I hope you’d have read the first part of this article which covers Kēdāragauḷa of the Carnatic tradition and its different approach in the sōpāna saṅgīta. Now, let’s look into its sequel which throws light upon the rāga Kēdāragauḷa as handled in Oḍissi Saṅgīta. 

With the employment of gamaka-s like kurula, humphita, āndōḷita, etc., Oḍissi Śāstriya Saṅgīta’s svara-s are mostly based on the Bhinna gīti or curvilinear patterns. Though most of the svara-s and its sthāna-s are very similar to the Carnatic tradition, just with the inclusion of kurula gamaka-s, one can observe anya svara-s added to it. It is known as kēdāragauḍa in Oḍissi music. The phonetic based variations can be seen as the musicians of Oḍissi pronounce a as o, va as ba, śa as sa and ya as ja. 

Here is an Oḍissi - Jhūlanā Saṅgīta, the traditional music of Jhūlanā Jhātra (swing festival during monsoons) of Lord Jagannātha.  

Sajani Radha Mohane by Pt. Biswanath Pujapanda 

This rendition begins with the unconventional kākalī niṣāda. These are certain repetitive phrases used: ṙ2ṡ ṡn2 n2d and d2n2pd2 n3,,. The phrase, nṡ nṡ dn dn p,,, is actually pronounced as n, ,, d, ,, p, ,, wherein the nṡ nṡ comes within n , and dn dn comes within d, ,,. Similarly, the following phrase - ,,m, pdn, n,d, pdpd mpgm rmgm rgs, is actually sung as m, n, d, p, m, g, s, and hence it is svara wise similar to the kēdāragauḷa of the South but with the natural inclusions of oḍissi-exclusive gamaka-s, anya svara-s are also added to it. The tāla pattern is similar to our miśra cāpu in slow tempo which is called jati tāla. While the South Indians are tuned to listening to percussion accompanying artistes following the vocalist’s rendition, one might find it different and interesting to note the marddala’s bōl-s which are in mēl kāla while the pace of the rendition is in sama kāla. The range of this composition is from madhya ṣaḍja to tāra madhyama.

Oḍissi music comprises of different musical forms like prabandha, chaupadī, cautīśa, chanda, campu, jhanana, jhūla, pōy, etc. Bhajan Sāmrāṭ Pt. Bhikari Charan Bal is renowned for his rendition of devotional songs in Oḍia and hence let’s listen to an archival collection of him rendering a short chaupadī in the raga, Kēdāragauḍa. 

Binajina Bharati by Pt Bhikari Bal 

Flute or bansī is considered as one of the important instruments of Oḍissi music. The commencement of the flute prelude in this recording, gives a feel of the rāga, dēś for the first few seconds as more priority is given to the kākalī niṣāda. After listening to the previous recording, one can evidently find the difference between the two styles of rendering kēdāragauḍa - the traditional one and the latter with a folk touch. This is also set to jati tāla but in a faster tempo. The quick bhṛgā-s are a typical trait of Pt. Bhikari Bal. Unless the ārōhaṇa phrase hits the ṣaḍja, it is the kaiśiki niṣāda which is used predominantly. Only when a prayōga is sung to reach the ṣaḍja, it is halted at the kākalī niṣāda and then proceeded to the ṣaḍja. In kēdāragauḷa, we find more importance given to the pañcama while only nārāyaṇagauḷa (allied rāga) includes nyāsa at madhyama. Since this composition begins with the madhyama, it gives yet another different flavour. Every time the sunō rē is rendered with svarākṣara as S-P, it gives an instant delight, I feel. The dhāṭu from pañcama to ṛṣabha or ṣaḍja to pañcama using the cycle of fifths or fourths, can be seen in both Carnatic and Oḍissi styles of approaching Kēdāragauḷa which is a notable common trait. 

Guru Gopal Chandra Panda is one of the pioneers of Oḍissi Vocal Music who has greatly helped in structuring and documenting this śāstriya saṅgīta in the form of publishing treatises and works and also by teaching this to a wide range of people, all over the world. Śrī. Prateek Pattanaik, a young researcher in the field of Oḍissi Music is also been working on popularising this art form to the other parts of the country, reviving works from manuscripts, documenting some regional oral traditions which are almost extinct and translating Oḍia works into English. Their contributions have helped us to understand the classicism of Oḍissi music. 

It is indeed interesting to know that the Kēdāragaula seen in the Oḍissi Saṅgīta is closer to the mēla that is prescribed by Śrī Rāmamaṭya, with the inclusion of Cyuta Ṣaḍja Niṣāda (today’s Kākalī Niṣāda). Howsoever the changes or evolution be, It gives one the ultimate pleasure when enjoying and immersing oneself in a rāga covering a wide range from the Carnatic to the Tēvāra Isai, the Sōpāna Saṅgīta and now to the Oḍissi Music.