Posts filed under ‘Kosli Song’

Dr Arjun Purohit’s response to Debi babu’s article on Kosli language

Following write-up was sent to various e-forums by Dr. Arjun Purohit. This is was his final response to Debi babu’s article. Earlier he has sent three massive emails as response. Here is the link to the previous postings  (Part I and Part II) .

The force of language Dr.Patnaik uses against inclusion of Koshali in 8 th schedule is not warranted nor necessary because we both in education field know that educating kids through the medium of native language especially in formative years will facilitate learning. So why such denial ? A possible explanation may be found the way our history books are written. For instance, Dr.Harekrushna Mahatab who has been lionised in Orissa for his political leadership as well as for his contribution to Orissa history, writes the very first sentence in the first volume of two volume book ODISHA ITIHASA(1948),”Today what is understood as the state  Odisha  consists of three ancient  provinces called Udra, Odra or Oudra,Utkala and Kalinga”.(my translation) Really ? No Koshala ? So what is the status of Koshala then ? Is it a colony of Odisha ? Just an appendage of no consequence ? We do not see our face in this definition of Orissa. We are simply persona non grata, who do not deserve to be recognised as legitimate citizens of Orissa with equal rights and privileges.. Our language and heritage simply do not matter. Is it just innocent omission ? A few years later Siba Prasad Das wrote his classic SAMBALPUR ITIHAS(1962),reprinted in 1969 and I find in it  an appreciative note by Dr.Mahatab written on September 16,1967. However the quoted statement still appears in the third edition of Dr.Mahatab’s book published in 1977. For generations this book has been used as the text book on Orissa history in schools and colleges. It is lot more than just a Freudian slip because this attitude  permeates into all the de facto policies and procedures practiced in Orissa which has resulted in the sorry mess in  Koshal. The same attitude is reflected in Dr.Patnaik’s essay.

Why it is so difficult to accept us for what we are ? Dr.Patnaik wonders whether asking for recognition may lead to  aspiration for a separate state ? Aspiration for recognition of Koshali in 8 th schedule is an issue which must be judged by its own merit whether or not in future Koshal may get status of separate state. Should we deprive Koshali kids’ access to education so that in future they may aspire for  the same rights and privileges of kids in the coastal area or demand for a separate state ?  This is akin to the same thinking behind denying education to Sudras to prevent them to aspire the same status Brahmins and Kshatriyas. This is why Rama killed Sambhuka the Sudra when he was found to be studying Vedas. For the same reason Drona demanded that the thumb of right hand of Ekalabya be chopped off because someday he might be challenging Pandava and Kaurava princes. Until a couple of generations ago girls were discouraged to go to school because in future they may not be “ideal” wives. Women in Afganistan must be cooked inside their burqa all the time even in hot weather so that they may not get amorous attention from males. Slaves inU.S.were not allowed to study even private so that they could be as smart as their masters………..

Dr.Patnaik acknowledges the abominable attitude  and treatment by coastal folks towards Koshalis and folks inSouth Orissawhich has resulted in severe economic deprivation. That is precisely why both Koshalis and folks fromSouth Orissa(Kalinga Pradesh) are looking for separation.

Demand for recognition of Koshali is primarily to facilitate education of the kids, enrichment of our language and literature by accessing resources available  assigned to languages in the 8 th schedule and some measure of self respect. Separation of Koshala will depend upon many other variables besides self evident economic disparity. Our neighbours to the west(Chhattisgarh) and to the north(Jharkhand) are already separated. Telengana is about to be separated. Creation of Gorkhaland is already announced though they are working out the actual framework. Language or numerical largeness are no longer the definitive issue  in creation of a new state. In the case of Orissa, one notices a steady erosion of trust in provincial government, which is reflected in voting pattern in Koshal area. Governance has deteriorated with steady rising of Naxalism. And there is a host of other factors which are converging towards separation. By the same token, I also want the fellow Koshalis to realise that having Koshali recognised is not going to solve all the problems in Koshal. So depending on the language card alone is just a mirage. In this posting the focus is on language; so I will not digress into other issues here.

Dr.Patnaik pointedly asks whether the demand for such inclusion is aimed at garnering various awards. Great works of literature, music or painting are rarely done for external rewards. These are expressions of artists’ expressions of primordial artistic impulse and rewards are mostly intrinsic. But by denying the modes of expression, both the artists and the public are losers. Great literature can come from even the most primitive language or colloquial language. Julius Axelford and Issac Basevis Singer got Nobel Prize in Literature writing in Yiddish, a dialect spoken in Jewish ghettoes inPolandandHungary. A Sniti Mishra from Balangir mesmerised wholeIndiarecently for her songs. A Mr. Patra from Khariar was one of only three Indians invited to the recent Royal wedding. The Royal family was impressed with his writings in English.A Debasis Rath from Sonepur developed much used Oriya fonts for writing in computer. A Nil Madhab Panda from Sonepur again produces more than fifty movies but not much known in Orissa. Watch his new award winning movie I AM  KALAM scheduled to be released in India.The list is long.What genius might be lurking and dying in the vine in Adivashi population, who constitute nearly fourth of Orissa population, is any body’s guess. Anthropologists tell us that we have sixty different groups of tribals. Their unique experience may be a mine of unique artistic impulses which go undiscovered. Both Koshala and Orissa are losers when we can not provide any modes of expression. So rewards will come on its own. Our responsibility is to find stimulate the artistic and literary genius.

The real focus of Orissa as well as Koshal should be as to how to be ready for the 21 st century in stead of wasting our energy in minor peripheral and often inconsequential issues. When Indiais emerging as an economic super power, Orissa and Koshal occupy the unenviable position of bottom of the heap in almost every sociological index in spite of their vast natural endowment. Crucial to rise up to our potential is to upgrade our human resource. In Koshal, a thin layer of developed human resource is confined to major urban area, and as you proceed more  and more towards less urban area, human resource competency declines steadily. We have a humongous Adivashi population who have not participated in any serious developmental enterprises. No matter how much industrial/mining activities take place in our area, without matching upgrading human resource, Koshal and Orissa will never rise. Ever neglected Adivashi population has been attracting attention for the past decade or so for the wrong reasons: Naxalism, displacement from their habitat or similar reasons. So what language has to do with all these. Plenty. To be able to launch any educational/training programs, the teachers have to work with them through the medium of communication used by the target population. Simply throwing money in to these projects will not work. In Koshal area we have one advantage.In my experience even the reomotest tribal community has functional capacity to communication in Koshali. This is one of the major reasons I will champion the cause for Koshali to be included in the 8th schedule. Such inclusion will provide at least one stepping stone to bridge the gap between educational endeavour and the readiness of tribal kids. Hopefully, we will develop many more stepping stones.

Finally, I thank Dr.Patnaik for bringing this issue even though I disagree with much of his assertions. I  also thank the readers for their patience for going through this series. As a recompense I am posting a site for a Koshali movie directed by young friend Saket Sahu, who also edits BENIthe great Koshali magazine:
http://www.youtube.com/watch?v=RXuoKMfT6eo.

If you know Bengali, please estimate the similarity and intelligibility between Oriya and Oriya. Then estimate on the same criteria the difference between Oriya and Koshali.

Regards

Arjun Purohit, Canada
Email: apurohit1934@gmail.com                   
PS: As usual be kind to me and ignore the typos

July 29, 2011 at 2:07 pm 5 comments

“Pakhal Khurithi Mahara” bags Akashvani Award

Following report is from http://expressbuzz.com:

SAMBALPUR: The once popular song of ‘Rangabati’ may have faded over the years, but lyricist Mitrabhanu Gauntia’s musical feature ‘Pakhal Khurithi Mahara’ (Poison in the Rice Bowl) bagged the first prize at the Akashvani Annual Award-2010 in farm and home category which was declared on Friday in Delhi.

The musical feature, produced and directed by D Someya with music score by Prafulla Kumar Mitra, revolves around the need for a Second Green Revolution for quality foodgrains and promotion of bio-fertilizers, bio-pesticides and bio-management practices.   Indiscriminate use of chemical fertilisers and pesticides has adversely affected the land and living beings. There is residual poison in almost all the food materials and even in the rice bowl, the song conveys.

It aims at creating an awareness through the musical feature so as to reach across a large section of people and leave a lasting impression on them, said D Someya, who dedicated the award to his entire team.

June 26, 2011 at 9:28 am Leave a comment

Kete lukaba lukaba: A super hit Kosli song

June 19, 2011 at 2:16 pm Leave a comment

Kosli theatre fever grips Balangir

Following news item is from TOI:

BALANGIR: While theatre is fast losing popularity the world over, Balangir denizens will get the opportunity to take a dip in the festive fervour in the next 15 days, with Koshli Natbadi all set to kick off on 15 January. A series of drama festivals, which are in the offing, will stage diversified plays. While SITE Cultural Society will organize state-level Koshli Natbadi, a drama competition of a different sort, Bhumika, another cultural body is all set to organize national level multi-lingual theatre fest Matkhai Mahotsav that will begin on January 23. While the Koshli festival will stage the play in colloquial languages, all the plays in Matkhai fest will be of different language.

With the winter still on, it is a wonderful season for theatre lovers to flock together and enjoy the dying art of the area as well as skills of artistes from other state. SITE secretary Srikara Mishra said since it is the harvest season, the farmers and labourers are in the mood to celebrate. It is the best time for any cultural body to offer this kind of entertainment. “Our objective is to showcase the local flavour of land through these plays to enthrall the average audience. Apart from that, we will also felicitate outstanding artistes and plays too,” said Mishra. In the seven-day long festival, 22 plays will be staged. Matkhai, which is being organized under the chairmanship of Law Commission Member Narasingha Mishra, aims at reviving the urban and rural theatre and inspiring budding talents, will stage five plays in different language. Of them, the play of Dendish theatre group of Delhi will be a great hit, said Mahotsav president Dharmendra Prasad Nanda.

On each day, eminent personalities of the state will adorn the stage by their presence, while cine artistes will also be invited to encourage the artistes. On the first day, Natya Jyoti will be taken in a procession to Matkhai hill, about 5 km from here. In another effort, the organisation has formed an expert committee comprising veteran artistes to visit at least eight colleges every day during the festival and impart and guide students about the theatre.

A theatre lover, Sashi Sekhar Panda, said two organizations are making a rare effort to revive the theatre culture in the region. “Although there were doyens of drama here in Balangir, there have been no opportunities like this. This effort will definitely help improve the theatre culture in Balangir and contribute greatly to India’s theatre potential,” said Panda.

February 2, 2011 at 7:33 pm Leave a comment

Folk dances enthral audience at Sambalpur

Following report is from expressbuzz.com:

SAMBALPUR: Even as Sambalpur shivered, the biting cold could not deter art lovers from thronging the Gangadhar Mukti Manch on the second day of the 15th Sambalpur Lok Mahotsav here this evening.

The evening began with traditional folk song of the district followed by solo performance of ‘Dhunkel’, a musical instrument on the verge of extinction. It was followed by foot-tapping folk dances of Dalkhai by artistes from Sambalpur, Sohala Suanga and Ravanchaya dances by artistes from Angul, Daka of Phulbani, Jamudali by artistes from Sonepur, Bajasaal by artistes from Kesinga in Kalahandi and Dandari dance from Jharsuguda.

Besides, folk dances like Mathuri from Andhra Pradesh, Gajijhumar from West Bengal and Holi by a troupe from Madhya Pradesh captivated the audience. Devoid of much of entertainment, the gathering left impressed  and spellbound with scintillating performance by the folk artistes.

Sambalpur University Vice- Chancellor AK Pujari, Chairman of Orissa Lift Irrigation Corporation Rohit Pujari, MARKFED Chairman Prabhataditya Mishra attended.

January 6, 2011 at 9:38 am Leave a comment

Experience the rural touch: Daakuchhe I Maati – a Kosli song by Dr. Harekrishna Meher

December 11, 2010 at 11:44 am Leave a comment

Sital Sasthi Jatra of Sambalpur, Koshal region

May 8, 2010 at 10:38 am 1 comment

National Ghumura Research Center at Bhawanipatna

To
Shri Naveen Patnaik, Honorable Chief Minister of Orissa
Smt Ambika Soni, Honorable Minister of Culture & Toursm

CC
Smt Pratibha Patil, Honorable President of India
Dr Manmohan Singh, Honorable Prime Minister of India
Media

Dear honorable Shri Patnaik and Smt Soni,
Research work by Dr Dolagobinda Bisi, Jayanta Kumar Behera, Parameswar
Mund, Dr Mahendra Mishra, Dr Dasarathi Achraya, Gopinath Mohanty, etc
[1-2] quite unique and distinct in terms of popular culture of Orissa
region, one of the researcher has mentioned that among the districts
in Orissa, probably Kalahandi could be one of the district having more
number of different dance forms (comprising tribal and non-tribal
dances such as Ghumura, Banabadi dance, Dongira Kondh dance, Dalkhai,
Rasarkeli, Dhab, Dhimsa dance, Butia Kondh dance, Gan dance, Paraja
dance, Madal dance etc) compared to any other single district in
Orissa.

Even many such researchers think Ghumra has not got equal status like
Chau in the national level. After Odishi and Sambalpuri Dance, Ghumura
is one of the most sought dance form in Orissa. Though it is thought
to be a popular was dance in ancient India, its identity is still
hidden in the village level in one of the backward pockets of India
comprising South Western Orissa, Northern Andhra Pradesh and Eastern
Chhattisgarh, more popularly confined to KBK-Kandhamal region.
Researchers [1] point out origin of Ghumura dance is related to
mythological days of Ramayana where it was used as an instrument for
warrior music by Ravana. It is depicted in Sarala Das’s Purana [2].
Ghumura was also mentioned as an instrument for warrior music/dance
form in ancient and medieval period by various kings & kingdoms.

Later on it has evolved from a war dance to a dance form for cultural
and social activities. The dance is associated with social
entertainment, relaxation, love, devotion and friendly brotherhood
among all class, creed and religion in the present days. Traditionally
this dance is also associated with Nuakhai and Dasahara celebration in
many parts of Orissa, Andhra Pradesh and Chhattisgarh.
Although dress code of Ghumura resembles more like a tribal dance,
researchers argue [1-2] different mudra and dance form present in
Ghumura bear more resemblance with other classical dance form of
India. It is no way inferior to any other folk or classical dance in
India and should not be derecognized as a tribal dance as it is being
played by both tribal and non-tribal people since centuries.

In present days rarely there was any organization like Mahabir
Sankrutik Anustan who has been at leat trying to retain such rich
dance culture of ancient time still hidden in tribal and backward
pockets of India, predominantly in KBK region.

Unfortunately Ministry of Culture, Government of India has not yet
classified this one of the rarest ancient dance in the official
classical form derecognizing as a tribal dance. It is very importance
that ministry of culture gives equal importance to this rare and
unique form of Indian dance form in the national level.

As there is neither sufficient funding, encouragement, nor any
national research center, nor even any national recognition for
Ghumura dance or for its artist, this unique and rarest dance is
slowly vanishing and losing its hidden charisma and beauty in modern
days.

Although many artists from various Indian dances have been recognized
by Padma Shri, Padma Bibhusan etc, Ghumura artists were not yet
equally rewarded by the national government recognitions in the same
level.

I urge the Ministry of Culture, Government of India and Orissa state
Government to take necessary steps to give special fellowship, funding
and recognition for Ghumura and its devoted artist working in the
backward pockets of Orissa, Andhra Pradesh and Chhattisgarh.

Apart from National Chhau Centre at Baripada, a National Ghumura
Research Center at Bhawanipatna is required at this hour for not
losing this rarest and unique Ghumura dance forever.

For the above mentioned reasons Orissa state Government may also
consider to have a center/branch of Utkal University of Culture in
Bhawanipatna to educate and carry out research work on various dance
form of South Western Orissa and KBK-Kandhamal region (Kalahandi
region has one of the most diverse verities of dance forms as it is
the melting point of Western Orissa, Southern Orissa and Chhattisgarh
Culture) as well as to study culture and languages present in South
Western Orissa (Languages also include verities of tribal and
non-tribal languages in one specific region of KBK-Kandhamal-Boudh).

References
1. Loka Nutrya Ghumura, Edited by Parameswar Mund, Mahabir
Sanskrutika, Anusthan, June 2002
2. Kalahandi: Loka Anusthan, Edited by Jayanta Kumar Behera, Dr
Dolagobinda Bisi, Parameswar Mund, Mahabir Sanskrutika Anusthan, 1998

Thank you and best regards
Digambara Patra


Digambara Patra, Ph.D
Assistant Professor
Department of Chemistry
American University of Beirut
Beirut, Lebanon
Email: digpatra@yahoo.com

May 5, 2010 at 8:19 pm Leave a comment

Oral Epics in Kalahandi

The following article is written by Dr. Mahedra Kumar Mishra:

Read the complete article here.

April 22, 2010 at 5:05 pm Leave a comment

Information about Koshli language movie “Bhukha”

Following are some links about Koshli movie “Bhukha”:

Wiki profile: http://en.wikipedia.org/wiki/Bhukha

IMDb profile: http://www.imdb.com/title/tt0308032/

Other sites: http://ftvdb.bfi.org.uk/sift/title/552239

January 15, 2010 at 8:09 pm Leave a comment

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