Kangleipak as fondly named during ancient times, Manipur is one of the eight North-Eastern states of India bordering Nagaland, Assam, Mizoram, and Myanmar. Blessed with rich flora and fauna and nestled between valleys, Manipur is a treat for nature and tranquility lovers.

It doesn’t end with this, because round the year Manipur celebrate festivals with varied colors and traditions. Home to thirty-five different communities, including Meities and other tribal groups, one can experience this cultural fiesta in their annual program of the ‘Sangai Festival’.

Perhaps, Manipuri Raas Leela is the best form among various other forms of Raas Leela that prevailed in India. Not only Manipuri Raas Leela gives one of the finest forms of classical dance but also provides one of the finest forms of spiritualism in the Vaishnavishm sect. Some of the best classical dances of India are based on erotica but Manipuri classical dance is founded on Bakhti (devotion).

Any audience who witnessed other classical dances of India felt thrilled but an audience who witnessed Manipuri classical dance felt spiritualism. Being a Manipuri dance enthusiast, we are proud of UNESCO's recognized Sankirtana as an intangible heritage and Raas Leela is a part of Sankirtana.

Though Manipuri Raas Leela is very popular among dance enthusiasts difficult to remember all five kinds of Raas Leela i.e. Maha Raas, Kunja Raas, Vasanta Raas, Diba Raas, and Nitya Raas. To witness Maha Raas one has to wait for the full moon day of Hiyang-gei (November-December), so as to witness Vasanata Raas one has to wait for Shajibu purnima (March-April), likewise Mera Purnima (September-October) for Kunja Raas, all the months of the year except month of Hiyang-gei and Shajibu months for Nitya Raas and for Kunja Raas and Diba Raas it is opened to all months. For the exclusivity of Kunja and Diba Raas these Raas are performed in the daytime.

One has to face inconvenience to witness all these five Raas Leela due to the technicality of specific days and timing. On the other hand, it is difficult to organize all these five Raas Leela by any individual. And another major problem for gurus and sutras (singers) of this day is to remember all the taals, songs, and sequences as it is performed occasionally i.e. once in a long period.

In order to erase all the inconvenience and to preserve the sanctity of Raas Leela Jawaharlal Nehru Manipur Dance Academy (JNMDA), Imphal organized the Festival of Raas Leela occasionally. The last Festival of Raas Leela was held in the year 2010 at Mandap of the JNMDA. That festival was a successful one.

Organizing such type of Festival of Raas Leela can not only enhance the quality of Manipuri classical dance but also distribute spirituality to a great extent. For die-hard devotees of the Vaisnavism sect to witness a Raas Leela is another approach to the pursuit of spirituality.

The Maha-Raas. With the advent of Vaishnavism in Manipur during the late 1470s, worshiping Vishnu slowly and steadily became Manipur’s principal tradition. But Manipuri Raas-Leela only came into existence during the reign of the powerful and illustrious king of Manipur, Rajarshri Bhagyachandra. It’s been said that Bhagyachandra had a revelation from Lord Krishna himself on worshiping Govinda as the prime belief and instituting the Raas-Leela dance. Accordingly in 1779, on the full moon day of Hiyangei (November) Manipur celebrated the first Raas-Leela after King Bhagyachandra consulted with numerous gurujis and scholars. King’s pious daughter Bimbavati or popularly known as Shija Laioibi performed as the Radha of the first Raas-Leela. Bimbavati’s undying love for Lord Krishna is often compared with Meera of Rajasthan, another ardent admirer of the Lord.

Meitei King Rajarshi Bhagyachandra (Meitei: Ching-Thang Khomba) (r. 1759–1798 CE) of Manipur State adopted Gaudiya Vaishnavism (Krishna oriented), documented and codified the Manipuri dance style, launching the golden era of its development and refinement. He composed three of the five types of Raas Leelas, the Maha Raas, the Basanta Raas, and the Kunja Raas, performed at the Sri Sri Govindaji temple in Imphal during his reign and also the Achouba Bhangi Pareng dance. He designed an elaborate costume known as Kumil (the cylindrical long mini-mirror-embellished stiff skirt costume, that makes the dancer appear to be floating). The Govinda Sangeet Lila Vilasa, an important text detailing the fundamentals of the dance, is also attributed to him. Meitei King Rajarshi Bhagyachandra (Meitei: Ching-Thang Khomba) is also credited with starting public performances of Raas Leela and Manipuri dances in Hindu temples.

Meitei King Gambhir Singh (Meitei: Chinglen Nongdrenkhomba) (r. 1825–1834 CE) composed two parengs of the tandava type, the Goshtha Bhangi Pareng, and the Goshtha Vrindaban Pareng. King Chandrakirti Singh (r. 1849–1886 CE), a gifted drummer, composed at least 64 Pung choloms (drum dances) and two parengs of the Lasya type, the Vrindaban Bhangi Pareng and Khrumba Bhangi Pareng. The composition of the Nitya Raas is also attributed to these kings.

N. Tiken Singh, Manipur’s illustrious singer fondly called Guruji said, ‘’Without Rasa (Taste) there is no Raas (Aesthetic) and Manipuri Raas-Leela is completely based on Bhakti Rasa’’. Bhakti Rasa or Pure devotion is what makes Manipur Raas different from all other Raas- celebrated in different parts of India. There is no negativity and violence over here. With the celebration of the first Raas, Rajarshi Bhagyachandra went on to create three Raas-Leela namely, Maha Raas, Basant Raas, and Kunja Raas. Later King Chandrakirti created Nitya Raas after modifications and Diva Raas was created by King Churachand.

‘Maha Raas’ is the epitome of all the Raas. It was first celebrated at Langthabal where Lord Govindajee was consecrated by King Bhagyachandra with all grandeur. King’s wife Hiramati performed as the lead Gopi popularly known as Makokchingbi and daughter, Bimbavati as Radha. King himself played as the lead drum player. ‘Maha Raas’ used to be played only at Shree Shree Govindajee temple during older days but now it’s performed at local temples though the first offerings should have been made to Govindajee temple only.

At the first instance of Shree Shree Govindajee temple, one will notice a brilliant white marvelous structure and a beautiful mandap in the center. The mandap is bounded by 12 pillars. Inside the Mandap, there will be a ‘chakrapith’. It’s a round table that revolves around the idol of Sri Krishna and Radha on it. It is to be noted here that ‘Maha Raas’ should be preceded by ‘Nat Sankirtana’ which is an indispensable part of Raas-Leela. ‘Nat Sankirtana’ is an extension of ‘Lila Kirtana’ of Thakur Narottama Das with brilliant uses of alaps and ragas. It’s a composite version of music, tala, and dance combined to form a magical atmosphere of devotion and worship. Raas-Leela and Nat Sankirtana are a way to connect and merge our souls to the Supreme soul.

Niroda and several other women and girls started to dress up with the beautiful ‘Manipuri Potloi’. As Niroda describes that many women and little girls try to take part in the Maha Raas because they believe by doing ‘pure devotion’ to Lord Krishna as a Gopi, their sins will be washed away. One tries to maintain an odd number of participants which means the first time of participation will be counted as ‘Birth’. The second time of participation as Gopi will be counted as ‘Death’ and then the third time as ‘Birth’ again. There is a peculiarity of dressing sense one will observe during Maha Raas. The idol of Govindajee when it was inside the temple will be dressed as white but when it’s brought down to Chakrapith, he will be dressed up with Manipuri Potloi which is known as ‘Natvavesh’. The design and colors of the ‘Natvarvesh’ of Shree Govindajee reflect the unity of the communities of Manipur. Radha’s potloi will have red color on the top with Koktumbi over the head and green color on the bottom which is called Kumin. Every other Gopi except the Makokchingbi or the lead Gopi will wear green color on the top and red color kumin on the bottom. Rest everyone is expected to wear a pure white top and lower. White in Manipuri reflects purity and a clean soul.

Manipuri Classical dance is one of the two most outstanding and scintillating evolution of Manipuri tradition which forms the base of Raas-Leela. Once the Gopis enter the mandap arena their each move along with the Srimad Bhagavatam (Ras Panchadhyaya) slokas reveal the true story of Sri Krishna who remembered his promise to the Gopis upon seeing the full moon night of Kartika masa. He decided to play his magical flute and upon hearing the captivating sound of it, Gopi came forth and danced with him. Maha Raas main theme is to show ‘Eko Gopi Eko Shyam’ which means Krishna’s promise to the Gopis that each one of them will have him as their universal husband through the beautiful vocals of ‘Sutradhari’, Conch Player- Moibung Khongba, Rasdhari and orchestra. As W. Lokendrajit Singh, Manipuri’s famous choreographer puts that the moves of the Gopis are laced with grace and humility with almost serpentine movement and shyness in their eyes. Their face has to remain absolutely expressionless with the brilliant but slow movement of their hand and feet.

‘Maha Raas’ is all about Bhakti Rasa without the embodiment of any type of desire. Every year, women and girls will wait anxiously to the full moon night of Kartik Purnima so that they can wear the absolutely beautiful Manipuri potloi and worship the Lord Krishna. Their moves and the devotional slokas heighten the grandeur and devotional fervor which lifts the audience and participants into a world where only pure love exists.

Repertoire

Chali or Chari is the basic dance movement in Manipuri Raas dances. The repertoire and underlying play depend on the season. The dances are celebrated on full moon nights, three times in autumn (August through November) and once again in spring (March or April). The Basanta Raas is timed with the Hindu festival of colors called Holi, while others are timed with post-harvest festivals of Diwali and others. The plays and songs recited during the dance performance center around the love and frolics between Radha and Krishna, in the presence of Gopis named Lalita, Vishakha, Chitra, Champaklata, Tungavidya, Indurekha, Rangadevi, and Sudevi. There is a composition and dance sequence for each Gopi, and the words have two layers of meanings, one literal and the other spiritual. The longest piece of the play focuses on Radha and Krishna. The dancer playing Krishna expresses emotions, while the body language and hand gestures of the Gopi display their feelings such as longing, dejection, or cheer.

The rhythmic depiction form of abhinaya[acting] is to show the ashtanayika [eight shades of a heroine] in every nayika, which is colored by the beautiful scenes of the season in which the "abhisarika" expresses her love for Krishna; so that a kuaasha abhisarika who dances in the foggy winter is very different to the varsha abhisarika who faces the thunderous downpouring rain.

In other plays, the Manipuri dancers are more forceful and acrobatic and their costumes adjust to the need of the dance. Dozens of boys synchronously dance the Gopa Ras, where they enact the chores of daily life such as feeding the cows. In Uddhata Akanba, states Ragini Devi, the dance is full of vigor (jumps, squats, spins), energy, and elegance.

Costumes

The classical Manipuri dance features unique costumes. The women characters are dressed, in doll-like Potloi costumes. The brilliant design of the Potloi was conceived in a dream by Vaishnavite Meitei King Rajarshi Bhagyachandra (Meitei: Ching-Thang Khomba) of Manipur, in which he saw his daughter dancing in a Potloi. The Potloi costumes for women are tailored such that it avoids arousal of any unhealthy stimulus in the audience.

Female upper garment

• Choli- A velvet blouse adorns the upper part of the body. The choli is embellished with zari, silk or gota embroidery. Gopis are dressed in red blouses while Radha stands out in green.

Female lower garment

• Kumin is an elaborately decorated barrel-shaped long skirt stiffened at the bottom and close to the top. The decorations on the barrel include gold and silver embroidery, small pieces of mirrors, and border prints of lotus, Kwaklei orchid, and other items in nature.^[34]
• Pasuan- The top border of the Kumin is adorned with a wavy and translucent fine muslin skirt tied in three places around the waist in Trikasta (with spiritual symbolism of the ancient Hindu Shastras) and opens up like a flower.
• Khangoi- Small rectangular belt over the Pasuan.
• Khaon- Rectangular embroidered piece with a belt.
• Thabret- A girdle around the waist.

The dancers do not wear bells on ankles but do wear anklets and foot ornaments. Manipuri dance artists wear kolu necklaces on the neck and adorn the face, back, waist, hands, and legs with round jewelry ornaments or flower garlands that flow with the dress symmetry.^[35] The face is decorated with the sacred Gaudiya Vaishnava Tilak on the forehead and Gopi dots made of sandalwood above the eyebrows. The symmetrical translucent dress, states Reginald Massey, makes "the dancers appear to float on the stage, as if from another world"

Music and instruments

The musical accompaniment for Manipuri dance comes from a percussion instrument called the Pung (a barrel drum), a singer, small kartals (cymbals), sembong, harmonium, and wind instruments such as a flute.

The drummers are male artists and, after learning to play the pung, students train to dance with it while drumming. This dance is celebrated, states Massey, with the dancer wearing white turbans, white dhotis (for Hindu drummers) or kurtas (for Muslim drummers), a folded shawl over the left shoulder, and the drum strap worn over the right shoulder. It is known as Pung cholom, and the dancer plays the drum and performs the dance jumps and other movements.

Another dance called Kartal cholom, is similar to Pung cholom, but the dancers carry and dance to the rhythm created with cymbals. This is a group dance, where dancers form a circle, and move in the same direction while making music and dancing to the rhythm. Women dance too as groups, such as in the Manipuri dance called Mandilla cholom, and these usually go with devotional songs and playing colorful tassels-string tied cymbals where one side represents Krishna and the other Radha.^[41] Shaiva (tandava) dances are choreographed as Duff cholom and Dhol cholom.

The songs in Huyen langlon can be played with any Meitei instruments such as the pena and are usually aggressive sounding but they contain no lyrics.

Styles and categories

The traditional Manipuri Raas Lila is performed in three styles – Tal Rasak, Danda Rasak, and Mandal Rasak. A Tal Rasak is accompanied by clapping, while Danda Rasak is performed by a synchronous beat of two sticks but the dancers position it differently to create geometric patterns.^[42] The Gopis dance in a circle around the Krishna character in the center.

The Manipuri dance comes in two categories - tandav (vigorous dance for the dancer who plays Krishna) and lasya (delicate dance for the dancers who play Radha and Gopis).

The Manipuri Raas Leela dance style embodies dreamy wavelike movements where one movement dissolves into another like the waves of an ocean. The dance features rounded soft movements of women and occasional fast movements by male characters. Unlike the other classical dance forms of India, the Manipuri dance artists do not wear anklet bells and the footwork is subdued and gentle in the Manipuri style. The stage movements are part of a composite movement of the whole body.

There are five types of accepted Ras Leela, they are Maharas, Basantaras, Kunjaras, Nityaras, and Dibaras.

The Maharas Leela is the most prominent. This dance is performed in the month of Kartik (around November) on a full moon night. It is a story of the Gopi's sorrow after the disappearance of Krishna. After seeing the Gopis disheartened, Krishna then reappears and multiplies himself so that he is dancing with each Gopi.

The Basantaras is celebrated on Chaitra (around April) on a full moon night welcoming the spring season. During this time Holi is also celebrated where participants throw colored water or powder at each other. The story of Basantaras is based on Jaidev's Gita Govinda and the Brahma Vavairta Purana.

Kunjaras is celebrated on Ashwin (October) in Autumn on a full moon night.

Nityaras is celebrated any night of the year except for the previous three raas (Maharas, Basantaras, and Kunjaras). The story is of the divine union of Radha and Krishna after Radha surrenders herself to Lord Krishna.

Dibaras is celebrated any time of the year during the day besides the periods of Maharas, Basantaras, and Kunjaras. The performance comes from the chapters in the Shri Krishnaras- Sangeet Samgraha, Govinda Leelamritya, Shrimad Bhagavata, and Sangitamahava.

References:

e-pao.net
en.wikipedia.org
nezine.com