Guru Ramhari Das is not only an individual genius but an institution by himself shining like a polestar in the firmament of Odissi music. A National and State Sangeet Natak Akademi awardee, he is also a recipient of Senior Fellowship, Union Ministry of Culture. He chaired the post of HoD, Odishi Vocal Department of Utkal Sangeet Mahavidyalaya, and subsequently adorned the post of Chief Executive, Odishi Research Centre under the State Government and Professor, Utkal University of Culture. He was also a General Council Member of the Sangeet Natak Akademi, New Delhi with many other prestigious assignments. Presently, he is Vice-President of the Odisha Sangeet Natak Akademi. He had his initiation under his uncle Radhakrushna Das and had his tutelage under illustrious gurus like Pandit Markandeya Mohapatra, Sangeet Sudhakar Balakrushna Das, Gopal Chandra Panda and Bhikari Charan Bal in the Odishi Vocal Department of Utkal Sangeet Mahavidyalay. A teacher, singer, researcher, author of books and composer of innumerable songs, pallavis, dances, dramas and other items of Odishi dance and music with impeccable euphony, he has been a precursor of the Odishi musical tradition of excellence. He has left an indelible imprint on the residue of the collective unconscious of Odishi song lovers by his inimitable style and perfection of singing. Endowed with a gifted voice with bewitching sweetness and poignant intensity, clarity in utterance of words with flawless intonation and modulation, subtle touches, a powerful yet delicate voice throw together with an extraordinary sense of laya, variation in Swara Vistar; he has carved a niche for himself in the classical musical streams of India. An unrivalled exponent of Odishi song, he has excelled in presenting all the forms of the Odishi music system like Odishi Ranganga, Odishi Bhavanga, Odishi Natyanga, Champu, Chhaanda, Malashri, Pallavi, Geeta Govinda, Janaana, etc. Awards and accolades at the Pan-Indian scenario and at the international level came showering upon him during his career. A unique feature in his long journey is that he has been performing both as solo and accompanying vocalist to Odishi dance in the country and abroad since last three decades. In an interview to The Pioneer, Das spoke to Sugyan Choudhury at his ‘Ramahari Das Odissi Gurukula’ located at Satyabadi of Puri district.

From among the many genres of drama, dance and music of our country, what is the significance of classical dance and classical musicIJ

The word classical in Western tradition is understood as ‘Shastriya’ in Indian tradition. Although the word classical denotes and connotes things ancient, it is also true that all ancient songs or dances are not classical. The long-cherished continuity of either dance or music following a definite pattern of rhythm, beats, song sticking to a tradition of excellence can be ascribed the term classical.

While there are eight classical dance traditions recognised in the country, there are only two traditions of songs like the Hindustani and the Karnataki style recognised. Is it not amounting to imposition of sanctions when there are many classical genres of songs noticeable across the countryIJ

I do fully agree with your observation. Our country is a vast subcontinent gifted with dispersed styles of classical song tradition of excellence. The presence of these traditions is found regionally and State-wise as well. Hence, only recognition of two styles of song traditions at the cost of many is abominable. An excellent tradition of Odishi song with definite beats, resonance, rhythm has had been existing from ages past, but it is still a matter of great regret remaining unrecognised as classical till date. In my

opinion, a variety of classical cultural tradition of songs of our country ought to have been lent with the classical tags for promotion and propagation of song traditions of excellence. This has happened in case of dance traditions like Odishi of Odisha, Manipuri of Manipur, Samiya of Assam, Kuchipudi of Andhra, Kathakali and Mohini Attam of Kerala, the dance forms being recognised as glorious chapters in dances throughout the world. Hence, lending credence and recognition to songs of our country possessing classical traits shall open new horizons and bring fame for our country from the world scenario.

What’s the position of Shastriya Odia songs in comparison to and in contrast with Hindustani and Karnataki styleIJ

It is not a question of camaraderie with Hindustani or Karnataki style. Odia classical song is great in its own ways, lofty in its style and embellished in its own beats and rhythms. Odishi songs are interspersed with such distinguishing features which are discernible in the other two classical songs like Karnataki and Hindustani. Our Odia Shastriya songs are pulsating with vibrant rhythms accompanied by sonorous music in a linguistic minimum with the aesthetic absolute. This great Odishi song form is associated with the hallowed cult of lord Jagannath.

How Odishi Shastriya Sangeeta is recited with classical waysIJ

like the Dhrupada, Dhamara, Khayala, Thumri, Tarana in Hindustani system, like Kruti, Kirtanam, Padam, Barnam, Jabali in Karnataki system, Odishi Shastriya (Classical) songs are sung through various compositions like Odishi (Dhrubapadanga-Raganga-Bhabanga-Natyanga), Champu (Manushi, Matruka Prabandha), Chhanda (Panchali Prabandha), Chautisha (Manushi, Matruka, Panchali Prabandha, Geeta Gobinda, Janana, Pallabi).

How can one tell Odishi songs apart from the Hindustani and the Karnataki songsIJ 

It is purely a technical matter. There is one word ‘Gamak’ which means in Sanskrit vibration of voice. In Odishi Shastriya songs, there is employment of ‘Gamak’ that tells a listener about the distinctive identity of Odishi songs which is clearly apart from the other two Indian classical songs.

What then prevents Odishi songs from obtaining its due classical tagIJ

Odishi Shastriya song is undisputedly a different style of classical song having a glorious tradition of excellence. Attempts have been made since the days of Kabichandra Kalicharan Patnaik to achieve its due status as a classical tag. Studies on Odishi song, research, activities and sincere efforts by various Odishi cultural organisations are on; and I am sure one day Odishi song shall achieve its due classical tag not just by appeal and persuasion but by its sheer merit. If winter comes, can spring be far behind!

What about the role of our State Government in promoting Odishi song to its desired positionIJ

Our Government is trying its best in this regard. One Sangeet Natak Akademi, one Culture University and Odishi research centres are working in this respect. Of course, I must admit that we have not achieved the target as yet despite governmental efforts.

What do you expect from the Department of Culture, Government of India in this regardIJ

In my opinion, the Culture Department in the Government of India ought to have set the ball of discussion on rolling from their own side to accord its due status to Odishi song without remaining contented with the existing two systems.

What are your opinion and valuable suggestions to obtain the desired status for Odishi songsIJ

Definite steps should be taken in a mission mode to achieve our goal. Odishi classical songs should be made mandatory for presentation during celebration of Government-sponsored ceremonies. Odishi songs should find their proper places while other classical song extravaganzas are held in our State. Various Odishi genres like Champu, Chhanda, etc., etc., should be presented before the State guests and dignitaries like the PM and the President of India. A written manuscript justifying our genuine demands in the model of the one we submitted for making Odia language a classical one ought to be submitted before the concerned Ministry for providing the raison d’etre.