The capital was treated last weekend to a rich extravaganza of folk dance from the Ganjam district of Odisha. Over 50 folk artists from Berhampur presented a slice of Odisha’s rich heritage with their vibrant folk performance.
The two-day cultural festival, Bhanja Mati Ra Mahak, held on 17-18 January, celebrated the legacy of the 17th-century Odia poet and composer of classical Odishi music, Kabi Samrat Upendra Bhanja.
One of the greatest poets in Odia literature, Bhanja’s literary legacy symbolises the intellectual and artistic depth of Odisha. And the festival reflected the state’s cultural essence, where poetry, rhythm, movement and storytelling are deeply embedded in community life.
Organised by Anwesha Brahma with support from Anwesha Kala Kendra, Odisha, in association with Sundar Odisha Foundation, the folk dance and theatre festival was held in the capital’s Indian Habitat Centre.
In his address, Chief Guest, Union Minister for Culture and Tourism, Gajendra Singh Shekhawat, said, “It is important to preserve India’s folk traditions and ensure that grassroot artists receive national platforms and institutional support.” He appreciated the festival for presenting authentic regional art forms and for bringing Odisha’s living cultural heritage to the national stage.
Over two evenings, the audiences witnessed a rich repertoire of traditional folk dance, music and narrative theatre forms, including Raja Nataka, Dhola Kirtana, Chadeya-Chadeyani, BaghaNacha and Nav Durga.
Each of these forms represents a distinct cultural expression – ranging from ritualistic and devotional performances to celebratory and narrative traditions that reflect social life, mythology and regional identity.
The festival began on a powerful cultural tone with a compelling presentation of Prahalad Nataka. The dance drama portraying the legend of Prahalad and Vishnu’s incarnation of Narasimha was set in Odisha’s iconic open-air theatrical tradition, even though it was staged indoors.
This format blends devotion, dialogue and dramatic expression as it brings alive the characters of the play. The performance, under the guidance of Guru Shri Arun Parida ji, captivated the audience with its spiritual narrative and centuries-old storytelling style.
The second day featured a vibrant line-up of folk performances, including Bagha Nacho, Chadhya Chadhyani, Nabadurga, and Dhola Kirtana, reflecting Odisha’s ritualistic, celebratory, and martial traditions. These performances were led under the mentorship of Guru Sudhansu Shekhar Sattpathy.
While Dhola Kirtana is a devotional musical tradition marked by rhythmic drumming and soulful singing that uplifts community spirit, Bagha Nacha is a dynamic folk dance, where performers embody the spirit of a tiger through energetic movements and striking body paint. Nava Durga Nrutya is a vibrant dance portrayal of the nine divine forms of Goddess Durga, symbolising strength, protection, and feminine power. Chadhya Chadhyani is essentially a village folk dance, depicting various subjects, including social and women-oriented.
Speaking about these dance formats, Guru Sudhansu Shekhar Sattpathy said, “All these dance forms are dying without attention. I appreciate Sundar Odisha Foundation, which is based in Delhi, for recognizing this art form.”
Commenting on the festival, Usha Rani Mahapatra, the founder of Anwesha Kala Kendra, said this was for her a “dream come true”. Stating that the dances represent the essence of the Ganjam district, she said it had always been her desire to bring the regional dances to a national platform. She lauded the artistes from Behrampur for their dedication in preserving a rich tradition.