SHRI ASWINI KUMAR PATRA
MINISTER OF STATE (IND. CHARGE) Tourism, Odia Language, Literature & Culture, Excise, Odisha
Phone {Off} : (0674)2390990
{Res}: (0674)2396373
D. 0. No...................../MTOLL&CE
BHUBANESWAR
Date : 01.03.2024
MESSAGE
I am glad to know that Cheer Up Foundation is going observe Odisha Divas at Chimaya Mission (CMLA), Tustin and a magazine namely ‘Ananda’ will be published to mark the occasion. Many talented artists will participate on this occasion. There will be display of Odia arts, music, dance and traditions on this occasion of celebration of this event. I congratulate the organisers for such initiatives.
I wish grand success of the function and publication of the magazine ‘Ananda’.
(Aswini Kumar Patra)
The world today is in chaos, with anarchy prevailing across civilizations, countries, and continents. Despite all the elegant, rational, systematized, and analytical approaches to living a better life, we have failed to achieve it. There is a huge variation between culture and civilization and attempts to bring cultural and civilization congruence have failed miserably. Because of all these, brotherhood has been doomed into darkness.
Why is this happening? It is because of our individualistic and solitary behavior. While novel science and technology have changed the materialistic world, they cannot transform the mindset of human beings. We have reached the darkest part of the moon, yet we cannot remove the darkness from our minds. This narrow-mindedness, this sense of “mine” and “yours,” makes us so greedy and selfish that we are not able to think about others. Saint Manu spoke about this more than 1000 years ago.
De³eb efvepe: Hejes Jesefle ieCevee ueIeg®eslemeeced~ Goej®eefjleeveeb leg JemegOewJe kegÀìgcyekeÀced ee
(This is mine, that is his, says the small-minded, The wise believe that the entire world is a family.)
In the present time, the concept of Vasudeva Kutumbakam, which means that the whole world is one family, is only limited to words and has not been put into practice. As individuals, we cannot grow unless there is harmonious growth throughout the world. Swami Vivekananda beautifully stated that – not a single atom can be moved without dragging the whole world along with it, which is absolutely true. Therefore, our personal growth is impossible without harmonious total growth in the world. Without harmonious total growth, countries cannot progress, societies cannot progress, and neither can families nor individuals. Humans are gregarious animals, and we live in a society with different strata of life. The foundation of all these states is the individual. The individual’s extension is the family, the family’s extension is society, society’s extension is the country, and the country’s extension is the world.” As Sri Sri Thakur Anukulachandra says – “know for certain- you are responsible for yourself, your family, your society, and your country as a whole.”
It is our duty to grow our environment and everything that surrounds us for personal growth. This is what Dharma means. In simpler terms, Dharma is – “laws that sustain life and growth with every effulgence of personality both individually and collectively ” Our personality needs a libidoic
glow in life in order to develop. Without personal growth, we cannot contribute to the growth of our environment. It is essential to maintain a center in life to achieve personal development. This center can be attained by following the living ideal or the Master with unwavering dedication.
Our Being is instinctive with existence, consciousness, and blissful becoming. Dharma is that which nourishes and nurtures this existence, consciousness, and blissful becoming. The Living Ideal embodies Dharma and understands the instincts of every individual. Therefore, He nourishes and nurtures our very existence, consciousness, and blissful becoming.
It is necessary to get attached to the Supreme Love, and that is Religion. We always get confused between Dharma and Religion. Dharma is to – “let live others and be lived.” In contrast, Religion is to Re-ligard or re-bind with the supreme beloved. Sri Sri Thakur Anukulachandra says“Religion is not witchcraft, quackery, or superstition. Religion means to re-ligard or re-bind the libido with the supreme beloved.”
So, when our Being iêeZ / megjle gets attached to the Supreme Beloved, our complexes adjust, and our personality grows. “Adjustment of complexes invites upholding of existence. Upholding of existence brings compassionate sympathy; Compassionate sympathy gives birth to integration. Integration welcomes power. Power invokes Harmonious Total Growth.”
In summary, to experience harmonious total growth, every individual must become attached to the Supreme Beloved. When we are attached to the Supreme Father, there is unity in purpose and unison in principle. Sri Sri Thakur Anukulachandra says – “Unity in purpose and unison in principle begets amity and brotherhood.” Attachment to the Supreme Father results in spontaneous brotherhood, providing the final and ultimate solution for realizing universal brotherhood.
“He within whom all the resources of the world – knowledge, love, and activity- are spontaneous and by inclination towards whom the scattered lives of men and all the diversities of the world find a final solution is the God of men.” Thus, to achieve universal brotherhood, we must acknowledge and follow the fatherhood of God.
(aù¦ C}k R^^ú)
(Vande Utkala Janani)
Subrata Mohanty
Sr. Director, IBM President, Satsang, America
Cover Story
ODISHA HANDLOOM, EXQUISITE WEAVES
BIBHU DASH
Odisha has a rich heritage of textile and weaving art. In fact, textile weaving is a major industry in the state that supports thousands of weavers and related craftspeople. The indigenous styles of fabric dyeing and weaving in the state have found inspiration from old religious texts and traditions. Unlike in other states, sarees from Odisha have been mostly influenced by the Hindu religious texts – especially, those revolving around Krishna and Jagannath culture.
One interesting fact to note is that the weavers in Nuapatna in Cuttack district weave a special silk that has verses from the epic poem Gita Govinda embroidered in them. This special fabric is used to dress the idols in the famous Jagannath temple, and because of the strong influence of Krishna, the sarees often depict temple borders, traditional colours associated with Lord Jagannath, and other mythological designs.
Odisha is known for its silk and cotton. The region produces different types of tussar silk and very sturdy cotton. The Tussar from Odisha has a smoother texture and shinier finish and interestingly, this state is best known for its own style of Ikat dyeing and weaving.As a matter of fact, when we talk about sarees from Odisha, the first thing that comes to mind is its signature ikat, whether in silk or cotton; so famous is the dyeing and weaving art from the state.
SAMBALPURI IKAT OR BANDHA SAREE
The most popular of sarees from Odisha, Sambalpur ikat uses what the locals call Bandhkala or yarn tie-dye method. The Sambalpur ikat woven in both cotton and silk use the double ikat method where both the warp and the weft yarns are tie-dyed first and then set into a pattern for weaving. These saree are woven in Sambalpur, Berhampur, Mayurbhanj and Nuapatna, and they have beautiful nature-inspired motifs like a shell, flowers, chakra and rudraksha not just on the border and pallav, but also all over the body. The more intricate the work, the pricier it is.
While the saree is often called Sambalpur Ikat, each small town where this weaving technique is used adds its own flavour to the Bandha saree. Sambalpuri Ikat is also popular in the cotton version, while Nuapatna sarees which uses the same weaving technique and has similar designs are mostly available in soft silk and Tussar silk. Berhampur sarees are mostly very heavy silk sarees with thin borders. The motifs are not very intricate, and the sarees mostly have temple border woven-in ikat style.
BOMKAI OR SONEPURI SAREE
Bomkai silk sarees are a treasure to own. Often woven in soft silk, the Bomkai saree uses a combination of Ikat weaving along with silk or resham thread embroidery on the pallav and the border The sarees mostly have a plain body with detailed pallav. The body of the saree can also have very small ikat designs, and the pallav mostly have very intricate patterns along with ikat weaving. The motifs are inspired by tribal art, and mostly have nature-based themes. The colours are mostly bright – the palette often revolves around black, red, yellow, orange, and blue.
The Bomkai cotton saree, which a similar rendition but in cotton fabric, is woven in the Ganjam district, often has embroidered temple spires on the pallav and the border Weavers take inspiration from tribal art to create the Bomkai cotton sarees.
PASAPALI SAREE OR SAKTAPAR SARI
Woven in Bargarh in Odisha, the Saktapar or Pasapalli saree is an ikat saree. The design and weave of the saree is inspired by the checkerboard or passa as it is called in the local language. The saree is woven in double ikat that produces a checkerboard pattern and its border is often braced and gives the overall saree a sophisticated look as Bichitrapuri. The colours are always vibrant and bright.
KHANDUA SAREE
It is one of the most intricate of Odisha ikat sarees. Khandua sarees often made in soft silk or Malda silk has the very intricate pattern all over the saree. The border mostly has simple temple ikat design or very basic ikat pattern. The pallav has very detailed ikat work, which takes a long time to weave. These type of saree are worn by the women in Odisha during weddings and other festive events. Traditionally, Khandua sarees are made in red, sunset yellow and orange colours. The borer and pallav are generally in black, red and blue colours that adds to the sophistication of the saree.
BERHAMPURI SAREE OR BERHAMPUR PATA
Also known as the silk city of India, Berhampur – or the city of Lord Brahma – in Odisha – is where the famed, yet now flailing, Berhampuri Patta silk saris are woven. Unique for the fact that they are made in Joda (pairs) – the sari for the women, and the matching joda for the men, these iconic drapes are known for their typical Odissi weaving style – and also the kumbha or temple design. Their famous temple style designs are colloquially known as ‘phoda kumbha’ or ‘badhi kumbha’. These precious saris were once the pride of Odisha, and were worn by brides for their wedding ceremony.
KOTPAD
Kotpad Sarees are vegetable-dyed fabric weaved by the tribal Mirgan community of Kotpad village in the Koraput district of Orissa. Out of the several Orissa sarees, these received the first GI mark. These are usually cotton sarees with solid borders and patta anchal. The ingredients for the rich textures are aul (madder) tree roots, tussar silk, and cotton yarns. Even though they have limited shades of color (black and maroon being the most common), they are eco-friendly, pleasant and shining.
They are also comfortable to wear during summers and winters. The motifs developed by the extra weft are axe, crab, bow, fish, temple, fan, conch and boat, reflect the culture of the sea. The sarees have befitting elaborate borders and designs depending on the occasion.
Sarees and shawls are the most important and attractive textile products from the Kotpad weaving community The textiles are very comfortable to wear during summer and winter
HABASPURI
Habaspuri Saree is a GI marked tribal handloom product from Orissa. The Kondha weavers from Chicheguda, Kalahandi district are attributed to the weaving of this exquisite piece. It has taken its name from the Habaspur village where it was originally woven during the 19th century
The making of a Habaspuri is a time-consuming and painstaking process. The traditional patterns in Kumbha style are etched out on the saree. It is basically a cotton saree. The weavers are trying hard to restore the dying art of this saree in the best possible ways.
The textile has traditional patterns of the region like kumbha (temple), fish and flowers.
DONGRIA
Dongria Sarees are inspired by Dongria or the tribal art form of Odisha. They are woven by the DongriaKondh tribe of the Munda ethnic group, located in the Niyamgiri Hills from the districts of Rayagada and Kalahandi. They are handwoven pure soft cotton fabric. Natural products like dyes and cotton yarns make them eco-friendly
They are rare and unique. They are generally thick weaves with bright and vibrant color play and geometric and simple designs. Today to catch up with changing times there are prints and modern textures and designs.
Dongria silk saree is different & unique from other handlooms. Red, green, orange & yellow colours are inspired truly from mother earth are beautifully woven into distinct geometric patterns. As this fabric is eco-friendly so all nature lovers grab it to your wardrobe to speak the language of beauty, sincerity & boldness. These sarees are made out of rare textiles like course organic cotton. This ethnic piece gives you protection from the cold.
PATACHITRA
The collection of pattachitra are extremely beautiful in the state of Odisha. Odisha Pattachitra is one of the most ancient handicrafts practiced here. Pattachitra handloom is an art-form popular for the intricate details along with the mythological narratives and folktales painted on it. Patachitra sarees stand out amongst the clusters of handloom. Pattachitra sarees are distinctive because of the detailed narration of the beautiful stories and colorful motifs. The rail of such beautiful motifs is a specialized form of art which has a long history. These beautiful paintings of Patachitra sarees have links connected to the tradition of temple paintings.
Odisha, formed as a separate province based on language came into existence on 1st of April 1936. Eminent personalities of the State, Utkal Gourav Madhusudan Das, Maharaja Krushna Chandra Gajapati Narayan Dev, Maharaja Sriram Chandra Bhanjdeo, Byasakabi Fakirmohan Senapati, Swabhab Kabi Gangadhar Meher, Kabibar Radhanath Roy, Utkalmani Pandit Gopabandhu Das and many others sacrificed selflessly for this linguistic unification of Odisha.
Utkal Sammilani formed in 1903 by Utkal Gourav Madhusudan Das to campaign for unification of Odisha had an unparalleled role in uniting Odias across the Odia-speaking tracts. Our maritime trade and commerce with the far-off countries speak of our glorious and heroic past. Spirit of tolerance, universal brotherhood, and peaceful co-existence on secular values are our basic traits. Our ancient art and sculptures, our temple architecture, our scriptures and palm leaf manuscripts, world famous Odissi dance and music have given us a unique recognition the world over. Our glorious past continues to inspire us with determination and commitment.
The Odisha Official LanguageAct, 1954, and the Odisha Shops and Commercial EstablishmentsAct, 1956 are being amended to make the use of Odia language compulsory in official correspondence and signboards in shops and commercial establishments. “Odia VirtualAcademy” has been established to protect the rich literary heritage of Odisha on web platform through digitization to make it available online to readers and lovers of the language globally. To encourage students to excel in their mother tongue, Government has decided to award “Odia Bhasa Bruti” at school level, Byasakabi Fakir Mohan Scholarship at college level, and promote research in Odia language and literature at higher level to add a new dimension to the language. The state was celebrating the completion of 200 years of Buxi Jagabandhu-led Paika Rebellion of Khordha, the valiant uprising of soldiers of 1817 in the most befitting manner.
The Government is implementing “Banayan”, Odisha Forestry Sector Development Project in ten districts of Odisha for restoration of degraded forests and improving the livelihood of forest-dependent villagers. Today, Odisha is on the stable path of equitable and inclusive growth with the quest for accelerated socioeconomic development. On this August occasion, let us take a solemn pledge and resolve to achieve a prosperous and empowered Odisha and uphold the vision of the eminent sons and daughters of this soil.
Bande Utkal Janani_âcûY @bûa
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Jayanta Mahapatra, one of the most respected poets writing in Indian English, has been recognized as a poet par excellence and has, so to say, laid the foundations of Indian poetry as one of the widely recognized trio, consisting, besides him, of A.K. Ramanujan and R, Parthasarathy. He distinguished himself from the other two members of the trio in refusing to stay put in the Bombay School of poets. He has succeeded in carving out a permanent niche in the world of Indian poetry by articulating a poetic voice distinct from those of the other two because he is the voice tranquil.
Born on 22 October 1928, Jayanta Mahapatra was the first Indian English poet to have bagged the prestigious Sahitya Akademi award which has added a golden feather to his crown and been tagged to his literary career. The conferment of ‘Padmashri,’ the fourth highest civilian honour in India, upon him, has catapulted him into a singular prominence throughout the world. But he returned the honour in 2015 in protest against intolerance in India. In a letter to President Pranab Mukherjee, Mahapatra wrote, “Mine is a small insignificant step. But it is my way of showing protest to the growing asymmetry that is evident in the country. I express my desire to return the award. My act should not be interpreted as any kind of dishonour to the country.” (Reported in Times of India, 22 November 2015). The 88-year-old poet received the civilian award in 2009 for his contribution to the field of literature.
Jayanta Mahapatra, born into a prominent Christian family in Odisha, had his schooling at Stewart School and went on to do higher studies at Patna University, Bihar. He obtained
an MSc degree in physics from that University and taught this subject at various government colleges in Odisha with a reputation.
Jayanta Mahapatra’s unrivalled poetic talent manifested itself in the publication of 27 poetry collections, 7 in Odia and 20 in English, including, among others, “Relationship,” “Bare Face” and “Shadow Face.” In addition to writing poetry, he has manoeuvred his literary talent into exploring the domain of prose by publishing, among others, “Green Gardener,” an anthology of short stories, and “Door of Paper: Essays and Memoirs.”
Jayanta Mahapatra is singled out as being the first to have introduced Indian English poetry in Odisha. He is read and discussed throughout the world, as are Nissim Ezekiel and A.K. Ramanujan. His poetry, unlike those of Nissim Ezekiel and A.K. Ramanujan, has a pungent flavour of obscurity, complexity, and elusiveness.
Jayanta Mahapatra began writing poetry on the moulds of the poetry of T.S. Eliot and Nissim Ezekiel. After his poetry matured considerably, he switched over to writing his poetry on the mould of his own experiences, thoughts, and impressions of the world around him. The truth is that the English language did determine his writing, through his readings of many eminent English poets.
.In all his poems Jayanta Mahapatra tries to probe deep into human nature. Three poems, such as ‘Indian Summer,’ ‘A Missing Person’ and ‘Dawn at Puri,’ which form a trio, so to say, leaped to prominence in the early part of the twentieth century.Jayanta Mahapatra passed away on 27 August,2023 at the age of 95. The legendary poet has left an imprint in the Indian English poetry with his writings spanning over 50 years.
The tagline of Odisha tourism is” The best-kept secret of India”. After visiting this place called Mangalajodi’, one will be sure about the reason behind such a tagline.Avisit to Mangalajodi reveals an artistic creation sort of a scene before your eyes.Alittle fisherboat cruising gradually through the wetlands, finding its way through reeds and wild grasses, becomes noticeable on the distant horizon. Nature lovers like you sitting on this delicately crossing boat, getting a brief glimpse of the close by chirping birds... Just imagine...
Though the place is relatively unexplored, there lies overflowing natural beauty and exotic, virgin territories are yet to be discovered. It is a very lovely small town, which has become a paradise for a wide range of birds. It is situated on the banks of the northeastern Chilika Lake, around 5 km from Tangi and around 70 Km from the state capital Bhubaneshwar. Chilika is also renowned as the largest brackish water lagoon in whole Asia. Lake Chilika offers an ideal home and climate for migratory birds. It is situated on the banks of the northeastern Chilika Lake, around 5 km from Tangi and around 70 Km from the state capital Bhubaneshwar. Chilika is also renowned as the largest brackish water lagoon in wholeAsia. Lake Chilika offers an ideal home and climate for migratory birds. One can get that rare opportunity to listen to different voices of different surrounding birds, sometimes in chorus and sometimes the simple exchange of language in the form of Chirps, Quacks, Calls, Whistles, mimics & trills that echo various accounts of correspondence among them.
Mangalajodi once was famous as a poacher’s village. But nowadays, a drastic change in the approach of villagers towards bird conservation is being seen, which gives hope to nature lovers. Winter in Mangalajodi witnesses the highest gathering of around 10 Lakhs of resident and migratory birds taken together. It was because of heavy gradual siltation, the only one natural sea mouth of Chilika was getting closed and the pH value and salinity of Chilika water were dropping down and in turn, it was putting heavy pressure on the dwindling biodiversities of Chilika. That is why the Chilika DevelopmentAuthority dug up another sea mouth to give a fresh life. The Chilika Development Authority and the state forest department jointly conducted several workshops to sensitise people regarding the impending dying consequences...Sensing danger for their survival, the villagers turned protectors of the landscape and of the winged species particularly. The illegal poaching and trading of exotic avian meat came to an end.
Information on everything about the migratory birds like their distinctive looks and features, their feeding and breeding patterns, their migrating propensities during a particular period of the year and so on made the Mangalajodi village people brilliant eco-guides for sightseers and presently all families of Mangalajodi village
are procuring their livelihood through certain means reliant upon nature tourism They are serving the travellers as birder watchers, boatmen and eco-guides. The local villagers additionally watch the marshlands since securing the birds is just equivalent to securing their livelihoods yet in addition their ethical obligation.
Chilika lies in the CentralAsian Flyway for birds and is a significant stopover site for migratory birds from theArctic and Sub-Arctic areas during their onward and return migration along the east coast. Mangalajodi freshwater wetland and Nalabana Island which form part of the Chilika Lake have been identified as Important Bird Areas (IBA). Nalabana is the biggest breeding ground for flamingos in the entire world. Considering Chilika&; it importance as a significant assemblage site for migratory birds and the enormous populace of birds it upholds, Chilika has been perceived as a wetland of global significance under the Ramsar convention ( held in Iran in 1981) and it has been ever remembered as an important Ramsar Site of India The place has now become one of the most popular tourist attractions for birdwatchers and nature enthusiasts from across the globe. This place has very well earned the sobriquet “Birds Paradise” and hence the “Birdwatchers' paradise” as well. It is the only place in India where large flocks of different species of colourful birds can be seen from proximity of a boat and hence can be photographed too.
Hence the entire place is slowly gaining ground as an upcoming “Photographers Paradise”. Watching all those colourful and varied winged visitors here is an experience to remember for a lifetime. Many bird species that visit the village have been recognised as rare and endangered, and even some of these are on the verge of extinction. The occasional chirping of birds enchants everyone when a kind of pin-drop silence rules over the surroundings and suddenly you will discover yourself in a world of birds all around, which in turn will fill your heart with myriad emotions. It is because of the growing popularity of the place among birds and birders as well, as the government of Odisha ( Odisha Tourism and Chilika DevelopmentAuthority in particular )started Chilika Bird Festival in the year 2018 and now the most sought-after event in January every year attracts bird-overs, photographers, and ornithologists from all over the world. The CDA also arranges escorted tours to Nalabana during the three-day-long Birds Festival. One can see plenty of Northern Pintail (a duck variety) and during the winter season, their number crosses 3,00, 000. That is why, the best time to visit Mangalajodi is from November to February The vegetation in the area consists of Typha angustata and Phragmites karka.Awide abundance of plankton and algae kind of foods chiefly attract these flying beauties assuring them of safe shelter and food.
More than 200 species of birds are recorded in Mangalajodi during winter. Lakhs of Pintails ( the name is self-explanatory..it is because of it's sharp pin-like tail-end), Rudy Shelducks, Sandpipers, Ruffs, Terns, Plovers, rare-headed Lapwings, Gulls, SkuIkers like Ruddy-breasted Crakes, Baillon&Crakes, Slatybreasted Rails and the Greater Painted Snipes, Black-tailed Godwits, Oriental Pratincoles and the Pacific Golden Plovers etc. Avariety of Raptors (having hook-like beaks and sharp talons )are also seen hunting in different parts of Mangalajodi.Accommodation is plentily available in Bhubaneswar for the daytrippers and some modest resorts have also started functioning in Mangalajodi itself
How to Reach Mangalajodi
Via Road-Mangalajodi is around 70 km. south-west of Bhubaneswar off NH16. It is around five km. southeast of Tangi town ( which comes on the way to Berhampur from Bhubaneshwar) in the Khurda district of Odisha. Guests can get off at Chandpur and take an auto to Mangalajodi. Regular bus service exists from Bhubaneswar to Tangi. Otherwise, luxury tourists can recruit a taxi from Bhubaneswar. Via Train-It is 30 km. from Khurda Road rail route station. The closest railhead is Kalupada Ghat on the Southeastern Railway Howrah- Chennai line. C/osesfAirport-Bhubaneswar (Biju Patnaik InternationalAirport)
Conclusion:After paying several visits to Mangalajodi and & its adjoining villages, one thing I became very sure about is that community-led tourism is utterly needed to minimise the adverse Socio-Cultural and Environmental impacts of tourism. In other words, community participation is needed for the ultimate success and prolonged life of a destination. nn
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