Manipuri dance

Though the term Manipuri Dance is more commonly associated with the Raslila, its identity is also related to the Jagoi (the Raas and the Lai Haraoba), the Pung Cholom and the Thang Ta (a combat form of Huiyen Lallong).{{Cite news|url=https://www.thehindu.com/features/friday-review/dance/gem-of-a-journey/article5530221.ece|title = Gem of a journey|newspaper = The Hindu|date = 2 January 2014|last1 = Chowdhurie|first1 = Tapati}}https://www.esamskriti.com/essays/pdf/14-dec-manipuri-dance-a-journey.pdf {{Bare URL PDF|date=March 2022}}{{Cite web|url=https://www.indiatoday.in/magazine/society-the-arts/story/19790815-manipuri-dance-elbowed-out-by-bharat-natyam-odissi-kathak-822668-2014-02-22|title = Manipuri dance elbowed out by Bharat Natyam, Odissi, Kathak| date=22 February 2014 }} To certain extent, Meitei Nat Sankirtana, a traditional Meitei form of Kirtan, is also related to its identity.

The first reliably dated written texts describing the art of Manipuri dance are from the early 18th-century.{{Sfn|Reginald Massey|2004|p=179}}

Historical texts of Manipur have not survived into the modern era, and reliable records trace to early 18th century.{{Sfn|Reginald Massey|2004|pp=178-180}} Theories about the antiquity of Manipuri Raas Leela dance rely on the oral tradition, archaeological discoveries and references about Manipur in Asian manuscripts whose date can be better established.{{Sfn|Reginald Massey|2004|pp=178-180}}

The Meitei language text Bamon Khunthok, which literally means "Brahmin migration", states that Vaishnavism practices were adopted by the king of Manipur in the 15th century CE, arriving from Shan Kingdom of Pong.{{cite book|author=K Ayyappap Panikkar|title=Medieval Indian Literature: Surveys and selections|url=https://books.google.com/books?id=KYLpvaKJIMEC&pg=PA327|year=1997|publisher=Sahitya Akademi|isbn=978-81-260-0365-5|pages=325–329}} Further waves of Buddhists and Hindus arrived from Assam and Bengal, after mid 16th-century during Hindu-Muslim wars of Bengal Sultanate, and were welcomed in Manipur. In 1704, the Meitei King Pitambar Charairongba ({{langx|mni|Charairongba}}) adopted Vaishnavism, and declared it to be the state religion. In 1717, the Meitei King Gareeb Niwaz ({{langx|mni|Pamheiba}}) converted to Chaitanya style devotional Vaishnavism, which emphasized singing, dancing and religious performance arts centered around Hindu god Krishna. In 1734, devotional dance drama centered around Hindu god Rama expanded Manipuri dance tradition.

File:Pung cholom performer, Manipur.jpg wrote sixty four drum dances.]]

Meitei King Rajarshi Bhagyachandra ({{langx|mni|Ching-Thang Khomba}}) (r. 1759–1798 CE) of Manipur State adopted Gaudiya Vaishnavism (Krishna oriented),{{Sfn|Reginald Massey|2004|pp=181-184}} documented and codified the Manipuri dance style, launching the golden era of its development and refinement.{{Sfn|Reginald Massey|2004|pp=184-186}} He composed three of the five types of Raas Leelas, the Maha Raas, the Basanta Raas and the Kunja Raas, performed at the Sri Sri Govindaji temple in Imphal during his reign and also the Achouba Bhangi Pareng dance. He designed an elaborate costume known as Kumil (the cylindrical long mini-mirror-embellished stiff skirt costume, that makes the dancer appear to be floating). The Govinda Sangeet Lila Vilasa, an important text detailing the fundamentals of the dance, is also attributed to him.{{Sfn|Reginald Massey|2004|pp=184-186}}{{cite book|author=Shovana Narayan|title=The Sterling Book of Indian Classical Dance|url=https://books.google.com/books?id=zLOiaGDLYOAC |year=2011|publisher=Sterling Publishers|isbn=978-81-207-9078-0|pages=55–58}} Rajarshi Bhagyachandra is also credited with starting public performances of Raas Leela and Manipuri dances in Hindu temples.

File:Colorful cultural performance by artistes, on the occasion of the 12th South Asian Games-2016, at Indira Gandhi Athletics Stadium, in Guwahati, Assam on February 05, 2016 (1).jpg

Meitei King Gambhir Singh ({{langx|mni|Chinglen Nongdrenkhomba}}) (r. 1825–1834 CE) composed two {{transliteration|sa|parengs}} of the tandava type, the Goshtha Bhangi Pareng and the Goshtha Vrindaban Pareng. King Chandrakirti Singh (r. 1849–1886 CE), a gifted drummer, composed at least 64 Pung choloms (drum dances) and two {{transliteration|sa|parengs}} of the Lasya type, the Vrindaban Bhangi Pareng and Khrumba Bhangi Pareng. The composition of the Nitya Raas is also attributed to these kings.Singha, R. and Massey R. (1967) Indian Dances, Their History and Growth, Faber and Faber, London, pp.175–77

In 1891, the British colonial government annexed Manipur into its Empire, marking an end to its golden era of creative systematization and expansion of Manipuri dance.{{Sfn|Reginald Massey|2004|pp=185-186}} The Manipuri Raas Leela dance was thereafter ridiculed as immoral, ignorant and old-fashioned, like all other classical Hindu performance arts.{{Sfn|Reginald Massey|2004|pp=185-186}} The dance and artists survived only in temples, such as in Imphal's Shree Govindajee Temple. The cultural discrimination was resisted and the dance revived by Indian independence movement activists and scholars.{{Sfn|Reginald Massey|2004|pp=185-186}}

The classical Manipuri Raas Leela dance genre got a second life through the efforts of the Noble Laureate Rabindranath Tagore.{{Sfn|Reginald Massey|2004|pp=186-187}}{{cite book|author=Naorem Sanajaoba|title=Manipur, Past and Present: The Heritage and Ordeals of a Civilization|url=https://books.google.com/books?id=-CzSQKVmveUC&pg=PA131| year=1988| publisher=Mittal Publications|isbn=978-81-7099-853-2|page=131}} In 1919, he was impressed after seeing a dance composition of Goshtha Lila in Sylhet (in present-day Bangladesh). He invited Guru Budhimantra Singh who had trained in Manipuri Raas Leela dance, as faculty to the Indian culture and studies center named Shantiniketan.{{Sfn|Reginald Massey|2004|pp=185-186}} In 1926, Guru Naba Kumar joined the faculty to teach the Raas Leela. Other celebrated Gurus, Senarik Singh Rajkumar, Nileshwar Mukherji and Atomba Singh were also invited to teach there and assisted Tagore with the choreography of several of his dance-dramas.Singha, R. and Massey R. (1967) Indian Dances, Their History and Growth, Faber and Faber, London

{{See also|#International recognition}}

File:Rasa Lila in Manipuri dance style.jpg

The Manipuri classical dance form, which is a masterpiece of Meitei Hindu king {{langnf|mni|Ching Thang Khomba|Rajarshi Bhagyachandra}} of the historical Kingdom of Manipur, is regarded as the highest spiritual expression of the worship of Hindu deity Krishna.

Native to the Meitei civilization of Manipur, India,{{Cite web |title=Dance {{!}} Ministry of Culture, Government of India |url=https://www.indiaculture.gov.in/dance |website=www.indiaculture.gov.in}} having significant cultural influences on the different civilizations across the Indian subcontinent, the Manipuri classical dance is recognised by the Sangeet Natak Akademi of the Ministry of Culture of the Government of India as one of the few primary classical dance forms of the Republic of India. At the same time, it is annually honoured with the Sangeet Natak Akademi Award for Manipuri.{{Cite web |title=Sangeet Natak Akademi Puraskar (Akademi Awards) |url=http://www.sangeetnatak.com/sna/awardeeslist.htm |archive-url=https://web.archive.org/web/20120216050006/http://www.sangeetnatak.com/sna/awardeeslist.htm |archive-date=2012-02-16 |website=Sangeet Natak Akademi, Ministry of Culture, Government of India}}

{{Main|Meitei people in Bangladesh#Culture{{!}}Meitei culture in Bangladesh}}

According to Banglapedia, the national encyclopedia of Bangladesh, the importance of Manipuri classical dance in Meitei civilization is described as follows:{{Cite web |title=Manipuri, The - Banglapedia |url=https://en.banglapedia.org/index.php/Manipuri,_The |access-date=2023-12-10 |website=en.banglapedia.org |publisher=Banglapedia |place=Bangladesh |language=en |publication-place=Bangladesh |quote=... Dance and music play a vital role in the life span of Manipuri people. The most flourishing branch of Manipuri culture is dance. The Manipuri synonym of dance is jagoi and in this dance, body movements create either circle or ellipse. Rasa dance is the finest product of Manipuri culture. Maharaj Bhagyachandra innovated it and it was first performed in Manipur in 1779 in the fullmoon of Kartik. ...}}

{{Blockquote|“Dance and music play a vital role in the life span of Manipuri people. The most flourishing branch of Manipuri culture is dance. The Manipuri synonym of dance is jagoi and in this dance, body movements create either circle or ellipse. Rasa dance is the finest product of Manipuri culture. Maharaj Bhagyachandra innovated it and it was first performed in Manipur in 1779 in the fullmoon of Kartik.”|Banglapedia{{Cite web |title=Manipuri, The - Banglapedia |url=https://en.banglapedia.org/index.php/Manipuri,_The |access-date=2023-12-10 |website=en.banglapedia.org |publisher=Banglapedia |place=Bangladesh |language=en |publication-place=Bangladesh |quote=... Dance and music play a vital role in the life span of Manipuri people. The most flourishing branch of Manipuri culture is dance. The Manipuri synonym of dance is jagoi and in this dance, body movements create either circle or ellipse. Rasa dance is the finest product of Manipuri culture. Maharaj Bhagyachandra innovated it and it was first performed in Manipur in 1779 in the fullmoon of Kartik. ...}}}}

File:Manippuri dance of India by Shagil Kannur.jpg

Chali or Chari is the basic dance movement in Manipuri Raas dances.{{Sfn|Ragini Devi|1990|pp=177-179}} The repertoire and underlying play depends on the season. The dances are celebrated on full moon nights, three times in autumn (August through November) and once again in spring (March or April).{{Sfn|Ragini Devi|1990|pp=177-179}} The Basanta Raas is timed with the Hindu festival of colors called Holi, while others are timed with post-harvest festivals of Diwali and others. The plays and songs recited during the dance performance center around the love and frolics between Radha and Krishna, in the presence of Gopis named Lalita, Vishakha, Chitra, Champaklata, Tungavidya, Indurekha, Rangadevi and Sudevi.{{Sfn|Ragini Devi|1990|p=179}} There is a composition and dance sequence for each Gopi, and the words have two layers of meanings, one literal and other spiritual. The longest piece of the play focusses on Radha and Krishna.{{Sfn|Ragini Devi|1990|pp=177-179}} The dancer playing Krishna expresses emotions, while the body language and hand gestures of the Gopi display their feelings such as longing, dejection or cheer.{{cite book|author=Shovana Narayan|title=The Sterling Book of Indian Classical Dance|url=https://books.google.com/books?id=zLOiaGDLYOAC |year=2011|publisher=Sterling Publishers|isbn=978-81-207-9078-0|pages=58–59}}

The rhythmic depiction form of abhinaya[acting] is to show the ashtanayika [eight shades of a heroine] in every nayika, which are colored by the scenes of the season in which the "abhisarika" expresses her love for Krishna; so that a kuaasha abhisarika who dances in the foggy winter is very different to the varsha abhisarika who faces the thunderous downpouring rain.[https://www.firstpost.com/art-and-culture/know-your-classical-dances-manipuri-raas-leela-and-its-exploration-of-love-both-romantic-and-spiritual-10438021.html Manipuri Raas Leela]

In other plays, the Manipuri dancers are more forceful, acrobatic and their costumes adjust to the need of the dance. Dozens of boys synchronously dance the Gopa Ras, where they enact the chores of daily life such as feeding the cows. In Uddhata Akanba, states Ragini Devi, the dance is full of vigor (jumps, squats, spins), energy and elegance.{{Sfn|Ragini Devi|1990|pp=177-179}}

File:Manipuri Dance.jpg is in green coloured potloi while the other gopis wear red.]]

The classical Manipuri dance features unique costumes. The women characters are dressed, in doll-like Potloi costumes.{{cite book|author=Jamini Devi|url=https://books.google.com/books?id=wLzDLsEYZGQC&pg=PA63|title=Cultural History of Manipur: Sija Laioibi and the Maharas|publisher=Mittal Publications|year=2010|isbn=978-81-8324-342-1|pages=61–69}} The brilliant design of the Potloi was conceived in a dream by Vaishnavite Meitei King Rajarshi Bhagyachandra, in which he saw his daughter dancing in a Potloi. The Potloi costumes for women are tailored such that it is avoids arousal of any unhealthy stimulus in the audience.

Kumin is an elaborately decorated barrel shaped long skirt stiffened at the bottom and close to the top. The decorations on the barrel include gold and silver embroidery, small pieces of mirrors, and border prints of lotus, Kwaklei orchid, and other items in nature.

The dancers do not wear bells on ankles but do wear anklets and foot ornaments. Manipuri dance artists wear kolu necklaces on the neck and adorn the face, back, waist, hands and legs with round jewellery ornaments or flower garlands that flow with the dress symmetry.{{cite book|author=Shovana Narayan|url=https://books.google.com/books?id=zLOiaGDLYOAC|title=The Sterling Book of Indian Classical Dance|publisher=Sterling Publishers|year=2011|isbn=978-81-207-9078-0|pages=57–58}} The face is decorated with the sacred Gaudiya Vaishnava Tilak on the forehead and Gopi dots made of sandalwood above the eyebrows. The symmetrical translucent dress, states Reginald Massey, makes "the dancers appear to float on the stage, as if from another world".{{Sfn|Reginald Massey|2004|p=184}}

Koknam (gauze oveerhead, embossed with silver zari), Koktombi (cap covering the head) and Meikhumbi (a transparent thin veil) thrown over the head to symbolically mark elusiveness.

File:Sudip kumar ghosh.jpg

Men wear Leittreng (Kajenglei) (golden headdress around the head) and Chura (made of peacock feathers, wired on top of the head).

The male characters dress in a dhoti (also called {{transliteration|kn|dhotra}} or dhora) – a brilliantly colored broadcloth pleated, wrapped and tied at waist and allowing complete freedom of movement for the legs. Dancers wear a bright yellow-orange dhoti while playing Krishna and a green/blue dhoti while playing Balaram. A crown decorated with peacock feather adorns the dancer's head, who portrays Krishna.

The Pung Cholom dancers wear white dhoti that covers the lower part of body from waist and a snow-white turban on the head. A shawl neatly folded adorns their left shoulders while the drum strap falls on their right shoulders.

The costume tradition of the Manipuri dance celebrates its more ancient artistic local traditions, fused with the spiritual themes of prema bhava of Radha-Krishna found in the tenth book of the Bhagavata Purana.{{cite book|author1=Peter J. Claus|author2=Sarah Diamond|author3=Margaret Ann Mills|title=South Asian Folklore: An Encyclopedia|url=https://books.google.com/books?id=ienxrTPHzzwC |year=2003|publisher=Routledge |isbn=978-0-415-93919-5 |pages=514 }}

The Huyen langlon dancers, however, typically wear costumes of Manipuri warriors. The costume varies depending on their gender.

The musical accompaniment for Manipuri dance comes from a percussion instrument called the Pung (a barrel drum{{Sfn|Reginald Massey|2004|p=198}}), a singer, small {{transliteration|sa|kartals}} (cymbals), sembong, harmonium, and wind instrument such as a flute.{{cite book|author=S Prajnanananda|title=A historical study of Indian music|url=https://books.google.com/books?id=guXibgtWsNwC|year=1981|publisher=Munshiram Manoharlal|page=223|isbn=9788121501774}}

File:A group of musicians and instruments at Jagoi, the Manipuri dance.jpg

The drummers are male artistes and, after learning to play the pung, students train to dance with it while drumming. This dance is celebrated, states Massey, with the dancer wearing white turbans, white dhotis (for Hindu dummers) or kurtas (for Muslim dummers), a folded shawl over the left shoulder, and the drum strap worn over the right shoulder.{{Sfn|Reginald Massey|2004|p=198}} It is known as Pung cholom, and the dancer plays the drum and performs the dance jumps and other movements.{{Sfn|Reginald Massey|2004|p=198}}

Another dance called Kartal cholom, is similar to Pung cholom, but the dancers carry and dance to the rhythm created with cymbals.{{Sfn|Reginald Massey|2004|pp=198-199}} This is a group dance, where dancers form a circle, move in the same direction while making music and dancing to the rhythm.{{Sfn|Reginald Massey|2004|p=199}} Women dance too as groups, such as in the Manipuri dance called Mandilla cholom, and these usually go with devotional songs and playing colorful tassels-string tied cymbals where one side represents Krishna and the other Radha.{{Sfn|Reginald Massey|2004|p=199}} Shaiva (tandava) dances are choreographed as Duff cholom and Dhol cholom.{{Sfn|Reginald Massey|2004|p=199}}

The songs in Huyen langlon can be played with any Meitei instruments such as the pena and are usually aggressive sounding but they contain no lyrics.

File:Manipuri dance of India by Shagil Kannur 01.jpg

The traditional Manipuri Raas Lila is performed in three styles – Tal Rasak, Danda Rasak and Mandal Rasak.{{Sfn|Reginald Massey|2004|p=193}} A Tal Rasak is accompanied with clapping, while Danda Rasak is performed by synchronous beat of two sticks but the dancers position it differently to create geometric patterns.{{Sfn|Reginald Massey|2004|p=193}} The Gopis dance in a circle around the Krishna character in the center.{{Sfn|Reginald Massey|2004|p=193}}

The Manipuri dance comes in two categories - tandav (vigorous dance for the dancer who plays Krishna) and lasya (delicate{{cite book|author=Vimalakānta Rôya Caudhurī|title=The Dictionary of Hindustani Classical Music|url=https://archive.org/details/dictionaryofhind00roya|url-access=registration|year=2000|publisher=Motilal Banarsidass |isbn=978-81-208-1708-1|page=[https://archive.org/details/dictionaryofhind00roya/page/80 80]}} dance for the dancers who play Radha and Gopis).{{Sfn|Reginald Massey|2004|pp=193-194}}{{Sfn|Saryu Doshi|1989|pp=xvi-xviii, 44-45}}

The Manipuri Raas Leela dance style embodies dreamy wavelike movements where one movement dissolves into another like the waves of an ocean. The dance features rounded soft movements of women, and occasional fast movements by male characters.{{Sfn|Farley P. Richmond|Darius L. Swann|Phillip B. Zarrilli|1993|pp=174-175}}{{Sfn|Ragini Devi|1990|p=176}} Unlike the other classical dance forms of India, the Manipuri dance artists do not wear anklet bells and the footwork is subdued and gentle in the Manipuri style. The stage movements is part of a composite movement of the whole body.{{Sfn|Farley P. Richmond|Darius L. Swann|Phillip B. Zarrilli|1993|pp=174-175}}{{Sfn|Ragini Devi|1990|p=176}}

There are five types of accepted Ras Leela, they are Maharas, Basantaras, Kunjaras, Nityaras and Dibaras.{{Cite web |last=Manna |first=Subhendu |date=July 2020 |title=The Emergence of Gaudiya Vaishnavism in Manipur and its Impact on Nat Sankirtana |url=https://www.researchgate.net/publication/343246570}}

The Maharas Leela is the most prominent. This dance is performed in the month of Kartik (around November) on a full moon night.{{Cite book |last1=Kumar |first1=Niraj |url=https://books.google.com/books?id=f-TzDwAAQBAJ&dq=maha+ras+manipuri&pg=PT306 |title=Himalayan Bridge |last2=Driem |first2=George van |last3=Stobdan |first3=Phunchok |date=2020-11-18 |publisher=Routledge |isbn=978-1-000-21551-9 |language=en}} It is a story of the Gopis sorrow after the disappearance of Krishna. After seeing the Gopis disheartened, Krishna then reappears and multiplies himself so that he is dancing with each Gopi.{{Cite journal |last=Devi |first=Elangbam Radharani |date=June 2018 |title=Maharas Leela of Manipur |url=https://www.researchgate.net/publication/339290023 |journal=Spectrum |volume=6 |issue=1 |pages=104–105}}

The Basantaras is celebrated on Chaitra (around April) on a full moon night welcoming the spring season.{{Cite book |last1=Kumar |first1=Niraj |url=https://books.google.com/books?id=f-TzDwAAQBAJ&q=basantaras&pg=PT306 |title=Himalayan Bridge |last2=Driem |first2=George van |last3=Stobdan |first3=Phunchok |date=2020-11-18 |publisher=Routledge |isbn=978-1-000-21551-9 |language=en}} During this time Holi is also celebrated where participants throw colored water or powder at each other.{{Cite book |last=Massey |first=Reginald |url=https://books.google.com/books?id=t6MJ8jbHqIwC&q=tandav+and+lasya&pg=PA5 |title=India's Dances: Their History, Technique, and Repertoire |date=2004 |publisher=Abhinav Publications |isbn=978-81-7017-434-9 |pages=195 |language=en}} The story of Basantaras is based on Jaidev's Gita Govinda and the Brahma Vavairta Purana.{{Cite journal |last=Devi |first=Dr. Pukhrambam Lilabati |date=8 January 2019 |title=A Performance Study of the Raas Leela in Manipur |url=http://www.researchdirections.org/Management/articleupload/article855.pdf |journal=Research Directions |volume=6 |issue=8 |pages=27}}

Kunjaras is celebrated on Ashwin (October) in Autumn on a full moon night.{{Cite book |last1=Kumar |first1=Niraj |url=https://books.google.com/books?id=f-TzDwAAQBAJ&q=tandav&pg=PT306 |title=Himalayan Bridge |last2=Driem |first2=George van |last3=Stobdan |first3=Phunchok |date=2020-11-18 |publisher=Routledge |isbn=978-1-000-21551-9 |language=en}}

Nityaras is celebrated any night of the year except for the previous three raas (Maharas, Basantaras and Kunjaras). The story is of the divine union of Radha and Krishna after Radha surrenders herself to Krishna.

Dibaras is celebrated any time of the year during the day besides the periods of Maharas, Basantaras and Kunjaras. The performance comes from the chapters in the Shri Krishnaras- Sangeet Samgraha, Govinda Leelamritya, Shrimad Bhagavata and Sangitamahava.

Manipuri classical dance is illustrated in a postage stamp issued by Armenia in 2018,{{Cite web |title=Cabinet approves MoU between India and Armenia on joint issue of postage stamp |url=https://pib.gov.in/Pressreleaseshare.aspx?PRID=1554943 |access-date=2023-12-09 |website=pib.gov.in}} where it is referred to as the "National Dances" (of India and Armenia respectively), along with the Armenian Hov Arek, in the Armenia-India joint issue of postage stamps.

The Manipuri classical dance is recognised as well as honoured in numerous international platforms, including but not limited to the International Classical Manipuri Dance Festival,{{Cite news |title=Moving myths |url=https://www.telegraphindia.com/culture/arts/moving-myths-spotlight-on-international-classical-manipuri-dance-festival-by-the-sruti-performing-troupe/cid/1971641 |access-date=2023-12-09 |website=www.telegraphindia.com |language=en}}{{Cite web |title=International Classical Manipuri Dance Festival 20191015 |url=http://e-pao.net/epSubPageExtractor.asp?src=announcements.Ann_2019.International_Classical_Manipuri_Dance_Festival_20191015 |access-date=2023-12-09 |website=e-pao.net}} the International Dance Day,{{Cite web |date=2023-04-29 |title=On International Dance Day, a look at some of India's famous dance forms and their exponents |url=https://indianexpress.com/photos/lifestyle-gallery/in-pictures-on-international-dance-day-a-look-at-indias-famous-dance-forms-and-their-exponents-8580737/ |access-date=2023-12-09 |website=The Indian Express |language=en}} the International Dance Festival-Silicon Valley,{{Cite web |last=Leslie |date=2014-01-19 |title=Manipuri Dance in International Dance Festival-Silicon Valley, 2014 {{!}} Lively Foundation |url=https://www.livelyfoundation.org/wordpress/?p=318 |access-date=2023-12-09 |language=en-US}} the Samarpan, an international classical Manipuri dance festival,{{Cite web |title=Intl dance fest today |url=https://www.thesangaiexpress.com/Encyc/2019/10/19/IMPHAL-Oct-19-Samarpan-an-international-classical-Manipuri-dance-festival-participated-by-several-Manipuri-classical-dancers-from-Bangladesh-will-be-held-tomorrow-at-the-auditorium-of-Jawaharlal-.amp.html |access-date=2023-12-09 |website=www.thesangaiexpress.com |language=en}} the International Indian Classical Dance festival (INDICLAD),{{Cite web |date=2010-02-07 |title=ISKCON Manipur to Host International Dance Festival |url=https://iskconnews.org/iskcon-manipur-to-host-international-dance-festival/ |access-date=2023-12-09 |website=ISKCON News |language=en}} the International Folk-Lore Festival, the Opening Ceremony of Asian Games, Seoul, 1986 as well as the 5th International Theatre Festival, London, 1989.{{Cite web |title=Artiste of the Yesteryears: Akham Lakshmi Devi |url=https://blog.mygov.in/artiste-of-the-yesteryears-akham-lakshmi-devi/ |access-date=2023-12-09 |website=mygov.in |publisher=Government of India}}

• Art and culture of Manipur
• Rajkumar Singhajit Singh
• Darshana Jhaveri
• Manipuri Sankirtana
• Meitei classical language movement

{{Notelist}}

{{Reflist}}

{{Contains special characters|Meitei}}

• {{cite book|author=Saryu Doshi|title=Dances of Manipur: The Classical Tradition|url=https://books.google.com/books?id=xRbkAAAAMAAJ|year=1989|publisher=Marg Publications|isbn=978-81-85026-09-1}}
• Manipuri by R K Singhajit Singh, Dances of India series, Wisdom Tree, {{ISBN|81-86685-15-4}}.
• {{cite book|last=Devi|first=Pukhrambam Lilabati|title=Pedagogic Perspectives in Indian Classical Dance: The Manipuri and The Bharatanatyam|year=2014|publisher=Ruby Press & Company |isbn= 978-9382395393}}
• {{cite book|author=Ragini Devi|title=Dance Dialects of India|url=https://archive.org/details/dancedialectsofi0000ragi |url-access=registration|year=1990 |publisher=Motilal Banarsidass |isbn=978-81-208-0674-0}}
• {{cite book|author=Natalia Lidova|publisher=Oxford University Press |year=2014 |doi=10.1093/obo/9780195399318-0071 |title= Natyashastra }}
• {{cite book|author=Natalia Lidova |title=Drama and Ritual of Early Hinduism |url=https://books.google.com/books?id=3TKarwqJJP0C |date=1994 |publisher=Motilal Banarsidass |isbn=978-81-208-1234-5 }}
• {{cite journal|last=Williams|first=Drid|title=In the Shadow of Hollywood Orientalism: Authentic East Indian Dancing|url=http://jashm.press.illinois.edu/12.3/12-3IntheShadow_Williams78-99.pdf|journal=Visual Anthropology|volume=17|issue=1|year=2004|pages=69–98|publisher=Routledge|doi=10.1080/08949460490274013|s2cid=29065670|access-date=3 August 2016|archive-date=4 March 2016|archive-url=https://web.archive.org/web/20160304121105/http://jashm.press.illinois.edu/12.3/12-3IntheShadow_Williams78-99.pdf|url-status=dead}}
• {{cite book |author=Tarla Mehta | title=Sanskrit Play Production in Ancient India |url=https://books.google.com/books?id=l7naMj1UxIkC | year=1995| publisher=Motilal Banarsidass |isbn=978-81-208-1057-0 }}
• {{cite book|author=Reginald Massey|title=India's Dances: Their History, Technique, and Repertoire|url=https://books.google.com/books?id=t6MJ8jbHqIwC |year=2004|publisher=Abhinav Publications|isbn=978-81-7017-434-9 }}
• {{cite book |author= Emmie Te Nijenhuis |author-link=Emmie te Nijenhuis |title=Indian Music: History and Structure |url=https://books.google.com/books?id=NrgfAAAAIAAJ |year=1974|publisher= BRILL Academic|isbn=90-04-03978-3 }}
• {{cite book| author=Kapila Vatsyayan |title=Bharata, the Nāṭyaśāstra |url=https://books.google.com/books?id=zKW1PAAACAAJ |year=2001|publisher=Sahitya Akademi |isbn=978-81-260-1220-6}}
• {{cite book| author=Kapila Vatsyayan |title=Classical Indian dance in literature and the arts |year=1977 |publisher=Sangeet Natak Akademi |oclc= 233639306}}, [http://library.mpib-berlin.mpg.de/toc/z2008_2719.pdf Table of Contents]
• {{cite book| author=Kapila Vatsyayan |title=Indian classical dance |year=1974 |publisher=Sangeet Natak Akademi |oclc= 2238067 }}
• {{cite book| author=Kapila Vatsyayan |title=Aesthetic theories and forms in Indian tradition |year=2008 |publisher=Munshiram Manoharlal |oclc= 286469807| isbn= 978-8187586357}}
• {{cite book| author=Kapila Vatsyayan |title=Dance In Indian Painting |url=https://books.google.com/books?id=58fUibaZdGYC |publisher=Abhinav Publications |isbn=978-81-7017-153-9}}
• {{cite journal | author =Wallace Dace | title=The Concept of "Rasa" in Sanskrit Dramatic Theory | journal=Educational Theatre Journal | volume=15 | issue=3 | year=1963 | pages=249–254 | jstor=3204783 | doi=10.2307/3204783}}
• {{cite book|author1=Farley P. Richmond|author2=Darius L. Swann|author3=Phillip B. Zarrilli|title=Indian Theatre: Traditions of Performance|url=https://books.google.com/books?id=OroCOEqkVg4C|year=1993|publisher=Motilal Banarsidass|isbn=978-81-208-0981-9}}

{{commons category|Manipuri dance}}

• [https://web.archive.org/web/20120216050006/http://www.sangeetnatak.com/sna/awardeeslist.htm Official list of Sangeet Natak Akademi Award recipients in Manipuri]

{{Dance in India}}

{{Hindudharma}}

{{DEFAULTSORT:Manipuri Dance}}

Category:Manipuri dance

Category:Classical dance genres of India

Category:Hindu dance traditions

Category:Krishna in art

Category:Krishna in popular culture

Category:Meitei culture

Category:Meitei folklore in popular culture

Category:Dances of Manipur