As the beats of traditional instruments echo through Puri’s lanes during Sahi Jata, TOI looks at how youngsters, bearing the weight of both costumes and legacy, are ensuring that the festival remains relevant in a fast changing worldIn the temple town of Puri, a centuries-old festival, Sahi Jata, transforms narrow streets into a vibrant open-air theatre every Chaitra (the months of March–April in the Odia calendar). Historians trace the festival back to 800 years as for generations, neighbourhood troupes have staged episodes from the Ramayana, blending devotion with performance in a spectacle that draws both residents and tourists. What stands out today, however, is the renewed energy that the youngsters bring to the festival year after year.Defying the pull of digital entertainment, young performers are stepping into roles once dominated by seasoned artistes, ensuring that the 12th-century tradition not only survives but evolves with time.Rooted in Puri’s Sahis (lanes), Sahi Jata is organised by neighbourhood groups, each presenting martial displays and dramatic episodes from the Ramayana, including Rama Janma, Jagyan Rakhya Niti, Parshuram Kala Harana, Banabasa, Sita Chori, Lanka Dahana, Setu Bandha, Ravana Badha, Shri Rama Abhiseka and Patiara Hanuman Niti. Interestingly, it is not Lord Rama but the demon king Ravana who takes centre stage. The performances, marked by elaborate medhas (tableaux), ornate mukutas (headgear) and stylised dialogue delivery and expressions, are rehearsed for weeks at Jaga Gharas, traditional community spaces that serve as cultural and martial training hubs.The eight Sahis that host the festival are Bali Sahi, Kalikadevi Sahi, Kundhei Benta Sahi, Harachandi Sahi, Goudabada Sahi, Markandeswara Sahi, Matimandapa Sahi and Dolamandapa Sahi. Each has its own Jaga Gharas, with local residents and community heads organising the fortnight-long festival that begins on Ram Navami.For the youngsters, this street theatre tradition is not just performance but rigorous discipline. Training begins months in advance at the Jaga Gharas where participants prepare to perform while carrying heavy costumes, masks and headgear. “We start training at least six months before the festival. It’s not easy to balance the heavy mukuta, mukha and medha while performing continuously for four hours,” Bhanu Prasad Mohapatra, a participant, said, adding, “Your body needs stamina and control, or you simply cannot perform.” The participating youths, who are employed in different professions either within Odisha or outside, return to Puri and work from home to practice for the big cultural show.During Sahi Jata, performers traverse all eight sahis, showcasing martial skills and enacting episodes from the Ramayana before culminating at the Jagannath Ballabha Matha on the Grand Road. The costume ensemble can weigh up to 45 kg, making endurance crucial.Preparation goes beyond physical training. “A lot of research on characters is also required. If one does not understand what mythology and scriptures say about a character, how can one portray it?” Laxmipriya Beja, a performer, said. Participation is also becoming more inclusive. Girls like Beja are now portraying the roles of goddesses, a shift from earlier practices when such roles were not performed by women.The performances, held late into the night, draw large crowds who follow the enactments from one locality to another.Even as they preserve tradition, the youth are using technology to document it. Many record rehearsals and performances, creating a digital archive for future generations. “We upload our practice sessions and performances online. It helps others learn and keeps a record of our tradition,” Aham Rudra, another performer, said, adding, “If we don’t document it now, many details could be lost over time.”Senior members see this as a positive sign. “It is encouraging to see the younger generation come forward with such dedication. Their energy, combined with respect for tradition, will ensure that Sahi Jata continues to thrive,” local resident Priyankar Maharana said. Cultural historians view the festival as more than just a performance. “It is a community-driven expression of faith and storytelling that has adapted over centuries without losing its core essence,” Jagannath culture expert Harekrushna Satpathy said.
