Religion and Spirit Worship

Ancestral family spirits being offered rice beer (diyang) the ote illi ceremony

This is a commonly held ritual at all religious events, when rice beer is offered to the ancestral spirits. Rice beer, ‘diyang‘, is poured onto open leaf cups and spills onto the ground, ‘ote illi‘.

Bamiya Champia first performs ‘ote illi’ with his wife’s new pot of rice beer to the ancestors, before drinking some himself. He then offers it back to his wife, Palo, who is stitching some creeper leaves into cups, 'pu:u' so they can drink.
Bamiya Champia first performs ‘ote illi’ with his wife’s new pot of rice beer to the ancestors, before drinking some himself. He then offers it back to his wife, Palo, who is stitching some creeper leaves into cups, 'pu:u' so they can drink.
Rupa Champia, the village priest ‘diuri’ performs ‘ote illi’ at the threshold of his house, which harbours the protective spirits of his household, to Singbonga, the creator god, to the founding ancestors of village, and to his own ancestors’ spirits. In front you can see a full pot of rice beer, ‘diyang’.
Rupa Champia, the village priest ‘diuri’ performs ‘ote illi’ at the threshold of his house, which harbours the protective spirits of his household, to Singbonga, the creator god, to the founding ancestors of village, and to his own ancestors’ spirits. In front you can see a full pot of rice beer, ‘diyang’.
Rupa Champia, the village priest ‘diuri’, performs ‘ote illi’ to sanctify four pots of rice beer. They will be drunk during harvest festival, ‘jomnama’. After this the new rice and vegetables can be eaten. You can see the bamboo sieves in which the fermented rice is mixed with water to create a milky beer. A pile of leaf cups lies ready for the villagers to drink from.
Rupa Champia, the village priest ‘diuri’, performs ‘ote illi’ to sanctify four pots of rice beer. They will be drunk during harvest festival, ‘jomnama’. After this the new rice and vegetables can be eaten. You can see the bamboo sieves in which the fermented rice is mixed with water to create a milky beer. A pile of leaf cups lies ready for the villagers to drink from.
Having performed the ‘ote illi’ ritual, Rupa Champia, the village priest ‘diuri’ and his wife enjoy a drink of ‘diyang’ rice beer. Almost a quarter of their annual rice crop is consumed as beer. For the Ho rice beer is a source of pleasure and relaxation after a day’s work in the fields and forests.
Having performed the ‘ote illi’ ritual, Rupa Champia, the village priest ‘diuri’ and his wife enjoy a drink of ‘diyang’ rice beer. Almost a quarter of their annual rice crop is consumed as beer. For the Ho rice beer is a source of pleasure and relaxation after a day’s work in the fields and forests.
This is is small shrine to the ‘guru bonga’ guardian spirit of one of Dubil’s leading ‘soka’ shamans. It is under a rare cactus that the ‘soka’ has planted.
This is is small shrine to the ‘guru bonga’ guardian spirit of one of Dubil’s leading ‘soka’ shamans. It is under a rare cactus that the ‘soka’ has planted.
The 'bonga' shrine and altar of one of Dubil’s leading ‘soka’ shamans, in front of his house. Many of the villagers come to him for advice and consultation about their problems, sicknesses and clairvoyant needs.
The 'bonga' shrine and altar of one of Dubil’s leading ‘soka’ shamans, in front of his house. Many of the villagers come to him for advice and consultation about their problems, sicknesses and clairvoyant needs.
Bamiya Champia is one of the leading 'soka' or deonwa'. Here he is going into trance in his shrine, beside his house, to consult his 'guru bonga', teacher spirit. He watches the dancing lentil seeds in his winnowing fan intensely as he interprets what his 'guru bonga' is telling him.
Bamiya Champia is one of the leading 'soka' or deonwa'. Here he is going into trance in his shrine, beside his house, to consult his 'guru bonga', teacher spirit. He watches the dancing lentil seeds in his winnowing fan intensely as he interprets what his 'guru bonga' is telling him.
Bamiya Champia, the paramount headman ‘manki’ of Dubil, is going into trance to become united with his ‘guru bonga’, his alter ego or conscience. He has gyrated his hand over the winnowing fan full of lentil seeds that has put him into trance. He is making the seeds dance in the fan. They speak to him with the voice of his ‘guru bonga’. He listens and tells the supplicant, who has come with a question, what the spirit says or what advice it gives.
Bamiya Champia, the paramount headman ‘manki’ of Dubil, is going into trance to become united with his ‘guru bonga’, his alter ego or conscience. He has gyrated his hand over the winnowing fan full of lentil seeds that has put him into trance. He is making the seeds dance in the fan. They speak to him with the voice of his ‘guru bonga’. He listens and tells the supplicant, who has come with a question, what the spirit says or what advice it gives.
Bamiya Champia offers rice grains that symbolise his bongas to a sacrificial chicken. If the chicken eats them it shows that the 'bonga' accepts it as a gift. It is then sacrificed to them.
Bamiya Champia offers rice grains that symbolise his bongas to a sacrificial chicken. If the chicken eats them it shows that the 'bonga' accepts it as a gift. It is then sacrificed to them.
Bamiya Champia draws rice flour dots, each in separate rooms, that represent the different 'bonga' spirits that he is about to call on.
Bamiya Champia draws rice flour dots, each in separate rooms, that represent the different 'bonga' spirits that he is about to call on.
Bamiya Champia, having drawn rice flour dots on his altar, puts dots on his shoulders to symbolise the 'bonga' spirits that will possess him.
Bamiya Champia, having drawn rice flour dots on his altar, puts dots on his shoulders to symbolise the 'bonga' spirits that will possess him.
Bamiya Champia, having drawn rice flour dots on his altar, representing the 'bonga' spirits he will invite to come to him puts similar dots on the joints of his body. Last a dot on his forehead symbolises that his 'guru bonga' is in his mind.
Bamiya Champia, having drawn rice flour dots on his altar, representing the 'bonga' spirits he will invite to come to him puts similar dots on the joints of his body. Last a dot on his forehead symbolises that his 'guru bonga' is in his mind.
Bamiya Champia has set up the altar to the ‘bongako’ that he wants to consult. He finally offers them a drink of rice beer ‘diyang’ by spilling it on the ground, 'ote illi'. Standing behind him is Ruidas, his younger brother, who has come to him, carrying a chicken to be sacrificed to the spirit in thanks. He has a problem and wants to find the cause of it.
Bamiya Champia has set up the altar to the ‘bongako’ that he wants to consult. He finally offers them a drink of rice beer ‘diyang’ by spilling it on the ground, 'ote illi'. Standing behind him is Ruidas, his younger brother, who has come to him, carrying a chicken to be sacrificed to the spirit in thanks. He has a problem and wants to find the cause of it.

Shamanism, Bonga woRship

The Ho have a shamanic religion. The world is full of spirits, ‘bongako‘, that they worship, appease and consult. ‘Singbonga‘, literally the Sun God, is the universal creator.  There are tame spirits, ‘hatu bongako‘, and wild spirits of nature, ‘buru bongako‘. Every shaman, ‘soka‘ or ‘deonwa‘, has his own ‘guru bonga‘, teacher spirit, his alter-ego and conscience, who can be consulted in trance. It is a complex world at the core of their belief system.

New Foods festival, Jom Nama Porob

This is a harvest festival. ‘Jom‘ means food, ‘nama‘ means new. The village priest, ‘diuri‘, performs a sacrifice of a multicoloured cock to the guardian spirits of the village, the ‘hatu bongako‘, begging them to protect their growing crops from wild animals, and a multitude of infestations. No one may harvest or eat the post-monsoon or upland crops until this has been performed.

Rupa Champia, the village priest, 'diuri', has laid out an altar in his rice field as the seeds are setting and ripening. This is when the seed-heads come under threat from fungi, insects and wildlife. This ritual calls on the village’s guardian spirits, 'hatu bongako', to protect the new food, the ‘jom nama’. He offers his best multicoloured cock to the guardian spirits. If the cock eats some rice grains it shows that the spirits have accepted this offering, which will then be sacrificed.
Rupa Champia, the village priest, 'diuri', has laid out an altar in his rice field as the seeds are setting and ripening. This is when the seed-heads come under threat from fungi, insects and wildlife. This ritual calls on the village’s guardian spirits, 'hatu bongako', to protect the new food, the ‘jom nama’. He offers his best multicoloured cock to the guardian spirits. If the cock eats some rice grains it shows that the spirits have accepted this offering, which will then be sacrificed.
This annual festival starts with Rupa Champia, the ‘diuri’ or village priest, offering a mature cock to the guardian spirits, ‘hatu bongako’. Behind him is his father, Jintu, who has retired as the village priest. He is training his son in the details and chants needed to perfect the ritual.
This annual festival starts with Rupa Champia, the ‘diuri’ or village priest, offering a mature cock to the guardian spirits, ‘hatu bongako’. Behind him is his father, Jintu, who has retired as the village priest. He is training his son in the details and chants needed to perfect the ritual.
Jintu Champia, the retired ‘diuri’, village priest, stands behind his son Rupa, who has inherited his role. He is learning the ritual details of this ceremony, so that the village guardian spirits will not be offended or upset, therefore ensuring a good harvest.
Jintu Champia, the retired ‘diuri’, village priest, stands behind his son Rupa, who has inherited his role. He is learning the ritual details of this ceremony, so that the village guardian spirits will not be offended or upset, therefore ensuring a good harvest.
Jintu Champia, the retired village priest, ‘diuri’, smiles in satisfaction at how well his son, Rupa, who has inherited his role, has performed this harvest festival ritual.
Jintu Champia, the retired village priest, ‘diuri’, smiles in satisfaction at how well his son, Rupa, who has inherited his role, has performed this harvest festival ritual.
Rupa Champia, the new village priest, concentrates hard on getting the chants, the names of the various spirits, and the ceremonial details correct as his father, Jintu, the elderly retired priest, tells him how to perform this ritual correctly.
Rupa Champia, the new village priest, concentrates hard on getting the chants, the names of the various spirits, and the ceremonial details correct as his father, Jintu, the elderly retired priest, tells him how to perform this ritual correctly.
Rupa Champia, the new village priest, offers up this fine multicoloured cock to the village guardian spirits, while completing the rituals of this year’s festival of new fruits ‘jom nana porob’.
Rupa Champia, the new village priest, offers up this fine multicoloured cock to the village guardian spirits, while completing the rituals of this year’s festival of new fruits ‘jom nana porob’.
Rupa Champia, finally sacrifices the cock to the guardian spirits, cutting off its head and sprinkling its blood on the small altar in the midst of his new rice crop.
Rupa Champia, finally sacrifices the cock to the guardian spirits, cutting off its head and sprinkling its blood on the small altar in the midst of his new rice crop.
Bamiya Champia, a respected 'deonwa', going into a shamanic trance by gyrating his right hand around on a winnowing fan of seeds, while Dolka Champia, his father’s brother’s son, spins on a measuring bowl ‘poila’, set in a pile of similar seeds. The direction that he finally ends up will be interpreted by Bamiya to determine the future and the answer to his question.
Bamiya Champia, a respected 'deonwa', going into a shamanic trance by gyrating his right hand around on a winnowing fan of seeds, while Dolka Champia, his father’s brother’s son, spins on a measuring bowl ‘poila’, set in a pile of similar seeds. The direction that he finally ends up will be interpreted by Bamiya to determine the future and the answer to his question.
While Bamiya Champia goes into a shamanic trance by gyrating his right hand around on a winnowing fan of grains and contacting his 'guru bonga', Dolka Champia spins on a measuring bowl, a ‘poila’. The direction that he ends up in will be interpreted by Bamiya's 'guru bonga' and Bamiya announce it.
While Bamiya Champia goes into a shamanic trance by gyrating his right hand around on a winnowing fan of grains and contacting his 'guru bonga', Dolka Champia spins on a measuring bowl, a ‘poila’. The direction that he ends up in will be interpreted by Bamiya's 'guru bonga' and Bamiya announce it.

Shamanic augury

Among the Ho, in this remote forest region of Saranda, about half the men and some women, have made an informal contract with their ‘guru bonga‘, their teacher spirit, to serve and worship him. This ‘guru bonga‘ is best thought of as their conscience and their dream world. Such people are known as ‘deonwa‘ or ‘soka‘. Some are renowned for this skill and consulted for their ability as augurers,  soothsayers,  and interpreters of omens and inner anxieties. All Ho are very aware of their dreams and avidly discuss them on waking up, as if they have actually lived them.

Bhuiya people, 'Sengel Tega', Fire Walking

These people were the original inhabitants of this area of India before the Mundari speaking Ho tribal people moved in and occupied the area.  There are still a few Bhuiya villages in the area. One of their major ceremonies is the fire-walking ritual when men prove their devotion by walking across a trench of red hot charcoals.  At the same time women are ritually cured of their fertility problems. The Ho tribals like to watch these Bhuiya rituals that they call ‘sengel tega‘.

Annually the Bhuiyas performer the ceremony of walking across a trench of red-hot coals to prove their faith in their deity. A trench is dug out and filled with wood that is set alight. Here the resulting charcoal is being fanned to make it red hot.
Annually the Bhuiyas performer the ceremony of walking across a trench of red-hot coals to prove their faith in their deity. A trench is dug out and filled with wood that is set alight. Here the resulting charcoal is being fanned to make it red hot.
Here a Bhuiya devotee prepares himself with a moment of concentration before stepping onto the red-hot coals and taking quick and delicate steps across it, but not running quickly.
Here a Bhuiya devotee prepares himself with a moment of concentration before stepping onto the red-hot coals and taking quick and delicate steps across it, but not running quickly.
The Ho tribals of Dubil, who have a different set of beliefs, find it fascinating to witness this Bhuiya ceremony. Here a Bhuiya man is walking barefoot along a trench of red-hot charcoal. The following photographs will be a witness to this event, which I find as difficult to interpret as the Ho.
The Ho tribals of Dubil, who have a different set of beliefs, find it fascinating to witness this Bhuiya ceremony. Here a Bhuiya man is walking barefoot along a trench of red-hot charcoal. The following photographs will be a witness to this event, which I find as difficult to interpret as the Ho.
During the Bhuiya fire-walking ceremony a goat is first sacrificed to their protective deity, in whose powers they will prove their faith by walking across the red-hot coals without suffering or being burnt.
During the Bhuiya fire-walking ceremony a goat is first sacrificed to their protective deity, in whose powers they will prove their faith by walking across the red-hot coals without suffering or being burnt.
Onlookers at the firewalking ceremony receiving a sacred snack, ‘prasad’, after attending the offering to the deity.
Onlookers at the firewalking ceremony receiving a sacred snack, ‘prasad’, after attending the offering to the deity.
The village priest testing the sharpness of the axe for beheading the sacrificial goat.
The village priest testing the sharpness of the axe for beheading the sacrificial goat.
The village priest sets up the shrine to the village guardian deity with an interesting mural behind it. He offers the sacrificial goat to the deity before it is slaughtered.
The village priest sets up the shrine to the village guardian deity with an interesting mural behind it. He offers the sacrificial goat to the deity before it is slaughtered.
The village priest is first cleansed before invoking the presence of the guardian deity to the firewalking ceremony.
The village priest is first cleansed before invoking the presence of the guardian deity to the firewalking ceremony.
The set of village drums waiting to be played. They will heighten the sense of drama during the firewalking ceremony.
The set of village drums waiting to be played. They will heighten the sense of drama during the firewalking ceremony.
Elaborate murals on a verandah wall in the main street of the Bhuiya village near Chhotanagra.
Elaborate murals on a verandah wall in the main street of the Bhuiya village near Chhotanagra.
In preparation for the Bhuiya firewalking ceremony a fire of logs is burnt to reduce the wood to red-hot charcoal. This is then put in the long trench for the firewalking itself. Meanwhile the master of ceremonies dances and goes into trance to the thunder of a large drum.
In preparation for the Bhuiya firewalking ceremony a fire of logs is burnt to reduce the wood to red-hot charcoal. This is then put in the long trench for the firewalking itself. Meanwhile the master of ceremonies dances and goes into trance to the thunder of a large drum.
Ho tribal children watching the firewalking ceremony that they call ‘sengel tega’ meaning fire treading from a nearby verandah.
Ho tribal children watching the firewalking ceremony that they call ‘sengel tega’ meaning fire treading from a nearby verandah.
At the central Bhuiya village temple to their goddess two beds of nails and two sets of flagellation chains are brought out to be blessed for the forthcoming firewalking ceremony and the ritual healing of infertile women.
At the central Bhuiya village temple to their goddess two beds of nails and two sets of flagellation chains are brought out to be blessed for the forthcoming firewalking ceremony and the ritual healing of infertile women.
Portrait of an excited young Bhuiya tman.
Portrait of an excited young Bhuiya tman.
The Bhuiya master of the ceremony goes into a ecstatic trance before he takes his turn at the firewalking ritual.
The Bhuiya master of the ceremony goes into a ecstatic trance before he takes his turn at the firewalking ritual.
A young Bhuiya man beats the large base drum to workup a sense of drama for the firewalking ceremony.
A young Bhuiya man beats the large base drum to workup a sense of drama for the firewalking ceremony.
Young Bhuiya women watch their men, intrigued by the drama of the firewalking ritual.
Young Bhuiya women watch their men, intrigued by the drama of the firewalking ritual.
Young Ho tribal girls watch the Bhuiya firewalking, fascinated by the different customs and beliefs of their neighbours, the Bhuiya people.
Young Ho tribal girls watch the Bhuiya firewalking, fascinated by the different customs and beliefs of their neighbours, the Bhuiya people.
Bhuiya women looking on with anxiety.
Bhuiya women looking on with anxiety.
A portrait of the Bhuiya master of ceremonies for their firewalking ritual.
A portrait of the Bhuiya master of ceremonies for their firewalking ritual.
One of many goats and sheep being sacrificially beheaded before the start of the Bhuiya firewalking ceremony.
One of many goats and sheep being sacrificially beheaded before the start of the Bhuiya firewalking ceremony.
The Bhuiya master of the firewalking ceremony honouring the preparatory charcoal fireplace that is full of glowing coals, before the firewalking begins.
The Bhuiya master of the firewalking ceremony honouring the preparatory charcoal fireplace that is full of glowing coals, before the firewalking begins.
A Bhuiya proving his immunity to pain by lying on a bed of sharp nails, while in a trance, possessed by the spirit of his guardian deity.
A Bhuiya proving his immunity to pain by lying on a bed of sharp nails, while in a trance, possessed by the spirit of his guardian deity.
The Bhuiya tribal striding across the bed of red hot charcoal to prove his devotion to their guardian deity.
The Bhuiya tribal striding across the bed of red hot charcoal to prove his devotion to their guardian deity.
A crowd of Bhuiya women watching the firewalking ceremony.
A crowd of Bhuiya women watching the firewalking ceremony.
Once a year the villagers of Dubil still pay their erstwhile Ho raja a tribute of rice from their harvest, a tradition honouring their now defunct feudal tax. The Raja of Manoharpur is a tributary of the Maharajas of Seraikela and Porahat. This view of the inside of this temple clearly shows that it has become a shrine to the Hindu God Shiva.
Once a year the villagers of Dubil still pay their erstwhile Ho raja a tribute of rice from their harvest, a tradition honouring their now defunct feudal tax. The Raja of Manoharpur is a tributary of the Maharajas of Seraikela and Porahat. This view of the inside of this temple clearly shows that it has become a shrine to the Hindu God Shiva.
Here in the palace ruins is this small temple that contains two Shiva lingams and two Shaivite trishuls and a statue of Hanuman. The erstwhile temple of the Ho raja is now used by the Hindu shopkeepers of Chhotanagra, who are unaware of its tribal origins. It now has two lingams and and shaivite trishuls. This demonstrates the flexibility of Indian belief systems.
Here in the palace ruins is this small temple that contains two Shiva lingams and two Shaivite trishuls and a statue of Hanuman. The erstwhile temple of the Ho raja is now used by the Hindu shopkeepers of Chhotanagra, who are unaware of its tribal origins. It now has two lingams and and shaivite trishuls. This demonstrates the flexibility of Indian belief systems.
In the tribal remains of their rajas temple a carved stone plaque at the back of the temple is a statue of the many headed deity Shiva riding on a peacock. Its origins are unknown, though it implies that their once Ho tribal overlord assumed the notionally higher status of having a Kshatriya Hindu lineage.
In the tribal remains of their rajas temple a carved stone plaque at the back of the temple is a statue of the many headed deity Shiva riding on a peacock. Its origins are unknown, though it implies that their once Ho tribal overlord assumed the notionally higher status of having a Kshatriya Hindu lineage.
In the nearby small town of Chhotanagra lies the ruins of the palace of the local Ho king or raja. His old temple has been adopted by the now Hindu population of this market town. It contains a small Nandi bull, the vehicle of Shiva. However the small statue at the back of the temple shows Shiva riding on a peacock, which clearly has tribal origins.
In the nearby small town of Chhotanagra lies the ruins of the palace of the local Ho king or raja. His old temple has been adopted by the now Hindu population of this market town. It contains a small Nandi bull, the vehicle of Shiva. However the small statue at the back of the temple shows Shiva riding on a peacock, which clearly has tribal origins.
The Raja of Chhotanagra, now living in a palace in Manoharpur, was a tributary of the Maharajas of Seraikela, the Raja of Porahat, and the Raja of Kharsawan. The fact that his old temple at Chhotanagra is in the middle of this patch of trees indicates that this patch of preserved wild forest was once a ‘Jaherstan’ or ‘Sarna’. This indicates that the Ho Rajas were once followers of the Ho tribal religion called ‘Sarna Dhorom’.
The Raja of Chhotanagra, now living in a palace in Manoharpur, was a tributary of the Maharajas of Seraikela, the Raja of Porahat, and the Raja of Kharsawan. The fact that his old temple at Chhotanagra is in the middle of this patch of trees indicates that this patch of preserved wild forest was once a ‘Jaherstan’ or ‘Sarna’. This indicates that the Ho Rajas were once followers of the Ho tribal religion called ‘Sarna Dhorom’.

Chotanagra temple

This small Hindu temple, in the nearby market town of Chhotanagra, used to be the temple of the local Ho raja. He now lives in a minor palace in Manoharpur. This temple has now been overtaken by Hindu immigrant traders, who now occupy this small market town. The old mud built palace is now in ruins, though some tribal remains still exist here.

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