INTRODUCTION

Located in eastern India along the Hoogly River, Kolkata (formerly known as Calcutta) is often referred to as the cultural capital of India. With the grand colonial architecture, rich traditions, beautiful music, and art, this city has a unique character. Home to esteemed artists like Rabindranath Tagore and Satyajit Ray, among others, the people of this city have a special appreciation for literature and cinema. The city also provides an unparalleled religious and cultural experience of Durga Puja each year.

“Dugga Dugga “echoes the united voices of all the ladies in the household as they move towards the pandals for pujo, wishing for a safe journey ahead in life. The sound of intense dhak beats, mixed with the aroma of dhunuchi lit in every house, park, or corner, fills the streets of Kolkata. Clad in the most beautiful attire, adorning the heaviest of jewels and thickest of bangles with sindoor and bindis on their temple, the women seem to walk a step ahead of the men today. After all, Durga Puja is the day of the Devi. Nothing but colour and festivity flow through the lanes in the nine days that Maa Durga stays in her basha (house) with her four children, only to be united with her husband Shiva on the tenth day (also known as Vijayadashami). But does it really end there? The massive grandeur and style of Durga Puja are not restricted to being just a nine-day festival. It resides in the hearts of the devotees who utter “Maa Dugga” at the smallest of hiccups in life. The resounding ullu (a high-pitched ululation sound created by striking both cheeks with the tongue, believed to be very auspicious and said to ward off any evil) echoes in the streets of the city long after the pujo is all wrapped up.

THE BIRTH OF DEVI DURGA

The legends speak of Goddess Durga as a creation of the three most powerful Devas (Gods) in the Hindu Pantheon – Brahma (the Creator), Vishnu (the Preserver), and Shiva (the Destroyer). The story of Durga’s birth is narrated in the Devi Bhagavatam. According to this sacred text, a son called Mahishasura was born to an Asura (demon). Born as an Asura, he saw the victory of Devas over Asuras in every fight. Annoyed by the constant defeat of the Asuras, Mahishasura decided to perform a tapasaya (a long penance) to please the Devas. Years went by. Impressed by Mahishasura’s dedication, Lord Brahma decided to grant him a boon. Elated at such an opportunity, Mahishasura asked Brahma to bless him such that neither a man nor a God could kill him. Thus, his death would lie only in the hands of a woman, which in his mind was impossible. Taking advantage of the boon, Mahishasura, along with his troop of Asuras, invaded Earth. He looted and killed with impunity. Soon, raging with power, he decided to take over heaven, believing he could rule all three realms. The battle between the Asuras and the Devas was ferocious. Mashishasura finally defeated Indra’s army in Amravati. Humiliated, the Devas met with the Tridevas in the hope of finding a solution.

Frustrated and angry over the Devas’ defeat, the Tridevas began to think. “Only a woman can kill Mahishasura,” said Lord Brahma, thinking about the boon he had given the Asura. But which woman in the three realms was strong enough to take on the battle? The Tridevas put their minds together and, using their powers, created energy that took the form of Devi Durga. Each of the Devas gave their weapon to the Devi to help her kill Mahishasura. Himavat, the God of the Himalaya, gave the Devi a Lion to mount on.

Initially, when Durga approached Amravati, Mahishasura laughed at the thought of fighting a woman. But as the war raged, Mahishasura realised that he was no match for the supreme powers embodied within the Devi. In the ten days of battle, the Asura kept changing forms to confuse her, but the Devi never missed her aim. As soon as the Asura changed to his original form, a buffalo, Durga swiftly beheaded him, thus freeing heaven and earth of the tyrant. Hence, Durga came to be known as Mahishasura Mardini (The Killer of Mahishasura). This last scene is replicated in many of the idols of the Devi worshipped during Durga Puja. In some idols, the stance of Maa Durga while killing the Asura is similar to that of Shiva performing the Tandava.

HISTORY OF THE PUJA

Celebrated in the month of Ashvin (September–October), Durga Puja (fondly referred to as Pujo) is one of the most awaited festivals in India, especially in West Bengal. Even as the weather starts to cool, the air is thick with the warmth radiated by the devotees.

The origins of the Devi as a deity are lost in the mists of time. Over time, we find mentions of the Goddess in various texts from the Vedic era, as well as in the Ramayana and the Mahabharata. Even much later, Krittivasi’s rendition of Ramayana, composed in the 15th century, speaks of Durga being worshipped with 108 blue lotuses and 108 sacred lamps by Lord Rama before his battle with Ravana. The day that Lord Rama defeated Ravana is celebrated as Dussehra, which falls on the tenth day (Dashami) of the Durga Puja.

In literature from around the 16th century, we find the first mentions of the grand celebration of Durga Puja by zamindars (landlords) in West Bengal. Different scripts name different rajas (kings) and zamindars who celebrated and financed the Durga Puja for the entire village. The Boendo Bariri Pujo (Puja in the house of zamindars) remains a custom in Bengal. In larger households, the idol is placed in the courtyards of their havelis for people to come and pray to the Goddess Durga.

One of the most famous institutions of Kolkata is the Belur Math. The headquarters of Ramakrishna Math and Mission, Belur Math, was founded by Swami Vivekananda. Established on the western bank of the Hoogly River, this Math hosts a very popular Durga Puja. The first Durga Puja here was held in 1901 by Swami Vivekananda himself. Initially, celebrated inside a small pandal, the Durga Puja at Belur Math now attracts thousands of people every year.

MAKING OF THE DEVI’S IDOL

The Devi has been visualised in different forms, yet the Puranas describe her as a formless, supreme power. In the Devi Purana, when the confrontation between Mahishasura and Maa Durga happens, she calls herself ‘Adi Parashakti’ or a ‘Formless Power.’ Nevertheless, our sacred texts and paintings describe the Devi’s mesmerising aura and beauty. Thus, the creation of the idol for Puja is much more than just an art of mixing sand and clay a few days before the Puja. It is the love and devotion that pour into the making of the supreme form of energy, taking a fierce appearance to ward off any evil. This form of art is what goes on, all year round, in Kumartuli!

Kumartuli is a neighbourhood in North Kolkata with a legacy of idol-making. Situated on the banks of the Hooghly River, the settlement of Kumartuli dates back to the 17th century. A few potters moved here to eke out a livelihood after the British East India Company acquired the land where they had lived. Slowly, from making clay vessels like other potters, the people who settled here graduated to idol-making. Since then, generation after generation, the Kumars (potters) have been moulding the idol of Maa for the Puja. Walking through the lanes of Kumartuli, you can almost feel the gaze of the idols lining both sides!

The process of making idols for Durga Puja is like a well-rehearsed orchestra, with the kumars (potters) as the key performers. There are various steps in the process, including material collection, moulding, painting, and decorating.

The collection of the materials is the first step to the long days that go into moulding them into the idol of the Devi.

The main components used to make the Durga idol include bamboo, straws, husk, and Puniya mati. The Puniya Mati is a mix of mud from the banks of the holy River Ganga, cow dung, cow urine, and mud from the brothel, also called ‘Nishiddho pallis’ or forbidden territories. This age-old ritual of using mud from the brothels has many interpretations. It is said that when a man enters the forbidden territories to sin, he leaves his virtues at the doorstep. Thus, this mud is said to be pure and virtuous. Another perspective, based on the Vedas, is that women fall under nine classes known as the Navkanyas, who are to be worshipped along with Maa Durga during the Durga Puja. The Nati (dancer) as well as the Vaishya (prostitute) are among the Navkanyas. Thus, using soil from their doorsteps is a sign of respect during the Puja. Whatever the reasons, the centuries-old ritual is still followed without question.

Idol-making begins with using bamboo sticks to give the idol a definite shape.

Next, straws and husks are stuffed around the bamboo sticks to give the body a basic shape.

Next comes the idol’s claying, which finally defines the physical form of the Adi Parashakti.

Clay mixed with husk is layered one on top of the other to give it a smooth, strong form.

The face of Maa Durga is the most intricate part of the idol. Thus, the head is moulded separately and affixed to the torso in line with the artisan’s overall vision.

After the idol has dried in the sun, it is painted in the brightest of colours!

On the day of Mahalaya – the day the Devi is invited to descend to earth – the artisans paint the eyes on the idol of Durga. This final touch is given to the Devi through a ritual known as ChoukhuDaan.

When Durga comes home, she doesn’t come alone. Durga is believed to come with her four children in tow – Ganesh, Kartikey, Lakshmi, and Saraswati - who are placed around her. While some believe in this, others have reasons to disagree. Some researchers on Indian culture argue that the idols next to her are not her children but rather her attributes given physical form. Nonetheless, the idols of these four gods and goddesses are also created similarly to Durga’s and placed alongside her. Another important idol is that of the Asura, Mahishasura, with a frightened expression as the Devi fiercely gazes down at him while her weapons rest in her hands.

Commonly, Maa Durga is seen with ten hands, but Mahalakshmi (a form of Durga) is also believed to have eighteen hands according to the Devi Bhagavatam Purana. Each hand of Maa Durga holds the objects given to her by the Devas during her creation. All of these objects are worshipped during the Pujo Aarti.

PANDALS

The pandals are constructed with huge bamboo poles tied together and then draped over with cloth. At one end of the pandal is the stage where Maa Durga, along with the other idols, is placed, while her devotees fill the rest of the space.

In earlier days, wealthy families used to have pujo celebrated in their Havelis. The central courtyard was cleaned and decorated for the Devi’s idol to be placed. People from all around would gather in the house to offer their prayers to the Goddess. Over time, the pandals grew, and now they are set up in colonies, parks, or even on roads during the festive season. Pandal hopping (visiting one pandal after another) is the norm now. The beautifully dressed crowd moves from one pandal to the next, meeting friends and family while gazing at the Devi placed in each one.

RITUALS

With energy buzzing in the air, the city of Kolkata lights up for the ten days of the Durga Puja. With the sound of dhak and shankh (conch shell) along with the smell of freshly cooked bhog in the air, every household celebrates each day with boundless energy. Each year, the arrival of the panchang (calendar with dates and times for Puja) brings home the blissful thought of the festival on its way.

Mahalaya marks the end of the Pitru Paksha Shraddha (the 16 days of paying homage to our ancestors) and the beginning of the auspicious Durga Puja. This day is believed to be the beginning of Devi’s journey towards her maternal home. In the morning, one can hear the unified sound of the Chandi path coming from the radios and televisions across the Bengali colonies.

The sixth day, or Shashti, marks the entry of Devi Maa into her abode. In all her glory, Maa Durga leads a procession into her pandal, along with God Ganesh, God Kartikey, Goddess Lakshmi, and Goddess Saraswati. Decorated with glistening jewellery, a bright saree, and sindoor (vermillion), the Devi is accompanied by the dhakis (players of the dhak – a drum-like instrument played using two wooden sticks). The sound of the dhak makes the heart race and adds a frenzy to the procession. In the evening, Bodon takes place. Bodon is the awakening of Goddess Durga for the seventh, eighth, and ninth days of pujo. The unveiling of Devi’s face takes place during Bodon along with a ceremonial Puja.

The ceremonies of the seventh day, or Saptami, begin before dawn. The rituals for the day start with the pre-dawn bath of ‘Kola bau’ (Banana Bride) or ‘Nabapatrika snan’. Believed to be the wife of Ganesha, Kola Bau is also interpreted as a form of Goddess Durga herself. As Durga is known to many as the Goddess of Agriculture, Kola bau is represented by the nine natural forms of Goddess Durga. When all of them are tied together, the Banana leaf looks like the ghunghat (veil) of a newly married bride, hiding her face shyly. Kola bau is then bathed in the river as the priest chants mantras. A new saree is draped around her, and she is placed on the right of Ganesh.

The Eighth-day - Ashtami or Maha Durgasthami is the day of colours, show, and grandeur. Dressed in newly purchased kurtas and sarees, accompanied by matching sets of jewellery, people head towards the pandal to perform the pujo rituals for the day. The crowd on the road grows thicker as the day moves towards the Sondhi aarti.

On this day, nine small pots with flags of different colours, each for the different shaktis (energies), are installed, and the Nine shaktis are invoked and worshipped. At the pandals, people move closer to the Durga idol to offer anjali. Here, flower petals along with bel paata (bel leaves) are distributed among the devotees, which they hold onto while reciting mantras with the priest. The flowers are then collected and offered at the Devi’s feet. The Anjoli is part of the Saptami, Ashtami, and Navami rituals.

A large crowd gathers for the Sandhi aarti at Maha Ashtami. The last 24 minutes of Ashtami and the first 24 minutes of Navami (ninth-day) are considered as Sondhi (Sandhiya) or a sacred cusp. In this Puja, the Devi is worshipped in her Chandiavatar. The Markandeya Purana, recited during the Puja, tells the story of how Durga, during her battle with Mahishasura, took the form of Chandi to kill the two Asuras, Chando and Mundo. 108 lamps are lit as customary practice in the Sondhi aarti, while the dhaki plays the dhak, and people dance with joy to the sound of the aarti. In these moments, you can feel yourself completely absorbed by the surroundings. People clap and dance as the tempo of the aarti and dhaki reaches a crescendo. And then, as the Arti is completed, the silence takes over. The Puja ends with the distribution of bhog.

The ninth day – Navami proceeds with a series of pujas. Among the main rituals are Boli and Homa. Boli is the sacrificial tradition to appease the Goddess. Now, it is mostly done with a pumpkin or sugarcane. Homa is a fire sacrifice that combines Vedic and tantric traditions. The day ends with the aarti along with the dhunuchi-nach (a Bengali incense burner used for the ritualised worship dance).

The tenth day – Dashami is known as the Bijoya Dashami (Victory on the tenth day). On this day, the Devi begins her journey back home. One of the most interesting parts of the day lies in the Sindoor khela. Here, married women offer baran (farewell) in the form of betel leaf, sweets and vermillion to the Devi. After this, the ladies apply sindoor at each other’s hair partings and smear the rest on each other’s faces. As sindoor is a mark of a married woman, this ritual is believed to be a prayer to the Devi for the health and peace of their families as well as spouses. Dressed in laal-paar-saada-sarees (white saree with crimson border) and covered in red vermillion, the joy is evident from the faces of the women.

Followed by the Sindoor khela, the Bisorjon (immersion) of the Devi’s idol is the concluding ceremony of the DurgPujaja. For some, it is an emotional moment to see Maa leaving. The idols of Maa Durga and the Nabapatrika are immersed in the river, surrounded by huge crowds of devotees who have come to see them off. The water (Shanti Jal) collected from the immersion spot is sprinkled on the devotees, leaving behind the calm left by Maa. Teary-eyed, people return home with the Devi housed in their hearts.

LIVING THE PUJO

The experience of Durga Puja cannot be expressed in words. It is a feeling that people live through. The celebration they have been waiting for throughout the year. Several cultural elements, such as theatre, dance, and art competitions, provide an intriguing visual delight at the Puja pandal. Decorated thematically, the pandals showcase a variety of materials. Thus, the pujo not only attracts the devotees of Maa but also admirers of cultural art forms.

You can feel all your senses awake as soon as you step into the lanes leading to any pandal, and before you know it, you’re swaying to the sound of the dhak, dancing with the dhunuchi and revelling in the smells of the freshly cooked bhog as you stare at the bright shades of red around you! The essence of Durga Puja lies in the pure bliss felt during these nine days. Families reunite, Dida’s (grandmothers) meet their grandchildren, friends gossip and enjoy a huge variety of food. All this under the innumerable pandals spread across cities, with the Devi keeping a watchful eye over all.