|
Mardala
Mardala (, ) is a classical percussive instrument native to the east Indian state of Odisha, traditionally used as the primary accompaniment in Odissi classical music. The instrument is slightly different from other instruments (like Madal, Mridangam, etc.) that might have similar names in the Indian subcontinent due to its unique construction, acoustic features and traditional playing technique. The Mardala is used in a wide range of traditional art forms of Odisha, including Gotipua, Mahari, Odissi dance, Bhagabata Tungi, Sakhi Nata, Prahallada Nataka, Ramalila, Krusnalila, Rama Nataka, Sahi Jata, Medha Nacha, Bharata Lila, Bhutakeli Nata, Odisi Kirtana and more. History Odishan musicologists in ancient treatises have mentioned four distinct kinds of instruments or ''vadyas'' : ''tat'' or stringed instruments, ''susira'' or wind instruments, ''anaddha'' or leather instruments / drums & finally ''ghana'' or metallic instruments. Out of these four, the Mardala falls under ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Odissi Music
Odissi music (, ) is a genre of Indian classical music, classical music originating from the eastern state of Odisha. Rooted in the ancient ritual music tradition dedicated to the deity Jagannatha, Odissi music has a rich history spanning over two thousand years, distinguished by its unique ''sangita-shastra''s (musical treatises), a specialized system of Ragas and Talas, and a distinctive style of performance characterised by specific modulations such as the ''āndolita'' and the ''kurāla''. Odissi compositions are largely written in Sanskrit and Odia language, Odia. The various compositional forms of Odissi music include ''Odissi Prabandha, Chaupadi, Chhanda, Champu, Chautisa, Janāna, Mālasri, Bhajana, Sarimāna, Jhulā, Kuduka, Koili, Poi, Boli,'' and more. Presentation dynamics are roughly classified into four: ''rāgānga'', ''bhābānga, nātyānga'' and ''dhrubapadānga''. Some great composer-poets of the Odissi tradition are the 12th-century poet Jayadeva, ''Krupasidd ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dhaneswar Swain
Dhaneswar Swain (; born on 18 May 1953) is an exponent and Guru of the Odissi Mardala, the traditional percussion instrument of Odissi music. He founded Vadya Vani Gurukula, an institution for training and research in Odissi Mardala and other traditional Odisha percussion instruments. Biography He was born in the village of Nahantara in the Puri district of Odisha to Sambhunatha Swain and Kanchana Swain. He received his initial training in the Mardala from his elder brother, Bhramabara Swain. He joined the Utkal Sangeet Mahavidyalaya in 1970 and trained under Gurus Singhari Shyamsundar Kar and Banamali Maharana. He also learned from Guru Mahadev Rout. Career After working with the Odissi danseuse Sonal Mansingh for a year, in 1979, he joined the Mahavidyalaya as a Mardala teacher and worked there for over three decades. Since his retirement, he has been teaching students at the Ramhari Das Odissi Gurukula, Biragobindapur, Puri district. Through SPIC MACAY, Guru Swain has br ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Singhari Shyamsundar Kar
''Desaraja Adiguru'' Singhari Shyamasundar Kar (, ; 4 March 1908 – 16 March 1975) was a renowned Odissi musician, Guru, singer, scholar and composer. Born to a ''sebayata'' (servitor) family of the Jagannatha Temple, he was groomed under veteran masters of the temple tradition and soon rose to be one of the towering Gurus of Odissi classical music in the 20th century. He was most known for his powerful voice and intricate style, his command over the Mardala as well as his contribution towards the academic institutionalization of Odissi music education. Most of the performers of Odissi music, Mardala and Odissi dance of his period admit to having come under the commanding influence and knowledge of Singhari. He died on 16 March 1975. Born to father Gobinda Chandra Kara and mother Padmabati Debi in the Manikarnika Sahi of Puri town, Shyamsundar was attracted to music from his childhood. He lost his father at a young age and his mother initiated him into music, teaching him tradit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Banamali Maharana
Banamali Maharana (, 16 May 1941 – 17 November 2018) was an Indian percussionist who played Mardala. Career Maharana began playing Khola (Mrudanga) and Dholak with Goswami. His formal training began after he joined the Annapurna Theatre, where he learned percussion from Singhari Shyamsundar Kar and Kshetramohan Kar. His brother, Guru Kelucharan Mohapatra accompanied him to most of his dance performances. Maharana started teaching Mardala at Kala Vikas Kendra in Cuttack and then at Utkal Sangeet Mahavidyalaya. He introduced a seven-year course in Mardala music at the Utkal Sangeet Mahavidyalaya before retiring as the Head of the Mardala department in 1999. Maharana was the most sought-after Mardal player for Odissi performances in his time. Besides Kelucharana, Banamali accompanied Sanjukta Panigrahi, Oopali Operajita, Priyambada Mohanty Hejmadi, Sonal Mansingh Sonal Mansingh (born 30 April 1944) is an Indian classical dancer and Guru in Bharatanatyam and Odissi da ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kelucharan Mahapatra
Kelucharan Mohapatra (8 January 1926 – 7 April 2004) was a legendary Indian classical dancer, guru, and exponent of Odissi dance, who is credited with the revival and popularizing of this classical dance form in the 20th century. He is the first person to receive the Padma Vibhushan from Odisha. A noted Sanskrit poet of India writes on this ''Guru'': ''Saango-paanga-subhangi-laasya-madhuram samteerna-nrutyaarnavam'', which translates as – "Each fraction of his dancing body leads to paramount sweetness, through miraculous poses and postures. In fact, Guru Kelucharan Mohapatra crossed the ocean of styles." Early life and history In his youth, Kelucharan Mohapatra performed Gotipua – a traditional dance form of Odisha where young boys dress up as woman to praise Lord Jagannath. Later in his life he did extensive research on Gotipua and Mahari dance, which lead him to restructure Odissi dance. Guru Kelucharan Mohapatra was a master in Percussion instruments – Mardala ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Utkal Sangeet Mahavidyalaya
Utkal Sangeet Mahavidyalaya is a performing arts-cum-educational institution in Bhubaneswar, Odisha, India. History and Accreditation Utkal Sangeet Mahavidyalaya was established by former Chief minister of Odisha Biju Patnaik on 14 April 1964, under Administrative Control of Odisha Sangeet Natak Academi (OSNA) till 1981. Then, from 1981 to 1999 it was affiliated to Utkal University. Presently, Higher secondary course of this institution affiliated to CHSE, Odisha and Bachelor's and Master's Degree are affiliated to Utkal University of Culture since 1999. Academics It has several departments in the performing arts that students can choose to pursue, such as dance, drama, classical vocal, different musical instruments. * Department of Vocal Music * Department of Instrumental Music * Department of Dance * Department of Drama It offers 7 years of education and training, and includes a two year Higher Secondary School Certificate, a three year Bachelor of Arts, and a two year ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Madal
The madal () or maadal is a Nepalese folk musical instrument. The madal is used mainly for rhythm-keeping in Nepalese folk music. It is very popular and widely used as a hand drum in Nepal. The madal has a cylindrical body with a slight bulge at its center and heads at both ends, one head larger than the other. It is usually played horizontally in a seated position, with both heads played simultaneously. The madal is the national instrument of Nepal and is the backbone of most Nepali folk music. The well-known Nepali musician Ranjit Gazmer introduced this instrument to Bollywood music when he started working under Rahul Dev Burman, and has used it in numerous Bollywood songs such as '' Hum Dono Do Premi'' and '' Kanchi Re Kanchi Re''. There is also a madal drum used by certain Adivasi groups. Construction Two distinct drums The Madal/Kham is made up of two unique drums, which are commonly called the "male" and the "female." When these drums are played together, complex melo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mridangam
The ''mridangam'' is an ancient percussion instrument originating from the Indian subcontinent. It is the primary rhythmic accompaniment in a Carnatic music ensemble. In Dhrupad, a modified version, the pakhawaj, is the primary percussion instrument. A related instrument is the Kendang, played in Maritime Southeast Asia. Its a complex instrument to tune and involves a lot of mathematics to construct korvais. During a percussion ensemble, the mridangam is often accompanied by the ghatam, the kanjira, and the morsing. Etymology The word "Mridangam" is formulated by the union (sandhi) of the two Sanskrit words ''mŗd'' (clay or earth) and ''anga'' (limb), as the Khol, earliest versions of the instrument were made of hardened clay. An Article in the Journal of the Madras Music Academy (Vol. XXIV P:135- 136) Dr V Raghavan opines that the Mridangam gets its name by applying the black paste which produces the specialised tone for the instrument. Eventhough the original version of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gotipua
''Gotipua'' (Odia language, Odia- ଗୋଟିପୁଅ, pronounced ''goṭipuå'') is a traditional dance form in the state of Odisha, India, and the precursor of Odissi classical dance. It has been performed in Orissa for centuries by young boys, who dress as women to praise Jagannath and Krishna. The dance is executed by a group of boys who perform acrobatic figures inspired by the life of Radha and Krishna. The boys begin to learn the dance at an early age until adolescence, when their androgynous appearance changes. In the Odia language, Gotipua means "single boy" (''goti-pua''). Raghurajpur, Odisha (near Puri) is a historic village known for its Gotipua dance troupes. The dance of the Gotipuas is accompanied by traditional Odissi music with the primary percussion being the Mardala. Dancers To transform into graceful feminine dancers the boys do not cut their hair, instead they style it into a knot and weaving garlands of flowers into it. They make up their faces with mix ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kelucharan Mohapatra
Kelucharan Mohapatra (8 January 1926 – 7 April 2004) was a legendary Indian classical dancer, guru, and exponent of Odissi dance, who is credited with the revival and popularizing of this classical dance form in the 20th century. He is the first person to receive the Padma Vibhushan from Odisha. A noted Sanskrit poet of India writes on this ''Guru'': ''Saango-paanga-subhangi-laasya-madhuram samteerna-nrutyaarnavam'', which translates as – "Each fraction of his dancing body leads to paramount sweetness, through miraculous poses and postures. In fact, Guru Kelucharan Mohapatra crossed the ocean of styles." Early life and history In his youth, Kelucharan Mohapatra performed Gotipua – a traditional dance form of Odisha where young boys dress up as woman to praise Lord Jagannath. Later in his life he did extensive research on Gotipua and Mahari dance, which lead him to restructure Odissi dance. Guru Kelucharan Mohapatra was a master in Percussion instruments – Mar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Prahallada Nataka
Prahallada Nataka ( ''Prahallāda Nāṭaka'', or simply ''Rajā Nāṭa)'' is a traditional play native to the Indian state of Odisha. It narrates the story of Vishnu's man-lion avatar, Nrusingha or Narasimha, through over 200 songs based on almost 35 ragas of Odissi music. The play is based on a text by Raja Ramakrusna Chhotaraya, King of Jalantara, a small kingdom in former southern Odisha, now in the Srikakulam district of Andhra Pradesh. History The district of Ganjam had eighteen feudal chiefs, or ''zamindars'', who called themselves Rajas. They were patrons of art, literature and culture. The ''Prahallada Nataka'' was born in one such kingdom, or ''zamindari''. The primary text of the ''Prahallada Nataka'' was written in the mid-19th century by Raja Ramakrusna Chhotaraya. Dr. Bhagaban Panda dates it to 1829-1927, Suresh Balabantaray places its creation from 1857-1905, and Dr. John Emigh dates it to 1870-80. Ramakrusna was the Raja of the small princely state of Jalanta ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Membranophone
A membranophone is any musical instrument which produces sound primarily by way of a acoustic membrane, vibrating stretched membrane. It is one of the four main divisions of instruments in the original Hornbostel-Sachs scheme of musical instrument classification. According to Curt Sachs, Sachs, Hornbostel-Sachs The Hornbostel-Sachs scheme of musical instrument classification divides membranophones in a numeric taxonomy based on how the sound is produced: *21: by hitting the drumskin with a hand or object (most common form, including the timpani and snare drum) *22: by pulling a knotted string attached to the drumskin (common in Indian drums, and can be considered an example of a chordophone as well) *23: by rubbing the drumskin with a hand or object (common in Irish traditional music, an example is the bodhran) *24: by modifying sounds through a vibrating membrane (unusual form, including the kazoo) Length and breadth Membranophones can also be divided into small divisions bas ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
