MOHIT CHAKRABARTY - AN ENIGMA

Chakrabarty’s pen, wielded with the precision of a silpi (artisan) and the vision of a rishi (seer), has charted the emotional topography of modern Odisha. With over 5,000 songs - enshrined in the annals of 100+ Odia films, 2 Bengali cinematic gems, and countless albums - he has democratized profundity, making the esoteric accessible without diluting its essence. His lyrics, like the Mahanadi’s tributaries, flow into the collective consciousness, nourishing it with metaphors that are at once indigenous and universal.

• For the silver screen, he crafts shringara (romance) as in "Tate Mo Rupa Heigala" (a mellifluous paean to love’s transformative power), or karuna (pathos) as in "Ete Kichi Nahi" (a minimalist lament on urban alienation).
• For the masses , his independent albums, "Aakhi Aakhi Raati", "Mu Tike Tike" - are quite urbane yet so rooted to the emotional evolution of odia listners, bridging the gramya (rustic) and the adhunika (modern).

"He writes not with ink but with ananda, the joy of creation itself."

Mohit Chakrabarty’s Lyrics Bahi is not only a collection of poems -it is almost a sacred text, turning elite poetry into the sacred book of the common man. For us amateur composers, it was more than inspiration-it was permission to set forth our own unassuming songs. Like the poet Catullus who gave his poems to the people, Mohit's words became that empty stage for miles of kitchen-table performers. There is no dusty old book here; rather, it is a living ethos, where words shed their exclusivity to dance with the people.

Mohit, like a generous Ovid, lets his golden verses be reshaped in amateur workshops. While other artists guard their work like precious treasures, Mohit throws open the temple doors. His "Lyrics Bahi" is both ars and artisanal - turning everyday people into creators of their own fata morgana ( fleeting, dreamlike musical visions.).

His genius locus resides not in ivory towers but in the "vox populi" (Voice of the people) yet somehow perfectly in tune with his verses.

Its of no wonder that...
The state appointed him with the Odisha State Film Award (2016)to honor him as the Best Lyricist for lyrics that came to be known as the mile stones for a generation. This legacy was sanctified by the nation when Prasar Bharati bestowed the National Integrity Award (2015) on him, making him the very first Odiawordsmith to receive this national clash (rashtriya samman), that places him elegantly among the pantheon of gandharva-vidwans or maestro of celestial arts, binding together integritity and melody in the manner of a shilipi.

From the Tarang Cine Award: where his art does not merely store recognition but is turned into kinetic sculptures of celluloid splendor; ETV Cine Award, wherein his pen performs a pas de deux between love and cultural asmita: his awards are not trophies but empirical manuscripts of excellence.

From the Odisha Filmfare, he is declared a maestro of navarasa-natya, or his style is a symphony ranging from shringara's delicate fondant to vairagya's austere sourdough. Cinema Sansar, with serious overtones, crowned him shilpacharya, a lyricist who does not just write words but carves them into words; each verse is a petit four of poetic exactitude.

Then the Chala Chitra Jagat gave him a final grand jeté-adornment for spinning gatha-gucchas so beautiful that they pirouette from the script to Loka-katha, as if the narrative were artisanal pastries-layered, fine, and lasting.

"He writes not with ink but with ananda—the joy that flows when shabda (word) and swara (note) perform their matra-yoga (syllabic union)."

Chakrabarty’s poetry collections - Arundhati Ra Akash, Parswa Devata, Nastika Ra Thakura Ghara—are sphatika mani (crystal beads) strung on the thread of advaita (non-dual) thought. Here, the personal becomes the vaishvik (universal):

• Arundhati Ra Akash: A celestial meditation where love and longing orbit like stars, governed by the jyotish (astrology) of desire.
• Nastika Ra Thakura Ghara: A subversive tirtha (pilgrimage) questioning dogma, a nastika’s (skeptic’s) devotion to truth.

A sequence of honors that reads like chapters of an epic has consecrated Mohit Chakrabarty's poetic career: upon each conferring, a greater view has emerged regarding his association with Odia literature beyond recognizing his genius. "Time Pass Arranged Salandi Sahitya Samagam" first showered the Golden Kanak Signal: those kabita-akshara (poetic letters) danced with such inventive charm as to produce a phenomenon-a rebirth in the laya of modern Odia verse.

With the "Odia Mahila Sangathan" in Bombay, his poetry became alta at the feet of progressive thought: a red scar of honor to challenge traditions, his metaphors became shakti-archana-worshipfor empowerment. "Jivan Ranga" later enshrined his thoughts philosophically into darshanika pattachitra (philosophical paintings) , where the rhyming couplets of individual and cosmic truths frolicked, with debates resonating through the corridors of Odia intellectual history.

The "Siddhanta Sahitya Sansad" saw him as a shabda-tantrik, one who could theoretically turn sanskriti into shastra, while the "Srujan Kabita Saman (2019)" stood as an apex of his srujana-yagna- the crescendo of sagra-kwaiti decades whose poetic offerings still perfumes Odia letters with its madhu (Honey). In far lands, "Pravasi Odia Sangha at Delhi" saw his poetry becoming linguistic ambassadors fertilizing distant literary shores with silt from Mahanadi.

His stanzas are tantric yantras—geometric patterns of emotion that invoke rasa in the reader. Little wonder he is feted at the Puri Literature Festival and crowned with the Srujan Kabita Saman (2019), a testament to his kavya-siddhi (poetic mastery).

"Like the Sankha (conch) of Lord Jagannath, these awards don’t just symbolize honor—they are the audible breath of Odia poetry’s eternal presence."

To call Mohit Chakrabarty a "lyricist" is to call Mahabodhi a "tree"—technically accurate yet egregiously reductive. He is a sadhaka of words; the words are mantras for him-a bhakta of sahitya, who worships at the vedi (altar) of paper. In this age of fleeting reels, his work lives onmuch like smaranika (a memorial) dhuali (white) inscriptions for all time.

"His verses are not read; they are experienced, like the first monsoon rain on parched soil."

• Personal Information
  • Date of Birth: 6th March 1962
  • Place of Birth: Kharagpur, West Bengal
  • Father: B.M. Chakrabarty
  • Mother: Tara Rani Chakrabarty
• Addresses
  • Present: Plot No. 3C/259, CDA, Sector-9, Cuttack-753014
  • Permanent: At. Gopalpur, P.O. Raghunathpur, Dist- Jagatsinghpur-753002
• Contact
  • Mobile: 9437124876, 9337546911
  • Email: mohitmumun@gmail.com
• Professional Roles
  • Poet
  • Lyricist
  • Dialogue & Script Writer
  • Approved Lyricist of All India Radio & Door Darshan
• Film Contributions
  • 100+ Odia Movies
  • 2 Bengali Movies
• Musical Compositions
  • 5,000+ Albums & YouTube Songs
  • CD Films
  • Telefilms
  • TV Serials
  • Operas
• Published Poetry Collections
  • Arundhati Ra Akash
  • Lyric Bahi
  • Parswa Devata
  • Nastika Ra Thakura Ghara
• Notable Awards
  • Odisha State Film Award (Best Lyricist - 2016)
  • National Integrity Award (Prasar Bharati - 2015) - First Lyricist From Odisha to receive this prestigious award
  • Tarang Cine Award
  • ETV Cine Award
  • Odisha Film Fare Award
  • Cinema Sansar Award
  • Chala Chitra Jagat Award
  • Srujan Kabita Saman (2019)
  • Puri Literature Festival Honor
• Poetry Awards & recognitions:
  • Time Pass Arranged Salandi Sahitya Samagam- Recognized for his innovative poetic expressions
  • Odia Mahila Sangathan, Bombay- Honored for his contributions to women's empowerment through poetry
  • Jivan Ranga- Celebrated for his philosophical depth in poetic compositions
  • Siddhanta Sahitya Sansad- Acknowledged for his theoretical contributions to Odia literature
  • Pravasi Odia Sangha, Delhi- Honored for representing Odia literary tradition nationally