DANCE/MUSIC

TRADITIONAL ARTISTIC PERCEPTION (AP) ® CLASSICAL CREATIVE EXPRESSION (CE) Artsource CONTEMPORARY HISTORICAL & CULTURAL CONTEXT (H/C) The Music Center’s Study Guide to the Performing Arts EXPERIMENTAL AESTHETIC VALUING (AV) MULTI-MEDIA CONNECT, RELATE & APPLY (CRA)

ENDURING FREEDOM & THE POWER THE HUMAN TRANSFORMATION VALUES OPPRESSION OF NATURE FAMILY

Title of Work: About the Artwork: Lai Haraoba (folk dance) The Lai Haraoba, which means ‘festival of the gods Vasanta Rasa Lila (classical dance) Dhon Cholam (drum dance) and goddesses,’ is the oldest folk-dance in , Creators: dating back to pre-history. Revealing the story of Company: Ranganiketan (House of Colorful Art) creation, it is performed during the summer season. It Manipuri Cultural Arts Troupe traces aspects of the culture of Manipur and is usually Founder and Director: Dr. T. D. Singh (1937-2006) accompanied by an ancient single-stringed instrument Background Information: called Pena. The dancers exhibit graceful movements Manipur, called the “Jewel of ,” is a secluded state and expressive hand gestures conveying deep meaning. situated at India’s northeasternmost frontier. Located in Rasa Lila is a classical dance created by the Hindu god an oval-shaped valley, it is tucked within nine ranges of . It was communicated to King Jai Singh Himalayan mountains. The ancient culture here has been through a vision and was recreated to exact specifications, preserved intact for thousands of years, meticulously including both style and costumes. This dance, passed on from one generation to the next via master performed in the spring, is celebrated along with Holi, artists and teachers. Foreigners are still forbidden to travel the ‘festival of colors,’ in which the dancers spray each freely within Manipur, so it is especially significant that other with colored powder or water. It begins in the Ranganiketan is sharing their culture with outsiders, early evening and continues for eighteen hours. building friendship and understanding. Many of the artists in this group have practiced their art since early Creative Process of the Artist or Culture: childhood and have achieved perfection in their specific The people of Manipur believe that everything field. Some have been raised to the stature of guru is divinely inspired. As a symbol of their humility, (teacher), instructing others in the ancient science of the performers always touch the floor and then Manipuri culture. Dr. T. D. Singh, Director, felt from their forehead before they begin. From an early age, the time he was a child that he wanted to serve this young children commit to an world. He set out to become a doctor so he could help honored and respected people. He holds a Doctorate in Chemistry from the relationship with a specific master University of California at Irvine, yet he made a choice teacher.

to connect people through the language of culture rather CHINA TIBET than science. He felt the powerful pull of his own culture

MANIPUR when, as a sixth grade student, he secretly attended an BANGLADESH Photo: T.D. Singh Foundation INDIA eighteen hour performance of music and dance causing BURMA him to miss his final math exam. Dr. Singh says “I am doing the chemistry of culture.” Bay of Bengal “Manipur is a small dot on this planet, but everyone there is Dr. T. D. Singh born an artist.” Discussion Questions: which communicates pure love and unselfishness, was After the video has been viewed: recreated on earth. Also, several other deities were • What did you notice about the way the musicians carved from the same tree and were installed in parts of Manipur where they are found to this day. and dancers worked together? Was one group more important than the other? Why or why not? Multidisciplinary Options: • At the end of Lai Haraoba the women win the tug • Write a story about a dream you have had. Could you of war; what does this tell you about the culture? find a way to write a story, plan or poem about it? • Haraoba means ‘joyful festivity.’ What movements Audio-Visual Materials: were done which conveyed this feeling? • Artsource® video excerpts and photos: Lai Haraoba, • Describe the costumes worn in Vasanta Rasa Lila. Vasanta Rasa Lila and Dhon Dholak Cholam, courtesy • What feelings and ideas did you have when of Ranganiketan Manipuri Cultural Arts Troupe. watching the Vasanta Rasa Lila dance? • Artsource® audio recording: Morning Has Broken, • Describe the characteristics of the men’s drum courtesy of Paul Tracey; Lyrics: Eleanor Farjeon, (c) dance, Dhon Dholak Cholam. How does their David Higham Associates; [email protected]; movement compare (similarities and differences) to Music: Bunessan (Scottish, traditional). those of the women in Vasanta Rasa Lila? • Lesson 2 illustrations by Devon Tracey. Story of the Vasanta Rasa Lila (Manipuri) Dance: Additional References: Around 1750, there was a king in Manipur named Jai • Doshi, Saryu, ed., Dances of Manipur, The Classical Singh, popularly known as Rajarshi Bhagyachandra Tradition. Marg Publications, Bombay: 1989. Maharaja. It so happened that his maternal uncle Sample Experiences: was plotting to kill him so that he could steal his LEVEL I kingdom. Jai fled to Tekhao (Assam), another • The dances of India incorporate gestures. Think of kingdom, where he took shelter. The King of gestures from the American or other cultures which Tekhao wanted proof that Jai Singh was the show an idea or image. Create gestures for such words rightful king, so he set this task: Jai must subdue as tree, mountain, stream, rain, boat, friend, fish, etc. and ride upon the back of a wild elephant. If he • Learn a song which has gestures as an integral part. could do this, it would prove that he was the rightful Perform the song and gestures together. king and should not be killed. Jai was distraught, * • Select a simple story or poem and make up gestures for the task seemed impossible. The night before and movement which are performed as the story is told. the challenge, Lord Krishna came to him in a LEVEL II vision, telling him not to worry for He would tame * • The dance and music of Manipur are spiritually the elephant and Jai would be triumphant. However, in return for this help, Jai had to promise inspired. Select a song, such as Morning Has Broken, that on his return to Manipur he would build a which praises the creation of daybreak. Listen to it and temple where he would present the Rasa Lila dance communicate the first verse through sign language. in the specific form dictated by Krishna. (The • In partners, create a one-minute conversation using dance was already performed in the world of the only musical sounds and gestures. Repeat, but select a gods.) The elephant was obedient, as ordained, and theme, scene, idea or mood for the improvisation. Jai was reinstated as king - but he neglected his LEVEL III promise. Krishna returned to remind him, • The dance, Lai Haraoba ends with a miming of the instructing him to go into the hills of Keina and game - ‘tug of war.’ Think of other children's games carve the deities from a special jackfruit tree. When which can be explored for their movement ideas. this was done, the Govinda Temple was built and * • Learn and discuss the Lai Haraoba dance and song. the carved deity was installed. Then the Rasa Lila, * Indicates sample lessons 2 DANCE

GESTURES TELL A STORY THE HUMAN FAMILY LEVEL I Sample Lesson

INTRODUCTION:

Dance and music are deeply rooted in Hindu life. In The Wonderful World of Dance, Arnold Haskell states that “Traditional belief says the god Siva set the world in motion with a dance.” Dancing in traditional Hindu societies is an act of worship, not entertainment. Even today, if someone wants to learn the classical dances, he or she must be accepted as a student by a guru (teacher). This requires a complete commitment on the part of both the student and the teacher.

There are four great schools of Hindu dancing, ( Natyam, Kathakali, Kathak and Manipuri); each of these evolved from the mate- rial written in an ancient book called Natya Sastra (the science of danc- ing). It is believed that this book, which was written about the time Christ was born, includes the secrets of dance. Tradition states that these secrets were entrusted to Bharata and came directly from the gods. The book includes positions The god Siva, and movements for each part of the body, dividing it into three parts: limbs, setting the world in which include the head, chest, hips, legs, arms, feet and hands; intermediate motion with a dance parts, which include the neck, shoulders, palms, back, stomach, thighs, ankles, knees, elbows and wrists; and the lesser limbs, which include the eyes, eyebrows, eyelashes, cheeks, nose, lips, teeth, tongue, chin, mouth and jaw.

In addition, the Natya Sastra describes more that 4,000 picture gestures of the hands, which are called ‘mudras.’ These gestures symbolize ideas such as a swimming fish, a flying bird, a lotus flower in bloom, a tree or a breeze and may also describe a mood such as anger, fear, sadness, love or heroism. This lesson is based on twelve examples of combined hand gestures from the Manipuri dance technique and represents their version of the ones described in the Natya Sastra.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Learn twelve traditional hand gestures from the Manipuri dance technique. (Historical and Cultural Context and Artistic Perception)

• Incorporate the twelve hand gestures in the telling of a short story. (Artistic Perception)

• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Aesthetic Valuing)

MATERIALS: Artsource® video of the Ranganiketan Manipuri Cultural Arts Troupe.

3 PROGRESSION:

• Give some background on the dances from Manipur. Explain that gestures help the dancer tell a story through the dance.

• After the video has been viewed, discuss and show any of the hand gestures that the students were able to remember.

• Introduce the twelve combinations of gestures. Demonstrate them, give their corresponding meaning and have the students try them. After they have been introduced, call out the words in English and see if the class can remember the correct gesture.

If you have very young students, only introduce two to four gestures in one session. Older students can learn all twelve or divide into four groups with each group being responsible for remembering three.

• Read or tell the story, “The Boy, the Girl and the Bicycle.” Then read the story again and have the students show the key words with the appropriate hand gestures. The class can perform them as a total group, as small groups or as individuals.

EXTENSIONS:

• As a class, in small groups or as individuals, write an original short story which incorporates six or more of the words and gestures. Share them, performing the gestures as the story is told.

• Select a part of the story and draw a picture of that part with one of the hand gestures being used.

• Divide into small groups and select three of the gestures which are to be woven into a dance study. Have a beginning, middle and an ending.

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Describe your impressions of the dance you saw. Use ‘Discussion Questions’ on page 2 of the unit.

VOCABULARY: gesture

Vasanta Rasa Lila Ranganiketan Manipuri Cultural Arts Troupe Photo: Dr. T. D. Singh

4 THE BOY, THE GIRL AND THE BICYCLE A Story to be told with Traditional Hand Gestures by Paul Tracey

Once upon a time there was a young deaf boy who worked for his father in a repair shop in Manipur, India. One day a girl came in, pushing her bicycle. She greeted the boy (3. Anjali) and realized at once that he could not hear her, so she spoke to him in hand gestures telling him that the wheel (2. Chakra) on her bicycle had been bent when her family car had squeezed (7. Samputa) the bicycle against their garage wall.

“Please,” she said, “ Please, can you mend it? I beg (9. Pushpaputa) you. I have to earn money to buy our dinner with my paper route and I’m anxious (6. Karkata) to get going.”

Now the boy was very shy (11. Swastika) because he had often seen this girl riding past on her bicycle and he was secretly in love (4. Tarkshya) with her.

“Yes,” he said, “I will mend your wheel (2. Chakra), but how will you pay for it without any money? Could you give me the locket you are wearing at your throat (1. Shankha)?”

“Oh, no,” she cried, “That belonged to my grandmother. But I could give you a tame bird (12. Shuka) that I have in a cage at home.”

“Thank you,” said the boy, “I accept (8. Rambhasuma).”

Off ran the girl to fetch the bird (12. Shuka) and the boy began to work with a trembling heart (10. Kokila). The boy’s father, coming out from the shadows of his shop, thought to himself, “I remember when I first met his mother. Aahh, young love (5. Pasha)!”

5

ALPHABET OF MANAPURI HAND GESTURES*

1) ‘Shankha’ 2) ‘Chakra’ 3) ‘Anjali’ shell or throat Wheel Greeting

6) ‘Karkata’ 4) ‘Tarkshya’ 5) ‘Pasha’ Sorrow, anxiety or a hut Eagle or love Quarrel, love, a chain, bondage or betrayed

7) ‘Samputa’ Sorrow, to close something or to squeeze 8) ‘Rambhasuma’ 9) ‘Pushpaputa’ of the temple or to accept graciously To hold flowers or to beg

10) ‘Kokila’ To express a cuckoo or 12) ‘Shuka’ the trembling heart 11) ‘Swastika’ Feeling cold or shy Bird *A sample of combined hand gestures from The Dance in India, by Enakshi Bhavani. D.B.Taraporevala Sons & Co. Pvt. Ltd., 210 Dr. D., Naoroji Road, Bombay 1, India: 1965. 6 DANCE/MUSIC

IN PRAISE OF NATURE THE POWER OF NATURE

LEVEL II Sample Lesson

INTRODUCTION:

The Power of Nature has been a universal theme in every culture throughout time. Many of the classical and folk dances of Manipur, India, are based on stories which celebrate creation and nature. The Lai Haraoba is performed during summer and early monsoon season and the Vasanta Rasa Lila is performed in the spring, making them part of a cycle of celebration.

The concept of a cycle is found in many aspects of nature. A cycle, according to the Oxford Universal Dictionary, is “a series of events or operations that are regularly repeated in the same order.” The song Morning Has Broken, has been selected for this lesson because it celebrates the creation and re-creation of nature as its cycles are repeated.

Signing, the language of the Deaf, will be introduced as a way to express the images in the first and last verses of this song. Both the gestures used in signing and the gestures, or ‘mudras,’ used in Indian dance communicate ideas through hand pictures.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Discuss the concept of a cycle in nature. Vasanta Rasa Lila (Artistic Perception) Ranganiketan Manipuri Cultural Arts Troupe Photo: Dr. T. D. Singh • Express, through dance, a universal sense of wonder and appreciation for the beauty and power of nature. (Creative Expression)

• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Aesthetic Valuing)

MATERIALS: Artsource® audio recording of Morning Has Broken, arranged and sung by Paul Tracey.

PROGRESSION:

• Talk about the power of nature and the cycle of such things as day moving into night, seasons, birth through death, etc. Ask the students to recall specific things they have observed in life which have a ‘cycle.’ 7 • Introduce the song, Morning Has Broken, as an example of a song which praises the creation and continuous re-creation of things in nature. These might include the dawn, things that grow and the songs of birds. Emphasize that the song refers to ideas such as:

“Morning has broken (risen) like the first morning, Blackbird has spoken, like the first bird.”

Discuss what these two ideas might mean.

• Talk briefly about ‘signing’ and its relationship to Indian dance gestures. Show the signs for morning, black and bird.

• morning* •black • bird Hold forefinger and thumb together Draw the forefinger across the forehead

• Play the first verse of the song. Ask your students to do these signs when they hear the words.

FIRST AND LAST VERSE:

MORNING HAS BROKEN, LIKE THE FIRST MORNING. BLACKBIRD HAS SPOKEN, LIKE THE FIRST BIRD. PRAISE TO THEM SINGING. PRAISE TO THE MORNING. PRAISE TO THEM SPRINGING FRESH FROM THE WORD.

• Then introduce the signs for the following: • first (It might be difficult to get the coordination of ‘like’ and • has broken (meaning ‘first.’ It will take some arisen. It will sometimes practice.) Forefinger of be used to show morning one hand touches tip as ‘sunrise.’) The hands of thumb of other quickly shake downwards. hand

• like Place forefingers of both hands together 8

• Do the first two lines of the verse, incorporating all of the above signs. Practice this several times.

• Teach the signs for the next group of words: • singing

• springing • praise One hand is still while Turn one palm Similar to the other up and then clapping makes a the other without the brushing motion hands touching 2 bath and forth 1

• fresh (new) • from

One hand is held still while the other does a scooping motion • the word (meaning a creator)

• Practice the signs several times. (They can be done on either side of the body, just like writing can be either left or right handed.) However, when performing as an ensemble it is easier to select a common side.

• As a group, perform the verse, signing together. Have one half of the class perform while the others watch. Discuss how the ‘signs’ give clarity and additional meaning to the words. Discuss the signs which are causing confusion and clarify them for the students.

• Perform these for each other.

EXTENSIONS:

• In small groups have the students design their own movement or shapes to show the main ideas sung in the second verse. These revolve around the beauty of a garden. Have the groups design complimentary shapes which depict different aspects of a garden, using movement transitions which take them from one idea to the next.

• In the third verse, have the students work either in partners or small groups with a leader, improvising movement and gestures which are done with the ‘mirroring’ technique.

• Design a movement idea to get on and off the performing area.

* Drawings by Devon Tracey based on ones found in The Gallaudet Survival Guide to Signing, by Leonard G. Lane, with illustrations by Jan Skrobisz. Gallaudet University Press, Washington D.C.: 1987. 9 • Put all the verses together in the following suggested way (or design your own ideas):

• Verse I: signing the words.

• Verse II: design group shapes which show aspects of a garden. Create movement transitions between the shapes.

• Verse III: mirroring original movement in pairs or small groups with one leader.

• Verse IV: signing the words (same as the first verse).

• Coda: making a final group design to portray a specific part of nature.

• Select another song of your choice. Research the signs for the words and create a new dance.

• Refer to the Artsource® Theatre Unit, Little Theatre of the Deaf, for additional information.

VOCABULARY: signing, gesture, transition, coda

ASSESSMENT: (Aesthetic Valuing) Assessment questions are embedded throughout the lesson.

Pung Cholam A Drum Dance for a springtime celebration in Manipur Ranganiketan Manipuri Cultural Arts Troupe Photo: Dr. T. D. Singh

10 DANCE/MUSIC

VIEWING DANCE WITH UNDERSTANDING TRANSFORMATION AND ENDURING VALUES

LEVEL III Sample Lesson

INTRODUCTION:

This lesson is all about viewing Manipuri dance with increased knowledge, awareness and understanding. The Manipuri culture is one of the most ancient in the world and still retains beliefs and traditions which are thousands of years old. Someone once said that “One definition of evil is to try to change something which you do not understand.” Many times we view the people, traditions and art of another group in terms of what we know from our own culture. We want them to be more like us rather than appreciating and celebrating the differences. This lesson gives us an opportunity to better understand the Manipuri culture by seeing it through Manipuri eyes. Sometimes we must add another set of eyes to our own to see with more clarity. The basis of Manipuri dance is spiritual and the following descriptions give us a rare opportunity to learn about some of the beliefs underlying the dance movement and music.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Discuss ideas about dance and music as expressions and enduring values of a group of people. (Artistic Perception)

• Discuss their understanding and appreciation for the artwork in the video and what it represents to the people of Manipur. (Historical and Cultural Context and Aesthetic Valuing)

* Assessment is embedded throughout this lesson.

MATERIALS:

• Artsource® video of Lai Haraoba and/or Vasanta Rasa Lilaas dances.

• Descriptions of Lai Haraoba and/or Vasanta Rasa Lila dances.

PROGRESSION:

• Introduce your students to the concept that the dance and music of a cultural group often reflect their beliefs, giving the people ideals for which to strive. In Manipur, it is believed that these dances were created by their gods and goddesses and are shared with people on earth to bring about a greater understanding of life. They are regarded as sacred and must be performed with honor to the gods and goddesses.

• Select one of the dances to view. Present the information in order to prepare your students to observe the selected dance with increased awareness and appreciation. 11 • After the students have been given some background on either dance, show the corresponding video and then have them discuss what they saw. Use the “Discussion Questions” in the Manipuri Unit as points of departure, along with additional topics and ideas of your own.

EXTENSIONS:

• Repeat the same progression of steps with the other dance. Take one idea or concept from the Lai Haraoba dance, such as the part where one brother creates and the other brother destroys what is created. Use this conflict as an improvisational dance study for partners.

• Take the idea of the ‘tug of war’ in the Lai Haraoba dance and use it as an improvisational dance study for several people.

• Choreograph a circle dance which would express the feelings and part of the story of Lai Haraoba or Rasa Lila, creating it in the Manipuri style. Perhaps also incorporate hand gestures from Sample Lesson I.

• Select one of the dances and write your impressions.

• Refer to the Artsource Unit, the American Indian Dance Theatre, Sample Lesson III. Design your own cultural group and choreograph a dance which represents the beliefs and traditions of this mythical culture.

VOCABULARY: have students learn the meaning of these Manipuri words: lai, haraoba, yangkok, vasanta, kunja, sari, gopis, abera (see Manipuri Vocabulary at the end of this Unit)

ASSESSMENT: (Aesthetic Valuing)

Use these questions after viewing either of the two dances.

DESCRIBE: Describe what most impressed you about the dance. Also, describe the costumes.

DISCUSS: Discuss the ideas you have about the culture after viewing the dance and hearing the music. What similarities and differences can you identify between the Manipuri and American cultures.

ANALYZE: (After viewing both dances) Analyze the similarities and differences between the two dances.

CONNECT: Discuss how and why some cultures dance and play music to pray or communicate with the spiritual world. Name some cultures that use dance and music for this purpose. (American Indian, African cultural groups, etc.) 12 The Lai Haraoba Dance A Summary Translation By Dr. T.D. Singh

NOTE: It is important to know that both the Lai Haraoba and Vasanta Rasa Lila dances are much longer than the excerpts shown on The Invocation: the Artsource video, so they will not include all that is described below. pi-thadoi pi-thadoi Lai literally means the old gods and goddesses of Manipur, and thadoi thadoi pi-thadoi Haraoba means ‘festival.’ This Lai Haraoba dance drama is a description of the very ancient festivities of the gods and goddesses. The dance begins with the solemn invocation to the right.

This is the sweet sound of a Manipuri bird whose name is the same as the sound he makes. His sound is part of the invocation, the first part of the dance.

nahalle iya taibang malangpal

Next is a salutation to the Creator who is the source of everything, the master of all directions and the original person.

chingu laio lainingthou

Today, whatever is being offered by The Song your little children in the form of this dance, kindly forgive it if there is some heirangkhoinida chanaba heinida mistake and protect us during this ... dance. numidangwaigina tanjani

The dance starts off with a very deep metaphor which describes the beauty of young girls and the creation of nature. Then it says that it is evening time in the Manipur land and the sun is on the Western horizon. The whole western sky is lit with the beautiful copper colored twilight. There is a beautiful soothing breeze coming from Kouta region of Manipur and at this time the young girls come together and begin to dance. Everyone is filled with great happiness watching them. “But is there any happiness greater than this?” asks the poet. “Yes there is,” he answers, “but do you know what that happiness is?”

manipur sanaleimayol

Next the song describes the beauty of the Manipur valley: it is surrounded on all sides by mountains and is shaped like a big yangkok (a flat bamboo basket used for separating the rice from the husks). It is all dressed in bright fresh green and there is nothing lacking here that can be found anywhere in nature's bounty. She is bestowing all kinds of happiness on everyone.

(Now the dancers hold hands and begin to dance in a circle)

13 kre kre kre mo mo

In the beginning of creation there were two sons of the Creator, Sanamahi and Pakhangba, who became angry with each other. The older brother would create but as soon as his work was done the younger brother would destroy his creations. Seeing this, the Creator sent seven goddesses who sang this song to pacify the brothers and create harmony. They became satisfied and the creation of the universe proceeded to its natural peaceful conclusion. In celebration of this, the gods and goddesses began to engage in a playful tug-of-war.

(The dancers pick up an imaginary rope and begin a tug-of-war).

gods ho haiyo hei ha goddesses ho haiyo hei ha

The gods and goddesses both play at the happy tug-of-war with great strength, but by the blessings of the Creator, the goddesses are the winners.

The End.

Vasanta Rasa Lila Dance A Summary Translation By Dr. T.D. Singh

(In the first of the three movements Sri Krishna comes onto the stage and dances alone. His actions and His beauty are described.)

vasantagi purnima ubada rasa shannage khalle, vasantagi purnima ubada, krishnana nigthiraba ahing uraga sri krishnana vanamala tholladuna a a un un a a un un....

Seeing the beautiful full moon of the Spring (vasanta) night, Sri Krishna is extremely anxious to perform the divine rasa dance. Wearing a garland of forest flowers and holding a bamboo flute in His hand, Sri Krishna has gracefully started toward the dance arena on the bank of the river Yamuna in the land of Vrindabana. His crown is decorated with a peacock feather and is tilted slightly to the left. It is further decorated by being entwined with the name of His most beloved gopi, Srimati Radharani. His charming lotus-like face defeats even the beauty of the moon. His glance enchants the entire universe (jagatpu shumhatpa maithongni) and He is wearing beautiful ornaments.

14 ningthiraba ahing uraga sri krishnana, ningthigna muraba jagoi heiraba krishnana khutta ningthiba murali paiduna kunjada lengbada aa aa aa...

Sri Krishna, whose complexion is a shining black color, is the most masterful dancer. Holding a flute in His hand, He gracefully moves toward the kunja (the dance arena in the forest of Vrindabana). His beautiful jeweled ankle make a captivating sound (runu runu runu jhunu jhunu jhunu) and agitate the hearts of those who hear them. At every step the sound jhan jhan jhan of the mystical ankle bells charms the universe. (In the second of the three movements Srimati Radharani and the gopis ( maids) enter the stage. Sri Krishna welcomes them and suggests that they all dance together).

thabu ngamjabi radha lengakle....

Srimati Radharani who excels even the beauty of the full moon is decorated with a beautiful garland of malati flowers and with other ornaments. Deeply absorbed in devotional thoughts of Sri Krishna She has gracefully started toward the dance arena along with the other gopis.

vrajagi ibemmashing, lakpishi, lakpishi eigi karamba waheina pelhangani, yengu sri vrindabana kayada ningthijariba, hei lei khibikna leika phanna shatkairakli...

When Srimati Radharani along with the gopis arrives at the dance arena, Sri Krishna addresses them: “My dear Gopis of Vraja, welcome, welcome, how may I please you? Look how wonderful Sri Vrindabana is. Various kinds of fragrant flowers are blooming brilliantly. The soothing malaya ( a cool breeze scented with sandalwood) breeze is blowing gently. The full moon night of the spring season is beautiful beyond description. On such a night, let us have a rasa dance.” The young gopis reply, “Sweet Lord, that is what we are always longing for (ibungo nanai eikhoina pamjabasu madutani).”

(In the third and final movement Sri Krishna and the Gopis engage in dancing and subtle exchanges of love and surrender).

mandali mayaida gopiga loinana radha krishna anina rasalila hourakle, shannari sri govindana sakhishinga loinana yamunagi mapanda sri rasa mandalgi mayaida shannari sri govindana...

In the center of the rasa mandal on the bank of the river Yamuna, Sri Sri Radha-Krishna begins the celestial rasa dance along with the gopis. There is pleasing music and the gopi Vishaka plays the mridanga drum (tadrim tadrim). Krishna and the gopis dance with great jubilation. The dance is characterized by swift and intricate footwork as well as by the beautiful sounds of the ankle bells. The music contains seven different levels of voice.

Vrinda devi has supplied abera (red powder) to Sri Krishna and the gopis who then begin throwing the powder on the faces of each other in a joyful play. However, Sri Krishna overpowers all of them. The helpless Srimati Radharani along with the other gopis run in circles trying to protect themselves from the powder by keeping their tender hands in front of their faces.

ngaikho ngaikho chainu abera pangal shonbi nupini khangdara? nipa namannaba nattene ngaikho ngaikho chainu abera.

15 All of a sudden the gopis develop great psychological strength and they rush toward Krishna in unison saying, “Wait, wait, don’t throw the red powder on our faces anymore. Don’t you know that we are not your equals? We know your hidden character. We gopis are all friends of Srimati Radharani and we will do whatever we have to do to protect Her. Today see our strength. Wait, wait, don’t throw the red powder.”

The gopis then charge Sri Krishna while throwing the red powder with great determination. Now Krishna is forced to run in circles, forwards, backwards, sideways, trying to protect Himself. However, He ultimately becomes completely helpless and falls to the ground. Seeing this, the sympathetic and tender hearted Radha appeals to the gopis to stop throwing the powder.

With intense love and devotion, Srimati Radharani then begins to wipe away with Her own sari the red powder and perspiration that smear the beautiful face of Sri Krishna. Seeing this divine scene, the gopis feel their ultimate desires fulfilled and with extreme devotion and ecstatic feelings they offer arati (a greeting ceremony) to the Divine Couple, Sri Sri Radha-Krishna with ghee (butter oil) lamp and yak tail fan while singing the choicest prayers.

Thus, Srimati Radharani and the most fortunate gopis enjoy the Divine Rasa dance with their most beloved Sri Krishna.

The End

Dance descriptions courtesy of Dr. T.D.Singh. 16

FACTS ABOUT MANIPUR AND RANGANIKETAN

MUSIC: Manipuri singing has a unique flavor and quality which differentiates it from any other related art. In folk songs, in the (devotional songs) and in the dramatic dance Vasanta Rasa Lila, the peculiar genius of Manipuri vocal methods is strikingly demonstrated. The singing shows a curious meeting of West and East. While having aspects in common with India and Far Eastern countries, the vocal methods and techniques are actually far more closely connected with European operatic styles. In general, the nasal wail associated with the Far East, the hoarseness of Indian singing, and the bellowing of the Western opera are minimized in Manipur, and the best of each style manifests itself in their singing.

The Manipuri voice is basically true and clear without being too thin or non-resonant. To this the Manipuri adds a peculiar vibrancy, often taking the form of rapid trills, not in half tones only, but quarter tones and in wider intervals (the effect is sometimes akin to yodeling). The men use falsetto freely and the range of voice is normally over three octaves. Most of the songs are high pitched, and have tortuous melodic lines. The curves and twists of the tunes sung in perfect pitch and flawless unison by fifty voices are woven against the sometimes clanging, sometimes whirring and swishing accompaniment of the kartal cymbal-bells. Into this, an emotional element is injected. At climatic moments the singing is ‘a capella’ and its staccato punctuations pierce the hush of the silent drums and kartals (large cymbals). High tones are sustained for long periods and their tremolos heighten the tension.

DANCE: Manipur’s two most celebrated distinctions are the game of polo and the classical dance Vasanta Rasa Lila. Polo originated there and is played today throughout the civilized world. Vasanta Rasa Lila is a dance believed to be spiritually endowed to Jai Singh Bhagyachandra Maharaja (King) by Lord Krishna. This dance has not been altered in any way, including costumes, since it was recreated in the mid-18th century. The dances of Manipur are closely Vasanta Rasa Lila related in style and feeling to the Far Eastern dance styles of Burma. Ranganiketan Manipuri Cultural Arts Troupe Photo: Dr. T. D. Singh In India, the dancers commit themselves to a way of living and a complete dedication to the art and the corresponding philosophy of life. Students have profound respect for the guru and trust that everything that is taught will lead to the fulfillment of the true art. There is a customary initiation ceremony which binds the pupil and master (by a thread tied around their wrists, symbolizing the slender thread of mutual trust).* The guru, or teacher, is believed to be the incarnation of wisdom and is the major force behind the dance preservation and development. (Early American modern dance was taught in a similar way, from master artist/teacher to devoted students, but without the ritual thread.)

Women play an important role in all aspects of Manipuri life. They are given the roles of drummers and participate in the martial arts in equal status with men. This is usually not seen in other parts of India.**

* Information is paraphrased from Walter Sorell, The Dance of the Ages, p. 56. ** Most of this information is drawn from the materials of Ranganiketan Manipuri Cultural Arts Troupe. 17

MANIPURI GLOSSARY OF TERMS

ABERA: over Manipur and predates the predominance of Red powder. the Bhagavata culture in Manipur.

ARATI: MALAYA: A greeting ceremony. A cool breeze from Malaya hills scented with sandalwood. GHEE: Butter oil, often used in lamps. MANIPUR: Literally Mani means jewels and Pur means land. GOPIS: Hence, Manipur means “the land of jewels.” Milkmaids. MUDRAS: GOVINDA: Hand gestures which show specific images in Translates to ‘cowherd.’ One of the names given to classical Indian dance. Krishna, referring to his occupation as a youth. PUNG: HARAOBA: The two-headed drum played while dancing. Festival. RADHA: GURU: The most devoted milk-maid, girl friend of Literally meaning “heavy” but usually referring to a Krishna (Sri Govinda). She is celebrated for her teacher who is supposed to be one who is heavy selfless devotion and love and many exemplary with knowledge. feminine qualities.

HOLI: RASA LILA: Festival of colors. Lila means “pastimes” and the word rasa, although difficult to translate into English, can be variously KARTALA: rendered as ‘mellow’ or ‘flavor.’ Rasa Lila especially Carefully cast brass hand cymbals about two to six refers to the pastimes of Sri Krishna in dancing inches in diameter. alone in the company of the many young, beautiful girls in the Vrindavana forest. KIRTANS: Devotional songs. SARI: A length of cotton or silk cloth draped round the KRISHNA: body, worn as the main garment by Hindu women. Revered by all Hindus, as he is also described in the Indian scriptures, as the original personality of SRI: Godhead and the source of everything. In language a word meaning the goddess of fortune and used as a form of respected address KUNJA: similar to our Western word ‘Mr.’ The dance arena in the forest of Vrindabana. VASANTA: LAI HARAOBA: Spring. Literally Lai means gods and goddesses and Haraoba means a festival. It is a very popular YANGKOK: ancient Manipuri dance festival that is enacted all A flat bamboo basket used for separating the rice from the husks. 18

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Introduction

ARTSOURCE®: THE MUSIC CENTER’S STUDY GUIDE TO THE PERFORMING ARTS

Artsource® highlights works of art and artists of stature from diverse cultures. It represents early to contemporary art forms in the disciplines of dance, music and theatre and complements the programs and performances of the Music Center’s resident companies and artist roster.

The arts are ancient, enduring and universal forms of communication. Artists present their perceptions, reflections, and points of view which influence, and are influenced by, the culture and period of time in which they exist. Artsource ® Contributors

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Writers: Dance Susan Cambigue-Tracey Diana Cummins, Carole Valleskey, Madeleine Dahm, Deborah Greenfield, Barbara Leonard, Melinda Williams

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