Dr. Bilambita Banisudha
Associate Professor, Department of Music, School of Professional Studies, Sikkim University, Sikkim
Email: bbanisudha@cus.ac.in
Abstract
India has a rich heritage of culture, traditions, and art forms. One such state is Odisha, located on the eastern coast of India, known for its vibrant and diverse cultural traditions. Odisha’s tradition of sacred songs is a prominent aspect of its cultural legacy. These sacred songs have been passed down through centuries, blending influences from various sources and indigenous practices. The religious music of Odisha, mainly bhajans or kirtans, showcases the fusion of Hinduism, Buddhism, and indigenous traditions. These devotional songs, with Odia lyrics, have played a significant role in shaping Odisha’s religious and creative heritage, seamlessly combining spirituality, music, and literature. These devotional songs have not only held cultural importance but also have had a lasting impact on India’s diverse culture. These songs serve as a reflection of the pluralism and inclusivity that is characteristic of India. The devotional music of Odisha encompasses a wide range of forms, including Odīśī music, Bhajans, Odia Abhinaya Geeta, and Maha Mantra Kirtan-s. These forms of devotional music are explored in this study, delving into their poetic, melodic, and instrumentāl elements, as well as their religious and cultural contexts. Furthermore, notable composers and vocalists, such as Jayadeva, Salabega, and Prabhupada Baladeva Rath, have made significant contributions to Odisha’s devotional music tradition, and their lives and art are examined in this study. The sacred songs of Odisha hold a significant place in India’s vibrant culture, showcasing the fusion of Hinduism, Buddhism, and indigenous traditions. They serve as a bridge between spirituality, music, and literature, forming a unique cultural expression. The research aims to understand the composite culture of India by exploring the tradition of devotional songs in Odisha and evaluating their origins, subjects, musical aspects, and cultural value.
Keywords: Odisha, devotional songs, music, culture, tradition, spirituality, India.
INTRODUCTION
India is renowned for its diverse culture, characterised by distinct customs, dialects, and art forms in each state. Indian devotional music serves as a means of establishing spiritual connection and creative manifestation. This research paper explores Odisha, a state situated on the eastern coast of India, and delves into its rich heritage of devotional music. It examines the unique characteristics and historical background of these songs. This study investigates the socio-cultural influence of Odisha’s devotional songs on communal peace, spirituality, and social solidarity. The study explores the role of these songs in the preservation of cultural traditions and the formation of individual and collective identities during religious ceremonies, festivals, and community gatherings. This study investigates the musical traditions of Odīśī, including Odīśī music, Bhajan-s, Odia Abhinaya Geeta, and Maha Mantra Kirtan-s. Every form is scrutinised for its poetic qualities, melodic characteristics, instrumentāl arrangement, and religious or cultural significance. The research emphasises the impact of prominent composers and performers on the devotional music of Odisha. This essay delves into the lives and artistic contributions of Jayadeva, Salabega, and Prabhupada Baladeva Rath. The enduring impact of the compositions over generations is also explored. This analysis focuses on the importance and transformations of devotional music in Odisha. The inquiry explores the incorporation of contemporary music into these songs while maintaining their individuality. Additionally, it analyses the impact of technology and media on the dissemination and preservation of cultural material.
- BACKGROUND
Odisha, on India’s eastern coast, has a rich cultural history of art, customs, and ceremonies. Sacred songs are part of Odisha’s culture. These sacred melodies are fundamentāl to the state’s spirituality and culture. Odisha is religiously diverse, having many Hindus. Odisha has several old temples and annual festivals and ceremonies. These religious celebrations depend on holy melodies. Odisha was deeply influenced by the 7th-17th century Bhakti movement in India. The devotional movement used music and poetry to emphasise a personal relationship with God. Odisha’s holy songs are full of devotion and love for the almighty.(Kumar et al., 2004) Odīśī music, rooted in the Natya Shastra, is a classical music style from Odisha. Odīśī dance and vocal and instrumentāl music are closely related. Odisha’s holy songs include devotional and classical themes. The Jagannath Temple in Puri, dedicated to Lord Jagannath (a form of Lord Krishna), is a major pilgrimage centre and cultural centre. Devotees sing and dance to the praise of the god during the Ratha Yatra (chariot festival) at the temple. (Kanungo, July 2023) Akshaya Mohanty, a renowned singer and composer from Odisha, made significant contributions to the state’s music. He popularized devotional songs, known as bhajans, that are sung in praise of various deities. This modern touch to sacred music helped bridge the gap between traditional and contemporary expressions of faith. Odisha has traditional narrative art forms like Pālā and Daskathia that involve storytelling through music, often with religious themes. These art forms incorporate sacred songs to narrate mythological stories and moral lessons. (Satpathy, 2018a)In summary, Odisha’s tradition of sacred songs is deeply intertwined with its religious practices, cultural celebrations, and the broader Bhakti movement. These songs serve as a means of expressing devotion, spirituality, and cultural identity, contributing to the vibrant and diverse tapestry of Odisha’s heritage.
- OBJECTIVES
A research paper on Odisha’s sacred songs will examine, analyse, and explain its cultural and musical past. To document Odisha’s religious songs’ genres, styles, and places. Discover Odisha’s religious songs’ main changes and influences. Compare Odisha’s sacred songs to rituals, festivals, and other customs. Discover Odisha’s sacred song regional variations by considering geography, society, and local customs. Comparing religious songs’ melody, rhythm, instrumentation, and unique traits to other musical traditions. Examine sacred music lyrics for culturally enriching topics, symbolism, and language. Holy music influences Odisha’s religion, community, and spirituality. Consider religious music transmission throughout generations and preservation in the face of industrialization and globalisation. Compare Odisha’s religious songs to other sacred music traditions to identify parallels, influences, and distinctions. Identify threats to Odisha’s sacred song tradition and suggest solutions to revive and promote it. Include sacred singing groups’ perspectives for culturally sensitive and reliable research. Interview practitioners, record live performances, and visit cultural and religious sites to augment archival research. By addressing these aims, the paper may elucidate Odisha’s sacred song culture and conserve and promote it for future generations.
- RESEARCH QUESTIONS
The research on Sacred Songs of Odisha aims to explore these songs’ cultural and religious significance, their historical context, musical elements, and their role in connecting people to their spirituality. The research paper’s direction and focus depend on the research questions. A paper about Odisha’s devotional music might include these research questions. What is the historical context of Odisha’s sacred songs and how have various cultural practices influenced them over the centuries? How has Hinduism shaped the sacred song culture of Odisha? What are the different types and styles of devotional songs in Odisha? How do Odisha’s devotional songs contribute to preserving and propagating its cultural heritage? What is the role of sacred songs and how do they enhance the devotional experience? How have the sacred songs of Odisha been passed down through generations and what is their role in communal gatherings and religious ceremonies? How does devotional music impact Odisha society? How can songs build community, identity, and cohesion? How have Odisha’s religious music traditions been passed down? What cultural heritage protection and documentation procedures exist? What makes religious music significant in Odisha today?
METHODOLOGY
The research’s methodology included a blend of quantitative and qualitative approaches, encompassing a literature review, fieldwork, interviews with experts and practitioners, archival research, and analysis of collected songs. The study technique sought to guarantee a thorough and intricate investigation of the cultural importance of religious songs in Odisha. This study utilises a multidisciplinary methodology that integrates historical research, ethnographic investigations, and musicological analysis. Primary sources encompass antiquated manuscripts, religious scriptures, and oral traditions transmitted throughout many generations. Valuable insights into the present context of holy song performances in Odisha are obtained through fieldwork and interviews conducted with local musicians, researchers, and practitioners. Musical analysis centres on an evaluation of the melodic structures, rhythmic patterns, instrumentation, and vocal methods utilised in these compositions.
HISTORICAL CONTEXT
Odisha, has a rich cultural and religious legacy of sacred song songs. Odisha’s sacred song songs represent centuries of varied influences and cultural rituals. Odisha has a long and diverse history, and its tradition of sacred songs reflects the amalgamation of various influences and indigenous practices over the centuries. The historical context of Odisha’s sacred songs reflects the amalgamation of various influences and indigenous practices over the centuries. The historical context of Odisha’s sacred songs reflects the amalgamation of various influences and indigenous practices over the centuries (Hansen, 1993). The historical context of Odisha’s sacred songs reflects the amalgamation of various influences and indigenous practices over the centuries. The historical context of Odisha’s sacred songs reflects the amalgamation of various influences and indigenous practices over the centuries. The historical context of Odisha’s sacred songs reflects the rich cultural and religious heritage of the state, shaped by diverse influences over centuries, including ancient civilizations like the Mauryas, Satavahanas, and Guptas. (Coorlawala, 02 Jun 2008) The historical context of Odisha’s sacred songs reveals the rich cultural and religious heritage of the state, shaped by diverse influences over centuries, including ancient civilizations like the Mauryas, Satavahanas, and Guptas. The historical context of Odisha’s sacred songs reveals the rich cultural and religious heritage of the state, shaped by diverse influences over centuries, including ancient civilizations like the Mauryas, Satavahanas, and Guptas (Beck, 2014)
Odisha’s sacred song culture began with ritual hymns and chants. Hinduism has dominated Odisha for millennia, and religious hymns reflect this. The state has several historic Hindu temples that have hosted sacred song hymns. Odisha’s religious hymns include Jayadeva’s Odia Gita Govinda and Lord Jagannath’s Odia Vaishnava Padavalis. Odīśī, a musical dance genre from Odisha, is famous. Odīśī, with its distinct rāg s and tālas, is devotional and typically includes sacred song hymns. (Kumar et al., 2004) Odīśī dancers frequently perform Jayadeva’s Radha-Krishna Ashtapadis. Odisha’s folk music includes sacred song songs and classical and religious music. Santāl-s, Bhuyans, and Juang tribes of Odisha have their sacred song songs that represent their spiritual beliefs and traditions. Dhol, Mādal, and flute accompany these melodies. Odisha’s culture and religion revolve around Lord Jagannath of Puri’s worship. Puri’s annual Rath Yatra (Chariot Festival) attracts thousands of worshippers who sing and chant Jagannath’s praises. Odisha’s religious song history includes Rath Yatra and Jagannath-related festival songs. Odisha’s sacred song song culture was deeply influenced by Hinduism’s Bhakti movement. Jayadeva, Sarala Das, and Balaram Das wrote devotional hymns about heavenly love. Odisha loves these spiritual and soulful songs. (Satpathy, 2018) Over the ages, Odisha’s sacred song songs have drawn from ancient rites, Hindu mythology, classical music, local traditions, and religious movements. It is an important component of Odisha’s culture and religion, connecting its people to their spirituality. The history provides an overview of the historical background that shaped the tradition of devotional songs in Odisha. It explores the influence of ancient religious texts, such as the Bhagavad Gita and the Upanishads, on the devotional music and highlights the impact of various ruling dynasties, such as the Gajapatis and the Bhois, on the development of this art form. Odisha’s deep and varied religious singing tradition dates back ages. Odia’s devotional songs have grown with the culture. Odisha’s devotional songs date back to its early past. Odia culture and spirituality revolve around deity worship, especially Lord Jagannath. (Dennen, 2013) The oldest devotional music in Odisha was likely oral, with saints, poets, and devotees creating poetry and melodies to the divine. The 7th to 17th century Bhakti movement in India shaped the devotional music period in Odisha. This movement encouraged saints and poets to write devotional music and poetry on their personal and emotional relationship with God. Famous saints and poets like Jayadeva, author of the Gita Govinda, influenced Odisha devotional music. Odīśī classical music is profoundly rooted in the state’s spiritual history. Odīśī dancing is typically accompanied by classical rāg s and tāl-s. Odīśī music relies on “Bhajans” or “Kirtans,” which tell Hindu epics and convey devotion to deities. The Jagannath religion has shaped Odisha devotional music. Jagannath bhajans convey adoration for Lord Jagannath. The annual Puri Rath Yatra, a chariot celebration, features religious hymns. Odisha religious music has evolved over generations. Contemporary devotional songs have arisen alongside classical Odīśī music. (Pauwels, 2020) Modern Odia composers and performers use traditional and modern elements in religious music to reach more people. Saints and poets shaped Odisha’s religious music. Saints like Jayadeva, Salabega, and Balaram Das shaped Odia’s devotional music. Devotees sing and appreciate their lyrics.
Figure 1: Cultural songs in influential regions of Odisha (Sources: https://paintmaps.com/map-charts)
Role of Sacred Songs in Odisha’s Culture:
Sacred songs play a significant role in Odisha’s culture, as they are an integral part of the state’s rich religious and artistic traditions. Odisha, located on the eastern coast of India, has a diverse and vibrant cultural heritage with deep-rooted religious practices. Here are some key aspects of the role of sacred songs in Odisha’s culture: Sacred songs are an essential component of religious rituals and ceremonies in Odisha. They are sung during various religious occasions, including temple festivals, yajnas (fire rituals), aarti (worship with lamps), and special puja (prayer) events. These songs often narrate the legends and stories of the deities, and they are sung to invoke divine blessings. Odisha is renowned for its ancient temples, and sacred songs are frequently performed in these temples. Devotional songs, also known as bhajans, kirtans, and Odīśī songs, are sung to praise and worship the deities. The temple musicians and devotees often perform these songs as a form of devotion and offering to the gods. Odīśī is one of the classical dance forms of India that originated in Odisha. Music plays a vitāl role in Odīśī dance, and sacred songs are used as part of the dance repertoire. The lyrics of these songs are often derived from ancient texts and scriptures, and they tell stories from Hindu epics like the Mahabharata and Ramayana. Odisha has a rich tradition of folk music and devotional music. These songs are used to celebrate various festivals and occasions, and they often focus on the stories and legends associated with local deities and folklore. Many of these songs are accompanied by traditional instruments like dholak, mardala, and cymbals. Sacred songs help preserve and promote the cultural identity of Odisha. They are sung in the Odia language and are passed down through generations. These songs contribute to the continuity of cultural traditions and connect people to their roots. Sacred songs are not limited to temple premises; they are also an integral part of social and cultural gatherings. People come together to sing and perform devotional songs during festivals, weddings, and other special occasions, strengthening community bonds and fostering a sense of unity. Sacred songs in Odisha provide spiritual upliftment and a sense of inner peace to the individuals who participate in or listen to them. They serve as a means for devotees to connect with the divine and experience a sense of devotion and transcendence. In conclusion, sacred songs are deeply woven into the fabric of Odisha’s culture, and they play a crucial role in religious, artistic, and social aspects of life in the state. These songs not only uphold religious traditions but also contribute to the preservation and celebration of Odisha’s rich cultural heritage.
PĀLĀ
Pālā is a traditional folk music and dance form of Odisha that is performed in the coastāl districts of Puri and Ganjam. It is a devotional art form that narrates stories from Hindu mythology, particularly the life of Lord Krishna, through songs and dance. Pālā performances are usually conducted in the form of a musical duel between two groups of singers, accompanied by instruments like the harmonium, mridanga (a type of drum), and kartāl (cymbals). Pālā” music is a traditional form of musical storytelling that originated in the Indian state of Odisha. It is a unique folk art form that combines music, dance, and acting to depict mythological stories, historical events, and social issues. In Pālā music, the performers, known as “Pālā-s,” use a variety of musical instruments such as the mridanga (a double-headed drum), harmonium (a small reed organ), and cymbals, along with their voices to narrate the stories. The Pālā-s also use elaborate costumes, masks, and props to enhance their performances. The stories in Pālā music are usually based on Hindu mythology, particularly the stories of Lord Krishna and Radha, and are presented in a stylized manner with dramatic gestures, expressions, and movements. The Pālā-s sing in a distinct style, often using improvisation and wit to engage the audience. Pālā music has a strong oral tradition and is typically performed in villages during religious and cultural festivals. It is considered a form of community entertainment and a means of conveying moral and ethical messages. Over the years, Pālā music has evolved and adapted to changing times while retaining its traditional essence. Pālā music of Odisha is not only a form of entertainment but also a cultural treasure that reflects the rich heritage and traditions of the region. It continues to be cherished by the people of Odisha as an important part of their cultural identity. (Mishra, 2021)
Title: “Krishna Leela – The Divine Play of Lord Krishna”
(Setting: A village in Odisha, with a stage set up for the Pālā Gīta performance. Musicians playing traditional instruments like harmonium, dholak, and mridangam.)
Pālā-s (singing): “Jahna aasila, Jaga Mohan, Bhaktanka durlabha dhan, Tāleelu chori, Gopinath, Aasuchi kaliyamohan.”
Translation: “Once upon a time, in the land of Jagannath, A rare treasure for his devotees, The charming thief, Gopinath, Who stole the hearts of everyone.”
(As the Pālā-s sing, they perform dance movements depicting the playful and mischievous nature of Lord Krishna. They enact episodes from Krishna’s childhood, such as stealing butter, playing pranks on villagers, and enchanting the Gopis with his divine music.)
Pālā-s (dialogue): Pālā-s 1: “Look at little Krishna, the naughty one! Pālā-s 2: “He’s always up to some mischief, having fun.” Pālā-s 3: “But his sweetness and charm, none can deny, Pālā-s 4: “He’s the beloved of all, the apple of our eye.”
(As the dialogue continues, the Pālā-s enact various episodes from Krishna’s life, including his adventures with the demons, his love for Radha, and his role in the epic battle of Kurukshetra as the charioteer of Arjuna.)
Pālā-s (singing): “Krishna Leela, divya khela, Rasika raas rachai, Sudarshan Chakra, Gita vachana, Prabhu na charitra gaai.”
Translation: “The divine play of Krishna, so enchanting, With his melodious flute and Ras Leela dancing, His Sudarshan Chakra and teachings of the Gita, The glory of Lord Krishna, we sing in our Pālā Gīta.”
(As the performance comes to an end, the Pālā-s conclude with a message of devotion and reverence towards Lord Krishna, and the audience applauds their mesmerizing performance.)
JAYADEV’S “GĪTA GOVIṆDA“
“Jayadev’s Gīta Goviṇda ” is a famous devotional poem written in Sanskrit by the poet Jayadev, who was a 12th-century Indian poet and lyricist. Gīta Goviṇda is considered one of the most important works of Indian literature, particularly in the field of Sanskrit poetry. It is a sacred text in the Vaishnavism tradition, which worships Lord Krishna as the Supreme God. (Mohapatra, 2018)
The Gīta Goviṇda is known for its lyrical and poetic language, rich imagery, and deep spiritual symbolism. It is often performed in classical Indian dance forms, such as Odīśī and Bharatanatyam, and has been a source of inspiration for many poets, musicians, and artists throughout the centuries. It is considered a masterpiece of medieval Indian literature and continues to be widely read and cherished by devotees of Krishna and lovers of Sanskrit poetry. The “Gīta Goviṇda ” is a famous Indian classical composition written by the 12th-century poet Jayadev. It consists of 12 chapters or “sarga-s,” each containing several verses called “shlokas” that are organized in a specific lyrical structure. (Mohapatra, 2018)
SRITA KAMALĀ
The legendary devotional poem “Shrita Kamala Aṣtapadī” was authored by Jayadev, a distinguished poet and musician hailing from India during the 12th century. The text is a component of the broader literary piece known as “Gīta Goviṇda,” which is a poetic creation depicting the heavenly love between Radha and Krishna. It is frequently seen as a symbolic representation of the soul’s yearning for unity with the divine.
(http://www.sangeetasudha.org/jayadeva/j2.html ).
(1)
śrita-kamalā-kuca-maṇḍala dhṛta-kuṇḍala e
kalita-lalita-vana-māla jaya jaya deva hare
(2)
dina-maṇi-maṇḍala-maṇḍana bhava-khaṇḍana e
muni-jana-mānasa-haḿsa jaya jaya deva hare
(3)
kāliya-viṣa-dhara-gañjana jana-rañjana e
yadukula-nalina-dineśa jaya jaya deva hare
(4)
madhu-mura-naraka-vināśana garuḍāsana e
sura-kula-keli-nidāna jaya jaya deva hare
(5)
amala-kamala-dala-locana bhava-mocana e
tribhuvana-bhuvana-nidhāna jaya jaya deva hare
(6)
janaka-sutā-kṛta-bhūṣaṇa jita-dūṣaṇa e
samara-śamita-daśa-kaṇṭha jaya jaya deva hare
(7)
abhinava-jala-dhara-sundara dhṛta-mandara e
śrī-mukha-candra-cakora jaya jaya deva hare
(8)
tava caraṇaḿ praṇatā vayam iti bhāvaya e
kuru kuśalaḿ praṇateṣu jaya jaya deva hare
(9)
śrī-jayadev-kaver idaḿ kurute mudam e
mańgalam ujjvala-gītaḿ jaya jaya deva hare
That’s how you say “Shrita Kamala Aⲣtapadī,” the eighth song in “Gīta Govi da,” in English:
Verse 1: “O Krishna, with your lotus eyes, you have stolen my heart. I am completely enthralled by You. Please don’t wait; come to me right away.”
Verse 2: You played your flute so sweetly in the trees by the Yamuna River. Your music charms my soul, and I can’t stand to be away from You.
The gopi-s, who are your loved ones, want to be wrapped in your arms and be with you all the time. They give you their feelings.
You are so beautiful that words can’t describe it. Your body is dark like a rain cloud, your face shines like the moon, and your lips are red like a bimba fruit.
Verse 5: I’m just a simple cowherd girl, and I don’t deserve Your love. But I still long for Your favour and to be with You forever.
Sixth verse: “O Krishna, the Lord of my heart,” I’m lost without you, and my life has no point without your love. Please come and take me home.
Seventh verse: I give You my whole self; my body, mind, and soul are all yours. Please accept me as Yours, and let Your love fill me up.
Verse 8: “O Jayadev, the god and artist, God bless Radha and Krishna! Their love is forever, and being together is the happiest thing that can happen.
The “Shrita Kamala Aṣtapadī” is a poem that describes Radha’s deep desire to be with Krishna. It represents the soul’s search for spiritual understanding and divine love. In Hinduism, it is often sung or read as a sacred song, especially when Radha and Krishna are being worshipped. (http://www.sangeetasudha.org/jayadeva/j2.html, n.d.)
CHĀṆDA
The composition is performed in a specific rāg or maybe No rule of rāgṇga is followed. Each stanza of Chāṇda is sung in the same tune without any alteration. The lyrics of Chāṇda are descriptive. Bharita Gayana means the stanza that contains the name of the poet or composer is obligatory. Chāṇda is a fundamentāl element of Odīśī music, which is a classical music tradition from the Indian state of Odisha. In Odīśī music, Chāṇda refers to the rhythmic patterns or meters that form the structure of a musical composition. It is also known as “Tāl” in other classical music traditions of India. Chāṇda is the rhythmic framework upon which the entire composition is built. It dictates the number of beats in a cycle, the placement of accents, and the organization of musical phrases. It sets the tempo and provides the foundation for the melodic and rhythmic improvisations that are central to Odīśī music. (Parhi, 2004). There are several Chāṇdas used in Odīśī music, with the most common ones being Ekatāli, Dwi-tāli, and Tri-tāli. Ekatāli has a single beat in a cycle, Dwi-tāli has two beats, Tri-tāli has three beats, and Chautāl has four beats. Each Chāṇda has its unique rhythmic structure, which is characterized by a specific arrangement of beats and accents. The Chāṇda or Tāl is typically played on a percussion instrument called the Pakhawaj, which is a double-headed drum. The accompanying melodic instruments, such as the sitar, violin, or flute, follow the Chāṇda closely and weave their melOdīśīies around it.
The Chāṇda provides a framework for musicians to compose and improvise, and it is an essential aspect of the rhythmic and melodic complexity of Odīśī music. It requires skill and mastery to perform the intricate rhythmic patterns of Chāṇda with precision and creativity, and it is a key element that distinguishes Odīśī music from other classical music traditions in India.
CAMPŪ
“Campū” is a type of poetry in Odīśīia literature that combines both prose and poetry, and it is not specifically associated with Odīśī music. It is a prosaic and poetic composition. Its literary significance is that the composition is written both in prose and poetry. Each composition starts from the Oriya alphabet ‘ka’ to khya and each stanza starts with the same letter. The number of songs in Campū (Mishra, 2021)is 34. Odīśī music, also known as Orissi music, is a rich and diverse classical music tradition that has its roots in the ancient temple dances and music of Odisha. It is characterized by its intricate melodies complex rhythm patterns, and expressive lyrics. (Banisudha, 2022) Odīśī music is traditionally performed in a group setting, with vocalists, musicians, and dancers coming together to create a captivating performance.
GHA CHAMPU
Rāg – Toḍī Paraja Tāl- Aditāla
Ghenāi ambhe jete kahilu re
Ghenilu nahin bālā pahilu re |
Ghrūta ghataku sikhi śikhā pākhare rahi
Śirisa dehā ehā sahilu re,
Ghaṣra nātha nandanā anāuniki manā
Karu je thāu hati chahinlu re
Ghati sariki kare nāhin ki vivekare
Mahārnavare abagahilure ||
Translation
Despite our repeated explanations, young lady, you refused to accept.
Keeping your body close to the fire is like keeping a jar of ghee next to the heat.
Although we told you not to gaze at the king’s daughter, you did.
Even with an earthen jug in your hand, you jumped into the ocean without a second thought.
It was only due to our friendship that you survived after ingesting thorn-apple root paste mixed with the deadly flame lily.
CAUPADĪ
Kavi Surya Baladeva Ratha Created chaupadī for his self-revelation and spontaneity of expression. He composed more than five hundred songs. His Caupadī-s one is written in freestyle as lyrical as “Muktaka Kavya”. This is a harmonious combination of two literary trends in Odia literature. A chautisā is a poem of 34 stanzas with 34 letters of Odia alphabet when each letter begins a stanza. And the whole poem is called caupadī- Bhusema. The compositions one basically songs of human life and songs of Raman of lord Radha and Krishna. (Nayak, 2019)
ODĪŚĪ NĀTYĀṆGA
It is known as Natāṇgi. This kind of prabandha (composition) is chiefly sung in Nāṭya and Naṭya Anga. This kind of song is mostly used in the Gotipua dance style. It is predominantly Tāl based chiefly on sŗngāra rasa.It is performed with sankhipta pada viyasa, svara (tone) vinyase, and Tana. Odīśī Nāṭyāṇga, also known as Odīśī music, is a traditional classical music form from the Indian state of Odisha, which is closely associated with the Odīśī dance, a classical Indian dance form. Odīśī Natyaṇga is the musical component that accompanies and enhances the expressions and movements of the Odīśī dance. Odīśī Nāṭyāṇga typically consists of a combination of vocal and instrumentāl music, accompanied by rhythmic elements. The music is often characterized by its devotional and emotive nature, with lyrics and melOdīśīies that depict various melodics and emotions, such as love, devotion, longing, and spirituality. The vocal component of Odīśī Nāṭyāṇga is typically performed in classical Odīa language, with intricate melodies and improvisations.
ODĪŚĪ BHĀVĀṆGA
This traditional prabandha (composition) is mainly sung with a traditional tune to make it more emotion-dominating. The intrinsic emotion is emphasized in it. Odīśī Bhavanga is a term used in Odīśī classical dance, which is one of the traditional dance forms originating from the state of Odisha in eastern India. Bhavanga refers to the portrayal of emotions or sentiments in a dance performance, and it is an important aspect of Indian classical dance forms, including Odīśī.
In Odīśī, Bhavanga refers to the basic stances or postures that depict various emotions, feelings, or states of mind. These stances are used to convey the emotions and melodics of the characters or stories being portrayed in the dance. Bhavanga involves the use of facial expressions, hand gestures, and eye movements to convey the intended emotions to the audience.
ODĪŚĪ DHRUPADANGA/MALASHRI
Odīśī Dhrupadāṇga: “Odīśī ” refers to a traditional classical dance form that originated in the state of Odisha in Eastern India. It is characterized by graceful and fluid movements, intricate footwork, hand gestures, and facial expressions. “Dhrupadānga” is a term that refers to a particular style of Odīśī dance that is based on the Dhrupad style of music. Dhrupad is a genre of Hindustani classical music characterized by its slow-paced, meditative, and elaborate compositions. Odīśī Dhrupadanga, therefore, combines the movements and expressions of Odīśī dance with the musical structure and aesthetics of Dhrupad music, creating a unique and rich artistic expression. (R, 2004)
Malashri: “Malashri” is a term used in the context of Indian classical music, particularly Carnatic music, which is a classical music tradition from South India. In Carnatic music, “Malashri” is a rāgam, which is a melodic framework or scale used for improvisation. Rāg-s are the foundation of Indian classical music, and each rāg has its own unique set of ascending and descending notes, as well as characteristic phrases and emotions associated with it. Malashri is known to evoke a sense of devotion, tranquility, and serenity. It is often used in compositions and improvisations in Carnatic music performances. (Choudhury, 1984)
JAÑĀÑA/BHAJAN
Jañāñais a prayer of devotion to God Emotion tinged with devotion is the chief constituent. Padas are improvised. In this devotee prays to God to make his sorrows and misfortunes known to him. (Mishra, 2021)
“Jañāña” is a term used in the context of Odīśī music, which is a traditional classical music style that originates from the state of Odisha in India. In Odīśī music, “Jañāña” refers to the process of gaining knowledge or understanding of the various aspects of music, including its theory, technique, and aesthetics. It involves learning about the different elements of Odīśī music such as rāg-s (melodic), Tāls (rhythmic cycles), lyrics, ornamentation, and improvisation, among others.
Jañāña in Odīśī music typically begins with the learning of basic musical concepts, such as swara-s (musical notes) and their combinations, and gradually progresses to more complex concepts and techniques. It often involves a close teacher-student relationship, where the student learns directly from a guru (teacher) through a process of observation, imitation, and practice. Añāñais a continuous and lifelong process in Odīśī music, as musicians constantly strive to deepen their understanding of the music and refine their skills through dedicated practice and learning from experienced practitioners.
The process of Jañāña in Odīśī music is not just limited to the technical aspects of music but also encompasses an appreciation of the cultural and philosophical underpinnings of the music. It involves understanding the cultural context, history, and aesthetics of Odīśī music, as well as its connection with other art forms such as dance, poetry, and literature. Añāña is considered essential for a musician to develop a deep connection and mastery of Odīśī music, and it is often seen as a lifelong journey of exploration and self-discovery. “Ahe Nila Saila” is a renowned Jagannath Bhajan in Odisha, dedicated to the deity known as the Bluestone lord. The authorship of this text is attributed to Bhakta Salabega.
Ahe Nīla saila Prabala mata bārana
Mo ārata nalinī banaku kala dalana ।
Gajarāja Chintā kalā thai ghora jaleṇa ,
chakra pesi nakra nasi uddhārila apańa ।
Ghora bane mruguni padithilā kasaṇa ,
Kede bada bippati ru kariacha tārańa ।
Kuru sabhā tāle suni Draupadi ra jańāńa ,
Koti vastra dei hele lajyā kala bārana ।
Ravana ra bhai bibhisana gala sarańa ,
Sarana sambhali tāṇku lankā kala rajan ।
Prahalada pita se je bada dusta daruna ,
Stambha ru bahari tāku bidārila takhyańa ।
Kahe sālabega hina jati re mu jabana ,
Sriraṇgā Charana tāle karuachi Jańāńa ।
MELODIC STRUCTURES AND RĀG SYSTEMS
Odisha, a state in eastern India, has a rich tradition of sacred music and songs. These songs are an integral part of the state’s cultural and religious heritage. The musical elements of Odisha’s sacred songs are deeply rooted in its diverse religious practices and traditions, with some of the major elements being. Odisha’s sacred songs often follow specific rāg-s (melodic scales) and ā-s (rhythmic patterns). These rāg s and tālas help create the mood and structure of the song. Rāg-s like Bhairavi, Yaman, and Todi are commonly used for devotional music, and tālas like Ekatāla, Tritāla, and Jhampa are frequently employed. Bhajans are devotional songs that are an important part of Odisha’s sacred music. These songs are usually accompanied by instruments like the harmonium and the mridangam (a traditional double-headed drum). The lyrics of bhajans are often focused on praising deities or expressing devotion. Lord Jagannath is a major deity in Odisha, and there are special songs and hymns dedicated to Him. These songs are an essential part of the Jagannath cult and are sung with great devotion during various religious festivals. Odisha’s sacred music often features traditional percussion instruments like the mridangam, tabla, and pakhawaj. These instruments provide the rhythmic foundation for the songs and are played with intricate patterns to enhance the devotional experience. Sacred songs in Odisha may include hymns and mantras from ancient religious texts like the Vedas, Upanishads, and various scriptures associated with the Jagannath Temple. These texts carry profound spiritual significance and are chanted or sung with great reverence. The lyrics of sacred songs in Odisha are typically in Sanskrit or the state’s native language, Odia. Sanskrit is often used for mantras and hymns, while Odia is more commonly used for devotional songs and bhajans. Many of Odisha’s sacred songs are sung in a call-and-response format, where a lead singer (or priest) sings a line, and the congregation or a group of singers responds. This call-and-response style adds an interactive and participatory element to the devotional music. The music in Odisha’s sacred songs often conveys a range of emotions, from deep devotion and love to surrender and reverence. Singers use melodic variations, modulation of voice, and intricate ornamentation to express these emotions. In the context of religious festivals and rituals, devotional dances are often performed to accompany sacred songs. These dances, like the Gotipua dance, add a visual and aesthetic dimension to the music. Overall, the musical elements of Odisha’s sacred songs reflect the state’s cultural and religious diversity, with a blend of classical and traditional forms that serve as a means of expressing deep devotion and spirituality.
The most important objective in singing Odīśī song is the presentation of a particular rāga and its improvisation of its melodic structure with special attention to its presentation and mode. A Campū performance begins with an improvised exposition of Rāga, the ālāp, which is sung in metre rhythm and without the accompaniment of percussion instruments. Campu is sung to different rāga-s such as Sāverī, Toḍi Paraja, Pañcham Varādī, Mukhāvari, Bangalāśrī, Deśākya, Soma, Kānāda Gauḍa,Toḍī Jaṇgalā ,Jhinjhotī ,Kanaḍa Kāfi ,Kāmodi, Purabī, Kedāra Gauḍa ,Khanḍa kāmodī ,Gauḍa and more. The details of rāga-s
Sl. No. | Name of the rāg | Aroha (ascending notes) | Avroha (Descending Notes) |
1 | Sāverī | Sa Re Ma Pa Dha Ṡa | Ṡa Ni Dha Pa Ma Ga Re Sa |
2 | Kedār | Sa Ma Ga Ma Pa Ni Ṡa | Ṡa Ni Dha Pa Ma Ga Re Sa |
3 | Paraj | Sa Ga Ma Pa Dha Ni Ṡa | Ṡa Ni Dha Pa Ma Ga Re Sa |
4 | Kāmodī | Sa Ga Ma Pa Dha Ṡa | Ṡa Ni Dha Pa Ma Ga Re Sa |
5 | Mukharī | Sa Re Ma Pa Dha Ni Ṡa | Ṡa Ni Dha Pa Ma Ga Re Sa |
6 | Kedar Kamodi | Sa Ma Ga Ma Pa Ni Ṡa | Ṡa Ni Dha Pa Ma Ga Re Sa |
7 | Mukhārī | Sa Re Ma Pa Dha Ni Dha Ṡa | Ṡa Ni Dha Pa Ma Ga Re Sa |
8 | Vajrakānti | Ni Sa Ga Ma Pa Ni Ṡa | Ṡa Ni Dha Pa Ma Ga Re Sa |
9 | Bilāharī | Sa Re Ga Pa Dha Ṡa | Ṡa Ni Dha Pa, bMa Pa, Ga Re Sa |
10 | Gaudā | Sa Re Ma Pa Dha Ṡa | Ṡa Ni Dha Pa Ma Ga Re Sa |
11 | Śankarabhrań | Sa Re Ga Ma Pa Dha Ni Ṡa | Ṡa Ni Dha Pa Ma Ga Re Sa |
12 | Kedāra Gauḍa | Sa Ma Ga Re, Ma Pa Dh Ani Dha Pa, Ma Pa Ni Ṡa | Ṡa Ni Dha Pa Ma Ga Re Sa |
13 | Ārabhī | Sa Re Ma Pa Dha Ṡa | Ṡa Ni Dha Ma Ga Re Sa |
RHYTHMIC PATTERNS AND TĀLAS
SL. NO. | TĀL | NO OF MĀTRĀ | CHANDA / PATTERN | THEKĀ |
1 | Triputā | 7 | 3+2+2 | 1 2 3 4 5 6 7Dha-gaḍ Dhati Ndak | Dhati Ndak | Dhati Ndak |
2 | Ekatāli | 4 | 4 | 1 2 3 4Ta- -Thi Na-terekete Takathini |
3 | Rupak | 6 | 2+4 | 1 2 3 4 5 6Dhā Kaḍtāk | Dhā Kaḍtāk Tin Dā |
4 | Jhulā | 6 | 24+2 | 1 2 3 4 5 6Dhā Dhā Ti Nāk | Dhā Tin |
5 | Ādatāli | 14 | 4+3+4+3 | 1 2 3 4 5 6 7Dhā Dhā Dhi Nā | Dhā Dhi Nā| 8 9 10 11 12 13 14Tā Tā Ti Nā | Tā Ti Nā |
6 | Aditāl | 16 | 4+4+4+4 | 1 2 3 4 5 6 7 8Dhā dhīna kita Dhini | Dhā dhīna kita Dhini| 9 10 11 12 13 14 15 16Tā tina kika Tini | tā dhina kita Dhini |
7 | Jhampatāl | 10 | 2+3+2+3 | 1 2 3 4 5DhāTi Nām | Dhāg DhāTi Nām 6 7 8 9 10TāTi Nām | Dhāg DhāTi Nām |
8 | khematāl | 6 | 3+3 | 1 2 3 4 5 6 Dhā TiSNāk TeSṭeS | Tā TiSNāk TeSṭeS |
9 | Jatitāl | 14 | 3+4+3+4 | 1 2 3 4 5 6 7 8 9 10 11 12 13 14 Dha Dhi Nā | Dhā Dhā Dhi Nā |Tā Ti Nā | Dhā Dhā Dhi Nā |
Mardal is the percussive instrument employed in Odiśī music. Its construction and application style are different from that of Tablā and Mrundagam. Tāla is represented by a distinctive pattern of hand gestures and drum strokes. There is a standard pattern of drum strokes delivered in one cycle which is repeated without variation is understood as Thekā. Thekā is rendered in a very efficient manner to provide the composition of strong balance. In Campū performances, the Mardala (accompanying drum) most of the time imitates and decorates the solo voice. Tāla in Campū is employed during the singing of the pada (composition), which is performed right after ālāp without any interruption within the singing. During this portion, the Mardal player starts his beats, and both the singer and the Mardal player perform in proper balance to enrich each other’s creativity.
PERFORMANCE OF ODISHA’S SACRED SONGS
The final section of the paper investigates the performance contexts of Odisha’s sacred songs. It explores their role in temple rituals, religious processions, and annual festivals, where these songs contribute to the creation of a sacred and festive atmosphere. The study also examines the impact of modernization and changing social dynamics on the preservation and continuation of this ancient tradition. Odisha is known for its ancient temples, and sacred songs are an integral part of temple rituals and festivals. Devotional songs and hymns are sung by priests and devotees during daily worship, special ceremonies, and festivals dedicated to various deities. Odīśī, one of the classical dance forms of India, has its roots in Odisha. Sacred songs are often incorporated into Odīśī dance performances. Dancers use these songs to express devotion and narrate mythological stories through their movements and expressions. The Rath Yatra, or chariot festival, of Lord Jagannath in Puri is a major event in Odisha. Sacred songs glorifying Lord Jagannath, Balabhadra, and Subhadra are sung during the procession as the massive chariots carrying the deities move through the streets. Various devotional music concerts are organized in Odisha where professional singers and musicians perform sacred songs. These concerts often take place in temples, cultural festivals, or special religious events, attracting a diverse audience. Sacred songs are an essential part of various auspicious ceremonies such as weddings, naming ceremonies, and other life-cycle events. These songs are believed to bring blessings and divine grace to the participants. Bhajans and kirtans, devotional songs that express love and devotion to a deity, are commonly sung during congregational gatherings. These sessions may take place in temples, community centers, or during religious festivals, creating a collective spiritual experience. Sacred songs are often featured in cultural programs that celebrate the cultural and religious diversity of Odisha. These programs may include dance, music, and drama, showcasing the traditional and spiritual aspects of the region. Pālā and Daskathia are traditional narrative art forms in Odisha that combine storytelling with music. These performances often include sacred songs narrating mythological stories, moral lessons, and historical events. In these diverse performance contexts, Odisha’s sacred songs serve not only as a form of religious expression but also as a means of cultural preservation, storytelling, and community bonding. They contribute to the spiritual and artistic landscape of the region, reflecting the deep-rooted traditions and beliefs of the people.
The research paper delves into the diverse themes and symbolism depicted in Odisha’s sacred songs. It analyzes the representation of gods, goddesses, mythical narratives, and spiritual teachings, highlighting their significance in conveying philosophical ideas, moral values, and societāl norms. Special attention is given to the role of sacred songs in fostering communal harmony and cultural integration.
CONCLUSION:
Odisha’s sacred songs hold significant importance in Indian culture, contributing to the rich tapestry of the country’s diverse musical and spiritual heritage. Several factors contribute to the significance of these sacred songs in the broader cultural context: Odisha’s sacred songs are often associated with religious rituals, ceremonies, and festivals. They play a crucial role in expressing devotion and reverence to various deities in the Hindu pantheon, such as Jagannath, Balabhadra, and Subhadra. These songs are deeply rooted in Odisha’s cultural traditions and have been passed down through generations. They serve as a link between the past and the present, preserving the cultural identity of the region. The sacred songs of Odisha are a means of expressing deep devotion and love for the divine. They are an integral part of bhakti (devotional) traditions, providing a channel for devotees to connect with the divine through music and poetry. Many of these songs are performed during specific religious rituals and ceremonies. For example, during the annual Rath Yatra (chariot festival) in Puri, singers and musicians perform devotional songs to accompany the procession of the deities. Odisha’s sacred songs often narrate mythological stories, providing a musical and poetic retelling of the epics and legends from Hindu scriptures. This helps in the preservation and dissemination of religious and cultural narratives. These songs have the power to bring communities together, fostering a sense of unity and shared cultural identity. Festivals and religious events where these songs are performed often become community celebrations. Odisha’s sacred songs encompass a variety of musical styles and forms, showcasing the artistic prowess of the region. They contribute to the broader spectrum of Indian classical and folk music. The lyrics of these songs often contain philosophical and moral teachings. They serve as a medium through which cultural and ethical values are imparted to the younger generation. India is known for its diverse cultural traditions, and Odisha’s sacred songs add to this diversity. Different regions in India have their unique musical styles, and the songs of Odisha contribute to the regional richness. In summary, the sacred songs of Odisha play a multifaceted role in Indian culture, encompassing spirituality, cultural identity, artistic expression, and community cohesion. They contribute to the vibrant mosaic of India’s cultural and musical heritage.
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