I was part of a Heritage project in Lossar village in Spiti. It is at an altitude of 13,402 feet and is the first village in Spiti after crossing Kunzhum Pass.
By Kalyani Majumdar
A view of the Lossar Village. Photo clicked by Kalyani Majumdar
On the day when I arrived to Lossar village in Spiti Valley of the Lahaul and Spiti district, it was not an ordinary day. Someone had died in the village, so there was a general quietness in the already quite and remote village. Lossar also has the check post where the Indian Army checks your passport. When I had arrived I had no idea what adventures and beauty awaited in the village.
The Manali and the upper regions were going through a dry spell throughout July 2004 but then in the first week of August 2004 all hell broke loose when torrential rains brought along with it flash floods which washed away Kothi bailey bridge, Kothi is around 13 km north of Manali on the Manali-Leh highway. How exactly the people of Spiti were affected? Well, Spiti was already remote, but the landslides made it a valley disconnected from the rest of the civilization for sometime — I am not being a tad bit dramatic when I say that we were cutoff from the rest of the world. (In the following posts I will try to describe the region and the situation more graphically).
So, the flash floods brought along a huge quantity of debris consisting of old trees left-over timber and large boulders, which completely destroyed this bridge. Just sometime back the Shimla-Spiti circuit had been affected due to a massive landslide at the Malling Nullah making movements from Shimla to Spiti difficult. (This itself has a very interesting story that I will tell in the part 2 of this post).
I was there to refurbish the Rural Museum at Lossar and its interior along with some conservation work on the manuscripts and Thangkas (Buddhist religious paintings done on silk or cotton).
Top left: I am cleaning a Thangka painting; Top right: An old manuscript; Right: My fellow team member Jeremie helping me refurbish the rural museum; Bottom: A view of the Lossar rural museum
Let me remind you, this was also the 2004-2005 when in Himachal Pradesh only BSNL mobile network worked and that too not in the remote areas of Spiti and Lahaul. So, we had to travel all the way to Kaza to make a phone call from a paid booth there were only two booths and there were times when I remember we used to get a ride all the way to Kaza but then the phone lines would be down so an absolute waste of all the travel and an entire day. Yes, such were those places. We had to stay in these places for 3 to 5 months at a stretch till the projects were over and then come down to our head office in Gurgaon. So, we were accustomed to this local lifestyle. Everybody in the village knew us.
Alongside the heritage project, we were also having a massive Alternative Energy project going on and the Pragya team were to set up a windmill that would produce 6.1 KW of energy, enough to run a primary health centre, a women’s weaving community centre, a rural library and the rural museum. The parts of the windmill were also stuck due to the landslides. How the entire windmill was brought up to Lossar itself makes an interesting story in itself.
Witnessing a rainbow. Photo by Kalyani Majumdar
Remote areas such as Lossar had a lack of power supply and due to this zero power supply the night sky at Lossar was the clearest at an altitude of 13,402 feet above sea level, the air was clear and without light pollution it was a magnificent view. You could spot all the constellations so clear with your naked eyes. I remember after the windmill was installed I often used to sit under the solar panels on the roof to protect myself from the strong wind and stare up at the sky and enjoy the silence and the stillness of the night that only a place like Lossar could provide.
Then one morning I even had the opportunity of seeing a perfect rainbow (left).
When I look back to these moments, I can only feel fortunate to have been given such work opportunities that made me spend such long times in these places.
Well the story does not end here. I will publish the second part of this story that will talk about the certain rituals that the villagers follow regarding the dead and more about what happened when the landslides secluded us from the rest of the valley.
I want to thank: Gargi Banerji (Founder-Director, Pragya) and Sunil Pillai (Director, Pragya).
The Pragya Team members: Mala, Bhaskar Reddy, Sourav Roy Choudhuri, Jeremie Robert, Anurag Mishra
THE COMMEDIA DELL’ ARTE CHARACTERS HAVE NEW CLOTHES, COURTESY 16 TOP DESIGNERS. KALYANI MAJUMDAR HAS THE STORY.
Published in India Today, Spice Solo | 2009
When you think of couture, the name Porzellan ManufakturNymphenburg does not naturally leap to mind. But with the Commedia Dell’Arte Couture Edition 2008, this company from Munich has definitely figured out the changing appetite of collectors, and fashioned its figures in a brand new way. To celebrate 260 years of making pristine porcelain, CEO Jorg Richtsfeld enlisted the help of the fashion world to design new clothes for the 18th-century Italian sculptor Franz Anton Bustelli’s 16 Commedia dell’Arte figurines.
The original story began in 1759-60, when Bustelli, the famous Rococo model maker, was so inspired by the colourful characters of the Italian Commedia Dell’Arte that he moulded the characters into a series of figurines that have become the highlight of the Nymphenburg Porcelain Works’ history. In the 21st century, 16 of the world’s top fashion designers have given a contemporary interpretation to these characters. Colombine, the clever partner of Harlequin, has been dressed in black-on-black checks by Dutch designers Viktor & Rolf as she holds up a mask.
Christian Lacroix has given the lovely Julia, whose hand gestures brush off the advances of the lecherous Pantalone, a black-and-white floral gown worthy of the Paris runways, and yellow gloves and scarlet handkerchief that make a definite style statement.
The character of the dynamic Capitano, dressed in geometrical shapes by Gareth Pugh, has been transformed into an abstract work of art. The designer says he reflects “the struggle between light and darkness,” which is central to Pugh’s designs.
A limited-edition Collector’s Book by photographer Florian Bohm accompanies the figurines, which are currently on show at Palais Beauharnais in Paris. Each figurine has been reproduced in a limited edition of 25 and the entire set of 16 retails for €160,000 (Rs 1 crore). Those who don’t want so much history to haunt the contemporary, can shell out €13,600 (Rs 8.7 lakh) for a single piece.
From being an artists’ muse to earning an infamous reputation, absinthe has had an eventful history. It is time to delve into the chequered past of this mystical and legendary green elixir.
Text by Kalyani Majumdar | Published in Liquid magazine | 2011
Originally used as a medicinal elixir to cure various ailments during ancient times, absinthe quickly grew in popularity as the favourite alcoholic beverage among the aristocrats in France. Affectionately called La Fee Verte by the French, it soon rose to fame across the channel and came to be known as The Green Fairy in England. By the 1870s, France was drowning in the green muse. Artists believed that this potent drink was stirring their minds and inspiring deeper creativity and many became absinthe connoisseurs — legend has it that Van Gogh cut off his ear under the influence of absinthe, and famous writers like Oscar Wilde and Ernest Hemingway mentioned the drink in their literary works.
With an alcoholic proof ranging from 45% to 75% and the presence of wormwood in the spirit, which is derived from the essence thujone, absinthe soon gained notoriety among drinkers. The ‘Fairy’ was associated with transformation, a freer state of mind and artistic expressions. In 1893, Edgar Degas painted L’Absinthe, portraying a French actress drinking absinthe in a Parisian café. The artwork was too nouvelle for England’s straightlaced Victorian taste and was, as a consequence, removed from the Christie’s auction. The tide began to turn against absinthe, and it was suddenly being associated with society’s evils.
Interestingly, it is believed that the 1870s blight in France led to a wine shortage and resulted in the popularity of absinthe, and by the end of the 19th century, France was gulping down more than two million litres of the spirit. This popularity, however, ended in the 20th century when the Belgians, the Swiss and then the French banned the alcohol. Absinthe was a great leveller in society, as it was popular across all classes, but the notorious legends attached to it, coupled with the global temperance movement — a social movement urging the reduced use of alcoholic beverages — instigated the ban.
Adding fuel to the fire was the bad press that was generated when a Monsieur Lanfray from Switzerland killed his entire family while under the influence of absinthe. However, the fact that he had also consumed several litres of wine and brandy was overlooked. This was the last blow to the already bruised reputation of the green fairy. After enduring an almost 100-year ban, this elusive green elixir is back on bar tables all over the world. Christophe Clement, a celebrated freelance bartender in France, comments, “It is not an easy drink to mix, and only a few chosen ones have the passion and the guts to make good and innovative cocktails with absinthe.” When asked about the popularity of absinthe among regular drinkers, he said, “I think people are not scared to try absinthe anymore as it is very safe, and every bar should have a bottle of absinthe on its shelves because it is one of the legendary alcoholic beverages.”
Making an absinthe drink is considered an art. Absinthe is elegantly served with a sugar cube sitting atop a slotted silver spoon. Water is then slowly poured onto the sugar cube, which slides through the spoon and mixes into the absinthe, creating a misty jade drink – a magical ritual indeed! Traversing from the bohemian bars of Paris, absinthe has made its way to India and is gaining popularity here. The familiar flavours of aniseeds — often chewed as a palate cleanser between meals — also find adaptability with the taste profiles in the country. “Absinthe has just been introduced in India, hence there are few takers. But, the good news is that, we have tried two recipes, Long Island Iced Tea with absinthe and Absinthe Bull, and both have received great response,” said Leorith Ashtamkar, a freelance bartender in India.
The Green Fairy Absinthe Company (TGFAC) imports absinthe in India from the Pontarlier district of France – the holy grail of absinthe. Initially, TGFAC was importing Green Fairy absinthe by Liqueurs de France (LDF), but now it has been replaced by Enigma, also a product by LDF. Both are distilled absinthes, prepared in the traditional way with the herbs that give absinthe its unique flavour. This year, TGFAC has also introduced another product in the Indian market called Nemesinthe. It is a developed quality oil-mix priced at R3,300. It is much lighter on the wallet compared to the classic distilled high quality Enigma, which is priced at Rs 5,200. Farrokh Maneckshaw of TGFAC says, “We think that this will be a popular and affordable drink for the club-goers, and looking at the response in Goa, I can clearly say that absinthe is already a very popular drink among young Indians.” So, next time when you go out drinking, order a glass of absinthe and experience the legend in every sip of this enchanting green spirit. Sante!
The heritage of Tonnellerie Demptos (the Demptos Cooperage) is nothing less than a magical tale, of how a simple piece of oak becomes the keystone in the magnificent story of wine. And, the Demptos family has been intimately involved with this magical journey for nearly two centuries, as the knowledge of coopering passed on from father to son. Hence, it was no surprise when Francois Witasse, the President of Demptos Cooperage shared his passion and insight about the effect and added value that oak provides to wines as well as spirits at an event in Mumbai at the Four Seasons Hotel, the magic of oak unfolded in every sip of wine.
Francois Witasse Interviewed by Kalyani Majumdar | Images courtesy: Tonnellerie Demptos| Published in Liquid magazine
Kalyani Majumdar: Could you briefly take us through the magical journey of Demptos and its worldwide recognition? Also do tell us how a piece of oak becomes the keystone in the magnificent story of winemaking.
Francois Witasse: Tonnellerie Demptos is a 200 years old cooperage, based in Bordeaux, France. Through a strategy of implantations worldwide and a strong Research programme on oak quality and interaction between oak and wine/spirit, Demptos became year after year a real partner in the “wine ageing” field.
KM: Please tell us about your journey so far with Tonnellerie Demptos. How did it start for you and what is your experience with the brand?
I joined the company 20 years ago, after finishing my master’s degree in Agricultural Sciences, as an export manager for countries such as Chile, Argentina, Uruguay, Spain, Italy, and Greece. I then leaded the project of Demptos in Spain, building a cooperage in Rioja and lived there for 7 years. I finally came back to Bordeaux to become General Manager of Demptos. I think that the brand has a fantastic balance between traditional know-how, innovation, Research, worldwide network and implantations (we produce barrels in 5 countries). Demptos is proud to serve the finest winemakers in more than 30 countries.
KM: Please take us through the barrel-making process at Demptos. And, how oak can influence a particular wine?
FW: Oak is a fascinating material and combines greatly with wine as an ageing tool, providing tannins, aromas, oxidative evolution, clarifying the wine, delivering them roundness, mouthful and balance, stabilizing their structure and infusing them with a better resistance to time! Our job is to control and fine tune our selections to match every enologist’s ageing ‘goals’. From the log to the stave, from the stave to the barrel, our barrel making process is dedicated to the user.
KM: How do the experts at Demptos judge that it is the right moment to start making the oak planks for barrels?
FW: We actually buy raw material from auctions. The ONF, French Administration of Forest Management, organises the oak market. We then split the logs in our stave mills and let the oak planks (staves) season for a minimum of two/three years.
KM: How does wood grain affect the character and expression of the wine stored?
FW: Oak growth speed (grain) has direct consequences on oak porosity and chemical composition. French forest management is based on high density forest principle and mostly provides tight grain. We harvest 180 to 230 year-old trees. While some wine would take more benefits from a very tight grain, porous and flavourful, some wines structure will require a stronger content of elagitannins. An ‘open grain’ will then work better.
KM: Do explain how Demptos fine tunes their barrels to the personality of each wine?
FW: Due to the different effects of ageing and the multiple combinations, we obviously see our work as a partnership with our clients. Understanding the winemaker’s ageing strategy is the only way to reach, year after year, the best marriage of oak and wine. Also, ways to offer the best return on invest, using the most accurate tool in every situation. It is amazing how many ageing strategies exist in the world.
KM: Is French oak the first choice all over the world for the way in which it conserves and improves wine? And, if it is the first choice then why and if not, then which one would you consider as the most suitable oak or the first choice for any winemaker?
FW: French oak represents today a little more than 50% of the wine barrels. It is very hard to define what is right or wrong and what is better or not. In Demptos we believe that the success is to help winemakers to reach their goals. When looking for high content of lactones (sweetness), American oak would then be the first choice.
KM: Is there any particular season that is preferred for harvesting oak trees for barrel-making? What are the precautions you take while seasoning the oak staves before turning them into barrels?
FW: Oak trees should be harvested at sap-going-down season, mainly winter time. The logs will be then processed into staves within a one year period. The process of seasoning starts only after that, when the piles are stored with about 20 per cent of air to help natural ventilation and moisture diffusion. The Aurelio Basilium pullulans and Trichoderma—are the two microorganisms that are responsible for the chemico-physico transformation of oak. They have been identified by Dr. Nicolas Vivas, Director of Demptos Research Center. They do their job by transforming some phenolic contents of oak into more compatible ones with a wine ageing profile. The green and rough tannins turn into smoother ones.
KM: Please point out the observations you made while visiting the Indian vineyards that you think needs improvement or are already at par with the worldwide standards.
FW: I would certainly be very humble in providing recommendations. In my point of view, the level of protection of some Indian wines should be a point of attention. When it comes to exportation, resistance to oxygen will be a key. In some countries the wines are drunk after several years in the bottle. If the wine structure is not compatible with this time, the wine will oxidate or/and alter. I realised that Indian bottles are opened ‘young’ and the bottles are opened soon after their release in the domestic market. Anyway, SO2—Sulphite is an antioxidant that protects wine—is not the only way to protect wine. I detected that this level of protection on Indian wines is not high, but fits the consumption mode. A good balance between colour material and tannins also brings stability. Oak is a fantastic tool to work on the density and expression also. I met some enologists who feared the use of lees in red wines. In some cases, it is a free natural ‘treatment’ that could be used a little more…
KM: What is your take on the wine market in India, anything you have noticed about the Indian palate? Also, in tune with the last question, do you think oaky wine would work better for the Indian palate with its hot and spicy food?
FW: I have been very interested about how the wine industry fits well with Indian taste and gastronomy. I would say that Indian wines have their own identity, definitely at world class standards. However they do adapt to Indian taste-buds, offering roundness and a little bit of sweetness. I realize that astringency is considered as a strong default and that a little oxidation is not necessarily rejected… My belief is American oak, rich in lactones, would complement nicely Indian wines and would underline the “sweet sensation” that is appreciated. However, French oak tannins would work well on the structure and stability. The level of “mix” should be adapted to every wine and winemaker’s style. I don’t think that the general level of grape extraction right now is adapted to age in 100% new oak, but definitely there is room for more “ageing” process and work.
KM: In terms of wine and barrel markets, which according to you is the most exciting country and why?
FW: USA is the biggest market for oak barrels, but any new challenge is exciting! The success is not only the number. If we can help a winemaker to reveal his terroir and participate in the added value of his wine, we are happy. The star is never the barrel, always the wine !
KM: What according to you is a big barrel making no-no?
FW: In my opinion, reducing barrel ageing to its flavouring impact is a big mistake. A barrel producer who would build a barrel in that direction will not succeed. Selection, patience, control, harmony and users’ feedback and understanding are the only way.
KM: What are the trends in the Indian wine and spirits market that you would cite as key, in so much as defining your current and future strategy? Which are the Indian wine brands that are ageing their wine in oak barrels?
FW: Few wineries already age some wines in barrels but most of them already get benefits of oak through other modalities (like oak infusion for example). The education of the audience is the real key. Wine quality is worldly linked to its density, its expression, its resistance to time… All these aspects are improved by the ageing process. Demptos strategy is and will always be the same and that is to be a partner to the industry, creating added value, sharing experiences, offering adaptability and competitiveness… That is how we became the “ageing” world leader.
KM: How good or large is the Indian market for oak barrels?
FW: India is a little market still… A very small proportion of wine is aged in oak barrels. But remember that only 2% of wine does worldwide! It is important for us to be here early.
KM: What are the key challenges that you think your product will be facing in the current scenario of the Indian market?
FW: Year after year, the different trials and experiences will fine tune barrel selection and use in the Indian industry. I am sure this is going to happen. I don’t know how much time it will take… But we have been making barrels for 200 years now, and we will be there in another 200!
KM: In India since the market is price-driven, what do you think is the future of wine ageing in oak barrels as it is after all an expensive affair? Could you also give a rough estimate of the price difference of a wine that has been aged in oak barrels and a wine that is flavoured by oak through, staves and cubes?
FW: Oak in wine treatment might cost from Rs 2 to Rs 15 a bottle; ageing wine in barrel will cost from Rs 60 to Rs 150 per bottle. Expected values are also very different. If the audience values the quality, they will ask for more ageing. But we also will be happy to support the benefits of oak in any wine segment…
KM: Is there anything you would like to suggest to a winemaker in terms of what kind of barrel must s/he select and what vital points should be kept in mind before selecting the barrels?
FW: There is no general rule. I would suggest any way to do an initial diagnostic of the phenolic balance of the grapes and then define a real strategy to age wine. Result of ageing not only depends on the barrel selection, but also on the maturation of the grape, extraction during maceration and lees management… Considering a barrel as a ‘magic box’ will always lead to problems. Percentage of new oak, doing the malolactic in barrels or not, racking management and time of the process should also be seriously considered and adapted to the objectives of the winemakers. We as coopers are here to serve, not to impose our point of view!
Text by Kalyani Majumdar | Photos by Bhati N. & Mansukh Prajapati |
Published in Domus India & Italian edition | Nov 2011
Despite the challenges of moulding clay products in a world populated with plastics and electronics, Mansukh Prajapati continues to harness green technology from clay for the village and the city
Those in town, city and suburb who alike have experienced the nightmare of relocating to a new house and finding out that one needs more electrical sockets than the place provides, surely remember the wish for certain appliances that could function without electricity. Even as the urban world throws such challenges at us, a humble potter in Gujarat decided to further develop the art and science of moulding clay with his innovative applications and designs to answer a fundamental problem related to household gadgets.
Mansukhbhai Prajapati is an ordinary potter with extra-ordinary ideas and has proven the truth of that famous adage—necessity is the mother of all invention. Hailing from Rajkot, Gujarat, Mansukhbhai belongs to a traditional potter family. While working in a tile-making factory he learnt how the big terracotta-manufacturing units worked. Then in 1988, securing a loan of r30,000 from a local lender, he started out on his own. For the next three years he improved on the design and material for the manufacture of clay tavas and in 1992 he came up with a tava that was far more durable than the ones then being made. Since his constant inspiration has been the needs of common people, and knowing the perils of not having access to clean drinking water, he began designing water purifiers made of clay with the dual-function of purifying and cooling at the same time. Durable and reasonably priced, the product was an instant success with the local rural population.
Mansukh Prajapati posing with his Mitticool products
But, the real innovation was yet to come. In the aftermath of the 2001 earthquake epicentered at Bhuj, which shook the entire region of Gujarat bringing heavy loss of life and material, mostvillagers lost the clay pots they used to store and cool water in. The plight they faced motivated Mansukhbhai to engineer a refrigerator made out of clay—cheap and free of the need for an electrical outlet. It took four years of work on a suitable moulding technique and to develop a machine that could separate clay from sand to make a purer form of clay, and then work on the technique of firing it at a controlled temperature of 1250 degree Celsius—this process is used to increase the porosity of clay, to successfully prototype the idea. The handmade Mitticool refrigerator which emerged from this research can store 10 litres of water and vegetables for eight days, and dairy products for one day with a total storagecapacity of five kilograms of vegetables; this technology also helps preserve the original freshness of vegetables. This clay product works without electricity and uses the same principle of cooling as traditional terracotta pots. It takes about eight days to produce one and is priced at r2,500. Facilitators like the Gujarat Grassroots Innovation Augmentation Network (GIAN) have helped him for the past six years with patents, market visibility and technical inputs for his products, while design assistance has been provided by the National Institute of Design (NID). Interestingly, the Mitticool range of products is slowly gaining popularity among city dwellers. Today, in addition to Ahmedabad he supplies to vendors in Pune, Mumbai, Gujarat, Hyderabad and Chennai.
In a world populated with cheap plastics and electronics, the unassuming Mansukhbhai is considering the marketing of these products internationally, while continuing to focus on building as many Mitticool products for village-dwellers and city-folk as he can practically produce. One of his ambitions, at a very different scale, is to build eco-friendly houses from organic materials which consume negligible electricity and are earthquake-proof.
Apart from creating patented products like the Mitticool refrigerator and water purifier, Mansukh Prajapati has also designed contemporary terracotta kitchen products: cookers, serving dishes and bowls
It is a modern paradox that even as the world begins to slowly crave for sustainable everyday products, a small town potter like Mansukhbhai, with creations which are a proven precursor to deeper innovation in clean technologies at the mass level of everyday products, still struggles to achieve a firm grasp on the market which began foremost as a market built on a bank of traditional intelligence.
Photo essay by Kalyani Majumdar | Published in Domus India | Nov, 2013
Ceaseless monsoon rain and scorching hot and humid weather cannot dampen the spirit of the kumors/kumars (potters) of Kumartuli as they continue shaping clay to create idols for more than two centuries.
The courtyard of renowned Kabiraj (traditional medicine man) Gangaprasad Sen’s house in Kumartuli is used for moulding clay idols. His house has been organising one of the oldest Durgotsavs annually
As autumn approaches, the narrow winding lanes of the potters’ locality called Kumartuli/Kumortuli turn into the busiest streets of Kolkata (formerly known as Calcutta). Rows of clay idols can be seen on both sides of the lanes as the Mahalaya (an auspicious occasion observed seven days before Durga Puja) approaches and the countdown begins for Durga Puja. It is that time when artisans work day and night to give forms to hundreds and thousands of idols as the city gears up for its biggest sarbojaninm utsav (community festival). Situated on the banks of Hooghly River and surrounded by Shovabazaar, Bagbazar, Shyaambazar and off Rabindra Sarani formerly known as Chitpur road, Kumartuli is located in North Kolkata. As one negotiates through the labyrinthine lanes of Kumartuli, it looks nothing less than an art and sculpture workshop.
One can see idols arranged on the streets in the open to get dried up and some are still in their evolutionary stage with only the straw bases, waiting to be shaped into idols. These are moulded from Sal wood, straw, bamboo and clay. One can witness the genesis of Maa (mother) Durga and her childen —Saraswati, Lakshmi, Ganesh and Kartikeya along with the lion (her carriage) and Mahishasura. Some are moulded in the traditional single structure known as ek chala and some are fashioned in the more contemporary model of multi-framed idols of the entire family. The name Kumartuli or Kumortuli comes from the Bengali words “kumor” meaning potter and “tuli” meaning locality. The kumors usually come from a long lineage of craftsmen who have been sculpting Durga idol for generations.
Traditionally, the eyes of the goddess known as the chokkhu daan (gifting of eyes) is always the last element to be sculpted and is believed to be done by the oldest member of the kumor family on the day of the Mahalaya; though now with the stress to meet deadlines and commercial nature of idol-making, many artisans have done away with many such traditions. Originally, the kumors came from Krishnanagar in Nadia district and settled in Gobindapur Village — one of the three villages which later were merged to form Kolkata, with the other two villages being Kalikata and Sutanuti. They would make clay toys, utensils and pots for livelihood decided to build Fort William at Gobindapur village, the inhabitants of that area migrated to Sutanati and it is believed that under the instruction of the Company, John Holwell was given orders to designate areas according to the nature of profession of the inhabitants; Kumartuli was one such area that was designated as a residential area for all the potters and craftsmen. In those days these kumors were invited by the old and nouveau rich Indian households —mostly the Zamindars who were also the first few patrons and organised Durga puja in their houses — to make clay images of Durga and other idols. These houses had thakurdalans/thakurbaris (separate building used for annual festivals).
The thakurdalans were high-ceilinged flat-roofed buildings. Apart from the autumn festival, the artisans were called round the year to sculpt ornamental elements such as the fairies, foliages, other patterns and inlay works on brackets and columns of the houses as many modelled after the Western influence, thus giving rise to a fusion of Indo-Bengal form of ornamental art for residential built forms. With time, as Durgotsav shifted out of the thakurdalans and became a community festival, the common people became the new patrons of Kumartuli. Also, every year one can easily predict the current trends in vogue by looking at the idols; this time it was Mahishasurs’ six-pack abs and chiselled faces that were in popular demand — straight out of a Greek mythology.
A potter at work in his workshop in KumartuliThe idols showcase the latest trends in fashion, as we can see a Mahishasur with sixpack abs and chiselled face
From its humble beginning to post- Independence, Kumartuli has risen to become the exclusive exporter of idols of the goddess to the Bengalis settled in different parts of the world. Clearly, Kumartuli is more than just an urban space in Kolkata that produces clay idols for Durga Puja. It has been an active participant for more than two centuries in maintaining a continuity of cultural tradition and craftsmanship, and has witnessed the trajectory of the changing socioeconomic and political climate of the city — the transition from pre to Post- Independent India and from Calcutta to Kolkata.
All photographs and text copyright with Kalyani Majumdar
