Odia Opera: Back in business

From its origin as a folk art form in the 16th century to attracting a crowd of over 30,000 a day at the ongoing Khandagiri Mela, on the outskirts of Odisha’s capital city Bhubaneswar, traditional Jatra opera has traversed a long journey.

Though ridiculed by the so-called class audience for its loud expressions and ham acting, the largest form of entertainment in Odisha is well ahead of other mediums like films and television in terms of generating revenue.

It’s no surprise that at least a dozen Jatra troupes have set up camp on Khandagiri’s foothills, with events beginning February 18 and continuing until February 29. According to the estimate, the whole business volume could top Rs 10 million this year.

With the number of viewers increasing each passing night at Khandagiri, Sunday POST takes a look at Odia Jatra’s chequered past and key factors behind the steady growth of the industry.

The roller coaster ride

Much before the advent of films and television, Jatra was the only source of entertainment in Odisha. Evolved and diversified through centuries, Jatra reigned supreme until the first half of the 20th century. At that time, the plots of most of the shows were adapted from epics such as Mahabharat and the Ramayana. However, after the 1950s, plays based on fiction and contemporary subjects were included to compete with films. Despite that, the popularity of Jatra shows was on the decline as  viewers started taking more interest in films and cosy proscenium theatres. It was that period of the 20th century when popular theatre houses like Annapurna Theatre, Janata Rangamanch, and Ekamra Theatre in cities like Cuttack, Puri, and Bhubaneswar were ruling the entertainment scene.

Threat from celluloid: Despite the onslaught of movies, theatres, and later television, Jatra was still very popular in the rural setting of Odisha. However, the rising popularity of movies, both Hindi and regional, and the mushrooming of cinema halls across the state dealt a body blow to the Jatra industry. Works by cinematic legends like Gour Ghosh, Nitai Palit, Parbati Ghose, Prashanta Nanda, Basant Nayak, Amiya Patnaik, Sabyasachi Mohapatra, Sisir Mishra, and many others gained more traction with the audience. It can be concluded that the period between 1970 and 2000 was the most challenging for the industry.

Period of resurgence: Towards the later part of the 1990s, viewers started losing interest in movies and television as the content was blatantly copied from south Indian or Hindi movies. Thanks to the wide reach of the Internet, the sources of Odia movies or series are no longer a secret to the audience. With viewers seeking original content, opera shows found favour again. In fact, the introduction of new technologies in presentation and the addition of grandeur to the sets, coupled with aggressive promotion, saw phenomenal growth in the Jatra industry. According to Jatra Jeevan, Jeevan Jatra, a national award-winning documentary film by Kapilas Bhuyan, by the mid-2000s, there were 120 graded Jatra parties performing in Odisha and other states. The number would be around 400 if smaller parties were added to the list, it said. The popularity was such that film stars like Hara Patnaik, Ashrumochan Mohanty, Raimohan Parida, and Minaketan turned to Jatra acting and direction. Top stars like Bijoy Mohanty, Sidhant Mohapatra, Mihir Das, Jina, and Papu Pom Pom are often seen doing cameos in Jatra shows. So much so that top Bollywood villain Shakti Kapoor and actress Padmini Kolhapure also appeared in a Jatra show at that time.

Corporatisation and aftermath: The booming business of Jatra made a prominent media house in Bhubaneswar jump on the bandwagon. It formed Jatra troupes and dominated the scene for a few years, adopting a corporate style of functioning. However, the house failed to last long, and the groups were dismantled after a few years of formation, severely affecting the industry. According to industry experts, the house managed to employ many top Jatra artists from established groups by paying them an exorbitantly high salary. Ethics were thrown to the wind. This not only hit the traditional parties hard, but many artists were left jobless as their pay structure had gone up several notches and no one was ready to hire. Moreover, failing to meet the demand of the artistes (ranging from Rs 7-8 lakhs to Rs 40 lakhs), the Jatra Troupe Owners’ Association (JTOA) unanimously decided to shut down the industry, which sent shockwaves across the state.

Covid blow: The pandemic didn’t leave any sector untouched; Jatra was no exception. With the shutting down of the industry, many artistes switched to other professions, like selling vegetables and opening eateries for a living. Some even migrated to other states and got engaged as daily workers.

Once again in a flourishing phase: Had the JTOA’s decision to stop shows in 2018, the opera shows in Odisha would have become history by now. But, fortunately, that didn’t happen. Following the pandemic peril, the industry has bounced back like never before. Not just in Khandagiri Kumbh Mela, the biggest platform to showcase the art form, the shows are now doing big business across the state, marking a resurgence of the industry.

A director’s take

With over three decades of experience in Jatra direction, Kishore Khandual, an alumnus of Utkal Sangeet Mahavidyalay, is a prominent name in the circuit.

Listing a few reasons behind the exponential growth of opera, he said, “There are several reasons why Jatra is growing in popularity. The first and primary reason is the waning reputation of other mediums of entertainment, television, and films in particular.”

Elaborating more, he continued: “Before the golden years of movies in the 1970s and 1980s, Jatra was the principal source of entertainment in Odisha. But the advent of television, coupled with some really good movies, made viewers shun Jatras. However, thanks to the deterioration in the quality of films and TV shows, people started returning to Jatra shows in the 2000s. Despite a few hiccups, the form is on a rising trajectory.”

Unlike TV shows and Odia movies, it still presents original content to the viewers, which is also a reason people throng the shows, added Khandual.

“This apart, the owners of the troupes left nothing to chance to attract opera lovers. Over the years, the look and style have undergone a drastic change. Cashing in on technological advancement, hanging microphones have paved the way for cordless speakers, while lasers and improved lighting systems have added zings. Similarly, advanced props and stage designs are only supplementing viewing pleasure,” pointed out the Kala Odhani director.

Khandual, however, rued the fact that the form is yet to be accorded industry status despite being the biggest medium of entertainment in Odisha.

The artistes and technicians should also be provided with facilities like provident funds and pensions to bring them under the social security net, concluded the director.

Viewers’ View

Once the only source of entertainment for rural folks, opera shows are now accepted in cities like Bhubaneswar, a hub of people from various socio-economic backgrounds, blurring the line between class and mass.

Award-winning short filmmaker and photographer Tapas Rout is an ardent fan of Odia Jatra. He hardly misses out on any shows at Khandagiri.

Asked, while Jatra is dubbed by many as loud and crass, what draws a class audience like him to Jatra, Tapas says, “Jatra has been my go-to place to unwind since I was a child. It connects me to the soil. Because I was born and raised in a rural area, Jatra was the main source of recreation during my formative years, as I did not have access to television or theatres. The allure of attending a Jatra show with friends and family cannot be described in words.”

He also watches films in multiplexes and web series, but they are nothing compared to the excitement that Jatra offers, he claims.

Aside from soul-stirring performances, the magic created by light and sound on stage is incomparable to other forms of entertainment, says the author of the novel Bidaya Belara Surya.

“Another reason I enjoy Jatra is that it transports you to a rural setting, even if you reside in an urban location. Jatra’s magnificent performances inspire us to reflect on our disappearing traditions and cultures. I’ve watched television shows, movies, and binge-watched online series. However, Jatra stands out in its ability to connect rural and urban Odisha,” observes Tapas.

Despite living in a city like Bhubaneswar where sources of entertainment are plentiful, what draws her to opera performances? To this end, beautician Gitarani Majhi of the Ayurvedic Hospital area says, “Yes, I get ample opportunities to watch recent releases in theatre, stand-up comedies, musical concerts, and other shows. But Jatra is larger than life, which attracts me the most. Besides, the emotions shown by the artistes look so real.”

She goes on to add, “The content is also original, unlike the movies and TV shows. Often, we identify ourselves with the plot, as if we are part of the narration. I agree that Jatra is melodramatic, but when you watch it, you can feel the strong connection that it builds with its audience. At times, it teaches social and family values too. Not just me; you can spot many school and college goers at the shows.”

Despite the higher ticket price and long duration, she would always prefer opera over other sources of entertainment, says Gita.