During British Raj in India Kalahandi was a princely state which after independence merged with the state of Odisha on 1st January 1948. Bhawanipatna is the headquarter town of Kalahandi district in Odisha. Situated on the National Highway it is located about 418/427 kilometers away from the state capital Bhubaneswar. Tribal dominated Kalahandi district is a land of goddesses like Dakeswari (Dukri), Lankeswari, Manikeswari and Raktambari. Manikeswari is the presiding deity of Kalahandi. The mere mention of name Manikeswari invokes reverence and speaks about the Sakti or goddess worship in Kalahandi.
Bhawanipatna, Jugsaipatna and Thuamul-Rampur of Kalahandi district are famed for Manikeswari temples. In addition, she is also worshipped in other places like Kashipur, Paralakhemundi, Sankhemundi and Sonepur. However, the annual Chhatar Jatra of Manikeswari celebrated in the Hindu month of Aswina (September-October) in Bhawanipatna is very famous and popular. People of this area may be staying away from their home due to some reasons or other but they exhibit the same passion and display same emotions that their families, relatives and friends experience here during Chhatar Jatra of Manikeswari Devi. People are mad about Chhatar Jatra and eagerly wait for the celebration. What drives them so passionate? May be they get to see the deity and witness her procession with Bira-Badya Ghumura. May be they get to see many known faces. But the innocent faces of animals and birds, unaware of their imminent death, attracted me during my research trip to this place during Chhatar Jatra.
Historically, Kalahandi is a Kandha dominated area. It is said that, Kalahandi was once recognized as Karund and the rulers of this region were known as Karundadhipati as well. The meaning of Karunda or corundum is valuable gem stone and most probably, the word Kalahandi is derived from Karunda or corundum. In other words, Kalahandi is believed to be the treasure land of valuable stones like Ruby, which is locally known as Manikya. The name of its presiding deity Manikeswari is derived from Manikya. Undoubtedly, the name of the deity is justified.
Manikeswari temple of Bhawanipatna is located in the premises of the ex-ruler of Kalahandi. It is said that, Raja Ramachandra Deo had built a temple in Bhawanipatna and installed Manikeswari Devi therein. Reportedly, however, the present temple of the deity is constructed by Raja Brajamohan Deo in 1935.
It is said that, the sixth king of Naga dynasty in Kalahandi was Harichand Deo (1173-1201). His reign was full of misfortunes. He had to face all the disturbances and led a life of agony and pain. After his sad demise, the insecure queen fled to her father’s house at Gadapur in Phulbani district, traditionally a Kandha dominated area. Then she was pregnant. In such a condition, the queen’s father gave her shelter. There she gave birth to a son who was named Rama Chandra Deo. Ranee’s father belonged to Ganga family.
After the passing away of Raja Harichand Deo, Kalahandi remained in a state of anarchy for some time. Due to the political disorder, lawlessness and chaotic condition in the state, common people had to suffer a lot. It was a Kandha dominated area at that time. The people being insecure of their lives and property went to Gadapur in search of their queen. They became happy to see their queen and the young prince Rama Chandra Deo in Gadapur. They requested the queen and her son to return to their kingdom and rule over it. But the queen’s father refused to allow them to go back on security ground. On the other hand, the Kandhas and Umras promised them protection and help.
Rama Chandra Deo, though a minor at that time, thought it proper to reign over his own kingdom than stay at his maternal grandfather’s house. Finally, he returned with his mother to Kalahandi. He was crowned as king of Kalahandi at Jugsaipatna by a Kandha who is known as Pat-Majhi. This custom is still in vogue from that time. As per the tradition, all the kings of Kalahandi are crowned at Jugsaipatna by a Kandha who is called Pat-Majhi.
The Kandhas appointed Sarbanks as Dewan of newly Raja Rama Chandra Deo to assist the king in his state affairs. Thus, the queen and prince were brought by the Kandha Umras from Gadapur. While returning home, Ramachandra Deo brought Manikyaderi from his maternal uncle’s house (Senapati and Kuanr, 1980: 53). At that time, Jenabalipatna or Jugsaipatna was the capital of Kalahandi. So, Manikyadevi was first established there in the form of Manikeswari. Subsequently, the deity was installed by him at Bhandesir garh i.e. the present Bhawanipatna.
There is a controversy about the origin of Naga family of Kalahandi. A group of scholars claim Nagas of Kalahandi are successors from the Naga family of Chota Nagpur. But the renowned historian Jitamitra Prasad Singh Deo believes that, the Nagas of Kalahandi are direct descendants of the Nagas of Chakrakote (Singh Deo, 1987:267). Whatever might be the opinion of scholars on the origin of Naga-vamsi rulers of Kalahandi they are unanimous in accepting the ex-ruling house of Kalahandi which still exists as belonging to Naga house.
Sakti cult (Great Tradition) has influenced this Chhatra Jatra (Little Tradition). Every year, common people feel it a proud privilege to be associated with this historic tradition of Bhawanipatna. These days, this yearly Chhatar Jatra has not only established itself as a popular folk festival in its native land but also recognized as one of the captivating and enthralling festivals in the neighbouring areas including Chhattisgarh.
The Mulastami (Aswina Krushna Astami) is the beginning of Chhatar Jatra. The ex-ruler’s palace has an imposing look with a spacious park to its front. Traditionally, Ghumura dance competition is organized on this occasion. The winning group is allowed to participate during the Chhatar Jatra. The troupe leads the Jatra from Jenakhal to Manikeswari temple on early morning of Aswina Sukla Navami tithi.
The Mulastami day is marked with an important ritual before Manikeswari Devi. It is a gupta niti (secret ritual) known as Munda-basa. The word is derived from two words munda (head) and basa (to place). The meaning of the ritual is reflected in the word itself. At midnight the head of the Devi is removed and replaced by terracotta head studded with gems and ornaments. The old head is then immersed in the Purushottam tank adjacent to the temple. Thus, ceremonial replacement of the head of the deity takes place on Mulastami. This reminds us the annual Nabajaubana and Nabakalebara rituals of the deities in Shri Jagannath temple at Puri.
Manikeswari is also reasonably identified with Stambeswari or Khambeswari who represents pillar-worship for the reason that, apparently there is similarity between the iconography of Manikeswari and Khambeswari or Stambeswari. Further, annual ritual of change of structure of the deity (head) also reminds us the Khond ritual practice of renewal of pillar-worship. In view of this it appears acceptable that, Manikeswari has some linkages with the tribal tradition of this area.
Furthermore, it would not be out context to mention that, the earliest form of mother or Sakti worship in this part of Odisha is historically found to be Stambeswari. During fourth and fifth century AD, worship of Stambeswari was prevalent in Kalahandi. The earliest epigraphic evidence was found in a copper-plate grant of Tustikara Deva. This copper-plate grant is popularly known as Teresingha copper plate of Raja Tustikara, which attests this fact. It may be noted here that, there is a pillar of Stambeswari in Sonepur and another temple in Aska in Ganjam district. The Stambeswari is another form of Khambeswari, who is a very popular deity among the tribal people of Kalahandi in particular and West Odisha in general.
It seems appropriate to highlight the existential realities of the earliest settlers or indigenous population or tribal people of Kalahandi area, which they share despite their heterogeneity. Though the tribal people constitute about eight per cent of the total Indian population, they are found in substantial numbers in Kalahandi district of Odisha. They are overwhelmingly rural. Most of them live in forest and mountain areas. So, they are called Banabasi (forest dwellers) and Girijan (mountain dwellers). They are also called Adibasi, the literary meaning of which is ‘original settlers’. Since most of them still live in rural, forest and mountain areas this fact prove that, they have been living there from the beginning or from very ancient times. Because of their location and habitat a large majority of the tribal people were engaged in forest related occupation. This type of subsistence economy was not at all conducive to state formation.
In all probability, during his state formation in this part of Odisha during 4th-5th century AD, Raja Tustikara had adopted the tribal deity of this area as Stambeswari to appease the local inhabitants and to make it easier for the establishment of his kingdom. It is also possible that, the local tribal people of this area had been influenced by the “Raja-Dharma” or the Ista-Devi of Raja Tustikara and started pillar worship, which is still prevalent in their communities in one form or other. Significantly, Khambeswari is the tutelary deity of Dumals of West Odisha. It was essential to incorporate the tribal people in the mainstream of the society. Due to extension of political boundaries, the ruler was in need of settled agriculture to generate surplus for maintenance of his kingdom and officials. Thus, tribal people were engaged in agriculture with superior technology and took the leading role for its extension.
It may be a matter of surprise for many how the head of the deity is removed and replaced by terracotta head every year. It may be noted here that, Manikeswari Devi is headless. Consequently, she is identified with Chhinnamastha, who is a goddess of Dasa-mahavidya group. Her body is like a cylindrical structure, over which a clay head is fixed. Thereafter, the body is covered with clothes and ornaments. This is an annual gupta niti or secret ritual observed in the midnight of Mulastami tithi.
Another interesting ritual is observed before the deity Budharaja in the midnight of Mahastami (Aswina Sukla Astami) tithi. Budharaja is also known as Bhairaba. He is worshipped in a small temple situated in the northern side of the Manikeswari temple. Significantly, this temple is opened only once in a year on the occasion of Mahastami when offerings are made to Budharaja. The new rice is offered to Budharaja only on this day.
Though Nuakhai is observed generally on Bhadraba Sukla Panchami or Rushi Panchami tithi in West Odisha, Nuakhai of Budharaja is celebrated on Mahastami tithi because his temple is opened only once in a year on this day. So, as a matter of tradition, the royal family of Bhawanipatna takes Nua / Nabanna next day on Nabami tithi after Chhatar Jatra only after Nuakhai celebrated by Budharaja on Astami. After the annual offerings before Budharaja, the Chhatar of Manikeswari Devi leaves for Jenakhal.
Animal sacrifice is a very common practice prevalent in almost all the Sakti pithas in India in the month of Aswina. On Astami Tithi night, animal (Podh i.e. buffalo) is sacrificed before the deity Budharaja (Bhainro Baba / Bhairava) situated near the north gate of Maa Manikeswari temple. Notably, Budharaja is a tribal deity of Gonds, who are officially recognized as one of the 62 tribal communities in the state of Odisha. After this ritual, the Chhatar is carried to Jenakhal (Jena-Khal), which is located about three kilometers away towards west of the temple. Chhatar represents Maa Manikeswari. In other words, Chhatar symbolizes the deity. Some rituals along with animal sacrifice are performed there.
Thereafter, the deity in the appearance of Chhatar returns to her residence i.e. Manikeswari temple. The literary meaning of Jatra is traveling. Manikeswari in the form of Chhatar comes out of the temple once in a year and travels to Jenakhal and then travels back to her temple. For this reason, this annual festival is called Chhatar Jatra. Thus, the Chhatar makes its return journey from Jenakhal to the main temple of Manikeswari in the early hours of Maha–nabami tithi. This is the most celebrated journey of the deity. It is accompanied by the beats of musical instruments like ghumura, nishan and ghanta. Traditionally, it is known as Jenabadya. The chorus creates a sensation among the observers. It creates a sense of fear among the onlookers as well.
It is not out of place to mention that Kandha people worship a deity called Chhatar Bauti. She is portrayed as a terrified deity. She is supposed to be the cause of child death in the Kandha community. Interestingly, if a child cries while the Chhatar is traveling then it is believed that the death of that child is looming around. In view of this, it may be said that Chhatar Jatra is influenced by the tribal culture and tradition in Kalahandi.
As it has been mentioned above, rituals are performed at Jenakhal. Animals are sacrificed there. Blood sacrifice is the integral part of this ritual. The literary meaning of Khal is hole. Jena-Khal represents female sex organ. As Linga represents Lord Siva in its uniconic form in various Saiva Pithas, Jena-Khal represents Sakti at this place. In other words, Sakti in this form is worshipped at Jena-Khal. It is pertinent to mention that, in Sindhekela of Titilagarh sub-division and Khariar the deity Duarseni is worshipped in such form i.e. hole. So, it may be said that, in some parts of West Odisha Sakti-worship in the form of Yoni-worship is prevalent.
As per the tradition, Ghumura dance is performed in front of the palace of Bhawanipatna on that night (Astami Tithi). In course of time, it has taken the shape of competition, which adds colour and glamour to Chhatar Jatra in Bhawanipatna. A number of Ghumura dance troupes participate in this competition. The winner of the competition leads the next year’s procession of Chhatar Jatra. It is an honor for the Ghumura dance band. Undeniably, Ghumura dance is an integral part of Chhatar Jatra, which helps in preserving and disseminating this ancient heritage and rich folk tradition of Kalahandi. Certainly, Ghumura dance is amazing and astonishing in its form and content. It has a class of its own. The media and modern technology have enlarged its scope and prospects. Professionalism in traditional performing art has become the trend of the day.
Hundreds of people assemble near the Bhawanipatna palace on the occasion of this competition and witness this rich folk dance form of Kalahandi. In view of this it may be said that, Ghumura is a major traditional dance form, which still holds ground in the cross section of the society in Kalahandi. In fact, the entire Kalahandi feels the vibration of Ghumura dance in this season. It is relevant to mention that. Ghumura in Kalahandi is not simply a dance form but the very way of life of Kalahandias. Here virtually every village has a Ghumura institution and every villager is a lover of Ghumura. The language of Ghumura is well known to every individual in this land. Since long, Ghumura has not only entertained the people of Kalahandi but also acted as an emotional bond of unity among them. It is an instrument of social harmony in Kalahandi. However, Kalahandi Ghumura has no longer remained confined to Kalahandi. It has traveled far and wide and created a name in the national as well as international market.
Early in the morning of Navami, Chhatar leaves Jena–Khal for the temple with a grand procession amidst the high sounding beat of Ghumura, Jena–Badya, Ghanta and the like. This return journey of Maa Manikeswari in its Chhatar form is the main Chhatar Jatra, which is attended by thousands of devotees. The distance between Jena-Khal and Manikeswari temple is about three kilometers. Thousands of animals like he-goats, chickens, pigeons, ducks and swans are sacrificed on the way during the return journey of Chhatar.
Animal sacrifice is as old as this festival. Significantly, there is no restriction and compulsion if the devotees want to offer their animals on their own. The essence of animal sacrifice emerges from the strong belief and faith that, it will bring gain to the sacrificers and their community. What is sacrificed losses itself by being slain. But, this loss of life is somehow seen as bringing benefits to them. This is the main reason why devotees themselves are found slaughtering animals on the path of Chhatar and offering the same to the deity on their own.
Thus, the common people have developed a cruel and heartless tradition of doing shoddy work in some fashion without visualizing the detail repercussion. Such an unkind ritual practice by the common people on the open street is hardly found in any other region. Some activists who are actively engaged in preaching the value of ‘non-violence’ opine that, it is very dangerous. Since the common people themselves frankly participate in this ritual killing of animals on open streets of Bhawanipatna, it has become very hard on the part of the District Administration and the social activists to discontinue and suspend this brutal and unkind traditional practice of animal sacrifice.
Some activists believe that, some people are mute observers to this inhuman ritual festival. Even the social organizations and Government agencies working against such ritual practice do not seem to bother. They think that conscious citizens must take up this issue and the organizers should know how they are hurting the sentiments of many as they ignore a major issue while communicating the value of violence through their activities in the name of tradition and blind faith. There are ways to celebrate Chhatar Jatra without harming anybody. All that we have to do is believe the eternal truth – importance of God gifted priceless ‘life’.
Undoubtedly, Chhatar Jatra is a cruel and inhuman tradition of animal sacrifice. It creates an atmosphere where people are emotionally engaged. It produces an environment wherein people are psychologically occupied. This Jatra helps people to discover their animal-like passion and anchor them to such passion. In other words, common people satisfy their animal-like or cruel passion through blood sacrifice during Chhatar Jatra. In this sense, they find value in this Jatra and identify them with this Jatra. Of course, it is not the same with everyone, but what is real is that everyone does it for certain reasons and for definite purposes.
Today, it is really a difficult time. People have to identify additional social responsibilities that they can shoulder. When asked a pretty old but beautiful woman, she replied, “You are not the driver of the vehicle. You see a lot happening on the streets and sometimes you just have to shut up and let things be even though you know what the right thing is”. This lady was both informative as well as interesting. So many aspects of this passionate festival came to light through her eyes only. It would not be out of context to mention that, there are good souls in and around who can provide the hope and strength to create a better tomorrow. This is the high time to recognize and honour the value of life, whether animal or human.
On Vijaya Dasami Tithi, Chhatar is carried to the nearby mango grove of Naktiguda, where the Chhatar is worshipped. One Boda i.e. he-goat is sacrificed before the deity. Then an earthen pot is fixed on the top of one tall mango tree. Shooters come to this ground to participate in the shooting competition. They aim at the earthen pot on the top of the tree. This is known as Lakh–Bindha competition. This Lakh–Bindha ground is considered to be the battle ground and the pot is regarded as the enemy. Earlier, the traditional weapons like bow and arrows were used on this occasion. In due course of time, bow and arrows have been replaced with guns. The winner of this competition participates in the Chhatar Jatra and leads the procession of the deity. It is considered to be a rare distinction and honour.
It is said that, once upon a time human sacrifice was prevalent at Jenakhal. It reminds us the famous Meriah sacrifice a long time ago prevalent among the Kandhas. Furthermore, it is said that Jenakhal is located on the way between Bhawanipatna and Junagarh. The previous name of Bhawanipatna was Manikyapatna. At that time, it was named after the deity Manikeswari. After the construction of Bhawani–Sankar temple near the Bhandeswar temple, the name of Manikyapatna became Bhawanipatna.
The literary meaning of the word Jena is Raja-Putra i.e. prince. In this sense, the meaning of Jenakhal is the hole or place or graveyard where Raja-Putras (princes) were sacrificed. As per the tradition, the Raja of Bhawanipatna used to offer human blood to the deity i.e. Chhatar on Durgastami at Jenakhal. Every year, the defeated Raja-Putras were sacrificed here during Chhatar Jatra. Time has changed. In due course of time, severe form of blood sacrifice i.e. human sacrifice has been stopped and animal sacrifice has been substituted.
It is believed that this transformation has come during the reign of Udit Pratap Deo (1853-1881). Once, he was returning from Delhi after attending the British Durbar in the year 1877. On his way back to Bhawanipatna, he spent one night at Kesinga which is situated on the bank of the river Tel, the border of his kingdom and Patnagarh. That night, Maa Manikeswari appeared in the dream of Raja Udit Pratap Deo. She expressed her displeasure over the blood sacrifice prevalent in his Pitha. She asked the Raja to start Satwika Puja i.e. vegetarian ritual in his temple. She also directed him to bring some good Brahmins from Sambalpur who would perform Satwik Puja in his Pitha. The king did not waste time and invited a Brahmin family from Sambalpur who started Satwik Puja in Manikeswari temple. It is relevant to mention that Raja Udit Pratap Deo married the princess Asha Kumari of Sambalpur. Asha Kumari was the only daughter of Raja Narayan Singh, who was the last king of Sambalpur kingdom.
The annual Chhatar Jatra of Manikeswari Devi is accompanied with the Lakhabindha (target-shooting) ceremony, which is celebrated with great pomp and show during the days of Durbar administration.
One of the great disasters of post independent India has been the absence of royal patronage to Chhatar Jatra as usual. However, there is no denying the fact that, common people extend their patronage and support this festival for its growth once a year. Unquestionably, the inheritance of celebrating Chhatar Jatra and making this festival more popular are the sacred responsibilities of the general people of Kalahandi at large. They have left no stone unturned to achieve this feet. They have been devoting themselves to keep this century long tradition alive. There is tremendous amount of enthusiasm within Kalahandi and outside also to witness this thrilling Jatra in the month of Aswina. Chhatar Jatra, once again, contributes to local tourism like no other institution. So, be it a disturbing emotionally due to its ‘animal sacrifice on the streets’, many people comes to explore a new lease of life on this occasion.
Manikeswari Devi is considered to be a unique blend of tribal and non-tribal culture in this part of Odisha. One finds close resemblance between the iconography of Stambeswari or pillar worship and the present Manikeswari Devi. Kandhas of this area consider Maniksairo as the sister of the deity Dharnipenu. In this context, Kar (2007:32) has given a narrative. The song of the Kandhas says: “Juhar Juhar Manikesari/ Maa Raije Maharani/ Sayabani Mahan Laybani/ Mahan Dharni San Baheni”. In view of this, it may be believed that Manikeswari in her present form and Manikesari of the Kandha people are interrelated and through the process of universalization, the present form of Tantra worship of the deity has evolved.
References
Kar, Uma Shankar (2007), “In the Land of Manikeswari”, Devi, Bhubaneswar: The New Indian Express.
Pasayat, C. (2007), “Bhawanipatanar Chhatar Jatra” (Oriya) in Souvenir, Lok Mahotsav-2007, Sambalpur: District Council of Culture, pp.10-15.
Pasayat, C. (2009), “Chhatar Yatra”, in Nuakhai Bhetghat-2009 Souvenir, Bhubaneswar.
Senapati, N. and D. C. Kuanr (Eds.), (1980), Kalahandi District Gazetteer, Bhubaneswar: Department of Revenue, Government of Odisha.
Singh Deo, J. P. (1987), Cultural Profile of South Kosala (From Early Period till the Rise of the Nagas and the Chauhans in 14th Century AD), Delhi: Gian Publishing House, p. 267.
Dr. Chitrasen Pasayat lives at 152-Vijay Vihar, Nuagaon Road, Sishupalgarh, Bhubaneswar, Odisha-751002. E-mail: pasayatc@gmail.com