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Govind P. Shinde G. P. Patankar Alka Darshan Shrivastava Bharati Vidyapeeth School of Distance S. D. M. Degree College, Honavar, Karnataka Shaskiya Snatkottar Mahavidyalaya, Dhar Education Center, Navi Mumbai Maj. S. Bakhtiar Choudhary Rahul Shriram Sudke Chakane Sanjay Director,Hyderabad AP India. Ahilya Vishwavidyalaya, Indore Arts, Science & Commerce College, Indapur, Pune S.Parvathi Devi S.KANNAN Ph.D.-University of Allahabad Annamalai University,TN Awadhesh Kumar Shirotriya Secretary,Play India Play,Meerut(U.P.) Sonal Singh, Satish Kumar Kalhotra Vikram University, Ujjain Maulana Azad National Urdu University

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RAS DANCE: A DISTINCTIVE FIGURE OF

L. Anupama Singha

Asst. Professor , Dept. of History, Cachar College, Silchar, .

Abstract:-Dance is the primitive forms of art and art is the appearance of man’s highest aesthetic sensibilities. It enables man to perform and expressive enigmatic creative joy which represents universal synchronization. So from the ancient period dance took the structure of a society. During earliest culture people danced generally when they want to express their feelings viz, they felt happy, or when there was a banquet or there was a gigantic competition. Afterward dance became a component of life and apart from contentment; other forms of emotions were also articulated through dance. Therefore from the earliest period dance became the medium of expression. When a fastidious society became spiritual minded, dance became a medium of expressing religious sentiments.

Keywords:dance, primitive, aesthetic, gigantic, spiritual.

INTRODUCTION Manipur, a small hilly state lies in the extreme north-eastern corner of India. The earlier name of Manipur was Meiteileipak or the land of Meiteis and Kangleipak or royal land etc, but Manipur was a Sanskritzed name which was introduced during the reign of King Garibniwaz when the Meiteis embraced as a state religion in the 18th century. Broadly speaking the people of Manipur divided into two groups viz; those settled in the valleys and those who were settled on hills. Manipur is prosperous for cultural heritage viz, the world well known Ras dance and polo. The most important feature of Manipuri dance is the close alliance of religion with music and dance. The distinctive approach to culture is best seen in the fact that dances is religious and its aim, a spiritual practice, development of music and dance in religious festivals and daily activities of lives. The development of Manipuri dances classify into two forms viz, dance in the Pre-Vaishnavite forms and the Vaishnavite forms. In the Pre-Vaishnavite form of Lai-Haraoba (pleasing or rejoicing of Gods ) festivals, a type of ancestor cum sylvan gods and goddesses worship and lasting normally up to 10 days with the Maibas and Maibis (priest and priestesses) are the main performers. In this festival music, dance, sports and games are performed and countless villagers were also participated in it. But in the Vaishnavite phase, many Hindu festivals like , Ratha-Yatra, Jhulon-Yatra, Janmasthami and began to develop in Manipur. The famous Ras dance developed principally in the vaishnavite phase. But these two types of dances were allied with spiritual ground and reciprocally involve each other. The introduction of a new form of dance, Ras dance usually consequent from the traditional ritualistic dance form called Lai Haraoba. However, these two forms of dance were performed before the ruling deities with strict modesty and surrender. The famous Ras dance represents the extreme flowering of the Vaishnava faith and constitutes a unique contribution to Indian culture. Gangumei Kabui quoted that, the Manipuri’s worshipped God through dance and music in their traditional religion. The history of Manipur from the beginning, dance, music, and religion were inseparably interlinked. Dance and music

L. Anupama Singha,“ RAS DANCE: A DISTINCTIVE FIGURE OF MANIPUR ” Indian Streams Research Journal | Volume 4 | Issue 9 | Oct 2014 | Online & Print

1 .Ras Dance: A Distinctive Figure Of Manipur formed inevitable parts of religious festivals and the development of all dances and their musical aspect was thus through the religious festivals. Manipuri dance is purely religious and its aim is a spiritual experience. The Manipuri’s became the followers of dance and music and their emotions were expressed through dance from the earliest period. Dance is not only a medium of worship and enjoyment but also a door to attain salvation. So, the dances of Manipur became a part and parcel of Manipuri culture. The dance of Manipur became better known to outside region through the efforts of Rabindranath Tagore. He was a great patron of the Manipuri dance. He quoted, “All traditional structure of art must have a sufficient degree of elasticity to allow it to respond to various impulses of life, delicate or virile: to grow with its growth, to dance with its rhythm”. A tradition is always to be examined and it would develop it’s potentially and expose its own sense of poetry and music. Therefore, from the primitive period, dance became the earliest art of human being, when they did not know about how to sing or draw, they used to express their feelings through body movements. Their appearance like joy, sorrow, love, hatred communicates in the form of rhythmic movements of the body. This is called dance. Due to the gradual growth of civilization, the feelings of human mind became advanced and their dance became a major art in the society. The primary materialization of the innermost energy is found in dance which expresses the apprehension of truth and beauty.

ORIGIN OF RAS DANCE IN MANIPUR: The world famous Ras dance of Manipur had its origin in the conception and creative genius of king Bhagyachandra. Afterward, this dance form subsequently found a position in the six schools of . The Manipuri dance is very much distinct from other Indian dance forms. However the Manipuri dances whether folk, classical or modern is devotional in nature. The dances of Manipur have a high artistic and aesthetic value. When the Manipuris adopted Vaishnavism as a dominant religion under the royal support, then gradually the figure of Ras dance was developed in Manipur. In the 18th century, Manipur witnessed the arrival of three distinct forms of Vaishnavism, namely Nimbark School, Ramanandi School and Chaitanya School popularly known as Goudiya Vaishnavism. These three schools were entered in different phases but the school of Chaityana can able to grasp the other forms. The School of Chaitanya originated in Bengal and it was this school which was intended to become dominant in Manipur during the period of king Bheigyachandra. Manipur in the 18th century, primarily during the period of king Bheigyachandra (1759-1798) is called the golden age in Manipur history. When king Bheigyachandra adopted Gaudiya Vaishnavism as a state religion, then its popularity extends to all over his kingdom. Owing to the gradual expansion of Goudiya Vaishnavism, - cult became the dominant form of religion in Manipur. The idol worship became popularity with the growth of Vaishnavism in Manipur and the extension of Vaishnavism provided an impetus to the construction of many temples. Separate temples of Lord Krishna were begun to construct during Bheigyachandra’s reign and temples were placed as a center of sanctum. Some of the temples are mention here, constructed during the reign of king Bheigyachandra-

ŸShri Shri Vijay Govinda –This temple was carved in the year 1776 A.D.and located at Sagolband. ŸShri Shri Govinda –Govindaji temple is located in Manipur palace complex and statue was carved in the year 1776 A.D. ŸShri Shri Gopinath –Located at Ningthoukhong (Bishenpur) and carved in the year 1776 A.D. ŸShri Shri Madan Mohan- Carved in the year 1776 A.D and worshipped at two places first at Uripok Panchai Maning and now at Oinam Thingal Singjamei. ŸShri Shri Nityananda -Located at Khwai Lalambung now at Rims Road, Nagamapal west and carved in the year 1794 A.D. ŸShri Shri Abdeitya Prabhu – Carved in the year 1798 A.D. and located at Lamangdong of Bishnupur Dist.

King Bheigyachandra added pioneering extent of conformity to the new religion to draw the curiosity of the general public. When the king dedicated himself to the new religion, his subjects also took to it and it was the main motive for the expansion of compact root of the religion in the state. However the culture of devotion for Krishna turned to a more specific design especially during the reign of king Bheigyachandra. A new stimulation was given to the artistic culture and tradition of Manipur during his reign. Consequently from the 18th century onwards, the Manipuri culture was

Indian Streams Research Journal | Volume 4 | Issue 9 | Oct 2014 2 .Ras Dance: A Distinctive Figure Of Manipur totally converted into a Vaishnava culture. Consequently, the Bheigyachandra’s reign in certainty witnessed as an era of religious transformation and cultural synthesis. Manipuri dance and music also felt the impact of Vaishnavism. The contribution of the Manipuri vaishnavas to music and dance through and Ras are widely recognized. When the entire state adopted Gaudiya Vaishnavism as the official religion, Nata Sankirtana and Ras-leela became the basic medium of communication. The striking Ras dance develops under the patronage of king Bheigyachandra. The first Ras dance, Maharas was dedicated to Shri Govindaji at a Ras mandal at Langthabal (now Canchipur) on Mera Purnima (full moon day of sept-oct) and introduced it to the public (devotees) at his palace Canchipur (Langthabal) in 1779, as a part of the 5-day performance, the chief queen and other members of the royal family took part in this dance. Princes Vimbabati, daughter of king Bheigyachandra performed the role of Radha. Afterward, she dedicated her whole life as a devotee of lord Krishna. The Ras dance had its origin in the revelation of king Bheigyachandra. The Ras dance which is the embodiment of classical Manipuri dance expresses the inspirational and transcendental love of Krishna and Radha and the gopis devotion to the lord Krishna. Dance is a meditation or a kind of devotion to God. It draws people towards a realm of . It envelops the spectators with a spiritual vibe with its harmonious and graceful movements. Generally, Ras dance is performed in an enclosed space in front of the temple throughout the night and watched with a deep sense of dedication by the devotees of lord Krishna. The rhythmic movements of the participants are restrained and attractive with exquisite customs created a giant impact on devotees. The world famous Ras-leela depicts the story of Shri Krishna’s divine love sports with the Gopis of Vrindavan. The King introduced the different form of Ras dance in the practice of devotion and art marvelously blended under his own supervision and gave different forms with diverse names.

DIFFERENT CATEGORIES OF RAS There are five different forms of Ras dance develop in Manipur, namely Maharas, Kunjaras, Basantaras, Nityaras and Divaras. The Maharas, Kunjaras and Basantaras were formed during the reign of King Bheigyachandra and Nityaras was introduced during the reign of Chandrakirti, but the compact form was developed during the reign of Churachand Maharaja and the Divaras was also produced during the period of Churachand Maharaja. Consequently, the tradition of Ras dance grew from strength to strength in the hands of succeeding rulers. The following are the different forms of Ras dances performed in specific season and on specific days.

ŸMaharas- Played on the full moon day of the month of Kartik (October-November) at the premises of Shri Shri Vijay Govindaji. In this dance form Bhangi Pareng Achouba (Sambhog) and Vrindavan Pareng (Vrindavan Varnan) are performed. ŸKunjaras- Played on the full moon day of the month of Ashwin (Sept-Oct) of the premises of Shri Shri Govindaji and Vijay Govindaji. In this dance only the Bhangi Pareng Achouba (Sambhog) is performed. ŸBasantaras- Played only on the full moon day of Chaitra (April) at the premises of Shri Shri Govindaji. Bhangi Pareng Achouba (Sambhog) and Khurumba Pareng (Jugal Prarthana) are performed in this form of dance. ŸNityaras – Played in every month of the year except the month Mera or Sharad season and the month Sajibu of Basanta season. Bhangi Pareng Achouba (Sambhog), Vrindavan Pareng (Vrindavan Varnan) and Khurumba Pareng (Jugal Prarthana) are performed in this dance form. ŸDivaras – Can be played on any auspicious day through out the year during day time. It is specially played during the month of spring season. Only the Bhangi Pareng Achouba (Sambhog) is performed.

In the Ras dance, Bhangi Pareng Achouba is obligatory and kept frequently to be a customary rule of the classical dance and the composition remains as a similar since its commencement. The central appearance and philosophy of the Bhangi pareng is solely to develop a divine figure of lord Krishna to draw up a religious compulsion towards the Tribhanga and exceedingly form as a Lord. Whereas in performing the Ras dance, the image of the statue of lord Krishna is to be placed at the Ras mandal. According to Indian tradition, dance is a dedication, an offering and prayer. The dancer dissolves his/her individuality in rhythm and music and makes the body an instrument. The Ras dance

Indian Streams Research Journal | Volume 4 | Issue 9 | Oct 2014 3 .Ras Dance: A Distinctive Figure Of Manipur is expressive and have exceedingly elegant and graceful movements coupled with light and soft steps in which the heels practically never touches the ground. This highly stylized form of dance has sublimity, fragility and fascination. The movements are very grandeur and beautiful and the Mudra’s or hand movements in Manipuri dance are quite different from other classical dance forms. The distinctive feature of Manipuri dance is that it constantly encircled by the expression of request, prayer, surrender and gesture. The expressions of the face plow faintly downwards in a humble position are always seen in the beginning and at the end of the Manipuri dance. These modest movements and attitude are considered to be the most important because the Manipuri dances are performed only for the conciliation of the Almighty God.

COSTUME OF RAS DANCE Manipuri dance is essentially a group affair, a theatrical tradition with various characters playing their roles in a dance viz, Krishna, Radha and the Gopis.The affluence of the costumes gives luster to the beauty of art. Krishna wears a Golden colored dhoti; Radha wears green colored Potloi (skirt embroidered with many designs and mirror work) and the Gopis wear red colored Potloi. The costume of Manipuri dance is very colorful and attractive. The list of costumes and ornaments used in the Ras dance are mention here-

ŸPotloi : The female dancers Radha and the Gopis wear this Potloi. ŸKoknaam : A gauze at overhead, marked with silver jari. ŸMaikhumbi : A transparent and thin cloak thrown over the head. ŸKumin : A bright colored velvet skirt ornamented with miniature mirrors with rich embroidery. ŸPasuan : A short panache of silver gauze over the kumin, silver worked and edged with rich border so that it falls in graceful folds. ŸKoktumbi : A cap covering the head with narrowing end. Ÿ Thabaret : A griddle round the waist. ŸKhangoi : A small rectangular belt over the Pasuan. ŸLeitreng : A golden ring, use as a decoration of head. ŸChura : Made of peacock feathers, wired on top of the head. ŸPheijom : Krishna wears a Dhoti or Pheijom, especially of golden coloured. ŸKhaongji : Ornaments worn on the foot.

INSTRUMENTS OF RAS DANCE Manipuri dance is distinctive among the classical dances of India and the instruments are also a part and parcel of the dance. The instruments took an important feature in ritual character, an obligatory part of all social and devotional ceremonies in Manipur, the instrument itself becoming an object of admiration. The following are the main instruments generally used in Ras dance -

ŸConch Shell : The Conch Shell used to play at the beginning. The sound of Conch Shell signifies the readiness for start the program. ŸMeitai Pung (mridanga or drum): This instrument is of two types, Ariba- pung (Old type) and Anouba pung (New type). But both of them were used in the Nata Sankirtana and classical dance. ŸFlute : From the earliest period flute has been in use as a musical instrument in Manipur. This instrument was considered to be played through wind from the mouth and it was made from hollow bamboo. ŸPena : A string instrument which is played by fiddling. This is also one of the chief musical instrument used in Manipuri dances from the traditional period. ŸEsraj : This instrument was introduced during the reign of Churachand Maharaj, used in different oriental dance forms. ŸMandila : This instrument was made from the alloy of copper, bronze and silver and has a fairer sound. This instrument is generally began to use during the period of king Bheigyachandra, and commonly used by the female artists and the male artist used Kartal similar to Mandila. But a little different in nature and size.

Indian Streams Research Journal | Volume 4 | Issue 9 | Oct 2014 4 .Ras Dance: A Distinctive Figure Of Manipur

CONCLUSION Ras dance is the supreme product of Manipuri culture. Manipur in the 18th century, during Bheigyachandra’s period not only saw the emergence of a new form of religion but also the creation of a new form of dance and music. Subsequently, all these development are the products and extension of Hindu culture in the valley of Manipur. Dance is the expression and an aesthetic experience through rhythmic body movements by cognizant and structured manipulation. Manipuri Ras dance is generally based on the devotion to god. It represents field of spiritual realization on which only the bhaktas of a high order can grasp. It presents a vision of liberation and pleasure which every human soul seeks to make life praiseworthy and meaningful. The costumes and the style of dance (body movement) used in the Ras dance of Manipur are totally different from other Indian classical dance forms and existed predominantly in a small state Manipur. Consequently, this is an inimitable gift of Manipur to the Cultural heritage of India. The religion and cultural integration of Manipur began in the period of king Garibniwaz and consolidated during the reign of king Bheigyachandra. Manipuri culture presents a remarkable synthesis of aesthetic and ethical aspects. The aesthetic culture admits of dance and music which is well known all over the world.

NOTES AND REFERENCES 1.Ghosh, G.K, and Ghosh, Shukla, Women of Manipur, 1997, APH Publishing Corporation, Delhi. 2. Singh, E. Nilakanta, Fragments of Manipuri Culture, 1993, Omsons publication, Delhi. 3. Ibid. 4. Singh,. M. Kirti, Religion and Culture of Manipur, 1988, Manas publication Delhi. 5. Kabui, Gangumei, History of Manipur, vol-I, (Pre-colonial period), 1991, National publishing House, Delhi. 6. Singh, L. Ibungohal, Introduction to Manipur, 1963, Imphal. 7. Singh, E. Nilkanta. 8. Ibochaoba, Haobam, Shri Shri Govinda Ras Leela, 2010, Imphal. 9. Singh, G.P, in Manipur, 2012, Gyan publishing House, Delhi. 10. Singh, E. Nilkanta. 11. Ibochauba, Haobam, The Pre World War-II form of Ras Leela, 2009, Imphal. 12. Ibid. 13.Ibid. 14. Devi, Jamini, Shija Laioibi Amasung Maharas, 2005, Imphal. 15.Ibid. 16. Ibochauba, Haobam, op.cit. 17. Devi, Jamini, op.cit. 18. Ibochauba, Haobam, Shri Shri Govinda Ras Leela, op.cit. 19. Ibochauba, Haobam, The Pre World War-II form of Ras Leela, op.cit. 20. Singha, E.Nilkanta, op.cit. 21. Devi, Jamini, op.cit. 22. Ibochauba, Haobam, op.cit. 23. Devi, Jamini, op.cit. 24. Devi, kh, Sarojini (ed) Manipuri Jagoi Seminargi Neinakhiba Mashak, 1971, Proceedings on the seminar of Manipuri Dance, Manipur State Kala Academy, Imphal. 25. Ibochaoba, Haobam, The Pre World War-II form of Ras Leela, op.cit.

L. Anupama Singha Asst. Professor , Dept. of History, Cachar College, Silchar, Assam.

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