Introduction
Zohra Segal was a dancer, choreographer, an actor and connoisseur of art all rolled into one. A remarkable woman of courage and grace, indomitable and with a multifaceted personality, it was not just by chance that she lived up to the ripe old age of 102-her spirit was indefatigable and she enjoyed life with all its vibrancy and colour. How did she approach her work? ''With a great sense of joy. It's my life. It's what I like doing best in the world,'' she would say.
Only last year, we lost Zohra and the world of art feels the void that none other than the greatest of all grandmothers in Bollywood could fill-a wise, witty, loving and progressive thinking grandma. Zohra was an iconoclast and she had the courage to laugh even at herself.
The pupil of Pandit Udayshankar in dance and of Prithviraj Kapoor in the field of acting, she was a self-made woman who had reached the top through her dedication to the Arts. We will take a look at the life and work of this great woman as a tribute to the great dancer-actor-choreographer whose career spanned more than six decades.
Sahebzaadi
Zohra Begum Mumtaz-ullah Khan
Zohra Mumtaz-ullah Khan was born in the
district of Saharanpur of Uttar Pradesh in North India on 27 April 1912, in
British India. Her parents Natiqua Begum and Mumtazullah Khan, were from a
Rohilla Pathan family of Rampur and had seven children, of whom Zora was the
third child. At the age of one, she contracted glaucoma and lost one eye, and
was taken to Birmingham for her treatment. She was a tomboy, climbing trees and
playing outdoor games. She lost her mother when still very young and went with
her sister to study in Queen Mary School, Lahore, but under the traditional purdah
system.
The Beginning of a Career
Zohra had finished her graduation, when
one of her maternal uncles, Saeeduzaffar Khan, decided to put her as an
apprentice under a British actor. They travelled from Dehradun to England by
car, an open Dodge, via Lahore, Multan, Quetta, Persia, Damascus and then
Alexandria to finally reach Europe, where she was taken by an aunt to the Mary
Wigman Ballet School in Dresden, Germany, to learn dance. The experience was a
novel one, culturally very different for someone who had always been under
strict purdah. According to Zohra, ―the young dancers there wore skimpy little
dresses, while I was used to stepping out only in a burqua. Zohra, became the
first woman from India to get admission into the institution.
She studied and learnt modern dance
there for three long years. An unexpected turn in her life came when she saw
the performance of the dance Shiv-Parvati by the renowned dance Guru
Uday Shankar who had come to Europe on a tour.
She was highly impressed and went to
meet Uday Shankar, who promised to give her some work once he got back to
India.
But even before returning, Uday Shankar
invited her to join his troupe in Japan. She rushed to accept this unique
offer, which changed the course of her life completely. This was 1935. Zohra
danced with Pt. Uday Shankar‘s (fondly called Dada by her) troupe in Japan,
Egypt, Europe and the U.S. as a leading dancer, working with the French dancer
Simkie. While in America she had an opportunity to visit Hollywood. When Uday
Shankar came back to India in 1940, Zohra joined the Uday Shankar India
Cultural Centre in Almora, where she even drafted the syllabus for students of
dance. She said the time spent with Uday Shanker‘s Ballet Company was ―one of
the most worthwhile and enjoyable periods in my life. Zohra met her would-be life
partner Kameshwar Segal, who was also a dancer, painter and designer, at the Centre
and both gradually came close, becoming accomplished dancers and choreographers.
Kameshwar was not only 8 years her junior, he was a Hindu.
The marriage was initially opposed by
Zohra‘s parents, but once she had decided, no one raised the issue of his
religion and though he was prepared to convert to Islam to marry her, they did
not force him, and finally, after they agreed, a civil marriage took place in
1942. In Shankar‘s Cultural Centre, there were Gurus from all the dance
traditions of India and ten students. But the Centre finally closed down,
forcing the duo to leave for Lahore, where they set up their institute-The Zohresh
Dance Institute. Due to communal tensions in pre-independence India, they were
forced to leave Lahore and go to Bombay. There she joined Prithvi Theatre in
1945, where her sister Uzra Butt was already working, and acted and journeyed to
different cities with the group, performing several plays, many of them openly
advocating communal harmony. She continued with this for 14 years, on a monthly
salary of Rs 400. She had learnt a lot from Prithvi Raj Kapoor and fondly called
him Papaji‘. There are accounts in her book about the deep emotional relationship
she had with him, and many interesting facets of their discussions through
letters have been frankly acknowledged by her.
The Struggle in Bombay and a personal
tragedy
Life in Bombay with husband Kameshwar
and daughter Kiran was difficult as Zohra was building her career in theatre
from scratch. She had joined IPTA, The Indian Peoples‘ Theatre Association and
acted in several plays. She also acted in IPTA‘s first film Dharti Ke Lal (
Sons of the Soil)in 1946; the film was about the Bengal Famine: this was a film
directed by Khwaja Ahmad Abbas. The other film which was an IPTA-supported one,
called Neecha Nagar(The Lowly City) was directed by Chetan Anand. The
film was internationally acclaimed and won the Palme d‘Or Award at the Cannes
Film Festival. Pt. Ravi Shankar did the soundtracks for both these films. She
acted in Ebrahim Alkazi‘s Din Ke Andhere. But though she did act in a
few films Zohra‘s forte was theatre. Meanwhile, Kameshwar had taken to Film
direction. It is not known why Kameshwar became an alcoholic. But he died
leaving a note do not disturb, I am hibernating‘. Some of his colleagues felt
he was never satisfied with his work and felt he was a non-achiever. Others
felt he could not adjust with the rebel in Zohra. However, whenever she talked
about him, she would get emotional, saying she had just left him to himself, not
to be disturbed, for twenty-four hours; little knowing that he had left the
world. She left for Delhi and worked as director of the Natak Academy. All this
was done by Zohra, after her husband‘s death, as a single woman and a single
parent of a daughter, Kiran, who later became a famous Odissi dancer in her own
right, and also received the Padma Shree. She shared a house with her mother in
Delhi. Zohra always respected her daughter‘s independence and the fact that
though Kiran had struggled hard to come up in life, she had always cared for
her idiosyncratic mother. Zohra also had a son, named Pavan.
Both children were free to choose any
religion they liked. The chose both Hinduism and Islam and then discarded both.
Zohra was an atheist and her husband
was not a religious man. Says Zohra, about Kiran, in her autobiography, ―I have
never interfered in her life and her choices. That is something I learnt from
my father. When I wanted to get married to my late
husband, Kameshwar, who was a Hindu, my
father had reservations. He later agreed but on the condition that the marriage
took place in another town. As we were leaving and getting into the car, my
father came and asked me: ―Zohra, shall I come with you. I told him that he had
granted me the permission to get married and that was more than enough. My
father gave me the freedom to decide the most important thing in my life. I did
the same thing with my children. I let them be because I trust them. And Kiran
was always grateful for her mother‘s support. She said that after her first
marriage broke, her mother was upset, but she kept silent. At one point in her
life she said, ―now, despite a busy schedule with teaching and giving performances,
I make it a point to share meals with my mother, if I am not travelling. And if
she goes out of town for shoots, I usually accompany her. I did this recently when
she went to Mumbai. It was just the two of us chilling out and having a good
laugh. We laugh a lot.
In London and back
In 1962 Zohra went on the British Drama
League Scholarship to London, where she lived for 10 years. There she met the Bharat
Natyam dancer, Ram Gopal, who took her as a teacher in his School in Chelsea.
Here she taught the Uday Shankar style of dance. Zohra played a part in The
Rescue of Puffles, which was a theatre adaptation of Kipling‘s Story, for
British Television. She did four episodes in Doctor Who ( 1964-65)and
anchored 26 episodes of the BBC production Padosi (1976-77). In London,
Zohra was signed by Merchant Ivory Productions. She acted in The Courtesans
of Bombay(1983) directed by James Ivory in 1982. This brought her more into
the limelight and she got a role as Lady Chatterjee in the television adaptation
of The Jewel in the Crown (ITV, 1984), which was highly acclaimed and
brought her further recognition. This was the second phase of her professional
career as an actress, as she went ahead to appear in The Raj Quartet, The
Jewel in the crown, Tandoori Nights (1985-87), Long Duel, Bhaji on the Beach
and My Beautiful Laundrette, etc. Britain based Indian filmmaker, Gurinder
Chadha, says that Zohra was so young at heart and so unorthodox in real life
that she brought a lot of energy into the films in which she acted. She said
she felt an abiding regret that she could not work more with her,
though they had done three films
together-The Mistress of Spices, Bend it like Bekham and Bhaji on the Beach,
all films about nonresident Indians (NRIs). The feisty, non-conformist shocking‘
Zohra was at her best in Bhaji on the Beach, which is all about a rebel,
unorthodox Indian woman, who dares to do all those women of a certain age generally
would never do. In fact, the filmmaker said Bhaji on the Beach would not
have been possible without Zohra.
But, it was not only stage-acting that
Zohra could do. With a very expressive face and eyes, she not only recited, but
performed‘ poetry in immaculate Urdu, Punjabi and Hindustani. Each word was
full of expression and each verse full of passion. In Gowri Ramnarayan‘s words,
―Segal amazed the audience with her reverberant, emotion-modulated expressiveness.
She knew the art of pausing, the force of dramatic gesture. With the poems of
Faiz Ahmed Faiz, Mohammed Iqbal or Ali Sardar Jafri, she drew listeners into
patriotic fervour, romance, grief, lament, tenderness for the child, and reflective
musings — in a range of bhavas and sancharibhavas, difficult even
for dancers. The lady with the wrinkled face and frail limbs could do it all,
and effortlessly. Zohra was 91 then. She was even invited to Pakistan to do
such a
performance for poetry lovers in the
name of Ek Shaam Zohra ke naam (an evening with Zohra) and her most
acclaimed performance was for Hafeez Jullundari‘s poem Abhi to main jawaan
hoon. The lyrics of one of Zohra‘s favourite poems, indicative of her own
philosophy of life Abhi to main jawan hoon are:
Abhi To Main Jawan Hoon
Hawaa bhi khushagawaar hai, gulon pe
bhi nikhaar hai
tarannumein hazaar hain, bahaar
purbahaar hai
kahaan chalaa hai saaqiyaa, idhar to
laut idhar to aa
arey, yeh dekhtaa hai kyaa? uthaa
subuu, subuu uthaa
subuu uthaa, piyaalaa bhar, piyaalaa
bhar ke de
idharchaman
ki simt kar nazar, samaan to dekh bekhabar
woh kaali kaali badliyaan , ufaq pe ho
gayi ayaan
woh ik hajum-e-maikashaan, hai
su-e-maikadaah ravaan
yeh kyaa gumaan hai badgumaan, samajh
na mujh ko naatavaan
khayaal-e-zuhad abhi kahaan? abhi to
main jawaan hoon
ibaadaton kaa zikr hai, nijaat ki bhi
fikr hai
junoon hai sawaab ka, khayaal hai azaab
kaa
magar suno to sheikh ji, ajeeb shai
hain aap bhi
bhalaa shabaab-o-aashiqui!, alag huay
bhi hain kabhi?
hasiin jalwaah raiz hon, adaaein
fitanaah khaiz hon
havaaein itr baiz hon, to shauq kyun na
taiz hon?
nigaah haai fitanaah gar, koi idhar koi
udhar
ubhaarate hoon aish par, to kyaa karey
koi bashar?
chalo ji qissaa mukhtasar, tumhaaraa
nuqtaa-e-nazar
durust hai to ho magar, abhi to main
jawaan hoon
yeh gasht kohsaar ki, yeh sair
ju-e-waar ki
yeh bulbulon ke chahchahey, yeh
gulrukhon ke qah-qahey
kissi sey mail ho gayaa, to ranj-o-fikr
kho gayaa
kabhi jo waqt so gayaa, yeh hans gayaa
woh ro gayaa
yeh ishq ki kahaaniyaan, yeh ras bhari
jawaaniyaan
udhar sey meharbaaniyaan, idhar sey
lantaraaniyaan
yeh aasmaan yeh zamin, nazzaraahaa-e-dilanashin
unhey hayaat aafareen, bhalaa main
chhorh doon yahin
hai maut is qadar qarin, mujhey na
aayegaa yaqin
nahin nahin, abhi nahin, nahin-nahin
abhi nahin
na gam kashood-o-bast ka, baland ka na
past ka
na bood ka na hast ka, na vaadaa-e-alast
ka
ummid aur yaas gum, havaas gum qayaas
gum
nazar sey aas-paas gum, hamaa, bajuz
gilaas gum
na mai mein kuchh kami rahey, qadaah
sey hamdami rahey
nashist yeh jami rahey, yahi hama hami
rahey
woh raag chherh mutribaa, tarab-fizaa,
alam-rubaa
asar sadaa-e-saaz ka, jigar mein aag de
lagaa
har ik lab pe ho sadaa, na haath rok
saaqiyaa
pilaaye jaa pilaaye jaa, abhi to main
jawaan hoon.
-- Hafeez Jallandhari
She also acted in the much-appreciated
play ‗Ek thi Nani‘ (Once there was a grandmother) in 1993. It was a
strange coincidence that in this play, enacted in Lahore, she acted along with
her sister Uzra Butt, who lived in Pakistan, and it was as though they relived the pain of
partition. While Uzra played the role of a conservative grandmother not
allowing her granddaughter to go for the performing arts, it is the progressive
grandmother, Zohra who encourages her. The writer of the play, Shahid Nadeem used to live in
Sopore, Kashmir, and had to migrate as a child. It was on the occasion of
completion of 20 years of Ajoka Theatres in Lahore that the play was performed.
It was directed by Madeeha Gauharwas. Again, in November, 2004 the play was
performed in Prithvi Theatres, Bombay, on the occasion of Pritviraj Kapoor‘s
Birthday.
The rebel
and the non-conformist
When we say Zohra was
a non-conformist and very unorthodox, it meant Zohra could shock people with
her actions and responses. Her personality could never be fitted in any fixed
form; she was a graceful woman but could do everything that a male does, for
instance, she was climbing trees and playing outdoor games when she was a girl
and toting a gun and riding a bike at a ripe old age in one of her films. She married
Kameshmar, who was not only a Hindu, but was 8 years younger to her, depite a
lot of opposition. She would perform plays for jail inmates and then even stay
back to witness an execution. She could laugh at her own countenance, which,
according to her, was ugly by the normal standards of beauty. She once laughingly
said to a friend, ―you are seeing me now, when I am old and ugly; you should
have seen me when I was young and ugly! I'm the ugliest thing!" she
hooted. "When I look at myself in the mirror... But I'm very photogenic.
People look at my old photographs and say, you were quite beautiful, but I tell
me them no, I was photogenic." Zohra was an atheist despite her very
conservative family background. She would shock the film director, as she
improvised dialogues and, sometimes, even broke into dance during shots. Though
Zohra was a strict disciplinarian when it came to her daily routine, doing yoga
and eating and sleeping according to a fixed schedule, when she was asked what
she had enjoyed most in her life, she chuckled, ―sex! Sex! And more sex! and
when once Gurinder Chadha apologized for having lit a cigarette in her
presence, she had said, ―it‘s ok, you remind me of my past lovers. Once, when
she was invited to a woman‘s conference of the AIPWA in Delhi, she had asked with
a mischievous glint in her eyes, ―will there be some good mutton biryani for me
at lunchtime? I am being denied all the goodies by my daughter and have to survive
on soups and toast. And, later, she also asked whether men had been invited to this
woman‘s conference-―are bulao na, aakhir mere aashik to mard hi hain na” i.e.,
do invite them, after all my lovers happen to be men. At the Conference, she enjoyed
sharing her experiences with men and women, and finally, had her share of the
best mutton biryani of Delhi, secretly of course!(she was 95 years old then).
Zohra was an atheist first and then an agnostic. She had said, ―religion is
only a hook. I have strength enough to stand on my own. Religion is used by
priests to corrupt others, and for their own ends. When asked if she was an
atheist, she replied,
"There was a period when I thought I was an atheist. Now I'm agnostic.
Some kind of higher power is there. But why do you call it He? Why not She or
It? In the computer of our brain is where you'll find God. I think the search
for God will be in the microchip. I say this in the play also, in one of the
lines. All my own lines have been used." She calls herself a ―Ziddi meaning
obstinate. Says Gurinder Chadha, ―never expect her to do the expected.
Zohra and Hindi Cinema
Zohra was game for anything-English films for NRIs to commercial Bollywood
films. She acted in several Hindi Bollywood films like Dil Se, with
Amitabh Bachchan in Cheeni Kum, Veer Zaara, with Salman Khan and Ajay
Devgan in Ham dil de chuke Sanam, Chalo Ishq Ladayen with Govinda
and Sanwariya, with Ranbir Kapoor, which was her last film in 2007. She did
choreography in Guru Dutt's Baazi and Raj Kapoor's film Awaara A
complete list of the films and serials in which she acted are given at the end
of the module.
Many Awards and
Government Apathy
Zohra
was recipient of the Sangeet Natak Academy Award in 1963, the Padma Shree in
1998, the Kalidas Samman in 2001 the Sangeet Natak Academy Fellowship for lifetime
achievement in 2004, The Padma Bhushan in 2002 and the Padma Vibhushan in 2010.
She also received the IIFA Special Award for Cinema at Hundred in 2012. At the
United Nations Population Fund (UNPF) Laadli Media Awards, in New Delhi, she
was conferred the title Laadli of the Century for Gender Sensitivity-2007 the function
being presided over by the then Chief Minister of Delhi, Sheila Dikshit.
Zohra‘s daughter, Kiran was quite indignant when she remembered how her mother
had been treated, despite all the honours. She had applied for the allotment of
a ground floor flat for Zohra, who was very old and finding it extremely
difficult to climb up and down the stairs every time she wanted to go out. She
had almost become a prisoner in her house and tears would roll down her cheeks
when she had to climb up. But the application was rejected on the ground that
artistes below the age of 60 were entitled to allotment of a flat by the
government, and she was much older. Kiran voiced her concern for the old,
saying it was only after 60 that an artiste would really need a flat! The Delhi
Government under Sheila Dikshit had also turned a deaf ear to Zohra‘s case.
Tributes to the Doyenne of Indian Theatre
Glorious tributes were paid to Zohra after she passed away at the Max
Hospital on 10 July, 2014, at the age of 102, after having suffered a cardiac
arrest.
"Extremely sad to know about d passing away of Zohra Sehgal, a woman who
lived a full life on her own terms. Great loss to art and culture. RIP"
tweeted historian Irfan Habib.
―Zohra Sehgal passes away at 102 yrs. .what a journey and what an immensely
loveable co-star ! Prayers for her blessed soul!!," tweeted actor Amitabh
Bachchan.
"RIP Zohra Sehgal....what a life....it's that moment when you truly
celebrate the end of such a legendary and glorious era...." wrote director
and producer Karan Johar on the micro-blogging site.
Television Producer, Siddharth Basu said, ― Forever young at heart & in
spirit even at 102, the irrepressibly endearing Zohra Sehgal finally belongs to
the ages. May she rest in peace.
A list of the films
and serials in which she acted |
Title |
1943 |
Rahgeer |
1946 |
Dharti Ke Lal |
1946 |
Neecha Nagar |
1950 |
Afsar |
1956 |
Heer |
1964 |
The Indian Tales of
Rudyard Kipling |
1964–1965 |
Doctor Who (TV
series) |
1967 |
The Long Duel |
1967 |
Theatre 625 (TV series) |
1968 |
The Vengeance of
She |
1968 |
The Expert (TV
series) |
1969 |
The Guru |
1973 |
The Regiment (TV
series) |
1973 |
Tales That Witness
Madness |
1974 |
It Ain't Half Hot
Mum (TV series) |
1978 |
Mind Your Language
(TV series) |
1983 |
The Courtesans of
Bombay |
1984 |
The Jewel in the
Crown (TV series) |
1985 |
Tandoori Nights (TV
series) |
1985 |
Harem |
1986 |
Caravaggio |
1987 |
Partition |
1987 |
Never Say Die |
1989 |
Manika, une vie
plus tard |
1989 |
The Bill |
1991 |
Masala |
1992 |
Firm Friends |
1993 |
Bhaji on the Beach |
1994 |
Little Napoleons |
1995 |
Amma and Family (TV
series) |
1997 |
Tamanna |
1998 |
Not a Nice Man to
Know |
1998 |
Dil Se.. |
1999 |
Khwaish |
1999 |
Hum Dil De Chuke
Sanam |
1999 |
Dillagi |
2000 |
Tera Jadoo Chal
Gayaa |
2001 |
Landmark |
2001 |
Zindagi Kitni
Khoobsoorat Hai |
2001 |
The Mystic Masseur |
2002 |
Bend It Like
Beckham |
2002 |
Kabhi Khushi Kabhi
Gham |
2002 |
Anita and Me |
2002 |
Chalo Ishq Ladaaye |
2003 |
Saaya |
2003 |
Kal Ho Naa Ho |
2004 |
Kaun Hai Jo Sapno
Mein Aaya? |
2004 |
Veer-Zaara |
2005 |
Chicken Tikka
Masala |
2005 |
Mistress of Spices |
2007 |
Cheeni Kum |
2007. |
Saanwariya |
Glossary
A. Multan: A city on Punjab, Pakistan
B. Quetta: Capital of Balochistan,
Pakistan
C. Persia: https://en.wikipedia.org/wiki/Persian_Empire
D. Damascus:Capital and second largest
city of Syria
E. Alexandria: Mediterranian Port City
in Egypt
References:
1.
https://en.wikipedia.org/wiki/Zohra_Sehgal
2. www.sweetslyrics.com › Artists
starting with M
3. "Ninety and spunky", The
Hindu, 19 December 2002
4. http://www.livemint.com/Consumer/LOrVIJnpy2qh2MBgSMKyzH/Actor-Zohra-Sehgal-dies-at-102.html
GLOSSARY
Glaucoma- is a
group of eye diseases which result in damage to the optic nerve and vision loss.
A major risk factor is increased pressure in the eye.
legendary -described
in or based on legends
Hibernation is a state of inactivity and metabolic depression in
endotherms. Hibernation refers to a season of heterothermy that is
characterized by low body temperature, slow breathing and heart rate, and low
metabolic rate
Photogenic-
forming an attractive subject for photography or
having features that look well in a photograph: a photogenic face. 2.
Biology. producing or emitting light, as certain bacteria; luminiferous;
phosphorescent.
Idiosyncratic- relating
to idiosyncrasy; peculiar or individual.
Conservative- averse
to change or innovation and holding traditional values.
Unorthodox -contrary
to what is usual, traditional, or accepted; not orthodox.
Irrepressibly - incapable
of being repressed or restrained; uncontrollable: irrepressible laughter.
Endearing- inspiring
affection.
Vengeance- may refer to: Vengeance (concept) or revenge, a
harmful action against a person or group in response to a grievance.
Videos
1. Interview with Zohra Segal Part 1: https://www.youtube.com/watch?v=cWeujTo1Ih8
2. Interview with Zohra Segal Part 2: https://www.youtube.com/watch?v=bnKV-rUWSzs
3. Interview with Zohra Segal Part 3: https://www.youtube.com/watch?v=_CKScD-MFZ4
4. Zohra Segal talks about her
Bollywood Career:
https://www.youtube.com/watch?v=BUlhnGIAm0o
5. Zohra Segal, Anhad India: https://www.youtube.com/watch?v=w1LTlEBeHXI
○○Top 20 महत्वपूर्ण प्रश्न सीरीज
○ ससद का संयुक्त अधिवेशन कौन बुलाता है ?
➖राष्ट्रपति
○ एलबीडबल्यू (LBW)
शब्द किस खेल से है
?
➖करिकेट
○ वायुमंडल की कौन सी परत हमें सूर्य से आने वाली
अल्ट्रावायलेट किरणों से बचाती है ?
➖ओजोन
○ खवाजा मोईनुद्दीन चिश्ती की दरगाह कहाँ है ?
➖अजमेर
○ सम्राट अशोक ने किस युद्ध के बाद बोद्ध धर्म ग्रहण
कर लिया था ?
➖कलिंग युद्ध
○ भारत का केन्द्रीय बैंक कौनसा है ?
➖भारतीय रिज़र्व बैंक
○ सालारजंग म्यूजियम कहाँ है ?
➖हदराबाद
○ भारत में सबसे लम्बे समय तक मुख्यमंत्री कौन रहा
है ?
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बंगाल)
○ ससार की सबसे लम्बी नदी कौनसी है ?
➖नील
○ किस तापमान पर सेल्सियस और फारेनहाइट तापमान बराबर
होता है ?
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○ कांसा किसकी मिश्रधातु है ?
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○ दिलीप ट्राफी का सम्बन्ध किस खेल से है ?
➖करिकेट
○ LPG का पूर्ण विस्तार क्या होगा ?
➖Liquefied Petroleum Gas
○ गीता रहस्य पुस्तक किसने लिखी ?
➖बाल गंगाधर तिलक
○ राज्यसभा के कितने सदस्यों का चुनाव हर 2 वर्ष बाद होता है ?
➖एक-तिहाई
○ अमेरिकी राष्ट्रपति का कार्यकाल कितने वर्ष होता
है ?
➖चार वर्ष
○ किस मिट्टी को रेगुर मिट्टी के नाम से जाना जाता
है ?
➖काली मिट्टी
○ लाल मिट्टी का रंग लाल क्यों होता है ?
➖लौह ऑक्साइड की
उपस्थिति के कारण
○ भारत के कितने प्रतिशत क्षेत्रफल पर खेती होती है ?
➖51%
○ भारत के पूर्वोत्तर के राज्यों में जंगलों को
काटकर जो खेती की जाती है, वह क्या कहलाती है ?
➖झम खेती