Supriyo Sengupta – KARIGORI KOBIYAL
Electrical Engineer • Educator • Author • Creative Innovator • Technorhyme Creator • AIR Kolkata Drama Artist • Cultural Creator • Record Achiever
“Where Engineering Finds Rhythm, Technology Finds Poetry, and Tradition Finds a New Voice.”
Introduction
Supriyo Sengupta, widely known by his creative identity KARIGORI KOBIYAL, is an experienced Electrical Engineer, educator, author, creative innovator, cultural performer and technical-content creator from West Bengal, India.
With more than 32 years of professional experience in Electrical Engineering, Sengupta has developed a distinctive professional identity that connects fields rarely brought together on the same platform—engineering and poetry, technical education and Bengali literature, radio performance and cultural storytelling.
Alongside his engineering career, he is associated with AIR Kolkata (Akashvani) as a Drama Artist, adding voice performance, dramatic presentation and cultural communication to his multidimensional journey.
His creative philosophy is rooted in a simple but powerful idea: knowledge becomes more memorable when it speaks the language of imagination.
Among the major works and concepts associated with him are:
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“World’s First International Form of Bengali Radio Program ‘MAHISASURA MARDINI’”
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“World’s First Techno Rhymes in Bengali on Basic Electrical”
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KARIGORI SAHOJPATH — Creation of 501 Technorhymes
His profile also includes two separate copyright registrations, India Book of Records recognitions and the Pride of India Award from SAIARD, according to the information provided for his biography.
More Than 32 Years in Electrical Engineering
Electrical Engineering forms the professional foundation of Supriyo Sengupta’s career.
Across more than three decades, he has developed practical knowledge and professional experience in electrical technology, engineering principles and technical education.
But Sengupta’s relationship with engineering eventually moved beyond conventional technical practice.
He began exploring an unconventional question:
Can complex engineering concepts be communicated through rhythm, rhyme and one’s own language?
That question gradually became the foundation of his signature educational concept—Technorhyme.
Rather than treating engineering and literature as two unrelated disciplines, Sengupta sought to create a bridge between them.
For him, formulas provide precision, while language provides connection.
Engineering provides knowledge, while rhythm can help make that knowledge memorable.
KARIGORI KOBIYAL – The Identity Behind the Innovation
The name KARIGORI KOBIYAL symbolically brings together the two major dimensions of Supriyo Sengupta’s creative identity.
Karigori represents technical knowledge, engineering, craftsmanship and practical skill.
Kobiyal represents poetic expression, rhythm, literary imagination and cultural creativity.
Together, the identity represents a philosophy in which:
Engineering can find rhythm.
Technology can find poetry.
Education can find creativity.
And tradition can find a new voice.
This interdisciplinary approach has become the defining feature of Sengupta’s work.
World’s First Techno Rhymes in Bengali on Basic Electrical
One of the most important documented creative works associated with Supriyo Sengupta is titled:
“WORLD’S FIRST TECHNO RHYMES IN BENGALI ON BASIC ELECTRICAL”
The concept originates from his extensive engineering experience and his interest in Bengali rhyme and literary expression.
Technical subjects are traditionally communicated through:
Formulas • Definitions • Diagrams • Numerical Calculations • Textbooks • Lectures
Sengupta explored another route.
Through Technorhyme, technical principles are transformed into Bengali rhymes designed to make electrical concepts interesting, engaging and easier to remember.
The concept therefore brings together:
Electrical Engineering + Bengali Language + Technical Education + Poetry + Rhythm
It is this combination that lies at the heart of KARIGORI KOBIYAL.
Second Copyright – A Milestone in Technorhyme Innovation
Supriyo Sengupta’s Technorhyme work received a separate copyright registration from the Copyright Office, Government of India.
“WORLD’S FIRST TECHNO RHYMES IN BENGALI ON BASIC ELECTRICAL”
Copyright Certificate No.: LD-20260183437
Application No.: LD-2440/2025-CO
Date of Filing: 18 June 2025
Date of ROC: 12 March 2026
Language: Bengali
Category: Literary / Dramatic Work
Author: Supriyo Sengupta
Owner: Supriyo Sengupta
Copyright Authority: Copyright Office, Government of India
The certificate describes the work as Technorhymes in Bengali on Basic Electrical, written as technical principles in the form of rhymes intended to make the subject interesting for readers.
KARIGORI SAHOJPATH – Creation of 501 Technorhymes
The Technorhyme concept was further expanded through Supriyo Sengupta’s book:
KARIGORI SAHOJPATH
A Creation Featuring 501 Technorhymes
The book represents a larger expression of his effort to communicate technical concepts through Bengali rhythmic and literary presentation.
Instead of limiting engineering education to formal technical vocabulary, the work attempts to make technical knowledge more relatable through the learner’s own language and cultural environment.
The creation of 501 Technorhymes demonstrates how Sengupta developed Technorhyme from an individual experiment into a substantial body of educational and literary work.
According to the information provided for his profile, KARIGORI SAHOJPATH also brought him his second recognition from the India Book of Records.
Drama Artist at AIR Kolkata – Akashvani
Beyond his engineering and literary pursuits, Supriyo Sengupta is associated with AIR Kolkata (Akashvani) as a Drama Artist.
His involvement in radio drama reflects another significant aspect of his creative personality: voice performance, narration and dramatic storytelling.
Radio performance demands the ability to convey emotion and atmosphere through voice alone.
That experience naturally complements Sengupta’s cultural work involving Mahisasura Mardini, where narration, music, dramatic expression and Bengali cultural memory come together.
His professional and artistic identity therefore represents a rare combination of:
Engineering • Literature • Radio • Education • Performance • Bengali Culture
International Form of Bengali Radio Program “MAHISASURA MARDINI”
Another major dimension of Supriyo Sengupta’s creative journey is his work associated with:
“WORLD’S FIRST INTERNATIONAL FORM OF BENGALI RADIO PROGRAM ‘MAHISASURA MARDINI’”
The concept was envisioned as a way of presenting the cultural and emotional spirit of Bengali Mahisasura Mardini before a wider audience.
For generations, the tradition of Mahisasura Mardini has occupied a special place in Bengali cultural consciousness.
It is closely associated with:
Goddess Durga • Devotion • Music • Dramatic Narration • Bengali Heritage • Cultural Memory
For Sengupta, the tradition is therefore far more than a radio presentation.
It represents a living cultural experience.
His creative approach seeks to preserve its emotional character while introducing a presentation envisioned for wider and potentially international audiences.
First Copyright – “THE DEMON SLAYING GODDESS DURGA”
A separate and earlier copyright in Supriyo Sengupta’s documented intellectual-property journey relates to:
“THE DEMON SLAYING GODDESS DURGA”
Copyright Registration No.: L-75727/2018
Registration Date: 31 May 2018
Class of Work: Literary / Dramatic Work
Language: English
Copyright Owner: Supriyo Sengupta
Author: Nirmal Chandra Saha
Publication Status: Unpublished
Copyright Authority: Copyright Office, Government of India
The official register identifies Supriyo Sengupta as the owner of the copyright, while Nirmal Chandra Saha is recorded as the author.
Creative Contribution to “THE DEMON SLAYING GODDESS DURGA”
According to the information provided for his biography, Sengupta’s contribution to “THE DEMON SLAYING GODDESS DURGA” extended beyond copyright ownership.
While his English teacher Sri Nirmal Chandra Saha is recorded as the author of the principal script, Sengupta contributed to its creative presentation through:
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Script Editing
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Development of the Tune
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Musical Interpretation
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Voice Recording
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Cultural Presentation
The tune was developed in a style inspired by the traditional Bengali Mahisasura Mardini presentation, while Sengupta also recorded the presentation in his own voice.
These contributions add another dimension to his identity as a:
Cultural Creator
His work in this field combines literature, narration, music, interpretation, performance and cultural adaptation.
Two Distinct Copyright Achievements
For complete documentary clarity, Supriyo Sengupta’s two copyright achievements should always be shown separately.
First Copyright
Registration No.: L-75727/2018
Work: THE DEMON SLAYING GODDESS DURGA
Registration Date: 31 May 2018
Class: Literary / Dramatic Work
Second Copyright
Certificate No.: LD-20260183437
Application No.: LD-2440/2025-CO
Work: WORLD’S FIRST TECHNO RHYMES IN BENGALI ON BASIC ELECTRICAL
Date of Filing: 18 June 2025
Date of ROC: 12 March 2026
Language: Bengali
Category: Literary / Dramatic Work
These are two different copyright records for two different creative works and should not be combined into a single copyright entry.
India Book of Records Recognitions
According to the information provided for his biography, Supriyo Sengupta has received two recognitions from the India Book of Records.
These recognitions are associated with significant milestones in his creative journey.
His work encompasses two unusual directions:
Bengali Cultural and Radio Presentation
and
Technorhyme-Based Technical Education
His book KARIGORI SAHOJPATH, featuring 501 Technorhymes, represents one of the major achievements connected with this record journey.
These recognitions add another dimension to Sengupta’s effort to create unconventional forms of cultural and educational communication.
Pride of India Award
Supriyo Sengupta’s profile also includes recognition through the:
Pride of India Award from SAIARD
According to information provided for his professional biography, this honour adds to a career already distinguished by engineering experience, cultural initiatives, creative writing, copyright registrations, educational experimentation and record recognition.
Innovation in Technical Education
At the core of Sengupta’s Technorhyme philosophy is an important educational idea:
Technical knowledge does not necessarily have to remain confined to conventional technical language.
By bringing Bengali rhyme and rhythm into the communication of electrical concepts, Sengupta seeks to make technical learning:
More Accessible • More Memorable • More Engaging • More Creative • More Culturally Connected
His approach is based on four principal ideas.
Accessibility
Knowledge becomes more approachable when communicated through familiar forms.
Memory
Rhythm and rhyme can provide an additional tool for recalling concepts.
Language
Native-language expression can make complex subjects feel more relatable.
Creativity
Engineering and science can coexist with literature and artistic expression.
Where Science and Literature Meet
At first glance, Supriyo Sengupta’s major creative directions may appear completely different.
One is rooted in:
Mahisasura Mardini • Goddess Durga • Bengali Heritage • Radio • Music • Performance
The other is rooted in:
Electrical Engineering • Technical Education • Bengali Rhymes • Technorhyme
Yet both are connected by the same underlying philosophy:
Reinvention Through Communication
In one direction, he interprets cultural tradition through voice, music and presentation.
In another, he interprets technical knowledge through language and rhyme.
In both, the objective is similar—to make established knowledge travel through a new form of expression.
Author, Performer and Cultural Creator
Supriyo Sengupta’s creative identity extends far beyond his primary engineering profession.
His body of work brings together:
Technical Knowledge
Bengali Literary Expression
Educational Innovation
Radio Performance
Musical Interpretation
Cultural Communication
Each area strengthens another.
His engineering experience provides authenticity to his technical writing.
His literary interests give creativity to his educational concepts.
His radio experience strengthens his narration and performance.
His cultural engagement provides another dimension to his creative identity.
Together they create the multidisciplinary personality represented by KARIGORI KOBIYAL.
The Vision of KARIGORI KOBIYAL
The broader vision behind KARIGORI KOBIYAL can be understood through four creative pillars.
Innovation in Technical Education
Finding unconventional methods to present electrical and engineering concepts.
Technology Through Language
Connecting technical knowledge with Bengali linguistic expression.
Innovation in Cultural Presentation
Exploring new forms through which Bengali cultural traditions can reach broader audiences.
Preservation Through Reinvention
Recognizing that tradition can remain relevant when it is respectfully expressed through new creative forms.
Sengupta’s journey suggests that innovation does not always require moving away from tradition.
Sometimes innovation emerges when tradition and knowledge are given a new language through which they can continue to travel.
Professional Profile
Full Name: Supriyo Sengupta
Creative Identity: KARIGORI KOBIYAL
Nationality: Indian
Region: West Bengal, India
Profession: Electrical Engineer
Professional Experience: More than 32 Years
Additional Role: Drama Artist, AIR Kolkata (Akashvani)
Fields
Electrical Engineering • Education • Writing • Bengali Literature • Technical Communication • Creative Innovation • Radio Drama • Cultural Performance
Known For
“World’s First International Form of Bengali Radio Program ‘MAHISASURA MARDINI’”
“World’s First Techno Rhymes in Bengali on Basic Electrical”
KARIGORI SAHOJPATH — Creation of 501 Technorhymes
Record Recognition
Two India Book of Records recognitions, according to the information provided for his profile.
Award Recognition
Pride of India Award from SAIARD
Copyright I
Registration No.: L-75727/2018
Work: THE DEMON SLAYING GODDESS DURGA
Copyright II
Certificate No.: LD-20260183437
Application No.: LD-2440/2025-CO
Work: WORLD’S FIRST TECHNO RHYMES IN BENGALI ON BASIC ELECTRICAL
Copyright Authority
Copyright Office, Government of India
Creative Contributions
Technorhyme Development • Technical Writing • Script Editing • Musical Interpretation • Voice Recording • Cultural Presentation • Educational Innovation
Legacy and Continuing Journey
The journey of Supriyo Sengupta – KARIGORI KOBIYAL is difficult to define within a single profession.
He is an engineer whose work reaches into poetry.
An educator who experiments with rhythm.
An author who connects technical knowledge with Bengali language.
A radio artist who understands the expressive power of voice.
And a cultural creator who sees tradition as something capable of evolving without losing its identity.
His more than 32 years of Electrical Engineering experience form the technical foundation of his career.
His association with AIR Kolkata (Akashvani) represents his engagement with performance and storytelling.
His work connected with Mahisasura Mardini reflects his interest in Bengali cultural expression.
His first copyright, L-75727/2018, documents his ownership connected with “THE DEMON SLAYING GODDESS DURGA.”
His second copyright, Certificate No. LD-20260183437, documents the separate work “WORLD’S FIRST TECHNO RHYMES IN BENGALI ON BASIC ELECTRICAL.”
And through KARIGORI SAHOJPATH, featuring 501 Technorhymes, Sengupta has expanded his creative technical-education concept into a larger literary body of work.
Together, these dimensions form the evolving identity of KARIGORI KOBIYAL—an identity positioned at the intersection of engineering, education, language, literature, performance and cultural heritage.
His journey carries a distinctive message:
“Innovation does not always mean leaving tradition behind. Sometimes, true innovation lies in giving knowledge and tradition a new language through which they can travel further.”
And the philosophy of KARIGORI KOBIYAL may be expressed most simply as:
“Where Engineering Finds Rhythm, Technology Finds Poetry, and Tradition Finds a New Voice.”
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