The contribution of Kalahandi to the art and culture of Odisha is immense, and the most significant is the Ghumra dance. The dance has been instrumental in giving Kalahandi a special identity of its own. Though it is considered as the folk dance, characteristics of classical form prevail in every aspect of the dance—such as in the singer, dancer and in the beats of Nissan player. Researchers have also proved that classical dance forms, which are cited in Natyashatra, are found in this dance.

This is a group dance. It was performed by specific tribes such as Paika or Bankapaika, but now-a-days it is open to all. Nissan, Jhanj, Muhri, Mardal are some of the musical instruments accompanied with the dance.

Many researchers and historians have tried to unfold the history of this dance form. It is said that, it was the heroic dance of Lankagarh and was the war-musical instrument of Ravana. Another story depicts that while Devi Durga was fighting with Mahishasur, the followers of the goddess were playing many musical instruments – of which Ghumra was a part. Another story explains that master craftsman Chandradhwaja was the father of Ghumra and he kept it at Kuberpuri after creating it.

However, apart from the mythology, archaeological facts also suggest that the history of this dance is old. In the past, it was performed at many Shaktipitha of Dakshin Kosal. This dance was found in the excavation of Nehenar. Also, in 1005 A. D, while Lankeswari deity was brought to Jenabalipatna (modern Junagarh near Bhawanipatna), Ghumra was played to welcome the deity. The stone carving of Ghumra in the Bhimashwara temple, one of the oldest temples in Bhubaneswar, proves that the history of Ghumra is ancient.

Ghumra plays an important role at the time of different cultural and religious festivals in Kalahandi and Kosal region. It is customary to perform Ghumra in the festivals of different deities like Lankeswari, Manikeswari, Dakeswari, Dukuri Devi, Raktambari, Khmbeswari, Budharaja etc.

The popularity of this dance is not limited to Western Odisha region only; Ghumra dancers have displayed their skills and have taken the fame of the dance to many countries.

Banabadi is a traditional dance of Gour caste in Kalahandi district. It is performed with two players in a competitive manner and also played with a group of eight to ten. 32 sanghad or techniques are used in this dance form.

The sticks used by the dancers are made up of log of kendu (tendu) wood. First the upper crust of the stick is removed and polished then a kind of grass cord (laha /latta) is wind up in a crafty manner with a definite gap on the sticks. Then it is lightly burnt by the straw of rice and the cords unwind. The burnt part turns into black colour while the rest remains white, making a lovely design on the sticks. The sticks look as if tattooed with black and white. Tattoo is locally known as Bana so the dance is called Banabadi Dance. A dancer uses two such sticks while dancing.

Baensi, dhol, jhumka etc. are some instruments used by the dancers. The dancers make tattoo with rice pest (pithau) on their body.

This dance is seen after some days of Deepawali, during the festival of Kanha Bhairo, the presiding deity of Gour caste. Few lines which sung during this dance are:

“Kanha bhai lachmi ghena mo dayini
Jayama jadavakula maudamani
Jaye chandi samalai maa thakurani
Sankata tarini maa durgati nasini
Bipade aapade maago heu agrani
Jaya maa jadavakula maudamani”

This dance form resembles to a duel. The two dancers hold the sticks in their two hands and attack and defense themselves from their counterpart. And the song goes as follows:

“Dwapar jugare prabhu nandanandana
Gopa gopalanka sange mela hoina
Bajai range dhola tamaka bansuri
Shirare paga bandhi kendubadi dhari
Karuthile e tandaba dharma lekhani
Jaya maa jadavakula maudamani”

The history of the caste is related with the dance. There is startling citation of Banabadi in Haribansa Puran. Banabadi song provides information regarding the 16 types of Gour caste which is referred in Haribansa Puran:

“Bhojpuri, Goppuri, Shoal khandia
Magadha, Gokul, Lahoria, Jharia
Nanda, Dravida, Jachaka, Duta, Koria
Ahir, Abada, Asak, Kosalia
Ae shoal jadavakula maa patarani
Jaya maa jadavakula maudamani”

An instance of Banabadi is also cited in Birat Parba of Mahabharat. During the Agyantbasa period of Pandavas, Sahadev was the caretaker of the cattle of Virat king and while he was trying to dispose those cattle king Virat rescued with Banabadi. Apart from this, citations are also found in Chittabodha, Nrusingha Puran etc.
This dance form is found in almost all parts of Kalahandi, whereas the affluent areas are Koksara, Junagarh, Dharmagarh, Madanpur Rampur, Bhawanipatna and Jaipatna.

Karma is a group dance. Generally this dance is celebrated for three days from the tenth day of the bright moon of the month of Bhadra to twelevth day. A small branch of Rengal or Halan tree is used as the Karma dal. Karma dal is brought to the puja pandal or karma gudi performing a special puja by the dehri accompanied with the beats of karma mandal and kubja. Then the karma daal is customarily planted and then follow the worship of karamsani and rituals. Karam or Karma literally means ‘fate’.

This pastoral dance is performed during the worship of the God or Goddess of fate (Karam Devta or Karamsani Devi), whom the people consider the cause of good and bad fortune. People with badiyan (personal wishes) came to urge their problems to karamsani and on behalf of karamsani, the dehri suggests them the solution at times. The dehri is believed as karamsani – the deity who bestows children and good crops-in person on that day.

The puja rituals are followed by the stories of karamsani. There are many stories of karamsani like the Dharam Karam brothers, Wealthy Saudagar, The Old Sadhab etc. And the completion of the story is followed by the dance.

The Karama dance continues till dawn. Group after group perform alternately throughout the night. The technique of the dance varies slightly from tribe to tribe. Tribes such as Kharias, Kisans and Oraons dance in a circular pattern, where men and women dance together. It is always headed by a leader and generally a male person leads the line. Only the best of dancers join next to or near him. Young girls and children join in at the tail-end to learn the steps.

When the dance becomes more vigorous, the dancers of the tail-end withdraw to let the true dancers show their skill. The dancers hold hands in different ways in different dances. Sometimes they simply hold hands and sometimes hands are placed on the neighbor’s waist band or are crossed.

It is the legs and the feets which play the principal role in the dance. The dance begins lightly with simple steps – forward and backward, left and right – then gradually the steps grow smaller and faster, enthusiasm accelerates until the dance reaches its height. Then it again returns the first steps as the music leads to give the dancers some rest. The dancers have no special costume for the occasion. They dance with their usual attires which they wear in their life.

In the morning the dehri carries the karma daal and visits each house of the village singing and dancing. Further the karma daal is ceremonially immersed in the village pond or river.

This dance is popular among tribes such as Binjhal, Kharia, Kisan and Kol.

Seven young artists from Odisha have been awarded with Bismilla Khan National Youth Award for the year 2013-14 by Kendra Sangit Natak Academy. Rabi Ratan Sahu 35 from Bargarh district, Gaisilat block Buromunda village is one among them. Rabi Ratan has been awarded for his contribution to Sambalpuri folk dance but we investigated about the Folk Academy at Buromunda for which he has received the award but our team could not find any Sambalpuri Folk Academy at Buromunda.

Further investigation revealed that after he was unsuccessful in his +2 examination he did DMLT course and started working at pathology. Later on moved to Bhubaneswar and came in contact with Prabhas Singh present Bargarh MP who was working as the state museum as curator. Rabi started working as a cultural broker for cultural troupe and people of western Odisha.

He was actively involved in the election propagation campaign of Prabhs Singh in 2014 which is proved from the photo posted. Now this photo speaks volume about how Rabi has been appeased with National Youth Award by Bargarh MP Prabhas Singh after acquiring power. Sri Singh has misused his power and position and helped his worker to get the award. And this is how many true artists from the region have been denied recognition and benefits.