Excellent informative piece and well deserved homage to P.V. Krishnamoorthy. Similar overviews on evolution of modern Odia music during AIR Kolkata phase or the interactions at Mumbai are needed to complete the picture. The role of recording companies too. More power to your pen.
https://twitter.com/NathTusar/status/1317115982410776576?s=19
https://t.co/OVOkdTHsXQ
She is 79 and is believed to be born this month. Odia music is forever grateful for the voice of Nirmala Mishra. All Odia female singers struggle to imitate her "natural" accent while singing covers. Of course, she would be nowhere without the celestial scores of Balakrushna Das.
Prajatantra used to publish a weekly page on culture in the 1960s called Rupa Rasa Chhanda. Profiles of singers, dancers, etc was a regular feature. They contain a wealth of information and relevant compilations should be published on the web. No one is interested in serious work
During marriages and other functions these records were played in our village and those days there were not many popular numbers. Fulei rani sajafula was the most popular number as far as I remember. Even band parties used to play it. Next was Kalijuga Krushna muhin on Radio also
https://twitter.com/NathTusar/status/1220636053058588672?s=19
Sajafula was also a flagship programme of Akashvani, Cuttack which produced some evergreen songs. It also brought out the best out of the lyricists. @OdiaCulture
I have reconstructed about a dozen; more if we gather more information https://t.co/NKJOvQkAc7
https://t.co/BziY4AscbE
Cover by Tusar Nath Mohapatra (Original by Dhananjay Satpathy from AIR, Cuttack Sajafula for August 1969. Bana mayuri mo bayasi denare by Bhubaneswari Mishra was companion number besides the duet Jhumuku jhuma. Related: Bana hansi go pagala by Bhikari Bal) https://t.co/Ho90ySC3M2
Thanks. That's because I love them. Radio being the only source of entertainment those days and Odia culture at its best. Those radio plays featuring Himanshu Bhusan Sabat and Jharana Das. Nadiya Bihari Mohanty of SS. There used to be a song: Hajigala bayasa, michhe khoji basana!
Before it, Chora Chora Priti was very popular; played everywhere. As a film also, ManaAkasha was a success; galvanised the whole scene.
In Dharitri, earlier Bengali singers are there but in ManaAkasha he introduced female singers from the South.
This thread of A-Z top #OdiaSongs is a unique list covering most singers of the era. It was a golden period with lyricists and composers giving their best. Odia language is indebted to them for ever. Further, these represent authentic Odia life and culture and not archaic Odissi.
https://twitter.com/NathTusar/status/1309158761169391618?s=19
Gitatie kete barasharu sate luchi rahithila kahin
Adha dina aji sarita galani se surati gai gai
Janichi didina pare sehi tana mana patalaru mama
Ubhei jiba se keun anya mana karu karu anweshana
Tathapi tahara ajira asara rahiba ananya hoi
...
My first song https://t.co/K3dhv5cJLw
Akshaya Mohanty aji ta nahanti
Dei jaichhanti gita asaranti
Kete hasa kete dukha o biraha
Sapana juara moha aau koha
Riti niti bhangi banga dhanga fingi
Odiara muludua thapichhanti
#KhokaBhai
https://t.co/Ve7YyiNTcM
Kudos to the Guru but many complains by a commoner
https://t.co/5uAzjiBsgr
1. He stresses on purity. So once one gains expertise, he will feel guilty to experiment.
2. Till now he hasn't commented on listeners. I mean how anyone can have patience if the lyrics is incomprehensible
Odia music scene is witnessing unprecedented popularity, creativity, and confidence. Let's hope it takes the language to ever newer heights. That will be the best respect to Akshaya Mohanty. #KhokaBhai #OdiaSong
https://t.co/hpMsTZABTz
Many are eager to deify him but there can be alternative views. I don't know how much fidelity his renderings have to Ragas but his pronunciation lacks softness where required. This Pala like primitive style of singing became unsuitable for home situation with Gramophone or Radio
https://twitter.com/NathTusar/status/1313157442671243267?s=19
No disputing of statistics but aesthetics is different. Interestingly, Shymamani Devi gives an example of the difference of style of Singhari and Balakrushna Dash at one place in this interview. So, there was a clear transition which became popular, later. https://t.co/45Oq4SYYon
HMV had status and marketing infrastructure. It gave prestige. If you can specify from which year to which year it didn't record anyone other than NCH, then the picture will be clear. But it means additional work for you and therefore I don't trouble you with questions, generally
You are imagining things and romanticizing the period through which I have lived. In your enthusiasm, you are trying to distort history but my preference is to give honest accounts.
Can you give absolute numbers and how many households had Gramophone? No other singers were recorded; so obviously his records were purchased by the same people out of compulsion. Reach of Radio was limited and people used to switch off when he was played. He is like K.L. Saigal
I'm interested in the evolution of Odia music and there's no clarity. My suspicion is about conspiracy by Bengali officials at HMV to keep Odia as a primitive language by not recording modern songs in other voices and Banikantha might be a part of the nexus out of self-promotion
I respect your research and am grateful for what you are doing for Odissi. But facts can't be twisted.
We have discussed it before but better to argue with data.
https://t.co/txuKe9Q9hU
The word primitive is not my invention; it's a primitive entry in the dictionary. I guess, sun rising every morning is the culprit which generates yesterdays. @OdiaCulture @TaraniTrotter @DandapaniSatap1
Pala and Daskathia were also popular those days due to lack of opthions. Theatre was popular before cinema. HMV by not recording others created artificial scarcity and NCH's records sold. That by any means can't be construed as popularity. Dandi style was replaced by Balakrushna.
Sure, but think of 50 years from 1906 to 1956: nothing much to be proud of about published music of Odisha. Govt publicity records are another wastage of opportunity. Then came positioning of Odissi and the later Kalia deluge. Thus, the few years of modern Odia music is precious.
https://twitter.com/NathTusar/status/1314264028395364352?s=19
[Bonding with the Lord: Jagannath, Popular Culture and Community ..., 2019
While Harichandan's version is performed in his signature high-pitched and monotonal dandi style, Das's rendition (in 3 minutes and 49 seconds), through precise tonal variations] https://t.co/jTggQhRGp0
Old Odia songs are of the first order but the same can't be said about other fields. Literary or cerebral talk is also rare. So, threat to Odia script or language is not the only concern. Overall, nothing much to be proud of about Odisha except Delanga Daroga or even Rangeilunda.
The simple tune of the most popular Odia prayer underwent a profound makeover by Prafulla Kar. Always with its transforming effect, Ahe dayamaya biswa bihari https://t.co/kIhRQ0JmvC
Not many on Twitter who have actually experienced the phenomenon. 1968: Fulei rani saja fula proves to be a smashing hit; being played everywhere. One song which outsmarted all great poetry from Bhanja to Sachi Routray. The lyricist is Gurukrushna Goswami. Music: Akshaya Mohanty.
This song hasn't got its due.
Mo mana chhan chhan chhan re mu tora nan san re
Film: Ghara Sansara (1973)
Singers: Akshaya Kumar Mohanty & Sipra Basu
Music: V. Balsara & Rakhal Mohanty
Lyrics: Brundaban Jena
https://t.co/UVX9NrRPwH
As more and more songs auto-generated by YouTube flood the scene, it's a problem of plenty. I have been spending hours and hours for locating and collating them as they don't appear easily through searches. Spelling mistakes or variations are another bog.
https://t.co/CtxHX6QQHN
Being the only modern classical language in the whole of North India, Odia is at the greatest advantageous situation today. #NEP2020 has further emboldened this position with the chance of Odia literature and culture receiving far wider exposure. Ghettoisation of music is spoiler
Vividh Bharati विविध भारती kept us captive of Hindi songs while exposure to the pulsating Bengali music scene was nil. This deprivation for sixty years is my biggest regret. Hybrid Hindi music is too alien now while Old Bengali songs seem heavenly. Rivalry barrier melts in music.
Being a Brahma, Bhaktakabi's prayers became popular and others contributed to the genre. Graduating to modernity and secularism was also a challenge post Independence. Thus, this predominantly religious nature of Odissi music is a drag. New generation must experiment with themes.
Any one can sing a new lyrics but he can't repeat it. Others can't learn it too. The role of classical music is basically this. Transcribing voice into a special language of sargam. Chhanda by definition obviates this necessity; therefore it can't be identified as Classical music.
Odissi dance has a global presence now and it's under no compulsion to tether to any particular style of music or singing. How it adapts to various languages and cultures depends upon local performers. The common name Odissi shouldn't mislead of any essential hegemonic connection
Music is considered as hobby but due to lockdown it has turned life itself. Old songs in that sense are crucial. I don't like new versions of old songs. Adding false video to old songs is also an injustice towards purity of appreciation. Tampering with someone else's IP is wrong.
Foot tapping numbers have added utility for exercise during lockdown. https://t.co/e40w62JDvX
Best of Feel Good Odia Songs
https://t.co/L8aJnysjTE
The question is who will define art and priorities relating to it. Odia film music of 1960s is of greatest importance for Odia language and culture but Govt is passive to its preservation. It may wake up after twenty years. So enlightened opinion has value but forever in minority
https://twitter.com/NathTusar/status/1301858722478653443?s=19
Fine, but rules can be amended. If Folk is promoted, then why film music is seen as outcast? And in this case, all kinds of experimentation happened to create a firm foundation for Odia language. Recognising that is important for right understanding of evolution of Odia identity.
Visiting old temples or posting nature photos can't be a sign of excellence and residents of Odisha should debate and discuss as to how the State can progress. What to promote and what are the priorities. Odias residing outside the State can't technically be identified as Odias.
How he was involved with lyrics of Mayuri go (Arundhati - 1968) by Jibanananda Pani (1933 - 1998), a relative.
https://t.co/fAIfK07vly
Godhuli gagana tale by Raghunath Panigrahi had inspired him a lot https://t.co/dx3sEvt1jA
Gita sikhila bele chhotia chadei-ti bhali https://t.co/C5LNdMs0Ry
An anthology of contemporary issues from a subaltern perspective
https://t.co/vNigW26Uvv
@GobardhanDhal @MANOJNAYAK71 @sarojpatna @skmohanty
@OdiaCulture @anitaexplorer
@MohapatraSneh @SavitriEraParty
https://twitter.com/NathTusar/status/1316816102245056512?s=19
A book with revolutionary prospects
https://t.co/InzUZxSuVj
VP Singh, the visionary
https://t.co/qf3V7apvFk
1262 followers in eight years but I take it as 262 of which only 62 notice and 2 respond. Even that is a great achievement in this age of infotainment overload sans firm value assessment. Standing by the best brand #SriAurobindo is therefore the most logical step (or lack of it).
I have devoted 2-3 decades to secondary literature on Sri Aurobindo including Western perspectives on him. It has been amply rewarding but at the end of the day, his own writings seem to be so self-sufficient. #ARYA100Years (1914-21) is enough for the rest of the present century.
Thanks for your encouraging words but many a time I go beyond the writings of The Mother & Sri Aurobindo when it comes to speculating on current affairs or grappling with political issues. Some get irritated and boycott but in that case the loss is theirs. https://t.co/6s6nhDRd69
https://twitter.com/SavitriEraParty/status/1316761882653409280?s=19
Many people, directly and indirectly, advise me to practice and experience instead of any mental exercise or writing. They forget about Swabhava and Swadharma. I wish them well in their pursuit of experience. But I wonder, what they are doing on Twitter; why at all they are here?
https://twitter.com/SavitriEraParty/status/1317483748460384256?s=19
....
You are the most sensible twitter handle who understand Sri Aurobindo ! Your are doing great service to the Masters! 🙏🏼:-)
#gratitude
https://twitter.com/childOfNewAge/status/1314483130187706368?s=19
The people who gets irritated because they are still grappling with their Identities namely Religion and Nationhood ; about SA wrote earlier extensively during his early days ; but He consciousness goes higher and higher Lately and His Vision Broadened into the Supreme Lord;
Because they do not understand that Bhav is a function of Dharma without which there is no urge to seek beyond Chitta and reach Purusha.
https://twitter.com/kaushikuhart/status/1317551704921927680?s=19
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