It was a chance meeting with veteran Odissi singer Shyamamani Devi that compelled research scholar from California University, David Dennen to film the songstress’ musical journey for the university’s archival treasures. While participating in the Odissi Music Festival at Delhi last year, Dennen was doing his dissertation on Kabisurya Baladeb Ratha, an eminent Odia poet and litterateur, when he met the singer. He started recording her for his research work.
Called the koel (cuckoo) of Odisha, Shyamamani Devi (Pattnayak), 75, is considered the doyen of Odishi vocal music. Shyamamani wanted to chart the path of music despite stiff resistance from the society. She was considered an outcast among her family and relatives for pursuing music. But with the support from her father and uncle, the little girl mustered up courage to continue singing. “Today I am obliged to all those who had abandoned me from the family functions because of my singing. It was considered a sin for a girl from a respected family to sing. The more they pulled me back, the more my determination grew,’’ she recalls.
From being a child artist with All India Radio in 1950 to receiving a DLitt from University of Culture in 2012, the artiste accomplished what most of her ilk would not think of. She has been honoured by Indian Presidents Rajendra Prasad and Sarvapalli Radhakrishnan.
In her childhood, apart from learning the intricacies of singing, Shyamamani would spend hours listening to Lata Mangeshkar, Noor Jahan and Siddheswari Devi. Though trained in Odissi (from Sangeet Sudhakar Balakrushna Das and Singhari Shyam Sunder Kar) and Hindustani Classical music, in 1960, the urge to delve deeper into the layers of music made the singer leave for Bombay. There, she tutored under B R Nabrang, practised voice culture from B R Deodhar and learnt the nuances of thumri from Nirmala Devi and Laxmi Shankar. She got an opportunity to sing for Prithviraj Kapoor’s Little Ballet group for three years. She says, “Prithviraj Kapoor used attend our rehearsals often. One day when I reached early, he asked me to sing an Odia song. He listened to the song 10 to 12 times and was so impressed that he picked up some words from the song and incorporated those in a song in the ballet,’’ she fondly recalls.
Despite her training in both forms of music, the singer chose to stick to Odishi music which is still struggling to get classical status. ‘’In Odishi, the conjugal relationship between Radha-Krishna has been best described by Odia poets Banamali, Benudhar and Upendra Bhanja,’’ she adds.
In her musical endeavours, Shyamamani has been able to strike a balance between career and family expectations and she owes it to her husband’s support. ‘’Though he is no more, he had married me because of his love for music. He loved my singing and was my best critic. He never objected to singing in public.’’ And for someone who feels connecting with the audience as most rewarding, this came as a boon. Her riyaaz, she feels, has kept her much ahead of her peers in Odisha.
“Though we find talented singers today, they are more keen on the media hype instead of learning more and continuing riyaz regularly. This could be the biggest bane for a performer,’’ says the singer who is little upset with the way Odishi music is being bereft of being promoted in and outside Odisha. ‘’Odissi music must reach every nook and corner of Odisha. Maybe district level programmes could encourage young talents to learn Odishi music,’’ she feels.
The singer has received the Odisha Sangeet Natak Academy special award. She says, “Lord Jagannath has given me enough strength to sing his songs. I will continue to sing till my death,’’ the stalwart signs off.