For last few years Kalaboti Mudra organizing a series of documentation work on various cultural expressions of communities of North-Eastern parts India. This is a need of the hour. Until and unless the the uprooted urban population aware of these deep rooted cultures of the communities, the complete history and the cultural map of the eastern region well not be completed as well all the root of these urban communities will be lost forever.
To make this happen Kalaboti Mudra proposing a series of documentation and exposition initiative through its North East Initiative project
The Karbis, mentioned as the Mikir in the Constitution Order of the Government of India, are one of the major ethnic groups in North-east India and especially in the hill areas of Assam. They prefer to call themselves Karbi, and sometimes Arleng (literally "man" in the Karbi language). The term Mikir is now not preferred and is considered to be derogatory.[1] The closest meaning of mikir could said to be derieved from "Mekar". The Karbis are the principal tribal community in the Karbi Anglong district of Assam, a district administered as per the provisions of the Sixth Schedule of the Constitution of India, having an autonomous district of their own since 17 November, 1951. The Karbis constitutes the third largest tribal community in Assam after the Bodos and the Mishings.
The Karbis are a Bi-lineal, (where both the lineage from the mother as well as father is equally important )society and is composed of five major clans or Kur. They are Ingti, Terang, Inghi, Teron and Timung which are again divided into many sub-clans. These clans are exogamous, in other words marriages between members of the same clan are not allowed.
The traditional system of governance is headed by the Lindok or the king, who is assisted by the Katharpo, the Dilis, the Habes and the Pinpos. The Lindok is based in Ronghang Rongbong in the Hamren subdivision of the district. These posts of administration, however, are now merely ceremonial with no real power.
The Karbis owns glorious cultural traditions. The Karbis celebrate many festivals. Rongker is one such festival held around January-February by the entire village as thanksgiving to the various gods and for the prosperity and the well-being of the community. The Chomkan (also known as "thi-karhi" and Chomangkan) is a festival unique to the Karbis. It is actually a ceremony performed by a family for the peace and the safe passage of the soul of family members who died recently.
Most of the Karbis still practice their traditional belief system, however, there is also a significant proportion of Karbis who follow Christianity. The practitioners of traditional religion believes in reincarnation and honours the ancestors, besides the traditional deities like Hemphu and Mukrang.
The Karbi women are expert weavers and they wear home-made clothes. Their main attire consist the pekok, a piece of cloth with designs wrapped around the upper part of the body and tied into a knot on the right shoulder, the pini, similar to a sarong and a vamkok, a decorative piece of cloth tied around the waist over the pini. The men's traditional dress consist of the choi, a sleeveless shirt with a 'V' shaped neck and loose threads at the bottom, a rikong, which looks like a dhoti and a poho, a turban.
রবিবার, ২৬ এপ্রিল, ২০০৯
The Ojapali
Darrang of Asom, has a population representing diverse ethnic, religious and linguistic communities which have rich cultural heritage and social customs. Ojapali is one of the unique form arts of Darrang which involves three art forms - Song, Dance and Drama. It is performed by a group of 4 or 5 men of whom the chief performer is called Oja who is supported by 3 to 4 Palis, and hence the name Ojapali.. The only instrument played by Ojapali is Khutitaal (palm sized Cymbal). The performers wear long sleeved white gowns, silver jewelry etc. and Nupur (bundle of tiny metallic percussions played by body vibrations).Ojapali can be divided into 2 forms basing on the occasion & style: Byah and Sukananni.
Sukananni Ojapali aims at presenting the tragic story of Behulaa-Lakhindar from Padma Purana among the masses. The easy yet high standard rhyme is accompanied by pleasant rhythm, tune and dance. Different Mudras are remarkable part of this form also. The team dances here too. This art is performed normally during Manasa Puja (Worship of Goddess of Serpents). The Ojapalis first praise various gods & goddesses and then gradually move to the epic of Behula-Lakhindar. Though the presentation is targeted for the mass, it maintains high dignity & standard.
Deodhani dance is performed solo or in group of 3 or 4 females essentially on the occasion of worship of Devi Manasa (or Maroi). As per mythology, Behulaa had to dance before the goddess Manasa to get back her husband's (Lakhindar) life. The dancer wear Mekhela iin Muga, red blouse, different traditional jewelry and leave their hair open. The dance to the tune of Jaidhol (specific cylindrical percussion instrument) & Khutitaal, played by Palis. This dance form depicts the process of worship of Devi Manasa. A striking moments of this dance is dancing with Daa (sharp weapon used for sacrifice), and the rotating of dancers' head in rapid circular motion, with open tresses.
It is believed that Deodhani s get possessed by the Goddess in course of the dance.
Ojapali
Ojapali is one of the unique form arts of Darrang which involves three art forms - Song, Dance and Drama. It is performed by a group of 4 or 5 men of whom the chief performer is called Oja who is supported by 3 to 4 Palis, and hence the name Ojapali.. The only instrument played by Ojapali is Khutitaal (palm sized Cymbal). The performers wear long sleeved white gowns, silver jewelry etc. and Nupur (bundle of tiny metallic percussions played by body vibrations).
Ojapali can be divided into 2 forms basing on the occasion & style: Byah and Sukananni. As the history goes, there were two very talented singers named Barbyahu & Sarubyahu during Koch Kingdom. They were often invited by Kings to sing various mythological & religious rhymes. With time, their style got popular among people of the area.
The central subject of this Byah Ojapali are the epics - Ramayana & Mahabharata. Unlike other Ojapali forms, the story is sung in pure classical style involving Ragas. A noticeable element of this form is the different Mudras (Gestures of hands & fingers). Dance is another key part of the performance. To make the presentation interesting & make people understand, they perform humorous dialogues & narrations in between.
Sukananni Ojapali aims at presenting the tragic story of Behulaa-Lakhindar from Padma Purana among the masses. The easy yet high standard rhyme is accompanied by pleasant rhythm, tune and dance. Different Mudras are remarkable part of this form also. The team dances here too. This art is performed normally during Manasa Puja (Worship of Goddess of Serpents). The Ojapalis first praise various gods & goddesses and then gradually move to the epic of Behula-Lakhindar. Though the presentation is targeted for the mass, it maintains high dignity & standard.
Lalit Oja of Sipajhar area of the district has been awarded the prestigious Sangeet Natak Academy award for his expertise in Sukananni Ojapali and for contribution in popularising this traditional folk art form. Chorus, the 'Palis' are his assistants and the 'Daina Pali' is the principal assistant. The number of assistants may be three, four or more. They dance, play small cymbals and sing stories from the epics and the puranas. Their dance bears clear evidence of many aspects of Indian classical dances like 'Hasta', 'Gati', 'Bhramari', 'Utplavana', 'Asana'. etc.
The Costumes
The Oja wears Pag-Jama or 'Ghuri', bangles, 'Unti', ring and Nupur, and ties a 'Tangali'. The classification of 'Savaras' by Oja-Palis into 'Ghora', Mantra and Tara corresponds to the Indian classification of 'Udara', 'Mudra' and Tara. The songs sung by Ojas: Malaci or Malanci Geets and 'Jagar' are in Sanskrit language. They also sing a kind of mixed song, 'Patsha' Geet, which were written under Muslim influence.
Types Of Oja-Pali Dances
There are three kinds of Oja-Pali dances, namely - Vyasa Geet Oja, Suknarayani Oja and Ramayani Oja.
(1) The Oja-Pali of "Vyasa Geet" mainly sings the songs of the Vaishnava cult. Here, the themes of the dances are adopted from the stories from Bhagavata, Mahabharata and Harivamsa. The make up of a Vyasa Oja differs from that of a Sukanarayani Oja. The Vyasa Oja wears a long white skirt, a tight fitting jacket, a turban of a particular shape, anklets and various other gold ornaments of the neck, hand and ear.
(2) The other Oja named "Suknarayani" chants mainly the hymns of the snake goddess, Manasa composed by Sukabi Narayan Dev, an Assamese poet of the olden days. The theme of the dance is the story of 'Behula' and 'Lakhindar', which is mainly connected with Goddess Manasa. The costume of this kind of 'Oja' consist of a long shirt known as 'Chapkan', a white Dhoti, a 'Chaddur', a pointed turban and various gold ornaments of the wrist, neck and ears.
(3) The third variety of Oja, "Ramayani Oja", puts the costume akin to Vyasa Oja and sings only the songs from the Ramayana. Unfortunately, this kind of Ramayani Oja-Pali is disappearing slowly.
All the three kinds of Oja-Pali dances have reached exquisite perfection in 'Karana', i.e. posture and 'Angahaara', i.e. gesture.
Sukananni Ojapali aims at presenting the tragic story of Behulaa-Lakhindar from Padma Purana among the masses. The easy yet high standard rhyme is accompanied by pleasant rhythm, tune and dance. Different Mudras are remarkable part of this form also. The team dances here too. This art is performed normally during Manasa Puja (Worship of Goddess of Serpents). The Ojapalis first praise various gods & goddesses and then gradually move to the epic of Behula-Lakhindar. Though the presentation is targeted for the mass, it maintains high dignity & standard.
Deodhani dance is performed solo or in group of 3 or 4 females essentially on the occasion of worship of Devi Manasa (or Maroi). As per mythology, Behulaa had to dance before the goddess Manasa to get back her husband's (Lakhindar) life. The dancer wear Mekhela iin Muga, red blouse, different traditional jewelry and leave their hair open. The dance to the tune of Jaidhol (specific cylindrical percussion instrument) & Khutitaal, played by Palis. This dance form depicts the process of worship of Devi Manasa. A striking moments of this dance is dancing with Daa (sharp weapon used for sacrifice), and the rotating of dancers' head in rapid circular motion, with open tresses.
It is believed that Deodhani s get possessed by the Goddess in course of the dance.
Ojapali
Ojapali is one of the unique form arts of Darrang which involves three art forms - Song, Dance and Drama. It is performed by a group of 4 or 5 men of whom the chief performer is called Oja who is supported by 3 to 4 Palis, and hence the name Ojapali.. The only instrument played by Ojapali is Khutitaal (palm sized Cymbal). The performers wear long sleeved white gowns, silver jewelry etc. and Nupur (bundle of tiny metallic percussions played by body vibrations).
Ojapali can be divided into 2 forms basing on the occasion & style: Byah and Sukananni. As the history goes, there were two very talented singers named Barbyahu & Sarubyahu during Koch Kingdom. They were often invited by Kings to sing various mythological & religious rhymes. With time, their style got popular among people of the area.
The central subject of this Byah Ojapali are the epics - Ramayana & Mahabharata. Unlike other Ojapali forms, the story is sung in pure classical style involving Ragas. A noticeable element of this form is the different Mudras (Gestures of hands & fingers). Dance is another key part of the performance. To make the presentation interesting & make people understand, they perform humorous dialogues & narrations in between.
Sukananni Ojapali aims at presenting the tragic story of Behulaa-Lakhindar from Padma Purana among the masses. The easy yet high standard rhyme is accompanied by pleasant rhythm, tune and dance. Different Mudras are remarkable part of this form also. The team dances here too. This art is performed normally during Manasa Puja (Worship of Goddess of Serpents). The Ojapalis first praise various gods & goddesses and then gradually move to the epic of Behula-Lakhindar. Though the presentation is targeted for the mass, it maintains high dignity & standard.
Lalit Oja of Sipajhar area of the district has been awarded the prestigious Sangeet Natak Academy award for his expertise in Sukananni Ojapali and for contribution in popularising this traditional folk art form. Chorus, the 'Palis' are his assistants and the 'Daina Pali' is the principal assistant. The number of assistants may be three, four or more. They dance, play small cymbals and sing stories from the epics and the puranas. Their dance bears clear evidence of many aspects of Indian classical dances like 'Hasta', 'Gati', 'Bhramari', 'Utplavana', 'Asana'. etc.
The Costumes
The Oja wears Pag-Jama or 'Ghuri', bangles, 'Unti', ring and Nupur, and ties a 'Tangali'. The classification of 'Savaras' by Oja-Palis into 'Ghora', Mantra and Tara corresponds to the Indian classification of 'Udara', 'Mudra' and Tara. The songs sung by Ojas: Malaci or Malanci Geets and 'Jagar' are in Sanskrit language. They also sing a kind of mixed song, 'Patsha' Geet, which were written under Muslim influence.
Types Of Oja-Pali Dances
There are three kinds of Oja-Pali dances, namely - Vyasa Geet Oja, Suknarayani Oja and Ramayani Oja.
(1) The Oja-Pali of "Vyasa Geet" mainly sings the songs of the Vaishnava cult. Here, the themes of the dances are adopted from the stories from Bhagavata, Mahabharata and Harivamsa. The make up of a Vyasa Oja differs from that of a Sukanarayani Oja. The Vyasa Oja wears a long white skirt, a tight fitting jacket, a turban of a particular shape, anklets and various other gold ornaments of the neck, hand and ear.
(2) The other Oja named "Suknarayani" chants mainly the hymns of the snake goddess, Manasa composed by Sukabi Narayan Dev, an Assamese poet of the olden days. The theme of the dance is the story of 'Behula' and 'Lakhindar', which is mainly connected with Goddess Manasa. The costume of this kind of 'Oja' consist of a long shirt known as 'Chapkan', a white Dhoti, a 'Chaddur', a pointed turban and various gold ornaments of the wrist, neck and ears.
(3) The third variety of Oja, "Ramayani Oja", puts the costume akin to Vyasa Oja and sings only the songs from the Ramayana. Unfortunately, this kind of Ramayani Oja-Pali is disappearing slowly.
All the three kinds of Oja-Pali dances have reached exquisite perfection in 'Karana', i.e. posture and 'Angahaara', i.e. gesture.
Nritya Gurukul
To disseminate her learning Lalita has established ‘Kalaboti Mudra’ a Gurukul to promote Sattriya, Ojapali and Deodhani in Bengal. She was guided by Guru Lalit nath Oja in this initiative. Sri Ramkrishna Talukder, famous sattriya exponent also guiding Kalaboti Mudra.
Apart from teaching Sattriya dance ‘Kalaboti Mudra’ is now facilitating Bahratnatyam, various folk, tribal and modern dances in its curriculum. She has trained a core group of young artists to perform authentic dance skills. As a choreographer, Dr. Ghosh built various Dance-Drama productions.
Apart from teaching Sattriya dance ‘Kalaboti Mudra’ is now facilitating Bahratnatyam, various folk, tribal and modern dances in its curriculum. She has trained a core group of young artists to perform authentic dance skills. As a choreographer, Dr. Ghosh built various Dance-Drama productions.
DeodhaniDance
Deodhani dance is performed solo or in group of 3 or 4 females essentially on the occasion of worship of Devi Manasa (or Maroi). As per mythology, Behulaa had to dance before the goddess Manasa to get back her husband's (Lakhindar) life. The dancer wear Mekhela in Muga, red blouse, different traditional jewelry and leave their hair open. The dance to the tune of Jaidhol (specific cylindrical percussion instrument) & Khutitaal, played by Palis. This dance form depicts the process of worship of Devi Manasa. A striking moment of this dance is dancing with Daa(sharp weapon used for sacrifice), and the rotating of dancers' head in rapid circular motion, with open tresses. It is believed that Deodhani s get possessed by the Goddess in course of the dance.
KalabotiMudra's NE Initiative
For few years Kalaboti Mudra is orking to promote various cultural expressions of the North-Eastern parts of Indian to the Bengal.
to match this initiative the director of Kalaboti Mudra, Dr. Lalita Ghosh is performing Sattriya, Ojapali and Deodhani dance styles in various parts of Bengal with the Kalaboti's team. She is the only Bengali and her team is the only Bengali team performing these dances in Bengal, the cultural capital of India authentically.
In 2007 Kalaboti Mudra has organised a 4 day Assam-Bangla Desojo Milan Utsav, an folk and tribal cultural festival. Guru Lalit Nath Oja and his team performed in this festival.
We have published a Book related to Asom-Bangla folk and Tribal Culture in this occassion.
We have documented Deodhani-Ojapali dance under the guidance from Guru Lalit Nath Oja. WE have travelled various Sattras to document Sattriya Dance style our director completed her Ph.D on Sattriya, Ojapali and Noti Noritya in 2004 from Rabindra Bharati University.
to match this initiative the director of Kalaboti Mudra, Dr. Lalita Ghosh is performing Sattriya, Ojapali and Deodhani dance styles in various parts of Bengal with the Kalaboti's team. She is the only Bengali and her team is the only Bengali team performing these dances in Bengal, the cultural capital of India authentically.
In 2007 Kalaboti Mudra has organised a 4 day Assam-Bangla Desojo Milan Utsav, an folk and tribal cultural festival. Guru Lalit Nath Oja and his team performed in this festival.
We have published a Book related to Asom-Bangla folk and Tribal Culture in this occassion.
We have documented Deodhani-Ojapali dance under the guidance from Guru Lalit Nath Oja. WE have travelled various Sattras to document Sattriya Dance style our director completed her Ph.D on Sattriya, Ojapali and Noti Noritya in 2004 from Rabindra Bharati University.
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