I can't consider anything to contrast and the celebration of Durga Puja. It isn't only a strict celebration with its own ceremonies. It is likewise a festival of life. It is a period of recharging and pardoning. What's more, presumably a lot more things – it is anything but a simple undertaking for an outcast to get to grasps with all the components. For me, it is a festival of imagination.
Obviously, it is fundamentally a strict festival – of the arrival of the goddess Durga to cleanse the universe of fiendishness. There are a few similitudes with the Christian custom that I was raised in. The celebration comes toward the finish of the rainstorm season and it seems like a blend of a gather celebration and Christmas. Individuals trade endowments, and families and networks meet up to celebrate.
What is totally different thinking about the Durga and different symbols – the focal point of the strict festivals.
Toward the beginning of the month, I visited Kumartali with conciliatory partners. Is anything but an especially astounding piece of Kolkata, and not as open as a portion of the territories in the south of city where I live. The roads and rear entryways are limited and are loaded up with little workshops.
It was pouring the day we strolled round Kumartali – high rainstorm, with short, weighty showers. The greater part of the workshops had overhangs over their doorways to keep out the downpour. As it was cloudy, they were splendidly lit inside as groups of plasterers, painters and other specialists (I think they were essentially all men) were occupied grinding away. Most were sitting and hunkering over earth models. A couple were standing up or on stepping stools arriving at the higher pieces of huge icons.
The majority of the laborers took a gander at our gathering of untouchables with slight alert as we entered their workshops. They appeared to hold their breath as we investigated their manifestations – mud models of the Goddess and her partners. The essence of the Goddess shifted from workshop to workshop. Some had a standard plan. Others had pictures that they were following from various commissions from over the city. A portion of the symbols had fully open eyes, and some nearly shut.
From that point forward, bamboo structures have jumped up everywhere on the city. In truth, there are consistently bamboo outlines being raised some place in Kolkata. Prior to Durga Puja, their number increment significantly.
I don't know there is any straightforward interpretation for "pandal". It very well may be both an open stage that individuals stroll past, or an encased structure that individuals enter with a rooftop. Some are connected to structures, others detached structures. Their principle work is to house the Durga symbol. In any case, in Kolkata, they appear to be considerably more.
They are spaces to enhance and to show. Some have painted pictures on the dividers and roofs of the pandals. Others are loaded up with figures either uniquely made or developed from ordinary materials. Some set out to communicate thoughts or ideas, while others are portrayals of individuals and spots. Some display the craftwork of explicit gatherings or districts. Practically all the pandals have shaded lights and stylistic theme to pull in guests.
The closest equal I can consider are the structures of the Venice Biennale. These different structures in the lovely Italian island city are loaded up with craftsmanship and models from nations around the globe like clockwork. Venice and Kolkata are totally different spots.
On 17 October I visited four pandals on the side of the town as an appointed authority within the Telegraph's True Spirit of the Puja rivalry.
The main we visited, and which won the opposition, was produced using wood. The wood was untreated and cut into shapes. There was a latticed divider to give light access, and sheets on which were painted scenes from the tale of the Goddess and her excursion. There were likewise loads of painted wooden creatures sitting in outlines. What's more, the Durga was very dim aside from her splendid yellow face and sparkling eyes.
The second was totally unique: a little pandal produced using earth and sand, shaped onto a bamboo outline. It was generally in earth shades of grays, earthy colors and yellows. There were provincial scenes deliberately etched on the dividers. There were even earth bison floundering in a mud waterhole. The pandal board disclosed to us it depended on conventional town hovels.
The third was an enormous circle inside which water was dribbling down the dividers. The sound and cool were a relieving help for us judges, and the water was softly scented. The symbol and her consorts were splendidly hued rather than the dull within the circle – a little universe lit up by Durga.
The latter was a pandal in a back street that was adorned with a great many letters. It spoke to crippled kids, and with mirrors and braces as wall, it moved guests to consider the troubles such kids face. The letters were importuning Durga to visit them.
We were just quickly at each pandal. The inviting councils were quick to disclose to us how they gave the essential offices – water, medical aid, fire counteraction, etc. This is significant – the first pandal we visited was on target to have well over a million guests over the celebration.
During the remainder of the Pujas I visited numerous pandals; each as inventive and rich as the following.
My work as a negotiator will in general carry me into contacts with government authorities, business pioneers, scholastics, etc. The Puja is unique – it brings me into contact with various networks. I see portions of the city I may somehow miss. Furthermore, it gives me that Kolkata isn't only the "City of Joy", yet additionally the city – and a people – of innovativeness.