In the Land of Happiness

From the winding road atop a hill, the golden spires of Padmasambhava Mahavihara monastery shine in the sun amidst thick green canopy on a rain-washed morning. As I drive down a neatly laid narrow road to Jirang, a quaint village in the Southern Odisha district of Gajapati, the scenery changes dramatically transporting me to the ‘Land of Happiness’, as the local Tibetan refugees like to call it. It is in this part of Odisha that the Tibetans had taken refuge after the 1959 Chinese invasion.

At the end of the meandering road that is dotted with neatly arranged prayer flags on either side, stands the majestic monastery that has carved a niche for itself in the map of Buddhist tourism destinations in India. It is the biggest living monastery in Southeast Asia and currently, home to over 500 monks from India, Nepal and Bhutan. I head inside with Sunil Patnaik, a Buddhist scholar and Secretary of Odisha Institute of Maritime and South East Asian Studies; and Pema Thintel Khempu, who is in charge of the monastery that closely follows the Vajrayana (tantric) sect of Buddhism.

An ornate gate opens up to a sprawling courtyard where stands the towering 80-foot-high four-storey monastery that has been constructed over 10 acres of land as per the Odantapuri Buddhist architecture style. The monastery has been named after Acharya Padmasambhav, who was born in Kalinga (ancient Odisha) and travelled to Tibet where he spread Buddhism. He was also the founder of Vajrayana sect, says Khempu. Although there is no literature to provide details about this architecture style, Patnaik tells me that Odantapuri, now situated in Bihar, was a Vihara (an important learning centre) like Nalanada and Vikramashila where Indrabhuti, father of Acharya Padmasambhav, was a practising Buddhist. Followers of Acharya Padmasambhav believe that design of the monastery is similar to the Vihara in Odantapuri.

While both sides of the monastery house hostels for the monks amidst manicured lawns, the main structure is nothing less than a spectacle, literally. As we walk towards the monastery, I gawk at the intricate wooden carvings of flowers, leaves and other symbols of Nature that adorn the walls. Art and folk tales of Tibetan Buddhism whisper from every corner of the monument. Looking up at the ceiling I see colourful paintings of mountains, deer, lotus, clouds, streams and waterfalls – all motifs of Tibetan art - besides, different ‘mandalas’ that signify transformation of soul. There are paintings of the phoenix and dragon as well which symbolise the yin and yang forces in the universe. I am told that underlying these works of art is a complex set of beliefs that promise to guide a soul towards the path of enlightenment.

It took hundreds of skilled artists seven years to create the monastery at the cost of Rs 8 Crore. While its foundation stone was laid back in 2003, the Dalai Lama inaugurated it in 2010. The monastery was declared a tourism destination by the Tourism Department, Government of Odisha, in 2010.

After a quick tour, we step into the huge meditation hall whose entrance is decorated with paintings portraying Buddha's life cycle – from a common man to being the enlightened. Artistic representations of the guardians of Heaven and Hell also find space on both the sides of the entrance. At the centre of the meditation hall, sits a 23-foot golden coloured statue of Buddha, flanked by 17-foot-high statues of Lord Avalokitesavara (Embodiment of Compassion) and Lord Padmasambhava on either side. The idols are set against beautifully done murals depicting Mahayana and Vajrayana Buddhist traditions. I can barely take my eyes off the colourful murals on the walls that are punctuated with golden hue depicting Buddhas and Bodhisattavas, Dakinis and Dharmapalas, Sun and the Moon (regarded as symbols of God), deer, wheels and various mantras, which are ingrained in the Mahayana and Vajrayana systems of worship. “While in Mahayana sect, monks worshipped idols; they developed a complex set of mantras, mandals and symbols in Vajrayana sect. The paintings are not just mere paintings but a depiction of the process to put the viewer, the individual
Buddhist, in touch with what the Tibetan tradition calls the ‘One Mind’ or absolute consciousness,” Patnaik explains. I enjoy a few minutes of silence in the hall as I watch young monks settle down for the afternoon prayers. It is easy to open conversation with the monks for whom, discipline is the way of life.

The annual cultural calendar of Padmasambhava Mahavihara monastery hosts a series of events that are related to Lord Buddha. However, the most important among them is the month-long Saga Dawa festival that is celebrated in April. Jirang witnesses a mammoth gathering in April as Buddhist monks from across India and Nepal come here for prayers that continue throughout the day for all the 30 days in the month.

A short walk away from the monastery, there are eight colourful stupas whose designs are similar to those found in Tibet, Nepal and Bhutan. Arranged in a circular fashion and surrounded by colourful prayer flags that contain verses of Dharma, each of these stupas refers to major events in Lord Buddha’s life as explained in Tibetan Buddhism. In the centre stands the Stupa of Enlightenment, which is the tallest of them all, signifying Lord Buddha’s attainment of enlightenment when he conquered worldly temptations. The dusk is setting in and we join the villagers, who gather around the Stupa of Enlightenment, for prayers. Looking at the stunning monastery and the simple villagers, I feel happy to see the way the Tibetan refugees have preserved their religion, art and history in a distant land, which is now their home.

Jirang is one of the five villages that come under Phuntsokling (meaning land of happiness in local parlance) Tibetan settlement in Gajapati district. The four others are Chandragiri, Lobarsingi, Tankilipadar and Mahendragada. There are around 500 households in Jirang and each of them have maize stock huts in the backyard. In fact, the place is nicknamed as ‘Maize Bowl of Odisha’. Maize farming is the mainstay of the refugees as the land isn’t fertile enough for growing paddy or pulses. Irrigation sources are also minimal. Maize farming apart, the Tibetans eke out living through carpet making and weaving woolens.

Apart from the monastery, travellers can visit the beautiful Khasada waterfall that is on the outskirts of Jirang and the Tibetan Cooperative Society of Chandragiri, located four kms away, where the refugees prepare handicrafts. Two popular tourist destinations of Southern Odisha - Taptapani, a hot sulphur spring and Gopalpur sea beach – are 40 kms and 100 kms away from Jirang respectively. The monastery runs a canteen where visitors can have their food.

Getting There: Jirang is around 80 kms from Berhampur and four kms from Chandragiri, which is the largest settlement of refugee Tibetans in Odisha. While the monastery is open throughout the week, the visiting hours for tourists are 9 am to 2 pm and 2 pm to 5 pm daily.
Visitors are only allowed to go till the meditation hall of the monastery as the first and second floors are meant for practising monks. While the monastery is a one-day destination, those willing to stay back can book rooms in Pantha Nivas at Taptapani. Guided tours are offered by Odisha Tourism Development Corporation and bookings can be done at www.visitodisha.org and www.odishatourism.gov.in

Photographs by Biswanath Swain. A shorter version of the story appears in November issue of National Geographic Traveller. 

Straw Wonders

Rice straw painting of Holy Trinity

At the backyard of his house in Jirala village, Pradeepta Nayak carefully selects delicate rice straw strands, separating the dark brown coloured ones from those having a golden hue. In a small room few metres away, a group of women are creating a massive painting of Lord Krishna playing flute for Radha, in a garden replete with blooming flowers. The painting resembles Raghurajpur's Pattachitra (scroll painting) although, the medium here is not natural dyes but rice straw. And instead of painting brushes, the women are drawing with scissors, literally.

Women practicing the craft at Kalyani Straw Craft Centre

The sleepy village of Jirala in Dhenkanal district is today synonymous with straw painting. It has carved a place for itself in the art map of Odisha due to the efforts of Pradeepta, who is the lone craftsman in the State practicing and promoting straw painting. Considering beauty of the art form, the Dhenkanal administration has now roped him to train others in the craft. Currently, he is training 50 women free of cost at his Kalyani Straw Craft Centre in the village. In the last 15 years, he has trained at least 200 youths across the State in the craft for free. It all started as a hobby to create art out of waste, 25 years back. "The State Government recognised rice straw painting as a craft very recently," says Pradeepta, who started participating in all major handicraft exhibitions across Odisha two decades back to showcase his craft. He drew inspiration from the Pattachitra style of painting of Raghurajpur.

The craft is time-consuming, he says, while demonstrating the tedious process. Each strand of straw is carefully split into two halves with the help of a knife. He then flattens it with a pestle and pastes it on a sheet of A4 size paper. After drying, the paper is cut into desired shapes and sizes for the straw paintings. Each A4 size paper requires at least 25 straw strands, says the master craftsman. The subject of the painting is drawn on a butter paper, which is then replicated on the straw sheet. The design is then meticulously cut out in thousands of pieces of designs and pasted on the canvas, which is made of thin plywood sheet covered with black velvet. "Since the colour of the straw is golden, the painting comes out beautifully on a black canvas," he says, adding that heaps of straw are left to dry in sun for five to six months before it attains a shiny golden hue and is ready for use.

The raw materials for painting

The subjects are drawn from local folklore, Indian mythology and Jagannath Culture. Sometimes, nature also finds space in the paintings. Recently, Pradeepta created a life-size painting of the Holy Trinity - Lord Jagannath, Devi Subhadra and Lord Balabhadra - in 'Nagarjuna' Besha (attire), where he painted the deities as warriors seated atop a pedestal in the sanctum sanctorum of a Jagannath temple. The detailing in the painting would leave any art connoisseur mesmerised. In a similar painting, he creates a Kandarpa Ratha (Cupid Car) in which, a group of gopis (cowherd women) form themselves into a chariot that their beloved Krishna rides with Radha. In another, bodies of the gopis are arranged in a manner as to create impression of an elephant and seated atop the animal are Krishna and Radha. Farmers at work in their agricultural fields, tourism destinations in Odisha and sunset at Chandrabhaga with Konark Sun Temple in the background also form a part of his oeuvre. Pradeepta shows a horizontal canvas in which he has painted a village scene where farmers are getting ready for a new crop season on the occasion of Akshaya Tritiya. "The Kandarpa Ratha and Jagannath Besha themes are famous among buyers," says the artist, who set up his craft training centre in the village 15 years back and has been running it with the money that he earns from selling the craft. "The paintings that are created in the centre by trainees are sold through exhibitions and 30 per cent of the income goes to them," he says.

Painting of Kandarpa Rath (Cupid Chariot)

Pradeepta dreams of a crafts village tag for Jirala like it has been in the case of Pipili (appliqué craft) or Raghurajpur. "If the Government pays a little more attention, Jirala can produce several more artisans in straw craft. Now, very few men have interest to practice this time-consuming craft. It is only women, who have the patience to learn it," he adds.

A Martial Heritage On the Wane

 

Paika Akhada members perform at PMG Square in Bhubaneswar

Paika Nrutya, the traditional battle dance of the State, might have withstood the test of time, but the number of akhadas (training centres) in Odisha is gradually on the decline. Blame it on an apathetic Government, lack of promotional avenues and funding.
The dance revolves around acrobatic movements with swords, lathis (sticks), chakras (wheels) and dhalis (shields) to the accompaniment of 'Chagi', 'Mahuri', 'Nagara' and cymbals. In the ancient times, Paika Nrutya by the warriors was considered a rehearsal for the battle.

Scholars have compared Paika Nrutya to Kalaripayattu of Kerala, considered the oldest fighting system in existence, because of its approach to traditional weapons and techniques, but the former does not enjoy the patronage that the latter does. In fact, Kerala has been successful in converting Kalaripayattu into a tourism product whereas in Odisha, Paika Nrutya is limited to a handful of villagers in rural areas. 
Today, Paikas can only be seen performing during Dussera, Kali Puja, birth anniversary celebration of Harekrushna Mahatab and the Dhauli Kalinga Mahotsav. Besides, the Jobra puja committee at Cuttack has been organising Paika Nrutya competitions every year on Vijaya Dashami day from 1921.

History Behind the Form

The martial prowess of Paikas finds mention in Sarala Das' 'Mahabharata', written in the 15th century, poet Balaram Dash' work 'Jagamohan Ramayan' and even in the carvings on the Sun Temple at Konark. Historians said when the British started meddling with the revenue system of the State in 1803, the farming community rose in rebellion. At that juncture, Bakshi Jagabandhu Bidyadhar, the military chief of the King of Khurda, revolted on April 2, 1817. As Bidyadhar led his army of Paikas, the British were forced to retreat. The rebellion came to be known as Paika Bidroh. Also, it was due to the Paikas that the Britishers did not find it easy to win over the Barunei Fort at Khurda, which is said to be the last free fort of the country to go to the British.

Successors of the Fighter Tribe

While officially, there is no information on the exact number of akhadas existing in the State today, unofficial sources put the number of Paikas still practicing the martial dance form at around 20,000 in the districts of Khurda, Dhenkanal, Ganjam, Puri, Gajapati, Talcher and Balasore. The maximum number of akhadas exists in Khurda. "If the Nrutya is performed today, it is because of the stage shows that offer money for sustenance. There is no encouragement from the Government's side," says Gyana Ranjan Mohanty, a Puri-based acrobat who performs Paika Nrutya and Malkhamb. He says the existing forms of Malkhamb, Sahi Yatra, Ranapa, Dhemsa, Chhau and Naga Nacha have been born out of Paika Nrutya.

Dance or a Sport?

Ileana Citaristi, who has authored a book 'Traditional Martial Practices of Odisha' and carried out extensive research on the subject, feels Paika Nrutya is currently in a no man's land. Government is yet to classify it as a performing art or a form of sport as a result of which, it does not come under either the Sports Department or Culture Department. “This is why, no one pays attention towards it propagation and whatever little is being done for its promotion is half-hearted," she says, adding that although Paika training exists in rural areas of the State, it is not systematic. Not all the Paikas are adept in every form of the martial dance. "Only a few can play with a sword and shield today. You will not find the entire gamut of the martial art in any of the akhadas; what can be seen is mostly martial exercises like Banati, Lathi Khela, Chakra Ladhei, pyramid formation and somersault," Ileana adds.

No Paika Training Centres

Currently, there are no Government training centres where Paikas can be trained. Even as a training centre for Paikas was opened by the Government at Gurujang near Khurda in 1998, the institution did not function beyond two years. The akhadas do not have a curriculum and all forms of martial exercises in Paika Nrutya are not covered as far as training is concerned.
Founder-Director of Rani Sukadei Regiment of Talcher, the only all-women Paika Akhada in the State, Soubhagini Debi who is also the principal of Silpanchal Women's College in Talcher, says Paika Nrutya, which is an integral part of Odisha's history, should be presented at important State festivals so that today's youth come to know about it. "It is a dying art form and only some Gurus have kept this tradition alive. There is a need for establishing training centres for Paikas with provision of scholarship for youths who wish to learn it. Whatever training is being imparted now is at individual level and we do not know if our students would be interested in carrying forward the tradition," she says.

Commemorating Paika Rebellion

Culture Minister, Ashok Panda, who admitted to the lack of patronage to Paika Nrutya, said in commemoration of 200 years of the Paika rebellion that will be observed in 2017, the Culture Department has planned a series of events with the Paikas. "Also, we will be taking steps for protection and conservation of Khurdagarh fort, and Barunei that was the religious place where Paikas used to worship before setting out for war," he informs.

Fish Tales Etched in Brass

Flexible Brass Fish Craft of Odisha 

It may be made of brass, but this fish can still flap a fin and touch its tail. The craft of making the flexible brass fish occupies a significant place in Odisha’s rich handicraft tradition. In the lanes of Belaguntha village in Ganjam district of Odisha, three craftsmen from the Kansari community—Pradeep Maharana, Maheswar Maharana and Sushanta Sahoo—have kept this unique art form alive, which has been fighting obscurity in the face of modernity.

While the craft was started by Pradeep’s ancestors during the rule of the Bhanja kings in the 9th century, Sushanta learnt it from Pradeep’s parents. Maheswar, 85, is the only remaining artist in the village, who can make flexible fishes in wood.

In the 90s, Maheswar made the Matsya (Sanskrit for fish) avatar of Lord Jagannath for which, he got the Odisha State Handicraft Award. His creation comprised of an idol of Lord Jagannath coming out of the mouth of a wooden flexible fish.

Today, these artists and their family members are the only practitioners of the craft in Belaguntha. They do train youngsters in art colleges of the state, and sometimes outside, but none of the youths have taken up the craft as a profession. The three artists participate in training sessions and exhibitions so that people come to know about their craft.

The trio uses brass sheets, wires and wood to make various designs of fish that are in huge demand in the international handicraft market. “Despite the demand, not many are coming forward today to take up the craft as it is labour intensive,” says Pradeep, who is an electrician by profession. He had received the State Handicraft Award in 2000 for his excellence in the art form.

Placing a golden prawn with red eyes and three glinting fishes of varied lengths on a sheet of white paper, Sushanta demonstrates how the fish are made. The fish is divided into three portions—head, stomach and the tail. The head is the most important part and is prepared first and accordingly, the size of the body is decided, he says. The artist cuts brass sheets and dexterously shapes them into round blocks with wavy edges, giving them the shape of fish scales. A 20-inch fish requires at least 50 such blocks that are stitched together with a brass wire in a manner that the fish becomes bendable. Making a fish is easier compared to a prawn. “Since making a prawn involves a lot of workmanship and detailing, it takes a lot of time,” he says, adding that though it is labour intensive, making a flexible fish now is less tedious because of invention of machines that can roll brass sheets. “Earlier, we used to manually beat brass blocks to make sheets and wires,” says Sushanta. The artists have now started making flexible brass snakes that are usually offered by devotees in Shiva temples.

Although there are no records in history on the origin of the craft, Pradeep says his ancestors were hired as sculptors by Bhanja rulers and used to demonstrate the technique of making flexible brass fish at the Bhanja King’s court. During the British rule, his grandparents used to supply the handicraft to Victoria Technical Institute in Madras.

The handicraft has a mythological significance as members of the Kansari community consider the fish auspicious. Since ancient times, the craft has been associated with important rituals and social occasions. “In our village when a girl gets married, she is given a small brass fish, along with other valuables, as a good luck charm,” says Maheshwar. Pointing to the wooden Matsya avatar that fetched him the state award, Maheswar says he decided to work with wood as a medium as it was a cheaper option. “Labour that goes into working on both the mediums is the same. In fact, making the scales either with brass or wood requires a lot of practice and patience,” he says.

The three artisans say the government should come forward to help them with design intervention, which is the need of the hour.

“The handicraft is extremely rich which is why, it has sustained for several decades. However, with the market demand fast changing, we need to bring in new designs,” says Maheswar.

Celebration of A Different Kind

Diwali is a unique celebration in Odisha. Here, the 'Festival of Lights' is not just limited to customary bursting of crackers and exchange of lip-smacking sweets, but also accompanied by Kali Puja and the ritualistic ceremony of 'Badabadua Daka'. The celebrations are special in the Millennium City of Cuttack, Coastal town of Bhadrak and the very-popular Pilgrim Town of Puri.

At Cuttack, festivity is a never-ending affair during this part of the year. Just a fortnight after Durga Puja, the city braces up for Kali Puja that coincides with Diwali, a celebration of victory of good over evil. Keeping up with the saying 'Baara Mase Tera Parba' (13 Festivals in 12 Months of A Year), people of Cuttack celebrate Kali Puja and Diwali with much fervour and gaiety. Although the celebrations are not as grand as Durga Puja, the revelers are no less enthusiastic.
The Kali Puja here is over 500-years-old and it is believed that Bengalis brought this tradition to Cuttack during the 16th century. This year, around 70-odd puja committees are worshipping Kali, another form of Goddess Durga.

A majority of the temporary pandals house a particular iconography of Goddess Kali, who steps on Lord Shiva wearing a garland of human skulls and her tongue piercing out. This form is called 'Tara'; her colour is blue and she is shown naked to the waist, wearing a garland of human heads and then clad in tiger skin. The only puja committee that worships the 'Chhinamasta' form of the deity is the Bakhrabad Kali Puja Committee. Here, the deity holds her own severed head in one hand and a scimitar in another.
Three jets of blood spurt out of her bleeding neck and are drunk by her severed head and two other attendants. Instead of standing on Lord Shiva, the Goddess steps over an embracing man and woman on a lotus.

Like Durga Puja, the idol of Goddess Kali at several pandals is accompanied by a silver backdrop (Chandi Medha). Bhikari Das, general secretary of Cuttack Mahanagar Peace Committee said this year, at least 23 idols of Goddess Kali are being set up with Chandi Medhas. While the same backdrop is used for both Durga Puja and Kali Puja in other pandals, only Bakhrabad has a different tableau for the Tantric Goddess. Designed with traditional silver filigree work, the tableau depicts the scene of a cremation ground with two skeletons standing beneath a large banyan tree besides, jackals, owls, and swans being the dominating motifs. Two years back, the Bakhrabad puja committee prepared a beautiful golden crown to the deity. Some of the other Kali Puja pandals worth seeing are the ones at Ranihaat, College Square, Bajrakabati, Khan Nagar, Tulasipur, Bangali Sahi, Choudhury Bazaar and Sutahaat. Kali Puja begins on November 10 and culminates with Diwali. All the idols will be immersed on November 14.

In Bhadrak, Kali Puja is celebrated in a grand way owing to the presence of Bhadrakali temple. Like Durga Puja in Cuttack, Kali Puja in this coastal town is a week-long affair that is witnessed by lakhs of people. While a large number of devotees throng the Bhadrakali village, on the outskirts of Bhadrak town, several glittering pandals are erected in Charampa area to house the deity.

Likewise, Puri witnesses a grand gathering on the day of Diwali as people observe 'Badabadua Daka' to pay obeisance to their ancestors. In the unique ritual, people gather outside the 12th century Jagannath temple and burn jute sticks (known as Kaunriya Kathi in local parlance) inviting their ancestors to descend from heaven on Diwali and bless them. The burning of jute sticks is accompanied by a prayer 'Badabadua Ho Andhaare Aasa, Aalua Re Jao (Ancestors, come in darkness and go back along the lighted path). With thousands of bundles of jute sticks being lighted on the day, the Grand Road in front of the Jagannath temple offers a beautiful spectacle.

 Trips To Roads Less Travelled Wishes All Its Readers A Very Happy, Safe and Eco-friendly Diwali. Eat. Pray. Enjoy.

Cuttack's Golden Durga Puja

The First Golden Durga Puja Idol in Cuttack

In the Silver City of Cuttack, Durga Puja is unique in more ways than one. While the neighbouring State of West Bengal hosts the autumn festival with theme-based pandals and idols, Odisha’s Millennium City of Cuttack decorates the Mother Goddess with gold and silver. The extravagance is reflected in 150-odd Puja Pandals across the city; while the elite puja committees go for gold jewellery and silver backdrops spending several crores of rupees, their smaller cousins opt for just silver.

The Durga idols are usually 20-ft-high and they are accompanied by even taller backdrops (Silver tableaux). The price rise of gold has never been a deterrent for the Durga Puja Committees in Cuttack who make it a point to decorate the majestic tableaux elaborately with silver filigree work, known as Chandi Medha in local parlance, and idols of Goddess Durga, Lord Ganesh, Kartik, Goddess Lakshmi and Saraswati with gold jewellery and crowns every year. Cuttack is known worldwide for its silver filigree craft and filigree artisans who have created several masterpieces with impeccable artistry in the past. Durga Puja is also an occasion for these artisans to showcase their craftsmanship.

While initially, puja committees used to decorate the Goddess and the tableau with silver filigree work and jewellery to create that dazzle, the trend of adding gold to the deity’s idol was started by the Choudhury Bazaar Puja Committee in 2002, which coincided with its golden jubilee celebration. Durga Puja in Choudhury Bazaar began way back in 1956. The organisers made a golden crown of 7.6 kg for Goddess Durga and since then, they have added golden crowns and other jewellery items to the accompanying deities. Of late, the silver tableau is also being converted into a gold one. While the total cost of the Chandi Medha and idols exceeds Rs 15 crore, the puja committee keeps adding some more gold to the entire structure every year.

Subsequently, a group of other puja committees gave a golden touch to their pandals. The Sheikh Bazaar Puja Committee made a 3.5 kg gold crown in 2008 for the deity’s idol that is set against the backdrop of a beautifully carved silver tableau. Over the years, it added gold crowns and necklaces to idols of other deities and even the demon Mahisasura.

At Mangalabag Puja Pandal, not just the Durga idol, the other deities too sport golden crowns weighing at least 2 kg and at Chauliagang Puja Pandal, the Goddess is adorned with a 3 kg majestic golden crown fashioned in the shape of a peacock that is decorated with precious stones. In 2004, the Ranihat Puja Committee prepared a 4 kg gold crown for the Goddess at the cost of Rs 1 crore. While the puja at Ranihat was started a century ago, the committee set up a silver backdrop in 2004.

According to the Cuttack Mahanagar Puja Committee, the apex body of community puja organisers in Cuttack, there are at least 21 puja committees in the city who have silver backdrops and six puja pandals where the deities are adorned with gold crowns and jewellery.

Chandi Medha at Chandni Chowk

The Durga Puja history of Cuttack dates back to several centuries. It is believed that it was Saint Chaitanya Dev who started worshipping the deity during his visit between 1512 and 1517 AD. During his stay at Gadagadia Ghat in Cuttack, he started Durga Puja at Balu Bazaar. Even at Balu Bazaar, a 30-ft-high silver tableau adorns the pandal and the idol here is painted with only organic colours.

The Durga Medha at Chauliagang in Cuttack

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The First Durga Medha in Cuttack at Balu Bazaar

Celebrating Tradition

 

Madhubani painting of 18-armed Devi Durga by Vibhooti Jha

Durga Puja is is the only time of the year when around 2000 Bengalis of Bhubaneswar come together for community bonding. The Kalibari Durga Puja Samiti, on its part, takes care to offer them a taste of authentic Bengali tradition. For the Kalibari Samiti in Bhubaneswar, this is the 52nd year of Durga Puja celebration. While for the Telugus and Gujaratis in the city, puja celebrations begin with 'Navaratri', it is post 'Panchami' that the festivity starts for Bengalis.
"Our forefathers - Ashutosh Rai Choudhury, Bhaumik Ghosh and Satyaranjan Dey - established the Kalibari temple and puja samiti here at Ashok Nagar in 1964. Every year, we also welcome people of other communities to join us," says secretary of the Kalibari Durga Puja Samiti, S Marik. There are around 500 Bengali families in the Capital City who participate in the week-long Durga Puja celebration, which begins with 'Sasthi Puja' on October 19.

An artist paints the Durga idol at kalibari Puja Samiti in Bhubaneswar. Pic by Biswanath Swain

Unlike other parts of the city where Durga Puja is more about massive pandals, light decorations, 'Ravana Podi' and firecrackers, the focus here is just on the rituals and community get-together. Although the samiti members never erect an expensive pandal to welcome devotees, the 'Ekchala' idol of the deity is crafted by Bengali sculptors who are roped in from West Bengal. "The money that is earned through sale of 'bhog' during the puja goes into socially-relevant purposes," says Marik.
This year, a host of cultural activities will also be a part of the festivity. There will be a dance drama 'Mahisasura Mardini' on 'Ashtami' followed a competition on blowing conches and Dhunuchi Naach (traditional Durga Puja dance) in the evening. Interestingly, both the 'Navami', 'Dashami' rituals, 'Sindoor Khela' will be observed on October 22 and the idol will be immersed in the evening. 

Marik says Sandhi Puja on 'Ashtami' is the most important ritual of Durga Puja for the community. "During the Sandhi Puja that marks the transition from Ashtami to Navami, usually a period of 45 to 50 minutes, the Goddess is believed to take the form of Chamunda to kill Mahisasura. Intense prayers are done during this period and the Mother Goddess is offered 108 Lotus flowers and as many ghee lamps are lit," he says, adding that the samiti has never deviated from this tradition so far. 
Yet another attraction of the Kalibari Samiti during the puja is the 'Khicidi Bhog' that is offered to the Goddess and relished by devotees after 'Ashtami' Puja. The puja samiti often ropes in cooks from Kolkata to prepare the 'Khichidi', while the other dishes in the fare like 'Luchi', 'Dal', Chutney' and 'Payas' are prepared by Odia cooks from Bhubaneswar.
Apparently, apart from Bhubaneswar, Odisha has Kalibari Samiti only in Sambalpur besides, a Durgabari in Puri that celebrate the biggest festival of the Bengali community.

The Keeper of Folk Sound Garden

By Diana Sahu
  
Odia folk dancer Rabi Ratan Sahu, 34, is drumming up the much-awaited awareness on Odia musical instruments through a thrilling and innovative installation. The installation ‘Music Tree’ was at the Dying Folk Art Festival of Odisha held at Bhubaneswar recently. Rabi is rekindling people’s interest in the fading folk musical instruments and bringing them to the mainstream. Many of these have either become extinct or are on the verge of extinction. Rabi feels that if the musical instruments are treated like ancient artefacts in a museum, they will gradually fade away.

Rabi Ratan Sahu with his Music Tree on the premises of Rabindra Mandap in Bhubaneswar

Rabi has always been fascinated by the sights and sounds of folk musical instruments and now wants to preserve them. Having started his journey into the genre eight years ago with a research on folk art traditions of Odisha from the Guru Kelucharan Mohapatra Odissi Research Centre, Rabi has collected some of the rare traditional and folk musical instruments from the four corners of Odisha in the last three years. Many of the instruments in his collection are not seen widely today.

He exhibited a part of his treasure trove at the 5th Lok Badya and Lok Nrutya Mahotsav hosted recently by the Odisha Sangeet Natak Akademi at Utkal Mandap in Bhubaneswar. It was an innovative display. Rabi used a tree to hang the musical instruments. The ‘Music Tree’ attracted culture connoisseurs in hordes. The 14-foot-high tree made of Plaster of Paris, coir, bamboo and ropes, had no leaves. Musical instruments like Bhalu Bansi, Brahma Beena, Birtia, Dhanakoila, Banam and Singha—intrinsic part of Odisha’s tribal folk tradition—were hung from the branches.

Rabi commissioned the installation as a part of his collaboration with the Sangeet Natak Akademi to create awareness about the waning folk music tradition. “The Music Tree was showcased in Bhubaneswar for the second time. Had I exhibited my collection at a stall, no one would have taken notice. Hence, I thought of an innovative way to popularise these folk instruments,” says Rabi. He will be showcasing the ‘Music Tree’ at different festivals organised by the Culture Department of Odisha.

Rabi set up the Sambalpuri Folk Academy at Bargarh to preserve folk dance and music after completing his research. He has collected over 50 rare musical instruments so far. His search for these instruments has taken him to remote pockets of Malkangiri, Kalahandi, Koraput, Ganjam, Kandhamal, Nuapada, Sambalpur, Talcher, Sundargarh, Mayurbhanj and Bargarh.

According to Rabi, tribal communities of Odisha have folk songs for every occasion—from child birth to new season, rains, crops and even death. The songs are accompanied by musical instruments that are preserved by senior members of the tribal communities. During his journey in the state, Rabi came across many forms of music that are not passed on from one community to another.

Some of the tribal musicians are old and their music is at the risk of dying out. “These forms of music need support of connoisseurs and government to survive,” he says.
His next project is an audio-visual presentation of folk music instruments in ‘Music Tree’. Rabi is also creating a 20-foot-high ‘Music Ganesh’ which will be decorated with different musical instruments. Bringing these folk musical instruments to the mainstream, Rabi has also proposed to set up a Music Tree in Indira Gandhi National Centre for the Arts in Delhi to highlight Odisha’s folk music.

The story was first published at http://www.newindianexpress.com/magazine/The-Keeper-of-a-Folk-Sound-Garden/2015/04/18/article2767563.ece

Bold Troupers of a Folksy Dance Cult

Gotipua dancers ready for a show

By Diana Sahu

Raghurajpur, the first heritage village of Odisha situated on the banks of river Bhargabi, is known worldwide for its Pattachitra. Bylanes of this quaint little village, where every house is a canvas, are also home to another beautiful art form—Gotipua. At the far end of the village, stand two organisations that have been nurturing Gotipua with all its pristine flavour and glory—Dasabhuja Gotipua Odissi Nrutya Parishad and Abhinna Sundar Gotipua Nrutya Parishad.

 

 

 World-renowned Odissi guru Kelucharan Mohapatra was a Gotipua dancer in his early days. To continue the tradition, the organisations have given the dance form a new lease of life amidst cultural apathy within the state. The Dasabhuja Gotipua Odissi Nrutya Parishad was established by late Guru Maguni Charan Das, the pioneer of Gotipua dance, almost four decades ago. Sebendra Das, brother of Guru Maguni Das, currently runs the Dasabhuja Parishad. He explains the relevance of the dance form. “Gotipua is an amalgamation of two Odia words; Goti means single and Pua means boy. When the dance of the Maharis and the Devadasis of the Jagannath Temple at Puri disintegrated due to various reasons, young boys from various ‘akhadas’ were trained to take the tradition forward. Earlier, Gotipua used to be performed by a single boy, but over the years it evolved as a group dance.” 

The Abhinna Sundar Gotipua Nrutya Parishad has been working for the promotion and popularisation of the ancient dance form for 11 years. It was set up by late Guru Laxman Maharana. “A boy who masters all the three skills of singing, playing folk musical instruments and dancing is considered a true Gotipua. In Odissi, a dancer is restricted to dance,” says Priyabrat Pallai, the guru at Dasabhuja Parishad.
He feels that Gotipua is a poor man’s dance. “Such is the plight of Gotipua that not many cultural organisations in Odisha provide a platform for the artistes during their annual festivals. In fact, our boys perform more outside Odisha. Even the Culture Department has stopped organising its annual Gotipua Festival that was started in 2011,” rues Pallai.

It is believed that most of the grammar and material of the present day Odissi repertoire were distilled from Gotipua that originated as a temple ritual for Lord Jagannath. Movements in the two dance forms are same. The style and approach is different. The uniqueness of Gotipua is its combination of song and dance by boys between five and 15 years, who dress up as girls. They perform to verses on Radha and Krishna written by the Vaishnavite poets of Odisha.

Gotipua is gaining global recognition for its rawness and exuberance. “Though Odissi got the classical status due to proper documentation and promotion by connoisseurs, no such effort has ever been made for Gotipua. It is mainly practised in villages by boys mostly coming from BPL families,” says Abhinna Parishad’s Basanta Kumar Moharana, who recently took a batch of students on a dance tour to Paris.

Both the organisations follow the traditional ‘gurukul’ form of teaching and practise the Raghurajpur ‘gharana’ of Gotipua. Dasabhuja Parishad and Abhinna Parishad have trained more than 300 Gotipua dancers from Puri district. Currently, 35 boys are undergoing training at Dasabhuja Parishad and 15 in Abhinna Parishad. For both the parishads, finance has been a concern. The future is uncertain. “There have been years when we have done 100 shows across the world at a stretch and at times, we get to do just 20 to 30 shows in a year. Stage shows abroad fetch good money. Besides, we earn by performing at all festivals related to Lord Jagannath like Rath Yatra, Chandan Yatra, Jhulana, Dola Yatra,” Basanta adds. 

- dianasahu@gmail.com