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1 59 th U T K A R S A E D I T I O N U T K A R S A ସ ଖ ୟ ୫୯ ମ ର ଚ ଚ - ୨୦୧୭ VOLUME 59 MARCH A NEWSLETTER OF ODISHA SOCIETY OF AMERICAS

2 ଆ ମମ ର କ ୟ ଓ ଡ଼ ଆ ସ ମ ଜ ଆମ ର କ ଓଡ଼ ଆ ସ ଜର ଖପତ ର ସ ଖୟ ୫9 - ର ଚ ଚ - ୨୦୧୭ UTKARSA A NEWSLETTER OF ODISHA SOCIETY OF AMERICAS VOLUME 59 - MARCH ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

3 UTKARSA A NEWSLETTER OF ODISHA SOCIETY OF AMERICAS VOLUME 59 MARCH - 59 ଆମ ର କ ଓଡ଼ ଆ ସ ଜର ଖପତ ର ସ ଖୟ ୫୯ ର ଚ ଚ - ୨୦୧୭ Sushant Satpathy President Sulochana Patnaik Vice-President Saradakant Panda Secretary Siddharth Behera Treasurer ସ ଶ ନ ତ ଶତପଥ ସଭ ପତ ସ ମ ଚନ ପଟ ଟନ ୟକ ଉପ-ସଭ ପତ ଶ ରଦ କ ନ ତ ପଣ ଡ ସମ ପ ଦକ ସ ଦ ଧ ର ଚ ମ ମ ର ମକ ଷ ଧ ୟକ ଷ Kanak Hota Editor English Section କନକ ମ ତ ସମ ପ ଦ କ ଇ ର ଜ ଭ ଗ Prasanta Kumar Bhunya Editor Odia Section Design Photography - Typeset ପ ରଶ ନ ତ କ ମ ର ଭ ୟ ସମ ପ ଦକ ଓଡ଼ ଆ ଭ ଗ ଅଳଙ କରଣ ଛ ୟ ଚ ତ ର - ମ ଦ ର କ ର ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

4 C O N T E N T S Editorial - English 005 ସମ ପ ଦକ ୟ ଓଡ଼ ଆ ୦୦୭ Prabasi Odia Samman for OSA 011 World Econometrix Winning Team 025 Chapter Los Angeles 027 ଚ ର ମଲ ଟ - ଅର ଣ କ ମ ର ସ ହ ୦୫୮ ଧମକ - ସ ବ ସ ଚନ ଦ ର ର ଉତ ୦୪୨ ଧ ମ-ସତୟଠ ର ଅଲଗ କ ହ କ? - ବ ଲମ କ ନ ୟକ ୦୪୫ ତ ମକ ଭ ଟ ବ ଭବ ଲ - ସ ୱପ ନଲତ ମ ଶ ର (ରଥ)୦୪୮ ନ ଛ ଟ ଆ ଭବଳ - ସ କ ନ ତ ମହ ପ ତ ର ୦୪୯ ଏ ଭମ ର ଭ ଷ ଚ ଠ - ଧର ମହ ପ ତ ର ୦୫୨ ଦ ର ଣ ନ ଭହ ଏ ପ ରକ ତ - ସ ନନ ଦ ମ ଶ ର ୦୫୩ ମହ ଷ ମ ତ ଛ - ଅମ ତ କ ମ ର ୦୫୪ ସ ହ ତୟ ତ ର ଜ ୦୫୭ 3

5 C O N T E N T S Paik Revolution A visit -Dr. Kailash Chandra Das 060 Warrioress to Enterpreneures -Debajani Mohanty Rastogi 069 The lost history of Odisha -Darshan Panda 074 On thoughts of progress - Manoj Panda 078 Mayurbhanj News - Manoj Panda 081 Bahama Cruise Convention Reader s Letter 089 Request for Article 090 4

6 Dear friends, In my editorial this time I will say that Utkarsa is redundant. It has been more than one year since my association with Utkarsa. Over this period of time I have come to realize that the national Newsletter of the Odia Community of the North Americas should not be a quarterly publication. That practice needs a drastic facelift or upended. Let us think of making it instant, current and continuous. Let us make it available for the chapter members to post their reports, photographs, and literary outpourings instantaneously. We find generous posting of our esteem members on OSAnet.; those are occasion specific, informative and entertaining. As the editors of Utkarsa, we scavenge for information from those sent messages. The struggle does not end there; we invest our time to make them seem readable for one quarter/90-days. When we publish in Utkarsa photographs of Kumara Purnima in Christmas times or Reports of chapter picnic in October, Who cares to look at them? It s like cold dinner in a December night. We are living in the time of live-streaming and face time. Who wants to revisit news that is stale and arduous repetition? Twits change the fate elections, Facebook inaugurates poets and YouTube churns out artists. The individual is not afraid to fall apart; he finds the strength in his own self through technology. Newsletters were products of modern democracy. They emerged three hundred years ago to protect the voice of the vulnerable individual. On the other hand, it is hard to elicit response for Utkarsa from creative people through our appeal. In a free society people do not want to be directed, pulled back or persuaded. Prasanta Bhunya hosted writers from Odisha to sustain the publication. The concern is, if members do not participate in a newsletter that aims to speak to them, bind and give them a sense of belongingness as immigrant and/or first/second generation Odias in North America, then we need to give a second thought. ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

7 Each time I sit down to work for Utkarsa I feel that we are dragging forward a tradition that has outlived its purpose. As a quarterly journal it did a great service to the community for decades. It kept Odias scattered all over North America glued to one another for a reasonable period of time. It is time to make Utkarsa different. Thanking you, Dr. Kanak Hota Editor English Section Chicago kanakhota@yahoo.com ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

8 ଆଭମ ଓଡ଼ ଆ...ଆମ ଓଡ଼...!!! କଥ ସର ତ ସ ଗରର ଉପ ଖ ୟ ନଟ ଏ... ଦ ନନ, ଜନ ଭଦ ରବ ୟକ ତ ପ ଷ କର ନ କଟ ନଦଇ ଯ ବ ନବ ନ ନଗ ଟ ଏ ଦ ଶ ୟ ତ ଙ କର ଦ ଷ ଟ କ ଆସ ଲ କଙ କଡ଼ ବ ଛ ଟ ଏ ନ ଜର ଅସ ବ ଧ ନତ ର ପ ଭ ତରକ ଖ ସ ପଡ଼ ପ ନଶ ଚ ଉପରକ ଆସ ବ କ ଶ ତତ ନ ଷ ଟ ତ ନ ନଲ ତ କ ତ ର ବ ଫ ତ ନ ତ ବ ରମ ବ ର ନ ର ଶ ନ ବ କ ପଡ଼ ଛ ଭଦ ରବ ୟକ ତ ଜ କ ନ ଜର ଉତ ତମ ସ ୱଭ ବ ନ ତ ଏ ନ ଶ ଚୟ କନଲ ନଯ କଙ କଡ଼ ବ ଛ ଟ କ ଜ ର ବ ର କର ଆ ଉପନର ମ ଟ ନର ଛ ଡ଼ ନଦନବ ନସ ଜ ନ କଟକ ଯ ଇ ନ ଜର ତଟ ବ ଢ଼ ଇ ଦ ଅନ କଙ କଡ଼ ବ ଛ ଟ ନ ଜ ବ ଞ ଚ ବ କଥ ଭ ଲ ଯ ଇ ତ ର କତ ତତ ଙ କ ତକ ତ ର ଦ ଶ ନ କଲ ତ ର ବ ଷ କ ତ ନ ଡ଼ର ନ ଗତ ବ ଷ ଭଦ ରବ ୟକ ତ ଙ କ ଯନ ତ ର ନଦଲ ନ ଜକ କ ଛ ସମ ୟ ବ ରତ ନଦଇ ଭଦ ରବ ୟକ ତ ପ ନଶ ଚ ତଟ କ ବ ଢ଼ ଇନଲ ଜ ଶ ୟ ଭ ତରକ ସ ୱଭ ବ ର ବ ରତ ନନ ଇ କଙ କଡ଼ ବ ଛ ଟ ଅତୟଧ କ ଉତୟକ ତ ନ ଇ ଉକ ତ ଭଦ ରବ ୟକ ତ ଙ କ ପ ନଶ ଚ ଦ ଶ ନ କଲ ଏ ଭ ଦ ଶ ନନର ଭଦ ରବ ୟକ ତ ଙ କ ମ ର କ ଯନ ତ ର ନବ ଧ ନ ଲ ନସ ର ସ ତ ନର ଯ ଉଥ ବ ଆଉ ଜନ ବ ୟକ ତ ଏ ଘଟ କ ଅତୟ ଧୟ ନର ସ ଅନ ଧୟ ନ କଲ ପନର ଏ ଭଦ ରବ ୟକ ତ ଙ କ ନ କଟକ ଆସ ଅତ ବ ନମ ର ସ କଙ କଡ଼ ବ ଛ ର ସ ୱଭ ବ ଏବ ଓଖ ବ ଷୟନର ବ ଝ ଇ, ଭଦ ରବ ୟକ ତ ଙ କ ଘରକ ଯ ବ କ କ ନଲ ପ ରଥମ ଭଦ ରବ ୟକ ତ ନନଛ ଡ଼ବ ନ ଧ ନସ ଦ ୱ ତ ୟ ବ ୟକ ତ ଙ କ ଯନ ତ ର ଜନ ତ ମ ନର କ ଛ ଟ ସ ଫ ଟ ଇ କ ନଲ, ମ ଜ ନ କଙ କଡ଼ ବ ଛ ର ମ ନ ସ ୱଭ ବ ଆଉ ଓଖ ର କଥ ନ ନଲ ନସ ଯଦ ତ ମ ନ ଆ ର ଛ ଡ଼ ବ କ ନ ର ଜ ମ ନମ ର ଭଲଗ ଛ ଡ଼ ବ କ କ...? ଏଇଠ ର ଛ କଥ ର ଗ ମ ର ଏଇ ବ ଦ ଧ ପ ଇ ନବ ନ ନବ ନ ବ ଦ ଧ ଆମ ନନ, ନ ବ ତ ଦ ଧ ଆଙ କ ଦ ୱ ର ପ ଡ଼ ତ ନ ଇଥ ଅନୟର ଅନ ବ ତ ନଦ ନର ଲ ଗ ନଘ ଡ ଇବ ଭନଦ ର ତ କତ ତତବ ୟ ନ ନଲ ନ ନଜ ଉଲଗ ନ ନ ଇ ନ ନ କ...! ସ ଧ ବ ନ...! ଏଇଠ ପ ନଶ ଚ ଏଇ କଥ ର ବ ନଶ ଷ କର ବ ପ ରଥମ ଭଦ ରବ ୟକ ତ ଙ କ ଗ ଅତ ଉଦ ର ଆଉ ଦୟଗ ର ମ ର ଗତ ନସଇ ପ ର ର ଦ ଖ ତ ଙ କ ଦୟକ ଉଦ ନବ ନ କର ଲ ଏ ନସ ତ କ ବ ଞ ଚ ବ କ ତତ ପର ନ ନଲ ନ ନଲ ବ ରମ ବ ର ନସଇ କଙ କଡ଼ ବ ଚ ଛ ର ଦ ଶ ନ ପ ଇଲ ପନର ମ ଧୟ ପ ନ ପ ରନ ଷ ଟ କର ବ ଏତ ସବ ପର ସ ଥ ତ ନର ସଙତ ନନ ଇପ ନର ପ ରତ ନ ତ ରନର ନକ ସ କମ ତ କର ବ ପ ବ ତର ପ ବ ପର ସମ ସ ତ ଫ ଫ କ ଅନ ଶ ନ କର ବ ମ ଧୟ ଆବ ଶ ୟକ ନ ଇଥ ଏ ଏଇଠ ନଗ ଟ ଏ ତତ ତ ୱର ଅନ ଶ ନ କର ବ ଉ ତ ନଯ; କଙ କଡ଼ ବ ଛ ବ ଞ ଚ ବ କ ଥ ଲ ନ ନଲ ମ ଧୟ ତ ର ତ ର କତ ତତ ଙ କ ନସ ଦ ଶ ନ କର ଥ ଲ କ କ? ଏଇଥ ପ ଇ ଏତ ଅନନକ କ ର ଥ ଇପ ନର କଙ କଡ଼ ବ ଛ ର ର ତ ରକ ବ ନଶ ଷ କନଲ ଆନମ ବ ଝ ବ କ ପ ଇବ ନଯ ଏ ଦ ଶ ନ ନ ମ ନଲ ଖ ତ କ ର ନଯ ଗ ନ ଇପ ନର... ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

9 1. ପ ର ଭୟ ୨. ଅନୟ ପ ରତ ଅବ ଶ ୱ ସ ୩. ନ ଜର ଦ ଶ ନ ପ ରକ ତ କ ର ଏ ସ ୱଭ ବ କଙ କଡ଼ ବ ଛ ର ପର ୟ ଏ ନ ତ ନସ ଜ ନବ ଦୟ ପରମ ଧମ ତ ଭ ବ ଥ ବ ଭଦ ରବ ୟକ ତ ଙ କ ବ ରମ ବ ର ଦ ଶ ନ କର ଲ ଥ ଲ ନକବ କଥ କଙ କଡ଼ ବ ଛ ର ନ ; ଆପ ନଯନତ ପ ରକ ର ସ ରପ ର ଙ କ ଗ ଅନ ଧୟ ନ କର ଆପ ବ ଝ ପ ର ନବ ପ ରନତୟକ ସ ର ପ ର ର ନ ଜନ ଜର ଏକ ପ ରକ ତ ଅଛ ଯଦ ଓ ବ ଧ ତ ତ ଙ କ ଆତ ମର ନ ମ ନ ତ ପ ରଦ ନ କର ଛ ; ତ କ ନସମ ନନ ନବ ନ ନବ ନ ନବ ଦ ଧ ନଯ ଗ ଅନୟ ଉପ ୟନର ପ ରନୟ ଗ କର ଆତ ମର ନ ମ ନର ଅନୟକ ଆକ ରମ କର ବ ର ଏକ ବ ତ ର ଇନ ଦ ର ୟବ ତ ତ ନସଇଥ ନର ନସମ ନଙ କ ତ ପ ତ ଏ ନସମ ନନ ତ କ ଆତ ମପ ରସ ଦ ମ ନନ କର ଆମ ସମ ଜନର ଏଇଭ ବ ୟକ ତ ଙ କ ଅଭ ବ ନ ଏମ ନଙ କ ସତ ପଥକ ଆ ବ କ ନ ନଲ ପ ରଥନମ ନସମ ନଙ କ କ ଛ ଗ ବ କ ବ ନଶ ଷ କର ବ ସମ ପ ତନ ଆବ ଶ ୟକ ନସମ ନଙ କ ଉତ ତମ ମ ଗତ ନଦଖ ଇବ କ ଯ ଇ ଆପ ନଯପର ନକ ସ ନମ ନୟତ ର ଶ କ ର ନ ଅ ତ ର ଧୟ ନ ରଖ ବ କ ପଡ଼ ବ କଥ ନର ଅଛ... ଆନଲ ସଖ, ଆପ ମ ତ ଆନପ ରଖ ନ ନଜ ଯଦ ଆପ ଆକ ର ନ ନବ ନତନବ ନକ ସ ବ ୟ ଧ ଗ ରସ ତକ କ ପର ବ ୟ ଧ ମ କ ତ କର ପ ର ନବ ଏ ପ ରଥନମ ସ ସ ଥ ଆଉ ସ ର ତ ନ ବ କ ପଡ଼ ବ ସ ର ବ ୟ ସ ଷ ଟ କର ବ କ ପଡ଼ ବ ସମ ସ ତ ସ ଦୟ ବ ୟକ ତ ଙ କ ଏକଜ ଟ ନ ବ କ ପଡ଼ ବ ସମ ଜର ଦ ଷ ଟବ ର ସଫ କର ବ କ ପଡ଼ ବ ନନ ନଲ ନସମ ନନ ସମ ଜର ମ କ କ ଙ କର କ ମ ନର ନପ ତ ନଦନବ ଗ ତ ସ ଆର ଏବ ଅବ ତ ଥ ପ ରସଙକ ନନଇ ଥନର ଜନ ସ ତ ୟକ ତଥ ପ ରକ ଶ କ ବ ନ ଧ ନମ ସ ଆନଲ ନ କର ଥ ନଲ; ତ ଙ କ ବ ଝ ଇବ କ ଯ ଇ କ ଥ ଲ ନଯ; କଥ ଏ ମ ; ଅତ ଆଗ ର ଆଉ ନ ଶ ରଦ ଧ ନର, ନସଇମ ନଙ କ ସ ନଯଉ ମ ନନ ନମ କଥ ଶ, ଆଉ ନସଇମ ନଙ କ ସ ମ ଧୟ ନଯଉ ମ ନନ ନମ ନତ ନମ କଥ ଶ ନମ ପଛନର ଗ ଲ କର ; ନମ ନ ନର ଥଟ ଟ ତ ମ ସ କର ଏଇମ ତ ନକନତଜ ଭ ଇ-ବ ନ ଧ -କ ଟ ମ ବ ଅଛ ନଯଉ ମ ନଙ କ ଅତ ଭନଦ ର ତ ବ ୟବ ର ନଦଖ ଇବ ପନର ମ ଧୟ ନସମ ନନ ନସଇ ବ ଙ କ ଲ ଙ ଡ଼ ପ ର ନୟକ ପ ଲ ଦ ନନ ଗ ନର ପନଦ କଥ ଶ ଥ ଲ ଏଇ ପ ରସଙନର; ମ ମ ଉସ ମ ନନ କଥ ଛ ନର କ, "ଯ ଏ ନଯଉ ଅନ ନବ ୟଞ ଜନ ଖ ଏ, ତ ର ନସଇ ପ ରକ ର ଓଡ଼ ଆନସ" ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

10 ନମ ର ଜ ଞ ତସ ରନର ନଯନତନବ ନ ଏଇ କଥ ସବ ଆନସ, ମ ନକନବ କ ପ ନର ନ ନଯ,ନସଥ ପ ରତ ନମ ର ଖ ତ ର ନ ଏ ନମ ର ଉଦ ଧତ ପ ଆ ନ ଇଯ ବ ଏ ମ ନମ ର ୪୦ବ ଷତର ତଦ ଦ ଧତ ଜ ବ ନକ ନର ଅନନକ କ ଛ ଶ ଖ ଆସ ଛ ଏୟ ନକନବ କ ବ ନ ନଯ ଏ ଡ଼ ଶ ର ଜ ଞ ନ ଟ ଏ ନ ଇ ସ ସ ରକ ପ ରନବ ଶ କର ଥ ଲ ଏ ଅନୟକ ଶ ଖ ବ କ ମ ଉକ ଦ ଏ ଆଉ ସ ଧ ର ବ କ ମ ଧୟ ମ ନ ଷୟ ନଯନତନବ ନ ଋତ କ ର ସ ତ ନଦଇ ବ ୟସନର ବ ନ ନସନତନବ ନ ନକବ ଶ ର ର ବ ଦ ଧ ଏନ ଏଥ ସ ତ ର ମ ନସ କ, ସ ମ ଜ କ, ତ ତ ତ ୱ କ ଆଉ ନ ତନ ତ ମକ ପର ବ ତ ତତନ ଏ ଏ ଯଦ ଉତ ତମ ମ ନକ ଆଡ଼କ ବ ଦ ଧ ଏ ନତନବ ବ ୟକ ତ ଗତ ଗ ତ ମକ ଉନ ନତ ସ ସମ ଜ ତଥ ର ଷ ଟ ରର ସମ ଦ ଧ ନର ସ ୟକ ଏ ଆଉ ନଯନତନବ ନ ଏ ମ ନ ଆଡ଼କ ଗତ କନର ନତନବ ଠ କ ଏ ର ବ ପର ତ ଏ ଏ ନକ ଯଦ ଆପ ଙ କ ବ ଷୟନର ମ ଛନର କ ଛ କ ଆପ ଙ କ ନ ମ ନ କର ବ କ ନ ଷ ଟ କର ଥ ଏ ନତନବ ଆପ ନ ଜର ବ ୟକ ତ ଗତ ନ ତନ ର ପର ଭବ ନନଇ ତ ର ଏଇ ମ ନ ପର ନବ ଶ ର ତ କ ଉତ ତମ ମ ଗତନର ନନବ କ ନ ଷ ଟ ତ ଅ ଏ ଅବ ଧ ର ନକବ ଆପ ଙ କ ବ ର ଦ ଧ କର ଥ ବ ବ ୟକ ତ କ ଲ ଭ ପ ଞ ଚ ଇନଥ ଏ; ଏ ଆପ ଙ କ ମ ଧୟ ଅନନକ ଠଉର ନଦଇଥ ଏ ଏ ଅକ ନତ ଭୟର ପ ର ସଙ କତ ର ଅଛ ନକବ ନ ଜ ପ ଇ ନ ବ ର ସମ ସ ତଙ କ ପ ଇ ନସନତନବ ନ ସମ ସ ତଙ କ ସ ବ ସ ଥ ନ ବ ନ ଧ ତ ୱପ ର ଣ ତ ନ ବ ଏଇଭ ସ ସ ରଟ ଏ ପ ଇ ଲ ଅଗ ରସର ନ ବ ଏକମ ନ ଆଉ ପ ର ନନଇ ଏକ ଦ ଭ ବ ନର ପ ରତ ଷ ଠ କର ବ... ବ ସ ନଧ ବ କ ଟ ମ ବକମ -ପ ରଭ ଜୟ ଓଡ଼ ଆ...ଜୟ ଓଡ଼...ଜୟ ଜଗନ ନ ଥ...!!! ପ ର ନ ତ କ ମ ର ୟ ସମ ପ ଦକ ଓଡ଼ ଆ ବ ଗ ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

11 awards 59 th U T K A R S A E D I T I O N ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

12 W e a r e p r o u d o f OSA Honoured with Prabasi Odia Sammana For it s contribution from President of India By Odisha Forum This is a recognition of our members collective contributions at individual level as well as through OSA toward s OSA s mission. ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

13 ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

14 ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

15 Prabasi Odia Sammana Pranab heaps praises on Odias BHUBANESWAR: Praising the glorious legacy of Odia people, President Pranab Mukherjee on Friday said it inspires the rest of the country. The President, who inaugurated the Prabasi Odia Conclave, 2017, organized by the Odisha Forum in New Delhi also remembered the entrepreneurship and business acumen of the Odias as well as the state's rich history of art, culture, music, dance and architecture. "While reflecting on prabasi Odias, my mind goes back to deep recesses of history of the state. The earliest examples of prabasi Odias represent fine examples of entrepreneurship and business acumen which are now needed and indeed applied, across India to register higher growth and development," he said. Cherishing the growth of Odia people in different spheres, Mukherjee said a large pool of prabasi Odias are well-known for their excellence in diverse fields of politics, judiciary, journalism, bureaucracy and literature. "They have registered their presence in every nook and corner of India on the strength of their merit and worth and have attained excellence based on their higher educational attainments," he added. Also, the President emphasised to bring together the diverse talent pool of the state from different parts of India and world and harness their capabilities and expertise for growth, development and progress of Odisha and India. Recalling the contribution of Madhusudan Das, popularly known as Utkal Gaurab (pride of Odisha), the President said it was also he (Utkal Gaurab) who established the first educational institution for women which became a college in 1913 much ahead of the first women's university was set up in Bombay in Madhusudan Das spent considerable part of his life outside Odisha spearheading a movement to unify Odisha as a separate state, he said, adding it was with his efforts that women law ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

16 praised the role of Utkalmani Gopabandhu Das in the freedom struggle of the country. Chief minister Naveen Patnaik and Union oil minister Dharmendra Pradhan also addressed the gathering on the occasion. The conclave organized to discuss different aspects of Odisha would continue till January 8. News T i m e s o f I n d i a Updated: Jan 7, 2017, PM IST ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

17 ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

18 ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

19 ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

20 ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

21 ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

22 ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

23 ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

24 ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

25 ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

26 W e a r e p r o u d o f Sanjay Prayag Misra M e m b e r o f W i n n i n g t e a m W o r l d E c o n o m e t r i c G a m e a t A m s t e r d a m 2017 H a r v a r d U n i v e r s i t y P l e a s e f o l l o w t h e l i n k h t t p : / / w w w. e c o n o m e t r i c g a m e. c o m ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

27 CHAPTER REPORTS 59 th U T K A R S A E D I T I O N ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

28 LOS ANGELES World Peace thru Culture & Odisha Day celebration Creative Odias and connoisseurs of drama and performing arts from the Bay area celebrated "International Cultural Extravaganza - World Peace thru Culture" and Odisha Day on Sunday, Mar 26th (11 AM -7 PM) at Woodside High School Performing Arts Center, Woodside, CA. Members of igurukul Foundation and Odisha Society Of Americas, CA Chapter, participated in the multi ethnic cultural extravaganza showcasing rich artistic heritage of Odisha. Performances included classical, folk and contemporary dance, staging of two plays by Odia artists, food fest and Yoga. They celebrated Odisha Day too and showcased Odisha's unique cultural and linguistic heritage in an auditorium packed with spectators representing people from different countries of the world. They combined regional Odia Drama Festival, and staged two plays Agyaan Hajur, a short play written by Dr. Rajashree Kanungo and staged by the members of Portland Odia community and Chha Mana Atha Guntha, a drama based on Vyasa kabi Fakiramohan Senapati s famous novel of the same name by members of CA chapter. We on behalf of Utkarsa are reproducing the report that Kuku Das member of OSA, CA Chapter, sent to the Odia community of North America. We have included photographs obtained from Rajashree Kanungo, member Portland chapter. Kanak Hota Editor, English section ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

29 On behalf of igurukul Foundation and OSA (Odisha Society of Americas), I would like to take this opportunity to thank everyone who made this year's event such a success. It includes our eminent guests, the participants, the generous sponsors without whom the event would not be possible, the tireless IGF Team, IGF family, volunteers, our vibrant Odia community and of course, you the audience, many of whom are always there for us all these years. With all combined effort, International Cultural Extravaganza once more became a huge success and proved that united we stand! It was heartening to see the excitement and dedication in each participants, starting from little ones to all the way in adults which make this event a proud moment for igurukul. With more than 150 participants from igurukul itself presenting Yoga, Shloka Chanting, classical Odissi dance form, contemporary dance, Hindi Skit at the event, the mission "Synergy & Empowerment" has been proved. With the amazing Fashion Show which showcased Odia attire, and rhythmic Sambalpuri Folk dance, our energetic Odia youth have added another feather to the event. igurkul is privileged to have this new addition to the family. The journey might be tedious but the destination was rewarding. A heartfelt thanks to all the Gurus for your unbelievable passion and devotion towards making igurukul a cultural hub. For past few years with the help of OSA members igurukul is celebrating Odisha Day. It was mostly intended for the community. This year we'd taken one step further and tried to make the beautiful state of Odisha visible to others. There was a much appreciated food festival which catered mouth watering authentic Odia food. A heartfelt thanks to all the volunteers who made this dream into a reality. Regional Odia Drama Festival has added a new flavor to the event. For the first time, a drama team from OSA Portland Chapter traveled all the way to ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

30 participate in this program. We thank the team for their support. let the love for art and culture spread across the land. Anything we say will be not enough to glorify our own "BANG" ( Bay Area Natua Gosthi) drama group. You are getting better and better with each year's event. Whether it's a two weeks or two months preparation, you always present a spellbound performance. Thanks for always being there to support us. Kuku Das ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

31 ଓ ଡ଼ ଆ ଉ ତ କ ର ଷ ସ ସ କ ର ଣ ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

32 ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

33 ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

34 ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

35 ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

36 ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

37 ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

38 ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

39 ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

40 ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

41 ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

42 ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

43 ଧମକ ସ ନର ପ ଗ, ଅଳ ପ ଖ ର ପଡ଼ ଥ ଏ ସ ଲ ସ ଲ ଆ ପବ ନ ନବ ଥ ଏ ଦ ଣ ଘନର ନମ ସ ଙ ଓ ମ ବ ସ କଥ ମ ଜ ଦ ର ବ ତ ତତ ନ ଉଥ ଲ ମ ନ ଲ କ ଥ ଏ ନଦଖ ଲ ଝରକ ବ ନଟ ନଦଖ ଲ, ନସପ ଖ ର ମ ନ ଆସ ଛ ସ ଙକ କ ଲ, ସ ଙ, ଝଡ଼ ମ ଡ଼ ଆସ ଛ ଟ କ ଏ ଆର ର ମ ନର ବ ସ ଥ, ମ ଡ କ ବ ଝଡ଼ କ ଇ? ପ ଗ ଶ ଖ ଲ, କ ଛ ଝଡ଼ ଆସ ଛ, ବ ଇଆ ନ ଇଗଲ କ? ଆନର ତ ଯ ଆନ, ଯ, ଶ ଘ ର ଯ ଆ ପର ମ ତ ତତନର ଝଡ଼ ଭ ପଶ ଆସ ଲ ମ ନ ଆଖ ଲ ଲ, ନଜ ରନର ନ ଶ ୱ ସ ପ ରଶ ୱ ସ ଲ ଥ ଲ ଉନତ ତଜ ତ ନଦଖ ଯ ଉଥ ଲ ତ କ ମ ନପ ତ କ ଛ ସମ ୟ ବ ସ ର ଲ ପନର - ଆଜ ମ ଆସ ଛ ଫଇସଲ କର ବ କ ନମ ନତ ବ ବ କ ନ? ବ! ଏମ ତ କଅ ବ ଅ ନମ ର ପ ଠ ପଢ଼ ଏନବ ସର ଛ, କ ଛ ଆୟ ନ ତ ମ କ ରଖ ବ ର ସ ମ ଥତୟ ନ ନକମ ତ ଜନ ଭଦ ର ନଲ କ ଘନର ପଶ ଆସ କ ଛ, ବ ବ କ ନ? ଶ ସ ୱରନର କ ଲ ଆଉ ନଗ ଟ ଏ କଥ, ସବ ଥ ନଲ ବ ବ ପ ମ ଆଙ କର ସମ ମତ ଆବ ଶ ୟକ ମ ଶ ଖ ଗଲ ମ ନ ର ଏନତ ଦ ନ ଧର ମ ଶ ଲ ଆଉ ବ ନ ମ ନ କଅ ଅସ ବ ଧ? ବ ତ ସ ଙ ମ ଶ ଛ, ନକ ତ କ ନ, ବ ନ ବ ନ ମ ନ ଆଉ କ ସ ଙନର ନମ ର କ ଛ ଯ ଏ ଆନସ ନ ନମ ନତ ତ ନମ ଉପନଭ ଗ କର ଛ, ନମ ନତ ବ ନ ବ କ ବ ଧୟ ମ ଉତ ତର ନଦଲ, ଟ କ ଏ ର ଯ ଅ କ ଏ ଉପନଭ ଗ କର ଛ, ମ ନ ତ ନମ ଭଲକର ମ ନନ ପକ ଅ, କ ଏ କ କ ଉପନଭ ଗ କର ଛ ମ ତ ମ କ ନ ତ ନମ ନମ ନତ ଏକ କଥ ନ ନ କ? ନ, ଏକ କଥ ନ ନ ମ ନନ ପକ ଅ, ଆମ ର ପ ରଥମ ନଦଖ ତ ନମ ଠ କ ଆଜ ଭ ପଶ ଆସ ଲ ତ ମ ମ କ ଅନନଇ କ ଏ ଇଏ ନବ ଲ ହ ନ ବ କ ନ ଷ ଟ କର ଥ ଲ, କ ନ ଆଗର ନକନବ ନଦଖ ଭ ଲ ଯ ଇଥ ବ କ କ ନଖ ଜ ଛ, ମ ପ ର ଲ ତ ମ କ ଭଦ ରତ ଖ ତ ରନର ବ ସ ବ କ କ ଲ କ ଛ ସମ ୟ ବ ସ ଲ ପନର ତ ନମ କ ଲ, ମ ତ ମ କ ଭଲ ପ ଏ ମ କ ଥ ଲ, ତ ନମ କ ଏ ମ ତ ମ କ ଜ ନ ବ ହ ନ ନ ଆନମ ନକନବ ପରସ ରକ ନଦଖ ନନ ଜଦ ବ ନକନବ ନଦଖ ନ ଇଥ ଏ, ନମ ର ମ ନନନ ନମ ନତ ନ ହ ନ ନ ଜ କଥ ବ ତ ତତ ନ ନ ଇ ନକମ ତ ଭଲ ପ ଇଲ? ତ ପନର କ ଥ ଲ, ମ ଏକ ନ ର ଦ ଦ ଷ ଟ କ ର ନଯ ଗ କ କ ଭଲ ପ ଇ ପ ର ବ ନ, କ ଥ ଲ ନ ନ? ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

44 , କ ଥ ଲ କ ନଲ କଅ ନ ଲ? ତ ନମ ନମ ସ ଥ ନର ମ ଶ ଥ ଲ କ ନ?, ମ ଶ ଥ ଲ ମ ଶ ବ ମ ନନ ନ ନ ନ ଶ ଚୟ ବ ନ ବ ଏ ବ ୟସନର ପ ଅ ଝ ଅମ ନନ ମ ମ ଶ କର ଏକ ଧ କ ସ ଙ ବ କର କ ଛ ଦ ନ ମ ଶ ଲ ପନର ନ ଆ ସ ଙ ମ ଗନଲ ପ ର ସ ଙ ବ ସ ମ ତ ଗଭତନର କ ଆନଡ ଜ ଯ ଆ ନମ କଟ ଯ ଏ ଭ ବ ଲ ନମ ଠ ର ଆ ର ସ ନର ଯ ବ କ ନଦଖ ନଲ ତ ନମ ତ ଙ କ ସ ଥ ନର ମ ଶ ବ କ ଲ ଯ ବ କ ତ ନମ କ ଆନଡ ଗଲନ ମ ନନ ପକ ଅ, ତ ମ କ ମ ନକନବ ଥନର ନ ନଲ ଆଇ ଲଭ ୟ କ ଛ କ? ତ ନ ନଲ ନମ ନତ ଉପନଭ ଗ କ କ କଲ? ଭଲକର ମ ନନ ପକ ଅ, କ ଏ ଆଗ ପଦନ ପ ନନଲ ମ ବ ସ ଥ ଲ, ତ ନମ ଆସ ନମ ପ ଖ ନର ବ ସ ଲ ନମ ମ କ ଅନନଇ ର ଲ କ ଛ ସମ ୟ ପ ଇ ତ ପନର ନମ ନତ ଆଲ ଙନ କଲ ମ ସନଙ ସନଙ କ ଲ, ଇଏ କଅ କର ଛ? ନମ ନତ ଭ ଡ଼ ଧର ମ ବନ ନଦଲ ମ ନ ଜକ ବ ନଞ ଚଇବ କ ନ ଷ ଟ କର ଥ ଏ ତ ନମ ତ ମ ର ସବ ଶ କ ତ ଖ ନଟଇ ନମ ନତ ଭ ଡ଼ ଧର ଲ ମ କଅ କଲ? ଓଲଟ ମ ବ ରମ ବ ର କ ଥ ଲ ଇଏ କଅ କର ଛ? ନମ ନତ ଛ ଡ଼, ଏଇଟ ଭଲ କଥ ନ ନ ଆ ନଲ ସ ନ ପ ଅ, ତ ନମ ନମ ନତ ନପଲ ନଦଲନ ମ ଲ ଯ ଇ ଥ ଆ ନସଇଆ ତ କର ଥ ଲ, ତ ନମ କଅ ଛ ଡ଼ ଲ କ? ଶ ସ ତ ରନର ଅଛ, କ ମ ତ ର ନ ର କ ମ ନ କନଲ ଭୟଙ କର ନ ଇ ଉଠ ମ ବ ତ ଗଳ ପ ଓ ପ ର ଏ ବ ଷୟନର ପଢ଼ ଛ ମ ବ ଲକ ଲ ଡର ଗଲ ଯଦ ଏନତ ପ ଠ ପଢ଼ ଥ ଲ, ନମ ନତ ଉପନଭ ଗ କ କ କଲ? ଆନର, ନଫର ଉପନଭ ଗ! ମ ନସ କ ସ ତରନର ସ ଯ କ ତ ନ ନ ନଲ ଉପନଭ ଗ ସମ ଭବ ନ ନ ତ ନମ ନମ ଶ ର ର ସ ଥ ନର ଲ ଗ ତ କ ଉନତ ତଜ ତ କର ନମ ଆତ ମ କ ଶ ର ର ଭ ତର ନଠଲ ବ ର କର ବ କ ନ ଷ ଟ କର ଥ ଲ ଏଭ ପର ସ ଥ ତ ସ ଷ ଟ କଲ ନଯ ଋଷ ବ ନବ ଧ ଏ ର ଯ ଇଥ ନ କ ମ ସ ଯତ ନ ଇର ଲ ମ ବ ରମ ବ ର ମ ନ କର ଥ ଲ କ ନ? ତ ନମ ତ ମ ନ ର ତ ୱର ସ ନଯ ଗ ନନବ କ ଲ ବ ରମ ବ ର ନମ ନଦ ସ ଥ ନର ନଖ ଲ ତ ପନର ତ ନମ ଠ ତ ନମ ନତ ନଜ ରନର କ ଛ ସମ ୟ ପ ଇ ଭ ଡ଼ ଧର ଲ ଓ ତ ପନର ନମ ନତ ନପଲ ନଦଇ ପନ ଇଲ ନବ ଧ ଏ ତ ନମ ଭ ବ ଥ ଲ, ଶ ର ର ନପ ରମ ର ମ ଧୟମ କ ଏ ସତୟ ନ ନ ତଥ ପ ମ କ ଥ ଲ, ତ ନମ ନମ ପ ଖ କ ଆଉ ନକନବ ଆସ ବ ନ ନମ ସ ଥ ନନର ଆଉ କ ଏ ଥ ନଲ ନକ ସ ସ ନଯ ଗ ନଷ ଟ କର ବ କ ନଦଇ ନ ଥ ଆ ଓଲଟ ବ ତ ତତମ ନ ନମ ର ପ ରଶ ନ, ତ ନମ ନମ ନତ କ କ ଉପନଭ ଗ କଲ ମ ନ କର ବ ସନତ ତ ୱ? ବ ତ ତତମ ନ ମ ଅ ସତ ତ ୱ, କ ଆନଡ ଯ ବ ତ ମ ରକ ତ ନମ ନଦ ନର ନଖ ଛ ନମ ନତ ବ ନ ନ ନଲ ତ ମ ନ ମ ନର ନକଶ କର ବ ନଜ ରନର ସ ନଦଲ ମ ଅବ କ ନ ଇ ନମ ନତ ଅନନଇଲ ନସ ର ଯ ଅ, ମ ଛ କ ନ କ ନମ ନତ ଡର ଅନ ନକଶ କନଲ ର ଯ ବ ମ ଛନର ଦ ନ ବ ଦନ ମ ନ ବ ତ ନମ ଅ ସତ ତ ୱ ନ ଇପ ର ବ ନ, କ ର ପ ରଥମ କଥ, ମ କ ଛ ଦ ଷ କମ ତ କର ନ, ଦ ୱ ତ ୟନର ନମ ର ଆଜ ସ ମ ଆ ଅଛ ଅଥତ ତ ନମ ର ଶ କ ର ନମ ନଟ ନ, ମ ସ ନ ସ ଷ ଟ ନ ମ ନ ଅ ମ ନସଥ ପ ଇ ମ ନ ନଜ ବ ତ ଦ ଖ ଅନୟ ମ ନଙ କ ଭ ମ ଘର ସ ସ ର କର ପ ର ବ ନ ନମ ନତ ଏ ଦ ନ ଆ ପ ତ ଲ ଗ ଛ ନମ ନତ ବ ନ ଇ ତ ନମ କଅ ପ ଇବ? ନମ ର ବ ୟ ନ ନ ର ନଦଖ ତ ନମ ନମ ପଛନର ଲ ଗ ଲ ମ ନସଥ ନଯ ଗ ପ ରଥମ ର ମ ନ କର ଛ ତ ନମ ଶ ଲନ ଟ କ ଏ ଥମ ଗଲ ମ ନ, ତ ମ କ ନରପ ନକଶ ନର ପନକଇବ ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

45 ପକ ଅନ, କ ଏ ମ ନ କର ଛ ଆଜ ଯ କଥ ବ ତ ତତ ନ ଲ ଓ ନସ ଦ ନର ଘଟ ସବ ସ ସ ଟ ଭ ନର ଭ ଡ ଓ ନରକଡତ ନ ଇଯ ଇଛ ମ ଇଚ ଛ କନଲ ତ ମ ନ ମ ନର ଓଲଟ ନକଶ କର ପ ର ବ ଠ ତ ମ ନ ର ମ କ ପଡ଼ ଗଲ ଓ ନସ ଥର ବ କ ଲ ଗ ଲ ଆଇ ନ ଟ ୟ କ ନମ ନତ ପ ଡ଼ ଏ ପନକଇ, କ ନ କ ନ ଲ ଗଲ ମ ଗ ଲ ଆଉ ସ ଥ ଏ, ନମ ସ ଙ ଘର ବ ର ଆସ କ ଲ, " ଇନର, ଇଏ କଅ ସତ? ନତ ର ଆଜ ସ ମ ଆ ଅଛ?" ଦ ଖ ମ ଶ ସ ମ ତ ସୟ କର କ ଲ, ଏମ ତ ବ ତ କଥ ଜ ବ ନନର ଘନଟ ଯ କ ଏନ ବ ସ ଏନ ନପ ରମ ର ଅଥତ ନଦ କ ମ ନ ନ ନ, ଆତ ମ ର ମ ନ ଅତ କମ ନର ମ ନର ମ ନ ଜର ର ଆଜ କ ଲ ସ ନନମ ଓ ଅଶ ଳ ବ ପର ଣ ତ ଭ ଡ ଓ ନଦଖ ନବ ଧ ଏ ନସ ପଥ ଡ଼ ଯ ଇଛ, କ ମ ତ ଡ଼ ନ ମ କ କ ପର ଝ ଅର ଜ ବ ନ ନଷ ଟ କର ଥ ଆ ଆଉ ନଗ ଟ ଏ କଥ, ନକ ସ ସମ ପକତ ନ ଥ ଇ ଯ ଏ ଏଭ କ ମ କର ଛ, ନସ ବ ବ ପନର କ ଜବ ରଦସ ତ ନ କର ପ ର ବ ଓ କ ଧମ କ ନ ନଦଇ ପ ର ବ? କ ଅ ସତ ତ ୱ ଅଛ କ ଲ ନଯ? ମ ଛ କଥ ନଗ ଟ ଏ ଝ ଅ ଅ ସତ ତ ୱ ନ ଇଛ କ ନଲ ସମ ନସ ତ ନ ଶ ଚୟ ବ ଶ ୱ ସ କର ଯ ନବ ସତ ଭ ବ ନବ ଏମ ତ କ ନମ ଉପନର ପ ସ ଷ ଟ କର ଥ ଲ ନସ ର ମ ଲ କ ଢ଼ ବ ସମ ୟନର ତ ର ବ ୟ ଗନର ଗଭତନ ନର ଧକ ବ ଟ କ ଥ ବ ନଦଖ ଥ ଲ ଇଏ ଆଧ ନ କ ଯ ଗ ପର! ନକ କଅ ଏନତ ନବ କ ନ ଇପ ର ବ? ନଗ ଟ ଏ ପ ଡ଼ ଖ ଇ ବ ଞ ଚ ଗଲ, ନ ନ ନଲ ଜ ବ ନନର ବ ତ ପ ଡ଼ ଖ ଇ ଥ ଆ ଓ ବ ତ କ ଛ ନରଇ ଥ ଆ ସ ଙ, ସତ କ, ନମ ନତ ଖ ର ପ ଲ ଗ ଛ ନତ ର ଆଜ ସ ମ ଆ କଥ ଶ ଆନର ଭ ଇ, ବ ତ ଦ ନ ଧର ପ ଲ ପ ଲ ନ ନ ଲ ପନର ଲ ନବ ନରଟର ନର ପର କନଲ ଜ ଯ ଏ ଆଜ ସ ମ ଆ ଅଛ କ ନ ମ ତ ନମ ଟର ବ ନ ଇନ, ନମ ର ନସ ପର କର ବ ଆବ ଶ ୟକ କଅ? ଆଜ ସ ମ ଆ ନ ଟ ନଗ ନଟ ଗପନର ପଢ଼ ଥ ଲ ନସଇଟ କ ନଦଲ ନମ ର ଆଜ ସ ମ ଆ ଅଛ କ ନ, ମ ନକମ ତ ଜ ବ ତ କ ମ ଏ କଥ କ ନମ ଠ ର ଦ ରକ ଯ ବ କ ପ ରବ ତ ତତଉଥ ଲ କ ନସ ଝ ଅ ସ ଏନତ ନ ବ ଡ଼ ନ ଇ ସଞ ଜତ ନ ଲ ନକମ ତ? ନମ ନତ ଆଶ ଚଯତୟ ଲ ଗ ଛ ନମ ମ ଆ ନବ ନ ନବ ନ ନ ନତଇ ଦ ଏ, ନସ କଥ ମ ନନର ଗଣ ପଡ଼ ର ଯ ଇଛ କ ଥ ଲ, ସବ କର ବ, ନକ ସ ଝ ଅ ସ ଥ ନର ଲ ଗ ବ ନ, ଆମ ର ବ ଝ ଅ ଅଛ, ନତ ର ଭଉ ଅଛ ନସ କଥ ନମ ମ ନନର ବ ସ ବ ନ ଧ ଯ ଇଛ ଯଦ ନଗ ଟ ଏ ଝ ଅ ପଥ ଡ଼ ଯ ଏ, ଜ ବ ନ ସ ର ତ ର ର ତ ରନର ଦ ଗ ଲ ଗ ଯ ଏ ତ ର ବ ବ ପନର ବ ତ ର ପ ଲ ଯଦ ନକ ସ କ ର ବ ଶ ତ ମ ର ଇତ ସ ଜ ପ ନର, କ ଦଶ ନ ବ ନସ ପ ଲ ର ଭ ବ ପ ର ଛ ତ? ସମ ନସ ତ ନ ଜ ମ କ ନ ଷ କ ଙ କ ଭ ବ ନମ ସ ଙ ନମ ନତ ବ ସ ମ ତ ଓ ବ ସ ର ତ ନୟନନର ଅନନଇ ଥ ଲ, ନଯମ ତ ନମ ନତ ନ ଆ ନଦଖ ଛ କ ଲ, ଇନର, ତ କଥ କଥ ନର ଏନତ ବ ଜ ର କଥ କ, ମ ଭ ବ ଥ ଲ, ତ ସତନର ବ ଜ ର ଟ ନତ ର ଏନତ ଭଲ ଗ ଅଛ ମ ଜ ନ ଥ ଲ ନଫର ଯ ଉ ଯ ଉ ପଛକ ଅନନଇ ଆଖ ମ ର କ ଲ, କ ଯ କ ଭ ଇ, ଛ ନସ ଛ ଡ଼ ନଦଲ କ ଙ କ ବ ଜ ର କଥ କନ, ନସ ଉତ ତର ଶ ବ କ ଅନପ ନ କର ଲ ଗଲ ନମ ମ ର କ ସ ନଦଖ ବ କ ନ ଥ ଲ ନସ ନକ ଅବ ଶ ୟ ପ ର ନଲ କ ବ ଡ : ସ ବ ସ ନ ଦ ର ର ଉତ ଭ ବ ନନଶ ୱର ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

46 ଧ ମ, ସତୟଠ ର ଅଲଗ କ ହ କ ଲ ଭଗ? ଦ ନ ଆର ସମ ସ ତ ଧମ ତ କ ଛ ଧମ ତ ସତୟ; କ ର ଧମ ତ ନ ଉଛ ଏକ ଐଶ ୱର ୟ ଶ କ ତ ପ ରନତୟକ ଧମ ତର ମ ସ ଦ ଧ ନ ଉଛ, ମ ନ ଷୟର ମ ସ ତ ଷ କ ଏବ ନଭ ତ କ ପଦ ଥତ ଠ ର ଉର ଦ ଧ ତନର ସ ୱତନ ତ ର ନକ ସ ଏକ ନ ତନ କ ମ ବ ପରମ ତ ମ ର ଅସ ତ ତ ୱ ର ଛ ନସ ପରମ ତ ମ କ ମ ଷ ନଦଖ ପ ର ବ, ଛ ଇ ପ ର ବ ନ, ଶ ପ ର ବ ନ କ ସ ଧନ କନଲ ଅନ ଭବ କର ପ ର ବ ଏ ସ ଦ ଧ ସମ ପ ର ଣ ତ ଅନବ ଜ ଞ ନ କ ଏବ ନ ର ଧ ର କଳ ପନ ନ ନଲବ ନଯନ ତ ସମ ସ ତ ଧମ ତମ ନୟତ ନଦଉଛ, ନତ ସମ ସ ତ ଧମ ତର ଗ ର ମ ନନ ପ ର ର କର ମ ତ ସବ ଧମ ତ ସମ ନ ଓ ସତୟ ସ ୱ ମ ବ ନବ କ ନନ ଓ ମ ତ ମ ଗ ନ ଧ ବ ଏ କଥ କ ସମ ଥତନ କର ଥ ନଲ ବ ନବ କ ନନ ନଲ କମ ନଙ କ ସନନ ନମ ନ କର ବ ପ ଇ କ ଛ ବ ଭ ନ ନ ଧମ ତନର ନଯଉ ଭ ନ ନତ ନଦଖ ଯ ଉଛ ତ ବ ଭ ନ ନ ଙନର ପ ଜ ପଦ ଧତ ନଯ ଗ ଏଇଠ ପ ରଶ ନ ଉଠ ଛ 1. ଯଦ ସମ ସ ତ ଧମ ତର ମ ତତ ତ ୱ ଏକ ନତନବ ପ ଜ ପଦ ଧତ ନର ଏନତ ବ ଷମ ତ ର ଛ କ କ? 2. ନଗ ଟ ଏ ଧମ ତନର ନଯଉ ପ ରକ ର କମ ତକ ଣକ ପ ୟ ନବ ଲ କ ଯ ଉଛ, ଅନୟ ଏକ ଧମ ତନର ଠ କ ନସ ପ ରକ ର କମ ତକ ଣକ ପ ପ ନବ ଲ କ ଯ ଉଛ କ କ? 3. ଏ ପର ସ ଥ ତ ନର ସବ ତଧମ ତ ସମ ଭ ବ ନବ ଲ ପ ର ର କର ଯ ଉଥ ବ ଆଧ ର ନ ଉପନଦଶ ର ଅଥତ କ? ନ ତ ବ ଦ ମ ତନର ସବ ତ ଧମ ତ ସମ ଭ ବ ନକବ କଳ ପନ ଉପନର ଆଧ ର ତ ଉନର ଦ ଦଶ ୟ ନ ପ ଜ ପଦ ଧତ ମ ଧୟନର ସମ ନବୟ ର କର ବ ପ ଇ ଏକ ଅଥତ ନ ମ ବ ୟ ବ ୟତ ତ ଅନୟ କ ଛ ଗ ଢ଼ତତ ତ ୱ ଥ ଲ ଭ ମ ନନ ନ ଉନ ଆମ ଆଗନର ଏକ ଜଟ ପ ରଶ ନ ର ଛ ଯଦ ଧମ ତର ମ ତତ ତ ୱ ମ ନବ ମ ସ ତ ଷ କର ସ ୱତନ ତ ର ନକ ସ ନ ତନ ବ ପରମ ତ ମ ର କ ଳ ପନ କ ଅସ ତ ତ ୱକ ବ ଶ ୱ ସ କର ବ, ନତନବ ଧ ମ କ ସ ୱତନ ତ ରତ ଓ ଧମ ତ ନ ରନପ ସମ ଜର ଅବ ଧ ର କ ନ ବ ଉ ତ? ଏଇଠ ଏ ପ ରଶ ନ ସତୟ ଓ ଧମ ତ ମ ଧୟନର ସ ଘଷତ ସ ଷ ଟ କର ଛ ଅଥତ ତ ସମ ଜ ସତୟ ଓ ଧମ ତ ମ ଧୟର କ ର ର କର ବ? ନ ଶ ଚ ତ ଭ ନବ ଏକ ସଙନର ଦ ଙ କ ର କର ବ ସମ ଭବ ନ ନ କ ର ନ ତନ ଓ ବ ର ମ ନବ ମ ସ ତ ଷ କର ଜ ତ ନ ଇଥ ଏ ନତ ତ ମ ନବ ମ ସ ତ ଷ କ ଦ ୱ ର ଏ ନଭ ତ କ ଜଗତନର ପ ରତ ବ ମ ବ ତ ବ ୟତ ତ ମ ନବ ନ ତନ ନର ଆସ ଥ ବ ପ ରନତୟକ ପ ରତ ବ ମ ବ ସତୟ ନ ଇନପ ନର ନସଥ ର କ ଛ ଅସତୟ ବ ନ ଇପ ନର ନଯଉ ଗ ଡ଼ କ ନଭ ତ କ ଜଗତର ଯଥ ଥତ ସ ତ ନମ ଖ ଉଛ, ନସ ଗ ଡ଼ କ ସତୟ ଏବ ନଯଉ ଗ ଡ଼ କ ଯଥ ଥତ ସ ତ ନମ ଖ ଉନ ଅସତୟ ମ ନବ ମ ସ ତ ଷ କର ସମ ସ ତ ଧ ମ କ ପ ରତ ବ ମ ବ ନଯନ ତ ନଭ ତ କ ଜଗତର ଯଥ ଥତ ସ ତ ନମ ଖ ଉନ ନତ ନସ ଗ ଡ଼ କ ଆନମ ଅସତୟ ନବ ଲ କ ପ ର ବ ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

47 ଧ ମ କ ନଲ କମ ନନ ଧମ ତର ଯଥ ଥତ ସମ ପକତନର ଠ କ ଭ ନବ ଜ ବ କ ନ କ ମ ବ ଅନୟମ ନଙ କ ବ ପର କର ଜ ବ କ ଅନ ମ ତ ନଦଉନ ନସମ ନଙ କ ମ ତ ନ ଉଛ ଧମ ତ ଯ କ ତ, ତକତ ଓ ପର ର ଉର ଦ ଧ ତନର ଅବ ସ ଥ ତ ଏଇଠ ପ ରଶ ନ ଉଠ ଛ ଧମ ତ ଯଦ ସତୟ ନତନବ ପ ରନତୟକ ଧମ ତ ପର କ ଭୟ କନର କ କ? ଧମ ତକ ନନଇ ସ ମ ନୟ ତକତ ଉଠ ନଲ, ଧ ମ କ ନଲ କମ ନନ ମ ମ ଛ ଭ ଭ ଭ ନ ଇ ତ କ ର କର କ କ? ଆମ ର ଧ ମ କ ଭ ବ ନ କ ଆଘ ତ କର ଛ କ ଆକ ର ମ କ ର ପ ଧ ର କର କ କ? ଏ ର ବ ପର ତ ତକତବ ତକତ ଦ ୱ ର ନଭ ତ କ ଜଗତର ସତୟକ ମ ନ ଥ ବ ମ ନବ କ ନକ ସ ଆଘ ତ ଲ ନଗ ନ ନକ ସ ନବ ଜ ଞ ନ କ ତ ଙ କ ସମ ନଲ ନ କର ଥ ବ କ ମ ବ ନସ ଉଦ ଭ ବ ନ କର ଥ ବ ତଥୟକ ନନଇ ତକତ କର ଥ ବ ମ ନବ ତ ଙ କ ଭ ବ ନ କ ଆଘ ତ କର ଛ ନବ ଲ ତ କ ର କର ନ ବ ର ତକତ ବ ତକତ ଦ ୱ ର ନବ ଜ ଞ ନ କ ଗନବ ଷ ନର ର ଥ ବ ତ ଟ ସ ଧ ର ବ କ ନସ ନ ଷ ଟ କର ନବ ଜ ଞ ନ କ ଗ ଲ ଲ ଓଙ କ ଦ ୱ ର ଆବ ଷ କ ତ ତଥୟ ପ ଥ ବ ନଗ ଲ ଏବ ସ ଯତୟ ର ପ ଖ ନର ଘ ର ଛ ସମ ପ ର ଣ ତ ଭ ନବ ଏକ ନବ ଜ ଞ ନ କ ସତୟ ଥ ଲ ଏ ତଥୟ ତ ଙ କର କ ଳ ପନ କ ବ ଶ ୱ ସ ଉପନର ଆଧ ର ତ ସତୟ ନଥ ଲ ନସନତନବ ନ ତ ଙ କର ଏ ତଥୟକ ନକ ବ ଶ ୱ ସ କର ବ ନକର ସତୟ ଥ ଲ ଏ ବ ପର ତ ଇନ ଦ ର ନଦବ ତ ନ ଉଛ ଜ ନଦବ ତ ନସ ଇଚ ଛ କନଲ ବ ଷତ ନ ବ, ଇଚ ଛ ନକନଲ ବ ଷତ ନ ବ ନ ଏ ସମ ପ ର ଣ ତ ଭ ନବ କ ଳ ପନ କ, ଅନବ ଜ ଞ ନ କ ଓ ଅସତୟ ବ ଶ ୱ ସ ନଯଉ ବ ଶ ୱ ସ ଯ କ ତ ବ ତକତ କର ପର କନରଇବ କ ଭୟ କନର ତ କ ଅନ ଧବ ଶ ୱ ସ ନବ ଲ କ ଯ ଏ ଅନ ଧବ ଶ ୱ ସ ଆଧ ରନର ନଯଉ କମ ତ କର ଯ ଏ, ନସଥ ନର ସଫ ନ ବ ର ସମ ଭ ବ ନ ଆନଦ ନଥ ଏ କ ମ ବ କ କତ ୟ ନୟ ୟନର ବ ତ କମ ଥ ଏ ନଶ ଷକ ବ ଗତ ସ ତ ସନ ମ ତ ମ ମ ନନ ଉପନଦଶ ଦ ଅ ନଯ ସମ ନସ ତ ନଭ ତ କବ ଦର ଦ ରନର ର ଆଧୟ ତ ମବ ଦକ ଗ ର କର ନସମ ନନ ନଭ ତ କବ ଦ ଦଶ ତନକ ନଭ ଗବ ଦ ଦଶ ତନ ର ନପ ପ ର ର କର ଏ ର ବ ପର ତ ନସ ମ ନନ ସବ ଠ ର ନବ ଶ ନଭ ଗବ ସନର ବ ଡ଼ ର ଛ ମ ର କ ତ, ଏନଙଲସ, ନଲନ ନ, ଷ ଟ ଲ ନ, ମ ଓ ନସତ ଙ, ଡ: ଆନମ ବଦକର ଓ ଭଗତ ସ ଆଦ ସମ ନସ ତ ନଭ ତ କବ ଦର ସମ ଥତକ ଥ ନଲ କ ନସମ ନନ ନ ଜ ଜ ବ ନକ ମ ଧୟନର ଅତୟ କନଠ ର ସ ଘଷତ କର ଥ ନଲ ନସମ ନନ ଅଭ ବ ଅନ ଟନ ଭ ତନର ଜ ବ ନ ଅତ ବ ତ କର ଥ ନଲ ମ ନବ ବ ଦର ପ ରତ ଷ ଠ ପ ଇ ନସମ ନଙ କ ତୟ ଗ ଓ ସମ ପତ ଭ ବ ନଦଖ ନଲ ନକ ସ ଶ ତ ବ ନସମ ନଙ କ ନଭ ଗବ ଦ ନବ ଲ ନଦ ଷ ନର ପ କର ପ ର ନବ ନ ଏ ର ବ ପର ତ ଆଧୟ ତ ମବ ଦର ସ ଇନ ନବ ଡ଼ତ ଲନଗଇ ଆଜ ଜ ର ଜ ର ସ ଖ ୟ ନର ଧ ମ କ ଆଶ ରମ ଆମ ନଦଶ ନର ଛତ ଫ ଟ ବ ଭଲ ନଖ ଲ ବ ନର ଲ ଗ ଛ ନଯଉ ଠ ନଭ ତ କବ ଦକ ମ ଛ ଓ ମ ୟ କ ତୟ ଗ କର ବ କ ର ତ ଦ ନ ପ ର ର କର ଯ ଉଛ, ନସଇଠ ନ ନଜ ନଭ ଗବ ଦନର ବ ଡ଼ ର ଛ ଆଜ ସମ ସ ତ ଧ ମ କ ସ ସ ଥ ବ ଜ ଞ ନ ଦ ୱ ର ଉଦ ଭ ବ ନ କର ଯ ଉଥ ବ ନବ ଦ ୟତ କ ଉପକର ବ ୟବ ର ନକନଲ କ ମ ନ ଧମ ତଗ ର ମ ନଙ କର ପ ରବ ନ ପ ର ର ପ ଇ ନବ ଦ ୟତ କ ଗ ମ ଧୟମ ଓ ମ ଇକ ର ଆବ ଶ ୟକତ କ ନକ ଅସ ୱ କ ର କର ନ ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

48 ନଯ ଗ ସ ଧନ ଦ ୱ ର ସ ୱଗତନର ବ ସ କର ଥ ବ ନଦବ ନଦବ ତ ଙ କ ସ ବ ତ ତତ ପ କର ଥ ବ ବ ବ ମ ନନ ପ ଥ ବ ନର ବ ତ ତତ ପ ପ ଇ ନମ ବ ଇଲ ନଫ ନ ବ ୟବ ର କର ଛ ତଥ ପ ନସମ ନନ ନ ଲତଜ ଜ ଭ ନବ ବ ଜ ଞ ନ ଓ ନଭ ତ କବ ଦକ ତ ଚ ଛ ଓ ଅନ ବ ଶ ୟକ କ ନ ନ କର ଛ ଅଥତ ତ ଧମ ତ, ସ ଧ ର ଜନତ କ ସତୟ ଠ ର ଅଲଗ କର ନଦବ କ ଛ ବ ତ ତତମ ନ ଶ ସକ ବ ଗତ ଧ ମ କ ସ ୱତନ ତ ରତ ବ ନ ନର ସତୟର କଣନର ଧ କର ବ କ ସମ ସ ତ ନ ଷ ଟ କର ଛ ନସମ ନଙ କ ପ ଇ ଧମ ତ ନ ରନପ ତ ର ଅଥତ ସମ ସ ତ ବ ର ଣର ଅଫ ମ କ ଖ ଇବ ପ ଇ ସମ ନ ଭ ନବ ଉତ ସ ତ କର ବ ତକତଦଶ ତନ ନ ଉଛ ପ ରନତୟକ ତଥୟକ ପର କର ସତୟକ ପ ରମ ତ କର ବ ପ ଇ ଏକ କଷଟ ପଥର ଧମ ତ, ତକତ ଦଶ ତନକ ନ ଷ ଦ ଧ ନଘ ଷ କର ଛ କ କ? ସତୟ, ତକତ ଦଶ ତନକ ସବ ତଦ ସ ୱ ଗତ କର ଥ ଏ ଏଇଥ ର ମ ନନର ସନନ ନ ଉଛ ନଯ, ଧମ ତ ଓ ସତୟ ଦ ନ ଅଲଗ ଅଲଗ ତଥୟ ବ ଲମ କ ନ ୟକ ବ ଙ ନଲ ର ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

49 ତ ମକ ଭ ଟ ବ ଭବ ଲ ତ ମ କ ନଭଟ ବ ନବ ଲ ଆଗ ପଛ ନ ବ ର ଘର ପ ଦ କ ନଦଲ, ନ କ ଠ ନଡଇ ତ ମ କ ନଖ ଜ ନଖ ଜ ନକନବ ତ ମ ଛ ଇ ସ ନଥ ଲ କ ଲ ନଖ ନ ନକନବ ପ ବ ଇ ଶ ସ ୱରନର ମ ନ ଜକ ଇ ଭ ନଲ... ସବ କ ଛ ଭ ଲ ଭ ଲ ତ ମ କ ନଖ ଜ ବ ନର ନ ଜକ ଭ ଲ ବ ନର ଅଭୟ ସ ଭ ତନର ଜ ନ ନ ମ ନକନତନବ ନ ଏନତ ବ ଟ ଆନଗଇ ଆସ ଲ, ବ ଦ ନର ଗନଲ ତ ର ପ ର ୟ ପର ଜନ, ହ ନ ଜ ଗଛଲତ, ପଶ ପ, ନଦ ଓ ଝର, ଏମ ତ କ ପବ ନନର ନ ଆଉ ନସମ ନଙ କ ପ ଗ ଞ ଜର... ର ପଟ ନ ରବ ନ ଥର, ଦ ଶ ନ ବ ତ ମ ଛ ଇ ନକଉ ଠ ଲ ଲ ତ ନମ ସ ଧୟ ଆସନ ନ, ଏକ ଅଜ ସ ଶ ନୟ ଏନବ ଶ ର ତ ତନ ମ ନ! ଏମ ତ କ ଶ ଭ ନ ତ ମ ବ ଶ ସ ୱନ, ର ର ଭ ସ ଆନସ ପବ ନନର କ ର ନ ଶ ୱ ସ, ଅ ଷ ଟ ସ ୱରନର ନକ ପ କ ନ ନମ ନତ, ନଫର ବ କ ନ ବ ଏନବ ତ ମ କ ନଭଟ ବ ଆଗର କ ନ ନ ଜକ ହ ନ ବ ନଲ ଡ, ନ ନଜ ନ ଜ ଠ କ ନର ପ ଥର ଟ ଏ ନ ଜକ ନଭଟ ବ ନଲ ଡ ତ ମ କ ନଭଟ ବ ନବ ଲ ଆଗପଛ ନବ ର ସବ ତ ଛ ଡ ଲ... ସବ ଭ ଲ ଭ ଲ ତ ମ ଛ ଇ ଭରସ ନର ଏନତ ବ ଟ ଲ ନଯ ଆସ ଲ ଏନବ କ... ନ ଜକ ନଖ ଜ ବ ଯ ଇ କ ଭରସ ନର ଯ ବ ପ ନକଉ ଠ କ ନର? ସ ୱପ ନଲତ ମ ଶ ର(ରଥ) ମ ନକ ମ ବ, ମ ଗ ନ ଯ କ ତର ଷ ଟ ର ଆନମ ର କ ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

50 ନ ଛ ଟ ଆ ଭବଳ ନ ଛ ଟ ଆ ଭବଳ ନ ଛ ଟ ଆ ନବ ଟ ନକ ନକନତ ଆପ ର ସନତ ବ ଡ ନଭ ରର ନଶ ଯ ଛ ଡ଼ ପ ଥନର ର ତ ଅଧନର କ ଆଖ କ, ଅବ ଶ ଶ ର ରକ ବ ଶ ର ମ ନଦବ ଭ ତନର ଅନ ଷ କର ଥ ଏ ନକନତନବ ନ ମ ଯ ବ ନ ଛ ଟ ଆ ନବ ଟ ନକ ନଦଖ ବ ପ ଇ ଆକ ଶ କ, ଗଛ ପତରର ସବ ଜ ବ ର ଣ ତ ବ ଭବ କ, ପ ପ ଶ ବ କ ନ ମ ଅଜ ପ ଙ କର କ କ କ ଗ ଣ ମ ଷ ର ପ ତ ନର ଆନମ ଦ ତ ନ ବ କ ଅବ ଶ ନ ଶ ନ ମ ନ ଗ ରନର ବ ଟ ଲ ବ କ ମ ନନ ପନଡ଼ ପ ଲ ଦ ନ ଏକଲ ପ ଆର ସ ମ ର ଜୟ, ତ ଭ ତନର ମ ନ ତ ସ ନ ଶ ଶ ଟ ଏ ନପ ଖ ର ଘ ଟନର ବ ସ ପ ଉପନର ପବ ନର ଭଉ ର କ ନଦଖ ବ ର ଦ ନ ଝର ନଶ ଫ ର ବ ଞ ଚ ନ ଇ ପଡ଼ ଥ ବ କଦମ ବ ସ ତବ କର ସମ ନର ନର ସପନ ଗଢ଼ ବ ର ମ ତ ତତ ସବ ମ ନନ ପନଡ଼ ଦ ଗ ପ ରସ ର ଧ ନନ ତ ମ ଝ ନର ଡ଼ ର ସ ତ ତ ଉପନର ଧ ବ ମ ନ କ ନ କ ନ ପ ଦ ନମ ର ଉର ଦ ଧ ତନର ନ ମ ଆକ ଶ ର ଦ ନଗ ନ ରବ ତ ର ର ଜତ ୱ ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

51 ଲ ଗ ଥ ଏ ଐଶ ଚୱଯତୟମ ୟ ଏ ପ ଥ ବ ର ଏକଲ ମ ଷ ମ ଏ ଆକ ଶ ନମ ର ଧର ନମ ର ଧ ନନ ତ ନମ ର ସବ ନମ ର, ମ ବ ସବ ର ସବ ର ଭ ତନର ଏକ କ ର ସନ ଧୟ ର ଆକ ଶ ନର ଜହ ନ ଉଏ ନସ ବ ଏକ ଟ ଆ; ତ ଏକ କ ତ ୱନର ସ ମ ଲ ନ ବ କ ନମ ନତ ତଠ ର ଡ ନକ ଆଉ ମ ମ ତ ତତକନର ଯ ଇ ମ ଶ ଯ ଏ ନସଇଠ ନସଇ ଧବ ନର ନର, ର ନପଲ ମ ୟ ନର ର ତ ଗ ଢ଼ ଏ, ବ ରର ବ ଅନ ଧ ର ନମ ନତ ଆଖ ମ ଟ କ ମ ନର ତ ର ସବ ର ସୟର ଦ ୱ ର ନଖ ଲ ନଦଖ ଇ ନଦବ କ ନମ ନତ ଆମ ନ ତ ର କନର ର ତ ର ଅତ ଥ ସ ନଜ ଏକ ଏକ ମ ଆ ପର ର ତ ତ ର ପ ତନର ନଘ ଡ଼ ଇ ରନଖ ନମ ର ନ ର ଦ ଧ ନ ତନୟକ ଦୟ ଶ ନୟ ଏ, ପ ପ ର ଣ ତ ଏ ନ ସ ତବ ଧତ ର ଅତ ପ ରଶ ନର ପ ପ ନଶ ଇ ପନଡ଼ ମ ଷକ ନଦନଖ ପଲକଟ ଏର, ଅବ ମ ଧ ଝର ସ ଧ ନର, ମ ମ ତ ମ ୟ କଥ ପନଦ ଏ ସବ ନର ନସଇ ପରମ ଏକତ ୱର ସ ଶ ତ ପ ଏ ନ ଜକ ଜ ଏ ପଲକ ପଲକନର ନଦନଖ ପ ଅନୟର କଷ ଅସ ୟତ, ମ ର ମ ର ଜ ଇ ବ ର ବ କ ପ ରୟ ସ ଓ ନ ଷ ଠ ରତ ଦ ଖ ଏ ଏକ ଏକ ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

52 ନସଇ ଅ ନ କ ର ୟର ଅଶ ନର ନଭ ନଗ ଅପ ଥ ବ ମ ମ ତ ର ପ ଡ଼ ନ ଛ ଟ ଆ ନବ ଟ ନକ ନନଇ ଆ ଥ ଏ ନକନତ କଥ ପ ନକନତ ଗଭ ରତ ସ କ ମ ପ ତ ର ଭ ବ ନନଶ ୱର ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

53 ଏ ଭମ ର ଭ ଷ ଚ ଠ ବ ନଦଶ ର ଥ ଇ ନଲଖ ଅଛ ଠ ଶ ନମ ର ପ ର ୟଜନନ ନ, ଶ ରଦ ଧ, ଭକ ତ ପଠ ଉଛ ଆଜ ବ ଣ ନନବ ମ ନନମ ନନ ପ ରତ ସପ ତ ନର ନଲଖ ଥ ଲ ଠ ତ ର ଶ ବ ରଷ ତନ ଇନମ ଲ ବ ୟବ ସ ଥ, ନଫ ନ ସ ବ ଧ ନଥ ଲ ତ ନସନତନବ ନ ମ ତ ର ନସନକନ ର ଲ ଗ ଛ ଲ ଇନ କର ବ କ ବ ତ ତତ ପ ଅଖ ଆ ଅପ ଆ ବ ସ ଅଛ ନସପଟନର ବ ବ ପ ନଫସ ବ କ, ଟ ଇଟର, ଇନ ଷ ଟ ଗ ର ମ ଏସବ ଆଜ ର କଥ ଭନନଜ କଲ ଅଛ ଅନ ଲ ମ ନଟ କର ମ ଣ ବ ୟଥ ବ ଜ ଞ ନ ଆ ଛ ଅନନକ ପ ରଗତ ଏକବ ଶ ଶ ତ ର ଦ ଦ ନର ତ ମ ଛବ ନଦନଖ, ତ ମ କଥ ଶ ନ ଘନର ବ ସ ସ କ ଇନପ ର ନମ ର ଏ ଠ ଅନଟ ନଶ ଷ ଠ ଶ ଟ ନକ ନଦଇ ଧୟ ନ ଠ ନନଲଖ ଲ ନବ ଲ ଭ ବ ବ ନ ତ ମ କ ର ଲ ର ନସ ସମ ୟନର ଜଗ ବ ସ ଥ ଲ କଲ ଟ ଏ ବ କ କର ତ ନ ମ ନ ଟ କ ଉଦ ଡଲ ର ଡ କ ଥ ଲ ର ର ସ ୱପନର ନକନବ ଭ ବ ନଥ ଲ ମ ସମ ୟ ବ ଦ ଯ ବ ନଟକ ଲଜ ର ପ ରଭ ବ ନର ଦ ନନ ଠ ନଲଖ ବ ନନଦ ବ (ଆଜକ ପ ର ୟ ୩୪ ବ ଷତ ତନ ମ ପ ରଥନମ ନଯନବ ଏ ନଦଶ କ ଆସ ଥ ଲ ନସନତନବ ନ ପ ରତ ସପ ତ ନର ଘରକ ଠ ଟ ଏ ନଲଖ ଥ ଲ ସମ ୟ ବ ଦ ଗଲ ଆଜ ଠ ଟ ଏ ନଲଖ ବ ସ ୱପନ ନ ଇଗଲ ) ଧର ମହ ପ ତ ର, ଭମର ଲୟ ଣ ଡ, ଯ କ ତର ଷ ଟ ର ଆଭମର କ ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

54 ଦ ର ଣ ନ ଭହ ଏ ପ ରକ ତ ଦ ର ନ ନ ଏ ପ ରକ ତ ମ ଜ ଲ ନସ ଦ ନ, ନଯଉ ଦ ନ, ଶ ଖ ଲ ଥ ଣ ଗଛର ପଲ ଲବ ତ ନ ନଲ ନବ ନ ପଲ ଲବ ଗ ଚ ଛ l ର ତ ରଙକ ନଦଖ ଆନର ଗୟ ନ ଲ ନମ ମ ନ ଓ ପ ର, ଗ ଢ଼ ଖ ଇର ଆ କ କ କ ଛ ଇ ଶ ର ଉଠ ଲ ଅଙ ପ ରତୟଙ l ବ ଡ଼ ଛ ନକନତ ଦ ନ ଅଭ ମ ନ ନ ବ ଙ, କ ରବ ଗ ଞ ଜ ତ ଆଜ ନ ରବ ନ ଡ଼ l ଧ ସର ଶ ତର ଦର ନଘ ନଡଇ ନଶ ଇଥ ଅବ ନକନତ ଦ ନ? ଧ ମ ଧ ସର ତ ବ ଶ ଖ ଅବ ଆଖ ବ ଜ କର ଥ ଲ କ ଧୟ ନ? ଲ ତୟପ ର ଣ ତ ଭଙ ନର ଗ ଉଠ ନଲ ମ ଦ ର ଭ ନ ନ ଭ ନ ନ ସ ଯତୟର କ ର ନକନବ ନଥ ଲ ଏନତ ଉଷମ କ ମ ବ ନସ ଦତୟପ ର ଣ ତ ଶ ଷ କଭ ମ କ ନଠଲ ଅସ ଖ ୟ ଜ ବ ନ ଏ ଗଜ ର ତ, ମ ନ ନବ ନ କ କ ବ ଦ ଧ ପ ଆ ନ ଇ ଉଦ ଧତବମ ଖ l ତ ବ ଜ ପତ ର ସ ଷ ଟ ନ ଇ ଉଭ, ଲ କ କ ୟ ତ ଥ ଲ ନକଉ ଠ ପଡ ଆ ମ ଟ ର ତ ରଙ ଥ ଲ କ? ନ ଷ ଠ ର ନ ନ ଏ ପ ରକ ତ ଜ ଲ ମ ନସ ଦ ନ, ନ ରସ, ନ ଜତ ବ ଭ ମ ନଯନବ ସ ଷ ଟ କଲ ନ ଆ ଜ ବ ନ...! ସ ନନ ମ ଶ ର ମ ଗ ନ ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

55 ମହ ଷ ମ ତ ଛ ଘନ ଅନ ଧ ନର ମ ଷ ମ ତ ଛ ନଘନ ନଯ ଶ ସ ତ ରର ଜ ଭ ନ ପଡ ଛ ସମ ଗ ର ସ ୱନଗତ ଅସ ର ଆସ ଛ ଆଜ ମ ର ବ ନ ସ ଏ ମ ଷ ନଦବ ତ ଅବ ତ ର ନଦବ ଙ କ ନତ ମ ଗ ଛ ନଯ ବ ର ଗନ ଧବ ତ-କ ନ ନର ପ ର ନବ ନ ତ କ ସନତ ନଦବ ତ ତ ର ଭୟନର ତ ରସ ତ ଯ ଦ ଧନର ଗନଲ ର ମ ଷ ସ ଜ ଛ ଅମ ର ବ ତ ର ର ଜ ନସ ଦଣଧ ର ଅସ ର ଦ ର ନସ ନୟ ବ ର ବ ବ ତରତ ର ବ ନ ଅମ ର ବ ତ ର ଶ ଖ ନର ଉଡ ଛ ଫର ଫର କର ସ ନ ଆଜ ର ମ ଷ ଆଉ ନକ ନ ନ ନସ ନ ର ଶ କ ତ ର ଅର ନ ର ର ଶ ର ର ଝର ଏ ରକ ତ ର ତ ଣବ କର ମ ଷ ସ ଜ ଛ ମ ଷ ସ ର ନଯ ସମ ଜ ସ ୱଗତ ନଦନଶ ନ ର ଭଗବ ତ ନ ଇଛ ଆ ତ ନଦଖ ନତଜ ନ ନବ ନଶ ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

56 ବ ଦ, ବ ଷ କ, ଦ ମ ତ ଖ ନଯନତ ଅସ ରର ନସନ ପତ ଆଜ ସମ ଜନର ଛଦମନବ ଶ ନର କର ଛ କର ମ ତ ବ ଦ ସ ଜ ଛ ନଯ ତ କ ଅବ ବ ଷ କ ଭ ତୟ ଦ ମ ତ ଖ ସ ଜ ନ ଯତ ତନ ବ ର ଅଛ ମ ବ ତୟ ନକନତ ନ ଭତୟ, ନକନତ ନଯ ଦ ଗତ ଦୟ ର ଧ ର ତ ଅସ ରର ନ ର ବ ଧ ଯଜ ଞନର ପଡ ଯ ଉଛ ବ ବ ପ ଯଦ ନବ କନୟ ଭ ର ତୟ କ ର ର ସ ଥ ନ ବ ଡ଼ଟ ଫସଲ ଖ ଇଗନଲ ନତନବ କ କ କର ବ ମ ନ ଶ ମ ବର ଶ କ ତ ବ ନର ମ ଷ ସ ଜ ଛ ତ ପ ରତ ର ପ ନ ର ତ ଅବ ନ ନସ ତଜ ନ ବ ନଦଖ ନକ ଟ ଭ ମ ର ପ ନ ନଲ ନକନତ ଦ ନ ନ ଶ ଚ ନ ଇ ର ଥ ବ ଭଗବ ତ? ଆଉ ନକନତ ଦ ନ ଅନୟ ୟ ସ ର ଥ ବ ମ ଥ ପ ତ? ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

57 ଜ ଗ ଦ ବ ତ ନ ର ଶ ତଦ ନ ଉ ମ ଙ ଆଜ ଉଠ ପଙ କଜ ନଡଇ ପଙ କର ସ ମ ଦ ଶ ତ ମ ଶ ର ର ଜ ଜ ବ ନ ଯ ନଦଧ ଅ ଦଶ ଭ ଜ ଧର କନର ତରବ ର ର ଦ ନ ଭ ଶ ବ ଦନର ଯ ଉ ଜଗତ ତନ ଦ ର ଭ ଜ ବ ଜ ବ ସମ ର ଶ ଙ, ଘଣ ବ ଜ ବ ନଗ ର ନଭର ଗରଜ ଉଠ ବ ସ ବ ନ ଦ ନନବ ଲ ୟ କର ମ ଚ ଛତ ଯ ବ ନଗ ଦ ନବ ନସ ତବ ଖ ର କରବ ବ ନ ତବ ସ ୱର ଣ ତ ଭ ତ ର ଶ ବ ନ ଭ ସ ନଦବ ନସନତନବ ନ ଅମ ତ କ ମ ର ଓଡ଼ ଶ ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

58 ସ ହ ତ ୟ ତ ର ଭ ଜ ଆନ ତଜମ ତ ୟ ମ ତ ଷ ଦ ବସ ୨୧ ନଫବ ଆର ୨୦୧୭ ସ ରକ ଷ ତ ବ ଷୟତ ନ ମଭନ ତ ବହ ଷ କ ଷ ଅ ମ ଭ ସମଗ ର ବ ଶ ୱବ ସ ଙ କର ଏହ ଆହୱ ନ ଏଇ ଆ ବ ନକ ନନଇ ଓସ, ଆ ଜତ ତ ୟ ମ ତ ଭ ଷ ଦ ବ ସ ଉପଲନ ; ଓସ ସଦସୟଙ କ ନନଇ ଏକ ଆନଲ ନ ସଭ ର ଆ ବ ନ ନଦଇଥ ଲ ନ ଜର ଆଗ ର ନନଇ ଏଇ ଆନଲ ନ କ ରନର ଉତ ତର ଆନମ ର କ ର ବ ଭ ନ ନ ପ ର ର ଆ ଜତ ଲ ୟ ସ ସ ଥ ନ ଦ ୱ ର ସମ ନବ ତ ନ ଇଥ ନଲ ଅନନକ ଭ ଷ ନପ ରମ ଏ ଆନଲ ନ କ ରକ ପର ନ କର ଥ ନଲ କ କ ଦ ଶ ଏବ ପ ରଶ କ ମ ର ଭ ୟ ପ ର ରମ ଭ କ ଅଭ ମ ନ ତ ର ନର କ କ ଦ ଶ ; ଏ ଆନଲ ନ କ ରର ଆଭ ମ ଖ ୟ ତଥ ଓଡ଼ ଆ ଭ ଷ ର ପ ରଶ ସ ତ ଓ ସମ ଦ ଧ ସମ ପକତନର ଉଦ ନବ ଗ ପ ରକ ଶ କର ଥ ନଲ ଆ ଜତ ତ ୟ ମ ତ ଭ ଷ ଦ ବ ସ ଉପନର ନ ଜର ମ ତ ତଥ ବ ଭ ନ ନ ଉଦ ର ସ ଓଡ଼ ଆ ଭ ଷ ର ପଠନ-ଲ ଖ ନ-ଶ ରବ ତଥ ସନବ ତ ପର ଓଡ଼ ଶ ବ ସ ଓ ଓଡ଼ ଆଭ ଷ ଙ କ ନ ତ ଦ ନ ଆ ଜ ବ ନନର ଏ ର କଥନର ପ ର ଧ ନୟତ ଉପନର ଆନଲ କପ ତ କର ଥ ନଲ ପ ରଶ କ ମ ର ଭ ୟ ଏଇ ଆନଲ ନ କ ରନର ମ ତ ଭ ଷ ଓ ଏ ର ବ ଭ ନ ନ ସମ ସୟ ତଥ ଏ ର ସମ ଧ ନ ନ ମ ନ ନ ଜ ନ ଜର ମ ତବ ୟକ ତ କର ଥ ନଲ; ଧ ନରନ ଦ ର କର, ସସ ମ ତ ଶ ତପଥ, ସ ଶ ଶ ତପଥ, ଜୟସ ମ ତ ମ ଶ ର, ସତୟ ପଟ ଟନ ୟକ, ସ ୱପନଲତ ମ ଶ ର,ସ ନଲ ନ ପଟ ଟନ ୟକ, ଶ ଲତ ମ ଶ ର, ବ ର ପ, ମ ତ ମ ର, ଅନ ନପ ର ଣ ତ ବ ଶ ୱ ଏ ବ ଦ ଧ ଜ ବ ମ ନନ ମ ତ ଭ ଷ ସମ ପକତ ୟ ନ ଜ ନ ଜର ଅନଙ ନ ନଭଇଥ ବ କଥ କ ଓଡ଼ ଆ ଭ ଷ ର ବ ୟବ ର ତଥ ଧ ନରଧ ନର ସଙ କ ତ ନ ଇଯ ଉଥ ବ ଭ ଷ ନପ ରମ ଙ କ ସ ଖ ୟ କ ନନଇ ଉଦ ନବ ଗ ପ ରକ ଶ କର ଥ ନଲ ସ ତ ସମ ଦର ନତର ନଈ ଏପ ର ନର ନ ଉ; ନ ନଲ ଓଡ଼ ଆର ବ ୟବ ର ଓ ପ ରସ ର ନ ମ ନ ସମ ସ ତଙ କ ପ ରନ ଷ ଟ ଆ ର ଦ ନ ଉ ତଥ ମ ନ-ପ ର -ଆତ ମ ନର ଓଡ଼ ଆ ପ ରତ ସମ ମ ନ ର ଥ ବ ନବ ଲ ସଭ ଙ କ ଦ ନ କ ତ ଏଇ ଆନଲ ନ ସଭ କ ଆ ର ସରଗରମ କର ଥ ଲ ସଭ ର ପ ରସ ଥ ନ କ ବ ତ ତତ ନର କ କ ଦ ଶ ଓ ପ ରଶ କ ମ ର ଭ ୟ ଏଇ ପ ରସଙକ ନନଇ ବ ଭ ନ ନ ସମ ୟନର ଆନଲ ନ କ ରର ଆନୟ ଜନ କର ଯ ବ ନବ ଲ ସମ ସ ତଙ କ ଜ ଇଥ ନଲ ନଯଉ ମ ତ ଭ ଷ ନପ ରମ ମ ନନ ନକବ ଓଡ଼ ଆ ଆଉ ଓଡ଼ ଆନର ଭ ବ ବ ନ ମ ୟ କର ବ ନର ଆଗ ର ନସମ ନଙ କ ନ ମ ନ ଏକ ଜ -ଡ କ(ameodia.amaodisha@gmail.com)ର ପର ୟନ ମ ନଦଇଥ ନଲ ସମ ସ ତ ଓଡ଼ ଶ ବ ସ ଓ ଓଡ଼ ଆଭ ଷ ଙ କ ଅନ ନର ଧ କର ଯ ଇଥ ଲ କ ନସମ ନନ ଏଇ ଜ -ଡ କ ପର ୟନ ମ କ ନକବ ଓଡ଼ ଆ ଭ ଷ ଓ ସ ତୟ ସମ ପକତ ୟ ପ ରସଙକ ନନଇ ଆନଲ ନ କର ପ ର ନବ ଏଇ ପର ୟନ ମ ମ ଧୟମ ନର ବ ଭ ନ ନ ସମ ୟନର ଭ ଷ ଓ ସ ତୟ ସମ ପକତ ୟ ମ ନ ତ ର, ଅନ ନବ ଧ, ଉପଜ ଞ, ଦ ଗ ଦଶ ତନ, ପ ରଭ ତ ର ଆନଲ ନ ଏ ର ଏକମ ତ ର ଉନର ଦ ଦଶ ୟ ଏଥ ନ ମ ନ ସ ନଯ ଗ କର ବ କ ଅନ ନର ଧ ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

59 ମ ତ ଭ ଷ ନକବ ପଢ଼ ବ ଅଥବ ନଲଖ ବ ର କ ନ ବ ର ଏ ପ ରନତୟକ ଧମ ତ-ଜ ତ -ର ଷ ଟ ରର ନ ତନୟଗତ ପର ୟ ଏ ବ ଶ ୱମ ନବ ନ ତନ ର ଏକ ଭ ବ ମ ୟ ତରଙ ଏ ର ଝଙ କ ର ପ ରନତୟକ ସମ ଜ ପ ଇ ଅତ ବ ଅମ ଲୟ ଏ ମ ତ ଭ ଷ ର ସ ତୟ ଜ ବ ଆଉ ବ ଝ ବ ଅତ ପ ର ସଙ କ ଭ ଷ ଶ ସ ତ ର ୟ ର ବ ନର, ନ ଉ ବ ନନ ଉ; ଏ ର ନକ ସ ମ ଲୟ ନ ଯଦ ଏ ର ଆତ ମନ ନ ଠ ର ଆରମ ଭ କର ବ ଶ ୱ ତର ଉନର ଦ ଦଶ ୟ ନ ଏ ସମ ସ ତ ବ ୟକ ତ ନଯଉ ମ ନନ ସ ତୟ ସ ଓତ ନପ ର ତ ଭ ନବ ଜଡ଼ ତ; ନସମ ନଙ କ ଏ ର ଅବ ନର କର ବ କ ପଡ଼ ବ ଏଣ ଓଡ଼ ବ ସ ଓ ଓଡ଼ ଆ ଷ ସ ଧ...ଜ ଞ ନ...ଗ ଣ...ସ ହ ତୟଭପ ରମ! ଆସନ ତ ଓଡ଼ ଆ ସ ହ ତୟ ଣ ବ ଜ ଣ ବ ପ ଢ଼ ବ ବ ଝ ବ ଭଲ ବ ; ଆମ ମ ତ ଷ ଓଡ଼ ଆ ଆଉ ଭକବଳ ଓଡ଼ ଆ ଭର...! ଅ ମ ତ ବ ସ ତନର କ କ ଦ ଶ kukudas@hotmail.com ପ ରଶ କ ମ ର ଭ ୟ prasantabhunya@gmail.com ଆଭମର କ ୟ ଓଡ଼ ଆ ସମ ଜ ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

60 ENGLISH SECTION 59 th U T K A R S A E D I T I O N ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

61 Paik Revolution:A Revisit 1 The armed revolt of the Paiks under the leadership of Bakshi Jagabandhu Vidyadhar Bhramarbara Ray Mahapatra in the last of march 1817 was a remarkable chapter in the history of modern Odisha. This movement of the Paiks of Khurda which gradually spread to some parts of the district of Puri and Cuttack was of great magnitude as it exposed the defective colonial pattern of administration in the first two decades of the 19 th century A.D. in Odisha. During two hundred years from the actual date of the revolt of the Paiks the historians of Odisha and beyond have evaluated its nature and progress from different persepectives. Hence it would be proper now to revisit the phase of Khurdha Paik movement and assess its significance through the trajectory of opinions on it. 2 This Paiks armed revolution which was well known throughout the two hundred years as the Paik rebellion was based upon the course of events after the conquest of Odisha by the English East India in We have colonial reports on it like Correspondence of the Settlement of Khoordha in Pooree of 13 th may 1818 by W.Ewer, the then Commissioner(published in Odisha Historical Research Journal, Vol.III, No.IV) and A Sketch of the History of Odisha from 1803 to 1828 by G.Toynbee, Calcutta, Its first reference in native sources appeared in the Vamshanucharita of 1872 which later on was called Bauda Rajavamshavali. In that literary narrative it was stated that the Bakshi war had taken place after the Pindari raid of South Odisha.(Mishra Sachidananda, Jhankara, 53/8.)In Vamshanucharita the Paik war was not elaborately described. So far our study extends in Bengali monthly Bharatavarsha(Magha, 1333 Sal, 14 th year, Second Part and Second Number) this Paik Revolt was elaborately presented by Hari Charan Vasu. In that focus Vasu had considered the causes and courses of the Movement of the Paiks in elaborately and he had also stated in the end of his study that Bakshi Jagabandhu Vidyadhar, the leader of the Paiks had surrendered to the Company Raj in 1825 and remained in Cuttack as a pensioner. Vasu had based his study on the report of G.Toynbee. and he had stated that the revolt was due to the colonial policy for the revenue collection which affected the Paiks of Khurda who had ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

62 enjoyed tax free land on a hereditary basis. The method of collection was also defective as the Paiks were oppressed by the colonial officers. The Paiks were bound to revolt for the oppression of the colonial masters and soon the movement began to spread to other parts of the province also. He rejected the colonial view that the revolt was mainly due to the oppression of the Bengali Amalas who were posted for the revenue administration of the province. He emphasised on the unjust taxation of the colonial officers on the Paiks who had hereditary authority on the tax-free lands and on the injustice to Bakshi Jagabandhu, the leader of the Paiks of Khurda and appreciated them as the major cause of the revolt. The interpretation given by Vasu in Bharatvarsha in 1926 was really interesting and new and it is shared by the modern historians more or less. On the other hand this article for the first time gives emphasis on the surrender of Bakshi Jagabandhi in 1825 and his stay in Cuttack as a pensioner. R.D. Banerji, the famous historian on Odisha had stated that Bakshi was killed during the course of the revolt. Probably Banerji had not seen this focus on the Paik revolt by Hari Charan Vasu in Bharatvarsha. The view of Banerji on the death of Bakshi during the course of the revolt was appreciated by many for about twenty years as famous historians like Harekrishna Mahatab, Ghanashyam Dash and playwright Manoranjan Das in the 1940s and 1950s were influenced by this view of Banerji. Professor Gaganendra Nath Dash, a famous writer on Odisha stated about this in one of his articles in Odia. According to Dash, in 1951 for the first time Sudhakar Patnaik in an article in Jhankar, Odia monthly stated on the basis of reliable historical and archival documents that Bakshi Jagabandhu was not killed in the jungles during his fight with the company army and that he had surrendered to the Company in (Dash, Gaganendranath, Odiara Swabhimana O Anyanya Prasanga, Kinchita Apriya kathana, Bhubaneswar, 2015, p ) The credit for highlighting reliable historical evidence on Bakshi should be given to Sudhakar Patnaik, but in this respect we should not ignore the first view on Bakshi by Haricharan Vasu in Bharatvarsha of In 1926 Krupasindhu Mishra in his Utkal Itihasa also presented an account of the Paik revolt under the leadership of Bakshi Jagabandhu; but his study in this respect was very precise and also he was silent on the fate of Jagabandhu after the end of the revolt. Despite that Mishra was able to present the backdrop of this movement clearly and cogently which was unique in his phase. The study on Paik movement got fresh momentum in 1941 when in the Indian History Congress at Hyderabad late Ghanashyam Dash presented his paper entitled The Paik or the Militia Rebellion of 1817 in Orissa. (Transactions of the Fifth Session of the Indian History ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

63 Congress, 1942) This paper was a documentary study and had critical objectivity. Of course Dash was well influenced by the ideas of R.D. Banerji. Despite that his focus has several points of enquiry which need re-examination. Dash stated- Whether this rebellion was a local disturbance due to the disaffection of a powerful individual or whether there was an attempt to make Orissa independent of the British masters has not been correctly determined and it is necessary to assess the evidence regarding the actual circumstances that happened and come to some conclusion regarding the matter. On the one hand certainly the disaffection centred round an individual, but on the other hand the rebellion was widespread and had echoes over distant parts, so that it would not be unfair either to class it as an unrest having little political significance or to place it under the category of a war of independence. In this statement Dash attempted to examine the nature and character of the Paik rebellion. In 1940s when British imperialism and colonialism were widespread in India such interesting remarks of Ghanashyam Dash on the nature of the Paik rebellion need critical examination. No doubt he had also studied the nature and character of the revolt to a considerable extent from a colonial angle and persepective. But then his paper was significant and his conclusion was interesting when he stated- The rebellion was so short lived, so ill-conceived and so sporadic that it did not have any lasting effect on the social and political life of the people.whether one agrees with his views or not is not important; on the other hand he could spread the problem of the Paik unrest to all India National History Congress platform so that debate on this topic in the growing phase of nationalism began expanding. After the independence of the country there was considerable progress of the studies on Odisha history and new facts and theories were brought to light by the historians. Then Harekrishna Mahatab, the premier of Odisha was a famous historian. His edited Odia monthly named Jhankar contained many new studies on Odisha from the historical point of view. In 1950 in Jhankara(First Volume, 12 th Number) Parasuram Harichandan had a focus entitled Kruttivasa Pattasani which was a unique study on the Paik unrest In Odisha of According to Harichandan the first spark of the Paik rebellion of Khurda of 1817 was found in Ghumsar and Banapur. Birakeshari Kruttibasa Pattasani could be able to initiate the movement by organizing the Paiks of Ghumsar and Banapur He was a leader of the Paiks in Banapura-Mala area and was a delbehera. In the beginning of the study it was stated as a historical tradition, but it contained many new ideas on the Paik revolt. This focus highlighted the nature and progress of ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

64 the Paik unrest besides the pattern of leadership. Harichandan for the first time brought to light a parallal leader of the Paik movement by describing the extra-ordianry tactics of Kruttibasa Pattasani. A khond leader named Lochan marched with dauntless courage towards Khurda from Banapura and he was an associate of Kruttivasa. They were able to establish secret militant camps in the dense forest clad forts called Bankand-garh, Garh Niladriprasad and Nijagada Arang. A hillock near Arang was even in 1950s called Bhandara Pahada(hillock Store). Inside the dark area of the caves of the hillock the armoury store of Kruttibasa was established and kept in tact. Both Kruttivasa and his associate Lochana frequently attacked the enemies remaining inside the caves. After this description Harichandan also emphasised on the Panchua Fitury which was a new tactics of Kruttivasa in counteracting the colonial masters` design. Once Panchua, a milkman from Rorung went to Banapur for the purchase of a bullock. The Paiks of Banpur caught him with the hope that he would give information about Bakshi Jagabandhu and his activities. Panchua became fearful but Kruttivasa cleared his doubts and kept him there for some days. Panchua was then dressed as Bakshi Jagabandhu and was allowed to visit several villages in a palanquin. It was given out that Bakshi Maharaj drove out the Firingis(British Company officers) and occupied his own kingdom Khurda. On the basis of this name of Panchua and his activities the Banapur Paik revolt was called Panchua Phatury. In Banpur Panchua Phatury and Panchua Raj were widely used in the 1950s. Gradually Panchua Phatury became so famous that any person becoming suddenly great or famous could be associated with Panchua Raj. The study on Kruttbasa Pattasani of Banapur as a leader of the Paik movement of 1817 by Parasuram Harichandan was not given any notice by the historians. In the records published by Government of Odisha on the Freedom Movement in 1957 under the chairmanship of Harekrushna Mahatab he was only presented as a convict for life though his name was Kruttbasa Routray.According to Harichandan Kruttivasa spent the remaining part of his life as a convict in Andaman islands. Present day historians give considerable emphasis on Adikanda Vidyadhar, Biswanath Harichandan, Dinabandhu Santra, Pinduki Bahuvalendra, Karunakara Paramaguru, Sadhucharan Mangaraj, Gopal Chhotray, Padmanabha Chhotray and Siva Nayak who were associated with the Paik movement; but though Kruttivasa had a major role in the progress of the movement he was ignored in the studies on the Paiks starting from Harekrushna Mahatab to Bhabani Charan Ray, Prabhat Mukherji, Surya Narayan Dash, K.M.Patra and Prasanna Kumar Mishra. Where was hidden the Paiks of Banpur and their leader Kruttivasa Pattasani? Did the historians make a search of this leader of Banpur? ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

65 Famous literary critic Sachidananda Mishra in Odia monthly magazine Jhankara(Volume 53, Number-8) had a focus entitled Sarasingi Martha:Paika Biplavara Prabarttaka (Sarasingi Martha: the harbinger of the Paik Revolution) which contains new information on the Paik unrest. According to Mishra- The Paika movement was not initiated in Khurda. It started first outside Khurda beyond of control of Bakshi Jagabandhu in Mahury area of Ganjam. In February 1817 in Mahury the Paik Leader Sarasingi Martha started the revolt. This revolt began to spread to Khurda in the last of March through Ghumsar and Banapur. Bakshi took the leadership from Banpur. In this way the Paik revolt of Khurda was an expansion of the same started by the Paiks of Mahury in the beginning fo Bakshi did not start this movement, he only took the leadership from Sarasingi Martha of Mahury from the end of March As the leader of the Paiks the memory of Bakshi Jagabandhu is fresh now, but the harbinger of the revolt Sarasingi Matha of Mahury is long forgotten. This is an interesting opinion on the Paik revolt. Hence it needs a careful study. It is true that the backdrop of the revolt in Mahury was similar with that of Khurda Paiks. The Company in 1810 sold the Mahury state to one Telugu Kumuti Bandama Chelamaya on lease and consequently the Sabara Paiks of Mahury rose in revolt. Their leader was Sarasingi Martha(Sabarasingha Maharatha) whose real name was Benudhar Maharatha. The Company rule in Ganjam began to be shaken during the Pindari raid in February During this phase Sarasingi wanted to occupy Mahury from the control of the Telugu Chelmaya. According to Mishra Sarasingi was supported by Srikara Bhanja of Ghumsar and following the Pindari tactics he expanded the movement towards Ghumsar from Mahury. The Kondhs and Pans of Ghumsar alongwith the Sabaras of Mahury proceeded towards Banapur and reached Banapur which was in the eastern direction of Ghumsar by the end of March From Banpur they supported the Paik leader Bakshi Jagabandhu. The basis of this view of Mishra was a letter of 10 th August 1817 by W.E. Bailley of Bengal Presidency which stated- In the beginning of the month of April last the Government received intelligence from the Magistrate of Cuttack that a body of 400 men dominated by Kund or Chooars of Ghumsar of Ganjam had entered the Pergunnah of Khurda in the district of Cuttack. In here they have been joined by Jagabandoo Roy. On the basis of this letter Mishra stated-by the beginning of April the Magistrate of Cuttack reported that mainly the Kondhs or Sars of Ghumsar numbering about 400 entered into the Khurda pragana and that Jagabandhu Ray joined with them from there. In the letter according to Mishra Kondhs and Sabars were described as Chooars. As a matter of fact Mishra was mistaken when he accepted the Sabaras as Chooars. This tern Chooars was then used in a ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

66 wider sense to some tribal communities. Prabhat Mukheri stated in this context- The Chuhars are the Bumiji inhabitants of the Jungle Mahals of Medinapur. They cared as much for pillaging as for cultivating. In 1799 there was a Chuhar insurrection in the Midnapur district with widespread depredations. The name Chuhar was subsequently applied to all bad characters. (Mukherji Prabhat, Utkal University History of Orissa, Vol.VI, 1966, p.114) From this point of view we cannot accept the view of Mishra because Chuhar(Chuhad) or the English Chooars cannot be identified with Sabaras. Chuhar is a different word. The Sabaras of Mahury didnot accompany the Kondhs of Ghumsar in marching towards Banpur. On the other hand they had continued their movement in Mahury zone and they did not hinder the progress of the Kondh-Chuhars towards Banpur from Ghumsar. The Sabaras of Mahury were limited in number and so they were confined to their revolting zone. Hence the revolt in Mahury controlled by Sarasingi Martha was not connected with the revolt of the Paiks of Banpur and Khurda under the leadership of Bakshi Jagabandhu. In a wider sense the Paik Sabaras of Mahury indirectly supported the Paik movement in Khurda though they did not accompany the Kondhs towards Banpur and Khurda. Moreover the English people pronounced the word Sabara as Saura or Suara and not as Chooars. (See for this Elwin Verrier, The Religion of an Indian Tribe, 1955, Oxford University Press, p.xx). Chuhar or Chooar is a different term which was applied to many tribal communities. An interesting and insightful focus on the Paik movement of 1817 has been furnished by Yaaminey Mubayi in her paper entitled The Paik Rebellion of 1817: Status and Conflict in Early Colonial Orissa which was published in Studies in History(Vol.15/1, 1999) of the Centre for Historical Studies, JNU, New Delhi. An earlier version of this article was presented at a seminar Rethinking Orissa Society, Culture and History, March, 1998, Utkal University, Bhubaneswar. In that insightful focus Yaaminey was able to use several documents relating to the topic and provide a strong context of this movement which was not found in earlier articles of B.C. Ray, P.K.Mishra and Subhakanta Behera(though Subhakanta had later on also published a book on this aspect entitled The Unfortunate Celebrity: The Life and Times of Buxi Jagabandhu ) She presented the movement both as an event and a process. The rebels` actions showed their resistance to the imposition of colonial policy through patterns of agrarian linkages and social behaviour. The rebellion was also instrumental in the reorganization of these linkages, subsequently influencing popular consciousness and the formation of a regional ethnic identity. She has explored this process in the article. She has also discussed a modern retelling of the ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

67 event, Bakshi Jagabandhu, a play by Manoranjan Das, which largely influenced popular perceptions of the rebellion. 4 A significant source on the Paik rebellion has been furnished by Firingi Kali Bharat of Bipra Madhusudan. This was originally written in palmleaves but was edited by Arjun Joshi and was published by Cuttack Trading Company in In 2016 this book was also edited and published again by Krupasindhu Biswal. It describes in detail on the conflict of king Mukunda Deb and Jay Rajguru with the English East India Company as well as the Paik revolt of 1817 under the leadership of Bakshi Jagabandhu. Further it describes in detail the Tapanga rebellion of 1827 under the leadership of Madhab Chandra Routray. The text is significant because it gives an additional information of the revolt of Tapanga Dalbehera in 1827 and so the text needs a thorough review and discussion. Here we have presented some points on the nature of this text for the consideration of the scholars.firstly we have no information in the British colonial records on the activities of the Dalbhera of Tapangagarh who staged a revolt aginst the company Raj after the end of the Paik revolt organized by Bakshi Jagabandhu. The report of G.Toynbee which was published in the l;ast quarter of the 19 th century is silent on this aspect. In 1926 Digambar Srichandan published his memorable work entitled Khurudha Dapan where there is a reference to Tapangagarh ; but the author is silent on the rebellious activities of the Dalbehera of Tapang. The story of the remarkable rebellious activities of Tapang Dalbehera appeared only in a traditional account in the 1960s. Hence the event as recorded in Firingi Kali Bharat needs thorough examination.on examining some important information in Firingi Kali Bharat we have doubt on its historical reliability and authenticity. In this text there is a description on Chuhana. (Firingi Kali Bharat, edited by A.Joshi, p.23) In the records it is stated-from Ghumsar proceeded 400 Kondhs or Chooars to Banpur towards the end of march This Chooar is an English pronunciation of the original Chuhada. In Odisha Chuhada was used in the past. In the poem entitled Dharanidhar by Godavarish Mishra which was published in Mukura(Odia monthly) in the second decade of the 20 th century this Chuhada was used. In the Purna Chandra Odia Bhasakosh there is a description on Chuhada.(See Dash, Gaganendranath, Naba Digantara Sandhanare, 2016, Bhubaneswar, p.44) As stated by Prabhat Mukherji- The Chuhars are the Bhumiji inhabitants of the jungle Mahals of Midnapur. They cared as much for pillaging as for cultivating. In 1799 there was a Chuhar insurrection in the Midnapur district with widespread depredations. ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

68 The name Chuhar was subsequently applied to all bad characters.(mukherji, 1966, p.114) British colonial officers used this Chooar to describe the pillaging and destructive activities of the tribals.why Bipra Madhusudan used it in the context of the conflict between Mukunda Deb and the Company? Such a group was absent in the army of Gajapati Mukunda Deb. The Kondhs of Ghumsar were branded as Chooars while advancing towards Banapur. Did the poet Madhusudan used this English term Chooar with slight modification as Chuhana? Otherwise this term is well known as Chuhada in Odia. Why this wrong use? It seems the term Chooar was borrowed from English report and used with modification as Chuhana. The use of this Chuhana in the Paik group of army under Mukunda Deb in the war in 1804 is difficult to accept.. Were the Chooars or Chuhanas present in the Paika army? In the 12 th chapter of the text in the context of Tapanga Dalabehera in the name of Colonel Harcourt has been stated. Was Colonel Harcourt present in Khurda in ? In the same 12 th chapter it is also described-tapanga Dalbehera for conflict with the Company went to Mukunda Deb, the Gajapati Raja and got his permission to fight against the Company.(Firingi Kali Bharat, ed.joshi, p ) This event would have taken place in 1826 after the Paik revolt. First of all there is no evidence of such a conflict between Tapanga Dalbehera and the Company in Again Mukunda Deb was imprisoned in the Barabati fort in consequence of the Paik revolt. He died on 30 th November (Mishra, Prasanna Kumar, Political Unrest in Orissa in the 19 th Century, Punthi Pustak, 1983, p.44) His son Ramachandra Deb got rupees as Malikana for the management of Jagannatha temple. Hence the meeting between Tapang Dalbehera and Mukunda Deb in is false and fabricated which indicates that historically it is entirely unreliable. Such points should be considered while examining the activities of Tapanga Dalbehera as narrated in Firingi Kali Bharat. The Paik rebellion needs to be properly evaluated by the historians. Now two hundred years have been completed from the date of the revolt of There are copious sources for the study on the Paik movement. Narratives in the form of poems and plays starting from Godavarish Mishra, Bhanja Kishore Pattnaik, Manoranjan Das and Gopal Chandra Mishra articulate the various dimensions of the movement. Historical researches by Hari Charan Vasu, Krupasindhu Mishra, Ghanashyama Dash, Harekrishna Mahatab, Sudhakara Pattnaik, Surya Narayan Dash, Bhabani Charan Ray, Prabhat Mukherj and Prasanna Kumar Mishra, Yaaminey Mubayi and Subhakanta Behera need to be added with more for an authenticated account of this remarkable Paik unrest. ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

69 Kailash Chandra Dash Former Reader in History C-3/2, BJB Nagar, Bhubaneswar-14, Odisha ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

70 Warrioress to Entrepreneuress Odia Women History Before Rani Laxmi Bai.. Before Razia Sultan.. Before Rudrama Devi.. India still had numerous brave women who jumped to battlefields to save their kingdom from foreign forces and massacre. While many names might have been lost in the inevitable fog of time, there is one from my native state who still shines brightly centuries later her own lifetime. This feisty Warrioress who fought against the mighty Mauryan army was none other than the brave daughter of Odisha, Kaurbaki. Kalinga war in 261 B.C., was the bloodiest and the most infamous war ever fought between State of Kalinga (present-day Odisha) and Mauryan Empire. The battle was fought on Dhauli hills and later the whole State of Kalinga was turned into a bloody battlefield. Alleged as one of the most savage wars of human history, it claimed the lives of 150,000 warriors of Kalinga and 100,000 Mauryan warriors. It is being said that the battle was so fierce that in aftermath of the battle, Daya River flowing next to the battlefield turned completely red due to the massive bloodshed of the war. A silent witness of female empowerment of the bygone era is a sculptor from profusely ornate Mukteswar temple in Bhubaneswar where a woman warrior ascending a lion with a sword in her hand crushes a mighty elephant from her opponent s army, she shows no mercy. ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

71 More than two thousand years have passed since those dark days of Kalinga war, yet that fiery temperament as well as the blood of invincibility still flows in the veins of Odia women. According to the 2010 Gender Disparity report (GDR), there are around 2 lakhs of women entrepreneurs in current Odisha. While many of them have shouldered financial responsibilities after the demise of their husbands or sole bread-earner of the family, it s so heartening to see some have embraced the tough career of entrepreneurship just to quench their insatiable passion for work and to create an identity of their own in the age-old society of patriarchy. Literature & Information I regard her as my Guru since I opened my eyes. She is Padmashree, Moortidevi, Gyanapitha awardee Dr Pratibha Ray who wrote the brilliantly scripted novel Yagyaseni on the controversial character of Draupadi. Apart from literature Dr Ray is a reformist who has actively participated in many social reforms and events in this regard. With her magnificent contribution to the world of literature as well as revolutionary ideas on women upliftment she has persuaded many educated ladies like me keep our trust intact in the power of pen that certainly remains mightier than the power of sword. While her critics branded her as a feminist, Dr Ray always claims herself as a Humanist. A country where close to 50% ladies still marry below the legal age of 18 and evil practices such as widowhood and dowry still has plagued the nation, a country where less than 10% females are bread-earners and even much less property-owners, we need many Pratibha Rays to raise their voices for awareness and a better tomorrow. ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

72 Music : The soul of life Rocking, stylish and bold, meet Sona Mohapatra, the global voice of today s Odisha who has intoxicated millions with her electrified performances in concerts across the world. Be it Rangabati, the folk music from ancient Odisha or classical masterpiece Jiya Lagena her unique voice and energy would leave you speechless wanting more as it entrance your spirit and soothes your soul. With numerous Bollywood hits and awards under her belt, brand ambassador for Marico and spectacular performances in Amir Khan s Satyameva Jayate Sona has a long way to go. World of sports In the international history of Olympics, Dutee Chand is only the second Indian woman to participate in 100 meter sprint. Last time we had someone under this category was P.T. Usha back in 1980 in the Moscow Games. At the tender age of 20, winner of many awards as well as million hearts Dutee, represents the weaver class of Odisha most of whom still live below official standard of poverty line. Social Upliftment "I thirst, I quench" legendary lines from Mother Teresa who believed In serving mankind one serves God. Almost two decades since The Mother left us for her heavenly abode; we can still find her reflection in our very own Mrs Vidya Das, the founder of NGO Agragamee that helps people from the backward section of the country in education, livelihood as well as reproductive health. For her outstanding contribution to the upliftment of women and children of rural Odisha Mrs Das has been conferred with Jamnalal Bajaj Award, Odisha living legend award and many more. Television One of the forerunners of super successful businesswomen of Odisha is Mrs Jagi Mangat Panda, the broadcast baroness who has been the co-founder and managing director of Ortel Communications Ltd since Originally a Punjabi girl and grown up in Hyderabad Jaggi is an ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

73 IIM Ahmadabad graduate who started her career as a model cum air-hostess in 90s. Later she became the daughter-in-law to an elite family of Odisha and never looked back since then. Apart from her responsibilities at work, Mrs Panda has been involved in numerous philanthropic activities and a well-known name in the eastern state as well as among the topmost female entrepreneurs of India. Bollywood connection Nandita Das, the eloquent, sensuous beauty from Odisha who set a million hearts ablaze with her unconventional acting prowess in audacious yet sensitive films of 90s, 1947 Earth and Fire never applies any whitening cream on her face. Nandita contributed to launching of awareness campaign Dark is beautiful in year 2009 to put an end to social bias towards lighter complexion in the country. There s a word for people who find intelligent people attractive yes sapiosexual she says while comforting many young girls who regularly her wishing to end their lives for their dark skin or no-so-great-looks. So far Nandita has acted in over 30 feature films with eminent Indian directors and actors and won over 20 awards in her career nationally and internationally. She has been on the jury of Cannes Film Festival twice, Chairperson of the Children s Film Society, India and a Yale World Fellow 2014, for a 4 month Fellowship, among 16 other emerging global leaders who were chosen from close to 4000 applicants with a common mission to cultivate and empower a network of globally engaged leaders committed to positive change through dialogue and action. Food sector While discussing women empowerment how can we forget the rags-to-riches story of Mrs. Tara Das, the owner of Rajamoni Foods in Bhubaneswar? After the untimely death of her other half, Mrs. Das started her business with just 2 kg of rice and jaggery to prepare arisas, a traditional pancake of the state. Today she sells 2000 pieces of cakes per day distributing them across every town of the state as well as exporting them to countries as far as US, Germany and Japan. ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

74 The legacy must go on With 200,000 women entrepreneurs in the state this list may go on and on. Entrepreneurship is a quality that is gifted to very few people in this world; they could be our mothers, sisters, daughters, even friends or strangers. When it comes to female entrepreneurs from any corner of the world all of these women have one thing in common: they are daredevils who have overcome gender based obstacles and broken stereotypes doing wonderful things that have an immense impact on the lives of families, communities, and females of the future generations. Today the government, NGOs as well as private organizations have come up with Yojanas, schemes, policies, trainings, in addition to loans & assistance programs for self-employment of females playing important roles in facilitating women empowerment. Women leaders though less in number, are all around us. It s our responsibility to give them the right education, opportunity as well as support to show them their worth and keep them going. Debajani Mohanty Author & Senior I.T.Professional ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

75 The lost history of Odisha Her forgotten heroes Of the innumerable sons and daughters of India who had laid down their lives at the altar of India s freedom movement, a very few names have been unearthed and the rest who might have found glorious places in the annals of our freedom movement have been slowly but surely disappearing into oblivion. MADHO SINGH AND HIS SONS One such little known or almost unknown martyr is Raja Madho Singh of the erstwhile Zamidari of Ghens in the district of Sambalpur. Madho Singh and his three illustrious sons had made great sacrifices in the cause of freedom during the Great Revolt of In the Revolt of 1858 at Sambalpur under the valiant leadership of Vir Surendra Sai, Shri Madho Singh created a lot of troubles for the invading British forces in his area and successfully blocked their way from Sambalpur to Eastern India. The Singhora hillpass which was the only passage to the east was wellfortified by the armed men of Madho Singh with himself in the command so that a large number of British soldiers lost their lives in the encounter. The vanity of the proud Britishers having thus been wounded again and again at the hand of an obscure Zamidar of a small principality like Ghens they attacked Madho Singh with renewed strength many a time. But every time they were defeated. Some Forgotten Martyrs of Odisha Prafulla Das In one such battle the great English captain Mr. Wood Bridge was slain by the guerrilla band of Madho Singh after which the Britishers virtually gave up their attempt to subdue him and his men. However, after the Great Mutiny was suppressed in other parts of the country to some extent the foreign invaders could muster enough strength to wage an all out battle against Madho Singh and ultimately this great hero of 1857 was captured and executed. Madho Singh s astute leadership, his skilful swordsmanship, his proficiency in guerrilla warfare, exemplary courage, indomitable valour and undoubting love for country s freedom had struck awe in the hearts of the enemies. After the martyrdom of Madho Singh the mantle of the freedom struggle fell on the shoulders of his three illustrious Sons namely Hathi Singh, Kunjal Singh and Bairee Singh who were groomed by their great father for the great cause. These three Singh brothers fought ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

76 against the Britishers under the leadership of Vir Surendra Sai, for two long years. Their sense of patriotism, acts of heroism, chivalry and the spirit of dedication have made them legends. After a protracted battle with the British army they were caught one by one. Hathi Singh was transported to the Andaman where he breathed his last along with his thousands of compatriots and became the only Odia to die in the Andaman in the cause of country s freedom in the great revolt of Kunjal and Bairee offered their lives in the gallows bringing to an end the last of the male progeny of Madho Singh s family. BASU BISUNI If the struggle launched by Mahatma Gandhi is considered to be the major deciding factor for attainment of our freedom, then the martyrdom of two freedom fighters can never be lost sight of by our historians. They are Basu Sethi and Bisuni Madhual the first two Martyrs of the Gandhian Movement in Orissa. They hailed from two obscure villages named Tentulikoli and Bartani situated in Kanika, an erstwhile Zamidari in the district of Cuttack which was made the first testing ground for Non-co-operation Movement in Orissa by the Congress Committee in the year When the non-co-operation movement was inaugurated in Odisha and Congress was launched by Gopabandhu, Kanika was selected as the first battle front. Kanika, one of the permanent-settled states comprising of a vast area of Cuttack and Balasore districts and measuring some four hundred and forty one square miles was ruled by R.N. Bhanja Deo in medieval style under the direct patronage of the Britishers. He was a great ally of the empire and was knighted as a token of English gratitude. His administration was almost synonymous with British rule. Kanika state was famous throughout Bihar and Orissa for its maladministration, over taxation, forced labour and all types of oppression and exploitation. The discontentment among the tenants was brewing at the time when the message of nonco-operation reached there. Almost all the front rank leaders of the State Congress camped at Rajkanika to enrol Congress members and for collecting donation for Tilak Swaraj Fund and spreading the message of Charkha. It is now gathered that out of the total twenty thousand Congress members enrolled throughout Orissa in the year 1922, more than six thousand were enrolled in Kanika alone. Within a few months, the agitation gathered momentum which resulted in no-tax campaign and boycot of Raja s court and Educational institutions managed by him. The agitation took a violent turn when the tenants snatched away from the custody of the police some persons ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

77 arrested in connection with a land revenue dispute. An armed police contingent arrived at Rajkanika to help the Raja in suppressing the rebellion. On the 23rd April 1922 some five thousand armed tenants of Kanika came face to face with combined gang of armed police and hired goondas on the outskirts of a village named Meghapur. The police opened fire and fell to its bullet, Basu and Bisuni the two peasant leaders who were leading the people. Thus they became the first martyrs of the Gandhian movement in Orissa. THE BAL BROTHERS Last but not the least are two illustrious Sons of Orissa known as Bal Brothers General Lokanath Bal and his younger brother Harihar Bal. They were the heroes of the historic Chittaganja Armoury Raid and the epic battle of Jalalbad, which is otherwise known as armed youth uprising of Eastern India in 1930 a glorious landmark in the history of India s Revolutionary movement. On 18th April 1930 a few armed youths including Lokanath under the leadership of Masterda Surya Sen stormed one of the biggest police Armouries located at Chittaganja now in Bangladesh. By their surprise attack they killed the sentries and looted the choicest arms and ammunition. The entire army was caught unaware and fled to a ship which anchored in the Bay of Bengal. The rest were thrown at the mercy of the rebel youths. Chittaganja was declared independence and the local British administration was virtually crippled. But reinforcement having reached from Calcutta the Government tried to capture the rebels. They made several attack on their hideouts. One such hideout was located on the top of the Jalalbad hill situated in the vicinity of Chittaganja. Here was waged an epic battle between a band of Indian youth and a strong contingent of Goorkha Regiment under British captains. The battle of Jalalbad was epic in the sense that here was the mighty British power defeated several times at the hands of the revolutionary Indian youths. But it is all the more memorable for the Odias because the battle was commanded by General Loknath Bal at the behest of Masterda, the supreme commander of the Revolutionary Republican Army and as if this was not enough the crown of becoming the first martyr in the battlefield was adorned by Loknath s fourteen-year old young brother Harihar Bal nicknamed Tera perhaps indicating his pair of squint eyes. Loknath was later captured and transported to the Andamans along with Ganesh Ghosh, Ananta Singh and others. After his return from the Andamans Loknath died a soldier's ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

78 death at Calcutta. One need not raise his eyebrows to hear that these two top ranking national heroes, Lokanath and Harihar are none other than the sons of Odisha. Considering that Bal surname and Tera nickname is exclusively of Odia, origin there is nothing to disbelieve that they hailed from Orissa. Their forefathers might have migrated to East Bengal like thousand other Odias who were making a beeline to Bengal in search of employment in those days. From Madho Singh to the Bal Bothers from 1857 to 1940s a scores of such Orissa Martyrs died unwept, unsung, unhonoured and even unidentified and unclaimed and were consequently totally forgotten even by our post independent historians. Darshan Panda Odisha ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

79 On Thoughts of Progress...Are we on Right Track? Let's see how the cultural and life style habits of the people determine the quality of life. First take the study of happiness index. Happiness index is based on the personal evaluation of happiness and six other factors: levels of GDP, life expectancy, generosity, social support, freedom, and corruption. Here Denmark leads the pack with Switzerland (last year s winner), Iceland, Norway, Finland, Canada, the Netherlands, New Zealand, Australia, and Sweden rounding out the top 10. The US ranks 13th, Germany 16th, and the UK 23rd, to name a few big players. The unhappiest countries are Afghanistan at 154th followed by Togo and Syria. Burundi comes in last at 157th. India was ranked 118th. Another point I thought about the generation of original ideas and their practical implementation. For this let's take the distribution of Nobel laureates. 83% of all Nobel laureates have come from Western countries, revealing a significant amount of scientific inequity around the globe. By Western countries the survey is referring to Western Europe, the U.S., Canada, Australia, and New Zealand. Western Europe and North America take the lion s share of the awards. These prizes have been granted to 72 different countries but more than half come from only three countries, the U.S., Britain, and Germany. Speaking of food habits, here is the percentage of vegetarians. The top countries are India (28.8%), Israel (13.0%), Italy(7.1%), Japan (4.7%). In the population landscape out of 7.5 Billion people of the world both India and China constitute 35.7% (2.68 Billion). United States is the distant 3rd in this respect with about 325 million. In the fertility rate statistics the African countries top with India taking 76th position, US 112th position and the Singapore takes the last and 228th position. ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

80 Another interesting point to note how generous the countries are. The most recent edition of World Giving Index published in November 2016 shows that Myanmar, the United States and Australia ranking as the top three. New Zealand, Sri Lanka, Canada, Indonesia, the United Kingdom, Ireland and United Arab Emirates complete the top ten. The position of India is 91. In life expectancy Hong Kong, Japan and Italy take the top spots with average of 83 years where as India takes the 145th position with about 68 years and majorly African countries take the lower spots. What the above statistics indicate? Western countries with less population even though not vegetarians ( by the way in India majority are non vegetarian) generate more ideas which are implemented for global good and are happier. With the exception of Myanmar, they are also very generous in giving. Life expectancy also follows suit with more and less with happiness. Hence it is the overall activities of the mass which determine the progress of a nation. Practice of the noble virtues is definitely figure very high. This is definitely not related to blind following of different faiths. When the mass follows the path of goodness it reflects in all avenues of life style. Another point to note that the progressive people accept the goodness of others while the result is opposite in the reverse case. See how the western countries follow the good things of the East and the East is more prone to follow the negatives of the West quickly. Hence this is not the time of blind following of anything especially religious doctrines. The scriptures and religions are there to guide the mass in the path of progress and all round happiness. When that is not met we know that the scripture is not interpreted correctly and needs course change. All the religions are based on the background of love, kindness and host of other noble virtues to bind the humanity and take it towards better. Unfortunately the misinterpretation and misguidance are playing their dirty tricks. Let's not be the victims of these and pledge ourselves to be noble in all aspects of life. Thank you! Manoj Panda ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

81 ଆମ ଓଡ଼ ଆ ଆ ଓଡ଼ ଶ ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

82 Mayurbhanj to be free of child labour soon Buoyed by the success of mainstreaming of child labourers in schools, Mayurbhanj district administration is now set to make the district free from child labour a unique feat perhaps not achieved by any district in the country. Preparations are in full swing to launch two-month-long campaign to bring child labourers in the district as well as those working outside the district back to schools. Although it sounds too ambitious, we are confident of bringing children back to schools. We think there could be around 15 to 16 child labourers left to be rescued in the district. Teams comprising trained teachers, line department officials and magistrates have been formed to liberate children from their employers, said Rajesh P. Patil, District Collector of Mayurbhanj. He informed another 50 children were believed to be working outside the district. We want to get these children back. Immediately, they will be put in seasonal hostels. The district administration will take care of children whose parents have deserted them. On the other hand, extremely poor parents will be provided works and their children can continue their studies in villages, said Mr. Patil, whose unwavering pursuit brought about a quiet revolution with an unprecedented flourishing in this tribal dominated district of Odisha. At first glance Nodal Upper Primary School, Bisoi, in Odisha s Mayurbhanj district would look like any other government-run school having students mostly from poor families, mid-day meals being one of prime attractions. ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

83 As one walks around the campus, one comes across a pleasant surprise. Looking extremely confident, more than 80 students in the age group of 6 to 14, who months ago were working in roadside eateries, garages, shops and other hazardous workplaces, pursue their studies with all seriousness and enjoy every moment of playful childhood. Every child is a victim of circumstances. They need little hopes and they will just flourish, Mr. Patil said. Manoranjan Giri, headmaster of the school, said children who were rescued from workplaces were no lesser either in studies or in extracurricular activities. To make Mayurbhanj child labour free district was never a smooth journey. At the outset, household survey was conducted in all habitations and villages in the vicinity of each school. In 2013, of the children who attained the age of six years, 2,871 had never enrolled, 2,654 had dropped out and 67 were found to be child labourers. In 2014, the number of never enrolled students was brought down to 997 and drop out to 1,582, but more expansive survey found another 117 child labourers. The district administration carries out ossification test of rescued working children and then sends them to conditional camps where children get acclimatised with normal childhood. After three to four months, some children are admitted in age appropriate class and start their normal schooling process. Children were not the only ones who were focus of the administration. Parents were provided assistance under different government schemes which ensured that they would not exert pressure on their children to work in future. The Odisha government is contemplating to replicate the model in other districts. Please follow the links Manoj Panda pandamanoj@hotmail.com ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

84 ୪ ୮ ତ ତ ବ ହ ସ ୟ ତ ର ଆଭମର କ ୟ ଓଡ଼ ଆ ସମ ଜ ବ ଷ କ ମହ ମଣ ଡଳ 48 th B a h a m a c r u i s e O S A C O N V E N T I O N ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

85 OSA CONVENTION 2017 BAHAMA CRUISE Dear Friends, After much deliberation we have decided to have 2017 OSA Convention during a Bahamas Cruise on Royal Caribbean. Details are grouped in the following manner: A. Cruise Itinerary B. Cruise Pricing C. Group Benefit D. How to Book your stateroom E. Visa Requirements for Bahamas F. Some Facts about RC Cruise Ship G. Higher and lower deck comparison info A. Cruise Itinerary Sail Date: 6/30/2017 Ship: Enchantment of the Seas Itinerary: 3 Night Bahamas Cruise Number of Rooms Blocked: 190 Group Itinerary: B. Group Benefit The Cruise Package Price includes the following: o Stateroom Accommodations o Taxes & Fees ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

86 o Gratuity o Complimentary casual and fine dining (breakfast, lunch, dinner and snacks) o Award-winning Entertainment, from full Broadway shows to spectacular ice shows o Shipboard activities suited for everyone (Rock climbing, casino, fitness center, etc.) o $50 On-board credit per room in lieu of 4 Group amenity points and so much more! Plus, group will receive: Complimentary Meeting and Function Space, Complimentary Audio/Visual Equipment Onboard Group Coordinator There is no Convention Registration Fee, OSA Fee etc. Only those who are not OSA members need to pay membership Fee. C. Cruise OSA group Pricing for 1st and 2nd guest Third/Fourth Guests Triple & quadruple accommodations are subject to availability at time of booking and are not guaranteed. Rates are available upon request. Estimated 3rd and 4th guest price Interior $370 Per Person including Gratuity Ocean View $422 Per Person including Gratuity Balcony $581 Per Person including Gratuity ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

87 Junior Suite $710 Per Person including Gratuity Single Occupancy Single occupancy fares are 200%. Royal Caribbean International reserves the right to limit the number of single occupancy Staterooms. Basically 1 person book a stateroom, s/he pays for base fare of 2nd person with his/her full fare. Taxes, Fees & Port Expenses (in USD) Taxes, Fees & Port Expenses: $91.75 per person Royal Caribbean International shall be prepaid for all departure taxes, fees, port expenses, airport facility charges and any and all other applicable fees in effect at the time of sailing. The Fees are subject to change without prior notice. Gratuities (in USD) Gratuities must be pre-paid for the group at the rate of $40.50 per person for the entire cruise. This includes gratuities for the Stateroom steward, head waiter, waiter and assistant waiter. Meeting Space The confirmation of function space is based upon the size of the Group at the time it is confirmed (i.e., the Initial Stateroom Count). Cruise Line reserves the right to adjust the location and time of Group functions (i.e. cocktail party(ies), meeting(s), trade show (s), hospitality suite(s), etc.) if the Group size changes (i.e., the Final Rooming List). Shore Excursion Discount Offering OSA will try to get discount directly through the local service providers. There are few OSA members in Nassau who have offered to help. D. How to Book your stateroom There are 2 options to book your stateroom. If you booking triple or quad guests (3 or 4 person room), Please use option1 first until see price increase from our group rate. For more than 4 persons, please contact our Agent Vara directly at ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

88 Please select appropriate category like Seniors 55+, Military, Police & EMT and State Option 1: Preferred option for 3 or 4 persons room B O S T O N below: shortcut to book on selected cruise ship & Date OR below: shortcut to book on selected cruise ship & Date cesscabin=false&cruisetype=co&saildate= &selectedCurrencyCode=USD&shipCode=EN&hasMilitary=N&packageCode=EN03S0 81 Both might give you same price If you find better rate through these URL you can go ahead and book your trip for the above itinerary and then contact travel agent within 2 days to transfer your booking under OSA group. Please note the rate offered by these sites does not include Gratuity, which will be added to your room. Option 2: (Online Payment not available) Enter Group Password: CRUISE48 All the information with cruise itinerary, cabin categories, cruise information, deck plans, ship information, terms and conditions are available on the page. The members will be able to pick their cabin category and submit their registration. The registration form has and contact information. As soon as Travel Agency receives the registration; she will contact the member for payment and submit it to the cruise line and their confirmation. All the cancellation, refund policies have been outlined clearly on the webpage. ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

89 Deposits: $100 per person will be charged to hold your cabin. Full payment is due before MARCH 31st, 2017 B O S T O N * Suites may require higher deposits. Cancellation fees: Royal Caribbean has the following cancellation policy for our group. Please refer to the refund timeline below. It cannot be modified or changed: 100% refund- Before MARCH 31st, % refund- Before May 15th, % refund- Before May 31st, 2017 After 1st June, 2017, There will be NO Refund If YOU BOOK THROUGH ANY OTHER WEBSITES OR AGENT, WE CAN'T BRING YOU TO OUR OSA GROUP. IN CASE OF QUESTIONS, PLEASE CALL VARA AT OR HER AT ODISHACRUISE@GMAIL.COM OR CALL OSA SECRETARY SARADA PANDA at OR E. Visa Requirements for Bahamas: Please refer below sites for details #usport F. Enchantment of the Seas: G: Higher and lower deck comparison info Please find some information on these sites below: ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

90 Debajani Bhauni Says A R e a d e r s L e t t e r Utkarsha for many reasons has remained my favorite journal for past few years. The only Odia journal published in North Americal and reaching thousands of Odias in USA and Canada in bi-lingual form is a magnificent effort by People like Shri Prasanta Bhuyan and Kanak Hota; who has put his heart and soul into this work to make this a mega success. Not only the quality of the articles, even the lively photographs in the journal makes it an easy read and always a work to watch out for. Hope the network goes bigger and bigger and inculcate practice of reading and writing Odia among Prabasi Odia society. Long live Odisha, my state. ପ ର ନ ତ ବ ବ ବହ ତ ବହ ତ ଧନୟବ ଦ ବ ଲମ କ ବ ବ ଭଲ ଛନ ତ ଭମ ଭଲ ଟ ଉତ କଷମ ଇ -ପ ତ ର କ ଭର ପ ରକ ପ ଇଥ ବ ର ବହ ତ ସ ଲ ଗ ଛ ଟ କ ଏ ଉଦ ସ ଲ ଗ ଛ ଏଇଥ ପ ଇ ଭଯ ପ ର ଦ ନ ଆଭର ଓଡ଼ ଆ ମ ଭନ ବୟ ପ ରହ ଛନ ତ ଭସମ ନଙ କ ତର ବହ ତ ଓଡ଼ ଆ ଷ ଭପ ରମ ବ ଥ ଭବ ଉତ କଷମ ବ ପ ଢ ଥ ଭବ କ ନ ତ ଭକହ ଜଭଣ ବ ପ ଠକ ୟ ମତ ମତ ଭଦବ କ ଚ ହ ନ ହ ନ ତ ଅବ ୟ ଭମ ର ଇ ଭମଲ ଆଇ ଡ ଭଲ ଭର ନ ହ ଯଦ ପ ତ ର କ ର ସମ ପ ଦକ ପ କ ମତ ମତ ଆସ ଥ ବ ଭତଭବ ବ ଲ ଆମର ସବମଦ କ ମନ ଆପ ଣ ମ ନଙ କ ପ ଇ ରହ ଛ ଜଗନ ନ ଥ ଇ ଭଲ ଛନ ତ ପ ର ୟ ପ ରଶ ସ ର ଆନମ ର କ ୟ ଓଡ଼ ଆ ସମ ଜର ମ ଖ ପତ ର ଉତ କଷତ ର ଓଡ଼ ଆ ବ ଭ ଗ ସମ ପ ଦକ ୟ ପ ଲ ଡ ଇଓଜ ନ ସ ଏବ ଆନଲକ ଜ ଣ ର ଙ କ ନ ଭତ କତ ର ଛ ପ ବ ଜ ଲ ନ ଆ କଥ ଟ ଏ ମ ଧୟ ଜ ଲ ଓ ଶ ଖ ଲ କ ଛ ଟ ଖ ସ ନ ଲ ଏବ ଦ ଖ ମ ଧୟ; ଏଇ ଆମ ଓଡ଼ ଆଙ କ ନନଇ ଉତ କଷମ ପ ଢ଼ ଲ ପ ଭର ଆପ ଣଙ କ ସମ ପ ଦକ ୟ ପ ଢ଼ ଅଭନକ ନ ଜକ ଚ ହ ନନ ତ ; ନ ଜକ ସ ଧ ରନ ତ ଅନୟମ ନଙ କ ଭଗ ଟ ଏ ସ ନ ଦର ନ ମ କତ ର ର ସ ତ ଭର ପ ର ଚ ଳ ତ ଭହବ ପ ଇ ପ ଥ ପ ରଦ ମକ କରନ ତ ଭବ ଲ ଆ ର ବ ଧନୟବ ଦ! ଆପ ଣଙ କର ଗ ଣମ ଗ ଧ ଜଗନ ନ ଥ ର ୟ O u r G r a t i t u d e! ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

91 Dear All, Namaste! That was your UTKARSA for all of us. We are sorry for unintentional delay of the publication of this issue. Please send us your write up for the coming June 2017 issue as soon as possible to help us to release the forthcoming issue. For June issue of UTKARSA Please send your write ups by June 20, 2017 Please let us know any errata in the issue so that we correct and edit the digital version. Your constructive comments are always welcome and yes, Please let us know few words about the current issue. Thank You All! Editors ଉତ କର ଷ : ସ ଖ ୟ ୫୯ : ମ ର ଚ ଷ ୨୦୧୭ UTKARSA : VOLUME 59: MARCH

92 5 9 th U T K A R S A E D I T I O N 91

ଭ ରତ ନ ବତ ଚନ ଆଭୟ ଗ ଫମତ - ୮(କ) ପ ର ସ ୱ କ ଯ ସ ଖୟ (ନ ବତ ଚକ ପଞ ଜ କରଣ ନ ୟମ, ୧୯୬୦ର ନ ୟମ ୧୩(୪) ଓ ୨୬ ଦ ରଷ ଟବୟ) (କ ମବୟ ୟ ଦ ୱ ଯ ଯଣ ହଫ) ଭଭ ଟର ତ କ ଭର ଉଭ ଖ ଭହ ଇଥ ବ

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