ODISSI DANCE

Orissa has a glorious tradition of music.The figures or dancers musicians Carved on ancient temple walls speak of Orissa's rich musical heritage. There were saint-poets of Orissa who composed lyrical poems to be sung. Bards usually went from place to place singing these songs which were meant to propagate religious ideas in various religious. instructions were usually given by the poet himself as to how the lyric was to be sung, i.e. the raga or tune to be employed and the tala or beat scheme to be followed.

By the 11th Century AD folk music or Orissa existing in the form of Triswari, Chatuhswari, and Panchaswari was modified into the classical style.

Odissi Music is a classical form consisting of all the necessary ingredients common to Hindustani and Karnatic Music, such as rags and tala Jayadeva' was the first Oriya poet who composed lyrics meant to be sung and thus the words of those Lyrics were musical to start with. In addition he indicated the classical ragas prevailing At the time in which these were to be sung. Prior to this there was the tradition Of chhandas which were simple in musical outline. From the 16th century onwards Treatises on music were written or compiled in Orissa. They were Sangitamava Chandrika, Gita Prakasha, Sangita Kalalata and Natya Manorama. Two treatises namely, Sangita Sarani and Sangita Narayana were also written in the early 19th century.

Odissi sangita is a synthesis of four classes of music, i.e. dhruvapada, chitrapada, chitrakala and panchal, described in the above-mentioned texts. The dhruvapada is the first line or lines to be sung repeatedly. The use of art in music is called chitikala. Kavisurya Baladeva Rath, the renowned Oriya poet wrote lyrics which are the best examples of chitrakala. Chitrapada means the arrangement of words in an alliterative style. All these were combined to form the style peculiar to Odissi music. Chhanda (metrical section) contains the essence of Odissi music. The chhandas were composed combining bhava (theme), kala (time), and swara (tune) The chaurisha represents the originality of Odissi style. All the thirty-four letters of the Oriya alphabet from 'Ka' to 'Ksha' are used chronologically at the beginning of each line. A special feature of Odissi music is the padi which consists of words to be sung in druta tala (fast beat). Odissi music can be sung to different talas: navatala nine beats), dashatala(ten beats) or egar tala (eleven beats).

ANIMAL MASK DANCE

Animal Mask Dances are prevalent in village of south Orissa specially in the district of Ganjam. Particularly during Thankurani Yatra, when the idols are taken out on the streets, the animal mask dancers go on dancing before the procession. During the marriage ceremonies also they lead the bridegroom's procession all the way to the bride's house. The three animal mask dances typical of the area are the tiger, bull and horse dances. Two persons get into cane frame and conceal themselves within it. Their legs become the legs of the animals they are representing.

BAUNSA RANI

Baunsarani literally means "The Bamboo Queen". Mainly little girls exhibit various acrobatic postures on the crossed bamboo bar as well as on the floor with exquisite scintillating movement synchronized with the beat of drums and songs.

CHAITI GHODA

Chaitighoda Nacha (Horse dance in the month of Chitra): This folk items is connected with the Sakti cult of coastal Orissa confined to the people of Kaibarta caste only. This festival is observed by the Kaibartas in the month of Chaitra from the fool moon day to eight day of Vaisakha in honour of their caste deity Vasuli devi. A horse ridden man with the head of a horse well-dressed and trunk built of bamboo, dances to the tune of Dhola and Mahuri accompanied by songs composed by the local poets. The dancing party consists of two dancers, one male and one female, a drumer and a piper. The Kaibarta song of Achutananda Das, (one of the poets of Pancha Sakha group flourished in the sixteenth century) is believed to be only religious text of the Kaibartas. The origin of this dance goes back to the hoary past. The Goddess Vasuli is held very high among the Kaibartas. Here it may be mentioned that the Goddess has a wide distribution in Orissa, but is considered to be the oldest in Puri where Raja of Puri provided land grants for regular worship of the deity. Vasuli in many places is taken to be one of the manifestations of the Durga and one of sixty-four Yoginis. The horse dance is very popular and attracts a large audience. The performing group consists of three main characters- Rauta, Rautani and the Horse dancer, besides the drummer and the piper. The songs recited in the performace consists of the episode from mythology. Rautani is Rauta's Co-dancer and Co-singer.

CHANGU DANCE

Changu is rural variety of the tambourine. It is played by the male-members of the Bhuiyan, Bathudi, Kharia, Juang, Mechi and Kondha communities of Sundergarh, keonjhar, Mayurbhanj and Phulbani. The dance in accompaniment to the Changu is performed by women alone. The men only sing songs, play on the Changu and move with the female dancers with simple steps. While the women advance the recede back and on their advance the females retreat. In between, the male dancers perform vigorous stunts in which they leap into the air and make wide circling movements. Peculiarly enough the women cover up their persons with long local made Saris. Only their bangled hands and feet remain visible. In a group the female dancers dance in a half-sitting position with swaying and sometimes jerky movements. During festivals and on any moon-lit night the young boys and girls assemble and dance to express their joy in living.

CHHAU DANCE

Chhau is an ancient dance form. It originated in the mock fights of the Oriya paikas (warriors) who fought rhythmically to the accompaniment of indigenous music instruments The highly Stylised Chhau dance of today follow the basic principle of the Natya Shastra of Bharat Muni and the Abhinaya Darpana of Nandikeswara.

This dance form became closely associated with religion. The Chhau dancers worship Lord Shiva and Goddess Parvati, the two presiding deities of the Tandava and the Lasya styles respectively. The typical Chhau dance pose when the dancer at rest is the bent knee so that the legs form a Square, the raising of the, right hand upward with the left hand handing downward both forming right angles the elbow.

The Chhau dancers have to practices difficult modes of walk-in, striking difficult postures and moving in a way peculiar to this style. It is a virile dance form and was in the past undertaken by male dancers who performed in female roles, as and when required. Today there are also female dancers who have master this art. The face is generally covered with the mask of the character who being depicted by the dancer in the Saraikala School of Chhau dance. But in the Mayurbhanj school, the face is left uncovered: Emotions and passions are not depicted by facial expression but by intricate footwork, whirls and jumps. Hence, the wait the feet and the legs are used to depict bhavas.

The dance is usually performed in the open air on a raised platform, the musicians stand, on one side of the platform and play on big kettle drums and other musical instruments. In villages, Chhau dance is usually performed during Chaitra parva festival in the days concluding the month of Chaitra. Popular story from the Ramavyna and Mahabharata are staged. The costumes, the headgear and other ornamental requisites are carefully selected., The dance programme consists of solo, duet or Group, performances.

DALKHAI DANCE

Though Dusserah is the occasion of Dalkhai the most popular folk-dance of western Orissa, its performance is very common on all other festivals such as Bhaijauntia, Phangun Puni, Nuakhai etc. This is mostly danced by young women of Binjhal, Kuda, Mirdha, Sama and some other tribes of Sambalpur, Bolangir, Sundargarh and Dhenkanal districts of Orissa in which men join them as drummers and musicians. The dance is accompanied by a rich orchestra of folk music played by a number of instruments known as Dhol, Nisan (a typically giant sized drum made of iron case), Tamki (a tiny one sided drum 6" in diameter played by two sticks), Tasa (a one sided drum) and Mahuri. However, the Dhol player controls the tempo while dancing in front of the girls. It is known as Dalkhai because in the beginning and end of every stanza the word is used as an address to a girl friend. The love story of Radha and Krishna, the episodes from Ramayana and Mahabaharata, the description of natural scenery are represented through the songs. The young women dance and sing intermittently. The songs are of special variety with the additive 'Dalkhai Bo' which is an address to a girl-friend. While dancing to the uncanny rhythms of the Dhol, they place the legs close together and bend the knees. In another movement they move forward and backward in a half-sitting position. Sometimes they make concentric circles clock-wise and anti-clock-wise. The women generally dress themselves with the colourful Sambalpuri Sari and wear a scarf on the shoulders holding the ends below in both the hands. Bedecked with traditional jewelry their robust framers sustain the strains of the dance for long hours. The Dalkhai dance has several adjunctive forms known as Mayalajada, Rasarkeli, Gunji kuta, Jamudali, Banki, Jhulki, Sainladi etc. On account of its style,theme and performance Dalkhai is basically a secular form.

DANDA NATA

Danda Nata of Orissa, also known as the 'Danda Jatra' , it happens to be one amongst the most ancient form of histrionic arts of the state. 

Associated with ritualistic services, Danda Nata forms an institution of dance, music and dramatics blended with religions, social reformation and an association of Universal Brotherhood. Mainly an worship of Lord Shiva, the God of destruction of the Hindu mythology, who is also the Lord of histrionic arts (Nata Raj), this theatrical form brings into its fold a harmonious feeling of co-existence between followers of different philosophical doctrines, between political principles and set of opinions. Along with votive dedications to Lord Shiva ( Rudra, Hara, Mahadeva, Shankar, Bholanath etc ) in a Danda Nata, the greatness of other Gods and Goddesses such as Vishnu, Krishna Ganesh, Durga, Kali etc. are also equally invoked. Similarly while the original participants in a Danda Nata were said to be only the low-caste Hindus people, however people belonging to all other higher castes such as Kshyatriyas and Brahmins also participate in this institution with equal interest. The word Danda Nata or Danda Jatra: The word 'Jatra', is an indigenous term for the English word 'theatre' and 'Nata' is a derivative term of the word Natya which conveys several meanings of dance, music and dramatics. The word 'Danda', denotes several meaning. Mainly it means (1) Staff, Club, Stick, Rod, Pole, or Sceptre and (2) Punishment Chastisement. In this Danda Nata (1) A scepter of the Lord, is worshipped and (2) The participants voluntarily bear self-inflicted penance. According to very ancient Hindu philosophy, the greatness of an individual in this materialistic world depends upon his accomplishment of self control over his own Body (Kaya), Mind (Mana) & Speech (Vakya). 

It takes tremendous amount of practice to gain this control and amounts to a lot of self denials.Those who achieve this are known as the Tri-Dandis (attainers of triple chastisement). Since this method of bringing purity of conduct involves a lot of punishments (Danda) to self, this performance according to many is known as the Danda Nata. The word Danda: There is however a very interesting definition given to the origin of the word DANDA. Because of the vigorous types of dances associated with the Danda Nata, it is said to have originated from the heavenly Tandava Nrutya of Lord Shiva. It is said that once Lord Shiva was teaching a Tandava Nrutya to his, son Lord Ganesh. While dancing vigorously he kicked the stage and the sound "DAN" emanated. Simultaneously one of his Ghagudi (the brass tinkler) was broken from its chain around his raised ankle, dropped and fell on the body of the Mardala (the percussion instrument) emanating another subsequent note of sound as "DA". Together, therefore the word DANDA evolved to get the blessings of Lord Shiva to associate its meaning with performance of dance and music with vigor known as "Udanda", The time of Danda Nata: Danda Nata commences from the Chaitra Purnima and continues uptil the Pana Sankranti (Vishuva Sankranti) day. These two months, Chaitra and Baisakha are considered most auspicious for the worship of Lord Shiva. Many religious treatise indicate that if Lord Shiva is invoked during this period of the year, the earth is blessed with good harvest, increase of wealth and all round improvement of the families and communities occur. The invocatory performances of Lord Shiva commences from the sixth day of the Meena Month (March-April). For four days from the sixth day, preliminary preparations are made (people make vows, some receive Hukums (Nostrums), through trance. Then for eight days the Jhamu Jatra takes place. The rest thirteen days of the month is meant for Danda Jatra. Rituals: In Orissa like the Danda Jatra, there are other kinds of ritualistic festivals as well, which are associated with self inflicted penance. They are the (1) Patua Jatra (2) Chadaka Puja (3) Jhamu Jatra etc. While in Chadaka Puja and Jhamu Jatra mainly the penance's are demonstrated, in Patua Jatra, and Danda Jatra, regular theatrical performances are followed in the nights. The participants in a Danda Nata invoke the blessings of Lord Shiva. They are all under a vow. It may be to be blessed with a child, to fulfil certain ambition, to get rid of sickness, seeking happiness in life, good harvest, even peace and happiness to all fellowmen. The total number of pledge takers are 13 and the number of days for the festival is also 13. The vow takers are known as the 'Bhoktas'. This word Bhokta is derived from the word Shakta (Devotee). Drawn from all communities, the leader of the 'Bhoktas' is known as the Pata-Bhokta. All the 'Bhoktas' lead a very pious life for 21 days. They do not eat meat or fish nor cohabit during this period. 

The Pata Bhokta does not eat rice and lives on fruit-juice and snacks. Others eat just one meal a day consisting of plain rice etc which they cook themselves and eat at a place away from habitation. During the time of their gruel, any human voice per chance brings an abrupt end to their eating for that day. That is why at some places they keep on beating the drums until the eating is over. During the period of 'Jatra', all 'Bhoktas' carry out different forms of services to the Lord and therefore they are named differently. They are as under: (1) Pata Bhokta (2) Deula Padia (3) Danda Swami (4) Nili Patra (5) Chandania Patra (6) Gobaria Patra (7) Danta Kathia Patra (8) Betua Patra (9) Dhupia Patra (10) Bhandaria (11) Chua Mali etc. Kamana Ghata: Ghata is the Pitcher. In most of the religious and social functions of the Hindus, a pitcher full of water holds a very important place. The pitcher represents the body and the water is the life. It represents the God invoked and hence worshipped with due reverence. After the function is over the pitcher is again taken into the water of a pond or river with due care and immersed from where it had been brought. In a Danda Nata this Ghata is known as the 'Kamana Ghata' . 'Kamana' means desire, and to worship the Kamana Ghata means to seek the blessings of the Lord for the fulfillment of one's desire. There is again an interesting story as to how the pitcher came to be known as Kamina. "Kamina" happened to be the name of a Raksyasi (Demoness) with whom Lord Shiva fell in love while moving in a jungle. For sometime Lord Shiva forgot his duties to the mankind. Afterwards when he realised, he wanted to leave her. At the parting Kamina asked him about her fate and the Lord consoled her saying that at least once in a year the people of the earth will be remembering her. This Ghata named as Kamana therefore is said to be a symbol of hers. According to poet late Bhikari Charan, this Ghata represents "Kalika", the consort of Lord Shiva. It is through her blessings, the 'Bhoktas' are able to take up the, self inflicted penances without any ill effect. It is she who protects all and fulfills all ambitions. A new pitcher is taken to the pond or a river and water is lifted, to the accompaniment of drums and blowing of conch shell. This pitcher is first worshipped under a baniyan tree and then taken out in a procession through the village and then kept in a hut (made preferably in front of a Shiva's temple), known as the Kamana Ghara. 

Two pieces of cane-sticks, representing 'Hara' & 'Gouri' are also kept near the Ghata and worshipped. A sacred fire is kept lighted up in the hut from which Pata-Bhokta lights up an oil lamp. While lighting, the 'Bhoktas' yell with the word "Rushi Putre". Time to time when resin and myrrh powder is thrown on the lighted oil lamp, it burns up with a flare and the 'Bhoktas' yell the words "Kala Rudramani Ho Joy". A staff of the length of 6 1/2 cubits bearing 13 joints (representing 13 'Bhoktas') and a piece of cloth tied to its top is worshipped. This is the Kamana Danda. Where to perform: The entire party consisting of the 'Bhoktas' and their colleagues go around the village in a procession with the band of musicians. No specific declaration is made as to where they are going to perform "Danda" in that day. Like the 'Bhoktas', some villagers (male or female) also keep a vow in their mind for getting some mercy from Lord Shiva. Seeing the procession, these vow takers pour water and clean up the frontage of their house with cow-dung water and hurriedly put up floor designs with coloured powders and keep a jug ful of of water.This indicates an invitation to the party.Having received an invitation thus, the group stop there. After small preliminaries. the group light up an oil lamp and keep it on the verandah of the host and return to their camp. At mid day, the party comes back to the spot and perform the Bhumi (Earth) Danda or Dhuli (Dust) Danda. The Phases of Dand Nata: Danda Nata, distinctly comprises of three phases. (1) The Bhumi or Dhuli Danda (Acrobatics & gymnastics) at day time. (2) The Pani Danda (Aquatic feats ) at day time (3) The Danda Suanga (Dance, Music & Dramatics) at night time. These three are the main, however. while taking out the procession or the beginning of the night performance the 'Agni Danda" (or the performance with fire) is also displayed. The Bhumi or Dhuli Danda: This consists of a lot of physical exercises and acrobatics. The themes enacted in short sequences represent mainly the art of ploughing, cultivation and harvesting, A few formations in human figures, pyramids are displayed. During these performances one Bhokta asks 'How much paddy'? And the other 'Bhoktas' give a figure which denotes the ensuing result of harvest during the coming year. This performance of Bhumi Danda is over by the afternoon and the 'Bhoktas' yell "Kala Rudramani Ho Joy" and proceed to the village pond for the "Pani Danda". Pani Danda: Pani Danda consists of aquatic feats. While the groups put up their performance as they swim and form pyramids in water, the musicians play Dhol & Mohuri. Men, women and children gather around the pond or the riverside to watch this show. After this performance of Pani Danda, the 'Bhoktas' return to their camp to have their only meal of the day and to prepare for the nights performance. Danda Nata Suanga: The word 'Suanga" corresponds to the Sanskrit word "Swanga" which means graceful acting. Dance is always based on music. Any dramatic performance consisting of Dance and music therefore is known as Suanga in Oriya language In a Danda Nata like any olden Suanga, every character enters dancing with the accompanying music, gives his self introduction, description of what the character is wearing or supposed to wear, even a description of his gait and make-up and while singing he dances intermittently. During a dialogue also the dance actions are corroborated in between the dialogues ,both the speaker and the listening character dance vigorously. This pattern is a regular feature in every sequence of the Danda Nata which distinguishes its identity from other types of performing arts. The presentation: The presentation style of Danda Nata is absolutely simple as that of any common 'Jatra' of Orissa except the fact that they do not need a raised platform in the center. Any open space or the village cross-road turns out to be an acting area, surrounded by spectators on all the four sides. Only a narrow path amongst the spectators wends its way to a distant improvised green room where the participants do the make up, costuming and rest. Sometimes a canopy is also put-up over the central acting area. The accompanying music: The main accompanying musical instruments in a Danda Nata is the dhol (the double-sided drum) and the mahuri (the wind instrument like Shehnai). The other instruments which are used only in sequences of God characters are the ghanta (the bell metal disc), sankha (the conch-shell), kahali (Clarion), The Johanna (Brass alloy clappers). Besides the above, other smaller instruments like 'ghungroo', 'ghagudi' (small & big tinklers), 'dasakathi', ram tali (wooden clappers), 'khanjani', ghooduki or dhuduki. Dambaroo and bina etc. are also played by the characters themselves as required. The "Bina" used by the character "Binakara" in Danda Nata is not the type of "Bina" (the string instrument) known popularly. Here it is not a string instrument played by twangs. It is a Bow decorated with peacock feathers and in its string seven tinkle bells are tied. The player Binakara holds the Bow in his left hand raised and by jerks brings out the jingle in rhythm, The Place of the Musicians: The musicians take their positions at a side of the open arena nearer to the artists passage. Sometimes they move to the Vesha Ghara (Screen Room) to lead a character to the arena. The drummers not only play the drums through out the performance but also demonstrate their own skill and stamina by playing the drums with regular dances and acrobatics in between the sequences. The theme of the Danda Nata: Danda Nata is not a performance of a complete story drama. It has a chain of loosely connected conventional episodes with a central theme of complete faith in God. It is He who can rescue the earthly beings from the clutches of evil. It is He who can grant happiness in life. Nothing happens without the will of Providence and so we must surrender to Him always. The characters and roles in the Danda Nata: Since Danda Nata does not contain a full story in its totality, each sequences has its own characters. So there is a series of sequences in which the characters appear in different Veshas and Upaveshas. While slight variations are seen amongst the Veshas and Upaveshas of Danda Natas of the North, South and West Orissa, the main Vegas like the PRAVA, KALIKA, SHIVA, CHADHEIYA, CHADHEIYANI, PATRA SAURA, SAURUNI, PARVATI, KELA, KELUNI, SABARA, SABARUNI, BAI DHANA, BINAKAR, KARUANI etc are mostly common every where. The other characters which are introduced at some places but not included at other places are NANDI, NARADA, GUNIA, BAIDYA, JAMBABA. DWARI, additional wives of Chadheiya or Kela, son of Chadheiya, BANA DURGA, a brother of Chadheiya, son of Saura, BAISHNABAS, GUDIA, GOPALUNIS, KRISHNA, GOPIS, BRAHMIN, OLD MAN, NARADA, DANDASI, DUMBURA, & HIS MOTHER, JAMADAR, HADI, HADIANI, SAHEB, DAROGA etc. From amongst the characters of Danda Nata, it will be seen that except the characters of Gods or Goddesses, all others are the most ancient human species, nothing to do with the so called modern civilization. They are from the lowest cadre of the society and the most down trodden They have no materialistic belonging but yet have their biggest belonging "the deep faith in God". One of the main characters that needs a mention is the Pata Bhokta. The Pata Bhokta is not a regular character in the Danda Nata, but he in plain clothes is there through-out, not only as the chief of the 'Bhoktas' but a sort of Mediator between the characters and the spectators. He may be termed as the Sutradhara or the Master of ceremony in a Danda 'Jatra'. On behalf of Spectators, he asks questions and talks to the characters. Sometimes he also recites a story to the masses. He also leads the first "Vandana" the invocatory ongs in praise of all Gods and Goddesses. The Language: A Danda Nata mainly consists of songs in Oriya. At places Sanskrit verses are also recited. Prose dialogues are very few and at many instances, they are spoken extempore. Beautiful ornamentation's are made in the composition of the verses. In most of the cases the writers choose to keep the first letters of the subsequent lines in an alphabetical order from "Ka" to 'Kshya". Songs for inferior characters are in local dialects It is seen in many cases that characters like the Lord Shiva. Narada watchman etc., speak in Hindi or Urdu language which can be traced to the impact of Moghul & Maratha rule in Orissa. In humorous sequences, mixed languages and dialects of Hindi, Telugu, Bengali have also been seen used. On the whole, in a Danda Nata, the language is fluid, simple ant easily understood by all. Elements of Humour: In a Danda Nata of Orissa a high sense of humour prevails almost in every sequence. There are battle of wits, mutual admiration, quarrels and compromise between the different couples in all sequences. The satires on fake Sadhu who makes a living on the religious sentiments of the people, on the Vaidya who administers wrong medicines, on the not so pious holy man letting off wrong blessings, the gags etc. cause roars of laughter amongst the spectators. The peculiar styles of vigorous dancing by Sadbu, the Chowkidar and other characters also provide a lot of amusement. Elimination of Superstitions, Untouchability: To eliminate odd superstitions and untouchability, Danda Nata has been a very powerful medium of mass communication. The Number 13, has at some quarters been associated to be a bad omen. In a Danda Nata there are 13 'Bhoktas'. it continues for 13 days, the pole worshipped has 13 joints indicating that 13 is a lucky number. Danda Nata as an institution of learning: Danda Nata thus, not only provides clean entertainment to the masses, it also teaches them the art of living, broad thinking and simple living. It inculcates a deep faith in God, the creator of this universe with a sense of devotion and duty.

DASAKATHIA

A colourful and popular performance is rendered by two members, one signer (Gayaka) and the other accompanist (Palia). The very word (Dasakathia) is derived from the word Das which means worshipper and Kathi means two pieces of sticks which produce a very sweet sound. This performance is ritualistic and secular in nature. The performers each holding a pair of sticks begin their performance in chorus with invocatory verses composed by the local poets, each one striking his own sticks in perfect tune. The recitation of mythological themes in usually at the top of voice hypnotizes folk listeners. The comment of Sukumar Ray on the performance of Daskathia appears to be interesting. Hence it may be less musical but more dramatic. The dramatic performance includes verbose stanzas of various types including pauranic episodes mixed with manly vigour. Luxurious in dress and with turban on head and wearing a long luish or silken coat, the two dasas create a visual attraction of the listeners by their gestures and postures. This vocal recital is based on some patterns of tunes of inherent southern rural character. The form of inimitable type of music is a distinctive contribution of Ganjam district of South Orissa. Accentuation of the languages, breaking of syllables with notes, rigid pronunciations indicate a clear fusion of southern patterns in Oriya.
 

DHANU JATRA

A type of theatrical presentation very interesting for the local people and prevalent in Sambalpur district. In this performance subject matter being a part of krishnalila, the river Jira is conceived as the sacred river Yamaha, Amapali as Gopapur and Badagada as Mahura. The main characteristics of the Jatra, besides other highlights, is Kansa's elephant ride in the street of the kingdom, his high Mancha from where he falls and dies,and his Durbar, everything is so well planned and improvised that perhaps no where in the world, a play has been made to achieve such a vast magnitude bringing that central goal in dramatics, the unity, the team spirit and the universal brotherhood. All the villages, town and the river turn to be acting zones, naturally all the inhabitants and visitors also turn to be characters.

FOLK DANCE

Orissa boasts of a long and rich cultural heritage. Due to the reigns of many different rulers in the past, the culture, arts and crafts of the state underwent many changes, imitations, assimilations and new creations, from time to time. The artistic skill of the Orissan artists is unsurpassable in the world. The discovery that traditional artists still live and work throughout Orissa, producing various objects in many media, is an exciting part of any visit to the state. Odissi dance and music has lured many to this sacred land of Lord Jagannath.

GHANTA PATUA

For the whole month of Chaitra the village streets in Orissa reverberate with the sound of Ghanta (brass gong) played by Ghanta Patuas in accompaniment to their peculiar dance on the stilts which is very similar to the Karaga dance of Mysore. In Orissa, it is closely associated with the worship of Mother Goddess who has various names as Sarala, Hingula, Charchika, Bhagavati, Chandi etc. Ghanta patuas are the non-Brahmin Sevaks or servants of the deities. With the blessings of the respective deities attached to the shrines, they set out in two to four in a group. One of them dresses himself as a female with a black colour is tied on the head like a round cap while the flowing two ends are held by him in both the hands separately. He places to Ghata (sacred pitcher) on his head which is profusely decorated with flowers, vermilion, sandlepaste and coloured threads. The Ghata on the head he displays a variety of Yogic postures. Then he dances a while with bare-feet with the ropes. Without any support for the hands the dancer displays rare skill, with dance movements. Dhol and Ghanta are the accompanying instruments and their players, while working out uncanny rhythms control the tempo of the dance. After the performance the performers distribute the holy vermilion paste to the villager sand collect money and cereals. Like this they keep on moving for the whole month and return to their respective shrines for their annual celebration on the first day of the Hindu new year, Visuva Sankranti. Such celebrations are marked by small fairs and ornate rituals connected with the worship of Goddesses together with performances of dance and music.

GHOOMRA

Ghoomra is a typical drum. It is just like a big pitcher with a long stem made of clay. The mouth is covered with the skin of a Godhi (a reptile). When played with both hands, it produces a peculiar sound quite different from other varieties of drums. The dance performed to the accompaniment of this drum is called Ghoomra Nata. It begins fifteen days earlier of Gamha Purnima (full moon in September) and culminates on that night in a ceremonial performance. Young men of various communities fix a Ghoomra each on the chest with string tied the body simultaneouly dance and play. The performance begins will slow circular movements. The Nisan is a smaller variety of Kettle-drum played with two leather-sticks. The player always places himself in the centre and controls the tempo of the dance. He also indicates change over the movements. After a brief dance sequence in different rhythmic patterns all the dancers move in a concentric circle and then stand erect in a line. Then enters the singer who first sings in praise of Saraswati and other gods and godesses. During the song the drums remain silent. After the prayer-song Chhanda, Chaupadi other literary folk-songs are sung. Each couplet of a song is followed by a dance-peace. At the end of the each couplet the singer adds 'Takita Dhe' which is a numonic syllable for the time-beats and indicates the dance to begin.

JHOOMAR

This dance type named after the accompanying Jhoomar songs is prevalent among the Mahanta and Munda communities of the Sundargarh district. Among the Mahantas the dance is performed by the men only. Among the Mundas the singers who accompanying the dancers sing songs and the dancers follow them in chorus in accompaniment of Madal. The Mundas are especially experts in this dance particularly in intricate foot stepe, movement of hip and wrists and movement of body.

KARMA

Karam or Karma literally means 'fate'. This pastoral dance is performed during the worship of the God or Goddess of fate (Karam Devta or Karamsani Devi), whom the people consider the cause of good and bad fortune. It begins from Bhadra Shukla Ekadasi (eleventh day of the brightmoon of the month of Bhadra) and lasts for several days. .The Karam dance continues from dusk to dawn. Group after group drawn from nearby villages dance alternately throughout the night. In the early morning they carry the Karam branches singing and dancing and then immerse them ceremonially in a river or tank and then disperse. The technique of the Karma dance varies a little from tribe to tribe. The Kharias, Kisans and Oraons dance in a circular pattern, where men and women dance together. It is always headed by a leader and generally the men at the head of the line. Only the best of dancers join in right next to or near him. Very young girls and children join in at the tail end to learn the steps. When the dancing grows fast the dancers of the tail end drop out to let the true dancers show their skill. The dancers hold hands in different ways in different dances. Sometimes they simply hold hands and sometimes hands are placed on the neighbor's waist band or are crossed. It is the legs and the feet which play the principal part in the dance. The dance begins lightly with simple steps forward and backward, left and right, then gradually the steps grow smaller and faster, growing more and more complicated, until that dance reaches its height. Then it goes gradually to the first steps as the music leads to give dancers rest. The dancers have no special costume for the occasion. They dance with their usual attires which they wear daily. This is popular among the scheduled class tribes (e.g., the Binjhal, Kharia, Kisan and Kol tribes) in the districts of Mayurbhanj, Sundargarh, Sambalpur and Dhenkanal. In Dhenkanal and Sambalpur the dance is in honour of Karamsani, the deity who bestows children and good crops. However, the rituals connected with the dance remain the same everywhere.

KATHINACHA

Kathinacha or Stick dancing is common all over India. In Orissa they are of two varieties, one with comparatively long sticks and the other with short sticks. The former with long sticks is performed by the cowherd community of coastal Orissa. Dusserah, Giri Gobardhan Puja and Dol Yatra (Holi) are the important festivals on the occasion of which the dance is performed by the young boys. they weave out different geometrical patterns with simultaneous tapping of sticks and singing of traditional songs relating to the sports of Lord Krishna.

KEDU DANCE

Kedu dance of the Kondhas performed on the occasion of Kedu festival is a continuance of Meriah festival. The meriah (human) sacrifice of the Kondhas, a notable event in history and the most popular tradition of the tribe perhaps surpassing others, has been substituted by Kedu sacrifice retaining the other aspects of rituals as they were. This dance is ritualistic in character connected with the ceremony in honour of Dahrani penu who is believed to be the bestower of good fortune, good crops, protector of the people and their livestock. The people have the belief that sprinkling of blood and blood stained face of Kedu (buffalo) in the turmeric field reddens the colour of turmeric like blood. In this performance women dancers standing in a semi circle and holding each other in their hands on each other shoulder while the male members sing songs and play on the drums and flutes. The musical instruments used are Dhol, Changu, Nishan and Mahuri and the songs in Kui language are mainly devotional.

KELA KELUNI

The Kelas are a nomadic class of people in Orissa. Except for a few months in the year they mostly remain out of their homes. Originally they are snake-charmers and bird-catchers who roam about the countryside to earn their livelihood. Besides, they also display tight-rope walking and other varieties of gymnastic events along with dance and songs. In the dance only two persons take part, a Kela and Keluni (a female of the tribe). The Kela plays a peculiar string instrument Ghuduki which produces a peculiar sound. He works out rhythms by playing his fingers in strokes on a string. He dances with the Keluni and also sings. The dance of the Keluni is fast with swaying movements of legs, hips and the head. There are also exalted action in half-sitting position. Generally it is she who carries the show. The songs are of a special variety and are popularly known as Kela-Keluni Geeta in which love and humour predominate. This dance is fast dying out. But it is being adopted by professional Yatra troupes and other groups of entertainers.

KRISHNA LEELA

Associated with the cult of Krishna leela has a deep religious flavour.People in the village communities in certain parts of Orissa join in singing and dancing to the accompaniment of mridanga and cymbals. This is performed particularly on the occasion of Holi and Rasa Purnima. Different episodes of Krishna legend are performed in 'leela'. Through the chanting of songs and dancing to its tune in accompaniment of the musical instruments a serene atmosphere is created.

MAHARI DANCE

Mahari Tradition of the Sri Mandira is the beautiful Parijata flower of art an history of Utkal. It also makes living by its fragrance and the touch of nationl. It has been doing so far from the time immoral. It has made the art of Utkala glorious Mahari tradition is the same and one union of Lord Jagannath and great Nari Mahari.

Mahari Dance coming from the Nata temple of the temple has reached and extended to the stage and shastriya Odissi dance art. Now a days common man having seen the round eye of Lord Jagannath l has become wholeness of Karatali under this remains purity action whollyness of Mahari. It is a prensial emotion of life and heart and sloving. Amongst all who made this mahari dance living and has given to the people in general for publicity and its pride Guru Pankaja Charana Das comes to the foremast rank. He has made the dream ‘fruitful’ . This Mahari awarded is opened for all who take it as a tradition witrh whole heartedness.

Now Odissi has climbed the pick lof culture everelst of the world but the proponents of this art , that is the Mahari are numbered and along with them will go this age old tradition of Orissa. We all specially the Oriyas should not forget the contributions made by this great lordies.

MEDHA NACHA

This is mask-dance most common during the religious processions in the coastal districts of Orissa. During Dussehra, Dol Purnima (Holi), Kalipooja, Rama Navami, Sahi Yatra and other festivals when the idols are taken out in procession for congregation (Melan) or immersion mask-dancers join the procession. The procession halts at market places and road-crossings, thereby allowing to show their skill. Huge masks of demons, Raja and Rani (King and the Queen) etc. Made out of paper pulp and painted bright these masks are worn by the dancers who dance to the rhythm of Changu and Dhol.

NAGA DANCE

The most virile and spectacular dance during the religious processions in the district of Puri is known as Naga dance. Generally young and energetic men are chosen for the dance. The costume is heavy and elaborate. The dancer wears a huge head-gear profusely decorated with silver ornaments and a false beard almost covering the face. Multi-coloured attached in two bamboo sticks are tightly fitted to the arms. With jerky movement of the shoulders he dances in heroic steps. Sometimes he holds a gun. He moves at the head of the procession along with the drummers who provide rhythm to his movements. Formerly the dance was confined to Brahmins only, but now it is performed by people of other castes as well.

PAIKA NRUTYA

The word paika is derived from the Sanskrit word Padatika meaning the infantry, and hence the name of the dance battle (paika) dance (nrutya). In olden days the powerful Ganga and Gajapati rulers of Orissa extended their territory from the river Ganges in the north to Godavari in the south with the help of a vast army of valiant Paikas. They were not in the regular pay-role of the army, but received huge land grants from the kings and the chieftains. They formed the rank of a peasant-militia. Though agriculture was their main occupation they used to keep themselves prepared by regular practice and training in war techniques. Several village-groups were under the command of a Dala Behera or group-commander. Most of the Paika villages of Orissa, spread all over the state have maintained the older tradition of Paika Akhada - the village gymnasium where young people assemble in the evening after the day's work. Alongwith traditional physical exercises, they dance with sword and shield in hand to the accompaniment of the country-drum. The primary aim of this dance was the development of physical excitement and consequently courage, in the dancing warriors. In ancient times this was unconsciously a rehearsal of battle. During Dussera all the Akhadas celebrate their annual festival. In several prosperous villages display of traditional gymnastics, acrobatics and the dance by various village-groups are arranged on competitive basis. Each group participate with great enthusiasm. For all such display special grounds are prepared with soft earth sprinkled with oil and water. Needless to say that the tradition of this dance carried tthroughout the contiguous tribal belt of Mayurbhanj. Seraikela and Purulia, with free imbibition of music and dances of the area has developed into a magnificent dance-style of Indian called 'Chhau'. It is so called because in Oriya it means 'Guarilia war' or 'to pounce upon the enemy stealthily'. The other relative words are Chhauni (armour for the chest); Chheuka, that hunts stealthily (called of cats and dogs); Chhau mariba, to take a vault etc.

PALA

Pala, a very popular performance associated with the mixed cult of Satyapir, has wide distribution in Orissa. Its origin goes back to Muslim-mughal period when asimilation of Satya Narayan of Hindu pantheon with Pir of Muhammadanism, brought about a synthetic cult known as 'Satyapir'. This is an instance to show the inter-change of cultural traits between Hindusim and Islam resulting in subduing to a great extext the intolerance and anticism of Muslims. As a consequence of this fusion the Hindus became the disciples of the Muslim guru or Fakir and adopted worship pattern of some Hidnu deities and vice versa. Satyanarayan is an incarnation of Vishnu, and Pir is an oldman or precept of Muslims who established a religious sect at Persia. The Fakir considered to be the incarnation of Satyapir, exercised a tremendous influence on the common people of Muslim and Hindu sects. The propitiation of this deity is intended for well-being of the people. A story with regard to the origin of Satyapir is recorded in the Pala of Krishna Haridas. According to this interesting story, king Maidanb's virgin daughter Sandhyabati while taking a dip in the river, saw a flower floating and by smelling it she became pregnant. When her parents were aware of the fact, they took it a serious offence and drove her away. Under orders from Satyapir still in the womb, Hanila built a palace for Sandhyabati where she gave birth to a ball of bloody flesh. She threw it away into the river. A she-tortoise swallowed it up, gave birth to Satyapir and went to heaven after death. Kusaleswar, the Purohit of Maidanab brought him up with care. One day while taking a walk on the bank of the river Nur, Satyapir found a manuscript of Koran. The Brahmin asked him to keep that book in its former place as it should not be touched by a sacred Brahmin. The boy argued and concluded that there was no difference between a Purana and Koran. Hinduism and Islam are not hostile to each other.

KANDHEI NACHA

Puppets dance known as Kandhei or Sakhi Nata, a rare and unusual type of stylised indigenous drama and dance based on mythological stories, is being performed today in various parts of Orissa. The puppets are usually the representations of various characters and animals of a particular drama. It is difficult to speak anything about its origin but undoubtedly is an old art. The making of dolls with paintings, dresses and ornaments is a typical folk art for the enjoyment of people of all categories. Together with puppets there evolved another art popularly known as the expressive shadow plays which has the added advantage of being able to cater to large audiences. The puppetry of Orissa may be classified into three categories, such as hand puppets, string puppets and rod puppets.

RAM LEELA

Rama Leela, a very popular theatrical performance of Orissa as elsewhere in India, being religious in character retains all its religious significance. The theme of the performance is derived from Ramayana . In some places the performers use masks and there are others who do not use them. We have no information with regard to the origin of this type of performance in Orissa but on the basis of availability of vast mass of Rama literature in palmleaf manuscripts, iconogrphic representation of Rama andhis associates on the temple walls, presence of Hanuman images in various sacred places, the popularity of Ramayana in folk and sophisticated society, give a clear indication of continuity of the tradition of Ramalila. The form of performance as we notice inthe coastal belt of Orissa, is as old as other folk performances. Of course, in the present day performance many other items of Jatra have been incorporated to gain a mass appeal.

RANAPPA

Popular among the coastal areas of Ganjam district, this dance receives its name after the bamboo sticks carried for support. The young village dancers standing on the sticks, dance with utmost ease and show remarkable skill in balance and agility to the accompaniment of Dhol and Mahuri.

SAMPRADA DANCE

Samprada Dance is also known as Bahaka Dance. This type of dance prevalent in Western Orissa is a standardised performance of singing, playing on the musical instrument which looks like Mridanga but bigger in size and Jhanja locally known as (Kartal), and dancing. The peculiarity of this performace is that the performer displays his capability in gayana, badana and nartan. One cannot be an expert performer in the Bahaka dance unless he acquires adequate knowledge in these three aspects. The tuning of the songs, the stepping movement of feet and rhythmic playing of the musical instruments make the performance very interesting and charming, Bhajan, Janana, Chhanda, Chaupadi and Sanskrit slokas are recited while dancing. The main performer is assisted by another player who is known as palia Bahaka. This type of dance is generally arranged on social and festive occasions.

TRIBAL DANCES

The Tribals who constitute about one fourth of the total population of Orissa have very many dances of secular, religious and seasonal in character. Living in the midst of nature their dances and songs are vivid, temperamental and attuned to nature herself. Nature is always the strongest inspiration for them, coupled with the customs and religious heritage. The colourful spring time dance of the Santals with their musical instrument, Madal performed by the maidens, their pastoral dance during ripening of grain, the dance of the Kolha at the time of planting of the seeds in honour of their deity is performed by men and women, the dances of the Gonds done in dedication to their deity Bhimsen at harvesting festival time, marriage celebrations accompanied by several musical instruments like the horned-drums, flutes and many clarions.The spring dance of the Bhattara with beautiful dresses, silver ornaments of women, flushed as they move and the colourful turbans of the men stuck with peacock feathers, the Sua dance of the Sambalpur tribes performed by the young girls in the spirit of adventure and romance accompanied by drummers and musicians, the ring dance of the Oron performed during all festivals and in the spring and autumn seasons in a circle, the women dancers placing their arms at the back of their neighbours and clasping the hands of the next, the courtship dances of Ho, the Jhadia paraja dance exhibiting graceful movement and artistic skill, the colourful dance of the Gadaba, the dance of the Koyas with the head-dress of Bison horn, the women in colourful attire with iron sticks in hands making a jingling sound in accompaniment of musical instruments, the dance of the Kutal Kandha with the single stringed dungadunga, the peacock, sparrow, vulture, deer dances of Juang to the tune of their musical instrument, Changu and Badakatha, and a wide variety of dances clearly give an idea how the culture of the tribals born out of nature and attuned to nature can live and flourish spontaneously. These are just a few representative examples of the tribal dances of Orissa. The tribal dance itself is vast in variety indicating their importance in the social and religious life of the people.