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Hera Panchami: Goddess Lakshmi’s Divine Wrath During Rath Yatra

Puri;20/7/26:Every year during the grand Rath Yatra, the sacred city of Puri witnesses a unique ritual that mirrors human emotions in divine form — Hera Panchami.

On this day, Goddess Lakshmi, the consort of Lord Jagannath, expresses her displeasure over being left behind when the Lord embarks on His annual journey to Gundicha Temple with His siblings.

As per tradition, the Goddess visits Gundicha Temple on the fifth day of the Rath Yatra. In a symbolic act of anger, she orders her servitors to damage a part of Lord Jagannath’s chariot, the Nandighosha Rath, before returning to Srimandir through Hera Gohiri Sahi, her pride softened, and her love reaffirmed.

The ritual, steeped in Odia cultural sentiment, portrays Goddess Lakshmi as the archetypal Odia wife — loving yet assertive. Ancient texts like Ratha Chakada credit King Kapilendra Deb for transforming Hera Panchami into a grand celebration, marking the ceremonial beginning of Bahuda Jatra, when the chariots turn south during Dakhina Moda, signalling the deities’ return.

Historically, Hera Panchami also holds journalistic significance — Utkal Deepika, Odisha’s first vernacular daily, published its earliest known article on the ritual on July 28, 1888, marking the dawn of organised coverage of Odisha’s cultural heritage.

Jagannath culture experts explain that the ritual embodies divine emotion and cosmic balance — a celestial reminder that even gods experience love, longing, and reconciliation.

About Editor in chief

Ashok Palit has completed his graduation from Upendranath College Soro, Balasore and post graduation from Utkal University in Odia Language and literture.. He has also carved out a niche for himself as a scribe of eminence after joining the profession in 1988. He is also an independent media production professional. He brings loads of experience to Advanced Media, Ashok Palit as a cineaste has been active in film criticism for over three decades. As a film society activist, he soared to eminence for his profound commitment to the art film appreciation and aesthetics of cinema. His mode of discourse is often erudite but always lucid and comprehensible marked by a perfect acumen so rare in the field. A film aesthete with an immense fond of critical sensibilities, he wrote about growth and development of odia cinema in New Indian Express, The Times of India, The Hindustan Times, The Asian Age and Screen. He has been working as an Editor for Cine Samaya from 2002-2004.. He had made solid contribution on cinema in many odia Dailies and weekly such as Samaj, Prajatantra, Dharatri, Samaya, Satabadi, and weekly Samaya.
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