A passionate, surreal Art exhibition titled ‘Living In Harmony With Nature’ by Dharshana Bajaj is being displayed in Chennai on the 19th of March 2022.
Dharshana Bajaj is an Indian artist who lives and works in Chennai. Her greatest inspiration is Nature. And her favourite theme is depicting people living in harmony with Nature, with the awareness that they are “a part” of it, not “apart” from it. In her work, she is largely guided by her understanding of Advaitha philosophy, which considers that we are all one, interconnected with Nature and each other on a very quantum level. Dharshana’s preferred media are oil paints on canvas, watercolours and drawings on paper, as well as digitally modified art.
Largely self-taught, she believes her mission in life is to add greater beauty to the world and inspire people to live in harmony with Nature.
The event is being inaugurated at The Painter’s Garden by Ashrafi S. Bhagat, who is a well renowned art historian, critic and curator.
Paintings, Drawings, Digital Art prints and a lot more are on display at this exhibition. Make sure to drop in on the 19th and 20th of March 2022 between 11am to 7pm. If you’re in Chennai it is a must-visit!
Odisha, formerly known as Orissa, is the ancient Kalinga homeland from which Buddhism spread over India. It borders West Bengal and Jharkhand in the north, Chhattisgarh in the west, Andhra Pradesh in the south, and the Bay of Bengal in the east on India’s eastern coast.
Bhubaneswar, the ‘city of temples,’ was the ancient capital of Kalinga and was called after Tri Bhubaneswar, the ‘Lord of Three Worlds.’ Odisha is known for its historical monuments, archaeological sites, traditional arts, sculpture, dance, and music, all of which contribute to the state’s rich cultural history.
It is a melting pot of civilizations, including Aryan, Dravidian, and Adivasi. The state has a tumultuous past that includes the integration and synthesis of the finest of Buddhist, Jain, and Hindu traditions, as well as the Mahima Cult. Odisha has been known as Odra, Utkala, Kalinga, Tosala, Tosali, and Kosala in the past. The term “odisha” comes from a tribal society that lived in ancient times in an area named “odra” and worshipped the sun deity.
It has gorgeous temples and exceptional structures, as well as beaches, animal sanctuaries, and a natural landscape of often-enchanting beauty, and it is home to many thousands of talented artists and artisans.
Women from all cultures in India like wearing sarees, but there is always a catch in the way a saree is worn or fashioned in different cultures, and the same is true for Odisha’s traditional women’s attire.
Orissa has a long history of textile and weaving art. Textile weaving, in reality, is a major business in the state, employing thousands of weavers and allied artisans. The state’s indigenous fabric dyeing and weaving methods were inspired by old religious writings and rituals. Unlike in other regions, Orissa sarees have been heavily impacted by Hindu holy writings, particularly those centred on Krishna.
One fascinating point to notice is that weavers in the Cuttack district’s Nuapatna make particular silk with lyrics from the epic poem Gita Govinda woven on it. The idols in the famed Jagannath temple are dressed in this distinctive fabric, and because of Krishna’s great influence, the sarees frequently display temple borders, traditional colours connected with Lord Jagannath, and other mythical themes.
Silk and cotton are popular in Odisha. The region produces a variety of tussar silks as well as exceptionally durable cotton. Odisha’s Tussar has a smoother texture and a glossy finish, and it’s worth noting that this state is best renowned for its distinctive Ikat dyeing and weaving technique. In fact, when we think about sarees from Odisha, the first thing that comes to mind is the state’s trademark ikat, whether in silk or cotton; the dyeing and weaving technique from the state is world-renowned.
Sambalpuri ikat, Orissa’s most popular saree, is made using a technique known as Bandhkala, or yarn tie-dye. The double ikat method is used to weave the Sambalpuri ikat in both cotton and silk. Both the warp and weft yarns are tie-dyed first and then put into a pattern for weaving. These sarees are made in Sambalpur, Berhampur, Mayurbhanj, and Nuapatna, and include lovely nature-inspired designs like a shell, flowers, chakra, and rudraksha not just on the border and pallav, but also throughout the body. The more complicated the task, the more expensive it is.
While the saree is commonly referred to as Sambalpuri Ikat, each little town where this weaving method is applied gives the Bandha saree its own distinct flavour. The cotton variant of Sambalpuri Ikat is also popular, whereas Nuapatna sarees, which employ the same weaving method and have comparable motifs, are mainly made of soft silk and Tussar silk. Berhampur sarees are usually made of strong silk with narrow borders. The designs aren’t particularly elaborate, and the sarees are generally woven with an ikat-style temple border.
Silk sarees from Bomkai are a rare find. The Bomkai saree combines a blend of Ikat weaving with silk or resham thread embroidery on the pallava and border, and is often made in soft silk. The majority of sarees have a simple body and a detailed pallav. The saree’s body can contain extremely small ikat motifs, and the pallav is usually woven with highly elaborate patterns in addition to ikat weaving. The motifs are generally nature-based and are influenced by tribal art. The palette frequently revolves around black, red, yellow, orange, and blue, and the colours are typically vivid.
The embroidered temple spires on the pallava and border of the Bomkai cotton saree, which is produced in the Ganjam area in a similar interpretation but in cotton fabric, are common. The Bomkai cotton sarees are created by weavers who are inspired by tribal art.
The Saktapar or Pasapalli saree is an ikat saree woven in Bargarh, Orissa. The checkerboard, or passa as it is known in the native language, influenced the saree’s pattern and weaving. The saree is made of double ikat, which creates a checkerboard pattern, and its border is typically braced, giving it a refined appearance. The colours are bold and bright at all times.
It’s one of the most complex ikat sarees from Orissa. Khandua sarees, which are usually composed of soft silk or Malda silk, have a highly detailed design all over them. The border is usually decorated with a simple temple ikat pattern or a very basic ikat pattern. The pallav contains intricate ikat work that takes considerable time to complete. Women in Orissa wear these types of sarees at weddings and other festive occasions. Khandua sarees are traditionally produced in red, sunset yellow, and orange colours. The borer and pallav are usually black, crimson, or blue, which enhances the saree’s elegance.
Berhampur – or the city of Lord Brahma – in Odisha is also known as the silk city of India, and it is here that the legendary, but now failing, Berhampur Patta silk saris are produced. These classic drapes are noted for their typical Odissi weaving style – as well as the kumbha or temple pattern – and are manufactured in Joda (pairs) – the sari for the women and the matching joda for the men. Their well-known temple-style patterns are referred to as ‘phoda kumbha’ or ‘badhi kumbha.’ These priceless saris were once the pride of Orissa, and brides wore them at their wedding ceremonies.
Orissa is a densely tribalized state with sixty-two tribes residing in various portions of the state. Each tribal society has its own style of life, with considerable differences in attire, ornamentation, house-building skills, and overall manner of life. This distinction in their lives may be seen in their material culture, art artefacts like paintings and drawings, as well as the sizes and forms of the many objects they utilise. Dress is a cultural necessity for the tribes, as well as a component of their tradition.
The usage of clothing is highly important and worthwhile among the tribes. The tribes don’t use clothing solely to cover their nakedness; it also expresses their ethnic feelings and cultural identity. When it comes to festivals and celebrations, the tribals dress in unique outfits. For example, a Dhangedi (maiden) dresses up to gain people’ attention, but the Gurumai, the priestess, dresses up to serve the goddess for the sake of her society. Dress also aids people in many hardships and aids in the worship of gods and goddesses who protect them from the hostile crimes of ghosts, spirits, and other supernatural beings.
The tribals also wear clothing that corresponds to their social status, such as the clan chief, the priest, and the revenue collector. They wear different costumes for different occasions like as marriage, birth, funeral, worship, and so on. They choose gowns based on the occasion, age, gender, and other variables.
Material culture is an important aspect of their artistic practice. Even the materials used in their costumes and dresses have an artistic flair. It’s also a reflection of the art that has been passed down through the generations. On the surface, it appears that people wear clothing merely to prevent being exposed to the elements, such as cold, rain, and sunlight. The tribal outfits, on the other hand, display the community’s individuality and self-identity. Possessing the appropriate attire is a source of pride and excitement for many people.The Bondos’ “Rings” and the Dangarias’ embroidered shawl have significant social and cultural importance. The Dangria shawl is inextricably linked to the marriage bond, and its success is dependent on it. The Lanjia Saora’ dancing costumes, as well as their usual attire, are excellent examples of their rich cultural past. They gain a tinge of regal dignity and heroism as they dance in the clothing of the clan’s chief “Gamango”
They employ their own indigenous technologies to make clothing. They mainly collect the fibre from bamboo and other trees; they set up the wooden loom in front of their house or in the garden, and some even put it on the village’s small route. In their spare time, they weave. Men and women both weave. Only women weave in certain societies. The ladies create a variety of garments for themselves and their male family members.
Traditional dress of men in Orissa
Image- Pixabay
Despite the fact that modernisation has mostly washed away the passion for traditional costumes among Odisha’s young, a few outfits are still proudly worn by Odisha males. Here is a collection of Odisha men’s traditional attire that is popular among men of all ages in the state.
Dhoti is traditional Odisha clothing worn by males from several ethnicities. It’s made of white cotton that’s wrapped around the waist to hide the body’s bottom. The dhoti created in Odisha is unique in that it has a gorgeous brick-coloured border and the rest of the material is white.
Men in Odisha wear Sambalpuri, a small variation of the normal kurta. The clothing comes in a variety of fabrics, colours, and styles that appeal to both adults and children. Odisha men wear normal kurtas with sleeves with light design and patchwork for rituals such as weddings and engagements.
Payjama
Kurtas aren’t complete without pyjamas, which are often plain and white in colour.
In Odisha, most grooms like to wear a Sherwani to their wedding. The attire is comparable to that seen in other areas of India. This garment is adorned with rich embroidery in the state.
Orissa’s sarees and handlooms are meticulously conserved and respectfully adored in order to pass along the legacy to future generations. In reality, handloom weaving is one of India’s oldest and most important businesses. Thousands of weavers and allied craftsmen and artisans are supported by it. So, although there are changes in people’s everyday costumes due to globalisation, the native inhabitants never miss a chance to show off their culture through their dresses during occasions like Durga Puja.
The Coastal state of Odisha embellishes a fascinating culinary culture since ancient times. From continuing its local practices to nourishing and appreciating the cooking styles worldwide, the state exhibits a blend of religious, aesthetic, and philosophical essence through its culinary culture. Endowed with the blessing of Lord Jagannath, the eternal divinity in the state, cuisine in Odisha has been highly influenced by the religious factor. Most dishes form a part of the ‘Prashad’s associated with Lord Jagannath. These 10 Famous Dishes of Odisha are the ones you can’t afford to miss on your visit and might regret later.
Furthermore, a lot of dishes serve as a result of the influence of the neighbouring states. Also, to be noted, many traditional dishes of Odisha have come to the turn of modification influenced by the cuisine and cooking styles of the neighbouring regions.
The article focuses on the traditional, famous dishes of Odisha that abided by the state for long ravages of time, witnessing changes in customs, style, and even cultural trends in the state.
Here are some ‘try-these’ dishes of Odisha you can’t afford to miss on your visit
What would be better than this lentil dish to start the Odia cuisine with? From being attributed to the Savaras tribe, Dalma became a dish representing the cuisine of Orissa. It is a protein-rich dish made using vegetables and lentils.
The religious, historical tales suggest that the non-Aryan Savaras tribe boiled the tribe’s harvested vegetables along with chana daal and prepare Prashad on the festive days to offer Lord Neela Mahadev and his devotees. The priests of the puri temple recount this as the first incident of Lord Jagannath’s worship. Accounts of Mahabharata narrates the tale where Bheema. The royal cook punished the second eldest Pandava to cook without oil and spices, accepting which he prepared Dalma, inspired by the Hobiso Dalma made by Draupadi for Lord Krishna.
The dish you would find in every house in Odisha if you visit the state during the Prathamastmi puja, celebrated to pray for the heartiness of the eldest child in the family. The flavoured steamed cake with coconut, green gram, and sugar filling has the savouring taste to uplift your mood and health—the steamed batter, wrapped in turmeric leaves, hence, adding other medicinal values to the dish.
Along with being one of the famous 10 dishes of Odisha that you can’t afford to miss, which closely rambles similarity in cuisine culture of South (patholi); people in modern times try to establish its resemblance with the western cake. This mouth-watering dish is often served along with Ghadaghadia, Dalma, or mutton curry.
The value pakahla holds in Odia cuisine resonates with the place held by oxygen in the air. The soul of Odia cuisine, nonetheless, follows a straightforward summer recipe. Tracing the term’s origins, it derives from the Sanskrit or Pali term “prakshalana”, meaning ‘wash’. Analogous to other famous dishes of Odisha, pakahla also tails connections with Lord Jagannath. The fermented rice dish, locally called ‘Torani’, dates back to the 12th century AD.
This sweetmeat dish adds to the already elaborate list of baked cakes in Odisha. The sweet brown burnt flavour of sugar on the deliciously tender chhena cake base gives the word an exceptional taste. The topping of nuts and raisins takes the tang to the next level. The famous paneer cake dish of Odisha was, in truth, an accidental invention. Sudarshan Sahu of Nayagarh gets the credit of creating this cottage cheese sweet dish.
The reason for the sweet nature of Odia must have to do with the sweetness-filled cuisine of the state. Khaja, the deep-fried layered pastry, forms a part of the Sukhila prasad offered in the temple of Lord Jagannath in Puri, Odisha. Modern chefs sometimes compare the sweet dish with the Turkish baklawa. The three-ingredient recipe possesses unprecedented popularity in the Odia household. Likewise, states like Bihar and Andhra Pradesh follow as well. They are presenting yet another sugary dish of 10 dishes from Odisha which you can’t afford to miss. However, speculated to have originated in Oudh (in Uttar Pradesh), the Odia people have moulded the dish to fit their cuisine.
The dish strikes a perfect balance between a tastebud pleasing recipe and a healthy dish. Served as a side dish, Alu Potala Rasa has fanned out its root beyond the boundaries of Odisha, becoming an essential dish in Bengal as well. Furthermore, in contrast with the non-spicy menu of Odisha, Alu Potala Rasa stands out as a hot peppery curry. The strange concoction of potatoes and pointed gourds with lots of spices and tanginess makes the dish unique. What could be a better way to eat pointed gourd than this?
Odia cuisine is incomplete without mentioning fish. ‘Macha Ghanta’, when translated, means ‘fish mix’. As the name suggests, the recipe mixes two or more types of fish and a lot of vegetables. Durga puja on Dussehra cannot be performed without Macha Ghanta. Offered to Maa Durga, the dish has a delicate religious aspect attached to it. Muri Ghonto, fondly eaten in Bengal, has been served and referred to as the Bengali cone of Macha Ghanta. Served hot with rice and salad, this crispy and delicious fish head recipe is a must in the state.
The vegan Kadali Manja Rai recipe too found its place in the rich cuisine of Odisha. Originally from dolia village, the banana stem curry serves as a perfect side dish with a meal in Odisha. Prepared using banana stem and mustard curry, the tingly-tangy taste of the plate is hard to forget. A rich source of Fibre, Vitamin B6, and Potassium, Manja (banana stem) in the dish has more than just one health benefit; in particular, it regulates insulin, haemoglobin, and blood pressure levels, and subsequently helpful for solving the issue of kidney stones.
Steamed vegetable dish, native to Odisha since times immemorial, Santula forms a part of the main course meal in the state. Prepared in two ways- either fried (Bhaja Santula) or boiled (Sijha Santula), the dish may include any and every seasonal vegetable(s) in the recipe. The vegetarian dish with mild spices and an epitome of healthy vegetables, Santula treated it as one of the most favoured dishes in Odisha. The vegetarian curry is famous among the old as well as the youth.
Seafood is a must in the list of 10 dishes of Odisha that you can’t afford to miss on your visit. The plate, cooked with prawn and coconut milk, has been one of the most loved recipes in the state. Eaten by people in the river basin and coastal regions of Odisha since ancestral times, the dish has seen an evolution in style since then. This aromatic and delectable dish has successfully attracted not only the nationals but also foreign tourists, contributing to the culinary tourism in Odisha.
The paramountcy of culture and values seems evident in the cooking style and dishes. Diversity runs in the veins of Odisha, cowling even the culinary culture of the state. You can find sweetmeat as sweet as the natives. Although mainly the Odia cuisine comprises mild spices, time and again, the spicy food dishes are mind blogging and lip-smacking. Granted that Odisha is the ‘Goa of Eastern India’.
“…and that is how Gulshan Nanda rose to fame.” Recently, I recall my grandmother striking a conversation reminiscing the era of Gulshan Nanda, the man who knew exactly what the Indian audience wanted to read, or see in cinema. She struggles to find the novels in her trunk, which she previously bought from the Lajpat Nagar Market, New Delhi, in the 1970s. After having found Neelkanth from the trunk, she narrates how she read his stories in Upanyas during her school days. She snuggles the novel and then, recounts the life story of Gulshan Nanda:
“Gulshan Nanda bought a house in Vikram Vihar, Delhi before moving to Mumbai. Unfortunately, he never resided there, leading him to rent the flat. A relative of his used to collect the rent to send it to Nanda. The tenants later bought the house, and Nanda, thus, never returned to Delhi. His cinematic journey as a writer had so begun, with stories being hit on the big screen as well as read enough by the masses equally.”
I remember reading about Nanda’s birth in 1929 who grew up in Quetta (now in Pakistan), but came to Delhi before Partition. In Delhi, he began working as an optician but continued to write stories in Urdu (Read them here). Nanda’s first few books were published by Ashok Pocket Books and sold so well, they were constantly in print.
Next, she recounts the story of Neelkanth, which was the first novel she read during her school days. She reminisces the fear that was built page by page reading this horror novel in her childhood. Neel Kamal was the filmy adaptation of the book starring Waheeda Rehman, Raaj Kumar, Manoj Kumar, Mehmood, Balraj Sahni, Lalita Pawar and Shashikala and directed by Ram Maheshwari. A suspense thriller, or moreover horrific for a school child, she recalls the story of the protagonist sleepwalking several times in the novel, connecting dots to her previous life. My grandmother calls it the ghosts of the past and the love of the present.
That is how I started reading ardently about Gulshan Nanda on the internet and how cinematically, his career was overtaken soon. Evidently, there is not much coverage about him or his life story anywhere. Going through the set of books he wrote, numerically 51, I observe the covers, specifically with women on them.
Image Courtesy – Amazon
With Tisca Chopra predominating two of the covers, I comprehend that most of his written pieces focussed on the plight of women and their relationships: their untalked social predicaments, their romantic relationships, a trope of reincarnation and often exaggerated storylines in reference to their kins.
Undoubtedly, Nanda underlined flaws in his female characters as well, waiting to be saved by a male counterpart, elongating the damsel in distress plot. Pick up any of his novels, be it Naya Zamana or Kati Patang, the trope of women subjugating their voices to fall in line with the hero
resurrecting them was recurring throughout. And the audience applauded the plotline each time they walked out of the cinema halls.
Say what I may want to say about Nanda, he was and remains one of the most celebrated pocket books writers. I read somewhere that the libraries had a separate section of his books, yet were considered unattractive for academic consumption. Other writers such as Prem Bajpai, Rajvansh, Kushwaha Kant, Ranu existed, but did not unfold the success that Nanda did. Readers relished onto the fairytale-like new -age novels, flouting the rules of gender roles. Publishers happily chased him to unravel a new storyline and make more economies, for instance Jheel Ke Us Paar claiming to have sold half a million copies.
Nanda, is and will continue to be the success of novel-to-film adaptations since he knew the style of sewing a storyline keeping in mind its visual presence. To look at his associations, he first wrote Punarjanma, released in 1963, a Telugu film based on Nanda’s story. This comradeship with the Hindi Cinema continued for over two decades, until his last film written by him was released – Bindia Chamkegi in 1984. For some of these films he wrote stories or screenplays, while some were based on his pre-published novels. He worked with some of the best known and widely respected banners and directors in Hindi cinema, namely L.V.Prasad, Ram Maheshwari, Shakti Samanta, Subodh Mukherjee, Yash Chopra, and Chetan Anand. He truly earned the title of writer of family films, making him hugely successful commercially,
However, what Nanda did not calculate in his immaculate, repetitive storylines was that change comes every decade. He failed to study the change of taste of his audience, despite having ruled the solely-entertainment-oriented screenwriting of the 1960s, the 1970s and part of the 1980s, only to be further replaced by other, more contemporary, ‘writers’ or now, ‘brands’. That called for the end of an era of Gulshan Nanda, the dedicated master of contemporary pocket books. Undoubtedly, the writer lives on, with his stories easily converted into movies that are still watched extensively on the big picture.
The Indian state of Odisha (previously known as Orissa) is famed for its scenic beauty, unique tribal culture, and archaeological brilliance. It is already a popular destination for adventure lovers. Apart from this well-known fact, visitors are most impressed with the state’s delectable food.
Gastronomy is a regional culinary technique; it is the art and science of creating and presenting one-of-a-kind foods. Food has the ability to affect the growth of the hospitality and tourism industries in every location. Odisha’s culture and religious beliefs have influenced the development of its cuisine. Odisha has a distinct cooking technique that is both basic and distinct, making it a popular culinary tourist destination in east India. Odisha is a rice-growing state with rich plains and hot, humid weather. As a result, the state’s cuisine is predominantly rice-based. In comparison to the cuisines of other Indian states, traditional Food of Odisha employs a variety of locally obtained vegetables, grains, pulses, dairy products, and seafood, as well as fewer spices and oil. Despite this, the dishes and cuisine are rich in flavour, scent, and taste.
The fundamental food of Odisha, khichdi is definitely going to cause you to salivate with its sweet-smelling flavour and savouring taste. Khichdi, as we call it in different states, is a simple yet healthy feast. Odisha khichdi is perhaps the main dish, being presented as the primary bhog to Lord Jagannath at the Puri Temple. The ideal mix of rice and lentils cooked together in ghee gives a one of a kind and savoring flavour to it. This encouraging feast offers an extraordinary taste as well as much more prominent sustenance. Softly flavoured, frequently presented with curd and papad, this tantalising supper will undoubtedly make for a comforting meal.
A prawn curry decorated with coconut milk and flavourful flavours. That summarises the meaning of chundi malai. Powerful. Isn’t it? All things considered, you can taste it in practically all eateries and lodgings in Odisha that serve its staple cooking. This delicacy is true to Odisha and is generally cooked during unique events at home. The aggregation of sweet-smelling flavours hoists the flavor of prawns manifold. Try not to miss this delightful formation of Odisha when you visit the state. Group it up with fine Basmati rice and lose all sense of direction in the richness of this mouth-watering renowned dish of Odisha.
Every odia’s heart and soul is matcha (or fish). In this way, how might we talk about Odisha food without referencing fish! Macha ghanta is a thick curry made with a singed head of fish, vegetables and a variety of spices. The flavour profile made by a combination of fixings like cumin, cinnamon, garlic, ginger and straight leaf will overwhelm your palate and leave you happy. The ghanta’s second primary part is the flavour-infused potatoes! Taste this dish and you will know what delight a potato can add to any food, particularly curries. To adjust the extravagance of the macha ghanta, you can have it with plain rice. If you ever end up visiting Odisha, attempt to have this popular food in Odisha at a customary Odia home, rather than a café for its most credible and authentic variant.
In the event that you are a veggie-lover, this is an ideal dish for you. Most likely you have eaten bananas, yet have you at any point contemplated how a banana stem tastes? On the off chance, you have not, then try this lip-smacking delicacy made with banana stems. Pan-seared and prepared with flavours, this dish is certainly going to be on your list of most loved dishes once you taste it. Flavours like cardamom, cinnamon, coriander, red bean stew and cumin prompt spices to the banana stem and make it delectable. A significant portion of it with rice will always leave you wanting for more! In the event that you are inclined towards non-vegetarian food, you can simply make your own combination form of this dish by adding fish or meat to it. For a genuine kadali manja rai, the roadside food stalls, hotels and inns are the best places to visit.
This well known road food is called by different names like golgappa, pani puri and puchka. You got it, isn’t that so? We were certain you would! This most loved speedy snack of India is nicknamed gupchup in Odisha. With a brief glance at the formula, we can see that the Gupchup comprises little firm dollops of bliss made with atta, suji and maida, and are presented with crushed potato chaat and tamarind water. Additionally, the squashed potato is clubbed with chana masala, chhola, coriander passes on and green chillies to draw out the ideal hot flavour. Where to track it down? All things considered, this food treasure needs no furious expedition. Simply stroll around in Odisha and you can detect small stalls selling gupshup in pretty much every niche and corner of the state.
Pitha is a cereal-based steamed cake that will entice your taste buds very much like different dishes of Odisha. Being a well-known dish of Odisha, the dish is made as numerous variations, for example, poda pitha, chakuli pitha, and some more. They are made both on special occasions and as a common dish in Odisha’s homes since they represent one of the state’s remarkable pleasures. Here is somewhat more with regards to the variations of pithas:
Chakuli Pitha: It is produced using dark gram cereal and is a fresh enjoyment to chomp on during your excursion.
Poda Pitha: It is an extraordinary tasting delicacy known for its luscious texture. Ready during celebrations, this variation of pitha has an amazing aroma.
Kakara Pitha: Made from semolina, cardamom, and ground coconut, this sweet fritter is a famous dish of Odisha.
The ‘Chhena poda,’ which loosely translates to ‘burnt cottage cheese,’ is arguably the most popular of them. Sudarshan Sahu, a confectioner and hotelier, invented it in the twentieth century. Mr Sahu made the mistake of leaving some sweetened ‘chhena’ (cottage cheese) in a heated tandoor overnight one evening. The gur in the chhena caramelized as a result of the heat, giving the soft cheese a roasted taste and a firm gritty outer layer. The chhena is traditionally created by curdling milk and binding it in a muslin cloth, then kneading it into a loose batter with sugar, cardamom powder, and sooji (semolina). It’s wrapped in Sal or Banana tree leaves and baked in a coal oven for 3 to 4 hours.
The Odia people’s favourite sweet is the Chhena poda, which is now presented to Lord Jagannath. It’s not just prepared in every modest roadside booth, but it’s also mass-produced for fans all throughout the state by the Orissa State Cooperative Milk Producers’ Federation. After receiving the geographical indication for ‘Odisha’s Rasagola’ last year, the state is requesting the same for Chhena Pudo.
This sweet delicacy hails from the Odisha area of Kendrapara and is one of the 56 meals (popularly known as Chhapan bhog) presented to Lord Jagannath. These chhena patties, deep-fried and drenched in rich sweetened milk, will satisfy your sweet needs. This sweet is mostly offered at low costs in local sweet stores, but it may also be found in a traditional restaurant in Odisha.
Pilaf, often known as Indian pulao, is a popular Odisha meal. From the moment it’s prepared, you can smell its seductive scent. The scent of the rice is heightened with a blend of spices such as cloves and bay leaf. The rice’s delicate flavour won’t overshadow your side dish, and it won’t be as bland as a bowl of regular rice. Pair this flavorful sautéed rice with a curry with a lot of flavour, such as chicken or mutton. We can already see you drooling!
Khaja is a traditional Odisha dish that is provided as a prasad to visitors visiting the Jagannath Temple. Its intricate form and texture will pique your interest. Each khaja is a unique form that emphasises the beauty of imperfection. Consider a crunchy chip that has been dipped in sugar syrup. Doesn’t it sound delicious? It’s tastier now! The crispiness of the fried exterior layers combined with the chewiness of the sugar-drenched inside layers will leave you wanting more! But wait, there’s more! Did you think it was only served in temples? No! Odisha’s favourite meal is also available in a variety of local businesses.
Taking delight in life’s small joys, the people of Odisha are down-to-earth with minimal needs which reflects in their food habits. Most of their dishes are best prepared and enjoyed at a traditional and simple home. The next time you visit the state, make sure to go through the entirety of the list to give your taste buds a marvelous experience!
Odisha is a cultural treasure trove, with ancient monuments, archaeological sites, indigenous arts, sculpture, dance, and music. It is the 8th largest state in terms of land and the 11th largest in terms of people. The state is home to India’s 3rd largest number of Scheduled Tribes. It is bordered on the north by West Bengal and Jharkhand, on the west by Chhattisgarh, on the south by Andhra Pradesh, and on the southwest by Telangana. Along the Bay of Bengal, Odisha has a 485-kilometre (301-mile) coastline. Utkala is another name for the region, which is featured in India’s national song “Jana Gana Mana.” Lets take a deep look in to the culture of Odisha and it’s heritage.
Odisha’s early history can be traced back to references in ancient literature such as the Mahabharata, Maha Govinda Sutta, and a few Puranas. Due to marine trade links, the region was also known to other kingdoms in the East Indies region. The land’s first occupants belonged to the Sabara tribe, which had its own culture. When the Aryans arrived in Odisha from the northeast, there was initially hostility between the two civilizations, but over time, reciprocal give and take resulted in cultural integration. Odisha is famous for being the birthplace of King Ashoka, who began to practice and preach Buddhism there.
The Sultanate of Bengal’s troops, headed by the iconoclast leader Kalapahad, captured the province in 1568 CE. The region’s political identity was shattered. The region’s subsequent rulers were more like tribute lords than true kings. For over a half-decade after 1751, the Marathas controlled the region. The region was ceded to the British Empire in 1803. The British partitioned the area into sections of various provinces. Odisha was established in 1936 as a province based on the population of Odia-speaking people.
Oriya is the most widely spoken language in the state and its outlying areas, and it is one of the country’s oldest languages with Sanskritic roots. It is spoken by approximately 84% of Orissa’s population. Hindi, Urdu, Bengali, and Telugu are commonly spoken and understood. Only a few educated people speak English.
Women in Odisha wear many varieties of saris, which enhances their natural beauty. Kataki Sari, Sambalpuri Sari and Salwar Kamiz are popular women’s outfits in Odisha. Dhoti is a popular traditional attire for males in Odisha. During the festival and other customary festivals, they also wear Kurta and Gamucha.
Tarakasi, Odisha’s most distinctive and finest handcraft, is a type of silver filigree work popular in Cuttack. This highly accomplished art form dates back over 500 years and is expertly performed by local artists.
Pattachitra is a traditional painting based on Hindu mythology that is one of Odisha’s oldest and most popular art forms. Raghurajpur village in Puri is well-known for its artists, and it’s fascinating to note that practically every family has at least one member participating in the art form.
Palm Leaf Painting, also known as Talapatra Chitra in Odisha, is an old style of art. This is regarded as one of the sacred art forms in the state.
Odisha is also known for its sand sculptures. Sand Art is clearly one of the world-famous artworks that can be found in Puri, Odisha. In fact, the state conducts an International Sand Art Festival every year.
The appliqué work is a frequent thing in every dwelling, street, and shop in Pipli, a tiny village located near Puri. In the hamlet itself, visitors may watch the process of creating umbrellas and canopies, as well as see the finished products. Artists weave small mirrors on the applique motifs to make it more eye-catching!
Dokra is a very old style of craft that originated approximately 4500 years ago. It is currently done in many parts of Odisha but the craft is particularly famous in Dhenkanal. Many of its people use the lost wax process to create boxes, sculptures of Gods and Goddesses, and lamps.
Dandasahi Artist’s Village, near Puri, Odisha – Saurabh Chatterjee/Flickr
The black stone sculpting art of Khiching in the Mayurbhanj area, which has a long history and a regal past, is one of the most well-known crafts. Khiching is also recognized for its spectacular temple of Maa Kichakeswari Devi, which attracts a large number of tourists because it is constructed entirely of black stone and is adorned with exquisite decorations that are unique to the state!
Most of Odisha’s arts have received international acclaim, and Papier Mache is one of them. The art involves the use of discarded cloth, natural fibers, and papers and is practiced in practically every region of the state.
Ikat, also known as Bandha, is a textile art form in which patterns are formed by dyeing cotton or silk before weaving the fabric. Though it is available in a variety of locations, Sambalpur is a popular destination for this type of art. While Ikat works may be found all over India, single ikat, double ikat, and a combination ikat of both warp and weft threads are very popular in Odisha.
Culture of Odisha is characterized by a plethora of temples and monuments. These temples are proof of the region’s beautiful architecture. The first monuments were constructed in the third century B.C. The lion capital of an Ashokan pillar, now in the State Museum, and the fragment of an Ashokan pillar, converted into a Shiva Lingam and ensconced in the Bhaskaresvara temple in Bhubaneswar, tell eloquently of Odisha’s previous splendor. The second phase of Odisha art is represented by the rock-cut caves of Khandagiri and Udaygiri, as well as inscriptions documenting Kharavela’s brief but eventful rule in the first century B.C. The Naga and Yaksha images discovered in Bhubaneswar are from the post-Kharavela period. During the seventh to thirteenth centuries A.D., Odisha was at the pinnacle of her creative grandeur, the Temple Architecture in Odisha. The temples of Orissa have a distinct design that has evolved through time to include a more complicated plan, highly ornamental plastic figurines, and higher sikharas.
The Sun Temple in Konark is the crowning achievement of the Orissa style. It is the last phase of temple construction in Orissa. It was constructed in the 13th century A.D. by Narsingha Deva of the Ganga Dynasty. It is known as the Black Pagoda and is dedicated to Surya, the Sun God. It portrays Time – the Sun God moving across the sky, shaped like a Ratha or chariot drawn by seven gorgeously caparisoned horses in motion. The temple’s outer walls are adorned with magnificent sculptures of dancers in various stances, musicians, lions, horses, elephants, and other animals depicting all aspects of life.
A ruler of the Ganga Dynasty built the Lingaraja temple in the 11th century AD. It has all of the characteristics of an Orissa temple. It has a vimana and a Garbha Griha and is enclosed in a quadrangular enclosure. The shikhara, a lofty ribbed curvilinear spire that curves in at the top and is crowned by an amalaka or great rounded block of stone, is built over the garbha griha. The golden vase-shaped Kalasa with a trisul stands on top of this. The sanctuary is built on a foundation of beautiful mouldings. Niche projections of Ganesh, Parvati, and Kartikeya adorn the lower half of the wall on three sides.
Puri’s Jagannath temple is a grander version of Lingaraja’s temple. It was constructed in the 12th century AD and includes a 65-meter-high tower.
Odisha is home to Hinduism, Islam, Christianity, Buddhism, and Jainism, among other religions. However, Hinduism is the majority religion in Odisha. Despite the fact that all other religions have adherents, Odisha boasts the biggest concentration of Hindus among Indian states. Odisha is a nation of religious tolerance, and people of many sects and faiths coexist peacefully, often within the same hamlet, and used to share all of the festivals.
Odisha has a long and illustrious musical culture. Odisha’s rich musical legacy is reflected in the figures of dancers and musicians carved on old temple walls. Odissi music is a classical genre that combines all of the elements found in Hindustani and Karnatic music. Odissi sangita is a synthesis of four types of music, namely dhruvapada, chitrapada, chitrakala, and panchal, as detailed in two treatises produced in the early nineteenth century, namely Sangita Sarani and Sangita Narayana. Jayadev, the saint-poet, renowned composer, and illustrious maestro of classical music, is responsible for most of it.
The Odissi dance, which is choreographed to the best music of Odisha, is claimed to be an attempt to approach God and experience ultimate happiness. As a result, the devadasis, who used to dance to the recital of hymns and bols of talas, kept this dance alive. The Odissi dance emerged from the millennia-old Mahari dance form, which was once performed by devadasi dancers known as maharis at the shrine of Lord Jagannath in Puri. It was afterwards promoted as Odisha’s classical dance genre. Late Kavichandra Kalicharan Patnaik and Padma bhusan recipient Kelu Charan Mahapatra are among the masters who elevated the dance form to international prominence. To name a few, there’s Padmashree Pankaj Charan Das, and Deba Prasad Das.
In the world of Odisha music and dance, Chhau is a popular dance genre in addition to classical Odissi. It’s a warrior dance performed to the accompaniment of indigenous instruments. Today’s highly stylized Chhau dance adheres to the essential principles of Bharat Muni’s Natya Shastra and Nandikeswara’s Abhinaya Darpana. Other dance traditions found in Odisha’s rich history and culture include Jatra, Pala, Dashkathia, Gotipua, and Naga-Medha.
Odisha is a melting pot of cultures, including Aryan, Dravidian, and Adivasi. The majority of the state’s festivals highlight some aspect of their cultures and honour their faith throughout the year. There are several festivals that are widely celebrated, but the celebrations are unique to each place. The Rath yatra is the state’s most well-known festival, during which a massive chariot or rath is driven across the state, particularly in Puri, where devotees worship Lord Jagannath. Durga Puja is celebrated all around the state, but especially in Cuttack. Kali Puja, also known as Diwali, is observed in many parts of Odisha. Cuttack’s Bali Yatra, held on the full moon day of Kartika, recalls the splendor of Odishan traders in the past. At Baripada, the Chaitra Parva, a Chhou dance festival, is held.
Odiya cuisine uses a variety of locally obtained vegetables, grains, pulses, dairy products, and seafood, as well as fewer spices and oil. Khechidi (rice, lentils, and ghee), Palau (vegetables, dry fruits, and spices), Kanika (sweet rice dish made with dried fruits and ghee), Ghee rice, and Pakhala (watered rice served with curd and stir-fried vegetables) are some of the famous rice dishes in Odisha. The vegetable and spice-laden Dalma, the plain and uncomplicated Dali , and the delectable and flavorful Besara are just a few of the mouthwatering lentil meals. Santula is a vegetable stew made with onion, garlic, and green chilies in a skillet. Khajuri khata, Amba khatta, Ouu khatta, dhania-patra, and pudina-patra chutneys are some of the state’s well-known chutneys used as condiments in Odishan cuisine. Dahi baigana, a curd and brinjal dish, is a delicious side dish with a tangy, flavorful, and sweet-sour flavour.
When it comes to sweets, Odisha has a wide variety of desserts, including cheese-based Chhena Poda, Chhena Jhili, Rasamalai, and Chhena Gaja, as well as flour-based Pheni, Jilapi, Malpua, and Kheera Gaja. Pitha, or indigenous cakes, are popular in Odisha.
The kitchen of Puri’s famous Jagannath Temple is said to be the world’s largest, with a thousand chefs working around 752 wood-burning clay hearths known as chulas to feed over 10,000 people every day. Offerings are made to the presiding deities in temples around the region. The Jagannath Temple’s prasad is well-known, and it is known as Maha Prasad, which means “largest of all prasads.” It is known as chhappan bhog since it has 56 recipes.
With a 485-kilometre-long coastline, mountains, lakes, natural biodiversity, and rivers, tourism in Odisha is one of the most important contributors to the state’s economy. Odisha is one of India’s most important tourism destinations, offering a diverse range of tourist attractions including wildlife reserves, beaches, temples, monuments, the arts, and festivals.
In Orissa, agriculture is the most common occupation. Agriculture and agriculture-related businesses employ over 76% of the entire working population. In addition, the state is a big producer of fish. Because of the favourable industrial climate in the state, the state has seen an increase in industrial activity.
Odisha with its diverse and intriguing cultural traditions exemplified by the iconic Sun Temple at Konark and the respected Jagannath Temple in Puri. Odisha, which is home to 62 tribes, has long been a favourite of visitors and scholars alike. Odissi dance, handlooms, and fine handicrafts give this land a distinct cultural character that has enthralled people from all over the world in the past and will continue to do so in the future.
Coral warriors is a non-profit organization founded by Vidhi Bubna in 2021, a rescue diver, with the belief that scuba diving can create much needed perspective shifts for the youth. Her aim is to create more opportunities for people especially for Indian youth and help them to gain access to diving. Other countries already have running grants for diving and underwater exploration, but this is the first ever grant in India dedicated to diving. After completing the training and required certification, the founder came to know that people in India rarely have access to the underwater world of coral reefs. Vidhi noticed that this was because of the lack of funding to facilitate these scuba courses, rather than the absence of passionate youth. So, she decided to launch a non-profit organization “Coral Warriors” being India’s first ever diving grant for the youth,by the youth.
We all know that India is home to a fifth of the world’s youth population. That’s why we need the youth who are passionate about climate change and want to make an impact in the climate change sector. Coral Warriors wants to see Indians heading the global narrative on climate change.
Diving grants all over the world like UK, Australia, USA and other countries already exist but this type of grant in India is the first of its kind. Coral Warriors wants to support at least one diving enthusiast of Indian nationality. We are also providing grants worth INR 70,000 to support diving education. However, we want to send as many people as possible. We have a special screening process to on board enthusiastic youth volunteers to attain the desired funding. Our goal is to get more passionate members of the youth involved in diving so they can observe prevalent coral damage first hand and can do something about it. Many Indians don’t even know what corals are, for that we need youth who can create awareness and also help save the corals. India being home to some of the most surreal diving spots has places likeAndaman, Goa, Kerala, Pondicherry and Lakshadweep, it is essential to save corals along our reefs.
Do you know that coral reefs are often described as tropical forests of the ocean? They are the organismsenhancing the beauty of marine ecosystems. From octopuses to dolphins, most marine organisms rely upon the reefs as a basic source of food. The beauty of coral reefs is that they absorb the intoxicated elements in water, thus making water near the coastal regions pure and filtered. Not only this, they also contribute significantly to the economy. Those who live near the coastal regions depend upon reefs for food, protection and employment. But now, coral reefs have started to bleach and are facing massive die-off because of the growing industrialization, environmental instability and increasing carelessness. At present, almost 50% of the coral reefs have withered away and soft corals have started to decompose. At this rate things will be out of our hands in no time, we need the most energetic and passionate youth who can help conserve them for our future generations. Our vision is to raise awareness about coral damage and ocean pollution, to highlight it’s deteriorating impact on life underwater. Coral Warriors is also live in Brazil. We are funding one Brazilian National per year to learn diving and support their intended environmental impact.
We want more Indians involved in adventure activities like diving which the youth only see on television channels. Traditional Indian families do not prefer to support their children to pursue a career path that does not make them the most financially well-off. However, Coral Warriors wants to see that change in a stern Indian mindset and support those who are unable to access enough funds to go diving. We want to make diving education more accessible and affordable to deserving candidates from India, a country with high poverty and less opportunities to pursue adventure activities.
To encourage more and more people to understand the critical importance of preserving the marine environment, CORAL WARRIORShas decided to initiate the grant for Indianyouth who actively want to be a part of the climate conservation activities. This grant will be provided to those who wish to learn how to scuba dive. At the end of the diving course, the grant awardee is expected to work on a detailed global impact project. As the saying goes, “Diving is an investment of time and money but the rewards can be life changing, literally”. Diving, while it is an “adventure sport,” takes people into a calm and quiet environment — there are no phones, no emails, no way for the terrestrial world to contact you. It is forty five minutes of pure solace. We want more diving enthusiasts from India to actually get the opportunity to dive.
Left – Guru Surendra Nath Jena displaying the darpana pose, Image courtesy – Sangeet Natak Academy, New Delhi. Right – A dancer in the darpana pose at the Brahmeshwar temple, Bhubaneshwar, Odisha
Life is the story of all rasas (emotions). It is only when art epitomizes this truth, does it become sublime. This is why Guru Surendra Nath Jena wove the rhythm of daily human life in his interpretation of the traditional Odissi dance. The resulting style, which came to be known by his name, is considered to be very different from that of his contemporaries, even radical. This was his path to the sublime on which he danced to pour out his devotion to God.
This unique journey lasted many decades. His creative life started with the Jatra form, in the early twentieth century. In time, he became the director of Sharda Kala Kunja of Nagaspur – the most popular Jatra troupe in Odisha in the mid-twentieth century – which performed across the villages of Odisha. Eventually he trained in Odissi dance and in the 1960s, he started teaching it in the conventional style in Triveni Kala Sangam, New Delhi. At round the same time, destiny took him to a visit to the Konark Sun Temple in Odisha. The exquisite sculptures in its Nata Mandap, and in other temples in Odisha, made him feel that these dance poses should be viewed as successively depicting an entire piece of the dance instead of only being its centerpiece. This started his breakaway from the prevailing perception and convention.
Guru Surendra Nath Jena in the midst of the everyday setting he drew his inspiration from and depicted in his dance. Source
Inspired by this fact and by linking the sculptures to the history, sociology and religion of Odisha, he composed unique and outstanding pieces such as: “Konark Kanti”, “Shilp Chandrika” and “Shakti Roopa Yogini”. His style was characterized by celebration of the rural daily life of Odisha; equal emphasis on the female and male elements including the vibhatsa and raudra rasa, as opposed to the focus on the feminine lasya element primarily represented in the shringar rasa; incorporation of Vaishnavite, Shaivite, Shakti and Tantric traditions; some stances and movements altered to synchronize with the depiction of ups-and-downs of life; the importance of yoga-asanas; and bhaav-sanchaar (communication through emotions) rather than shabd-sanchar (communication through words). It was also rooted in his own religious and sociological ideology that all Indian arts are connected to one another.
Music, dance, yoga, painting, poetry, architecture and mythology: the ultimate objective of all is take the artist to the realization of spiritual joy (atma-ranjan), raising the art beyond pleasing other people (lok-ranjan). Guruji’s personal dialogue with the Almighty also expressed his reverence in the poetry he wrote and used for his compositions, such as “Venu Gatha” and “Achoot Kanya”. He also brought to forefront much vernacular poetry of Oriya poets. He poured all his emotion, experience, knowledge and philosophy of Odissi dance in his monumental book: Atman – Odissi Nritya Puran: History, Technique and Aesthetics of Odissi Dance, which is like an encyclopedia of the form.
This journey did not end with his demise in 2007. His children have carried it and walked forward in it. In order to make Guruji’s style more widely-known, they have consistently attempted to create awareness about the reasons and the philosophy underlying it. Guru Pratibha Jena Singh, his eldest daughter and disciple, is the founder of the Nrityashilp Guru Surendra Nath Jena Odissi Dance Foundation. Among other initiatives, the Foundation has been organizing International Festival of Guru Surendra Nath Jena bi-annually. The first one was in 2016, held in New Delhi, India. Its primary intent was to spread the knowledge of the style and ideology of Guru Jena to as many people as possible. Hence it consisted of seminars, talks and presentation of scholarly research papers on Guruji’s Odissi dance style.
Guru Surendra Nath Jena at a temple in Odisha.
International and national artistes showcased choreographic pieces from Guruji’s repertoire. His Oriya poetry was read out and explained to the audience. The second Festival was held in 2018, at Jaipur in Rajasthan, India. Artistes from USA, Europe and the Asian subcontinent paid their tributes to Guruji by presenting pieces from his remarkable style. In 2021, given the restrictions of the ongoing Covid-19 pandemic, it was organized in a hybrid mode at Badogal and Bhogpur villages in Uttarakhand, India; in late October. Guru Surendra Nath Jena’s disciples from all over the world came together in online and offline modes, to dance to his original compositions as a tribute to him.
Even in the online mode, the traditional backdrop of an Odissi dance performance was beautifully and lovingly maintained; even enhanced. Guruji’s scrupulous attention to his art, students and all aspects of dance reverberated in one of his disciples in the United States of America performing despite having suffered from a severe injury recently. The entire Festival was organized with the help of local young volunteers in the villages of Uttarakhand. Prior to this, they had participated in a month-long yoga workshop, also conducted by the Foundation. They, alongwith other people in the adjoining areas, could see the magnificent performances live; which was a rare opportunity.
The International Festivals of Guru Surendra Nath Jena commemorate the universal appeal of dance for the human heart. If Guruji could have witnessed them, he would have smiled in approval. After all, he had always held that the Divine resides in each soul; and can be experienced best in the sahaj (natural) human life. The human life with all its vibrant rasas.
Arunachal Pradesh, the land of the rising sun, is rich in cultural and ecological sense. There are 24 districts in the north-eastern state of Arunachal Pradesh. The total number of tribes residing in the state includes more than 26 major tribes and more than a hundred sub-tribes. The state’s remote location provides the perfect scenario for the growth of tribal culture of Arunachal Pradesh, keeping it exclusive of the other regions in India.
Arunachal Pradesh assumes tremendous anthropological richness. The state is home to various tribes and indigenous groups. The prime cultural groups of Arunachal Pradesh categorize into three subheads. First, the Monpas and Sherdukpen of Tawang and West Kameng districts. This group identifies and associates itself with Mahayana Buddhism. Second, the Apatanis, Adis, Galos, Mishmis, Nyishis, Tagins, Akas, and Thongas worship the Sun and Moon God. Lastly, the third group includes Noctes, Wanchos, and Khampti, who follow Vaishnavism and Buddhism. This group follows a stringent hereditary rule to maintain villages. Each tribal distinction in Arunachal Pradesh made its place in the cultural strata of the state. They have distinct traditions and customs.
Did you know that Arunachal Pradesh found a place in the list of Asia’s most linguistically diverse states? There you can observe more than 50 dialects of the Tibeto-Burman language. The primary language structure sought to originate from the Tibeto-Burman language, but tribes have different dialects. The Tani dialect includes languages like Nyishi, Apatani, Bokar, Galo, Tagin, and Adi. In the eastern part of Arunachal Pradesh, you would observe the Mishmi language. Some languages like the Digaru, Idu, and Miju, of the Mishmi dialect, amount under the endangered languages, and researchers predict that they might become extinct in the coming years. Bodic language is the common language in the western and northern districts of the state.
Most people are comfortable with the Assamese language. The reason for this is the prolonged influence of the Ahom dynasty rule in Arunachal Pradesh. Hindi and English too form a part of the daily use language. Most people in the state can understand Hindi and English and converse in the language.
The holy Tawang Monastery, also known as the Tawang Ganden Mangyal Lhatse, which roughly translates to ‘the heavenly paradise of the divine place chosen by the horse,’ is the world’s second biggest monastery. The monastery is said to be about 400 years old and is in charge of 17 gompas in the area. This monastery, which houses over 300 monks and is built amidst the Himalayan ranges with fascinating views of the Tawang-Chu valley, is built amidst the Himalayan ranges with hypnotic views of the Tawang-Chu valley.
The beautiful construction may be accessed from the north via the ‘Kakaling’ gate, which is a stone-walled hut-like structure. Tawang Monastery is an exemplar of traditional Buddhist architecture, having various structures on its grounds, the most notable of which is a three-story assembly hall known as the ‘Dukhang.’ The inner sanctuary is dominated by an opulent 8-meter high figure of Lord Buddha, amid the gorgeous interiors featuring paintings, murals, carvings, sculptures, and rich textiles.
A typical village has fewer and more compact houses. The dwellings are constructed in accordance with the humid subtropical environment. The dwellings have a rectangular shape, a long slanted roof, and an open platform linked to the main building. A slanting roof usually dominates the primary residential unit. The home has short walls and, most significantly, no windows. As a result, the rooms lack natural light and have a smokey feel. For them, the home is not just a structure that protects them from hard rains, loud storms, and humidification, but it is also a living thing.
Traditional Dresses of Arunachal Pradesh
Image – Rita Willaert/Flickr
Shawls, wraps, and skirts are common in Arunachal Pradesh’s traditional attire. Though the tribes are all of the same ethnicity, the way they dress varies depending on where they live. Arunachal Pradesh residents are known to be born weavers. The majority of their dress styles are derived from their forefathers. In Arunachal Pradesh, the handloom industry is a growing sector. The tribal people choose to wear only natural organic jewellery. Goat hair, human hair, tree bark, and other materials are used as raw materials. Dark blue, green, yellow, black, and other dark colours are desired. Natural dyes produced from plants, barks, flowers, and seeds are the source of these colours.
In most tribes in Arunachal Pradesh, girls and women are required to wear accessories. Earring, silver rings, bamboo pieces, red beads, and gorgeous turquoises are worn by Monpa ladies. Another well-known clothing item is the hat, which is embellished with a magnificent peacock feather. The attire is stunning and draws attention to itself. The Hill Miris are a group of people that dwell in the Kamla valley and dress in brilliant garments. Women also wear ‘crinoline of cane rings,’ which are quite attractive.
The Sherdukpen live in Bomdila’s southern section, close to the Buddhist community. The men in this village dress in sleeveless silk garments with two pinned edges at the shoulder area. Clothing is often knee-length. Skullcaps coated with yak hair are its distinguishing feature. Sherdukpen ladies wear sleeveless, collarless clothing. They cover it with a full-sleeved jacket and mushaiks (waist cloth).
The indigenous religion of Arunachal Pradesh is highly inclined towards nature and makes the culture of Arunachal Pradesh even more rich. The people of the state are close to nature; they are practically dependent on Mother Nature. They worship nature in various forms, like folklores, dance, etc.
Buddhism is the dominant religion in the state. The tribes of the districts of West Kameng and Tawang profess Tibetan Buddhism. At the same time, the people in the region near the Burmese border follow Theravada Buddhism. Christianity is also a major religion in the state, following the indigenous religion. About 30% of the population of Arunachal Pradesh practice the Christianity religion. While a tiny proportion of the people also practice Hinduism.
The fertile land of Arunachal Pradesh enables access to an abundant amount of rice and vegetables. The traditional food of Arunachal Pradesh includes Rice and Meat. Lettuce, green chilies, and coriander are the main ingredients in most recipes. A platter in Arunachal Pradesh is incomplete without these three elements. The people of Arunachal Pradesh prefer mild flavors with fewer spices and a sober taste. If you ever get a chance to visit Arunachal Pradesh, you must try boiled rice cakes, thukpa, and Apang. Thukpa and momos are the traditional dishes of Arunachal Pradesh.
Another thing you would find in Arunachal Pradesh is rice beer. There are many forms of rice beers in the state, and get a hold of one while you get a chance.
The culture of Arunachal Pradesh, observes many festivals throughout the year. The celebrations are broadly classified into religious festivals, socio-cultural festivals, and agricultural festivals.
The Siang River Festival honours this beautiful state’s community peace. It was once a component of the Brahmaputra darshan event. The Siang River Festival is now celebrated in Turing, Yingkiong, and Pasighat. This event aims to promote ecotourism while also providing a variety of entertaining activities. Elephant races, river rafting, culinary festivals, and other activities are among the games available. This is one of Arunachal Pradesh’s most well-known festivities.
The Pangsau Pass Winter Celebration, which began in 2007, is a modern winter festival organised by the residents. This three-day event is held in Nampong, Changlang district, by the people. Every year in the month of January, this festival takes place. They perform traditional dances and songs as part of the ethnicity celebration. A stand with a variety of artworks from throughout the firm is set up here. Even Myanmar has a chance to show off its culture on this platform. The event brings together tribes from the Northeast and Myanmar to showcase their cultures and customs. This is a celebration that should not be missed while visiting Arunachal Pradesh.
Losar Celebration, Arunachal Pradesh’s most important festival, commemorates the Tibetan New Year. In Tibet’s pre-Buddhist time, the celebration was originally called as the Agrarian Festival, and it was held to commemorate the blossoming of apricot trees. Today, the Monpa tribe of Arunachal Pradesh celebrates the Losar Festival in the month of February or early March to fend off evil and welcome happiness and wealth into the new year. This well-known Arunachal Pradesh festival provides visitors with the ideal opportunity to sample locally produced beverages and traditional cuisine. Remember to tell each other “tashi delek,” which means “good luck,” when you run across each other at the Losar Festival.
Nyokum of the Nyishi tribe, another well-known celebration in Arunachal Pradesh, is held every year on February 28th. Nyokum is known for bringing wealth and peace to the people. Nyokum is a local dialect term that may be split down into two parts: Nyok, which means land, and Kum, which means people. Nyokum is a two-day festival in which the Nyishi tribe meets to sing and dance. The festival’s primary rites are done by the high priest, who also offers prayers to the spirits in order to help everyone and every household achieve peace and prosperity.
Music and Dance of Arunachal Pradesh
Image – Erikmeldrum/Flickr
The extant dance traditions in Arunachal Pradesh are an important part of the socio-cultural history of this small Indian state in the northeast. The natives like dancing and having a good time. They dance for pleasure as well as for festivals and ceremonies. The many dance genres are enjoyed by both men and women.
The dancing forms differ in accordance with the tribe’s diversity. Igo dance is practised by Mishmi priests, battle dance is practised by Adis, Wanchos, and Noctes, and ceremonial dance is practised by Buddhists. All of these dancing genres are mostly male-dominated and female participation is prohibited.
Aji Lamu, Roppi, Hurkani, Popir, Rekham Pada, Chalo, Ponung, Buiya, Lion dance, Pasi Kongki, and Peacock dance are some of the most prominent folk dances in Arunachal Pradesh. The majority of dances are choreographed to the beat of chorus tunes. While the songs are being sung, cymbals and drums are played in the background.
Folk Music of Arunachal Pradesh
Locals sing songs that seem like stories. The tribes’ historical past is brought to life via their folk melodies. These songs are mythical in nature and have roots in folklore. Some of the prominent folk songs played at various festivals in Arunachal Pradesh are listed below:
Ja-Jin-Ja is a traditional song that is performed at weddings, other social gatherings, and other festive occasions. It is performed by both men and women, either separately or in chorus. When the experts begin singing the songs, everyone in the audience joins in.
Baryi is a song that tells the tale of Arunachal Pradesh’s mythology, history, and religious tradition. Whether it’s a social gathering or a religious service, Baryi is a must-have. The song Baryi is rather lengthy. As a result, the song’s whole cycle takes hours to complete. The song’s reminiscences of the past elicit a sentimental response from the audience.
When the bridal side returns to the wedding ceremony, leaving the bride in her new house, Nyioga is sung. The bride might utilise the counsel in the song to help her manage her future life. The fundamental concept of this song is joy.
The art and craft of Arunachal Pradesh represent the state’s diverse culture and customs. Various inhabited tribes produce a variety of bamboo and cane handicrafts, as well as wood carving and carpet weaving. People in the areas of Tirap, Upper & West Siang, Lohit, and Tawang carve exquisite wood sculptures. East Kameng, Papumpare, Changlang, Upper and Lower Subansiri, East and West Siang, Lohit, and Dibang Valley, on the other hand, produce high-quality cane.
Handloom is an important element of the state’s rich art and craft tradition, and it is the principal source of income for the majority of women in the state. In Arunachal, women from 20 tribes and 100 sub-tribes strive to make skirts (Gale), shirts (Galuk), cotton shawls, side bags, and curtain fabric in a variety of patterns, quality, traditional value, motivation, and design. Another prominent art form that Arunachal Pradesh is proud of is painting. In Buddhist-dominated parts of the state, including as Tawang, West Kameng, and Upper Siang Districts, a specific form of painting known as Tangkha is common.
The subject matter of these paintings is mostly religious or traditional in nature. Carpet weaving, like painting, is mostly practised in Arunachal’s rural areas. The state’s carpets have been praised as being of national and international renown, putting another feather in Arunachal’s crown. Apart from carpets, the state also produces wall hangings, cushion pads, telephone pads, and floor coverings.
The Wangcho Bag, which is produced by the women of the Wangcho tribe of Tirap District, is one of Arunachal’s most distinctive products. The colourful geometrical pattern on the bag is woven using cotton and acrylic yarn. Apart from the distinctive bags, weavers are also developing a variety of utilitarian items such as women and gents waistcoats and costumes. The Wangcho women also manufacture grass necklaces out of seasonal reed found around river banks. In addition, the Tirap area produces necklace wristbands, waistbands, headgear, and earrings.
The wedding celebrations in Arunachal Pradesh are unique. You won’t find this in any other part of India. There are predominantly two types of marriages, first, Aaw Lang Aaw, and second, Thok no Chaii. The priest chants holy chants in front of the sacred fire. In the second type of marriage, Thok No Chaii, the groom has to perform a sacrifice of the natural fauna.
The groom’s family treks up to the hilltop and shout ‘Ho’ to declare their arrival. They stay at the bride’s house for four nights. The first-day treat of the celebration is on the bride’s family. The grand luncheon follows the first event. The groom’s family organizes a great pleasure on the second day. The third day observes the most exciting paint splashing ceremony. The groom’s family leaves on the fourth day. The bride goes to the groom’s house after a year of the ceremony.
The people of Arunachal Pradesh follow the Doyni-Poloism philosophy. It is the philosophy of living life, balancing nature, and harmony among the tribes. The tribes that follow this philosophical belief worship nature and believe that the sun and moon are the prime deities. The common belief is that life began from nothingness and the evolution from void advocates Sedi Melo’s creation. In marriages and alliances, people follow endogamy between tribes, while societies practice exogamy between clans.
Many tribes in the state also worship animals. More than 80 ancient tribes in the state believe that misfortune guides diseases, and everything revolves around the doings of the evil spirits which govern human life and action. The only way to break through the misfortune of evil spirits is Dandai’s service.
Agriculture is the primary source of income for the inhabitants of Arunachal Pradesh. Jhum agriculture is the main source of income for the farmers. Jhuming entails clearing a section of the forest by felling and burning trees, then using a poker to scatter seeds in those places. For years, many farmers have relied on this type of agriculture to make a living.
The vast majority of the state’s area is covered in deep woodland and lands. These forests produce goods, and enterprises based on their processing offer jobs and money to a vast number of people. The majority of the state’s industries rely on natural forest products like lumber and plywood.
Tea, petrochemicals, and cement are among the other businesses. In some sections of Arunachal, fruit growing is also practised. Fruit farming and horticulture has become a big industry. Many farmers have also benefited from this industry.
Conclusion
Arunachal Pradesh is the ideal location for you if rejuvenation and peace are what you are looking for. The cultural beauty of the state, along with the scenic beauty, makes it an ideal spot for travelers and believers. Even in the highly westernized world, with modernization conquering every nook and corner of the world, the ancient and natural practices of culture of Arunachal Pradesh are still preserved.
Ever heard of the other name of Jharkhand? It is Vanachal. Wondering what it means? Well, the term Vanachal means the land of woods, and hence it completely fits. The state is home to many tribal communities like Khadia, Santhal, Munda, Birija, and others. Tribal people in Jharkhand gave prime importance to nature. Even today, many people in the state derive a livelihood from forests, and the primary source of the economy is agriculture.
Let us take a glimpse into the culture of Jharkhand
We can find references of Jharkhand in Vayu Purana and Vishnu Purana. In Vayu Purana, the place ‘Muranad’ in present-day Jharkhand. Similarly, the ‘Mund’ in Vishnu Purana refers to the region, which is present-day Jharkhand. Many travelers throughout history also refer to the area in their travelogues and historical works. These famous travelers include the Chinese traveler Yuwan Chwang, Iranian traveler Abdul Latif and the Iranian religious and spiritual teacher Mulla Bahbahani.
Looking back to prehistoric times, there are many monuments and artifacts which resonate with the stone age. Archaeologists found many polished stone tools, carnelian beads, pottery wheels, and bronze and copper ornaments. This shows the continuity of civilization(s) in the region throughout the paleolithic, Mesolithic, and Neolithic ages. However, most artifacts are of Neolithic origin.
The first archaeological finding in the region was that of the stone celt, and professor Valentine Ball found the artifact under Tamar block in Ranchi in 1867. Many discoveries in the valley of Asura, Koel, and Damodar rivers also show resemblance with the relics of the Indus valley civilization.
Many tribes have resided in Jharkhand from the beginning itself. The political, economic, or social systems were all under the control of tribal clans in the region. It was only after 1765 that the British took over the area and caused tribal displacement. The part also saw revolts by tribes against the British. Some of these dreadful scenarios involve the Paharia revolt, Manjhi revolt, Tamar revolt, Santhal Revolt, Munda revolt, and others.
The state’s official language is Hindi, and Hindi is the language that is mainly used for all purposes, judicial or otherwise. A large proportion of people in the state use the Hindi language. However, you might also encounter people talking in languages like Ho, Santali, Angika, Kurukh, and Mundari. In fact, in some parts of the state, Bengali is prominent.
Although the tribal languages are slowly moving towards their end, many regions in the state still converse in tribal languages. The Jharkhand government also tried to make four tribal languages obligatory for its government executives. These four tribal languages are Kurukh, Mundari, Santali, and Ho.
The staple food of Jharkhand is rice, dal, and vegetables, and people prefer sunflower oil and mustard oil to prepare these simple foods. The famous dishes of the state include Chirka roti, pitta, Malpua, asra roti, dhudhauri, and Gupshup. The traditional food of Jharkhand is somewhat similar to the cuisines of Bihar.
You would find most women in Jharkhand in simple sarees. Women’s clothing in Jharkhand is the traditional saree, and for tribal women, it is the Parhan or Panchi. In addition to this, women are also fond of accessories and ornaments of gold and silver and materials such as beads and gemstones. Men wear a single piece of cloth, Bhagwan traditionally. At the same time, other attires like the kurta-pajama, dhoti, and shirts form the casual daily attire.
Most of the festivals in the state trace origin and connection with nature. As the region is home to many tribes, the celebrations have a very simplistic and natural turn. People usually worship nature and objects of nature, for instance, trees and branches. Other than main festivals like Karam puja, Jitis puja, and Sarhul, people also show excitement towards annual fairs. Fairs and other occasions like Poush Mela and Tusu fairs give tribal people a chance to display their skills and folk belief.
Folk music and dance is a necessary ritual of all events and occasions of the tribal clans. Hunta dance, Mundari Dance, Barao dance, seraikella dance, and danga forms a part of the famous tribal dances of the state. Other than these, there are many more tribal or folk dance forms. Chhau dance, a dance form based on martial arts, is very famous in the state, and it is a part of the Seraikela school of dance.
Coming to folk music, the tribes have formed their musical instrument bases and tunes. Janani Jhumar, Pratkali, Mardana Jhumar, fagua, and Adhratiya are some of the significant tribal music forms of Jharkhand. The prime instruments involve dhol, Mandar, bansuri, saragi, shehnai, nagara, and Kartal.
Unlike other states, Jharkhand now boasts various groups of temples that have disseminated their holy essence and symbolised their beauty via geometric and non-geometric carvings, which are really a landmark in the Jharkhand architectural scene. The three periods of temple architecture in Jharkhand may be grouped into three major categories: Naqara, Bengal or Hindu Mughal, and indigenous horizontal layer systems.
According to historical records, dynasties such as the Nagavanshi, Cheras, Singhbhum Rajputs, Ghatsila Dhol Rajputs, and Manbhum Rajputs, as well as certain feudal lords, built temples for public and private devotion. However, neighbouring states such as Orissa and Bengal had their own temple architectural traditions, and Jharkhand’s temples were inspired by these designs in many ways. From ancient times, Jharkhand’s temples have served as religious organisations. The Maluti set of temples in the east; the Baba Baidyanath network of temples in Deoghar in the north; the Doisagarh group of temples in the west; and the Lord Jagannath temple at Jagannath Pahadi, Ranchi have all influenced religious movements from various sectarian perspectives.
In Jharkhand, there are two separate and extremely different vernacular architectural styles: tiny huts or hutments and havelis (large mansions). Originally, the hutments were made of mud, sticks, grass, and stones. These homes were typically constructed by family members with the help of neighbours. Their modest beauty stems from the fact that they are less affected by self-conscious aesthetic endeavours and more from clean, utilitarian forms created by adapting local materials as efficiently as possible to reduce harmful environmental factors while using favourable ones.
The Havelis are a relatively recent addition to the family. Under the influence of the British, the region prospered in the late eighteenth and early nineteenth centuries, thanks to a growth in trade and commerce. Local merchants grew wealthy. In order to show off their money, a new architectural style arose that was designed to showcase the merchants’ affluence. Their homes were constructed of burned clay brick and inspired heavily by western elements. Local materials and craftspeople were used to construct these homes. The structures that emerged as a consequence of this process are significantly different from the previous kind, blending traditional and contemporary elements, but they are still vernacular since they are the product of local vernacularization of modernity.
Religion of Jharkhand
Jharkhand is a diversified Indian state having a diverse religious population, with Hinduism being the largest religion and Islam being the second most followed religion. The state also has a sizable tribal population, with Sarna sthal, a Hindu-like faith, being the predominant religion. In recent years, missionary operations have resulted in a huge increase in Christianity in Jharkhand, which now exceeds the national average of Christians in India. Agrahari Sikhs and Jains are a tiny group.
Jharkhand’s economy and business revolve around the different industries that exist in the state. Jharkhand’s business and economy appear to be an important part of the state’s administrative structure; it is this feature of the government that is assisting the state in meeting the difficulties of the industrial world.
When it comes to Jharkhand’s industry and economy, it’s worth noting that the state is home to two of India’s largest steel factories. The steel factories at Bokaro and the Tata Iron and Steel Company are the two most important plants in Jharkhand’s region. These steel plants provide a significant contribution to the economy of not only Jharkhand but India as a whole.
Despite the fact that Jharkhand’s area is rich in minerals, agriculture remains the primary source of income for the majority of tribal populations. In reality, agriculture is practised by nearly 80% of the population in Jharkhand.
There is no doubt that Jharkhand has the most spectacular collection of folk paintings and preserved arts and crafts. The unique folk painting of Jharkhand, Paitkar paintings are famous among artists and historians. Historians regard the paitkar paintings as one of the oldest tribal art forms in the state. Oraon paintings, commonly known as comb-cut paintings and wall art in the sohrai style, are some of the most famous art forms in the state.
Jharkhand has a mine of skills for handlooms. You would see thousands of clay pottery designs, name one; you would find it the next second. Clay’s work in Jharkhand is on the next level, from animal figurines to detailed rural motifs to masks, people specialize in each.
The metal craft of Jharkhand is something we need not even mention. It has been insanely famous all around the globe since the early times. The ancient metal craft of Jharkhand, Dokra, is still in practice and under preservation by the generations of the malhari and tentri tribes of the state.
The culture of Jharkhand is lavishly rich in spiritual terms. If you visit Jharkhand, keep in mind not to miss these parts. The best part about the state is preserving the tribal culture and walking on the lines parallel to the modern culture.
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