to Odia language and literature.The obscurity of this incomparable poet of Odia literature, may be attributed to the lack of proper research. Plot and character in Bhanja literature plays negligible role but imaginary ornamental expression by way of literary techniques of the classical Indian literature dominates with magnetic, lovable, intellectual manner. So, study of Upendra Bhanja requires high academic pursuits as well as sensible appreciation of art and literary value of the reader along with wide study range in the field of classical Indian literature and appreciable order of morality and spiritual thought. So for Upendra Bhanja, plot and character are not important but momentous feeling influences the character as well as the plot in the structural poetic forms and techniques with explosive reason and emotion in a way of synthetic, stylistic approach in almost all aspects of his expression through Odia language, literature, culture, socio-cultural behaviour, with high moral order and thoughts of superior human being. On the other hand, his writings are being popularised by the commoners because of sensible, emotional touch with sympathetic unusual feelings of the human kind in the context of aesthetic sense and sensibility along with love and lovability of the mankind as experienced through the ages of time together.Strangely, without any deep appreciation of human value and literary appreciation with standard principles of study literature as prescribed in the research methodology and literary criticism with reference to classical Indian poetics, the poet Upendra Bhanja is being misunderstood by some pseudo critics/scholars and writers with biased opinions and unscrupulous baseless manners. The first Ph.D thesis on Bhanja was submitted by Dr. Satyanarayan Acharya, the First Researcher on Upendra Bhanja, in the year 1978 under UGC sponsorship. Consequently, in the year 1988 Dr. Abhimanyu Baral submitted the thesis "Odia reetikabya paramparare Baidehisha Bilasa" to Utkal University, Bhubaneswar. Music The works of Upendra Bhanja are based on Odissi classical music. He uses ragas and talas unique to the Odissi tradition and has thereby enriched the repertoire. His compositions are well-known across the state of Odisha and are frequently employed in Odissi dance as well as Gotipua, Sakhi Nata, Prahallada Nataka, Radha Prema Lila and other allied artforms. Some of the ragas frequently used by Bhanja are : Bangalasri, Baradi, Basanta, Basanta Baradi, Bibhasa Gujjari, Chinta Bhairaba, Ghantaraba, Kalahansa Kedara, Kali, Kamodi, Khanda Kamodi, Kousika, Kumbha Kamodi, Malaba, Mangala Baradi, Mangala Gujjari, Natanarayana, Nalinigouda, Pahadia Kedara, Panchama