ଶ୍ରୀ ଜଗନ୍ନାଥ ମନ୍ଦିର ମାହାରୀ ନୃତ୍ୟ
Debadashi Nrutya called Mahari Dance in jagannath temple puri.
Ordinarily though Mahari Scemes like the Debadashis the dancing girls engaged at the services of the God in different temples of India, but the Maharis differ from other Debadashis in many ways in respect of the SEBA, the social status, the dance style and many more. The Maharis is a distinctive dance style inverted in the tradition engaged at the services of Lord Jagannath the most giangentic hindu temple of eastern India, to speak precisely exist in Shri khetra puri. It has a reach, strong and viral traditions on compariable to other similar dance forms practiced in India. The Maharis are the only women Sebayat communities engaged at the services of the God for different services. Traditionally there are 36 main Nijogas in Jagannath Temple among whom specified rituals (Nitis) are allotted for separate Nijogas by which there is not be any overlapping the activities. Since, the Maharis one prominent Nijogas among the 36 Nijogas and the only women Nijogas. We know that temple building activities started in Gupta Era with these started the rituals of entertaining the which in turn gave birth to the system of the dancing girls in temples. In Odisha the dancinggirls traditions started during the Somavanshi period. In an inscription it is stated that Kalabati Devi mother of Udayatakeshari engaged three Debadashis, a beautiful as Rambha in the Bhubaneswar. We have further references of engagement of debadashis in the temples of--------Niyali and also in some other temples. The Great King Chodanga Deva in 1947 AD. During the concreation ceremony of temple along with Utkalathron the musicians from Mukhalingam were brought to perform Music & Dance. These who came from the south they are known as Telegana Sampradayak where as the traditional dancers those are in the services of different temples from Somavanshi period are known as Maharis. They are settled in a special hemlet known as Anga Alasha Patana situated in Chudanga Sahi in the North side of Temple. At one side of the village stay the Sahinayak and the next end stay Minanayak who acted as guardian of these girls. These girls ceremonially inducted to the services of the Lord at there early teenage by tying a saree on head by the Chatisha Nijogas Nayak in presence of RajGuru. They marry to the Lord and serve at his feet till there death. They work in different capacities like Singing & Dancing. They maintain Shilivashis throughout there career and reverd in the society as the wife of the God himself. Usually they sing and dance everyday during Mangalalati early morning, Sakaladhupa, Chandanlagi, badashinghara Etc.. Lord Jagannath is treated as Rajadhiraj, the emperor among the Gods. He is treated with different upacharas all total 64 in numbers like a king. He is one such a God which is very fund of Music & Dance right from waking up very early in morning till he reattached to bed after Badashinhara. There are stipulated rituals of Music & Dance. They performing at traditions of Jagannath temple constitutes song, dance, music and dramas which are enacted as per the calendar prepared bleesing on the traditions. To streamline the rituals different works are distributed among them. The major two forms are Gauni and Nachuni. The Gaunis are entrusted with the work of singing where as the Nachunis are the dancers. The Gauni are two types- Bahar Gauni and Bhitara Gauni. The Bahara Gauni accompanished the God where it is necessary that Chalanti Pratimas who move outside the temple to solemnize different functions organized in various festivals such as Chandana, Jhulana or many more.
MUSIC :
Guru Gopal Chandra Panda
Guru Bijaya Kumar Mohapatra
Guru Bijaya kumar Jena
Guru Nimakanta Rautray
MARDAL :
Guru Cachidananda Das
Guru Kalandi Charan Parida
VOICE :
Guru Bijaya kumar Mohapatra
Guru Bijaya Kumar Jena
Guru Binod Panda
Guru Sangeeta Panda
Dance Choreography Ashok Kumar Das