Kalasi Yatra is observed annually on Kartika Sukla Ekadasi Tithi i.e. eleventh day of bright fortnight in the Hindu month of Kartika (October-November). In this month, the talk is more about the Kalasi Yatra in different parts of Boudh. The emotional interest is clearly visible on this subject. Dhol, Muhuri, Nisan vibrate the occasion. People start feeling the beat and throb of these traditional musical instruments right from the beginning of Kartika. Deities in the form of Barua or Kalasi dance to the tune of these traditional musical instruments of West Odisha. Deities are invited in the Abahani / Gauni songs of Dhunkel.
Kalasi Yatra of Boudh is one of the attractive Yatra of West Odisha. It is observed in the month of Kartik as mentioned above. Different deities ascend in the bodies of human beings, who are called Barua or Kalisi. The literary meaning of Barua is the person who bears the unseen power in his body. When the deity appears through human beings, it is also called Kalisi. Since the Kalisi participates in this Yatra, it is perhaps known as Kalisi or Kalasi Yatra.
On previous night i.e. at night of Dasami Tithi (tenth day), the Barua with an empty “Kalasi” (earthen pot) first goes to the nearby river or pond (Pokhari), take bath and purifies himself. Then he fills up the Kalasi and proceeds to the nearby Siva temple to perform the ritual of Deul-Bari. When the Barua as Kalisi advances to Siva temple dancing on the way, this is called “Debta-Madi”. It means the Devta or deity is going. The non-Brahmin priest known as Deheri or Dehuri and others accompany the Barua with Chhatra and Bairakh.
The word “Deul-Bari” is derived from two words namely “Deul” and “Bari”. Deul refers to temple and Bari means Barana i.e. greetings. In other words, the meaning of this ritual is invitation to the temple. The Barua goes to the Siva temple and bathe the Siva Linga or pour water of the Kalasa over the Linga. It means that, Lord Siva takes bath. Next, he collects Paduka in that Kalasi and seeks the permission of Lord Siva to carry out the Kalasi Yatra. The Kalasi or Barua returns with the Paduka-filled Kalasi to the Kalasi-Kuthi and keeps it near the Asthana or seat of the deity. Here Kuthi refers to a chamber where the deity resides. This Kalasi is worshipped. In some places, Baruas go to the Siva temple for Devta-Bari ritual with a grand procession. Dhol, Nishan and Muhuri are played in the tune of Malashree Rag and Dalkhai Rag to make the Kalisi dance all through the way to Siva temple. Since the deity travels in human form, it is known as Yatra.
This Kalasa or Kalasi is understood to be the Garbhasaya (womb). In other words, Kalasa is the symbol of Garva and the Paduka of Lord Siva is considered as Reta. As per the folk faith and belief, village deity is regarded as Mata (mother) or the form of Sakti, whereas Siva Linga is considered as Pita (father) or Purusa i.e. the symbol of male. Due to the significance of Kalasa in this Yatra, it is perhaps known as Kalasi Yatra. It is also said that Suva Kalasa is the Manasi Kanya (dream daughter) of Goddess Parvati. The word Kalasi is supposed to be derived from the word Kalasa.
Next day evening i.e. in the evening of Ekadasi, the main Yatra begins. Dhunkeli is played in the Kalasi-Kuthi. Dhunkeli is a musical instrument made up of one empty earthen pot (Handi), covered with one Kula and bamboo made bow (Dhanu). It is played with the help of an iron rod. Dhunkeli is significant in the sense that, it is played to invite the deity. On this occasion, birth episode of the deity (mother goddess) is recited in a special tune. It is composed in Saptama Swara. In this way, different deities namely Bana-Durga, Hanumana, Durga, Bahuti and the like are invited through Abahana songs and these deities appear through Baruas. They come out to the streets and dance throughout the night in the tune of Dhol, Nishan, Muhuri, Timkidi and Luhuti.
There is a myth prevalent about the origin of Dhunkel music and Kalasi Yatra. Once, a king drove out a notorious (Kutila) Brahmin from his kingdom. The Brahmin left the kingdom for an unknown destination begging on his way. One evening, he arrived in a jungle area. He borrowed a Patli (small earthen pot), one bamboo made “Kula” and fire from a Kandha family. He cooked the rice. Thereafter, he went to sleep in the veranda of the house of the Kandha. But he could not sleep. So, he took the coal from the hearth and made figures of some deities like Bana-Durga, Durga, Bahuti, Hanumana, Maheswari etc. on the mud wall of the house of the Kandha. After that he kept the Kula over the Patli (small earthen pot) and then kept the Dhanu (bow) over it and started playing it with the help of a Chatu (stick like cooking utensil made up of iron) and started singing.
After sometimes, interestingly, the deities painted on the wall appeared before the Brahmin and blessed him. It was Kartika Sukla Dasami Tithi. It means, the next morning was Kartika Sukla Ekadasi Tithi. Brahmin returned to his kingdom and propagated the Mahima (glory) of the deities every where. Since then, people have been celebrating this Yatra on Kartika Sukla Dasami and Ekadasi Tithi in different villages of Phulbani, Boudh, Sonepur and Bolangir and other parts of West Odisha. In the evening of Kalasi Tithi, a number of Baruas or Kalasis come out from the Kalasi-Kuthi and dance to the tune of Sulah-Bharni music.
On the occasion of this Yatra, the Baruas or the Kalisis perform different activities to prove the existence and power of the deities. They jump into the river or pond and collect Baula (mango flowers), Amba-Kasi (unripe mango), Tala etc., which are generally not available in the winter season or in the month of Kartika. In some places, the Baruas or Kalisis walk on fire, sit on the thorns or iron nails, and rub his body with Bichhuati with Mandara flowers and Dahana. These activities are beyond the capacity and power of ordinary and normal human beings. In some places, they beat themselves with iron rod. Generally, they are decorated with Ghagdi, (Ghul-Ghula), Ghungura, Kajala, Sindura to make them more attractive and eye-catching. All these dramas are performed by the Baruas and Kalisis just to justify the power of different deities placed in the Kalasi-Kuthi and to create faith among the common people.
Next day i.e. on Ekadasi Tithi, this Yatra is accomplished. These Devtas or Kalisis travel on the village streets dancing from door to door of the village. People lit Jagara after ritual with flower, arua-chaul (sun-dried rice) and pour curd over the heads of these Baruas. From the activities of these Kalisis one can identifies a deity. For example, the Kalisi with Hanuman deity is found jumping here and there. Even this Kalisi climbs to the trees in the courtyard of different households. Small children enjoy this scene very much. Then they go to the pond or river, take bath there and return to the Kalasi-Kuthi. Dehuri or Jhankar make them pure throwing some water from the Kalasi over their bodies. Then they are supposed to be free from the influence of the deities. Though the significance of Lord Siva and his Paduka are realized in Kalasi Yatra, Lord Siva does not appear through the Barua or Kalisi.
Palsaguda, Junani, Charbhati, Gudvelipadar, Manamunda, Malik-kud, Sirmal, Tentelkhunti, Charichhak, villages near Puruna-Katak, Janhapank, Girasingha and villages near Baunsuni are some important places where Kalasi Yatra is still celebrated in a grand and impressive way. In fact, the meaning of Kalasi Yatra lies in Kalasa and Kalasi.
Dr. Chitrasen Pasayat lives at 152-Vijay Vihar, Nuagaon Road, Sishupalgarh, Bhubaneswar-751002, Odisha. E-mail: pasayatc@gmail.com
