Sambalpuri/Kosali
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| ?Sambalpur Orissa • India |
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| Coordinates: | |
| Time zone | IST (UTC+5:30) |
| Area • Elevation |
• 115 m (377 ft) |
| District(s) | Sambalpur |
| Population • Density |
153,643 (2001) • 122 /km² (316 /sq mi) |
| Codes • Pincode • Telephone • Vehicle |
• 768xxx • +0663- • OR-15 |
The term 'Sambalpuri' takes into account the vast geographical and culturally homogeneous area of Western Orissa, which is also known as Koshal/Kosala. 'Kosala' is one of the several names by which Orissa was known in the ancient period i.e. period prior to the 5th Century A.D. The 'Kosala' region exhibits certain degree of cultural uniformity in terms of demography and life-style; and extends from Kalahandi district in the South to the Sundargarh district in the North-West, thereby including whole of undivided, pre-1993 districts of Sambalpur, Kalahandi, Sundargarh and Balangir and some part of the-then undivided Koraput, Dhenkanal and Phulbani districts.
Presently a low-intensity separationist movement has set-in this area and a certain section of people of this region are demanding a politically separate ‘Koshal' state from the State of Orissa. However, the movement has failed to gain any large scale popularity or momentum and has remained in its rudimentary form and inception stage.
[edit] People of Sambalpur
Nearly 40% of population of the Sambalpur region are autochthonous tribal or Adivasis. However, since last five decades, a large numbers of Oriya non-speaking populace, belonging to non-Oriya communities like Gujaratis, Marwaris (Rajasthanis), Punjabis etc. have migrated into the region and have taken substantial control over the resources and business. It has been claimed somewhere that exploitative and unfair trade practices by these Oriya non-speaking traders and businesspersons have resulted in large scale impoverishment of the population and transfer of resources out of the region as well as the State of Orissa. This in-migration has resulted in serious problems of distribution of wealth & income among the native Oriya-speaking population and the outsider migrant Oriya non-speaking population.
[edit] Geographical Set up
Geographically, this tract of land is mostly mountainous and hilly, interspersed with rivers and valleys. The floral diversity and topographical variety ensures the experience of all the six seasons in this area.
[edit] Sambalpuri Language
The chief communicative language is locally called, the “Sambalpuri“- a modified and moderately transformed dialect of the Oriya language (Official Language of Orissa). There have been claims about the Sambalpuri dialect being a full-fledged language, separate from Oriya.
However, the fact that the basic verbs and root phonemes are that of Oriya language and the ‘Sambalpuri’ strictly abides by the grammar of Oriya language and Oriya rules of tense, number and gender. Also that ‘Sambalpuri’ lack system of alphabet of its own. Further, the ‘Sambalpuri’ variety of Oriya language is actually a dialect rather than language because:
1. This is not a literary language,
2. This is not used in press or literature. Even the most renowned and revered poet of the region, the great Gangadhar Meher has written in pure and chaste Oriya language only.
All these facts go to indicate that the ‘Sambalpuri’ is not an independent language, but a dialect of the Oriya language, a dialect which is unwritten and un-standardized, though made far more softer and beautiful by its tribal, autochthonous usage. Spoken language “Sambalpuri” has a soft, melodious and lyrical accent. Not much research has been done on the accent and phonetics of the Sambalpuri dialect.
[edit] Sambalpuri Art and Culture
Historically, the existence of Koshala region dates back to the Mahabharata period. Various types of exotic folk songs and dances that exist in this area. The region has dance forms like “Dand” (Danda Yatra and Danda Nata – A Pan-Oriya folk dance), considered to be one of the oldest forms of variety entertainment in Orissa, to the modern “Krushnaguru Bhajan”.
[edit] Sambalpuri Dance forms
The children’s verses are known as “Chhiollai”, “Humobauli” and “Dauligit”, the adolescent poems are “Sajani”, “Chhata”, “Daika”, “Bhekani” : the eternal youth composes “Rasarkeli”, “Jaiphul”, “Maila Jada”, “Bayamana”, “Gunchikuta” and “Dalkhai”, The work-man’s poetry comprises of “Karma” and “Jhumer” pertaining to Lord Vishwakarma and the “Karamashani” goddess. The professional entertainers perform Dand, Danggada, Mudgada, Ghumra, Sadhana, sabar – Sabaren, Disdigo, Nachina – Bajnia, Samparda and Sanchar. They are for all occasions, for all time with varieties of rhythm and rhyme.
[edit] Sambalpuri Folk Musical Instruments
The folk musical instruments which are in vogue in the Koshal region are as follows : Dhulak, Pakhoj, Dugitabla, Mridanga, Mardal, Nalbaja, Dhapada, Timkidi, Nagara, Behela, Khanjani, Dhapli, Muhuri, Bansi, Singh-Kahali, Bir-Ka-hali, Ghulghula, Ghunguru, Kendera, Khadkhadi, Ektara, Ghumra, Gini, Kathi, Jhanj, Dhol, Madal, Nishan and Tasha.
Out of these the Dhol, Madal, Nishan and Tasha are the four oldest percussion instruments without any modification which have been used in combination or in to two in almost all types of folk songs. Dhol is the oldest instrument of this region, which is the easiest to make. Madal is the second percussion instrument which shows craftsmanship and research. Nishan is the miniature of Nagara which is supposed to be carried by the dancer over his shoulder or around his waist, while he dances.
[edit] Sambalpuri Saree
Sambalpuri handloom is a world famous handloom making it presence felt all over India. Apart from Sambalpuri, there are Sonepuri, Pasapali, Bomkai, Barpali, Bapta saris, (all belongs to the ‘Sambalpuri’ saree category) which have substantial demand. Most of them have been named after the places of their origin. Popularly known as ‘Pata’, these saris are beautiful, comfortable and durable. Paintings on Tussar saris depicting Mathura Vijay, Raslila and Ayodhya Vijay owe their origin to ‘Raghurajpur patta paintings’.
[edit] Design
These sarees have an appealing form, workmanship, design and colour combination. Sambalpuri saris are famous for their unique designs and for their beautiful colors. Silk Sambalpuri saris are also in single and double ikat. In contrast to the ikats of Gujarat, these sarees are sober in color and decorated with curved forms.
[edit] Fabric
Sambalpuri handloom is having its original style of craft in Sambalpuri Bandha. Craftsman create Bandha of Kumbha , Matcha (fish) and Phula (Flower), traditionally, when the demand of time gradually changed the craft into modern. Attracted by the paintings gradually new types of Bandha such as portrait, landscape prints of women, human being, flower pods, animals have been designed.
They used design of fine art in Bandha of Sambalpuri Saree. (Bandha : An art to create any design on cotton handloom cloth by Tye & Dye method. Threads are tied and then coloured so it is also known as Tie & Dye Saree. The impacts of Madrasi Bayaniya, Maniya Bandi are also seen in Sambalpuri Saree. The design and the importance are becoming modern day to day. Now this is famous in modern era also. They made thread in their own and dying in their own style. This technique is different from other types of dying and of high quality. There are many great contributors who revolutionized the making of sambalpuri saree and made it world famous, Prominent among them is Shri Krutharta Acharya who founded the first co-operative society of Koshal named Sambalpuri Bastralaya and Shri Chaturbhaja Meher
Word Meaning : 1.Bandha- An art to create any design on cotton handloom Cloth by tye & dye method. Thread is Tied & than dyed with colour. 2. Kumbha- A type of traditional design on handloom cloth.
[edit] Industry
Roughly 16 km from the district headquarters of Sonepur, Sagarpali is a big village hosting around 500 bhulia (weaver) families. This is, in fact, one of the largest weaving villages in western Orissa, a bastion of the famous Sambalpuri sari. Here, weavers wove magic out of cotton and silk threads from their mongas (handmade weaving machines). The exquisite saris they produced found their way into practically every home in the nearby towns and far-off metros like Delhi and Mumbai. The other area affluent with weavers of this handloom are Barpali, Tarbha, Bijepur, Bargarh etc.
[edit] Co-operative Society
The cooperative society ensured employment and dignity to lakhs of weavers in Orissa. Some 50,000 weavers in over 60 villages in six blocks of Sonepur were traditionally engaged in weaving Sambalpuri saris. The cooperative societies would provide raw material like thread and colour to the weavers. Later, they marketed the finished product. Demand for Sambalpuri saris all over India and overseas ensured a high turnover for the cooperatives. Sambalpuri Bastralaya of Bargarh alone used to do business worth Rs 15 crore a year.
[edit] The Process of Weaving Sambalpuri Saree
The process of weaving involves a number of activities like warping, sizing, winding, dyeing, preparation of Bandha etc. Some of the important processes are discussed below.
[edit] Warping
The process for preparation of yarn from hank form to make warp is called Warping. The hank yarns are first transferred to Natai (a traditional winding device), and then it is wound around the warping frame in relation to the length of the warp. The non-weaving members of the family mostly ladies, normally perform this activity.
[edit] Preparation of Bandha (Tie-Dye)
Before the yarn is tied as per the design, the white yarn is straightened by the help of a wooden frame named Kamada. Prior to this, the yarn is warped according to the desired length. The ends are set separately in portions known as Ganthis (group of threads). Now the Ganthis are tied as per the design and whole of the tied/untied yarns known as Chhanda are dipped in to the colour bath. The colour thus penetrates in to the untied portion. Subsequently the coloured portions are tied and the previously tied portions are untied to dye with a different colour, as the design requires. Such process of Tieing & Dyeing is repeated till the Chhanda gets it’s Bandha design. After dyeing is completed, the Chhanda are completely dried, all tied portions are untied and straightened to make it ready for weaving.
[edit] Preparation of Weft
Weft yarns are tied and dyed to facilitate a prominent boarder. In such process the hank yarns are transferred to Natai and then wounded on a device locally known as Badhi Pura as per the width of the saree to be woven. Then the boarder portion is tied and dyed as per the width of the boarder followed with pirn winding
[edit] Sizing
Sizing is done to strengthen the warp yarn and make little stiffer so as to withstand the beating of the reed during the weaving process. It also gives the fabric an even weaving and sound look. Sizing is done only for cotton yarn by using the residue after rice preparation called Mud in local language by the help of a sizing brush locally termed as Kunchi. The sizing is normally done in free space nearer to the weaver cottage in the village. Preparation of loom: Preparation of loom is broadly classified in to the following categories of work.
[edit] Drafting
The process of passing the warp yarn through the heald of the loom as per the design is known as drafting. This helps to keep the warp yarn in parallel form over the width of the loom & in locating a broken yarn during the process of weaving.
[edit] Denting
In this process warp yarns are passed through the reeds and the healds. The warp threads are to be joined with the old warp threads with a local method of twisting by hands.
[edit] Setting up of Dobby
Sometimes in order to put extra warps in the boarder to weave a design an attachment called Dobby is fitted to the loom. This also helps in changing the border design easily and frequently there by also helps in increasing the productivity. Generally 4 to 12 shaft dobbies are used in the cluster area for the purpose.
[edit] Weaving
After completion of all the above processes, the weaving process gets started. The skilled weaver of the family performs this process. The looms being used in the cluster area are mainly traditional pit looms with throw / fly shuttle technique. During weaving of a tie-dye fabric the weft yarns are usually set on the fall of the fabric after each beating. This is an essential and important feature
[edit] Teracotta
Teracotta is also a traditional sambalpuri art of making things using clay. Clay is one of the earliest Mediums used by man to express himself. Terracota is an art form so universal in its scope, yet emblazoned with the distinct imprint of the native soil. Terracotta artifacts demand a very high degree of imagination, application and motivation. The polish on the final figure conceals an enormous volume of tireless toil, watchful attention and forbearance.
Manbodh Rana (1959) a master artist specializes in terracotta roof tiles. Each roof tiles made of a mixture of black and red clays has a figure of an animal, bird, reptile or human being perched on top of it to ward off the evil eye. They are then backed in a kiln fired with leaves and cow dung cakes. He also specializes in fashioning icons for worship functional, decorative, ritualistic and tribal folk terracotta items. Procedure : The clay is of two types, one Lalmait (Red Clay) and other is black coloured Kalamiati (Black Clay). The red-clay protects the creation, which is made from cracking at the time of drying & firing. The clay is mixed in a ratio proportion of 5:4. The creation starts with the wheel. Applies drying the finishing work is done. For drying it is kept in shade for 3-4 days. It is fired with saw, wood and Pual(Straw) in the Bhati . After firing in fire is ready. They make Horses, Elephant, Ganesh etc. it is created in very beautiful way. We can create different types of decorative to crafts. Kalash, Dipa , Rukha. The toys made of clay are used by the children in various festivals. Some of the toys are bullock carts, wheels, motor cars etc. The Dipa and Rukha are used to lightning in the famous festival of DIPAWALI. Also the Dias are used in various Temples.
Word Meaning : 1) Bhati- A furnace where pots are burn to harden 2) Dipa- Small clay pot with oil & cotton thread in it. Thread is lighted for sacred ceremony. 3) Rukha-Stand for the Dipa.
[edit] Some of the Unique Sambalpuri Fair and Festivals
Sital Sasthi: It is the Marriage Ceremony of Lord Shiva with Goddess Parvati. The festival is observed in the month of June with pomp and ceremony at Koshal and is extended for a week. Pilgrims from the neighboring States of Madhya Pradesh and Bihar also participate in the festival. Lakhs of people congregate in this week long festival, mostly in the month of June every year. This Festival is observed with much geity in Sambalpur, Barpali and Balangir. Other Places of Koshal also celebrate this festival with much enthusiasm.
Nuakhai: This is the most important social festival of Koshal. Generally it takes place during the month of August and September. Preliminary preparation of the festival starts 15 days before the occasion. The first grains of the paddy crop, cooked into various dishes are offered to the deities. There after the eldest member of the family distributes new rice to the junior members of the family. All the household articles are cleaned. People greet each other. Everyone wears new clothes on this day. It is a community festival celebrated by every Hindu family low and high.
Bhaijuntia: It is mostly known only in the region of Koshal. Bhaijiutia festival is celebrated on the Mahastami Day of Durga Puja. It is a total fasting undertaken by women for the whole day and night to seek Goddess Durga’s blessing for the long life of their bhais (brothers).
Puajiuntia: It is another fasting Puja of similar austerity for women of the area. The Puajiuntia festival is observed by mothers to invoke the grace of Lord Dutibahana for the long life and prosperity of their sons.
Muthi Chuann (Akhi Trutiya): Akhi Trutiya, a day when all the farmers offer pujA to mother earth. In Koshal it is popularly known as " Muthi Chhuan" because a muthi of peddy seeds (Bihan) is sprinkled on the paddy field today, after the khet-pUjA. From this day preparations starts for the forthcoming paddy cultivation. Though bit early for Koshal region to start new cultivation (actual cultivation starts 30-40 days after) it is a ritual which has to be performed on this date. Irrespective of any cast and tribe, farmers wake up at around 2.30-3.00 a.m., take a bath and lead bullocks, preferably new langaLa, new 'daud' (use for tieing to the plough to the bullocks) to the field. They offer puja to earth, bullocks, langala (plough); sprinkle a Mutha of paddy and start ploughing only after they hear the sweet early melody of a 'chockoo'. When they return, they generally feed the bulls well and eat 'jukha'(like rice pudding or khiri, but with un mingled rice)...
Puspuni: The festival of Puspuni, celebrated on Pousa purnima, also unique to the Koshal region, marks the completion of one agricultural cycle. Based on an agrarian economy, this festival has also acquired religious sanction. The religious dimension gives the festival a profundity, a cosmic significance that surpasses the mundane in its origin. It also guarantees respect and following through generations of devotees, thus ensuring its perpetuation. Anna (rice or food), the source of all life and prosperity, has been worshipped since the rig vedic times. In the eighth Purana of the Taittariya Upanishads we find a canto deifying Anna.
Dhanu Jatra: Dhanu jatra is a famous festival celebrated in a Bargarh. It is relating to the episode of Lord Krishna's visit to Mathura to witness the ceremony of 'Bow' organised by Kansa as described in the 'Bhagawat Purana' is colourfully observed at Baragarh in Koshal. The entire topography of Baragarh is rendered into the elements of Drama. The town of Baragarh becomes Mathura, the river Jira becomes Yamuna and the village Amapalli on the other bank of the river becomes Gopa. Different acts of the Puranic description are performed at their right places and the spectators move from place to place with the actors to seethe performances. The drama and reality get inextricably fused. The festival continues for 7 to 11 days preceding Pausa Purnima, the fullmoon day of Pausa which falls in December-January every year. The performances are held from 3 P.M. to 9 P.M. which are followed by entertainment progrmames during the whole night. This festival is the biggest open air theater in the world.
Chhatar Jatra: It is the main festival of Kalahandi dist of Koshal region. This festivel is observed during the navratra in the month of Dashera..This festival is Dedicated for Maa Manikeswari..Lakhs of devoties from Koshal and adjoing Chattisgarh comes to pay there homage during chatar..It is famous for its animal sacrifice also.
Patkhanda Jatra: Village ‘ Jarasingha ‘ in Balangir Dist of Koshal is famous for the Patkhanda Jatra which takes place in the month of "Aswina" from 8th to 10th day of the bright fortnight. A man locally called "Barua" becomes possessed by the spirit of Goddess "Patakhanda" and under that condition he is believed to bestow miraculous boons on devotees. People suffering from mental diseases are brought here for cure and barren women also come here in large numbers with the hope of getting a child by the blessing of Goddess Patkhanda.
Nrusingha Chaturdashi Mela : This festival is observed on the 14the day of the bright fortnight of " Baisakh" at Harisankar and Nrusinghanath. This festival is a synthesis of the cult of Hari and Sankar large number of pilgrims gather on this day at this place and take their bath in the perennial water fall. Near Harisankar there is a small village named Dhandamunda where a festival is observed on this very day called Hariharabheta Jatra. It is a very popular festival of Koshal.
Kalasi Jatra: Kailashi or Kalashi jatra is observed on the 11 th day of bright fortnight of Kartika which is also an auspicious month for Hindu . It is observed in the kalashi kothi ( worshipping place) .The walls of the kalashi kothi is painted with different god and goddess .A special type of musical instrument called Dhunkel is being played during this occasion inside the worshipping place. This Festival is mostly famous in Boudh and Balangir dist of Koshal region
Karma Jatra (Karam Sani): The Karma or Karam festival is widely prevalent among the tribal people of Sundargarh, Sambalpur and Bolangir,. It is also observed by the low-caste Hindus of the areas. This festival is also observed by the aboriginal people of Bihar and Madaya Pradesh. The tribes in Koshal who observe it with great devotion are Ho, Kisan, Kol, Bhumij, Oraon, Bhuiyan and Binjhals. In this festival the presiding deity is either 'Karam', a God or 'Karamsani', a Goddess who is represented with a branch of Karam tree. Its celebration takes place in the bright half of the month of Bhadrab (August-September) during the rainy season. Mostly it is held on the eleventh day of the bright fortnight. In the ritual, people go the jungle accompanied by groups of drummers and cut one or more branches of Karam tree. The branches are mostely carried by unmarried young girls who sing in praise of the deity. Then the branches are brought to the village and planted in the centre of a ground which is plastered with cow-dung and decorated with flowers. Then the tribal-priest (Jhankar or Dehuri) offers germinated grams and liquor in propitiation to the deity who grants wealth and children. A fowl is also killed and the blood is offered to the branch. Then, he narrates a legend to the villagers about the efficacy of Karam puja. The legends vary from tribe to tribe.
Pura uwans: This is one of the most beautiful festivals of koshal. It is unique in every sense. Now a days this festival is on the verge of extinction due to influence of modern culture and toys. Pura Uwans is celebrated in the month of Bhudo (bhadrav) on the day of amabasya. This festival is favourite amongst children. It all starts from the morning. All the food grains available in the home I;e grain, paddy, chana etc will be given as bhog to the istadebata of the house.. Then mother will give away these bhoga to their girl child who will perform a dummy play of cooking with these bhoga throughout the day…They will keep this bhoga in beautiful toys made up of clay.. The toys include…changri, dekchi, kadhei, pithapatia and chuil/chulhi .The male child will play with a beautifully decorated bullock cart or horse. They will do dummy ploughing and the girls will bring food to the boys in a changri during launch hour..In short this festival is mean to preserve and pass on the great koshali tradition that we have..Here the elders will teach the male child how to do farming and ploughing ..so that the child will learn everything about farming from his childhood…Similarly the mother will teach the girl child, how to cook and what utensils to use for cooking…This way the girls will learn cooking from their childhood..In the evening all the children will go near a banyan tree where the pujari will perform the puja and put a cloth on the tail of every clay horse and clay bullock, and they put fire in that cloth ..Then the boys will move around the banyan tree to perform the lanka pudi…So this way a great festival of pura uwans is celebrated just few days before nuakhai.
Kado jatra: Before starting the paddy cultivation (dhan rua), the farmers of koshal celebrate this festivel..Where they perform puja of the land, cows and ox. Then they pray the mother earth to give them a good production this year.
Bael padla / Bali padla: This is a festival which marks the beginning of Nuakhai “the festival of harvest “. Member of a particular community called Jhankar perform the puja of gram Devi of the respected villages to seek her permission to eat nua khai just before two days of nuakhai . Then he announces the date and time of Nuakhai puja. He will do a nagar parikrama holding a “Nagra – particular drum” used for official announcement ( Dingra pita) This day people of the village will gather and play cards. They will put a mutha of soil (bael/bali) and put it near the gramdevi to bless their land. .From this day decoration of house and marketing of nuakhai begins.
Jhahnni Usha : These festival is celebrated by unmarried girls to seek the blessings of Maa tulasi for the long live and prosperity of their brothers. It is celebrated for one month at the beginning of month of dussehera. The unmarried girls of a locality (Para) gather at one place and sit aroung the “tulsi chaunra”. They will perform various songs from the traditional/religious books .They will collect seven type of flowers everyday to perform this puja. This puja is performed during the evening time, when the sun will be setting down and the moon will be rising .During this one month the girls will not take non-veg items or any outside food. On the last day of this festival the girls will do a Chandra puja with liya and guras (milk) and the pujari will will divide the liya bhoga for each girls with equal quantity. This unique festival shows the dedication of the sisters of koshal towards their brother.
Sathi puja: Sathi puja or sathi jiuchi is celebrated just the day after Nuakhai. This puja is performed by mothers of koshal for the wellbeing of their sons. Mothers will construct an idol of sathi budhi (goddess) with haldi and six types of holy leaves. A particular fruite and flower is used for this puja known as khatkhatia phul and phal. This khatkhatia tree is now almost extinct..Then they will prepare a dummy bed with the khatkhatia fruit and install the haldi idol on it and give journey, kundru and kanker as bhoga. After the puja the mothers will touch the six types of leaves on their son’s head and wrapped a yellow colour thread on their hand. It is believed that this thread will protect their son’s from all evils. One unique thing about this puja is that it is performed in a cow-shed (gai guhal).
[edit] Traditional costumes of Sambalpuri women
Koshali tribal women wear a type of necklace known as Khagla, a round ornament made from silver. In the upper part of the ear they use an ornament known as Jhalka, in the earlobe they wear an ornament called Gathia, and in the nose, an ornament known as Jharaguna.
In their hair they wear Panpatri, Belkhadi, (a small stick used to clip flowerbuds onto hair). They wear two types of ornaments in their hands, known as Katria and Bandria. (In the arms they used to wear one type of ornament known as Tadla). In the legs they wear Painry or Tudal. Rings are also used on fingers and toes.
They also wear Janyiphool and Karai Phool, two types of flower. The cloth which local women wear is known as Kapta, that is same as Sambalpuri Saree but is shorter, less wide and thicker.
