By Pradip Dutta Roy
Durga Puja is the greatest festival of the Bengali people. In the past, the enthusiasm surrounding this festival was far more intense than it is today. In earlier times, the festival was celebrated with a spiritual mindset devoted to the worship of Goddess Durga. Those working abroad would return home during the Puja holidays. They would enjoy the festival fully, meeting not just family but also acquaintances in their village or town.
The involvement of women in these times was remarkable. From the sixth to the tenth day of the festival, they were tirelessly engaged in various rituals and ceremonies. Their affectionate devotion during the worship of Goddess Durga added a special sentiment to the celebrations. The arrival of the Goddess was met with the same joy as a daughter visiting her parental home. Just as one feels joy when relatives visit, these days of Durga Puja were filled with happiness. Almost every Puja pandal (temporary structure for worship) was arranged according to scriptural guidelines, maintaining a pure and devotional atmosphere. People prayed sincerely for the Goddess’s blessings, hoping to lead a prosperous and fulfilling life. There was no place for unruliness in the pandals, and the generation then was highly disciplined. People from all walks of life—young, old, and everyone in between—participated in the festivities with equal joy.
Pandals were decorated using natural materials like banana trees and mango leaves, sometimes supplemented with colored paper to enhance beauty. Competitions or unhealthy rivalries over decorations were absent. This culture of devotion and celebration prevailed not only in household Pujas but also in community “barowari” Pujas (organized collectively by the community). During Puja, people genuinely enjoyed social interactions, embracing one another and exchanging greetings during rituals such as Narayan Puja after the immersion of the idols on the tenth day (Vijaya Dashami). These greetings and social interactions often lasted for a week, creating cherished memories.
Over time, the vibrancy from the evening of the sixth day to the immersion on the tenth has gradually diminished. While buying new clothes for Puja continues, the form of this practice has changed. Clothes are increasingly purchased online from multinational brands rather than local shops, and this trend continues to grow.
The Essential Role of the Dhak
In traditional Durga Puja, the dhak (a type of drum) was indispensable. Its beat signaled the start of the festival. Selecting a skilled dhaki (drummer) was considered one of the most challenging tasks, often sparking competition among barowari Puja committees. Those proficient in rhythm would even learn to play the dhak themselves. Audiences appreciated the performance, rewarding dhakis with money pinned to their dhotis. A dhak was always adorned with feathers, and drummers played while dancing. Sometimes evening aarti (ritual worship with light) competitions were held, showcasing the dhakis’ skill. During immersion on the tenth day, the dhakis, too, felt a sense of sorrow in bidding farewell to the Goddess and began counting the days until her return the following year.
Durga Puja and Literature & Music
Durga Puja once played a significant role in the promotion of literature and culture. Publishing houses would release special Puja editions, and newspapers issued separate Puja numbers. Authors were approached months in advance for contributions. These editions reached shops well before the festival, and readers eagerly collected them, often reading multiple copies during the Puja days. Today, although special Puja editions are still published, readership has drastically declined. The older generation still treasures these editions, while younger people show little interest.
In the past, records of devotional or modern songs were produced during Puja by renowned artists under labels like Gramophone India. While Gramophone has become obsolete, and older records have disappeared, recording new songs continues digitally in modern studios. Some pandals still play catchy or modern songs, despite efforts by cultural activists to preserve traditional music and rituals. This decline in cultural authenticity is often viewed as concerning, prompting appeals from social and literary organizations to maintain order and tradition during the festival. If all Puja committees were committed to cultural preservation, such appeals would be unnecessary.
Modern Influences and Challenges
The influence of modernity on Puja celebrations is inevitable, affecting every aspect of daily life. Barowari Pujas, for instance, have grown in number and transformed in presentation. Idols are no longer confined to traditional forms; some pandals combine modern styles with classical idols to comply with religious norms. Competition now extends beyond idol-making to elaborate pandal decorations and lighting, often prioritizing spectacle over devotion. Large crowds flock to view these extravagant displays, but the spiritual focus is often lost. The pandal becomes a “selfie spot,” with visitors engrossed in taking photos rather than engaging in worship, resembling a fashion parade. Adherence to traditional guidelines is minimal, and the festival sometimes takes on a carnival-like atmosphere.
A major contemporary concern is the excessive use of DJs during immersion processions. Each Puja committee employs its own DJ, creating an overwhelming cacophony that can be hazardous, especially for those with heart conditions. Despite widespread disapproval, committees rarely curb this practice, and authorities take little action. Processions often begin after sunset to showcase the lights accompanying DJs, increasing the risk of accidents. A few committees maintain decorum and follow traditional customs, but these are exceptions.
Conclusion
Although the enthusiasm for Puja remains, the overwhelming emphasis on external display has eroded the depth of inner devotion. Everything is present in the pandals today—yet what is missing is the sincere bhakti (devotion) that once defined the festival. The primary goal for devout individuals is to receive the Goddess’s blessings. If the focus shifts to mere public display, even for believers, the festival loses its meaning. Society must reflect on the decline in religious and cultural values during Durga Puja and prevent the emergence of distorted attitudes, lest this lead to further cultural deterioration. The festival, centered on Goddess worship, also fosters social harmony and joy, which should be preserved through the conscientious participation of everyone.
(Author’s personal opinion)
(The author is a former student leader and a lawyer at the Gauhati High Court)