Neelambari

                                                         Neelambari

 It is an educational institution specialization in study, training and research in music. This institution provides training and certification in vocal and instrumental music including instruments like mardal ,tabla and classical dance form in OdishI. It conducts musical programs in different parts of Odisha and receives accolades and recognition. Neelambari celebrates its annual day on 26th April every year. Legendary classical musicians of India join on our program and continue support to our institution.

GLIPMPSES OF UDRAPADHATIYA SANGEETA

Udrapadhitya Sangeet is the outcome of the continues process of evolution of the Lord Jagannath Temple music, which had been cultured in the Jagas-Akhadas-Sasanas karabadas of the old undivided Puri districts. The immediate source of origin of udra padhatiya sangeeta is ‘Paramparika odisi sangeeta’ ,which which is the modified and grammaticised form of Jagass-Akhadas-Sasanas-karabadas sangeeta.

History of uchhanga sangeeta(classical music) in Odisha dates back to the period when aryans became migrantstes of odisha.Therefore, it can be said that vedic music was vogue in Aryan socities of Odisha.This bedic music(Saama-Gaana)was replaced by gandharba-ganna ,which continued till it was replaced by Jatti-Gaana and Charya pada-Gaana,a part of Prabandha Gaana was continuing in odisha till it was replaced by jayadebic music.

It was Shree Jayadeba who was the sacreed devotee of lord Jagannath.as well as a poet-cum-musician,who brought a change in contemporary Uchanga Sangeeta(Charyapada-Gaana) through his composition of Srigitagobinda. jayadebic music was catagorised as Dibya-khyudragita-prabandha,which was seen in the world famous jagannath temple till the attack of kalapahada towords 1565.

In course of time various Adivya-khudragita-Prabandha composed in the light of jayadebic music which were introduced in jagannath temple music ,gradually Adibya-khyudragita-Prabandha gained wide spread popularity through the musicians Jagas-Akhadas-karabadas, as well as Akhada Piladalas of Odisha.

That Jaga- akhada music was continuing in a flourishing condition during the period from the reign of Raja Rama Chandra Deba till the first or second decade of the British rule in Odisha(1803AD-1947)

During the British rule the jaga akhada culture was affected to a great extent for which the voice of Jaga Akhada Sangeeta started choking. But some how this Jaga Akhada music could be survived for getting the financial support of the rich members of Jagas-Akhadas,Jamidars and Mathadhisas.After our independence the academies in center and states were established in our country to revive and project various diminishing arts of our country. Unfortunately the Jaga Akhada Sangeeta of odisha could not be revived till the Dipabali of 1966. It is after establishment of Odishi Bikas Pratistanin the dandigopinatha Bhawan situated in the Sahid Bengapania road near Manakhuntia lane of Puri town, the survey and revival works were started by the experts of Pratistan from the year of 1966. As a result of which the book kishore Chandrananda Champu Lahari written by Damodar Hota could be published by Odishi Bikas Pratistan Puri in the year of 1971.

The Music of Champu Gaana of the book Kishore Chandrananada Champu Lahari is a part of Paramparika Odishi Sangeeta or Traditional Odishi Music. Few year after publication of the above book three other important book related to Traditional Odishi Music namely the part-1, part-2 of Srimandira Sangeeta Mala and Paramparika Odishi Sangeeta part-1 were published. In addition to the above books Lakyana o Swaramalika lahari related to traditional odishi music and Udra Padhatitya Mela Raga Tala Lakhyana a grammer book of Traditional Odishi music were also published.

The publication of above books saved the Traditional Odishi Music to a great extent. This effort of the Odishi Bikash Pratistan helped the musicians to sing Traditional Odishi Music according to the notations given in the above books. The singers of traditional odishi music do not get scopes to improvise Raga,Tala,Pada.for which the traditional odishi music has been lagging behind in the race course of the Indian classical music

To overcome this Lacuna ,due attention has been given on the proper improvisation of the Raga,Tala,Pada,of Traditional Odishi Music as a result of which a new form of music in the shape of Udra Pdhatiya Sangeeta has been tranceformed.In other words the developed form of traditional sangeeta has become Udra Padhatiya Sangeeta.All the assential ingredients like Mela, Raga, Tala, Prabandha, Presentation system ,Sudha-Bikruta Swara, gamakas of Udra Padhatiya sangeeta have dinstinctive musical entity and classicism.

Therefore Udra Padhatiya Sangeeta is a third padhati of Indian classical music and which is real forerunner of Shree Jagannath Temple Music.