IJCAES SPECIAL ISSUE ON [ISSN: 2231-4946]

BASIC, APPLIED & SOCIAL SCIENCES, VOLUME II, JULY 2012

An Introduction to Ojapali of Darrang District

of Assam: Suknani And Biyahar Ojapali
Jyotima Devi
Research Scholar of Singhania University, Rajasthan

Abstract – Ojapali is one of the ancient traditional art forms of Assam. It is a half dramatic performing art
which holds a significant place in the classical music and dance of Assam. Ojapali, an institution connected
with religious and socio-cultural life of Assam, is product of the great Indian classical music. With the
colour of Pan-Indian tradition of Kathakata the Ojapali Art form contains similarities with the other
performing art forms of different states of India. Specially Harikatha , Burhakatha of Andhra Pradesh
Daskathia, Pala Gan of Orissa, Sri Ram Panchali of West Bengal; Pawada of Maharastra, Alha,
Bharathari, Ahir of Uttar Pradesh,Yaksagana of Karnataka, Kuttus of Kerala, Punaram of
Madhyapradesh, Meitei Jagoi of Manipur, Kusan-gans of West Assam and North Bengal, Raslila of North
India, are similar dramatic performing arts, whose style of text, context, structure and performance is
exactly the same with the Ojapali of Assam. All these art are presented with the mixture of verse, dance
and drama.
Keywords – Ojapali, Assam, Darrang, Ojha.

I. INTRODUCTION
Though the origin of this Ojapali art form is obscure, many popular beliefs and legends have been connected
with the origin of the art form. A variety of theories may be cited with the origin and development of the art form.
“Assam or ancient Kamrupa of Pragjyotishpura has variously been described as a land of dance and music and it
is clear form various sources. Among these sources Adhinaya darpan, of Nandikesvar, Haribansa, Ratisastra,
Natyasastra of Bharat Muni are worth to mention. Moreover various copper inscriptions of different kings and stone
statues of dancing God and Goddess of ancient Assam give ample significance to the opinion that “Assam seems to
have a long and strong tradition of culture of music and dance” [M Neog ]1. Form this context of presence of music
and dance, it may be assumed that Ojapali is a popular ancient and antique art form of Assam. According to the
theory of divine origin of this institution, this art was brought form heaven to earth by Arjuna. Arjuna taught this
Gandharva Vidya i.e. art of Ojapali to Uttara or Brihannalla in disguise. He brought dresses and instruments form
Amaravati and showed this art form in the role of Brihannalla. Another popular saying opines that this art form was
at first received by Parijat, a woman, in her dream. She got all the essential dresses and instruments such as nupur,
jama, capkan and paguri in her dream. Later on, she taught the art of dance and song to her disciples and the art
became popular. According to another popular opinion, Vyasa-kalai, who is well versed in music and recitation was
the originator of Ojapali, particularly the biyahar ojapali school. The Kathaguru Charit mention one Vyasa-kalali,
who was a devotee of Sankardeva2. The reference of Vyasa-kalai can be traced in Daittyari Thakur’s “Sri Sankar
Dev aru Sri Madhab Dev.” PP 77-78;
Vyasakalai name janeka acaya
Tanka sama guni nai jatita Brahmana

Thus other Baishnavite literature of the time gives references of the Ojapali art form, that have been running as
an institution amid Assamese people of different caste and creed. A scientific approach does not believe the fact that
the Ojapali Art form have been originated from Arjuna or Parijat or Vyaskalai. Ojapali, the half dramatic performing
art, is mainly originated from the great tradition or Katahakata. In this art form mainly poems were presented
through verse, dance and drama. The epic recitation includes the recitation of poems such as the Ramayana, the
Mahabharata, the Bhagabata, and other puranas, which generally takes places on the occasion of religious festival.

II. ORIGIN
The term Ojapali is coined from two separate word “Oja” or “Ojha” and “Pali”. The word Ojha has come out of
the Sanskrit Word “Upadhaya” and “Pali” has come out of “Palita”. The Ojha is the chief singer, i.e. Oja recites
themes from the mythological stories with music, mudras and dance. The palis take up the refrain and repeat the
song with playing of cymbals and marking of time with there feet. Palis are of two types (1) Dainapali . (Dakshin +

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Jyotima Devi

Pali) so called because he acts as the right hand man of the Oja (2) General or assissting Palis. The oja sings the
epic poems, mythological stories in verse keeping in time ragas, talas, mudras and takes part in conversation with
the dainapali and the dainapali relates the meaning of the verse in front of the audience. In general the Dainapali
seems to add crude humour to the unsophisticated listeners.

III. DRESS & COSTUMES

A troupe of Ojha-pali consists of one Oja and four to six palis. The dresses and costume bear signifance. The Oja
of Biyah-gowa variety puts one capcan (a kind of flowing shirt with the pyjamas). He also put on a girdle around his
waist and hangs an ornate pachara (a kind of cloth made form muga cocoon) on his either shoulders. The Oja wears
a special type of white turban. He puts on anklets and gamkharu, necklace and rings on his fingers and mark of
sandal wood on his forehead. The palis too put on loin cloth made from cotton and a capcan. They also wear stylish
turban of white sheet over their heads.
A. Types & Sub-types
Based on the performing style and the themes of song, the ojapali can be classified in two heads. (A) Epic-based
Ojhapali (B) Non-epic based Ojapali.
Epic Based Ojapali depend solely on the epics like the Ramayana, the Mahabharata and the Purana. This type of
Oja recites ballads of Sri Bishnu and Krishna. This type of Ojapali is called Baishnav Ojapali because this art form
is presented in the Baishnavite rituals. Epic-besed Ojapali can be divided into seven sub-types (1) Biyahar Ojapali or
Biya-gowa ojha pali or Vyasa ojapali or sabha-gowa ojha pali (2) Ramayana Oja Pali. (3) Bhaura or Bhauria or
Bhaira Ojhapali (4) Durgavari Ojapali. (5) Sattriya Ojapali. (6) Pancali ojhapali.(7) Duluri Ojhapali. Among the
various types of Ojha pali the Biyahar variety is the most ancient. The tradition of biyahar ojapali goes back to
Vyasa Sangita which involves the recitation of the Mahabharata, the Ramayana and the Puranas. The term Vyasa
refers to Byaha and Biyah in Assamese and therefore one who acquires proficiency in the art of Vyasa-sangita may
be called Biyahar oja and Biyahar ojapali. There was a rule that to be a Biyahar ojha one must be a Brahmin. If any
body other than a Brahmin acquires proficiency in this art form he is not regarded as Biyahar ojha. Observes M.
Sastri, “He (Biyah gowa oja) must be a member of the Daivajna family who traditionally settled at the cillage
Vyaspara ( A village in Darrang Dist. ) None can claim the honour of Biyagowa ojha other than the above
family3. According to tradition current in the dist. Of Darrang the biyahgowa ojha may be divided into two sub-
groups Viz (a) pure or proper Biyah-oja (b) Pharingatiya oja. The oja who was patronized by the Darangi Rajas
and who could manage to receive the mudra i.e. a tauryyatrika yantra form the royal family and who used to sing
jagara-gitas (i.e. songs of wakening) at the time of worship of Shiva or Vishnu or Durga held in the royal house, was
styled as the biyah oja proper4. On the other hand, the ojas who did not receive royal patronage came to be known
as Pharingatiya oja. The oja or ojhapalis included in the parameter of the pharingatiya is not unskilled or lacking in
proficiency. There were so many oja of great proficiency who did not received royal patronage, but they hold music
style that differs to some extent from that of the pure Biya-gowa oja. This variety of oja pali is also termed as Sabha-
gowa ojha pali since the main function of this category is to perform in religious festivities. The content analysis of
the different varities of the ojapali art form exhibits that the Epic-based ojapalis are mostly Vaisnavite institutions in
their spirit and colour. On the other hand the Non-epic based ojapali are Sakta institution. Hence the Biyah-gowa
ojapali may rightly be called as classical art form, whereas the Non-epic based or Manasa variety by and large seems
to be folk art form, although the Suknani variety current in Darrang District surely possesses classical elements in its
songs and dances.
Ramayana or Ramayan-gowa Ojapali confine themselves to the Ramayana themes only. They don’t sing themes
of Mahabharata or the Puranas. Like the Biyah variety they sing songs from the metrical verson of the Assamese
Ramayana by Madhab Kandali, Ananta Kandali, Durgavara Kayastha etc. in various Vaishnavite rituals. Bhaura or
Bhauriya or bhaira ojapali arouses the humour sentiment by gestures and movements as well as behaviour and
customs as wall as by dialogue in narrating different episode of Ramayana. The oja and dianapali mimics different
characters of Ramayana with gesiures and movement while reciting the stories. They even represent social satire
viewing the contemporary society in the midst of the main performance. Durgavari ojapali sings themes form the
Giti-Ramayana of Durgavar Kayastha. Once it was widely popular in lower Assam , particularly in Kamrup and
Darrang. Now ‘the singing of Durgavari of Ramayana song is restricted today to a very few isolated pockets and a
handful of experts’5. The reminiscence of this varicty is now seen only in religious assemblies in Hazo area of
Kamrup District. The ojapali that performs the art thourgh the medium of Sattriya tradition is called Sattriya ojapali.
The Sattriya ojapali is nothing but a neo-Vaishnavite edition of the biyah-gowa ojapali. Sankardeva used this
contemporary art form to preach the new Vaishanvism. The Charita puthis relate that Gopal Ata, a disciple of

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 An Introduction to Ojapali of Darrang District of Assam: Suknani And Biyahar Ojapali

Madhavadeva , along with his company formed an ojapali chorus. This varicty of ojapali was restricted to the
campus of the different Sattras of Assam. While the dainapali has no place in the Sattriya form of ojapali
particularly in the Sattra of the Sankardeva School, it is a constituent part of the ojapali in the Damudardeva School
of Upper-Assam. Other important variety of the Epic based ojapali are the Pancali and the Duladi ojapali. Although
this variety are restricted only to Auniati and Dakshinapat sattras, nevertheless these two forms of ojapali cannot be
included in the jurisdiction of the Sattriya ojapali, as these two forms have no place in the daily ceremonials of the
Sattra. But on special occasion like Ekadasi and Sankranti, Bihu etc. both the Pancali and duladi forms of ojapali are
performed. The Pancali form of ojapali consists of five different ‘calis’ i.e. uniform movement of feet. This ojapali
consists of one oja and few palis. The oja plays on a fly-whisk (chamara) with left hand and a small cymbal
(manjira) in his right hand. The palis hold mridanga (a kind of drum) on their necks. Themes of recitation include
tales form the Bhagabat Puran or other Purans. Roles of a dinapali and a smarak (prompter) is important in this
ojapali. The duladi ojapali consists of one oja and a duheriya as well as a dianapali and a few palis. The Khutital or
manjira ( pair of small cymbal) is the only instrument used by the palis. The oja does’nt play on the cymbal. The oja
sings themes form the Assamese version of the Bhagavata Purana and the other Puranas in the Chabi Chanda (an
Assamese metre) but not in the Duladi chanda ( another Assamese metre) as the nomenclature of this variety of art
form denotes.
Non-epic based Ojapali differs from the Epic-based variety in respect of content, structure and context, since this
form of ojapali depends on the theme of the snake goddess Manasa or Bisahari, Padma, Brahmoni or Barmoni. This
ritualistic songs sung by the ojapali to invoke the snake Goddess Mansha are known as Manasa Sangita. This variety
may be sub-divided into five heads viewing the thematic differences apparent in the context of per formances. (1)
Sukanni ojapali or Rang-gowa ojapali (2) Bisahari Gan (3) Mare Pujar Gan or Mare Gan (4) Padma Puranar Gan (5)
Tukuria ojapali.
The Suknani Ojapali recites the songs of Goddess Manasa from the Padma Puranas composed by Sukavi
Narayan Deva (C17th) . The word Suknanni or Suknani is coined form the initial letters of each word of the
sentence “Sukavi Narayandeva nigadati”. The worship of Manasa may be styled as Rang Puja and similarly the art
form takes the name Rang-Gowa ojapali. The Suknanni ojapali, prevalent in Darrang is heavily influenced by the
biyahgowa form in its musical aspects and so nearer to classical style of this art form, while the ojapali in Kamrup is
pervaded by folk elements. The Suknani ojapali troupe consists of one oja, a dianapali, two gorpalis (back palis) and
two agpali (front palis). Bishaharir gan or mare-pujarr gan bears some differences with the Suknani form of ojapali
in the context of theme, structure and style of music. Bishaharir gan or mare-pujar gan does not depend on the
Padma-purana but on the songs composed by Mankar and Durgabar. The ojapali form obviously sings the songs of
Bishahari or Manasa in sitting position. The oja is known here as Gital or Pathak. He is followed by another
performer known as Juri e.i. helper or pali. Both the Gital and Juri hold the cymbals in either hand. This type of oja
pali is widely spread in Kamakhya and Sualkuchi area. From thematic point of view it can be mentioned that the
Mare-pujar gan or mare gan neither depends on the writtings of Mankar nor Durgavara nor Sukavi Narayan Dev but
depends solely on the snakes goddess songs handed down traditionally. The mare gan troupe consist of one oja and a
few palis, but there is no dianapali like other variety. They perform the songs of goddess Manasa in household
rituals like marriage, Shardha, Ananprasanna etc. The Deodhani dance is an intregal part of this art form and this
dance is performed by female dancer associated with Suknanni ojapali and Maregan in the District of Darrang and
South Goalpara, both in tribal and non-tribal areas. From the context of performance this art form is half dramatic.
Another form of this variety is Padma Puranar gan. i.e. the story about the goddess Padma. This tradition is
current in North and West Goalpara. The troupe consists of one head singer or gidal, palis and bails (who beats khol
and plays on cymbal). Very often boys dress themselves in girls’ clothes and present dances along with the main
performance.
The ojapali art form prevalent among the Patti Rabhas of South Kamrup district in connection with the Tukuria
rituals is known as Tukuria ojapali. Tukuria ojapali recites the themes of Epics and Puranas that handed down to
them traditionally. A Tukuria ojapali consists of four palis sittings in a row and a oja in the middle. The oja relates a
story in a simple language with the help of a pali after reciting a song.
Till recent time, the ojapali art form is completely dominated by male member of this society. But it is not such
that the female members can’t take part in this act of performance. The Api ojapali in in Kamrup and Likiri or ligiri
ojapali in Darrang District is formed by woman folk on the form of traditional ojapali. This verity of art form recites
stories of the Epics and the Puranas. Hence this may be called as a trial of fair gender in the line of biyah gowa
ojapali. An Api oja does not play cymbal, rather the palis and dainapali do that work. The oja maintains the rhythm
with the help of the anklets of her feet. The dainapali enchant the audience by her gestures and movements. She

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takes the help of riddles, proverbs and jokes to cater to the audience. Like other forms of ojapali the Api ojapli is a
professional party and performs in connection with various rituals.

IV. CONCLUSION
Ojapali is a dramatic performing art. It is an art of performing with the help of song, dance and drama. Gita,
Nritya and Abhinaya all these three art intermix in one form of art ie. Ojapali.
From the thematic points of view it can be assumed that the ojapali is continuing to fulfill the religious and social
needs of the people of Assam. It sings songs from the Epics and the Purans and educates the society. Therefore it
has rightly been serving as one of the best factors of unification and Sanskritzation among the different ethnic group
of Assam.

REFERENCES
[1] Neog. M :- Assamese literature before Sankardev (Aspects of Early Assamese literature)
[2] Dattyari Thakur :- Sri Sankardeva aru Sri Madhavdeva
[3] M. Sastri:- Asamsat Sangit Sarsa ( Ramdhenu 6th Year Bohag)
[4] N.C Sarmah:- Asamar Paribashya Kala:- Ojapli
[5] B. Dutta:- Bulletin published on the occasion of Festival of Traditional Performing Art forms of Assam. 1982 page 4.

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