Posts filed under ‘Ghumra’
There is a deliberate attempt by the Government of Odisha to suppress the Kosli language and culture, alleged Kosal Kranti Dal (KKD) working president Baidyanath Mishra at a Press conference here on Wednesday.
He said teachers and para-teachers are being recruited to appease the minor ethic groups, including Bengali and Telugu, in the State whereas Kosli spoken by almost one and a half crore people is neither given official status nor is any step being taken for its growth due to a high degree of inferiority complex on the Government’s part.
Mishra said thousand of books in Kosli using Odia script have been published in different branches of Kosli literature, but the Government does not have any affirmative stance for promoting the rich literature. This “step-motherly attitude” towards Kosli, coupled with acute regional imbalance and other parochial considerations, has led to discontentment among the people concerned and a strong opinion to split the State.
“The recent activities of the Government and some NGOs have posed a threat to Kosli language and culture,” he alleged and called upon the people of ‘Kosalanchal’ to remain alert. The strategy of “Utkalisation of the Kosal areas” is a calculated one, but the Government has not been successful in the past nor would it be successful in future because of its ill motive as negative action would only bring negative result, he remarked.
Mishra was launching Kosli No-1, a music album brought out by Karan Raj and his young team. Congratulating all those involved in the project, he advised them to adopt the twin strategy of promotion and safeguard for their language and culture.
Editor of Paschimanchala Surama Mishra was the guest of honour on the occasion. Sagar Singh Manki, Ram Chandra Amat, Jai Singh Singh and Hrudanand Behera were among others present.
NewsRoom: Numbers of national recognition have been given to different dance forms such as Odishi, Chhau, Ranapa etc and in various other spheres from Orissa, but not any single recognition for Ghumura so far?
Is it because scholars of Ghumura lack political lobby or because it belongs to KBK and does not belong to a particular region continuously favored by the Orissa state? Ghumura is more popular than Ranapa.
Ghumura is much ahead of many other dance forms in Orissa in terms of popularity of folk dance. It is more scholarly researched, cultivated and has a history of at least thousand years.
Not to blame achievement of any other folk dance, however, despite not being suitable in terms of connectivity and distance for rest of South Orissa, the favoritism, including for RDC office, educational institutions, High Court branch etc, by various chief ministers towards their home district Ganjam in the name of South Orissa may be well established by making rest of South Orissa including undivided Kalahandi, Koraput and Kandhama—Boudh backward, neglected and marginalized in various areas that include culture too.
Ghumura is one of the most sought and leading folk dance form in Orissa. It is classified as folk dance as the dress code of Ghumura resembles more like a tribal dance, but recent researchers argue different mudra and dance form present in Ghumura bear more resemblance with other classical dance form of India and the dance is not limited to tribal only.
The dance is associated with social entertainment, relaxation, love, devotion and friendly brotherhood among all class, creed and religion in the present days and can be classified as classical dance. Traditionally this dance is also associated with Nuakhai and Dasahara celebration in large parts of South and Western Orissa.
Ghumura dance is still popularly hidden in the village level in South Orissa, Western Orissa, Central Orissa and some parts of bordering Andhra Pradesh and Chhattisgarh. Kalahandi is mainly known as land of Ghumura and has taken a leading rule in popularizing and retaining its unique identity of Ghumura dance.
Ghumura dance has got the opportunity to represent the nation in various international events Delhi, Moscow, Kolkata, and various other cities in India.
Despite that it’s most neglected and marginalized by Government of Orissa, which is not giving equal recognition to Ghumura and its scholars and playing politics over the matter.
Contributed by Dr. Digambara Patra, Ph.D, Assistant Professor, Department of Chemistry, American University of Beirut, Beirut, Lebanon.
Shri Naveen Patnaik, Honorable Chief Minister of Orissa
Smt Ambika Soni, Honorable Minister of Culture & Toursm
Smt Pratibha Patil, Honorable President of India
Dr Manmohan Singh, Honorable Prime Minister of India
Dear honorable Shri Patnaik and Smt Soni,
Research work by Dr Dolagobinda Bisi, Jayanta Kumar Behera, Parameswar
Mund, Dr Mahendra Mishra, Dr Dasarathi Achraya, Gopinath Mohanty, etc
[1-2] quite unique and distinct in terms of popular culture of Orissa
region, one of the researcher has mentioned that among the districts
in Orissa, probably Kalahandi could be one of the district having more
number of different dance forms (comprising tribal and non-tribal
dances such as Ghumura, Banabadi dance, Dongira Kondh dance, Dalkhai,
Rasarkeli, Dhab, Dhimsa dance, Butia Kondh dance, Gan dance, Paraja
dance, Madal dance etc) compared to any other single district in
Even many such researchers think Ghumra has not got equal status like
Chau in the national level. After Odishi and Sambalpuri Dance, Ghumura
is one of the most sought dance form in Orissa. Though it is thought
to be a popular was dance in ancient India, its identity is still
hidden in the village level in one of the backward pockets of India
comprising South Western Orissa, Northern Andhra Pradesh and Eastern
Chhattisgarh, more popularly confined to KBK-Kandhamal region.
Researchers  point out origin of Ghumura dance is related to
mythological days of Ramayana where it was used as an instrument for
warrior music by Ravana. It is depicted in Sarala Das’s Purana .
Ghumura was also mentioned as an instrument for warrior music/dance
form in ancient and medieval period by various kings & kingdoms.
Later on it has evolved from a war dance to a dance form for cultural
and social activities. The dance is associated with social
entertainment, relaxation, love, devotion and friendly brotherhood
among all class, creed and religion in the present days. Traditionally
this dance is also associated with Nuakhai and Dasahara celebration in
many parts of Orissa, Andhra Pradesh and Chhattisgarh.
Although dress code of Ghumura resembles more like a tribal dance,
researchers argue [1-2] different mudra and dance form present in
Ghumura bear more resemblance with other classical dance form of
India. It is no way inferior to any other folk or classical dance in
India and should not be derecognized as a tribal dance as it is being
played by both tribal and non-tribal people since centuries.
In present days rarely there was any organization like Mahabir
Sankrutik Anustan who has been at leat trying to retain such rich
dance culture of ancient time still hidden in tribal and backward
pockets of India, predominantly in KBK region.
Unfortunately Ministry of Culture, Government of India has not yet
classified this one of the rarest ancient dance in the official
classical form derecognizing as a tribal dance. It is very importance
that ministry of culture gives equal importance to this rare and
unique form of Indian dance form in the national level.
As there is neither sufficient funding, encouragement, nor any
national research center, nor even any national recognition for
Ghumura dance or for its artist, this unique and rarest dance is
slowly vanishing and losing its hidden charisma and beauty in modern
Although many artists from various Indian dances have been recognized
by Padma Shri, Padma Bibhusan etc, Ghumura artists were not yet
equally rewarded by the national government recognitions in the same
I urge the Ministry of Culture, Government of India and Orissa state
Government to take necessary steps to give special fellowship, funding
and recognition for Ghumura and its devoted artist working in the
backward pockets of Orissa, Andhra Pradesh and Chhattisgarh.
Apart from National Chhau Centre at Baripada, a National Ghumura
Research Center at Bhawanipatna is required at this hour for not
losing this rarest and unique Ghumura dance forever.
For the above mentioned reasons Orissa state Government may also
consider to have a center/branch of Utkal University of Culture in
Bhawanipatna to educate and carry out research work on various dance
form of South Western Orissa and KBK-Kandhamal region (Kalahandi
region has one of the most diverse verities of dance forms as it is
the melting point of Western Orissa, Southern Orissa and Chhattisgarh
Culture) as well as to study culture and languages present in South
Western Orissa (Languages also include verities of tribal and
non-tribal languages in one specific region of KBK-Kandhamal-Boudh).
1. Loka Nutrya Ghumura, Edited by Parameswar Mund, Mahabir
Sanskrutika, Anusthan, June 2002
2. Kalahandi: Loka Anusthan, Edited by Jayanta Kumar Behera, Dr
Dolagobinda Bisi, Parameswar Mund, Mahabir Sanskrutika Anusthan, 1998
Thank you and best regards
Digambara Patra, Ph.D
Department of Chemistry
American University of Beirut
Addressing the concluding day of Kalahandi Utsav Ghumura-2010, chief guest MP Bhakta Charan Das said that there is urgent need to revive art and culture which is gradually disappearing. He also urged to establish a tribal tourism centre in the district and reiterated to save the glorious tradition of Indian music, dance and drama through united efforts.
Not only local artistes but also artistes from other districts of the State as well as from Chhattisgarh and Assam performed cultural programmes amid thousands of spectators during the four-day festival. Former Chief Minister Giridhar Gamang also performed instrumental music on tribal instruments such as Changu and Kansari on the stage.
Many dignitaries were felicitated with Kalahandi Baraputra Award on the occasion. Bharat Bhusan Deo, Prabhash Chandra Mishra, Ratnakar Bhoi, Jayanta Behera, Gajanana Naik and Satya Narayan Rajput received the prestigious award in various fields from the guest of honour. A souvenir named ‘Kalajharan’ was also released on the occasion. School and college toppers also received Gyanashree Award instituted by Vendanta Aluminium Limited (VAL).
A seminar on the topic, ‘Together we can develop Kalahandi’ was also organised on Sunday morning at Bhawanipatna Town Hall.
In the wake of the visit of APJ Abdul Kalam on Saturday, thousands of people including schoolchildren and their teachers gathered at the Lal Bahadur Shastri Stadium here to have a glimpse of the former President
Kalam reached the Police Ground here by a helicopter at around 3.50 pm. First of all he inaugurated the Primary teachers’ Bhawan and then inaugurated the 3rd Kalahandi Utsav Ghumura 2010.
Addressing a huge gathering, he said, “I am happy to here on the Kalahandi festival day. I am delighted to participate in the inaugural ceremony on 3rd day of Kalahandi Utsav Ghumura 2010. I am indeed delighted to inaugurate the Primary Teachers Bhawan.”
“I would like to greet the District Collector RS Gopalan, Minister of Labour and Employment Pushpendu Singhdeo, SP Sudha Singh, former MLA Pradipta Naik, organisers of the utsav and all the schoolchildren, teachers and parents who have come here,” said the former President.
Kalam also interacted with the students and answered briefly to their questions. He said I am going to give you (students) an equation. Knowledge is equal to creativity plus righteousness in the heart and spread courage.
Kalam advised the organisers to launch a new project every year during Kalahandi Utsav, which will boost economic development, improve employment potential in the district. He also said the amenities available in the city like Bhubaneswar should also reach Kalahandi.