Lineage of Odissi musician-Gurus in the last century, from the 1850s until the end of the 20th century. The legends before 1900s are hardly ever talked about— this tree chart mentions as many of them as I could find information about.
ବିଗତ ଶତାବ୍ଦୀରେ ଓଡ଼ିଶୀ ସଙ୍ଗୀତର ଗୁରୁ ପରମ୍ପରା । https://t.co/CuFQK9Wm5z
https://twitter.com/pattaprateek/status/1273163512353824768?s=19
'Gharana' is a Hindi word, but comparatively Odissi music doesn't have any Gharanas so to say. There are a few schools, but it is only about stylistic nuances. The conservatism and secrecy associated with Gharanas, special Bandishes, etc. is not found in Odissi at all.
ଉତ୍ତର ଭାରତର ଘରାନାଗୁଡ଼ିକରେ ବିଶେଷ ପ୍ରକାର କୌଶଳ ଥାଏ, ଏବଂ ତାଙ୍କର ନିଜ କୌଶଳ ଅନୁଯାୟୀ ଓ ପ୍ରଦର୍ଶନ ନିମିତ୍ତ ନିର୍ଦ୍ଦିଷ୍ଟ ବନ୍ଦିଶ୍ ବା ଗୀତ ରଚନା କରିଥାଆନ୍ତି । ନିଜ ନିଜ ପରମ୍ପରାର ସମ୍ପଦ ବୋଲି ଏଗୁଡ଼ିକ ମଣନ୍ତି, ଏଣୁ ବାହ୍ୟ ଘରାନାର ଲୋକଙ୍କୁ ବାଣ୍ଟନ୍ତି ନାହିଁ ଏବଂ ପ୍ରଚ୍ଛନ୍ନ କରି ରଖନ୍ତି । ଏଭଳି ଓଡ଼ିଶାରେ ଆଦୌ ନାହିଁ ।
ଆମର ବରଂ ଯିଏ ଯେତେ ପ୍ରକାର ଶିଖିପାରିଲା । ବସ୍ତୁତଃ କହିବାକୁ ଗଲେ ଆମର ଯାହା ବି ଶୈଳୀଗତ ପାର୍ଥକ୍ୟ ଦେଖାଯାଏ, ତାହା ଅତି microscopic । ତେଣୁ ଏତେ ସୂକ୍ଷ୍ମ ପ୍ରଭେଦକୁ ଆମେ ସମ୍ପୂର୍ଣ୍ଣ ଭିନ୍ନ ବୋଲିବା ଠିକ ହେବନାହିଁ । ଓଡ଼ିଶା ଅବୟବ ଦୃଷ୍ଟିରୁ ମଧ୍ୟ ଗୋଟିଏ ରାଜ୍ୟ, ଏଣୁ ମତଭେଦ ଆମର ନାହିଁ । ଭାରି consistent.
ଅଳ୍ପ କେତେ ଦଶନ୍ଧି ପୂର୍ବରୁ ଉତ୍ତର ଭାରତରେ ଏକାଧିକ ଘରାନାରୁ ଶିଖିଲେ ଗୋଳିଆମିଶା ବା ଅଶୁଦ୍ଧ ବୋଲି ଧରୁଥିଲେ । ଏହା ପ୍ରତି ଅସୂୟା କେତେ ମାତ୍ରାରେ ଥିଲା । ଓଡ଼ିଶାରେ ଏଭଳି ଆନ୍ତରିକ ବିରୋଧ ନଥିଲା । ଭିନ୍ନ ଭିନ୍ନ ଅଞ୍ଚଳର ଗୀତକୁ ଆୟତ୍ତ କରିବା ଶ୍ରେୟସ୍କର ଥିଲା ।
ଠିକ କଥା । ଆଦାନ ପ୍ରଦାନ ବହୁଳ ମାତ୍ରାରେ ହେଉଥିଲା । ଗୀତକୁ ଘେନି ରକ୍ଷଣଶୀଳତା ଅଦୃଷ୍ଟ ।
ସେଥିପାଇଁ ତ ଆମର ମୌଳିକ ଗାୟନ ପଦ୍ଧତି ରେ ବ୍ୟୁତକ୍ରମ ଦେଖା ଯାଇ ନ ଥାଏ। ଏବେ ପୁରୀ ର ଅନାମଧେୟ ଗାୟକ "ଭଜ ମନ ବ୍ରଜ ଜନ" ଯେପରି ବୋଲିବା ଜାଣି ଥାଏ। ଠିକ ସେହି ଭଳି ଜଣେ ଗଞ୍ଜାମ ର ଅଖ୍ୟାତ ପଲ୍ଲୀ ରେ ବି ଗାଏ।
ଏ ଘରାନା ଥିଲେ। ଏହା ମୂଳ ରୁ ନ ଥାନ୍ତା
https://twitter.com/VAdkri/status/1273537315168641024?s=19
Analysing the indigenous raga names in Odissi music turns out to be a very interesting thing to do. Most of these names are derived from life or things that abound in nature. For example, the iconic କଳହଂସକେଦାର (kalahansa kedara) literally means 'call of the swan'. https://t.co/rvPx42ioMN
https://twitter.com/pattaprateek/status/1059840550843514883?s=19
There are a lot of ragas/chhandas inspired by animal or bird calls.
ନାଟକୁରଙ୍ଗୀ (natakurangi) means 'playful deer', ସାରଙ୍ଗ (saranga) can mean elephant/peacock/beer/snake, କୀରବାଣୀ (kirabani) is the 'sound of a parrot'.
କେଦାର (kedara) refers to a paddy field, ପାହାଡ଼ିଆ କେଦାର (pahadia kedara) is rather obvious. Perhaps a farmer ploughing his field would sing a song in it! କଉଶିକ (kausika) means 'snake charmer'. Could've been inspired by the kelas of Odisha and their well-known padmatola song.
There are numerous prefixes signifying emotion as well. ଆନନ୍ଦଭୈରବୀ (ananda-bhairabi) is joyful, ଶୋକକାମୋଦୀ (soka-kamodi) lamenting, ଚିନ୍ତାଭୈରବ (chinta-bhairaba) thoughtful, ଲଳିତ କାମୋଦୀ (lalita kamodi) gentle and graceful, ମଙ୍ଗଳଗୁଜ୍ଜରୀ (mangala gujjari) auspicious. How vivid!
There are some more detailed metaphors as well. ରଣବିଜେ is the tune that reminds one of entering a battlefield, ଘଣ୍ଟାରବ is based on the resonance of a gong, ଋଷିକୁଲ୍ୟା/ରସକୁଲ୍ୟା could've been named that after the river of the same name that flows in Odisha.
There is a genre of musico-literature in Odia called ମାଳଶ୍ରୀ (Malasri). The Malasri's structure is recursive by design. A conjunction reappears multiple times, as if weaving a garland, flower by flower. This description I was told by the octogenarian Bisi Pujapanda of Puri.
Jagabandhu He Gosain.. (1976).... the version rendered by Balakrishna Das... from his Album ‘Bhajans of Salabega’... https://t.co/PG1AbTahKi
https://twitter.com/odiamelody/status/1274500187663159296?s=19
Bharata Lila is a traditional theatre from Odisha. Originally created by Dinabandhu Dasa ~150 years ago to entertain Odia labourers in the tea gardens of Rangoon, it narrates the tale of Subhadra. Guru Rankanidhi Behera performed for us. E1 is out now : https://t.co/251H59PQpL
https://twitter.com/pattaprateek/status/1237231612229607424?s=19
ଏ ଜଣାଣଟିକୁ କେତେଜଣ କି ଗାଇଛନ୍ତି : ଭିକାରୀ ବଳ, ଶ୍ୟାମାମଣି ଦେବୀ, ଅକ୍ଷୟ ମହାନ୍ତି, ତୃପ୍ତି ଦାସ ।
ଏଇଟା ଝମ୍ପା ତାଳରେ ଶ୍ୟାମାମଣି ଦେବୀଙ୍କ ଭର୍ସନ : https://t.co/ldOT7UcCVT
https://twitter.com/pattaprateek/status/1274607132772495362?s=19
3 Legends of Odissi on a dance rehearsal . Rare Video of Padma Vibhushan Kelucharan Mohapatra , Pandit Raghunath Panigrahi n Sanjukta Panigrahi . @odiamelody @Ratikant70 @OdiaCulture @BBSRBuzz @discoverbbsr @arvindpadhee @ShreemayeeM @panigrahi_jp @OdiaHistory https://t.co/50nm97Hiui
https://twitter.com/suryanandannet/status/1273867955852292096?s=19
Dheera Sameera : Location n Dance is mind blowing . Will share this clipping tom'w . Everything is already there , we have to devote time and technology to choose the perfect one and to place at perfect platform .
There's a slightly longer video on YouTube. Contains clips of Harapriya Mahari, Sanjukta Panigrahi, Kelucharan Mohapatra teaching students, him performing 'Ahe Nila Saila', the one you shared and Sanjukta Panigrahi dancing to Raghu Babu's 'Dheera Sameere'.
https://t.co/jHtDpJ3C4v
https://twitter.com/ShivamPatnaik2/status/1273969599306846210?s=19
Beautifully managed performance of Odissi and Bharatanatyam by Yamini krishnamurthy 🙏👌
Please do watch the two ancient classical artforms of Eastern and Southern India https://t.co/xvk8ElKeht
https://twitter.com/VAdkri/status/1274378616294404096?s=19
The odissi part is one of the beautiful lyrics of Kabi kalahansa gopalakrusna pattanayak .
ଆଜ ଶ୍ରୀ ଗୋଷ୍ଠ ଚନ୍ଦ୍ରମା
Raga : Arabhi (odissi)
#Chaupadi
https://twitter.com/VAdkri/status/1274382380082425857?s=19
List of songs at @odiamelody YouTube channel that was started a decade back (October 2, 2010). Let's hope, he shares his invaluable experience and research in some blog or a book. https://t.co/nRM7XAwIQG
#Lockdown #OdiaSong https://t.co/ArT3ZoBNjl
https://twitter.com/NathTusar/status/1274317408308572160?s=19
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