The water feature is geometric and includes surrounding steps. Beyond the pools is a building with many compartments open to the exterior.

This view contains a platform and an intact temple in the background. People walking around perimeter in foreground show the massive scale of the height of the elevation. Some archaeologists can be seen digging at the base.

This general view shows the area above the eastern courtyard and archaeologists digging in the foreground.

This view shows two platforms and the elaborately decorated superstructures.

The surface decoration of the platform base is shown in this view. The view upward includes a portion of the superstructure at a raking angle.

The view includes the south entrance to the dancing platform visible at right.

This close view shows the south side of the entrance to the temple with its stairs and highly surface decorated columns.

The view shows the Marriage Pavilion with its east gateway.

This close view shows a leonine type creature carved into the plinth of the marriage pavilion.

The highly decorated piers to the marriage pavilion are shown.

A close detail of the highly decorative animals are shown that grace the entrance to the marriage pavilion.

The pier decoration shows Krishna killing a peacock. Other animal figures can be seen in the background.

The view shows a portion of the temple complex with many visitors milling around and the gateway is shown.

The very close detail of the carved surface shows carving marks in the stone.

The facade of the large hotel is visible with its arched portals, onion cupolas and domes. The hotel sits next to the Arabian Sea.

The central section of the facade is visible in an upward sweeping view.

The corner with an onion dome is visible along with sweeping view of portion of the side facades.

Interview with attorney and Army veteran John L. Bates Jr. The Interview includes Bates' personal experiences in the China-Burma-India Theater during World War II, Officer Candidate School, being selected for the Counter Intelligence Corps, British Intelligence School, assignment to Kweiyang, China, the end of the war and his transfer to the War Crimes Section as an Assistant Theater Judge Advocate, his assignment to Hankow to investigate the executions of three of Jimmy Doolittle's pilots and to Formosa to investigate war crimes, dealing with Japanese military personnel accused of committing atrocities against Allied POWs on Formosa, and his postwar career in the Army Reserve.

The Jalakeli of the Ningol Pala, the Choir of the Royal Daughters, comprises of 6 compositions. Their lyrics are published here in the order in which they are sung. They date to the 19th century royal court of Manipur; the sixth is from the first part of the 20th century. The first four lyrics are called padavali, songs of praise to Lord Krishna and his consort the Lady Radha. They were composed during the reign of Maharaja Narasingh (regent 1834-1844; r.1844-1850) but gathered in a collection during the reign of his nephew Maharaja Chandrakirti (1834-44; 1850-1886). The first lyric is attributed to Ghanashyamara Das, and the second to Basu Ghosh; the fourth is by Kabi Karnapur. All were Bhakti poets of Bengali origin. The lyricist of the third padavali is unknown. All four are in Bangla, the language of worship and ritual in Manipur of the time. The fifth and sixth lyrics are called rachna, a lyrical form response of appreciation upon listenging to the Jalakeli. The fifth lyric (and the first rachna) also in Bangla, is attributed to Maharaja Narasingh himself and is in Sanskrit. It is reputed to have been composed upon the funeral services of his guru, …

Translations of Tagore songs by MK Binodini Devi, Maibam Haricharan, RK Surendrajit, and Ayekpam Shyamsundar Singh, performed by Roop Raag. Binodini translated 28 of these songs written and composed by Rabindranath Tagore from the original Bangla.

Mohinisana Ningthemcha Elangbam Ongbi, renowned in her day as "The Whistler" talks about social values and their impact on marriage and performance. On growing up in a traditional elite family, restrictions on socialising, her arranged marriage, rules of exogamy, worship, and interaction with the royal court.

The House of Narasingh belongs to the Ningthouja Dynasty that has ruled Manipur continuously since its establishment in the 1st century AD according to its Court Chronicle, to the present day. Both the House of Narasingh and the House of Karta descend from Maharaja Garib Niwaz (1709-1748), also known as Pamheiba) and under whose rule Manipur adopted Vaishnavism and became a Hindu kingdom.

Audio recording of a performance of the play.

This play is a translation of a play performed by artists of Roop Raag at Rupmahal Theater on February 20, 1966. In Crimson Rainclouds, a Manipuri play from the 1960s, an artist determined to uphold his freedom is torn between his two loves, both only too gentle in their demands, and yet deeply caring. A sensitive man, he chooses art, knowing full well that he lets them down. While Indu would like him to change his lifestyle just a little bit, for recognition and comfort, Keinatombi would be happy to give him the little care and comfort that she thinks he needs for his art. For the time being at least, Gautam would go with her. The play draws on the playwright’s interactions with Ramkinkar Baij (1906-80), the eminent sculptor, with whom she studied in Santiniketan, and who has left behind a whole suite of sculptures and paintings of Binodini. The English translation of the play appears for the first time, followed by the original, now out of print, in both the Bangla and Meitei Mayek scripts; along with stills from two productions of the play and a couple of paintings of Binodini by Ramkinkar Baij, and a self-portrait by …