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.

Holy Thali Homebound

A Bhubaneswar-based startup gets 'Abhada Bhog' delivered at doorsteps at click of the mouse

People across the Capital City will no longer have to wait in long queues outside temples to partake cooked prasad or 'Abhada Bhog'. They can now get it delivered at their doorstep at click of the mouse. Six Bhubaneswar-based techies have come up with a startup, 'Temple Thali' that procures 'Abhada' from temples and delivers it to people. The venture was started on July 3.
On the menu are 'Normal Abhada', 'Special Abhada', 'Temple Thali' and special 'Khaja'. While the 'Normal Abhada'  includes Anna, Dal, Besara, Saga, Khata and Kheer, the 'Special Abhada' has Kanika, Dal, Khata, Besara, Saga and Kheer at `110 and `130 respectively. Similarly, the 'Temple Thali' includes Anna, Dal, Vegetable Curry, Khata and Kheer and is priced at `70.

 At present, Abhada Bhog is procured from the Ananda Bazaar of Ananta Basudev temple in Old Town and kitchen of Shani temple at Vani Vihar. The prasad of Ananta Basudev temple is the most sought-after holy meal in Odisha after Lord Jagannath's 'Mahaprasad'.
'Khaja', a sweet delicacy in the list of confectionaries under 'Sukhila Bhog' for Lord Jagannath, is procured from Puri. A packet of 12 pieces of big size Khaja is priced at `100. The team has tied up with 'Khaja' vendors in Ananda Bazaar of Jagannath temple and outside the shrine.
The startup was the brainchild of a group of friends from College of Engineering and Technology (CET), Bhubaneswar - Abhishek Khemka, Bishal Bibek Kabiraj, Rudrakhya Badu, Baivab Puhan, Shradhanjali Sahoo and Aditya Padhi. While Abhishek and Bishal have completed their engineering in IT and Biotechnology respectively from the college, Rudrakhya and Aditya are in their fourth and third years of engineering course respectively. Similarly, Baivab and Shradha are pursuing Bachelors in Architecture course (fourth year) from CET.

"People standing outside the Ananta Basudev and other temples in the city for 'Abhada' is a regular sight during the noon hours. We thought that if the process of getting Abhada becomes easier, there would be several takers. We spoke among ourselves about initiating a startup in this regard and decided to start an online business of delivering prasad this year," says Abhishek. They self-funded the initiative through personal savings as they believe that Temple Thali would thrive on the back of religious sentiments attached to 'Abhada'. "It is also because of the religious sentiments that we decided not to charge anything for home delivery of Abhada. Prices of the food items are nominal and the money can be paid either on cash on delivery mode or bank transfer," says Shradha.

 The venture has its own delivery mechanism that includes a group of delivery boys. After an order is confirmed, they pick up the Prasad packed hygienically in traditional earthen pots from the temples and deliver it at various places. The packing is such that it ensures the flavour and temperature of the food items are maintained. Group orders (a minimum of 10) are also accepted. People can place orders for lunch before 10 am on any given day through their website, Facebook page, Whatsapp and also through an Android app (TempleThali). "If an order is placed by 10 am, we deliver the prasad between 2 pm and 3 pm," says Abhishek. Currently, the service is limited to Bhubaneswar but the team plans to soon venture into Cuttack, Khurda, Puri, Berhampur, Balasore and Rourkela through franchise method.

Details: www.templethali.com
Whatsapp:9238193381

Craftsmen of the Gods

Three temple-shaped chariots tower over the sea of humanity at the Grand Road in Puri. It is that time of the year again when the Trinity — Lord Jagannath and His divine siblings Lord Balabhadra and Devi Subhadra — travel to their aunt’s house from the 12th century Jagannath Temple for an annual sojourn, riding their respective chariots. The occasion is Rath Yatra, the biggest religious festival of Odisha. While Lord Jagannath’s Nandighosha chariot is 45 feet high, Devi Subhadra travels in the 43 feet high Debadalana and Lord Balabhadra rides the 44 feet tall Taladhwaja. These architectural marvels are carefully crafted by a team of 75 carpenters under the watchful eyes of three Mukhya Biswakarmas (chief carpenters)— Bijay Mohapatra, Krushna Chandra Maharana and Nrusingha Mohapatra— within a 58-day deadline that begins on Akshya Trutiya. The Mukhya Biswakarmas belong to a lineage of temple servitors who have been assigned this service for several generations.

Each of them works with a team of 25 carpenters. Every year, Bijay takes charge of building Nandighosha (the biggest among the three) for Lord Jagannath, while Nrusingha and his carpenters build the Taladhwaja. Eighty-three year-old Krushna, the eldest of the three chief carpenters, constructs Debadalana for Devi Subhadra. The three had last year also built new idols of the Trinity in the temple for the Nabakalebara. The Rath Yatra’s history is several centuries old, but the traditional style of making the chariots has not changed. 

Nrusingha, Krushna and Bijay

A wooden log in front of the wheels serves as the manually operated brake in the chariot, which is pulled by lakhs of devotees. Last year, 17 feet high and 16-inch wide Sal logs were used as brakes in each of the three chariots,” informed 55-year-old Bijay, whose involvement in making the Nandighosha chariot began at the age of 11.

The unique feature of chariot construction is that all the measurements are done by hand span. “We have never used a scale or measuring tape. Our forefathers used to measure the logs with their hands,” recalls Bijay. The Mukhya Biswakarmas say a total of 42 wheels are required for the three chariots, with 16 wheels for Nandighosha, 14 for Taladhwaja and 12 for Debadalana. Nrusingha says that making the wheels is the most important part of the construction. “The chariots are made with Phasi logs and over 5,000 pieces of wood are required. Once the logs arrive in Ratha Khala (chariot construction yard), we select 70 carpenters who size them for the chariots. We lay special focus on sizing the wheels because if they are not proportionate, chariots will not move safely,” he adds.

Nrusingha has been making chariots for the last 14 years. The frame and wheels are decorated with colourful designs inspired from Odishan temple architecture. The frames are then covered with intricately embroidered green, black, yellow and red cloth, which are embellished with Pipili applique craft and brass figures. Bijay and Nrusingha hope to construct chariots for 10 more Rath Yatras before they allow their successors to take over. Krushna, on the other hand, has already started training his four grandsons . “This is hereditary work and it has to continue, come what may. We are bound by the wishes of Lord Jagannath,” the Trinity’s carpenter says with a smile.

The story was first published in The New Indian Express

A Slice of Serenity

The early morning view outside Desia Cottage

Odisha’s Koraput is blessed with the best of Mother Nature’s bounty. In a small village of this southern district, tribals are not just ensuring that their green heritage is conserved but also redefining the concept of sustainable community-based tourism through a tour initiative called Desia. 

Tucked in the foothills of Eastern Ghats, Desia is a slice of serenity. Surrounded by lush forests, waterfalls and a river, it is located in Bantalabiri village near Macchkund, one of the most remote corners of Koraput district. The hospitality offered by local tribals, though, makes the long journey worthwhile. They not only maintain the Desia cottage, but also conduct nature walks, cook up delicious tribal food and work as expert guides. 

The Desia Cottage in Bantalabari Village

Desia is today counted among the very few successful community tourism projects in Odisha, often frequented by travelers from European countries. The brain behind the tourism model is Puri-based Yugabrat Kar, founder a social organisation Barefoot, and owner of a tour company, Heritage Tours. 

The objective of Desia, Kar says, is to highlight the rich cultural heritage and flora and fauna of the region among travelers who believe in responsible travel and at the same time inspire local youths to preserve their heritage and environment. The project that was started two years back, has been providing a sustainable source of income to villagers who are also traditional paddy cultivators. Paddy, though, has not been giving them good returns of late due to changing weather pattern and procurement issues.

Tribal musicians from Bantalbari village

The villagers are offering tour packages to visitors who want to get an essence of the tribal lifestyle and soak in the local culture. The packages include stay in Desia cottage, local sightseeing, trekking, visit to tribal haats and authentic tribal cuisine. The village is located close to Macchkund river, the famous 574 ft-high Duduma Waterfall and Onkadeli market, where the primitive Bonda tribals arrive every Thursday to sell or barter vegetables and non-timber forest products.

The Duduma Waterfall

Desia cottage has been aesthetically designed like a tribal house with a little modification, offering a perfect blend of ethnic living with basic modern comforts. It was constructed by people of Bantalbiri village under guidance of artist, Bidyut Roy from West Bengal, who himself lives in an ethnic house at a Santhal tribal village, says Kar. Made up with clay, the two-room cottage is painted with colourful tribal paintings and decorated with Dokra and Terracotta tribal handicrafts. “Designing has deliberately been kept minimal to appeal to all kinds of travelers who are seeking a break from the fast and polluted city life,” says Kar, adding that organic vegetables, fruits and legumes are grown within the campus by villagers in charge of the tourism project. “Only meat and rice are procured from local market while the vegetables used in Desia kitchen are grown within our campus,” says Paana, a woman of Bantalbiri, who works as a cook in Desia.

A porch that opens up to sights of mustard fields and hills

“During our trips to Koraput, we used to camp at Government Inspection Bunglow in Koraput town. One day, watchman of the Inspection Bunglow took us to his village Bantalbiri where we camped with a group of foreign tourists in a small school house. We were touched by the warmth of the villagers and the village became a regular camping place for us. I spoke to the villagers about the community tourism concept and they offered us a land adjacent to the village at a very nominal price to set upDesia,” recalls Kar, who was instrumental in opening a ‘Model Beach’ and ‘Green Rider Rickshaw’ project in Puri four years back. He had received the National Tourism Award-2013 for Model Beach concept under Best Responsible Tourism Initiative category.

After the Desia cottage was ready, five girls and three boys of Bantalbiri village underwent hospitality and business training under the Government sponsored ‘Hunar Se Rozgar’ at Puri. Currently, six men and as many women run every aspect of Desia, except for marketing which is being done by Kar. The project also offers indirect employment to around a 100 other villagers, which includes folk artistes to vegetable farmers. While a majority of the profit share from the project is shared between villagers, some amount is kept for maintenance of the cottage. A Desia Tourism Society has been formed with village heads, elected representatives and Government officials as members, who oversee functioning of the project. 

In future, Kar wants to start a pre-school up to primary level designed on the lines of Awake and Shine School by Rtd General Singh in Kalimpong for children in Bantalbiri and provide skill development training to women of the village in jewellery and pickle making. In fact, construction of the pre-school has already started within Desia campus.

An edited version of this story was published by The New Indian Express.

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 Unique Two-armed Devi of Odisha

The Goddess in Biraja Kshetra has only two hands and the prototype of this image is found nowhere else in the country

Odisha is home to several sculptural representations of Mahisasuramardini Durga. One of the rarest representation, though, is of the two-armed Goddess at Biraja temple, also known as Biraja Kshetra in Jajpur district. Here, Goddess Durga is worshipped by the name of Biraja and historians believe this to be the earliest representation of Shakti Cult in Odisha.  

Located in Jajpur town, the present 70-ft-high temple housing the two-armed Goddess was built in 13th century while the idol dates back to the pre-Gupta or Gupta period. In fact, historian Sunil Patnaik says the idol might date back to 2nd century AD. The Goddess in Biraja Kshetra has two hands, in one hand she pierces the chest of Mahishasura with a spear and in other, she pulls tail of the demon.
The Mahishasura is depicted as a buffalo and the presiding deity's right foot presses the head of the animal. She wears a crown that has the symbolism of Lord Ganesha, a Shiva Linga and a crescent moon and a Shivalinga. The prototype of this image is found nowhere else in the country.
Apparently, the perimeter of the Biraja Kshetra is triangular in form and the extreme points of the triangle in western, south-eastern and north-eastern directions are guarded by Shiva Lingams, who are regarded as guardian deities of the Kshetra. Goddess Biraja is seated in the circumcenter of the triangular region. According to the temple management, the temple was renovated by Pratap Rudra Dev of Suryavanshi Gajapati dynasty.
While the temple complex has many other temples of Lord Shiva, Hanuman, Goddess Bagalamukhi and Markandeswar, the added attraction is a holy  pond 'Brahmakunda', which lies to  the northwest and close to the Biraja temple. The pond is so named as it is believed that Lord Brahma had conducted a yagna here.

 Maheswar Panigrahy, Sub-Collector of Jajpur and also the Chairman of Biraja Temple Managing Committee, says the temple sees a footfall of at least 1000 devotees everyday. On occasions like Durga Puja and Savitri, the footfall rises to 35,000 daily.  One of the most interesting aspects of Devi worship at Biraja Kshetra is Rath Yatra of Goddess Biraja, which is held during Dussehra. Her chariot, Shimhadhwaja, carries the deity in a ceremonial procession around the temple compound once a day for nine days.  There is a greater inflow of devotees to the temple from Southern Indian States like Andhra Pradesh, Karnataka and Tamil Nadu besides, the neighbouring West Bengal.
Panigrahy further says the State Government is now considering to develop a religious circuit comprising the Biraja temple, Baldevjew temple in Kendrapara, Sarala temple in Jagatsinghpur and Akhandalmani temple in Bhadrak. In fact, the Tourism Secretary LN Gupta had recently urged the Union Tourism Secretary Vinod Zutshi to consider inclusion of Biraja temple-Sarala-Akhandalamani-Baladevjew-Lalitgiri- Ratnagiri-Udayagiri under 'Swadesh Darshan' scheme of the Ministry.

Travellers Info

The temple is located at a distance of 125 km from Bhubaneswar and can be approached by road and rail. It has all amenities for tourists and for accommodation, the Odisha Tourism Development Corporation (OTDC) has a Panthasala. Besides, there are the PWD Bunglow and Circuit House in Jajpur town. Best time to visit is between October and January.