Posts filed under ‘Rangabati’
SAMBALPUR: Jitendra Haripal, the voice behind ‘Rangabati’, had never hoped for a Padma Award. A Dalit with no formal training in music who took to singing out of passion, he hopes the recognition might help him change his financial condition.
It was ‘Rangabati’, which took him to the zenith of popularity in the mid-70s. The song was recorded by All India Radio, Sambalpur in 1975-76 for Surmalika special programme and re-recorded (Disc) later on in Indian Record Company (INERCO), Kolkata in 1978-79. So far, he has sung in over 1,000 Koshali and Sambalpuri songs.
Even today, his voice continues to create euphoria among crowd whenever he sings at functions.
His first song recorded and broadcast was ‘Bhalu Palala Patarake’ followed by ‘Hai Kustan Hai Kustan’, ‘Mandal Bajila’, ‘Lenjera Ghanti Delana’ and many more such songs but it was ‘Ranagabati’ which made him popular.
However, his struggle for existence continues till date with one of his son, Paras driving an auto rickshaw to support their big family while he had lost another son, Pratap, who worked as a daily wager and fell to death at a construction site. Haripal has been bestowed with many awards including the Odisha Sangeet Natak Akademi Award in 2001, Doctor of Literature (Honoris Causa) by Utkal University of Culture, Bhubaneswar, in 2015 for his unparalleled contribution to folk music.
Haripal got the news of his being chosen for Padma Shri Award from this paper while returning to Sambalpur from Panchmahalla in Ulunda block of Sonepur district.
Odisha Tourism recently organised “Rangabati”, a festival of dance and music of western Odisha. The name was drawn from the folk song sung by Jitendriya Haripal and Krishna Patel in the late 70s. That it still continues to catch the imagination of the young and the old alike was on full display at Rabindra Mandap in Bhubaneshwar.
Each of the three days of the festival invited five troupes to perform music and dance typical to Western Odisha. Dukhisyam Triparty sang solo to open the festival. The bhajan ‘Bulibuli Singh duare kandibo banamali suno bhai’, entreating Lord Jagannath to show mercy, followed by ‘Harinam Pan Karo pujuta dhako dhako harinam ke’ and ‘Bhavasindhu se khaditi logoi de mobhela’ was effective in arousing bhakti. Dilip Kumar Bag who took Sambalpuri music to great heights, is possessed with a wonderful singing voice with an incredible range. The song “Udogo Ma Dhawal mukhi, dhumal Barani ”is a song on Durga and it was sung with zest. The duet song ‘Kalabati Morkala kajuri’ sung by the couple Dilip Kumar Bag and Padmini Bag was romantic in nature.
The presentation of Maa Samaleswari Daliakhusa Kala Parishad was colourful and the performers consisting of two women dancers, accompanied by seven instrumentalists, in an intricate rhythm pattern was vigorous and enchanting. The folk instruments played were dhol, madal, nishan, tasa, pakhawaj, bansi, bir-kahali, gini, ektara, muhuri, ghulgula, ghunguru, and jhanj, punctuated by mnemonic syllables. Karam Sani nritya was performed by boys and girls of Pancham Bolangir. Karma is the most colourful dance of the district. It is a tribal dance in honour of “Karam Sani”, the deity who grants children, as they believe. In the beginning the dancers entered the dancing arena in two rows. The drummers and the singers accompanied the dancers with rhythmic steps. Humo is a dance showing young girls at play. The group sang and danced to verses that have come down from ancient times. They danced gleefully in slow rhythm and the audience got a brief glimpse of their happy moments, before they would be married off.
Mahuri Kala Parishad, Rourkela concluded the day’s programme with ‘Panchadeva Bandana’. The second day’s evening started with the solo singer of Padmini Dora, who commenced with ‘Are babu Shyam Ghana tugale’ accompanied by dhol, tasa, tabla and tar shehnai. The second presentation was Sambalpuri Geetmala of folk music. Her song was a combination of about six folk songs. Radha hears Krishna playing the mohan bina and her heart is in turmoil. The song became even more beautiful, with her dancing steps she used while singing. The third number was amazingly contemporary, where Sucharita Misra danced as Padmini sang ‘Gharoro mouli’ – do not trample the jasmine under your feet. Anyone who wants to pluck the flower does it. It was a metaphorical statement appealing to the good senses of the people to respect the rights of women.
Jitetdriya Haripal is a name to reckon with in the music of Sambalpur. His song ‘Bar deuli pathar khasri’ is the cry of a bhakta of lord Jagannath and his strange way of expecting salvation. The other two songs ‘moulodhare barasilopani’ and ‘Pokhano upane dharana pani’ were romantic in nature. Ranga Ferua Sambalpur was the third artist of the evening. He sang a duet song with his wife Parvati where she pleads with him to give up drinking. The song provided comic relief to the audience.
Mahabir Snskrutika Anusthan, Bhawanipatna showcased Baja Sal and Singh played during marriage ceremony. It was a rich fare of young men and women coming in a procession and rendering their vigorous and joyful dance.
‘Dholo pare parebajare bajania’ entreats the dholakia to play the drum so that dance can be rendered. This song, and the song where a girl, who has a thorn stuck to her feet entreating her companions to remove it, gave the audience a glimpse of the day to day simple happenings of village folks. They rounded off their short programme with a ‘Dalkhaire’.
The celebrated singer Krishna Patel was the audience’s choice. She, therefore, sang for a long time, singing three solo songs-‘Dholi dholi asche kunjo banu kalia kanu’ – describing the coming of Lord Jagannath from the garden of flowers, ‘Mon jamunar kule’, a romantic song in jhumur tune and a ceremonial folk song ‘Raserkeli chata orapadhai’. She sang in a high pitched clear voice much to the liking of the audience.
Pankaja Kumar Jala was all bhakti with his song ‘Tomoro pade saranna gali’ asking round eyed Jagannath’s protection. Then he prayed to Ma Samala through the medium of dance. His third song was a ‘Dhap’, an ancient custom of Kanda – adivasi – Samaj. His last song – a Bauni – was a sad song lamenting the loss of his beloved. Radharani Sanskrutika Sansad, Bolangir presented a tasteful blend of dhol, nishan, mahuri, tasha, tamka and jhanj. Their songs cover every aspect of human life – divine life, social life, economic life and cultural life.
Ukia Sambalpur, under the able leadership of Ranjan Kumar Sahu came with his basket of all the traditional folk dances in a combined form. The folk dances like the Karama dance performed on the festive occasion of Bhardrav Ekadashi (August/September) is a ritual followed. Besides Karama, they danced Humanan, Parva, Dalkhai, Dhap, Nua Khai, Mailajada as well as other forms. Parva or Shiva tandava is a part of danda nritya. It is a tribal dance performed during Chaitra.
Sambalpur Kala Parishad did a kind of sawal-jawab with the drummers with a variety of steps rendered in high speed. Through dance they displayed the rituals of fasting during the seventh day of Dussehra and breaking of the fast on the eighth day, before boys and girls socialise and break into joyful dance.
Bhubaneswar, June 8: When Sambalpuri folk singer Padmini Dora came on stage at the Rangabati festival organised by the Odisha tourism department recently, the emotional intensity of her voice left the audience asking for more.
From veteran musicians to listeners at the programme, everyone appreciated Padmini’s performance.
For the singer, who has been performing for over 20 years now, every time she gets such a response for her rendition, it makes her “dreams” come true.
Born and brought up in Sambalpur, Padmini neither came from a family with a background in music nor had she ever imagined that she would be a professional singer one day.
“I loved music as a school girl. But I never got a chance to be trained. So, I never thought that I could make a career in singing. But when I was in Class VIII, some eminent singers of our region once heard my voice at a school performance and encouraged me to sing,” said Padmini.
By just listening to shows on classical music on the radio, a 15-year-old Padmini trained her vocal chords. Later, she gathered the courage to appear for an audition at the All India Radio in 1991 as a Class X student and got through.
“My parents consistently helped me to pursue my dreams and, miraculously, I happened to meet well-known singer Bijay Behera when I was looking for some guidance. He was my first guru and trained me the basics,” she said.
Padmini soon established her name by singing pure folk songs for musicians such as Abhijit Mazumdar for albums such as Chanhara and Luk Lukani. Her works with composer Ratan Pujari are popular even today.
One of her well-known albums is Manchuni that is based on traditional Radha Krishna rasa in the Danda folk style of Balangir and Sonepur.
The singer who is well versed in nachniya, bajniya, dalkhai, raserkali and danda folk varieties of singing, however, laments that folk music is in a bad state.
“The advent of video albums should have brought about a positive change for folk music, but over the years it only brought vulgarity. But our efforts are on to keep the authentic traditional music and songs alive. We are sure folk songs will be conserved,” said Padmini, who is a part of the Lahiri dance troupe that performs the authentic music and dance of western Odisha.
Talking about receiving appreciation for her shows, Padmini said: “When I started performing on stage, I felt like I was living my dreams and the same happens even today. I am delighted that the urban crowd love the rhythm of our music.”
Although busy performing throughout the country for various cultural programmes, Padmini loves being in Bhubaneswar. “I have always received rave response for the authentic folk music and I will be back here to perform during Raja,” she said.
At a time when the demand for a separate state for western Odisha is gaining momentum on grounds of negligence of the western Odisha region by the State government, an IAS officer’s small step has taken a giant leap forward in erasing the much-hyped western-coastal Odisha divide.
The just concluded three-day Rangabati Utsav, a festival of dance and music of western Odisha – a brain-child of Ashok Kumar Tripathy, the Principal Secretary of Tourism and Culture of Government of Odisha – staged in the capital by Odisha Sangeet Natak Akademi with financial support of Odisha Tourism and the first of its kind for the State, reaped rich dividends by reposing their faith in the people of western Odisha. “Earlier, when we performed in Bhubaneswar, we were not being treated properly. But, the grand platform, treatment and hospitality that we received during this government-organised festival were amazing. It was a belated but befitting step that the government initiated to showcase the unique cultural tradition of western Odisha. We were honoured that the Governor, the ministers and many eminent people came to watch us,” remarked Ghasiram Mishra, master percussionist and septuagenarian artiste from Bolangir, whose captivating concert fetched him standing ovation. Legendary singer Jitendriya Haripal, better known to the world as the male singer of the evergreen Rangabati number, was full of praise for the organisers of the event. “It was for the personal effort of the officer (Principal Secretary) that I and Krishna Patel could sing together on stage for the first time after a gap of 30 years, he said.
There is a deliberate attempt by the Government of Odisha to suppress the Kosli language and culture, alleged Kosal Kranti Dal (KKD) working president Baidyanath Mishra at a Press conference here on Wednesday.
He said teachers and para-teachers are being recruited to appease the minor ethic groups, including Bengali and Telugu, in the State whereas Kosli spoken by almost one and a half crore people is neither given official status nor is any step being taken for its growth due to a high degree of inferiority complex on the Government’s part.
Mishra said thousand of books in Kosli using Odia script have been published in different branches of Kosli literature, but the Government does not have any affirmative stance for promoting the rich literature. This “step-motherly attitude” towards Kosli, coupled with acute regional imbalance and other parochial considerations, has led to discontentment among the people concerned and a strong opinion to split the State.
“The recent activities of the Government and some NGOs have posed a threat to Kosli language and culture,” he alleged and called upon the people of ‘Kosalanchal’ to remain alert. The strategy of “Utkalisation of the Kosal areas” is a calculated one, but the Government has not been successful in the past nor would it be successful in future because of its ill motive as negative action would only bring negative result, he remarked.
Mishra was launching Kosli No-1, a music album brought out by Karan Raj and his young team. Congratulating all those involved in the project, he advised them to adopt the twin strategy of promotion and safeguard for their language and culture.
Editor of Paschimanchala Surama Mishra was the guest of honour on the occasion. Sagar Singh Manki, Ram Chandra Amat, Jai Singh Singh and Hrudanand Behera were among others present.
The association says western Orissa has developed a unique culture which expresses itself in a language called Sambalpuri that is distinct from Oriya. The folk songs and dances of Sambalpur are not only expressions of emotions but also of finer elements of life and living scientifically, fused into the rhythm of the percussion instruments of the region. In fact, the songs and dances have been revived and recognised in the past quarter of a century. In Orissa, Sambalpuri dance is so popular that it comes next only to the State’s classical dance, Odissi.
The Sambalpuri dance has a number of forms, with different lyrics and rhythms, that have originated from different castes/tribes and ethnic groups in the area and are based on different religious festivals/rituals and deities. Although a number of folk instruments were used in Sambalpuri music, song and dance, only four among the oldest percussion instruments such as dhol, mandal, nishan and tasha are now used, the association says.
Tours to Sambalpur are unforgettable journeys through the varying landscapes, rich cultural and folk traditions, and art forms that are unique to the western region of Orissa. Long considered a gateway to unlocking the treasures of beauty and art housed within Orissa, tours to Sambalpur is a must at least once in your lifetime.
A famous university town in Orissa, Sambalpur has fascinating escapes all planned for the adventurous traveler who wills to explore the raw gregarious beauty of the region. Tourism of Orissa helps you realize your wishes with its customized tour packages to Sambalpur.
Covered in dense evergreen forests, Sambalpur is an exposition of waterfalls, wildlife, tribal culture, folk dance and music, handicrafts and monuments. Known as Sambalaka in Ptolemy’s account of Orissa, Sambalpur was once the center of Vajrayana Buddhism propagated by the then ruler of the region – Indrabhuti. The major tourist attractions within Sambalpur are the temples of Samaleswari, Patneswari, Budha Raja, Brahmapura and the Gopaljee monastery. Also shop in the local markets such as the Gole Bazaar and the state emporiums or co-operatives for Sambalpuri textiles (ikat weaving). You can also attend a show of Sambalpuri dance in the nearby tribal villages.
There are many attractions within easy reach of Sambalpur that ought not to be missed on your tour to Sambalpur, Orissa. Hirakud Dam across the mighty Mahanadi River is the longest dam in the world that affords breathtaking view of the expansive river and the banks that recede from view. The most spectacular views can be seen from the minarets at the two ends of the dam – Gandhi and Nehru Minar.
Ushakothi Wildlife Sanctuary and the Badrama National Park are popular tourist destinations with the wildlife enthusiasts. The national park and sanctuary extend shelter to endangered species such as elephants, tigers, gours, sambars, black-panthers, deers and wild boar.
Other places that are also popular tourist destinations in Rourkela include the temples of Vidala-Nrusimha and Harisankar along with the mesmerizing waterfalls at Nrusimhanath; the only Leaning Temple of Orissa at Huma; caves with undeciphered pictographic inscriptions at Vikramkhol; and waterfalls of the Pradhanpat Hills.
There are many hotels and lodges in Sambalpur where you can stay comfortably during your tour to Sambalpur.
The western Orissa has also great variety of dance forms unique to Orissa culture.The children’s verses are known as “Chhiollai”, “Humobauli” and “Dauligit”, the adolescent poems are “Sajani”, “Chhata”, “Daika”, “Bhekani” : the eternal youth composes “Rasarkeli”, “Jaiphul”, “Maila Jada”, “Bayamana”, “Gunchikuta” and “Dalkhai”, The work-man’s poetry comprises “Karma” and “Jhumer” pertaining to Vishwakarma and the “Karamashani” deities. The professional entertainers perform Dand, Danggada, Mudgada, Ghumra, Sadhana, sabar – Sabaren, Disdigo, Nachina – Bajnia, Samparda and Sanchar. They are for all occasions, for all time with varieties of rhythm and rhyme. Pala is a unique form of balladry in Orissa, which artistically combines elements of theatre, classical Odissi music, highly refined Oriya and Sanskrit poetry, wit, and humour. The literal meaning of pala is turn. It is more sophisticated than the other Oriya ballad tradition, Daskathia. Pala is presented in three ways. The names can be mentioned as baithaki or `seated`, in which the performers sit on the ground throughout. The other one is thia or `standing`. This is more popular and aesthetically more satisfying, in which they stand. Badi is a kind of thia in which two groups vie for excellence. This is the most entertaining, as there is an element of competition.
Bhubaneswar, March 18 (IANS) Indian Ppremier League cheer leaders will face some competition , in wooing crowds, during the T-20 matches in Cuttack as the Orissa Cricket Association (OCA) has decided to organise a performance by traditional Sambalpuri dancers before the start of every match.
“We have requested the IPL authorities that we would like to include Sambalpuri dance during the IPL matches, which has been accepted by them. We have included Sambalpuri dance to showcase Orissa’s culture during the IPL matches,” OCA secretary Ashirbad Behera told IANS.
“About 70 Sambalpuri dancers will perform for an hour before the start of the match,” he said.
But they will not be a replacement for the popular cheer leaders.
“Cheer leaders are a part and parcel of IPL matches and they will be in action during the matches here. We have set up seven platforms for their performance,” he said.
Kalinga Sena, a fringe political outfit in the state, had threatened to disrupt the IPL matches if cheer leaders perform during the matches.
Cuttack, a non-IPL franchisee city, got a chance to host matches after the Hyderabad-based Deccan Chargers picked Barabati Stadium here as a venue, terming it as their “catchment” area. The Deccan Chargers will meet Kings XI Punjab March 19 and Delhi Daredevils March 21.