Raas an integral part of India

The spiritual essence of Raas

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India is a country of heritage and culture, every festival is celebrated in a big grandeur manner. The festival of raas has always played an important role in many parts of India. It is exactly not known to when the festival actually started gaining its popularity. Just right from the rural to the urban areas people have celebrated the festival wholeheartedly. 

Every part of the country celebrate it in many different ways, which includes raas leela songs to dances to festivals to fairs. The colorful India gets decorated more colorfully during this season when the celebrations takes place. Raas Leela is the most beautiful part of Srimad Bhagvatam and it is considered as the fruit of Krishna Bhakti. When the jeev (being) transcends the boundary of gender of the mortal body and immerses all the senses in transcendental love for the LORD, it culminates in the union of jeev with the PURAN BRAHM. When all the desires of the jeev melt away in the fire of BHAKTI LOVE) , Gopi bhaav arouses and life gets rid of all the impurities and the true knowledge extinguishes ignorance within. This is the first step towards RAAS LEELA.

The most common knowledge spread by Hinduism is the existence of a temporary body and a permanent soul. So when material world usually limits to at the most explaining the love of one life time, the love of one soul to another is only understood by advanced spiritual activists. The mind is like clay which shapes according to the impact of senses and the endeavor of the concerned person. Krishna’s love for mothers was clearly deeper than for the Gopis. Most corrupt people in the mode of passion and ignorance wouldn’t surely see things in this light as their intelligence and thought process is completely under the control of the material energy. The human body that is endowed to us souls has a very limited extent of sensory reach. We can’t even see what goes on beyond a wall or hear someone speaking from a distance. How can we then understand the extent and opulence of Krishna Leela with our five senses? Mostly, we try to see the world from the window of these senses. But as it is rightly said that “Salvation lies Within”, the understanding of The Supreme Lord’s form and His past times can only be achieved with meditation of His glories, not by mundane comparison and blind imitation of them. And even after accepting all these philosophies, understanding them in the truest sense is an all together different issue. 

Hence raas leela signifies the unification of the  individual soul with the over soul. Lord Krishna resides as the soul in each one of us. The lord is our real mother , father, friend ,guide and raas has been enacted to enable all jeevas to conquer lust and become pure. 

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Maha raas part 2

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Nitya Raas Leela

It was created with the court support of King Chandrakirti by the gums fulfilling the essence of Lord Krishna leelas. There are no strict codifications regarding the fixed season or specific day as such. It can be performed on any day. “Nitya Raas is generally performed throughout the year except on Sharat (autumn) and Basanta (spring) months”. It is a similar version o f Niti leela and large portion of the content is based on Govinda leelamrita. In Brindavan, it was played in Nribhut Nikunjan.

 Nitya Raas depicts the Niti leela and divine sport of Radha and Krishna expressed through melodious songs and dances. Like Basanta Raas, Kunja Raas and Maha Raas, Nitya Raas Leela also begins with Nata Sankirtana Pala as the purvaranga. With the beginning of punglon or drum beats raga by Raasdhari the Sutra starts the Raga alaap, Brindavan Vaman, Krishna abhisar, Radha abhisar, one after another. A special addition of Brinda thokpa episode or Brinda utti is enacted. In a later addition a dance sequence of Brinda Devi depicting her journey to Lord Krishna to narrate the woes of Radhika is performed. A dialogue between Brinda and Tulsi further highlights the theatrical presence. The Sutra narrates Smt. Radha dressing up in the ‘Veshsajan’ episode. The Gopis abhisar is performed by the Gopis with elegant body gestures and movements. Then, the Gopis come out in a single file in chali rhythm and performs Bhangi Achouba gracefully to the songs of Sutra. In the Krishna Narton (individual dance performance), Lord Krishna performs cartwheel sequence followed by Radha Narton. The Gopis dance together with Smt. Radhika and there is another sequence of dance by the lead Gopi. Bhangi Khurumba pareng is performed which progresses to Sambhog or union. The Gopis offer Prathana and puspanjali to Radha Krishna. It finally concludes with aarati offered by the priest.  

Diba Raas Leela 

The Diba Raas Leela is performed mainly in day time irrespective of seasons. Normally both Nitya and Diba Raas are not performed at the palace or Lord Govindaji temple. Diba Raas Leela is created by Akham oja Tomba during King Churchand reign in the year 1940. The first Diba Raas performance was at Hidungmayum Mandap, Sagolband. Akham oja Tomba was helped by Nityapad Sana, oja Samanduram, Nongmaithem Chagei, oja Aheibam Thambon etc. The Diba Raas as the name suggest is performed in the afternoon. It is the depiction o f Radhika’s arrival at Sri Krishna Radhakunja. Both Radha and Krishna met and proceed to North-west direction to Ambhuj Kunja and performed Diba Raas Leela. 

The idea behind the creation of Diba Raas Leela is to give an opportunity to the Vaishnav Bhaktas to offer Bhakti and prayer at the convenient day time through out the season as the three important Raas Leela viz, Maha Raas Leela, Kunja Raas Leela and Basanta Raas Leela are season and time specific. It is based on Govinda leela Nritya and Ras panchadhayay. Diba Raas Leela begins with Nata Sankirtana pala as purvaranga. The usual Raga alaap, Guru vandana, Vaishnav Vandana etc. are preformed and Goura Bhavi by sutra. The Krishna dance abhisar is enacted performed and Lord shed tears in Radha’s thoughts. He sought help of Subol (no physical presence). Krishna plays his flute. Songs and dances are presented showing Radha abhisar, Veshsajan and Gopi abhisar. The Gopis and Radha arrive at Ambhuj kunja to start the Raas Leela. Radha, Krishna and Ananga Manjuri dance together. A series of dance are performed followed by Bhangi achouba, Krishna Narton, Radha narton, Ananga Manjuri Narton, Aber khel, prathna, sambhog, swadhin, prathna and gopis offering pushpanjali. Of the five kinds, the first three important Raas Leela viz, Maha Raas Leela, Kunja Raas and Basanta Raas Leela are traditionally performed in selected temples on specific days, fulfilling all the codes and norms (as laid down by the court or concerned institutions and authorities). Raas Leela is even organized by local groups in the mandaps attached to temples at many local areas. The later two Raas Leelas Nitya Raas Leela and Diba Raas are common more at a local level and are not allowed to perform in Govindajee temple. As such the performance of Nitya Raas Leela and Diba Raas Leela show deviation in the chrome or structure from Srimad Bhagavata and local songs and independent dance sequences are introduced. The Raas Leelas as mentioned before are further categorized as Raas Leela performance of Sri Govindaji temple, Raas Leela of Sri Bijoygovindaji temple and lastly for local temples or mandaps.

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 In the Sri Govindaji Raas Leela performances, there are no actors playing the role of Radha and Krishna. For the Govindaji, the statue or idols of Rasheshwari Govinda are taken out from the temple and placed at the centre of the Raas Mandal (performing space), on a revolving platforai known as Chakrapith, which was made especially for the Raas Leela. In such Raas Leela performances the Rasheshwari Govinda idols are taken as the real divine deities by the Gopis. The Gopis in the Raas Leela communicate with the idols through dialogue, songs and by dancing around them. The absence of the actors taking the role of Krishna and Radha makes it difficult to depict certain episodes like Krishna abhisar and Radha abhisar. As the performance progresses the revolving platform is turned slowly. But in the Bijoygovinda Raas Leela, the main protagonist roles of Radha and Krishna are performed by very young actors. As such the sequence of Radha and Krishna abhishars are shown explicitly. The Raas Leela performances in the local level or villages are similar to that of Sri Bijoygovinda Raas with the presence of Radha abhishar and Krishna abhishar.

Maha Raas part 1

Maha Raas Leela

Maha Raas Leela began on full moon and ended on the fifth day which is auspicious or laic ha aphaba. It was believed to be performed for five consecutive days. This is in celebration of lord Krishna’s fulfillment of the wishes of the Gopis. In the first ever Raas performance at Langthabal, Ngombram Sai performed lead singer or Esheihanba of nipa pala, Sridharsai (uncle of king Bheigyachandra) as second lead singer or duhar, king Bheigyachandra as lead drum player, etc. in the Nata Sankirtana Purvaranga episode pala. Maharani Harimati played the role of Raas makokchingbi or lead Gopi, princess Bimbavati as Radha (or Rasheshwari), taught by Kabokhubomba and other royal ladies participated as Gopis. In the earlier days Maha Raas is performed only at Sri Govindaji and Sri Bijoygovinda mandaps. 

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Nowadays Maha Raas Leela is performed on the same day i. e. Mera waphukpa at Govindaji Mandap, Bijoygovinda Mandap and even at local mandaps.  It is also an experience of self-realization of the Gopis who took pride in their love and affection to Lord Krishna. The Gopis started thinking Lord Krishna as their own Lord. When Lord Krishna realized the pride and jealousy in their hearts, he vanished with Radhika. As Radhika also developed the same feeling, Lord Krishna left her all alone in the forest and suddenly disappeared. The pang of separation somehow made all the Gopis including Radhika suffer in grief and searched for Lord Krishna in the deep and dark forest without any fear and inhibitions. It is a test of how far the Gopis sincerely loved and worshiped Krishna. So, Maha Raas Leela highlights the way to worship Lord with sincerity, faith and purity of heart - as Sri Krishna left all of them the moment their heart became selfish and impure. 

Basanta Raas Leela

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This type of Raas Leela is offered on the full moon night of Chaitra Baisakh (spring) or Sajibu pum im a (march-April). It is based on Brahmabebenta puranas and Jaidev’s Geet Govind.  “It coincides with the spring season and to commemorate the re-approchement between Krishna and Radha after a painful separation”. The Holi khel/Phalgunkhel to be performed on the Phalgun purnima is adjusted on Sajibu Purnima (Chaitra). Certain adjustments were made and included both the Radhika Maan and Abir Khel (play with colours) or Phalgun Khel in Basanta Raas Leela played together by Krishna and Radha, Chandrabali andGopis. 

The Nata Sankirtana Pala performance begins as purvaranga and concludes with Brindavan Vaman through Gouranga Bhavi. The Rasdhari begins the drum or pung raga that commences the actual perfonnance of Raas Leela. Sutradhari continues the alap Vrindavan Vaman, Krishna abhisar and Gopis abhisar songs. The Sakhis or Gopis perform Mandali Sajan or decorating the mandali and perform Rupa Varan. The main dance forms like Jagoi Mapop, Bhangi achouba pareng, Krishna Narton, Radha Narton etc. are performed. Abir khel or the game of throwing and putting colours on each other is enacted. Gopis hold dona (container made of plantain leaf) full of abir (vermillion colours) with flowers. 

It is considered as one of the important sequence of Basanta Raas. Both the Sutras and Gopis will sing turn by turn. In one of the dramatic plot, Krishna showers his love for Chandrabali (refered as a rival of Radha) and dance with her joyfully. It hurts the sentiments of Radha. She immediately enacts the pain by leaving the Raas mandal in humiliation and resentment. The Raas Leela performance then develops into Smt. Radhika maan or silence of Radha. The Gopis (mainly Visakha and Lalita) are restless and experience anxiety in their hearts. Lord Krishna realizes his mistake. He looks around here and there for Radha. He asks for forgiveness. Radha takes time to be convinced by Krishna. Finally Radhika forgives him and participates in the Raas Leela. The Gopis being pleased serve the deities with flowers and betel nuts. Khurumba Bhangi pareng is performed and the Gopis offer pushpanjali. At the end, the priest offers yugal (paired Krishna and Radha) aarati.

Raas festival at Majauli, Assam

THE MAJULI RAAS MAHOTSAV FESTIVAL

Landscape of Majuli
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Mājuli or Majoli is the biggest river island in the world in the Brahmaputra River, Assam, India and also 1st island district of the country. The island is formed by the Brahmaputra river in the south and the Kherkutia Xuti, an anabranch of the Brahmaputra, joined by the Subansiri River in the north. Mājuli island is accessible by ferries from the city of Jorhat. It is a center of Vaishnava culture and a bio-diversity hot spot with rare varieties of flora and fauna, the assemblage and assimilation of many ethnic groups under the same sky, retaining their respective individual and traditional cultural entities is a very striking phenomenon that easily attracts visitors to this island. And with a glorious history of 500 years of Satriya (Assammese monastaries) tradition, the island today is a hub where monks learn brilliant ancient forms of arts, philosophy, drama, dance and religion. 

Majuli is famous famous for its river island and the core of Assamese Neo-Vaishnavism celebrates the festival of raas in a very elaborate manner. As per hindu rituals the festival is scheduled to be celebrated on the month of November. With the glorious history of five hundred years of Satriya living cultural tradition, the rich and colorful tribal culture elements, Manjuli has the charm to beckon the tourists, itself as a paradise on the earth. Majuli is the lone place several centuries, it is the traditon of the Majuli people to pay their obeisance to lord Krishna by enacting his Raas Leela themselves. During the Raas festival, Majuli becomes a veritable place for pilgrimage. For the believers, the island becomes the abode of the lord and other divinely figures during this four day festival starting from the Raas Purnima day.

satras of majuli raas festival
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Virtually every single person on the island is involved in the three day long raas festival, depicting the life of Krishna. All communities of the island play a part during this time - children acting in plays, teacher's lending their voices to characters, shopkeepers and bank employees reciting songs and chants. the various monasteries of the island stage various interpretations times when there were no television, the Raas Festival is an all night long extravaganza with no commercials in between, but with everybody's eyes glued to the performances of the talented and kind artists. All communities of the island play a part during this time - children acting in plays, teachers lending their voices to characters, shopkeepers and bank employees reciting songs and chants. The various monasteries of the island stage various interpretations of Krishna’s life by using folk dances, puppets, masks, songs and dance, all enrolled in a charming riot of colors. And like old times when there were no television, the Raas Festival is an all-night long extravaganza with no commercials in between, but with everybody’s eyes glued to the performances of the talented and kind artists.

The State’s cultural epicentre Majuli is all set to celebrate Raas festival from Tuesday onwards as most of the satras and cultural troupes have completed their final round of rehearsal for the annual performances.Officers from Majuli sub-divisional administration said that the historic satras apart, 40 other organising committees have already registered their names with the local administration in order to make the celebration a grand success across the length and breadth of the river island. According to them, around 15 organising committees are yet to get themselves registered. However, they are expected to submit their papers tomorrow morning.

Following the convention of the historic Dakhinpat Satra, Raas puja will start on Tuesday evening, which will be followed by dramatisation of Raas Leela of Lord Krishna at naamghars and several stages, i.e., from Wednesday to Friday. To mark completion of 175 years celebration of Raas Mahotsav, the historic Satra has invited a cultural troupe from Manipur with an aim to strengthen the feeling of universal brotherhood.

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A popular cultural organisation named Sanmilita Shilpi Samaj has made all possible preparations for the spectacular performance at Kamalabari. The president of the organisation, Prabhat Burabhakat said that Assamese cine artist Gayatri Mahanta, Pabitra Barua and many other experienced artistes will perform in the three-day professional show from November 25 to 27. Since the past few years, Burabhakat and his associates have attracted thousands of tourists and devotees to their Kamalabari premises as many popular artistes have participated in the dramatisation of Lord Krishna’s eventful life through Raas Leela. Along with the celebrations, the historic Uttar Kamalabari Satra will provide free food and lodging on a daily basis to all the visitors during the festival period at the Satra premises. This Satra is on record to have taken several initiatives for popularising Vaishnavite art and culture in India and many other foreign countries, besides providing education to children along with health service.

Visitors to this Treasure Island in recent days have been able to soak in the festive ambience while strolling through the dew-drenched pathways of the remote villages during the breezy evenings. Apart from preparations for the music, dance and drama, the traditional art form of mask-making has also take centrestage. Hordes of foreign tourists have already descended in river island Majuli to get a feel of the four-day festivities

Raas mela in West Benagal

Festival of culture- Raas utsav 

raas mela in coochbehar
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West Bengal is said to be the city of color and culture. It adorns various culture in itself, and celebrates every festival in a grand way. Hundreds of festivities are held every year, either to please the innumerable divinities worshiped by the Bengali people or to celebrate the glory, grandeur and beauty of something important occurred in the past. Even there are festivals  and fairs organized to promote arts, tourism or even celebrate a good harvest. Starting from the most remotest village to the urban city life everyone enjoy the fairs and festivities of Bengal. The city of joy always smiles through its vast cultural colors. Amongst the numerous fairs and festivals celebrated in West Bengal, Rash mela (fair) holds a special place. The Rash mela (Rash festival), is one of the most ancient, traditional and well known among the fairs of Bengal.  The festival celebrates the piousness of the beautiful love story of Lord Krishna and his consort Radha. 

From among the various parts in West Bengal where this festival is celebrated Nabdwip and Cooch Behar are two of the most ancient and talked about fairs in the state. 

raas mela in coochbehar
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In Nabadwip raas mela Rash Yatra of Sri Sri Madan Mohan Thakur (Lord Krishna) and the Raas mela celebrations starts off from the day of Purnima(full-moon) in the month of Kartik according to the Bengali calendar, usually falls in the month of  November or December. Whereas in Cooch Behar it is held annually, the festival takes place every year, in December, to honor Lord Krishna and his beloved Radha. Though it is celebrated at many places in West Bengal, including Kolkata, this festival is mainly likened with the celebrations in Cooch Behar, because of the popularity and grandeur of this festival there. Rash Mela is a colorful festival with lots of local tales, fun and frolic. Many eminent artists from India perform at the fair, adding to its glory. 

Although the festival is celebrated in both the places in a grand manner but there still remains a basic difference between the celebrations of Raas Utsav in Cooch Behar from that of the celebrations in Nabadwip. The celebrations in Nabadwip involves worshipping of the Radha-Krishna idol, whereas in Cooch Behar Sri Krishna is separated from Sri Radha and is worshipped as Sri Sri Madan Mohan. Another distinctive feature of the celebrations in Cooch Behar is that people from different caste and creed join the celebration. Even, the revolving Rash Chakra at the temple lawn is decorated beautifully by a Muslim family since years. The fair runs for fifteen days where people from different caste and creed and from different backgrounds enjoy business transactions, rituals, practises and the feelings of joy. The fair organized as a part of Rash Mela gives the tourists a great opportunity to buy some local handicrafts. Apart from the colorful fair, a yatra (procession) taken out at the time of Rash Mela, catches the attention of people. Thousands of people from various parts of the country come to Cooch-Behar, to attend this fair. Its tradition and importance lies in the glorious past of the district, when Rajas and Maharajas used to rule over it. The celebration of Rash Yatra was once the main festival of the Maharaja of Cooch Behar and it still retains the old grandeur and charm, to quite an extent.

immersion in nabadwip
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The celebration doesnot end after worshiping the idols or enjoying the fairs. The main attraction remains during the immersion of the idols. Many tourists and the local people gather in the place to see the procession during the immersion, it itself becomes a major celebration of lights and music. 

Raas in Gujarat

Dandiya Raas

Dandiya Raas is the traditional folk dance form of Gujarat, India. It is associated with scenes of Holi, and leela of Krishna and Radha at Vrindavan. Along with Garba, it is the featured dance of Navratri evenings in Western India. During Navratri festival, in most of the cities of Gujarat people gather and perform Garba dance - an event that is becoming increasingly popular in countries with large Gujarati-speaking communities around the world.

There are several forms of Raas, but "Dandiya Raas", performed during Navaratri in Gujarat is the most popular form. Other forms of Raas include Dang Lila from Rajasthan where only one large stick is used, and "Rasa leela" from North India. Raas Leela and Dandiya Raas are similar. Some even consider "Garba" as a fo

rm of Raas, namely "Raas Garba". 

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History and origin 

In Dandiya Raas men and women dance in two circles, with sticks in their hands. The Dandiya Raas dance originated as devotional Garba dances, which were performed in Goddess Durga’s honor. This dance form is actually the staging of a mock-fight between Goddess Durga and Mahishasura, the mighty demon-king. This dance is also nicknamed ‘The Sword Dance’. The sticks of the dance represent the sword of Goddess Durga. The sticks (dandiyas) of the dance represent the swords of Durga. The women wear traditional dresses such as colorful embroidered choli, ghagra and bandhani dupattas (traditional attire) dazzling with mirror work and heavy jewelry. The men wear special turbans and kedias, but this varies regionally. The origin of these dances can be traced back to the life of Lord Krishna. Today, Raas is not only an important part of Navaratri in Gujarat but extends itself to other festivals related to harvest and crops as well. 

Originating as devotional Garba dances, which were always performed in Durga's honour, this dance form is actually the staging of a mock-fight between the Goddess and Mahishasura, the mighty demon-king, and is nicknamed "The Sword Dance". During the dance, dancers energetically whirl and move their feet and arms in a complicated, choreographed manner to the tune of the music with various rhythms.The origin of these dance performances or Raasis Krishna. Both of these dances (garba and dandiya) are associated with the time of harvest. 

Presentation of this dance form

Raas is also performed at social functions and on stage. Staged Raas can be very complex with intricate steps and music. Raas is a folk art and it will change with the times. While it originated from Hindu tradition, it was adopted by the Muslim community as Saurashtra. Singing entered the Raas scene later on. Initially, most songs were about Lord Krishna, but songs about love, praise of warriors who fought gallant wars, and the Goddess Durga, and even Muslim Raas songs were born. Raas took on a different form as it borrowed heavily from the film industry.

Manipuri raas leela

Manipuri Classical Dance- Raas

traditional manipuri dance
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Raas leela has been a popular theme in Kathak, Bharatanatyam, Odissi, Manipuri and some other Indian classical dances. Manipuri Rasa Leela specially depicts the connection of the individual soul with the spirit of the Supreme Being. The dance illustrates an eternal love of Radha and Krishna as been described in the Hindu scriptures & puranas. Also reveals the sublime love of Lord Krishna and Radha including the devotion of Gopies towards the Lord. 

History

In the year 1748 Rajrishi Bhagyachandra Maharaj was born . During his reign, he took shelter in Tekhal (Assam) in a war with Ava (Burma) he found the image of the almighty Lord Shri Krishna in his dream in the most attractive and exceptional dress for soft dances. The Lord was in his Natabar besh and a flute in his hand and a top-knot  of peacock feathers on his head. The union of Lord Krishna and Radha was seen in his future vision. The king had a dream telling him to make idols from the jack fruit grown in Kaina hills and worship it. In 1776, the devoted Vaisnav, Rajrishi Bhagyachandra, established the Shree Shree Govindaji Temple and inaugurated the divine idol of Radha Krishna and began to worship the Lord with his consort in the Royal Palace. And, from the 11th of November, 1779 on a full-moon day, the Raas-Leela of Radha Krishna was held with the most dynamic way of the religious people of Manipur. 

It can be rightly said that in the Manipuri Classical Dance, the Radha-Krishna Ras-Lila is one on the most chastest, modest, softest and mildest but the most meaningful dances of the world.

There are different kinds of Raas-dances.

1. Maharas - to be played on the full-moon day of October based on Shrimad Bhagavata Panchyadhyaya.
2. Kunjaras - to be played on the full-moon day of November based on Brahma Beibarta Purana.
3. Basantaras - to be played beginning from the full-moon day of April to the full-moon of May based on Govinda Lila Amrita.
4. Nityaras - to be played on any auspicious day of ten months except Hiyanggei and Shajibu based on Govinda Lila Amrita.
5. Dibaras - to be played in all months on any auspicious day, based on Govinda Lila Amrita.

a picture depiction of manipur raas leela
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Besides these, there are also different kinds of dances, such as Gosthalila, Udhukhal, Ekagopi, etc. which were originated in this culturally fertile land of Manipur. 

One more important aspect of the Manipuri dance is the mingling of faiths of Vaisnavism and Saivism with that of the Lai-Haraoba - a traditional dance of the three hundred and sixty four deities of the Meiteis of Manipur. Here in Ras-dance the philosophy of the Meiteis is the basis on which the philosophy of the Vaisnavism is the body and plot of the dances with the essence of the Bhagavata philosophy. With an eternal bond of love, the performers sneak out of their existence of human body and get united with each other within their soul. Therefore, it is a representation of projection of an interconnection of the human souls with the Supreme Being. In actual dance performance, the eye catching stylish movements and graceful gestures can be seen. During performance, these movements are controlled very much, that it acquires a touch of spiritual force. 

Still the traditional form has remains the same. The music remains the typical Dhrupada style of the Vraja Acharyas who penned the songs they heard to the accompaniment of Sitar and Pakhawaj and the songs are sung in Vraja Language, a parent to modern Hindi. Recently, many people have changed the traditional music to popular music. Yet there are a dedicated few who seek to preserve the traditional form of devotional art known as Raas Lila.