A Critical Appreciation of Architects of Odisha: An NRI’s Perspective

Sambeet Dash’s Architects of Odisha: An NRI’s Perspective is not merely a book but a heartfelt tribute to the land of Odisha, wrapped in layers of nostalgia, humour, satire, and cultural pride. It is both a celebration and a critique—an emotional bridge between homeland and diaspora.

Beyond Historical Architects-

As the title suggests, the book pays homage to the stalwarts who shaped Odisha historically and politically—Utkal Gouraba Madhusudan Das, Utkalmani Gopabandhu Das, Pandit Nilakantha Das, and Biju Patnaik. However, Dash broadens the scope of “architects” to include literary giants like Fakir Mohan Senapati and Sarala Das, the king of satire Faturananda, and eminent filmmakers such as Nirad Mahapatra and Ghanashyam Mahapatra.

By doing so, the author expands the definition of nation-builders beyond politics to literature, cinema, and culture. This inclusive vision is one of the book’s strongest qualities.

A Cultural Chronicle with Personal Nostalgia-

The book serves as a cultural encyclopaedia of Odisha, enriched by the author’s personal memories. Festivals such as Saraswati Puja, Utkal Diwas, Sabitri Brata, Sital Sasthi, Raja Festival, Rath Yatra, Durga Puja, Kumar Purnima, Deepabali, Kartika Purnima, Prathamastami, and even Christmas are described in detail. Dash not only explains their mythological backgrounds and rituals but also evokes the sensory richness of traditional dishes and celebrations.

In Saraswati Puja Memories, he reflects on how his relationship with the festival evolved through different phases of life. His comparison of Sabitri Brata to “Husband’s Day,” akin to Valentine’s Day in Western culture, shows his attempt to build cultural parallels for global readers.

The author’s nostalgia is especially poignant when he recalls missing the aroma of poda pitha, playing on the doli during Raja, and chewing paan. His evocative imagery in Kumara Purnima—watching the full moon through pine trees abroad, imagining coconut trees back home—beautifully captures the emotional displacement of an NRI.

For him “the full moon rising in a stary sky through the pine trees- a virtual substitute for coconut trees back home, as the swaying, chirping little birds crisscross the crimson sky of the twilight” (Page-90). Again, he reminiscences, “The brightly moonlit yellow flowers of janhi ( ridge gourd) and kalara ( bitter gourd) leaves look brighter smiling at me reminding me my good old childhood days, nostalgic memories of bygone era to cherish forever.” (Page-91)

In Rath Yatra he says, “Lord Jagannath is our window to the world” (Page-81). It’s absolutely true. He is a window though which foreigners look at Odisha in awe. He writes about Chhappan Bhog(56 kinds of food) as offerings and the importance of Abhada, the Maha prasad.

Satire and Social Commentary-

Dash’s satire is sharp yet affectionate. He critiques the growing tendency among Odias to mix Hindi and English while speaking Odia, observing that speaking “pure Odia” is often dismissed as gaunlia (rustic), whereas accented Odia is considered fashionable. His irritation at spellings like “Rajo” instead of “Raja” reflects a deeper anxiety about linguistic dilution.

To him, “Odisha is the only place on Earth where some (certainly not all) natives not only love to speak their mother tongue with an accent but choose to write it in another accent, for example ‘Raja’ as ‘Rajo’, ‘mansa’ as ‘mansho’ and the like.”( Raja Festival Page 78-79)

In Deepabali, he discusses the transformation of traditional practices under external influence, noting how television culture reshaped local celebrations. He contrasts this with how Americans protect Halloween from dilution, subtly urging cultural preservation.

Similarly, in Durga Puja, he questions the practice of animal sacrifice through personal anecdote, blending humour with ethical reflection.

Rural Culture and Vanishing Traditions-

In essays like The Mystery of Mahima Alekh and Chakulia Panda Story, Dash vividly portrays rural Odisha. His concern about the decline of traditional figures such as the chakulia panda highlights his anxiety about cultural extinction. His comparison of them to endangered Royal Bengal Tigers underscores the urgency of preservation.

“I don’t know how many such chakulia pandas exist today. I won’t be surprised if these torch bearers of this ancient cultural heritage and tradition are as endangered as Royal Bengal Tigers, and are on the verge of extinction.” (Page-140)

He also raises civic concerns in My City Bhubaneswar and Kartika Purnima, lamenting overcrowding, disappearing water bodies, and unchecked urbanization— “concrete jungles” replacing natural landscapes.

Humour Rooted in Everyday Life-

The sections Slang of Bhubaneswar and Eleven Commandments of a Khanti Odia showcase Dash’s comic brilliance. By listing colloquial nicknames like Lunguda ( a habitual girl chaser), Ghodi( a tall lanky girl), Lula/ Chochala (good for nothing), Dhaiyaan( a worthless guy), Munda( a naïve), he captures the playful linguistic identity of the region.

His reinterpretation of classic Odia stories such as Loke Bolibe Kana and Acharya Thile Boli demonstrates how age-old social anxieties persist in modern life. Loke Bolibe Kana (What will people say) by Godabarisha Mahapatra is related to the situation how we adhere to societal standards set for us in spite of dissatisfaction and suffering. “We may not agree, nor enjoy what we do day in and day out in our personal as well as professional life dealing with multiple folks, some of them are classic A grade a**holes. But we still have to deal with them out of compulsion.” (Page-129) Further he says. “It may not be anybody else’s business, yet we succumb to the norms of the milieu, eager to the societal standards set for us.” (Page-129)

In Acharya Thile Boli he cited a concrete example of how the Indians in America whom he called “desi brothers and sisters” “trample trolleys over each other, jump the line(queue) at the earliest opportunity, or flood the floor with vegetables and plastic bags. In Indian restaurants, you can see them jump the buffet line and spill things around with impunity. Yet the same folks take care not to behave similarly in a Wal Mart or Koger, in a McDonald’s or Chillis.” ( Page-131) His witty remark “Americans thile boli” to a baffled friend cleverly exposes the dual behaviour of some Indians abroad—disciplined under foreign scrutiny but careless otherwise.

Critique of Institutional Corruption-

In Puri Panda, Dash candidly discusses the exploitation of pilgrims by temple priests, narrating personal experiences of being chased by a panda even after knowing that he was a local. When the author did not fulfil his wish of extorting ten rupees, the frustrated panda started “bad-mouthing”- “Kangala kahase ayaa” (Page-138) (where has this impoverished bankrupt guy come from).

His honest criticism shows that his love for Odisha does not blind him to its flaws.

Style and Language-

The language of the book is simple, lucid, and accessible, often enriched with metaphors and similes. His comparison of rumor to a “Nirmuli Lata—a rootless creeper “(Page-115) spreading unchecked, and chakulia pandas to Royal Bengal Tigers( Page-140) is quite striking. The conversational tone makes the essays engaging while retaining reflective depth.

Conclusion-

Architects of Odisha: An NRI’s Perspective is a harmonious blend of history, culture, humour, satire, and emotional longing. Through personal anecdotes and critical reflections, Sambeet Dash constructs a living portrait of Odisha—its glories, contradictions, and transformations.

The book is not merely informative but emotionally resonant. It reminds readers—especially the younger generation—of the value of cultural roots in an increasingly globalized world.

Thus, it stands as a must-read for anyone seeking to understand Odisha not just as a geographical space, but as a living, breathing cultural identity shaped by its true “architects.”