of the character: People
characters on stage, dress differently at different
what is very crucial is— ages.
• Timeline of the play: Fashion
The Costume of a culture evolves and changes
Design as time progresses. (Jeans and
We wear different pants did not exist during
types of clothes in Maharaja Shivaji’s time.)
different occasions. • Geographical location of the
The clothes you wear story: Differences in cultures
at home are different and countries. (Traditional
from the school uniform. Likewise, clothing of Karnataka is different
the clothes you wear to the temple from Bengal).

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• Occupation of the character: Colours: They represent numerous

A police, a lawyer and a doctor. things like:
• Features of the character: • Time period (neon blue is
person wearing shabby clothes preferably not used for a scene
and neatly dressed. in Vedic period).
• Each colour of character
How are all these elements represents a meaning. (Negative
brought about in design with the character has dark shades.)
use of : • Cultural aspects (red is not used
Fabric or Material: Match the time in mourning or funeral scenes).
period and the geographical location. Pattern and Designs: There are
(Using synthetic chiffon for a story in some patterns on the clothes that
the Himalayas of ancient India — is are exclusive to the royalty, some
not possible because chiffon did represent tribal culture while there
not exist in ancient India and this are some exclusive to a rural setting.
would not suit the cold weather in Styling: Jewellery, accessories like
Himalayas). crown, dupatta, belts, bags, eyewear.

Write below what you understand about the character based on costume
 Activity — You Design!
First step of design is planning and Feel free to make it creative and
that is done through drawing. interesting as possible. Use crown,
1. Make-up plan: Draw hair and head gears, topi, hairstyle, etc.
head gear colour it with the Make sure you make it look like the
make-up required to bring character of a person who actually
about the character below. You existed (like Gandhiji, Subhash
can do in your notebook and Chandra Bose, etc.). Keep it as simple
try multiple times. but accurate as possible.
Example

Chandragupta Maurya Folk dancer Subhash Chandra Bose Moon God

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2. Costume Design: We will now

try designing costumes, in the
same way!
The same characters that you
designed make-up for, now design
the costumes!
Keep in mind the time period,
nature of work, colours and other
details. You can either draw or paste
pieces of fabric as shown in the
picture.
Example

Chandragupta Maurya Folk Dancer Subhash Chandra Bose Moon God

 So, costumes are on, makeup is when the sunlight lit the stage or
done, but, where do you stage it? at night, when they relied on heavy
The answer is right there in the oil lamps to light the stage, as these
question! were practised in ancient time.
Later, with the help of electricity and
On a Stage! light bulbs, many aspects of light
and intensity could be controlled.
A stage is any place where you This allowed theatrical
Stage Trivia perform a play. There are various performances to be done indoors,
The word ‘Theatre’ types of stages which we can observe where neither the burning hot
originated from the name throughout the history of theatre. sunlight, the cold winds nor heavy
of the Greek performance Plays have been staged in so rains would prevent shows from
space ‘Theatron’. many venues, starting from the being staged.
Indian Natyagruha, Greek ‘Theatron’
(carved out mountains) to the Globe Parts of the Stage
Theatre (in a palace like setting), Side Wings: The sides of the stage
to the streets and finally to the are divided by wings, which help
modern indoor auditorium named actors to take entries and exits from
proscenium. The proscenium is the the stage.
most popular and commonly used Apron: It is a curved space which
structure in today’s shows. extends from the stage area onto
the audience area. This space is
The Proscenium generally used to place foot mikes
The origins of the proscenium stage and foot lights.
is directly linked to the scientific Proscenium: The proscenium is the
discoveries of electricity and the frame or arch that surrounds the
light bulbs. stage in a proscenium theatre.
Previously, most of the plays Cyclorama: A large light blue or
happened either during the day white fabric stretched across the
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back wall of the stage used to reflect 3. Make a cardboard model of a

lighting equipment and create stage with side wings as given in
effects such as sky, clouds, etc. the picture. (This can be done in
groups).
Activity 4. Plan how one scene can be
In order to put together all that has enacted on stage, by placing the
been learnt, do the following — set and properties (chairs, table
1. Pick your favourite story. or tree, hut, etc).
2. Identify two of your favourite Alternatively, make a drawing of
characters. Design costumes this in your book.
and make-up for them. (Create
your own. Don’t copy from the
storybook you have read).

Parts of the Stage

C — Centre
CR — Centre Right
CL — Centre Left
UR — Up Right
UC — Up Centre
UL — Up Left
DR — Down Right
DC — Down Centre
DL — Down Left
 SCENE 4: Write, Right Activity (In class)
Story Building Instructions:
A script is the storyteller’s brush, Everyone sits in a circle (can also sit
painting worlds with words, at their places if circle is not possible).
inviting characters to dance The teacher will start with the first
and crafting the magic that sentence. Each of you add one line
captivates the audience. to build a story. Listen carefully to
what the last sentence was. You have
Having a good script is the first step to continue from there.
towards a successful performance. Don’t be in a hurry to complete
Just like the foundation of a building the story. Try to make the stories
is the most important aspect of interesting and complex.
having a strong structure, the right
Basic: Each of you will tell one line
script creates the right base for all
until everyone gets an opportunity.
A Story the creativity and talent to grow.
The last set of children need to make
Let us first start with
sure they conclude it.
understanding the words and terms
that are commonly used — story,
Discussion
drama, script, dialogue. Are they all
same? No! Was it an interesting story? Where
A drama is a story being told in do you think it got boring? Can you
Script Conversation a live format. Characters come to define what a story is? Is it the same
life and situations happen in front as a drama script?
of you. But when it is in the form of What are the things you notice in
a script (written form), it is not the a drama script that is different from
same as a story? your story book? Name a few that
What is the difference between are unique.
story and drama script?

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A striking difference is that the Use your notebook if you want to

A story is a narrative
or account of events,
story is in the form of a paragraph, continue the conversation. It can be
experiences or while the script has ‘conversations’. as long as you want.
adventures, real or I’m sure you see or hear people
imaginary presented in having conversations every day.
a structured or coherent At home, on the road, in schools —
form. It typically
everywhere. Let us try to write a
involves a series of
connected events that simple conversation between a
unfold over time, often shopkeeper and customer. It can
featuring characters be from what you have seen or
who face challenges, completely imaginary.
undergo transformations
and contribute to the
overall development of
Customer:
the narrative.

Congratulations you have written

Shopkeeper: your first script!!
A conversation is Let us now go to the next level.
an interactive, verbal If you carefully observe, the script
exchange between two or
more people. It is a social Customer: you have written is different from
and communicative a drama you have watched or a
process where story you have heard. What is it that
participants take turns in is missing?
speaking and listening, Shopkeeper:
engaging in a dialogue
that may be casual,
formal or structured.
 This let us know the three parts of a story or a script
Beginning Middle End

Who are the characters?

What is the problem they have? Is the problem solved?
Where and when?
What happens to the characters? How and who does it?
What do the characters
How do they react to it? What is the conclusion?
want?

Conflict is the struggle or

disagreement between
characters or elements
within the story that
create obstacles and take
the story forward.
Conflict is a
fundamental element
in storytelling, as it
introduces challenges,
dilemmas or opposing
Beginning Middle End
forces that characters
must resolve. Hare and tortoise Hare rests, tortoise Tortoise wins the race,
This tension is in a race overtakes hare is disappointed.
essential for building
interest, engaging the If you notice the ‘middle’, we talk Here is an instance of how
audience and providing a
framework for character about a ‘problem’. This is the most conflict is used in this popular
development in a script. important part of any story or script. story that all of us know — ‘Hare
It is called — ‘the conflict’. and Tortoise.’
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Example 1 — Conversation without conflict

Customer: Namaste! I want a chocolate for my sister’s birthday.
Shopkeeper: Okay. What kind of chocolate do you want?
Customer: My sister likes vanilla flavoured chocolates.
Shopkeeper: We have three varieties. Plain vanilla, vanilla with nuts, and
wafers with vanilla and chocolate in it.
Customer: I will have the vanilla with nuts.
Shopkeeper: Do you want a gift wrapping?
Customer: Yes, please.
Shopkeeper: Here you go, chocolate wrapped in gift paper! It will cost you
` 50.
Customer: Here is the money. Thank you!

Let us see how the conflict will make a difference.

Example 2 — Conversation with conflict
Customer: Namaste! I want a chocolate for Customer: This is not fair. First, you did not
my sister’s birthday. have the chocolate I wanted, now you don’t
Shopkeeper: Okay. What kind of chocolate? have the gift wrap! I will go to the other
Customer: My sister likes vanilla chocolates. shop. I don’t want anything from here.
Shopkeeper: Sorry, we have three varieties. Shopkeeper: Hey … wait … I will try to
Plain, strawberry and caramel. arrange it (picks up the phone and talks to
someone). Don’t worry. You are getting the
Customer: Oh, but my sister likes vanilla.
vanilla chocolate and the gift wrap. I am
It’s okay. Give me caramel and please wrap
getting it for you from our storage. Sorry for
it in gift paper.
the trouble.
Shopkeeper: Oh, we have run out of gift
Customer: No problem. Thank you!
paper. Can I wrap it in a regular brown paper?
 Has the conflict in the second Advanced: Make 10 – 15 chits with
example ignited some emotion and random phrases written, like, ‘The
drama into the otherwise boring protagonist forgets to’ or ‘This
conversation you saw in the first character is very hungry’ or ‘Suddenly
example? This is how you can make the lights went out’. These are meant
your entire script interesting. to bring a ‘twist-in-the-tale’ or in a
Now, go back and check if you more professional language, that you
have a conflict in the shopkeeper now know — these are ‘conflicts’.
conversation you wrote. Did you also Like you did previously,
have a conflict in the story building contribute a sentence to the story.
game? Let us play it again. After every ten lines you pick out a
chit, there is a twist in the tale and
Activity (In class — continued) you have to include in the story. Pay
Let’s play level two of the same story attention to the Beginning-Middle
building game. -End. The last set of children have to
Instructions: Everyone sits in a resolve the conflict and conclude.
circle (can sit in their respective Play this game as many times as
places if a circle is not possible). you want. Change the order of the
The teacher will start with the first children. It will help you (them) to
sentence. Each of you add one line get familiar with the flow of the
to build a story. Listen carefully to story, conflict and its resolution.
what the last sentence was. You have With such understanding of the
to continue from there. basics, you can now get down to
Don’t be in a hurry to complete some serious script writing.
the story. Try to make the stories Here are simple steps to write
interesting and complex. your own play! First make notes in
your book about the three parts —

Theatre 139
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Start with the You can then think of Finally, Popular Writers of our Times (Eng)
BEGINNING the MIDDLE the END
Stories or Novels Drama
(Authors) (Playwrights)
Who are the characters How is the conflict
What is the conflict?
(their names, age, work, resolved?
How is it introduced? Sudha Murthy Rabindranath Tagore
etc.)? What happens to
What do the characters RK Narayan Shel Silverstein
Where and when is it the characters?
do? Ruskin Bond Taro Yashima
happening? Conclusion.

With this in your book, you can start writing conversations. Reading others’ works is inspiring and
can give ideas for your work.

In every story, you read or Beginning-Middle-End. Also, find

a movie that you watch, try to out how a conflict is introduced and
identify the three parts of the story: resolved. Write down the details —

Name of the Movie or Storybook Parts of the Story

Beginning
Middle (Conflict)
End

Write Away! Happy Writing!

 Chapter 18
In the Company of
Theatre
Imagine living with a big team of
artistes who only do theatre shows
everyday and earn their living and twentieth centuries. Very few
through that. You will be doing have survived till now!
rehearsals everyday, wearing Let us get a glimpse of this
costumes, make-up and performing fascinating concept of company
everyday! You would eat, play, sleep theatres that is almost non-existent
and even travel with them, all for now.
performing shows. These were Company Theatre is used to
called, ‘Company Theatres’, that describe professional companies
existed in the eighteenth, nineteenth of artists who perform theatrical

Concepts introduced
• Concept of company
theatre in India
• Popular companies and
their decline
Company theatre team after a show
Kriti–I | Grade 6 142

productions. There were such theatre 1860, over 20 Parsi theatre groups
troupes in Kolkata as early as the were formed in Mumbai.
1700s. It usually consisted of a large Their proscenium style
number of people, self-sufficient in productions inspired many
their requirements, professionally theatrical productions all over
and personally. These troupes had India. Subsequently, the company
everyone — make-up men, costume theatre form picked up in other
tailors, set designers, painters, light parts of Maharashtra, Karnataka
technicians, actors, dancers, singers, and Andhra Pradesh.
writers, cooks, managers and
accountants. Most of the time, it had Popular Companies, Shows
entire families including children, and Stories
being a part of it! They worked Surabhi Theatre or Sri
together performing shows and Venkateshwara Natya Mandali was
travelling for their entire lives. formed in 1885 in Andhra Pradesh.
The very first company theatre Its first play was Keechaka Vadha.
troupes that travelled to different This is a family theatre company that
regions in India were the ‘parsi performs stories based on Hindu
theatre companies’ in Bombay,
Maharashtra, that performed plays
all over India during the 1850s to
1930s.
The first Parsi theatre company
called ‘Parsi Natak Manḍali’
performed their first play, Roostum
Zabooli, and Sohrab in 1853. It was
followed by King Afrasiab, Rustom
Surabhi theatre plays are known for using
Parsi natak mandali Pehlvan and Padsah Faredun. By magic, live VFX and logic defying feats on stage
 tradition and history. This is one of Droupadi Vatstrapaharana, and
the few troupes that has survived Bhoumasura Vadhe, etc., written by
since 138 years. Surabhi theatre still Venkannacharya Agalagatti were
showcases the following plays — also popular.
They had the patronage of the
Sri Krishna Leelalu: The exploits Maharajas of Mysore, who supported
of little Krishna. them and donated liberally towards
Jai Pathala Bhiravi: The story of encouraging the performing arts.
folk legend Thota Ramaudu. Shree Channabasaweshwara
Bhakta Prahlada: The tale of Nataka Mandali or famously
Prahlada — a devoted child. the Gubbi Company, was the
Maya Bazar: The tale of demon most famous theatre company in
King Ghatothkacha. Karnataka. Their popular plays
Sri Venkateshwara Udhbhavam Sadharame, Subhadra, Hemareddy
(Srinivasa Kalyanam). Mallamma, among many others
Balanagamma: The story of a always ran houseful shows. People
wicked sorcerer. waited in queues for days to buy
tickets to watch them!
Karnataka Nataka Mandali was
established in 1874 at Gadag in
Karnataka. Sakkere Balacharya
(Shantha Kavi) is the person behind
this. Plays like Kichaka, Banasura
and Vatstrapaharana were very
popular on the stage.
Around the same time,
Halasangi Nataka Mandali
was started at Halasangi, Bijapur
district of Karnataka. Srimati
Parinaya, Madalasa Parinaya, Gubbi company

Theatre 143
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Some unique features — • The novel techniques of the

• This troupe was the first to cinema industry stood as a very
allow women to act. strong contender.
• The most famous Kannada • Content and stories became less
actor Dr Rajkumar started family friendly as some companies
his theatre career in this resorted to unhealthy humour.
company. • The concept of amateur theatre
• BV Karanth, the famous theatre or Havyasi theatre gained
director from Karnataka also popularity for its convenience.
started his career here.
Professional Theatre in India
The Present Situation At present, there has been a decline
The era of company theatres in India in company theatre, there are many
slowly declined after Independence. professional repertoires that provide
There were many factors that led to high quality productions, even to this
the decline — day. With the development of science
• Most companies were not and technology, theatre techniques
managed with the financial have also upgraded and this allows
efficiency required. for enhanced experiences.
 Chapter 19
Stories of Shadows and
Strings — Puppetry
All of us have played with dolls, cars
and rockets, creating stories and
characters, right? We have made our all — your hand! Make simple faces
little toy save someone in distress of the characters you want to create
or have an adventure in a chocolate (from your family or friends) and
dreamland. This is exactly what make them talk!
puppetry is! Alternatively, you can also draw your
Puppetry is the art of using hand on a paper and create characters.
inanimate figures or representations
to create a performance. Puppeteers
manipulate these figures through
various techniques such as hand
movement, strings or rods, to tell
stories, entertain or convey messages Let us now go to a step further and
in front of an audience. create simple finger puppets.
Use paper to create a simple cup
with scissors and glue, wear it on
SCENE 5: Hand Puppetery
Concepts introduced
• Hand puppetry
— Finger, Socks and Glove
• Stick and shadow Puppets come in all shapes and sizes.
puppetry
There is no specific rule about how a
• Puppetry in India
• Voice modulation puppet should look like. It can be as
unique as your creative imagination.
Let us start with the simplest of Simple finger puppets
Kriti–I | Grade 6 146

your finger, draw different faces, Since there is no limitation or

hands and legs. Now, you can give rules to how the puppet has to be
these characters a name and create made, try different ways to make
a story of your own! your puppet come alive!

Animal characters Special characters

Characters from purana and itihasa Use your fingers as legs

 Sock and Glove Puppets Activity
Another way to make puppets Create two characters. Use your
which adds more character to your imagination. It can be people, animals
imagination — sock or glove puppet. or imaginary characters like aliens.
Here is a step by step guide to make You can also create combinations
a simple socks puppet of your own. like a tiger and a ghost, or old man
Give it a name and create your and a dog.
own conversation! List out characteristics. Give a
name and emotion — are they funny,
angry or sad?, assign a style of talking.
Write a simple conversation.
Remember the three parts of a
script? Make sure that you have a
situation and a conflict where these
two characters talk.
Take any Wear it on Put an elastic Alternatively, Add eyes,
sock you your hand till or rubberband you can cut, tongue, hair,
have at it is firm. around the four and open the nose and other Showtime
home. fingers and mouth area features as Present this show in your class
the separately and stick you want.
thumbtrs. cardboard. or to your family. You are now a
puppeteer!

Glove puppet conversation Finger puppet conversation Sock puppet conversation

Theatre 147
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Hand Puppets in India

While you are thinking of new ideas for your next puppet show, let us explore
different states of our country associated with puppetry.

1. Sakhi Kundei and Sakhi 2. Pavakathakali 3. Putul Nach — Bengal

Nach — Odisha Pavakoothu — Kerala

• Made of papier mache, • Inspired by the colourful • Made of clay and

wood or cloth and have and dramatic dance form have a unique style of
bright, cheerful faces. called Kathakali. storytelling.
• They love to dance and • Made of wood and • They often tell stories
sing, and their stories are decorated with intricate about Krishna and Radha,
often filled with humor costumes and jewellery. and also current events.
and joy. • The stories they tell are • They clap to rhythm and
• They are a popular part of often based on Ramayana can garland each other.
festivals and celebrations and the Mahabharata. They are great fun to
in Odisha. play.
 SCENE 6: Stick and • Find sticks that are at least six
inches or longer. It can be twigs
Shadow Puppetry from a tree, ice-cream sticks
Puppetry Trivia
• Puppets were used This is a form of puppetry that requires or even cardboard strips that
to tell stories in India some basic set up. It can be done by are stiff.
for more than three you either in the class or at home. You • Glue the pictures of the
thousand years. There’s will need some basic material that characters you have drawn
an interesting story
you can find around you. to one end of the stick such
by Rishi Vyasa in the
While you could do hand puppets that, you hold one end and
Bhagavata Purana.
This talks about and sock puppets on your own, the puppet is on the other end
wooden puppets being these two forms require you to work (see picture).
controlled with strings. in teams. So, go find your gang of Your stick puppets are ready!
• Farmers, after working puppeteers!
whole day relaxed Class is to be divided into teams
by performing and of five to six children. Each team
watching puppet shows.
will decide a concept or a story they
want to narrate. Each group will
create a simple script with three to
four characters in it. The team then
works together to make the puppets.

Stick Puppets
Stick puppets are the easiest to make
and will also let children have lots
of fun. Puppet Show Frame
• Draw and colour pictures of Cut out a cardboard in a simple
all the characters in your story rectangle, big enough to fit in all the
and cut them to shape. characters you have created.
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Kriti–I | Grade 6 150

Optional: You can decorate the frame colour, facial features, etc., are
with suitable pictures according to not visible in the shadow. The
your script. outline should be able to tell
You can also add a suitable your audience the character.
background picture of a forest or a As you try working your way by
street, etc. creating stories through shadow
You are ready for the show! puppetry, let us find out how much
Each team member takes up one progress we have made as a country,
character and the team enacts the in the art of shadow puppetry.
puppet show.
Now that you have the stick
puppetry show ready, shadow
puppetry is just one step away.

Shadow Puppets
You can add a white cloth on the
cardboard frame and use a pointed
single source of light, like a torch.
Some points to keep in mind for
shadow puppetry —
• Make sure the light doesn’t
spread too much as the
sharpness of the shadow
depends on it. The light should
be placed on a stable surface,
so it doesn’t move.
• The outline of the character
is the most important as the
 Stick and Shadow Puppets been the most popular ones. In the
in India following pictures, observe the level
of detailing and the intricate designs
Shadow puppetry in India has
of each puppet. This is how talented
existed for more than 2000 years.
our artisans were!
Stories of Rama and Krishna have

1. Tholu Bommalata from 2. Togalu Bombeyata 3. Ravan Chhaya from

Andhra Pradesh and from Karnataka Odisha
Telangana

• Intricate leather puppets, • They are made of leather. • This style has beautifully
carefully cut and painted. and use colour. designed black and
• These puppets can dance • Have eyes of profile and white puppets.
really very well. front view together. • The puppets retell the
• Hanuman stories are • The puppeteer sings and story of Ramayana.
very entertaining in this makes sound effects to • The Ravana puppet is
style of puppets. bring the characters to usually 1 ft bigger than
life, making the stories the remaining puppets.
even more exciting.

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Kriti–I | Grade 6 152

Activity — Make your own You can do the same with your
puppet show! puppet to make the show more
exciting and fun!
Puppets — ready ✅
This is very important when you
Frame — ready ✅ are playing two characters yourself.
Backdrop — ready ✅ Won’t it be boring to hear the same
voice for both characters, which
Script — ready ✅ also sounds like your regular voice?
But who will deliver the So, both characters should sound
dialogues? Do Puppets talk? No! Can different from each other and from
you talk? Yes! But that will sound your own voice.
like you … How will you ‘sound like’ This is true for any kind of
your character? puppetry, whether you do sock
puppetry, stick puppetry or shadow
Answer: Voice modulation puppetry. You have to work on
Voice modulation in puppetry is your voice. Remember, it has to
giving your puppet different voices suit the character the puppet is
to match its feelings or the story it representing!
is telling. So, when your puppet is Example — An old man cannot
happy, you can make your voice have a high-pitched squeaky voice!
sound cheerful and high-pitched. Keep practicing the lines from
If it’s telling a spooky tale, you can your script for the puppet show
lower your voice to make it sound with the puppets you have made.
mysterious just like how you play You are now ready to put up the
with different voices when you puppet show. Get your audience …
pretend to be different characters. ready … GO!
 Find a voice for the following and say the lines below in that voice:
Puppetry Trivia
• Indian kings like
Krishnadevaraya and
Vikramaditya were so
“Have you had “I want to play in
fond of puppetry, they
your lunch?” the park!”
had their own special
theatres for these
amazing shows.
• Puppetry can be an
effective method to
create awareness
“Hello! Do you
among the students on
want to go on a “Do you want to
values such as gender
running race with play with me?”
sensitivity as well as
me?”
awareness on safe and
unsafe touch.
• Today, Indian puppetry
keeps the tradition
alive by bringing in
new techniques and
technologies to make it
even more exciting.

Theatre 153
Chapter 20
The Grand Finale
This is a fun attempt to put together
all that you have learnt into one
project. This project can be done This activity also gives you a
both individually or in a group with simple trick to switch to puppetry, if
the help of your friends. you decide not to perform the play.
Present it to your class and discuss.

1. Script 2. Make-up and costume

Write a simple conversation between two Design the make-up and costume for the
or three characters, based on one emotion. characters in your script as you did in
Make sure the conversation mainly has ACT 2.
the emotion you have chosen. Example:
emotion chosen is anger. The main character
could be short tempered or two friends
could be discussing about how someone’s
anger cancause a lot of problem.
 3. Stage Design 4. Switch to Puppetry
Use the cardboard stage model to plan Cut out the outline of your costume
the set and props on stage. design picture and paste a stick on one
Use this to plan your final performance end. Do this for all your characters. The
in class, where you set up the stage and stick puppets are ready!
act out the script with your friends. Now, you can use the same stage
model as your puppetry frame!

Discussion and Feedback: After 3. Stage — Were the design and

presenting or performing in front props well used?
of your class, discuss each aspect of 4. What could have made the
your workers in detail. This is very over-all show better?
important for every artiste.
1. Script — Did they understand Take both positive and negative
the story? Was the conflict and feedback with the same approach.
resolution clear? It will only help you do better next
2. Costume and make-up — Was it time, as you will not repeat the same
neat? Does it add to the character mistakes.
or disturb the performance?
Theatre 155
Kriti–I | Grade 6 156

You have
just learnt the basic steps of the process
of how a theatrical performance takes shape. But there
is more! Next you will look into more detailed steps of how to
improve on your script and performances to make it look professional. It
will definitely be more exciting and engaging than how it has been.
Feel free to write and create more scripts and small shows either with friends
or with puppets, whenever you are free. You can use a story you read, a movie you
watched or imagine something new all by yourself.
As the stanza from Natyashastra in the beginning of this section says, theatre will not
only help you learn about the performing arts but also build the crucial life skills
you will need in future. So, make use of this wonderful art to explore yourselves.
Try out all new ideas confidently as there is no wrong answer here! While
you create new stories and present them, remember — have FUN!
Happy creating till we meet again!
Integration of All
Art Forms
We all know that we have come to
the final part of the book. We have
learned about different aspects of all
the four art forms. Now it’s time to Story example
collaborate them all together. Let’s Two friends were playing at the edge
learn how we can integrate them all of the forest, and found a mystery seal
with a secret code. They went on an
in a single activity.
adventure to unravel the secret code.
First of all, let’s have a story, But they were unable to find anything
then we will figure out the parts and realised that they were lost in the
where we can use elements of one jungle. They were almost ready to give
particular art form. up. Right moment at that one of them
Sounds fun? Did you realise saw some indigenous people dancing
in front of their God. Kids got caught!
that in this tiny story, all the Those people took both of them to their
art forms are woven together? village. The kids were very scared and
Let’s decode? planned to escape. Just as they were
Seal — you did it in the chapter of about to leave, they noticed that all the
this book as an activity of Visual Arts. huts in the village have the same design
as in the seal. They showed their seal to
Local and regional songs and
those people and somehow made them
dance — you have learnt so many in understand that they found the seal in
the Music and Dance periods. the jungle and also got lost. After seeing
You have learnt all the their sacred seal, all the villagers of the
dialogues and expressions of joy, forest were thrilled to make friends
fear, and surprise in Theatre with them. They showed them around
and told them that they worship the
activities and now you also know Earth as their God.
how to create them.
Kriti–I | Grade 6 158

DO YOU KNOW Now do you realise how beautifully and compose it in an energetic tune
we can connect them all to construct (music), or practise dance steps as
The Pancha (five) Tattva a story. Well, go ahead and create well in this particular song (dance),
(elements) or Pancha
Bhuta are the five basic
your own. and even make a short skit, drama
elements. These are The suggested theme is ‘Earth or nukkad natak and incorporate all
earth, water, fire, air and and Water’ of Pancha Tattva — the the above said elements of art.
space. five elements of nature. Apply your knowledge and skills
of music, theatre, dance and visual
Individual Activity art to develop a project to express
your ideas, emotions and concerns
Let us discuss about the two related to earth and water.
elements — Earth and Water. You can continue doing this
Firstly, identify the areas, activity whenever you think of a
problem areas or issues which we different way to connect an art form
can showcase by different art forms. with the five elements in nature. As
For example, if we choose soil you continue thinking about these
pollution, we can make a campaign connections, we will start working
of photography or make some in groups in the fun activity which
posters (visual art). We can also can be played as a game.
write a song with motivational lyrics

Element Elements Elements of Elements Elements of

of Theatre Music (Sounds, of Dance Visual Art (Lines,
(Emotions, Rhythms, (Rhythms, Shapes, Colours,
Actions, Emotions, Movement, Textures)
Words) Words) Expressions)
Earth and
Water
 Group Activity or Team Work Instructions
1. Make five sets of chits. Each
You will choose a topic or an issue or set has the activities associated
Remember that the
way you connect the problem area related to Earth and water with a particular art form
elements might be just like the individual activity. Here are written in those chits. (Use the
different from how some thought provoking ideas for your list below to write activities.)
your friends connect young minds. Have you thought of the 2. Divide the class into two or
the elements. Fill in this quality of soil, or source of drinking
water in your locality or natural
three groups, to have about
table according to your
ideas. You can use your resources around you? Can you describe 10 – 12 members in each group.
notebook or a separate a pond, lake or river and its ecosystem, Each group chooses either
sheet of paper if you the range of hills that you see, the beauty ‘earth’ (prithvi) or ‘water’ (jala)
need more space to write of the waterfall you visited recently? as their area of work.
or draw. Can you imagine a day without
3. One representative from each
water or can you imagine living in a
very dirty and polluted land? Well, we group picks one chit from each
can always try and make some positive set. So each group now has
changes through the arts because art is one activity each from theatre,
not only a skill to develop but also has music, visual art and dance. The
the potential to make social changes chit under ‘values’ can be used
and reforms. The knowledge of art
brings sensitivity and awareness in
as a theme to bring together all
us about everything because we start the artforms.
appreciating small things, beauty and 4. Now, sit with your group and
changes around us. develop an integrated project
that involves all the art forms.
Create your own production
Now, are you ready for some
and present it to the class.
brainstorming exercises?

Integration of All Art Forms 159

Kriti–I | Grade 6 160

Activity
THEATRE MUSIC VISUAL ART DANCE VALUES
Mask making Songwriting Create artwork Use only Sustainability
and composing with the footwork and
elements itself — expression
mud and clay or
water colours
Puppet show Create sound Use natural Find a folk Cultural
with materials colours dance related to sensitivity
around you earth and water
Design Use any Use element Use only hand Selfless work
costume and instrument to related surface gestures
make-up create emotion or material to
related to the create art
element
Write a Find a song Upcycle (reuse) Compose a Swachhta
script with sung by discarded dance with
characters a famous materials related either a song or
and a musician you to the elements music
conversation have learnt like bottles or
about pipes
Assessment
Assessments in art education play
a crucial role in understanding
and nurturing students’ creative
abilities and artistic growth.
Unlike traditional subjects, art
education assessments focus
on evaluating a wide range of used in an art education curriculum.
skills including creativity, critical A variety of assessment methods
thinking, technical proficiency, such as portfolios, performance
and expressive capabilities. These reviews, project based evaluations
assessments are designed not only and reflective self-assessments, can
to measure progress and mastery give insights into a student’s unique
but also to encourage exploration, and artistic journey.
self-expression, and a deeper The following pages suggest a
appreciation for arts. structure for both formative and
summative assessments. A 5-point
Methods of Assessments scale is suggested for marking
assessment in every criteria. This
As the assessment processes are would enable teachers, parents and
primarily skill-based, it is not students to get clarity on how the
dependent on the ‘correct or wrong child is progressing. The table below
answer’ given by the child. It is can be used as a reference to mark
therefore important not to structure the 5-point scale. Rubrics can be
‘tests’ with question papers and developed in detail for each activity.
written answers. This would entirely It is important to combine both
defeat the purpose of the approach quantitative assessment (scores
Kriti–I | Grade 6 162

or grades based on rubrics) and takes one whole day to be allotted

qualitative assessment (teacher’s for assessment. Preparation for the
observations on the child’s assessment can include gathering
behaviour, interest, progress and and organising the space, materials,
other aspects that may not be tools, instruments and other
mentioned in the rubrics). essential equipment. Students are to
While formative assessment spontaneously create something on
is based on observations in every the spot, based on what is asked.
class, the summative assessment

Learning Level of Student Numerical Scale Grades

Beginning 1 E
Developing 2 D
Promising 3 C
Proficient 4 B
Excellent 5 A
Assessment criteria is based on Curricular Goals (CGs) and
Competencies (C) from the National Curriculum Framework, 2023.
Available in the QR code for reference
Formative Assessment
CG C Common Criteria Specific Learning Outcomes in Visual Arts Chapter Teacher Self
CG1 C-1.1 Expression 1. Creates artwork based on their everyday 1, 2, 3
of Everyday observations.
Experiences
2. Discusses the connection between colours 2
and emotions.
3. Connects colours with moods and emotions. 2
C-1.2 Collaboration 4. Collaborates with peers while making 3
and Teamwork portraits.

5. Helps one another while making and All

displaying artwork.

CG2 C-2.1 Identifying 6. Recognises stereotypical forms used to depict 2, 3

Stereotypes nature.
7. Recognises gender stereotypes in the 3
portrayal of people.
C-2.2 Imagination and 8. Closely observes the finer details of objects, 1, 2, 3
Creativity nature and people.
9. Depicts people of all genders and 3
appearances in various roles.
10. Creates own patterns, and designs for paper 4, 5
crafts and seals.

Assessment 163
Kriti–I | Grade 6 164

CG C Common Criteria Specific Learning Outcomes in Visual Arts Chapter Teacher Self
CG3 C-3.1 Use of Materials, 11. Creates light and shade with pencils. 1, 2
Tools and
Techniques 12. Applies perspective while drawing everyday 1
objects.
13. Creates colour tints and shades with any 2
chosen medium.
14. Experiments with various materials and 2
surfaces for artwork.
15. Creates prints using own stamps and seals. 5

C-3.2 Working Process 16. Follows sequential steps while making 1, 2, 4

from Preparation flipbooks, paper crafts or while preparing
to Presentation natural colours.
17. Modifies ideas and carries out experiments 5
while making seals.
CG4 C-4.1 Knowledge 18. Compares the facial features of the Buddha in 3
and of local and different styles.
C-4.2 regional art
forms, and artists 19. Describes material, tools and surfaces used 2
traditionally.
20. Recalls names of artists, art traditions and All
describes their work.

Mid-Term Formative Assessment Aggregate in Visual Arts

End-Term Formative Assessment Aggregate in Visual Arts
 CG C Common Criteria Specific Learning Outcomes in Music Chapter Teacher Self
CG1 C-1.1 Expression 1. Describes emotions (for example feelings 6
of Everyday related to worry, fear, surprise, joy, anger,
Experiences etc.) using voice and body percussion.
2. Identifies songs that convey various emotions 6
and explains the reason.
3. Discusses connection between pitch, 6
dynamics, rhythm and emotions.
C-1.2 Collaboration 4. Collaborates with peers to create a simple 6
and Teamwork script, and attempts to express the scenario
using musical elements and the songs learnt.
5. Creates a themed song playlist for various 6, 7
emotions with songs.

CG2 C-2.1 Identifying 6. Gives examples of stereotypes in music. 10

Stereotypes
7. Discusses and sings songs to celebrate the 10
country’s cultural diversity.
8. Discusses songs that help in motivating them 11
personally.
C-2.2 Imagination and 9. Attempts to write simple songs based on a 10
Creativity theme.
10. Identifies predominant emotion in any song 10
and discusses the reasons.
11. Works with peers to create simple 7
instruments and brings it together in a group
presentation.

Assessment 165
Kriti–I | Grade 6 166

CG C Common Criteria Specific Learning Outcomes in Music Chapter Teacher Self

CG3 C-3.1 Use of Materials, 12. Identifies and when possible construct 7
Tools and musical instruments based on materials such
Techniques as wood, metal, string and earthenware.
13. Classifies the instruments created or present 7
in the classroom based on utility (melody and
rhythm).
14. Attempts to use backing tracks provided and 9
sing the songs learned.
C-3.2 Working Process 15. Presents the songs learned from various 9
from Preparation religious traditions.
to Presentation
16. Works with peers to choose local songs or 9
songs from across India.
17. Presents songs to an audience with 9
introduction explaining the choice.
CG4 C-4.1 Knowledge 18. Identifies differences between North and 8
and of local and South Indian classical music.
C-4.2 regional art
forms, and artists 19. Attempts to sing songs from carnatic and 8
Hindustani traditions.
20. Recalls names of local or national artists, and 8
describes their work.
Mid-Term Formative Assessment Aggregate in Music
End-Term Formative Assessment Aggregate in Music
 CG C Common Criteria Specific Learning Outcomes in Dance Chapter Teacher Self
and Movement
CG1 C-1.1 Expression 1. Demonstrates the body movements in everyday 12
of Everyday routines.
Experiences
2. Combines rhythm and postures to show 12
everyday actions.
3. Identifies dance forms in their surroundings. 14
C-1.2 Collaboration 4. Collaborates with peers to choreograph 12
and Teamwork movement sequences.

5. Creates various geometric shapes with 13

movement and rhythm.
CG2 C-2.1 Identifying 6. Describes gender stereotypes that are 13
Stereotypes challenged in dance.
7. Shows openness to trying all kinds of dance 13
and movement.
8. Presents a project based on breaking barriers 13
in dance.
C-2.2 Imagination and 9. Uses hastas to create simple messages and 12
Creativity sentences.
10. Visualises various geometric shapes in dance 13
postures.
11. Designs and create props, and jewelleries for 14
dance.

Assessment 167
Kriti–I | Grade 6 168

CG C Common Criteria Specific Learning Outcomes in Dance Chapter Teacher Self

and Movement
CG3 C-3.1 Use of Materials, 12. Demonstrates body postures using spinal 12
Tools and bends.
Techniques
13. Shows facial expressions for emotions based on 12
navarasas.
14. Identifies the performance space for props, 13
entry and exit.
15. Identifies commonalities in movements, 14
postures and gestures across dance forms.
C-3.2 Working Process 16. Brings together musical instruments, 14
from Preparation movement and props for a dance performance.
to Presentation
17. Prepares a simple Natya script for a given 14
theme.
18. Practices and presents Mudras, Movements and 14
facial expression with music.
CG4 C-4.1 Knowledge 19. Names a few classical dance forms from across 12
and of local and India.
C-4.2 regional art
forms, and artists 20. Analyses gender norms in various lok nritya. 13
21. Compares dance forms of various Indian states. 15

Mid-Term Formative Assessment Aggregate in Dance

End-Term Formative Assessment Aggregate in Dance

 CG C Common Criteria Specific Learning Outcomes in Theatre Chapter Teacher Self
CG1 C-1.1 Expression 1. Tries to find new words to express their ideas 16, 17
of Everyday and emotions.
Experiences
2. Recognises situations that have conflict in their 16, 17
everyday life.
3. Connects the navarasas to their everyday 16
experiences.
C-1.2 Collaboration 4. Collaborates with peers to put up a 17, 19
and Teamwork presentation.

5. Creates puppet show with two or more 19, 20

characters.
CG2 C-2.1 Identifying 6. Identifies typical features of characters in a 17
Stereotypes story.
7. Visualises costume and make-up for characters 17
of all genders.
C-2.2 Imagination and 8. Visualises finer details of situations, scenes and 17
Creativity characters.
9. Imagines and responds to situations, and 16
simple stories.
10. Creates masks based on local culture and one’s 16
own emotions.

Assessment 169
Kriti–I | Grade 6 170

CG C Common Criteria Specific Learning Outcomes in Theatre Chapter Teacher Self

CG3 C-3.1 Use of Materials, 11. Creates a variety of puppets (finger, sock, stick 19
Tools and and shadow).
Techniques
12. Creates costume, make-up and stage design and 17, 19, 20
connects them for a production.
13. Creates a variety of masks using paper and 16
cardboard.
14. Experiments with modulating voice for 19
characters.
15. Expresses emotions through facial expression, 16
voice and action.
C-3.2 Working Process 16. Edits and modifies stories into dialogues, and 17, 19 ,20
from Preparation conversations.
to Presentation
17. Structures a story as having a beginning, 17, 19, 20
middle and end.
18. Rehearses movements and dialogue delivery. 19, 20
19. Presents a complete show for an audience. 19, 20
CG4 C-4.1 Knowledge 20. Identifies differences in types of stories and 18, 19
and of local and costumes.
C-4.2 regional art
forms, and artists 21. Recalls names of popular theatre companies. 18
22. Compares today’s theatre with company 18, 19
theatre and traditional puppetry.
Mid-term Formative Assessment Aggregate in Theatre
End-term Formative Assessment Aggregate in Theatre
Summative Assessment
Visual Art Examples of Summative Assessment Criteria for Assessment
Individual • What does a kite mean to you? Personal expression of an everyday experience.
• Design a kite in any shape you like (regular or irregular). Imagination and creativity.
• Choose materials from your surroundings to make Chooses appropriate materials for their concept.
the kite. Applies suitable techniques and problem solving.
• Draw, colour or collage it with images that make Presentation.
you happy.
• Attach a string so that it can hang or fly in the wind.
Group • Identify a suitable place and display all your kites Collaboration and Teamwork.
(3 – 4) together. Critical thinking.
• Ask your friends to spot your kite in the display and
talk about it.
Music Examples of Summative Assessment Criteria for Assessment
Individual • A song is played, student identifies the predominant Knowledge of various rasas or emotions.
emotion. Connection between musical elements and
• Discuss how pitch, dynamics, lyrics and instruments emotions.
help to convey the predominant emotion in the song Keeps rhythm using feet tapping or clapping, or
played. taala.
• Identify the rhythm cycle in the song and attempt to Can create simple rhythm patterns.
create a simple rhythm pattern using body percussion.
Group • Students pick a story and use songs to bring the Actively participates in the selection of musical
(3 – 4) narration alive. pieces.
Presents final performance in front of an
audience.
Dance Examples of Summative Assessment Criteria for Assessment
Individual • Show one emotion and matching with rasa name. Imaginative use of body for movement.
• Show two or three hastas given. Shows spinal bents used.
• Create one imaginative hasta. Rhythmic feet tapping.
• Project work. Coordinates arms and feet.
Group • Sequence phrases of dance and rhythm. Matches rhythm with group.
(3 – 4) • Converse or communicate with hastas. Collaborates while trying out choreography.

Assessment 171
Kriti–I | Grade 6 172

Theatre Examples of Summative Assessment Criteria for Assessment

Individual • An emotion or rasa is given by the teacher. Knowledge of emotions and rasas.
• Child to create a character with a name. Relates to it and understands its application
• Narrate or write two situations of that character in in life.
that emotion. Confidence in presenting it (oral or written).
• Design costume and make up for the same character.
Group • Write a simple story with conversations with clear Spontaneity and Problem solving.
(3 – 4) beginning-middle-end. Teamwork and Leadership.
• Make masks to represent two characters in that story. Understands script and masks.

MID TERM SCORE Formative Aggregate Score Summative Assessment Score TOTAL

Visual Art
Music
Dance
Theatre
Arts Education Total

Comments on student’s strengths

Comments on areas of improvement

END TERM SCORE Formative Aggregate Score Summative Assessment Score TOTAL

Visual Art
Music
Dance
Theatre
Arts Education Total
Comments on student’s strengths
Comments on areas of improvement