Uttar Pradesh: Vrindavan's Raas Leela
The Raas Leela is a re-creation of a key episode in Krishna’s childhood. The original dance was performed one night when the gopis (generally translated as ‘milkmaids’) of Vrindavan heard Krishna playing his flute in the forest and joined him to dance. Krishna magically stretches the night to last one ‘Night of Brama’, or approximately 4.32 billion years.
Broadly translated, Raas Leela means, ‘The Dance of Divine Love’ and has been developed by almost all of India’s traditional (and non-traditional) schools of dance into their own style. However, it is the folk tradition of Vrindavan that is believed to be the original form. The performers are all men (or young boys), including the female parts of Radha (Krishna’s favourite) and the other gopis. Whilst originally this is said to have caused scepticism among the audience, Lord Krishna himself appeared at the first performance in order to give it his blessing.
The performance that I saw was on the eve of Kirshna’s birthday, Krishna Janmashtami, in Sudarama Kothi, Vrindavan. The performers were all young boys and despite the colourful costumes and enthusiastic performances, this was clearly a traditional show (none of the performers, audience or hosts spoke any English). The crowd (mostly women) were captivated and sought blessings from the boy performing as Krishna. In tipping Krishna, they treated him as the incarnation of the God, touching his feet, offering him money and holding him in high respect.
Read MoreBroadly translated, Raas Leela means, ‘The Dance of Divine Love’ and has been developed by almost all of India’s traditional (and non-traditional) schools of dance into their own style. However, it is the folk tradition of Vrindavan that is believed to be the original form. The performers are all men (or young boys), including the female parts of Radha (Krishna’s favourite) and the other gopis. Whilst originally this is said to have caused scepticism among the audience, Lord Krishna himself appeared at the first performance in order to give it his blessing.
The performance that I saw was on the eve of Kirshna’s birthday, Krishna Janmashtami, in Sudarama Kothi, Vrindavan. The performers were all young boys and despite the colourful costumes and enthusiastic performances, this was clearly a traditional show (none of the performers, audience or hosts spoke any English). The crowd (mostly women) were captivated and sought blessings from the boy performing as Krishna. In tipping Krishna, they treated him as the incarnation of the God, touching his feet, offering him money and holding him in high respect.
