Simanchal Patro: A Life Devoted to Preserving the Soul of Odia Folk Theatre

In the vibrant mosaic of India’s cultural heritage, traditional theatre forms occupy a space that celebrates storytelling, music, rhythm, devotion and community spirit. Among the many custodians of this rich legacy stands Simanchal Patro, a towering figure in the realm of Odia folk theatre whose life and work have become synonymous with preserving and promoting one of Odisha’s most ancient dramatic art forms — Prahallada Nataka. In 2026, his extraordinary contribution to art was recognised at the national level when he was conferred the Padma Shri, India’s fourth-highest civilian honour, for his lifelong dedication to art and culture.

Early Life and Cultural Roots

Born on 2 February 1927 in the village of Bamakei in the Ganjam district of Odisha, Simanchal Patro grew up in an environment steeped in artistic tradition. His father, Sura Patro, was a respected Prahallada Nataka guru and artist — a lineage that deeply influenced the young Simanchal. From a tender age, he was drawn to the rhythmic beats, melodic refrains and dramatic narratives that defined this traditional theatre. He began his initial training in Sakhi Nata, a precursor to classical Odissi dance and theatre, under established masters in the region — a foundation that would shape his artistic journey for decades to come.

Understanding Prahallada Nataka

Prahallada Nataka is not just a theatre form; it is a living cultural expression deeply rooted in Odia tradition. Originating in the 19th century in the Ganjam region, this folk theatre narrates the devotional story of Prahlada, the young devotee of Lord Vishnu, and his tyrant father Hiranyakashipu. The intense emotional arc of the story, combined with more than 200 songs composed in over 35 ragas of Odissi music, creates a performance that is as musically rich as it is spiritually profound.

Unlike conventional modern theatre, Prahallada Nataka is immersive, traditionally spanning up to 12 continuous hours of performance, incorporating vocal music, dramatic dialogue, vigorous dance movements, stylised acrobatics and evocative costumes. It is both an artistic spectacle and a communal celebration that brings villages together through shared cultural experience. As a young artist, Patro was entranced by its power — and resolved to devote his life to it.

An Artistic Journey of Six Decades

Simanchal Patro’s artistic career blossomed in his late teens and early twenties, when he began receiving acclaim for his commanding stage presence and powerful voice. He became especially notable for his portrayal of Hiranyakashipu, a role that demands both vocal stamina and emotional intensity. He was known for performing the extensive repertoire of songs and dialogues with a sonorous resonance that captivated audiences far beyond his native district.

Understanding that Prahallada Nataka was more than entertainment — it was a repository of cultural memory — Patro dedicated himself to not just performing but teaching. He established several akhadas (traditional training centres) throughout the Ganjam district and beyond, including in areas such as Nalabanta, Humma and Sundhipalli, where aspiring performers could learn the nuances of this art form. Through his mentorship, hundreds of students were trained, many of whom later became respected artists and cultural ambassadors in their own right.

Challenges and Sacrifices

Patro’s path was not without hardship. As with many traditional arts in India, Prahallada Nataka faced a gradual decline as modern entertainment mediums and urbanisation drew younger generations away from folk practices. Yet, Patro remained steadfast. Reports indicate that he even sold portions of his personal property to sustain performances and support his troupe — a profound testament to his commitment.

His dedication is emblematic of the countless unsung cultural custodians across India whose sacrifices ensure that ancient art forms do not vanish into obscurity. Today, scholars and practitioners recognise Patro’s impact as vital to keeping this tradition alive in the contemporary era.

Recognition and Legacy

Over the years, Simanchal Patro received numerous accolades for his work. In 1990, he was honoured with the Sangeet Natak Akademi Award, one of India’s most prestigious recognitions in the field of performing arts. Later awards included accolades from state cultural bodies and special honours such as the Guru Gangadhar Smruti Samman in 2024, reflecting his status as a revered teacher and performer.

However, it was in January 2026 that his contribution received nationwide acknowledgment when the Government of India announced his selection for the Padma Shri award. The honour highlighted his remarkable achievement as a cultural custodian — someone who not only mastered his craft but ensured its transmission to future generations. This recognition from the state brings well-deserved visibility to Prahallada Nataka as an essential strand of India’s intangible cultural heritage.

Impact on Cultural Preservation

Simanchal Patro’s work represents more than personal artistry — it stands at the intersection of tradition and continuity. In an age when many folk arts struggle to find relevance, Patro’s life exemplifies how dedication, mentorship and community engagement can sustain vibrant cultural practices for centuries. His students continue to perform, teach and interpret Prahallada Nataka across Odisha, ensuring its rhythms and stories remain a living tradition rather than a relic.

Conclusion: Celebrating a Cultural Beacon

Simanchal Patro’s life is a testament to the enduring power of traditional arts. Through unwavering dedication, he became not just a performer of Prahallada Nataka, but its guardian and teacher, enriching Odisha’s cultural landscape and inspiring generations of artists. His Padma Shri award is not simply a personal honour — it is a celebration of Odisha’s rich artistic heritage and the countless voices that give life to India’s diverse cultural narrative.

In celebrating Simanchal Patro, we honour the spirit of folk art itself — resilient, communal, expressive and timeless.