Silence of Ganjapa Shuffle

From a folk tradition that took roots during the Moghul rule in Odisha, Ganjapa cards have been reduced to a mere collective item for art lovers today.

In fact, apart from Pattachitra, these hand painted circular cards are a souvenir item that tourists collect from artists’ village of Raghurajpur and Dandasahi in Puri to be used for decorative purposes or as glass covers. Even the number of families that creates these cards has reduced drastically over the years. Today, the tradition of making these cards exists only in villages of Puri, Ganjam, Gajapati and Sonepur districts. While just two to three families prepare these cards in Puri district, there is only one family each in Sonepur, Ganjam and Gajapati districts who are carrying on with the  tradition. Besides, there are just a handful of people left who play this card game. These circular traditional playing cards are painted in typical Pattachitra style with natural colours.
According to historians, Ganjapa, is derived from Persian word Gajife and the tradition of playing these cards was first mentioned in the memoirs of Moghul emperor Babur in 1527 AD, said Banamali Mohaptra, a Ganjapa card expert.

Each Ganjapa playing card set contains 12 cards. “Hand-painted, an artist uses his imagination and knowledge of mythology to draw on these cards. Themes of these cards mostly evolve around representations of epics like Ramayana, ‘Dashavatar’ of Lord Vishnu, Jagannath culture, and other Gods and Goddesses of the Hindu pantheon,” he added.
Each pack of cards is of a different colour and is based on the number of colours in a set. The packs are called Atha Rangi (eight colours), Dasa Rangi (10 colours), Bara rangi (12 colours), Chauda Rangi (14 colours), Shoal Rangi (16 colours) and so on.
Devi Prasad Nanda, member of the Puri Creative Handicraft Cooperative Society, said the cards were played by kings and villagers as a pastime. “Preparing these cards was also an art form in its own right. But the new generation artists are hardly interested in learning this art form and in the absence of patronisation by Government, the Ganjapa tradition is staring at a bleak future,” said Nanda.
Elaborating on the preparation technique, Nanda said though these cards are painted in Pattachitra style, they do not need to be as elaborate as the style itself.
“Glue is made out of tamarind seeds and applied on thin strips of cloth to make them hard. Then these are cut out in round shapes and pasted along with hard paper. A paste of liquid chalk is applied on these circular cards and then natural paints are used to draw on them,” he said, adding that in olden days, Ganjapa cards were even made out of wood for kings.

Apparently, these playing card sets are priced above `2000 per piece. “Considering the price value, if more artists start making these cards, not only will the game be revived but also the art form would ensure good income for those who take it up,” said Kulu Maharana, a 20-year-old artist from Raghurajpur, who has given up Pattachitra to produce Ganjapa cards on a professional scale. Members of the Puri Creative Handicraft Cooperative Society have urged the Culture Department, Government of Odisha, to save this art form that is on the verge of extinction. On several occasions earlier, art researchers from Puri and Sundargarh have demanded that the Government declare Ganjapa as a ‘heritage art form and game’.

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 Dying Flavour of W Odisha

A man preparing Sarsatia in Sambalpur

Sarsatia, a sweet delicacy that was a part of every household in Sambalpur till a few decades back, has today become a rarity. Blame it on the dwindling green cover. Today, only three sweetmeat shops in Sambalpur prepare Sarsatia which resembles vermicelli and is mildly sweet and crisp.

The base of the sweet is prepared from resin of twigs of a tree locally called 'Ganjer'. A batter is made by mixing the resin with water, powder of raw rice (Arua) and sugar. The batter is fried in the shape of vermicelli.
Twigs of Ganjer tree are collected from Barapahad hill range. Sources said the decreasing number of Ganjer trees in the hill range has taken a toll on collection of the resin. Earlier a bundle of Ganjer twigs used to cost around `100 but today, it costs between `400 and `500. This has also led to price rise of the sweet. The resin is collected between the months of October and March when due to dew, the twigs ooze the resin. Bark of the twigs are then peeled and fermented in water for five days. The resin gets dissolved in water after which it is strained.

Sarsatia. Pic by Ritu Pattnaik

Narendra Nath Sahu, owner of Sahu Sweets that is more popular as shop of Dina Gudia in Jhaduapada, is one of the three sweetmeat makers who prepare Sarsatia here. "My late grandfather Dinabandhu Sahu and his family started making Sarsatia 120 years back. He had learnt the recipe from a couple Jagat Janani and Sushil Mishra of Jhaduapada. My recipe was passed on to my father Krushna Sahu," said Narendra.
After frying, the vermicelli bundles weighing between 75 gm and 100 gm are sold at `eight to `10 per bundle.

Narendra said the trick of making perfect Sarsatia lies in extraction of the resin and only Arua rice that has been powdered using a 'Dhenki' (locally made wood crusher) is used in the batter. "It gives a distinct flavour to the Sarsatia that can be had with Kheer, milk or even mutton curry," he said.

In villages located in forested areas of the district, Ganjer flowers are used to make pancakes. Sources said flower buds of Ganjer tree are collected. After cleaning, the petals are opened and a batter of Arua rice powder, whole groundnut seeds and jaggery is kept in each of them and the petals are sealed and steamed.

The base of the sweet is prepared from resin of twigs of a tree locally called 'Ganjer'. A batter is made by mixing the resin with water, power of raw rice (Arua) and sugar. The batter is fried in the shape of vermicelli.

Note: The story, written by Ratan K Pani, was first published by The New Indian Express. Here's the link to the original article http://www.newindianexpress.com/states/odisha/A-Dying-Sweet-Flavour-of-Western-Odisha/2016/03/09/article3317747.ece

I could not find a picture of the Ganjer tree. Will be thankful if anyone can mail it to me at dianasahu@gmail.com

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 Dussehra