Do we really need a “classical tag” to prove that Odissi music is fundamentally different from the other two major classical Indian musical forms – Hindustani and Carnatic? Is Odissi singing completely a different stream in its tonal representation and performing style? Is it a clone or blend of others or absolutely an original tradition of music?
These were a few important points risen in a performance cum discourse session named Utkarsh (striving for excellence) on May 23-24 at Utkal Rangamanch, organised by Odisha Sangeet Natak Akademi (OSNA) and Guru Kelucharan Mohapatra Odissi Research Centre(GKCMORC). To answer all these questions, one vital point should be loud and clear from the beginning and that is – undoubtedly Odissi music is fundamentally an independent and ancient style of musical traditions in India. Almost seventy years back one of the pioneers of Odissi music late Simhari Shyamsundar Kar explained in a radio talk show how Andolita (nor fast, neither slow, but swinging in between) style of singing distinguished Odissi from the other two mainstream Indian classical forms. It is futile to argue whether Odissi is a classical form of singing or not. What we need is an official recognition of the central government through the Sangeet Natak Akademi of India in this regard. That’s where the buck stops.
In the Utkarsh programme, ten singers (both younger and established singers), six Mradala players, a flautist and a violin player presented their musical skills in presence of their Gurus and a select group of observers. This is a unique scholarship scheme launched by OSNA and GKCMORC, where Gurus choose their best students to train them to perform in bigger stages in India and abroad. Under the scheme, the Guru gets a monthly remuneration of Rupees 15.000 and the student gets Rupees 5000 as a scholarship. For the advancement of Odissi music, this is a fabulous scheme and certainly, it has immense potential to prepare a battery of young musicians to perform with perfect taalim, taiyaari and riyaz (training, preparation and practice).
The first batch of vocalists under the tutelage of Odissi veterans Guru Gopal Chandra Panda, Guru Ramahari Das, Guru Keshab Chandra Rout and Guru Bijay Kumar Jena presented their musical expertise to an open audience. It was a mesmerising experience to listen to these youngsters and one can really get reassured that the future of Odissi music is in safe hands. When a young and energetic Rupak Kumar Parida flows on stage like a crystal clear stream you feel the absolute bliss and spiritual vibration within. Srishti Swarupa Mishra, another promising star of this session, presented nuanced Raagas throwing complex tonal techniques with lyrical ease. Himanshu Sekher Swain and Matruprasad Das as a pair presented a power-packed performance leaving the audience spellbound.
Among the seniors, Sangeeta Panda, the daughter and disciple of Guru Gopal Chandra Panda, brought another side of the tradition where technicalities come through living. Odissi music as a style contains a multitude of individual streams, reflecting varieties of attitudes and approaches of the individual talent. In Odissi, we don’t have a strict Gharana system, but certainly, we have individual styles distinguished from one Guru to the other. One can sense the very sophisticated rendition style of Guru Gopal Chandra Panda in Sangeeta Panda’s signing. On the other hand, the flowering and thriving flow of the Sur manifested in Roopak and Srishti Swaroopa’s singing.
In mardala rendition, a special mention must go to Guru Dhaneswar Swain and Guru Satchitananda Das. Their disciples carry forward the legacy of Guru Kelucharan Mohapatra and Guru Banamali Moharana to a greater height. In the last few decades, mardala as a solo instrument has come up as one of the most influential Indian classical instruments and for that, all credit goes to the new generation of Gurus for their skilful training and out-of-the-box thinking.
In this programme former President of Central Sangeet Akademi Leela Samson, legendary Odissi vocalist Shyamamani Devi, veteran Carnatic vocalist Ashwath Narayan Rajgopal and musicologist Kirtan Narayan Padhi joined as observers and evaluated the musical performances in a panel discussion.
“Utkarsh” should be a permanent scholarship scheme for all kinds of performing arts to nurture the new generation of talents in Odisha and also to support the tradition to survive.
