The Ethereal Beauty of ‘Basanta Raas’ Illuminates Hyderabad

The ‘baithak’ at the Raw Mango Showroom last weekend featured a dance form rarely seen in Hyderabad — ‘Manipuri,’ originating from the state of Manipur. It is characterised by graceful, lyrical, and fluid movements, subtle facial expressions, and deep spiritual themes rooted in ‘Vaishnavism.’

‘Manipuri Jagoi Marup’, a leading troupe founded by the late Guru Padmashri Amubi Singh, is dedicated to the rejuvenation and development of Manipuri dance. Of the many dance dramas, ballets, and group performances in their repertoire, ‘Basanta Raas’ — considered the highlight — was the selection presented.

This delicate dance, deeply integrated with rituals and festivals and often performed as a devotional offering, won the hearts of the audience with its theme, movements, costumes, and music. Tracing its origins to ancient times, with the ‘Lai Haraoba’ festival being its earliest form, Manipuri developed significantly under royal patronage and evolved into a sophisticated theatrical art form from its indigenous tribal origins.

The twenty-minute-long piece was imbued with the devotional themes of ‘Madhura Raas’ of Radha and Krishna, containing gentle eye expressions and soft, peaceful body movements. It portrays the divine dance of love between Krishna, Radha, and the cowherd damsels (gopis) of Vrindavan.

On the full moon night of Chaitra (March–April), Krishna comes to the appointed grove (kunja) for a rendezvous. The gopis, led by Radha, respond to the call of his melodious flute, and they dance together. They play Holi with coloured ‘gulal,’ and the performance reaches a climactic peak in a moment of union — the ‘Sambhoga Shringar Rasa’. This piece was often performed in the temples of Manipur.

The unusual doll-like costumes (‘Potloi’) were particularly attractive. An elaborately decorated, barrel-shaped cylindrical long skirt is stiffened at the bottom and closed at the top. Decorations on its surface include gold and silver embroidery, small mirror pieces, and floral motif prints. Radha wears green while the ‘gopis’ wear red. The faces were adorned with the ‘Gaudiya Vaishnava tilak’ on the forehead.

This symmetrical, translucent dress makes the artistes appear as though they were floating on stage — like beings from another world! A cap covering the head with a transparent thin veil symbolically marks elusiveness. Krishna wore a golden headdress with wired peacock feathers. A brilliantly coloured broadcloth of yellow-orange was pleated, wrapped, and tied at the waist, allowing freedom for leg movements.

Unlike in other dance styles, ankle bells are not worn; instead, anklets and foot ornaments are used. To live orchestra and vocals — Sanasam Sanahanbi (vocals), Ningombam Joychandra (on the pung drum), and Irom Joychandra (flute) — the dancers, Gotimayum Asharani Devi as Krishna, Radha played by Athoibi, and gopis Rina, Reepa, Rashi, Roshni, and Rita, went through mesmerising, slow, elegant, wave-like movements that dissolved into each other like the waves of an ocean.

The rounded, soft footwork of the ‘gopis’ contrasted beautifully with the occasional fast steps of Krishna. It was altogether surreal to see the circular patterns created by the dancers merging into one another, evoking serenity and calm in the audience — who were delighted by the experience and responded with warm applause at the conclusion.