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.