Manipuri classical dance stands out markedly in the multiplicity of Indian classical dances for its special features derived from the inter mixing of the diverse people of the area. The other classical dances of India, which traveled from temple to stage, experienced modifications with the shift of the arena. Gradually the temple premise i.e. the place of origin lost its magnitude. The current stage presentations are the only identity of those dance forms.
But in Manipur the classical dance is still presented as a temple performance and follows all the detailed rituals as was done at its origin. The reason behind the continuity till date of this tradition is the participation of the community. Never was dance in particular extracted from the social festivity or ritualistic practices and projected in individual capacity. The duty of the principal dancer is to lead a group of dancers to the place of performance and guide the ritual with their involvement in them.
A Manipuri dance recital on the childhood pranks of Lord Krishna. Inspired from the Udakhal rasa and the Gosthalila of Manipur. It has 3 scenes- the first scene depicts the stealing of buttermilk (Nanichuri) by Sri Krishna, Balaram and their friends; the second scene is set at Nadalaya i.e. the home of Yasoda and Nanda- Krishna's foster parents. The cowherd friends come and request Yasoda to allow Krishna and Balaram to join them to go to the meadows for grazing the cows. Though, initially reluctant, Yasoda dresses up Krishna and finally allows them him to accompany them. The final scene depicts the grazing of the cows, the ball game among the children among the children and finally encounter with the snake demon- Kaliya by Krishna.
This production is based on the Vaishnava verses of Bhanusingha (Bhanusingher Padavali by Rabindranath Tagore) and Jaideva (Geeta Govinda). Both these writings have many common features though the literature period has a long gap between the two- 15th century and 20th century. Set to the Vasanta Ritu (The Season of Spring), the theme is around the love-play of Krishna and Radha. Beautiful descriptions of spring are a special attraction in these writings. The mental dilemma of Radha while longing for Krishna is expressed in many ways in the lyrics. Manipuri dance evolved around the Vaishnava philosophy. Hence this form provides a perfect setting for the expression of these lyrics. An underlying story is woven borrowing lyrics from both the writings thus evolving the production into a Manipuri dance drama.
This rasa is a regular performance in the season of spring in Manipur. This is performed in the temple premises but it is re-choreographed for the stage often by the dance artists. The Rasa starts with Krishna going to meet Radha and a description of the Vrindavana during the spring is sung as the accompanying song. When he meets Radha and other Gopis they dance happily and start playing with color (abir). Krishna gets attracted to another Gopi called Chandraboli. Radha gets jealous and leaves the Rasamandapa. Later she is consoled by Krishna with the famous astapadi “dehi padapallavamudaram”.
The production is inspired from the simple story of the love-play of Krishna. The supreme devotee Radha ventures to meet Krishna but her friend comes and tells her about the sport of Krishna with the gopis of Vrindavana. Through the astapadis the description of the sport is brought to life. Radha recalls her encounter with Krishna and expresses grief over Krishna’s ignoring and neglecting her. She withdraws herself and gets livid with Him. Krishna realizes his mistake and repents for his act. A series of dialogues follow between Radha and Krishna and finally both reconcile. The production ends with an ‘arati’ by the devotee-gopis, hailing the union of the duo.
In Indian aesthetics there are nine rasas recognised by the cognoscenti. But in Vaishnava tradition of Eastern India, only five rasas Shanta, Dasya, Sakhya, Vatsalya and Madhura are accepted by the Chaitanite Vaishnava authority. All these rasas they say are variations of one single rasa, which is based on love. In Bhaktirasasudhasara, this theme will be presented on traditional Manipuri dance diction. This production was telecast in the National Program of Dance & Music by Doordarshan.
Prof. Dr. Sruti Bandopadhay is one of the foremost Manipuri Dance artists of India, having awarded the ‘Top’ Grade by National Television. Trained under such famous personalities like Guru Bipin Singh, Kalavati Devi, Darshana Jhaveri, Ojha Babu Singh, Ojha Gourakisor Sharma, Prof. Jiten Singh, she has performed in various national and international festivals for last 30 years. She is a recognized artist of Sangeet Natak Academy, Indian Council for Cultural Relations, Eastern Zonal Cultural Center and other cultural institutions in India.
