The Cultural Diversity of Navarātri
Navarātri is a nine-night festival dedicated to the worship of Mahādevī, or the supreme goddess, often revered in her protective and powerful Durgā form in which she slays the buffalo demon Mahiṣāsura. The festival is celebrated across the Indian subcontinent with diverse rituals, installations, dances, performances, and other expressions of reverence. These range from the Garba dance in Gujarat to the gift-giving of Vijayadaśamī in Nepal to the Rāmalīlā performances in northern India. Read on to learn more about these and other traditions that unite millions of people in their celebration of Mahādevī.
Garba and Daṇḍiya in Gujarat
Garba is a dance symbolizing the powers of life and fertility emanating from the goddess Durgā. It is performed around a centrally placed image of the goddess or a lit lamp called the Garba Deep. The name "Garba" is derived from the Sanskrit word "garbha," meaning "womb," and "dīpa," meaning "lamp." Thus the lamp symbolizes the womb of the universe and the source of all creation, and the dance itself represents the cyclical nature of life, revolving around this symbol of the goddess's power and nurturing energy. In another interpretation of the dance’s meaning, the lamp represents one’s body, while the light inside represents the divinity (ie the goddess) residing in all.
In mythological terms, Garba is also associated with the legend of the goddess Durgā’s battle against the demon Mahiṣāsura. The dance embodies the victory of light over darkness, good over evil, and the power of the divine feminine. The circular movements of Garba reflect the eternal cycle of creation, preservation, and destruction, which is a key aspect of Hindu cosmology.
Over time, Garba has evolved from a simple devotional practice to a vibrant and colorful cultural expression, where both men and women participate in large groups, dressed in traditional attire. The rhythmic clapping, twirling, and synchronized movements of the dancers create a dynamic and joyous atmosphere, celebrating not just the goddess but also community, life, and culture.
Like Garba, Daṇḍiya also arose from devotional folk dances in honor of Durgā to become a popular cultural phenomenon with widespread appeal that extends beyond religious boundaries, being performed not just in Gujarat but around the world. Traditionally, Daṇḍiya was performed in pairs, using colorful sticks called "daṇḍiyas," which represent the swords of Durgā as she battled the demon Mahiṣāsura. Dancers moved in circles around a centrally placed idol of the goddess Durgā, striking the sticks rhythmically to the beat of traditional music.
Over time, Daṇḍiya evolved from a purely devotional activity into a popular cultural event. The music accompanying Daṇḍiya has expanded from traditional folk songs to include Bollywood tunes, fusion music, and remixes, making the dance accessible and appealing to younger generations. The choreography has also become more elaborate, with complex patterns and synchronized moves adding to the excitement. As Gujarat's cities grew and modernized, Daṇḍiya began to attract larger audiences, becoming major social events during Navarātri. Commercial sponsorships, celebrity appearances, competitions, and media coverage have turned Daṇḍiya into a significant aspect of Gujarat's cultural calendar. These events are now held in large venues, drawing participants from all walks of life, including non-Gujaratis and tourists.
Part of the popularity of Daṇḍiya stems from the elaborate fashion associated with the event. Participants dress in traditional, colorful outfits such as ghagra-cholis for women and kediyu for men, adorned with mirror work and embroidery, enhancing the visual appeal of the dance. While Daṇḍiya remains most popular in Gujarat, its appeal has spread across India and to the Indian diaspora worldwide. Major cities in India and abroad now host Daṇḍiya celebrations during Navarātri, making it a cross-cultural celebration that brings together diverse communities.
Durgā Pūjā in West Bengal
Similar to Daṇḍiya, the celebration of Mahiṣāsura Mardinī honors the Mahādevī in her Durgā form in which she slays the buffalo demon Mahiṣāsura; “Mahiṣāsura Mardinī” literally translates to “destroyer of the demon Mahiṣāsura”. This celebration, called Durgā Pūjā, occurs on Durgā Aṣṭamī, the eighth day of Navarātri. Durgā Aṣṭamī is filled with rituals, prayers, and the chanting of hymns like the "Mahiṣāsura Mardinī Stotram," all of which evoke the goddess's power and protection. The story of her triumph symbolizes the eternal battle between righteousness and wrongdoing, encouraging devotees to seek her blessings for strength, courage, and wisdom in their own lives. The celebration is not only a religious observance but also a cultural event, uniting communities in the shared reverence for the divine feminine energy that sustains and protects the universe.
Durgā Pūjā begins with the Bodhan ritual, which marks the awakening of Goddess Durgā. This is performed on Mahālaya, the day before Navarātri, when the goddess is symbolically invoked in the idols. During Mahālaya, the ritual of painting the eyes of the Durgā idol, known as Chokkhu Daan, occurs. This symbolizes the arrival of the goddess. From Ṣaṣṭhī (the sixth day of Navarātri) to Navamī (the ninth day), various additional rituals are performed, including Añjalī (offering prayers), Sandhi Pūjā (performed at the juncture of Aṣṭamī and Navamī), and Kumārī Pūjā (worship of young girls as embodiments of the goddess). Finally, on Vijayadaśamī, the tenth and final day of the festival, married women participate in Sindoor Khela, where they smear each other with vermillion. This symbolizes the goddess’s victory over evil and her departure back to her celestial abode.
During Durgā Pūjā elaborate temporary structures called pandals are erected across West Bengal, particularly in Kolkata. These pandals house intricately crafted idols of Goddess Durgā as Mahiṣāsura Mardinī and are often themed, representing mythological stories, social issues, or artistic concepts. Visiting various pandals, known as pandal hopping, is a major activity during Durgā Pūjā. People from all walks of life come together to admire the creativity, artistry, and devotion expressed in the different pandals.
Throughout Durgā Pūjā, various cultural programs are organized, including dance, music, drama, and recitations. One of these is Dhunuchi Naach, a traditional dance performed with incense burners (dhunuchi) during the evening Aarti, where devotees dance to the rhythmic beats of the dhaak (drums) as an offering to the goddess. And on Aṣṭamī and Navamī, community feasts called Bhog are organized, where devotees are served prasādam, usually consisting of khichuri, labra (mixed vegetables), chutney, and sweets. These rituals and festivities culminate in the immersion of the Durgā idols in rivers or lakes on Vijayadaśamī, marking the end of the festival and the goddess's return to her divine realm.
The Golu Doll Displays of South India
The tradition of Golu is celebrated across South India, but is especially prominent in Tamil Nadu, Karnataka, Andhra Pradesh, and Telangana. Golu, also known as Bommai Golu or Kolu, involves the creation of elaborate displays of dolls and figurines, arranged on a stepped platform, usually with seven, nine, or eleven tiers. Each tier holds a specific set of dolls, often representing gods, goddesses, mythological scenes, everyday life, and even modern themes.
The dolls are often passed down through generations, with families adding new pieces each year, creating a sense of continuity and heritage over generations. The central focus is usually on the divine trio of Durgā, Lakṣmī, and Sarasvatī, representing strength, wealth, and wisdom, respectively. However, the displays also include dolls of other deities, saints, animals, and representations of village life, symbolizing the interconnectedness of the divine and the mundane.
As part of the Golu tradition, families invite friends and neighbors to view the display, exchange sweets, and offer prayers, fostering a sense of community. Special rituals, such as the chanting of hymns and singing of devotional songs, are performed daily, culminating in the Sarasvatī Pūjā on the ninth day, which honors the goddess of wisdom and learning. The Golu dolls are taken down on Vijayadaśamī, marking the end of Navarātri, with the belief that the display has invoked divine blessings for the year ahead.
Rāmalīlā and Kanyā Pūjā in North India
During Navarātri in Delhi, Uttar Pradesh, and Bihar, two significant cultural and religious traditions are observed: Rāmalīlā and Kanyā Pūjā. Rāmalīlā is a dramatic reenactment of the Rāmāyaṇa, the epic that narrates the life of Lord Rāma, his exile, the abduction of his wife Sītā by the demon king Rāvaṇa, and the eventual victory of Rāma over Rāvaṇa. In cities and towns across Delhi, Uttar Pradesh, and Bihar, Rāmalīlā is performed in open-air stages, attracting large audiences. The performances typically span all nine days of Navarātri, culminating in the burning of effigies of Rāvaṇa, Meghanāda, and Kumbhakarṇa on Dussehra, symbolizing the triumph of Lord Rāma. Rāmalīlā is not just a religious play but a community event where locals actively participate as actors, musicians, and organizers. The play also allows communities to come together to celebrate their shared cultural heritage and pass on the Rāmāyaṇa legend to younger generations.
Kanyā Pūjā, or Kanjak Pūjā, is a ritual performed on the eighth (Aṣṭamī) or ninth (Navamī) day of Navarātri, where young girls (usually nine in number) are worshiped as embodiments of the goddess Durgā. During Kanyā Pūjā, young girls are invited into the homes where the ritual takes place. The ritual begins with the washing of the girls’ feet, followed by a meal containing blessed food (prasādam) that includes puri, chana, and halwa. Gifts and new clothes are also bestowed on the girls. Paying the utmost respect to the girls through this ritual is a way to gain the blessings of the goddess for prosperity and well-being.
Dashain in Nepal
In Nepal, Navarātri is celebrated as Dashain, which is the country's most important and longest festival, lasting 15 days. Like Navarātri, Dashain is primarily dedicated to the worship of Goddess Durgā and her victory over the buffalo demon Mahiṣāsura. Dashain is a time for public festivities, including fairs, traditional music, and dance performances. Many people return to their ancestral homes, and the entire country experiences a holiday atmosphere. Traditional swings made of bamboo and ropes, known as "ping," are set up in villages and towns during Dashain. Swinging on these is a popular activity, symbolizing the carefree spirit of the festival and bringing communities together.
During Dashain, animal sacrifices, particularly of goats, buffaloes, and ducks, are conducted as offerings to the goddess Durgā, symbolizing the destruction of evil. These rituals are performed in homes, temples, and at public gatherings, especially on the eighth (Mahā Aṣṭamī) and ninth (Mahā Navamī) days. In recent years, there has been a growing movement towards symbolic offerings and less emphasis on actual animal sacrifice, reflecting changing cultural attitudes.
The last few days of Dashain carry a special emphasis. The seventh day of Dashain, known as Phulpati, involves the ceremonial bringing of sacred flowers and plants, which are believed to be infused with the goddess's energy, to the Dashain Ghar (a special room for worship) in homes and temples. On Mahā Navamī, the ninth day, the traditional worship of tools, vehicles, and weapons is performed, known as Ayudha Pūjā, to seek blessings for protection and success in one's endeavors. The tenth day of Dashain, known as Vijaya Dashamī, is the most important day of the festival. On this day, elders bless younger family members by placing tika (a mixture of rice, yogurt, and vermillion) on their foreheads and giving them jamara (barley shoots) and money as a symbol of prosperity and protection. This is marked by visits to relatives, the exchange of blessings, and feasting, making it a day of family and social unity.
Unity in Diversity
Despite regional variations, Navarātri across South Asia is fundamentally about honoring the divine feminine, particularly in the form of Goddess Durgā. This shared reverence for the goddess, whether as Durgā, Saraswatī, Lakshmī, or Kālī, fosters a collective spiritual identity.
Moreover, the overarching theme of the victory of good over evil, embodied in the goddess's triumph over demons like Mahiṣāsura, resonates with people across the country, regardless of linguistic or cultural differences. Whether it’s the communal prayers, the shared feasts, the collective dances, or the joint viewing of cultural performances, the festival encourages social interaction and communal harmony.
The diaspora across the world also celebrates Navarātri, which not only connects the diaspora back to their roots but also introduces and shares their culture globally, further uniting South Asians across borders. Modern adaptations of Navarātri, including themed Garba Nights, social media-driven cultural exchanges, and televised Durgā Pūjā celebrations, have made the festival more accessible and relatable to younger generations across the subcontinent. These contemporary elements help to bridge generational gaps and create a shared experience that unites people of all ages. In essence, Navarātri unites South Asia and the diaspora by blending spiritual devotion with cultural celebration, regional diversity with national identity, and traditional values with modern expressions. It is a festival that encapsulates the idea of "unity in diversity," bringing together people from all walks of life in a shared celebration of a rich cultural heritage.
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