Mail News Service
Saraikela/Jamshedpur: Be it art or architecture, sweets or other savories, there is a predominant air of mysticism that ensconces the cultural heritage of Saraikela that has lived to tell its tale through four centuries and more of princely rule where love and care was more dominant than fiefdom as marked despotic times in other kingdoms of the land.
The rulers of Saraikela devoted their zeal and enterprise to creative pursuits and embraced religious philosophies, legitimate social observations and cultural practices while at the same time dispensing judicious rule that kept their subjects happy and content.
Mention of Chhau dance form is essential to highlight the vibrant cultural scenario that was nurtured by the kings and princes of the Saraikela estate. But if records serve curiosity, the Paika dance form emerged earlier. According to history, during early days of the princely state, the king’s soldiers or Paiks engaged in war from dawn to dusk as was the prevailing law of warfare then, a mention of which is found in the epic, Mahabharata. Just sitting around after the day’s fight and gossiping and resting did not go down well with the Paiks.
With time, they devised physical movements in tandem with the war drum beats to add warmth to the campfire. This exercise gradually became an integral part of their off-time pursuit and the physical movements became more refined. The kings too started taking interest in this exciting development. The Paiks were invited to perform in the kings’ vast courtyards and soon became a tradition. Today, the Paik dance form has gained popularity and specially trained performers have been holding generations of traditional dance lovers in awe and admiration.
It may or may not be true but some people in the know say that the enthusiasm aroused by Paika dance had many other creative minds thinking and foots tapping. It was, perhaps, during this phase that Chhau dance was gradually conceived. Tales from the Purans as also from the Ramayana and Mahabharata formed themes of the Chhau dance forms. Though Chhau does not lack the boisterousness and vivacity of Paika dance, this form is more pronounced for its sedate, sensitive and delicate movements.
Chhau dance form too received royal patronage. In fact, towards the turn of the 19th century, the ruling king of Saraikela himself became a leading exponent of Chhau and performed overseas to mesmerize the perfectionists and connoisseurs and soon this art turned an international reckoner. Today Chhau has many schools of expression including the Seraikela, Manbhum and Purulia styles or shailis. The very mention of Chhau or Paika performance has audiences up and awake to many pulsating moments of a rendezvous with a tradition worth miles to travel and witness.
Unfortunately, however, in spite of the efforts to preserve and propagate this fascinating Chhau heritage through the Rajkiya Nritya Academy in Saraikela, students and recognized performers work in tandem to create and work on new themes and concepts but authorities that be forget that the zeal for expressive creativity has to be stoked by quelling the fire of hunger pangs. Recently, it has come to light that Chhau performers have not been paid their stipends over the past two years in spite of government directives that no one should go hungry. If this is not a quirk of fate, what is.
ALLURING ARCHITECTURE
The entire Saraikela region is dotted with architectural masterpieces. They may or may not attract the attention of casual visitors but for those who want a break from the routines of daily living, frustrations and course-changing pursuits for material needs, may find a perfect hiding place from the rigors of city life. There are structural marvels in the lap of Saraikela nature that date back 400 years or more. The artistry in concept and execution of these edifices through time may have an abundance of Kalinga touches but that is natural as the Odisha border is just a stone’s throw from this erstwhile princely state.
A few soul soothing structures that come to immediate vision are Jagannath Shri Mandir, Panchmukhi Baba Bholanath Mandir at Majna Ghat, Shiv Sthal at Kudarsai, Mrityunjay Khas Shri Radha Krishna Mandir, the old Raas Mandir and portions of the now crumbling Raj Palace speak the language of a culture that has to be felt through the breathtaking creations to be understood.
Several governments have come and gone and there have been promises and hopes, papers and petitions have been moved to renovate and preserve these and many more as heritages but all such ventures have remained confined in files that are collecting dust on forgotten shelves of government offices. Meanwhile, the simple but proud residents of Saraikela are determined not to let go of their traditional historical epithets and so, in their individual and collective capacities are trying to preserve whatever is left of the footprints of creative architecture. The kings and princes now bereft of their crowns and thrones have not let their love for their people dry up and help out in their silent ways in their endeavor to save a culture from passing beyond the fates of Paleolithic times. To cite an example, the Saraikela people have been making their best efforts to keep the roof of the Jagannath Mandir from crumbling by making stopgap structures and have not given up on hope that someday, some government would take notice and join in a determined bid to save major pages of Saraikela’s artistic architectural history.
CULINARY CUSTOMS
It is widely known that India holds aloft its multihued cultures and exciting traditions with each region boasting of social, cultural, religious and culinary specialties. The taste bud teasers of Saraikela are more than special and have held good through centuries of tradition. The dedication, love, care and fondness that go into the making of each delicacy have to be tasted to be believed. Of course, the Saraikela Laddoo has remained special through centuries and generations and the taste has remained the same — delicious. It is made of besan and seo with the perfect blend of sweetness that does not infringe the borderline. They are available in every outlet, special or otherwise and is a MUST in the plates of visitors and guests. Unfortunate is that tourist or visitor who does not carry home a few packets of Saraikela Laddoo to share the joy of each bite melting deliciously in the mouth. Others have tried hard to imitate this ‘sweet ball’ but have miserably failed. That is the hallmark of tradition propagated through generations for posterity.
It may sound amusing when one of the many governments had strongly assured that Saraikela Laddoos would feature prominently not only on the platter of Jharkhand but of the country and it remains confined to Saraikela and its guests and visitors who never stop asking for more.
Besides these unofficially branded Laddoos, the art of making varieties of Pithas is also a major portion of traditional cuisine. Originally made in Bengali households ages and centuries ago, it no longer remains confined to that state. Entire Chhotanagpur belt continues to tantalize the taste buds of sophisticated gourmands with the unique forms of Pithas. Saraikela too maintains its tradition and the array of Pithas prepared on the occasion of Makar Sankranti and other festivals with the harvest periods occupying a special place in festivities, one cannot stop oneself from taking more than one bite from each form of Pitha.
But time does take its toll by way of changing lifestyles and preferences. With urban culture infringing on simple rural ways, delicacies of other regions and nations are taking over albeit in distorted forms. The originality is not there. All one gets to eat is spicy and in the long run, indigestible hotchpotch grub. But among all the fast food items and Tandoori baits, the Saraikela Laddoos are not to be missed and the lucky ones to have their grandmas around still get to relive traditional time with Pithas and Payesh.
Saraikela culture retains its semblance amidst the winding Kharkai River that has meandered its way through time to tell of the magnificent times of glory. One has to have time to listen to this River’s tale narrated in its musical ripples.
