Dipak Kurmi
(The writer can be reached at dipaknewslive@gmail.com.)
Folk festivals, those enchanting tapestries woven by the hands of tradition, cast an undeniable spell upon the civilization and culture of a land. Nestled in the northeastern embrace of India, Assam dances through the rhythmic cadence of summer, rainy, autumn, pre-winter, winter, and spring. As nature herself orchestrates this seasonal symphony, humans, the whimsical creatures of flight, burrow, stride, and wander, partake in the celebration of folk festivals.
These jubilant occasions mirror the social heartbeat that pulsates through the very fabric of Assam’s existence, each festival a unique chapter in the grand narrative of life.
Picture the celestial ballet unfolding high above—the equator, that mystical axis standing proudly between the Earth’s crowns, the North and South Poles, extending its invisible arms in a majestic east-west embrace. As our planet pirouettes around the sun within the cosmic dance, the equinox steps onto the stage at two ethereal junctions where Earth’s orbit intersects with the celestial sphere. Behold the Great Equinox and the Water Equinox, or the poetic Sharadi Equinox, marking the spots where Earth and Sun exchange a celestial wink.
In this cosmic waltz, the equinoxes choreograph a mesmerising spectacle, dictating the equilibrium between day and night. As our orb pirouettes its way around the sun, March 21 steps forward, draped in the title of the Great Equinox, where equilibrium reigns supreme at the equator. Then, on September 23, the Water Equinox graces us with its presence, again casting the world in equal parts light and shadow. The celestial pas de deux is where day and night twirl in harmony across both hemispheres.
Witness the unfolding drama as March 21 heralds spring’s arrival in the north while autumn gracefully descends upon the southern hemisphere. Conversely, on September 23, the equinox signals the southern embrace of autumn and the northern emergence into the blossoming arms of spring. It’s a cosmic narrative, scripted by the intricate ballet of Earth’s position in the cosmic theatre, where seasons pirouette and nature takes a bow. Autumn, a true aficionado of nature, graces the world as a masterful decorator, adorning the tapestry of the earth with an array of exquisite ornaments. The air becomes an aromatic symphony as the night jasmine, also known as coral jasmine, releases its fragrant notes, filling the very bosom of nature with an intoxicating perfume. The dunes, transformed into a canvas of pristine beauty, wear snowflakes like delicate diamond pearls, a celestial jewellery bestowed by autumn’s artistic hand.
The arrival of autumn is not just a mere change in seasons; it is a herald of vivacity that dances through the minds of people. A whispered secret awakens the spirit and breathes life into the soul. And as the Earth transitions into the embrace of autumn, a cultural celebration unfurls—the Sharadiya Durga Puja, a folk tradition that paints the season with vibrant hues and festive fervour. It’s a testament to the symbiotic dance between nature’s artistry and human celebration, where autumn takes centre stage as the curator of enchantment.
While the tapestry of Durga Puja is often woven with the golden threads of autumn, the original divine spectacle of Shri Shri Maa Durga Puja unveils itself not only in the fall but also in the tender embrace of spring. This alternate celebration, known as Basanti Puja, pays homage to the goddess’ primordial power amid the blossoming season. It’s a whispered secret within the cycles of worship—a sacred rendezvous with divinity that unfolds not just under the amber hues of autumn leaves but also amidst the delicate blooms and rejuvenation of spring’s tender caress. In the grand narrative of devotion, Basanti Puja emerges as a symphony of reverence, where the goddess’ grace is acknowledged in the vibrant awakening of nature’s renewal.
Pinpointing the inception of Durga Puja in Assam is akin to chasing shadows through the corridors of time. The reverence for Maa Kamakhya traces its roots back to the Vedic era, an ancient hymn sung across epochs. In the intricate tapestry of historical musings, Hunter William Wilson, in his literary odyssey on Maa Kamakhya, ventures into the realms of speculation. Within the pages of his discourse, Assam and Bengal emerge as the cradles of Shakti worship, the sanctuaries where the primordial energies find expression.
In the nuanced dance of words, Hunter William Wilson weaves a narrative that suggests Assam, perhaps even the northeast of Bangla, serves as a wellspring for the esoteric currents of tantra and the vibrant stream of Sakta beliefs. His writings unfurl a proposition that echoes across the pages of time—a proposition that suggests Assam’s soil, or at the very least the northeastern whispers of Bangla, harbours the origins from which the sacred rivers of tantra and Sakta spirituality flowed, intertwining with the verses of the Vedas and Puranas. In this intricate mosaic of religious evolution, Assam emerges as a mysterious font, a source echoing with the ancient hymns of devotion and spiritual exploration.
Beyond the silent testimony etched in ancient copperplates and the stoic embrace of sculptures, the sacred verses of the Devi Puranas weave a narrative that resonates with the worship of Goddess Kamakhya upon the hallowed grounds of Nilparva (Nilachal). A lyrical proclamation emerges from these venerable texts, suggesting an enduring tapestry of devotion that has gracefully unfurled in the heart of Assam across the centuries. The whispers of worship, like an ancient melody, have echoed through the ages, painting the landscape with the hues of spiritual reverence and invoking the divine presence of Goddess Kamakhya.
In the sacred enclave of Sadiya, the Tamreswari Temple stands as a testament to the divine, housing the idol of Maa Durga. A name whispered through time, the temple earns its appellation, Tamreswari, from the celestial embrace of a copper-roofed sanctuary. Legend, a tapestry woven with threads of folklore and history, narrates a poignant tale—a tale that unfolds in the fifth century AD, where the idol, like a mystic secret, found its watery refuge in the depths of the Dibang River.
In the silent corridors of folk belief, an echo resounds—a tale of devotion and resurrection. As the idol descended into the river’s embrace, four souls of the Deori community, touched by faith, bathed in the waters and, with reverence as their guide, lifted the divine effigy from its aquatic slumber. On the sacred banks of the Kundil River, this reborn deity found its earthly abode, and thus, the Tamreswari Temple, also known as Kecaikhati, came into being. Here, within the sanctum of worship, a sacrificial rhythm pulses, echoing ancient rites and rituals.
The temple’s roots, buried deep in time, unveil a mystery predating the fifth century AD—a relic from an era before recorded history. Amidst the dance of cosmic forces, the idol, veiled in conjecture, may have succumbed to the caprices of a natural upheaval. Whispers of worship, however, lingered through the epochs, echoing through the reign of the Chutiya dynasty, a testament to the enduring spirit of reverence that transcends the sands of time.
In the embrace of autumn, the festival known as Akal Bodhan unfolds its mystical chapters. Beyond the customary worship of the goddess during Navaratri in spring, Akal Bodhan earns its name because it beckons the premature awakening of the divine in autumn. As the sun commences its southern sojourn from the closing days of Srabon, a belief takes root—a belief that during this celestial migration, the gods and goddesses slumber. Invoking them during this unconventional period becomes a sacred act, and thus, the goddess is roused from her celestial repose for the puja on the Shukla Paksha of the month of Ahin.
After this awakening, the seventh puja commences with the establishment of the Nava Patrika. The goddess, honoured on the evening of Shukla Shashthi Tithi in the month of Ahin, is woven into the fabric of a mythic tale. Legend whispers that Lord Rama, seeking divine intervention after the abduction of his wife Sita by the Lord of Lanka, Ravana, initiated this puja in the autumn. Ravana, a man devout in his observances, posed a formidable challenge. Lord Sri Sri Ramachandra, invoking Maa Durga, sought her blessings to triumph over Ravana.
Amidst the layers of tradition, an intriguing belief emerges—the soil from the courtyard of a prostitute is deemed essential for crafting the idols of Durga Puja. A societal allegory unfolds: when a person treads into the realms of vice, the merits earned until then linger in the courtyard of a prostitute. Thus, the soil from this unconventional source becomes a poignant metaphor for redemption and transformation.
The Nava Patrika, a congregation of nine goddesses, graces the heart of nature and was established on the morning of the seventh day of Navaratri Puja. This divine assembly manifests through the embodiment of plants—the Ashoka tree, Sesbania sesban, Giant Taro plant, Pomegranate plant, Indian Bael plant, Rice plant, Turmeric plant, and the Banana tree. Nature, in this ritual dance, becomes the canvas for a beautiful tradition where worship intertwines with the very essence of the natural world.
In the rhythm of Navaratri’s nine sacred days, a symphony of significance unfolds. This fasting period, veiled in spirituality, is said to hold a key to unlocking the vault of mental desires, rendering it fertile ground for aspirations to blossom. As the auspicious Navami Puja graces the horizon, believers turn to the sacred ritual of Kumari Puja—a dance of devotion believed to dispel the haunting spectre of childlessness. After the grand finale of Vijaya Dashami, the Aparajita flower tree steps into the spotlight of reverence. A ritual unfolds where tying a piece of the tree’s trunk to one’s body becomes a symbolic shield, a talisman against the looming shadows of enemies throughout the impending year. The Aparajita Puja, a poignant act of worship, casts its blessings in the form of an age-old belief—a belief that the immersion of the goddess in flowing water during a cultural procession on Vijaya Dashami ensures an auspicious journey for all wanderers throughout the coming year.
The tenth day of Durga Puja, marked by the ceremonial tying of a rope around the hand, holds a rule draped in protection. This humble rope, woven with symbolism, is deemed a shield against the tempests and obstacles that may assail one in the unfolding chapters of the year. The genesis of this tradition traces back to a visionary pilgrim, Padmanabha Agamacharya, who, during a sacred dip in the sea at Rameswaram, encountered such an idol. This encounter, etched in the sands of pilgrimage, manifested itself in a dream, inspiring the crafting of clay idols adorned with triangles—the guardians of spiritual sanctuary and earthly journeys alike.
In the tapestry of existence, all living beings, ourselves included, emerge from the embrace of ‘one mother.’ This profound connection designates women as the bedrock of eternal creation, earning them the revered titles of ‘Narinam matrurupini, matrehi adidevata.’ In the symphony of life, the word ‘mother’ spontaneously graces our lips, a refrain echoing through moments of happiness, sorrow, joy, and all the nuances of the human experience.
Within the rich tapestry of the Sanatana tradition, the divine feminine is exalted and revered as Adyashakti, worshipped under the names of Bipadatarini or Durgatinashini. In the epics of the Mahabharata, in the chapters of Bhishma Parva and Virata Parva, Yudhisthira and Arjuna, guided by the counsel of Lord Krishna, undertook the sacred worship of Vipadatarini, seeking her blessings before the epic battle of Kurukshetra.
Amidst the controversies that may swirl around the form of clay idol worship dedicated to Maa Durga, one truth stands unwavering—this worship, transcending time and borders, has garnered universal recognition. Perhaps it is a testament to the enduring power and resonance of Maa Durga. And so, we bow in reverence, uttering the sacred mantra, “Ya Devi sarvabhuteshu Shakti-rupen sansthita,” acknowledging the divine presence of the goddess, who manifests as the powerful force within all beings.