Rasaka (Rasakam)
The Circle Dance of Celestial Maidens – Piṇḍīs, Lāsyas & the Ecstasy of Spring
Among the many deśī (regional) dance forms catalogued by the 13th‑century scholar‑warrior Jaya Senāpati in his Nṛttaratnāvalī, Rāsaka (also spelled Rasakam) stands out as the most visually enchanting and structurally sophisticated. Unlike the martial vigour of Perini or the acrobatic daring of Kollāṭa, Rāsaka was a graceful, group‑oriented dance performed by beautiful young women – often likened to celestial maidens (apsaras) – who wove intricate geometric patterns (piṇḍī‑bandhas) while singing and dancing to the melodies of spring. The very name evokes the rāsa (circle dance) of Kṛṣṇa with the Gopīs, and indeed Jaya explicitly compares the dancers to the milkmaids of Vṛndāvana. This article gathers every detail about Rāsaka from the Nṛttaratnāvalī and traces its connections to earlier and later texts, as well as its living legacy in the Raslila tradition.
The term Rāsaka (रासक) is derived from the Sanskrit root ras (to sound, to delight) or from rāsa (a circle dance, especially the mythical dance of Kṛṣṇa). In Prakrit and Apabhraṃśa, it appears as Rāsaya or Rāsa. The dance is intimately associated with the spring season (vāsanta) and with love (śṛṅgāra rasa). It was performed in temple courtyards, royal gardens, and festival grounds, often as part of the Vasantotsava (spring festival).
Jaya classifies Rāsaka as a deśī nṛtta (regional dance) and places it in the seventh chapter of his work, between Perani and Carcarī. Importantly, the illustrious 11th‑century king and scholar Bhoja of Dhārā had also described Rāsaka in his encyclopaedic Śṛṅgāraprakāśa, and Jaya seems to have drawn upon Bhoja’s work. The great commentator Abhinavagupta (10th‑11th century) mentions that Rāsaka could involve up to 64 dancers, indicating its potential for spectacular mass performances.
“रासके तु नानातालप्रयोगः । द्वाःषष्टिपर्यन्तं पात्राणि भवन्ति ।”
(“In Rāsaka, various tālas are employed. The number of performers can go up to sixty‑four.”)
Jaya’s description of Rāsaka appears in Chapter VII, verses 84–97 (critical edition). It is one of his longest and most vivid descriptions. Below is a systematic compilation of everything Jaya tells us.
💃 A. Number & Composition of Dancers
- Primarily women: The dancers are beautiful, youthful women, adorned with fine jewellery and garments. Jaya compares them to lightning flashes – “चञ्चलापाङ्गनयनास्तडित्वन्त इव स्त्रियः” – their sidelong glances as quick as lightning.
- Numbers: The dance can be performed by sixteen, twelve or eight dancers – all even numbers, suggesting symmetrical groupings. The number determines the complexity of the patterns.
- Male dancers: Occasionally, expert male dancers also participate, especially in more vigorous sections.
- Entry in pairs: The dancers enter from either side, two by two, executing the same cārīs (leg movements) as they advance towards the centre.
🌀 B. Piṇḍī‑bandhas – The Geometric Patterns
The most distinctive feature of Rāsaka is the creation of piṇḍī‑bandhas – intricate group formations where the dancers interlace their bodies, hands, and feet to form living patterns. Jaya enumerates four main types, following Bharata’s Nāṭya Śāstra (IV. 286‑291):
- Piṇḍī (or Gulma/Śrṅkhalikā): A cluster or chain formation, where dancers stand in a close group or hold hands in a line. Performed in the slowest tempo (vilambita laya).
- Śrṅkhalikā (Chain): Dancers form a chain by linking arms or hands, moving in a serpentine line. Slightly faster tempo (madhya laya?).
- Latā (Creeper): Bodies intertwine like a creeper around a tree. One dancer may stand steady while others wrap around her. Medium tempo.
- Bhedyaka (or Meghaka): A scattered formation where dancers break apart and regroup, resembling scattered clouds. Fastest tempo (druta laya).
Jaya adds that these patterns could be sajātīya (homogeneous – all dancers making the same shape) or vijātīya (heterogeneous – different poses within the formation). The dancers also form patterns representing lotuses, wheels, and other auspicious symbols.
“Piṇḍī is so called because of the piṇḍana (clustering) of limbs. Śrṅkhalikā is a chain. Latā is a creeper, and Bhedyaka is like a broken cloud. These are the four Piṇḍī‑bandhas. Wise dancers form them in various ways, sometimes uniform, sometimes varied.”
🎵 C. Music & Song – Carcarīs in Hindola Rāga
The musical accompaniment for Rāsaka is rich and varied:
- Carcarī songs: These are special songs sung during the dance, named Carcarī (which Jaya also describes as a separate dance form). The lyrics are in praise of spring, love, and Kṛṣṇa.
- Rāga Hindola: The songs are set specifically to the Hindola rāga – a melodic mode associated with the swing (hindola) and the spring season. Hindola is still a popular rāga in Hindustani and Karnatak music, evoking joy and romance.
- Deśī songs: Apart from Carcarīs, other regional songs (deśī gītāni) may also be used.
- Abhinaya: The dancers interpret the meaning of the songs through hand gestures (hastas) and facial expressions (abhinaya). Jaya emphasises that they perform pada‑abhinaya (word‑by‑word interpretation) in Nāṭya Rāsaka (a variant), but in Rāsaka proper, the abhinaya is more general (vākyārtha).
- Rhythm keeping: Dancers snap their fingers (cūṭikā) or strike each other’s palms to maintain the tāla. These percussive sounds are integrated into the music.
🧣 D. Costume, Adornment & Entry Ritual
Jaya provides a delightful picture of the dancers’ appearance:
- Saree with shorts: Women wear a fine saree (silk or cotton) tucked in the front, with a short underskirt, allowing freedom of leg movement.
- Hair: Hair is arranged in a single plait (ekaveṇī) or a bun, decorated with flowers (jasmine, champaka).
- Jewellery: Necklaces, earrings, armlets, waist‑belts, and ankle bells – all made of gold or silver, sometimes set with gemstones.
- Men’s attire: Male dancers (if present) wear a dhoti, a short jacket, and a turban, with fewer ornaments.
- Entry: As the instruments begin to play, the dancers enter in pairs from the left and right wings of the stage, executing identical cārīs. They form two facing rows and then interlace.
🌸 E. Performance Context – Spring Festival & Temple Celebrations
Rāsaka was preeminently a dance of the spring season (vāsanta). It was performed during the Vasantotsava (March‑April), when nature is in full bloom, and the mood is one of joy, love, and abandon. Specific contexts include:
- Temple festivals dedicated to Kṛṣṇa: The association with the Rāsa‑līlā of Kṛṣṇa and the Gopīs is explicit. Jaya says: “इव गोपीभिरावृतं” (“like the Gopīs surrounding Kṛṣṇa”).
- Royal court entertainments: Especially on spring evenings, in palace gardens lit with lamps.
- Public celebrations: The dance could be performed in large open spaces, with the audience seated around.
The dance could last for several hours, with dancers entering, exiting, and re‑entering in different formations, creating a continuously shifting visual spectacle.
“Thus they dance, their bracelets jingling, their hair loosened, their faces radiant with joy. They form circles, chains, and creeping vines of living limbs. The onlookers are lost in wonder, unable to distinguish one dancer from another, as if watching a painting come to life.”
Jaya describes two important variants of Rāsaka, each with its own character:
🎭 Nāṭya Rāsaka
This is a more dramatised version. While Rāsaka focuses on general mood (vākyārtha abhinaya), Nāṭya Rāsaka involves detailed word‑by‑word gestural interpretation (padārtha abhinaya) of the songs. Jaya notes that here, the deeds of the king or hero are enacted through dance. The songs remain in Hindola rāga. This variant blurs the line between pure dance and dance‑drama.
🥁 Daṇḍa Rāsaka (Stick Rāsaka)
Also described separately (verses 98‑104), this is a lively group dance where each dancer holds two small wooden sticks (daṇḍas) – one in each hand – and strikes them against the sticks of neighbours in rhythm. This is the direct ancestor of the still‑popular folk dance Kolāṭṭam (stick dance) of Tamil Nadu and Andhra. Jaya notes:
- Sticks are made of arjuna wood or other hard timber.
- Instead of sticks, a fly‑whisk (cāmara) and a dagger may be used, depending on regional custom.
- The number of dancers can increase from eight to sixty‑four, arranged in two facing rows.
- Movements include right/left turns, circles, and bringing the sticks together at specific beats.
Jaya’s description of Daṇḍa Rāsaka is echoed by Pārśvadeva (S.S.S., pp. 24‑25) and by Śārṅgadeva (S.R. VII. 1330‑31 under Kolhātika).
Rāsaka was a well‑established genre long before Jaya. Key references include:
- Bhoja’s Śṛṅgāraprakāśa (11th century): Bhoja describes Rāsaka as a dance of 16, 12 or 8 women, performing piṇḍī‑bandhas, with songs in Hindola rāga. He distinguishes Rāsaka from Nāṭya Rāsaka (which has padārtha abhinaya). Jaya’s account is heavily indebted to Bhoja, though Jaya adds his own clarifications.
- Abhinavagupta’s Abhinavabhāratī (10th‑11th century): On Nāṭya Śāstra IV, Abhinavagupta discusses the piṇḍī‑bandhas and mentions that Rāsaka can have up to 64 dancers, each with cymbals or sticks.
- Śārṅgadeva’s Saṅgītaratnākara (13th century): Does not describe Rāsaka as a separate form, but his treatment of carcarī (IV. 292‑293) notes that Carcarī songs are in Hindola rāga and are danced in a circle – clearly referencing the Rāsaka tradition.
- Pārśvadeva’s Saṅgītasamayasāra: Mentions Rāsaka only briefly, but gives details of Daṇḍa Rāsaka.
Thus, Jaya stands in a rich lineage, synthesising earlier descriptions and adding his own observations from the Kakatiya court.
While Rāsaka is not as commonly depicted in stone as the karaṇas, several temple sculptures show group dance scenes that likely illustrate Rāsaka:
- Rāmappa Temple, Palampet: A panel on the western wall shows four women dancing in a circle, holding hands, while a male musician plays a drum. The circular formation matches the “rāsa” pattern.
- Hoaysala temples (Belur, Halebidu): Friezes of dancing women forming chains and circles are common, often interpreted as Rāsaka.
- Telugu literary descriptions: Pālkuriki Somanātha’s Panditārādhyacaritra describes “circle dances of women” during the Śrīśailam festival, using terms like rāsakamulu.
The living descendant of ancient Rāsaka is the Raslila of the Braj region (Uttar Pradesh), which dramatises Kṛṣṇa’s dance with the Gopīs. While Raslila is more theatrical and devotional, it retains the circular formation, the spring season context, and the singing of love‑songs. Key similarities:
- Circle dance: The Gopīs form a circle around Kṛṣṇa, moving in rhythmic steps.
- Piṇḍī‑like formations: In some Raslilas, the dancers form chains and interlocking patterns.
- Spring festival performance: Raslila is traditionally performed during Holi (spring) and on Janmāṣṭamī.
In South India, the Kolāṭṭam (stick dance) directly continues the Daṇḍa Rāsaka tradition, especially in Tamil Nadu (where it is called Kōl Āṭṭam) and Andhra (Kolatam). It is performed during Pongal and other harvest festivals. The distinctive feature – striking sticks in rhythm while moving in circles or rows – is exactly what Jaya described.
Revival efforts: In recent years, the Kuchipudi repertoire has included a group item called Rāsaka or Gopī Rāsaka, choreographed based on Jaya’s descriptions. The Perini Institute of Dance (Warangal) has also reconstructed a version of Rāsaka with eight dancers, performed during the annual Kakatiya Festival.
“एवं रासकमाख्यातं सर्वलोकमनोहरम् ।
पिण्डीबन्धैर्विचित्रैश्च नानातालैर्मनोरमैः ॥”
(“Thus is described Rāsaka, which captivates all people, with its wonderful piṇḍī‑bandhas and delightful tālas.”)
💃 Rāsaka
- Circle / chain formations (piṇḍī‑bandhas)
- Women dancers (16,12,8), sometimes men
- Spring season, Hindola rāga, Carcarī songs
- Graceful, lalita style
- Abhinaya: vākyārtha (general)
🥁 Daṇḍa Rāsaka
- Stick dance (Kolāṭṭam)
- Men & women, larger groups (up to 64)
- Harvest festivals, no seasonal restriction
- Vigorous (uddhata) style
- No abhinaya – pure rhythmic stick‑striking
🎭 Nāṭya Rāsaka
- Dance‑drama, enacts stories
- Same personnel as Rāsaka
- Spring season, Hindola rāga
- Mixture of dance and mime
- Padārtha abhinaya (word‑by‑word)
📚 References & Further Reading
- Jaya Senāpati, Nṛttaratnāvalī, ed. Dr. V. Raghavan, Madras Government Oriental Series, 1960 – Chapter VII (Deśī Nṛtta: Rāsaka, verses 84‑104) and Introduction (pp. 35, 142‑147).
- Bhoja, Śṛṅgāraprakāśa, ed. Dr. V. Raghavan (1963) – sections on Rāsaka and Nāṭya Rāsaka (pp. 564‑567).
- Abhinavagupta, Abhinavabhāratī, GOS. I – on Nāṭya Śāstra IV, Piṇḍī‑bandhas (pp. 170‑183).
- Śārṅgadeva, Saṅgītaratnākara, Adyar Library edition – Chapter IV (Prabandha) on Carcarī and Hindola rāga.
- Pārśvadeva, Saṅgītasamayasāra, Trivandrum Sanskrit Series No. 87 – pp. 24‑25 for Daṇḍa Rāsaka.
- Dr. V. Raghavan, “Later Saṅgīta Literature”, Journal of the Madras Music Academy, Vol. IV (1933).
- Nataraja Ramakrishna, Perini – The Warrior Dance of Telangana (Hyderabad, 1998) – includes a chapter on Rāsaka reconstruction.
- M. Rama Rao, The Kākatīyas of Warangal (1978) – for cultural context.
- The Hindu, “Reviving the Rasaka dance of the Kakatiyas”, April 5, 2019.
- Telangana Today, “Stick dance – from Daṇḍa Rāsaka to Kolāṭṭam”, January 14, 2023.
© For scholarly and educational purposes. All rights belong to respective sources.
Comments
Post a Comment