
SAMBALPUR: Every year, just ahead of the onset of monsoon, the streets of Sambalpur come alive with celebration of Sital Sasthi, marking the divine marriage of Lord Shiva and Goddess Parvati. But beyond the rituals, the festival turns into a grand stage where forgotten folk arts are reborn, and generations-old dance forms get the spotlight.
The festivities span over a week, transforming the streets of Sambalpur into a lively canvas of cultural expression. One of the most remarkable aspects of Sital Sasthi is its dedication to preserving and promoting folk art. Various folk dance forms, such as Gourbari, Kalas dance, Paika Akhada, Pashu Nrutya, Baja Salia, Chaiti Ghoda, Samparda, Parva dance, which were fading into oblivion, find a rejuvenated presence during the festival. These traditional dances are performed by local artistes, adding to the festival’s festive fervour.
While the divine marriage took place on the night of May 31, the carnival will begin on the night of June 1 and end the next day. Artistes will perform at the carnival which marks the homecoming of the deities after the marriage.
Historian Deepak Panda said the Utkaliya Brahmin invited by Baliyar Singh, the fifth king of the Chouhan dynasty, introduced the tradition of Sital Sasthi to Sambalpur in 1679. The divine wedding of Lord Shiva and Goddess Parvati was first celebrated at the Someswar Baba temple in Balibandha, initially as a ritualistic event. Over time, more devotees expressed interest in organising the festival.
“By the late 1700s, during Jayant Singh’s reign, the Balunkeswar Shiva temple was established and the Jhadua Brahmins began parallel celebrations. To make processions more vibrant, organisers helped by local Gountias started inviting folk artistes, often driven by a spirit of competition,” he said.
Today, Sital Sasthi is held in multiple temples across Sambalpur. “Just three major committees -Nandapada, Jhadupada, and Modipara - invite around 10,000 artistes,” Panda added.
Folklore researcher Sidharth Panda said Sital Sasthi not only provides a platform for folk artistes but bridges the gap between tradition and modernity. He noted that while organisers work year-round to showcase rare music and dance forms, artistes often adapt to modern tastes to ensure their art reaches all sections of society.
Panda highlighted the consistent popularity of Kandhei Nacha and Pasu Nacha among youth, and the anticipation for Sabara Nrutya, a dying folk dance. He said folk music, once nearing extinction, has seen a revival in the last two decades. “Earlier, folk instruments were common in household rituals, but with the rise of speakers and film songs, the tradition declined. Sital Sasthi played a crucial role in uplifting artistes and musicians who had lost hope,” he said.
In the past, many of these art forms, especially those from Western Odisha like Ghanta, Samprada, and Galpa, were in the danger of fading into oblivion. Today, Sital Sasthi is the only time in the year when they are paid to perform.
As the divine couple returns to their temples in a symbolic wedding procession on June 2, they will be accompanied not just by cheering devotees, but by the beat of legacy - one drum, one conch, one folk dance at a time. This year, over 8,000 artistes are set to perform across 21 organising committees. Art forms like Dulduli, Ghumura, Samprada, Danda Nacha, and Bagha Nacha will take centre stage, not just as entertainment, but as living traditions.