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PAPER 5 DANCE, POETS AND POETRY,

RELIGIOUS PHILOSOPHY AND INDIAN CLASSICAL DANCE

MODULE 10 USE OF POETRY IN ODISSI

The poems are wonders of literature, when sung tunefully, become appropriate medium to express in dance. The poems are sung tunefully & rhythmically. Incidentally the rhythmic structure of a

taal/ताऱ depends on the chhanda / छंद or configuration of the letters (matra / मात्रा) & Jatipata. The meaning of the words (Sabdartha / शब्दाथथ), total connotation of the poem (Bhabartha / भावाथथ), rhythmic configuration of words (Jatipata / जाततऩात) & the matching of dhwani / ध्वतन (sound) with words which produce same type of sound (Anuprasa / अनुप्रास or alliteration) and the modulation of the voice (gamaka / गमक) make the poems – Song (Sangeet). Oriya poetry is a treasure of lyrical beauty, loaded with musical extravaganza, noteworthy imagination best suited to choreograph in Odissi dance. Odissi Dance owes to the poems for its expressional Dance--

Abhinaya. (Odissi) dance repertoire is segmented in to five items--- 1. Mangalacharan / मंगऱाचरण, 2. Bottu / बाटू्ट or Sthayee Nritya / स्थायी तित्य, 3. Pallavi / ऩल्ऱवी, 4. Abhinaya / अभभनय & 5. Mokshya / मोक्ष्य). In the abhinaya one finds the use of songs. In

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Mangalacharana & last item Mokshya Vandanas in praise of Gods / Godesses are only used.

Odiya songs are the lyrical expression of rhythm – or CHHANDA / छंद. Without chhanda poems cannot be composed. This peculiar quality differentiates prose from poetry. Biswanath Kaviraj in his treatise Sahitya Darpana wrote – “Chhandobandhangpadangpadyam / छंदोंबन्धान््ऩदं्ऩद्यम”. Rhythm is the natural swing or alternation of some quantitative difference (stress, duration, Pitch, silence) that accompany all flow of meaningful sound. – Dictionary of world literary terms. – Ed-J .T. Shipley P.278 We see mention of word Chhand in Rig Veda. According to etymology the word Chhand is derived from – Chhand Dhatu which means to cover, to be delighted in, to please etc. Chhand is accepted as Vedanga - one of the six angas of Veda, also considered as the pada (feet) of Veda. (“Chhandah Padautu Vedasya”.) There are many treatises which elaborately dealt with the science of Chhand.

(Chhand Sutra / छंद सूत्र – by Pingala / पऩगंऱ, Chhand Sastra / छंद शास्त्र —by Halayudh / हऱायुध, Chhand Manjari / छंद मंजरी- by Khemendra / कामेंद्र, etc.) Oriya Bruta has been written by Narayan Purohit as evident from the gazette of Hunter as follows- Bruta Ratnakar, a treatise on versification written in a kind of verse called Chhanda, Orissa- William Hunter (1872). The commonly used Chhanda are divided in to two categories---

Matrika & Barnika / मात्रत्रक- वर्णथक. Again these are subdivided.

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Matrika / मात्रत्रक - each letter of the vernacular alphabet is distinguished with certain number of matra. Accordingly all the vowels & consonants are measured with one matra. If the

consonants are with Akarekar Chandra Binduanusar / आकरेकर चन्द्र त्रबदंअुनुसार, etc. then their valued are two matra. Again the letter before the Juktakhyara / जुक्ताख्यार will also be valued as two matra. During the composition of the poems care is taken to match the total matras of each line.

Barnika Chhand is also known as Akshyara Bruta / अक्ष्यार ब्रुता-वतृा. Here the numbers of the letters the alphabets are taken in to consideration to match the lines.

Chhanda can be Sama, Asama & Bisama / सम, असम, पवषम. If the motion of the song is in two letters then it is Sama, If three letters / matra then it is Asama and if it is combination of two & three letters then it is considered Bisama. Jati is another factor which accounts for the composition of poems. It is important that the sounds of the last word of the line match with

the last word of the other line. It is called Pranta Milana / प्रान्त भमऱना. When the tongue takes voluntarily rest, then it is called Jati. “Jati Jrinhestha Bishram Sthanang Kavibhiruchyate Sa Bichhed Biramadeih Padarbachya Nichechhaya” - Chhandomanjari – Ganga Das 1- 18

“जाती ज्रिन्हेस्था पवश्राम स्थानांग कपवभभरुच्यत ेसा पवछेद त्रबरमदेइह ऩदाबथच्या तनचेछया”

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According to the Jatipata The chhanda are named as –

Yuktaakhyarika Chhanda / युक्ताख्याररका छंद , Chalana Pradhan Chhanda / चऱन प्रधान, Mukta Chhanda / मुक्त छंद, Amitrakhyara Chhanda / अभमत्रख्यारा छंद, Upadha Milana / उऩधा भमऱन, Ekantara Mitrakhyara / एकान्तर भमत्रख्यारा, etc. In Odisha the Chhanda / Chhaanda word has many connotations :

As it was described it is the structure of the poem constructed with letters & words giving due privilege to the numbers of the letters & its matras also where to rest etc.

It also refers to the whole composition of songs. Odiya poets have named their poems as Chhaandas. Example – JagamohanaChhaanda – Dinakrushna, Chhaanda Bhushana- Upendra Bhanja, Chhaanda Bharat- Keshab Pattanayak, etc.

Chhaanda is also considered a typical style of Odissi Music.

The taal pattern of the song is directly dependent on the Jatipata & configuration of words and letters. As a result there evolved many

Chhanda Vrutas.

In Odissi Music we find the use of Dhruba Padanga / ध्रुव ऩदांग, Raganga / रागांग, Bhavanga / भावांग & Natyanga / नाट्यन्ग.

Dhruba Padanga / ध्रुबा ऩदान्ग songs restrict itself to the use of one raag & one taal. Elaborate description with devotional spirit Dhruba Padanga songs give due importance to Veera Rasa. The thematic aspect of these Prabandha is only in the

praise of Gods & Godesses. It starts with Aalap / आऱाऩ in different laya. But Nibaddha Aalap & taan do not feature in

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this type of Prabandha Geeta. It uses Nam Toma like

auspicious words known as Tenaka / तनेक. Taals like Sariman, Kuduka, Matha, etc. are used. They are named as Malashree Geeta, Matha Geeta, Kuduka Geeta, etc.

Raganga/रागांग: This is the most important item of Odissi Music. It is performed with one particular Raag and taal maintaining all the discipline this is sung in the order of

Annibaddha Aalap / अज्रन्नबद्धा आऱाऩ , Prabandha / प्रबंध आऱाऩ, Nibadhha Aalap / तनबंध आऱाऩ , Pada Vinyas / ऩद पवन्यास, Swara Vinyas / स्वर पवन्यास , Taan / तान. Pallavi / ऩल्ऱवी also features in this items. It is two types Badya Pallavi & Swara Pallavi. When bols or Ukutas are sung rhythmically with various laya is called Badya Pallavi / ऩद्य ऩल्ऱवी. When in the place of Bols or Ukutas Saptaswara are used it is called Swara Pallavi.

Bhabanga / भाबंगा: In this kind of songs due importance is given to the Bhava & Rasa than raag & taal. It is performed in the traditional way & some times more than one raga is used according to the theme of the song.

Natyanga / नाट्यान्ग: These kinds of songs are performed keeping the drama element in it. This is used in the gotipua dances. Taal’s variation are prominent feature as well it is always based on Shringar Rasa. Pada Vinyasa, Swara Vinyasa & Tana are also feature in this type of songs.

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Taking in to account songs used for dances in Orissa are Geeta

Govinda, Chhanda, Chautisha / चौततश, Champu / चंऩू, Janana / जनना, Sloka / श्ऱोक, Bhajan / भजन & Sabda / शब्द. Jayadeva’s Geeta Govinda written in Sanskrit is most favorite among dancers. It is considered as a Prabandha. Jayadev has himself written

“Etangkaroti Jayadeva Kabih Prabandham / एतान्गकरोती जयदेव कपव: प्रबन्धं”. The Raga & taal are mentioned by the poet himself which helped greatly to maintain the purity of the style & tradition. These songs are sung by Devadasis (Mahari) of Jagannath Temple during Bada

Singhara / बड़ा भसघंार (Bed time of Deities). There are Twelve (Sarga) divisions and twenty four songs. Some of

them are in the praise of Lord Vishnu – “Pralaya Payodhi Jale / प्रऱय ऩयोधध जऱे” & “Srita Kamala Kucha Mandala / धश्रत कमऱ कूच मंडऱ” both repeats “Jaya Jagadisha Hare / जय जगदीश हरे” & “Jaya Jaya Deva Hare / जय जय देव हरे”. Some of the songs describe nature in Spring time Like

Basantebasanti Kusuma Samahara / वसन्तवेसंती कुसुम समहार …. Lalita Labanga Lata / ऱभऱत ऱवंग ऱता (song -3). The story revolves around the divine love of Radha & Krishna. This is again blossomed with a sakhi as messenger. It seems Jayadeva was well versed in Dermatology as he has mentioned the Nayikas example: Bipralabdha Barnana / पवप्रऱब्ध वणथन sixteen song of 7th Chapter. Khandita Barnana Seventeen song, 8th Chapter, Kalahntarita Eighteen song 9th Chapter. The twenty fourth song, 12th chapter is known to be Swadhina Bhartika Nayika. These songs are dancers delight & used

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for solo to portray Nayikas. The songs 1st& 2nd songs are performed as invocatory items, or as Vandana in Mangalacharana. As a whole the Geeta Govinda text is very popular as Dance Dramas- Guru Kelucharan Mohapatra Composed it with dancers from Mumbai in 1975, subsequently at Kolkata in eighties and at Mukteswar festival- 1985 & latter at Festival of India at Russia. After the popularity of Jayadev next comes Kavi Samrat Upendra

Bhanja / कपव सम्राट उऩेन्द्र भांजा , a popular mediaeval poets who was adept in Music, Drama also Alankara of Literature like Kaviraj Jayadev. Jayadeva’s popular lyrical drama – Geeta Govinda firmly established two facts

that it could be sung

and human sexual behaviour during youth – the ecstasy of union , the agony of separation is the most luxuriant topic for poetry.

CHAMPU / चंऩू: Champu is a popular style of poetry writing in Sanskrit. It belongs to the Khanda Kavya / खंड काव्य Category of poems. Biswanath Kaviraj has written in the 6th Chapter – “Khanda Kavyang Bhabet Kavya Saikdeshanusari Cha /खंड काव्यांग भवे त काव्य सैक्देश्नुसरी च” ( Sastha Parichhad / सस्था ऩररछंद). Which means the poem is written on a specific incident or work. In this the nature poems are partly exhibited. ‘Meghaduta’ of Kalidasa is a

bright example of Khanda Kavya / खंड काव्य. But Champu cannot be considered as complete Kavya, But surely it is blossomed with some natures of Kavya , hence named KhandaKavya. Orissa scholars put it

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under the category of Manushi Matruka Prabandha / मानुषी मातकृ प्रबंध.

“Chamtkruta Punateeti – Champu / चम्त्कत्रुता ऩुनातीती चंऩू ” – Champu makes the readers amazed.

“Gadya Padya Mayang Kavyang Champurityabhidhiyate / गद्य ऩद्य मयंग काव्यांग चम्त्कऩुररत्यभभधधयते ” – Sahitya Darpan – 6th Chapter. Champu is a combination of prose & poetry. Champu writing was prevalent among poets in Riti Yuga, where poets were giving equal importance to the ornate literature (Alankar) and lyrical tunefully composition. They were adept both in Sangeet & Sahitya as a result, for each and every song raag & taal were prescribed. There are Many Champus in Odisha. Chaupadi Bhushana- UpendraBhanja Ramayana Champu – ascribed to Banamali Jhulana Champu- Kishore Chandra Rajendra

But Kishore Chandranana Champu / ककशोर चन्द्रानना चम्त्कऩू by Kavi surya Baladeva Rath / कपव सूयथ बऱदेवरथ is the most popular among the singers & dancers. It is a slender book of 34 lyrics written

in the type of Chautisha / चौततषा – using the 34 letters (consonants from Ka to Kshya) for each poem. After each oriya poem there is a sloka in Sanskrit followed by dialogues/ narrations also in Sanskrit.

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Each song is written with the initial of a particular letter in each line and the lines arranged consequently one after another. The theme revolves around the love of Radha Krishna like Geeta Govinda, but the poet has taken enough care to improve over the situations & Characters. Here Krishna & Radha are portrayed as human beings of familiar flesh & blood. Lolita their mutual confidante is pleasantly roguish who turns two ardent infatuated lovers practically round her little finger before she allows them to come together.

Madhumangala / मधुमंगऱा & Other Sakhis play insignificant characters in the drama. When Radha confides to Lalita, how she had chanced upon the magnificent image of Krishna at the Bank of Yamuna from a distant. She was pierced by the arrows of Madana whom she feared most. Since then she is feeling restless & not able to have food & sleep. Lalita though happy at heart tells her she is already lost by aspiring the impossible. But Radha pleads for assistance as it was difficult for her to shake off the infatuation. Then assuring Radha all her help she meets Krishna and enquires why he looks so dejected. At first Krishna gives a strategic reply saying there is nothing wrong at all. Lalita then coxes him to tell the truth as he really look ill in spite of his efforts to hide it. The Krishna reveals that the previous day while he was returning with the cattle from forest with other boys, he chanced to see a figure of pure gold behind a window, since then he is not at all well. His heart wants to meet the beauty again. At this Lalita starts scolding him saying that the object of his interest is somebody else’s wife & it were a sin & scandal to desire her. Then again she says- what happens to her delicate friend? Like Radha Krishna too pleads with her to arrange a meeting, as otherwise he will die of sheer frustration. A series of clever objections & counter- appeals follows. Then she sympathetically

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agrees to try but when she meets Radha changes her version & says- Krishna appeared adamant and only scolded her for her audacious proposal and rebuked for her movement in the forest alone being a woman. When Radha faints and appeals to hold out some ray of hope for her very survival and asks if Lalita did not see any little sign of Shyama relenting. Lalita pretends to accuse Radha for her ingratitude. But finally she arranges a meeting of the two – where she says to Radha lest you feel dizzy with infatuation hold on my neck with your arms and set your lotus feet firm on ground. (Bha song) Finally both the lovers meet in the Ma song in spring.

In the last song Kshya Champu / ऺय चंऩ ू– the poet sings a hymn in praise of Loving Lord Krishna Oh Thou Ocean of mercy and forgiveness, Who art in perpetual embrace with the full- breasted Lakshmi Oh, Redeemer of the worlds, Whose blessed servant is no other Than the Great Bramha himself; And the effulgence of whose toenails are cherished By the Gods as the embellishment of their foreheads, Shall I, Oh Lord miss Thine mercy Even though I, the first among the sinners never utter Thine name? Let thine Compassionate look alone destroy all my sins. Kishore Chandranana Champu has been many times enacted as a dance drama. Choreographed by Padmabibhushana Kelucharana Mohapatra it was first presented at Mumbai in (1983) & subsequently at Kolkata & at Pragati Maidan Delhi in eighties. The

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numerous poems are used as for solo presentation. Most favourite is The Bha song – Bhangi Chanha Raag – Kedar Gauda. Ka, Kha, Ga, Gha, La, Ma song are popular. The boy dancers also perform champu to the delight of Baishnavas in the Mathas & temples. It is not mandatory for Champu to be composed with 34 alphabets one after another as in Chautisha.

CHAUTISHA / चौततशा This is a peculiar type of composition which restricts itself to 34 lines starting with each alphabet from Ka - Ksha. Chautisha falls under

Manushi Matruka Prabandha / मानुषी मात्रकु प्रबंध. Chautisha follows the Bruta. These were the poems which are easily remembered, musically rich & based on love stories. There is another style of writing – Koili like the one in Sanskrit Duta-

Kavita / दतू-कपवता. Koili means Cuckoo bird & the word Koili is repeated after each line as if confiding everything to the Cuckoo bird.

Keshaba Koili / केशाबा कोइऱी (written in the style of Chautisha & Koili encompassing the 34 consonants) by Markendaya Das is most famous and favourite & popular among dancers & singers alike. It describes the feelings of aged sad mother Yasoda. “Koili, Keshaba je Mathuraku Gala,

“कोइऱी केशाबा जे मठुरकू गऱा, Kaha Bole gala putra Bahudinaila, lo koili? कहा बोऱे गऱा ऩुत्र बहुददनैऱा ऱो कोइऱी? Koili, Khanda Khiradebi mu kahaku?

कोइल्ऱी खानदार्खरादेबी मु कहाकू?

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Khaibar Putra Gala Mathura Puraku Lo Koili,

खैबर ऩुत्र गऱा मथुरा ऩुराकू ऱो कोइल्ऱी Koili, Ghara Mora Na Mananti Nanda

कोइऱी, घर मोरा न मनांतत नंदा Ghatananadishepura Nathile Gobinda lo Koili.”

घंतानाज्रन्दशेऩुरा नाधथऱे गोत्रबन्दा ऱो ऱोई.”

CHHANDA / छंद This is an important style of Odissi music. These songs fall under Adhruba Panchali (Panchali Kshyudra Geeti), because it doesn’t have Dhruba Pada. It may or may not follow particular prescribed raag but it is compulsory to follow the Bruta. It is an ornate singing with Gamak technique makes it unique. All the stanzas are sung in the same melody. Odissi Music is famous for Chhanda Geeta. Among the Chhanda style writing the most popular &enchanting Chhandis Kavisamrat Upendra Bhanja’s Baidesh Bilasha. It is a Mahakavya that deals with Ramayana, where every line starts with letter ‘Ba’. It is believed to be completed n twelve months (Bara Masa).

Bruta – Rasa Kulya Taal – Trpata / ब्रुता-रास कुल्या ताऱ-त्र्ऩता

Bibhushana Puspe Jakanti Jana / त्रबभूषण ऩुष्ऩे जकंत ेजाना Bibhushana Kari Kanyaku Ana / त्रबभुशाना करी कान्यकु आना Baarana Sire Padadei Asu / बारना भसरे ऩददेइअसु Barana Kari Rama Manatoshu seen / बरना करी राम मनातोशु सीन Boli Dele Kaushika Je … / बोऱी देऱे कौभशक जे.....

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Bolidelapraya Goli Chandanaku Hoile Raghu Banshika je. / बोभऱदेऱाप्राया गोऱी चंदानाकू होइऱे रघु बंभशका जे. (1/16) This is very popular among the dancers. Padma Bibhusana Kelucharana Mohapatra choreographed few stanzas for solo dancing in Early eighties. The most popular among these are Kaibarta Prasanga- where the boatman refused to ferry Lord Rama to the other side because

“NaukaNayikahelebudibamoBhela / नौका नातयकहेऱेबुददबनो भेऱा.” The boatman says- “Bereft of hearing I am not By the way you have turned stone in to a lady, I have heard Believe me if that happens to this craft of mine through the touch of your feet, By what else shall this poor man earn his daily bread ?” (Translation Mayadhar Mansingh History of Oriya Literature- page- 111). This has been choreographed by Professor Naba Kumar Mishra. Another popular Chhanda by Upendra Bhanja Kavya – Labanya Bati, Bruta- Kamodi, Taal – Tripata.

“Dekhi Naba Kalika Bakalika Malika / देर्ख नबा काभऱका बकाभऱका मभऱका Ali kalika Kanta Smari / अऱी काभऱका करंता स्मरी Rakshya Kemantekari Kariba Mattakari / रक्ष्या केमंतकेारी करीबा मत्ताकारी Gatiki Emanta Bichari / गतत एमंता त्रबचारी

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Se Sahachari/से सहचारी” Chhanda Sangeet is the most liked songs for dancers. SLOKA Sloka are composition in Sanskrit in praise of Gods & Goddesses. JANANA Janana word is used to inform your feelings to GOD. These are famous Devotional Songs. BHAJANA Bhajanas are songs which are sung in praise of God. Bhajiba Japaiba means to take one name repeatedly. Sloka, Janana & Bhajan feature in Mangalacharan as ishta deva Stuti. Sometimes they are also replete with sancharibhava to be performed as an Abhinaya. SABDA

Sabda have been taken from Sabda Swara Patta / सबद स्वर ऩत्ता. Late Guru Deba Prasad Das collected many Sabda from Kumbhari / कुम्त्कभारी Village Barapali & infused it in the Odissi items. Sometimes they are arranged inter mingling in a song. Sabdaswara Patta / सब्दास्वर ऩत्ता or Sabda are poems recited dramatically with taals. There are Kali Sabda, Ganesh Sabda, etc. These dances are based on

Tandav / तांडव element and performed either in Mangalacharan & Mokshya Nritya / मंगऱाचरण तथा मोक्ष्य तित्य.

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Theme of The dances usually revolves around Love play of Radha Krishna, Asta Nayikas, Batsalya Rasa – Yosada’s love for Krishna & Krishna’s pranks & his subjugating Kaliya, Defeating & killing many demons like Sakata, Sandha, Baka, Putana, etc. His making Kubja turn in to a beautiful lady – All these prominently feature in Odissi Repertoire. Dasvatar is most adored. Jayadeva’s Sanskrit Geeta Govinda has been translated in to Oriya by Kabichandra Kalicharan Patnaik in same raag & taal which is also performed by many dancers. Though Odissi repertoire is dominated by Radha Krishna theme,

stories of Shiva from different treatise, Shiv Panchakshyara Srotam / भशव ऩंचाक्ष्यारा स्रोतम, Ravana Krutajatatavi Gallajjala, etc. are also performed as Vandana (Ista Deva Stuti) in Mangalacharana. Themes on Rama, Surya, Ganesh, Durga, Lakshmi, Sarswati are other interesting topics for Odissi Dancers. Depicting Rainy season (Barsha) & Spring season (Basant) is also seen.

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