Kalpana Patowary renders Hymns of Assamese Saint - Releases The Sacred Scriptures of Monikut.

Bhojpuri music’s poster girl Kalpana Patowary is one of the few singers to have earned mass acceptance after Papon Angarag Manta & Zubeen Garg in Assam.

The Assam-born, Bhojpuri singer returns with her best yet - her Magnum Opus musical documented album “The Sacred Scriptures of Monikut” –  Brajavali Hymns (Times Music) in the 3^rd edition of the Sankaradeva Movement in NCPA Mumbai this May 2014 organized by Trend MMS amidst the presence of music maestros Ashwini Bhide Deshpande, Pritam, Lalit Pandit, Anup Jalota,  Gulzar Saab, Imtiaz Ali, Hariharan,  Shantanu Moitra, Resul Pookutty Zubeen Garg, Kalpana Lazmi,Victor Banerjee, Adil Hussain.

                                         

“The Sacred Scriptures of Monikut” is about the reformer, wandering philosopher, saint and poet Mahapurush Srimanta Shankardeva and his disciple Mahapurush Srimanta Madhavdeva from Assam.

This album is in collaboration for the first time to make some original sounds with Trilok Gurtu (Germany) - master of Indian percussion and Western drumming who plays a unique hybrid East-West drum set up @Guru Rewben Mashangva - Father of Naga folk blues @PAPON Angarag Mahanta and Zubeen Garg.

Says Kalpana, "The Sacred Scriptures of Monikut” is a genre that is melancholic in nature and the notes and progressions let me express myself dramatically. I am really happy we could showcase the works (Naam Ghosha and Kirtan Ghosha) of Mahapurush Srimanta Shankardeva and his disciple Mahapurush Srimanta Madhavdeva from Assam. I think it is a big deal. I don’t think (Naam Ghosha and Kirtan Ghosha) has been presented in this way to the world before. I believe it means a lot to hold on to your roots and present this beauty to the world. It is a matter of pride and satisfaction. This album would encourage young people who love their land and culture.

The Sacred Scriptures of Monikut is one of my best and the most notable musical collaboration not only with various respectable artists but also with a variety of primitive instruments being used in this album.

From the traditional - ancient and extinct instrument Kalia to Sarinda to the Sundari to Doba to Djembe to Kahon to the Tabla, Shehnai, percussion, electronic hand sonic, drums, beads, electric piano, Acoustic Guitar, Nakara to Nagara to Bortal to Flute, this album is  a cocktail mix of different sounds,” she shared.

I kept the folk vibe of traditional Ghosha original and added a more somber touch and I tried to keep the original and earnest vocal performance of the Barpeta style from my Mother.

The idea behind “The Sacred Scriptures of Monikut” is as Kalpana refers…from where do I belong geographically, my mother tongue, my motherland….ASSAM owes me and as an artiste I have to pay back HER labour pain dues. SHE brought me up, infused traditional values, matures me up to face the outside world with dignity….the journey from Sorbhog, Barpeta to mayanagri Mumbai and then as the BHOJPURI QUEEN to rule the hearts of the heartland of India-Uttar Pradesh and Bihar.“The Sacred Scriptures of Monikut” is an Anjali (offering) from Kalpana to Assam.

Now I had to choose from where to start…there were so much of elements. Various dimensions in my singing genre, from rural folk to raunchy commercial category, from Indian classical to western jazzy blues, I explored every kind in 26 different languages. In one word I would describe my music as free, with no restriction to any cultural boundaries or genres.

My father Bipin Patowary as my Guru, taught me our folk traditions and my mother Joymati Patowary infused into me our rich spiritual singing legacies. I opted my mother as the origin of everything I believe is the mother. My mother used and still sings THE SACRED HYMNS - THE KIRTANA GHOSHA AND THE NAAM GHOSHA…in Brajavali language-the scriptural language of Assam.In fifteenth century India,when the entire country was in a midst of a great social quandary, when Tantricism in its naked form accompanied by animal sacrifices and other vices got the upper hand,when casteism was dominant and a bulk of the population was treated as outcast and untouchables, when the all-pervading God was locked inside the temple,at  that critical moment of religious crisis, many Saints arose in different parts of the country.

Ramananda, Ravidas, Chaitanya Mahaprabhu, Vallabhacharya, Surdas, Meera Bai, Kabir, Tulsidas, Namdev, Dnyaneshwar, Tukaram, Annamacharya,Bhadrachala Ramadas, Tyagaraja  were some of them who started a reforming movement. The Bhakti movement, a Hindu religious movement of the medieval period that promoted the belief that salvation was attainable by everyone.

In the easternmost part of the country this reforming movement was initiated by an Assamese polymath: a saint-scholar, poet, playwright, social-religious reformer and a colossal figure in the cultural and religious history of Assam, Srimanta Sankardeva . His Bhakti derived inspiration from Bhagavata-purana and the practice of its teaching blossomed in the north eastern region of India through his literary works.The media of both music and drama were powerfully employed to win over the people to the teachings of the Bhagavata and, through its numerous narratives, love and devotion for the One Supreme God were instilled in the hearts of the people. His magnum opus is The Kirtana-Ghosha, a bhakti kavya per excellence, a work so popular that even today it is found in nearly every household in Assam. It contains narrative verses glorifying Krishna , not considered to be an incarnation of God but as the primary cause of all incarnations. If Sri Sankardeva’s the Kirtana-Ghosa  is held in high esteem and respect as the main scripture by the Vaisnavites of Assam then The Naam Ghosa, composed by his principal disciple Srimanta Madhavdeva also  holds a very unique place in the devotional literature of Assam. Madhavdeva , a genius poet, an erudite scholar, a musician of excellence, a litterateur of highly creative faculty and one of the initiators of Bhakti movement was asked by Sankaradeva to write a work that would be sweet as the plum but hard as the seed within it. This is the most perfect description of the Nāam Ghosā which is such excellent poetry and at the same time such nice exposition of the philosophy of Vaisnavism as preached by Sankaradeva. It is the magnanimous achievement of Mahapurush Madhavdeva’s life where he dealt with the most prudential philosophy of Vedas and Vedanta’s.

The Sacred Scriptures of Monikut is an album that everyone with a love for gentle Assam should listen to. There’s an appealing timelessness to these songs that demonstrates Kalpana’s willingness to stay true to her musical approach regardless of current musical fads. Kalpana surely feels honoured to produce and be a part of such a humongous & prestigious project, surely giving it back to where she came from!

BIDESIA IN BAMBAI | Nominated in Best Documentary Feature Film in Asia Pacific Screen Awards 2014

Surprised nomination of Bidesia in Bambai in Asia Pacific Screen Awards....Special thanks to Surabhi Sharma. http://www.asiapacificscreenacademy.com/nomsarchive/bidesia-in-bambai/

Kalpana Patowary performs in Sonpur Mela - India's famous and Asia's largest animal fair by Bihar Tourism.

Kalpana Patowary performing in Sonpur Mela November 17,2014

Kalpana Patowary performing  in Sonpur Mela ....India's famous and Asia's largest animal fair by Bihar Tourism held on Kartik Poornima (the full moon day) in the month of November in Sonepur, Bihar, on the confluence of river Ganges and Gandak.^[3] It is also known as Harihar Kshetra Mela and it attracts visitors from all over Asia. Till date, it is the biggest cattle fair of Asia and stretches on from fifteen days to one month. It has its origins during ancient times. This is when Chandragupta Maurya used to buy elephants and horses across the river Ganges. The Sonepur Cattle Fair once used to attract traders from places as distant as Central Asia.

9th Bhojpuri Film Awards 2014 | Best Bhojpuri Female Singer Award.

Kalpana Patowary receives the best Best Bhojpuri Female Singer Award for the 2nd consecutive year for Bhojpuri film “Jeena Tere Gali Mein” for song “Gao Sakhi Mangal Geet Ki Aaj Karwachauth Hai” in the 9th Bhojpuri Film Awards 2014 held in Mumbai on 21st November 2014. Last year in 2013 she received this award for the film “Nagin” for song “Chhathi Mai Ke”.

@Watch the song here# 

                                 

          

Kalpana Patowary inaugurates world's first Assamese novel on master blaster Sachin Tendulkar in 28th Guwahati Book Fair 2015.

Inaugurated ‪#‎Phoenix‬ Iswar#, world's first Assamese novel about life on master blaster*** Sachin Tendulkar** on 3rd January 2015 in Guwahati Book Fair....‪#‎HONORED‬#

Reviving the Indigenous Spirit and the glory of traditional musical instruments of Assam.

Kalpana Patowary’s uncanny intersection of traditional and contemporary elements in her projects, her tireless dedication to a vast and still-expanding array of instruments, and her ongoing commitment to place herself in as many unique and challenging musical scenarios as possible have made her an active figure in today’s thriving roots music scene. As Assam grapples with a growing distrust amongst communities, perhaps in the sounds and tunes of the traditional musical instruments lays the strength of uniting. In decades, if there has been something through which Assamese people has found respite, it has been music; with the lament however that it’s indigenous music is losing out to western forms silenced by the loud pitch of modern instruments.  The age old Assamese instruments are on the verge of dying, with the youth getting more attracted to electronic gadgets than the primitive ones.

In “The Sacred Scriptures of Monikut” Kalpana Patowary tries to incorporate some of them…

Kali or KALIA

Kishore Kr Bharali playing Kali or Kalia

Kali or Kalia - Traditional Assamese musical Instrument 

While Assam has treasured most of its indigenous art and cultural forms, Kalia has not been that lucky. “For several centuries, Kalia recital used to be a popular form of entertainment and considered as the spine of Assam’s rich legacy of folk music. However, Kalia playing was pushed to the backdrop by popular Hindi film songs and western music. Since then, this unique fiddle has slowly lost its adoration and only a handful of patrons exist today”, recalls Kalpana.

Says Kalpana, My aabu – fathers mother – she belongs to the Nath cult – the Yogi’s and my father used to tell about this particular traditional double reed aboe instrument that in auspicious occasion’s this instrument always took part just as Shehnai in Indian traditions. It is a primitive folk music instrument, has an age old tradition and has some magnetic effective tone which takes you to some other dimensions. Kalia is a ritual wind instrument with a magical sound. This instrument is very hard to find and is almost not produced anymore and finding a player is equally difficult.

Its sound expresses - vastness, silence and peace, long lasting sounds that calm the mind and lead to an inner depth. The sound is loud and penetrating and just to produce a single note is an art in itself. Due to the high pressure required, the Kalia can be played only for a short period of time.

Kalia is now extinct and I was always very attracted towards this instrument. Through this album The Sacred Scriptures of Monikut, it was an opportunity for me to bring this instrument forth I am trying to give a modern facelift to the fading enthusiasm of Kalia.

According to AssameseBhojpuri singer musician Kalpana, the tunes of Kalia are embedded with a deep and vital message of harmony and honor, which the modern Assamese society has long forgotten.

Through this album the traditional instruments can became widely accepted and loved beyond the boundaries of tradition.

@Other Ancient Musical Instruments used in this Project.

Prasanta Kr Choudhury 

Sarinda

Sarinda an Assamese version of violin which has its connections with the Vaishnavite heritage propagated by Sankaradeva, had almost lost its identity. Perhaps the overwhelming affiliation of Sarinda with religion and culture has resulted in confining this art to a small group who are trying to conserve this folk culture, which has not only put the instrument and its legacy on a revival tunes, but has given it a fresh string of hope of survival. However, without any scientific or academic syllable, there is no enthusiasm and curiosity for learning Srinda among today’s young generation who are constantly exposed to contemporary music and hi-tech gadgets which seem more appealing. “I have got ideas to compile this  album because the sound of Sarinda has a touching and nostalgic effect on listeners, but due to lack of patronage, Sarinda has been reduced to a mere element of Assam’s cultural art. If we can bring some innovations and renovation, it can produce unique and different melodies which youngsters may find more attractive “says Kalpana.

Dotora

For me music starts here. Dotora has a very special place in my heart. It reminds me of my mentor father, my early childhood riyaaz and performances. So Dotora had to be there in this project. I didn’t start my musical career taking lessons like Sa Re Ga Ma Pa, neither with Harmonium, nor with Tanpura. My learning of music, doing riyaaz and all started with Dotora.So Dotora has to be there in this project. And I feel a very Indian rustic mass appeal, an instrument expressing something for poor people. It is one of the oldest instruments in the world. Its significance is to such a degree that it should be added to the list of “Masterpieces of the immaterial heritage of ASSAM”. Its sound speaks about Aam Bharatiya Log, Hum logo ki Lachargi, our daily problems whether related to financial one or emotional and spiritual, I feel Dotora has a distinctive sound of mass appeal.

During the recording sessions in Guwahati, we discuss and introspect on the key principles and basic notes of the instrument so that we can exploit this unique fiddler to carve its own niche in the modern musical trend” tells Kalpana.

Madhab Pathak 

Nagra/Negara

Nagra or Negara as its pronounced differently in Lower and Upper Assam is the same one. It’s largely played in Naam prasang, Kirtana in vaisnavite musical tradition of Assam. Naam Ghoxa and Kirtan Ghoxa are basically hymns where there was not any scope to use this instrument. But somehow I managed to creat some place for it to play as in Hari Naam Roxe.

 

Bortaal

Bortaal is the big size clash cymbal, Its weight approx. 1½−2 kg. The player who plays Bortaal is called in Assam as Gayan. Bortaal is a symble of Assamese traditional culture. Sometimes, the players perform with both dance-music e.g. in Gayan-Bayan, Bortaal Nritya etc. Sometimes the player perform with only music e.g. in Harinaam, Dihanaam etc. The rhythmic high pitch of sound of the Bortaal makes the surroundings pure and sacred.

Doba

Hengrabari… there in my native place we have a local Naam ghar.Naam Ghar is a congrational prayer hall with a separate room where the Monikut is placed. I still remember in morning and evening… dawn and dusk time one particular drum is played as to a reminder call for everyone to remember HIM, the almighty. Doba...I planned the album “The Sacred Scriptures of Monikut” to open with this auspicious sound.

Through workshops and live sessions, I want to create ample opportunities to analyze and understand the aesthetics of these rare instruments. “These workshops can be conducted to teach youngsters basic principles and scientific characters of sounds, so that the educated youth can innovate and blend unique and imposing tunes of these sounds with modern tunes and hi-tech gizmos with the larger objective of appealing to the global music lovers” explains Kalpana.

Kalpana says, these ancient instruments are almost fading away from general sight. They are rarely noticed or heard these days.  No one desires to play them anymore. Essentially, these instruments are difficult to play but help in folklore. Today's generation is giving these instruments a go by. "We have to aware people of this heritage to preserve the folk instruments of Assam and make the most of their use in comparison to electric instruments. It is very necessary to make the coming generations aware about the richness of folk instruments. I request everyone to help in preserving our old folklore," said Kalpana.