Raas festival at Majauli, Assam

THE MAJULI RAAS MAHOTSAV FESTIVAL

Landscape of Majuli
http://www.letsseeindia.com/

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
https://jungleideas.files.wordpress.com

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.

http://bijitdutta.com/

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
http://3.bp.blogspot.com/

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
http://gobengal.com/

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
https://i.ytimg.com

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". 

s-media-cache-ak0.pinimg.com

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
http://www.vanishingculturesphotography.com/

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
https://s-media-cache-ak0.pinimg.com

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.

Dance of celebration of love

Raas leela : The dance of passion and love

The joyful dance of lord Krishna with his gopis is known as 'Raas leela'. Raas leela has been a popular theme in Kathak, Bharatanatyam, Odissi, Manipuri, and Kuchipudi dance forms. Raas Leela 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.It is a Vaishnavite theatre form based on the legends of Radha Krishna with emphasis on prem bhakti or love and devotion. 

Main characters are Radha, Krishna and the gopis. The theme often depict the pangs of separation of the gopis and Radha from Krishna.The pure dance sequences performed in the Raas leela dances follow a specific rhythmic patterns and body movements, which are traditionally handed down.The beginning and end of the leela is enclosed within the walls of Bhakti. The Raas Leela as such is a way or path that leads to the Lord and the fulfillment of eternal happiness of all the devotees. The performance and even the seeing and hearing of it is considered as a good deed. It is a medium of achieving salvation.

The five different types of Raas Leela are :

(i) Maha Raas

 (ii) Kunja Raas

 (iii) Basanta Raas

 (iv) Nitya Raas and 

(v) Diba Raas. 

Theatrical elements of Raas Leela

Raas Leela is performed in the Mandap attached to a temple. In local areas in absence of Mandap, temporary mandap is setup. The Mandap as such is constructed with great care fulfilling the required rules, as it signifies the holy place where the divine sport of Krishna and Gopis is to be performed. The exact performance space of the Raas Leela is known as Raas Mandal. Raas Mandali is the central space of the Mandap where the exact performance takes place.  In the Brindavan Bhava the main playing space was centered around the dense forest of Brindavan where a crescent shape platform with abundant sweet smelling flowers, creepers and flower-buds all around is shaped for the divine sport. The present day Raas mandal is somewhat created to resemble as mentioned in the Puranas with artistic specified effects. The Raas Mandal is constructed, designed and decorated to have a realistic resemblance of the settings of Brindavan’s Raas Leela sport. 

The main eight pillars of the Raas Mandal are either wrapped with white clothes or with leaves (especially jackfruit tree or peepal). The ceiling is first covered -wiihyenphak which is a mat, made of Bamboo strips crossing one another or at times simply with plain white cloth. At present, movable 149 ceiling is used.lighting generally comprises of bulbs and tube lights. Straw mats are spread out in rows in all the directions surrounding the Raas Mandal for the audience. Once the preliminaries and beautification of the Raas Mandal is over, it is considered or taken as Brindavan’s Nikunja forest. The Raas Mandal is pure and sacred and prohibits entering it. The Vaishnav devotees identify it with the real performing space of Krishna and Radhika. 

Dress

The costume of Raas Leela as such is not to create a visual effect. The form of the attire, the color, symbols and motifs designed have its own meaning and underlying relationship with the concerned characters.There is costume for specific characters. The costume of Lord Krishna is known as ‘Natvar Veshm. The dhoti is of silk, golden in colour with studded sequins. Kunja or the frontal fold pleats of the pheijom is put down. Khaons or decorated flaps cross on the left and right shoulders and hang down from the waist area on both sides slightly below the knee. The upper part is worked with bright and shining sequins. The bare chest is covered with pisindrai mari, a gold necklace. The wrist, hand, forearm, feet, leg, etc. are decorated with bracelets, rings, anklets, necklaces, wrist and armbands or armlet. Radha and Gopis wear potloi. It is worn around the waist and hangs down reaching the ankle nearly touching the ground. Potloi is also known as Kumir. It is decorated with sequins, mirrors, gold applique, brass and silver colored stripes forming distinct patterns. They are totally cleansed and almost ready to enter the world of Lord Krishna. Abhisek is performed and all the actors now identified with a particular character proceed to the Raas mandal. They are considered sacred and cannot be touched by the ordinary people. 

Sri Radha Krishna Prem leela

https://i.ytimg.com

Sri Radha

Radha, the World-Mother, who took her birth at Barshana, near Vrindavan, who is an embodiment of Sri Krishna Prem. Radha was born to Kamalavati and Vrishabhanu in village of Barshana, about 8 kilometers from Vrindavan. Since their childhood, they were very close to each other - they danced,they fought, they played, and grew up together with the thought of living together for eternal. This love game between Radha and Krishna, popularly known as raas leela, was the embodiment of devotion,love,passion and transcendental care. Radha is the embodiment of Mahabhava. The word Radha means a devotee. 

The body of Radha is made up of  tenderness and beauteousness for Sri Krishna. The substance of her subtle form as Mahabhava is Krishna Prem. Her sweet radiant smile spreads as an aromatic smell. All good qualities are her garlands.  The lover and the Beloved become one through the intensity of love. Radha had this type of love. In Madhurya-bhava there is the closest relationship between the devotee and the Lord. There is no sensuality in Madhurya-Bhava. The language of love which the mystic uses cannot be comprehended by worldly persons. Only Gopis, Radha, Mira, Tukkaram, Narada, Hafiz, can understand the language.

Before leaving from vrindavan to kill demon kamsa,safeguard truth & virtue and protect citizens of mathura, he met radha. Sobbing in love she asked krishna "Why don't you marry me and take me with you for what i know you are not going to come back soon?" Krishna just turned back and didn't respond. Krishna smilingly then answered : "Radha, we need two souls for marriage but you tell me where is the second one?How can i marry myself?"

Another story of Sri Radha

According to another story Radha was already married to a person named Ayyan Alias Chandrasen and thus, was an aunt of lord Krishna. Since she was already married , lord Krishna couldnt accept her proposal for marriage as a hundu woman was not allowed to marry twice. After this Krishna left Mathura and married three girls whereas radha still remained devoted to Krishna and is said that her love and devotion remained in krishna's heart forever.all incarnations. 

It is said krishna wanted to give the message of true love and devotion and so, he expanded himself to produce a feminine entity out of himself and tool immense delight in loving her equivalent to loving himself Although they didn't marry each other still their love beome eternal and their love stories will be admired and adored till the end of this universe. 

http://www.dollsofindia.com/