Rāsă: other kinds of thoughts

Rāsă: other kinds of thoughts

Dilip Changkakoty

Răsă is the nourishing element of Rāsă. The tradition of Rāsă is ancient. In ancient times, it is a circular or revolving dance. The philosophy of the folk tradition of Rāsă, in verse no 10.72.6 of the Rig Veda: Yaddeva adah salile susanrddha atishtat. Atra wo nrityatamiv tibro renurjayat..  [This means that at the beginning of creation there was a sea of water. The gods held hands and tie chains. Their dances were dusty. They later become the “world”.] It is noteworthy that the dance of the chain gods holding hands is rhythmic and dust flew because the feet were rhythmic. Therefore, this dance is rhythmic, rhythmic circular dance.

 

There is no feeling without taste; there is no taste without feeling. And the supporter of humour is “Rāsă”. The tradition of Rāsă is believed to have been introduced to the world by Lord Krishna. Both “Rāsă” and “Hallisaka” are mentioned in the “Harivansh Puran” in written form describing the Music and Dance of Rāsă. On the other hand, Chapter 89 describes the “Sallikya Krida”. According to scholars, “Sallikya” and “Hallisaka” are two distinct Rāsăs.

 

Sallikya or Salit Yoga is one of the Sixty-four arts according to Sage Vatsayana. Salityogam Bahurupiyapan… [Yathuktam – Yadrupamnyarupena samprakashya hi vanchanam. Devataraprayogabhyam jnyeyam tachchalitam..] Cheating means illusion… The player illus the connoisseur by physical, edible and sattvic thought acting is known as the art of Sallikya. In the Rāsă-Leela, cheating is done in the eight senses of humour. But, here illusion is dominated by the adornment. Adornment is the primary taste. Therefore, the “Adi Tālă or Rāsă Tālā” is often used in Rāsă. The best Adornment is called “devotion”. Where there is only one masculine and all are feminine. The combination of these two elements is known as Adornment. This is the movement of the Kundalini. Sallikya Rāsă-Leela is celebrated on the full moon in Aries / Taurus in the zodiac. It resorts to cheating art.

 

The masculine element is arrogant and the feminine is sweet. Heroism, enthusiasm & fierceness for the sake of pride; therefore, sweetness is required to balance this property. Because sweetness has aesthetics and beauty. Sweetness is to handle arrogance, like a rhythmic cover. Gorgeousness beautiful and sweet feelings are promotes humour in the Kausiki streams of consciousness. Then the Rāsă improved.

 

The great union of the two elements is Rāsă. The two principles are in one sense. That is the desire to become non-dual from duality. It is not a means of entertainment, fun or gratification. It is the means of leading to the state of deep meditation in spiritual life. 

Yoga and enjoyment complement each other. Without enjoyment, there is no perfection of yoga and without yoga, there is no attainment of enjoyment. In the extreme state of enjoyment, external dependence disappears automatically. The two elements cannot be separated from each other and separated from the bliss of the self.

But on the contrary, when the feminine acquires the arrogant principle, the masculine becomes passive. Sometimes it is dormant and sometimes it disappears. It is difficult to say where that element will disappear into the dwarf form.

 

In the verse, no 12 of the Ratarambhasanik Prakaran of Kamasutram describes Hallisakkakridankaigairnairlatrasakah. Ragalolardranayanais-hranddramandalavikshnai.. “Hallisak Krida” is a circular dance of songs and so on. It is rural or indigenous. Vapour's eyes are moving in anger; that’s the kind of song; There is a highly red throat; a Full moon, and the sight of beautiful things. In the Harivansh Puran, “Hallisaka Rāsă” is the festival of Holi. It is celebrated on the full moon in Libra / Scorpio.

 

“Rāsă Tālă” used in the Rāsă Music. According to Sharangadeva’s description - “Laghvaditalo lokasau rasah”, that is, “Adi Tālă” is “Rāsă Tālă”. The time unit of Adi Tālă is unit Laghu. The pronunciation time of the four vowels “a-i-u-rri” is equal to the unit Laghu. Ektālă or Ektāli of Sattriya Music is a unique example of this Tālă.

 

The suffix “kan” is added to the word “Rāsă” to form the word Rāsăka > Rāsăă > Rāsăo > Rāso and others. In Assam, the word “Rāsă” is found in the form of Rāsăka > Rāchăka > Răsăk or Rāsă > Rākă > Rāktă and others. Therefore, the “Rāsă Tālă” is sometimes found in the form of “Rāchăka Tālă” and sometimes in the form of “Rāktă Tālă”. This Tālă also found in different forms as per evolution based on the theory of Mānă-bhedă, Kălā-bhedă and Chhăndă-bhedă. There are also other rhythms such as “Chuta”, “Chutkala”, “Thungri”, “Tetala” and others used in the Rāsă.

In fact, Rāsă Music is a type of indigenous or folk music. It is believed to have developed on the basis of dance. The theme of the song is sweet or humorous and the pace of development depends on it. The importance of Rāsă in Vaishnava culture is due to the emphasis on songs and others about Lord Shree Krishna. Therefore, Rāsă Music contains folk or indigenous style in the melodies or ragas. Hence, the names and influences of ragas mentioned in the “Charya-geet”, “Geet-Govinda” of Rama Saraswati or “Sangit-Damodara” are often seen. In Rāsă, the dancers perform Bhav acting or Dance acting.