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ANNALS of ART, CULTURE & HUMANITIES Spiritual Dance S.R.S.D. Memorial Shiksha Shodh Sansthan, Agra, India ANNALS OF ART, CULTURE & HUMANITIES A Peer Reviewed Refereed Research Journal ONLINE ISSN-2455-5843 Volume I, Issue I, February 2016, pp. 27-31 www.srsshodhsansthan.org Spiritual Dance (Raslila) of Brij Culture Dr. Rashmi Sharma Assistant Professor Drawing & Painting Department K.R. Girls Degree College Mathura, U.P. The Raas-lila or Rasa dance is a part of the traditional story of Krishna described in Hindu scriptures such as the Bhagwata Purana and literature such as the Gita Govinda, where he dances with Radha and her sakhis. The Indian classical dance of Kathak evolved from the “Raslila of Brij and Manipuri Classical Dance” (Vrindavan) also known as “Natwari Nritya”, which was revived in 1960s by Kathak dancer, Uma Sharma.The term, rasa means “aesthetics” and lila means “act”, “play” or “dance” is a concept from Hinduism, which roughly translates to “play (lila) of aesthetic (rasa)”, or more broadly as “Dance of Divine Love”. The Rasa- Lila takes place in night when the gopis of Vrindavan, upon hearing the sound of Krishna‟s Flute, sneak away from their household with families to the forest to dance with Krishna throughout the night, which Krishna Supernaturally stretches to the length of one Night of Brahma, a Hindu unit of time lasting approximately 4.32 billion years. In the Krishna Bhakti traditions, the Raas-lila is considered to be one of the highest and more esoteric of Krishna‟s pastimes. In these traditions romantic love between human being in the material world seen as merely a diminished, illusionary reflection on the soul‟s original, ecstatic spiritual love for Krishna, the God, in the spiritual world. In the Bhagwat Purana it is stated that whoever faithfully hears or describes theRasa lila attains Krishna‟s pure loving devotion (suddha bhakti). Just as a child play at its own will with its reflection in a mirror, even so with the help of His Yogmaya Bhagwan Shri Krishna sported with the gopis, who were like many shadows of His own form. AACH, Vol. I, Issue I, February 2016 ONLINE ISSN-2455-5843 Rasalila has been a popular theme in Bharatanayam.Oddissi, Manipuri and Kuchipudi dances.Rasalila is a popular form of Folk theatre in the regions of Mathura,Vrindavan in Uttar Pradesh,especially during the festivals of Krishna Janmashtami and Holi and amongst various followers of Gaudiya Vaishnavism in the region.Raaslila (Raax lila) is also observed as one of the national festivals of assam.During Raaslila ,several thousand of devotees visit the holi temples and Jatras of Assam every year. In the tradition of Vaishnavism of Manipur,Rasalila is depicted within classic Manipuri dance, and revolves around the same story of the love between Krishna and the cowherd girls and tell the divine love story of Krishna,Svayam Bhagwan and Radha,his divine beloved .This form of dance was started by Bhagya Chandra in 1779 and in some part of India is still performed every year on Krishna Janmashtmi ( The festival to celebrate Krishna‟birthday).According to different tradition, the Rasalila is performed either by Boys and Girls or by Girls only. The dance is performed holding dandi (Plural of danda) or sticks and is often accompanied with Folk songs and devotional music. The traditional Rasa-Lila performance in Vrindavan is famous throughout the Vaisanva world as an experience of the Spiritual world. Rasa-Lila performance was started by Swami Sri Uddhavaghamanda Devacharya in the early 15th century CE at Vamshivata in Vrindavan, Mathura. He was a prominent Saint of the Nimbarka Sampradaya, and disciple of the world- renowned Swami Sri Harivyasa Devacharya. The Vani literature of Braj is the transcription of the songs that were heard by Swami Harivyasa Devacharya and his Guru, Swami Shri Shribhatta as they meditated on the Nitya-Lila of Shri Radha-Krishna.These songs describe the eternal spiritual abode of Shri Radha-Krishna, The Sakhis and Nitya Vrindavan Dham or Nikunja Dham. As many new devotees of that time could not understand the Brij-language, Swami Uddavaghamanda devacharya trained his Bhahmchari students to play the part that appeared in the songs in order to get a visual representation of the Lila that was being described. Many were sceptical of this, and attempted to thwart the first enactment. However, at the conclusion of the first Rasa-Lila, tradition has it, the Lord himself appeared and gave the Actor his own crown, and decreed that whenever a qualified actor was to take the part of the Lord, from the moment he put Spiritual Dance (Raslila) of Brij Culture 28 | P a g e AACH, Vol. I, Issue I, February 2016 ONLINE ISSN-2455-5843 the crown on his head, it should be understood that he represents the Lila potency of God ,and treated with due respect.shri Radha and Krishna shall be known as Shri Radha-Rasabihari. Since then, the traditional form has remained that actors who are young brahmacharis will join a group led by the Swami of that group. The music remains the typical Dhrupada style of the Brij-acharyas who penned the songs they heard to the accompaniment of Sitar and pakhawaj and the songs are sung in Brij language parent to modern Hindi. Recently many people have taken advantage of the religious sentiments and have begun plagiarising this ancient art, and for popularity changing the music to popular music, yet there are a dedicated few who seek to preserve the traditional form of devotional art as Rasa-Lila. Nowadays, Rasa-Lila is performed in a group by a Mandela or a ring with the accompaniment of songs ( Bhajans) that are relating to Krishna legends and the music of Drums. With these Cymbals and Flutes are also used. Many steps of this dance are of complex pattern and even some are similar with those of the Kathak,a classical dance. The specialty of Lila dance is characterized by the fact that they are performed as per the pure Nrittya sequences and quick footwork movements. With it spinning, acting, pirouetting, stamping of the foot, supples arm movements and mimicry with music is generated through and instrumental at the same time.Permormed with Radha, Krishana and Gopies, the actor-dancers gives expression of the various moods and sentiments by gestures, acting and mime. Their bodies move freely and gracefully bending forward and backwards and sidewise at a time of dancing. As their bodies more flexible comparing to others, only young boys are seen mostly in its participation. At the begening, all participants from a single file open circle and then they close it with holding one another‟s hand and perform the dance in group, solo, or as a duet. It is said that Rasa-Lila dance form in its present form and appearance is ascribed to Swami Haridas and shri Narayan bhatt.In some parts, only young Brahmin boys of are 13 to 14 years are seen to perform the Raas-Lila.But the charming childhood pranks of Shri Krishna is remains the central theme of those dramas throughout its performance. The gopis are considered to be Sati. The word Sati is used to represent a chaste married woman but sayana in his commentary of the Taittriya Aranyaka explains that the word “Sati” refers to “realized souls”. Krishna plays the Flute to call the Gopis.The flute is given the status of Spiritual Dance (Raslila) of Brij Culture 29 | P a g e AACH, Vol. I, Issue I, February 2016 ONLINE ISSN-2455-5843 a teacher,Acharya.The music is knowledge which is “Brahma-Vidhya.The music flowing from the Flute awakens the thirst for spiritual knowledge in the gopis.This also shows us that we can only learn Brahma-Vidhya through an Acharya. Krishna prefer to use an Acharya as an intermediary to teach us Brahma-Vidhya.Once Brahma-Vidya is awakened, The Gopis abandon their husband to reach Krishna. The husband represents our selfish materialistic desire. True knowledge kills these selfish desires. The Gopis want only that which is true and approach Krishna. The Raasa dance takes place in circle. The Gopies represent the jeeva atma.There is one Krishna in the middle surrounded by the gopies.Not only is the Krishna in the middle but he also appears as a partner for each and every gopi.There are as many Krishna as there are gopeis.The Krishna in the middle represents ”Parmatma” in his absolute form and the Krishna dancing with each and every gopi represents her „Antaryami form” which exist as our soul and which is always with us, Thus the entire Raasa dance represents “The Vishwaroopa Swaroopa of God”; He exist as Antaryami (Soul of every soul) as well as absolute God head. The Raasa dance is performed with the gopies who are Women. This represent that all Jeeva atmas are Feminine. The only male in this entire universe is Paramatma Shri Krishna known as “Para Purush”or the Great purusha.The Rasa dance shows us one of the nine relationship, we share with Paramatma which is that of Husband and a wife. He is our Husband. This relationship is a Spiritual relationship and differs from the type of spousal relationship, we are familiar to. The Gopis encircling Krishna on either side represent student and Krishna is the Object of Knowledge sought by them. If we look at the two Krishnas encircling a Gopi then we see the student in the middle. Knowledge gains importance only when there are students to learn. The two Krishna encircling a Gopi show us the importance of the student or the Jeeva atma.The two Gopis encircling a Krishna show us the Supremacy of the knowledge or Paramatma.
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