Lokhandwala Durga Puja
Table of Contents
Brainstorming..................................................................................................................................................................................................................................................1 Sub Systems. Departments..........................................................................................................................................................................................................................................................2 Location...................................................................................................................................................................................................................................................................3
Information Collection Lokhandwala Durga Puja .................................................................................................................................................................................................................................6 Durga & Durga Puja ............................................................................................................................................................................................................................................8 Temples of West Bengal......................................................................................................................................................................................................................................9 Calcutta Pandals ..............................................................................................................................................................................................................................................10 Rabindranath Tagore.....................................................................................................................................................................................................................................11
Brief....................................................................................................................................................................................................................................................................13 Conceptualization Layout..................................................................................................................................................................................................................................................................14 Concept 1 .............................................................................................................................................................................................................................................................15 Concept 2 .............................................................................................................................................................................................................................................................17
Execution..........................................................................................................................................................................................................................................................20
Brainstorming
Culture
Young girls
Shopping Budget
Fire Lotus Rains
Workers Navratri
Venue
Idol
Goddess
Disposal
Bengali
Patterns
Pandal
Excitement
Lights Purity
Glamour
Food
Materials
Festive
9 days
Red and White
Sept - Oct Dusshera
Performances Security
Festive
Traditional
Organizing Spirit
Good over Evil Visitors
Lights Tagore
Worship Motifs
Celebration
Worship
Decoration
Performances
Promotion
Structure
Decoration
Lavish
Celebration Crowded 1
Sub-Systems
Sub-Systems
Sponsors
Donation
Budget
Promotion
Duration
Visitors Security
L .D.P.
Space
Performance zone
Decor
Worship Zone Stalls
Office
Food Preparation Zone
Our team was primarily concerned with the Worship zone, which fell directly under the Space and Decor Departments, which were part of this system. The other points shown in this chart influenced our decisions directly or indirectly.
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Of the event
Cultural Aspect
Pre -event
Event Post-event
Location
Target Audience
The primary audience visiting the Lokhandwala Durga Puja are the Bengali’s (and Non Bengali’s) who live in and around Lokhandwala Complex, Andheri West, Mumbai. This is a time when they are seen at their traditional best. You get to see culturally significant trends in the way they dress and the cuisine on offer features the most mouth-watering “bong” dishes/specialties. In addition to them, numerous celebrities visit this pandal as it is organized by the famous bollywood singer Abhijeet Bhattacharya. Special arrangements are made with respect to crowd control and security to ensure celebrities can have that private moment to pay their respects without being mobbed by fans.
Location
Lokhandwala Durga Puja is held on the grounds behind Lokhandwala Complex, adjacent to Lokhandwala Garden. The grounds have a trench on its left that filters waste, over which there is a bridge that ends at it’s(the ground’s) entrance. It has two entrances: one from the main road and one from the park
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Lokhandwala Durga Puja
1. : Pandal: in 2010 exterior 2. : Pandal in 2010 3. : Pandal in 2010 lit up 4. : Pandal in 2005 exterior 5. : Pandal in 2009 6. : Pandal in 2008 lit up 7. : Pandal in 2007 8. : Pandal in 2006 9. : Pandal in 2008
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Lokhandwala Durga Puja
“Established in 1996, Lokhandwala Durga Puja was started by a small number of Bengali families in and around the area and in its first year of inception established itself as the Best Puja in Mumbai. Under the stewardship of famous playback singer Abhijit Bhattacharya, the Puja has scaled unimaginable heights and has now become the undisputed No.1 celebration in the country. The main motto of the Puja is to keep alive and reflect the Rich Bengali Tradition and to showcase the same to the whole world. Bangla Art and Tradition has been the pride of every Bengali and we are striving hard to maintain its necessary luster. We are the only Puja which initiates the celebrations from the fourth day of Navratri itself, with each day being celebrated with the same pomp and glory. Many creative souls are actively involved in the Puja, in an attempt to make this grand celebration par excellence. World-famous Art Director Bijon DasGupta sculpts the Pandal every year and his creative genius is beyond words. The Pandal easily defeats the previous year's creation and that makes Bijonda’s contribution unmatched. Amit Pal crafts the Pratima, Parimal and Nirmal Karmakar, both National Awardees, handle the intricate and beautiful Sola Decoration, Lalit Das and his brother head the group of internationally-renowned dhakis and Raju Savla who handles the entire infrastructural arrangement, make up for the team which creatively paints a classic and magnifique picture, which the whole world watches in awe. We pride our self in the Bhog served to the masses during the Puja. We leave no stone unturned in serving quality food to each and every devotee. Starting from the steel plates, spoons and Bisleri water, we serve sumptious Khichdi, Labda, Beguni, Chutney, assortment of fried items followed by payesh and sweets. We serve Bhoj on Dashami, with Pulao and Paneer being the highlight. The menu is different everyday and that itself establishes us as a one of a kind Puja in the country.”
http://lokhandwalapuja.com/about -us.html
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Durga and Durga Puja
Durga
Durga, a beautiful warrior seated upon a tiger, was the first appearance of the great goddess. The circumstance of her miraculous arrival was the tyranny of the monster-demon Mahishasur, who through terrific austerities had acquired invincible strength. The gods were afraid of this water-buffalo bull because neither Vishnu nor Shiva could prevail against him. It seemed that the joint energy of Shakti was only capable of vanquishing Mahisha, and so it was the eighteen-armed Durga who went out to do battle.
Durga Puja
In West Bengal, Durga Puja is five days of festivity. It hinges around Mahalaya day, a week before the actual celebrations begin. It was on this day that Durga was assigned the task of eliminating evil. So the familiar pose of Durga unleashing her wrath on an out powered assura (demon). Legend goes that Ram wanted to invoke the blessings of Durga before his great war with Ravan. He performed the Durga Puja despite the time of year not being right. That is why the puja is also known as Akal Bodhon, or untimely invocation.
Customs
Durga puja mood starts off with the Mahishasuramardini – a two-hour radio programme that has been popular with the community since the 1950s.[16] While earlier it used to be conducted live, later a recorded version began to be broadcast. Bengalis traditionally wake up at 4 in the morning on Mahalaya day to listen to the enchanting voice of the late Birendra Krishna Bhadra Image : http://en.wikipedia.org/wiki/File:D urga_Mahisasuramardini.JPG
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and the late Pankaj Kumar Mullick on All India Radio as they recite hymns from the scriptures from the Devi Mahatmyam (Chandi Path).
Durga and Durga Puja
Customs (Contd.)
During the week of Durga Puja, in the entire state of West Bengal as well as in large enclaves of Bengalis everywhere, life comes to a complete standstill. In playgrounds, traffic circles, ponds—wherever space may be available—elaborate structures called pandals are set up, many with nearly a year's worth of planning behind them. The word pandal means a temporary structure, made of bamboo and cloth, which is used as a temporary temple for the purpose of the puja. While some of the pandals are simple structures, others are often elaborate works of art with themes that rely heavily on history, current affairs and sometimes pure imagination. Somewhere inside these complex edifices is a stage on which Durga reigns, standing on her lion mount, wielding ten weapons in her ten hands. This is the religious center of the festivities, and the crowds gather to offer flower worship or pushpanjali on the mornings, of the sixth to ninth days of the waxing moon fortnight known as Devi Pakshya (lit. Devi = goddess; Pakshya = period; Devi Pakshya meaning the period of the goddess). Ritual drummers – dhakis, carrying large leather-strung dhak –– show off their skills during ritual dance worships called aarati. On the tenth day, Durga the mother returns to her husband, Shiva, ritualised through her immersion into the waters–– Bishorjon also known as Bhaashan and Niranjan At the end of six days, the idol is taken for immersion in a procession amid loud chants of 'Bolo Durga mai-ki jai' (glory be to Mother Durga') and 'aashchhe bochhor abar hobe' ('it will happen again next year') and drumbeats to the river or other water body. It is cast in the waters symbolic of the departure of the deity to her home with her husband in the Himalayas. After this, in a tradition called Vijaya Dashami, families visit each other and sweetmeats are offered to visitors (Dashami is literally "tenth day" and Vijay is "victory"). Durga Puja commemorates the annual visit of the Goddess with Her children to Her parents' home, leaving finally on the Dashami to be re-united with Shiva. This leaving ceremony is symbolised by the immersion of the idols on Dashami. Durga Puja is also a festivity of Good (Ma Durga) winning over the evil (Mahishasur the demon). It is a worship of power of Good which always wins over the bad.
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Chalchitra
“Chalchitra" or "Devichal" is the painted background of an Idol, especially used with Durga. Chalchitra is a metamorphosed form of halo found in the Indian sculptures of ancient period. Primarily these were used to give proportion to the structure. Gradually narrating the associated myth of the figure gets its place on this halo which then took the form of a slab, known as "Prabhamandali" or halo of the idol. This tradition has been carried forward to the idol of Durga also. According to some this tradition was to put up a resistance to the tide of Buddhism. So decoration to depict the glory of the Hindu gods and goddess in its background has become an important part of the worshipping. According to some this may also be a display of the general familial bonds that a Bengali shares. Among the commonly seen chali is the Markini Chal. This is a semicircle stretching from one end of the idol to the other supported by two pillars. Mothchouri chal has three continuous semicircular divisions like a wave with three peaks. Tanachouri chal though resembles to some extent the Mothchouri chal it doesn't have the three divisions but here the peaks are prominent. Chalis' differ in their shape as in their themes. Generally chalchitra deals with themes like Shiva at Kailash and Durga sitting in a two-storied building carrying Ganesha at the center. 1. : Markini Chal 2. :Mothchuri Chal 3. : A Chalchitra used for Durga Puja Text: http://www.bangalinet.com/durga _chali_1.htm
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Present day artists are inferior in talent as they have lack of in depth knowledge of Puranas. Besides a few Royal houses of Bengal and a few traditional houses and museums there is always unawareness for its preservation among common people. Nowadays Chalchira is used as a part of decoration with a few common decorative motives.
Temples of West Bengal
Temples are an integral part of any culture. Most of the famous temples in Bengal had similar architecture with respect to it’s domes and arches. Some of these temples are dedicated to the Goddess Durga, while others are dedicated to other Gods and Goddesses.
1. : Belurmath Temple
2. : Dakineshwara Temple
3. : Jor Bangla Keshta Rya Temple 4. : Jain Temple 5. : Temple of Shyamrai Bishupur 6. : Birla Temple
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Typical Calcutta Pandals
1. 2. and 3. : Exterior views of various pandals made in West Bengal for Durga Puja. 4. : A Chalchitra used as the backdrop 5. : A three part backdrop where the idols are placed on 2 levels, the male idols placed below the females. 6, : An Exaggerated halo around the idols 7. : A 5 part backdrop
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The pandal’s exteriors are reminiscent of the temple architecture. The insides use ‘Chalchirta’s’ as a backdrop for the idols, sometimes. Chalchitra’s are metamorphosed into the form of a halo found in the Indian sculptures of ancient period. Primarily these are used to give proportion to the structure. All the backdrops were divided into 3 or 5 parts, Durga being in the center and being surrounded by her children, Lakshmi, Saraswati, Kartik and Ganesh.
Rabindranath Tagore
2011 was the 150th birth anniversary of Rabindranath Tagore, a Bengali polymath who reshaped his region's literature and music. Since we were celebrating his 150th birth anniversary at the event, his paintings and photographs were to be displayed at the venue.
1. : Rabindranath Tagore 2.: Rabindranath Tagore 3. : a Painting by Rabindranath Taore
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Rabindranath Tagore
Images : Views of Tagore’s house “Jorasanko Thakur Bari” (now Rabindra Bharati University) where Tagore was born
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Brief
Brief
The keywords were for this year’s puja were •
Temple
•
Calcutta streets
•
Colourful
•
Light
•
Intricate
•
Rabindranath Tagore (celebrating 150 years of his birth)
Iconic elements from the words listed above were to be incorporated in the design. Separate zones had to be demarcated for the audience and priests. •
This year, we tried to recreate the feel of a typical Calcutta street puja pandal.
•
Other options that were that of Rabindranath Tagores house’s courtyard
•
Iconic elements like a lotus as the external structure
•
The people had to be reminded of what a traditional celebration of the festival in Calcutta would be.
•
Taking elements from their culture, and things that were generally done during this period in Bengal, the concepts were generated.
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Ground Layout
Bhog Preparation Zone: This area was used for preparing the food that would be served as bhog, and to serve as a private area for the committee members who organized the festival.
Performance Zone Bhog
Puja Pandal: The main area where all the
Preparation
public would gather. There would be
Zone
prayer services here. Food Zone: The food area was the area given to caterers who provided bengali food
78 ft
Performance Zone: This was the area where there would be ‘bhog’ , a free lunch that Puja Pandal
was ‘prashaad’ and would be served to all
50 ft
who came, and functions taking place in Office
the evening where popular bengali bollywood singers performed.
Food Zone Food Stalls Entry
Exit
Main Road
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Concept 1
Materials:/ Textures
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Concept 1
The idea was to make the main Puja Pandal look like part of Rabindranath Tagore’s house since 150 years of his birth were being cerebrated. It would look like the courtyard of the house with open windows through which one could see Tagore’s house. Red and white are primarily used as they are the traditional colours worn and used in the period of the festival. Texture on the walls (to make it look like a building exterior)
The railing prevents the crowd from coming close to touch the pictures and set. Additionally, it acts like a partition. V.I.P.’s and the priests could use this to make their way to the idol separate from the common people.
The backdrop of the idols The middle platform is raised higher to place Durga, so as to highlight her.
The railing gets extended onto the front, creating a division over which the prasaad can be served.
resembles the Temple arches. This looks like a pandal within
There is a protusion on the wall to incorporate the lighting from below.
a pandal.
Strings of L.E.D.’s under a very dark blue light up the place without emphasizing the ceiling.
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Concept 2
This was a scaled model of one division in the final concept. It was similar to the exterior that was being constructed. The form is derived from the temples and the typical pandals from Calcutta. The exterior had already been decided by the committee and there were professionals coming in from Calcutta to build it.. Hence the interior had to be made to match the exterior.
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Concept 2
This concept is derived from the arches found in the temples. In
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The Process
The first thing to be done after measuring the ground was to place
Bamboos were attached to strengthen the metal framework on the
an iron frame for all the different pandals.
ceiling.. Flex was draped over the structure to prevent rainwater from directly wetting the ground
The iron framework was covered with wood. The parts where the backlit pictures were to be placed in between were built and placed Events that happened on the 17th of September
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in position.
Cloth was then being stretched over the frame
The Process
A person stretching cloth.
The stretched cloth
Simultaneously, the platform was being built over the ground. Due
The supports were shoved a foot into the ground and planks were
to it being monsoon, the ground was still damp and mucky and
nailed to them
barely dried before it drizzled again and wet the place
Events that happened on the 18th of September.
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The Process
The grid to support the planks for the platform
Marking the curves
Fixing the pieces together
Ply pieces fixed onto the walls. The bottom also had a hole cut out in order to enable ventilation
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The Process
A 6� gap was left to slide a tubelight between the stretched cloth
Thermcol started getting cut in the forms derived from the motifs,
and ply curve
to stick on the sides
The pandal for the performance zone started being put up. The iron
The frames for the curved pieces to be put on the side walls.
frame is covered up with cloth.
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The Process
The front facade of the puja area was being constructed using
Planks started being put to make the platform to stand on.
bamboos
Events that happened on the 19th of September
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The iron supports were hidden with wooden “pillars” built around
The curved pieces’ frames were covered with cloth to make them
them.
look like they’re a surface
The Process
Thermocol pieces were being cut. The 1.5� x 3� cross sectioned
The white curved pieces then had thermocol stuck on them.
strips were cut in such a way that they tessellated so as to minimize material wastage.
The white pieces were fixed onto the walls. The supports for these
Texture was added to the ply pieces to make them look like walls
pieces were also Events that happened on the 19th of September
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The Process
The backdrop of the stage was made. 3 Divisions were used, the
Fixing the thermocol decorations over the curved pieces.
center one being higher than the others to emphasize the Goddess.
The holes in the center where the pictures of Tagore were to be placed were given a border of thermocol which looked like a frame. The final effect would be like the image is hung on a wall.
Events that happened on the 19th of September
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The Process
Colours started getting tested for the walls. Thermocol was stuck over one part and it was painted to see the overall effect.
Tube lights along with the
Testing for the intensity and colour of the lights.
starters were fixed on the sides 27
The Process
Thermocol was added along the curved edges to give it a framed look. The dividing sections had pieces of fiber and thermocol fixed onto them to make them look like pillars. The gaps between the edges were hidden using thermocol strips Patterns and motifs made in thermocol were added to give it a carved feel. All the additions were painted the same colour as the backdrop surface it was Events that happened on the 22nd of September
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attached to.
The Process
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The Process
An overview of the Puja Pandal. Most of the structure was in place, the textures, colours and the detailing had to be added.
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The Process
Painting and adding thermocol decorations to the walls. The walls now started looking more like they were carved.
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The Process
Meanwhile in the rest of the venue we started building the office booth after the other stalls were simultaneously being done. The outside and inside of the performance zone were being worked upon. Construction of the stage had begun and lights and fans were added. The exterior was painted green in contrast to the puja pandal.
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The Process
Cloth had been stretched over the babmoo structure that was built by professionals from Calcutta. The entire structure was built in an eco-friendly manner and no material was wasted once it was taken off.
Testing the lights to throw light from below : The
Seeing how the surface was white, all three colours of light would
final lights used were L.E.D. lights that changed
be easily visible when projected
colour. 33
The Process
The idols had been placed inside; finishing touches on the idols still remained. Colours of the backdrop were derived from that of the idol. Inside, workers touched-up the painting, applying a second coat wherever it was required Construction of the outside structure was complete and all that remained was the decoration (Right: the decorations being passed up)
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The Process
The stalls were being put up. outside along with the office area. The open area was carpeted. Cement sheets were put on the floor in the performance area to level it.
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The Process
The backdrop’s colours were derived from that of the idol. Since the idol was made to wear silver jewellery, the round pieces on top were painted silver. This also shone in the light giving it a more ‘divine’ feel than the sides 36
The Process
Tiny figure heads of Durga were placed on
Tubelights were hung in the space between
In order to fix the images, one person had
the pillars. This was a traditional art of
the walls and the covering flex to provide
to fit into the space where the lights were
Bengal.
backlighting.
fixed and, using the light from the tubelights, see, and fix the frame into place.
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The Process
The backdrop behind the idols was left white only from the back. The panels behind it were left white as glimpses of them would be visible from the “jaali� and a slight contrast in colour had to be achieved. This area had to be left wide enough for 2 people to pass through to carry out work backstage (specially when the puja was being performed). 38
The Process
The exterior is decorated with green motifs to match the rest of the structures that were painted green. An inverse of the backdrop was painted in red on the insides.
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The Process
The pandal a day before the opening. The idol is decorated and the side walls are ready with pictures of Tagore. A boundary will be put in front of this to create a V.I.P. line 40
The Process
The idol is veiled first and opened to the public on the first day of Durga Puja. 41
The Final Set
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The Final Set
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The Final Set
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The Final Set
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thank you