SSC GD Constable GK Questions 2026

The seventh stage, on 1 November 1956, brought the Abu Road tehsil from Bombay state into Rajasthan, together with Ajmer-Merwara and the Sunel Tappa area, and this is how Mount Abu became a part of Rajasthan.

The sixth stage of the integration fell on the day the Constitution came into force: Sirohi was merged and the unit was for the first time simply named Rajasthan.

The Rajasthan Union of 25 March 1948, the second stage, joined nine states of the south and east: Banswara, Bundi, Dungarpur, Jhalawar, Kishangarh, Kota, Pratapgarh, Shahpura and Tonk.

Hiralal Shastri, a leader of the Jaipur Praja Mandal who had led its satyagraha in 1939, took charge as the first Prime Minister of Greater Rajasthan in 1949, the office that later came to be called Chief Minister.

Greater Rajasthan, the fourth stage of the integration, brought Jaipur, Jodhpur, Bikaner and Jaisalmer into the earlier United State of Rajasthan, and Sardar Patel inaugurated it at Jaipur on 30 March 1949.

Gokul Bhai Bhatt founded the Sirohi Praja Mandal in 1939, lived the plain Gandhian life of khadi and constructive work, and is therefore called the Gandhi of Rajasthan.

The Marwar Praja Mandal was founded at Jodhpur in 1934 by Jai Narayan Vyas, who had already worked through the Marwar Hitkarini Sabha of the 1920s. He led its campaign for civil liberties and against the state tenancy law, was jailed repeatedly, and later became the Chief Minister of Rajasthan.

The Matsya Union, the first stage of the integration of Rajasthan, was formed on 18 March 1948 out of only four princely states of the eastern edge of Rajputana: Alwar, Bharatpur, Dholpur and Karauli.

The temples of Khajuraho stand in Chhatarpur district in the Bundelkhand region, and the dance festival is held among them in February, when dancers of Bharatanatyam, Odissi, Kathak, Kuchipudi and the other classical forms perform against the temple walls.

Karma is danced by the Gond and Baiga of the eastern and southern districts after the harvest, men and women moving in a circle to the mandar drum, and Saila is the stick dance in which young men form rows and strike their sticks together as they move.

Gwalior had been a seat of music since the Tomar rulers patronised dhrupad, and when khayal took the place of dhrupad as the leading form the city produced the first of its gharanas.

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.