Introduction


Originated in Manipur.

MANIPURI

Its mythological origin is in the celestial dance of Shiva and Parvati in the
valleys of Manipur along with the local Gandharvas.

It is performed generally by females. The dance incorporates both the
tandava and lasya. As per Natya Shastra, there are two basic aspects of
Indian classical dance:

Lasya: Denotes grace and is symbolic of the feminine features of dance
as an art form.

Tandava: This is symbolic of the male aspects of dance and has more emphasis on rhythm and
movement.

Traces its origin to the festival of Lai Haraoba where many dances were performed.

Lai Haraoba
 One of the main festivals performed in Manipur and has its roots in the pre-Vaishnavite period.
 It means merrymaking of the gods and is performed as a ceremonial offering of song and dance.
 Is the earliest form of dance which forms the basis of all stylised dances in Manipur.

Gained prominence with the advent of Vaishnavism in the 15th century, when Lord Krishna became the
central theme of this dance form.

In modern times, Raja Bhag Chandra of Manipur in the 18th century tried to revive the dance.

Rabindranath Tagore brought the dance form back into the limelight when he introduced it in
Santiniketan.

The dance has a large repertoire, however, the most popular forms are the Ras, the Sankirtana and the
Thang-Ta.

Ras: Tells the story of Krishna, Radha and the Gopis and symbolises the spiritual love for Lord Krishna.

Sankirtana: Involves ritual singing, drumming and dancing performed in the temples and domestic
spaces. The performances exhibit unparalleled religious devotion, energy and narrate the many stories
of Lord Krishna.

Thang-Ta: It is the Manipuri martial art of sword and spear dedicated to fighting skill.

Features

The dance is unique in its emphasis on devotion and not sensuality. The faces are covered with a thin veil
as facial expressions are of lesser importance. Hand gestures and gentle movement of feet are important.

While the dance incorporates both Tandava and Lasya, the emphasis is laid on the latter. The focus is
mainly on slow and gracious movements of hand and knee positions.

NagaBandha Mudra: The body is connected through curves in the shape of 8and is an
important posture in this dance form.

Cholom: It is the masculine aspect of dance and is a part of the Sankirtana tradition.
 Costumes

The females wear unique long stiff skirts.

MANIPURI

A dark coloured velvet blouse covers the upper part of the body and a
traditional white veil is worn over a special hair-do.

The artist playing the role of Krishna wears a yellow dhoti, a dark velvet
jacket and a crown of peacock feathers.

The jewellery is very delicate and the designs are unique to the region.

Music

The Kirtan form of congregational singing accompanies the dance.

Nat: The Manipuri classical style of singing, very different from both north and south Indian music.
Recognizable with its high pitched open-throated rendering with a particular type of trills and
modulations.

Pung: The Manipuri classical drum that is the main musical instrument.

Pena: A mono stringed instrument used in Lai Haraoba.

Cymbals, Flute and Khartals (wood clapper) are also used.

The Ashtapadis of Jayadeva’s Geeta Govinda are very popular.