The Lacquer, root of the word is the Sanskrit word Laksha meaning ‘one hundred thousand’. The modern Hindustani word lakh, meaning ‘hundred thousand,’ also derives from the same Sanskrit root-word. It is also known as ‘Palankasa’ & ‘Jatu’ in Sanskrit, ‘Jau’ in Odia, ‘Laha’ in Bengali, ‘Laka’ in Telugu, ‘Argu’ in Kannad, ‘Lakha’ in Marathi & Gujurati and ‘Laho’ in Hindi language. The archaic French word ‘Lacquerre’, (a kind of sealing wax), from Portuguese ‘Lacquerre’, unexplained variant of lacquerca (resinous substance), from Arabic Lakk, from Persian Lak, the verb lacquer meaning ‘to cover or coat with lacquer’.

Lacquer was used for both the Lacquer insect (because of their enormous number) and the scarlet resinous secretion it produces that was used as wood finish in ancient India and neighbouring areas.

Lacquer is non-toxic, bio degradable, eco-friendly and safe natural material for various applications of human contact and consumption. It possesses some unmatched physio-chemical properties for surface coating. Demand for safe natural materials for human contact and consumption is in the increase and expected to be sustainable.

The Advanced decorative techniques of using additional materials such as gold and silver powders and flakes (makie) were refined to very high standards in Japan after having been introduced in China. In the lacquering of the Chinese musical instrument, the Guqin, the lacquer is mixed with deer horn powder (or ceramic powder) to give it more strength so that it can stand up to fingering. True lacquer -work is Chinese or Japanese in origin. According to Encyclopedia Britannica, varnish resin derived from a tree indigenous to China, species Toxicodendron vernicifluum (formerly Rhus vernicifluum), is commonly known as the varnish tree. The manufacturing process was introduced in Japan and remained secret for centuries. The lacquer produces very hard, durable finishes that are both beautiful and very resistant to damage by water, acid, alkali or abrasion. The active ingredient of the resin is urushiol, a mixture of various phenols suspended in water, plus a few proteins.

In modern usage, Lacquer-based varnishes are referred to as shellacquer, while lacquer refers to other polymers dissolved in volatile organic compounds (VOCs), such as nitrocellulose, and later acrylic compounds dissolved in lacquer thinner, a mixture of several solvents typically containing butyl acetate and xylene or toluene. Lacquer resin was once imported in sizeable quantity into Europe from India along with Eastern woods.

India is the first country to start collection & cultivation of lacquer and has the knowledge of its uses. Lacquer has played a very important part for the growth of  civilization.  With  increasing  universal  environment  awareness,  the

importance of lacquer has assumed special relevance in the present age, being an eco-friendly, biodegradable and self-sustaining natural material. Since Lacquer insect is cultured on host trees, which are growing primarily in wasteland areas, promotion of lacquer and its culture can help in eco-system development. It is a source of livelihood of tribal and poor inhabiting forest and sub-forest areas.

The leading producer of lac is Jharkhand, followed by the Chhattisgarh, West Bengal, Odisha and Maharashtra states of India. Lac production is also found in Bangladesh, Myanmar, Thailand, Laos, Vietnam, parts of China, and Mexico.

Princely states in Odisha used to provide special support for promotion of lacquer cultivation. Odisha used to have a good production of lacquer, and artisans here, known as lakhara, sankhari, or jaura used to make various products from lacquer. After the end of feudal administration, gradually the government withdrew the patronage for lacquer. This and other factors like theft of lacquer from trees discouraged the people involved in the business forgenerations, and now many of the lakhara/sankahri/jaura families have abandoned the practice.

The traditional lacquer artisan caste ‘Sankhari’ by title Datta, Sen and Chand are found in a patch of northern part Odisha in Balasore and Mayurbhanj districts and southern part of West Bengal in Medinipur district too. They are used to sifting their traditional occupation now.

However, I have started conducting a survey in four Lacquer Art Sub Clusters

i.e. Barabati, Nalamganj, Arad Bazar of Balasore Town and Taratari under Kishore Chandrapur GP of Nilgiri Block of Balasore Cluster in Balasore district of Odisha. Besides that, I found raw lacquer is being collected in two placqueres

i.e. Haladipada in coastal belt and Taratari under Kishore Chandrapur GP of Nilgiri Block. Whereas, the raw lacquer is collected from the host plants like Nidrabati, Sirisha, Ber, Aswastha in coastal belt.  In Tartari, the lacquer collected from the host plants like Palasha, Kusumi, Ber from wild source in Kuldiha and Similipal forest range including cultivation sources too. A lacquer society found at Tartari involved in collection, propagation and processing of lacquer alongside production of lacquer crafts.

Balasore is a major lacquer zone of Odisha since time immemorial due to availability of massive lacquer host plants in a more favourable ecological and geo-climatic situation. Thus, the lacquer crafts seem traditionally developed here too. Due to non-accessing of appropriate technologies by the traditional artisans in the locality, the lacquer craft started languishing. In such a crucial stage, the Government of Odisha concerns like Directorate of Handicrafts & Cottage Industries, State Institute of Development of Art & Crafts, Integrated Tribal Development Agency including local NGos, SHGs of Artisans started reviving to sustain and develop the lacquer culture and technology here.

The forms, colours, subjects, techniques and styles have been improved as these were found before forty years back. There are no such lacquer artisans found either traditionally or modernly trained artisans in Barabati which is the most traditional lacquer cluster of Balasore. Artisans of Daudibhanga lane, just 500m away from Barabati are still continuing production of crafts colouring on clay dolls using forms, colours, subjects, techniques and styles without lacquer art. The artisans of Nalamganj used to continue forms, colours, subjects, techniques and styles with a slight improvement. The artisans of Arad Bazar used to continue forms, colours, subjects, techniques and styles with massive development in subjects as portraits, religions, tribal, folk tales and adopted contemporary forms. The artisans of Tartari used to continue forms, colours, subjects, techniques and styles with massive development in base materials like glass, synthetic fibre in addition to lacquer bangles. The findings of the continuing study stated as follows.

The lacquer art of Odisha has a correlation with the streams of ancient Indian art and culture though a clear-cut study could not be done yet about its genesis. The use of Lacquer bangle and Lacquer dolls in marriage and other celebrations goes back to ancient days. The Lacquer coated bamboo boxes and Lacquer bangles are more popular in southern Orissa. One research fellow Dr. Kunjabihari Dhal says; “‘Jaukandhei’ is the reformed art and craft of Dhangra Dhnagri- male- female clay dolls worshiped by primitive tribes of Mayurbhanj in Orissa. Due to its creative and delighting Touch, the inhabitants of Balasore Who are physically and culturally so close to Mayurbhanj have incorporated it into their art and cluture. By way of believing in the piousness of Lacquer in Hinduism, this couple-Lacquer dolls have been accepted by the mass. The folk artists of Balasore have reformed this Dhangra-dhangri clay dolls by innovating

the firing and designing with colored Lacquer in hot-process technology. Later on the

‘Shankhari’ and ‘Jaura’ communities of Balasore had introduced in their craft Lacquer bangles or fired clay dolls designed with coloured Lacquer which is known as ‘Baleswari Jaukandhei.’ This craft could easily grow up in Balasore because of the easy availability of Lacquer host plants in the dense forest of Mayurbhanj and Balasore. The clay on River Budha Balang basin is suitable for terracotta works. Therefore, the Shankhari community of Balasore continued this trade in maintaining their livelihood. Later on, the ancient port town of Balasore could transport the Lacquerbased crafts which led to the flourishing of the trade.

Others say; “it is contemporary to the mailing of Lord Jagannath, because its forms and designs have many similarities with Lord Jagannath-the prime God of Orissa. ‘Jagannath’ means the lord of universe who was culturally and ritually integrated from the faith of Anarya – a tribe i.e. Sabara into Hinduism in Orissa. The Surveyor General of India has also placquered this craft in the Surveyor Map published for the Department of Tourism, Government of Orissa in 1986. According to the researcher the lacquer art of Balasore is very old and is of about more than 250 years.

In those days Baleswari Lacquer doll making was in massive practice. Those were sold during Durga puja, Rath Yatra, Raja Parva and in other festivals and fares. People used to purchase those with keen interest. Even they were selling those dolls in Remuna market and nearby weekly markets. The demand for those dolls was in upper trend.

Perhaps the lacquer doll making in Balasore was started in the beginning of 17th century when the maritime business spread in Utkala. Lacquer and other resin products of forest origin were available abundantly in the nearby forests of Balasore like Nilagiri, Sajanagarh and in Mayurbhanj forests. Rice, precious textile items, leather, horn, lacquer and other forest products were exported in huge quantity from Balasore port.

Three families are associated with the history of Baleswori Lacquer doll. One is Sen family, another is Dutta family and the third is Chand family. The ancestor of these families were doing this job as their family occupation. The next generation of these families are not able to properly identify their ancestors though they have preserved the sweet memories of making lacquer dolls in the core of their hearts. These three families were near the BUDHA KARTIKA in Barabati area. The present generation of these families are now residing in Barabati and Nalamganj. The following genealogy came to knowledge from physical survey.

1. Duli Sen D/O- Bana Sen, 2. Gangadhara Sen, Hari Sen S/O- Gobindo Sen, 3. Sambhunath Sen S/O- Baida Sen, caste –Sankhari, dwelling- own village, Tahasil- Balasore, Tahsil No- 319.

As found, the nick name of Gobinda Sen if Tima Sen. He had 3 sons- Gangadhara(wife- Laxmi), Baida, Hari(wife- Basanti). Gangadhara had no son but one daughter named Sabitri Sen(Nandi).

One Sankhari Family named Lalmohan Dutta was living in that Barabati area. Fulamani was the only daughter of Lalmohan Dutta. She was married to Ramchandra Nandi of Soro area and he was the live-in-son-in-law of Lalmohan. Sankarsan was the only son of Ramachandra. Sabitri Sen married to Sankarsana and known as Sabitri Nandi. Her maternal uncle’s house was in Nalamganj. They were also belong to Sankhari caste. Making jau Kandhei and Jau Bangle was their Family occupation. Sabitri Devi tells that she had seen her maternal grandparents making Jau kandhei and Bangles from her early child hood. Bhagi Chand and Radhi Chand were her maternal grandparents. Hence Sabitri’s mother Laxmi Chand(Sen) the daughter of Bhagi chand of Nalamganj. Thus it is known that Sen family Dutta family and Chand family consisted the Sankhari family of Balasore.

Sambhu is the only son of Baida Sen , the Second son of Gobinda Sen. His wife Basanti has passed away. This family has abandoned the art of doll making. Hari, third son of Gobinda has also passed away. Basanti Sen is his widow. She is earning her bread from a tea stall. Her family also abandoned this art. Her wards are now in different occupations.

Another family of Siva Sen, son of one elder brother of Gobinda Sen is residing near the Siva Temple beside the road to Balighat. Their family has abandoned their family occupation. Another brother of Siva is residing permanently at Januganj of Bhadrak. The title of his son Madhusudan is changed to Chand from Sen. Making Jau Kandhei is no more their family occupation.

Hence if anyone has accepted the making of Jau Kandhei(Lacquer Doll) as the family occupation till date, she is the one and only Sabitri Nandi’s family. She deserves all credit of Balasore Lacquer Doll tradition.

To revive this art form and to make women self-sustainable this fellow had started an NGO named Baleswari kala Kendra scince 2003. This organization is fully committed to train the budding artists, to organize a lacquer fair on the eve of Sabitri Brata, publishing a souvenir on lacquer doll, launch a web site,ceremonial wedding of lacquer dolls and in organizing different awareness competition among the students,. For this work many writers, poets, journalists, music composers, administrators, politicians, social activists, industrialists, business men, priests of different temples and the people of Balasore have joined their hands to promote the art and artists. Not only in Balasore but also in two neighbour districts

Myurbhanj and Bhadrak, it is going to be popularize among all classes of the society.

The development of lacquer art in Balasore has its own geographical and cultural causes. The neighbor district of Balasore is Mayurbhanj which is basically tribal dominated. The bride-groom Jau kandhei of Balasore reflects the tribal culture, dhangda-dhangdi. At that time a huge amount of lacquer was produced in Nilagiri and Mayurbhanj. The clay of costal belt of river Budha balanga is the preferable soil for making lacquer doll. The people lived in Barabati, which is near the belt of river Budha Balanga are generally engaged in making clay doll and used lacquer for  designing. In those days there was very little prospects of entertainment. Therefore, children were playing with these dolls and with the flow of time it gradually attached to our tradition and believes. However, after independence the mixture of culture and tradition of different region and religion seems to be taken placquere, lacquerk of promotion to the artist, huge use of plastic dolls in market and shortage of raw materials kept these artists away from making dolls. But only few people were engaged in making dolls and out of them who had actively participated in reviving and popularizing this art form not only in Odisha but all over the nation is none other than the daughter of Barabati, daughter in law of Nalamganj and the national award winner Mrs. Sabitri Nandi.

After 1980s, due to the onset of modern technology and popularization of plastic dolls, ceramics etc, this trade started declining day by day. Besides the craft families of Shankhari community started shifting their occupation to other unorganized sectors because of acute poverty posing a threat to their trade. Moreover, the artisans were unable to cope with the modern science and technology in upgrading the quality of lacquerbased craft product as well as being unable to developing the designs according to the contemporary art and market trend.

Mrs. Basanti Sen wife of Hari Sen of Olandaj Sahi, Barabati Balasore had tried her hand in manufacturing and selling Baleswari Lacquer Craft till the nineties. Her business declined due to lacquerk of diversified products and commercialization of craft in modern days. Mrs. Sabitri Nandi is the last to exponent the line and has to flag of such a languishing craft. After 2005 Mrs Kanak Lata Das – a leading lacquer artisan learned lacquer crafts from Mrs. Nandi in a Skill Development Training and is promoting this art. Manjulata Mohanty, Latifa Bibi, Maya Nayak, Bulbul Mohanty, Surekha Behera, Mangilee Sahoo, Bandana Nandi, Tapan Nandi, Susmita Mohanty, Kanaka Lata Maharna, Minati Giri, Basanti Paramanik from Balasore town & Satyabhama Khandei, Basumati Behera, Sita Patra, Sukanti Nayak, Sarada Sing, Sohani Murmu from Nilgiri Bluck

Master Dinakrushna Ankan Das & Master Karan Mohapatra are receiving scholarship from Centre for Cultural Research & Training, New Delhi on Talent Scholarship Scheme.

Mr. Ranjan Kumar Kar, a scientist from OUAT working with Krishi Vigyan Kendra, Debhog, Balasore was introduced a different strain of lacquer insect (Kerria sarada- trivoltine) that has been identified in costal Odisha. The remarkable nature of this strain is that it thrives on a species (Samania saman or Albizzia saman, locally known as Bada Chakunda, Khirisa or Nidrabati other than conventional lacquer host trees like Kusumi and Palas. It can give three crops per annum, and can be cultivated on road sides since A. saman is often seen on roadsides. He emphasized on the fact that lacquer is a potential disaster proof crop/ enterprise, and can serve as a good source of alternative livelihood for the local artisans.

Though many artisans are contributing to revive the glory of Baleswari Jaukandhei, the contribution of following three assumes prominence in this crucial juncture.

late Sabitri Nandi (1952-2015)- Facing a lots of obstacles and hurdles, Mrs Sabitri Nandi had given all her life in reviving the folk art of Balasore, The Jaukandhei, which was their family occupation once upon a time. She gave a new dimension to this art and made many women self sustainable. She was born on 30th April 1952 in a Sen family in the Olondas

lane of Barabati, Balasore. Her father’s name was Gangadhar Sen and Mother was Laxmi sen. As a sankhari family girl she got to know their family occupation and the making of this tradtional art, the Jaukandhei from her grand father and uncle. At that time, usually they were making bangles, animal toys and different Gods and Goddesses. At the later stage people came to be detached from the art and culture, modern toys were introduced in market and no one was interested to financially support this work, by which those traditional artist left their jobs and started new occupation which results the death of a folk art. Only Mrs Sabitri Nandi and her aunty Basanti Sen kept their family occupation alive. In between Sen family’s young girl Sabitri got married to Sankarsan Nandi of Nalamganj. She got three sons and two girls but her husband passed away very early. To come out from the financial crisis she came to her early occupation, the Jaukandhei. She continued her work passionately, dedicatedly and made other women earnable for which at the later stage she became a source of inspiration of other artists of new generation. People of Balasore came to know a lots of information about this art, especially the art form from this Maestro. For her excellent design and creative work, she got best designer award -1999 from the Govt. of Orissa and National Merit

Award-2003. Baleswari Kala Kendra honoured her as ‘Baleswari Jau Rani’ in 2005. To popularize and to take the attention of people to this traditional art form she presented our culture and art in all over India and abroad. This great artist passed away in the afternoon of 13th December 2014 at Cuttack Hospital. Her death is a huge loss to our society and to our state also. May her soul to give us inspiration and courage to go forward.

Next to Sabitri Nandi, Kanaka Lata Das is a front line lacquer artisan of Balasore born on 3rd May, 1976 at Purba Bahabalapur in the district of Balasore in Orissa. Her Lacquer Craft Guru was Late Sabitri Nandi, Terracotta Guru is Mr. Bhaskar Behera and Bangles Guru Mrs. & Mr. Hossain Monihar. She had completed a training of 6 month in 2006-07 under SEP through Cluster Development in Lusquer Craft in Balasore District by Rural Development Foundation, Balasore supported by Directorate of Handicraft & Cottage Industries, Odisha. As a Trainer she trained many trainees in Balaji SHG, Gudipada, Balasore in 2008, K.C. Pur Lacquer Industrial Co-operative Society, Tartari, Nilagiri in 2009, Jaukandhei Workshop, Utkalaa Silpagram, Bamapada, Balasore in 2014.

As a Demonstrator & Resource Person, she participated at S.R. High School, Baliapal for Children’s Handicraft Awareness Program By Resional Design & Technical Development Centre Office of Development of Commissioner (Handicrafts) Kolkata 2011 . Jajpur Chitrakala Mohatsov, Jajpur- 2012, Lacquer Production, Value Addition & lacquer based Rural of Division of Entomology, Sher-e-Kashmir, University of Agricaltural Sciences& Technology of Jammu- 2012, The Khairi Painting Workshop at Ramatirtha, Jashipur, Mayurbhanj-2015, 9th National Film Festival on Art & Artist – 2015 at IDCOL Auditorium, Bhubaneswar

She was exhibited solo show 100 style lacquer craft of Sri Ganesh at Balasore town on the occasion of Sri Ganesh Puja 2008.

She is developing lacquer craft of Balasore is remarkable. She created to add new form & style of models, portrait eminent portion of India & composed Odishan folk tales like The Taopoi, The Baimundi, The Kanchi Yatra, and The Tribal Dance etc. All artisans of Balasore have made on Hindu religious related subject. But Mrs. Das is adding all religious like Muslims, Christians & Buddhists etc.

At present, she is president of Arad Bazar Jaughara SHG, Arad Bazar, Balasore & Proprietor of Balesewari Hastakala Kendra, Utkalaa Silpagrama, Nocci Business Park, Balasore

A young woman neo trained lacquer artisan Satyabhama Khandei of Tartari doing many lacquer crafts using different forms and designs too. She is the influencing artisans of other interested artisans of the locality.

RITUALS OF LACQUER DOLLS IN BALASORORE

‘Baleswari Jaukandhei,’ a couple of lacquer designed terracotta doll- a languishing folk lacquer art of Balasore, in Orissa has a rich ethical and ritual values in maintaining peaceful conjugal relationship in the family while bringing the health, wealth and prosperity to an individual’s home. Celebrating its wedding ceremony with the neighbours develops long-term affinity and social harmony. Offering the dolls to lord Laxminarayan on the auspicious occasion of Maha Sabitri Brata by the married women to prosper the conjugal relationship is a folk culture of Balasore locality. The in of the striving traditional artisans of such craft are inexpressible, because of decline of its craft market due to lacquerk of appropriate technical knowledge, design orientation and market mechanism according to the changing trend of the art consumers and socio-economic scenario in the contemporary society.

Sabitri brata is an important ritual folk festival of odisha. In Odisha, married hindu women with alive husbands observe Savitri Brata on the Amavasya (new moon) day in the month of Jyestha every year. This is performed for the well- being and long life of their husbands. A treatise named Savirti Brata Katha in the Odia language is read out by women while performing the puja.

In Western India, the holy day is observed on the Purnima (full moon) of the month as Vat Purnima. It is believed that Savitri got her husband back on the first day of the Tamil month "Panguni". So, this day is celebrated as "Karadayan Nonbu" in Tamil Nadu. On this day, married women and young girls wear yellow robes and pray to Hindu goddesses for long lives for their husbands. Girls start this practice very young; they wear a yellow robe on this day from the time they are just one year old so they will find a good husband in the future.

In 1950 and 1951, Sri Aurobindo published his epic poem in blank verse titled Savitri: A Legend and a Symbol.

In England, Gustav Holst composed a chamber opera in one act in 1916, his Opus 25, named Savitri based on this story.

In India, many women are named "Savitri". Many films made in South India center on this story. In the Telugu language film versions of this story have been made since the beginning of talkies, in 1933, 1957, 1977 and 1981. Sati Savitri (1932) was the second talkie Gujarati film.

ll day long, the women only take fruits and observe fasting and keep praying to the Goddess for the longevity for their husband. After worshiping the couple of lacquer doll they placquere the couple at their own home’s worshiping placquere till the next Sabitri brata. After one year just before the day of Sabitri Amabasya they give Bisarjan to the lacquer dolls in water and collect a new couple of lacquer dolls. In this way the Sabitri Brata is observes with a great joy and giving a great value to the dolls as Laxmi-Narayana.

The lacquer dolls(Baleshwari jaukandhe) and lacquer bangles are being used by women of Baleshwar and nearby localities as the symbol of Lakshminarayan on the auspicious occasion of Maha Sabitri Brata, an unique ritual ceremony

Baleswar and creates an opportunity for the lacquer artists of Balasore in displaying Lacquer Crafts and other lacquer toys and models in the local market. This tradition boosts up sales of lacquer crafts as an annual clearance returning a lump sum financial gain. It has been made possible by the initiative of Baleswari Kala the Kendra since 2006. More over the sale of Lacquerqure doll has been increased 20 times in last five years what the traditional Jaukandhei Craftsman and the trained artisans says.

This initiative now has become a trend and influenced many small industries to produce such arts and crafts. The celebration of festival has created a great opportunity for the residents of Baleswar to experience its rich socio-cultural values to make a better life. The Jaukandhei festival is making great opportunity to propagate the “Lacquer art, culture, cultivation & production”.

A photograph of the worship of Jaukandhei on the auspicious occasion of Savitri brata by the people of Baleswar.

The auspicious occasion of Maha Sabitri Brata creates an opportunity for the lacquer artists of Balasore and Raygada in displaying Lacquer Crafts and other lacquer toys and models in the local market. This is because traditional Lacquer dolls and Lacquer bangles are offered to Lord Laxmi-Narayan by married women. This tradition boosts up sales of lacquer crafts as an annual clearance returning a lump sum financial gain. It has been made possible by the imitative of Baleswari Kala Kendra since 2006. Thus Sabitri Brata is the best time to introduce promotion of this languishing craft if sellers of this craft become more visionary.

Lacquer Doll Marriage, a festival with rich heritage: The Hindu socio-religious life is very rich in festivals. ‘Thirteen festivals in twelve months’ is a common saying in India. Most of these festivals are observed by Hindus in all regions of India in some way or other. Each festival has however acquired some local colour and form. There is also local festivals prevalent in different provinces and among different communities. There is no fundamental difference between the folk festivals and the festivals of the cultured, except the difference of forms and features .The same festivals are observed by the cultured and the uncultured as well, but not in the same way .Those festivities in which the common folk take

the initiative and give expression to their natural tendencies and capacities ,their ideas and sentiments, can be counted as folk festivals. These festivals did not, perhaps originate with the common people. Some are mentioned in the classical literature of the Hindus. It is a general tendency of the human spirit to seek relaxation and self-expression without restraint.

All Hindu festivals have some religious background, but secular elements are also noticeable in them. The people try to amuse themselves in various ways and give expression to their love for freedom ,beauty and joy sometimes. Each festival is held on a certain day of the lunar fortnight. Therefore, the day of its observance does not fall on the same calendar date every year, but varies from the solar day, as does the Christian festival of Easter.

Almost all over the world at the initial stage the intellectuals, social activists, pioneers of administration and the elites as well as the culture- lovers have joined hands to restore folk art festivals and ceremonies confined to their respective territories for the revival of their regional beliefs in paving the way for unique identification. They have provided immense hospitality and indigenous bliss to people of distant localities in furnishing such activities.

In antiquity, in some parts of Baleswar Lacquer-doll marriage ceremony was observed as a folk culture, though not massively. The ceremony was being held between two families/ lane (one bride and other the groom) with much pomp followed by a grand feast and ritual stands. Then it was gradually vanished because of modernization and lacquerk of support of culture lovers.

Dramatist Bijay Mishra of Nilagiri, Baleswar also introduced a folk song with Akshay Mohanty, eminent lyricist and music director in his Odia Cinema titled ‘Taopoi’ which says;

“Aa baula bou-bouka khela kheliba,

jhia bahakari pua bahakari jani-jautuka deba”

(Let come my friend to play doll-marriage ceremony being parties of bride & groom and making fun and joy, giving dowry and gifts)

This song actually is based on Baleswari folk culture and tradition. Time masked this type of folk tradition for being neglected by the so-called pseudo westernized generations.

I have been taken initiative with the support of my organization “Baleswar Kala Kendra” to revive Jaukandhei folk art and culture through competition, training, workshop, exhibition, seminar, magazine release, selling stalls, websites etc. Since 2003. Most writers and reporters of Baleswar describe the harmony and importance of this occasion in magazine and news paper. It inspired many people for knowing such ancient tradition of glory and heritage.

A matter of great ecstasy is that from the year 2005 Fakir Mohan Art & Craft

School at Santikanan of Baleswar has been organising ‘Child Art Competition’ in this regard for its revival and to make people aware of the fact. All print and Electronic Media had extended immense support by propagating through their respective esteemed media. Baleswari Kala Kendra tried to solemnise the folk art & culture of Balasore in a moderate system to test people’s reciprocation. In 2011, an array of intellectuals of the locality has unanimously decided to grace the ceremony in a grand way to find a unique placquere in the history of culture and heritage. A forum named ‘Jaukandhei Bahaghara Utsav Committee’ has been formed to satiate it irrespective of caste, creed and sect, so that it will bring about universal brotherhood, communal harmony and explaining solidarity in the society for a common cause. It has started a revolution to continue this tradition in a more advanced form by cultivating and producing Lacquer for the sake of culture and earning livelihood as well. The “Jaukandhei Bahaghara Utsav Committee” has selected me as the Secretary unanimously to tune up this folk festival throughout Odisha.

Jaukandhei Bahaghara Utsav Committee printed a booklet titled ‘Ama Lokaparba: Jaukandheai Bahaghara’ in 2011 to popularise recognised norms of Jaukandhei Bahaghara highlighting the bellows

• The committee will be select the bride and bridegroom party for every year.

• Both the bride and bridegroom party will take prior permission from their respective God / goddess / Priest/ age-old persons.

• The name of the bride and bridegroom will be declared every year in the 1st day of the bright fortnight of Vaisakha according to Hindu calendar.

• Lagnadhara (engagement) will be held on Baishakha Purnami and the committee declares the names of the head of bride and bridegroom parties, Koilibara(Groom’s younger brother), Nananda(sister of Groom), Bara(Bride groom) and Kania(Bride) on that day.

• At the same time bride party will declare the names of Bride’s Brother and

sister.

• Mr Parikshit Padhy family of Patrapada, Baleshwar will be proposed to be Kania Bhai and to involve in the Khaipoda ceremony for their role in being involved in the doll marriage tradition for many years earlier.

• Both the bride and bridegroom party will demand dowry for social welfare.

• The gift to the groom or bride in any shape will meant for the welfare/ development of Baleswar. The presentations should be included with Baleshwari Gaja (a traditional sweet of Baleshwar).

• The Koilibar(bachelor groom) below 12 year and the Nananda (Virgin bride) should be of below 20 year keeping in view their excellent and dynamism in various sector. They should be primarily the Baleswarians.

• Late Sabitri Nandi family of Nalamganj, Baleshwar wiil be offered the first proposal to make the Jaukandhei bride and groom for her relentless and dedicative activity in this regard.

• Silpi Kesudas will be sought first to be the intermediary of the ceremony for his continuous effort to popularise this exclusive indigenous art & culture.

• The deities and the delegates will be invited to the ceremony through the unique traditional pattern of ‘Guapaka’.

• District administration, media persons, social activists and activists of Art and culture will be invited to participate in the marriage ceremony.

• Purely vegetarian foods will be served in the reception ceremony.

• On the day of closing ceremony (Reception), committee will be declare the date of the next year Jaukandhei marriage ceremony.

• Mass marriages for the poor will be conducted every year.

• After the marriage ceremony, the Jaukandhei couple will be placquered in the district museum with details to attract the visitors for bettering the cultural heritage.

Earlier there was no calendar for Jaukandhei Bahaghara, but people were celebrating this festival during Summer. Later on, the committee decided to prepare a new lunar calendar. This Calendar (Panjika) is prepared by Kesu Das(fellow himself) keeping in mind the schedule of Sabitri Brata & is recommended and followed by Jaukandhei Bahaghara Utsav Committee, Baleswar and other Committees are following this Calender for Jaukandhei Bahaghara.

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Committee are observing this festival since 2014. Capital City Bhubaneswar & Kuruda also celebrated Jaukandhei Bahaghara on this year 2016. ODIART CENTRE of Barkul, Chillika, Odisha also has been celebrating Jaukandhei Bahaghara last 2 years ( 2018 & 2019 ).

The folk festival brings joy and immense pleasure among many people from different walks of life and it is slowly captivating the young minds in Balasore and its surroundings spontaneously. The marriage procession termed as Sampark Yatra is now a must see event of Baleswar. Culture lovers belong to various part of the district are celebrating the folk festival with the same essence but to a lesser degree.

Silpi Kesu Das

Dublagada,

Koshamba Nagar,

PO - Bhimpura, Balasore, Odisha, India, PIN - 756003

Phone- 9861104590