Fun at Berhampur Thakurnai Yatra

Besha in Thakurani Yatra

Brahmapuris (the people of Brahmapur, mis-spelt as ‘Berhampur’ in government records) are emotionally linked with Thakurani Yatra celebrated over past 240 years. The post-harvest carnival does not limit to be merely a religious event, but creates a month long occasion for marry-making.

Traditionally most of the indigenous families of the city invite their married daughters and close relatives to visit the Yatra. While some visitors stay for short time, others spend long summer holiday with family and friends. Usually once a married daughter reaches her parental house during the Yatra period, she has to stay till the end of the Yatra. She is parted with presents either by her parents or in their absence, by the brothers leading as the head of the family.

Berhampur had a population of 25,729 as per 1901 census records which has grown to 2,10,585 during 1991 and 3,55,823 during 2011. Most of the families living in the city at present have migrated during the post-independence period. Thus we experience a mixed attitude of the city dwellers towards Thakurani Yatra. While the indigenous families involve themselves in rituals of the Yatra, the migrant families who were once visitors to the Yatra, participate on basis their personal preference.

Bada Thakurani (Goddess) is the reigning deity of Berhampur. Her visit out of the temple to the people is an occasion for celebration. People indulge in marrymaking with family and friends throughout the month long Yatra. In my opinion that is the focal point in Berhampur Thakurani Yatra.

The Yatra is administered with simple rituals and encourage creativity in Besha, Ratha, Kalakunja management. Beshas are the funniest part of the Yatra. Starting from animals to pages of mythology to social characters, one can imagine anything to attire himself and move around friends. A circus troup, a dance sequence from the Hindi film ‘Chandralekha’ which was a hit during 50’s or even a funeral processions are included as Beshas. You can opt for a ‘Blogger Besha’ – move with a tablet or notebook showing friends your blog.

Decentralisation in management of the Yatra can be considered as a case study for business schools. Though Desi Behera and Dera community organise the Yatra, they do not control administration of any Besha, Ratha or Kalakunja. The priests of Bada Thakurani have also a little role to play except certain religious rituals. Volunteerism is the key word.

Involvement of women in the rituals of Yatra proves its gender sensitivity. The procession of Goddess on daily basis and on the last date attracts a large number of women who worship Bada Thakurani for welfare of their families.

Berhampur Thakurani Yatra is an unique experience for indigenous Brahmapuri families. Just like a Brahmapuri may not be able to understand the Bali Yatra of Cuttack or Sahi Jata of Puri, it is difficult for others to understand the fun at Berhampur Thakurani Yatra. 

PHOTOGRAPH BY: Srinivas

Subha Khunta and Dharma Jhanda in Berhampur Thakurnai Yatra

Construction of temporary abode

 

During Berhampur Thakurani Yatra, Subha Khunta and Dharma Jhanda are erected at the site of the temporary abode of the Goddess as per traditional norms.

Subha Khunta being taken from Bada Thakurani Tample

The temporary abode of the Goddess is constructed in front of the residence of Desi Behera on the public road. Though there is a Peetha (place of worship) for the Goddess inside the residence of Desi Behera, the Ghata (earthen pot carrying a garland of flowers as symbol of Goddess presence) is worshiped in the temporary abode for convenience of the visiting devotees.

Dharma Jhanda at Yatra site

The abode for Yatra 2013 was constructed by 15 carpenters and labourers who worked for over two weeks. Traditionally a particular carpenter family supervises the construction and 5 members of the family participated this year. It is built with casuarina logs collected from nearby Chatrapur and bamboo. The floor of the Mandap (abode) is about 1.5 feet height from the ground while the Pindi (elevation) for placing Ghats is 3 feet height from the floor and 15 feet long. The Mandap is covered by a roof that is created with 22 numbers of casuarina logs at a height of 11 feet. The Mandap is covered with walls from three sides made of brick and mortar up to 6 feet height from the ground and the rest 5 feet covered with bamboo net. The adjoining Chamundia (temporary hall) is 34 feet long and 18 feet wide. It is constructed with 12 casuarina logs with a roof at height of 13 feet from the ground. The walls are covered with bamboo nets and the roof is made of coconut leaves.

Subha Khunta (Holy Pillar) is fixed in front of Desi Behera’s residence at the Goddess’s temporary abode at the time of announcement of the Yatra dates. Fixing the Subha Khunta is the first step in organising the Yatra and certain rituals are performed for the occasion. Once the dates for Yatra is finalised consulting the Panji (Holy Calendar) and after administrative approval is obtained, Jhami Pujari (a priest) of Aga Street is requested by Desi Behera to prepare the Subha Khunta. It is a bamboo stick of 9 feet height with 9 joints. Jhami Pujari family hereditarily supply Deepa Balita (cotton buds for lamps) to Jaganath Temple and also prepare Subha Khunta for Yatra. They are traditional cotton weavers in the Dera settlement.

After collecting a suitable bamboo from Bauri Street and painting the Subha Khunta with Geru (red mud) Jhami Pujari  performs Puja (worship) at his own residence and afterwards takes it to Desi Behera’s residence by 10 PM in a pre-scheduled date. Again Puja is performed at Desi Behera’s residence and the Subha Khunta is taken to Bada Thakurani Temple in a procession along with the large crowd gathered outside the residence of Desi Behera to finalize the dates for Yatra in a public meeting. Invitation for the Yatra is extended by Desi Behera to Bada Thakurani and as a symbolic agreement after obtaining a garland of Mandar (a red-coloured flower, favourite of the Goddess) the Subha Khunta is taken back to residence of Desi Behera to be fixed at the ground.

Like Subha Khunta, another pillar Dharma Jhanda (Holy Flag) is fixed at the site of the temporary abode of Goddess. Dharma Jhanda is a long log which carries a red and a black flag along with a Neem branch at the top.

On the fourth day of Goddess’s journey to the temporary abode invitation is extended for Dharma Jhanda to a Senapati of Dera community living at Kamalbari Street. On the fifth day of Yatra Dharma Jhanda is brought in a procession to the temporary abode and after performing Puja it is fixed in front of it. Devotees worship Dharma Jhanda before entering the temporary abode to worship Goddess. Women devotees pour Haladi Pani (water mixed with turmeric) at the Dharma Jhanda. It is believed that Dharma Jhanda, which flies at a height, creates a religious atmosphere in the locality. It is only after fixing of the Dharma Jhanda, devotees takes of Beshas (role play) and construction of Rathas, Kalakunjas starts. 

PHOTOGRAPH BY: Laxmi Bej (1 & 2), Srinivas (3)

Ratha and Kalakunja in Berhampur Thakurani Yatra

Ratha (decorated exhibits of mythological characters) and Kalakunja (exhibits depicting mythological scenes) are the third major attraction of Berhampur Thakurani Yatra following the Goddess’s procession and Besha (role play).

Though no historical evidence could be gathered so far on the date of origin of such exhibits, it is told that huge exhibits of mythological characters were erected at Desi Behera Street and main road of Big Bazar. Rathas were sponsored by people of adjoining area. Residents of a particular street used to sponsor for erection of a particular exhibit. In some cases two groups from two different streets used to erect two different exhibits on a same subject on competitive basis.

Such exhibits were built year after year and the same material were used with a few up-gradation. Residents from different streets use to store the material of Ratha in community halls of their own streets. The exhibits were built-up at different streets and pulled on as chariots to the Yatra venue. That is how such exhibits are called Ratha (Chariot).

In course of time with increase of exhibits and congestion of traffic at Desi Behera Street and main road of Big Bazar, gradually the exhibits prepared by different streets were placed at different locations and the tradition continues till now. There are about 35 Rathas being erected during the Yatra. It has been noted that while some Rathas have lost appearance, such as Boita Ratha (Ship), exhibition of a few other Rathas were suspended for a period of time like Nagarjuna Ratha of Sita Ram Street. There are also some other Rathas which are exhibited continuously for a long time. Jwalamukhi Ratha of Kalu Patra Street is celebrating Platinum Jubilee of regular appearance for 75 years, this time.

It is believed that though Berhampur Thakurani Yatra might have started soon after migration of Debanga or Dera community from Andhra Pradesh to Berhampur some time between 1772 and 1782, the political instability at Mahuri till 1850 and great famine during 1865 may not have provided a conducive atmosphere for building huge Rathas during the Yatra till the later part of 19^th century. Growth of trading activities at Berhampur during last three decades of 19^th century and beginning of 20^th century should have provided support to organise the Yatra with grandeur.

Some point out that erection of huge exhibits is a southern influence just like Ghata Puja, which forms the main ritual in the Yatra. It is believed that some residents of Kalu Patra Street were facinated by huge Jwalamukhi exhibits in Andhra Pradesh and decided to replicate. They invited an artist from Mandasa (a small town in Srikakulam District of Andhra Pradesh about 50 kms away from Berhampur) who built an idol of 16 feet high. Jwalamukhi is considered as the sister of Thakurani.

Major Rathas in the Yatra include Ramachandra, Laxman, Eswar, Narayan, Jaganath, Hari Arjun, Nagarjun, Nrusigha, Karna, Parsuram, Sibarudha Kali, Shymakali, Kanak Durga, Hanuman and Kamadhenu etc. Traditionally Binchana (Fan) Ratha of Bachubari Street and Doli (swing) Ratha of Santarani Street are exhibited first in order during the Yatra.

The practice of exhibition of Kalakunjas dates back to 1961 and 1963 Yatra period. Residents of a few streets adjoining the Yatra venue started erecting scenes from mythology instead of single character as in the case of Ratha. They invited artists from Cuttack to build-up such scenes. With availability of electricity the Kalakunjas and the roads leading to such exhibits could be colourfully decorated. The visitors of Yatra moved from one street to another to witness Rathas and Kalakunjas.

While the mythological characters of the Rathas remain constant throughout and the material used to construct the idols are stored for years, the theme of Kalakunjas along with the construction material change every time. All the Rathas and Kalakunjas are usually exhibited during last week of the Yatra.

Bagha Nacha at Berhampur Thakurnai Yatra

Bagha Nacha

Thakurani Yatra , a post- harvest celebration ,with the main attraction of the Goddess’s procession  from the temple to the temporary abode  and return along with daily tour to the surrounding areas in each of the evenings for about a month create a carnival like atmosphere. Male members, mostly young,  between  5 to 25 years decorate themselves as  characters from  mythology like Krishna, Rama, Hanuman or folk characters like  washerman , fisher man, hawkers or dance  groups on various themes  to join such procession. Bagha Nacha is one of the most popular folk dances of Berhampur during Thakurani  Yatra.

In Bagha  Nacha (Tiger Dance),  a young male paints himself as a tiger and wears a special head gear and tail  while dancing  to the tune of  Dhampa (a musical instrument played by beating with two sticks on drums). Anybody can perform Bagha Nacha. However, traditionally, many people promise a wish to perform on the event of a troublesome phase of daily life praying for Goddess’s blessing to overcome. Bagha Nacha or other roles played during the Yatra  are considered as  thanks giving to the Goddess.

Though Bagha Nacha performer need not be a professional dancer and the performers belong to different walks of life, he needs regular practice sessions under the guidance of a Guru (a master dancer). The aspiring dancers undergo a minimum of two to four weeks of training sessions, usually during the evening hours.

The date of performance for Bagha Nacha for each of the individual is selected well in advance. On the day of performance, the dancer keeps fasting and a few rituals are performed by the family members. The dancer’s whole body is shaved and coloured with enamel paint. It starts from the morning hours and takes about 5 to 6 hours for painting the entire body. During afternoon the headgear and tail to be used by the dancer is taken to Yatra mandap for puja (ritualistic worship) and by evening the dancer painted like a tiger walks to the Yatra site dancing along with the drum beaters. Bagha Nacha performers usually attract a good number of admirers to join them in the procession. After Darshan of Goddess and puja at the Yatra site the dancers move from one acquaintance to another performing Bagha  Nacha.                                  

During the olden days the Bagha  Nacha performers used to dance throughout the night moving across the streets of the City. However, now a days, the police has imposed restrictions to stop such dance performance between 11 pm. and 5am. Bagha Nacha performers are presented with cash as pleasantries after each performance at their acquaintance’s residence. People of the surrounding areas enjoy such performances.

Each of the Bagha Nach performers are usually accompanied with a minimum of 4 to 6  Dhampa drum beaters. The Dhampas are to be warmed up in a short interval of time and for the purpose a cycle rickshaw stored with hey follows the drum beaters throughout the procession. The drum beaters light up hey in the road side to warm up their Dhampas every now and then whenever required.

                                                     

Bagha Nacha performers ensure a few friends and well wishers to accompany them throughout their performance tour in the city. These volunteers contribute towards maintaining discipline during the course of performances. While petromax lanterns were used to lighten the performances in the past, halogen lamps and mini generators are used in the modern times.    

Bagha Nacha performers commanded celebrity status in their locality. Many of them regularly performed during Yatra in alternative years. Though Bagha Nacha in some other form are performed in neighboring Andhra Pradesh and West Bengal, the performance of Berhampur is unique. Neither the attire nor the dancing positions or the Dhampa tune has any resemblance to any classical dance forms. Bagha Nacha continues to be one of the favorite folk dances of the City performed exclusively during the Thakurani Yatra.

PHOTOGRAPH BY: Laxmi Bej