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.