Manipuri - Theory and Technique

Manipuri is a dance form that is completely different from the other classical dances of India. It does not try to create sculpturesque poses but instead has a more relaxed and fluid approach. This however does not mean that it moves away from precision and technique. Manipuri has a unique approach to dealing with the body, it attempts to connect the body through curves, with a pose in the shape of the figure eight a common feature. The movements are not sudden and one pose simply melts into the next. The pose in the shape of the figure eight is known as the nagabhanda mudra and is the basic pose of the dance. One major consequence of using this pose is that spreading out the feet is no longer possible, which is a characteristic feature with most of the other Indian classical dances. The torso in Manipuri is treated as two units, one above the chest and the other between the chest and the waist. The body is firm but not tense and the dancer weaves out curves in the shape of an 'S' with his or her arms, neck, head, torso, hands etc. . Manipuri dancers execute some intricate movements, for instance when the wrist is moving in the shape of an eight the fingers are executing a different set of movements. Manipuri dancers as mentioned earlier execute their movements in a relaxed manner and their face remains calm throughout the performance with

no exaggerated expressions.

The movements in Manipuri offer the dancer varying degrees of flexibility and freedom. In the simitana portions, there is a deliberate attempt at limiting space and restricting movement In the sphuritanga the dancer has comparatively greater freedom but must remain within the definite limits that the dancer chalks out. In the lasya and to some extent in sphuritanga the dancer is not allowed to lift the foot higher than the knee level. Keeping with the theme of fluid movements, instead of distinctly lifting the foot above the ground like in other dances, Manipuri dancers do a sweep with the foot remaining just above the ground. In the tandava portions there is a significant change. It is characterized by high leaps and agile movements. It moves away from the standard pose of keeping the knees together and instead spreads them out and bends them in the front. There are a number of sitting positions, spirals and turns in this dance form and their coverage of space and time varies. In this dance form hip movements are not allowed, although there is a type of thigh-pelvic movement which is an up-down movement with the dancers shifting their weight from one foot to another. Manipuri dancers cover space in geometrical figures of eight. The movements are delicate and graceful, for instance when the dancer lifts a foot from the ground ,it is brought down gently with a slight toe movement and not flat on the heel or foot like in the other dance forms.

The basic unit of movement in Manipuri is the chali, which essentially is a way of walking and covering space. The dancer initially moves back and forth while keeping the hands at a horizontal level at the chest. The hands later begin moving in an up and down direction. The dancers then begins to cover space, weaving various geometric designs in the process. A very interesting movement is when the dancers imagine their bodies to be screws and weave spiral pattern from the top to the bottom while simultaneously executing a spin. Dancers executing this difficult movement are remarkable.They are able to maintain the characteristic fluidity of the dance. chaliss are grouped together as parengs which are then set to a time rhythmical cycle ( tala ).

Manipuri is an elaborate dance with its complex system of achieving fluidity and yet sticking to a set technique. It has also managed to retain the group dancing sequences which have slowly diminished in other classical dance forms.

Manipuri is a dance form that is completely different from the other classical dances of India. It does not try to create sculpturesque poses but instead has a more relaxed and fluid approach. This however does not mean that it moves away from precision and technique. Manipuri has a unique approach to dealing with the body, it attempts to connect the body through curves, with a pose in the shape of the figure eight a common feature. The movements are not sudden and one pose simply melts into the next. The pose in the shape of the figure eight is known as the nagabhanda mudra and is the basic pose of the dance. One major consequence of using this pose is that spreading out the feet is no longer possible, which is a characteristic feature with most of the other Indian classical dances. The torso in Manipuri is treated as two units, one above the chest and the other between the chest and the waist. The body is firm but not tense and the dancer weaves out curves in the shape of an 'S' with his or her arms, neck, head, torso, hands etc. . Manipuri dancers execute some intricate movements, for instance when the wrist is moving in the shape of an eight the fingers are executing a different set of movements. Manipuri dancers as mentioned earlier execute their movements in a relaxed manner and their face remains calm throughout the performance with no exaggerated expressions.

The movements in Manipuri offer the dancer varying degrees of flexibility and freedom. In the simitana portions, there is a deliberate attempt at limiting space and restricting movement In the sphuritanga the dancer has comparatively greater freedom but must remain within the definite limits that the dancer chalks out. In the lasya and to some extent in sphuritanga the dancer is not allowed to lift the foot higher than the knee level. Keeping with the theme of fluid movements, instead of distinctly lifting the foot above the ground like in other dances, Manipuri dancers do a sweep with the foot remaining just above the ground. In the tandava portions there is a significant change. It is characterized by high leaps and agile movements. It moves away from the standard pose of keeping the knees together and instead spreads them out and bends them in the front. There are a number of sitting positions, spirals and turns in this dance form and their coverage of space and time varies. In this dance form hip movements are not allowed, although there is a type of thigh-pelvic movement which is an up-down movement with the dancers shifting their weight from one foot to another. Manipuri dancers cover space in geometrical figures of eight. The movements are delicate and graceful, for instance when the dancer lifts a foot from the ground ,it is brought down gently with a slight toe movement and not flat on the heel or foot like in the other dance forms.

The basic unit of movement in Manipuri is the chali, which essentially is a way of walking and covering space. The dancer initially moves back and forth while keeping the hands at a horizontal level at the chest. The hands later begin moving in an up and down direction. The dancers then begins to cover space, weaving various geometric designs in the process. A very interesting movement is when the dancers imagine their bodies to be screws and weave spiral pattern from the top to the bottom while simultaneously executing a spin. Dancers executing this difficult movement are remarkable.They are able to maintain the characteristic fluidity of the dance. chaliss are grouped together as parengs which are then set to a time rhythmical cycle ( tala ).

Manipuri is an elaborate dance with its complex system of achieving fluidity and yet sticking to a set technique. It has also managed to retain the group dancing sequences which have slowly diminished in other classical dance forms.