Dancing for the juggernaut

India | Anno 2004

 

Sunday, April 4 | Bhubaneswar – Konark – Puri

Monday, April 5 | Bhubaneswar

 

 

Sunday, April 4 | Bhubaneswar – Konark – Puri

Mahabatra used to be a truck driver. In that capacity, he transported cargo with a truck. Nowadays, he transports tourists with a bus. Whether tourists or cargo, for Mahabatra, it doesn't matter. He has to take them from point A to point B. It's that simple.

Patiently, our local guide Manoj tries to change his mind. Perhaps, he suggests, Mahabatra could consider taking speed bumps with the rear wheels as carefully as with the front wheels. For passengers in the back seat, that would be much more comfortable. In theory, Mahabatra is open to the idea, but in practice, those good intentions don't materialize. No worries, with this duo, we are in good hands, the future will teach us.

The welcome was immediately warm – a flower garland around the neck, flower petals in the hair, and a radiant tika on the forehead.

Earlier, just after noon, we landed in Bhubaneswar, the capital of the Indian state of Orissa¹⁾, about fifty kilometres from the Bay of Bengal coast and over three hundred kilometres southwest of Kolkata, the former Calcutta. The welcome at the hotel was immediately warm – a flower garland around the neck, flower petals in the hair, and a radiant tika on the forehead.

Now we are on our way to the coast, specifically to Konark and Puri. Together, they form what the tourist authorities here call the Golden Triangle – the temples of Bhubaneswar, the Sun Temple of Konark, and the magical beach of Puri. Each of them is a gem. Yet, that's not the main reason why we have come to Orissa.

What particularly interests us is an introduction to the culture and way of life of the Adivasi, the descendants of the original inhabitants of India – comparable to the Aboriginals of Australia, the Native Americans of the United States, or the First Nations of Canada.

The exact details of the migration are not entirely clear to historians and archaeologists. In the past, it was believed that the warlike Aryans flooded the Indian subcontinent around 1500 BCE from Central Asia, using force to displace or subdue the local population, attracted by the fertile valleys of the Indus, Ganges, and Brahmaputra.

What particularly interests us is an introduction to the culture and way of life of the Adivasi, the descendants of the original inhabitants of India

Nowadays, it is more commonly thought that relatively peaceful peoples arrived in successive waves from the north between 2000 and 1500 BCE. Often, they intermingled with the original population, but frequently, the latter withdrew to the more inhospitable parts of the land. Whatever the case, the newcomers managed to impose their cultural and religious beliefs on others. Hinduism and the caste system were the main expressions of this. To this day, they dominate life in India in all its aspects.

More than six hundred of these original ethnic groups have maintained themselves in the remote areas of the Indian subcontinent for over three thousand years. They are called Adivasi, which means Original Inhabitants in Hindi. Orissa, in particular, is known for hosting many Adivasi. A total of 62 different ethnic groups feel at home in the southwest of Orissa, living scattered among the forests on the remote hills. About a quarter of the state's population – totalling around ten million people – identifies with one of these indigenous tribes.

When the temple was constructed around 1250, the sea used to reach almost up to the temple wall

Konark – Sun Temple

But first, let us immerse ourselves briefly in the dominant culture of the Hindus. Manoj refers to Orissa as an agricultural state. The landscape passing by the windows certainly supports that notion. However, Orissa is also known for its rich soil – one-fifth of India's coal, one-fourth of its iron ore, and one-third of its bauxite are extracted here. This often leads to conflicts with ethnic groups, as the mineral resources are frequently located in their traditional areas. This issue is shared by the Adivasi with the Aboriginals, Native Americans, and First Nations.

For instance, the Dongria Kondh, one of these indigenous tribes, will only succeed in asserting their rights to the land they consider sacred after a decade of protests in 2013. The Indian Supreme Court will then decide that it is the Dongria Kondh who have the right to determine whether the British mining giant Vedanta can or cannot extract bauxite from their land.

 

Konark – Sun Temple – Mandapa

In any case, more than 70 % of the local population spends a substantial part of their lives in the fields. Rice is the most popular crop, yielding as many as two harvests per year – one during the wet monsoon season and another during the dry months. Irrigation is not a problem during the monsoon, but for the dry months, they have developed a complex system of channels to direct water from the rivers to the fields. Currently, most fields still boast grass-green plants, and it will be a few more weeks before golden rice can be harvested.

Shortly after four o'clock, we reach Konark and visit the Sun Temple, the world-renowned temple dedicated to the sun god Surya. It has been on the UNESCO World Heritage List since 1984. Unfortunately, it is currently under restauration. The intention is to chemically treat the soft sandstone so that it can better withstand corrosion from the salty sea air, Manoj explains. UNESCO has provided the necessary funds for this purpose.

The main building itself is designed in the form of a giant chariot, a representation of the chariot the sun god Surya uses to traverse the sky from east to west every day

Wheel of the Sun Chariot of Surya

When the temple was constructed around 1250, the sea used to reach almost up to the temple wall. However, over time, the coastline has shifted two kilometres to the east. After Muslims desecrated the temple in the 16th century, it fell into disuse. Gradually, the temple disappeared beneath the sand, and it wasn't until 1903 that this gem was rediscovered.

Characteristic of Hindu temples like this one is the shikhara, a tower with gently curved walls tapering towards each other. However, the shikhara is missing here. The tower, which was originally seventy meters high, was levelled to the ground in the 19th century, along with the sanctuary it once towered over.

 

Side view of the Sun Chariot of Surya

As a result, only the mandapa remains standing, the public hall that was used for religious dance and music. With its forty meters, this square building with its pointed roof is still quite impressive. In the past, it was open to the public, but for safety reasons, it is no longer accessible today. To prevent further collapse, it is supported.

This was the place where the dancers, at dawn, would awaken the sun god Surya with their chants and, at nightfall, perform their enchanting dances

This is not a significant drawback because those who want to admire the famous sculptures will focus exclusively on the phenomenal exterior facades. This becomes evident at the nata mandir, the beautiful dance hall at the eastern entrance of the temple complex. Naturally, this building is oriented to the east because it was here that the dancers would awaken the sun god Surya with their chants at dawn and perform their enchanting dances at nightfall. These graceful scenes are depicted in a series of panels on the foundation of the dance hall, like a film carved in stone. The finesse with which this is done is astonishing.

 

Side view of the Sun Chariot of Surya

However, this is just a taste. The main building itself is designed in the form of a giant chariot, a representation of the mythological depiction of the sun god – a portrayal of the chariot he uses to traverse the sky from east to west every day. On either side of the temple, twelve enormous stone wheels are carved, each with a diameter of three meters. Their number symbolizes the twelve months. Not a square centimetre is left unworked. The spokes of the wheels are intricately adorned with dancers, warriors, and erotic scenes. Even the ends of the axles feature these motifs. The staircase to the entrance is flanked by a team of seven horses pulling the massive chariot – four on the right side and three on the left – a reference to the seven days of the week.

Notably, there is a scene featuring an elephant, a giraffe, and figures with an African appearance

Scene featuring an elephant

Just like in the dance hall, the sandstone walls of the temple are adorned with intricately carved scenes. With an eye-catching sense of refinement, they depict goddesses, musicians, dancers, erotic scenes, all in their grace and diversity. Notably, there is a scene featuring an elephant, a giraffe, and figures with an African appearance. This illustrates that the Oriya²⁾, the original inhabitants of Orissa, already had maritime relations with the black continent in the 13th century.

 

Mandapa with a statue of Surya

Surya

Higher up, against the southern, western, and northern facades of the mandapa, there is a statue of Surya gazing into the distance. These statues are not made of sandstone but of chlorite, a hard volcanic rock. From below, these statues might appear ordinary, but as we climb upward, we discover the meticulous ornaments of the figure, depicted in the smallest detail.

In 1999, twenty thousand people died when a tsunami surged up to ten kilometres inland, causing death and destruction everywhere

Meanwhile, the sun is gradually setting on the horizon. It is already dusk as we reach the coast near Puri. We walk along the beach to a modest fishing village a few hundred meters away. Here, live the Telugu people, originating from the state of Andhra Pradesh, south of Orissa. There are six thousand of them; they fled here after a hurricane devastated their homeland. Not that it's much safer here: in 1999, twenty thousand people died when a tsunami surged up to ten kilometres inland, causing death and destruction everywhere.

A charitable organization of Italian origin appears to sponsor education here. Young men from Andhra Pradesh have been brought here to provide education. Schoolbooks and other facilities are also provided, but only 450 out of the 3,000 children running around here can be helped.

Tour guide Anup immediately identifies the core issue: due to their migration, these people fall outside the democratic system. Every village in India is governed by an elected gram panchayat or village council, led by a sarpanch or mayor. They have the power to invest funds where needed. But these Telugu fishermen probably won't even vote, so why would the panchayat care about them? Their needs in terms of water supply, electricity, healthcare, and education will never determine the political agenda. Add a touch of xenophobia, and the fate of these Telugu is sealed.

On the full moon day and the days before and after, they don't fish at sea because the waters of the Bay of Bengal are too rough then

An impressive row of sturdy, seaworthy rowboats lies idle on the beach. On the full moon day and the days before and after, they don't fish at sea because the waters of the Bay of Bengal are too rough then. As if to confirm this, the full moon occasionally peeks through the dark clouds. In calm seas, however, these fishermen easily row twenty kilometres into open waters.

Darkness falls quickly. Manoj is no longer at ease; a sense of insecurity creeps over him. With hunched backs, we return against the brisk wind to the bus.

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Monday, April 5 | Bhubaneswar

The Parashurameshvara Temple in Bhubaneswar is an active Shiva temple. The trident on top of the tower indicates that the temple is dedicated to Shiva. The raised flag reveals its active status. However, at this early hour, we can somewhat downplay the active aspect of the temple. We have the temple all to ourselves.

 

Parashurameshvara Temple

It's not large, this sandstone building dating back to the 7th century. Nevertheless, the temple boasts impressive baroque decoration: windows with stone lattice work, deity statues, bas-reliefs featuring processions of elephants. We recognize Lakshmi, the partner of the supreme god Vishnu, depicted between two elephants. The Saptamatrika, the seven inseparable mother goddesses, are also present.

 

Vishnu with his mount Garuda

Sadhu

In the innermost sanctum, Shiva resides in his traditional form of a lingam. This small stone pillar symbolizes a phallus, representing the creative power of the deity. A copper snake lovingly coils around Shiva to protect him. The surface on which the lingam rests represents a yoni, the female reproductive organ, embodying the feminine energy of the goddess Shakti. The merging of the lingam and the yoni symbolizes the release of creative divine energy.

The merging of the lingam and the yoni symbolizes the release of creative divine energy

Sahasralingam with 1,001 mini lingams

Cobras in a protective pose around lingam and yoni

In the nearby elementary school, students diligently bend over their notebooks. They are currently taking their exams. However, the teacher looks stern. The presence of those peculiar tourists disrupts the serenity of the scene. Obediently, we make our way out.

It cannot be denied that the sculpture on this Hindu temple shows Buddhist influences

Mukteshvara Temple

A bit further stands the Mukteshvara Temple, somewhat younger than the Parashuramesh­vara. Dating back to the 9th century, it is one of the most intricately decorated temples in Bhubaneswar. The resemblance to the Sun Temple of Konark is striking, although this temple is much smaller. It cannot be denied that the sculpture on this Hindu temple shows Buddhist influences. However, this should not surprise us, says Manoj. During that time, sculptors moved from one temple site to another, and the same style thrived in various religious contexts. Thus, Kartikeya, the lesser-known son of Shiva, is depicted here somewhat like a Buddha.

In ancient times, the classical Maharidances were exclusively performed by devadasis, unmarried girls from elite families who were dedicated to the temple for life

Devadasi – Photoshoot

Apparently, two Japanese ladies have chosen this temple as the backdrop for a photoshoot. In full attire, they pose for their photographer, while their teacher directs the scene. Attire, jewellery, flowers, tattoos, and makeup are perfectly in line with the traditions of the more than thousand-year-old Mahari dances.

In ancient times, these classical ritual dances were exclusively performed by devadasis, unmarried girls from elite families who were dedicated to the temple for life. They were considered as wives of Jagannath, the Lord of the Universe – Anglicized to juggernaut – and sang and danced every day to please their husband. According to the prevalent interpretation of Hinduism in Orissa, Jagannath should be seen as the supreme deity, namely an avatar or incarnation of Vishnu.

One of the most classic poses adopted by our Japanese ladies is that of a girl admiring herself in a mirror held in her left hand, while pointing to the tika on her forehead with the index finger of her right hand – a well-known theme found repeatedly on the temple walls of Khajuraho. Tirelessly, their teacher oversees every detail of their appearance; even the position of fingers and eyes must be perfectly in line with classical regulations.

Before heading to the Lingaraja Temple, devout pilgrims cleanse themselves in the waters of Bindusagar

Bindusagar

Before heading to the Lingaraja Temple, devout pilgrims cleanse themselves in the waters of Bindusagar, a large artificial lake constructed in the 8th or 9th century in the heart of the old city. It is fed by a natural spring and, according to the origin legend, is said to contain water from all the sacred rivers. The exact workings of this process remain a mystery. In the middle of the lake, there is an island with the temple that becomes the focal point of the procession with the image of Lord Lingaraja every year in May.

A priest performs a puja, an offering, likely in memory of a deceased parent of the man squatting beside him

Puja

Today is Monday, the day of Shiva. It should be a bit busier than usual, but at this early hour, it doesn't seem noticeable yet. We walk through the old city, weaving between cow dung. A priest performs a puja, an offering, perhaps in memory of a deceased parent of the man squatting beside him. A flower vendor offers nagkesar, a poisonous snake god flower. If you lift the flower's head, you can imagine a tiny lingam appearing, with the flower's head bending over it like a protective cobra.

 

Lingaraja Temple Complex

The enormous temple complex of Lingaraja boasts a total of 108 temples – 108 being a sacred number as a multiple of nine and twelve. At the centre is the grand Shiva temple with its 54-meter tower. As non-Hindus, we are not allowed to enter the temple grounds. We must content ourselves with a view over the wall from a platform. In the centre, we see the great temple of Shiva, to the right, the slightly smaller temple of his partner, Parvati. On the tall tower, a priest without fear of heights unfolds a red votive flag, likely a thanksgiving gesture from a believer whose prayers have been answered.

 

Lingaraja

Cobras in a protective pose around lingam and yoni

Just before half-past nine, it's time to leave Bhubaneswar and Hindu Orissa behind. We head into the hills, searching for tribal Orissa.

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Jaak Palmans
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Everyone is at the haat

 

¹⁾ Orissa, the name of the state, will be changed to Odisha in November 2011.

²⁾ Oriya, the name of the people of Odisha and its language, will be changed to Odia in November 2011.