Maharas to open Bhagyachandra National Festival of Classical Dance 2011

Gyanandro Ningomba *

A Ras performance at the Ras Festival 2010 organized by JNMDA :: 07 April - 11 April 201

In collaboration with Eastern Zonal Cultural Centre, Kolkata and North Eastern Zonal Cultural Centre Dimapur, Department of Art and Culture, Government of Manipur is all set to kick off on Nov 10 Bhagyachandra National Festival of classical Dance on the full moon day of Kartika (Mera Waphukpa) at the historic Kaina Hills. Chief Minister of State O. Ibobi Singh will be inaugurating the 3 days Festival which will conclude on 13th Nov at Shri Shri Govindaji Temple Complex at Kangla.

It is heartening to note that on the auspicious day of Mera Waphukpa the first and foremost Ras Leela "MAHARAS" will be presented at the place where once grew the jackfruit out of which the statue of Shri Shri Govindaji was carved out. When people talk and narrate about Maharas we can never forget Rajarshi Bhagyachandra who dedicated his whole life to Shri Shri Govindaji. His contribution towards development and popularization of Manipur culture can never be ignored.

People from far flung area, with immence pleasure will have the privilege to witness the beautiful "MAHARAS". Though I have no pretention to knowing whole character of Ras Leela I have the opportunity of writing or placing my view on this particular Ras Leela through this article.

Introduction:

"Maharas" as we all know is the first and foremost Ras dance which was played on the occasion of the "Nirpon day" of the idol of Shri Shri Govindaji on the 11th day of Manipuri month of Hiyangei (Kartik) in the saka-era of 1701 (1779 AD) Friday at Langthabal. One this faithful day Rajarshi Bhagyachandra who dedicated the dance to Shri Shri Govindaji had the privilege of seeing the Ras Leela for Five continues days with princess Shija Laioibi depicting the role of Rasheshwori which is later known as "Maharas".

Essence of Maharas: The form of Maharas has been designed exclusively with unique approaches of Vaisnav devotion blended with the cultural and indigenous folk dances like Lai Haraoba and traditional art form inherited from our ancestors and therein, the Vaisnav Bhava and Bhangi were added in order to give originality to this dance.

Thus it became a unique classical dance form recognized all over the world. Again the continuity of this dance interpreting the form of Sankritana describing the conjugal and eternal form of Love that leads to Bhakti and where the divine Love, the sign of aesthetic values were sung to complete the expressions.

The dance is divided into four equal parts of Tintaala, Rajmel, Tanchap and Menkup etc. Keeping all the processes in order and performing every bit of the Sankritana upto the divine dance known as "Shardiya Maharas" was dedicated to the lotus feet of Shri Shri Govindaji.

The Significance of Maharas: Enchanted by the natural beauties on the full moon night of the season Hiyangei Kartic-Sarat where the malika fowers are in full bloom, the embodiment of all Rasas, Lord of the Universe, felt that it's time to shower his blessings to those whole heartedly dedicated smt Radhika and Gopis; alarmed them to play a Ras and called them all by playing his flute (Banshuri). On hearing the pleasant music of Lord all Gopis leaving every task came to Shri Krishnas abode.

While aware of the pride of the Gopis Shri Krishna decides to show that pride has nothing to do with Bhakti, made himself invisible and disappeared with the utmost and unavoidable smt. Radhika , whose dedication to the lord is said to be the most sincere. Meanwhile Shri Krishna wanted to test her Bhakti Rasa and so, disappeared from the scene of Ras.

On not finding Shri Krishna, she went on a trance in her sub-concious stage called a loud for Shri Krishna where darkness prevailed. From that dark scene Smt. Radhika gained the knowledge of a priviledged devotee and she cried in sorrow for Shri Krishna from her heart. The Gopis also joined the search. Shri Krishna appeard on the scene with a proclamation that every one has the right to him. Smt. Radhika knowing the intimation prayed to lead her to where ever he is . The Gopis prayed only for the welfare of their most trusted shakhi smt. Radhika.

They all prayed Shri Krishna to appear before them atleast in their dreams and so experiencing the true devotion. Shri Krishna appeared in the eternal appearance in Yugolroop with smt. Radhika where Ashtashaki got the privilege of serving the Yugolroop. The Lord told shakhis that the scene of his disappearance was only to test their faith and Bhakti. It was only to give faith every extra power to energize the people to come forward to join that faith rules over everything. And when their love for the Lord was so much of devotion and extraordinary, the Bhakti became quite significant and mature.

Therefore, the Vaisnavites of Manipur relieved that those who could absorb the rasa of this kind of Ras Leela with devotion to the Lord and spread the message of Bhakti to others.

Sequence of Maharas: Yugolroop of Radha-Krishna is placed at the centre of Rasmandal, the Bhadra chakra. Completion of Poorvaraga by Nupa pala. To offer kunja Arti by the Priest (Pujari) Lei chandan (Flowers and chandan) to Guru (Dance teacher). Sutradhari, Flutist, conch players and participants followed by "Boriba" (to offer pan and cloths).

After that Pung Guru will start to play Raag-Macha. At the start of the raag the conch will be played by the Moibung Khongba, declaring the start of the first step of Ras. The sutradhari will start the Raag of the song, followed by Vaishnav Bandana and will sing "Vridavan Varnan". They will chant the first sloka upto the third sloka of Ras Panchadhyay beginning with "Shri Bandarayani rubach" upto "Bamdrishang Monoharam".

There will be "Murlinaad" and it will be followed by chanting of the 4th to 10th sloka beginning with "Ta Dristantic Mayata" and sung upto the 6th sloka in distinct "Chhanda". The Gopi Abhisar will follow the song.

After reaching the place where Shri Krishna is, the Shakhis-Lalita and Bishkha etc. will recite one sloka each, the Gopi will present a prathana without the help of sutradharis. It will followed by mandali Sajan song of the sutradhari and the Gopis will starts in a row and dance on the "Teental Achouba" followed by Mell, Tanchap and Chali etc.

After completion of the above "Bhange Pareng Achouba" will be performed. It will be followed by Duitaal, Tanchap and Chali. In doing so Shri Krishna will disappear from the Scene. In this performance all lights are off while the lights are still off the act leaving Shrimati Radha, the lamentation of Radha and the muting of Radha with the Gopis are completed.

This is followed by a sutra and "Gopigeet" will be recited. After completing reciting the sloka of the 4th Chapter and "Krishna Abhirbhava" the light will be up again suddenly.

Following the song of the sutradhari, there will be a dance sequence, it will be followed by the song of "Yugol Nartan" where dance sequence of "Vrindavan Pareng" is performed Flowers will be scattered all around and the priest will perform the Arti which will be followed by a song of prathana by the Gopis.

Thus the "Maharas" comes to an end.

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