Puppetry in Assam

by Gitali Saikia | 2018 | 39,831 words

This represents a methodological study of Puppetry in Assam, which forms a major part of their ancient traditions and folk dramas. The art of puppetry has close relation with Assamese culture and society. Even though the availability of local literature is limited, there are many books on Indian puppetry....

Folk Theatre (b): Ojapali

Ojapali is the semi folk dramatic institution of Assam.

“Srimanta Sankardeva took help of Ojapali to propagation of religion called Ek Saran Bhagawati Dharma. Therefore we can know assume that Ojapali was prevailed in Assam,since before Sankardeva’s birth.”[1]

The term Ojapali constituted of two different words—Oja and Pali. Oja originated from a Sanskrit word “Upadhaya”and Pali originated from the Sanskrit word “Palita”.Storytelling is the main aim of Ojapali. Ojapali influenced by religious thoughts. Religious thoughts are the indispensible part of socio cultural life of people. Temples have great contribution towards the birth and evolution of Ojapali in Assam. Ojapali therefore can be termed as socio cultural institution.

Belief and myth related to Ojapali:

Although Ojapali has close relation with classical song, yet it has intimacy with folk life since its birth. The performers of Ojapali are the member of folk society. Ojapali is perform during various socio religious events of folk society. The intimacy with folk society have given birth many myths regarding creation of Ojapali.

The myths prevalent about the origin of Ojapali are briefly described below—

a. Divine Origin:

According to divine origin theory, the originator of Ojapali was the third Pandava Arjuna. The Asuras (demons) were the enemies of Devatas. From a long period, Devtas were suffering a lot of the Asuras outrage. Devtas seek help of Arjuna and he defeated the entire Asuras.To present honor to Arjuna, Indra organized a dance program of celestial dancer Urbashi. Arjuna’s personality attracted Urbashi towards him. She deeply felt in love with Arjuna. Urbashi proposed Arjuna for marriage with his father Indra’s permission. However, Arjuna refused her proposal. Urbashi became very angry and she cursed Arjuna that he will remain eunuch for one year. Pandavas were required to live in disguise during their last year of exile. Arjuna chose to live as eunuch in the palace of king “Virata”. Arjuna appointed as music teacher of king “Virata’s daughter Uttara. Arjuna named as Vrihannala during this time. He taught Uttara the songs and dance he enjoyed at heaven. As such, Arjuna brought Ojapali from heaven to earth in the form of Gandarva bidya.

a. The belief of Parijati

According to this belief, a woman weaver named Parijati got the lesson of Ojapali in her dream while she was weaving cloth. She heard a melodious tune of music coming from heaven to earth. She stopped weaving and began to dance with the song. She even got necessary costume for Ojapali in her dream. She taught Biyahar Ojapali among her students.Latter her students got their name as Biyahar ojapali.

Byaskalai and Kendukalai myth

According to this myth, Byaskalai and Kendukali were creators of Ojapali. Byasa was creator of Biyahar Ojapali and Kendukali was the creator of Sukannani Ojapali.

Division of Ojaplai:

According to theme of narration or recitation text, this beautiful art form divides under following groups-

Epic based ojapali:

Epic based Ojapali recited verses from the Ramayan and the Mahabharata and Purana. Epic based Ojapali have also some sub heads. They are—

1. Vyas or Biyahgoa Ojapali:

Biyahgoa Ojapali is the oldest form of Ojapali. Biyahgoa Ojapali is relating to Vaishnava cult. This type of Ojapali recites verses from the Mahabharata, the Ramayana and Purana. Besides the Ramayana and the Mahabharata, Biyahgua Ojapali recites verses from Usha Parinoy of Pitambor Dwij, Gitiramayan of Durgabar Kayastha. Biyahgua Ojapali is generally performs during Basudev puja and Jagar puja.Biyahgua Ojapali is also known as Sabhagoa Ojapali as it is performed in various assembly if gets invitation. Biyahgua Ojapali troupe contains six persons including Oja.Oja is the chief of the group and palis are his assistant. In Biyahgua Ojaplai, performer does not play cymbal. They wear anklet or nepur instead of cymbal. In other word anklet play the role of cymbal.

2. Ramayani Ojapali or Ramayan sangita Ojapali:

Ramayani Ojapali sings from the epic Ramayana. Ramayani ojaplai performs in Vaishnav puja, Sobha(meeting), religious programmes and so on. Ramayani Ojapali recited verses from the Ramayana of Madhab Kandali and Ananta Kandali, Giti Ramayan of Durgabar Kayashtha, Adhbut Ramayana of Raghunath Mahanta and so on.

3. Bhaira Ojapali

Bhaira Ojapali also depends on the Ramayana. Verses of the Ramayana recite by performers. Acting gets preference in Bhaira Ojapali. Bhaira Ojapali troupe consisted with one Oja, one Dainapali, five Palis. Comedy scenes are incorporated in Bhaira Ojapali to create humoristic environment. In the occasion of fairs, meetings and Vaishnava puja, Bhaira Ojapali is performed. Here Dainapali play the role of Bhaira. Oja narrates the story and dainapali acts on that.Ram, Laksman, Sita, Ravan, Hanuman are main Characters of Bhaira Ojapali. Use of political satire in the mid of the performance is one of the most important character of Ojapali. The Satire is called “Purana”.

4. Dulari Ojapali:

Dulari Ojapali or Dulari gan recites verses of Bhagawat Purana. Dulari Ojapali consisted with one Oja, one dainapali and a chorus group. Palis plays Khutital by using both Oja recites verses without playing any musical ileft and right hand, while Oja recites verses with out playing musical instrument.

5. Panchali Ojapali:

Panchali Ojapali adopts themes from Bhagawat Purana. Pancha means five.In this form of Ojapali foot movement of oja and pali is very important. Here oja makes stylized movement of foot on the five rhythms (tals) and therefore this kind of Ojapali is called Panchali Ojapali. Panchali ojapali troupe consisted with one Oja and four to five Palis.Oja holds a whisk in his left hand and plays khutital with his right hand along with singing verses. Two or three Palis play Mridanga. They are known as bayana.Palis are helper or assistant of Oja and sings with him.

6. Sattriya Ojapali

Sattriya Ojapali is confined only in the arena of Sattra (Monastries) of Assam.It is said that actually Sattriya Ojapali is not other then Biyahgua Ojapali.After entering into monasteries of Assam, it took the name Sattriya ojapali.

6. Durgabari Ojapali

Durgabari Ojapali is that form of Ojapali, where verses from Durgabar’s “Giti Ramayana” are use. Durgabari ojapali was very popular art form of undivided Kamrup and Darrang district. However, in present time, Durgabari Ojapali is prevail only in Hazo area. “The Ojapali group of Hajo area performs in sitting positions but formerly it was performed in a standing position.Like Biyahgua and Ramayangua ojapali, Durgabari Ojapali also permorms in the context of ritualistic functions, meetings etc.

7. Nagaya Ojapali

Nagaya Ojapali is prevalent in some places of Nagaon. Nagaya Ojapali is mainly obs€erved in Barhampur, Kaliabor and Ranthali.Nagaya Ojapali is the compostion of Sattriya Ojapali and Biyahagoa Ojapali. Here acting gets preference over dance.The manner of presentation is same with other traditional Ojapali troupe of Assam.

Non Epic Based ojapali

Instead of the Ramayana and the Mahabharata, non epic based Ojapai recites verses from Padmapuran.This kind of Ojapali is mainly perfomed to worship Goddess Manasha. Sukannani Ojapali recites the story of Behula and Lakhinder. Sukannani Ojapali is the cultural asset of Darrang, East Kamrup and North Kamrup. Influence of Biyahgoa Ojapali can see in the texture of music of Darrang. Influence of Bhaira Ojapali is visible in Ojapali of middle Kamrup. However, the Sukannani is not use in Middle and East kamrup. They use only the word “Ojapali”. Manasa Ojapali group consisted with one Oja, two Dainapali and two Aagpali. However, number of performers may change depending on the situation. Suknnani Ojapali sometimes accompanied by “Deodhani” dance.

There are some other kinds of non-epic based Ojapali. They are—

Rong goa Ojapali

When Manasha puja is organized for one or two days, that is called Rong goa Ojapali.Rang goa Ojapali can again classified into Gota Rong Puja and Ekporiya Rong Puja.Ekporiya Rong Puja held for one day and Gota Rong puja held for two days.

Bisohori Ojapali

Bisohori Ojapali is prevalent in Kamakhyadham and Bamunsualkuchi.The important feature of Bisohori Ojapali is that, this kind of Ojapali is performed in sitting position.Performers of Bisohori Ojapali recites verses from Manasakavya of Durgabar.

Maregan

Maregan is another form of non-epic based Ojapali. Maregan is mainly prevalent among Pati Rabha and Bodo Kachari people pf Goalpara, Saygaon, Boko and nearby places.Maregan is held in the context of serpent Goddess Bisohari worship. Marepuja can organized personally or publicly.Marepuja held for long duration is called Bhormare.Deodhani or Dadhoi dance is compulsory in Maregan or Marepuja. Folk dramatic sequences get preference in Maregan. Music of maregan have similarity with Suknani Ojapali of Darrang and Kamrup region.

Padda puran or padda puranor gan

Padda puranor gan is prevalent in south and north part of undivided Goalpara region. This kind of Ojapali recites verses of Sukabi Narayan Deva.Podda puranor gan is related to worship of serpent Goddess Padmawati.Padda puranor gan is the composition of music, dance and acting.In Padda puran, a particular type of flute is played which is known as Mukh bashi. Due to which Padda puran is also called as “Bashi Puran.”

Tukuria Ojapali

Tukuria Ojapali was once a very popular form of art. But due to some unknown reason presently this kind of Ojapali is prevalent only among Pati Rabhas of south Kamrup and Boko area.Tukuria Ojapali performs in context of Tukuria puja.“The tradition of Tukuria Ojapali was intitiated by an old man named Tukuria Burha. This type of Ojapali sings only orally transmitted songs.Tukuria Ojapali is performed in sitting position”[3]

Api oja

In Kamrup, api means “girl. Api Oja is a form of Ojaplai, where all the performers are girl. Like other kind of Ojapali, here also members are classified into Oja, Dainapali and Pali. Other then costume of performers,there is not any difference in Ojapali perform by girls and Ojapali perform by males.api Oja recites themes of the Ramayana and the Mahabharata. Api Oja performance is indispensible in functions organized by female.

Manner of Presentation

“Ojapali is a group performance of choral singing accompanied by dance. An explanation of narration with different gestures and stylized movement by the performers is the most important feature of Ojapali.”[2]

The first phase of Ojapali performance is “Alap”. According to Hemkosh dictionary, Alap means exposition of some “raga” or melody note, which begins with some kind of syllables.The songs are set into ragas-some of them are similar to classical ragas. Next to it Guruvandana or prolong starts. Prolong starts with a very long verse. Guruvandana starts with a Sanskrit sloka. Ojapali group consist with Oja, Daina pali and Pali.Oja is the leader of the group. His assistants are called Pali. Dainapali is the second leader of the group. In the absence of Oja, Dainapali controlls the whole course of the performance. Daina means right side. Dainapali stands to the right side of the Oja in the time of perfoemance. The Oja should be expert in music and dance.

Major part of the success of the performance depends on ability of Oja.

“The Oja sings song with various gestures of hands and fingers paralle to rhythmic movements.He sets the refrain for the Palis including Dainapali to repeat it.Number of member may very in case of different Ojapali group. Oja with Dainapali describes the theme in an understandable way for audience. To cater audience attraction, Dainapali and Oja meets in humeristic conversation during performance.

“In almost every religious event of India, a myth is related to it and the expression of these myths through dance and acting with music can be termed as folk drama. As for example,the myth of Beula lakhindar,myth of siva,durga and Padma are closely related with Suknnani Ojapali.During the period of worshiping,these myths are recited by the Oja and the Pali with dance and gestures (mudra) and stylized movement.Here dance plays a very important role.”[4] .

Deodhani dance is relating with different forms of Ojapali.Deodhani dance posses numerous dramatic elements.Bhaira Ojapali creats satirical situation through unique bodily movement and satirical speeces. These chareacters of Ojapali established it as a folk drama, besides the presence of classical elements in it.

Dress and ornaments of Ojapali

The dress of Ojapali has similarities with the performers of Puppetry and Bhaona performance. The colour of Oja and Dainapali’s dress is always white. Oja wears white dhoti as his lower part garment and a white shirt with full sleev as his upper garment. Oja and Pali wear head gear.This head gear or paguri have similarity with headgear of Ankiya Bhaona. However regional difference can see in costume of different ojapali groups.In some ojapali group, Pali does not wear Paguri. The head gear of suknani Ojapali is called kuhumia Paguri and headgear of Suknani Ojapali is called moirachali paguri. Oja wraps a chadar around his neck.Oja also used a waist belt called tangali.Tangali is hand made cloth.Oja and Palis apply chandan tilak on their forehead. Oja and Palis use garland of flower or tulsi. The ornament used in ear by Oja is known as Kundal or kanor sona. Oja wears muthi kharu or gam kharu in both hands.Nepur is also wear by Ojas.Oja of Byasgua,Suknnani and Api Oja wears dhol madoli as their neck ornament. Finger ring made of gold or silver is also wear by Ojas.

On the other hand, Api Oja wears traditional chadar mekhela along with assamese ornaments. They apply a round mark of vermilion on their forhead called “fota” or fot.

Conclusion

Ojapali is an ancient form of art, which is admixure of both classical and folk elements. It has been earning great respect in Assam since its birth. Ojapali has been using by various government and non-government organizations as a traditional medium. Ojapali is used to disemminating knowledge among folk people about various social issues of our society.it is a good tool of spreading knowledge. However, the performers of Ojapali are facing many obstacles during this period of aggression of globalization. On the otherhand, many new generation people have realized the importance of Ojapali and are trying to conserve and spreading it among youngsters through training and research.

Footnotes and references:

[1]:

Sharma Nabin Chandra:Bharatar Uttar Purbanchalar Parivesya Kala Ojapali,Bani Prakash Pvt.Ltd,1996,p:87

[2]:

Saikia Gitali, Tamuli Sanjib Luchan: “Folk Theatre of Assam”, DIPR,Guwahati,Assam, p:28

[3]:

Sharma Nabin Chandra: “Bharatar Uttar Purbancholor Parivesya Kala Ojapali’, Bani Prakash Pvt.Ltd.,1996, p:256

[4]:

Sharma Nabin Chandra: “Bharatar Uttar Purbancholor Parivesya Kala Ojapali’, Bani Prakash Pvt.Ltd.,1996, p:256

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