Pujas 2020 - The Year of the Pandemic Prudence... A Review

The writing was mostly on the wall. The year was going to be a watershed. The world had been impelled into a matchless frenzy in 2020 due to the pandemic. And that itself wasn’t the only disaster that our immediate neighbourhood ecosphere had to endure. There were Super Cyclones, Mega Floods, Locust Attacks, Gas Leaks to add to the already high catastrophe quotient of the year. Economy was reeling, retail had bled dry, people were in utter remorse & anxiety… and obviously, there was this imminent threat of the contagion which although in its trailing first wave was still menacing enough. Well, we are aware that Bengal hasn’t quite been an ideal industrial/financial hub which can generate justifiable livelihood for its people round the year. And that is where the importance of Durga Puja emerges in the socio-economic set up of Bengal. Pujas provide the much needed annual stimulus for masses in Bengal ranging across multiple strata of the societal pyramid. About 6 weeks leading up to the Pujas are extremely crucial for the Bengal calendar. But this year was different; it bore the shadow of melancholy and death around us.

Durga Pujas in West Bengal is one of the biggest human gatherings in the world. It is also one of the most significant economic drivers for the State. A 2013 Assocham report estimated it at 25,000 crore and growing at 35% CAGR whilst some evaluations say that close to 30% of the State’s quantifiable GDP is in some way or the other linked to Durga Puja. A slump in Pujas would mean an overall deflation in the economic flow for the State. And for a state like West Bengal, which hasn’t had the deepest of coffers by any stretch of imagination, the situation was as gloomy as it can get.

Probably for the first time in the post-independence era, Kolkata Pujas would render a declining curve in terms of creativity, viewership and pomp. Due to the pandemic, the committees across the city agreed to stage the Pujas under restricted settings in alignment with applicable Government advisories. Additionally, there were sanctions on structural designs of Mandaps, the height and size of Idols and most importantly there were strict restrictions on number of people allowed to view the exhibit. Obviously, there was uncertainty over how the committees would manage everything and yet retain the aesthetics of the displayed artworks. The designers and theme makers had to reorganise and alter their blueprints according to the need of the hour. It had to be a complete overhauling of the plan… the designers had to almost unlearn all the experience that they had gathered over so many years. It would end up being extremely challenging on all fronts.   

The countdown to the Pujas was expectedly placid. And this low ebbed buzz was apparent with the city streets and intersections far less encumbered by the usual gamut of Club banners flaunting their respective themes, ideators, modellers and highlights. During other normal years, the same ones were meant to be signage of things to expect, but this year was different… this year spelt somewhat like a sleepy hollow, a year cursed…. Hence with limited scope all across, the lens for reviewing each Puja also needed to be recalibrated…. Let’s see how it went….          

The Bloopers of the Year

Samaj Sebi Sangha

Pradip Das recreated a typical railway platform overpass to illustrate "Setu" (Bridge).... the notional link between humanity and the Goddess... basic cane and bamboo work typified minimalism.... the lighting across the Mandap was a bummer, something which took the punch out of what could have been a good display.... the colour palette was in a muted khaki tone that sort of sullied the theme to a large extent…. also the overall design of the Pandal was a tad inconclusive and too much left to imagination, somewhat of an unfinished product… the deity was, of course, a pretty one..

A Quaint Railway Platform Set up as the Pavilion 

The symbolic Wooden Footbridge

The Puppetish Idol 

Tala Barowari

Subrata & Ankita Banerjee’s treatise – “Shaktiroopeno Sangsthitaa” was based on the premise of saluting the Indian Army and their heroics over the last 75 years… the entrance foyer was flanked by line of installations of rifles standing on their barrels with Helmets of unknown martyred soldiers…. This excellent thought was stymied by hanging gargoyle-ish figurines, which might have depicted the external enemies that the Army-men have to face but looked a bit out of sync…. A spate of cannon barrels provided the props to the main sanctum…. A missile replica was planted atop the sanctum piercing its way upwards resembled more of a craft class product than something aesthetic….

Pavilion Entrance flanked by carved Gun Handles 

Gargoyles on the Wall somehow contradict the Buddhist Prayer Wheels in terms of design

The Cannon Barrels used as props for the crypto theme

Main Sanctum had a Missile planted skywards,
with a strange winged creature trying to convey some palpable message  

 

Deity with couple of Simpering Lions 

Tala Park Protyoy

“Lokoheet” or Humanity was the theme designed by Sushanta Pal, where a miniature Idol was placed inside a glass chest epitomising the restricted viewership that the pandemic had imposed upon the spectators. The atrium revealed a white breathing apparatus portraying the state of claustrophobia, our lives have been forced into. The semi open canopy imparted a gagged appearance, too minimalistic in its fabrication and connotation. Too much, yet too little....

Semi Open Canopy set up in Bland Whites

A Veiled rostrum with a Digitised Photo Wall Background

The Ceiling with a breathing Contraption

The sheathed mini Idol that was digitally projected on the Photo Wall

THE ANTI CLIMAXES OF THE YEAR

Nepal Bhattacharya Street Sarbojanin

The novel idea of 3 Committees collaborating to pay tribute to Satyajit Ray’s Apu Movie Trilogy created a lot of Pre-Puja buzz expectedly. While the first 2 parts of the trilogy were pretty well exhibited by the first couple of Committees, the anticipation quotient for the culmination of this collaborated effort was obviously high. Here, the last in the series, the pandal had a replica of a giant projector at the gate while the marquee featured images from Apur Sansar, the third trilogy film. And that’s about it. Budget could have been a factor but sadly, the prospect of a lofty climax met with disappointment.

Pandal Foyer flanked by Signature Shots from Apu'r Sangsar 

The Idol seated in a rundown layout

    

A Forlorn Setting

Santoshpur Lake Pally

A model potters' ghetto was the random scene recreated here by Somnath Mukherjee coined as “Maati’r Taaney”.... one could get a glimpse of a many unfinished/just-finished idols spread across every nook and corner of this straggling Mandap.... the idol in terracotta finish by Sanatan Dinda complimented the flavour of the concept... a fair attempt, but somewhere lacking the sucker punch….

Unfinished Idols at the entrance to the Potter's Ghetto 

A Backyard-ish feel to the Pandal

Idols in various stages of construction

Sanatan Dinda's terracotta Idol

Naktala Udayan Sangha

The Committee had roped in 60 migrant labourers, who had just returned from other states, to erect an open air bamboo mesh pandal resembling waves. 'Tawrongo', the focal thought behind the puja, executed by Bhabotosh Sutar indicated the ripple effect of the pandemic across all strata of our society. The Mandap symbolically projected the plight of the migrants through a replica of truckload of daily wage earners scrambling for foothold on this single vehicle. The subject got diluted in the method of its execution while the idol in Her artsy avatar, was kind of underwhelming amidst the elaborate milieu.  

Bamboo-made Orbs in ambient White as the Pandal Forepart

The winged truck Installation transporting Migrant labourers

Minimalist meshed canopy-work for the Altar

Bhabatosh Sutar giving finishing touches to the Idol

 

THE FINEST OF THE YEAR

78 Palli, Alipore (Dhawrmo Ghawt by Abhijit Ghatak)

A tableau illustrating rural Bengal's Gajan festival.... Abhijit Ghatak drafted various snapshots endemic to a Gajan Mela (Fair)...Gajan is a rural community festival that resonates with the masses and is celebrated across an entire week… the sidewalk stalls, Wall Alpona Art, lac figurines were all presented resplendently to render a glorious sight.... the colour combo and the incandescent ambience added a sublime glow... the cherubic deity was a showstopper.... a magnificent showpiece altogether...

The gateway into the make believe Fair Ground

Stalls selling the daily nondescript flanked the corridor 

Walls wore trademark Gajan Artworks 

Warm lights and earthy colours all around

Semi Open Altar

Vibrant Imagery

Ahiritola Jubak Brindo (Bhokti'tei Mukti by Prashanta Pal)

A Crimson aura was created by Prashanta Pal across the pavilion by using various red props and décor used in the daily Puja routines. The thematic statement professed the much touted belief of finding salvation through devotion. Mandap was fabricated with traditional “Gamchha” (Bath Towels), Handheld Fans, Pata Chitra murals and frills…. A glimpse into the Mandap would give an illusion of visual perpetuity…. A very very simplistic montage designed in an extremely pleasing and deft manner…. The idol also emanated a scarlet evanescence creating a beautiful combination….

Pandal Facade with Traditional Red Cotton Towels & Hand Fans 

Walls decorated with Kalighat Style of Paintings

Interiors primarily in Shades of Claret Red Marquee and Folk Motifs 

A Prissy Idol

Chorbagan Sarbojanin (Joy Maa Boley Bhaasha Toree by Bimal Samanta)

Inspired by Poet Sukanta Bhattacharya’s timeless words, the prime idea of which was that a present day seed had the prospect of turning into a full grown plant in the future…. A swank bamboo grove.... spiffy, crisp installations across the Mandap... a signature Bimal Samanta rendition - "Agaami" (The Forthcoming)..... the entire Mandap didn’t always follow a definite pattern but this artistic chaos was extremely well disguised... the compositions came across as being a sequential part of a brouhaha... fascinating idol by Naba Kumar Pal completed a brilliant overall exhibit……

Entrance to the Sanctum

Bamboo Stick Interlaced framework 

Open-Grove abstract design

Curvy Ambience

Devi in all her earthy grandeur

Dum Dum Park Tarun Dal (Umaa Baati by Debatosh Kar)

Cane work displays have been done to death, but yet if presented in a novel way they seem to always produce the goods. The entrance foyer had a tunnelled appearance created by bamboo installation work which led to the main sanctum. Frames, Baskets and meshwork displays were laced across the semi-open Mandap that was named as Umaa Baati or Devi’s Abode. Aptly, the main sanctum bore resemblance to a thatched hut suggestive of rural Bengal. The colourless-ness of the pavilion was largely augmented by the richly hued idol that emanated radiance in a low-lit setting.

Meshwork Arches leading to Devi's abode

Traditional Grass-Hay Thatched Sanctum

Wicker Baskets flanking the Mandap Walls

Devi's Altar

A Port-hole View

 

Hindustan Club (Praan Baayu by Ayan Saha)

A club which albeit its junctional location has remained a fringe stopover all this while... helmed by Ayan Saha, the premise of the thematic construct was "Pran Vaayu" (Winds of Life)... Vitality and fatigues of daily lives are always at loggerheads… the Mandap resembled a gigantic pair of lungs which even in its nondescript existence act as the main fuselage to human lives.... Bamboo and coloured sacks were the main components used… Magenta shaded lights and Mohan Mondal's deity in her minimalistic countenance were sights to behold….

Approach to the Altar

Mandap in the form of Human Respiratory System

Interiors primarily in shades of Fuchsia

A Beautiful Idol

Kankurgachhi Jubak Brindo (Bishwaash'ey Milaaye Durga by Malay/Subhamoy)

Surrealist art on display is a tad tricky proposition.... something which is easily envisaged, but extremely difficult to execute... Designer duo Moloy/Subhamoy's "Bishwash'e Milaaye Durga" (Discovery of Durga through Faith) charted a discourse unveiled in tranches... the cane & bamboo gateway denoted entry to the murky human mind, while the vestibule implied the involuntary daily interplay between Man & Almighty... the interior was highlighted by the Eye of Insight, that drove the lesser mortals into submitting to holy faith.... Parimal Pal’s Idol was easily one of the best of the year, with an amiable swagger which appeared cutely infectious.... definitely one of the best works of the year overall....

Bamboo-meshed Entrance Foyer

Abstract visuals referring to the Inner Eye

Representation of the Man & Supreme Almighty Relationship in daily lives 

Latticed Ceiling

Blissfully Seraphic Idol

Devi's close up

Manasbag Sarbojanin (Dhawra'r Maajhey Shawra by Tapasi/Sandip/Sanatan Dinda)

One of the farthest that I've travelled for a Sarbojanin Puja.... about 20 km from my residence, but must say it was well worth the distance... Designers Tapasi & Sandip designed a slick pavilion in shades of scarlet red... the outer panels adorned traditional Bengal "Pawt Chitra" Art while the interiors reminded of the archetypal Bengal village walls with Alpona Art..... the idol, by Sanatan Dinda, in her rapturous Avatar also complimented the colour combo and the homespun-ness of the Mandap... splendid synergy all across....

Bengal's traditional art on Clay Pots matched with
checkered red cotton towel on the Mandap Walls 

Mandap Facade decked in Flannel Work with beautiful Alpona at the Entrance

Interiors also reeked of a rustic Altar, extremely minimalistic yet fabulously done up

A Sanatan Dinda Wonder Work 

Nalin Sarkar Street Sarbojanin (Poreekathaamo by Manas Das)

Manas Das essayed this installation art under the axiom - "Poreekathaamo" (The Framework) that showcased the foundational building blocks of any Puja - Bamboo & Cane.... the artiste utilised the entire length & breadth of this serpentine strip including the adjacent balconies to present a series of motifs exemplifying the sub-structural constituents.... the Red & White combo worked beautifully under filament lights... the earthy deity by Saikat Bose was also splendid in her simplicity and naturalness... easily amongst the best….

Warm Illumination wrap the Narrow Lane

Bare Bamboo frames which form Devi's Background have been used as the Primary Prop  

Adjoining Apartments have also been seamlessly synced with the overall theme

The Minimalistic almost unfinished Idol

Pally Sharodiya (Dhopaa Colony by Raju Sarkar)

We had grown up seeing knockoffs of temples, forts & even mausoleums modelled as Mandaps... times changed and so have the type of replications.... modern day artistes have now introduced more realism in their designs by reproducing snapshots from diurnal existence, sites and whereabouts.... Raju Sarkar presented a motley image of a next door laundry bay..... the imagery encapsulated scenes right from the wash platforms, to assortment of cloth-lines and ending with a mock-up delivery desk.... the highpoints included the multicoloured smoothening irons and a excellently patchworked rehashed taxi, seemingly ready to deliver the goods... a top notch lifelike representational display all around....

Installation Art on the Car

Denim trousers, Sarees left to dry above the Laundry bay

Steam Irons waiting for the Clothes to Dry

Devi seated at the Office of the Washerman Colony

The Glossy Idol

SB Park Sarbojanin (Jeebon Juddhey Bigroho by Partha Dasgupta)

Partha Dasgupta's conceptualisation of "Jeebon Juddhey Bigroho" (Divinity in the Battle of Life) established this elaborate pavilion as a canvas of civic life & the daily conflicts thereon.... a celebration of the working class… the hero of the show was undoubtedly the ostentatious lighting by Soumen Chakraborty who managed to showcase the huge Mandap panorama almost as a Theatre Stage.... the deity in her Jagaddhatri Form had a touch of Rajasthani style to it... an extremely admirable piece of work....

Panoramic View of the Mandap-scape 

Extravagant Illumination

The Dramatic Stage Design

Image in the Rajput Style of Art

BEST IDOL OF THE YEAR

Rajdanga Naboday Sangha (Subrata Banerjee)

“Sholaa’r Shaaj” or Devi in wood sponge attire was pretty prevalent even 20-25 years ago… the pristine whites augured a warm temper that was enhanced by the Shola embellishments on the deity… now sadly it’s almost a forgotten art… Subrata Banerjee recreated this traditional Sholaa’r Shaaj within old fashioned spacey palatial Mandap which we all grew up seeing in our formative years….The Devi in her calming version, bore an austere countenance that made the creation even more effervescent… A beautiful work of art which gave us all a whiff of pure nostalgia…

Milky White Imagery

Low Shot Angle with the "Shola" embellishments 

Gorgeous Deity