To start my narrative, by waxing poetic about Durga Puja memories might seem predictable. Yet, for Guwahati natives, these sentiments require no explanation. This write-up serves both as a personal memoir and a general tribute, inviting individuals from Guwahati to reflect upon and relive the cherished moments of their youth, now tinged with nostalgia.
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My experiences of Durga Puja in the late 1980s and early 1990s, a period I fondly refer to as my childhood's 'wonder years,' remain an invaluable collection of memories that I proudly treasure and occasionally revisit with warmth. The celebratory mood officially began on September 17 with the observance of Vishwakarma Puja, heralding the approach of Durga Puja. Lately though, I have witnessed a change in Guwahati and Assam, where Ganesh Chaturthi celebrations usher in the festive mood, captivating devotees and bystanders alike.
During this period, Guwahati schools conventionally remain closed for 10 days, recommencing post-Lakshmi Puja, which falls roughly four days (tithi-based) after 'Dashami', exhibiting a unique aspect of Eastern India, contrasting with Lakshmi Puja practices during Diwali in Northern India.During pre-puja travel, citywide observations reveal the construction of deity idols in prominent localities such as Panbazaar, Lachitnagar, and Maligaon. Few select pandals use to undertake idol shaping of Maa Durga within their premises. Nowadays, due to increased demand, a full set of Durga Puja idols is seen to be crafted in approximately a month with a team of three to four skilled workers. Interestingly, the workforce comprised primarily Kolkata-based artisans, supplemented by local assistants who acquired hands-on experience.This tradition of idol-making has been meticulously preserved and passed down through generations, reflecting the region's rich cultural legacy. Having witnessed the preparation of Durga Puja idols over the decades, I have observed that those in Guwahati have retained significant cultural and spiritual relevance, representing the artistic traditions of Eastern India.
While commuting through the city, I would glance up to observe the various idols being crafted, as our school bus route passed through neighborhoods specializing in idol creation. For me, the scale of ‘Mahishasura’ – the deceitful demon king overpowered by Goddess Durga, was a crucial element in the idol design process. The magnitude of a demon's size correlated directly with my intrigue regarding its prowess. My developing mind frequently deliberated on Goddess Durga's effective strategies against such powerful enemies, utilizing her comprehensive suite of celestial weapons, expertly managed by her ten hands, to overcome the crafty, bovine 'asura'. As recorded in our mythological heritage, Goddess Durga triumphed over Mahishasura using her trishula, an accomplishment that earned her the revered title of Mahishasuramardini, or 'Conqueror of Mahishasura'.
Prior to the Puja festivities, shopping too commenced approximately one month in advance. It was evident which market dominated the scene then. Our renowned Fancy Bazar, colloquially referred to as 'faasi bozaar,' attracted considerable attention. Even in current times, the market experiences congestion from 11am onwards when the shops begin to open. Unsurprisingly, its appeal extends beyond locals, drawing shoppers from outside the city for various significant occasions, including Bihu and weddings. Despite the proliferation of malls such as City Centre and Smart Bazaar on GS Road and Pantaloons Mall near Downtown Hospital, Fancy Bazaar has retained its allure for many ‘Guwahatians’, who appreciate its distinctive character and lure. Although Fancy Bazaar shopkeepers frequently voice concerns about the widespread proliferation of ‘shopping centres’ across today’s Guwahati eroding their customer base, resulting in reduced sales from former levels, the area's vitality during Puja season still suggests a persistent demand for its offerings.
My parents would usually buy new clothes for me & my brother, from shops like Samrat, Topsons or the Kuber AC Market, which were some of the popular names in Fancysince those times. Radhabazaar, situated opposite the former Bijuli Cinema Hall, and Babu Bazaar, near the Sikhmandir area, were also our premier destinations for shopping due to their diverse array of stores offering a wide range of products, including apparels and cosmetics, at competitive prices. To this day, these markets remain steadfast, and I consistently seize opportunities to visit them and reminisce about bygone days and memories. The process of purchasing puja attire involved a meticulous search, where my mother would systematically visit multiple stores to procure the finest outfits for us, at the most economical prices. In contrast to the contemporary digital landscape, where mobile transactions facilitate seamless shopping and home delivery, rendering physical store visits obsolete, this scenario appears remarkably antiquated. The bargaining session with the shopkeeper was exceptionally entertaining, with my mother delivering witty remarks that ultimately compelled the shopkeeper to meet her proposed budget for the festive attire. Once the dresses were done, my required puja gift was a toy pistol. Kids typically obtain what their parents elect to buy, or sometimes, what they persuade their parents to purchase through gentle coercion. Although my parents were frugal with such toys, deeming them unwarranted, I could apply subtle pressure, and by evening, I would be proudly displaying a 'tiger gun,' emulating Dharmendra's character in Sholay, while younger brother had to be ‘Gabbar’ (sic).
During Durga Puja, a prevalent custom involves discussions about the manner of Durga Maa's arrival for the current year. The more devout individuals would consult the Hindu astronomical almanac, known as 'Panjika', to determine the most propitious time for the celebrations and the manner of the Goddess's arrival. According to tradition, Durga Maa would arrive on a horse, elephant, or boat, especially if rainfall had occurred during the preceding days. This inevitably prompted in me, an examination of the Goddess's requirement for a vehicle to enter the mortal realm and, if needed, why she would select an alternative means of transport instead of her traditional lion.
The onset of Durga Puja is heralded by Mahalaya, also referred to as ‘Mohaloya’, by the Assamese community. This day marked Goddess Durga's descent to Earth to vanquish the demon king Mahishasur. Growing up, I was unfamiliar with its significance. Instead, Mahalaya represented an early morning ritual where my family would gather to listen to Birendra Krishna Bhadra's rendition of Chandipath on Doordarshan at 4–5 am. Later, my father obtained a cassette featuring Mahalaya chants, which became a staple playback at our PHED quarters in Hengrabari, Guwahati, throughout Mahalaya. The televised representation of Maa Durga's triumph over Mahishasur captivated me, even in ignorance of its title. The mythological story of Durga's creation, a collaborative effort by Brahma, Vishnu, and Mahesh, and her ensuing victory, left me enthralled. An enduring tradition of mine entailed rising early to pluck xewali phool (flowering night Jasmine) from our courtyard tree and fashion garlands for Maa Durga, customarily accompanied by the reverent melodies of a Durga stuti or aarti, emanating from our tape recorder.
Maa Durga finally arrived on the sixth day of Navratri, or Shashti. According to another belief in Hindu mythology, Durga Puja is when the Goddess visits her mother’s home with her four children — Ganesh, Kartik, Lakshmi and Saraswati. She chooses a different means of transport every year, each with its own symbolism. This year, that is 2024, as the fragrant scent of ‘sewali’ flowers wafts through the air, Guwahati prepares itself to welcome the Goddess with unwavering devotion and boundless excitement, who as per the ‘Panjika’ will arrive on Earth, on a palanquin. The idols are placed at the puja mandap with a small prayer ceremony called bel baran. A single stem of a banana tree is draped in a red and white saree, symbolizing Durga’s mother. This is placed next to the idol of Ganesha. For the next three days — Saptami, Ashtami and Navami — the Goddess and her children are worshipped amidst chants, rituals, diyas, incence and aarti.
With schools and colleges shut during the festivities, Durga Puja became a time-honoured occasion for family reunions and photography. Families would customarily wear their best attire during Durga Puja and visit professional studios to have their memories captured on ‘Polaroid’. Our family would make it a point to visit studios in Chandmari, for an annual portrait, which was subsequently displayed in a beautifully crafted frame or kept in a treasured family photo album, fastidiously maintained and showcased during social gatherings to reminisce about past Durga Puja celebrations. Reflecting on Durga Puja days, I must highlight the significance of bhog, specifically the khichdi, which was a heavenly delight. It's undeniable that puja bhog, served in any temple, offers an unbeatable gastronomic experience. Alongside khichdi, the traditional meal often includes mixed vegetables, sweet tomato chutney, brinjal fry, kheer, and either sweets or curd, depending on the daily menu. As the evening unfolded, we use to embarkon our Durga Puja excursion. My mother's enthusiasm remained steadfast, driven by her earlier ambition to visit maximum puja mandaps. This lofty goal, though seemingly whimsical, was frequently realized in Guwahati's less congested past. We consistently visited a significant number of puja mandaps, approximately 30-40, owing to my father's expertly planned routes. Our outings typically concluded with dinner at respected establishments, including Robin Cabin (Fancy Bazaar), The Dhaba (Goswami Service), and the now defunct Malabar Restaurant (near Panbazaar flyover), where my taste for South Indian specialties, such as dosas and idlis, was developed.Post Sasthi, the three-day Durga Puja celebration on Saptami-Asthami-Navamifollowed this relatively consistent routine, with the only variation being a change of attire each day.
Before long, Vijayadashami, the final day of the festivities, arrived. Following a concluding round of pushpanjali and prayers, the puja festivities came to a close. The priests and puja committee members then proceeded to remove the primary urn and banana plant, symbolizing Durga's mother, for immersion, accompanied by the rhythmic beats of dhak and ululation (‘uruli’).Similar to current practices, the primary idols were customarily removed later, affording devotees ample opportunity to pay their respects and touch the feet of Maa Durga and her children for the final time. The traditional immersion ceremony was held at designated sites along the Brahmaputra River, including Kachari Ghat, Fancy Bazaar Ghat, and Pandu Ghat, amidst great fanfare.
The tradition of Durga Puja has been a vital component of my formative years, and documenting these experiences whisks me away to the 1980s-1990s, reuniting me with my family in our Guwahati residence and at the neighborhood puja pandal, where we would collectively revel in the magical atmosphere and distinctive characteristics of the celebrations.Through the passage of time, many aspects have evolved, yet the underlying essence of Durga Puja celebrations has remained constant among us. In keeping with this abiding sentiment, I cordially wish you all a joyous and memorable Durga Puja 2024!
