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Raga Kalingada



Rag Kalingada is very similar to Bhairav. Unlike Bhairav, this rag is performed in the last part of the night. There has been a strong tendency over the last few decades to take lighter interpretations of both Kalingada as well as Bhairav. The result is that the two rags have begun to converge. Whenever there is such a convergence, the general tendency is for rags to asume the name of Bhairav. If this tendency continues, we can expect Kalingada to completely merge with Bhairav and to lose its identity in the process.

“The painting personifies Raga Kalinga, one of the sons of Raga Dipaka. In the painting Raga Kalinga is visualized as Krishna resting on a lotus flower cushion spread on a serpent. The crown decorates the head while kundals (the rings) adorn the ears. His flute is potent enough to enchant the universe. His beautiful eyes, arched eyebrows and a garland of flowers around his neck enthrall the heart.
“Between 14th-16th centuries a wave of Krishna worship swept India. Hindu devotees could easily relate to Krishna who was one of like them. He was a loving god who moved among them and shared their pastoral and agricultural pursuits. Krishna worship inspired a cycle of poetry in the 16th century succeeded by a cycle of painting.”

Bhairav is also one of the wide spread Raags all over India.. as we move further, in India we find similar tunes as Bhairav established in the music of that particular region.. For example in Orisa Regions, we hear (-27.08 to -26.50) This is called Raag Kalingada. The melody which is from Kalinga region is Kalingada – again here too we see the similar melodic structure and yet the stress on Pa Ga Ma Ga.. makes it different from other Raags.. This indicates that while elevating a melody/tune to a Raag, one has to create a specific structure & group of notes, and special ways to render them.. we may call it Mukhya Anga, or Pakad (grip) of the Raag – for e.g. see this Bandish of Kaligda (-25.39 to -24.43)

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