Sarala Culture and Ghanta Patua Nrutya

Maa Sarala represents the combined divine forms of Maa Durga and Maa Saraswati. Sarala culture reflects a unique synthesis of the three major Hindu worship traditions—Vedic, Tantric, and Vaishnav.

Devotees recognize Jhankad Pitha as one of the eight Shakti Pithas of Odisha, holding immense spiritual and historical significance. The presiding deity of Jhankad Pitha, Maa Sarala, is worshipped in the form of an Ashtabhuja (eight-armed) stone idol. The Goddess sits majestically on a throne in the form of Manisha Mardini, with her right foot placed upon a lion, symbolizing the triumph of divine power over evil.

Throughout the year, devotees celebrate numerous festivals and rituals at Jhankad Pitha, reflecting the rich cultural heritage of the region. Among these, Jhamu Jatra holds a special place. This traditional festival features an extraordinary folk dance known as Ghanta Patua Nrutya, which expresses deep devotional and cultural sentiments.

Although Ghanta Patua Nrutya has gradually declined in modern times and people now rarely see it, performers continue to perform it during specific ritual periods associated with Devi worship, preserving its sacred connection to Maa Sarala. This dance form remains an integral part of the spiritual identity of the Sarala tradition and stands as a living symbol of Odisha’s rich cultural legacy.

During the procession of Ghanta Patua Nrutya, the rhythmic clatter of wooden stilts striking the earth blends with the resonant beating of brass gongs, known as ghanta. A group of patuas (traditional performers) balance themselves on wooden stilts while carrying a brass pitcher raised on a wooden pole. Others enhance the rhythm by striking the brass vessel, creating a powerful ceremonial soundscape. People call this vibrant ritual performance Ghanta Patua Nrutya.

The brass pitcher symbolizes the Mother Goddess, revered under many names such as Sarala, Bhagwati, Chamunda, and Hingula. Devotees ornately decorate it and fill it with sacred offerings—banana leaves, hibiscus flowers, and coconut shells—customary gifts to the Goddess. The pitcher is secured to a wooden staff using mud collected from a holy river. Male patuas carry this sacred vessel on their heads and journey through villages during the month of April, bestowing blessings upon devotees in exchange for alms. Their performances traditionally conclude at local temples dedicated to the Goddess.

The Ghanta Patua Nritya is especially captivating during the month of Chaitra at the shrine of the presiding deity, Maa Sarala. Nearly a month before the festival, the Ghanta Patuas reside near the temple and observe a state of ritual penance. During this period, they travel from village to village bearing the sacred Ghanta of Maa Sarala upon their heads. Villagers receive them with devotion, wash their feet, and offer bhoga and pana (ritual food and a sweet beverage) after beholding the Ghanta. Through their dance and music, the Patuas glorify the Goddess while maintaining a perfect balance of the ghanta and synchrony with the ringing ghanta.

Approximately three ghadis (about one hour and twelve minutes) before sunrise, once the temple priests open the doors, a sequence of sacred rituals begins. These include Mangala Alati (early morning offering), Bhitara Shodha (inner sanctum purification), Snana (ritual bathing), Besha (adorning the deity), and Chandana Lagi (application of sandalwood paste). This is followed by Surya Puja (Sun worship) and Ballabha Niti. After the Ballabha Niti, priests perform Sakala Dhupa (the morning principal food offering). Upon completion of Bandapana Alati, the temple arranges Sahanmela (public darshan) for devotees. During this time, priests adorn the Goddess in the majestic Raj-Rajeshwari Besha, and a group of married women, known as Simantini Gana, perform Panthei Puja within the temple premises.

Around mid-day, the Raula Sevaks and Bhoi Sevaks of Sarala Peetha, after receiving the Agnyamala (divine permission garland) from the Goddess, proceed ceremoniously to the Gharatola Ghata on the banks of the Prachi River. Accompanied by the sounds of ghanta, dhola (drums), and kahali (trumpets), they collect sacred water in the Panchamukhi Ghata (five-faced pot) and return to the temple. The Ghanta Patua Sevaks, adorned in traditional women’s attire, then perform the Ghanta Patua dance upon their return. Once the dance concludes, the sanctum is temporarily vacated, allowing the performance of Dwiprahara Dhupa (mid-day offering) and Bhanda Dhupa (storehouse offering), followed by Dwiprahara Pahuda (midday rest of the Goddess).

In the evening, Sandhya Alati is performed, followed by Ulaga and Marjana (changing garments and cleansing). After the Goddess is dressed anew, Bhagavata Patha (recitation from the Bhagavata Purana) takes place.

The Kalika Nrutya is traditionally performed around midnight by a member of a designated Khamarei family. The chosen individual observes a strict fast throughout the day. Around 11 PM, inside the former cowshed (goshala) of the Goddess, he is adorned in the awe-inspiring Mahakali Besha and holds a khadga (sword). Amidst the sounds of ghanta, dhola, mahuri (wind instrument), and blazing torches, he dances toward the temple. He circles the temple courtyard once before entering the sanctum. After receiving darshan following the evening alati, he exits through the southern gate. Surrounded by musicians and spectators, he completes four circumambulations of the temple courtyard during this fourth pali, circles the Kakathei temple three times, and finally dances back toward the cowshed. Exhausted, he collapses near the goshala, marking the conclusion of the Kalika Nritya.

Following the Ratri Dhupa (night offering), Gitagovinda Patha, and Bada Singhar (grand adornment), the sacred Bhramani Niti is performed. After completion of the Bada Singhar Dhupa, the Chalanti Pratima (mobile idol) and the Durga idol of the Mother are placed together on a single pedestal and ceremonially carried around the temple courtyard three times. The idols are then returned to the sanctum, where a light offering known as Bhramani Bhoga is presented on the Simhasana (throne). With this final ritual, the Goddess retires for the night, and the Pahuda (divine rest) ensues.