Orissa-Tourism.com in your language:

Fine Arts || Handicrafts & Handlooms

Odissi Music | Odissi Dance | Animal Mask | Baunsa Rani | Chaiti Ghoda | Changu Nata
Chhau | Dalkhai | Danda Nata | Dasakathia | Dhanu Jatra | Ghanta Patua | Ghoomra
Jhoomar | Karma | Kathinacha | Kedu | Kela Keluni | Krishna Leela | Medha Nacha
Naga Dance | Paika Nrutya | Pala | Patua Jatra | Puppet Dance
Ram Leela | Ranappa | Samprada

CHHAU
Orissa has earned name and fame in the international arena for its famous martial Chhau dance. This variety of dance is prevalent in the princely states of Mayurbhanja, Nilagiri and Sareikala (now in Chattisgarh). This dance was once performed exclusively by men. The origin of Chhau dance is shrouded in obscurity and no historical document in this context has yet been recovered. Etymologically, Chhau is derived from the Sanskrit word chhaya which means a mask but some scholars are of opinion that Chhau is an independent colloquial Odissi word, meaning to attack or hunt stealthly. It is evidently a war dance. The steps and movements, the attack and defence, the performers, each holding a sword and shield, dividing themselves into two parties, the drums and their mode of play, the huge kettle drum known as 'Dhumusa' a must in the orchestra, its reverberating powerful beats energizing the dancers, all signify that Chhau dance is unmistakably originated from martial practices.

The rituals connected with Chhau spread throughout the year beginning from Dasahara. The initiation for the newly recruits by putting a red-thread on the wrist starts from this day. The actual training of the Chhau starts from the day of Sri Panchami after paying homage to Saraswati, the goddess of learning. A number of rituals are performed primarily to call down the divine blessing. The thirteen Bhoktas (devotees) held from different castes perform all the connected rituals. The actual performance takes place on the occasion of Chaitra Parva or Chhau Festival. All these rituals have a deep symbolic meaning according to the Hindu philosophy. From the various rituals interlaced together, it is apparent that Chhau as an institution was meant to achieve religious, social, and cultural integration. Shaivites, persons adhering so Shakt-cult, Sun worshippers, Vaishnavites, all are integrated together admirably in a few festive atmosphere.

This dance, heroic and histrionic in character, is a way of life with the people living in the princely states of Mayurbhanja and Sareikala. The royal patronage in development of this art is mainly responsible. The kings of these states with artistic learnings had participated in dance performance. Chhau in general even today serves three fold purpose: (1) It perpetuates on art, (2) Maintains the age-old martial customs, and (3) Provides on opportunity for the integration of tribal culture with the culture of the sophisticated society.

The Chhau dance was too hard to include women to play roles, hence women roles are played by male dancers who are extremely masculine in appearance. The use of mask by every character is the speciality of Sareikala Chhau whereas Mayurbhanja Chhau is totally devoid of it. The Sareikala Chhau for stylisation appears to be less virile and conditioned by mask. On the other hand, the Mayurbhanja school of Chhau retains extremely virility of the original movement with martial trend.

It is a type of dance which takes utmost care in expressing emotion and feeling - anger, fear, laughter, wonder or sorrow. The rhythmic variations of this stances even in the same performance, the linear relating to the intricate foot work, and the complicated gamut of inspired stances are vital, charming, subtle, full of sinuous grace.

Chhau dance of Mayurbhanj:
Mayurbhanj, one of thirty districts of modern Orissa Province, was the biggest among the eighteen erstwhile Princely states annexed to the Indian union in 1948. Chhau Dance flourished under the royal patronage and fostering care of the Maharajahs or the rulers of Mayurbhanj for over a century. Evolved out of the extent war-dances of the area the dance has an unique character of masculine vitality. Its annual ceremonial presentation forms an essential feature of the tribal festival Chaitra Parva held for three consecutive nights. The dancers were divided into competing groups each trying to excel the other by virtue of their neat performance. Chhau Dance has a character of its own. In the process of its evolution and growth it has also freely imbibed from the prevalent folk and tribal dances and makes a harmonious blending of classical, traditional, folk and tribal traditions. Unlike the Sareikela and Purulia styles Mayurbhanja Chhau has dispensed with the mask. This has greatly influenced the style and the technique of the dance. In comparison to the other masked -styles it has a wide range of intricate movements with acrobatic stunts and beautiful choreographic patterns. Being without masks it has adopted a style which retains the virility of the original movements of the martial craft.

Repertory:
Mayurbhanj Chhau has a vast repertory of over hundred dances. Excepting the earlier dances with heroic characters, thematically it draws substantially from the Ramayana and Mahabharat. Many themes are also drawn from the Krishna legend. In the earlier stage, the Chhau dance had a limited items, namely, the Rookmar (Matcha or the dance of mockfighting). In course of time things of all varieties with special emphasis on the heroic ones were incorporated. The dance is more famous for its group numbers sometimes having more than twenty characters at a time. Most of the themes of Puranic episodes like Mayashavari, Kirata Arjuna, Saptarathi, Garuda Bahan, Dwaparleela, Vastra Haran, Bhasmasura etc. The duet dances are but a few. Most famous of them are Geeta and Rangapanda. The characters of the dances are Krishna, Siva (Mahadev), Rama, Parsurama, Hanuman, Shavara, Dandi, Jambaban (Mythological bear hero of Ramayan), Indrajeet etc. The themes combining elements of tremendous kinetic fury and very fast foot work with mellowed elegance and lyricism become visual poetry of strong passions gestured in a style that is free, intense, affluent, dynamic yet melodious.

Moods and modes:
Keeping with the martial tradition. Chhau Dance in its rudimentary form had only one dominating mood Tandava Bhaba or heroism. The solo dancers were simply displaying stylised vigorous movements with sword and shield in hands. The dances were Sandhamar (strong man), Dushman Pachhad (chasing the foe), Pakalanka (red chilly), Bajra Maruni (thunder bolt), Singha (to puzzle the enemy, obviously with martial display) etc. When themes were introduced and group items were composed the dance has to widen its moods and modes, corresponding to the demand of the characters. More the need was due to the introducing of female characters. So, at this stage Chhau had to evolve three modes of rendering of movements to build up the general aesthetic climate. The first, Hatiardhara, meaning holding of an arm for martial and masculine characters, Kalibhanga, meaning the pliant end of a spring for more delicate lyrical and non-martial characters especially females and Kalikata, meaning to cut off the tender spring with a weapon is a judicious mixture of the other two for both male and female characters.

Technique:
When a dance develops on more prominent lines and more and more techniques are evolved, some kind of codification by naming them becomes necessary, so that it does deviate from the set pattern. Chhau Dance followed the same process and evolved its own code of movements still handed down by oral tradition.

The basic in Chhau is called Chhuk where legs bent on the knees form a quadrangle in a straight line. The right hand is held aloft and the left is held below. The hands suggest holding of a sword and a shield. In the Chhau dance, movement of hands are little bit restricted for holding weapons leaving the feet and body predominantly flexible. When actually held, the dance is called Dharan. Every unit of dance culminates in Dharan with jerk of the shoulders. The eight basic gaits are called Topka and the twenty eight dance-movements are called Ufli. Each of the movements has a suggestive name.

Besides these basic movements there are many peculiar movements known as Hana (to cut with force), Matha (thrusting movement), Habsa (crushing movements), Chmka (jerky movements), Ghoora (whirling movement) etc. 

With permutation and combination of all these movements a Bhangi or an unit of dance is born and with a series of such woven Bhangis a full dance is created. Therefore, all the dances of this style are well-knit with dramatically structured movements and with these sharp movements of the dancers the narrative grows and there is a sense of dramatic progression.

Presentation:
When Chhau was exclusively under the royal patronage, it was being presented to the audience only once in a year for three consecutive nights during the last three days of the Hindu new year coming in mid-April. But, the undeveloped village groups used to perform during Dusserah festival which had the religious sanction. As the dance is full of acrobatic stunts in which the dancers are required to balance their feet, the dance is held in the open ground specially prepared with soft earth and sand.

A performance of Chhau Dance begins with a musical prelude with intense drumming known as Ranga Vadya. This short piece of vigorous music charges the atmosphere and the dancers get inspired.

Like the classical dances of India, Chhau Dance has three stages of development, one in slow tempo - Chali, second in middle tempo - Nata, and the third in fast tempo - Natki which brings about the climex. In Chali the dancer enters the stage with majestic gaits posing dramatically in the beats of the drums. In Nata, the mood of the character is developed with suggestive as well as expressive movements. The climax 'Natki' is characterised by fast movements and intricate choreographic patterns.

Orchestra:
The orchestra is generally provided by the traditional drummers and musicians of 'Dom' community whose profession is also to provide music during marriage and other religious celebrations. Following are the instruments they play:
1. Dhol - A barrel-shaped drum played with the palm and fingers of the left hand and a blunt stick in the right.
2. Chadchadi or Kadra - A short cylindrical drum played with two lean sticks to produce vibrating sound.
3. Dhumsa - A huge bowl-shaped kettle-drum of iron case covered with buffalo skin played with two heavy and blunt sticks. It produces reverbating sound.
4. Mahuri - A local variety of wind-instrument in which all the tunes are played out.

While the music is provided by a number of Mahurias playing in unison, the Dholias provide the fairly complicated rhythmic designs with great enthusiasm. Thus the plaintive cry of the Mahuri and the sound of various drums combine to produce the loud orchestra of Chhau.

Chhau Dance of Dhenkanal:
The Chhau Dance of Dhenkanal has till today retains traces of its glory and sophistication. Though it is of the same mask-less pattern as that of the present Chhau Dance of Mayurbhanj, it has retained its distinct identifications and peculiarities in its stylization, choreography and its repertoire.

While the Princes and the Royal families are the participants in the Sareikela Chhau and the commoners in the Mayurbhanj Chhau teams, it has remained with the traditional Paikas of Dhenkanal, whose ancestors themselves formed the infantry-men of the Dhenkanal Kings, before the merger of the States.

The martial traditions of the Paikas of Dhenkanal occupy a very important place in the history of Orissa. The detailed descriptions of the real battles they fought, which took place between the Maratha army of Rajaram and the army of Dhenkanal's King Bira Trilochana Mahindra Bahadur in 1779 and how the Maratha army was defeated have been recorded in the famous book ``Samara Taranga" by the great poet Brajanath Bada Jena (1730-1795) of Dhenkanal. Amongst the Oriya literature on war, this book therefore stands unique and the foremost.

Culture flourished with patronisation of the state and no wonder the militant Paikas of Dhenkanal nourished a beautiful institution of Chhau Dance. 

Before the year 1890, amongst the numerous Paika villages of Dhenkanal, two villages namely Balarampur and Chandra Sekhar Prasad had become very prominent for their Chhau Dances in their Paika Akhadas. By then Chhau Dance was also very famous at Bonai state from which royalty, the mother of Raja Sura Pratap of Dhenkanal hailed. It is therefore assumed that there was some exchange of culture between Bonai and Dhenkanal. It was during the rule of Maharaja Sura Pratap Mahindra Bahadur, that these institutions got the real boost they deserved. The King, in order to encourage the art and the artists gave monetary grants for purchase of costumes and musical instruments and conferred special titles on the Gurus and the artists. 

In 1902, Raja Sura Pratap Mahindra Bahadur married in the royal family of Sareikela and to the Chhau Dance of Dhenkanal, it was an added advantage because Sareikela was also then very famous for its masked Chhau Dance.

Though Chhau Dance of Dhenkanal never had the masks, nor adopted the pattern, it enriched its repertoire by adding other technicalities such as music & costuming. Chhau Dance had become an item of "Must" in all state functions. Regular performances were conducted at the palace of Dhenkanal during the month of Chaitra after the Dola Jatra in the presence of the royal gathering and V.l.Ps. Ustad Bhagawat Sardar Singh of Jhumpudia village earned a reputation as a great Guru of Chhau Dance.

In 1916, a Chhau Dance competition was held at Cuttack in aid of War-fund where Chhau teams of both Mayurbhanj and Dhenkanal had participated. The impresario of the Dhenkanal Chhau was Chandrasekhar Pani and it is reported that the Dhenkanal Chhau team won the medal.

King Sura Pratap died in the year 1918 and the state was brought under the court of wards by the British government. There was a dull moment for Dhenkanal Chhau during this period. Although feverish activities continued, the Chhau dance of Dhenkanal had to wait for its restoration until the year 1925 when Maharaj Shankar Pratap occupied the throne. To the good fortune for all, Shankar Pratap also got married in the royal family of Sareikela which event again helped the promotion of Dhenkanal Chhau.

A real connoisseur of art and discipline, Shankar Pratap did his best to bring back the Chhau dance of Dhenkanal to the limelight again. He established the palace programmes of Chhau with added glamour. He deputed the following Gurus and artists to Sareikela for a refresher training. They were Bula Ranjan Singh, Lingaraj Mohapatra, Ballav Mohapatra, Dhruba Charan Bhuyan and Nath Naik (Drummer).

Shri Ballav Mohapatra and Shri Lingaraj Mohapatra are alive. Though at a very old age, it is a feast for the eyes to see these old maestros demonstrating. Although physically with run-down muscles, these maestros spring-up on their toes as the drums beat. 

Shankar Pratap went further. He granted freedom from forced labour for the participants of the Chhau Dance. Thus, with adequate royal patronage, the fame of the Chhau Dance of Dhenkanal spread far and wide.

The colourful repertory of the Chhau Dance of Dhenkanal consist of the following items: (A) Solo items (B) Duet items (C) Items with four artists (D) Group items and (E) The war dance.

Musical Instruments:
The main accompanying musical instruments are the Dhola (the drums) and the Mahuri (the blowing instrument like Shehnai). These two are the absolute necessities. The other instruments which are also used are the Bada Baja (the big drum) the Turi and Kahali (Like clarion and trumpet without reed) and the Jhanja (Brass Alloy cymbals), etc.

No songs are sung in Chhau of Dhenkanal but the music is based on traditional tunes of Odissi Songs the Chhandas and the Champus etc.

The Presentation:
The style of presentation of the Chhau Dance of Dhenkanal is unsophisticated and is in the typical common Jatra style of Orissa except the central raised platform. 

A field known as the Jatra Padia is the place of performance. The spectators sit around this open arena. By the side of the field, there is a room where the artists wait. The make-up and the costuming is done at another place away from the field. After make-up, all artists gather for an invocatory Puja at the village goddess Mangala, located at the village cross-road. After the Puja, all the artists walk in a ceremonial procession along with the musical accompaniment of Dhol, Mahuri and come to their waiting room through the spectators. The music hands take their position at one side of the arena with the spectators.

The performance begins with the drummer demonstrating his skill on the instruments. Sometimes he dances with the drum reciting the "Bols" loudly. After this initials, there follows a demonstration of the Chalis (Styles of walking). Artists come out from the waiting room together and after few rounds in the field, go back to the room. Then follows the individual dance numbers. In between the items the drummers take to their toes and demonstrate various style of drum beatings.

The final item is invariably the ``war dance" where the skill of warfare is demonstrated. 

This Chhau Dance of Dhenkanal, as it has been, cannot be performed in a modern theatre hall having one side spectators. The style of performance even for a Solo dance demands an open arena with spectators on all sides.

There is absolutely no scope for giving any scenic arrangements at the background. The properties are handed over to the artists in view of everybody. Costumes are re-arranged in the knowledge of all. Properties like that of a tall stool and the "Serpent cut-out" are brought into the arena by the boys and kept in place in broad light without any cover. On the whole, the atmosphere in a performance of Chhau Dance of Dhenkanal is absolutely cordial with full of spectators participation.

Origin of the word "Chhau":
The above record also indicates the origin of the word "Chhau". According to the experts of Dhenkanal, this definition, in a way is almost similar to the theory given for the Sareikela Chhau or the Mayurbhanj Chhau except of the fact that in Sareikela, they connect the word "Chhai" to "Chhaya" meaning shadow to be linked with the facial masks they use. The other point of view expressed by the experts on Mayurbhanj Chhau is that the word "Chhau" is an abbreviation of the word "Chhauni" meaning a military camp where probably the "Chhau" dance had originated, would hold more good and appropriate to the Chhau dance of Dhenkanal, whose artists hail only from the traditional families of Paikas of Dhenkanal.

The Technique:
In a broad sense, the techniques of the Chhau Dance of Dhenkanal can be termed unique. As regards the music and the repertory, Chhau dance of Dhenkanal, would in a way, appear more similar to the Chhau Dance of Sareikela except the masks. No rituals are attached to Chhau dances of Dhenkanal. As regards its training, it is purely the physical exercises adopted for the Paikali gymnastics. There is no female participation.

Suitable candidates first practise the "ara Lahan", for the fitness and suppleness of their body. The next phases of exercise consist of various styles of Chalis or gaits. 

While both Sareikela and Mayurbhanja styles specify six types of Chalis, Topkas, the Dhenkanal Chhau adopts mainly the following four types:
(1) Salakha Chali
(2) Babu Chali
(3) Karua Chali
(4) Baga Topka
Similarly, while both Sareikela and Mayurbhanj Chhau specify 36 types of Uflis or Upalayas (the movements of the body, limb and foot work with leap and motion) the Chhau Dance of Dhenkanal specifies only 20 Uflis.

There have been efforts in the past to assimilate the beautiful things of other styles of Chhau with that of Chhau of Dhenkanal. There have been exchanges of men, materials and ideas. Only a very close study and extensive research may bring to light as to how much give and take have taken place in the field of Chhau Dances of Orissa.

But, inspite of everything, Chhau Dance of Dhenkanal retains its uniqueness and local flavour. After the merger of states this beautiful Chhau Dance of Dhenkanal has almost turned defunct without any patronisation. Except a very few, all Ustads have left this world. There may not be any with direct knowledge of this school of dancing after another few years. 

Dalkhai Dance:
Though Dusserah is the occasion of Dalkhai, the most popular folk-dance of the western parts of Orissa, its performance is very common on all other festivals such as Bhaijiuntia, Phagu Pune, Nuakhai, etc. This is mostly danced by young women of Binjhal, Kuda, Mirdha, Sama and some other tribes of Sambalpur, Bolangir, Sundargarh and Dhenkanal districts of Orissa in which men join them as drummers and musicians. The dance is accompanied by a rich orchestra of folk music played by a number of instruments known as Dhol, Nisan (a typical giant sized drum made of iron case), Tamki (a tiny one sided drum 6" in diameter played by two sticks), Tasa (an one sided drum) and Mahuri. However, the Dhol player controls the tempo while dancing in front of the girls.

It is known as Dalkhai because in the beginning and end of every stanza the word is used as an address to a girl friend. The love story of Radha and Krishna, the episodes from Ramayana and Mahabharata, the description of natural scenery are represented through the songs.

The young women dance and sing intermittently. The songs are of special variety with the additive 'Dalkhai Go' which is an address to a girlfriend. While dancing to the uncanny rhythms of the Dhol, they place the legs close together and bend the knees. In another movement they move forward and backward in a half-sitting position. Sometimes they make concentric circles clockwise and anti-clockwise.

The women generally dress themselves in colourful Sambalpuri Saris and wear a scarf on the shoulders holding the ends below in both the hands. Bedecked with traditional jewellery, their robust frames sustain the strains of the dance for long hours.

The Dalkhai dance has several adjunctive forms known as Mayalajada, Rasarkeli, Gunji kuta, Jamudali, Banki, Jhulki, Sainladi, etc. On account of its style, theme and performance Dalkhai is basically a secular form of dance. 

Danda Nata:
Danda Nata of Orissa, also known as the Danda Jatra, happens to be one amongst the most ancient form of histrionic arts of the state.

Associated with ritualistic services, Danda Nata forms an institution of dance, music and dramatics blended with religious, social reformation and an association of Universal Brotherhood.

Mainly on worship of Lord Shiva, the God of destruction of the Hindu mythology, who is also the Lord of histrionic arts (Nata Raj), this theatrical form brings into its fold a harmonious feeling of co-existence between followers of different philosophical doctrines, between political principles and sets of opinions.

Along with votive dedications to Lord Shiva ( Rudra, Hara, Mahadeva, Shankar, Bholanath etc ) in a Danda Nata, the greatness of other Gods and Goddesses such as Vishnu, Krishna, Ganesh, Durga, Kali etc. are also equally invoked.

Similarly while the original participants in a Danda Nata were said to be only the low-caste Hindus, people belonging to all other higher castes such as Kshyatriyas and Brahmins also participate in this institution with equal interest.

The word Danda Nata or Danda Jatra:
The word 'Jatra', is an indigenous term for the English word 'theatre' and 'Nata' is a derivative term of the word Natya which conveys meanings of dance, music and dramatics. The word 'Danda', denotes several meaning. Mainly it means (1) Staff, Club, Stick, Rod, Pole, or Sceptre and (2) Punishment and Chastisement.

In this Danda Nata (1) A sceptre of the Lord is worshipped and (2) The participants voluntarily bear self-inflicted penance.

According to ancient Hindu philosophy, the greatness of an individual in this materialistic world depends upon his accomplishment of self control over his own Body (Kaya), Mind (Mana) & Speech (Vakya). It takes tremendous amount of practice to gain this control and amounts to a lot of self denials. Those who achieve this are known as the Tri-Dandis (triple chastisement).

Since this method of bringing purity of conduct involves a lot of punishments (Danda) to self, this performance according to many is known as the Danda Nata.

The word Danda:
There is however, a very interesting definition given to the origin of the word DANDA. Because of the vigorous types of dances associated with the Danda Nata, it is said to have originated from the heavenly Tandava Nrutya of Lord Shiva. It is said that once Lord Shiva was teaching a Tandava Nrutya to his son Lord Ganesh. While dancing vigorously he kicked the stage and the sound "DAN" emanated. Simultaneously one of his Ghagudi (the brass tinkler) was broken from its chain around his raised ankle, dropped and fell on the body of the Mardala (the percussion instrument) emanating another subsequent note of sound as "DA". Together, therefore the word DANDA evolved to get the blessings of Lord Shiva to associate its meaning with performance of dance and music with vigour known as "Udanda".

The time of Danda Nata:
Danda Nata commences from the Chaitra Purnima and continues upto the Pana Sankranti (Maha Vishuva Sankranti) day. These two months, Chaitra and Baisakha are considered most auspicious for the worship of Lord Shiva. Many religious treatise indicate that if Lord Shiva is invoked during this period of the year, the earth is blessed with good harvest; increase of wealth and all round improvement of the families and communities occur.

The invocatory performances of Lord Shiva commences from the sixth day of the Solar month of Meena (March-April). For four days from the sixth day, preliminary preparations are made (people make vows, some receive Hukums (Nostrums) through trance. Then for eight days the Jhamu Jatra takes place. The rest thirteen days of the month is meant for Danda Jatra. Rituals.

In Orissa like the Danda Jatra, there are other kinds of ritualistic festivals as well, which are associated with self inflicted penance. They are the (1) Patua Jatra (2) Chadaka Jatra (3) Jhamu Jatra etc. While in Chadaka Jatra and Jhamu Jatra mainly the penances are demonstrated, in Patua Jatra and Danda Jatra, regular theatrical performances are followed in the nights.

The participants in a Danda Nata invoke the blessings of Lord Shiva. They are all under a vow. It may be to be blessed with a child, to fulfil certain ambition, to get rid of sickness, seeking happiness in life, good harvest, even peace and happiness to all fellowmen. The total number of vowers are 13 and the number of days for the festival is also 13. The vowers are known as the Bhoktas. This word Bhokta is derived from the word Bhakta (Devotee). Drawn from all communities, the leader of the Bhoktas is known as the Pata-Bhokta. All the Bhoktas lead a very pious life for 21 days. They do not eat meat or fish nor cohabit during this period. The Pata Bhokta does not eat rice and lives on fruit-juice and snacks. Others eat just one meal a day consisting of plain rice, etc which they cook themselves and eat at a place away from habitation. During the time of their gruel, any human voice per chance brings an abrupt end to their eating for that day. That is why at some places they keep on beating the drums until the eating is over.

During the period of Jatra, all Bhoktas carry out different forms of services to the Lord and therefore they are named differently. They are as under: (1) Pata Bhokta (2) Deula Padia (3) Danda Swami (4) Nili Patra (5) Chandania Patra (6) Gobaria Patra (7) Danta Kathia Patra (8) Betua Patra (9) Dhupia Patra (10) Bhandaria (11) Chua Mali etc. 

Kamana Ghata:
Ghata is the Pitcher. In most of the religious and social functions of the Hindus, a pitcher full of water holds a very important place. The pitcher represents the body and the water is the life. It represents the God invoked and hence worshipped with due reverence. After the function is over the pitcher is again taken into the water of a pond or river with due care and immersed from where it had been brought.

In a Danda Nata this Ghata is known as the Kamana Ghata. Kamana means desire, and to worship the Kamana Ghata means to seek the blessings of the Lord for the fulfilment of one's desire.

There is again an interesting story as to how the pitcher came to be known as Kamina. "Kamina" happened to be the name of a Raksyasi (Demoness) with whom Lord Shiva fell in love while moving in a jungle. For sometime Lord Shiva forgot his duties to the mankind. Afterwards when he realised, he wanted to leave her. At the parting Kamina asked him about her fate and the Lord consoled her saying that at least once in a year the people of the earth will be remembering her. This Ghata named as Kamana therefore is said to be a symbol of hers.

According to poet late Bhikari Charan, this Ghata represents "Kalika", the consort of Lord Shiva. It is through her blessings, the Bhoktas are able to take up the self inflicted penances without any ill effect. It is She who protects all and fulfils all ambitions.

A new pitcher is taken to the pond or a river and water is lifted, to the accompaniment of drums and blowing of conch shell. This pitcher is first worshipped under a banyan tree and then taken out in a procession through the village and then kept in a hut (made preferably in front of a Shiva's temple), known as the Kamana Ghara. Two pieces of cane-sticks, representing 'Hara' & 'Gouri' are also kept near the Ghata and worshipped. A sacred fire is kept lighted up in the hut from which Pata-Bhokta lights up an oil lamp. While lighting, the Bhoktas yell with the word "Rushi Putre". Time to time when resin and myrrh powder is thrown on the lighted oil lamp, it burns up with a flare and the Bhoktas yell the words "Kala Rudramani Ho Joy".

A staff of the length of 6 1/2 cubits bearing 13 joints (representing 13 Bhoktas) and a piece of cloth tied to its top is worshipped. This is the Kamana Danda.

Where to perform:
The entire party consisting of the Bhoktas and their colleagues go around the village in a procession with the band of musicians. No specific declaration is made as to where they are going to perform "Danda" in that day.

Like the Bhoktas, some villagers (male or female) also keep a vow in their mind for getting some mercy from Lord Shiva. Seeing the procession, these vowers pour water and clean up the frontage of their house with cow-dung water and hurriedly put up floor designs with coloured powders and keep a jugful of water.

This indicates an invitation to the party.

Having received an invitation, thus the group stop there. After small preliminaries. the group light up an oil lamp and keep it on the verandah of the host and return to their camp.

At mid day, the party comes back to the spot and perform the Bhumi (Earth) Danda or Dhuli (Dust) Danda.

The Phases of Danda Nata:
Danda Nata, distinctly comprises of three phases.
(1) The Bhumi or Dhuli Danda (Acrobatics & gymnastics) at day time.
(2) The Pani Danda (Aquatic feats ) at day time
(3) The Danda Suanga (Dance, Music & Dramatics) at night time.
These three are the main, however. while taking out the procession or the beginning of the night performance the 'Agni Danda" (or the performance with fire) is also displayed.

The Bhumi or Dhuli Danda: This consists of a lot of physical exercises and acrobatics. The themes enacted in short sequences represent mainly the art of ploughing, cultivation and harvesting, A few formations in human figures, pyramids are displayed. During these performances one Bhokta asks 'How much paddy'? And the other Bhoktas give a figure which denotes the ensuing result of harvest during the coming year. This performance of Bhumi Danda is over by the afternoon and the Bhoktas yell "Kala Rudramani Ho Joy" and proceed to the village pond for the "Pani Danda".

Pani Danda: Pani Danda consists of aquatic feats. While the groups put up their performance as they swim and form pyramids in water, the musicians play Dhol & Mohuri. Men, women and children gather around the pond or the riverside to watch this show.

After this performance of Pani Danda, the Bhoktas return to their camp to have their only meal of the day and to prepare for the nights performance.

Danda Nata Suanga: The word 'Suanga" corresponds to the Sanskrit word "Swanga" which means graceful acting. Dance is always based on music. Any dramatic performance consisting of Dance and music therefore is known as Suanga in Oriya language. In a Danda Nata like any olden Suanga, every character enters dancing with the accompanying music, gives his self introduction, description of what the character is wearing or supposed to wear, even a description of his gait and make-up and while singing he dances intermittently. During a dialogue also the dance actions are corroborated. In between the dialogues both the speaker and the listening character dance vigorously. This pattern is a regular feature in every sequence of the Danda Nata which distinguishes its identity from other types of performing arts.

The presentation:
The presentation style of Danda Nata is absolutely simple as that of any common Jatra of Orissa except the fact that they do not need a raised platform in the centre. Any open space or the village cross-road turns out to be an acting arena, surrounded by spectators on all the four sides. Only a narrow path amongst the spectators wends its way to a distant improvised green room where the participants do the make up, costuming and rest. Sometimes a canopy is also put-up over the central acting arena.

The accompanying music:
The main accompanying musical instruments in a Danda Nata is the dhol (the double-sided drum) and the mahuri (the wind instrument like Shehnai). The other instruments which are used only in sequences of God characters are the ghanta (the bell metal disc), sankha (the conch-shell), kahali (clarion), the jhanja (brass alloy clappers).

Besides the above, other smaller instruments like ghungroo, ghagudi (small & big tinklers), dasakathi, ram tali (wooden clappers), khanjani, ghooduki or dhuduki, dambaroo and bina etc. are also played by the characters themselves as required.

The "Bina" used by the character "Binakara" in Danda Nata is not the type of "Bina" (the string instrument) known popularly. Here it is not a string instrument played by twangs. It is a Bow decorated with peacock feathers and in its string seven tinkle bells are tied. The player Binakara holds the Bow in his left hand raised and by jerks brings out the jingle in rhythm.

The Place of the Musicians:
The musicians take their positions at a side of the open arena nearer to the artists passage. Sometimes they move to the Vesha Ghara (Green Room) to lead a character to the arena.

The drummers not only play the drums throughout the performance but also demonstrate their own skill and stamina by playing the drums with regular dances and acrobatics in between the sequences.

The theme of the Danda Nata:
Danda Nata is not a performance of a complete story drama. It has a chain of loosely connected conventional episodes with a central theme of complete faith in God. It is He who can rescue the earthly beings from the clutches of evil. It is He who can grant happiness in life. Nothing happens without the will of Providence and so we must surrender to Him always.

The characters and roles in the Danda Nata:
Since Danda Nata does not contain a full story in its totality, each sequences has its own characters. So there is a series of sequences in which the characters appear in different Veshas and Upaveshas.

While slight variations are seen amongst the Veshas and Upaveshas of Danda Natas of the North, South and West Orissa, the main Veshas like the PRAVA, KALIKA, SHIVA, CHADHEIYA, CHADHEIYANI, PATRA SAURA, SAURUNI, PARVATI, KELA, KELUNI, SABARA, SABARUNI, BAI DHANA, BINAKAR, KARUANI etc are mostly common every where.

The other characters which are introduced at some places but not included at other places are NANDI, NARADA, GUNIA, BAIDYA, JAMBABA, DWARI, additional wives of Chadheiya or Kela, son of Chadheiya, BANA DURGA, a brother of Chadheiya, son of Saura, BAISHNABAS, GUDIA, GOPALUNIS, KRISHNA, GOPIS, BRAHMIN, OLD MAN, NARADA, DANDASI, DUMBURA & HIS MOTHER, JAMADAR, HADI, HADIANI, SAHEB, DAROGA, etc.

From amongst the characters of Danda Nata, it will be seen that except the characters of Gods or Goddesses, all others are the most ancient human species, nothing to do with the so called modern civilization. They are from the lowest cadre of the society and the most down trodden. They have no materialistic belonging but yet have their biggest belonging "the deep faith in God".

One of the main characters that needs a mention is the Pata Bhokta. The Pata Bhokta is not a regular character in the Danda Nata, but he in plain clothes is there throughout, not only as the chief of the Bhoktas but a sort of Mediator between the characters and the spectators. He may be termed as the Sutradhara or the Master of ceremony in a Danda Jatra. On behalf of Spectators, he asks questions and talks to the characters. Sometimes he also recites a story to the masses. He also leads the first "Vandana" the invocatory songs in praise of all Gods and Goddesses.

The Language:
A Danda Nata mainly consists of songs in Oriya. At places Sanskrit verses are also recited. Prose dialogues are very few and at many instances, they are spoken extempore.

Beautiful ornamentations are made in the composition of the verses. In most of the cases the writers choose to keep the first letters of the subsequent lines in an alphabetical order from "Ka" to 'Kshya". Songs for inferior characters are in local dialects. It is seen in many cases that characters like the Lord Shiva, Narada, watchman etc., speak in Hindi or Urdu language which can be traced to the impact of Moghul & Maratha rule in Orissa.

In humorous sequences, mixed languages and dialects of Hindi, Telugu, Bengali have also been seen used.

On the whole, in a Danda Nata, the language is fluid, simple and easily understood by all.

Elements of Humour:
In a Danda Nata of Orissa a high sense of humour prevails almost in every sequence. There are battle of wits, mutual admiration, quarrels and compromise between different couples in all sequences.

The satires on fake Sadhu who makes a living on the religious sentiments of the people, on the Vaidya who adminsters wrong medicines, on the not so pious holy man letting off wrong blessings, the gags etc. cause roars of laughter amongst the spectators. The peculiar styles of vigorous dancing by Sadhu, the Chowkidar and other characters also provide a lot of amusement.

Elimination of Superstitions and Untouchability:
To eliminate odd superstitions and untouchability, Danda Nata has been a very powerful medium of mass communication.

The No. 13, has at some quarters been associated to be a bad omen. In a Danda Nata there are 13 Bhoktas. it continues for 13 days, the pole worshipped has 13 joints indicating that 13 is a lucky number.

Danda Nata as an institution of learning:
Danda Nata thus, not only provides clean entertainment to the masses, it also teaches them the art of living, broad thinking and simple living. It inculcates a deep faith in God, the creator of this universe with a sense of devotion and duty.

Next Page..