Mahalaya To Immersion: The Essence Of Durga Puja In Bengal

While the rest of India celebrates Navratri, Bengal gets busy relishing its grandest event. Durga Puja has transcended all socio-economic barriers to become the greatest celebration for Bengalis living all over the world. People belonging to various religions and cultural backgrounds take part in the six-day-long event. It celebrates the victory of the goddess Durga over the evil demon buffalo king Mahishasura. The mesmerizing history; cultural distinctiveness and evolution of Durga Puja throughout the ages are the justified reasons that led to the festival being included in the Intangible Cultural Heritage of Humanity list by UNESCO.

MAHALAYA
The term Mahalaya itself brings forth a rush of emotions in the hearts of Bengalis; it signals the arrival of Durga Puja within a few days. The day of Mahalaya marks the end of Pitri Paksha and the onset of Devi Paksha.

Mahisasuramardini is a Bengali radio program that has been broadcast every year since 1931 at the crack of dawn on the day of Mahalaya. It has had an extraordinary attachment to the Bengali mass for generations. The ninety-minute musical extravaganza is a melodious combination of hymns, narration, and devotional songs describing the creation of Goddess Durga to kill the evil Mahishasur. After eighty-seven years, this composition still captivates people from all walks of life, transcending age, gender, and beliefs, maintaining its enduring charm. Each year, individuals faithfully embrace the tradition of rising before sunrise to listen to Mahishasuramardini on the radio, a ritual now inseparable from Mahalaya.

The Mahishasurmardini composition is indeed a captivating blend of talents. Birendra Krishna Bhadra's narration and Chandipath, along with the medley of Bengali devotional songs by renowned artists of the past, contribute to its richness. The script by Bani Kumar and the musical arrangement by Pankaj Mullick have played a crucial role in making this composition a timeless classic. Initially, the Mahishasuramardini rendition used to be a live program every Mahalaya, with artists reaching the radio station past midnight for the performance. The studio was adorned with flowers, and incense sticks filled the air with a pleasant aroma. All artists were requested to arrive in freshly washed clothes after taking a shower. Women artists wore white sarees with red borders, while men wore dhoti-kurtas. This created a sacred atmosphere, which effortlessly transferred to the performance. The era of live performances came to a close in 1966 after the recital was recorded. This recording immortalized the creation, and it's the same version that is now played everywhere.

Birendra Krishna Bhadra

PREPARATION
Several months prior to the grand celebration of Durga Puja, skilled artisans embark on the creation of the Goddess Durga's idols using clay, straw, and bamboo. The clay is collected primarily from the river Hooghly. When the idol of Goddess Durga is prepared, four things are very important. These include mud from the banks of the Ganga, cow dung, cow urine and soil from outside brothels without which the idol is considered incomplete. According to traditional beliefs, the soil should be begged and received from a sex worker's hand as a gift and blessing since it is known as the sacred soil and was earlier collected by the priest. However, in modern times, the responsibility of collecting this sacred soil falls upon the artisan crafting the idol, often months before the festivities commence. These materials are meticulously shaped and sculpted to embody the divine visage of the Goddess herself. It is on the auspicious day of Mahalaya that the eyes of these idols receive their intricate and sacred paintwork.

Following this, the sculptures are gracefully adorned with exquisite fabrics and adorned with ornate jewellery. Once the transformation is complete, the statues are carefully transported from the artisans' workshops to the elaborate and vibrant Pandals, where they will be revered during the Durga Puja festival.

Pandals are temporary structures skilfully crafted by artists to house and worship the idols. These pandals are magnificent works of art, drawing large crowds of admirers. Students from art colleges and universities actively contribute to the creation of these pandals and the exquisite idols within. At times, these pandals are adorned with diverse themes, each dedicated to a particular subject that often conveys various social and moral messages. These themes can range from issues such as human trafficking, women empowerment, global peace, social injustice, equality, poverty, and more.

During Durga Puja, one can readily spot pandals in various corners of the city, as people in neighbourhoods come together to organize this grand event. These pandals serve as focal points for people to come together, wholeheartedly engaging in conversations, providing them with a respite from their year-round bustling lives. As a mark of reverence to the celebration, offices, schools, and institutions typically remain closed for nearly a week. Families and loved ones gather in Bengali households to revel in the Puja festivities together.

Numerous singers and artists produce special albums featuring songs related to the Durga Puja celebration. Several publishing houses release Puja-themed magazines that include prose and poems contributed by renowned Bengal authors and poets.

HISTORY
Durga Puja was a major private social event organized by the royalty and wealthy families.  They seized the opportunity to socialize with the British, establish connections with the ruling class, and seek their patronage. Consequently, the prominence of Durga Puja grew significantly during the era of British rule in various regions of Bengal.

Durga idol in dazzling traditional attire was kept in 'Thakur Dalan' (open hall of worship) in a huge courtyard. These pujas served as a vital platform for the aristocrats to flaunt their influence and affluence, often evolving into a stage for intense rivalries.

Since the late 18th century, Durga Puja was a mark of status for the Bengali mercantile class before gradually becoming integral to the nationalism project to evoke the spirit of patriotic awakening among the Bengali people. In 1919, Bagbazar broke free from tradition by organizing the city's first Puja, arranged collectively by the masses. This form of Puja was known as 'Barowari,' meaning 'organized by 12 friends' at the time. This significant shift marked the end of the feudal landlords' dominance over the festival. During that time Durga Puja was employed as a symbol of Swadeshi, serving as a means to disseminate anti-British sentiments and utilizing the festival as a platform to stage anti-British protests.

Bagbazar Sarbojanin Durgotsav

Netaji Subhas Chandra Bose played a direct role in both the Bagbazar Sarbojanin Durgotsav and Simla Bayam Samity Sarbojanin Durga Puja. These two community pujas served as fronts for Swadeshi initiatives and offered refuge to freedom fighters who had to operate in secrecy during British rule. In the early days, the idols of Simla Bayam Samity were adorned in Khadi garments, and the people affectionately called them 'Swadeshi Thakur.' As an integral part of the festivities, they went beyond tradition, organizing popular folk art displays and exhibitions, aimed at raising awareness among the masses on various socio-political issues.

SPECIALITY
The Bengali calendar encompasses numerous festivals over the course of a year. However, Durga Puja holds a unique and cherished position not only in the hearts of Bengalis but also in the memories of those who have experienced it at least once in their lifetime. One compelling reason for this enduring appeal is the profound sense of freedom and unity it inspires among people, bringing together individuals from all walks of life. 

The city of Kolkata transforms into the epicentre of the celebration. The distinctive vibrancy of the city during Puja is palpable. The scent of flowers and incense wafts through the air, while at night, the streets are aglow with lights. Even the narrowest alleyways bustle with enthusiasts and the quietest corners come alive with illumination and charm. The enchanting rhythms of the Dhak (a huge membranophone instrument from India and Bangladesh) fill the air near the pandals, rejuvenating the spirits of all who hear them.

Dhak players journey from the rural corners of Bengal to cities, performing at the pandals as a means of earning their livelihood. Millions of individuals rely on the occasion of Durga Puja as a vital source of their income.

On the final day of the celebration, Bengali women elegantly attire themselves in traditional white sarees adorned with red borders. They bid a fond farewell to Goddess Durga by offering her sweets and come together to play with vermilion. Following these rituals, the idol is gently carried out from the pandal and immersed in the sacred waters of the river Ganga or a nearby water body, symbolizing the conclusion of the festivities.

Durga Puja commemorates the triumph of Goddess Durga over the demon bull king Mahisasur, symbolizing the eternal cycle of good prevailing over evil. This festival not only ushers joy and prosperity into the lives of Bengalis but also kindles the hope that Goddess Durga will return to their land each year, eagerly anticipated by the people.