Music is a way of life. Everything in our environment—the raindrops, the hushing wind, the flowing river—has its own sound that produces music to our ears. Every culture has its own music and there is uniqueness in any music. In case of my state, Ancient cultures of Orissa have the most expressive forms of music & dance. These two highly evolved art forms have manifested themselves in some of the most evocative & celebrated performances from not only the professional classical exponents but also from the various folk & tribal groups in Orissa.
Much of orissa's ancient activities revolved around the beautiful temples that were a hundant in the rural areas and the commercial centers. In the big temples, the role of dance and music in temple rituals was important enough to accord them a separate enclosure - the Natamandira - for their full development. While dance form is one of seven classical dance of this country, the music has never really took off in the national picture as prominent music form. But time and again there has been famous Odia Son has arrived who has taken Oriya Music to it celestial best. If anyone can be that person, then Akshaya Mohanty has to be billed at top.
Genius and legend are terms that are rather loosely bandied about. Included amongst the few to whom the terms fit to a 'T' is Akshaya Mohanty (1937-2002), arguably the pre-eminent creator and culture-market of post-independent Orissa.
An immensely imaginative man of many parts, Akshaya Mohanty especially excelled as a singer, composer and lyricist. In a journey lasting close to half a century, Akshaya gave identity and direction to popular Oriya music.
Akshaya Mohanty's journey as an artist started in the 50's with just a healthy musical curiosity and without initiation in formal rules and theories. He kept exploring in the fields of rhythm, harmony, orchestration and most importantly lyrics. He rose to an unprecedented adulatory fame in the 60's which, coincidentally, was the decade of the Beatles in the West. And like in case of the Beatles, with a deft combination of prolifically inventive lyrics and refreshingly apt melody, his music invariably registered. For as long as he lived, Akshaya, through his music, conjured up blushes and tears, thoughtfulness and titillation as probably no one else has.
For as long as he lived, Akshaya, through his music, conjured up blushes and tears, thoughtfulness and titillation as probably no one else has. From the pious 'Kene Gheni Jauchha' to the patriotic 'Saata Daria Paare'; from the forlorn 'He Phaguna Tume' to the flirtatious 'Raja Jhia Sange'; from the plaintive 'Rakata Tala Mala' to the pensive 'Chakori Jhara'anaa Luha' - Akshaya has been the most significant contributor of 'classics' to the Oriya popular repertoire. As a sensitive short-story writer and novelist, Akshaya Mohanty was palpably personal. He wrote simply and directly without prudish sensibilities.
Fondly called Khoka Bhai, his creations are so touching with the daily life which tickles the laughter bone with the humor in writing. Some of his compositions. Music like Maichia Ghokei Sahoo , Alo Hundi , mor ta Mintikia prema, prema kemiti hue ,
There was a celebration in his prose, of love, women, relationships and physical sensation. Stylistic departures in Oriya modern songs apart, Akshaya Mohanty made invaluable contributions in the fields of ballads ( Baji Rout, Kanchi Vijay, Konark Gatha, Raandi Pua A'nta), folk and choral songs. As a composer, he was an adept communicative creator. He was a musician, yes, but posterity shall remember him as a musical thinker. Music before him was pedantic, Music after him has been tasteless exhilaration. Combining, as he did, taste with electricity, Akshaya Mohanty was the bridge - a colossal bridge.
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