Change set
Pick exam & year, then Go.
Question map
With reference to the famous Sattriya dance, consider the following statements : 1. Sattriya is a combination of music, dance and drama. 2. It is a centuries-old living tradition of Vaishnavites of Assam. 3. It is based on classical Ragas and Talas of devotional songs composed by Tulsidas, Kabir and Mirabai. Which of the statements given above is/are correct?
Explanation
Sattriya is indeed a combination of music, dance, and drama[1], making statement 1 correct. It is a centuries-old living tradition of the Vaishnavites of Assam, specifically associated with the Sattras, which are monasteries of Assam[2], confirming statement 2 is correct.
However, statement 3 is incorrect. Sattriya is based on classical Ragas and Talas of devotional songs composed by the saint-reformers of Assam such as Sankardeva and Madhavdeva[3], not Tulsidas, Kabir, and Mirabai. This classical dance form was introduced in the 15th century by the great Vaishnavite saint and reformer of Assam, Mahapurusha Sankardeva[4]. The musical compositions used are specifically Assamese Borgeet songs composed by Assamese saint-reformers, making it distinct from other devotional traditions.
Therefore, only statements 1 and 2 are correct, making option B the right answer.
SourcesPROVENANCE & STUDY PATTERN
Guest previewThis is a classic 'Detail Trap' question. While Sattriya is a standard topic, Statement 3 swaps the correct regional founders (Sankardeva/Madhavdeva) with famous but geographically unrelated North Indian saints. The strategy is to verify the 'Software' (lyrics/music source) of every art form, not just its 'Hardware' (location/costume).
This question can be broken into the following sub-statements. Tap a statement sentence to jump into its detailed analysis.
Web source
Presence: 5/5
"Sattriya is indeed a combination of music, dance, and drama."
Why this source?
- Explicitly states Sattriya is a combination of music, dance, and drama.
- Presented as an authoritative explanatory line in a discussion of the dance form's origins.
Web source
Presence: 5/5
"started to revive and popularize the art of classical music, dance and drama"
Why this source?
- Describes how the Satras revived and popularized 'classical music, dance and drama', linking Sattriya to all three art forms.
- Places Sattriya within the Vaishnavite tradition where these arts were used together for religious and cultural expression.
Web source
Presence: 5/5
"Sattriya combines intricate footwork, graceful hand gestures (mudras), and expressive facial movements to depict episodes"
Why this source?
- Describes Sattriya as a classical art form combining dance techniques with storytelling (dramatic depiction).
- Frames Sattriya under 'Contribution to Art, Music, and Dance', indicating integration of music alongside dance and drama.
- Explicitly states Sattriya is a combination of music, dance, and drama.
- Presented as an authoritative explanatory line in a discussion of the dance form's origins.
- Describes how the Satras revived and popularized 'classical music, dance and drama', linking Sattriya to all three art forms.
- Places Sattriya within the Vaishnavite tradition where these arts were used together for religious and cultural expression.
- Describes Sattriya as a classical art form combining dance techniques with storytelling (dramatic depiction).
- Frames Sattriya under 'Contribution to Art, Music, and Dance', indicating integration of music alongside dance and drama.
History , class XI (Tamilnadu state board 2024 ed.) > Chapter 11: Later Cholas and Pandyas > Religion > p. 162
Strength: 5/5
“Siva was the preeminent god for the Cholas and he was represented in two forms. The iconic form of Siva was Lingodhbhava, and the Nataraja idol was the human form. A trace of the locations of temple centres in Kavery delta could provide us the map of an agrarian- political geography spatially and temporally. The repeated representation of Tripurantaka (the destroyer of three mythical cities of asura) form of Siva in sculpture and painting gave him a warrior aspect and helped in gaining legitimacy for the ruler. The representation of Nataraja or Adal Vallan (king of dance) in the form of idol was the motif of Tamil music, dance and drama with hymns composed by Nayanmars, the Saiva saints.”
Why relevant
Explicitly identifies a cultural motif linking music, dance and drama (the representation of Nataraja was a motif of Tamil music, dance and drama).
How to extend
A student could generalize that classical/temple-associated performance forms in India often integrate these three elements and therefore check whether Sattriya, as a devotional/classical form, follows the same pattern.
History , class XI (Tamilnadu state board 2024 ed.) > Chapter 12: Bahmani and Vijayanagar Kingdoms > 12.6 Art and Architecture > p. 187
Strength: 5/5
“existence". The Vittalaswamy temple is also a fine example of Vijayanagar style. In the opinion of Fergusson, it "shows the extreme limit in florid magnificence to which the style advanced". The Vittalswamy temple with its saptaswara musical pillars and the Stone Chariot are a few architectural wonders. Paintings at the Virabhadra temple and Lepakshi temple show the excellence of Vijayanagar painters. The Vijayanagar rulers inscribed the stories of the Ramayana and the Mahabharata on the walls of the various temples. The Vijayanagar kings patronized fine arts like music, dance, drama and yakshagana. Artists enjoyed great respect in the palace and temples.”
Why relevant
States that royal/temple patronage included fine arts like music, dance and drama together (Vijayanagar kings patronized music, dance, drama and yakshagana).
How to extend
Use the pattern that patronized regional performance traditions commonly combined these arts; then investigate whether Sattriya arose under similar institutional patronage (sattra/temple) and thus likely integrates them.
History , class XI (Tamilnadu state board 2024 ed.) > Chapter 9: Cultural Development in South India > Bhakti and the Arts > p. 130
Strength: 4/5
“Originating with folk dancing, the choreography of temple dancing became highly sophisticated and complex renderings.
130 | Cultural Development in South India
of religious themes as apparent in the final form. From the Pallava period onwards, trained groups of dancers were maintained by more prosperous temples. Classic scenes from puranas and itihasas were sculpted on the walls of the temples, in bronze and stone. Subsequently, artists were attached to the temples with state patronage in order to promote the fine arts like music, dance and others.”
Why relevant
Notes that temples maintained trained groups of dancers and promoted fine arts like music and dance together.
How to extend
Since many Indian classical dances emerged from temple contexts where multiple arts coexisted, a student could check if Sattriya originated in comparable religious institutions to infer combined music-dance-drama practice.
History , class XI (Tamilnadu state board 2024 ed.) > Chapter 13: Cultural Syncretism: Bhakti Movement in India > Chaitanya (1485-1533) > p. 194
Strength: 4/5
“Instead, they emphasized devotion to Krishna. Chaitanya, however, made disciples from all classes. He popularized the practice of group devotional singing accompanied by ecstatic dancing. His movement became popular in Bengal and Orissa.”
Why relevant
Describes devotional practice that combined group singing and ecstatic dancing (Chaitanya's movement popularized singing accompanied by dancing).
How to extend
This shows devotional movements often fuse music and dance; a student could test whether Sattriya, tied to Vaishnavite devotional settings, similarly mixes music and dance and possibly theatrical storytelling.
History , class XI (Tamilnadu state board 2024 ed.) > Chapter 4: Emergence of State and Empire > Art and Culture > p. 60
Strength: 3/5
“Most of the literature and art of the period have not survived. Sanskrit language and literature. Emergence of State and Empire were enriched by the work of the grammarian Panini (c. 500 BCE), and Katyayana, who was a contemporary of the Nandas and had written a commentary on Panini's work. Buddhist and Jain texts were primarily written in Pali. Evidently many literary works in Sanskrit were produced during this period and find mention in later works, but they are not available to us. The Arthasastra notes the performing arts of the period, including music, instrumental music, bards, dance and theatre.”
Why relevant
The Arthashastra (quoted) lists performing arts of the period including music, dance and theatre together, implying a historical pattern of integrated performance arts.
How to extend
A student could apply this general rule—that classical Indian performing traditions often combine music, dance and theatre—to hypothesize that Sattriya, as a classical tradition, may incorporate all three and then verify through focused sources on Sattriya.
Explicitly identifies a cultural motif linking music, dance and drama (the representation of Nataraja was a motif of Tamil music, dance and drama).
A student could generalize that classical/temple-associated performance forms in India often integrate these three elements and therefore check whether Sattriya, as a devotional/classical form, follows the same pattern.
States that royal/temple patronage included fine arts like music, dance and drama together (Vijayanagar kings patronized music, dance, drama and yakshagana).
Use the pattern that patronized regional performance traditions commonly combined these arts; then investigate whether Sattriya arose under similar institutional patronage (sattra/temple) and thus likely integrates them.
Notes that temples maintained trained groups of dancers and promoted fine arts like music and dance together.
Since many Indian classical dances emerged from temple contexts where multiple arts coexisted, a student could check if Sattriya originated in comparable religious institutions to infer combined music-dance-drama practice.
Describes devotional practice that combined group singing and ecstatic dancing (Chaitanya's movement popularized singing accompanied by dancing).
This shows devotional movements often fuse music and dance; a student could test whether Sattriya, tied to Vaishnavite devotional settings, similarly mixes music and dance and possibly theatrical storytelling.
The Arthashastra (quoted) lists performing arts of the period including music, dance and theatre together, implying a historical pattern of integrated performance arts.
A student could apply this general rule—that classical Indian performing traditions often combine music, dance and theatre—to hypothesize that Sattriya, as a classical tradition, may incorporate all three and then verify through focused sources on Sattriya.
This tab shows concrete study steps: what to underline in books, how to map current affairs, and how to prepare for similar questions.
Login with Google to unlock study guidance.
Discover the small, exam-centric ideas hidden in this question and where they appear in your books and notes.
Login with Google to unlock micro-concepts.
Access hidden traps, elimination shortcuts, and Mains connections that give you an edge on every question.
Login with Google to unlock The Vault.