Durga – A Feminist Icon?

Goddess Durga is one of the most important and impressive goddess in the entire Hindu pantheon. She is both a warrior goddess as well as epitome of motherhood. Unlike many of the goddess who are seen along with their male consorts, she stands by herself. Her very existence was for something that the male gods could not achieve, both individually and collectively.

Does this not make her a formidable entity? How is she different, if at all? After all she was created by the male gods and given a task to accomplish, so is she not abiding by the dictates of the male gods? So what makes her so different?

If we analyse closely Durga goes against all that a Hindu woman represents (please take note that here we are not talking of the woman of the 21^st century, English speaking, blog-reading, urban educated woman, we are referring to the woman of the yester-ages – phew…..that was on time!). In majority of our mythologies, a woman is generally with a consort, derives succor from her male partner and is at the whims and mercy of the males around her (I will not be dragged into controversy by naming a few of the mythical female characters who personify such a state). A general impression of the females has been that of subjugation, surrender and those who live in the shadows of the male deity/partner.

But Durga is different. She is a woman in the male domain of activities. She is a warrior who fights a mighty demon who could not be vanquished by all the gods together. She is adept in the use of all arms and has the energy to wage a battle for nine days.  Another aspect is the dwelling grounds of the goddess. She is the one who stays in mountains, a space which is generally kept outside the boundaries of the society or civilisation. The hard terrain, unlivable conditions of the mountains does not deter her. Sometimes she is the daughter of Himalaya and sometimes she is the resident of Vindhyas (as Vidhyavasini), or as Ma Sherawali, all are mountainous abodes. She rides a lion or a tiger, both ferocious animals, on whom she has total control, again a shade far from feminine.

References of worshiping Durga is found in both Ramayana (Ram worshiping before his battle with Ravana) and in Mahabharata (first by Yudhishtira in Virata-parva and then by Arjuna in Bhisma-parva). In all the instances, it is to achieve victory in the impending war. This led to the practice of Kings later worshiping Durga as a goddess who aids achieving military success and is followed even today in some parts of the country where arms and weapons are worshiped as a part of the festival. There are references of Shivaji worshiping Ma Bhavani (a form of Durga) in History.

Some would say that a Mother is she who takes care of her children and saves them from all dangers (whatever they be), and that the role Durga has played is still within the larger domain of the feminine sphere of activities – as defined by the patriarchy!

Do you agree?

Kumari Puja

Kumari Puja, literally means ‘virgin worship’. During the course of nine days, Goddess Durga is worshipped in different forms, primarily in the form of Mother Goddess, then in the form of a warrior goddess, etc. But one of the forms of worship is in the form of a virgin. The virgin form of this shakti is considered to be very powerful.

For this a girl with a calm and quite personality between the ages of one and sixteen, who has not attained puberty, is selected. The age of the girl selected denotes a different name for the goddess, for example a one year old girl is called Sandhya while a two year old is referred to as Saraswati and so on right up to sixteen.

Kumari puja takes place on the Mahaashtami (the eighth day of the nine nights), though sometimes it is done on the ninth day. On the day, the selected girl is given a ritual bath and draped in a red saree and is seated in front of the idol of Durga and the ritual worship of the girl takes place. She is decked with flowers, ornaments and ‘alta’ smeared on her feet. She is showered with gifts of gold, silver, clothes, etc. After the puja the girl is considered to be the incarnate of Devi Durga herself.

This kind of a puja is found in Nepal and generally in all places where the female form of divinity is worshipped, especially in some of the Shaktipeeths.

In Bengal, this form of worship was made popular by Swami Vivekananda in the early 1900 and the practice is still followed in the Order created by him at Belur Math, in the outskirts of Kolkata. So what is behind such worship? Our religious texts have insisted on Kumari Puja ‘to evolve the purity and the divinity of our women in the society.’

Durga Puja was a regular practice at Belur Math from the very beginning, except that it was done without the installation of any idols and was more of a celebration of the Order. Swami Vivekananda first started the practice of idol worship of Durga Puja. It is important to mention that the ‘western ways’ of the Swami was not very well accepted by the locals then – things like not believing in caste system and his free mixing with foreigners was seen as unconventional, to put it mildly. The beginning of idol worship at Belur Math was to get the people to accept that the monastic ways were not different from the Hindu-way and that the Swamis were a part of the society.

The Swami during his visits to the western countries was convinced that the advancement of a society was mainly due to their treatment of their womenfolk, as that of equals. His observation was that the same was not happening in our country and that the neglect of Indian womenfolk was amongst the main reasons of the general backwardness of our country. His idea was that institutionalising the Kumari Puja would bring people’s attention on the neglect of the womenfolk and also bring out the inherent divinity of women and the much needed respect they deserved. It is pertinent to recall that back then girls were not given education, were given away in marriage at early ages and sometimes to men much older than them and the ill-treatment of child-widow’s was also quite prevalent. So way back in 1901, when the first Durga Puja was conducted at Belur Math, Swami Vivekananda undertook the Kumari Puja of several girls, not just one. He wanted to highlight the elevated position women deserved and more importantly, needed.

This is a perfect example of sending social messages through religious rituals. An example of contemporary interpretation of an otherwise archaic ritual.

Mahishasura

All of us know who is Durga and how she kills the demon called Mahishasura.

But who is Mahishasura?

Once upon a time there were two demons by the name of Ramba and Karamba who were the sons of the demon Danu. They decided to undertake penance and so Karamba entered in water and Ramba entered in fire. Seeing the severity of the penance, Indra (the king of gods) felt insecure and decided to eliminate them before they could become a threat. Indra took the form of a crocodile and killed Karamba who was in the water. Seeing his brother dead, Ramba got scared and decided to commit suicide before Indra reached him.

Seeing the plight of Ramba, Lord Agni stopped him and granted him a boon. Ramba asked for a son, who could never be killed by a mortal or an immortal. Agni granted him the boon. On his way back, Ramba saw a beautiful demoness who was in the form a buffalo. He fell in love with her and took her home. At night when they were making love a buffalo charged in and killed Ramba. The grief-stricken demoness decided to kill herself and jumped onto the funeral pyre of Ramba.

But the boon of Agni could not be wasted, so from the funeral fire was born a child who was later known as Mahishasura – the buffalo demon.

Ramba’s relatives brought up Mahishasura to be their king. When Mahishasura grew up, he undertook a severe penance and pleased Lord Brahma. On Lord Brahma’s asking he got a boon from him that no man could kill him. At that point of time, it had never occurred to him that a woman could even think of killing him. Having got the boon, Mahishasura became a threat to the gods, till the gods invoked their energy to create a female principle in the form of Devi Durga to kill him after a violent nine day battle.

This is the story of Mahishasura – the buffalo demon.

The above is a statue of Mahishasura at Chamundi Hills in Mysore

Clay for Durga Idols

I am sure many of my readers will recollect a scene from the Hindi movie ‘Devdas’ (any version, but latest being that of Mr. Bhansali), where Paro goes to Chandramukhi’s house (read brothel) to take clay for usage in making the idol of Devi Durga.

An age old practice is to collect the punya mati (blessed soil) from outside the nishiddha pallis (forbidden territories) of Calcutta to be used amongst other things to make the idol of Devi Durga by the now-famous artisans from Kumartuli (the potters town in Kolkata). It is now a ritual and the practitioners feel that this is a vital ingredient in the clay to be used in the idol making, without which, one cannot proceed.

So what could be the reason behind this practice of collecting mud from the doorstep of a sex-worker?

The most prominent reason cited is that when a man enters these dens of vice, he leaves his virtues outside the doorstep, making the soil virtuous. When the man comes out of the house, he has left all his vices at the house of the sex-worker. Another reason given is that this is to ‘purge’ the sex-workers of their sins! This sounds quite ironic as it is well known that no woman in the area is there out of choice and no man is there out of force. So to use this reason is quite unfair to the already wronged women of the area.

But then, let us look at the same practice differently. This practice could have been initiated by some, to include the otherwise ostracised members of the society. It could also have been a way to honour the erstwhile courtesans who were proficient in different form of arts. Or could it be that people of all religions and communities come to a brothel and involving the soil from there in the ritual could just be a fitting tribute to the all-encompassing nature of the Mother?

So does the practice have a religious reason or does it have a social relevance? Has the ritual made any difference to the way a layman looks at them? What kind of ‘elevation of status’ (if any) is it when they are so important for a day, but whores for the rest of the year? If worship of Durga is of stree-shakti (feminine power), then why is this practice so demeaning to a set of the womenfolk who seem to be so integral to the ritual? Unfortunately, all I can say is that the practice is still on; the sex-workers are in as squalid condition as they were but definitely the ritual has lost its social relevance, if it had any.

It sure is quite a blotch on the land of social reformers like Raja Ram Mohun Roy and Swami Vivekananda, to say the least.

The Myth of Sati

As per the Shiva Purana, Daksha’s youngest daughter left her father’s house to follow Shiva, the mendicant as she had given her heart to him. She became Shiva’s obedient consort and became known as Sati, the perfect wife, much to the dislike of her father Daksha. 

Daksha’s dislike of Shiva goes back to a previous episode mentioned again in the Shiva Purana. According to this reference, one day Daksha was invited to a gathering of the gods, and as he entered the hall, all the gods rose in reverence, all but Shiva. Shiva’s intention was not to insult as he was oblivious to the prominence of Daksha who was considered to be the patriarch. Though Shiva’s intention was not to be disrespectful, his action of indifference did not amuse Daksha. He swore never to invite Shiva to any yagna or occasion as he did not find him worthy of such respect.

Once, Sati found that all the gods and goddesses were invited to a yagna organised by her father Daksha. She reached her father’s house only to find that there was no place reserved for her husband, who obviously was not invited, and this was a deliberate act. When she asked her father the reason for this, she was told by Daksha, that her husband’s ways did not warrant an invitation to such get-togethers. This was so insulting to Sati, that she decided to avenge her husband’s insult and even before anybody could understand, she jumped into the yagna fire and self-immolated herself, thereby causing a vighna – an obstacle to the yagna.

When Shiva came to know about the death of Sati, he was filled with both  grief and uncontrolled anger. In his fury, he took the charred remains of Sati and wandered around the cosmos in a destructive spree. The world would be engulfed in this fury and he had to be stopped.

At that moment, Lord Vishnu decided to hurl his ‘sudarshan chakra’, the heavenly discuss, to dismember Sati’s body into different pieces. These pieces fell in ‘Jambudwipa’, i.e. the present day Indian sub-continent.

It is said that there were 108 pieces made of Sati and each place where a piece of the body fell became a ‘Shaktipeeth’, a place of reverence. However, man in due course of time has lost out on majority of these places, and today we have 51 Shaktipeeths known to mankind. All these are well known places of religious significance.

Shaktipeeths in the Indian Sub-continent

Shaktipeeths are holy places of cosmic power; they are places of worship consecrated to the goddess ‘Shakti’. Throughout the Indian Sub-continent, there are many Shaktipeeths. A few prominent Shaktipeeths are:

v      Kalighat in Kolkata

v      Kamakhya in Assam

v      Katyayini in Vrindavan

v      Manibandh near Ajmer, Rajasthan

v      Naina Devi Temple in Himachal Pradesh

v      Bahucharaji in Mehsana district of Gujarat

A few Shaktipeeths exist in Pakistan, Bangladesh, Nepal and Sri Lanka.

All these places have been said to have received some body part of Goddess Sati and the place is revered as a Shaktipeeth.