Introduction

Dance is integral to any community's cultural heritage, significant across different times and places. It provides both entertainment and ritualistic value, originating to honor deities and meet human psychological needs. Diverse dance forms emerged over time, shaped by culture and geography. Thus each state's folk dance reflects its people's unique traditions. Western Odisha, with its rich folk heritage, features the popular Dalkhai folk song, dance, and festival. Western Odisha's folk dances are exceptional for their unique characteristics. Here, dance transcends mere entertainment, becoming a vital expression of the region's folklore. The captivating 'Dalkhai' dance, performed by women belongs to tribes such as the Mirdhas, Kondhs, Gonds, Khadia, and Binjhals, as well as by other communities like the Kultas, Malis, Goudas, Telsis, and Dumbals, is prominent in the districts of Bargarh, Sambalpur, Bolangir, Sonepur, Kalahandi, Nuapada, Jharsuguda, Deogarh, Sundargarh, and Boudh. This dance is revered as “the Goddess of Fertility” and “the Goddess of Ayudatri (giver of long life).”

"Dalkhai" originates from "Dalkhai Devi," the Goddess of Fertility, and refers to Dala meaning tree branch worshipped during the "Bhai Juntia" festival by unmarried girls in Western Odisha. Celebrated on Maha Ashtami in Aswina, it includes “Dalkhai Usa,” where young women perform the traditional Dalkhai dance. Traditional form lasting 36 hours from Saptami to Dussehra, this dance takes place by the riverside. An idol of Goddess Durga is crafted from riverbank sands, placed under a revered tree, and ceremonially worshipped. Dalkhai, a folk deity, is honored at the “Dalkhai Kuthi” on village elders' homes. Despite efforts to revive it in Odisha, this cultural tradition faces challenges. The Dalkhai dance is also performed during Nuakhai, Pusp Puni, Fagun Puni, and weddings, embodying the region's rich heritage.

Related folktales and legends

The origins of folk dances, including Dalkhai, lack written documentation. Instead, their history is preserved through various folk tales and legends. Among the many myths surrounding the observance of Dalkhai, the tale of Uinlabati is particularly renowned. Once upon a time, in Dakshin Koshala, a great ruler named Thala Raja governed his kingdom with his wife Bimala and their two children: a son named Dalaraja and a beautiful daughter named Uinlabati. One morning, Uinlabati went to the river with her grandmother and while bathing, she noticed a leaf cup floating on the water, filled with worship items such as flowers, sun-dried arua chaula (unboiled rice), lia (puffed rice), and a bunch of evergreen duba grass. Intrigued, Uinlabati asked her grandmother about the significance of these items. Her grandmother explained that unmarried girls in heaven had performed a ritual and fasting for the well-being of their brothers. These items were used in their worship and then sent downstream after the ceremony. Uinlabati was deeply moved by the devotion to the supreme mother Goddess Durga for the welfare of brothers. With her grandmother's guidance, she began to perform these rituals herself. Since that day, the tradition of Bhai Juntia has been practiced.

Another story in this line is during ancient times, there was a king Chalita in Koshala and queen Lilabati. They had two sons Debahari and Rama Hari married with Tulsi and Dahana. With the desire to have a daughter the royal couple offered many worships to God, and finally they blased with a daughter Rahela. When Rahela was seven showed her inclination and interest towards doing the dalkhai puja and told her parents to give her the worshipping articles for the puja. But she failed to convince everyone of this and finally committed suicide in the village pond near the Nutei Dhobini tutha. When her parents got the news of her suicide when they went to the bank of the pond and got surprised by seeing her playing with the seven sisters known as “sat bahani”. As Rahela refused to come along with her parents her parents requested sat bahani to convince her to come with them, they instructed them to provide all the worshipping articles to Rahela, only then would she go along with them. Then the king assured Rahela to allow her to do dalkhai puja. Since then, dalkhai puja is being observed by the girls.

Another popular the story goes that, once upon a time a holy man named Rusi told a group of seven sisters that in case you cannot bath in the Ganga, you will die. Incidently, the seven sisters could not find any water to bath during seven days and thus decided to commit suicide on the seventh day. But before they could carry out the suicide, seven brothers who all were sons of a king came to the jungle and rescued the seven sisters from suicide by marrying them. Then the seven sisters entered the kingdom with the princes and performed the Dalkhai dance. Afterwards, the seven sisters continued to perform sixteen Pujas or worship year wise and when fasting, the sisters used to dance in order to forget the hunger.

Performance of Dalkhai dance by women folk

The Dalkhai dance, an integral part of the cultural heritage, seamlessly intertwines with songs and music. During this mesmerizing performance, dancers gracefully sway their bodies, dangle their hands, and step their feet to the rhythm of the music. The dance is initiated by young, unmarried women known as 'Kuanris', who begin with a romantic folk song, setting the stage for the Dalkhai dance. One notable aspect of the Dalkhai dance is that performers observe a fast during the dance. The celebration kicks off on Saptami and culminates with the Dussehra festival of Durga Puja. The virgins form a semi-circular chain, linking hands at their waists, and engage in a musical dialogue with their counterparts, who stand around the chain, reveling in the performance.

The dance begins with a brief, invigorating instrumental prelude. The Dalkhai song then commences with the spirited calls of 'Dalkhai bo' or 'Dalkhai re', signaling dancers, musicians, and the audience to prepare for the spectacle. The song flows with gentle, rhythmic drumbeats, building anticipation until the final line of the stanza. A repeated refrain indicates an imminent pause. As the music halts, an explosive burst of instrumental sound signals the start of the group dance.

With the beats of the Dhol, young women synchronize their leg movements, bending their knees to create the distinct steps of the Dalkhai dance. They move forward and backward in a half-sitting posture, their hands moving alternately forward and backward. Both boys and girls dance in clockwise and counterclockwise directions, enhancing the dynamic and captivating nature of the performance.

Thus, the Dalkhai folk dance, accompanied by its traditional song, creates a vibrant and rhythmic spectacle that captivates audiences and preserves the rich cultural heritage.

Dalkhai dance in recent time

In recent years, the Dalkhai dance has undergone significant transformation, evolving from its traditional roots to become a vital part of Sambalpuri cultural identity. Originally performed by the Adivasi communities, Dalkhai has now become a well-known art form, moving beyond its ritualistic beginnings. This shift has been supported by various government and non-government initiatives, ensuring the dance's preservation and modern appeal. Since the late 20th century, public performances have brought Dalkhai into the spotlight, attracting a diverse audience. This exposure has helped it blend with contemporary tastes, making it relevant to today's viewers. The dance has expanded from tribal areas to urban settings, demonstrating its adaptability and widespread appeal.

A notable trend in Dalkhai's evolution is the rise of cultural recreational dance groups. These groups, bolstered by supportive initiatives, organize performances, workshops, and training sessions to deepen public appreciation of the dance. Dalkhai is no longer just a ritual for the Dalkhai Goddess; it has become a highlight of cultural events and festivals.

Women have been instrumental in this cultural revival. Traditionally the custodians of the Dalkhai dance, many women have become dance instructors, passing their knowledge to the younger generation. Their mentorship is crucial for the dance's survival and growth. These dance gurus have established training programs and academies, where young women learn the dance's nuances, thereby expanding its reach. Through these efforts, women have not only preserved a significant cultural heritage but have also empowered a new generation of dancers. This has resulted in greater recognition and respect for Dalkhai, both within the Sambalpuri community and beyond. The transition of Dalkhai from a traditional tribal dance to a celebrated cultural performance highlights the resilience and adaptability of the dance form and the women who have championed its evolution.

References:

• Mohapatra. A. (2017). The Essence of Popular Folk Dances 0f Odisha.

• Nath Nibedita & Mishra Supritee (2023). Dalkhai—the Journey from Ritualistic to Popular Folk Dance.

• Naik Raghumani (2020). Dalkhai: A popular folk Dance of Western Odisha. Journal of Humanities and Social Sciences Studies (JHSSS).

• People’s Archive of Rural India. Retrieved from https://ruralindiaonline.org/en/articles/the-dulduli-and-dalkhai-artists-of-sambalpur/ on 10 July 2024.

• EZCC portal. Retrieved from https://www.ezcc-india.org/odisha.php on 6 July 2024