From Agomoni songs and Kola Bou Snan to Daaker Saaj, Chalchitra and a Rs 60,000-crore economy, here are 10 interesting facts about Bengal’s Durga Puja
In another three days, Bengal’s biggest festival Durga Puja will officially begin, with the ritual of “bodhon” (awakening) of the Goddess being performed on Maha Shashthi on Friday (October 16).
According to Hindu mythology, it’s not merely an awakening but an “untimely awakening” (akal bodhon) because this is the time when Lord Ram prematurely woke up the Goddess to seek her blessings before fighting Ravana in the epic Ramayana. The traditional time for worshipping the Goddess is actually spring, when Basanti Puja is performed.
However, this “untimely puja” is what Bengal and many other parts of India have embraced, with Durga Puja in Kolkata officially being inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2021.
Here are 10 interesting facts about Durga Puja in Bengal that you may not know about.
1. Agomoni: Durga, the daughter, visits her parental home
For the rest of India, Goddess Durga may only be a revered deity who slays the buffalo-demon Mahishasura, but for Bengal, she is also a daughter who comes to visit her parental home with her four children, Lakshmi, Saraswati, Kartik, and Ganesh, from her husband Shiva’s abode in Kailash for four days. And that is how many of the cultural symbols and rituals—whether it is Agomoni songs or Sindoor Khela on Bijoya Dashami—are envisioned.
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Agomoni (arrival) songs are traditional devotional songs, rooted deeply in the folk music of Bengal, which herald the arrival of the Goddess to Earth. What makes Agomoni songs unique is that they do not portray Durga as a fierce, demon-slaying warrior deity. Instead, they treat her as Uma or Gouri, the beloved daughter who returns from her husband’s abode to visit her parents.
The compositions often revolve around themes of parental longing, with mother Menaka and father King Giriraj Himalaya anxiously awaiting their daughter’s homecoming, often humorously reflecting concerns about her “ascetic husband”, and whether their daughter is well-fed and taken care of.
The famed Sindoor Khela on Bijoya Dashami is a reflection of the same sentiment. This is the emotional day Uma must leave her parents and return to Kailash. Sindoor Khela is the human embodiment of sending off a daughter with joy rather than tears. Married women perform the Goddess’s boron (kind of aarti), smear her hair with vermilion and her lips with mishti (sweets) before she is taken for immersion.
And, they never fail to say at the immersion, “Asche bochor abar hobe (it will happen again next year).”
Married women smear the Goddess's hair with vermilion, her lips with mishti, and wipe her face with betel leaves, before she is taken for immersion. Photo: iStock
2. Idol is incomplete without soil from brothel
One of the most distinctive rituals associated with Bengal’s Durga Puja is the centuries-old practice of using “punya mati” or “holy soil” from the doorstep of a sex worker’s home. According to traditional customs, a Durga idol is considered incomplete without a handful of earth collected from a brothel. Not only that, idol-makers have to “beg” for that soil.
While there is no single explanation for this custom, it is often viewed as a powerful symbol of social inclusion. Durga Puja is widely regarded as a “sarbojanin” (for everyone) festival in Bengal. By requiring a contribution from a community long subjected to stigma and exclusion, the tradition acknowledges the place of sex workers within Bengal’s biggest religious celebration. The act of “begging” for the soil grants women from the marginalised community the authority to bestow or withhold the blessing.
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Another widely known explanation is the belief that men leave behind their piety and moral righteousness before entering a brothel. Over generations, these accumulated virtues are believed to have sanctified the soil at the threshold, giving rise to the belief that the earth possesses spiritual purity and therefore becomes worthy of inclusion in the Goddess’s idol.
Scholars and devotees also trace the practice to mythology. References to the Navakanyas in Vedic literature emphasise honouring diverse manifestations of feminine energy. Another popular legend recounts how Lord Shiva, disguised as a leper, was cared for by sex workers and subsequently decreed that worship of Goddess Durga would remain incomplete without soil from their courtyards.
3. The Goddess’s ornaments: Daaker saaj and sholar saaj
Saaj refers to the decorative attire and ornaments used to adorn the clay idols of Goddess Durga and her children. In Bengal’s centuries-old Durga Puja tradition, the most prominent styles are Sholar Saaj and Daaker Saaj, two distinct forms that differ in their materials, origins and visual appeal, though the terms are often used interchangeably today.
Sholar Saaj is the older and more traditional form of ornamentation. Crafted from the soft, white core of the shola plant, it involves intricate handwork by the malakars, who carve delicate crowns, jewellery and decorative backdrops for the idols. Shola once grew in abundance in eastern India and possibly evolved as a natural choice for the ritualistic ornaments. Even wedding headgear for the bride and groom are made from shola in Bengal, and so are a host of other ritualistic and decorative items.
Daaker Saaj, by contrast, emerged during the 18th-19th centuries when wealthy zamindar households sought more elaborate decorations for their family pujas. The beaten silver foil imported from Germany through the colonial postal system gave rise to the name “Daaker saaj” or “postal adornment”. The shimmer on the metallic surfaces would create a dazzling effect, making it a popular choice for the rich. Nobody but the landowners could afford it.
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Interestingly, dwindling shola cultivation today has altered the situation. The beaten silver or golden foil is cheaper compared to shola work today; neither does it have to be imported by daak. Kumartuli artisans do not strictly limit themselves to these two forms either, often blending the styles, or even adding sequins and zari work or other forms of décor.
4. Chalchitra, the artistic backdrop
Chalchitra is the traditional painted backdrop that frames the idols of Goddess Durga and her four children besides Mahishasura. Derived from the words chala (covering) and chitra (painting), it serves not only as an ornamental feature but also as a key structural and artistic element rooted in Bengal’s centuries-old Patachitra folk art tradition.
In the classical style of idol-making, Goddess Durga and her four children are sculpted as part of a single Ekchala structure. The chalchitra forms an overarching frame behind the idols, creating a dramatic backdrop. Before the advent of elaborate theme-based pandals and electric lighting, these hand-painted canvases were all that could be used to enhance the ambience of puja spaces. Historical accounts trace the craft back nearly 1,200 years.
Traditionally painted by Patuas or Chitrakars, the Chalchitra functions as a visual narrative canvas depicting scenes from Hindu mythology. Images of Lord Shiva often occupy the apex, while surrounding panels portray the Dashavatar, Navagraha, episodes from the Ramayana and Krishna lore, as well as depictions of the Goddess’s battle against Mahishasura and other demons.
The art form also reflects distinct architectural influences, with styles such as Bangla Chal, Markini (American) Chal and Mothchouri Chal varying in shape and design. While the art form declined with the rise of modern theme-based Puja aesthetics, heritage households and skilled artisans in Krishnanagar and Nabadwip continue to preserve the tradition.
A Durga idol in daaker saaj with an ekchala backdrop. Photo: iStock
5. Painting the eyes: From earthly to divine
Painting the eyes of the Goddess is a key ritual in Durga Puja. Traditionally it was performed on Maha Shashthi or Maha Saptami (differed from family to family) because this final stroke of the brush symbolizes breathing life into the Goddess’s Mrinmayi (clay) form to transform her into a living divine presence—Chinmayi form.
It is done at the very end of the idol-making process. A senior artist usually paints the Goddess’s eyes in a fixed sequence: The Trinayana (third eye) is painted first, followed by the left and then the right eyes, in the presence of a priest who chants holy mantras. Traditionally, the eyes are not painted with a brush either. Instead, a ghee-coated bel leaf is burnt and the soot is applied with a stemless bel leaf or with kush grass.
However, nowadays, most community pujas do not follow these rituals. Kumartuli artisans paint the eyes just as they would the other parts of the idol, often on Mahalaya, which marks the end of Pitri Paksha, to be followed by Devi Paksha, the sixth to ninth days of which mark Durga Puja in Bengal.
6. Nabapatrika or Kalabou: Remnant of an ancient harvest festival
The Nabapatrika, popularly known as Kola Bou (Banana Bride), is one of the most distinctive rituals of Durga Puja in Bengal. Commonly seen as a banana plant draped in a red-bordered white saree and placed beside Lord Ganesha, it is often mistaken in popular folklore as Ganesha’s wife. However, religious tradition identifies it as a manifestation of Goddess Durga herself in vegetative form, reflecting the festival’s deep connections to nature worship and agrarian culture.
The term Nabapatrika literally means “nine plants” or “nine leaves”. It is created by tying together nine sacred plants, including banana, turmeric, bel, pomegranate, ashoka, arum, colocasia, jayanti and paddy. Each plant represents a different form or aspect of the Goddess and collectively embodies the divine feminine power worshipped during Durga Puja. The banana plant serves as the central element, giving the ritual bundle its familiar appearance and popular name.
Scholars view the tradition as a surviving link to ancient harvest rituals that predate idol worship. Performed during the autumn harvest season, the Nabapatrika symbolises fertility and agricultural abundance. Before dawn on Maha Saptami, the sacred bundle is carried in a procession to a river, accompanied by the sounds of dhak and conch shells. After a ceremonial bath, it is dressed in a fresh saree, adorned with vermilion and installed beside Ganesha, marking the formal commencement of the festival’s main rituals.
Nabapatrika (Kala Bou) Snan at one of the Hooghly Ghats on Maha Saptami. Photo: iStock
7. When fish and meat are holy and auspicious
While other parts of India observe strict Navratri fasting, Bengali can be seen gorging on fish fry, mutton biryani, and egg rolls outside pandals. Not only among the masses, eating and offering non-vegetarian food during Durga Puja is deeply rooted in ancient scriptures and ritualistic practices rooted in Bengal’s Shakta and Tantric heritage.
This heritage venerates Goddess Durga as Shakti, the embodiment of primordial energy and a warrior deity who defeated Mahishasura. Within this tradition, offerings of fish, meat and, in some cases, alcohol are viewed as symbolic offerings of life force to the Goddess.
This connection extends into ritual worship itself. In many traditional households and temples, sacrificial meat (bali) offered to the Goddess is later consumed as mahaprasad. Interestingly, these preparations are made without onion and garlic, ingredients traditionally regarded as stimulating and therefore unsuitable for ritual cooking, while the sacrificial meat itself is treated as sacred.
Fish also occupies a special place in Durga Puja rituals. On Bijoya Dashami, many Bengali households consider the offering and consumption of fish auspicious. Those tracing their roots to the erstwhile East Bengal (now Bangladesh) will bid adieu to the Goddess with hilsa, while those with West Bengal origins will do so with rohu, reflecting the enduring influence of Bengal’s riverine culture and Shakta traditions.
8. New books, fresh music: A cultural launch pad
Over the decades, Durga Puja has evolved into Bengal’s premier cultural launch pad.
Released in the weeks leading up to the festival, Puja Barshiki, or Sharadiya Patrika, are special annual magazines that feature exclusive novels, short stories, essays and poetry by both established and emerging Bengali writers. Produced by leading publishing houses and newspapers, they are eagerly collected and read during the autumn holidays, with editions catering to adults, teenagers and children alike.
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The Puja Barshiki tradition has played a pivotal role in shaping Bengali literature. Literary giants such as Rabindranath Tagore, Sarat Chandra Chattopadhyay, Ashapurna Devi, Leela Majumdar and Sharadindu Bandyopadhyay enriched the genre, while Satyajit Ray famously introduced Feluda and Professor Shonku adventures through festival publications.
Later, bestselling authors such as Sunil Gangopadhyay, Shirshendu Mukhopadhyay, Samaresh Majumdar, Buddhadeb Guha, Sanjib Chattopadhyay and Suchitra Bhattacharya continued to make the Sharadiya editions a literary event.
Durga Puja has also long been associated with the release of new music. The tradition of Pujor Gaan once saw legendary singers such as Hemanta Mukhopadhyay, Kishore Kumar, Asha Bhosle, RD Burman and, in later years, Kumar Sanu, Abhijeet and many others, unveil special non-film songs ahead of the festivities, a practice that continues through independent artists, bands and film soundtracks.
Songs from the legendary Mahishasuramardini radio broadcast remain all-time favourites, still echo through every street, radio, and pandal, signaling that the festive season has officially
9. No Puja without the dhak
The dhak, Bengal’s iconic barrel-shaped drum, is among the most recognisable symbols of Durga Puja, with its rhythmic beats signalling the arrival of the festival and accompanying its most significant rituals.
Deeply rooted in Bengal’s rural culture, the instrument has historically been used in harvest celebrations, weddings and religious ceremonies, eventually becoming inseparable from the worship of Goddess Durga in the region’s Shakta tradition.
Throughout Durga Puja, the sound of the dhak forms the festival’s emotional soundtrack, accompanying rituals such as Pushpanjali, Dhunuchi Naach, Sindoor Khela and the immersion procession—each one having specific rhythms (bols) reserved for them.
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Behind the performances are the dhakis, many of whom are agricultural labourers, sharecroppers and artisans from rural districts such as Bankura, Purulia and Murshidabad. During the Puja season, they travel to cities and towns carrying these drums that can weigh up to 15 kg.
Dhaks are often decorated with elaborate feather plumes, while dhakis combine drumming with rhythmic body movements, spins and coordinated footwork, transforming the act into a vibrant folk performance that remains central to Bengal’s festive identity.
The dhak is an intrinsic part of Durga Puja rituals. Photo: Wikimedia Commons
10. A Rs 60,000-crore economy
Durga Puja has evolved far beyond a religious festival to become one of eastern India’s largest economic drivers. Latest estimates place the festival economy around Rs 50,000-65,000 crore, with broader spending on retail, travel and allied sectors pushing the figure close to Rs 80,000 crore. Studies have also found that the annual celebration contributes a significant share of West Bengal’s Gross State Domestic Product, underlining its importance to the state’s economy.
Apart from retail, fashion, jewellery, food, and hospitality businesses, the festival fuels a thriving creative economy. Large-scale investments flow into the construction of elaborate pandals, artistic installations, lighting displays and cultural programmes. Corporate sponsorships and advertising campaigns have become an integral part of the celebrations, with major brands competing for visibility during the festive period.
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The most significant impact is on livelihoods. Durga Puja supports millions of direct and indirect jobs over several months, providing crucial income to idol-makers, bamboo craftsmen, electricians, dhakis, decorators, florists, printers, and numerous other workers in the informal sector. The festival acts as a powerful engine of economic redistribution, channelling urban spending into rural and artisan communities across Bengal—truly embodying the sarbojonin or inclusive spirit of Durga Puja.
