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.