Manipuri
A Divine Expression of Love and Devotion
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Manipuri Dance, also known as Manipuri Raas Leela, is one of the most enchanting and spiritually rich forms of Indian classical dance. Originating from the northeastern state of Manipur, it holds a unique place in the world of dance with its rich history, religious significance, and intricate artistry.
Roots
Like all classical Indian dances, Manipuri Dance has its roots in the ancient Hindu Sanskrit text known as the Natya Shastra. This text served as a foundational guide for the development of various classical dance forms in India. Manipuri Dance, however, evolved through a fusion of influences from local folk dances and traditions, making it distinctive and culturally significant.
The origins of Manipuri Dance date back to a time when Manipur had strong connections to Hinduism, particularly Vaishnavism. With the adoption of Vaishnavism practices by the king of Manipur in the 15th century, this dance form became closely intertwined with the worship of Lord Krishna. In 1717, Meitei King Gareeb Niwaz converted to a devotional form of Vaishnavism known as Chaitanya style, emphasizing singing, dancing, and other performance arts centered around Krishna.
In the 18th century, during the reign of Meitei King Rajarshi Bhagyachandra, Manipuri Dance was codified and refined. King Bhagyachandra composed three of the five types of Raas Leelas, which are an essential part of Manipuri Dance. These Raas Leelas included the Maha Raas, Basanta Raas, and Kunja Raas, which were performed at the Sri Sri Govindaji temple in Imphal. He also introduced an elaborate costume known as Kumil, which gives the impression of the dancer floating on the stage.
The 19th century saw British colonial rule in Manipur, which marked a significant change in the fortunes of Manipuri Dance. The British administration, like many other classical Indian dance forms, ridiculed Manipuri Raas Leela as immoral and outdated. The dance and its artists managed to survive mainly within temples, such as Imphal's Shree Govindajee Temple. Despite this cultural discrimination, the tradition of Manipuri Dance continued to be preserved within the temple walls.
Rabindranath Tagore
Revival
Revival
The revival of Manipuri Dance in the modern era can be attributed to the efforts of Nobel Laureate Rabindranath Tagore. In 1919, Tagore was profoundly moved after witnessing a Manipuri dance composition of Goshtha Lila in Sylhet, which is now part of present-day Bangladesh. Impressed by the artistry and spirituality of Manipuri Dance, Tagore invited Guru Budhimantra Singh, who had received training in Manipuri Raas Leela, to be a faculty member at the Indian culture and studies center named Shantiniketan.
In 1926, Guru Naba Kumar joined the faculty to teach Raas Leela. Other celebrated Gurus, such as Senarik Singh Rajkumar, Nileshwar Mukherji, and Atomba Singh, were also invited to teach at Shantiniketan. They collaborated with Tagore to choreograph several of his dance-dramas.
Religious Significance
Religious Significance
Manipuri Dance is imbued with religious and spiritual themes. It is closely associated with the worship of Lord Krishna, particularly the love story between Krishna and Radha. The dance is considered a purely spiritual experience and is often performed as an offering of devotion.
The performance is accompanied by devotional music, featuring instruments such as cymbals (kartal or manjira) and a double-headed drum (pung or Manipuri mrdanga). The choreography and dance drama share the stories of Vaishnavite Padavalis, which also inspired major Gaudiya Vaishnava-related performance arts found in Assam and West Bengal.
The central theme of Manipuri Dance revolves around the divine love between Lord Krishna and goddess Radha, portrayed through the Raas Leela. The dance is a portrayal of the dance of divine love and the devotion of Lord Krishna with goddess Radha and the cowherd damsels of Vrindavan.
Manipuri Dance is known for its unique and elaborate costumes. The costumes not only add to the aesthetic beauty of the dance but also have symbolic significance. The female characters are dressed in Potloi costumes, which are doll-like outfits designed to avoid arousing any unhealthy stimulus in the audience.
Manipuri Dance is known for its diversity, and it encompasses various styles and categories, each serving a unique purpose
Traditional Raas Leela
Traditional Raas Leela
This is performed in three styles: Tal Rasak, Danda Rasak, and Mandal Rasak. Tal Rasak involves clapping, Danda Rasak features the synchronized beat of two sticks, and Mandal Rasak is a circular dance where the Gopis dance around the central character of Krishna.
Tandav & Lasya
Tandav & Lasya
Manipuri Dance includes both the tandav style, characterized by vigorous and masculine dance movements, typically performed by the dancer playing Krishna, and the lasya style, featuring delicate and feminine dance movements, often performed by dancers playing Radha and the Gopis.
The Manipuri Raas Leela
The Manipuri Raas Leela
This dance form embodies dreamy, wavelike movements where one movement seamlessly flows into another, much like the waves of an ocean. The dance is characterized by rounded and soft movements by women, with occasional fast movements by male characters. What sets Manipuri Dance apart from other classical Indian dance forms is the absence of ankle bells and subdued, gentle footwork.
Manipuri Dance includes five types of Ras Leela performances: Maharas, Basantaras, Kunjaras, Nityaras, and Dibaras. Each is associated with different seasons and themes, offering a rich variety of performances.
Maharas Leela:
This is the most prominent and is performed in the month of Kartik (around November) on a full moon night. It portrays the story of the Gopis' sorrow after Krishna's disappearance, followed by his reappearance and multiplication to dance with each Gopi.
Basantaras:
Celebrated in Chaitra (around April) on a full moon night, it welcomes the spring season. The story of Basantaras is based on Jaidev's Gita Govinda and the Brahma Vavairta Purana.
Kunjaras:
Celebrated in Ashwin (October) during autumn on a full moon night.
Nityaras:
This can be celebrated any night of the year except for the previous three Ras Leelas. The story revolves around the divine union of Radha and Krishna after Radha surrenders herself to Lord Krishna.
Dibaras:
This can be celebrated at any time of the year during the day, except during the periods of Maharas, Basantaras, and Kunjaras. The performance draws inspiration from several sources, including the Shri Krishnaras-Sangeet Samgraha, Govinda Leelamritya, Shrimad Bhagavata, and Sangitamahava.
Manipuri Dance is a unique and spiritually profound classical Indian dance form. Its historical roots, religious significance, and diverse repertoire make it a captivating and culturally significant art form. The devotion, love, and spirituality that it portrays continue to inspire and enchant audiences, making Manipuri Dance a cherished cultural treasure of India. This dance form, with its exquisite movements and rich cultural heritage, is a testament to the enduring power of art and devotion.
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