Daspalla – a Journey through Odisha’s Untamed Frontiers

Who does not like dosa, the signature south Indian breakfast! On 16th November 2014! History was made in Hyderabad with the making of world’s largest dosa measuring 54 feet 9 inches and weighing 13.69 kg at a restaurant called Daspalla.

Today Daspalla Hotels and Restaurants have created a big brand in Undivided Andhra Pradesh for their unique food innovations and hospitality, however, very little is known about the brand itself Daspalla, a tiny town in the frontiers of Odisha’s Nayagarh district surrounded by dense forest and hills of Mahanadi Division of Satkosia Gorge Sanctuary.

Nestled amidst the pristine beauty of nature, this sleepy little town has a rich legacy of past though its present maharaja, his highness Digvijay Deo Bhanja and the chairman of Daspalla Hotels Limited have settled in the port city of Vizag from the time of his late father Sri Purna Chandra Deo Bhanja’s move after his marriage to a Telugu Princes in 1949.

Silence in Kuanria Wetland

The princely state of Daspalla was founded in 1498 CE by Naran Bhanja, a younger son of Raja Narayan Bhanj Deo of Boudh during the reign of Siddya Bhanja. At that time the present Daspalla was a part of the Baudh Kingdom inhabited mainly by Kondh tribes in the inaccessible jungles of this frontier region. During the rule of Bira Bhanja, there was a rift for power between him and his younger cousin Sal Bhanja. The dissident Sal Bhanja left Baudh for Puri to meet the Gajapati King for assistance. While resting with his followers at a place called Padmatola Ghat on his way to Puri through Jagannath Sadak, the king of Nayagarh came to know about the troop and arrived here to help. Both made alliance and the King of Nayagarh declared him as the king of the area, the present Daspalla region. In no time the news of this development reached Baudh. Bira Bhanja got annoyed and declared a war against Sal Bhanja. But the troop of Bira Bhanja got defeated thanks to the alliance between Sal Bhanja and the king of Nayagarh.

River Mahanadi near Daspalla

As Sal Bhanja got yasa (fame) after defeating the king of Baudh he named his kingdom Yaspalla which later came to be known as Daspalla. It is also believed that Daspalla got its name from 10 villages that were combined to form the gadajat.

Travel Tips

Daspalla is located on the highway that connects Bhubaneswar with Bolangir via Nayagarh and Baudh. The distance between Bhubaneswar and Daspalla is 125 KM and it takes about 3 hours. Keep a day for exploration in and around Daspalla. If you wish to stay overnight either you can stay at Barmul Nature camp on Satkosia Gorge (50 km) or at Nayagarh, the district headquarters. One can also travel by train up to Nayagarh from Bhubaneswar and then take a bus or public transport. But the vehicle of your own is advisable. While at Daspalla don’t forget to relish Odisha’s signature sweet chennapoda (it was originated here).

Picture Credit – Satyabrata Dash

The earliest capital was at Badmul on the bank of Mahanadi. However, at the time of Padmanav Bhanja, the 9th king of Daspalla, the capital was shifted to the present location. A legend goes: during a hunting expedition the king was impressed with a heroic action at this place, a wild dove chasing a chhanchan (bird of prey) and decided to build his new capital here.

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After independence when Daspalla was merged with the Democratic Republic of India, the former Raja of Daspalla Sri Purna Chandra Deo Bhanja, the 18th on the line shifted to Visakhapatnam and since then the Rajabati (the palace) has become obsolete.

Picture Credit – Satyabrata Dash

Daspalla Palace

Built-in the colonial style of architecture, in the days of the British Raj, small banquettes were regularly thrown here by the royal family for the benefits of the Governors of Odisha and these banquettes used to be catered by the Grand Hotels in Kolkata.  Purna Chandra Deo Bhanja Ji had widely travelled during his young days and he was a great philanthropist having specific interest in the spread of Jagannath Cult. Of late, the abandoned palace is getting a new breath of life as it is being made a heritage hotel.

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Barbara Forest – A Blend of Nature, Indigenous Culture and Archaeology

Travelling around Daspalla is like back in time. Laidback villages, farmlands, warm-hearted people, scenic wetlands, relishing mouth-watering chennapoda, fish and prawns from Mahanadi and trekking through its enchanting hills and forests make Daspalla a perfect weekend retreat.

There are two ways to reach Daspalla from Bhubaneswar, one via Nayagarh, the shorter route, but with less interesting characters and the other via Kontilo on the bank of Mahanadi, the original abode of Lord Jagannath and then Gania, famous as the gateway to the Mahanadi Gorge Sanctuary.  We took the second route.

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Ansupa – Wetland Wonderland

At Gania, you relish the most authentic version of chennapoda and if you are on time, in the early morning hour you can experience its method of preparation. Try out the sweet at Jagannath Sweet Stall, where you get the best of the sweet anywhere in Odisha made out of freshly backed chenna, the country cheese.

From Gania take the winding highway through countless farmlands, forested mountains on both your sides. The landscape is untouched by time. On your way, you meet warm-hearted Odia souls at villages surrounding the highway.

At a distance of 7 km from Daspalla, there lies yet another hidden secret, the Kuanria Wetland, an irrigation dam project developed also to help local fishermen. Treks and resting places have been created surrounding the wetland by the forest department. A large number of migratory birds also flock to this reservoir during winters.

You can sit here in silence for hours watching fishermen in actions. Even you can buy from the fresh catch and take home or arrange a barbeque meal onsite.

Daspalla is also a culture hub of Odisha. Thanks to the patronage and initiatives taken by its erstwhile rajas, here Ramnavmi is a big draw with carnivals telling the stories of the Ramayana through street theatres, lights and actions.

Undoubtedly Daspalla is a great weekend retreat from the hustle and bustle of Bhubaneswar. Come and discover the magical charm of this frontier land wrapped in mysteries of history, culture and nature.

Author: Jitu Mishra

He can be contacted at jitumisra@gmail.com

Sahi Jatra – Puri’s Holy Carnival

12th – 13th Centuries India! While on one end India was witnessing a renaissance through emerging traditions of classical art and culture on the other end there used to be constant threats from invading iconoclast sultans of Delhi in pursuit of their political ambitions.  We all know how Devagiri, the wealthiest capital of Yadavas became Daulatabad in Deccan and how the great Shiva Temple built by the Kakatiyas in Warangal Fort turned from its splendour into shattered ruins.

The holy city of Puri and its famed Jagannath Temple was also in the wish list for invasions. The protection of the city and the temple had become prime responsibility of Gajapati King Chodaganga Deva, who was also the builder of the present Jagannath Temple in the 12th century CE. For this, the king had established many Kotas (fortress) and Jaga Gharas (gymnasiums) to train youths as safeguarders of Puri and the Jagannath Temple. Jaga Gharas were established in 9 of its oldest sahis (neighbourhood streets) which are continued till present though through several alterations made from time to time. Most probably, Jaga is derived from the word jagarana (to keep awake).

Some of these sahis having Jaga Gharas are Bali Sahi, Dola Mandapa Sahi, Hara Chandi Sahi, Kundei Benta Sahi, Mani Karnika Sahi, Mati Mandapa Sahi, and so on. While Lord Hanuman (Mahaveer) is commonly worshipped, each Jaga Ghara also has a presiding deity of its own.

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The character of a Jaga Ghara is having a temple for its presiding deity, a gymnasium and a pond to perform various rituals. Men of all ages come here for bodybuilding, to bathe in the pond, gossip or playing a Ganjapa card game. In the temple, Lord Hanuman is worshipped along with the presiding deity of the respective Jaga Ghara.

Travel Tips

Puri is a well-known pilgrimage site for Hindus and celebrated as one of the four supreme dhams. The holy city of Lord Jagannath is well connected by rail and road and forms part of the golden triangle in Odisha for tourists world over, the other two places in the triangle are Konark and Bhubaneswar. The nearest international airport is located in Bhubaneswar, 65 km away. Puri abounds in sites for both spiritual and adventure seeking souls. Every street of Puri and its surrounding villages has something to offer whether it is food, craft, ethnic life, devotion or spirituality. Its sea beach is one of the most celebrated beaches of India on the Bay of Bengal and a drive through the Puri – Konark marine drive is one of the most memorable experiences for a traveller. 

Puri is full of hotels and restaurants to suit all budgets. While at Puri don’t forget to eat mahaprasada, the food offering to Lord Jagannath on a daily basis. 

To experience Sahi Jatra in Puri, one has to visit here during Ram Navami in the month of March/April. Check out the calendar before you plan to visit.  

Starting from the day of Ram Navami and continued for eleven days all these Jaga Gharas and the sahis celebrate a grand carnival every night, locally known as Sahi Jatra.

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Dola Jatra – The other Rath Yatra

The Sahi Jatra of a particular Sahi starts its procession to its competitor Sahi or Badi Sahi. For example, Bali Sahi is the Badi Sahi of Hara Chandi Sahi. Suppose today the procession of Bali Sahi goes to Hara Chandi Sahi and displays their performances on the next day the procession of Hara Chandi Sahi goes to Bali Sahi for the performance. In Sahi Jatra, all the members of Jaga Gharas take part.

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Osakothi Rituals in Ganjam – An Anthropological Journey

Partly militant and partly religious, the themes of Sahi Jatra are the episodes of the Ramayana.  The non-winding procession of various mythological characters crawls through all major crossings, lanes and by-lanes of Puri’s major and oldest sahis throughout the 11 nights. The characters include Naga, Durga, Kali, Parasurama, Rama, and demons like Ravana, Navasira, Saptasira and Trisira, and various local deities.

One of the main attractions of Sahi Jatras is the procession of Nagas and Medha dances. The performers go through rigorous training in their respective Jaga Ghahras for a couple of days before the commencement of the Jatra.

Adorned with medhas, silver jewellery and masks of respective character and accompanied by acrobats, tumblers and drummers, each participant displays his valour and strength to fullest. Among these characters, the key attraction is, however, Naga.

Naga is associated with the Nagarjuna Vesa of Lord Jagannath which is usually done in a leap year when the five days of Panchuka becomes six days during the holy Kartik month. In Nagarjuna Vesa, the lord is decorated like a warrior honouring Parasurama, the warrior incarnation of Lord Vishnu.  The Naga dance seems to have originated from this tradition. It showcases the martial or warrior dance of victory.

Usually young and energetic men are preferred for the Naga character. He wears a huge headgear profusely decorated with silver jewellery and false beard almost covering the face. Multi-coloured arrows attached in two bamboo sticks are tightly fitted to the arms. On his waist portion, several weapons like shield, dagger and knife are placed. He wears a rosary around the neck. On the back portion of the figure, a bamboo mat can be seen which is tied on his body. With the jerky movement of the shoulders, he dances in heroic steps. Sometimes he holds a gun. He moves at the front of the procession along with the drummers who provide rhythm to his movement.

People also encourage participants with clapping and cheering words. While the rehearsal is in full swing, some other community members, especially ones with artistic skills are engaged in decorating and painting fresh murals on street walls, community space and temples. Colourful and fancy street lighting is also arranged for the carnival.

On the evening of Ram Navami, the procession of Rama and his three brothers along with their teacher Rishi Vishwamitra starts from Kalika Devi Sahi. In a decorated horse chariot the group first visit Lord Jagannath Temple for blessing and then proceed to Rajabati, the palace of Gajapati King located on the Grant Road (Bada Danda). Hundreds of people are gathered to witness and participate in the procession.

On the 12th day, the Sahi Jatra ends with Ravana’s death. Even on that day Ravana visits Lord Jagannath Temple and offers red hibiscus flower to the Lord. Later that day after the Sandhya Dhoopa rituals, idols of Rama and Lakshman are kept on Ratnasingahsan and then carried to Jagannatha Ballav Math for Ravana Vadha Ritual.

Sahi Jatra of Puri is a unique cultural institution showcasing community participation. Apart from being fun and entertainment, it reminds us we are all equal before the Almighty and harmony should be the only motto for our living.

Author: Jitu Mishra

He can be contacted at jitumisra@gmail.com

From ‘Muthi Anukula’ to ‘Kheta Badia’ – A Photo Journey through Odia Rice Culture

Akshaya Trutiya – when a large part of India celebrates this summer festival buying fresh gold, the farmers of Odisha begin their agriculture cycle of the year. On this auspicious day, the farmers of Coastal Odisha celebrate ‘Muthi Anukula’ starting the sowing work of fresh paddy crops at their village farms.

Odisha is an agrarian state with a significant rural population. Rice is the mainstay of Odisha’s agrarian economy. In fact, rice is the lifeline of Odisha. Most of Odisha’s festivals revolve around agricultural cycles. They reflect a symbiotic relationship between her land and people, especially farmers who constitute a large chunk of Odisha’s population.

If you are in Odisha during July and August, the peak of monsoon season what draws your attention is vast green rice fields as far as your eyes can stretch appearing as if you are stepped in fields of sapphire.  There are small elevated manchas (raised platforms) with thatched roofs at intervals. Farmers watch their growing crops during the night hours to prevent the invasion of wild animals from these platforms. Sowing is in full swing mostly by womenfolk. The fields also become their pastime place – gossip and sharing their mundane matters with peers. There is a playful atmosphere all around with water, mud and crops.

The festival of Gamha Purnima, which is also celebrated as Rakshya Bandhan in most part of India, is the next important festival in the agricultural cycle. The rice saplings have now matured. It requires a break. Gamha Purnima is also the birthday of Balaram, the elder brother of Lord Krishna and the farming god. On this occasion, the agricultural implements such as ploughs are worshipped along with bulls and cows.

Plough and Other Agricultural Implements

Storage Facilities for Rice

Tenda – Water Lifting Device for Rice irrigation

Time moves on. By October/November, the rice plants start ripping and turn gold and in some places ready for harvesting. Harvesting is an elaborate process involving several steps. While the harvesting is carried out, the women folk celebrate Manabasa ritual on every Thursday of the month Margasira. In Odisha rice is revered as Goddess Lakshmi. The women folk of Odisha illustrate their home floors, from the entrance to backyard with elaborate chitta depicting paada (feet) of goddess Lakshmi, apart from various floral motifs and geometrical symbols. The ingredient used for these floor murals is rice paste. The process of making murals starts on Wednesday evening and continued to the next day.  A story goes:  Once Lakshmi visited the home of Shriya Chandaluni, a scavenger low caste woman. Balabhadra got angry and did not let Lakshmi enter the Jagannath Temple at Puri. Lakshmi avenged the insult by cursing her husband Jagannath and brother-in-law Balabhadra to go through a prolonged ordeal without food and water.  At last both her husband and brother-in-law realized their mistake and invited Lakshmi with grace to live in the temple.

The story emphasizes the importance of equality and feminism against the background of rice cultivation.

In the end, an elaborate ritual ‘kheta badia’ terminates the rice cycle.

Odisha may not have impressive rice terraces as one sees them in China and Southeast Asia, but very few know that Odisha offers the widest range of domesticated and wild rice anywhere in the world. Some archaeologists even have speculated that parts of the Eastern Ghats in Odisha possibly yet region for the origin of rice.

Author – Jitu Mishra

He can be contacted at jitumisra@gmail.com

 

Osakothi Rituals in Ganjam – An Anthropological Journey

A story goes – On the way to heaven, the five Pandava brothers had rested on the veranda of a Brahmin’s house, where no woman was ever blessed with the birth of a child. Arjuna came forward to intervene. He erected a Kothi and a Chammundia (a temporary shelter) with the help of arrows. Through this act, Yama, the God of Death was barricaded out.  At night a messenger of Yama appeared but had to leave unsuccessful. Consequently, an agreement was made with Yama – whoever observes Osa will bear sons, and all children will remain alive.

The news spread in no time throughout Avanti. Shriya Chandaluni (a woman sweeper named Shriya) heard it while she was sweeping the street near the palace. One of the queens expressed her displeasure because Shriya to whom she saw first in the morning was untouchable.  Equally, Shriya also thought it was inauspicious to have seen the face of the queen because she was antakudi, a barren woman.

The queen wanted to take revenge and reported the matter to the king. The king took away the five sons of Shriya and had them killed in the forest. Shriya went to the forest in search of her sons. Seeing them dead, she cried aloud. At that time Shiva and Parvati were wandering in the wilderness. They heard Shriya’s cry. While comforting her they asked her to observe Osa by erecting a Chammundia, a temporary shelter. She replied that she could only do it when all her sons are alive. Shiva requested her to turn her head away. He sprinkled water on the dead bodies and her sons came back to life. They joined their mother and also started worshipping themselves. The king watched them performing the ritual and when performed Osakothi himself, each of his 99 queens bore sons.

According to yet another story, Kalidasa, the poet had once lived in Bauri Sahi (street of untouchables). There he had started a Kothisala. First, he made the appearance of Shiva Tandav, after that the image of Parvati, then Mahisamardhini Durga and Kali. Mangala followed them, then Ganesha and Kartikeya, and finally Panchu Pandava.

 

How did Kalidasa go to Bauri Sahi? There was a king, who had addicted to women. Because of this weakness, he could not give time to rule properly. Everyone suffered. Then all his subjects assembled together and proposed him to create a mural of his favourite queen and keep it near him. The king liked the idea and invited the court painter to draw the mural. He got it done. All appreciated the work but Kalidasa said ‘no’. The king sought the answer. In reply, Kalidasa said there was a kalajai, a black mole on the left thigh of the queen, which is not in the figure. The king got annoyed with the answer and started doubting about the secret relationship between Kalidasa and his wife. Immediately he removed the poet.  With no other choice, the poet took refuge at Bauri Sahi where he started the Kothisala.

Both stories confirm us that the Osakothi tradition in Ganjam stems from the untouchable groups, the upper caste joining later.

For cultural anthropologists and archaeologists, Osakothi rituals are of great interest as one draws a series of parallels between the evolution of early belief systems against their social and cultural settings and their continuity till modern time.  Keeping this in mind recently I had ventured into the heartland of Ganjam around Digapahandi to experience and document the Osakothi rituals.

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Travel through Digapahandi – Ganjifa’s Last Bastion

Travel Tips:

Though Osakothi rituals are celebrated in most part of Ganjam we visited villages around Digapahandi and for this story, we had zeroed on Khallingi Village, about 15 km from Digapahandi via Patapur. The ritual is carried out during Durga Puja time every year. You can also visit villages around Dharkote, Purussotampur, Aska and Buguda towns to witness the festival. There is an excellent road network in the district and you will find villagers are very welcoming. However, for a comfortable stay, you can either chose Berhampur, the largest city in the region or Gopalpur-on-Sea. Taptapani Hotspring is the other nearby attraction which is also the gateway to the tribal heartland of Southern Odisha. For food, you have small restaurants on highways and towns. 

Osakothi shrines are temporary structures but now have been made permanent. But one should not confuse them with temples. They have strange characters showing a fusion of tribal and folk beliefs. In middle ages, local zamindars and feudal kings appropriated the land and villages of aboriginal chiefs of Kondh and Saura tribes. To hegemonize their subjects, goddesses from tribal realms were accepted as Esta Devis, family goddesses of the royal households. Some of the local Thakuranis acquired great prominence and their shrines were equated with ancient Shakta temples of Hind pantheons.

 

Osakothi shrines are a link between the tribal deities and beliefs and mainstream Hinduism. The Thakurani (goddess) is represented as a ghata (pot) and depicted in the murals along with various other deities. The season mostly lasts for seven days around Dussehara (from Ashtami to Kumara Purnima). Traditionally an Osakothi shrine is a simple structure, but nowadays because of increased wealth, one finds permanent structures. The basic requirements are a wall for the murals with a vedi platform or a ledge for keeping the ritual objects, a canopy and an open space for the performances and gathering.

The murals of the osakothi shrines are meant to house tetiskoti devatas (thirty-three times of ten million deities). At least 10 to 20 images and a maximum of hundred gods, goddesses, heroes of epics and legends are depicted on walls as attendants of the relatives of the divinities. The murals thus represent a microcosm in a reduced scale.  In an Osakothi mural, the entire family of the goddess does appear with sons, daughters and vehicles with a full entourage, regalia and pomp. The Thakurani is then considered to be Adimata, the creation mother. The wall on which murals are drawn is divided into components, symbolizing chambers and houses of various gods and goddesses forming the great family.

Mangala is often depicted in an Osakothi shrine as the dominating deity. She is seen sitting in cross-legged padmasana with four arms, her body is coloured yellow and she wears red or pink sari and a blouse. The goddess carries five pots, one on her head on top of her crown and four in her hands.

Shiva is the only male deity to appear in Osakothi paintings. He even occupies the central position. He is shown as Nataraj. However, Shiva is not invoked in osakothi ritual. There are stories that explain why Shiva is illustrated as a central figure in Osakothi murals. One such story is – there was a widow who would often get possessed by Thakurani. Once Shiva appeared in another form and beat the woman mercilessly saying that the goddess should return to her home and prepare dinner for her family instead of moving around. From then on Shiva is not invoked when the Thakurani appears.

In Osakothi paintings Durga appears with four or more arms, grasping a trident, sword and other weapons in her hands. She is generally represented as a beautiful and forceful woman. In osakothi, Kali is the central figure of the Shakti Cult. She is depicted as a black skinned naked goddess dancing violently on prostrate Shiva. Her powerful many armed images with swinging weapons of all shorts are the most prominent icon in Osakothi murals.

There are also icons of Chinnamasta, Parvati or Gauri, Saraswati, Ganga and Yamuna and a number of Thakurani goddesses such as Khambeswari, Manikeswari, Bankeswari, Tara Tarini, Budhi Thakurani, Bhagawati, Urandawati, Hingula, Chamundi, Maharikala, and so on. There are also minor legendary characters such as Hadi Hadiani, Dhoba Dhobini, Gauda Gaudani, Kandha Kandhuni, Keula Keaulani, Barahalila, Batapanthei, Chhoti Neli and Tapoi.

The Osakothi rituals consist of erecting and painting a shrine (now days erecting is not practised), performing puja, offering prayers, taking out processions, dancing and entertainment. The aim of the ritual is to obtain a boy child. The participants are lower caste inhabitants of a village or local group. Women act as observers. Paintings are drawn by Dandasi Harijan artists. There is a strong belief that if they don’t follow Osakothi rituals, Thakurani may interfere destroying the life and property of people. An interesting story goes: in one of the villages the tradition was stopped for three consecutive years. Thakurani became angry. She said: ‘I will make the village Kala Khamba, black poled (i.e. she will burn houses). I will bring smallpox and phatua, a cow disease’. The Thakurani came to a village and demanded that she performs Osakothi. First, the villagers said: ‘We have no money’. The Thakurani replied: ‘Money is my problem. I shall go with you from village to village to collect money’.

For all 8 nights in a row, the participants in the ritual congregate at the shrine to invoke various gods and goddesses. The ritual begins after the sunset. The Jani (priest) worships the ghata pots representing the goddess Mangala and the image in the murals. He lights a lamp and burns incense after offering ukhuda bhoga (fried parched rice mixed with molasses) to the deities. The dhana koila instrument is then played by the Bayani musician or the singer. The Gayani singer begins the first avahani (invocation song), the audience joins the chorus, called pali. Slowly everyone gets involved. Some of the participants become active personifications of the divine and semi-divine characters and called Devata. One such male Devata may suddenly move forward and backwards and fall in trance called Devata Lagiva. Usually, four or five me men enter into this state simultaneously. The Jani and his companions try to calm the Devata if his movements become too frenzied. They pour water from a lota into his mouth and touch his head with a Mandara (China Rose) flower was taken from Mangala pot.

The ritual ends with Koti Ujeiva on the evening of the Purnima (full moon) or the day following it. The pots are taken to the pond in a procession.

Today, however, Osakothi is in the declining state through the rituals are still on. In our exploration, we were also surprised to see the replacement of murals with flex prints depicting mythological stories in southern style. The beliefs are no more intense as the lower castes are more empowered now. Because of technology and information flow the superstitious beliefs are also fading. It is a million dollar question – for an anthropologist like me it is a loss but one has to accept that we all need to progress and develop scientific tempers and get away from such archaic practices. However, rituals like Osakothi also play as symbols of identity and community bonding at the grassroots of Indian society in the era of market force and globalization.

Author – Jitu Mishra

He can be contacted at jitumisra@gmail.com

 

Kumbhars of Kumartuli (Kolkata) and the story of the creation of idols for Durga Puja

With the last spell of the monsoon rains having drained down the narrow lanes of Kumartuli, the season bids adieu to an important festival – Durgatsav. It has been a busy time for the kumbhars of the region, especially of Eastern India, who have been busy with the making of the clay idols of the deity for this festival of Goddess Durga. Amidst the many stories of the kumbhars of the region, those of the area of Kumartuli from Kolkata occupy an important space of historical significance. This is a story of the kumbhars of Kumartuli, who has been moulding the clay idols of Goddess Durga and other deities through generations. Today, their craftsmanship has reached even foreign shores as the idols find a way into several regions all around the globe.

The word kumbhar is used for potters in Sanskrit and several Indian languages, including Bengali. Though traditionally, the festival of Durga was celebrated during the Indian agricultural month of Chaitra (corresponding to the Roman calendar months of March-April), the kumbhars of Kumartuli witness a spurt of activities during the period of the Durga Puja festival in Ashwin (corresponding to the Roman calendar months of September-October). This puja of Ashwin reflects an important historical as well as mythological strain. According to popular lore, the first kumbhar was brought in Kumartuli area from the region of Krisnanagar (Nadia district in Bengal) by Raja Nabakrisna Deb to build a Durga idol for worship and to mainly celebrate the victory of the British at the Battle of Plassey (June 23- 1757) against the Islamic power of Siraj-Ud-Daullah (the last Nawab of Bengal). After the battle and in the following Ashwin month thus, Durga Puja was observed in Kolkata with aplomb. This worship followed the mythological story of the worship of Lord Rama from the Indian epic, The Ramayana. In due course of time, this puja also inspired several other rich families of the region to perform similar puja of the deity, giving rise to more number of Durga Pujas and a rise in popularity of the kumbhars. As demand increased with time, the kumbhars found it difficult to travel across the Ganges river to build the clay idol in Kolkata since they were travelling from Krishnanagar. On their request, this community was given a section of land to settle down and work. This was the beginning of the region of Kumartuli. Various lore describes the contribution of different rich families to help the settlement of Kumartuli. One popular one which still reverberates is:

Jagatseth’s money

Umichand’s beard

Banamali Sarkar’s house

Govinda Mitra’s walking stick

(“Jagat Seth – an influential banker” with “the road called Banamali Sarkar street [which] runs out of Kumartuli into the Chitpur Road on which is situated the temple of the Mitra family”- all being rich and influential families of the time).

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Glimpses of Calcutta (Kolkata) heritage

The fact that Bengal already had Durga Puja, even before the Battle of Plassey, can be ascertained through various lore, e.g. the Maharashtra Purana of the Marathi poet Gangaram. The story also ascertains the significance of the worship of Goddess Durga in the region. A piece of important evidence is reflected in the story of Maharashtra Purana. According to Gangaram, Bengal faced serious threats from Marathas of Western India, known as Bargees between 1740-1750. The poem of Gangaram also describes a battle between the forces of Bengal under Nawab Alivardi Khan and the Maratha general- Bhaskara. According to the poem, as Bhaskara desired to win the battle, he wished to perform a puja of Goddess Durga and summoned the local zamindars or landlords to help him. The zamindars invited several kumbhars to make an idol of the deity for Bhaskara. However, Bhaskara had to flee before the puja could be completed being beaten at the hands of the Nawabi forces. Bhaskara managed to only complete till the seventh and eighth day of the puja- Saptami (seventh) and Ashtami (eighth) and fled. This happened in the month of Ashwina. A few months later and in the month of Chaitra, Bhaskara returned once again. Nevertheless, the deity is mentioned to have been displeased with Bhaskara at the very first time, since he could not complete her puja and fled. Thus, though Bhaskara fought valiantly, yet he was defeated and killed after a fierce battle at the hands of the Nawabi forces. Through much other local lore as well as literary sources, the popularity of the deity is seen and by the time of the 19^th century, many British officials also used to attend pujas in many rich households. The worship also started to come out of family circles as a community effort (Baroyari Puja). This was first performed by twelve Brahmin friends of Guptipara region in Hooghly district of West Bengal in 1790. Finally, this community puja in Kolkata was introduced in 1832 by Raja Harinath of Cossimbazar (from Murshidabad district).

Making the idols

The process of the making of the clay idols has traditionally followed the following steps:

• Making the framework out of bamboo and dried straw, entwining them to
  render the basic shape of the structure.
• Coating with well-kneaded and manually prepared soft clay to render the entire shape of the idol.
• Drying them in the sun
• Applying the basic and the primary and secondary layers of paints.
• Finally decorating the idol with other embellishments.

The fine clay is prepared through various layers of straining (refining the texture) and mixing with water and hand-made glue which is made from the power of seeds of the local Siris tree (Albizzia lebbeck)– mixed with water and boiled to get a certain thick consistency. This hand-made glue is also mixed with the colours before they are applied to the idols. Finally, this glue is also used to attach the many embellishments onto the idol for decoration. The cloth/sari and dhoti are adorned variously- keeping in touch with changing times and demands. Of the popular types of decorations are- “Daaker saaj”, ‘Rangta saaj’ and ‘Sholar saaj’. Daaker Saaj or postal decorations came from the beaten and thin sheets of silver which were traditionally delivered from Germany through post or daak. Rangtasaaj traditionally came from the beaten and thin sheets of gold which were used for decoration. At present though- neither gold or silver are used- but the name remained. Sholar saaj (decoration made from shola) remains a popular decoration due to its pristine white touch. Shola is obtained from the fleshy, white interiors of the bark of pith plants which are found in marshy areas of West Bengal and Bangladesh.

The puja in the month of Ashwin- Akal Bodhon- and the lore associated with it

Interesting lore is associated with the festival of Durga Puja in the month of Ashwin. This story from Indian mythology also explains the reason for this puja. According to the version of The Ramayana, written by poet Kirtibas during the battle between Rama and Ravana, the latter began to sing praises of Rama. Thus, Rama found it difficult to slay him as he had turned into a devotee. Seeing this tricky situation, all the Gods and Goddesses assembled in heaven to find a solution and finally decided to send Goddess Saraswati to reside on the tongue of Ravana to make him utter foul words against Rama. As soon as this happened- an enraged Rama cut Ravana into two halves, however, he came back to life as he had a special boon of life bestowed by Lord Brahma. Ravana also prayed to Devi Ambika to assist him in the battle and the appeased Devi sat with him in his chariot. Seeing an impossible situation to defeat Ravana now- Rama was finally advised by the Gods and Lord Vishnu to pray to the Devi. However, she was not appeased and did not appear before Rama. Finally- Bibhishan suggested that she be worshipped with 108 neel kamal or blue lotuses. On the request of Rama- Hanuman flew to Debidaha- the only place where one could find blue lotuses and Hanuman brought back the lotuses. Halfway through the puja- Rama discovered that there are only 107 neel kamal. It was too late to stop the puja and Rama finally decided to offer one of his eyes as the last lotus with his arrow. At this moment- the Devi appeared before Rama and blessed him and also mentioned that she would leave the side of Ravana. Rama had started the puja on the sixth day (Sashti) of the month of Ashwin and the Goddess appeared before him on the eighth day (Ashtami). At the meeting point or sandhikkhan between the eighth and ninth days- the Devi entered into Rama’s weapons and gave them required strength to fight against Ravana and the latter was killed a day after- on the tenth day (Dashami). Thus, this day is also referred to as Vijaya Dashami (the victorious tenth day). Following this story- on the day of Dashami- many effigies of Ravana are burned across many celebrations in India. The idols of Kumartuli also reflect this image of the victory of good over evil. Traditionally, Bengal worships the Mahishashurmardini (slayer of the demon- Mahish) form of Devi Durga as a warrior goddess. However, she is worshipped along with her family and this is represented by two daughters Saraswati (Goddess of knowledge and learning), Lakshmi (Goddess of prosperity and wealth) and two sons- Kartikeya (Warrior God) and Ganesha (God of good wealth and fortune).

The history of the clay idol-making profession of the kumbhars of the region also got moulded according to the stories of Indian mythology and local history. It is also interesting to note the representation of the warrior deity in Bengal which follows a complacent expression and never displays anger- as should befit a warrior goddess. The goddess is also worshipped in Bengal (including by the Bengali community worldwide) along with her ‘offsprings’ Kartikeya, Ganesha, Saraswati and Lakshmi and the image portrayed across popular belief is that of a married woman visiting her father’s abode, along with her children for a few days every year. Through time various changes have taken place to include these representational transformations, as well as the changes within the sculptural expressions, adornments and embellishments.

Author – Dr Lopamudra Maitra Bajpai

Born and brought up in Kolkata, Lopamudra Maitra Bajpai now lives in Pune. A specialist in Ancient Indian History, Culture and Archaeology and cultural journalism, Lopamudra has a PhD in Ethnoarchaeology (a branch of archaeology that deals with living cultural practises as an enquiry tool to draw parallel with past human behaviour). Over the years Lopamudra has also specialised in Visual Anthropology and has worked extensively in the genre of intangible cultural heritage of India and South Asia and their reflections in visual- including media, art, architecture and folk culture and has authored 40 international publications on the subject- including her edited volumes at SAARC, Sri Lanka recently.

At present Lopamudra teaches at MIT World Peace University, Pune and a Research Grant Fellow of the Indian High Commission, Colombo (Sri Lanka). Until recently Lopamudra had been deputed as the Culture Specialist (Research) at the SAARC Cultural Centre- Colombo in Sri Lanka (2017) – where she edited publications- covering intangible cultural heritage of all the 8 SAARC Member States. You may access these issues- edited by herself at http://saarcculture.org/wp-content/uploads/2017/03/issue3.pdf (Issue 3- March, 2017- focus being- Theatre)

and http://saarcculture.org/wp-content/uploads/2017/10/issue4.pdf (Issue-4- September, 2017- focus being- Storytelling and Folklore)

Lopamudra has also recently been invited by Aleph publications to edit a book for them about the folktales of India. This will be a collection of folktales from all over India- including firsthand accounts as well.

Travel through Digapahandi – Ganjifa’s Last Bastion

In some corner of my heart, I have developed a special weakness for Khemundi, an erstwhile historic territory in South Odisha’s Ganjam and Gajapati Districts with Paralakhemundi as the capital. Here I was born close to 5 decades before in Chitrakara (Artisan) Street. Though I did not live here for longer stretch of times, I used to spend my childhood vacations twice a year spanning one and half months put together.  As I recall my childhood days, Kumara Purnima or Sarad Purnima used to be a festival immediately after Dusshera when elderly folks of the town would play day and night a kind of circular pictorial card game, called sāra locally. Later, I came to know it is called Ganjifa or Ganjapā, a game introduced from Persia through Mughals in the 16th century, but now lost everywhere except Paralakhmundi’s cousin town Badakhmundi or Digapahandi in South Odisha’s Ganjam District (25 km away) from Berhampur, the largest city of the region.

Asta Rangi Ganjapā Cards being played at Digapahandi 

In the last 500 years of Digapahandi’s history, the region was blessed with diverse cultural influences. The influence of the Jagannath Cult of Puri had been its founding stone in the 16th century when a branch of Gajapati clan started ruling the Khemundi territory from Paralakhemundi.

Also, Read Here:

Monks, Monasteries and Murals – A Photo Story on Puri’s Two Legendary Mathas

Travel tips:

Digapahandi is a small town/large village located at a distance of 25 km from Berhampur, also the nearest Rail Station. The town is well connected from Berhampur by a motor road (the national highway that connects Gopalpur Port with Raipur, the capital of Chhatisgarh). A drive through the highway and the surrounding countryside is very scenic with hills, paddy fields, water bodies and colourful villages. Beyond Digapahandi starts the Ghat Road of Eastern Ghats. Another 25 km drive from Digapahandi is Taptapani, a natural hot spring surrounded by dense forests, hills and Saora tribal villages. 

While at Digapahandi your resource person for Ganjifa cards is Shri Lakshmidhar Mahapatra (+91 9439135827).

Digapahandi does not have staying options. But if you are interested in forest and tribes, try for Panthanivas (Odisha Tourism) http://www.panthanivas.com/ at Taptapani. Otherwise, you can find plenty of options at Berhampur or Gopalpur-on-Sea. 

Lord Jagannath, Balabhadra and Goddess Subhadra in the Sanctum Sanctorium of the Jagannath Temple within the premise of the ruined palace

Sarathi

Lord Gopala and Goddess Radha

The last independent king of Odisha was Telenga Mukunda Deva (1559 – 68 CE). During his reign, Paralakhemundi was separated from the Old Khemundi state. Due to the fact that the Old Khemundi state was divided into three parts between the two sons of Swarnalinga Bhanu, the elder brother Ramachandra became the king of Badakhemundi and Sanakhemundi, while the younger son Subhalinga Bhanu became the king of Paralakhemundi State. So Badakhemundi and Sanakhemundi have always had a relationship with the Parala State, the place of my birth.   After the death of Mukunda Deva, the region was briefly occupied by the Qutbshahis of Golkonda who were defeated by Mughals subsequently. The region was also under the Maratha domain for sometime before it was subjugated to the rule of East India Company in the early 19th century.

The Ruined Palace and the Tank

Ganjifā cards game was perhaps introduced here through the Mughals as there is no tradition of playing Dasavatara here, which is popular in Puri. Here 8 colours (Atha Rangi) or 8 suits cards is traditionally played.

8 suits cards had been initiated by Emperor Akbar. These were Ghulam (servant), Taj (crown), Shamsher (sword), Asharfi (Gold Coin), Chang (harp), Barat (Document), Tanka (Silver Coin) and Gimah (merchandise). In Digapahandi packs, one finds close resemble with the Mughal names, such as Gulama (Mughal: Ghulam). Chenga (Mughal: Chang), Someswara (Mughal: Shamsher) and Barata (Mughal: Barat). The other four colours are Surjya (Sun), Chandra (moon), Phula (flower) and Kumancha. Besides Ganjapā, there are three other games played traditionally at Digapahandi, which are explained by the players in the film here.

Digapahandi was also a thriving centre of art and culture during its heydays. However, most of its tangible heritage is lost with the ravage of time.

In Ganjam, a type of murals incorporating ideas from South and Puri had developed known by Dakshini style of murals. In one of the recent stories, we had highlighted the murals of Biranchi Narayan Temple at Buguda. The erstwhile kings of Digapahandi also had commissioned similar work in the 19th century at its mutts and temples. One can still find their traces adorning the walls of its crumbling temples.

Also, Read Here:

Illustrating Ramayana Katha – Biranchi Narayan Temple at Buguda

The ruined Jagannath Temple and traces of murals that once covered its walls profusely

Another interesting aspect of Digapahandi’s cultural heritage is Osakothi murals that one finds on walls of temples and sacred spaces, freshly painted during Navaratra every year.  Osa meaning penance and kothi meaning sacred space, Osakothi represents the shrine where Osakothi rituals take place. The Osa fasting is carried out by women for the welfare and longevity of their husbands and families. The paintings are solely done by men. A folktale goes, a beautiful woman Shriya whose seven sons were killed by a jealous queen. However, she was blessed by goddess Mangala upon observing Osa for 12 years with seven more sons and everything that she desired. Since then it became a custom to observe Osa for prosperity and well being of a woman’s family.

In an Osakothi shrine what draws your attention is more than life-size images of Goddess Durga, Kali, Shiva, Chhinnamasta, Parvati, Saraswati, Ganga, Yamuna and a number of folk deities. One also finds scenes from Ramayana and Mahabharata as well as warriors, birds, animals and other floral designs. Be there between Dussehara and Kartik Purnima to witness Osakothi rituals, where you can find elements of tribal, folk and Hindu beliefs and practices.

Also, Read Here:

Osakothi Rituals in Ganjam – An Anthropological Journey

Digapahandi and its rural heartland are frozen in time. Little wonders it is also the gateway to South Odisha’s tribal territory, especially of Saoras and Kondhs. You discover miles and miles of paddy fields that appear in monsoon and during Durga Puja as fields of emerald. At distance, there are hills of Eastern Ghats.

Though its immediate surroundings do not have a significant tribal population, there are a few hamlets here and there of Sabara tribe, once hunter gathers into subsistence farmers. They also entertain you through their soulful devotional music using an ethnic musical instrument called kenadarā.

Author – Jitu Mishra

He can be contacted at jitumisra@gmail.com

Lanka Dahana Festival of Sonepur – A Photo Story

Sonepur also is known as Subarnapur has been the cultural capital of West-Central Odisha. Located on the confluence of Tel and Mahanadi River archaeologists have speculated that it was Ramayana’s Lanka. Archaeological excavations at Manmunda near Sonepur have revealed cultural deposits that can be traced back to the time of Emperor Ashoka and even earlier.

The tradition of its being Lanka is also richly embedded in the folklore of the region. On the dark night of Ashwin (September-October) the locals of the region celebrate the religious festival of Saptapuri Amas when the ploughing cattle are worshipped. On this occasion terracotta images of Adimata guarded by two bulls are pulled by children of the town in the streets.

Also, Read Here:

Splendours of Sonepur – In the land of Ramayana’s Lanka

Travel Tips

Sonepur is located in Western Odisha at a distance of 278 km from Bhubaneswar by road. It is a medium-sized town and the district headquarter of Subarnapur District. While in the town a traveller can also explore its other heritage temples, such as Budhi Samalai Temple, Bhagavati Temple, Dadhibabana Temple, Dasamati Temple and Jagannath Temple. Sonepur is also a major handloom cluster. Bomkai or Sonepuri Saris are woven by Bhullia community in villages around Sonepur.

Sonepur does not have many staying options. However, nearby towns of Balangir and Bargarh, both connected by rail have a number of budget hotels at affordable prices.

To learn and shop terracotta objects do contact

Mukunda Rana,

Village – Kuibahal 

District Subaranapur

Phone – +91 9668209573 

Also, Read Here:

Gifts of Mother Earth– The Story of a Kosali Potter

On this occasion, the village boys obtain wheeled terracotta figures of Hanuman from the potters to place them on flat bamboo platforms so that the terracotta wheels go through and touch the ground. Tying a rope to the device the boys lead it through the streets. The elongated raised tail of Hanuman figure is covered with oil-drenched cow dung which is kept ignited. The festival is locally known Lanka Dahana. The Hanuman figures are partly handmade and partly wheel made and appears in either black or red colour in different sizes. Once the festival is over the figures are either consigned to dung heap or left to disintegrate in ponds.

Also, Read Here:

Terracotta Artist Manbodh Rana – An Inspiring Story

Life in Terracotta – Tile Craft of Barpali

 

Lanka Dahana Hanuman exhibit at ODIART Purvasha Museum, Chilika

 

Lanka Dahana Hanuman exhibit at Kalabhoomi Museum, Bhubaneswar

 

 Lanka Dahana Festival at Sonepur

Terracotta Hunuman Idols are being made for the festival

 

Boys participating in the festival

Author: Jitu Mishra

He can be contacted at jitumisra@gmail.com

Kaman Pandigai

Lovely blossoming mango flowers are his lovely arrows,

                               Kinsuka is the bow and black bees its string.

                               Bright moon is his imperial canopy,

                               And the spring breeze is mighty elephant.

                               Cuckoos sing like minstrels,

                               Behold ! He has conquered the worlds.

                               May that victorious Kama shower benefaction on all

– Kalidasa in Ritusamhara

Vasant or the season spring has been the muse of many poets and is considered as the king of seasons; Rituraj. For when else is the air redolent of the fragrance of flowers, for when else is the breeze so cool, for when else does everything seem so pleasant.

Vasant in Indian epics has been depicted as one of accompanying mates of Kama Dev, the God of love who with his bow of sugarcane and string of bees aims sweet arrows of Ashoka flowers, mango flowers and blue lotus towards unsuspecting mortals inflicting them with wounds of deep passion. Therefore the onset of Vasant or spring is celebrated all across the country.

In South India and Tamil Nadu in particular, Vasant is identified with the legend of Kama Dahanam and celebrated as Kaman Pandigai (The Festival of Kama Deva). The legend has been described in various Puranas and also by Kalidas in Kumarasambhava. There are two important places that are identified with this legend. One is Manmatha Tank near Virupaksha Temple of Hampi in Karnataka and the other is Sri Veeratteswarar Temple in Korukkai city of Nagapattinam district of Tamil Nadu

Manmatha Tank of Virupaksha Temple in Hampi. Picture credit: Jitu Mishra

Legend of Kama Dahanam

This episode is intertwined with Girija Kalyana, the marriage of Shiva and Parvati / Girija. The story goes, after the death of Sati, Shiva decides to forsake everything and become a sanyasi. He goes to a desolate forest near a cremation ground and goes deep into meditation. The heat from his meditation is disturbing the Devas but it is a minor irritant in front of the problem named Trakasura whose death will come only at the hands of the son of Shiva. Meanwhile, Sati is reborn as Parvati, the daughter of the King of mountains, Himavan. Aware of her destiny, she begins her penance to have Shiva as her husband from a tender age.

Indra, worried of the fate of Devalok, approaches Brahma who placates him by informing him of Parvati and her penance and asks him to arrange for Parvati to wait on Shiva whilst he is meditating. Days pass but Shiva does not even notice Parvati lest falling in love with her. The impatient Indra summons Kama Dev, the Lord of love to induce lust in Shiva.

Kama though fearful of Shiva’s angst but knowing that his act will benefit the world calls on Vasant and stocks up on his flower tipped arrows and leaves to face Shiva. On reaching, Vasant turns the desolate forest into a grove with sweet smelling flowers and singing birds. Parvati watches in awe while Kama aims his arrow and shoots inducing lust but Shiva being the ultimate Yogi controls his lust that turns into rage. He opens his third eye and reduces Kama to ashes.

The place from where Kama aims his arrow is the Veeratteswarar Temple of Korukkai and here Shiva is worshipped as Kama Dahana Moorthy. It is one among the Ashta Veerattanam, eight places where Shiva is supposed to have exhibited his valour.

Kama also known as Manmatha shooting a love arrow at Shiva. This is a part of the panel depicting Girija Kalayana episode on the ceiling of the Virupaksha Temple in Hampi. The murals are one of the finest examples of Vijayanagar paintings. Picture credit: Jitu Mishra

According to the Sthala Purana of Virupaksha Temple, this tank is exactly where Manmatha fell after being reduced to ashes. T

On seeing the image of Sati in Parvati, Shiva’s joy knows no bounds and he immediately decides to marry her. Meanwhile, Rati on being informed of her husband’s fate come running to Shiva and pleads him to restore Kama as he was only doing his duty. Shiva relents and says – Kama will be restored on the day he marries Parvati but only in spirit. He will remain ananga (without physical form) to all except Rati. Only she will be able to see him in his physical form while he will remain invisible to others. Thus, the God of love works unseen and unheard!

The underlying philosophy behind resurrecting Kama Dev in spirit form is to assert that love in its truest form goes beyond the confines of the physical self and manifests in spirit. The day Shiva burnt Manmatha was the full moon day of Phalgun, therefore the holi bonfire represents the burning of pride and desires.

Kaman Pandigai

The advent of Vasant in Tamil Nadu begins with Pongal festivities where sugarcane plays an important part symbolizing bountiful produce and also Kama deva, the God of Love. The season spans the 3 months of Thai, Maasi and Panguni of Tamil calendar which corresponds to Makara, Magh and Phalgun months of Hindu calendar. Vasanthotsava or Manmadotsava consists of celebrations on pournami of all the three months

Sri Andal, one of the Azhwar saints of Vaishnava tradition, after a month long fast to be one with her Lord Ranganatha, decides to worship Manmatha throughout the month of Thai. In the verses of Nachiyar Thiru Mozhi, she talks of how to worship the god of love so that he helps her in uniting with her Lord. She can be called Meera Bai of South!

Given below are verses with translation taken from the book ‘Nalayira Divya Prabandam’ Four Thousand Hymns of Twelve Azhwars and commentary by Dr S Jagathratchagan. English rendered from ‘The Sacred Book’ by Sri Rama Bharati. Pictures courtesy: Balaji Srinivasan

Sri Andal in one of the verses offers Manmatha, Surava Kodi (Makara Dhwaja), Thuraga (horses), chauri bearers and sugarcane bow in order to please him. The above sketch is an artists rendition of the verse. The sun above is the symbol of Mkarasankranti, first day of the month of Thai. Sketch artist: Balaji Srinivasan

The very famous Thai Pusam festival commemorating the legend of Parvathi giving ‘Vel’ (spear) to Muruga is also celebrated during the Tamil month of Thai. It is celebrated in all countries where Tamil diaspora resides in large numbers and in some countries it is a national holiday!

An artists rendition of Kama Dahanam episode. Sketch artist: Balaji Srinivasan

But the festival that generally corresponds to Holi in the Tamil Calendar is Maasi Magam. The pournami of the month of Maasi when the star of Maagam is at the highest point in the sky. On this night Kaman Koothu is performed.

Tamil Nadu has various folk theatre practices for different occasions and it is called Koothu. Kaman Koothu or Kaman Nadagam is performed to commemorate the event of Kama Dahanam and narrates his story of supreme sacrifice for the greater good of the world. It begins with the marriage of Rati and Manmatha.

A mound is created and a pole in installed which is decorated with sugarcane, leaves and flowers to symbolize Manmatha. He is invoked in an abstract form.

 A priest performs the wedding between the pictures of Rathi and Manmatha. Here children are seen playing the protaganists

After the marriage, the couple goes around the village aiming arrows at each other which are mostly made from Oleander stems (Arali Poo Chedi in Tamil). An accompanying part sings ballads that are based on a dialogue between Rati and Manmatha. One interesting thing to note here is though there are references to Kaman Koothu in Sangam era epic, Silappadikaram, the ballads sung presently are called Lavani. An influence of the rule of Marathas in Thanjavur most likely.

After many exchanges between the spouses, Manmatha aims his arrow at Shiva and the enraged God burns him. Rathi expresses her pain through laments (sung by the accompanying party) and pleads Shiva to bring back her husband or kill her too so that she can join him in death. Finally Shiva marries Parvathi and restores Kama in his spirit form.

This Koothu was performed for 3 nights in succession earlier but now it is performed on one night only.

Kaman Koothu renders poignancy to the celebrations where people see their favourite God being burnt. Knowing that he will be resurrected soon, it renders a solemn air to the  festival that is otherwise marked by much fanfare in other parts of the country. Same country, same season, same festival yet a different legend and way of celebration!

The celebrations continue with Panguni Uthiram. Panguni is the last month of Tamil year and Uthiram is the star which is at its highest point in the sky during the pournami. Panguni Uthiram is the day when Shiva got married to Parvati and Manmatha was resurrected. This day of love and romance is celebrated throughout Tamil Nadu and adjacent states with the wedding of deities.

This is followed by a float festival where Utsava Moorthis (idols used during processions) are decked up and taken to the temple tank for a joyride. These celebrations are uniform whether it is a Vaishnava temple or a Shaivite or a Muruga temple

Thus, love in its various manifestations is celebrated in the form of Kama Dev throughout the three months of spring when the land is at its fragrant and colourful best!

The cover picture is the depiction of Vasanthotsav as seen on the ceiling of Varadaraja Perumal Temple, Kanchipuram. Picture courtesy: Balaji Srinivasan

All the pictures of Kaman Koothu used in the post are from the performance staged at Chidambaram in Tamil Nadu. The pictures have been clicked by: Sudarsanrao Bhoware

 

Author – Zehra Chhapiwala with inputs from Mr. Balaji Srinivasan

Zehra Chhapiwala can be contacted at zchhapiwala@gmail.com and Balaji Srinivasan can be contacted at sthanuhu@gmail.com

 

 

 

Shigmotsav of Goa – Celebrating Life and Land

As the winter gets ready to make an exit from the land of Govapuri, when the fields are ready with the season’s harvest, the hard working peasant community gears up for the indigenous Shigmo festival. The festival that can be called as an exclusive legacy of Goa and its neighboring areas is the festival that celebrates the joy of harvest in various ways. 

Every village in Goa has its own way of celebrating the onset of spring. While in some parts of Goa, Shigmo begins on ninth day of Falgun month, in some parts it begins after the Holi or Gulalutsav. 

Some of the common customs associated with Shigmo are Maand davrap (literally means keeping/ initiating the Maand). Maand is the traditional space where the villagers gather and initiate the festival. It begins with invocation to the local deities. A group of men invoke the village deity and beating of dhol and taso, the indigenous musical instruments is initiated at the same time. The group then goes around the houses of the village as they sing and dance. This group and its processional marching dance is known as Romata Mell. Various households offer them coconuts, rice and other locally grown products. Their songs contain the social, political and satirical nuances of Goan rural life.

Invoking the village deity at the Maand. Picture credit – Vinayak Khedekar

Maand at Barcem village of Canacona taluka. Picture credit – Soiru Velip

This ceremonial dance-cum-procession is known as Romat in the north Goa and Mell in the central Goa. Devotees dance and march with huge banners, flags, ceremonial umbrellas, festooned sticks and batons towards the temple of the presiding deity or to the house of the landlord to the reverberating beats of Dhol, Taso and Cymbals.

Below are a few glimpses of festooned sticks and batons carried during the Romata Mell and a video of the dance as seen during the Shigmo parade in Ponda

 

Pictures and video credit – Zehra Chhapiwala

As mentioned earlier, every village has its own custom associated with this festival. Many places have the tradition of Gade. It literally means players. There are men assigned in every household who are supposed to be Gade during Shigmo. They get into some kind of trance and go to the crematorium to bring the remnants of corpses. This is supposed to be a prayer to the Goddess of crematorium, locally called as Masundi Devata. This custom takes places during the day time in some villages like Bokadbag from Ponda taluka, while Cudnem and Sal villages from Bicholim taluka have this custom at night. The custom has its own rules which are strictly followed. Nobody is supposed to click these events, neither anyone is allowed to switch on the lights. In some places the Gade gets annoyed if anyone wears or has on his / her person leather products.

Other than this mysterious experience, Shigmo is the time to witness most of the folk dances of Goa. Goff, Morulo, Toniya Mell, Ghodemodni etc are some of the dances performed by males in various places of Goa during Shigmo. Goff is a very difficult yet a very colourful and beautiful dance form. It involves tying and untying of knots of clothes tied on wood as the dancers dance. Morulo is performed in Sarvan village of Bicholim taluka. It is a dance form that reflects the movements of peacock. Toniya Mell is similar to dandiya but is performed by only males. 

Villagers doing Toniya Mell. Picture credit – Vinayak Khedekar

A glimpse of the Ghodemodini dance as seen in Shigmo Parade in Ponda.

Video credit – Zehra Chhapiwala

Ghodemodni is performed in Bicholim and Sattari taluka. It is a warrior dance form where males dress up as war going soldiers and dance by wearing the wooden horses. The dance form is extremely vigorous and energetic in its nature.  

Ghodemodini dance performers. Picture credit – Vinayak Khedekar

Females have minimum involvement in the festival. Their role is restricted to honoring and offering the gifts to the romata mells. Below is a traditional dance performed by village women as seen in the Shigmo Parade in Ponda. 

Video credit – Zehra Chhapiwala

Folk theatre is also a significant part of Shigmo celebrations in Goa. In various places, people dress up like mythical characters and join the romata mells. In some villages modern plays are also performed in recent times. Sattari taluka has a unique tradition of performing Ranmaalem during Shigmo. It is a folk theatre form which begins at night and ends with the breaking of dawn. Human curtain is a special feature of this form. The human curtain acts like chorus. The actors perform two kinds of characters called Songa and Dhonga. Songa portray the mythological characters and Dhonga reflect the characters from regular life.

Other rituals practiced in Sattari during Shigmo include Chorotsav, Mhaasti and Karvalyo. Chorotsav represents the legend of villagers who were killed while returning from cities because people thought they were thieves. The villagers believe that it was the mistake of their ancestors and thus to remember them they perform the ritual which includes burying of a few villagers in the ground after ritual worship mostly close to the temple ground. A few are buried while a few lie around acting dead. The people who play this part are carefully selected and trained prior to the ritual. Though this is not a traditional part of Shigmo, its occurrence co-inciding the Shigmo has made it an integral part of Shigmo festivities.

getting buried during Chorotsav. Picture credit – Soniya Sabnis

Ritual of Mhaasti involves worship of Mahasati. Two young boys dress up like women and portray the wives of the people who were killed mistakenly as thieves. The chorus sings the sad story of how they were killed during the Mhaasti ritual. This ritual too goes on till the dawn. At the end of the ritual, meal is served to villagers which is called as Baravya jevan, which means the food served on the twelfth day rituals of dead.

Mhasti ritual. Picture credit – author Tanvi Bambolka

Karvalyo, traditionally was celebrated to honour Sati and though the practice no more exists the ritual does. It has metamorphosed into a celebration of womanhood. It is celebrated mostly on the third or fourth day of Holi Pournima. During the 16th century, Afonso de Albuquerque Constantino de Braganza was against the evil practice of sati, even though unofficially sati continued to be prevalent in Goa.

In the villages of Sattari and Bicholim, people welcome the karvalyo by first washing their feet. The term karvalyo refers to two boys aged between 10 and 12 years, dressed in sarees and ornaments with heir heads decorated with garlands made from crossandra flowers. The two youngsters are dressed in the temple, made to sit on the shoulders of two persons and are then taken to various places as part of a procession. The procession is accompanied by a group of folk artists that continuously beat the dhol, taso and kasale and sings folksongs called sakarat’. The two karvalyo represent the Sateri and Kelbai goddesses. People believe that their visit brings good fortune.

 Thus, Shigmo consists of various rituals, customs and performances which reflect the beliefs, legends and lifestyle of agrarian communities of Goa. It is a festival of simple people believing in natural and supernatural elements. It also reflects how rural Goans revere their past and find ways of celebrating it. The fact that these rituals and customs are still practiced in today’s globalized and modernized world, show the affinity that villagers share with their traditions.

 In the main cities and town of Goa, the Shigmo parade is held in which village committees participate and showcase their regional dances. It is a showpiece event like Carnival. The urban population and tourists are often under the wrong impression that Shigmo is what is this parade with floats and various competitions. But it is only a hybridized form of the authentic festival. The actual Shigmo and various customs related to it can be witnessed only in the villages of Goa where the real Goa lives.

Author – Tanvi Kamat Bambolkar

She can be reached at tbambolkar@gmail.com

Dola Jatra – The other Rath Yatra

When world was water, you became a tireless vessel of the Vedas.

You, in Pisces form, Keshava: conqueror of the world, Hari!

 

When this heavy earth you carried on your callused tortoise back, how venerable you were, Keshava: conqueror of the world, Hari!

 

A blemish on the hare-marked moon, the earth became as on your tusk: you held us when a boar, Keshava: conqueror of the world, Hari!

 

With nail on lotus hand you cut the bee-like Hiranyakashipu.

What a lion-man, Keshava: conqueror of the world, Hari!

 

A marvellous dwarf, Keshava, you outwitted Bali: from your toenail water poured to bless the people: conqueror of the world, Hari!

 

Bhrigu’s lord, you made in blood of Kshatriyas the people bathe.

As evil left, the heat declined: conqueror of the world, Hari!

 

In Ráma’s body, you have hurled around you heads of Rávana, a blessing of the war, Keshava: conqueror of the world, Hari!

 

You carried beauty as a cloud and shone as wielder of the plough that struck with fear the Yamuná: conqueror of the world, Hari!

 

Kind as Buddha, you refused to take the sacrificial life of animals despite our customs: conqueror of the world, Hari!

 

In Kalki’s body you became a sword to scourge the foreign people, comet-like in fire, Keshava: conqueror of the world, Hari!

 

You, in a decay form, Keshava, are the comfort of our life. Hear the poet Jayadeva, conqueror of the world, Hari!

Jayadeva’s Gita Govinda

Sometime in mid 17^th century CE, a group of natives from a small village called Harirajpur (located on the outskirts of modern Bhubaneswar) had gone to Puri to witness the annual Rath Yatra of Lord Jagannath.  It was love at first sight for them. The spectacular scenes of Lord’s procession on the Grand Road of Puri (called Bada Danda in Odia) inspired them to conceptualize a similar event in their village. Upon returning to Harirajpur the village elders sat together to brainstorm which led to the birth of an idea widely celebrated as Dola Jatra, a festival that is celebrated after Holi in March every year to welcome Basanta, or the spring.

In Odisha, the temple deities are not passive and socialise just as we do. The conception of Dola Jatra revolved around this very idea of a get-together of temple deities in an open space called Melana Padia. This also allowed devotees to assemble in large numbers for darshan at one place. They need not go to the various temples located in different villages and towns.

Also, Read Here:

Sahi Jatra – Puri’s Holy Carnival

Travel Tips

Harirajpur, a major venue for Dola Jatra is located on the outskirts of Bhubaneswar near Jatni or Khorda Road Railway Station. But it is not the only place. There are other villages too nearby Harirajpur, such as Bacchara near NISER and IIT Bhubaneswar where Dola Jatra is celebrated with great pomp and festivities but the days may differ. Check with the locals before the melana starts.

While at Harirajpur also make a trip to Pipli, the main production centre of Chandua or Applique craft. In fact, the chanduas used for the vimanas come from Pipli.

Also, Read Here:

Appliqué – Celebrating Colours of Odisha

Harirajpur does not have staying options. However, one can make Bhubaneswar (20 km) as the base for exploring Harirajpur and Pipli along with other villages and the city itself which is widely celebrated as Ekamra Kshetra or the City of Temples. Bhubaneswar is well connected with rest of India by road, rail and air. The city is also a shopper’s delight and heaven for seafood and sweet rasagolla lovers. For an authentic Odia, thali try at Odisha Hotel (branches at Saheed Nagar and near Infocity) and the upmarket Kanika Restaurant of Mayfair Lagoon.

 A delicious Odia Thali at Kanika Restaurant of Mayfair Lagoon  

While conceiving Dola Jatra at Harirajpur, the festival of Dola Govinda Utsava of Jagannath Temple, Puri was kept in mind. Jagannath is worshipped as Dola Govinda during Dola Purnima. Both Jagannath and Goddess Bhudevi are placed on the Dola Bedi.

Celebrated on the full day of Phalguna, the temple sevayatas and devotees apply abhira (natural dry colours) to them. Spring is welcomed through this festival and celebrated with pomp and gaiety.  It is also referred to as Bastantautsava or the spring festival.

Dola Jatra is also celebrated as a victory of good over evil through the performance of Prahlada Nataka (a form of folk theatre), especially in South Odisha.

Prahlada Nataka or the Play of Prahlada is a theatrical rendition demonstrating the faith of child prince Prahlada, who worships Vishnu despite the evil machinations of his father. The play is thought to have been adopted from a classical text popularized by Raja Ramakrishna Deva Chotarai, a feudal ruler of Ganjam in the mid 19^th century. A special mask endowed with great power is worn by the actor who plays Narasimha, the man-lion incarnation of Lord Vishnu, who ultimately destroys the wicked king.

Celebration of Prahlada Nataka in Odisha

Prahlada Nataka is on the verge of disappearing like many other folk art forms of the country. Most of the performers have shifted to other occupations with changing time. However, even of what is left, there is an inclusion of many modern elements, such as electronic lights and digital sound. Traditionally, the troops would perform on a bleacher-like platform perched in an open field or in a temple compound. The performance included dialogues and songs accompanied by the music of mridangam, drums, harmonium, wind instruments (mukta veena), cymbals and conch shells. In the climax, the actor playing the character of Prahlada becomes possessed. He must be forcibly restrained by attendants from inflicting harm on the person of the actor playing the king. Symbolically, when the king is played by Vishnu, the order is restored in the universe.

Before the congregation, the temple deities are taken around to houses in the village, where uncooked bhoga (food offerings) is offered to them. The idols are carried on decorated palanquins, called vimana and the procession is accompanied by singers and musicians, called ghantuas in Odia. The daily round of procession continues for four days and is known as chacheery.

On the fifth day, the idols from village temples of a locality or cluster assemble at melana padia. The entire atmosphere is reverberating with devotional music performed by ghantuas, bhajans, and ghoda nacha (dummy horse dance). In ghoda nacha, a dummy horse made from wood, beautifully painted and surrounded by colourful cloths is used as a prop. People from nearby villages gather in large numbers to play abhira with their gods. There is a strong belief that the natural colours used in abhira have medicinal properties that heal skin diseases.

Preparation in Melana Padia

Paschimasambhu Somnath Temple at Harirajpur is not an architectural wonder, but its religious significance cannot be under estimated. The temple is dedicated to Shiva and while talking to its trustee and head priest Shri Lakshmidhara Mahapatra, I discovered that the idea behind Dola Jatra is not just confined to the celebration of the swing of Radha Krishna but it has something to do with the syncretic cult of Hari-Hara or Vishnu and Shiva which has been the dominating aspect of Odia religious life for last 1000 years.

Mural in Temple

Paschima Sambhu Temple

The Temple Pond

A Shrine in Harirajpur Melana Padia

Cleaning of Deities

Cleaning of Deities

Melana Padia

Melana Padia

Melana Padia

Ghoda Nacha

Ghoda Nacha

Ghantuas

Gods are Taken to the Vimana

Gods are Taken to the Vimana

Gods are Taken into the Vimana

Paschima Sambhu Temple Complex – Tulsi Vrindavati

On the day of the Melana, I was in the temple to witness and document the entire process – from the preparation of Vimana and cleaning of idols till the gods being taken to Melana Padia in the wee hours. Here is the film that shows the sequence.