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The Raslila (), also rendered the Rasalila or the Ras dance, is part of a traditional story described in Hindu texts such as the Bhagavata Purana and Gita Govinda, where Krishna dances with Radha and the of Braj. Rasalila has also been a popular theme for other India classical dances including Bharatanatyam, Odissi, Manipuri Raas Leela, Kuchipudi, and Kathak.
The Indian classical dance of Kathak and Manipuri rasalila are evolved from the rasalila of Braj. Kathak, also known as Natwari Nritya, was revived in the 1960s by the Kathak dancer, Uma Sharma.
In the Bhagavata Purana it is stated that whoever faithfully hears or describes the rasalila attains Krishna's pure loving devotion (Suddha-bhakti). Bhag-P 10.33.39 The rasalila is considered to be the "ultimate message" of the Bhagavata Purana. The story starts in Vraja, where Krishna is inspired to play music on his flute. Hearing the music, the gopis leave their homes and families and make it to Krishna. When they came closer, Krishna playfully disappears and reappears. Krishna talks about love and performs rasalila with each of the gopis, assuming numerous forms. The story ends with the gopis reluctantly going back to their homes after refreshing in a nearby river.
Graham Schweig observes that a closer reading of the story leads one to see the story as a symbol of "intense devotion to God" and not a "display of worldly lust". Verse 10.33.40 of the Bhagavata states that, "the person who has heard this story will attain high devotion to the Lord, and then, sobered, he will quickly throw off lust, the disease of the heart."
Schweig argues for an appreciation of the "unique vision" presented in the text in which God is "an adorable, eternally youthful cowherd boy who plays the flute and delights in amorous dalliance with his dearest devotees". Schweig compares the rasalila to the "Song of Songs". He argues that just as the Song of Solomon has been ascribed the highest status in relation to other books of the Bible by mystics of the Jewish and Christian traditions, the rasalila has been considered by Vaishnavism traditions to be the "crown-jewel of all acts of God".
Just as a child plays at its own will with its reflection in a mirror, with the help of his Yogamaya, Krishna sported with the gopis, who are regarded to have been shadows of his own form. Krishna's yogamaya intensifies devotion because it causes devotees to forget his majesty and form an initimate connection.
The raslila is also observed as one of the State Festivals of Assam which usually is celebrated during late November or early December. During Raas Mahotsava, several thousand devotees visit the holy temples and satras of Assam every year. The Raas Mahotsav of Majuli, Nalbari and of Howly are noteworthy.
In the tradition of Vaishnavism of Manipur rasa-lila is depicted within Manipuri dance and revolves around the story of love between Krishna and Radha, his divine beloved. This form of dance was started by Bhagya Chandra in 1779 and in some parts of India is still performed every year on Krishna Janmashtami (the festival to celebrate Krishna's birthday). According to different traditions, the rasa-lila is performed either by boys and girls, or by girls only. The dance is performed holding dandi (sticks) and is often accompanied with folk songs and Bhajan.
The traditional rasalila performances in Vrindavan are famous throughout the Vaishnava world as an experience of the spiritual world. Rasalila performance was started by Swami Sri Uddhavaghamanda Devacharya in the early 15th Century CE at Vamshivata in Vrindavan, Mathura. He was a prominent saint of the Nimbarka Sampradaya, and disciple of the Swami Sri Harivyasa Devacharya. The Vani literature of Vraja is the transcription of the songs that were heard by Swami Harivyasa Devacarya and his Guru, Swami Shri Shribhatta as they meditated on the Nitya Lila of Radha Krishna. These songs describe the eternal spiritual abode of Radha Krishna, the Sakhis and Nitya Vrindavana Dham - or Nikunja Dham. & Krishna along with other gopis dance during the raas celebration in Nagaon district of Assam.]] It became more prominent utsava in 16th and 17th century, when Mahaprabhu Shri Vallabhacharya and Vitthalanatha gusaiji made it more popular.
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