SSC CGL GK Questions 2026

Baba Alauddin Khan spent the greater part of his life as court musician at Maihar in the east of the state and gave his name to the Maihar gharana of instrumental music.

Maach is the folk theatre of Malwa, played through the night on a raised wooden platform, which is what the name itself means.

Rai is the signature dance of Bundelkhand in the north-east of the state, danced by a woman of the Bedni community who whirls to an accelerating beat of the nagariya and the mridang while the audience calls for more.

Matki is danced by the women of Malwa and the adjoining Nimar at weddings and other family celebrations, with an earthen pot held on the head while the dancer turns to the beat of the dhol.

Man Singh Tomar ruled Gwalior at the end of the fifteenth and beginning of the sixteenth century and was the great patron of dhrupad, drawing singers to his court and encouraging composition in the spoken language rather than in Sanskrit alone.

The Tansen Samaroh is held in the winter at the musician's birthplace of Behat and at his tomb in Gwalior, and the National Tansen Samman for Hindustani classical music is conferred during it.

Tansen was born Ramtanu Pandey in the village of Behat near Gwalior, learnt from Swami Haridas of Vrindavan and from the Sufi Muhammad Ghaus of Gwalior, served the court of Rewa and was then taken by Akbar into his own court, where he was counted among the nine jewels.

Chhathi takes its name from the number six, and the ceremony falls on the sixth day after a birth, when the mother and the newborn are brought out, the household is purified and the women of the family and the neighbourhood sing and dance in the courtyard.

A traditional Saang troupe was made up entirely of men, and the younger singers took the women's parts in costume, singing the same raginis in a higher register.

Pandit Jasraj was born in a village of Haryana into a family of musicians and became the best known voice of the Mewati gharana, which takes its name from the Mewat region on the Haryana and Rajasthan border.

The Ragini is the stanza song of Haryana, built on a fixed refrain to which the singer returns after every verse.

The Gugga or Gugga Naumi observance falls in the month of Bhadon, when the followers of Gugga Pir, the folk deity associated with protection from snakes, carry the chhari, a tall staff decorated with peacock feathers and coloured cloth, from village to village, dancing and singing his ballad as they…

Khoria is danced by the women of the household among themselves once the men have set out with the wedding procession.

Loor belongs to the sandy Bagar country of the south-west of the state, around Bhiwani and Mahendragarh, and is danced by women and girls in the month of Phalgun and at Holi, when the spring crop is standing.

Dhamal is counted the oldest dance of Haryana and belongs mainly to the Mahendragarh and Jhajjar belt, where the men of the village gather on the open ground on a full moon night of the Phalgun season, form a wide circle and dance to the beat of the dhamal drum…

Lakhmi Chand is the best known Saang poet of Haryana, honoured as the Surya Kavi or sun poet and commonly called the Shakespeare of Haryana for the range of his plays and the quality of his raginis.

Pandit Deepchand is the first great name in the history of Saang and is credited with turning a loose village entertainment into a sung play with a structure: an opening invocation, a story carried in verse, prose passages between the songs and a troupe built around the poet.

Bhagalpur on the Ganga has woven tussar silk for centuries and is called the silk city of Bihar; its handloom weavers produce the coarse golden silk from cocoons reared on forest trees, and the city is a cluster for silk furnishing and sari weaving.

Manjusha is called snake painting because the serpent of the Bishahari legend is its ruling motif: snakes fill the panels, and the borders carry a continuous wavy line that reads as a serpent, one of the border patterns being named lahariya, the wave.

The Patna Kalam was made by families of painters trained in the Mughal manner who left Delhi and Murshidabad in the eighteenth century and settled at Patna.