NOTE MAKING & SUMMARIZING
The third passage in the Section A is related to
Note Making and Summarizing.
NOTE MAKING
Note Making is an advance writing skill which
helps the students to remember the main points of any passage or chapter in a
precise manner without leaving any important detail and that too in a short
time.
. Dos of Note Making
1. It
should be short.
2. It
should include only important and relevant information in brief.
3. The
ideas should be logically presented in a sequence.
4. It
should be organized under headings and subheadings in a proper manner.
5. Abbreviations
and symbols should be used wherever necessary and key to abbreviations should be provided in the end.
6. Title should be short and catchy. Long
title should be avoided unless it serves any important
purpose.
7. The details must be in points.
8. The points written under a heading
should be in line with the main idea.
. Don’ts
of Note Making
1. You should not use full sentences.
2. Portions of the passage as it is should
not be used.
3. Irrelevant information should not be
used.
. Method
of Note Making
a. Use of
abbreviation
1. Capital
letters should be used in acronyms such as- UNO, UP, USA etc.
2. Arithmetic
symbols such as- <,>,%,–,+ etc. can be used.
3. You can
create your own abbreviation.
4. In invented
abbreviations first and last letter of the word should be included.e.g. problem= prblm, required=rqd etc.
b. Proper
Indentation
Title: .........
1. Subheading:
........
1.1 ...............
1.1.1 .........
1.2 ...............
In this manner one can try up to five subheadings. It is
always advisable not to clutter note-making with too many details. As mentioned
above one can also have sub-subheadings if required e.g. 1.1.1.
In the end Key to Abbreviation should be included with the
details of abbreviations used in the note-making.
. Allocation
of marks
a. Heading/ Title 1
Mark
b. Abbreviations 1
Mark (minimum four)
c. Subheadings(3-5 as per the 3 Marks
requirement
with points)
SUMMARIZING
The purpose of summarizing is to test the students’ ability
to comprehend and present the implied idea in their own words. The heading,
subheadings and the points are to be incorporated into an integrated whole. You
should not include any opinion or suggestion, rather the given idea should be
presented in your own style and words. Use of synonyms, antonyms and rephrasing
can help create a better impression. The word limit is given with the question
but otherwise it should be in the 1/3rd of the given passage.
. Allocation
of marks
a. Content 2 Marks
b. Expression 1 Mark
1. Read
the following passage carefully and answer the questions that follow:
1. Classical dance evolved from Tamil
Nadu’s temples across centuries. The revived and reformed Bharatnatyam keeps the art born of these ancient temples alive even
to this day. Once sustained and nurtured in temples as part of a rich and
vibrant temple tradition, classical dance in South India has remained over
centuries a dynamic, living tradition that is continuously renewed.
2. Even 2000 years ago, dance in India was
a highly evolved and complex art. It was an integral part of ancient Indian
theatre as established by the Natya
Shastra, the oldest and exhaustive treatise on theatre and dramaturgy.
Dance dramas were performed in temple precincts. Dance movements were
crystallised in stone as karanas in
temple sculpture. Following the Bhakti movement in the 6th century,
dance and music became powerful vehicles of veneration. The deity was treated
like a much loved king, praised and royally entertained with music and dance,
as part of the daily sacred rituals of worship. Gifted, highly educated temple
dancers or devdasis were supported by the temples that were richly endowed by
the rulers. Some 400 temple dancers were dedicated to and maintained by the
Brihadeshwar Temple in Thanjavur. Dance evolved as a composite art in temples
as dancers, nattuvanars (dance gurus), musicians, poets, composers, architects, sculptors and
painters shared a holistic approach to all the arts.
3. The evolution of Bharatnatyamderives from the invaluable contribution of The Tanjore
Quartret. The four Pillai brothers- Chinnayya, Ponnayya, Sivanandam and
Vadivelu- served as court musicians at the kingdom of Maratha king, Serfoji II
in the early 19th century. Their legacy to Bharatnatyam has been
their restructuring of the dance repertoire into the margam format and their
vast and diverse music compositions set specifically for dance. Some of their
descendents like Guru Meenakshisundaram Pillai evolved the famous Pandanallur
bani (style) and trained many eminent dancers.
4. From the temples, dance made its way
into the courts of kings and dancers were not just devadasis, but also rajanartakis.
By the early 17th century dance forms like sadir or chinna melam, precursors
to Bharatnatyam as we know it today had become popular in the courts of the
Maratha rulers in Thanjavur. However, in the 19th century, colonial
propaganda perceived such dance as vulgar and immoral. It led to the Anti-
Nautch Movement and legislation against temple dance and dancers. Divested of
all patronage and temple support, devdasis
were thrown into dire straits. In the early 20th century, thanks to
enlightened visionaries like E.V. Krishna Iyyer and later Rukmani Devi Arundale
and the dedication of a handful of devadasis
and nattuvanars, classical dance was
resuscitated and revived as bharatnatyam.
Today, apart from a few cultural festivals in some temples, dance has left the
temple for the proscenium stage.
a. On
the basis of your reading of the above passage make notes on it using headings
and subheadings. Use recognizable abbreviations wherever necessary. Give an
appropriate title.
b. Write
a summary of the above in 80 words using the notes.
Solution
Title- EVOLUTN OF CLASSICAL DANCE
1. Classical Dance
& Temples
1.1 Classical
dance- evolved frm Tamil Nadu’s temples
1.2 Sustained
& nurtured in temples
2. History
2.1 Dance 2000 yrs ago- highly evolved &
complex
2.2 Integral part of ancient Indian theatre
2.3 Dance dramas in temple precincts
2.4 Dance movements crystallized in stones as
Karanas
2.5 Bhakti movement made dance & music
powerful
2.6 Deity
entertnd with music & dance
3. Evolution
of Bharatnatyam
3.1 Thanjore quartret- four Pillai brothers
cntributd
3.2 Restructured dance repertoire into margam
format, cmpsd music for dance
3.3 Descendents evolved famous pandanallur
bani, trained dancers
4. Journey-
Temple to Courts
4.1 In courts- Devdasis & Rajnartakis
4.2 Dance forms- Chinna melam, popular in courts of Maratha rulers
4.3 19th
century- dance dclrd vulgar
4.4 Anti-Nautch
Movement & Legislastion
5. Revival
of Dance
5.1 Enlightened visionaries, handful of
devdasis & nattuvanars
5.2 Revived classical dance as Bharatnatyam
KEY TO
ABBREVIATION
|
1. evolutn - expression
2. & - and
3. yrs - years
4. entertnd - entertained
5. cmpsd - composed
6.
dclrd - declared
|
Summary
Classical dance evolved from Tamil Nadu’s
temples. Once sustained and nurtured in temples, it has remained dynamic and
continuously renewed. Even 2000 years ago dance in India was a highly evolved
and complex art. Dance dramas were performed in temple precincts. Dance
movements were crystallized in stone as Karanas in temple sculpture. Bhakti
movement made dance and music quite powerful. The deity was entertained with
music and dance. The Thanjore quartret- four Pillai brother made an invaluable
contribution in the evolution of Bharatnatyam. They restructured dance
repertoire into margram format and composed music for dance. Their descendents
evolved famous Pandanallur style and trained dancers. Dance made its way into
courts. Their were devdasis and rajnartakis. Dance forms like chinna melam
became popular in courts of Maratha rulers. In 19th century dance
was declared vulgar. There were Anti-Nautch Movement and legislations. In the
early 20th century because of the enlightened visionaries and a
handful of devdasis classical dance was revived as Bharatnatyam.
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