Kolkata: If you are wondering what’s new about West Bengal’s Durga Puja this year, then you are in for a surprise. For Bengalis, the festival is less a religious ritual and more a homecoming of Goddess Durga, who returns to her maternal home with her four children. This year, pandals across Kolkata have taken creativity to new heights—addressing issues like ecological balance, exposing fake medical practitioners, celebrating women’s empowerment, and even building replicas of cinematic extravaganzas such as Bahubali’s palace.
And why not? In this part of eastern India, Durga Puja is a celebration where the Goddess comes home from her sasural (in-laws’ place), and every community strives to welcome her with grandeur and innovation. Amid thousands of pandals, a few have already managed to capture the imagination of revellers with bold concepts and inventive artistry.
Selfie vs Self Zone
One such pandal is at SB Park Sarbojonin, Behala, Thakurpukur. Titled From Selfie to Self, it features a giant 140-foot chair constructed from nearly 5,500 small chairs. With the organisers sparing no expense, the layout is as striking as its message. The pandal is divided into two sections—one is the “self zone,” where the Goddess is placed.
In the selfie zone, visitors encounter medical equipment on display, including a CT scan plate. The walls are inscribed with Bengali poems that reflect on ego, urging visitors to look beyond the culture of selfies towards self-realisation.
Addressing Social Issues
At Md Ali Park, one of Kolkata’s iconic pujas, the organisers have stuck to their tradition of highlighting social evils. “Every year we try to give out a social message. Keeping in sync with our tradition, this year we focused on how fake doctors have become the new-age demons,” said Sanjay Sharma, head of the puja committee.
Initially, the asuras (demons) at this pandal were dressed as doctors, but following intervention from Chief Minister Mamata Banerjee and a request from the Indian Medical Association (IMA), the doctor’s apron was removed. A closer look at the idols also reveals subtle references to violence against women.
Women Shakti
The Ajeyo Sanghati Puja at Tollygunge Haridevpur has embraced Shakti Rupano (manifestations of power) as its theme. With a budget of ₹35 lakh, the pandal decoration uses iron objects from everyday life—pipes, shutters, grills, scissors, kitchen utensils, and water pipes.
“These are simple items we often overlook. Our message is that nothing in this world is useless,” explained Arijit Nandi, assistant secretary of the puja committee. The idol here retains a traditional look, set against the strength of iron.
Down the Memory Lane
At Kashi Bose Lane, nostalgia takes centre stage. Themed Aabohan (invocation), the pandal is divided into three sections—sound, modern classical instruments, and mantra.
The sound section showcases familiar items like a train horn, a calling bell, and a rickshaw bell. “We have displayed radios from the earliest 1903 model to modern designs. Traditional tools used for making pillows and quilts are also part of the collection,” said Pradipta Nan, joint secretary of the puja committee.
Decoding Durga?
At 95 Pally, Jodhpur Park, the pandal theme is Adhara—something that cannot be coded or deciphered. Designed to resemble an old iron temple of the Dorjis, the pandal attempts to explore the unknowable.
“The key highlight of the theme is that God, the Supreme Being, is pure consciousness, something beyond human comprehension. However hard we try, we can never decode the Divine,” said Bijoy Dutta, general secretary of the committee. Mirrors, lanterns, music, and lighting have been arranged to complement the mystical theme.
Immortal or Antheen
Eminent painter and installation artist Bhawatosh Sutar has conceptualised a pandal on the theme Antheen—meaning immortal or endless. “Humans die, but knowledge remains and is carried forward by others. It is an endless cycle. We have tried to showcase this cycle,” explained puja convenor Samir Ghosh.
At the centre is a single mahogany log, sculpted with one side depicting the Mother Goddess and the other her consort, Lord Shiva. The spacious mandap allows visitors to view both sides of the sculpture. At the entrance, a Shiva linga and a yoni khatra made of 2,000 shells symbolise the eternal cycle of birth and rebirth.
