village level in South Western Orissa and some parts of bordering Andhra Pradesh and Chhattisgarh. Kalahandi region has taken a leading rule in popularizing and retaining its unique identity of Ghumura dance. Kalahandi is mainly known as land of Ghumura. Ghumura dance has got the opportunity to represent the nation in various international events Delhi, Moscow, Kolkata, and various other cities in India. Ghumura dance is also one of the most researched folk dance form in Orissa. Ruk Mar Nacha (& Chhau dance) is originated and performed in the Mayurbhanj District of Odisha and also in Nilagiri of Baleswar district it has its base in the martial arts tradition. The dance is a stylized mock battle in which two groups of dancers armed with swords and shields, alternatively attack and defend themselves with vigorous movements and elegant stances. Especially notable is the accompanying music, noted for its rhythmic complexities and vigorous percussion. The instruments include 'Mahuri' – a double reeded instrument, 'Dhola' – a barrel shaped two-sided drum, 'Dhumsa' – a hemispherical drum and 'Chadchadi' – a short cylindrical drum. Goti Pua: The goti puas are boy dancers who dress up as girls. They are students of the akhadas, or gymnasia, established by Ramachandra Deva I in Puri, in the periphery of the temple. As they were offshoots of the akhada system, goti puas also came to be known as akhada pilas – boys attached to akhadas. Another reason often given to justify the emergence of the goti pua system is that some followers of the Vaishnava religion disapproved of dancing by women as a pretext for worship – they introduced the practice of dancing by boys dressed as girls. The word goti means 'one', 'single' and pua, 'boy', but the goti puas always dance in pairs. Boys are recruited about the age of six and continue to perform till they are 14, then become teachers of the dance or join drama parties. Goti puas are now part of professional teams, known as dals, each headed by a guru. The boys are trained for about two years, during which, after having imbibed the basic technique, they learn items of dance, ornamental and expressional. The goti puas, being youngsters in their formative years, can adapt their bodies to the dance in a far more flexible manner as opposed to the maharis. A goti pua presentation is ably supported by a set