Durga Puja

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. As a home to esteemed artists like Rabindranath Tagore and Satyajit Ray, among others, the people of this city have a special appreciation for literature as well as cinema.The city also provides an unparalleled religious and cultural experience of Durga  puja each year.

“Dugga Dugga “echo 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 beats coming from the dhak mixed with the aroma of the dhunuchi lit in every house, park or corner fills the streets of Kolkata. Clad in the most beautiful attires, 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 pujo 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 is not restricted to being just a nine-day festival. It houses itself 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 Bhagvatam. According to this sacred text, once 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 the Earth. He looted and killed with impunity. Soon, raging with power, he decided to take over heaven believing he could be the ruler of all the three realms. The battle between the Asuras and the Devas was ferocious. Mashishasura finally defeated the army of Indra in Amravati. Humiliated, the Devas met with theTridevas, hoping to find a solution.

Frustrated and angry at the defeat of the Devas, the Tridevas started 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 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 in the Durga puja. In some idols the stance of Maa Durga while killing the Asura is similar to that of Shiva during 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 though the weather starts becoming cooler, 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 and also in the Ramayana and 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 point to different rajas (kings) and zamindars who celebrated and financed the Durga puja for the whole village. The Boendo Bariri Pujo (Puja in the house of zamindars) still remains a custom in Bengal. The bigger households, place the idol in their 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 Vivekanand. 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 time and again been visualised in different forms, yet the Puranas speak of 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 as well as paintings describe the mesmerizing aura and beauty of the Devi. Thus, the creation of the idol for puja is much more than just an art of mixing sand and clay a few days prior to the puja. It is the love and devotion that pours in 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 round the year in Kumartuli!

Kumartuli is a neighbourhood in North Kolkata which has 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 for themselves after the British East India company acquired the land where they used to stay. Slowly, from making clay vessels like other potters, the people who settled here graduated into idol making; and 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 where the kumars(potters) are the key performers.There are various steps in the 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 for making 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, the use of the soil from their doorsteps is a sign of respect given to them during the Puja. Whatever the reasons might be, the centuries old ritual is still followed without any questioning.

The idol making begins with the use of bamboo sticks to give a definite shape to the idol.

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

Next up is the claying of the idol which finally defines the physical form of the Adi Parashakti.

Clay mixed with husk is layered one over the other to give it a smooth and strong form.

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

After the idol is 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 in the form of a ritual known as ChoukhuDaan.

The final step before the Devi proceeds towards the pandals is to dress up Maa in a gorgeous saree and intricate jewellery and garlands. The pieces of jewellery and garlands are made using materials like paper, glitter, bead and bright threads. Sometimes the pieces ofjewellery are made in clay itself while moulding the idol. These are then painted and decorated.

When Durga comes home, she doesn’t come alone. Durga is believed to come along 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 her attributes that are given a physical form. Nonetheless, the idols of these four gods and goddesses are also created in a similar manner to that of Durga and placed by her sides. 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 DeviBhagvatam 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 aarti that takes place in the pujo.

PANDALS

Commonly Maa Durga is seen with ten hands, but Mahalakshmi (a form of Durga) is also believed to have eighteen hands according to the DeviBhagvatam 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 aarti that takes place in the pujo.

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 the rest of the space is filled by her devotees.

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

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 date and time for puja) brings home the blissful thought of the festival on its way.

Mahalaya marks the end of the Pitru Paksha Shraddha (the 16-day period 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 Chandi path coming from the radios or televisions across the Bengali colonies.

The sixth day or Shashti marks the entry of Devi Maa into her abode. In all glory, Maa Durga leads a procession into her pandal along with God Ganesh, God Kartikey, Goddess Lakshmi and Goddess Saraswati. Decorated with glistening jewellery, bright saree and sindoor (vermillion), the Devi is accompanied by the dhak is (players of 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 day 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 start 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 be the Goddess of agriculture to many, Kola bau is represented by the nine natural plant forms of Goddess Durga. When all of them are tied together, the Banana leaf looks the ghunghat (veil) of a newly married bride, hiding her face shyly. Kola bau is then bathed in the river as the priest’s chant 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 gets thicker and 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. In the Pandals, people move closer to the Durga idol to give anjoli. 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 feet of the Devi. The Anjoli is a part of the Saptami, Ashtami as well as the Navami rituals.

After this, the Kumari Puja takes place where young, unmarried girls, who have not yet reached puberty are worshipped as a form of the Devi. Depending on the age of the girls (from one to sixteen), they are worshipped in different forms of Durga. Flowers, sweets and Dakshina (gift) are presented as offerings to the young Kumari looking like a living Goddess.

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) is considered as Sondhi (Sandhiya) or a sacred cusp. In this Puja, the Devi is worshipped in her Chandiavatar. The Markandeya Purana, which is 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 play the dhak and people dance with joy to the sound of the aarti. In these moments you can feel yourself being soaked completely into the surroundings. People clap and dance as the tempo of the aarti and dhaki reach 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 which comes from the combination of Vedic as well as 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 in the parting of each other's hair and smear the rest of it 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, Bisorjon(immersion) of the idol of the Devi is the concluding ceremony to the Durga puja. For some, it is an emotional moment to see Maa leaving. The idol of Maa Durga as well as the Nabapatrikaare immersed in the river surrounded by the huge crowds of devotees that have come to see them off. The water (Shanti Jal) collected from the immersion spot is sprinkled on the devotees embracing the calm left behind 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 wait for throughout the year. Several cultural elements like theatre, dance as well as art competitions provide an intriguing visual delight in the puja pandal. Decorated thematically, the pandals exhibit fine craftsmanship in various materials as well. 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 emotions of pure bliss during these nine days. Families reunite, dida’s(grandmothers) meet their grandchildren, friends gossip and enjoy huge varieties of food. All this under the innumerable pandals spread across cities with the Devi keeping a watchful eye over all.