The Connection between Nature and Culture: An Analysis of the Selected Rituals and Traditions of Odisha from the Perspectives of Ecocriticism and Cultural Ecology

Introduction

With time humans have made significant advancements through science and technology and reached remarkable heights of progress, it has become evident that this progress has resulted in environmental deterioration. Nature has been selflessly providing for our advancement, but there is a limit to how much it can provide. We are exploiting nature, which ironically leads to our decline, rather than true progress. If this continues, saving our Mother Earth will become difficult in the near future. Recognizing this issue, some scholars have proposed various methods and theories to preserve our environment, such as ecocriticism, environmentalism, ecology, deep ecology, shallow ecology, and cultural ecology. As per the research by Mondal and Pandey (p. 1), there is a lack of Western frameworks to address global climatic changes. Therefore, there is a dire need to understand the importance of sustainability in preserving the environment. With respect to responding to the environmental crisis caused by modern civilization’s rapid economic and technological growth, criticism has become an important area of study in literature and culture. It includes nature as a key theme alongside class, race, gender, and ethnicity and examines issues such as climate change, biodiversity loss, and pollution through both academic research and creative works. In another study, Mishra (pp. 168, 169) highlighted the threats posed by the environment in recent years. The fact that rainforests are being cut down, fossil fuel is rapidly decreasing, and climate change is progressing is a sign that ecological disasters are frequent at all times and our environment is at stake. The author believes that it is time for people to educate themselves about environmental crises and take precautionary measures to save the ecosystem. In his research paper, the author showed the importance of ecocriticism as a literary theory in the process of preserving our ecosystem. In this research paper, the author has rediscovered ecocriticism in a new light and found that ecocriticism is one of the youngest revisionist movements that has swept humanity over the past few decades. Similarly, Oppermann (pp. 103) highlighted the significance and value of ecocriticism in the current scenario. The author explained how the widespread ecological crisis can be kept in control, if not diminished, with the rise of ecocriticism in the academic world. According to the author, literature holds a lot of power and potential in creating harmony between man and nature. Oppermann (pp. 103) believes that, through literary works, we can understand our environmental values and responsibilities.

The term ‘ecocriticism’ emerged in the late 20th century, combining ecology and literary criticism. Early influential works included William Rueckert’s 1978 essay and Cheryll Glotfelty and Harold Fromm’s The Ecocriticism Reader (1996). In the context of this theory, Rathod and Labade (pp. 99,100) demonstrated through their research that ecocriticism is an intellectual practice of symbiotic relations between man and nature, including thousands of living beings. Ecocriticism focuses on how literature relates to the physical environment, emphasizing genres such as nature writing, romantic poetry, and wilderness narratives. Rueckert (1978) Reuckert (pp. 108,109) focuses on the grounds on which both human and natural communities can coexist in harmony. As studied by Gladwin (2017), many people have referred to ecocriticism as a series of waves to historicize the movement. The first wave of ecocriticism often focused on the relationship between man and nature by specifying the pastoral lives of Anglo-American people. The second and third waves of ecocriticism shifted attention from pastoral life or wilderness in nature to urban issues and sociocentric issues, such as environmental justice, eco-imperialism, and eco-feminism. Ecocriticism is guided by several key principles that shape its approach to analyzing literature and culture in relation to the environment. A fundamental principle is the emphasis on interconnectedness, recognizing that all life forms and their environments are intricately linked. This theory seeks to understand how literature reflects and influences the relationship between humans and their natural world. With the help of the research undertaken in this study, we explored in an ecocritical lens how the selected traditions and rituals help safeguard the environment.

In addition to Ecocriticism, another literary theory that has helped to understand how selected rituals and traditions help preserve the environment through its lens is the theory of cultural ecology. The theory originated in the 1930s and the 1940s with the work of American anthropologist Julian Steward. According to Steward (pp. 87,88), cultural ecology studies how human societies adapt to their environments. It is a subfield of ecocriticism that explores the dynamic relationship between cultural practices and ecological systems. This approach integrates insights from anthropology, sociology, and ecology to understand how cultural beliefs and practices influence the natural environment. Cultural ecology examines how specific cultural practices, traditions, and beliefs impact the environment by analyzing both sustainable and unsustainable practices and their ecological consequences. A key aspect of cultural ecology is the value placed on local ecological knowledge and its contribution to the global environmental understanding. This approach studies indigenous and traditional ecological practices, recognizing their potential to offer sustainable solutions to contemporary environmental problems. Certain principles of the theory underline its significance. This theory posits that human societies adapt to their surroundings with the help of technologies, social structures, and economic practices. Cultural ecology helps highlight the interesting connection between culture and ecology, thereby suggesting that environmental conditions impact the cultural patterns of a region. It views cultural development as a technique for altering environmental difficulties and opportunities.

The indigenous cultural wisdom of a particular region plays a pivotal role in environmental preservation by instilling a deep sense of holistic understanding of the connection between humans and nature. This is because the traditional or conventional knowledge that is passed down from generations focuses on sustainable practices, reverence for natural resources, and the interconnected nature of all living beings. Several indigenous practices, such as the celebration of agrarian festivals encouraging controlled consumption, crop rotation, and offering specially made delicacies to natural resources, have remained relevant and are still relevant to date in order to promote biodiversity and maintain ecological balance. By incorporating cultural traditions with environmental conservation, native regional wisdom provides significant insights for tackling modern ecological difficulties. In the context of the impact of culture on environmental protection, Bertania (2023) Bertania (pp. 1,2) emphasized the relationship between nature and culture in SedekahRawa with reference to Ecocriticism. Through this research paper, the author has explored how human or manmade activities affect the communion between nature and humans. Bertania (pp. 1,2) believes that the theory of ecocriticism is a prerequisite for understanding and analyzing the importance of culture and nature.

To further understand the impact of cultural traditions with reference to ecocriticism and cultural ecology on the restoration of the environment, we referred to other existing research. Mondal and Pandey (pp. 4,5,6) discussed the interconnectedness of indigenous festivals and climate sustainability in their research. The authors have elaborated on the idea that, since there are no sufficient Western frameworks to address global climatic changes, it is necessary to inculcate indigenous wisdom into the global arena to tackle sustainability. Through this research, it can be observed that the celebrations of certain tribal festivals such as Sarhul, Baha and Kunde Habba play a major role in reinforcing climate change. Similarly, Koje and Mishra (pp. 43,44) explored the role of Ramo folksongs as ecocritical elements. They believe that all living and non-living beings are associated with age-old beliefs in Ramo folksongs. By deducting this conclusion, the authors strive to reconstruct the history of a better sociocultural life. The ecocritical elements that the authors have observed are in the form of culture, society, life forces, and human-nature relationships, as they are traditionally and culturally impacted by their natural environment. Similarly, Chaini (pp. 73,74,75) highlighted the role of festivals in the overall development and growth of a region, specifically cultural tourism. Chaini (pp. 73,74,75) stated that festivals not only provide relaxation and entertainment but also contribute to the cultural, social, and economic development of the region. The author has established the significance of festivals in light of cultural tourism and development in special reference to the Gopalpur Beach Festival. Chaini (pp. 73,74,75) further deduced that art and craft, traditional values, rituals and customs, culinary delicacies, and communities majorly lure tourists from all over the world. In addition to the above mentioned paper, Sahoo and Mukunda (pp. 2793, 2796) has shown the importance of the festival of Dhanu Yatra in cultural tourism development. According to Sahoo and Mukunda (pp. 2793, 2796), Odisha is endowed with culturally abundant festivals, and people should learn how to reflect on the traditional knowledge of society. Sahoo and Mukunda (pp. 2792,2796) has identified the contribution of festivals to culture and tourism, and has identified the potential of Dhanu Jatra as a festival in the promotion of cultural tourism. The author has further identified certain shortcomings of Dhanu Jatra as a cultural tourism product and has advocated some measures to decrease these problems in the way of development.

In a similar research work, Dash (pp. 40,41,42) have underlined the significance of evaluating traditional Odia oral literature's socio-cultural and literary potential. They discussed popular folk stories and poetic plays in the context of their familiarity and popularity, emphasizing themes such as eco-consciousness, sociocultural bonds, spiritualism, and moral values. Additionally, they have delved into the rich history and tradition of oral narratives in Odia literature, deciphering their various forms and styles. In doing so, they have shed light on the cultural and literary significance of these age-old traditions, highlighting the need for their preservation and promotion. Odisha has always been a treasure trove of cultural repositories, ranging from music to dance festivals, rituals, and traditions. The state celebrates several festivals and rituals that contribute to promoting ecological sustainability. The best known instances and the selected rituals for the research are Raja Parba, Bakula Amavasya, Kartika Purnima, Makar Sankranti, Nuakhai, Khudurukuni Osha and Sudasha Brata. The rituals performed during these festivals are considered eco-conscious, as they encourage men to worship nature, thereby strengthening the relationship between man and nature. The culture and cultural practices of the festivals in the state are majorly associated with the preservation of the environment, as they intentionally or unintentionally work towards protecting the natural surroundings.

This paper aims to examine the selected festivals and rituals of Odisha: Raja Parba, Bakula Amavasya, Kartika Purnima, Makar Sankranti, Nuakhai, Khudurukuni Osha and Sudasha Brata. We will explore how celebrations through their reverence and respect for nature embody environmental wisdom and strengthen the connection between humans and their natural surroundings. This investigation further supports the principles of ecocriticism and cultural ecology, highlighting the integral relationship between cultural practices and ecological consciousness in Odisha.

Method

The research examines a few selected rituals and traditions of Odisha viz. Nuakhai, Bakula Amavasya, Kartika Purnima, Makar Sankranti, KhudurukuniOsha, Sudasha Brata and Raja Parba to explore the significance of the festivals and their connection with human beings and nature. We have explored how the selected rituals and traditions help in preserving the environment. The information about the origin, practices in the rituals, ways of celebrations, significance have been drawn from the experiences of the two authors of the paper who were born and brought up in Odisha. The information was further verified by the elderly people in the author’s families. For further information we have also referred to secondary sources such as articles, research papers, blogs and books.

Our paper uses thequalitative approach, employing ecocriticism and cultural ecology as its theoretical framework to explore the cultural practices of Odisha focusing on key festivals and rituals of Odisha for their relevance to the environment and culture. The two researchers of the paper who are natives of Odisha, bring an insider’s perspective to the study, having grown up with the rituals and cultural practices under investigation. This personal connection enriches the analysis, though potential bias is mitigated by cross-referencing personal experiences with secondary sources like research articles, books, and blogs etc. The study draws on secondary data and first-hand accounts, including consultations with family members, to offer a comprehensive understanding of these rituals. The data collection process is iterative, involving literature reviews and family consultations, without the use of formal instruments or technologies. The researchers process the data through thematic coding, identifying recurring themes such as ecological conservation and cultural identity, while enhancing the trustworthiness of the findings by referencing existing secondary sources. Ethical considerations are minimal as the study is based on the authors’ personal experiences and secondary data, with no formal human subjects or interviews involved.

We have provided selected rituals and the cultural practices in the Table 1 below.

For the theoretical framework, we analyzed ecocriticism and the theory of cultural ecology. In the current world scenario, due to factors such as urbanization, industrialization, overuse, and exploitation of natural resources, the natural ecosystem is suffering and the environment is at stake. Due to technological advancements, a misconception has been built that merely science and technology are going to be sufficient to combat the global ecological crisis, but that is not true. At this point in time, the concept and literary theory of ecocriticism is of great relevance and plays a major role in the restoration of the environment. Ecocriticism is deeply rooted in the interdisciplinary nature of environmental studies and draws from various other sciences such as ecospiritualism, ecofeminism, and ecomarxism. The term ‘ecocriticism’ was first coined by William Rueckert in 1978 in his work “Literature and Ecology: An Experiment in Ecocriticism”. According to Rueckert (1978) Reuckert (pp. 108,109), the theory of ecocriticism is an interdisciplinary field, as it draws from various sciences and applies ecological principles to the study of literature. Rueckert (1978) Reuckert (pp. 108,109) believes that ecocriticism is a response to the need for a proper understanding of our relationship with nature in the age of digitalization and urbanization. Rueckert (1978) Reuckert (pp. 108,109) has also stated how environmental crises are the result of such intense disconnection from the natural world, caused not only by rapidly increasing technology but also by urbanization and several other factors. In another work by Mishra (pp. 168,169,170), he explained that ecocriticism is a broad approach, as it is rooted in literary theories such as eco spiritualism, eco feminism, and eco marxism. It is by virtue of ecocriticism that such theories are given the importance of late.

Ecocriticism stems from a broader concept of environmental studies that seeks to analyze and understand the relationship between man and nature. With the help of literary theory, it can be understood how literature shapes, portrays, and impacts the way human beings view nature and its ecosystem. Ecocriticism focuses primarily on the interconnectedness between living beings and ecosystems. Furthermore, it investigates the literature as a platform for environmental justice and awareness. At the core, ecocriticism tries to analyze how literature reflects and changes the attitude of human beings towards nature and the ecosystem. By analyzing representations of nature and environmental themes, ecocritics discover several ways in which human societies and communities interact with their natural surroundings. Through the layers of ecocriticism and understanding ecological practices, human beings should be able to make changes in their attitudes towards nature.

However, to fully understand the complexities of this theory and its interpretations, it is important to study the scientific disciplines of ecology. Ecology and ecocriticism are interconnected fields that focus on understanding and addressing environmental concerns. Ecology is a scientific discipline that specifies the relationships between living organisms and their environments. Ecocriticism offers a conception that is complementary to that of ecology, as it examines how these relationships are portrayed in literature and culture. Both these fields help identify the interconnectedness of all living beings and the importance of ecological balance for the well-being of the planet. Ecology primarily deals with the scientific aspects of ecosystems, whereas ecocriticism examines how these ecological aspects are represented and interpreted in the literature and culture.

The word ecology was first coined by German zoologist Ernst Haeckel. He used the term oekologie to depict the “relation of the animal both to its organic as well as its inorganic environment.” The word ‘ecology’ originates from the Greek word’ oikos’ meaning household or home. Thus, ecology deals with the organism and its environment, and the concept includes both living organisms and their physical surroundings. Any kind of interaction between individuals, populations, organisms, and their environment forms an ecological system or ecosystem. Ecology has been defined in many ways, such as “the study of the interrelationship of the organisms with their environment and each other,” as “the economy of nature,” or in some places as “the biology of ecosystems.” The concept of ecological theory also features the concepts of deep and shallow ecology, which emerged much later in the 1970s. Arne Næss, a Norwegian philosopher, introduced the idea of deep and shallow ecology to introspect beyond environmental pollution and conservative movements to address environmental degradation. Naess (pp. 95,96), at the time of discovering deep and shallow ecologies, emphasized the role of individuals in nature. According to Naess (pp. 95,96), due to increased anthropocentrism, human beings have deluded themselves and taken them off the ecosystem. As per Naess (pp. 95,96), shallow ecology refers to the philosophical or political position that environmental preservation should only be practiced until the time it meets human needs and interests. The concept of shallow ecology extends the idea that people continue to live their present lifestyles, keeping in mind certain things that are meant to minimize any sort of damage to the ecosystem. It also includes the use of vehicles that cause comparatively less pollution, air conditioners, and refrigerators that do not release chlorofluorocarbons or CFCs. On the other hand, Naess (pp. 95,96) states that deep ecology refers to ecological conditions in which human beings consciously change their relationship with nature.

The theory of ecology paves the way for cultural ecology, as both disciplines dig deeply into the intricacies of the interplay of systems, which may be natural or societal. Therefore, the theory of cultural ecology was considered. Cultural ecology is a theoretical approach that establishes certain similarities and differences between various cultures in relation to the environment. The entire theory is mostly associated with the research of Julian Steward, an anthropologist. The basic idea of Steward (pp. 87,88,89) was that cultural ecology is a scientific theory of cultural change. In other words, Steward (pp. 87,88,89) believes that the environment is an additional factor that shapes the culture of a particular region. Steward (pp. 87,88,89) further adds that culture is nothing but an adaptation to the environment of a certain place, which is why it is termed cultural ecology, meaning culture determined by ecology.

The theory considers how environmental forces impact human beings and vice versa. Steward (pp. 87,88,89) defined cultural ecology as “a heuristic device for understanding the effect of the environment on culture”. The theory focuses on how cultural beliefs and practices help human beings adapt to their environments or ecosystems. In this way, it undoubtedly contributes to social organization and other human institutions. With the help of this theory, practitioners interpret cultural practices in terms of their long-run role in helping human beings adapt to their surroundings. With the help of analyzing representations of nature and environmental themes by studying festivals, rituals, and traditions in view of the theories concerned, researchers have discovered several ways in which human societies and communities interact with their natural surroundings. The results of these explorations help understand the implications of the interactions with respect to ecological sustainability.

Results and Discussion

Ecocriticism as a theory showcases the communication between culture and the natural environment. Rueckert (1978) Reuckert (pp. 108,109) has rightly said that ecocriticism takes an earth-centered approach, which means that the approach is based on the core idea that human culture is very closely associated with the physical natural environment. To understand this better, Glotfelty and Fromm (1996) Glotfelty and Fromm (pp. 23,24,25) established in their research that ecocriticism is primarily based on the interdependence of human culture and the entire ecosystem. The prime principle of ecocriticism is that it strongly believes that human culture and society are largely related and further conceives that all forms of life are interconnected. With respect to this, Mishra (pp. 168,169,170) has explained in her research work that the state has rich traditions of environmentalism. The author has examined traditional knowledge systems in Odisha to understand the relevance of culture in sustainability. Therefore, it is evident that the traditional and indigenous wisdom of a particular region often reflects the culture of that place, which in return paves the way for sustenance.

Odisha is a culturally abundant state, and festivals hold paramount positions throughout the state. Odisha and its festivals go hand in hand. Baara maasa tera parba is renowned with respect to the festivals in Odisha, which signifies that even though there are 12 months in a year, the state celebrates more than 13 festivals in an entire year. Festivals are organized events on a specific day or time period during which people come together in the memory of a religious occasion with their own performances, rituals, and food. Festivals can easily be referred to as cultural stalwarts of the concerned region, as they are vivid expressions of cultural identity. They serve the purpose of communities getting together and celebrating their shared values, traditions, and beliefs. The festivals in Odisha not only portray the religious and traditional ethos of the region but also contribute to the development of the state in general. Beyond their cultural and economic significance, certain festivals in Odisha have played a pivotal role in promoting ecocriticism and ecological practices. Several festivals, such as Kartika Purnima, Raja Parba, Nuakhai, Bakula Amavasya, Makar Sankranti, Khudurukuni Osha, Sudasha Brata help to understand ecocriticism and give rise to more ecological practices. Das and Mahapatra (1979) Das and Mahapatra (pp. 117,118) explored the origin and evolution of folklore in Odisha, shedding light on the state's enriched abundance of traditions. Through their work, the authors provided an in-depth analysis of various religious practices and rituals that actively play an essential role in shaping the state's folklore. In continuity of the folklore of the state, Mohanty (pp. 28,29) have discussed the rich cultural heritage of Odisha, focusing on the spiritual belief and worship of Lord Jagannath as a common unifying factor among the people of the state. As Jagannath culture embodies the principle of universality, it has become a mass culture that is accessible to most people. This research helps to depict the interconnectedness between humans, nature, and culture.

In order to prove the above-mentioned principles of the theory of ecocriticism, Mohanty (pp. 146,147,148,149,150) elaborated on the tribal oral traditions of Western Odisha and the need for their preservation in her research. Oral traditions are often linked to an understanding of cultural and social order. As per Mohanty (pp. 146,147,148,149,150), the significance of this study lies in the underlying truth that once stories and songs are no longer told and retold, indigenous wisdom related to myths, legends, or songs is not passed down further to future generations. These studies show that the interconnectedness of human beings, nature, and culture exists on several grounds and may be in indigenous rituals and traditions or in literary works. In another study, Agarwal (pp. 1,2) offered a precise analysis of an artist's perception of water as a social, environmental, and geopolitical force. The environmental element of water demonstrates the importance of the ecological balance between nature and human beings. Agarwal (pp. 1,2) adopted a qualitative approach to show the interwoven nature of folklore and the visual representation of water.

Starting with the selected rituals and traditions, Kartika Purnima or Boita Bandana (Boita means a ship or a boat and Bandana stands for worship) is celebrated on the full moon of the Kartika month, as per the Odia calendar. On the day of Boita Bandana people gently set afloat small banana leaves or paper boats adorned with diyas, candles, betel leaves, crackers, and fruits into water bodies, such as ponds, lakes, rivers, seas, or any other human-crafted waterway. The practice of making boats out of recyclable materials, such as banana leaves or paper, shows the ritual’s underlying concern for environmental surroundings. Paikaray et al. (pp. 19711,19712) have shown the significance of Kartika Purnima as an eco-friendly tradition through practices such as making use of plants and parts of trees for celebration. This study helps us understand how Odia culture contributes to the conservation of plants to safeguard their ecosystem.

The entire month of Kartika is said to be the most pious, as per the Hindu Calendar. The devotees abstained from eating non-vegetarian food for a month-long fast. People eat Satvic food, which is devoid of onion and garlic, and includes locally harvested vegetables and fruits. They believe that leading a life of abstinence even on those five days will help them free of their sins. It is also traditionally believed that people who cannot fast for the entire month should fast at least for the last five days, which is otherwise called Panchuka. The time of Panchuka is also known for Habisa Dalma which is cooked with raw moong dal and has vegetables such as raw banana, pumpkin, and colocasia.

Certain rituals and traditions, ranging from visiting temples to boita bandana, were carried out during this period. Waking up early in the morning, freshening up, and visiting the temple first in the day is one practice that people dedicatedly follow at the time of Panchuka. On the last day of the Kartika month, people come together to commemorate the glorious maritime festival of Boita Bandana where they set afloat their paper and leaf boats in the water bodies with the intent of praying for the safe return of the traders or the Sadhabas. The rituals of Kartika Purnima definitely contribute to building a better ecosystem. The practice of refraining from eating non-vegetarian food, such as meat and fish, is beneficial as it helps restore balance in the natural ecosystem. In addition to this, other rituals and traditions, such as married women practicing the art of muruja or rangoli and boita bandana on the last day of the month of Kartika, also reveal the ecoconsciousness of the people of Odisha. The muruja or rangoli are believed to have been made with the help of naturally colored powders available in the markets. Colors are eco-friendly, as they are mostly derived from natural ingredients. Black color is made out of burnt coconut shells, yellow color is made out of turmeric powder, white color is made out of raw rice powder, green color is made out of the powder of dry leaves, and red color is made out of grinding bricks. During the festival, people also engage in certain eco-friendly practices, such as planting trees and cleaning water bodies, which in turn promote the preservation of biodiversity.

The second festival is Nuakhai, which is celebrated in Odisha during the panchami tithi or the fifth day of the lunar fortnight of the month of Bhadrava or August-September. As the name suggests, Nua means new and Khai means food. Nuakhai means the ceremony to eat new rice. The preparations started with a discussion of the elderly people in the village. They sit together and discuss Nuakhai’s tithi. Towards the end of the discussion, the villagers reached a consensus. On the day of the festival, families wake up early to take baths, wear new clothes, and offer prayers to Goddess Samaleswari, asking her for plentiful harvest and prosperity. In this ritual, the first rice grain was offered to the deity. After that, the eldest member of the family distributes nua or grains to other members of the family. Satpathy (pp. 67,68) explored the tradition of Nuakhai in Odisha, and deduced that the festival respects nature. The author also examined certain resources used for the Nuakhai celebration to understand its role in the restoration of the environment. This ritual is not just a celebration, but it also symbolizes the importance of food grains. The ritual is steep in terms of its agricultural significance. It symbolizes the essence of new beginnings and prosperity, as it marks the commencement of the new harvest. Beyond being just an agrarian festival, it also embodies a strong sense of connection between human beings and the Earth. The festival serves as a reminder of the life cycle, the hard work of the farmers, and the bountiful harvest given by Mother Nature. May it is the offering of the first harvested grain to the offering of gratitude to Mother Earth, which highlights nature’s abundance and its inevitable role in the sustenance of life. Nuakhai not only celebrates the first harvest of the season, but also underlines the interconnected nature of all living beings with the ecosystem in the process of its celebration.

Similarly, the next well-known environmentally conscious festival is Raja Parba, a three-day festival celebrated all over the state. Dash (pp. 40,41) studied the festival to analyze how it works towards strengthening socio-cultural relations and protecting the natural environment. As menstruation is still considered impure or taboo in many parts of the world, the festival functions as a medium to break all stigmas and establish menstruation as a sign of fertility and life. The day before Raja Parba begins is called Sajabaja which means getting ready. The first, second, and third days of Raja Parba are called Pahili Raja, Raja Sankranti and Bhuin Daaha. The festival is marked by swings, traditional games, and delicacies such as pithas. Women rise before dawn, wash their hair, cover their bodies with turmeric paste, and take purificatory baths. The women are then not supposed to walk barefoot, as it is believed that it will injure the Mother Earth. Women traditionally wear Alta or red paint on their feet and hands. During the three consecutive days, they are seen in the best of their attires, enjoying Pithas and other delicacies, spending hours swinging and roaming around while tuning to Odia Raja songs. Women were not supposed to engage in any kind of physical work during this period. On the fourth day, Basumati Snana was observed, which symbolizes reverence for Earth. For the ritual of Basumati Snana, a grinding stone portraying the Earth is covered with turmeric paste and bathed, then embellished with chandan, sindoor flowers. These rituals demonstrate a sense of appreciation and respect for the environment.

The festival is marked by the purpose of celebrating womanhood and prosperity in agriculture. It is dedicated to Goddess Earth and young girls and women are believed to be symbolic representatives of Earth. It is also believed that during this time, Goddess Earth is menstruating. To respect her womanhood, activities such as plowing, plucking, farming, and cutting trees are prevented. These practices are carried out in order to honor femininity and women’s ability to give birth to new lives. They reflect the connection between the mother earth and women, highlighting the interconnectedness between nature and men. Raja Parba is typically celebrated in June, and the timeline of the festival is linked to agricultural cycles, as it marks the onset of the monsoon season. It is celebrated as a way to welcome rain, which is crucial for agriculture and for replenishing water resources. During the festival, farmers prepare their fields for the upcoming planting season. Das (pp. 123,124) has noted,Though primarily a festival for young girls, it is also rooted in agriculture. After plowing parched fields during the previous summer months and sowing seeds in anticipation of the rains, this festival marks the onset of the rainy season. Celebrating the advent of rains, this joyous festival spans four consecutive days.Significantly, Raja is a festival for unmarried girls. Just as the Bhu-devi prepares to quench her thirst with the approaching rains, unmarried girls groom themselves to impend matrimony during these three consecutive days. These lines depict the cherished relationship between humans and their environment.

Wani et al. (pp. 2608, 2609) elaborated on the significance of the different kinds of sacred trees with regard to traditions promoting conservation of the ecosystem. Through this research, the authors observed the role that sacred trees play in religious traditions around the world. The next festive tradition to consider is the festival of Bakula Amavasya, which employs characteristics such as the worshipping of sacred trees. It is observed in Odisha during the period of December- January or the Pousha maasa as per the Odia calendar. Bakula Lagi offers the first mango flowers to the deities at home or temples. Then, a special puja and prayers are offered to Lord Jagannath on this auspicious day. The farmer offers delicacies such as Khira Gaintha pitha which is prepared by soaking rice balls in sweetened and thickened milk to the deities and new crops. Another dish prepared during the festival is the Manda Pitha which is also made from rice flour balls stuffed with jaggery and a coconut filling. The festival truly promotes eco-conscious practices as it is an observation of the commencement of healthy farming. Farmers believe that by the first offering to the deity, the crops and mangoes will grow even more fruitful than usual. Indeed, it is a festival that shows the relationship between humans and nature. The first mango flower of the year denotes the beginning of a new life or the renewal of life. The offerings made to the deities and the new crops are often prepared using local farm produce, which makes it all the more important as it depicts the dependence of human beings on nature and the ecosystem. People believe that the branch of the mango tree touched by the Baula Gaintha will bear fruitful flowers. Once a branch is spotted, people gather around the tree and hurl Gaintha pitha on the mango tree. The Amba Baulas are also offered to Lord Jagannath at Puri Temple. All three idols were decked up in special attires on that particular day. Baula kheeri or a sweet dish, is prepared using mango blossoms and is offered to the holy trinity.

It is believed that Lord Krishna admired the kadamba or the burflower trees, amba, or mango trees, and siali or a creeper plant that grows on sal trees. Lord Krishna performed Rasleela with hundreds of Gopis under the kadamba trees. He later left the place and was crowned by the king of Dwarka, but he continued to love the Amba Baula or the blossoms of mango trees. It is also widely believed that Lord Krishna spent the last part of his life on a Siali or creeper plant. Since Lord Krishna loved mangoes so much, the Amba Baula or the mango blossoms are hung from the Dola Biman when he goes out in the palanquins to accept offerings from the devotees during the Dola festival in March. The Amba Baula or mango blossoms are considered symbols of reverence towards nature, which is why they are given as offerings to the deities. The Bakula Amavasya festival is celebrated to offer prayers to the first fruit of the season, which also means offering prayers to trees. It justifies itself as an agrarian tradition as it not only caters to the trees in people’s backyards but also the farms bearing the first fruits of the season. While people offer prayers to the trees, they pray for the production of Mother Nature has provided them with. This shows the relationship between humans and ecosystems. The rituals and traditions of the festival, such as offering prayers to trees and planting trees, highlight the interconnectedness of nature with human beings. Bakula Amavasya holds immense significance, as it enriches the agrarian heritage of Odisha.

Makar Sankranti, as a harvest or agrarian festival, is celebrated in almost all states of India, but the celebration in Odisha stands out from the lot. This is because the festival falls very close to the traditional new year of Odisha as per the Odia calendar, and it holds astronomical significance for people who believe that life is indeed impacted by the movement of celestial bodies. Makar Sankranti is celebrated in Odisha on the day when the sun’s transition into Makara rashi (Capricorn) on its celestial path occurs. Makar Sankranti in Odisha is celebrated at Hatakeshwar in Atri, Jagannath temple in Puri, and Dhabaleswar temple in Cuttack. The people of Odisha prepare makara chaula (uncooked newly harvested rice) mixed with banana, coconut, jaggery, sesame, rasagola, Khai/Liaa and chhena or cottage cheese as offerings to gods and goddesses. Throughout the state, people celebrate this festival in the Sun Temple at Konark, Lord Jagannath Temple at Puri, and in the homes of many local people. Makara Mela is a fun fair that is observed at the Dhabaleswar temple in the Cuttack district. The festival symbolizes astronomical reverence towards the sun and nature. The devotees who strongly believe that the celestial bodies affect us to an extent that they decide our success and failure make sure to celebrate the festival with utmost respect. At the time of Makar Sankranti, there was always a crowd of people at the Konark Temple as the devotees gave astronomical importance to the Sun God. They believe that the festival is a movement of the sun in the zodiac sign of Capricorn. Hence, they prefer going to the Konark Temple as it is the temple of the Sun God. It is also a common belief that, if the Sun God is worshipped on the occasion of Makar Sankranti, God accepts prayers and saves his devotees from all problems. Some devotees also take a holy dip in the Chandrabhaga Sea to appeal to the Sun God. They donate black sesame seeds, blankets, and other things. The color black signifies evil, and hence the donation ensures that the ill effects of planets like Shani and Rahu are minimized on the donors.

Makar Sankranti, as a festival, holds the potential to underline the importance of the ecosystem through its rituals and practices that emphasize the creation of a harmonious coexistence of both man and nature. The festival is significant as it centers around the celebration of the new rice, known as Nabanna. Freshly harvested rice was first cleaned, and the first handful was offered to deities before being cooked. It is common practice in Odisha to offer the first fruit of harvest to the deities. In particular, the festival of Makar Sankranti marks the peak of agricultural activities, as it is also the time for farmers to rejoice the fruits of their hard work. The festival rooted in agrarian traditions, such as offering the first fruits to the deity, marks the transition of the sun into the Capricorn Zodiac, resulting in longer days and the onset of the spring season. The essence of Makar Sankranti lies in the consistent practices of man showing respect towards nature and agricultural cycles. On the day of the festival, the people not only ask for plentiful harvest but also convey their gratitude to the harvest they received from Mother Earth.

The Khudurukuni Osha in Odisha began to celebrate a maritime festival when traders from Odisha travelled to the far off lands in ships or boitas for business purposes. Biswal and Dash (pp. 113,114) explored the old tradition of Jhoti art in Odisha. They established that the Jhoti tradition is maintained by the agrarian communities of Odisha maintained the Jhoti tradition. During the festival, family members would bid the Sadhabas or the traders farewell and pray for healthy and safe homecoming. Khudurukuni Osha and Bhalukuni Osha are mainly observed in the coastal districts of Odisha on Sundays in Bhadrava or August-September. On the day of the festival, young girls wake up early in the morning and collect flowers. After bathing, they pray to the sun by mounting small heaps of Bhaluka or clay on the banks of ponds or rivers. They then decorate the heaps of clay or sand with turmeric powder, vermilions, and flowers. All of the girls then sit down together to stitch huge garlands for the Goddess, and they draw jhotis or murals on the ground with a paste of rice and water. The girls observed a day-long fast abstaining from any kind of solid food. The prime offerings to Goddess Mangala in this festival are Khuda Bhaja, broken rice, ukhuda or fried paddy sweetened with jaggery, chuda or flattened paddy, Lia or fried paddy, and all kinds of fruits. Rituals and traditions during the festival symbolize the connection between women and the natural ecosystem. The people celebrating also believe that fasting and abstinence from solid food for an entire day cleanse their bodies and minds while also seeking the strength and blessings of Mother Earth. In this way, the girls and women show respect for Mother Earth.

Sudasha Brata is another festival that incorporates the use of natural resources from the environment. In a research paper by Dashsharma (pp. 44,45), the author highlighted the promotion of Odisha culture in neighboring states. The author has expanded on the idea that indigenous cultural wisdom often works towards protecting our natural environment, which is why human beings need to preserve the cultural heritage of a region for long-term sustainability. Sudasha Brata in Odisha was celebrated around the time of the Chaitra Navaratra. However, the festival does not have a fixed celebration date. This is typically observed when there is a rare combination of Shukla Paksha or a phase of the moon, Thursday, and Dashami in the Odia calendar. Sudasha Brata is dedicated to the worship of the Goddess Lakshmi. This is mainly observed by women for the well-being of their families. Women are supposed to tie a sacred thread to their hands and remove it in the next phase of the brata. In the thread, ten knots were made chanting ten different names of the Goddess Lakshmi. There are special food items such as Manda Pitha or steamed rice cakes stuffed with a filling of coconut and jaggery on occasion. Undoubtedly, the platter of Manda Pitha is first offered to Goddess Lakshmi, as she is the presiding deity of the festival. Along with the delicacies, Goddess Lakshmi is offered ten flowers, ten chenna bhog or cottage cheese, ten duba or grass bouquets, and as many gooseberry leaves as rice grains. The Sudasha Brata festival embodies practices that show reverence towards the ecosystem and women of the family. The presiding deity of the festival is the Goddess Lakshmi, a woman. As stated by Biswas (pp. 241,242,243) in her research work, women play a pivotal role in festivals of Odisha households. Dash (pp. 20) reiterates that “mostly the Oshas and the Bratas are observed by the women of Orissa.” These rituals and traditions highlight the chastity of women, figuratively indicating the significance of Mother Earth as a woman. The strength and resilient nature of women can be observed through the rituals and traditions of the festival. Rituals include the worshipping of the deity using natural resources such as Manda Pithas offered to Goddess Lakshmi on the day, which highlights the importance and significance of the ecosystem. Additionally, the festival also connects individuals to nature by emphasizing the value of water, as devotees perform rituals near water bodies. The ritual of offering duba or grass to the deity symbolizes the relationship between man and nature, as it represents the essence of the earth and its fertility.

The above discussion shows that the selected festivals and rituals of Odisha vividly embody the principles of ecocriticism, reflecting the intrinsic relationships between humans and the environment. Celebrations such as Kartika Purnima, Nuakhai, and Bakula Amavasya emphasize ecological consciousness through their rituals and traditional practices. Kartika Purnima, For instance, Kartika Purnima promotes abstinence from non-vegetarian food and the use of eco-friendly materials, showcasing a commitment to reducing the environmental impact and fostering a connection with nature. Nuakhai highlighted the importance of agricultural cycles by offering the first grains to deities, underscoring the interconnectedness of human life and natural processes. Similarly, Bakula Amavasya celebrates the renewal of life with the first mango flower, illustrating the deep dependence of humans on natural cycles and the significance of expressing gratitude for nature’s bounty. Moreover, festivals such as Raja Parba, Makar Sankranti, and Khudurukuni Osha underscore the harmonious coexistence of humans and nature through their respect for natural elements and ecological cycles. Raja Parba, for example, honors Mother Earth and the onset of the monsoon and promotes sustainable agricultural practices and environmental stewardship. Makar Sankranti, with its focus on astronomical events and the agricultural cycle, highlights the impact of celestial bodies on life on Earth and the importance of restoring and maintaining ecological balance. Khudurukuni Osha and Sudasha Brata emphasize the role of women and culture in preserving ecological balance, using natural elements in their rituals, and promoting sustainable practices. These festivals collectively illustrate the interconnectedness of cultural traditions and environmental sustainability, fostering a deeper appreciation of the natural world and encouraging practices that honor and preserve ecological health.

Cultural ecology refers to the changing relationship between culture and the environment, or the total web of life. Steward (pp. 88,89). It is part of an environmental or social science theory that is often used by historians, geologists, and anthropologists. This is a way of studying how cultures interact with the environment. Cultural ecology as a theory explores the relationship between human culture and the environment. Some of the prime principles of cultural ecology are that they provide the idea that societies adapt to their environment through economic, social, and technological factors that play a pivotal role in shaping their cultural identity. This theory focuses on human-environmental interactions and depicts that the culture of a place can impact the environment over time.

The culture of a place is interlinked with the theory of cultural ecology as it helps reflect the ways in which local societies adapt to and interact with the natural ecosystem. Cultural practices, social structures, and economies develop over time, based on the availability of natural resources, climate, and geographical location. In this manner, cultural ecology demonstrates how human culture is impacted by the environment, thereby nurturing the relationship between culture and ecology.

As a state, Odisha is full of festivals, cultures, and traditions that reflect the social lives of its people. Dash (pp. 19) delved into the uniqueness of the culture in Odisha by studying the rituals and traditions performed during several festivals. The author specifically focused on the indigenous wisdom that the culture of Odisha has passed from generation to generation. Many festivals, rituals, and traditions help to clearly understand the concept of cultural ecology. The rituals and traditions selected for this study are Kartika Purnima, Raja Parba, Nuakhai, Bakula Amavasya, Makar Sankranti, Khudurukuni Osha, Sudasha Brata. Das and Mahapatra (1979) Das and Mahapatra (pp. 117,118) explored in their book the origin of folklore in Odisha, highlighting the state's vast repository of tradition. The authors studied various religious practices and rituals that actively play a major role in restoring the culture of the state. In order to understand the correlation between the principles of cultural ecology and selected rituals and traditions, we referred to existing research. Pfeiffer and Voeks (pp. 281,282) showed the link between the ecological and cultural systems of a place with context to biological invasions and biocultural diversity. Through their research, the authors deduced that analyzing narratives, foods, and other tangible elements can certainly help in understanding the relationship between the ecology and culture of a place. With respect to the relationship between culture and ecology, Narayanan (pp. 179) established through her study that right from the cradle to the creation of pyre in Hindu culture, wood, water, and fire are the prime ecological elements that are always present. In this study, she explored the stages of human life that surpass all of the mentioned natural elements at least once. This depicts the relationship that man shares with the culture of the place he is in and his natural environment. Similarly, Prasetyo (pp. 67) delved into the role of cultural rituals in environmental conservation and local wisdom with special reference to the Sundanese tradition of RuwatanLeuweung Mandala Manglayang. The author concludes that there is a serious need to preserve local wisdom in the face of global challenges.

To begin with, we are going to study the festival of Kartika Purnima which is celebrated mostly in Odisha and is deeply connected with the principles of cultural ecology. Das and Mahapatra (pp. 105) Das and Mahapatra (1979) explored the ancient trade and traditional festivals of Odisha, which includes Kartika Purnima as a major maritime festival. Through this research, the author has demonstrated the role of historical maritime trade festivals such as Kartika Purnima in the cultural preservation of the state. Paikaray et al. (pp. 19712,19713,19714) studied the festival of Kartika Purnima to understand the role of the plant resources used during rituals. The authors represented the plants and plant parts used during Kartika Purnima to understand their impact on the natural ecosystem. It is characterized by several rituals that include lighting diyas or earthen lamps, setting afloat paper, or banana leaf boats, which is otherwise called boita bandana. The people celebrating offer prayers to Lord Shiva, symbolizing a harmonious relationship between human beings, their environment, and the culture of the state. People also abstain from eating non-vegetarian food for the whole month, as it is considered a pious month, full of love and good spirit. This is a cultural practice that has been passed down through generations. The festival originally started to show reverence towards maritime business traders going faraway for their business. This ritual not only honors the seafaring history of Odisha, but also symbolizes the deep connection with water as an essential natural resource. In an ecological context, water is important for the thriving of agrarian communities, which rely on water availability for agriculture and fishing. Culturally, setting the boats afloat signifies respect to the water bodies for their abundance while also respecting the maritime tradition of Odisha. All of this collectively showcases the rich culture of Odisha and portrays the relationship that human beings share with the cultural traditions of the region. The timeline of the celebration of Kartika Purnima also determines its agricultural importance, as it indicates that the harvest season is around the corner. In many such ways, the festival is a great way to acknowledge the seeking of blessings for a bountiful harvest during the season. Kartika Purnima illustrates the principles of cultural ecology by showing how traditions, rituals, and religious practices are closely associated with the culture of the state.

Biswal and Dash (pp. 116,117), in her research, has studied the festival of Raja and its significance in Odisha. The author deduced that Raja Parba is a festival of social inclusion, as it brings together everyone, irrespective of color, caste, creed, or sex, to celebrate as a community. The authors further focused on the elements of certain festivals that revolve around women or are women-centric. With the help of this research, it has been observed that women are often truly considered natural as they possess the power to give birth to new lives. Raja Parba is a three-day festival in Odisha that marks the onset of monsoons and the commencement of the agricultural season. It is believed that Earth undergoes her menstrual cycle for three days, as she is considered a woman. As the Earth is believed to be undergoing her menstrual cycle during this time, women are supposed to observe a period of rest, refraining from all kinds of physical labor. This aligns with the principle of cultural ecology, which posits that rituals can serve as mechanisms for regulating the balance with the natural environment. The first day of the festival is called Pahili Raja during which girls take baths and put on new clothes, wear jewelry, and put on alta or red paint on their feet to show reverence towards Mother Earth. The day after is called Raja Sankranti and signifies the start of the month of Asadha in the Odia calendar. This is of utmost importance, as the Asadha month brings along with it mighty monsoons. Finally, the third day is called Sesa Raja or Bhuin Dahana and it is a time dedicated to bidding farewell to the festival while also expressing gratitude to Mother Earth.

Primarily, it is a celebration of womanhood, fertility, and rejuvenation of nature. During the festivities, the women of the house prepare pithas or sweet fried desserts as offerings for Mother Earth and young girls who celebrate Raja. Younger girls are not supposed to set their feet in any kind of physically tiring work, and this is a way of showing respect to their lives. Pithas such as Chakuli Pitha, Manda Pitha, and Poda Arisa are often made out of mostly natural ingredients, such as rice, jaggery, and coconut, which makes them all the more special as they promote sustenance through natural ingredients. There are long swings made for young girls, mostly out of ropes tied to tall trees in the villages. These practices align with the principles of cultural ecology by demonstrating how human cultural practices and ecology are related to agrarian regions, such as Odisha.

Meher (pp. 41,42) studied the Nuakhai festival in Odisha amidst the effects of modernization and globalization. The author explored the ways in which the celebration of the festival reunites a disintegrated family under one roof. This indicates that the festival must change its social situation. In another study by Sunani (pp. 8) studied the cultural history of Nuakhai and its relationship with natural resources. This study aligns with the principles of cultural ecology, as it explains in detail how culture is connected to a natural environment. Nuakhai is one of the most culturally rich agrarian festivals in Odisha and is celebrated by love and devotion. The festival emerged from the agricultural traditions of Western Odisha. This shows the connection that the people of the region share with their land, natural surroundings, and crops. The word Nua means new and Khai means food or eating. Together, they mean eating a new season crop. This symbolizes the first harvest of the season, especially rice, as it has been the staple food in Odisha for years. The first grains of harvest are supposed to be offered to the deities before they are consumed by people in society. The festival vividly illustrates the principles of cultural ecology by underlining the deep connections between human culture, agriculture, and the environment. The motive of the tradition during Nuakhai is to honor the first grains of harvest, as it marks a crucial period in the agrarian cycle. Time is considered crucial as it helps celebrate the cycle of sowing, growth, and harvest, focusing on the importance of agriculture and the natural world in cultural practices.

The rituals of Nuakhai include the offering of Nabanna or new rice to the deity amidst the Hulahuli or the beating of drums, cymbals, and sounds of conch shells. People gather to prepare and consume the first rice as they believe that it will help them bring prosperity, health, and good fortune for everyone. These practices reflect the principles of cultural ecology, as cultural practices are shaped by ecological conditions in this case. This statement is further supported by the seasonal availability of crops and the significance of maintaining harmony with the natural surroundings for their survival. After having Nabanna, people seek blessings from the elders in the family or the community, and this practice is called Nuakhai Juhaar in the local language. Nuakhai as a festival, serves as a repository of cultural manifestations as per cultural ecology. This helps reflect how the region's agrarian techniques and traditions go hand in hand along with the changing natural cycles of the environment. The festival is truly a celebration of Earth's fertility, agricultural sustenance, and the interconnected nature of human culture with the environment.

Wani et al. (pp. 2608,2609,2610) explored the different kinds of sacred trees in India that are used as a traditional approach towards plant conservation. In their research, the authors studied certain plants that are considered sacred by Hinduism. The authors have demonstrated that trees do not just have intrinsic religious value but also other cultural and ecological values associated with them. Along the same lines, to depict the relationship between culture and nature, Paikaray et al. (pp. 19712,19713,19714) studied various plant sources that are used to celebrate Hindu rituals. From the data collected, the authors concluded that the culture of a place plays a major role in preserving the biodiversity of the ecosystem. Bakula Amavasya is a significant cultural and religious observation in Odisha, celebrated on a no-moon night or Amavasya of the Odia month of Magha (January–February). The festival is specifically dedicated to the worship of the baula or the first blossoms of the season, along with the worship of ancestors and nature. The first mango blossoms of the season are offered prayers and sweet delicacies, such as Gaintha pitha or steamed rice balls, as a sign of respect to the tree bearing the fruits. The festival is a vivid example of how cultural practices reflect the principles of cultural ecology that examines the dynamic relationship between human societies and their natural environment.

Cultural ecology theory emphasizes that human culture evolves as a way to adapt to the ecological situation, thereby maintaining balance with the surroundings. The traditions of Bakula Amavasya help reflect this principle by shedding light on the connection between man and nature, specifically through respect for trees and ecosystems. In Odisha, the Bakula tree is sacred and believed to possess divine power. People often offer prayers to trees, seeking blessings for good health, prosperity, and the well-being of their families. It involves rituals that encourage worshipping trees, lighting earthen lamps, and offering handmade delicacies to the trees, which in turn promote environmental awareness and sustainability. The focus on ancestors’ worship during the celebration of Bakula Amavasya also reflects the emphasis of cultural ecology on how human culture adapts to its environmental conditions. The cultural practice of ancestral worship is deeply rooted in agricultural and seasonal cycles, as it is associated with fertility and plentiful harvests. The festival thus becomes a distinct way to honor the past, while also reinforcing practices that help restore the cultural tradition for further generations. It also serves as a reminder for the need to care for and protect the environment, as the well-being of the community is highly dependent on the overall health of nature. The festival exemplifies cultural ecology by underlining the fact that religious and cultural practices are shaped by the environment and tradition of the region. The worship of the trees not only reflects the cultural aspects of the festivities, but also promotes ecological stewardship, ensuring a sustainable relationship between the people and their ecosystem.

Sahu (pp. 163,164,165) , in his research work has studied the festival of Makar Sankranti in Mayurbhanj, Odisha. The author has noted several significant points regarding how the festival is celebrated and how it is culturally important for Odisha. In another study by Paikaray et al. (pp. 19713) studied the importance of the plant sources used to celebrate Makar Sankranti. The authors discussed 24 plants or plant sources that are often used in the celebration of the festival. This depicts the interdependence of nature and culture. Makar Sankranti, celebrated in several parts of the country, marks the transition of the sun into the zodiac sign of Capricorn and Makar. The traditions of festivals mirror the intimate relationship between human societies and their environment, especially in agrarian communities where seasons play a major role in shaping cultural practices.

Cultural ecology focuses on how cultural practices evolve over time in response to the natural environment, and how human beings adapt to their surroundings. The festival emphasizes the cyclical nature of farming, marking the end of the winter season and beginning of the harvest season. Especially in places like Odisha, this period is crucial as it signals the ripening of crops such as rice, sesame, and sugarcane. People follow the tradition of making Makara Chaula by mixing rice grains, sesame seeds, and jaggery derived from sugarcane. This is first offered to the deity and harvest, followed by consumption by the local people. This practice also reflects the cultural tradition, as a mixture of sesame, rice, and jaggery is believed to bring warmth and energy to the body as the weather starts to become cold and chilly. This dietary tradition underscores a culturally specific adaptation to changing seasons, thereby ensuring good health during the colder months. Finally, Makar Sankranti rightly portrays cultural ecology by showing how agricultural traditions, seasonal changes, and reverence for the environment are woven together into the fabric of the community. The festival fosters a sustainable and harmonious relationship between people and nature, ensuring the continuity of cultural practices and ecological health.

Pradhan (pp. 54) examined Khudurukuni Osha as a historic maritime tradition. Earlier, when Odisha was known for her trade and commerce, booming festivals included Kartika Purnima and Khudurukuni Osha. The author discussed the festival as a means of bidding farewells to seafaring traders. In addition to this study, Biswal and Dash (pp. 114) examined Khudurukuni Osha to understand the sociocultural context and aesthetic values of Jhoti made during the festival. The authors deduced that Jhoti is a traditional art ritual that comes from a mythological background via painting techniques. These existing studies help provide an idea about the interconnectedness of culture and natural resources. Khudurukuni Osha is a traditional ritual meant to be observed by unmarried girls in Odisha every Sunday of the Odia month of Bhadrava. It is supposed to be celebrated to pray for the health, happiness, and prosperity of their brethren. On Sundays, girls wake up before sunrise and head out together to bring flowers from nearby areas. Later, they bathe and make an idol out of mud and water called Balunka representing the Goddess Mangala. They then bathe the idol with turmeric water and adorn it with fresh flowers, following which prayers are offered. They also decorated houses with Jhoti or traditional paintings made with a thin mixture of rice and water. The girls make various delicacies, such as khuda bhaja or paddy husk, khuda tandula or rice cakes, liya or fried paddy, ukhuda or flattened paddy mixed with jaggery, and offer them to the idol.

The primary tradition of the Khudurukuni Osha is fasting and worshipping carried out by young girls. Flowers are an essential part of the Khudurukuni Osha. At times, the girls make flower garlands for the idol that are strung on a thick thread and later put on the Balunka. The festival is a reflection of the cultural practices of honoring nature and specifying fertility and growth. The deity is believed to be a protector of crops and livestock, and rituals such as offering prayers, flowers, delicacies, and fasting are ways to assure that they receive the blessings of the earth in order to maintain harmony with the natural world. This, in turn, reflects the cultural ecology's viewpoint that rituals are often adaptive mechanisms for maintaining ecological balance. Moreover, the festival is a prime reminder of the symbiotic relationship between humans and the environment. The act of fasting and praying for the fertility of crops represents a cultural recognition of the impact the land has on long-term sustainability. Young girls and women are central to the festival, as they are symbolically connected to fertility. This shows that the festival is an example of how cultural traditions reflect the principles of cultural ecology through its emphasis on agricultural fertility, seasonal cycles, and respect for nature.

Dashsharma (pp. 44,45) studied the promotion of Odia culture in Chattisgarh. Through this research, the author has delved into a few festivals, rituals, and traditions of Odisha to analyze their impact on Chattisgarh. This shows that even though some people no longer live in Odisha, they have stuck to their roots by celebrating festivals such as Sudasha Brata in a typical Odia manner. In order to understand the correlation between culture and nature in this festival, Dash and Biswal analyzed the socio-cultural context and aesthetic values of Jhoti made during Sudasha Brata. The authors explained how Jhoti was made using a water-like blend of rice and water. It also holds immense cultural value, as it is believed that Goddess Lakshmi will bless households with properly and beautifully made Jhoti art. Sudasha Brata is a traditional fasting ritual, observed mainly by married women in Odisha. The entire ritual is dedicated to the worship of Goddess Lakshmi, the deity of wealth and prosperity, and is observed on Thursdays in the Odia month of Bhadrava. During Sudasha Brata, married women fast for the entire day and perform rituals such as worshipping Goddess Lakshmi to seek blessings for the well-being and longevity of their spouses. The word originates from the Sanskrit words Su meaning good and Dasa meaning ten, which signifies the ten vows in Sudasha Brata. The rituals start early in the morning, with women waking up prior to sunrise and purifying themselves by bathing and putting on new clothes. They then hand make a sacred or pure space adorned with rangolimade out of natural resources and then keep the idols or photographs of Goddess Lakshmi. They then offer fruit, sweets, and other delicacies as prasad to the deity. There are specific ten-strand rules to be followed while offering flowers, fruits, and other things to the deity. The married women offer ten strand grass bouquets and ten flowers, and the delicacies are offered in an amount of ten to the deity.

In Odisha, Sudasha Brata holds immense cultural importance, as it brings married women from different communities to observe rituals. It is believed that when women religiously observe the Brata, they can invoke the blessings of Goddess Lakshmi for prosperity, happiness, and the well-being of their households as well as their husbands. This cherished tradition continues to be passed down to future generations, encompassing the cultural ethos of the women of Odisha dedicated to the well-being of their families. The practice of fasting and praying to the Goddess during the Brata signifies the cultural recognition of nature's role in sustainability. By observing rituals, women demonstrate their relationship with the fertility of the land and prosperity of their community. In addition to familial well-being, the festival brings along offerings of the local produce of rice, fruit, and sweets, which further highlights the ecological aspects of the rituals. The food offered symbolizes the harvest and the community's connection with the natural environment. Sudasha Brata also underscores the role of women in agrarian communities, as they are not restricted to mere caregivers but also to custodians of agricultural practices. The central role of women in rituals reflects a wider understanding of the interconnectedness between human culture and the environment.

Conclusion

In conclusion, this paper has discovered how theories of ecocriticism and cultural ecology can contribute to the preservation and restoration of the natural environment and culture in Odisha, specifically in the context of the selected rituals and traditions of Kartika Purnima, Raja Parba, Nuakhai, Bakula Amavasya, Makar Sankranti, Khudurukuni Osha, and Sudasha Brata. With the help of examining the selected rituals and traditions through the lens of ecocriticism and cultural ecology, it becomes clear that rituals are not just cultural expressions, but are also essential in maintaining ecological balance. The cyclical nature of rituals and traditions resonates with natural rhythms and instills a strong sense of connection between humans and nature, thereby promoting sustainability and environmental stewardship. Moreover, the theory of cultural ecology underlines how traditions encompass sustainable practices through generations.

This study reveals that both ecocriticism and cultural ecology offer valuable insights for understanding the interconnectedness between culture and ecology, thereby creating a framework for the restoration and preservation of Odisha's cultural heritage. This research contributes to the field of ecocriticism and cultural ecology while also promoting environmental conservation. However, this research studied only a few selected rituals and traditions. Innumerable festivals, rituals, and traditions can be explored in the context of theories other than ecocriticism and cultural ecology. Therefore, there is enough scope for future research in the concerned field with reference to the rich tradition of Odisha and its implications for sustenance in the long run.

Ethics and consent

Ethical approval and consent were not required.