Guest Column Ramahari Das

In the music fraternity of Orissa, the debate on how long it will take us to make Odissi music be recognised as a classical form has grown only stronger over the years. With all aspects of our music form fitting to get the title of a ‘classical’ system, there are still many matters we need to take care of for this to happen.

With innumerable artistes in Hindustani and even Carnatic music well-established and even many more coming up, other regional dance and music forms do not get attention of music lovers across the country, not to mention global recognition. When there are eight classical dance forms, including Odissi dance, it is unfortunate that we have only two classical music forms.

As per convention, only those forms of dance and music get a classical tag that have an old tradition or parampara, have a strong grammar or prabidhi and are in practice (prayog).

Odissi music, with its legacy of more than two millennia, qualifies for this. The detailed treatment that Odramagadhi (the ancient system of music of Oriya speaking regions) has received in Bharat Muni’s revered Natya Shastra is more than evidence of the heritage of Odissi music. In fact, King Kharavela’s inscriptions at the Khandagiri caves even describe that the king had held a grand music concert in the third year of his reign. The ancient Buddhist song compilations, Geetika, written in Orissa, mentions ragas for different compositions.

By seventh century AD the tradition of raga-based songs and performances had already begun. This tradition was well established during the creation of Gita Govinda by 12th century when poet Jayadeva had recommended different ragas for different Ashtapadis in his acclaimed work. This led to continuation of Oriya literature in form of padyas or poetry in the form of songs with proposed ragas.

As many as 20 or more sangeeta granthas (compilations on music) were written from a period of 15th to 18th centuries AD by music scholars of this region. These records give an exhaustive data on the evolution of ragas and raga-based musical compositions in Odissi music. These justify the fact that like Hindustani and Carnatic forms of Indian classical musical systems, Odissi has a strong base of ragas and was equally endorsed by kings and patrons just like these two forms.

Today, Odissi music is widely practiced and even training in this subject is imparted at the Utkal Sangeet Mahavidyalaya and the Utkal University of Culture apart from various private institutes. Members of the music community of the state and the Orissa Sangeet Natak Akademi have tried their best and have given efforts to get Odissi music recognised as a classical form of Indian music. Especially, legends such as Singhari Shyamsundar Kar, Pandit Markandeya Mohapatra, Pandit Kashinath Pujapanda are chiefly responsible for the promotion and popularisation of Odissi music throughout the state. The greatest performer and musician who left the maximum impact in this regard is Sangeet Sudhakar Balakrushna Dash whose brilliant voice made the music form reach the masses. At present, Pandit Damodar Hota has dedicated his life towards this cause.

However, even though frequent, the performance of Odissi music is limited to the state. We must make efforts to get attention at the national level now, which is starting slowly. Odissi is yet to be included as a classical form of music in the programmes of All India Radio and Doordarshan that showcase both Hindustani and Carnatic forms. Sadly, there is no national body that certifies a style of music and dance as classical or withdraws the title when the music or dance form deteriorates. It is only national level performances at classical music concerts that automatically designate a music form as classical.

To establish our music system as a classical form, we must be assertive in reaching a pan-India audience. At present, the things we need are well-researched blogs and internet database that inform one about Odissi ragas and have videos of eminent musicians performing so that people inquisitive about music can get to read and understand about Odissi music.

In the age of internet we cannot sit and wait for an authority to come and give us the title of classical form. Rather, we must reach music lovers.

We have only a handful of books written in recent times that give the details of the nuances of Odissi music. Whatever exists is mostly designed strictly for the syllabus to be taught at culture institutes of the state government. Hence, more and more books and research works on Odissi music must come up in Oriya but even more importantly in English and Hindi, to reach people across the country. To reach a large number of audience members, initiatives in this regard must be taken by Utkal University of Culture, Orissa Sangeet Natak Akademi and Odissi Research Centre. Also, artistes and musicians must be open for discussions to reach a standard codification of the grammar of Odissi music.Another aspect where we are lacking is the importance of instruments in Odissi music. We have so far not developed artistes who are trained to play instruments in the Odissi style and sadly, even the culture university and Utkal Sangeet Mahavidyalya do not have this as a part of their syllabus.

Pandit Bhubaneswar Mishra, who was also an exponent in Carnatic violin, was an ace Odissi musician. We need experts to follow in his footsteps so that eminent artistes who accompany Odissi vocalists on mardala, flute, veena and violin start to perform solo instrumental renditions in our music system.

With more and more states joining the league of demanding the title of ‘classical’ for their ancient music and dance forms, for example Assam, Kerala, Rajasthan and so on, we must also be give a new life to this movement for Odissi music. Musicologists and researchers should come together and sensitise young vocalists and musicians to attain finesse in Odissi music so that they get the stage outside the state.

The responsibility of preserving, upholding and promoting our special tradition of music is on our shoulders.