The textbook activity offers four diverse characters to practice makeup design: Chandragupta Maurya, a historical king; a Folk Dancer, representing traditional art; Subhash Chandra Bose, a freedom fighter; and the Moon God, a mythological figure. These choices help students explore a range of makeupRead more
The textbook activity offers four diverse characters to practice makeup design: Chandragupta Maurya, a historical king; a Folk Dancer, representing traditional art; Subhash Chandra Bose, a freedom fighter; and the Moon God, a mythological figure. These choices help students explore a range of makeup styles, from realistic and historical to creative and divine. Each character requires different colors, features and styles, allowing learners to understand how makeup differs based on personality, background and genre.
Students are encouraged to fit all emotions they have learned into the nine rasas. This creative task builds their understanding of how emotions are structured in Indian performance traditions. By categorizing emotions, they appreciate the depth and variety of emotional expression and how it can beRead more
Students are encouraged to fit all emotions they have learned into the nine rasas. This creative task builds their understanding of how emotions are structured in Indian performance traditions. By categorizing emotions, they appreciate the depth and variety of emotional expression and how it can be artistically represented. It also trains them to think more deeply about emotions and their subtle differences, connecting theory with practical understanding.
Fitting emotions into the nine rasas involves recognizing the primary emotional theme of any feeling and categorizing it accordingly. For example, joy fits into 'Hasya' (laughter), fear fits into 'Bhayanaka' (terror) and anger into 'Raudra'. This practice helps students connect emotions with traditiRead more
Fitting emotions into the nine rasas involves recognizing the primary emotional theme of any feeling and categorizing it accordingly. For example, joy fits into ‘Hasya’ (laughter), fear fits into ‘Bhayanaka’ (terror) and anger into ‘Raudra’. This practice helps students connect emotions with traditional artistic expressions, enhancing their emotional intelligence and understanding of how feelings are portrayed in classical Indian art forms. It’s a creative and reflective exercise that strengthens observation skills.
The Navarasa Game is a playful exercise designed to familiarize students with the nine rasas. A circle with the nine emotions is drawn in the center of the room and students walk around it while music plays. When the music stops, students must express the rasa nearest to them. It’s a dynamic and engRead more
The Navarasa Game is a playful exercise designed to familiarize students with the nine rasas. A circle with the nine emotions is drawn in the center of the room and students walk around it while music plays. When the music stops, students must express the rasa nearest to them. It’s a dynamic and engaging way to practice emotional expression and helps students internalize the rasas creatively. The game encourages spontaneity, movement and emotional awareness.
To play the Navarasa Game using a circle, the nine rasas are written or depicted around a large circle drawn in the center of the room. Students move around the circle while music plays. When the music stops, each student must quickly identify the rasa closest to them and express it through facial eRead more
To play the Navarasa Game using a circle, the nine rasas are written or depicted around a large circle drawn in the center of the room. Students move around the circle while music plays. When the music stops, each student must quickly identify the rasa closest to them and express it through facial expressions or actions. If they cannot perform the rasa, they are out of the game. The activity continues, sharpening emotional recognition and spontaneity.
Name four example characters suggested for designing make-up.
The textbook activity offers four diverse characters to practice makeup design: Chandragupta Maurya, a historical king; a Folk Dancer, representing traditional art; Subhash Chandra Bose, a freedom fighter; and the Moon God, a mythological figure. These choices help students explore a range of makeupRead more
The textbook activity offers four diverse characters to practice makeup design: Chandragupta Maurya, a historical king; a Folk Dancer, representing traditional art; Subhash Chandra Bose, a freedom fighter; and the Moon God, a mythological figure. These choices help students explore a range of makeup styles, from realistic and historical to creative and divine. Each character requires different colors, features and styles, allowing learners to understand how makeup differs based on personality, background and genre.
See lessWhat are students asked to do with the nine rasas?
Students are encouraged to fit all emotions they have learned into the nine rasas. This creative task builds their understanding of how emotions are structured in Indian performance traditions. By categorizing emotions, they appreciate the depth and variety of emotional expression and how it can beRead more
Students are encouraged to fit all emotions they have learned into the nine rasas. This creative task builds their understanding of how emotions are structured in Indian performance traditions. By categorizing emotions, they appreciate the depth and variety of emotional expression and how it can be artistically represented. It also trains them to think more deeply about emotions and their subtle differences, connecting theory with practical understanding.
See lessHow can you fit emotions into the nine rasas?
Fitting emotions into the nine rasas involves recognizing the primary emotional theme of any feeling and categorizing it accordingly. For example, joy fits into 'Hasya' (laughter), fear fits into 'Bhayanaka' (terror) and anger into 'Raudra'. This practice helps students connect emotions with traditiRead more
Fitting emotions into the nine rasas involves recognizing the primary emotional theme of any feeling and categorizing it accordingly. For example, joy fits into ‘Hasya’ (laughter), fear fits into ‘Bhayanaka’ (terror) and anger into ‘Raudra’. This practice helps students connect emotions with traditional artistic expressions, enhancing their emotional intelligence and understanding of how feelings are portrayed in classical Indian art forms. It’s a creative and reflective exercise that strengthens observation skills.
See lessWhat is the Navarasa Game?
The Navarasa Game is a playful exercise designed to familiarize students with the nine rasas. A circle with the nine emotions is drawn in the center of the room and students walk around it while music plays. When the music stops, students must express the rasa nearest to them. It’s a dynamic and engRead more
The Navarasa Game is a playful exercise designed to familiarize students with the nine rasas. A circle with the nine emotions is drawn in the center of the room and students walk around it while music plays. When the music stops, students must express the rasa nearest to them. It’s a dynamic and engaging way to practice emotional expression and helps students internalize the rasas creatively. The game encourages spontaneity, movement and emotional awareness.
See lessHow is the Navarasa Game played using a circle?
To play the Navarasa Game using a circle, the nine rasas are written or depicted around a large circle drawn in the center of the room. Students move around the circle while music plays. When the music stops, each student must quickly identify the rasa closest to them and express it through facial eRead more
To play the Navarasa Game using a circle, the nine rasas are written or depicted around a large circle drawn in the center of the room. Students move around the circle while music plays. When the music stops, each student must quickly identify the rasa closest to them and express it through facial expressions or actions. If they cannot perform the rasa, they are out of the game. The activity continues, sharpening emotional recognition and spontaneity.
See less