Manipuri Dance

Manipuri, one of the eight recognised classical dance forms of India, originates from the north-eastern state of Manipur. Renowned for its grace, delicacy, and devotional expression, Manipuri embodies a harmonious blend of spirituality, rhythm, and lyrical movement. Deeply rooted in the cultural and religious traditions of Manipur, the dance is primarily associated with Vaishnavism, particularly the worship of Radha and Krishna, and reflects the region’s distinctive aesthetics and indigenous heritage.

Historical Background

The origins of Manipuri dance are ancient, with references found in early texts and oral traditions of the region. Dance in Manipur has long been integral to ritual, celebration, and worship, evolving through both folk and classical forms.

• Early Tradition: Archaeological and literary evidence suggests that ritualistic dances existed in Manipur long before the advent of Vaishnavism in the 15th century. Indigenous forms such as Lai Haraoba, meaning “merrymaking of the gods”, celebrated creation myths and honoured local deities (Umanglais). These dances depicted the genesis of the universe, the creation of life, and the union of the divine and human.
• Vaishnavite Influence: The transformation of Manipuri into a classical dance form occurred during the 15th–18th centuries when Vaishnavism spread across Manipur under the patronage of kings such as King Bhagyachandra (r. 1759–1798). The king, a devout follower of Krishna, codified the Raas Leela (dance-drama depicting the divine love of Krishna and Radha) and made it the spiritual and artistic centrepiece of Manipuri dance.
• King Bhagyachandra is credited with envisioning the choreography, costumes, and music of the Raas Leela under divine inspiration, making Manipuri a dance of devotion and divine love rather than display or spectacle.

Spiritual and Cultural Context

Manipuri dance is primarily devotional (Bhakti) in nature. It is performed as an act of worship, not for entertainment. The themes revolve around the life of Lord Krishna, especially his playful interactions with Radha and the Gopis (milkmaids) of Vrindavan.
The dance also embodies Manipur’s indigenous cosmology and rituals, maintaining continuity with ancient practices such as Lai Haraoba, which depict the origin of human and cosmic life. This blending of Vaishnavite spirituality with tribal traditions gives Manipuri its distinctive identity.

Distinctive Features

Manipuri dance is known for its soft, rounded, and flowing movements that create an impression of spiritual serenity. The dance avoids abrupt gestures or strong foot stamping seen in other classical styles. Every movement flows into the next, resembling the gentle undulation of waves or the swaying of lotus petals.
Key Characteristics:

• Graceful and Circular Movements: The movements are smooth and curved, with no sharp angles. Circular patterns dominate choreography, symbolising eternity and continuity.
• Subtle Facial Expression: Abhinaya (expressive acting) in Manipuri is restrained and inward, reflecting humility and devotion.
• Footwork and Rhythm: The feet are used lightly and rhythmically, often concealed beneath flowing costumes. The use of ankle bells (ghunghroos) is minimal or absent, preserving the spiritual purity of the performance.
• Lasya and Tandava Balance: Manipuri beautifully combines the lasya (feminine grace) seen in Radha’s movements with tandava (vigour and masculinity) seen in Krishna’s or male warriors’ dances.
• Integration of Music and Movement: The dance closely follows the Manipuri musical system, using traditional instruments and rhythmic patterns (tala).

Musical Accompaniment

Manipuri dance employs a distinctive musical tradition that complements its rhythm and emotion. The music, derived from Manipuri Sankirtana (devotional singing), is characterised by melodic sweetness and devotional lyrics.
Key Instruments:

• Pung (Mridanga): A barrel-shaped drum central to Manipuri music, used in both dance and ritual contexts. The Pung Cholom, or drum dance, is a vigorous and skilful display where male dancers play the pung while dancing energetically.
• Kartal or Cymbals: Used especially in Kartal Cholom, a male dance involving cymbals and rhythmic acrobatics.
• Flute: Symbolic of Krishna, it accompanies lyrical passages in Raas Leela.
• Sankirtana Singers: Vocalists recite Vaishnavite hymns in Sanskrit and Manipuri, enhancing the devotional atmosphere.

The music of Manipuri is based on local raga and tala systems, distinct from those of Hindustani or Carnatic traditions.

Types of Manipuri Dance

Manipuri encompasses both ritualistic and classical forms, each serving different social and religious purposes.

1. Lai Haraoba: The oldest and most sacred ritual dance of Manipur, dedicated to local deities. Performed by Maibas (priests) and Maibis (priestesses), it enacts the creation myth and celebrates fertility, nature, and divine play. The gestures and movements are symbolic representations of cosmic creation.
2. Raas Leela: The central classical form of Manipuri dance, conceived by King Bhagyachandra in the 18th century. It portrays the love of Krishna and Radha and the celestial dance of Krishna with the Gopis.There are five principal Raas Leelas:
   • Maharas: The great Raas, performed on full moon nights.
   • Basanta Raas: Celebrating spring.
   • Kunja Raas: Depicting Krishna’s play in the groves.
   • Nitya Raas: Performed daily in temples.
   • Diba Raas: Enacted during the day.Each Raas Leela is performed in the temple courtyards, combining music, dance, and devotion.
3. Pung Cholom: A dynamic male dance where performers play the drum (pung) while executing acrobatic movements. It represents rhythm, energy, and devotion.
4. Kartal Cholom: Another male dance using cymbals (kartal), performed with rhythmic coordination and spiritual fervour.
5. Thang-Ta: The martial dance form of Manipur, displaying the warrior tradition with sword (thang) and spear (ta). Though distinct from classical Manipuri, it shares its rhythmic foundation.

Costumes and Aesthetics

Manipuri costumes are among the most visually striking in Indian classical dance, designed to enhance the ethereal and divine nature of performance.

• Female Costume (Radha and Gopis):
  • The main skirt, known as Kumin, is stiff, cylindrical, and richly embroidered with motifs of lotus and creepers.
  • A transparent Odni or veil covers the head, giving a celestial aura.
  • The blouse (choli) is elegantly fitted, and the entire costume symbolises purity and modesty.
  • Jewellery includes traditional Manipuri ornaments such as lasak, kantha, and kachou.
• Male Costume (Krishna):
  • The dancer wears a bright dhoti tied in Manipuri style, a crown (mukut) with a peacock feather, and holds a flute.
  • The costume represents youth, divinity, and playful energy.
• Pung Cholom Dancers:
  • Dressed in white dhoti and turban, symbolising purity and discipline.

The overall aesthetic is one of spiritual sublimity, not sensuality, emphasising devotion and grace.

Expression (Abhinaya) and Themes

Manipuri abhinaya (expression) is subtle and internalised, relying on controlled gestures and gentle facial expressions. The dancer expresses emotions through restrained yet deeply felt movements, avoiding exaggerated drama.
Common themes include:

• The divine love of Radha and Krishna (Bhakti and Shringara rasa).
• The union of soul and God symbolised by the Raas dance.
• The cycles of nature and creation depicted in Lai Haraoba.

Thus, Manipuri is both a spiritual meditation and a form of worship expressed through motion and rhythm.

Leading Gurus and Exponents

The preservation and popularisation of Manipuri in the modern era owe much to several visionary artists and teachers:

• Guru Amubi Singh and Guru Atomba Singh – early masters who codified the form.
• Guru Bipin Singh – a key figure in the 20th-century revival, who systematised Manipuri for stage performance.
• Darshana Jhaveri and her sisters – among the first non-Manipuri artists to train under Guru Bipin Singh and bring Manipuri to international audiences.
• Nirmala Mehta, Kalavati Devi, and Ratan Thiyam have also contributed significantly to its development and promotion.

Manipuri in Contemporary Times

Today, Manipuri continues to thrive both in its traditional temple setting and on the modern stage. Institutions such as the Jawaharlal Nehru Manipur Dance Academy (Imphal) and various cultural centres across India promote its study and performance.
The dance is regularly featured in national festivals like the Khajuraho Dance Festival, Konark Festival, and Sangeet Natak Akademi programmes, symbolising the cultural unity and diversity of India.
Recognised by the Sangeet Natak Akademi as a major classical form, Manipuri remains a vital expression of the spiritual and aesthetic ethos of the Indian tradition.