International Research Journal of Management Sociology & Humanities

ISSN 2277 – 9809 (online) ISSN 2348 - 9359 (Print)

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Shri Param Hans Education & Research Foundation Trust

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IRJMSH Vol 7 Issue 5 [Year 2016] ISSN 2277 – 9809 (0nline) 2348–9359 (Print)

Folk theatre in Western

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. 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 ), which are considered to be a part of the oldest art forms in . 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. , 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 Jatra, Sitalsasti, kartik mela and 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 and the 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 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.

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Danda Natya: - A traditional ritualistic folk Drama of Shaiva cult is being performed in Western Odisha is endowed with the story of cultivator 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 (Famous Dhanu Yatra of ). This theatre style is totally influenced and originated from the Mythological epics. Dhanu Yatra relating to the episode of Lord 's visit to Mathura is colorfully observed at of Western Odisha. This is the spectacular Dhanu Yatra of Bargarh in the Western part of Odisha observed for 11 days preceding Pousha 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. A mango grove there serves as "Vrindaban" and a pond, as lake "Kalindi". An attractively garlanded stage is erected in the heart of Bargarh town to serve as the Durbar of Kansa. An elephant is engaged for the royal transport. The origins of the Dhanu yatra at Bargarh are unclear, but it has been organized since 1948 annually. Like Mahavarata and Ramayana, God Shiva and Goddess of Shiva Purana as well also play a very vital role in the origin of folk theatre in Western Odisha. In this context, we may mention of Sitala Sasthi Yatra, which represents the tribal and folk tradition of Sambalpur. It is a folk drama, which indicates downward revolution of cultural elements of a great tradition and its integration with the elements of local or other tradition. The organizers have been directing their efforts for centuries to preserve this Puranic tradition and propagation of this folk drama tradition. Though the origin of folk drama from West Odisha and is yet to be ascertained, the rich folk tradition of Sitala Sasthi Yatra of Sambalpur town is one of the major folk drama forms which still hold ground in the cross section of the society in Sambalpur. It is a distinctive and matchless form of folk drama wherein the two divine characters namely Lord Siva and Goddess Parbati become two human characters and their marriage ceremony is celebrated as per the local custom and tradition by the people in Sambalpur. It has got a special place in the cultural map of Odisha. The most significant feature of this folk tradition is that, during the sanctified marriage ceremony of Lord Siva and Goddess Parbati the human beings become the parents of these deities. This couple performs the role of Parbati's father and mother. They also perform the ritual of Kanyadan, which is considered to be very

International Research Journal of Management Sociology & Humanity ( IRJMSH ) Page 62 www.irjmsh.com IRJMSH Vol 7 Issue 5 [Year 2016] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) auspicious and sacred for the Hindu parents and as a hole all the public has been treated as Barati of the Marriage ceremony. Danda Nrutya of Odisha, also known as the „Danda Jatra’ is one of the most ancient folk theatres of Western Odisha and is performed in the district of Sonepur, Boalngir, Sambalpur, Bargarh and Boudh. The jatra is being performed for a period of thirteen to twenty-one days. The participants of Danda Nata are called “Dandua” and the chief as “Pata Dandua” who move from village to village to perform the same. It is dedicated to Lord Shiva and Goddess Kali, who are represented by a “Danda” or a Pole, decorated with different colored clothes. The participant performs “Pani Danda”, “Agni Danda”, “Dhuli Danda” etc, which are the main attractions of the said performance. The closing ceremony is known as “Meru-yatra”, which is observed on the day of Maha Vishuba of Chaitra. The festival is very famous in Western Odisha. Regarding the origin of Danda Nata, there are two different sources of information, historical evidence and the traditional myth which has come from generation to generation. According to oral history, origin of Danda Nrutya dates back to Somagupta period in Western Odisha and to the Kesari period in Eastern Odisha. The link between Hinduism and Buddhaism in Danda Nrutya can also be traced from this source as well as the prevailing rituals of Danda Nrutya. In mythical sense according to the Danduas, Danda is originated from the Yajna Kunda (sacrifical pit) of King Dakshya Prajapati the father of Parvati. Siva in order to relief from Matruharan (mother rape) sin performed Danda Nrutya. In Satya Yuga Danda was celebrated in Swarga (Heaven). Then son of Sudharma brought the Danda to Martya (Earth). Now a day‟s Danda Nrutya is being performed in many villages of Western Odisha.

Folk Theatre originated from Agriculture Base in Western Odisha Agricultural progress is a basic prerequisite of economic development, which prepares the ground for industrialization to follow. In Western Odisha Agriculture has been and is the main source of livelihood and income as a result Agriculture Plays a very vital role in origin of Folk theatre in this area. There are so many folk theatres forms originated through agricultural base and issue out of the many forms some important forms are given bellow “Pousha Purnima”, an annual festival based on agriculture is observed on full moon day of the month of Pousha. The festival is celebrated throughout Western Odisha, both by the rural and tribal folk .In some areas, it is also called Pousha Parva or Pausha Punei. But the most popular name, especially in rural areas as "Chher-chhera". The term chher-chhera has probably evolved by corruption of the word 'char-char' meaning a drum. Drum is an integrated part of the Pausha festival, another folk theater originated from the agricultural base is “Akshyaya-Trutiya” this is exclusively an agricultural folk theatre of Western Odisha held on the third day of the Hindu year .On this day the farmer ceremonially starts sowing seeds in the field, especially paddy. Early in the morning, farmers in their respective homes arrange the materials for the ritual. After taking ablution in a river or tank they wear new clothes and carry the seeds in new baskets, in the field offerings are made to , the Goddess of wealth which the farmers do themselves. Then they sow seeds ceremonially praying the Goddess for a rich bumper crop. In the evening feasts (strictly vegetarian) are arranged in respective homes. In Western Odisha this festival is called 'Muthi Chhuan'. Eating of green-leaves (Shag) is forbidden for the day. It is observed by all farmers irrespective of caste and creed. Gahma-Purnima:The full-moon day in the month of Shravana (August) is known as “Gahma Purnima” or Go Purnima. In the Hindu tradition even the animals and plants, which are beneficial to the human beings are propitiated. The cow is regarded as mother. So, Gahma Purnima is a festival cum folk theatre of the agriculturists to worship the cattle. Bullocks are the most important animals for an agriculturist in India. When plugging the field with

International Research Journal of Management Sociology & Humanity ( IRJMSH ) Page 63 www.irjmsh.com IRJMSH Vol 7 Issue 5 [Year 2016] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) bullocks is over, the farmers venerate them for the service they have rendered. Along with the cattle the God of agriculture Baladeva is also worshipped. The religious scriptures testify that Balarama invented the plough and showed the people all methods of agriculture. Therefore, bullock is His vehicle and the plough, His weapon. He has been also taken in as an Incarnation of Lord . In Holy Scriptures, It is for this reason this festival is also known as Baladeva Puja or Baladeva Jayanti in some areas. The most important folk theatre festival of Western Odisha comprising the districts of Sambalpur, Bolangir, Sundargarh, Kalahandi and some areas of Phulbani is Nuakhia. Generally it takes place in the bright half of the month of Bhadrab on an auspicious day fixed by the astrologers. The people in general eagerly look forward for the festival and preparation starts before a fortnight. Most of the houses are cleaned, neatly plastered and decorated by the house wives. On this occasion old and young, all wear new clothes. Though the festival is intended for eating new rice of the year, it is observed as a general festival. Meeting of friends and relatives, singings, dancing and merry- making are parts of the festival. On this occasion the new rice is cooked with milk and sugar (Kshiri) and then offered as Bhog to Goddess Laxmi. Then the eldest member of the family distributes the same to other member.

Folk Theatre Originated from game in Western Odisha Traditional games of Western Odisha have a great space for depiction of folk theatre. The game Paen Anba (bringing water) that is performed by both boys and girls within five to eight years of age group, visualize the culinary tradition of Western Odisha. Participants collect water from pond or river and prepare different traditional food items symbolically. They use different leaves and stems for preparing this food items. Mahulbeta (collecting Mahua or Madhuca Indica) and Kathjiba (collecting firewood) represents the day-to-day work of collecting firewood and Mahua flower of forest dwelling tribal people of Western Odisha. The game Kathjiba, or Tangia Chhane Dia (give me an axe) also a game that narrates the nuptial tradition. The nuptial tradition, particularly Kaniamaga (proposal of marriage) also found in the game Bahadia Samdhen. The game Machhasare Ghina (buy some fish) represents the selling of fish by fisher women moving around the Para (settlements) in Western Odisha. The Hatbika visualizes the picture of traditional Hat (market), selling of agricultural product of Western Odisha. Here both boys and girls make an enactment of market system in two groups what they have experienced in their locality. The selling and buying of different vegetables, food items, ornaments, apparels, utensils, and other things are performed symbolically, which they have seen in their nearby Hat(Market). Similarly hence Traditional Games of Western Odisha more or less influenced by folk theatre they performed what they have seen in theatrical performance of folk drama. The Ram Ravan Judhha, Gada Judhha is result of folk theater. Players what they have seen in the night they performed it at their playing time. Role of Rituals and believes in origin of folk theatre in Western Odisha The passage of a social categorization that intersperse the lives of individuals as well as the mass can be the effect of rituals. Many folk theatre forms of Western Odisha are connected with rites and rituals. Some of them named as Karma, , Sarmangla, Danda nacha, goud Baddi etc. The original folk lore and theatre basically came from oral tradition. This oral tradition is a veritable vehicle for passing on historical accounts, myths, tales told both in prose and verse, folk songs, incantations, epic narrations, lamentations, lullabies, sayings, riddles, proverbs, raillery, games, etc. to succeeding generations. The oral tradition, along with rituals, ceremonies and festivals, has always fascinated us towards people‟s contribution. Since time immemorial Western Odisha has been the land of Shakti worship (Worship of

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Goddess). Bali Jatra is an annual festival of Western Odisha connected to Shakti worship. It is celebrated in the Hindu month of Aswina (September-October) from Amavasya Tithi or Mahalaya (New moon day) to Purnami Tithi (Full moon day). It continues for sixteen days. It is a folk religious festival where various nitis are properly planned and prescribed for different Tithis (days). On this occasion, the „Barua‟ represents the deity to whom the people worship. He moves from temple to temple and from place to place dancing vigorously with the beating of Dhol, Nisan and Ghant. This particular ritual is observed in many districts of Western Odisha like Sonepur, Sambalpur, Bargarh, Bolangir. „‟ is known as „Kumar Purnima‟ or „‟ in Odisha, an eastern state of India. Kumar Purnima is the full-moon day in the month of Ashvin in October. This autumn festival is one of the most popular and major festivals of Odisha. 'Kumar' or Kartikeya, the handsome son of Shiva was born on this day. He also became the God of War. As young girls always wish for a handsome husband, they propitiate Kumar who was most handsome among the Gods. But, peculiarly enough there is no ritual for the God; instead the Sun and the Moon are worshiped. “Pala” is a long musical narrative of mythological anecdotes punctuated with explanations rendered by a “Gayak” (Main Singer) accompanied by a chorus or band of four or five persons. It started from the “Skanada Purana” in the form of 16 Pala (narration of 16 stages of life of lord Vishnu). Among the group of five persons, one plays Mridangam while others play musical instruments like taala and cymbals.

Story telling

Story telling is also one of the major sources for origin of theatre in Western Odisha. Story telling tradition is as old as human civilization. It perhaps started with people sharing their experience with one another after a day‟s work. People would sit together and share their every day experiences. They also told stories about Gods and Goddesses, legendary persons and other supernatural power which stimulated them to be more imaginary and thus reality and imagination shaped the essence of folktales. Western Odisha being an area of great linguistic diversity has a sizeable tribal and rural population. It has a repository of tales in numerous languages .Many social Scientist/writers and cultural activists not only collected folktales but also accumulated other folk forms from different parts of Western Odisha. These forms include myths, riddles, songs, games, folk drama and proverbs. Department of Odia, has brought out two collections of folktales titled „Paschim Odisara Loka Katha‟ (Folktales from West Odisha) by collecting stories from the undivided districts of Sambalpur, , and Sundargarh of Western Odisha. There are a few tales that perform spiritual function. For instance the tale of “Karamsani” discussed here as the story of fate and efforts are told on the occasion of Karamsani festival to sensitize people about role of destiny or fate. It is significant here to talk about some of the features of these folk tales. Most of the folktales are based upon the common folk and we do find a king or queen here and there but common folk like farmers, servants, laborers form major plots in these folk tales. Another mark of these folk tales is that, these are familiar to the audience and accepted by all and everyone is a part of the larger cause of folk theatre. Because they are familiar, the audiences also take part in the process of storytelling. The demand on the performance of the story teller increases when the audiences are familiar with the tales. The audiences respond by appreciating, endorsing or commenting as the story teller tells the story and it is obvious that the stories are inter-connected. The story teller/narrator connects stories after stories and goes on and on. It depends on the narrator‟s skills to connect and continue the session.

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The performance of folk tales brings together other genres as well. There is union of folk forms such as songs, dance and riddles and proverbs. For instance, telling about an old man he would cite a proverb “Budha ke hela saathe, budhar katha nai kate” meaning “The old man has turned sixty, his words are not honoured.” Such folk forms are integrated into tales which themselves are educative in nature. Sometimes, a dialogue from a story can be used as proverb. And finally some story becomes plots of folk theatre.

Role of Festivals in the origin of Folk theatre Festive occasions are made up of rich and diverse elements of both intangible and tangible cultural tradition. A major role is being played by them in most of the societies as identities of cultural existence all the way through the collective values and beliefs that they represent. In the festive mood of Nuakhai, Dashara and Belsara people of Western Odisha organized numbers of games like Hanichopen , Thenga Pelen , and Khutighicha/ Badighicha . Humo/ Bauli/ Boria also played by young girls in various festive occasions of Western Odisha. Though Bana Badi or Gaur Badi is a ritual based game and it is also performed at other festive occasions. It is interesting that Bati (marbles), and Luklukani (hide and seek) played by Barabhai Bhima in Balijatra. Dasahara The religious union for Shakti worship in Western Odisha is prevalent, both in the Tantric and non-Tantric nature, as can be realized from the festivals Vasanti or Chaitra Durga Puja in the Durga Puja. The autumnal or Sharadiya ceremony is known under various names in Odisha: Dussehra, Durgapuja. During the festival of Ramlila (The famous folk theatre Ramlila is performed at many villages of Western Odisha) the plot of this great theatre gives emphasis on God Ramachandra conceptualized by the Saint Balmiki ,Mainly the role of Rama, Laxmana, Hanuman, Sugriba, Bibhisana, Rabana etc. performed by the local villagers and surprisingly they are not professional artists but at the time of Ramlila they get-together and make rehearsal for fifteen to twenty days and after rehearsal they perform it in an open stage. Mainly at Dasami or in Vijya Dasami (10th Day) audience get together to watch the most significant episode of ramlila that is Rabana badhha or Raban puda. Makaramela This festival is being observed largely by Tribal people in general and particularly in Western Odisha. Since this occasion falls when the harvesting of the paddy crops is over in Western Odisha, the festival is observed largely among all with delight and is ceremonial. Another important event of this festival is Hari - Hara Veta (Meeting of Lord Vishnu and Lord Shiva) in which small boys get make-up like lord Vishnu and lord Shiva and they represent the two Gods and meet together in the middle of the village. This festival is celebrated with hope and above all this festival represents the strong bond of friendship.

Type of Folk theatre in western Odisha Western Odisha is the soil of art and manner. Many folk forms have been urbanized mainly out of celebrating socio-religious ceremonies. Songs and dances are basic ingredients of these folk forms. Each folk form had its particular community, same language, area if we examine origin and growth of folk theatre of this area; we have to declare that this theatrical practice is inter-linked with human civilization. In the Vedic period, this area people had developed probable artistic qualities like songs, dance and many religious rituals to express their emotions, expect and aspirations. The musicality is one of the best characteristics of these folk dramas. The musical instruments developed indigenously are peculiar features of these folk theaters. In western Orissa the folk theatre form may be basically divided in to Three major categories such as 1.Agricltural oriented, 2.Ritual oriented, 3.Festival oriented Nuakhai, Pushpuni,Dahanujatra etc are mainly considered as agricultural folk theatre, Karma, Danda Natya, Sarmangla, Bhaijuintia and Puo juintia these are the famous form of ritual folk theatre likewise famous

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,Sitalsasti,kartik mela,Bali jatra are mainly considered as Festival Oriented Folk theatre.These are well thought-out to be the major forms which are still popular in rural areas on festival occasions.

Traditional Folk theatre of Western Odisha As an important part of culture, traditional theatre reflect the day today life like social relationship, behavior, , social occasion, worship, manner, fellow filling, believes, festivals ,superstition, preparing food items, collecting firewood, and other food products from forest, selling and buying of agricultural products, different traditional working culture, rituals, and festivity of a given social community etc . There are number of theatre in Western Orissa It involves the traditional use of music, dance, drama and religious rituals to express human emotions and feelings. These theatrical styles have their own sole form reliant on their customs, they differ from one another in implementation, staging, and acting style likewise Dang-gada and Mud-gada are stunt performances. Sabar Sabaren dance is a tribal approach. Nachnia and Bajnia are dance based performances used at some stage in marriage processions or on other celebrations. Putli Biha or puppet marriage is performance by children. Ghudkanach is the theatre of dancing and stunt to the tune of „Ghudka‟ or „Ghubukudu‟.

Agricultural Base Folk Theater:- Peoples of Western Orissa are easy & mostly depending upon Agriculture with the limited basis of they has survived their normal way of life. The natural calamities mainly the appearance of drought in every decade,. In spite of it, the people of this area live their life with a sense of neighborhood, sharing their pains and pleasures between themselves. The two fold life as special to each other is seen among the people of western Orissa We see the people singing, dancing and sharing their pleasure in one hand and the struggling for their survival on the other. Thus, the people of this locality try to forget the stark reality of the hurting moment of their hard life by expressing themselves in singing, dancing and jollity in their community. Loaded with the bare realities of life, the folk-mind has never hesitated to express its artistic ability and thoughts through the verbal tradition and the theater arts. As community life is the essential social characteristic of the people of this area, they never feel of enjoying their creative arts exclusive of the contribution of the entire community. Anybody in the community can be a singer or a dancer without earlier exercise, irrespective of time, age and sex. The folk oral traditions are handed down from generation to generation. One more vital feature of this oral civilization is the non-appearance of its authorship. Among the most popular agriculture based folk theatre Nuakhai, Gambahapuni, Pousha Punei . etc creates a special identity and recommendation to their unique celebration and presentations.

Pousha Punei and Dhanujatra - an Agriculture based Festival of Western Odisha This festival based on farming and it is observed on full moon day of the month of Pousha. The festival is celebrated all over Western Orissa, both by the rural and ethnic. Well-liked name, of this festival is "Chher-chhera". The term chher-chhera has probably evolved by altered form of the word 'char-char' meaning a drum. Drum is an incorporated part of the Pausha festival, as drum beating and dancing to the tune of beat is a must. Pousha Punei is special from other festivals of this area. It is largely a collective joyousness related to the new harvest and celebrated through feasting and cheer. The festival is characterized by two important events for the farming community – the annual deal of land laborers comes to an end and payments by landowners and agreements on fresh contracts are finalized for the ensuing year. Interesting and enjoyable scenes are enacted in the streets of villages. Jubilant boys and girls raise funds for 'chher-chhera' feasts from the families in the village, regaling them with their dance

International Research Journal of Management Sociology & Humanity ( IRJMSH ) Page 67 www.irjmsh.com IRJMSH Vol 7 Issue 5 [Year 2016] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) and music . In some villages, mock quarrels between angry old grand mothers and naughty children are organized. These events are entertaining and create a great deal of enjoyment and laughter among the audience. Dhanuyatra - the largest open air theatre in the world come to the end on the Pousha Purnima. Myth- logically, culturally as well as generally a well-built connection is there between the cher chera festival and world famous Dhanujatra. Dhanu Yatra is a widely famous folk theater form. It represents the folk modest folklore of this region. In this context, it may be said that Krushna cult of Hindu tradition, which has influenced many forms of folk dramas in special parts of nation, has also incredible influence on Dhanu Yatra.“Krushna-Leela” in Gopa-pura (present Ambapali village), “Mathura Vijaya” and“Kansa-Badha” in Mathura (present Bargarh town) are the main attractions of Dhanu Yatra. Kansa, all though, is the centre of attraction and he prevails during the Yatra. It is known as“Dhanu” Yatra for the reason that it is observed in the Dhanu (Pousa) month between the „Dhanu Sankranti‟ and Makara Sankranti‟. Secondly, from mythological point of view, Kansa had invited Krushna and Balaram on the occasion of DhanuYatra with a secret purpose of killing them in the Yatra. Thus, it is known as Dhanu Yatra. Dhanu Yatra is a theatrical demonstration of a myth „Krushna Leela‟, different actions, starting from the marriage ceremony of Devaki with Basudeva to the critical death of Kansa Maharaja. Dhanu Yatra has placed this area in particular in the cultural map of the country. Dhanu Yatra is celebrated in different parts of Western Odisha namely Chiroli, Talpali and Chichinda in Bargarh district, Arigaon, Karlapal,Ulunda,Hardakhol and Subarnapali in , and Kuchinda of . in social approach the people of western Odisha celebrated cher chera due to the death of Kansha Maharaj A well-known song of this region is „Kansha r bansha buddu Kansha Male khaema laddu‟ . Ritual Based theatre of Western Odisha Long back Chauhan kings came to rule over Western Odisha, they tried to inhabit the local tribes by accommodating their deity Samalei as their Istadevi (tutelary deity) and by this means manipulating their hold for good authority. Hence the Chauhan kings made it as their strategy by accepting the local faiths and way of life for the growth of their province in view of the fact that then deity Samalesvari creates an extreme central position in the spiritual and cultural life of the natives of this area. The celebration of such festivals and rituals related through Sakta shrines of Western Odisha moreover these are religious in character which reflects the culture of the people of the particular region. Here opinion has been made with observe to some significant Sakta festivals related with the goddess and god of this region and those festivals ultimately recognized as ritual based folk theatres . Danda Nata of western Odisha, also recognized as the Danda Nach, happens to be one amongst the earliest type of theatrical arts of the region, related with ritual performance and executions. Danda Nata forms a tradition of dance, music and histrionics blended by spiritual, collective improvement and an involvement of collective Brotherhood. Generally on worship of Lord Siva, the deity of destruction of the Hindu legends, who is as well the Lord of dramatic arts, this dramatic form brings into its crease a pleasant sense of co-existence among supporters of different theoretical doctrines, among supporting ethics and sets of opinions. Danda Nrutya is one of the greatest examples of ritual based folk theatre; there are two types of dramatic performances performed in Danda Nrutya. Namely Suanga danda and leela Danda Suanga Danda which is generally on the subject of Hara Parvati, Both Suanga Danda and Leela Danda start on with the prava nrutya, performed by path bhokta as per the pace of music which continues more than twenty minutes. Prava is worshipped as the embodiment of Goddess Kali. Suanga and Leele Danda is performed by the danduas in performance of the character of Siva-Parvati, , Patra

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Saura and Patrasaurani , Jogi- Jogiani Sabara-Sabaruni, Kela Keluni, , Kandha-Kandhunu, Hadi- Hadiani, Dhoba-Dhobani,.Fakir-Fakirani, Chadeiya- Chadeiyani, Bhalu-Bhaluani, Naba Chhanaka- Naba Chhanaki, Brusava-Brusavani etc. The themes of the Suangas are drawn in a form very normal life events and affairs of the ethnic and non ethnic people. On the other hand the dance styles of Suangas Danda are rather dynamic like birds and animals of jungle and act upon with an extreme first rhythm. Festival based folk theater Festivals play a vital part in the folk culture of western Odisha. Each festival has extraordinary songs and dances styles linked with them. These dances attach colors to the festivals and compose them more contented occasions to observe. In the customary dance the dancers execute just about a clay lamp with a light these dances are largely performed in rituals and sacred ceremonies of a particular society. For the most part of these are devoted to worshipping a God of the definite community. Each area enjoys dances and performances belonging to their faith with multi-colored costumes and traditional ornaments. One thing that is frequent in every style is the stillness of mentality and to enjoy it delivers.

Sital Sasthi Jatra, which represents the ethnic and folk practice of Western Odisha. It is a folk Theatre, which emphasize transference of artistic basics of custom and their combination with the elements of local practices. This festival is a unique and perfect form of folk theatre where the two godly characters that are God Siva and deity Parbati turn into two human characters and their wedding formal procedure is celebrated as per the local Traditions and norms through the people. It has got a unique position in the cultural map of India. The most important characteristic of this folk theatre is that, the common individuals turn into the parents of these god and goddess. This particular pair performs the role of Parbati's father and mother throughout the sacred wedding observance of Lord Siva and deity Parbati. They also carry out the practice of Kanyadan, which is measured to be very fortunate and holy for the parents. In addition legendary beginning, it has a past beginning also .definitely, society of this Jatra keeps the glow of convention and history alive. However the Saiva culture has influenced the Sitala Sasthi Yatra, its past foundation in Sambalpur is so far to be determined. On the other hand definite historical data pointing out that this folk tradition is in style ever since seventeenth century. It is supposed that, this ritual festival was on track in the period of influence of Raja Baliar Singh (1660-1690). As stated by the Hindu rituals and traditions, Sitala Sasthi Jatra is observed on Jyestha Sukla Paksa Sasthi Tithi, on sixth day of bright fortnight in the Hindu month of Jyestha (May-June). However, planning for this festival is initiated one month before. The fame of this folk theatre has attracted the people from different areas of Odisha and nearest states of Chhattisgarh,West Bengal, along with Jharkhand.

Style of performances of folk theaters: The folk theatre of Western Odisha cannot be separated from folk dance and folk music. The fullest enjoyment and expression is inherent in singing, dancing and playing music by them. The rhythm of the Muhuri, Dhol and Nishan musical concert of the local music players attracts the hearts of the singers and dancers as well as onlookers. Western Odisha has an assets of folklore, legends and myths, which combine with songs and dances into a compound art. Folk art forms are natural, sometimes simple, and were performed for the masses; however they are not inferior to classical forms beside which they continue to flourish. Their simplicity has an inherent beauty which appeals to the common people. Folk theatre art is the common possession of a group of people or a particular locality. The uniqueness of the originators is forgotten, but the style is preserved down the ages initially which started from religious activities .

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Dance Style The Western Odisha has also a huge mixture of dance forms exclusive to Odisha culture. The children's verses are known like "Chhiollai", "Humobauli" with "Duligeet", the juvenile poems are "Sajani", "Chhata", "Daika", and “Bhekani": the endless youth composes "Rasarkeli", "Jaiphul", "Maila Jada", "Bayamana", "Gunchikuta" and "Dalkhai", The work-man's poetry comprises "Karma" and "Jhumer" pertaining to Vishwakarma and the "Karamashani" deities. The expert entertainers perform Dand, Danggada, Mudgada, Ghumra, Sadhana, sabar – Sabaren, Disdigo, Nachina – Bajnia, Samparda and Sanchar. They are for all occasions, used for all time through varieties of rhythm and rhyme. Dalkhai Dance (Dance Oriented Folk Theatre) Although Dasahara is the event of Dalkhai the most well-liked folk-dance of Western Odisha, its performance is extremely widespread on all other festivals such as Bhaijauntia, Phangun Puni, Nuakhai etc. This is generally danced through young women of Binjhal, Kuda, Mirdha, Sama and several other tribes of Sambalpur, Bolangir, Sundargarh and Dhenkanal districts of Odisha in which men link them as drummers and musicians. In another movement they move forward and backward in a half-sitting arrangement. From time to time they make concentric circle clock-wise and anti-clock-wise. The women usually dress themselves with the multi-colored Sambalpuri Saree and wear a scarf on top of the shoulders holding the ends below in both the hands. The dance be accompanied by an affluent group 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 one sided drum 6" in diameter played by two sticks), Tasa (a one sided drum) and Mahuri. on the other hand, the Dhol player pedals the tempo though dancing in frontage of the girls. It is known as Dalkhai for the reason that in the opening and end of every verse the word is used as an address to a girl friend. The love story of and Krishna, the episodes from Ramayana and Mahabaharata, the narrative of natural outlook are represented through the songs. The young women dance and sing sporadically. The songs are of particular assortment with the additive 'Dalkhai Bo' which is an address to a girl-friend. While dancing to the uncanny rhythms of the Dhol, they place the legs close jointly and bend the knees. Decked with traditional jewelry their hearty framers continue 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. Karma-Dance: Karam or Karma exactly means 'fortune'. This rustic dance is performed in the worship of the god or goddess of fate (Karam Devta or Karamsani ), whom the natives regard as the cause of good and bad fortune. It begins from Bhadra Shukla Ekadasi (eleventh day of the bright moon of the month of Bhadra) and lasts for some days. This is accepted among the scheduled class tribes (e.g., the Binjhal, Kharia, Kisan and Kol tribes) in the districts of Mayurbhanj, Sundargarh, Sambalpur and Dhenkanal. In Dhenkanal and Sambalpur the dance is in respect of Karamsani, the goddess who bestows children and good crops. on the other hand the rituals related with the dance stay put the similar ubiquitously. In the afternoon of the fortunate day two young unmarried girls cut and bring two branches of the 'Karam' tree from a nearby forest. They are accompanied by drummers and musicians. The two branches are then ceremonially planted on the altar of worship and represent the deity. Germinated grains, grass flowers and country liquor are presented to the goddess. After carrying out the ritual the village-priest tells the legend associated with it. This is followed by singing and dancing in accompaniment of drum (mandal), cymbal etc. The dance performance full of vigor and power collective with charm of the youth decked with colorful costumes in enthusiasm of red cloth, set in peacock feathers, skillfully designed ornaments made of small conch shells, and brings the onlookers as well as the performers to a mood of trance and ecstasy.

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In this dance both men and women take part and carry on to involve themselves for the entire night. The skillful movement of the young boys with mirror in hand indicates the customary pattern of love-making in path of dancing and singing. The dance is performed from time to time by boys in group, sometimes by girls in group and sometimes both the sexes together. The focus of songs constitutes the explanation of nature, invocation to Karmasani, needs, hope of inhabitants, love and joking. The Karma dance continues from dusk to dawn, group after group drawn from nearby villages, dance alternately all over the night. In the early sunrise they carry the Karam branches singing and dancing and then immerse them ceremonially in a river or tank and then disperse. The performance of the Karma dance varies a little from clan to clan. The Kharias, Kisans and Oraons dance in a rounded pattern, where men and women dance together. It is always headed by a leader and usually the men at the head of the line. Only the finest of dancers link in right subsequently to or near him. Teen age girls and children join at the tail end to learn the steps. When the dancing grows fast the dancers of the tail end drop out to let the true dancers show their skill. The dancers hold hands in special ways in different dances. from time to time they simply hold hands and sometimes hands are placed on the neighbor‟s waist band or are crossed. It is the legs and the feet which play the major part in the dance. The dance begins lightly with simple steps forward and backward, left and right, gradually the steps grow smaller and faster, growing more and more difficult, until that dance reaches its height. Then it goes gradually to the first of first steps as the music leads to give dancers rest. The dancers have no unique costume for the occasion. They dance with their normal costumes which they wear on a daily basis .The dance is frequently held in the square of a village where performance is prearranged. In the centre of the courtyard a bamboo is fixed and it is split into four up to a definite height and then bent to form the arches. All split is preset with a pole on the external side to form the arch. Then it is ornamented with festoons of mango leaves and water lilies giving it a celebratory look. The floor is carefully plastered with cow-dung. Men and women dance winding in and out under the arches. The Performers Sing: „Juhar maa go Karamsani Aputra ke PutraDani‟ arrative style: Folk theatre in Western Odisha plays a significant role inside retaining and regenerating the habitual principles and aware the people throughout its learning process. The folk songs, storys, tradition, tribal legends and oral epics, proverbs, riddles, and folk performing arts are present with the different classes of people irrespective of their caste or tribe. The narratives style of Performances have a fixed place, time and certain rules of performance conducted by a priest, Sutradhar or Gahak for a definite religious and ritualistic principle Narratives style has the indications on the rules of performing the event thoroughly. The filling of the consecrated narratives are largely based on the origin of the life ,origin of Earth and nature, progression of animal and human being, procreation of mankind, effort for continued existence, family and social bond, relationship, migration and decision, tribal livelihood, source of Gods and Goddesses of each ethnic group, clan wise allocation of land and forest, sharing of Gods and Goddesses by the clans, narration of clash beside other tribes for territory and forest, decision of villages, sharing of land with their follower caste-group, spreading of caste/tribe to other areas, creation of farming knowledge, creation of iron instruments, farming of paddy and pulses, village organization and religious society companionship and aggression with other racial groups, adoration to the Gods and Goddesses for their own success and protection etc. pala, daskathia, Sanchar, Samprada are the models of narrative style of folk theatre in Western Odisha.

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Pala Pala is an significant cultural act responsible in favor of popularization of early literature. It consists of five or six persons. The drummer plays on the Mridanga. Others play cymbals, and help the chief singer. Gayaka is to sing and give details the significance to the spectators. subsequent to worshipping Lord “Satyanarayan”, they normally perform their show explaining an event, a section from the Ramayan, Mahabharata folk myth, and Oriya literature. Intensity of knowledge, sharpness of intelligence, speechifying and keen memory power are put to severe test when two well matched groups challenge each other in a pala competition. Nothing but total admiration is suitable to the singers for their in exhaustible liveliness to carry on the contest every night stretching over a month. The drummer displays the ability of his fingers and relates entertaining stories to satisfy the viewers. The dialogue among the singer and one of the attendances breaks the repetitiveness of lengthy speeches and jugglery of words in the song. Pala owes its starting point to effort at Hindu-Muslim harmony. Pala as a traditional narrative oriented folk theatre which is very much popular in almost all parts of rural Odisha excluding few interior pockets. Brecket theory of alienation is moderately comparable to the presentation style of Pala. Daskathia Daskathia is one more admired performance in Western Odisha. It is said to have been originated in 15th century. The utterance „daskathia‟ has been derivative from the word „Dasha‟ means follower and „Kathi‟ means wooden pieces. The dance brings relief to the master narrator, that is, the gayak. The dance continues for three to four hours and in that time the legendary stories is completely narrated by the players. Both the players dress themselves in a peculiar bhesa (Odishan dresses) like those of Paika‟s (soldiers) with complete dresses from head to toe with turban on their heads. At the outset they pray to the blessing and consent of Ganesh (lord of learning) and Saraswati (goddess of learning) for enabling them to act their performance in precise style .This part is called Mangalacharan. After the performance gears up, the players play the role of different characters in the legend. They play on the small wooden sticks in their hands. The superior player is called “Gayak” and the junior player is called “Palia”. Gayak literally means singer and Palia means repeaters or followers. Learned Pandits with broad knowledge in Purana, Shastras and literature perform this dance art by narrating different mythological things with satire and modern taste to entertain the spectators. The Gayak first tells the story in lyrics and the same is recurring by Palia and later on creates laughter and funniness among the spectators. The Palia entertaining the viewers by narrating funny stories and episodes sporadically through the intension of given that vast theatrical action stirs greatly significance with the spectators touching their hearts. Sanchar Songs of different type forms an inappropriate to the inspiring are chanted to the accompaniment of the percussions instruments of ancient origin called „murdung‟ (Mridanga) played by a singer himself. At the time the style of playing mridanga gives time measure to one more (Tala) mentioned to Sanskrit treatise of music. More importance is put on the instruments on the song and dance which are designed during its sharp relief the vivacious rhythm Sanchar of the murdung. Samprada This type of dance is common in this area,it is a uniform performance of singing, playing on the musical instrument which looks like Mridanga but bigger in size and Jhanja locally known as (Kartal), and dancing. The peculiarity of this performance is that the performer displays his ability in gayana, badana and nartan. One cannot be a professional performer in the Bahaka dance unless he acquires sufficient information in these three aspects. The tuning of the songs, the stepping movement of feet and rhythmic

International Research Journal of Management Sociology & Humanity ( IRJMSH ) Page 72 www.irjmsh.com IRJMSH Vol 7 Issue 5 [Year 2016] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) playing of the musical instruments make the performance extremely attractive and appealing. Bhajan, Janana, Chhanda, Chaupadi and Sanskrit slokas are recited while dancing. The main performer is assisted by another player who is known as palia Bahaka. This type of dance is normally arranged on social and celebratory occasions. Krushnaguru This is also extremely accepted and these days with God Krishna‟s existence as the subject matter of songs. The songs are performed in a group and show little variation in singing or rhythms acculturated by the beats of small percussions instruments lends an aura of calm importance to the performance. Song Oriented Narratives Songs are called geeta in Indian musicology. The word geeta is establish in early Indian literature and dramaturgy, In short folk music is the music played or sung or songs sung by the general people who have taken no pains to be familiar with the laws of consonance and dissonance, who do not know music moreover as an art or as a science, but however, sing as their frame of mind urges or community life on occasions of wedding, religious rites and social customs or merely to brighten their daily life amid the dullness and adversity of living. Folk songs are creations of group of people as whole rather than that of single persons. It has been rightly said that “folk music does not make use of any musical device as a result of wide awake facts or the study of science of music”. It does not seek its theme or emotional content from music serves as but a guide or groove for the overflow of the poetic emotions. The most commonly use folk songs in the folk theatre of Western Odisha are as follows: Dalkhai: It reflects the medieval phase musical (Sangeet) as a composite art as well as its fold a song is ( (a)composition of musical notes jointly with words) (b) instruments to support the music (for time measure) (c) dance (nrittya) is pure dance with abhinaya the emblematic feature. Songs and instruments go collectively and dance starts after the songs takes pause since the singing cannot go on when there is a fast body movement. After a brief and simulating spell of instruments exercise the Dalkhai songs starts stylishly with pioneering Dalkhai re… it proceeds with a mild , rhythmic beats of the drums till its comes to the last line of the stanza. The repetitions of the last foot of the last line expect an impending halt. At the same time with the halt starts the explosive playing of the instruments as well as the group dance. After a dancing spell comes to a halt on a cue given by a particular phrases of drumming the song resumes and the process goes on till it closes. The instruments that support and sustain the rhythms as well as keep time are percussions such as dhol, Nissan, and often tasha, muhuri and jhanj. Dalkhai has a social and religious background. It is group singing and group dancing connects with the warship of Goddess Durga the demon killing mother and embodiment of power. The worship period and hence the main period of Dalkhai commences only after the completion of some parliamentary rituals which are believed to be non Aryan and pre Aryan period. Thematically Dalkhai songs presents a variegate poetic picture Nature , universal natural object and phenomena with man at the center stage, social behavior and situation the particular human position which source continuation with the race are various celebrated with Dalkhai songs. Rasarkeli Compositions going in this name are related to the Dalkhai re nearly each single value non exclusive of it eroticism. The main dissimilarity lines in the beginning of its signature tune with Rasarkeli re or Rasarkeli bo which explore a small abstain. The time measure functional at the same time as actually singing the compositions consist of four beats to one division and may be understood 2 x2 patterns.

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Juiphula re and Mayla jada songs also belongs to this group of Rasarkeli re though of the Mayla jada songs have a comparatively more erratic movement. Karma These songs destined for Karma dance known as Karma songs. While the dance presented through an opening song is pioneering to Goddess Karamsani, the presiding goddess of a quasi religious dance. Halia songs Songs of the ploughman as their name signifies the halia songs are solely to the male member of the fair sex plough the field. The halia (ploughman) has as peculiar existent. He has a lone existence most on the time undergoing the drudgery of the pushing forward his plough through the unyielding soil of Western Odisha plodding on hours and himself but also similarly measurable pair of bullock to whom his songs are addressed With high pitch “Baila re” (Oh my bullocks) the halia is a philosophers and his songs are with idealistic fillings He sings of mythological themes. Rather a few songs are naturally enough of the halia presenting various facts of love of life the society in general. Kaisa Badi or Digdigo These songs are categorized by age for people of cowherd caste. They grip a small stick (Badi) that strike to keep the rhythm. The songs consist of two rhythms begin with Hare Ram Ho. Humo bouli If halia songs are solely for male, humo bauli songs are for female, particularly for girls who stands two row facing each other, advancing forward while singing initiating a measure and moving back to the original positions when it comes to an end. The songs usually consist of only three rhythms pines the syllables all being eight syllables each and second syllables. The first and third are repeated later than addition of the word “Bauri”. The songs cover various social aspects of the social life as well as individual life very simple very lovely. Sajani Structurally those resembles “Humo bauli” songs but exclusive of any rhythmic singing. A vocal of one syllable„re‟ or „ho‟ is added previous to the second lines. The words like „dhana‟ or „sate‟ or „‟ meaning my „dear‟ in fact the young swain correspondingly in homo bauli. Their hopes, ambition and their saddest feelings through their honest prejudice for the man and so on the „Sajani ‟ like most folk layers also communicate eroticism mystically , allegorically and characteristically Danda or Dand The broadly accepted positive reception of this form may be explained by the detail that it harnesses the flavor for religions and drum spoken of the dalkhai and first dance events connecting aerobatic contortions. Supporting rhythms is provided by at ankle or small bells fixed into a lute shape short stick which held small and level shaken rhythmically by a singer cum dancer. The great God Shiva and his partner goddess Shakti are presiding deity of the performance, but songs are not always of a preponderantly religious vain. Ghumura These songs are sung through a set of performers inside which the rhythm is emphasized by beating small, pot shaped drums dangling from the neck. The songs are invented to have been heroic properly. But there has been en growth of themes in current times to cover up common, sensible information of life. Miscellaneous: Bangri, Bhajana, Nanchania, Dul songs are more or less of the similar class as Dalkhai are second, third, the fourth varieties particularly linked with wedding ceremonies.

Reference International Research Journal of Management Sociology & Humanity ( IRJMSH ) Page 74 www.irjmsh.com IRJMSH Vol 7 Issue 5 [Year 2016] ISSN 2277 – 9809 (0nline) 2348–9359 (Print)

1. Pasyat, Chitrasen Orissa review, 2012 . 2. Mishra, Mahendra Kumar, Role of Myth In origin of theatre in Western Oddisha. 3. Sing Deo J. P., 1987, Culture Profile of South Kosals, Gain Publishing House 4. Kumar Shailendra, Voice of Research Vol. 1, Issue 2, June 2012. 5. Pasyat, Chitrasen Orissa review, Oct, 2007. 6. Panigrahi Susil Kumar, Odisha review, April-May 2012. 7. Bag Minketan, International Journal of Development Research, Vol. 320- 325, February, 2014.

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