Music and Dance Tradition of Odisha - Quest for Odia Identity
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December - 2014 Odisha Review Music And Dance Tradition of Odisha - Quest for Odia Identity Indu Bhusan Kar Odisha is a divine land of art, architecture and music and dance of Odisha made him the most religion. The land is also known as land of synthetic popular ruler of Kalinga. He constructed nearly culture, where Lord Shree Jagannath, the Lord 117 caves at Khandagiri and Udayagiri with of Universe is worshipped, Jagannath cult artistic sculptural excellence. preaches equality, fraternity and peace, It is worthwhile to know the origin and irrespective of caste, creed and religion. The evolution of ancient musical tradition of Odisha artistic sensibility of Odias has been well reflected with an object of shaping the continuous in art and architectures of world famous temple enrichment of Odishan music. In this context it is at Konark, Rajarani at Bhubaneswar, Shree necessary to know what has been written in this Jagannath of Puri, Lingaraj at Bhubaneswar and Hatigumpha inscription regarding this Gandharva of many monuments and rock, caves. The artists art ? The fifth line of Hatigumpha inscription reads of Odisha not only excelled in architecture, but as follows. also in performing arts. The musical tradition of Odisha had a glorious past, dating back from 1st “Expert in Gandharva Veda Kharavela Century B.C. where the emperor Kharavela ruled arranged for entertainment of his subjects, the Kalinga whose territorial boundary was spread musical items such as DAPA (combat), from Ganga to Godavari river in south. The NATA(dance) GITA (music), VADITA documentary evidence of Odishan ancient musical (orchestra), USABA (festival), SAMAJA (Play tradition has been discovered and deciphered in or dramas, SAMAJ Jatra)”. These words as the famous “Hatigumpha inscription of Udayagiri, reflected in Hatigumpha inscription, coupled with Khandagiri hills situated in the western side of the clear evidence of interesting scenes in temple city Bhubaneswar. In this Hatigumpha RANIGUMPHA caves depicting dancing inscription (called elephant cave) has been carved performance of beautiful female dancers clearly in Prakrit, language with Brahmi Lipi, which show the beauty and grandeur of performing art delineates that the then Emperor, known as specially musical tradition where an orchestra Kalingadhipati Kharavela was a great patron of party with four seated figures - one playing on Gandharva Kala (Music dance). Though DHAKA, one playing on Mridanga, the third one Emperor, Kharavela was an ardent devotee of on the lyre and last one playing flute. Dhiren Das, Jainism, his religious tolerance and love of art, a great scholar dramatist has observed in his book 43 Odisha Review December - 2014 JATRA that Hatigumpha was arena theatre. Prof Sarala Das the epic poet of Odia N.K. Sahoo, the well known historian of Odisha Mahabharat in 15th Century has also enlightened has opined and narrated- “The dancing scene the Odia reader/with prevailing musical Odia presents a feeling of exhilaration, grace and depicts ragas. Many poets and singers of medieval the spirit of the Hatigumpha inscription where period have also enriched Odishan music by Kharavela has been represented as great lover composing musical songs. Ray Ramananda, of dance and music. Krushna Das, Madhabi Das, Dina Krushna Das, Thus the musical tradition as reflected in Gopal Krushna, Bhakta Charana Das, Kabi- Hatigumpha inscription of 1st century B.C. Surya Baladeb Ratha, Banamali Das, Biswanath flourished gradually with royal patronage of rulers Khuntia and Kabi Samrat Upendra Bhanja have of Kalinga state. During Gupta and Bhoumakar also enriched Odia musical songs. Dhirendranath Dynasty, spanning from 681 AD to 717 AD many Patnaik, a noted connoisseur of art and dance talented enlightened Gurus and Acharyas, Wrote and music has opened in his famous book ‘Odissi “Boudhagan” Doha in Prakrit mixed with Odia Nrutya’ that Odissi music originated and colloquial language. propagated more extensively with advent of MAHARI and GOTIPUA dance of Odisha. The Kanhupa, wrote “Naujata Charjya”in search for Odia identity having classical nature of Kamodi Raga. Sabaripad wrote “Sabar Sabari Odia music was started first by Kalicharan Prema Charjya” and Luipa Wrote- “Kayataru Pattanayak, a poet play -wright scholar and theatre Charjya” The Charjya were written on palm man of Odisha. He started a theatre movement manuscripts in Brahmi Lipi. These evolutions of for revival of new identity of Odia music in forties Odia language and music developed with rich oral and fifties. He founded “Orissa theatre” in 1939 tradition. In the ancient temples, many scenes of and introduced Odia music in his plays. Thus instruments such as Veena, Flute, Mardala, “Orissa theatre” brought new innovation in theatre Dambaru, Kahali, Mrudanga indicate that, these and enriched Odia theatre blending with Odissi instruments of music were prevalent and popular music and Odissi dance. His untiring effort of among the Odia people. enriching Odia theatre, dance and music during Poet Jayadev, a great musician scholar in fifties made him a popular leader in Odia Sanskrit and an ardent devotee of Lord Jagannath performing art. His zeal and vigour in establishing wrote his magnum opus “Geeta Gobinda” which Odia identity in Odishan music in national seminar were sung with dance at Nata Mandap of Sri held in January 1958 in Madras are praiseworthy. Jagannath temple during the period of rule of At Kala Vikas Kendra, Cuttack Babulal Joshi Chodagangadev by Debadasis. Jaydev became deputed Kalicharan Patnaik to Madras to present the most famous musician of Odisha in 12th a paper in national seminar on music of Odisha. century. In 13th century A.D. “Sangadeb” wrote Kalicharan Patnaik’s paper on Odia music a book on music titled “Sangeet Ratnakar”. In emphasized specialility of Odia music with 15th Century very well known Odia Sanskrit practical demonstration of Odissi songs, especially scholar Biswanath Kabiraj wrote a book named Champu songs. His paper was highly praised by “Sahitya Darpana” in Sanskrit. In this book in scholars on music. In this seminar, he proved that separate chapter the subject of music was Odia music has got speciality, that was indigenous discussed with types of notations and ragas. characteristics of Chhandas, Champu and 44 December - 2014 Odisha Review Chautisa. Kalicharan Patnaik, while showing folk music and traditional music. In the world of difference between Carnatic music and Odissi Indian theatre movement Habib Tanvir, a great music advocated that Odissi music has indigenous director and actor used Indian folk music i.e. ragas like Nisari, Kuduma which are not found Chhatisgarh music in his play “Charan Das Chor” in other school of music in India. Chhandas written and got worldwide recognition when staged at in Raga Chokhi are exclusively Odishan in its style. Paris. In Maharastra Vijay Tendulkar, another In this Madras Seminar Kalicharan Pattnayak, great dramatist, used Marathi Music in his famous categorically declared that Odia School of music play Ghasiram Kotwala and also got worldwide is distinctively different from Carnataki and acclaim in Berlin when this play was staged. The Hindustan music. use of Marathi music with Chorus songs made In his autobiography “Kumbhara Chaka” that play popular and successful in both East as Kalicharan Patnaik has narrated the minutes of well as in the West. The relevance of regional discussion, arguments, questions and answers traditional music is now felt by artists, and about Odia school of music. Many learned musicians in production of modern plays. Any scholars of music who were unaware of speciality music, whether folk or classical has got wide of Odia music admitted the classicism of Odia appeal if it is properly blended with modern music. theatre. Similarly in some modern films, some classical music has attracted audience. In all Time has come to face the challenges of countries, now there is new slogan-”go back to globalization in this 21st century, when regional basics”. That means in any form of performing traditional valuable cultural, literary, Musical art one artist or actor or musician has to go deep tradition are being crushed and relegated to to know his or her roots of tradition. Hallucinated oblivion by aggressive consumerist culture. The by western way of life of western consumerist advent of internet, mobile, social media like face culture, Indian youth including Odia youth should book, twitter have attracted new generation who now make special endeavour to study own are not willing to hear traditional classical musical language, literature to know the nuances of dance songs like Champu, Chhandas and Chaupadis. and music. Let our doors to western world be The entertainment industry, like TV, open, but we have to choose the subject which is Cinema and TV serials are also now a day’s being healthy to our tradition. vulgarized with sensuous item song. There is no bar to hear Jazz or adore pop The craze of the youth for western music queen Madonna for her western song, but too like pop, jazz, rock and rapine associated with much obsession with western music of Madonna, primary ingredients of “Hip Hop culture” is Britney Spears and Beatles are not healthy sign increasing day by day. That is why time has come of modern humanistic culture. Once upon a time to infuse our youth with beauty and grandeur of song and dance of Michael Jackson who was the own traditional music which has got still relevance King of Pop attracted our youths. He was so much in this present world of performing art. popular that youth were in love with Jackson dress and style. At this critical stage of crisis of values Relevance of traditional Music every state or country has to frame its cultural Many dramatists, composers, musicians policy. Thus cultural policy should give stress for have made experiments with revival of regional revival of indigenous from of music, dance and 45 Odisha Review December - 2014 art craft.