Similipal Tiger Reserve

I was in final year in my engineering college, when I got a chance to visit one of the most beautiful place in Orissa. Thick and green forests, extensive grassy lands and meadows, cloud kissing peaks, precipitous and sparkling waterfalls, meandering rivers, roaring tigers and trumpeting tuskers

, fleeing deer and flying squirrels, talking myna and dancing peacocks et al make Similipal a dreamland of Nature in the wilderness and an irresistible destination.

Similipal, which derives its name from ‘Simul’ (Silk Cotton) tree, is a national park and a Tiger Reserve situated in the northern part of Oriss

a’s Mayurbhanj district. The tiger reserve is spread over 2750 sq km and has some beautiful waterfalls like Joranda and Barehipani. The park is surrounded by high plateaus and hills, the highest peak being the twin peaks of Khairiburu and Meghashini (1515m above mean sea level). At least twelve rivers cut across the plain area, all of which drain into the Bay of Bengal. The prominent among them are Burhabalanga, Palpala Bandan, Salandi, Kahairi and Deo.

The hills with several peaks and valleys in between, rise steeply from the plains of

Udala in the south and Baripada in the south-east and extend up to Jashipur in the north-west, Bisnoi in the north and Thakurmunda to the west. There are several streams flowing in all directions and ultimately draining into the Bay of Bengal via Major permanent rivers are the Budhabalanga, Palpala, East Deo, Nekedanacha (Salandi), West Deo, Khairi, Bhandan and Khadkei.

The riparian zones, perennial streams and meadows

form key areas. The Bhadragoda valley, Tarinvilla area, Patbil and numerous small swamps and marshes form the riparian zone. Prominent meadows are Devasthali, Bachhurichara, Sapaghar, Matughar, Tarinivilla, Tiktali, Chahala and upper Barakamuda.

The Current Save Tigers Program reveal Fourteen Hundred tigers left in India out of which 101 is in Simlipal only. If Save Tiger program has to succeed first we have to save simlipal.

Dalkhai, Rasarkeli and other traditional sambalpuri songs

Rasarkeli song (savour of erotic taste), Jaiphula (a flower), Bhamara song (black bee song), Gua-nadia geet (betel nut-coconut song), Nialmalli (a combination of two flowers), Dalkhai song (leaf eater song) are the songs sung by both the young boys and girls. Rasarkeli song represents the intense love and attraction of a male towards a female. The male addresses a female as ‘Rasarkeli’ which literally means the store of erotic savour Jaipuhula (one petalled Jasmine) and Nialimalli are the names of the flowers. The combination of Niali flower with Malli (Jasmine) symbolizes the close and undivided friendship in between the companions. So one friend addresses the other as Jaipuhula or Nialimalli. All the songs, thus, represent the deep love and relationship between the companions. Bhamara geet is especially sung by the females only to tease and disrepute the males. The eternal relationship of a black bee with the flower is a well known allegory in Indian aesthetics. The lustful character of a black bee indulged with many of flowers is the symbol of a lustful adulterer. The Bhamara song of Kalahandi represents the above sense of poetic expression.

The gua-nadia geet is also an interesting song found in this locality. Gua means betel nut and ‘nadia’ means coconut. These two fruits hard on the surface and juicy within represent the hard and strong surface of the woman’s behaviour with a hidden softness in her brace. If one can manage to penetrate into the heart of the woman by overcoming her rude behaviour he can only enjoy her savour. The theme of the Gua-nadia song of this region is, thus, symbolic with poetic taste. Dalkhai is a song well distributed in Western Orissa. In Sambalpur district this song is used at the time of rituals. But in this area, the song is used at the time of entertainment. Sajani (addressed by one girl to her companion) is a song of conversation in between two girl companions.

All these songs are based on eternal love. The joys and sorrows of human feelings have been reflected in it. The sweet and emotive feelings of the lovers of both the sexes, are portrayed in the above songs in a simple and lucid manner. The love and hatred, the attraction towards each other, the thirst for union, the social bond as an obstacle in their free unity, the arrogance of a female to her beloved male, the presumption and pretension of the young lady to her lover, the desire for elopement by the couple, the social hindrances standing against their way and will, the strong emotional desire to die and dedicate for each other are portrayed in the said songs. The exultant feelings of lovers flows down from their heart like a wild stream in the form of oral tradition. The eternal love and beauty and the symbol of human feelings have been picturized in it. The greatness of this song is that it is ever-living as oral tradition and it is the song through which a young man expresses his secret desire before a beloved to choose his life partner in which the society also gives its full recognition. To get the vivid taste of some songs are given below :

Rasarkeli Song :

Malifula phutikari maha maha basu

Kala bhamarake dekhi gaha gaha hasu

Tara tara hele nani alge jai basu

Kie toke kain kahela sangata

Alge jai basu nani de kahide re.

(You bloom and smell like jasmine,

You smile at the sight of black bee,

when I approach, you keep aloof,

who did say you, what o mate,

you sit alone, O’ maid, tell me)

Rasarkelire

Nandi tene pare kire gurjiphula dhoba,

Amemane chaluthile naikara lobha,

Nandi tene pare kire pakhanara gadi,

Chhane para jugithiba sangata

Sange jima gadhi kia Dagadia re.

Maa bua nani baile sangata,

Jima udlia, kia Dagadia re.

(O Rasarkli, Across the river, there are while flowers.

Don’t avarice on us during our walk,

Across the river, there’s the stone seat

O compeer wait me a while

we shall go to bathe together

O how imposter he is,

if parents deny O comanion, we

will elope.)

Jaiphula Song :

Jaiphulare

Sahaja patara hate,

Bana luga dei anichhe tote

Jaiphulare

Ghaita balibu mote.

(O jaiphula, saj leaf in my hand.

I have brought you instead of woven

Clothes, you will call me husband.)

Jaiphulare, panigala sagaraku

mana karithili sunagoriku

Jaiphulare,

Chora buhinela taku.

(O jaiphula, water glided down to

the sea, I desired the golden fairy,

O jaiphula, the thief stole her.)

Bhamara Song :

Khaili rasa gulgula,

Tora nai babu maheji pila,

Maheji pila ho sate,

Mora sange mana bhula bhamarare.

(I ate juicy sweets

You have no wife nor children.

Really, you come to me,

O black bee.)

Duare ghantilu dhana,

Ame tukilamane khailu pana

Khailu pana ho sate

Pilamane hinamana bhamara re.

(Dried paddy on the corridor

We girls chewed betel,

The boys are deprived;

O black bee.)

Gua-nadia Song :

Barike dogila hansa,

Muhuke dekhile ho sate,

Budhi bayase,

Sate, kusari rakhichhu rasa re

Guanadia

Sate dindiri ase bhendia re

Guanadia.

(Swan corssed the boundary

Your visage looks old in age

You are the stock of sugarcane

O guanadia, the young lad moves around you.)

Ahare ukiabati !

Tui nai heluga sate amara jati

Sate kole dhari chuma detire guanadia,

Sate kindiri ase bhendia re guanadia.

(O brighrty ! were you my caste,

Really, I’d kiss you putting on my lap,

O guanadia, the young lad moves around you.)

Nialimalli :

Tena pati base Bandu

Machha nai bali kainje kandu

Sate bhaluchama tike bandhu re

Nialimalli, Nialimallike paimi bali

Kede asha Karithili.

(The Bandu [1] bird sat on the

‘Tenda pati’ [2] (water lifting crane)

Why do you cry, that you have no

moustache tie a bear skin on it

O Nialimalli

to get you, how great hope I had !)

Dalkhaire,

Suru suru bhaji mulapatara

khaibake nanai hela batara

Dasata anguthi panchata mundi,

Ame naijanu dalkhai, Khechada budhi.

(The little greens and raddish leaf,

O leaf-eater became worthy of eating

there are ten fingers for five rings

O dalkhai we don’t know how to tease.)

1. Bandu pati : A bird like owl

2. Tenda pati : Water lifting wooden crane.

Dalkhaire, chala tukilemane nadike jima,

Rupara thaline lau katima

Sunara thaline jogara [1] nema,

Khaibake dema juna puruna

Suibake seja palanka uchhaidame ki dalkhaire,

(O leaf-eater, let us all the girls, go to the

river, Cut the gourd in silver plate,

take the ‘jogara’ in golden plate

we will feed them opening new and old

fetch them quit and palanquin to sleep.)

1. Jogara : Fooding and clothing provided to the host by their relatives for the guest as the part of the ritual.

Sajani Song :

Sajani, kahin jaithila jane,

Khata paridele basiba chhane,

Katha charipada bane sajanire.

(O companion, where had you been alone ?

You will sit for sometime when offered cot,

to have four good words gossip, O companion.)

X X X X

Sajani, alua chaula jhain,

Tumara mana katha kahila nai

Sajani, aja janigali muhin.

(O companion, the white rice is bright,You did not tell me your heart today I found it.)

Jharsuguda - Industrialization and Environment

Let's go to my birth place this time, a small village in a small town called Brajrajnagar which is part of Undivided Sambalpur District and now Jharsuguda District. This part of Orissa was always seen Industries, I grew up in the environment where one side was Paper-Mill and other side was Coal Mines. The district always buzz in new business but always lacks in education and health-care. Last five years, things has changed leaps and bound. Money started raining in the form of new industries and what we have is district which air has become most toxic in whole country. Following is the some of the fact that I went through and was shell shocked ...

Huge deposits of coal, proximity to Hirakud, one of the largest reservoir of the country has made Jharsuguda – Sambalpur region one of the most attractive and globally most competitive destination for mineral based industrialization. The regional makes an ideal site for production of Iron & Steel, Thermal Power and Aluminium sector. Growth in this region has been phenomenal in recent items and likely to continue in a more accelerated manner for coming decade. The present iron and steel making capacity is likely to increase by 3.6 times (from 2.4 MTPA to 8.74 MTPA), Thermal Power by 24 times (from 849.5 MW to 20272.5 MW) and Aluminium by 9 times (from 3.5 LPTA to 31.6LPTA). This estimate does not include ultra-mega power projects which are likely to be established in the region. This will make this region the largest conglomerate of smelter and power house in the world (Appendix-I). It is unlikely that such fast paced growth would be sustained environmentally. In order to assess the risk and environmental damage in this region a brief desk study was made by State Pollution Control Board. Key features of the impact assessment study are presented below.

IMPACT ON AIR QUALITY

a) With the nature of industrial activity, suspended particulate matter (SPM), Sulphur Di-oxide (SO2) and fluoride are the three critical parameters in air quality management needs a close watch. With the proposed industrialization plan SPM is likely to increase by 18 times, SO2 by 13 times and fluoride by 9 times (Appendix-II). High level of SPM and SO2 will pose significant health risk by raising the incidents of pulmonary disease. Besides SO2 alone is prime gas for causing acid rain. This has a potential to cause irreversible damage to property, monuments and vegetation in the vicinity.

b) Of these gases fluoride which is emitted from the smelting process is the most potent to cause extensive damage to agriculture and forest. For example at the present capacity of 3.45 MTPA of NALCO emits about 40 kg/hr of fluoride, which causes at least one incident of crop damage in 2/3 years. In Jharsuguda region if all the proposed aluminium smelter capacities would be made operational the emission of fluoride will remain in the range of 250-360 kg/hr, and it would severely affect the agriculture more frequently and the forest around the smelters may even get wiped out permanently. Moreover fluoride bearing dust will get deposited on grass and likely to enter the human food chain through milk and drinking water.

IMPACT ON WATER RESOURCE

a) Hirakud reservoir is the lifeline of the entire industrialization process in the region. Present level of water drawl will increase 20 times to 2143 MLD. This projected level of water drawl is estimated to be 0.645 MAF per year against the Government plan to allocate 0.35 MAF per year. The industries like Iron & Steel, Thermal Power and Aluminium being high temperature operation, 90% would be evaporated and 10% would be discharged back as effluent from industries (Appendix – III).

b) However, what is more critical is the run off contamination. The runoff in this region is likely to be contaminated with fluoride since the smelter in this region would annually consume about 80,000tons of fluoride bearing materials. Considering 1% spillage and related loss, about 800 tones of these materials may be washed into the reservoir. Besides 3160 tons of fluoride will be emitted through stack room and pot room emission, even when it remaining with permissible limit. Similarly, 1,26,000 tons of fluoride bearing hazardous waste would be generated in this region annually, which puts the reservoir under significant risk of fluoride contamination. Fluoride level of more than 1.5 mg/l in water is known to cause fluorosis, a deadly disease for which there is no cure, if contaminated water is consumed for a prolonged period. In areas around NALCO (whose present capacity is 10% of what is proposed in Jharsuguda) signs of dental fluorosis in bovine population have been documented. In the event, if Hirakud reservoir gets contaminated with fluoride, fluorosis may attain a dimension of epidemic in this region and beyond.

SOLD WASTE

a) The present rate of solid waste generation of 4.5 MTPA would increase by 13 times to 58 MTPA (Appendix –IV). Disposal of such waste would require about 650 Ha. Of productive land to be converted to waste disposal site every year. This means in 20 years. 13000ha. of land would be converted to waste disposal site around the Hirakud reservoir.

b) Besides, conversion of natural land into dump sites would enhance soil erosion and the rate of siltation of the reservoir is likely to be accelerated further.

GREEN HOUSE GAS EMISSION

Belpahar in this region, is known hottest place in the State. During peak summer the temperature in this region goes up close to 50i Celsius. The thermal power plants of more than 20,000MW will burn 3.5 lakh ton of coal every day. In thermal power plant about one third of the heat energy gets converted to electricity and remaining two third goes back to environmental, resulting in temperature rise in the vicinity causing a heat island. Thus, the embient temperature in this region is likely to be at least 2-3 degree Celsius higher than its neighbourig countryside.

The above issues are extremely critical for long term sustainable development of the region. It is time that the environmental issues of such large scale development are given due importance in the decision making process.

The report shakes me up and the place which I loved so much should grow but not at the cost of its environment.

Odiya Cuisine and Pakhala - Aroma of Odisha

Orissa, the land of Lord Jagannath has the largest kitchen on the earth,with a thousand chefs, working around 752 wood-burning clay hearths called chulas, to feed over 100,000 people each day. Every day 56 varieties of prasada are offered to Lord Jagannath, the presiding deity and as much as the food is delicious, it is also interesting to watch the way it is cooked. The smoke-filled kitchens have woodfire sigdis that cook the bhog in earthen vessels that are topped one over the other. These earthen vessels, known as kuduas, hold rice, vegetable curry, and dalma (lentils) that are pure vegetarian and simply delicious.

Orissa has a culinary tradition spanning centuries if not millennia.In fact, some well-known recipes, usually credited to Bengal, are of Orissan origin. This is because during the Bengal renaissance, brahmin cooks from Orissa, especially from Puri, were routinely employed in richer Bengali households. They were famed for their culinary skills and commonly referred to as Ude Thakurs (Oriya chefs). As a result, many Oriya delicacies got incorporated into the Bengali kitchen.Rasagolla, one of the most popular desserts in India, is in fact an Oriya invention. It had been enjoyed in Orissa for centuries . The well-known rice pudding, kheeri (kheer) that is relished all over India, also originated in Puri two thousand years ago.

The flavors are usually subtle and delicately spiced, quite unlike the fiery curries typically associated with Indian cuisine. Fish and other seafood such as crab and shrimp are very popular. Chicken and mutton are also consumed. Only 6% of the population of Orissa is vegetarian, and this is reflected in its cuisine. Panch phutana & saga bhaja, a mix of cumin, mustard, fennel, fenugreek and kalonji (nigella) is widely used for tempering vegetables and dals, while garam masala (curry powder) and haladi (turmeric) are commonly used for non-vegetarian curries. Dahi Pakhala, a dish made of rice, water, and yoghurt, that is fermented overnight, is very popular in summer, particularly in the rural areas. Oriyas are very fond of sweets and no Oriya repast is considered complete without some dessert at the end.

Oriya food is so healthy. Food can be divided according to two broad categories: Its alkaline/acidic content and its suitability to individuals. Oriya food is more alkaline than acidic. It is said that cancer cells die if kept in an alkaline solution for three hours. So you can guess the benefits of alkali in food.

Talking of Oriya food, and not to mention Pakhala is a crime. The best thing of a Oriya summer is the soothing effect of Pakhala in the scorching heat. I relished the oriya dishes - the saga bahaja,the aalu bhaja,aalu poda,sukua,badi chura and above all the Pakhala.There is something special about these dishes, some sort of simplicity that I find missing in other dishes. Probably there is something distinctly Oriya in Pakhala.Probably Pakhala is the food of Oriyas just as the Sattu for the Biharis and Dal Bati for the Rajasthanis.Nobody is sure about the origin of the dish or how and when it got embedded in our culinary habits. Vague references about a rice dish fermented in water can be found in ancient Buddhistic inscriptions in pali.But it was not until it got acceptedd as a main item of food for Lord Jagganth and began to be offered to the devotees as prasadam, that it started getting wide acceptance from local inhabitants. The ‘abhada pakahal’, in fact, greatly popular through out the state began from the kitchens of Lord Jagannath. If language be taken as the parameter to judge historical significance, then we will have some interesting but contradictory results at our disposal. The word pakhala , strangely, owes its origin to the Sanskrit word ‘Paka’ that means taste. The tribal equivalent of the word refers to something that is “Fresh and energeti”. Thus it seems in its heydays,Pakhala was consumed for its freshness and revitalizing effect. A staple diet of every farmer or peasant even today, it is not difficult to conclude what an important place it held on the dietary habits of our ancestors.Even to this date we can hear sayings that praise its worth.

Whatever be the history, Pakhala Bhata holds its significance to our dining habit not only because of the taste but also owing to the geographical position and environmental conditions prevalent here. Can any other diet give us more satisfaction than a diet of pakhala in the scorching summers? Pakahala Bhata contains partially hydrolyzed starch and carbohydrates and many other vitamins along with sufficient water. This water is responsible for maintaining balanced temperature in the body during the heat of summers. Apart from the high cooling effect that it has, the fermented rice is a great protector of the Liver. Also the food being full of Yeast, promotes healthier cell production in the body.

An old couplet that comes to mind is

Pakhala Bhata ku na kariba Hina

Pakhal Bhata Debata samana!

Akshaya Mohanty -Master Magician of Odia Music

Music is a way of life. Everything in our environment—the raindrops, the hushing wind, the flowing river—has its own sound that produces music to our ears. Every culture has its own music and there is uniqueness in any music. In case of my state, Ancient cultures of Orissa have the most expressive forms of music & dance. These two highly evolved art forms have manifested themselves in some of the most evocative & celebrated performances from not only the professional classical exponents but also from the various folk & tribal groups in Orissa.

Much of orissa's ancient activities revolved around the beautiful temples that were a hundant in the rural areas and the commercial centers. In the big temples, the role of dance and music in temple rituals was important enough to accord them a separate enclosure - the Natamandira - for their full development. While dance form is one of seven classical dance of this country, the music has never really took off in the national picture as prominent music form. But time and again there has been famous Odia Son has arrived who has taken Oriya Music to it celestial best. If anyone can be that person, then Akshaya Mohanty has to be billed at top.

Genius and legend are terms that are rather loosely bandied about. Included amongst the few to whom the terms fit to a 'T' is Akshaya Mohanty (1937-2002), arguably the pre-eminent creator and culture-market of post-independent Orissa.

An immensely imaginative man of many parts, Akshaya Mohanty especially excelled as a singer, composer and lyricist. In a journey lasting close to half a century, Akshaya gave identity and direction to popular Oriya music.

Akshaya Mohanty's journey as an artist started in the 50's with just a healthy musical curiosity and without initiation in formal rules and theories. He kept exploring in the fields of rhythm, harmony, orchestration and most importantly lyrics. He rose to an unprecedented adulatory fame in the 60's which, coincidentally, was the decade of the Beatles in the West. And like in case of the Beatles, with a deft combination of prolifically inventive lyrics and refreshingly apt melody, his music invariably registered. For as long as he lived, Akshaya, through his music, conjured up blushes and tears, thoughtfulness and titillation as probably no one else has.

For as long as he lived, Akshaya, through his music, conjured up blushes and tears, thoughtfulness and titillation as probably no one else has. From the pious 'Kene Gheni Jauchha' to the patriotic 'Saata Daria Paare'; from the forlorn 'He Phaguna Tume' to the flirtatious 'Raja Jhia Sange'; from the plaintive 'Rakata Tala Mala' to the pensive 'Chakori Jhara'anaa Luha' - Akshaya has been the most significant contributor of 'classics' to the Oriya popular repertoire. As a sensitive short-story writer and novelist, Akshaya Mohanty was palpably personal. He wrote simply and directly without prudish sensibilities.

Fondly called Khoka Bhai, his creations are so touching with the daily life which tickles the laughter bone with the humor in writing. Some of his compositions. Music like Maichia Ghokei Sahoo , Alo Hundi , mor ta Mintikia prema, prema kemiti hue ,

There was a celebration in his prose, of love, women, relationships and physical sensation. Stylistic departures in Oriya modern songs apart, Akshaya Mohanty made invaluable contributions in the fields of ballads ( Baji Rout, Kanchi Vijay, Konark Gatha, Raandi Pua A'nta), folk and choral songs. As a composer, he was an adept communicative creator. He was a musician, yes, but posterity shall remember him as a musical thinker. Music before him was pedantic, Music after him has been tasteless exhilaration. Combining, as he did, taste with electricity, Akshaya Mohanty was the bridge - a colossal bridge.