Gotipua: Odisha’s traditional folk Dance

Gotipua: Odisha’s traditional folk Dance

INTRODUCTION

At the time when Natyasastra was composed, Odisha may have encountered two sorts of dance styles, one 'Daibiki' [earmarked just for Debata or God], the other is 'Manusi 'or of general mass. Bharat Muni hence has said in his showy behavior in the 26th refrain of 6' canto

'Daibiki Manusi Chaiva Sidhisyed Dwibidheiba Cha'. In Abhinaya Chandrika it is referenced that in the Udra nation the exhibition of dance has consistently arrived at the apex.

Odisha has a rich tradition of safeguarding art, culture, customs, and traditions. The complicated yearnings on the dividers of old sanctuaries show a rich tradition of music and movement that Odisha had. During the entry of time, the sovereigns of Odisha made this dance a piece of ceremony for Lord Jagannath. In Odia Bhagabata, Atibadi Jagannath Das has referenced that Lord Jagannath is especially satisfied if dance is performed and offered to him. The tradition of a young boy dressed as a young girl dancing to religious festivals goes back to the 16th century.

 Around that time the rush of Vakti clut, the way of dedication cleared over Odisha, and Saints and diviners, as Chaitanya influenced the majority and also got Royal Support. Young boys over 14 years clad in female dress and dance to the tune at the music to praise Lord Jagannath and Krishan. In the Odia language "Gotipua" signifies single kid however the dance is executed by a gathering of boys who perform gymnastic postures roused by the life of Radha and Krishna, which captivate the crowd.

Origin & History of the Gotipua Dance

 In past times, the temple of Orissa had female dancers called "Devadasi or Mahari (in Orissa)" who were dedicated to Lord Jagannath. The figures of the dancers on the bas-reliefs of the acclaimed temple of Orissa (the Sun Temple in Konark and the Jagannath sanctuary in Puri) show proof of this exceptionally old tradition. Around the sixteenth century, with the decay of the Mahari dancers, the class of these kid dancers appeared in Orissa, to do the tradition. This was during the hour of Bhoi lord Rama Chandra Dev, originator of the Bhoi dynasty.

It is totally dark that when correctly this danced structure came into practice. Still, a couple of understudies of history express that this dance tradition appears to have begun during the territory of Prataprudradev (1497 A.D. to 1540 A.D.) and got conspicuousness in the resulting Muslim Rule. Ray Remananda the famous Vaishnavite Minister of King Pratapruda and energetic supporter of Sri Chaitanya is the originator of this child dancing tradition, Ramananda Roy, the pastor of Gajapati was an enthusiast of Chaitanya. It is acknowledged that during their first assembling Chaitanya delineated to him 'Madhura Rasa Upasana', the technique for pledging to Lord Krishna through wedding love, giving before the remainder of the opposition to the Shakhi Vaba.

The religion of Sakhi Vaba spread Bhakti by offering oneself as a Gopi to the Lord. Believers state that Krishna alone is the male and the fans are on the whole His consorts, even male supporters believe themselves to be Krishna's female orderlies [Sakhi Vaba].

The way of life of dance and music in Akhada was a tradition in Odisha. In Sata Sahi Akhada of Puri, alongside physical culture, Gotipua dance and music were being instructed by the famous Gotipua Gurus. The boy dancer beneath 12 years just appended to the Akhada was known as Akhada Pila, these Akhada served as nurseries for an assortment of cultural activities.

Girls were kept out of the Gotipua dance considering the way that their bodies are impure for a couple of days in a month, unmistakably they can't step into the stage and temple on such a stage. Boys between the age of six to twelve were gotten, and they pressed into the administration of the Lord. However, they were prohibited from dancing when they turned 12, for about three years because that is the time, they attain puberty. The point objective of the dance is to render delight to Lord Siva and Lord Jagannath.

Little youngsters of youthful age, take on the appearance of a young lady [in saree], sing reverential love tunes of Radha Krushna, and perform Gotipua dance. The current old-style Odissi dance develops from these hundreds of years old traditional dance structure. Most previous Odissi Gurus in their pre-adulthood perform as Gotipua.

The Mahari Seba was in vogue till some decade ago. They used to dance at the appointed hours inside the temple in Infront of the idols. But the Gotipua perform both within the precincts of the temple and outside of it.

 

As Vasishnavs were not favoring females in dance practices so it is conceivable that the dance tradition is more likely to come after Sri Chaitanya came to Orissa. The Gotipua Dance Tradition is currently found in the town Raghurajpur arranged 10 km from Puri town, arranged on the banks of stream Bhargabi. It is also called the Crafts Village as different Orissan handicrafts' craftsmen work specialists live in this town contributing their aptitude in Patta Painting and different handiwork.

Udra dance is progressively unblemished, logically ancient, and progressively rough structure. These qualities may be credited to the Gotipua dance as well. This dance is an aerobatic, snappier, and straighter forward dance concentrating on brilliant positions, charming signs, and stirring gatherings rather than on a quick detailed hand-finger explanation of the tune content, as in Bharata Natya, anyway these also exist in Gotipua.

Quite a while in the past the temples of Odisha had female dancers known as "Devadasi" (Mahari) who were committed to Jagannath which offer ascent to "Mahari dancers. With the decrease of Mahari dancers around the sixteenth century during the rule of Ramachandra Dev, boys' dancers in Odisha proceeded with the tradition. Despite the fact that the Gotipua dance is like Mahari and Odissi, its methods, outfits, and introduction are unique.

Little youngsters put on sarees, and adornments and paint their faces like girls. The dance regularly starts with Vandana's petition. The dancers play out a three-advance greeting; the first over their heads towards God, the second before their appearances for the master, and the third before their chest for the crowd. It is trailed by Abhinaya and dependent on Radha Krishan Poems or Gita Govindam and Bandha Nrutya which incorporates Kaliyadaman, Kelikadamba, Bakasura, and so forth. Gotipua had been disparaged by Kings during medieval Odisha and at present, the "Gotipua Troups" are welcomed by the towns during celebrations like Dola, Dashara, and Raja.

Selection and Training of Gotipua

The determination of little boys to the Gotipua dance stream was and still is an extremely intense activity. Dissimilar to other dance or works of art it has no proper selection process. Actually, boys are taken into for this work of art chiefly on two grounds. Right off the boys who are poor and their folks can't deal with them even to take care of them two times each day and the subsequent way is a ceremonial technique wherein the guardians offer their boys to the Gods trusting their prosperity, their great wellbeing and after for their entire life. Since in those occasions when youngsters become sick then their solitary choice was to offer their kids to the God and Goddess for their services. The principal technique was adaptable and reasonable as the boys were either being spotted out by the Gurus or their agents or they were being sent to the Gurus by guardians to remain with Guru, learn Gotipua tunes, dance, and perform and simultaneously they were not sitting back out of craving. The subsequent technique was a finished give up and very few boys were getting through along these lines since this was the final guesthouse the guardians of the ill youngsters were taking.

While accepting boys to the Gotipua artistic art two things are thought about however not carefully, one is the eagerness of the guardians and the other is the intrigue, perhaps he is oblivious of what Gotipua intends to him yet it was anything but an inside and out inconvenience or concealment of his sentiments of wistfulness other than the presence of the kid. The preparation of the dance regularly begins at an exceptionally youthful age of 5 to 6 or 7 maxima, when their appendages are delicate and receive adaptable structures. It is a traditional Gurukula Ashram framework. The boys need to remain in the Guru's home and Guru gives free boarding and housing and scholastic training and so forth. In the early morning, the Gotipuas were rehearsing Galasadhan or voice control with the fundamental subtleties and documentations of Odissi Ragas. At that point, they practice tunes of Vaishnava art. After that, the boys do physical activities. The Guru prostrates the supporters on the floor and afterward rubs till oil with deft hands brought in Odia "Taila Mardan" and in the process, the appendages become graceful and progressively adaptable to receive the troublesome aerobatic developments. After melodic practice followed by physical activities, the students are given significant nourishment like "Khecheddi", rice cooked with Mugdal, Chuda (Parched rice), Dahi (Curd), Bananas, coconut, and Ghee to keep themselves fit and solid. At that point, they are sent to the Chatsali or instructional method, where they get the chance to master perusing and composing. For the most part, they go up to essential level now and again greatest up to M.E standard yet when they go to M.E. standard they reach their resigning point. Subsequent to originating from school, they take their nourishment like Khichdee, Coconut, and Ghee after little rest, and they begin rehearsing the music and dance. In the Gotipua dance singing is inescapable by the Gotipua while moving.

GOTIPUA DANCE

Gotipua dance is performed in the Odissi style, however, their technique, outfits, and introduction contrast with those of the Mahari; the singing is finished by the dancers. Present-day Odissi dance has been influenced by the Gotipua dance. Most experts in Odissi dance, (for example, Kelucharan Mohapatra, from Raghurajpur) were Gotipua dancers in their childhood. Odissi dance is a combination of Tandava (incredible, masculine) and Lasya (effortless, feminine) dances. It has two essential stances: Tribhangi (in which the body is held with twists at the head, torso, and knees) and Chouka (a square-like position, symbolizing Jagannath). Fluidity in the upper torso is normal for Odissi dance, which is frequently contrasted with the delicate ocean waves which touch the Orissa sea shores.

The Gotipua dance has its own repertory which starts with Dhyana and Vandana to pay tribute to Lord Ganesh, Saraswati, Guru, and Jananas and Bhajans to Lord Jagannath; then Odissi melodies on Radha-Krushna Leela are sung with the presentation of Abhinaya. The tunes and dances by Gotipuas during the Chandan Yatra and Jhulan Yatra of Lord Jagannath at Puri are inevitable. The Gotipuas perform for 22 days during the Chandan Yatra of Lord Jagannath before the divinities and in the parade. During Jhulan Yatra or swing celebration, the Gotipuas perform before Radha and Krushna in the sanctuary premises and Mathas in and around Puri. The Gotipuas perform for a considerable length of time together on the melodies of medieval Vaishnava artists.

The Mangalacharan or Istadeva Bandana and Moksha Nrutya of Gotipua are Bandha Nrutya, which part is totally committed to Lord Siva, the symbol of world dance. These lines are in line with Vedic tradition. The Gotipua dance is mainly a Lasya dance.

Actually, in pure Odia terms, 'PARIJA' means Acting: As we probably know like the present Odissi dance, Gotipua dance has 4 parts in fact known as 'Angika', Vachika, Aharya, and Sattwika. Angika implies the development of limbs to communicate a few feelings. Aaharya implies dressing and so on of the body. Vachika implies conveying feelings by methods of words. Sattwika implies ostensibly reflecting innermost feelings. The Angika, for example acting during the dance, is known as Parija or Lakshana.

In the Abhinaya part of its exhibition, the disastrous component of 'Biraha' on the line of 'Sahajia Vaisnav Dharma' has been introduced during the rule of Pratap Rudra Dev is its Vaisnabite theme like 'Geeta Govinda'. Prior Gotipua used to play out the entire night, in a unique celebration event, disparaged by traditional Zamindar and Matha set up, celebrating the divine legend of Radha Krushna Love.

With the moderate disintegration of Mahari dance "Daibiki dance" because of different reasons, the class of these kid dancers did the tradition with resulting introduction of 'Bandha' "emblematic portrayal of fanciful stories through gymnastic stance", the current day, all incredible Odissi Guru and types were Gotipua dancers in the good 'old days. Despite the fact that the dance has similitudes with the Mahari dance style. Nevertheless, an essential distinction exists between technique and style.

Bandha or Moksha Nurtya, the dance through aerobatic developments turned into a fundamental component of Gotipua dance. This bit of aerobatic dance was completely disposed of and it built up the feminine elegance and appeal. Like the Mahari dance, the Gotipua dance is related to love. The image of the dance that develops has the idyllic appeal and delicacy of Medieval Odisha paintings and models. The affinity between Gotipua and Odissi can be seen in their fundamental positions, Chauka and Tribhanga.

Songs:

The tunes sung by the Gotipuas are commonly the compositions of Vaishnava writers of Odisha like Kabisurya Baladev Rath, Kabisamrat Upendra Bhanja, Gopalakrushna, Dinakrushna and Banamali, and so forth. According to Dr. Mayadhar Mansingh, probably the best artist and educationists Odisha ever had, referenced in his article distributed in 'Marg' in 1960 that "Of a significant number of these authors of Radha Krishna tunes three dominate the field. They are Kavisurya Baladev Rath, Gopalkrishna Pattnaik, and Banamali Das. Of this trinity, Kabisurya is the most melodic, Gopal Krishna the most wonderful, and Banamali the most reverential. The Gotipuas additionally perform on the changed melodic parts of Odissi for example Chhanda, Champu, Chaupadi and Chautisa, and so forth. It is these Gotipuas who not just sustained the Odissi melodic tradition through their exhibitions yet additionally conveyed forward and advanced the Odissi tunes.

Its melodic tuning is constrained by less vibrating instruments like Pakhauja, Flute, and Kartal or Gini.

The repertoire of the dance includes

·               Vandana Prayer (love petition) of God or Guru (a standard invocation, offering supplications of appreciation to Mother Earth, the Divine Lord Jagannath, and one's Guru, and welcoming the crowd). The dancers play out a 3-stage greeting, the first above head towards God, the second before the face for the Guru, and the third before the chest for the crowd. Sá re ga ma (a pure dance number, celebrating beauty and highlighting mastery of technique). This dance is portraying the elegant dancers and musicians carved into the outer walls of ancient temples.
  Abhinaya (authorization of a melody, interpretation of the verse of antiquated writings). This dance portrays the Radha-Krishna situated sonnets, for example, the renowned Gita Govinda from the twelfth century. The stanzas utilized for portrayal are amazingly luxurious in substance and proposal. Elegant, liquid, and exotic, the Abhinaya resembles a moving affection sonnet with outward appearance, eye development, and mudra gestures:

"Come and see, my love

 Here comes Krishna, the flute player, the Supreme Performer

 Come and see, my love

 He dances wearing ankles bells

 So lovely rhythmic patterns he makes

Listen to his melodies, the mardala beats

Listen to his flute and clappings"

Bandha Nrutya (presentation of acrobat yogic postures, creation of figures of Radha Krishna, having similarity to visual presentation drawn up by Pattachitra artists, the traditional painting of Orissa).

Bandha Nrutya

The most interesting Gotipua dance execution is Bandha Nrutya. It is a dance with aerobatic postures of the body with supplying of different limbs known as Bandha in Odia, so infers the name of this dance. In view of the difficult and time taking nature, the little youngsters matured around 7/8 years and are trained to gain proficiency with this dance.

The stances generally allude to legendary scenes from the life of Krishna.

"Abhinaya Chandrika", an old book on Odissi Dance composed by Maheshwar Mahapatra during the fifteenth century, gives a nitty gritty investigation of the different developments of the feet, hands (mudras), the standing stances, the development, and dance collection.

"Sangita Darpana", an antiquated book from the seventeenth century about music and dance, gives a total repertory and by and large style of introduction. These writings give insights concerning Bandha Nrutya. Abhinaya Chandrika mentions more than 25 varieties of Bandha:

They are Gagan, Dwimukha, Torana, Shayana, Khuddra, Trisula, Brutanga, Damaru, Pradipa and Mithunasraya etc.  Some Bandhas are found in oral tradition and are known as 

·      Chira (welcome pose)

·      Padmasana (lotus pose)

·      Hansa (swan: represents wisdom, grace, and beauty, and is the vehicle of Saraswati, goddess of knowledge, music & arts)

·      Mayura (peacock: sacred bird of the Hindu mythology, whose feathers were adorning the head of Krishna)

·       Chara Mayura (grazing peacock: represents splendor and majesty)

·      Keli kadamba (the holy tree under which Krishna was playing)

·      Garuda (mythical eagle, vehicle of Vishnu)

·      Kandarpa Ratha (chariot of Kandarpa, the God of Love)

·      Sagadi (wheel, compared to the wheels of Jagannath chariot)

·       Nauka (boat)

·      Kaliyadalan (defeat of Blacksnake by Krishna)

·      Bakasura Badha (Krishna killing Bakasura demon)

·      Radha Krishna, etc…

Toward the evening at around 4 pm the Gotipuas were practicing with melodic backups. In the beginning, the Gotipuas were being trained with Padasadhana, run-of-the-mill practice with the feet and legs. Like it is said in Odia

To be continued….

“Chata Kada,

Tak Chauka Kada Tak

Panjha Kada Tak

 Goithi Kada Tak”.

After that 'Arasa' is instructed. This is a development of the body and limbs on a particular Ukuta of a Taal. Then "Abalaya" a blend of eye, neck, and foot development was additionally being practiced and Gurus were giving a lot of weight to Abalaya. This is trailed by the development of the eye (Netra Chalana) without neck development (Greeba chalana).

For the practice of Greeba Chalana, the  Gotipuas were instructed to keep two hands at the two sides of their ears with Mrugasisya Mudra. The practice would initially be exceptionally hard which turns out to be simple later by doing it every day. So also, various Mudras were being educated to the Gotipuas however they had restricted Mudras for a show like Pradeepa, Gabaksha, Tambula, Akash, Pani, Ratri, Radhakrishna, Siva, Brahma, Chandra, Surya, Bajra and so forth.

LATE.Guru Birabara Sahoo.

In all the Gotipua troupes Bandha Nrutya was not being found, however in troupes from Dimirisena it was liberally found. Out of two boys in the Gotipua troupe, one needed to perform Bandha and accordingly, he was dressed with Kachhi, a typical wearing saree and Khosa (Hairstyle), and the other with Ghera and typical dress with Beni (Hairstyle) as he was to perform Abhinaya. Tahia with Ketaki bloom was likewise stylish and the Beni (hairdo) was in practice till 1955 as reviewed by Guru Birabara Sahoo.

Vadya or Musical accompaniment

·      Mardala (two heads drum, rhythm percussion instrument of Orissa)

·      Gini (small cymbals)

·      Harmonium

·      Violine

·       Bansuri (alto bamboo flute)

·       and one or two vocalists.

It is realized that Odissi Mardal has been utilized continuously since 1956. Indeed, even Veena and Kendera (stringed instrument) were originally utilized and the Palias (co-singers) were accompanied in singing by Gotipuas. It is a result of the solid initiative taken by the distinguished singer and intellectual artist Singhari Shyam Sundar Kar adequately bolstered by and really followed by a world of Gotipua instructors and Gurus and researchers, the Odissi Songs got refined which advanced basic masses.

Make-up and Costumes:

 Abhinaya Chandrika also refers to makeup and costumes required for Gotipua dancers.

·      Originally Haldi and Kumkum were utilized by the Gotipuas. Therefore, the make-up involves a buff shading base in powder structure which is applied on the face; collyrium is utilized to obscure and lengthen the eyes and eye foreheads.

·      A beautiful example called 'Gorachana' of a creeper-like plan is painted on the temple and surrounds the eye foreheads and runs down onto the cheeks. A beauty spot in the shape of a fly is placed on the chin. A Tika on Tilak mark on the forehead also adds beauty to the delicate face.

·      Typical blossom arrangement, exceptionally conceived for the haircut is called Puspa Chuda in the Abhinaya Chandrika.

·      Two other kinds of bloom courses of action are Ardha-Baktaka or crescent and Katibeni or a single plait hanging down the back.

·      A large number of ornaments were previously used by the Gotipuas, as can be gathered from the several names mentioned in Abhinaya Chandrika.

·      But nowadays the dancers use very few of them like Chandra, Alaka, and Ketaki used for the forehead.

·       For the ears Kapas is worn.

·      Name of the necklaces used by them are Chapasari and Padatilaka.

·      The arms are adorned with Tayita and Kaankan for the wrists.

·       Around the waist are tied Bengapatia, the silver sets, and Kamarpeti of brass.

·      For the costume traditionally the Pattasari made of indigenous silk of bright colors, generally in some shades of red and nine yards in length was worn.

·      The Kanchula or blouse was also of a bright color on which were sewn imitation stones.

·       A length of cloth draped the hips and was tied in front and was known as Nivibadhana and the curl called Jobha, with teasels at both ends was tied like a waistband, of late the Jobha is not in vogue.

This costume was similar to that used by Maharis or Devadasis, in the past, the difference being in the manner of wearing the sari. The Pattasari was worn tightly and it had an equal length of material on both sides which was caught up and tied in a knot near the naval finally anklets are tied by the Guru before he goes for the performance.

First institute of Gotipua dance

This Gotipua dance was raised and created with so much imperial consideration and sustenance couldn't flourish further without regal support after the independence of India. The extraordinary art, of Gotipua dance would have been lost forever had No.1 Guru Sri Maguni Das with the dynamic help and exhortation of his profound Guru Sri Abhiram Paramahans, attempted to keep this culture alive by organizing a Gotipua troupe named 'Dasabhuja Gotipua Odissi Nrutya Parishad' in the year 1941, preceding six years of the independence. He started his own Gurukul Gotipua dance institute.

This institution is arranged at Heritage Raghurajpur Village in his habitation as a private school, where he was conceived on 50th August 1921. The boys remain with Guru in his living arrangement for at least six years and complete the course of training. Unbelievable Guru Maguni Das was trained from eminent Gotipua example of that time Guru Balavadra Sahu of town Raghurajpur. Noticed that Padmabibhusan Kelu Charan Mohapatra, Padmasri Maguni Das, and Dr. Jagannath Mohapatra are not many among his Gotipua boys. When Kelu Charan Mohapatra [junior individual of Maguni Das] initiated himself with the new traditional Odissi dance, Guru Sri Das committed himself to Gotipua dance recovery and advancement with conservation purposes. Throughout the years it has painstakingly modernity and acknowledgment.

Conclusion

As the "Gotipua dance" is pleased with Odisha and a wellspring of heart-felt delight for the crowd, care ought to be taken at each level for the advancement of this dance from the grass root level to put it on the map around the world.

Master Sri Das trained more than 100 Gotipua dancers in his vocation, who have become Odissi Dancers. His private Gurukul Ashram likewise furnishes the boys with formal schooling up to Class-X. The Parishad, actually all alone, by ideals of the dance execution by these boys all over and anyplace, has resuscitated this traditional dance culture of Odisha and made it notable among the individuals of India and abroad. Guruji has additionally participated in the International Workshop with his twinkle troupe in Paris, France in the years 1993 and 2003 supported by Sj. Rajiv Sethi's association, Sarathi, and furthermore participated in the Edinburg Mela, Scotland in July 2002, India Mela in Japan in 2004, and Humberg, Germany in 2009. For his important exhibitions and commitment to the Gotipua dance he has presented the Tulsi Award from Madhya Pradesh Govt. also, felicitated by Odisha Sangeet Natak Academy in the year 1991. Not just as a Gotipua dancer, his musical stream on Pakhauj had enchanted the crowd last of his breath. He was presented the Padmasri Award from Govt. of India in 2004.

While occupied to advance Gotipua dance he abruptly became sick and surrendered to his disease on the fourth of December 2008. He will be constantly associated with his Noble Contribution to the traditional Gotipua Dance style of India.

In the current structure, the Gotipua dance has gotten progressively exact and deliberate in its origination and received a collection for cutting-edge stage worthiness. It has presently proceeded as a gathering dance of six to ten boys, arranged in the traditional style. Melodic backup is given Mardala or Pakhauja, Gini, Harmonium, and Flute.

Government should find a way to build up dance schools at Village, Block, District State, and Country levels to train the dancers liberated from cost and with grants. Intense advances ought to be taken at all levels to advance this dance by giving appropriate training to the youthful youth for the advancement of Indian traditional Dance, Music, and culture.

Reference,
 Gotipua: A traditional folk dance of Odisha
Dr. Chandrashree Lenka Reader in Home Science, P.G. Department of Home Science, Sambalpur University, Odisha, India
Gotipua Dance Festival. Tourism of Orissa, Government of Orissa. 2013.
Dhirendranath Patnaik. Gotipua Dancers. Odissi dance. Orissa Sangeet Natak Akademi. 1971, 60.
The Gotipua fest starts in the city. The Times of India. 2011. 4. Orissa Diary. 2008. Retrieved November 23, 2015.
Gotipua Dance: A Tradition of Odisha
Bimal Ghosh, ISSN 0970-8669
Gotipua Dance Tradition in Odisha: An Overview

Chitta Ranjan Mallia, Secretary,  Odisha Sangeet Natak Akademi, Plot No. - 339, Gautam Nagar, Bhubaneswar-14.

Special Thanks  for Guidance  

Lecturer Smt. Supritee Mishra

School of Performing Arts,
Sambalpur University.

Lecturer Smt. Arupa Gayatri Panda
Department of Visual & Performing Art,
Sri Sri University, Odisha

Guru Shree Ranjit Nag
Eminent Gotipua Dancer And Sambalpuri Dance teacher

Researched and written by,

akashkumarmuni.21@gmail.com

Akash Kumar Muni,
Dancer and Choreographer

Masters in Performing Arts

Sector-17 D/23

At\PO – Sector-18,Rourkela-769003,

Dist. Sundargarh, Orissa, India.

Cell # 8637269356