Music is a classical form consisting of all the necessary ingredients
common to Hindustani and Karnatic Music, such as rags and tala
Jayadeva' was the first Oriya poet who composed lyrics meant to be
sung and thus the words of those Lyrics were musical to start with. In
addition he indicated the classical ragas prevailing At the time in
which these were to be sung.
this there was the tradition Of chhandas which were simple in musical
outline. From the 16th century onwards Treatises on music were written
or compiled in Orissa. They were Sangitamava Chandrika, Gita Prakasha,
Sangita Kalalata and Natya Manorama. Two treatises namely, Sangita
Sarani and Sangita Narayana were also written in the early 19th
Odissi sangita is a synthesis of four classes of music, i.e.
dhruvapada, chitrapada, chitrakala and panchal, described in the
above-mentioned texts. The dhruvapada is the first line or lines to be
sung repeatedly. The use of art in music is called chitikala.
Kavisurya Baladeva Rath, the renowned Oriya poet wrote lyrics which
are the best examples of chitrakala.
Chitrapada means the arrangement of words in an alliterative style.
All these were combined to form the style peculiar to Odissi music.
Chhanda (metrical section) contains the essence of Odissi music. The
chhandas were composed combining bhava (theme), kala (time), and swara
(tune) The chaurisha represents the originality of Odissi style. All
the thirty-four letters of the Oriya alphabet from 'Ka' to 'Ksha' are
used chronologically at the beginning of each line. A special feature
of Odissi music is the padi which consists of words to be sung in
druta tala (fast beat). Odissi music can be sung to different talas:
navatala nine beats), dashatala(ten beats) or egar tala (eleven
Odissi ragas are different from the ragas of Hindustani and Karnataki
music. The chief Odissi ragas are Kalyana, Nata, Shree Gowda, Baradi,
Panchama, Dhanashri, Karnata, Bhairavee and Shokabaradi.
Thus we see, that classical Odissi music lacks nothing in grammar,
rhetoric or composition to compare with Hindustani or Karnataki
styles. It owes much to Jayadev, the saint-poet, the great composer
and illustrious master of classical music.
The greatest exponents of Odissi music in modern times are the late
Singhari Shyamasundar Kar, Markeandeya Mahapatra, Kashinath Pujapanda,
Balakirshan Das, Bhubaneswari Misra and Shymamani Devi. Who have
achieved eminence in classical music include among others Sunanda
Odissi Dance :- Odissi dance is the typical classical dance
form of Orissa and has its origin in the temples. The rhythm, the
bhangis and mudras used in Odissi dance have a distinctive quality of
Odissi dance deals largely with the love theme of Radha and Krishna.
It is a lyrical form of dance with its subtelety as its keynote.
Mahari Dance :- Mahari Tradition of the Sri Mandira is the
beautiful Parijata flower of art an history of Utkal. It also makes
living by its fragrance and the touch of nationl. It has been doing so
far from the time immoral. It has made the art of Utkala glorious
Mahari tradition is the same and one union of Lord Jagannath and great
Folk Dances :- The Jatra. Pala and Daskarhia represent
important aspects of Orissan folk culture form an integral part of the
lives of the rural folk. Today television s these programmes, thus
making the city people conversant with these folk art forms. Jatra,
corresponds to folk theatre. It is the enactment of a play with a cast
and comprises music, dance, acting, singing and dramatic conflict.
Chhau Dance :- Chhau is an ancient dance form. It originated in
the mock fights of the Oriya paikas (warriors) who fought rhythmically
to the accompaniment of indigenous music instruments The highly
Stylised Chhau dance of today follow the basic principle of the Natya
Shastra of Bharat Muni and the Abhinaya Darpana of Nandikeswara.