The months of October and November are marked by festivities that start with the ‘aagaman‘ of Goddess Durga and finish with Chhathi Mai for the individuals of Bihar and Poorvanchal. One can’t miss the glitter and grandeur of Diwali, that’s synonymous with well-lit homes and markets flooded with kaju, kishmish and different conventional sweets.
It’s a literal wrestle deciding between whether or not to eat ladoos or perakiya, or to purchase phuljaris and chakris. Festivals and traditions bind us collectively. Rituals are integral to at least one’s existence, however we’re forgetting the little joys and essence of traditions — which have been to unfold hope and happiness.
Throughout cultures, festivals have all the time introduced societies and households nearer. Sadly, these cultural practices — simply a part of our collective reminiscences now — are dying. Traditions, that are an intrinsic a part of all cultures, may be manifested in types of artwork, customs and conventions handed from one technology to a different with out being structurally documented however collectively owned. These non-written types of data system carried in regional language embrace an array of social capital reminiscent of folkways, folklores, people music, theatre, dance, in addition to societal values and guidelines. Mnemonic accounts, due to this fact, are highly effective instruments that weave the lifetime of custom.
One such little Diwali custom was the artwork of constructing ‘gharondas‘ — homes made from clay adorned with pure colors made with rice flour, hibiscus flowers and turmeric. Past the aesthetics, these little abodes of mud homes have been adorned with diyas, flowers, gulaal, vibrant cardboard, damaged bangles and different such discarded gadgets.
Gharondas have been marvel architectures carved out of desires and hopes — it was each lady’s protected place, her safety, a spot to dream massive, to breathe, to make her imaginations soar with out the concern of being judged.
A gharonda within the making. (Picture: Aditi Narayani)
In olden days, the clay was introduced from the kumhars of Vaishali; this was gentle clay dug from the interiors as they have been simpler to mould. Inside these clay partitions of gharonda, we used to play with ‘kuliya chukiya‘ (kitchen set), a pastel-coloured shimmered set made with clay. It additionally featured ‘chaak‘ (potter’s wheel), the delight of the kumhar group.
Batashe, puffed rice, kheer, kheel, edible sugar crafted toys have been a quintessential a part of Diwali puja; these sugar toys got here in varied shapes of minarets and animals. The ‘chaughars‘ in kuliya chukiya have been for marital bliss.
Diwali was incomplete with out the inclusion of kumhars in our rituals. Prakash, one of many potters from Bihar who put up his stall in Delhi’s Masoodpur village, stated throughout Diwali he can spin about 50 kg of clay on his chaak and might make 1,000 diyas. He has additionally mastered the artwork of constructing kulhad and gabni (a ritualistic object). In Delhi, the kumhar bastis are situated in Uttam Nagar; one can stroll an additional mile and make Diwali particular for them by sourcing diyas from right here.
Kuliya chukiya (Picture: Aditi Narayani)
One other attention-grabbing perception was that of recognizing a uncommon owl, thought of to be the provider of Goddess Lakshmi. It’s stated its sight may convey wealth — because the ‘vahana‘ is the embodiment of fabric wealth, mental wealth, and religious wealth. The footsteps of the Goddess are additionally drawn on the entrance with vibrant colors blended with rice flours signifying her ‘aagaman‘.
Diwali additionally means various things to completely different individuals. Kids within the northern belt usually accompany their dad and mom to outlets, factories or places of work to arrange idols of Lakshmi and Ganesh to draw wealth and prosperity. In Bengal, the ‘prodeep‘ awaits the arrival of the Goddess.
The lengthy and tedious description of the rituals and the backstory of the competition in several areas of the nation point out that this one competition has myriad interpretations and meanings connected to it. Someplace, the motive is to garner prosperity and peace; elsewhere, it stands for the destruction of evil and all hurdles. Regardless of the variations, one underlying perception stays fixed: the function of the Goddess in liberating human life from the grip of darkness.
Diwali generates an essence of belonging (and ‘utsah‘), which is crucial for the social assimilations and to determine a way of togetherness, solidarity and expression of self.
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