Odisha Review Classical Status to Odia Language

Odissi Vocal : A Unique Classical School

Kirtan Narayan Parhi

The traditional school of music presently known “Line 5. Gaàdhava-veda-budho dapa- as Odissi was referred by Bharat Muni, under an -géta-vädita-saàdaàsanähi usava- independent heading, Udramägadhi Pravåtti in samaja-käräpanähi cha Kéòapayati nagarià Nätyashästra. Unless one surveys the history, (.) Tathä chavuthe vase vijädharädhiväsaà delves deep into the original texts and has ahata-puva Kaliàga - puvaräja n(i)v(e) s(i) t(i) aesthetetic relish of Odissi recitals, one may not - Vitadha-makuöa sabiladhite cha nikhita- be in a position to appreciate the uniquencess and chhata” wholesomeness of Odissi vocal as an independent system in the domain of . i.e. (Again, in the third year (of his reign), the master of the science of music makes (the Odissi vocal, like Odissi dance, is not only citizens of) the capital enjoy themselves by causing very ancient but has uniqueness of its own and the performance of folk dances, (classical) dances, has all the characteristic features for being songs and instrumental music and the celebration reckoned as a classical form, which has its own of festivals, fairs. (Courtsey : Utkal University of tradition, texts, , tälas, gita and classical style Culture)” of recital. Secondly - Texts : It has its own texts Firstly - Traditions : The art and like Gita Govinda of Sri Jayadeva, Sangita Sära architecture on the caves built in the 1st century B.C. i.e. during the reign of Kharavela and of Hari Näyak, Gita Prakäsh of Krushna Däs thereafter in the temples of Konark, Puri, Badajenä Mohäpätra, Sangitarnava Chandrikä of Bhubaneswar and many other places speak Nilakantha, Sangita Muktäbali of Harichandana, volumes about the rich and long legacy of Odissi Natya Manorama of Raghunath Rath and Sangita music and dance. In Räni cave of Udayagiri at Narayan of Purusottam Mishra and many others. Bhubaneswar, there are statues of ladies dancing It is worth noting that the said texts have not been to the tune of instruments. In Tatuä cave of taken into account by Vishnu Narayan Khandagiri, there is a statue of one male playing Bhätkhande during his countrywide tour in order on veenä (harp). The playing of veenä signifies to collect, consolidate the relevant materials and the classical nature of Odissi of the time. Kharavela formulate the system of Hindustäni music. This is has engraved the following lines in Räni caves of a clear pointer to the claim that such texts have Udayagiri in bramhi script and pali language - uniqueness of their own.

42 March- 2014 Classical Status to Odia Language Odisha Review

The Odissi text Sangit Muktäbali was music too should not deserve the status of classical written in the last decade of the 16th century by music. Harichandan, the king of Kanika, situated in Lastly, can we claim without oddity that undivided Cuttack district of coastal Odisha. In Jayadev’s Gita Govinda which contains all the this book Harichandan has referred to the ancient salient and distinguishing features of a classical texts such as Nätya Shästra of Bharat Muni, music falls short of the status of classical music ? Bishnupuräna, Siva Samhitä, Samhitä, NäradSamhitä, Kohaliya, Sangita Sära of Hari Native Rägas Nayak, Matanga tantram, Sangita Ratnamälä of We can identify that the rägas which are Mammatächärya, Kalänkura Nibandha, being used in Udra or Odissi since the 7th century Panchama särä samhitä, Vibeka, Sangita A.D. till the 19th century A.D. as native rägas. Chandrikä, Bäonmaya Vibeka, Siva vibeka For illustration, the names of some rägas which prabandha, Sangita Damodara and Gita Govinda were in vogue before 1600 A.D. are mentioned etc. below. Thereafter, many more rägas are also being During 1728 to 1767 A.D. Purusottam used in Odissi. Mishra who has written Sangita Näräyan under Rägas mentioned in Charjyägitikäs written the pseudo name of Gajapati Näräyan Dev of by many Odiä Boudha Sidhachäryas starting Parlakhemundi has referred to Bharata, Kohala, from the 7th to 11th century are Kämoda, Gujjari, Biswakarmä, Närada samhitä. Siva Samhita, Goudä, Deshäkshya, Dhanäshree, Dhanäshi, Parsuram samhitä, Mattnga, Sangita Ratnäkar, Pattamangari, Bangäli, Barädi, Vairabi, Malläri, Panchama Sära Samhitä, Kälankura, Räga Mälashri, Rämakeri, Säberi, Gunjari etc. Vibeka, Sangita Ratnamälä, Sangita Dämodara, Rägas mentioned in Gita Govinda of Sangita Sära, Sangita Koumudi, Gita Prakäsh, Jayadev (1147) are Kärnata, Gujjari, Sangita Siromani, Sangita Darpana, Sangita Gundakeri, Deshabarädi, Deshäkshya, Vasanta, Kalpataru, Sangita Chandrikä, Gita Govinda Barädi, Vairabi, Bibhäsa, Mangalagujjari, Tikkä of Laxman Bhatta etc. The aforesaid texts Mälaba, Mälaba goudä, Rämakeri etc. are the most important source books and are being followed by the musicologists later. Rägas mentioned in Abhinava Gita Govinda of Kabichandra Ray Dibäkar Mishra Thirdly, the poets of Odisha have made (during 1466 to 1497) are Amarapanchama, copious references to the rägas and tälas in their Abhiri, Kukubha, Karnäta, Bangäla, Kalahansa, lyrical poems. Kalyänanäta, Kämboji, Kuranji, Kedärgoudä, Fourthly, a unique and characteristic style Kolähala, Gändhära, Gujjari, Gondakeri, Gandä, is conspicuously discernible in the recital by the Ghantäraba, Chintadeshi, Chhäyänata, Todi, Odissi singers. Dipaka, Deshäkhya, Deshi, Dhanäshri, Fifthly, the characteristic tälas are Natanäräyan, Nädarämakeri, Närayan Deshäkhya, Näräyan Gondä, Bhinnashadja, explicitly distinct and stand distinguished from the Bhupäla, Vairaba, Vairabi, Mangalagujari, other systems. Madhyamädi, Mallära, Mallähäri, Sixthly, since the Odissi dance has earned Märudhanäshri, Mälabagandä, Mälashri, classical status, there is no reason why the Odissi Mukhäri, Rämakeri, Rebagupta, Lalitä, Bangäla,

March - 2014 43 Odisha Review Classical Status to Odia Language

Bangälaganda, Vasanta, Beläbali, Rägas mentioned in Sangita Muktäbali of Shankaräbharana, Shudhanata, Shudhabarädi, Kanikä Räjä (king) Harichandan (1590 AD) are Shudhabangäla, Shudhavasanta, Shreeräga, Vasanta, Andolita, Hindola, Deshäkhya, Lolä, Sosubarädi, Sälankanata, Soma, Sourästra Prathama Manjari, Malläri, Mallärikä, Gujari, Hindola etc. Madhyamädi, Shudhavairaba, Vairabi, Koushiki, Rägas mentioned in Rukmini Parinaya of Bibhäsa, Beläbali, Bangäli, Megha, Lalitä, Mälasi Näräyan Bhanjadev (1525) are Karnäta, (Mäläshree), Souri, Nati, Drabida Gouda, Nata- Kämodi, Gujjari, Gouri, Dakshinashree, Näräyan, Tärämani, Äbhiri, Kämodi, Dakhina Deshäkhya, Vairabi, Barädi, Basanta, Mälaba, Gujjari, Kukubha, Shree, Gändhari / Gändhärikä, Barädi, Deshibarädi, Dräbida baradi, Mälabagandä. Khambäbati, Karnäti, Näta Karnäta, Rebagupta, Rägas mentioned in Jagannäth Ballava Soma, Ämrapanchama, Kämoda, Dräbida Nätka of Räy Rämänanda Pattnaik (1535) are Goudä, Todi, Nata, Ghantäraba, Bhupati, Ahira, Karnäta, Kedära, Gändhäri, Gondäkeri, Shankaräbharan, Kolähala, Karnätagouda, Todi, Barädi, Dukhibarädi, Deshäkhya, Nata, Goudä, Deshi, Dhanäsi, Balläli, Harsapuri, Vasanta, Mangala Gujjari, Mallära, Mälaba, Hunchhikä, Bhouli, Shrikantikä, Shudhäbhiri, Mälashri, Rämakeri, Keli, Shukasindudä, Sahäi Mälabagoudä, Mälaba, Mällara, Deshapäla or or Suhäga etc. Deshakari, Kedära, Nägadwani, Chhäyätodi, Rägas mentioned in Sangita Kaumudi Gändhära etc. (16th century) are Vairabi, Bhupati, Shree, Rägas mentioned in Odiä Mahäbhärata Patamanjari, Vasanta, Bhupäla, Säranga, Mälaba, of Särala Däs (during 1436 to 1466 AD) are Deba Gändhära, Vairabi, “Gunjari, Neelämbari, Amara, Äbhiri, Karnäta, Kedära, Gouri, Kalyäni, Barädi, Megharangi, Beläbali, Deshakari, Bangäli, Patamanjari, Koushiki, Gurjari, Kashäkänädä, Mälabi, Mallahäri, Deshikär, Rämakriyä, Todi, Jämalä, Gundakeri, Naräyani, Chintä, Chokhi, Debakriyä, Kurukureba, Gundakriyä, Säranga, Nägäballi, Todi, Jämalätodi, Bichitradeshi, Dhanäsi, Lalita, Nata, Kämboji, Voula, Bhopäla, Dhanäshri, Deshi, Vasanta, Bibhäsa, Deshäkhya, Äbhira, Kalahansa, Näräyani, “Shankaräbharana, Bhopäla, Barädi, Vairabi, Bhupäla, Mälaba, Hindoli etc. Mälashri, Mangalabarädi, Malhära, Lalita, Rägas mentioned in Gita Prakäsh of Rägaraj- Bangäla, Madhukeri, Äbara, Hindola, Krishna Däs Badajenä Mahäpätra (1565 AD) are Panchama etc. Nata, Karnäta, Dakshinashri, Ämrapanchama, Rägas mentioned in Sangita Sära of Hari Kämodi, Gunjari, Debakri (Shudha vasanta), Nayak (15th Century) are Karnäta, Bhopala, Vasanta, Rämakeri, Megha, Beläbali, Patamanjari, Mälashri, Sindhu, Beläla, Pähäla, Bibhäsa, Näta, Mälashri, (Malasika), Bangäla, Barädi, Soma, Chandani, Kämoda, Näräyan-Nata, Rebagupta, Todi, Deshäkshya, Belläli (Balläli), Pattamanjari, Chokhi, Mukhäri, Malhäri, Malhära, Goudä, Deshi, Kolähala, Mallärikä, Dhanäsi, Lalitä, Patimanjari, Angabhäsa, Säberi, Deshikari, Mälaba, Gundakiri, Vairaba, Hindola, Deshäkhya, Gurjjari, Rämakeri, Gundakeri, Rehi, Chhäyätodi, Madhyamädi, Lalita, Shabari, Dhanä, Barädi, Mälaba, Shree, Kadhu, Megha Khambäbati, Harsapuri, Nagadwani, Goudä, Malhära, Nalani Godä, Chinta, Kedära, Vasanta, Pratäppurbika, Purabi, Maruä, Kalyäna, Vairabi, Banga Bhätiyäri, Meghamani, Panchama, Äshäbari, Mallähäri, Gouri etc. Amara, Kedära Goudä etc.

44 March- 2014 Classical Status to Odia Language Odisha Review

Besides the above named poets and (b) Types of songs - The different types of musicians, there are hundreds of lyrical poets and songs in the domain of Odissi are suda prabandha, musicians of Odisha who have mentioned the dhrubapada, Chitrakalä, Chitrapadä, Choupadi, names of Odissi ragas and their characteristics in Champu, Chhända set in nava täla. The type of their texts and treatises, written before and after recital is uniquely original. It is remarkable that 1600 A.D. There are some common ragas which the recital of bhajans and bear distinctive are being used both in Hindustäni and Carnätic. echo of Odissi tradition. Most of the lyrical poems Likewise there are some ragas in Odissi which revolve around the theme of Rädhä and Krishna. are also used in Hindustäni or Carnätic. (c) Paòi - The paòi recital of Odissi songs is The timings of recital of Odissi ragas very typical which distinguishes it from other synchronise with different seasonal festivals of classical forms. Odisha. For example, it is enjoined that Vasanta Tenä - In lieu of taränä of Hindustäni and raga be recited at any time between Sri Panchami Tillännä of Carnätic tenä is one of the six and Vishnu Sayana and Mälabasri from Indrapujä components (anga) of Odissi prabandha. to Durgapujä. Täna : The use of long täna is rare in Odissi music. Täla - The characteristic tälas of Odissi Whenever it is used it is recited mostly in madya begin mostly from Anägata or Atita graha. The laya or with dhruba or mantha lakshaëa, but never layas are neither very slow (bilamvit) nor very fast in very druta laya. The täna is often employed in (dåta). The nature of laya depends on dhruba the sense of swara. lakshëa and mantha lakshaëa in order to render the meaning of pada (verses) clear and to make Gamaka : Gamakas are always made use of in the recital distinct and melodious. Odissi music is Odissi music. Out of 15 gamakas Ändolita, Bali, largely set to Navatäla, namely Ädi, Jati, Nisäru, Kuräla, Ähata, Ullasita, Dhäla are frequently used Ädda, Jhampä, Triputa, Rupaka, Mantha and in Odissi. Ekatäli Shruti - Like other systems seven swaras have Gita - The classical songs are known as been derived out of 22 shrutis. But the names of uttama gita or uchänga sangita, some of the the shrutis in Odissi are different from the shruties characteristics of which are delineated below. of other classical forms. The shruties reffered to in Gita Prakäsh, Sangita Muktäbali and Sangit (a) The Odissi vocal is distinctive on account Naräyan are as follows. of dhätu (structure of the songs) and mätu (aesthetic relish). The importance of pada (verses) Nandi, Visälä, Sumukhi, Bichiträ, Ghanä, and swara (tune) are underlined. The dhätu is Chiträ, Galanikä, Mälä, Saraghä, Mätangikä, divided into four parts that means i.e. udgrah, Maitrei, Sibä, Mägadhikä, Bälä, Kalä, dhruva, meläpaka & äbhog. The mätu is devided Sarangarabä, Rasä, Mätä, Amrutä, Vijayä and into six parts i.e. swara (räga), täla, tenä, päta, Madhukeri. In Hindustäni system the shrutis are virudha and gamaka. Some scholars have placed Tibrä, Kumudabati, Mandä, Chhandobati, pada in lieu of gamaka. Out of four components Dayäbati, Rajani, Raktikä, Raudri, Krodhi, of dhätu, dhruba cannot be omitted and out of six Bajrikä, Prasariëi, Priti, Märjani, Khiti, Raktä, parts of mätu at least two are to be used. The Sandipani, Äläpini, Madanti, Rohini, Ramyä, Ugrä classical songs are always set to räga and täla. and Kshyovini. Currently the sudha swaras are

March - 2014 45 Odisha Review Classical Status to Odia Language associated with the last shruti of the swara in But in Hindustani system Sadja gram and Hindustani system. But in Odissi shudha swaras Madhyam gräm murchhanas are - Uttara mandrä, go with the first shruti of it. Rajani, Uttaräyatä Sudhasadjä, Matsarikrutä, Swara : In the text, Nätya Manoramä written by Ashwakräntä Abhirudgatä, Soubiri, Harinäswä, Raghunath Ratha in 1702, it is mentioned that Kalaponatä, Sudhamadhyä, Märgi, Pourabi, seven swaras sä, re, gä, mä, pä, dhä, ni have been Hrushyakä. originated from Uttara, Maharashtra, Gouda, Pravåttis : Odissi music has its moorings in the Käshmir, Känyakubja, Udra and Nepäl Nätya shästra of Bharat muni, Sangit Ratnäkar respectively. Udra is the land of Dhaibata swara. of Särangadev etc. comprising of Udra mägadhi “Sri Känyakubja käshmiri desou pancham madhamou pravåtti, ardhamägadhi giti. Udra Mägadhi is one Mahärashtrodra desiyou gatä brusabha daibatou of the five pravåtis namely Äbanti, Udra Magadhi, Gändhärascha nisädascha gouda nepäla desajou Pänchali, Dakshinätyä and Madhyamä. In Nätya Sadja uttara desiya swara desäami matäh.” shästra, Bharat muni has mentioned about Udra Mägadhi Pravåtti. (Natya manoramä, 1/82,83) “Chatasro våttayo hyedä yäsu nätyam pratisthitam It is noteworthy that Dhaibata (dhä) Ävanti dakhinatyä cha tatha chaibodramagadhi swara is sung while invoking the Sun God. The Pänchäli madhyamä cheti bigneyästu pravåttayah.” Sun temple at Konark testifies to the widespread (Natya shästra, 6 : 25,26) practice of Sun worship in Odisha. (Pub. Odissa Sahitya Academi, 2nd edition) Gräma - Now a days in Hindustäni While describing about the principles of system thät method is being adopted in classifying purvaranga Bharat muni has mentioned the name and creating ragas. Viläwal thät has been identified of Udra in Nätyashästra. as shudha thät with all sudha swaras. In lieu of Sadja Gräm or Madyama gräm one swara gram “Yathä hyapapraye gastu prayukto dahati khyanät Itye babanti pänchäla däkhiëätyodra mägadhaih.” consisting of all the swaras of Viläwal thät is in (Natya shästra, 5:168) use. But in Odissi, the ancient Sudja gräm and madhyama gräm are still in practice. The first As per his account udra mägadhi is an murchhanä of madhyama gram comprises the independent pravåti. Some scholars have not swaras of Shree räga. taken madhyamä pravåti into account. Murchhanä - The names of the The term Udra is in currency from pre- murchannas are different in Odissi system, i.e. historic era. The name Uddiän is found in Skanda Sadja gram murchhanäs are - Lalitä, Madhyamä, Puräna and Udra is found in Padma Puräna and Vishnu Puräna. Some scholars have opined that Chiträ, Rohiëi, Matangajä, Soubira and Udra means uòra, i.e. äòra (drenched in water). Barnamadhyä. Odisha being a land of rivers with long coastal Madhyam Gräm murchhanäs - Matsari, belt is relatively wet. Once upon a time the coastal Mrudumadyä, Sudhäntä, Kaläbati, Tibrä, Roudri, area was known as mägadhi. Brähmi. The ‘Uro’ was the language of ancient Gandhar gram murchhanäs - Vaishnavi, hunter tribe of Odisha which resembles Udra. Khechari, Barä, Nädä, Bati, Vishäla & Bichiträ. During the reign of emperor, Kharavela, Udrajä

46 March- 2014 Classical Status to Odia Language Odisha Review was a language of natives of Kalinga. The Udrajä Some Jain texts reveal that Mahavir, the Bibhäsä mentioned in Nätya Shästra is no other 24th Tirthankar was propagating spiritual values than Udra bhäsä. According to the grammar text, in Ardhamägadhi language. Prof. Jacobi has also ‘Präkruta Sarbaswa’ of Markendeya, Udra was referred to ardha magadhi as Jaina Präkåta. Bharat the language of Udra state. Huentsang has also Muni has described about seven native languages mentioned about Udra or odra. During 600 B.C. namely - Mägadhi, Ardha Mägadhi Äbantika, to 200 B.C., Udra Magadhi language was Prächya, Souraseni. Däkhinatyä and Bahmikä. dominated by Mägadhi but it was revived in the Out of four padashrita giti i.e. Gitis associated reign of Kharavela. with pada (verse) Ardha mägadhi is a separate Giti - Out of the four padäshrita gitis, i.e. one which points to Ardha magadhi language now Mägadhi, Ardhamägadhi, Sambhäbita and developed as Odia language in contemporary Pruthula, Ardhamagadhi is the recital mode of period. Udramagadhi pravåtti. Out of five Swaräshrita Bhinnägiti :- gities, i.e. Shudhä, Bhinnä, Goudi, Besarä and In instrumental music when pada (verses) Sädharani, Bhinnä giti is the recital style of Udra or lyrical poems are not in use the identity of mägadhi pravåti. It is mentioned in Båhaddesi of Odissi music is established by Bhinnä giti. Matanga muni that :- “Sukshmaishcha prachalairvakrai rullasitaprasäritaih “Alankärä mayä prokta yathäbanmunisattam. Lalitaistaramandraishcha Bhinnä gitirudahruta.” Atha giti pravakshyämi chhandoakshara samanyitam.” (Brhäddesi 3 : 276) (Anu : 103/170) Bhinnä giti is that one which is used with Prathamä mägadhi gïyeyä dwitiyä chärdhamägadhi sukshma (short in time), mobile, curved, ullasita “Sambhavitä trutiyä cha chaturthi pruthula smrutä (made to shine upwards), prasärita (spread out), (Anu : 103/171) attractive, high and low (swaras). Trinirvrutä cha yä gitih sa gitirmägadhismrutä Våtti : Våtti means typical style of recital. There Ardhakälanivrutta cha vigïeyä twardhamägadhi.” are 3 våtties i.e. chiträ, värtika and dakshiëä. In (Anu : 103/172) dakshina våtti the song dominates the vädya, in “Sumbhävita cha vigneyä gurväksharasamanwitä. våtti (värtika) the song and the vädya have equal Pruthuläkhyä cha vigëeyä laghwaksharasamanwitä.” importance, but in chiträ våtti the vädya dominates (Anu : 103/173) the song. It is mentioned in that - About ardhamägadhi giti it is mentioned in Dattilam “Dakñinä våttischiträscha våttayastäswayam vidhih. that : - Pradhänam gitamubhayam vädyam cheti yathäkramam. “Tatrasyänmägadhi chitraipadaih samanivåttakaih (1:43) Ardhakäla nivåttaista varnädhayä chärdhamägadhi.” Våtti (värtika) is used in Odissi music, (2 : 238) which is set to dwikalä in madhya laya, srotägatä i.e. Mägadhi is performed in chitra märga in which jäti, sama graha and ardhamägadhi giti. The playing the words are repeated in equal time. Whereas of instruments and singing of padas have equal the udramägadhi is rich in varnas with repetitions significance in this våitti, which is used in Värtika of words made in half the time of mägadhi. märga.

March - 2014 47 Odisha Review Classical Status to Odia Language

Notation : Script is indispensable for codifying Odissi vocal has all the parameters to be language. It is necessary that a qualified musician reckoned as classical. The whole hearted support is one who not only recites but is able to write and participation of the Government, concerned and read off the music from the notation. Odissi organisations, musicians, listeners and conscious music has its own notation script which is public are needed. There should be an all out effort contained in the text, Sangita Sarbaswa written to rediscover, preserve and promote the musical in 1914 by Chandrachudamani Harichandan ethos and bequeath this rich legacy of Odissi Jagadev, the king of Surangi presently in Ganjam classical music to our posterity. District. The seminars and workshops may be Dance : Odissi (Udra) dance is an independent conducted so as to be clarified about the system among the ancient seven distinctive forms classicism of Odissi vocal and instrumental music. of classical dance. The seven forms of dances namely Mägadhi, Sauraseni, Karanäta, Kerala, Gouda, Panchanada and Udra are mentioned in Abhinaya Chandrikä of Maheswar Mohäpätra. This goes to corroborate that Udra dance is independent and the accompanying components like vocal and instrumental music are also Narayan Parhi lives at HIG-85, Phase - I, Kanan distinctive. Vihar, Bhubaneswar - 751031

48 March- 2014