Danda Nata (ଦଣ୍ଡ ନାଟ), also known as the “Dance of the Rod,” is a centuries-old ritualistic performance deeply rooted in Odisha’s cultural and spiritual heritage. It is not merely a folk art but a profound expression of devotion, penance, and storytelling. Celebrated predominantly in the southern districts of Odisha like Ganjam, Kandhamal, and Rayagada, the festival spans multiple days, offering a visual and spiritual treat that blends dance, music, storytelling, and religious rituals.
Note: “Danda Nata” (ଦଣ୍ଡ ନାଟ) is commonly referred to as the “Dance of the Rod.” The name “Danda” refers to a rod, which plays a central role in the performance. This traditional ritualistic dance form originates from the state of Odisha, India, and involves devotees dancing with sticks or rods while going through various phases of physical endurance, devotion, and folk performance.
Held during Chaitra and Vaishakha, the festival is a powerful showcase of devotion and tradition.
The origins of Danda Nata trace back to Shaivism, flourishing in medieval Odisha. The tradition was established as a means of seeking divine blessings for rain, prosperity, and protection from natural calamities. Over time, it became a significant cultural event preserving the region’s folklore and maintaining communal ties.
The term Danda symbolizes the cosmic forces of creation and destruction, a reflection of divine power. Danda Nata performances, therefore, are not just about dance and music but about invoking these divine energies through ritual acts and devotion.
Danda nata is derived from “Danda” (pole) and “Nata” a dance which is usually performed in a religious fair called Danda yatra. In this fair Lord Siva and his consort, Gouri are propitiated. The artists of this Danda Nata are called Bhaktas (devotees). Danda Nata troops consist of 13 bhaktas. They dance and sing songs for the entertainment of the village community. “Abhinava Chandrika”, a literary work of 1568, mentions the prevalence of “Danda yatra”. It signifies that folk-theatre was very much popular in medieval Odisha.
The Danda nata folk song:
“Aiela Kalapahada, bhangila luharabada, piela Mahanadi,
pani subarna thalire, hira parasile, Mukunda devanka rani.”
ଆଇଲା କାଳପହାଡ଼ା, ଭଞ୍ଗିଲା ଲୁହାରବଡ଼ା, ପିଏଲା ମହାନଦୀ,
ପାଣି ସୁବର୍ଣ୍ଣ ଥାଲିରେ, ହୀରା ପରସିଲେ, ମୁକୁନ୍ଦ ଦେବଙ୍କ ରାଣୀ।
Signifies that, the Danda nata was originated to check the rise and growth of Islam religion in Odisha, after the defeat and death of Gajapati Mukundadeva the last Hindu king of Odisha
in 1568 A.D. In Danda nata, five musical instruments namely Dhola, Mahuri, Tamak, Kara and Kartal are used.
The Danda Nata performance involves several key components that blend spirituality with theatricality:
Danda Nata is much more than a performance; it’s a community event that holds deep religious significance. It serves as a way to bring the village together in a shared act of devotion and storytelling. It’s also an opportunity to preserve and celebrate local folklore, rituals, and traditions that are passed down through generations.
While Danda Nata continues to captivate rural audiences, its practice faces challenges in today’s rapidly modernizing society. Urbanization, a decrease in traditional patrons, and the migration of youth to cities for employment have contributed to a decline in its practice.
However, with increasing awareness and support from local cultural organizations, the tradition is being revitalized. New adaptations, like incorporating modern elements or organizing smaller performances in urban areas, are helping keep Danda Nata relevant in today’s cultural landscape.
Danda Nata is not just a single type of performance but consists of various forms that highlight different aspects of devotion and community rituals.
Danda Nata is a traditional ritual dance performed in four phases:
This phase begins at noon, where devotees roll on hot sand, mimicking the farming activities of plowing, sowing, and cultivating crops. The dancers act as oxen and a plowman, performing in a comic and painful manner to earn blessings from Lord Shiva and Goddess Kali. The focus is on agricultural themes.
In the afternoon, devotees immerse themselves in water as part of a purification ritual. This phase emphasizes the daily life of common people, particularly agricultural activities. The evening includes prayers and the lighting of a flame, symbolizing hope despite life’s challenges.
During the evening, participants rest in a quiet place, like a mango grove, where they prepare a simple vegetarian meal without knives, adhering to a strict diet. This phase emphasizes simplicity and devotion.
Beginning at midnight, this phase features intense dancing accompanied by drums. The lead dancer, known as Pata Bhakta, performs acrobatic feats, often holding a burning lamp. The dancers chant prayers to invoke Lord Shiva’s blessings.
The performance starts with songs and dances in praise of Goddess Kali, marking the beginning of the ritual.
A dance based on the story of a hunter who is revived by Shiva after being bitten by a snake. The performances feature acrobatic movements and emotional songs.
Other characters in the performance include Fakira Fakirani (wandering mendicant couple), Sapua Sapuani (snake charmer couple), and Binakarini (musical couple), who all participate in various dance and song acts.
The rhythm is maintained by the Dhola (drum) and Mahuri (wind instrument), providing the music for the dance and singing.
Some scholars believe that the Chhou Dance in regions like Seraikela and Mayurbhanj has its roots in Danda Nata, due to similar rituals and the shared worship of Lord Shiva and Goddess Parvati, especially in the Chaitra Parva festival.
The first and the foremost argument is that both Danda Nata and Chhou Dance are the ritual dance of the same festival as “Chaitra Parva” in which Siva and Parvati are propitiated. Rituals the same, as the dancer devotees are called Patua or remaining Bhakta in both the dances. The presiding deity in the Chhou Dance of Sareikela is Paudi, a local name for Bhairavi, the terrific aspect of Parvati. In Mayurbhanj the presiding deity is Bhairava, the terrific aspect of Siva. Both the deities represent the Tantric divinity as in Danda Nata. The ritual commonness in both the dances is quite plausible and therefore there appears the argument in support of the theory of common origin.
Danda Nata is a stunning example of the power of ritualistic dance and community-based spiritual practice. Through its various forms, from Mahasira Danda Nata to Bhairabi Danda Nata, it continues to showcase Odisha’s rich cultural heritage. By preserving and promoting this unique tradition, we ensure that these ancient rituals continue to resonate with future generations.
