Folk (Sambalpuri/Koshli) Music of Western Odisha

Undeniably folk music is an integral part of western Orissa. Over the centuries, the region has nurtured distinctive styles of folk art forms. Music and dance is connected to the lives of people of this western part of Orissa and the styles bear ample fragrance of originality. Folk music of western Orissa can be asserted as the emotional outburst of the people. It not only houses elements of lifestyle but narrates the beauty of nature as well. Many are of the opinion that folk music of this region has precisely mingled into the rhythm of the acoustic instruments like Dhol, Nishan and Tasha that spontaneously touches the heart and listeners of Sambalpuri music can feel the vibration of music in their soul, heart and mind. A report by Himanshu Guru.

Sambalpuri Folk Musical Instrument Nishan & Dhol

Background

In the early days most of the people of western Odisha depended on agriculture. They wanted to take a break from the tiresome efforts at the field while music was the solution. Acoustic instruments were prepared and played. Consequently, music played a vital part in the social life. 

The voyage of folk music in this region got a boost in the latter half of 20^th century with introduction of recording technology. Songs were recorded and played in Radio. All India Radio (AIR) led a major role in this mission. Songs were composed and recorded using the folk styles of the region and were broadcast on this only available platform of that time. Jintendra Harpal, Fakir Pattanaik, Prabhasini Rath, Ashok Rath, Manoj Mohanty, Kaliprasad Sarangi, Shankar Dutt, Bithika Chatterjee were some of the prominent singers of that era. 

Second innings in the development of Sambalpuri folk music began with introduction of gramophone record player in this region, when songs were recorded in a music plate and played during marriages and social gatherings. In this time one Gathani company of Kolkata had a dominating position that released a series of hit Sambalpuri numbers.

The third stage was attained with the introduction of recorded music cassettes when songs were played in Tape recorders. Then Compact Dishes (CDs), DVDs and other digital forms were introduced and now listeners enjoy a lot of option to listen to their favorite folk numbers. 

In the recent years, introduction of internet in the region brought huge changes and now Sambalpuri music lovers enjoy access to their favorite tracks from any corner of the world. In the meanwhile with introduction of the digital technology, both audio-visual displays of the songs became possible and like many other regions, Sambalpuri songs were also released in CDS and DVDs having with audio visual facility. Even songs are released in exceptionally on web and a series of websites are there to cater the need of folk fans of western Odisha.

Western Odisha’s folk styles

Popular styles of the folk music of western Odisha are - Dalkhai, Rasarkeli, Maelajada, Chutkuchuta, Jaiphula, Maleshree, Chhilollai, Humobauli, Gho gho rani, Duligeet, Sajani Geet,  Bayamana, Karma, Jhumer, Nachnia, Halia Geet etc.  Out of these, Dalkhai, Rasarkeli, Maelajada, Chutkuchuta and Jaiphula are the styles meant for dance and basically spinsters use to dance/perform to the beats in this styles wearing typical costume like Katria, Bandria, Saktapar Saree etc. The traditional costumes and ornaments worn by the dancers add aesthetic appeal to the dance. These are for gaiety and merrymaking. Here the music composition is same and lyrics are created at par with the need of the occasion.

Maleshree is used for devotional purpose. Chilollai is a style that girl children use to sing during their playing a game called chhilolai (the game involves aerobics). Humobauli or Humo geet is sung by young girls in two groups. Gho Gho Rani is a style that is also used during a game where an individual wants to break the hand shackle and her friends reciprocate with the song not to allow her with ‘Gho gho rani, anthen anthen pani, ee bate jaunga, pichkari marunga’ (there is knee-deep water everywhere with horrendous sounds ‘Gho gho’, I wanna go this way, we will spray colors to forbid you) and so on. 

Duligeet and Sajani Geet is the style sung by young girls during a ride in the swing. The hard truths of social life are narrated in Bayamana. Jhumer is usually played to the rhythm of the musical instrument ‘Mandal’ and this style is used to narrate the beauty of nature. Jhumer is also played during Karma naach, meant for Goddess Karamsani. Nachnia style is recommended for the songs to dance during occasions. This is played by both men and women. The dancers wear colorful local hand-woven Sambalpuri sarees and dhotis. Halia Geet is on the verge of extinction. It is the farmer’s song.

Folk instruments

The acoustic instruments used in folk music of western Odihsa enjoy a special status for its rarity. Moreover, these instruments are the real stuff to create an indomitable presence of the sweet folk styles. 

‘Dulduli’ music, a music orchestra of western Orissa’s folk music combines Dhol, Nisan, Tasha, Jhanj and Muhuri. In this musical extravaganza, Dhol is the lead rhythm instrument, Nisan is the bass booster, Taasha is the treble booster, Jhanj is the percussion and Muhuri (Sehnai like) is the only and leading ‘sur’ instrument. 

Interestingly, it is seen that though the instrumentalists do not have knowledge of the theory, what they play are based on the recommended grammar of folk music of the area without any flaw. Besides, the rich folk have other instruments like Mandal, dhulak, pakhauj, dugi-tabla, mridanga, mardal, dhap, timkidi, Jodi-nagara, Ghanta, behela, khanjani, dhapli, bansi, Singh-Kahali, Bir-Kahali, ghulghula, ghunguru, kendraa, khadkhadi, ektara, ghumra, gini (cymbals), daskathia etc. Nisan is normally carried around the waist of the dancer while dancing. Dhol is made from the trunk of a tree and both sides of the instrument are of same radius. In most of the songs Dhol is the lead rhythm instrument. Mandal or Madal is a drum basically used in songs with slower tempo. Tasha is played with two thin bamboo sticks.

Theatres where folk music is extensively used

Some of the popular theatres of western Orissa where folk music is extensively used are – Danda, Dang-gada, Mud-gada, Sabar or Sabaren, Nachina or Bajnia, Samparda, Sanchar, Krishnaguru, Putli Biha, Ghudkanaach and Ghumra etc. Music is the base of all these theatres. 

‘Danda’ dance of western Odisha displays some Hindu religious stories from mythology. Music and dance are the two most important components of this format. The performance includes live singing, dancing and acting by the artists. However, ‘Danda’ differs from region to region even in the state. ‘Danda’ is performed only in the Hindu chaitra month of the year, when the group (normally the participants of this group are called ‘Dandua’) sets out with the Goddess and Her belongings from the village. 

Dang-gada and Mud-gada are stunt performances. Sabar Sabaren dance is a tribal style. Nachnia and Bajnia are dance based performances used during marriage processions or on other celebrations. Samprada and sanchar are informative displays where Mridang is played. Krishnaguru includes performance of devotional songs where besides the main orchestra a number of percussion instruments are played that creates a symphony. Putli Biha or puppet marriage is performance by children. Ghudkanach is the theatre of dancing and stunt to the tune of ‘Ghudka’ or ‘Ghubukudu’.  Ghumra is also known as vira-badya (Music of the Heros) of koshal region. It was used during war times in the past to cheer the soldiers. It includes a typical drum that is like a big pitcher with a long stem made of clay and its mouth is covered with skin of mongoose to produce a special sound.

All time hit Folk numbers

Rangabati, Labangalata, E nani Sulochana, Liti Ude furufuru, Haai Krishna Hai Krishna boli, Sun naatia pila ee kali yugar paala, Chhuin dele chhaili ke kadam phul phute, Din gala gala, Dhula paare bazaa re bajania, Mahula jhaare re barasila pani are some of the all time hit folk numbers of the region.

School/ Gharana

In folk music of western Orissa though it may not come under the definition of ‘Gharana’ or school, the singing style of Jitendra Haripal is followed by a number of singers. Like he sings an ‘alap’ with ‘Ho…’ in high pitch in the beginning of a song and this style is reflected in many other singers’ performance.

Rhythm

Rhythm Beats that is called ‘Paar’ in the vernacular language of western Odisha is versatile and provides the base for music for every occasion and genre. Like Bharni, a beat used during worship of Goddess includes 64 types to worship 64 yoginis of Hindu mythology. Each of the ‘Sulha Khadi’ (16 beats) beats are further divided into four beats to create 64 beats. Besides, beats are there for every event of a marriage starting from ‘Gansan’, ‘temple visit’ to marriage procession.  

Rangabati

‘Rangabati’ is the most popular song of Sambalpuri language. The song was composed using folk algorithms of western Orissa. Singer of this number is Jitendra Haripal and Krishna Patel and the song was written by Mitrabhanu Gauntia. The song was first broadcast in All India Radio Sambalpur station in 1975, but it was re-recorded by a Kolkata based company later and was marketed. The song broke all earlier record to establish a gold dish status for itself in lieu of its huge sale. But the company was closed before it could be honored. Now, Sambalpuri folk songs are available in internet and one can listen to it worldwide, but in a time (during seventies and eighties) when radio was the only source of entertainment in western Orissa, Rangabati song got appreciated in international platform. It was even popular in Russia and some other foreign countries, while in whole of India it was as such a big hit. The song was also broadcast from BBC then which is of course a huge achievement. Most of the lorry driver, tea stall owner and in every occasion, the sweet voices of Jitendra Haripal and Krishna Patel was echoed via this sweet romantic song.

In rich culture

The magic of the folk music of western Odisha has also been presented in movies. Sabyasachi Mohapatra directed first Sambalpuri movie ‘Bhukha’ (1989) is rich with folk compositions by Ramesh Mahanand. All the songs of this film were blockbuster hit. Also in films like Samarpana, Sabu Maya re baya, Salabudha and Litu Mohanty directed ‘Alar’, the sweetness of folk of this region has been showcased. Beside films, a huge number of Sambalpuri albums have been released and many of them are blockbusters. But in the last few years double meaning songs were composed and this was a big setback for the genuine lovers of original folk music.

The NRO and NRI societies

With time now people of western Orissa are established in good positions across the world but they have great passions for the music of their motherland and so from time to time celebrate amid invited musicians from their native place. The Odia societies in US, Delhi, Mumbai and Bangalore are the prominent names amongst them.

Jitendra Haripal, Singer

Jitendra Haripal (also known as Jitendriya Haripal) undoubtedly is the most popular name in Music world of western Odisha. He is the singer of most of the classic hit numbers of the golden era including the most popular one ‘Rangabati’. 

Talking to me (Himanshu Guru) Haripal said, “Rangabati song was instrumental in introducing Oriya language in international platform then. I don’t like and adopt nudity in my songs. ‘Rangabati’ was released by three big music companies including HMV besides its broadcast in radio. The song has also been used in two feature films of the south film industry”

“I have heard that Hindi film director Nila Madhav Panda is going to put a Hindi version of Rangabati in his upcoming film, but has never called or informed me and it is a great setback for me. I love music and dedicated my whole life for it. I am proud to aver that I belong to the ‘Ganda’ or ‘Dom’ caste, whose hereditary profession is to play folk music of the region” he also said.

Late Fakir Pattnaik, Singer

Late Fakir Mohan Pattanaik was a play back singer and legendary figure of Sambalpuri music. He sang more than 5000 Sambulpuri songs. He had attended Indian Festival in Moscow, Russia through Sangeet Natak Academy, Bhubaneswar, Odisha and it was a great achievement then.  

Late Saroj Nanda, Music director

Late Saroj Nanda was a legendary propagator of Sambalpuri folk music. For the first time he introduced typical folk beats, played with Dhol in Oriya Bhajans and modern songs and it became a cult. Singers like Anuradha Paudwal, Babul Suprio have sung to his direction. His Sambalpuri devotional album ‘Adimaata’ and cassettes like ‘Mayura Chandrika’ was a big hit.

Late Prabhasini Rath, Singer

Late Prabhasini Rath from Balangir was a renowned singer in the radio age, (described earlier in this article). Yet, her sung numbers in film ‘Bhukha’ was a smash hit. She continued as a temporary music teacher in Government Girls High School in Balangir with a petty salary for several years and died in 2013.

Late Dilip Mishra, Singer and Music director

Late Dilip Mishra was a young but talented singer and music director of western Orissa. He was a popular name in Orchestra world of this region. He has composed some popular numbers and also composed music for Hindi TV serials. But before flourishing to the zenith, the flower dried up.

Sanjat Mishra, NRO, Bangaluru

“I am privileged to say something about our Sambalpuri Rhythm.  

From my childhood I am passionate about Indian rhythms.  There are many drums I have seen and played but Dhol, Nishan, Taasa has a unique combination for the Sambalpuri rhythm, mainly the pattern. There are many patterns which can be played using these three drums. The second part is it has got tremendous power to make a depressed person awake and dance. Third point it creates a tremendous sound in fact it’s really loud. In one of our NUAKHAI function one of the sound box busted. Day by day people are forgetting culture, tradition etc. Being out of my home town still we are pushing our culture to the rest of the world, it may not be in a big way but small definitely. We started our NUAKHAI celebration in 2000, where we used to see 100+ participants. Though it was in a small way or small number, but we used to celebrate. Since 2007 we started celebrating in a bigger way by calling the different artists musicians Etc. But our main focus is on those people, who all are not getting exposures or let them. By doing this we are passing the culture to our next generation. It may not be 100% but at least little bit of it. 

I can remember my school age and want to share. There was an audition for the selection for the 7^th international children film festival had to happen at Bhubaneswar and I was asked by the judge to play something and I was not prepared for instruments other than singing. Hence I didn’t have anything to play as such. I asked for 2 minutes and ran here and there to get something which can play. At last I found a pot, a dubba, two bamboo stick, and a wooden pad and started playing the Sambalpuri rhythm. I was selected immediately. My eyes were closed when I was playing. I could to get an opportunity to see our judge dance. 

It can be ocean if write on the Sambalpuri rhythm

Really it’s just awesome”