The Raasleela of Braj has a special place in the folk dramas of India. The natural beauty of the subject along with music, dance, acting, costumes and makeup has kept it alive for centuries. In Bharat Muni’s Natyashastra, there is mention of two different genres named Natya Rasak and Rasak. Abhinav Gupta, the commentator of Natya Shastra, has mentioned ‘Hallishak’ as the predecessor of Raas. The word Hallishak was used for the blooming lotus. Shri Krishna’s circle dance arrangement like a lotus with the gopis was called Hallishak. This tradition of Raas dance has been going on for a long time. In the beginning of the sixteenth century, it started taking the form of the present Raas stage.
The religious leaders of Braj took this drama form in their hands and formed it in a new form. Many efforts were made in this direction by Mahaprabhu Vallabhacharya, Swami Haridas and Shrihit Harivansh. Later, Ghamanddev, a resident of Karhala village of Braj, on the instructions of Mahaprabhu, gathered children and formed a Raas Mandali. Karhala village became a big center of Raas Leela. Narayan Bhatt ji also built Raas Mandals at various places and the staging of Krishna Leela started with Raas Nritya.
In Vrindavan, Shrihit Harivansh presented Raasleela as a new part of worship of Shri Krishna. Swami Haridas and Shrihit Harivansh themselves used to contribute their music and singing during the staging of Raasleela. Shrihit Vrindavandas made Raas literature popular by composing about fifty leelas. Along with using the verses of Bharatendu Harishchandra, his ‘Chandravali Natika’ was also staged in Raasleela. Gradually, verses of great poets Jaydev, Surdas and Ashtachhap poets also started being included in Raasleela.
At present, this form of Raas made in the Bhakti era remains in its original form with some changes. It has two parts, Nityaraas and Leelaprasang. Shri Krishna and Radhaji sit on the throne and the Gopis are present on both their sides. The group touches the feet of Swami Radhakrishna and sings Mangalacharan to the accompaniment of Sarangi. After Mangalacharan, Dhrupad is sung. After Dhrupad, a Sakhi stands up and requests Priya-Priyatama to come to the Raas Mandal. Shri Krishna dances with Radhaji. In this way, a continuous flow of songs and music keeps flowing during the enactment of the entire Raas Leela. In the end, the Raas concludes with the proclamation of ‘Laadli Lal Ki Jai’.
Raas Leela can be staged anywhere from temple courtyard to river bank, garden, verandah of huge buildings, ghat or a fully decorated stage etc. The popularity of Raas Leela, which started from the Bhakti era, increased so much that big kings, nawabs, princely states started giving it patronage. The Rasleela stage built by Jaipur King Raja Jai Singh at Kalidah in Vrindavan is today known as ‘Jaisingh Ghera’. Vikram, son of Karhala resident Udaykaran, had courageously performed Rasleela in front of Aurangzeb and as a reward he received permission to build a permanent house in Karhala as well as a village estate.
After independence, the Ras Mandali of Swami Hargovind and Swami Ramswaroop ji gained immense fame. These Ras Mandalis were successful in garnering praise not only at various places in the country but also abroad. Today, about fifty Ras Mandalis in Vrindavan are keeping this ancient art alive.
Rasleela can be staged at places ranging from temple courtyard to river bank, garden, verandah of huge buildings, ghat or a fully decorated stage etc. The popularity of Rasleela, which started from the Bhakti period, increased so much that big kings, nawabs and princely states started giving it patronage.