Orissa Folk Dances
Various forms of Dances
Odissi and Chhau are most well-known dance of Odisha. But there are number of popular/mass dance (Nacha) forms in Odisha, which exist under the shadow of Osissi/Chhau, therefore, little published outside. Though not as developed and refined as the classy Odissi, there dance forms are ingtegral to various local festivals, celebrations and rituals with mass appeal and participation. Some of these dance styles are on the verge of passing into oblivion.
We provide below brief introductory some of those exquisite minor dance forms of Odisha for the benefit of our esteemed readers.
CHANGU NACHA (TAMBOURINE DANCE)
Changu is a variety of tambourine. It is played by the male members of the Bhuiyan, Bathudi, Kharia, Juang, Mechi and Kondhacommunities of Sundergarh, Keonjhar, Mayurbhanj and Phulabani. The dance with accompaniment to the Changu is performed by womenalone. The men sing songs play on the change and move with the female dancers with simple steps. While he women advance the women the retreat. In between the male dancers perform vigorous stunts in which they leap into the air and make wide circling movement. Peculiarly enough, the women cover up with long local made saris, only their bangle, hands and feet remain visible. In a group, the female dancers dance in a half-sitting position with swaying and sometimes jerky movements. During festivals and on any moonlit night, the young boys and girls assemble and dance to express their joy in living.
DALKHAI NACHA
Though Dussehra is the occasion of Dalkhai, the most popular folk-dance of western Odisha, its performance is very common on all other festivals such as Bhaijiuntia, Phagun Puni, Pusa Puni(Pausa Purnima), Nuakhai etc. This is mostly danced by young women of Binjhal, Kuda, MIrdha and Sama and some other tribes of Bargarh, Deogarh, Jharsuguda, Subarnapur, Sundargarh and Angul districts of Odisha, in which men join them as drummers and musicians. A fully coordinated dance, it is accompanied by a rich orchestra of folk music played by a number of instruments known as Dhol, Nisan (a typically giant sized drum made of iron case). ‘Tamki’ (a tiny sided drum 6’’ in diameter played by two sticks), Tasa (a one sided drum and Madhuri). 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 stanza the word is used as an address to a girlfriend. The love story of Radha and Krishna, the episodes from Ramayana and Mahabharata, the description of natural scenery and represented through the songs. The young women dance and sing intermittently. While dancing to the uncanny rhythms of the Dhol, they legs close together and bends the knees. In another movement the move forward and backward in a half-sitting position. Sometimes they make concentric circles clock-wise and anti-clock-wise. The Dalkhai dance has several adjunctive forms known as Mayalajada, Rasarkeli, Gunchisuta, Jamdali, Banki, Jhulki, Sainladi etc. On account of its style, theme and Performance, Dalkhi is basically a secular form. The women generally dressed themselves with the colourful Sambalpuri Sari and wear a scarf on the shoulders holding the end below in both the hands. Bedecked with traditional jewelry, their robust frames sustain the strains of the dance for long hours.
DANU JATRA
A type of theatrical presentation, it is performed by the local people of bargarh district of odisha. In this performance were the subject matter is a part of Krishnalila, the river “Jira” is conceived as the sacred river Yamuna, Amapali as Gopapur and Baragarh as Mathura. The main characteristic of Danu Jatra is kansa’s elephant ride in the street of the kingdom, his high Mancha from where he falls and dies. His durbar, where everything is so well planned and improvised that perhaps nowhere in the world , a play has been made to achieve such a vast magnitude bringing that central goal is dramatics, the unity, the team sprite and the universal brotherhood. All the villages, town and rivers turn to action zones, naturally all the inhabitants and visitors also turn to characters, this Jatra, by its sheer dimension and magnitude is the largest people’s theater.
DASAKATHIA (Worshipper’s sticks)
A colourful and popular performance, it is rendered by two members, one singer (Gayaka) and the other accompanist (Palia). The very word Dasakathia is derived from the word Das, which means worshipper and kathi means two pieces of stics, which produce a very sweet rhythmic sound. This performance is ritualistic and secular in nature.
The performers, each holding a pair of sticks, begin their performance in duet with invocatory verses composed by the local poets, each one striking his own sticks in perfect tune. The recitation of mythological themes, usually at the top of voice, hypnotizes the folk listeners. Daskathia may be less musical but more dramatic.
The dramatic performance includes verbose stanzas of various types including pauranic episodes. Luxurious in dress and with turban on head and wearing a long luis or silken oat, the two dasas create a visual attraction to the listeners by their gestures and postures.
This form of inimitable type of music is a distinctive contribution of Ganjam district of South Odisha. Accentuation of the languages, breaking of syllables with notes, rigid pronunciations indicate a clear fusion of southern pattern in Odia.
GHOOMRA NAATA (DRUM DANCE)
Ghoomra is a typical drum, big pitcher with along stem made of clay. The mouth is covered with the skin of a Godhi (an Iguana – like reptile). When played with both hands, it produces a peculiar sound quite different from other varieties of drums.
The dance performed to the accompaniment of the drum is called Ghoomra Naata. It begins fifteen days earlier of Gamha Poornima (full moon is August-September) and culminates on that night in a ceremonial performance. Young men of various communities fix a Ghoomra each on the chest with string tied to the body. Simultaneously dance and play. The performance begins with slow circular movements.
Ghoomra is performed largely in parts of Kalahandi and Nuapada districts of Odisha. The Ghoomra Naata is attributed to Goddess Lankeswari and legend has it that ghoomra was the battle drum of Ravana, the demon king of Lanka.
The Nisan is a smaller variety of Kettledrum played with two leather sticks. The player always places himself in the center and controls the tempo of the dance. He also indicated changes of the movement. After a brief dance sequence in different rhythmic patterns, all the dancer move in a concentric circle and the stand erect in a line. Then enters the singer, who first sings in praise of Saraswati and other Gods and Goddesses. During the songs, the drums remain silent. After the prayer song, Chhanda, Chaupadi other literary folk songs are sung. Each couplet of a song is followed by a dance-piece.
JHOOMAR DANCE
This dance type, named after accompanying Jhoomar songs, is prevalent between the Mahanta (Kudmi) and Munda communities of Mayurbanj and Sundargarh district. Among the Mahantas only the men perform the dance. Among the Mundas, the singers who accompany the dancers sing songs and the dance follows them in chorus in accompaniment of Madal. The Mundas are especially experts in this dance, particularly in intricate footstep, movement of hip and wrists and movement of body. Jhoomer songs have flourished in the Rairangpur area of Mayurbanja district.
KRISHNA LEELA
Associated with the cult of Krishna Leela, this form has a deep religious flavor. People in the village communities in certain area parts of Odisha join in singing and dancing to the accompaniment of Mridanga and Cymbals. This performed particularly on the occasion of holi and Rasa Purnima. Different episodes of Krishna Legends are performed in leela. Through the chanting of songs and dancing to its tune in accompaniment of the musical instruments, a serene atmosphere is created.
NAGA NACHA
The most virile and spectacular dance during the religious processions in the district of puri is known as Naga Dance. Generally young and energetic men are chosen for the dance. The costume is heavy and elaborate. The dancer wears a huge headgear profusely decorated with silver ornaments and a false beard almost covering the face. Multicoloured two bamboo sticks are tightly fitted to the shoulders, the dance dances in heroic steps. Sometimes he holds a gun. He moves at the head of the procession along with the drummers, who provide rhythm to his movements. Formerly the dance was confined to Brahmins only, but now people of other castes perform it as well.
PAIKA NACHA
The word Paika is derived from the Sanskrit word Padatika meaning the infantry, and hence the name of the dance is battle (Paika) dance. In olden days the powerful Ganga and Gajapati rulers of Odisha extended their territory from the river Ganges in north to Godavari in the south with the help of a vast army of valiants Paikas. They were not in the regular pay-role of the army, but received the huge land grants from the king and the chieftains.