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?

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.

Describes the 15th-century rise of Shankaradeva's Vaishnavism in Assam and the creation of satras (monasteries) and naam-ghars for transmission of spiritual knowledge.

A student could infer that institutional Vaishnavite centres (satras) founded in the 15th century provide plausible long-term settings for a dance tradition to develop and persist among Assam's Vaishnavite community.

Explains a general pattern: religious/temple contexts turned folk dancing into more formal, classical choreography and sustained performing groups.

One can apply this pattern to Assam's Vaishnavite institutions (satras) to hypothesize that devotional practices there could have formalised a folk dance into a lasting tradition.

Gives an example of temples preserving and depicting traditional dance items and attaching artists to religious institutions under patronage.

A student could analogously expect that religious patronage in Assam (satras/naam-ghars) might likewise preserve and institutionalise a dance form over centuries.

Mentions 15th-century socio-cultural practices and annual melas in Assam, indicating long-standing regional cultural continuity dating back several centuries.

Combined with the 15th-century rise of Vaishnavism, this suggests a historical milieu in which enduring cultural practices (including dance) could have evolved and continued.

Identifies the North-East as a distinct cultural region where customs (folk dance etc.) are important markers of identity.

Using a map or knowledge of regional cultural distinctiveness, a student might judge it plausible that Assam's Vaishnavite community sustained a region-specific dance tradition.

Shows that Indian classical dances (Bharatanatyam, Kuchipudi, Kathak, Odissi) are associated with ragas and musical imagery, establishing a general pattern of classical dance being linked to classical music.

A student could reasonably check whether Sattriya, as an Indian classical dance tradition, similarly pairs choreography with regional rāgas and tālas used by classical musicians.

Notes that temple dance choreography became sophisticated and was supported alongside music — indicating a pattern where temple-derived dances integrate formal music systems.

A student could investigate whether Sattriya’s institutional origins (e.g., temple or monastery contexts) led to adoption of classical musical frameworks like rāga and tāla.

Documents traditional dance items and musical instruments being portrayed in temple art, implying close links between dance forms and established musical practices.

Using this rule, one could look for depictions or records of musical accompaniment for Sattriya performances (instruments, notations) consistent with classical rāga/tāla practice.

Describes popularized devotional singing with ecstatic dancing in regions like Orissa and Bengal, connecting devotional performance traditions to structured musical-dance practices.

A student could ask whether Sattriya—known to have devotional roots in Assam—similarly integrates classical melodic and rhythmic frameworks used in devotional music.

References the centrality of rāgas in Indian classical music (Tansen etc.), supporting the idea that classical music vocabularies are a common resource for classical dance forms.

From this, a student could check whether the musicians accompanying Sattriya employ named rāgas and tālas used in Indian classical music repertoires.

Says Mirabai composed devotional songs (bhajans) and that her songs constitute a rich cultural heritage.

A student could check whether Sattriya (a Vaishnava dance tradition) incorporates widely known bhajans such as Mirabai's into its repertoire.

Describes Mirabai as a well-known bhakti poet whose orally transmitted songs were widely sung.

Knowing her songs circulated orally, a student might look for their presence in regional Vaishnava musical/dance traditions like Sattriya.

Notes that Kabir's poems survived in many regions and languages and circulated widely in print by the 19th century.

A student could infer Kabir's verses had the geographic reach to appear in various devotional repertoires and check Sattriya song lists for Kabir-attributed pieces.

States that between the 7th and 17th centuries bhakti saints composed devotional songs in the languages of the masses, allowing their messages to travel far and wide.

Use this general pattern to reason that bhakti compositions (by different poets) could be adopted into regional dance forms such as Sattriya and then verify specific attributions.

Describes how singing hymns in temple premises promoted oral literacy and how traditional dance items and musical roles were integrated with temple worship.

From this, a student could infer temple-linked dance traditions often use devotional songs from broader bhakti repertoires and then check whether Sattriya repertory names Tulsidas, Kabir, or Mirabai.