Brhaddesi Sangeet Mahotsav

Festival and Seminar
on Regional Music Traditions
of Eastern India

FESTIVAL PERFORMANCES

21 - 23 November 2005

G.D. Birla Sabhagar
29 Ashutosh Chowdhury Avenue, Kolkata

24 November 2005
Purbashree, Eastern Zonal Cultural Centre
1B-201 Salt Lake City, Kolkata

25 November 2005
Guru Jnan Prakash Sanctum, Shrutinandan
70 Golf Club Road, Tollygunge Kolkata

SEMINAR
22 - 25 November 2005

Pashchim Banga Bangla Academy 1/1 AJC Bose Road, Kolkata

Programme

FESTIVAL PERFORMANCES
6.30 pm daily
21 - 23 November 2005

G.D. Birla Sabhagar, 29 Ashutosh Chowdhury Avenue

MUSIC TRADITIONS OF WEST BENGAL

Khol Yadan, Manoharshahi Kirtan, Bangla Tappa, Bhawaiya & Chatka, Baul, Shyama Sangeet & Bramha Sangeet, Songs of Muharam, Deshatmabodhak Sangeet, Ganasangeet, Rabindrasangeet,
Bangla Kavya Sangeet, Dhol Yadan

MUSIC TRADITIONS OF JHARKHAND
Damkach Geet, Anganai Geet, Shram Geet, Bhaduriya Geet, Jhumar. Seasonal Songs, Sanskar Geet of Khortha Region, Karam Geet,
Soharai Geet, Udasi Geet, Pawas Geet

MUSIC TRADITIONS OF ORISSA
Temple Music, Kendara Geeta, Odissi Music, Odissi Kirtan,
Khanjani Bhajan, Sambalpuri Geeta. Ushakothi, Sanchar, Prahlad Natak

24 November 2005
Purbashree, Eastern Zonal Cultural Centre
IB-20 I. Salt Lake City

MUSIC TRADITIONS OF BIHAR
Nirgun, Devigeet, Chaita, Poorvi, Kajri, Chath, Sanskar Geet, Jhumar, Gouri Geet, Kshetriya Geet, Bidyapati, Kohwar Geet, Bidesia, Sohar,
Instrumental Music of Bihar, Rasan Chowki, Nardi Sangeet

25 November 2005
Guru jnan Prakash Sanctum, Shrutinandan
70 Golf Club Road, TolIygunge

BENGALI TAPPA, ODISSI SANGEET
& YIDYAPATI GEET OF BIHAR

SEMINAR PROGRAMME
22 - 25 November 2005, 10.00 am daily

Pashchim Banga Bangla Academy
1/1 AJC Bose Road, Kolkata

Tuesday 22 November

Welcome Address
Shri JAYANT KASTUAR
Secretary, Sangeet Natak Akademi

Concept and Objectives of Brhaddesi Mahotsav
Shri BHASKAR CHANDAVARKAR

The Vision of Brhaddesi —
The Notions of Desi and Margi
Shri MUKUND LATH

Overview of Musical Traditions of Eastern India
Smt. JAYASRI BANERJEE

MUSICAL TRADITIONS OF WEST BENGAL

Session I
Regional Musical Traditions of West Bengal- An Overview
Dr. PRADIP GHOSH

The Musical Traditions of Radh Bengal
with special reference to Baul and Fakiri Songs
Shri TUSHAR PANDIT

Musical Traditions of North Bengal
with special reference to Bhawaiya and Chatka
Dr. SUKHOBILASH BARMA

Session II

Distinctive Musical Traits of Bengal's Kirtan
Dr. (Smt.) KANKANA MITRA

Deshatmabodhak Sangeet
Shri SUBHAS CHOUDHURY

Songs of Muharam
Smt. RATNA RASHID

Wednesday 23 November

MUSICAL TRADITIONS OF WEST BENGAL (Contd.)

Session III

Regional Musical Instruments of Bengal
Dr. SANAT MITRA

Rabindrasangeet — A Distinctive Musical Genre of Bengal
Dr. SITANSU RAY

MUSICAL TRADITIONS OF JHARKHAND

Regional Musical Traditions of Jharkhand
Shri PRAMOD KUMAR ROY

Session IV

Regional Musical Instruments of Jharkhand
Dr. GIRIDHARI RAM GAUNJHU

Musical Traditions of Nagpuri Region with special reference to
Seasonal Songs and Mardani, Janani & Bangla Jhumar
Shri MUKUND NAYAK

Regional Music of Sadani with special reference to
Damkach & Angnai Sangeet
Shri MANPURAN NAY AK

Udasi & Pavas Sangeet of Jharkhand Region
Dr. ANIL THAKUR

Session V

Festival and Rasa Sangeet of Panchpargania Region
Shri PARMANAND MAHA TO

Sanskargeet and Karma / Faguageet of Khortha Region
Dr. RAM KUMAR TIWARI

Shramgeet & Bhaduriya Sangeet of Kurmali Region
Prof. BHUBANESHWAR MAHATO

Thursday 24 November

MUSICAL TRADITIONS OF ORISSA

Session VI

Regional Musical Traditions of Orissa
Dr. H.C DAS

Loknatak Sangeet of Orissa with special reference to Prahlad Natak
Shri SHANTANU KUMAR RATH
Rural Folk Songs of Orissa (Palli Geet)
Shri DHIRENDRA NATH PATNAIK

Musical Instruments of Orissa
Shri DHANESWAR SWAIN

Session VII

Musical Traditions of Temple Music
Dr. DEBADATTA SAMANTA SINGHAR

Musical Traditions of Western Orissa
with special reference to Dalkhai Songs
Dr. DWARIKA NATH NAYAK

Odissi Music
Dr. RAM HARI DAS

Odissi Sankirtan
Dr. RANGADHAR NAY AK

Friday 25 November

MUSICAL TRADITION OF BIHAR

Session VIII

Regional Musical Traditions of Bihar
Shri GAJENDRA NARAYAN SINGH

Musical Traditions of Megadhanchal
with special reference to Chhatt and Kajri
Dr. SHANTI JAIN

Musical Traditions of Bhojpur with special reference to
Chaita and Dewas (Devigeet)
Shri AJIT AKELA

Musical Traditions of Mithilanchal
Shri CHANDESWARJHA / Smt. VIBHA SINHA

Session IX

Distinctive Musical Traits of Bidesia
Shri SATISH ANAND

Vidyapatigeet – A Musical Analysis
Dr. SAHITYA KUMAR NAHAR

Musical Instruments of Bihar
Shri HARI UPPAL

Session X

Summing Up

21 November TRADTIONAL MUSIC OF BENGAL

Khol Vadan: Balhari Hazra

It is said that Khol (or Shrikhol), in its present form, organized in Bengal during-the time of Shri Chaitanyadeva. A bifacial, barrel shaped percussion instrument, Khol is integrally related to Kirtana singing. Roughly speaking, there are four distinctive styles of Khol playing related to four different regions of their origin - Vrindavana, Maynadal, Radh and Dakshni (that is, districts of Bankura and West Medinipur). The last three regions are located in the state of West Bengal.

Shri Balahari Hazra was trained in the style related to Maynadal, one of the major centres of Manoharshahi Kirtan. He would be supported by Shri Anil Kumar Pradhan, Deepak Mandal, Banamali Hazra and Bachchu Sutradhar.

Manoharshahi Kirtan: Nityananda Mirtrathakur

Opinions differ about the origin of Manoharshahi style of Kirtan-singing. Some related its origin to Shri Shrinivasa Acharya of Yajigram (near Shrikhanda in Burdwan district of West Bengal), who was a close associate of Shri Naroltamadas and took active part in the Kheturi Mahasanmelan. This style of Kirtan-singing, it is said, was popularized by Shri Jnanadasa and Shri Balaramadasa. However, oral tradition indicates that after returning from Kheturi Mahasanmelan, Vaishnava poet Shri Jnanadasa and his friend Manohar Das; Badan Thakur (grandson of Mangal Thakur) of Kandra (in Burdwan district); Shri Raghunandan of Shrikhanda and Shri Nrsinghadeb Mitrathakur of Maynadal (in Birbhum district of West Bengal) related Manoharshahi style by amalgamating Garanhati style of Kirtan singing with local musical traditions of Radh region.

Second in the chronological order among the five major styles of Kirtan, Manoharshahi Kirtan had three major centres Shrikhand, Kandra and Maynadal. Since Kandra and Shrikhand at that time were under Manoharshahi Pargana, this style started being called Manoharshahi.

Manoharshahi Kirtan has its own distinctive traits. To be brief, this style is more flexible, uses fifty-four (some say sixty-four) Tala-s and shorter Chanda-s, and intricacies of raga sangeet. This style emphasizes use of Akhar-s, that is, extemporization of specific ideas and Bhava-s inherent in the Pada.

Kirtaniya Shri Nityananda Mirtrathakur, one of the descendants of Shri Nrsinghadeb Mitrathakur of Maynadal. He would be accompanied by Shri Tapan Mandal (Dohar), Shri Swapan Mandal (Dohar), Shri Balahari Hazra (Khol), Shri Dipak Mandal (Khol), Shri Mantu Maji (Arh Bansi), Shri Bamacharan Ray (Kartal) and Shyamsundar Garai (Harmonium).

Bangla Tappa: Chandidas Mal

Bangla Tappa, as a distinctive musical genre, emerged at the end of the 18th century. Pioneers in this style of singing were Shri Kalidas Chattopadhyay (Kali Mirja) (1750-1826) and Shri Ramnidhi Gupta (Nidhu Babu) (1741-1839) though the latter is credited more for popularizing this style in Bengal. Among many composers of Bangla Tappa, the name of Shri Shridhar Kathak should be mentioned.

Bangla Tappa does not use embellishments like Khatka, Murek and Zamzama as are common in the Tappa-s of Shori Miyan. Compositions of Bangla Tappa emphasize slow and undulating movements of Swara-s in Madhya Laya. Madhyamana is the most common Tala used in Bangla Tappa. One of the most popular musical styles of Bengal, Bangla Tappa exerted great influence in the domain of Bangla Kavya sangeet.

Shri Chandidas Mal, a renowned Bangla Tappa singer of present times, will present Bangla Tappa, supported by Shri Kamal Pandit (Esraj) and Shri Ranjan Majumdar (Tabla).

Bhawaiya & Chatka: Dr. Sukhobilash Barma

Bhawaiya and Chatka are the distinctive musical traditions of the Rajbangshi community of north Bengal. These songs reflect the sociocultural and religious beliefs of this community.

Dotara, Sarinda, Flute and Dhol are the main musical instruments used in these songs. One unique feature of these songs in the use of a particular shade of the Swara 'Komal Ni'. It should be noted that the Swara 'Suddha Ni' is not used in these songs. A specific kind of voice throwing is another distinctive trait of these songs. Rhythmic cycles of six and eight, and sometimes seven, Matras are used in Bhawaiya and Chatka.

Dr. Sukhobilash Barma, a renowned scholar in this field and a performer of these traditions, will present Bhawaiya and Chatka. He would be accompanied by Shri Ranjit Adhikari (Dotara), Shri Nabin Das (Sarinda), Shri Mrganabhi Chattopadhyay (Dhol) and Shri Gour Pal (Flute).

Baul Gan: Netai Mahanto

Baul Gan is the song of the Baul community of Bengal. Bauls are a distinct religious sect, who believe that Supreme Being (moner manush) resides in the inner self of a person and union with him is the ultimate goal of a Baul. Anyone, by renouncing his/her traditional religious belief, can become a Baul. Bauls from the Hindu communities are generally referred to as Vishnava Bauls and those from the Muslim communities are called 'Fakirs'.

Bauls are generally classified into three groups: Fakir, Nabadwipi Bauls and Radhashiya Bauls. It may be noted that the Radhdeshiya Bauls sing and dance at the same time. As a result, their songs are comparatively more rhythmic (Layabaddha).

Baul Gan has its own distinctive melodic and rhythmic moulds. Though classified as a folk music Baul Gan sometimes is composed on the basis of popular raga-s of the region. Tala, which is used in these songs in Khemta. But sometimes singers use Kaharba also.

Musical instruments used by the Bauls are Ektara, Dugi/Bayan/Bana, Gopijantra/ Anandalahari.

Language used in Baul songs is simple and colloquial but esoteric. Such songs are composed on the themes like Guruvada, Dehatattva, and principles of 'Sadhana'. Among innumerable Baul composers Lalan Fakir (1774-1890), the disciple of Siraj Sai, occupies the most respected Place. It should be noted that this musical genre has great influence on later composers of Bengal.

Shri Netai Mahanto will present Baul Gan along with Shri Mahadeb Nandy. Smt. Chhayarani Das, Shri Suphal Das and Shri Banamali Bairagya.

Shyama Sangeet: Jayati Chakraborty

Another significant genre of Bangla Gan is Shyam Sangeet. Among many composers of Shyama Sangeet, Ramprasad Sen stands apart because of the unique musical quality, simple but appealing of his songs (usually referred to as Ramprasad).

These songs are composed and sung in praise of Shyama/Kali, the mother Goddess, a widely-worshipped deity in Bengal, and for expressing the devotion and the desire for salvation (Moksha) by the devotee singers.

In near past, Shyama Sangeet composed by Kaji Nazrul Islam occupies a distinct place because of its own musical uniqueness, which makes these songs different from the Ramprasadi.

Brahma Sangeet: Indira Shilpi Goshthi

Brahma Sangeet originated in Bengal as a part of Brahma Samaj movement during the early 19th century as a critique of contemporary religious practices like idolatry and polytheism. Brahma Sangeet was created as a musical form, which would express the realization of a Supreme and 'Nirakar' God/Brahma and replace superfluous embellishment in conventional devotional songs in favour of a purity of melody and sophisticated but economical words of devotion. One of pioneers of this genre was Raja Rammohan Ray.

Songs of Muharam:
Md. Ziarat Ali supported by Md. Idris Ali,
Shri Abdul Zalil and Shri Jahagir Ali.

Muslim communities of Bengal observe Muharam in their own ways, in which 'songs of Lamentation' expressing grief and agony over the martyrdom of Imam Hussain and his family members in Karbala occupy an important place.

These songs are classified as Zari, Zang and Mortia. While use of any kind of musical instrument is prohibited in Mortia, a few of them are permitted in Zari and Zong.

Deshatmabodhak Sangeet: Indira Shilpi Goshthi

The first published expression of patriotism in Bengali poetry in the famous poem by poet Rangalal Bandyopadhyay 'Swadhinata hinatay ke bachite chay re' (in 1859). Around 1867-68, the then renowned musicologist of Bengal, Krishnadhan Bandyopadhyay, set this poem in tune and rhythm. This may be taken as the beginning of the composition of Deshatmabodhak Sangeet (patriotic songs) in Bengal. From the middle of the 19th century many composers enriched this musical genre by their innumerable songs.

Deshatmabodhak Sangeet is usually divided into three historical periods ¬pre-partition of Bengal (1905), which may also be called the era of Hindu
Mela (from 1867), Partition of Bengal or Banga Bhanga Jug (1905) and Biplabi Jug or revolutionary era (approximately from 1914 onwards). It should be noted here, the patriotic songs written during Swadeshi movement are also termed as Swadeshi Sangeet. The movement for indigenization of production was highlighted by such songs composed by Rabindranath, Atul Prasad, D.L. Ray, Rajanikanta, Mukundadas, and others. Among later composers patriotic songs composed by Haridas Haldar, Kamini Ray, Sat yen Datta, Kazi Nazrul Islam have occupied an important place.

Ganasangeet: Bharatiya Gananatya Sangha, Kolkata

Ganasangeet, the song of the toiling masses, emerged in Bengali as a significant musical genre in the last century. Enriched by the long history of the struggle of the working class of the world, Ganasangeet reflects the agonies and ecstasies, the dreams and despairs, the happiness and miseries of common man, their continuous struggle for survival, their protest against the aggression on humanity.

A look into our recent past would reveal that no other Bengali songs reflected the bloodstained realities of the day, the all-pervasive aggression of Fascism, the experiences of colonialism, the second World War, the Famine of Bengal and the deaths, losses and struggles of ordinary people. But all these got reflected in the songs of Bharatiya Gananatya Sangha, through the compositions of its great composers who assimilating the very essence of folk music created those unforgettable songs which came to be known as Ganasangeet. In Bengal, the pioneer in this domain were Hemango Biswas, Salil Choudhury, Jyotirindra Moitra, Binoy Ray, Lokkabi Nibaron Pandit, and Gurudas Pal. Till today, though half a century has past, in West Bengal, Ganasangeet is still continuing as a powerful living tradition.

Two representative songs of this genre would be presented by the following musicians of Bharatiya Gananatya Sangha, Kolkata:

Smt. Mandira Bhattacharya, Smt. Susmita Ghosh, Smt. Kumkum Bhoumik, Smt. Nupur Chatterjee, Smt. Sangita Raychoudhury, Smt. Ratna Bhattacharya, Shri Subodh Ghosh, Shri Ashok Bandyopadhyay, Shri Soumen Chakraborty, Shri Pradip Raychoudhury, Shri Sunil Sarkar, Shri Bimankanti Goswami

Shri Mithu (Keyboard)

Shri Bishwajit Sarkar (Flute)

Shri Marco Polo, Shri Sanjib Dabnath (Tabla)

Shri Anup Chakraborty (Percussion)

Direction: Dr. Rama Bhattacharya

Assistant Director: Smt. Mandira Bhattacharya

Rabindrasangeet: Srinanda Mukherjee

Rabindrasangeet as a distinct musical genre needs no introduction. Its uniqueness centres around the beauty of lyrics and melody, in which neither supersedes the other. Assimilating various musical traditions both Indian and Western - Rabindrasangeet transcends, as a lyrists musical tradition, to a altogether different level of creativity and originality.

Bangla Kavya Sangeet

Kavya Sangeet is a modern term emerged in the late 19th century to mean songs which are romantic in theme, free from the traditional devotional moorings and rich in literary value. In these songs words occupy an important place. Not constrained by the rules of Classical music, these songs are experimentative in nature.

Among many composers of these musical forms the songs of Rajanikanta and Atulprasad by Smt. Sikha Bosu; Dwjendralal Ray and Dilipkumar Ray by Smt. Swastika Mukherjee, and Kazi Nazrul Islam by Smt. Sushmita Goswami will be presented.

Dhol Vadan: Tarapada Ruidas and group

Dhak, Dhol, Kansi and Sahnai - these four musical instruments are very much an integral part of the life in rural Bengal.

Shri Tarapada Ruidas and his accompanying musicians — Shri Bhairab Ruidas, Shri Kartik Ruidas, Shri Bijay Ruidas and Shri Basanta Ruidas — ¬will present Dhol Vadan supported by Shri Dilip Patra in Sahnai.

22 November TRADITIONAL MUSIC OF JHARKHAND

Damkach Geet

Damkach geets are women dominated songs and are very beautiful, sweet and exciting. Because of their beauty menfolk also sing these songs. Damkach songs are sung in spring (Basant) and summer (Garmi) seasons. Singing of these songs starts from the Kartik month and keeps going till Ashadh month. Whenever in the community a marriage is fixed, all the young girls and women of that locality get together in the house of bride or the groom and sing and dance Damkach geet. Men provide accompaniment through instruments and also dance.
Damkach has two varieties Ekhariya and Dohari. According to various time stages (Pahar) of night Adhratiya, Ekhariya, Bhisgariya Damkachs are sung. In addition to these, many other varieties of Damkach are also prevalent like Purbaha, Pachimaha, Uttaraha, Dakhinaha also Jashpuriya, Asamiya, Sonpuriya, and Nagpuriya.

Anganai Geet

Anganai is also sung by women folk and is a variety of Janani Jhumar. Women start singing Arganai from the rainy season when Rath Yatra starts till Kartik month when 'Dev Uthan' is celebrated. Important ragas of Angnai include Chhadantari, Pahil Sanjha, Adhratiya, Bhinsariya, Bihaniya, Udhaua, Thadiya, Lujhari, and Khemta etc.

Shram Geet

The eastern part of Jharkhand is also catted 'Kurumali region'. Kurumali language is spoken here. The inhabitants are called 'Kurmi' Farming is their main occupation. These people spend whole of their day in the farms and keep themselves busy in singing, to break the monotony of the work. Therefore the main 'Shram Geet' of this Kurumall region are of various activities related to farming, called Ropani, Katni, etc. These songs are sung in groups and do not need any instrumental accompaniment. Tunes, content and tempo of these songs keep changing according to the change of seasons.

Sometimes people dance during the presentation which is amazingly beautiful.

Bhaduriya Geet

Bhaduriya Geet of Kurumali region are those which are sung in the month of Bhado (Bhadrapad). This is their one of the most popular forms. These songs are sung from Sawan month's Mansa Puja festival till the Kartik month ends. These songs are sung by both men and women. People sing, dance and enjoy during the presentation.

Bhaduriya songs are well supported by instrumental music. Main instruments are Dhol Nagara, Mandar, Karaha, Kendra, Kartal etc. Main ragas of this form are Jhingaphulia, Pahil Sanghia, Adha Ratia, Bhinsariya, Bihania, Jaua, Petia Medha, etc.

Jhumar

‘Jhumar’ is a song which is sung with swinging body and circular movements. This is one of the major singing styles which is sung throughout the year in whole of Jharkhand in every season and on every occasion. Jhumar is also performed in other regions but the Jhumar presented in Jharkhand has its own identity and speciality. Circular movements of Jhumar depict the primitive or prehistoric activities of early tribes. Jhumar geet starts with Vandana and Chadantari Raga. Basically it is a dance form but the songs are also presented in solo and duet. There are many varieties of Jhumar but mainly Jhumar can be classified into three categories i.e. (i) Mardani Jhumar, (ii) Janani Jhumar, (iii) Bangla Jhumar.

Mardani Jhumar

Mardani Jhumar is sung mainly by men only. Women folk never take part in this. Men, while singing, also dance vigorously and thus Mardani Jhumar is a symbol of energy and strength. The accompanying instruments of this form are also very voluminous like Dhak, Dhol, Karah, Shehanai, Mandar, Jhanjh, Thechka, Ghungru, Ghaghar, and Godam. These instruments are, very well decorated and played with full strength and energy.

Normally, women do not participate in this presentation but 'Kali' the 'danseuse' or the 'Nayika' stands with the instrumentalists and demonstrates various 'Bhavas', through facial expressions and body movements. Sometimes there are more than one 'Kali' present in the performance.

Mardani Jhumar has many varieties and sub-varieties.

Janani Jhumar

Janani Jhumar or Jani Jhumar is presented by women folk. Women present this form with various body movements in circles. The tempo is slow and body movements are full of 'Lasya Anga'. Menfolk provide accompaniment on various musical instruments, and enhance the beauty of the presentation. All the festivities of rainy season are full of Janani Jhumar. The performance is usually presented by two groups which comprise ten to twelve participants. If the participants are many, then they make queues and wait for their turn. Normally, a song is presented for about ten minutes in which it is repeated by the other party which is called 1honkna'. Although this form is presented both in day and night but the beauty of the presentation has no bounds in the night, when it is presented in three stages corresponding with the stages of time (Pahar) i.e. Pahil Sanjha, Adharatiya and Bhinsariya. All these types differ each other in tune, rhythm tempo and body movements.

Normally in Janani Jhumar, the accompanying instruments are chosen which have very soft and melodious sounding like Mandar, Bansuri, Murli, Jhangh, Thechka, and Kartal. Instruments like Nagara and Dhol are prohibited.

Bangla Jhumar

Nagpur and Panchpargana regions are mainly known for Bangla Jhumar. Here the word 'Bangla' depicts two meanings, first, because the songs use some alphabets or dialects of Bangla language and secondly the songs were initially presented at the 'Banglows' of Zamindars or some well-to-do patrons of the region, thus the word 'Bangla' suffixes the Jhumar.

Bangla Jhumar is presented mainly by menfolk but 'Kali' also participate and is the main magical attraction of this presentation. 'Kali' do not sing along with men but present the same song in a solo manner with instrumental accompaniment. 'Kali' is expert of music and dance, and is the symbol of Radha.

Sometimes more than one Kali participated in the presentation. In Bangla Jhumar all the instruments used are similar to Mardani Jhumar.

Seasonal Songs

In Sadani songs of Jharkhand, a large number of songs are those which are sung in a particular season.

In Nagpuri songs, rhythm, tempo and tune keep changing according to these seasons. Even the accompanying instruments also change.

It is a common belief that if a singer does not abide by seasons and its ragas then he will fall sick. Not only seasonal but in Nagpuri songs, artists also adhere to hourly development of day and night i.e. Pahar. Three main seasons i.e. winter, summer and rain and three semi, seasons i.e. Basant, Shishir and Hemant are observed and accordingly songs are composed and presented.

Songs of spring season are sung in Aphagua, Phagua Puchani, Panchrangi, Damkach, Vivah Ragas.

Songs of summer are Damkach, Udasi, etc., whereas the songs of rainy season are Janani Jhumar, Angnai, Lehesua, Raskiri, Thahasua, Soharai, etc.

Sanskar Geet of Khortha Region

Khortha region is an ancient region and the language spoken here is a dialect of Maghadhi. This has been traced back till 10th century. Sanskar Geet of this region are mainly of birth and marriage. Songs sung on the birth of a child are called 'Khortha Sohar geet'. Jhanjhar and Lalna songs are also sung. Amongst marriage songs Gali, Parichhan, Vidai, Ubtana are the main songs which are associated with various activities during marriage.

Karam Geet

Karam Geet are sung at the festival of 'Karam Ekadeshi', which falls in the Bhadrapadra month. These songs are also called 1ava Geet' because Java (maze) crop ripes in this season. At 'Akhara', the place where these songs are sung, women folk keep the Java in the middle and sing and dance around it. Java Geet are sung by women but Karam Geet are sung by men and women together. Mandar, Dhol, Dhak, Nagara, Jhanjh are played with these songs. Various types of Jhumar are sung on this occasion. Because this is a month of Bhadrapada, therefore 'Bhaduria Jhumar' are sung specially as Karam Geet.

Soharai Geet

'Soharai' is a festival which includes various emotions. Mainly, it is a festival when people of Khorta worship Lord Krishna. On this occasion, farmers decorate their animals and play and spend time with them. Some people also worship 'Gorayya', a local god, who people think, looks after the cattle folk, especially cows. There are three types of Soharai Le. Jagarna, Khelna and Chanchair.

Male singers roam around the village through out the night and sing Jagarna songs. These singers get some money, or some things in return from village people. 'Khelna' means to play with the cattle along with the instrumental support. 'Chanchair' songs are those in which two groups of musicians participate. They ask questions from each other. This form is sung by male singers. Mandar, Dhol, Jhanih and Ghungru are played with these songs.

Soharai Parva falls on the Dwitiya of new moon of Kartika month, when the rest of the country celebrates Bhai Duj. Some people recognize this festival as Laxmi Puja.

Udasi Geet

Musical traditions of Jharkhand are mainly based on various seasons. The months of Jyestha and Ashwin are of summer season when the climate becomes hot. Each and every living being, be it humans, animals or trees all feel the intense heat. During such disappointing environment, Sadani people sing songs which are called 'Udasi Geet'. Raga, tempo and subject of these songs express the disappointing feeling of the whole environment. These songs are sung by menfolk. Sometimes, these are sung without any instrumental accompaniment but if the instruments are used at all, then they are of soft tonal quality and sound like Tuila, Kendra, Banam, Sarangi, Bansuri, Murli, Tirio, and Mandar.

Pawas Geet

Pawas geets are sung in the month of Ashwin, i.e., starting of rainy season. Sound of clouds, lightening and rain drops, all are depicted in the songs of Pawas Geet form. These songs are sung by men folk and full of feelings of pathos (Karun) devotion (Bhakti) and pangs of separation from the beloved. Sometimes these are presented in solo form, without any instrumental support but instruments if at all used then the very soft, low volume instruments are played. These songs are exceptionally beautiful and are special to Nagpuri and Sadani region.

23 November TRADITIONAL MUSIC Of ORISSA

Temple Music: Smt. Parasamani Devi and Shri Rabinarayan Panda

In the temple of Lord Jagannath at Puri dance and music were introduced as rituals since 12th Century AD. Devdasis (Maharis) and percussionists (Made Ii) have since been appointed hereditally. Besides singing of Geetgovinda as an evening ritual they sing during the festivals of Chandana, Jhoolan, Dussarah and other festivals.

Smt. Parasamani Devi and Shri Rabinarayan Panda, Mardala player are the Sebayats of this tradition.

Kendara Geeta: Jhari Mohan Nath and Jatadhari Nath

Kendara is a variety of bowing instrument. The songs in accompaniment of the instrument are sung by the Yogi or Nath community who go door to door to beg alms. Mostly, the songs refers to the story of Raja Govinda Chandra and episodes from the Ramayana and other Puranas.

Belonging to the Nath community of Cuttack district. Shri Jharimohan Nath and Shri Jatadhari Nath are in the family profession for more than twenty years. Besides performing in the villages around the year they also broadcast from the Akashvani of Cuttack.

Odissi Music: Himanshu Sekhar Swain and Shri Sanyaal Baral (Disciples of Guru Ram Hari Das)

Odissi, the traditional music of Orissa is based on the compositions of the medieval poets of Orissa named Mavisurya Baladev Ratha, Banamali Das, Gopal Krishna Pattanaik, Kabisamrat Upendra Bhanja, etc. It has different components such as Chhanda, Champu, Janana and Kshyudra Geet. All the songs are set in particular Raga and Tala. It has a distinctive style of singing.

Odissi Kirtan: Chaitanya Odissi Kirtan Bhgabat Pitha

Kirtan is associated with the cult of Vaishnavism and mostly sung in group in accompaniment with Mridanga and Khartal (cymbal). The tradition of Kirtan music came to Orissa from Bengal with Sri Chaitanya during the last part of the 15th century. With the division of Vaishnaviam as Goudiya Vaishnava and Utkalya Vaishnava, the Kirtan music was also cultivated with songs in Bengali and Oriya languages respectively. Accordingly, they were known as Nada Kirtan and Odissi music.

The Kirtan Mandals are mostly amateur or semi professional groups. Kirtan singing is a part of the evening ritual in the Krishna temples, Bhagavat Tungis (Village Club-house where Bhagavat is recited) and religious institutions.

Bichitrananda Palkray by profession is a cultivator. In addition with agricultural work he takes interest in Mrudanga Vadya. In his own village, Baramunda, Shri Palkray has organized 'Shri Chaitanya Odissi Kirtan Bhagavat Pith a' and also imparts training to the students in Kirtan singing. As a versatile player in Mridanga he also sings Odissi Kirtan.

Khanjani Bhajan: Dasarathi Mohrana and Group

Khanjani is a kind of tambourine. The bhajans sung by the followers of Mahima Dharma in accompaniment to the instrument known as Khanjani. Mostly, the Bhajans are the compositions of the blind poet Bhima Bhoi. Contents of the songs are in praise of Mahima Goswami, the preceptor of the cult and his philosophy.

Dasarathi Mohrana is the most popular Khanjani Bhajan singer of Orissa. Though blind from his birth he combines in himself the talent of singing as well as playing various percussion instruments. He participated in the festival of India held in Russia held in 1986. He received the Orissa Sangeet Natak Akademi Award in 1994.

Sambalpuri Geet: Gangadhar Das and group

Most of the folk songs of western Orissa are associated with the prevalent folk – dance like Dalkhai, Rasarkeli, Maylajada, and Danda Nata. The Dalkhai is held during festivals associated with Dusserah Nuakhal and Bhaijuntia. Young girls of the lower community sing and dance intermittently to the accompaniment of percussion instruments like Dhol, Nissan and Tasa. The contents of the songs are religious as well as social.

Gangadhar Das is a prominent Guru and performer of Sambalpuri folk dance and songs. He along with his troupe has performed widely in and outside the state.

Ushakothi: Nabaghana Parida and Group

Ushakothi is a ritual held in the month of Chaitra (April-May). In honour of the deity, Mangla, a decorated holy pitcher is placed in the middle of a floral design drawn on the floor. Those families who keep vows arrange the ritual in their homes. A professional singer is invited to sing the songs in praise of the deity to the accompaniment of an improvised instrument, Dhana-Koila.

Nabaghana Parida of South Orissa is a prominent singer and actor of Ushakothi and Bharat Leela. He enthralls the village audience with his melodous voice. Performing in the art for the last forty years he has established his own institute. Audio cassettes have been produced with his voice on Ushakothi and Bharat Leela.

Sanchar: Dukhanassan Bahera and group

'Sanchar' is a form of devotional ballad singing like Pala and Daskathia of coastal Orissa. But it is different from the other two as regards its equal importance to dance movements, playing of Mridanga and singing in unison. There are two persons in a Sanchar group the Gahak Bahak (Gayak-Bayak) and a Palia (assistant who plays). The Gahak-Bahak combines in himself the qualities of a singer, dancer and percussionist. He brings out uncanny rhythmic syllables in Mridanga with simultaneous recitation of Sanskrit Slokas. He sings from Chhanda, Choupadi and songs pertaining to the love-story of Radha and Krishna.

Sanchar performances are frequent during the month of Chaitra and Baisakh when there is no agricultural operation. There is a more favourite art form of entertainment and culture among the Kulta society, an agricultural community of Western Orissa consisting of the districts of Samalpur, Bargarh and Bolangir.

Dukhanassan Bahera is one amongst the most prominent Sanchar performers of Western Orissa. He is active in his profession as a Guru as well as a performer for the last forty years. He has widely performed with his group beyond the boundaries of the states. Selected by Sangeet Natak Akademi, he participated in the Festival of India held in Japan.

Prahlad Natak: Guru Krushna Chandra Sahu and group

Prahlad Natak, literally meaning a play about Prahlad, belongs to the district of Ganjam in South Orissa. The performance of the play is highly dynamitic and spectacular, combining raucous music, vigorous dancing, operatic songs, melodious dialogue and acrobatics.

Guru Krushna Chandra Sahu is the most popular Guru of Prahlad Natak of South Orissa. In his life-time he has trained a number of artists and groups in the distinctive style of singing, dancing and acting. He received the Sangeet Natak Akademi Award in 1999 and visited several European countries and South America with his troupe.

24 November TRADITIONAL MUSIC OF BIHAR

Rasan Chowki

Rasan Chowki is a kind of orchestra of musical instruments of Mithilanchal, North Bihar, which is played commonly on the occasion of marriage ceremony. The musical instruments used are drums called Jheel and Digri, and wind instruments called Pipahi.

Chath

Chath is a lok parv, maha parv and rashtriya parv of Bihar. It is generally celebrated in eastern Uttar Pradesh and Jharkhand but is also celebrated with greater enthusiasm in Patna of Magadh region. Chath is celebrated twice in a year: firstly on Karthik Shukal Chath i.e. Karthiki Chath and secondly, Chaitra Shakul Chath i.e. Chaiti Chath. People undertake fast on these days. Chath songs are generally religious songs.

Kajri

Kajri is an exotic song of rainy season. Rains of Saawan Bhado and the birth of Lord Krishna are generally the subject matter of these songs.

Chohat

Chohat is a kind of a rainy song generally sung in Magadh area. Women folk divide themselves into two groups and sing this song in question-answer form. These songs present a glimpse of their family life.

Jhumar

Jhumar is a kind of folk song, which is exotic and full of joy. It is generally sung at the time of marriage, which gives a true reflection of their culture.

Dewas

Dewas, as is evident from its name, are devotional songs sung to please the God.

Nirgun

Nirgun songs are the Bhojpuri songs, which are often woven around the theme of soul's meeting with the God. Kabir's influence is evident in these songs.

Poorvi

These songs are sung in western Bihar and also in the eastern part of Uttar Pradesh. The name Poorvi is very appropriate as earlier people generally used to go to eastern parts of the country for trade and their womenfolk used to express their separation through these songs.

Chaita Ghato

The songs, which generally sung during the month of Chaitra, are called Chaiti. It is also called Chaita Ghato in Bhojpuri, which has three forms such as Chaiti, Jalkutiya Chaiti and Ghato Chaiti.

Nardi

Nardi is a form of devotional music of Bihar from Mithilanchal sung in a group. The commonly accompanying musical instruments are Pakhawaj, Jhal, Manjira, and harmonium. Songs sung in Nardi are mainly from the tradition of Vidyapati and Jaidev.

24 November

SPECIAL PROGRAMME

Ram Kumar Chattopadhya
renowned Bangla Tappa singer

Abhay Narayan Mallik
renowned Dhrupad singer

Ram Hari Das
Odissi music singer