The Rasa dances of Manipur are lyrical narrative and not dramatic. The rasa dances have a structure and technique which can distinguish them from any other type of dance in Manipur. Bhagya Chandra Maharaj or King Jai Singh is considered the composer of at least three of the four Rasa dances known to Manipur. The Rasa dances are performed on particular occasion and in particular season.

First and the foremost is the Vasant Rasa for the full moon day of Holi. The Vasant Rasa is invariably preceded by the Natapala or the group of men dancers who play the drum and sing. Thereafter there is the presentation of a particular raga in this case, Vasant Raga by women singers now called sutradhari. Here the singing sets the tone of the presentation of the rasa. A particular mood is invoked and the players and the audience become prepared to transport themselves into the world of Lord Krishna in Vrindavan. Thereafter, there is the description of Vrindavan sung by the sutradhari and followed through dance by a group of young dancers. 

The next sequence is Vaishnav Vandana. The most exciting part of the rasa is the entry of the young Krishna, normally played by a young girl. Thereafter is the presentation of the main themes in the case of Vasant Rasa. It is the theme of the gopis playing Holi with Krishna. 

The Kunj Rasa is performed sometime in August coinciding with what is known as the full moon or rakhi or rakhi purnima. The theme of this rasa is drawn from the Srimad Bhagvata. It revolves round the mutual hide and seek of Radha and Krishna. The rasa is performed in a special group and it recreates the dance of the gopis with Krishna.

A third rasa called the nritya rasa which was created by Maharaja Chandrakirti in the nineteenth century can be performed at any time. Here dance, rather than the story or the theme is more important. These dances are performed generally at night in the dancing halls attached to the temples. The halls are profusely and tastefully decorated with garlands, flowers, flags, buntings, etc. on the occasion. Truly classical in spirit, the Rasa-dances are full of devotional fervour and are performed to the singing of songs and Kirtans and to the accompaniment of Khol or mridanga, manjira and bamboo flutes. Their liquid beauty lyrical quality, restrained and rhythmic swaying, swinging and spinning almost at one place, with hands, close to the body, coupled with soft vocal and instrumental devotional music lend the performance a uniqueness which defies description. 

Besides these rasa dances, there are the Lilas. These Lilas also constitute an important part of the repertoire of the Manipuri dances. The Gostha lila recreates the play on Krishna and Balarama; Krishna and Yashoda and the dancers of Krishna with his companions. The main singer for the gostha lila is a man and not a woman.

In the ulukhala rasa, the birth of Krishna, Putna Vadh, etc including makhan chori are presented. The Vaishnavite flavour lives and vibrates in the hearts of every Manipuri and truly through  the rasa dances and the presentation of the lilas Vrindavan is called in every heart in far of Manipur. Their sophisticated pieces of opera with libretto musical scales, ragas, talas, giving enough scope for pure nritta abhinaya and the combination of both singing and dancing. The Maharasa concentrates on the love quarrel between Radha and Krishna. The theme is based on the story of the Bhagvat Purana. The gostha or the Gopa Rasa is performed in Tandava style by Lord Krishna with Gopas. The killing of Asuras etc. is shown in the dance.