Prahallada Natak

Prahllada Natak
A window on performing Folk Tradition 
In the largely due to historical reason, there is a remarkable continuity between classical, folk and tribal art form, allowing them to survive in their original and relatively pure form .The  result is a rare evidence of Classical-Folk-tribal continuum hardly seen in such profusion and intensity else where in the country.

Prahallada Natak a dance drama composed around 1860 in Odiya attributed to Raja Rama Krishna Dev Chhotray of Jalantara, now in Andhra Pradesh amply reveals this rich continuum in this literally and performative aspects.

This story narrates the emergence of Narasimha, the man- lion avtar of Bishnu, from the stone pillar of the royal court to mangle and kill Hiranyakashipu,the demon king who tortured his son prahallada for not abandoning utterance of Lord Hari (Vishnu) name and his claim that God is omnipresent. In shree frustration when he asked prahallada  whether Vishnu or Hari is present in the piller, and getting the answer in affirmative, kicks it in anger at which Narasimha emerges from inside and tears Hiranyakashipu apart and blesses prahallad. Narasimha is one the ten incarnation of Vishnu. 
The performing art is very unusual-in its combination of Odiya and Sanskrit slokas, of colloquial light and occasionally boisterous dramatic statement with songs based on classical Hindustani and Karnataki rages and well defined talas; of using both the sutradhara in the pastern of Sanskrit plays and a Gahaka as in traditional Folk apera.

It also incorporates tradition of Danda Nata of Ganjam-use of technique of trance ritual workship of images exorcism,  masks,reminding oneself of Tantric Shakti cult and on the other Desai Nata of Koraput - it also  uses lyrical Folk tunes and stories.

It contains as many as 42 Sanskrit slokas,  11 Odiya slokas or invocation with 126 songs based on 35 ragas and six talas. There are twenty Male and five female characters. 
In prahllada Natak 4 rasa's predominates Hasya,Karuna,Bhaya,Rudra, Rudra raga characterizes the speech of Hiranyakashipu, karuna rasa is embodied is the utterance of Queen Leelabati. Element of Bhaya and Hasya Rasa is also embodied in other characters. 
Thus, it has a theme with an all India appeal. The play orginally was enacted like Ramalila over a seven night period, later it was brought down to three nights, now it is restricted to one entire night. The various punishments and enforcement scenes / procedures laid out by Hiranyakashipu to  mould/ destroy his son prahallada through demons, elephants, snakes, fire etc are reduced to cut time.

To accommodate changing audience taste and lifestyle and the paucity of time available with them,it has been reduced to shorter duration in in urban stage performance through a process of skill up gradation and refinement along with other progressive changes in stage craft, costume, song and musical rendition and script based shooter duration of program. This has made it more acceptable to wider cosmopolitan audience taste and liking ..

Mayurbhanj Chhau dance of odisha

Mayurbhanj Chhau
Glorious Folk art tradition of odisha 

In the back drop of lofty similipal National Forest with gorgeous waterfalls, winding rivers, huge summits and lush green valleys, the district of Mayurbhanj unfolds a vast panorama of nature's beauty. Amids the surroundings, evolved a beautiful yet virile dance form, known as famous CHHAU DANCE .
The fame of Mayurbhanj Chhau has crossed geographical limitations and has claimed world wide acclaim for its beauty, vigour and marvel of the art.

 Of the three styles of Chhau, Mayurbhanj Chhau prevalent in odisha is the only one without any mask. The dance which got structured and flourished under the Maharaja of Mayurbhanj for over a century, was first publicly presented in Calcutta 1911 during the Emperors visit and drew universal appreciation, is another example of continuing folk performing tradition further enlivened irrespective of ups and downs under the passage of time.

Elements of folk, tribal, martial, traditional, classical art have been woven in to the grand mosaic of Mayurbhanj Chhau. This group dance is always spectacular, vigorous and characterized by rhythmic fury rising to a crescendo at the end. Various aspects of their idioms,vocabulary, repertoire, gesture thematic and aesthetic qualities, the musical accompaniment- notes, explains its diversity of form, that of being martial in character (overriding emphasis on foot work) to
Non-martial and non-war like themes. Thematically, Chhau draws substantially from great epics like the Ramayan the Mahabharat,legends relating to Lord Krishna and also from folk and tribal elements. The music accompanying the dance has its own style which envigorates the soul.The orchestra is generally composed of "Mohuri",chad-chadi","Dhol ","Dhumsa" etc. and some time accompanied by lilting vocal music. 
The grammar of Mayurbhanj Chhau comprises six chali-s or Topka-s (basic steps)and 36 ufi-s
(Jumping locomotions) relating six ufi-s to each topka-s in the manner of relationships between raga-s and ragini-s. These chalis a and uflis are are named from rural house hold activities, behaviour of animals, and birds and war actions. The lyrics are largely derived from the Jhoomer and local folk songs.
They have close resemblance to Bengali, Bhojpuri, colloquial Odiya and hindi. The Mayurbhanj repertoire treasures the highest number of dance items about 200 in number which is rarely found in any other dance forms of the world. Some of them are lost in oblivion with the passage of time. The solo items are Dandi,Mahadev,sabar Toka,Nataraj and Jambeb etc. The famous group items are Kirat Arjun, Mayasabari, Tamudia Krishna, Matrupuja,Kelakeluni,Dhajatal,Bainshi Chori,Kailash Leèla etc. 
The Chhau Dance traditionally as also to day is part of the Caitra Parva,which falls in the second week of April has the twin aspects of spring's delicate wistfulness and vibrant energy of coming summer- a tradition celebrated both by non-tribal Hindus and santals with strong  observance of rituals for a month. It is also known as the Uda Parba as
Followed by santals.

Mayurbhanj Chhau is a composite of various elements. The vigorous and fury of movement
Indicates to the  dynamism of santalis and Munda tribal dances. There is also  relationship to shiva worship, to the concept of
Tandava Dance and to Bhakta rituals.  In this dance form grace is related to vigour & emotion to energy. Chhau an ancident dance form follows the basic principles of Natya Sastra of Bharat Muni and Abhinaya Darpana of Nandikeswara. They practice difficult modes of walk-in, striking difficult posture &movements. Rmotion and passions are not depicated by facial expression but by intricate foot work, whirls & jumps.The waist, feet & the legs are used to depict Bhavas.

Gotipua Dance of Odisha

Gotipua Dance A Gurukul tradition of performing Art 

The evolvement of the tradition of of Gotipua Dance (dance by a single boy) can be traced to the tradition of Maharis or Debadasis attached to the temple of Lord Jagannath of puri, who could not dance outside, so young boy & later boys dressed in female costume replaced them at different festivities and gathering. The Mahsris and Gotipua dance styles co existed, each independently, but with common roots. 

The word GOTI means one/single and PUA means boy, but the Gotipuas always danced in  pairs. Boys are recruited at about the age of six and after rigorous training continues to perform till they are fifteen. 

The main pockets of the dancers can said to be Dimirisena and Raghurajpur of puri.

With the slow disintegration of  Maharis due to various reasons, the class of these boy dancers carried out the tradition with subsequent introduction of "Bandhas",(symbolic representation of mythological tales through acrobatic postures),the the present day Odissi, Classical dance form can certainly claim to have received seeds of its origin from the Gotipua Gharana. In fact most of the pioneering erstwhile and present oddissi Guru & exponents were Gotipua dancers in the early days. 

Even though the dance has similarity with Odissi style, nevertheless crucial difference exist in technique, costume and presentation. Interestingly, Gotipua dancers are singers also.


Earlier Gotipua used to perform the whole night, in special festive occasion, patronized by traditional Zamidars and Matha establishment, celebrating the divine myth of Radha Krushna Love, singing vaishnav devonational songs.
It is now performed as a  group dance of six to ten boys of tender age,clad in female costume (normally below 14 years of age), presented in a more systematic and precise manner with stage worthiness.

The repertoire of the dance includes vandana-
Prayer of God or Guru; sarigama- a pure dance number; Abhinaya- Enactment of a song, and Bandha Nrutya- presentation of acrobate Yogic postures, creation of images of Radha Krushna, having similarity to visual  presentation drawn up by pattachitra artist. Musical accompaniment is provided with mardala, Gini,Harmonium, violine and Flute. 

Animal Mask Dance of odisha

Animal Mask Dance The Living Folk Tradition 

Mask dance originated out of the primitive man's fear of the dynamisk of nature and propelled him to create mask as a linkage between his and the world of nature. As a tool in both popular of sophisticated theatrical froms,the mask help in portraying various socio-culture themes through direct or in direct or even satiric depiction of  various social concepts. 

In the southern districts of odisha, Ganjam, we see a strong and healthy continuity of this tradition, where a dance form evolved using animal mask,local folk rhythm and instruments serving religious and cultural purpose.Tribal people of the area revered " MAA BYGHRADEVI" and " MAA THAKURANI" and danced during procession of the Goddess wearing mask to the rhythmical beating of Dhol, Changu and Jhanj.

This art form which originated under the influence of the above Goddess, later came to be patronized by the kings and was performed before him during puja's and festivals and during religious festivals, when the idols are take out on the street, the animals mask dancers dance in front of the procession. In later period during wedding ceremony too.

They lead the bridegroom procession all the way to the brides house.

The most popular mask and costume used is that of tiger, bull and horse. Two person get into a cane frame masked by head and body and conceal themselves within it,their legs become the legs of animals they are representing and through various gesticulations of body , hand and head, give expression and movement to the animal. Mask of lion,Elephant, Deer,Goat,peacock, and Duck has been added to the fold to broad base animal characters so that stage presentation can be composed depicting diversity of social theme like forest conservation programmes etc....

With growing awareness,exposure and promotions of performing folk dance by,the art forms which was till late confined to the streetsof southern odisha and particularly Ganjam has crossed the rural southern boundaries and has attracted the attention of urban audience, across the nation and out side in countries.  

Like USSR Mauritius,En

Sankha badan The enlivened performing folk Tradition

JODI SANKHA(Double Conch)

Sankha badan or Blowing of shell onspecial occasion and festivals, is the profession of a class of people in odisha, particularly in the southern district Ganjam,where  on like the standard practice double Conch(Jodi sankha Badan)"are blown simultaneously. While commanding control over breath for a long period even stretching up to several minutes, they blow the Conches bringing out uncanny rhythms to various Drums and other percussion instruments. 

Conch blowing or "Sankha Badan "is associated with every religious function and auspicious event from time immemorial. During the period 

Lord shri Krishna used to blow the Conch before any event may it be the war. It relates to the heralding of auspicious occasions, social and religious festivals. 

Jodi sankha (Double Conch) is a unique presentation of rural music having badya and Nrutya in a combined form. While blowing the conch the artist display, what astonishes, is the harmony between the modulation of the Conch and physical movements. 

The art is martial, spirit is rustic, costumes are colorful. 

The other accompanying instruments are Dhol, Changu and Mahuri,which combined together with the thrills of the Conch present an emotional orchestra of rural music. 

Credit should go to padmashree Late BHAGWANA SAHOO in popularizing the art form beyond the southern district of odisha, to other areas across the state and natural boundaries. This folk dance is now known at National and international levels. 

Popularly know as "Jodi sankha (Double conch) it developed more around style with no script or dialogue. It was originally confined to the village and rural people, but in the last thirty years it has developed around martial art with astute physical movements and variations of Yoga postures (Assanas),shape of pyramid,Horse Rider, Lotus and other mythological episodes like kaliadalana,Garudasana etc.

The tune are based on traditional Champu and Chhandas.During the entire presentation, Conch blowing continues and the Blowers dance to the tune rhythms of Dhol and Mahuri in circular and semi circular movements while performing acrobatics in between. 

Raghurajpur a heritage destination.

If you a penchant for moving off the beaten track, if you want to explore the rural heartland of Odisha, if you want to revel yourself in the distinctive rural lifestyle redolent of art,craft,culture and natural heritage, the Raghurajpur village is the place to be in. The idyllic setting of the village on the southern bank of river Bhagavi, surrounded by coconut, palm,mango,jack fruit groves and other tropical trees give it the identity of a real Indian village. A number of betel vine gardens also dot the surrounding paddy fields.
" The air in Raghurajpur breeds artistry. This quintessential village in odisha can be dubbed a living workshop for artisans ".

The village runs from east to west with houses arranged in two neat rows facing each other. In the centre runs a line of small temple and the lone Bhagbat Tungi, the community meeting place of the villagers.

The temple are dedicated to Bhasuni,the village Goddess (Grama Devati) Radha Mohan,Gopinath,Dasabhuja,Raghunath,Laxminarayan and Gouranga.

The visitors do not come here to only see a typical Odishan village from very close quarters but also to enjoy the rich tradition of Odishan arts and crafts at one place.

it has a community of artisans who produce different varieties of handicraft items like patta paintings, palm leaf engravings, stone carvings, papier-mache toys and mask ,wood carvings, wooden toys, cow-dung toys, tassar paintings etc.

perhaps nowhere in India one finds such a huge collection of so many arts at one place. 

This is also the only village in India where each family is engaged in the profession of preparing some craft items. 

Raghurajpur has 123 house holds having 376 Artists out of which 206 are Male and 170 are female. Some of them are National Award winners. One can find the best tradition of Odishan paintings and some of the finest pieces of work in this village. Due to the constant effort of Late Jagannath Mohapatra and others, this art form became popular in the country and abroad.

 The chitrakaras or painters are the first group who have settled down at Raghurajpur. It is believed that they settled since the time of the construction of shree jagannath temple at puri during 12 century A.D.. Their contribution to the ritualistic activities of LORD Jagannath is more relevant during Ratha Yatra when three paintings on specially treated cloths (pattas) are prepared by the temple artist and hung inside the sanctum-sanctorum for the darshan of the devotees all the colourful paintings on the wooden chariots are also painted by their counterparts at puri.

The artistic overtures of Raghurajpur are also complemented by a living tradition of performing art known as Gatipua,the earlier from of odissi.A worthy son of Odisha, 

Late Padmabibhusan Guru KELU CHARAN MOHAPATRA,

The doyen of Odissi Dance was born in this village and had his early training in Gotipua tradition here. 

The tradition of teaching this dance form to Male adolescent is carried on in this village by the Gurukul of

Late Guru padmashree MAGUNI DAS

(Dasabhuja Gotipua Odissi Nrutya Parisad)

The trainees of the said school are frequently seen performing at both National and international events. 

FOLK DANCE OF WESTERN ODISHA...

DALKHAI  DANCE:

The most popular folk-dance of western odisha, though important during Durga puja its performance is very common on all other festival such as Bhaijuntia,phagun puni,Nuakhai etc.
This is mostly danced by young women of Binjhal,kuda,mirdha,sama and some other tribes of sambalpur ,Bolangir, bargarh,sundargarh district's  of odisha in which men join them as drummers and musicians. The dance is accompanied by a rich orchestra of folk music played by number of instruments 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. Young girls sing the Dalkhai song in the sulha kuthi,the abode of goddess Dalkhai and later perform the dance outside...
Dalkhai song:
Dalkhai re,Dalkhai re
Dashara dhula kayen raja pahar dhula,
Dhule,nisan,tasa deuche tala ..
Muhuri bajuche tiri niri niri..aasa nachi jima talar dunguri 
Dunguri se phale  chaanr,khajuri.
Bhela bhela jima jete dhangiri...
Aaiche Dalkhai tihara .Dalkhai gayema, dalkhai nachma,manar katha hema kayen Dalkhai 

KARMA DANCE:

This pastoral dance is performed during the worship of the God or Goddess of fate (karamsani Devi),whom the people consider the cause of good and bad fortune. Singing and dancing is done in accompaniment of drum (mandal),cymbal etc. The dance performance, full of vigor and energy combined with charm of the youth decked with colorful 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. 


NACHNIA:

Nachnia dances are performed during any festive occasion and marrige ceremonies in the villages of western odisha. Wearing colorful costumes and Ghungroos in their feet,taking a chamar in hand perform the dance with the accompanist.. the content of the song is based on various aspect of marriage and mythology. 

BAJNIA:

It is a Rhythm oriented folk dance of western odisha mostly performed by the Harijans who are professional Dhol,Nishan, and Tasha players. Bajnia-meaning the group of dancers meticulously observes the rigorous principles of the dance styles,rhythm and tune passed on them from generation to generation. 
The acrobatics of the Nissan player with the centrally positioned group of female dancers are highly attractive. 

CHUTKU CHUTA DANCE:
This dance of western odisha, incorporates all the style,forms, theme and rhythm of the region beautifully choreographed into a presentation creating an a rural and tribal culture of the state. 
It has all the elements of various forms like Bajnia,Nachnia, Rasarkeli,mayelajada,Dulduli and other sub forms.

DHAP DANCE:

It is a musical instrument performed by the kondha tribe of western odisha. Both men and women participate in the dance. Men of one village dance with women of another village. Usually unmarried boys and girls take part. The dance is performed during marriage ceremony and more often for the sake of recreation. 
The dhap is in the shape of a khanjari made up of wood with one side open and the other side covered with a piece of animal skin. 

PARVA DANCE:

It is a dance from having some stringent principles and carried over generations. It is performed by seasoned exponents due to rigorous and difficult stepping, movement and gyrating acrobatic to specific rhythm and is difficult to dance for more than 10 minutes. Only Dhol and Ghanta are played specific rhythm. 
It symbolize shiva and shakti....

SANCHAR:

In sanchar Dance form the artist himself plays a music, dances and sings simultaneously.while performing this difficult task they dance with the rhythms of mrudang,kartal,Nupur and kathi. The subject of the dance with equation covers themes from Ramayana, mahabharata, Bada,Nrusimha purana and soci aspects .A group constituting of 7 to 9 members narrates in the local sambalpuri dilect,odiya,sambalpuri and hindi.