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An OjaPali performance combines narrative singing and dancing interspersed with dramatic dialogue and action. In real Pali and Oja are two different Chorus groups of dancers and singers. In this group, the Palis are "assistants" of Oja means "leaders". In an Ojapali, one who is expert in dancing, singing and recitation, and has the proficiency of delivering dialogues, is known as Oja. Apart from that, the Oja should also be attractive, and is regarded as the head artiste. The Oja is the main narrator-singer. In the performance of Ojapali around 3 to 4 Palis are necessary and within them, one Pali is known as Daina Pali. Daina Pali is the principal assistant. The literal meaning of this is 'right-hand assistant'.
Ojapali focuses on the stories from the epics and Puranas. It is associated with the goddess Manasa's worship. The story is divided into three parts - Deva Khanda, Baniya Khanda and Bhatiyali Khanda. Their dance bears clear evidence of many aspects of Indian classical dances like 'Hasta', 'Gati', 'Bhramari', 'Utplavana', 'Asana' etc. The songs sung by these people are basically in the Sanskrit language and of two types: malaci or malanci geets and jagar. They also sing a kind of mixed song, "Patsha Geet", which were written under Muslim influence. The only instrument played by Ojapali is 'Khutitaal' (palm sized Cymbal). The music of Ojapali has a raga system of clear classical orientation and the Neo-Vaishnava heritage. The classification of 'Savaras' by Ojapalis into 'Ghora', 'Mantra' and 'Tara' corresponds to the Indian classification of 'Udara', 'Mudra' and 'Tara'.
The Oja wears 'Ghuri', bangals, 'unti', ring, 'nupur' and 'tangali'. The performers wear long sleeved white gowns and silver jewelry.
Types of Ojapali Dances
Biygoa Ojapali and Sukannani Ojapali classified according to their style of performance. The central subjects of the Biyagoa Ojapali are the epics of the Ramayana and the Mahabharata. They sing the story in pure classical style, involving ragas, mudra (hand gestures) being its noticeable element. Dance is another key feature of this performance. The only instrument played by them is the khutitaal.
But, performers of the Sukannani Ojapali tell the tragic story of Behula-Lakhindar, from the Padma Purana, among the masses. Sukananni Ojapali performers are known as 'Maroi-gowa' or singers of Maroi Puja. Mudra is an essential part of the Sukannani Ojapali. Before performing the story or the passages, they sing hymns in praise of gods and goddesses. They also create quasi-dramatic situations to explain the story and create a sense of humour in order to delight the masses. The dresses in Sukannani Ojapali are a little different from those in Biyagoa Ojapali. They also play the khutitaal, but in a different style. These performers sing songs of the snake-goddess Manasa Devi, composed by Sukavi Narayana Dev, an ancient Assamese poet.
In the Biyagoa Ojapali or the Vaishnava variety of Ojapali, the classical elements are more pronounced than in the latter or in the Sakta variety known as the Mare-goa / Sukannani Ojapali. Sankaradeva included Biyagoa Oja into his daily rituals in the Satra, a practice that continues till today.
Another form of Ojapali known as Ramayani Ojapali is gradually declining. In this art form, stories from the Ramayana are presented. According to records in history, Barbyahu and Sarubyahu, two talented artistes of the Koch kingdom, were summoned by the kings time and again to sing numerous mythological verses and subsequently, their style of performance became prevalent among the masses. However, some other reports relate Ojapali to the pre-Vaishnavite period.
This traditional art form is seen in lower Assam, in the districts of Darrang, Nalbari, Kamrup, etc. As there are five members in an Ojapali group, it is also called Panchali. Some people believe that Panchal (Kanouj) is the home of the Panchali art form. |
