Ganjam Pushes for UNESCO Recognition of Ancient Odia Folk Theatre Traditions, Danda Nata and Prahlad Natak

The Ganjam district administration in Odisha has embarked on an ambitious campaign to secure UNESCO's prestigious intangible cultural heritage status for two of the region's most treasured folk theatre traditions: Danda Nata and Prahlad Natak. This initiative represents a critical effort to preserve centuries-old performing arts that have shaped the cultural identity of southern Odisha whilst facing an uncertain future.

Danda Nata, a highly ritualistic folk theatre form performed during the Chaitra month (March-April), combines music, dance, and drama with spiritual devotion. Participants, known as Danduas or Bhoktas, undergo thirteen rigorous religious punishments over eighteen to twenty-one days in worship of Lord Shiva and Goddess Kali. Performed predominantly by agricultural communities belonging to the Scheduled Castes, the Scheduled Tribes, and the Other Backward Classes, the tradition encompasses phases including Dhuli Danda (rolling on hot sand), Jala Danda (water purification), and Agni Danda (fire rituals).

Similarly, Prahlad Natak, also called Raja Nata, is a traditional musical theatre based on the mythological story of devotee Prahlad and the demon king Hiranyakashipu. Written in the late 19th century by poet Gopinath Pariccha under the patronage of Raja Ramakrishna Chottaray of Jalantara, the performance features 126 songs across 35 classical ragas and six talas. The twelve-hour performances once drew large village crowds, though royal patronage ended in the last century.

"Securing a place on UNESCO's Representative List of the Intangible Cultural Heritage of Humanity for Danda Nata and Prahlad Natak will be about safeguarding these centuries-old traditions, ensuring they thrive for future generations and attract the global recognition they genuinely deserve," said a government officer from the Ganjam District Administration, who talked to us under anonymity.

“Once these documents are compiled, they will be sent to the respective committees, to the central committees for the central list and to the UNESCO committee for their lists,” said another culture officer of the administration under anonymity. The Sangeet Natak Akademi of India already lists Danda Nata as one of India's intangible heritages.

The numbers tell a stark story of decline. During the pre-independence period, 172 troupes performed Prahlad Natak across the Ganjam region. By the 1980s, this had dwindled to 57 companies. Today, sources vary; some cite 50 troupes remaining, whilst others report 35, but crucially, only ten are considered professional groups capable of sustaining themselves through performance alone. The number of professional lead performers known as 'Rajas' has plummeted from 150 to merely 20.

Danda Nata faces similar pressures. Urbanisation has eroded traditional patronage systems crucial for training new artists and organising performances. Youth migration to cities for employment leaves fewer young people to learn these demanding art forms, which require rigorous training and apprenticeship. The tradition is gradually modernising in music, costume, and style, risking the loss of its original simplicity and traditional characteristics.

Rama Kumar Sahoo, a senior performer of Danda Nata, articulated the dual nature of recognition, "Danda Nata parampara UNESCO talikare asile ama sanskrutira parichaya prasansa paiba; kintu sadharana lokanka madhyare eha prati bujhiba ebam agraha aniba abashyaka.” (If Danda Nata and Prahallad Natak make it to the UNESCO list, it will bring well-deserved appreciation for our culture; but we also need more awareness and curiosity amongst the general public.)

However, performers emphasise that recognition alone is insufficient. As one senior practitioner of Prahlad Natak, Krushna Chandra Rana explained, "Whilst recognition like UNESCO listing can shine a spotlight on Danda Nata and Prahallad Natak, no accolade truly matters unless it translates into sustainable livelihoods for the artists themselves. Many of us love these traditions because they are part of who we are, but the harsh reality is that without regular income, social security, or performance opportunities that pay, this cannot be our profession.”

He also laments ‘mainstreaming’ in cultural promotion. “It shouldn't be the case that only classical forms with institutional backing allow artists to make a living, whilst folk practitioners struggle to feed their families. Recognition must be accompanied by concrete support: funding, training, marketing, and integration into mainstream cultural circuits so that art and life can thrive together."

The Odisha government has taken initial steps, recognising Danda Nata as intangible cultural heritage and funding documentation and training workshops under the Scheme for Safeguarding Intangible Cultural Heritage. Local organisations like the Dharmika O Sanskrutika Seva Sangha in Boudh district actively promote awareness campaigns and support performers. Yet without comprehensive livelihood support, these art forms remain precariously balanced between cultural preservation and economic extinction.

The Ganjam administration's UNESCO application represents more than bureaucratic procedure, it embodies a last-ditch effort to ensure these living traditions survive beyond documentation into vibrant, practised art forms for future generations.