ART AND CRAFTS OF ODISHA

Art and craft of any particular region display the unique blend of history and philosophy along whose line the civilization of that particular region has evolved.Crafts and art embed in them the long process of history in which the civilizations evolved and merged to yield the finest effect of cultured life.They are more than mere dispaly that soothes the vision of an onlooker.They are, in fact a reflection of the entire culture and heritage of a particular race.

The cultural heritage of Orissa too finds echo in its myriad vibrant art forms.With a history older than that of india and a culture that kept on evolving as the land passed from the rule of one ruler to other,Orissa's art and craft show as much variety and color as its past.The land in fact is rich in its diverse artistic achievements.having unique and distinct traditions of painting,architecture,sculpture,handicrafts,music and dance,Orissa has certainly been a paradise for art and artisians to evolve.

Famous for its appliqué items, Pipli attracts thousands of visitors offering a gala of alluring handicrafts. Silver filigree is an art form which has been the centre of Orissa's handicraft from time immemorial and still forms an important export item of Orissa . The exquisitely carved stone sculptures, embellished on the walls of the ancient shrines and monuments attest the artistry of those sculptors who perfected the skill through centuries of disciplined efforts. Palm leaf painting is a form of art that baffles historians till date.Nobody can help salute the spirit of the artisans who endured time and fatigue to produce art pieces on pieces of palm leaf with exquiste beauty and details.

These and many other forms of art and craft that still keep on finding expression in the lands of Orissa tell a story of skill, preseverance and dedication.Please scroll through this section by clicking on the links below to know more about the Art and craft of orissa.

1. Applique Work
2. Bamboo And Cane Work
3. Dhokra Metal Casting
4. Horn Works
5. Stone Works
6. Jhoti,Chita& Muruja
7. Lacquered Crafts
8. Traditional Paintings
9. Palm Leaf Paintings
10. Papier Mache
11. Silver Filigree
12. Sarees Of Odisha
13. Terracota
14. Wood Craft
15. Unhusked Rice Craft
16. Patta Chitra
17. Sand Art

    Applique Craft of Orissa

'Applique', is a French term that refers to an art form of superimposing patches of colored fabrics on a piece of basic fabric/cloth to give it an altogether a new look. Though this form of art is not unknown in other parts of India, it is Orissa and especially in Pipli that the craft has a living and active tradition continuing over centuries. In fact applique works are a vivid expression of Orissa Crafts. It is generally accepted that appliqué works ofOrissa date back to more than 850 years. The process of making the products has remained unchanged over the past few centuries. However during the last two to three decades, both the applique products and their style have undergone a tremendous change.

Among the traditional applique work, Chandua,Chhati, Trasa, Alata,Adhoni, Mandant and Bana, used at the time of Dola Jatra for deities are quite well-known. The use of all these products are associated with the religious ceremonies of Lord Jagannath. So it can be safely concluded that this art form ascribes its origin to the Jagannath cult. Patronized by kings and nobility of Orissa, appliqué work at one time had reached the artistic heights of excellence. The kings of Puri engaged craftsmen in the service of Lord Jagannath and set up village Pipli for them to live in. They were specially skilled in designing the canvas cloth that is used to cover the chariots of Lord Jagganath,Lord Balabhadra and Devi Subhadra.

Over a period of time, however the art form evolved to include other products as well that were prepared both for domestic and individual use. Two such products are Batua and Pasa-Pali. Since betel is commonly chewed in Orissa, a special type of bag called Batua is prepared to carry betel leaf and accessories. It is very much popular among the tourists from Eastern parts of the country. Pasa Pali or the dice-mat is another popular ancient products sold among the natives. All these products are today being replaced from the main menu of appliqué art. Instead, wall hangings, garden umbrellas, lamp sheds, cushion covers and letter bags are now prepared as they are very much in demand by the tourists.

The art form typically depended on four basic colors - red, white, black and yellow to produce a striking effect. In recent years, green too has been applied vigorously enlivening the craft even more. Temples and other religious institutions extensively patronized this art. In fact the basic inspiration for the art form was mainly religious in nature.

How It Is Done

The craftsman first prepares the base material in the shape of square, rectangle, and circle or oval which forms the background for the pieces of art. Appliqué motifs in contrasting colors are then cut in the shape of animals, birds, flowers, leaves, celestial bodies and geometric shapes. These motifs are then stitched into the base cloth in aesthetic arrangements. Raised motifs are prepared by giving several folds. The actual grace of appliqué craft lies in its intricate stitches namely, bakhia, guntha, turpa, chikan and other very delicate and esoteric embroidery techniques. Nowadays, small mirrors and bright metal pieces are used to enhance its beauty. After attaching the appliqué patches to the base cloth, the borders are then stitched. The piece of art is now ready for sale.

Almost all the family members get involved in this craft. Skilled persons of the family go for beautiful intricate designs while the less experienced take up the simple works like stitching the borders and making the base clothes.

Pipili: The Applique Shop of Odisha.

Bamboo and Cane work

Bamboo and cane works constitute an important part of the tribal art and provide them with regular income through out the year. In today’s date, it is no longer confined to the tribal market as it has found large scale acceptability. In the process, it has become an important part of the Orissa Craft. Many decorative items apart from items of daily needs are made out of cane and bamboo, like mats, baskets, durries, lamp shades etc. The art has been refined further to include furniture items now a day. In fact in today’s market, cane furniture is much in demand for their simple style and elegance in design.

The entire process of creating bamboo and cane craft involves intricate methodology that the craftsmen take years to master. First the stem of cane and bamboo is cut with a hacksaw and split longitudinally. It is then heated in low flame in order to make it a bit more flexible.

Bamboo crafts usually involve two forms – i) Basketry ii) Mattress

In basketry, bamboo/canes are coiled around a central core. The split canes are then built up spirally and the coils are joined by sewing the strips. Once the baskets are created they are decorated with paper, lace, shells or are painted with different colors. Weaving process is done by hand using water to soften the splits.

Creating mattress is although simpler than the basket items; involve lot of time and skill. The bamboo strips are weaved one after the other to give it the desired shape. The borders are generally tied with dried grass to stop the woven parts from slipping out.

Dhokra Metal Casting Craft of Orissa

Dhokra or bell metal craft is a tribal craft that combines metallurgical skills with wax technique to create things of distinctive beauty. The same technique had been used by the Mohenjodaro craftsman to cast the bronze figurine of a dancing girl some 4500 years ago. It is thus a very old form of craft that is still practiced in parts of Orissa. Tribal families in villages near Dhenkanal town cast boxes, figures of gods and goddesses, and lamps using the lost wax technique. In the process these tribal family have successfully preserved the ancient Orissa Craft of Dhokra Casting and have taken it to new heights of perfection.

Craftspersons are spread out throughout the state, making various religious and household utensils. The Kansari community of Orissa is expert at making Dhokra cook ware. Such materials have a gold tinted surface and are made from an alloy of copper and brass. It is the use of bee wax that makes it possible for the craftsmen to give shape to various structures. The entire process involves certain steps:

Step 1: Using rather coarse clay the shilpi makes a core vaguely resembling the end product. The clay core is hardened either by drying in the sun or by mildly firing in an oven.

Step 2: Drawing the bees-wax into stripes and thin wires, the artist wraps them around the clay core to produce a replica that is smooth and expressive. Then they add the decorative features and wax channels. The channels, during baking in the furnace will act as a freeway for the molten metal.

Step 3: The replica is coated with a thin layer of very fine wet clay. This layer is sun dried, and further layers of clay added. The mould is now ready. The artist must now become a metal worker. A clay funnel is added for molten metal to flow inside the mould.

Step 4. The mould is carefully heated so that the wax melts and is lost (hence the name lost-wax technique) leaving behind a cavity.

Step 5. It involves actual casting in a furnace. The cavity is filled with molten metal, and the mould is left to cool.

Step 6. The clay mould is broken and the artifact taken out for cleaning and polishing. A new artifact has been created out of metal scrap. The Dhokra shilpis often work with brass (copper + zinc) or bronze (copper + tin). If the tin content is high, the alloy is called bell metal. Unlike in the case of potters, where traditionally the turning wheel is reserved for men, all parts of Dhokra work can be done by either men or women. Children learn the craft through imitation and instruction.It is entirely through parental guidance that this craft of Orissa is handed over from one generation to other.

Horn Works

Horn articles of Orissa are mystical and are blended with a superb design. Their lively appearance and dynamism vie with the real objects of nature . There are artisans in Parlakhemundi and Cuttack who are dexterous in providing articles of daily use like combs, flower vases and pen-stands out of the horn of cattle.

Creating objects of decoration from horns of animals is acraft of Orissa that has been practiced from ages, primarily by the tribes of Santhals, Oraons and Marijas. Contemporary artisans use the cow and buffalo horn to make more utility items like ashtrays, jewelry and combs. Sometimes, horn and silver filigree work are combined to make ornaments. The combined style is more prevalent in Cuttack. Beautifully carved combs of bones and horns are popular all over the world.

The desired object is carved from the solid part of a horn after soaking it in water. Then the carved piece is heated to a specific temperature and shaped. After that, its surface is smoothed by rubbing it against a sharp stainless steel blade . Necessary bores are made to fix appendages. In the past, eyes were made of the stag antler stick at the center of which a bore was drilled and stuffed with lacquer burnt in a luminous flame. But nowadays, plastic eyes are being used due to non-availability of stag antlers. After drilling bores, light incisions and grooves are made in the required places on the body of the horn. At this stage it is handed over to the women for polishing. They rub the articles first with a sand paper and then with wet Khrshana leaves. The polishing is done till the horn is smooth and shiny. Then it is thoroughly cleaned with water and dried in open air. It is then polished again with cow dung ash or charcoal ash. The various parts are then assembled and stuck together using limestone paste. Finally coconut oil is smeared all over to give the horn work a beautiful sheen.

One of the popular crafts of Orissa, horn work craftsmen are adept in creating things of daily use like pen stands, table lamps, paper weights, lamp shades, snuff boxes, walking sticks, vermilion . But the loupe-cleaners, razors, spectacle-frames, cigarette cases that were in vogue during the Second World War are now conspicuous by their absence. Though they were imitational items, it did not prevent them from being works of art. However, the name of craftsmanship is attained in those made in imitation of living beings. Fish and Fowl, Flora and Fauna, Men and Women in fact, the entire gamut of creation is rendered in a naturalistic manner. The list of horn crafts from Orissa remain incomplete without a mention of the horn deities, especially Lord Jagannath. In keeping with the changing times, inspiration for decorative pieces is being drawn from modern art as well.

Stone Carving

The tradition of stone-carving is very rich in Orissa.Craftsperson fromOrissa had since the ancient time in Orissa had achieved a very high degree of expertise in stone carving. The huge repertoire of stone carving is best revealed in the architecture and rock-cut sculptures of Lingraja, Jagannath, Mukteshwara and other temples of Orissa. Other noteworthy monuments include the temple chariot of the Sun God at Konark, stupas of Ratnagiri and Udaygiri, Surasundaris heavenly beauties playing on different musical instruments at Konark temple, the Konark wheel, horse, elephant, lion. Other motifs include Krishna and Radha, Laxmi, Vishnu, Durga, Buddha and Ganesha. Stone carving as a form of Orissa Craft is still practiced by many craftspersons.

Only a few simple tools like hammers and chisels of various shapes and sizes are enough to carve the ultra soft white soapstone, or Khadipathara, harder greenish chlorite or Kochilapathara and pinkish “Khandolite” or Sahanapathara or Baulapathara and the hardest of all black granite or Mugunipathara.Stone carving in Orissa as a traditional craft and has been practiced for centuries and had reached dizzy heights of excellence due to disciplined efforts of generations.

There are also a variety of household products that are made from sand stone while granite is used to make images modeled on temple figures. Contemporary artisans have made many a decorative and utility articles like ashtrays, paperweights, candle stands and book rests out of stone carvings. Even kitchenware and stoneware utensils are not uncommon in this part of the world. Patharasahi is another important stone-cutting and stone-carving centre. Puri specializes in icons and figures carved in different dance poses.

Stone Utensils of Keonjhar

These stone utensils are mainly found in the centers of Lulung and Bolgariah of Keonjhar district. They are made by using a hand-turned lathe. The design and shape of these utensils is very unique. These utensils are valued for religious purposes and are also supposed to have a curative medicinal effect on diabetic patients.

Jhoti, Chita, Muruja

Jhoti and Chita

The folk art of Orissa centers on the social and religious activities of the state. In the month of Margasira, women worship the goddess Lakshmi. It is the harvest season when grain is thrashed and stored. During this auspicious occasion, the mud walls and floors are decorated with murals in white rice paste or pithau. They are called Johti or Chita and are drawn not merely with the intention of decorating the house, but to establish a relationship between the mystical and the material, thus being highly symbolical and meaningful. Sometimes a brush is prepared by attaching a piece of cloth to a twig. This is dipped into the white rice paste to draw patterns on the wall. At times, the paste is sprinkled on the walls with delicate swishes of mist, and a pattern resembling bunches of paddy emerges on the wall.

Throughout the year, the village women of Orissa perform several rituals for the fulfillment of of their desires. For each occasion, a specific motif is drawn on the floor or on the wall. For instance, in Lakshimi Puja a stack of paddy is drawn on the walls structured like a pyramid. During Durga Puja, while dots superimposed with red are painted on the walls. This combination of red and white signifies the worship of Shiva and Shakti. To draw a Jhoti or Chita, the fingers are dipped in to the rice paste and made to trace out intricate patterns on the floors or walls.

Muruja

Muruja is drawn on the floor with powders of different hues. Indigenous methods are used to get color powders. White powder is obtained from powdered rice, black from burnt coconut shells, yellow from the petals of marigold flower or turmeric and red from clay or bricks. In the holy month of Kartik (November) women of Orissa observe penance and draw Muruja designs near the Tulsi plant. These are also drawn on grain bins, on small pavilions for household deities, on the threshold of homes and on earthen pots used during marriage and on other auspicious occasions.

Lacquered Craft

Lac is the refuse of an insect that is gathered by the tribal people.This refuse is used to make goods of innate beauty by craftsmen in Orissa. Basically a form of tribal craft,this craft is practiced mostly by the tribal women in Balasore and Nawrangpur districts of Orissa by mixing it with different colors and applying on the crafted items. The work is executed in delightful folk designs and includes items like bangles, necklaces and toys; all of them distinctive and hence in great demand by the cognoscenti. The items thus created are much in demand in the international markets and are generally exported.

After conceiving the design of a particular item and giving shape to their imagination, the women apply coats of lac on it. This is done until the surface is evenly coated with lac. After this, the items are left for drying. The surface of the items is then decorated with motifs from nature, geometric patterns and religious symbols. Although the visual power of color and design combine to make an ornamental effect, the artisans are constantly exploring the area of material, form and technique.

Though there are many items that are produced out of lacs like toys,bangles and even jewels, the aesthetically crafted bamboo boxes are the items that attract much of a tourists attention and quite evidently so these are the major lacquered items to be exported from Orissa. The bamboo boxes are lacquered in attractive colors and ornamented with perfection. These attractive boxes make for great presentation items on all occasions.One of the exquisite crafts of orissa,lacquered craft are simply awesome.

Traditional Paintings of Orissa

Orissa had developed quite a unique form of painting, known as the Oriya school of paintingin the bygone days. Based around the Jagganath cult these art forms developed in the temple of Jagganath temple to gradually find their way out. The Oriya school of painting can be divided into:

1) Classical Oriya painting
2) Folk painting
3) Tribal painting

Classical Oriya painting

The classical Oriya painting, Pattachitra is painted on a specially prepared cloth (patta), coated with earth to stiffen it and finally finished with lacquer after painting, producing motifs in vibrant colours. Pattas are now used as wall hangings. The subject matter of patta paintings are closely connected with the Jagannath cult and the episodes from Ram and Krishna life. Pattas showing in scenes of Rasa Lila, Vastra Haran, Kaliya Dalan, images of Lord Jagannath, themes of eroticism, nature and wild life executed in vigorous folk style are cmmon. The traditional chitrakars (painters) have the honor of painting the Puri temple deities and their chariots (cars) every year.

Palm leaves (Chitra pothi)

These were basically the folk paintings from Orissa. An exclusive and indigenous tradition of Orissa, the craft of palm leaf manuscripts dates back to the medieval period. With the help of an iron pen or stylus (lohankantaka), the artist first inscribes texts or design on the surface of palm leaves. A paste of tamarind seed, oil and charcoal is then applied over it. The residue is then rubbed off thus revealing the groove that stands out distinctly. Usually the legends of the Mahabharat and Ramayan, gods and goddess, the nature and wild life themes are presented. The visual effects are enhanced using the vibrant vegetable and mineral colors. Romantic figures drawn on small leaves now serve as book marks, greeting cards and playing cards. Of late, the traditional artists clustered in the village of Raghurajpur, about 50 km from Bhubaneswar have revived this art from. The village of Dandasahi near Raghurajpur has been identified as another centre.

Orissa Tribal Paintings

The tribal paintings of Orissa are intimately related to their religious beliefs and drawn to appease their deities. Edital is the ethnic painting of the Saora tribe usually depicting everyday like along -with the concepts of retribution, punishment and rewards. The Saora artists use right angled triangles to cast the anthropocentric world in different moods and emotions. The Kondhs paint the walls of their houses with geometric patterns, called Manji Gunda while the Santal paint the figurative designs.

Palm Leaf Paintings of Orissa

Palm leaf paintings of Orissa are one of it's most ancient art form. The Palm Leaf illustrations of Orissa are mainly of two types

1) Simple engravings or illustrations in pure line on palm leaf
2) Engraving with color fillings

Most of the palm leaf engravings in Orissa are simple. Horoscopes were traditionally written on palm leaves by professional horoscope makers known as Nahakas. These were simple engravings.

The color engravings are those which use colors in the process of engravings. In these engravings, colors are muted and play a very minor part. Wherever colors were applied, they are just painted either to emphasize the inscriptions, or to fill up blank space. Religious texts basically form the major chunk of colored engravings.

Palm leaf is a sacred art of Orissa and even to this date horoscopes continue to be written in Palm leaf. The respect that this art form commands in Orissa can be gauged from the fact that even after the advent of printing presses in Orissa, important texts continued to be printed on the leaves instead of paper. The printing of New Year cards and wedding invitations on palm leaf is still followed in Orissa.

Palm Leaf Painting - The technique

Rows of same sized palm leaves are first arranged together and sewn. These neatly sewn palm leaves are then folded in such a way so as to make a pile. These paintings are first etched out, which means that the designs and images are neatly etched on the surface of the palm leaf using a sharp pen or stylus like object. Ink (or a concoction of charcoal of burnt coconut shells, turmeric and oil) is then poured along the lines; the lines are now defined. Vegetable dyes are also added to give these paintings some color, but these paintings are mostly, dichromatic (black and white). The panels of the paintings are unfolded like a fan to reveal a beautiful patta chitra.

Palm Leaf Paintings - The themes

Mythological themes dominate most pattachitra paintings; scenes from the Hindu epics, Ramayana and Mahabharata are lovingly depicted. Local legends and folklore too find their way into the paintings. Legends of Lord Jagannath,Radha and Krishna, Durga, Ganesha and Saraswati are the most commonly used Gods and Goddesses

.This ancient art form has found admirers far and wide. Not only does the intricate designs and aesthetic depiction of Gods and Goddesses attract ones attention, the use of the leaf adds to the quaint charm of the Art form. This form painting is hailed as very eco friendly too. Today there are small towns exclusively dedicated to this art form in Orissa. One can visit the towns of Raghurajpur and Chitrakarashi to see the artists at work. A first hand sampling of this art form is a must for all art lovers.

Papier Mache

Papier Mache skill has been creatively practiced by crafts persons from all over Orissa for long. Masks, hand bags, toys are produced out of specially made papers in Orissa that are not only beautiful but strong and durable as well.

Orissa has a history of folk theatre also known as Jatra in local parlance. The characters of these Jatras are made of wood and vividly painted. They are dressed according to the characters played by them and are controlled by strings. Based on the characterizations, masks are used by the artists. These masks are made of wood, sholapith and papier mache. This has given rise to the art of making masks from special paper. Most artisans for this craft are located in and around Puri.

An elaborate procedure is followed to make papers for these items. Paper, waste cloth and different kinds of natural fibers are soaked and beaten into pulp. They are then mixed with a variety of seeds and gums for strength and as protection from termites. Special clays and bio-wastes are added for body and reinforcement. The entire process results in a medium so malleable that it requires skill to be molded into countless forms. Items like masks, toys and caps generate a lot of interest in the market.

Silver Filigree

Tarakashi or silver filigree is one of the most exquisite renditions of silver craft. Beaten silver is drawn into fine wires and foils which are then fashioned together to create jewelry of infinite beauty. The silver filigree craft of orissa is similar to that done in Indonesia. Possibly this craft has been carried on to Indonesia by the ancient trading communities from Kalinga .It is also possible that the craft existed in Indonesia and was adopted by the traders and brought to Orissa. Whatever be the origin of the craft, it is one of the most beautiful forms of human craftsmanship ever practiced and a befitting expression of the Orissa Craft that has thrived for centuries.

The main centre for silver filigree craft is Cuttack.The process of creating the filigrees is interesting. The ingots are beaten on an anvil and elongated into long wire by passing them through a steel plate with apertures of different wire gauges. Each filigree jewelry piece actually combines several component parts. Two or three wires are wound together after heating and then bent into various shapes to get the patterns. The space within the frame is filled with the main ribs of the pattern, which is usually a creeper or flower, forming itself into small frames of circles, flower petals, and the like. The silver jewelry made in Orissa has twisted silver wire as the base material; the articles have a lacy, trellis-like appearance which gives them a rare charm.

This craft of Orissa requires delicate workmanship. The products made include ashtrays, boxes, cigarette cases, trays, bowls, spoons, pill boxes, jewelry, buttons and perfume containers in the shape of peaks, parrots, or fish. Silver dishes and decorative pieces are also handcrafted to perfection.

Sarees of Orissa

Orissa sarees have a close relation with the Jagannath culture. Originally, the four basic colors which are found on Lord Jagannath—black, white, red and yellow—are extensively used in Oriya saris. Even the motifs such as the temple border, lotus, conch and wheel, signify the affinity with the reigning deity. The traditional Orissa sarees have undergone vast changes as weavers try to adapt the designs to popular taste. Orissa handloom sarees can be broadly classified into the following categories:

Ikat Sarees

Traditionally the Ikat sarees have been produced in Orissa since time immemorial. The discovery of Ikat woven cloth found in a Pharaoh’s tomb pointing to 5,000-year-old trade connections with India. The Ikat tradition of Orissa is the intricate process of Tie and Dye i.e. knotting selections of yarn before dipping them in separate colours one at a time and finally weaving them to produce one of the most delightful designs in multi-hued tones, in motifs drawn from the richness of nature, in threads both silken and gold. The Ikat technique is commonly known as BANDHA in Orissa and the traditional Ikkat sarees called as patan patola.

In general terms, Ikat is a form of weaving these wonderful textiles. The weft or the warp or both are tie-dyed before weaving to create designs on fabric in this method. The making of the Ikat sarees is so meticulous that it takes nearly seven months to make them. The various color combinations add grace to the Ikat sarees. Traditionally, the women of Orissa dress in sarees of blue, red and magenta and other deep colors, with Ikat patterning. These beautiful and eye catching saris are made within the state, mainly at Nuapatna, near Cuttack on the coastal plain, or in the weaving centers inland around Sambalpur, Bargarh and Sonepur and Boudh districts.

Bomkai Sarees

A traditional figured sari from southern Orissa the Bomkai saree is named after the village where the craft is practiced. These saris, woven traditionally for the local aristocracy use a heavy low count cotton yarn that is dyed in bright colours mostly black and red along with silk fabrics.

Using a time consuming weaving technique the field warp threads are cut and then retied to different colored warps to create the unusually large pallu. This technique is locally called muhajorhi (or pallu with joined threads).

There are Bomkai sarees with elegant designs, enchanting colors for the exclusive women. Some Bomkai sarees have small fishes woven onto the border. Fish symbolizes prosperity and good health. Bomkai sarees feature threadwork ornament borders and pallu. These sarees are much in demand owing to their traditional look as well as their understated and elegant color palette.

Caligraphy Textiles/Phetas of Orissa

Historical records available at the Jagannath Temple in Puri dating back to 1719 indicate that verses (shlokas) from the Geeta Govinda were woven into cloth donated to the temple. This unique Orissa tradition continues to this day with weavers from the Patra community in Nuapatna weaving these textiles.

Koraput Sarees

The tribal saris, scarves, and woven fabric lengths of the Koraput-Bastar region are woven in heavy count cotton ranging from 10 to 20. The weaver uses a three-shuttle interlock patterning, which makes available innumerable combinations in scale and volume. The characteristic natural dye coloring used is derived from the deep red aal or madder dye which is extracted from the root of the Indian Madder tree. The powerful and vibrant deep maroon that is obtained is often darkened to brown with the addition of harikari or sulphate of iron. These colors combined with the natural unbleached off-white color of the yarn produce dramatic results.The designs used have an underlying symbolism and are largely inspired by nature or by significant objects of daily use.

Pictorial Sarees

Peculiar to Orissa are the pictorial saris that are woven for the rural market. Unappealing to their urban counter parts these saris are woven with architectural building patterns, religious temple outlines, landscapes and often objects that figure large in the mindscape of the weaver including aero planes.

Apart from the afore mentioned categories, Orissa handloom products can also be categorized into the following categories:

1. ‘Bandha’ or tie-and-dye from Sambalpur is one of the finest examples of double ikat; ‘Khandua pata’ from Nuapatna in Cuttack district is relatively cheaper than Sambalpuri because the yarn used is the cheaper Malda variety;

2. The Bandha or tie-and-dye technique used in Orissa is much different from that of Gujarat and Rajasthan. Here, the yarn is first tied in portions, and each section is dyed in a different color according to the design. When woven, the designs emerge, and the special feature is that the design is prominent on both sides of the fabric. This is a very complicated process and it is rather amazing to find that the traditional weavers do not use any graphic designs on paper. The common motifs are borrowed from nature. Flowers, creepers, birds, animals are abundantly woven in myriad colors, all lending a distinct feature to the nine yards of woven wonder.

3. The Pasapalli saree with its distinctive black-and-white squares is a replica of the chessboard. Equally fascinating are the names—Vichitrapuri, Chandrika, Nabagunja, Asman Tara and Krishnapriya. The earlier yarns of coarse cotton have been replaced with fine cotton, silks, tussar and a cotton-silk mix called ‘bapta’. Gold thread and tissues are also used to enhance the patterns.

The other typical varieties of Orissa saris, in silk and cotton, include the glossy Khanduas having elaborate designs, the rich red Jotai Ikat with rows of stylized trees and temple spires on the borders, the unbleached cotton Kotpad from Koraput offset by a vibrant red dyed border, the Taraballi and the Bichitrapuri. The tribal people of the State also excel in producing textiles of myriad hues using vegetable dyes.

Terracota

Terracota is traditionally done by the tribal of Orissa. They use special type of clay to give shape to their imaginations through their skillful hand . Popular items of terracota iclude roof tiles and utensils such as plates, khullars or the earthen tea cups, jars and many other kitchen items. Artists prepare many items most of which they outline and highlight with colors. However, in most cases the finished is left with the natural terracotta color. Animal figurines of bulls, elephants and horses are also elegantly molded in very natural strong forms.

Wood Craft

Wood Carving is a highly specialized form of carving that is extremely intricate and meticulous. Decorative pieces like animals, temple carvings, idols of Lord Jagannath, and toy items are some of the popular pieces carved in Orissa along with other utilitarian items like bowls, plates, and ashtrays .These items are simple and done in polished wood.

Excellently proportioned and finished to fine smoothness these wood carvings depict myths, legends and folklore. Good examples of the work of the wood carvers of Orissa can be found in temple ceilings and carved wooden beams and doors in places like Charchika temple, Buguda, Banki, Birnchinarayan temple, Kapilas, Siva temple and the Laxmi Nrusingha temple at Berhampur. Other popular motifs include various stylized animals and birds, elephant, lion, tiger, bull, peacock etc.

The craftsmen of Kendapara are famous for their wooden handicraft products. Daspalla area near Puri is also famous for wood crafts. The craftsmen of Khandapara in Puri are proficient at carving plates, bowls, flowerpots and other decorative articles from a creamy white wood.

Unhusked Rice Craft of Orissa

The tribal of Orissa are master craftsmen and specialize in producing spectacular items out of many daily use things. Handicrafts of the unhusked rice are one such thing. For aeons, the tribal have practiced this craft of making chains, figures of deities, animal figures, flowers, garlands and other objects. This painfully laborious craft – is practiced in parts of Balasore, Koraput, Bolangir and Kalahandi .The entire process demand meticulous attention and minute detailing.

Once a flourishing item of craft owing to religious significance, the craft is practiced hardly by 15 to 20 families today and that too during lean agricultural months. The products are sold mainly at local haths (markets), though some of the artisans have access to urban craft bazaars.

Products

The products painstakingly pieced together, include images of Goddess Laxmi, elephants, chariots, tribal marriage crowns, images of temples, hand fans and baskets.

Tools & Techniques

No formal tools are used for making these tribal craft of Orissa . The raw material required is mainly unhusked paddy seeds of uniform size. The only other things that is needed is thin bamboo sticks and strong yarn in red, green and yellow colors. The process involves tying by hand each individual paddy seed to two thin bamboo sticks that are placed parallel to each other at a minute distance but are sufficiently close enough to hold the paddy seeds tightly in a straight line. This is a very painstaking and repetitive job that requires high degree of concentration and unmatched dexterity. Each and every seed of paddy has to be knotted individually. Garlands of paddy seeds are thus formed with different colored threads which are then pieced together to give different shapes. The length of each of these paddy garlands is approximately one yard. About ten paddy garlands are required to create 30 pieces of Goddess Laxmi in a medium size. Each of these pieces is sold at a nominal rate. After household chores are over women and children usually perform the hard task of making the paddy garlands in their spare time; both the men and women then craft the final images.

Patta Chitra Painting

The Patta Chitra painting, one of the fascinating art forms of Orissa, has a tradition that goes back to centuries. In fact, it is often described as the best among the Orissa Craft. Evolved in the Puranic culture and grown in mythology, this form of art developed and revolved around the Jagannath cult of Orissa.

Patta Chitra and Lord Jagnnath

The word “Patta” means cloth and the word “Chitra” means a picture. Thus Patta chitra is a form of painting that is done on clothes. The art form can be traced to as early as the 12th century A.D and has evolved around the Jaganth cult in Orissa. Even to this date certain ritual in the temple of Lord Jagannath is incomplete without the Patta Chitra. The Debasnana Purnima is generally associated with the ritualistic bathing ceremony of the Lord Jagannath. After this the deities become sick for fifteen days and the devotees don’t have darshan of the Lord in his seat, the Ratnavedi. This period is known as Anasar. During this period, three Patta paintings of the Lord Jagannath, Balabhadra and Subhadra are worshipped. These are known as Ansar Pati and unlike the images of the Lord which are incomplete, depict them with full limbs in Padmasana holding Sankh (conch), Chakra(wheel), Gada (club) and Padma (lotus flower) in his four hands.

Traditional Patta Chitras that are painted for Lord Jagannath has elaborate rituals attached to it. The chitrakars/painters need to work on the painting wearing a new dhoti, eat only vegetarian food and sleep on floor. Once the painting is over, a grand bath (maha snana) amidst chanting of mantras is arranged and the deities are put in for Darshan confirming with tradition. After the fifteen days period or Anasar, the paintings are stored in the storehouse of the temple.

Traditional way of making Patta Chitra

The form of worship associated with Lord Jagannath is vaisnavite. Thus apart from Lord Jagannath, most of the themes of traditional Patta Chitra are mystical stories from Ramayan and Mahabharat. All the Patta paintings are indigenously prepared following a prescribed method.

First a piece of cloth is washed and dried. A special gum prepared from the powder of tamarind seed is applied over it. Another piece of cloth of the same size and dimensions are put over this cloth before the gum dries up. The tamarind gum is applied once again on this piece of cloth. Once the gum dries, a powder of soft white stone mixed with the tamarind seed gum in ideal proportion, is applied on both sides of the cloth. This is again let to dry. After this, the cloth is polished with a smooth pebble and made smooth to make it suitable for painting. Here it needs to be mentioned that the preparation of Pati/canvas is done solely by the women of the families.

The Pati being ready now, actual work can begin. The colors used are primarily white, red, yellow, blue, green and black and are prepared natural ingredients. While White is prepared from powder of conch-sheel, yellow from Haritala, a kind of stone, red from geru (Dheu) and Hingula black from burning lamp and coconut shell and green from leaves. Traditionally, three types of brushes were used. They are broad, medium and fine. These are prepared out of the hairs of the buffalo, calf and the mouse respectively.

The artists execute a sequential procedure for preparation of the paintings. First the border and the sketch is drawn on the patis either in pencil or in light color. The artists put correct lines to make the figure more prominent. The lines are broad and steady, and then the color is applied. The visual appeal of a patta painting is in its color combination. The human figures are generally presented frontally. But the face, leg is shown side-wise but the elongated eyes are drawn from the front side. Sharp nose and round chins are prominently depicted. The typical hair style, clothing, ornamentation, beard and mustaches are used for different persons, so that there is no scope of confusion to recognize and differentiate between the figures of the king, minister sage, royal priest, common man, the God, the Goddesses and the like. A decorative border is drawn on all sides to give it a frame like look. Overlapping is avoided as far as possible. However, the sense of far and near is neglected here. The typical face style makes this painting different from other school of paintings. The paintings are conspicuous for their elegance, charm and aesthetic appeal. Central focus of the painting is the expression of the figures and the emotion they portray, the strong color only reinforce them.

With the passage of time when the chitrakar family increased and Puri town could not generate enough employment, the Chitrakars moved out of Puri to nearby villages where they did various types of paintings on the walls of theirpattons on festive occasions. Gradually patta paintings on wooden and bamboo boxes, mask, pots etc developed.

In today’s context, the Patta chitra has made a slow sojourn from the temple to the drawing rooms, lounges of big hotels and guest houses. The subject of the paintings has also evolved and taken new dimensions. In addition to the stories from Ramayan, Mahabharat and Vesas of Jagannath, new themes on the life and philosophy of Lord Buddha, pictures on Jainism, Jesus Christ and important historical events are also found in patta paintings. The traditional pattis are replaced with tassar silk cloth and the the chitrakaras have adopted to the brushes sold in the market. Instead of simple rendering, the paintings are now decorated with more ornamentation in order to attract the modern art connoisseur. Even people from other castes are breaking the traditional hereditary rule in getting involved in this art form.

Today people who have adopted this art form as a profession have dwindled though it is still practiced in certain places. The major concentration of the artists and the art form is in Raghurajpur Dandasahi of Puri Sadar Block and Balisahi Chitrakarasahi,Dolamandap sahi, Markendeswar sahi in Puri Municipality, Paralakhemundi, Digapahandi,Chikiti, Berhampur, Dharakot, Bargarh, Sonpurand Keonjhar. From among these sites, Raghurajpur, a village about 12 km. from Puri on Puri-Bhubaneswar road near Chandanpur has attracted the attention of the world as a Heritage village. It has been declared as a Rural Tourism Centre. All the house-holds in the village are artists. The village holds the unique distinction of having maximum concentration of Patta Chitra artists. As per a local survey at least 22 households are pursuing this art form but in practice almost all house-holds in the village are linked with the patta chitra business, they act as artists or promoters.

Sand Art

Carving of sculpture in sand or sand art as is popularly called has been historically rooted in Orissa. Popular story of Poet Balram Das creating images of Lord Jagganath, Balabhadra and Subhadra in the beaches of Puri once he was dissuaded from visiting the Lord ,goes on to prove the same.

In recent times, sculptor of international fame Mr.Sudarshan Pattnaik has been responsible for giving a fresh lease of life to this art form in Orissa. Beautiful sand sculptures by him on the Puri beach attract the attention of any tourist and captivates him. He has represented the country in many sand festivals and brought many laurels home.

The carving on sand is easier and quicker than carving on a rigid stone. So it is a bit easier to learn than the art of sculpting images from stone. A learner can get a clear-cut idea about the carving in a relatively short period of time. Though these sand sculptures are eye catching, they are destroyed easily. With the stimulus in tourism, this wonderful art form has received a high popularization. "Golden Sand Art Institute” which is an open air institute in Puri Beach behind Mayfair Hotel was started in the year 1995. Around 50 students get trained in this institute including tourists in batches. Tourists can take basic 7-10 days familiarization course. Beautiful gallery on the beach can be observed in the beach in the afternoon from 4-6 P.M.

CULTURE OF ODISHA(DANCE)

Orissa unfolds a panorama of refined forms of arts, crafts, music and dance. Its music and dance h as been flourishing for ages and has lured many. The unique dance forms like Odissi and Chhau are world famous with several internationally exponents, while Odissi music is charming, colourful and encompass various streams. A number of folk tradions also lend a capitive presence.

By the 11th Century AD folk music or Orissa existing in the form of Triswari, Chatuhswari, and Panchaswari was modified into the classical style. Ancient cultures of Orissa have the most expressive forms of music & dance. These two highly evolved art forms have manifested themselves in some of the most evocative & celebrated performances from not only the professional classical exponents but also from the various folk & tribal groups in Orissa.

Danda Nata

Danda Nata of Orissa, also known as the 'Danda Jatra' , it happens to be one amongst the most ancient form of histrionic arts of the state. Associated with ritualistic services, Danda Nata forms an institution of dance, music and dramatics blended with religions, social reformation and an association of Universal Brotherhood.Mainly an worship of Lord Shiva, the God of destruction of the Hindu mythology, who is also the Lord of histrionic arts (Nata Raj), this theatrical form brings into its fold a harmonious feeling of co-existence between followers of different philosophical doctrines, between political principles and set of opinions.Along with votive dedications to Lord Shiva ( Rudra, Hara, Mahadeva, Shankar, Bholanath etc ) in a Danda Nata, the greatness of other Gods and Goddesses such as Vishnu, Krishna Ganesh, Durga, Kali etc. are also equally invoked.Similarly while the original participants in a Danda Nata were said to be only the low-caste Hindus people, however people belonging to all other higher castes such as Kshyatriyas and Brahmins also participate in this institution with equal interest.

Odissi Dance

The Odissi dance of Orissa is one of the six acknowledged classical dance forms of India. Like all other Indian classical dances, it also has its initiation in religion and philosophy with an origin in the temples of Orissa. The rhythm, Bhangis and Mudras used in Odissi dance have a distinct style of its own. The dance is performed mainly with the theme of Infinite love of Lord Krishna and Radha.

The allied art of this dance and music is more popularly known as the Panchama Veda that was cultivated with success from a very ancient period in Orissa. It was King Mahameghavahan Kharvela, a proficient master in the art of dance and music himself, who provided a strong footing for further development of this art through his royal patronage.

The Hathi Gumpha inscription states that in his third regal year King Kharvela entertained the people of capital city by organizing dance and musical performances. This noble tradition created by Kharvela came to be followed by the latter rulers of Orissa, and this art made further strides of progress under the patronage of the Bhaumakara and Somavansi monarchs.

However, the community which played the greatest role in popularizing this art--by giving it a news sprit, a new hope and horizon--was the community of the temple maidens or Devadasis. Devadasis or Maharis used to practice this dance form and used to perform it before the lord as a form of prayer or ritual. At first, only some Mantras accompanied their Nrutya. But after Jayadev composed the Geeta Govindam, thus incorporating abhinaya in dance form, the grace of this dance form got revived.

Odissi dance would have got diminished inside the temples but for Ray Ramananda--a dramtist and musician--who introduced it in another form. He taught Odissi to some boys and presented the dance form as Gotipua Nacha. He convinced Chaityna Dev that singing and dancing were also forms of prayer. Thus, Odissi dance form was enriched by the encouragement of various kings and a sweeping Vaishnava cult. Subsequently, Odissi was further refined and became a higher form of dance than Gotipua Nacha.

Odissi includes both Tandava and Lasya elements. It has Navatala system. But the element that distinguishes Odissi form other dance forms is the grace. In Odissi, the torso movement is considered very important which is soft, lyrical and graceful. The basic body position is chowka that is supposed to be a replica of Lord Jagnnath's body position.

The dance has a mention in Bharat Natya Shastra as 'Odramagadhi'--one of the ancient names of Orissa other than Kalinga and Utkal. The five departments of Odissi are Mangalacharan, Sthai or Batu, Pallavi, Abhinaya and Moksha. Odissi has its own style and music.

Similar to other classical dance forms, in Odissi too the Guru Shisya tradition is prevalent. It takes around five to seven years to get trained in this style. But, as Guru says, a whole life dedication also seems to be less to master the form completely.

Famous Odissi Dancers - Some of the renowned Odissi dancers are Guru Pankajcharan, Guru Kelucharna, Late Debprasad, late Sanjukta Panigrahi, Kumkum Mohanty, Indrani Rehema, Guru Nabakishore, Guru Gangadhar, Guru Ranbir, Guru Subrat Pattaniak and Illena.

Folk Dances of Orissa

Orissa has a major chunk of people living in the highland. The inhabitants of the hills have contributed immensely to the culture of Orissa. These people have their own festivals and their own forms of dances.

Of all the traditional of tribal and folk dances of Orissa, Chhau Dance is the most famous. The number of dances belonging to tribal is simply astonishing. Be it marriage, birth or harvesting, they have a special and unique dance for each occasion. Please scroll through the pages of this section to know more about the folk dances of Orissa

1. Naga Dance
2. Samprada dance
3. Paika Nrutya
4. Medha Nacha
5. Kela Keluni Nacha
6. Kathi Nacha
7. Karma Nacha
8. Kandhei Nacha
9. Jhoomar Dance
10. Ghoomra Dance
11. Ghoda Nacha
12. Ghanta Patua
13. Danda Patua
14. Dalkhai Dance
15. Changu dance
16. Chhau Dance
17. Animal Mask Dance
18. Chaiti Ghoda

Naga Dance

Naga dance form is a special dance form which has been practiced in Orissa since ancient days in the religious festivities. Having its root in Nagaland the dance form has evolved and prospered in Orissa, mostly in the Puri district. It involves energetic and stimulating dance performances exclusively by men.

The Naga Dance of Orissa is performed wearing heavily colored costumes, featuring bright stripes of mostly red and black. Huge headgears decorated with various items including silver ornaments feathers adorn the dancers. Also a false beard covers most of the face of the dancer. With the help of bamboo sticks the dancers perform the steps according to the rhythm which is specially provided by the drummers. All in all, a Naga dancer requires the following to perform a complete dance:

• A Sword
• A Kukri
• A shield made out of the skin of rhinoceros
• A gun
• A horn used as whistle
• An iron Shield
• Bow and Arrow
• Tiger skin
• Toilet box
• A bell

The whole body of the dancer is smeared with yellow powder and the forehead with red vermilion. The entire get up is done to create a ferocious look. Interestingly the dance is not accompanied by any song.

Samprada Dance

Samprada Dance of Orissa is otherwise known as Bahaka Dance. In this dance form, singing and dancing takes place at the same time with the accompaniments of musical instruments like Mridanga and Kartal. What’s unique about the Samprada dance is that, it is the same person who is dancing that sings and also plays the musical instrument. It is an art form that one needs to practice over decades before mastering. His feet move in perfect rhythm with the beat of the music and the words of the songs. Generally he takes recourse to religious slokas and songs like Bhajan, Janana, Sanskrit slokas etc. Another performer assists him in his performance who is known as Palia. Samprada Dance is performed only during special festive occasions of Orissa.

Paika Nrutya

The Paika Nrutya of Orissa is a form of battle dance. The dance form practiced among the Paikas, the main warrior class of the old Oriya army showcases fiery battle spirit of the army. Interestingly the word owes its origin to the Sanskrit word Padatika meaning “the infantry”.

This folk dance of Orissa in many Paika villages of Khurda and Puri. People gather at a common pulpit after a hard day's work. The Paika Akhada is a place where they practice physical exercises along with other activities like fighting with sword and shields. They dance a fiery battle dance while the drums play on. It is more like a clarion call urging the dancers to get ready for a fiery battle ahead. The vigor and physical excitement of the dancers are worthy of notice. Paika Nrutya is practiced with great enthusiasm by different groups in the villages of Orissa during Dussera.

Medha Nacha

Medha Nacha is a form of folk dance of orissa that uses masks and is quite popular in the coastal districts of Orissa. It is generally performed during the Dussehra, Holi, Kali Puja, Ram Navami and Sahi Yatra. In each of these cases, the idols are taken out into the streets in procession for either the congregation or the immersion. The processions halt at different places, like the markets, crossroads, etc to perform certain special skills.

The Medha dancers perform wearing oversized masks of devils, kings and queens. The masks are basically made out of paper pulp and painted in bright colors. The instruments accompanying this form of dance performance are Chhangu and Dhol. The entire performance in its totality with the bright colors of the masks, the rhythm of the instruments and the dances to the tunes create an amazing atmosphere of thrill and enjoyment.

Kela Keluni Dance

The Kelas are a class of wandering tribe in Orissa who roam about the countryside to earn livelihood by catching snakes and birds. They practice a form of dance that involve tight-rope walking and other varieties of gymnastics.This folk dance of orissa is called as theKela Keluni dance.

In the dance only two persons take part, a Kela(male) and Keluni (the female) . The Kela plays a string instrument Ghuduki which produces a peculiar sound. He works out rhythms by playing his fingers in strokes on a string. He dances with the Keluni and also sings. The dance of the Keluni is fast with swaying movements of legs, hips and the head. There are also exalted actions in half-sitting position. Generally it is she who carries the show. The songs are of a special variety and are popularly known as Kela-Keluni Geeta in which love and humor dominates the sequences. This dance is fast dying but it is being adopted by professional Jatra troupes and other groups of entertainers.

Kathi Nacha

Kathi Nacha of Orissa is practiced by the cowherd community of the coastal districts. Although this form of dance is practiced all over the country, what marks the stick dances of Orissa apart from those of other regions is the size of the stick. In Orissa based on the size if the sticks on which the dance is performed, there are two forms of the dance which are prevalent. Dance on the long sticks and the other with short sticks are accordingly performed in different occasions. Kathi Nach on long sticks is performed by the cowherd community of coastal Orissa. Dusserah, Giri Gobardhan Puja and Dol Yatra (Holi) are the important festivals on the occasion of which the dance is performed by the young boys. They weave out different geometrical patterns with simultaneous tapping of sticks and singing of traditional songs relating to the sports of Lord Krishna.

The other type with smaller sticks is performed by the people of the scheduled class of Mayurbhanj and Bolangir. In this, the sticks are about two feet in length and are made of resonant wood to produce percussion. The sticks are held on pairs. The dancers in this folk dance of Orissa are all young boys who stand in a line. The dance begins as the boys begin striking each other sticks to the rhythm of the madal. Two or more singers and drummers move with the dancers. Following the rhythm of the madal, they increase the speed of various movements until the dance ends in a crescendo of sound produced by the sharp taps of the sticks. Makar Sankranti and Nua Khai festivals are the occasions for this dance. In the district of Bolangir, this is known as Kalanga when the dancers wear costumes like the Karma dancers of the Binjhala .

Karma Dance

The Karma dance of Odisha is basically a tribal dance form of the Binjahal,Kharia,Oraon,Kisan and Kol tribal that is undertaken annually on the karma festival although the same is performed in different social occasions as well. Karma the famous autumnal festival, which starts from the 11th day of the bright fortnight of the month of Bhadrab, and continues for some days till the month of Aswin is a major occasion to celebrate of the tribal. The Karma tree representing Karma—the God of Fate, is worshipped on this occasion. A branch of the tree is cut down with due ceremony, planted in the middle of the altar with a cloth wrapped round it. The devotees drink wine, and burn it in then lamps. Then duly dressed, they dance round and round the canopy and plantain trees planted for decorative purposes.

The Karma dancers have their professional party. When a son is born to the childless parents with the grace of Karma God, they invite the party of dancers. The songs are like those of patua and Dandanata and deal with Puranic events or events of the folk tale. Love songs are in form of questions and answers between a party of young men and young ladies. Ladies and young men dance delightfully in a circle holding each other’s arms round the branch. A group of men with drums stands in the center while a line of women is formed in front of them. The women move to and fro and circle round the men. The Karma dance continues from dusk to dawn. Dance groups drawn from nearby villages dance alternatively throughout the night. In the early morning they carry the Karam branches singing and dancing and then immerse them ceremonially in a river or tank and then disperse. Sometimes women begin the song and men have to pick up the tune and words and answer them. It is an amusing sight to see a few expert women dancers confounding a group of men. Sometimes men also take the initiative.

The technique of the Karma dance of Orissa varies a little from tribe to tribe. The Kharias, Kisans and Oraons dance in a circular pattern, where men and women dance together. It is always headed by a leader and generally the men at the head of the line. Only the best of dancers join in right next to or near him. Very young girls and children join in at the tail to learn the steps. When the dancing grows fast the dancers of the tail drop out to let the seasoned dancers show their skill. The dancers hold hands in different patterns in sync with different styles. Sometimes they simply hold hands and sometimes hands are placed on the waist of the co-dancer or are crossed. It is the legs and the feet which play the pivotal role in the dance. The dance begins lightly with simple steps forward and backward, left and right, then gradually the steps grows smaller and faster, growing more and more complicated, until that dance reaches its peak. Then it goes gradually to the first steps as the music leads to give dancers rest. The dancers have no special costume for the occasion. They dance with their usual attires which they wear daily. The dance is usually held in the courtyard of the village. In the center of the courtyard a bamboo is fixed and it is split into four up to a certain height and then bent to form the arches. Each split is fixed with a pole on the outer side to form the arch. Then it is decorated with festoons of mango leaves and water lilies giving it a festive look. The ground is neatly plastered with cow-dung. Men and women dance winding in and out beneath the arches.

There are many varieties of Karma songs viz. Karma of the hills, Karma of the forest, Baiga Karma and so on. The Gond tribal believe that once caught by a Lahaki Karma (is sung very rapidly) men are lost to the world. They leave their wives and children and go away. Karma dance or song is very popular in the tribal population of Odisha residing in Sambalpur,Keonjhar and Phulbani.

Kandhei Nacha

Puppet Dance of Orissa is known commonly as the Kandhei Nata or Sakhi Nata in Orissa. The Kandhei Nata is an assimilation of dance, drama and songs. Mostly stories having mythological significance are selected. Although a very old form of art in Orissa , not much is known about its origin.

The dolls are painted bright and dressed meticulously representing the various characters that they will be made to enact. Another specialized form of Puppet Dance form is the Shadow plays. These are categorized into hand puppets, string puppets and rod puppets. More specifically they are known as (Kundhei-nacha) which is shadow puppetry, Kathi Kandhei which is Rod puppetry and Gopalila kandhei which is string puppetry.Some of the places in Orissa where Puppet Dance is prevalent are Tarikund in Cuttack, Odasa, Keonjhar, Ganjam etc. With the accompaniments of songs, dialogues and Dholaks, Puppet shows are a major success in Orissa and elsewhere.

Jhoomar Dance

The Jhoomar dance is a folk dance of Orissa that is highly popular among the tribal residing in the Sundargarh district. This dance type named after the accompanying Jhoomar songs is prevalent among the Mahanta and Munda communities of the Sundargarh district. Among the Mahantas the dance is performed by the men only. Among the Mundas the singers who accompany the dancers sing songs and the dancers follow them in chorus in accompaniment of maadal. The Mundas are especially experts in Jhoomar dance having established expertise in the intricate footsteps, movement of hip and wrists and that of the body in general. One of the important tribal dances, the Jhoomar dance is highly popular in Odisha.

Ghoomra Dance

The Ghoomra Dance form is actually named after a kind of drum, the Ghumar that is played with it. The drum which looks like a barrel made of clay and the mouth is covered with the skin of a reptile (Godhi), produces a deep musical sound. This dance starts fifteen days before the Gamha Purnima, full moon in September. The dancers tie the drums with strings around their neck and dance to its tune while simultaneously playing it.

The Ghoomra Dance takes off with light circular movements. Nisan is another kind of drum, smaller in size and played with two leather sticks. The main dancer performs at the center and the others move in concentric circles to form a straight line. The Ghoomra is performed in any religious ceremony or on the occasion of one’s marriage or any other social functions.

At times, a competition is held between two parties. Each party consists of twenty to twenty-five men and the dance goes on the whole night. Ghoomra is prevalent among the 'Sahara' and other Aborigines and Harijans and songs have love as their main theme. The other forms of folk dance like 'Humo', 'Bauli', 'Jhulki', 'Jamudali', 'Mayalajar', 'Gunjikata', 'Rasarkeli' and 'Puchi' are prevalent among the Oriyas and aborigines of Odisha.

Ghoda Nacha: Dummy Horse Dance of Orissa

Chaitighoda Nacha (Horse dance in the month of Chitra) is a folk dance of Orissaconnected with the Sakti cult of coastal regions and confined to the people of Kaibarta(fishermen) community only. This festival is observed for eight days by the Kaibartas in the month of Chaitra from the full moon day of Vaisakha in honor of their caste deity Vasuli Devi which is a goddess possessing the head of horse.

A well-decorated horse head is attached to the trunk built of bamboos. A man enters through the hole kept for the purpose behind its neck. He holds the reins of the horse and dances. The horse moves forward and backward along with the man. He dances to the tune of Dhola and Mahuri accompanied by the songs composed by the local poets. The dancing party consists of two dancers, one male and one female (a male in female attire), a drummer and a piper. The Kaibarta song of Achutananda Das, (one of the poets of Pancha Sakha group flourished in the 16th century) is believed to be only religious text of theKaibartas.

The Goddess Vasuli who is also the ruling deity of the Kaibarta community, is held in high esteem .Here it may be mentioned that the shrines of Goddess Vasuli are spread across Orissa, but is considered to be the oldest in Puri where the King of Puri has set out land for regular worship of the deity. Vasuli Devi in many places is taken to be one of the manifestations of the Durga and one of sixty-four Yoginis. The horse dance is very popular and attracts a large audience. The performing group consists of three main characters- Rauta, Rautani and the horse dancer, besides the drummer and the piper. The songs rendered in the shows consist of the mythological episodes. Rautani is Rauta's co-dancer and co-singer.

Ghanta Patua

For the whole month of Chaitra the village streets in Orissareverberate with the sound of Ghanta (brass gong) played by Ghanta Patuas in accompaniment to their peculiar dance on the stilts which is very similar to the Karaga dance of Mysore.

In Orissa, it is closely associated with the worship of Mother Goddess who has various names as Sarala, Hingula, Charchika, Bhagavati, Chandi etc. Ghanta Patuas are the non-Brahmin servitors of the deities. With the blessings of the respective deities attached to the shrines, they set out in groups of two to four dancers. One of them dresses himself as a female with a black color bandana tied on the head like a round cap while the flowing two ends held by him in both the hands separately. He places the Ghata (sacred pitcher) on his head which is beautifully decorated with flowers, vermilion, sandal paste and colored threads. With the Ghata on the head, he displays a variety of Yogic postures. Then he dances a while on a single rope drawn parallel to the ground. Without any support for the hands the dancer displays rare skills of body movements. Dhol and Ghanta are the accompanying instruments and their players, while working out uncanny rhythms control the tempo of the dance. After the performance, the dancers offer holy vermilion paste to the villager and collect money and grains. They move from village to village to showcase their dance skills and get paid in cash or kind for the whole month. They return to their respective shrines for their annual celebration on the first day of the Hindu New Year, Visuva Sankranti. Such celebrations are marked by small fairs and ornate rituals connected with the worship of Goddesses together with performances of dance and music.

Danda Nata

Danda Nata of Orissa, also known as the 'Danda Jatra’ is one of the most ancient folk dance of orissa and is performed in the district of Ganjam. The jatra is performed for a period of 13- 21 days. The participants of Danda Nata are usually called "Dandua" and the chief as "Pata Dandua" who move from village to village to perform the same. It is dedicated to Lord Siva and Goddess Kali, who is represented by a Danda or a Pole, decorated with `different colored clothes. The participant perform Pani Danda , Agni Danda, Dhuli Danda etc, which are the main attractions of the said performance. The closing ceremony is known as "Meruyatra", which is observed on the day of Maha Vishuba Sankranti of Chaitra.The festival is famous highly popular in Orissa.

Danda means a pole, nata means dance. The Danda Nata practiced basically to appease the Lord Shiva involves dance, song and physical feats as a means to please Him. There is no caste distinction in Danda Nata. Whoever desires may join it without any fear of excommunication from the orthodox society. The performers are all called ‘Bhoktas’. There are 13 Bhoktas in a Danda Party. The leader is called “Pata-Bhokta.” He leads an ascetic life for 21 days, avoids all contact with woman or anything worldly. He takes very light food probably for making his body fit for severe exercises. The Bhoktas move from village to village. To sweep the varandah with cowdung-water at once at the sight of the party signifies its invitation for performance. The householder who invites them is either childless or poor or suffering from some incurable disease. The performers bear all troubles to draw the kind attention of Siva towards the devotee. They roll on the hot sand in midday sun of the summer, dance and sing without any sign of suffering in their faces. Then they take their bath, and pray to God for fulfilling the devotee’s wishes.

Many difficult physical feats are done to draw His kind attention upon the mortal. They do not care for the bodily trouble. What concerns them most is to appease the God who may redress their sufferings. Some pierce sharp iron nails on their back, look upside down without any sign of pain in the face. Some devotees use poisonous snakes as garland; make them sting their body without any disastrous results. Others tie their legs up, and hang upside down making their heads roll on the burning fire. Fire walking, walking on the sharp sword and other difficult practices performed in the month of Chaitra and Baisak are all meant to please Siva. It is believed that Fasting in the month of Chaitra and Baisak and worshipping Siva with all devotion bring into the worshipper wealth, children and glory to the race.

Dalkhai Dance

Dalkhai is the most popular folk dance of Orissa, is higly popular in the western parts of the state. It is performed on numerous occasions like Bhaijiuntia, Phagun Punei, Nuakhai etc.Dalkhai is mostly performed by young women of Binjhal, Kuda, Mirdha and Sama tribes of Sambalpur, Bolangir, Sundargarh and Dhenkanal districts of Orissa in which men join them as drummers and musicians. The dance is accompanied by a rich orchestra of folk music played by a number of instruments known as Dhol, Nisan (a typically giant sized drum made of iron case), Tamki (a tiny one sided drum 6 inch in diameter played by two sticks), Tasa (a one sided drum) and Mahuri. However, the Dhol player controls the tempo while dancing in front of the girls.

The Dalkhai dance is thus called owing to the use of the word “Dalkhai” in the beginning and end of every stanza. The word is used as an address to a girl friend. The love story of Radha and Krishna, the episodes from Ramayana and Mahabharata, the descriptions of natural scenery are depicted through the songs. The young women dance and sing intermittently. While dancing to the uncanny rhythms of the Dhol, they place the legs close together and bend the knees. In another movement they move forward and backward in a half-sitting position. Sometimes they make concentric circles clock-wise and anti-clock-wise. The women generally dress themselves with the colorful Sambalpuri Sari and wear a scarf on the shoulders holding the ends below in both the hands. Bedecked with traditional ornaments and flowers their robust frames sustain the strains of the dance for long hours. The Dalkhai dance of Orissa has several adjunctive forms known as Mayalajada, Rasarkeli, Gunji kuta, Jamudali, Banki, Jhulki, Sainladi etc. It’s basically a secular form of performing folk art.

Changu Nata

The Changu Nata a is a folk dance of Orissa that is very popular among the tribal populace of the state. Changu is a rural variety of the tambourine. It is played by the male-members of the Bhuiyan, Bathudi, Kharia, Juang, Mechi and Kondha communities of Sundergarh, Keonjhar, Mayurbhanj and Kandhamal districts of Orissa. The dance in accompaniment to the Changu is performed by women alone. The men only sing songs, play the Changu and move with the female dancers with simple steps. While the women advance, men recede back and upon the advance of the males, the females take retreat. In between, the male dancers perform vigorous stunts in which they leap into the air and make wide circling movements. Peculiarly the women cover themselves with long local made Saris. Only their hands full of bangles 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 moon-lit night the young boys and girls assemble and dance to express their joy.

The attire used in this dance form is Sari. Women drape their entire body with Sarees keeping only the hands and feet open. The Changu dance of Orissa is performed on the beats of the drums which impart a magnetic effect to the entire atmosphere. The dance form tells of the joy of living of these simple folks and the rural life on the whole. It is generally performed in a group where all the performers maintain perfect poise and rhythm. The tribes of the Sundergarh district mainly perform this dance form. Changu dance is slowly geting popular in other parts of Orissa too.

Chhau Dance

Chhau Dance (or Chau dance) is a genre of tribal martial dance that is popular in the Indian states of West Bengal, Jharkhand and Orissa. The dance form originated in the erstwhile princely state of Mayurbhanj as mock fights of the Oriya Paikas (warriors) who fought rhythmically to the accompaniment of indigenous musical instruments. Today, there are three subgenres of the dance, based on its places of origin and development. Seraikella Chau was developed in Seraikela, the present day administrative headquarters of the Seraikela Kharsawan district of Jharkhand, Purulia Chau was developed in Purulia district of West Bengal and Mayurbhanj Chhau was developed in Mayurbhanj district of Orissa. The most prominent difference among the three subgenres is in the use of mask. While, the Seraikela and Purulia subgenres of Chhau use masks, the Mayurbhanj Chhau uses none.

The Dance

The highly Stylised Chhau dance of today follow the basic principle of the Natya Shastra of Bharat Muni and the Abhinaya Darpana of Nandikeswara. The Chhau dancers worship Lord Shiva and Goddess Parvati, the two presiding deities of the Tandava and the Lasya styles respectively. The typical dance poses when the dancer is at rest in Chahau dance is the bent knee position. In this position, the legs form a Square, right hands raised upwards forms right angle at elbow and the left hand falls downward also forming right angles at the elbow. The Chhau dancershave to practice difficult modes of walk-in, striking difficult postures and moving in a way peculiar to this style. In its past form, the dance was practiced only by male members who performed in female roles. Today there are also female dancers who have mastered this art. Emotions and passions are not depicted by facial expression but also by intricate footwork, whirls and jumps. Hence, the waist, the feet and the legs are used to depict bhavas. The basic postures and stance of this dance resemble the postures of a combatant in a traditional fight. In its rudimentary form it is generally referred to as Phari Khanda Khela (the game of sword and shield) or Rookmar Nacha ( the dance of offence and defense). The themes of Chhau are largely drawn from the Puranas, Ramayan and Mahabharat. They combine elements of tremendous kinetic fury and very fast footwork with mellowed elegance and lyricism which at times is indistinguishable from visual poetry. Episodes like the fight of 'Abhimanyu' with the 'Sapta Rathis', the killing of 'Mahishasura', 'Shiva Tandav', 'Kirat Arjuna', 'Jambeb', 'Garuda Bahana', etc. are very popular.

The dance is usually performed in the open air on a raised platform, the musicians stand, on one side of the platform and play on big kettle drums and other musical instruments. In villages, Chhau dance is usually performed during Chaitra parva festival in the days concluding the month of Chaitra. Popular story from the Ramavyna and Mahabharata are staged. The costumes, the headgear and other ornamental requisites are carefully selected. The dance can be solo, duet or group performances. Today, the subject matter of Chhau dance is borrowed from the whole gamut of animate and inanimate nature. The female peacock, swan and deer dances depict the wild beauty and grace of the form and are excellently choreographed. The hilly region of north –eastern Orissa with a rich folk and tribal culture has influenced Chhau dance.

Animal Mask Dance

The Animal Mask Dance is a peculiar folk dance of Orissa, that involves dancers wearing masks of animals. Mostly prevalent in the village of southern Orissa, especially in Ganjam district, this form of dance is performed while the idols are taken out into the lanes, during the Thankurani Yatra. Also, the dancers perform in marriage processions. Two people fit themselves into a cane frame and camouflage as the respective animals. The legs of the men resemble the legs of the animals. The Animal Mask Dance - Chaiti Ghoda Dance, common among the Kaibarta caste, is performed to appease the caste-deity - Vasuli Devi.

Baseli Puja or Chaiti Ghoda

In the month of Chaitra there is an exclusive festival for the bona fide fishermen community of Orissa who are popularly known as Keuta (Kaivarta). This festival, known as Chaiti Ghoda,is held for a full month beginning from Chaitra Purnami (Full-moon of Chaitra in March) and ending with Baisakh Purnami (Full moon in April). During this festival Baseli, the horse-headed deity of the community is propitiated. She is considered to be the tutelar deity of the community. She may be considered as a form of Mother Goddess who was earlier formless. Latter she took various forms according to the conception and needs of the various communities living all over the country. Worship of a Dummy horse headed god made of wood is inexplicably related to the Chaiti Ghoda festival. The horse headed deity or Baseli is seated on an earthen platform. She wears a blood-red cloth in her full feminine form. In temples and places of worship, She is propitiated on each Saturdays and Tuesdays through out the year. During the festival period where there are no such images; only the horse head made out of wood is worshipped. Peculiarly the worshipping takes place in a particular place of the house and that is Dhinkisala (the place where paddy is husked). It is because, the subsidiary profession of the community is to prepare and sell flattened rice. (chuda).

Inexplicably connected with the festival of Orissa is dummy-horse dance of the community. On the auspicious day of Chaitra Purnami, the Kaivartas worship a Bamboo with vermillion, sandal-paste, butter-lamp etc. Then the bamboo is split ceremonially into pieces out of which only twelve are taken out for preparation of the frame of the dummy-horse. The frame is dyed red with red clay and then covered with a Pata (indigenous silk cloth). Then a painted horse-head made out of wood is fixed to the frame. A garland of Mandara (Hibiscus) flowers is placed on the neck during worship. This particular garland is always intended for mother goddess. Thus the dummy-horse is worshipped till the eighth day of the dark fort-night after which it is taken out for dance. A man enters the cavity and hangs the frame on the shoulders and then dances to the rhythm of Dhol (country drum) Mahuri is the only wind-instrument played during the dance. Songs are sung intermittently in votive dedication to the deity. Sometimes the dancer gets possessed and falls in to trance. Then somebody else replaces him. Two other characters Chadhua-Chadhuani or Rauta-Rautani also sing and dance. The male character dances with a long staff in his hand symbolizing the profession of fishermen's rowing of boats. The female character is played by a man. Both of them sing songs of love and daily household cares. Then a song combat ensues which lasts for the whole night. During this portion of the dance the dummy horse is ceremonially placed in the centre and the performance is held in front of it with people sitting all around.

Now a-days the votive dancers are not confined only to the Kaibarta community. Since the dummy-horse dance is attached to many Shakti shrines of Orissa also, people of other communities have also taken interest to join the votive dancers. The dummy-horse dance is mainly prevalent in the coastal districts of Cuttack and Puri. In Puri the dummy-horse are profusely decorated with flowers and the 'Tahia' (Archaic head-gear of flowers) presents a magnificent show during dance. When the festival ends the horse-head is taken out ceremonially from the frame and is preserved in a temple. Next year during the festival it is again brought out and repainted for worship and use during the dance.