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Thursday, October 19, 2006

Riversong - Travel Diaries


The blue and white memories of Alokananda and Bhagirathi have mingled now. Up, about thirty kilometers up that twisty road, hanging precariously by its teeth from the treacherous Shivaliks, they had met at Devaprayag. There, where sadhus and motorcyclists with saffron headbands and flimsy pennants have been arriving throughout the day. To behold and perhaps enjoy the breathtaking creation of a mighty star: the Ganga; our bread and butter, the water of our lives, nurturing cities and shoe factories, flooding villages and egging us on towards salvation.


We are about thirty-five kilometers below the confluence. Kaudiyala is the name of this tiny hamlet nesting between forest and stream. This area is the Mecca for white water rafting says the brochures. We have reached early, the sun is fresh and the birds energetic. The bus from Dehra Dun, battered as it was, had a good man at the helm. For last night it had rained and the mountain roads were not quite friendly.


The bungalow where we are to stay is described as a rafters’ camp on the signboard though we are not into that sport. At least I can speak for myself though I am not so sure about my friend’s tendencies. Well its neither a bungalow nor a camp (not the kind with tents I mean) but a set of well-appointed rooms and cottages spread out on the riverside. We thank the Garhwal Mandal Vikas Nigam that manages this and several other properties spread out over the hills, as we find ourselves being booked into a deluxe room  of this river retreat with all the basic amenities and the river and the hills a few feet from our windows.


Though we are hungry (and yes thirsty!) we feel drawn out of our room to the riverside. It’s a baby river that flows by, but even at this early stage, in its mighty gushes and roaring music it whispers to us about its future. In its infancy, cradled between wooded and smoky hills, Ganga, still flows with the authority of an all-knowing adult. And we are happy to behold and wonder. For sometime.


The road from Rishikesh that took us here follows the river with its load of trucks and tourists. As the day grows old the hills change colour and character, much like my friend who goes for the gin. The wine, which I had wanted to drink, my friend says, has gone missing.


I leave my friend gazing through the glass window at the splendid torrent gushing along, a few feet away. I climb higher, to the road which is flanked at one side by steep forest-covered hills. A few cigarette shops, a temple, Coke signs greet me. Glory be to Ganga, my mobile service provider has failed to reach Kaudiyala. I walk along the road a kilometer, a little more. How effortless is nature in the creation of beauty. In flashes, at sudden twists in the road, the crystal river smiles at me from the deep gorge through which she flows. The diesel buses howl by, the motorcyclists disturb the moodiness of my incipient reverie.


Its time to turn back. I buy a map of Uttaranchal from the cigarette shop and a bottle of cold drink. I will not share the cold drink with my friend for ditching me with the wine. Lunch is however delicious and somewhat eases the slight friction between us on the matter of the missing wine bottle. We eat buttered rotis with chaunsa – a Garhwali dish made from urad dal and khicahdi, which is not far from the khichudi we know here in the east. My friend peeps into the menu and proclaims that we will have rosogollas at dinner. No problem there. The gin and the bus ride from Dehra Doon puts us of to sleep.


The evening opens with magic as the hills glow amber in the falling Himalayan light while the sky preserves the blue of a curaÇao drink. I like this magic of colours and stay enthralled for long minutes. Other boarders are on the green banks photographing this. As evening falls, the river seems to get bolder and talkative. The sound seeps into all the rooms of Kaudiyala Camp, rises to the road and having defeated the buses and the Coke sellers, fades somewhere up in the forests. The bottlebrush and pines dance as fresh gusts of breeze flow in through the gorge and pat us lightly on our cheeks. I feel gin-thirsty.


Great clouds have begun to descend from the north and are swathing themselves round the hills. The hills are like old men in brown capes smoking their evening pipe. That smoke slowly descends, lower, till the old men disappear and the baby river seems to be evaporating and turning to mist. But the talkative toddler keeps reaching us throughout the night. The cicadas join in sometimes and weaves a complex serenade which only dies when my friend begins to sing a Mohiner Ghoraguli song, that one hopes would never end. The words go:


..O Ganga
Tumi cholecho dheue dheue kothae…
(..O Ganga,
Where do your waves take you…)


Where is the gin, I ask. Sheepishly my friend crawls under the bed and fishing out a bottle of Sauvignon Blanc from his sleeping bag, places it in on the table with a sorcerer’s flourish. Ah! You had been lying I say, with some irritation. I had suspected he had been hiding the wine for some reason he knew best. But I shouldn’t have minded at all. He’s going higher. To Devaprayag tomorrow, and then up further, always with his gin and always following the crystal river, while my own journey leads me down; a bus to Rishikesh, a bit of landslides and cloudbursts on the way, and then the long road to Delhi via teeming Haridwar and the university town of Roorkee and the small towns and villages of Uttar Pradesh, and from Delhi again an endless ride, another fifteen hundred kilometers through the night, to Calcutta; my home and the forest of all my memories.




Copyright reserved. Published in The Statesman, Sept 2006

Monday, October 02, 2006

The Goddess Chronicles (Non Violence and the Eternal Battle)


Durga Puja Journal - V



Today is Mahatma Gandhi’s birthday. Today is also Dashami and she is gone. It’s the time for Bijoya (Vijaya says Wikipedia) and sweet shops are doing brisk business. Its also a time for showing respects to elders by touching their feet and men hug each other (called kolakuli) in a ritual of camaraderie.

I am writing this from a cybercafe which has kept open and opposite to us is an empty pandal with a little oil lamp burning. The image has been taken for immersion, to the accompaniment of dhak beats, dancing devotees and Bollywood inspired band parties carrying green petromaxes for a surreal effect.

The streets are still crowded with revellers but the metro services will not run throughout the night. I have come here on a friend’s motorcycle who has slipped into a bar while I write this. Bijoya is also a time for smoking bhang or ganja (cannabis) as a sign of comradeship with Shiva and also to forget the sadness of the Mother’s departure.

In some of the old family pujas there still exists the tradition of releasing nilkontho birds from captivity, after the immersion of the Goddess. The story goes that these blue plumed birds fly to Shiva (maa Durga’s husband) and inform him that his wife has begun her journey back. TV shows us Sonia Gandhi releasing white doves on the occasion of Ram Lila in Delhi which coincides with Dashami day of Durga puja. Ram Lila is the occasion for burning effigies of the ten headed demon Ravana who stole Ram’s wife Sita and took her to the kingdom of Lanka. Alongwith Ravana, effigies of Meghnad his son and his brother Kumbhakarno are also burned. Another symbolic triumph of good over evil.

Many of the images, will not be immersed today. For those pandals whose the idol is immersed, the stage where maa Durga spent the past few days will be used for theatre, song, dance and other cultural activities.

The death toll in the Bengal floods is close to hundred, the district of Nadia is also badly affected. What does puja festivities mean to someone whose near and dear passes away or who does not have enough to eat? How does the triumph of good over evil, shakti over darkness, play out in the minds of affected people? Small mercies: the government of the province has declared a relief package.

Today a Bengali TV channel (Star Ananda or Chobbish Ghonta I forget) was reporting about the tradition of a village Puja in rural Bengal of taking the idol of the goddess to the house of a Muslim neighbour before immersion. The Muslim neighbour grants his permission on which the immersion procession continues on its way. Such a rare and beautiful tradition. So significant in this time of hatred and violence.

Which brings me back to Gandhi who was remembered with due respects all over the country and further shores, today. This Dashami day as we celebrate the triumph of good over evil throughout the nation, one thinks what would have happened if Durga or the Gods (devas) who created her used non-violent and Gandhian means to deal with the demon-Mahishashura. Would Mahishshura at last bow down before the great power of non-violent engagement or would he have carried on with the tyrannies that was his wont? Turning away from myths and scriptures if we think of the battle between Durga and Mahishashura or that between Ram and Ravana as happening everyday within our minds, as we are pulled apart time and again by conflicting attractions of consumerism vs a simple life, power vs peace of mind and so on and endlessly till we die, as this eternal battle rages deep within our selves, we can think and ask ourselves how the ideas and ideals of non-violence, satyagraha, self-mortification and self-analysis can help us achieve a finer balance and integrate us better with the stream of life that ever flows and bears us along.

(©Copyright reserved by author. Published work.)
(Photographs are from
www.calstreet.com, www.wikipedia.org and www.holidayspot.com. Check out www.calstreet.com for a good collection of Durga Puja photos from this year)

Sunday, October 01, 2006

The Goddess Chronicles (Durga Puja Journal - IV)


Today is Nabami the penultimate day of Durga Puja. The Statesman in its Sunday supplement has an article about the profusion of themes and the trinketisation of Durga puja. The writer has commented about the lack of origins and centres.

Themed pujas are everywhere. While some of them still have something to say or a level of awareness to create some are outright meaningless. A pandal is south Calcutta has invoked the arts, crafts and way of life of the Gond tribals of Madhya Pradesh by using their crafts and artefacts in pandal design and having live performances of their dances. The goddess here is also primitive in her appearance. One puja community has used Himachal Pradesh as a theme (last year it was Rajasthan) by creating mountains, streams and suchlike. It seems caves and dark passages are very popular this time. Now the outright meaningless is the one where Durga is housed in a railway compartment pandal while another has used the story of Alibaba and Forty Thieves as a theme.

Television is deep into the puja atmosphere and have planned a variety of programmes to keep the homebound viewers hooked. Among the highlights yesterday was the interview of Mahisasur taken by a talk-show host that was charged with humour. And there are competitions galore from Asian Paints Sarad Samman given to the best puja of the city to Hutch’s Sholo Anna Bangaliana (Hundred Percent Bengali-ness) given to the quintessentially `Bengali’ puja. In between are the best devotees and best couple and so on.

The Nabami night is a night of collective sadness and also the night to hold on, to prolong it and wish it has no end. For from tomorrow begin the rituals of Durga’s departure. Women playing with sindoor with the godess and each other, putting that sandesh in her mouth and bidding her goodbye, sending her off for the bisharjan. I have been homebound for most of today for my sadness goes beyond the departure of Durga for her Himalayan abode. We had splurged on Ashtami night and am suffused in guilt and sadness. And I had a fight with Shalini who is behaving strangely from the time I have been reporting about the Goddess.

Throughout the day I have heard the Sanskrit slokas from the pandals mix with music of every kind on loudspeakers, watched TV and yearned for the world outside. But I have remained indoors. The whisky I had at an Egyptian themed watering hole last night has misbehaved with my body. I have a residue of a hangover. This place, called Heka (which I believe means magic in Egyptian) tucked under a huge football stadium, had the usual call-centre, corpo, semi-corpo crowd and lots of Bollywood music from a slim DJ with an interesting face. She was my Durga for ashtami night, the DJ, as hearing the music she presented, looking at her and drinking the fermented malt I went into a frisson of a reverie.

But the hotel where this pub is situated was trying too hard to woo the Durga Puja crowd and the lobby was crowded with people waiting for the special buffets and goddess-knows-what was on offer.

Yes, like most Bengalis we had a sumptuous non-vegetarian lunch on the occasion of Nabami. The mutton-sellers all over Bengal made brisk business today as thousands of sheep and goat and ram transformed into mouth-watering kochi pathar jhol, or kosha mangsho and more on Bengali dining tables. And today is also the occasion for ritual sacrifice of goats and buffaloes as an offering to the deity. I haven’t had the opportunity to taste buffalo meat yet but am told it’s the poor man’s beef.

The Ramkrishna mission among other organisers perfoms the kumari puja during Durga puja where a young girl is worshipped as a goddess. The scriptures say that kumari is the most powerful form of shakti.

In the afternoon today a great curtain of clouds darkened the skies and there were showers in the city. But the crowds are undaunted at least in the city. The situation created by the floods in Howrah district are however bad. The Chief Minister was there today observing, pledging and advising. The floods have done a lot of damage to crops and Durga in these villages, this time, is no great star. While the faces of the flood-affected farmers made me sad, the spirit of the inmates of a mental asylum visiting pandals (a programme organised by a merchant’s association in North Bengal) brought happy tears to my eyes.

(©Copyright reserved by author. Published work.)
(Photographs are from
www.calstreet.com, www.wikipedia.org and www.holidayspot.com. Check out www.calstreet.com for a good collection of Durga Puja photos from this year)

A bit of History from Wikipedia:

A considerable literature exists around Durga in the Bengali language and its early forms, including Durgotsavnirnaya (11th century), Durgabhaktitarangini by Vidyapati (14th century), etc. Durga Puja was popular in Bengal in the medieval period, and records exist of it being held in the courts of Rajshahi (16th century) and Nadia (18th century). It was during the 18th century, however, that the worship of Durga became popular among the landed elite of Bengal, Zamindars. Prominent Pujas were conducted by the landed zamindars and jagirdars, enriched by British rule, including Raja Nabakrishna Deb, of Shobhabajar, who initiated an elaborate Puja at his residence. Many of these old pujas exist to this day. Today, the culture of Durga Puja has shifted from the princely houses to Sarbojanin (literally, "involving all") forms.

Durga puja mood starts off with the Mahishasuramardini' – a radio programme that has been popular with the community since the 1950s. While earlier it used to be conducted live, later a recorded version began to be broadcast. Bengalis traditionally wake up at 4 in the morning on Mahalaya day to listen to the enchanting voice of of the late Birendra Kishore Bhadra and the late Pankaj Kumar Mullick on All India Radio. as they recite hymns from the scriptures 'Devi Mahatmyam

During the week of Durga Puja, in the entire state of West Bengal as well as in large enclaves of Bengalis everywhere, life comes to a complete standstill. In play grounds, traffic circles, ponds -- wherever space may be available -- elaborates structures called pandals 'are set up, many with nearly a year's worth of planning behind them. The word pandal means a temporary structure, made of bamboo and cloth, which is used as a temporary temple for the purpose of the puja. While some of the pandals are simple structures, others are often elaborate works of art with themes that rely heavily on history, current affairs and sometimes pure imagination.'

Somewhere inside these complex edifices is a stage on which Durga reigns, standing on her lion mount, wielding ten weapons in her ten hands. This is the religious center of the festivities, and the crowds gather to offer flower worship or pushpanjali on the mornings, of the sixth to ninth days of the waxing moon fortnight known as evi Pakshya (lit. Devi = goddess; Pakshya = period; Devi Pakshya meaning the period of the goddess). Ritual drummers – dhaakis, carrying large leather-strung dhaakis –– show off their skills during ritual dance worships called aarati. On the tenth day, Durga the mother returns to her husband, Shiva, ritualised through her immersion into the waters –– Bishorjon also known as Bhaashan and Niranjan

Today's Puja, however, goes far beyond religion. In fact, visiting the pandals recent years, one can only say that Durgapuja the largest outdoor art festival on earth. In the 1990s, a preponderance of architectural models came up on the pandal exteriors, but today the art motif extends to elaborate interiors, executed by trained artists, with consistent stylistic elements, carefully executed and bearing the name of the artist.

The sculpture of the idol itself has evolved. The worship always depicts Durga with her four children, and occasionally two attendant deities and some banana-tree figures. In the olden days, all five idols would be depicted in a single frame, traditionally called pata. Since the 1980s however, the trend is to depict each idol separately.

At the end of six days, the idol is taken for immersion in a procession amid loud chants of 'Durga mai-ki jai' (glory be to Mother Durga') and 'aashchhe bochhor abar hobe' ('it will happen again next year') and drumbeats to the river or other water body, and it is cast in the waters symbolic of the departure of the deity to her home with her husband in the Himalayas. After this, in a tradition called Vijaya Dashami, families visit each other and sweetmeats are offered to visitors (Dashami is literally "tenth day" and Vijay is "victory").

Durga Puja is also a festivity of Good (Ma Durga) winning over the evil (Maheshasoora the demon). It is a worship of power of Good which always wins over the bad.