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Rasa Reela Mandali

The Manipuri Rasa Leela is performed either in the open or in a mandav by enacting a rasa
mandal in the middle . In earlier time the rasa mandal was very well made. Days before the
actual performance the madav is levelled and prepared. In comparision the rasa mandal is made
one day before the dance in the present days. There are 12 poles of the rasa mandal. And the
pillars of the mandav are wrapped with a while cloth or with heirangoi or heibong leaves. The
rasa mandala will be surrounded by plants, flowers creepers and the likes to make it
breathtakingly beautiful. Additionally chongaba and the likes are also made and kept. There are
four doorways in the four directions of the the rasa mandal. They are namaley eastern doorway,
western doorway, northern doorway and southern doorway. All the four gates are well decorated.
The rasa mandala is made as per the Srimadbhagavat and not according to Natyashastra.

A dol is needed when a rasa leela is performed. This dol is kept stung up to the ceiling. When
SriKrishna comes for Abhisar and reaches the North gate and take the tribhnaga murti the dol is
lowered by someone. The dol is also the place of the jugal roop of radha and Krishna and the
gopis gather around it for aarti. During aarti flowers are showered from the ceiling. For the
Krishna abhisar and the radha Krishna jugal roop a resting place comparable to the dolis made.
This resting place is made with a red phirangji overlaid by a white cloth. Near this is kept
beautifully cut banana leaves with beetle nuts, fruits and incense sticks. All these arrangements
are to be done towards the northern gate of the rasa mandali. Earlier artists would drop dolls of
Mahadeva and peacoks and present dances. This act is very close to puppet dance form. In
addition to this speaking parrots were also kept in the madali. When the gopis searched for
Krishna the parrots will tell where Krishan was. These practices are no longer followed now.
Thambal sharma identifies this with the sanjeeva aharyabhinaya of Natyashastra

During Rasa performace the Vrindavan kunja ie re-created by flowers in the

middle of the mandav. Speaking parrots are put on such decorations inside the
rasa madal. Earlier speaking parrots were much in demand and when
found invitations were issued. In Basanta Rasa when Radha goes away in anger
Krishnafrantically searches for her and the parrot chirping braja
kunja kunja provoked very emotional responses from the audience. This is
what is known as sanjeeva aharyabhinaya.

In Govindaji temple the rasa mandal is made with erecting four poles and putting white clothes
around them. A pit is dug in the middle and a wooden bhadra chakra is made about two khudups
from the ground. The bhadra ckakra is graced by Krishand and raha and devotees will move the
bhadra chakra round and round giving the wroshippers the chance to look upon the gods.

The ras mandala is very important. The mandala is accessed as per the requirements of the rasa.
Sometimes it is the residence of Nanda, it then transforms into the dense jungle, it also serves as
the homes of the various gopis as well as the way to the jungle. And when Krishna goes into a
meditative trance the gopis searching for him in the depths of the forest is again played in the
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same mandala. This same rasa mandala becomes the banks of the Yamuna and the rasa is played.
During Jalakeli this becomes the Yamuna river. Thus the rasa mandala assumes any form that is
required by any of the characters in the performance.

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1. The seat of the rasadharini is marked with the number one. It is on the nonchup koubru
corner of the mandav.
2. The seat of the tunghanba is marked with the number two and is to be seated on the right
of the rasadhari facing the east.
3. The seat of the sutradhari is marked with the number three. She is to be seated on the
northern koubru corner facing south.
4. The folowers of the sutradhari will seat on the left one after the other as per seniority and
all will face south.
5. The seat of the instrument players is marked with the number five. Asraj and clarinet
players all sit here facing the south.
6. The seat of the flute player is marked with number six and will be seated a little behind
the pillar between the rasadhari and the sutradhari facing meiram.
7. The seat of the conch player is marked with the number seven. He will face east.
8. The seat of the mandap mapu is marked with the number eight. He will face north.
9. The seat of the jagoi nahakpa is marked with the number nine and is seated facing west.
10. The seat of the arangpham is marked with the number ten and is at the koubru direction
of the mandala.

After everyone is seated accordingly the arangpham will come with the lei chandan. Bettle nuts
and broi clothes are then presented. After this the rasadharini will begin the minor raga of the
pung and begin the rasa. This practice is true for all other rasas. The corresponding sutra raga of
the rasa to be presented then follows this. And so the rasa is carried on.