Over the centuries, Durga Puja has evolved from a private affair of Zamindars to a mass celebration on a global scale. It is now much more than just a religious festival - it’s a cultural spectacle, writes GYANESHWAR DAYAL
Come September and everyone is busy making plans for the ‘Puja’, a festival dedicated to Goddess Durga, in eastern India. Of course it is Kolkata which is the epicentre of all celebrations. Over the years, Durga Puja has evolved into a pan-Indian and global festival. With unmatched fervour and devotion, people across the world now come together to honour the goddess, celebrating her victory and divine power.
Durga Puja, one of the most revered and vibrant festivals in India, particularly in West Bengal, celebrates the victory of the goddess Durga over the demon Mahishasura, symbolising the triumph of good over evil. Rooted in Hindu mythology, the festival commemorates the goddess as the embodiment of Shakti, or divine feminine power. Over the years, Durga Puja has transformed from a primarily religious observance into a grand socio-cultural extravaganza that has few parallels.
Durga Puja marks the victory of Goddess Durga, a fierce yet compassionate deity, over Mahishasura, who threatened to disrupt the balance of the universe. According to legend, Mahishasura received a boon that no man could defeat him. As he unleashed terror, the gods united to create Durga, a divine warrior goddess, who fought and eventually killed Mahishasura. The festival celebrates Durga's strength, resilience, and protective nature, while also invoking blessings for peace, prosperity, and protection against evil forces. That is mythology for one and all but it is a metaphor which might have fewer takers but nevertheless the message is crystal.
The metaphor and hidden message of Goddess Durga lie in her embodiment of divine feminine power, resilience, and protection. As a multi-armed warrior goddess, Durga symbolises the shakti (cosmic energy) within all beings, representing the strength needed to overcome life’s obstacles. Each weapon she holds signifies various tools required to defeat inner and outer evils like fear, ignorance, pride and injustice.
Metaphorically, Durga's battle with Mahishasura, the demon king, is a reflection of the ongoing struggle between good and evil, not just in the cosmic realm but within individuals and society at large. Her victory underscores that evil - be it oppression, greed or violence - can only be defeated through righteous action, courage and the collective strength of the divine and human will.
It is the triumph of dharma (righteousness) over adharma (immorality), a reminder that good eventually prevails even in the face of insurmountable odds. Furthermore, Durga, as a motherly figure, embodies compassion and protection, highlighting the balance between fierceness and nurturing, teaching that strength does not negate love and compassion. Goddess Durga conveys the message of empowerment, particularly for women, demonstrating that power and authority lie in embracing one's true self and purpose. In a broader sense, Durga’s story speaks to the need for balance between action and patience, destruction and creation, power and empathy.
Durga Puja is an elaborate and colourful festival, typically spanning five days - Shashthi, Saptami, Ashtami, Navami and Vijayadashami. Each day is marked by rituals, prayers, cultural events and, of course, the unveiling of the idol of Goddess Durga in pandals (temporary, artistically designed structures). The celebration begins with the ritual of Bodhon, or the welcoming of the goddess, on the sixth day.
From Zamindar Puja to Public Celebrations
Historically, Durga Puja was a private affair, celebrated within the homes of wealthy zamindar (landlord) families. However, during the late 18th century, it began to shift towards community-based celebrations. In Kolkata, the first publicly organised Durga Puja, known as the Baroyari Puja, was held in 1790, and since then, the practice has spread across Bengal and beyond.
The first major move toward a community-based Durga Puja or Barowari Puja, took place in 1790 in Hooghly district, near Kolkata. A group of twelve friends organised this puja to make the festival more inclusive and community-oriented, free from the exclusivity of the zamindar class. This concept of collective worship was revolutionary at the time and set the foundation for public celebrations of the festival. The term "Barowari" comes from baro (twelve) and yāri (friends), representing this group’s efforts to democratise Durga Puja.
Raja Nabakrishna Deb, an influential zamindar of the Shobhabazar Rajbari in Kolkata, played a critical role in popularising Durga Puja beyond the private confines of aristocratic families. In 1757, following the British victory at the Battle of Plassey, Nabakrishna Deb invited British officers, including Robert Clive, to his Durga Puja celebration, creating a hybrid of Indian tradition and colonial influence.
In the late 19th century, Swami Vivekananda and the Ramakrishna Mission also played a pivotal role in giving Durga Puja a broader, more public dimension. Through the Ramakrishna Mission, Durga Puja became associated with nationalistic and cultural identity, with an emphasis on social service and community welfare. Swami Vivekananda himself performed Durga Puja at Belur Math in 1901, marking the festival as both a spiritual and community event.
Pandal Hopping
The centrepiece of the festivities is the pandals, where elaborate idols of Durga, along with her children - Lakshmi, Saraswati, Kartikeya and Ganesha - are displayed. These pandals often feature intricate themes that range from mythological tales to contemporary social issues.
Durga Puja pandals have evolved far beyond simple religious displays, becoming powerful platforms for artistic expression and social commentary. Every year, these temporary structures turn into creative masterpieces that reflect not just devotion to Goddess Durga but also highlight contemporary issues ranging from politics to global events and pressing social concerns.
Some pandals artistically engage with local and national politics, offering thought-provoking critiques or support for political movements. For example, some recent themes have explored elections, portraying the goddess battling forces of greed and dishonesty, metaphorically addressing societal upheaval.
Several pandals focus on international matters, such as climate change, world peace or refugee crises. They utilise innovative materials and designs to depict how these global challenges affect humanity. For instance, some recent installations have depicted the Amazon rainforest fires, the pandemic or refugee struggles, merging Durga’s fight against evil with the global battle for environmental protection or humanitarian aid.
Many pandals are now powerful vehicles for raising awareness about social issues. They have addressed women’s rights, child labour, education and even mental health. Some pandals creatively use Durga’s weapons to symbolise the tools needed to fight social evils like gender inequality or poverty, aligning the goddess’s mythology with contemporary societal struggles. Themes such as women empowerment, gender justice and communal harmony are depicted with a blend of artistry and symbolism.
In recent years, with growing awareness about environmental conservation, eco-friendly pandals have gained popularity. Artists use biodegradable materials like clay, bamboo and jute to create these installations, while themes often focus on sustainability and environmental consciousness. These efforts not only contribute to reducing pollution during idol immersion but also send a strong message about the urgent need to protect nature.
These innovative pandals transform Durga Puja into not just a religious celebration but a cultural forum where tradition and modernity intersect, sparking dialogue on critical societal and global issues. Through artistry, they encourage introspection, inspire change, and bring communities together in shared reflection.
Rituals and Prayers
Devotees perform elaborate rituals, such as the pushpanjali (flower offerings) and aarti (lamp offerings), invoking the goddess's blessings. On Ashtami, the main day of the festival, the Sandhi Puja, symbolising the transition from Ashtami to Navami, is performed with great fervour. Kumari Puja, where young girls are worshipped as manifestations of the goddess, is also a key ritual.
Cultural Performances and Feasting
Beyond its religious aspect, Durga Puja is also a cultural celebration. Communities organise music and dance performances, theatrical productions and art exhibitions. The festival is a time for feasting, with special foods like bhog (a sacred offering) and traditional Bengali sweets such as sandesh, rasgulla, and mishti doi adding to the festive charm. While Durga Puja retains its core religious significance, the festival has undergone significant transformations over the centuries, evolving into a social, artistic, and commercial spectacle.
Globalisation of Durga Puja
Today, Durga Puja is not confined to Bengal. Thanks to the global Bengali diaspora, the festival is celebrated with grandeur in cities like London, New York and Dubai. Modern technology, social media and live streaming of rituals have expanded the reach of Durga Puja, allowing devotees from across the globe to participate.
Durga Puja has also seen commercialisation, with sponsorships and advertisements driving the festival economy. The shopping, food, and tourism sectors receive a massive boost during this time, as people from across the country and the world flock to experience the grandeur of the celebration. As Durga Puja Continues to transform, it serves as a powerful reminder of the enduring strength of faith, community and creativity. In today's society, with the increasing disregard for women's dignity, the timeless message of Goddess Durga appears to be lost in the din. People seem more focused on indulging in the festive revelry rather than embracing the deeper significance of Durga's empowerment. Yet, this is the fate that most festivals eventually meet - a shift from reflection to celebration.
PHOTO : PANKAJ KUMAR
