Manipuri

Manipuri dance grew from the ancient Meitei ritual Lai Haraoba and, with the spread of Vaishnavism in the 18th century under King Bhagyachandra, became a temple art centred on Krishna's Ras Leela. Rabindranath Tagore brought it to national attention by inviting Manipuri gurus to Santiniketan.

Manipuri is the gentlest of the classical dances - no sharp lines or stamping, but a continuous, swaying, rounded grace, the feet soft, the body veiled in the stiff, shimmering kumil skirt. It is less display than worship: an offering in which the dancer's face stays serene.

The lyrical female Ras and the vigorous male Pung Cholom (drum dance) and Kartal Cholom (cymbal dance), to devotional Vaishnava song, the pung drum and kartal; costume is the elaborate kumil and veil.

Less filmed than the southern forms; celebrated on the concert and festival stage.

Manipuri dance has a smaller but deeply committed international audience. Guru Bipin Singh's work in Kolkata through Manipuri Nartanalaya brought the form to national attention. The tradition's lyrical, fluid quality distinguishes it visually from all other Indian classical dance forms. Contemporary Manipuri choreographers are expanding the repertoire while maintaining the form's foundational connection to Vaishnava devotion. The tradition faces challenges related to Manipur's complex political situation, which has affected cultural institutions and festivals in the state.

Manipur; performed across India through Santiniketan and beyond.

[Atlas] Manipuri turns dance into pure devotion - the only classical form whose aim is not to dazzle but to disappear into worship.