With reference to Manipuri Sankirtana, consider the following statements : 1. It is a song and dance performance. 2. Cymbals are the only musical instruments used in the performance. 3. It is performed to narrate the life and deeds of Lord Krishna. Which of the statements given above is/are correct ?

Describes a bhakti leader (Chaitanya) who popularised group devotional singing accompanied by ecstatic dancing — a model where singing and dancing are combined in religious performance.

A student could note this bhakti pattern (combined singing+dancing) and check whether Manipuri Sankirtana, as a bhakti/ritual performance from the northeast, follows the same combined pattern.

Reports that temples appointed singers, percussionists, musicians and dance masters, implying religious performances often integrated song, music and dance.

Use this rule that temple ritual arts fuse music and dance to investigate if Manipuri Sankirtana, linked to temple/bhakti contexts, similarly combines both elements.

Provides an example where female singers 'sing before him and dance until dusk', showing in practice that performers both sing and dance in the same event.

A student can generalise from such market/religious performance examples to hypothesise Manipuri Sankirtana may also be a combined singing+dancing performance and then verify with region-specific sources.

Notes that temple choreography originated in folk dancing and that trained dancers were maintained by temples, indicating a tradition where narrative/religious themes are rendered through dance together with music.

Apply this pattern of temple-sponsored dance+music to test whether Manipuri Sankirtana, if performed in temple/bhakti contexts, uses both song and dance together.

Literary example (Silappadikaram) records people 'singing and dancing' together when honouring a visitor, showing longstanding cultural pairing of song and dance in ritual/social events.

A student might use this general cultural pattern of joint singing+dancing to consider whether a named regional ritual (Manipuri Sankirtana) fits that broader practice and seek confirmation.

States that temples had dancers, musicians and players of musical instruments as part of temple paraphernalia, implying ritual/temple performances commonly involve multiple instruments.

A student could check whether Manipuri Sankirtana, being a ritual performance, follows the common temple pattern of using more than one instrument.

Notes that traditional dance items are portrayed with musical instruments in temple sculpture/painting, suggesting multi-instrument accompaniment for ritual/dance forms.

Compare visual/ethnographic records of Manipuri Sankirtana to see if multiple instruments are depicted or mentioned.

Mentions a variety of named instruments (lute, flute, drum) in Late Vedic musical references, showing historical precedent for ensembles of different instruments in Indian music.

Use general knowledge of Indian musical ensembles to hypothesize that a regional ritual like Sankirtana likely employs several instrument types, then verify with sources on Manipur.

Describes syncretic musical practice (Sufi Sama) and the introduction/use of distinct instruments (Rabab, Sarangi), illustrating that religious/ritual musical traditions often include varied instruments.

Analogize from other Indian ritual traditions that use multiple instruments and investigate whether Manipuri Sankirtana shows similar diversity.

Lists woods used for making musical instruments, implicitly indicating a practical material basis for producing many kinds of instruments in India.

A student could use this to reason that regions with instrument-making materials commonly support a range of instruments for rituals like Sankirtana and then look for regional instrument lists.

Shows a pattern in Bhakti literature where poets (Sur Das) composed songs/poems specifically about Krishna's bal-lila and devotion to Krishna.

A student could infer that regional devotional performance forms (like Sankirtana) often take Krishna's lila as subject and check whether Manipuri devotional genres follow this similar pattern.

Describes Chaitanya's Vaishnava movement as explicitly centred on exalting Krishna, indicating Bhakti movements produced practices focused on Krishna worship and celebration.

A student could generalize that Vaishnava ritual-performance traditions (especially those influenced by Chaitanya) narrate Krishna; then investigate whether Manipuri Sankirtana is part of a Vaishnava practice in the region.

Notes that Azhwars composed hymns where themes are mostly Krishna's childhood, showing a devotional pattern of narrating Krishna's life in sung hymns.

A student could extend this pattern to hypothesize that other regional sung/ritual traditions (Sankirtana) might similarly narrate Krishna's deeds and then verify with sources on Manipuri ritual forms.

Provides an example of regional devotional culture (Mirabai and a Tamil sculpture) portraying Krishna as focal deity and subject of songs and imagery.

Use the example to support the idea that Indian devotional arts frequently depict Krishna; thus check whether Manipuri performing arts include such Krishna-focused narratives.

Mentions sculptural panels depicting village life with cows and cowherds (Krishna-related imagery), illustrating a broader artistic tendency to depict Krishna's pastoral episodes.

A student might infer that performing traditions tied to temple/folk arts (like Sankirtana) could adopt similar pastoral/Krishna themes and then look for ethnographic or liturgical descriptions of Manipuri Sankirtana.