In India the months and years are counted on the basis of lunar or solar movements. According to the solar system the month is counted from Sankranti to Sankranti and in lunar system it is counted from Purnima (Full-moon) to Purnima. Visuva Sankranti is the first day of the month of Baisakh as well as the solar year. This is also called Mahavisuva Sankranti or Jala Visuva Sankranti, in northern India it is called Ala Sankranti, in southern India Sakkar Pongal and in Orissa it is known as Pana Sankranti, named after Pana, the main drink offering specially prepared on this occasion.

        There are specific reasons as to why the Visuva Sankranti is considered as the first day of the solar year. It is only on two occasions i.e. Mesha Sankranti and Tula Sankranti that the Sun fully rests on the equator and on these two dates the length of days and nights remain equal. After Mesha Sankranti the Sun moves in the northern direction to our side as our country is situated to the north of the equator. It is, therefore, from this day of first movement of the Sun from Mesha Sankranti that the new year is counted. All over the country this day is considered auspicious and is celebrated with social, cultural and religious performances.

        In Bhabisya Purana, this festival has been mentioned as Jala Sankranti. According to tradition when Bhisma, the grand-father of Kurus and the Pandavas lay on the bed of arrows (Shara Sajya) he felt thirsty and there was no water nearby in the ravaged battle-field of Kurukshetra. Then Arjuna with his powerful bow thrusted an arrow deep into the ground and water immediately shooted out in a stream to quench the thirst of the dying warrior. Out of contentment and compassion Bhisma conferred to Judhisthira, "Those people who would offer cold water to thirsty people on this day would not only be free from all sins, but also the departed souls of their ancestors as well as the Gods in heaven would be pleased." This saying of the holy scripture is observed with great reverence and people all over the country offer sweet-water to thirsty people as a religious rite.

        In Orissa, this festival is observed with great sanctity in various forms. On this day Chhatu (grinded corn powder), Pana (sweet water), umbrellas fans (made out of palm-leaves or bamboo-strips) and Paduka (wooden slippers) are offered to Brahmins and the poor people. All these are the remedies for the  scorching Sun. Water as the vital source of life becomes more sumbolical in another ritual of the  festival. Above the Tulasi plant which is a must in every Hindu household of Orissa, a shed is prepared with water is suspended with a rope  hanger. Beneath it a small piece of straw is fixed to a hole in the pitcher through which water is drained drop by drop on the Tulasi plant. This   is called 'Basudhara' (the stream of the earth). Here, Tulasi plant symbolises the human life and it is to be saved from the scorching sun by resting in  the shed and taking enough water.

        This festival is observed widely in some form or other, in the coastal areas and in some towns and villages of other areas a rigorous ritualistic observance is observed. Deeply connected with the mass religious culture of Orissa, a number of other festivals otherwise known as Jhamu Yatra, Hingula Yatra or Patua Yatra, Danda Yatra, Uda Yatra etc. which originated as ritualistic observances of Chaitra Parva culminate in the Visuva Sankranti and make a grand finale of the whole celebration.

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Hingula Yatra or Patua Yatra

        Most of the festivals prevalent among the low-caste Hindus are either associated with the worship of Shakti or Shiva. It is believed to have grown out of the mass religious culture of the people under the spell of Tantrism in the remote past. One such festival is Hingula Yatra or Patua Yatra. There is a popular belief among the local people that on this day of Visuva Samkranti Goddess Hingula appears and propitiation to Her removes all evil forces. She is worshipped in the village street on Her imaginary stride to the village. Offering to Her includes spitted new cloth, Pana (sweet-water), butter lamp and green mangoes.

        In remote villages this festival is observed with much austerity. Those who observe fasting, especially women are called 'Osati' Prior to the day of worship the fasting worshippers (mostly men) move from village to village with the sacred pitcher symbolising the Goddess. Their religious procession is always accompanied by singing and dancing. These worshippers are called Patua. The man who dances with the holy-pitcher on his head wears a black skrit, a red blouse and a long piece of black cloth tightly covering the head and having equal length on both sides to flow. While dancing, the Patua holds the ends of the cloth and moves them artistically with streched arms in perfect harmony to the rhythmic pattern. Sometimes he dances on the stilts and performs diffucult Yogasanas balancing on the head, the staff that holds the holy-pitcher (Ghata). A big brass bell played with a cane-stick provides various peculiar rhythms. Sometimes country drums are also played.

        The head of the patuas is called Bada-Patua or Katha Patua. All the Patuas observe fasting on this day. In the afternoon they assemble near a tank or river where all the rituals take place. The priest performing the rites is always a non-brahmin known as 'Jadua' or 'Dehuri'. During the rituals men, women and children of the villages congregate. The surrounding reverbarates with auspicious 'Hulahuli' (a shrill sound made by wagging the tongue inside the mouth) and 'Hari Bol' cheers of men. Then, sharp iron hooks are pierced through the skins on the back of the Patuas. During this ceremony the morale of the Patuas are boosted through holy cheers of the onlookers and they themselves loudly continue singing in praise of Hingula or Mangala.                            

    In some areas Jhamu Yatra is organised. Persons observing Brata or vow in honour of the deity walk on thorns and on the bed of live charcoal amidst  holy cheers and loud drumming. Those who walk on fire are known as  Nian Patua(Nian for fire) and those on thorns are called Kanta Patua (Kanta for thorn). Some worshippers stand on edged swords and are carried on open palanquins. They are called Khanda Patua (Khanda for sword). Some of them show some feats in deep water. They are called Pani Patua (Pani for water). Especially all these festivals are celebrated near a Shiva or Shakti Shrine. Therefore, scholars are of opinion that these rituals of inflicting injury to their persons by the devotees are related to the Tantra culture. By doing these they try to draw the kind attention of the God or Goddess whom they seek to propitiate.

Uda parab :-

        In some areas, especially in Mayurbhanj and Keonjhar districts of Orissa a flying festival   popularly known as Uda Parab' is observed. The participating devotees of this festival are called Bhokta or Bhakta. As in similar other festivals, almost all the devotees belong to the  low-caste Hindus.

        In a village field a long staff is fixed horizontally on a perpendicular pole. The Bhoktas, after having ceremonial bath and following other rituals in a nearby river, move dancing in a procession to this place accompanied by a cheering crowd and loud beating of drums. There a huge congregation enthusiastically awaits their arrival. Then, one by one, they tied to the horizontal staff with a long cloth at the shoulders. Ankle-bells are fitted on their feet. Some devotees are not tied. They simply hold the staff in one hand and  move hanging. With the help of a rope fixed to the perpendicular staff they are moved round and round by a person below. Profusely garlanded, the Bhokta flying at a height throws, flowers from his garlands and green mangoes to the onlooking audience below, who collect them with great enthusiasm as precious possession. After this ceremony the Bhoktas go to the nearby temple and offer offering prayers to Shiva, Hingula, Mangala, retire.

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Baseli Puja or Chaiti Ghoda

         In the month of Chaitra there is an exclusive festival for the bonafide fishermen community of Orissa who are popularly known as Keuta (Kaivarta). This festival is held for a full month beginning from Chaitra Purnami (Full-moon of Chaitra in March) and ending with Baisakh Purnami (Full moon in April). During this festival Baseli, the horse-headed deity of the community is propitiated. She is  considered to be the tutelar deity of the  community. She may be considered as a form of Mother Goddess who was earlier formless. Latter she took various forms according to the conception and needs of the various communtiteis living all over the country.

    By 5th-6th century A.D., the worship of Shakti had gained tremendous prominence in Orissa. One of the four celebrated Peethas (Centres) of Buddhist Tantricism in India was located in Orissa. The Peethas had not only the support of a number of Sadhakas to go ahead with their spiritual pursuits but also gave an impetus to the people in  general to appreciate the Tantric practices. Rigorous religious practices involved in the Tantric way of worship became wide-spread.

        It is believed that this festival organised during. 10-11th centuries when Hindu Tantra and Buddha Tantra merged into one. Baseli is one of the various deities of Tantra culture which evolved during this period. The horse headed deity is seated on an earthen platform. She wears a blood-red cloth in her full feminine form. In temples and places of worship She is propitiated on each Saturdays  and Tuesdays through out the year. During the festival period where there are no such images; only the horse head made out of wood is worshipped. Peculiarly the worshipping takes place in a particular place of the house and that is Dhinkisala (the place where paddy is husked). It is because, the subsidiary profession of the community is to prepare and sell flattened rice. (chuda).

            Worship of  Baseli or Basuli and  the Dummy-horse dance inexplicably connected with its rituals and celebrations is the most important festival of the fishermen who observe it with great devotaion and austerity. The details  for the worship have been enunciated in 'Kalibarta  Gupta Geeta' by Achyutananda Das, a mystic Oriya poet of 15th century A.D. Various legends prevail about the birth of the community and their tutelar deity and this particular text records one. According to this Geeta, when the world was in a deluge Vishnu Bhagwan could not find a place to rest. So, He by his spiritual power reduced his form and rested on a floating Banyan leaf. As it was all the while dwindling on the stormy waves of the ocean. He created a man out of the  dirt of His ear-zone and asked him to hold the leaf still with the help of a row (kandiara). But, soon he fell into deep slumber. In the meantime a huge demoniac fish Raghab swallowed the man. Again the leaf began dwindling and God's sleep was disturbed. To his utter surprise he found the man missing. By intuition. He could know everything and at once killed the Raghaba and got the man out. Then God transformed the banyan leaf in to a horse. He summoned Biswakarma and asked him to build a boat immediately. Then he said to the man'  'Hence-forward you and your community will be known as Kalibarta and you would be the king among them. Go to the country of Simhala and rule there happily. Make this horse your carrier and use this boat for trading. As you were swallowed and almost got killed by a fish, generation by generation you would kill the species and live on them." Baseli, became the name of the horse and God asked the man to worship him as his tutelar deity on the full-moon day of Chaitra. Since then the tradition is followed.

            The Dasa king sailed to Simhala with the horse by boat. There he ruled for many year's. The horse died at the age of one lakh years and out of his carcass came out a damsel as beautiful as Lakshmi. She approached the king and lamented that no longer the name of Baseli would be associated with her. Taken by surprise the king was terrified. He then prayed Vishnu for his counsel. The God again directed, "This woman will be known hence-forwarded as Aswini Baseli whom you would propitiate for generations. Then only you can attain Baikuntha" Since then the woman became Goddess Baseli with a horse-head and continued to be  venerated by the fishing community.

            Another legend is associated with the worship of the horse-head and the horse-headed deity. It is said that after the death of Baseli, the sacred horse. God distributed his limbs among fishermen, confectioners (Gudia), oil-merchants (Teli) and cobblers (Mochi). They continued to worship the limbs. Some time after an idea struck to them. All of them agreed to assemble the limbs and have the full form of the deity (horse) and worship him commonly. This was done. At one time the Kaibartas and the Gudias vied with each other. A communal riot ensued. Gudias being rich and powerful locked the deity in a house and deprived the Kaibartas from worship. The helpless Kaibartas simply prayed the deity with utmost devotion for his return. Moved by the prayers of the Kaibartas he crushed the wall with the force of his hoofs and escaped to their camp. Being enraged the Gudias chopped of his head and even then, the head lived to accept worship and offerings from the Kaibartas. It is, therefore, the Kaibartas who worship the horse-head separately.

            Inexplicably connected with the festival is dummy-horse dance of the community. On the auspicious day of Chaitra Purnami, the Kaibartas worship a Bamboo with vermillion, sandle-paste, butter-lamp etc. Then the bamboo is split ceremonially into pieces out of  which only twelve are taken out for preparation of the frame of the dummy-horse. The frame is dyed red with red clay and then covered with a Pata (indigenous silk cloth).  Then a painted horse-head made out of wood is fixed to the frame. A garland of Mandara (Hibiscus) flowers is placed on the neck during worship. This particular garland is always intended for mother goddess. Thus the dummy-horse is worshipped till the eighth day of the dark fort-night after which it is taken out for dance. A man enters the cavity and hangs the frame on the shoulders and then dances to the rhythm of Dhol (country drum) Mahuri is the only wind-instrument played during the dance. Songs are sung intermittently in votive dedication to the deity. Sometimes the dancer gets possessed and falls in to trance. Then somebody else replaces him. Two other characters Chadhua-Chadhuani or Rauta-Rautani also sing and dance. The male character dances with a long staff in his hand symbolising the profession of fishermen's rowing of boats. The female character is played by a man. Both of them sing songs of love and daily household cares. Then a song combat ensues which lasts for the whole night.  During this portion of the dance the dummy horse is ceremonially placed in the centre and the  performance is held in front of it, peop's sitting all around.

            There are regular amateur as well as professional groups for this dance. They perform on payment. Sometimes they move dancing from door to door and collect money. There are five to seven persons in all in a group including dancers and musicians. They continue to dance till Baisakh Purnami when they make a grand finale and then part for the next season.

            Now a-days the votive dancers are not confined only to the Kaibarta community. Since the dummy-horse dance is attached to many Shakti shrines of Orissa also, people of other communities have also taken interest to join the votive dancers.

            The dummy-horse dance is mainly prevalent in the coastal districts of Cuttack and Puri. In Puri the dummy-horse are profusely decorated with flowers and the 'Tahia' (Archaic head-gear of flowers) presents a magnificent show during dance. When the festival ends the horse-head is taken out ceremonially from the frame and is preserved in a temple. Next year during the festival it is again brought out and repainted for worship and use during the dance.

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Akshyaya Trutiya

        This is exclusively an agricultural festival held on the third day of the Hindu year. On this day the farmer ceremonially starts sowing seeds in the field, especially paddy. Early in the morning, farmers in their respective homes arrange the materials for the ritual. After taking ablution in a river or tank they wear new cloths and carry the seeds in new baskets. In the field offerings are made to Lakshmi, the Goddess of wealth which the farmers do it themselves. Then they sow seeds ceremonially praying the Goddess for a rich bumper crop. In western Orissa this festival is called 'Muthi Chhuan'. Eating of green-leaves (Shag) is forbidden for the day. It is observed by all farmers irrespective of caste and creed.

        The famous Chandan Yatra of Lord Jagannath which is observed in various other shrines of Orissa starts from this day. Moreover, from this auspicious day the carpenters start building the cars (Ratha) of Lord Jagannath, Balavadra and Subhadra.

         On this day women also worship 'Sasthi Debi' popularly called 'Sathi Duchhei'. The Goddess is said to be the guardian of children. She has also the power to bestow the women with children. Therefore, she is propitiated with great devotion.

          Religious scriptures testify that Ganga, the sacred river of India landed on the Earth on this day from Heaven. She is the   perennial source of water which is the need for agriculture. Therefore, this auspicious day was chosen to start sowing seeds.

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Chandan Yatra

            Chandan Yatra marks the conclusion of the cycle of religious festivals observed in the famous shrine of Lord Jagannath at Puri followed by similar other shrines of Orissa. The festival, starting from Akshya Trutiya, lasts for twenty one days and is held in the month of Baisakh at the height of the summer heat when Chandan (sandle-paste) and water are essential to keep people cool. As the Hindu deities are modelleed on the behaviour of human beings, they are also given the same treatment. During this festival tehy are taken out of the temples in procession for perambulation in water on floats or boats. The richly decorated boats are called 'Chapa'. 'Chapa' is the Oriya equivalent of  'float' marks the conclusion of the prime annual festival and it is celebrated with much pomp and eclat. The belief probably is that deity having concluded his ceremonial per ambulation with all attendant paraphernalia on land, must have his aquatic sojourn before. He returns to the sanctum of the temple to come out only for the next festival.

            This festival is most elaborate in Puri and attracts thousands of piligrims from far and near. On all the twenty one days the entire road from the shrine of Lord Jagannath leading up to the Narendra Sarobar (a sacred tank in Puri  town) along with the  housees on both sides is decorated. At some places, especially in front of Maths or at cross-roads big toranas (arches) are erected where the idols take casual rest and receive offerings. The representative images of the deities installed in temples such as Madanmohan (representing Lord Jagannath), Laxmi and Saraswati are taken in a richly decorated palanquin by the sevakas accompanied by priests, musicians and dancers to the Narendra Sarobar at night. The tank is profusely lighted with thousands of spectators milling and jostling all around in expectation of the arrival of the procession. The principal deities are also followed by different deities shrines of the town. After reaching the Narendra Sarobar, the images are taken placed on different well decorated boats and they are rowed for a long time by the Sevakas. During the rowing ceremony Devadasis (temple-dancers) dance and sing on the boat.

             Generally, the colours chosen for the boats are red and white and they are so designed to look like huge swans floating on water. The peculiarity of the ceremony is that Madanmohan with Laxmi and Saraswati rides on the white coloured raft where-as Ramakrishna with pancha Shivas rides the red one. All the deities on the boat take  several rounds in the water which continue till early hours of the morning and then retire to the respective shrines. The last day of the festival is called Bhaunri (Bhramari or circle) when special elaborate arrangements are made.

            Most of the important festivals of Lord Jagannath at Puri are also followed in all other important shrines of Orissa. Following tradition of the Puri the images are taken out in procession on planquins to the nearby tanks and perambulated in water on boats. In all such temples it is observed  only for the last three days. After the ceremony which usually takes place at mid-night, people enjoy performance of dance, drama and music specially arranged for this occasion.

            At Bhubaneswar the Chandan festival of Lord Lingaraj is observed in Bindu Sarobar, a huge tank near the temple. Here, the float is moved to the Mandapa in the middle of the tank. The mandap is an inlet-like structure which is more an elevated platform.

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Sital Shasthi

            This particular festival strictly prevalent among the Brahmins of Orissa is generally observed in Brahmin villages, popularly known as Sasans or in towns where Brahmins are more in number.

            It is believed that Shiva or Hara became furious after Jagara Amavasya and He was cooled down only by marriage with Parvati. So, this marriage festival of Shiva and Parvati is called Sital (cool) Shasthi and is held on the sixth day of the bright fortnight of the month of Jyestha.

            Since the days of yore Orissa has been a seat of Shaivism. Only Bhubaneswar has about five hundred Shiva temples dating back from 6th-7th century A.D. . In the early temples of Bharateswar and Parsurameswar there are elaborate scenes of Shiva's marriage with Parvati. It is, therefore, believed that this festival of Shiva's marriage is very ancient and is being carried down through centuries past.

            In most Brahmin villages of Orissa there are temples of Shiva, Parvati and Vishnu. During this festival the elderly Brahmins of the village act as the parents of the bride (Parvati) and the bride-groom (Shiva) and all formalities of a Brahmin marriage are observed. In analogy with the society-marriages where somebody acts as a mediator, here Vishnu the God himself takes the role. At first a proposal (written on palm-leaf) is sent from the bride's side to the bride-groom's father through Sevak who also carries Mahaprasad (Food offering of Lord Jagannath), coconut, betelnut, and a piece of new cloth as prevalent in marriage customs. With him goes a procession of torch-bearers, drummers and pipers. Thereafter on the fifth day (Panchami) at past mid-night Parvati goes to the temple of Shiva in a procession where the marriage takes place with all vedic formalities. After the marriage is over a feast is arranged in which the Sevayats from both the sides participate.

              The real festival takes place next day in the night when the marriage procession is taken out with pomp and grandeur. The images of Parvati and Vishnu are carried in a richly decorated palanquin (vimana) heading the procession. Shiva, seated on a bull follows them on a bullock cart. At cross-roads and important places the procession halts and there is lavish display of fire-works, dancing, drumming and various other kinds of merry-making.

               Though this festival is held in the temples of Loknath at Puri, Lingaraj at Bhubaneswar and in most of the important Brahmin villages, it is observed in a grand scale at Sambalpur where two groups of Brahmins exhibit rare enthusiasm to organise it with keen competitive spirit. During the procession lavishly decorated tableus are brought out. Traditional and local dance and music parties are engaged to move with the procession. Varieties of fire works are displayed. Each group tries its utmost to excel the other in every respect. The procession terminates at the respective temples and the festival ends.

               On this day the town of Sambalpur wears a festive look. Thousands of people congregate from different parts of the district to witness the deities in procession. In the Puranas it has been said that one is expiated of all sins if he sees the Gods in procession. Therefore, there is a natural attraction for the common villagers to see the mounted deities in procession.

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Savitri Brata

                The Amavasya (last day of the dark fort-night) in the month of Jyestha is known as Savitri Amavasya or Savitri Brata. This day is most auspicious for the married Hindu women with husbands alive. They observe it as a vow with great devotion and pray for the long life of their husbands.

                The Brata has been named after Savitri in Mahabharata and other puranas the romantic episode of Savitri-Satyaban has been elaborately narrated with ideological veneration. Savitri was the beautiful daughter of king Aswapati  of Madra Desa. She was unparallel both in virtue and beauty. As a suitable groom couldn't be found out, her father gave her complete freedom to choose her own partner in life. With a band of veteran ministers she travelled many countries and religious centres in search of a suitable partner, but couldn't find one of her choice. While returning desperately a handsome young man  caught her eyes. He was engaged in cutting wood in a jungle. The young man was no other than Satyaban, a prince in exile who was living in the forest with his blind father Dyumatsen. Savitri selected him as her determination and ultimately married him. She left the palace and lived with her husband and the in-laws in the forest. As a devoted wife and daughter in-law she took all paints to take care of them.

                Gradually the ordained time for the death of Satyaban drew near. One day while cutting wood in the jungle his head reeled and he got down from the tree and then expired on the lap of his beloved wife Savitri. Then appeared Yamraj, the death God to take away the soul, of Satyaban from his body. Savitri, deeply hurt pleaded to Yamraj not to be separated from her husband if at all he would take away the soul of her husband she would also follow Yamraj was taken aback at such a request and explained that it was impossible. Instead he wanted to grant three boons. Savitri cleverly asked for three boon and Yamraj, in haste, conceded to it. Savitri could regain the kingdom of her father in-law by his first boon; get back the eyes of her in-laws by the second boon. The third boon was that she would be the mother of hundred sons and without a husband it was an impossiblity. As a Sati, she can't take another husband Yamraj, being out witled and moved by the devotion of Savitri returned the life of her husband. Satyaban came to life again and both of them lived happily thereafter.

                In deep regards to Savitri all Hindu women observe this festival worshipping and propitiating her as a Devi. The morale of the festival is to teach the women to be virtous devotional and painstaking like Savitri to make worldly life happy and peaceful.

                In the early morning the women take purificatory bath and wear-new cloths, new bangles and apply vermillion on the fore-head and the hair-parting line. Images of Savitri are never made. The grinding stone (sila-pua) is represented as Savitri and worshipped. Wet pulses and rice, mango, jacket fruit, lemon    , banana and several other fruits are offered as Bhoga (offering). After observing fasting for the whole day they simply take the Bhoga. In the afternoon when all formalities of worship are over they bow low to their respective husbands and elderly people.

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Devasnana Purnima or Snana Yatra

                This is exclusively a festival of Lord Jagannath and is said to be one of the  oldest. According to Skanda Purana when Raja Indradyumna installed the wooden deities he arranged this bathing ceremony. This day is considered to be the birth-day of Lord Jagannath. Held in the full-moon day of the month of Jyestha this festival is also simultaneously held in all other important shrines of Orissa. However the festival being most elaborate and important at Puri, it attracts thousands of visitors and piligrims from all over the country.

                'Niladri Mohadaya', a religious text written in Orissa records the rituals of the festival. Sriharsa in his 'naisadhiya Charita' also refers to this festival of Purusottama. This bathing ceremony has a speciality. As this festival does not find mention in the early religious texts, it is believed to be a tribal ceremony which later crept into the Hindu rites. Jagannath in its early from was being worshipped as Nilamadhaba by a Savara chief called Viswabasu. Till now it is the Daitas and Savaras (tribals) who have the exclusive right to conduct the festival. The tribals called Saoras (of southern Orissa) still perform a rite to bath their deities ceremonially on the last day of the month of Jyestha. For this they collect water from remote Jungles where it remains untouched even by the shadow of the animals. Most probably when Jagannath was a Savara God, this festival of the Savaras who tended him was accepted by the Hindus.

                On the previous day of Snana Yatra the images of Jagannath, Balabhadra and Subhadra along with the image if Sudarshana are ceremonially brought out from the sanctum in a procession to the Snana-vedi (Bathing pandal). This special pandal in the temple precinct of Puri is called Snana Mandap. It is at such a height that visitors standing outside the temple also gate a glimpage of the deities. After MangalaAlati, the Suaras and Mahasuaras go in a ceremonial procession to fetch, water from Suna Kua (Golden well) in one hundred and thirty, vessels of copper. All of them cover their mouths with a piece of cloth. Then all the vessels filled with water are preserved in the Bhoga Mandap. The Palla pandas (a class of Brahmin priests) then purify the water with Haridra, Jaba, Benachera, Chandan, Aguru, flowers, perfumes and medicinal herbs.

                On the fourteenth day (Chaturdashi) when the idols are taken out in procession, the whole process is called Pahandi or Pahandi vijay. Scholars have given different interpretations of the term ('Pahandi') Some opine that it has been derived from the term 'Praspanda' meaning movement. Some others are inclined to interpret it as a derivation from Pandya vijaya. For the festival the Snana Vedi is well decorated with traditional paintings of trees and gardens. Flags and toranas (arches) are also put up. The images are profusely decorated with flowers. All kinds of perfumes such as Dhupa, Aguru etc. are then offered. As the 'Pahandi' of the  deities takes place to the  accompaniment of music and    beating of various indigenous drums. Thousands of devotees jostle and crave for a look at the  deities in procession.

                The bathing festival takes place during the morning hours of the Purnima. The filled vessels are carried from Bhoga  Mandap to the Snana Vedi by the Suaras in a long single-line procession. This ritual is called 'Jaladhibasa' prior to the bathing ceremony the images are covered with silken cloths and then smeared with red powder. Then water is poured, the rituals performed and 'Pavamana' hymns chanted. After the bath the deities are so dressed that together they appear like the image of Ganesha. This is called Ganeshabesa. It is said that a staunch devotee of Lord Ganesha and himself  a profound scholar visited Puri during Snana Yatra. He was amply rewarded by the king of Orissa for his scholarship. The king asked the scholar to accompany him to see Lord Jagannath which he refused under the pretext that he wouldn't worship any God other than Ganesh. Somehow he  was persuaded and brought before the Snana vedi. To the   utter surprise of all. Lord Jagannath appeared as Ganesha. Since then during Snana Yatra when the sacred bath is performed. The deities are dressed like Ganesha. Various other legends are also told and reason assigned explaining the Ganesha besa.

                During the sacred bath the colours painted on the images generally fade. Seeing the wooden deities in discolour devotees may not have the appropriate devotional attitude and in fact may feel sinful repugnance. For this reason, the images are immediately dressed as Ganesha in which they remain mostly covered.

                After the Snana Yatra, the images are kept away from public view for fifteen days and during all these days the daily rites of the temple remain suspended. The images are kept on the Ratna vedi inside the temple. This period is called 'Anabasara' meaning improper time for worship. It has been said earlier that the images are discoloured as a result of the sacred bath. During these fifteen days the Daitas (descendants of Viswavasu, the Savara) repaint the images is divided into seven short periods, each of two days duration, and a short period of one day set apart to give finishing touches. Thus the period covers the whole fortnight. On the 16th day the images in their new forms after renovation become ready for the public view. The festival of the first appearance of the lord Jagannath to his devotees is called Netrotsaba of Nava Yaubana (new youth). According to popular belief the devotee washes away all his sins if he gets a vision of the Lord on this day. On this occasion, therefore, great rush of people occurs in the temple.

                   The Shilpa Sastra and Agamas testify that the images become suitable for worship only after the performance of the rite of 'Chakshyu Unmilana' (Opening of the eyes). During 'Anabasara', the Daitas offer to the deities only fruits and water mixed with cheese. According to them during this time the deities don't keep well and therefore, take rest. Like human beings they are considered to have fallen ill and are treated by the Raj Vaidya or the king's physician with specific medicines.

                    The temple-festivals which are held in a bigger and elaborate scale in the important shrines of Puri and Bhubaneswar are also held simultaneously in all other small shrines of the respective deities, through in modest scales. Likewise the Snana Yatra is held in many other temples of Orissa.

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Raja Sankranti (Swinge festival)

                        Raja Sankranti or Mithuna Sankranti is the first day of the month of Asara (June-July) from which the season of rains starts. It inaugurates and welcomes the agricultural year all over Orissa which marks, through biological symbolism, the moistening of the summer parched soil with the first showers of the monsoon, thus making it readdy for productivity. To celebrate the advent of monsoon, the joyous festival is arranged for three days by the  villagers. Though celebrated all over the state it is  more enthusiastically observed in the districts of Cuttack, Puri and Balasore. The first day is called Pahili Raja (Prior Raja), second is Raja (Proper Raja) and third is Basi Raja (Past Raja).

                    According to popular belief as women menstruate, which is a sing of fertility, so also Mother Earth menstruates. So all three days of the festival are considered to be the menstruating period of Mother Earth. During the festival all agricultural operations remain suspended. As in Hindu homes menstruating women remain secluded because of impurity and do not even touch anything and are given full rest, so also the Mother Earth is given full rest for three days for which all agricultural operations are stopped. Significantly, it is a festival of the unmarried girls, the potential mothers. They all observe the restrictions prescribed for a menstruating woman. The very first day, they rise before dawn, do their coiffeur, annoint their bodies with turmeric paste and oil and then take the purificatory bath in a river or tank. Peculiarly, bathing for the rest two days   is prohibited. They don't walk bare-foot do not scratch the earth, do not grind, do not tear anything apart, do not cut and do not cook. During all the three consecutive days they are seen in the best of dresses and decorations, eating cakes and rich food at the houses of friends and relatives, spending long cheery hours, moving up and down on improvised swings, rending the village sky with their merry impromptu songs. The swings are of   different varieties so such as Ram Doli, Charki Doli, Pata Doli, Dandi Doli etc. Songs specially meant for the festival speak of love, affection, respect, social behaviour and everything of social order that comes to the minds of the singers. Through anonymous and composed extempore, much of these songs, through seer beauty of diction and sentiment, have earned permanence and have gone to make the very substratum of Orissa's folk-poetry.

                    "While girls thus scatter beauty, grace and music all around, moving up and down on the swings during the festival, young men give themselves to strenuous games and good food, on the eve of the onset of the monsoons which will not give them even a moments respite for practically four months making them one with mud, slush and relentless showers, their spirits keep high with only the hopes of a good harvest." As all agricultural activities remain suspended and a joyous atmosphere pervades, the young men of the    village keep themselves busy in various types of country games, the most favourite being kabadi. Competitions are also held between different groups of villages. All nights 'Yatra' performances or 'Gotipua' dances are arranged in prosperous villages where they can afford the professional groups. Plays and other kinds of entertainment are also arranged by enthusiastic amateurs.

                     The special variety of cake prepared out of recipes like rice-powder, molasses, coconut, camphor, ghee etc. goes in the name of Poda Pitha (burnt cake). The size of the cake varies according to the number of family members.  Cakes are also exchanged among relatives and friends. Young girls do not take rice during the three-days festival and sustain only with this type of cake, fried-rice (mudi) and vegetable curry.

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Ratha Yatra

                    Ratha Yatra or the Car festival of Lord Jagannath at Puri is best known in the world as the biggest festival of its kind. It is observed on the Asadha Shukla Dwitya i.e. on the second day of the bright fortnight of the month of Asadha (June-July). This annual festival at the first break of monsoon is the most ancient, most elaborate, biggest and the costliest festival of Lord Jagannath, who is believed to be the richest deity of the world. Millions of Hindus flock to the holy city of Puri to see the Gods in procession which is beliurd to expiate them from all sins.

                    The celebration of Ratha Yatra during the rainy season is significant. Scholars opine that the term 'Varsha' (Year) has been literally derived from the term 'Varsa' (rain) and this prolific rainy season leads and represents all the seasons of the year. Rain appears to be the harbinger of hilarity and vitality to the human race and therefore, rainy season has been selected as the appropriate occasion for celebration of the festival.

                    In 'Satapatha Brahmana', the rainy season has been highly admired. In the said text an interesting legend has been narrated regarding the origin of Ratha. The Ratha of the car of the god was in heaven since ages past. It was never to be noticed on earth. Once there was a terrific battle between Indra, the  king of the God and the demon Brutrasura. Seated on the chariot, when Indra violently flung the weapon of lightening (vajra) right to the chest of the demon, it broke to four pieces and the third piece was metamorphosed into a chariot (Ratha). Indra is also taken to be the God of rains and thunder. As the car is supposed to have been created out of his weapon, the car-festival at the beginning of the rainy season is mythically significant. Keeping aside the mythical account, historians and scholars propound various theories about how and when it came about, though the origin of this festival is still shrounded in mystry.

                    Ratha Yatra is also locally known as 'Gundicha Yatra'. Gundicha was the mythical queen of Indradyumna who founded the great shrine and installed the deities. It is said that the images of Lord Jagannath, Balabhadra and Subhadra were first built by Biswakarma, the master-crafts man of the heaven who appeared as an old carpenter. The images were carved out of logs in a smaller shrine now known as Gundicha temple. They were then ceremonially brought in a procession and ceremonially installed in the main shrine. Since those days, the images make an annual sojourn to the Gundicha temple where they were originally given form and the car-festival is said to be that ancient.

                    Some scholars are of opinion that the Ratha Yatra originated as a festival of Buddhists which was later adopted by  the Hindus. They claim that the present temple of Lord Jagannath stands on the site of Buddhist temple and contains the celebrated tooth of Buddha, which was kept there till the 4th century A.D.. The Buddhists By their mass religious culture almost swayed back the cult of Brahmans into oblivion. They used to hold a car-festival, once in every five years to propagate their religion. A huge image of Buddha, built out of log and in whose naval zone the tooth relic was placed, used to be taken out in procession on a Rather or car. When Brahmans was re-established through the ardent efforts  of Sankaracharya, the Hindus accepted Buddha as an incarnation of Vishnu and the car-festival of the Buddhists was converted to an annual festival of Jagannath, Buddhism exercised deeper influence on Hinduism. The casteless society propagated by the religion was also adopted in the temple of  Jagannath. Thus, Lord Jagannath is regarded as an incarnation of Buddha.

                    The Jainas identify Lord Jagannath as a form of  'Jeena' and they claim that the Rather Eater is reminiscent of their ancient festival. History proves that Ashoka, the emperor of Magadha, after his eventful Kalinga war, carried away with him the 'Kalinga Jeena' or 'Adi Jagannath' as a war-trophy. This was later restored by Kharavela, the mighty emperor of Kalinga. The 'Kalinga Jeena' was brought in a car followed by a pompous parade of    pageantry. This Ratha Yatra of the "Jeena' was later adopted by the Hindus in the temple of Lord Jagannath.

                    In the festival each year three new cars are built for the three deities Balabhadra, Subhadra and Jagannath. For building of the new cars, the logs were hereditarily supplied by the Rajah of Daspalla (Now the Govt. of Orissa). The construction of the Rathas starts from 'Akshaya Trutiya' with a 'Vanajaga' ceremony. Each car has its own specifications.

                    The car of the Lord jagannath is known as 'Nandighosa' . Supported on sixteen giant wheels, each seven feet in diameter, it stands forty five feet in height and is beautifully painted in yellow. 'Taladhwaja, is the name of Balabhadra's car which stands forty four feet in height and stands on fourteen wheels. It is painted in blue. Subhadra's car is known as 'Darpadalana', Devidalana' or simply 'Deviratha' which stands fourty three feet in height and is painted in dark red. The colours for the  cars are significantly identical with the colour of robes worn by the deites. Lord Jagannath is 'Pitambara' or robed in yellow, Balabhadra is  'Neelambara' or robed in blue and  Subhadra, a mother-goddess wears garments of blood-red (Raktambari).

                    When the Rathas are ready they are brought to the sinhadwara or the Lion's gate of the temple. On the  beginning day of the festival, after the morning rituals are over in the temple, the deities are brought one by one from the temple to the chariots. All the deities are profusely decorated with crowns of flower (Tahia) and are brought by the    Pandas on the twenty two steps in a peculiar kind of swaying movement. The first deity to come out is Balabhadra, then Subhadra and lastly the Lord Jagannath. They are all installed on the respective chariots. The whole process of bringing out the deities from the temple and placing them on the chariots is known as 'Pahundi'.

                    The cars do not move immediately after the installation of the deities. The Rajah of Puri, who is popularly revered as the 'Chalanti Vishnu' (Moving Vishnu) comes in a palanquin, pays his homage to the deities and then sweeps the platform of each of the cars in a golden broom. This process of the festival is known as 'Chhera Pahanra'. After this part of the ritual, a large number of percussionists (drummers and gong players) play in unison and the sound rends into the air. Then comes the most auspicious moment for the thousands of anxious pilgrims to pull the cars which they consider to be most sacred. With great enthusiasm they grab the huge ropes and begin to pull the cars. The cars grind forward slowly along the road till the journey ends at Gundicha temple. Balabhadra being the eldest in the family of the deities. His car is drawn first. Then follows the car majestically moves the car of Lord Jagannath.

                    All the deities are then taken to the Gundicha temple where they stay for over a week. Then again they make their return trip to the main shrine. The return-festival is known as Bahuda Yatra, or the return-journey which falls on the tenth day of  the month. All the cars are drawn again to the  front of the main shrine and the deities remain seated for the next day; the Ekadasi on which all of them are adorned with pure gold ornaments. This part of the ritual is known as 'Sunabesa'.

                    An interesting ritual is observed on the return of the deities to the  main shrine. Goddess Lakshmi, the  spouse of Lord Jagannath has a separate shrine in the precincts of the Jagannath temple. Mythologically she is the mother of the  Goddess of wealth. But, as depicted in the ritual she behaves like a common Oriya house-wife. As house-wives do not appears before their elder brother-in-laws, so also Lakshmi never appears Lord Balabhadra. For this reason, her image is never carried close to the image of Balabhadra. She acts as a devoted and ideal wife but at the same time gets touchy. Her sensitiveness is reflected on two occasions of the festival, the first occurs on the Hera Panchami (5th day of the festival) when she goes out to Gundicha temple where the other deities are resting and the later occasion is when the deities return to the temple.

                    Lakshmi gets annoyed when she feels neglected by her husband (Lord Jagannath) as he goes cut in the cars with his elder brother and sister, leaving. Her alone in the temple. Being aggrieved she goes surreptitiously to Gundicha temple in a fighting and angry mood in her impotent anger, she breaks up one of the several wheels of Lord Jagannath's car and comes away to the temple as secretly. She had gone. In this festival her image is carried in a palanquin and the Devdasis do the job for her.

                    The next occasion comes when the deities return to the temple. To their surprise they find the main door of the temple bolted from inside. Lakshmi does it out of anger. The Rajah of Puri however tries to patch up the differences between them. This part of the ritual is known as 'Lakshminarayana Bheta' (Meeting of Lakshmi and Narayan). At first an elephant is sent to fetch her from the temple which she bluntly declines. On insistent appeal she comes in a palanquin up to the door still nursing in mind the insult she suffered. When Lord Jagannath appeals to her to open the door she replies, "You are the Lord of the three worlds ! Why do you come to me ? Go back to your sister, for being left alone. She may feel the pangs of separation" The Lord then says, "You know, my elder brother was also with me. How could you go as you were not to appear before him?" Then he promises valuable gifts to her which she refuses saying that being a woman from poor family. She is unworthy of it. In the end the insistent appeals of the Lord make Lakshmi open the door and all are allowed to come to the temple.

                    The song duel that takes place during the occasion is virtuality sung by the Devadasis, on behalf of Lakshmi and the Daitas, the non-Brahmin priests, represent Lord Jagannath. In the musical exchange of words, slokas in Sanskrit are also recited and the song-dialogue continues in presence of the countless devotees.

                    On these two occasions the Gods and Goddesses are brought down to the human level and they are made to behave like common human beings with same sentiments and sensitiveness.

                    Prior to the advent of foreign power, Orissa was ruled by the king of Puri who was revered as the Godly king by the Rajahs of feauditory states, who were under his command. Their number was fairly large and on the model of the  famous shrine at Puri, all of them built Jagannath temples in their capitals where all the  festivals related to the deity were observed. Though the car-festival at Puri attracts more people, similar festivals are held throughout the State, though in modest scales. In the western part of the State viz. Sambalpur and Bolangir the festival is also held in big  villages. On this occasion the villages wear new garments and auspiciously pull the car with great devotion. The festival is also held beyond the boundaries of Orissa where there are temples of Jagannath. A festival is now held in California, U.S.A by the converted Hindus.

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Nava Kalebara

                    Related to the car-festival, an important festival known as 'Nava Kalebara' is held once in every twelve to nineteen years according to the calculation of the year and date. On this occasion the wooden images of the deities are replaced by new ones. The principle adopted to fix the year of renewal is to find a year which has two full-moons in the month of Asadha (June-July). In every three years a lunar month is excluded from the calculation to keep a balance between the lunar and the solar years. This particular month, which is excluded from calculation is known as 'Adhimasa' or 'Mala masa' and is considered most inauspicious for any religious ceremony. But peculiarly enough this is considered most sacred for the renewal festival of the deities. Therefore, it is also called 'Purusottama Masa', as the other name of Lord Jagannath is Purosottama. During the last hundred years such festivals have been held only six times in 1863, 1893, 1931, 1950, 1969 and 1978.

                    For making the new images a number of rituals connected with it are observed. When the date is fixed for the festival the Gajapati Maharajah of Puri issues a proclamation to the Vidyapati, Daitas and Brahmins well-versed in the  Vedas to go in search of the trees that would proved logs for making the images. Generally this proclamation is issued on the 10th day of the full-moon of Chaitra (March-April). After the mid-day rituals of the    Lord Jagannath, the Mahapatras receive 'Agnya mala', the garlands as a token of permission from the Lord to go in search. Then the Mahapatras carry this garland along with four Daitapatis to the 'Anabasara pindi' (a  platform inside the temple) where they are given new garments to wear. From there they go to the Jagannath Math, the place of starting. Accompanied by the Daitapatis, Deulakarana, Tudhan, Lenka and four carpenters they go to the temple of Mangala at kakatpur which is about forty kilometres in the north. There they sleep in the temple to obtain permission of the Goddess in dream before proceeding in four batches to  four directions in search of the trees.

                    There are strict injunctions for selection of the trees. The trees must be of Neemba. It should have four branches and must be in near vicinity of a buried ground or river. It shouldn't have cut marks. Snekes below the tree is an auspicious sign. Taking all these specifications into account the selection is made and the Daitapatis immediately place the garland on the trees. Then the area is cleaned. A platform is erected for Bana-yaga ceremony. Four Brahmins conduct the  ritual. Then the Daitapatis sit in meditation for three days. After this the Vidyapati marks the tree with a golden axe and then the carpenters begin to cut the tree into huge logs. Thereafter the holy logs are carried in four wheeled-carts newly built for the purpose. The carts are not pulled by animals but by the Sevakas and the people. The sacred logs are taken into the temple compound through the northern gate and are placed in the Koili Baikuntha. On the day of Snana Purnima the logs are bathed along with the old deities. Then the logs are carried to Darughara or the stack and eight Brahmins perform the ritual after which the  carving of the images begin by a group of carpenters. During this period nobody is allowed to visit the place. After completion of the carving, the images are painted bright in their respective colours by the traditional chitrakars. The new imges are then circumbulated for three times and brought to the Anabasarapindi for transfer of Brahma from the old deities into their new forms. The senior most among the Pai  Mahapatras performs this rite at the dead hour of the night. He takes away the Brahmas from the naval zones and places them in the same position in the new forms. But, he does it blind-folded and with hands covered with cloths as he is not to see of feel the mysterious Brahmas. Then the old images are carried and buried in the wells of Koili Baikuntha by the Daitapatis. For this act they observe mourning for eleven days as is commonly done at the death of  a man in a Hindu family.

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Chitalagi Or Chitou Amavasya

                    As Lord Jagannath is the presiding deity of Orissa, many of his festivals are also devotionally followed in Oriya households. Chitalagi or Chitaou Amavasya is one such festival which falls on the new-moon day of the  Sravana (August). On this day, in the temple of Jagannath, the  deity bears a golden mark (Chita) on the forehead. A special variety of rice-cake known as Chitou pitha is given to the deity as food-offering. This variety is also prepared in every household of the Oriyas of the coastal districts.

                    In rural areas this is more or less observed as an agricultural festival. On this occasion the farmers worship the paddy-fields. After a purificatory  bath in the  morning they go to their respective paddy-fields with cake, flowers, milk etc and pray the fields to yield a good crop.

                    It is in the primitive tradition to appease evil powers through worship whether they are animals, serpents, inspects or plants. People worship and pray them to avoid their warth. Pilas breed enormously in the paddy-fields and tanks during the rainy season. Farmers while working bare-footed in the fields often get their feet cut by the sharp edge of their shells. Therefore, during the festival the pilas is appeased as a female form of evil power known as 'Gandeisuni' (Genda is pila). The farmer girls go to the fields and while offering cakes pray. "Oh; Gandeisuni, be appeased and do not cut the legs of my father or brother".

                    In Sambalpur areas this festival is known as 'Harali kans'. People of the areas believe it to be a day of the witch, Tandei who moves in the dark to suck the blood of the children. To save children from her wrath mothers draw peculiar designs below the  naval zone of the children before the night falls. As they believe that would scare away witch, a common variety of rice-cake Chakuli Pitha is  offered to the witch to be appeased and thereafter the cake is taken by all.

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Gahma Purnima / Rakhi Purnima, Jhulan Purnima

                    The full-moon day in the month of Shravana (August) is known as Gahma Purnima or Go Purnima. In the Hindu tradition even the animals and plants, who are benificial to the human beings are propitiated. The cow is regarded as mother. So, Gahma Purnima is a festival of the agriculturists to worship the cattle. Bullocks are the most important animals for an agriculturist in India. When ploughing the field with bullocks is over the farmers venerate them for the service they have rendered. Along with the cattle the God of agriculture Baladeva is also worshipped. The religious scriptures testify that Balaram invented the plough and showed the people all methods of agriculture. Therefore, bullock is  his vehicle and the plough, his weapon. He has been also taken in as an incarnation of Vishnu in holy scriptures. It is for this festival is also known as Baladeva Puja or Baladeva Jayanti in some areas.

                    On this day the  cattle shed is cleaned and neatly plastered and sketches of bullocks, bullocks carts, ploughs and other agricultural implements are drawn on the walls. Bullocks are bathed and decorated with flowers and sandlepaste. Their horns are oiled. The rituals of worship takes place in the cattle-shed itself for which Brahmins are not needed. A piece of new cloth is placed on the back of the  bullocks and they are fed with rice-cakes and pulses.

                     In the afternoon the bullocks are taken to a field where all the agriculturists gather. Each bullock is made to jump over an altar known as Gahma bedi and this portion of the festival is called Gahma dian. It is said that this is reminiscent of a similar festival first arranged by Baladeva himself when he first took the bullocks to plough the land for agriculture.  

                      Though essentially a festival of agriculturists, this festival has other religious and social ceremonies too. The other name of the festival is Rakhi Purnima or Rakshya Purnima. The religious scriptures testify that on this day Kunti, the mother of the Pandavas vested the responsibilites of safety of her sons to Lord Krishna as the Kauravas wanted to kill them. So, the festival goes on from that date and is known as Rakshya Purnima or full-moon day of protection. On this occasion the Brahmins of Orissa go from house to house and bind sacred threads on the wrists of the people invoking Gods to protect their lives. In northern India it is mostly a social festival in which sister bind sacred threads on the wrists  of  their  brothers to protect them from dishonour. This tradition though new to Orissa is slowly gaining ground.

                        Though Vaishnavism prevailed in Orissa much earlier the cult of Krishna worship was made popular during the 15th century by Sri Chaitanya and his followers. Though temples exclusively dedicated to Krishna are but few in Orissa, the represantative deity of Lord Jagannath is no other than Krishna known as Madan Mohan, Ramakrishna, Gopala, Gopinatha etc.

                        To the Vaishnavas the festival is known as Jhulan Purnima or the Swinge festival which is observed in most of the Vishnu temples and monasteries following the cult. Beginning from the tenth day of the bright fort-night, it culminates on the Purnima day. The metal images of Radha and Krishna are placed on beautifully decorated swings and nights are spent with singing and dancing in front of the deities. As an important festival of Lord Jagannath, the celebration of  the festival in the shrine and monasteries at Puri attracts visitors from far and near. The festival in the temple was first initiated by the Gajapati king Dibyasingha Dev-II (1793-1798).

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Khudurukuni Osa

                        On the Sundays of the month of Bhadrab (Aug-Sept) this festival is observed by the unmarried girls of the business community of the coastal districts of Orissa. During the festival Goddess Durga is propitiated khuda bhaja (Left out particles of rice that are fried), Kantiali-kakudi (Cucumber having little thorns on it), Lia (fried paddy), Ukhuda (fried paddy sweetened by molasses) and coconut are the food-offering given to the deity. However, the principal food-offering is khuda which is said to be the favourite of the Goddess. Therefore the festival is named as "Khudarankuni" or popularly "Khudurkuni" which means one who is very eager for khuda.

                        In the early morning the girls go out collecting flowers required for the  ritual. The varieties are Kaniara, Godibana, Tagara, Malati, Champa, Mandara and kain. Then they go to nearby rivers and tanks to have purificatory bath. After this they build tiny temples of earth of sand and decorate the same with flowers. Paving obeisence to the deity there, they return to their respective homes. They take two and half mouthfuls of boiled rice mixed with water without adding salt. Then salt is added, the significance of this act is not known. After this the whole day is spent in making garlands and decorating the image of the Goddess.

                        In villages generally the deity is worshipped in the Dhinkisala or the place where paddy is pounded. This place is plastered neatly with cow-during and the image of the deity is inastalled. The floor is painted with floral designs known as Jhoti or Alpana. Carlands are made to hang like arches. The whole day passes with the arrangement and the rituals of worship commence in the evening.

                        After the rituals are over the girls recite musically the episode of Taapoi which is now available in print. Earlier this was handed down by oral tradition.

                        The first episode 'Malasri' recounts the killing of the demon by Durga. It is said, that Mahisasura, the terrible demon became atrocious by getting a boon from Brahma, the creator. Not only the mankind, but also the Gods got panicky. He became so powerful that even Gods couldn't kill him. Then all the Gods conferred and went to request Durga, the Goddess of power to kill the demon. Durga agreed and assuming the from of a beautiful damsel went to Vindhya mountain to pretend penancing. Mahisasura, while out on hunting, noticed the beautiful damsel and immediately offered to marry her. The damsel answered that she would only marry that person who would defeat her in a duel. Mahisasura being confident of his power soon agreed to the proposal. A fierce duel ensued between them; with all her energy the damsel thrusted a trident violently to the chest of the demon who was killed. Thus, Durga redeemed the  world from the fear and atrocity of the demon. It is, therefore, believed that the girls worship Durga to be powerful like her to fight evil forces for the good of the human race.

                        The second episode 'Taapoi' is a legendary account of the sufferings and success of a Sadhab (Sea trader) girl. It also reminds us of the maritime glory of ancient Orissa. When there was sea-borne trade with south-east islands of Java, Bali, Sumatra etc. The Sadhabas of Orissa were a prosperous community who had trade-links with many countries.

                        According to this tale, there were seven brothers in a prosperous Sadhaba family. Taapoi was their only sister who was also the youngest. Obviously they bestowed their love and affection on her lavishly. Whatever she wished immediately her demands were fulfilled. One day the little girl was playing with her friends with a winnow, made out of bamboo strips. A Brahmin widow of wicked nature scoffed at this. Being hurt the girl demanded a golden winnow to play and it was given. Again she demanded a moon of  Gold. When it was half done her father died. When it was completed her mother died. By that time the  family also became poor. The seven brothers then set out on their voyage to distant lands for trading and while leaving left clear instructions to their respective wives to take special care of their lovely sister.

                        Soon after the brothers left the seven wives fell on the bad counsel of the Brahmin widow    who impressed upon them that the cause of their poverty is the girl for whom they were so lavish. Soon they changed their attitude. She was not given good food or clothes. She  was made to live on khuda (left out rice particles) and was engaged to watch goats in the jungle. Inspite of unbearable  torture she waited patiently for her brothers to return. The youngest sister-in-law was kind to her, but couldn't come to her rescue because of the six others.

                        Amidst all sufferings Taapoi held her morale high. All the while she was praying Durga (Mangala) for the safe return of her brothers. She worshipped the Goddess along with other girls and offered khuda as she had nothing  else. Her sincere and devotional prayer yielded fruit and her brothers returned safely. They landed on the shore at night and while resting on the vessel they heard the wailing sound of a girl. Being curious as to who was crying they searched the area and found, to their utter dismay, that she was none else than their dear sister. As the pet goat 'Gharamani' was missing, she was driven out by the in-laws and without being able to find the goat she was helplessly crying. Seeing her brothers, her joys knew no bounds. The  brothers heard all about her plight at the hands of their wives. To punish them they asked their sister to cut their noses. But, their noses were restored when again she preyed the Goddess. Then all of them went happily to the home.

                        These two episodes set two ideals before the girls who observe the festival. One is to be courageous like Durga to fight evil forces and the other to be like Taapoi to bear all sufferings patiently to come out successful in life.

                        The idols of Durga are then immersed in rivers and tanks and this marks the closing of the festival.

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Ganesha Chaturthi

                        The day dedicated to the worship of  Ganesha, the elephant-headed son of  Shiva is known as Ganesha Chaturthi which is the fourth day in the light half of the month of Bhadrab, Ganesha, the God of the masses is one among the most important deity in the Hindu pantheon. He is the remover of all obstacles and bestower of success. His elephant head suggests cool brain and the steed, rat suggests perseverance; the two qualities that are important to archieve success. In the worship of all other Gods, even of his father Shiva, Ganesha is invoked in the beginning. There is no ritual without a prayer to him. Almost in every important shrine of Orissa Ganesha appears as a Parswa Devata or the guardian deity.

                        The festival is celebrated with great enthusiasm in all the educational institutions and also in public places. Highly gilded images of the deity are worshipped with great devotion. The business community, especially the  shopkeepers preserve an image of Ganesha. They pray him daily for their success. On this day they change the image with a new one and immerse the old in a river or tank.

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Janmastami

                        The birthday of Lord Krishna, the eighth incarnation of Lord Vishnu is celebrated as Janmastami. It falls on the eighth day of the dark half of the month of Bhadraba. Of all the divine incarnations of the God, Sri Krishna is the most adored. By virtue of  his divine leelas or sports, Krishna has become the darling of the humanity. The purpose of taking this avatar or incarnation was, as explained in the Bhagavat Geeta, the annihilation of evil and the establishment of truth and virtue as such, from his infancy onwards Krishna destroyed numerous demons (suggestive of evil forces) who were harassing the Gods and men alike. Later, as an ally of the pandavas. He brought about in the interest of truth and justice, the war of Kurukshetra to destroy the wicked Kauravas and restore legitimate rights to the honest and truthful Pandavas. It was from this battle field that he delivered his message to the suffering humanity which has come down to us as the most sacred book 'Geeta'. All his sports of Leela have been elaborately described in the Bhagavata, Mahabharata, Harijanma and many other religious texts. The birth day of the Lord is, therefore, celebrated as one of the greatest of all Hindu festivals in all houses.

                        Lord Krishna war born at mid-night when the moon entered the house of Vrisabha at the constellation of the star Rohini on the eighth day of the dark half of the month of Bhadrab. Therefore, it became customary to observe fasting upto mid-night till the exact hour of birth. When the fixed hour comes conches are brown, gongs are sounded, slogans involving the God are given which heralds the birth of Krishna. After this Bhog (food offering) is offered to the deity and the fast is broken.

                        The festival is widely celebrated in all vaishnavite temples, monasteries and houses, Clay images of Krishna are also worshipped on this occasion. The festival is devoutly observed by the cowherd community of Orissa as Krishna lived and spent his childhood days in Gopa. The next day is observed as 'Nandotshaba' by this particular community as a reminiscence of the festival that was held by Nanda Raja, to celebrate the birth and arrival of Krishna. The young boys sing songs related to Krishna,s sport and dance to the beats of resonant sticks.

                        While vaishnavism was the court-religion of Orissa since 11th century A.D., the cult of Krishna worship was made popular during 15th century A.D. by Sri Chaitanya and his followers. Though temples exclusively dedicated to Krishna are few in Orissa, the representative deities of Lord Jagannath are no other than Krishna who is known as Madanmohana, Ramakrishna, Gopala, Gopinath etc.

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Nuakhia

                        The most important festival of western Orissa comprising the districts of Sambalpur, Bolangir, Sundergarh, Kalahandi and some areas of Phulbani, is Nuakhia. Generally it takes place in the bright half of the month of Bhadrab on an auspicious day fixed by the astrologers. In the ex-State areas the date is fixed according to the instructions of the ruling Chiefs.

                        The people in general eagerly look forward for the festival and preparation starts before a fort-night. Most of the houses are cleaned, neatly plastered and decorated by the house wives. On this occasion old and young, all wear new cloths. Though the festiva