This manuscript was published some time around 1946.
Friday, December 23, 2011
This manuscript was published some time around 1946.
Tuesday, December 20, 2011
- Yuba Udayan started in 1997 to bring all the theatre activists otogether.
- Veer Surendra Sai All Orissa Sambalpuri Drama Competition was born for the revival forthe Kosli / Sambalpuri drama activities. In the inaugural year only 19 plays were presented and the next fourteen years witnessed 346 plays being staged. Kosli theatre has engaged scripts, directors and artists to work for performing these dramas.
Friday, December 16, 2011
Thursday, December 1, 2011
Wednesday, November 23, 2011
Nearly two decades ago, Jitendria Haripal sang 'Rangabati', a number that was on everyone's lips. The cassette outsold the competition. Now, Haripal, a dalit and one of the foremost exponents of Sambalpuri geet, lives in penury in a slum, says noted journalist P. SAINATH.
Rangabati, O Rangabati (Colourful Lady) You are like a golden creeper...
IT was a hit song like almost no other. Though from Orissa, "Rangabati" captured huge areas beyond that State. The Golden Creeper spread through Chattisgarh, then entwined much of the Hindi belt. There was a time in the 1980s when no self-respecting truck driver hit the road without the cassette. Tea shops reminded clients of their existence with the song blaring. No one knows how many vinyl records were sold, but it made gold disc status within its first three or four years of play. As for the cassette version, its sales were in countless lakhs. It generated a fortune in revenues for both music companies and pirates.
The voice that powered that track has lost none of its charm and magnetism, but sounds dejected and weary today. For its owner lives on the breadline in a Sambalpur slum. Jitendria Haripal, a top exponent of Sambalpuri geet, made next to nothing out of the song's financial success. Haripal has shared the stage with other leading artists of this State. That includes former Chief Minister Giridhar Gamang, himself a fine musician. Haripal is a dalit from the Dom community. One who dropped out of school. And was never let into the music sabhas as a youth. The voice that launched "Rangabati" is entirely self-trained.
"Like people whose names you forget, but whose faces you remember, I know the raagas but not their titles.
"It is only when people tell me that the song you have sung is in this or that raag that I get to know the names."
When and how did Haripal decide to go professional?
"But I never did. Even today, I never think of myself as a professional. I am an artist, not a performer. This is a pride not a profession. It is art, not employment. It is a Dom tradition, too. What the people on radio and television call Sambalpuri geet is gaana. The music of the Gaana people. Of the Dom people.
"My father Mandath Haripal did not perform in public the way I did. He tried to make a living picking tendu leaves. But he was a talented musician. I used to go into the fields with him and sing. We were bhumihin (landless). No property, no assets. But we could sing. We had music.
"No. I was never formally trained. Nor did I ever do a course in fine arts. We are dalits, you see. How could we enter a music sabha? That too, in those days? And I could never afford a teacher. So I used to stand outside these sabhas or wherever classes or performances were held, and listen. I can recall times I stood in the rain listening to music shows where I would not be welcome inside. By these means, and simply by singing, I taught myself."
Haripal began as an artiste in All India Radio in 1971. "Those days the recording fee was Rs. 15. Some years later it became Rs. 75." It is Rs. 900 today in his grade which is "Senior B High" artist. But he feels he gets fewer recordings than are due to him each year. He has done road laying work, construction labour and other odd jobs at different times. "Music is not a safe source of earning."
"'Rangabati?' Ah, yes. I knew you would ask me about it. See you have come this distance to talk to me about that song. How many others have heard it in how many places? It is a love story, a duet. A simple love song in pure Sambalpuri style."
"It was an AIR recording around 1975-76. The writer of the song was Mitrabhanu Gaunthiya. As you know, that song exploded on the scene. All know how popular it was, and still is. Soon a music company - INDRECO - got interested. They wanted to cut a record. So around 1976, I went to Calcutta. And the recording took place." But the disc was not released.
The first of a series of tragic events had begun. A dispute over authorship of the tune. Haripal says, "How can anyone doubt it was my tune?" Someone did though and the row dragged on. Interestingly, no one ever denied that the song's phenomenal success was due to Haripal's rendition. Also the lively voice of his female co-singer Krishna Patel. The record was stuck. What happened next is not quite clear, but Haripal says he won in the courts. "The disc was released around 1978-79."
It was a smash hit. "'Rangabati' is an all-time great," says Syantan K. Rath. An Assistant Station Director of AIR at Sambalpur, Rath says, "Cassette sales in lakhs? We should be counting that one in millions. He certainly did a brilliant job with that song." The music company thought so too. It got Haripal to sign a contract. This, he says, was for three years, with the option of a two-year extension. And then the company went into a lockout.
"I was stuck. Even though there was a lockout, I was under contract. I could not perform for anyone else." Two years later, the company in that avatar, he says, closed down. Just when he was to have got a gold disc to honour his record sales. "All I had got was around Rs. 10,000."
Rangabati, Rangabati... You are like a full moon in a damaged house...
"I don't know when the cassette came out. All I know is I was told the company had closed down and all my royalties stopped." Meanwhile, companies changed hands. Owners came and went.
Since Haripal was not aware that a newly released edition of his cassette existed, we went to the bazaar. There we found one of the many versions of the cassette that have made the rounds for two decades. The cover does say INDRECO. And "Manufactured and Marketed by the Gramophone Company of India." Packed in July 1999. All of which could still mean nothing. Many pirated versions use the names of big companies. Unless, of course, a revived company was putting out the cassette again.
"Who knows? I certainly do not. Maybe somebody there does not know the history. And what can I do anyway?"
However, the recording quality is quite good. And there is one strange feature to the tape. The voices on it are unmistakable. So is the music, advertised as "Sambalpuree Folk Songs". But nowhere do the names of Jitendria Haripal and Krishna Patel appear on it. That hurts the musician more than anything else. "I cannot get into these fights, you know, I would just be grateful if whoever did this made a just settlement with me. We too, are entitled to a fair deal, no?"
The discovery leaves him dejected but not bitter. "All I want is a fair amount. That which is due to us should come to us.
"We are not cut out to do business, I think. I tried the Cuttack companies, but they finished us. Western Orissa artistes can never get a good deal in coastal Orissa. I once tried financing my other music on my own cassette. The company I went to in Cuttack used sub-standard tape. So that venture collapsed. I lost all my money."
As "Rangabati" rankles, he shifts ground. "I consider myself a student to this day, when I am 50. Maybe because I never got to learn formally. The intolerance we faced as Doms was humiliating. We shrank from the contempt of others. This was, and is, our culture. What you call Sambalpuri culture. But being dalits, that is how we were treated."
The school drop out is a music scholar. "Sambalpuri geet is as old as society. One thing, always remember. Everywhere in the world, folk songs are older than classical tradition. Not just older, but much, much older. I believe all folk music in the world is related. There is some common content, some kinship. In India, those links are deep.
"Sambalpuri has three kinds of geet (song). Of these, prem (love) and mausam (season) geet are deeply related. Mausam geet is 'seasonal' in a wide sense. It includes natural seasons, weddings, harvest, sowing, and the like. After all, when we go to the fields and out into nature, we sing of our lovers. Prem and mausam geet are far more prolific in Sambalpuri than the third type, bhajan.
"I am not just a Sambalpuri singer. My hobby is to listen to folk music from everywhere. Listen..." And he demonstrates the tradition he is talking about. The slum comes alive with Haripal's vibrant voice. With snatches from the songs of the Bauls of Bengal. Of Chattisgarhi love songs. Effortlessly, he makes us see what he is talking about. The common elements of Sambalpuri, Bhojpuri and Oriya. Then of Baul, Chattisgarhi and Dhakia Bengali music. He explores the links of some elements of these to Nepali folk as well. It is impossible to see "Rangabati" as an accident now. This is a versatile musician with a deep understanding of his art.
But it was that song which made him famous. His greatest memory is of the day a crowd that recognised him at Batapur railway station. It refused to let the train move. Not unless Haripal sang "Rangabati". "Finally, the train driver told me that I had better sing a few lines if we wanted the train to move!"
But that day is past. Haripal's family troupe still tours but makes little money. And disaster still strikes. "The rains here two years ago destroyed us," says Chandrika, Haripal's daughter. "We lost all our instruments. Ever since, we have had to hire instruments or borrow them." The troupe gets engagements, but does not make much. "There are all the accompanying artistes to be paid," she says. By the time that is done, Haripal might not be left with Rs. 3,000 from a performance.
Haripal also feels he has been sidelined by the culture establishment. "I was to represent the country at the Festival of India in Moscow. At the last minute I was dropped. This has happened to me many times. Even at the Independence Day Golden Jubilee celebrations in Delhi. They take my song, they do not take me."
Some, though, are sympathetic. "He's a very good artiste, with mass appeal," says AIR's Syantanu Rath. He plays down - as does Haripal himself - the singer's alcohol problems. Those were brought on after the series of reverses and losses he faced. "Haripal is moody and temperamental. Hardly a new thing in a recording artiste."
Rangabati, Rangabati... My heart is full with jasmine fragrance...
Of my heart is throbbing for you...
Later, all the way down the road to Malkangiri, we found the tea shops still had the song. "Rangabati" is not forgotten. Haripal is, though.
"Do you think if we find out who is in charge, they might show some respect?" he asks about the tape. Life has seldom shown him much of that commodity. So he is not sure. "I do not want to fight anybody. There should be some justice. This is my art. This is my life and love..."
Rangabati, Rangabati... dear, please don't harass me...
Friday, October 28, 2011
Monday, October 24, 2011
1) Sri Atal Bihari Panda
2) Sri Kapileswar Prasad Mahapatra
3) Sri Shrikara Mishra
LANGUAGE & LITERATURE
1) Dr. Dolagobind Bishi, Titilagarh ( Essay)
2) Shri Bipin Acharya, Sambalpur (Poetry)
3) Professor Kesharanjan Pradhan, Padampur (Drama)
4) Shri Dhanpati Mohapatra, Bargarh (Novel)
5) Dr. Santosh Kumar Rath, Balangir ( Story )
The presentation ceremony will be held at Sonepur on 30th Oct. 2011.
Tuesday, October 18, 2011
Tuesday, September 27, 2011
Thursday, September 22, 2011
Dr. Manmohan Singh, Honourable Prime Minister of India
Smt. Partibha Patil, Honourable President of India
Smt. Sonia Gandhi, Honourable UPA Chairperson
Smt. Sushma Swaraj, Honourable Leader of Opposition
Mr. P. Chidambaram, Honourable Union Minister of Home Affairs
Mr. Kapil Sibal, Honourable Union Minister of Human Resource Development
Shri Murlidhar Chandrakant Bhandare, Honourable Governor of Odisha
Mr. Naveen Patnaik, Honourable Chief Minister of Odisha
Honorable Members of Parliament from Odisha
Esteemed Honourable Prime Minister, Dr. Singh,
In the past few years the central govt. has included different Indian languages in the 8th schedule of the Indian constitution by the recommendation of various committees. It shows prudence on the part of Indian government in being flexible in recognizing the complexity of linguistic diversity in India. In 2003, the 93rd Constitutional Amendment was passed which enabled the government to have a fresh look at the possibility of inclusion of other Indian languages in the 8th schedule. Consequently, four languages, viz. Bodo, Dogri, Santhali and Maithili were judged to be included in the 8th schedule. We the people of Western Odisha were hoping that Kosli be included as well because our situation is identical to that of Maithili as it is explained in the following sections of this memo. Therefore, we humbly request you to examine our request by the same yardstick used to include the four recent languages in the 8th schedule of the Indian Constitution.
It is said that the right of a mother tongue is a basic cultural right of the people which link them with their economy, socio-cultural system and political right. UNESCO has recognized that the concept of language equality among all languages is important irrespective of whether the languages have a script or not. Furthermore, the Indian government is promoting the mother tongue based multilingual education to reduce the school drop-out rates and to enhance communication using a mother tongue.1 This is a good and praiseworthy initiative taken by the Indian government. In this regard, the Kosli language (also called Kosli-Sambalpuri, Sambalpuri) is the mother tongue of ten districts of western Orissa (Kosal region) viz. Balangir, Bargarh, Boudh, Deogarh, Jharsuguda, Kalahandi, Nuapada, Sambalpur, Sonepur, Sundargarh, and Athmallik subdivision.2 In addition, a large population of Raipur, Mahasamund and Raigarh districts of Chhattisgarh state also uses Kosli language as their mother tongue.2
The Kosli language and literature is vast as it is blessed with a group of dedicated writers. A large number of books are published regularly and available in the Kosli language. Epics like “Ramayana”, “Mahabharat” and “Meghduta” are translated into Kosli language.2 Kosli language has a rich literature in different areas viz. Architecture, Astrology, Mantra-Tantra-Yantra science, Medicine, Yoga, Music, Arts, Dance, Drama, Yoga, Philosophy, and Grammar.
Kosli dramas, songs, and dances are popular across the world. Kosli dramas are highly acclaimed and regularly staged at various places of India. For instance, a recent Kosli language play “Maau” is aiming to enter the Limca record book by becoming the biggest ever stage show of its kind in the world.2 In addition, the Kosli language cinema is attracting world wide attention. “Bukha (Hunger)” a Kosli language movie has won the Indian national award, an international jury award at the Gijón International Film Festival, Spain and was selected for World Rural Film Festival, Aurrilac, France.2 The All India Radio (viz. Sambalpur, Balangir, and Bhawanipatna) and television channels (viz. Nxatra news and OTV) are broadcasting their news and entertainment programs in Kosli language.
More than five registered newspapers and seventy magazines are available in Kosli language.2 Unfortunately Kosli language has no political and official support although there was a discussion in the Indian parliament to include Kosli language in the 8th Schedule of the Indian constitution.3 Recently the Orissa govt. has recommended the Ho language for its inclusion in the 8th schedule of the Indian constitution.4 This is a welcome step. Along this line, we sincerely hope that the Orissa govt. will recommend Kosli language for the inclusion in the 8th Schedule of the Indian constitution.
For the people of western Orissa it is not just a language but a way of life that propel progresses and harmony in the region. The inclusion of Kosli language in the 8th schedule of the Indian constitution will have following positive impacts on the people of western Orissa:
- Kosli language as a mother tongue and medium of instruction:
Western Orissa area contains 40 to 50 % of the state’s population. The key to development of western Odisha is the Kosli language. Drop out rate in schools particularly in rural and Adivashi area can be ascribed to, among other variables, teaching in Odia language which is not used in day to day communication. It is as if learning through an alien language. Kosli is the dominant means of communication through out western Odisha. Though we have several tribal languages, all tribals have functional capability in Kosli not Odia. That is the main reason why KBK has been found literacy rate is so low. We also have large population of scheduled caste in the area who are similarly impacted. It has caused various problems viz. i) the overall marks of students from western Orissa are lower than the students of coastal Orissa and ii) many bright students of western Orissa fail again and again in both 10th and 10+2 examinations because of their poor knowledge in Odia language. Recognition of Kosli language will facilitate education among the kids of western Orissa in their mother tongue and solve the above mentioned problems.
- Freedom of expression in legislative and social sphere:
In spite of aggressive Odianisation, population of western Orissa has retained Kosli language for day to day communication. In large population centers where people of other states, especially from Bihar, Jharkhand, Chhattisgarh, Bengal, Punjab, Gujarat and other North Indian area have come to work, they have opted Kosli instead of Odia because the accent of Kosli follows North Indian pattern. And when poor Koslis go out of their area to seek employment they choose to go to other Hindi speaking area such as Chhattisgarh, U.P, Bihar and Jharkhand instead of Odia speaking area in Odisha. All Kosli can be easily identified by their accent when they try to speak Odia. Elected representatives from western Orissa can not engage in debates in the State Assembly because of their poor knowledge in Odia language. Recognition of this language will facilitate communication in thelegislative and social sphere.
- Research and development:
Dictionaries, grammar books, plays, novels, anthology of poems, granthavalis of major poets, Kosli panjikas, several books on history of Kosal (western Orissa), and biographies on Kosli heroes are already available without any financial help from the government. Recognition of Kosli language will avail grants directly from the central government. This will facilitate the research and future development of Kosli language.
- Ease of governance:
Currently, notices are given in the villages of western Odisha in Odia; not very literates do not understand the full implications of these notices. Civil servants from other areas who do not even have rudimentary knowledge of Kosli language can not communicate with citizens, thus resulting in miscommunication. In fact, Orissa is among the minority of states which claims to have only one language. Out of 28 states, 15 have more than one official language. Out of 7 union territories, 6 have more than one recognized language. In a democracy, freedom of expression is a fundamental right of the citizen. Good governance requires efficient communication between the citizens and the government. In this context, inclusion of the Kosli language in the 8th Schedule of the Indian constitution will facilitate governance in western Orissa.
- Kosli as a distinct language and its socio-cultural impact:
The linguistic characteristics of Kosli language are markedly different. Kosli language is a direct derivative of Sanskrit.5 Odia scholars have accepted it as a dialect of Odia language and Odia language as a member of Eastern Magadhi group of Indo-Aryan family. But genealogical analysis shows two different sources of origin of the two languages, that is, Odia and Kosli language. Odia is originated from the Magadhi Prakrit; whereas, Kosli language is originated from Ardha-Magadhi Prakrit.4 So there is remarkable difference between the two in the sphere of phonology, morphology, semantics and syntax.5 The researchers at the Sambalpur University, Odisha have shown that the Kosli is a distinct and old language.6
Kosli language is intimately connected to the distinct culture and heritage of western Odisha, quite distinct from Odia culture. The unique folk songs and dances blends neatly with rhythm and punctuation of Kosli language. Inclusion of Kosli language in the 8th schedule of the Indian Constitution will promote the culture and heritage of western Orissa.
Keeping the above mentioned points into consideration we request you to recommend the inclusion of Kosli language in the 8th schedule of the Indian Constitution.
Thanking you with best regards,
People of western Odisha and members of the Kosal Discussion and Development Forum (KDDF)
Acknowledgment: We thank the members of KDDF and other e-forums for suggestions. We are grateful to the people of western Odisha for constant support and encouragement.
References:1.http://kddfonline.com/2011/07/31/mother-tongue-based-multilingual-education-kosli-language-as-a-medium-of-instruction-in-the-schools-of-western-odisha/2. http://kddfonline.com/category/kosli-language-and-literature/3. http://kddfonline.com/2009/10/23/parliament-debates-on-koshali-language/4. http://www.orissasambad.com/news_article.php?id=609615. Kosli Bhasa Ra Sankhipta Parichay, Kosal Ratna Prayagdutta Joshi, pp 6, 7, 16, 17, Ed. Dr. Dolagobinda Bishi, 1991.6. Peculiarities of Sambalpuri Language in Its Morphology; Dr. Ashok Kumar Dash, Surta, pp 35-38, Ed. Saket Sreebhushan Sahu, 2009.
Submitted & Approved by
Members of Kosal Discussion and Development Forum (KDDF) & well wishers
Dr. Sanjib K Karmee
Department of Biotechnology
Delft University of Technology, The Netherlands
Dr. Arjun Purohit
Mr. Saket Sahu
Editor, BENI, Bargarh, Odisha
Thursday, September 1, 2011
Monday, August 15, 2011
Saturday, August 6, 2011
Sunday, July 31, 2011
Welcome to KOSAL
"Aamar Sanskruti Aamar Gaurav"
Welcome to the land of culture "Koshal" . Koshal is the land of great warriors. The land of Maharaja's.The land of Maa Samalei, World famous sambalpuri saree , great teracotta works, land of tantrik Vidya, world famous Sambalpuri music and dance.
Koshal consists of ten beautiful districts..
The motto of this community is to bring all the young warriors of koshal to a common platform from where they can initiate the process to preserve the great Koshali culture and swear to free our motherland koshal from atrocities..
So friends lets join hand and do something extraordinary to create a separate identity of us across the globe and create a separate koshal state,full of prosperity and impartiality.
We Consider Kosali language as the mother of Oriya language, the origin of kosali language was found by the historians from Subarnapur in Stambheswari inscription of 12th century A.D. The Kosali language is spoken by about 2 crores of people in the entire KBK belt and Western Orissa and part of A.P., M.P., Chhatisgarh, Bihar, Jharkhand and West Bengal. It is a matter of regret that the Government of Orissa has not taken any interest to improve the standard of Kosali (Sambalpuri) language.
KOSAL COMMUNITY STRONGLY DEMANDS THAT THE KOSALI(SAMBALPURI) LANGUAGE SHOULD IMMEDIATELY BE ENLISTED IN THE 8TH SCHEDULE OF THE CONSTITUTION OF INDIA
So start sharing your views on Koshal.....