Dalkhai Dance
The people of Western Orissa perform this dance during the
month of Aswina ( September –October ) on the occasion of
Bhaijuntia ( Bhatri Dwitya) In this dance young girls stand
in a line or in a semi-circular pattern with songs known as
Dalkhai songsKarma Dance The Karma dance is a famous folk
dance form of Western Orissa . But karma dance of Baudh is
quite different from the Karama dance of the Oraons of
Sundergarh District. In Westen Orissa Adivasi perform this
festival and dance. They observe Sana Karama festival on the
11 th day of the dark fortnight in the month of Bhadrab (
August- September) and Karama festival on the 11 th day of
the bright fortnight of the same month . On both the
occasions, males and females belonging Adivasi community
perform the Karama dance. The girls sing Karama songs and
the boy play on the Mrudunga and Madala. They generally sing
songs relating to goddess Karama whom they worship on the
occasion .Danda Nata
Danda Nata is a ritual dance
and is very popular dance of Western Orissa . It is well
developed in , Subarnapur ,Boudh & Balangir area . The
participants of the dance are the devotees of god Hara and
goddess Parvati. They perform the dance in the month of
Chaitra (March-April) and Vaishakha ( April-May). Danda
begins on an auspicious day before the Chaitra Sankranti or
Meru Parba with traditional worship and fasting .This dance
consists of a series of dances which are performed one after
another by the male members belonging to the Scheduled
Castes and other backward castes. This dance perform with
the music of Dhol and Mahuri. The dance has a rich
repertory. Parva dance is the first item of the repertory.
The Prabhakar and the Prabhakariani, dressed in multi
coloured dress, dance in the beginning. The dancer places a
piece of cloth on his shoulders and holds the ends of the
same in front with both the hands. He moves his hands
forward and backward,right and left , to the rhythm of the
dance. A semi-circular plate , made of bamboo sticks and
covered with coloured and decorated cloth with ornamental
border ,is tied to the back of the Prabhkar. The Prabhakar
wears multi coloured skirt and jacket. The Prabhakariani, a
male in female role, dresses himself in sari and
kanchala(blouse). The Prabhakariani holds apiece of coloured
handkerchief in his hand. After the Parava dance is over the
Hara –Parvati dance begins. Then a group dance of Fakir and
Fakiriani is performed. The dances of Savara and Savarani,
Chadeya and Chadouni, are performed one after another. Then
the party performs a leela based on a story from the
Ramayana or the Mahabharata or from any other Puran through
songs and dances . Patarasaura and Patarasaurani perform
their dance at the end of the leela. The last , but not the
least , is the Binakar who closes the performance with his
most significant songs and dances.
The music of the Danda Nata is different for different
dances . The songs are of different tunes for different
characters. The songs are mainly devotional and mostly based
on stories from the epics. Humorous songs are sometimes sung
by the dancers . sometimes they put questions in songs and
their counterpart give the reply in songs. The songs are of
folk and Odissi style. The dance originated from tribal
dances, but has been much influenced by the Yatra and Pala
performance of the state. Danda Nata is being gradually
modernized in respect of music, dance, costume, style and
make up. It is thereby losing its original simplicity and
traditional characteristics.
Danda Nata of Western Orissa, also known as the 'Danda
Jatra' , it happens to be one amongst the most ancient form
of histrionic arts of the state. Associated with ritualistic
services, Danda Nata forms an institution of dance, music
and dramatics blended with religions, social reformation and
an association of Universal Brotherhood. Mainly an worship
of Lord Shiva, the God of destruction of the Hindu
mythology, who is also the Lord of histrionic arts (Nata
Raj), this theatrical form brings into its fold a harmonious
feeling of co-existence between followers of different
philosophical doctrines, between political principles and
set of opinions. Along with votive dedications to Lord Shiva
( Rudra, Hara, Mahadeva, Shankar, Bholanath etc ) in a Danda
Nata, the greatness of other Gods and Goddesses such as
Vishnu, Krishna Ganesh, Durga, Kali etc. are also equally
invoked. Similarly while the original participants in a
Danda Nata were said to be only the low-caste Hindus people,
however people belonging to all other higher castes such as
Kshyatriyas and Brahmins also participate in this
institution with equal interest. The word Danda Nata or
Danda Jatra: The word 'Jatra', is an indigenous term for the
English word 'theatre' and 'Nata' is a derivative term of
the word Natya which conveys several meanings of dance,
music and dramatics. The word 'Danda', denotes several
meaning. Mainly it means (1) Staff, Club, Stick, Rod, Pole,
or Sceptre and (2) Punishment Chastisement. In this Danda
Nata (1) A scepter of the Lord, is worshipped and (2) The
participants voluntarily bear self-inflicted penance.
According to very ancient Hindu philosophy, the greatness of
an individual in this materialistic world depends upon his
accomplishment of self control over his own Body (Kaya),
Mind (Mana) & Speech (Vakya). It takes tremendous amount of
practice to gain this control and amounts to a lot of self
denials.Those who achieve this are known as the Tri-Dandis
(attainers of triple chastisement). Since this method of
bringing purity of conduct involves a lot of punishments
(Danda) to self, this performance according to many is known
as the Danda Nata. The word Danda: There is however a very
interesting definition given to the origin of the word
DANDA. Because of the vigorous types of dances associated
with the Danda Nata, it is said to have originated from the
heavenly Tandava Nrutya of Lord Shiva. It is said that once
Lord Shiva was teaching a Tandava Nrutya to his, son Lord
Ganesh. While dancing vigorously he kicked the stage and the
sound "DAN" emanated. Simultaneously one of his Ghagudi (the
brass tinkler) was broken from its chain around his raised
ankle, dropped and fell on the body of the Mardala (the
percussion instrument) emanating another subsequent note of
sound as "DA". Together, therefore the word DANDA evolved to
get the blessings of Lord Shiva to associate its meaning
with performance of dance and music with vigor known as
"Udanda", The time of Danda Nata: Danda Nata commences from
the Chaitra Purnima and continues uptil the Pana Sankranti
(Vishuva Sankranti) day. These two months, Chaitra and
Baisakha are considered most auspicious for the worship of
Lord Shiva. Many religious treatise indicate that if Lord
Shiva is invoked during this period of the year, the earth
is blessed with good harvest, increase of wealth and all
round improvement of the families and communities occur. The
invocatory performances of Lord Shiva commences from the
sixth day of the Meena Month (March-April). For four days
from the sixth day, preliminary preparations are made
(people make vows, some receive Hukums (Nostrums), through
trance. Then for eight days the Jhamu Jatra takes place. The
rest thirteen days of the month is meant for Danda Jatra.
Rituals: In Orissa like the Danda Jatra, there are other
kinds of ritualistic festivals as well, which are associated
with self inflicted penance. They are the (1) Patua Jatra
(2) Chadaka Puja (3) Jhamu Jatra etc. While in Chadaka Puja
and Jhamu Jatra mainly the penance's are demonstrated, in
Patua Jatra, and Danda Jatra, regular theatrical
performances are followed in the nights. The participants in
a Danda Nata invoke the blessings of Lord Shiva. They are
all under a vow. It may be to be blessed with a child, to
fulfil certain ambition, to get rid of sickness, seeking
happiness in life, good harvest, even peace and happiness to
all fellowmen. The total number of pledge takers are 13 and
the number of days for the festival is also 13. The vow
takers are known as the 'Bhoktas'. This word Bhokta is
derived from the word Shakta (Devotee). Drawn from all
communities, the leader of the 'Bhoktas' is known as the
Pata-Bhokta. All the 'Bhoktas' lead a very pious life for 21
days. They do not eat meat or fish nor cohabit during this
period. The Pata Bhokta does not eat rice and lives on
fruit-juice and snacks. Others eat just one meal a day
consisting of plain rice etc which they cook themselves and
eat at a place away from habitation. During the time of
their gruel, any human voice per chance brings an abrupt end
to their eating for that day. That is why at some places
they keep on beating the drums until the eating is over.
During the period of 'Jatra', all 'Bhoktas' carry out
different forms of services to the Lord and therefore they
are named differently. They are as under: (1) Pata Bhokta
(2) Deula Padia (3) Danda Swami (4) Nili Patra (5) Chandania
Patra (6) Gobaria Patra (7) Danta Kathia Patra (8) Betua
Patra (9) Dhupia Patra (10) Bhandaria (11) Chua Mali etc.
Kamana Ghata: Ghata is the Pitcher. In most of the religious
and social functions of the Hindus, a pitcher full of water
holds a very important place. The pitcher represents the
body and the water is the life. It represents the God
invoked and hence worshipped with due reverence. After the
function is over the pitcher is again taken into the water
of a pond or river with due care and immersed from where it
had been brought. In a Danda Nata this Ghata is known as the
'Kamana Ghata' . 'Kamana' means desire, and to worship the
Kamana Ghata means to seek the blessings of the Lord for the
fulfillment of one's desire. There is again an interesting
story as to how the pitcher came to be known as Kamina.
"Kamina" happened to be the name of a Raksyasi (Demoness)
with whom Lord Shiva fell in love while moving in a jungle.
For sometime Lord Shiva forgot his duties to the mankind.
Afterwards when he realised, he wanted to leave her. At the
parting Kamina asked him about her fate and the Lord
consoled her saying that at least once in a year the people
of the earth will be remembering her. This Ghata named as
Kamana therefore is said to be a symbol of hers. According
to poet late Bhikari Charan, this Ghata represents "Kalika",
the consort of Lord Shiva. It is through her blessings, the
'Bhoktas' are able to take up the, self inflicted penances
without any ill effect. It is she who protects all and
fulfills all ambitions. A new pitcher is taken to the pond
or a river and water is lifted, to the accompaniment of
drums and blowing of conch shell. This pitcher is first
worshipped under a baniyan tree and then taken out in a
procession through the village and then kept in a hut (made
preferably in front of a Shiva's temple), known as the
Kamana Ghara. Two pieces of cane-sticks, representing 'Hara'
& 'Gouri' are also kept near the Ghata and worshipped. A
sacred fire is kept lighted up in the hut from which
Pata-Bhokta lights up an oil lamp. While lighting, the
'Bhoktas' yell with the word "Rushi Putre". Time to time
when resin and myrrh powder is thrown on the lighted oil
lamp, it burns up with a flare and the 'Bhoktas' yell the
words "Kala Rudramani Ho Joy". A staff of the length of 6
1/2 cubits bearing 13 joints (representing 13 'Bhoktas') and
a piece of cloth tied to its top is worshipped. This is the
Kamana Danda. Where to perform: The entire party consisting
of the 'Bhoktas' and their colleagues go around the village
in a procession with the band of musicians. No specific
declaration is made as to where they are going to perform
"Danda" in that day. Like the 'Bhoktas', some villagers
(male or female) also keep a vow in their mind for getting
some mercy from Lord Shiva. Seeing the procession, these vow
takers pour water and clean up the frontage of their house
with cow-dung water and hurriedly put up floor designs with
coloured powders and keep a jug ful of of water.This
indicates an invitation to the party.Having received an
invitation thus, the group stop there. After small
preliminaries. the group light up an oil lamp and keep it on
the verandah of the host and return to their camp. At mid
day, the party comes back to the spot and perform the Bhumi
(Earth) Danda or Dhuli (Dust) Danda. The Phases of Dand
Nata: Danda Nata, distinctly comprises of three phases. (1)
The Bhumi or Dhuli Danda (Acrobatics & gymnastics) at day
time. (2) The Pani Danda (Aquatic feats ) at day time (3)
The Danda Suanga (Dance, Music & Dramatics) at night time.
These three are the main, however. while taking out the
procession or the beginning of the night performance the
'Agni Danda" (or the performance with fire) is also
displayed. The Bhumi or Dhuli Danda: This consists of a lot
of physical exercises and acrobatics. The themes enacted in
short sequences represent mainly the art of ploughing,
cultivation and harvesting, A few formations in human
figures, pyramids are displayed. During these performances
one Bhokta asks 'How much paddy'? And the other 'Bhoktas'
give a figure which denotes the ensuing result of harvest
during the coming year. This performance of Bhumi Danda is
over by the afternoon and the 'Bhoktas' yell "Kala Rudramani
Ho Joy" and proceed to the village pond for the "Pani
Danda". Pani Danda: Pani Danda consists of aquatic feats.
While the groups put up their performance as they swim and
form pyramids in water, the musicians play Dhol & Mohuri.
Men, women and children gather around the pond or the
riverside to watch this show. After this performance of Pani
Danda, the 'Bhoktas' return to their camp to have their only
meal of the day and to prepare for the nights performance.
Danda Nata Suanga: The word 'Suanga" corresponds to the
Sanskrit word "Swanga" which means graceful acting. Dance is
always based on music. Any dramatic performance consisting
of Dance and music therefore is known as Suanga in Oriya
language In a Danda Nata like any olden Suanga, every
character enters dancing with the accompanying music, gives
his self introduction, description of what the character is
wearing or supposed to wear, even a description of his gait
and make-up and while singing he dances intermittently.
During a dialogue also the dance actions are corroborated in
between the dialogues ,both the speaker and the listening
character dance vigorously. This pattern is a regular
feature in every sequence of the Danda Nata which
distinguishes its identity from other types of performing
arts. The presentation: The presentation style of Danda Nata
is absolutely simple as that of any common 'Jatra' of Orissa
except the fact that they do not need a raised platform in
the center. Any open space or the village cross-road turns
out to be an acting area, surrounded by spectators on all
the four sides. Only a narrow path amongst the spectators
wends its way to a distant improvised green room where the
participants do the make up, costuming and rest. Sometimes a
canopy is also put-up over the central acting area. The
accompanying music: The main accompanying musical
instruments in a Danda Nata is the dhol (the double-sided
drum) and the mahuri (the wind instrument like Shehnai). The
other instruments which are used only in sequences of God
characters are the ghanta (the bell metal disc), sankha (the
conch-shell), kahali (Clarion), The Johanna (Brass alloy
clappers). Besides the above, other smaller instruments like
'ghungroo', 'ghagudi' (small & big tinklers), 'dasakathi',
ram tali (wooden clappers), 'khanjani', ghooduki or dhuduki.
Dambaroo and bina etc. are also played by the characters
themselves as required. The "Bina" used by the character
"Binakara" in Danda Nata is not the type of "Bina" (the
string instrument) known popularly. Here it is not a string
instrument played by twangs. It is a Bow decorated with
peacock feathers and in its string seven tinkle bells are
tied. The player Binakara holds the Bow in his left hand
raised and by jerks brings out the jingle in rhythm, The
Place of the Musicians: The musicians take their positions
at a side of the open arena nearer to the artists passage.
Sometimes they move to the Vesha Ghara (Screen Room) to lead
a character to the arena. The drummers not only play the
drums through out the performance but also demonstrate their
own skill and stamina by playing the drums with regular
dances and acrobatics in between the sequences. The theme of
the Danda Nata: Danda Nata is not a performance of a
complete story drama. It has a chain of loosely connected
conventional episodes with a central theme of complete faith
in God. It is He who can rescue the earthly beings from the
clutches of evil. It is He who can grant happiness in life.
Nothing happens without the will of Providence and so we
must surrender to Him always. The characters and roles in
the Danda Nata: Since Danda Nata does not contain a full
story in its totality, each sequences has its own
characters. So there is a series of sequences in which the
characters appear in different Veshas and Upaveshas. While
slight variations are seen amongst the Veshas and Upaveshas
of Danda Natas of the North, South and West Orissa, the main
Vegas like the PRAVA, KALIKA, SHIVA, CHADHEIYA, CHADHEIYANI,
PATRA SAURA, SAURUNI, PARVATI, KELA, KELUNI, SABARA,
SABARUNI, BAI DHANA, BINAKAR, KARUANI etc are mostly common
every where. The other characters which are introduced at
some places but not included at other places are NANDI,
NARADA, GUNIA, BAIDYA, JAMBABA. DWARI, additional wives of
Chadheiya or Kela, son of Chadheiya, BANA DURGA, a brother
of Chadheiya, son of Saura, BAISHNABAS, GUDIA, GOPALUNIS,
KRISHNA, GOPIS, BRAHMIN, OLD MAN, NARADA, DANDASI, DUMBURA,
& HIS MOTHER, JAMADAR, HADI, HADIANI, SAHEB, DAROGA etc.
From amongst the characters of Danda Nata, it will be seen
that except the characters of Gods or Goddesses, all others
are the most ancient human species, nothing to do with the
so called modern civilization. They are from the lowest
cadre of the society and the most down trodden They have no
materialistic belonging but yet have their biggest belonging
"the deep faith in God". One of the main characters that
needs a mention is the Pata Bhokta. The Pata Bhokta is not a
regular character in the Danda Nata, but he in plain clothes
is there through-out, not only as the chief of the 'Bhoktas'
but a sort of Mediator between the characters and the
spectators. He may be termed as the Sutradhara or the Master
of ceremony in a Danda 'Jatra'. On behalf of Spectators, he
asks questions and talks to the characters. Sometimes he
also recites a story to the masses. He also leads the first
"Vandana" the invocatory ongs in praise of all Gods and
Goddesses. The Language: A Danda Nata mainly consists of
songs in Oriya. At places Sanskrit verses are also recited.
Prose dialogues are very few and at many instances, they are
spoken extempore. Beautiful ornamentation's are made in the
composition of the verses. In most of the cases the writers
choose to keep the first letters of the subsequent lines in
an alphabetical order from "Ka" to 'Kshya". Songs for
inferior characters are in local dialects It is seen in many
cases that characters like the Lord Shiva. Narada watchman
etc., speak in Hindi or Urdu language which can be traced to
the impact of Moghul & Maratha rule in Orissa. In humorous
sequences, mixed languages and dialects of Hindi, Telugu,
Bengali have also been seen used. On the whole, in a Danda
Nata, the language is fluid, simple ant easily understood by
all. Elements of Humour: In a Danda Nata of Orissa a high
sense of humour prevails almost in every sequence. There are
battle of wits, mutual admiration, quarrels and compromise
between the different couples in all sequences. The satires
on fake Sadhu who makes a living on the religious sentiments
of the people, on the Vaidya who administers wrong
medicines, on the not so pious holy man letting off wrong
blessings, the gags etc. cause roars of laughter amongst the
spectators. The peculiar styles of vigorous dancing by
Sadbu, the Chowkidar and other characters also provide a lot
of amusement. Elimination of Superstitions, Untouchability:
To eliminate odd superstitions and untouchability, Danda
Nata has been a very powerful medium of mass communication.
The Number 13, has at some quarters been associated to be a
bad omen. In a Danda Nata there are 13 'Bhoktas'. it
continues for 13 days, the pole worshipped has 13 joints
indicating that 13 is a lucky number. Danda Nata as an
institution of learning: Danda Nata thus, not only provides
clean entertainment to the masses, it also teaches them the
art of living, broad thinking and simple living. It
inculcates a deep faith in God, the creator of this universe
with a sense of devotion and duty.
