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In spite of the recent modernization of the Kurmi which are contained in cultural communication are community they have still retained their old age very often the sample people. cultural traits and values which is distinctive from The music as a whole is divided into other tribals and Hindu castes. In their family movements which are related to each other by functions such as marriage, birth, death aesthetic rather than manifest association. For ceremonies they observe certain rituals which musically sensitive listener, each phase each reminds us of their rich cultural tradition. Culture movement and the symphony as a whole form a includes the material objects of human interaction, system of inter connected unities. The whole techniques of social interaction and social performance may take an hour but the message orientation, world view, performing arts etc. The is transmitted as if everything happened symbolism of decorative art may be drawn from simultaneously. The whole analysis is really true their habitat, the gods and deities of the Kurmi- to the Kurmi-Mahatos and other ethnic groups Mahatos in their ‘cultural area’ customarily related residing in this cultural area. The Kurmi-Mahatos in some ways to the forces of nature, stories about has got very rich folklore in respect of folk

The Cultural Life of Kurmi Community in the District of Mayurbhanj

Leelabati Mohanta

animals rarely refer to creatures found outside the medicine, folk belief, folk song, folk dance, folk habitat. tales, mythology, proverb, riddles, etc.1 Folk drama The Kurmi-Mahatos are very fond of The anthropological approach provides their collective excellence like songs and dances. a systematic description and analysis of such a Some are ritualistics and some are secular. In taste symbolic act in its verbal, non-verbal and flavour, in rhythmic beauty and fury, with communication in the context of social matrix of regional rustic tonal quality, jhumar is an kinship, modes of body decoration, folk songs expression of unique collective excellence of the and folk dances. The Kurmi-Mahatos rituals in region. Many important jhumar poets and day to day life in its cultural context are a pattern lyricists like Binaniya Singh, Uday Karma Kar, of symbolic communication that is supposed to Dina Tanti, Brajuram Bhabaprit, Ananda Ojha, guide the members of the community in their social Ramkrishna Ganguly, Narottam Das, Trailokya activities. The senders and receivers of messages Mandal, Pitambar Das, Baul Das, Narayan Sing,

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Sristidhar Mahatoand Haripada Mahato etc. had (c) Asralbaja contributed many poems with lyrical grace in (d) Asarchamkabaja Jhumar form. (e) Badtalbaja Following the above tradition, Girish (f) Natkibaja Mahato, Bipin Bihari Mukhi, Bhabtosh Satpathy, 3. Dhumsa3 -It has four types: Hajari Rajowar and others continue to write and (a) Nag Dhumsa compose jhumur song with regional folk (b) Nisan Dhumsa language, which communicate the deeper cultural (c) Tumang Dhumsa dynamics of the tribals and peasants which are (d) Jodi Dhumsa. integrated with unsophisticated regional literature Mahuri4-It has two types: or Janapadiya Sahitya. The aesophisticated (a) Gavi Mahuri regional literature or Janapadiya Sahitya, the (b) Talpatria Mahuri. aesthetic quality is the delicate and yet vigorous use of metaphors, symbols and syntax may easily Kurmi-Mahantas has many types of dance. be compared with the expressive quality of the That is: established ‘developed’ Indian language.2 Jhumar (1) Nachni Dance or Sakhi Dance deserves to be noted for its unique quality of (2) Panta Dance and Jawa Dance poetic-cum-musical excellence. The Bhakti or Karam Nach movement beginning in the south and sweeping (3) Kathi Dance and Mahada Dance the rest of India in the 16th and 17th centuries due (4) Chhau Dance to Gaudiya Vaishnava movement in Bengal and 1. Nachni Dance or Sakhi Dance Odisha, systematically also influenced the tribals. Centering round Jhumar songs, a solo Dance dance named Nachni Naccha is very popular The main performers of this dance are among the Mahanta community. This dance is professional singers, lyricists, musicians and performed at the time of marriage ceremony, birth dance directors. They have been traditionally ceremony and other social festivals. This dance patronized by the royal families. is performed by one female dancer or with a male dancer. This dance is originated along with the For dance they use different types of jhumar song in the late 18th century in the royal instruments. That is: courts.5 1. Madal or Mrudanga- It has four types: The male dancer is called Rasik and the (a) Bhadaria madal female dancer is called Nachni. Rasik wears a (b) Tunda Madal dhoti in a special way covering both the lung is (c) Thungri madal known as Mal Kachha Mara Dhoti Pindha. In (d) Jhumri madal the body he wears either a embroidered chaplen 2. Dhal- It has six types: or a sal, a head with a peacock feather. He holds (a) Rangabaja a flute in his hand, wears a garland and ghunguru (b) Judanbaja on the feet.

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On the other hand the female counterpart This dance is also known as Dandsal, Nachini’s dress consists of a colourful saree or a Dand Jhumar and Jhimaphulianach. Since the ghagra with blouse. Over the blouse, she wears dance is performed in standing position it is called an embroidered jacket. Also, she has a number Dandasal. Also the dance is based on the tune of of different ornaments on the nose notha or phuli jhumar songs and it is called Dandajhumar. The and the hands such a makdi, baju, chur, chapa, name Jhingaphulia is a Metaphor on janki kadhi, banki etc. flower which blossoms in the evening and died in the morning like that of the panta dance which The subject matter of this dance is mainly starts at evening continues to morning. on the lore between Radha and Krishna. The dancers themselves sing the songs. So the singers There is a basic difference between the and dancers are the same artists. Dance critics jhumar dance and panda dance. In jhumar there have taken this dance as falk classical because of is one or two dancers whereas the panta is a its mudras. The costume of this dance is known group dance. In this dance both males and females as Aughara. There are many mudras in this take part and dance by holding hands and singing dance such a Asanghura (greeting with folded songs. On the tune of madala instruments they hands) asanbanda (prayer to different Devas and move their feet and body forward and backward. Devis), which are performed successively The songs are of different tunes. With the change followed by karan, chari, than and lagan and of the tune, the dancing mode used to change. lastly Natki. There are many modes and tunes of this dance such as Patiamedha, Khemta, Adkhemta, 2. Panta Dance and Jawa Dance or Karam Rinjhamatha, Damkach, Udasia, Rasrasia, Dance Jhumka, Jhumta Tamadia, Nagpuria, Pantanach is performed by the Kurmi- Patartual, Nikan and Chalbata. Mahanta community in the occasion of karam There is no need of stage for performing festival and. This dance is a group dance, also this dance as it could be performed from the performed by the neighbouring tribal communities. courtyard of the house to the field. It starts with Though this is linked with religious festival different bandana or prayer songs dedicated to performed on Bhadraba Sukla Ekadasi but Lord Ganesh, village deity, ten dikpals, parents now-a-days dance is celebrated only evening of 6 and elders of the villege. In the pre indepedence the year. times, this dance was patronized by the royal A song for example – courts, zamindars and rich men of the village but "Karamkatikat Akhalathapanakari now there is a decline of this dance. Akhalathapana Brajer Nari, 3. Kathi Dance or Mahada Dance Ajarekarameker Rati Kathinach is another form of dance Kariakaram puja karamrajarseba prevalent in north Odisha where mainly the Gopin save Karen Ekadasi mahata community takes part. It is known as Ajarekaramkarrati" kathi dance because the performers dance with “Aj tare karam raja Ghareduare two wooden sticks or kathi in their hands. This Kal tare karam raja kansnadi pare.” dance is performed in October and November

JANUARY - 2018 59 ISSN 0970-8669 Odisha Review during the time of Durga Puja and ends with the The dialogue and the lyrics of this dance immersion of the Goddess7. The male dancers are on Kudumali language generally spoken by take part in this dance. It is a group dance. They the Kurmi – Mahanta community. Also, Odia, wear sarees in their wastes in ghagra style with Bengali, Hindi and local tribal language such as many plaits and a blouse to cover their body. A Santali, Mundari and Bhmijali are used in this number of ornaments like nakachana on the dance finds an improtant place in the folk traditions nose, ear studs on the ears and bahuti on the of the area. It educates the local village, illiterate hands, garlands on the neck, hands and heads. people regarding the environment protection, Sometimes leaves decorate their bodies as literacy, preservation of jungle and animals etc8. ornaments according to the characters they play. 4. Chhau Dance Village main road or the courtyards in front of the Even in Chhau dance many words used house are the places of their dance. They perform are taken from the kurmali language. The Kurmis in the moonlit night or with torches or petromax participate in chhau dance. This dance is lights. Now-a days electricity lights have replaced contributed in Mayurbhanj district. Kurmis the present lighting system. participate in the jhumar dance of Mayurbhanj, In this dance the music instruments such which depict different feelings of human being. as madala, flute, thila, lautumba, kendara and The design and dance techniques are the greatest gopijantra are used. Besides these, the wooden contribution of Kurmis of the region. stick held by the dancer produce prominent Songs pleasant sound along with the other music instruments. The wooden sticks are made of Epics of Indian literature and Krishna myth kuruchi tree and produced a sweet sound with with the help of seven tribal peasants folk forms minimum beating. The length of the sticks are of the area, namely Khemta, Arkhemta, roughly three feet and the colour is white so that Patiamedha, Rinjamatha, Domkoch, Jhingaphulia in the light, They give a sparkling colour. or Chaiti, Bagaliya or Udhaya and Bhadria superbly blended in artistic expression of The dancers in a group dance in a semi – Vaishnava aesthetics with kirtan (mass prayer) circular line by moving from left to right and again tunes. Under the patronage of Rajas of different from right to left direction. In this way they Garhs over the region a typical tradition of dance circulate with dancing, beating two sticks on the by dancing girls are locally know as Nachni Nacha tune of music. They also show different modes accompanied by elaborate Nachnisalaiya or shouting, haihaidesh. The theme of this dance is Darbari Jhumar forms of music developed. The based on Puranic stories, historical episodes and music experts came to be known as Rasik.9 social life like Rama and Sita Banabas, Indrajit Jhumar song Badha, Mandodari Soka, Balibabha, Krishna coming to Kansapura, playing of pasha between Jhumar is origin of chhau dance of Pandavas and Kauravas, Chhatrapati Siraja, Mayurbhanj and Jharkhand. Though it is the main expeditious of Bargis, deer hunting, pala, fish dance of dharma Ganjan originally but now catching palabaradekhapala, bilabachapala, becomes ritual dance forms blended in one dance kathachirapala, etc from known as chhau. These are Nachin, Danr

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Nach, Kirtan, Gajan Natua, Majhi Nach. Chhau social festivals. This dance is performed by one dance is a form of mask dance, mainly reflecting female dancer or with a male dancer. the lasya (passion), Tandava (destruction ) and Bibhahakalinajhumar other moods. Stories from the epics and the Puranas choreographed by ustads (specialists) in This jhumar song is sung at the time of micro regionally standardized forms. In the chhau marriage ceremony. Both bridegroom sider gether dance of Mayurbhanj, the Kurmi – mahatas are and the song is managed unit to both the parties. the main participants. They do not use mask, but Upanasikajhumar jhumar provides the main background of the choreography. Jhumar song is divided into ten This jhumar song use for the main gods type. and goddess. This song is two type one is – 1. Jawanachiajhumar Bandan Salia Jhumar 2- Mantra Salia Jhumar. 2. Pantasaliajhumar Darabarijhumar 3. Kathinachiajhumar 4. Nachininachiajhumar This jhumar is performed in kings darabar. 5. Bibhahakalinajhumar It is only for the entertainment for king and wealthy 6. Upanasikajhumar persons of the kingdom. 7. Darabarijhumar Sakhinachiajhumar 8. Sakhinachiajhumar 9. Mahadanachiajhumar When the Vaishnavism spread across 10. Chhaunachiajhumar Odisha, at that time the sakhi and sakhi dance of Vashnavism influenced the Kurmis. Then the Jawanachiajhumar Kurmis followed dancing and singing of Jhumar It is performed in Bhadrab Ekadasi puja song. for karam raja (karam thakur). The unmarried girls Mahadanachiajhumar observe this puja. This dance is performed for nature gods Panthasaliajhumar like birds, animals, field, tree and Assur –Action It is also observed in Bhadrab month of this dance is based on epics and folk tales like Ekadasi for puja of karam raja. Here some raga –Rabana Badha, Mahisasura Badha.10 and ragini are used that – patiamedha, Khemta, Adkhemta, Rinjhamatha, Jhingaphulia, Udasia, Chhaunachiajhumar Rasrasia, Jhumka Jhumta, Tamadia, Nagpuria, Jhumar is original convainer of chhau Patartala, Nikan, Chalchanta, Chalkhemta. dance of Mayurbhanj. Though it is the ritual dance Kathinachiajhumar of Dharma Gajan originally but now became ritual dance of Siva – Ganjan, chhau dance is form of The performers dance with two wooden dance, mainly reflecting the lasya (passion), sticks or kathi in their hand. tandava and other moods. Nachininachiajhumar Besides these there are other dances and This dance is performed at the time of songs like karama dance mainly for women marriage cermony, birth ceremony and other connected with jawa songs. The Bandna or

JANUARY - 2018 61 ISSN 0970-8669 Odisha Review ceremonial songs depicting the glory of cattle are Pow Ba Re Akhani, sung by males. The women also sings like tusi, Pancha Putra Dasha Dhenu Gai.12 which is ritual as well as secular songs. They sing (Oh Mother Lachhmi, Oh Mother Bhagabati; also plantation songs Dhan rope or udhaya, songs. keep awakening, the night of Amabashya. The The male and female dance is Danrnach during cost of awakening will give you five sons and ten Dal-Gara or jita festival. Various forms of marriage cows.) songs are also very much prevalent among the Kudmi – mahantas. Basically the Kurmi – References : mahantas are very much fond of dance and music 1. P.P. Mahato, Performing Arts of Jharkhand, and are pleasure oriented. Calcutta, 1987, p.99. But the Darabarijhumar is a rather late 2. Kirti Mahato, Jhumur Sangit O Sahitya, Purulia, origin. It originated in the last part of the 1992, p.100. 18thcentury and the early part of the 19th century 3. Girishchandra Mohanta, Jhumar Samiksha, in the royal courts of the Mayurbhanj and Sarhul, Vol – 1 & 2 Purulia, 1982, Page 101. Keonjhar states. 4. P.P Mahato, The Performing Arts of Jharkhand, Calcutta – 41, 1987, P.100. In this song and dance the traditional 5. Adikanda Mohanta, Uttara Odishara music instruments are used such as madal, Lokanrutya Nachi, nacha, Baripada – 2003, Dhumsa, Dhal, Kadakha, Sahanai, Flute, Thila, Pp. 26 Kendera, Gopiyantra etc. Besides these, now a 6. Ibid, Pp. 44-49. days modern instruments like Dubitabla, Harmonium are also used. 7. Adikanda Mahanta and Nilambar Mahanta, Kurmi Samskrutire Kathinata, Kurmi Katha, 2nd A collection of Tusu songs revel the mood of year,10th issue, Chitroda, October 1996 , pp.1-2 . the people in Mayurbhanj: 8. S. Mahato, The Origin, aim and growth of Bangalaisekangalkorilo Jharkhand Movement, Presented at the Eastern Region Seminar on ‘Development not Hamadersabkichukairenilo. Destruction’, Bokaro, 1990, P. 100. Partite aerjabonakollekata 11 9. Sunil Mahato, Machhani Ekti Lok Natya, Hamrahabonabhojer shalpata Loknatya Vol. – 1, Calcutta, 1986, P. 101. (After coming here Bengalees made us pauper, 10. Adikanda Mohanta, Jhumar Samikshya, Kudmi taken away everything from us. We won’t go to Jagarana- 9, Baripada, 2006, P. 10. Calcutta for the meetings, we would not be used 11. Sajal Basu, Jharkhand Movement, Ethnicity and as a dinner plate.) Culture of Silence, Shimla, 1994, P. 27.

A collection of Bandana songs reveal the 12. P.P Mahato, Sanskritization Nirbakization mood of the people in Mayurbhanj: Calcutta, 2000, P. 80. Jago Ma Lachhmi Jaga Ma Bhagabati, Jago Sutain Amabashya Rat, Leelabati Mohanta, Lecturer in History, R.N.College, Jagoke re Pratiphal, Barbil, Mayurbhanj.

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