Prahallad Nataka is a traditional theatrical form from Odisha that narrates the story of Prahallad, a devotee of Lord Vishnu, emphasizing devotion and righteousness against oppression.
The Prahallad Nataka is a majestic form of folk play which requires a specially built stage and a variety of decorating materials. It was the most popular folk dance in south Odisha. It is considered royal among the folk plays as it adds a significant dimension to the festive spirit during religious ceremonies.
The theme of the play centers around the deep devotion of Prahallad to Hari (Visnu) in the face of stiff resistance from his father Hiranya Kasyapu who tried his utmost to dissuade Prahallad from uttering the name of Visnu. The theme of the nataka has been derived from the Nrusimha Purana and Visnukesari Purana, which were composed in Odia during the 17th and 18th centuries.
The story depicts Lord Vishnu annihilating Hiranya Kasyapu and protecting the righteous Prahallad in course of His fourth incarnation (Nrusingha) in fulfilment of the promises made in the Bhagabat Gita. The play reiterates the message of Gita:
“Yada yadahi dharmasya glanirbhavati Bharata
Abhutthanamadharmasya tadatmanam srujmuaham”
“ଯଦା ଯଦା ହି ଧର୍ମସ୍ୟ ଗ୍ଲାନିର୍ଭବତି ଭାରତ,
ଅଭ୍ଯୁତ୍ଥାନମଧର୍ମସ୍ୟ ତଦାତ୍ମାନଂ ସୃଜାମ୍ୟହମ୍।”
This translates to the Lord’s declaration of His divine intervention whenever righteousness declines and unrighteousness rises.
This means – “at the critical junctures, when the social order is imperiled, the evil, forces flung their perilous pangs; I shall take birth on Earth to save the righteous by destroying the evil and to restore the land to order”.
The text of the play was composed by Sri Gopinatha Parichha of Paralakhemundi and dedicated to Rama Krishna Chhotaraya- the Raja of Jalantara and the text is limited to one hundred thirty-three songs and thirty ragas. Therefore, the authorship of the play is generally assigned to Rama Krishna Chhotaraya (1857-1905) the Raja Saheb of Jalantara- a small principality now in the Srikakulam district of Andhra Pradesh. But, according to Prof. Prahallad Panda, and Kamakhi Prasad Sarma, the real author of Prahallad Nataka was Birabara Samanta, the Raja of Tarala. Birabara Samanta’s version of Prahallad Nataka was prevalent in Tarala, Dharakote and Humma zamindari estates. 18 A Telugu version of this play is also quite popular in Srikakulam District of Andhra Pradesh.
Although most of the songs incorporated in this Nataka have been dedicated to Rama Krishna Chhotaraya of Jalanatra, Birabara Samanta of Tarala is known as the real author of the Nataka. Shyam Sundar Rajguru, the noted critic of Odia literature and the first graduate of Ganjam wrote another ‘Prahallad Nataka’ which was staged in the Padmanabha Rangalaya of Paralakhemundi. 19 Within a few years of its birth, Prahalad Natak became so popular that several Rajas of the zamindari estates like, Padmanava Dev of Paralakhemundi, Kishore Chandra Harichandan of Surangi and Rama Chandra Sur Deo of Tarala were inspired to write other versions of the play.
In spite of large variations in the structure and the play, it is confined to five major characters like Hiranya Kasyapu, Prahallada, Lilavati, Mantri and Nrusimha and six minor characters like Ganesa, Sarasvati, Mallavira (wrestlers), Chandamarkas (chamber lions), Sapua (Snake Charmers) and Vijaya Chandi (the Goddess of Victory). Hiranya, the demon king of Amarari, the capital of Nahur is a major character in the play. Prahallad, the son of the demon king, is the hero and Lilavati the queen, is the only female character, 20 Hiranya and Prahallad together dominate the play and sustain it till the end of the play. The characters dance and sing to the chorus simultaneously for long hours which is quite hazardous.
Nrusingha (Fourth incarnation of Lord Visnu) is the focal point of the play. He draws the climax at the end. He appears with a wild divinity (in the form of a ferocious Nara-Singha i.e. (half man and half lion) to punish the cursed demon Hiranya bearing a huge mask .He emerges from a pillar with Nrusingha incarnation to tear open the bowel of Hiranya when he challenges His (Nrusingha’s) presence and strikes the pillar with his mace in front of Prahallad.21 The sixth character, Mantri, the minister of the king, acts as the adviser in the play.
Ganesa and Saraswati, though minor characters, play a major role as the deities of invocations who appear on the stage at the beginning of the play to remove all obstacles and to ensure successful enactment. The other subsidiary characters such as Chandamarkas, Mallaviras, Vijayachandi and Sapua etc. also appear on the stage in the different sequences as filler which could even be reduced on demand of time. But Nrusimha (the fourth incarnation of Visnu) appears on the stage at the end and arouses the religious fervour of the audience.
Chandamarka plays the role of Prahallad’s teacher in the play. Mallaviras, who function as the bodyguards of the king, are also engaged to entice Prahallad. Vijayachandi, the presiding deity of Hiranyakasyapu, appears on the stage carrying a painted mask. Krutika Chandi, the Goddess emerges from the fire and is sent to devour Prahallad. This character also carries a painted mask and also wears a donned black garment.
Prahallada-Nataka is performed in the open air and normally staged on a big wooden platform known as mancha (wooden altar) which is about eight feet high. The altar is portable and can easily be packed up and shifted. The typical platform is divided into seven segments with a neatly executed stepping arrangement leading from the base up to the top. A majestic wooden chair adorns the upper-most part of the stage.
An area of about thirty square feet is used as the mandala (acting arena). A hollow pillar like structure made of bamboo, mat or cloth mount is placed in front of the altar at a distance which Hiranya kasyapu strikes at the end of the play and from where Nrusingha emerges. Nrusingha wears a painted mask of lion, made of wood.25 The play can be performed inside the temple yards, in front of the village Kothaghara (community hall) or in the middle of the street, lasting for about twenty hours continuously. The gurus act as directors and sometimes they also appear in the role of Hiranya Kasyapu during the play.
The costumes used in Prahallada Nataka are very much different from those of the other folk dances and classical dance forms. The principles of designing the costumes are done according to the presentation of the characters.25 The costumes of Prahallada Nataka seem somewhat similar to those of Kathakali dance. Prahallada Nataka has drawn influence to some extent from Yakha Raga. But Prahallada Nataka has its own individual stature in dance, presentation and performance.
The costumes as per the principles of the Nataka are all crafted and well designed. For example the Ghagara used by Hiranya has seven flaps arranged in pyramidal order. Each flap has its own meanings symbolizing Swarga (heaven), Martya (earth), Patala (Netherlands), Tala (still lower the Netherlands), Atala (still lower), Sutala (qualifying the above region) and Talatala (Supreme most regions deep below the earth). Hiranya wears the Ghagara to symbolize that he is the sole ruler of these seven countries.
The robes designed for Hiranya Kasyapu, the demon king and Prahallad are quite different. These include trousers, socks and Ghagaras (a waist-band having seven colours). Hiranya Kasyapu wears big moustache and beard in typical Muslim style: The man acting as Narasingha (i.e. Nrusingha) wears mask of lion and white dhoti in Bharat Natyam style.27 The female characters in Praballad Nataka are launched in typical Odia outfit with indigenous ornaments comprising Bahuti (band for upper-arms), mathamani (head ornament), khadu (Bangles), kanaphula (ear ornament), mudi (rings), notha (nose ornament), etc.
The music concert, led by the principal singer- the Gahana, takes the right side of the stage. The Gahana is accompanied by two artists playing on ‘mardala’ and ‘Pakhauj, and 8 to 10 supporting persons with ‘Gini (Cymbals).
The orchestra is led by Sutradhara (chief singer). It usually comprises four instruments, a harmonium, a mardala, gini and mukhavina. The characters usually appear with oil mixed face and body make-ups during the performance. The musical instrument played, the pattern of decoration of Hiranya, the main character, and the ragas followed in the Nataka are essentially karnataki in style.
At first Prahallad Nataka was only performed in the Darabars (i.e. courts) of Rajas and Zamindars of south Odisha. But slowly the play has spread among the common people of villages.
This popular folk dance is predominantly a musical melodrama written both in prose and poetry captivating the imagination of people beyond the barriers of age, sex and social position. In the words of Dhirendra Pattanaik, “Prahallad Nataka” is essentially operatic. There are 120 songs in the play; each set a particular raga and tala. Although music dominates the play, the song, dialogue and the interlinked prose dialogues are equally important”. Dialogues (in prose), poetry and dance are blended through exquisite artistry to cast a lasting spell on the audience.
Prahallad Nataka is rich in its own norms and unique styles. This uniqueness puts it in a distinct order among other performing Though Prahallad Nataka is a folk form but it embraces the art forms of folk plays such as Deshya Nata, Danda Nata were classical approach to a much-matured extent. It has its own individual structure, characters and costumes.
Prahallad Nataka has a remarkable effect on the rural masses and bears enormous ethical and social relevance. The triumph of Truth over Evil, the cardinal maxim of the story, is presented in a lucid and imperative manner, which has a profound impact on the rural masses. There are about 180 groups of Prahallad Natakas in south Odisha. Among them some of the troops have already had the opportunities to travel outside the state and even outside India to entertain the audience with their magnificent performance.
But, the pity is that the Prahallada Natak is gradually declining and disappearing from society due to the lack of government patronage, the poverty of the artists and the gurus, and the impact of television. To retain this century-old popular folk dance, steps may be taken to encourage the artists at the government and public levels.
