International Research Journal of Management Sociology & Humanities
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International Research Journal of Management Sociology & Humanities ISSN 2277 – 9809 (online) ISSN 2348 - 9359 (Print) An Internationally Indexed Peer Reviewed & Refereed Journal Shri Param Hans Education & Research Foundation Trust www.IRJMSH.com www.SPHERT.org Published by iSaRa Solutions IRJMSH Vol 7 Issue 5 [Year 2016] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) Folk theatre in Western Odisha Atish Kumar Satpathy Introduction Western Odisha is well-known to the world for its art and architecture. Folk songs and dance forms have been developed mainly out of celebrating socio-religious rituals and ceremonies. Songs and dances are integral ingredients of folk theatre. Each folk form has its specific community but their language is same. If we look into the origin and evolution of folk theatre; we have to admit that this theatrical tradition is interconnected with human civilization. Since the Vedic period, people have developed potential artistic qualities like songs, dance and many religious rituals to express their emotions, hope and aspirations. The musicality is one of the greatest characteristics of these folk dramas. The musical instruments used in such folk performances are developed indigenously and are a unique characteristic of these folk plays. Western Odisha is culturally influenced by assemblage of several traditions in several religious rituals. During the last quarter of the twentieth century, research and studies in the area of folk songs and dances along with folk theatre of this region have been revived and recognized, including the modern "Krushnaguru Bhajan", one type of folk lyrics/songs and Danda (Danda Yatra and Danda Nata), which are considered to be a part of the oldest art forms in India. In Western Odisha the folk theatre and its different forms may be divided into three major categories such as 1.Agriclture oriented, 2.Ritual oriented, and 3.Festival oriented. Nuakhai, Pushpuni, etc. have originated from the rituals associated completely with agriculture and are mainly considered as agricultural folk theatre, Karma, Danda Nacha, Sarmangla, Bhaijuintia and Puojuintia are famous ritual folk theatre forms. Similarly famous Dhanu Jatra, Sitalsasti, kartik mela and Bali jatra are considered as festival oriented folk theatre. These are the major forms and play a major part in the folk theatre tradition which is popular in rural areas of this location in festive occasions. Western Odisha is known for its wealthy customary tradition of Tribal / Folk theatre and culture. From the time of the days of distant history, the diversified art & cultural forms performed by the tribal and rural people of Western Odisha have continued to prove their artistic brilliance. When folk art came into being, its origin as well as history is unclear and for that reason it is exceptionally difficult to determine the accurate point in time period. It is so because folk theatre like life itself is evolving in nature, frequently approve themselves to shifting times and requirements and thus continue to change from their original form. We can say “That it is in a constant state of flux”. As a result it becomes difficult to recall the account of its origin of their variety and existence. Only through study, research, means of recall and repeated performances that we attempt to map out their creative form and chronological progression. To discover the origin of folk theater in Western Odisha an attempt is made on this source. Different forms of folk theatre of Western Odisha are closely associated with the religious culture, rituals, agriculture and believe of peoples. As they are customarily obligatory for religious rituals and some of them are still performed in villages. The Western Odisha folk theatre forms have been performed by specific communities, same language, and area if we look into its origin and evolution. We have to admit that these theatrical traditions are interlinked with human civilization. In the Vedic period, people had developed potential artistic qualities like songs, dance and many religious rituals to express their International Research Journal of Management Sociology & Humanity ( IRJMSH ) Page 60 www.irjmsh.com IRJMSH Vol 7 Issue 5 [Year 2016] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) emotions, hope and aspirations. If we discuss the factors or the elements which are responsible for the origin of folk theatre in Western Odisha than we may found there are five major elements respectively: Elements of origin 1. Myth and story 2. Ritual 3. Agriculture 4. Game 5. Festivals Role of Myth The great epics like Ramayana and the Mahabharata are significant to each and every part of the Western Odisha adjoining the lands, forests, mountains, rivers and peoples of Western Odisha. A spiritual aspiration of the people to see their folk theatre in relation with the incarnations of Gods might have influenced to evolve the adaptation of these two epics with the provincial and village cultures. The cultures of Western Odisha have deeply been paying attention towards the convention of the greater tradition all the way through these epics. Consequently these two epics shaped the grand style and plot of folk theatres in this area. While researching on regional folk theatre we see that in multiple ways the resident cultures have mixed together with the greater Indian tradition. At this moment an attempt has been made to illustrate how the Mahabharata and Ramayana tradition has influenced the folk rituals of Western Odisha in particular. The principal characters of these epics like Krushna, Rama, Bhima, Karna, Arjuna, Bharat, Ravana, and Kansha etc. These are folk heroes / central characters in Western Odisha regional traditions. These characters are reinterpreted in the folk society as folk heroes they influenced the folk society in respect of its oral narratives and folk rituals. Significance of Ramayana in origin of folk theater in Western Odisha The epics in the folk oral tradition of Western Odisha, we may find some elements of the influence of the great epic Ramayana. Two folk epics are scrutinized here in the background of their ethnic cultures and traditions, to show the influence on them of the Ramayana. The first folk epic has been collected from the Gaur (Milkman) caste of Kalahandi. It is known as Bansgeet. Bans (bamboo) are a three-feet-long musical instrument with five holes in it, which is played by a flutist at the time of singing the epic. The name of the song is derived from the musical instrument and so called Bansgeet. The singing prolongs for nights together. This epic song represents the ethnic culture and tradition of the Gaur caste of Western Odisha. In Chhattisgarh also the popularity of Bansgeet is predominant, with similar forms and contents, though the language is different from that of Western Odisha. The Gaur bard Bahjan Nial of Kapsi village in Kalahandi district is the informant. The name of the epic is Kotrabaina-Ramela as the names of the hero and heroine. Significance of Mahavarata in Origin of folk Theatre The Bharat Leela, Abhimanyu Vadha, Nilendri Harana, Kichakabadha, Sovavati Harana, Karna Vadha, Kapata Pasa, Rajasuya Jajna, Rukmini Vivaha, Draupadi Vastraharana, Agnyat Vanavasa and Parijata Harana are some of the well-liked folk Dramas adopted from the episodes of Mahabharata performed in Western Odisha. International Research Journal of Management Sociology & Humanity ( IRJMSH ) Page 61 www.irjmsh.com IRJMSH Vol 7 Issue 5 [Year 2016] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) Danda Natya: - A traditional ritualistic folk Drama of Shaiva cult is being performed in Western Odisha is endowed with the story of cultivator Shiva assisted by Bhima [Bhima of Mahavarat]. On the folk stage, Bhima calls up all the girls of the village to work in the paddy field. On the stage Bhima sings a song calling upon their names such as Basmati, Kalikhuni, Puagi, Sapuri, Lochei, Huna etc. These are the names of the paddy sowed in the field. The paddies have been personified as women agricultural workers by the local dramatists. Both seed and woman bearing the power of fertility, reproduction and creativity, it is a representation of paddy as women symbolizes their common characteristics. Some Danda Natya does not inculcate the plot of the cultivation by Shiva and is not staged but recited in the day time in a public gathering. This ritual is known as „Dhulidanda‟ the episode of cultivation by Shiva is narrated with musical accompaniment. The ritual can have the association with fertility cult. Some of the castes and tribes of central India have associated their origin and lineage with the Pandavas and Kauravas of the great epic Mahabharata. The Korwa tribes of the state of Chhattisgarh claim their descent from the Kauravas. During the Swayamvara of Draupadi, the Pandavas with mother Kunti had taken shelter in their houses claimed by the The Kumbharas (potters) of this region. Since then the Kumbharas identify themselves as „Pandey‟ a derivative word of Pandava. Other Folk Theatre originated from Myth One of the most significant and noteworthy example of folk theatre of Western Odisha is Dhanu Jatra (Famous Dhanu Yatra of Bargarh). This theatre style is totally influenced and originated from the Mythological epics. Dhanu Yatra relating to the episode of Lord Krishna's visit to Mathura is colorfully observed at Bargarh District of Western Odisha. This is the spectacular Dhanu Yatra of Bargarh in the Western part of Odisha observed for 11 days preceding Pousha Purnima the full moon day of Pousha in December and January. Dhanuyatra is the theatrical presentation of Krishna Leela of Lord Krishna, the son of Devaki with Vashudev till the death of Kansa as described in the scriptures. The entire episode is re-enacted where the town of Bargarh becomes Mathura, the river Jira becomes River Yamuna, and village Ambapalli on other bank of river becomes Gopa.