For four months every year, the Kalibari in Shahdara’s Jhilmil Colony is Shukumar Pal’s home. A third-generation idol maker from South 24 Parganas district in West Bengal, he has been coming to the Capital for 18 years with his father Kalipada Pal. “In my father’s time the city had only two-three pandals.” Today there are around 800 in Delhi NCR. In Chittaranjan Park alone, within a radius of 2-3 kms, there are eight puja pandals.
Shukumar, with his team of 22 artisans, gives shape to hundreds of Durgas, Mahishasurs and their vehicles at the temple which started from a single room has assumed a magnificent shape thanks to the contribution that the faithful pay for their devotion. This year, besides the lion, one could see a horse emerging from the hind side of Durga. Shukumar says this year Durga is coming riding a horse and will go in a palanquin. Both are considered inauspicious but Shukumar believes the devotees will be able to calm the mother down with their prayers.
Talking about the nuts and bolts – or gathan as Shukumar calls it – of the process which takes 20 days to put together one idol, the artist says, the basic structure is made of straw. “Then we do a fine coating of clay. After that we cover it with a blend of clay and straw to provide the texture. There are seven different kinds of clay used. Some of it we bring from Kolkata, the rest comes from places like Vrindavan and Aligarh.” A crucial part is the dust that Shukumar brings from Kolkata’s red light area. “It is said that the clay used in each idol should have some dust collected from outside the door of a prostitute.”
Some say it is pure because people leave their morality at the door of the brothel. Some describe it as the inclusive nature of our mythology but for Shukumar it is a tradition that he has to follow.
He insists his idols were always organic as he makes the clothes of the goddess out of clay by mixing it with layers of jute.
“The jewellery is made by blending clay with cotton and putting it in a dye. And the head gear is made of sola wood. The difference is now we have started using natural colours as well. It won’t take more than two hours for an idol to dissolve.”
Over the years the expression and the décor of Durga has changed. In Shukumar’s workshop one could see an angry Durga with sharply arched eyes, a calm goddess with a compassionate look and then there are glamourised versions in the Nataraja pose, which seem to be coming straight from Ellora model. It is hard to believe that She can vanquish the devil in such a delicate pose. “The look depends on the party which places the order. In Kolkata the angry look is still in demand. In Delhi people usually ask for normal gaze full of compassion and mercy. And then there are those who want the fashionable look. These days women deck so much that they want to dress up their gods the same way. I try to reason out that it is about devotion but don’t always succeed. Take a look at the hairstyle. It is becoming more and more stylised,” he remarks.
The 27-year-old knows the responsibility of putting the Goddess together. “I only have bhakti bhav in mind. We put together all the body parts. We can’t do our job if we are not devoted. And I get respect from society for the job I do. I am no ordinary artist. I make the God’s reflection.”
However, sometimes, social influences do come into play. Shukumar sheepishly says you will find a reflection of Kareena Kapoor in some of the idols. He is right. A couple of years back Vidya Balan was big after Kahaani. “She is from Bengal, na!” he exclaims. I don’t clear his misconception but it underlines how deep-seated Bollywood influence is.
Tearful adieu
Abhijit Bose of Aram Bagh Puja Samiti, arguably the biggest in the city, says the committee decides on the look and the theme of the pandal. “The aim is one look at the Goddess and tears should start flowing from eyes. Such is the motherly grace that has been described in the sacred texts. She has eliminated the evil and now she exudes forgiveness and selflessness. To me as the days pass the expression changes on the idol from the one of empathy to the one of sadness as she prepares to leave the devotees.”
Cut to the portly and bearded Sanjay Kumar. He is busy giving final touches to the imposing Ravan, Kumbhakaran and Meghnad effigies. Active since 1987, he feels one who masters the art of making head, eyes, nose and mouth is a true artist since the rest is easy. And we thought naval is the crucial part! He is mighty thrilled this year. “I have received an order for a Ravan in golden colour with six packs,” he confides. Introduced into the trade early by his curiosity for the cardboard characters being made in his neighbourhood, he remembers, “I followed the master and slowly he broke me into the trade by making me do simple tasks.” Today he runs a full-fledged unit at Titarpur with several men working under him.
In the park Naveen and Poonam, explain how different shapes of the effigy, head, body, legs, crown, hands and weapons are made of kakazi bamboo from Assam chosen essentially for its suppleness and strength and tied with iron wires. It looks easy when the two demonstrate but it requires skill and patience.
The finished skeleton is covered with recycled and waste paper and cloth using glue made of arrowroot. To make the effigy bright and colourful, a variety of coloured or glazed or velvet paper are pasted on different parts. At times they are painted too. To add attraction a vast number of designs are cut out of golden, silver or coloured paper and pasted.
Vinod Kumar, Naveen’s father delving on the history of Titarpur and its concentration of effigy makers, informs that many years ago, Ravan Baba, a craftsman, settled here. “My grandfather Ram Swaroop and father Shiv Charan, and several others learnt from him. They passed on the knowledge to their children and apprentice.” The numbers increased to keep pace with the growing demand. Most of the effigies are made to order except for some small ones with booking finalised in August thereby giving about two months’ time for completion during which work is done day and night. Sizes vary from five to 50 feet. So does the price from Rs.500 to 15,000.
Passing years have seen increase in size, use of paints, colour paper and designs inspired by television shows and internet. “Apart from fancy décor and motif, shoulder cuffs, big horns, teeth, moustache, hair and crown are now in vogue. People prefer Ravan with front and back face instead of 10 heads,” says Naveen.
Poonam, keenly watching Vinod since childhood, picked up the art of twirling the bamboo, cutting paper shapes and sticking them. She works during free hours and this year has booked orders for 10 Ravans in different sizes. While Sanjay looks at it from a commercial point of view, Vinod feels a tad disappointed when the effigies are set afire on Vijayadashami. “I console myself from the happiness it gives to children and the masses.”
Igniting young minds
The sight of different portions of the Ravan, Kumbhakaran and Meghand effigies on exiting Tagore Garden Metro station is amazing. They can be seen on footpaths, dividers, nooks and corners and when the 100 students of Manav Rachna International School from Classes V to VII too saw them they too were wonderstruck. Thrilled many clapped joyfully while the bold ones ran the hand over the gigantic heads. The reason for this profusion of these structures is due to Titarpur whose inhabitants are dedicated to making Ravan, Kumbhakaran and Meghnad.
The students visited the area this week to attend a special activity organised by India City Walks (ICW) with aim to connect them to Dusshera through Ravan making and stories. Nidhi Bansal co-founder of ICW explains: “The aim is to connect classroom learning of students to experiential learning thus ensuring that they enjoy the art of Ravan making while the makers feel good sharing their skill.”
