The Government of Odisha recognised Odishi Music as a Classical system on the 29th February 2008. The Heritage Cabinet of Government of Odisha passed a resolution on the 2nd September 2020 in this regard and Hon'ble Chief Minister Shri Naveen Pattnaik endorsed a letter to the Ministry of Culture, Govt. of India on the 24th of the same month. Thereafter, the Govt. of Odisha planned for exposition and popularisation of Odishi music as a classical stream. In this regard, a high level meeting was organised in the conference hall of the Sanskruti Bhawan, Bhubaneswar on the 18th January 2021. It was chaired by Sri Jyotiprakash Panigrahi, Hon'ble Minister in presence of the Principal Secretary, Director Culture and eminent scholars, Gurus and exponents of Odishi Music. An expert committee was constituted under the chairmanship of Director Culture consisting of Dr. Gopal Chandra Panda, Padmashree Dr. Shyamamani Devi, Prof, Ramhari Das, Dr. Damodar Hota, Sri Harmohan Khuntia and Sri Keshab Chandra Rout.
The Chairman entrusted the preparation of document to Dr. Kirtan Narayan Parhi containing the grammar and theoretical aspects of Odishi music. Dr. Sangita Gosain, the then Chief Executive of GKCM ORC was advised to form 'Utkarsha' (Excellence) to standardise the excellent performances of Odishi Music. The first programme of the "Utkarsha' was organised by GKCMORC at Utkal Rangamancha from the evening of the 17th February 2021 till 19th Feb 2021. The senior experts namely, Late Dr. Damodara Hota, Dr. Gopal Chandra Panda, Dr. Shyamamani Patnaik, Sri Harmohan Khuntia, Prof. Ramahari Das, Dr. Kirtan Narayan Parhi, Sri Keshab Chandra Rout, Sri Dhaneswar Swain, Dr. Jagannath Kuanr, Sri Satchidananda Das and many others were satisfied with the performances of the singers and instrument-players as per the standard and parameters of Odishi. Dr. Kirtan Narayan Parhi completed and delivered the report and document on 18.06.2021.
Dr. Suresh Chandra Dalai, the then Commissioner and Secretary reviewed the progress of the Expert Committee on the 28th September 2021. Dr. Sangita Gosain, the then Chief Executive presented the report in the title, A Monograph on Odishi Music prepared jointly by Dr. Kirtan Narayan Parhi and Dr. Sangita Gosain. One copy of the draft Monograph was delivered to each of the members of the Expert Committee with the request for their proposition and suggestion, within one month, so as to make addition, deletion or modification if any, in the final edition.
After I took over the charge of the Chief Executive GKCMORC, a grand programme of the 'Utkarsha' from 3.00pm to 10.00 pm on the 23rd May till the evening of the 24th May 2022 was organised. The experts were requested to share their views and comments on the quality of the performances. For this purpose two experts of other streams of music were invited from Chennai (Tamil Nadu), namely, Padmasree Lila Samson and Dr. Ashwath Narayan from Bengaluru, Karnataka. All the experts including them and the other participating music experts, exponents and critics viewed and arrived at a consensus that Odishi Music is classical in the same standards, parameters, rendition, grammar, style, historicity and continuity which has not been deviated from its classicality with modernity despite centuries of onward flow of cross current assimilation or mixed to any aberrations of musical invasions.
The then Minister, Sri Jyotiprakash Panigrahi, the Addl. Chief Secretary, Sri Madhu Sudan Padhi and Padmashree Aruna Mohanty observed the performance for hours.
In the meanwhile, very shortly an evening of rendition and performance of Classical Odishi, Vocal and instrumental was organised in Bengaluru, Karnataka on 15th October 2022. In this programme and performance, the audience including Anoor Anantha Krishna Sharma, Director Sangeet Nritya Academy, Karnataka, Praveen D Rao, Raghubendra Ananya, Manjunath B.C., all eminent Music personality of Karnataka and Veena Murty Vijay, Nirupam Rajendra, all eminent Dance personalities of Karnatak and Sj. P.C. Mohan, Hon'ble Member of Parliament, Central Bangalore were mesmerised and moved by the enchanting performance of Classical Odishi Music.
Now, we have made the Monograph on Classical Odishi Music and got it edited by Prof. Ganesh Prasad Das, ex-member of the Drafting Committee and Research Committee. The writer and compiler, Dr. Kirtan Narayan Parhi has devoted his valuable scholarship in modifications. Therefore, I extend my heartfelt thanks to them.
In bringing out this document, the constant flow of inspiration from none other than our Honourable Chief Minister Shri Naveen Pattnaik has kept all of us moving ahead. The Department of Odia Language, Literature and Culture, Odisha Sangeet Natak Akademi and Guru Kelu Charan Mohapatra Odissi Research Centre have been relentlessly trying to put the effort in making it happen.
This endeavour would not have come to the shape without the good will, direction, persistent follow-up, support and guidance of the Hon'ble Minister, Addl. Chief Secretary and the Director and Addl. Secretary of the Dept. of Odia Language, Literature and Culture.
Therefore, GKCMORC is obliged to Shri Aswini Kumar Patra, Shri Madhu Sudan Padhi, LA.S and Shri Ranjan Kumar Das, L.A.S respectively.
My sincere thanks are due to Padmashree Dr. Aruna Mohanty, President OSNA for her cooperation.
On behalf of the Department of Odia Language, Literature and Culture and Guru Kelu Charan Mohapatra Odissi Research Centre, it is my privilege and honour to offer my gratitude to all the members of the expert committee, editor, the compilers and writers, the supporting staff and all the well wishers and readers.
I hope, with the blessings of Lord Jagannath, the stream of Classical Odishi Music will make into a huge flowing current of classical music and make its own movement and onward journey in enthralling the Classical music lovers, connoisseurs around the world. The monograph will certainly cast away all the diffidence on the classicality of Odishi Music.
All are aware that Odia language and Odishi dance form are classical. Similarly, Odishi music (vocal and instrumental) deserves the same status since it is bedecked with all the characteristic features of classical music, such as,
(1) It has long tradition, rich legacy, high heritage and written history for more than 2500 years. (2) It has undergone exuberant growth due to the patronage of the kings, courts and governments. (3) It has inscriptional evidences. (4) It has art-architectural and sculptural elegance. (5) It has impacted on dramatic and lyrical literature. (6) It is bolstered up with the scriptural devotion and textual testimony. (7) It adheres to the theoretical norms and grammatical cryptogram. (8) Above all, there are ongoing and ever-growing practice and regular performances in higher standard of rendering with acclamation due to improvisations, innovations and aesthetic appeal creating enchanting-effect in the heart of the listeners.
1. History and Tradition
The modern Odisha geographically consists of either the whole or parts of the ancient empires named Udra, Utkala, Kalinga, Toshala, Dakshina-Kosala, Kangoda, etc.. Towards the 6th century B.C., when Bharatavarsa was divided into sixteen Janapadas, Magadha of eastern India was merged in it. But at that time Kalinga was a vast independent country. Though, Kalinga was conquered by Magadha in 261 B.C. during the reign of Ashoka for the major period of the history Kalinga was spread out from the Ganges in the north upto the Godavari in the South. In or around the 5th century B.C., when the Natyashastra of Bharata Muni was compiled, there were in vouge four natya-pravrttis in India, namely, Avanti (West-Central Part), Panchali (North-Central), Daksinatya (Southern) and Udra-Magadhi (Eastern). The states where Udra-Magadhi was prevailing are: Udra, Magadha, Kalinga, Vanga, Tamralipta, Anga, Batsa, Paundra, Nepal, Anlargiri, Bahirigiri, Plavangam, Mahendra, Malda. Malla, Vatarka, Brahmottara, Bhargava, Margava, Pragjyotisha, Pulinda and Videha. The word pravrtti denotes the system, pattern, method and style of presentation of acting, playing of musical instruments, dancing, singing, language, literature as well as costumes, regional customs, social rites, local practice and, above all, the cultural conventions. Since the vast countries like Kalinga and Magadha were the predominant political powers, where Udra and Magadhi predominated the other languages in eastern India, it is reasonable to say that the pravrtti goes under the name Udra-Magadhi. The words 'Udia', 'Odia', 'Odisha', etc., are the transformed names of 'Udra', 'Uda', 'Odra' and 'Oda'. The recognition of Odia language as classical provides sufficient justification for the claim of classical tradition for Odishi Music.
2. Patronage and Progress
The ancient Udra music survived not only for the devotion of the musicians and passion of the people, but also progressed due to the patronage of the king, courts or governments. Out of those patrons many were musicians themselves, namely, the Buddhist king Brahmadutta in the 5th century, B.C., the Jaina Emperor Kharavela in the 2nd/1th century B.C., Satrubhanja of Naga dynasty in the 5th century A.D., Madhava Burman of Sailodbhava dynasty (7th/8th century A.D.), Subhankara of Bhaumakara dynasty (8th/9th century A.D.), Gandharva Keshari of Soma dynasty (10th/11th century A.D.), Chandrika Devi, the daughter of Anangabhima Deva (1211-1238 A.D.) of the Ganga dynasty, Prataparudra Deva (1497-1538 A.D.) of Solar dynasty and many more till India got independence.
After independence, the Govt. of Odisha established Utkala Nrutya Sangita Kala Parishada at Cuttack in 1954 which was upgraded to Odisha Sangita Nataka Academy and shifted to Bhubaneswar in 1957. The Utkal Sangita Mahavidyalaya was set up in 1963/64 and began functioning in 1964, Odissi Research Centre was set up in 1986, now renamed as Guru Kelu Charana Mohapatra Odissi Research Centre and Utkal University of Culture was established in 1999 at Bhubaneswar. Along with their usual activities, they are giving priority to the overall development of Odishi Music. Many private organisations are also working in the field of Odishi music with the Odisha State Govt patronage.
3. Inscriptional Evidences
A number of inscriptions are carved out on the walls of the hills and temples of Odisha which still stand to glorify, codify and clarify the tradition and practice of song, instrumental music and dance in Odisha from the age-old days. A few of them are: (1) Elephant Cave inscription of Kharavela (1st century B.C.), (2) Asanapata inscription of Satrubhanja (5th century A.D.), now preserved in Odisha State Museum, (3) Brahmeshvara temple inscription (1056 A.D.), Bhubaneswar, (4) Megheshwara Temple inscription (1190-93 A.D.), Bhubaneswar, (5) Ananta Vasudeva Temple Inscription (1278 A.D.), Bhubaneswar, (6) The inscription on the left side of Jayavijaya door of Sri Jagannatha Temple by Prataprudra Deva (1507 A.D.) at Puri.
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