Artsource - Ranganiketan

rtsource

The Music Center’s Study Guide to the Performing Arts

TRANSFORMATION

Title of Work:

Lai Haraoba (folk dance)

Vasanta Rasa Lila (classical dance)

Dhon Dholak Cholam (drum dance)

Creators:

TRADITIONAL CLASSICAL CONTEMPORARY EXPERIMENTAL MULTI-MEDIA

ENDURING VALUES

ARTISTIC PROCESSES

1. CREATING (Cr)

2. PERFORMING, PRESENTING, PRODUCING (Pr)

3. RESPONDING (Re)

4. CONNECTING (Cn)

THE POWER OF NATURE FREEDOM & OPPRESSION

About the Artwork:

THE HUMAN FAMILY

Company: Ranganiketan (House of Colorful Art)

Manipuri Cultural Arts Troupe

Founder and Director: Dr. T. D. Singh (1937-2006)

Background Information:

Manipur, called the “Jewel of India,” is a secluded state situated at India’s northeasternmost frontier. Located in an oval-shaped valley, it is tucked within nine ranges of Himalayan mountains. The ancient culture here has been preserved intact for thousands of years, meticulously passed on from one generation to the next via master artists and teachers. Foreigners are still forbidden to travel freely within Manipur, so it is especially significant that Ranganiketan is sharing their culture with outsiders, building friendship and understanding. Many of the artists in this group have practiced their art since early childhood and have achieved perfection in their specific field. Some have been raised to the stature of guru (teacher), instructing others in the ancient science of Manipuri culture. Dr. T. D. Singh, director, felt from the time he was a child that he wanted to ser ve this world. He set out to become a doctor so he could help people. He holds a Doctorate in Chemistry from the University of California at Irvine, yet he made a choice to connect people through the language of culture rather than science. He felt the powerful pull of his own culture when, as a sixth grade student, he secretly attended an eighteen hour performance of music and dance causing him to miss his final math exam. Dr. Singh says “Manipur is a small dot on this planet, but everyone there is born an artist.”

Lai Haraoba, which means ‘festival of the gods and goddesses,’ is the oldest folk-dance in Manipur, dating back to pre-history. Revealing the story of creation, it is performed during the summer season. It traces aspects of the culture of Manipur and is usually accompanied by an ancient single-stringed instrument called Pena. The dancers exhibit graceful movements and expressivehand gestures conveying deep meaning.

Rasa Lila is a classical dance created by the Hindu god Krishna. It was communicated to King Jai Singh through a vision and was recreated to exact specifications, including both style and costumes. This dance, performed in the spring, is celebrated along with Holi, the ‘festival of colors,’ in which the dancers spray each other with colored powder or water. It begins in the early evening and continues for eighteen hours.

Creative Process of the Artist or Culture:

The people of Manipur believe that everything is divinely inspired. As a symbol of their humility, the performers always touch the floor and then their forehead before they begin. From an early age, young children commit to an honored and respected relationship with a specific master teacher.

“I am doing the chemistry of culture.”

Dr. T. D. Singh

Bay of Bengal

CHINA

BANGLADESH

TIBET BURMA

MANIPUR INDIA INDIAN OCEAN

Photo: T.D. Singh Foundation

Story of the Vasanta Rasa Lila (Manipuri) Dance: Around 1750, there was a king in Manipur named Jai Singh, popularly known as Rajarshi Bhagyachandra Maharaja. It so happened that his maternal uncle was plotting to kill him so that he could steal his kingdom. Jai fled to Tekhao (Assam), another kingdom, where he took shelter. The King of Tekhao wanted proof that Jai Singh was the rightful king, so he set this task: Jai must subdue and ride upon the back of a wild elephant. If he could do this, it would prove that he was the rightful king and should not be killed. Jai was distraught, for the task seemed impossible. The night before the challenge, Lord Krishna came to him in a vision, telling him not to worry for Krishna would tame the elephant and Jai would be triumphant. However, in return for this help, Jai had to promise that on his return to Manipur he would build a temple where he would present the Rasa Lila dance in the specific form dictated by Krishna. (The dance was already performed in the world of the gods.) The elephant was obedient, as ordained, and Jai was reinstated as king - but he neglected his promise. Krishna returned to remind him, instructing him to go into the hills of Keina and car ve the deities from a special jackfruit tree. When this was done, the Govinda Temple was built and the car ved deity was installed. Then the Rasa Lila, which communicates pure love and unselfishness, was recreated on earth. Also, several other deities were carved from the same tree and were installed in parts of Manipur where they are found to this day.

Discussion Questions:

After the video has been viewed:

• What did you notice about the way the musicians and dancers worked together? Was one group more important than the other? Why or why not?

• At the end of Lai Haraoba the women win the tug of war; what does this tell you about the culture?

• Haraoba means ‘joyful festivity.’ What movements were done which conveyed this feeling?

• Describe the costumes worn in Vasanta Rasa Lila.

• What feelings and ideas did you have when watching the Vasanta Rasa Lila dance?

• Describe the characteristics of the men’s drum dance, Dhon Dholak Cholam. How does their movement compare (similarities and differences) to those of the women in Vasanta Rasa Lila?

Multidisciplinary Options:

• Write a story about a dream you have had. Could you write a story or poem about it? Or draw a picture of it?

Audio-Visual Materials:

• Artsource® video excerpts and photos: Lai Haraoba, Vasanta Rasa Lila and Dhon Dholak Cholam, courtesy of Ranganiketan Manipuri Cultural Arts Troupe.

• Artsource® audio recording: Morning Has Broken, courtesy of Paul Tracey; Lyrics: Eleanor Farjeon, (c) David Higham Associates; dha@davidhigham.co.uk; Music: Bunessan (Scottish, traditional).

• Lesson 2 illustrations by Devon Tracey.

Additional References:

• Doshi, Saryu, ed., Dances of Manipur, The Classical Tradition. Marg Publications, Bombay: 1989.

Sample Experiences:

LEVEL I

• The dances of India incorporate gestures. Think of gestures which show an idea or image. Create gestures for such words as tree, mountain, stream, rain, boat, friend, fish, etc.

• Learn a song which has gestures as an integral part. Perform the song and gestures together.

• Select a simple story or poem and make up gestures and movement which are performed as the story is told.

LEVEL II

• The dance and music of Manipur are spiritually inspired. Select a song, such as Morning Has Broken, which praises the creation of daybreak. Listen to it and communicate the first verse through sign language.

• In partners, create a one-minute conversation using only musical sounds and gestures. Repeat, but select a theme, scene, idea or mood for the improvisation.

LEVEL III

• The dance, Lai Haraoba ends with a miming of the game - ‘tug of war.’ Think of other children's games which can be explored for their movement ideas.

• Learn and discuss the Lai Haraoba dance and song.

Indicates sample lessons

GESTURES TELL A STORY

LEVEL I Sample Lesson

INTRODUCTION:

Dance and music are deeply rooted in Hindu life. In The Wonderful World of Dance, Arnold Haskell states that “Traditional belief says the god Siva set the world in motion with a dance.” Dancing in traditionalHindu societies is an act of worship, not entertainment. Even today, if someone wants to learn the classical dances, he or she must be accepted as a student by a guru (teacher). This requires a complete commitment on the part of both the student and the teacher.

There are four great schools of Hindu dancing, (Bharata Natyam, Kathakali, Kathak and Manipuri); each of these evolved from the material written in an ancient book called Natya Sastra (the science of dancing). It is believed that this book, which was written about the time Christ was born, includes the secrets of dance. Tradition states that these secrets were entrusted to Bharata and came directly from the gods. The book includes positions and movements for each part of the body, dividing it into three parts: limbs, which include the head, chest, hips, legs, arms, feet and hands; intermediate parts, which include the neck, shoulders, palms, back, stomach, thighs, ankles, knees, elbows and wrists; and the lesser limbs, which include the eyes, eyebrows, eyelashes, cheeks, nose, lips, teeth, tongue, chin, mouth and jaw.

The god Siva, setting the world in motion with a dance

In addition, the Natya Sastra describes more that 4,000 picture gestures of the hands, which are called ‘mudras.’ These gestures symbolize ideas such as a swimming fish, a flying bird, a lotus flower in bloom, a tree or a breeze and may also describe a mood such as anger, fear, sadness, love or heroism. This lesson is based on twelve examples of combined hand gestures from the Manipuri dance technique and represents their version of the ones described in the Natya Sastra.

OBJECTIVES: (Student Outcomes)

Students will be able to:

•Learn twelve traditional hand gestures from the Manipuri dance technique. (Responding & Connecting)

•Incorporate the twelve hand gestures in the telling of a short story. (Creating & Performing)

•Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Responding & Connecting)

MATERIALS: Artsource® video of the Ranganiketan Manipuri Cultural Arts Troupe.

PROGRESSION:

• Give some background on the dances from Manipur. Explain that gestures help the dancer tell a story through the dance.

• Select one of the dances to view. After the video has been viewed, discuss and show any of the hand gestures that the students were able to remember.

• Introduce the twelve gestures. Demonstrate them, give their corresponding meaning and have the students try them. After they have been introduced, call out the words in English and see if the class can remember the correct gesture.

If you have very young students, only introduce two to four gestures in one session. Older students can learn all twelve or divide into four groups with each group being responsible for performing three.

• Read or tell the story, “The Boy, the Girl and the Bicycle.” Then read the story again and have the students show the key words with the appropriate hand gestures. The class can perform them as a total group, as small groups or as individuals.

EXTENSIONS:

• As a class, in small groups or as individuals, write an original short stor y which incorporates six or more of the words and gestures. Share them, performing the gestures as the story is told.

• Select a part of the story and draw a picture of that part with one of the hand gestures being used.

• Divide into small groups and select three of the gestures which are to be woven into a dance study. Have a beginning, middle and an ending.

ASSESSMENT:

(Responding&Connecting)

DESCRIBE: Describe your impressions of the dance you saw. Use ‘Discussion Questions’ on page 2 of the unit.

VOCABULARY: gesture

Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening; Speaking

Vasanta Rasa Lila Ranganiketan Manipuri Cultural Arts Troupe

Photo: Dr. T. D. Singh

THE BOY, THE GIRL AND THE BICYCLE

A Story to be told with Traditional Hand Gestures by Paul Tracey

Once upon a time there was a young deaf boy who worked for his father in a repair shop in Manipur, India. One day a girl came in, pushing her bicycle. She greeted the boy (3. Anjali) and realized at once that he could not hear her, so she spoke to him in hand gestures telling him that the wheel (2. Chakra) on her bicycle had been bent when her family car had squeezed (7. Samputa) the bicycle against their garage wall.

“Please,” she said, “ Please, can you mend it? I beg (9. Pushpaputa) you. I have to earn money to buy our dinner with my paper route and I’m anxious (6. Karkata) to get going.”

Now the boy was very shy (11. Swastika) because he had often seen this girl riding past on her bicycle and he was secretly in love (4. Tarkshya) with her.

“Yes,” he said, “I will mend your wheel (2. Chakra), but how will you pay for it without any money? Could you give me the locket you are wearing at your throat (1. Shankha)?”

“Oh, no,” she cried, “That belonged to my grandmother. But I could give you a tame bird (12. Shuka) that I have in a cage at home.”

“ Thank you,” said the boy, “I accept (8. Rambhasuma).”

Off ran the girl to fetch the bird (12. Shuka) and the boy began to work with a trembling heart (10. Kokila). The boy’s father, coming out from the shadows of his shop, thought to himself, “I remember when I first met his mother. Aahh, young love (5. Pasha)!”

1) ‘Shankha’

Conch shell or throat

ALPHABET OF MANAPURI HAND GESTURES*

2) ‘Chakra’ Wheel

4) ‘ Tarkshya’

Eagle or love

7) ‘Samputa’

Sorrow, to close something or to squeeze

10) ‘Kokila’

To express a cuckoo or the trembling heart

5) ‘Pasha’

Quarrel, love, a chain, bondage or betrayed

3) ‘Anjali’ Greeting

6) ‘Karkata’

Sorrow, anxiety or a hut

8) ‘Rambhasuma’

Spire of the temple or to accept graciously

11) ‘Swastika’

Feeling cold or shy

9) ‘Pushpaputa’

To hold flowers or to beg

12) ‘Shuka’ Bird

*A sample of combined hand gestures from The Dance in India, by Enakshi Bhavani. D.B.Taraporevala Sons & Co. Pvt. Ltd., 210 Dr. D., Naoroji Road, Bombay 1, India: 1965. 6

THE POWER OF NATURE IN PRAISE OF NATURE

LEVEL II Sample Lesson

INTRODUCTION:

The Power of Nature has been a universal theme in every culture throughout time. Many of the classical and folk dances of Manipur, India, are based on stories which celebrate creation and nature. The Lai Haraoba is performed during summer and early monsoon season and the Vasanta Rasa Lila is performed in the spring, making them part of a cycle of celebration.

The concept of a cycle is found in many aspects of nature. A cycle, according to the Oxford Universal Dictionary, is “a series of events or operations that are regularly repeated in the same order.” The song Morning Has Broken, has been selected for this lesson because it celebrates the creation and re-creation of nature as its cycles are repeated.

Signing, the language of the Deaf, will be introduced as a way to express the images in the first and last verses of this song. Both the gestures used in signing and the gestures, or ‘mudras,’ used in Indian dance communicate ideas through hand pictures.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Discuss the concept of a cycle in nature. (Connecting)

• Express, through dance, a universal sense of wonder and appreciation for the beauty and power of nature. (Responding & Creating & Performing)

• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Responding & Connecting)

MATERIALS: Artsource® audio recording of Morning Has Broken, arranged and sung by Paul Tracey.

PROGRESSION:

• Talk about the power of nature and the cycle of such things as day moving into night, seasons, birth through death, etc. Ask the students to recall specific things they have observed in life which have a ‘cycle.’

Vasanta Rasa Lila

Ranganiketan Manipuri Cultural Arts Troupe Photo: Dr. T. D. Singh

•Introduce the song, Morning Has Broken, as an example of a song which praises the creation and continuous re-creation of things in nature. These might include the dawn, things that grow and the songs of birds. Emphasize that the song refers to ideas such as:

“Morning has broken (risen) like the first morning, Blackbird has spoken, like the first bird.”

Discuss what these two ideas might mean.

•Talk briefly about ‘signing’ and its relationship to Indian dance gestures. Show the signs for morning, black and bird.

•morning* •black •bird

Hold forefinger and thumb togetherDraw the forefinger across the forehead

•Play the first verse of the song. Ask your students to do these signs when they hear the words.

FIRST AND LAST VERSE:

MORNING HAS BROKEN, LIKE THE FIRST MORNING. BLACKBIRD HAS SPOKEN, LIKE THE FIRST BIRD. PRAISE TO THEM SINGING. PRAISE TO THE MORNING. PRAISE TO THEM SPRINGING FRESH FROM THE WORD.

•Then introduce the signs for the following:

• has broken (meaning arisen. It will sometimes be used to show morning as ‘sunrise.’) The hands quickly shake downwards.

• first (It might be difficult to get the coordination of ‘like’ and ‘first.’ It will take some practice.) Forefinger of one hand touches tip of thumb of other hand

• like

Place forefingers of both hands together

•Do the first two lines of the verse, incorporating all of the above signs. Practice this several times.

• Teach the signs for the next group of words:

• springing

Turn one palm up and then the other

1 2

• praise

Similar to clapping without the hands touching

• singing

One hand is still, while the other makes a brushing motion bath and forth

• from

• fresh (new)

One hand is held still while the other does a scooping motion

• the word (meaning a creator)

•Practice the signs several times. (They can be done on either side of the body, just like writing can be either left or right handed.) However, when performing as an ensemble it is easier to select a common side.

•As a group, perform the verse, signing together. Have one half of the class perform while the others watch. Discuss how the ‘signs’ give clarity and additional meaning to the words. Discuss the signs which are causing confusion and clarify them for the students.

•Perform these for each other.

EXTENSIONS:

•In small groups have the students design their own movement or shapes to show the main ideas sung in the second verse. These revolve around the beauty of a garden. Have the groups design complimentary shapes which depict different aspects of a garden, using movement transitions which take them from one idea to the next.

•In the third verse, have the students work either in partners or small groups with a leader, improvising movement and gestures which are done with the ‘mirroring’ technique.

•Design a movement idea to get on and off the performing area.

*Drawings by Devon Tracey based on ones found in The Gallaudet Survival Guide to Signing, by Leonard G. Lane, with illustrations by Jan Skrobisz. Gallaudet University Press, Washington D.C.: 1987.

•Put all the verses together in the following suggested way (or design your own ideas):

•Verse I: signing the words.

•Verse II: design group shapes which show aspects of a garden. Create movement transitions between the shapes.

•Verse III: mirroring original movement in pairs or small groups with one leader.

•Verse IV: signing the words (same as the first verse).

•Coda: making a final group design to portray a specific part of nature.

•Select another song of your choice. Research the signs for the words and create a new dance.

VOCABULARY: signing, gesture, transition, coda

ASSESSMENT: (Responding & Connecting) Assessment questions are embedded throughout the lesson.

Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening; Speaking

Pung Cholam

A Drum Dance for a springtime celebration in Manipur Ranganiketan Manipuri Cultural Arts Troupe

Photo: Dr. T. D. Singh

VIEWING DANCE WITH UNDERSTANDING

TRANSFORMATION AND ENDURING VALUES

LEVEL III Sample Lesson

INTRODUCTION:

This lesson is all about viewing Manipuri dance with increased knowledge, awareness and understanding. The Manipuri culture is one of the most ancient in the world and still retains beliefs and traditions which are thousands of years old. Someone once said that “One definition of evil is to try to change something which you do not understand.” Many times we view the people, traditions and art of another group in terms of what we know from our own culture. We want them to be more like us rather than appreciating and celebrating the differences. This lesson gives us an opportunity to better understand the Manipuri culture by seeing it through Manipuri eyes. Sometimes we must add another set of eyes to our own to see with more clarity. The basis of Manipuri dance is spiritual and the following descriptions give us a rare opportunity to learn about some of the beliefs underlying the dance movement and music.

OBJECTIVES: (Student Outcomes)

Students will be able to:

•Discuss ideas about dance and music as expressions and enduring values of a group of people. (Responding & Connecting)

•Discuss their understanding and appreciation for the artwork in the video and what it represents to the people of Manipur (Responding & Connecting)

*Assessment is embedded throughout this lesson.

MATERIALS:

• Artsource® video of Lai Haraoba and/or Vasanta Rasa Lilaas dances.

•Descriptions of Lai Haraoba and/or Vasanta Rasa Lila dances.

PROGRESSION:

•Introduce your students to the concept that the dance and music of a cultural group often reflect their beliefs, giving the people ideals for which to strive. In Manipur, it is believed that these dances were createdby their gods and goddesses and are shared with people on earth to bring about a greater understanding of life. They are regarded as sacred and must be performed with honor to the gods and goddesses.

•Select one of the dances to view. Present the information in order to prepare your students to observe the selected dance with increased awareness and appreciation.

•After the students have been given some background on either dance, show the corresponding video and then have them discuss what they saw. Use the “Discussion Questions” in the Manipuri Unit as points of departure, along with additional topics and ideas of your own.

EXTENSIONS:

•Repeat the same progression of steps with the other dance. Take one idea or concept from the Lai Haraoba dance, such as the part where one brother creates and the other brother destroys that which has been created.Use this conflict as an improvisational dance study for partners.

•Take the idea of the ‘tug of war’ in the Lai Haraoba dance and use it as an improvisational dance study for several people.

•Choreograph a circle dance which would express the feelings and part of the story of Lai Haraoba or Rasa Lila, creating it in the Manipuri style. Perhaps also incorporate hand gestures from Sample Lesson I.

•Select one of the dances and write your impressions.

• Think of questions to ask about the dances of a culture.

•Refer to the Artsource Unit, the American Indian Dance Theatre, Sample Lesson III. Design your own cultural group and choreograph a dance which represents the beliefs and traditions of this mythical culture.

VOCABULARY: have students learn the meaning of these Manipuri words: lai, haraoba, yangkok, vasanta, kunja, sari, gopis, abera (see Manipuri Vocabulary at the end of this Unit)

ASSESSMENT: (Responding & Connecting)

Use these questions after viewing either of the two dances.

DESCRIBE: Describe what most impressed youaboutthedance.Also,describethecostumes.

DISCUSS: Discuss ideas you have about the culture after viewing the dance and hearing the music.

CONNECT: Discuss how and why some cultures dance and play music to pray or communicate with the spiritual world. Name some cultures that use dance and music for this purpose. (American Indian, African cultural groups, etc.)

Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening;Speaking

The Lai Haraoba Dance

By Dr. T.D. Singh

A Summary Translation

NOTE: It is important to know that both the Lai Haraoba and Vasanta Rasa Lila dances are much longer than the excerpts shown on the Artsource video, so they will not include all that is described below.

Lai literally means the old gods and goddesses of Manipur, and Haraoba means ‘festival.’ This Lai Haraoba dance drama is a description of the very ancient festivities of the gods and goddesses. The dance begins with the solemn invocation to the right.

The Invocation: pi-thadoi pi-thadoi thadoi thadoi pi-thadoi

This is the sweet sound of a Manipuri bird whose name is the same as the sound he makes. His sound is part of the invocation, the first part of the dance.

nahalle iya taibang malangpal

Next is a salutation to the Creator who is the source of everything, the master of all directions and the original person. chingu laio lainingthou

Today, whatever is being offered by your little children in the form of this dance, kindly forgive it if there is some mistake and protect us during this dance.

The Song heirangkhoinida chanaba heinida

... numidangwaigina tanjani

The dance starts off with a very deep metaphor which describes the beauty of young girls and the creation of nature. Then it says that it is evening time in the Manipur land and the sun is on the Western horizon. The whole western sky is lit with the beautiful copper colored twilight. There is a beautiful soothing breeze coming from Kouta region of Manipur and at this time the young girls come together and begin to dance. Everyone is filled with great happiness watching them. “But is there any happiness greater than this?” asks the poet. “Yes there is,” he answers, “but do you know what that happiness is?”

manipur sanaleimayol

Next the song describes the beauty of the Manipur valley: it is surrounded on all sides by mountains and is shaped like a big yangkok (a flat bamboo basket used for separating the rice from the husks). It is all dressed in bright fresh green and there is nothing lacking here that can be found anywhere in nature's bounty. She is bestowing all kinds of happiness on everyone.

(Now the dancers hold hands and begin to dance in a circle)

kre kre kre mo mo

In the beginning of creation there were two sons of the Creator, Sanamahi and Pakhangba, who became angry with each other. The older brother would create but as soon as his work was done the younger brother would destroy his creations. Seeing this, the Creator sent seven goddesses who sang this song to pacify the brothers and create harmony. They became satisfied and the creation of the universe proceeded to its natural peaceful conclusion. In celebration of this, the gods and goddesses began to engage in a playful tug-of-war.

(The dancers pick up an imaginary rope and begin a tug-of-war). gods ho haiyo hei ha goddesses ho haiyo hei ha

The gods and goddesses both play at the happy tug-of-war with great strength, but by the blessings of the Creator, the goddesses are the winners.

The End.

Vasanta Rasa Lila Dance

By Dr. T.D. Singh

A Summary Translation

(In the first of the three movements Sri Krishna comes onto the stage and dances alone. His actions and His beauty are described.)

vasantagi purnima ubada rasa shannage khalle, vasantagi purnima ubada, krishnana nigthiraba ahing uraga sri krishnana vanamala tholladuna a a un un a a un un....

Seeing the beautiful full moon of the Spring (vasanta) night, Sri Krishna is extremely anxious to perform the divine rasa dance. Wearing a garland of forest flowers and holding a bamboo flute in His hand, Sri Krishna has gracefully started toward the dance arena on the bank of the river Yamuna in the land of Vrindabana. His crown is decorated with a peacock feather and is tilted slightly to the left. It is further decorated by being entwined with the name of His most beloved gopi, Srimati Radharani. His charming lotus-like face defeats even the beauty of the moon. His glance enchants the entire universe (jagatpu shumhatpa maithongni) and He is wearing beautiful ornaments.

ningthiraba ahing uraga sri krishnana, ningthigna muraba jagoi heiraba krishnana khutta ningthiba murali paiduna kunjada lengbada aa aa aa...

Sri Krishna, whose complexion is a shining black color, is the most masterful dancer. Holding a flute in His hand, He gracefully moves toward the kunja (the dance arena in the forest of Vrindabana). His beautiful jeweled ankle bells make a captivating sound (runu runu runu jhunu jhunu jhunu) and agitate the hearts of those who hear them. At every step the sound jhan jhan jhan of the mystical ankle bells charms the universe. (In the second of the three movements Srimati Radharani and the gopis (milk maids) enter the stage. Sri Krishna welcomes them and suggests that they all dance together).

thabu ngamjabi radha lengakle....

Srimati Radharani who excels even the beauty of the full moon is decorated with a beautiful garland of malati flowers and with other ornaments. Deeply absorbed in devotional thoughts of Sri Krishna She has gracefully started toward the dance arena along with the other gopis.

vrajagi ibemmashing, lakpishi, lakpishi eigi karamba waheina pelhangani, yengu sri vrindabana kayada ningthijariba, hei lei khibikna leika phanna shatkairakli...

When Srimati Radharani along with the gopis arrives at the dance arena, Sri Krishna addresses them: “My dear Gopis of Vraja, welcome, welcome, how may I please you? Look how wonderful Sri Vrindabana is. Various kinds of fragrant flowers are blooming brilliantly. The soothing malaya (a cool breeze scented with sandalwood) breeze is blowing gently. The full moon night of the spring season is beautiful beyond description. On such a night, let us have a rasa dance.” The young gopis reply, “Sweet Lord, that is what we are always l onging for (ibungo nanai eikhoina pamjabasu madutani).”

(In the third and final movement Sri Krishna and the Gopis engage in dancing and subtle exchanges of love and surrender).

mandali mayaida gopiga loinana radha krishna anina rasalila hourakle, shannari sri govindana sakhishinga loinana yamunagi mapanda sri rasa mandalgi mayaida shannari sri govindana...

In the center of the rasa mandal on the bank of the river Yamuna, Sri Sri Radha-Krishna begins the celestial rasa dance along with the gopis. There is pleasing music and the gopi Vishaka plays the mridanga drum (tadrim tadrim). Krishna and the gopis dance with great jubilation. The dance is characterized by swift and intricate footwork as well as by the beautiful sounds of the ankle bells. The music contains seven different levels of voice.

Vrinda devi has supplied abera (red powder) to Sri Krishna and the gopis who then begin throwing the powder on the faces of each other in a joyful play. However, Sri Krishna overpowers all of them. The helpless Srimati Radharani along with the other gopis run in circles trying to protect themselves from the powder by keeping their tender hands in front of their faces.

ngaikho ngaikho chainu abera pangal shonbi nupini khangdara? nipa namannaba nattene ngaikho ngaikho chainu abera.

Dance descriptions courtesy of Dr. T.D.Singh.

All of a sudden the gopis develop great psychological strength and they rush toward Krishna in unison saying, “Wait, wait, don’t throw the red powder on our faces anymore. Don’t you know that we are not your equals? We know your hidden character. We gopis are all friends of Srimati Radharani and we will do whatever we have to do to protect Her. Today see our strength. Wait, wait, don’t throw the red powder.”

The gopis then charge Sri Krishna while throwing the red powder with great determination. Now Krishna is forced to run in circles, forwards, backwards, sideways, trying to protect Himself. However, He ultimately becomes completely helpless and falls to the ground. Seeing this, the sympathetic and tender hearted Radha appeals to the gopis to stop throwing the powder.

With intense love and devotion, Srimati Radharani then begins to wipe away with Her own sari the red powder and perspiration that smear the beautiful face of Sri Krishna. Seeing this divine scene, the gopis feel their ultimate desires fulfilled and with extreme devotion and ecstatic feelings they offer arati (a greeting ceremony) to the Divine Couple, Sri Sri Radha-Krishna with ghee (butter oil) lamp and yak tail fan while singing the choicest prayers.

Thus, Srimati Radharani and the most fortunate gopis enjoy the Divine Rasa dance with their most beloved Sri Krishna.

The End