PANCHABADYA (Folk Instruments of Western Odisha)

PANCHABADYA

     Before going into the topic “Panchabadya”, we should have some idea regarding the “Lokabadyas” as “Panchabadya” comes under this category. So, now the question is what people call a “Lokabadya”? Well the answer for this question in layman language is the instruments/ badyas manufactured, used and played by common people of the villages. In other terms, it can be said that the instruments that are being used in Folk dances and Folk Music are known as “Lokabadya”. According to some philosophers, the “Dambaroo” of lord Shiva is the first Lokabadya.

  The combination of five Lokabadyas of western Odisha is known as “Panchabadya”. It has also have some local names they are :

o  Ganda Baja

o  Dulduli Baja

o  Bajnia Baja.

 

The instruments which comes under Panchabadya are:

·  DHOL

· NISHAN/LISHAN/LUHA 

  ·TASA

·       TIMKIDI / TIMKI 

·        MUHURI

“THE BAJNIAS” PLAYING PANCHABADYA

 

Live performance of  the BAJNIAS

        During the song of any performances based on these , only Dhol is being played  and later the ambience fills with the vibrant rhythm of musical instruments like Dhol, Nissan, Tasha, Jhanj and Muhuri at the end of the songs. The Dhol is the leading instrument, is a large membranophone.

        The large long double conus drum (90 cm to 1.5 meters in length) is formed from a tree trunk, its two sides are covered tautly with cow hide (gai chamra). The dhol has stripes of cowhide(badi) tightened with a pair of metal rings (kol-kola/bala).The right hand side is known as the tali / chayaan whereas the left hand side is known as the dhayaan.

       The chayaan is slightly smaller (37 cm in diameter) than the dhayaan (38 cm in diameter). The dhayaan is normally played with a stick near about 30 cm in length known as dhol khada. The sound of the dhol is clear, bright and very dynamic.

 

DHULIA

The dhol has the central importance in developing the rhythm and orienting the goddess. The dhol player is known as the dhulia, typically directs all changes of rhythm played by the ganda baja group. All the rhythms are simple and improvised, apart from the introductory rhythm sequences (adighat). The musicians learn the rhythmic & melodic through a sophisticated culture of listening. In essence they play improvisations of various rhythms that  they have  learnt from childhood. The Nissan, another membranophone, is a kettle drum with a tapered wooden form covered with iron sheets. It is thought to be the most ancient instrument of village orchestra. The wooden body of the Nissan with the iron sheets is strung with cowhide. The cowhide with its narrow border (chipra) is often decorated with deer antlers. The Nissan is played with two rubber sticks known as chimta.
The Nissan is always plated with maximum strength and thus has a deep, penetrating sound, which, say the musicians, reminds them of a thunderstorm. The tasha is a small membranophone, is a clay (matul) drum tautly coverd with cowhide. It’s shape tapers to a flat base and it is played with two thin bamboo sticks. On the border (marla/mola) of the hide, stripes (badi) are used for tuning the instrument. The sound of this instrument is very high & thin.

The muhuri is an oboe-like instrument made with a combination of brass, wood and taal leaf. Its sound plays a crucial role in changing musical moods. The jhanj are iron cymbals. All the instruments of panchabadya ensemble play both tune & rhythm together. The most important qualification for a panchbadya musician is the ability to listen to what other musicians are playing and to learn to play and improvise together. There is no classical gurus conductor. Playing these instruments implies a sophisticated culture of listening and improvisation, which becomes evident when the rules of improvisation for the panchbadya musician are considered. The beat of the right hand tali side dhol provides orientation for the tasha, which then beats a double rhythm. The beat of left hand dhayaan side of the dhol provides orientation to the Nissan, which then strikes a counter –rhythm to the beat of dhayaan. As the sound of the muhuri is often supposed to resemble the voice of a flirtatious woman, this is played in an extremely enthralling way. The cymbals interlace into the rhythmic tissue with the same or counter pulsation.

I owe my sincere thanks to :

Mr. Bharat Gaurab Dash

(Founder Director,

Folk Traditions & Academia)

Photo courtesy :

Kalajibi,Bargarh 

Asisha Creations.

Content researched and written by :
SUPRITEE MISHRA
Lecturer (Sambalpuri Dance)
School Of Performing Arts 
Sambalpur University
Odisha.

E-mail - supriteem@gmail.com