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 20th
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 7th
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”
