Durga Puja and Women folk

An interesting aspect of Durga Puja, is the status it accords to women or girls. While we understand that the festival has a huge relevance to the feminine principle in general and also stands for the feminine spirit and power, the festival has its relevance to the women folk even in the social milieu. While the times have changed and the outlook might not hold ground in today’s times, it is still in context that we need to see this aspect.

Bengal has traditionally always accorded an elevated status to women folk. A case in point is the number of festivals around goddesses like Saraswati, Durga, Kali, etc. These goddesses have an edge in comparison to other gods like Ram or Krishna, with a slight exception of Lord Shiva. Durga Puja which is one of the main festivals of the Eastern India, also focuses a lot on the feminine aspects be in the form of Kumari Puja (This is Utkarsh Speaking: Kumari Puja ) or getting clay for the idols from the marginalised section of the society (This is Utkarsh Speaking: Clay for Durga Idols ) or the numerous rituals which are centred around women. But here, let us look at a social angle to the festivities.

 

A madhubani painting depicting Durga and her children

One of the aspects of the festival of Durga Puja is that Durga returns to her parent’s home for a few days along with her children, Saraswati, Lakshmi, Kartik and Ganesh. Many a folk song’s theme is about the tough life of Durga at her husband’s home with so much work, four children and an inattentive husband who seldom comes home, and who is engrossed in meditation or smoking hemp. Besides all this, Shiva’s lack of confirmation to social norms is another sore point in the marital life of the goddess. From a tough cold life of her husband’s house, she comes to the warm climates of her parent’s home to all the attention and love that parents shower on their daughters and her children. At her parents’ home, she gets all the warmth and comfort that is missing at her husband’s home and even if it is for a few days, she enjoys the attention and love.

In the ancient times a girl had to undergo hardships at her in-laws house, due to the pressure of household chores and numerous other expectations that the in-laws had from her, both in the social context as well as support at homes. The girls who were married off at a young age ended up becoming support-systems at their in-laws which were bereft of any modern-day amenities. In such a scenario, she would be subdued and at the beck and call of all elders in the family, more so the mother-in-law, along with the need to take care of her own children. The girl needed a break from all this. During Durga Puja, traditionally women along with their children would return to their parent’s home where they would be treated well and showered with attention and gifts and the much needed rest.

After the festivities are over, the girl leaves for her in-laws home for another year of hardship and toil, just as Devi Durga leaves her parents home for her husband’s, after Bijoya Dashami. Parents feel sad to see their daughter leave and even today, many a woman is seen weeping during the immersion of the Durga’s idol.

While many celebrate the Durga Puja as the killing of Mahishasura by the goddess Durga, some see it as a time to shower love and attention on their daughters who do not get the same attention at their husband’s home. An immensely relevant social custom of the times woven with mythological and religious sentiments is the way to see this aspect of the festivities. Times might have changed, but the social context could just be relevant even today in certain sections of the society.

With this we come to the end of Durga Puja. Here's wishing all my readers a happy Dashera & Bijoya!!!

Other articles on Durga and Dashera  -

This is Utkarsh Speaking: Shastra Puja on Vijaya Dashami 

This is Utkarsh Speaking: Durga – A Feminist Icon?

Kala-bou or the Banana bride

During Durga Puja, one of the most important ritual on Mahasaptami, or the seventh day, i.e. today, is the bathing of the Kala-bou or the banana-bride.

 

Ceremonial bath given to a banana tree on the banks of the Ganga

On this day, a small banana tree is taken to the river Ganga, and given a ceremonial bath. The tree is then draped in a white saree with red border, with some sindur or the vermillion powder applied on its leaves. Thereafter, the tree is kept on the right side of the idol of Ganesh, implying that she is the bride of Lord Ganesh.

However, the traditionalists differ on the concept of the Kala-bou as they see it signifying the coming together of Naba-patrika, or the nine leaves. On the trunk of the banana tree are tied the leaves of the following trees –

Holud gaach or the turmeric tree

Bel gaach of the wood apple tree

Daalim gaach or the pomegranate tree

Maankochu or the arum plant

Rice plant

Ashok tree

Kochu gaach of the colacassia plant

Jayanti gaach of the saal tree

Each of the above also stand for different forms of goddesses, like the banana tree representing Goddess Brahmani, turmeric tree representing Durga, wood apple tree representing Lord Shiva himself, the pomegranate tree representing Raktabija, Arum plant for Chamunda, rice for Lakshmi, Ashok tree for Sokrahita, the colacassia for Goddess Kalika and the Jayanti for Kartiki. All the goddesses are different forms of the Goddess Durga. Needless to mention, that each plant/tree has its significance in the day to day life of a common man, either in the form of staple diet, or as a spice of as part of medicinal plant.

Many have even opined that the Nabapatrika is a form of Durga herself, which symbolises all the aspects of

nature in a complex vegetative state. According to a scholar the plant symbolises the “festive enactment of Durga’s return of the blood of the buffalo demon to the earth so that the order of the world be re-established and luxuriant vegetation appear.” As far as placing the Nabapatrika next to Lord Ganesh’s idol is concerned, it can be surmised that the same is due to Lord Ganesh being credited to be the creator of eighteen medicinal plants, for which he is known as Astadasausadhisrsti.

Many also feel that the worship of Kala-bou in the form of Nabapatrika might not have anything to do with Lord Ganesh at all. It could just have been a local or a primitive practice of worshipping the Mother Earth for a rich harvest and with the popularity of the Durga Puja, this ritual was assimilated in the festivities. In the absence of idol-worship, the Nabapatrika was the symbol of Mother Nature herself.  Autumn or sharad-ritu was also the season for reaping crops and the peasants worshipped the Nabapatrika for a rich and bountiful harvest. As far as the placement of the Kala-bou is concerned, since Kartik was a confirmed bachelor, it was logical to place ‘her’ next to Ganesh! In fact, the worshipping of Nabapatrika in its original form is still prevalent in some parts of Eastern India.

Finally, to conclude, here is an interesting folktale related to Kola-bou. According to this tale, the wedding procession of Ganesh had not gone very far from home, when Ganesh remembered that he had forgotten something. On returning, he found his mother Durga eating bowlfuls of rice and gorging herself. Ganesh found it odd and asked his mother, as to why was she gorging herself. To this Durga is supposed to have said – “Jodi tor bou aamaake khete na dai? (What if your wife did not give me enough food to eat?). Hearing this Ganesh was upset, he stepped out of his home, cut a banana tree and gave it to her saying “etai tomar bou (this is your daughter-in-law)”. Later, Ganesh was married off to the banana tree and thus the name Kala-bou, or the banana bride.  

Interestingly, till quite some time back, in rural Bengal many mother-in-laws would be in a perennial fear of not getting enough food when their new daughter-in-laws came home, and tried to wield more authority on their sons. An interesting folk tale with mythological connotations, where the food has always been a source of trouble!

Durga Puja and Lord Ram

Durga Puja begins today and is an important festival in West Bengal and the Eastern parts of the country and the entire Bengal wears a festive look. People celebrate the festival with all the gaiety and revelry that goes along with it.

Durga Puja is the celebration of the killing of the Mahishasura (This is Utkarsh Speaking: Mahishasura ) who had become a threat to all the gods and humans and was invincible except by a woman, due to a boon. After a fierce battle, Goddess Durga kills the demon.

However, this festival initially did not take place at this time of the year. An interesting need-of-the-hour is the cause of the celebrations at this time.

According to the Bengali Ramayan by Kritibash, Goddess Durga was worshipped in the spring season (and thus Durga Puja was also referred as Basanti Puja, the festival in the spring season), and never in autumn. But after an inconclusive battle with Ravan for many days, the gods advised Lord Ram to propitiate Goddess Durga and seek her blessings. But Goddess Durga was never worshipped in autumn, and thus Ram’s propitiating the Goddess is referred to as Akal-bodhan, akal meaning out-of-turn or out-of-season and bodhan meaning worship or invocation. In due course of time, the region started celebrating Durga Puja during the autumn and thus the festival is also known as the sharad-utsav or the spring-festival.

According to the same version of Ramayan, Ram took the blessings of Durga on the sixth day (Sashti) i.e. today, and went into battle with Ravan on the seventh day (Saptami) and killed Ravan at Sandhikshana or during the crossover between the eighth (Ashtami) and the ninth (Nabami) day, and cremated on the tenth day (Bijoya dashami).

The worship of Durga by Ram too has an interesting legend. According to some versions, Ram was advised to worship the goddess as she was considered to be the patron deity of the land of Kuber, i.e. Lanka before Ravan usurped it from Kuber and it would be in order to seek her blessings before invading the island. It is said that Ram needed 108 ‘neel kamal’ or blue lotuses to offer the goddess Durga and after a lot of efforts managed to get only 107 of them. Ram was also referred to as ‘rajiv-nayan’ or the one with eyes like lotus, and since he could not arrange for one more to complete a hundred and eight, he offered his eye by trying to pierce it with an arrow, but the goddess appeared at the right moment and granted him the blessings of victory. Some versions say that Ram did manage to get all the required lotuses, but the goddess hid one to test his devotion.

Since then, this has been a practice to propitiate Goddess Durga before heading for a war and the same is seen in Mahabharata, where Arjuna and Yudhishtir are mentioned to be worshipping Goddess Durga for the boon of victory. Later in history, we have seen Shivaji worshiping Goddess Bhavani, a form of Durga before heading for any battle.

It is interesting to see gods in their own right seeking blessings from goddesses prior to a battle. The cult of Mother Goddess was prevalent from the ancient times and Goddess Durga has always had a unique place in the pantheon. Though she is a goddess created by the gods to fight a demon, she does it without the direct help of any gods. She fights a relentless battle, till she eliminates the evil force, Mahishasura, who was threatening the universe and all the gods with his power. To sustain such a dominating feminine power, Shakti, it was imperative that the later puranic texts perpetuated her position of someone who has been victorious in battle.

Another interesting theory is that Goddess Durga was associated with mountains, (she is also referred to Vindhyavasini, one who resides in the Vindhyas, Parvati meaning daughter of the mountain or parvat, Vaishno devi, again residing in the mountains, to name a few) and was probably a deity of the locals who resided around mountains, where the terrain was tough. Such regions were at the periphery of civilisations and thus many a tribal community or marginalised sections of the societies dwelt in such regions. According to this theory, Goddess Durga is seen to have had her origin in such areas. Puranic heroes, like Ram, Arjuna, etc. worshiping the goddess indicates the assimilation of such goddesses in the mainstream pantheon, leading to the assimilation of the marginalised sections of the society into mainstream civilisation.

The above can be seen as an interesting example of mythology having a laudable function at its core, besides telling interesting myths.

Navratri Golu

An interesting aspect of Navratri in the southern states of India, viz. Tamil Nadu, Andhra Pradesh and Karnataka is the display of Golu or Kolu as they are better known. Golu is a display of dolls in a particular format, especially in the form of steps or padis (in Tamil); usually nine or odd numbers like seven, or five. The display of dolls carry themes from mythology, like the ten avatars of Lord Vishnu, scenes enacting the romance of Radha and Krishna or events from the life of lord Krishna as a child, etc.

A display of Lord Vishnu's avatars at our friends Navratri Golu

Amongst the display the most important and a must have is the display of the Marapachi dolls which is a

pair of a male and female dolls. This pair is usually made of carved reddish wood and is sold in different sizes. During the display, they are adorned in colourful traditional dresses and jewelry. Usually, it is a tradition for mothers to give a pair of the marapachi dolls to their daughters during their wedding to begin the displayu of their own Golu at their new homes. Many collect dolls to form themes from mythical tales and over a period build a beautiful collection of such dolls. A pot or the kumbham, is also placed in the arrangement which gets a ritual worship during the nine days of Navratri. The pot is arranged either at the top most level or at the bottom, with a coconut or a pomegranate amongst mango leaves. Many scholars have indicated that the pair marapichi represent marital harmony and the pot and the selection of the fruits which remain fresh, indicate fertility.

The Kumbham and the Marapachi dolls at our friends Golu

The array of the dolls represents a durbar or the court of Goddess Durga before she leaves to eliminate Mahishasura or the buffalo-demon.

Though the practice of setting up the Golu has religious overtones due to the timing and the themes of arrangement, it seems to have more social relevance than anything else. This is a time when the women folk get together and help each other in setting the display. Later they go in groups to visit different Golu’s put up in the neighborhood. During such visits there is singing of religious songs and many other activities which focus on the women of the household. Snacks and certain staple offerings are served to the guests, which again display the culinary skills of the women folk. This serves as an interesting mingling of the women where each displays their imaginative skills of arrangement and religious knowledge. The dolls are then put back safely after the nine days for another year. 

Besides giving the women folk a source of entertainment and platform to showcase their skills, another important rationale of such festivals was to give a fillip to the agricultural economy. Such festivals kept the demand of clay up, even during non-agricultural seasons like this, as in the olden days such dolls were made of clay only, unlike today when many other materials are used to make them.

An interesting social custom, which aligns itself with the religious festivities and mythical themes.

In fact, the Japanese have a similar festival, known as Hina matsuri, or the doll festival. Hina means a doll and matsuri is festival in Japanese. Hina matsuri is a festival which is celebrated on March 3^rd every year to ensure a healthy life for young girls in the family.

Similar to the Golu display, in Hina matsuri too dolls are arranged over different steps, covered with a red cloth. In the topmost layer are kept dolls depicting the Emperor and Empress of Japan. In the subsequent layers are placed dolls which represent the men and women in waiting for the royal couple, followed by musicians, singers, courtiers and other items like arrangement of furniture, etc.

 

Hina matsuri (courtesy Wikipedia)

The origin of this can be traced to an ancient practice wherein straw dolls were made and set off in small boats in the river in the belief that the dolls had taken away with them the evil spirits which would have otherwise affected their daughters. In due course, it became a royal festival with all the royal trappings with it to modern times when every household with a girl child celebrates this festival. Till date, the superstition holds good that the dolls absorb the evil spirits and thus the dolls are kept back without delay, as any delay is believed to delay the girls wedding date.

Interestingly, in Hina matsuri too, the ceremonial dolls are handed over by mothers to their daughters!

Two festivals, both celebrated by women folk in similar form, by two different cultures. An interesting similarity!