It now embraces those on the margins, and has truly become “glocal” – with both local and global elements – but at the same time the umbilical cord with heritage remains intact.
Most of the 4,000 plus marquees in Kolkata and its suburbs are a far cry from the simpler ‘bonedi bari’ (traditional family celebrations), ‘barowari’ (by communities or groups of people) and ‘sarbojanin’ (for all) pujas that began around 300 years ago.
They now reflect global affairs, serve as a platform to engage artists from abroad and strengthen diaspora links, provide an interface for politicos to propagate ideologies – all the while maintaining connect with masses, be it offline or online.
“It is becoming inclusive with transgenders and sex workers getting to participate. Thanks to the themes and increasing links with diaspora via social media, it is global in thought but local in action,” eminent Indologist Nrisingha Prasad Bhaduri told.
The most visible aspect of the puja is undoubtedly the standout art and decor.
“It is getting better and better. Each marquee or idol is a piece of art. And look at the way our local craftsmen have been designing these opulent and international theme pujas. It is a positive thing for the artists.
“The social structure has changed and the result is pujas have become sophisticated,” he said.