#Odia Literature

[pebblegalaxy]

Xenogenesis of Culture: The Modern Adaptation of Odia Classics and Their Impact #BlogchatterA2Z

Xenogenesis of Culture: The Modern Adaptation of Odia Classics and Their Impact #BlogchatterA2Z #OdiaLiterature #CulturalHeritage #ModernAdaptations #OdiaClassics #DigitalTransformation #FilmAdaptation #LiteraryTranslation #OdiaCulture #EducationImpact

Reimagining the Classics: The Modern Adaptation of Odia Literature Odia literature, with its rich heritage and profound cultural narratives, has long been a source of inspiration across generations. The classical works of Odisha not only resonate with timeless themes but also reflect the social, political, and spiritual milieu of their times. In recent years, there has been a burgeoning interest…

[pandaemoniumpancakes]

With each passing day, heavier and heavier Grew the womb of the virtuous Sita; It became hard for her to rise from her seat And then, standing, to hold herself erect. Lest it cause her pain in her state, The rains came to break down the heat. Throngs of clouds rose in the sky’s four quarters To impart strength into her tired being. They raised a dark cover across in the sky, Shutting out the heat of the sun above. In the bat of an eyelid a flash of lightning Startled the eyes with the splendour of the canopy; Damsels of the sky’s quarters tidied their blue plaits And decked them with strings of pearl-like cranes. Scooping up gem-dust from the ocean’s bottom, The guardians of the skies adorned an archway. But selfishly giving up all thought of shame, Indra claimed the bow as his own. Defiant, the lord of the seas declared It'll remain with him, since it was made with his gems. Other guardians, observing the duties of the righteous, Allotted them the right by turns. The rains poured down on Earth’s head, Which was burning with her daughter’s heat of pain. Upon rivers, ponds, forests and hills, It went on raining indiscriminately. The earth’s exhilaration showed up everywhere With sprouting grass and plants, and flourishing kadambas. Earth’s bosom was flooded with water And Tamasa ran overflowing her banks, As if her joys had brimmed over, Rejoicing in Janaki’s childbirth, so close at hand. Hills and forests gave up the fire in their hearts, And scrubbed their bodies, looking fresh and cheerful. Living in her fortress of thorns, the ketaki, Of sweet laughter in her prickly frame, Said as it were, ‘Impaled as you are, O Vaidehi, In this forest of misfortune, have no fear. I am myself pierced in a jungle of thorns, Yet my perfume makes me adored the world over. Living as an ascetic among all these hermits, You, of sterling mind, will be worshipped by all. If one’s own virtues are a divine ornament, Will the stain the world’s eyes cause ever matter? If the bees feel repelled at the sight of my spines, Should I sacrifice the promise of my fragrance?’

Gangadhar Meher, from Canto IX in Tapaswini, trans. Jayanta Mahapatra and Madhusudan Pati. 

[sahityajibana]

ସାହିତ୍ୟ ଜୀବନ ଆଭାସୀ ଅଣୁ ଗଳ୍ପ ଆସର - ୨୦୨୪

ସାହିତ୍ୟ ଜୀବନ ଆୟୋଜିତ କରୁଛି ତା'ର ଏକ ଭିନ୍ନ ଏବଂ ନିଆରା ଗଳ୍ପ ଆସର ଯୁବ ଗାଳ୍ପିକ, ଗାଳ୍ପିକା ମାନଙ୍କୁ ନେଇ କେବଳ କାହାଣୀ ପିପାସୁ ମାନଙ୍କ ପାଇଁ, ଆସନ୍ତୁ କିଛି ପ୍ରିୟ ଗାଳ୍ପିକ ଗାଳ୍ପିକାଙ୍କୁ ଶୁଣିବା, ଏଇ ଶନିବାର (ତା: ୦୨/୧୧/୨୪) ସଂଧ୍ୟା ୭ ଘଟିକା ସମୟରେ କେବଳ ଗୁଗଲ ମିଟ୍ ମାଧ୍ୟମରେ। ଆସରରେ ଉପସ୍ଥିତ ରହି ଗଳ୍ପକୁ ଉପଭୋଗ କରିବା ହେବେ।

ଆବାହକ: ପବିତ୍ର ବେହେରା

ଅଭିଭାଷଣ :-

ଶ୍ରୀମତୀ ଶୋଭାଗିନି ନନ୍ଦ

(ଉପ ସଭାପତି)

ଉପସ୍ଥାପନା: ରଞ୍ଜନ କୁମାର ମହାନ୍ତି

ବିଶେଷ ଅତିଥି: ପ୍ରବୀଣା ମହାନ୍ତି ( ବିଶିଷ୍ଟ ସାହିତ୍ୟିକା, କଥାକାର)

ଅତିଥି ଗାଳ୍ପିକ, ଗାଳ୍ପିକା :-

୧. ସ୍ରୋତସ୍ୱିନୀ ପରିଡ଼ା

୨. ଶାକମ୍ବରୀ ପ୍ରିୟଦର୍ଶିନୀ ସାହୁ

୩. ଭାଗ୍ୟଶ୍ରୀ ଲେଙ୍କା

୪. ଶୁଭଶ୍ରୀ ସ୍ୱର୍ଣ୍ଣପ୍ରଭା

୫. ରୋଜାଲିନ ମୁଦୁଲି

୬. ରଶ୍ମିରଞ୍ଜନ ରାଉତ

୭. ସଂଘମିତ୍ରା ପଣ୍ଡା

ଧନ୍ୟବାଦ ଅର୍ପଣ: ଶୋଭାଗିନି ନନ୍ଦ

ନିମ୍ନ ଲିଙ୍କ୍ ରେ କ୍ଲିକ୍ କରି ଆସରରେ ଯୋଗ ଦିଅନ୍ତୁ ।।

To join the meeting on Google Meet, click this link:

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ଧନ୍ୟବାଦ ସହ

ସାହିତ୍ୟ ଜୀବନ ସାହିତ୍ୟ ସଂସଦ, ସମ୍ବଲପୁର, ଓଡ଼ିଶା

ଇ-ମେଲ: sahityajibana@gmail.com

Website: Www.sahityajibana.in

ଯୋଗାଯୋଗ ନଂ - ୭୭୫୧୦୭୫୩୫୦

#ଗଳ୍ପ_ଆସର #ସାହିତ୍ୟ_ଜୀବନ #ସାହିତ୍ୟଜୀବନ #virtualmeeting #ଗଳ୍ପ #କବିତା #sahityajiban #sahityajibana #sahitya_jiban #sahitya_jibana #odia #poem #Poetry #odiapoem #announcement #Quiz #magazine #odia #literature #Poem #Story #Article #Literary #Emagazine #Sahitya #Kathasambad #Odisha #ପବିତ୍ର_ବେହେରା #ପବିତ୍ରବେହେରା #pabitrabehera

[indianencyclopedia]

Oriya language, also known as Odia, holds a significant place in the cultural and linguistic landscape of India. With a rich history spanning centuries, Oriya has evolved through various phases, shaping its present position as one of the prominent languages in the country.

[finishinglinepress]

FLP POETRY BOOK OF THE DAY: A Goat in a Tequila Cup by Faleeha Hassan

On SALE now! Pre-order Price Guarantee: https://www.finishinglinepress.com/product/a-goat-in-a-tequila-cup-by-faleeha-hassan/

Faleeha Hassan is a #poet, teacher, editor, writer, playwright born in Najaf, Iraq, in 1967, who now lives in the United States. Faleeha is the first woman to write poetry for children in #Iraq. She received her master’s degree in Arabic literature, and has now published 25 books. Her poems have been translated into English, Turkmen, Bosnian, Indian, French, Italian, German, Kurdish, Spain, Korean, Greek, Serbia ,Albanian , Pakistani , Romanian , Malayalam ,Chinese ,ODIA and Nepali language. Ms. Hassan has received many awards in Iraq and throughout the Middle East for her poetry and short stories. Hassan has also had her poems and short stories published in a variety of American magazines.

PRAISE FOR A Goat in a Tequila Cup by Faleeha Hassan

Hassan’s poetry draws us into her unique experiences from Iraq to Turkey to the U.S. of a life lived always surrounded by war, loss, and loneliness but searching for life and love. Through this collection from an award-winning, internationally-recognized poet, the reader can wait “in a secret garden,” lying in the grass, and let the words “grow on your tongue” and “jump into the heart artery.” She invites us to “keep moving, breathing” and to focus on the fortune of being alive. This is the book we need for living in these times.

–Ellen Hernandez, author of In Morocco: Rihlat Amri’yat Amrikia and Voices from a Pandemic

Please share/please repost #flpauthor #preorder #AwesomeCoverArt #poetrybook #read #poems #Iraq #war #Turkey #life #loss

[odiagan]

Discovering the Traditional Music of Odisha: 7 Major Genres of Odia Music

Odisha, known for its rich cultural heritage, boasts a diverse and vibrant musical landscape. Here are the top 7 categories of Odia music that showcase the state's musical richness:

Jagannath Bhajans:

Jagannath Bhajans are devotional songs dedicated to Lord Jagannath, a significant deity in Odia culture. These bhajans are sung in praise of Lord Jagannath and are an integral part of Odisha's religious and musical traditions. They are often sung in temples and during religious festivals.

Odia Film Songs:

Odia cinema, also known as Ollywood, has produced numerous melodious songs over the years. From romantic ballads to peppy dance numbers, Odia film songs cater to a wide range of musical tastes. Fans can easily find and download the latest Odia movie songs, including new Odia song MP3 download, from various online platforms.

Sambalpuri Folk Music:

Sambalpuri folk music originates from the western regions of Odisha, particularly Sambalpur. It includes vibrant folk songs accompanied by traditional instruments like dhol, nisan, and flute. Sambalpuri songs often depict rural life, nature, and cultural celebrations.

Classical Odissi Music:

Odissi music is an essential component of Odissi dance, one of the classical dance forms of India. It features classical ragas, tala patterns, and lyrical compositions in Odia language. Odissi music is known for its graceful melodies and rhythmic intricacies, making it a cherished art form.

Odia Modern Music:

Contemporary Odia music encompasses a variety of genres, including modern pop, rock, fusion, and electronic music. Many talented Odia artists and bands create innovative compositions that blend traditional elements with modern sounds, catering to the preferences of younger audiences.

Chhanda & Champu Music:

Chhanda and Champu are traditional poetic forms in Odia literature, often set to music. Chhanda features rhythmic verses suitable for singing and is commonly used in Odia music compositions. Champu combines prose and poetry and has been historically used in Odia music to convey narratives and emotions.

Odia Bhajans & Kirtans:

Odia Bhajans and Kirtans are devotional songs sung in praise of various deities like Lord Krishna, Lord Shiva, and Goddess Durga. These spiritual compositions invoke a sense of devotion and are performed during religious gatherings, especially in temples and during festivals.

To explore and download Odia songs, including new Odia song MP3 download and Odia song download, enthusiasts can visit reputable music streaming platforms, online music stores, or dedicated Odia music websites. These platforms offer a vast collection of Odia music across different genres, ensuring that listeners can enjoy a diverse range of musical experiences from Odisha's rich musical heritage.

[odishadetails]

Mahabharata is one of the two major ancient Indian epics, the other being the Ramayana. It is an epic narrative that consists of more than 100,000 verses and is attributed to the sage Vyasa. The Mahabharata is believed to have been composed between 400 BCE and 400 CE, although the exact dating is uncertain.

The Mahabharata tells the story of an ancient dynastic struggle for the throne of Hastinapura, a kingdom in northern India. It revolves around two branches of the Kuru dynasty, the Pandavas and the Kauravas, who are cousins and engage in a great war known as the Kurukshetra War. The main characters include the noble Pandava brothers—Yudhishthira, Bhima, Arjuna, Nakula, and Sahadeva—and their allies, as well as the Kaurava brothers led by Duryodhana.

The epic explores various themes such as dharma (moral duty), righteousness, loyalty, devotion, family relationships, and the consequences of actions. It also includes philosophical and moral teachings through dialogues, including the famous Bhagavad Gita, which is a conversation between Lord Krishna and Arjuna on the battlefield of Kurukshetra.

HERE MAHABHARAT BOOK AVAILABLE IN ODIA LANGUAGE

The Mahabharata is not just a tale of war and politics but also contains numerous subplots, stories, and teachings. It has had a significant influence on Indian culture, religion, literature, and art. The epic has been adapted into various forms of performing arts, including plays, dance dramas, television series, and films.

The Mahabharata is considered a valuable source of knowledge about ancient Indian society, customs, and traditions. It encompasses a wide range of subjects, including philosophy, ethics, politics, warfare, and spirituality. The epic continues to be studied, interpreted, and revered by scholars, philosophers, and spiritual seekers around the world.

[kalpana4]

Odia Book Yajur Veda Set I-II

The Yajur Veda Set I-II is a revered and ancient Odia spiritual book that is a translation of the Yajur Veda, one of the most sacred texts of Hinduism. The Yajur Veda is a collection of sacred rituals, prayers, and philosophical discussions that form the foundation of Hindu spirituality.

The Odia translation of the Yajur Veda, known as Yajur Veda Set I-II, is a masterpiece of Odia literature that has been cherished by scholars and devotees for centuries. The book is a testament to the rich cultural heritage of Odisha and its people's deep devotion to the Vedic tradition.

The Yajur Veda Set I-II is a comprehensive guide to the spiritual and philosophical ideas of the Yajur Veda, which include the concept of the ultimate reality (Brahman), the nature of the universe, and the path to spiritual liberation. The book is divided into several sections, each of which explores a different aspect of Vedic spirituality.

The Yajur Veda Set I-II is notable for its beautiful and evocative language, which is characteristic of Odia literature. The translation is done in a way that is both faithful to the original text and accessible to readers who may not be familiar with Sanskrit.

Throughout the book, the reader is introduced to the Vedic deities, such as Agni, Indra, and Varuna, and their roles in the cosmic drama. The "Yajur Veda Set I-II" also explores the concept of the Trimurti (Brahma, Vishnu, and Shiva) and the idea of the ultimate reality as the source of all existence.

The Yajur Veda Set I-II is a must-read for anyone interested in Odia literature, Hindu mythology, and the spiritual traditions of India. This book is a timeless classic that continues to inspire and uplift readers to this day, offering a profound and transformative reading experience.

This set includes two volumes, each of which covers a different aspect of the Yajur Veda. Volume I explores the philosophical and spiritual ideas of the Yajur Veda, while Volume II delves into the practical aspects of Vedic rituals and practices.

[odnewsin]

Odisha: Today’s pics

Cuttack gears up for a grand ‘Parakram Diwas’ celebration starting January 23 at Satyabrata Stadium to honuor Netaji Subhas Chandra Bose on his birth anniversary   Police crackdown on modified two-wheeler silencers in Bhubaneswar     Ahead of Netaji Subhash Chandra Bose Jayanti, a painting workshop was organized by Odisha Lalit Kala Academy and Odia Language, Literature & Culture Department of…

[storizenmagazine]

#BookReview: "The Big Book of Odia Literature" is not just an anthology but a crucial repository of Odisha’s linguistic and cultural heritage.

[pebblegalaxy]

Women's Empowerment in Odia Literature: Tracing the Evolutionary Journey from the Renaissance to Modern Times #BlogchatterA2Z

Women's Empowerment in Odia Literature: Tracing the Evolutionary Journey from the Renaissance to Modern Times #BlogchatterA2Z #OdiaLiterature #WomenInLiterature #FeminismInOdia #LiteraryRenaissance #PratibhaRay #SarojiniSahoo #GenderRoles #OdiaDrama

The Role of Women in Odia Literature: An In-depth Analysis Odia literature, with its rich historical backdrop and vibrant cultural tapestry, has evolved significantly over the centuries. One of the most compelling aspects of this evolution is the changing role and depiction of women both as characters within Odia narratives and as authors who shape these narratives. This article delves deeply…

[panigrahigh]

Odia Asmita can be for real

Odia Asmita for many, for over 80% of people both in urban and non-urban areas, means gobbledygook. An informal survey across the state says that its plain mumbo jumbo for the generation beta. This is the generation which will live long enough to witness the dawn of the 22nd century. Modi government has put industrial growth and cultural consciousness on equal footing, with unprecedented temerity, inventiveness and doggedness. Odisha, on the verge of yet another course of heavy-duty industrial transformation needs Odia Asmita badly to balance between economy and culture. India is on the fast lane of growth, creating assiduously, a balance with the four Cs - Culture, Creativity, Commerce and Collaboration. There is enough to learn and imbibe from the national government’s transforming initiatives. Equilibrium between high outward growth and deeper inward journey should be the bedrock of Odia life. Odia Asmita instead of being colored as flinty pride, should be internalized as “cultural confidence”, like being comfortable in one’s own skin. The difference between the two, if only realized, will only lay the foundation for a whole rekindling of cultural mooring. This is the time to choose between genuine Odia culture renaissance or token culture gaslighting. So far Odia Asmita, even before the current marque exercise has not been comprehended as Odia culture’s innate strength – the Odia Soft Power. Odisha has not yet assumed the flavour of this power because the narratives are limited to vapid & ballyhooed conferences and shows, without substance, which the youngsters are blasé about. Understandably so.  The gobby culture gurus go ad nauseam.

The collective memory from our museums; the empathetic plays and dance of our theatres or the books from our libraries; our festivals, literature and painting, and we are blessed a society ready for a high quality, high pitch national conversation, about its identity or anything else. We have to to raise our benchmark and stay away from low quality dilettante.

Your writer suggests a few immediate drives here.

District Creative Economy (DCE): Deep dive developments in district level culture space is almost non-existent and seldom reviewed in Collector’s appraisal meetings. Presently, its significance depends on Collector, the person and not Collector, the institution. The district has to create its own Culture Map and high-quality Culture Compendium – in all formats – writing, A/V, pictorial appropriate for both mainstream & social media. Each district has to survey, assess and compile its cultural uniqueness. This is not as daunting as it might sound. In Google and ChatGPT times one doesn’t require information overload.  But an online visitor or an inquisitor must have hooks: fables, folk tales, contemporary personalities for better acclimatization. What we have today are one off TV Channel shows, dreary and outdated District websites and a few Reels. Reels, despite their weak content, without support, are trying best to keep the storytelling alive. The DCE quotient is strongly proportional to tourism performance of the district. District GDP, without DCE is unsustainable, helplessly resting on extraction industry. Even the budget accruing out of extraction is not deployed to bolster DCE, though DMF (District Mineral Fund) is the fountainhead. The District Culture Office is seeking greater role in developing the district’s/state’s soft power. Padma Sri Dr Utsab Charan Das, the renowned Ghoda Nacha Folk Dancer, and many more creators of Odia Asmita, who preserve art & culture, need our attention and patronizing. Asmita is organic and is in dire need of incubation and nurturing.

R&D in arts: Under Asmita, a quantum jump in understanding innovations in the arts is imminent. There are no rigorous definitions of R&D in the arts, nor are we aligned on why it's socially desirable. We are clueless about how to measure how much arts, organisations invest in innovation. Estimation of its return on investment is far away from us now. Institutions like the Odissi Research Centre, University of Culture, Sahitya Akademi, Museum, Sangeet Mahavidyalaya, State Library, Arts and Crafts College, Sangeet Natak Academy, Lalit Kala Academy should demonstrate their contribution to research and internalization of culture. The pathbreaking NEP 2020 allows institutions to blend academic research and internationalization. These institutions, whether public or private should be evaluated, apprised & ranked according to their effectiveness and relevance. The mega rich minerals industry should be sensitized and if necessary mandated to provide CSR support to strengthen these institutions. CSR today is mostly funding community events, dance shows and the like. But sustained institution capacity building warrants big ticket endorsement. Read the CSR White paper and you can find the glaring gap in culture funding.

The National School of Drama (NSD) is on its way to Bhubaneswar, with the setting up of an outreach centre. The swanky infrastructure of the Guru Kelucharan Mohapatra Odissi Research Centre should be better utilized for the public. The building should house NSD permanently because NSD will open avenues for aspirants to build careers in theatre and acting, and with booming OTT, will create mediums to mainstream Odia art, music, lifestyle, social mores and culture. In tangible terms, NSD in that building will give positive RoI on taxpayers’ money. The cultural centers should cease to be rehabilitation centres for retired grandees who have already enjoyed highest level perks and elevated postings. These postings should go to the artistes/technocrats who can give time and energy for the arts and the institutions.

Odisha’s coastline is now elongated by 96 kms more to 574.7 kms. The scenic beauty expands but there is not a single state level art gallery, worth the mention to give place to the prolific artwork inspired from such ethereal landscape. Koraput’s beauty should not be ephemeral in Insta or Reels. Some celebrated artistes (read names) have been given prime plots in Bhubaneswar, but definitely not for family succession. These successful names do not mentor youngsters in the state but claim Odisha roots. Take a policy decision and make an art school mandatory for such artistes who thrive on welfare economy – doles and then skulk.

We seem to know the price of everything and the value of nothing. But Odia Asmita can be for real provided we want it, really. Otherwise, it is a good slogan for the time being. India, the superpower in the making is looking up to Odia Asmita to deliver.

(Charudutta Panigrahi is a writer, policy advocate and culture aesthete)

[sahityajibana]

ସାହିତ୍ୟ ଜୀବନ ଆଭାସୀ ଆଲୋଚନା ଚକ୍ର ଓ କବିତା ଆସର - ୨୦୨୫

ସାହିତ୍ୟ ଜୀବନ ଆୟୋଜିତ କରୁଛି ତା'ର ଏକ ଭିନ୍ନ ଏବଂ ନିଆରା ଆଲୋଚନା ଚକ୍ର ଓ କବିତା ଆସର, ଆସନ୍ତୁ କିଛି ପ୍ରିୟ ଔପନ୍ୟାସିକ ଏବଂ କବିଙ୍କୁ ଶୁଣିବା, ଏଇ ବୁଧବାର (ତା: ୦୮/୦୧/୨୫) ସଂଧ୍ୟା ୭ ଘଟିକା ସମୟରେ କେବଳ ଗୁଗଲ ମିଟ୍ ମାଧ୍ୟମରେ।

ଆବାହକ: ପବିତ୍ର ବେହେରା

ଅଭିଭାଷଣ :- ଡ଼. ଶୋଭାଗିନୀ ନନ୍ଦ ( ଉପ ସଭାପତି)

ଉପସ୍ଥାପନା: ଲଳିତ ମୋହନ ମିଶ୍ର

ବିଶେଷ ଅତିଥି:

- ଅଜୟ ମହାପାତ୍ର

ଔପନ୍ୟାସିକ, ନାଟ୍ୟକାର, କଥାକାର

- ସ୍ଵରୁପ କୁମାର ନାୟକ

ଗାଳ୍ପିକ, ଯୁବ ଔପନ୍ୟାସିକ

କବିତା ସଂଯୋଜନା: ସ୍ୱାଗତିକା ସାହୁ

ଅତିଥି କବି /କବୟିତ୍ରୀ:-

୧. ଡ଼. ଶୁଭଶ୍ରୀ ପ୍ରଭା ସ୍ବାଇଁ

୨. ବନ୍ଦନା ସାହୁ

୩. ଦେବଯାନୀ ରାୟ

୪. ସଂଘମିତ୍ରା ଶତପଥୀ

୫. ରିତେଶ କୁମାର ଦାଶ

୬. ପୂଜାଶ୍ରୀ ସେଠୀ

୭. ଆୟୁଷ ବଢ଼ାଇ

୮. ଶୁଭଲକ୍ଷ୍ମୀ ସାମନ୍ତରାୟ

ନିମ୍ନ ଲିଙ୍କ୍ ରେ କ୍ଲିକ୍ କରି ଆସରରେ ଯୋଗ ଦିଅନ୍ତୁ ।।

To join the meeting on Google Meet, click this link:

https://meet.google.com/bue-pqpk-nfe

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ଧନ୍ୟବାଦ ସହ

ସାହିତ୍ୟ ଜୀବନ ସାହିତ୍ୟ ସଂସଦ, ସମ୍ବଲପୁର, ଓଡ଼ିଶା

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5th Kalinga Global Film Festival Inaugurated at KIIT University

The 5th Kalinga Global Film Festival (KGFF) commenced on 13th December, 2024 at KIIT-DU, bringing together an impressive array of filmmakers, producers, and cine lovers from across the country. The three-day extravaganza will showcase 45 films, including feature films, short fiction, documentaries, and student projects, across multiple venues on the sprawling KIIT campus.

“ Inaugurating the festival, Minister of State (Ind. Charge) for Higher Education, Sports & Youth Services, Odia Language Literature & Culture, Govt. of Odisha Suryabanshi Suraj said the annual event has inspired Odisha’s cinema and artistic community. “Cinema has a significant impact on our society. This festival brings hope and belief that it will usher in new opportunities for Odisha’s film industry.”

KGFF, under the Founder of KIIT and KISS Dr. Achyuta Samanta‘s visionary leadership, has grown into a premier platform for celebrating cinema, fostering cultural exchange, and empowering young filmmakers.

Dr. Samanta, spoke at the inaugural event with a message of inspiration. “KIIT and KISS are two universities with a human touch. Despite being only 21 years old, KIIT has become a center of excellence, and we will continue to take this festival to greater heights,” he said.

Film producer Vipul Amrutlal Shah, known for his work on the hit film Aankhen, expressed his admiration for KIIT’s journey. “Staying in Mumbai, we did not realize the massiveness of KIIT. It is magical and inspirational that such a world-class university was built in just 25 years. This forum is important to expand our knowledge base. Odisha has immense talent that deserves to be brought into the mainstream, and this platform is a step towards that goal,” he said.

Producer Abhishek Agarwal echoed the sentiment, urging filmmakers to shine a spotlight on Odisha’s talent. “We have many unsung heroes in Odisha. I hope to see more films from here showcasing their stories and talents at the national level,” he said.

Film director Jadumoni Dutta lauded the unique contributions of KIIT and KISS. “KIIT and KISS are temples of learning, and KISS stands out as something extraordinary. To promote quality cinema, we need quality film festivals like this one,” he added.

The festival will feature masterclasses, discussions, and screenings across venues, including the Campus- 6 and Campus- 17 Auditoriums, the Open Air Theater, and the Seminar Hall. Notable attendees include producers Abhishek Tarachand Jain, Mayank Singhaniya, Navjyot Bandiwadekar; directors Tushar Hiranandani and Sagar Suneel Puranik; actress Rupali Sood; wildlife filmmaker Subbiah Nallamuthu; and Bollywood writer Raaj Shaandilyaa.

Movies that were screened today were Google Matrimony; History of Artists group in Bengal; Mo Bou, Mo Gaan; Bahi Tracing my Ancestors; Under The Bed; Rachamma; Srikanth; Ballad of the mountain; Main Nida; Roti Koon Banasi; Amar Aaj Marega; Astoraag; Monihara; attator; Kite & I; and Sam Bahadur.

This film festival is being organized under the leadership of Himanshu Sekhar Khatua, DG, KIIT School of Film, Fashion and Media Studies. Among others, Prof Saranjit Singh, VC, KIIT DU; Prof Jnayan Ranjan Mohanty, Registrar and other eminent Odia film personalities were present on the occasion.

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PM Modi attended and addressed the Odisha Parba, highlighting the rich tradition of Odia literature and its role in spreading spiritual and cultural values. He observed how scriptures were brought into the local language and shared the story of Lord Jagannath leading a battle, emphasizing that pure intentions ensure divine support. #shorts #globalnews #bbnewsinternational #newshighlights #presidentialelection #trendingnews #newsoftheday #newsupdates #internationaleditor www.bbnewsin.com

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Adi Kabi Sarala Das

Adi Kabi Sarala Dasa

Sarala Dasa (born as Siddheswara Parida) was a 15th-century poet and scholar of Odia literature. Best known for three Odia books — Mahabharata, Vilanka Ramayana and Chandi Purana — he was the first scholar to write in Odia and his revered as the Adi Kabi (First Poet) of Odia literature. As an originator of Odia literature, his work has formed an enduring source of information for succeeding generations.

HERE SARALADAS BOOK AVAILABLE

Life-- The early life of Sarala Dasa is not accurately known. He was a contemporary of the Gajapati King Kapilendra Dev. Though the date of his birth cannot be accurately determined, he can safely be placed to the 15th century AD. He was born at a village called kanakavati patana known as Kanakapura at the Tentuliapada, Jagatsinghpur district.Sarala Dasa had no organized early education, and what he achieved through self-education was attributed to the grace of Sarala, goddess of devotion and inspiration. Though his early name was Siddheswara Parida, he was later known as Sarala Dasa, or 'by the boon of Sarala'. (The title Dasa means a slave or a servant of a particular god or goddess. A long list of poets, preceding and succeeding Sarala Dasa, have names ending this way. For example: Vatra Dasa, Markanda Dasa, Sarala Dasa, Jagannatha Dasa, Balarama Dasa, and Yasovanta Dasa.) A story – similar to those told of other Indian poets, . such as Kalidasa, supposedly illiterate in early life until helped by the goddess Saraswati – tells that Siddheswara as a boy was once ploughing his father's field and singing so melodiously that the goddess Sarala stopped and listened to his song and endowed him with her power of composing beautiful poems.

There are several indications in his Mahabharata that he served as a soldier in the army of the Gajapati King of Odisha.

Works--

As well as the three books for which he is best known – Mahabharata, Vilanka Ramayana and Chandi Purana - Sarala Dasa also wrote the book Laxmi Narayana Vachanika. The Adi Parva Mahabharata opens with a long invocation addressed to the Lord Jagannatha of Puri, from which it is known that Sarala Dasa started writing his Mahabharata in the reign of Kapileswar, otherwise known as Kapilendra Deva, the famous Gajapati king of Odisha (AD 1435–67). He tells us that Maharaja Kapilesvara with innumerable offerings and many a salute was serving this great deity and hereby destroying the sins of the Kali age.

Though Sarala Dasa followed the main outline of the Sanskrit Mahabharata in writing the Odia Mahabharata, he made numerous deviations and added to it copiously the stories of his own creation and various other matters known to him. In the final form Sarala Dasa's Mahabharata is a new creation analogous to Kalidasa's Raghuvamsa based on the Ramayana.

Mahabharata brought to light about the 18 parvas. The Chandi Purana was based on the well-known story of Goddess Durga killing Mahishasura (the buffalo headed demon) given in Sanskrit literature but here also the Odia poet chose to deviate from the original at several points. His earliest work, Vilanka Ramayana, was a story of the fight between Rama and Shahasrasira Ravana (thousand headed Ravana).

He wrote the poems in Dandi chand (in which chand the number of letters in the verses is not fixed is called as dandi chand). The verse of Sarala Dasa is simple, forceful and musical, without artificiality. Applying colloquial words for his poetical purpose, his writing was free from Sanskritisation. His work can be seen as adapting the popular oral conventions of earlier Odia folk songs which were used in folk dances such as the Ghoda-nacha (Horse Dance), Dandanacha and Sakhinacha (Puppet Dance). One metrical peculiarity of these songs is that both the lines of a verse do not contain an equal number of letters though the last letters of both the lines produce the same sound. All Sarala Dasa's wors were composed with this metrical peculiarity, and so the metre used by him can be regarded as a direct descendant of that used in the folk songs. By the fifteenth century the Odia language had assumed almost its modern form and had become ripe for literary compositions.

The predominant sentiment in Sarala Dasa's poem is not love but war. He was also motivated by a strong religious zeal to compose religious books in a language intelligible to all and to make them available to the general public in Odisha. He tells in no uncertain words that he composed his poems for the benefit of "human beings". There are several indications in his Mahabharata that he served as a soldier in the army of the Gajapati King of Odisha and his association with the army brought to him a variety of experiences. The stories he heard the battle scenes which he witnessed, the places that he visited with the company of the army the historical incidents and names that he could know all remained stored up in his mind to be utilized in his writings.