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.