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DANCES OF ORISSA

Animal Mask Dance: Baunsa Rani Dance: Chaiti Ghoda Dance: Changu Dance: Chhau Dance: Dalkhai Dance: Danda Nata: Kathinacha: Kedu Dance: Kela Keluni Dance: Krishna Leela: Medha Nacha: Naga Dance: Dasakathia: Dhanu Jatra: Ghanta Patua: Ghoomra Dance: Jhoomar Dance: Karma Dance: Paika Nrutya: Pala Dance: Patua Jatra: Prahallada Nataka (A Devotional Folk Dance): ppet Dance Kandhei Nacha (Puppet Dance): Ram Leela: Ranappa Danc: Samprada Dance: Tribal Dances:

Animal Mask Dance

Animal Mask Dance of Orissa 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 Dance

Baunsarani literally means "The Bamboo Queen". Minly 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 Dance

chaiti ghoda dance of orissa 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

Orissa has earned name and fame in the international arena for its famous martial Chhau dance. This variety of dance is prevalent in the princely states of Mayurbhanja, Nilagiri and Sareikala (now in Bihar). This dance is performed exclusively by men. The origin of Chhau dance is shrouded in obscurity and no historical document in this context has yet been recovered. Etymologically, Chhau is derived from the Sanskrit word 'chhaya' which means a mask but some scholars are of opinion that Chhau is an independent colloquial Odissi word, meaning to attack or hunt stealthly. It is evidently a war dance. The steps and movements, the attack and defence, the performers, each holding a sword and shield, dividing themselves into two parties, the drums and their mode of play, the huge kettle drum known as 'Dhumusa' a must in the orchestra, its reverberating powerful beats energizing the dancers, all signify that Chhau dance is unmistakably originated from marital practices.
The rituals connected with Chhau spread throughout the year beginning from Dasahara. The initiation for the newly recruits by putting a red-thread on the wrist starts from this day. The actual training of the Chhau starts from the day of Sri Panchami after playing homage to Saraswati, the goddess of learning. A number of rituals are performed primarily to call upon the divine blessing. The thirteen Bhokatas (devotees) held from different castes perform all the connected rituals. The actual performance takes place on the occasion of Chaiti Parva (spring festival). All these rituals have a deep symbolic meaning according to the Hindu philosophy. From the various rituals interlaced together, it is apparent that Chhau as an institution was meant to achieve religious, social, and cultural integration. Shaivites, persons adhering so Sakt-cult, Sun worshippers, Vaishnavites, all are integrated together admirably in a new festive atmosphere.
This dance, heroic and histrionic in character, is a way of life with the people living in the princely states of Mayurbhanja and Sareikala. The royal patronage in development of this art is mainly responsible. The kings of these states with artistic learnings had participated in dance performance. Chhau in general even today serves three fold purpose: (1) It perpetuates on art, (2) Maintains the age-old martial customs, and (3) Provides on opportunity for the integration of tribal culture with the culture of the sophisticated society.
The Chhau dance was too hard to include women to play roles, hence women roles are played by male dancers who are extremely masculine in appearance. The use of mask by every character is the speciality of Sareikala Chhau whereas Mayurbhanja Chhau is totally devoid of it. The Sareikala Chhau for stylisation appears to be less virile and conditioned by mask. On the other hand, the Mayurbhanja school of Chhau retains extremely virility of the original movement with martial trend.
It is a type of dance which takes utmost care in expressing emotion and feeling - anger, fear, laughter, wonder or sorrow. The rhythmic variations of this stances even in the same performance, the linear relating to the intricate foot work, and the complicated gamut of inspired stances are vital, charming, subtle, full of sinuous grace.
Chhau dance of Mayurbhanj: Mayurbhanj, one of thirteen districts of modern Orissa Province, was the biggest among the eighteen erstwhile Princely states annexed to the Indian union in 1948. Chhau Dance flourished under the princely patronage and fostering care of the Maharajahs of the rulers of Mayurbhanj for over a century. Evolved out of the extent war-dances of the area the dance has an unique character of masculine vitality. Its annual ceremonial presentation formed an essential feature of the tribal festival Chaitra Parva held for three consecutive nights. The dancers were divided into competing groups each trying to excel the other by virtue of their neat performance. Chhau Dance has a character of its own. In the process of its evolution and growth it has also freely imbibed from the prevalent folk and tribal dances and makes a harmonious blending of classical, traditional, folk and tribal traditions. Unlike the Seraikala and Purulia styles Mayurbhanja Chhau has dispensed with the mask. This has greatly influenced the style and the technique of the dance. In comparison to the other masked -styles it has a wide range of intricate movements with acrobatic stunts and beautiful choreographic patterns. Being without masks it has adopted a style which retains the virility of the original movements of the martial craft.
Repertory: Mayurbhanj Chhau has a vast repertory of over hundred dances. Excepting the earlier dances with heroic characters, thematically it draws substantially from the Ramayana and Mahabharat. Many themes are also drawn from the Krishna legend. In the earlier stage, the Chhau dance had a limited items, namely, the Rookmar (Matcha or the dance of mockfighting). In course of time things of all varieties with special emphasis on the heroic ones were incorporated. The dance is more famous for its group numbers sometimes having more than twenty characters at a time. Most of the themes of Puranic episodes like Mayashavari, Kiratia Arjuna, Satarathi, Garuda Bhan, Dwaparieela, Vastra Haran, Bhasmasura etc. The duet dances are but a few. Most famous of them are Geeta and Rangapanda. The charecters of these dances are Krishna, Siva (Mahadev), Rama, Parasurama, Hanuman, Shavara, Dandi, Jambaban (Mythological bear hero of Ramayan), Indrajeet etc. The themes combining elements of tremendous kinetic fury and very fast foot work with mellowed elegance and lyricism become visual poetry of strong passions gestured in a style that is free, intense, affluent, dynamic yet melodious.
Moods and modes: Keeping with the martial tradition. Chhau Dance in its rudimentary form had only one dominating mood Tandava Bhaba or heroism. The solo dancers were simply displaying stylised vigorous movements with sword and shield in hands. The dances were Sandhamar (strong man), Dushman Pachhad (chasing the foe), Pakalanka (red chilly), Bajra Maruni (thunder bolt), Singha (to puzzle the enemy, obviously with marital display) etc. When themes were introduced and group items were composed the dance has to widen its moods and modes, corresponding to the demand of the characters. Consequently there was an need for introducing more female characters. So, at this stage Chhau had to evolve three modes of rendering of movements to build up the general aesthetic climate. The first, Hatiardhara, meaning holding of an arm for marital and masculine characters, Kalibhanga, meaning the pliant end of a spring for more delicate lyrical and non-martial charecters especially females and Kalikata, meaning to cut off the tender spring with a weapon is a judicious mixture of the other two for both male and female characters.
Technique: When a dance develops on more prominent lines more and more techniques are evolved, some kind of codification by naming them becomes necessary, so that it does deviate from the set pattern. Chhau Dance followed the same process and evolved its own code of movements still handed down by oral tradition.
The basic in Chhau is called Chhuk where legs bent on the knees form a quadragle in a straight line. The right hand is held aloft and the left is held below. The hands suggest holding of a sword and a shield. In the Chhau dance movement of hands are little bit restricted for holding weapons leaving the feet and body predominantly flexible. When actually held the dance is called Dharan. Every unit of dance culminates in Dharan with jerk of the shoulders. The eight basic gaits are called Topka and the twenty eight dance-movements are called Ufli. Each of the movements has a suggestive name.
Besides these basic movements there are many peculiar movements known as Hana (to cut with force), Matha (thrusting movement), Habsa (crushing movements), Chmka (jerky movements), Ghoora (whirling movement) etc.
With permutation and combination of all these movements a Bhangi or an unit of dance is born and with a series of such woven Bhangis a full dance is created. Therefore, all the dances of this style are well-knit with dramatically structured movements and with these sharp movements of the dancers the narrative grows and there is a sense of dramatic progression.
Presentation: When Chhau was exclusively under the royal patronage, it was being presented to the audience only once in a year for three consecutive nights during the last three days of the Hindu new year coming in mid-April. But, the undeveloped village groups used to perform during Dasserah festival which had the religious sanction. As the dance is full of acrobatic stunts in which the dancers are required to balance their feet, the dance is held in the open ground specially prepared with soft earth and sand.
A performance of Chhau Dance begins with a musical prelude with intense drumming known as Ranga Vadya. This short piece of vigorous music charges the atmosphere and the dancers get inspired.
Like the classical dances of India Chhau Dance has three stages of development, one in slow tempo - Chali, second in middle tempo - Nata, and the third in fast tempo - Natki which brings about the climax. In Chali the dancer enters the stage with majestic gaits posing dramatically in the beats of the drums. In Nata, the mood of the character is developed with suggestive as well as expressive movements. The climax 'Natki' is characterised by fast movements and intricate choreographic patterns.
Orchestra: The orchestra is generally provided by the traditional drummers and musicians of 'Dom' community whose profession is also to provide music during marriage and other religious celebrations. Following are the instruments they play: 1. Dhol - A barrel-shaped drum played with the palm and fingers of the left hand and a blunt stick in the right. 2. Chadchadi or Kadra - A short cylindricla drum played with two lean sticks to produce vibrating sound. 3. Dhumsa - A huge bowl-shaped kettle-drum of iron case covered with buffalo skin played with two heavy and blunt sticks. It produces reverberating sound. 4. Mahuri - A local variety of wind-instrument in which all the tunes are played out.
While the music is provided by a number of Mahurias playing in unison, the Dholias provide the fairly complicated rhythmic designs with great enthusiasm. Thus the plaintive cry of the Mahuri and the sound of various drums combine to produce the loud orchestra of Chhau.
Chhau Dance of Dhenkanal: The Chhau Dance of Dhenkanal has till today retains traces of its glory and sophistication. Though it is of the same mask-less pattern as that of the present Chhau Dance of Mayurbhanj, it has retained its distinct identifications and peculiarities in its stylization, choreography and its repertoire.
While the Princes and the Royal families are the participants in the Seraikela Chhau and the commoners in the Mayurbhanj Chhau teams, it has remained with the traditional 'Paika's of Dhenkanal, whose ancestors themselves formed the infantry-men of the Dhenkanal Kings, before the merger of the States.
The martial traditions of the 'Paika's of Dhenkanal occupy a very important place in the history of Orissa. The detailed descriptions of the real battles they fought, which took place between the Maratha army of Rajaram and the army of Dhenkanal's King Bira Trilochana Mahindra Bahadur in 1779 and how the Maratha army was defeated have been recorded in the famous book ``Samara Taranga" by the great poet Brajanath Bada Jena (1730-1795) of Dhenkanal. Amongst the Oriya literature on war, this book therefore stands unique and the foremost.
Culture flourished with patronisation of the state and no wonder the militant 'Paika's of Dhenkanal nourished a beautiful institution of Chhau Dance.
Before the year 1890, amongst the numerous 'Paika' villages of Dhenkanal, two villages namely Balarampur and Chandra Sekhar Prasad had become very prominent for their Chhau Dances in their 'Paika' Akhadas. By then Chhau Dance was also very famous at Bonai state from which royalty, the mother of Raja Sura Pratap of Dhenkanal hailed. It is therefore assumed that there was some exchange of culture between Bonai and Dhenkanal. It was during the rule of Maharaj Sura Pratap Mahindra Bahadur, that these institutions got the real boost they deserved. The King, in order to encourage the art and the artists gave monetary grants for purchase of costumes and musical instruments and conferred special titles on the Gurus and the artists.
In 1902. Raja Sura Pratap Mahindra Bahadur married in the royal family of Seraikela and to the Chhau Dance of Dhenkanal, it was an added advantage because Seraikela was also then very famous for its masked Chhau Dance.
Though Chhau Dance of Dhenkanal never had the masks, nor adopted the pattern it enriched its repertoire by adding other technicalities such as music & costuming, Chhau Dance had become an item of "Must" in all state functions. Regular performances were conducted at the palace of Dhenkanal during the month of Chaitra after the Dola Jatra in the presence of the royal gathering and V.l.Ps. Ustad Bhagawat Sardar Singh of Jhumpudia village earned a reputation as a great Guru of Chhau Dance.
In 1916, a Chhau Dance competition was held at Cuttack in aid of War-fund where Chhau teams of both Mayurbhanj and Dhenkanal had participated. The impresario of the Dhenkanal Chhau was Chandrasekhar Pani and it is reported that the Dhenkanal Chhau team won the medal.
King Sura Pratap died in the year 1918 and the state was brought under the court of wards by the British government. There was a dull moment for Dhenkanal Chhau during this period. Although feverish activities continued, the Chhau dance of Dhenkanal had to wait for its restoration until the year 1925 when Maharaj Shankar Pratap occupied the throne. To the good fortune for all, Shankar Pratap also got married in the royal family of Seraikela which event again helped the promotion of Dhenkanal Chhau.
A real connoisseur of art and discipline, Shankar Pratap did his best to bring back the Chhau dance of Dhenkanal to the limelight again. He established the palace programmes of Chhau with added glamour. He deputed the following Gurus and artists to Seraikela for a refresher training - Bula Ranjan Singh, Shri Lingaraj Mohapatra, Shri Ballav Mohapatra, Dhruba Charan Bhuyan, Nath Naik (Drummer).
Shri Ballav Mohapatra and Shri Lingaraj Mohapatra are alive. Though at a very old age, it is a feast for the eyes to see these old maestros demonstrating. Although physically with run-down muscles, these maestros spring-up on their toes as the drums beat.
Shankar Pratap went further. He granted freedom from forced labour for the participants of the Chhau Dance. Thus, with adequate royal patronage, the fame of the Chhau Dance of Dhenkanal spread far and wide.
The colourful repertory of the Chhau Dance of Dhenkanal consist of the following items: (A) Solo items (B) Duet items (C) Items with four artists (D) Group items and (E) The war dance.
Musical Instruments: The main accompanying musical instruments are the Dhola (the drums) and the Mohuri (the blowing instrument like Shehnai). These two are the absolute necessities. The other instruments which are also used are the Bada Baja (the big drum) the Turi and Kahali (Like clarion and trumpet without reed) and the Jhanja (Brass Alloy cymbals) etc.
No songs are sung in Chhau of Dhenkanal but the music is based on traditional tunes of Odissi Songs-the Chhandas and the Champus etc.
The Presentation: The style of presentation of the Chhau Dance of Dhenkanal is unsophisticated and is in the typical common 'Jatra' style of Orissa except the central raised platform.
A field know as the Jatra Padia is the place of performance. The spectators sit around this open arena. By the side of the field, there is a room where the artists wait. The make-up and the costuming is done at another place away from the field, After make-up, all artists gather for an invocatory Puja at the village Goddess Mangala, located at the village cross-road. After the Puja, all the artists walk in a ceremonial procession along with the musical accompaniment of Dhol, Mohuriand come to their waiting room through the spectators The music hands take their position at one side of the arena, with the spectators.
The performance begins with the drummer demonstrating his skill on the instruments. Sometimes he dances with the drum reciting the "Bols" loudly. After this initials, there follows a demonstration of the Chalis (Styles of walking. Artists come out from the waiting room together and after few rounds in the field, go back to the room. Then follows the individual dance numbers. In between the items the drummers take to their toes and demonstrate various style of drum beatings.
The final item is invariably the ``war dance" where the skill of warfare is demonstrated.
This Chhau Dance of Dhenkanal, as it has been, cannot be performed in a modern theatre hall having one side spectators. The style of performance even for a Solo dance demands an open arena with spectators on all side.
There is absolutely no scope for giving any scenic arrangements at the background. The properties are handed over to the artists in view of everybody. Costumes are re-arranged in the knowledge of all. Properties like that of a tall stool and the "Serpent cut-out" are brought into the arena by the boys and kept in place in broad light, without any cover. On the whole, the atmosphere in a performance of Chhau Dance of Dhenkanal is absolutely cordial with full of spectators participation.
"Origin of the word Chhau": The above record also indicates the origin of the word "Chhau" according to the experts of Dhenkanal. This definition, in a way is almost similar to the theory given for the Seraikela Chhau or the Mayurbhanj Chhau except of the fact that in Seraikela, they connect the word "Chhai" to "Chhaya" meaning shadow to be linked with the facial masks they use. The other point of view expressed by the experts on Mayurbhanj Chhau is that the word "Chhau" is an abbreviation of the word "Chhauni" meaning a military camp where probably the "Chhau" dance had orginated, would hold more good and appropriate to the Chhau dance of Dhenkanal, whose artists hail only from the traditional families of Paikas of Dhenkanal.
The Technique: In a broad sense, the techniques of the Chhau Dance of Dhenkanal can be termed unique. As regards the music and the repertory, Chhau dance of Dhenkanal, would in a way, appear more similar to the Chhau Dance of Seraikela except the masks. No rituals are attached to Chhau dances Dhenkanal. As regards its training, it is purely the physical exercises adopted for the Paikali gymnastics. There is no female participation.
Suitable candidates first practice the "ara Lahan", for the fitness and suppleness of their body. The next phases of exercise consist of various styles of Chalis or gaits.
While both Seraikela and Mayurbhanja styles specify six types of Chalis, Topkas, the Dhenkanal Chhau adopts mainly the following four types: (1) Salakha Chali (2) Babu Chali (3) Karua Chali (4) Baga Topka Similarly, while both Seraikela and Mayurbhanj Chhau specify 36 types of Uflis or Upalayas (the movements of the body, limb and foot work with leap and motion) the Chhau Dance of Dhenkanal specifies only 20 Uflis.
There have been efforts in the past, to assimilate the beautiful things of other styles of Chhau with that of Chhau of Dhenkanal. There have been exchanges of men, materials and ideas. Only a very close study and extensive research may bring to light as to how much give and take" have taken place in the field of Chhau Dances of Orissa.
But, inspite of everything, Chhau Dance of Dhenkanal retains its uniqueness and local flavour. After the merger of states, this beautiful Chhau Dance of Dhenkanal, has almost turned defunct without any patronisation. Except a very few, all Ustads have left this world. There may not be any with direct knowledge of this school of dancing after another few years.

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. 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.

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.
The other type with smaller sticks is performed by the people of the scheduled class of Mayurbhanj and Bolangir. In this, the sticks are about two feet in length and are made of resonant wood to produce percussion. The sticks are held on pairs. The dancers are all young boys who standing in a line, begin their dance, striking each other sticks according to the rhythm of the madal. Two or more singers and drummers move with the dancers. Following the rhythm of the madal, they increase the speed of various movements until the dance ends in a crescendo of sound produced by the sharp taps of the sticks. Makar Sankranti and Nua Khai festivals are the occasions for this dance. In the district of Bolangir, this is known as 'Kalanga' when the dancers wear costumes like the Karma dancers of the Binjhala community.

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 Dance

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.

Medha Nacha

his 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.

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.

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 Dance

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 Dance

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 Dance

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.
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.
In the afternoon of the auspicious day two young unmarried girls cut and bring two branches of the 'Karam' tree from a nearby jungle. They are accompanied by drummers and musicians. The two branches are then ceremonially planted on the altar of worship and symbolise the God. Germinated grains, grass flowers and country liquor are offered to the deity. After completing the ritual the village-priest tells the story or legend connected with it. This is followed by singing and dancing in accompaniment of drum (madal), cymbal etc. The dance performance full of vigour and energy combined with charm of the youth decked with colourful costumes in exuberance of red cloth, set in peacock feathers skillfully designed ornaments made of small conch shells, brings the onlookers as well as the performers to a mood of trance and ecstasy. In this dance both men and women take part and continue to engross themselves for the whole night. The skillful movement of the young boys with mirror in hand indicates the traditional pattern of love-making in course of dancing and singing. The dance is performed sometimes by boys in group, sometimes by girls in group and sometimes both the sexes together. The subject matter of songs constitutes the description of nature, invocation to Karmasani, desires, aspiration of people, love and humour.
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.
The dance is usually held in the courtyard of a village where performance is arranged. In the center of the courtyard a bamboo is fixed and it is split into four upto a certain height and then bent to form the arches. Each split is fixed with a pole on the outerside to form the earch. Then it is decorated with festoons of mango leaves and water lilies giving it a festive look. The ground is neatly plastered with cow-dung. Men and women dance winding in an out beneath the arches.

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 Dance

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.
The cult of Satyapir is so popular in Orissan culture, the Puranas and popular literature profusely mention it of the supernatural powers endowed on the deity.
We have two types of Pala in Orissa - the Baithaki (sitting) and the Thia (standing). The Thia Pala is taken to be the developed form of 'Danda Nata'. The group of performers consisting of six persons including the Bayak, or the drummer (playing on the Mrudanga) and the chief singer known as Gayaka. The side singers with their cymbals sing and dance explaining the meaning of the verses to the audience. The performance begins with invocation to Satyanarayan followed by the story of Puranas or epics embellished with poems of different poets. The Pala songs are the compositions of the local poets and recited in the appropriate places during the performance.
In a Pala performance, songs of various types in different styles predominate the dance which on the other hand, is the expression of simple rhythm to the tune of music. Pala is normally ritualistic in character and is performed on the occasion of worship of Satyanarayan but now-a-days it is performed on important festive occasions. The performers, be it in an urban area or in the folk area, draws a large audience. The interesting theme of Pala, the lyrical diction of the poets exhibited in a charming manner in melodious voice, the songs of humour with the use of local dialects, the depiction of humorous story, the skillful play of mridanga, the charming and colourful dress of Gayak and palias make the audience spellbound.

Patua Jatra

Patua jatra, similar to that of Pala, is a well known form prevalent among the low caste people. The festival of Patua continues from the 23rd day of the month of Chaitra to the fifteenth day of Vaisakha in honour of Goddess Gauri or Mangal. This festival dance organised in honour of Sarala of Jahakada, Mangala of Kakatapur, Charchika of Banki, Cuttack Chandi of Cuttack appears to have been meant for Sakta Goddesses. The Kalisi or Saman of the deity is engaged in times of epidemic and other natural calamity.
The Patua's songs depict the stories of Ramayana, Mahabharata and Puranas and more recently the songs of the medieval and modern poets. The simple songs so used is called pada bandia and the other type artha bandia which is a jugglery of words conveying deeper meaning. The traditional mirdanga has been adopted for the performance of the second type. This is recently been influenced by the Pala.

Prahallada Nataka (A Devotional Folk Dance)

It is the histroy of 150 years. It was the year 1857, when the king of "Jalantara", A Place in South Orissa, thought to form a Nataka from where the people can get enjoyment as well as can taught the lession to run a smooth life by inclining their head toward the lotus feet of the almighty. He summoned all the performing artists across the state and shoulded the responsibility to the "Gopalkrishna Chhotray". They created a dance of 12 - 36 hours by singing the Ragas like "Sankara Bharana", "Mukhari", "Kamodi", "Hindusthani Todi", etc. etc. to presented the story of the "Bhakta Prahallada". To whom the local people called as "PRAHALLADA NATAKA" or "RAJA NATA". Harmonium, Mardala, Sahanai and Gini and a group of "Sutradhara (Chorus Player)" are the musical instruments and "Hiranayakshya", "Prahallada" and "Leelabati" are the major roles in this play.
They had tried to reflect the greatness of god when he has came in the form of "Nrushingha Avatara" to keep the word of his devotee, "Prahallada". There is a ladder like stage for the king, which people have to understand as the "Singhasana" of the King 'Hiranakshya', the son of 'Diti and Aditi'. He has taken Lord Vishnu as his enmey, as he has killed his brother "Hiranyakasyapu" in the form of "Varaha Avatara". Since then he was worshiping "Lord Shiva" and has got a bara that "He will not be killed in day or in night", "He will not killed by man, animal", "He will not killed in earth, heaven, water, fire". he has been blessed by lord and was the emperor of 'swarga', 'martya' and the 'patala'. But His son "Prahallada" was worshipping "Lord Vishnu". Naturally the Father denied to do the same but "Bhakta" was chanting his name. So King angried and tried to teach him by the pandit 'Chanda and Amartya' but failed. Attemted a lot to not take his name but failed everytime. So he tried to kill him by throing to the fire, putting him in front of elephant, cutting his head, etc. etc. but evreytime failed. In a angry mood he asked his son, can you show me your lord? Prahallada pointed his finger to the pillar and told that god is everywhere and like he may be in this pillar. So the King tried to beat the pillar from where the vishnu protuded by taking "Nrushingha Avatara" and killed "Hiranakshya".
Prahallada Nataka is filled with the Tragedy, Comedy and Romance also. But it attacts to the limited category of audience as it is full of classical things like "Raga" and "Tala". It is not able to give the things what the currect youth mass wants. No lady artist, No body showing competetion, no chance of mixing the western culture to this play. But it has still alive and will be alive with the interest of the people of that locality. It is a matter of sorrow that the Governement is not taking interest to spread it across the globe. But how can anyone be a hurdle to the fragrance of the sweet flowers? like this the play has been played several times in France, Japan, USA and UK.

puppet Dance

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.

Kandhei Nacha (Puppet Dance)

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.
All Thing Shall pass away? Many creations and creatures like dianosour has been evaporated from this world. and it seems this pupet dance also will be evaporate in next few years but still there is a village, Badakodanda in Ganjam district, where some people are taking interest to keep this creation alive. No one is aiding them to help for the life of such a entertainment art.

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 Danc

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.