Navaratri means the “Night Nights”, it is a festival observed throughout India, especially in Bengal and Assam, but also amongst Hindus living in Nepal and Bangladesh. Navratri is dedicated to the goddess Durga- in fact, Navratri is often synonymous with Durga Puja, the performance of which takes place during the last five days of the festival. Durga is a warrior goddess, a fierce embodiment of the divine feminine, during Navratri we celebrate her victory over demons so mighty that they frightened even the Gods. Coinciding with the Harvest, Sharada Navratri is one of four Navaratri festivals celebrated during the year, it is by a significant margin the most widely observed of the seasonal Navaratri festivals. Sharada Navratri takes place in the month of Aswini, as the Hindu calendar is lunisolar the date changes from year to year, but it typically falls between September and October. Navaratri uses each of the nights to perform a portion of a symbolic reenactment of the story of the Goddess’ battle and victory using ceremony, dance, and recitation of the text of the Devi Mahatmya.
Depending on the region, the festival may be more of a celebration or more of a ceremonial occasion. This is important to the tantric practitioner for several reasons, by increasing the intensity of one’s practice it is believed to incur more benefit due to the many other people dedicating their practice, chants, songs, and celebrations to the Goddess; The widespread chanting, study, and reenactment of the Devi Mahatmya, one of the core texts dedicated to the goddess in India, causes Shakta elements from Tantric traditions that have been encoded in or built around the Devi Mahatmya to be engaged with on a widespread level. A popular part of Navaratri is the construction and display of Pandals, temporary structures which are decorated and display the statue of Devi for people to gather around and worship. In some places, making the most ornate or beautiful pandal becomes a contest, giving the festival a colorful and lavish appearance.
Overview and Historical Background
The story of the Goddess, of Devi’s victory comes from a text called the Devi Mahatmya, also known as the Saptashati- 700 hundred Verses. This text is embedded in the Markandeya Purana, one of 18 major puranas which compile vast amounts of information and lore from between the 3rd Century CE to the 10th. While the Markendeya Purana is believed to be from around the 3rd Century CE, the Devi Mahatmya appears to have been added to text around the 5th Century. Around that time is the recorded beginnings of the Tantric tradition in India, which flourished from the middle of the first millennium and grew more important over the next several hundred years.
The Siva Agamas and Shakta Agamas form the textual body of Tantric philosophy and grew more prominent in the latter half of the first millennium. They are esoteric repositories of practice instructions, cosmology, and philosophy, the meaning of which is transmitted from guru to disciple often in secret. The Devi Mahatmya, according to Acarya Dr. Sthaneswar Timalsina, is encoded with information from the Shakta Agamas, if one knows how to find it. As one of the most widely read texts about the goddess, it presents these teachings in the form of a seemingly exoteric myth.
While the exact history of the Navaratri festival is not clear, some sense of the past can be gleaned from examining the known history of Durga and the Devi Mahatmya. Dr. Timalsina has mentioned that Devi and the Navaratri festival gradually moved Northeast to the regions it is currently most popular in. It is currently believed that Durga’s worship began or at least took recognizable form in the Pallava dynasty (275CE-897CE), with images appearing on temples in what is now Tamil Nadu that may be as old as 450CE, where we see the warrior goddess in her form as the slayer of the Buffalo/Bull demon Mahisasuramardini. The oldest known reference to the Devi Mahatmya is found as an inscription at the Dadhimati Temple in what is now Rajasthan in the northwest of India. Statues of Durga begin to appear at least as early as the 7th Century, in Karnataka in the south and Kashmir in the North.
Navaratri is especially popular in contemporary Bengal; it is not particularly easy to say when that became the case or when the festival assumed its familiar form. The folklore in Bishnupur has a claim often repeated on tourist websites, that when the city was the capital of the Malla dynasty, King Jagat Malla held the first Durga Puja in Bengal (circa 997CE) at Mrinmoyee Temple, Mrinmoyee is a form of Devi similar to Durga, and the tutelary deity of the Malla dynasty, although it appears they gradually replace their Shakta beliefs with Vaishnava ones. The first festival truly dedicated to Durga seems to have come later, the strongest candidate is that of Kangsanarayan, the Zamindar of Taherpur (the ruler of a local court), as a while to celebrate inheriting his title of nobility according to Tithi Battacharaya in the Journal for Asian Studies. Kathikali Mukherjee writes in a medium article, that it is easy to believe that Durga Puja was a way for Bengalis to retain Hindu identity during Mughal rule, although it appears that at least occasionally, the Mughal rulers would provide patronage to those holding Durga Puja- perhaps as a way of bolstering relations.
Mukherjee goes on to write that during British colonialization in Bengal, Durga Puja became a way for the wealthy Hindu households to show status and pride, while still retaining their culture. Durga eventually became a symbol of independence and resistance to British rule, and her popularity grew amongst people of many different social classes. In this later period, it is believed that Sharada Navaratri became the most popular of the festivals. Despite this, to the Sadhaka, it is important to use all the festivals as a time for practice, regardless of the differences in popularity of the Navaratri’s in each season.
Types of Navaratri (Sharada, Chaitra, Magha, Ashada)
Sharada Navaratri is the largest and most important of the yearly Navratri festivals. It takes place during the first nine nights of the month of Ashwin. Festivals are calculated using the lunar calendar, so they do not fall on the same days each year. Sharad correlates to the autumn season, and Sharada Navaratri signals the beginning of the harvest season, an important part of the festival especially in rural areas. Vimarsha founder Acharya Ji, Dr. Sthaneswar Timalsina mentions a highlight of the festival from his youth in rural Nepal, which was creating a sense of balance during the harvest by planting new seeds to begin the festival. All the Navaratri festivals have similar observances, including Durga puja, fasting, celebrating, and invoking shakti through ghatashapana (Sowing seeds with a clay pot and adorning according to ritual instructions). Sharad Navaratri is unique in the sense that after the festival’s end, what would be day 10, is a day called Dussehra commemorating the Devi’s 3 triumphs over evil, symbolized by the demon Mahishasura.
Chaitra Navaratri gets its name from the month of Chaitra which occurs around April or May in the Gregorian Calendar, as lunar months begin when the eponymous constellation enters the new moon, the meaning of the name of the constellation Chaitra is “Bright One”. The festival is sometimes called Vasant Navaratri because it begins on the 1st day of spring. In India’s national calendar, Chaitra Navaratri is the beginning of the Lunar New Year; although in the Bengali and Nepalese calendar, Chaitra is the last month of the year. For those observing the festival as the start of the new year as well as the start of spring, it is a time to celebrate beginnings, some people prefer to begin the year with quiescent meditation or prayer, and others see it as a time to celebrate the coming of Spring- certain regions have a spring harvest which provides a bounty to celebrate. One major difference between Chaitra Navaratri and Sharada Navaratri is that the final day corresponds with Rama Navami, which celebrates the birth of Rama.
Magha Navaratri is the winter, Shishir Ritu, Navaratri festival, occurring in the month of Magha, which starts when the new moon is in the constellation Magha, meaning Magnificent or Bountiful. This is either in January or February. This festival is also called Magha Gupt Navaratri, Gupt meaning secret or hidden. Some say this is because this Navaratri is extra sacred and not to be spoken about publicly, although others such as translator Christopher “Hareesh” Wallis say that they are more or less, simply less popular. While it still shares the common features that mark Navaratri, one unique aspect of Magha Navaratri is that it is sometimes observed as the Shyamala Navaratri, which can be seen in regions such as Andhar Pradesh. Shyamala is a southern Indian name of Matangi, the Dasamahavidya form of Sarasvati, goddess of learning and the arts; in areas where this is celebrated, extra offerings are made to Shyamala.
Ashadha Navaratri is the summer, Grisma Ritu, Navaratri festival, occurring in the month of Ashadha, starting when the new moon is in the constellation of Ashadha; whose name means “Unconquered” or “Triumphant”. This is usually in either June or July, it is when Grisma, the hot season, begins to transform into Varhsa, the rainy season. It is considered to be the other “Gupt” Navaratri. Some sources call it Gyatri Navaratri and recommend it also as a time to practice japa with the Gyatri Mantra in addition to the usual Navaratri rites. This could be because Gyatri Jayanti is on the Ekadashi (11th day) of the previous month, Jyeshtha.
Significance of the Nine Days
There are multiple levels of significance attributed to the days in Navaratri. Each day has a special meaning but also the days can be arranged in three groups of three with various levels of information encoded into each arrangement. When each day is considered by itself there are different pujas, color associates, and passages of the Devi Mahatmya to be read and recited. When organized into groups of three, we pay special attention to one of the three mythic episodes of the Devi Mahatmya and the forms the goddess takes within each myth. This arrangement analyzes aspects of the story through the lens of the three gunas, tamas, rajas, and sattva.
Special Significance of the Starting Day: It is important to note which day of the week Navaratri starts on because that determines which vahana (vehicle or mount) Durga is said to arrive on. While Durga is famous for riding mounted on, Damon (Usually depicted as a lion, tiger, or blend of both), in this context Durga will arrive on one of four vahanas. If Navaratri begins on Ravivaar (Sunday) or Somvaar (Monday) Devi will arrive on an Elephant. On Mangalvaar (Tuesday) or Shanivaar (Saturdays) the goddess will arrive riding a horse. On Bhudvaar (Wednesday) Durga arrives on a boat. Lastly, on Guruvaar (Thursday) or Sukravaar (Friday) she will arrive on a palanquin. In popular culture, the method Maa Durga arrives using will have a particular omen for the rest of the year.
Significance of the 1st three days: The 1st group of three days can be seen to center on the on the 2nd Carita of the text where the Devi fights Mahisasura, the most famous battle of the text. Before the battle in the first chapter, we see Devi’s tamasic power, as Mahamaya, how she is responsible for ignorance as well as knowledge. Her powers include all dualities such as sleep and waking; after keeping him asleep, she wakes Vishnu to do battle with Madhu and Kaitaba. She promises to always return to defend the world from evil. This forms the context of her 1st battle of the text in the 2nd and 3rd chapters. Here we see Devi in the forms of Ambika and Candika but also Bhadrakali, highlighting both her maternal and terrifying forms. As Dr. Timalsina has said in his lectures on the text, the challenge of depicting Durga is the challenge of showing the most beautiful, motherly goddess at her most wrathful and ferocious. Devi’s weapons given to her by the gods correspond to the icons of Mahalakshmi, the tamasic and material power of Devi. A common interpretation of the meaning of this battle centers on the shapeshifting power of Mahisasura relating to the shapeshifting nature of our desires, the six passions; desire, greed, anger, jealousy, pride, and delusion. These keep us locked in the inertia of tamas, preventing us from greater realizations.
Significance of the 2nd three days: To focus on the rajasic elements of the Devi Mahatmya is one suggested meaning of the 2nd group of three days, where Devi in the form of Mahakali is centred- although the dhyana of Mahakali appears in the beginning of the 1st carita and the dhyana of Mahalaskhmi at the beginning of the 2nd carita, when Devi is divided into the seven shaktis or mothers, the terrifying power of Camunda-Kali is required to defeat Raktabija, a very powerful regent of Shumba and Nishumba. Devadatta Kali in his translation of the Devi Mahatmya makes the connection between Raktabija and rajas. From his fury, the chaos caused by his multiplication, and the red of his blood, Raktabija, he whose seed is blood, cannot initially be overpowered by the Mothers; the qualities of rajas, hot, active, motion, chaos, are shown in the battle- when seen in the light of human activity we find that the endless pursuit of gratification stirs rajas, despite any attempts we make to quench it, greater desires will grow instead. To stop this, Kali must step in to drink Raktabija’s blood, the essence of his ability to regenerate. Kali’s fearsome nature is required to destroy the root of the problem.
Significance of the 3rd three days: The final three days can be used to reflect on the sattvic obstacles to realization, these are the most subtle, Sadhaka’s are urged to cultivate sattva as it is less deleterious to their practice than tamas and rajas- but if one becomes attached to this, just the same it can hinder one’s understanding of the divine. Mahasarasvati is the sattvic emanation of the Devi, it is her power that conquers misuse of this guna. Shumba is often taken to symbolize the mind and Nishumba attachment, the pair have an extremely strong bond which makes them more challenging to defeat. When Shumba sees his brother knocked unconscious, he fills the sky with his eight arms and lets out a roar pervading heaven and earth. As soon as Devi strikes a major blow on Shumba, Nishumba regains consciousness. Eventually, Devi decapitates Nishumba and then pierces Shumba through the heart. To deal the finishing blow Devi must withdraw the Sakti’s and return to a singular form.
Originally, Shumba and Nishumba do not want to kill Devi, they want her to marry one of them; when she says she will only marry one who can defeat her in battle, to them she is no longer beautiful they instead call her vile. It is often the nature of the mind to despise what it cannot have, when Devi raises the very question that they would have to battle her first, it insults their ego- If Shumba and Nishumba could conquer the gods, who is the Devi to not immediately surrender to them?
Symbolism and Spiritual Meaning of Each Day
Each Day of Navaratri can also be looked at individually, each has certain practices, observances, and is dedicated to one of the forms of Navadurga, or the nine durgas.
First Day/Night: Maa Durga arrives, the festival begins. Many people wear yellow to bring a sense of brightness and joy. Ghatasthapana “Establishing the Pot” is done on the first day, a clay pot is filled with soil and barley seeds. This is the time for goddess Shailputri, Durga in youthful form, the daughter of the mountain, she is considered a rebirth of Sati, and the daughter of Lord Himalaya. She is worshipped by offering ghee. Some may chant the whole Devi Mahatmya, or use different reading or chanting procedures, although one recommendation is the read the 1st chapter today.
Second Day/Night: Green is the suggested color to wear. Goddess Brahmacharini, she who pursues the sacred self, is worshipped today. She is an unmarried, ascetic form of Durga, adorned with flowers and rudraksha beads. She is offered sugar and fruits for her worship. One can read the 2,3,4 chapters of the Devi Mahatmya. Third Day/Night: Grey is the color of the day. Goddess Chandraghanta, she who wears the moon shaped bell, is worshipped today. She is Durga’s shakti form. Her head is adorned with a half-moon, and the bell she holds is the source of her name. She is peaceful, but fierce and courageous, always ready to defend her devotees. She is offered kheer, a pudding made from milk, rice, and sugar. Once can read chapters 5 and 6 today.
Fourth Day/Night: Orange is the color of the day. Goddess Kushmanda is worshipped today, the goddess of the cosmic egg, Durga in mahashakti form. She is said to have created the cosmic egg with her radiant smile. She is offered Malpua, sweet pancakes made with flour and spices. One can read chapter 7 today.
Fifth Day/Night: White is the color of the day. Goddess Skandakata, mother of Skanda, is worshipped today. She is Durga in the stage of motherhood, she carries the infant Kartikeya (also called Skanda). She is offered bananas on this day. One can read chapter 8 today.
Sixth Day/Night: Red is the color of the day. Goddess Katyayani, Durga in the warrior aspect, is worshiped today. She represents the slaying of Mahishasura and fittingly the Durga Puja begins, celebrating this. She is offered honey. One can read chapters 9 and 10 today.
Seventh Day/Night: Blue is the color of the day. Goddess Kalaratri is worshipped today. Her name means “Dark Night” at least at the most superficial reading. She is Durga in the form of the destroyer; indeed, her name could also mean “Death of Time”. She is offered jaggery, and unrefined sugar. One can read chapter 11 today.
Eighth Day/Night: Pink is the color of the day. Goddess Mahagauri is worshipped today, her name means “Great Purity/Brightness”, this is said to be because of her fair complexion, and thus she is a goddess of beauty. This is a special night, the 2nd night of Durga Puja, it is also called Mahastami or Durgasthami; and a special ritual is done to praise all the 9 goddesses by installing 9 small pots. Coconut is the specific offering for Mahagauri. One can read chapter 12 today.
Ninth Day/Night: The color of the day is purple. Goddess Siddhidatri is worshipped today. She is the goddess of powers and divine aspirations. She is the female half of Ardhanarishwara, she represents the primordial emergence of form. Navami Homa is done after puja, and typically consists of chanting the entire Devi Mahatmya. Some fasting devotees will break the fast at this point. Siddhidatri is worshipped by offering sesame seeds. One can read chapter 13 today.
Tenth Day: Not strictly part of the nine nights but often celebrated in varying ways in different regions. Navaratri Parana, breaking the fast, occurs on this day in some regions. Durga Visarjan is performed before breaking the fast. This is the emergence of a Durga idol in water to symbolize her leaving. The Aparadha Kshama Prathana can be chanted to ask for pardons for any mistakes that occurred during the rituals and puja of the previous days.
Key Rituals of Navaratri
Ghatasthapana and Kalash Sthapana
Both names refer to the same ritual performed on the first day of Navaratri to welcome the presence of Shakti into the home. Kalash and Ghata are both words for pot or vase, Sthapana means “Establishment”; so, the ritual can be called “Establishing the Pot” in English. It is usually done in the morning on the first day of Navaratri.
Wide and open clay pot to fill with soil
Clean soil to sow seeds
Sapata Dhanya (seeds of seven different grains)
Small clay or brass Pitcher (Kalash)
Sacred water (Ganga Jal) to fill the Kalash
Sacred thread / Moli / Kalaya
Perfume/incense- Dr. Timalsina recommends Guggul
Supari (betel nuts)
Coins to put into the Kalash
5 leaves of Ashoka or mango tree
A lid to cover the Kalash
Raw rice (Akshat) to put in the lid
Unpeeled coconut
Red cloth to warp coconut
Flowers and garland preferably marigold
Durva grass (called couch or Bermuda grass)
All the items are arranged according to the ritual instructions which should be learned elsewhere in detail but will be given in brief. Soil then seeds are added in layers to a clay pot; the thread is tied around the neck of the Kalash; water is added up to the neck of kalash; incense, betel nuts, rice, coins, and grass are placed in the kalash; mango leaves are stuck out of kalash; coconut is wrapped in cloth, then placed in the opening of the kalash; lastly the kalash is placed on the pot of soil.
At this point, the Goddess can be welcomed into the home, and with the kalash finished it can serve as a temporary place for Devi. The finished kalash is often called the purna (full/complete) kalash, with the various aspects used to adorn it give attributions to the different mahabhuta elements- allowing the purna-kalash to serve as a microcosm of the world.
Daily Puja and Offerings
Panchopachara Puja, the 5 offerings, is the most basic schema for the pujas. One will set the kalash prepared above near an idol, statue, or image of the goddess. The goddess will be invoked by chanting her mantra. Then the offering of the 5 items can begin, showing the item to the kalash and thereby the deities that are invoked in it.
-Gandha, sandalwood paste representing the element of earth (bhumi mahabhuta)
-Puspa, flowers representing the element of space (akasha mahabhuta)
-Dhupa, Incense representing the element of air (vayu mahabhuta)
-Dipa, ghee lamp representing the element of fire (agni mahabhuta)
- Naivedhya, a food offering to represent the element of water (jala mahabhuta)
Depending on your level of knowledge, ability, cultural background, or instructions received from your teacher, you may have other additional steps and offerings. Besides the 5 items, there is the Dashopachara (10 items), Shodashopachara (16 items), Astadashopachara (18 items). You may install a yantra and perform mudras, pranayama, or asana. The above is considered the minimum for the exoteric ritual offering.
Navdurga Mantras and Prarthana (Prayers) for Puja
Shailaputri: Om Devi Shailaputryai Namah.
Vande Vanchit Labhay Chandrardhkritshekhram | Vrisharudham Shuldharam Shailputri Yashaswini ||
Bharmacharini: Om Devi Bharmacharinyai Namah.
Dadhanankara Padmabhyam Akshamala Kamandalam |
Devi Prasidathu Mayi Rahmacharinya Nuththama ||
Chandraghanta : Om Chandraghantayayi Namah
Pindaj Pravrarudha Chandkpasrkaryuta | Prasidam Tanute Mahyam Chandraghanteti Vishruta ||
Kushmanda : Om Devi Kushmandayayi Namah
Surasampurna Kalsham Pudhiraplutameva cha | Dadhana Hastapadmabhyam Kushmanda Shubhadastu Me ||
Skandamata: Om Devi Skanmatayayi Namah
Shinsangata Nityam Padmashritkardvya | Shubhdast Sada Devi Skandmata Yashswini
Katyayani: Om Devi Katyayanyayi Namah
Chandrahasojjvalakara Shrdulavara vahana | Katyayani Shubham Dadyad Devi Danavashtini ||
Kalaratri: Om Devi kalaratryayi Namah
Ekaveni Japakarnapura Nagna Kharasthita | Lambushthi Karnikakarni Tailabhyakta Sharirini ||
Vamapadollasalloha Latakantakabhushana | Vardhana Murdhadwaja Krishna Kalaratrirbhayankari ||
Mahaguari: Om Devi Mahaguaryai Namah
Shwere Vrishesamarudha Shwetambaradha Shuchih |
Mahagauri Shubham Dadyanmahadeva Pramodada ||
Siddhidatri: Om Devi Siddhidatryayi Namah
Siddha Gandharva Yakshyairasurairamarairapi | Sevyamana Sada Bhuyat Siddhida Sidhidayini ||
Other Important Rituals
Kanya Puja: An important ritual that usually takes place on the 8th or 9th day of Navaratri, it is also called Kanjak Puja or Kumarika Puja. This is a famous ritual that consists of washing the feet of young girls (ages 2-10) and giving them good food to eat. Some texts suggest doing this each day of Navaratri, but most celebrants choose the Ashtami or Navami (8th or 9th) days to do it all at once instead. The girls are the manifestations of the Goddess Durga, and often their families will dress them ornately in colorful clothing so they can participate. On this day, the devotee is to wash the feet of 9 girls, then ask them to sit on a cloth, red tilaka is applied to the forehead, and a kalava (red and yellow protective thread) is tied around their wrists.
A prasad, offering, of tender coconut and Halwa Puri (Halwa is a wheat porridge, Puri is a fried bread, served with chickpea curry; a popular breakfast). Often then gifts will be given, such as money, clothes and jewelry.
Sandhi Puja is the ritual done at the juncture between Ashtami tithi and Navami tithi, during the last 24 minutes of Ashtami and the first 24 minutes of Navami, respectively the 1st and last ghati of each lunar day. It is dedicated to the Chamunda form of the goddess, celebrating the slaying of Chanda and Munda. The main practice is Aarati, offering 108 ghee lamps to goddess Chamunda, before beginning a conch shell is blown three times, and a bell is rung. The lamps are lit, then smouldering dhoop is waved before the deity, then incense is waved 3 times, then a lamp or plate of lamps is waved in front of the deity; all rotations are performed clockwise.
The entire process is done while mantras or hymns are chanted, often Durga Stuthi, Durga Chalisa, or Navarna Mantra is used. Red foods, Sweets, and fruits are offered to the goddess as well. 108 lotus flowers are offered, Phuspapanjali, are offered at the end. In the past, animal sacrifice was done during this puja and canons were used to announce that it was happening. Often a pumpkin is used in place if a sacrifice is to be performed in modern times.
Ayudha Puja is another special ritual that falls on the 9th day of Navaratri, this is why it is often called, Mahnavami (Great Ninth). Ayudha Puja varies quite a bit regionally, being primarily popular in south India. Ayudha means “weapon” and in earlier times, the ritual was dedicated to honoring weapons, that helped keep oneself and one’s family safe. The weapons would be cleaned and then consecrated in ritual puja. In modern times, Ayudha is taken to mean tool, and the tools that help people earn a living are celebrated in place of weapons. This can vary from construction and artisanal tools to computers and vehicles. Indeed, vehicles have been such an important part of the day in modern times, that sometimes it is called Vahana Puja, vehicles are adorned with flowers, and one prays that the car will get them from place to place safely and expresses gratitude for it.
Ayudha Puja is dedicated to Lakshmi, Parvati, and Saraswati. What has been described above is primarily the Lakshmi mode of the ritual, a celebration of the tools that help us to prosper. In other regions Saraswati is the principal deity of the ritual, books, pens, pencils, paper, and musical instruments; all the tools of learning and music are honored, and often gifted to students. The instruments of learning then can be worshipped in puja before an icon of Saraswati.
Navaratri Fasting and Food Rules and Guidelines for Fasting: Fasting is a common observance during Navaratri. Many find that if they can fast, it helps their puja. However, there are different kinds of fasts, that work at different timings or involve different kinds of foods. Fasting is referred to as Vrat, which means “Vow”, and those who are able bodied enough to participate are encouraged to do so, in order to observe Navaratri fully. Vrat can refer to other vows as well, usually austerities done for devotional purposes, sometimes sleeping on the ground might be another one done
In general, when food is consumed it is to be sattvic food, such as fruit, the food that is eaten is to be Havisya, meaning that which is fit to be offered in sacrifice. People who are dedicated avoid grains, pulses, onions, garlic, and food cooked by another person. In general, seasonal fruit is the important food that can be eaten, and if one eats other foods, they should first break the fast by eating fruit. Nuts and milk are the other staples of Navaratri.
There are multiple different types of Vrat:
Nakt Vrat: This is the night fast; food is taken only at night. It is typical for Navaratri to break the fast after sunset.
Ektana Vrat: This means having only one meal a day. People may have breakfast after the puja for their daily meal.
Ayachit Vrat: The desireless fast, food can be taken once a day but only if it is offered to you without asking.
Upvas or Purnopvas: Not taking any food at all during any time of the day.
Common Vrat Recipes: Because for many people food is still taken after sunset during Navaratri, as long as they fit the sattvic criteria, there are numerous popular recipes people can make that eschew certain ingredients that might violate the vrat rules.
Sabudana Khichdi: This is a higher carbohydrate dish, so it gives energy, which makes it a popular choice for the daily Navaratri meal. It consists of soaked tapioca pearls, boiled potatoes, and roasted peanuts. Spices may be added if one is not abstaining from their use.
Kuttu Ki Puri: Buckwheat (Kuttu) puri, unleavened bread. These are small circular flat breads which are fried and then served hot. They may also be made from amaranth flour, arrowroot flour, water chestnut flour, or millet flour.
Vrat Wake Aloo: This is a simple potato curry that abstains from several typical ingredients to be appropriate for Navaratri. The potatoes are boiled, then mixed with tomato puree and water, then simmered to thicken. The only spices used are cumin, ginger, salt and pepper. The meal is then garnished with cilantro.
Makhane Ki Kheer: A sweet dessert pudding made from foxnuts, cashews, milk, sugar, ghee and dried fruits. The foxnuts (makhane) are roasted along with the cashews in a little bit of ghee. Then as the milk is heating, the foxnuts are ground into a powder and mixed into the milk, along with sugar, raisins, and cardamon. Whole cashews and some remaining roasted foxnuts are added back into the pudding.
Vrat Lauki ka Halwa: Lauki is the Indian Bottle Gourd or Calabash. It is grated then mixed into heated ghee, and roasted until dry. At that point, the whole mix is added and simmered until mostly reduced. Sugar, dried nuts, and cardamon are added, and thoroughly mixed until the dish is soft, thick, and free from remaining liquid.
Regional Celebrations and Cultural Significance
Navaratri is prominent in various areas of the Indian subcontinent, although it is most popular in the Northeast areas. This doesn’t mean that it isn’t vibrant and popular in other areas as well. In fact, there are unique aspects to the celebration in different regions. Some have been briefly mentioned above in various sections of the article but below find a few highlights of other traditions.
Ras Garba of Gujarat: In Gujarat, Navaratri is most associated with gathering in open spaces and celebrating Shakti through dance. The form of dance is called Ras Garba, Ras from the Sanskrit word Rasa (Mood, Emotion) and Garba meaning Womb. The dancers move in a circle around a lit lamp and an image of Durga. The modern popular form has incorporated elements from another popular dance called Dandiya Ras. Dandiya Ras the dancers carry a stick (symbolic of a sword), the male and female dancers separate into lines, and at the end of a beat cycle pair up and clap their sticks together, then separate again. The modern Dandiya Ras Garba blends the lines of the Dandiya Ras and the circles of the Ras Garba. Some dancers may be in ornate costumes holding mock swords or lit flames. In earlier times the music consisted of drumming and singing, but with modern PA systems, the music runs the gamut of modern song styles. An interesting aspect is that much of the music contains lyrics about Krishna and the Gopis, as those folk songs were integral to the development of the two dance styles that formed modern Dandiya Ras Garba, over many years.
Durga Puja in West Bengal: In West Bengal, Navaratri is synonymous with the Durga Puja, more so than any other region. The focus on Durga’s battle with Mahisasura is paramount. Interpretive dance and theatrical reenactments are performed in the street corners. The culture of building beautiful and ornate pandals is most developed here, some are even moved around in a procession either by a vehicle or lifted by a team of people. People will travel to visit certain famous pandals such as Suruchi Sangha, pandals like this have often been organized for decades, being built, decorated, and celebrated around every Navaratri. Kolkata especially, is known for its magnificent pandals, which not only display opulent depictions of Durga but often are built around other themes, such as different Indian states, social themes, and perhaps less excitingly political candidates. On the final day of Durga Puja (Vijayadashami- 10th day), an especially vibrant tradition translates to The Vermillion Game, in which women say goodbye to the goddess by making offerings and then smearing her feet and forehead with vermillion. Then they smear each other’s faces with vermillion and give each other candy. The final key aspect is the departure of the goddess symbolized by the immersion of her statues in water, a ritual most prominent in West Bengal.
Navaratri Celebrations in South India: The most famous aspect of Navaratri in South Indian regions such as Kelera and Tamil Nadu is Bombe Habba or Navaratri Golu. This means the festival of dolls, where clay dolls depicting forms of the goddess or characters from Puranic narratives are arranged on a large, tiered altar, usually with the goddess on top, other manifestations of her on the penultimate layer, and other divine avatars of gods on the levels lower than that. In front of this display is the kalash, the vessel of water established to welcome the goddess. The practitioner will perform their puja here, although for many the Golu festival is a social event where they go from display to display to admire the dolls with their friend
ds and family. Saraswati plays a very important role in the festival, perhaps more so in South India than elsewhere. On the 9th day, a Saraswati Puja (10th in Karnataka) in which books are offered. The Ayudha Puja then begins, as explained above, celebrating learning and students. In Mysore, the place is decorated with lights and historically, a procession called Jamoo Savari, dedicated to Chamunda begins, which includes an elephant carrying the icon of goddess Chamundeswari. In Telegana Mahagauri takes on an extra prominent role, a ritual called Bathukamma Padunga is performed, where beautiful flower stacks are made, and then left afloat on the water on the final day.
This is so amazing and a super read. Thank you.